The Scottish People, 1490-1625 is one of the most comprehensive texts ever written on Scottish History. All geographical areas of Scotland are covered from the Borders, through the Lowlands to the Gàidhealtachd and the Northern Isles. The chapters look at society and the economy, Women and the family, International relations: war, peace and diplomacy, Law and order: the local administration of justice in the localities, Court and country: the politics of government, The Reformation: preludes, persistence and impact, Culture in Renaissance Scotland: education, entertainment, the arts and sciences, and Renaissance architecture: the rebuilding of Scotland. In many past general histories there was a relentless focus upon the elite, religion and politics. These are key features of any medieval and early modern history books, but The Scottish People looks at less explored areas of early-modern Scottish History such as women, how the law operated, the lives of everyday folk, architecture, popular belief and culture.

Lady Anne Bacon Drury (1572-1624) was the granddaughter and niece of two of England's Lord Keepers of the Great Seal, Sir Nicholas Bacon and Sir Francis Bacon. Lady Anne was also the friend and patroness of John Donne and Joseph Hall; however, she deserves to be remembered in her own right. Within her massive country house, Lady Anne created a tiny painted room that she seems to have used as a kind of three-dimensional book. The walls consisted of panels of pictures and mottoes, grouped under Latin sentences. These panels can still be viewed in a Suffolk museum: Christchurch Mansion in Ipswich. Some panels point to classical and Biblical sources, and to popular emblem books. The sources of other panels are more recondite, while still others are original compositions by Lady Anne. The panels exhibit a contemptus mundi theme and reflect a struggle with ambition, pride, and even despair. Some panels also appear to register carefully veiled but pointed critiques of political and religious events and figures. Lady Anne's painted closet or 'architext' is thus relevant to a wide range of early modern scholarship in various disciplines but is as yet largely unappreciated. For the first time in four hundred years, this book fully describes the closet and places it in its personal, social, intellectual, and aesthetic contexts. It argues for the painted closet's importance for understanding early modern conceptualizations of private and public spaces, and for illuminating fundamental early modern habits of seeing and reading (especially combinations of text and image). Finally, this book explores the closet as an example of the ingenious ways in which female subjectivity found ways to express itself even within the constraints of early modern patriarchal society in England.

In this interdisciplinary collaboration, an international group of scholars have come together to suggest new directions for the study of the family in Scotland circa 1300-1750. Contributors apply tools from across a range of disciplines including art history, literature, music, gender studies, anthropology, history and religious studies to assess creatively the broad range of sources which inform our understanding of the pre-modern Scottish family. A central purpose of this volume is to encourage further studies in this area by highlighting the types of sources available, as well as actively engaging in broader historiographical debates to demonstrate how important and effective family studies are to advancing our understanding of the past. Articles in the first section demonstrate the richness and variety of sources that exist for studies of the Scottish family. These essays clearly highlight the uniqueness, feasibility and value of family studies for pre-industrial Scotland. The second and third sections expand upon the arguments made in part one to demonstrate the importance of family studies for engaging in broader historiographical issues. The focus of section two is internal to the family. These articles assess specific family roles and how they interact with broader social forces/issues. In the final section the authors explore issues of kinship ties (an issue particularly associated with popular images of Scotland) to examine how family networks are used as a vehicle for social organization.

This stunning book reveals in depth the variety and development of decorative paintings in Scottish buildings of the 16th and 17th centuries, as important as any in Europe. Most have never before been seen in one place or described. The result of 10 years of research, Renaissance Decorative Painting in Scotland contains 100 examples from ceilings, moldings, plaster, stonework, walls, window embrasures, overmantels and vaulting--from the palaces of royalty to the castles of noblemen to modest burgess houses. The imagery ranges from religious and classical, to emblematic and grotesque pictures that are full of meaning, to the antique, to tromp I'oeil. The author has managed to catalogue all known examples and has also included valuable information on different types of painting, on materials and processes.

Analyses the relations between nobility, crown and state, first in Scotland and then in the first courts of the unified kingdoms.

The first exclusive study of a group of buildings of outstanding historical and architectural interest. John G. Dunbar discusses the organisation of the royal works, the roles of the principal officials and tradesmen responsible for the construction of these palaces and how they functioned when the king and court were in residence. He focuses particularly on Linlithgow, Falkland, Stirling, Holyroodhouse and Edinburgh Castle.

This book is a new edition of David Stevenson's classic account of the origins of Freemasonry, a brotherhood of men bound together by secret initiatives, rituals and modes of identification with ideals of fraternity, equality, toleration and reason. Beginning in Britain, Freemasonry swept across Europe in the mid-eighteenth century in astonishing fashion--yet its origins are still hotly debated today. The prevailing assumption has been that it emerged in England around 1700, but David Stevenson demonstrates that the real origins of modern Freemasonry lie in Scotland around 1600, when the system of lodges was created by stonemasons with rituals and secrets blending medieval mythology with Renaissance and seventeenth-century history. This fascinating work of historical detection will be essential reading for anyone interested in Renaissance and seventeenth-century history, for freemasons themselves, and for those readers captivated by the secret societies at the heart of the bestselling The Da Vinci Code. David Stevenson is Emeritus Professor of Scottish History at the University of St. Andrews. His many previous publications include The Scottish Revolution, 1637-1644; Revolution and Counter-Revolution in Scotland, 1644-1651; and The First Freemasons; Scotland, Early Lodges and their Members. His most recent book is the The Hunt for Rob Roy (2004). Previous edition Hb (1988) 0-521-35326-2 Previous edition Pb (1990) 0-521-39654-9