David B. Hill

In May 1940, a group of Auckland yachtsmen and Royal Navy volunteers left for the war. Leonard Hill, a young M?ori sailor, and his friends arrived in Singapore under siege. They manned fast motor launches, raiding and rescuing Allies from behind enemy lines. On 13 February 1942, the eve of the fall of Singapore, they took two Fairmiles, ML310 and ML311, to evacuate members of the Allied High Command and survivors of sinking vessels. Hunted down by the Japanese, most of the almost one hundred men perished. Only three succeeded: Leonard Hill, Herbert ‘Johnny’ Bull and Andrew Brough. This is the story of how they evaded the Japanese and survived.

This book explores the significance of the now-lost pavilion built in the Buckingham Palace Gardens in the time of Queen Victoria for understanding experiments in British art and architecture at the outset of the Victorian era. It introduces the curious history of the garden pavilion, its experimental contents, the controversies of its critical reception, and how it has been digitally remediated. The chapters discuss how the pavilion, decorated with frescos and encaustics by some of the most prominent painters of the mid-nineteenth century, became the center of a national conversation about an identity for British art, the capacity of its artists, and the quality of Royal and public taste. Beyond an examination of the pavilion's history, this book also introduces a digital model which restores the pavilion to virtual life, underscoring the importance of the pavilion for Victorian aesthetics and culture.

This book explores the significance of the now-lost pavilion built in the Buckingham Palace Gardens in the time of Queen Victoria for understanding experiments in British art and architecture at the outset of the Victorian era. It introduces the curious history of the garden pavilion, its experimental contents, the controversies of its critical reception, and how it has been digitally remediated. The chapters discuss how the pavilion, decorated with frescos and encaustics by some of the most prominent painters of the mid-nineteenth century, became the center of a national conversation about an identity for British art, the capacity of its artists, and the quality of Royal and public taste. Beyond an examination of the pavilion's history, this book also introduces a digital model which restores the pavilion to virtual life, underscoring the importance of the pavilion for Victorian aesthetics and culture.