Aidan, the apostle of England.

Mode of access: Internet.

Historical sketches of Charles the First, Cromwell, Charles the Second, and the principal personages of that period : including the king's trial and execution: to which is annexed an account of the sums exacted by the commonwealth from the royalists, and the names of all those who compounded for their estates; with other scarce documents. Illustrated by fifty lithographic plates.

Mode of access: Internet.

The tragedie of King Richard the Second /

Photostat (negative) of copy in the British museum.

The history of Henry the Fourth : with the battell at Shrewseburie betweene the King and Lord Henry Percy, surnamed Henry Hotspur of the North : with the humorous conceites of Sir John Falstaffe /

Mode of access: Internet.

Narrative of an expedition to the east coast of Greenland : sent by order of the king of Denmark, in search of the lost colonies, under the command of Captn. W. A. Graah /

Mode of access: Internet.

The tragedie of King Richard the third : contayning his treacherous plots against his brother Clarence: the pittifull murder of his innocent nephewes: his tyrannicall vsurpation: with the whole course of his detested life, and most deserued death. As it hath been lately acted by the kings maiesties seruants /

Mode of access: Internet.

A general history of England.

Planned to extend to 1660, but not completed beyond 1654.

A descriptive catalogue (with remarks and anecdotes never before published in English) of some pictures, of the different schools, purchased for His Majesty the late King of Poland, which will be exhibited early in 1802, at the Great Room, No. 3, in Berners-Street, the third door on the right, from Oxford-Street /

Mode of access: Internet.

Lives of the Hanoverian queens of England.

I. Sophia Dorothea of Celle, wife of George I. Caroline of Ansbach, queen of George II.--II. Charlotte Sophia of Mecklenburg-Strelitz, queen of George III. Amelia Elizabeth Caroline of Brunswick, queen of George IV. Adelaide f Saxe Meiningen, queen of William IV.

Shakespeare's first part of King Henry IV /

Mode of access: Internet.

Diary and correspondence of John Evelyn, F.R.S., to which is subjoined the private correspondence between King Charles I and Sir Edward Nicholas, and between Sir Edward Hyde, afterwards Earl of Clarendon, and Sir Richard Browne.

Half-title of v. 4: Bohn's historical library.

Literary remains of King Edward the Sixth. Edited from his autograph manuscripts, with historical notes and a biographical memoir,

This ed. was originally printed for the Roxburghe Club in 1857.

A queen of indiscretions; the tragedy of Caroline of Brunswick, queen of England,

Mode of access: Internet.

The history of England.

A summary of the history of Engalnd, from the invasion of Julius Caesar to the death of George I: 274 p. at end of v. 4.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

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.