Local History: The Museum Collection Centre

Image © Frank Parker

On Saturday 17th September 2022,  I visited the Museum Collection Centre in Dollman Street, Nechells, Birmingham as part of Birmingham Heritage WeekI had been wanting to go there for a long time and I am glad I finally did for two reasons. 

Firstly,  this was the road where I used to live in the 1960’s, from when I was born in 1966, up until I left in 1970.  Apart from a very brief return visit here with my Dad in a car when I was in my early days in secondary school (I think?), this was the first time I have been and walked up the whole of it on my own.  It felt strange being here again because I can not recall any of it the first time around because I was a baby/toddler yet I felt at home.  

Secondly,  I knew I would see some things growing up from many visits to the Museum and Art Gallery and the old Science Museum.  I wasn’t disappointed and they brought a smile to my face and good memories of going with my Mom and family when I was younger, to when I was a teenager going on my own or with friends and then with my kids when they were younger.

I didn’t take a photo of everything. I was going to but the place was bigger than I thought it would be, A LOT BIGGER.  I only stayed on the bottom floor.  I was given a map of the place but was too busy taking photos to realise there was another floor to explore.  I am not sure if I saw everything on the ground floor, that is overwhelming this place was on my first visit.

As it was my phone ran out of battery anyway and I was only there for an hour and had to use my spare phone but I did manage to take over 200 photos!

I have edited them and sorted out the best ones to put in the gallery below.  I couldn’t decide if they were to go in my West Midlands History or History category as they cover both so I decided they were worthy of their own album on this page.

I plan to go again for sure as there is a lot more I want to see that I missed out on the first time and have a better look at everything.  If you are into West Midlands History and History like me then I HIGHLY RECOMMEND you visit the Museum Collection Centre in Birmingham, you won’t be sorry, I know I wasn’t.  

The Museum Collection Centre Photos

Click here to see my photographic memories of my day out.  

About The Museum Collection Centre

The Museum Collection Centre is the main store for Birmingham Museum Trust, holding over 80% of a collection of around a million items, many offering a real insight into life in Birmingham and the West Midlands over the centuries.

With only a small percentage of collections on display at Birmingham Museums, or on loan to other organisations, it is the only place to see collection items not normally on display.

A huge number of the objects are held on open storage in one very large warehouse which contains everything from aircraft engines to zoological specimens. Among the hundreds of thousands of objects stored here are steam engines, sculptures, cars, a giant spider crab, a retro chip fryer, and many more. Smaller objects, and objects that need more stable temperature and relative humidity, are stored in purpose-built spaces.

In front of the Museum Collection Centre: Image © Frank Parker

Opening Times

With its mix of fascinating finds and a behind-the-scenes atmosphere, this hidden gem is an intriguing place to explore. It is open to the public on designated open afternoons which take place every two weeks on a Friday. These open sessions last up to 1.5 hours and pre-booking is essential.

Visitors will only be admitted on scheduled open event afternoons and days.

Tickets for the Open Afternoons can be found on the What’s On page.

The back of the Museum Collection Centre: Image © Chris Allen via Wikipedia

Address

Museum Collection Centre

25 Dollman Street

Nechells

Birmingham

B7 4RQ.

Click here to see how to get there.

For accessibility when you get there click here.

Facilities

Free car park.

Bicycle racks.

Toilets, including Disabled toilets.

Lifts to all floors.

A Place Of Work

The Museum Collection Centre is the main place of work for some of the staff who care for, research, or otherwise work with their collections, as well as the volunteers who support them in doing that.  Their teams care for the collections in store (as well as those on display at our other sites) and work on improving the documentation of the collection.

Safety Notice

They want to make sure your visit is as safe and enjoyable as possible so some safety measures will continue:

They support staff and visitors who wish to wear a face covering.

Staff who test positive for COVID-19 will isolate at home for at least 5 days until they have two successive negative tests.

There are hand sanitisers at the entrance and throughout the building.

Contactless card payments will limit personal interaction, but cash will also be accepted.

They have cleaners working throughout the day focusing on touch points and toilets to keep them safe and clean.

Please do not visit them if you are feeling unwell, have any symptoms of Covid-19 or have been in contact with anyone that has had the virus in the last 10 days.  Please contact them if you have any further questions.

Open Day

You can also visit their Open Day which runs as part of Birmingham Heritage Week each year, and includes activities for children, themed tours, and conservation demonstrations.  The annual event will allow you to see a vast range of objects, often with a real focus on Birmingham and the West Midlands.  The contrasting mix of objects and the behind-the-scenes atmosphere at the Museum Collection Centre make it an intriguing place to explore and discover more about museum stores.

The Open Day will also include a pop-up shop, meet the experts, curator tours, conservation demonstrations, family-friendly events, story telling, object handling and more.

Refreshments are available to purchase.

Pre-booking is essential. They expect high demand so please book early to avoid disappointment.

Your entry is timed so please arrive at your allotted time, late arrivals may not be able to enter.

Warm clothes are recommended and sensible footwear is essential for all.

Tickets for the next annual Open Day can be found on the What’s On page.

Blog Posts

Notes And Links

The Museum Collection Centre entrance and exit image above is copyright of Chris Allen and was taken from Wikipedia.  It comes with a Creative Commons licence.  

All the above images are copyright of Frank Parker unless stated. 

The Museum Collection Centre on Facebook.

The Museum Collection Centre on Twitter.

Birmingham Museums Collection – Find out more about Birmingham’s collections including art and design, human history, natural science and science and industry categories.  Each category contains sub-categories full of useful information and great photos.

Birmingham Museums Trust’s Digital Asset Resource – Official website.  There is no registration or log-in required to use this website for out-of-copyright collection images  Download free Public Domain image files up to 3mb in size with free Creative Commons licenses.  You are entitled to unlimited downloads.  Also download free Audio Files complete with a license.  These can be downloaded for non-commercial use only and attribution is required.

BirminghamMAG – Official YouTube channel.   Birmingham Museums and Art Gallery provide world-class museums at the cultural heart of Birmingham.

Birmingham Museums – Official website.

Thinktank: Birmingham Science Museum – Official website.

Birmingham Museum And Art Gallery – Official website.

Aston Hall – Official website.

Blakesley Hall – Official website.

Museum Of The Jewellery Quarter – Official website.

Sarehole Mill – Official website.

Soho House – Official website. 

Weoly Castle – Official website. 

Books: The Allcott’s By Jeffrey Allen

Photos © via various sources

Please note this page has been slightly edited for website purposes from the original booklet and is presented to you with kind permission from Jeffery. 

The original booklet is available to download and as an e-book at the bottom of this page in the Links section and will appear slightly different to what you see here but the content is the same.

About The Allcott’s

In Jeffrey’s own words:

“The Allcott family were typical of the many thousands of people who once turned to the canals for their livelihood during the middle and latter part of the Victorian era. Times were especially hard for the poorest people in society, often moving about in order to find better employment or affordable accommodation, whilst the terrifying spectre of the workhouse loomed ever present should they fail to find both. Not surprising then that the canals should offer a viable alternative to life on land, with their boat providing a ready source of income, and a roof over their head. For most people boats were too expensive to have built, so they turned to well established canal carriers such as Pickford’s, Fellows Morton & Clayton and coal merchants such as Samuel Barlow for employment. Most of the canals by now had been absorbed by railway companies, such as the Shropshire Union Canal and the Trent & Mersey. By the time the Allcott’s entered life on the waterways, the great heyday of canal building was over, but they continued, even into the latter years of the 20th century, to play a key role in the economy of the country.” 

About Jeffrey Allen

Jeffrey is my Cousin via my Mom’s long, lost Brother and it was by chance we found each other, call it fate, call it whatever but everything happens for a reason.

On October 21st, 2021 I decided to join the Canal World forum in the hope I could find anything about the Allcott’s and the long boating history that goes with them, stretching back to the 1800’s.

On November 10th, 2021 Jeffrey messaged me believing we were related via his Dad, Oliver Allcott and, I was happy he did and to confirm that we were indeed related.  We have been in touch since.

For a long time, Mom always wondered how my Uncle Oliver was doing in life and would have loved to know all that I know now when she was alive but, sadly, that was never to be.  I did, however, get to show her family photos and documents that I came by in her final months, before me and Jeffrey first got in touch.

Jeffrey didn’t do this booklet for monetary gain, just as a family keepsake and it was never intended for publication.  I, on the other hand, think more people should see the hard work he has put into it and, hopefully, more information can subsequently come from it in the not-so-distant future.  If you think you are related to anyone mentioned in this post then please contact me here.

Regardless if you are family or not, if you are a lover of history and canal life then you will enjoy this book as much as I did.

Front cover is © Jeffrey Allen: Photos © via various sources.

The Allcott’s By Jeffrey Allen

The Allcott’s 

The Story of a Canal Boating Family from Wolverhampton.

Acknowledgements 

A special thank you to my cousins Frank Parker and Janet Terry for supplying me with all the information on the Allcott’s.  Without their kindness and love of family this booklet would not have been possible.

Dedication 

In memory of my grandfather Oliver Allcott, My grandmother Beatrice Violet Allcott, Their daughter Beatrice Mary Allcott, my aunt, And their son, Oliver Allcott, my father. 

Introduction

The Allcott family were typical of the many thousands of people who once turned to the canals for their livelihood during the middle and latter part of the Victorian era.  Times were especially hard for the poorest people in society, often moving about in order to find better employment or affordable accommodation, whilst the terrifying spectre of the workhouse loomed ever present should they fail to find both.  Not surprising then that the canals should offer a viable alternative to life on land, with their boat providing a ready source of income and a roof over their head.  For most people boats were too expensive to have built, so they turned to well-established canal carriers such as Pickford’s, Fellows Morton & Clayton and coal merchants such as Samuel Barlow for employment.  Most of the canals by now had been absorbed by railway companies, such as the Shropshire Union Canal and the Trent & Mersey.  By the time the Allcott’s entered life on the waterways, the great heyday of canal building was over, but they continued, even into the latter years of the 20th century, to play a key role in the economy of the country. 

Family History

Allcott is a surname that existed in Nuneaton, Bedworth, Atherstone and Caldecote since the 17th century.   Allcott derives from an Old English word eauld meaning old, and cot meaning a shelter or cottage; hence ‘a dweller in an old cottage.’   The name has its highest frequency in Herefordshire and the West Midlands.  In Nuneaton for example, it first appears in records of the Quarter Sessions and Indictment Books for the years 1631-96 and the Hearth Tax of 1662.  Albert Allcott was born at Hartshill, North Warwickshire, on the 17th of May 1843 to William and Sarah Allcott.  Sarah (nee Buckler) was born at Bedworth on the 1st of October 1809.  William was a labourer, whilst Sarah looked after their six children: Thomas (b. 20 March 1832), William (born June 15th 1833), David (born 1836), Hannah (born 1837), Sarah (born March 25th 1839) and Eliza (born 1841).  Hartshill is a large village and civil parish in North Warwickshire.  It borders the districts of Bedworth and Nuneaton, which is two and a half miles northwest of the village.  The combined population of Bedworth and Nuneaton by 1863 was in excess of 8,600 people, and many of those were employed in silk ribbon weaving.  Hartshill also borders Ansley to the south-west, where there was a coal mining colliery established in 1874; Mancetter to the north-west, Caldecote to the east, and the parish of Witherley in Leicestershire to the north-east.  The market town of Atherstone is three and a half miles to the northwestHartshill had good communications with the rest of Warwickshire and neighbouring counties.  There was a canal wharf on the Coventry Canal, (14 miles from the Coventry Basin), which served the Jees Granite & Brick Co. Ltd., which also had its own quarry.  William Allcott may have worked for this company as a labourer.  There was also a railway, part of the Coventry and Nuneaton branch line, with a signal box and sidings.  

© Unknown
Hartshill bridge and canal wharf circa 1900: © Unknown
Hartshill Wharf circa 1910: © Unknown

Not long after Albert’s birth, the family moved to Foleshill, where Sarah died in the later part of 1848 aged 39.  By the mid-19th century Coventry was the centre of the ribbon trade, and at one time employed an estimated 30,000 workers, using steam-powered looms as part of a large-scale manufacturing process.  William Allcott Snr. remarried two years later on the 22nd of June 1850 to Rhoda Ball from Nuneaton.  The 1851 Census shows the family still living in Foleshill.  William, and his son William Jnr., now aged 16, were both employed as coal miners, whilst Rhoda was a hand loom weaver, and Hannah, aged 11, was employed as a silk winder.  Ten years later, both Rhoda, and her step-son Albert, now aged 18, were employed as silk weavers, whilst William was working as a day labourer.  William and Rhoda had eleven children together, three boys, Henry (born June 5th 1852), Frederick (born February 28th 1858), and Joseph (born October 28th 1867); and eight girls, Emma (born September 23rd 1849), Matilda (born November 23rd 1854), Ellen (born May 8th 1856), Mary (born February 3rd 1859); all these children were born at Bedworth.  Sometime after the birth of Mary in 1859, the family moved to Nuneaton, where Rose (17th of May 1863) was born, along with Sophia (22nd of May 1872) and Rhoda (31st of July 1869).  Sadly, little Fanny Allcott (born 1861, Nuneaton), died when she was just three years old in 1864.  Rhoda passed away in 1873 aged 47, and a year later William died aged 68.  At least four of their youngest children, Rose, Sophia, Joseph and Rhoda, would not have been old enough to support themselves without their parents or older siblings. 

On the 26th of March 1877 Albert Allcott, now in his mid-thirties, married Elizabeth Franks at the parish church of St Matthew, Lower Horseley Fields, Wolverhampton.  His marriage certificate gives his occupation as a labourer.  He may have worked for the Minerva Iron & Steel Company founded in 1857 by Isaac Jenks, who owned the Beaver Works at Lower Horseley Fields.  The company exported 80% of the UK’s steel to America and had 21 puddling furnaces, 4 mills, and several forges.  At one time the canal carriers Pickford’s had a wharf directly opposite the steel works at Horseley Fields. 

But just four years later at the birth of their son, Albert Charles Allcott, (at Canal Street, in the town of Coseley, Wolverhampton), Albert Snr. is now a ‘boatman.’  Albert Charles was christened on the 8th of January 1882 at St Mary’s Church, Wolverhampton. 

Minerva Works, Horseley Fields 1876: © Unknown
Albert Allcott: © Family photo

Wolverhampton was particularly noted for its iron manufacture, consisting of locks, hinges, buckles, corkscrews and japanned ware; a type of lacquer similar to shellack polish used by furniture makers.  The technique of applying a heavy black lacquer originated from India, China and Japan, where it was used to glaze pottery, but in Europe, the technique was extended to small items of metal. 

Trade directories from the first half of the 19th century show that there were 20 firms of japanners in Wolverhampton, ranging from small family workshops attached to the proprietor’s home to larger purpose-built factories employing between 250 to 300 workers.  It is possible that Albert may have been working as a wharf labourer at Horseley Fields, where there is a junction on the Birmingham Main Line and Wyrley & Essington Canal, eventually leading to his employment as a boatman’s mate.  The main advantage for families living and working on narrowboats was that money was saved on renting a house, but living conditions could be challenging.  The typical cabin size would be around 8ft long by 6ft wide, and 5ft in height.  Space was limited to just a couple of cupboards and a fold-out table.  There was no toilet or running water aboard the vessel.  Drinking water was obtained from pumps sited along the towpath and at canal wharves.  The pay was low and only the skipper of the boat got paid.  This meant the whole family helped to get the boat to its destination as quickly as possible, with children running ahead to open and close lock gates.  The more cargo a boat could carry, the more the skipper got paid.  Typical loads were around 20 – 30 tons for a single boat, but if a second boat was worked, referred to as the ‘butty,’ which was simply pulled along by the lead boat, the skipper would earn twice as much money, as well as having the additional living space of a second cabin. 

A traditional narrowboat interior. The cupboard to the right of the picture has a hinged drop down table, behind which food items were stored. Space was used carefully, with many things, such as plates and pots being suspended overhead or on the walls of the cabin. Possessions were limited to what the family needed in order to work and live aboard the boat: © Unknown

On long hauls, a family might work anything up to 15, sometimes 18 hours a day in order to reduce the journey time.  It was also physically demanding for both men and women, with parents sometimes ‘bow-hauling’ a vessel through lock gates, or ‘legging’ a boat through the damp and murky conditions of a tunnel; literally pushing the boat along with their feet as they lay on their backs at the stern. 

Legging a fully laden canal boat through a tunnel could take several hours of arduous work: © Unknown

It was also incredibly dangerous work, especially for young children, with death by drowning all too common.  Albert Ledward aged 11 was drowned in the Bridgewater Canal in June 1876.  According to the newspaper report in the Runcorn Guardian, the family left Anderton Wharf on a Wednesday afternoon: 

 “… with a pair of narrow boats laden with salt to be discharged at Runcorn, and when near to Bate’s Bridge at Halton, the deceased [Albert Ledward], who had had his supper, got ashore from the second boat to drive the horse, while his brother, nine years old, who had been driving, got on board to have his supper.  It was then half past eleven o’clock, and dark, and as the deceased passed the first boat which he (witness) [the father] was steering, he spoke to him [Albert], and he afterwards heard him speak to the horse.  When they got to the Delf Bridge the deceased came and spoke to him, and he told him to go on and get to the horse’s head, and he did.  He [the father] heard him speak to the horse, and when it got near to the gas works it “shied” at a light, but again went all right until it got opposite the Soapery, when it turned back, and he (witness) called to it to stop, and it did so.  He then called out to the deceased [Albert], and receiving no answer got ashore to look for him.  Not seeing him, he began to feel about in the canal with a boat hook, and there being no person near but his wife, she ran for assistance, and soon brought some men and grapples, and in about half an hour the body of the deceased was found in the canal opposite to the Soapery, and near to the spot where the horse turned.  He could not tell how the deceased got into the canal, for he neither heard any splash nor a scream.”

The incident at Runcorn happened just five years prior to the birth of Albert and Elizabeth’s first child, Albert Charles.  By the time of the 1901 Census, Albert and Elizabeth Allcott had five children living at home, William, Joseph, Minnie, Sarah Jane and Frederick.  The registration took place at Calf Heath, Wolverhampton.  Calf Heath Bridge and Wharf are on the Staffordshire & Worcestershire Canal, which commences at a junction with the River Severn at Stourport, and terminates at Great Haywood by a junction with the Trent & Mersey Canal, once owned by the North Staffordshire Railway Company.  Albert Charles was now 19 years old and living away from home. At the time of the census, he was a canal boatman’s mate aboard the Fancy, moored up at Welshpool Wharf, Montgomeryshire, a Shropshire Union Canal depot.  Fancy entered service in September 1899 for the London Midland & Scottish Railway Company, and it was captained by Thomas Hyde, aged 28 from Barbridge in Cheshire.  Also on board was Thomas’ wife Mary and their baby girl, Jane.  Hyde may have been a relative of John Hyde, an iron merchant at Wrexham who supplied large quantities of pig iron via the Shropshire Union Canal Company to factories in Wolverhampton.  The Shropshire Union Railways and Canal Company (SURCCo.) was founded in 1854.  The Company owned 23½ miles of railway, which was leased to the North Western Railway Company in perpetuity for a 50% dividend of North Western’s stock.  They had offices in London, Birmingham, Albion Wharf at Wolverhampton, and Chester.  The main line of its canal navigation was the Shropshire Union Canal from Autherley Junction near Wolverhampton to Ellesmere Port near the Wirral, a total of 66½ miles consisting of 46 locks.  Thirty-eight miles into the journey from Autherley is the Nantwich Basin, the birthplace of two of Albert’s sons, William (1884) and Frederick (1895).  Both went on to become boatmen. 

On the 3rd of August 1903 at Ellesmere Port, Cheshire, Albert Charles married Mary Ann Goddard, aged 19 from Wolverhampton.  Interestingly, Mary was born at Horseley Fields, where Albert Allcott Snr., married Elizabeth Franks some 26 years earlier.  Mary’s father William was also a boatman, and it is quite possible that William Goddard and Albert Allcott had previously worked together on the same boat or stretch of canal, forming a life-long friendship between the two families, eventually leading to kinship through the marriage of their children.  William’s father, Richard Goddard (1822 – 1883), first appears in the records as a boatman in 1851 at Brook Lane Wharf, Newcastle-under-Lyme, Staffordshire.  In subsequent census’ he is to be found aboard canal boats Lincoln (1861), Emily (1871), and Birmingham (1881). The Goddard’s may have been instrumental in introducing Albert Allcott Snr. to life on the canals.  Ellesmere Port is six miles north of Chester and eleven miles south of Liverpool.  In 1905 the Wolverhampton Corrugated Iron Company built a factory at Ellesmere, employing 300 workers and their families from Wolverhampton.  The company was seeking to exploit its international trade through nearby ports of Birkenhead and Liverpool.  The community that grew up around the factory was affectionately referred to as ‘Wolverham.’  The following year Mary gave birth to their first child, Minnie Allcott, at Ellesmere Port.  Canal boat Snap was given as the family residence, and Minnie was delivered by Harriet Didsbury, midwife, living at no. 6 Porters Row, Whitley, a row of Victorian cottages built in 1833 to house canal workers and their families.  Snap was a SURCCo. boat working the Shropshire Union Canal. Albert Charles and Mary had three more children, Frederick (1905), Sarah Ann (1908) and Albert (1911).  Albert Allcott Snr. was 68 at the time of the 1911 Census.  He may have been retired from the boats as his occupation was not recorded.  Times may have been hard for the family as Elizabeth was said to be a ‘washerwoman,’ and Sarah Jane, aged 17, was a ‘presser’ for a company manufacturing iron brackets.  In those days a typical working-class family budget would have been around 22 shillings a week, with bread, flour and meat alone costing around 8s, more than a third of the household budget.  Rent could be anywhere between 3 to 5s a week.

Their youngest son Frederick was 15 at the time of the census and a boatman’s mate aboard the canal boat Jim, moored at Etruria Locks, Stoke on Trent.  The master was William Mallard aged 32 and his wife Emma and two children James and Mary.  Their niece Elizabeth Clewes aged 18 was the third mate. Jim worked the Trent & Mersey Canal navigation.  Fred’s older brother Joseph, aged 24, was a boat hand on a Shropshire Union Canal boat the Flying Fox.  Flying Fox was registered on the 13th of June 1899 at Chester, reg. 550, and entered service for the SURCCo. in August 1899 fleet no. 529.  As her name suggests, she may well have been a ‘fly-boat.’  Flyboats usually carried smaller loads of high-value merchandise, with a two-man crew working day and night.  A fly boat could travel from Ellesmere Port to Birmingham in little more than 36 hours.  In its heyday, Pickford’s specialised in the fly-boat trade, with 116 boats and 398 horses.  It was an offence enforceable by law not to give their boats right of way at lock gates.  By 1925 Joseph was working for the Midlands & Coastal Canal Carriers Ltd., transporting goods between Stoke-on-Trent and Ellesmere Port.  He is recorded as being on their boat Mermaid, originally a motor boat registered in Wolverhampton, no. 1118.  Its engines were removed in the same year, turning it into a butty.  Joseph was also on a MCCC boat called Diamond, first registered in 1922 at Wolverhampton, (no. 1088).  Since Albert Allcott Snr. was living in Wolverhampton at the time of the 1911 Census, the Albert Allcott mentioned as master of the Winconsin, must refer to his son Albert Charles.  Winconsin was moored at the Anderton Wharf, Burslem, Stoke-on-Trent, working the Trent & Mersey Canal.  His son Albert Jnr. was born at Rode Heath, Cheshire, (1911), where the Trent & Mersey runs through the middle of the village.  Four years later and Mary Ann gave birth to their fifth child, Oliver Allcott, on the 2nd of June 1915.  The family residence was given as canal boat Sutherland, moored at Hay Basin, Broad Street, Wolverhampton.  Built by Calder Valley Marine, Sutherland belonged to the Shropshire Union Railways and Canal Company, fleet no. 481, and was ‘gauged’ for the Birmingham Canal Navigations in 1896.  When war raged across Europe in 1914, Frederick Allcott enlisted in the 2nd Battalion of the South Staffordshire Regiment, at Wolverhampton.  Fred was killed in action at Delville Wood, the Somme, after a German counter attack on the 28th of July 1916.  He was just 21.  His personal effects were returned to his family on the 4th of November 1916, along with £5 6d to his father, Albert Allcott Snr.  On the 21st of October 1919, his mother Elizabeth Allcott received a further payment from the army of £9.  Fred’s name can be found on the Common Wealth War Graves Commission memorial at Thiepval, the Somme, and on the Roll of Honour of the London and North Western Railwaymen; because he had been employed as a boatman at Wolverhampton delivering coal to the railways.  Six months after the loss of his son, Albert snr., the first Allcott to have started work on the narrowboats, died on the 13th of February 1917, at no. 2 Southampton Street, Wolverhampton; Elizabeth, his dutiful wife of 40 years, was at his bedside.  By the time of the 1921 Census, held on the 19th of June, Albert Charles was skipper of the canal boat Widgeon, moored at Bunbury Locks, on the Shropshire Union Canal.  Originally built for the Chester & Liverpool Lighterage Co. Ltd., Widgeon joined the SURCCo. in March 1917, fleet no. 776.  It was registered at Chester on the 10th of April 1917, registration no. 812.   

Albert Charles Allcott: © Family photo
Canal boat Widgeon in the 1921 Census: © Unknown

Two years after the census, on the 27th of October 1923, Albert Charles’ eldest daughter Minnie, aged 19, married John Pountney, himself a boatman aged 32.  Canal boat Cardigan was given as the residence of both Minnie and John on their marriage certificate.  Cardigan was a Fellows Morton & Clayton boat, fleet no. 42, built at Uxbridge Docks (West London), and entered service in January 1906, registration no. Uxbridge 401.  

Minnie Pountney (nee Allcott): © Family photo
Location of canal boat Snap, birthplace of Minnie Allcott on the 12th of May 1904: © Unknown

Thirteen years after the death of her husband Albert, Elizabeth Allcott died at no. 9 Barker Street, Wolverhampton, on the 10th of January 1930, aged 73.  She never got to see the marriage of her son Oliver to Beatrice Violet Townsend on the 8th of April 1935.  They were married at the parish church of St Chads, Staffordshire, in the presence of Ernest Williams and Sarah Ann Williams.  Their address was given as 120, Jeffcock Road, Wolverhampton, but as Oliver was, like his father and grandfather before him, a boatman, it is likely that his boat was moored nearby on the Staffordshire & Worcestershire Canal, and that Jeffcock Road was a temporary residence used for the purposes of official registration.  On the 28th of January 1936, Beatrice gave birth to the couple’s first child, Beatrice Mary Allcott.  The address was given as no. 19, Purcel Road, Low Hill, Wolverhampton. Three years later Beatrice gave birth to a son, Oliver Allcott Jnr., this time at 177 Marsh Lane, Bushbury, Wolverhampton, on the 12th of October 1939. 

Marsh Lane Bridge, Wolverhampton, not far from Autherley Junction, a major interchange between the Shropshire Union Canal: © Roger Kidd via Wikimedia Commons and Geograph
The North, and the Birmingham Canal Navigations to the South: © Unknown
A 1938 map shows Marsh Lane adjacent to Marsh Lane Bridge and the Staffordshire & Worcestershire Canal: © Unknown

By now Oliver Snr. was seriously ill with tuberculosis, and little more than five months after the birth of his son, he passed away on the 9th of February 1940 aged just 24.  He died at 376 Wolverhampton Road, Heath Town, a pseudonymous address of the former New Cross Workhouse, which became a hospital in 1930.  Although officially a hospital, it still performed some of the services of the former workhouse.  The death certificate gives Oliver’s occupation as ‘a Wharf Labourer for Coal Merchant,’ possibly Samuel Barlow.  Two years after the death of his father, Oliver Allcott Jnr. was adopted by Frederick and Laura Allen on the 22nd of January 1942.  Laura (nee Townsend) was the older sister of Beatrice Violet Allcott, so the two-year-old Oliver was being adopted by his own aunt.  The couple were living at no. 147, Durley Dean Road, Selly Oak, Birmingham. 

Beatrice Allcott & Oliver Allcott aged two in 1942: © Family photo
Oliver Allcott's birth certificate: © General Register Office
Oliver Allcott's adoption certificate: © General Register Office

Unlike the Allcott’s, the Townsend family were involved in Birmingham’s enormous metal industry, with the family home, 37 Tower Street, not far from the famous Jewellery Quarter.  In 1921, Laura was a ‘capstan lathe’ operator, putting threads on metal items usually made of brass.  She may have worked for Young’s Ltd at their Ryland Street works, Edgbaston, where her younger brother Albert, aged 14, was employed as an errand boy. 

© Unknown
© Unknown
Adoring mother Beatrice Allcott and her four-year-old daughter Beatrice Mary Allcott. The rudder of a boat is just in view in the bottom right of the photo, probably taken on the Staffordshire & Worcestershire Canal, with Marsh Lane, Wolverhampton, in the background: © Family photo

Although the canal boating tradition had come to an end for one branch of the Allcott family, it continued for another.  During the Second World War, William Allcott, the eldest son of Albert and Elizabeth Allcott, was working for the Grand Union Canal Carrying Company, transporting cargoes such as coal, steel, timber and grain between London and the Midlands.

According to a manning list of paired boats for September 1944, William was the skipper of Arcas and Malus.  Arcas was built by Harland and Wolff Ltd on the 16th of November 1935, and registered at Brentford, West London, on the 18th of December 1935, no. 558.  She was gauged for the Grand Union Canal on the 20th of October 1936, gauge no. 12582.  Malus (the butty) was built by W. J. Yarwoods & Sons of Northwich in September 1935.  It was delivered on the 4th of October 1935, fleet no. 307 and registered at Coventry no. 535.  She was gauged on the Grand Union Canal on the 24th of October 1936, and given the gauge no. 12412.  Arcas and Malus were part of the company’s expansion program of its Southern Division during the 1930’s and 1940’s.

Malus in its British Waterways livery: © Unknown

William’s family lived near Stowe Hill Wharf, Heyford Lane, in the village of Weedon Bec, Northamptonshire, about 6 miles south of the market town of Daventry. 

Stowe Hill Wharf in the 1940's: © Unknown

The Second World War brought with it hazards all of its own, with thousands of German bombs raining down on Birmingham in Hitler’s effort to destroy Britain’s manufacturing base.  During the war, Eliza Stubbs (nee Goddard) and her husband James were working for Fellows Morton & Clayton and moored up in Birmingham.  Eliza was the sister-in-law of Albert Charles Allcott.  Albert and his future wife Mary Ann Goddard, (Eliza’s sister), were witnesses to the wedding of Eliza and James at Ellesmere Port on the 25th of May 1903. “We were in our barge during an air-raid,” recalled Eliza.  “A German bomb crashed through a warehouse roof right on to our boat.  The bomb cut the boat clean in half and we were trapped in the cabin.  Our son, Jim, with some other people, released us just in time.”  Eliza and James were one of the 622 families then living and working on the waterways, helping to transport an estimated 12 million tonnes of essential goods a year on Britain’s canals. 

© Unknown
Eliza Stubbs (nee Goddard) aboard canal boat Grace, a Fellows Morton & Clayton boat: © Family photo
Newspaper article telling the wartime experience of Eliza and James on the occasion of their golden wedding anniversary in 1953: © Unknown

A year after nationalisation took place in Britain, Albert Charles Allcott remarried in 1949 following the death of Mary Ann.  His bride was Sarah Emma Shaw (nee Stubbs), sister of James Herbert Stubbs, who was also Albert Charles’ best man at the wedding.  The reception was held at no. 3, Canal Terrace, Middlewich, Cheshire, the family home of Eliza and James. 

Albert Charles Allcott and Sarah Emma Shaw (nee Stubbs) on their wedding day: © Family photo
A Handwritten note from Albert Charles to Sarah outlining the arrangements for their forthcoming marriage: © Source unknown

The Middlewich Branch of the Shropshire Union Canal runs through the town before joining the Trent & Mersey Canal at Wardle Lock.  In 1826 authorization had been given for the section of canal at Middlewich to join with the Trent & Mersey, linking Chester with the potteries in the Midlands.  The Great Heywood Junction is 19 miles from Stoke-On-Trent, which connects to the Staffordshire & Worcestershire Canal with Wolverhampton.  Albert died on the 18th of December 1961 at 175 Marsh Lane, Wolverhampton, aged 80.  The boating tradition was carried on in the next generation of the Allcott’s.  According to an article in Narrowboat Magazine, ‘British Waterways Boating’ (Spring 2018), two boats, Purton and Capella, were worked by Joseph and Lucy Allcott in the 1950’s and 1960’s on the Grand Union Canal.  Joseph Allcott was born at Wolverhampton in 1927, the son of William Allcott (b. 1884).  Lucy Elizabeth Jackson was five years older, being born at Northampton in 1922.  They married at Brixworth, Northamptonshire on the 24th of September 1951.  Along with her father Thomas Jackson, Lucy was already employed by British Waterways, a ‘boatwoman’ in her own right. 

Lock gate No. 1 on the Northampton Arm of the Grand Union Canal: © Unknown
Purton and Capella at Buckby Bottom Lock No. 13, Whilton: © Unknown

Purton was built by W.J. Yarwoods & Sons Ltd. with a National DM2 engine and joined the GUCCCo. in September 1936 fleet no. 162.  She was registered at Rickmansworth on the 20th of October 1936, registration no. 104, and gauged for the Grand Union Canal on the 7th of  November 1936, gauge no. 12614. 

Spring issue of Narrowboat Magazine entitled ‘British Waterways Boating’ featuring Purton and Capella: ©Unknown
Purton at lock gate No. 11, with Lucy ashore rolling her sleeves up: © Family photo

Capella (the butty) was built by Harland & Wolf Ltd. and joined the GUCCCo. in December 1935, fleet no. 247.  She was registered at Brentford on the 18th of December 1935, registration no. 572, and gauged for the Grand Union Canal in December 1935, gauge no. 12549. 

Sometime during the 1960’s British Waterways gave Purton a new Lister HA2 engine, and shortened its length to approximately 56ft.  She was eventually sold off in 1987 when the transportation of goods by canal boat finally came to an end.  Joseph was the steerer of Purton from January 1951 to August 1956, but not always with Capella as the butty; others included Ruislip, Asla and Hadfield.  According to the Birmingham Public Health Department records, by March 1957 Joseph was steering a 72ft motor boat called Fulbourne, with Chesham as its buttyFulbourne was built by Harland & Wolf at Woolwich and was completed in March 1937.  She is a steel-hulled motor boat in the ‘Town Class’ of narrow boats, so named because twenty-four of them were named after British towns.  Fulbourne was registered at Rickmansworth and gauged for the Grand Union Canal, no. 12740.  She remained in the GUCCCo. fleet until nationalisation in 1947.  British Waterways fleet lists from May 1958 to January 1959 show that Joseph and Lucy were still on Fulbourne, with Halton as the butty.  During his time on Fulbourne, Joseph carried coal to Apsley, Colne Valley Sewage Works, Croxley and Nash Mill.  They delivered grain to Wellingborough on the River Nene, took spelt from Brentford to Birmingham, and lime juice from Limehouse to Boxmoor.  On one occasion they took the boat to Weston Point on the Manchester Ship Canal to unload a ship, but since the dockers were on strike at the time, they were turned away and had to pick up an alternative cargo elsewhere.  Joseph died aged 61 on the 4th of December 1988.  Lucy passed away eight years later in the June quarter of 1996. 

Fulbourne fully restored to her original GUCCCo. Livery: © Unknown
© Unknown

Postscript

Of the many newspaper reports throughout the canal network from 1881 to 1936, the Allcott’s feature in none of them.  Whilst some boaters were often in trouble with the law for theft, drunkenness, and often cruelty to their animals, (and occasionally to each other), the Allcott’s were a peaceable hardworking family.  The four main canal systems they worked, from Ellesmere Port in the north west, to London in the south east, spanned some 255 miles with a total of 207 locks, but Wolverhampton remained their home base for many years.  With a great sense of pride, it has been my privilege to learn about the Allcott family, the many relatives connected to them, and how they lived and worked on Britain’s inland waterways.  

Jeffrey Allen  

March 23rd, 2022 

© Jeffrey Allen
Albert Allcott and Elizabeth Allcott with family members, taken in the 1940's: © Family photo
Mary Ann Allcott (nee Goddard) and Albert Charles Allcott (right) with possibly Oliver Allcott (centre) with child (either Beatrice Mary Allcott or Oliver Allcott Jnr?): © Family photo
Oliver Allen (Allcott) 1939 - 1986 , whilst on National Service in Cyprus in the 1950's: © Family photo

Oliver Allen (Allcott), October 12th 1939 – July 6th 1986

This booklet has been a journey of discovery.  My father, Oliver Allen, never knew his real parents.  All that he had been told by his adoptive parents Fred and Laura, was that he was born on the 12th of October 1939 in Wolverhampton and that he had been adopted.  He thought his original surname was Parker, and that he may have had a sister.  It was not until the end of last year, 2021, that I finally, by pure chance, found a blood relative whilst searching online, my first cousin Frank Parker.  Through Frank and his sister Janet, the story of the Allcott family slowly began to emerge, and the tragic circumstances which led to my father’s adoption in 1942.  The great irony is, for all those years we lived in Daventry, he was actually surrounded by living descendants of the Allcott family.  Some were living in the town itself, whilst others were working in the neighbouring villages of Weedon Bec and Braunston.  In accordance with his wishes, my father’s ashes were scattered on Screel Hill, Dumfries and Galloway, Scotland, where we spent many a happy family holiday.  

July 6th, 2022 

Back cover is © Jeffrey Allen: Photo © Unknown

Addendum 

The following is not in the above booklet and some information and photo’s are repeated but there is further information on the Allcott’s.

Canal Boats Worked By The Allcott Family From 1881 – 1944 By Jeffrey Allen  

1877 – 1881

Albert Allcott (born 1843 died 1917) was the first family member to work the canal boats, sometime between the 26th of March 1877 and the 13th of December 1881.  His occupation at the time of the 1861 Census was ‘silk weaver,’ and by the time of his marriage to Elizabeth Franks in 1877, he was a labourer.  They were married at the Parish Church of St Matthew in Lower Horseley Fields, Wolverhampton, where there is a junction between the Birmingham Main Line and the Wyrley & Essington Canal.  It’s possible that Albert was working as a wharf labourer loading the barges before he became a boatman himself.  By the time of his first child, Albert Charles Allcott in 1881, Albert’s occupation is recorded as ‘Boatman,’ with the family residence given as Canal Street in the town of Coseley, Wolverhampton. 

Albert Allcott: © Family photo

1901

FANCY (SURCCo.)  

Shropshire Union Canal

In the 1901 Census, Albert was a mate aboard the FANCY, moored at Welshpool Wharf, a Shropshire Union Canal depot.  FANCY entered service in September 1899 for the LMS Railway, fleet no. 534. Registration no. Chester 555.  

The Shropshire Union Railways and Canal Company (SURCCo.) was founded in 1854.  The Company owned 23½ miles of railway, which was leased to the North Western Railway Company in perpetuity for a 50% dividend of North Western’s stock.  They had offices in London, Birmingham, Albion wharf at Wolverhampton, and Chester.  The main line of its canal navigation was the Shropshire Union Canal from Autherley Junction near Wolverhampton to Ellesmere Port near the Wirral, a total of 66½ miles consisting of 46 locks.  Thirty-eight miles into the journey from Autherley is the Nantwich Basin, Cheshire, the birthplace of two of Albert’s sons, William (1884) and Frederick (December 1895).  Frederick was baptised at Lilleshall, Shropshire on January the 18th 1896.  Both men went on to become boatmen. 

Frederick Allcott

1904

Frederick Allcott: © Family photo

SNAP (SURCCo.) 

Shropshire Union Canal 

Given as the family residence at Ellesmere Port, Whitley, on the birth certificate of Minnie Allcott (born 1904 died 1968).

Minnie Pountney (nee Allcott): © Family photo

1911

WINCONSIN & JIM

Trent & Mersey Canal 

In the 1911 Census, Albert was master of the WINCONSIN moored at Anderton Wharf, Burslem, Stoke-on-Trent, Staffordshire.  

At the time of the 1911 Census, Frederick Allcott was 15 years old and worked as a canal boat mate, the master was William Mallard aged 32.  The address was given as Etruria Locks, Stoke on Trent, Staffordshire.  Frederick enlisted in the 2nd Batallion, South Staffordshire Regiment, at Wolverhampton.

Rank: Private, Service No. 16384, Frederick was killed in action at the Battle of the Somme in 1916 in the Battle of Delville Wood.  You can read more about Delville Wood here.

He was commemorated on the roll of honour of the London and North Western Railwaymen.  

The Commonwealth War Graves memorial to Frederick Allcott: © The Commonwealth War Graves Commision

You can read more about Thiepval Memorial, France here.

1915

SUTHERLAND (SURCCo.) 

Shropshire Union Canal 

Built by Calder Valley Marine, SUTHERLAND belonged to the Shropshire Union Railways and Canal Company, fleet no. 481, and was gauged for the Birmingham Canal Navigations in 1896.  It was a powered motor boat 17.68 metres (58 ft) long, with a beam of 2.14 metres (7 ft) wide.  It was a long-distance cabin boat in which the steerer plus family (and/or mate) would have been resident, at least when in transit, if not as their home.  It was given as the family’s address on the birth certificate of Oliver Allcott, 2nd of June 1915, Hay Basin, Broad Street, Wolverhampton.  Albert Charles Allcott was the steerer.  Registered with the Canal & River Trust, No. 512465.  

Albert Charles Allcott: © Family photo

1923

CARDIGAN (FM&C)  

Coventry Canal   

Given as the family residence of Minnie Allcott and John Pountney on their marriage certificate, October 27th 1923.  CARDIGAN was moored near the Foleshill Road, Coventry. Possibly a boat of Fellows Morton & Clayton, a nation-wide canal carrying company, fleet no. 42, built at Uxbridge Dock (West London), entered service in January 1906. Registration no. Uxbridge 401.  

1944

ARCAS & MALUS (GUCCCo. paired boats, fleet no. 11) 

Grand Union Canal  

According to a manning list of paired boats for September 1944, William Allcott (born 1884) was working for the Grand Union Canal Carrying Company during WW2 on canal boats ARCAS and MALUS.  The family lived at Stowe Hill Wharf, Heyford Lane, in the village of Weedon Bec, Northamptonshire. (Weedon is 6 miles from the market town of Daventry, where I grew up.  We moved to Daventry in about 1969, living at 109 Hemans Road).  

ARCAS was built by Harland and Wolff Ltd and entered service in November 1935. Registration no. Brentford 558 (West London).  

MALUS (the butty) was built by W. J. Yarwoods & Sons of Northwich in September 1935 for the GUCCCo.  It was delivered on 4 October 1935, fleet no. 307. Registration no. Coventry 535.  She was gauged on the Grand Union Canal on October 24th 1936, and given the gauging number 12412.  She was used for the carriage of cargoes such as coal, steel, timber and grain from London to the Midlands.  In order to remain profitable, boatmen/boatwomen didn’t like to run between jobs without cargo.  To avoid this some on the London run would load up with cocoa or chocolate crumbs before returning to Cadbury’s in the Midlands.  

MALUS as she is today in its British Waterways colours: © Source unknown
Stowe Hill wharf, Weedon Bec, in the 1940's.  Home to William Allcott and family: © Source unknown

Blog Posts

Notes And Links

Download The Allcotts in PDF format by clicking here.

Read an online e-book version of The Allcott’s here.

Roger Kidd’s page on Geograph – The Marsh Lane image above is the copyright of Roger Kidd.  Here you will find more great work from the photographer Roger. 

Geograph  – The Geograph Britain and Ireland project offers lots of free, good-quality images and aims to collect geographically representative photographs and information for every square kilometre of Great Britain and Ireland, and you can be part of it.

Local History: Narrowboats

Image © Unknown

About Narrowboats

A narrowboat is a particular type of canal boat, built to fit the narrow locks of the United Kingdom.   The UK’s canal system provided a nationwide transport network during the Industrial Revolution, but with the advent of the railways, commercial canal traffic gradually diminished and the last regular long-distance transportation of goods had virtually disappeared by 1970.  However, some commercial traffic continued.  From the 1970’s onward narrowboats were gradually being converted into permanent residences or as holiday lettings.  Currently, about 8580 narrowboats are registered as permanent homes on Britain’s waterway system and represent a growing alternative community living on semi-permanent moorings or continuously cruising.

For any boat to enter a narrow lock, it must be under 7 feet (2.13 m) wide, so most narrowboats are nominally 6 feet 10 inches (2.08 m) wide.  A narrowboat’s maximum length is generally 72 feet (21.95 m), as anything longer will be unable to navigate much of the British canal network because the nominal maximum length of locks is 75 feet (22.86 m).  Some locks are shorter than 72 feet (21.95 m), so to access the entire canal network the maximum length is 57 feet (17.37 m).

The first narrow boats played a vital role in the economic changes of the British Industrial Revolution.  They were wooden boats drawn by a horse walking on the canal towpath led by a crew member.  Horses were gradually replaced by steam and then diesel engines.  By the end of the 19th century, it was common practice to paint roses and castles on narrowboats and their fixtures and fittings.  This tradition has continued into the 21st century, but not all narrowboats have such decorations.

Modern narrowboats are used for holidays, weekend breaks, touring, or as permanent or part-time residences.  Usually, they have steel hulls and a steel superstructure.  The hull’s flat base is usually 10mm thick, the hull sides 6mm or 8mm, the cabin sides 6mm, and the roof 4mm or 6mm.  The number of boats has been rising, with the number of licensed boats (not all of them narrowboats) on canals and rivers managed by the Canal & River Trust (CRT) estimated at about 27,000 in 2006; by 2019, this had risen to 34,367.  Although a small number of steel narrowboats dispense with the need for a rear steering deck entirely, by imitating some river cruisers in providing wheel steering from a central cockpit, most narrowboats’ steering is by a tiller on the stern.  There are three major configurations for the stern: traditional stern, cruiser stern and semi-traditional stern.

Narrowboats are Category D boats intended only for navigating rivers, canals and small lakes; but some intrepid boaters have crossed the English Channel in a narrowboat.

Image © RHaworth via Wikipedia

Terminology

The narrowboat (one word) definition in the Oxford English Dictionary is:

“A British canal boat of traditional long, narrow design, steered with a tiller; spec. one not exceeding 7 feet (approx. 2.1 metres) in width or 72 feet (approx. 21.9 metres) in length.”

Earlier quotations listed in the Oxford English Dictionary use the term “narrow boat”, with the most recent, a quotation from an advertisement in Canal Boat & Inland Waterways in 1998, uses “narrowboat”.

The single word “narrowboat” has been adopted by authorities such as the Canal and River Trust, Scottish Canals and the authoritative magazine Waterways World to refer to all boats built in the style and tradition of commercial boats that were able to fit in the narrow canal locks.

Although some narrow boats are built to a design based on river barges and many conform to the strict definition of the term, it is incorrect to refer to a narrowboat (or narrow boat) as a widebeam or as a barge, both of which are definable by their greater width. In the context of British inland waterways, a barge is usually a much wider, cargo-carrying boat or a modern boat modelled on one, certainly more than 7 feet (2.13 m) wide.

Another historic term for a narrow boat is a long boat, which has been noted in the Midlands and especially on the River Severn and connecting waterways to Birmingham.

Usage has not quite settled as regards (a) boats based on narrowboat design, but too wide for narrow canals, or (b) boats the same width as narrowboats but based on other types of boats.

Narrowboats may have ship prefix NB.

Size

The key distinguishing feature of a narrowboat is its width, which must be less than 7 feet (2.13 m) wide to navigate British narrow canals.  Some old boats are very close to this limit (often built 7 feet 1+12 inches or 2.17 metres or slightly wider), and can have trouble using certain narrow locks whose width has been reduced over time because of subsidence.  Modern boats are usually produced to a maximum of 6 feet 10 inches (2.08 m) wide to guarantee easy passage throughout the complete system.

Because of their slenderness, some narrowboats seem very long.  The maximum length is about 72 feet (21.95 m), which matches the length of the longest locks on the system.  Modern narrowboats tend to be shorter, to permit cruising anywhere on the connected network of British canals, including on canals built for wider, but shorter, boats.  The shortest lock on the main network is Salterhebble Middle Lock on the Calder and Hebble Navigation, at about 56 feet (17.07 m) long.  However, the C&H is a wide canal, so the lock is about 14 feet 2 inches (4.32 m) wide.  This makes the largest go-anywhere-on-the-network narrowboat slightly longer (about 58 feet or 17.68 metres) than the straight length of the lock because it can (with a certain amount of shoehorning) lie diagonally.  Some locks on isolated waterways are as short as 40 feet (12.19 m).  Where it was possible to avoid going through locks, narrow boats were sometimes built a little larger.  Wharf boats or more usually ‘Amptons, operated on the Wolverhampton level of the Birmingham Canal Navigations and were up to 89 feet in length and 7 foot 10.5 inches wide.

Hire fleets on British canals usually consist of narrow boats of varying lengths from 30 feet (9.14 m) upwards, to allow parties of different numbers or varying budgets to be able to hire a boat and get afloat.

The Development Of Traditional Working Boats

The first narrowboats played a key part in the economic changes of the British Industrial Revolution.  They were wooden boats drawn by a horse walking on the canal towpath led by a crew member, often a child.  Narrowboats were chiefly designed for carrying cargo, though some packet boats carried passengers, luggage, mail and parcels.

The first canals to feature locks in the now standard size were the canals designed by James Brindley and approved by Parliament in 1766, including the Staffordshire and Worcestershire Canal and Trent and Mersey Canal.  Although construction took many years, the lock size became standard for many canal-building projects.

Boatmen’s families originally lived ashore, but in the 1830’s as canals started to suffer competition from the burgeoning railway system, families (especially those of independent single boat owners/skippers) began to live on board, partly because they could no longer afford rents, partly to provide extra hands to work the boats harder, faster and further, partly to keep families together.  As late as 1858, a Household Words article states that “the Grand Junction Canal company did not allow the boatmen’s families on board.” The crew of the non-stopping flyboat in the article (skipper, two crew and a youth) is said to be typical.

The rear portion of the boat became the boatman’s cabin, familiar from picture postcards and museums, famous for its space-saving ingenuity and interior made attractive by a warm stove, a steaming kettle, gleaming brass, fancy lace, painted housewares and decorated plates.  Such descriptions rarely consider the actual comfort of a (sometimes large) family, working brutally hard and long days, sleeping in one tiny cabin.  However many shore-bound workers endured harder indoor trades in less healthy conditions and in worse accommodation, where the family was separated for long hours rather than being together all day.  The lifestyle afloat, by definition itinerant, made it impossible for children to attend school.  Most boat people were effectively illiterate and ostracised by those living on the bank, who considered themselves superior.

As steam and diesel progressively replaced the tow-horse in the early years of the 20th century, it became possible to move even more cargo with fewer hands by towing a second, un-powered boat, referred to as a butty, buttyboat or butty boat.  Although there was no longer a horse to maintain, the butty had to be steered while being towed.  So that the butty boatman could lengthen or shorten the towline as needed, the towline wasn’t tied off on the bow, instead travelled over the buttyboat through permanent running blocks on stands or retractable middle masts and managed in the stern.  On a wide canal, such as the Grand Union Canal, the pair could be roped side-to-side (breasted up) and handled as a unit through working locks.

Cargo-carrying by narrow boat diminished from 1945 and the last regular long-distance traffic disappeared in 1970.  However, some traffic continued into the 1980’s and beyond.  Two million tonnes of aggregate were carried on the Grand Union (River Soar) between 1976 and 1996, latterly using wide beam barges.  Aggregate continues to be carried between Denham and West Drayton on the (wide) Grand Union Canal and on the tidal estuary of Bow Creek (which is the eventual outflow of the Lee & Stort Navigation).

A few people are doing their best in the 21st century to keep the tradition of canal-borne cargo-carrying alive, mostly by one-off deliveries rather than regular runs, or by selling goods such as coal to other boaters.  Enthusiasts remain dedicated to restoring the remaining old narrow boats, often as members of the Historic Narrow Boat Owners Club.  There are many replicas, such as Hadar, ornately painted with traditional designs, usually of roses and castles.  Boats not horse-drawn may have a refurbished, slow-revving, vintage semi-diesel engine.  There are some steam-driven narrow boats such as the ex-Fellows Morton & Clayton steamer President.

Image © Mike Fascione via Wikipedia
Image © G-Man via Wikipedia

Painted Decoration

By the end of the 19th century, it was common practice to paint roses and castles on narrow boats and their fixtures and fittings.  Common sites include the doors to the cabin, the water can or barrel and the side of the boat along with ornate lettering giving the boat’s name and owner.  This tradition did not happen in all regions, the Chesterfield Canal being one waterway where narrow boats never bore such decorations.

The origin of the roses and castles found on canal boats is unclear.  The first written reference to them appears to be in an 1858 edition of the magazine Household Words in one of a series of articles titled “On the Canal”, showing that the art form must have existed by this date.  For some time, a popular suggestion was that it had some form of Romani origin; however, there does not appear to be a significant link between the Romani and boating communities.  Other suggestions include the transfer of styles from the clock-making industry (in particular the decoration on the face), the japanning industry or the pottery industry.  There is certainly a similarity in style and a geographical overlap, but no solid proof of a link.  There are similar styles of folk art in Scandinavia, Germany, Turkey and Bangladesh.

In the 18th century, similar Dutch Hindeloopen paintwork would only have been a sailing barge journey away from the Thames.  There is also an article in the Midland Daily Telegraph on July 22nd 1914 that credits the practice of painting of water cans, at least, to a Mr Arthur Atkins.

While the practice declined as commercial use of the canals dwindled, it has seen something of a revival in recent times with the emergence of leisure boating.  Narrowboat decorations with roses and castle themes are a common sight on today’s canals, although these may utilise cheaper printed vinyl transfers in place of the traditional craft of hand-painted designs.

Image © Laurence White via Wikipedia

Modern Narrowboats 

The number of licensed boats on canals and rivers managed by the Canal & River Trust (CRT), a charitable trust, formerly British Waterways, was estimated at about 27,000 in 2006.  By 2014 this number had risen to over 30,000.  There were perhaps another 5,000 unlicensed boats kept in private moorings or on other waterways in 2006.  Most boats on CRT waterways are steel (or occasionally, aluminium) cruisers popularly referred to as narrowboats.

Modern leisure narrowboats are used for holidays, weekend breaks, touring, and as permanent or part-time residences.  Usually, they have steel hulls and a steel superstructure, but when they were first developed for leisure use in the 1970’s glass reinforced plastic (fibre-glass) or timber was often used above gunwale height.  Newer narrowboats, say post-1990, are usually powered by modern diesel engines and may be fitted inside to a high standard.  There will be at least 6 feet (1.8 m) internal headroom and often or usually similar domestic facilities as land homes: central heating, flush toilets, shower or even bath, four-ring hobs, oven, grill, microwave oven, and refrigerator; some may have satellite television and mobile broadband, using 4G technology.  Externally, their resemblance to traditional boats can vary from a faithful imitation (false rivets, and copies of traditional paintwork) through interpretation (clean lines and simplified paintwork) through to a free-style approach which does not try to pretend in any way that this is a traditional boat.

They are owned by individuals, shared by a group of friends (or by a more formally organised syndicate), rented out by holiday firms, or used as cruising hotels.  A few boats are lived on permanently: either based in one place (though long-term moorings for residential narrowboats are currently very difficult to find) or continuously moving around the network (perhaps with a fixed location for the coldest months, when many stretches of the canal are closed by repair works or stoppages).

A support infrastructure has developed to provide services to the leisure boats, with some narrowboats being used as platforms to provide services such as engine maintenance and boat surveys; while some others are used as fuel tenders, that provide diesel, solid fuel (coal and wood) and Calor Gas.

Image © Per Palmkvist Knudsen via Wikipedia

Types

On almost all narrowboats steering is by tiller, as was the case on all working narrow boats.  The steerer stands at the stern of the boat, aft of the hatchway and/or rear doors at the top of the steps up from the cabin.  The steering area comes in three basic types, each meeting different needs of maximising internal space; having a more traditional appearance; having a big enough rear deck for everyone to enjoy summer weather or long evenings; or protection outside in bad weather.  Each type has its advocates.  However, the boundaries are not fixed, and some boats blur the categories as new designers try out different arrangements and combinations.

Traditional Stern

Many modern canal boats retain the traditional layout of a small open, unguarded counter or deck behind the rear doors from which the crew can step onto land.  It is possible to steer from the counter, but this is not very safe, with the propeller churning below only one missed step away.  The tiller extension allows the steerer to stand in safety on the top step, forward of the rear doors.  On a working boat, this step would have been over the top of the coal box.  On cold days, the steerer can even close the rear doors behind themselves, and be in relative comfort, their lower body in the warmth of the cabin, and only their upper body emerging from the hatchway and exposed to the elements.  In good weather, many trad-stern steerers sit up on the hatchway edge, a high vantage point giving good all-around visibility.  On trad boats, the bow well-deck forms the main outside viewing area, because the traditional stern is not large enough for anyone other than the steerer to stand on safely.  Internally, trads may have an engine room forward of a traditional boatman’s cabin, or an enclosed engine tucked away out of sight and the increased living space this brings.  

Image © Jongleur100 via Wikipedia

Cruiser Stern

The name for this style arises from the large open rear deck resembling that of the large rear cockpits common on glass-fibre (glass-reinforced plastic or GRP) river cruisers which in turn derives from elliptical sterns used on cruisers and larger warships in the 20th century.  At the stern, a cruiser narrowboat looks very different from traditional boats: the hatch and rear doors are considerably further forward than on a trad, creating a large open deck between the counter and rear doors, protected by a railing (perhaps with built-in seating) around back and sides.  The large rear deck provides a good al fresco dining area or social space, allowing people to congregate on the deck in good weather and the summer holiday season.

In winter (or less than perfect weather in summer) the steerer may be unprotected from the elements.  The lack of an enclosed engine room means that engine heat does not contribute to keeping the boat warm and there may be wasted space above the deck area.  A cruiser stern allows the engine to be located under the deck, rather than in the body of the boat.  Although this may make access to the engine more of a nuisance (due to weather considerations) the whole deck can usually be lifted off in whole or in sections, allowing the operative to stand inside the engine bay, the cruiser stern has a major advantage that the engine is located entirely outside the living space.  In this configuration also, it is common to find that the engine bay contains batteries, isolator switching, fuel tanks and seldom-used kit, spares and equipment. 

Image © Norman Rogers via Wikipedia

Semi-Traditional Stern

A semitraditional stern is a compromise to gain some of the social benefits of a cruiser stern while retaining a more traditional design and providing some protection for the steerer in bad weather or in cooler seasons.  As with the cruiser stern, the deck is extended back from the hatch and rear doors, but in this case, most of the deck is protected at the sides by walls which extend back from the cabin sides – giving a more sheltered area for the steerer and companions, usually with lockers to sit on.  The engine is located under the deck, much like a cruiser, again allowing a separation between the cabin and the engine bay, with the steps down to the cabin being located past the false sides of the semi-trad social area.

Image © Mark Ahsmann via Wikipedia

A Butty Stern

A butty boat is an unpowered boat traditionally with a larger rudder with (usually) a wooden tiller (known as an elum, a corruption of helm) as the steering does not benefit from the force of water generated by the propeller.  The tiller is usually removed and reversed in the rudder-post socket to get it out of the way when moored. A few butty boats have been converted into powered narrowboats like NB Sirius.  The term butty is derived from the dialect word buddy, meaning companion.

Centre Cockpit

While the vast majority of narrowboats have tiller steering at the stern, a small number of steel narrowboats dispense with the need for a rear steering deck entirely, by imitating some river cruisers in providing wheel steering from a central cockpit.  This layout has the advantage (as many Dutch barges) of enabling an aft cabin to be separate from the forward accommodation.

Image © PBS via Wikipedia

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The narrowboat interior image above is unknown copyright and was taken from here.

The modern narrowboats for leisure cruising image above is the copyright of photographer Roger Haworth and you can find more great work from him by clicking here.

The historic working narrowboats image above is the copyright of photographer G-Man and you can find more great work from him by clicking here.

The Horse-drawn narrowboat image above is, as far as I know, the copyright of photographer Mike Fascione.

The narrowboat decoration image above is the copyright of photographer Laurence White.

The modern narrowboats on the Kennet and Avon Canal image above is the copyright of photographer Per Palmkvist Knudsen.

The traditional stern narrowboats image above is the copyright of photographer Jongleur100 and you can find more great work from him by clicking here.

The cruiser stern narrowboat decoration image above is the copyright of photographer Norman Rogers.

The semi-traditional stern image above is, as far as I know, the copyright of photographer Mark Ahsmann.

The narrowboat with a centre cockpit image above is the copyright of photographer PBS.

All the above images were found on Wikipedia with the exception of the Narrowboat interior one.

English Pride: The English Language

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I am English, NOT British, Not European, ENGLISH, AND PROUD and I class myself as an English patriot. 

You can read more blog articles about England and the English, like the one on here, via my English Pride Index below and click the link to get back to the English Pride page.

The English Language

English is a West Germanic language of the Indo-European language family, originally spoken by the inhabitants of early medieval England.  It is named after the Angles, one of the ancient Germanic peoples that migrated to the area of Great Britain that later took their name, England.  Both names derive from Anglia, a peninsula on the Baltic Sea (which is not to be confused with East Anglia, the eastern part of England that comprises the counties of Norfolk, Suffolk, and Essex).  English is most closely related to Frisian and Low Saxon, while its vocabulary has been significantly influenced by other Germanic languages, particularly Old Norse (a North Germanic language), as well as by Old Norman, French and Latin.

English has developed over the course of more than 1,400 years.  The earliest forms of English, a group of West Germanic (Ingvaeonic) dialects brought to Great Britain by Anglo-Saxon settlers in the 5th century, are collectively called Old English. Middle English began in the late 11th century with the Norman conquest of England; this was a period in which English was influenced by Old French, in particular through its Old Norman dialect.  Early Modern English began in the late 15th century with the introduction of the printing press to London, the printing of the King James Bible and the start of the Great Vowel Shift.

Modern English has been spreading around the world since the 17th century by the worldwide influence of the British Empire and the United States.  Through all types of printed and electronic media of these countries, English has become the leading language of international discourse and the lingua franca in many regions and professional contexts such as science, navigation and law.  Modern English grammar is the result of a gradual change from a typical Indo-European dependent-marking pattern, with rich inflectional morphology and relatively free word order, to a mostly analytic pattern with little inflection, a fairly fixed subject–verb–object word order and a complex syntax.  Modern English relies more on auxiliary verbs and word order for the expression of complex tenses, aspect and mood, as well as passive constructions, interrogatives and some negation.

English is the most spoken language in the world (if Chinese is divided into various variants) and the third-most spoken native language in the world, after Standard Chinese and Spanish.  It is the most widely learned second language and is either the official language or one of the official languages in almost 60 sovereign states.  There are more people who have learned English as a second language than there are native speakers.  As of 2005, it was estimated that there were over 2 billion speakers of English.  English is the majority native language in the United Kingdom, the United States, Canada, Australia, New Zealand (see Anglosphere) and Ireland, an official language and the main language of Singapore, and it is widely spoken in some areas of the Caribbean, Africa, South Asia, Southeast Asia and Oceania.  It is a co-official language of the United Nations, the European Union and many other world and regional international organisations.  It is the most widely spoken Germanic language, accounting for at least 70% of speakers of this Indo-European branch.  English speakers are called “Anglophones”.  There is much variability among the many accents and dialects of English used in different countries and regions in terms of phonetics and phonology, and sometimes also vocabulary, idioms, grammar, and spelling, but it does not typically prevent understanding by speakers of other dialects and accents, although mutual unintelligibility can occur at extreme ends of the dialect continuum.

Classification Of The English Language

English is an Indo-European language and belongs to the West Germanic group of the Germanic languages.  Old English originated from a Germanic tribal and linguistic continuum along the Frisian North Sea coast, whose languages gradually evolved into the Anglic languages in the British Isles, and into the Frisian languages and Low German/Low Saxon on the continent.  The Frisian languages, which together with the Anglic languages form the Anglo-Frisian languages, are the closest living relatives of English.  Low German/Low Saxon is also closely related, and sometimes English, the Frisian languages, and Low German are grouped together as the Ingvaeonic (North Sea Germanic) languages, though this grouping remains debated.  Old English evolved into Middle English, which in turn evolved into Modern English.  Particular dialects of Old and Middle English also developed into a number of other Anglic languages, including Scots and the extinct Fingallian and Forth and Bargy (Yola) dialects of Ireland.

Like Icelandic and Faroese, the development of English in the British Isles isolated it from the continental Germanic languages and influences, and it has since diverged considerably.  English is not mutually intelligible with any continental Germanic language, differing in vocabulary, syntax, and phonology, although some of these, such as Dutch or Frisian, do show strong affinities with English, especially with its earlier stages.

Unlike Icelandic and Faroese, which were isolated, the development of English was influenced by a long series of invasions of the British Isles by other peoples and languages, particularly Old Norse and Norman French.  These left a profound mark of their own on the language so that English shows some similarities in vocabulary and grammar with many languages outside its linguistic clades—but it is not mutually intelligible with any of those languages either.  Some scholars have argued that English can be considered a mixed language or a creole—a theory called the Middle English creole hypothesis.  Although the great influence of these languages on the vocabulary and grammar of Modern English is widely acknowledged, most specialists in language contact do not consider English to be a true mixed language.

English is classified as a Germanic language because it shares innovations with other Germanic languages such as Dutch, German, and Swedish.  These shared innovations show that the languages have descended from a single common ancestor called Proto-Germanic.  Some shared features of Germanic languages include the division of verbs into strong and weak classes, the use of modal verbs, and the sound changes affecting Proto-Indo-European consonants, known as Grimm’s and Verner’s laws.  English is classified as an Anglo-Frisian language because Frisian and English share other features, such as the palatalisation of consonants that were velar consonants in Proto-Germanic.

History Of The English Language

Proto-Germanic To Old English

The earliest form of English is called Old English or Anglo-Saxon (c. year 550–1066).  Old English developed from a set of West Germanic dialects, often grouped as Anglo-Frisian or North Sea Germanic, and originally spoken along the coasts of Frisia, Lower Saxony and southern Jutland by Germanic peoples known to the historical record as the Angles, Saxons, and Jutes.  From the 5th century, the Anglo-Saxons settled Britain as the Roman economy and administration collapsed.  By the 7th century, the Germanic language of the Anglo-Saxons became dominant in Britain, replacing the languages of Roman Britain (43–409): Common Brittonic, a Celtic language, and Latin brought to Britain by the Roman occupation.  England and English (originally Ænglaland and Ænglisc) are named after the Angles.

Old English was divided into four dialects: the Anglian dialects (Mercian and Northumbrian) and the Saxon dialects, Kentish and West Saxon.  Through the educational reforms of King Alfred in the 9th century and the influence of the kingdom of Wessex, the West Saxon dialect became the standard written variety.  The epic poem Beowulf is written in West Saxon, and the earliest English poem, Cædmon’s Hymn, is written in Northumbrian.  Modern English developed mainly from Mercian, but the Scots language developed from Northumbrian.  A few short inscriptions from the early period of Old English were written using a runic script.  By the 6th century, a Latin alphabet was adopted, written with half-uncial letterforms.  It included the runic letters wynn ⟨ƿ⟩ and thorn ⟨þ⟩, and the modified Latin letters eth ⟨ð⟩, and ash ⟨æ⟩. 

Old English is essentially a distinct language from Modern English and is virtually impossible for 21st-century unstudied English-speakers to understand.  Its grammar was similar to that of modern German, and its closest relative is Old Frisian.  Nouns, adjectives, pronouns, and verbs had many more inflectional endings and forms, and word order was much freer than in Modern English.  Modern English has case forms in pronouns (he, him, his) and has a few verb inflections (speak, speaks, speaking, spoke, spoken), but Old English had case endings in nouns as well, and verbs had more person and number endings.

The translation of Matthew 8:20 from 1000 shows examples of case endings (nominative plural, accusative plural, genitive singular) and a verb ending (present plural):

Foxas habbað holu and heofonan fuglas nest

Fox-as habb-að hol-u and heofon-an fugl-as nest-∅

fox-nom.pl have-prs.pl hole-acc.pl and heaven-gen.sg bird-nom.pl nest-acc.pl

“Foxes have holes and the birds of heaven nests”

Middle English

From the 8th to the 12th century, Old English gradually transformed through language contact into Middle English.  Middle English is often arbitrarily defined as beginning with the conquest of England by William the Conqueror in 1066, but it developed further in the period from 1200 to 1450.

First, the waves of Norse colonisation of northern parts of the British Isles in the 8th and 9th centuries put Old English into intense contact with Old Norse, a North Germanic language.  Norse influence was strongest in the north-eastern varieties of Old English spoken in the Danelaw area around York, which was the centre of Norse colonisation; today these features are still particularly present in Scots and Northern English.  However the centre of norsified English seems to have been in the Midlands around Lindsey, and after 920 CE when Lindsey was reincorporated into the Anglo-Saxon polity, Norse features spread from there into English varieties that had not been in direct contact with Norse speakers.  An element of Norse influence that persists in all English varieties today is the group of pronouns beginning with th- (they, them, their) which replaced the Anglo-Saxon pronouns with h (hie, him, hera).

With the Norman conquest of England in 1066, the now norsified Old English language was subject to contact with Old French, in particular with the Old Norman dialect.  The Norman language in England eventually developed into Anglo-Norman.  Because Norman was spoken primarily by the elites and nobles, while the lower classes continued speaking Anglo-Saxon (English), the main influence of Norman was the introduction of a wide range of loanwords related to politics, legislation and prestigious social domains.  Middle English also greatly simplified the inflectional system, probably in order to reconcile Old Norse and Old English, which were inflectionally different but morphologically similar.  The distinction between nominative and accusative cases was lost except in personal pronouns, the instrumental case was dropped, and the use of the genitive case was limited to indicating possession.  The inflectional system regularised many irregular inflectional forms,  and gradually simplified the system of agreement, making word order less flexible.  In the Wycliffe Bible of the 1380s, the verse Matthew 8:20 was written: Foxis han dennes, and briddis of heuene han nestis.  Here the plural suffix n on the verb have is still retained, but none of the case endings on the nouns are present.  By the 12th century Middle English was fully developed, integrating both Norse and French features; it continued to be spoken until the transition to early Modern English around 1500.  Middle English literature includes Geoffrey Chaucer’s The Canterbury Tales, and Malory’s Le Morte d’Arthur.  In the Middle English period, the use of regional dialects in writing proliferated, and dialect traits were even used for effect by authors such as Chaucer.

Early Modern English

The next period in the history of English was Early Modern English (1500–1700).  Early Modern English was characterised by the Great Vowel Shift (1350–1700), inflectional simplification, and linguistic standardisation.

The Great Vowel Shift affected the stressed long vowels of Middle English.  It was a chain shift, meaning that each shift triggered a subsequent shift in the vowel system. Mid and open vowels were raised, and closed vowels were broken into diphthongs.  For example, the word bite was originally pronounced as the word beet is today, and the second vowel in the word about was pronounced as the word boot is today.  The Great Vowel Shift explains many irregularities in spelling since English retains many spellings from Middle English, and it also explains why English vowel letters have very different pronunciations from the same letters in other languages.

English began to rise in prestige, relative to Norman French, during the reign of Henry V. Around 1430, the Court of Chancery in Westminster began using English in its official documents, and a new standard form of Middle English, known as Chancery Standard, developed from the dialects of London and the East Midlands.  In 1476, William Caxton introduced the printing press to England and began publishing the first printed books in London, expanding the influence of this form of English.  Literature from the Early Modern period includes the works of William Shakespeare and the translation of the Bible commissioned by King James I.  Even after the vowel shift the language still sounded different from Modern English: for example, the consonant clusters /kn ɡn sw/ in knight, gnat, and sword were still pronounced.  Many of the grammatical features that a modern reader of Shakespeare might find quaint or archaic represent the distinct characteristics of Early Modern English.

In the 1611 King James Version of the Bible, written in Early Modern English, Matthew 8:20 says, “The Foxes haue holes and the birds of the ayre haue nests.”  This exemplifies the loss of case and its effects on sentence structure (replacement with subject-verb–object word order, and the use of of instead of the non-possessive genitive), and the introduction of loanwords from French (ayre) and word replacements (bird originally meaning “nestling” had replaced OE fugol).

Spread Of Modern English

By the late 18th century, the British Empire had spread English through its colonies and geopolitical dominance.  Commerce, science and technology, diplomacy, art, and formal education all contributed to English becoming the first truly global language.  English also facilitated worldwide international communication.  England continued to form new colonies, and these later developed their own norms for speech and writing.  English was adopted in parts of North America, parts of Africa, Australasia, and many other regions. When they obtained political independence, some of the newly independent nations that had multiple indigenous languages opted to continue using English as the official language to avoid the political and other difficulties inherent in promoting any one indigenous language above the others.  In the 20th century, the growing economic and cultural influence of the United States and its status as a superpower following the Second World War has, along with worldwide broadcasting in English by the BBC and other broadcasters, caused the language to spread across the planet much faster.  In the 21st century, English is more widely spoken and written than any language has ever been.

As Modern English developed, explicit norms for standard usage were published and spread through official media such as public education and state-sponsored publications.  In 1755 Samuel Johnson published his A Dictionary of the English Language, which introduced standard spellings of words and usage norms.  In 1828, Noah Webster published the American Dictionary of the English language to try to establish a norm for speaking and writing American English that was independent of the British standard.  Within Britain, non-standard or lower class dialect features were increasingly stigmatised, leading to the quick spread of the prestige varieties among the middle classes.

In modern English, the loss of grammatical case is almost complete (it is now only found in pronouns, such as he and him, she and her, who and whom), and SVO word order is mostly fixed.  Some changes, such as the use of do-support, have become universalised.  (Earlier English did not use the word “do” as a general auxiliary as Modern English does; at first, it was only used in question constructions, and even then was not obligatory.  Now, do-support with the verb have is becoming increasingly standardised.)  The use of progressive forms in ing, appears to be spreading to new constructions, and forms such as had been being built are becoming more common.  Regularisation of irregular forms also slowly continues (e.g. dreamed instead of dreamt), and analytical alternatives to inflectional forms are becoming more common (e.g. more polite instead of polite).  British English is also undergoing change under the influence of American English, fuelled by the strong presence of American English in the media and the prestige associated with the US as a world power.

Read more about The English Language here.

The above articles were taken from Wikipedia and are subject to change.

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The English Democrats – The ONLY political party in this country that TRULY represent the needs and rights of ENGLAND and the ENGLISH.

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English Pride: The Culture Of England

The Cross of St. George

I am English, NOT British, Not European, ENGLISH, AND PROUD and I class myself as an English patriot. 

You can read more blog articles about England and the English, like the one on here, via my English Pride Index below and click the link to get back to the English Pride page.

The Culture Of England

The culture of England is defined by the cultural norms of England and the English people.  Owing to England’s influential position within the United Kingdom it can sometimes be difficult to differentiate English culture from the culture of the United Kingdom as a whole.  However, since Anglo-Saxon times, England has had its own unique culture, apart from Welsh, Scottish or Northern Irish culture.

As the birthplace of the Industrial Revolution, many of the world’s acclaimed scientists and technological advancements originated from England.  England has also played an important role in cinema, literature, technology, engineering, democracy, philosophy, music, science and mathematics.  England has long been known for the accomplishments of a wide variety of literature and poetry.

Humour, tradition, and good manners are characteristics commonly associated with being English.  The secretary of state for digital, culture, media and sport is the government minister responsible for the cultural life of England.

The Architecture Of England

Many ancient standing stone monuments were erected during the prehistoric period; amongst the best known are Stonehenge, Avebury, Devil’s Arrows, Rudston Monolith and Castlerigg.  With the introduction of Ancient Roman architecture, there was a development of basilicas, baths, amphitheatres, triumphal arches, villas, Roman temples, Roman roads, Roman forts, stockades and aqueducts.  It was the Romans who founded the first cities and towns such as London, Bath, York, Chester and St Albans.  Perhaps the best-known example is Hadrian’s Wall stretching right across northern England.  Another well-preserved example is the Roman Baths at Bath, Somerset.

English architecture begins with the architecture of the Anglo-Saxons.  At least fifty surviving English churches are of Anglo-Saxon origin, although in some cases the Anglo-Saxon part is small and much-altered.  All except one timber church are built of stone or brick, and in some cases show evidence of reused Roman work.  The architectural character of Anglo-Saxon ecclesiastical buildings ranges from Coptic-influenced architecture in the early period, through Early Christian basilica influenced architecture, to (in the later Anglo-Saxon period) an architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular-headed openings.

Many cathedrals of England are ancient, dating from as far back as around 700.  They are a major aspect of the country’s artistic heritage.  Medieval Christianity included the veneration of saints, with pilgrimages to places where particular saints’ relics were interred.  The possession of the relics of a popular saint was a source of funds for an individual church, as the faithful made donations and benefices in the hope that they might receive spiritual aid, a blessing or a healing from the presence of the physical remains of the holy person.  Among those churches to benefit in particular were St Albans Abbey, which contained the relics of England’s first Christian martyr; Ripon with the shrine of its founder St. Wilfrid; Durham, which was built to house the body of Saints Cuthbert of Lindisfarne and Aidan; Ely with the shrine of St. Ethelreda; Westminster Abbey with the magnificent shrine of its founder St. Edward the Confessor; at Chichester, the remains of St. Richard; and at Winchester, those of St. Swithun.

All these saints brought pilgrims to their churches, but among them, the most renowned was Thomas Becket, the late Archbishop of Canterbury, assassinated by henchmen of King Henry II in 1170.  As a place of pilgrimage, Canterbury was, in the 13th century, second only to Santiago de Compostela.  In the 1170s Gothic architecture was introduced at Canterbury and Westminster Abbey. Over the next 400 years, it developed in England, sometimes in parallel with and influenced by Continental forms, but generally with great local diversity and originality.

Following the Norman Conquest, Romanesque architecture (known here as Norman architecture) superseded Anglo-Saxon architecture; later there was a period of transition into English Gothic architecture (of which there are three periods, Early English, Decorated, and Perpendicular). Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion.  Many castles remain from the medieval period, such as Windsor Castle (longest-occupied castle in Europe), Bodiam Castle (a moated castle), Tower of London, and Warwick Castle.  Expanding on the Norman base there was also castles, palaces, great houses, universities and parish churches.

English Gothic architecture flourished from the 12th to the early 16th century, and famous examples include Westminster Abbey, the traditional place of coronation for the British monarch, which also has a long tradition as a venue for royal weddings, Canterbury Cathedral, one of the oldest and most famous Christian structures in England; Salisbury Cathedral, which has the tallest church spire in the UK; and York Minster, which is the largest Gothic cathedral in Northern Europe.

The secular medieval architecture throughout England has left a legacy of large stone castles.  The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitated the development of new artistic styles for domestic architecture, notably Tudor, Elizabethan, Jacobean, English Baroque, Queen Anne and Palladian.  Architecture during the Tudor dynasty flourished with magnificent royal palaces, such as Nonsuch Palace, Palace of Placentia, Hampton Court Palace, Hatfield House, Richmond Palace and Palace of Beaulieu.

One of the most acclaimed English architects was Sir Christopher Wren.  He was employed by King Charles II to design and rebuild London and many of its ruined ancient churches following the Great Fire of London in 1666.  Georgian and Neoclassical architecture advanced after the Age of Enlightenment, evoking achievements in elegant architecture and city planning; the Royal Crescent at Bath is one of the best examples of this.  The Regency of George IV is noted for its elegance and achievements in architecture and urban planning.  Regency style is also applied to interior design and decorative arts of the period, typified by elegant furniture and vertically striped wallpaper, and to styles of clothing; for men, as typified by the dandy Beau Brummell and for women the Empire silhouette.  In early modern times, there was an influence from Renaissance architecture until by the 18th century.  Gothic forms of architecture had been abandoned and various classical styles were adopted.  During the Victorian era, Gothic Revival architecture developed in England and was preferred for many types of buildings and city planning.  Victorian was widespread with vast innovations and engineering achievements (bridges, canals, railway stations, etc.).

In addition to this, around the same time, the Industrial Revolution paved the way for buildings such as The Crystal Palace.  The introduction of the sheet glass method into England by the Chance Brothers in 1832 made possible the production of large sheets of cheap but strong glass, and its use in the Crystal Palace created a structure with the greatest area of glass ever seen in a building.  It astonished visitors with its clear walls and ceilings that did not require interior lights.  Edwardian followed in the early 20th century. Other buildings such as cathedrals and parish churches are associated with a sense of traditional Englishness, as is often the palatial ‘stately home’.  Many people are interested in the English country house and the rural lifestyle, evidenced by the number of visitors to properties managed by English Heritage and the National Trust.

Landscape gardening as developed by Capability Brown set an international trend for the English garden. Gardening, and visiting gardens, are regarded as typically English pursuits.  By the end of the 18th century the English garden was being imitated by the French landscape garden, and as far away as St. Petersburg, Russia, in Pavlovsk, the gardens of the future Emperor Paul.  It also had a major influence on the form of the public parks and gardens which appeared around the world in the 19th century.

Inspired by the great landscape artists of the seventeenth century, the English garden presented an idealized view of nature.  At large country houses, the English garden usually included lakes, sweeps of gently rolling lawns set against groves of trees, and recreations of classical temples, Gothic ruins, bridges, and other picturesque architecture, designed to recreate an idyllic pastoral landscape.  The English garden was centred on the English country house, stately homes and parks.  English Heritage and the National Trust preserve large gardens and landscape parks throughout the country.  The RHS Chelsea Flower Show is held every year by the Royal Horticultural Society and is said to be the largest gardening show in the world.

Following the building of the world’s first seaside pier at Ryde, the pier became fashionable at seaside resorts in England during the Victorian era, peaking in the 1860s with 22 being built in that decade.  A symbol of the typical English seaside holiday, by 1914 more than 100 pleasure piers were located around the UK coast.  Regarded as being among the finest Victorian architecture, there are still a significant number of seaside piers of architectural merit still standing, although some have been lost, including two at Brighton in East Sussex and one at New Brighton in the Wirral.  Two piers, Brighton’s now derelict West Pier and Clevedon Pier, were Grade 1 listed.  The Birnbeck Pier in Weston-super-Mare is the only pier in the world linked to an island.  The National Piers Society gives a figure of 55 surviving seaside piers in England.

Art And Design Of England

England has Europe’s earliest and northernmost ice-age cave art.  Prehistoric art in England largely corresponds with art made elsewhere in contemporary Britain, but early medieval Anglo-Saxon art saw the development of a distinctly English style, and English art continued thereafter to have a distinct character.  English art made after the formation in 1707 of the Kingdom of Great Britain may be regarded in most respects simultaneously as art of the United Kingdom.  The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions.

As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent.  Anglo-Saxon taste favoured brightness and colour.  Opus Anglicanum (“English work”) was recognised as the finest embroidery in Europe.  Perhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a Norman patron from English artists working in the traditional Anglo-Saxon style.  Anglo-Saxon artists also worked in fresco, stone, ivory and whalebone (notably the Franks Casket), metalwork (for example the Fuller brooch), glass and enamel.  Medieval English painting, mainly religious, had a strong national tradition and was influential in Europe.

The English Reformation, which was antipathetic to art, not only brought this tradition to an abrupt stop but resulted in the destruction of almost all wall paintings.  Only illuminated manuscripts now survive in large numbers.

There is in the art of the English Renaissance a strong interest in portraiture, and the portrait miniature was more popular in England than anywhere else.  English Renaissance sculpture was mainly architectural and for monumental tombs.  Interest in English landscape painting had begun to develop by the time of the 1707 Act of Union.  English art was dominated by imported artists throughout much of the Renaissance, but in the 18th century, a native tradition became much admired.  It is considered to be typified by landscape painting, such as the work of J.M.W. Turner and John Constable.  Portraitists like Thomas Gainsborough and Joshua Reynolds are also significant.

The first famous native English portrait miniaturist is Nicholas Hilliard (c. 1537–1619), whose work was conservative in style but very sensitive to the character of the sitter; his best works are beautifully executed.  The colours are opaque, and gold is used to heighten the effect, while the paintings are on card.  They are often signed and have frequently also a Latin motto upon them.  Hilliard worked for a while in France, and he is probably identical with the painter alluded to in 1577 as Nicholas Belliart.  Hilliard was succeeded by his son Lawrence Hilliard (died 1640); his technique was similar to that of his father but bolder, and his miniatures richer in colour.

Isaac Oliver and his son Peter Oliver succeeded Hilliard. Isaac (c. 1560–1617) was the pupil of Hilliard. Peter (1594–1647) was the pupil of Isaac.  The two men were the earliest to give roundness and form to the faces they painted.  They signed their best works in monogram and painted not only very small miniatures, but larger ones measuring as much as 10 in × 9 in (250 mm × 230 mm). They copied for Charles I of England (1600–1649) on a small scale many of his famous pictures by the old masters. Samuel Cooper (1609–1672) was a nephew and student of the elder Hoskins and is considered the greatest English portrait miniaturist.  He spent much of his time in Paris and Holland, and very little is known of his career.  His work has a superb breadth and dignity and has been well called life-size work in little.  His portraits of the men of the Puritan epoch are remarkable for their truth to life and strength of handling.  His work is frequently signed with his initials, generally in gold, and very often with the addition of the date.

Pictorial satirist William Hogarth pioneered Western sequential art, and political illustrations in this style are often referred to as “Hogarthian”.   Following Hogarth, political cartoons developed in England in the late 18th century under the direction of James Gillray.  Regarded as one of the two most influential cartoonists (the other is Hogarth), Gillray has been referred to as the father of the political cartoon, with his satirical work calling the King (George III), prime ministers and generals to account.  The early 19th century saw the emergence of the Norwich school of painters, the first provincial art movement outside of London.  Its prominent members were “founding father” John Crome (1768–1821), John Sell Cotman (1782–1842), James Stark (1794–1859), and Joseph Stannard (1797–1830).

In England, landscapes had initially been mostly backgrounds to portraits.  The English tradition was founded by Anthony van Dyck and other mostly Flemish artists working in England, but in the 18th century, the works of Claude Lorrain were keenly collected and influenced not only paintings of landscapes, but the English landscape gardens of Capability Brown and others. In the 18th century, watercolour painting, mostly of landscapes, became an English speciality, with both a buoyant market for professional works and a large number of amateur painters, many following the popular systems found in the books of Alexander Cozens and others.  By the beginning of the 19th century, the English artists with the highest modern reputations were mostly dedicated landscape painters, showing the wide range of Romantic interpretations of the English landscape found in the works of John Constable and J.M.W. Turner.

During the Baroque and Rococo periods, the first major native portrait painters of the British school were English painters Thomas Gainsborough and Sir Joshua Reynolds, who also specialised in clothing their subjects in an eye-catching manner.  Gainsborough’s Blue Boy is one of the most famous and recognized portraits of all time, painted with very long brushes and thin oil colour to achieve the shimmering effect of the blue costume.  Gainsborough was also noted for his elaborate background settings for his subjects.

The Pre-Raphaelite Brotherhood achieved considerable influence after its foundation in 1848 with paintings that concentrated on religious, literary, and genre subjects executed in a colourful and minutely detailed style.  Its artists included John Everett Millais, Dante Gabriel Rossetti and subsequently Edward Burne-Jones.  Also associated with it was the designer William Morris, whose efforts to make beautiful objects affordable for everyone led to his wallpaper and tile designs to some extent defining the Victorian aesthetic and instigating the Arts and Crafts movement.  The Royal Society of Arts is an organisation committed to the arts and culture.

The Royal Academy in London is a key organisation for the promotion of the visual arts in England.  Major schools of art in England include the six-school University of the Arts London, which includes the Central Saint Martins College of Art and Design and Chelsea College of Art and Design; Goldsmiths, University of London; the Slade School of Fine Art (part of University College London); the Royal College of Art; and The Ruskin School of Drawing and Fine Art (part of the University of Oxford).  The Courtauld Institute of Art is a leading centre for the teaching of the history of art.  Important art galleries in the United Kingdom include the National Gallery, National Portrait Gallery, Tate Britain and Tate Modern (the most-visited modern art gallery in the world, with around 4.7 million visitors per year).

Heritage And Tourism Of England

A number of umbrella organisations are devoted to the preservation and public access of both natural and cultural heritage, including English Heritage and the National Trust. Membership with them, even on a temporary basis, gives priority free access to their properties thereafter.

English Heritage is a governmental body with a broad remit of managing the historic sites, artefacts and environments of England.  It is currently sponsored by the Department for Digital, Culture, Media and Sport. English Heritage manages more than 400 significant buildings and monuments in England.  They also maintain a register of thousands of listed buildings, those which are considered of most importance to the historic and cultural heritage of the country.

The National Trust for Places of Historic Interest or Natural Beauty is a charity that also maintains multiple sites.  One of the largest landowners in the United Kingdom, the Trust owns almost 250,000 hectares of land and 780 miles of the coast.  Its properties include over 500 historic houses, castles, archaeological and industrial monuments, gardens, parks and nature reserves.

17 of the 25 United Kingdom UNESCO World Heritage Sites fall within England.  Some of the best known of these include Hadrian’s Wall, Stonehenge, Avebury and Associated Sites, Tower of London, Jurassic Coast, Westminster, Roman Baths in Bath, Saltaire, Ironbridge Gorge, and Studley Royal Park.  The northernmost point of the Roman Empire, Hadrian’s Wall, is the largest Roman artefact anywhere: it runs a total of 73 miles in northern England.

London’s British Museum hosts a collection of more than seven million objects is one of the largest and most comprehensive in the world, sourced from every continent, illustrating and documenting the story of human culture from its beginning to the present.  The library has two of the four remaining copies of the original Magna Carta (the other two copies are held in Lincoln Castle and Salisbury Cathedral) and has a room devoted solely to them.  The British Library Sound Archive has over six million recordings, many from the BBC Sound Archive, including Winston Churchill’s wartime speeches.

The British Library in London is the national library and is one of the world’s largest research libraries, holding over 150 million items in all known languages and formats; including around 25 million books.  The most senior art gallery is the National Gallery in Trafalgar Square, which houses a collection of over 2,300 paintings dating from the mid-13th century to 1900.  The Tate galleries house the national collections of British and international modern art; they also host the famously controversial Turner Prize.  The Ashmolean Museum was founded in 1677 from the personal collection of Elias Ashmole, was set up in the University of Oxford to be open to the public and is considered by some to be the first modern public museum.  In 2011 there were more than 1,600 museums in England.  Most museums and art galleries are free of charge.

A blue plaque, the oldest historical marker scheme in the world, is a permanent sign installed in a public place in the UK to commemorate a link between that location and a famous person or event.  The scheme was the brainchild of politician William Ewart in 1863 and was initiated in 1866.

It was formally established by the Royal Society of Arts in 1867, and since 1986 has been run by English Heritage.  The first plaque was unveiled in 1867 to commemorate Lord Byron at his birthplace, 24 Holles Street, Cavendish Square, London.  Examples that commemorate events include John Logie Baird’s first demonstration of the television at 22 Frith Street, Westminster, W1, London, and the first sub-4-minute mile run by Roger Bannister on 6 May 1954 at Oxford University’s Iffley Road Track.

Tourism plays a significant part in the economic life of England.  In 2018, the United Kingdom as a whole was the world’s 10th most visited country for tourists, and 17 of the United Kingdom’s 25 UNESCO World Heritage Sites fall within England.  VisitEngland is the official tourist board for England.  VisitEngland’s stated mission is to build England’s tourism product, raise Britain’s profile worldwide, increase the volume and value of tourism exports and develop England and Britain’s visitor economy.  In 2020, the Lonely Planet travel guide rated England as the second-best country to visit that year, after Bhutan.

The Parliamentary Under-Secretary of State for Arts, Heritage and Tourism is the minister with responsibility for over-tourism in England, including museums, art galleries, public libraries and the National Archives.

Literature Of England 

Early authors such as Bede and Alcuin wrote in Latin.  The period of Old English literature provided the epic poem Beowulf and the fragmentary The Battle of Maldon, the sombre and introspective The Seafarer, The Wanderer, the pious Dream of the Rood, The Order of the World, and the secular prose of the Anglo-Saxon Chronicle, along with Christian writings such as Judith, Cædmon’s Hymn and hagiographies.  Following the Norman conquest, Latin continued amongst the educated classes, as well as Anglo-Norman literature.

Middle English literature emerged with Geoffrey Chaucer, author of The Canterbury Tales, along with Gower, the Pearl Poet and Langland. William of Ockham and Roger Bacon, who were Franciscans, were major philosophers of the Middle Ages.  Julian of Norwich, who wrote Revelations of Divine Love, was a prominent Christian mystic.  With the English Renaissance literature in the Early Modern English style appeared.  William Shakespeare, whose works include Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Night’s Dream, remains one of the most championed authors in English literature.

Christopher Marlowe, Edmund Spenser, Philip Sydney, Thomas Kyd, John Donne, and Ben Jonson are other established authors of the Elizabethan age.   Francis Bacon and Thomas Hobbes wrote on empiricism and materialism, including the scientific method and social contract.   Filmer wrote on the Divine Right of Kings.  Marvell was the best-known poet of the Commonwealth, while John Milton authored Paradise Lost during the Restoration.

Some of the most prominent philosophers of the Enlightenment were John Locke, Thomas Paine, Samuel Johnson and Jeremy Bentham.  More radical elements were later countered by Edmund Burke who is regarded as the founder of conservatism.  The poet Alexander Pope with his satirical verse became well regarded. The English played a significant role in romanticism: Samuel Taylor Coleridge, Lord Byron, John Keats, Mary Shelley, Percy Bysshe Shelley, William Blake and William Wordsworth were major figures.

In response to the Industrial Revolution, agrarian writers sought a way between liberty and tradition; William Cobbett, G. K. Chesterton and Hilaire Belloc were the main exponents, while the founder of guild socialism, Arthur Penty, and cooperative movement advocate G. D. H. Cole are somewhat related.  Empiricism continued through John Stuart Mill and Bertrand Russell, while Bernard Williams was involved in analytics.  Authors from around the Victorian era include Charles Dickens, the Brontë sisters, Jane Austen, George Eliot, Rudyard Kipling, Thomas Hardy, H. G. Wells and Lewis Carroll.  Since then England has continued to produce novelists such as George Orwell, D. H. Lawrence, Virginia Woolf, C. S. Lewis, Enid Blyton, Aldous Huxley, Agatha Christie, Terry Pratchett, J. R. R. Tolkien, and J. K. Rowling.

Due to the expansion of English into a world language during the British Empire, literature is now written in English across the world.  Writers often associated with England or for expressing Englishness include Shakespeare (who produced two tetralogies of history plays about the English kings), Jane Austen, Arnold Bennett, and Rupert Brooke (whose poem “Grantchester” is often considered quintessentially English).  Other writers are associated with specific regions of England; these include Charles Dickens (London), Thomas Hardy (Wessex), A. E. Housman (Shropshire), and the Lake Poets (the Lake District).  The English playwright and poet William Shakespeare is widely regarded as the greatest dramatist of all time.

The 20th-century English crime writer Agatha Christie is the best-selling novelist of all time.  Agatha Christie’s mystery novels are outsold only by Shakespeare and The Bible.  Described as “perhaps the 20th century’s best chronicler of English culture”, the non-fiction works of George Orwell include The Road to Wigan Pier (1937), documenting his experience of working-class life in the north of England.  Orwell’s eleven rules for making tea appear in his essay “A Nice Cup of Tea”, which was published in the London Evening Standard on 12 January 1946.

In 2003 the BBC carried out a UK survey entitled The Big Read to find the “nation’s best-loved novel” of all time, with works by English novelists J. R. R. Tolkien, Jane Austen, Philip Pullman, Douglas Adams and J. K. Rowling making up the top five on the list.  In 2005, some 206,000 books were published in the United Kingdom and in 2006 it was the largest publisher of books in the world.  The Royal Society of Literature was founded in 1820, by King George IV, to “reward literary merit and excite literary talent”.  The society is a cultural tenant at London’s Somerset House.

The Music Of England

England has a long and rich musical history. In the United Kingdom, more people attend live music performances than football matches.  The traditional folk music of England is centuries old and has contributed to several genres prominently; mostly sea shanties, jigs, hornpipes and dance music.  It has its own distinct variations and regional peculiarities.  Ballads featuring Robin Hood, printed by Wynkyn de Worde in the 16th century, are an important artefact, as are John Playford’s The Dancing Master and Robert Harley’s Roxburghe Ballads collections.

Some of the best-known songs are Greensleeves, Pastime with Good Company, Maggie May and Spanish Ladies amongst others.  Many nursery rhymes are of English origin such as Mary, Mary, Quite Contrary, Roses Are Red, Jack and Jill, London Bridge Is Falling Down, The Grand Old Duke of York, Hey Diddle Diddle and Humpty Dumpty.  Traditional English Christmas carols include We Wish You a Merry Christmas, The First Noel, I Saw Three Ships and God Rest You Merry, Gentlemen.

The United Kingdom has, like most European countries, undergone a roots revival in the last half of the 20th century.  English music has been an instrumental and leading part of this phenomenon, which peaked at the end of the 1960s and into the 1970s.  The English Musical Renaissance was a hypothetical development in the late 19th and early 20th century, when English composers, often those lecturing or trained at the Royal College of Music, were said to have freed themselves from foreign musical influences, to have begun writing in a distinctively national idiom, and to have equalled the achievement of composers in mainland Europe.

The achievements of the Anglican choral tradition following on from 16th-century composers such as Thomas Tallis, John Taverner and William Byrd have tended to overshadow instrumental composition.  The semi-operatic innovations of Henry Purcell were significant.  Classical music attracted much attention from 1784 with the formation of the Birmingham Triennial Music Festival, which was the longest running classical music festival of its kind until the final concerts in 1912.  George Frideric Handel found important royal patrons and enthusiastic public support in England.  He spent most of his composing life in London and became a national icon, creating some of the most well-known works of classical music, especially his English oratorios, The Messiah, Solomon, Water Music, and Music for the Royal Fireworks.  One of Handel’s four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign’s anointing.  The Royal Academy of Music is the oldest conservatoire in the UK, founded in 1822 by John Fane and Nicolas-Charles Bochsa.  It received its royal charter in 1830 from King George IV with the support of the first Duke of Wellington.  Famous academy alumni include Sir Simon Rattle, Sir Harrison Birtwistle, Sir Elton John and Annie Lennox.

The emergence of figures such as Edward Elgar and Arthur Sullivan in the 19th century showed a new vitality in English music.  In the 20th century, Benjamin Britten and Michael Tippett emerged as internationally recognised opera composers, and Ralph Vaughan Williams and others collected English folk tunes and adapted them to the concert hall.  Cecil Sharp was a leading figure in the English folk revival.  The Proms, an annual summer season of daily classical music concerts, is a significant event in British musical life.  The Last Night of the Proms features patriotic music.

A new trend emerged from Liverpool in 1962.  The Beatles became the most popular musicians of their time, and in the composing duo of John Lennon and Paul McCartney, popularized the concept of the self-contained music act.  Before the Beatles, very few popular singers composed the tunes they performed.  The “Fab Four” opened the doors for other acts from England such as The Rolling Stones, Led Zeppelin, Pink Floyd, Cream, The Kinks, The Who, Eric Clapton, David Bowie, Queen, Elton John, The Hollies, Black Sabbath, Deep Purple, Genesis, Dire Straits, Iron Maiden, The Police to the globe.  Many musical genres have origins in (or strong associations with) England, such as British invasion, progressive rock, hard rock, Mod, glam rock, heavy metal, Britpop, indie rock, gothic rock, shoegazing, acid house, garage, trip hop, drum and bass and dubstep.  The Sex Pistols and The Clash were pioneers of punk rock.  Some of England’s leading contemporary artists include George Michael, Sting, Seal, Rod Stewart, The Smiths, The Stone Roses, Oasis, Blur, Radiohead, The Cure, Depeche Mode, Coldplay, Def Leppard, Muse, Arctic Monkeys, Amy Winehouse, Adele and Ed Sheeran.

The Cinema Of England

England (and the UK as a whole) has had a considerable influence on the history of the cinema, producing some of the greatest actors, directors and motion pictures of all time, including Alfred Hitchcock, Charlie Chaplin, David Lean, Laurence Olivier, Vivien Leigh, John Gielgud, Peter Sellers, Julie Andrews, Michael Caine, Gary Oldman, Helen Mirren, Kate Winslet and Daniel Day-Lewis.  Hitchcock and Lean are among the most critically acclaimed of all time.  Hitchcock’s first thriller, The Lodger: A Story of the London Fog (1926), helped shape the thriller genre in film, while his 1929 film, Blackmail, is often regarded as the first British sound feature film.

Major film studios in England include Pinewood, Elstree and Shepperton.  Some of the most commercially successful films of all time have been produced in England, including two of the highest-grossing film franchises (Harry Potter and James Bond).  Ealing Studios in London has a claim to being the oldest continuously working film studio in the world.  Famous for recording many motion picture film scores, the London Symphony Orchestra first performed film music in 1935.

The BFI Top 100 British films include Monty Python’s Life of Brian (1979), a film regularly voted the funniest of all time by the UK public.  English producers are also active in international co-productions and English actors, directors and crew feature regularly in Hollywood films.  Ridley Scott was among a group of English filmmakers, including Tony Scott, Alan Parker, Hugh Hudson and Adrian Lyne, who emerged from making 1970s UK television commercials.  The UK film council ranked David Yates, Christopher Nolan, Mike Newell, Ridley Scott and Paul Greengrass the five most commercially successful English directors since 2001.  Other contemporary directors from England include Sam Mendes, Guy Ritchie and Steve McQueen.  Current actors include Tom Hardy, Daniel Craig, Benedict Cumberbatch and Emma Watson.  Acclaimed for his motion-capture work, Andy Serkis opened The Imaginarium Studios in London in 2011.  The visual effects company Framestore in London has produced some of the most critically acclaimed special effects in modern film.  Many successful Hollywood films have been based on English people, stories or events.  The ‘English Cycle’ of Disney animated films include Alice in Wonderland, The Jungle Book, Robin Hood and Winnie the Pooh.

The Theatre Of England

The peak of English drama and theatre is said to be the Elizabethan Age; a golden age in English history where the arts, drama and creative work flourished.  Morality plays emerged as a distinct dramatic form around 1400 and flourished in the early Elizabethan era in England.  Characters were often used to represent different ethical ideals.  Everyman, for example, includes such figures as Good Deeds, Knowledge and Strength, and this characterisation reinforces the conflict between good and evil for the audience.  The Castle of Perseverance (c. 1400–1425) depicts an archetypal figure’s progress from birth through to death.  Horestes (c. 1567), a late “hybrid morality” and one of the earliest examples of an English revenge play, brings together the classical story of Orestes with a Vice from the medieval allegorical tradition, alternating comic, slapstick scenes with serious, tragic ones.  Also important in this period were the folk dramas of the Mummers Play, performed during the Christmas season.  Court masques were particularly popular during the reign of Henry VIII.  The first permanent English theatre, the Red Lion, opened in 1567.  The first successful theatres, such as The Theatre, opened in 1576.  The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama.

Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan.  The public theatres were three stories high and built around an open space at the centre.  Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square.  The three levels of inward-facing galleries overlooked the open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience.  The rear side was restricted for the entrances and exits of the actors and seating for the musicians.  The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar.

The playhouses were generally built with timber and plaster.  Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan.  Theatres were also constructed to be able to hold a large number of people.  One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage.  It created a visual effect for the audience, and it was an integral part of the overall performance.   Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing.  Colours symbolised social hierarchy, and costumes were made to reflect that.  For example, if a character was royalty, their costume would include purple.  The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage.

The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality, and extent. Genres of the period included the history play, which depicted English or European history.  Shakespeare’s plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe’s Edward II and George Peele’s Famous Chronicle of King Edward the First.  History plays dealt with more recent events, like A Larum for London which dramatizes the sack of Antwerp in 1576.  Tragedy was a very popular genre.  Marlowe’s tragedies were exceptionally successful, such as Dr. Faustus and The Jew of Malta.  The audiences particularly liked revenge dramas, such as Thomas Kyd’s The Spanish Tragedy.  The four tragedies considered to be Shakespeare’s greatest (Hamlet, Othello, King Lear, and Macbeth) were composed during this period.

Costumes were collected in inventory.  More often than not, costumes wouldn’t be made individually to fit the actor.  Instead, they would be selected out of the stock that theatre companies would keep.  A theatre company reused costumes when possible and would rarely get new costumes made.  Costumes themselves were expensive, so usually, players wore contemporary clothing regardless of the time period of the play.  The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage.  The fabrics within a playhouse would indicate the wealth of the company itself.  The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace, and ermine.

Comedies were common.  A subgenre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy.  Examples are Thomas Dekker’s The Shoemaker’s Holiday and Thomas Middleton’s A Chaste Maid in Cheapside.  Though marginalised, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608–13) could exert influences.  After about 1610, the new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

The re-opening of the theatres in 1660 after the Restoration of Charles II signalled a renaissance of English drama.  With the restoration of the monarch in 1660 came the restoration of and the reopening of the theatre.  English comedies written and performed in the Restoration period from 1660 to 1710 are collectively called Restoration comedy.  Restoration comedy is notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his Royal court.  For the first time, women were allowed to act, putting an end to the practice of the boy-player taking the parts of women.  Socially diverse audiences included both aristocrats, their servants and hangers-on, and a substantial middle-class segment.  Its dramatists stole freely from English Jacobean and Caroline plays, and even from Greek and Roman classical comedies, combining the various plotlines in adventurous ways.

Restoration audiences liked to see good triumph in their tragedies and rightful government restored.  In comedy, they liked to see the love-lives of the young and fashionable, with a central couple bringing their courtship to a successful conclusion (often overcoming the opposition of the elders to do so).  Heroines had to be chaste, but were independent-minded and outspoken; now that they were played by women, there was more mileage for the playwright in disguising them in men’s clothes or giving them narrow escape from rape.  These playgoers were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors.  This period saw the first professional woman playwright, Aphra Behn.  In the mid-1690s, a brief second Restoration comedy renaissance arose, aimed at a wider audience.

The unsentimental or “hard” comedies of John Dryden, William Wycherley, and George Etherege reflected the atmosphere at Court and celebrated with frankness an aristocratic macho lifestyle of unremitting sexual intrigue and conquest.  The Earl of Rochester, real-life Restoration rake, courtier and poet, is flatteringly portrayed in Etherege’s The Man of Mode (1676) as a riotous, witty, intellectual, and sexually irresistible aristocrat, a template for posterity’s idea of the glamorous Restoration rake (actually never a very common character in Restoration comedy).  The single play that does most to support the charge of obscenity levelled then and now at Restoration comedy is probably Wycherley’s masterpiece The Country Wife (1675), whose title contains a lewd pun and whose notorious “china scene” is a series of sustained double entendres.

During the second wave of Restoration comedy in the 1690s, the “softer” comedies of William Congreve and John Vanbrugh set out to appeal to a more socially diverse audience with a strong middle-class element, as well as to female spectators.  The comic focus shifts from young lovers outwitting the older generation to the vicissitudes of marital relations.  In Congreve’s Love for Love (1695) and The Way of the World (1700), the give-and-take set pieces of couples testing their attraction for one another have mutated into witty prenuptial debates on the eve of marriage, as in the latter’s famous “Proviso” scene. Vanbrugh’s The Provoked Wife (1697) has a light touch and more humanly recognisable characters, while The Relapse (1696) has been admired for its throwaway wit and the characterisation of Lord Foppington, an extravagant and affected burlesque fop with a dark side.

As a reaction to the decadence of Charles II era productions, sentimental comedy grew in popularity.  This genre focused on encouraging virtuous behaviour by showing middle-class characters overcoming a series of moral trials.  Playwrights like Colley Cibber and Richard Steele believed that humans were inherently good but capable of being led astray.  Through plays such as The Conscious Lovers and Love’s Last Shift they strove to appeal to an audience’s noble sentiments so that viewers could be reformed.  The Restoration spectacular hit the London public stage in the late 17th-century Restoration period, enthralling audiences with action, music, dance, moveable scenery, baroque illusionistic painting, gorgeous costumes, and special effects such as trapdoor tricks, “flying” actors, and fireworks.

Today there are a variety of theatres in London’s West End. Andrew Lloyd Webber dominated the West End for many years; his musicals also conquered Broadway and were made into films.  The prestigious Royal Shakespeare Company operates out of Shakespeare’s hometown of Stratford-upon-Avon and performs primarily, but not exclusively, his works.  Important modern playwrights are Alan Ayckbourn, John Osborne, Harold Pinter, Tom Stoppard and Arnold Wesker.

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The above articles were taken from Wikipedia and are subject to change. 

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