With essays by way of John Peacock, Elizabeth Honig, Andrew and Catherine Belsey, Jonathan Sawday, Susan Wiseman, Ellen Chirelstein, Tamsyn Williams, Anna Bryson, Maurice Howard and Nigel Llewellyn.
Renaissance our bodies is a distinct choice of perspectives at the ways that the human picture has been represented within the arts and literature of English Renaissance society. the themes mentioned variety from excessive artwork to pop culture - from graphics of Elizabeth I to polemical prints mocking non secular fanaticism - and comprise miniatures, manners, anatomy, drama and architectural patronage. The authors, paintings historians and literary critics, mirror assorted serious viewpoints, and the seventy eight illustrations current a desirable exhibition of the customarily unusual and haunting photos of the interval.
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Additional info for Renaissance Bodies: The Human Figure in English Culture c. 1540-1660
Is this the face which fac'd so many follies That was at last out-fac'd by Bolingbroke? And in a theatrical gesture, Richard dashes the mirror to the ground: A brittle glory shineth in this face; As brittle as the glory is the face; For there it is, crack'd in a hundred shivers. (IV. i. 277-89) Icons of Divinity: Portraits of Elizabeth I 35 In 1595, when the play was probably written, the glory of the monarchy was, in the Lacanian sense, imaginary. The awareness that the Queen's authority was precisely 'brittle' is registered in the refusal to allow the deposition scene to be printed during Elizabeth's lifetime.
But the earth-centred astronomy of Ptolemy was still the established system during the reign of Elizabeth. The medieval cosmological tradition which combined a Christianised Aristotelian physics with Ptolemaic mathematical astronomy was still strong. The Tractatus de sphcera (On the Sphere) by Johannes de Sacrobosco Oohn of Holywood),2 3 delineated the rudiments of geocentric spherical astronomy and cosmology, and though written in the early thirteenth century, it was still a standard textbook in the sixteenth century, continuing in use even into the seventeenth.
I. 266-7). Richard expects to find a difference between the image of a sovereign and the image of the subject he is about to become. In the event he is disappointed: No deeper wrinkles yet? Hath sorrow struck So many blows upon this face of mine And made no deeper wounds? 0 flatt'ring glass, Like to my followers in prosperity, Thou dost beguile me ! Was this face the face That every day under his household roof Did keep ten thousand men? Was this the face That like the sun did make beholders wink?