Floral culture and the tudor and stuart courts / edited by Susannah Lyon-Whaley.

Format:

Book

Contributor:

Lyon-Whaley, Susannah, editor.

Series:

Early Modern Court Studies

Early modern court studies

Language:

English

Subjects (All):

Flowers--Great Britain--History.

Flowers.

Physical Description:

1 online resource (360 pages) : digital, PDF file(s).

Edition:

First edition.

Place of Publication:

London, England : National Portrait Gallery, [1500]

Summary:

At court, flowers coloured, scented, adorned, sustained, nourished, and enthralled. These interdisciplinary essays engage with flowers as real, artificial, and represented objects across the Tudor and Stuart courts in gardens, literature, painting, interior furnishing, garments, and as jewels, medicine, and food. Situating this burgeoning floral culture within a European floral revolution of science, natural history, global trade, and colonial expansion, they reveal the court's distinctive floral identity and history. If the rose operated as a particularly English lingua franca of royal power across two dynasties, this volume sheds light on an array of wild and garden flowers to offer an immersive picture of how the Tudor and Stuart courts lived and functioned, styled and displayed themselves through flowers. It contributes to a revival of interest in the early modern green world and provides a focused view of a court and court culture that used and revelled in blooms.

Contents:

Cover

Table of Contents

Table of Illustrations

Figure 0.1. Title page to John Parkinson, Paradisi in Sole Paradisus Terrestris (London, 1629). Getty Research Institute, Los Angeles (2881-302)

Figure 0.2. Unknown artist, Elizabeth of York, late sixteenth century, based on a work of c. 1500, oil on panel, 56.5 × 41.6 cm. NPG 3111 © National Portrait Gallery, London

Figure 0.3. Unknown Netherlandish artist, Henry VII, 1505, oil on panel, 42.5 × 30.5 cm. NPG 416 © National Portrait Gallery, London

Figure 0.4. Workshop of John Hoskins, possibly Samuel Cooper, Sheet of Portrait Medallions of Charles I, Henrietta Maria and Their Eldest Five Children, c. 1641, watercolour on vellum. Paleis Noordeinde, Royal Collections, the Netherlands

Figure 1.1. William Cecil, First Baron Burghley, riding on his mule, c. 1588. LP 38 © Bodleian Libraries, University of Oxford. CC-BY-NC 4.0

Figure 1.2. Crispin de Passe, engraved illustration of 'Spring' from Hortus Floridus, c. 1614. The Stapleton Collection/Bridgeman Images

Figure 1.3. Detail of Family of Henry VIII showing a peripheral view into the gardens at Whitehall Palace, c. 1545, oil on canvas. RCIN 405796, Royal Collection Trust © His Majesty King Charles III, 2023

Figure 1.4. Isaac de Caus, bird's eye view from Wilton House looking south over the garden from Wilton Garden (c. 1645). Harris Brisbane Dick Fund, 1927, 27.66.2, Metropolitan Museum of Art, New York. Public domain

Figure 1.5. Cornelius Johnson, The Capel Family, c. 1639, oil on canvas, 160 × 259.1 cm. NPG 4759 © National Portrait Gallery, London

Figure 1.6. Attributed to Rowland Lockey after Hans Holbein, Sir Thomas More, His Household and Descendants, 1593-1694, portrait miniature (watercolour on vellum). P.15-1973 © Victoria &amp

Albert Museum, London.

Figure 2.1. Tapestry of millefleur with the royal arms of England in the centre, c. 1485-1509, wool and silk, woven in the southern Netherlands. Courtesy of The Trustees of Haddon Hall

Figure 2.2. Valance, cream silk taffeta with linen canvas backing, c. 1532-1536. 29.178 a&amp

b © CSG CIC Glasgow Museums Collection / Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944 / Bridgeman Images

Figure 2.3. British School, The Family of Henry VIII, c. 1545, oil on canvas. RCIN 405796, Royal Collection Trust © His Majesty King Charles III, 2023

Figure 2.4. Unknown artist (attributed to Steven van der Meulen or Steven van Herwijck), The 'Hampden' Portrait of Elizabeth I, c. 1563, oil on panel. Hampden House, Buckinghamshire. Photo © Philip Mould Ltd, London / Bridgeman Images

Figure 2.5. Jacques le Moyne de Morgues, illustration from La Clef de Champs (1586), hand coloured woodcut on paper. 1952,0522.1.27 © Trustees of the British Museum

Figure 2.6. Detail from the Bacton Altar Cloth, c. 1600, silk and silver camlet, embroidered with silk and metal thread. ©Historic Royal Palaces

Figure 2.7. Attributed to the Sheldon tapestry workshop (Warwickshire), Arms of the Earl of Leicester, c. 1585, tapestry (wool and silk), 290 × 477.5 cm. T.320-1977 © Victoria &amp

Albert Museum, London

Figure 2.8. Attributed to the workshop of John Vanderbank the Elder, probably woven by Great Wardrobe (London), The Toilet of a Princess from a pair of Indo-Chinese scenes, 1690-1715, tapestry (wool and silk), 304.8 × 391.2 cm. 53.165.2, Metropolitan Muse

Figure 3.1. Illustration of the rose, from Leonhart Fuchs's De historia stirpivm commentarii insignes ... adiectis eorvndem vivis plvsqvam quingentis imaginibus ... Accessit ... uocum difficilium &amp

obscurarum passim in hoc opere ocurrentium explicatio ... (1542),.

Figure 3.2. Isaac Oliver, A Young Man Seated Under a Tree, c. 1590-1595, watercolour on vellum laid on card. RCIN 420639, Royal Collection Trust © His Majesty King Charles III, 2023

Figure 3.3. Portrait of Leonhart Fuchs in De Historia Stirpium (1542). Wellcome Collection. CC BY 4.0

Figure 3.4. Detail from the portraits of the artists and engraver in Leonhart Fuchs's De Historia Stirpium (1542), p. 897. Wellcome Collection. CC BY 4.0

Figure 3.5. Map showing Cropthorne, Charleton, and the surrounding area of Worcestershire. Credit: Mike Halliwell

Figure 3.6. Illustration of the green-wing orchid, from Leonhart Fuchs's De Historia Stirpium (1542), p. 559. Call #245-316f, Folger Shakespeare Library. Photo: Maria Hayward

Figure 4.1. Margaret Layton's waistcoat, c. 1610-1615, linen embroidered with silk, metal threads, T.228-1994

Attributed to Marcus Gheeraerts the Younger, Margaret Layton, c. 1620, oil on oak panel, 81.5 × 62.5 cm. E.214-1994. Acquired with the assistanc

Figure 4.2. William Larkin, Richard Sackville, third earl of Dorset, 1613, oil on canvas. The Suffolk Collection, gift from Mrs. Greville Howard, 1974, English Heritage, Kenwood. Historic England Archive

Figure 4.3. Gown (English-made with Italian brocaded silk), 1600-1610. 189-1900 © Victoria &amp

Figure 4.4. Ring with rubies set in a rosette, The Cheapside Hoard, 1600-1650, gold, enamel and ruby. A.14237, Courtesy of the Museum of London

Figure 4.5. Dress ornament in the form of enamelled gold openwork floral sprays, set with pearls (probably Central Europe), c. 1600. 610-1872 © Victoria &amp

Figure 4.6. Pendant of gold and enamel from a gold necklace, England, c. 1517. Treasure case number: 2019T1206 © Birmingham Museums Trust.

Figure 4.7. Jacob Halder (Greenwich), Armor Garniture of George Clifford (1558-1605), Third Earl of Cumberland, 1586, steel, gold, leather, textile. Munsey Fund, 1932, 32.130.6a-y, Metropolitan Museum of Art, New York. Public domain

Figure 4.8. Crimson silk velvet, Italy, 1470-1529. Given by Miss M. H. Tattersall, T.34-1965 © Victoria &amp

Figure 4.9. 'Turpibus exitium' in Geffrey Whitney, A Choice of Emblemes (1586). Dyce 10585, National Art Library © Victoria &amp

Figure 4.10. Glove for a man or woman, English, 1610-1630, leather, embroidered silk and silver-gilt bobbin lace. 201:A-1900 © Victoria &amp

Figure 4.11. Nicholas Hilliard, Portrait of a Young Man, c. 1585. Bridgeman Images

Figure 4.12. Gold miniature case, enamelled with flowers around a central rose, probably English, c. 1600-1620. M.67-1975 © Victoria &amp

Figure 4.13. Portrait miniature with enamelled frame, frame probably French, 1665-1675, gold, enamel, and watercolour on paper, 6.8 × 5 cm. Gift of Marilynn B. Alsdorf, 1992.528, The Art Institute of Chicago / Art Resource, NY/ Scala, Florence

Figure 4.14. Isaac Oliver, A Woman in Masquerade Dress as Flora, c. 1610, painted vellum on playing card. SK-A-4347, Rijksmuseum, Amsterdam. Public domain

Figure 4.15. Detail of the wedding coat of James, Duke of York, later James II, England, 1673, woollen broadcloth embroidered with silver, silver-gilt threads, and parchment. T.711:1-1995 © Victoria &amp

Figure 5.1. Anthony van Dyck, Charles I and Henrietta Maria, 1632, oil on canvas, 104 × 176 cm. Kromeriz, Czech Republic

Figure 5.2. Anonymous, James I and Anna of Denmark, c. 1604-1612, etching. RCIN 601405, Royal Collection Trust / © His Majesty King Charles III 2023.

Figure 5.3. Willem van de Passe, The Royal Progeny of James VI/I (Triumphus Jacobi Regis, Augustæque Ipsius Prolis), 1623, engraving. RCIN 601472, Royal Collection Trust / © His Majesty King Charles III 2023

Figure 5.4. Attributed to Willem de Passe, The Marriage of Charles I and Henrietta Maria, folding print to accompany George Marcelline's Epithalamium Gallo-Britannicum, 1625, engraving. STC 17308 Engr. Used by permission of the Folger Shakespeare Library

Figure 5.5. Nicholas Briot, Tribute to Henrietta Maria, 1628, silver medal, Noonans, London, Auction 265, lot 10, auctioned November 23, 2022. Courtesy of Noonans

Figure 5.6. Nathaniel Bacon, Portrait of Lady Jane Bacon, c. 1614-1617, oil on canvas. By kind permission of Government House Sydney

Figure 5.7. Anonymous, Henrietta Maria with Her Children, c. 1633, engraving. RCIN 602056, Royal Collection Trust / © His Majesty King Charles III 2023

Figure 6.1. Title page to Hannah Woolley, The Ladies Directory (London: T. M., Peter Dring, 1662). University of Glasgow Archives &amp

Special Collections, Ferguson Af-d.45

Figure 6.2. Abraham Bosse, Smell, c. 1638, etching. Harris Brisbane Dick Fund, 1926, 26.49.24, Metropolitan Museum of Art, New York. Public domain

Figure 6.3. George Glover, Charles I and Prince Charles, c. 1634-1642, engraving. 1861,1214.416 © The Trustees of the British Museum

Figure 6.4. Title page to The Accomplisht Ladies Delight in Preserving, Physick, Beautifying and Cookery (London, 1684). Call #W3271. Used by permission of the Folger Shakespeare Library

Figure 6.5. Clara Peeters, Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher, 1611, oil on panel, P001620. © Photographic Archive Museo Nacional del Prado.

Figure 6.6. Gerrit Houckgeest, Charles I, Queen Henrietta Maria, and Charles II when Prince of Wales Dining in Public, 1635, oil on panel, 63.2 × 92.4 cm. RCIN 402966, Royal Collection Trust / © His Majesty King Charles III 2023.

Notes:

Title from publisher's bibliographic system (viewed on 16 Apr 2024).

Description based on print version record.

ISBN:

1-003-69575-2

1-04-079270-7

90-485-5735-6

9781003695752

OCLC:

1402158240