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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Charles Allston Collins is in Painters.
On 25th January 1828 Charles Allston Collins was born to William Collins [aged 40]. His middle name 'Allston' the surname of his father's friend the American painter Washington Allston.
Before 1847. Charles Allston Collins [aged 18]. Portrait of William Collins [aged 58], the artist's father.
William Collins: In 1788 he was born. In 1847 he died.
In 1847 [his father] William Collins [aged 59] died.
1850. Charles Allston Collins [aged 21]. "Berengaria's Alarm for the Safety of Her Husband, Richard Coeur de Lion, Awakened by the Sight of His Girdle Offered for Sale at Rome".
Around 1851 in an undated letter, Charles Allston Collins [aged 22] wrote to Holman Hunt: "I have been very much occupied lately having taken the trouble of persuading a young lady [Sarah Eliza Hackett [aged 19]] to sit, who struck both Millais and myself as having possessed a very beautiful head – she was a friend of a friend of mine so after some trouble I managed to secure her, but I have been obliged to hurry very much as her time was limited. I had to pursue her to her own house and take sittings there, getting up very early for this purpose."
1851. Charles Allston Collins [aged 22]. "A Good Harvest of 1854".
1851. Charles Allston Collins [aged 22]. "May, in the Regent's Park".
1851 to 1852. Charles Allston Collins [aged 22]. "The Devout Childhood of Saint Elizabeth of Hungary". Detroit Institute of Arts, United States of America.
Before 13th May 1851. Charles Allston Collins [aged 23]. Study for Convent Thoughts.
Before 13th May 1851. Letter from Charles Allston Collins [aged 23] to William Holman Hunt [aged 24] regarding the picture "Convent Thoughts".
In or after June 1851. Charles Allston Collins [aged 23]. "Convent Thoughts". The passion flower symbolising the Passion of Christ. The missal in her left hand shows the Annunciation and Crucifixion. The model Sarah Eliza Hackett [aged 19]. The artist had borrowed the same costume fot the nun that William Holman Hunt [aged 24] has used for Claudio and Isabella. The flowers were all painted from nature in the garden of Thomas Combe's home in the quadrangle of the Clarendon Press in Oxford.
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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1853. Charles Allston Collins [aged 24]. Portrait of (probably) Catherine "Kate" Perugini nee Dickens [aged 13], the artist's wife.
The Diary of George Price Boyce 1853. 6th January 1853. To Rossetti's [aged 24], Blackfriars Bridge. Met there W. Holman Hunt [aged 25], J. E. Millais [aged 23], J. P. Seddon [aged 25], Clayton [aged 25], Munro [aged 27], whose charming group of Francesca and her lover was in Rossetti's studio, Stephens, Blanchard, C. Lucy, a Scotchman and a foreigner. Millais somewhat egotistical and little real, his attention being easily distracted. He jerked out some good remarks. Spoke highly of Ruskin [aged 33] as a friend of Art; said that Mrs. R [aged 24]. was sitting for one of his pictures. Hunt struck me as a thoroughly genuine, humorous, good-hearted, straightforward English-like fellow. Said he was bound for Syria before long. Millais spoke highly of Charles Collins [aged 24] as a good religious man?
In 1860 Charles Allston Collins [aged 31] and Catherine "Kate" Perugini nee Dickens [aged 20] were married.
Around 1865. Charles Allston Collins [aged 36]. Portrait of Wilkie Collins, the artist's brother.
On 9th April 1873 Charles Allston Collins [aged 45] died of cancer. He was buried at Brompton Cemetery, Kensington.
On 4th June 1874 Charles Edward Perugini [aged 34] and [his former wife] Catherine "Kate" Perugini nee Dickens [aged 34] were married at St. Paul's Church in Wilton Place, Knightsbridge. The guests included Georgina Hogarth, Mamie Dickens, Francis Jeffrey Dickens, Henry Fielding Dickens and Sir John Everett Millais [aged 44]. They had married earlier, 1st September 1839, at a registry office, with witnesses, and strangers, Henry Thomas Mitcham and Ernest Edward Earle.
On 9th May 1929 [his former wife] Catherine "Kate" Perugini nee Dickens [aged 89] died.