The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.
The writers, the artificers and the livery companies
‘Our devices for that solemne
and Iouiall daye’: the writers, the
artiﬁcers and the livery companies
Planning the look and content of the Shows was a complex and
expensive business. Such events, Mulryne has written, ‘represent
a remarkable coming-together of organisational and management
skills . . . [including] the task of harnessing and co-ordinating
the talents of writers, musicians, scenographers, choreographers’,
as well as performers.1 In addition, being the creator of a Lord
Mayor’s Show was often (although not always) a contested position, where
artisans in the conflicts has been noticed, but underestimated. Goodman judged four artisans involved in a riot in 1415 to be ‘scapegoats, small fry with large mouths’ and such men were also dismissed by some of their contemporaries, notably by one rich merchant as ‘cobblers, tailors, etc.; unfit people, twenty of them not worth a penny’.
The role of artificers in what Alsford recognised as ‘the most mercantile of our towns’ deserves reassessment.
aspects of the Shows. The fundamental question to be considered is,
when we talk of the Lord Mayor’s Show, what entity do we actually mean? The performance, the printed text or some ambiguous
combination of the two?
Building on the large and growing body of knowledge about the
London book trade, this chapter will explore who the printers and
The Show from street to print
publishers of the texts were and what connections they may have
had with the writers, artiﬁcers and/or the livery companies.4 I will
also address the questions of where and by whom the
This book analyses Anna of Denmark’s material and visual patronage at the Stuart
courts, examining her engagement with a wide array of expressive media including
architecture, garden design, painting, music, dress, and jewellery. Encompassing
Anna’s time in Denmark, England, and Scotland, it establishes patterns of
interest and influence in her agency, while furthering our knowledge of
Baltic-British transfer in the early modern period. Substantial archival work
has facilitated a formative re-conceptualisation of James and Anna’s
relationship, extended our knowledge of the constituents of consortship in the
period, and has uncovered evidence to challenge the view that Anna followed the
cultural accomplishments of her son, Prince Henry. This book reclaims Anna of
Denmark as the influential and culturally active royal woman that her
contemporaries knew. Combining politics, culture, and religion across the courts
of Denmark, Scotland, and England, it enriches our understanding of royal
women’s roles in early modern patriarchal societies and their impact on the
development of cultural modes and fashions. This book will be of interest to
upper level undergraduate and postgraduate students taking courses on early
modern Europe in the disciplines of Art and Architectural History, English
Literature, Theatre Studies, History, and Gender Studies. It will also attract a
wide range of academics working on early modern material and visual culture, and
female patronage, while members of the public who enjoy the history of courts
and the British royals will also find it distinctively appealing.
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.
This book aims to revisit the county study as a way into understanding the
dynamics of the English civil war during the 1640s. It explores gentry culture
and the extent to which early Stuart Cheshire could be said to be a ‘county
community’. It investigates the responses of the county’s governing elite and
puritan religious establishment to highly polarising interventions by the
central government and Laudian ecclesiastical authorities during Charles I’s
Personal Rule. The second half of the book provides a rich and detailed analysis
of the petitioning movements and side-taking in Cheshire during 1641-42. This
important contribution to understanding the local origins and outbreak of civil
war in England will be of interest to all students and scholars studying the
‘A Soldier’s Letter from
Korti’, Dover Express , 30 January 1885, p. 5.
‘Camp Life at Korti’, Bradford
Daily Telegraph , 28 February 1885, p. 2.
‘An Engine-Room Artificer’s
Experiences’, Western Morning