The later 16th century in Italy was a period of 'mental stagnation' wrote G. R. Elton.(1) This highly questionable statement apparently set in motion the entire research project from which the present group of essays emerged (p. 76, n. 64); they contest its validity.
In recent years Ashgate Publishing has become one of the most dominant forces in the field of early modern studies, and the recent appearance of the impressive volume edited by Michael Hunter of Birkbeck College entitled Printed Images in Early Modern Britain: Essays in Interpretation (2010) is a case in point.
In his New Year’s address for 2012 the British Prime Minister sought to rally a demoralized people saddled with debts, recession, and unemployment in the face of a continuing policy of wholesale transfer of assets from public to private, by reminding them of the forthcoming Olympic Games and the Queen’s Jubilee.
As Richard Steele opined in one 1712 edition of The Spectator, a predilection for portraiture in post-Reformation England was something both recognised and respected by the journalist and his peers: ‘No nation in the world delights so much in having their own, or friends’, or relations’ pictures; whether from their national good-nature, or having a love to painting, and not being encou
This is a self-consciously old-fashioned treatment of an unaccountably neglected chapter in the history of travel which should be placed alongside such classics as John Stoye’s English Travelers Abroad, 1604–1667, whose first edition was published as long ago as 1952, rather than more recent treatments by Chloe Chard and Rosemary Sweet.(1) Indeed, one might go
Guido Ruggiero’s new social and cultural history of Italy between 1250 and 1575 begins at the end of the world and ends at the beginning of the ‘Great Social Divide’.