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This is a revised and greatly expanded edition of a book first published in 1964 by Phaidon Press, and it catalogues in detail over 350 pictures painted since c. 1600. It thus complements The Early Italian Pictures by John Shearman which was published by Cambridge in 1983. The catalogue includes the work of many great painters - Domenichino, Guercino, Guido Reni, Batoni, the two Ricci, Annibale Carracci, Zuccarelli and a famous, unrivalled group of paintings by Canaletto, most of which were commissioned directly from the artist by Joseph Smith and subsequently bought with the rest of his collection by George III. A long introduction traces the history from Charles I onwards of English royal interest in Italian pictures of the seventeenth- and eighteenth-centuries.
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.
"This catalogue is the first comprehensive study of the 328 objects that make up this little-known area of the Royal Collection. The ancient gems and intaglios have been catalogued by John Boardman, and although they are few in number, they include the magnificent Claudius cameo that was once in the collection of Charles I. The later, post-Renaissance pieces have been studied by Kirsten Aschengreen Piacenti, and these include the great Tudor portrait cameos, a superb series of Italian sixteenth-century portrait cameos of North Italian 'Beauties', the group of exquisite eighteenth-century Italian carnelians bought by George III from Consul Smith in 1762 and a fine selection of Garter badges, several bearing the signature of the gem-engravers Marchant and Burch." "Close examination by gemmologists has produced an accurate technical analysis of all the stones and settings, and newly commissioned photographs bring out the distinctive features of each piece. Casts are illustrated wherever possible, and close-tip images of signatures, inscriptions and hallmarks support the detailed descriptions in the text. Research into the collection has resulted in new information concerning the mounts of many of the gems, and this is summarised in an illustrated appendix. Also published in full, and for the first time, is the collection of intaglios once owned by Henry, Prince of Wales, which was recorded in a series of wax impressions made by Elias Ashmole at the request of Charles II in June 1660."--BOOK JACKET.
The co-monarchy of Mary I and Philip II put England at the heart of early modern Europe. This positive reassessment of their joint reign counters a series of parochial, misogynist and anti-Catholic assumptions, correcting the many myths that have grown up around the marriage and explaining the reasons for its persistent marginalisation in the historiography of sixteenth-century England. Using new archival discoveries and original sources, the book argues for Mary as a great Catholic queen, while fleshing out Philip’s important contributions as king of England. It demonstrates the many positive achievements of this dynastic union in everything from culture, music and art to cartography, commerce and exploration. An important corrective for anyone interested in the history of Tudor England and Habsburg Spain.
This collection investigates the culture and history of the Low Countries in the sixteenth and seventeenth centuries from both international and interdisciplinary perspectives. The period was one of extraordinary upheaval and change, as the combined impact of Renaissance, Reformation and Revolt resulted in the radically new conditions – political, economic and intellectual – of the Dutch Republic in its Golden Age. While many aspects of this rich and nuanced era have been studied before, the emphasis of this volume is on a series of interactions and interrelations: between communities and their varying but often cognate languages; between different but overlapping spheres of human activity; between culture and history. The chapters are written by historians, linguists, bibliographers, art historians and literary scholars based in the Netherlands, Belgium, Great Britain and the United States. In continually crossing disciplinary, linguistic and national boundaries, while keeping the culture and history of the Low Countries in the Renaissance and Golden Age in focus, this book opens up new and often surprising perspectives on a region all the more intriguing for the very complexity of its entanglements.
Leven en werk van de in Rotterdam geboren Engelse beeldhouwer (1648-1721) die in dienst was van de koningen Karel II en George I
This book investigates the roots of Dutch visual clichés in popular visual media, offring new insights into the emergance of national clichés and the study of stereotypical thinking.