Jean Perréal dit Jean de Paris : peintre de Charles VIII, de Louis XII et de François Ier /

Includes bibliographical references.

The troublesome raigne of John, king of England. The first quarto, 1591, which Shakspere rewrote (about 1595) as his "Life and death of King John"...

"Forewords" to pt. II contain extracts from the sources of the play(Hall's and Holinshed's chronicles) : p. iii-xxxviii.

The early Tudors. Henry VII.: Henry VIII.

Mode of access: Internet.

A treatise on the pretended divorce between Henry VIII. and Catharine of Aragon,

Mode of access: Internet.

Memorials of Henry the Fifth, king of England,

Mode of access: Internet.

Memoirs of the life of Anne Boleyn, Queen of Henry VIII /

Mode of access: Internet.

Michel Columb, le tailleur d'images; époque des arts et de la décadence: 1490, règnes de Charles VIII et de Louis XII

Mode of access: Internet.

The royal martyr and The dutiful subject, in two sermons. The royal martyr lamented, in a sermon preached at the Savoy, on King Charles the Martyr's day, 1674/5.

Includes advertisement, p. 48.

Louise de Keroualle, duchess of Portsmouth, 1649-1734: society in the court of Charles II.

Published in 1897 under title: The court of Charles II., 1649-1734.

Modern American lathe practice; a new complete and practical work on the "king of machine shop tools," the American lathe. Giving its origin and development. Its design. Its various types as manufactured by different builders ... etc.

Mode of access: Internet.

The history of France under the Bourbons. 1589-1830.

Mode of access: Internet.

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.

The road to rulership : Henry Tudor, King of England

At the close of the Wars of the Roses, a new dynasty was founded by a man lacking a prince’s education; moreover, his weak claim to the throne of England gave rise to a set of serious problems. These two crucial, interrelated elements are central in Francis Bacon’s biographical account of Henry VII. The literal road leading Richmond from exile to victory in Bosworth Field, in 1485, is eventually transformed into a metaphoric path that prefigures the long, deep process of learning undertaken during his 24-year reign. This fundamental process carried out by the king will be approached mainly through the passages focused on the Lambert Simnell/Perkin Warbeck affairs, the most difficult probelms the monarch had to face in a time and in a kingdom of many uncertainties. The Simnell/Warbeck menaces embodied Henry Tudor’s greatest dilemmas, continually emphasised in Bacon’s work – the essence of legitimacy and the essence of royalty.