DOCSLIB.ORG

Women Patrons and Collectors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women Patrons and Collectors Women Patrons and Collectors Women Patrons and Collectors Edited by Susan Bracken, Andrea M. Gáldy, and Adriana Turpin Women Patrons and Collectors, Edited by Susan Bracken, Andrea M. Gáldy, and Adriana Turpin This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Susan Bracken, Andrea M. Gáldy, and Adriana Turpin 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): 1-4438-3464-5, ISBN (13): 978-1-4438-3464-3 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Acknowledgements .................................................................................... xi List of Abbreviations................................................................................ xiii Foreword ................................................................................................... xv Introduction .............................................................................................. xix Sheila ffolliott Chapter Abstracts .................................................................................. xxxv Chapter One................................................................................................. 1 Golden Chambers for Eleonora of Toledo: Duchess and Collector in Palazzo Vecchio Andrea M. Gáldy and Robert G. La France Chapter Two.............................................................................................. 35 Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale (1626-1698) as a Collector and Patron Christopher Rowell Chapter Three............................................................................................ 67 Agnes Block, a Collector of Plants and Curiosities in the Dutch Golden Age, and her Friendship with Maria Sibylla Merian, Natural History Illustrator Joy Kearney Chapter Four.............................................................................................. 83 The Treasures of Countess Erzsébet Rákóczi (1654-1707) Orsolya Bubryák vi Table of Contents Chapter Five ............................................................................................ 101 The Musaeum of the 1st Duchess of Northumberland (1716-1776) at Northumberland House in London: An Introduction Adriano Aymonino Chapter Six.............................................................................................. 121 The Princely Mother as Collector: Between Maternal Love and Dynastic Representation Heike Zech Chapter Seven.......................................................................................... 139 The Duchesse de Berri and the Aesthetics of Royalism: Dynastic Collecting in Nineteenth-Century France Philip Mansel Bibliography............................................................................................ 153 Authors’ Biographies............................................................................... 183 Index........................................................................................................ 187 LIST OF ILLUSTRATIONS Figure 1: Palazzo Vecchio, Florence, plan of second floor (source: Robert La France based on eighteenth-century Prague plans); Figure 2: Palazzo Vecchio, south façade onto Via della Ninna (source: Robert La France); Figure 3: Palazzo Vecchio, plan of third floor (source: Robert La France based on Prague plans); Figure 4: Palazzo Vecchio, Dogana courtyard with north-facing façade of second and third floors (source: Robert La France); Figure 5: Castel Nuovo, Naples with Golden Tower (source: John Hoenig); Figure 6: Sir Peter Lely, The Duke and Duchess of Lauderdale, oil on canvas, c.1675 (source: National Trust, ©NTPL/John Hammond); Figure 7: Carved, bronzed and gilded silver-mounted ebony-topped side table, with caryatid legs, c.1670 (the ebony stretcher added c.1730) in the Green Closet (source: National Trust, ©NTPL/John Hammond); Figure 8: The Duchess’s Private Closet (source: National Trust, ©NTPL/John Hammond); Figure 9: The Penitent Magdalen, surrounded by Putti holding Emblems of Time, Death and Eternity, c.1675 (the ceiling of the Duchess’s Private Closet) by Antonio Verrio (c.1639-1707) (source: National Trust, ©NTPL/John Hammond); Figure 10: “Scriptore of Prince wood, garnished with Silver”, c.1675, attributed to Gerrit Jensen (d.1715), oak veneered with rosewood (dalbergia nigra, from South America) (source: National Trust, ©NTPL/John Hammond); Figure 11: Jan Weenix, portrait of Agnes Block and Sybrand de Flines and their children, c.1694 (source: Amsterdam Museum); Figure 12: Georg Gsell, Portrait of Maria Sibylla Merian, hand-coloured counterproof, 1717 (source: Artis Library, University of Amsterdam, Special Collections Department); Figure 13: Maria Sybilla Merian, Pineapple and Cockroaches, hand-coloured etching, 1705 (source: Artis Library, University of Amsterdam, Special Collections Department); Figure 14: Maria Sybilla Merian, Guava Tree with Tarantulas and Leaf-cutter Ants, hand-coloured etching, 1719 (source: Artis Library, University of Amsterdam, Special Collections Department); Figure 15: Maria Sybilla Merian, Cardinal’s Guard, Idomeneus Giant Owl, plate 60 from Metamorphosis Insectorum Surinamensium (1705), watercolour on vellum, 1701-1705 (source: Artis Library, University of Amsterdam, Special Collections Department); Figure 16: Portrait of Erzsébet Rákóczi; nineteenth-century copy after a lost viii List of Illustrations seventeenth-century painting, oil on canvas (source: private collection); Figure 17: Frans Luyckx(?), portrait of Ádám Erdődy, 1668 (inscribed with the incorrect date 1680), oil on canvas (source: private collection); Figure 18: Jobst Heberlein, half of a double standing cup, Nuremberg, last quarter of the sixteenth century, Hungarian National Museum, Budapest (source: András Dabasi); Figure 19: Matthäus Seutter, silver-gilt jug, ornamented with medals commemorating the Battle of Mohács (1526), Augsburg, early seventeenth century, Hungarian National Museum, Budapest (source: András Dabasi); Fig. 20: Johannes Lencker, silver-gilt cup decorated with a nymph, Augsburg, first quarter of seventeenth century, Hungarian National Museum, Budapest (source: Photographic Archive of the MNM); Figure 21: Allan Ramsay, Lady Elizabeth Seymour Percy, later 2nd Countess and later 1st Duchess of Northumberland, oil on canvas, 72.4 x 52.7 cm, 1739, Collection of the Duke of Northumberland, Alnwick Castle; Figure 22: Plan of the middle floor of Northumberland House “about the time of Algernon duke of Somerset” [c.1749] (source: Alnwick Archive, SY B/XV/2/K: 1); Figure 23: David Ryckaert the younger, An Interior with an Alchemist, a Woman and a Child (Vanitas), oil on canvas, 67.9 x 94 cm, signed, l.l., D. Rÿckaert and dated 1644 [?] (source: Collection of the Duke of Northumberland, Syon House); Figure 24: Isaac Gosset, Series of wax portraits of British worthies and aristocrats: William, 18th Earl of Sutherland, 15 x 17 cm; John, Marquis of Granby, 12 x 15 cm, c.1770; Mary Maxwell, later 18th Countess of Sutherland, 15 x 17 cm, c. 1760; Hugh, 1st Duke of Northumberland, 15 x 18 cm; Elizabeth, 1st Countess Brooke and of Warwick, 12 x 15 cm, c.1750; George II, 15 x 18 cm, c. 1760; Lady Mary Coke, 15 x 18 cm, c. 1750; Princess Charlotte, 15 x 18 cm, c. 1760; Inigo Jones, 11.5 x 13.2 cm (source: Collection of the Duke of Northumberland, Alnwick Castle); Figure 25: Jean Louis Fesch, Lady Carry, Lord Carry, Lord Russborough, watercolour on vellum, 10 x 8 cm, c. 1770 (source: Collection of the Duke of Northumberland, Alnwick Castle); Figure 26: Frontispiece of Johann Gottlieb Corvinus’s (Amaranthes) Frauenzimmer-Lexicon, Wolfenbüttel, 1715 (source: Wolfenbüttel Library); Figure 27: Johann Jakob Kleinschmidt after Cosmas Damian Asam, Electress Therese Kunigunde of Bavaria in Exile Surrounded by Portraits of her Children and Husband, 1715 (source: Munich, Stadtmuseum); Figure 28: Johan Andreas Wolff, Electress Therese Kunigunde with a Miniature Depicting her Son Karl Albrecht, oil on canvas, dated 1704 (source: Munich, Staatliche Verwaltung der Bayerischen Schlösser und Seen, Schloss Nymphenburg); Figure 29: Nymphenburg porcelain cup with a portrait of the future king Maximilian II of Bavaria as a baby, circa 1813-1814, unmarked (source: Munich, Bayerisches Nationalmuseum, inv. No. Ker 2207/2372); Women Patrons and Collectors ix Figure 30: Print by M. Delpech from a portrait by Robert Lefevre, Portrait of the Duchesse de Berri, c.1825 (source: Philip Mansel collection); Figure 31: James Pradier. The Duchesse de Berri with her two Children, Mademoiselle and the Duc de Bordeaux, c.1825 (source: Philip Mansel collection); Figure 32: Madame Auzou. A Paris Window the Day of the Return of Louis XVIII, 1814 (source: Philip Mansel collection). ABBREVIATIONS Alnwick Archive Archives of the Duke of Northumberland, Alnwick Castle ASF Archivio dello Stato di Firenze British Library, Add. MSS British Library Additional Manuscripts BPA Buckminster Park Archives DG Depositaria Generale, Parte Antica FM Fabbriche Medicee GM Guardaroba Medicea HMC Historic Manuscripts Commission MNM Budapest,
Load more

Recommended publications
  • London Cries & Public Edifices
    >m ^Victoria %S COLLECTION OF VICTORIAN BOOKS AT BRIGHAM YOUNG UNIVERSITY Victorian 914.21 L533L 1851 3 1197 22902 7856 A,AA A ,' s 7rs a' lEn! 31113 rf K* I 'r X ^i W\lf' ^ J.eU ^W^3 mmm y<i mm§ ft Hftij •: :ii v^ ANDON431IE GRMMT am &U<2<3Slg,SORS TT© KEWBgRy A.KfD HARRIS *S) A SORNER OF1 3-AjWTT PAUL'S 6HUR6H-TARD, LONDON UPB Tfffi TOWfiR QT LONDON. A POTS & KETTLES TO MERaBELLOWiS TO MEND. POTS AND KETTLES TO MEND !—COPPER OR BRASS TO MEND ! The Tinker is swinging his fire-pot to make it burn, having placed his soldering-iron in it, and is proceeding to some corner or post, there to repair the saucepan he carries.—We commence with the most in- teresting edifice in our capital, THE TOWER OF LONDON; the fortress, the palace, and prison, in which so many events, connected with the history of our country, have transpired. The building with four towers in the centre is said to have been erected by William the Conqueror, and is the oldest part of the fortress. The small bell- tower in the front of our picture is that of the church of St. Peter's, (the tower being a parish itself,) on the Tower Green, erected in the reign of Edward I. Our view is taken from Tower Hill, near which was the scaffold on which so many have fallen. To the left of the picture stood the grand storehouse of William III., destroyed by fire, Nov. 1841. The Regalia is deposited here, and exhibited to the public, as is also the Horse Armoury.
    [Show full text]
  • The Construction of Northumberland House and the Patronage of Its Original Builder, Lord Henry Howard, 1603–14
    The Antiquaries Journal, 90, 2010,pp1 of 60 r The Society of Antiquaries of London, 2010 doi:10.1017⁄s0003581510000016 THE CONSTRUCTION OF NORTHUMBERLAND HOUSE AND THE PATRONAGE OF ITS ORIGINAL BUILDER, LORD HENRY HOWARD, 1603–14 Manolo Guerci Manolo Guerci, Kent School of Architecture, University of Kent, Marlowe Building, Canterbury CT27NR, UK. E-mail: [email protected] This paper affords a complete analysis of the construction of the original Northampton (later Northumberland) House in the Strand (demolished in 1874), which has never been fully investigated. It begins with an examination of the little-known architectural patronage of its builder, Lord Henry Howard, 1st Earl of Northampton from 1603, one of the most interesting figures of the early Stuart era. With reference to the building of the contemporary Salisbury House by Sir Robert Cecil, 1st Earl of Salisbury, the only other Strand palace to be built in the early seventeenth century, textual and visual evidence are closely investigated. A rediscovered eleva- tional drawing of the original front of Northampton House is also discussed. By associating it with other sources, such as the first inventory of the house (transcribed in the Appendix), the inside and outside of Northampton House as Henry Howard left it in 1614 are re-configured for the first time. Northumberland House was the greatest representative of the old aristocratic mansions on the Strand – the almost uninterrupted series of waterfront palaces and large gardens that stretched from Westminster to the City of London, the political and economic centres of the country, respectively. Northumberland House was also the only one to have survived into the age of photography.
    [Show full text]
  • Speech by HIH the Prince Napoleon Governor
    Speech by HIH The Prince Napoleon Governor-General, Your Imperial and Royal Highness, Your Royal Highnesses, Your Grand Ducal Highnesses, Your Serene Highnesses, Your Illustrious Highness, Your Excellencies, Your Grace, My Lords, Reverend Fathers, Ladies and Gentlemen I am truly delighted to Be here this evening in the heart of this ancient city of London. May I Begin By expressing my sincere thanks to the Lord Mayor and Court of Common Council for electing me to the freedom of this ancient city of London and to the ChamBerlain of London and his Clerk for presiding at the ceremony earlier this evening. I would also like to thank my proposer and good friend Sir Anthony Bailey and the 675th Lord Mayor of this city Sir Gavyn Arthur for proposing me for this singular honour. Thank you too for your kind words, dear Anthony, and to all those who have organised this celebration which touches me deeply. This gathering takes place at a moment of exceptional communion between our two great cities and countries much like ten years ago when London suffered the same terrorist aggressions. I was very moved when last week all British and French supporters and players at WemBley stadium, sang together the God Save the Queen and La Marseillaise. As a descendant of "Bony", "l'ennemi juré", I would like to express my deepest gratitude. I have lived for 3 years so far in London, a city I learned to love and admire, and where I learned the world and its complexities. I rememBer my first arrival By Eurostar at Waterloo station.
    [Show full text]
  • Isabel Clara Eugenia and Peter Paul Rubens’S the Triumph of the Eucharist Tapestry Series
    ABSTRACT Title of Document: PIETY, POLITICS, AND PATRONAGE: ISABEL CLARA EUGENIA AND PETER PAUL RUBENS’S THE TRIUMPH OF THE EUCHARIST TAPESTRY SERIES Alexandra Billington Libby, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archeology This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens’s The Triumph of the Eucharist tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta’s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta’s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel’s many other gestures of thanks in the wake of the victory and The Triumph of the Eucharist series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel’s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy.
    [Show full text]
  • An Examination of the Artist's Depiction of the City and Its Gardens 1745-1756
    Durham E-Theses Public and private space in Canaletto's London: An examination of the artist's depiction of the city and its gardens 1745-1756 Hudson, Ferne Olivia How to cite: Hudson, Ferne Olivia (2000) Public and private space in Canaletto's London: An examination of the artist's depiction of the city and its gardens 1745-1756, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4252/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Public and Private Space in Canaletto's London. An Examination of the Artist's Depiction of the City and its Gardens 1745-1756. The copyright of this thesis rests with the author. No quotation from it should be published in any form, including Electronic and the Internet, without the author's prior written consent.
    [Show full text]
  • A Dissertation on Divine Justice
    A Dissertation on Divine Justice Author(s): Owen, John (1616-1683) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: In A Dissertation on Divine Justice, John Owen provides his refutation of the teaching that God could pardon sin by a mere act of will, and without any satisfaction to his justice, that is, without any atonement. Owen has written extensively on the atonement before and, once again, his keen intellect and impressive argumentation can be seen here. Although A Dissertation on Divine Justice was originally a response to a theological movement called "Socinianism," it remains interesting today for its fascinating treatment of divine justice and the atonement. Tim Perrine CCEL Staff Writer i Contents A Dissertation on Divine Justice 1 Title page. 1 Prefatory note. 2 To the public. 4 To his illustrious highness Lord Oliver Cromwell. 5 The preface to the reader. 7 Title. 20 Part I. 21 Chapter I. 22 Chapter II. 28 Chapter III. 39 Chapter IV. 53 Chapter V. 70 Chapter VI. 78 Chapter VII. 83 Part II. 90 Chapter VIII. 91 Chapter IX. 95 Chapter X. 100 Chapter XI. 105 Chapter XII. 114 Chapter XIII. 117 Chapter XIV. 123 Chapter XV. 126 Chapter XVI. 134 Chapter XVII. 139 ii Chapter XVIII. 150 Indexes 157 Index of Scripture References 158 Index of Citations 161 Index of Names 164 Greek Words and Phrases 168 Latin Words and Phrases 169 Index of Pages of the Print Edition 172 iii This PDF file is from the Christian Classics Ethereal Library, www.ccel.org. The mission of the CCEL is to make classic Christian books available to the world.
    [Show full text]
  • A Constellation of Courts the Courts and Households of Habsburg Europe, 1555-1665
    A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 Edited by René Vermeir, Dries Raeymaekers, and José Eloy Hortal Muñoz © 2014 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 978 90 5867 990 1 e-ISBN 978 94 6166 132 6 D / 2014 / 1869 / 47 NUR: 685, 697 Cover illustration: Lucas I van Valckenborgh, “Frühlingslandschaft (Mai)”, (inv. Nr. GG 1065), Kunsthistorisches Museum Vienna Contents Courts and households of the Habsburg dynasty: history and historiography José Eloy Hortal Muñoz, Dries Raeymaekers and René Vermeir 7 The political configuration of the Spanish Monarchy: the court and royal households José Martínez Millán 21 The court of Madrid and the courts of the viceroys Manuel Rivero 59 The economic foundations of the royal household of the Spanish Habsburgs, 1556–1621 Carlos Javier de Carlos Morales 77 The household of archduke Albert of Austria from his arrival in Madrid until his election as governor of the Low Countries: 1570–1595 José Eloy Hortal Muñoz 101 Flemish elites under Philip III’s patronage (1598-1621): household, court and territory in the Spanish Habsburg Monarchy*
    [Show full text]
  • Introduction
    Introduction Sarah Joan Moran and Amanda Pipkin The Low Countries, a region comprising modern-day Belgium, the Netherlands, Luxembourg, and parts of eastern Germany and northern France, offers a re- markable laboratory for the study of early modern religion, politics, and cul- ture. Under the domain of the Hapsburg empire from 1482 and allocated to the Spanish crown when Holy Roman Emperor Charles V abdicated in 1555, the Low Countries were highly urbanized, literate, and cosmopolitan, and their cities were among the most important trade centers in Northern Europe. Following the publication of Luther’s 98 theses in 1517 the region also proved fertile ground for the spread of Protestant ideas, which combined with local resentment of foreign rule culminated in rebellion against Spain in 1568. This marked the start of the Eighty Years War.1 Philip II reestablished control over most of the Southern provinces around 1585 but neither he nor his successors were able to re-take the North. As war waged on for another six decades the South saw a wave of Catholic revival while Reformed evangelism flourished in the new Dutch Republic, entrenching a religious and political divide that slowly crushed the dreams of those hoping to reunite the Low Countries.2 Following the War of the Spanish Succession, under the Treaty of Rastatt in 1714 the Southern provinces were transferred back to the Austrian Habsburg emperors, and both North and South underwent economic declines as they 1 See Jonathan Irvine Israel, The Dutch Republic: Its Rise, Greatness, and Fall, 1477–1806 (Oxford and New York: Oxford University Press, 1995); Arie-Jan Gelderblom, Jan L.
    [Show full text]
  • Cornelius O'dowd Her Bridesmaids." Charles Lever, 207 Box for the Season 230 Bernard Marsh Author Of" Charlie Thornhill." I G, P, R, James
    ORNEU 0 m> MR. - l.MtfS^ «JPPN MEN AND WOMEN AND i OTHER THINGS IN GEMrRAI THE SELECT LIBRARY OF FICTION. The best, cheapest, and most POPULAR WORKS published, well printed in clear, readable type, on good paper, and strongly bound. Containing the ivritings of the most popular Authors of the day. TWO SHILLING VOLUMES. When ordering, the Numbers only need be giuen. VOL. VOL. I Agatha's Husband 76 Beppo the Conscript Author of " John Halifax. T. A. 'froUope. a Head of the Family 77 Woman's Ransom Author of " John Halifax. F. W. Robinson. 78 Deep Waters Anna H. Drury, 5 The Ogilvles Author of " fob atlon Anna H. Drury, 7 Olive : a Novel a Whyte Melville, Author of "1 oh HDBERT W WOODRUFF e a Gentleman 17 Jack Hinton, the Gi LIBRARY Samuel Lover, Ch ray 22 Harry Lorrequei's C( '" Otuen ; a Waif." Ch notsof Ballycloran 27 The O'Donoghue Ch Anthony Trollope, Xt Fortunes of Glencote :iase T, A, Trollope. Ch Anthony Trollope. 35 One of Them Ch .rran Charles Lever, 48 Sir Jasper Carew Ch F W. Robinson, 53 A Day's Ride: a Life and Legends a. Samuel Lover. 55 Constable of the Tc ind the O'Kellys fV. H, Aiiisworth. Anthony Trollope. 58 Master of the Hounds"5'i:r«fa/or.'' 94 Married Beneath Him Author of " Found Dead.'" 63 The Hunchback of Notre-Dame 95 Tales of all Countries Victor Hugo, Anthony Trollope. 65 Lord Mayor of London 96 Castle Richmond W, H. Aimiuorth. Anthony Trollope. 66 Elsie Venner 0.
    [Show full text]
  • The Old War Office Building
    MINISTRY OF DEFENCE The Old War Office Building A history The Old War Office Building …a building full of history Foreword by the Rt. Hon Geoff Hoon MP, Secretary of State for Defence The Old War Office Building has been a Whitehall landmark for nearly a century. No-one can fail to be impressed by its imposing Edwardian Baroque exterior and splendidly restored rooms and stairways. With the long-overdue modernisation of the MOD Main Building, Defence Ministers and other members of the Defence Council – the Department’s senior committee – have moved temporarily to the Old War Office. To mark the occasion I have asked for this short booklet, describing the history of the Old War Office Building, to be published. The booklet also includes a brief history of the site on which the building now stands, and of other historic MOD headquarters buildings in Central London. People know about the work that our Armed Forces do around the world as a force for good. Less well known is the work that we do to preserve our heritage and to look after the historic buildings that we occupy. I hope that this publication will help to raise awareness of that. The Old War Office Building has had a fascinating past, as you will see. People working within its walls played a key role in two World Wars and in the Cold War that followed. The building is full of history. Lawrence of Arabia once worked here. I am now occupying the office which Churchill, Lloyd-George and Profumo once had.
    [Show full text]
  • The Portrait of Juana of Austria in the Bilbao Fine Arts Museum
    IN THE KING’S NAME The Portrait of Juana of Austria in the Bilbao Fine Arts Museum Leticia Ruiz Gómez This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Kunsthistorisches Museum, Wien: fig. 7 © Musées Royaux des Beaux Arts de Belgique, Bruxelles: fig. 4 © Museo Nacional del Prado, Madrid: figs. 2, 3, 5, 9 and 10 © Patrimonio Nacional, Madrid: figs. 6 and 8 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-123. Sponsored by: 2 n the 1550s Princess Juana of Portugal was a regular subject for portrait artists, being one of the leading women in the House of Austria, the dynasty that dominated the political scene in Europe throughout the I16th century. The youngest daughter of Charles V and Isabella of Portugal, she had a special role to play in her father’s geopolitical strategies, first as the wife of the heir to the Portuguese throne, to whom she bore a posthumous son who would eventually come to the throne of Spain’s neighbour, and subsequently as regent of the Emperor’s peninsular territories.
    [Show full text]
  • The Ginger Fox's Two Crowns Central Administration and Government in Sigismund of Luxembourg's Realms
    Doctoral Dissertation THE GINGER FOX’S TWO CROWNS CENTRAL ADMINISTRATION AND GOVERNMENT IN SIGISMUND OF LUXEMBOURG’S REALMS 1410–1419 By Márta Kondor Supervisor: Katalin Szende Submitted to the Medieval Studies Department, Central European University, Budapest in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies, CEU eTD Collection Budapest 2017 Table of Contents I. INTRODUCTION 6 I.1. Sigismund and His First Crowns in a Historical Perspective 6 I.1.1. Historiography and Present State of Research 6 I.1.2. Research Questions and Methodology 13 I.2. The Luxembourg Lion and its Share in Late-Medieval Europe (A Historical Introduction) 16 I.2.1. The Luxembourg Dynasty and East-Central-Europe 16 I.2.2. Sigismund’s Election as King of the Romans in 1410/1411 21 II. THE PERSONAL UNION IN CHARTERS 28 II.1. One King – One Land: Chancery Practice in the Kingdom of Hungary 28 II.2. Wearing Two Crowns: the First Years (1411–1414) 33 II.2.1. New Phenomena in the Hungarian Chancery Practice after 1411 33 II.2.1.1. Rex Romanorum: New Title, New Seal 33 II.2.1.2. Imperial Issues – Non-Imperial Chanceries 42 II.2.2. Beginnings of Sigismund’s Imperial Chancery 46 III. THE ADMINISTRATION: MOBILE AND RESIDENT 59 III.1. The Actors 62 III.1.1. At the Travelling King’s Court 62 III.1.1.1. High Dignitaries at the Travelling Court 63 III.1.1.1.1. Hungarian Notables 63 III.1.1.1.2. Imperial Court Dignitaries and the Imperial Elite 68 III.1.1.2.
    [Show full text]