The History of William Marshal was commissioned by his son shortly after William’s death in 1219 to celebrate the Marshal’s remarkable life; it is an authentic, contemporary voice. The manuscript was discovered in 1861 by French historian Paul Meyer. Meyer published the manuscript in its original Anglo-French in 1891 in two books. This book is a line by line translation of the first of Meyer’s books; lines 1-10152. Book 1 of the History begins in 1139 and ends in 1194. It describes the events of the Anarchy, the role of William’s father John, John’s marriages, William’s childhood, his role as a hostage at the siege of Newbury, his injury and imprisonment in Poitou where he met Eleanor of Aquitaine and his life as a knight errant. It continues with the accusation against him of an improper relationship with Margaret, wife of Henry the Young King, his exile, and return, the death of Henry the Young King, the rebellion of Richard, the future King Richard I, war with France, the death of King Henry II, and the capture of King Richard, and the rebellion of John, the future King John. It ends with the release of King Richard and the death of John Marshal.
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Antonio Canova is in Sculptors.
In 1793 Richard Westmacott (age 17) travelled to Rome, Italy [Map] to study under Antonio Canova (age 35). Within a year of his arrival in Rome he won the first prize for sculpture offered by the Florentine academy of arts, and in the following year (1795) he gained the papal gold medal awarded by the Roman Academy of St Luke with his bas-relief of Joseph and his brethren.
After 21st February 1814. Monument to Amelia Sophia Hume (deceased) in St Peter and St Paul Church, Belton [Map]. Sculpted by Antonio Canova (age 56).
1817. George Hayter (age 24). Portrait of Antonio Canova (age 59).
Memorials of Francis Chantrey RA in Hallamshire and Elsewhere Part V London Life and Works. Montgomery, whose opinions I quote the more freely, not merely because he has himself looked upon sculpture with a poet's eye, but also because he oft endeavoured to excite a similar taste in his gifted friend-says, "Nothing in sculpture is truly excellent but that which is pre-eminently so, because nothing less than the most successful strokes of the happiest chisel can powerfully affect the spectator, fix him in dumb astonishment, touch his heart strings with tender emotion, stir thought from its depths into ardent and earnest exercise. I appeal to all who hear me, whether, among a hundred of the monuments in our cathedrals, and the statues in our public places, they ever met with more than one or two that laid hold of their imagination, so as to haunt it both in retirement and in society? "Such are the Apollo Belvidere, the Venus de Medici, and other inestimable relics of antiquity; such the Moses and David of Michael Angelo; and such- ( to give an English example worthy to be named with these, judging solely by the power which it exercises over the purest and most universal of human sympathies, -- sympathies which can no more be bribed by artifice than they can help yielding to the impulse of nature ) -such, I say, is the simple memorial by our own Chantrey (age 35), in Lichfield Cathedral [Map], of two children that were 'lovely in their lives, and in death are undivided. Of these specimens, it may be affirmed, that they have shown how the narrow bonds of vulgar precedent may be left as far behind as a star in the heavens leaves a meteor in the air."1 There is not, indeed, a more exquisite group in the whole range of modern sculpture than Chantrey's "Two Children" in marble. The sisters lie asleep in each others arms in the most unconstrained and graceful repose. The snowdrops which the youngest had plucked are undropped from her hand, and both are images of artless beauty, and innocent and unaffected race. Such was the press to see these children in the London Exhibition, that there was no getting near them: mothers, with tears in their eyes, lingered, and went away, and returned; while Canova's (age 59) now far-famed figures of Hebe and Terpsichore stood almost unnoticed by their side. Chantrey modelled two other figures of this class, viz., a "Sleeping Child," the daughter of Sir Thos. Dyke Acland; and a "Reposing Infant," for Mr. Boswell, of Auchinleck.
Note 1. "Lectures on Poetry," p. 20.
In October 1817 John Gibson (age 27) travelled to Rome, Italy [Map] where he studied under Antonio Canova (age 59).
1819. John Jackson (age 40). Portrait of Antonio Canova (age 61).
In 1819 Francis Leggatt Chantrey (age 37) and John Jackson (age 40) travelled together to Italy. In Rome, Italy [Map] Chantrey met Antonio Canova (age 61).
In 1821 Richard James Wyatt (age 25) left England, and, after studying for a few months in Paris under Bosio, proceeded to Rome, and entered the studio of Antonio Canova (age 63), where he had John Gibson (1790–1866) as a fellow pupil.
Henrici Quinti, Angliæ Regis, Gesta, is a first-hand account of the Agincourt Campaign, and subsequent events to his death in 1422. The author of the first part was a Chaplain in King Henry's retinue who was present from King Henry's departure at Southampton in 1415, at the siege of Harfleur, the battle of Agincourt, and the celebrations on King Henry's return to London. The second part, by another writer, relates the events that took place including the negotiations at Troye, Henry's marriage and his death in 1422.
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In 1822 Joseph Gott (age 36) was sent to Rome on a pension from Sir Thomas Lawrence (age 52) who provided him with a personal letter of introduction to Antonio Canova (age 64). Gott remained in Rome for the rest of his life.
On 13th October 1822 Antonio Canova (age 64) died.
