|||GET||| King James VI and I 1St Edition

Total Page:16

File Type:pdf, Size:1020Kb

|||GET||| King James VI and I 1St Edition KING JAMES VI AND I 1ST EDITION DOWNLOAD FREE Neil Rhodes | 9781351923965 | | | | | King James VI and I: Political Writings / Edition 1 Email address. James hardly understood the rights or the temper of the English Parliament, and he thus came into conflict with it. Henry Howard, son of poet Henry Howard, Earl of Surreyhad been a diligent correspondent with James in advance of the succession James referred to him as "long approved and trusted Howard". James I, painting attributed to John de Critz, c. There was admittedly much that was sensible in his policies, and the opening years of his reign as king of Great Britain were a time of material prosperity for both England and Scotland. Caroline of Ansbach 8 children. The arms were frequently shown with James's personal motto, Beati pacifici. Archibald Douglas, 6th Earl of Angus. The position of the tomb was lost for many years until his lead coffin was found in the Henry VII vault in the 19th century, during an excavation. Subscribe today. As a result, the 16th century became known as linn nan creach King James VI and I 1st edition, the time of King James VI and I 1st edition. Elizabeth of Bohemia. Before James was 12, he had taken the government nominally into his own hands when the earl of Morton was driven from the regency in James IV of Scotland [] 6. Benedicta Henrietta of the Palatinate. Charles's son, Charles IIbecame king after the restoration of the monarchy in Mary was already unpopular, and her marriage on 15 May to James Hepburn, 4th Earl of Bothwellwho was widely suspected of murdering Darnley, heightened widespread bad feeling towards her. The sermon was later printed as Great Britain's King James VI and I 1st edition [ sic ]. Akrigg, G. Elizabeth Charlotte of the King James VI and I 1st edition. Even the powerful Carr fell into the Howard camp, hardly experienced for the responsibilities thrust upon him and often dependent on his intimate friend Sir Thomas Overbury for assistance with government papers. Instead, James continued the Elizabethan program of Catholic suppression after a group of Catholics orchestrated the Gunpowder Plot to seize control of the government in The care of James was entrusted to the Earl and Countess of Mar"to be conserved, nursed, and upbrought" [14] in the security of Stirling Castle. Sophia Dorothea of Celle 2 children 3 illegitimate children. Edward of Palatine-Simmern. James arrived in the capital on 7 May, nine days after Elizabeth's funeral. Speech to parliament of 9 November ; 6. Enabling JavaScript in your browser will allow you to experience all the features of our site. Margaret Douglas [] She sees his continuing refusal to sanction war against Spain as a deliberate stand against the aggressive policies of Charles and Buckingham. Cambridge University Press. Frederick of Bohemia 8 children. This article deals with numerous descendants of James and his wife Anne of Denmark Since he is not known to have had any illegitimate children. Charles Beauclerk, 1st Duke of St Albans. John Chamberlain wrote that it was 'verily thought that the disease was no other than the ordinary ague that had reigned and raged all over England'. After the extinction of the House of Stuart with the death of Henry Benedict Stuartthe rights of succession to the British Throne, as per primogeniture, passed to her descendants. Lennox was a Protestant convert, but he was distrusted by Scottish Calvinists who noticed the physical displays of affection between him and the king and alleged that Lennox "went about to draw the King to carnal lust". In the event, Henry's will was disregarded. His connection with James may have owed something to the attempt by his brother Thomas Howard, Duke of Norfolkto free and marry Mary, Queen of Scots, leading to his execution in Forty-seven scholars were enlisted to help, with the archbishop of CanterburyRichard Bancroftat their helm. James VI and I Inhe succeeded the last Tudor monarch of England and Ireland, Elizabeth Iwho died childless. The unicorn has remained in the royal arms of the two united realms. Anne Henrietta of Simmern. Sophia Charlotte of Hanover. By the late s, his championing of native Scottish tradition was reduced to some extent by the increasing likelihood of his succession to the English throne. Dukes of Rothesay. James was now aging rapidly, and in the last 18 months of his reign he, in effect, exercised no power; Charles and Buckingham decided most issues. On 5 April, James left Edinburgh for London, promising to return every three years a promise that he did not keepand progressed slowly southwards. The Trew Law of Free Monarchies; 3. The care of James was entrusted to the Earl and Countess of Mar"to be conserved, nursed, and upbrought" [14] in the security of Stirling Castle. King James VI and I 1st edition was ambitious to King James VI and I 1st edition on the personal union of the Crowns of Scotland and England to establish a single country under one monarch, one parliament, and one law, a plan that met opposition in both realms. Triplici Nodo, Triplex Cuneus. An outbreak of plague restricted King James VI and I 1st edition, [82] but "the streets seemed paved with men," wrote Dekker. A dissident Catholic, Guy Fawkeswas discovered in the cellars of the parliament buildings on the night of 4—5 Novemberthe eve of the state opening of the second session of James's first English Parliament. James King James VI and I 1st edition a worthless favourite and increased the power of the Howards. She is also an ancestor of the Mitford sisters. Contention as to how the arms should be marshalledand to which kingdom should take precedence, was solved by having different arms for each country. Frederick William I of Prussia 10 children. During James's imprisonment 19 SeptemberJohn Craigwhom the king had personally appointed Royal Chaplain inrebuked him so sharply from the pulpit for having issued a proclamation so offensive to the clergy "that the king wept". Morton was elected to Mar's office and proved in many ways the most effective of James's regents, [23] but he made enemies by his rapacity. After falling under the influence of the duke of Lennox, a Roman Catholic who schemed to win back Scotland for the imprisoned Queen Mary, James was kidnapped by William Ruthven, 1st earl of Gowriein and was forced to denounce Lennox. Speech to parliament of 9 November ; 6. Reviewer John Cramsie summarises her findings:. Although he had ruled as king of Scotland, he was unprepared for the challenges he faced upon assuming the English throne. Add links. His English coronation took place on 25 July, with elaborate allegories provided by dramatic poets such as Thomas Dekker and Ben Jonson. And so it follows of necessity that kings were the authors and makers of the laws, and not the laws of the kings. Lennox was a Protestant convert, but he was distrusted by Scottish Calvinists who noticed the physical displays of affection between him and the king and alleged that Lennox "went about to draw the King to carnal lust". A model of the philosopher prince, James wrote political treatises…. In fact, the issue is murky. For other uses, see James I disambiguation. Elizabeth of Bohemia. King James Version. Victor Amadeus II of Sardinia 3 children. Other factors included his Scottish origins glaringly obvious from his thick accenthis cultivation of favourites often also of Scottish originsand his widely recognized attraction to other men which may have led him to confer honours upon his favourites. Elizabeth was crowned Queen of Bohemia on 7 Novemberthree days after her husband was crowned King of Bohemia. Margaret Douglas []. In the Millenary Petition ofthe Puritan clergy demanded the abolition of confirmation, wedding rings, and the term "priest", among other things, and that the wearing of cap and surplice become optional. Descendants of James VI and I He was the patron of Shakespeare, Jonson, Donne, and the translators of the "Authorized version" of the Bible, surely the greatest concentration of literary talent ever to enjoy royal sponsorship in England. Anne Henrietta of Simmern. Elizabeth of Bohemia. I will not conceal from you King James VI and I 1st edition people for the most part are saying that you will look through your fingers at this deed instead of avenging it and that you don't care to take action against those who have done you this pleasure. James's father, Darnley, was murdered on 10 February at Kirk o' FieldEdinburgh, perhaps in revenge for the killing of Rizzio. Elizabeth Stewart. Charles Fitzroy, 2nd Duke of Cleveland. Triplici Nodo, Triplex Cuneus. The arms were frequently shown with James's personal motto, Beati pacifici. Louisa Maria Teresa Stuart. George's descendants include, through his granddaughter, Queen Victorianot only members of the House of Windsorbut the current monarchs of DenmarkSwedenNorwayand Spainthe former monarchs of Greece and Romaniaas well as the heads of the former ruling houses of Germany Prussia and Serbia. Ancestors of James VI and I 8. Dukes of Rothesay. When Thomas Bilson son of Bishop Bilson of Winchesterone of the added commissioners was knighted after the annulment, he was given the nickname "Sir Nullity Bilson". James dissolved Parliament in One last Scottish attempt against the king's person occurred in Augustwhen James was apparently assaulted by Alexander Ruthventhe Earl of Gowrie 's younger brother, at King James VI and I 1st edition House, the seat of the Ruthvens. For nine generations the Stuarts had in fact been merely the ruling family among many equals, and James all his life retained a feeling for those of the great King James VI and I 1st edition lords who gained his confidence.
Recommended publications
  • 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 .
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine Macleod and Alexa
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • Anecdotes of Painting in England : with Some Account of the Principal
    C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME.
    [Show full text]
  • Medieval Clothing and Textiles
    Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R.
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • King of England Printable Slides
    19/08/2018 Queen Elizabeth by Marcus Gheeraerts the Younger 1592 Bess of Hardwick and her granddaughter Lady Arabella Stuart, rival heir to James Mary Queen of Scots tomb in Westminster Abbey Queen Elizabeth’s tomb in Westminster Abbey Arch designed by Stephen Harrison for James and Anne's entry into London in 1604 Broadsheet of James and Anne 1 19/08/2018 James’s ideas for a new union flag Robert Cecil 1st E of Salisbury by John Critz the Sir Francis Bacon Baron Verulam & German broadsheet of the Gunpowder Plotters 1606 elder 1602 Viscount St Albans by Paul Somer Gunpowder Plotters led to execution Gunpowder Plotter being quartered 2 19/08/2018 Edward Oldcorne's right eye Stonyhurst Guy Fawkes’s lantern, Ashmolean Execution of Gunpowder Plotters by Claes Jansz Visscher, British Museum Heads of Gunpowder Plotters Authorised Bible title page 1611 Monteagle's letter to Cecil warning of the plot from Vicar's Mischeefs Mystery 1617 Sir Walter Raleigh by Nicholas Hilliard c. 1585 Map of Virginia from Captain John Smith's A True Relation 1608 3 19/08/2018 Akbar or Jahangir receiving gifts from other princes including James c. 1605 Captain John Smith captured by Indians rescued by Pocahontas Inigo Jones by Sir Anthony Van Dyck Greenwich & Inigo Jones’s Queen's House attributed to Hendrick Danckerts c. 1670, National Maritime Museum Ben Jonson by Abraham van Blyenberch after Van Dyck Interior of Inigo Jones’s Banqueting House, Whitehall 4 19/08/2018 Parthenia, the first music published for keyboard, by William Byrd, John Bull and Inigo Jones’s Orlando Gibbons c.
    [Show full text]
  • Juan Pantoja De La Cruz and the Circulation of Gifts Between the English and Spanish Courts in 1604/5
    Juan Pantoja de la Cruz and the Circulation of Gifts Between the English and Spanish Courts in 1604/5 Gustav Ungerer UNIVERSITÄT BERN The present paper has to be situated in the context of a discipline that has become fashionable in the last two decades: the study of gift-exchange among the elite classes in Europe. In terms of Anglo- Spanish cultural relations, it breaks new ground in dealing with the gift-giving rituals, the formalized international exchange of state portraits, the competitive display and presentation of jewels negotiated between the courts of England and Spain. In particular, it focuses on the cultural policy pursued by the two courts to exploit portraiture and jewelry in order to advance both their political and dynastic aims on the occasion of the peace negotiations and celebrations of the new alliance that was signed in London (1604) and in Valladolid (1605). Thus the English and the Spanish monarchs indulged in a diplomatic interchange of miniatures and full-length royal portraits. In London, Queen Anna harnessed Isaac Oliver’s ability as court painter; in Valladolid, Juan Pantoja de la Cruz, court painter to King Philip III, was commissioned to paint the miniatures and the portraits of the Spanish monarchs as well as of the Infanta Ana de Austria. The article, moreover, takes up the unresolved debate about Pantoja’s contested authorship of The Somerset House Conference, a memorial painting acquired by the National Portrait Gallery in 1882. The political settlement initiated by the Archdukes in Brussels and concluded
    [Show full text]
  • Images of Elizabeth I by Contrasting These Two Pictures
    Lecture (2 hours with a 15 minute break) • When Elizabeth came to the throne in 1558 she was besieged by problems. The had been terrible harvests in the previous two years and rampant inflation partly caused by Henry VIII’s reducing the silver content of coins. In the previous eleven years the country had veered from extreme Protestantism to extreme Catholicism and in 1558 the country had lost Calais, its last remnant of French territory. In addition to all this Elizabeth was a woman and it was assumed she would soon marry with the danger of the country being run by a foreigner for their own country’s interests. • Yet, by the end of her reign, England was a world power. Pope Sixtus V could not understand it: "She is only a woman, only mistress of half an island, and yet she makes herself feared by Spain, by France, by all". • How did she do it? She was intelligent, shrewd, chose her advisers well and became popular by creating and reinforcing powerful images of herself. This talk explores those images and we start by comparing two. Notes (Wikipedia and other sites & books) • Education. The nobility had a different education from us, Lady Elizabeth for example, was taught grammar, theology, history, rhetoric, logic, philosophy, arithmetic, literature, geometry, music and above all languages. By the age of eleven Elizabeth was able to speak fluently in six languages - French, Greek, Latin, Spanish, Welsh and of course English. • Many of her closest advisors were similarly schooled and Elizabethans loved puzzles, word play, and decoding obscure references.
    [Show full text]
  • Download Collection Development Policy 2018-22.PDF PDF, 773.19 KB
    COLLECTION DEVELOPMENT POLICY 2018–22 OF THE NATIONAL MARITIME MUSEUM Including Acquisition and Disposal Policy National Maritime Museum Park Row Greenwich London SE10 9NF Approved by the Board of Trustees on 26 April 2018 Date of next review: November 2022 COLLECTION DEVELOPMENT POLICY 2018–22 CONTENTS: SUMMARY p.4 COLLECTING FOR A SHARED FUTURE p.6 COLLECTING CRITERIA AND PLANS p.8 THE COLLECTIONS p.11 ARTS p.11 • Fine Art p.11 • Decorative Arts p.21 • Textiles p.26 • Ship and Architectural Decoration p.30 • Metalwork p.32 LIBRARY AND ARCHIVE p.36 • Manuscripts p.36 • Rare Books p.37 • Printed Ephemera p.39 • Oral History p.40 SHIPS AND MARITIME LIFE p.41 • Ship Plans and Technical Records p.41 • Ship Models p.43 • Weapons p.44 • Orders, Service Medals and Decorations p.48 • Photography and Albums p.49 • Relics and Personal Effects p.51 • World Cultures p.52 SCIENCE AND TECHNOLOGY p.54 • Cartography p.54 • Astronomical Instruments p.57 • Navigational Instruments and Oceanography p.58 • Horology p.60 CUTTY SARK p.61 APPROACH FOR POST-1945 COLLECTING p.63 COLLECTIONS UNDER REVIEW p.63 • Film Archive p.63 • Miscellaneous Antiquities p.64 • Polar Relics and Equipment p.65 • Ship Fixtures and Fittings p.66 • Ship-related Equipment p.66 • Ship Tools p.66 2 CLOSED COLLECTIONS p.67 • Archaeology p.67 • Seal Casts p.67 • Small Craft p.68 ACQUISITION AND DISPOSAL POLICIES p.69 • Legal and Ethical Framework p.69 • Principles of Collecting and Disposal p.69 • Acquisition Policy p.69 • Disposal Policy p.73 • Collections Development Committee p.77 • References p.77 3 SUMMARY Scope and Objective The Collections Development Policy 2018–22 (CDP) is an integral part of the Museum’s overall collection management strategy and activity.
    [Show full text]
  • The Reformation: from Henry VIII to James I
    1 4 . The Reformation: from Henry VIII to James I THE REFORMATION: FROM HENRY VIII TO JAMES I Key Words and Related Topics Temario de la Guía Docente:1. The Origins and Evolution of English Institutions.2. From Magna Carta to the Glorious Revolution: the origins of modern English Political Culture.4. From Henry VIII to Elizabeth I: the Tudor Dynasty, its role in English history and culture, and its current hold on English imagination.5. Aspects of English National Identity: The Monarchy, the Protestant Reformation, and Liberalism.6. The Anglican Church, the Monarchy and Parliament: their historical origin, their evolution and their cultural roles today.7. The British Empire and the Origins of a Global, English-Speaking Culture. Church and State . England and the Papacy . Anglican Protestantism and English national identity . Republicanism and radical religious reformation . The translation of Scripture: The political and religious culture of the Reformation, the 1611 King James Bible and the evolution of Anglo-American Culture . The cultural and religious capital that the King James Version enjoys, and its role in the establishment of a global Anglo-American culture. The Anglican Church vs the Dissenters. Introduction The history of the Reformation is still a controversial topic which continues to stir debate in England— even doctrinal controversies between Catholics and Protestants. Given the importance of Protestantism in the construction of English national identity, the role that the Reformation played in the history of the country and its long-lasting impact still lie at the center of public debate. The 16th and 17th centuries— with episodes and characters like the Reformation, Henry VIII, Elizabeth, the Gunpowder Plot, the Civil War, and the Commonwealth—are viewed as founding moments in the history of the country.
    [Show full text]
  • Artists and Migration 1400-1850
    Artists and Migration 1400-1850 Artists and Migration 1400-1850: Britain, Europe and beyond Edited by Kathrin Wagner, Jessica David and Matej Klemenčič Artists and Migration 1400-1850: Britain, Europe and beyond Edited by Kathrin Wagner, Jessica David and Matej Klemenčič This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Kathrin Wagner, Jessica David, Matej Klemenčič and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9974-7 ISBN (13): 978-1-4438-9974-1 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Foreword .................................................................................................. viii Eberhard König Introduction Chapter One ................................................................................................. 2 The Migrant Artist in Early Modern Times Kathrin Wagner Chapter Two .............................................................................................. 21 Migrations—Journeys into British Art: Reflections on an Exhibition Tim Batchelor Italy and Southern Europe
    [Show full text]
  • Painted Wood: History and Conservation
    PART TWO Historical Perspectives 82 Support and Polychromy of Altarpieces from Brussels, Mechlin, and Antwerp Study, Comparison, and Restoration Myriam Serck-Dewaide , comprising painted and sculpted ele- ments (really pieces of liturgical furniture) had already appeared in Cgreat number by the middle of the fourteenth century in different regions. They functioned at this time as tabernacles,1 and cupboards for relics and for individual figures of saints and narrative scenes. Gilded archi- tectural elements, baldachins,2 and rhythmic colonnettes strictly compart- mentalized the space. The painted wings served to close these “cases,” revealing the figures to the faithful only on feast days. Altarpieces were popular throughout Europe in the fifteenth and sixteenth centuries. The regional workshops—for example, Germanic, Franco-Flemish, Spanish, and Italian—evolved differently, varying the dimensions, space, perspective, lighting, and polychromy of the altarpieces (Skubiszewski 1989). Only altarpieces from the historic Brabant region3 are considered here—in particular, the sculpted parts of these Brabantine altarpieces. In the fifteenth century, Brabantine altarpieces evolved toward a more realis- tic expression and a more accentuated relief. Compositions were grouped in successive arrangement, presenting scenes of small characters, related as in a theatrical setting. Over time, the architecture changed, reducing in size, until eventually there was no more than a frame presenting scenes consecrated to the Virgin, to the lives of the saints, or to cycles of the infancy and Passion of Christ. This evolution progressed very slowly dur- ing the mid–sixteenth century, from late Gothic decoration to Renaissance motifs. From the second half of the fifteenth century, Brabantine altar- pieces became so successful that, in order to satisfy the demand, a division of labor became necessary.
    [Show full text]