Fors Clavigera (Volume 6 of 8): $b Letters to the workmen and labourers of Great BritainRuskin, John
General
Fors Clavigera (Volume 6 of 8): $b Letters to the workmen and labourers of Great Britain
Ruskin, John
Aesthetics; Conduct of life; Great Britain -- Social conditions -- 19th century; Social problems; Working class -- Great Britain
“Iconoclasm at Bristol.—Our Bristol correspondent writes: The removal
of the ‘imagery’ from the north porch of Bristol Cathedral has created
considerable excitement in the city and in Clifton. As a member of the
capitular body who is known to strongly object to the figures was seen
near the Cathedral late on Wednesday night, the clerk of the works
employed ‘watchers,’ his intention being to refuse admission to other
than his own workmen. On Thursday morning he had occasion to leave the
works to go to the quarries at Corsham, and while he was absent a gang
of men, under the orders of the chapter clerk, entered the gates, and
before the clerk of the works, who was telegraphed for, could return,
hauled down the four statues and obliterated all traces of the Virgin
Mary, doing much damage to other carving in the process of removal. The
last has by no means been heard of this affair. The statues cost over
£100 each, but the money value of the ‘imagery’ is not considered by
the Restoration Committee. Their contention is that, until the work was
completed and handed over to the Cathedral body, it belonged to the
Restoration Committee; and it is believed that the right of the Chapter
to act as they have done will be tested in a court of law. Feeling is
so strong against the action of the Dean and Chapter that plenty of
money would be forthcoming to prosecute such an inquiry.”—Pall Mall
Gazette, April 7, 1876.
“One of the latest ‘sensations’ in New York has been a ‘female boxing
match,’ aptly described by the New York Times as a ‘novel and
nonsensical exhibition.’ The combatants—or ‘lady contestants,’ as they
are called in the report of the proceedings—were two ballet-girls, of
the kind known as ‘variety dancers.’ One, Miss Saunders, wore a white
bodice, purple knee-breeches, which she had borrowed from an Ethiopian
serenader, red stockings, and shoes. The other, Miss Harland, was
attired in blue trunks and white tights. Both appeared nervous, were
very pale, tried to blush, and ‘partially succeeded.’ When the fighting
began, Miss Harland ‘did not know what to do with her hands.’ Miss
Saunders, however, had her fists more at command, and, after some
preliminary sparring, succeeded in striking her opponent ‘square in the
face.’ Miss Harland, on her side, ‘by a vicious blow from the
shoulder,’ managed to disarrange Miss Saunders’s back hair. Both ladies
then smiled. In the end Miss Harland lost the match, ‘owing to her
confirmed habit of swinging her hands around in the air.’ Miss Saunders
was declared the winner, and carried off a prize of 200 dols. and a
piece of silver plate; Miss Harland received a ten-dollar bill from an
amateur who thought she deserved consolation; and the two ‘lady
contestants’ left the stage arm-in-arm.”—Pall Mall Gazette, April 7,
1876.
Public-domain text, read in full here on John Shaqi.
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