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Jane Seymour (c. 1508 – 24 October 1537) was Queen of England from 1536 to 1537 as the third wife of King Henry VIII. She succeeded Anne Boleyn as queen consort following the latter's execution for high treason, incest and adultery in May 1536. She died of postnatal complications less than two weeks after the birth of her only child, a son who reigned as King Edward VI.<br/><br/> She was the only one of Henry's wives to receive a queen's funeral, and his only consort to be buried beside him in St. George's Chapel, Windsor Castle. She was the only wife of Henry VIII whose son survived infancy.
Hans Holbein the Younger (c. 1497 – 1543) was a German and Swiss artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and made a significant contribution to the history of book design. He is called 'the Younger' to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school.<br/><br/> The Self Portrait is a small drawing by the German Renaissance artist and printmaker Hans Holbein the Younger, completed around 1542-1543, and housed in the Uffizi, Florence. The gold background was added later by a different artist. According to art historian John Rowlands, 'Although this drawing has been enlarged on all sides and heavily reworked, enough of it still shows to allow the assumption that the original work was executed by Holbein. The inscription, also a later addition, evidently records an even earlier one, of which slight traces remain'.
Catherine Howard (c.1521 – 13 February 1542) was Queen of England from 1540 until 1541, as the fifth wife of Henry VIII. Catherine married Henry VIII on 28 July 1540, at Oatlands Palace, in Surrey, almost immediately after the annulment of his marriage to Anne of Cleves was arranged.<br/><br/> Catherine was beheaded after less than two years of marriage to Henry on the grounds of treason by committing adultery while married to the King.
Thomas Cromwell, 1st Earl of Essex, KG (c. 1485 – 28 July 1540), was an English lawyer and statesman who served as chief minister to King Henry VIII of England from 1532 to 1540.<br/><br/> Cromwell was one of the strongest and most powerful advocates of the English Reformation. He helped to engineer an annulment of the king's marriage to Queen Catherine of Aragon to allow Henry to marry his mistress Anne Boleyn. After failing in 1534 to obtain the Pope's approval of the request for annulment, Parliament endorsed the King's claim to be head of the breakaway Church of England, thus giving Henry the authority to annul his own marriage. Cromwell subsequently plotted an evangelical, reformist course for the embryonic Church of England from the unique posts of vicegerent in spirituals and vicar-general.<br/><br/> During his rise to power, Cromwell made many enemies, including his former ally Anne Boleyn; he played a prominent role in her downfall. He later fell from power after arranging the King's marriage to a German princess, Anne of Cleves. Cromwell hoped that the marriage would breathe fresh life into the Reformation in England, but because Henry found his new bride unattractive, it turned into a disaster for Cromwell and ended in an annulment six months later. Cromwell was arraigned under a bill of attainder and executed for treason and heresy on Tower Hill on 28 July 1540. The King later expressed regret at the loss of his chief minister.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
Anne of Cleves (German: Anna; 22 September 1515 – 16 July 1557) was Queen of England from 6 January 1540 to 9 July 1540 as the fourth wife of King Henry VIII. The marriage was declared never consummated and, as a result, she was not crowned queen consort.<br/><br/> Following the annulment of their marriage, Anne was given a generous settlement by the King, and thereafter referred to as the King's Beloved Sister. She lived to see the coronation of Queen Mary I, outliving the rest of Henry's wives.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
Catherine Parr (alternatively spelled Katherine or Kateryn) (1512 – 5 September 1548) was Queen of England and of Ireland (1543–47) as the last of the six wives of King Henry VIII. She married him on 12 July 1543, and outlived him by one year. She was also the most-married English queen, with four husbands.<br/><br/> Catherine enjoyed a close relationship with Henry's three children and was personally involved in the education of Elizabeth and Edward, both of whom became English monarchs. She was influential in Henry's passing of the Third Succession Act in 1543 that restored both his daughters, Mary and Elizabeth, to the line of succession to the throne.
Henry VIII (28 June 1491 – 28 January 1547) was King of England from 21 April 1509 until his death. He was Lord, and later assumed the Kingship, of Ireland, and continued the nominal claim by English monarchs to the Kingdom of France.<br/><br/> Henry was the second monarch of the Tudor dynasty, succeeding his father, Henry VII.
Catherine of Aragon (Castilian: Catalina; also spelled Katherine of Aragon, 16 December 1485 – 7 January 1536) was the Queen of England from June 1509 until May 1533 as the first wife of King Henry VIII; she was previously Princess of Wales as the wife of Prince Arthur.<br/><br/> The daughter of Queen Isabella I of Castile and King Ferdinand II of Aragon, Catherine was three years old when she was betrothed to Prince Arthur, heir apparent to the English throne. They married in 1501, and Arthur died five months later. In 1507, she held the position of ambassador for the Spanish Court in England, becoming the first female ambassador in European history. Catherine subsequently married Arthur's younger brother, the recently succeeded Henry VIII, in 1509.<br/><br/> She died at Kimbolton Castle on 7 January 1536.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
Valerian (Latin: Publius Licinius Valerianus Augustus; 193/195/200 – 260 or 264 CE), also known as Valerian the Elder, was Roman Emperor from 253 to 260. He was taken captive by Persian king Shapur I after the Battle of Edessa, becoming the only Roman emperor who was captured as a prisoner of war and causing wide-ranging instability across the empire.<br/><br/> At the beginning of 260, Valerian was decisively defeated in the Battle of Edessa and he arranged a meeting with Shapur to negotiate a peace settlement. The truce was betrayed by Shapur who seized him and held him prisoner for the remainder of his life.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.