The Stuart or Stewart period of England was a dramatic period in history, while a great deal was contributed to the arts, to innovations in industry, science and the humanities. It was a major age of change, heading from the older Tudor...

„Game of Thrones“ ist zurück. Was viele nicht wissen: Viele Charaktere basieren auf Royals aus der Geschichte.

1620-1629 British (English) School - Sir Robert Coke (Oxburgh Hall, Norfolk)

When I was writing THE GILDED LILY, one of the things that struck me the most about London was that there was only one bridge over the river Thames - London Bridge, which was the same bridge that had stood there since 1209. The only other way to cross the river in this period was by boat. The money for the original construction of the bridge was raised in part by allowing the land on the bridge to be sold for dwellings. By Stuart times there were more than two hundred buildings on the bridge, both residential and commercial. Some stood up as high as seven storeys and overhung the river by several feet. This picture shows just how far out they protruded. In the middle of the bridge was a Chapel to St Thomas Becket, built by King Henry II, which became the official start of pilgrimages to Becket's shrine at Canterbury. This chapel actusally took 33 years to complete, and was not finished in Henry's lifetime. King John had to license out more building plots on the bridge to help recoup the costs of Henry's repentance. Looking at these pictures of London Bridge you can see that the buildings were truly monumental. So tall-ships could pass upriver there was a drawbridge, and there were defensive gatehouses at both ends, one of which supported a tower on which traitor's heads used to be displayed on iron spikes. This practice was finally stopped in 1660, following the Restoration, presumably so as not to remind the King of the fate of his father! You can see traitors heads on this print by Visscher from 1616, which was the nearest image I could find in my research with detail of the bridge, although there is doubt now as to its accuracy as it was copied (with a degree of artistic licence) from an earlier drawing. The buildings on London Bridge were a major fire hazard and in 1212, perhaps the greatest of the fires broke out on both ends of the bridge, trapping many in the middle as the flames at each end raged towards each other, resulting in the death of an estimated 3,000 people. Houses on the bridge were also burnt during the Peasants Revolt in 1381. As for the period I am interested in, a major fire had destroyed a third of the bridge in 1633, but this was fortunate as it formed a firebreak that prevented further damage to the bridge during The Great Fire of 1666. The width of the actual bridge was about 4 metres, and it was divided into two lanes, so that whichever way you went, whether in a coach and horses, with a wagon or on foot, you had to negotiate a road only 2 metres wide. No wonder the bridge was congested and crossing it could take up to an hour! Those who could afford the fare might prefer to cross by ferry but as I discovered, the actual bridge structure made passing under it by boat quite dangerous. To support this amount of wood and masonry nineteen arches had been made, none of which were the same dimensions because the river bed was tidal and the foundations uneven, so the 'legs' or piers were built onto boat shaped structures called "starlings" set into the river-bed. The narrow arches and wide pier bases restricted the river's tidal ebb and flow so, that in hard winters, the water upstream of the bridge became more susceptible to freezing. In The Gilded Lily I use the frozen Thames, and the Frost Fair upon it, as one of the settings. Old London Bridge model; seen from the East with part of the Pool of London shipping in the foreground, in about 16th century. This view of London Bridge shows St. Magnus Martyr church on the north bank and Nonsuch House in the foreground - Nonsuch house replaced the medieval drawbridge gatehouse. Artist/Photographer/Maker John B. Thorp 1901-1939 By the 17th century the flow was further obstructed as waterwheels had been installed under the two north arches to drive water pumps, and under the two south arches to power mills and granaries. At the time my novel is set there was a difference in water levels on each side of the bridge. Negotiating it meant braving rapids with a drop of almost two metres. Most boats stopped on one side, allowed passengers to alight, and then they had to pick up a boat further downstream. Because the river flowed much more slowly above the bridge it often froze. In the 17th century because temperatures were lower and it was known as The Little Ice Age it froze several times.The tidal nature of the river meant that plates of ice formed and then the level of the river would rise again and create vast layered platforms or glaciers of ice. This picture by Hondius of 1677 shows London Bridge in the background and the amazing glacial landscape of the Thames in the foreground. "Thousands and thousands to the river flocks, Where mighty flakes of Ice do lye like Rocks, There may you see the Coaches swiftly run As if beneath the Ice were Waters none, And sholes of people every where there be Just like to herrings in the brackish Sea." Excerpt from a long poem about a Frost Fair from a Print of 1684. THE GILDED LILY is out now, here's the trailer - enjoy!

The conflict between monarchy and Parliament had its origins in Charles I's belief in the Divine Right of Kings. The English Civil War was really three wars fought between 1642 and 1651.

Dyrham Park and its fine 17th century mansion is a short car journey from my home - I posted the grounds and house previously here. Inside the mansion is a famous trompe l'oeil painting by Samuel Van Hoogstraten. The painting is displayed in a doorway across a hallway in order to create an illusion and literally 'fool the eye' of the observer. The artist draws us through an archway and into a Dutch interior. via The image depicts the possible loss of innocence as indicated by the birdcage dominating the top of the painting. A birdcage with the door open is a symbol of virginity lost. However, in this painting the door is open but the green parrot has not flown. It waits in the entrance - will it fly or will it stay within the cage? It is not easy to see in this photo but through the doorway beyond the staircase there is a pale faced young man looking through the window at a scene which shows an anxious looking girl. She faces towards her father who is wearing typical Dutch clothing of the period. There is another figure, perhaps her mother, sitting at the table. A small scrap of paper lies on the staircase - is it a love note accidentally dropped? Fidelity holds a key that signifies her absolute trustworthiness, a key hangs on the pillar to the righthand side of the painting. There is tension within the painting revealed by the arched back of the cat, and the young King Charles spaniel looks wary and apprehensive. The broom leaning beside the wall though considered primarily a female icon due to its domestic use, is also a fertility symbol of both sexes. The putti angels depicted on the archway can be symbolic of either God's protection or punishment. The outcome of the painting will never be known and will always remain a mystery.

Art curator Mark Stocker introduces us to the life and work of 17th century etcher Wenceslaus Hollar.

ab. 1620-1625 British School - Portrait of a Man

17th-century actress Nell Gywn depicted in composition laden with lewd symbolism

The Wenceslaus Hollar engravings featured here were fetched from the Hollar section of Wikimedia Commons. All the images displayed are British (as far as I know). Dutch genre paintings are not incl…