Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-dh8gc Total loading time: 0 Render date: 2024-11-05T15:06:04.335Z Has data issue: false hasContentIssue false

Select Bibliography

Published online by Cambridge University Press:  22 June 2017

John H. Astington
Affiliation:
University of Toronto
Get access
Type
Chapter
Information
Stage and Picture in the English Renaissance
The Mirror up to Nature
, pp. 253 - 256
Publisher: Cambridge University Press
Print publication year: 2017

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

Select Bibliography

Astington, John H., English Court Theatre 1558–1642 (Cambridge University Press, 1999).Google Scholar
Astington, John H.A Jacobean Ghost, and Other Stories’, Medieval and Renaissance Drama in England, 17 (2005), 3754.Google Scholar
Astington, John H.Pastoral Imagery in The Merchant of Venice’, Word & Image, 31 (2015), 4553.CrossRefGoogle Scholar
Astington, John H. ‘Rereading Illustrations of the English Stage’, Shakespeare Survey 50 (1997), 151–70.Google Scholar
Astington, John H.Three Shakespearean Prints’, Shakespeare Quarterly, 47 (1996), 178–89. Repr. in Stephen Orgel and Sean Keilen (eds.), Shakespeare: The Critical Complex, vol. i: Shakespeare and the Arts (Hamden, CT: Garland, 2000), pp. 278–89.CrossRefGoogle Scholar
Astington, John H.Venus on the Thames’, Shakespeare Studies, 39 (2011), 117–32.Google Scholar
Astington, John H.Visual Texts: Thomas Middleton and Prints’, in Taylor, Gary and Lavagnino, John (eds.), Thomas Middleton and Early Modern Textual Culture (Oxford University Press, 2007), pp. 225–46.Google Scholar
Bartrum, Giulia, German Renaissance Prints 1490–1550 (London: British Museum Press, 1995).Google Scholar
Bath, Michael, Renaissance Decorative Painting in Scotland (Edinburgh: National Museums of Scotland, 2003).Google Scholar
Bawcutt, N. W., The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels 1623–73 (Oxford University Press, 1996).Google Scholar
Bentley, G. E., The Jacobean and Caroline Stage, 7 vols. (Oxford University Press, 1941–68).Google Scholar
Burrow, J. A., The Ages of Man: A Study of Medieval Writing and Thought (Oxford University Press, 1986).Google Scholar
Campbell, Thomas P., Henry VIII and the Art of Majesty: Tapestries at the Tudor Court (New Haven, CT: Yale University Press, 2007).Google Scholar
Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence (New York: Metropolitan Museum of Art, 2002).Google Scholar
Campbell, Thomas P.(ed.), Tapestry in the Baroque: Threads of Splendor (New York: Metropolitan Museum of Art, 2007).Google Scholar
Campbell, Thomas P., and Cleland, Elizabeth A. H. (eds.), Tapestry in the Baroque: New Aspects of Production and Patronage (New York: Metropolitan Museum of Art, 2010).Google Scholar
Chambers, E. K., The Elizabethan Stage, 4 vols. (Oxford University Press, 1923).Google Scholar
Chambers, E. K. William Shakespeare: A Study of Facts and Problems, 2 vols. (Oxford University Press, 1930).Google Scholar
Chew, Samuel, The Pilgrimage of Life (New Haven, CT: Yale University Press, 1962).Google Scholar
Cleland, Elizabeth, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry (New York: Metropolitan Museum of Art, 2014).Google Scholar
Corbett, Margery, and Lightbown, Ronald, The Comely Frontispiece: The Emblematic Title-Page in England 1550–1660 (London: Routledge & Kegan Paul, 1979).Google Scholar
Craik, T. W., The Tudor Interlude (Leicester University Press, 1958).Google Scholar
Delmarcel, Guy, Flemish Tapestry (New York: Abrams, 1999).Google Scholar
Dillon, Janette, Performance and Spectacle in Hall’s Chronicle (London: Society for Theatre Research, 2002).Google Scholar
Douglas, Audrey, and Greenfield, Peter (eds.), Records of Early English Drama: Cumberland Westmorland Gloucestershire (University of Toronto Press, 1986).Google Scholar
Dutton, Richard, Shakespeare, Court Dramatist (Oxford University Press, 2016).CrossRefGoogle Scholar
Evett, David, Literature and the Visual Arts in Tudor England (Athens: University of Georgia Press, 1990).Google Scholar
Foakes, R. A., Illustrations of the English Stage 1580?1642 (Stanford University Press, 1985).Google Scholar
Globe, Alexander, Peter Stent, London Printseller, circa 1642–1665 (Vancouver: University of British Columbia Press, 1985).Google Scholar
Griffiths, Antony, The Print in Stuart Britain 1603–1689 (London: British Museum Press, 1998).Google Scholar
Gurr, Andrew, Shakespeare’s Opposites: The Admiral’s Company, 1594–1625 (Cambridge University Press, 2009).Google Scholar
Gurr, Andrew, and Karim-Cooper, Farah (eds.), Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge University Press, 2014).CrossRefGoogle Scholar
Hamling, Tara, Decorating the ‘Godly’ Household: Religious Art in Post-Reformation Britain (New Haven, CT: Yale University Press, 2010).Google Scholar
Hearn, Karen (ed.), Dynasties: Painting in Tudor and Jacobean England 1530–1630 (London: Tate Publishing, 1995).Google Scholar
Henslowe, Philip, Henslowe’s Diary, ed. Foakes, R. A., 2nd edn (Cambridge University Press, 2002).Google Scholar
Hind, Arthur M., with Corbett, Margery and Norton, Michael, Engraving in England in the Sixteenth and Seventeenth Centuries, 3 vols. (Cambridge University Press, 1952–64).Google Scholar
Hollstein, F. W. H., Dutch and Flemish Etchings, Engravings, and Woodcuts, ca. 1450–1700, 72 vols. (series begun in 1949 and completed in 2015, under a changing variety of editors and publishers).Google Scholar
Hollstein, F. W. H. German Engravings, Etchings, and Woodcuts, ca. 1400–1700 (continuing series, begun in 1954, under a changing variety of editors and publishers; 82 vols. to 2014).Google Scholar
Jones, Malcolm, The Print in Early Modern England (New Haven, CT: Yale University Press, 2010).Google Scholar
Katritzky, M. A., The Art of Commedia (Amsterdam: Rodopi, 2006).CrossRefGoogle Scholar
Kewes, Paulina, Archer, Ian W., and Heal, Felicity (eds.), The Oxford Handbook of Holinshed’s Chronicles (Oxford University Press, 2013).Google Scholar
King, John N., Tudor Royal Iconography: Literature and Art in an Age of Religious Crisis (Princeton University Press, 1989).Google Scholar
Landau, David, and Parshall, Peter, The Renaissance Print 1470–1550 (New Haven, CT: Yale University Press, 1994).Google Scholar
Luborsky, Ruth Samson, and Ingram, Elizabeth Morley, A Guide to English Illustrated Books 1536–1603, 2 vols. (Tempe: Arizona Center for Medieval and Renaissance Studies, 1998).Google Scholar
McInnis, David, and Steggle, Matthew (eds.), Lost Plays in Shakespeare’s England (Basingstoke: Palgrave Macmillan, 2014).CrossRefGoogle Scholar
McMillin, Scott, and MacLean, Sally-Beth, The Queen’s Men and their Plays (Cambridge University Press, 1998).Google Scholar
O’Connell, Sheila, The Popular Print in England 1550–1850 (London: British Museum Press, 1999).Google Scholar
Orgel, Stephen, and Strong, Roy, Inigo Jones: The Theatre of the Stuart Court, 2 vols. (Berkeley: University of California Press, 1973).Google Scholar
Peacock, John, The Stage Designs of Inigo Jones (Cambridge University Press, 1995).Google Scholar
Peters, Julie Stone, Theatre of the Book 1480–1880: Print, Text, and Performance in Europe (Oxford University Press, 2000).Google Scholar
Pierce, Helen, Unseemly Pictures: Graphic Satire and Politics in Early Modern England (New Haven, CT: Yale University Press, 2008).Google Scholar
Raymond, Joad (ed.), The Oxford History of Popular Print Culture, vol. i: Cheap Print in Britain and Ireland to 1660 (Oxford University Press, 2011).CrossRefGoogle Scholar
Richards, Kenneth, and Richards, Laura, The Commedia dell’Arte: A Documentary History (Oxford: Blackwell, 1990).Google Scholar
Roding, Juliette, van Sluijter, Eric, Westerweel, Bart, van der Meij-Tolsma, Marijke, and Nieuwenhuis, Eric Domela (eds.), Dutch and Flemish Artists in Britain 1550–1800 (Leiden: Primavera, 2003).Google Scholar
Scherer, Margaret R., The Legends of Troy in Art and Literature (New York: Phaidon, 1963).Google Scholar
Scribner, R. W., For the Sake of Simple Folk: Popular Propaganda for the German Reformation (Cambridge University Press, 1981).Google Scholar
Sicca, Cinzia Maria, and Waldman, Louis A. (eds.), The Anglo-Florentine Renaissance: Art for the Early Tudors (New Haven, CT: Yale University Press, 2010).Google Scholar
Sillars, Stuart, Shakespeare and the Visual Imagination (Cambridge University Press, 2015).CrossRefGoogle Scholar
Starkey, David (ed.), The Inventory of King Henry VIII (London: Harvey Miller, 1998).Google Scholar
Thomson, Leslie (comp. and ed.), Fortune: ‘All is but Fortune’ (Washington: Folger Shakespeare Library, 2000).Google Scholar
Veldman, Ilja, Crispijn de Passe and his Progeny (1564–1670): A Century of Print Production, trans. Hoyle, Michael (Rotterdam: Sound and Vision, 2001).Google Scholar
Veldman, Ilja Images for the Eye and Soul: Function and Meaning in Netherlandish Prints (1450–1650), trans. Hoyle, Michael (Leiden: Primavera, 2006).Google Scholar
Veldman, Ilja Maarten van Heemskerck and Dutch Humanism in the Sixteenth Century, trans. Hoyle, Michael (Amsterdam: Schwartz, 1977).Google Scholar
Veldman, Ilja Profit and Pleasure: Print Books by Crispijn de Passe, trans. Hoyle, Michael (Rotterdam: Sound and Vision, 2001).Google Scholar
Watt, Tessa, Cheap Print and Popular Piety, 1550–1640 (Cambridge University Press, 1991).Google Scholar
Wells-Cole, Antony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625 (New Haven, CT: Yale University Press, 1997).Google Scholar
Wolfe, Heather (ed.), The Trevelyon Miscellany of 1608 (Washington: Folger Shakespeare Library, 2007).Google Scholar
Zerner, Henri, The School of Fontainebleau: Etchings and Engravings (London: Thames & Hudson, 1969).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.

  • Select Bibliography
  • John H. Astington, University of Toronto
  • Book: Stage and Picture in the English Renaissance
  • Online publication: 22 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316344095.010
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.

  • Select Bibliography
  • John H. Astington, University of Toronto
  • Book: Stage and Picture in the English Renaissance
  • Online publication: 22 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316344095.010
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.

  • Select Bibliography
  • John H. Astington, University of Toronto
  • Book: Stage and Picture in the English Renaissance
  • Online publication: 22 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316344095.010
Available formats
×