Music and Instruments of the Elizabethan Age: the Eglantine Table. Edited by Michael Fleming and Christopher Page. 245mm. Pp xviii + 291, 34 b/w figs, 16 col pls. The Boydell Press, Woodbridge, 2021. isbn 9781783274215. £40 (hbk).

IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
S. Jervis
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引用次数: 0

Abstract

they are known certainly to have resided. A number of chapters cover the Elizabethan and Jacobean periods. First, Jane Eade delineates the important convergence of portraiture and heraldry, a link that she underscores with the little-known fact that William Segar, Garter King of Arms (d. ), was both a herald and a portrait painter. Eade provides some interesting examples of heraldic symbolism from this context, beautifully illustrated. KathrynWill demonstrates that the wide interest in, and study of, heraldry by the aspiring new men of this era led to a popularisation of heraldic parody in literature, some of it with decidedly sexual undertones. Adrian Ailes considers how popular awareness of heraldic symbolism spilled over into satirical artwork well into the eighteenth century. Continuing the literary theme, Fiona Robertson notes the popular use of heraldry in nineteenth-century fiction, making the interesting observation that the sloppy use of the term ‘crest’ instead of coat of arms saw its origins in Sir Walter Scott’s novels. Shaun Evans deals with the Five Courts of Mostyn in Tudor Wales. Michael Snodin provides a synthesis of Horace Walpole’s interest in heraldry as displayed at Strawberry Hill; Walpole enjoyed creating heraldic ‘pedigrees’ for his cherished objects as a means of vaunting previous distinguished owners. Peter Lindfield considers what drove the eighteenthcentury Lancashire saddler Thomas Barritt to become an important collector of heraldic art. Clive Cheesman gives us a fascinating insight into the rising interest in the swastika in the early twentieth century, such that it rather unexpectedly came to be used in English heraldry. Interest was sparked by Schliemann’s discoveries at Troy, following which the device became elevated to ‘an unprecedented pitch of semiotic potency’. This led the Norfolk historian, Walter Rye, to adopt a shield charged with three swastikas, which to modern eyes appear disturbingly National Socialist. The volume is rounded off by Patric Dickinson’s consideration of personal symbolism displayed on coats of arms, with examples ranging from the medieval to the modern. This beautifully illustrated volume both titillates and inspires. It successfully captures the theme of the symposium, which sought to bring together historians frommany different disciplines in an appreciation of the diverse roles that heraldry has played over the centuries.
伊丽莎白时代的音乐和乐器:埃格兰廷表。迈克尔·弗莱明和克里斯托弗·佩奇编辑。245毫米。Pp xvii+291,34 b/w图,16列,请。博伊德尔出版社,伍德布里奇,2021年。为9781783274215英镑。40英镑(hbk)。
众所周知,他们确实居住过。许多章节涵盖了伊丽莎白和雅各宾时期。首先,Jane Eade描绘了肖像画和纹章学的重要融合,她强调了这一联系与鲜为人知的事实,即Garter King of Arms(d。), 既是传令官又是肖像画家。Eade从这个背景中提供了一些有趣的纹章象征主义的例子,插图精美。KathrynWill证明,这个时代有抱负的新人对纹章学的广泛兴趣和研究导致了纹章学模仿在文学中的普及,其中一些带有明显的性色彩。阿德里安·艾尔斯(Adrian Ailes)思考了大众对纹章象征主义的认识是如何渗透到18世纪的讽刺艺术中的。Fiona•罗伯逊(Fiona Robertson)继续文学主题,指出了19世纪小说中流行使用的纹章,并提出了一个有趣的观察,即草率使用“徽章”一词而不是盾徽,这一术语起源于沃尔特·斯科特爵士的小说。肖恩·埃文斯(Shaun Evans)与都铎王朝威尔士的莫斯廷五法庭(Five Courts of Mostyn)打交道。Michael Snodin在草莓山展示了Horace Walpole对纹章学的兴趣;沃波尔喜欢为他心爱的物品创造纹章“谱系”,以此来炫耀以前的杰出主人。彼得·林德菲尔德(Peter Lindfield)思考了是什么驱使18世纪的兰开夏郡鞍匠托马斯·巴里特(Thomas Barritt)成为纹章艺术的重要收藏家。克莱夫·奇斯曼(Clive Cheesman)让我们深入了解了20世纪初人们对纳粹标记日益增长的兴趣,以至于它出人意料地被用于英国纹章学。Schliemann在特洛伊的发现引发了人们的兴趣,随后该设备被提升到“前所未有的符号效力”。这导致诺福克历史学家Walter Rye采用了一个带有三个纳粹党徽的盾牌,在现代人看来,这看起来令人不安的国家社会主义者。帕特里克·狄金森(Patric Dickinson)对盾徽上显示的个人象征意义的思考为这本书画上了句号,从中世纪到现代都有例子。这本插图精美的书既令人兴奋又令人振奋。它成功地抓住了研讨会的主题,该研讨会试图将来自许多不同学科的历史学家聚集在一起,以欣赏纹章学在几个世纪以来所扮演的不同角色。
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来源期刊
Antiquaries Journal
Antiquaries Journal HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.60
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发文量
34
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