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Locating Renaissance Art
Renaissance art history is traditionally identified with Italian centers of production, and Florence in particular. Instead, this book explores the dynamic interchange between European artistic centers and artists and the trade in works of art. It also considers the impact of differing locations on art and artists and some of the economic, political, and cultural factors crucial to the emergence of an artistic center. During c.1420-1520, no city or court could succeed in isolation and so artists operated within a network of interests and local and international identities. The case studies presented in this book portray the Renaissance as an exciting international phenomenon, with cities and courts inextricably bound together in a web of economic and political interests.
The English Reports: Common Pleas
V. 1-11. House of Lords (1677-1865) -- v. 12-20. Privy Council (including Indian Appeals) (1809-1865) -- v. 21-47. Chancery (including Collateral reports) (1557-1865) -- v. 48-55. Rolls Court (1829-1865) -- v. 56-71. Vice-Chancellors' Courts (1815-1865) -- v. 72-122. King's Bench (1378-1865) -- v. 123-144. Common Pleas (1486-1865) -- v. 145-160. Exchequer (1220-1865) -- v. 161-167. Ecclesiastical (1752-1857), Admiralty (1776-1840), and Probate and Divorce (1858-1865) -- v. 168-169. Crown Cases (1743-1865) -- v. 170-176. Nisi Prius (1688-1867).
A New and Easy Method of Cookery (1755)
There is only one Scottish cookbook earlier than Elizabeth Cleland's. Her text, therefore, is of great interest.
The Marriage, Baptismal, and Burial Registers of the Collegiate Church or Abbey of St. Peter, Westminster
Reprint of the original, first published in 1876.
Monstrous Beauty: A Feminist Revision of Chinoiserie
Monstrous Beauty presents a bold cross-cultural history of porcelain told through a feminist lens. Prized for its delicate quality and whiteness, porcelain was first imported to Europe from China in the early modern period and gained lasting associations with Chinoiserie, a style that encapsulated associations of mystery and enchantment with Asia. This book probes the collective anxieties around gender, race, and sexuality lurking under the surface of this ornate style, derided by some eighteenth-century critics as monstrous and unnatural. In interconnected essays, Iris Moon unpacks Chinoiserie’s language of curiosity and exoticism. Here, close looking at garnitures, plates, tea cups and saucers reveals how the desire to collect and possess porcelain created entrenched cultural myths of the Asian woman, and how it later extended into such mediums as photography and film. In addition, sixteen readings by contemporary artists and scholars, of works ranging from the sixteenth century to the present, respond to this fraught history by asking how we can engage in meaningful dialogues about Chinoiserie today.
