At a time when prejudiced historical verdicts are being largely revised, and when it is universally admitted that history must be studied on broader and more discriminating lines than heretofore, the restatement of the case for our first Queen Regnant scarcely needs an apology. Two books, one The Privy Purse Expenses of the Princess Mary, with an Introductory Memoir by Sir Frederick Madden, some time Keeper of the Manuscripts in the British Museum, and the other, The Life of Jane Dormer, Duchess of Feria, edited by the Rev. Joseph Stevenson, from the original manuscript in the possession of Lord Dormer, first revealed Queen Mary to me as an attractive and sympathetic personality. Subsequent diligent examination of documents relating to her life and reign, scattered about the various archives of Europe, has not belied that impression, but has further shown that more interest attaches to her dire struggle with the difficulties which beset her than has generally been supposed. This material has proved to be extremely rich and abundant, especially as regards the archives of Venice, Austria, Belgium and England. The valuable papers formerly at Brussels have, it is true, disappeared, but fortunately we are provided with transcripts of them in the Record Office. And where the despatches of ambassadors, those of Giustinian, Chapuys, Renard, Michiel, de Noailles, Surian and others, drop the thread of the story, our own chroniclers, Stowe, Holinshed, Machyn, Wriothesley, Foxe, etc., take it up, so that an almost continuous narrative is formed, reaching from Mary’s earliest childhood to her death. I have endeavoured, where possible, to give the story in the words of each individual ambassador or annalist, in order to preserve, if it might be, the atmosphere of the times, in a manner unattainable by our modern phraseology. In most instances, I have been careful to reproduce even the eccentricities of the spelling in the English documents quoted, but in others, where I have given somewhat lengthy extracts from our chroniclers, the spelling has been modernised to avoid tedium. It has not come within the scope of the present work to deal exhaustively with Mary’s correspondence, and many of her most interesting letters have been unavoidably omitted, preference being given to those which relate to the more crucial points in her history. One word may not be out of place here, as to the now fully recognised necessity of bringing historical imagination to bear upon any period under consideration; for unless we throw ourselves into the spirit, the views, the interests of that period, we shall utterly fail to form a correct notion of its merits and its short-comings. The thoughts and opinions, the virtues and vices of the sixteenth century are not those of our own day, and the only way in which we can form a just estimate of them is by divesting ourselves of every preconceived notion, and by judging each individual case according to the standard which then prevailed. Whether, bearing this necessity in mind, and with the colours at my disposal, I have succeeded in painting a picture vivid enough to supersede the old traditional, but generally spurious, portraits of Queen Mary, I must leave to the kind judgment of my readers.
In January 1839, photography was announced to the world. Two years prior, a young Queen Victoria ascended to the throne of Great Britain and Ireland. These two events, while seemingly unrelated, marked the beginnings of a relationship that continued throughout the nineteenth century and helped construct the image of an entire age. A Royal Passion explores the connections between photography and the monarchy through Victoria’s embrace of the new medium and her portrayal through the lens. Together with Prince Albert, her beloved husband, the Queen amassed one of the earliest collections of photographs, including works by renowned photographers such as Roger Fenton, Gustave Le Gray, and Julia Margaret Cameron. Victoria was also the first British monarch to have her life recorded by the camera: images of her as wife, mother, widow, and empress proliferated around the world at a time when the British Empire spanned the globe. The featured essays consider Victoria’s role in shaping the history of photography as well as photography’s role in shaping the image of the Queen. Including more than 150 color images—several rarely seen before—drawn from the Royal Collection and the J. Paul Getty Museum, this volume accompanies an exhibition of the same name, on view at the J. Paul Getty Museum from February 4 to June 20, 2014.
Tarot isn’t just for divination—it’s also a great way to connect to your creativity. Discover how tarot can help you stay inspired and make your best work with this practical guidebook. For modern mystics of any level—from the seasoned cartomancer to the total novice—Tarot for Creativity offers a fresh take on the rich tradition of the tarot. In this unique and practical guide, tarot reader and creativity coach Chelsey Pippin Mizzi explores each of the standard 78 tarot cards and provides an accessible explanation of how their symbols and archetypes relate to creativity, four prompts to encourage creative experimentation and self-discovery, and a spread to help you integrate each card's message into your work. These thoughtful entries are accompanied by vibrant contemporary artwork from the Modern Way Tarot deck, created by J. Bindels and illustrated by N. Fernando. Whether you're a writer, artist, engineer, chef, or influencer, this guidebook offers down-to-earth advice for honing your voice, overcoming blocks, and cultivating your creative magic. A NEW APPROACH TO TAROT: Whether you're an experienced practitioner or a new initiate, Tarot for Creativity invites you to explore tarot as a form of storytelling and self-reflection that can yield abundant creative and personal growth. WE ARE ALL CREATIVE: All humans are creative. But that doesn’t mean great ideas come easily. Drawing on her experience as a tarot reader and creativity coach, Chelsey Pippin Mizzi teaches us to tap into our imagination, overcome blocks, and deepen our relationship with our creativity, all using tarot as a powerful tool. COMBINES WITH ANY TAROT DECK: Tarot for Creativity can be combined with any tarot card deck to add a new dimension to your practice. Use it with your favorite set, or gift it to a creative friend alongside a deck that speaks to their personality, from a classic Rider-Waite tarot deck to modern favorites like Mystic Mondays Tarot or Cat Tarot. Perfect for: Tarot and oracle card lovers of all experience levels Artists and writers of all ages Working and aspiring creatives, including bloggers, designers, and entrepreneurs Hobbyists who want to experiment with and nurture a creative practice Anyone interested in self-care and personal growth
The 'madness' of George III is the one fact about the King that everybody knows. Some might also say that George III 'lost' the American colonies. Few would be able to add that George III founded the Royal Academy of Arts, that he was a patron of Samuel Johnson and the astronomer William Herschel, and a king who 'gloried in the name of Briton'. Among his contemporaries George III was noted as an outstanding bibliophile and a renowned connoisseur of music, science, painting and architecture. . . . Published to coincide with the major exhibition at The Queen's Gallery, Buckingham Palace, George III & Queen Charlotte: patronage, collecting and court taste reconsiders the role of George III, Queen Charlotte and their family in encouraging the arts within the court and in society as a whole during the 50 years of the King's reign. Illustrated by a superb range of works of art in the Royal Collection, the book reveals aspects of George III as father, monarch, and man of letters that have generally been overlooked, and demonstrates his true importance as one of the most wide-ranging, influential and far-sighted collectors of his day. It is an important contribution to studies of the fine and decorative arts in the Georgian period, and will be an essential source of referene for both academics and collectors. -- Book jacket.