p. 22 Parish register of Holy Trinity Church for 26 April 1564 (© Shakespeare Birthplace Trust)
p. 24 Holy Trinity Church, Stratford upon Avon (© aitchphoto.com)
p. 25 Gildhall Chapel, Stratford upon Avon (© Shakespeare Birthplace Trust)
p. 27 ‘Last Judgement’ wall painting in the Gildhall Chapel, Stratford upon Avon. (© aitchphoto.com)
p. 29 Title page of a bible known as the Bishop’s Bible, London, 1569 edition (© The British Library Board. G 12188)
p. 32 Brass-handled iron fork from the Rose Theatre (© Museum of London)
p. 34 Engraved knop of the brass-handled iron fork from the Rose Theatre (© Museum of London)
p. 35 A sixteenth-century ceramic money box (© The Trustees of the British Museum. Inv. No.: 1895,0116.9)
pp. 36–7 Long view of London from the South Bank, published in John Speed’s The Theatre of the Empire of Great Britaine (1611–12) (© The Trustees of the British Museum. Inv. No.: 1978, U.3503)
p. 39 Gustus (Taste), from The Five Senses by Crispijn de Passe the Elder, 1590–1637 (© The Trustees of the British Museum. Inv. No.: 1868,0612.2103)
p. 44 Audience at the reconstructed Globe Theatre (© John Haynes/Lebrecht Music & Arts)
p. 45 Scene from The RSC’s 2006 production of Henry VI, Part 1 (Act 2, Scene 4) at The Courtyard; it shows, from left to right, Nicholas Asbury as the Duke of Somerset and Clive Wood as Richard Plantagenet (© Shakespeare Birthplace Trust)
pp. 46–7 The Family of Henry VIII: an Allegory of the Tudor Succession by Lucas de Heere (1534–84) (National Museum of Wales)
pp. 50–52 Henry VIII and his family, print by William Rogers, London, after Lucas de Heere, c.1595–1600 (© The Trustees of the British Museum. Inv. No.: 1842,0806.373)
pp. 54–5 Detail of The Family of Henry VIII: an Allegory of the Tudor Succession by Lucas de Heere (1534–84) (National Museum of Wales)
p. 56 Sir Francis Walsingham, possibly after John de Critz the Elder, oil on panel, c.1587 (© National Portrait Gallery, London. NPG 1704)
pp. 58–9 Final panel of the series The Kings and Queens of England by Hendrik Goltzius, 1584 (© The Trustees of the British Museum. Inv. No.: 1928, 1212.45)
p. 62 Rapier and dagger set from the Thames foreshore (© Royal Armouries)
p. 65 Going to Bankside, from Michael van Meer’s friendship album, c.1619 (Edinburgh University Library)
p. 66 Study of a gentleman carrying sword and daggers, by Jan van de Velde II, c.1608–42 (© The Trustees of the British Museum. Inv. No.: 1857,0228.231)
p. 68 George Silver Paradoxes of Defence, 1599, p. 28 (by permission of the Folger Shakespeare Library. STC 22554.)
p. 71 Vincentio Saviolo, Vincentio Saviolo his Practise, London, 1595, pp. 3V–4 (© The British Library Board. G.2370)
p. 72 The fencing school of the University of Leiden, by Willem van Swanenburg, 1610 (© The Trustees of the British Museum. Inv. No.: 1875,0814.740)
p. 75 Laurence Olivier in Henry V, 1944, directed by Laurence Olivier, Rank/Two Cities (ITV Global/THE KOBAL COLLECTION)
pp. 76–7 The ‘Funeral Achievements’ of Henry V (© Dean and Chapter of Westminster)
p. 78 The tomb of Henry V in Westminster Abbey (© Dean and Chapter of Westminster)
p. 81 Portrait of King Henry V by unknown artist, oil on panel, late sixteenth or early seventeenth century (© National Portrait Gallery. NPG 545)
p. 82 Bronze Seal matrix of Henry, Prince of Wales (later Henry V), for the lordship of Carmarthen, c.1410 (© The Trustees of the British Museum. Inv. No.: 1987,0404.1)
pp. 84–5 The Kings and Queens of England, by Hendrik Goltzius, 1584 (© The Trustees of the British Museum. Inv. No.: 1928, 1212.43)
p. 86 Wooden funeral effigy of Queen Catherine de Valois, Westminster Abbey (© Dean and Chapter of Westminster)
p. 87 Laurence Olivier and Renee Asherson in Henry V, 1944, directed by Laurence Olivier, Rank/Two Cities (akg-images)
pp. 90–91 Rorie Oge, woodcut from John Derricke, The Image of Ireland, London, 1581 (Edinburgh University Library, Edinburgh)
p. 93 Drawing of unused seal design for Elizabeth I as Queen of Ireland, by Nicholas Hilliard, probably 1570s (© The Trustees of the British Museum. Inv. No.: 1912,0717.1)
pp. 94–5 Chief of Mac Sweynes, woodcut from Derricke, The Image of Ireland, London, 1581 (Edinburgh University Library, Edinburgh)
pp. 100–101 Map of Great Britain and Ireland from the Armada Plates by Augustine Ryther, 1590 (© The Trustees of the British Museum. Inv. No.: 1888, 1221.8.12)
p. 103 Robert Devereux, 2nd Earl of Essex, 1599–1600 (© The Trustees of the British Museum. Inv. No.: 0,7.283)
p. 106 Woollen cap, sixteenth century (© The Trustees of the British Museum. Inv. No.: 1856,0701.1882)
p. 109 A goldsmith’s workshop, with master and four apprentices, by Etienne Delaune, August 1576 (© The Trustees of the British Museum. Inv. No.: 1951, 1120.5)
p. 113 Robert Armin, The History of the Two Maids of More-clacke, London, 1609, title page (by permission of the Folger Shakespeare Library. STC 773 copy 1)
p. 116 Doctor Dee’s Magical Mirror, fourteenth–sixteenth century (© The Trustees of the British Museum. Inv. No.: 1966, 1001.1)
p. 119 The wooden case for Doctor Dee’s mirror (© The Trustees of the British Museum. Inv. No.: 1966, 1001.1)
p. 121 John Dee, ‘Mysteriorum libri v’, 1581–3 (© The British Library Board. MS Sloane 3188 f. 47r)
p. 123 Portrait of John Dee c.1594 by anonymous British artist (Ashmolean Museum, University of Oxford)
p. 124 Dr Dee’s wax seal made under angelic instruction, late sixteenth century (© The Trustees of the British Museum. Inv. No.: 1838, 1232.90.a)
p. 127 General and rare memorials pertayning to the Perfect Arte of navigation by John Dee, London, 1577, frontispiece (© The British Library Board. c.21.e.12)
p. 130 Derek Jacobi as Prospero in The Tempest, Sheffield Crucible Theatre, 2002. (Tristram Kenton / Lebrecht Music & Arts)
pp. 134–5 and p. 140 Model ship from Leith, c.1589 (© National Museums Scotland)
p. 137 James VI and I, Daemonologie, London, 1603, title page (Bodleian Library, University of Oxford. Douce 210)
p. 141 James I and Anne of Denmark, by Renold Elstrack, c.1610 (© The Trustees of the British Museum. Inv. No.: 1950, 1209.1)
p. 143 Four witches of Berwick with cauldron and shipwreck, Newes from Scotland, 1591?, woodcut (Bodleian Library, University of Oxford. Douce F 210, fol. sig. ciiv)
p. 145 Macbeth and Banquo meeting three witches, Raphael Holinshed, Chronicles of England, Scotlande, and Irelande, 1577 (by permission of the Folger Shakespeare Library. STC 13567.8 vol. 1)
p. 146 Macbeth, Act 1, Scene 3, Princes Theatre, London, 1926: the Three Witches with Macbeth and Banquo (Bertram Park and Yvonne Gregory Collection/Mander & Mitchenson/Arenapal www.arenapal.com)
p. 149 Portrait of George Carleton, Bishop of Chichester, by Friedrich von Hulsen, 1627 (© The Trustees of the British Museum. Inv. No.: P, 1.130)
p. 151 George Carleton, A Thankfull Remembrance of Gods Mercy, London, 1627, title page (© The British Library Board. 807.c.22)
p. 152 ‘Lopez compounding to pyson the queene’, woodcut illustration from George Carleton, A Thankfull Remembrance of Gods Mercy, London, 1627 (© The British Library Board. 807.c.22.)
p. 156 ‘Parry not able to kill the Queene’ from George Carleton, A Thankfull Remembrance of Gods Mercy (© The Trustees of the British Museum. Inv. No.: 1873,0510.153)
p. 157 ‘Babington with his complices in S. Giles fields’, woodcut illustration from George Carleton, A Thankfull Remembrance of Gods Mercy, London, 1627 (© The British Library Board. 807.c.22.)
p. 159 Detail from a broadside on the Gunpowder Plot and the Guy Fawkes conspiracy, by Abraham Hogenberg, Cologne, 1606 (© The Trustees of the British Museum. Inv. No.: 1868,0808.3207)
pp. 160 and 171 Glass goblet enamelled with the figure of a woman on one sid
e and a Germanic coat of arms on the other, Venice or in the style of Venice, 1590–1600. (© The Trustees of the British Museum. Inv. No.: S.853)
p. 163 William Shakespeare, The most excellent Historie of the Merchant of Venice, 1600, title page (© The British Library Board. C.12.g.32)
p. 165 The Verzelini goblet, London, 1586, engraved by Anthony de Lysle (© The Trustees of the British Museum. Inv. No.: 1895,0603.170)
p. 166 Bird’s-eye view of Venice by Gian Battista Arzenti, c.1620–30 (The Art Archive/Museo Correr Venice/Collection Dagli Orti)
p. 168 The Levantine Synagogue, in the Jewish ghetto of Venice (Marco Secchi/Getty Images)
p. 172 A couple embracing in a gondola, from Donato Bertelli, Vere imagini et descritioni delle piu nobili citta del mondo (flap up), Venice, 1578 (Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations)
p. 174 Gold coin of Sharif Al-Mansur, 1600 from the Salcombe hoard, 1600 (© The Trustees of the British Museum. Inv. No.: 1999, 1207. 30)
p. 177 The ‘Armada Portrait’ of Queen Elizabeth I, c. 1588, attributed to George Gower (c.1546–96) (reproduced by kind permission of His Grace the Duke of Bedford and the Trustees of the Bedford Estates)
pp. 178–9 Map entitled ‘Barbariae et Biledvlgerid Nova Descriptio’ from the atlas Theatrum Orbis Terrarum by Ortelius, 1570 (The Art Archive/Collection Dagli Orti)
p. 181 Portrait of Abd Al-Wahid bin Masoud bin Muhammad Al-Annuri, Moorish ambassador to Queen Elizabeth I, by unknown artist, c.1600 (The University of Birmingham Research and Cultural Collections, Birmingham)
p. 183 ‘Recollection of Titus Andronicus’ by Henry Peacham, 1594? (detail) (reproduced by permission of the Marquess of Bath, Longleat House, Warminster, Wiltshire, Great Britain)
p. 185 Ingots and chopped-up gold jewellery from the Salcombe Treasure (© The Trustees of the British Museum)
p. 186 Scene 13 from Scenes of Torture from Histoire de Barbarie, et des Corsaires, published by Pierre Rocolet, Paris, 1637 (© The British Library Board. C.80.a.2, 412–413)
p. 189 A battle between a Barbary ship and European one near the coast of Sicily, by Jacques Callot, 1620 (© The Trustees of the British Museum. Inv. No.: 1913, 1231.18)
p. 190 Pedlar’s trunk (by permission of the Governors of Stonyhurst College)
p. 195 Ethan Hawke as Autolycus in The Winter’s Tale, Old Vic, London, June 2009 (Nigel Norrington/ArenaPAL; www.arenapal.com)
p. 197 Henry Garnett, print by Johannes Wierix, 1606–18 (© The Trustees of the British Museum. Inv. No.: 1848,0911.439)
p. 200 Bill Nighy as Edgar in King Lear, directed by David Hare, National Theatre, London, 1986 (Nobby Clark/ArenaPAL; www.arenapal.com)
p. 202 Designs for the Union Flag of ‘Great Britain’, c.1604 (by permission of the Trustees of the National Library of Scotland. MS 2517, f. 67)
p. 205 James Gordon (1617–86), The Royal Palace of Holy Rood-Hous, c.1649 (Royal Collection Trust, © HM Queen Elizabeth II 2012)
p. 206 John de Critz, James VI and I, 1604, Scottish National Portrait Gallery (www.nationalgalleries.org)
p. 209 Gold double crown of James I, 1604–5 (© The Trustees of the British Museum. Inv. No.: 1935,0401.6874)
p. 212 Detail from The restoration of Old St Paul’s, by John Gipkyn, 1616 (Society of Antiquaries of London, UK/The Bridgeman Art Library)
p. 216 Weight-driven musical clock by Nicholas Vallin, 1598 (© The Trustees of the British Museum. Inv. No.: 1958, 1006.2139)
p. 219 Horologia Ferrea: clock shop scene, by Jan van der Straet, Antwerp, 1580–1605 (© The Trustees of the British Museum. Inv. No.: 1948,0410.4.195)
p. 220 Self-portrait by David Kindt (1580–1652) (Hamburger Kunsthalle, Hamburg, Germany/The Bridgeman Art Library)
p. 222 A courtyard with a building with a large public clock, by Hans Vredeman de Vries, 1542–1608 (© The Trustees of the British Museum. Inv. No.: SL, 5214.145)
p. 227 Detail from the ‘Agas’ map of London, c.1562, as reproduced by the London Topographical Society in 1905 (City of London, London Metropolitan Archives)
p. 228 By the King ‘A Proclamation directing all the Nobility and Gentry not in attendance at Court to return to their country residences…’, 29 July 1603 (© The British Library Board. C.112.11.1.(23))
p. 232 Bill of Mortality, 6 October 1603 (Houghton Library, Harvard University STC 16739.5)
p. 235 ‘Triumphant Death chases Londoners from their city, but country folk right, fearful of disease, drive them back’, title artwork from a pamphlet ‘A Rod for Run-awayes’, by Thomas Dekker, published in 1625 (© NYPL/Science Source/AGE Fotostock)
p. 238 Plague Orders ‘Orders thought meete by his Majestie, and his Privie Counsell, to be executed…in such Townes, Villages, and other Places…infected with the Plague, etc.’, 30 July 1603 (© The British Library Board. C.31.e.3, f.A2.)
p. 242 Londinium, from Stephen Harrison, The Arches of Triumph, London, 1604 (© The Trustees of the British Museum. Inv. No.: 1880, 1113.5777)
p. 244 The Tower of London, 1647 engraving by Wenceslaus Hollar (1606–77) (Private Collection/The Stapleton Collection/The Bridgeman Art Library)
p. 246 Edward Alleyn by British School, inscribed 1626 (by permission of the Trustees of Dulwich Picture Gallery)
p. 249 The Italians Pegme, from Stephen Harrison, The Arches of Triumph, London, 1604 (© The Trustees of the British Museum. Inv. No.: 1880, 1113.5778)
p. 251 Arabia Britannica, from Stephen Harrison, The Arches of Triumph, London, 1604. (© The Trustees of the British Museum. Inv. No.: 1880, 1113.5780)
p. 253 The Lives of the noble Grecians and Romanes, compared together by Plutarke of Chaeronea, translated by T. North, London, 1595, title page (© The British Library Board. General Reference Collection 10605.i.10 9)
p. 254 Silver coronation medal of King James I, 1603 (© The Trustees of the British Museum. Inv. No.: G3,EM.316)
p. 256 Maiolica plate, after Taddeo Zuccaro, France, 1600–1630 (© The Trustees of the British Museum. Inv. No.: 2008,8003.1)
pp. 258 and 261 Eye relic of the Blessed Edward Oldcorne (by permission of the British Jesuit Province)
p. 263 Edward Oldcorne, after an unknown artist, line engraving, 1608 (© National Portrait Gallery, London. NPG D26046.)
p. 264 Traitors’ heads on spikes, detail from a broadside on the Gunpower Plot and Guy Fawkes conspiracy by Abraham Hogenberg, Cologne, 1606 (© The Trustees of the British Museum. Inv. No.: 1868,0808.3207)
p. 266 Execution of Guy Fawkes and associates, from Verratheren in England, 1606, German School (© Lambeth Palace Library, London, UK/The Bridgeman Art Library)
p. 269 The blinding of the Earl of Gloucester in a production of King Lear at Shakespeare’s Globe Theatre, April 2008 (Nigel Norrington/ArenaPAL)
p. 272 Robben Island ‘Bible’ (image provided by the British Museum, courtesy of Sonny Venkatrathnam)
p. 275 Photographs of Marcel and Teofila Reich-Ranicki taken in the Warsaw Ghetto (Foto Forbert, reproduced by courtesy of Marcel Reich-Ranicki and Andrew Ranicki)
p. 277 First Folio, Mr. William Shakespeares Comedies, Histories, & Tragedies, London, 1623, title page illustrated by Droeshout (© The British Library Board. G.11631)
p. 279 Annotated page of the ‘Meisei Copy’ of the First Folio that once belonged to William Johnstoune (Meisei University, MR 774. http://shakes.meisei-u.ac.jp.)
p. 281 Cymbeline by The South Sudan Theatre Company at Shakespeare’s Globe Theatre, May 2012 (photo by Ellie Kurttz, © ellie kurttz 2012)
p. 282 Nelson Mandela’s signature on page of Robben Island ‘Bible’ (image provided by the British Museum, courtesy of Sonny Venkatrathnam)
p. 285 Prospero and Ariel, by Eric Gill (© Ricky Leaver/LOOP IMAGES/Loop Images/Corbis)
Acknowledgements
Like all British Museum projects, this book is the result of many people’s work. It began as a series of radio progra
mmes on BBC Radio 4, a joint venture between the two public service institutions. The idea was first floated by Mark Damazer, then Controller of Radio 4, and was energetically supported by his successor, Gwyneth Williams.
It is not always easy for large organizations to work together. That it has been possible – and enjoyable – in this case is thanks to the rare coordinating and cooperating talents of Joanna Mackle at the British Museum and Jane Ellison at the BBC.
Neither the programmes, with their accompanying website, nor this book could have happened without the scholarship, skill and commitment of the colleagues in both the British Museum and the BBC.
My greatest debt is to Barrie Cook, whose store of knowledge is exceeded only by his appetite for further research, and who not only contributed to every aspect of the project, but effectively co-created it.
At the British Museum, Mark Kilfoyle played a key part in shaping and sharpening the scripts – and the ideas – for broadcast; Ruth Levis worked closely with the BBC to develop and deliver the project’s web presence; and Rosalind Winton calmly project-managed the whole process.
The team of Museum Assistants, led by Jim Peters, worked closely with the Photographic Department to ensure that objects were available for study and photography.
Many thanks also go to Matthew Cock, Lena Zimmer, Hannah Boulton and Olivia Rickman.
At the BBC, I would like to thank the Documentaries Unit, BBC Audio & Music Production. Philip Sellars brought a rigorous and creative editorial eye (and ear) to the programmes, which Paul Kobrak produced with outstanding skill and astonishing patience, abetted at every step by Anne Smith. The project was supported and extended digitally by Katherine Campbell and Andrew Caspari. Many thanks also go to Hugh Davies, Sian Davis and Victoria Wawman.
For the making of the book, I owe a great debt of gratitude to the admirable team at Penguin, led by Stuart Proffitt, who masterminded the transition from broadcast to print. I should like to thank Andrew Barker, Chloe Campbell, Richard Duguid, Caroline Hotblack, Ilaria Rovera, Jim Stoddart, Shan Vahidy and David Watson. They have been as meticulous as they have been patient. Dr Colin Burrow of All Souls College, Oxford, very kindly read the proofs and saved me from a number of errors.
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