3) To my mind, the most serious omission in the list are texts that illustrate the common law tradition of judicial independence stemming not from Charles I
or the Glorious Revolution, but from Magna Carta and subsequent acts meant to bolster it.
HISTORIC FIGURES: King Charles I
reviewed plans for the Civil War from the Lygon Arms (above) and (inset) one of the magnificent bedrooms available at the country hotel
In addition, a more telling comparison is surely provided by Van Dyck's Cupid and Psyche (Royal Collection) painted for Charles I
Chapter 1, "The scepter and the distaff: mapping the domestic in Caroline family portraiture," explores images of the royal family including the George Marcelline Epithalamium Gallo-Britannicum (1525), Van Dyck portraits of Charles I
and Henrietta Maria with their two eldest children (1632), and Van Dyck portraits of the children alone (1632 and 1637).
He chose Charles I
as the latest date for his collection as he was the last monarch to attempt absolute rule and during his reign hammered, or hand-made coins were being replaced by machine-made coinage.
Like Charles I
and Archbishop Laud, but against recent historiographical trends, she regarded the Puritans as a fundamental danger to the crown.
The Sale of the Late King's Goods: Charles I
and His Art Collection.
The rising in Ulster, not Charles I
nor the English House of Lords, was primarily responsible for these bills not reaching the Irish statute book.
Thirty years later her niece Mary, daughter of Charles I
, married William II of Orange--and their son, William III, married his cousin Mary, James II's daughter in 1677- In 1688, this last Stuart pair would take the British throne in the Glorious Revolution, bringing with them a taste for Dutch decorative art and design.
9 Peter Capaldi as Charles I
in The Devil's Whore Anyone familiar with BBC Two's satire The Thick Of It will be more used to seeing Peter Capaldi as spin doctor Malcolm Tucker, a tour de force of bad language and underhand political machinations.
Like his father, Charles I
is often analyzed in historical comparison.
While on the Continent, Van Dyck had painted religious scenes as much as portraits, but in England he became almost exclusively a court portraitist working for Charles I
(whereas he had not for James I on an earlier visit) and for the leading aristocrats of the Caroline age.
Parry's broad survey of the architecture, stained glass, wood carving, sculpture, painting, prose, poetry, and music associated with the Laudian movement lays the groundwork for more integrative studies of the English "Counter-reformation," not only by specifying the stylistic continuities among its disparate artistic expressions, but also (and perhaps more importantly) by demonstrating the complexity of that style's relationship to the theological and political views of its most visible and controversial proponents, William Laud and Charles I
In a short Epilogue he shows the connexion, obvious to historians but not so much to general readers, between the rebellious minority in the eighteenth-century American colonies and the rebellious minority who rose against Charles I
Members of Caldecote's Purefoy family fought hard during the war to ensure King Charles I
was brought to the scaffold.