HIST 229: Spectacles of Power in Europe, 1550-1700 (HC)

Author Nacol shows that risk, now treated as a permanent feature of our lives, did not always govern understandings of the future. Focusing on the epistemological, political, and economic writings of Thomas Hobbes, John Locke, David Hume, and Adam Smith, Nacol explains that in seventeenth- and eighteenth-century Britain, political and economic thinkers reimagined the future as a terrain of risk, characterized by probabilistic calculation, prediction, and control.

This book examines the literary and social practices through which the early modern state was constituted through its extraterritorial representatives. These are: travelers and intelligence agents, mercenaries, and diplomats. . Netzloff emphasizes the transnational contexts of early modern state formation.

By examining the rich variety of debates about democracy that took place between 1570 and 1642, this book shows the importance anti-democratic language held. Critiques addressed 'popular government' as a regime that empowered irrational, uneducated, and dangerous forces.

Dating from the mid-15th century, Apethorpe in Northamptonshire was home to a succession of leading courtiers and politicians. At the command of King James I, the house was refurbished with a richly decorated state apartment. The suite, with its series of rare plaster ceilings and carved chimneypieces, unquestionably ranks as one of the finest--and least known--in Britain. Written by architectural and archeological experts from Historic England, this monograph, the first on Apethorpe, is illustrated with new and historical photographs, paintings, maps, engravings, and specially commissioned interpretive drawings that reveal how the house looked at key moments in its history.

Architecture in Britain and Ireland, 1530-1830 presents a comprehensive history of architecture in Britain during this three-hundred-year period. Drawing on the most important advances in architectural history in the last seventy years, ranging across cultural, material, political, and economic contexts, this book also encompasses architecture in Ireland and includes substantial commentary on the buildings of Scotland and Wales.

"In this collection of essays on aspects of the arts in Stuart England, fourteen distinguished scholars pay tribute to Sir Oliver Millar, whose preeminence as an authority on the visual arts in seventeenth-century England is well known. The essays concern themselves primarily with the aspects of portraiture from Van Dyck to Sir Godfrey Kneller, a genre in which Millar's discoveries have been invaluable, but they also embrace a wide range of subjects which are crucial to our understanding of the arts during the period: artistic techniques, church building, the masque, print making, town planning, tomb sculpture, prose portraiture, the patronage of writers, and the politics of the years of Personal Rule under Charles I. The essays provoke interesting comparisons with one another, and all reflect the recent trend of early modern studies in England in relating art history to the wider concerns of Stuart culture."--BOOK JACKET.

With essays on Van Dyck, Inigo Jones, and Isaac Besnier, sculptor to Charles I.

For the first time a detailed consideration of the scope of early modern popular culture in England is collected in one volume, highlighting the interplay of 'low' and 'high' modes of cultural production. Issues as disparate as reading cultures, games, food and drink, time, textiles, religious belief and festivals are discussed, allowing the authors to examine how popular culture impacted upon the everyday lives and experiences of individuals and groups.

The plots, spymasters and double agents of Elizabeth's reign have attracted a good deal of attention of late. But the role of plot talk, conspiracy theory, and libellous secret histories, designed to unveil what was really going on in the courts and counsels of princes to popular audiences and publics, has not. Bad Queen Bess? argues that central aspects of Elizabethan policy are unintelligible outside of the context provided by these exchanges which were also foundational for a new style of public politics,framed by the unique confluence of religious division, confessional and geo-political conflict, and dynastic uncertainty bequeathed to post-reformation England by the peculiar marital and religious histories of Henry VIII and his children.

Bringing together research from queer linguistics and lexicography, this book uncovers how same-sex acts, desires, and identities have been represented in English dictionaries published in Britain from the early modern to the inter-war period.

This book is the first in-depth study of the ceremonial and the music performed at these events over the past 400 years, from the funeral of Elizabeth I in 1603. Covering funerals of both royalty and non-royalty, including Nelson, Wellington and Churchill, this study goes up to the funerals of Queen Elizabeth The Queen Mother in 2002 and the ceremonial funeral of Baroness Thatcher in 2013. British Royal and State Funerals shows that, despite a strong emphasis on continuity in the choice of music, the ceremonial itself has shown an astonishing flexibility over the last four centuries. Overall, the book also contributes to the debate on the monarchy's changing public image over time by paying particular attention to topics such as tradition and propaganda.

During his reign, King Charles I (1600-1649) assembled one of Europe's most extraordinary art collections with some 2,000 paintings and sculptures. This book explores the origins of the collection, the way it was assembled and what it came to represent.

This study of the character and policies of Charles I provides an analysis of the political crisis leading to his personal rule in England during the years before the civil wars. It fills a gap in the historical literature of the period by integrating ideological with political developments and English with international affairs.

In this book, Bonnie Lander Johnson explores early modern ideas of chastity, demonstrating how crucial early Stuart thinking on chastity was to political, medical, theological and moral debates, and that it was also a virtue that governed the construction of different literary genres. The volume also offers new readings of Milton's Comus, Shakespeare's The Winter's Tale, Henrietta Maria's queenship and John Ford's plays. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies.

What did most people read? Where did they get it? Where did it come from? What were its uses in its readers' lives? How was it produced and distributed? What were its relations to the wider world of print culture? How did it develop over time? These questions are central toThe Oxford Historyof Popular Print Culture, an ambitious nine-volume series devoted to the exploration of popular print culture in English from the beginning of the sixteenth century to the present.

This book presents a crisis that shook the foundations of late Stuart England, eroding public faith in authority and official sources of information. Speculation about Godfrey's death dovetailed with suspicions about secret diplomacy at the court of Charles II, contributing to the emergence of a partisan press and an oppositional political culture in which the most fantastical claims were made.

Constructing Cromwell traces the complex and shifting popular images of Oliver Cromwell from his first appearance as a public figure in the mid-1640s through the period of his power to his death and eventual disinterment after the restoration of the monarchy. The meaning and impact of this enigmatic figure have long been debated in the context of mid-seventeenth-century crisis, but contemporary representations of Cromwell have largely been neglected.

Narrative accounts with analysis concentrating on cultural history.

The late 17th and early 18th centuries saw profound changes in Britain and in its visual arts. This volume provides fresh perspectives on the arts, focusing on the concepts, spaces, and audiences of court, country, and city as reflected in an array of objects, materials, and places. The essays discuss the revolutionary political and economic circumstances of the period, which not only forged a new nation-state but also provided a structural setting for artistic production and reception.

In this work R. Malcolm Smuts examines the fundamental cultural changes that occurred within the English royal court between the last decade of the sixteenth century and the outbreak of the Civil War in 1642.

Lord Herbert was a flamboyant Stuart courtier, soldier, and diplomat who acquired a reputation for duelling but also numbered among the leading intellectuals of his generation. He travelled widely in Britain and Europe, enjoyed the patronage of princely rulers, acquired celebrity as the embodiment of chivalric values, and defended Protestantism on the battlefield and in diplomatic exchanges.

Criticism and Compliment examines the poems, plays and masques of the three figures who succeeded Ben Jonson as authors of court entertainments in the England of Charles I. The courtly literature of Caroline England has been dismissed by critics and characterised by historians as propaganda for Charles I's absolutism penned by sycophantic hirelings. Kevin Sharpe questions the assumptions on which these evaluations have been based.

No other woman in world history has been of such compulsive interest as Elizabeth Tudor. While the rest of the 16th-century Europe was subject to the bloodshed of religious war, Tudor peace brought England its great flowering of the arts. Central to that flowering was the enigmatic legend of the Queen herself, a myth deliberately created and sustained over four decades by public spectacle and courtly chivalry, by private sonnet and official oration.

The reconstitution of the royal court in 1660 brought with it the restoration of fears that had been associated with earlier Stuart courts: disorder, sexual liberty, popery and arbitrary government. This book - the first full examination of its subject - illustrates the ways in which court culture was informed by the heady politics of Britain between 1660 and 1685.

Dancing Queen takes up court ballet as a window into Marie de Médicis's use of the performing arts as a vehicle for politically engaged queenship prior to Henri IV's assassination in 1610.

Innovative in its structure and approach, Daniel Defoe in Context contains 42 essays by leading scholars illuminating the life, times, and world of Daniel Defoe. Defoe is one of the most important literary figures in English history, thanks not only to his pioneering novels Robinson Crusoe and Moll Flanders, but also to his notable works in journalism, travel writing, conduct literature, and verse, both satiric and serious.

This book investigates the complex relationship between the "middling sort" and their domestic space in the rapidly changing culture of early modern England. It examines the profound influence that the material environment had on structuring and expressing modes of thought and behaviour of ordinary people.

This book is a study of the structures of authority in England between the beginning of the English Reformation in 1529 and the outbreak of the Civil War of the 1640s. These structures, both secular and sacred, were profoundly affected by the creation of a national Protestant church governed by the crown; by the emerging sense of national consciousness and providential destiny that followed in its wake; by the development of a legal culture that defined and sometimes contested the parameters of authority; by an urban state that articulated a new civic culture and reflected broad political, social, and religious tensions; and by the growing sophistication and assertiveness of Parliament.

Dissing Elizabeth focuses on the criticism that cast a shadow on the otherwise celebrated reign of Elizabeth I. The essays in this politically and historically revealing book demonstrate the sheer pervasiveness and rage of rhetoric against the queen, illuminating the provocative discourse of disrespect and dissent that existed over an eighty-year period, from her troubled days as a princess to the decades after her death in 1603.

Consisting of twenty-eight chapters and numerous case studies the volume examines the history of the British and Irish press from its seventeenth-century beginnings up until the end of the eighteenth century. The contributions examine features relating to the production, transmission and reception of not just news publications but also the more specialised press such as periodical essays, women's periodicals, literary and review journalism, medical journals, and the criminal and religious press.

This lavishly illustrated, multi-disciplinary volume approaches the Elizabethan world thematically. It conveys a vivid picture of how politics, religion, science, popular culture, the world of work and social practices fit together in an exciting world of change.

'Elizabeth I & Her People' explores the remarkable achievements and developments of the Elizabethan period through the portraits of those who brought them about.

This pioneering work, the first serious analysis of the royal household between the middle ages and the eighteenth century, examines the internal workings of the court which was key to politics, and the personnel and organisation of the private royal apartments. It presents radical reinterpretation of the period as a whole, seeing the years from 1460 to 1640 as an essential unity - the age of personal court monarchy undivided by an imaginary 'revolution in government'.

"Several famous playwrights of the Elizabethan and Stuart periods, including William Shakespeare, wrote for open-air public theatres and also for the private, indoor theatres at the palaces at which the Court resided. This book is the first full account of such court theatre, and examines the theatrical entertainments for Elizabeth I, James I, and Charles I."--BOOK JACKET. "By contrast with the now vanished playhouses of the time, four of the royal chambers used as theatres survive, and the author attempts to draw as full a picture as he can of such places, the physical and aesthetic conditions under which actors worked in them, and the role of royal patronage in the growth of professional theatre, and offers a new definition of the function of theatrical occasions in creating the cultural profile of the English court."--BOOK JACKET.

The Face of Queenship investigates the aesthetic, political, and gender-related meanings in representations of Elizabeth I by her contemporaries. By attending to eyewitness reports, poetry, portraiture, and discourses on beauty and cosmetics, this book shows how the portrayals of the queen's face register her contemporaries' hopes, fears, hatreds, mockeries, rivalries, and awe. In its application of theories of the meaning of the face and its exploration of the early modern representation and interpretation of faces, this study argues that the face was seen as a rhetorical tool and that Elizabeth was a master of using her face to persuade, threaten, or comfort her subjects.

Here Johanna Luthman scrutinises the scandals in detail for the first time. Employing a diverse range of methodologies and critical lenses, including those from the history of medicine and gender, and an analysis of several court cases that have not yet been studied, Luthman demonstrates the importance of incorporating the history of these scandals into an understanding of the complex and fraught world of the court of King James I.

Fashion featured in black-letter broadside ballads more than 100 years before fashion magazines appeared in England. In the 17th Century, these single-sheet prints contained rhyming song texts and woodcut pictures, accessible to almost everyone in the country. Dress was a popular subject for ballads. In this context, Clare Backhouse argues, 17th Century ballads increasingly celebrated the proliferation of print and fashionable dress, envisioning new roles for men and women in terms of fashion consumption and its importance to national prosperity.

Chakravarty excavates the ideologies of slavery that took root in early modern England. It was not a foreign phenomenon; rather, it was seeded in daily life and in the contexts of England's service society, from the family to the household, in the theater and, especially, the grammar school classroom, where the legacies of classical slavery and race were inherited and negotiated.

This book brings the history of enslavement in England to light, revealing powerful stories of resistance by enslaved workers from Africa, South Asia, and First-Nations America forced to work in London as sailors and dockworkers, wet-nurses and washerwomen. Freedom Seekers demonstrates that not only were enslaved people present in Restoration London but that white Londoners were intimately involved in the construction of the system of racial slavery. Also available in print.

This book traces the beginnings of a shift from one model of gendered power to another. Over the course of the 17th and early 18th centuries, traditional practices of local government by heads of household began to be undermined by new legal ideas about what it meant to hold office, rooted in a fraternal culture of official masculinity. London officers now arrested, searched, and sometimes assaulted people on the basis of gendered suspicions, especially poorer women. Also available in print in Tripod.

Taking on nothing less than the formation of modern genders and sexualities, Thomas A. King develops a history of the political and performative struggles that produced both normative and queer masculinities in the seventeenth and eighteenth centuries. The result is a major contribution to gender studies, gay studies, and theater and performance history.

Originally constructed in the late 16th century for the notorious Bess of Hardwick, Countess of Shrewsbury, Hardwick Hall is now among the National Trust's greatest architectural landmarks, with much of its original interior and ornamentation still intact. Composed of extensive research and newly commissioned photography, this beautifully illustrated book traces the history of the house and its inhabitants through the centuries, showcasing a remarkable collection of portraiture, tapestries, furniture, and gardens, and providing readers with a genuine sense of the house's environment.

Nobles, ladies, scholars, and merchants were the subjects of Hans Holbein the Younger, an inventive German artist best known for his portraits. Holbein developed his style in Basel and London amid a rich culture of erudition, self-definition, and love of luxury before becoming court painter to Henry VIII. This exhibit catalog explores his visual and intellectual approach to personal identity.

This book reveals honour’s complex role as a representational strategy amongst the aristocracy. Thomas’ erudite and detailed investigation of multi-generational family papers as well as legal records and prescriptive sources develops a fuller picture of how the concept of honour was employed, often in contradictory ways in daily life.

Image Government shows how the art of the spin-doctor was widely practised in the second half of the seventeenth century. The author uses the work of authors such as Edmund Waller and painters such as Antonio Verrio to illuminate the changing ideologies of the late Stuart era and the way in which ideas about sovereignty were expressed by artists.

Two kings, father and son...and yet, their personalities could hardly have differed more. Through sources as varied as masks, statues, poems, medals, and contemporary written records, a picture of these Stuart monarchs, their characters and their politics, emerges.

Veevers paints a vivid picture of Charles I's court by focusing on its French queen, Henrietta Maria. The author links the fastidious refinement of the queen's fashions & her belief in Platonic love with her Catholicism, showing the importance of this connection in the English court. Platonic images of beauty & love associated with the queen in court entertainment led the author to believe that these images were useful to the king in expressing his own political & religious aspirations.

Images of Rule offers a fascinating, authoritative, and highly readable account of the vital role the visual arts played in Great Britain during the Tudor and early Stuart monarchies. David Howarth examines the intersection of art and political power in Great Britain between the accession of the Tudors and the outbreak of civil war. The images of the Royal court constitute the raw material from which he fashions a cultural and political history of Renaissance Britain. Howarth concentrates on the public uses and political exploitation of Renaissance art, rather than its quality or the creative process behind it. He argues that the English ruling class used and manipulated works of art in order to reinforce its own power. Portraiture, architecture, the decorative arts, and spectacle all served to preserve England's political status quo.

In Imaging Stuart Family Politics, Catriona Murray explores the promotion of Stuart familial propaganda through the figure of the royal child. Bringing together royal ritual, court portraiture and popular prints, she offers a distinctive perspective on this crucial dimension of seventeenth-century political culture, exploring the fashioning and dismantling of reproductive imagery, as well as the vital role of visual display within these dialogues.

From an iconic portrait of a young Elizabeth I to the many paintings of Charles I by Flemish master Anthony van Dyck and the glamorous "Windsor Beauties" of the court of Charles II, sixteenth- and seventeenth-century portraiture has long been a source of great interest to costume historians. Given the scarcity of surviving garments, it also tells us most of what we know about Tudor and Stuart dress. We're all familiar with the stockings, voluminous breeches, and elaborate lace ruffs, but did you know that the clothing seen in many of these paintings cost more than the paintings themselves? Author Anna Reynolds, curator of paintings at the Royal Collection, has drawn on the art of the period, as well as wardrobe inventories, literary references, contemporary accounts, and surviving garments to offer a fascinating account of the elite fashions of the day and the ways in which they were recreated in paint. The main focus of Tudor and Stuart clothing was on rich materials that communicated the ability of the wearer to afford them, and, with the rise of the moneyed merchant class, sumptuary laws were established to limit their use to the nobility.

Ingenious Trade recovers the stories of young women who came to London to earn their living, most often with the needle, and the mistresses who set up shops and supervised their apprenticeships. Through an intensive and creative archival reconstruction, Gowing recovers the significance of apprenticeship in the lives of girls and women, and puts women's work at the heart of the revolution in worldly goods.

Inigo Jones (1573-1652) is widely acknowledged to have been England's most important architect. As court designer to the Stuart kings James I and Charles I, he is credited with introducing the classical language of architecture to the country.

This is a richly detailed account of the ideas and activities in the early-modern 'secret state' and its agencies, spies, informers and intelligencers, under the English Republic and Cromwell. It investigates the meanings this early-modern Republican state acquired to express itself, by exploring its espionage actions, the moral conundrums, and the philosophical background of secret government in the era.

This book provides a fresh perspective on Tudor court culture, by using continental sources. The case studies address such questions as why did courtiers express themselves negatively about Anne of Cleves's appearance? The essays show that Henry VIII's court was a place of intercultural encounters that is best understood when studied in dialogue across languages, geographical barriers, and scholarly disciplines.

Hans Holbein the Younger is chiefly celebrated for his beautiful and precisely realized portraiture, which includes representations of Henry VIII, his advisors and his wives. Holbein in fact was a multifaceted genius: a humanist, satirist, and political propagandist, whose work was rich in layers of symbolism and allusion.

The greatest paintings in today's most famous museums were once part of a fluid exchange determined by volatile political fortunes. In the first half of the 17th century, masterpieces by Titian, Raphael, and Leonardo, among others, were the objects of fervent pursuit by art connoisseurs. Francis Haskell traces the fate of collections extracted from Italy, Spain, and France by King Charles I and his circle, which, after a brief stay in Britain, were largely dispersed after the Civil War to princely galleries across the Continent. From vivid case studies of individual collectors, advisers, and artists, and acute analysis of personality and motive, Haskell challenges ideas about this episode in British cultural life and traces some of the factors that forever changed the artistic map of Europe.

"The first book to examine Queen Elizabeth I as a "learned prince," Learned Queen reveals a rather startling phenomenon: Elizabeth's educated status was crucial to England's burgeoning role as an international power. Examining Elizabeth's own demonstrations of erudition alongside literary works of such political luminaries as Sir Philip Sidney and Robert Devereux, Earl of Essex, this book reveals how poetry, foreign relations, and intellectual culture are far more integrated than we have hitherto imagined. From these connections emerges a methodology that places Elizabethan political culture and poetry fully on the transnational stage."--BOOK JACKET.

In the early modern era, the rise of printing houses helped turn letters from prison into a powerful form of political and religious resistance. This book examines how writers-ranging from archbishops to Quaker women--portrayed the prisoner of conscience as a distinct persona and prison as a place of redemptive suffering where bearing witness had the power to change society.

The logic behind anti-authority childrearing and educational advice is that of congruence; to form good citizens of a liberal democracy, families and schools should resemble miniature, protected democracies so that children can practice liberty and equality in a low-risk environment. Koganzon shows that not only did early liberals emphatically deny the possibility of congruence between pedagogical and political authority, but they counterintuitively demanded that parents and teachers exercise extensive personal authority over children, while denying the legitimacy of such authority over adults in politics. Also available in print.

This book explores the intimate relationship between literature and class in England (and later Britain) from the Peasants' Revolt at the end of the fourteenth century to the impact of the French Revolution at the end of the eighteenth century and beginning of the nineteenth. Also available in print.

In this study, Christopher Warren argues that early modern literary genres were deeply tied to debates about global legal order and that today's international law owes many of its most basic suppositions to early modern literary culture. The book shows how the separation of scholarship on law from scholarship on literature has limited the understanding of international law on both sides. Warren recognizes the specific nature of early modern international law by showing how major writers of the English Renaissance - including Shakespeare, Milton, and Hobbes - deployed genres like epic, tragedy, comedy, tragicomedy, and history to shore up the canonical subjects and objects of modern international law.

This study of the political attitudes of ordinary Londoners during the reign of Charles II examines not only the manifestations of public opinion - for example, riot and demonstration - but also the manner of its formation - religious experience, economic activity, and exposure to mass political propaganda.

This book explores the preaching and printing of sermons by royalists during the English Revolution. While scholars have long recognised the central role played by preachers in the parliamentarian war-effort, the use of the pulpit by the king's supporters has rarely been considered. White argues that the pulpit offered a vital platform and shows that royalists after 1640 were moved to rethink earlier attitudes to preaching and print, as the unique potential for sermons to influence both popular and elite audiences became clear.

In the decades before the Civil War, English readers confronted an extensive and influential pamphlet literature. This literature addressed contemporary events in scathingly critical terms, was produced in enormous quantities and was devoured by the curious. Despite widespread contemporary interest and an enormous number of surviving copies, this literature has remained almost entirely unknown to scholars because it was circulated in handwriting rather than printed with movable type.

Why did England alone of all Protestant jurisdictions not allow divorce with remarriage in the era of the Reformation? One part of the answer, the authors argue, lay in its common-law formulation of coverture, the term for married women's legal status and property rights. The bonds of marriage stayed tightly tied in part because it was as much about wealth as it was about salvation or sexuality. English society had a system that subordinated a wife's identity and property to those of her husband.

In the early modern period, rulers demonstrated their power and influence through carefully curated "display"--their presence in court ceremonies, their palaces and their contents, and their portraits. Henrietta Maria of France (1609-1669), queen consort of King Charles I of England, embraced these opportunities for display with particular flair. This richly illustrated book follows Henrietta Maria to chart her patronage and engagement with the visual arts, building works, and the luxury trade. It develops a powerful picture not just of the images, fashions, interiors, and buildings shaped by the queen's directorial influence but also of the political and religious factors that governed her choices and policies of court display.

Laudianism was both a way of being Christian and a political ideology based on the recuperation of the theological principles and ecclesiastical and pietistic ambitions that underpinned it. This book explores how this intensely controversial movement, and the strong reactions it provoked, helped cause the English Civil War, but over the long term provided one of the visions of the national church, one that has been in contention to define 'Anglicanism' ever since.

Includes thirty-seven new chapters written by leading international scholars on the issues, contexts, and texts of the English Revolution, Displays an interdisciplinary approach drawing on literature, history, religion, print culture, the history of reading, and women's writing, Chapters engage not only scholarly debates about the causes and effects of the English Revolution, but also broader historical and theoretical conversations about propaganda and print history, political opinion and the public sphere, early readers, literary history, history of genres, and women's roles in society, Provides a news lens on the literature of the civil war, situating canonical literary texts in their precise political, religious, and cultural contexts Book jacket.

The calculated use of the media by those in power is a phenomenon dating back at least to the seventeenth century, as Harold Weber demonstrates in this illuminating study of the relation of print culture to kingship under England's Charles II. Seventeenth-century London witnessed an enormous expansion of the print trade, and with this expansion came a revolutionary change in the relation between political authority - especially the monarchy - and the printed word. Weber argues that Charles's reign was characterized by a particularly fluid relationship between print and power. The press helped bring about both the deconsecration of divine monarchy and the formation of a new public sphere, but these processes did not result in the progressive decay of royal authority. Charles fashioned his own semiotics of power out of the political transformations that had turned his world upside down. By linking diverse and unusual topics - the escape of Charles from Worcester, the royal ability to heal scrofula, the sexual escapades of the "merry monarch," and the trial and execution of Stephen College - Weber reveals the means by which Charles took advantage of a print industry instrumental to the creation of a new dispensation of power, one in which the state dominates the individual through the supplementary relationship between signs and violence.

This collection profiles understudied figures in the book and print trades with a balance between women and men. It intervenes in the history of the trades, emphasising the broad range of material, cultural, and ideological work done. Varied print trade roles are covered: printer, publisher, paper-maker, and bookseller.

This book offers a fundamental reinterpretation of the English Reformation and the roots of the Church of England. Drawing on archival material from across the United States and Britain, Kaufman examines the growing influence of state authority and the slow building of a robust state church from the bottom up in post-Reformation England. England became a Protestant nation not in spite of its people but through their active social, political, and religious participation in creating a new church in England.

"Performing Libertinism in Charles II's Court examines the performative nature of Restoration libertinism by reading reports of libertine, activities and texts of libertine plays within the context of the fraternization between George Villiers, Duke of Buckingham, John Wilmot, Earl of Rochester, Sir Charles Sedley, Sir George Etherege, and William Wycherley, Libertines, both real and imagined, performed traditionally secretive acts, including excessive drinking, sex, sedition, and sacrilege, in the public sphere. Webster argues that this eruption of the private into the public challenged a Stuart ideology that distinguished between the nation's public life and the king's and his subjects' private consciences. Although this eruption was contained by the early 1680s, the libertine performances this book analyzes nevertheless played an important part in the history of English politics, drama, and sexuality."--BOOK JACKET.

This book is concerned with political culture, government, and religion during the personal rule of Charles II, the period between the dissolution of his last English Parliament in 1681 and his death in 1685. The author argues that the nature of this phase of Stuart personal rule was different to that of Charles I in 1629-40. He discusses the nature of whig and tory politics during this crucial period in their formation as political parties, showing how they coped with the absence of a parliamentary forum. He also examines political life in the English localities, the growing importance of news dissemination in political life, and the politics of religious persecution and toleration. Scotland and Ireland are included in this analysis of Charles's rule, setting the discussion in a 'Three Kingdoms' context.

Sir Peter Lely (1618-1680) was Charles II's Principal Painter and the outstanding artistic figure of Restoration England. When Lely arrived in England in the early 1640s his ambition was to be a painter of narrative scenes and not to work as a portraitist. However, the 'subject pictures' did not find favour with many English patrons and he produced less than thirty. As Lely's friend Richard Lovelace explained, all they wanted was "their own dull counterfeits" or portraits of their mistresses. Thus, Lely was obliged to turn to portraiture to make a living. Yes, his poetic pictures of figures in idyllic landscapes are among the most beautiful paintings made in 17th-century England and this catalogue will be the first in-depth look at this important chapter of this major painter's career.

This book surveys the channels through which political ideas and knowledge were conveyed to the English people from the beginning of the reign of Elizabeth I to the Revolution of 1688. Shapiro argues that an assessment of English political culture requires an examination of all means by which this culture was expressed and communicated. While the discussion focuses primarily on genres such as the sermon, newsbook, poetry, and drama, it also considers the role of events and institutions. Shapiro is the first to explore and elucidate the entire web of communication in early modern English political life.

In this period, civic peace in England, Scotland, and Ireland was persistently threatened by religiously inspired violence, involving conspiracies, rebellions, and foreign invasions. These challenges gave rise to complex responses. The result was the development of more robust and resilient, although still vulnerable, states in all three kingdoms and, after the dynastic union of Britain in 1603, an effort to create a single state incorporating all of them.

"The return of Charles II to the English throne after eleven years of interregnum heralded the beginning of a new era in which the court was characterized by the licentious behavior of the new king. This book brings together ten distinguished scholars of history, literature, music, theater, and art to explore the political and cultural implications of the court's transgressive new character. With particular reference to the perception and representation of women, it offers a varied examination of topics including popular prints and broadsheets, court masque, poetry and painted portraits, and the operation of women in the political sphere."--BOOK JACKET.

Politics and Political Culture in the Court Masque treats the Jacobean masque as engaged with a broad range of ideas, issues and texts from other political arenas rather than as an exclusive tool of monarchy and court culture. Building on James I's own sense of the monarchical stage as a site of scrutiny not adulation, this book traces the masque's involvement in political events, such as the crises and scandals that provoke political debate, to argue for a form that is more experimental and more intensively concerned with how to articulate political criticism.

In this book, Mary Hill Cole provides a detailed analysis of Queen Elizabeth's progresses through cities and towns. Drawing on royal household accounts, ministerial correspondence, county archives, corporation records, and family papers, she examines the effects of the visits on the queen's household and government, the individual and civic hosts, and the monarchy of the Virgin Queen.

"In Princes to Act, Matthew Wikander explores royal court performance from the Renaissance to the late eighteenth century, when plays with monarchs as characters were typically performed before royal audiences. Focusing on the courts of Elizabeth I, James I, and Charles I of England, Louis XIV and Louis XV of France, and Gustav III of Sweden, Wikander finds that the close and complex relationships between professional theaters and royal patrons infused imperial politics with irony and theatricality - as actors and audiences learned the secret that playing the king and being the king were surprisingly similar."

This text traces British printmaking from its Netherlandish roots in the London of James I and Charles I through to the later decades of the century. The author focuses on the role and influence of print publishers and sellers, and draws comparisons between the business of printmaking then and now, as well as documenting the careers of the most significant publishers.

During the Elizabethan era, beliefs about women's susceptibility to emotion intersected with debates about monarchical power and equity in law to make 'mercy' a particularly complex concept. It made frequent appearances in the work of writers of the era such as Shakespeare, Spenser, and others who explored the wellsprings of clemency and its role in society. Through a fresh reading of such depictions, author Mary Villeponteaux shows that, under Elizabeth I, mercy was contested both conceptually and in practice and that its cultural representation was directly shaped by tensions surrounding the exercise of judgment by a woman on the throne.

In this biography, James Winn tells the story of Anne's life in new breadth and detail, and in unprecedented cultural context. Demonstrating the extent to which Anne's patronage was informed by her practice, Winn shows how poets, painters, and musicians used the works they made for Anne to send overt and covert political messages to the queen, the court, the church, and Parliament.

This book offers fresh insight into the relationship between radical theology and gender radicalism in the English Revolution. It addresses two themes: the intellectual formation of religious radicalism, and the prominence of women as prophets and preachers in radical sects. It shows how, as a group with distinctive experiences, priorities, and cultural identities, women in religious reform were truly transformative.

This book is a survey of aristocratic art collecting and patronage as seen through the activities of Robert Dudley, Earl of Leicester (ca. 1532-1588). He amassed a substantial art collection, including commissioned works by Nicholas Hilliard, Paolo Veronese, and Federico Zuccaro; helped foster the birth of an English vernacular discourse on the visual arts; and was an early exponent of the view of the painter as the practitioner of a liberal art and, thus, a companion of the educated.

This volume deals with the crisis in the representation of the monarchy that was provoked by the execution of Charles I. It looks at both sympathetic and hostile representations of Charles I and addresses not only the period of mid-century crisis but also the earlier years of his reign and the afterlife of his royal image. Besides courtly and popular literary representations, it examines Charles's visual image in paintings, sculpture, engravings and coins and considers the role of the King's Music in projecting a positive view of the monarch.

A fresh assessment of the importance of portraiture in the image-making of monarchs from Richard II to the present day, this book covers a far wider timescale than any previous studies of the subject, and is the first to focus on royal portraiture in the Royal Collection.

First published in English in 1973, The Royal Touch explores the supernatural character that was long attributed to royal power. Throughout history, both France and England claimed to hold kings with healing powers who, by their touch, could cure people. Indeed, the idea of royalty as something miraculous and sacred was common to the whole of Western Europe. Using the work of both professional scholars and of doctors, historian Marc Bloch made an important contribution to the political history of Europe.

The royal touch was the religious healing ceremony at which the monarch stroked the sores on the face and necks of people who had scrofula in order to heal them in imitation of Christ. The rite was practised by all the Tudor and Stuart sovereigns apart from William III, reaching its zenith during the Restoration when some 100,000 people were touched by Charles II and James II. This book, the first devoted to the royal touch for almost a century, integrates political, religious, medical and intellectual history. Drawing on a wide range of primary sources including images, coins, medals, and playing cards, as well as manuscripts and printed texts, it provides an important new perspective on the evolving relationship between politics, medicine and sin in sixteenth- and seventeenth-century England.

Traditionally, historians have studied revolutions as distinct and separate events. Drawing on close familiarity with many different cultures, languages, and historical transitions, these essays present a cohesive historical approach to the comparative study of revolutions. Relevant essays include: "Did the English Have a Script for Revolution in the Seventeenth Century?" and "God's Revolutions: England, Europe, and the Concept of Revolution in the Mid-seventeenth Century".

Responding to the debate stimulated by cultural materialist and new historicist claims that the early modern self was fragmented by forces in Elizabethan England, Sherwood argues that the self was capable of unified subjectivity, demonstrating that the intersection of Protestant vocation and Christian civic humanism was a stabilizing factor in the early modern construction of self.

The management of image in the service of power is a familiar tool of twenty-first century politics. Here a leading historian reveals how, from even before the Reformation, the Tudors sought to sustain and enhance their authority by representing themselves to their people through the media of building, print, art, material culture and speech. Deploying what we might now describe as 'spin, Tudor rulers worked actively as patrons and popularisers to present themselves to the best advantage.

Soon after James Stuart became king of England in 1603, William Shakespeare, while still working in the public theater, became the royal playwright, and his acting troupe became the premier playing company of the realm. How did this courtly setting influence Shakespeare's work? What was it like to view, perform in, and write plays conceived for the Stuart king?

Backscheider offers three detailed examples of how popular literature participates in important social processes in which public opinion and acceptance are at stake. The case studies involve London street pageants staged from 1659 to 1662, the London theatrical season of 1695-96, when one third of the new plays performed were written by women.and gothic drama in the period 1788-89. Backscheider illustrates the various ways in which literature participates in the ideological struggle for intellectual, moral, and philosophical dominance.

An exploration of the proliferation of paper in early modern Britain and its far-reaching effects on politics and society. In this early media-saturated society, we find the origins of many issues we face today: Who shapes the archive and can we trust it? Does widely available information (not all of it accurate) risk contributing to polarization and extremism?

Nadine Akkerman and Pete Langman explore the methods spies used in this period, including disguises, invisible inks, and even poisons. Drawing on a vast array of archival sources, they show how understanding the tricks and tools of espionage allows us to re-imagine well-known events such as the Babington and Gunpowder plots.

In this first modern history of St James's Palace, the authors shed new light on a remarkable building that, despite serving as the official residence of the British monarchy from 1698 to 1837, is by far the least known of the royal residences.

This book explores practices of stereotyping as contested processes, drawing on social psychology and sociology. It brings together early modern case studies and explores how stereotypes shaped negotiations of power, in politics, religion, economy and knowledge production.

This interdisciplinary collection examines the multiple ties that connected the Stuart court to Europe, and the ways in which these shaped English politics and political culture. Together, the essays demonstrate that even the domestic history of the period can only be understood fully by taking into account the international horizons, concerns and affiliations of the British ruling elite.

Court masques were multi-media entertainments, with song, dance, theater, and changeable scenery, staged annually at the English court to celebrate the Stuart dynasty. They have typically been regarded as frivolous and expensive entertainments. This book dispels this notion, emphasizing instead that they were embedded in the politics of the moment, and spoke in complex ways to the different audiences who viewed them.

Based on a lifetime''s work in the field, Sir Roy Strong offers an expert and engaging new look at portrait painting in Stuart England, studying the sitters as much as the artists. He emphasizes a new aesthetic based on the Catholic baroque of European art used to depict a burgeoning and assertive aristocracy.

For nearly half of the eighteenth century, the exiled Stuart court provided an important British presence in Rome. It acted as a surrogate embassy for the many Grand Tourists passing through the city - Hanoverian Whigs as well as Tories and Jacobites - and as a significant social and cultural centre. This book presents the first complete study of the court of the exiled Stuart King James III, offering a significant reassessment of its importance and of the lives of the Stuarts and their courtiers, and their relations with the Popes, cardinals and princely families of Rome.

To gain a full understanding of the literature and history of early modern England, students need to study the prose of the period. Aiming to make early modern prose more visible to teachers, this volume approaches prose as a genre that requires as much analysis and attention as the drama and poetry of the time. The essays collected here consider the broad cultural questions raised by prose and explore prose style, showing teachers how to hone students' writing skills in the process.

This book represents the first detailed study into English royal funeral ceremonies of the period, building on earlier scholarship dealing with the French royal funeral and with the social history of death and burial in early modern England. Funeral rituals are approached as performances, and placed in their political, religious and broader cultural contexts, showing them to be a microcosm of cultural change.

As this book shows, throughout the 17th and 18th centuries in Britain, women of all ages ran, fought, rode, played football, cricket, tennis, and other sports. They competed in tough, head-to-head events that required extraordinary endurance and skill.

In the 17th century, English economic theorists lost interest in the moral status of exchange and became increasingly concerned with the roots of national prosperity. This shift marked the origins of classical political economy. Erikson brings together historical, comparative, and computational methods to explain the institutional forces that brought about this transformation.

This beautiful book explores the diplomatic, trade and cultural exchanges between the courts of Britain and Russia, from the reign of Henry VIII to the death of Charles II. Through the material life of the courts, the gifts of the diplomats and the commissions of the monarchs, the book presents an overview of privileged living in the 16th and 17th centuries.

"Tudor Court Culture is an innovative interdisciplinary collection. It comprises original research by leading and emerging scholars working on the history, literature, and culture of sixteenth-century England. Tudor Court Culture will be of interest to undergraduates and postgraduates studying the Tudor court from a historical and cultural perspective as well as scholars with a general interest in early European Renaissance courts."--BOOK JACKET.

The Tudor monarchs and their courtiers were depicted in magnificent style, in farthingales and ruffs, furs and jewels, codpieces and cloaks, and vast expanses of velvet and silk. Far from being mere decoration, fashion was pivotal in the communication of status and power. Evidence from rare surviving garments and textiles, original documents, fine and decorative art, and archaeological findings enhance our understanding of the Tudors and their courts.

In this wide-ranging and innovative book, Christina Faraday excavates a uniquely Tudor model of vividness: one grounded in rhetorical techniques for creating powerful mental images for audiences. By drawing parallels with the dominant communicative framework of the day, she sheds new light on a lost mode of Tudor art criticism and appreciation, revealing how objects across a vast range of genres and contexts were taking part in the same intellectual and aesthetic conversations.

This book of original scope and methodology consists of twelve interdisciplinary essays on the 'high' political culture of Tudor and early Stuart England. Through the exploitation of new manuscript material or hitherto untapped artistic sources - the plates reproduce over sixty contemporary images - the authors open up new perspectives on the ideas, institutions, and rituals of political society.

The book focuses on royal iconography as a fusion of Protestant and Catholic traditions, both of which were impacted by the Reformation.

This volume surveys the portrait drawings, paintings, and prints of Anthony van Dyck (1599-1641), one of the most celebrated portraitists of all time. Showcasing the full range of Van Dyck's international career with more than 100 works, this catalog celebrates the artist's versatility, inventiveness, and influential approach to portraiture. The chapter on the artist's English period include many portraits of Charles I, the royal family, and members of the court.

Imbued with an understated authority and relaxed elegance, van Dyck's portraits of the British royal family were an instant success. Charles I was depicted as both a powerful sovereign and "nature's gentleman." Gorgeously illustrated, this comprehensive volume is the most thorough examination of van Dyck's years in Britain to date, and investigates the intriguing ways in which van Dyck influenced British art and culture in the centuries following his death.

As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599-1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies.

In this volume, scholars from a variety of disciplines explore the marriage celebrations, with a view to uncovering the differences and misunderstandings beneath the outward celebration of union and concord between England and France. By taking into account the ceremonial, political, religious and international dimensions of the event, the collection paints a rounded portrait.

The British Archaeological Association's 2013 conference was devoted to the study of Westminster Abbey and the Palace of Westminster. This was the first time that the internationally important complex of historic buildings was examined holistically, and the papers published here cover a wide range of subject matter. . Part I begins with studies of the topography of the area, an account of its Roman-period finds and the archaeology of the Abbey. Part II deals with the Palace of Westminster between the late 11th century and the devastating fire of 1834 that largely destroyed the medieval palace, and the building of the New Palace which is better known today as the Houses of Parliament.

The letters in this book create a narrative across more than a century (1640-1773) and through three generations of the Jeake family, with Samuel Jeake junior and his wife Elizabeth at its center. These letters reveal the important role kinship played in the management of business and to the family's survival during the religious and political upheavals at the end of the 17th century. The letters are accompanied by introductions to each chapter which put the correspondence in context and complete the narrative.