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Originally based in Oak Lane, the IC and moved to its present purpose-built building in 1997. On the edge of the Park Grange estate, close to Aisher, Park Grange and New House, the IC has superb views over the sports pitches and is just a short walk from the main school campus.
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The IC draws boys from all over the world to study the International Baccalaureate. Some 25 nationalities are typically represented, with a substantial complement of British students. Boarders reside in comfortable study bedrooms, in pairs for the Lower Sixth and with single bedrooms for their Upper Sixth year. The experience of sharing with such a diverse population leads to tolerance and understanding of a great range of cultures and forges friendships for life.
Oak panelled and set in beautiful grounds, Johnsons welcomed its first Sevenoaks School boys in 1927. It is now the much-loved home of over 50 boarders and staff. Originally a family home, it was presented to the school by Charles Plumptre Johnson, a former governor and great friend to the school, and one of our most generous benefactors.
Built in 1869, Park Grange (PG) has been a boarding house since 1948. It is in a wonderful position, in close proximity to the main campus, adjacent to three other boarding houses and with views across Knole, the school grounds and the rooftops of Sevenoaks.
School House was our very first boarding house, dating back to the 1500s, we think. For over 400 years it was located at the centre of the campus, from 1732 in the building now known as Old School. In 1997 the School House community relocated to a beautiful Victorian estate not far from the school grounds.
Sennocke is a welcoming house, and boarders talk of how accepting their peers are. Upper Sixth students each have their own room, Year 11 and the Lower Sixth share rooms for two, and there are larger dorms for Years 9 and 10 to encourage integration amongst new boarders. Sennocke overlooks an extensive garden, ideal for volleyball and croquet in the summer, and is within easy reach of all the school facilities, while having beautiful views over Knole. It is a very short walk into town.
An old master print (also spaced masterprint) is a work of art produced by a printing process within the Western tradition. The term remains current in the art trade, and there is no easy alternative in English to distinguish the works of "fine art" produced in printmaking from the vast range of decorative, utilitarian and popular prints that grew rapidly alongside the artistic print from the 15th century onwards. Fifteenth-century prints are sufficiently rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term.
After the deaths of this very brilliant generation, both the quality and quantity of German original printmaking suffered a strange collapse; perhaps it became impossible to sustain a convincing Northern style in the face of overwhelming Italian productions in a "commoditized" Renaissance style. The Netherlands now became more important for the production of prints, which would remain the case until the late 18th century.[41]
Giorgio Ghisi was the major printmaker of the Mantuan school, which preserved rather more individuality than Rome. Much of his work was reproductive, but his original prints are often very fine. He visited Antwerp, a reflection of the power the publishers there now had over what was now a European market for prints. A number of printmakers, mostly in etching, continued to produce excellent prints, but mostly as a sideline to either painting or reproductive printmaking. They include Battista Franco, Il Schiavone, Federico Barocci and Ventura Salimbeni, who only produced nine prints, presumably because it did not pay. Annibale Carracci and his cousin Ludovico produced a few influential etchings, while Annibale's brother Agostino engraved. Both brothers influenced Guido Reni and other Italian artists of the full Baroque period in the next century.[43]
The last third of the century produced relatively little original printmaking of great interest, although illustrative printmaking reached a high level of quality. French portrait prints, most often copied from paintings, were the finest in Europe and often extremely brilliant, with the school including both etching and engraving, often in the same work. The most important artists were Claude Mellan, an etcher from the 1630s onwards, and his contemporary Jean Morin, whose combination of engraving and etching influenced many later artists. Robert Nanteuil was official portrait engraver to Louis XIV, and produced over two hundred brilliantly engraved portraits of the court and other notable French figures.[62]
The urban backdrop for three-fourths of the novel heightens theimpression of an intensely self-absorbed populace. Like the phantasms ofEliot's "Unreal City" in The Waste Land (1.60), the Londonerswhom D. first encounters are caught up in a fog of myopic illusion. On themorning after arriving in the capital, for example, he makes his way to theimpoverished Oxford Street headquarters of the Entrenationo Language Centrewhere D. has been scheduled to rendezvous with "K.," his"contact" posing as a tutor, but not before he converses with theenterprise's director, Dr. Bellows, who stumblingly expatiates on theventure's guiding philosophy: "'Love of all the world. Adesire to be able to exchange--ideas--with--everybody. All this hate, ...these wars we read about in the newspapers, they are all due tomisunderstanding. If we all spoke the same language'" (46). Greeneobviously is poking fun at the founding goals of Esperanto set forth by L. L.Zamenhof in 1887, which, however admirable in the abstract, the novelist seesas having little chance of overcoming the "terrible aboriginalcalamity" through dissemination of a lingua franca. That theparsimonious Dr. Bellows has unwittingly employed K., soon revealed to beanother double agent collaborating with the murderous Mrs. Mendrill, merelysharpens Greene's satire of such idealistic efforts to rectify theworld's problems.
Three disclosures in "The Last Shot" substantiate thisconnection. First, the ruinous hamlet of Benditch, which in its slag-heapsqualor mirrors D. H. Lawrence's fictional representations of Midlandscoal-producing villages, (9) is aggressively hostile toward strangers, whomit regards with "sharp suspicion" (184), though it closes ranks invenerating one of its own who has transcended his commoner status by becominga monopolist "Captain of Industry" and titled peer of the realm."It was like war," comments Greene, "but without the spirit ofdefiance war usually raised" (193). A second indication is thenovel's profile of Joe Bates, a local union leader who, when theBenditch Colliery Company announces a reopening of the pits, readily acceptsits management's false assurance that the coal production will beshipped only to Holland. The text's description of Bates makes clear hismendacity: "He had an uncertain night-school accent; he had risen--youcould see that--and the marks of his rising he had tucked away with shame.... His weak mouth carried his shock of hair like a disguise, suggesting aviolence, a radicalism which wasn't his at all" (203). The finalproof of a class-related "subterranean struggle" in this miningtown involves a trio of disenthralled youths who offer to assist D. inescaping the police if he gives them his revolver with a single round in itscylinder. Not unlike Pinkie and his cohorts in Brighton Rock (1938), thesedelinquents constitute, ironically, the executive committee of an anarchic"Gang" networked throughout Benditch that has unspecified"scores" to settle with their parents' generation (208).Victims of the anomie endemic to their culture at large, the adolescents areco-opted by the very social order against which they would rebel: "Theoldest boy['s ...] eyes had the blankness of a pit pony's. Therewas no enthusiasm anywhere--no wildness; anarchy was just an absence ofcertain restraints" (208-09). Their pathetic ineffectuality becomesevident when, instead of dynamiting the mine itself, they succeed merely inblowing up the explosives shed, at which point D. is apprehended on stillmore fallacious charges.
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