How to Find Out About the Arts: A Guide to Sources of Information discusses the main sources of information, printed or otherwise, in the field of the arts. The book begins by describing where information on art careers can be found. Separate chapters then discuss how information on art can be traced in libraries by means of the catalogue and classification scheme; and turning to bibliographies when information on a particular aspect of art cannot be traced by these means. Subsequent chapters deal with sources such as encyclopedias and dictionaries, general indexes to reproductions and portraits, works on iconography, periodicals, directories, yearbooks, and sales records. This book aims to serve some of the needs of the student of art, the experienced artist, and indeed all of those with an intelligent interest in the arts. In particular, it should help those in libraries, colleges, and other educational institutions whose task it is to guide others to the right sources.

Rather than seeking to survey the historical 'background' to Shakespeare, the essays in the collection display a variety of perspectives, insights and methodologies found in current historical work that may also inform literary studies. In addition to Elizabethan and early seventeenth century polities, they examine such topics as the characteristics of the early modern political imagination; the growth of public controversy over religion and other issues duringthe period and ways in which this can be related to drama; attitudes about honour and shame and their relation to concepts of gender; histories of crime and murder; and ways in which changing attitudeswere expressed through architecture, printed images and the layout of Tudor gardens.

Medieval and Renaissance Drama in England is an annual volume committed to the publication of essays and reviews related to drama and theatre history to 1642. Volume 30, an anniversary issue, contains eight essays, three review essays, and 12 briefer reviews of important books in the field.

The period 1603-1645 witnessed the publication of more than ninety books, manuals, and broadsheets dedicated to educating Englishmen in the military arts. Written with the intention of creating the a oecomplete soldiera, this didactic literature provided gentlemen with the requisite knowledge to engage in infantry, cavalry, and siege warfare. Drawing on military history and book history, this is the first detailed study of the impact of military books on military practice in Jacobean and Caroline England. Putting military books firmly in the hands of soldiers, this work examines the circles that purchased and debated new titles, the veterans who authored them, and their influence on military thought and training in the years leading up to the English Civil War.

This book offers something new, a full-length study of printing Anglo-Saxon (Old English) from 1566 to 1705, combining analysis of content and form of production. It starts from the end-product and addresses the practical issues of providing for printing Anglo-Saxon authentically, and why this was done. The book tells a story that is largely Cambridge-orientated until Oxford made an impact, largely thanks to Franciscus Junius from Leiden. There is a catalogue of all books containing Anglo-Saxon, with full details of their use of manuscript or printed sources. This information allows us to see how knowledge of Anglo-Saxon grew and developed.

In Printing the Middle Ages Siân Echard looks to the postmedieval, postmanuscript lives of medieval texts, seeking to understand the lasting impact on both the popular and the scholarly imaginations of the physical objects that transmitted the Middle Ages to the English-speaking world. Beneath and behind the foundational works of recovery that established the canon of medieval literature, she argues, was a vast terrain of books, scholarly or popular, grubby or beautiful, widely disseminated or privately printed. By turning to these, we are able to chart the differing reception histories of the literary texts of the British Middle Ages. For Echard, any reading of a medieval text, whether past or present, amateur or academic, floats on the surface of a complex sea of expectations and desires made up of the books that mediate those readings. Each chapter of Printing the Middle Ages focuses on a central textual object and tells its story in order to reveal the history of its reception and transmission. Moving from the first age of print into the early twenty-first century, Echard examines the special fonts created in the Elizabethan period to reproduce Old English, the hand-drawn facsimiles of the nineteenth century, and today's experiments with the digital reproduction of medieval objects; she explores the illustrations in eighteenth-century versions of Guy of Warwick and Bevis of Hampton; she discusses nineteenth-century children's versions of the Canterbury Tales and the aristocratic transmission history of John Gower's Confessio Amantis; and she touches on fine press printings of Dante, Froissart, and Langland.

The first book-length biography of John Cruso of Norwich (b. 1592/3), a second-generation migrant poet, translator and military author, that explores ideas and practices of identity formation in the early modern period.John Cruso of Norwich (b. 1592/3), the eldest son of Flemish migrants, was a man of many parts: Dutch and English poet, translator, military author, virtuoso networker, successful merchant and hosier, Dutch church elder and militia captain. This first book-length biography, making extensive use of archival and literary sources, reconstructs the life and work of this multi-talented, self-made man, whose literary oeuvre is marked by its polyvocality. Cruso''s poetry includes a Dutch amplificatio on Psalm 8, some 221 Dutch epigrams, and elegies (one of which frames the most important Anglo-Dutch literary moment in the seventeenth century, a collection of Dutch and Latin elegies which marked the death of the London Dutch church minister, Simeon Ruytinck, and included verses by Constantijn Huygens and Jacob Cats). As a military author, Cruso published five works, in English, including two translations from the French. These works display his knowledge of the canon of classical and Renaissance literature, which, in turn, allowed him to fashion himself as a miles doctus, a learned soldier, and make a contribution to military science in England prior to and during the English Civil Wars. In focusing on the rich and varied life and works of John Cruso, this book also explores ideas and practices of identity formation in the early modern period, as well as allowing Cruso''s life to shed further light on the migrant experience in seventeenth-century Norwich. Joby shows how a second-generation migrant could successfully integrate himself into English society, whilst continuing to engage with his Low Countries heritage.and Jacob Cats). As a military author, Cruso published five works, in English, including two translations from the French. These works display his knowledge of the canon of classical and Renaissance literature, which, in turn, allowed him to fashion himself as a miles doctus, a learned soldier, and make a contribution to military science in England prior to and during the English Civil Wars. In focusing on the rich and varied life and works of John Cruso, this book also explores ideas and practices of identity formation in the early modern period, as well as allowing Cruso''s life to shed further light on the migrant experience in seventeenth-century Norwich. Joby shows how a second-generation migrant could successfully integrate himself into English society, whilst continuing to engage with his Low Countries heritage.and Jacob Cats). As a military author, Cruso published five works, in English, including two translations from the French. These works display his knowledge of the canon of classical and Renaissance literature, which, in turn, allowed him to fashion himself as a miles doctus, a learned soldier, and make a contribution to military science in England prior to and during the English Civil Wars. In focusing on the rich and varied life and works of John Cruso, this book also explores ideas and practices of identity formation in the early modern period, as well as allowing Cruso''s life to shed further light on the migrant experience in seventeenth-century Norwich. Joby shows how a second-generation migrant could successfully integrate himself into English society, whilst continuing to engage with his Low Countries heritage.and Jacob Cats). As a military author, Cruso published five works, in English, including two translations from the French. These works display his knowledge of the canon of classical and Renaissance literature, which, in turn, allowed him to fashion himself as a miles doctus, a learned soldier, and make a contribution to military science in England prior to and during the English Civil Wars. In focusing on the rich and varied life and works of John Cruso, this book also explores ideas and practices of identity formation in the early modern period, as well as allowing Cruso''s life to shed further light on the migrant experience in seventeenth-century Norwich. Joby shows how a second-generation migrant could successfully integrate himself into English society, whilst continuing to engage with his Low Countries heritage.ance literature, which, in turn, allowed him to fashion himself as a miles doctus, a learned soldier, and make a contribution to military science in England prior to and during the English Civil Wars. In focusing on the rich and varied life and works of John Cruso, this book also explores ideas and practices of identity formation in the early modern period, as well as allowing Cruso''s life to shed further light on the migrant experience in seventeenth-century Norwich. Joby shows how a second-generation migrant could successfully integrate himself into English society, whilst continuing to engage with his Low Countries heritage.

Though more than four hundred years have elapsed since the Bishops' Bible was first published in 1568, its story has never been adequately told. No book-length evaluation has been published, and no adequate bibliography is available for guidance in studying this least known of the Tudor-period Bibles. This neglect is surprising in that Shakespeare's earlier plays reflect his use of the Bishops' Bible and that the Bishops' Bible was used by the translators of the King James Version as the basis for their revision. This study depicts the religious, literary, and intellectual atmosphere that produced the Bishops' Bible, describes its place in sixteenth-century translations, re-evaluates its contribution to the study of the English Bible, and investigates the history and qualifications of the men invited to participate in the translation project. Attention is given to the artwork, the most elaborate of any in first editions of early English Bibles, and to the notes designed to correct the objectionable Calvinistic notes of the Geneva Bible. A presumption that the bishops would not prepare a better Bible until "a day after domesday" gives the title to this study--The Day after Domesday.

Illustrating the Past is a study of the status of visual and verbal media in early modern English representations of the past. It focuses on general attitudes towards visual and verbal representations of history as well as specific illustrated books produced during the period. Through a close examination of the relationship of image to text in light of contemporary discussions of poetic and aesthetic practice, the book demonstrates that the struggle between the image and the word played a profoundly important role in England's emergent historical self-awareness. The opposition between history and story, fact and fiction, often tenuous, provided a sounding board for deeper conflicts over the form in which representations might best yield truth from history. The ensuing schism between poets and historians over the proper venue for the lessons of the past manifested itself on the pages of early modern printed books. The discussion focuses on the word and image relationships in several important illustrated books printed during the second half of the sixteenth century-including Holinshed's Chronicles (1577) and Foxe's Book of Martyrs (1563, 1570)-in the context of contemporary works on history and poetics, such as Sir Philip Sidney's Apology for Poetry and Thomas Blundeville's The true order and Method of wryting and reading Hystories. Illustrating the Past specifically answers two important questions concerning the resultant production of literary and historical texts in the period: Why did the use of images in printed histories suddenly become unpopular at the end of the sixteenth century? and What impact did this publishing trend have on writers of literary and historical texts?