List of figures
in Making and unmaking in early modern English drama

Figures

1 Rowland Buckett, detail of painted decoration of John Haan’s chamber organ at Hatfield House (1611–12) (by courtesy of Hatfield House/Heritage House Group)   19
2 John Bate, The Mysteryes of Nature, and Art: Conteined in foure severall Tretises, The first of Water workes the second of Fyer workes, The third of Drawing, Colouring, Painting, and Engraving, The fourth of divers Experiments, as wel Serviceable as delightful: partly Collected, and partly of the Authors Peculiar Practice, and Invention, by J. B (1634), title page (by kind permission of the Folger Shakespeare Library)   21
3 Ely Cathedral – the Lady Chapel (by kind permission of the photographer, Evelyn Simak. Creative Commons Licence)   26
4 St Nicholas’ church, Salthouse, Norfolk - rood screen panels (by kind permission of the photographer, John Salmon. Creative Commons Licence)   27
5 Jacket, possibly remade for masquing (1600–20). (© Victoria and Albert Museum, London)   29
6 Shirt ensemble (1600–1700) (© Museum of London)   30
7 The Mildmay monument, attr. Maximilian Colt (1621), Church of St Leonard, Apethorpe, England (photograph author’s own, taken 20 June 2010)   46
8 Detail of sculpture of Grace, Lady Mildmay, the Mildmay monument, attr. Maximilian Colt (1621), Church of St Leonard, Apethorpe, England (photograph author’s own, taken 20 June 2010)   46
9 Painted glass window, attr. Baptista Sutton (1621), Church of St Leonard, Apethorpe, England (photograph author’s own, taken 20 June 2010)   47
10 Thomas Trevilian, ‘The miser of mans life: Dye to live’, The Great Book (1616), fol. 371r (by kind permission of the Wormsley Library, England)   50
11 Thomas Trevilian, ‘The misery of mans life: Live to dye’, The Great Book (1616), fol. 375r (by kind permission of the Wormsley Library, England)   51
12 Thomas Trevilian, ‘Creation of the world: sixth day’, Trevelyon miscellany [manuscript], 1608 (1608) fol. 39v (by kind permission of the Folger Shakespeare Library)   69
13 Woodcut showing ‘the creation of Eve’, The Holie Bible (1568) sig. A3r (by kind permission of the Huntington Library, San Marino)   70
14 The Countess Pillar (1656), Penrith, England (photograph author’s own, taken 24 March 2010)   74
15 Attributed to Jan Van Belcamp, The Great Picture Triptych (1646), oil on canvas. Centre panel: 254 × 254 cm. Side panels: 254 × 119.38 cm (© Abbot Hall Art Gallery Courtesy of the Lakeland Arts Trust)   75
16 Conrad Goltzius, Pride (1600), view with flap down. Rosenwald Collection (courtesy National Gallery of Art, Washington)   89
17 Conrad Goltzius, Pride (1600), view with flap raised. Rosenwald Collection (courtesy National Gallery of Art, Washington)   90
18 Andrew Boorde, The fyrst boke of the introduction of knowledge (1555?), sig. A3v. Woodcut (by kind permission of the Huntington Library, San Marino) 109
19 Jost Amman, ‘An empty shield with a male figure holding a lute; standing at right’; illustration to Johann Posthius, Anthologia Gnomica (Frankfurt: Rab for Feyerabend, 1579) (by kind permission of the British Museum, London) 112
20 Follower of Quinten Massys, Saint Luke Painting the Virgin and Child (1520?). Oil on oak. 113.7 × 34.9 cm (by kind permission of the National Gallery, London) 117
21 Jan Gossaert, Saint Luke Painting the Virgin (1520–25). Oil on panel. 110.5 × 83.5 cm (by kind permission of the Kunsthistorisches Museum, Vienna) 118
22 Giorgio Vasari, Saint Luke Painting the Madonna (1570–71). 130 × 180cm Florence, Church of Santissima Annunziata (© 2013. Photo Scala, Florence) 119
23 Ceiling panel from Dean House, Edinburgh, showing St Luke (1605–27). 1070 mm H × 750 mm W × 40 mm Th. Wood, painted. C. K. Sharpe Collection (© National Museums Scotland) 120
24 Henry Peacham, Minerva Britanna (1612), p. 1 (by kind permission of the Huntington Library, San Marino) 132
25 Henry Peacham, Minerva Britanna (1612), title page (by kind permission of the Huntington Library, San Marino) 133
26 Henry Peacham, Minerva Britanna (1612), p. 24 (by kind permission of the Huntington Library, San Marino) 143
27 Signet ring (1600–50), © Victoria and Albert Museum, London 161
28 Henry Peacham, Minerva Britanna (1612), p. 193 (by kind permission of the Huntington Library, San Marino) 193

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Making and unmaking in early modern English drama

Spectators, aesthetics and encompletion

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