Attempts to trace all male lines from the lairds of Halkerton beginning with Alexander Falconer of Halkerton, who died about 1499. Nearly all of the cadet lines descend from his great-grandson, Alexander Falconer of Halkerton, who died in 1587.

"Contrary to popular wisdom, American Quakers did not first appear in Pennsylvania, the Quaker State, in 1682. Rather they appeared in 1655 in Virginia. In the 330-odd years thereafter, the Friendly Virginians, as I have come to call them, have stood for peace and against violence, for religious freedom, civil rights and women's rights. They have striven to end war, change the penal system and aid Native Americans. Their world view has affected their lives and characters and also, as you read, the ways of the larger society." *From the Preface. Chapters include: The Quaker Way Comes to Virginia, 1655-1660 which opens on a street corner in the city of London in the summer of 1654; Virginia's Quakers and the Right to Worship as One Wishes, 1660-1663; In Which the Truth is Crushed to Earth, 1664-1677; The Friendly Virginians Become Somewhat Respectable, 1677-1700; At Last within the Law, 1700-1733; West of the Blue Ridge, 1733-1750; The Quaker Way Alters Course, 1750-1763; Farewell, Britannia, 1763-1775; The Friendly Virginians and the American Revolution, 1775-1781; After So Many Ages, 1782-1800; To the Westward Waters, 1800-1820; The Blood of Christ, 1820-1833; On Laying Down Virginia Yearly Meeting, 1833-1850; O, Virginia Virginia 1850-1865; They Leap the Hedge, 1865-1900; Thee Interests Me, 1900-1950; and, I Think of the Great Work, 1950-Now. Photographs, a map, an appendix listing Quaker Meetings in Virginia, a bibliography, and a full-name index enhance the text.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Essential for students, researchers and fans, this unique set brings together a wide range of hard-to-find writings by relatives and friends of Charles Dickens. Contents include pieces such as "Memoirs of My Father" by Henry F. Dickens K.C.; "A Child's Memoir of Gad's" "Hill" by M.A. Dickens; "Personal Reminiscences of My Father" by Charles Dickens the Younger; and much more.

The first of a four-volume Ordinary covering the period before 1530, an invaluable reference for historians, antiquaries, archaeologists, genealogists and those dealing in and collecting medieval objects. Listed in this volume areentries from Anchor to Bend. This book is designed to enable those with a working knowledge of heraldry to identify medieval British coats of arms. An Ordinary, in this context, is a collection of arms arranged alphabetically according to their designs, as opposed to an armory which is arranged alphabetically by surname. Listed in this volume are entries from Anchor to Bend. This present work is the first of a four-volume Ordinary covering the period before 1530, which is the point at which heraldic visitations for the purpose of collecting information about arms began, and which marks the appearance of the modern heraldic system. Its publication will mean that the wide range of people interested in medieval arms - historians, antiquaries, archaeologists, genealogist and those dealing in and collecting medieval objects - will be able to identify accurately the arms that occur in a medieval context. Arms were widely displayed in the middle ages and can be found not only on tombs, monuments and seals, but also on textiles, manuscripts, metalwork, glass, wall paintings and other medieval artefacts. The index acts as an armory, and allows the reader to discover the blazons of arms recorded for particular surnames in the medieval period. It will thus be a key tool for anyone researching medieval families and their history, and represents a remarkable achievement on the part of the manyexperts who have contributed to it.

Spanning from the innauguration of James I in 1603 to the execution of Charles I in 1649, the Stuart court saw the emergence of a full expression of Renaissance culture in Britain. In "Art and Magic in the Court of the Stuarts," Vaughan Hart examines the influence of magic on Renaissance art and how in its role as an element of royal propaganda, art was used to represent the power of the monarch and reflect his apparent command over the hidden forces of nature.Court artists sought to represent magic as an expression of the Stuart Kings' divine right, and later of their policy of Absolutism, through masques, sermons, heraldy, gardens, architecture and processions. As such, magic of the kind enshrined in Neoplatonic philosophy and the court art which expressed its cosmology, played their part in the complex causes of the Civil War and the destruction of the Stuart image which followed in its wake.