The Deeds of the Dukes of Normandy
The Gesta Normannorum Ducum [The Deeds of the Dukes of Normandy] is a landmark medieval chronicle tracing the rise and fall of the Norman dynasty from its early roots through the pivotal events surrounding the Norman Conquest of England. Originally penned in Latin by the monk William of Jumièges shortly before 1060 and later expanded at the behest of William the Conqueror, the work chronicles the deeds, politics, battles, and leadership of the Norman dukes, especially William’s own claim to the English throne. The narrative combines earlier historical sources with firsthand information and oral testimony to present an authoritative account of Normandy’s transformation from a Viking settlement into one of medieval Europe’s most powerful realms. William’s history emphasizes the legitimacy, military prowess, and governance of the Norman line, framing their expansion, including the conquest of England, as both divinely sanctioned and noble in purpose. Later chroniclers such as Orderic Vitalis and Robert of Torigni continued the history, extending the coverage into the 12th century, providing broader context on ducal rule and its impact. Today this classic work remains a foundational source for understanding Norman identity, medieval statesmanship, and the historical forces that reshaped England and Western Europe between 800AD and 1100AD.
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John Opie is in Painters.
. John Opie. Portrait of the artist's father-in-law James Alderson.
James Alderson: In 1742 he was born to J Alderson. In October 1825 he died.
On 16th May 1761 John Opie was born.
On 4th December 1782 John Opie [aged 21] and Mary Bunn were married at St Martin in the Fields Church [Map].
Dictionary of National Biography: Opie's first cares in his new prosperity were to surround his mother with comfort, and to provide himself with a wife. On 4 December 1782 he married Mary Bunn at the church of St. Martin-in-the-Fields. She was a daughter of Benjamin Bunn of St. Botolpn's, Aldgate, who combined the business of a solicitor with that of a money-lender. The match was unhappy. In 1795 the lady eloped with one John Edwards, and in the following year Opie obtained a divorce.
1785. John Opie [aged 23]. Self-portrait.
1787. John Opie [aged 25]. "The Murder of Rizzio".
Around 1790. John Opie [aged 28]. Portrait of Mary Wollstonecraft [aged 30].
1794. John Opie [aged 32]. Portrait of Henry Fuseli [aged 52].
In 1796 John Opie [aged 34] and Mary Bunn were divorced.
Around 1797. John Opie [aged 35]. Portrait of Mary Wollstonecraft [aged 37].
1798. John Opie [aged 36]. Portrait of the artist's wife Amelia Alderson [aged 28].
Amelia Alderson: On 12th November 1769 she was born to James Alderson and Amelia Briggs. On 2nd December 1853 she died at midnight. She was buried in the same grave as her father, in the Friends* burying-ground at Norwich.
Chronicle of a Bourgeois of Valenciennes
Récits d’un bourgeois de Valenciennes aka The Chronicle of a Bourgeois of Valenciennes is a vivid 14th-century vernacular chronicle written by an anonymous urban chronicler from Valenciennes in the County of Hainaut. It survives in a manuscript that describes local and regional history from about 1253 to 1366, blending chronology, narrative episodes, and eyewitness-style accounts of political, military, and social events in medieval France, Flanders, and the Low Countries. The work begins with a chronological framework of events affecting Valenciennes and its region under rulers such as King Philip VI of France and the shifting allegiances of local nobility. It includes accounts of conflicts, sieges, diplomatic manoeuvres, and the impact of broader struggles like the Hundred Years’ War on urban life in Hainaut. Written from the perspective of a burgher (bourgeois) rather than a monastery or royal court, the chronicle offers a rare lay viewpoint on high politics and warfare, reflecting how merchants, townspeople, and civic institutions experienced the turbulence of the 13th and 14th centuries. Its narrative style combines straightforward reporting of events with moral and civic observations, making it a valuable source for readers interested in medieval urban society, regional politics, and the lived experience of war and governance in pre-modern Europe.
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After 1798. John Opie [aged 36]. Portrait of the artist's wife Amelia Alderson [aged 28].
On 8th May 1798 John Opie [aged 36] and Amelia Alderson [aged 28] were married at St Marylebone Church.
Dictionary of National Biography: Meanwhile he had married again, and this time his choice was very fortunate. It was at an evening party at Norwich that he first met Amelia Alderson, the daughter of a doctor of that town, and cousin of Baron Alderson [aged 10]. He fell in love at first sight. They were married at Marylebone Church on 8 May 1798, and lived till his death at 8 Berners Street, whither he had moved in 1791. They were thoroughly suited to each other; she appreciated liis genius and character. A grace was afterwards observed in his works, especially his female portraits, which they had lacked before. At first fortune did not seem to favour them, and there was a short period at the end of 1801 and the beginning of 1802 when he was wholly without employment; Mrs. Opie considered these ' three alarming months ' as the severest trial in her married life. Then a ' torrent of business ' came, and never ceased to flow till the day of his death.
Around 1804. John Opie [aged 42]. Self-Portrait.
Around 1804. John Opie [aged 42]. Portrait of William Henry Hanover 1st Duke Gloucester and Edinburgh [aged 60].
. 1805. John Opie [aged 43]. Portrait of Robert Southey [aged 30].
. 1805. John Opie [aged 43]. Portrait of Edward Boscawen [aged 17].
1805. John Opie [aged 43]. Self-portrait.
1805. John Opie [aged 43]. Portrait of Bishop Shute Barrington [aged 70].
On 9th April 1817 John Opie [aged 55] died. He was buried at St Paul's Cathedral [Map].
On 2nd December 1853 [his former wife] Amelia Alderson [aged 84] died at midnight. She was buried in the same grave as her father, in the Friends* burying-ground at Norwich.