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Stage and Picture in the English Renaissance
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Book description

This book presents a new approach to the relationship between traditional pictorial arts and the theatre in Renaissance England. Demonstrating the range of visual culture in evidence from the mid-sixteenth to mid-seventeenth century, from the grandeur of court murals to the cheap amusement of woodcut prints, John H. Astington shows how English drama drew heavily on this imagery to stimulate the imagination of the audience. He analyses the intersection of the theatrical and the visual through such topics as Shakespeare's Roman plays and the contemporary interest in Roman architecture and sculpture; the central myth of Troy and its widely recognised iconography; scriptural drama and biblical illustration; and the emblem of the theatre itself. The book demonstrates how the art that surrounded Shakespeare and his contemporaries had a profound influence on the ways in which theatre was produced and received.

Reviews

'Concentrating on patterns of pictorial meaning as they are produced by drama as well as art, Astington examines the wide contexts of visual meaning within this period. From fine art, woodcuts, illustrations, design, tapestries and emblems to the ways in which images of theatres were reproduced and circulated, he establishes the extraordinary range and depth of Tudor and Stuart visual culture. … This is a wonderful book which brings together many of the most fruitful and important currents in literary criticism of the period.'

Charlotte Scott Source: Shakespeare Survey

'Astington’s book is beautifully illustrated and will give students and scholars new to this field a good sense of the richness of the available evidence … Astington succeeds in presenting a detailed range of evidence that will inform such debate as it occurs in future studies.'

Chloe Porter Source: The Review of English Studies

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Contents

Astington, John H., English Court Theatre 1558–1642 (Cambridge University Press, 1999).
Astington, John H.A Jacobean Ghost, and Other Stories’, Medieval and Renaissance Drama in England, 17 (2005), 3754.
Astington, John H.Pastoral Imagery in The Merchant of Venice’, Word & Image, 31 (2015), 4553.
Astington, John H. ‘Rereading Illustrations of the English Stage’, Shakespeare Survey 50 (1997), 151–70.
Astington, John H.Three Shakespearean Prints’, Shakespeare Quarterly, 47 (1996), 178–89. Repr. in Stephen Orgel and Sean Keilen (eds.), Shakespeare: The Critical Complex, vol. i: Shakespeare and the Arts (Hamden, CT: Garland, 2000), pp. 278–89.
Astington, John H.Venus on the Thames’, Shakespeare Studies, 39 (2011), 117–32.
Astington, John H.Visual Texts: Thomas Middleton and Prints’, in Taylor, Gary and Lavagnino, John (eds.), Thomas Middleton and Early Modern Textual Culture (Oxford University Press, 2007), pp. 225–46.
Bartrum, Giulia, German Renaissance Prints 1490–1550 (London: British Museum Press, 1995).
Bath, Michael, Renaissance Decorative Painting in Scotland (Edinburgh: National Museums of Scotland, 2003).
Bawcutt, N. W., The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels 1623–73 (Oxford University Press, 1996).
Bentley, G. E., The Jacobean and Caroline Stage, 7 vols. (Oxford University Press, 1941–68).
Burrow, J. A., The Ages of Man: A Study of Medieval Writing and Thought (Oxford University Press, 1986).
Campbell, Thomas P., Henry VIII and the Art of Majesty: Tapestries at the Tudor Court (New Haven, CT: Yale University Press, 2007).
Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence (New York: Metropolitan Museum of Art, 2002).
Campbell, Thomas P.(ed.), Tapestry in the Baroque: Threads of Splendor (New York: Metropolitan Museum of Art, 2007).
Campbell, Thomas P., and Cleland, Elizabeth A. H. (eds.), Tapestry in the Baroque: New Aspects of Production and Patronage (New York: Metropolitan Museum of Art, 2010).
Chambers, E. K., The Elizabethan Stage, 4 vols. (Oxford University Press, 1923).
Chambers, E. K. William Shakespeare: A Study of Facts and Problems, 2 vols. (Oxford University Press, 1930).
Chew, Samuel, The Pilgrimage of Life (New Haven, CT: Yale University Press, 1962).
Cleland, Elizabeth, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry (New York: Metropolitan Museum of Art, 2014).
Corbett, Margery, and Lightbown, Ronald, The Comely Frontispiece: The Emblematic Title-Page in England 1550–1660 (London: Routledge & Kegan Paul, 1979).
Craik, T. W., The Tudor Interlude (Leicester University Press, 1958).
Delmarcel, Guy, Flemish Tapestry (New York: Abrams, 1999).
Dillon, Janette, Performance and Spectacle in Hall’s Chronicle (London: Society for Theatre Research, 2002).
Douglas, Audrey, and Greenfield, Peter (eds.), Records of Early English Drama: Cumberland Westmorland Gloucestershire (University of Toronto Press, 1986).
Dutton, Richard, Shakespeare, Court Dramatist (Oxford University Press, 2016).
Evett, David, Literature and the Visual Arts in Tudor England (Athens: University of Georgia Press, 1990).
Foakes, R. A., Illustrations of the English Stage 1580?1642 (Stanford University Press, 1985).
Globe, Alexander, Peter Stent, London Printseller, circa 1642–1665 (Vancouver: University of British Columbia Press, 1985).
Griffiths, Antony, The Print in Stuart Britain 1603–1689 (London: British Museum Press, 1998).
Gurr, Andrew, Shakespeare’s Opposites: The Admiral’s Company, 1594–1625 (Cambridge University Press, 2009).
Gurr, Andrew, and Karim-Cooper, Farah (eds.), Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge University Press, 2014).
Hamling, Tara, Decorating the ‘Godly’ Household: Religious Art in Post-Reformation Britain (New Haven, CT: Yale University Press, 2010).
Hearn, Karen (ed.), Dynasties: Painting in Tudor and Jacobean England 1530–1630 (London: Tate Publishing, 1995).
Henslowe, Philip, Henslowe’s Diary, ed. Foakes, R. A., 2nd edn (Cambridge University Press, 2002).
Hind, Arthur M., with Corbett, Margery and Norton, Michael, Engraving in England in the Sixteenth and Seventeenth Centuries, 3 vols. (Cambridge University Press, 1952–64).
Hollstein, F. W. H., Dutch and Flemish Etchings, Engravings, and Woodcuts, ca. 1450–1700, 72 vols. (series begun in 1949 and completed in 2015, under a changing variety of editors and publishers).
Hollstein, F. W. H. German Engravings, Etchings, and Woodcuts, ca. 1400–1700 (continuing series, begun in 1954, under a changing variety of editors and publishers; 82 vols. to 2014).
Jones, Malcolm, The Print in Early Modern England (New Haven, CT: Yale University Press, 2010).
Katritzky, M. A., The Art of Commedia (Amsterdam: Rodopi, 2006).
Kewes, Paulina, Archer, Ian W., and Heal, Felicity (eds.), The Oxford Handbook of Holinshed’s Chronicles (Oxford University Press, 2013).
King, John N., Tudor Royal Iconography: Literature and Art in an Age of Religious Crisis (Princeton University Press, 1989).
Landau, David, and Parshall, Peter, The Renaissance Print 1470–1550 (New Haven, CT: Yale University Press, 1994).
Luborsky, Ruth Samson, and Ingram, Elizabeth Morley, A Guide to English Illustrated Books 1536–1603, 2 vols. (Tempe: Arizona Center for Medieval and Renaissance Studies, 1998).
McInnis, David, and Steggle, Matthew (eds.), Lost Plays in Shakespeare’s England (Basingstoke: Palgrave Macmillan, 2014).
McMillin, Scott, and MacLean, Sally-Beth, The Queen’s Men and their Plays (Cambridge University Press, 1998).
O’Connell, Sheila, The Popular Print in England 1550–1850 (London: British Museum Press, 1999).
Orgel, Stephen, and Strong, Roy, Inigo Jones: The Theatre of the Stuart Court, 2 vols. (Berkeley: University of California Press, 1973).
Peacock, John, The Stage Designs of Inigo Jones (Cambridge University Press, 1995).
Peters, Julie Stone, Theatre of the Book 1480–1880: Print, Text, and Performance in Europe (Oxford University Press, 2000).
Pierce, Helen, Unseemly Pictures: Graphic Satire and Politics in Early Modern England (New Haven, CT: Yale University Press, 2008).
Raymond, Joad (ed.), The Oxford History of Popular Print Culture, vol. i: Cheap Print in Britain and Ireland to 1660 (Oxford University Press, 2011).
Richards, Kenneth, and Richards, Laura, The Commedia dell’Arte: A Documentary History (Oxford: Blackwell, 1990).
Roding, Juliette, van Sluijter, Eric, Westerweel, Bart, van der Meij-Tolsma, Marijke, and Nieuwenhuis, Eric Domela (eds.), Dutch and Flemish Artists in Britain 1550–1800 (Leiden: Primavera, 2003).
Scherer, Margaret R., The Legends of Troy in Art and Literature (New York: Phaidon, 1963).
Scribner, R. W., For the Sake of Simple Folk: Popular Propaganda for the German Reformation (Cambridge University Press, 1981).
Sicca, Cinzia Maria, and Waldman, Louis A. (eds.), The Anglo-Florentine Renaissance: Art for the Early Tudors (New Haven, CT: Yale University Press, 2010).
Sillars, Stuart, Shakespeare and the Visual Imagination (Cambridge University Press, 2015).
Starkey, David (ed.), The Inventory of King Henry VIII (London: Harvey Miller, 1998).
Thomson, Leslie (comp. and ed.), Fortune: ‘All is but Fortune’ (Washington: Folger Shakespeare Library, 2000).
Veldman, Ilja, Crispijn de Passe and his Progeny (1564–1670): A Century of Print Production, trans. Hoyle, Michael (Rotterdam: Sound and Vision, 2001).
Veldman, Ilja Images for the Eye and Soul: Function and Meaning in Netherlandish Prints (1450–1650), trans. Hoyle, Michael (Leiden: Primavera, 2006).
Veldman, Ilja Maarten van Heemskerck and Dutch Humanism in the Sixteenth Century, trans. Hoyle, Michael (Amsterdam: Schwartz, 1977).
Veldman, Ilja Profit and Pleasure: Print Books by Crispijn de Passe, trans. Hoyle, Michael (Rotterdam: Sound and Vision, 2001).
Watt, Tessa, Cheap Print and Popular Piety, 1550–1640 (Cambridge University Press, 1991).
Wells-Cole, Antony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625 (New Haven, CT: Yale University Press, 1997).
Wolfe, Heather (ed.), The Trevelyon Miscellany of 1608 (Washington: Folger Shakespeare Library, 2007).
Zerner, Henri, The School of Fontainebleau: Etchings and Engravings (London: Thames & Hudson, 1969).

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