Search results

Abstract only
The Court Sermons of James II
William Gibson

This article considers the sermons preached by royal chaplains at the court of James II and the organisation of the chapel royal by James as a Catholic organisation. In doing so, it addresses the question of where James’s assurance and certainty came from that he was ruling as God wished him to do. The evidence presented here is that James organised his Catholic chapel royal to be a conscious source of guidance and support. His chaplains reciprocated by addressing him as a Catholic king whose duty was to bring to heel a recalcitrant and stubborn people. His chaplains used historical precedent and theological argument to press on James his determination to bring his Protestant subjects to obedience. This is a study of the Catholic milieu of James’s court and of the theological impetus behind his rule.

Bulletin of the John Rylands Library
Abstract only
Jeffrey Richards

his neighbour and the consequence is insolence and churlishness in all the lower orders.’ 8 Sullivan had been an infant prodigy, already composing anthems and psalm settings while still one of the children of the Chapel Royal. He won the Mendelssohn Scholarship to the Royal Academy of Music and at Leipzig Conservatory earned his diploma with a highly praised suite of incidental music to Shakespeare

in Imperialism and music
Abstract only
David M. Bergeron

wedding stirred with numerous Whitehall performances, allowing drama to provide an antidote to suffering. And then came the wedding itself – a moment of unparalleled celebration and artistic outpouring. The days before the wedding on the fourteenth included magnificent fireworks on the Thames and a fierce mock battle on the river between ‘Turks’ and ‘Christians’. The wedding in Whitehall’s Chapel Royal

in Shakespeare’s London 1613
Abstract only
Pride, pomp, circumstance and military music
Robert Giddings

court, supplementing the function of the Chapel Royal. The Chapel Royal was not a building but a body of clergy and musicians (as in the German Kapelle ). In origin the chapel goes back to 1135, as far as records go. It travelled to York with King John in 1200, and during the Agincourt campaign Henry V sent for the Chapel Royal to celebrate Easter at Bayeux in 1418. 24 During the reign of Edward IV its

in Popular imperialism and the military 1850–1950
Abstract only
The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

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.

Jean R. Brink

M.P., and William Hunnis, master of the children of the Chapel Royal. 28 Mulcaster wrote a Latin poem on a tablet explaining the identity and significance of the gifts which the Queen received. The Queen passed over a bridge about twenty feet wide with pillars on each side. On the first pair were birds from Sylvanus, on the second bowls of fruit from Pomona, on the third wheat and grain from Ceres, on the fourth

in The early Spenser, 1554–80
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

J. F. Merritt

gentleman of the chapel royal, but was most famous for having established a professorship of music at Oxford.51 In May 1646 Hilton was ordered to be dismissed from his posts in the parish in regard of his ‘abusive behaviour’, to be replaced by Edward Rogers as parish clerk, while in addition money was to be made available for ‘an able man to bee imploied for setting the psalms in 46 There is no evidence to suggest that the parish had indeed elected ‘elders’, although there were cases in London at this time where a parish elected elders even if it did not form part of an

in Westminster 1640–60
J. F. Merritt

royal Court was clearly the highlight of a journey to the capital. Catching a glimpse of the monarch, hearing a sermon in the Chapel Royal, touring the various royal gardens and apartments or perhaps attending royal tournaments and entertainments – all were possible features of a visit to Westminster. What emerges from many accounts is the relative ease of access to at least parts of the Court and to official occasions (however much access may have been strictly regulated in the innermost parts of Whitehall Palace). James I, for example, seems to have revived the

in The social world of early modern Westminster
William Sancroft and the later Stuart Church
Grant Tapsell

on the theme of public duty from Gilbert Sheldon, the formidable Bishop of London, Dean of the Chapel Royal, and future Archbishop of Canterbury.51 The transition from Durham to Cambridge must have owed a good deal to Sancroft’s other role in the early Restoration period: chaplain-in-ordinary to the King. Appointed in 1661 through the influence of Sheldon, Sancroft was in a prime ecclesiastical position from which to gain further royal patronage, one that the early Stuart period had shown represented a well-trodden path to the episcopal bench.52 As the figures in

in Chaplains in early modern England