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Snig's End - (from the Road), 1850. Creator: Unknown
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Snig's End - (from the Road), 1850. Creator: Unknown
Snig's End - (from the Road), 1850. View of the Chartist estate in Gloucestershire:..cottages built in the form of crescents; and the Malvern Hills in the distance...the property consists of 268 acres of land, a clay, and unsuited for spade cultivation...The Snig's-end property...is one of the seven estates upon which the "Land Scheme" of [Irish politician] Mr. Feargus O'Connor has been proved to present so miserable a failure...Snig's-end was bought by Mr. O'Connor in 1847; the purchase-money being £12, 200...The case of O'Connor against Bradshaw, which last week occupied the Court of Exchequer for three days, was the means of raising two issues - the legality of the Snig's-end project, and the honesty of Mr. Feargus O'Connor'. (After the failure of his Land Plan, O'Connor's behaviour became increasingly erratic, culminating in an assault on three MPs and a mental breakdown...). From "Illustrated London News", 1850
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Media ID 36213579
© The Print Collector/Heritage Images
Chartism Chartist Cottage Cottages Fraud Gloucestershire England Model Village Settlement Utopia
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EDITORS COMMENTS
This print of "Snig's End - (from the Road), 1850" offers a glimpse into a significant moment in British history. The image showcases the Chartist estate in Gloucestershire, with cottages arranged in crescents and the majestic Malvern Hills looming in the distance. This property, spanning 268 acres of clay land unsuitable for spade cultivation, was part of Irish politician Mr. Feargus O'Connor's ill-fated Land Scheme.
Purchased for £12,200 in 1847, Snig's End became emblematic of the failure of O'Connor's ambitious project. Legal battles and financial woes plagued O'Connor following this setback, leading to erratic behavior culminating in an assault on MPs and a mental breakdown.
The engraving from "Illustrated London News" captures not just a physical landscape but also political and social upheaval during the 19th century. It serves as a stark reminder of grand ambitions gone awry and serves as a cautionary tale about utopian visions that fail to materialize.
As we gaze upon this black-and-white depiction of Snig's End, we are transported back to a time when dreams clashed with reality, leaving behind traces of both hope and disillusionment etched into the very fabric of this rural settlement.
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