In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
The century bounded by the Henrician Reformation and the Civil Wars marked an important stage in the development of urban institutions, culture, and society in England. At the outset of this period, England was still very much an agrarian society; by its end, it was well on the way to becoming an urban one as well. The complexity and subtlety of those developments become especially vivid when we experience them through the lives of more or less ordinary townspeople, which Tittler allows us to do here. These biographical studies not only have much to tell us about the time and milieu, but also provide an array of interesting and varied characters: Henry Manship, the historian of his native Yarmouth; Henry Hardware, who removed the giant, the naked boys and the devil in feathers from Chesters Midsummer Show; Robert Swaddon the swindler and John Pulman the thief-taker of London; Joyce Jeffries, the spinster money-lender of Hereford; John Brown, the speculator in dissolved monastic lands in Boston; John Pitt, the overseer of guildhall construction in Blandford Forum; John and Joan Cooke, the Mayor and Mayoress of Gloucester, the subjects of a most revealing posthumous portrait; and Sir Thomas White of London, the philanthropist and merchant hero. Tittler introduces these studies with a comprehensive but succinct description of English towns and cities of the time.
Until recently, the reign of Mary Tudor was generally seen as a ‘sterile interlude’ in the Tudor century, with Mary herself dismissed as ‘Bloody Mary’. Extensive research in the past several decades has overturned these assumptions in almost every respect. In this succinct and up-to-date introduction to Mary’s reign, Tittler and Richards provide new insight into the circumstances of Mary’s accession and go on to show that her reign was a lot more stable, and her regime much more competent and innovative, than once believed. This fully revised third edition includes a diverse range of primary sources and sheds new light on a variety of topics, such as: · The complexities of Mary’s relations with Philip of Spain · The restoration of Catholicism · The use of visual as well as literary means to legitimize and support Mary’s rule · The context for the war with France This concise and thought-provoking introduction is ideal for students and interested readers at all levels.
A rare examination of the political, social, and economic contexts in which painters in Tudor and Early Stuart England lived and workedWhile famous artists such as Holbein, Rubens, or Van Dyck are all known for their creative periods in England or their employment at the English court, they still had to make ends meet, as did the less well-known practitioners of their craft. This book, by one of the leading historians of Tudor and Stuart England, sheds light on the daily concerns, practices, and activities of many of these painters. Drawing on a biographical database comprising nearly 3000 painters and craftsmen - strangers and native English, Londoners and provincial townsmen, men and sometimes women, celebrity artists and 'mere painters' - this book offers an account of what it meant to paint for a living in early modern England. It considers the origins of these painters as well as their geographical location, the varieties of their expertise, and the personnel and spatial arrangements of their workshops. Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.
The town hall in early modern England was the seat of civic government and the architectural embodiment of power, authority, and legitimacy in the community. Robert Tittler's imaginatively conceived and wide-ranging study, based on extensive research in local records, explores the town halland its role in civic culture and urban life. The multi-disciplinary approach of Architecture and Power generates architectural, anthropological, literary, and historical insights into politics and society in England's provincial towns in the sixteenth and early seventeenth century. Professor Tittler explores the connection between the boomin town hall building in this period and the cultural and political evolution of the provincial urban community. From the function of decorations and furnishings to the political activities and self-image of the urban elite, every aspect of the town hall and its place in civic culture is rigorouslyexamined. This is a fascinating and scholarly contribution to the urban history of England.
Our conventional understanding of English portraiture from the age of Holbein and Henry VIII on to Reubens, VanDyck and Charles I clings to the mainstream images of royalty and aristocracy and to the succession of known practitioners of 'Renaissance' portraiture.In almost every respect, the 'civic' portraits examined here stand in sharp contrast to these traditional narratives. Depicting mayors and aldermen, livery company masters, school and college heads, they were meant to be read as statements about the civic leaders and civic institutions rather than about the sitters in their own right. Displayed in civic premises rather than country homes, exemplifying civic rather than personal virtues, and usually commissioned by institutions rather than their sitters, they have yet to be considered as a type of their own, or in their appropriate social and political context.This fascinating work will appeal to both art historians and historians of early modern Britain.
A rare examination of the political, social, and economic contexts in which painters in Tudor and Early Stuart England lived and workedWhile famous artists such as Holbein, Rubens, or Van Dyck are all known for their creative periods in England or their employment at the English court, they still had to make ends meet, as did the less well-known practitioners of their craft. This book, by one of the leading historians of Tudor and Stuart England, sheds light on the daily concerns, practices, and activities of many of these painters. Drawing on a biographical database comprising nearly 3000 painters and craftsmen - strangers and native English, Londoners and provincial townsmen, men and sometimes women, celebrity artists and 'mere painters' - this book offers an account of what it meant to paint for a living in early modern England. It considers the origins of these painters as well as their geographical location, the varieties of their expertise, and the personnel and spatial arrangements of their workshops. Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
The century bounded by the Henrician Reformation and the Civil Wars marked an important stage in the development of urban institutions, culture, and society in England. At the outset of this period, England was still very much an agrarian society; by its end, it was well on the way to becoming an urban one as well. The complexity and subtlety of those developments become especially vivid when we experience them through the lives of more or less ordinary townspeople, which Tittler allows us to do here. These biographical studies not only have much to tell us about the time and milieu, but also provide an array of interesting and varied characters: Henry Manship, the historian of his native Yarmouth; Henry Hardware, who removed the giant, the naked boys and the devil in feathers from Chesters Midsummer Show; Robert Swaddon the swindler and John Pulman the thief-taker of London; Joyce Jeffries, the spinster money-lender of Hereford; John Brown, the speculator in dissolved monastic lands in Boston; John Pitt, the overseer of guildhall construction in Blandford Forum; John and Joan Cooke, the Mayor and Mayoress of Gloucester, the subjects of a most revealing posthumous portrait; and Sir Thomas White of London, the philanthropist and merchant hero. Tittler introduces these studies with a comprehensive but succinct description of English towns and cities of the time.
Until recently, the reign of Mary Tudor was generally seen as a ‘sterile interlude’ in the Tudor century, with Mary herself dismissed as ‘Bloody Mary’. Extensive research in the past several decades has overturned these assumptions in almost every respect. In this succinct and up-to-date introduction to Mary’s reign, Tittler and Richards provide new insight into the circumstances of Mary’s accession and go on to show that her reign was a lot more stable, and her regime much more competent and innovative, than once believed. This fully revised third edition includes a diverse range of primary sources and sheds new light on a variety of topics, such as: · The complexities of Mary’s relations with Philip of Spain · The restoration of Catholicism · The use of visual as well as literary means to legitimize and support Mary’s rule · The context for the war with France This concise and thought-provoking introduction is ideal for students and interested readers at all levels.
Around the time Shakespeare inaugurated the golden age of English drama, the young Francis Bacon proposed to take "all knowledge to be my province." He soon realized the difficulty of that but in the process he posed two related questions, which he understood better than any other man of his time: Can human beings respect and obey nature, and Can they also command nature? He asked many other questions considered useless and impractical in his time but vital in ours. After a busy career as an English parliamentarian, judge and advisor of King James I, Bacon published in his final years The Advancement of Learning, which included his New Atlantis, with its prescient vision of human accomplishments, many achieved only in the past century. The first important book of English essays, it is an investigation of civil and moral problems that continue to engage and perplex us.
The second edition of this bestselling narrative history has been revised and expanded to reflect recent scholarship. The book traces the transformation of England during the Tudor-Stuart period, from feudal European state to a constitutional monarchy and the wealthiest and most powerful nation on Earth. Written by two leading scholars and experienced teachers of the subject, assuming no prior knowledge of British history Provides student aids such as maps, illustrations, genealogies, and glossary This edition reflects recent scholarship on Henry VIII and the Civil War Extends coverage of the Reformations, the Rump and Barebone's Parliament, Cromwellian settlement of Ireland, and the European, Scottish, and Irish contexts of the Restoration and Revolution of 1688-9 Includes a new section on women’s roles and the historiography of women and gender Click here for more discussion and debate on the authors’ blogspot: http://earlymodernengland.blogspot.com/ [Wiley disclaims all responsibility and liability for the content of any third-party websites that can be linked to from this website. Users assume sole responsibility for accessing third-party websites and the use of any content appearing on such websites. Any views expressed in such websites are the views of the authors of the content appearing on those websites and not the views of Wiley or its affiliates, nor do they in any way represent an endorsement by Wiley or its affiliates.]
Now in its sixth edition, Persuasion: Social Influence and Compliance Gaining continues to boast an accessible voice and vibrant aesthetic that appeals to undergraduate students of communication, psychology, advertising, and marketing. In addition to presenting established theories and models, this text encourages students to develop and apply general conclusions about persuasion in real-world settings. Along the way, students are introduced to the practice of social influence in an array of contexts (e.g., advertising, marketing, politics, interpersonal relationships, social media, groups) and across a variety of topics (e.g., credibility, personality, deception, motivational appeals, visual persuasion). The new edition features an expanded treatment of digital and social media, up-to-date research on theory and practice, and enhanced discussions of topics such as political campaigning, emotional marketing, olfactory influence, and ethics. Instructors can also use the book’s downloadable test bank, instructor’s manual, and PowerPoint slides in preparing course material.
Named a Book of the Year by the Daily Telegraph, Times Literary Supplement, The Times, Spectator, and The Economist The English first materialized as an idea, before they had a common ruler and before the country they lived in even had a name. From the armed Saxon bands that descended onto Roman-controlled Britain in the fifth century to the travails of the Eurozone plaguing the prime-ministership of today's multicultural England, acclaimed historian Robert Tombs presents a momentous and challenging history of a people who have a claim to be the oldest nation in existence. Drawing on a wealth of recent scholarship, Tombs sheds light on the strength and resilience of English governance, the deep patterns of division among the people who have populated the British Isles, the persistent capacity of the English to come together in the face of danger, and not the least the ways the English have understood their own history, have argued about it, forgotten it and yet been shaped by it. Momentous and definitive, The English and Their History is the first single-volume work on this scale for more than half a century.
Robert D. Leighninger Jr. believes there may be a model for municipal building projects everywhere in the ambitious and artful structures erected in Louisiana by the Public Works Administration. In the 1930s, the PWA built a tremendous amount of infrastructure in a very short time. Most of the edifices are still in use, yet few people recognize how these schools, courthouses, and other great structures came about. Building Louisiana documents the projects one New Deal agency erected in one southern state and places these in social and political context. Based on extensive research in the National Archives and substantial field work within the state, Leighninger has gathered the story of the establishment of the PWA and the feverish building activity that ensued. He also recounts early tussles with Huey Long and the scandals involving public works discovered during the late New Deal. The book includes looks at individual projects of particular interest—“Big Charity” hospital, the Carville leprosy center, the Shreveport incinerator, and the LSU sugar plant. A concluding chapter draws lessons from the PWA's history that might be applied to current political concerns. Also included is an annotated inventory of every PWA project in the state. Finally, this composite picture honors those workers and policymakers who, in a time of despair, expressed hope for the future with this enduring investment.
This comprehensive, introductory text presents a unified view of human environment problems. Unlike most texts in the field that treat environmental psychology as a branch of psychology only, Environment and Behavior covers the topic from a cross-disciplinary nature. The book is more inclusive of all aspects of environmental studies and emphasizes the innovative thinking required to deal with environmental problems. The breadth of coverage offered by Environment and Behavior will enable the instructor to choose the focus for each particular course because it contains chapters on a variety of subject areas, including environmental engineering, biology, geography, architecture, evolutionary biology, sociology, clinical psychology, and gerontology. Environment and Behavior is a one-of-a-kind text with a unique style that will make it a must for all courses related to the environment, including urban studies and psychology.
The people of colonial New England lived in a densely metaphoric landscape--a world where familiars invaded bodies without warning, witches passed with ease through locked doors, and houses blew down in gusts of angry, providential wind. Meaning, Robert St. George argues, was layered, often indirect, and inextricably intertwined with memory, apprehension, and imagination. By exploring the linkages between such cultural expressions as seventeenth-century farmsteads, witchcraft narratives, eighteenth-century crowd violence, and popular portraits of New England Federalists, St. George demonstrates that in early New England, things mattered as much as words in the shaping of metaphor. These forms of cultural representation--architecture and gravestones, metaphysical poetry and sermons, popular religion and labor politics--are connected through what St. George calls a 'poetics of implication.' Words, objects, and actions, referentially interdependent, demonstrate the continued resilience and power of seventeenth-century popular culture throughout the eighteenth century. Illuminating their interconnectedness, St. George calls into question the actual impact of the so-called Enlightenment, suggesting just how long a shadow the colonial climate of fear and inner instability cast over the warm glow of the early national period.
This volume provides a thorough examination of the impact of the English Reformation through a detailed analysis of medieval and early modern church fittings surviving at parish churches located throughout the county of Norfolk in England.
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