Pub Date : 2020-05-03DOI: 10.1080/14629712.2020.1777718
L. Green
It was Frances Berkeley Young over a century ago who first remarked that Thomas Churchyard’s A Pleasant Conceite ‘celebrates the charms of twelve ladies of Elizabeth’s Court’, and although she goes on to list their titular names, no one seems to have further explored their identities and significance. That is the intention of the present work. Repeatedly during his long career Churchyard had quit the court, bitterly lamenting that his labours had failed to be rewarded with the patronage they warranted. However, with the award of a rare royal pension in 1593, the exhilarated author is frank in owning that he is moved to compose this New Year’s Gift to Queen Elizabeth ‘ … cheefely now for my pencyon’. Having repeatedly despaired of his own lack of originality he delights now in having devised a mode whose ingenuity will do justice to this celebration of royal favour. Glancing at the fabled Zeuxis of classical Greece he imagines himself a painter of these titled ladies with privileged access to the inner recesses of the court. He places each within a townscape that bestows a topographical identity that matches the geography of her titular seat and has pretentions to be a kind of national gazetteer. In truth, the topographies often lack particularity, but all seek to celebrate their essential ‘Englishness’ and so further compliment England’s embodiment, the Queen herself. Emboldened by his newly acquired status, the aged poet adds a flirtatious touch in the persona of the ageless courtly lover, coyly wooing not only these courtly ladies but also the Queen herself.
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Pub Date : 2020-05-03DOI: 10.1080/14629712.2020.1777720
H. Ronnes, M. Haverman
This article reappraises the architectural legacy of King William III and Queen Mary II on the basis of an examination of all of the building projects relating to castles and palaces in Great Britain and the Low Countries during their reign. In both countries William and Mary were continuously renovating and adding additions to already existing castles and palaces as well as creating new ones, always simultaneously combining various projects. The authors propose that the extent of William and Mary’s architectural endeavours has so far been underestimated, primarily because these have not been assessed as an ensemble. Similarly, the monarchs’ great interest in the interior of their residences, and especially in their painting collections, has not been sufficiently acknowledged. This article brings together two academic traditions at both sides of the North Sea: on the basis of primary sources such as the diaries of Constantijn Huygens Jr, travel accounts and probate inventories, both the motivation for their frantic building can be discerned, as well as the quality, scope and cultural agency of the architectural and art programmes of William and Mary.
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Pub Date : 2020-05-03DOI: 10.1080/14629712.2020.1777716
G. Eckert
When Württemberg — then one of the major powers amongst the German states — was elevated to the status of a kingdom in 1806, King Friedrich I firmly intended to fill his capital with royal splendour. His successors, however, pursued another strategy, up to the abrupt abolition of the monarchy in 1918. In a sense, they can be said to have prompted the relative decline and fall of royal Stuttgart. In order to gain popularity, they wore ‘rags’ rather than putting riches on display in sumptuous palaces. To a certain extent, the later kings of Württemberg made their monarchy fit for the democratic age by means of architecture and city planning — and won the support of the population by investing in charities rather than in conspicuous consumption. It was not enough, however, to save even this popular monarchy from being pulled down with the rest of the Imperial edifice in November 1918.
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Seong M Kim, Vishnu P Tripathi, Kuo-Fang Shen, Susan L Forsburg
From yeast to humans, the cell cycle is tightly controlled by regulatory networks that regulate cell proliferation and can be monitored by dynamic visual markers in living cells. We have observed S phase progression by monitoring nuclear accumulation of the FHA-containing DNA binding protein Tos4, which is expressed in the G1/S phase transition. We use Tos4 localization to distinguish three classes of DNA replication mutants: those that arrest with an apparent 1C DNA content and accumulate Tos4 at the restrictive temperature; those that arrest with an apparent 2C DNA content, that do not accumulate Tos4; and those that proceed into mitosis despite a 1C DNA content, again without Tos4 accumulation. Our data indicate that Tos4 localization in these conditions is responsive to checkpoint kinases, with activation of the Cds1 checkpoint kinase promoting Tos4 retention in the nucleus, and activation of the Chk1 damage checkpoint promoting its turnover. Tos4 localization therefore allows us to monitor checkpoint-dependent activation that responds to replication failure in early vs. late S phase.
从酵母到人类，细胞周期都受到调控网络的严格控制，这些网络可调节细胞增殖，并可通过活细胞中的动态视觉标记进行监测。我们通过监测含 FHA 的 DNA 结合蛋白 Tos4 的核积累来观察 S 期的进展。我们利用 Tos4 的定位来区分三类 DNA 复制突变体：在限制性温度下以明显的 1C DNA 含量停滞并积累 Tos4 的突变体；以明显的 2C DNA 含量停滞但不积累 Tos4 的突变体；以及尽管 DNA 含量为 1C，但同样不积累 Tos4 而进入有丝分裂的突变体。我们的数据表明，在这些条件下，Tos4的定位对检查点激酶有反应，Cds1检查点激酶的激活会促进Tos4在细胞核中的保留，而Chk1损伤检查点的激活则会促进其周转。因此，通过 Tos4 定位，我们可以监测 S 期早期与 S 期晚期复制失败时检查点依赖性激活的反应。
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Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728940
Moritz A. Sorg
T he conference ‘Global Royal Families’ that took place in London, as a collaboration between the German Historical Institute and the University of Sydney, was a timely intervention into a very active field of research that, in the last few years, has widely profited from the rising academic interest in the global dimensions of monarchy and the monarchical dimensions of globalism. While the truly global diversity of case studies and the inspiring variety of analytical perspectives presented at the conference make it impossible to give a detailed account of all arguments in this review, the different papers spoke to each other extremely well and therefore offered enlightening intersections. Recurring themes of the conference included the logistics of royal travel, the difficult relationship between royal visibility and remoteness, and the political facets of transnational family connections, as well as the global dynamics of colonial monarchy and cultural transfer. In modern times, as several papers illustrated, members of royal families travelled all over the world with a variety of motivations and under many different formal configurations. A world tour, featuring visits in numerous countries on different continents was a very common endeavour. In the nineteenth and twentieth centuries, many royals undertook such a journey for educational as well as domestic and foreign political reasons, which was well illustrated by Aglaja Weindl’s (Ludwig-Maximilians-Universität, Munich) paper discussing Archduke Franz Ferdinand’s world cruise in the s. Thereby, the character of the reception on the stops of these tours could ranged from informal or incognito travels to a resplendent, formal state visit depending on financial, diplomatic, hierarchical or race issues that were not only defined by the likes of the travelling royals but also by the interests of the welcoming states and societies. This was made very clear by Cindy McCreery (University of Sydney) through an instructive comparison of the visits of King Kalākaua of Hawai’i and the British princes Albert and George to Japan in . The diplomatic benefits of royal travel stood at the centre of Michael Kandiah’s (King’s College, London) paper, which explored the royal diplomacy of the British Monarchy in the second half of the twentieth century. In this context, the participants controversially debated the advantages and difficulties of oral history sources in the history of monarchy, looking specifically at the example of witness interviews with British diplomats on the state visits of Queen Elisabeth II. Christian Oberländer (MartinLuther-Universität, Halle-Wittenberg) argued that this use of royal soft power was a global phenomenon and explained how the journeys and appearances of the British royal family influenced the performance of the Japanese monarchy after . During these journeys, but also at home, the technological, stylistic and visual innovations of modern mass media strongly affe
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Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728936
Kasper Steenfeldt Tipsmark
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Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728934
M. Schaich
T his is a book with an unusual publishing history. When it first appeared in it was widely and in some cases enthusiastically reviewed in the German media. Many critics in the culture sections of the broadsheets were impressed by the panoramic view of courtly society unfolding before their eyes and praised the new, almost literary style that the author brought to history writing. Wider recognition was soon to follow. The volume was shortlisted for the Sachbuchpreis of the Leipzig Book Fair, Germany’s most prestigious non-fiction book award, and named Book of the Week by a public broadcaster. It also entered the top twenty of the Spiegel bestseller list— no mean feat by any standard, let alone a doorstopper of more than a thousand pages written by an academic historian who had made his name with an almost equally hefty volume on a classic topic of early modern historiography: the career patterns of the French nobility at the court of Versailles under Louis XIV. The reception of Horowski’s volume by the historical profession, on the other hand, has been rather mixed so far. While there are a couple of broadly positive reviews to date, the Historische Zeitschrift, the traditional flagship journal of German historians, published an -pagearticle that bemoaned the lack of abstract concepts and precise terminology, castigated the way the book was written as too colloquial and, in the end, dismissed the whole as confusing and more in the vein of a trashy historical novel than a proper academic monograph. In light of this colourful history any new reviewer has to step back and start with the basics. What is this book all about? To put it briefly: Horowski chronicles the fate of European court society from the middle of the seventeenth to the end of the eighteenth century with a special emphasis on the courts of France and Prussia, and to a certain extent also the British monarchy. Other European aristocracies get walk-on parts which, given the length of the book, still amount to extensive coverage. Readers in search of a systematic treatment of the topic or a handbook-style overview, however, will be disappointed. Horowski has chosen to arrange his material in a different way. In each of his twenty chapters he has selected a specific moment in time, an episode which he then narrates at length, shining a spotlight on a certain political event, a social occasion at court, or a juncture in the life of a particular nobleman. Some of these episodes are well-known set pieces from political history, for example the flight of members of the British royal family from London to France in December or the battle of Malplaquet. But most of them zoom in on incidents that in the greater scheme of things were only of marginal interest, if any: a duel between two high-ranking aristocrats from opposite ends of the European continent in the final phase of the Thirty Years’ War; a clash between two groups of (noble) youths on Lake Geneva, during which one person
这是一本有着不同寻常的出版历史的书。当它第一次出现在上时，它在德国媒体上得到了广泛的评论，在某些情况下受到了热烈的评论。大报文化版的许多评论家对眼前展现的宫廷社会全景印象深刻，并称赞作者为历史写作带来了新的、近乎文学的风格。很快就得到了更广泛的认可。这本书入围了德国最负盛名的非小说类图书奖——莱比锡书展(Leipzig Book Fair)的Sachbuchpreis奖，并被一家公共广播公司评为本周最佳图书。这本书还进入了《明镜周刊》畅销书排行榜的前二十名——以任何标准来看，这都不是什么了不起的成就，更不用说由一位学术历史学家撰写的一千多页的书了，这位历史学家以几乎同样庞大的卷而闻名，这是早期现代史学的一个经典话题:路易十四统治下凡尔赛宫的法国贵族的职业模式。另一方面，到目前为止，历史学界对霍罗夫斯基这本书的评价褒贬不一。虽然迄今为止有一些广泛的正面评论，但德国历史学家的传统旗舰杂志《历史时代》(Historische Zeitschrift)发表了一篇-page的文章，哀叹缺乏抽象概念和精确的术语，严厉批评这本书的写作方式过于口语化，最后，认为整本书令人困惑，更像是一部垃圾历史小说，而不是一部真正的学术专著。鉴于这段丰富多彩的历史，任何新评论者都必须退后一步，从基础开始。这本书是关于什么的?简而言之，霍洛夫斯基编年史记录了17世纪中叶到18世纪末欧洲宫廷社会的命运特别强调了法国和普鲁士的宫廷，在一定程度上也提到了英国的君主制。其他欧洲贵族得到了跑龙套的部分，考虑到书的长度，仍然是广泛的覆盖。然而，想要对这个主题进行系统的论述或手册式的概述的读者可能要失望了。霍洛夫斯基选择了一种不同的方式来安排他的素材。在他的二十章中，每一章他都选择了一个特定的时刻，一个情节，然后他详细地叙述，把聚光灯放在某个政治事件上，宫廷里的社交场合，或者一个特定贵族生活中的关键时刻。其中一些事件是政治史上众所周知的固定事件，例如12月英国王室成员从伦敦飞往法国或马尔普拉凯特战役。但他们中的大多数都聚焦在那些从更大的角度来看无足轻重的事件上:三十年战争最后阶段，来自欧洲大陆两端的两位高级贵族之间的决斗;两群(贵族)青年在日内瓦湖上发生冲突，造成一人死亡，数人受伤;一位高级贵族从一所
{"title":"A Panoramic View of Early Modern Europe","authors":"M. Schaich","doi":"10.1080/14629712.2020.1728934","DOIUrl":"https://doi.org/10.1080/14629712.2020.1728934","url":null,"abstract":"T his is a book with an unusual publishing history. When it first appeared in it was widely and in some cases enthusiastically reviewed in the German media. Many critics in the culture sections of the broadsheets were impressed by the panoramic view of courtly society unfolding before their eyes and praised the new, almost literary style that the author brought to history writing. Wider recognition was soon to follow. The volume was shortlisted for the Sachbuchpreis of the Leipzig Book Fair, Germany’s most prestigious non-fiction book award, and named Book of the Week by a public broadcaster. It also entered the top twenty of the Spiegel bestseller list— no mean feat by any standard, let alone a doorstopper of more than a thousand pages written by an academic historian who had made his name with an almost equally hefty volume on a classic topic of early modern historiography: the career patterns of the French nobility at the court of Versailles under Louis XIV. The reception of Horowski’s volume by the historical profession, on the other hand, has been rather mixed so far. While there are a couple of broadly positive reviews to date, the Historische Zeitschrift, the traditional flagship journal of German historians, published an -pagearticle that bemoaned the lack of abstract concepts and precise terminology, castigated the way the book was written as too colloquial and, in the end, dismissed the whole as confusing and more in the vein of a trashy historical novel than a proper academic monograph. In light of this colourful history any new reviewer has to step back and start with the basics. What is this book all about? To put it briefly: Horowski chronicles the fate of European court society from the middle of the seventeenth to the end of the eighteenth century with a special emphasis on the courts of France and Prussia, and to a certain extent also the British monarchy. Other European aristocracies get walk-on parts which, given the length of the book, still amount to extensive coverage. Readers in search of a systematic treatment of the topic or a handbook-style overview, however, will be disappointed. Horowski has chosen to arrange his material in a different way. In each of his twenty chapters he has selected a specific moment in time, an episode which he then narrates at length, shining a spotlight on a certain political event, a social occasion at court, or a juncture in the life of a particular nobleman. Some of these episodes are well-known set pieces from political history, for example the flight of members of the British royal family from London to France in December or the battle of Malplaquet. But most of them zoom in on incidents that in the greater scheme of things were only of marginal interest, if any: a duel between two high-ranking aristocrats from opposite ends of the European continent in the final phase of the Thirty Years’ War; a clash between two groups of (noble) youths on Lake Geneva, during which one person","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"25 1","pages":"65 - 68"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14629712.2020.1728934","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48505504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728937
Joanna Tinworth
S ince the publication of Simon Thurley’s monograph on Hampton Court Palace in , there has been a need for a similar multi-disciplinary study of Kensington Palace. This book charts the architectural, court, cultural and social history of the building from its inception to the present day, going beyond the palace to include the history of the suburb of Kensington from medieval to modern times including detailed histories of the monarchs and courtiers who lived in or were associated with it. Usually treated as a side-note in the history of royal palaces, the authors seek to demonstrate that ‘Kensington holds an important place in the history of the modern monarchy’ (p. ), thereby rehabilitating a building which, since its construction over three centuries ago, has had more detractors than advocates. Howard Colvin called it ‘utilitarian and cheap’ (p. ) in comparison with Hampton Court Palace; to Queen Victoria it was ‘this poor old palace’ (p. ). Kensington Palace was built around a pre-existing Jacobean building between and and survived seventeenth-century disparagements of its lack of grandeur as ‘a patch’d building’ (p. ) to become the ‘hub of fashionable society’ by the s thanks largely to Queen Caroline (p. ). It was rejected as a primary royal residence by George III upon his accession in , after which it lay neglected and fell into disrepair until its piecemeal mending and partition to provide apartments for the royal family from c. . Despite this partition, and bomb damage during the Second World War, two phases of restoration around the turn of the twentieth and twenty-first centuries saw the palace become first the home of the London Museum and later a heritage attraction in its own right whilst remaining a home for members of the royal family. Co-authored by six curators from Historic Royal Palaces, the chapters are arranged broadly chronologically and grouped into five themes: ‘Kensington before the Palace’, ‘ARoyal Home’, ‘Georgian Kensington’, ‘The Aunt Heap’, and ‘Public Attraction and Private Home’. Part , ‘Kensington before the Palace’, provides the history and topography of the suburb of Kensington from medieval times to the seventeenth century, noting the importance of Kensington’s location ‘on the road that led directly to the palace of Whitehall, allowing a swift journey to the court and the city’. It goes on to describe the construction c. – for Sir George Coppin, probably by John Thorpe, of a house which would become the nucleus of Kensington Palace.
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Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728931
L.H.B. Nissen
The time after the death of a prince was crucial for a dynasty to safeguard titles, possessions and other privileges for future generations. Whereas official agreements arranged the deceased’s succession on paper, funerary culture provided dynasties with opportunities to legitimise and consolidate their position. This article focuses on the funeral of Ernest Casimir, Count of Nassau-Dietz (1573–1632) and stadtholder of Friesland, Groningen, and Drenthe. It unravels the main themes in the dynastic identity of the Nassau-Dietz family and examines how this identity helped the dynasty protect its hold on the non-hereditary office of stadtholder. Furthermore, it aims to demonstrate that the direct relatives of the deceased were not the only stakeholders in the process of identity construction after Ernest Casimir’s death; local political elites were closely involved as well.
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Pub Date : 2020-01-02DOI: 10.1080/14629712.2020.1728941
D. Cranmer
O n – December , musicologists and historians gathered in Lisbon for the second seminar dedicated to the theme of music in Iberian courts in the eighteenth and nineteenth centuries, a joint venture between the Instituto Complutense de Ciencias Musicales (ICCMU) of the Universidad Complutense, Madrid (UCM), and the Instituto de Etnomusicologia–Centro de Estudos de Musica e Dança (INET–MD) of the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa (NOVA). The theme was ‘Performing Arts and Representation of Power’ in both the absolute monarchies of the eighteenth century and the constitutional monarchies of the nineteenth, extending to include music in private contexts among members of the royal families and connections with the world outside the court. The first keynote speaker, Juan José Carreras (University of Zaragoza), in his presentation ‘Court Opera between Politics and Aesthetics’ focused on opera at the Buen Retiro Palace during the time of Giuseppe Farinelli’s management (–), more specifically the circumstances of its establishment and the centrality of opera not only as court ceremony and entertainment, but also as a representation of sentimental life at court. The second session followed immediately with two papers relating to Maria Barbara of Braganza (a Portuguese princess who became queen of Spain). The first, presented by Teresa Casanova (UCM), explained what an inventory of the Queen’s library tells us about performances of intermezzi at the Spanish court between and , while the second, given by Sara Erro (UCM), examined two volumes of opera arias, linking them to the same inventory and suggesting that they were for use by musicians of the Royal Chamber during the reign of King Fernando VI and Queen Maria Barbara. The morning continued with Ana Machado (NOVA) speaking about the few, but precious, references to music at the Portuguese court in the thrice-weekly periodical Gazeta de Lisboa (–). Inês Thomas Almeida (NOVA) drew attention to Prussian sources that describe a wide variety of ceremonies that the court attended between and , including the music that formed a central part of them. The afternoon was divided into two sessions. The first was made up of three presentations. Carlos González Ludeña (UCM) focused on the serenatas, cantatas and comedias performed in Madrid between and in celebration of royal births and baptisms. Rosana Marreco Brescia (NOVA) turned attention to the complex process of importing lavish theatrical costumes for the productions of opera seria at the court theatres during the reign of King José I of Portugal (–). Not only were they made to measure in Milan, but veils came specifically from Bologna and false pearls from France. Passing on to the reign of Maria I (–), Pedro Castro (NOVA) showed how
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