980 resultados para Richard I, King of England, 1157-1199


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v.1,pt.1. Ecclesiastical memorials... under King Henry VIII.-v.1,pt.2. Appendix, containing records, letters and other original writings referred to in the Memorials under the reign of Kin Henry VIII.-v.2, pt.1-2. Historical memorials, chiefly ecclesiastical...under the reign and influence of King Edward the Sixth.-v.3, pt.1-2. Historical memorials, ecclesiastical and civil of events under the reign of Queen Mary I.

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"Exhibiting ... from authentic sources, claims made at several of the coronations of our kings, from Richard II ... to that of George II." --Advertisement.

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Contiene: Vol. I (XXVIII, 664 p.) -- vol. II (XIX, 631 p.)

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Vol. 1 reprinted by Kraus Reprint, 1964.

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Preface by Richard John King.

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Printed by command of His Majesty King William IV in pursuance of an address of the House of Commons of Great Britain and under the direction of the commissioners of the public records of the kingdom.

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Part I: xii, [2], 375, [1] p.; pt.2: v, [4], 378-790 p.

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In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.