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Annette Carson, a member of the team that found the grave of the ‘Lost King’, Richard III, has produced this new edition of Mancini’s important eyewitness report. Domenico Mancini was an Italian visitor to London in 1483 who witnessed Richard III’s rise from Protector to King, and wrote the only genuinely contemporary account. An early translation was published in the 1930s which, for modern historians, leaves much to be desired. The title and a number of key passages were mistranslated. In addition, Mancini’s misunderstanding of England’s laws and governance, and his omission of crucial facts, were left unremarked. This is a more accurate translation and analysis which reflects the latest 21st-century research.
This volume is the first attempt to assess the impact of both humanism and Protestantism on the education offered to a wide range of adolescents in the hundreds of grammar schools operating in England between the Reformation and the Enlightenment. By placing that education in the context of Lutheran, Calvinist and Jesuit education abroad, it offers an overview of the uses to which Latin and Greek were put in English schools, and identifies the strategies devised by clergy and laity in England for coping with the tensions between classical studies and Protestant doctrine. It also offers a reassessment of the role of the 'godly' in English education, and demonstrates the many ways in which a classical education came to be combined with close support for the English Crown and established church. One of the major sources used is the school textbooks which were incorporated into the 'English Stock' set up by leading members of the Stationers' Company of London and reproduced in hundreds of thousands of copies during the seventeenth and eighteenth centuries. Although the core of classical education remained essentially the same for two centuries, there was a growing gulf between the methods by which classics were taught in elite institutions such as Winchester and Westminster and in the many town and country grammar schools in which translations or bilingual versions of many classical texts were given to weaker students. The success of these new translations probably encouraged editors and publishers to offer those adults who had received little or no classical education new versions of works by Aesop, Cicero, Ovid, Virgil, Seneca and Caesar. This fascination with ancient Greece and Rome left its mark not only on the lifestyle and literary tastes of the educated elite, but also reinforced the strongly moralistic outlook of many of the English laity who equated virtue and good works with pleasing God and meriting salvation.
Reprint of the original, first published in 1871.
'Art', declared Vasari in Lives of the Artists, has been reborn and reached perfection in our time'. Indeed the roster of great names in painting of the Cinquecento, which only begins with those of Leonardo, Michelangelo, and Raphael, appears to justify this grand claim. Professor Freedberg here discusses the individual painters and analyses the hallmarks of their work. He traces the classical style of the High Renaissance, the Mannerism that succeeded it, and the events, in North Italy especially, that resist stylistic categories. He has given order to this diversity, but at the same time has preserved the intense individuality of the works of art.
Richard III was King of England in 1483–1485. Now the discovery of his lost grave has led to an upsurge of interest in his controversial reputation.
Richard III, King of England from 1483 to 1485, made good laws that still protect ordinary people today. Yet history concentrates on the fictional hunchback as depicted by Shakespeare: the wicked uncle who stole the throne and killed his nephews in the Tower of London. Voices have protested during the intervening years, some of them eminent and scholarly, urging a more reasoned view to replace the traditional black portrait. But historians, whether as authors or presenters of popular TV history, still trot out the old pronouncements about ruthless ambition, usurpation and murder. After centuries of misinformation, the truth about Richard III has been overdue a fair hearing. Annette Carson seeks to redress the balance by examining the events of his reign as they actually happened, based on reports in the original sources. She traces the actions and activities of the principal characters, investigating facts and timelines revealed in documentary evidence. She also dares to investigate areas where historians fear to tread, and raises some controversial questions. In 2012 Carson was a member of Philippa Langley's Looking For Richard Project, which provided important new answers from the DNA-confirmed discovery of the king's remains. Her involvement in Langley's Missing Princes Project, with its international research initiative on the 'princes in the Tower', has now informed her revelatory extra chapter.
The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato’s comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy—involving teachers, patrons, colleagues, and relatives—whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers—from Cavalli and Pergolesi to Handel, Mozart, and Rossini—were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
When was the story of the murder of the ‘princes in the Tower’ put out? What bones were found at the Tower of London, and when? Can DNA now reveal the truth?