http://hdl.handle.net/10023/2577 2013-05-18T14:56:28Z 2013-05-18T14:56:28Z Mayhew, Charlotte E. J. http://hdl.handle.net/10023/2912 2012-07-04T12:05:44Z 1988-01-01T00:00:00Z

Abstract: The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them. No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both.

1988-01-01T00:00:00Z Mayhew, Charlotte E. J. The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them. No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both. Fitzalan Howard, Philip http://hdl.handle.net/10023/2578 2012-05-02T14:45:50Z 1988-01-01T00:00:00Z

Abstract: Chapter 1 attempts to place Bruce’s career in a political context and argues that Bruce may not have contributed as much to the Restoration of Charles II as has been suggested. Chapter 2 examines Bruce’s education and the early influence on his architecture; and his first practical experience in Edinburgh and at Leslie House, Fife. Chapter 3 assesses how much of Balcaskie House existed before Bruce bought the property in 1665. Chapter 4 attempts to identify what Bruce added to Balcaskie by analysing the surviving building-accounts, concentrating on his remodelling of the interior, the gardens, and the rationalisation of the entrance front. Chapter 5 examines what influence Bruce’s architecture had on his contemporaries, with special reference to Kinneil House. I have written this dissertation first because I believe Balcaskie to have been neglected and underestimated by all architectural historians, and secondly in order to find out more about Bruce’s early life – and at the same time to question some of the assumptions which have been made about him. I conclude that Balcaskie may claim to be the first Scottish classical house.

1988-01-01T00:00:00Z Fitzalan Howard, Philip Chapter 1 attempts to place Bruce’s career in a political context and argues that Bruce may not have contributed as much to the Restoration of Charles II as has been suggested. Chapter 2 examines Bruce’s education and the early influence on his architecture; and his first practical experience in Edinburgh and at Leslie House, Fife. Chapter 3 assesses how much of Balcaskie House existed before Bruce bought the property in 1665. Chapter 4 attempts to identify what Bruce added to Balcaskie by analysing the surviving building-accounts, concentrating on his remodelling of the interior, the gardens, and the rationalisation of the entrance front. Chapter 5 examines what influence Bruce’s architecture had on his contemporaries, with special reference to Kinneil House. I have written this dissertation first because I believe Balcaskie to have been neglected and underestimated by all architectural historians, and secondly in order to find out more about Bruce’s early life – and at the same time to question some of the assumptions which have been made about him. I conclude that Balcaskie may claim to be the first Scottish classical house.