Great Events and People from British History
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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. -
Mary, Queen of Scots at the Palace of Holyroodhouse Information for Teachers
PALACE OF HOLYROODHOUSE Mary, Queen of Scots at the Palace of Holyroodhouse Information for Teachers Planning Your Visit We hope you enjoy your visit to the Palace of Holyroodhouse. Before you arrive, please read this information to help you make the most of your time here. Frequently Asked Questions Is my booking confirmed? The attached letter is your confirmation. Please read it carefully and if the details are not correct please telephone us on 0131 557 2500. If there are any fees due on your booking, your letter will confirm the date by which full payment must be received. All bookings are made subject to our terms and conditions, which are available on request. Can I make changes to the size of my group? You can confirm any increase in the number of your group up to 24 hours in advance of your visit. Please note, if you would like to book additional accompanying adults, above the stated ratios, a reduced-rate admission fee of £3 per adult will be payable. How do I arrange a complimentary planning visit? If you and a colleague would like to make a planning trip before your group visit, please contact the Learning Bookings Team to arrange this. Two complimentary tickets will be booked for you, for collection on the day. If you would like to meet a member of the Learning Team or see the Learning Rooms during your planning visit, please advise us during booking. Is there a lunch room at the Palace? There is limited space for eating packed lunches in the Learning Rooms. -
Catherine De' Medici: the Crafting of an Evil Legend
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2020 Apr 27th, 9:00 AM - 10:00 AM Catherine de' Medici: The Crafting of an Evil Legend Lindsey J. Donohue Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Feminist, Gender, and Sexuality Studies Commons, History Commons, and the Italian Language and Literature Commons Let us know how access to this document benefits ou.y Donohue, Lindsey J., "Catherine de' Medici: The Crafting of an Evil Legend" (2020). Young Historians Conference. 23. https://pdxscholar.library.pdx.edu/younghistorians/2020/papers/23 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CATHERINE DE’ MEDICI: THE CRAFTING OF AN EVIL LEGEND Lindsey Donohue Western Civilization February 18, 2020 1 When describing the legend of the evil Italian queen, Catherine de’ Medici, and why Medici has been historically misrepresented, being credited with such malediction and wickedness, N.M Sutherland states that she has been viewed as a, “. .monster of selfish ambition, who sacrificed her children, her adopted country, her principles - if she ever had any - , and all who stood in her way to the satisfaction of her all-consuming desire for power.”1 The legend of the wicked Italian queen held widespread attraction among many, especially after Medici’s death in 1589. The famous legend paints Medici inaccurately by disregarding her achievements as queen regent as well as her constant struggle to administer peace during a time of intense political turmoil and religious feuding, and it assumes that Medici was a victim of circumstance. -
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. -
Elizabethan Propaganda How Did England Try to Show Spain Planned to Invade in 1588?
The National Archives Education Service Elizabethan Propaganda How did England try to show Spain planned to invade in 1588? Court of King’s Bench Coram Rege Rolls 1589 (KB27/1309/2) Elizabethan Propaganda How did England try to show Spain planned to invade in 1588? Introduction Lesson at a Glance Preparing for the Armada Suitable For: KS3 In the 1580s, relations between England and Spain had been getting worse and worse. By May 1588, King Philip II of Spain had finished Time Period: preparing a fleet, the Spanish Armada, to invade England. His plan was for the fleet of 130 ships, carrying 30,000 sailors and soldiers, to sail up Early Modern 1485-1750 the English Channel. They would link up with the Spanish army based Curriculum Link: in the Low Countries, and together they would invade England. The Protestant Queen Elizabeth I would be removed from the throne and The development of replaced with a Catholic ruler. The Catholic religion would be restored Church, state and society in England. in Britain 1509-1745 The arrival of the Armada on 29 July 1588 was no surprise. The English The Elizabethan religious had known about its preparation for several years and had been settlement and conflict with making their own preparations to face the attack. The government had Catholics (including Scotland, been building new ships, forts and warning beacons. They made efforts Spain and Ireland) to disrupt the Spanish preparations. Francis Drake attacked the Spanish fleet in Cadiz harbour in 1587. They had also been trying to win the Learning Objective: war of words – the propaganda battle between the two countries. -
From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality. -
The London School of Economics and Political Science the Ideological Origins of Piracy in International Legal Thought Tor Krever
The London School of Economics and Political Science The ideological origins of piracy in international legal thought Tor Krever A thesis submitted to the Department of Law of the London School of Economics for the degree of Doctor of Philosophy, London, May 2018 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 88,133 words. 2 Abstract This thesis explores the origins of the pirate in international legal thought. It takes as its starting point the recent wave of piracy off the coast of Somalia, mapping the image of the pirate constructed by contemporary legal commentators. The figure of the pirate that takes shape is the archetype of illegitimacy and epitome of enmity in international law: hostis humani generis. Where and when did this figure first emerge in international legal thought? My argument is twofold. First, against dominant transhistorical accounts which project the pirate backwards in an unbroken arc from the present to antiquity, I show that its juridical identity has been marked by fundamental discontinuities and transformations. -
Catherine De' Medici: a Woman Before Her Time by Sara Grace
Catherine de' Medici: A Woman Before her Time by Sara Grace Ericsson Thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honours in History Acadia University April, 2014 © Copyright by Sara G. Ericsson, 2014 This thesis by Sara Grace Ericsson is accepted in its present form by the Department of History as satisfying the thesis requirements for the degree of Bachelor of Arts with Honours Approved by the Thesis Supervisor __________________________ ____________________ Dr. Leigh Whaley Date Approved by the Head of the Department __________________________ ____________________ Dr. Paul Doerr Date Approved by the Honours Committee __________________________ ____________________ Dr. Matthew Lukeman Date ii I, Sara Ericsson, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. _________________________ Signature of Author __________________________ Date iii ACKNOWLEDGEMENTS Throughout this long, difficult, frustrating, but ultimately rewarding process, there are several people who have served to inspire me. To my mum, whose reassurance I depend on daily; To my aunt, whose gift was inspiring; To my sister, whose interest in a topic she knew nothing about was insatiable; To my brother, whose patience knows no bounds; To my dad, whose faith is appreciated; To my nana, whose wry sense of humour is always refreshing; To my grampie, whose quiet yet constant love I could never do without; And finally, to my supervisor Dr. Whaley, whose ongoing advice and encouragement were the main reasons I was able to complete this project. -
Mary I, Queen of England: How ‘Bloody’ Was She?
Mary I, Queen of England: How ‘Bloody’ Was She? By Johanna Strong Johanna is a PhD student at the University of Winchester One significant formal event in Winchester Cathedral has consequences which are felt to this day: the July 1554 wedding of Mary I – England’s first crowned queen regnant, that is: queen in her own right – and Philip II of Spain. Their marriage has significantly influenced how Mary is remembered in the English historical narrative and her legacy is very much tied to Philip’s unpopularity in England and Spain’s expansionist hopes in the early modern world. It is their wedding, their marriage, and the legacy of Mary’s reign which is the focus of this article. Mary’s Life and Reign in Contemporary Eyes Mary was born on 18 February 1516 to Catherine of Aragon and Henry VIII and was the only one of Catherine of Aragon’s children to live past childhood. As a result of the breakdown of her parents’ marriage, Mary suffered greatly watching her mother exiled from court and left to die alone at Kimbolton in 1536. Just under 20 years later, Mary’s situation changed drastically when she was proclaimed queen in July 1553 after Lady Jane Grey’s brief tenure on the throne. On 25 July 1554, Mary married Philip II of Spain at Winchester Cathedral in an elaborate ceremony with a banquet following at Wolvesey Castle. Most of the time when heirs to the throne become king or queen, their suffering and unhappiness ends. Unfortunately for Mary, this was not the case. -
Unmasking the “Droeshout” Portrait of William Shakespeare Simon Miles
The Prank of the Face: Unmasking the “Droeshout” Portrait of William Shakespeare by Simon Miles 1. Introduction In 1977, art historian and pioneer computer artist Lillian Schwartz made a remarkable observation with potentially far-reaching implications for the Shakespeare authorship debate. She took a copy of the famous “Droeshout” portrait of William Shakespeare which appears in the First Folio of 1623, and scanned it into her computer. Then she did the same with a portrait of Queen Elizabeth 1. She overlaid the two images one on top of the other, scaling them to the same size. Then, adjusting their relative transparency so that they could be readily compared, she noticed something very strange: there were certain portions of the Shakespeare portrait which exactly reproduced the features of Elizabeth. It was not a question of an approximate copy, or a close facsimile, or a loose likeness. There was an exact reproduction of the key sections. Her discovery, extraordinary as it appears to be, seems to have attracted almost no commentary in the intervening years. It’s perhaps not hard to see why. There does not seem to be any obvious reason why a portrait of Shakespeare should share elements of a portrait of Elizabeth. I must admit that when I first heard of this discovery, my initial reaction was to dismiss it out of hand as too ridiculous to contemplate. The internet is awash with foolish claims of identity between different people based on dubious photo-shop manipulations, wishful thinking and outright stupidity. This claim, I thought when I first heard about it, no doubt fell directly into such a category. -
Queen's House Conference 2018 – Elizabeth I
Queen’s House Conference 2018 Call for Papers Elizabeth I: The Armada and Beyond, 1588 to 2018 19–21 April 2018 English School, The Armada Portrait of Elizabeth I (c.1590, RMG) Cate Blanchett in ‘Elizabeth: The Golden Age’ (2007) In September 2016, Royal Museums Greenwich acquired the Armada Portrait of Elizabeth I. This remarkable work of art has captured widespread attention from its creation until the present day, providing a defining image of what has come to be seen as a critical moment in history: the failed invasion of England by the Spanish Armada in the summer of 1588. This conference will address this moment in time and its consequences both for Elizabeth and her subjects in the immediate aftermath of the Armada and for subsequent generations, as the idea of the Virgin Queen and her great triumph has been shaped and remade throughout history until the present day. While the image was inspired by a specific event, its complex symbolism embraces issues of monarchy, dynasty, nation and empire in the early modern period. It was designed to be a spectacle of female power and majesty, carefully calibrated to inspire awe and wonder, an impression which has lasted to the present day. Scholars have described the portrait as a definitive representation of the English Renaissance, encapsulating the creativity, ideals and ambitions of the entire Elizabethan era. Equally the portrait has inspired and informed countless representations of Elizabeth I in the visual and performing arts, and across film, theatre and television. It has thus been instrumental in making her one of the most recognizable historical figures for audiences today. -
Kirk O' Field What Happened in 1567?
Education Service Kirk o' Field What happened in 1567? This resource was produced using documents from the collections of The National Archives. It can be freely modified and reproduced for use in the classroom only. Kirk o’ Field : What happened in 1567? 2 Introduction Early in the morning of 10 February 1567, Kirk o’ Field house in Edinburgh was destroyed by an explosion. The partially clothed bodies of Lord Darnley, the second husband of Mary, Queen of Scots, and his servant were found in a nearby orchard, apparently strangled but unharmed by the explosion. Suspicion immediately fell upon Mary and James Hepburn, Earl of Bothwell, one of her closest and most trusted noblemen. Although Bothwell was considered to be the lead conspirator, he was found not guilty at his trial in April, 1567. Mary married Bothwell the following month, just three months after Darnley's murder. Darnley's death remains an unsolved historical mystery. Work through the available evidence and see if you can work out what happened. Tasks Look at close up 1 1. This is the bodies of Lord Darnley and his servant in the garden a) Why are the men half naked? b) How did the bodies get there? c) What might the chair have been used for? d) Are there any obvious marks on the bodies? e) Who do you think the dagger belonged to? f) How do you think they died? Look at close up 2 2. This section shows Lord Darnley being carried away and the funeral of his servant a) Where are the men taking Lord Darnley’s body? b) Why do you think the soldiers were there? c) Where is Lord Darnley’s servant being buried? Look at close up 3 3.