![by Beriah Botfield, Esq., M.P., containing the Household Book of
the Countess of Leicester, wife of Simon de Montford, and that of
Sir John Howard, afterwards Duke of Norfolk, in the reign of
Richard III., afford views of ancient manners and illustrations of
olden customs, which would be sought for in vain in works of a
graver character.
[102] Record of Pontefract, as I could obtain of M. Cudnor.—Stow.
[103] Northern russet, half a yard and half a quarter broad, I
have seen sold for four pence the yard, and was good cloth of a
mingled colour.—Stow.
[104] Rob. Fabian, manuscript.
[105] Liber Ely.
[106] Every livery coat had three yards of broad cloth.—Stow.
[107] Pater de Ioham.
[108] Record of the Tower.
[109] “As the Theater, the Curtine,” etc.—1st edition.
[110] Matthew Paris.
[111] The Bear garden on the Bankside is not mentioned in the
first edition.
[112] Matthew Paris.
[113] In the edition of Brand’s Popular Antiquities, edited by Sir
Henry Ellis, vol. i. 272-278, will be found a very large and curious
collection of materials illustrative of this ancient custom.
[114] Stepney.
[115] A paper by Mr. Saunders, in Knight’s London, i. 169,
entitled, “The Old Spring Time in London,” forms a very agreeable
commentary on this section of our author’s work.
[116] Rich thieves most worthy to be hanged. The judgment of
fire and water, called ordalii, was condemned by Pope Innocent
III. 1203. Decretal. lib. 5.—Stow.
[117] More than two hundred and forty constables in London, the
one half of them each night went in the marching watch, the
other half kept their standing watch in every street and lane.—
Stow.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-56-320.jpg)
![[118] A large coat or cloak, from the French “journade.”—See
Roquefort’s Glossaire, s. v.
[119] John Mountgomery.
[120] “To London in greater quantitie.”—1st edition, p. 80.
[121] “In the yeare 1471, John Stockton, mayor, and eleven
aldermen of London, with the recorder, were all made knightes in
the fielde by Edward IV., for their good service done to him.”—1st
edition, p. 81.
[122] Wolverhampton.
[123] Stepney.
[124] “Cursed is hee that removeth his neighbors mark, have I
read.”—Stow.
[125] “As much as”—1st edition, p. 85.
[126] Liber Trinitat.
[127] Liber Trinitat.
[128] The further history of this establishment will be found in
Nichols’ History of the Hospital and Collegiate Church of St.
Katherine, near the Tower of London.
[129] The Danish toft, Swedish tomt, properly signifies the
ground upon which a house stands. See Grimm’s Deutsche
Rechtsalterthümer, s. 539.
[130] “These fortie-four yeares last.”—1st edition, p. 92.
[131] Liber l. folio 40.
[132] Proclamation. W. Dunthorn.
[133] “And to Berewardes lane.”—1st edition, p. 95.
[134] “When he deceased, 1501.”—Ibid.
[135] “Woodroffe lane towardes the Tower in this parish.”—1st
edition p. 97.
[136] “No gallies landed here in memorie of men living.”—Stow.
[137] “But I leave every man to his own judgment, and pass to
other matters.”—1st edition, p. 101.
[138] “It is taxed to the fifteene at forty-six pounds, and
accounted in the Exchequer at forty-five pounds ten shillings.”—
1st edition, p. 102.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-57-320.jpg)
![[139] “The said elm-tree, his preaching place, is lately taken
down.”—Stow.
[140] “As he, poore man, tearmed it.”—1st edition, p. 108.
[141] “The one halfe, to wit.”—1st edition, p. 109.
[142] “The monuments of the dead, buried in this church, are
these.”—1st edition, p. 109.
[143] “These poyntes not performed. The Drapers have
unlawfully solde these tenements and garden plots, and the
poore be wronged.”—Stow.
[144] “It is taxed to the fifteene in London at 46 li., and
accounted in the Exchequer to £45 10s.”—1st edition, p. 113.
[145] “Three schoolemaisters, with an usher, to wit.”—1st edition,
p. 118.
[146] This passage is printed very incorrectly, and as prose, by
Stow, who makes the date “twice thirty and ten,” i.e. 1370 (which
is certainly the date of Chichester’s mayoralty), instead of “twice
twenty and ten,” i.e. 1350, which is the reading of the MSS. and
of the two early printed editions.
[147] “Cornhill street, in some place raysed two fadome higher
than of olde time, as appeared by buildings found so deepe.”—
Stow.
[148] “As they call it.”—1st edition, p. 123.
[149] “Reserving the churchyard for a garden plot.”—1st edition,
p. 124.
[150] Liber Papie.
[151] “To Master Cornewallos.”—1st edition, p. 128.
[152] “Of our blessed lady.”—1st edition, p. 129.
[153] “At twenty-two pounds in London, and in the Exchequer
twenty-one pounds ten shillings.”—1st edition, p. 136.
[154] “Pembroke.”—1st edition, p. 136.
[155] “Courtney.”—1st edition, ibid.
[156] “In some matters.”—1st edition, p. 141.
[157] “This goodly foundation having a free schoole and almes
houses for poore men (builded of hard stone) adjoyning to the
west end of the church, was of olde time confirmed by Henry the](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-58-320.jpg)
![Sixt, in the year 1447. The outward work of this new church was
finished in the year 1501, the said John Tate deceased about the
year 1514, and was there buried in a monument by him prepared,
as appeareth by an indenture tripartite made between the said
John Tate, the Deane of Windsor, and William Milbourn,
chamberlaine.”—1st edition, p. 145.
[158] “Their beef and mutton by weight, to wit.”—1st edition, p.
148.
[159] “But the true cause of enhanceing the prices both of those
and other victuals are not to be disputed here.”—1st edition, p.
148.
[160] It would seem, from the addition of these words, which are
not in the first edition, that this conduit ceased so to run between
the years 1598 and 1603.
[161] “Ringleaders of inquests will proffer their service, and bend
every way for gain. Careful choice of jurors is to be had; a man
detected, and that had sworn foolishly against his brother, is not
to be admitted a common juror; neither butcher nor surgeon is to
be admitted.”—Stow.
[162] “Archbishops of London hard to be proved, and therefore
not be affirmed.”—Stow.
[163] “This was accounted the best ring of six belles, to bee rung
by six men, that was in England, for harmonye, sweetness of
sound, and tune.”—Stow.
[164] “To the poor at his burial sixteen pounds, to prisons,
hospitals, and lazar houses, liberally; he also gave his house in
Cornehill to be sold, and the price thereof to be spent on the
amendment of highways.”—1st edition, p. 153.
[165] “My godfathers.”—1st edition, p. 153.
[166] “My godmother.”—Ibid.
[167] “Wine one pint for a pennie, and bread to drink it was given
free in every tavern.”—Stow.
[168] “Noblemen of this realm of old time, as also of late years,
have dealt in merchandises.”—Stow.
[169] “If it had been in brasse, it would not have remained there
so long.”—1st edition, p. 159.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-59-320.jpg)
![[170] In the first edition, p. 159, the following passage is here
inserted:—
“Alice, William, and John, wife and sons to Thomas Clarell; Agnes,
daughter to Thomas Niter, gent.; William Atwell; Felix, daughter
to Sir Thomas Gisers, and wife to Travers Thomas Mason,
esquire; Edmond Wartar, esquire; Joan, wife to John
Chamberlaine, esquire, daughter to Roger Lewkner, esquire;
William Frier; John Hamburger, esquire; Hugh Moresby; Gilbert
Prince, alderman; Oliver Chorley, gentleman; Sir John Writh, or
Writhesley, alias Garter principal king at arms, sometime laid
under a fair tomb in the choir, now broken down and gone; Joan,
wife to Thomas Writhesley, son to Sir John Writhesley, Garter,
daughter and heir to William Hall, esquire; John Writhesley the
younger, son to Sir John Writhesley, and Alienor, Eleanor, second
wife to John Writhesley, daughter and heir to Thomas Arnalde,
and Agnes his wife; John Writhesley, son of Thomas; Agnes
Arnold, first married to William Writhesley, daughter of Richard
Warmeforde; Barbara Hungerford, daughter to Sir John
Writhesley, wife to Anthony Hungerford, son to Sir Thomas
Hungerford, of Denmampney, in the county of Gloucester.”
The cause for the omission of these names is explained at the
close of the paragraph in the text; which is however so
indistinctly expressed, that its meaning could not very well be
ascertained except by a reference to what was originally written.
[171] “Mother of William Lambert, yet living.”—1st edition, p.
160.
[172] “Hugh Acton, tailor.”—Ibid.
[173] “In London at twenty-one pound.”—Ibid.
[174] “Alice Hackney found uncorrupted more than one hundred
and seventy yeres after she was buried.”—Stow.
[175] “W. Walworth slandered by a fable of Jack Straw.”—Stow.
[176] “In London at fifty pounds, and in the Exchequer at forty-
nine pounds ten shillings.”—1st edition, p. 169.
[177] “The king’s sons beaten to Eastcheape; there was no tavern
then in Eastcheape.”—Stow.
[178] “In Westcheape linen cloth sold, but no silks spoken of.”—
Stow.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-60-320.jpg)
![[179] “Fripparia, upholders upon Cornhill, sellers of old apparel
and household stuff in Eastcheape.”—Stow.
The following is the stanza alluded to by Stow (see Lydgate’s
Minor Poems).
“Then into Corn hyl anon I rode,
Where was much stolen gere amonge;
I saw where honge myne owne hoode,
That I had lost amonge the thronge:
To by my own hoode I thought it wronge;
I knew it well as I did my crede,
But for lack of money I could not spede.”
[180] “Wike is a working place.”—Stow.
[181] “In Smithfield, and there to have been knighted by the
king, but that is not true.”—1st edition, p. 172.
[182] “Fable of William Walworth and Jack Straw reproved. Praise
of W. Walworth for his manhood in arresting of Wat Tyler. The
mayor was well armed, and had on his head a basonet.”—Stow.
[183] Dunthorne.
[184] “The armies of this citty were not altered, but remayne as
afore; to witte, argent, a playne crosse gules, a sword of S. Paul
in the first quarter, and no dagger of W. Walworth, as is
fabuled.”—Stow.
[185] Liber Trinitate.
[186] “In London to forty pound, and in the Exchequer to thirty-
nine pound.”—1st edition, p. 181.
[187] “In London at thirty-six pound, and in the Exchequer at
thirty-four pound ten shillings.”—1st edition, p. 189.
[188] “Having thus much, not without travail and some charges,
noted for the antiquitie of the Vintners, about two years since or
more I repayred to the common-hall of that company, and there
showed and read it in a court of assistance, requiring them, as
being one of the principal companies in the citie (of whom I
meant therefore to write the more at large) that if they knew any
more which might sound to their worship or commendation, at
their leisure to send it me, and I would joyne it to my former
collection; at which time I was answered by some that tooke
upon them the speech, that they were none of the principall, but](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-61-320.jpg)
![of the inferior companies; and so willing me to leave them, I
departed, and never since heard from them, which hath
somewhat discouraged me any farther to travail amongst the
companies to learne ought at their handes.”—1st edition, p. 192.
His comment (in a side note) is equally worth preserving: “The
readiest to speake not alwaies the wisest men.”
[189] “In London at six and thirty pounds, and in the Exchequer
at thirty-five pounds five shillings.”—1st edition, p. 195.
[190] “Gray sope made in London dearer than bought from
Bristol.”—Stow.
[191] “Richard Chaucer, father to Geffrey Chaucer, the poet, as
may be supposed.”—Stow.
[192] “Sir William Laxton, grocer, mayor, deceased 1556, was
buried in the vault prepared by Henry Keble, principall founder of
that church, for himself, but now his bones are unkindly cast out,
his monuments pulled downe, and the bodies of the said Sir
William Laxton, and of Sir Thomas Lodge, grocer, mayor, are laid
in place, with monuments over them for the time, till an other
give money for their place, and then away with them.”—1st
edition, p. 199.
[193] “Called de Arcubus of the stone arches or bowes on the top
of the steeple or bell tower thereof, which arching was as well on
the old steeple as on the new, for no other part of the church
seemeth to have been arched at any time; yet hath the said
church never been knowne by any other name than St. Mary
Bow, or le Bow; neither is that church so called of the court there
kept, but the said court taketh name of the place wherein it is
kept, and is called the Court of Arches.”—1st edition, p. 203.
[194] “A false accuser of his elder brother, in the end was
hanged.”—Stow.
In his first edition, p. 203, this note is continued as follows: “God
amend, or shortly send such an end to such false brethren.”
[195] “Of some unknowne founder.”—1st edition, p. 205.
[196] “And in the 8th of the same Henry called Tamarsilde.”—1st
edition, p. 206.
[197] “In London at £72 16s., in the Exchequer at £72.”—1st
edition, p. 207.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-62-320.jpg)
![[198] “Justices charged to punish such as sel bels from their
churches, Elizabeth 14.”—Stow.
[199] “The 13th of November.”—1st edition, p. 210.
[200] “This conduite was the first sweete water that was
conveyed by pipes of lead under ground to this place in the citie
from Paddington.”—1st edition, p. 210.
[201] This is obviously an error. It occurs in the first edition, is
repeated in that of 1603, and by Anthony Munday, in his edition
of 1618. Strype (vol. i. book iii. p. 35), endeavours to correct it,
by reading “Mary,” who was crowned in 1553, instead of Anne.
The error, however, is in the date, which should be 1533, the year
of Anne Boleyn’s coronation, as we learn from the description of
that ceremony given by Stow in his Annals, “that she went
forward by the crosse which was newly gilt.”
[202] Soler is described by Tyrwhitt, in his edition of Chaucer’s
Canterbury Tales, as originally signifying an open gallery or
balcony at the top of the house, though latterly used for any
upper room, loft, or garret. Tyrwhitt refers in his Glossary, to the
Cook’s Tale of Gamelyn, for an authority for the use of the word
in the latter sense—
“He fleigh up until alofte,
And shet the dore fast.
And saugh where he looked out
At a solere window.”
The German Söller is used by Luther in his magnificent translation
of the Bible in both senses:—“Peter went up upon the house-top
to pray”—“Stieg Petrus hinauf auf den Söller zu beten.” Acts x. 9.
“And when they were come in, they went up into an upper
room”—“Und als sie hinein kamen, stiegen sie auf den Söller.”
Acts i. 13.
[203] “There is also a preaching in the Italian tongue to the
Italians and others on the Sondaies.”—1st edition, p. 214.
[204] “Henry Frowicke.”—Ibid.
[205] “Locke his armes in the windowes.”—Stow.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-63-320.jpg)
![[206] Because “of old time, since the raigne of William the
Conqueror (that first brought Jewes from Roan into this realme),
many Jewes inhabited thereabouts, until that in the year 1290,
the 18th of Edw. I., they were wholly and for ever by the said
king banished this realme, having of their owne goodes to beare
their charges, till they were out of dominions. The number of the
Jewes at that time banished were 15,060 persons, whose houses
being sold, the king made of them a mightie masse of money.”—
1st edition, p. 219.
[207] “Sixty years since.”—Ibid.
[208] “The tooth of some monstrous fish, as I take it. A shank-
bone, of twenty-five inches long, of a man, as is said, but might
be of an oliphant.”—Stow.
[209] “A Countess of Cornwall and Chester, but her name and
time is not apparent.”—1st edition, p. 220.
[210] “In the Exchequer at seventy-two pound.”—Ibid.
[211] “A well was under the east end of this church, late turned
to a pumpe, but decayed.”—Stow.
[212] “This may be some argument which I overpasse.”—1st
edition, p. 223.
[213] “There is one tomb on the south side the quire, but without
inscription.”—1st edition, p. 225.
[214] “It is taxed to the fifteen in London at nineteen pound, and
in the Exchequer at nineteen pound”—Ibid.
[215] Patent.
[216] Matthew Paris.
[217] The Girdlers were incorporated by letters patent of 27th
Henry VI. 6th Aug. 1449, which were confirmed by Elizabeth in
1568, when the pinners and wire-drawers were incorporated with
them. Strype says they seem to have been a fraternity of St.
Lawrence, because of the three gridirons their arms; but those
north country readers, who know what a girdle iron is, will
probably agree with me in thinking the gridirons or girdle irons
are borne with reference to the name of the company.
[218] “Only I read of a branch of this family of Bassinges to have
spread itself into Cambridgeshire, near unto a water or bourne,
and was therefore, for a difference from other of that name,
called Bassing at the bourn, and more shortly Bassing borne. But](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-64-320.jpg)
![this family is also worne out, and hath left the name to the place
where they dwell.”—1st edition, p. 228.
[219] “Reyne Wolf, a grave antiquary, collected the great
chronicles, increased and published by his executors, under the
name of Ralph Holonshead.”—Stow.
The first edition of Holinshed’s Chronicles of England, Scotland,
and Ireland, was printed for John Harrison the elder in 1577.
From Holinshed’s dedicatory epistle to Lord Burleigh, it would
seem that Reginald Wolfe projected and even executed the
greater part of the work, it having “pleased God to call him to his
mercie after xxv. years travail spent therein.” Wolfe, in fact,
intended to make these Chronicles the foundation of “An
Universall Cosmographie of the Whole World.”
[220] “Obtaining first the king’s licence of mortmain under the
great seal of England.”—1st edition, p. 234.
[221] “The Lord William of Thame was buried in this church, and
so was his successor in that house, Sir Rowland Heyward.”—1st
edition, p. 235.
[222] “As is supposed.”—Ibid.
[223] “Without being bounden to reparations or other charge.”—
Ibid.
[224] “John Collet.”—1st edition, p. 257.
[225] “My loving friend.”—1st edition, p. 238.
[226] “At this present.”—Ibid.
[227] “It is taxed in London to the fifteene at forty pound, and in
the Exchequer at thirty-nine pound ten shillings.”—1st edition, p.
242.
[228] “Thomas Leichfield.”—1st edition, p. 244.
[229] R. Grafton.
[230] These disjointed syllables, it will be seen, may be so read
as to form the following rhyming couplet:—
“Quos anguis tristi diro cum vulnere stravit,
Hos sanguis Christi miro tum munere lavit.”
[231] “Likewise in the exchequer.”—1st edition, p. 247.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-65-320.jpg)
![[232] The word clove is from the Anglo-Saxon Clifian (the low
German Klöven, and Dutch Klooven), to split, or clufe, an ear of
corn or clove of garlic. In this case the flower is the common
Stock, or Stock Gilliflower, so long a favourite in the gardens of
England, and indeed a native of the cliffs by the sea-side. “The
old English name of Gilliflower,” says the author of the Flora
Domestica, “which is now almost lost in the prefix Stock, is
corrupted from the French Giroflier. Chaucer writes it Gylofre;
but, by associating it with the nutmeg and other spices, appears
to mean the clove-tree, which is in fact the proper signification of
that word. Turner calls it Gelover and Gelyflower, Gerrarde and
Parkinson Gilloflower.”
[233] The Anglo-Saxon Gærsuma—treasure, riches, fine, etc.
[234] “John Palmer.”—1st edition, p. 252.
[235] “John Standelfe and John Standelfe.”—1st edition, p. 253.
[236] “The maior and communalty of London, parsons of Christ’s
church, the vicar to be at their appointment.”—Stow.
[237] “Treasurer of England.”—1st edition, p. 258.
[238] “And father to Edward Lord Mountjoy; James Blunt,
knighte, son to Walter Blunt, captain of Gwynes, 1492.”—Ibid.
[239] In the first edition, Sir Nicholas Twiford is described as
having a monument in the church.
[240] Lydgate’s verses were first printed at the end of Tottell’s
edition of the translation of his Fall of Princes, from Boccaccio,
1554, folio, and afterwards in Sir W. Dugdale’s History of St.
Paul’s Cathedral.
[241] Reign Wolfe.
[242] “Born in London, and son to Henry Collet.”—1st edition, p.
267.
[243] “And brought to the hands of Edmond Grendall, then
Bishop of London.”—1st edition, p. 269.
[244] W. Paston.
[245] “Was first builded about the reigne of Edward III. Thomas
Newton, the first parson there, was buried in the quire, the year
1361, which was the 35th of Edward the Thirde.”—1st edition, p.
277.
[246] “Prebend almes houses.”—1st edition, p. 277.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-66-320.jpg)
![[247] “In London at fifty-four pounds, and in the Exchequer at
fifty-three pounds six shillings and eight pence.”—1st edition, p.
345.
[248] Water Bougets—heraldic representations of the leathern
bottles in which water was anciently carried.
[249] “A pole of forty foote long, and fifteen inches about,
fabuled to be the iusting staffe of Gerrard a giant.”—Stow.
[250] “Which aunswere seemed to me insufficient, for hee meant
the description of Brittaine, before Reinwolfe’s Chronicle, wherein
the author writing a chapter of Gyaunts, and having been
deceived by some authours, too much crediting their smoothe
speeche, hath set down more matter than troth, as partly (and
also against my will) I am enforced to touch.”—1st edition, p.
283.
[251] “R. G. saw a stone, and said the same to bee a tooth, but
being by my selfe proued a stone, there fayled both scull and
shank-bone, and followed a cluster of lies together, yet since
increased by other.”—Stow.
[252] “Gerrard’s hall overthrowne with Gerrard the giant, and his
great spear.”—Stow.
[253] “Every man’s house of old time was decked with holly and
ivy in the winter, especially at Christmas.”—Stow.
[254] “Quest of inquiry indight the keepers of the gayles for
dealing hardly with their prisoners. They indighted the bowling
alleys, etc.”—Stow.
[255] “In the Exchequer thirty-six pounds, ten shillings.”—1st
edition, p. 285.
[256] “But I could never learne the cause why it should be so
called, and therefore I will let it passe.”—1st edition, p. 287.
[257] “There bee monumentes in this church of Andrew Awbery,
grocer, mayor, and Thomas Fryar, fishmonger, in the yeare 1351,
who gave to this church and parish one plot of ground, containing
fiftie-six foote in length, and fortie-three foote in breadth at both
endes, to be a buriall place for the dead of the said parish, the
twenty-sixt of Edward the third. Also Thomas Madefry, clarke, and
John Pylot, gave to the wardens of that parish one shop and a
house in Distar lane, for the continual repairing of the body of](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-67-320.jpg)
![that church, the belles and ornaments, the twentieth of Richard
II.”—1st edition, p. 287.
[258] Liber Trinitate.
[259] It appears from Strype’s Stow (i. p, 214, ed. 1720), that
“Were path or Wore path, is in the east part of the Flete of
Barking, about seven miles from London; and Anedeheth is near
Westminster, on the west part of London.”
[260] Liber Trinitate, Lon.
[261] Liber Constitut.
[262] “But now that case is altered.”—1st edition, p. 293.
[263] For Lowlardes’ Tower, read M. Foxe.—Stow.
[264] With the following inscription: “Hic jacet Raherus primus
canonicus, et primus prior istius Ecclesiæ.”
[265] “The forrens were licensed for three dayes; the freemen so
long as they would, which was sixe or seven dayes.”—Stow.
[266] “John Davy, a false accuser of his master, of him was raised
the by-word,—If ye serve me so, I will call you Davy.”—Stow.
[267] “Commonly called Ely place.”—1st edition, p. 323.
[268] Fewters, idle people, probably from the old French Fautier,
which Roquefort, Glossaire de la Langue Romane, defines
“Criminel Coupable,” or from Fautteur, “rempli de défauts et de
mauvaises habitudes.”
[269] Matthew Paris.
[270] “And others in other places.”—1st edition, p. 325.
[271] “And in the Exchequer at thirty-four pounds.”—1st edition,
p. 338.
[272] “Li. St. Mary Eborum. English people disdayned to be
baudes. Froes of Flaunders were women for that purpose.”—
Stow.
[273] “John Gower was no knight, neither had he any garland of
ivie and roses, but a chaplet of foure roses onely.”—Stow.
[274] Li. St. Marie Overy.
[275] “To Wapping in the Wose, and Wapping itself, the usual
place, etc.”—1st edition, p. 347.
[276] “Fayre hedges, long rowes of elme, and other trees.”—Ibid.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-68-320.jpg)
![[277] “By encroachments for building of small tenements, and
taking in of garden-plots, timber-yards, or what they list. From
this tower hill towards Aldgate (being a long continuous street),
amongst other buildings, was that abbey of nunnes called the
Minorities, or Minories, whereof I have spoken. And on the other
side of that streete lyeth the ditche without the wall of the citie
from the Tower unto Aldegate.”—1st edition, pp. 347-8.
[278] “Brought up in Lincoln’s inn.”—1st edition, p. 349.
[279] “And neare thereunto are builded two publique houses for
the acting and shewe of comedies, tragedies, and histories, for
recreation. Whereof one is called the Courtein, the other the
Theatre; both standing on the south-west side towards the
field.”—Ibid.
[280] Shoreditch. In the first edition, it is called Sors ditch, or
Sewers ditch.
[281] “Over against the north end of Grub street.”—1st edition, p.
349.
[282] “Next to that a large house, with gardens of pleasure,
builded by Jasper Fisher, from this up to the west end of Hog
lane, etc.”—1st edition, p. 350.
[283] “Soerditch, so called more than four hundred yeares since,
as I can prove by record.”—Stow.
[284] “Banqueting houses like banqueroutes, bearing great shew
and little worth.”—Stow.
[285] “The same was after the bishop of Lincoln’s inn.”—1st
edition, p. 361.
[286] “Beyond this Southampton house.”—Ibid.
[287] “Fratres de Monte Jovis, or Priory de Cornuto, by Havering
at the Bower.”—Stow.
[288] H. Knighton.—Stow.
[289] “Savoy brent: blown up with gunpowder. Rebels, more
malitious then covetous, spoyle all before them.”—Stow.
[290] “In the high street standeth a pair of stocks.”—1st edition,
p. 369.
[291] “Which is a goodly house, lately builded nigh to Ivy bridge,
over against the old Bedforde house, namely, called Russell house
and Dacres house, now the house of Sir Thomas Cecile, Lorde](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-69-320.jpg)
![Burghley; and so on the north side to a lane that turneth to the
parish church of St. Martin in the Fielde, and stretcheth to St.
Giles in the Fielde.”—1st edition, pp. 370-1.
[292] “I thinke custome.”—1st edition, p. 376.
[293] “Foundation of Westminster by Sebert, a Christian king, not
onely in word, but in deed.”—Stow.
[294] “One of her majesties chaplens.”—1st edition, p. 381.
[295] “Earle of Bridgewater.”—1st edition, p. 382.
[296] In the first edition, the passage relative to Henry II.’s
command to Hugh Gifford and William Browne, to distribute alms
“according to the weight and measure of the king’s children” (see
ante, page 83), is inserted in this place.
[297] “I find of record, the 50th of Edward III., that the chapter-
house of the abbot of Westminster was then the usual house for
the commons in parliament.”—Stow.
[298] “Of England.”—1st edition, p. 387.
[299] The corruption alluded to by Stow exists to the present day
—the Almonry being styled by the lower classes in Westminster,
the Ambry. The house said to have been Caxton’s is also, we
believe, still remaining, though in a state of great dilapidation.
[300] “Eleutherius died in the yeare 186, when he had sitten
bishop 15 yeares.”—Stow.
[301] “At Bartholomew’s priory in Smithfield.”—1st edition, p. 304.
[302] “Leviticus 13. Numbers 5. Leprose persons to be separated
from the sound.”—Stow.
[303] “Since called shiriffes, and judges of the King’s court, and
have therefore under-shiriffes, men learned in the law, to sit in
their courts. Domesmen, or judges of the King’s court.”—Stow.
[304] The first edition has “mayor Hugh Fitz Thomas,” and does
not make mention of “Fitz Ottonis.”
[305] Hallontide,—or, as it was more generally designated, All
Hallontide,—is the older designation of All Saints’ day, the 1st of
November.
[306] Sic in Stow; Strype corrects it into πολεύω.](https://image.slidesharecdn.com/1069154-250602023022-cd626f0c/85/Web-Portfolio-Design-And-Applications-John-Dimarco-70-320.jpg)
Web Portfolio Design And Applications John Dimarco
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- 6. Web Portfolio Design and Applications John DiMarco St. John’s University, USA, and New York Institute of Technology, USA Hershey • London • Melbourne • Singapore IDEA GROUP PUBLISHING
- 7. Acquisitions Editor: Michelle Potter Development Editor: Kristin Roth Senior Managing Editor: Amanda Appicello Managing Editor: Jennifer Neidig Copy Editor: Jennifer Young Typesetter: Sharon Berger Cover Design: Lisa Tosheff Printed at: Integrated Book Technology Published in the United States of America by Idea Group Publishing (an imprint of Idea Group Inc.) 701 E. Chocolate Avenue Hershey PA 17033 Tel: 717-533-8845 Fax: 717-533-8661 E-mail: cust@idea-group.com Web site: http://www.idea-group.com and in the United Kingdom by Idea Group Publishing (an imprint of Idea Group Inc.) 3 Henrietta Street Covent Garden London WC2E 8LU Tel: 44 20 7240 0856 Fax: 44 20 7379 0609 Web site: http://www.eurospanonline.com Copyright © 2006 by Idea Group Inc. All rights reserved. No part of this book may be reproduced, stored or distributed in any form or by any means, electronic or mechanical, including photocopying, without written permission from the publisher. Product or company names used in this book are for identification purposes only. Inclusion of the names of the products or companies does not indicate a claim of ownership by IGI of the trademark or registered trademark. Library of Congress Cataloging-in-Publication Data Web portfolio design and applications / John DiMarco, editor. p. cm. Summary: "This book defines and gives an overview of the web portfolio and how it is being used in academic programs and professional scenarios"--Provided by publisher. Includes bibliographical references and index. ISBN 1-59140-854-7 (hardcover) -- ISBN 1-59140-855-5 (softcover) -- ISBN 1-59140-856-3 (ebook) 1. Portfolios in education. 2. Internet in education. 3. World Wide Web. I. DiMarco, John, 1969- LB1029.P67W43 2006 374.126--dc22 2005023880 British Cataloguing in Publication Data A Cataloguing in Publication record for this book is available from the British Library. All work contributed to this book is new, previously-unpublished material. The views expressed in this book are those of the authors, but not necessarily of the publisher.
- 8. Web Portfolio Design and Applications Table of Contents Preface ................................................................................................ viii ChapterI.IntroductiontotheWebPortfolio ....................................... 1 Introduction ........................................................................................................ 1 Background ........................................................................................................ 2 Web Literature and Review .............................................................................. 4 Who Needs a Web Portfolio?.......................................................................... 10 Defining the Electronic Portfolio and the Web Portfolio ................................. 12 The Web Portfolio as the Preferred Electronic Portfolio ................................ 13 Types of Web Portfolios .................................................................................. 16 The Web Portfolio Fosters Valuable Learning Experiences ........................... 20 Skills Fostered by the Web Portfolio Process.................................................. 24 The Web Portfolio as an Appearance ............................................................. 25 The Benefits of Web Portfolios ....................................................................... 26 What You Should Get Out of This Book ......................................................... 27 Review and Conclusion ................................................................................... 31 ChapterII.Conceptualization ............................................................. 32 Introduction ...................................................................................................... 32 Defining the User, Understanding the Audience ............................................. 33 Define Your User and Their Goals ................................................................. 36 Concept ............................................................................................................ 38 Write Your Concept Statement ....................................................................... 41 ContentGathering ............................................................................................ 41 Text as Content ............................................................................................... 43 Create Your Content List ................................................................................ 44
- 9. Create Your Content Outline ........................................................................... 45 The Web Portfolio as a Content Management Tool ........................................ 50 Review and Conclusion ................................................................................... 50 ChapterIII.InformationDesign ......................................................... 52 Introduction ...................................................................................................... 52 Structure .......................................................................................................... 53 WebPortfolioInformationOrganization .......................................................... 54 Flowcharts as Skeletons .................................................................................. 54 Navigation ........................................................................................................ 55 Usability ........................................................................................................... 57 Pre-EvaluationofUsability .............................................................................. 58 Create Your Flowchart .................................................................................... 59 Review and Conclusion ................................................................................... 61 Chapter IV. Visual Design .................................................................. 62 Introduction ...................................................................................................... 62 Style ............................................................................................................... 64 Composition and the Web Portfolio ................................................................. 72 Space ............................................................................................................... 73 Type ............................................................................................................... 80 Images and Graphics ....................................................................................... 81 Metaphors and Image Maps ............................................................................ 83 Identity ............................................................................................................. 83 Color Schemes ................................................................................................. 84 NavigationSystems ......................................................................................... 84 Backgrounds .................................................................................................... 85 Pop-Up Windows ............................................................................................ 86 Storyboards ...................................................................................................... 86 Conclusion........................................................................................................ 88 ChapterV.Content,Collection,DevelopmentandManagement .... 89 Introduction ............................................................................................ 89 RevisitingtheContentOutline.................................................................. 90 SettingUptheFolderStructure ............................................................... 91 ImageTypes........................................................................................... 92 PDF ..................................................................................................... 92 WebColor ............................................................................................. 94 Size ..................................................................................................... 96 Resolution .............................................................................................. 97 UsingPhotographytoDevelopContent................................................... 98 ScanningYourWork .............................................................................. 99
- 10. vii TakingScreenCaptures.......................................................................... 99 ImagePreparation,Crop,ScaleandSave ............................................. 100 Text-BasedContent ............................................................................. 102 WebResumesandCVs........................................................................ 102 ProjectDescriptions ............................................................................. 103 ReviewandConclusion......................................................................... 104 Chapter VI. Web Page Design.......................................................... 105 Introduction .................................................................................................... 105 DigitalTools ................................................................................................... 106 Visual Design of Web Screens ...................................................................... 108 Pop-Up Windows .......................................................................................... 109 Text Decisions ............................................................................................... 110 Icons and Logos............................................................................................. 111 Navigation and Buttons .................................................................................. 112 A Word About Slicing and Exporting Pages.................................................. 112 SlicingPages .................................................................................................. 115 Optimizing and Exporting Pages and Graphics .............................................. 116 Review and Conclusion ................................................................................. 121 ChapterVII.WebAuthoring............................................................. 122 Introduction .................................................................................................... 122 WYSIWYG Applications vs. HTML Hand Coding ...................................... 123 Opening Sliced Web Pages from Fireworks.................................................. 124 Tables ............................................................................................................ 125 Creating a Web Page Using Macromedia Dreamweaver............................. 127 Layers ............................................................................................................ 130 A Brief Review ............................................................................................. 137 Links ............................................................................................................. 137 CSS ............................................................................................................. 144 Behaviors ....................................................................................................... 146 Meta Tags and Keywords ............................................................................. 153 Review and Conclusion ................................................................................. 154 ChapterVIII.Motion,GraphicsandMultimediaProduction ......... 157 Introduction .................................................................................................... 157 Overview of Web Multimedia Applications and Design Processes .............. 158 Motion Graphics Defined ............................................................................... 159 Basic Concepts in Macromedia Flash ........................................................... 161 Creating the Text Animation.......................................................................... 166 SymbolEditor ................................................................................................. 171
- 11. viii Preparing Audio in Adobe Audition ............................................................... 180 Placing Audio in Flash ................................................................................... 185 Making Edits to the Flash Files ...................................................................... 191 Conclusion...................................................................................................... 192 ChapterIX.UploadingandTestingYourWebPortfolioSite.......... 193 Introduction .................................................................................................... 193 What You Need to Put Your Portfolio on the Web ...................................... 194 Where You Can Post Your Web Portfolio .................................................... 196 File Transfer Protocol (FTP) ......................................................................... 198 Towards Redesign ......................................................................................... 206 Conclusion...................................................................................................... 207 ChapterX.LaunchandPromotion.................................................... 208 Introduction .................................................................................................... 208 Marketing ....................................................................................................... 209 Review and Conclusion ................................................................................. 212 ChapterXI.Server-SideTechnologies............................................. 213 Introduction .................................................................................................... 213 PHP ............................................................................................................. 214 Active Server Pages (ASP) .......................................................................... 214 ASP.NET ...................................................................................................... 215 CGI ............................................................................................................. 217 Perl ............................................................................................................. 219 ColdFusion ..................................................................................................... 220 Conclusion...................................................................................................... 221 Chapter XII. Cases and Interviews .................................................. 222 Introduction .................................................................................................... 222 Web Portfolio Program Case ........................................................................ 223 Sample E-Portfolio Proposal .......................................................................... 227 Interviews ...................................................................................................... 244 InterviewConclusion ..................................................................................... 250 Case Study of Teacher Web Portfolios ......................................................... 250 Review and Conclusion ................................................................................. 275 ChapterXIII.WebPortfoliosintheInformationSocietyand Future ................................................................................................. 277 Introduction .................................................................................................... 277 The Web Portfolio’s Place in the Information Society .................................. 278 The Web Portfolio as Personal, On-Demand, Mass Media and Advertising... 279
- 12. ix The Web Portfolio in the “Knowledge Worker Age” ................................... 280 The Web Portfolio as the Postmodern Appearance ...................................... 281 The Web Portfolio as Postmodern Narrative Connection ............................. 283 A Web Portfolio Makes You Digital in a Wired World................................. 285 The Web Portfolio as a Personal Knowledge Portal ..................................... 288 The Web Portfolio as a Responsive Environment ......................................... 290 Conclusions .................................................................................................... 291 References ......................................................................................... 293 AbouttheAuthors.............................................................................. 299 Index................................................................................................... 301
- 13. viii Preface Rationale Back in 2002, I spoke at an educational technology conference sponsored by Syllabus magazine. My topic was Web portfolios for students and instruc- tors. I proposed the topic out of a desire to feed my own curiosity regarding the research front. At the time, I was teaching a wide variety of digital art and design courses. One of my core principles when teaching in the digital medium is to have learning objectives that direct students toward creating tangible projects and ultimately harvesting portfolio-level work. It made sense for my students and for me to have evidence that the material presented in the course was put into practice, and students needed a dynamic platform to display their work. To accomplish this, I planned and developed a comprehensive Web portfolio of student work with over 100 student Web portfolios (unfortunately, a year later, the university changed over servers and the online sites were lost). I presented the Web site and explained the process to an audience of 150 technology educators. I opened the cluster session with two questions. When I asked the first, “How many people in this room are provided free Web space from their institution?” almost everyone in the room raised their hand. Then I asked, “How many people are actually taking advantage of it and using it?” Ten hands rose.
- 14. ix I was shocked. These are technology people! Then I realized that they were not behind the curve, they were just reaching the point where they wanted to begin embracing Web portfolio development. That’s when I knew that the information I was about to provide would have residual value for them and their students. After further research, I realized that Web portfolio develop- ment was in its infancy and I needed to devote research efforts into helping more people embrace the Web portfolio. There are some initiatives in place at the college level to implement Web portfolios. One such example is LaGuardia Community College. The school has mandated the development and output of electronic portfolios for all graduating students. The initiative brought in tech- nology and specialists to provide the instructional and infrastructure support that such a project requires. Regardless of mandates, it is the responsibility of the professional educator to integrate Web portfolios into their pedagogy and teaching and learning initiatives. Ultimately, the instructor must pass on the skills and experience in Web portfolio design and development to their stu- dents. The Web Portfolio as an Information Product for Communication The desire to help people succeed with communication was a major influence in my decision to dig into Web portfolios as a research initiative. The Web portfolio is ultimately a platform for communication and the concepts, images, and messages within the Web portfolio are centered on persuasion, a major area in communication studies. The Web portfolio takes on the form of an information product for communication. To develop the information product properly, you must first analyze, retrieve, categorize, and manage your pro- fessional data so that it is refined into information. The refined information is put into a communication context, the Web portfolio. The communication gen- erated from the Web portfolio is shaped by content, design, visual quality, usability, and overall experience visiting the site. The communication should be persuasive with the goal of getting the visitor to act favorably towards the author, whether consciously or subconsciously. I want this book to serve the reader as a tool for helping establish the foundation skills and act as a motiva- tional force.
- 15. x In addition, this book intends to give a well-rounded view of the Web portfo- lio and how it is being used in academic programs and professional scenarios. The skills and experience acquired while creating a Web portfolio must be passed on to others as they begin to explore Web portfolio development. The Focus and Benefits In this text, we focus on several areas inside the realm of the Web portfolio: • The virtues of the Web portfolio; • The professional software tools needed to create a Web portfolio; • The important processes that are needed to execute Web portfolio de- velopment and production; • Beginner and advanced techniques using multimedia and Web authoring tools; and • What electronic/Web portfolios may evolve into as what I call “the postmodern professional appearance” of the information society. We will examine brainstorming, design, and development. The process out- lined in the text takes you through the creation of a Web portfolio. I use ex- amples from my own Web portfolio and others to illustrate key points about design and development. The tools and techniques used in this book can be applied to developing a Web portfolio for a person or an entity in any industry or position. My infinite hope is that this book becomes a results-driven re- source for the teaching and learning of Web portfolio development and that the book becomes a cookbook for getting a Web portfolio created. This will hopefully result in students and instructors creating Web portfolios. Putting together a Web portfolio does require some work, but the work is not without benefits. The learning process that occurs during the Web portfolio design process will give you skills and experiences with technology, self analysis, and Web design. When it comes to making the commitment to creating a Web portfolio, both students and instructors will see tremendous payoffs. For the instructor, the Web portfolio is not a course Web site. It has the same purpose as a student portfolio, to persuade. There are other common benefits shared by students and instructors who create Web portfolios. The Web portfolio gives the author nine worldwide mediums to freely disseminate professional information. A Web portfolio offers the creator a cost effective promotional
- 16. xi tool. The Web portfolio also serves as a dynamic hub for communication, between students, faculty, employers, and academia. The power of multime- dia applications on the Web such as Macromedia Flash allows a rich multime- dia environment for presentations and collaboration. The Web portfolio gives the author an integral advantage in real-world self-promotion. Creating a Web portfolio shows a tangible technology achievement. The Web portfolio and subsequent redesigns throughout your career will yield lifelong learning in Web technology and self promotion. Specifically for instructors, the Web portfolio can act as a testing ground for experimenting with Web technology for peda- gogy, exhibition, program, promotion, collaboration, online learning, and archiving. Here is a brief overview of each chapter. • Chapter I — Introduction to the Web Portfolio This chapter puts the Web portfolio into perspective and describes sev- eral thoughts supporting the Web portfolio as a communication tool for lifelong learning that presents a professional appearance. The chapter explains how the Web portfolio development process is a skill-building experience that has dynamic benefits. • Chapter II — Conceptualization This chapter guides you in developing concepts, images, and messages needed for the Web portfolio. Content collection and evaluation is dis- cussed as the Web portfolio is put into the context of a content manage- ment tool. The chapter gives examples on how to develop the scope documents needed to organize the Web portfolio. The concept state- ment, content list, and content outline are explained and exampled. This chapter represents the first step in the Web portfolio design and devel- opment process. • Chapter III — Information Design This chapter shows you the process of information design for Web port- folios. You get a chance to display navigation and usability in a functional flowchart that is based on the concept and content scope documents that you worked on in Chapter II. The chapter concludes with creation of a flowchart. This chapter represents the second step in the Web portfolio design process. • Chapter IV — Visual Design This chapter explores the visual aspects of creating attractive well-de- signed Web pages. Focus is on basic design principles and establishing
- 17. xii ideas on how you want the Web portfolio pages to look. Color, compo- sition, and typography are explained so that novice designers can be guided on how to create strong pages. The chapter concludes with in- struction and development of story boards that represent rough site de- signs. This chapter represents the third step in the Web portfolio design process. • Chapter V — Content, Collection, Development and Management This chapter provides techniques and strategies for collecting and creat- ing content from existing assets and project files. The chapter gives ad- vice on scanning and photography as well as how to use the resume in the Web portfolio and how to describe projects you present in the Web portfolio. This chapter represents the fourth step in the Web portfolio design process. • Chapter VI — Web Page Design This chapter introduces digital tools in the design of Web page screens and graphics. Discussion includes design of buttons, navigation, and pop- up windows. Coverage includes slicing, optimizing, and exporting Web pages. An easy to use workflow is presented that allows rapid develop- ment of Web pages using visual tools instead of handwritten code. This chapter represents the fifth step in the Web portfolio design process. • Chapter VII — Web Authoring This chapter introduces Web page authoring tools and provides tutorials and workflows for using Macromedia Dreamweaver. Major Web func- tionality issues are covered and appropriate techniques are explained. The chapter goal is to get the Web portfolio to a stage of functionality. This chapter moves you toward a working Web portfolio. • Chapter VIII — Motion, Graphics and Multimedia Production This chapter provides discussion and instruction on using Macromedia Flash for multimedia production and Adobe Audition for audio editing. The tutorials shown guide you in developing essential multimedia com- ponents that can be integrated into the Web portfolio seamlessly. Cover- age includes creating text animation and using audio tracks in Web pages with Macromedia Flash. • Chapter IX — Uploading and Testing Your Web Portfolio Site This chapter provides the last technical step to getting the Web portfolio up on the Internet. Coverage spans the Internet and FTP and discusses how to use Macromedia Dreamweaver for uploading, downloading, and managing site files. The theories of Molich and Nielsen are presented in
- 18. the context of Web portfolio usability. The chapter ends with discussion on redesign and the commitment to continual improvement and content flow in the Web portfolio. • Chapter X — Launch and Promotion Getting the Web portfolio launched and marketed is the topic of this chapter. The Web portfolio marketing process involves traditional and electronic media to be effective. The chapter provides some marketing ideas that can be used in a comprehensive launch plan or individually for small scale promotions. • Chapter XI — Server-Side Technologies This chapter provides the last technical data on server-side technologies and discusses dynamic integration into the Web portfolio. Coverage in- cludes ASP, ASP.net, Coldfusion, PHP, and CGI/Perl. The chapter is intended to give an overview of the technologies and some technical in- formation on versions and updates. I try to provide the latest data, but data is obsolete quickly after deployment when it comes to application technology. • Chapter XII — Cases and Interviews This chapter discusses cases and shares interviews that describe Web portfolio challenges and successes. The focus is on exploring different approaches to Web portfolio development in order to illustrate that there is no one defined way to make a Web portfolio. Creating Web portfolios and Web portfolio programs is a subjective process that centers on the needs and goals of the authors. This chapter provides interviews with educators and applies possible characteristic criteria to Web portfolios across disciplines. • Chapter XIII — Web Portfolios in the Information Society and Future This chapter focuses on theoretical examination of the Web portfolio in the knowledge worker age and the information society. Theorists’ views are synthesized into my theory on the future of the Web portfolio. As technology flattens the world and masses of people continue to get digi- tal for multitude of reasons, the Web portfolio will become a vehicle for responsive communication and connection to the world of work for hire. This chapter concludes the book and I hope it provides food for thought as you continue your expedition toward making Web portfolios a staple part of your public existence. As well, I hope to encourage further re- search on Web portfolios from scholars across disciplines. xiii
- 19. Conclusion During my literature review over the past two years, I noticed that there are no comprehensive textbooks that describe the Web portfolio from a process centered approach and a theoretical approach. Most books describe the Web portfolio in the context of the K-12 teacher and give descriptive instruction on artifact evaluation and standards based development. This makes sense due to the standardization of the Web portfolio into the curriculum of education departments worldwide. I refer to and quote education based portfolio devel- opment texts throughout this book. The clarity of explanation that the educa- tion field has developed in the promotion of Web portfolios is exceptional. I could not provide only the views of educators because I wanted the focus of this book to give a wide angle view of Web portfolios. So, I begin the book by describing the Web portfolio and the critical skills and benefits you get when making one. Then, I discuss concepts and content. Next, I provide a quick study of the important design principles needed to create a Web portfo- lio that has visual presence and shows your work in the best composition possible. Then, focusing on Macromedia tools, I give you professional level tutorials to help you begin the software engagement that you will need to be confident and active in Web portfolio design and development. I provide some thoughts on uploading and launching and lastly there are a wealth of cases and interviews to build your exposure to options for instituting a Web portfolio program in your institution. By taking a pan disciplinary approach to the Web portfolio and its components, I hope to enable you to build your own thoughts and realize your own success with Web portfolios within your institution, your pedagogy, your career, and your life. I encourage scholars and students to work toward advanced research in Web portfolio development that goes beyond technical situations and software ap- plications to dissect the interactions and behaviors that play a role in Web portfolio development, ownership, and presentations. Please enjoy this book and the journey into the world of Web portfolios. xiv
- 20. Acknowledgments xv It takes many people to produce a book. I would like to gratefully acknowl- edge the people who contributed to this project. My appreciation extends to many different groups who were instrumental in helping me to stay the course and overcome the mental, physical, and organizational challenges that exist within any extensive project. I want to thank the extraordinary staff at Idea Group, Inc. for supporting this project from conception to completion. Dr. Mehdi Khosrow-Pour, Renée Davies, Jan Travers, Amanda Appicello, Jennifer Neidig, and Kristin Roth provided me with the guidance to transform my concepts, processes, and research into this book. Throughout the development process, the team at Idea Group worked with me to find and communicate my vision for the Web portfolio and its future in society. Next, I want to thank my colleagues at Canon, USA, Paul Balsamo and Mitch Bardwell, who graciously supported my scholarly endeavors for the past two years. I am especially thankful for the thoughtfulness shown to me by Paul Balsamo. Paul’s propensity towards being a mentor, teacher, and a friend cannot be denied, and those qualities have made many of my interactions with him valuable learning experiences. Other people in my professional life who helped me with this book and career and need to be thanked are my sincere friends John Fekner and Rick Mills. I also need to thank Dr. Frank Brady for his mentoring and help. Lastly, in the professional category, I am appreciative to the Information Studies Doctoral Program faculty members at Long Island University who were my professors this year. Dr. Hildreth, Dr. Chu, Dr. Spaulding, and Dr. Smiraglia taught me research methods and exposed me to theories that I applied in writing this text.
- 21. I want to gratefully acknowledge my family and friends who are truly the most important part of my life. To Steve and Debbie, and Joey and Laura, thanks for being the greatest friends Kim and I could have. Mr. Lawrence, Paulie, Ginger, Brianna, Tori, and Justin have become my immediate family and I am grateful that I have them in my life. I also want to thank the Borowski family and Mrs. Florence Borowski for making me part of the whole family and for giving me the competitive and social outlets I need to have fun and enjoy life. Stolat! On the Arizona side of my heart, sincere thanks to my family; I miss and love you all very much! Thanks to my parents, John and Frances DiMarco, for giving me the opportunities to explore life and the strength to embrace chal- lenges. Thanks to my lovely sister Roseann and her family, my dear niece Gina and her new husband Richard, Corinne, and their boys Tristan and Ricky. And, thanks to my sister Margaret and the Marino family: Jerry, Alexis, and Joey – for always being there for us. I must thank the people who contributed to the writing of this book. David Power contributed to the research and writing of the chapter on server-side technologies. Thanks, Dave, for the help with the book and for becoming a good friend. You have made my experiences at Canon and on the golf course special with your humor, kindness, and insight. Finally on the topic of help with the book, I must acknowledge Kimberly DiMarco, my wife, who con- tributed to the chapter on cases and interviews and provided editing and or- ganizational help throughout the manuscript development. The most important person to me in this world is my wife Kimberly. She truly is my partner, my love, and my life. So, sweetie, thank you for enduring and contributing to this project. Thanks for giving me the support to go for it. And, thanks for working hard to take care of Molly, Emma, and me. This book is dedicated to the memory of Karen Lawrence. We all miss you and love you. John DiMarco xvi
- 22. Introduction to the Web Portfolio 1 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Chapter I Introduction to the WebPortfolio Introduction Thischapterintroducestheconceptoftheportfolioanddefinestheelectronic portfolioandWebportfolio.Inprint,electronicform,andthroughtheWeb,the portfolio has become a standard tool for success in many disciplines. In the future,theWebportfoliowillbepartofthesuccessofpeopleinalldisciplines, notjustthosewhotraditionallyutilizeportfolios,suchasartistsandteachers. The chapter frames the Web portfolio as a tool for persuasion and lifelong learning.Iintroducemanydifferentconcepts,cases,andrelevantinformation fromliteratureandWebreviews.IwanttostimulateyourideasabouttheWeb portfolio so I provide some interesting uses of the Web portfolio within academicsettings. Theobjectivesofthechapteraretodefinetheelectronicportfolioanditsmost utilized format, the Web portfolio. Discussion will focus on how the Web portfolio benefits those who explore its creation. Finally, I explain what to expect from the rest of this text.
- 23. 2 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Background GoldsbyandFazal(2001)citedthatstudentcreatedportfoliosarecommonly “used in teacher preparation programs to demonstrate teaching skills and expertise.Thispracticewasintroducedastestscoresalonelackthecompre- hensivescopeneededforeffectiveassessmentandevaluation,portfolioscan be implemented to interpret/make decisions regarding learning of teaching competencies” (pp. 607-608). The case for the student portfolio in any disciplinecanbemadeonthesamebasis;electronicportfoliosprovideanew level of assessment that cannot be measured by traditional methods such as standardizedtests,applications,andresumes.ElectronicportfoliosandWeb portfoliosprovideassessmentofcompetencywithinadiscipline. Theoldmodelsofprofessionalandpersonalidentity,skillsassessment,and promotionarefadinginwhatDr.StephenCovey(2004)describesastheage of the knowledge worker. In the knowledge worker age, the focus is on intellectualcapitalandexhibitingtheskillsofsomeonewhoistechnologically savvy, but sensitive to the vision and voice of traditional values that enable peopletothrive,suchasmentoring.TheWebportfoliofeedstheemergenceof intellectualcapitalbyprovidingaplatformfortheknowledgeworkertoexhibit their personal and professional qualities. Mentoring will be increased as the Webportfoliobecomesastandardlearningtoolwithinmainstreameducation atalllevels.TeacherswillneedtoteachstudentshowtomakeWebportfolios. Inturn,thesestudentswilllaterbecomementorstoothersintheirliveswhoare creating Web portfolios. Electronic portfolios and Web portfolios feed the processoflifelonglearning. EducatorsonalllevelsneedtoembracetheWebportfolioasatool,regardless of their discipline. As a tool, it should be mastered by teachers and taught to studentswithintheappropriatecontextsoftheirdisciplines.Ifastudentcreates anartportfolio,ithasastructureandpresentationstylethatwillfocusonthe artworkandtheskillsoftheartist.Iftheportfolioisforastudentinthediscipline ofEnglish,theportfolioshouldfocusonthewritingsandliteratureaptitudeof thecreator.InhispersonalcasestudyonWeb-basedportfoliosfortechnology education, Professor Mark E. Sanders (2000) states that: “The information age is not just a cliché-we’re living it! Global networked informationsystemssuchastheWorldWideWebarechangingnearlyevery aspect of our lives. These technologies should be prominent within our curriculum.Often,theyarenot.Web-basedportfoliosofferameaningfulway
- 24. Introduction to the Web Portfolio 3 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. fortechnologystudentstogainathoroughunderstandingofthesecriticalnew technologies beyond mere Web research. Web-based portfolios provide benefitsthatcanneverberealizedwithconventionalportfolios”(p.11). TofollowupProfessorSander’sstatement,itiscriticalforallinstructorsand studentstoembraceWebportfolioexploration,creation,anddevelopmentnot onlyintechnologyandeducationdrivendisciplines,butalsoinalldisciplines. The Web portfolio is growing well beyond the boundaries of education and technologyfieldsandisfindingitswayoutsideofeducationalinstitutionsand intohumanresourcesandothercorporatedirections.Thisideaissupportedby Moonen and Tulner (2004) who reported: Butalsobeyondregulareducation,interestinelectronicportfolio is growing. EIfEL that commencing in May 2004, EIfEL (European Institute for E-Learning) is going to provide all of its Members with an electronic portfolio, the most innovative and fastest growing technology in the field of education, training and human resource development. While most current ePortfolio initiatives happen in primary, secondary, and higher education, the full potential of ePortfolios will be demonstrated through lifelong learning. ‘The ePortfolio will be central to support EIfEL’s members’ continuing professional development, and the provision of certificates of competence to education, training, learning and human resource development professionals. Those certificates will cover all the activities involved in individual, organizationalandcommunitylearning,asdefinedintheforward looking learning standards of competence developed by EIfEL. (p. 7) ThisquoteandthecommitmenttoWebportfoliosfromtheEuropeanInstitute forE-LearningisaprimeexampleoftheinitiationofWebportfoliosoutsideof academiaandintotheinformationsocietyandprophesiestheeventualtrickling ofWebportfoliosintomainstreamsociety.Withthisinmind,theWebportfolio shouldbeviewedasanewmediumforhumanpersuasion,promotion,assess- ment,andcommunication.Thee-portfolioisfindingapplicationinbusiness. Carliner (2005) suggests that portfolios are to be used for job seeking or developmentalpurposes.Thisisextremelyimportantincreativefields,techni- calfields,andeducation.Thesefieldshavedesignatedelectronicportfoliosas
- 25. 4 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. mandatorytoolsforlearning,assessment,andpresentation.Aportfoliocarries orcontainssomethingofvalue.Themetaphoristheprofessionalvalueofthe personororganization.Portfolioshistoricallyhavecarriedmeaningsrootedto financeorart.Clientsoffinancialfirmsholdportfoliosofsecurities.Artistshave sheetboundandloosecontentportfolioswhichplayaduelroleascontainers andpresentationplatformsfortheirartwork.Now,intheinformationsociety, new portfolios have spawned called e-portfolios or electronic portfolios. E- portfolio or electronic portfolio encompasses several application specific portfolioscalledWebportfolio,teacherportfolio,anddigitalportfolio(allare considerede-portfolios).Individuals,teachers,academics,andbusinessescan effectivelyutilizee-portfolios.Thedefinitionsvarybyscholarandcontext,but the purpose for all electronic portfolios is the same, to persuade the user. Web Literature and Review This book project has evolved over years of research, development, and practice. The references section includes monographs as well as Web re- sources that will give a view of the wide range of data referred to during the developmentofthistext.Inthissection,IwouldliketodiscusssomeWebdata IfoundthatisparticularlyrelevanttohelpingyouunderstandtheWebportfolio process. The Web portfolio process is a subjective process with varying objectiveguidelineswhichareparticulartodiscipline,thatdrivethecreative activityofdevelopingaWebportfolio. Onethingthatallacademicresearchandpublishingprojectshaveincommon is that the information that they are based drives and supports the project is emergent.ThedatasurroundingelectronicandWebportfoliosisevolvingat rapid speeds which cause researchers to search for patterns over time. One pattern is evident, more and more institutions and people are embracing electronicportfolioontheWorldWideWeb.AsearchforWebportfolioson Google turned up some interesting cases that focused on academia and commerce.Thisgrowthisfoundnotonlyinacademiaasyoumightexpect,but alsoinbusiness,especiallyhumanresourcedevelopment.Therearenumerous companiessellingWebportfoliostoexecutives,jobseekers,andacademics. Thetrendwillobviouslycontinueastheworldbecomesflatterandmassesof peopleworldwide“becomedigital”.Humanresourcedepartmentsaregeared to rely more and more on Web portfolios to provide a clearer picture of an
- 26. Introduction to the Web Portfolio 5 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. applicantoravendor.TheWebportfoliowillprovideaprofessionalappear- ance for job seekers and companies looking to engage in business. AsIsortedthroughhundredsofportfolios,mygeneralobservationsincluded manypoorlydesignedWebportfoliosthatwerecontentabundant.Ialsofound that the processes in place for asset collection were dominant in most Web portfolio sites in both academic and business categories. I found many sites providingrecommendationsonwhataWebportfolioshouldbe.Reflectionon accomplishmentswasalsoacentralthemecommontoWebportfoliodevelop- mentrecommendations.DesignofWebportfoliositeswasonlydiscussedat academic or business Web resource sites that catered to target markets or audiencesofstudentswhowereartists,designers,andphotographers.Thatis whatIfindinteresting;theartistswhohavedesigntrainingaregettingthedesign directionswhilethepeoplewhoarenotformallytrainedinartanddesignare getting most of their help in content collection. In response to that problem statement, I try to cover all of these bases in this book to help with the major stagesofWebportfoliodevelopmentandtoprovideabroadoverviewofmany approaches and techniques associated with successfully creating a Web portfoliothatfitsyourspecificneedsandgoals.Letuslookatsomedifferent approaches to Web portfolio programs and activities found on the Web. Google’s4,550,000hitsrevealedtomethattheWebportfolioisbecomingan enigmathathasevolvedintoatrendwhichwillgainmomentumandbecome commonpracticeinacademia,professional,andpersonalenvironments.Web portfoliosareintegratedinsocietyoninfantlevelsinmanydisciplines;however activitiesontheWebrevealawealthavaluableresourcesandprogramsthat needtobediscussedinthistext.Herearefewinterestingideasandapproaches thatillustratewhyWebportfoliosareimportantasvehiclesforlifelonglearning, assessment, and marketability and how they are challenging students and facultytorespondtothedemandsofsocietalWebportfoliointegration. Lifelong Learning OnitsWebsite,IfoundthatWoffordCollegeinSouthCarolinahasdeveloped asoundstudentWebportfolioprogramcenteredondevelopingatimelineof activities that align with the students’ academic life span at the college. The developmentprocessoutlinedontheWoffordWebsitegivesstudentsguided approachestocontentdevelopment foracademic,personal,andprofessional categoriesthatspanoverfreshman,sophomore,junior,andsenioryears.The
- 27. 6 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Webportfolioispresentedmetaphoricallyastwocomponents:afilecabinet and a briefcase, the file cabinet being a place for storage of work and the briefcase being a place for presentation of work. The program neatly breaks down a timeline of activities for the students to help them keep on track with the Web portfolio development process through their college career. In addition,theprocessmakesthestudentpracticeWebportfoliodevelopment activitiesfromtheirfreshmenyear,itdoesnotassumethatWebportfolioskills areneedonlyinjuniorandsenioryears.Ifoundthisapproachverythoughtful in helping students succeed because it takes the somewhat takes the respon- sibility out the students hands and transfers it to the university in making the studentportfolioaninstitutionallearningobjectivewithmeasurableoutcomes. Assessment The portfolio has become a premier tool for assessment. Outcomes assess- mentsprovidetangibleevidenceofstudentgrowthandlearning.Manyuniver- sities have adopted Web portfolio programs for the purpose of assessment. AlthoughthebenefitsofWebportfoliosreachfarbeyondassessment,thisuse is a good one because it forces people to embrace the use of Web portfolios. OnesuchexampleisfoundattheUniversityofWisconsinEauClaire.Found onapagegovernedbyacademicaffairsandtheprovost,theuniversityhasin effect a policy document that outlines and is titled “Plan for Assessment of StudentAcademicAchievement,BaccalaureatePortfolioProject”.Thisproject requires students to publish a Web portfolio consisting of 12 of their best papers for projects completed during their coursework at the college. The schoolmusthaverealizedthatcreatingWebportfoliosmightbeatoughsellto students.AlthoughtheWebportfolioswillbenefitthestudentsgreatlyinthe future,theymaybeperceivedasextrawork.Sothecleverprogramadminis- tratoraddedthisstatementtotheacademicpolicy:“Exceptforcompletinga brief cover sheet for each submission, and then uploading the paper to your Webportfolio,youdonothinginadditiontoyourregularcoursework.”Iwas amusedbythatstatementandabitconcerned.Theimportanceofcontentinthe Webportfoliomustgobeyondadozenartifacts.However,theuniversityinthe Web page states that the Web portfolio is beneficial. The premise of the benefits are based on the fact that more and more employers and graduate schools expect graduates to present more than transcripts and letters of recommendation;theyoftenwanttoseespecificexamplesofwhatyouhave
- 28. Introduction to the Web Portfolio 7 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. learnedandlearnedhowtodo.Theyaddthat“keepingaportfolioalsoallows youtomonitoryourprogressanddevelopmentatUW-EauClaire.Youwillbe abletolookbackoveryouracademicworkandliterallyseeyourgrowthand learning”. ThebenefitsoftheWebportfolioneedtobepromotedbeforemakingstudents feelatease.Aportfoliomustbelookedatassomethingofvalueforthestudent notjustanotherassignmenttobecompletedforacoursegrade.However,the university senate created an action in 2001 that has required students to participateinsomesortofassessmentwhichmayinclude“interviews,focus groups,surveys,orportfolios”.TheUniversityofWisconsinprovidesagood exampleofhowWebportfolioshavebeenmandatedineducation.Eventually, Web portfolios will be mandated as tools for success in society. The level of assessmentwillgobeyondacademiaanddeepintoallprofessions. Marketability Theartshaveembracedportfoliosforever.Theabilitytoshowacollectionof workiscriticalinsellingartworktoothers.Intoday’shighlyspecialized,highly competitive professional marketplace, more artists are embracing digital portfolios in addition to high resolution print portfolios. One such field is architecture.AttheUniversityofCaliforniaBerkeley,thearchitecturedepart- ment provides a specialized portfolio class in which students learn about creatingdigitalportfoliosandalloftheirdifferentmediacomponentswhich include print, video, and Web. The course description has a paragraph that doesmorethandefinethecoursework;italsodefinestheinevitableplaceofthe Webportfolioincommerceorprofessionals,notjustthosewithinthearts.This statementgivestheindicationoftheportfolioingeneralmigratingsolelyfrom the hands of artists into the hands of all specialized and non specialized professionals. The use of Web portfolios will eventually trickle down to nonprofessionallevels. TheUCBerkeleyarchitectureportfoliocoursedescriptionreads:“Whilethe printedportfolioconveyshigh-resolutiongraphicalinformation,today’sde- signer needs more than paper and vellum to sell their ideas.” CAD models, digitalphotographs,videoanimations,GISdatabases,andothermultimedia filesarenowreadilyexchangedovertheWeb.Tobecompetitive,architecture students must adapt their printed portfolios to incorporate these new media. ThisArch198group-studyexplorestheintegrationofprint,video,andWeb
- 29. 8 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. mediaintoacoherentandmarketablewhole.” Thisdescriptioncanbeadaptedtofitanyprofessionaldiscipline.Thecentral ideawhichiscriticalhereisthatstudentsmustbegintoexplorethe“integration of print, video, and Web into a coherent and marketable whole”. The integrationofassetsintoacoherentprofessionalnarrativeisacriticalprocess that must be taught and practiced. The importance of the success of the Web portfolioisevidentwhentheultimatedeliverableistrulymarketability.The Webportfoliogivesyoumarketability. Enhancing Professional Techniques We see the use of Web portfolios in every aspect of education. At the 2004 CaliforniaStateUniversityTechnologyandPersonswithDisabilitiesConfer- ence, Birnbaum and Kritikos (2004) described how Web portfolios are used inspecialeducationinseveralcapacities.First,theyareusedbyspecialneeds studentsandsecondlytheyareusedbyspecialeducationteachers.Inthecase ofspecialeducation,theWebportfoliobecomesaplaceforartifactcollection andmanagement.ThisisconsistentwiththeideathattheWebportfolioactsas aportablestorageandpresentationplatformregardlessofindustryspecializa- tion.ThisissupportedbyBirnbaumandKritikos(2004): With few exceptions, students with disabilities can learn to develop Web portfolios as a means of reviewing and understanding their work. The Web portfolio is an excellent means of teaching computer skills to these students. Also, it helps keep track of student progress in an orderly manner. Web portfolios can be used in IEP meetings so the teacher can demonstrate student progress in all areas. These portfolios become legal documents that can be used should due process or court action become necessary. The use of Web portfolios also is acceptable to most states’ boards of education. In fact, several states encourage their use. (p.1) The application of Web portfolios in special education provides strong evi- dencetheWebportfolioisatoolfordevelopingtangibleworkingknowledge and skills. It has now been added to the toolset of the special educator and is not only a viable platform for displaying teachers’ credentials but also has
- 30. Introduction to the Web Portfolio 9 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. becomeatechnologytoolthatisvaluableinavarietyofcriticalindividualized educationplansituations.Theabilitytopublishinformationforpresentationand assessmentthattheWebportfolioprovidesisaddingtotheoverallgrowthof technologyandprofessionaltechniquesinthespecialeducationfield. Faculty and Student Concerns In2000,atTheCouncilforProgramsinTechnicalandScientificCommu- nication (CPTSC) annual conference, Geoffrey Sauer of the University of Washingtondescribedhisuniversity’sproblemsgettingstudentsengagedin Web portfolio development. Sauer (2000) stated: “Interviews revealed that many Web-savvy students felt alienated from campus Internet publishing options — which serve students while they remain students, but eliminate accounts(andremovealumniWebsites)soonaftergraduation.CMUstudents in professional programs are exceptionally career-oriented, and interviews revealedthattheyinsteadplannedtopostponeWebsiteproductionuntilthey hadgraduated,whentheycouldcreate(more)permanentWebsites—which often did not happen” (p.1). This statement is indicative of one of the typical obstacles standing between studentsandWebportfolios.Manyontheuniversityleveldonotunderstand how the Web portfolio says a tool for communication when the student graduates.Thecommunicationoccursbetweenthestudent,hisorherfaculty mentors, his or her colleagues, and most importantly communication with potentialemployers.Withthisinmind,Sauer(2000)presenteddatafromhis experiences at advising students in Carnegie Mellon’s MAPW (Masters in ProfessionalWriting)andCPAD(MastersinCommunicationPlanningand Design)hefoundthatthereareseveralrevisionsthatneededtobemadetothe processes behind the creation of student Web portfolios. Sauer (2000) suggests that specific communication elements be initiated in Web portfolios. They include making Web portfolios act as “succinct over- views” which are guided guide the user using narrative devices. The idea of narrative devices becomes clearer when students understand that the Web portfolioisaplacetotelltheirstorytotheWebcommunity.Thenarrativemust take on a professional tone that is persuasive and sells. Sauer(2000)alsowarnsofinstancesthatcauseproblemssuchasstudentswho receivee-mailquestionsaboutprograms.Herecommendsthatsomeformal educationforstudentsabouthowtofieldquestionsabouttheprogrammightbe
- 31. 10 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. ausefuladditiontoprogramswhichWebportfolios.Thisisaveryvalidconcern thatmustbelookedatwithinallacademicWebportfolioprograms.Although thenotionofeducatingallstudentswithWebportfoliosonhowtohandleother studentsinquirieswouldbehighlydifficultandunfeasiblesimplyduetothemass quantity of portfolios, students can be taught in Web portfolio classes to forward inquiries to other students to the appropriate college office Web contactaddress.AnotherproblemthatSauerhighlightswhichsurroundsWeb portfolios is the actual time and effort that needs to be devoted to Web portfolios. It is critical to understand how the Web portfolio will impact the workload of the student and the professor. Sauer states: “The cost of such as systemisalmostentirelyinlabor.Hardwareandsoftwaretorunahigh-quality Web site are quite inexpensive. But it is helpful to consider how to balance studentandfacultyeffortsintosuchasystem”(Sauer,2000,p.1).Sauerbrings up an extremely important concern surrounding successful and failed Web portfolioprogramswithinacademia.Theconcernsofmanyfacultymembers surroundingtheirabsencefromWebportfolioengagementisthatitis“toomuch workandIdonothavetime.”ThisisevidentwhencheckingsomeNewYork collegesandfindinglessthan50percentoffacultyhadaWebportfoliooreven a Web page. With other scholarship issues looming, courses loads, and publicationsneedingtobewritten,manyscholarsleavetheWebportfoliofor thebottomoftheheap.Evenincaseswherethestudentsofthedisciplineneed anelectronicportfolioforgraduation,facultymembersarestillnotinvolvedin creating their own Web portfolio. Streamlining and simplifying the Web portfolioprocesswillhelpbuildfacultyinvolvementinWebportfoliodevelop- ment. Who Needs a Web Portfolio? Everyonewhoisactiveintheinformationsociety,especiallythosewhoneed tofindworkforhire,shouldhaveaworkingWebportfolio.Webportfoliosare foreveryone,and,inthefuture,everyonewillwantorneedone.Regardlessof skillsetandspecialty,theWebportfoliowillcometocontributetodefininga person’spublicandprofessionalappearance.Thisappearancewillbedirectly involvedincommunicationandcommerce.TheWebportfoliowillbeaconduit and persuasion tool for getting work for hire and therefore will be common among knowledge workers and businesses of all types. An individual or
- 32. Introduction to the Web Portfolio 11 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. business that needs to present experience level, skill set, accomplishments, project aptitude, and technology expertise needs a Web portfolio. A Web portfolio is a Web site, true, but it is also a targeted marketing project. This gives the project a different scope and goals. TheWebportfolioisamarketingsitethatpromotesanindividualorbusiness to potential and existing clients, and the rest of the wired world. For an individual,thepersonalWebportfolioprovidesapersonalmarketingtoolto helpsecureajob,promotion,chronicleachievements,disseminateinformation, ortoassistingainingfreelancework.ApersonalWebportfoliomayincludea varietyofcontentspecificallybasedonthebackgroundandgoalsoftheperson. More support on the development of personal Web portfolios comes from Kimball (2003), who titles his definition of the personal Web portfolio the “professionalmarketingWebportfolio”.Kimball(2003)suggeststhatwithin the job market, Web portfolios can do at least three things which include “demonstratingtoemployersthatyouhavethequalitiesandskillstheywant”, demonstratingthatyouhave“technicalskillsthatwillbeuseful”(pp.152-153), andheaddstheWebportfolio“emphasizesyourcommunicationskills”.He adds: after all, the Web is primarily a communication medium — and many employers cite communication skills as one of the most sought after qualities in a new employee” (p. 153). Finally, Kimball considers the fact that there are no predefined standards for professional marketing Web portfolio, he concludes that the author should “use all your professional skills and instincts to speculate on what qualities and materials of professional audience might like to see in a Web portfolio, then build a Web portfolio that fits those expectations. (Kimball, 2003, p.153) Professionals in any field can have a Web portfolio. However, it is quite important for educators to have Web portfolios. Web portfolios are so importantthatstateuniversitysystemsandschooldistrictsacrosstheworldare researching,developing,andteachingWebportfoliocourses.Webportfolios have become viable assessment tools in elementary and higher education administration(Kilbane&Milman,2003).Academiahasbeeninvestigating and massaging Web portfolios for the past decade or so. Limited research
- 33. 12 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. alongwithanumberofsuccessful,semisuccessful,andunsuccessfulprograms andinitiativeshavebeenpartoftheWebportfolioshistory. Defining the Electronic Portfolio and the Web Portfolio I will provide my synthesized definition of the electronic portfolio and Web portfolioinitiallytoprovideabackgroundfortherestofthistext. Mydefinition isspecifictomeetingtheneedsofalldisciplines,eventhosethatsitoutsidethe academic realm. In addition, the definition I provide is consistent with my thoughtsonthefutureoftheWebportfoliowithinsocietyandmoreimportantly, howelectronicportfolioswillfitwithintheinformationsocietyofthefuture.This definition is based on field experience and meta analysis of past and current trends in electronic portfolio development. Literature review will provide additionaldefinitionsthatestablishaframeworkforelectronicportfolios.You will find a multitude of variations on how an electronic and Web portfolio is defined, most of which has content as a central piece of the definition. TodefinetheWebportfolio,wemustfirstdefinethee-portfolio,alsoknown astheelectronicportfolio.Theelectronicportfolioisacollectionofartifacts, project samples, cases, and focused content presenting the messages and professional and public appearance of an individual or a company through electronicmedia(Web,DVD,CD-ROM).Thee-portfolioprovidesevidence ofskills,experience,andlearning.IdefinetheWebportfolioas:anelectronic portfoliothatisanInternetdelivered,interactive,masscommunicationusedto persuadeusers.TheWebisthecontainerfordisplayingworkofalltypes.Much liketheartist’svinylportfoliobookisusedtodisplaypaintingsanddrawings, theWebportfolioshowsoffworkinanydiscipline.TheWebportfoliocarries messagesfromthecompanyorindividualtothecyberpublicandnaturalpublic. When Web portfolios are created they are promoted by the creator, either companyorindividual,byallthecommonmethodsofadvertisingandmarket- ing,themostbasicbeingwordofmouth.Webportfoliosgetseeninmostcases becausepeoplearetoldtogotothemontheInternet.AWebportfolioaddress atop a resume or a corporate letterhead invites the reader the further their investmentincommunicatingwiththesender.Whenthereadervisits,heorshe willbeexposedtomessagesandappearance.Themessagesarefocusedona favorable reaction. Favorable reaction might be a job, a purchase order, a
- 34. Introduction to the Web Portfolio 13 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. gallery venue commitment, or simply a compliment on a site well done. The Webportfolioisamultimediavehiclethatallowsacompanyorindividualto showtheirworkwithoutspatialandgeographicalboundaries.Thegoalofthe Webportfolioistoseekapositiveactionfromusers,possiblyresultinginwork forhire. The Web Portfolio as the Preferred Electronic Portfolio E-portfolios are new media products and are delivered using a variety of electronicmedia.Currente-portfoliodeliverymethodsareInternet,DVD,and CD-ROM.However,DVDsandCD-ROMsarenotavailabletotheworldas istheWebportfolio.ThedeliveryplatformoftheWebportfolio,theInternet, hasthemosteffectivepotentialfordevelopinganddeliveringthefinestportfolio experiencetothemostpeople.BeingnetworkedtothroughtheInternetallows the Web portfolio to become a cyber appearance that helps bring people to a higherlevelof“digitalcomfort”.Digitalcomfortcomeswithknowingthatyou are part of the opportunities available in the digital world and information society. The Web portfolio is always ready to promote you. The Web portfolio is the most widely used new media format for electronic portfolios. This is due to cost, scalability, and reach. A Web portfolio is a collectionofworkthatispresentedintheformofaWebsite.Thistextfocuses on the Web portfolio as the preferred method for e-portfolio delivery. Variable Definitions of the Electronic Portfolio Scholarlydefinitionsoftheelectronicportfoliovaryfromdisciplinetodisci- pline.Takingtheresearchmethodologyofusingameta-analysisofresearch articles and monographs, I realized when attempting to synthesize my own definitionsoftheelectronicportfolioandtheWebportfoliothatatruedefinition would be hard to establish. GaryGreenberg,theexecutivedirectorforITteachingandresearchinitiatives anddirectoroftheCollaboratoryProjectatNorthwesternUniversityprovides adefinitionthatextendsbeyondtraditionaldefinitions.Thisdefinitionisonethat
- 35. 14 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Ifeelbeginstoexplaintheessenceofwhatwewanttheelectronicportfolioto become.Greenberg(2004)writes: Ideally, all work in an electronic portfolio not only is digital but also is available on the Internet. Yet even though materials may be visible on the Web, the e-portfolio is not simply a personal home page with links to examples of work. In addition, unlike a typical application program, such as word processing, an e- portfolio is a network application that provides the author with administrative functions for managing and organizing work (files) created with different applications and for controlling who can see the work and who can discuss the work (access). And unlike a course management system, in which instructors manage assignments and materials within the framework of a specificcourse,e-portfoliosarecontrolledbytheauthor(student), who manages his or her work across multiple courses throughout an academic career. (pp. 28-29) This definition presents several items for closer analysis. First, Greenberg makes a distinction that the electronic portfolio is not only digital but also availableontheInternet.Developmentoftheelectronicportfolioanddelivery aretypicallycenteredonusingtheWeb.WithusingtheInternetfordelivery, electronicportfoliosbecomelesseffectiveandmorepronetofailure.Thenext point that Greenberg makes surrounds the electronic portfolio as a not just a home page. He is correct in that statement. Any portfolio, in general terms needs to be filled with work samples and evidence of growth and learning throughoutsomeone’scareer.Howcanthatamountofinformationbedeliv- eredeffectivelyinonlyonepage?Itcannot.Anelectronicportfoliomustbea narrativethatgivesaperspectivetotheuser.Theperspectiveofthevieweris shapedbythecontentandstructureoftheWebportfolio.Greenbergcontinues to describe the e-portfolio as having a network function. The Web portfolio specificallyisacontentcontainerthatallowsdynamicstoragecapabilitiesas wellasobviousdeliveryfeatures.Thecontentmanagementconceptthatthe WebportfolioprovidesisgoingtobeessentialtobringingWebportfoliosto everyoneacrossjobsanddisciplines.ThecreatorofaWebportfoliowillgain technicalskillsbyactingasanadministratorforhisorherownWebsitewhich willbetheirelectronicportfolio.
- 36. Introduction to the Web Portfolio 15 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Finally,Greenbergaffirmsthattheelectronicportfolioisnotacoursemanage- ment system such as Blackboard or WebCT. To add to this, the electronic portfolioallowsastudenttomanagehisorherworkthroughoutanacademic and a professional career. The use of the electronic portfolio has greater potential for adding value to someone’s professional life after he or she graduate more so than as students. The grass roots of how to create an electronicportfolioisfosteredwithinalearningenvironment.Or,theskillsare gainedthroughselflearning.Theelectronicportfolioprovidesopportunityfor both.Theelectronicportfolioisatoolforlifelonglearningandwillbepartof learningandgrowingthroughoutcollegeandprofessionallife.Havingtogather materialsandcreateWebpagesprovidestheauthoroftheelectronicportfolio alearningexperiencethatwillcarryoverintohisorherprofessionalskillset. As network computers and the Internet become standards in every aspect of our lives, the skills and abilities needed to present creative and intellectual capitalwillbecomeparamounttoone’ssuccessinatechnologicalmarketplace. Greenberg(2004)definesthreetypesofelectronicportfolios.Thedefinitions of the three are based on the assumed goals of the author. He believes this arrangementcanbehelpfulindevelopingcontentmanagementstructureina simplifiedmanner.Thestructureofeachisbasedonwhentheworkisorganized relativetowhentheworkiscreated.Greenbergbelievestheseresultsinthree types of e-portfolios (p. 29): 1. Theshowcasee-portfolio:organizationoccursaftertheworkhasbeen created. 2. The structured e-portfolio:a predefined organization exists for work that is yet to be created. 3. Thelearninge-portfolio:organizationoftheworkevolvesasthework is created. IfindthatthethreetypesofportfoliosthatGreenbergdefinesareeffectivein establishingtypesofportfoliosbasedoncontent.Thispointcanbearguedby sayingthatamoreappropriatestructurewouldfocustheelectronicportfolio specificallytotheaudienceestablishedbytheauthor.Theelectronicportfolio mustbeuserandaudiencecentered.IthinkGreenberg’se-portfoliotypesneed tobelookedatasfittingintoanauthor-baseddefinitionofelectronicportfolio types. Looking at author types, we look at a broader approach to classifying
- 37. 16 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. electronicportfolios.SpecificallyreferringtotheWeb-basedelectronicport- folio, I feel that three types of portfolios can be defined: 1. ThepersonalWebportfolioforstudentsorindividuals 2. The teacher Web portfolio 3. The business Web portfolio Anindividualownseachoftheseportfoliotypes.Throughoutthelifespanofthe Webportfolio,theauthorwillgothroughperiodsofdevelopmentthatalignwith thethreetypesofelectronicportfoliosdescribedbyGreenberg.Theprocess begins with learning, then structure, then showcase and then it repeats. The typesofportfoliosdefinedbyGreenbergarestagesoftheelectronicandWeb portfolio process. The learning stage exists as work is created, the structure stageexistsafterworkiscreatedandcontentmanagementandorganizationis needed to put information into a hierarchal and narrative form. Showcase happens after everything in the process of conceptualization, design, and developmentiscomplete.Thewholeprocessofelectronicportfoliodevelop- mentreliesonworkdevelopment.TheWebportfoliobecomesacatalystfor creativethinkingandtechnicalskillsthattrulyexemplifieshowsomeoneoran organizationlearnstostructuresandshowcasestheirwork. Types of Web Portfolios IhavecategorizeddifferentapplicationsofWebportfoliosthatexploredinthis text.TheyincludepersonalWebportfolioswhichcanbeusedbystudents,job seekers, and professionals in any field. Also discussed are teacher Web portfolios which are used by K-12 teachers, faculty, and staff in educational institutions.TheusesofWebportfoliosineducationarewidelyresearched.I overviewtechniquesandapproachesforeducatorstousewhendevelopingan electronicteacherportfoliothatcanbeenhancedbyspecificcurriculumand developmenttechniquesofferedineducationbasede-portfoliotexts.Finally, business Web portfolios are examined from the view point of persuasive communication and information design and management for a freelancer. Organizationalportfoliosarealargertopicthatisnotdenselycoveredinthis
- 38. Introduction to the Web Portfolio 17 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. text. However, the principles and processes behind the creation of the Web portfoliocanbeappliedtomanybusinessapplications. Print Portfolios, Digital Portfolios, Electronic Portfolios, and Web Portfolios Compared Theobjectivesoftheprintportfolio,digitalportfolio,electronicportfolio,and theWebportfolioaretopresentexperiencelevel,skillset,accomplishments, projectaptitude,andmediaexpertisewiththegoalofinitiatingpositiveaction from the user, viewer, and client. All portfolios help validate someone’s professional appearance. Key ingredients to successful portfolios in any mediumareorganization,clarity,andconsistency.Editorialstyleandtextlayout shouldconformtoastandardizedstructure.Theportfoliomustcommunicate effectively;thereforewecannotstrayfromtheprinciplesofgoodeditorialand visualdesign.Contentquality,organization,anddesignarecriticaltotheoverall successoftheportfolio,regardlessofmedium.Mostimportantly,theportfolio providesapersonalizedchannelofpresentationfortheownertocommunicate strengthsthatmaypersuadetheviewertoactpositivelytowardstheauthor.The resultcanbeacareerpromotion,asaleofprofessionalwork,aninvitationto exhibit,ortheacquisitionofajob.Letuscloserexaminethedifferenttypesof presentationportfoliosusedtogaincredibilityandacquireworkforhire. The print portfolio gets delivered on paper. The goal of the print portfolio as withallportfoliosistosell.Artistshavelongreveredtheuseofportfoliosfor showingoffandmarketingtheirworks.Ideally,thepresentationoftheportfolio yieldsanopportunitytosellworkorgetworkforhire.Printportfoliosyielded by graphic designers, brag books offered by sales people, and dossiers presentedbyexecutivesareallbuilttosell.Theseitemsareformsofpersonal marketing.Theadvantageoftheprintportfolioisthatitiseasilycontrolled;no technicalerrorsorperformanceissueshere.Also,printallowsthehighestlevel ofdataquality.Outputcanbelargeandfullcolor,notconformingtoabrowser window or a viewers computer speed. The digital portfolio gets delivered digitally. Synonymous with electronic portfolio and now more and more delivered as a Web portfolio, digital portfoliosdeliverworkinteractivelythroughthedigitalmediumofacomputer orDVDplayer.Thedigitalportfoliocanbedeliveredviaanydigitalmedium includingCD-ROM,DVD,ortheInternet.TheproblemwithCD-ROMand DVDbasedportfoliosisthattheyneeddistributionchannelstobeseenandthey
- 39. 18 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. canbeflawedinperformanceduetoamultitudeofplatformsandapplications running in the world. Also, removable media portfolios are expensive to produce because they need to be recreated when things change. When recreationoccurs,newmediamustbeburned,thusincurringaddedcoststothe portfolioprocess. Theworstproblemadigitalportfoliocanhaveisfailuretoinitializeandoperate. Thesecondworstproblemisperformancethatisslowandvisuallypoor.The non-networkedportfoliosaresusceptibletovariousfailures.Thisfactcauses metoembraceWebportfoliosoverCDandDVDportfolioswhenapplicable. Video,film,andhighendgaming/multimediaportfoliosneedtobedelivered completely using DVD media. However the Web can be used to show off snippetsoffilmandmoviesandcanestablishdynamicrelationshipswiththe audience beyond that of piece of removable media. A Web portfolio for a programmer,designer,writer,teacher,musician,ortheoristsharestheobjec- tiveofallportfoliosinsellingsomeoneorsomethingtosomebodyandcreating anappearance.Allportfoliosshouldbebuilttomarketandsellthevalueofthe content and the virtues of the creator. The Web portfolio is a great media to deliver a portfolio due to its dynamic natureandextensivereach.Asyougrow,yourWebportfoliowillgrow.This dynamic nature puts the Web portfolio ahead of the other mediums in price, flexibility,scalability,reach,andoverallauthorreturnoninvestment. Personal Web Portfolios for Students and Individuals ApersonalWebportfolioservesasaself-selected,selfdevelopedmultimedia presentation of work that offers multiple views of a person’s learning and development.Drivenbycreativeexpressionandcollegelearningexperiences, Webportfoliosprovidetangibleevidenceofgrowthandaccomplishment.Web portfolios also allow students to present research papers, essays, and aca- demicprojectsthatincorporatetext,images,audio,andvideo.Thedisciplines ofcomputerscience,art,andeducationhaveembracedWebportfoliodevel- opment most frequently. However, students in all disciplines need a Web portfoliowhentheyleavecollege. Aftercollege,theWebportfoliocanbecomeapersonalhubforprofessional communicationtopotentialemployersandthepublic.Itcanserveasaplatform forpublishingcareeraccomplishmentsandpresentingskillsandexperiences throughcontent.
- 40. Introduction to the Web Portfolio 19 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Teacher Web Portfolios Academic literature today is still lacking in a grounded definition of the electronicportfolioasaninformationproductacrossdisciplines.Disciplines suchaseducationhavedefinedtheelectronicwithintheirowncontexts.They have done this successfully partly based on the fact that discipline is has implementedstandardsthathelpguidecontent.Thiscontentisspecifictothe fieldandtherefore,fitsaroundthestandardsimplementedwithinpedagogyand practice. The electronic portfolio in education is regarded as an electronic teachingportfolio.Theteachingportfolioisonevarietyofelectronicportfolios. KilbaneandMilman(2003)describetheteachingportfolioas“aspecialtype of presentation portfolio that demonstrates the professional competence of anyone who engages in the active teaching at any academic level” (p. 6). Kilbane and Milman also reference the fact that the electronic portfolios, especiallythoseontheWebarebecomingmoreandmorepopularwithcollege instructors. As well, the teaching portfolio is not a tool specifically for instructionalworkbut,isgearedtowardsdisplayingevidenceofprofessional competence.Howeverinthefuture,theresponsiveenvironmentprovidedby InternetWebapplicationswillallowmoreinteractionandultimatelyenhance thevalueoftheWebportfolioasnotonlyadisplayplatformbutalsoatoolfor the educator, inside and outside of the classroom. An educator can use the Web portfolio to present student work, provide a forumforcredentialsandaccomplishments,andtoestablishalifelonglearning projectthatwillbedynamicthroughouttheircareer.Thisbecomesimportant to the educator when approaching tenure and promotion. The Web portfolio canpresentmanyitemsincludingavita,syllabi,studentwork,lessonplans,and educationalphilosophystatements.Alongerlistofartifactsusedontheteacher Webportfoliowillbelistedlaterinthetext. Web Portfolios for Business For a business, the Web portfolio demonstrates the company’s ability to succeedinprovidingprojectresultsanddeliverables.AbusinessWebportfolio may contain sample work, product profiles, client case studies, process samples,ortestimonials.InthebusinessWebportfolio,thecontentisadjusted tofitthemarketingcommunicationgoalsofthebusiness.Mostimportantly,
- 41. 20 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. companiesthatperformdesign,development,programming,orcreativeoutput shouldhaveaWebportfoliotomarketandpromotetheircorporatephilosophy and their professional project work. The Web portfolio can be a separate appended micro-site. The Web portfolio does not replace a corporate site; it enhancesitbyisolatingthemostimportantworkandhighlightingit. The business context of the Web portfolio is expanded to include the hybrid individualwhoneedsaWebportfoliotoactasaninstrumentforbothbusiness and personal use — the freelancer. The freelancer may or may not be a corporation or a regular employee of an organization. The freelancer is someone who needs work for hire. They fit into the personal Web portfolio author category and the business Web portfolio category. A freelancer is someonewhoneedscredibilityandpromotionthroughouthisorherlifecycles tocontinuesurviving,whetherfinanciallyorprofessionally.TheWebportfolio iscriticaltothepersonalbusinesspracticesofthefreelancer.TheWebportfolio evenstheplayingfieldforthefreelancer.Itprovidesamassmediavehicleata cheap price. This allows the freelancer to compete with the larger company from a digital marketing perspective. The Web portfolio takes on a larger perspectiveforthefreelancerbecauseitcanprovideanarrativeconnectionthat is lost by large, sterile corporate sites that seem to have insincere looks and feels.Mostlargecorporatesitesaresuitedfore-commerce,technicalsupport, orpureinformationdelivery.Thefreelancer’sWebportfoliositeconcentrates onpromotionandidentity,notforuseasacommercialapplicationsuchaswith most corporate sites. The Web Portfolio Fosters Valuable Learning Experiences TheWebportfolioconceptualization,design,anddevelopmentprocessescall uponhardandsoftskillsthatarerequiredtoaccomplisheachtask.Hierarchal taskanalysisofWebportfoliocreationinvolvesprovidingsequentialinforma- tion from the ground up. Although creating the Web portfolio requires a systematic approach to concept development all the way through to final output,Bloom’sTaxonomyofCognitiveDomainillustratesthesamelearning outcomesthatfitintotheWebportfolioprocessthroughitscourse. Bloomidentifiedsixlevelswithinthecognitivedomain,fromthesimplerecall orrecognitionoffacts,asthelowestlevel,throughincreasinglymorecomplex
- 42. Introduction to the Web Portfolio 21 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. andabstractmentallevels,tothehighestorderwhichisclassifiedasevaluation. A description of the six levels — knowledge, comprehension, application, analysis, synthesis, and evaluation — and how they represent intellectual activityandlearningduringtheWebportfolioprocessarelisted(Bloom,1956, p. 1). According to Bloom, knowledge is defined as remembering of previously learnedmaterial.Thismayinvolvetherecallofawiderangeofmaterial,from specificfactstocompletetheories,butallthatisrequiredisthebringingtomind of the appropriate information. The appropriate information for the Web portfolioconstitutesanythingdeemedasvaluableinthequestforworkforhire andpromotingonesappearance.Bloomstatedthatknowledgerepresentsthe lowestleveloflearningoutcomesinthecognitivedomain.Atthislevel,theWeb portfoliocreatormustrememberwhattheyhavedoneandaccomplishedinthe past.Then,withouthesitation,theymustwritedownalistofthethingsthatthey willeventuallyneedtostarttohuntandgather.Acollectionofartifactsmustbe namedinsomewayandlistedloosely,withoutclassification. Comprehensionisdefinedastheabilitytograspthemeaningofmaterial.This may be shown by translating material from one form to another (printed materialstoWebportfoliopages),byinterpretingmaterial(explainingqualifi- cationsthroughaWebportfolio),andbyestimatingfuturetrends(developing theWebportfolioasaperceivedstatussymbolandprofessionalcredential). These learning outcomes go one step beyond the simple remembering of material. The Web portfolio creator must begin to review and classify the materialsfoundintheknowledgestagetobegintounderstandifandhowthey may be used to persuade some and to translate into a positive appearance to allpublics. Application refers to the ability to use learned material in new and concrete situations.Thismayincludetheapplicationofsuchthingsasrules,methods, concepts,principles,laws,andtheories.Theapplicationofwhatsomeonehas learned and has experienced will be intertwined into their Web portfolio. Applicationofskillsetsandexpertisewillbeevidentinthedesignandcontent of someone’s Web portfolio. Poems posted will illustrate the application of writing.Criticalanalysis,essays,andpublishedresearchpaperspostedtothe Web portfolio will exhibit ideas backed by theoretical perspective and dis- course. This area requires a higher level of understanding than those under comprehension because it involves the learner to demonstrate their abilities throughcontentontheWebportfolio.And,toaddtolearningoutcomesofthe applicationlevel,Webportfoliodesignandthetechnicalskillsusedarelearned
- 43. 22 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. andrelearnedthroughouttheWebportfoliocycle.Skillsandproblemsolving areputinapplicationagainandagainastheWebportfoliodesignandredesign process becomes iterative through practice, but fresh in its harvest of new learning for future edits. Foundation skills in developing the Web portfolio become intuitive and new learning occurs due to the introduction of new findings, new techniques, new requirements, new software, new delivery methods, new media, and new focus on what is perceived as important and persuasivetothepublic. Analysis refers to the ability to break down the Web portfolio into its componentpartssothatitsorganizationalstructuremaybeunderstood.This includes the identification of the Web portfolio categories, analysis of the relationshipsbetweenWebportfoliocategories,andrecognitionoftheorga- nizationalprinciplesinvolvedinpresentingtheWebportfolioasahierarchical structurethatallowsnonlinearnavigationforunrestrictedusability.Learning outcomes here represent a higher intellectual level than comprehension and applicationbecausetheyrequireanunderstandingofboththecontentandthe structural form of the Web portfolio and how it has been conjoined into an electronicnarrativethatinforms,entertains,andpersuadesallatthesametime. Analysis of the audience and how they will perceive the Web portfolio also takesplaceandhashighvalueasalearningoutcome.Analysis,thelearningand practice of it during the creation of the Web portfolio will guide appropriate contentdiscriminationwhilemaintainingahealthylevelofexperimentations withoutcompromisingtheeffectivenessoftheWebportfolioongainingwork forhireandilluminatingapositiveelectronicappearance.Appraisalofintegrity, continuity, and appropriateness for the Web portfolios of others will also be guidedbytheabilitytocompare,contrast,andcriticizetheirworkandnarrative againstyourown.TheanalysisofothersWebportfoliocanbebeneficialand feed a curiosity about credibility and interests, or maybe simply just to gain inspirationforthenextWebportfolioredesign. SynthesisreferstotheabilitytoputthepartsoftheWebportfoliotogetherto form a new whole. This may involve the production of wholly new creative content,adetailedsiteplanthatencompassesgoalsforgainingworkforhire andestablishinganidentitywhichrequirethinkingaboutandrecordingasetof abstractrelationsthatactasaschemeforclassifyinginformationportrayedin the Web portfolio. Specific learning outcomes in this area stress creative behaviors,withmajoremphasisontheformulationofnewpatternsorstructures forpresentingthepersonalnarrativeusingtheWebportfolio.Synthesislearning occursintheWebportfoliodevelopmentprocessastheknowledge,compre-
- 44. Introduction to the Web Portfolio 23 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. hension,application,andanalysisofcontentissynthesizedintoaworking,live WebportfolioavailabletoallontheInternet.Thepartsareconnectedtoform acommunicationthathasmanymessagesandplentyofcontenttoillustrateand reinforcethosemessages.ThemessagesintheWebportfoliothataremeantto persuade the user into acting favorably. If the parts are not synthesized effectively,thewrongmessagesarecommunicated.Anexampleofthismight betheuserassumestheWebportfolioauthorhasbadtechnicalskillsbecause theWebportfoliodoesnotperformproperlyfromtheuser’spointofview.Bad performancesendsanonverbalornoncontentmessagethatmayinfluencethe user in a negative fashion. Thus, retarding the possibility of a work for hire opportunityandcontributingtothetarnishingofapositivepublicappearance. The Web portfolio must be managed in order to keep it running efficiently. Whenefficiencyhalts,userperceptionandconfidencebecomedamaged. Evaluation is concerned with the ability to judge the value of Web portfolio assets (artwork, reports, letters, journals, photos) for the given purpose and audience. The purpose of the Web portfolio is to persuade the user. The audienceismadeofapopulationofuserswhohaveinterestintheWebportfolio forentertainment,information,orcommercereasons.Maybetheuserwantsto hirethecreatoroftheWebportfolioforaworkassignment.Judgmentsmade oncontentinclusion,message,andoveralldesignaretobebasedondefinite criteriathatneedstobeaddressedwhencreatingaWebportfolio.Thesemay beinternalcriteriawhichincludepersonalartifactsthoughtofasimportantand valuable.Anditwillincludeexternalcriteriawhichfocusonrelevancetothe purpose of getting work for hire and promoting a positive professional appearancetotheworldandthelocalcommunitiesthatweoccupy.Aconcrete exampleofthiswouldbetheWebportfolioofakindergartenschoolteacher. HeorshemustdeterminetheappropriatecontentofherWebportfolio,without sacrificingpersonalidentityandwithoutcompromisingherprofessionalap- pearanceorpositionasaneducatorwithinacommunity.Learningoutcomesin thisareaarehighestinthecognitivehierarchybecausetheycontainelementsof all the other categories, plus conscious value judgments about the Web portfoliobasedonclearlydefinedcriteriondictatedbypersonalvalues,societal norms,andprofessionalstandards.TheWebportfoliocreator/ownermustbe abletopredicttheperceptionsthattheWebportfoliowillillicit.And,heorshe mustbepreparedtodefendorarguetheintellectualandprofessionalvalueof theWebportfolio,thecredibilityoftheworksources,andsubjectmatterofthe content.TheWebportfolioauthormustcontinuallyevaluatethestandardsof thetimes,ethically,legally,andprofessionallyinordertoappraisethecompli-
- 45. 24 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. anceoftheWebportfolio.TheWebportfolioisdynamicincontentandmust beupdatedregularlytobeacurrentrepresentationofthelifelonglearningand professionalgrowthoftheauthor. Throughout the Web portfolio life cycle, evaluation and enhancement are constantswhichtheauthorstruggleswithpersonally,professionally,intellectu- ally,andphysically.TheseconstantsarefocalpointswhichengagetheWeb portfoliocreator/authorinnewlearningactivitieswithinthesixlevelsofthe cognitivedomainastheorizedbyBloomin1956. Skills Fostered by the Web Portfolio Process The very idea of creating a Web portfolio makes people cringe. This is especially evident in those who do not embrace technology and the Internet. But the Web portfolio and the creation process that is needed to effectively create one is a lifelong learning, skill building process in which the creator comesawaywithmorethantechnicalskills,butalsopersonalreflectionsthat canbesharedandmayevolveintoagreateridea.Theabilitytotakeapersonal inventoryofcreativecontentandsoftwareanddesignskillsisinvaluableinthe lifelonglearningprocess.Youcantakeastepbackandthinkaboutthethings youknowandcomparethemtothethingsyouwanttoknowinordertodesign and post a Web portfolio. The skills needed and acquired by creating a Web portfolio are extensive. When you really get down to examining the Web portfolioanditsbenefitsinacriticalfashion,yourealizethattheWebportfolio development process helps develop the central skills needed by the new millenniumknowledgeworker;thatistosayanyonewhohopestosucceedin thenewmillenniumbysecuringandretainingmeaningfulwork-for-hiresitua- tions. CreatingaWebportfolioismostdefinitely,anintenselearningexperience.The experiencebringsthecreatorthroughemotionalhighsandlowswitheachnew successandfailure.Alongtheway,theWebportfoliolearningexperiencewill enableyougainamassiveamountofinformation.Thenyoutaketheinformation and process it. Finally, the Web portfolio has been transformed into a technology project that requires an extensive learning (compared to simply sendingane-mail)ofsoftwareanddigitalprocesses. But,thislearningandthe time it takes is well spent. You, as the learner, walk away with the ability to
- 46. Introduction to the Web Portfolio 25 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. create a Web site. The same conceptual and technical processes learned throughWebportfoliodevelopmentarethesameasthoseusedincreatingany Website,regardlessofgoalsoraudience.Inthelargersense,learninghowto create a Web portfolio gives you digital skills that will reap rewards for you throughoutyourlife. ThelistofskillsneededandlearnedduringinvolvementintheWebportfoliocan bequantifiedintechnicalterms.Toidentifyspecificdisciplineskillsneedto develop content all would require a dedicated research effort looking at the Webportfoliocontentcollectionanddevelopmentpracticesofstudentsand instructorswithininthatparticulardiscipline.Thatisnotthepurposeofthistext. However,therearesomeimportantskillsandpersonalattributesthatbecome critical to the Web portfolio development process, both in development and duringlearningandgrowthcycles.Theyincludeconceptualandlogicalskills suchasbrainstorming,informationseeking,knowledgeorganization,classifi- cation,sketching,flowcharting,writing,visualdesign,andartisticengineering. The technology skills include basic computer skills for managing files and folders, graphic application skills to create and prepare text, graphics, and multimedia artifacts, Internet development to test and post Web pages, and criticalevaluationandusabilityidentificationskillstodeterminethequalityand effectivenessoftheWebportfolio. The Web Portfolio as an Appearance TheWebportfolioisanextensionofthepublic,professionalappearanceofan individual or a business. I’m going to describe a brief analogy to explain the underlyingpurposeoftheWebportfolio.Lateroninthetextwewillgetprocess specific. The new media portfolio, the financial portfolio, and the artist’s portfolio are the same in the fact that they are content containers. However, they differ drastically in their purpose and application. Simply described, financialportfoliosareusedtomakemoneyforpeopleinthefinancialmarkets. The content is stocks, bond, funds, and other financial instruments. This is a private portfolio, seen only by the user, advisor, and creditors. The artist’s portfoliohascontentthatincludesphotographs,drawing,paintings,andother artistrepresentations.Theartist’sportfolioisusedininterpersonalsituations where the artist and the viewer are both present, sharing the experience. Contrarytorestrictedsituations,theWebportfolioisamasscommunication
- 47. 26 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. experience. Just as in the case of the moving image mass communication mediumssuchasfilmandtelevision,theWebportfoliohasthepotentialtobe anonymously viewed by anyone with Internet access. Web portfolios are a media that illustrates a construct that connects with the ideas put forth by Marshall McLuhan when he declared the existence of the “global village” created by electronic media. In 1997, in his book On McLuhan: Forward Through the Review Mirror, McLuhan stated that “In the electric age, we wear all mankind as our skin” (p. 47). This was extended by his concept that technology is an extension of man. He puts the idea into literal terms by explaining in his book The Medium is the Massage that the wheel is an extension of the foot, and electronic circuitry is an extension of the central nervoussystem.SofollowingProfessorMcLuhan’stheory,Iproposetosay thattheWebportfolioisanextensionoftheappearance.Specifically,theWeb portfolio is an extension of the public and professional appearance of the creatorwithincyberspaceandtransferringintoeverydaypubliclife.Sowhen developing the Web portfolio, we must take care to insure that it properly representsourintendedappearance.Theappearanceisconstitutedbycontent, design, functionality, and the overall persuasive impression that the Web portfoliomakesontheviewer.Let’ssayajobcandidategoesinforaninterview and shows his Web portfolio to the potential employer. When the site loads, rather than present his latest project accomplishment at his programming positionwithABCcompany,hardcoreheavymetalbeginstoplayandaphoto montageofthejobapplicantslammingabeerandbanginghisheadataconcert loadsonthehomepage.ThisisnotaveryconstructiveWebportfoliopage.It hasnothingtodowithpersonallikesordislikes,itisaboutpersuasion.Ifthat was a Web site for a heavy metal band or a personal site for a band member, thatwouldbegreat,butforaWebportfolio,youneedtofocusonthespecific goals you have for the viewer. The Web portfolio creates an appearance that you as the creator must control. The Benefits of Web Portfolios ThecreationofaWebportfoliooffersthefollowingbenefitstoindividuals: • Creation of a Web portfolio makes you a learner • CreationofaWebportfolioprovidesopportunitiesforyoutolearnabout technology
- 48. Introduction to the Web Portfolio 27 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. • A Web portfolio will improve your impact when trying to persuade an audience • AWebportfolioisaneffectivetoolfordemonstratingyourcompetence • A Web portfolio can help you get a job • AWebportfolioisportablestorageandpresentationcapability • AWebportfoliopromotesasenseofaccomplishmentandsatisfaction • AWebportfolioisevidenceofpersonalgrowth • Skills learned while creating a Web portfolio can be applied in other projects (Kilbane & Milman, 2003, pp. 22-28) ThecreationofaWebportfoliooffersthefollowingbenefitstobusinessesand freelancers: • CreationofaWebportfoliomakesthecompanyidentifyitsaccomplish- ments • Creation of a Web portfolio provides opportunities for the company to learnabouttechnology • AWebportfoliowillimprovethecompany’simpactwhentryingtosell • A Web portfolio is an effective tool for demonstrating organizational competence • A Web portfolio can help get clients, projects, and sales • A Web portfolio is a portable storage and presentation capability • AWebportfoliopromotesasenseofaccomplishmentandsatisfactionin theorganization • AWebportfolioisevidenceofcompanygrowth • TheWebportfolioisadynamicassettotheorganization What You Should Get Out of This Book Your learning is my objective. Learning about Web portfolios and applying techniquesandprocessestodevelopaWebportfolioareimportantobjectives for you to achieve. The following are the learning objectives I want you to achieveduringyourexperienceswiththisbook.
- 49. 28 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. • Understanding what a Web portfolio is and is not • CommittobuildingyourdesignandtechnologyskillbycreatingaWeb portfolio • DefineandexecutetheconceptualizationprocessusedinWebportfolio design • DefineandexecuteinformationdesignforWebportfoliodevelopment • DefineandexecutevisualdesignforWebportfoliodevelopment • Define and execute asset collection and graphic art creation for Web portfoliodevelopment • DefineandexecuteWebpagedesignforWebportfoliodevelopment • DefineandexecuteWebauthoringforWebportfoliodevelopment • DefineanddevelopmotiongraphicsforWebportfoliodevelopment • Developanappliedunderstandingforuploading,testing,andre-upload- ing • DemonstrateanappliedunderstandingofhowtocreateaWebportfolio for you or your business by completing the Web portfolio creation and developmentprocess • UnderstandthesocialandtechnologicaltheoriesandimpactsthatWeb portfoliosarehavingandwillcontinuetohaveastheyascendinimpor- tance due to the demands of society and industry for the knowledge workeroftheinformationsociety Philosophy and Aims Thisbookcontainstheoreticalandtechnicalchapterswhichofferacompre- hensiveviewandvaluableresourceinyourjourneytowardsdevelopingaWeb portfolioorelectronicportfolioprogramatyourinstitution.Regardlessifyou arestudent,afacultymember,afreelancer,orabusinessowner,youwillget valuefromtheideaspresentedinthistext.Thefocusofthisbookistoassistyou inexploringdifferentaspectsofWebportfolios.Todothis,IrealizethatImust giveyoumyviewpointandtheviewpointsofotherswhohavebeenresearching electronic portfolios and Web portfolios since the early 1990s. Giving you backgroundandtheoryisimportanttohelpingyougraspthesubjectofportfolio developmentasawhole.Inaddition,Itrytopresentideasthatareseenacross disciplines. Most published material that I came across was specific to a
- 50. Introduction to the Web Portfolio 29 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. discipline.Education,art,andinformationtechnologyseemtoleadthepack. Withbackgroundsinallthreeoftheseareas,Idecidedtotakeapandisciplinary approachandnotrelyononeinterpretationofwhataWebportfolioshouldbe. Withthisinterdisciplinaryapproachinmind,Ipresentawellroundedcacheof viewpointsandtheoriesthatputtheWebportfoliointoanapplicableperspec- tivetoachievegoals.Ialsogiveviewpointastowhatthefutureoftheelectronic portfolio and Web portfolio will be as the information society continues to flourish.Igivethesepointsofviewwithhopethatyouwillestablishyourown definitionofanelectronicportfoliothatfitsintoyourdisciplinarycontext.As well,mygoalforthistextistoprovidesomewhatofatechnicalguidebookto helpyoubuildyourWebportfoliousingindustrystandardtools. I have helped hundreds of students and individuals develop Web portfolios acrossdisciplines.Inmyexperience,Ihaveseenthetechnicalobstaclesthat standinthewayofdevelopingagreatandeffectiveWebportfolioandIhave realizedsolutions.Thesesolutionsarepresentedinthistext. Thisbookiswritteninmodularsteps.Ididthisbecausetheprocesspresented in this book can guide you towards creating a real Web portfolio. However, eachmoduleisfilledwithsub-processesthatprovidecompletelynewlearning and skills on their own. Each chapter holds a piece of the Web portfolio developmentprocessbutalsoprovidesinformationonareusableskillthatcan beutilizedinfutureprojects.Itriedtogiveyouthenutsandboltsforeachstep intheWebportfoliodevelopmentprocess.Thebestwayforyoutolearnabout WebportfoliodesignistoworkthroughcreatingarealWebportfolio.Aswe dothis,movingthroughthebook,we’regoingtousewww.portfolio.cc,afully functionalWebportfoliothatservesmeasaneducatorandasacommunication design consultant as a working prototype. The portfolio was built with academiccontentandbusinesscontent.Thissitewillbeoutintherealworld as a commercial project. It can be viewed as a business Web portfolio or an educator’sWebportfolio.Thisfitsmyspecificgoalofusingthesiteasaportal formyprofessionalandacademicendeavors.WhenyoucompleteyourWeb portfolio,Igiveyouinstructionsonhowtouploaditandprovidesuggestions for low cost and free Web portfolio hosting. My site is used for examples presented throughout the book and I strongly state that my Web portfolio is onlyoneexampleanditisspecifictome.Youshouldusethetechnicalsamples asreferenceasyoudevelopyourownstyle,visualandtechnicaldesigns.
- 51. 30 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Tools This book is not a software manual. It is volume that provides theories, processes,andatutorialviewofindustrystandardWebapplications.Someof theprocessesareworkedoutonpaperorinawordprocessingprogram.Some processesrequireusinggraphicalorWebdesignsoftware.Formanyofthese, Iprovidestepbysteptutorialssothatyoucantrytoexecutethetechniqueson your own. Obviously, you can’t learn every conceivable application in one book.Thetoolsmentionedinthisbookcanbeamendedtosuityourparticular skilllevelortheplatformandtoolsetusedinyourcompany.Theintentistohelp youunderstandtheapplicationsbetterssothatyoucandofurtherexploratory learning.Foramoredetailedandexpandedcoverageoftheapplicationsinthis book, consult the reference section and suggested readings provided in the appendix.Theapplicationsexemplifiedinthistextareindustrystandardsfor high end Web design and development. Pure HTML coding will be kept to a minimum. We will explore the applications to expand your tool set and challengeyourabilities.Herearetheapplicationsthatwillbepresentedinthis text: • Macromedia Dreamweaver MX 2004 for Web authoring and site management(FTP) • Macromedia Fireworks MX 2004 for Web graphics creation and slicing • Macromedia Flash MX 2004 for motion graphics • Macromedia Freehand MX 2004 for logo type and illustrations • Adobe Photoshopfor Web graphics creation • AdobeAuditionforaudioeditingandoutput Layout Elements in This Book Followingarethespecificlayoutstylesthatyouwillseethroughoutthetext: MenucommandswillbeinboldandwillfollowthisformMenu>Sub-Menu > Sub-Menu. This book uses Windows PC commands as a default.
- 52. Introduction to the Web Portfolio 31 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Herearethecommonsubstitutes: PC MAC Right+click.............................CTRL+click CTRL+click...........................Apple+click CTRL+Z(undo).....................Apple+Z CTRL+Enter..........................Apple+Enter Review and Conclusion Hopefully,thisfirstchapterhaslaidthefoundationforyourunderstandingwhat aWebportfolioisandwhatitdoes.TheWebportfolioisanelectronicportfolio which is specifications and context are variably defined from discipline to discipline.MostdefinitionssharethefactthattheWebportfolioisacollection ofartifactsthatexhibitlifelonglearning.Inaddition,IaddthattheWebportfolio is an appearance that exists professionally and publicly. The Web portfolio fosters learning and growth and is a platform for exhibition of skills and experience, regardless of discipline. A person or business can have a Web portfolio.AWebportfolioisnotsimplyaWebsite,ithasaspecificpurpose. It is to persuade the user to act or think favorably about the portfolio and the author. TheWebportfolioprocessisalearningexperienceinitself,requiringtheauthor to reflect and gather important artifacts from their previous learning experi- ences.Thesematerialsaredispersedindifferentmediaandformatandmustbe uniformly processed and published in a Web site. Knowledge organization, informationarchitecture,softwareskills,andvisualdesignarelearnedandused repeatedlythroughouttheWebportfoliodevelopmentprocess. The next chapter will help you brainstorm and develop the concepts and messagesneededtoconveyyourbestprofessionalappearance.Thisstageis criticaltogettingtheprocessstartedanddevelopingastrongideathatisbacked byacreativethemeandintelligentmessages.Conceptualizationisthefirststep intheWebportfoliodevelopmentprocess.
- 53. 32 DiMarco Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. Chapter II Conceptualization Introduction This chapter provides instruction, examples, and steps on how to begin the creative production process. Focus will be on user centered design, conceptualization, and creation of documents that define the scope of your personalWebportfolioproject.Topicsincludeunderstandingtheuser,brain- stormingtodetermineaudience,messages,andsupportingimagesneededas well as development of scope documents for the Web portfolio. The scope documentsaretheconceptstatement,contentlist,andcontentoutline.These documentshelpyou,theauthor,togatheryourthoughtsandbegintorecordthe ideas in hardcopy form. The ideas you put down on paper will go through
- 54. Conceptualization 33 Copyright © 2006, Idea Group Inc. Copying or distributing in print or electronic forms without written permission of Idea Group Inc. is prohibited. revisionandpossiblyredefinitionduringtheconceptualizationprocess.Don’t worry,thisisnatural.Thisinitialstrugglewithideasisimportanttoestablishing solidcontentanddesign.Withoutconceptualization,communicationislostin thetranslationfromtheauthortothemedia.Thiscanbedeadlyinthecaseof the Web portfolio. Because the goal of the Web portfolio is to persuade, it is vitalthatallimportantmessagesaretotheforefront.Withoutthem,itisdifficult toestablishapersonalcredibility,identity,andcommunicationchannelwiththe user. Defining the User, Understanding the Audience Thisbookmostlyfocusesoncommunicationdesign.Designsolvesaproblem. You are solving a problem when you create a Web portfolio. The problem is rootedinpersuasivecommunication.Persuasivecommunicationinvolvesde- liveringamessagewiththegoalofchangingsomeone’sperception.Youwant your portfolio to change someone’s perception favorably. That someone is knownastheuser.Youwanttheusertohaveapositiveexperiencewhenthey visityourWebportfolio.ThismeansthatyourWebportfolioisentertaining, easytonavigate,performswell,andischockfullofvitalcontent.Spendingtime onconceptualizationwillhelpyouprovideagreatexperiencefortheuser.In addition, spending time on testing and maintenance helps insure the user remembersyouandyoursite. Themostimportantrulesindesigninganyinteractiveprojectaretodesignfor the user and design for communication. The Web portfolio design process should focus on yielding a user-centered design. Providing a user-centered design means that the needs, expectations, requirements, and navigation abilities of the user are met indefinitely throughout the Web site experience (Lynch & Horton, 1999). We want the users’ needs to be met, but what are their needs? Users want to feel in control. They want to have an error free experienceinwhichtheycanabsorbthecontentandsubmergethemselvesin the experience. The content drives the experience and the users’ curiosity to engage the Web portfolio, probing for more evidence and more identity. Navigationplaysamajorroleinthevalueoftheexperience.Iftheexperience is a negative one, the perceptions of the author will be negative also. This hypothesis is disturbing because it means that our Web portfolio has an
- 55. Other documents randomly have different content
- 56. by Beriah Botfield, Esq., M.P., containing the Household Book of the Countess of Leicester, wife of Simon de Montford, and that of Sir John Howard, afterwards Duke of Norfolk, in the reign of Richard III., afford views of ancient manners and illustrations of olden customs, which would be sought for in vain in works of a graver character. [102] Record of Pontefract, as I could obtain of M. Cudnor.—Stow. [103] Northern russet, half a yard and half a quarter broad, I have seen sold for four pence the yard, and was good cloth of a mingled colour.—Stow. [104] Rob. Fabian, manuscript. [105] Liber Ely. [106] Every livery coat had three yards of broad cloth.—Stow. [107] Pater de Ioham. [108] Record of the Tower. [109] “As the Theater, the Curtine,” etc.—1st edition. [110] Matthew Paris. [111] The Bear garden on the Bankside is not mentioned in the first edition. [112] Matthew Paris. [113] In the edition of Brand’s Popular Antiquities, edited by Sir Henry Ellis, vol. i. 272-278, will be found a very large and curious collection of materials illustrative of this ancient custom. [114] Stepney. [115] A paper by Mr. Saunders, in Knight’s London, i. 169, entitled, “The Old Spring Time in London,” forms a very agreeable commentary on this section of our author’s work. [116] Rich thieves most worthy to be hanged. The judgment of fire and water, called ordalii, was condemned by Pope Innocent III. 1203. Decretal. lib. 5.—Stow. [117] More than two hundred and forty constables in London, the one half of them each night went in the marching watch, the other half kept their standing watch in every street and lane.— Stow.
- 57. [118] A large coat or cloak, from the French “journade.”—See Roquefort’s Glossaire, s. v. [119] John Mountgomery. [120] “To London in greater quantitie.”—1st edition, p. 80. [121] “In the yeare 1471, John Stockton, mayor, and eleven aldermen of London, with the recorder, were all made knightes in the fielde by Edward IV., for their good service done to him.”—1st edition, p. 81. [122] Wolverhampton. [123] Stepney. [124] “Cursed is hee that removeth his neighbors mark, have I read.”—Stow. [125] “As much as”—1st edition, p. 85. [126] Liber Trinitat. [127] Liber Trinitat. [128] The further history of this establishment will be found in Nichols’ History of the Hospital and Collegiate Church of St. Katherine, near the Tower of London. [129] The Danish toft, Swedish tomt, properly signifies the ground upon which a house stands. See Grimm’s Deutsche Rechtsalterthümer, s. 539. [130] “These fortie-four yeares last.”—1st edition, p. 92. [131] Liber l. folio 40. [132] Proclamation. W. Dunthorn. [133] “And to Berewardes lane.”—1st edition, p. 95. [134] “When he deceased, 1501.”—Ibid. [135] “Woodroffe lane towardes the Tower in this parish.”—1st edition p. 97. [136] “No gallies landed here in memorie of men living.”—Stow. [137] “But I leave every man to his own judgment, and pass to other matters.”—1st edition, p. 101. [138] “It is taxed to the fifteene at forty-six pounds, and accounted in the Exchequer at forty-five pounds ten shillings.”— 1st edition, p. 102.
- 58. [139] “The said elm-tree, his preaching place, is lately taken down.”—Stow. [140] “As he, poore man, tearmed it.”—1st edition, p. 108. [141] “The one halfe, to wit.”—1st edition, p. 109. [142] “The monuments of the dead, buried in this church, are these.”—1st edition, p. 109. [143] “These poyntes not performed. The Drapers have unlawfully solde these tenements and garden plots, and the poore be wronged.”—Stow. [144] “It is taxed to the fifteene in London at 46 li., and accounted in the Exchequer to £45 10s.”—1st edition, p. 113. [145] “Three schoolemaisters, with an usher, to wit.”—1st edition, p. 118. [146] This passage is printed very incorrectly, and as prose, by Stow, who makes the date “twice thirty and ten,” i.e. 1370 (which is certainly the date of Chichester’s mayoralty), instead of “twice twenty and ten,” i.e. 1350, which is the reading of the MSS. and of the two early printed editions. [147] “Cornhill street, in some place raysed two fadome higher than of olde time, as appeared by buildings found so deepe.”— Stow. [148] “As they call it.”—1st edition, p. 123. [149] “Reserving the churchyard for a garden plot.”—1st edition, p. 124. [150] Liber Papie. [151] “To Master Cornewallos.”—1st edition, p. 128. [152] “Of our blessed lady.”—1st edition, p. 129. [153] “At twenty-two pounds in London, and in the Exchequer twenty-one pounds ten shillings.”—1st edition, p. 136. [154] “Pembroke.”—1st edition, p. 136. [155] “Courtney.”—1st edition, ibid. [156] “In some matters.”—1st edition, p. 141. [157] “This goodly foundation having a free schoole and almes houses for poore men (builded of hard stone) adjoyning to the west end of the church, was of olde time confirmed by Henry the
- 59. Sixt, in the year 1447. The outward work of this new church was finished in the year 1501, the said John Tate deceased about the year 1514, and was there buried in a monument by him prepared, as appeareth by an indenture tripartite made between the said John Tate, the Deane of Windsor, and William Milbourn, chamberlaine.”—1st edition, p. 145. [158] “Their beef and mutton by weight, to wit.”—1st edition, p. 148. [159] “But the true cause of enhanceing the prices both of those and other victuals are not to be disputed here.”—1st edition, p. 148. [160] It would seem, from the addition of these words, which are not in the first edition, that this conduit ceased so to run between the years 1598 and 1603. [161] “Ringleaders of inquests will proffer their service, and bend every way for gain. Careful choice of jurors is to be had; a man detected, and that had sworn foolishly against his brother, is not to be admitted a common juror; neither butcher nor surgeon is to be admitted.”—Stow. [162] “Archbishops of London hard to be proved, and therefore not be affirmed.”—Stow. [163] “This was accounted the best ring of six belles, to bee rung by six men, that was in England, for harmonye, sweetness of sound, and tune.”—Stow. [164] “To the poor at his burial sixteen pounds, to prisons, hospitals, and lazar houses, liberally; he also gave his house in Cornehill to be sold, and the price thereof to be spent on the amendment of highways.”—1st edition, p. 153. [165] “My godfathers.”—1st edition, p. 153. [166] “My godmother.”—Ibid. [167] “Wine one pint for a pennie, and bread to drink it was given free in every tavern.”—Stow. [168] “Noblemen of this realm of old time, as also of late years, have dealt in merchandises.”—Stow. [169] “If it had been in brasse, it would not have remained there so long.”—1st edition, p. 159.
- 60. [170] In the first edition, p. 159, the following passage is here inserted:— “Alice, William, and John, wife and sons to Thomas Clarell; Agnes, daughter to Thomas Niter, gent.; William Atwell; Felix, daughter to Sir Thomas Gisers, and wife to Travers Thomas Mason, esquire; Edmond Wartar, esquire; Joan, wife to John Chamberlaine, esquire, daughter to Roger Lewkner, esquire; William Frier; John Hamburger, esquire; Hugh Moresby; Gilbert Prince, alderman; Oliver Chorley, gentleman; Sir John Writh, or Writhesley, alias Garter principal king at arms, sometime laid under a fair tomb in the choir, now broken down and gone; Joan, wife to Thomas Writhesley, son to Sir John Writhesley, Garter, daughter and heir to William Hall, esquire; John Writhesley the younger, son to Sir John Writhesley, and Alienor, Eleanor, second wife to John Writhesley, daughter and heir to Thomas Arnalde, and Agnes his wife; John Writhesley, son of Thomas; Agnes Arnold, first married to William Writhesley, daughter of Richard Warmeforde; Barbara Hungerford, daughter to Sir John Writhesley, wife to Anthony Hungerford, son to Sir Thomas Hungerford, of Denmampney, in the county of Gloucester.” The cause for the omission of these names is explained at the close of the paragraph in the text; which is however so indistinctly expressed, that its meaning could not very well be ascertained except by a reference to what was originally written. [171] “Mother of William Lambert, yet living.”—1st edition, p. 160. [172] “Hugh Acton, tailor.”—Ibid. [173] “In London at twenty-one pound.”—Ibid. [174] “Alice Hackney found uncorrupted more than one hundred and seventy yeres after she was buried.”—Stow. [175] “W. Walworth slandered by a fable of Jack Straw.”—Stow. [176] “In London at fifty pounds, and in the Exchequer at forty- nine pounds ten shillings.”—1st edition, p. 169. [177] “The king’s sons beaten to Eastcheape; there was no tavern then in Eastcheape.”—Stow. [178] “In Westcheape linen cloth sold, but no silks spoken of.”— Stow.
- 61. [179] “Fripparia, upholders upon Cornhill, sellers of old apparel and household stuff in Eastcheape.”—Stow. The following is the stanza alluded to by Stow (see Lydgate’s Minor Poems). “Then into Corn hyl anon I rode, Where was much stolen gere amonge; I saw where honge myne owne hoode, That I had lost amonge the thronge: To by my own hoode I thought it wronge; I knew it well as I did my crede, But for lack of money I could not spede.” [180] “Wike is a working place.”—Stow. [181] “In Smithfield, and there to have been knighted by the king, but that is not true.”—1st edition, p. 172. [182] “Fable of William Walworth and Jack Straw reproved. Praise of W. Walworth for his manhood in arresting of Wat Tyler. The mayor was well armed, and had on his head a basonet.”—Stow. [183] Dunthorne. [184] “The armies of this citty were not altered, but remayne as afore; to witte, argent, a playne crosse gules, a sword of S. Paul in the first quarter, and no dagger of W. Walworth, as is fabuled.”—Stow. [185] Liber Trinitate. [186] “In London to forty pound, and in the Exchequer to thirty- nine pound.”—1st edition, p. 181. [187] “In London at thirty-six pound, and in the Exchequer at thirty-four pound ten shillings.”—1st edition, p. 189. [188] “Having thus much, not without travail and some charges, noted for the antiquitie of the Vintners, about two years since or more I repayred to the common-hall of that company, and there showed and read it in a court of assistance, requiring them, as being one of the principal companies in the citie (of whom I meant therefore to write the more at large) that if they knew any more which might sound to their worship or commendation, at their leisure to send it me, and I would joyne it to my former collection; at which time I was answered by some that tooke upon them the speech, that they were none of the principall, but
- 62. of the inferior companies; and so willing me to leave them, I departed, and never since heard from them, which hath somewhat discouraged me any farther to travail amongst the companies to learne ought at their handes.”—1st edition, p. 192. His comment (in a side note) is equally worth preserving: “The readiest to speake not alwaies the wisest men.” [189] “In London at six and thirty pounds, and in the Exchequer at thirty-five pounds five shillings.”—1st edition, p. 195. [190] “Gray sope made in London dearer than bought from Bristol.”—Stow. [191] “Richard Chaucer, father to Geffrey Chaucer, the poet, as may be supposed.”—Stow. [192] “Sir William Laxton, grocer, mayor, deceased 1556, was buried in the vault prepared by Henry Keble, principall founder of that church, for himself, but now his bones are unkindly cast out, his monuments pulled downe, and the bodies of the said Sir William Laxton, and of Sir Thomas Lodge, grocer, mayor, are laid in place, with monuments over them for the time, till an other give money for their place, and then away with them.”—1st edition, p. 199. [193] “Called de Arcubus of the stone arches or bowes on the top of the steeple or bell tower thereof, which arching was as well on the old steeple as on the new, for no other part of the church seemeth to have been arched at any time; yet hath the said church never been knowne by any other name than St. Mary Bow, or le Bow; neither is that church so called of the court there kept, but the said court taketh name of the place wherein it is kept, and is called the Court of Arches.”—1st edition, p. 203. [194] “A false accuser of his elder brother, in the end was hanged.”—Stow. In his first edition, p. 203, this note is continued as follows: “God amend, or shortly send such an end to such false brethren.” [195] “Of some unknowne founder.”—1st edition, p. 205. [196] “And in the 8th of the same Henry called Tamarsilde.”—1st edition, p. 206. [197] “In London at £72 16s., in the Exchequer at £72.”—1st edition, p. 207.
- 63. [198] “Justices charged to punish such as sel bels from their churches, Elizabeth 14.”—Stow. [199] “The 13th of November.”—1st edition, p. 210. [200] “This conduite was the first sweete water that was conveyed by pipes of lead under ground to this place in the citie from Paddington.”—1st edition, p. 210. [201] This is obviously an error. It occurs in the first edition, is repeated in that of 1603, and by Anthony Munday, in his edition of 1618. Strype (vol. i. book iii. p. 35), endeavours to correct it, by reading “Mary,” who was crowned in 1553, instead of Anne. The error, however, is in the date, which should be 1533, the year of Anne Boleyn’s coronation, as we learn from the description of that ceremony given by Stow in his Annals, “that she went forward by the crosse which was newly gilt.” [202] Soler is described by Tyrwhitt, in his edition of Chaucer’s Canterbury Tales, as originally signifying an open gallery or balcony at the top of the house, though latterly used for any upper room, loft, or garret. Tyrwhitt refers in his Glossary, to the Cook’s Tale of Gamelyn, for an authority for the use of the word in the latter sense— “He fleigh up until alofte, And shet the dore fast. And saugh where he looked out At a solere window.” The German Söller is used by Luther in his magnificent translation of the Bible in both senses:—“Peter went up upon the house-top to pray”—“Stieg Petrus hinauf auf den Söller zu beten.” Acts x. 9. “And when they were come in, they went up into an upper room”—“Und als sie hinein kamen, stiegen sie auf den Söller.” Acts i. 13. [203] “There is also a preaching in the Italian tongue to the Italians and others on the Sondaies.”—1st edition, p. 214. [204] “Henry Frowicke.”—Ibid. [205] “Locke his armes in the windowes.”—Stow.
- 64. [206] Because “of old time, since the raigne of William the Conqueror (that first brought Jewes from Roan into this realme), many Jewes inhabited thereabouts, until that in the year 1290, the 18th of Edw. I., they were wholly and for ever by the said king banished this realme, having of their owne goodes to beare their charges, till they were out of dominions. The number of the Jewes at that time banished were 15,060 persons, whose houses being sold, the king made of them a mightie masse of money.”— 1st edition, p. 219. [207] “Sixty years since.”—Ibid. [208] “The tooth of some monstrous fish, as I take it. A shank- bone, of twenty-five inches long, of a man, as is said, but might be of an oliphant.”—Stow. [209] “A Countess of Cornwall and Chester, but her name and time is not apparent.”—1st edition, p. 220. [210] “In the Exchequer at seventy-two pound.”—Ibid. [211] “A well was under the east end of this church, late turned to a pumpe, but decayed.”—Stow. [212] “This may be some argument which I overpasse.”—1st edition, p. 223. [213] “There is one tomb on the south side the quire, but without inscription.”—1st edition, p. 225. [214] “It is taxed to the fifteen in London at nineteen pound, and in the Exchequer at nineteen pound”—Ibid. [215] Patent. [216] Matthew Paris. [217] The Girdlers were incorporated by letters patent of 27th Henry VI. 6th Aug. 1449, which were confirmed by Elizabeth in 1568, when the pinners and wire-drawers were incorporated with them. Strype says they seem to have been a fraternity of St. Lawrence, because of the three gridirons their arms; but those north country readers, who know what a girdle iron is, will probably agree with me in thinking the gridirons or girdle irons are borne with reference to the name of the company. [218] “Only I read of a branch of this family of Bassinges to have spread itself into Cambridgeshire, near unto a water or bourne, and was therefore, for a difference from other of that name, called Bassing at the bourn, and more shortly Bassing borne. But
- 65. this family is also worne out, and hath left the name to the place where they dwell.”—1st edition, p. 228. [219] “Reyne Wolf, a grave antiquary, collected the great chronicles, increased and published by his executors, under the name of Ralph Holonshead.”—Stow. The first edition of Holinshed’s Chronicles of England, Scotland, and Ireland, was printed for John Harrison the elder in 1577. From Holinshed’s dedicatory epistle to Lord Burleigh, it would seem that Reginald Wolfe projected and even executed the greater part of the work, it having “pleased God to call him to his mercie after xxv. years travail spent therein.” Wolfe, in fact, intended to make these Chronicles the foundation of “An Universall Cosmographie of the Whole World.” [220] “Obtaining first the king’s licence of mortmain under the great seal of England.”—1st edition, p. 234. [221] “The Lord William of Thame was buried in this church, and so was his successor in that house, Sir Rowland Heyward.”—1st edition, p. 235. [222] “As is supposed.”—Ibid. [223] “Without being bounden to reparations or other charge.”— Ibid. [224] “John Collet.”—1st edition, p. 257. [225] “My loving friend.”—1st edition, p. 238. [226] “At this present.”—Ibid. [227] “It is taxed in London to the fifteene at forty pound, and in the Exchequer at thirty-nine pound ten shillings.”—1st edition, p. 242. [228] “Thomas Leichfield.”—1st edition, p. 244. [229] R. Grafton. [230] These disjointed syllables, it will be seen, may be so read as to form the following rhyming couplet:— “Quos anguis tristi diro cum vulnere stravit, Hos sanguis Christi miro tum munere lavit.” [231] “Likewise in the exchequer.”—1st edition, p. 247.
- 66. [232] The word clove is from the Anglo-Saxon Clifian (the low German Klöven, and Dutch Klooven), to split, or clufe, an ear of corn or clove of garlic. In this case the flower is the common Stock, or Stock Gilliflower, so long a favourite in the gardens of England, and indeed a native of the cliffs by the sea-side. “The old English name of Gilliflower,” says the author of the Flora Domestica, “which is now almost lost in the prefix Stock, is corrupted from the French Giroflier. Chaucer writes it Gylofre; but, by associating it with the nutmeg and other spices, appears to mean the clove-tree, which is in fact the proper signification of that word. Turner calls it Gelover and Gelyflower, Gerrarde and Parkinson Gilloflower.” [233] The Anglo-Saxon Gærsuma—treasure, riches, fine, etc. [234] “John Palmer.”—1st edition, p. 252. [235] “John Standelfe and John Standelfe.”—1st edition, p. 253. [236] “The maior and communalty of London, parsons of Christ’s church, the vicar to be at their appointment.”—Stow. [237] “Treasurer of England.”—1st edition, p. 258. [238] “And father to Edward Lord Mountjoy; James Blunt, knighte, son to Walter Blunt, captain of Gwynes, 1492.”—Ibid. [239] In the first edition, Sir Nicholas Twiford is described as having a monument in the church. [240] Lydgate’s verses were first printed at the end of Tottell’s edition of the translation of his Fall of Princes, from Boccaccio, 1554, folio, and afterwards in Sir W. Dugdale’s History of St. Paul’s Cathedral. [241] Reign Wolfe. [242] “Born in London, and son to Henry Collet.”—1st edition, p. 267. [243] “And brought to the hands of Edmond Grendall, then Bishop of London.”—1st edition, p. 269. [244] W. Paston. [245] “Was first builded about the reigne of Edward III. Thomas Newton, the first parson there, was buried in the quire, the year 1361, which was the 35th of Edward the Thirde.”—1st edition, p. 277. [246] “Prebend almes houses.”—1st edition, p. 277.
- 67. [247] “In London at fifty-four pounds, and in the Exchequer at fifty-three pounds six shillings and eight pence.”—1st edition, p. 345. [248] Water Bougets—heraldic representations of the leathern bottles in which water was anciently carried. [249] “A pole of forty foote long, and fifteen inches about, fabuled to be the iusting staffe of Gerrard a giant.”—Stow. [250] “Which aunswere seemed to me insufficient, for hee meant the description of Brittaine, before Reinwolfe’s Chronicle, wherein the author writing a chapter of Gyaunts, and having been deceived by some authours, too much crediting their smoothe speeche, hath set down more matter than troth, as partly (and also against my will) I am enforced to touch.”—1st edition, p. 283. [251] “R. G. saw a stone, and said the same to bee a tooth, but being by my selfe proued a stone, there fayled both scull and shank-bone, and followed a cluster of lies together, yet since increased by other.”—Stow. [252] “Gerrard’s hall overthrowne with Gerrard the giant, and his great spear.”—Stow. [253] “Every man’s house of old time was decked with holly and ivy in the winter, especially at Christmas.”—Stow. [254] “Quest of inquiry indight the keepers of the gayles for dealing hardly with their prisoners. They indighted the bowling alleys, etc.”—Stow. [255] “In the Exchequer thirty-six pounds, ten shillings.”—1st edition, p. 285. [256] “But I could never learne the cause why it should be so called, and therefore I will let it passe.”—1st edition, p. 287. [257] “There bee monumentes in this church of Andrew Awbery, grocer, mayor, and Thomas Fryar, fishmonger, in the yeare 1351, who gave to this church and parish one plot of ground, containing fiftie-six foote in length, and fortie-three foote in breadth at both endes, to be a buriall place for the dead of the said parish, the twenty-sixt of Edward the third. Also Thomas Madefry, clarke, and John Pylot, gave to the wardens of that parish one shop and a house in Distar lane, for the continual repairing of the body of
- 68. that church, the belles and ornaments, the twentieth of Richard II.”—1st edition, p. 287. [258] Liber Trinitate. [259] It appears from Strype’s Stow (i. p, 214, ed. 1720), that “Were path or Wore path, is in the east part of the Flete of Barking, about seven miles from London; and Anedeheth is near Westminster, on the west part of London.” [260] Liber Trinitate, Lon. [261] Liber Constitut. [262] “But now that case is altered.”—1st edition, p. 293. [263] For Lowlardes’ Tower, read M. Foxe.—Stow. [264] With the following inscription: “Hic jacet Raherus primus canonicus, et primus prior istius Ecclesiæ.” [265] “The forrens were licensed for three dayes; the freemen so long as they would, which was sixe or seven dayes.”—Stow. [266] “John Davy, a false accuser of his master, of him was raised the by-word,—If ye serve me so, I will call you Davy.”—Stow. [267] “Commonly called Ely place.”—1st edition, p. 323. [268] Fewters, idle people, probably from the old French Fautier, which Roquefort, Glossaire de la Langue Romane, defines “Criminel Coupable,” or from Fautteur, “rempli de défauts et de mauvaises habitudes.” [269] Matthew Paris. [270] “And others in other places.”—1st edition, p. 325. [271] “And in the Exchequer at thirty-four pounds.”—1st edition, p. 338. [272] “Li. St. Mary Eborum. English people disdayned to be baudes. Froes of Flaunders were women for that purpose.”— Stow. [273] “John Gower was no knight, neither had he any garland of ivie and roses, but a chaplet of foure roses onely.”—Stow. [274] Li. St. Marie Overy. [275] “To Wapping in the Wose, and Wapping itself, the usual place, etc.”—1st edition, p. 347. [276] “Fayre hedges, long rowes of elme, and other trees.”—Ibid.
- 69. [277] “By encroachments for building of small tenements, and taking in of garden-plots, timber-yards, or what they list. From this tower hill towards Aldgate (being a long continuous street), amongst other buildings, was that abbey of nunnes called the Minorities, or Minories, whereof I have spoken. And on the other side of that streete lyeth the ditche without the wall of the citie from the Tower unto Aldegate.”—1st edition, pp. 347-8. [278] “Brought up in Lincoln’s inn.”—1st edition, p. 349. [279] “And neare thereunto are builded two publique houses for the acting and shewe of comedies, tragedies, and histories, for recreation. Whereof one is called the Courtein, the other the Theatre; both standing on the south-west side towards the field.”—Ibid. [280] Shoreditch. In the first edition, it is called Sors ditch, or Sewers ditch. [281] “Over against the north end of Grub street.”—1st edition, p. 349. [282] “Next to that a large house, with gardens of pleasure, builded by Jasper Fisher, from this up to the west end of Hog lane, etc.”—1st edition, p. 350. [283] “Soerditch, so called more than four hundred yeares since, as I can prove by record.”—Stow. [284] “Banqueting houses like banqueroutes, bearing great shew and little worth.”—Stow. [285] “The same was after the bishop of Lincoln’s inn.”—1st edition, p. 361. [286] “Beyond this Southampton house.”—Ibid. [287] “Fratres de Monte Jovis, or Priory de Cornuto, by Havering at the Bower.”—Stow. [288] H. Knighton.—Stow. [289] “Savoy brent: blown up with gunpowder. Rebels, more malitious then covetous, spoyle all before them.”—Stow. [290] “In the high street standeth a pair of stocks.”—1st edition, p. 369. [291] “Which is a goodly house, lately builded nigh to Ivy bridge, over against the old Bedforde house, namely, called Russell house and Dacres house, now the house of Sir Thomas Cecile, Lorde
- 70. Burghley; and so on the north side to a lane that turneth to the parish church of St. Martin in the Fielde, and stretcheth to St. Giles in the Fielde.”—1st edition, pp. 370-1. [292] “I thinke custome.”—1st edition, p. 376. [293] “Foundation of Westminster by Sebert, a Christian king, not onely in word, but in deed.”—Stow. [294] “One of her majesties chaplens.”—1st edition, p. 381. [295] “Earle of Bridgewater.”—1st edition, p. 382. [296] In the first edition, the passage relative to Henry II.’s command to Hugh Gifford and William Browne, to distribute alms “according to the weight and measure of the king’s children” (see ante, page 83), is inserted in this place. [297] “I find of record, the 50th of Edward III., that the chapter- house of the abbot of Westminster was then the usual house for the commons in parliament.”—Stow. [298] “Of England.”—1st edition, p. 387. [299] The corruption alluded to by Stow exists to the present day —the Almonry being styled by the lower classes in Westminster, the Ambry. The house said to have been Caxton’s is also, we believe, still remaining, though in a state of great dilapidation. [300] “Eleutherius died in the yeare 186, when he had sitten bishop 15 yeares.”—Stow. [301] “At Bartholomew’s priory in Smithfield.”—1st edition, p. 304. [302] “Leviticus 13. Numbers 5. Leprose persons to be separated from the sound.”—Stow. [303] “Since called shiriffes, and judges of the King’s court, and have therefore under-shiriffes, men learned in the law, to sit in their courts. Domesmen, or judges of the King’s court.”—Stow. [304] The first edition has “mayor Hugh Fitz Thomas,” and does not make mention of “Fitz Ottonis.” [305] Hallontide,—or, as it was more generally designated, All Hallontide,—is the older designation of All Saints’ day, the 1st of November. [306] Sic in Stow; Strype corrects it into πολεύω.
- 71. Transcriber’s Note Footnote 51 is referenced twice in the text. Entries in the table of contents do not all match the headings in the text. The following printing errors have been corrected: p. x “to empty” changed to “to “empty” p. xviii “S. Androwes” changed to “S. Androwes.” p. 13 (note) “1st.” changed to “1st” p. 17 “Glibert” changed to “Gilbert” p. 46 “recepit” changed to “receipt” p. 72 “default, of” changed to “default, of” p. 76 (note) “Liber Constitutions. Liber Horme.” changed to “Liber Constitutionis. Liber Horne.” p. 91 “kept a” changed to “kept at” p. 92 (note) “Decretat,” changed to “Decretal.” p. 107 “First, Through” changed to “First, through” p. 113 (note) “Rech Altherthümer” changed to “Rechtsalterthümer” p. 136 (note) “10s.” changed to “10s.” p. 162 (note) “p. 141” changed to “p. 141.” p. 173 “Enchange” changed to “Exchange” p. 174 “expect the steeple” changed to “except the steeple” p. 189 “s a principal” changed to “is a principal” p. 231 (note) “16s.” changed to “16s.” p. 231 (note) “p. 207” changed to “p. 207.” p. 243 “so called.” changed to “so called,” p. 260 “Kery lan” changed to “Kery lane” p. 264 “Rowlard” changed to “Rowland” p. 266 “ncroachments” changed to “encroachments” p. 269 “1546:” changed to “1546;” p. 287 (note) “Hountjoy” changed to “Mountjoy” p. 298 “buck,and” changed to “buck, and” p. 299 “chantry there,” “chantry there;” p. 331 “low sheds” changed to “low sheds,” p. 355 “partiarch” changed to “patriarch” p. 364 "he dieu” changed to “de dieu” p. 376 “h ll” changed to “hill” p. 382 “this our city.” changed to “this our city.”” p. 390 (note) “inn.” changed to “inn.”” p. 392 “fair buildings.” changed to “fair buildings.”” p. 407 “Richard, Bishop” changed to “Richard, bishop”
- 72. p. 407 “younds” changed to “pounds” p. 411 “by thi” changed to “by this” p. 442 “French and English” changed to “French and English.” p. 448 “Richard Handle” changed to “Richard Hardle” p. 454 “Sr John Pultney” changed to “Sir John Pultney” p. 461 “Waltar Chartesey” changed to “Walter Chartesey” p. 473 “mayor Sir William” changed to “mayor, Sir William” p. 480 “aldermen Darby” changed to “alderman Darby” p. 482 “mænia” changed to “mœnia” p. 483 “cætus” changed to “cœtus” p. 487 typography of the paragraph beginning “Nam ea annis“ was regularised. p. 493 “liberœ“ changed to “liberæ“ p. 500 “proper colour” changed to “proper colour.” p. 511 “Bassett, Robert” changed to “Basset, Robert” p. 511 “Benbridge’s inn” changed to “Benbrige’s inn” p. 511 “Bollein Godfrey” changed to “Bollein, Godfrey” p. 512 “Chesters’ inn” changed to “Chester’s inn” p. 512 “Crosley place, 155” changed to “Crosby place, 155” p. 512 “Crosley, Sir John” changed to “Crosby, Sir John” p. 513 “Elies’ inn” changed to “Elie’s inn” p. 513 “Gutuhrons” changed to “Guthurons” p. 513 “Stephanides,)” changed to “Stephanides),” p. 513 “208 261” changed to “208, 261” p. 513 “243, 244,” changed to “243, 244” p. 514 “Horsepool” changed to “Horsepoole” p. 514 “Lomsberry” changed to “Lomsbery” p. 515 “Church of 130” changed to “Church of, 130” p. 515 “Oldeborne bridge” changed to “Oldborne bridge” p. 517 “Single- Woman’s” changed to “Single Woman’s” p. 518 “Waxchandler’s hall” changed to “Waxchandlers hall” p. 518 “Wolfesgate, 39” changed to “Wolfes gate, 39” p. 518 “Noble) street 34,” changed to “Noble) street, 34,” Many instances of inconsistent punctuation have not been changed. The following possible printing errors have not been changed: p. xi his memory, p. 11 reparing p. 62 where thither p. 158 Three needle street p. 196 John Merston. knight p. 259 Ienet and Agnes p. 356 mother’s-jewels p. 462 and 463 respectively: Godfrey Bolaine and Godfrey Boloine p. 466 Raphe Austrie and Raph Astrie p. 488 straglers p. 514 “See also Marke lane” refers to a non-existent entry
- 73. The book includes many inconsistent spellings, including: 32d and 32nd Aeldresgate and Ældresgate Arcubus and Arches Bank’s side and Bankside Bridwell and Bridewell clothworker and cloth-worker commonalty and commonality Cordewainers, Cordwainer and Cordwayner four-pence and four pence Howe, Howes and Howse Knight riders and Knightriders’ Meduvanus and Meduvius Needlar’s. Needelars and Needler’s Sherington and Sherrington Surrey and Surry Totehil and Totehill Tunstal and Tunstall Turnebase and Turnebasse Walbrook and Walbrooke West Cheape and Westcheape Wokendon and Wokenden
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