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What did it mean to be literate? Do we rely too strongly on notions of literacy as a benchmark of intelligence in the past?
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Images (from Wikimedia Commons, unless otherwise stated):
Woodcut image of a print shop in action by John Amman (1568). From Meggs, Philip B. A History of Graphic Design. John Wiley & Sons, Inc. 1998. (p 64).
Illuminated manuscript page showing a miniature of the book’s author, Vincent of Beauvais, within a border containing the arms of Edward IV, to whom this manuscript belonged. Miroir historial, vol. 1 (Vincent of Beauvais, Speculum historiale, trans. into French by Jean de Vignay), Bruges, c. 1478-1480. Held by the British Library, Royal 14 E. i, vol. 1, f. 3r.
Title page of a chapbook of “Jack the Giant Killer” by an unknown author (possibly early 19th century). Image shared originally by the University of Pittsburgh.
The beginning of Johannes Gutenberg’s Bible: Volume 1, Old Testament, Epistle of St. Jerome to Paulinus (letter 53). (The Epistle is not a part of the Bible itself, but an introduction by St. Jerome, the translator of the Bible into Latin Vulgate, which the Gutenberg Bible is written in.) Held by the Ransom Center, University of Texas at Austin.
Example of a ballad, “Here begynneth a gest of Robyn Hode” (16th century). Held by the National Library of Scotland.
Title page of the First Folio, by William Shakespeare, with copper engraving of the author by Martin Droeshout (1623). Image courtesy of the Elizabethan Club and the Beinecke Rare Book & Manuscript Library, Yale University.
Line drawing of the Stratford grammar school drawn by Edmund Hort New. From Windle, Bertram C. A. Shakespeare's Country Boston, London, 1899, plate following p. 28.
Portrait of Thomas Wolsey by an unknown artist (1589-1595, based on a work of circa 1520). Held by the National Portrait Gallery.
Different hornbooks. Scanned reproductions from Tuer’s History of the Horn-Book, 1896.
Portrait of Elizabeth of York by an unknown artist (between c.1470-1498). Held by the Royal Collection, on display at Hampton Court Palace.
Portrait of a young King Henry VIII, attributed to Meynnart Wewyck (c.1509). Held by the Denver Art Museum.
Portrait of Edward VI of England in the Queen's Drawing Room, Windsor Castle attributed to William Scrots (c.1546). Scanned from Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530-1630. New York: Rizzoli, 1995. ISBN 0-8478-1940-X.
Portrait of Sir Thomas More by Hans Holbein the Younger (1527). Held by The Frick Collection.
Margaret Roper, née More. Eldest daughter of Sir Thomas More. Detail from a family picture. From a 1593 copy of a now-lost Hans Holbein portrait of the women in Thomas More's family.
Portrait of Desiderius Erasmus of Rotterdam by Hans Holbein the Younger (1523). On display in the National Gallery.
Images from “Le miroir de l’âme pécheresse” (“The Mirror of the Sinful Soul”). Held by the Bodleian Libraries, University of Oxford; MS. Cherry 36, fol. 2r.
Images from Elizabeth’s handwritten trilingual translation of Katherine Parr’s Prayers and Meditations (1545), which was a gift for her father Henry VIII: British Library, Royal MS 7 D X.
Image of an autograph letter of Queen Elizabeth I to her future successor James I (1593). Washington (D.C.), Folger Shakespeare Library, MS. X. d. 397, fol. 1v.
Elizabeth I’s letters to Mary, Queen of Scots, 23 June 1567. Held by the National Archives (SP 52/13 f.71)
Photograph of a manuscript page written in secretary hand, using Latin and English, April 1623 (photographed 2009 by an unnamed photographer)
Quoted texts:
Dale Hoak, ODNB online entry on King Edward VI (last accessed 1st December 2021).
Excerpt from Thomas More’s Letter to Margaret Roper (neé More) 1523.
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14 окт 2024