Art in England : The Saxons to the Tudors: 600-1600

## Preface In July 1968, I first set foot on English soil as a college student. In March 2001, I returned to meet with a publisher regarding a book manuscript on Italian frescoes entitled Signorelli and Fra Angelico at Orvieto, since published, but the trip also reawakened my interest in England. In July 2002, serious studies on English art ensued, the first of several occasions upon which my expatriate relatives in london, Elizabeth and tommy long and children Stewart, rawlings, and thompson, graciously hosted me. dear friends Peter and Bridget rowe in Cranbrook, whom I met first in 1990 in Orvieto, and their daughter Clare in greenwich and her husband, the late Keir Smith, have graciously hosted me on countless occasions and chauffeured me to many sites in london, Kent, and Sussex. In 2004, the gothic Art for England exhibition at the Victoria and Albert Museum and an exhibition of renaissance Manuscripts at the royal Academy inspired me to take my younger son, Clark laster, abroad for the first time. In experiencing England through his enthusiastic eyes, I met my match for packing the most possible into five days. I have returned to England subsequently, each time coming home with greater insight and enthusiasm and an appetite whetted for more. A portion of my research, travel, and photography in England was supported by funds from Mary Baldwin College, including Faculty development Funds, a portion of a Jesse Ball duPont grant to the Program for Shakespeare and renaissance literature in Performance, the Yum and ross Arnold Faculty research Fund, and sabbatical leave. Additional funds for travel to England came from the Mednick Memorial Foundation and an ArtStor travel grant. Much of the funding, however, I owe to my own carefully hoarded resources and the prudence of my late parents, Sara and dr William duer James, and my late grandparents, Sara and Charles Perry nair, Jr, and lillian and dr William daniel James. given their shared commitment to education, especially the education of women, and their enthusiastic fostering of curious minds, I believe they would view their hard-earned resources and mine as well invested and the project worthwhile. My debts only begin here. In England, I am indebted to: former Archbishop of Canterbury rowan Williams and his staff members Andrew nunn and Milly Skene for access to interior spaces in lambeth Palace; the reverends Wesley Carr and John Hall, dean and former dean of Westminster Abbey and their staff, including librarians tony trowles and Christine reynolds, for allowing me access to special places in the abbey church and the photograph archives; Sir Paul nicholson and Anne Heywood at durham Cathedral; and Brian Allen, Emma Floyd, and the staff of the Paul Mellon Centre and library in london. In addition, I am grateful for enlightening consultations with dr tarnya Cooper, dr Catherine daunt, the late Peter Fairweather and his wife Edith, dr Andrew girr, dr Karen Hearn, dr Susan Jenkins, dr John Schofield, dr Jessica Sharkey, the rev. and Mrs david twinley of Hardham, and countless unnamed scholars, docents, guides, hotel and B&B owners and staff, and other kind souls who helped me navigate sites, rails, and highways. I am grateful to gillian Malpass, art history editor and publisher at Yale University Press in london, for recognizing the uncommon nature and worth of the broad view and for her many years of encouragement. I especially thank Clare litt, Publishing director at Oxbow Books, for recognizing the value of this project, the unique analysis it offers, and for seeing the book through to publication. At Oxbow, Samantha Mcleod and Mette Bundgaard have designed a beautiful layout and Sarah Ommanney has been enormously helpful with the images. Art In England Fills A Void In The Scholarship Of Both English And Medieval Art By Offering The First Single Volume Overview Of Artistic Movements In Medieval And Early Renaissance England. Grounded In History And Using The Chronology Of The Reign Of Monarchs As A Structure, It Is Contextual And Comprehensive, Revealing Unobserved Threads Of Continuity, Patterns Of Intention And Unique Qualities That Run Through English Art Of The Medieval Millennium. By Placing The English Movement In A European Context, This Book Brings To Light Many Ingenious Innovations That Focused Studies Tend Not To Recognize And Offers A Fresh Look At The Movement As A Whole. The Media Studied Include Architecture And Related Sculpture, Both Ecclesiastical And Secular; Tomb Monuments; Murals, Panel Paintings, Altarpieces, And Portraits; Manuscript Illuminations; Textiles; And Art By English Artists And By Foreign Artists Commissioned By English Patrons.--publisher's Web Site. Missionaries, Monks, And Marauders : Pre-conquest England : The Heptarchy-edward The Confessor, C. 600-1066 -- Propaganda And Power, Innovation And Influence : Norman Art And Architecture Before And After The Conquest : Edward The Confessor And The Norman Kings, 1042-1154 -- Variations On An Imported Theme : Early English Gothic Under The Angevins And The Plantagenets : Henry Ii-henry Iii, 1154-1272 -- Distinctively And Decidedly English : The Decorated Gothic Style Under The Plantagenets : Edward I And Edward Ii, 1272-1327 -- Particularly, Peculiarly, And Perpetually English : The Perpendicular Gothic Style And Wars Of The Roses : The Last Plantagenet, The Lancasters, And The Yorks, 1327-1485 -- The Art And Architecture Of Magnificence : The Tudor Ascendancy : Henry Vii, 1485-1509 -- Image Making And Image Breaking : Art Under The Tudor Monarchs : Henry Viii, Edward Vi, And Mary I, 1509-1558 -- Gloriana And Her Court : The Art And Architecture Of Elizabeth I, 1558-1603. Sara N. James. Includes Bibliographical References And Index. Preface Introduction Chapter 1. Missionaries, monks, and marauders: Pre-conquest England ... the Heptarchy–Edward the Confessor, c. 600–1066 Chapter 2. Propaganda and power, innovation and influence: Norman art and architecture before and after the Conquest... Edward the Confessor and the Norman kings, 1042–1154 Chapter 3. Variations on an imported theme: Early English Gothic under the Angevins and the Plantagenets. Henry II–Henry III, 1154–1272 Chapter 4. Distinctively and decidedly English: the Decorated Gothic style under the Plantagenets. Edward I and Edward II, 1272–1327 Chapter 5. Particularly, peculiarly, and perpetually English: the Perpendicular Gothic style and Wars of the Roses. The last Plantagenet, the Lancasters, and the Yorks, 1327–1485 Chapter 6. The art and architecture of magnificence: the Tudor ascendancy. Henry VII, 1485–1509 Chapter 7. Image making and image breaking: Art under the Tudor monarchs. Henry VIII, Edward VI, and Mary I, 1509–1558 Chapter 8. Gloriana and her court: the art and architecture of Elizabeth I, 1558–1603 Bibliography Index

Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.