Pembroke Dock (
Welsh:
Doc Penfro) is a
community and a
town in
Pembrokeshire,
South West Wales, lying north of
Pembroke on the
River Cleddau. Originally a small fishing village known as Paterchurch, the town was greatly expanded from 1814 onwards following the construction of a Royal Naval Dockyard. It is the third largest town in Pembrokeshire after
Haverfordwest and
Milford Haven.
The natural harbour offering shelter from the prevailing south westerly winds has probably been used for many thousands of years, but the first evidence of settlement from maps is the name of the Carr Rocks at the entrance, derived from the Norse-language Skare for rock.[2]
From the 790s until the Norman Invasion in 1066, the Milford Haven estuary was used occasionally by Vikings looking for shelter. During one visit (possibly in 854, but more likely to be in 878 on his way to the Battle of Cynuit), the Viking chieftain Hubba wintered in the haven with 23 ships.[3]
In 1172, three years after the Norman Invasion of Ireland, having prepared his fleet and army in the mouth of the Pembroke River, Henry II of England sailed there from the haven. [2]
Prior to 1814, the site of modern Pembroke Dock and its nearby settlements were mostly farmland and the area was referred to as Paterchurch. The first recorded mention of Paterchurch was in 1289. In the area a medieval tower was built and, like nearby 18th century and 19th century fortifications, it may have served as a lookout post. By the 17th century, additional domestic and farm buildings stood close to the tower and the isolated settlement had its own cemetery, whose last recorded burial is that of a Roger Adams, in 1731. The ruin of the tower now lies within the walls of the dockyard.
Paterchurch Tower was the centre of an estate said to stretch from Pennar Point to Cosheston. This changed hands in 1422 when Ellen de Paterchurch married a John Adams. Prior to the building of the town and before the dockyard was thought of, various sales and exchanges took place between the principal local landowners – the Adams, Owen and Meyrick families. These exchanges left the Meyricks in control of most of the land on which the dockyard and new town were to develop. By 1802 the Paterchurch buildings were mostly ruins.
La
photo-carte de visite est un format de
photographie d´une personne qui apparaît en
1854 en France et qui rencontre un succès massif jusqu´aux premières années du
XXe siècle.
C´est l´évolution des techniques de photographie qui permet l´apparition de la photo-carte de visite. Le processus du négatif sur plaque de verre au collodion humide avec un report sur papier albuminé inventé par Louis Désiré Blanquart-Evrard en 1850 supplante le daguerréotype, il est plus souple et plus économique. Louis Dodéro, est le premier qui produit à Marseille des portraits photographiques au format dit carte-de-visite1, mais c´est André Adolphe Eugène Disdéri, un photographe parisien, qui dépose en 1854 un brevet permettant la réalisation de huit clichés sur la même plaque de verre.
Les petites photos, au format 5,2 cm sur 8,7 cm, sont ensuite collées sur un carton qui adopte le format d´une carte de visite, 6,2 cm sur 10,3 cm. Le nom du photographe apparaît imprimé sous la photo. Les dos, d´abord vierges, sont ensuite utilisés pour la publicité du studio. Une vingtaine de cartonniers en France fournissent les photographes en cartons imprimés2, souvent très décorés, faisant mention de médailles reçues, de recommandations officielles.
Disdéri popularise intelligemment son procédé, utilisant la caution de personnalités qu´il a photographiées, notamment l´empereur Napoléon III. Très vite le phénomène se développe, d´abord dans les milieux bourgeois, puis dans toutes les familles voulant acquérir une certaine reconnaissance sociale. D´autres photographes adoptent le format et l´engouement est tel que la production de photos-cartes de visite atteint des volumes industriels. Dans les années 1860, des centaines d´ateliers photographiques s´ouvrent à Paris et dans les grandes villes de province, l'essor de la photo-carte de visite est une des principales raisons de ce développement fulgurant des ateliers de photographes, en France et à l´étranger.
En 1872, il sort des ateliers de Disderi 2 400 photos-cartes par jour. Une base de données, réalisée par François Boisjoly propose plus de 22 000 photographies et présente plus de 16 000 noms et adresses d´hommes ayant vécu pour et par la photographie à cette époque3.
The carte de visite[1] (abbreviated CdV or CDV, and also spelled carte-de-visite or erroneously referred to as carte de ville) was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero.[2][3] It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III´s photos in this format.[4] This made the format an overnight success. The new invention was so popular it was known as "cardomania"[5] and it spread throughout Europe and then quickly to America and the rest of the world.
Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.
By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.
De carte de visite is een type foto, die vooral in de 19e eeuw werd gebruikt.
De Fransman André Disdéri verkreeg in 1854 het patent voor de carte de visite. Cartes de visite waren een soort kartonnen visitekaartjes, waarop een albuminen foto, meestal een portret, werd afgedrukt. Ze hebben een grootte van ca. 6 x 8,5 centimeter. Ze waren vooral bestemd voor privégebruik, al werden er ook cartes de visite verkocht van het koninklijk huis en is van de Amerikaanse Sojourner Truth bekend dat zij de kaartjes verkocht om geld in te zamelen.
Een bekend Nederlands carte de visite-fotograaf was Israël Kiek, aan wie we het begrip Kiekje danken. Tegen de Eerste Wereldoorlog liep de vraag naar cartes de visite terug, onder andere door de toenemende concurrentie en de opkomst van andere vormen van fotografie.
