DOCSLIB.ORG

The Hidden Lives of the Women Behind the Wars of the Roses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Hidden Lives of the Women Behind the Wars of the Roses Sarah Gristwood Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses «HarperCollins» Gristwood S. Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses / S. Gristwood — «HarperCollins», A fiery and largely unexplored history of queens and the perils of power and of how the Wars of the Roses were ended – not only by knights in battle, but the political and dynastic skills of women.The events of the Wars of the Roses are usually described in terms of the men involved; Richard, Duke of York, Henry VI, Edward IV, Richard III and Henry VII. The reality though, argues Sarah Gristwood, was quite different. These years were also packed with women's drama and – in the tales of conflicted maternity and monstrous births – alive with female energy.In this completely original book, acclaimed author Sarah Gristwood sheds light on a neglected dimension of English history: the impact of Tudor women on the Wars of the Roses. She examines Cecily Neville, the wife of Richard Duke of York, who was deprived of being queen when her husband died at the Battle of Wakefield; Elizabeth Woodville, a widow with several children who married Edward IV in secret and was crowned queen consort; Margaret Beaufort, mother of Henry VII, whose ambitions centred on her son and whose persuasions are likely to have lead her husband Lord Stanley, previously allied with the Yorkists, to play his part in Henry's victory.Until now, the lives of these women have remained little known to the general public. In ‘Blood Sisters’, Sarah Gristwood tells their stories in detail for the first time. Captivating and original, this is historical writing of the most important kind. © Gristwood S. © HarperCollins S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» Содержание SARAH GRISTWOOD 6 Copyright 7 LIST OF ILLUSTRATIONS 9 MAP 10 SIMPLIFIED FAMILY TREE 11 GLOSSARY OF NAMES 12 REIGNS 15 PROLOGUE 16 ONE 20 TWO 26 THREE 30 FOUR 35 FIVE 40 SIX 44 SEVEN 48 EIGHT 55 Конец ознакомительного фрагмента. 56 4 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» 5 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» SARAH GRISTWOOD Blood Sisters The Hidden Lives of the Women Behind the Wars of the Roses 6 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» Copyright William Collins An imprint of HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF www.harpercollins.co.uk Published by HarperPress in 2012 Copyright © Sarah Gristwood 2012 Sarah Gristwood asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook on-screen. No part of this text may be reproduced, transmitted, down- loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins ebooks HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed from this ebook in accordance with the contractual and technological constraints in operation at the time of publication Source ISBN: 9780007309306 Ebook Edition © 2013 ISBN: 9780007309320 Version: 2017-03-29 CONTENTS Title Page Copyright List of Illustrations Map Simplified Family Tree Glossary of Names Reigns Prologue PART ONE: 1445–1461 1. Fatal Marriage 2. The Red Rose and the White 3. A Woman’s Fear 4. No Women’s Matters 5. Captain Margaret 6. Mightiness Meets Misery PART TWO: 1461–1471 7 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» 7. To Love a King 8. Fortune’s Pageant 9. Domestic Broils 10. That Was a Queen PART THREE: 1471–1483 11. My Lovely Queen 12. Fortune’s Womb 13. Mother of Griefs 14. A Golden Sorrow PART FOUR: 1483–1485 15. Weeping Queens 16. Innocent Blood 17. Letters to Richmond 18. Anne My Wife 19. In Bosworth Field PART FIVE: 1485–1509 20. True Succeeders 21. Golden Sovereignty 22. The Edge of Traitors 23. Civil Wounds 24. Like a Queen Inter Me 25. Our Noble Mother Epilogue Keep Reading Footnotes Notes Picture Section Select Bibliography Index Acknowledgements About the Publisher 8 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» LIST OF ILLUSTRATIONS 1. Marguerite of Anjou with Henry VI and John Talbot in the ‘Shrewsbury Talbot Book of Romances’, c.1445. British Library, Royal 15 E. VI, f.2v (© The British Library Board) 2. The stained-glass Royal Window in Canterbury Cathedral (© Crown Copyright. English Heritage) 3. Margaret Beaufort by Rowland Lockey, late 16th century (By permission of the Master and Fellows of St John’s College, Cambridge) 4. Margaret Beaufort’s emblems (© Neil Holmes/The Bridgeman Art Library) 5. Cecily Neville’s father, the Earl of Westmoreland, with the children of his second marriage (Bibliothèque Nationale, Paris/Flammarion/The Bridgeman Art Library) 6. Portrait of Elizabeth Woodville from 1463 (© The Print Collector/Corbis) 7. Anne Neville depicted in the Rous Roll, 1483–85. British Library Add 48976 (© The British Library Board) 8. King Richard III by unknown artist, oil on panel, late 16th century; after unknown artist late 15th century (© National Portrait Gallery, London) 9. The risen Christ appearing to Margaret of Burgundy by the Master of Girard de Rousillon, from Le dyalogue de la ducesse de bourgogne a Ihesu Crist by Nicolas Finet, c.1470. British Library Add.7970, f.1v (© The British Library Board) 10. Elizabeth of York by unknown artist, oil on panel, late 16th century; after unknown artist c. 1500 (© National Portrait Gallery, London) 11. The birth of Caesar from Le fait des Romains, Bruges, 1479. British Library Royal 17 F.ii, f.9 (© The British Library Board) 12. The Devonshire Hunting Tapestry – Southern Netherlands (possibly Arras), 1430–40 (© Victoria and Albert Museum, London) 13. Procession at the Funeral of Queen Elizabeth, 1502 (© The Trustees of the British Museum) 14. The preparations for a tournament. Illustration for René of Anjou’s Livre des Tournois, 1488–89? Bibliothèque nationale de France, Francais 2692, f.62v–f.63 (Bibliothèque nationale de France) 15. Margaret of Burgundy’s crown, Aachen Cathedral Treasury (© Domkapitel Aachen (photo: Pit Siebigs)) 16. Song ‘Zentil madona’: from Chansonnier de Jean de Montchenu, 1475?, Bibliothèque nationale de France, MS Rothschild 2973, f.3v–f.4 (Bibliothèque nationale de France) 17. The Tower of London from the Poems of Charles of Orleans, c.1500. British Library, Royal 16 F. II f.73 (© The British Library Board) 18. Elizabeth of York’s signature on a page of ‘The Hours of Elizabeth the Queen’, c.1415–20. British Library Add 50001, f.22 (© The British Library Board) 19. Wheel of Fortune illumination from the Troy Book, c.1455–1462. British Library Royal 18 D.II, f.30v (© The British Library Board) 9 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» MAP 10 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» SIMPLIFIED FAMILY TREE 11 S. Gristwood. «Blood Sisters: The Hidden Lives of the Women Behind the Wars of the Roses» GLOSSARY OF NAMES ANNE: the name borne by Anne Neville (1456–85); daughter to the Earl of Warwick, wife first to Edward of Lancaster and then to Richard III. Her mother was another Anne, the heiress Anne Beauchamp, Countess of Warwick (1426–90). Anne was also the name given to the Duchess of Exeter (1439–76), eldest daughter of Richard, Duke of York and Cecily Neville and sister to Edward IV and Richard III. Other English noblewomen bearing the name include one of Cecily’s sisters, who became Duchess of Buckingham; one of Edward IV’s daughters; and Anne Mowbray who was married in childhood to Edward’s youngest son. BEAUFORT: the family name of Margaret Beaufort (1443–1509), mother to Henry VII, and of the Dukes of Somerset, one of whom was Margaret’s father. The Beaufort family also included Cardinal Beaufort, advisor to Henry VI. BUTLER, ELEANOR (?–1468): born Eleanor Talbot; the woman who was later said to have been secretly married to Edward IV. CECILY NEVILLE (or Cicely, 1415–95): matriarch of the York dynasty; wife to Richard, Duke of York; mother to Edward IV and Richard III. The name was also shared by Cecily’s granddaughter (Edward IV’s daughter, 1469–1507). CLARENCE, GEORGE, DUKE OF (1449–78): son to Cecily Neville and Richard Duke of York. The second of their sons to survive into maturity, Clarence was famously executed on the orders of his brother Edward IV. DORSET, MARQUIS OF (1455–1501): the title bestowed on Thomas Grey, the eldest son of Elizabeth Woodville by her first husband, John Grey. EDMUND, EARL OF RUTLAND (1443–60): second son to Richard, Duke of York and Cecily Neville, killed young in battle. EDWARD: this name was borne most importantly by Edward IV (1442–83), eldest son to Richard, Duke of York and Cecily Neville; and by his own eldest son (1470–83?), the elder of the ‘Princes in the Tower’, who would have reigned as Edward V.
Load more

Recommended publications
  • British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine Macleod and Alexa
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • Download (15Mb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1200 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. 20 'that whyche ys nedefoulle and nesesary': The Nature and Purpose of the Original Furnishings and Decoration of Hardwick Hall, Derbyshire Two Volumes (Volume One) Gillian White A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the History of Art University of Warwick, Centre for the Study of the Renaissance March 2005 CONTENTS Volume One List of Tables and Illustrations page i Acknowledgements Declaration vii Abstract Chapter One: Introduction 1 Bess of Hardwick and Hardwick Hall 4 Existing Studies of Hardwick and the Scope for New Work 15 Chapter Two: The Social Architecture of Hardwick Hall 29 The Layout of Hardwick New Hall 31 The Layout of Hardwick Old Hall 34 The Social Organisation of Space at Hardwick 46 Chapter Three: The Furnishings of Hardwick Hall as Physical Objects 65 The 1601 Inventory and the Will of Bess of Hardwick 66 Wall-Hangings 80 Carpets 99 Beds 112 Furniture 136 Pictures 157 Conclusion 180 Chapter Four: The Furnishings and Decoration of Hardwick Hall as Iconographical Objects 182 The Assertion of Identity
    [Show full text]
  • Hans Holbein at the Court of Henry VIII
    Holbein at the Court of Henry VIII • The talk is about Holbein’s life in England and the well known personalities at Henry VIII’s court that he painted. • Figures such as Thomas Wolsey (no portrait by Holbein), Thomas More, Thomas Cromwell, Richard Rich (drawing), and Thomas Cranmer (not by Holbein) figured prominently in Henry's administration. • I discuss Holbein’s style by comparing his drawings with his paintings. • And, finally, I look at the many puzzles presented by The Ambassadors. Notes The Tudors (1485 -1603) in brief: • Henry VII 1485 – 1509, Henry Richmond, descendent of John of Gaunt, defeated Richard III at Bosworth Field in 1485. Married Elizabeth of York uniting the two houses of York (white) and Lancaster (red) as symbolised in the white and red rose he adopted. He was a skilful politician but he is often described as avaricious although this did mean he left a lot in the treasury for his son to spend. • Henry VIII 1509 – 1547, he married Catherine of Aragon (his brother’s widow and mother of Mary) but Henry annulled the marriage to marry Anne Boleyn (mother Elizabeth) who he beheaded for alleged adultery. He declared himself head of the Catholic Church and married Jane Seymour who died after giving birth to Edward. He then married Anne of Cleves but the marriage was annulled and she survived Henry the longest. He then married Catherine Howard who he beheaded for adultery and finally Catherine Parr (her third husband) who outlived him and married Thomas Seymour (who grew up in Wulfhall) whose brother was Edward Seymour, Lord Protector of England during the first two years of Edward VI’s reign.
    [Show full text]
  • Real People Revealed in Portraits and Objects 21 March to 4 October 2020 Your Companion Guide to Our Exhibition
    Real people revealed in portraits and objects 21 March to 4 October 2020 Your Companion Guide to our exhibition 1 North Drive Have you ever looked at a WELCOME TO CHATSWORTH Angela Conner saw her friend portrait, curious to discover Elisabeth Frink as ‘a Roman more about the person staring Generations of the Cavendish warrior, not fierce, but strong’ back at you? Or glanced at an family have lived at Chatsworth for and aimed to capture that object and wondered what it almost 500 years. All that you see quality in this portrait. meant to someone, or why they is the result of layers and layers of kept it? individual choices made throughout In her work, Frink explored the the centuries. Though their lives strengths and weaknesses of Stories both unexpected and might feel a million miles from yours human nature – sorrow and fascinating will be shared in we’re hoping you will look at all the salvation; pain and compassion; this year’s exhibition through people you encounter along the terror and tolerance. Frink said way and find stories that mean pairings of people and things in something to you. that the Tribute Heads were the house, all of which have a about ‘peace and freedom of link to Chatsworth in some way. Portraits, even from centuries ago, spirit: people who have been are the selfies and family photos through the horrors and got Look at the faces in the of our time and we can all relate through to the other side.’ paintings and sculptures to that. – people whose lives were captured at a moment in time.
    [Show full text]
  • The Montagus and the Great West Doors of Bath Abbey” Online
    The Manor of Lackham Vol 3 : The Montagu family The Manor of Lackham – Volume 3 The Montagus of Lackham and their historical connections by Tony Pratt and Karen Repko Last update : March 23, 2019 Wiltshire College Lackham 2010 1 The Manor of Lackham Vol 3 : The Montagu family This investigation of the history of the manor of Lackham, close to Chippenham and next to Lacock in Wiltshire, started with the current author’s “The Bluets ; a baronial family and their historical connections 1066- 1400 1” and was continued in “The Baynards : a county family and their historical connections 1360 – 1650 2.” This work takes the story through the period of the Civil War and the Enlightenment to Canal Mania and on into the early part of the nineteenth century. For biographies of the authors see the Introduction to Vol. 1 “The Bluets”. Both of the previous volumes in this history, and others, are held by Wiltshire Libraries, the Wiltshire & Swindon History Centre in Chippenham and online at http://www.lackham.co.uk/history/documents.asp As always we owe enormous debts of gratitude to the people who helped by their willingness to give freely of their time, expertise and knowledge, and without whom this volume would not have been possible. Individual credits and thanks are given in the footnotes. Not credited specifically are the archivists and staff at all the record offices and libraries consulted and who were unfailingly helpful above and beyond that which might be expected. We are very lucky to have such dedicated and knowledgeable people around and we would express our very sincere gratitude to everyone who helped.
    [Show full text]
  • Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland by Elizabeth Mcfadden a Dissertatio
    Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland By Elizabeth McFadden A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Dutch Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Todd Olson Professor Margaretta Lovell Professor Jeroen Dewulf Fall 2019 Abstract Fur Dress, Art, and Class Identity in Sixteenth- and Seventeenth-Century England and Holland by Elizabeth McFadden Doctor of Philosophy in History of Art Designated Emphasis in Dutch Studies University of California, Berkeley Professor Elizabeth Honig, Chair My dissertation examines painted representations of fur clothing in early modern England and the Netherlands. Looking at portraits of elites and urban professionals from 1509 to 1670, I argue that fur dress played a fundamentally important role in actively remaking the image of middle- class and noble subjects. While demonstrating that fur was important to establishing male authority in court culture, my project shows that, by the late sixteenth century, the iconographic status and fashionability of fur garments were changing, rendering furs less central to elite displays of magnificence and more apt to bourgeois demonstrations of virtue and gravitas. This project explores the changing meanings of fur dress as it moved over the bodies of different social groups, male and female, European and non-European. My project deploys methods from several disciplines to discuss how fur’s shifting status was related to emerging technologies in art and fashion, new concepts of luxury, and contemporary knowledge in medicine and health.
    [Show full text]
  • Roy Strong (RS)
    Roy Strong (RS) This archive collection has not yet been catalogued. The material remains unsorted and in its original order. File titles given are those assigned by Roy Strong. The material is arranged in 34 box files and box numbers have been allocated by the Centre. If you wish to consult any material from this collection, please specify the box number and file title (where applicable). Please note that it is only possible to request 10 files per retrieval. Access will be provided in accordance with the Data Protection Act, 1998. The material in this archive comprises correspondence, images, articles, research notes, photocopies of published & unpublished material. Box number Box title File title Description of material Extent Covering Dates (if applicable). Sequence 1: Inigo Jones Photographs of prints and sketches (some mounted) by Inigo Jones of designs for masques relating compiled and collected by Strong during the course of his work for the publication: Orgel S. & Strong R., (1973) Inigo Jones: the theatre of the Stuart Court. Sotheby Parke Bernet. A copy of this text can be found in the PMC library 1 Jones – I -Cecil House 1607 Unknown 6 files & 2 c.1610 loose Blackness; Queens; Barriers; photographs Oberon; Lords -Lord Hayes Masque 1607 -Queens 1609 -Barriers 1610 -Oberon 1611 -Lords Masque 1613 Box number Box title File title Description of material Extent Covering Dates (if applicable). 2 Jones – II -Misc. C. 1615 23 files & 2 loose Vision of delight; to Somerset photographs House c.1629/30 -Tilt or Barriers c. 1618 -Pleasure reconciled to virtue 1618 -Unknown Masque 1619 -Unknown play at Somerset House 1619-20 -Antimasquers c.1620 -Anti-masquers c.
    [Show full text]
  • By Catherine Daunt
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details PORTRAIT SETS IN TUDOR AND JACOBEAN ENGLAND Two Volumes (Volume One) Catherine Daunt Thesis submitted for the degree of DPhil at the University of Sussex May 2015 ii Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Catherine Daunt iii CONTENTS Volume One Acknowledgements x Summary xi List of Abbreviations xii Introduction 1 Chapter 1: The Origins of Portrait Sets in England 5 The Crown’s Use of Portraiture Under Henry VII 6 The Influence of Henry VIII’s Collections 13 An Emerging Market for Historical Royal Portraits 17 The Earliest Evidence for Sets in Aristocratic Collections 19 A Bishop’s Set of Heroes and Heroines 27 Mid-Century Sets of Protestant Reformers 28 An Early Set of Benefactors 31 Conclusions 33 Chapter 2: Continental Influences on English Painted Sets 34 Uomini Famosi 35 Channels of Influence 38 The Intellectual Context: Humanism 39 Numerical Series and Moralizing Imagery 42 Sibyls and Prophets 43 Roman Emperors 47 Prints and Effigy Books 49 Conclusions 53 Chapter 3: History, Antiquarianism and Genealogy 55 A New History for England 55 Antiquarianism 56 The Search for Authentic Likenesses 57 The Use of Portrait Sets to Denote Antiquity 65 i.
    [Show full text]
  • Representations of Lady Margaret Beaufort, Countess of Richmond and Derby
    VIDES I MARCELA ABADIA Representations of Lady Margaret Beaufort, Countess of Richmond and Derby This article will focus on two representations of Lady Margaret Beaufort, King Henry VII’s mother. It will examine Bishop John Fisher’s Mornynge Remembraunce, delivered a few weeks after Lady Margaret’s death in 1509, which provides a representation from a close contemporary of hers. It will also look at Rowland Lockey’s portrait Lady Margaret Beaufort at prayer, painted c.1598. By assessing both the sermon and the portrait this article will look at different representations of Lady Margaret Beaufort. his article will examine Fisher’s Mornynge Remembraunce1 and Rowland Lockey’s portrait Lady Margaret Beaufort at prayer (figure 1). It will begin with a brief Thistorical background that will help grasp a better picture of Lady Margaret’s life. This work intends to provide further understanding of her through both her funeral sermon (written and delivered by her friend and spiritual advisor) and through Lockey’s portrait, which is a copy of an earlier work and was painted several decades after her death. This article will consider that although her sermon gives an overall representation of her it is biased and just like the portrait, it only depicts some aspects of her life. Lady Margaret Beaufort was not just Henry VII’s mother, she was also a very accomplished, intelligent yet complex woman. She was born on 31 May 1443 to John Beaufort, Duke of Somerset and Margaret Beauchamp of Bletsoe. After her father’s death in 1444, her wardship and marriage was given to William de la Pole, Earl of Suffolk who, in a desperate attempt to secure his son’s position married him to Margaret in 1450 because she was a rich and sole heiress.
    [Show full text]
  • Roy Strong (RS)
    Roy Strong (RS) This archive collection has not yet been catalogued. The material remains unsorted and in its original order. File titles given are those assigned by Roy Strong. The material is arranged in 34 box files and box numbers have been allocated by the Centre. If you wish to consult any material from this collection, please specify the box number and file title (where applicable). Please note that it is only possible to request 10 files per retrieval. Access will be provided in accordance with the Data Protection Act, 1998. Full details relating to access to the Centre’s collections can be found here: http://www.paul-mellon-centre.ac.uk/23/ The material in this archive comprises correspondence, images, articles, research notes, photocopies of published & unpublished material. Box number Box title File title Description of material Extent Covering Dates (if applicable). Sequence 1: Inigo Jones Photographs of prints and sketches (some mounted) by Inigo Jones of designs for masques relating compiled and collected by Strong during the course of his work for the publication: Orgel S. & Strong R., (1973) Inigo Jones: the theatre of the Stuart Court. Sotheby Parke Bernet. A copy of this text can be found in the PMC library 1 Jones – I -Cecil House 1607 Unknown 6 files & 2 c.1610 loose Blackness; Queens; Barriers; photographs Oberon; Lords -Lord Hayes Masque 1607 -Queens 1609 -Barriers 1610 -Oberon 1611 -Lords Masque 1613 Box number Box title File title Description of material Extent Covering Dates (if applicable). 2 Jones – II -Misc. C. 1615 23 files & 2 loose Vision of delight; to Somerset photographs House c.1629/30 -Tilt or Barriers c.
    [Show full text]
  • Nicholas Hilliard's Portraits of the Elizabethan Court
    Nicholas Hilliard’s Portraits of the Elizabethan Court a hand or eye By Hilliard drawn is worth a history By a worse painter made “The Storm” John Donne icholas Hilliard (1547-1619) was an English goldsmith and limner best known for his many portrait miniatures of members of the Ncourts of Elizabeth I and James I. He mostly painted oval minia- tures of just two to three inches, but also some larger cabinet miniatures up to ten inches tall, and at least two famous half-length panel portraits of Queen Elizabeth, one of which—the Pelican Portrait—is reproduced on the front cover. From our 21st Century perspective, his paintings exemplify the visual im- age of Elizabethan England. As an artist he was conservative by European standards, but his paintings are superbly executed and have a freshness and charm that has ensured his continuing reputation as the central artistic figure of the Elizabethan age—the only English painter whose work reflects, in its delicate microcosm, the world of Shakespeare’s plays. His images preserve the faces of the Queen, Sir Francis Drake, Sir Philip Sidney, the Earls of Essex, Leicester and Oxford, Lord Burghley and oth- er aristocrats. Hilliard said in his book, The Arte of Limning: “It is for the service of noble persons very meet, in small volumes, in private manner, for them to have the portraits and pictures of themselves, their peers, or any other foreign persons which are of interest to them.” THE OXFORDIAN Volume 21 2019 229 Nicholas Hilliard’s Portraits of the Elizabethan Court Hilliard’s miniatures have a jewel-like quality likely because he trained and worked initially as a goldsmith; in fact, they were made to be worn like jewels and set into lockets, or kept in drawers, reflecting their nature as romantic keepsakes.
    [Show full text]
  • Full-Text PDF (Final Published Version)
    Hunt, C. (2018). Role playing in Hans Holbein's The Family of Sir Thomas More. British Art Journal , 19(1), 62-71. Publisher's PDF, also known as Version of record License (if available): Other Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It will become available online via JSTOR. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ 001-003-dnh-1 1 XIX, 1 Contents and Flannel & editorial.qxp_1 BAJ V, 1 contents/editorial 19/06/2018 08:27 Page 1 Volume XIX, No. 1 The BRITISH ART Journal Published by The British Art Journal in association with the Berger The Collection Educational Trust RITISH RT Editorial B A Journal 46 Grove Lane London SE5 8ST Volume XIX, No. 1 Spring 2018 020 7787 6944 [email protected] Advertising The research journal of British Art Studies 46 Grove Lane published in association with the Berger Collection Educational Trust London SE5 8ST [email protected] 07813127274 Subscriptions Sally Sharp Holborn Direct Mail Unit 3, Profile Business Park, Pylon Way, Beddington Farm Road, Croydon, CR0 4XX Tel: 020 8683 7155 Fax: 020 8683 7156 COVER www.holborndirectmail.co.uk Landscape with a pool [email protected] by Thomas Gainsborough (1727–88), c1746–7.
    [Show full text]