From
the
Rena
issa
nce
to
Engl
and’
s G
olde
n Ag
e
Timeli
ne Ca
rds
Cre
ativ
e C
om
mo
ns L
icen
sing
This
wor
k is
lice
nsed
und
er a
C
reat
ive
Com
mon
s A
ttrib
utio
n-N
onC
omm
erci
al-S
hare
Alik
e 4.
0 In
tern
atio
nal L
icen
se.
You
are
free
:to
Sha
re—
to c
opy,
dis
trib
ute,
and
tran
smit
the
wor
k to
Rem
ix—
to a
dapt
the
wor
k
Und
er t
he f
ollo
win
g c
ond
itio
ns:
Att
rib
utio
n—Yo
u m
ust a
ttrib
ute
the
wor
k in
the
fo
llow
ing
man
ner:
This
wor
k is
bas
ed o
n an
orig
inal
wor
k of
the
Cor
e K
now
ledg
e® F
ound
atio
n (w
ww
.cor
ekno
wle
dge.
org)
mad
e av
aila
ble
thro
ugh
licen
sing
und
er a
Cre
ativ
e C
omm
ons
Att
ribut
ion-
Non
Com
mer
cial
-Sha
reA
like
4.0
Inte
rnat
iona
l Li
cens
e. T
his
does
not
in a
ny w
ay im
ply
that
the
Cor
e K
now
ledg
e Fo
unda
tion
endo
rses
this
wor
k.
No
nco
mm
erci
al—
You
may
not
use
this
wor
k fo
r co
mm
erci
al p
urpo
ses.
Sha
re A
like—
If yo
u al
ter,
tran
sfor
m, o
r bu
ild u
pon
this
wor
k,
you
may
dis
trib
ute
the
resu
lting
wor
k on
ly u
nder
the
sam
e or
si
mila
r lic
ense
to th
is o
ne.
Wit
h th
e un
der
stan
din
g t
hat:
Fo
r an
y re
use
or d
istr
ibut
ion,
you
mus
t mak
e cl
ear
to
othe
rs th
e lic
ense
term
s of
this
wor
k. T
he b
est w
ay to
do
this
is w
ith a
link
to th
is w
eb p
age:
http
s://
crea
tivec
omm
ons.
org/
licen
ses/
by-n
c-sa
/4.0
/
Cop
yrig
ht ©
201
7 C
ore
Kno
wle
dge
Foun
datio
n w
ww
.co
rekn
ow
led
ge.
org
All
Rig
hts
Res
erve
d.
Cor
e K
now
ledg
e®, C
ore
Kno
wle
dge
Cur
ricul
um S
erie
s™,
Cor
e K
now
ledg
e H
isto
ry a
nd G
eogr
aphy
™ a
nd C
KH
G™
ar
e tr
adem
arks
of t
he C
ore
Kno
wle
dge
Foun
datio
n.
Trad
emar
ks a
nd tr
ade
nam
es a
re s
how
n in
this
boo
k st
rictly
for
illust
rativ
e an
d ed
ucat
iona
l pur
pose
s an
d ar
e th
e pr
oper
ty o
f the
ir re
spec
tive
owne
rs. R
efer
ence
s he
rein
sh
ould
not
be
rega
rded
as
affe
ctin
g th
e va
lidity
of s
aid
trad
emar
ks a
nd tr
ade
nam
es.
ISBN: 978-1-68380-276-1
The
Rena
issa
nce
Timeli
ne Ca
rds
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
People living during the Renaissance were interested in the writing of great thinkers and writers from ancient Greece (2500s–300s BCE), such as Plato and Socrates.
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
The architecture, art, and writings from ancient Rome (700s BCE–400s CE) also inspired people living during the Renaissance.
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
In the late Middle Ages (1200s–1300s), Europe experienced the growth of towns, an increase in trade, and the rise of a money economy.
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
The Italian Renaissance began in Italy in the mid-1300s.
Venice
FERRARA
LUCCA
SAVOY
FlorenceFLORENCE
TyrrhenianSea
Sicily
Mediterranean Sea
Adriatic Sea
Sard
inia
Cors
ica
FRANCE OTTOMANEMPIRE
Siena
Siena
Naples
KINGDOM O
F TWO SICILIES
Genoa
PAPALSTATES
Milan
Rome
REPUBLICOF VENICE
MODENA
MILAN MANTUA
The Italian Peninsula in the Renaissance
GENOA
S
W
0 200 miles
N
E
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
In the 1400s, trade expanded within Europe and between Europe, Asia, and the Middle East.
THE RENAISSANCE
CHAPTER 1: A New Dawn
Big Question: What factors helped bring about the age known as the Renaissance?
In about 1450, Johannes Gutenberg developed movable type in Europe.
THE RENAISSANCE
CHAPTER 2: From Artisan to ArtistIn the 1400s, Brunelleschi and Alberti invented the technique of perspective in painting, brilliantly demonstrated in Raphael’s School of Athens.
Big Question: What were some of the changes that occurred during the Renaissance for artists and the work they produced?
THE RENAISSANCE
CHAPTER 3: The Cradle of the Renaissance
Big Question: How did the success of merchants and bankers during the Renaissance benefit artists?
By 1429, Cosimo de’ Medici became the leader of the Medici family, which had banks in several important cities in Italy as well as in other European cities.
THE RENAISSANCE
CHAPTER 3: The Cradle of the Renaissance
Big Question: How did the success of merchants and bankers during the Renaissance benefit artists?
1400s–1770s: Florence was governed by the Medici family.
THE RENAISSANCE
CHAPTER 4: Rome and the Renaissance Popes
Big Question: How did the Roman Catholic Church use the many talents of Renaissance artists?
The great Renaissance painter Raphael lived from 1483 to 1520.
THE RENAISSANCE
CHAPTER 5: Venice: Jewel of the Adriatic
Big Question: Why was Venice known as the “Jewel of the Adriatic” during the Renaissance period?
In about 1500, Venice was the leading commercial center in the Western world, controlling trade routes through Europe, the Middle East, and the rest of Asia.
THE RENAISSANCE
CHAPTER 5: Venice: Jewel of the Adriatic
Big Question: Why was Venice known as the “Jewel of the Adriatic” during the Renaissance period?
The Renaissance painter Titian (left) lived from about 1485 to 1576. He painted many celebrated portraits of men and women, such as the one on the right.
THE RENAISSANCE
CHAPTER 6: Leonardo da Vinci
Big Question: Why might Leonardo da Vinci be described as a symbol of the Renaissance?
The Renaissance man Leonardo da Vinci (below) lived from 1452 to 1519, and he painted such masterpieces as The Last Supper (left).
THE RENAISSANCE
CHAPTER 7: Michelangelo
Big Question: What does the art that Michelangelo created tell us about the Catholic Church at this time in history?
Michelangelo (left) was a master painter and sculptor who lived from 1475 to 1564. Among his greatest works is this sculpture of the Pieta (right).
THE RENAISSANCE
CHAPTER 8: Two “How-To” Men
Big Question: Why might people have been shocked by Machiavelli’s book The Prince?
In 1513, Machiavelli wrote The Prince. The printed version was first published in 1532.
THE RENAISSANCE
CHAPTER 8: Two “How-To” Men
Big Question: Why might people have been shocked by Machiavelli’s book The Prince?
In 1528, Castiglione published The Courtier.
THE RENAISSANCE
CHAPTER 9: The Renaissance in Northern Europe
Big Question: How did the ideas of the Renaissance spread to other parts of Europe?
German artist Albrecht Dürer (left) lived from 1471 to 1528. He created many outstanding paintings and engravings, such as the one shown on the right.
THE RENAISSANCE
CHAPTER 9: The Renaissance in Northern Europe
Big Question: How did the ideas of the Renaissance spread to other parts of Europe?
Spanish author Miguel de Cervantes lived from 1547 to 1616.
THE RENAISSANCE
CHAPTER 9: The Renaissance in Northern Europe
Big Question: How did the ideas of the Renaissance spread to other parts of Europe?
The English playwright and poet William Shakespeare lived from 1564 to 1616.
The
Refo
rmat
ion
Timeli
ne Ca
rds
THE REFORMATION
Introduction: CHAPTER 1The Renaissance, which started in Italy in the 1400s, was a time of great artistic and literary achievement. Patrons of the arts and learning included the pope, the Catholic Church, and wealthy families, such as the Medicis.
THE REFORMATION
CHAPTER 1: An Age of Change
Big Question: What were the obvious advantages of the development of the printing press?
In 1440, Johannes Gutenberg developed movable type in Europe.
THE REFORMATION
CHAPTER 2: The Birth of Protestantism
Big Question: Why was Luther’s religious revolution more successful than earlier reformers’ attempts?
In 1517, Martin Luther attached a copy of his Ninety-five Theses, or statements, to the door of the church in Wittenberg, Germany. These statements explained Luther’s religious ideas.
THE REFORMATION
CHAPTER 3: The Spread of Protestantism
Big Question: Besides Lutheranism, what other Protestant religions developed in Europe?
John Calvin wrote the Institutes of the Christian Religion in 1536. Calvin and his writings had major influences on the evolution of the Protestant revolution against the teachings of the Roman Catholic Church.
THE REFORMATION
CHAPTER 3: The Spread of Protestantism
Big Question: Besides Lutheranism, what other Protestant religions developed in Europe?
King Henry VIII of England established the Church of England when the pope refused to annul his marriage to his first wife, Catherine.
THE REFORMATION
CHAPTER 4: A Revolution in Science
Big Question: How might scientific discovery have challenged religious belief?
In 1543, the Polish astronomer Copernicus published his revolutionary theory that Earth revolved around the sun. By placing the sun at the center of a system within a larger universe, with Earth moving around the sun, Copernicus’s theory called into question long held beliefs about the universe.
THE REFORMATION
CHAPTER 4: A Revolution in ScienceGalileo built a more powerful telescope and confirmed Copernicus’s theory of the universe.
Big Question: How might scientific discovery have challenged religious belief?
THE REFORMATION
CHAPTER 4: A Revolution in Science
Big Question: How might scientific discovery have challenged religious belief?
In 1633, Galileo was condemned by the Church for heresy and was forced to recant his support of Copernicus’s theory.
THE REFORMATION
CHAPTER 5: Reform Within the Church
Big Question: What were the outcomes of the Counter-Reformation?
Ignatius Loyola and Pope Paul III were two leaders of the Counter-Reformation who worked to bring about reform within the Catholic Church.
Engl
and
in th
e G
olde
n Ag
e
Timeli
ne Ca
rds
ENGLAND IN THE GOLDEN AGE
Introduction: CHAPTER 1In 1517, Martin Luther attached his Ninety-five Theses to the door of the church in Wittenberg, Germany.
ENGLAND IN THE GOLDEN AGE
Introduction: CHAPTER 1In 1534, Henry VIII of England broke from the Catholic Church and established the Church of England.
ENGLAND IN THE GOLDEN AGE
CHAPTER 1: Elizabeth IQueen Elizabeth I (1533–1603) ruled England for almost half a century, raising her kingdom to a peak of glory.
Big Question: How did Queen Elizabeth I manage the conflicts between the Catholics and the Protestants?
ENGLAND IN THE GOLDEN AGE
CHAPTER 1: Elizabeth IWilliam Shakespeare (c. 1564–1616), one of the greatest English playwrights, wrote plays to entertain Elizabeth I and her successor.
Big Question: How did Queen Elizabeth I manage the conflicts between the Catholics and the Protestants?
ENGLAND IN THE GOLDEN AGE
CHAPTER 2: Britannia Rules the Waves
Big Question: Why might the Catholics in England have chosen to be loyal to their Protestant queen, rather than support King Philip of Spain?
Between 1577 and 1580, Sir Francis Drake robbed other ships’ treasures to give to Queen Elizabeth I of England.
ENGLAND IN THE GOLDEN AGE
In 1588, English ships defeated the Spanish Armada.
CHAPTER 2: Britannia Rules the Waves
Big Question: Why might the Catholics in England have chosen to be loyal to their Protestant queen, rather than support King Philip of Spain?
ENGLAND IN THE GOLDEN AGE
CHAPTER 3: The Civil WarAt Elizabeth’s death, James VI of Scotland became King James I of England in 1603.
Big Question: Why did Parliament distrust Charles I and his wife Henrietta?
ENGLAND IN THE GOLDEN AGE
CHAPTER 3: The Civil War
Big Question: Why did Parliament distrust Charles I and his wife Henrietta?
In 1607, a group of English colonists settled in Virginia and named their colony Jamestown, after King James I.
ENGLAND IN THE GOLDEN AGE
CHAPTER 3: The Civil WarKing Charles I married Henrietta Maria, the Catholic daughter of the king of France, in 1625.
Big Question: Why did Parliament distrust Charles I and his wife Henrietta?
ENGLAND IN THE GOLDEN AGE
CHAPTER 3: The Civil WarDuring the English Civil War (1642–1651), the nobles who supported King Charles were called Cavaliers (left). Those who supported the Parliament were called Roundheads (right).
Big Question: Why did Parliament distrust Charles I and his wife Henrietta?
ENGLAND IN THE GOLDEN AGE
CHAPTER 4: The Puritan RulerCromwell led Parliament’s army to victory in the English Civil War, which ended in 1651. His troops, nicknamed Ironsides, never lost a battle.
Big Question: Why might Oliver Cromwell have once earned the reputation of being a dictator?
ENGLAND IN THE GOLDEN AGE
CHAPTER 4: The Puritan RulerCharles I was tried and executed in 1649.
Big Question: Why might Oliver Cromwell have once earned the reputation of being a dictator?
ENGLAND IN THE GOLDEN AGE
CHAPTER 4: The Puritan RulerIn 1653, Oliver Cromwell became Lord Protector of Great Britain.
Big Question: Why might Oliver Cromwell have once earned the reputation of being a dictator?
ENGLAND IN THE GOLDEN AGE
CHAPTER 5: Merry Monarch and BrotherIn 1660, the English Parliament invited Charles II back to England to be king. This period was known as the Restoration.
Big Question: Why did many people not want James II to be king?
ENGLAND IN THE GOLDEN AGE
CHAPTER 5: Merry Monarch and BrotherThe bubonic plague and the 1666 Great Fire of London created hardship and difficult times for many English people.
Big Question: Why did many people not want James II to be king?
ENGLAND IN THE GOLDEN AGE
CHAPTER 6: The Glorious RevolutionThe transfer of power in the late 1680s from James II to William of Orange and his wife, Mary, became known as the Glorious Revolution.
Big Question: Why was a foreign ruler invited to invade England?
ENGLAND IN THE GOLDEN AGE
CHAPTER 6: The Glorious RevolutionIn the late 1680s, the English Bill of Rights was an important step in limiting the power of kings and queens, and in creating a more democratic government in England.
Big Question: Why was a foreign ruler invited to invade England?
The R
enai
ssan
ceSu
bjec
t Mat
ter E
xper
tAn
n E. M
oyer,
PhD,
Depa
rtmen
t of H
istory
, Univ
ersity
of Pe
nnsyl
vania
Illus
trat
ion
and
Phot
o Cre
dits
Title
Scho
ol of
Athe
ns, f
rom th
e Sta
nza
della
Seg
natur
a, 15
10–1
1 (fr
esco
), Ra
phae
l (Ra
ffaell
o San
zio of
Urb
ino) (
1483
–152
0) /
Vatic
an M
useu
ms an
d Ga
llerie
s, Vati
can C
ity /
Bridg
eman
Imag
es
Chap
ter 1,
Card
1 Ric
hard
Cumm
ins/S
uperS
tock
Chap
ter 1,
Card
2 De
Agos
tini/S
uperS
tock
Chap
ter 1,
Card
3 Eff
ects
of Go
od Go
vern
ment
in Cit
y, de
tail fr
om Al
legor
y and
Effec
ts of
Good
an
d Ba
d Go
vern
ment
on To
wn a
nd C
ountr
y, 13
37–1
343,
by A
mbrog
io Lo
renze
tti (
activ
e 12
85–1
348)
, fres
co, R
oom
of Pe
ace,
Palaz
zo P
ublic
o, Sie
na, L
orenz
etti, A
mbrog
io (1
285-
c.134
8) /
Palaz
zo Pu
bblic
o, Sie
na, It
aly /
De Ag
ostin
i Pict
ure Li
brary
/ G. D
agli O
rti /
Bridg
eman
Imag
es
Chap
ter 1,
Card
5 Ms
Fr 28
10 f.5
1, Tra
nspo
rtatio
n of
spice
s to t
he w
est a
nd un
loadin
g spic
es
in th
e ea
st, m
iniatu
re fro
m Liv
re de
s me
rveille
s du
mon
de, c
.1410
–12
(temp
era on
vellu
m), B
oucic
aut M
aster
, (fl.1
390–
1430
) (an
d wo
rksho
p) /
Biblio
theq
ue N
ation
ale, P
aris,
Franc
e / D
e Ag
ostin
i Pict
ure L
ibrary
/ J.
E. Bu
lloz /
Bridg
eman
Imag
es
Chap
ter 1,
Card
6 Int
erior
of a 1
6th ce
ntury
printi
ng w
orks,
copy
of a
minia
ture f
rom ‘C
hants
roy
aux s
ur la
Conc
eptio
n cou
ronne
e du P
uy de
Roue
n’ (co
lour li
tho)
, Fren
ch
Scho
ol, (
16th
cen
tury)
(after
) /
Biblio
theq
ue N
ation
ale, P
aris,
Franc
e /
Bridg
eman
Imag
es
Chap
ter 2
Scho
ol of
Athe
ns, f
rom th
e Sta
nza
della
Seg
natur
a, 15
10–1
1 (fr
esco
), Ra
phae
l (Ra
ffaell
o San
zio of
Urb
ino) (
1483
–152
0) /
Vatic
an M
useu
ms an
d Ga
llerie
s, Vati
can C
ity /
Bridg
eman
Imag
es
Chap
ter 3,
Card
1 Co
simo d
e’ Med
ici (I
l Vec
chio)
(138
9–14
63) 1
518 (
oil on
pane
l), Po
ntorm
o, Jac
opo (
1494
–155
7) / G
alleri
a deg
li Uffiz
i, Flor
ence
, Italy
/ Brid
gema
n Ima
ges
Chap
ter 3,
Card
2 Th
e ‘Ca
rta d
ella
Caten
a’ sh
owing
a p
anora
ma o
f Flor
ence
, 149
0 (d
etail
of 16
1573
)
Chap
ter 4
Self P
ortra
it, c.1
506 (
tempe
ra on
woo
d), R
apha
el (R
affae
llo Sa
nzio
of Ur
bino)
(1
483–
1520
) / Ga
lleria
degli
Uffiz
i, Flor
ence
, Italy
/ Br
idgem
an Im
ages
Chap
ter 4
Pope
Leo
I (c.
390–
461)
Rep
ulsing
Atti
la (c.
406–
453)
151
1–14
(fres
co),
Raph
ael (
Raffa
ello S
anzio
of U
rbino
) (14
83–1
520)
/ Va
tican
Mus
eums
and
Galle
ries, V
atica
n City
/ Al
inari /
Bridg
eman
Imag
es
Chap
ter 5,
Card
1 Th
e Mira
cle of
the R
elic o
f the
True
Cros
s on t
he R
ialto
Bridg
e, 14
94 (o
il on
canv
as) (
see a
lso 11
9437
), Ca
rpacci
o, Vit
tore (
c.146
0/5–
1523
/6) /
Gall
eria
dell’ A
ccade
mia,
Venic
e, Ita
ly / B
ridge
man I
mage
s
Chap
ter 5,
Card
2 Se
lf Por
trait, c
.1562
–64 (
oil on
canv
as), T
itian (
Tizian
o Vec
ellio)
(c.14
88–1
576)
/ Ga
lleria
degli
Uffiz
i, Flor
ence
, Italy
/ Br
idgem
an Im
ages
Chap
ter 5,
Card
3 Po
rtrait
of Isa
bella
d’Este
(147
4–15
39), T
itian (
Tizian
o Vec
ellio)
(c.14
88–1
576)
/ Ku
nsth
istori
sches
Mus
eum,
Vien
na, A
ustri
a / Al
i Mey
er / B
ridge
man I
mage
s
Chap
ter 6
Wes
tend6
1/Su
perst
ock
Chap
ter 6
Fine A
rt Im
ages
/Sup
erstoc
k
Chap
ter 7
Portr
ait o
f Mich
elang
elo, c
a 15
35, b
y Jac
opino
del
Conte
(151
0–15
98) /
De
Agos
tini P
icture
Libra
ry / B
ridge
man I
mage
s
Chap
ter 7
Pieta
by M
ichela
ngelo
(147
5–15
64),
St Pe
ter’s
Basil
ica in
Vati
can
City
/ De
Agos
tini P
icture
Libra
ry / M
. Carr
ieri /
Bridg
eman
Imag
es
Chap
ter 8,
Card
1 ak
g–im
ages
/Sup
erstoc
k
Chap
ter 8,
Card
2 Pe
ter W
illi/S
upers
tock
Chap
ter 9,
Card
1 Se
lf Por
trait a
t the
Age o
f Twen
ty-Eig
ht, 15
00 (o
il on p
anel)
, Düre
r or D
uerer
, Al
brech
t (14
71–1
528)
/ Al
te Pin
akoth
ek, M
unich
, Germ
any /
Brid
gema
n Im
ages
Chap
ter 9,
Card
2 Me
lanch
olia,
1514
(eng
raving
), Dü
rer o
r Due
rer, A
lbrec
ht (1
471–
1528
) /
Priva
te Co
llecti
on /
Bridg
eman
Imag
es
Chap
ter 9,
Card
3 Po
rtrait
of M
iguel
de Ce
rvante
s y Sa
aved
ra (1
547-
1615
), Jau
regui
y Agu
ilar,
Juan
de (c
.1566
–164
1) /
Priva
te Co
llecti
on /
Bridg
eman
Imag
es
Chap
ter 9,
Card
4 Po
rtrait
of W
illiam
Shak
espea
re (15
64–1
616)
c.161
0 (oil
on ca
nvas)
, Taylo
r, Joh
n (d.
1651
) (att
r. to)
/ Nati
onal
Portr
ait Ga
llery,
Lond
on, U
K / Br
idgem
an Im
ages
The R
efor
mat
ion
Subj
ect M
atte
r Exp
ert
Ann E
. Moy
er, Ph
D, De
partm
ent o
f Hist
ory, U
nivers
ity of
Penn
sylva
nia
Illus
trat
ion
and
Phot
o Cre
dits
Title
akg-
imag
es/Su
perSt
ock
Chap
ter 1,
Card
1 We
stend
61/W
esten
d61/
Supe
rstoc
k
Chap
ter 1,
Card
1 Su
perSt
ock/S
uperS
tock
Chap
ter 1,
Card
1 Ibe
rfoto/
Iberfo
to/Su
perSt
ock
Chap
ter 1,
Card
1 Co
simo d
e’ Med
ici (Il
Vecch
io) (1
389-
1463
) 151
8 (oil
on pa
nel),
Ponto
rmo,
Jacop
o (14
94-1
557)
/ Gall
eria d
egli U
ffizi, F
loren
ce, Ita
ly / B
ridge
man
Imag
es
Chap
ter 1,
Card
1 Th
e Glob
e The
atre,
Engli
sh Sc
hool,
(20th
centu
ry) / P
rivate
Colle
ction
/ ©
Look
and L
earn
/ Brid
gema
n Ima
ges
Chap
ter 1,
Card
2 Int
erior
of a 1
6th ce
ntury
printi
ng w
orks,
copy
of a
minia
ture f
rom ‘C
hants
roy
aux s
ur la
Conc
eptio
n cou
ronne
e du P
uy de
Roue
n’ (co
lour li
tho), F
rench
Sc
hool,
(16th
cen
tury)
(after
) / B
ibliot
hequ
e Na
tiona
le, P
aris,
Franc
e /
Bridg
eman
Imag
es
Chap
ter 2,
Card
3 ak
g-im
ages/
Supe
rStoc
k
Chap
ter 3,
Card
4 Ar
t Arch
ive, Th
e/Su
perSt
ock
Chap
ter 3,
Card
5 Ar
t Arch
ive, Th
e/Su
perSt
ock
Chap
ter 4,
Card
6 Wo
rld Hi
story
Arch
ive/S
uperS
tock
Chap
ter 4,
Card
7 Ga
lileo,
Engli
sh Sc
hool,
(20th
centu
ry) /
Priva
te Co
llecti
on /
© Lo
ok an
d Le
arn / B
ridge
man I
mage
s
Chap
ter 4,
Card
8 Pe
ter W
illi/S
upers
tock
Chap
ter 5,
Card
9 Po
pe Pa
ul III
(146
8-15
49) R
eceiv
ing th
e Rule
of th
e Soc
iety o
f Jesu
s, 15
40
(engra
ving)
by
C. Ma
lloy
(16th
centu
ry) /
Biblio
thequ
e Na
tiona
le, P
aris,
Franc
e / Br
idgem
an Im
ages
Engl
and
in th
e Gol
den
Age
Subj
ect M
atte
r Exp
ert
John J
osep
h Butt
, PhD
, Dep
artme
nt of
Histor
y, Jam
es Ma
dison
Unive
rsity
Illus
trat
ion
and
Phot
o Cre
dits
Title
Qu
een E
lizab
eth I ,
c.160
0 (oil
on pa
nel),
Engli
sh Sc
hool,
(16th
centu
ry) / N
ation
al Po
rtrait
Galle
ry, Lo
ndon
, UK /
Bridg
eman
Imag
es
Introd
uctio
n (Ch
apter
1), C
ard 1
akg-
imag
es/Su
perSt
ock
Introd
uctio
n (Ch
apter
1), C
ard 2
Art A
rchive
, The/
Supe
rStoc
k
Chap
ter 1,
Card
3 Qu
een E
lizab
eth I ,
c.160
0 (oil
on pa
nel),
Engli
sh Sc
hool,
(16th
centu
ry) / N
ation
al Po
rtrait
Galle
ry, Lo
ndon
, UK /
Bridg
eman
Imag
es
Chap
ter 1,
Card
4 Po
rtrait
of W
illiam
Shak
espea
re (1
564–
1616
) c.16
10 (o
il on c
anva
s), Ta
ylor, J
ohn
(d.16
51) (
attr. t
o) / N
ation
al Po
rtrait
Galle
ry, Lo
ndon
, UK /
Bridg
eman
Imag
es
Chap
ter 2,
Card
5 Da
niel H
ughe
s
Chap
ter 2,
Card
6 Th
e Arm
ada b
eing d
estroy
ed by
Engli
sh fir
e ship
s, McC
onne
ll, Jam
es Ed
win
(190
3–95
) / Pr
ivate
Colle
ction
/ © Lo
ok an
d Lea
rn / B
ridge
man I
mage
s
Chap
ter 3,
Card
7 Po
rtrait
of Ja
mes V
I, 159
5 (oil
on ca
nvas)
, Van
son,
Adria
n (fl.1
580–
1601
) (att
r. to)
/ Pri
vate
Colle
ction
/ Pho
to ©
Philip
Mou
ld Ltd
, Lon
don /
Bridg
eman
Imag
es
Chap
ter 3,
Card
8 Br
yan B
eus
Chap
ter 3,
Card
9 Ch
arles
I of E
nglan
d (16
00–4
9) an
d Que
en He
nriett
a Mari
a (16
09–6
9) (o
il on
canv
as), D
yck, A
nthon
y van
(159
9–16
41) /
Palaz
zo Pi
tti, Fl
orenc
e, Ita
ly / B
ridge
man
Imag
es
Chap
ter 3,
Card
10
A Cav
alier
with
a Grey
Horse
(oil o
n pan
el), C
alrae
t, Abra
ham
van (
1642
–172
2) /
Apsle
y Hou
se, Th
e Well
ington
Mus
eum,
Lond
on, U
K / Br
idgem
an Im
ages
Chap
ter 3,
Card
10
Purita
n, Ro
undh
ead (
oil on
canv
as), P
ettie,
John
(183
9–93
) / Sh
effiel
d Gall
eries
and
Museu
ms Tru
st, UK
/ Pho
to ©
Mus
eums
Sheff
ield /
Bridg
eman
Imag
es
Chap
ter 4,
Card
11
Cromw
ell an
d his I
ronsid
es, ill
ustra
tion f
rom ‘A
Histo
ry of
Engla
nd’ b
y C.R.
L. Fle
tcher
and R
udya
rd Kip
ling,
1911
(colo
ur lith
o), F
ord, H
enry
Justi
ce
(186
0–19
41) /
Priva
te Co
llecti
on / T
he St
aplet
on Co
llecti
on / B
ridge
man I
mage
s
Chap
ter 4,
Card
12
Trial
of Ch
arles
I, Eng
lish Sc
hool,
(19th
centu
ry) / P
rivate
Colle
ction
/ © Lo
ok an
d Le
arn / B
ridge
man I
mage
s
Chap
ter 4,
Card
13
Portr
ait of
Olive
r Crom
well (
1599
–165
8) 16
49 (o
il on c
anva
s), W
alker,
Robe
rt (1
607–
60) /
Leed
s Mus
eums
and G
alleri
es (Le
eds A
rt Ga
llery)
U.K.
/ Brid
gema
n Im
ages
Chap
ter 5,
Card
14
Charl
es II d
ancin
g at a
ball a
t cou
rt, 16
60 (o
il on c
anva
s), Ja
nssen
s, Hier
onym
us
(162
4–93
) / Ro
yal C
ollec
tion T
rust ©
Her M
ajesty
Quee
n Eliz
abeth
II, 20
16 /
Bridg
eman
Imag
es
Chap
ter 5,
Card
15
The G
reat F
ire of
Lond
on, 1
666 (
print)
(see
also
5364
1), V
ersch
uier, L
ieve (
1630
–86)
(af
ter) /
Priva
te Co
llecti
on / B
ridge
man I
mage
s
Chap
ter 6,
Card
16
Willi
am III
of Gr
eat B
ritain
and I
relan
d (oil
on ca
nvas)
, Kne
ller, G
odfre
y (16
46–1
723)
(at
tr. to)
/ Sco
ttish N
ation
al Po
rtrait
Galle
ry, Ed
inburg
h, Sc
otlan
d / Br
idgem
an Im
ages
Chap
ter 6,
Card
16
Mary
II (oil
on ca
nvas)
, Wiss
ing, W
illem
(165
6–87
) (aft
er) / S
cottis
h Nati
onal
Portr
ait
Galle
ry, Ed
inburg
h, Sc
otlan
d / Br
idgem
an Im
ages
Chap
ter 6,
Card
17
Presen
tation
of th
e Bill
of Rig
hts to
Willi
am III
(165
0–17
02) o
f Oran
ge an
d Mary
II (1
662–
94) (
engra
ving)
, Eng
lish Sc
hool
/ Briti
sh M
useu
m, Lo
ndon
, UK /
Bridg
eman
Im
ages