DOCSLIB.ORG

Margaret of York and the Recuyell Engraving Lee Todd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Margaret of York and the Recuyell Engraving Lee Todd A Woman Enthroned: Margaret of York and the Recuyell Engraving Lee Todd The frontispiece in the Recuyell of the Histories of Troye fea- Although the focus of the engraving is the moment of tures a presentation scene with portraits of the book’s printer, presentation, there are many layers of narrative framed within William Caxton, and its patron, Margaret of York, Duchess of the context of this interior environment. The foreground fea- Burgundy (Figure 1).1 Commissioned by Margaret of York and tures Caxton kneeling and presenting the two volumes of his printed in 1475 C.E., the book is Caxton’s English transla- translation to the duchess, and between them sits a monkey tion of an earlier French version based on the history of the imitating Caxton’s gestures.4 Organized by a grid floor, the Trojan War, Raoul le Fèvre’s Recueil des Histories de Troie, composition is diagonally divided into gendered segments. which was commissioned by Philip the Good, Duke of Bur- Along the right side of the image are five ladies of the court gundy.2 Historians recognize the translated text as the first attending the duchess, all of whom gaze demurely downward. book printed in the English language and attribute the en- In the left background, behind Caxton, stand the male court graved frontispiece to an anonymous artist known as the Mas- members. At the far left, a man stands within the entryway to ter of Mary of Burgundy, a Flemish illuminator who worked the room; he serves as one of the few visual indicators of an in Ghent and was active from 1469 to 1483.3 Evocative of outside world. Framed by architectural elements, the room presentation scenes traditionally found in manuscript minia- houses pieces of furniture draped in textiles and set with ves- tures, the composition of the image directs the viewer’s atten- sels of varying types and sizes, and overall the image is of a tion to the pair of figures essential to the book’s production. constructed environment that captures a specific, though imag- As the patron of the Recuyell engraving, Margaret of York ined, moment in time: the presentation of a commissioned dictated the composition of the frontispiece and adopted vi- work to a noble patron.5 sual signs from earlier presentation scenes depicting the Dukes Art historians have, for the most part, ignored the en- of Burgundy, specifically her father-in-law, Philip the Good, graving, and the literature that does exist considers the image and her husband, Charles the Bold. This paper suggests that a portrait that presents the duchess as subservient to her hus- the image she constructed does not pay tribute to the Dukes of band. Jeffrey Chipps Smith, in “Margaret of York and the Burgundy. Rather, she emulates them, thereby elevating the Burgundian Portrait Tradition,” writes that the artist’s deci- female self to the status of the male. By doing so, the duchess sion not to depict Margaret of York seated on a throne was a positioned herself within the legacy of the Court of Burgundy purposeful choice, and one that was intended to emphasize as an equally contributing bibliophile. Charles’ office as a ruler.6 Lotte Hellinga-Querido, in “Read- 1 The frontispiece is affixed to the copy of the Recuyell of the Histories of to attribute the engraving to the anonymous artist referred to as the Master Troye that is held in the collection at the H.E. Huntington Library in San of Mary of Burgundy, grouping the engraving with manuscript miniatures Marino, California. Joseph A. Dane, “’Wanting the First Blank’: Frontis- also commissioned by Margaret of York, Duchess of Burgundy. The dates piece to the Huntington Copy of Caxton’s Recuyell of the Historyes of for printing and for the engraving, and the fact that William Caxton was the Troye,” Huntington Library Quarterly 67.2 (2004): 315. Dane describes translator and printer of the Recuyell of the Histories of Troye are all well the Huntington Library copy, its patrons and provenance. The fact that the documented, and can be found in Caxton’s biographies. Refer to George Huntington copy of the Recuyell of the Historyes of Troye once belonged Duncan Painter, William Caxton: A Biography (New York: Putnam, 1977). to Elizabeth Woodville, Edward IV’s queen and Margaret of York’s sister- in-law, is documented by other scholars. See Lotte Hellinga-Querido, “Read- 4 Hellinga-Querido 7. ing an Engraving: William Caxton’s Dedication to Margaret of York, Duch- ess of Burgundy,” Across the Narrow Seas: Studies in the History and 5 Hellinga-Querido 1. Bibliography of Britain and the Low Countries,” ed. Susan Roach (Lon- don: British Library, 1991) 1. 6 Smith 52. Smith argues that Margaret of York borrows “to a degree” from the Burgundian prototypes developed by the dukes; but, she does so in 2 Jeffrey Chipps Smith, “Margaret of York and the Burgundian Portrait Tra- order to develop a new iconography, one of her religious character. He de- dition,” Margaret of York, Simon Marmion and “The Visions of Tondal,” scribes the Recuyell engraving, stating: “The most significant difference ed. Thomas Kren (Malibu: The J. Paul Getty Museum, 1992) 52. between these two scenes is Margaret’s lack of a throne, which specifically reflects Charles’s office as a ruler.” 3 S. Montague Peartree, “A Portrait of William Caxton,” The Burlington Magazine for Connoisseurs 7.29 (1905): 383-387. Peartree was the first ATHANOR XXV LEE TODD ing an Engraving: William Caxton’s Dedication to Margaret political relationship and Charles saw the arrangement as a of York, Duchess of Burgundy,” also argues that the duchess way to prevent England and France from forming an alliance.9 is purposely depicted as deferential to her husband.7 Hellinga- By all accounts the wedding was a sumptuous affair and the Querido’s thesis relies entirely on the assumption that the fig- event introduced Margaret to the elaborate displays of wealth ure at the door is entering the interior scene and is, in fact, that were common in the Court of Burgundy, displays that Charles the Bold. These two studies ignore the power of pa- also included the production of artwork.10 After the wedding, tronage and instead view the figure of Margaret of York as Margaret of York lived the majority of the time at the family’s representative of a shared identity dependent upon her hus- castle in Ghent, though she often traveled to Bruges and Brus- band. sels. Her husband was usually away on military campaigns; This paper will demonstrate that the presentation scene historical documents show that they lived apart for most of as well as the subject of the book indicate an acknowledgement their marriage.11 of the interests and pursuits of the Court of Burgundy. In ad- Considered quite cosmopolitan at the time of their union dition, by closely examining the composition and imagery put and reflective of a court that placed great importance on the forth in the Recuyell engraving, it will be shown that they production of manuscripts and art, the cultural environment were careful appropriations of the artistic conventions found in Flanders was, to a certain extent, unfamiliar territory for in earlier presentation scenes patronized by the Court of Bur- Margaret of York.12 Unlike her mother-in-law or Charles’ first gundy. This argument is supported by the fact that Margaret two wives, however, Margaret embraced the court’s literary of York, following the examples set by her male predecessors, and artistic culture and began to put together her own library. played an active role in developing her own personal library, Scholars are not aware of any commissions by Charles’ previ- and that her commissions evolved from traditionally feminine ous wives, and only know of a few by Margaret’s mother-in- works, such as devotional manuscripts, to one based on a his- law, Isabella of Portugal.13 The portraits of Isabella of Portu- torical subject closely associated with the Dukes of Burgundy. gal that were made show the duchess in religious devotion This paper will also examine how Christine de Pizan set a only, such as Philip the Good and Isabella of Portugal in precedent for female authority in the Court of Burgundy, and Prayer, a miniature from the Breviary of Philip the Good (Fig- will dispute prior scholarship by discussing late medieval no- ure 2). There are no known portraits of Charles’ first wife, tions about the royal chamber and the implications of these Catherine of France, and only one of Charles’ second wife, concepts in regards to the figure at the door and the lack of a Isabella of Bourbon.14 Entitled Charles the Bold and Isabella throne. Finally, the possible motivations that led Margaret of de Bourbon in Prayer (Figure 3), the miniature is detached York to construct a new self-image will be considered. from a book of hours, and like that of Isabella of Portugal, Born in 1446 in England, Margaret was the daughter of shows a wife united with her husband in prayer. Richard, Duke of York, and Cicely Neville. Her brother Ed- Based on the contents of her library, Margaret of York ward, one of her eleven siblings, became King of England in appears to have taken a special interest in devotional manu- 1461 and in 1468 arranged his sister’s marriage to Charles, scripts.15 Caxton’s history of Troy is exceptional in that, of the the son of Philip the Good, forging an alliance between En- approximately thirty texts commissioned by the duchess, it is gland and the Court of Burgundy.8 The marital union was a the only printed book, the only secular book, and the only one 7 Hellinga-Querido 11.
Load more

Recommended publications
  • Presence and Influence of Women at the Burgundian Court
    BURG_17_FM_03:BURG_17_FM_02.qxp 27/08/10 3:42 PM Page iii WOMEN AT THE BURGUNDIAN COURT : P RESENCE AND INFLUENCE FEMMES À LA COUR DE BOURGOGNE : P RÉSENCE ET INFLUENCE EDITED BY Dagmar E ICHBERGER , Anne-Marie L EGARÉ & Wim H ÜSKEN H F BURG_17_FM_03:BURG_17_FM_02.qxp 27/08/10 3:42 PM Page iv Collection BURGUNDICA Peu de périodes, de tranches d’histoire ont suscité et continuent à susciter auprès d’un large public autant d’intérêt voire d’engouement que le “siècle de Bourgogne”. Il est vrai qu’ à la charnière de ce que l’on dénomme aussi vaguement que commodément “bas moyen âge” et “Renaissance”, les douze décennies qui séparent l’avènement de Phillipe le Hardi en Flandre (1384) de la mort de Philippe le Beau (1506) forment un réceptacle d’idées et de pratiques contrastées. Et ce constat s’applique à toutes les facettes de la société. La collection “Burgundica” se donne pour objectif de présenter toutes ces facettes, de les reconstruire – nous n’oserions écrire, ce serait utopique, de les ressusciter – à travers un choix d’études de haut niveau scientifique mais dont tout “honnête homme” pourra faire son miel. Elle mettra mieux ainsi en lumière les jalons que le temps des ducs Valois de Bourgogne et de leurs successeurs immédiats, Maximilien et Philippe de Habsbourg, fournit à l’historien dans la découverte d’une Europe moderne alors en pleine croissance. Cover illustration : Master of Guillebert of Lannoy: Nicolas Finet, Benois seront les misericordieux (Beati Misericordes), fol. 1r: ‘Margaret of York performs the seven Works of Mercy’, between 1468–1477 © Brussels, Bibliothèque Royale de Belgique, ms.
    [Show full text]
  • Elizabeth Woodville and Margery Kempe, Female Agency in Late Medieval England
    ABSTRACT “She Should Have More if She Were Ruled and Guided by Them”: Elizabeth Woodville and Margery Kempe, Female Agency in Late Medieval England Laura Christine Oliver, M.A. Thesis Advisor: Beth Allison Barr, Ph.D. This thesis argues that while patriarchy was certainly present in England during the late medieval period, women of the middle and upper classes were able to exercise agency to a certain degree through using both the patriarchal bargain and an economy of makeshifts. While the methods used by women differed due to the resources available to them, the agency afforded women by the patriarchal bargain and economy of makeshifts was not limited to the aristocracy. Using Elizabeth Woodville and Margery Kempe as cases studies, this thesis examines how these women exercised at least a limited form of agency. Additionally, this thesis examines whether ordinary women have access to the same agency as elite women. Although both were exceptional women during this period, they still serve as ideal case studies because of the sources available about them and their status as role models among their contemporaries. “She Should Have More if She Were Ruled and Guided By Them”: Elizabeth Woodville and Margery Kempe, Female Agency in Late Medieval England by Laura Christine Oliver, B.A. A Thesis Approved by the Department of History ___________________________________ Jeffrey S. Hamilton, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Beth Allison Barr, Ph.D., Chairperson ___________________________________ Julie A.
    [Show full text]
  • Of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun
    Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Jun Hee Cho All rights reserved ABSTRACT Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho This dissertation examines the relations between court and commerce in Europe at the onset of the modern era. Focusing on one of the most powerful princely courts of the period, the court of Charles the Bold, duke of Burgundy, which ruled over one of the most advanced economic regions in Europe, the greater Low Countries, it argues that the Burgundian court was, both in its institutional operations and its cultural aspirations, a commercial enterprise. Based primarily on fiscal accounts, corroborated with court correspondence, municipal records, official chronicles, and contemporary literary sources, this dissertation argues that the court was fully engaged in the commercial economy and furthermore that the culture of the court, in enacting the ideals of a largely imaginary feudal past, was also presenting the ideals of a commercial future. It uncovers courtiers who, despite their low rank yet because of their market expertise, were close to the duke and in charge of acquiring and maintaining the material goods that made possible the pageants and ceremonies so central to the self- representation of the Burgundian court. It exposes the wider network of court officials, urban merchants and artisans who, tied by marriage and business relationships, together produced and managed the ducal liveries, jewelries, tapestries and finances that realized the splendor of the court.
    [Show full text]
  • The Political Function of the Esther Tapestries: on the Image Strategy of Charles the Bold, Duke of Burgundy, for His Marriage Ceremony in 1468*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE （１６３） The Political Function of the Esther Tapestries: On the Image Strategy of Charles the Bold, Duke of Burgundy, for his Marriage Ceremony in 1468* Sumiko IMAI 1. The Esther Tapestries and the Duke of Burgundy The Duchy of Burgundy, ruled first by Philip the Bold from a branch of the French Valois family, which reigned from 1363 to 1404, was known for its magnificent court cul- ture.(1) The palaces built everywhere within the Duchy were gorgeously adorned and hosted a great number of magnificent jousts, joyous entries, processions, and feasts. They not only provided aesthetic enjoyment for viewers but also impressed them with the great power of the Dukes of Burgundy.(2) Among numerous ornaments displayed at the palaces, large tap- estries woven with gold and silver threads were particularly striking, powerfully conveying their owners’ wealth and authority. One typical example was the set of Alexander Tapes- tries, depicting the life of the ancient ruler Alexander the Great (356 BC-323 BC).(3) Although the set of Alexander Tapestries is no longer complete, it is believed to have con- sisted of six large tapestries, measuring more than eight meters in width. They were fre- quently on display during meetings and feasts held by the third Duke of Burgundy, Philip the Good, who reigned from 1419 to 1467 (see Fig. 8)(4) and his son Charles the Bold, who became the fourth Duke of Burgundy, reigning from 1467 to 1477 (Fig. 9).(5) They won par- ticularly high praise when exhibited at the palace of the Duke of Burgundy in Paris.
    [Show full text]
  • Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
    Fashionable Mourners: Bronze Statuettes from the Rijksmuseum by Amanda Mikolic, Curatorial Assistant Cleveland’s celebrated early fifteenth-century alabaster tomb Figure 1. Mourners mourners are part of a major exhibition at the renowned from the Tomb of Philip the Bold, Rijksmuseum in Amsterdam this fall (fig. 1). In exchange, the Duke of Burgundy (r. Cleveland Museum of Art has the rare opportunity to exhibit 1363–1404), 1404–10. Claus de Werve four bronze mourners—traveling to North America for the (Netherlandish, first time—from the tomb of Isabella of Bourbon (1436–1465) 1380–1439). Vizille ala- (fig. 2). The original carvings are attributed to Jan Borman the baster; avg. h. 41.4 cm. The Cleveland Museum Younger and the casting attributed to Renier van Thienen. of Art, Bequest of Leonard C. Hanna Jr., 1940.128, 1958.66–67. Figure 2. Mourners from the Tomb of Isabella of Bourbon, c. 1475–76. Attributed to Jan Borman the Younger (Netherlandish, active 1479–1520); casting at- tributed to Renier van Thienen (Flemish, ac- tive 1460–1541). Brass copper alloy; avg. h. 56 cm. On loan from the City of Amsterdam, BK-AM-33-B, I, D, F. 2 3 Figure 3. Portrait of for overseeing the construction of Isabella’s tomb in addition to Isabella of Bourbon, c. casting the bronze mourners from wooden models attributed 1500. After Rogier van der Weyden (Flemish, to carver Jan Borman, who often worked with Van Thienen and c. 1399–1464). Musée was known in Brussels as a master of figural sculpture. des Beaux-Arts, Dijon, France.
    [Show full text]
  • 'Danse Macabre' Around the Tomb and Bones of Margaret of York
    ‘Danse Macabre’ Around the Tomb and Bones of Margaret of York. PAUL DE WIN Introduction1 Over 500 years ago on 23 November 1503, at Malines, in present day Belgium, died Margaret of York,2 sister to Edward IV and Richard III of England and third and last wife of Charles the Bold, Duke of Burgundy, whom she survived by a quarter of a century.3 In her will she had asked to be buried in the church of the Franciscan or Grey Friars at Malines,4 which is situated opposite the west entrance of the present St Rombout’s Cathedral. It is certain that her body was actually buried in the Franciscan church, of which the main building survives today as part of the Malines Cultural Centre. Her heart was interred at the Carthusian house of Herne, about twenty-five 1 This is an extended version of a paper given at the 44th conference of the Centre européen d’études bourguignonnes (XIVe-XVIe s.), held at Malines 25-27 September 2003 on the theme of ’Marguerite d’York et son temps’ The French text will appear in the transactions of the conference, with the title ‘”Danse macabre” autour du squelette de Marguerite d’York. Repose-t- il toujours à Malines?’. I would like to thank everybody who provided me with information (in alphabetical order): Wim Ceuppens, Henri Installé, Marcel Kocken, Norbert Moermans, François Van der Jeught and Livia Visser-Fuchs (who also translated my text into English and slightly edited the notes for English readers). 2 Jean Molinet, Chroniques, ed.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan uis !on"#lez !arc$a Peer revie% and editing organized by& Instituto Amatller de Arte Hispánico, Barcelona 'evie%ers& Antoni José itarch, "antia#o Alcolea Blanc! (bstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old fashioned !eweller" or silver ob!ects were melted down; and tapestries, paintings and sculptures were publicl" sold to pay off debts. #" stud"ing how some of these goods were reused, recycled, and recirculated among the Habsburg famil" members, I will explain how crown patrimon" changed owners and $ingdoms, and how the cult of their d"nast", activel" promoted b" %harles &, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the 'enaissance. Contents Introduction $!e %r#ani&ation o' (arl) Habsbur# Inventories and t!e Hierarchy o' *edia +!an#in# $aste and t!e *anipulation o' t!e %b,ect +!arles -'s Inventories and t!e +reation o' an (mpire /)nastic *arria#es, /)nastic Inventories Introduction ()* +he ro"al inventories of the Habsburgs are documents of extraordinar" importance for the anal"sis of art collecting in the Modern Age. +he" are often the onl" available tools to interpret the value, arrangement, uses and original functions of the ever changing princel" possessions , today !ust partiall" preserved ,, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • Renaissance France— Q/A
    CE:4– Renaissance France— Q/A Recommended Reading: Story of Old France by Guerber, “Charles VI” to “Reign of Henry II” and A History of France by Marshall, “Madness of Charles VI” to “Calais Returns to France”. 1) This critical battle in the Hundred Year War occurred in 1415 while Charles VI (the mad) was king and the Count of Armagnac ruled France. 2) This king of France went was struck with a sudden, unexplainable bout of insanity at a young age, so his wife and uncles ruled for over 40 years. 3) This coastal county was a prosperous trading center, and its cities of Ghent, Bruges, and Ypres were among the most affluent regions of Europe. 4) The civil war in France between the Burgundians and Armagnacs started when this person was murdered by his rival, John the Fearless. 5) The immoral behavior of this Queen, wife of the "mad king" Charles VI, was blamed for the woes of the Armagnac-Burgundy Civil War. 6) During the early years of Charles VI's reign his regents had to put down tax-riots in Paris, and a rebellion in this Flemish city. 7) This important city was surrounded by an English army when Joan of Arc entered it, and led the citizens against the besiegers. 8) The Dauphin (later Charles VII) and Joan of Arc were associated with this political faction during the civil war within France. 9) This 1420 treaty, naming Henry V of England as heir to the French throne, was negotiated by Isabella of Bavaria, mother of the Dauphin.
    [Show full text]
  • Bartonlibrarycatalogue SEPT 2016
    ABBEY Anne Merton Kathryn in the Court of Six Queens Date of Publication: 1989 Paperback Synopsis: 1502-47: The daughter of an illegitimate son of Edward IV is a lady-in-waiting to Henry VIII’s wives and discovers the truth about the disappearance of the Princes. ABBEY Margaret Trilogy about Catherine Newberry:- Brothers-in-Arms Date of Publication: 1973 Hardback Synopsis: Catherine seeks revenge on Edward IV, Clarence and Gloucester for the execution of her father after the battle of Tewkesbury The Heart is a Traitor Date of Publication: 1978 Hardback Synopsis: Summer 1483: Catherine’s struggle to reconcile her love for Richard with her love for her husband and family Blood of the Boar Date of Publication: 1979 Hardback Synopsis: Catherine lives through the tragedies and treacheries of 1484-85 ABBEY Margaret The Crowned Boar Date of Publication: 1971 Hardback Synopsis: 1479-83: love story of a knight in the service of the Duke of Gloucester ABBEY Margaret The Son of York Date of Publication: 1972 Paperback Paperback edition of ‘The Crowned Boar’ ABBEY Margaret The Warwick Heiress Date of Publication: 1970 Hardback Date of Publication: 1971 Paperback Synopsis: 1469-71: love story of a groom in the Household of the Duke of Gloucester and a ward of the Earl of Warwick ALLISON-WILLIAMS Jean Cry ‘God for Richard’ Date of Publication: 1981 Hardback Synopsis: 1470-85: Richard’s story told by Francis Lovell and his sister Lady Elinor Lovell, mother of John of Gloucester ALLISON-WILLIAMS Jean Mistress of the Tabard Date of Publication: 1984 Hardback Synopsis: 1471: inn keeper’s daughter , Sir John Crosby’s niece, meets Richard of Gloucester, has an affair with Buckingham and helps find Anne Neville ALMEDINGEN E.M.
    [Show full text]
  • Noble Taste, Noble Style: Exploring the Concept of Vivre Noblement in the Hours of Engelbert of Nassau
    Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-11-2018 Noble Taste, Noble Style: Exploring the Concept of Vivre Noblement in the Hours of Engelbert of Nassau Ceallsach VonEhren Crouch Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Crouch, Ceallsach VonEhren, "Noble Taste, Noble Style: Exploring the Concept of Vivre Noblement in the Hours of Engelbert of Nassau." Thesis, Georgia State University, 2018. https://scholarworks.gsu.edu/art_design_theses/235 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NOBLE TASTE, NOBLE STYLE: EXPLORING THE CONCEPT OF VIVRE NOBLEMENT IN THE HOURS OF ENGELBERT OF NASSAU by CEALLSACH CROUCH Under the Direction of John R. Decker, PhD ABSTRACT The Master of Mary of Burgundy illuminated the Hours of Engelbert of Nassau specifically to fulfill the needs of the nobility of the Burgundian Court. By analyzing three different pages, I reveal that the Master created an “alternative reality” through the use of trompe l’oeil and other modes of highly illusionistic representation. In order to appeal to the concept of vivre noblement, or “living nobly,” the Master introduces the page as an accessible mental environment, allowing the viewer to shift between layers of reality with ease. The visual and mental intricacy actively immerses the viewer and promotes ideas of positional and spiritual authority, connecting them to the ideas of a courtly splendor.
    [Show full text]