Art

Stephen Usherwood shows how Rembrandt’s genius gives a vivid impression of 17th-century Holland.

Elizabeth Linscott describes how English churches and cathedrals, from the twelfth to the seventeenth centuries, abound in memorial effigies to the distinguished dead.

E.A. Smith describes how, immediately after the Seven Years’ War, the young Earl Fitzwilliam became a grand tourist of Europe in the eighteenth-century style.

Some three hundred years ago, when the English Civil War was brewing, a gifted Bohemian artist settled in London; Joseph Bradac writes that we owe much to his talents.

About the beginning of the fourteenth century, writes A.L. Moir, a prebendary of Lincoln Cathedral completed his ambitious world map, in which geographical information is mixed with historical details and pictures of fantastic legendary monsters.

J.J.N. McGurk describes how Irish art can claim its own place in the history of European civilization. Undisturbed by the troubles of the Dark Ages, Irish monks long continued to produce their splendid manuscripts.

Ross Watson introduces Prince Eugene of Savoy; Marlborough’s companion in arms was not only a great soldier but also one of the most important patrons and collectors of his day; a modest man with a deep love of painting and architecture inspired by a strongly individual taste.

Ross Watson describes how, as sovereign of Sweden until 1654 and later as an exile in Rome, Queen Christina was a lavish and discriminating patron of the arts.

John Gage profiles Loutherbourg, the Alsatian landscape-artist who lived in London from 1771 onwards and became a creator of striking theatrical designs and seemingly miraculous exhibitions.

Tudor Edwards introduces the Second-Empire architect who was at once a fanatical restorer in the Gothic style and a daring speculator in new architectural thought.