The Key Monarchs of Windsor Castle
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HENRY VII M.Elizabeth of York (R.1485–1509)
Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. HENRY VII m.Elizabeth of York (r.1485–1509) Arthur, m. Katherine HENRY VIII m.(1) Katherine m.(2) Anne m.(3) Jane m.(4) Anne of Cleves Edmund (1) James IV, m Margaret m (2) Archibald Douglas, Elizabeth Mary Catherine Prince of Wales of Aragon* (r.1509–47) Boleyn Seymour (5) Catherine Howard King of Earl of Angus (d. 1502) (6) Kateryn Parr Scotland Frances Philip II, m. MARY I ELIZABETH I EDWARD VI Mary of m. James V, Margaret m. Matthew Stewart, Lady Jane Grey King of Spain (r.1553–58) (r.1558–1603) (r.1547–53) Lorraine King of Earl of Lennox (r.1553 for 9 days) Scotland (1) Francis II, m . Mary Queen of Scots m. (2) Henry, Charles, Earl of Lennox King of France Lord Darnley Arbella James I m. Anne of Denmark (VI Scotland r.1567–1625) (I England r.1603–1625) Henry (d.1612) CHARLES I (r.1625–49) Elizabeth m. Frederick, Elector Palatine m. Henrietta Maria CHARLES II (r.1660–85) Mary m. William II, (1) Anne Hyde m. JAMES II m. (2) Mary Beatrice of Modena Sophia m. Ernest Augustus, Elector of Hanover m.Catherine of Braganza Prince of Orange (r.1685–88) WILLIAM III m. MARY II (r.1689–94) ANNE (r.1702–14) James Edward, GEORGE I (r.1714–27) Other issue Prince of Orange m. -
British Pa Inters Their Story and Their
H rTP S BRIT ISH PA INT ERS T H EIR ST O RY A ND T H EIR A RT J E . DGC UMBE ST A LEY A UT H OR OF WA TT EA U A ND H I S SCH OOL ET C . WIT H TWENTY -FO UR EXAMPLES IN C OLOUR O F T H EIR WO RK P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art l o f o f is a presentation, in popu ar form , the Story — - British Painting a well worn but never wearying t o Story , which for ever offers fresh charms young o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation , —t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people . -
Introduction: the Queen Versus the People 1
N OTES Introduction: The Queen versus the People 1 . J e a n n e L o u i s e C a m p a n , Memoirs of the Court of Marie Antoinette, Queen of France , ed. M de Lamartine (Philadelphia, PA: Parry and McMillan, 1854), pp. 158–159. 2 . Nancy Nichols Barker, “Revolution and the Royal Consort,” in Proceedings of the Consortium on Revolutionary Europe (1989): 136–143. 3 . Barker, “Revolution and the Royal Consort,” p. 136. 4 . Clarissa Campbell Orr notes in the introduction to a 2004 collection of essays concerning the role of the European queen consort in the Baroque era that “there is little comparative work in English on any facet of European Court life in the period from 1660 to 1800.” See Clarissa Campbell Orr, “Introduction” in Clarissa Campbell Orr (ed.), Queenship in Europe: 1660–1815: The Role of the Consort (Cambridge: Cambridge University Press, 2004), p. 2. There are strong exceptions to Orr’s conclusion, including the works of Jeroen Duidam and T.C.W. Blanning, which compare the culture, structure, and politics of Early Modern courts revealing both change and continuity but these stud- ies devote little space to the specific role of the queen consort within her family and court. See Jeroen Duindam, Vienna and Versailles: The Courts of Europe’s Dynastic Rivals 1550–1780 (Cambridge: Cambridge University Press, 2003), and T.C.W. Blanning, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002). 5 . See Kevin Sharpe, The Personal Rule of Charles I (New Haven, CT: Yale University Press, 1996); Bernard Bourdin, The Theological-Political Origins of the Modern State: Controversy between James I of England and Cardinal Bellamine (Washington, DC: The Catholic University of America Press, 2010), pp. -
French Revolution and English Revolution Comparison Chart Print Out
Socials 9 Name: Camilla Mancia Comparison of the English Revolution and French Revolution TOPIC ENGLISH REVOLUTION FRENCH REVOLUTION SIMILARITIES DIFFERENCES 1625-1689 Kings - Absolute monarchs - Absolute monarchs - Kings ruled as Absolute - English Kings believed in Divine - James I: intelligent; slovenly - Louis XIV: known as the “Sun King”; Monarchs Right of Kings and French did habits; “wisest fool in saw himself as center of France and - Raised foreign armies not Christendom”; didn’t make a forced nobles to live with him; - Charles I and Louis XVI both - Charles I did not care to be good impression on his new extravagant lifestyle; built Palace of did not like working with loved whereas Louis XVI initially subjects; introduced the Divine Versailles ($$) Parliament/Estates General wanted to be loved by his people Right Kings - Louis XV: great grandson of Louis XIV; - Citizens did not like the wives of - Charles I did not kill people who - Charles I: Believed in Divine only five years old when he became Charles I (Catholic) and Louis were against him (he Right of Kings; unwilling to King; continued extravagances of the XVI (from Austria) imprisoned or fined them) compromise with Parliament; court and failure of government to - Both Charles I and Louis XVI whereas Louis XVI did narrow minded and aloof; lived reform led France towards disaster punished critics of government - Charles I called Lord Strafford, an extravagant life; Wife - Louis XVI; originally wanted to be Archbishop Laud and Henrietta Maria and people loved; not interested -
Microscopy and Archival Research: Interpreting Results Within the Context of Historical Records and Traditional Practice
Microscopy and archival research: interpreting results within the context of historical records and traditional practice Jane Davies 32 ISSUE 3 SEPT 2006 The analysis of paint samples is an invaluable tool in the armoury of historic paint research. However, powerful as the techniques of pigment, cross-sectional and instrumental analysis may be, they cannot always provide complete answers to the questions posed. Historical records relating to specific buildings and projects, as well as painters’ manuals recording traditional painting techniques can offer clues which are vital to solving analysis puzzles. Historical text records which are particular to buildings and/or paintings can provide definitive dates for paint schemes which could otherwise only be dated approximately if key ‘marker’ pigments with known dates of introduction or obsolescence are present. Reference sources may be useful in suggesting or guiding proposed research and conversely, sample analysis can lead to a reassessment of archive records and a refinement of their interpretation. The application of cross-sectional analysis to the or redecoration decisions. To fulfil this role, I look investigation of architectural paint was pioneered in to a broad range of clues, drawing from diverse the 1970s by Ian Bristow and Josephine Darrah. sources, such as standing structure archaeology and During my research degree I was fortunate enough archival research — using all pieces of evidence to study microscopy with Jo Darrah at the Victoria available. Paper based archives such as accounts, and Albert Museum.This training, together with my correspondence and diaries, and artists images, tend painting conservator’s understanding of artist’s to be site specific. -
Wren and the English Baroque
What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today. -
Henrietta Maria: the Betrayed Queen
2018 V Henrietta Maria: The Betrayed Queen Dominic Pearce Stroud: Amberley, 2015 Review by: Andrea Zuvich Review: Henrietta Maria: The Betrayed Queen Henrietta Maria: The Betrayed Queen. By Dominic Pearce. Stroud: Amberley, 2015. ISBN 978-1-4456-4547-6. 352 pp. £20. enrietta Maria, the controversial uncrowned queen consort of the equally provocative Charles I of England, Scotland, and Ireland, H continues to have a reputation for shrewish obstinacy and religious bigotry, with little—if any—attention given to the more positive qualities of her character. The premise behind Dominic Pearce’s biography is that historians have betrayed the queen, because she has been largely ignored and/or disrespected. Pearce shows Henrietta Maria as a fully-fleshed person: her weaknesses and strengths are equally stated. The text is followed by a list of Henrietta Maria’s descendants, notes, a bibliography, acknowledgements, and an index. The 2010s have seen a positive trend in biographies seeking to re- examine the Stuart monarchs of the seventeenth century, notably Mark Kishlansky’s Charles I: An Abbreviated Life (2014), and White King: Charles I – Traitor, Murderer, Martyr by Leanda de Lisle (2018). Such critical re-evaluations have led to studies that are more balanced and more aware of the complexities of the figures of the seventeenth-century Stuart dynasty than the prejudices of Whig historians have previously allowed. Pearce’s book is no exception and, while it competently adds to the scholarship of the Caroline period, it perhaps can be argued that it does not add a great deal more than what has already been written in other relatively recent works on or featuring Henrietta Maria, such as Alison Plowden’s Henrietta Maria: Charles I’s Indomitable Queen (2001), or Katie Whitaker’s A Royal Passion: The Turbulent Marriage of King Charles I of England and Henrietta Maria of France (2010). -
Literature Review the Outline of My Research Topic Will Encompass
Literature Review The outline of my research topic will encompass Anne of Denmark’s role as queen consort in Scotland and England, from 1589 to 1619, in order to investigate her political influence. To fully understand Anna’s political role, recent historiography surrounding influential women in early modern England and, in particular, the role of the queen consort will be evaluated in depth. My research will contribute to these two growing fields and fill a gap by re-examining Anna, who historians once considered frivolous and vain. Accompanied by re-definitions of high politics at one end of the spectrum and court masques at the other, a re-assessment of her character throughout her reign as queen consort of Scotland and England is accordingly needed. The value of analysing Anna in a political light will be demonstrated in this essay through an examination of the historiography surrounding influential women in early modern England, queen consorts in general and then Anna herself. Previous study has excluded women from high politics because it was considered part of the public sphere, rather than the private sphere that they belonged to. In her article ‘Women and Politics in Early Tudor England’, Harris challenges the traditional view of high politics by emphasising its redefinition to include the influence of women.1 Sara Mendelson and Patricia Crawford’s book, Women in Early Modern England, echoes this view. Although women exercised some influence in high politics, this is not 1 B. Harris., ‘Women and Politics in Early Tudor England’, The Historical Journal, 33:2 (1990), pp.259-281, p.259. -
Get Your Brochure
I Events at Hampton Court Palace “ The King’s Court should hath the excellence. But Hampton Court hath the pre-eminence.” John Skelton, one time tutor of Henry VIII, 1534 II 1 A setting for stately spectaculars For centuries, Hampton Court cardinals, artists and dignitaries Whatever your occasion, you will Palace has boldly and with the grandeur and majesty of enjoy first-class, personal service magnificently played host to gala Hampton Court. from a dedicated manager able celebrations, festive banquets to advise and help you choose Today, your guests can step and historic meetings. the perfect space for your event. Beyond onto this inspiring stage and We will attend to every detail, England’s most famous kings experience the soaring state because we want to ensure your and queens, from Henry VIII and rooms, grand staircases, cobbled guests experience the Anne Boleyn to William III and courtyards and gorgeous astonishing potential of this Mary II, dazzled audiences of gardens of one of the greatest unforgettable venue. brilliant ambassadors, courtiers, palaces ever built. 2 3 A rising star in the 1603 1606 1689 2005 court of King Henry VIII, Staging William Shakespeare The King of Denmark – William III and Mary II Tony Blair hosts Thomas Wolsey acquired and his company James I’s brother-in-law build magnificent state a heads of ‘The King’s Men’ – is entertained at the rooms for holding court government Hampton Court in 1514. perform plays in the palace. The royals and receiving dignitaries. conference in the unforgettable His country manor soon Great Hall (see p12) enjoy theatre, dining palace’s Great Hall for King James I. -
The Monarchs of England 1066-1715
The Monarchs of England 1066-1715 King William I the Conqueror (1066-1087)— m. Matilda of Flanders (Illegitimate) (Crown won in Battle) King William II (Rufus) (1087-1100) King Henry I (1100-35) – m. Adela—m. Stephen of Blois Matilda of Scotland and Chartres (Murdered) The Empress Matilda –m. King Stephen (1135-54) –m. William d. 1120 Geoffrey (Plantagenet) Matilda of Boulogne Count of Anjou (Usurper) The Monarchs of England 1066-1715 The Empress Matilda – King Stephen (1135- m. Geoffrey 54) –m. Matilda of (Plantagenet) Count of Boulogne Anjou (Usurper) King Henry II (1154- 1189) –m. Eleanor of Eustace d. 1153 Aquitaine King Richard I the Lion King John (Lackland) heart (1189-1199) –m. Henry the young King Geoffrey d. 1186 (1199-1216) –m. Berengaria of Navarre d. 1183 Isabelle of Angouleme (Died in Battle) The Monarchs of England 1066-1715 King John (Lackland) (1199- 1216) –m. Isabelle of Angouleme King Henry III (1216-1272) –m. Eleanor of Provence King Edward I Edmund, Earl of (1272-1307) –m. Leicester –m. Eleanor of Castile Blanche of Artois The Monarchs of England 1066-1715 King Edward I Edmund, Earl of (1272-1307) –m. Leicester –m. Eleanor of Castile Blanche of Artois King Edward II Joan of Acre –m. (1307-27) –m. Thomas, Earl of Gilbert de Clare Isabella of France Lancaster (Murdered) Margaret de Clare – King Edward III m. Piers Gaveston (1327-77) –m. (Murdered) Philippa of Hainalt The Monarchs of England 1066-1715 King Edward III (1327-77) –m. Philippa of Hainalt John of Gaunt, Duke Lionel, Duke of Edward the Black of Lancaster d. -
Hampton Court Palace
Hampton Court Palace An introduction to the visitor routes Page 1 of 62 January 2014 Summary of Routes Dates for Key People Cardinal Wolsey, c1475-1530. Henry VIII, 1509-47 William III, 1689-1702 and Mary II, 1689-94 Queen Anne, 1702-14, Prince George of Denmark, 1702-08 George II, 1727-60, Caroline, 1727-37 Courtyards • Tudor, Baroque • View the buildings from the outside and see how different monarchs left their mark • See some of the lesser known side courtyards as well as the main processional ones • Allow 15 minutes King Henry VIII’s Apartments (10 rooms) • Tudor period • Highlights: Great Hall with its Hammerbeam Roof designed by James Nedeham and Christopher Dickenson for Henry VIII; the Royal Pew designed by Sir Christopher Wren for William III and Mary II in the English Baroque style • 6 magnificent tapestries from the life of Abraham series in the Great Hall and six in the Great Watching Chamber, including three from Cardinal Wolsey’s collection • Very important Tudor dynasty paintings and the iconic portrait of Henry VIII (after Holbein) • Processional Route and Haunted Gallery • Allow 35-45 minutes The Chapel Royal The Chapel Royal has been in continuous use as a place of worship for about 500 years. It is a part of the ecclesiastical Household of HM The Queen and there are daily services throughout the year. Visitors are asked to respect this when visiting. There are no tours but warders and very often chapel stewards are on duty who will be able to answer any questions. • Period: Tudor, Stuart and Georgian periods • Originally built for Cardinal Wolsey and added to by Henry VIII. -
Dispelling the Myths Surrounding Nineteenth-Century British
• I will begin by briefly describing the social changes that took place during the period 1660 to 1800 as they form the background and influences on artists. • I will then summarise the eight talks that cover the major artists and art movements. • But first let us look at the entire period from 1500 to 1800... 1 • The period from 1500 to 1660 saw the country emerging from feudalism. Medieval practices were referenced allegorically in the sense that they were not being used as originally intended but to convey an idea. For example, the great hall was no longer where a noble would eat but was recreated to impress. Crenulations were no longer added to building as a form of defence but to suggest the building and the family had ancient origins. • 1400s. Revolution on the battlefield. Richard III (2 October 1452 – 22 August 1485) was the last king to die in battle, at the age of 32, in the Battle of Bosworth Field. He was the last king of the House of York and the last of the Plantagenet dynasty. It was the beginning of the Italian Renaissance but the changes taking place in Italy filtered into English art and architecture very slowly and it took place through Italian and Northern European artists visiting and sometimes remaining to work in England. • 1500s. Social revolution. Although earlier kings, such as Henry I, promoted competent men from lowly backgrounds it was not until the Tudor period that a new class of lawyers and administrators from lowly backgrounds achieved powerful positions and became wealthy.