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Speaking pictures?

early modern identity. 47 Although art historians have engaged with material culture and especially the ‘everydaylife of the early modern English household, few literary scholars concerned with plays and the visual arts take into account the critical advances presented by these studies. 48 Critical opportunities are often missed as a result, because early modern English playwrights are themselves

in Making and unmaking in early modern English drama

(1617), and worked on the set for James Shirley’s masque The Triumphs of Peace , performed at the Middle Temple in 1633. 10 Buckett’s versatility was not unusual in this period. Life as what might be termed a ‘visual artist’ in early modern London seems to have often involved a variety of types of work in collaborative contexts. The painter John De Critz produced

in Making and unmaking in early modern English drama
Open Access (free)
Invisibility and erasure in The Two Merry Milkmaids

as part of rituals designed to protect buildings and their occupants from evil spirits. 33 There is no contemporary documentation about this practice, a fact that Dinah Eastop speculates may be partly because secrecy added to the efficacy of any protective magic activated by the concealment. 34 Veiled in secrecy, suppression and controversy in early modern life, talismanic

in Making and unmaking in early modern English drama