The seventeenth-century London Wenceslaus Hollar knew is now largely destroyed or buried. Yet its populous river, its timbered streets, fashionable ladies, old St Paul's, the devestation of the Fire, the palace of Whitehall and the meadows of Islington live on for us in his etchings. Drawing on numerous sources, Gillian Tindall creates a montage of Hollar's life and times and of the illustrious lives that touched his.
It is a carefully researched factual account, but she has also employed her novelist's skill to form an intricate whole - a life's texture which is also an absorbing and occasionally tragic story.
They do perfectly" Frances Spalding Sunday Times "With clarity of purpose and clarity of style, she has written a book that is both elegant and thoughtful" Michael Prodger Sunday Telegraph "Gillian Tindall is a tapestry maker. She finds patterns in history - woven from close research into people and places - that no one else would have the persistence and insight to pursue" Independent.
It is because of his panoramas that we know for e.
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Brand new Book. Seller Inventory AAZ Book Description Paperback. Not Signed; The seventeenth-century London Wenceslaus Hollar knew is now largely destroyed or buried. Drawing on nume. Book Description Vintage, It is because of his panoramas that we know what Old St Paul's was like, before it was completely destroyed and subsequently rebuilt by Wren. Today there are an estimated 25, early printed works in the library. These are principally seventeenth and eighteenth-century books drawn from the major British and Continental centres of print.
As one might expect, the collection is particularly strong on the subjects of theology, canon law and religious controversy — although many examples of literature, history, medicine, atlases and travel accounts are also present. While investigating the books listed in this collection, one of the most striking items I came across was an engraving by Wenceslaus Hollar entitled A map or groundplott of the citty of London which was published following the Great Fire of London in He was renowned for his ability to depict cityscapes from the various perspectives, but especially urban high-angle and overhead views.
His ambition was to surpass even the celebrated map of Paris by Jacques Gomboust and further his reputation as an artist. Producing such a map was a desperately expensive undertaking, one for which Hollar was unable to find a suitable patron. With the Great Fire, opportunity arose again. By 6 September the conflagration had done its worst — 13, buildings were destroyed and thousands of people were made homeless.
On 10 September the King appointed Hollar and Francis Sandford to accurately record and survey the city following the damage. Drawing on his uncompleted work for his map of London, Hollar was very quickly able to produce his map or groundplott of the citty of London. The districts untouched by the fire were detailed with great accuracy, while those areas destroyed were left blank — only buildings of great significance were highlighted to further underline the devastation.
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The map took less than 2 months to complete as Samuel Pepys recorded in his diary on 22 November :. It was evidently a great success and another map with the same title was released by John Overton within the year. Indeed, if imitation was the sincerest form of flattery, then the copies of this map published elsewhere in Europe certainly underline its popularity.