A report on William CamdenAntiquarian and John Stow

William Camden
Ole Worm's cabinet of curiosities, from Museum Wormianum, 1655
Monument with effigy of John Stow, Church of St Andrew Undershaft, City of London, with arms of the Worshipful Company of Merchant Taylors and Latin inscription: "Either do things worth writing or write things worth reading"
Hand-coloured frontispiece and title page of the 1607 edition of Britannia
"Antiquaries": portraits of 20 influential antiquaries and historians published in Crabb's Universal Historical Dictionary (1825). Featured are: Giraldus Cambrensis, John Leland, Guido Panciroli, John Stow, William Camden, Justus Lipsius, Joseph Justus Scaliger, Johannes Meursius, Hubert Goltzius, Henry Spelman, Charles Patin, Philipp Clüver, William Dugdale, Claudius Salmasius, Friedrich Spanheim, Johann Georg Graevius, Jakob Gronovius, Thomas Hearne, John Strype, and Elias Ashmole.
Stow's Survay of London, 1618 edition
William Camden (1551–1623), author of the Britannia, wearing the tabard and chain of office of Clarenceux King of Arms. Originally published in the 1695 edition of Britannia.
The church of St Andrew Undershaft, London
Camden as Clarenceux King of Arms in the funeral procession of Elizabeth I, 1603
Pit Mead Roman villa mosaic, illustrations by Catherine Downes, engraved by James Basire and presented to the SAL by Daines Barrington
An 18th-century engraving of Stow's monument
Frontispiece and title page of a 1675 edition of the Annales
The Puzzle (1756): etching by John Bowles. In one variation on a recurrent joke, four antiquaries struggle to decipher what seems to be an ancient inscription, but which is in fact a crude memorial in English to Claud Coster, tripe-seller, and his wife. The print is ironically dedicated to "the Penetrating Genius's of Oxford, Cambridge, Eaton, Westminster, and the Learned Society of Antiquarians".
Camden (by Marcus Gheeraerts the Younger, 1609)
Le Singe Antiquaire (c. 1726) by Jean-Siméon Chardin
The William Camden, a pub in Bexleyheath, several miles from Chislehurst, where Camden lived for much of his life
Thomas Rowlandson's caricature, Death and the Antiquaries, 1816. A group of antiquaries cluster eagerly around the exhumed corpse of a king, oblivious to the jealous figure of Death aiming his dart at one of them. The image was inspired by the opening of the tomb of Edward I in Westminster Abbey by the Society of Antiquaries in 1774.
The entrance to the premises of the Society of Antiquaries of London, at Burlington House, Piccadilly.

William Camden (2 May 1551 – 9 November 1623) was an English antiquarian, historian, topographer, and herald, best known as author of Britannia, the first chorographical survey of the islands of Great Britain and Ireland, and the Annales, the first detailed historical account of the reign of Elizabeth I of England.

- William Camden

John Stow (also Stowe; 1524/25 – 5 April 1605) was an English historian and antiquarian.

- John Stow

Stow was in close contact with many of the leading antiquarians of his day, including Archbishop Matthew Parker, John Joscelyn, John Dee, William Fleetwood, William Lambarde, Robert Glover, Henry Savile, William Camden, Henry Ferrers and Thomas Hatcher.

- John Stow

The importance placed on lineage in early modern Europe meant that antiquarianism was often closely associated with genealogy, and a number of prominent antiquaries (including Robert Glover, William Camden, William Dugdale and Elias Ashmole) held office as professional heralds.

- Antiquarian

His circle of friends and acquaintances included Lord Burghley, Fulke Greville, Philip Sidney, Edmund Spenser, John Stow, John Dee, Jacques de Thou and Ben Jonson, who was Camden's student at Westminster and who dedicated an early edition of Every Man in His Humour to him.

- William Camden

Members included William Camden, Sir Robert Cotton, John Stow, William Lambarde, Richard Carew and others.

- Antiquarian
William Camden

2 related topics with Alpha

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Ptolemy as imagined by a 16th-century artist

Chorography

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Art of describing or mapping a region or district, and by extension such a description or map.

Art of describing or mapping a region or district, and by extension such a description or map.

Ptolemy as imagined by a 16th-century artist
William Camden
Example of Christopher Saxton's cartography
Ferdinand von Richthofen

The most influential example (at least in Britain) was probably William Camden's Britannia (first edition 1586), which described itself on its title page as a Chorographica descriptio.

Camden's Britannia was predominantly concerned with the history and antiquities of Britain, and, probably as a result, the term chorography in English came to be particularly associated with antiquarian texts.

William Lambarde, John Stow, John Hooker, Michael Drayton, Tristram Risdon, John Aubrey and many others used it in this way, arising from a gentlemanly topophilia and a sense of service to one's county or city, until it was eventually often applied to the genre of county history.

Line engraving by Charles Grignion the Elder (1772), purportedly taken from a bust of John Leland at All Souls College, Oxford. Sculptor Louis François Roubiliac (d. 1762) probably created the original bust.

John Leland (antiquary)

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Line engraving by Charles Grignion the Elder (1772), purportedly taken from a bust of John Leland at All Souls College, Oxford. Sculptor Louis François Roubiliac (d. 1762) probably created the original bust.
John Leland, by Thomas Charles Wageman after Hans Holbein the Younger
Woodcut by Hans Holbein the Younger from Leland's Naenia (1542), showing Sir Thomas Wyatt

John Leland or Leyland (13 September, c. 1503 – 18 April 1552) was an English poet and antiquary.

Although Leland's Itinerary notes remained unpublished until the eighteenth century, they provided a significant quarry of data and descriptions for William Camden's Britannia (first edition, 1586), and many other antiquarian works.

Leland's own manuscript notebooks were inherited by Cheke's son, Henry, and in 1576 they were borrowed and transcribed by John Stow, allowing their contents to begin to circulate in antiquarian circles.