1.
Ford B. The Cambridge guide to the arts in Britain: Vol.3: Renaissance and Reformation. Cambridge: Cambridge University Press; 1989.
2.
Wedd K, Peltz L, Ross C, Museum of London. 1560 - 1690: from the City to the West End. Creative quarters: the art world in London 1700-2000. London: Merrell [for] Museum of London; 2001. p. 10–31.
3.
Sluijter EJ. The English venture: Dutch and Flemish artists in Britain, 1550-1800. Dutch and Flemish artists in Britain, 1550-1800. Leiden: Primavera; 2003. p. 11–27.
4.
Cooper T, Paul Mellon Centre for Studies in British Art. Artists and sitters. Citizen portrait: portrait painting and the urban elite of Tudor and Jacobean England and Wales. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art; 2012. p. 41–63.
5.
Foister S. Foreigners at Court: Holbein, Van Dyck and the Painter-Stainer’s Company. Art and Patronage in the Caroline Courts: Essays in honour of Sir Oliver Millar. Cambridge: Cambridge University Press; 1993. p. 32–50.
6.
Wedd K, Peltz L, Ross C, Museum of London. 1560 - 1690: from the City to the West End. Creative quarters: the art world in London 1700-2000. London: Merrell [for] Museum of London; 2001. p. 10–31.
7.
Howard M, Llewellyn Ni. Painting and imagery. The Cambridge guide to the arts in Britain: Vol3: Renaissance and Reformation. Cambridge: Cambridge University Press; 1989. p. 222–259.
8.
Ward JP. Metropolitan London. A companion to Tudor Britain [Internet]. Malden, MA: Blackwell Pub; 2004. p. 347–359. Available from: http://dx.doi.org/10.1002/9780470997109
9.
Tittler R. Portraiture, politics and society. A companion to Tudor Britain [Internet]. Malden, MA: Blackwell Pub; 2004. p. 448–466. Available from: http://dx.doi.org/10.1002/9780470997109
10.
Vermeylen F. Greener pastures? Capturing artists’ migrations during the Dutch Revolt. Nederlands kunsthistorisch jaarboek: Netherlands yearbook for history of art [Internet]. [’s-Gravenhage, etc: Ministerie van Cultuur, Recreatie en Maatschappelijk Werk, etc.]; 2013;63(1):40–57. Available from: http://booksandjournals.brillonline.com/content/journals/10.1163/22145966-06301003
11.
Foister S, Holbein H. Holbein and England. New Haven, Conn: Yale University Press; 2004.
12.
Town E. A Biographical Dictionary of London Painters, 1547-1625. The Walpole Society. 2014;76.
13.
Belsey H, Belsey C. Icons of Divinity: Portraits of Elizabeth I. Renaissance bodies: the human figure in English culture, c 1540-1660. London: Reaktion Books; 1990. p. 11–35.
14.
Sharpe K. The Portrait and Picture of the Queen’s Majesty. Selling the Tudor monarchy: authority and image in sixteenth-century England. New Haven, Conn: Yale University Press; 2009. p. 357–416.
15.
Strong RC. The cult of Elizabeth: Elizabethan portraiture and pageantry. London: Thames & Hudson; 1987.
16.
Yates FA. Queen Elizabeth I as Astraea. Astraea: the imperial theme in the sixteenth century. London: Routledge and Kegan Paul; 1975. p. 29–87.
17.
Sharpe K. Representations and Negotiations: texts, images, and authority in early modern England. The Historical Journal [Internet]. 1999;42(3):853–881. Available from: http://www.jstor.org/stable/3020924
18.
Belsey A, Belsey C. Icons of Divinity. Renaissance bodies: the human figure in English culture, c 1540-1660. London: Reaktion Books; 1990. p. 11–35.
19.
Yates FA. Queen Elizabeth as Astraea. Journal of the Warburg and Courtauld Institutes [Internet]. 1947;10:27–82. Available from: http://www.jstor.org/stable/750395
20.
Orgel S. The illusion of power: political theater in the English Renaissance. Berkeley: University of California Press; 1975.
21.
Malcolm Smuts. Public Ceremony and Royal Charisma: The English Royal Entry in London, 1495–1642. The first modern society: essays in English history in honour of Lawrence Stone. Cambridge: Cambridge University Press; 1989. p. 65–93.
22.
Alexander Samson. Images of Co-Monarchy in the London Entry of Philip and Mary (1554). In: Jean Andrews, Marie-France Wagner, Marie-Claude Canova-Green, editors. Writing Royal Entries in Early Modern Europe. Turnhout: Brepols; 2013. p. 113–127.
23.
Sandra Logan. Making History: The Rhetorical and Historical Occasion of Elizabeth Tudorís Coronation Entry. Journal of Medieval and Early Modern Studies [Internet]. Duke University Press; 31(2):251–282. Available from: http://muse.jhu.edu/journals/jmems/summary/v031/31.2logan.html
24.
Cole MH. The portable queen: Elizabeth I and the politics of ceremony. Amherst: University of Massachusetts Press; 1999.
25.
Cole MH. Monarchy in motion: an overview of Elizabethan progresses. The progresses, pageants, and entertainments of Queen Elizabeth I. Oxford: Oxford University Press; 2007. p. 27–43.
26.
Turner S. Van Dyck and Tapestry in England [Internet]. Tate Papers. 2012. Available from: http://www.tate.org.uk/research/publications/tate-papers/17/van-dyck-and-tapestry-in-england
27.
Walsham A. The reformation of the landscape: religion, identity, and memory in early modern Britain and Ireland [Internet]. Oxford: Oxford University Press; 2011. Available from: http://dx.doi.org/10.1093/acprof:oso/9780199243556.001.0001
28.
Sharpe K. ‘Viewed and beheld of all men’: Queen Elizabeth I and the performance of majesty. Selling the Tudor monarchy: authority and image in sixteenth-century England. New Haven, Conn: Yale University Press; 2009. p. 419–423.
29.
Lees-Jeffries H. Location as Metaphor in Queen Elizabeth’s Coronation Entry (1559): Veritas Temporis Filia. The progresses, pageants, and entertainments of Queen Elizabeth I. Oxford: Oxford University Press; 2007. p. 65–85.
30.
Muir E. Ritual in early modern Europe. Rev., 2nd ed. Cambridge: Cambridge University Press; 2005.
31.
Hunt A. ‘A stage wherin was shewed the wonderfull spectacle’: representing Elizabeth I’s coronation. The Drama of Coronation [Internet]. Cambridge: Cambridge University Press; 2008. p. 146–172. Available from: http://ebooks.cambridge.org/ref/id/CBO9780511485411A013
32.
Goldring E. ’ ‘In the cause of his God and true religion’: Sir Philip Sidney, the Sequitur Celebritas, and the cult of the protestant martyr. Art re-formed: re-assessing the impact of the Reformation on the visual arts. Newcastle: Cambridge Scholars; 2007. p. 227–242.
33.
Bill Brown. Thing Theory. Critical Inquiry [Internet]. 28(1):1–22. Available from: http://www.jstor.org/stable/1344258
34.
Stallybrass P, Jones AR. Fetishizing the Glove in Renaissance Europe. Critical Inquiry [Internet]. 28(1):114–132. Available from: http://www.jstor.org/stable/1344263?seq=1#page_scan_tab_contents
35.
Stallybrass P. Worn worlds: clothes and identity on the Renaissance stage. Subject and object in Renaissance culture. Cambridge: Cambridge University Press; 1996.
36.
Catherine Richardson. ‘A very fit hat’: personal objects and early modern affection. Everyday objects: medieval and early modern material culture and its meanings. Farnham: Ashgate; 2010. p. 289–298.
37.
Marianne Koos. Wandering Things: Agency and Embodiment in Late Sixteenth-Century English Miniature Portraits. Art History [Internet]. 37(5):836–859. Available from: https://onlinelibrary.wiley.com/toc/14678365/2014/37/5
38.
Honig E. Lady Dacre and pairing by Hans Eworth. Renaissance bodies: the human figure in English culture, c 1540-1660. London: Reaktion Books; 1990. p. 60–85.
39.
Carew T, Bruno G, Jones I. Cœlum Britanicum: A masque at White-Hall in the Banquetting-House, on Shrove-Tuesday-night, the 18. of February, 1633 [Internet]. London: printed for Thomas VValkley, and are to be sold at his shop neare White-Hall; 1634. Available from: http://gateway.proquest.com/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_val_fmt=&rft_id=xri:eebo:image:132967
40.
Peacock J. The visual image of Charles I. The royal image: representations of Charles I. Cambridge: Cambridge University Press; 1999.
41.
Walsham A. The reformation of the landscape: religion, identity, and memory in early modern Britain and Ireland [Internet]. Oxford: Oxford University Press; 2011. Available from: http://dx.doi.org/10.1093/acprof:oso/9780199243556.001.0001
42.
Aston M. Gods, saints, and reformers: portraiture and protestant England. Albion’s classicism: the visual arts in Britain, 1550-1660. New Haven: Yale University Press; 1995. p. 181–220.
43.
Foister S. Sixteenth-century English portraiture and the idea of the classical. Albion’s classicism: the visual arts in Britain, 1550-1660. New Haven: Yale University Press; 1995. p. 163–180.
44.
Thomas K. English protestantism and classical art. Albion’s classicism: the visual arts in Britain, 1550-1660. New Haven: Yale University Press; 1995. p. 221–238.
45.
Cooper T. Predestined lives: portraiture and religious belief in England and Wales, 1560-1625. Art re-formed: re-assessing the impact of the Reformation on the visual arts. Newcastle: Cambridge Scholars; 2007.
46.
Adamson JSA. Chivalry and Political Culture in Caroline England. Culture and politics in early Stuart England. Basingstoke: Macmillan Press; 1994. p. 161–198.
47.
Woolf D. Senses of the past. A companion to Tudor Britain [Internet]. Malden, MA: Blackwell Pub; 2004. p. 407–424. Available from: http://dx.doi.org/10.1002/9780470997109
48.
Cooper T. Predestined Lives? Portraiture and Religious Belief in England and Wales, 1560-1620. Art re-formed: re-assessing the impact of the Reformation on the visual arts. Newcastle: Cambridge Scholars; 2007.
49.
Yates FA. Astraea: the imperial theme in the sixteenth century. London: Routledge and Kegan Paul; 1975.
50.
Strong RC. ‘November’s Sacred Seventeenth Day’. The cult of Elizabeth: Elizabethan portraiture and pageantry. London: Thames & Hudson; 1987. p. 117–128.
51.
Cummings B. Images in books: Foxes’ Eikonoclastes. Art re-formed: re-assessing the impact of the Reformation on the visual arts. Newcastle: Cambridge Scholars; 2007. p. 183–200.
52.
Goldring E. Robert Dudley, Earl of Leicester, and the world of Elizabethan art: painting and patronage at the court of Elizabeth I. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art; 2014.
53.
Strong R. Faces of a favourite: Robert Devereux, 2nd Earl of Essex, and the uses of portraiture. The British art journal [Internet]. London: Art Journals Ltd.; 5(2):80–90. Available from: http://www.jstor.org/stable/41615296
54.
Bindman D. Ideas and Images of Britain. The history of British art. London: Tate; 2008.
55.
Butler M. The Invention of Britain. The Stuart court masque and political culture. Cambridge: Cambridge University Press; 2008.
56.
Archer JE, Knight S. Elizabetha Triumphans. The progresses, pageants, and entertainments of Queen Elizabeth I. Oxford: Oxford University Press; 2007. p. 1–23.
57.
Tittler R. Early Stuart Chester as a centre for regional portraiture. Urban History. 41(01):3–21.
58.
Tittler R. The face of the city: civic portraiture and civic identity in early modern England. Manchester: Manchester University Press; 2007.
59.
Morgan V. The Dutch and Flemish presence and the emergence of an Anglo-Dutch provincial artistic tradition in Norwich, c.1500-1700. Dutch and Flemish artists in Britain, 1550-1800. Leiden: Primavera; 2003. p. 57–72.
60.
Hale, J. R. England and the Italian Renaissance: the growth of interest in its history and art [Internet]. 4th ed. Oxford: Blackwell; 2005. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=UCL&isbn=9781405152228
61.
Foister S. Holbein, Antonio Toto, and the market for Italian painting in early Tudor England. In: Sicca CM, Waldman LA, editors. The Anglo-Florentine Renaissance: art for the early Tudors. New Haven, CT: The Yale Center for British Art; 2012.
62.
Foister S. Holbein, Antonio Toto, and the market for Italian painting in early Tudor England. In: Sicca CM, Waldman LA, editors. The Anglo-Florentine Renaissance: Art for the Early Tudors. New Haven: Yale University Press; 2012.
63.
Chaney E, editor. The evolution of English collecting: receptions of Italian art in the Tudor and Stuart periods. New Haven: Yale University Press; 2003.
64.
Hearn K, Rubens PP, Tate Britain (Gallery). Rubens and Britain. London: Tate; 2011.
65.
Ormrod D, London Museum. The Dutch in London: the influence of an immigrant community 1550-1800. London: H.M. Stationery Off; 1973.
66.
Foister S, Holbein H. Holbein and England. New Haven, Conn: Yale University Press; 2004.
67.
Wood J. Orazio Gentileschi and Some Netherlandish Artists in London: The Patronage of the Duke of Buckingham, Charles I and Henrietta Maria. Simiolus: Netherlands Quarterly for the History of Art [Internet]. 2001;28(3):103–128. Available from: http://www.jstor.org/stable/3780940?seq=1#page_scan_tab_contents
68.
Samson A. The Spanish match: Prince Charles’s journey to Madrid, 1623. Aldershot: Ashgate; 2006.
69.
Brotton J. Buying the Renaissance: Prince Charles’s art purchases in Madrid. The Spanish match: Prince Charles’s journey to Madrid, 1623. Aldershot: Ashgate; 2006.
70.
Trevor-Roper H. Mayerne and his Manuscript. Art and patronage in the Caroline courts: essays in honour of Sir Oliver Millar. Cambridge: Cambridge University Press; 1993. p. 264–293.
71.
Hilliard N, Norgate E, Thornton RKR, Cain TGS, Mid Northumberland Arts Group. A treatise concerning the arte of limning, ..., together with a more compendious discourse concerning ye art of limning. Northumberland: Mid Northumberland Arts group; 1981.
72.
Norgate E, Muller JM, Murrell J. Miniatura, or, The art of limning. New critical ed. New Haven, CT: Published for the Paul Mellon Centre for British Art by Yale University Press; 1997.
73.
Strong RC. Chapter 2. Van Dyck : Charles I on horseback: Charles I on horseback. London: Allen Lane; 1972.
74.
Peacock J. The Image of Charles I as a Roman Emperor. The 1630s: interdisciplinary essays on culture and politics in the Caroline era. Manchester: Manchester University Press; 2006.
75.
Sharpe K. Image wars: promoting kings and commonwealths in England, 1603-1660. New Haven [Conn.]: Yale University Press; 2010.
76.
Rubens PP, Schrader S, Jungmann B, Young-Jae K, Göttler C, J. Paul Getty Museum. Looking east: Rubens’s encounter with Asia. Los Angeles, Calif: J. Paul Getty Museum; 2013.
77.
Gilman E. Madagascar on my Mind: The Earl of Arundel and the Arts of Colonization. Early modern visual culture: representation, race, and empire in Renaissance England. Philadelphia: University of Pennsylvania Press; 2000. p. 284–314.
78.
Sloan K, Chaplin JE, Feest CF, Kuhlemann U. A new world: England’s first view of America. London: British Museum; 2007.
79.
Jardine L, Brotton J. Global interests: Renaissance art between East and West. London: Reaktion; 2000.
80.
Jansson M. Art and diplomacy: seventeenth-century English decorated royal letters to Russia and the Far East. Boston: Brill; 2015.
81.
Bracken S, Hill R. Sir Isaac Wake, Venice and art collecting in early Stuart England : a new document. Journal of the History of Collections [Internet]. 2012;24(2):183–198. Available from: http://jhc.oxfordjournals.org/content/24/2/183.short?rss=1
82.
Mcevansoneya P. An unpublished inventory of the Hamilton collection in the 1620s and the Duke of Buckingham pictures. The Burlington Magazine [Internet]. 1992;134(1073):524–526. Available from: http://www.jstor.org/stable/885165
83.
Braunmuller AR. Robert Carr, Earl of Somerset, as Collector and Patron. The Mental world of the Jacobean court. Cambridge: Cambridge University Press; 1991.
84.
Wood J. Van Dyck and the Earl of Northumberland: Taste and Collecting in Stuart England. Studies in the History of Art [Internet]. 1994;46:280–284. Available from: http://www.jstor.org/stable/42622106
85.
Brown J. Kings & connoisseurs: collecting art in seventeenth-century Europe. New Haven: Yale University Press; 1995.
86.
Shakeshaft P. ‘To Much Bewiched with Thoes Intysing Things’: The Letters of James, Third Marquis of Hamilton and Basil, Viscount Feilding, concerning Collecting in Venice 1635-1639. The Burlington Magazine [Internet]. 1986;128(995):114–134. Available from: http://www.jstor.org/stable/882393?seq=1#page_scan_tab_contents
87.
Howarth D. WILLIAM TRUMBULL AND ART COLLECTING IN JACOBEAN ENGLAND. The British Library Journal [Internet]. 1994;20(2):140–162. Available from: http://www.jstor.org/stable/42554386
88.
Keblusek M. Cultural and Political brokerage in seventeenth-century England: the case of Balthasar Gerbier. Dutch and Flemish artists in Britain, 1550-1800. Leiden: Primavera; 2003. p. 73–84.
89.
Bracken S. Robert Cecil as an art collector. Patronage, culture and power: the early Cecils. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art, the Yale Center for British Art [by] Yale University Press; 2002.
90.
Brotton J, McGrath D. The Spanish acquisition of King Charles I’s art collection: The letters of Alonso de Cardenas, 1649-51. Journal of the History of Collections. 2008 May 1;20(1):1–16.
91.
Stoye J. The Embassies at Venice and Turin. English travellers abroad, 1604-1667: their influence in English society and politics. rev. ed. New Haven: Yale University Press; 1989. p. 91–106.
92.
Geertz, Clifford. Deep Play: Notes on the Balinese Cockfight. Daedalus [Internet]. 1972;101(1). Available from: http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=3&tabs=detailsTab&ct=display&fn=search&doc=TN_jstor_archive20024056&indx=4&recIds=TN_jstor_archive20024056&recIdxs=3&elementId=3&renderMode=poppedOut&displayMode=full&frbrVersion=3&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=clifford%20geertz%20cockfight&dstmp=1456845765385
93.
Auwers M. The gift of Rubens: Rethinking the concept of gift-giving in early modern diplomacy. European Studies. 2013;43(3):421–441.
94.
Hill R, Bracken S. The ambassador and the artist : Sir Dudley Carleton’s relationship with Peter Paul Rubens : connoisseurship and art collecting at the court of the early Stuarts. Journal of the History of Collections. 2014;26(2):171–191.
95.
Felicity Heal. The Politics of Gift-Exchange under the Tudors. The power of gifts: gift exchange in early modern England [Internet]. Oxford: Oxford University Press; 2014. Available from: http://dx.doi.org/10.1093/acprof:oso/9780199542956.001.0001
96.
Keating J, Markey L, editors. Special issue - captured objects: inventories of early modern collections. Journal of the History of Collections [Internet]. 23(2):209–213. Available from: http://jhc.oxfordjournals.org/content/23/2.toc
97.
Linda Levy Peck. ‘For a King Not to be Bountiful Were a Fault’: Perspectives on Court Patronage in Early Stuart England. Journal of British Studies [Internet]. 25(1):31–61. Available from: https://www.cambridge.org/core/journals/journal-of-british-studies/issue/3F50C0AB2862D0AF19CA469553FC1475
98.
Sowerby TA. ‘A Memorial and a Pledge of Faith’: Portraiture and Early Modern Diplomatic Culture. The English Historical Review. 129(537):296–331.
99.
Heal F. Giving and Receiving on Royal Progresses. The progresses, pageants, and entertainments of Queen Elizabeth I. Oxford: Oxford University Press; 2007. p. 47–61.
100.
Albert J. Loomie. The Destruction of Rubens’s ‘Crucifixion’ in the Queen’s Chapel, Somerset House. The Burlington Magazine [Internet]. 1998;140(1147):680–682. Available from: http://www.jstor.org/stable/888161
101.
Haskell F, Serres K, Paul Mellon Centre for Studies in British Art. The King’s pictures: the formation and dispersal of the collections of Charles I and his courtiers. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art; 2013.
102.
Mcevansoneya P. The Sequestration and Dispersal of The Buckingham Collection. Journal of the History of Collections. 1996;8(2):133–154.
103.
Duffy E. The stripping of the altars: traditional religion in England, c.1400-c.1580 [Internet]. 2nd edition. New Haven: Yale University Press; 2005. Available from: http://www.jstor.org/stable/10.2307/j.ctt5vm716
104.
Spraggon J. Puritan iconoclasm in England, 1640 - 1660. [Unpublished]; 2000.
105.
Aston M. England’s iconoclasts: Vol.1: Laws against images. Oxford: Oxford University Press; 1988.
106.
Newman K. Cultural capitals: early modern London and Paris. Princeton, N.J.: Princeton University Press; 2007.
107.
Wright N. Chapter 9: ‘“Rival traditions”: civic and courtly ceremonies in Jacobean London’. The politics of the Stuart court masque. Cambridge [England]: Cambridge University Press; 1998.
108.
Knowles J. Jonson’s Entertainment at Britain’s Burse. Re-presenting Ben Jonson: text, performance, history. Basingstoke: Macmillan; 1999.
109.
Shohet L. Reading triumphs: localising Caroline masques. Localizing Caroline drama: politics and economics of the early modern English stage, 1625-1642. New York: Palgrave Macmillan; 2006.
110.
Samson A. The Spanish match: Prince Charles’s journey to Madrid, 1623. Aldershot: Ashgate; 2006.
111.
Woodbridge L. Vagrancy, homelessness, and English Renaissance literature. Urbana [Ill.]: University of Illinois Press; 2001.
112.
Woodbridge L. Global Traffic: Discourses and Practices of Trade in English Literature and Culture from 1550 to 1700. Shakespeare quarterly [Internet]. 2010;61(4). Available from: https://muse.jhu.edu/journals/shakespeare_quarterly/v061/61.4.woodbridge.html
113.
Cruz AJ. Material and symbolic circulation between Spain and England, 1554-1604. Aldershot: Ashgate; 2008.
114.
Chaney E, editor. The evolution of English collecting: receptions of Italian art in the Tudor and Stuart periods. New Haven: Yale University Press; 2003.