Philip II's Forgotten Armada
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Tyrwhitt Drake Armada Portrait © Melanie V Taylor June 2016
The importance of the Tyrwhitt Drake Armada Portrait © Melanie V Taylor June 2016 The Tyrwhitt Drake Armada portrait of Elizabeth I has been put up for sale by the descendants of Sir Francis Drake who have owned this painting since 1775. Of the three Armada portraits, it is by far, the most superior. Like the other two, it is dripping in symbolism, but there are subtle differences between the two landscape format paintings and similarities between The Woburn Abbey Armada Portrait and that held by the National Portrait Gallery (NPG). The NPG painting has been cut down at some time, probably because it did not fit a certain space NPG portrait. What remains in the NPG version is the central figure of the queen and some elements of the background similar to the Woburn Abbey version. These elements are the columns of red with gold coloured bases, which suggests these two paintings may have come from the same workshop. In 1563 Sir William Cecil drew up a draft proclamation regarding the use of the queen’s portrait because there were so many portraits that bore no resemblance to her. There was no official template for a royal portrait; neither was there a ‘special person’ appointed to provide an approved template for use by artists’ workshops. It was not until later in her reign that George Gower was appointed Serjeant Painter, and Nicholas Hilliard became her sole portrayer in miniature portraits. Both were Englishmen, and Hilliard, like Sir Francis Drake, was a Devon man. In my opinion, a superior artist has painted the Tyrwhitt-Drake portrait. -
BINONDO FOOD TRIP (4 Hours)
BINONDO FOOD TRIP (4 hours) Eat your way around Binondo, the Philippines’ Chinatown. Located across the Pasig River from the walled city of Intramuros, Binondo was formally established in 1594, and is believed to be the oldest Chinatown in the world. It is the center of commerce and trade for all types of businesses run by Filipino-Chinese merchants, and given the historic reach of Chinese trading in the Pacific, it has been a hub of Chinese commerce in the Philippines since before the first Spanish colonizers arrived in the Philippines in 1521. Before World War II, Binondo was the center of the banking and financial community in the Philippines, housing insurance companies, commercial banks and other financial institutions from Britain and the United States. These banks were located mostly along Escólta, which used to be called the "Wall Street of the Philippines". Binondo remains a center of commerce and trade for all types of businesses run by Filipino- Chinese merchants and is famous for its diverse offerings of Chinese cuisine. Enjoy walking around the streets of Binondo, taking in Tsinoy (Chinese-Filipino) history through various Chinese specialties from its small and cozy restaurants. Have a taste of fried Chinese Lumpia, Kuchay Empanada and Misua Guisado at Quick Snack located along Carvajal Street; Kiampong Rice and Peanut Balls at Café Mezzanine; Kuchay Dumplings at Dong Bei Dumplings and the growing famous Beef Kan Pan of Lan Zhou La Mien. References: http://en.wikipedia.org/wiki/Binondo,_Manila TIME ITINERARY 0800H Pick-up -
Presentación De Powerpoint
Painted by Titian 1551 PHILIP II KING OF SPAIN “ THE PRUDENT” Signature CONTENT AND LANGUAGE INTEGRATED LEARNING UNIT (UNIDAD DIDÁCTICA CLIL) 2017/18 HISTORY lrs Lourdes Ruiz Juana of Castile Philip “The Handsome” Maria of Aragon. Manuel I of Portugal 3rd DAUGTHER OF of Austria 4TH DAUGTHER OF Isabel and Ferdinand Isabel and Ferdinand Charles I of Spain Isabella of Portugal nd Born: 21 May 1527 1st wife 2 wife 3rd wife 4th wife Died: 13 September 1598 Maria Manuela Mary I of England Elizabeth Anna of Austria Philip II of Spain of Portugal “Bloody Mary” of Valois Spain, the Netherlands, Italian Territories & The Spanish Empire lrs 1527: Philip II of Spain was born in Palacio de Pimentel, Valladolid, which was the capital of the Spanish empire. In June 1561, Philip moved his court to Madrid making it the new capital city. Philip was a studious young boy, he learnt Spanish, Portuguese and Latin. 'The Baptism of Philip II' in Valladolid. He enjoyed hunting and sports as well as music. Historical ceiling preserved in Palacio de Pimentel (Valladolid) Also, he was trained in warfare by the . court [kɔːt] N corte Duke of Alba hunting [ˈhʌntɪŋ] N caza, cacería lrs warfare [ˈwɔːfɛər] N guerra, artes militares Look at this map. In 1554-55, Philip’s father, Charles I of Spain and Holy Roman Emperor abdicated in favour of his son Philip and his brother Ferdinand. Charles left all the territories in ORANGE to his son. After different battles and expeditions, Philip’s Empire would include all the territories in GREEN. That is, he took control of Portugal and its colonies in America, Africa and Asia. -
Keyboard Sonatas Nos. 87–92 Levon Avagyan, Piano Antonio Soler (1729–1783) Sonatas Included in Op
Antonio SOLER Keyboard Sonatas Nos. 87–92 Levon Avagyan, Piano Antonio Soler (1729–1783) sonatas included in Op. 4 bear the date 1779. These Sonata No. 92 in D major, numbered Op. 4, No. 2, is Keyboard Sonatas Nos. 87–92 sonatas follow classical procedure and are in several again in four movements and in a style that reflects its movements, although some of the movements had prior date, 1779, and contemporary styles and forms of Born in 1729 at Olot, Girona, Antonio Soler, like many Llave de la Modulación, a treatise explaining the art of existence as single-movement works. Sonata No. 91 in C composition, as well as newer developments in keyboard other Catalan musicians of his and later generations, had rapid modulation (‘modulación agitada’), which brought major starts with a movement that has no tempo marking, instruments. The Presto suggests similar influences – the his early musical training as a chorister at the great correspondence with Padre Martini in Bologna, the leading to a second movement, marked Allegro di molto, world of Haydn, Soler’s near contemporary. The third Benedictine monastery of Montserrat, where his teachers leading Italian composer and theorist, who vainly sought in which the bass makes considerable use of divided movement brings two minuets, the first Andante largo included the maestro di capilla Benito Esteve and the a portrait of Soler to add to his gallery of leading octaves. There is contrast in a short Andante maestoso, a and the second, which it frames, a sparer Allegro. The organist Benito Valls. Soler studied the work of earlier composers. -
Perrot Notes;
PERROT NOTES; O& SOME ACCOUNT OF THE VARIOUS BRANCHES OF THE PERROT FAMILY. :BY ED\VARD LOWRY BARNWELL, M.A. JtintdJ fat tbe ·Q!:a;mhrian <!rrbreolagital '!ssociation. LONDON: .J. RUSSELL SMITH, 36, SOHO SQUARE. J. H. & J. PARKER, 377, STRAND. MDCCCLXVII. LONDON: T, BICHAitDB, 37, GREAT QUEli:N S'l'ltJ-;1;:'I', W.C, PREFACE. 'fHE Perrot" N otes,"which have ~lready heen published by the Cambrian Archreological Association in the Arckceolo9ia Oambrensis, are now reissued to the public, to the limited number of one hundred large paper copies. The subject may not be one of popular character; but by descendants of a famil"y once of no small distinction, and especially by those connected with- South Wales, they may be considered as not ' altogether devoid of local or personal interest. For so long a period did the family of l?errot flourish in Pembrokeshire, and so numerous ,vere i~s marriages ,vith the leading families of " little England beyond Wales," that there are fe,v descendants of those fan1ilies still remaining within the Principality, or else\vhere, ,vho are not connected by blood ,vith the Perrots. One object of the ,vriter of the "Notes" has been to correct the errors, and supply the deficiencies, ,v hich too frequently occur in n1ost of the printed or unprinted genealogies 'fhese corrections and additions have been effected partly by careful con1 parison of the various accounts, and partly by reference to deeds or . IV PREFACE. records, most of ,vhich had not been previously exa n1ined. Even if there may still remain errors, or doubt ful statements, in the "Notes," yet the present collec tion may, perhaps, claim the credit of being at least the n1ost complete, and least incorrect, of existing no.tices. -
Representations of Spain in Early Modern English Drama
Saugata Bhaduri Polycolonial Angst: Representations of Spain in Early Modern English Drama One of the important questions that this conference1 requires us to explore is how Spain was represented in early modern English theatre, and to examine such representation especially against the backdrop of the emergence of these two nations as arguably the most important players in the unfolding game of global imperialism. This is precisely what this article proposes to do: to take up representative English plays of the period belonging to the Anglo-Spanish War (1585–1604) which do mention Spain, analyse what the nature of their treat- ment of Spain is and hypothesise as to what may have been the reasons behind such a treatment.2 Given that England and Spain were at bitter war during these twenty years, and given furthermore that these two nations were the most prominent rivals in the global carving of the colonial pie that had already begun during this period, the commonsensical expectation from such plays, about the way Spain would be represented in them, should be of unambiguous Hispanophobia. There were several contextual reasons to occasion widespread Hispanophobia in the period. While Henry VIII’s marriage to Catherine of Aragon (1509) and its subsequent annulment (1533) had already sufficiently complicated Anglo-Hispanic relations, and their daughter Queen Mary I’s marriage to Philip II of Spain (1554) and his subsequent becoming the King of England and Ireland further aggravated the 1 The conference referred to here is the International Conference on Theatre Cultures within Globalizing Empires: Looking at Early Modern England and Spain, organised by the ERC Project “Early Modern European Drama and the Cultural Net (DramaNet),” at the Freie Universität, Ber- lin, November 15–16, 2012, where the preliminary version of this article was presented. -
Copyright Material: Irish Manuscripts Commission
‘REFORM’ TREATISES ON TUDOR IRELAND Commission Edited by DAVID HEFFERNAN Manuscripts Irish Material: Copyright IRISH MANUSCRIPTS COMMISSION 2016 Tudor Ireland Reform TreatisesREV IMC.indd 3 11/06/2016 07:43 CONTENTS ACKNOWLEDGEMENTS X ABBREVIATIONS XII LIST OF PLATES XIV INTRODUCTION XV FORMAL TREATISE XXIV INFORMAL TREATISE XXIV LETTER-TRACT CommissionXXV INTERNAL GOVERNMENT MEMORANDA AND WORKING DOCUMENTS XXV DIARIES, CAMPAIGN JOURNALS AND ACCOUNTS OF SERVICE XXV EDITORIAL NOTE XXVIII THE ‘REFORM’ TREATISES 1 1. Anonymous: ‘Devices for the ordering of the Kavanaghs, the Byrnes, Tooles and ‘Omayles’ [Imaals] for such lands as they shall have within the countyManuscripts of Carlow and the marches of the same county, and also of the marches of the county of Dublin’, 1537 3 2. Thomas Walshe: ReportIrish on the state of Ireland, 1552 7 3. Anonymous: ‘Articles to be inquired of concerning the state and affairs of Ireland’, 1553 16 4. John Alen?: ‘A description of the power of the Irishmen of Leinster made in these days’, c. 1556 19 5. Thomas Alen?: ‘Matters for the good government of Material:Ireland’, 1558 28 6. James Barnewall?: Proposals for provisioning, 1559 36 7. James Barnewall?: Proposals for acts to be passed through parliament and other measures to be taken in Ireland, 1559 42 8. John Walshe: ‘Information given by your orator John Walshe of Youghal in Ireland for the reformation of the enormities of the said realm and to bring the same Copyright unto civility’, 1559 49 9. Thomas Radcliffe, 3rd earl of Sussex: ‘Articles of advice sent from the lord lieutenant, from Drogheda, by Gilbert Gerrard, attorney general’, 1561 52 10. -
405 Perrot V Perrockes
1 514 PERROT V PERROCKE Thomas Perrot of the city of London, esq v Robert Perrocke of Moreton on Lugg, co. Hereford, gent, Herbert Perrocke of Gray’s Inn, London, gent, and Francis Perrocke of All Hallows, London Wall, merchant December 1639 – October 1640 Name index: ap John, Thomas, Baron Winfarton ap Thomas, Rice, knight Barrow Berrington Blome, John, esq (also Bloome) Blunt Bromwich, Ann Bromwich, Richard, esq Canon, John, gent (also Cannon) Cassey, Mr Cornwall, Gilbert, knight and baron Burford Crost, Christopher Davids, Thomas, gent Duck, Arthur, lawyer Eden, Thomas, lawyer Griffith, Evan, notary public Gwyn, David, gent Harley Hart, Richard, lawyer Hopwood Howard, Henry, baron Maltravers Howard, Thomas, earl of Arundel and Surrey Hughes, William, clerk Johns, William, clerk Jordan, Dr, lawyer Kar, Mark, clerk Kyrle Letchett Lewin, William, lawyer Mansell, Dorothy (also Mauncell) Mansell, Francis, knight (also Mauncell) Matthew, John, gent Minors Monington Nanfan Nicholson, William, clerk Palmer, Thomas, gent Perrocke, Francis, merchant (also Perrock) Perrocke, Herbert, gent (also Perrock) Perrocke, Robert, gent (also Perrock) Perrot, James, gent (also Perrott) Perrot, James, knight (also Perrott) 2 Perrot, Jane (also Perrott) Perrot, John, knight (also Perrott) Perrot, Richard (also Perrott) Perrot, Robert (also Perrott) Perrot, Thomas (also Perrott) Perrot, Owen, knight (also Perrott) Perrot, Thomas, esq (also Perrott) Ryves, Thomas, lawyer Scudamore Sebrand, John, esq Southcott Stepney, Alban, esq Stepney, Dorothy Tompkins, Fortun -
Meadows Museum Announces Acquisition of an Important Portrait by Bartolomé González Y Serrano
MEADOWS MUSEUM ANNOUNCES ACQUISITION OF AN IMPORTANT PORTRAIT BY BARTOLOMÉ GONZÁLEZ Y SERRANO Museum Also Adds Three 18th- and 19th-century Drawings by Major Spanish Artists to its Collection DALLAS (SMU)—August 19, 2021— The Meadows Museum, SMU, announced today that it has acquired a rare signed and dated portrait by Bartolomé González y Serrano (1564–1627) titled Portrait of a Lady (1621). The portrait is of an unknown woman from the court of either King Philip III or his son, King Philip IV. The painting was made at a pivotal moment in Spanish history, which saw the movement of the imperial capital from Valladolid (Castile) to Madrid and, one year later, the arrival of Diego Velázquez (1599–1660) at court, who would go on to revolutionize the genre of portraiture by re-envisioning the model offered by González y Serrano and his predecessors. It is the first work by González y Serrano to enter the Meadows’s collection, and is one of only a few portraits by the painter outside of Spain. The painting was purchased at auction from Christie’s, London, and was subsequently treated by Claire Barry, Director of Conservation Emerita, Kimbell Art Museum, whose removal of yellowed varnish restored the painting’s vivid colors and delicate details. Portrait of a Lady will be on view from August 21st in the museum’s Jake and Nancy Hamon Galleries. All 29 members of the Meadows Museum Advisory Council contributed funds for the painting’s purchase, which was made in honor of Mark A. Roglán, the Linda P. and William A. -
Elizabeth I and Irish Rule: Causations For
ELIZABETH I AND IRISH RULE: CAUSATIONS FOR CONTINUED SETTLEMENT ON ENGLAND’S FIRST COLONY: 1558 - 1603 By KATIE ELIZABETH SKELTON Bachelor of Arts in History Oklahoma State University Stillwater, Oklahoma 2009 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2012 ELIZABETH I AND IRISH RULE: CAUSATIONS FOR CONTINUED SETTLEMENT ON ENGLAND’S FIRST COLONY: 1558 - 1603 Thesis Approved: Dr. Jason Lavery Thesis Adviser Dr. Kristen Burkholder Dr. L.G. Moses Dr. Sheryl A. Tucker Dean of the Graduate College ii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ...................................................................... 1 II. ENGLISH RULE OF IRELAND ...................................................... 17 III. ENGLAND’S ECONOMIC RELATIONSHIP WITH IRELAND ...................... 35 IV. ENGLISH ETHNIC BIAS AGAINST THE IRISH ................................... 45 V. ENGLISH FOREIGN POLICY & IRELAND ......................................... 63 VI. CONCLUSION ...................................................................... 90 BIBLIOGRAPHY ........................................................................ 94 iii LIST OF MAPS Map Page The Island of Ireland, 1450 ......................................................... 22 Plantations in Ireland, 1550 – 1610................................................ 72 Europe, 1648 ......................................................................... 75 iv LIST OF TABLES Table Page -
The Secrets of Tudor Art We Must Try to Put Ourselves Back Into the Minds of the Tudor Courtier
• The Tudors loved secrets, puzzles and word play and a lot of time and effort has gone into trying to understand what it all meant. • In order to decode the secrets of Tudor art we must try to put ourselves back into the minds of the Tudor courtier. • There were concepts that are alien or unknown to us today on which the interpretation hinges. • Some of the most important are the divine right of kings, magnificence, chivalry and melancholia. • I will start with one of the most puzzling – melancholia. Notes 1. Melancholy 2. The Accession Day Tilt 3. The Impressa 4. Symbolic meaning in Tudor art 5. Nicholas Hilliard, Young Man Amongst Roses. 6. Isaac Oliver, A Man Against a Background of Flames. 7. Nicholas Hilliard, Henry Percy, Earl of Northumberland 8. Ditchley Portrait, reject the Renaissance conventions of space and time 9. Armada Portrait 10. The Origins and Functions of the Portrait Miniature • See shafe.uk ‘Tudor: The Origins and Functions of the Portrait Miniature’ • Holbein, Mrs Jane Small • Simon Bening • Lucas Horenbout • Nicolas Hilliard, ‘Young Man Among Roses’, the Art of Limning • Isaac Oliver, Hilliard’s pupil and Limner to Queen Anne of Denmark 1604, Lord Herbert of Cherbury. • Levina Teerlinc 1 Nicholas Hilliard (1547–1619), Portrait of Henry Percy, Ninth Earl of Northumberland, c. 1594-1595, miniature on parchment, 25.7 x 17.3 cm (slightly small than A4), Rijksmuseum, Amsterdam Secret Knowledge • In order to explain what I mean by ‘secret knowledge’ I have selected one Elizabethan miniature and will spend some time analysing its many levels of meaning. -
The Portrait of Juana of Austria in the Bilbao Fine Arts Museum
IN THE KING’S NAME The Portrait of Juana of Austria in the Bilbao Fine Arts Museum Leticia Ruiz Gómez This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Kunsthistorisches Museum, Wien: fig. 7 © Musées Royaux des Beaux Arts de Belgique, Bruxelles: fig. 4 © Museo Nacional del Prado, Madrid: figs. 2, 3, 5, 9 and 10 © Patrimonio Nacional, Madrid: figs. 6 and 8 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-123. Sponsored by: 2 n the 1550s Princess Juana of Portugal was a regular subject for portrait artists, being one of the leading women in the House of Austria, the dynasty that dominated the political scene in Europe throughout the I16th century. The youngest daughter of Charles V and Isabella of Portugal, she had a special role to play in her father’s geopolitical strategies, first as the wife of the heir to the Portuguese throne, to whom she bore a posthumous son who would eventually come to the throne of Spain’s neighbour, and subsequently as regent of the Emperor’s peninsular territories.