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11 Age of Shakespeare Great Rebuilding
- 2. Praise the Lord with stringed instrument and organ Psalm 150 in Flemish
- 3. Cantones Tallis and Byrd
- 4. Dowland 1603
- 6. Great Garden, New Place, Stratford-upon-Avon" Ernest Law reconstruction, photo by Michelle Walz
- 7. New Place Knot Garden
- 8. First Great Rebuilding • More fireplaces • More bedrooms • Glass (or more glass) “Great heed is to be taken at what times we walk, how we place our windows, lights and houses, how we let in or exclude this ambient air” Richard Burton Anatomy of Melancholy, 1621
- 9. Features in Upscale Houses • Private dining room distinct from the hall • China as well as silver
- 10. Logical not Historical Principles • Placing of chambers must have regard to use – Adapted to the region “A good Parler in Egypt would perchance make a good Celler in England” Henry Wotton, The Elements of Architecture, 1624
- 11. Farmhouse, 1609
- 12. Marriage Goods of Joan Rider, 1601, Daughter of a Staffordshire yeoman Bedroom Joined bedstead, press, feather bed, flock bed, two bolsters, two pillows, a quilt, two blankets, a twilled covering, five pairs of sheets, two pillow cases, Kitchen, dining A tablecloth, six napkins, two candlesticks, nine pieces of pewter, a salt, a brass pot and brass pan, Provisions Bundle of hemp and five of flax. Ten pounds in ready money
- 13. Datestones
- 14. Glass • Immigration of glassmakers 1552 Henry Smyth, a London merchant, obtains a patent to bring French workers to make Normandy window glass to train Englishmen 1567 Jean Carré from Artois receives a license to make window glass and expands to get monopoly also on Venetian crystal 1574 Jacomo Verzelini, a Venetian gets the patent to make Venetian glass in England
- 16. Tudor Garden Features • Knot gardens, interlacing geometric beds designed to be seen from above • Flowers, cultivated not only for their beauty but for flavoring sweets and desserts. • Mounts, artificial hills for viewing both of the garden and the landscape beyond • Banqueting Houses to provide an intimate room for enjoying desserts and for entertainment • Fountains and automated water features to animate the garden, reflecting an interest in hydraulics • Deer parks, for meat and a symbol of wealth and status • Ornaments: heraldic, religious and mythological
- 17. Garden Architecture • Terms – Tent: Pavilion – Garden buildings: shadow house, garden house, summer house and herber or arbour Banqueting house – Building on a roof top: type, turret Garden architecture used to experiment on a smaller scale Smythson, design for a banqueting house
- 18. Melford Hall, Banqueting House, 16th C.
- 19. Hatfield Old Palace, Great Hall
- 20. Hatfield Old Palace, Great Hall
- 21. Hatfield House, 1611, 2015
- 23. Hatfield House, View of gardens
- 25. Gallery Functions • Exercise in bad weather • Receive visitors • Admire view of gardens • Status symbol • Sometimes to connect with a chapel
- 26. Painting Collections • Series of portraits – English Kings – Foreign kings including Turkish Sultans – Roman Emperors
- 27. Mytens, 1618 (left) Thomas Howard, 2nd Earl of Arundel (right) Alatheia Talbot Countess of Arundel
- 28. Long Hall, Little Moreton Hall, 3rd story
- 33. Tapestry cushion cover Attempted seduction of Joseph by Potiphar’s wife
- 34. Great Bed of Ware
- 35. Challenge to a perceived rival in love SIR TOBY BELCH Go, write it in a martial hand; be curst and brief; it is no matter how witty, so it be eloquent and fun of invention: taunt him with the licence of ink: if thou thou'st him some thrice, it shall not be amiss; and as many lies as will lie in thy sheet of paper, although the sheet were big enough for the bed of Ware in England, set 'em down: go, about it. Let there be gall enough in thy ink, though thou write with a goose- pen, no matter: about it Twelfth Night, Act III, Scene I
- 36. Marriage feast of Sir Henry Unton, 1596, detail, unknown artist, NPG
- 37. Trencher, sycamore wood, 1580 Robert Young Antiques
- 38. Trencher, painted wood Shakespeare Birthplace Trust 'O death yi power is great I must confese I often wish that it were lese'
- 39. Knife from a set of 14 depicting the monarchs
- 40. Harvington Hall, 1580s w contributions of Nicholas Owen
- 42. Pedlar’s Trunk
Editor's Notes
- One of earliest working examples in England
- Shield of Earl of Montrose
- The quality of hall furnishings varied somewhat with the family's wealth, but practically always included a long table with perhaps a smaller one, one or two forms (benches), numerous chairs and stools, a cupboard and perhaps a chest, and fireplace equipment including andirons, tongs, bellows, fire shovel and warming pan. If the house had no kitchen, then 'pott hangers,' 'dripping panns,' spits, kettles and pots would be among the fireplace furnishings in the hall. If the kitchen were separate, such articles would be found there, along with items such as mortar and pestle, vats, bowls, chopping knives and assorted cutlery. Pendean Farmhouse from Midhurst, Sussex now at the Weald and Downlands Museum. This house is timber-framed and was built in the early 17th century. In contrast to medieval houses, it has no open hall. Instead, a brick chimney heats two of the ground floor rooms and one of the upper chambers. This revolutionary change in house planning took place in the mid 16th century. The house still has some medieval features, for example, unglazed windows
- The 'banquet' was not a great meal, but a small, intimate repast of 'conceited dishes': quince cakes, preserves, gingerbread, merengues, marzipan and jellies, all washed down with spiced and mulled wine (ipocra
- 8th C windows
- Only remnant part of original palace
- Some thought it too much effort to climb that high.
- The Bradford Carpet is a canvas work embroidery made in the early 17th century (ca. 1600–1615) that originally belonged to the Earl of Bradford at Castle Bromwich.[1] The carpet measures 16 by 6 feet (4.9 m × 1.8 m). In the Victoria and Albert Museum it covers an entire wall. However, it was made neither for wall nor floor, but as a table covering. Its 17-inch-wide (430 mm) border was designed to hang down over the edges of a table, and it would have been removed or covered with a linen cloth when the table was used The field design is a grape vine trellis. The border, thought to represent human progression from a wild state to civilisation,[4] depicts a variety of country pursuits set against a pastoral landscape, described as "perhaps the finest range of genre scenes to come down to us from Elizabethan times".[1] A manor house, shepherd, travelling vendor with his packhorse, lords and ladies, hunting scenes, milkmaids, millers, water mills and windmills are all shown Artist/Maker: Unknown (production) Materials and Techniques: Linen canvas, embroidered with silk thread in tent stitch Artist/Maker: Unknown (production) Materials and Techniques: Linen canvas, embroidered with silk thread in tent stitch This carpet was produced in a professional workshop, and the absence of heraldry suggests that it was made for sale on the open market rather than for a specific commission. The embroidery is exceptionally fine, with approximately 62 stitches to the square centimetre.
- A bed set, which comprised valances, curtains and sometimes a bed cover, helped to create almost a separate chamber, cosy and 'furnished', within the bedroom. Valances such as this were used like a frieze around the top of the bed and covered the rods and rings on which the curtains were suspended. On very grand beds a second set of valances was fitted to cover the inner side of the rods. Subject Depicted The setting of an ornamental garden scene with a mountainous skyline was very popular for this type of embroidered hanging. The female figures are fashionably dressed in the style of the French court. The theme of the Seven Virtues reflects the contemporary interest in that type of subject matter. Artist/Maker: Unknown (production) Materials and Techniques: Linen canvas embroidered with wools and silks Makers & Making The style and workmanship of this valance suggest that it was made at a professional workshop strongly influenced by French fashion. It could therefore have been the product of a French workshop, made for the English or Scottish market, or an English or Scottish workshop that was influenced by French fashion.
- This object is a tapestry cover for a long cushion created in England around 1600. It illustrates three scenes from the life of Joseph, with the central scene depicting the attempted seduction of Joseph by Potiphar’s wife. Wrapped half-naked in a sheet in front of a richly dressed bed adorned with curtains, presumably made of silk, and a runner of golden tassels, the adulteress grabs hold of Joseph’s cloak with one hand as he tries to escape, and with the other beckons him to join her on the bed. - See more at: http://findingshakespeare.co.uk/shakespeares-world-in-100-objects-number-12-a-cushion-cover#sthash.BRnOgH6Z.dpuf
- This bed is in the typical style of carved wooden beds of the 1590s but it is remarkable for its large size. It is over 326 centimetres wide. The height was slightly reduced in the 19th century. The human figures carved on the headboard would originally have been brightly painted. Places The bed was probably made as a curiosity to attract customers to one of the inns at Ware, Hertfordshire. Ware is 22 miles from London, then a day's journey on horseback or by coach. The town had many inns in the 1590s.
- 29 1/8 in. x 64 1/4 in
- set of twelve elaborately decorated wooden plates was probably used at a banquet to hold food. Each trencher is painted on one side with brightly coloured lacework designs, stylized fruits and flowers, and doggerel verses. Sets of painted trenchers were used in the banquet course, which took place after the main-meal had finished, and was usually held in a hall or large room designed or used specifically for banqueting. The nature of a sixteenth-century banquet is somewhat unclear, but we do know its purpose was not to satisfy the stomach as guests would have just eaten the main meal, but rather to delight the eye. It was an affair of pageantry, informal entertainment, and leisurely consumption. During the banquet, a trencher would be placed in front of each guest, the painted side facing down, and on each, delicacies such as finely made sweet-meats, exotic spices, sugar confectionary, and ornate marzipan sculptures would be served. After these were consumed, guests would turn their trenchers over to reveal the imagery and verses on the painted side, which could be then read aloud to the table. This action would assume a certain knowledge from the reader: he/she would be expected to not only identify what the image and verse signified, but presumably would be expected to discuss those concepts in greater depth.
- knives are from a set of fourteen with carved ivory handles representing the kings and queens of England, from Henry I to James I. The inscriptions on the blades name each monarch depicted, this one with Queen Elizabeth I.
- Kidderminster, Worcestershire Hiding places were built in the time of Humphrey Pakington, when it was high treason for a Catholic priest to be in England. Some of them are likely to be the work of Nicholas Owen, who was arrested at Hindlip House, near Worcester, in 1606 and tortured to death in the Tower of London.
- Pedlar’s cart