Even to contemporaries Louis XIII was an enigma, for he seemed to be the very embodiment of opposites. For example, when he overthrew his mother's Regency government in 1617, he claimed she had treated him as a child not as a son, yet the moment his 'coup' was successful he did not attempt to consolidate his authority, but sat on the floor "playing the child" he now claimed his mother had never allowed him to be. Further, he demanded the obedience of his nobility, yet continued to do things which elicited their scorn rather than their respect. After all, he fawned over court favorites, spoke with a stutter and seemed to enjoy his toy canons as much as he did the royal army he now ostensibly controlled. The purpose of this work is to show not only that Louis was a King without majesty, even though he was addressed as 'Your Majesty', but how he gradually came to acquire that majesty under the tutelage of Cardinal Richelieu. It does this first by drawing on the thought of Jean Bodin, the sixteenth century jurist, who showed that majesty flowed from sovereignty, and sovereignty meant that a ruler must not be subject to another in anything. Second, it applies this definition of sovereignty and majesty to Louis XIII, showing in detail how he did not even have control over his own life, much less over his court, country and coasts. It was Richelieu who gave him this control, making his rule unquestioned both in practice and in theory, separating him even from the scrutiny of the Catholic Church by making that Church subordinate to the state. Even more, Richelieu taught Louis how to carry himself like a King. Most of all, however, he taught Louis that the essence of majesty did not lie in demanding obedience but in exuding an authority that commanded it.

Economic reform completely dominated the later half of the nineteenth century. Cooperation proved the more dominant of alternatives. This study examines the significance the English working class perceived in their own Rochdale cooperation. The American labor press reveals the philosophy by which Americans adapted the English idea peculiar to their own cultural traditions. The Sovereigns of Industry are most representative of genuine cooperative practices in labor. The Texas Cooperative Association represents the largest agricultural cooperative undertaking. Both organizations have been examined primarily through their own records. The class fidelity among English workers and the need for class survival necessitated successful cooperation. The American worker, free of permanent caste, experienced no such solidarity and instead opted for individual advancement and upward social mobility.

ABSTRACT The purpose of this thesis is to assess the Crown’s Constitutional duty of consultation and its application on the holders of Treaty rights. Indigenous legal and Constitutional orders are the underpinning of the consensual Treaties. They were negotiated by sovereign nations through mutual consent and established a distinct Constitutional authority establishing rights, responsibilities and rules of coexistence. Their implementation is a Crown Constitutional obligation. This thesis argues that the duty to consult jurisprudence reveals systemic colonial problems in the common law Treaty rights paradigm by colonial interpretation, unilateral abridgement and justified infringement of the consensual Treaty. Further, judicial and politically created doctrines of the honour of the Crown and reconciliation are rendered meaningless when used as part of the ongoing colonial paradigm and abridgement of Treaties. This thesis argues that Canada must enter a post-colonial era by giving content to Indigenous legal and Constitutional orders by implementing Treaty through Treaty Constitutionalism. This requires Canada to undertake a Constitutional paradigm shift to accord the sacred and inviolable Treaties their proper place as foundational instruments in the building of Canada. This means, as well, that the only forum for proper consultation on the numbered Treaties is through Constitutional conferences with full and equal participation of Treaty First Nations.

Through the ages the portrayal of man on horseback has provided the sculptor with the chall~nge to solve one of the most baffling compositional problems in Art. The problem involves the balancing of a vertical mass on a large horizontal one, which in its turn rests on slender supports. To add to the complexity, the natural gait of the horse is unsuitable for artistic reproduction and must be skilfully modified so as to look natural and be aesthetically acceptable. Further, horse and rider must form a unity, which reflects the character of the rider. In spite of the formidable technical, compositional and aesthetic problems associated with this type of sculpture, the monumental equestrian statue has always been a popular form for honouring heroes and sovereigns. The representation of man controlling the powerful majestic horse and at the same time looking down on his fellow men from his elevated position on the back of the horse, appealed to the depostic ruler as well as to the man on the street. The monumental equestrian statue had its origin in the sixth century B.C. in ancient Greece. Since then it has flourished in times of autocracy. The ancient Greeks solved most of the technical, compositional and aesthetic problems of the equestrian statue. The Romans inherited the tradition of erecting equestrian statues from the Greeks and made it the sole privilege of sovereigns. Solutions to technical and compositional problems were taken over directly from the Greeks. The Romans, however, preferred bronze as a medium instead of marble. In spite of the compositional freedom which the use of bronze gave the sculptors, the Romans preferred a rest fur figure showing a rider as triumphator. During the Middle Ages most of the Roman equestrian statues were destroyed, with the exception of a few. The Marcus Aurelius in Rome was mistaken for a statue of Emperor Constantine, the first Christian emperor, and it was spared. Since it showed a barbarian beneath the forelegs of the horse, the statue became symbolic of Christianity overcoming paganism. In this sense the equestrian statue acquired symbolic funerary implications. Stone was the favourite medium and the sculptors of the Middle Ages solved numerous problems associated with the creation of an equestrian statue in this medium. Bronze equestrian figures were neglected because the technical know-how of the Greeks and Romans had been lost. The Renaissance once more focussed the attention on the individual, thereby reviving the truly secular commemorative equestrian statue of Classic Antiquity. Technical, compositional and aesthetic secrets of Antiquity were gleaned from surviving equestrian statues and antique sources. Donatello revived the Roman tradition of monumental bronze equestrian statues with his Gattamelata, while Verrocchio created the first secular equestrian monument since Antiquity with his Colleoni equestrian monument. Although Leonardo's Sforza and Trivulzio equestrian statues have not survived, the solutions which he found to technical, compositional and aesthetic problems while working on them, were to have a profound influence on all later equestrian statutes. A complete revisal of the commentaries on his notes connected with these monuments have proved that he not only renewed the entire technical approach to this sculptural form, but he also found new compositional and aesthetic solutioDuring the period from the Baroque to the end of the nineteenth century, Leonardo's innovations were implemented. The Giambologna studio in Italy established the proto-types for all Baroque equestrian statues. The French inherited this tradition. A complete history of all the French equestrian statues before the French Revolution is given. During the nineteenth century technical improvements resulted in the mass production of equestrian statues throughout the world. A complete history of all the equestrian monuments in South Africa is given and it is indicated how this form was adapted to South African conditions. Modern technical and compositional methods are discussed and evaluated.ns which completely revolutionised the creation of equestrian statues. / Thesis (PhD)--University of Pretoria, 1982. / gm2014 / Historical and Heritage Studies / Unrestricted