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dc.contributor.advisorCuneo, Piaen
dc.contributor.authorGREER, AMANDA LOUISE*
dc.creatorGREER, AMANDA LOUISEen
dc.date.accessioned2016-06-13T21:50:50Z
dc.date.available2016-06-13T21:50:50Z
dc.date.issued2016
dc.identifier.urihttp://hdl.handle.net/10150/612983
dc.description.abstractDuring the 1400s and 1500s, noblemen and noblewoman were expected to participate in falconry. Therefore, I was surprised to discover that there was hardly anything written about the ca. 1500 portrait of James IV of Scotland with a Peregrine falcon, extant only in a copy by Daniel Mytens in 1620-1636. What was written was limited to issues of style and attribution of the copy painted by Mytens. There was nothing at all about the falcon or falconry implements represented in the portrait. To understand the function of this portrait, I considered the material culture and physical practices of falconry, the specific habits and characteristics of the falcon, symbolism of falconry in courtly love poetry, the history and culture of animals, the history and economic state of Scotland, and the actual expenses of the practice as recorded in court documents. I argue that the original watercolor portrait of James IV of Scotland with a Peregrine falcon functioned as a marriage portrait. Specifically, the relationship between James and his female falcon in the portrait served to promise a relationship of mutual trust, respect and loyalty between James and his bride-to-be in the future.
dc.language.isoen_USen
dc.publisherThe University of Arizona.en
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en
dc.titleRAPTOR AND RAPTURE: KING JAMES IV OF SCOTLAND WITH A PEREGRINE FALCONen_US
dc.typetexten
dc.typeElectronic Thesisen
thesis.degree.grantorUniversity of Arizonaen
thesis.degree.levelBachelorsen
thesis.degree.disciplineHonors Collegeen
thesis.degree.disciplineArt Historyen
thesis.degree.nameB.A.en
refterms.dateFOA2018-06-23T04:43:31Z
html.description.abstractDuring the 1400s and 1500s, noblemen and noblewoman were expected to participate in falconry. Therefore, I was surprised to discover that there was hardly anything written about the ca. 1500 portrait of James IV of Scotland with a Peregrine falcon, extant only in a copy by Daniel Mytens in 1620-1636. What was written was limited to issues of style and attribution of the copy painted by Mytens. There was nothing at all about the falcon or falconry implements represented in the portrait. To understand the function of this portrait, I considered the material culture and physical practices of falconry, the specific habits and characteristics of the falcon, symbolism of falconry in courtly love poetry, the history and culture of animals, the history and economic state of Scotland, and the actual expenses of the practice as recorded in court documents. I argue that the original watercolor portrait of James IV of Scotland with a Peregrine falcon functioned as a marriage portrait. Specifically, the relationship between James and his female falcon in the portrait served to promise a relationship of mutual trust, respect and loyalty between James and his bride-to-be in the future.


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