Reflecting the place of the Bible as the bedrock of medieval culture, biblical imagery was ubiquitous in medieval England, yet it has not hitherto been the subject of a comprehensive modern monograph. Such precedents as there were – notably M. R. James’s The Apocalypse in Art (London: British Academy, 1931) and F. Wormald’s ‘Bible Illustration in Medieval Manuscripts’, in G. W. H.
Robert Hooke (1635–1703) is a pivotal figure in the intellectual life of seventeenth-century Europe. In the study to hand, Michael Cooper intends to ‘rectify some of the neglect and misunderstandings about Hooke by examining his work in London as City Surveyor after the Great Fire and relating this to his work in science’ (p. 2).
Throughout my reading of Professor Parry’s new book I was distracted by a low, angry, buzzing noise. On reflection, I realized it was the sound of Hugh Trevor-Roper spinning in his grave. The scale of the chasm between the two authors can scarcely be exaggerated.
In recent years Ashgate Publishing has become one of the most dominant forces in the field of early modern studies, and the recent appearance of the impressive volume edited by Michael Hunter of Birkbeck College entitled Printed Images in Early Modern Britain: Essays in Interpretation (2010) is a case in point.
Robin Usher’s Protestant Dublin sets out its stall from the beginning: it is a study of symbolic and iconographic landscape of Dublin, the essential purpose of which is to explore ‘how the physical environment conveyed meanings relating [sic] to institutional authority’ (p. 3).
As Richard Steele opined in one 1712 edition of The Spectator, a predilection for portraiture in post-Reformation England was something both recognised and respected by the journalist and his peers: ‘No nation in the world delights so much in having their own, or friends’, or relations’ pictures; whether from their national good-nature, or having a love to painting, and not being encou
This is a self-consciously old-fashioned treatment of an unaccountably neglected chapter in the history of travel which should be placed alongside such classics as John Stoye’s English Travelers Abroad, 1604–1667, whose first edition was published as long ago as 1952, rather than more recent treatments by Chloe Chard and Rosemary Sweet.(1) Indeed, one might go
You may think you know the story of the Tudor dynasty and the steps they took in securing their power and legacy, but what most grand narratives of the Tudor monarchs do not describe is their intimate relationship with the built environment around them.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.