Westminster Abbey contains a unique and important group of effigies, some familiar, many little-known, including kings, queens, statesmen and national heroes, ranging in time from the middle ages to the early nineteenth century. They derive from a time when an effigy of the dead monarch, statesman or national hero played an important part in funeral ritual, offering a visible likeness as a focus to the ceremonial of the funeral. This richly illustrated book, which is the first substantial publication on the effigies since 1936, is both a history of the collection and of the origins and development of the funeral effigy, and a full descriptive catalogue of the twenty-one examples in the Abbey. Copyright © Libri GmbH. All rights reserved.

From Nero's nagging mother (whom he found especially annoying after taking her as his lover) to Catherine's stable of studs (not of the equine variety), here is a wickedly delightful look at the most scandalous royal doings you never learned about in history class. Gleeful, naughty, sometimes perverted-like so many of the crowned heads themselves-A Treasury of Royal Scandals presents the best (the worst?) of royal misbehavior through the ages. From ancient Rome to Edwardian England, from the lavish rooms of Versailles to the dankest corners of the Bastille, the great royals of Europe have excelled at savage parenting, deadly rivalry, pathological lust, and meeting death with the utmost indignity-or just very bad luck.

The Collection of the National Portrait Gallery, London, embraces over 500 years of British history, more than 60,000 sitters and explores ideas of social change, power and influence. Arguably as powerful and influential as any individual are the heads of state and empire, whose portraits are among the most popular in the Gallery_s Collection. For the exhibition that accompanies this book, the portraits of kings, queens, statesmen and stateswomen featured will go on tour for the first time, providing international audiences with the opportunity to encounter these famous historical and contemporary personalities face to face. The publication traces major events in British history and examines the ways in which royal portraiture has reflected individual sitters_ personalities and wider social, cultural and historical change. Works are arranged chronologically in sections, each of which is prefaced by an introductory text and timeline providing context to the period in question. Particularly significant portraits from each period are ac companied by extended captions that provide key information on the sitter and the artist. Tudors to Windsors also considers how each dynasty has been perceived and interpreted subsequently, with reference to popular culture and contemporary sources. A number of features on topics such as Royal Favourites, Royal Weddings, Satire, Royals at War, and Royal Fashion and Jewellery provide insights into particular aspects of royal portraiture and trends within the genre. The publication includes a foreword by the Gallery_s Director, a fully illustrated introductory essay discussing royal patronage and key artists in royal portraiture, and an essay by David Cannadine on the historical role of the monarchy in Britain.

In 1688, the birth of a Prince of Wales ignited a family quarrel and a revolution. James II's drive towards Catholicism had alienated the nation and his two staunchly Protestant daughters by his first marriage, Mary and Anne. They are the 'ungrateful daughters' who usurped their father's crown and stole their brother's birthright. Seven prominent men sent an invitation to William of Orange---James' nephew and son-in-law---to intervene in English affairs. But it was the women, Queen Mary Beatrice and her two stepdaughters, Mary and Anne, who played a key role in this drama. Jealous and resentful of her hated stepmother, Anne had written a series of malicious letters to her sister Mary in Holland, implying that the Queen's pregnancy was a hoax, a Catholic plot to deny Mary her rightful inheritance. Betrayed by those he trusted, distraught at Anne's defection, James fled the kingdom. Even as the crown descended on her head, Mary knew she had incurred a father's curse. The sisters quarreled and were still not speaking to each other when Mary died tragically young. Anne did nothing to deserve her father's forgiveness, declaring her brother an outlaw with a price on his head. Acclaimed historian Maureen Waller recreated the late Stuart era in a compelling narrative that highlights the influence of three women in one of the most momentous events in English history. Prompted by religious bigotry and the emotion that beset any family relationships, this palace coup changed the face of the monarchy, and signaled the end of a dynasty.

William III, William of Orange (1650-1702), is a key figure in English history. Grandson of Charles I and married to Mary, eldest daughter of James II, the pair became the object of protestant hopes after James lost the throne. Though William was personally unpopular - his continental ties the source of suspicion and resentment - Tony Claydon argues that William was key to solving the chronic instability of seventeenth-century Britain and Ireland. It took someone with a European vision and foreign experience of handling a free political system, to end the stand-off between ruler and people that had marred Stuart history. Claydon takes a thematic approach to investigate all these aspects in their wider context, and presents William as the crucial factor in Britain's emergence as a world power, and as a model of open and participatory government.