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Material culture is a particular strength here. The selection is well-balanced, including figures as diverse as adventurer Martin Frobisher premier nobles the Duke and Duchess of Norfolk, a pair of portraits originally intended to hang together, but now owned by separate private collections and reunited here the Browne brothers, one of the smallest but most exquisite works in the exhibition and three unknown children holding what may be the earliest depiction of a guinea pig in a portrait.
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From here the show moves into courtly, aristocratic and gentry society, the largest space in the exhibition. The detailed historical research on which this exhibition hangs reveals that it cost 25 shillings and was paid for in 1598. 1598) painted for the Corporation of Dover to hang in the Town Hall, where it still resides. Particularly striking, if not beauteous, is Elizabeth I with the Cardinal and Theological Virtues (c. Alongside these, however, this room makes the point that royal authority reached into all corners of society through the Queen’s image. 1575) (one of the few likenesses of the Queen suspected to have been drawn from life) and the ‘Ermine’ Portrait (1585) attributed to Nicholas Hilliard and lent by Hatfield House. Several of the best-known and most beautiful portraits of Elizabeth are here, including the so-called Darnley Portrait (c. From this room visitors are led on to encounter the Queen in a number of interesting guises. William Smith’s View of London, Westminster and Southwark (1588) is a highlight here, quietly underscoring the complex relationship between the Crown and the City, the monarch and her subjects – a tension only really explored in the comprehensive accompanying catalogue. The exhibition begins with maps and paintings of social scenes to set the context for the Queen and her people. The layout – five rooms for five societal segments – is effective, and presents many lesser-known portraits alongside those already familiar. Curated by Tarnya Cooper, the exhibition is structured in stages representing different societal levels, though the pattern of survival means it is necessarily weighted towards the higher echelons. However, it is these very departures from tradition which are new and exciting, offering a chance to experience the gamut of Elizabethan portraiture as it really was across Renaissance society in its entirety. This plumbing of the depths of Elizabethan society – a new thing for an exhibition of portraiture – also means that the quality of the painting is variable, which may surprise viewers who are not expecting to see poorly executed or ‘ugly’ portraits in a curated exhibition. Unlike most similar exhibitions, the scope here has been widened to include all echelons of society, and, in consequence, the volume of artwork focused on Elizabeth herself is far less than viewers may expect. In fact, ‘her people’ is used here to mean ‘her subjects’, and this has significant ramifications.
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The title of the exhibition is perhaps a little ambiguous it suggests a collection focused on the Queen and her immediate attendants, her chosen ‘people’. The National Portrait Gallery’s Elizabeth I and Her People exhibition taps into this sentiment at the moment of its birth, presenting Elizabeth as the idolised centre of her own contemporary society. Elizabeth I is one of only a few monarchs who lie at the hub of British historical consciousness. Wheat seeds can be purchased from Lord Richard Northburgh and planted on any occidental island that has a customizable resource.Elizabeth I and Her People, National Portrait Gallery, 10th October 2013 – 5th January 2014.
#ANNO 1404 VENICE ROSE FERTILITY FULL#
That's enough wheat to run a monastery brewery at full capacity or a Mill at half capacity.Ĭrop farms will only produce wheat on islands with the requisite fertility which only appears on occidental islands. One crop farm working at full capacity produces two tons of wheat a minute.
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That brings the total cost for a fully functioning crop farm up to three hundred fifty gold coins, eight wood, and two tools. For full production speed at least three crop fields must be planted for fifty gold coins apiece. The cost for a crop farm is two hundred gold coins, eight wood, and two tools. The crop farm is an occidental farm building that produces wheat, which is needed to make bread and beer.