Rethinking Otto III – or Not
Chris Wickham revisits an article by J.B.Morrall, first published in History Today in 1959, on the strange, shortlived emperor who in the tenth century sought to rule the lands we now call Germany and Italy.
Chris Wickham revisits an article by J.B.Morrall, first published in History Today in 1959, on the strange, shortlived emperor who in the tenth century sought to rule the lands we now call Germany and Italy.
As we soak up television dramas that revel in the scandalous personal lives of popes and kings, we are in danger of losing sight of these figures’ real historical importance, argues Tim Stanley.
The successful Broadway run of The Pitmen Painters, Lee Hall’s drama set in a north-east mining community, has introduced US audiences to a remarkable chapter in British working-class life, writes Robert Colls.
Jan Gossaert made his name working for the Burgundian court and was among the first northern artists to visit Rome, writes Susan Foister, curator of 'Jan Gossaert's Renaissance', the only exhibition in more than 45 years of works by this archetypal ‘Old Master’.
Decadent, effeminate, outdated, the image of the Cavalier remains that of his enemies, victorious in the Civil Wars. John Stubbs offers a rather more complex corrective view.
A series of violent attacks by pale shrouded figures on lone pedestrians, especially women, was widely reported in the early 19th century. Jacob Middleton uncovers the sham ghosts of Georgian London.
The current House of Commons is notable for the number of members who are also historians. Will Robinson welcomes this trend, while reminding us of Parliament’s sometimes troubled relationship with its own past.
A monarch’s divine ability to cure scrofula was an established ritual when James I came to the English throne in 1603. Initially sceptical of the Catholic characteristics of the ceremony, the king found ways to ‘Protestantise’ it and to reflect his own hands-on approach to kingship, writes Stephen Brogan.
In our series in which historians look back on the changes that have taken place in their field in the 60 years since the founding of History Today, Daniel Snowman takes a personal view of new approaches to the study of the history of culture and the arts – and of music in particular.