History on this scale is a daunting task, not just for the breadth of scholarship it requires but also because it lays before the author the powerful temptations of platitude and over-generalization. Geoffrey Hosking, as he has amply shown elsewhere, is a historian who can draw a big picture without losing his curiosity, his feel for detail, or his capacity for concise but penetrating summary.
The relationship between slavery, colonialism, capital accumulation and economic development has long been an issue that has exercised political economists and economic historians, though it is perhaps fair to say that it tends to be neglected in standard university courses for undergraduates.
Two very starkly contrasting approaches to the history of the sixteenth century lie behind three of the books reviewed here: Mark Nicholls' Two Kingdoms, Glenn Richardson's Renaissance Monarchy: the Reigns of Henry VIII, Francis I and Charles V, and the Patrick Collinson-edited volume The Sixteenth Century, 1485-1603.
In a famous essay on the tenacity of the Burckhardtian conception of the Renaissance, Johan Huizinga wrote that '[A]t the sound of the word ‘Renaissance’ the dreamer of past beauty sees purple and gold.' After reading Carole Collier Frick’s engrossing, multi-layered book, Huizinga’s romantic dreamers will have to become far more nuanced in their visual imaginings of the past.
This collection of essays arises out of the 2001 Neale lecture at University College, London by Joanna Innes and the colloquium that followed it. Although the Neale lecture is in British history, this book is very much a work of parliamentary history, catholic enough to extend its deliberations to considerati
Nearly a century after G.M.
For a long time the historical study of early modern women seemed destined to be confined to the domestic sphere. Almost axiomatically, 'women' have been treated as a subset of household, family, or marriage.
Customs and Excise is the second major study to appear in as many years that investigates the impact of trade policy on the development of British industry.
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.
‘Do you recollect the date’, said Mr. Dick, looking earnestly at me, and taking up his pen to note it down, ‘when King Charles the First had his head cut off’?(1)