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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Nicholas Hilliard is in Painters.
In 1547 Nicholas Hilliard was born in Exeter, Devon [Map].
In 1571 Nicholas Hilliard (age 24) produced "a booke of portraitures" for Robert Dudley 1st Earl of Leicester (age 38).
In 1572 Nicholas Hilliard (age 25) painted the "Phoenix Portrait" of Elizabeth I (age 38).
Research in 2010 found the painting used wood from the same tree used for the Pelican Portrait.
1572. Nicholas Hilliard (age 25). Portrait probably of Levina Bening aka Teerlinc (age 57).
In 1572 Nicholas Hilliard (age 25) painted the "Pelican Portrait" of Elizabeth I (age 38).
The Pelican being the pendant hung from her necklace of pearls; pearls a symbol of virginity. Pelicans traditionally used as sign of self-sacrifice since the Pelican was believed to peck at her own breast to feed her young; the symbolism meaning Elizabeth had sacrificed herself for England.
Other details include the highly decorated armlet above her elbow and many jewels over her red velvet gown and headress. The two cherries tucked into her right ear possibly refer to her virginity; possibly an over-interpretation of the modern use of cherry.
Research in 2010 found the painting used wood from the same tree used for the Phoenix Portrait.
In 1572 Nicholas Hilliard (age 25) became portrait painter to Elizabeth I (age 38).
Around 1574 Nicholas Hilliard (age 27) invested in a gold mine in Scotland. The venture failed. Hilliard's life was beset with money issues.
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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1576. Nicholas Hilliard (age 29). Miniature Portrait of Charles Howard 1st Earl Nottingham (age 40).
In 1576. After Nicholas Hilliard (age 29). Portrait of Mary Queen of Scots (age 33).
In 1576 Nicholas Hilliard (age 29) travelled to France where he stayed with the English Ambassdor to France Amyas Paulett.
In 1576 Nicholas Hilliard (age 29), whilst in France, painted a portrait of Francis Bacon 1st Viscount St Alban (age 14) who was attached to the English Embassy at the time.
On 5th May 1576 Nicholas Hilliard (age 29) was given the monopoly on producing miniatures and engravings of King James I of England and Ireland and VI of Scotland (age 9) by the King.
Around 1577 Nicholas Hilliard (age 30) painted a portrait of Amyas Paulett.
In 1577 Nicholas Hilliard (age 30) was provided with a stipend of 200 livres by Francis Valois Duke Anjou (age 21), a suitor of Elizabeth I (age 43).
Around 1585. Nicholas Hilliard (age 38). Miniature Portrait of Anthony Mildmay (age 35). Hilliard represents Mildmay standing in a luxurious tent filled with beautiful furniture preparing for a tournament surrounded by objects that allow the artist to feature a variety of rich textures including red velvet, blue ostrich feathers, and gleaming metal.
Around 1590 Nicholas Hilliard (age 43). Portrait of George Clifford 3rd Earl of Cumberland (age 31).
Chronicle of Abbot Ralph of Coggeshall
The Chronicle of Abbot Ralph of Coggeshall (Chronicon Anglicanum) is an indispensable medieval history that brings to life centuries of English and European affairs through the eyes of a learned Cistercian monk. Ralph of Coggeshall, abbot of the Abbey of Coggeshall in Essex in the early 13th century, continued and expanded his community’s chronicle, documenting events from the Norman Conquest of 1066 into the tumultuous reign of King Henry III. Blending eyewitness testimony, careful compilation, and the monastic commitment to record-keeping, this chronicle offers a rare narrative of political intrigue, royal power struggles, and social upheaval in England and beyond. Ralph’s work captures the reigns of pivotal figures such as Richard I and King John, providing invaluable insights into their characters, decisions, and the forces that shaped medieval rule. More than a simple annal, Chronicon Anglicanum conveys the texture of medieval life and governance, making it a rich source for scholars and readers fascinated by English history, monastic authorship, and the shaping of the medieval world.
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Around 1590 Nicholas Hilliard (age 43). Portrait of Mary Sidney Countess Pembroke (age 28).
Mary Sidney Countess Pembroke: On 27th October 1561 she was born to Henry Sidney and Mary Dudley. On 21st April 1577 Henry Herbert 2nd Earl Pembroke and she were married. She by marriage Countess Pembroke. The difference in their ages was 23 years. He the son of William Herbert 1st Earl Pembroke and Anne Parr Countess Pembroke. They were sixth cousins. On 25th September 1621 Mary Sidney Countess Pembroke died of smallpox at Herbert Townhouse Aldersgate Street. Her funeral was held at St Paul's Cathedral [Map]. She was buried at Salisbury Cathedral [Map].
In 1591 Nicholas Hilliard (age 44) painted a portrait of Francis Drake (age 51).
In 1591 Nicholas Hilliard (age 44) painted a portrait of Walter Raleigh (age 37).
Around 1592 Nicholas Hilliard (age 45) painted a portrait of Lettice Knollys Countess Essex and Leicester (age 48).
In 1597 the John Donne (age 24) praised Nicholas Hilliard (age 50) in his poem "The Storm": A hand or an eye, By Hilliard drawn is worth an history, By a worse painter made.
In 1599 Nicholas Hilliard (age 52) secured an annual allowance from Elizabeth I (age 65) of £40.
Around 1600 Nicholas Hilliard (age 53) painted the portrait of King James I of England and Ireland and VI of Scotland (age 33).
Around 1600 Nicholas Hilliard (age 53) wrote his treaty on painting called "The Art of Limning".
In July 1601 Nicholas Hilliard (age 54) wrote to Robert Cecil 1st Earl Salisbury (age 38), asking permission to retire from London and live more cheaply in the countryside. He explained that he had trained apprentices who now competed with him in the private painting market. Hilliard asked that Cecil employ his son as a clerk, because he could not keep him in his own trade.
In 1617 Elizabeth I gave Nicholas Hilliard (age 70) £400 for having made a second Great Seal.
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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In 1617 Nicholas Hilliard (age 70) was briefly imprisoned in Ludgate Prison after standing surety for the debt of another, and being unable to produce the amount.
On 3rd January 1619 Nicholas Hilliard (age 72) died.
On 7th January 1619 Nicholas Hilliard (deceased) was buried in St Martin's in the Fields [Map]. In his will he left twenty shillings to the poor of the parish, thirty between his two sisters, some goods to his maidservant, and all the rest of his effects to his son, Lawrence Hilliard, his sole executor.