Yes / The Bourbon restoration’s foreign policy is traditionally seen as cautious and conservative, broadly accepting the Vienna settlement, and doing little to recover France’s great-power status lost in 1815. In this view, such acts of assertion as the 1823 Spanish expedition were very much exceptions to the rule. This article argues that, on the contrary, the restored Bourbons’ will to challenge the verdict of 1815 has been significantly underestimated. In particular, it uses neglected archival sources to reconstruct the strenuous efforts made by Charles X and his ministers in the late 1820s to achieve this through an alliance with Russia. The role of domestic considerations in this developing forward policy, above all the perception that retrieving France’s position abroad was the best way of strengthening the regime at home, is also underlined.

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At least 65 of the books, pamphlets or broadsides printed in England in foreign vernaculars during the period covered by the Short Title Catalogue share a common characteristic: there is no clear indication anywhere on their title-pages, or within their colophons or texts, that they were printed in England and by English printers. Often the purpose of these ommissions was not so much to conceal the fact that the books were printed in England as to create a false impression that they were printed abroad. This thesis tries to resolve the various problems set by this class of book. As many as possible of the works have been identified, and bibliographical descriptions and photographs are given of all title-pages ornaments and capital initials contained in them. Although in the main printers have been identified through the presence of ornaments and initials to be found in other books which contain their full and clear imprint, occasionally supporting evidence of a different nature has been discovered and presented. The problems raised by these books are complex, and an Introduction of six chapters examines the background and origin of each individual item and attempts at the same time to trace the historical development of this distinctive branch of printing. Copies have been located in every major library in England and on the continent with the aim of discovering the trends and patterns of their sale and distribution, and it has been possible to distinguish sub-categories of these books which share a surprising number of characteristics. Thus in the period of nearly 90 years between the first of these publications, in 1552-3, and the delimiting date of 1640, there are three clear stages of evolution, each occupying approximately 30 years. The first, from 1553 to early 1584, is marked by the casual ommission of imprints. No fictitious imprints are found, and the motives of the various printers do not go beyond an implied intention to conceal the truth. The second stage begings in late 1584 and ends wwith the death of Sir Robert Cecil, Earl of Salisbury, in 1612. It was inaugurated by John Wolfe, a London printer who travelled and practised his craft in Italy and Germany before settin up shop in his own country. The privilege of printing certain profitable books was monopolised in late Elizabethan London by a small group of established printers, and newcomers often had difficulty in finding sufficient profitable material to keep their presses occupied. John Wolfe was one of these newcomers and in the course of his efforts to keep his presses busy he hit upon the idea of reprinting, in the original Italian, editions of well-known works by Machiavelli and Pietro Arentino which could no longer be produced in Italy after they had been placed on the recently-established Index Liborum Prohibitorum. There was no law of international copyright at that time, and in using fictitious impints in most of his early books in foreign vernaculars Wolfe was guided entirely by commercial considerations. English books printed in foriegn languages had a bad reputation in both foreign and domestic markets, since the insular English printer seldom had access to compositors with a reasonable grasp of foreign languages, and the occasional attempts to print in foreign vernaculars had usually resulted in inaccurate or even garbled texts. A statement made by John Charlewood to Giordano Bruno confirms this interpretation of Wolfe's motives; and it should be emphasised that at no time during this period did the English Government or the Stationers' Company express disapproval of the printing of any of these works. Wolfe naturally had his imitators. Charlewood in London and Joseph Barnes in Oxford both tried this expedient for increasing their sales of books in foreign vernaculars. Neither of them persevered, but the growing threat of Spanish invasion introduced a new motive for the use of fictitious imprints. The urgency of the times compelled Lord Burghley to write and get published a pamphlet called 'The Copie of a Letter ... to Don Bernadin de Mendoza'. This appeared in September, 1588, just after the news had been received of the English victory over the Spanish Armada. Its translation into Italian, specifically entered to John Wolfe, was produced with a fictitious imprint and it was the first piece of political propaganda to be surreptitiously printed in England in a foreign vernacular. Wolfe continued to produce books with misleading imprints for another three years, but in 1591 he virtually ceased to do his own printing and his place in this particular branch of the trade was taken by Richard Field. Field's first productions of this sort were his editions of the French translation of Burghley's pamphlet. These were followed by a group of books and pamphlets which are all but one characterised by bearing only the date, with occasionally a non-committal imprint such as "Nouvellement Imprimé". The exception, the Pedaços de Historia by Antonio Péres, bears the imprint: 'Impressoo in Leon'; but this was the only occasion that Field ever used a completely fictitious imprint. His later publications in this category consist of the books written by his Italian proof-reader, Petruccio Ubaldini, which appeared without any imprint at all, except for the date; and the books written, translated or edited by his Spanish proof-reader, Cipriano de Valera. The works produced by de Valera bear only Field's name translated into Spanish (Ricardo del Campo), and they have no geographical location. This imprint was designed to be misleading as most of these books were printed with the intention that some copies should be clandestinely exported to Spain. Thus during this second stage the motives of the authors and printers developed into a conscious aim of suggesting a false origin for their wares. The third stage extends from 1612 to the delimiting date, 164O. Salisbury does not seem to have been responsible for any surreptitiously printed political propaganda. After the death of his father he was by far the most powerful man in the English Government, and possibly it was because he did not use these tactics that no one else seems to have dared or cared to use them either. Three trends emerge in this final stage, and one of them may be noted in a pamphlet that was surreptitiously printed at the time of Salisbury's death. The surreptitiousness is only incidental, consisting of the omission of the imprint; and, as in the first stage, the imprint was left out rather because the edition was produced for a private order than because the printer had any intention to mislead or deceive. The second trend, concerned with the production of propaganda directed against particular groups of foreigners, was a continuation of the methods discovered by Wolfe and pioneered by Burghley. This had become a well-known and accepted strategem, and it was used on various occasions for definite purposes. The third trend, the production of illegal political propaganda directed against the home Government, was inaugurated in 1632 with Harper's edition of The Prince. It is hoped that this thesis will fill a gap in English bibliography. Books in English can be hard enough to identify when they contain authentic imprints. The problem becomes much more complicated when the books, although in English, were printed abroad with fictitious imprints, or when they were printed in England in foreign vernaculars but bore a fictitious imprint or no imprint at all. Messrs. Allison and Rogers have studied the problems of books printed abroad, and the present thesis tries to clear up some of the difficulties surrounding the books surreptitiously printed in England. Sixty-five titles are discussed, of which some two-thirds are not in STC.

published_or_final_version / abstract / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / Politics and Public Administration / Doctoral / Doctor of Philosophy

The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.

This thesis examines the connection between participation in the British empire and constructions of Scottish national identity, through investigating the activities of civil society organisations in Scotland, in particular missionary societies and the Presbyterian churches in the 19th and early 20th centuries. Though empire is commonly thought to have had a significant impact on Scots' adoption of a British identity. The process of how representations of empire were transmitted and understood at home has been little explored. Similarly, religion is thought to have played an important role in supporting a sense of Scottish identity. but this theme has also been little explored. This thesis, then, examines evidence of civil society activity related to empire, including philanthropic and religious, learned and scientific, and imperial propagandist activities. In order to elucidate how empire was understood at home through the engagement with empire by civil society organisations. Of these forms of organisation. missionary societies and the churches were the most important in mediating an understanding of empire. The pattern of the growth and development of the movement in support of foreign missions is described and analysed, indicating its longevity, its typical functions and membership, and demonstrating both its middle class leadership and the active participation of women. Analysis of missionar) literature of a variety of types shows that dominant discourses of religion, race. gender and class produced iconic representations of the missionary experience which reflected the values of middle class Scots. The analysis also demonstrates both that representations of Scottish national identity were privileged over those of a British identity, but that these were complementary rather than being seen as in opposition to each other. Through examining the public profile of the missionary enterprise in the secular press it is shown that these representations were appropriated in the secular sphere to represent a specific Scottish contribution to empire. The thesis concludes that the missionary experience of empire. embedded as it was in the institutional life of the Presbyterian churches, had the capacity to generate representations and symbols of Scottish national identity which were widely endorsed in both religious and secular spheres in the age of high imperialism.

This thesis examines the built environment and culture of Scotland between 1560 and 1645 by analysing church buildings erected during the period. The mid-sixteenth century ecclesiastical Reformation and mid-seventeenth-century political and ecclesiastical tumult in Scotland provide brackets that frame the development of this physical aspect of Scottish cultural history. This thesis draws most heavily on architectural and ecclesiastical history, and creates a compound of the two methods. That new compound brings to the forefront of the analysis the people who produced the buildings and for whom the church institution operated. The evidence used reflects this dual approach: examinations of buildings themselves, where they survive, of documentary evidence, and of contemporary and modern maps support the narrative analysis. The thesis is divided into two sections: Context and Process. The Context section cements the place of the cultural contributions made by ecclesiastical buildings to Scottish history by analysing the ecclesiastical historical, theological, and political contexts of buildings. The historical analysis helps explain why, for example, certain places managed to build churches successfully while others took much longer. The creative tension between these on-the-ground institutions and theoretical ideas contributed to Scotland’s ability to produce cultural spaces. The Process section analyses the narratives of individual buildings in several different steps: Preparing, Building, Occupying, and Relating. These steps connected people with the physical entity of a church building. The Preparing chapter shows how many reasons in Scotland there were to initiate a building project. The Building chapter uses financial, design, and work narratives to tease out the intricacies of individual church stories. Occupying and Relating delve into later histories of individual congregations to understand how churches sat within the world about them. Early modern Scottish church building was immensely varied: the position, style, impact, purpose, and success of church buildings were different across the realm. The manner people building and using churches reacted to their environments played no small role in forming habits for future action. Church buildings thus played a role establishing who early modern Scottish people were, what their institutions did, and how their spirituality was lived daily.