Includes history and illustrations of architecture, sculpture, paintings, medieval manuscripts and books, wall murals and frescoes.

A significant contribution to the understanding of sixteenth-century English art in an historical context, this study by Susan James represents an intensive rethinking and restructuring of the Tudor art world based on a broad, detailed survey of women's diverse creative roles within that world. Through an extensive analysis of original documents, James examines and clarifies many of the misperceptions upon which modern discussions of Tudor art are based. The new evidence she lays out allows for a fresh investigation of the economics of art production, particularly in the images of Elizabeth I; of strategies for influencing political situations by carefully planned programs of portraiture; of the seminal importance of extended clans of immigrant Flemish artists and of careers of artists Susanna Horenboult and Lievine Teerlinc and their impact on the development of the portrait miniature. Drawn principally from primary sources, this book presents important new research which examines the contributions of Tudor women in the formation, distribution and popularization of the visual arts, particularly portraiture and the portrait miniature. James highlights the involvement of women as patrons, consumers and creators of art in sixteenth-century England and their use of the painted image as a statement of cultural worth. She explores and analyzes the amount of time, money, effort and ingenuity which women across all social classes invested in the development of art, in the uses they found for it, and the surprising and unexpected ways in which they exploited it.

Childhood is not only a biological age, it is also a social construct. The essays in this collection range chronologically from the fifteenth to the eighteenth century, and geographically across England, France, Germany, Italy and Spain. They chart the depictions of children in various media including painting, sculpture and the graphic arts.

Locating Privacy in Tudor London asks new questions about where private life was lived in the early modern period, about where evidence of it has been preserved, and about how progressive and coherent its history can be said to have been. The Renaissance and the Reformation are generally taken to have produced significant advances in individuality, subjectivity, and interiority, especially among the elite, but this study of middling-sort culture shows privacy to have been an object of suspicion, of competing priorities, and of compulsory betrayals. The institutional archives of civic governance, livery companies, parish churches, and ecclesiastical courts reveal the degree to which society organized itself around principles of preventing privacy, as a condition of order. Also represented in the discussion are such material artefacts as domestic buildings and household furnishings, which were routinely experienced as collective and monitory agents rather than spheres of exclusivity and self-expression. In 'everyday' life, it is argued, economic motivations were of more urgent concern than the political paradigms that have usually informed our understanding of the Renaissance. Locating Privacy pursues the case study of Alice Barnham (1523-1604), a previously unknown merchant-class woman, subject of one of the earliest family group paintings from England. Her story is touched by many of the changes-in social structure, religion, the built environment, the spread of literacy, and the history of privacy-that define the sixteenth century. The book is of interest to literary, social, cultural, and architectural historians, to historians of the Reformation and of London, and to historians of gender and women's studies.

This is not a conventional book. It is designed to stimulate and challenge all people who are curious to find out about the world they inhabit and their place within it. It does this by suggesting questions and lines of questioning on a wide range of topics. The book does not provide answers or model arguments but prompts people to create their own questions and a reading log or journal. To this end, almost all questions have a list of books or articles to provide a starter for stimulating further reading. Once you start, you will be hooked! Never stop questioning.

In the autumn of 1846 a correspondence was opened in 'The Times' on the subject of the cleaning and restoration of the national pictures. The Keeper of the Gallery, Mr. Charles Eastlake, was accused of restoring good pictures and purchasing bad ones. The attack was led by the picture-dealer and former artist, Mr. Morris Moore, writing first under the pseudonym of "Verax" and later his own name.--Cf. Ruskin.