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Relevant bibliographies by topics / Philip Neri (London, England)

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Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Philip Neri (London, England)"

1

Richmond, Colin. "Jan van Eyck at London in 1428." Common Knowledge 27, no. 2 (May 1, 2021): 171–75. http://dx.doi.org/10.1215/0961754x-8906117.

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Abstract On the basis of reports that Jan van Eyck visited England (he was well traveled in the service of Philip the Good, duke of Burgundy), this essay speculates freely on what the diplomat and painter actually did in and around London for three weeks in 1428. The essay claims, for example, that van Eyck went to the village of Foots Cray to buy watercresses to use as models when painting greenery on the Ghent Altarpiece of the Mystic Lamb (which he completed in 1432). The recently erected gateway to the palace at Greenwich is said likewise to be the model for a towered gateway depicted on the altarpiece. After providing local detail about relevant parts of England in 1428, the essay closes with speculation (although the author writes, “The facts are known”) about the origin of a harp, of a purportedly Welsh variety, appearing on the altarpiece in the hands of an angel. The author argues that it was the instrument of an itinerant Breton musician whom van Eyck had heard in recital at the Poor Clares convent of the Holy Trinity at the Minories in Aldgate. The harpist subsequently murdered his Stepney landlady and was himself killed by enraged local housewives. Van Eyck is said to have purchased the man's harp when his worldly goods were posthumously sold.

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2

Basler, Captain Matthew R. "Warhorse: Cavalry in Ancient Warfare. By Philip Sidnell. (London, England: Hambledon‐Continuum, 2006. Pp. xi, 363. $34.95.)." Historian 70, no. 3 (September 1, 2008): 599–600. http://dx.doi.org/10.1111/j.1540-6563.2008.00221_61.x.

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3

Kiselev, Aleksandr. "The Visit of Envoy Osip Nepeya to England (1556–1557): Success or Failure of Russian Diplomacy?" Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (August 2021): 137–47. http://dx.doi.org/10.15688/jvolsu4.2021.4.12.

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Introduction. The visit of the Russian envoy Osip Nepeya to London in 1556–1557 is usually considered as the beginning of the official relations between Russia and England. In the light of modern views about the sixteenth-century diplomacy, this event requires a more thorough research. Methods. The Nepeya’s trip was traditionally viewed as an insignificant episode in the context of general reviews of bilateral relations concentrated mainly on trade. The reasons and possibilities of the military and political rapprochement between England, Spain and Russia in the 1550s, which was the most likely goal of the Nepeya’s journey to England, have never been investigated. Therefore, this article is based on an analysis of numerous multilingual sources. Analysis. The author clarifies the Nepeya’s diplomatic rank and certain previously unknown details of the Muscovites’ stay in London. He analyzes Nepeya’s mission to England in the context of foreign affairs of Ivan IV, Mary Tudor and Philip II Habsburg. Results. It is concluded that the rulers of Spain and England could provide military support to Ivan IV, but they were not interested in military and political alliance with the Muscovy and the war against Turkey. However, establishing official equal relations between England and Russia at the highest level, as well as obtaining trade privileges for Russian merchants was the main result of Nepeya’s trip. This allows us to conclude that the first Russian diplomatic mission in London was successful.

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4

Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (January 1, 2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.

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5

Goff, Moira. "The Celebrated Monsieur Desnoyer, Part 1: 1721–1733." Dance Research 31, no. 1 (May 2013): 67–77. http://dx.doi.org/10.3366/drs.2013.0059.

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George Desnoyer first danced in London in 1721 and 1722, and returned to pursue a successful performing career there between 1731 and 1742. He may have been born around 1700 in Hanover, for he was the son of the dancing master ‘Denoyé’ employed by Georg Ludwig Elector of Hanover (later King George I of England) from at least 1694. 1 Musicians named ‘Desnoyers’ can be found in Paris records from the 1650s. 2 The elder Desnoyer may have been related to Antoine Desnoyers, who was a member of the ‘violons de la Chambre’ at the court of Louis XIV from at least the late 1670s until about 1694. 3 He may also have been the Desnoyers who danced in the 1689 and 1690 revivals at the Paris Opéra of Lully's Atys and Cadmus et Hermione respectively. 4 Whatever his lineage, George Desnoyer was already a skilled exponent of French belle dance style and technique when he first appeared in London, at the Drury Lane Theatre, early in 1721. Desnoyer's father died on 18 April 1721, and he was presumably appointed to succeed him for he left England during the summer of 1722 to become dancing master to George I's grandson Prince Frederick, who had remained in Hanover. His appointment at the electoral court formally ended early in 1730, and the following year Desnoyer returned to London. He was billed as ‘first dancer to the King of Poland’ when he appeared at Drury Lane in late 1731, and for the next few years he divided his time between London, Dresden and Warsaw. Desnoyer's London career lasted until 1742. Over the years, he performed solos, duets and group dances as well as appearing in a variety of afterpieces, and he enjoyed notable partnerships with several leading female dancers. Although virtually all the choreographies he performed are lost, there is much other evidence to shed light on Desnoyer's dancing style and technique. I have documented the lives and careers, as dancing masters, of George Desnoyer and his son Philip elsewhere. 5 In this article I will explore and analyse George Desnoyer's repertoire during his first two periods in London, 1721–1722 and 1731–1733. In a second article, I will look at his repertoire and his dancing partnerships between 1734 and his retirement from the London stage in 1742. 6

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6

Graham-Matheson, Helen. "Harry Kelsey. Philip of Spain, King of England: The Forgotten Sovereign . London: I. B. Tauris, 2012. xv + 230 pp. £18.99. ISBN: 978–1–84885–716–2." Renaissance Quarterly 66, no. 1 (2013): 260–62. http://dx.doi.org/10.1086/670465.

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7

Martin, Patrick, and John Finnis. "The Identity of ‘Anthony Rivers’." Recusant History 26, no. 1 (May 2002): 39–74. http://dx.doi.org/10.1017/s0034193200030703.

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Since Henry Foley in 1877 published extensive extracts from a set of letters purporting to have been written from London to correspondents in Venice, between January 1601 and April 1603, ‘by Anthony Rivers S.J.’, a ‘socius of Fr. Henry Garnet S.J.’, historians have found these letters valuable evidence concerning Queen Elizabeth’s declining days, the government’s secret involvement in the Appellant controversy within the Catholic priesthood (1597–1602), the ‘inch thick’ paint reference in Hamlet, the possible originating circumstances of Twelfth Night, and other matters. But no Jesuit Anthony Rivers has ever been found, and Jesuit historians have speculated about the letter-writer’s identity: Philip Caraman at one time took him to be Fr. Anthony Hoskins S.J., and Francis Edwards recently argued for Fr. Henry Floyd S.J. But Hoskins was not sent to England until 1603, and Floyd was in prison for much of the time when the letters were retailing, in a weekly rhythm, many pages of first-hand observations of events in the Court and Council, sometimes if not always in three near-identical versions dispatched simultaneously to three separate addressees.

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8

Cusack, Carole M. "Pagan Goddesses in the Early Germanic World: Eostre, Hreda, and the Cult of Matrons. By Philip A. Shaw. (London, England: Bristol Classical Press, 2011. Pp. 128. $27.00.)." Historian 74, no. 4 (December 1, 2012): 894–95. http://dx.doi.org/10.1111/j.1540-6563.2012.00334_62.x.

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9

Parnham, David. "Redeeming Free Grace: Thomas Hooker and the Contested Language of Salvation." Church History 77, no. 4 (December 2008): 915–54. http://dx.doi.org/10.1017/s0009640708001583.

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It was with a flourish of grace-borne optimism that Thomas Hooker opened his massive redaction of a career's worth of “preparationist” theology, the posthumously publishedApplication of Redemption. The sermons in which this two-volume work consists were published in London in 1656, under the editorial direction of the Independent divines Thomas Goodwin and Philip Nye, but had been preached in New England in the aftermath of the “free-grace controversy” of the mid-1630s and rewritten by Hooker in the 1640s in order to “refine and expand” his previous explications of soul work. Setting concerned sights upon old England's luxuriant antinomian problem, Goodwin and Nye turned to Hooker, late of Chelmsford and Connecticut, in hopes that a strong dose of spiritual discipline might restore moral order to a disordered land. The God of the preparationists, it has been remarked, contributed centrally to an “emerging culture of stamina and rigor”; by the 1650s, however, the God who made his orderly favors known “by a long procession of hints, of interpretable suggestions” had relinquished the reins of moral control. None was better qualified than Hooker to interrogate fault for the sake of the regaining of favor.

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10

Dickens, A. G. "The Battle of Finsbury Field and Its Wider Context." Studies in Church History. Subsidia 8 (1991): 271–87. http://dx.doi.org/10.1017/s0143045900001691.

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On 4 March 1554 some hundreds of London schoolboys fought a mock battle on Finsbury Field outside the northern wall of the city. Boys have always gratified their innate romanticism by playing at war, yet this incident, organized between several schools, was overtly political and implicitly religious in character. It almost resulted in tragedy, and, though scarcely noticed by historians, it does not fail to throw Ught upon London society and opinion during a major crisis of Tudor history. The present essay aims to discuss the factual evidence and its sources; thereafter to clarify the broader context and significance of the affair by briefer reference to a few comparable events which marked the Reformation struggle elsewhere. The London battle relates closely to two events in the reign of Mary Tudor: her marriage with Philip of Spain and the dangerous Kentish rebellion led by the younger Sir Thomas Wyatt. The latter’s objectives were to seize the government, prevent the marriage, and, in all probability, to place the Princess Elizabeth on the throne as the figurehead of a Protestant regime in Church and State. While Wyatt himself showed few signs of evangelical piety, the notion of a merely political revolt can no longer be maintained. Professor Malcolm R. Thorp has recendy examined in detail the lives of all the numerous known leaders, and has proved that in almost every case they display clear records of Protestant conviction. It is, moreover, common knowledge that Kent, with its exceptionally large Protestant population, provided at this moment the best possible recruiting-area in England for an attack upon the Catholic government. Though the London militia treasonably went over to Wyatt, the magnates with their retinues and associates rallied around the legal sovereign. Denied boats and bridges near the capital, Wyatt finally crossed the Thames at Kingston, but then failed to enter London from the west. By 8 February 1554 his movement had collapsed, though his execution did not occur until 11 April.

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Books on the topic "Philip Neri (London, England)"

1

Murphy, Michael. The Oratorian ragged schools of Our Lady of Compassion, Drury Lane, 1851-1863. North Harrow: M. Murphy, 1996.

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2

Red House: Philip Webb. London: Phaidon Press, 1993.

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3

Trevor, Garnham, and Edwards Brian 1944-, eds. Arts and crafts houses I: By Philip Webb, William Lethaby and Edward Lutyens. London: Phaidon, 1999.

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4

Flon, Nancy Marie De. Edward Caswall: Newman's brother and friend. Leominster, Herefordshire [England]: Gracewing, 2005.

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5

Catholic Church. Congregatio pro Causis Sanctorum. John Henry Cardinal Newman, 1801-1890, founder of the English Oratories: Positio super virtutibus. Rome: V.F. Blehl, 1989.

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6

Hollamby, Edward. Arts & crafts houses I: Philip Webb, Red House, William Richard Lethaby, Melsetter House, Sir Edwin Lutyens, Goddards. London: Phaidon Press, 1999.

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7

missing], [name. Whistler, Sargent, and Steer: Impressionists in London from Tate collections. Nashville, TN: Frist Center for the Visual Arts, 2003.

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8

Hollamby, Edward. The Red House: Bexleyheath 1859 Philip Webb (Architecture in Detail). Phaidon Press, 1997.

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9

Beesley, Philip. Protocell mesh : tour : prototyping architecture exhibition, Nottingham & London, England, Cambridge, ON - 2012-/13 / Philip Beesley (Living Architecture Systems Group). Riverside Architectural Press, 2016. http://dx.doi.org/10.21312/978-1-926724-91-1.

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10

Berman, Avis, Tate Britain (Gallery), Tenn.) Frist Center for the Visual Arts (Nashville, and David Fraser Jenkins. Whistler, Sargent, and Steer: Impressionists Iin London from Tate Collections. Visual Arts, 2002.

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