Whimsy Set Victory Gold Box Super Cut 1000pc Envoy to the Mogul DSC08813
BCD June 2020 Show & Tell Theme MY COUNTRY
I have assembled this image before, three years ago at the BCD 2017 House Party, with the help of many friends. Now I was on my own, and instead of a Victory Gold Box I had a Gold Box Super Cut. Have my jigsawing skills improved it that time? (I've certainly been through a tough training programme, courtesy of a Genest Le Colimacon mystery puzzle!)
I started off laying pieces out, and my brain must have been in neutral because I separated out straight edges - and Super Cuts have a wavy edge! I soon realised my faux pas and started on the sky. After completing the sky and the top of the buildings I decided that I would build the canopy and dais (distinctive patterns) and large colour areas (sets of clothing). Soon some of these groups started coming together. That left the rug and flooring and finally the most difficult areas, the buildings. I knew when I started that there were three pieces missing - at least nine pieces hid in plain sight and I was convinced throughout most of the build that there were more than that missing. Until very late on, I thought that I had three pieces from another jigsaw, but eventually two pieces (whose holes were hiding under trays) were placed and I was left with just one oddment.
Victory Gold Box Super Cut 1000pc Envoy to the Mogul is one of a series of large Victory Gold Box and Gold Box Super Cuts. My jigsaw is clearly from a period when Victory were still cutting shapely whimsies, and this jigsaw also includes a great deal of line cutting. The print, however, is not as sharp as I would have hoped- or perhaps there is a slight misalignment in one of the printing passes.
This painting is 'Sir Thomas Roe at the court of Ajmir, 1614' by William Rothenstein, one of eight monumental canvases commissioned in 1927 to fill the vacant spaces in St Stephen’s Hall, Palace of Westminster. These represent the governing and artistic classes view of key moments in the history of OUR COUNTRY.
Sir Thomas Roe, envoy from King James I of England to the Mogul Emperor, succeeded by his courtesy and firmness at the Court of Ajmir in laying the foundation of British influence in India. The East India Company had recently established England’s first presence in India with a factory at Surat. Roe’s main task was to establish diplomatic relations with the Mughal Empire, seek Jahangir’s support for the Surat venture and negotiate a treaty enabling further trade. By the end of his period as ambassador in 1618, Roe had secured English commercial access to Jahangir’s dominions, though a formal treaty was never signed.
The St Stephen's Hall Decor Scheme and Murals
An initial suggestion for the panels in St Stephen's Hall was made by Sir Charles Barry in 1843 for 'Great domestic events in British history'. The scheme never went ahead despite Daniel Maclise being commissioned in 1857. The area was lined with marble statues of statesmen on either side of the hall in the 1850's. It was not until 1909 that work finally started on the mural scheme through sponsorship from the Royal Academy, but by 1924 only two more paintings had been added. Speaker Whitley intervened and an informal committee pushed ahead with commissioning 'The Building of Britain' scheme (subjects chosen from the eight centuries from King Alfred to Queen Anne).
Eight paintings were commissioned from the artists Monnington, Rothenstein, Lawrence, Forbes, Gill, Philpot, Sims and Clausen. Historical advice was supplied by Sir Henry Newbolt, and the artists being supervised by Sir David Young Cameron. The subjects included the importance of naval defence, and of transporting expeditions overseas, nobles who protested against oppression; the long struggle for religious freedom; the daring adventure to find the New World in the Elizabethan age; the start of English influence in India; and the union of Scotland and England in 1707. The bold colours and simplicity of line were intended as part of a new direction in mural painting which strove to break with the traditions of the past. They received critical acclaim, being considered well suited for public art.
Whimsy Set Victory Gold Box Super Cut 1000pc Envoy to the Mogul DSC08813
BCD June 2020 Show & Tell Theme MY COUNTRY
I have assembled this image before, three years ago at the BCD 2017 House Party, with the help of many friends. Now I was on my own, and instead of a Victory Gold Box I had a Gold Box Super Cut. Have my jigsawing skills improved it that time? (I've certainly been through a tough training programme, courtesy of a Genest Le Colimacon mystery puzzle!)
I started off laying pieces out, and my brain must have been in neutral because I separated out straight edges - and Super Cuts have a wavy edge! I soon realised my faux pas and started on the sky. After completing the sky and the top of the buildings I decided that I would build the canopy and dais (distinctive patterns) and large colour areas (sets of clothing). Soon some of these groups started coming together. That left the rug and flooring and finally the most difficult areas, the buildings. I knew when I started that there were three pieces missing - at least nine pieces hid in plain sight and I was convinced throughout most of the build that there were more than that missing. Until very late on, I thought that I had three pieces from another jigsaw, but eventually two pieces (whose holes were hiding under trays) were placed and I was left with just one oddment.
Victory Gold Box Super Cut 1000pc Envoy to the Mogul is one of a series of large Victory Gold Box and Gold Box Super Cuts. My jigsaw is clearly from a period when Victory were still cutting shapely whimsies, and this jigsaw also includes a great deal of line cutting. The print, however, is not as sharp as I would have hoped- or perhaps there is a slight misalignment in one of the printing passes.
This painting is 'Sir Thomas Roe at the court of Ajmir, 1614' by William Rothenstein, one of eight monumental canvases commissioned in 1927 to fill the vacant spaces in St Stephen’s Hall, Palace of Westminster. These represent the governing and artistic classes view of key moments in the history of OUR COUNTRY.
Sir Thomas Roe, envoy from King James I of England to the Mogul Emperor, succeeded by his courtesy and firmness at the Court of Ajmir in laying the foundation of British influence in India. The East India Company had recently established England’s first presence in India with a factory at Surat. Roe’s main task was to establish diplomatic relations with the Mughal Empire, seek Jahangir’s support for the Surat venture and negotiate a treaty enabling further trade. By the end of his period as ambassador in 1618, Roe had secured English commercial access to Jahangir’s dominions, though a formal treaty was never signed.
The St Stephen's Hall Decor Scheme and Murals
An initial suggestion for the panels in St Stephen's Hall was made by Sir Charles Barry in 1843 for 'Great domestic events in British history'. The scheme never went ahead despite Daniel Maclise being commissioned in 1857. The area was lined with marble statues of statesmen on either side of the hall in the 1850's. It was not until 1909 that work finally started on the mural scheme through sponsorship from the Royal Academy, but by 1924 only two more paintings had been added. Speaker Whitley intervened and an informal committee pushed ahead with commissioning 'The Building of Britain' scheme (subjects chosen from the eight centuries from King Alfred to Queen Anne).
Eight paintings were commissioned from the artists Monnington, Rothenstein, Lawrence, Forbes, Gill, Philpot, Sims and Clausen. Historical advice was supplied by Sir Henry Newbolt, and the artists being supervised by Sir David Young Cameron. The subjects included the importance of naval defence, and of transporting expeditions overseas, nobles who protested against oppression; the long struggle for religious freedom; the daring adventure to find the New World in the Elizabethan age; the start of English influence in India; and the union of Scotland and England in 1707. The bold colours and simplicity of line were intended as part of a new direction in mural painting which strove to break with the traditions of the past. They received critical acclaim, being considered well suited for public art.