Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-24T13:32:59.997Z Has data issue: false hasContentIssue false

Part VI - Visual Arts

Published online by Cambridge University Press:  17 August 2019

By
Alexander Marr
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Keywords

artisansBuc, Sir GeorgecollectingdrawingElizabeth IemblemsHans Holbein the YoungerHarington, Sir JohnHaydocke, RichardHenry, Prince of WalesHilliard, NicholasJames IJones, Inigolimningmaterial cultureOliver, Isaacpatronageperspectiveportrait miniaturesportraitureprintsoil paintingtravelTeerlinc, Levinavisual culturealliterationartificeembellishmentornamentpoetryrenaissancerepetitionstylevisual cultureballadbroadsideGarnet, HenryJonson, Benmonstrous birthnobodyPeacham, Henrypornographyportentsprintsprodigiesruffsuretyship“We Three”Alciato, Andreashieroglyphsimagesinscriptiointerdependent artmaximsmedievalOvidpicturasubscriptioarchitectureBacon, Sir FrancisBess of HardwickbuildingCecil, WilliamElizabeth IhallHarrison, WilliamHenry VIIIJonson, BenmonasteriesSerlio, SebastianoShute, JohnsymmetrySmythson, RobertVitruviusbanqueting houseCecil, Williamde Caus, Salomonfountaingardenhunting parkknotlabyrinthlandscapeorchardplantsymbolalabastercarvingmonumentsculptureGlobe (playhouse)SouthwarkTate ModernBettes, JohnEnworth, HansGheeraerts, Marcus IGheeraerts, Marcus IIHans Holbein IIKetel, Corneliuspainting, Britishportrait/portraiturewoodenBess of HardwickCecil, WilliamCountess of Shrewsburyde Vos, MaartenElizabethNine WorthiesovermantelsOvidparablespublicationreligionallegorybiblical scenesdecorationFlandersHardwickHouse of Lordspalacestextilesvisual narrativeweavingArden, RobertAubrey, JohnBeaumont, John, and Fletcher, FrancisCeremony of EntryEmblem BookField of the Cloth of GoldHampton CourtHans Holbein the YoungerHardwick HallHenry VIIIJonson, BenNew Globe TheatrepageantryOvidShakespeare, JohnstageStratford-upon-AvonElizabeth I’s coronationHenry VIhistory playsHolinshed’s ChroniclesMeasure for MeasureRomeroyal influenceroyal processionantiquitiesart collectionsArundelBacon, FrancisCamden, WilliamcuriositiesHoward, ThomasPeacham, HenryTalbot, AlatheaTradescant
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 375 - 482
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Chaney, Edward. The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance. London: Frank Cass, 1998.Google Scholar
Doran, Susan, ed. Elizabeth: The Exhibition at the National Maritime Museum. London: Chatto and Windus, 2003.Google Scholar
Gent, Lucy. Picture and Poetry 1560–1620: Relations between Literature and the Visual Arts in the English Renaissance. Leamington Spa: James Hall, 1981.Google Scholar
Gent, Lucy, and Llewellyn, Nigel, eds. Albion’s Classicism: The Visual Arts in Britain 1550–1660. New Haven: Yale UP, 1995.Google Scholar
Glanville, Philippa. “The Crafts and Decorative Arts.” The Cambridge Cultural History of Britain. Vol. 3: Sixteenth-Century Britain. Ed. Ford, Boris. Cambridge: Cambridge University Press, 1992. 269–300.Google Scholar
Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530–1630. London: Tate, 1995.Google Scholar
Hilliard, Nicholas. The Art of Limning. Ed. Thornton, R. K. R. and Cain, T. G. S.. Manchester: Carcanet, 1992.Google Scholar
Llewellyn, Nigel. Funeral Monuments in Post-Reformation England. Cambridge: Cambridge University Press, 2000.Google Scholar
Lomazzo, Giovanni Paolo. A Tracte Containing the Curious Artes of Paintinge, Carvinge & Building. Trans. Haydocke, Richard. Oxford: Joseph Barnes, 1598.Google Scholar
Marr, Alexander. “‘A Duche graver sent for’: Cornleis Boel, Salomon de Caus, and the production of La perspective auec la raison des ombres et miroirs.” Prince Henry Revived: Image and Exemplarity in Early Modern England. Ed. Wilks, Timothy. London: Paul Holberton, 2007. 212–38.Google Scholar
Scott-Warren, Jason. Sir John Harington and the Book as Gift. Oxford: Oxford UP, 2001.CrossRefGoogle Scholar
Smith, Bruce. The Key of Green: Passion and Perception in Renaissance Culture. Chicago: U of Chicago P, 2009.Google Scholar
Strong, Roy. The English Icon: Elizabethan and Jacobean Portraiture. London: Routledge and Kegan Paul, 1969.Google Scholar
Strong, Roy. Henry, Prince of Wales, and England’s Lost Renaissance. London: Thames and Hudson, 1986.Google Scholar
Wells-Cole, Anthony. Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625. New Haven: Yale UP, 1997.Google Scholar
Williams, Richard L. “Collecting and Religion in Sixteenth-Century England.” The Evolution of English Collecting: Receptions of Italian Art in the Tudor and Stuart Periods. Ed. Chaney, Edward. New Haven: Yale UP, 2003. 159–200.Google Scholar

Further reading

Archer, Jayne E., Goldring, Elizabeth, and Knight, Sarah, eds. The Progresses, Pageants and Entertainments of Queen Elizabeth I. Oxford: Oxford UP, 2007.Google Scholar
Cooper, Tarnya. Citizen Portrait: Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales. New Haven: Yale UP, 2012.Google Scholar
Fumerton, Patricia. Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament. Chicago: U of Chicago P, 1991.Google Scholar
Gent, Lucy, and Llewellyn, Nigel, eds. Renaissance Bodies: The Human Figure in English Culture c. 1540–1660. London: Reaktion, 1990.Google Scholar
Glanville, Philippa. Silver in Tudor and Early Stuart England: A Social History and Catalogue of the National Collection. London: Victoria and Albert Museum, 1990.Google Scholar
Hind, Arthur M. Engraving in England in the Sixteenth and Seventeenth Centuries. Cambridge: Cambridge University Press, 1952.Google Scholar
Orgel, Stephen, and Strong, Roy. Inigo Jones: The Theatre of the Stuart Court. London: Sotheby Parke Benet, 1973.Google Scholar
Strong, Roy. The Cult of Elizabeth: Elizabethan Portraiture and Pageantry. London: Pimlico, 1999.Google Scholar
Strong, Roy. The English Renaissance Miniature. London: Thames and Hudson, 1983.Google Scholar

Sources cited

Anderson, Christy. “Learning to Read Architecture in the English Renaissance.” Albion’s Classicism. Ed. Gent, Lucy. New Haven: Yale UP, 1995. 239–86.Google Scholar
Bacon, Francis. The Advancement of Learning. Ed. Kiernan, Michael. Oxford: Clarendon, 1985.Google Scholar
Bacon, Francis. The Essays or Counsels, Civill and Morall. Ed. Kiernan, Michael. Oxford: Clarendon, 2000.Google Scholar
Buxton, John. Elizabethan Taste. London: Macmillan, 1963.Google Scholar
Greene, Robert. Gwydonius, or the Card of Fancie. London: 1584.Google Scholar
Greene, Robert. A Quip for an Upstart Courtier. London: 1592.Google Scholar
Harrison, William. The Description of England. Ed. Edelen, Georges. Washington: Folger Shakespeare Library, 1968.Google Scholar
Hoskins, John. Directions for Speech and Style. Ed. Hudson, Hoyt H.. Princeton: Princeton UP, 1935.Google Scholar
Lanham, Richard. The Motives of Eloquence. New Haven: Yale UP, 1976.Google Scholar
Pevsner, Nikolaus. “The Planning of the Elizabethan Country House: An Inaugural Lecture Delivered at Birkbeck College 1960.” London: Birkbeck College, 1961. 24.Google Scholar
Puttenham, George. The Arte of English Poesy. Ed. Whigham, Frank and Rebhorn, Wayne A.. Ithaca: Cornell UP, 2007. 222.Google Scholar
Rye, William Brenchley, ed. England as Seen by Foreigners, in the Days of Elizabeth and James the First. London: 1865.Google Scholar
Sir Sidney, Philip. The Poems of Sir Philip Sidney. Ed. Ringler, William A. Jr. Oxford: Clarendon, 1962.CrossRefGoogle Scholar
Sir Smith, Thomas. De Republica Anglorum: A Discourse on the Commonwealth of England. Ed. Alston, L.. Cambridge: Cambridge University Press, 1906.Google Scholar
Spenser, Edmund. The Faerie Queene. Ed. Smith, J. C. and de Selincourt, E.. Oxford: Clarendon, 1902.Google Scholar

Further reading

Adamson, Sylvia, Alexander, Gavin, and Ettenhuber, Katrin. Renaissance Figures of Speech. Cambridge: Cambridge University Press, 2007.Google Scholar
Evett, David. Literature and the Visual Arts in Tudor England. Athens: U of Georgia P, 1990.Google Scholar
Holton, Amanda, and Macfaul, Tom, eds. Tottel’s Miscellany: Songs and Sonnets of Henry Howard, Earl of Surrey, Sir Thomas Wyatt, and Others. London: Penguin, 2011.Google Scholar
Mercer, Eric. English Art, 1558–1603. Oxford: Clarendon, 1962.Google Scholar
Mowl, Timothy. Elizabethan and Jacobean Style. London: Phaidon, 1993.Google Scholar
Shuger, Debora. “Conceptions of Style.” The Cambridge History of Literary Criticism. Vol. 3: The Renaissance. Ed. Norton, Glyn P.. Cambridge: Cambridge University Press, 1999. 176–86.Google Scholar
Wells-Cole, Anthony. The Art of Decoration in Elizabethan and Jacobean England, 1558–1625. New Haven: Yale UP, 1997.Google Scholar

Sources cited

Coryate, Thomas. Coryate’s crudities hastily gobled vp in five moneths trauells. London: William Stansby, 1611.Google Scholar
Griffiths, Antony. The Print in Stuart Britain, 1603–1689. London: British Museum Press, 1998.Google Scholar
Hind, Arthur M. Engraving in England in the Sixteenth and Seventeenth Centuries: A Descriptive Catalogue with Introductions. 3 vols. Cambridge: Cambridge University Press, 1952–64 [Vol. 1: The Tudor Period (1952); Vol. 2: The Reign of James I (1955); Vol. 3: The Reign of Charles I, compiled from Hind’s notes by M. Corbett and M. Norton (1964)].Google Scholar
Jones, Malcolm. “The Common Weales Canker Wormes, or the Locusts Both of Chvrch and States – Emblematic Identities in a Late Jacobean Print.” Printed Images in Early Modern Britain: Essays in Interpretation. Ed. Hunter, M.. Burlington: Ashgate, 2010. 193–214.Google Scholar
Jones, Malcolm. “The Dutch Cow” [Elizabethan political cartoon], appendix to article by M. Bath, “Dirtie Devises: Thomas Combe and the Metamorphosis of Ajax.” Emblematic Perceptions: Festschrift for William S. Heckscher. Ed. Daly, P. M. and Russell, D. S.. Baden-Baden: Verlag Valentin Koerner, 1997. 23–32.Google Scholar
Jones, Malcolm. The Print in Early Modern England: An Historical Oversight. New Haven: Yale UP, 2010.Google Scholar
Pierce, Helen. Unseemly Pictures, Graphic Satire, and Politics in Early Modern England. New Haven: Yale UP, 2009.Google Scholar
Stow, John. The Chronicles of England. London: Ralph Newberie, 1580.Google Scholar

Further reading

Lawner, Lynne, ed. I Modi: The Sixteen Pleasures. Evanston: Northwestern UP, 1988.Google Scholar
Watt, Tessa. Cheap Print and Popular Piety, 1550–1640. Cambridge: Cambridge University Press, 1991.Google Scholar

Sources cited

Alciato, Andreas. Emblematum Liber. Augsburg: 1531. http://www.mun.ca/alciato/.Google Scholar
Bacon, Francis. The tvvoo bookes of Francis Bacon. Of the proficience and aduancement of learning, diuine and humane To the King. London: 1605.Google Scholar
Cotgrave, Randle. A dictionarie of the French and English [t]ongues. Compiled by Randle Cotgrave. London: Adam Islip, 1611.Google Scholar
De la Perrière, Guillaume. Le Théâtre de Bons Engins. Paris: 1539. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FLPa.Google Scholar
Estienne, Henri. L’Art de faire les Devises. Trans. Blount, Thomas. London: Richard Royston, 1646.Google Scholar
Gent, Lucy. Picture and Poetry, 1560–1620: Relations between Literature and the Visual Arts in the English Renaissance. Leamington Spa: James Hall, 1981.Google Scholar
Lecercle, François. La Chimère de Zeuxis: Portrait poétique et portrait peint en France et en Italie à la Renaissance. Tübingen: Gunter Narr Verlag, 1987.Google Scholar
Migne, Jacques-Paul. Patrologia Latina. 217 vols. Paris: 1844–1855.Google Scholar
Moseley, C. W. R. D. “Cleopatra’s Prudence: Three Notes on the Use of Emblems in Antony and Cleopatra.” Shakespeare Jahrbuch (West) (1986): 119–37.Google Scholar
Moseley, C. W. R. D. “A Portrait of Sir Christopher Hatton, Erasmus and an Emblem of Alciato: Some questions.” The Antiquaries’ Journal 86 (2006): 373–79.Google Scholar
Moseley, C. W. R. D. Shakespeare’s King Henry IV. Humanities ebooks.co.uk, 2007.Google Scholar
Paradin, Claude. Devises Héroïques. Lyons: 1557. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FPAb.Google Scholar
Peacham, Henry. The Art of Draining. London: 1606.Google Scholar
Quarles, Francis. Emblemes. London: 1635.Google Scholar
Whitney, Geoffrey. A Choice of Emblems. Leiden: 1586. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FPAb.Google Scholar
Wither, George. A collection of Emblems. London: 1635. http://emblem.libraries.psu.edu/withetoc.htm.Google Scholar

Further reading

Bath, Michael. Speaking Pictures: English Emblem Books and Renaissance Culture. London: Longman, 1994.Google Scholar
Daly, Peter M. Literature in the Light of the Emblem: Structural Parallels between the Emblem and Literature in the Sixteenth and Seventeenth Centuries. Toronto: U of Toronto P, 1998.Google Scholar
Freeman, Rosemary. English Emblem Books. London: Chatto and Windus, 1948. Rpt. Octagon Books, 1966.Google Scholar
Green, H. Shax and the Emblem Writers: An Exposition of Their Similarities of Thought and Expression. London: Trubner, 1870.Google Scholar
Manning, John. The Emblem. London: Reaktion, 2002.Google Scholar
Moffitt, John Francis. Andrea Alciati. Jefferson: McFarland and Company, 2004.Google Scholar
Moseley, C. W. R. D. A Century of Emblems: An Introduction to the Renaissance Emblem. Aldershot: Scolar, 1989.Google Scholar

Sources cited

Airs, Malcolm. The Tudor and Jacobean Country House: A Building History. Phoenix Mill: Alan Sutton, 1995.Google Scholar
Sir Bacon, Francis. The Essayes or Counsels, Civill and Morall. Ed. Kiernan, Michael. Cambridge: Harvard UP, 1985.Google Scholar
Cooper, Nicholas. “Rank, Manners and Display: The Gentlemanly House, 1500–1750.” Transactions of the Royal Historical Society, 6th ser. 12 (2002): 291–310.CrossRefGoogle Scholar
Friedman, Alice T. House and Household in Elizabethan England: Wollaton Hall and the Willoughby Family. Chicago: U of Chicago P, 1989.Google Scholar
Friedman, Alice T. “Inside/Out: Women, Domesticity, and the Pleasures of the City.” Material London, ca. 1600. Ed. Orlin, Lena Cowen. Philadelphia: U of Pennsylvania P, 2000. 232–50.Google Scholar
Gerbier, Balthazar. Counsel and Advice to all Builders. London: 1663.Google Scholar
Girouard, Mark. Elizabethan Architecture, Its Rise and Fall, 1540–1640. New Haven: Yale UP, 2009.Google Scholar
Girouard, Mark. Robert Smythson and the Elizabethan Country House. New Haven: Yale UP, 1983.Google Scholar
Harris, John. The Design of the English Country House, 1620–1920. London: Trefoil Books, 1985.Google Scholar
Harrison, William. The Description of England. Ed. Edelen, Georges. Ithaca: Cornell UP, 1968.Google Scholar
Hoskins, W. G. The Age of Plunder: The England of Henry VIII, 1500–1547. London: Longman, 1976.Google Scholar
Hoskins, W. G. “The Rebuilding of Rural England, 1570–1640.” Past and Present 4 (1953): 44–59.Google Scholar
Howard, Maurice. The Building of Elizabethan and Jacobean England. New Haven: Yale UP, 2007.Google Scholar
Howard, Maurice. The Early Tudor Country House: Architecture and Politics, 1490–1550. London: George Philip, 1987.Google Scholar
Johnson, Matthew. Housing Culture: Traditional Architecture in an English Landscape. Washington: Smithsonian Institution Press, 1993.Google Scholar
Jourdain, Margaret. English Decorative Plasterwork of the Renaissance. London: B. T. Batsford, 1926.Google Scholar
Orlin, Lena Cowen. Locating Privacy in Tudor London. Oxford: Oxford UP, 2007.Google Scholar
Skipp, Victor. Crisis and Development: An Ecological Case Study of the Forest of Arden, 1570–1674. Cambridge: Cambridge University Press, 1978.Google Scholar

Further reading

Colvin, H. M., et al. The History of the King’s Works. Vol. 4: 1485–1660 (Part II). London: Her Majesty’s Stationery Office, 1982.Google Scholar
Thurley, Simon. The Royal Palaces of Tudor England: Architecture and Court Life, 1460–1547. New Haven: Yale UP, 1993.Google Scholar

Sources cited

Barron, Catherine. “The Collecting and Patronage of John, Lord Lumley (c.1535–1609).” The Evolution of English Collecting: The Reception of Italian Art in the Tudor and Stuart Periods. Ed. Chaney, Edward. New Haven: Yale UP, 2003. 125–58.Google Scholar
Burton, Robert. The Anatomy of Melancholy: What It Is (1621). Ed. Dell, F. and Jourdan-Smith, P.. London: Routledge, 1931.Google Scholar
Calendar of State Papers, Domestic Series, of the Reigns of Edward VI, Mary, Elizabeth [and James I.] 1547–[1625]. 12 vols. London: Longman, 1856–72.Google Scholar
Calendar of State Papers, Domestic Series, of the Reign of Charles I., 1625–[1649]. 23 vols. London: Longman, 1858–97.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Cloake, John. Palaces and Parks of Richmond and Kew. Vol. 1. Chi- chester: Phillimore, 1995.Google Scholar
Colvin, Howard, ed. The History of the King’s Works. Vol. 4: 1485–1660, Part 2. London: Her Majesty’s Stationery Office, 1982.Google Scholar
Eiche, Sabine. “Prince Henry’s Richmond: The Project by Constantino de’ Servi.” Apollo 148 (November 1998): 10–14.Google Scholar
Feuillerat, Albert, ed. Documents Relating to the Office of Revels in the Time of Queen Elizabeth. Louvain: Uystopruyst, 1908.Google Scholar
Gerard, John. The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirurgerie. London: 1597.Google Scholar
Henderson, Paula. “Garden Ornament.” Art Collecting and Lineage in The Elizabethan Age: The Lumley Inventory and Pedigree. Ed. Evans, Mark. London: The Roxburghe Club, 2010. 51–54.Google Scholar
Henderson, Paula. The Tudor House and Garden: Architecture and Landscape in the 16th and 17th Centuries. New Haven: Yale UP, 2005.Google Scholar
Hentzner, Paul. A Journey into England in the year 1598. Ed. Walpole, Horace. Strawberry Hill: 1757.Google Scholar
Hill, Thomas (or Hyll), attrib. The Gardener’s Labyrinth, by “Didymous Mountain.” London: 1577.Google Scholar
Husselby, Jill, and Henderson, Paula. “Location, Location, Location! William Cecil’s House in the Strand.” Architectural History 45 (2002): 159–93.Google Scholar
Jekyll, Gertrude. Garden Ornament. 2nd ed., rev. London: Country Life, 1927.Google Scholar
Laneham, Robert. Robert Laneham’s Letter. 1575. Ed. Furnivall, F. J.. London: Gollancz (I.) The Shakespeare Library, 1907.Google Scholar
Lawson, William. A New Orchard and Garden. London: 1618.Google Scholar
Markham, Gervase. Certain excellent new and inuented knots and mazes. London: John Marriott, 1623.Google Scholar
Mulcaster, Richard. The Quenes Maiesties Passage through the Citie of London to Westminster the Day before her Coronacion. 1558. Ed. Osborn, James M., facs. New Haven: Yale UP, 1960.Google Scholar
Nares, Robert. A Glossary. London: Reeves and Turner, 1888.Google Scholar
Nichols, John. The Progresses and Public Processions of Queen Elizabeth. New ed. 3 vols. London: 1823.Google Scholar
Plat, Hugh. The Garden of Eden. London: H. Robinson, 1653.Google Scholar
Platter, Thomas, and Busino, Horatio. The Journals of Two Travellers in Elizabethan and Early Stuart England. London: Caliban, 1995.Google Scholar
Rye, William B. England as Seen by Foreigners in the Days of Elizabeth and James I. London: John Russell Smith, 1865.Google Scholar
Smith, Bruce R. “Landscape with Figures: The Three Realms of Queen Elizabeth’s Country-house Revels.” Renaissance Drama 8 (1977): 57–115.CrossRefGoogle Scholar
Stow, John. A Survay of London (1598, rev. 1603). Ed. Morley, Henry. Oxford: Routledge, 1908.Google Scholar
Stow, John, and Strype, John. A survey of the cities of London and Westminster, and the borough of Southwark: containing the original, antiquity, increase, present state and government of those cities: written at first in the year 1698 [i.e., 1598] by John Stow … ; corrected, improved, and very much enlarged, in the year 1720, by John Strype. 2 vols. London: Printed for W. Innys and J. Richardson, J. and P. Knapton [and 10 others], 1754–55.Google Scholar
Strong, Roy. The Renaissance Garden in England. London: Thames and Hudson, 1979.Google Scholar
Stubbes, Philip. P. Stubbes’s Anatomy of Abuses in England in Shakspere’s Youth (1583). Ed. Furnivall, F. J.. London: Bungay (New Shakespeare Society, I), 1877–79.Google Scholar

Further reading

Malden, H. E., ed. “The Borough of Southwark: Introduction.” A History of the County of Surrey. Vol. 4. Victoria History of the Counties of England. London: A. Constable, 1912. 125–35.Google Scholar
Saunders, Ann, and Schofield, John, eds. Tudor London: A Map and a View. London Topographical Society Publication 59. London: London Topographical Society, 2001. Especially pl. 1.Google Scholar
Simms, Barbara, ed. Garden History 36.1 (summer 2008): Tudor Gardens 2.Google Scholar
Woudstra, Jan, ed. Garden History 27.1 (summer 1999): Tudor Gardens 1.Google Scholar

Sources Cited

Burton, William. Leicestershire. London: 1622.Google Scholar
Carew, Thomas. Poems. London: 1640.Google Scholar
Comenius, Jan Amos. Orbis Pictus. London: 1659.Google Scholar
Coryate, Thomas. Crudities. London: 1611.Google Scholar
Edmond, Mary. “Limners and Picturemakers: New Light on the Lives of Miniaturists and Large-Scale Portrait-Painters Working in London in the Sixteenth and Seventeenth Centuries.” The Walpole Society 47 (1978–79): 60–242.Google Scholar
Esdaile, K. A. “Shakespeare’s Verses in Tong Church.” Shropshire Archaeological Society Transactions 49 (1938): 251–64.Google Scholar
Humphrey, Laurence. The Nobles, or of Nobilitye. London: 1653.Google Scholar
Jonson, Ben. Ben Jonson. Ed. Herford, C. H., Simpson, Percy, and Simpson, Evelyn. 11 vols. Oxford: Clarendon P, 1925–52.Google Scholar
Llewellyn, Nigel. “East Sussex Church Monuments c. 1530–1830.” Lewes: Sussex Record Society, 2011.Google Scholar
White, Adam. “A Biographical Dictionary of London Tomb Sculptors c.1560–c.1660.” The Walpole Society 41 (1998–99): 1–162.Google Scholar
Wotton, Henry. The Elements of Architecture. London: 1624.Google Scholar

Further Reading

Barkan, Leonard. “‘Living Sculptures’: Ovid, Michelangelo, and The Winter’s Tale.” ELH 48.4 (1981): 639–67.Google Scholar
Llewellyn, Nigel. Funeral Monuments in Post-Reformation England. Cambridge: Cambridge University Press, 2000.Google Scholar
Smith, Bruce R. “Sermons in Stones: Shakespeare and Renaissance Sculpture.” Shakespeare Studies 17 (1985): 1–23.Google Scholar
Whinney, Margaret. Sculpture in Britain, 1530–1830. London: Penguin, 1988.Google Scholar

Sources cited

Auerbach, Erna. Tudor Artists. London: Athlone Press, 1954.Google Scholar
Baziliōlogia a booke of kings beeing the true and liuely effigies of all our English kings from the Conquest vntill this present. London: Compton Holland, 1618.Google Scholar
Bonde, N., Tyers, I., and Wazny, T.. “Where Does the Timber Come From? Dendrochronological Evidence of the Timber Trade in Northern Europe.” Archaeological Sciences. Ed. Sinclair, A., Slater, E., and Gowlett, J.. Oxbow Monograph 64, 1997.Google Scholar
Craft-Giepmanns, Sabine, and de Vries, Annette, eds. Portret in de Nederlandse Kunst 1550–2012. Dordrecht: Dordrechts Museum, 2012.Google Scholar
Evans, Mark, ed. The Lumley Inventory and Pedigree. London: Roxburghe Club, 2010.Google Scholar
Foister, Susan. “Edward Alleyn’s Collection of Paintings.” Edward Alleyn: Elizabethan Actor, Jacobean Gentleman. Ed. Reid, Aileen and Maniura, Robert. London: Dulwich Picture Gallery, 1994.Google Scholar
Gibson, Robin. “The National Portrait Gallery’s Set of Kings and Queens at Montacute House.” National Trust Year Book 1975–76. Ed. Jackson-Stops, Gervase. London: Europa, 1975.Google Scholar
Groos, G. W., trans. The Diary of Baron Waldstein: A Traveller in Elizabethan England. New York: Thames and Hudson, 1981.Google Scholar
Hammer, Paul E. J. The Polarisation of Elizabethan Politics: The Political Career of Robert Devereux, 2nd Earl of Essex, 1585–1597. Cambridge: Cambridge University Press, 1999.Google Scholar
Hearn, Karen. Marcus Gheeraerts II: Elizabethan Artist. London: Tate, 2002.Google Scholar
Hearn, Karen. “Netherlandish Artists in the Tate Collection.” CODART Courant 19 (2009): 10–11.Google Scholar
Hearn, Karen. “‘Portraiture’ and ‘New Genres.’” Migrations: Journeys into British Art. Ed. Carey-Thomas, Lizzie. London: Tate Britain, 2012.Google Scholar
Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England, 1530–1630. London: Tate, 1995.Google Scholar
Henslowe, Philip. Henslowe’s Diary. Ed. Foakes, R. A.. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Hilliard, Nicholas. A Treatise Concerning the Arte of Limning. Ed. Thornton, R. K. R. and Cain, T. G. S.. Manchester: Carcanet, 1981.Google Scholar
Hopkins, J. T. “‘Such a Twin Likeness There Was in the Pair’: An Investigation into the Painting of the Cholmondeley Sisters.” Transactions of the Historic Society of Lancashire and Cheshire 144 (1991): 1–37.Google Scholar
Le Roy, Louis. Of the Interchangeable Course or Variety of Things in the Whole World. Trans. Ashley, Robert. London: Charles Yetsweirt, 1594.Google Scholar
Millar, Oliver. The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen. 2 vols. London: Phaidon, 1963Google Scholar
Reid, Aileen, and Waterfield, Giles, eds. Edward Alleyn as Patron and Collector. Dulwich: Dulwich Picture Gallery, 1994Google Scholar
Starkey, David, ed. The Inventory of King Henry VIII: Society of Antiquaries MS 129 and British Library MS Harley 1419. London: Royal Society of Antiquaries, 1998.Google Scholar
Strong, Roy. The Cult of Elizabeth: Elizabethan Portraiture and Pageantry. London: Thames and Hudson, 1977.Google Scholar
Strong, Roy. “Eworth, Hans (d. 1574).” Oxford Dictionary of National Biography. Rev. Oxford: Oxford UP, 2004.Google Scholar
Tittler, Robert. “Regional Portraiture and the Heraldic Connection in Tudor and Early Stuart England.” British Art Journal 10.1 (2009): 3–10.Google Scholar
Town, Edward. “‘Whilst He Had His Perfect Sight’ – New Information on John de Critz the Elder.” Burlington Magazine 154 (July 2012): 482–86.Google Scholar
Tymme, Thomas. A booke, containing the true portraiture of the countenances and attires of the kings of England, from William Conqueror, vnto our Soueraigne Lady Queene Elizabeth now raigning. London: R. Field for John Debeauchesne, 1597.Google Scholar
van Mander, Karel. The Lives of the Illustrious Netherlandish and German Painters, from the first edition of the Schilder-boeck (1603–1604). Trans. Miedema, Hessel. Soest: Davaco, 1994–97.Google Scholar

Further reading

Ghent, Lucy. Picture and Poetry, 1560–1620: Relations between Literature and the Visual Arts in the English Renaissance. Leamington Spa: James Hall, 1981.Google Scholar
Orgel, Stephen. “Idols of the Gallery: Becoming a Connoisseur in Renaissance England.” Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England. Ed. Erickson, Peter and Hulse, Clark. Philadelphia: U of Pennsylvania P, 2000.Google Scholar
Strong, Roy. The English Icon: Elizabethan and Jacobean Portraiture. London: Routledge and Kegan Paul, 1969.Google Scholar
Waterhouse, Ellis. Painting in Britain 1530–1790. 5th ed. New Haven: Yale UP, 1994.Google Scholar

Sources cited

Archer, Michael, Crewe, Sarah, and Cormack, Peter. English Heritage in Stained Glass: Oxford. Oxford: Meagher Currill Partnership, 1988.Google Scholar
Bath, Michael. Emblems for a Queen: The Needlework of Mary Queen of Scots. London: Archetype Books, 2008.Google Scholar
Bath, Michael. Renaissance Decorative Painting in Scotland. Edinburgh: National Museums of Scotland, 2003.Google Scholar
Collinson, Patrick. The Birthpangs of Protestant England: Religious and Cultural Change in the Sixteenth and Seventeenth Centuries. Basingstoke: Palgrave Macmillan, 1988.Google Scholar
Dimitrieva, Olga, and Abramova, Natalya. Britannia and Muscovy: English Silver at the Court of the Tsars. New Haven: Yale UP, 2006.Google Scholar
Durant, David. Bess of Hardwick: Portrait of an Elizabethan Dynast. Rev. ed. Trowbidge: Cromwell, 1988.Google Scholar
Fincham, Kenneth, and Tyacke, Nicolas. Altars Restored: The Changing Face of English Religious Worship, 1547–c.1700. Oxford: Oxford UP, 2007.Google Scholar
Foister, Susan. “Paintings and Other Works of Art in Sixteenth- Century English Inventories.” Burlington Magazine 123.938 (May 1981): 273–82.Google Scholar
Girouard, Mark. Elizabethan Architecture: Its Rise and Fall, 1540–1640. New Haven: Yale UP, 2009.Google Scholar
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: Norton, 2004.Google Scholar
Greer, Germaine. Shakespeare’s Wife. London: Harper, 2007.Google Scholar
Halliwell, James. Ancient Inventories of Furniture, Pictures, Tapestry, Plate &c. Illustrative of the Domestic Manners of the English in the Sixteenth and Seventeenth Centuries. London: 1854.Google Scholar
Lane, Geoffrey. “A World Turned Upside Down: London Glass-Painters, 1600–1660.” Journal of Stained Glass 29 (2005): 45–75.Google Scholar
Levey, Santina M. The Embroideries at Hardwick Hall: A Catalogue. London: National Trust, 2007.Google Scholar
Levey, Santina M. “Of Houshold Stuff”: The 1601 Inventories of Bess of Hardwick. London: National Trust, 2001.Google Scholar
Lovell, Mary S. Bess of Hardwick: First Lady of Chatsworth. London: Little Brown, 2007.Google Scholar
Roberts, Sasha. “Lying among the Classics: Ritual and Motif in Elite Elizabethan and Jacobean Beds.” Albion’s Classicism: The Visual Arts in Britain, 1550–1660. Ed. Gent, Lucy. New Haven: Yale UP, 1995.Google Scholar
Schroder, Timothy. “Lord Burghley’s Silver Spice Dishes.” Apollo (February 2004): 3–12.Google Scholar
Tillyard, E. M. W. The Elizabethan World Picture. London: Chatto and Windus, 1943.Google Scholar
Veldman, Ilya M. Maarten Van Hemmskerck and Dutch humanism in the sixteenth century. Trans. Hoyle, Michael. Maarssen: G. Schwartz, 1977.Google Scholar
Watt, Tessa. Cheap Print and Popular Piety, 1550–1640. Cambridge: Cambridge University Press, 1991.Google Scholar
Wells-Cole, Anthony. Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625. New Haven: Yale UP, 1997.Google Scholar
Wells-Cole, Anthony. “Elusive Sources for Renaissance Wall Paintings.” All Manner of Murals: The History, Techniques and Conservation of Secular Wall Paintings. Ed. Gowing, Robert and Pender, Robyn. London: Archetype Books, 2007.Google Scholar
Wells-Cole, Anthony. “The Patronage of Elizabeth Countess of Shrewsbury at Chatsworth and Hardwick: A Study in the Influence of Netherlandish Prints in Sixteenth-Century England.” Dutch and Flemish Artists in Britain, 1550–1800. Ed. Roding, Juliette et al. Leiden: Primavera, 2003.Google Scholar
Wells-Cole, Anthony. “In Search of Alexander.” Country Life (19 April 2001): 90–93.Google Scholar
Wolfe, Heather. The Revelyan Miscellany of 1608: A Facsimile of Folger Shakespeare Library MS V.b.232. Seattle: U of Washington P, 2007.Google Scholar

Further reading

Barker, Nicolas. The Great Book of Thomas Trevilian: A Facsimile of the Manuscript in the Wormsley Library. London: The Roxburghe Club, 2000.Google Scholar
Bath, Michael. “Was There a Guide Palace in Edinburgh?” All Manner of Murals: The History, Techniques and Conservation of Secular Wall Paintings. Ed. Growing, Robert and Pender, Robyn. London: Archetype Books, 2007.Google Scholar
Hamling, Tara. Decorating the “Godly” Household: Religious Art in Post-Reformation Britain. New Haven: Yale UP, 2010.Google Scholar
Jones, Malcolm. “Engraved Works in the Stationers’ ‘Registers,’ 1562–1656: A Listing and Commentary.” Walpole Society 64 (2002).Google Scholar
Jones, Malcolm. The Print in Early Modern England: An Historical Oversight. New Haven: Yale UP, 2010.Google Scholar
Parry, Graham. The Arts of the Anglican Counter-Reformation: Glory, Land and Honour. Woodbridge: Boydell, 2006.Google Scholar
Sutton, James M. “The Decorative Program at Elizabethan Theobalds: Educating an Heir and Promoting a Dynasty.” Decorative Arts: The Bard Graduate Center for Studies in the Decorative Arts (fall–winter, 1999–2000).Google Scholar

Sources cited

Alberti, Leon Battista. Ten Books on Architecture. Ed. Rykwert, Joseph. London: Alec Tiranti, 1965. Book 5, Chapters 3 and 4.Google Scholar
Beloserskaya, Marina. Luxury Arts of the Renaissance. London: Thames and Hudson, 2005.Google Scholar
Besant, Walter. London in the Time of the Tudors. London: A & C Black, 1904.Google Scholar
Campbell, Thomas P. Henry VIII and the Art of Majesty. New Haven: Yale UP, 2007.Google Scholar
Campbell, Thomas P. “How Medieval and Renaissance Tapestries Were Made.” Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/tapm/hd_tapm.htm (February 2008).Google Scholar
Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence. New York: The Metropolitan Museum of Art and Yale UP, 2002.Google Scholar
Sir Elyot, Thomas. The Boke named the Govenour. London: 1531.Google Scholar
Giustinian, Sebastian. October 10, 1519 [CSP 1287].Google Scholar
Hall, Edward. The Union of the Two Noble and Illustrate Families of Lancastre and Yorke (1542). http://englishhistory.net/tudor/h8crown.html.Google Scholar
Harrison, William. The Description of England. Ed. Edelen, Georges. Ithaca: Cornell UP, 1968.Google Scholar
Levey, Santina M. Elizabethan Treasures: The Hardwick Hall Tapestries. London: The National Trust, 1998.Google Scholar
Nichols, John. The Progresses and Public Processions of Queen Elizabeth I (London: 1823). 3 vols. Rpt. New York: Burt Franklin, 1960.Google Scholar
Skelton, John. “Colin Cloute.” The Complete Poems. Ed. Scattergood, John. New Haven: Yale UP, 1983.Google Scholar
Standen, Edith. “Studies in the History of Tapestry, 1520–1790.” Apollo 114 (1981): 6–54.Google Scholar
Starkey, David, ed. Henry VIII: A European Court in England. New York: Cross River, 1991.Google Scholar
Weil-Garris, Kathleen, and d’Amico, John F.. “The Renaissance Cardinal’s Ideal Palace, a Chapter from Cortesi’s De Cardinaltu.” Memoirs of the American Academy in Rome 35 (1980): 45–123.Google Scholar

Further reading

Bell, Susan Groag. The Lost Tapestries of the City of Ladies: Christine de Pizan’s Renaissance Legacy. Berkeley: U of California P, 2004.Google Scholar
Delmarcel, Guy. Flemish Tapestry. London: Thames and Hudson, 1999.Google Scholar
Grove Art Online. Gen. ed. Courtright, Nicola. Oxford University Press. www.oxfordartonline.com. §XI: Textiles XI. Textiles.1.Tapestry. (i) Before 1590.Google Scholar
Smith, Bruce. The Key of Green: Passion and Perception in Renaissance Culture. Chicago: U of Chicago P, 2009.Google Scholar

Sources Cited

Baker, Oliver. In Shakespeare’s Warwickshire and the Unknown Years. London: Simpkin Marshall, 1937.Google Scholar
Bath, Michael. Speaking Pictures: English Emblem Books and Renaissance Culture. London: Longman, 1994.Google Scholar
Beaumont, Francis, and Fletcher, John. The Works. Ed. Darley, George. Vol. 2. London: Edward Moxon, 1839.Google Scholar
Estienne, Henri. The Art of Making Devices. Trans. Blunt, Theo.. London: 1650.Google Scholar
Fairchild, Arthur H. R. Shakespeare and the Art of Design. University of Missouri Studies 12. Columbia: University of Missouri P, 1937.Google Scholar
Halliday, F. E. A Shakespeare Companion 1550–1950. London: Duckworth, 1952.Google Scholar
Hamling, Tara. Decorating the “Godly” Household. New Haven: Yale UP, 2010.Google Scholar
Henslowe, Philip. Henslowe’s Diary. Ed. Foakes, R. A.. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Hoare, Richard Cold, ed. The History of Modern Wiltshire: Old and New Sarum, or Salisbury. London: J. Nichols & Son, 1843.Google Scholar
Jonson, Ben. Works. Ed. Cornwall, B.. London: Edward Moxon, 1838.Google Scholar
Kinney, Arthur F. Shakespeare’s Webs: Networks of Meaning in Renaissance Drama. London: Routledge, 2004.Google Scholar
Sir Lee, Sidney. A Life of William Shakespeare. London: Smith, Elder, & Co., 1915.Google Scholar
Sir Lee, Sidney. Stratford-on-Avon. London: Seeley and Co., 1904.Google Scholar
Mander, Nicholas. “Painted Cloths: History, Craftsmen and Techniques.” Textile History 28.2 (1997): 119–48.Google Scholar
Nares, Robert. A Glossary; or Collection of Words in English Authors. London: Tiphook, 1822.Google Scholar
Starkey, D. The Inventory of Henry VIII. Vol. 1: The Transcript. London: Harvey Miller for the Society of Antiquaries of London, 1998.Google Scholar
Thompson, W. G. A History of Tapestry. 3rd ed., rev. Wakefield: E. P. Publishing, 1973.Google Scholar
Tymms, Samuel, ed. Bury Wills and Inventories. Camden Society Publications 23 (1850).Google Scholar
Watt, Tessa. Cheap Print and Popular Piety, 1550–1640. Cambridge: Cambridge University Press, 1991.Google Scholar
Wells-Cole, Anthony. Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625. New Haven: Yale UP, 1997.Google Scholar
Wickham, Glynne. Early English Stages, 1300–1576. 2 vols. London: Routledge and Kegan Paul, 1959.Google Scholar

Further Reading

Aubrey, John. Brief Lives. Ed. Dick, O. Lawson. London: 1960.Google Scholar
Davies, Kathryn. Artisan Art: Vernacular Wallpaintings in the Welsh Marches, 1550–1650. Almeley: Logaston, 2008.Google Scholar
Floyd, Jennifer Eileen. Writing on the Wall: John Lydgate’s Architectural Verse. Stanford: Stanford UP, 2008.Google Scholar
Foister, Susan. “Paintings and Other Works of Art in Sixteenth- Century English Inventories.” The Burlington Magazine 123.938 (May 1981): 273–82.Google Scholar
Geddes, Jane. King’s College Chapel, Aberdeen, 1500–2000. Leeds: Northern Universities Press, 2000.Google Scholar
Godon, Julien. Painted Tapestry and Its Application to Interior Decoration. Trans. and introd. Bucknall, B.. London: Lechertier, Barbe and Co., 1879.Google Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 3rd ed. Cambridge: Cambridge University Press, 1992.Google Scholar
Gurr, Andrew. “Staging at the Globe.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R. and Shewring, Margaret. Cambridge: Cambridge University Press, 1997.Google Scholar
Hart, Jonathan. “Narrationial Strategies in The Rape of Lucrece.” Studies in English Literature, 1500–1900 32.1 (1992): 59–77.Google Scholar
Kennedy, P. A., ed. Nottingham Household Inventories. Thoroton Society Record Series 22. Nottingham: Thoroton Society, 1963.Google Scholar
Kightly, Charles. “The Hangings about the Hall: An Overview of Textile Wall Hangings in Late Medieval York, 1394–1505.” Medieval Textiles 28 (June 2001) (http://www.medieval-life.co.uk).Google Scholar
Macquoid, Percy. “The Home.” Shakespeare’s England. Vol. 2. Oxford: 1916. 119–52.Google Scholar
Mander, Nicholas. “A Movable Feast of Painted Cloths.” Country Life 197.38 (September 18, 2003): 132–34, 136.Google Scholar
Moore, Elsie Matley. “Painted Cloths.” Transactions of the Worcestershire Archaeological Society, 3rd ser. 8 (1982): 73–79.Google Scholar
Mulryne, J. R., and Shewring, Margaret, eds., Gurr, Andrew, advisory ed. Shakespeare’s Globe Rebuilt. Cambridge: Cambridge University Press, 1997.Google Scholar
Nodermann, M. Bonadsmåleri i Norden: från medeltid till Vasatid. Nordiska Museets Handlingar 125. Stockholm: 1997.Google Scholar
Nuyts-Giornal, Josée. “The Wars for My Money: La politique morale du ‘painted-cloth.’” Coriolan de Shakespeare. Ed. Hillman, Richard. Tours: Presses Universitaires François-Rabelais, 2007Google Scholar
Ronayne, John. “Totus Mundus Agit Historionem … The Interior Decorative Scheme of the Bankside Globe.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R. and Shewring, M.. Cambridge: Cambridge University Press, 1997. 121–46.Google Scholar
Schöne, Wolfgang. Dieric Bouts und seine Schule. Berlin: 1938.Google Scholar
Sugden, A. V., and Edmondson, J. L.. A History of English Wallpaper, 1509–1914. London: Batsford, n.d.Google Scholar
Villers, Caroline, ed. The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries, Proceedings of the International Symposium Held on 16 May 1998 at the Courtauld Institute. London: Archetype, 2000.Google Scholar
Young, Christina, and Costaras, Nicola. European Painted Cloths, 1400–2000: Pagentry, Ceremony, Theatre and Domestic. London: Archetype, 2013.Google Scholar

Sources cited

Davidson, Peter. “Festivals in the Netherlands: Preface.” Europa Triumphans: Court and Civic Festivals in Early Modern Europe. Vol. 1. Gen. ed. Mulryne, J. R., O’Kelly, Helen Watanabe, and Shewring, Margaret. Aldershot: Ashgate, 2004. 465.Google Scholar
Davidson, Peter. ed. “The New World: Seventeenth-Century Festivals in the Viceroyalties of Mexico and Peru.” Europa Triumphans: Court and Civic Festivals in Early Modern Europe. Vol. 2. Gen. ed. Mulryne, J. R., Watanabe-O’Kelly, Helen, and Shewring, Margaret. Aldershot: Ashgate, 2004. 345–433.Google Scholar
Dekker, Thomas. The Magnificent Entertainment: Giuen to King Iames, Queene Anne his wife, and Henry Frederick the Prince, vpon the day of his Maiesties Trvmphant Passage. London: Thomas Creede, Humphrey Lownes, Edward Allde for Tho. Man the yonger, 1604.Google Scholar
Gent, Lucy. Picture and Poetry, 1560–1620. Leamington Spa: James Hall, 1981.Google Scholar
Goldring, Elizabeth. “The Politics of Translation: Arthur Golding’s Account of the Duke of Anjou’s Entry into Antwerp (1582).” Writing Royal Entries in Early Modern Europe. Ed. Canova-Green, Marie-Claude, Andrews, Jean, and Wagner, Marie-France. Turnhout: Brepols, 2013. 225–43.Google Scholar
Goldring, Elizabeth, and Archer, Jayne Elisabeth. “Shows and Pageants.” The Oxford Handbook of Holinshed’s Chronicles. Ed. Kewes, Paulina, Archer, Ian W., and Heal, Felicity. Oxford: Oxford UP, 2012. 319–35.Google Scholar
Harrison, Stephen. The Arch’s of Triumph. London: John Windet, 1604.Google Scholar
Holinshed, Raphael, et al. Chronicles of England, Scotlande, and Irelande. 2nd ed. London: Henry Denham, 1587.Google Scholar
Holinshed, Raphael, et al. Holinshed’s Chronicles. Ed. Ellis, Henry. 6 vols. London: J. Johnson, 1807–08.Google Scholar
Hood, Gervase. “The Netherlandic Community in London and Patronage of Painters and Architects in Early Stuart London.” Dutch and Flemish Artists in Britain, 1550–1800. Ed. Roding, Juliette et al. Leiden: Primavera Pers, 2003. 43–56.Google Scholar
Jonson, Ben. His Part of King Iames his Royall and Magnificent Entertainement through his Honorable Cittie of London. London: Valentine Simmes and George Eld for Edward Blount, 1604.Google Scholar
Middleton, Thomas. The Triumphs of Truth: A Solemnity vnparalleled for Cost, Art, and Magnificence. London: Nicholas Okes, 1613.Google Scholar
Peacham, Henry. The Compleat Gentleman. London: [John Legat] for Francis Constable, 1622.Google Scholar
The Quenes Majesties Passage Through The Citie Of London To Westminster The Day Before Her Coronacion, Anno 1558. London: Richard Tottill, 1559.Google Scholar
Schulze, Ivan L. “Spenser’s Belge Episode and the Pageants for Leicester in the Low Countries, 1585–86.” Studies in Philology 28.2 (1931): 235–40.Google Scholar
Segar, William. Honor Military, and Ciuill contained in foure Bookes. London: Robert Barker, 1602.Google Scholar
Stow, John, and Howes, Edmund. The Annales, or a Generall Chronicle of England. London: Thomas Dawson for Thomas Adams, 1615.Google Scholar
Strong, Roy C. Art and Power: Renaissance Festivals, 1450–1650. Berkeley: U of California P, 1984.Google Scholar
de Villiers, Pierre l’Oyseleur. La joyeuse & magnifique Entrée de Monseigneur Françoys, Fils de France, et frere uniqve du Roy par la grace de Dieu, Duc de Brabant d’Anjou Alencon, Berri, &c. en sa très renommé ville d’Anvers. Antwerp: Plantin, 1582.Google Scholar
de Villiers, Pierre l’Oyseleur. The Joyful and royal entertainment of the ryght high and mightie Prince, Frauncis the Frenche Kings only brother, by the grace of God Duke of Brabande, Aniow, Aláunson, &c. Into his noble Citie of Antwerpe. Trans. Golding, Arthur. London: Thomas Dawson for William Ponsonby, 1582.Google Scholar
Warkentin, Germaine, ed. The Queen’s Majesty’s Passage and Related Documents. Introd. Warkentin, Germaine. Toronto: Centre for Reformation and Renaissance Studies, 2004.Google Scholar
Watanabe-O’Kelly, Helen. “Early Modern European Festivals – Politics and Performance, Event and Record.” Court Festivals of the European Renaissance: Art, Politics, and Performance. Ed. Mulryne, J. R. and Goldring, Elizabeth. Aldershot: Ashgate, 2002. 15–25.Google Scholar

Further Reading

Bergeron, David M. English Civic Pageantry, 1558–1642. London: Edward Arnold, 1971; rev. ed. Tempe: Arizona State UP, 2003.Google Scholar
Dutton, Richard, ed. Jacobean Civic Pageants. Keele: Keele UP, 1995.Google Scholar
Goldring, Elizabeth. Robert Dudley, Earl of Leicester, and the World of Elizabethan Art: Painting and Patronage at the Court of Elizabeth I. New Haven: Yale UP, 2014.Google Scholar
Goldring, Elizabeth, Eales, Faith, Clarke, Elizabeth, and Archer, Jayne Elisabeth, gen. eds. John Nichols’s The Progresses and Public Processions of Queen Elizabeth I: A New Edition of the Early Modern Sources. 5 vols. Oxford: Oxford UP, 2014.Google Scholar
Kipling, Gordon. The Triumph of Honour: Burgundian Origins of the Elizabethan Renaissance. Leiden: Leiden UP, 1977.Google Scholar
Lancashire, Anne. London Civic Theatre: City Drama and Pageantry from Roman Times to 1558. Cambridge: Cambridge University Press, 2009.Google Scholar
Venezky, Alice Sylvia. Pageantry on the Shakespearean Stage. New York: Twayne, 1951.Google Scholar

Sources cited

Sir Bacon, Francis. The Works of Francis Bacon. Ed. Spedding, James, Ellis, Robert, and Heath, Douglas Denon. 14 vols. London: Longman, 1861–79.Google Scholar
Brown, Jonathan. Kings and Connoisseurs: Collecting Art in Seventeenth-Century Europe. Princeton: Princeton UP, 1995.Google Scholar
Chaney, Edward. “The Italianate Evolution of English Collecting.” The Evolution of English Collecting: Receptions of Italian Art in the Tudor and Stuart Periods. Ed. Chaney, Edward. Studies in British Art 12. New Haven: Yale UP, 2003. 1–124.Google Scholar
Earle, John. Micro-cosmographie, or, A Peece of the World Discovered in Essayes and Characters. London: 1628.Google Scholar
Sir Gerbier, Balthazar. The None-Such Charles his Character. London: 1651.Google Scholar
Harkness, Deborah E. The Jewel House: Elizabethan London and the Scientific Revolution. New Haven: Yale UP, 2007.Google Scholar
Hepple, Leslie W. “William Camden and Early Collections of Roman Antiquities in Britain.” Journal of the History of Collections 15.2 (2003): 159–74.Google Scholar
Howarth, David. “The Arundel Collection: Collecting and Patronage in England in the Reigns of Philip III and Philip IV.” The Sale of the Century: Artistic Relations between Spain and Great Britain, 1604–1655. Ed. Brown, Jonathan and Elliott, John. New Haven: Yale UP, 2002. 69–86.Google Scholar
Howarth, David. Images of Rule: Art and Politics in the English Renaissance, 1485–1649. Berkeley: U of California P, 1997.Google Scholar
Howarth, David. Lord Arundel and His Circle. New Haven: Yale UP, 1985.Google Scholar
Knight, Leah. Of Books and Botany in Early Modern England: Sixteenth-Century Plants and Print Culture. Burlington: Ashgate, 2009.Google Scholar
MacGregor, Arthur. Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to the Nineteenth Century. New Haven: Yale UP, 2007.Google Scholar
Meikle, Maureen M., and Payne, Helen. “Anne of Denmark.” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com.Google Scholar
Mundy, Peter. The Travels of Peter Mundy in Europe and Asia, 1608–1667. Vol. 3, Part 1. Ed. Temple, R. C.. Hakluyt Society ser. 2, no. 45. Cambridge: Hakluyt Society, 1919.Google Scholar
Peacham, Henry. Peacham’s “Compleat Gentleman,” 1634. Introd. Gordon, G. S.. Oxford: Clarendon, 1906.Google Scholar
Pearce, Susan M. On Collecting: An Investigation into Collecting in the European Tradition. New York: Routledge, 1995.Google Scholar
Platter, Thomas. Thomas Platter’s Travels in England, 1599. Trans. and introd. Williams, Clare. London: Jonathan Cape, 1937.Google Scholar
Rubens, Peter Paul. The Letters of Peter Paul Rubens. Trans. and ed. Magurn, Ruth Saunders. Cambridge: Harvard UP, 1955.Google Scholar
Schanzer, Ernest. “Thomas Platter’s Observations on the Elizabethan Stage.” Notes and Queries 201 (1956): 465–67.Google Scholar
Smuts, R. Malcolm. “Art and the Material Culture of Majesty in Early Stuart England.” The Stuart Court and Europe: Essays in Politics and Political Culture. Ed. Smuts, R. Malcolm. Cambridge: Cambridge University Press, 1996. 86–112.Google Scholar
Strong, Roy. Henry, Prince of Wales and England’s Lost Renaissance. London: Thames and Hudson, 1986.Google Scholar
Swann, Marjorie. Curiosities and Texts: The Culture of Collecting in Early Modern England. Philadelphia: U of Pennsylvania P, 2001.Google Scholar
Tittler, Robert. “Portrait Collection and Display in the English Civic Body, c.1540–1640.” Journal of the History of Collections 20.2 (2008): 161–72.Google Scholar
Wilks, Timothy. “Art Collecting at the English Court from the Death of Henry, Prince of Wales to the Death of Anne of Denmark (November 1612–March 1619).” Journal of the History of Collections 9.1 (1997): 31–48.Google Scholar

Further reading

Arnold, Ken. Cabinets for the Curious: Looking Back at Early English Museums. Burlington: Ashgate, 2006.Google Scholar
Daston, Lorraine, and Park, Katharine. Wonders and the Order of Nature, 1150–1750. New York: Zone Books, 1998.Google Scholar
Hepple, Leslie W. “‘The Museum in the Garden’: Displaying Classical Antiquities in Elizabethan and Jacobean England.” Garden History 29.2 (2001): 109–20.Google Scholar
Howarth, David. “A Question of Attribution: Art Agents and the Shaping of the Arundel Collection.” Your Humble Servant: Agents in Early Modern Europe. Ed. Cools, Hans, Keblusek, Marika, and Noldus, Badeloch. Hilversum: Verloren, 2006. 17–28.Google Scholar
Impey, Oliver, and MacGregor, Arthur, eds. The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe. Oxford: Clarendon, 1985.Google Scholar
MacGregor, Arthur, ed. The Late King’s Goods: Collections, Possessions, and Patronage of Charles I in the Light of the Commonwealth Sale Inventories. Oxford: Oxford UP, 1989.Google Scholar
MacGregor, Arthur, ed. Tradescant’s Rarities: Essays on the Foundation of the Ashmolean Museum, 1683, with a Catalogue of the Surviving Early Collections. Oxford: Clarendon, 1983.Google Scholar
Orgel, Stephen. “Idols of the Gallery: Becoming a Connoisseur in Renaissance England.” Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England. Ed. Erickson, Peter and Hulse, Clark. Philadelphia: U of Pennsylvania P, 2000. 251–83.Google Scholar
Thirsk, Joan. Economic Policy and Projects: The Development of a Consumer Society in Early Modern England. Oxford: Clarendon, 1978.Google Scholar
Wilks, Timothy. “The Picture Collection of Robert Carr, Earl of Somerset (c.1587–1645), Reconsidered.” Journal of the History of Collections 1.2 (1989): 167–77.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×