The Double Cube Room at Wilton House as seen in Bridgerton and More

Like many avid Bridgerton fans, I was captivated with the room chosen for Queen Charlotte’s throne room where the debutantes were presented. It sparkles and oozes luxury with gold and large paintings everywhere. It has also been featured in many other period dramas, The Crown, and the 2005 adaptation of Pride and Prejudice. So where exactly is it? The room is actually the Double Cube Room at Wilton House in Wiltshire. Wilton is a spectacular house and has been dubbed one of the most, if not the most, beautiful country houses in England. No wonder it has featured in many a period drama and specifically been Buckingham Palace on more than one occasion.

Queen Charlotte from Bridgerton in her throne room, Netflix

Wilton House itself has been a private house since Henry VIII seized a previous religious site on the estate from nuns during the Reformation. The abbey and its vast 46,000 acre estate was given to William Herbert, who would go on to become the 1st earl of Pembroke and Henry VIII’s brother-in-law when he married Anne, the sister of Henry’s last wife, Catherine Parr.[1] Following this change of ownership, an original Tudor mansion was built, but major alterations to the southern wing during the mid-seventeen century was what the house would go on to be famous for.

Charles I was said to have spent most of his time in the summer at Wilton, so an appropriate design fitting a king was needed.[2] The south wing was to be a set of state rooms similar to those found in the courts of royal palaces. These state rooms were meant to be a mixture of public rooms where the monarch could be meet with his court, along with banquets, music and dancing. There were also a few more private rooms which were only entered by invite only.

By the time of the alterations, the 4th earl was in charge, deciding to employ Inigo Jones and his pupil, John Webb, to design a classical style exterior with an flamboyant exterior, similar to Jones’ other works at Banqueting House and the Queen’s House at Greenwich. Who best to design a space meant to hold a mini court? Jones had been a protégé of the Herbert family, so that was also a big factor in choosing him as the designer.[3] He as also an innovator as he was responsible for bringing in the Palladian style, which took influence from the classical styles of architecture found in Greece and Rome. Whilst he was an innovator, the style would sadly not catch on until the Georgian period a hundred years later.[4]

John Goodall, Wilton House (2005), Wikimedia Commons

A fire in 1647 caused serious issues to the building project as it meant a new design, the one we now see, had to be built. Jones was an elderly man by then and so Webb is thought to have taken over more of the duties, whilst Jones was still involved.[5] What was finally completed was truly spectacular. The Double Cube Room, the focus of this post, is perhaps the most recognisable. It was one of the public state rooms, along with its smaller twin Single Cube Room, which was used as a sort of entrance space for the Double Cube Room. Both of the Cube Rooms were so called because Jones had designed them to be a symmetrical cube shape, although the Double Cube Room was originally known as the King’s Great Room as it was mainly used as a presence chamber.[6]

The ceiling was highly decorated in the baroque style that was popular at the time, known for its flamboyance. Again the classical themes were shown in the choice of scenes portrayed on the ceiling as they tell the story of Perseus, the Ancient Greek hero.[7] As if the splendour of the room wasn’t enough with its ostentatious decoration and expensive furniture made by William Kent and Thomas Chippendale everywhere, there are also the many paintings by Anthony van Dyck throughout the room. The largest of which is a portrait of the Herbert family. As it was 17 feet wide, the whole room had to be designed around it.[8] With so many van Dyck paintings in one room, it has often been called one of the best collections of the artist’s work in one place.

A chimneypiece in the Double Cube Room at Wilton House From In English Homes (1904), Wikimedia Commons

Whilst the room has become recognisable to many a period drama fan, in the past it was monarchs who have greatly enjoyed the Double Cube Room, and the rest of Wilton House alike. The house has been visited by every monarch since Edward VI, who would have visited when the whole original Tudor house would have been in existence.[9] It is no wonder that the grandeur of the house has made it as much of a character of the period drama genre as the human characters. Still, one thing is usually forgotten, well it’s certainly something that I didn’t know until researching for this post, that the state rooms, including the Double Cubed Room, served as an allied headquarters during World War Two and the D-Day Landings were planned from there.[10]

No matter how much grandeur the Double Cubed Room has seen during its long lifetime, it still continues to captivate many visitors and viewers of period drama alike. One day I hope to visit Wilton House in person and get to imagine just what it might be like to be an actor in Bridgerton visiting Queen Charlotte’s throne room.


[1] Ford, Toni ‘Great British Houses: Wilton House- A Stunning Example of Palladian Architecture in Wiltshire’, Anglotopia for Anglophiles, 14 August 2015, https://anglotopia.net/british-history/great-british-houses-wilton-house/

[2] Ellis, Sian, ‘Palladian Wilton House’, British Heritage Travel, 13 July 2016, https://britishheritage.com/palladian-wilton-house

[3] Montgomery-Massingberd, Hugh and Sykes, Christopher Simon, Great Houses of England and Wales (London: Laurence King Publishing Ltd, 1994), p. 117

[4] Ibid, p. 12

[5] Ibid, p. 120

[6] Hinshaw, Victoria, ‘Wilton House- Part Two’, Travels with Victoria, http://numberonelondon.net/2019/05/travels-with-victoria-wilton-house-part-two/

[7] Ibid

[8] Ibid; Ellis, Sian, ‘Palladian Wilton House’, British Heritage Travel, 13 July 2016, https://britishheritage.com/palladian-wilton-house

[9] Ellis, Sian, ‘Palladian Wilton House’, British Heritage Travel, 13 July 2016, https://britishheritage.com/palladian-wilton-house

[10] Hinshaw, Victoria, ‘Wilton House- Part Two’, Travels with Victoria, http://numberonelondon.net/2019/05/travels-with-victoria-wilton-house-part-two/

Jane Lane: The Woman who Helped Charles II to Escape

The English Civil War, fought between the Parliamentarians and Royalists, had started as a direct result of grievances about the way in which Charles I had ruled, largely without Parliament, as well as fears about the Catholics, most notably his wife, Henrietta Maria, he had become associated with. Whilst there are many more reasons for the Civil War, these are most commonly cited. When Charles I was executed at Whitehall in January 1649, England became a republic led by Oliver Cromwell. Still, Royalist hopes were kept alive in Charles, the Prince of Wales. Scotland had been horrified and proclaimed the young Charles as their king. On 1 January 1651, Charles was crowned as Charles II, with the promise that Scottish forces would follow him to England to help him reclaim his throne.[1]

The forces led by Charles met with Parliamentary resistance at the battle of Worcester on 3 September 1651. It was not the Royalist victory that was hoped for as the Parliamentarians defeated them. Despite reports that Charles had been killed in the fighting, he had managed to escape and had gone into hiding. A huge £1,000 reward (around £103,000 in today’s money) for his capture was given. This reward would make his escape even harder. Whilst in hiding, the famous incident of Charles hiding in an oak tree at Boscobel House when Parliamentarian soldiers came looking for him happened.

Plan showing the route Charles took on his escape from England following the Battle of Worcester in 1651, from Fea, Allan, The flight of the king : a full, true, and particular account of the miraculous escape of His Most Sacred Majesty King Charles II after the battle of Worcester, (1908), p. 2

This, as well as other close shaves, made him realise a better plan was needed to get him out of the country and away from danger. Lord Henry Wilmot, a close confidant of Charles, who had also been at Worcester, was also in hiding, but was staying at Bentley Hall, the home of John Lane. John Lane was a known Royalist sympathiser who had been a Royalist cavalry officer during the Civil War. He had led a band of Royalists who made the journey to Worcester but didn’t get there in time for the battle.[2] The original plan was to use John’s sister, Jane, to help Wilmot escape, as she had been granted a pass to visit a pregnant cousin in Bristol so she could help with the birth. This pass covered her, a servant, and her cousin Henry Lascelles. As both Royalist and Catholic, the family needed these passes to be able to move further than 5 miles away from their home.[3] This was the perfect excuse to help Charles, rather than Wilmot to escape to the safety of the continent.

Charles was to pretend to be Jane’s manservant, taking on the name Will Jackson. Only a few, including Jane, know the true identity of this man. Charles’ acting skills really had to be excellent to pull off this disguise as he was easily noticeable with his dark complexion and 6 ft 2 stature. Despite many dangers along the way, including a horse losing a shoe and a brush with Parliamentarian soldiers, the gang, which included John and Jane Lane, as well as their sister Withy and her husband, John Petre, arrived at the home of Ellen Norton, their pregnant cousin. Whilst there, a butler recognised the king but rather than think of taking the £1,000 reward, offered his silence and assistance.[4] It was decided that Charles wouldn’t be able to take a boat from Bristol, as had originally been planned, but that it was best to try the south coast. To be able to do this, the party needed some sort of excuse to leave, which was now harder when Ellen had suffered a late-term miscarriage. Jane herself forged a letter saying her father was seriously ill and she had to return home.[5]

Isaac Fuller, King Charles II and Jane Lane riding to Bristol (1660s), NPG 5251, © National Portrait Gallery, London

The ruse worked and the group managed to get to Dorset, where Wilmot and Charles were safely reunited. Despite all the dangers they had faced in their journey to get to this point, Jane and her family had to return to Bentley Hall to make their plan appear real, leaving Charles to escape to France. It’s quite possible that Jane and Charles thought that would be the last they saw of each other. However, fate had other ideas. News of a woman matching Jane’s description had helped Charles in his escape began to spread. Her life was now in danger and it was her turn to take on a disguise. She walked all the way to Yarmouth in Norfolk and escaped to France, where she was warmly welcomed by Charles.[6]

In return for saving his life, Charles offered Jane many personal gifts, including miniature portraits of himself, a lock of his hair, and a gold pocket watch, which had been a gift given to him by his father.[7] The pair remained firm friends and even continued corresponding together when in 1652, Jane became a part of the household of Charles sister, Mary of Orange, in Holland.[8] Following the Restoration of Charles as King in 1660, Jane was given a £1,000 a year pension for her services to the monarchy.[9] The pair continued their friendly correspondence, even after Jane became Lady Fisher after her marriage to Sir Clement Fisher in December 1662, right up until Charles death in 1685.[10]

The bravery of Jane in helping the young Charles is evident. What is most remarkable is the platonic nature of her relationship with Charles, an open and well known philanderer. He was less than subtle when it came to his womanising ways and yet, with Jane, it appears that it never went beyond a friend-like relationship. However, he did admire Jane and was always keen to tell everyone that it was her who had saved his life.


[1] ‘Charles II’, https://www.royal.uk/charles-ii#:~:text=On%201%20January%201651%2C%20the,Worcester%20on%203%20September%201651.

[2] Beardsley, Martyn R., Charles II and His Escape into Exile (Barnsley: Pen and Sword, 2019), p. 55

[3] Lawless, Erin, ‘Hidden historical heroines: Jane Lane’, https://erinlawless.wordpress.com/2013/06/03/hidden-historical-heroines-28-jane-lane/

[4] Ibid

[5] Ibid

[6] Ibid; Whipp, Koren, ‘Jane Lane, Lady Fisher’, https://www.projectcontinua.org/jane-lane-lady-fisher/

[7] Ibid

[8] Lawless, Erin, ‘Hidden historical heroines: Jane Lane’, https://erinlawless.wordpress.com/2013/06/03/hidden-historical-heroines-28-jane-lane/

[9] Whipp, Koren, ‘Jane Lane, Lady Fisher’, https://www.projectcontinua.org/jane-lane-lady-fisher/

[10] Ibid

The Wild Animals of Stuart England- Guest Post by Cassidy Cash

“Gavest thou the goodly wings unto the peacocks? or wings and feathers unto the ostrich?” – Jon 39:3, King James Bible (1616)

Exotic animals in England in the 17th century were a staple part of society. Travelers, explorers, and representatives of the import/export industry would send and ship non-native animals to England for display, for curiosity collections among the upper classes, and for use in production of perfumes, apothecary remedies, and even ink pens or clothing accessories.

Close up section of a painting by Jan Brueghel the Elder, (1618). The full portrait is called  Allegory of Taste, Hearing and Touch. This closeup shows a peacock served in full plumage. Public Domain.

Exotic animals were used in everything from perfume and apothecary creations to harvested for their pelts and feathers to be used in clothing or accessories. While cats and dogs were common household pets, the more exotic animals like parrots and even monkeys were also imported to the newly formed United Kingdom to take up residence at the homes of the UK’s most prominent citizens who saw the possession of exotic animals as a status symbol. 

From the mundane to the extraordinary, I decided to take a look at the animal life of the 17th century. Here’s a few of the most surprising animals I discovered and their place in Stuart England.

Monkeys at a banquet, 1660, byDavid Teniers the Younger. At the  Museo Nacional del Prado in Madrid, Spain. Public Domain.

Monkeys

Monkeys were often kept by the elite of the 17th century, who saw ownership of these curious creatures as a symbol of their status. After all, to purchase a monkey was quite involved logistically since it was much more complicated than running out to a pet store. Therefore, to own a monkey was a way to flaunt your power and wealth as it required both to own one. It is recorded that one prominent Stuart lady, the daughter of James I, Elizabeth Stuart, owned not only monkeys but also parrots. According to the Oxford University Press, household records from Elizabeth’s childhood record “Elizabeth spent 8 shillings and 3 pence on ‘strewing herbs, and cotton to make beds for her grace’s monkeys’, ‘mending parrot’s cages’, and ‘for shearing her grace’s rough dog.’” 

There are numerous paintings of parrots from the 17th century (including several of the african grey parrot like what Frances Stuart owned). This portrait is titled “A Woman Feeding a Parrot, with a Page” by Caspar Netscher, 1666, part of the National Gallery of Art. Public Domain.

Parrots

Elizabeth Stuart is just one example of a lady of prominence owning a parrot. Frances Stuart, Duchess of Richmond is immortalized in a wax effigy that features her pet parrot. Her parrot was an African Grey parrot that lived with Frances Stuart for close to 40 years. After it died, the bird was stuffed, and despite what Westminster Abbey’s blog calls “Primitive” measures to preserve the animal, the entire skeleton of the bird survives to this day, making it the oldest known stuffed bird in existence. 

Albrecht Duer’s woodcut from 1515 of the Rhinoceros, woodcut print, sheet (trimmed to image): Height: 23.5 cm (9.2 in); Width: 29.8 cm (11.7 in). National Gallery of Art. Public Domain. Note This is a digitally altered version of File:Albrecht Dürer – The Rhinoceros (NGA 1964.8.697).jpg. The modification consists of the setting of the white point according to the light area around the sheet, normalization of the dynamic range, and a slight sharpening. The resulting image was converted into an indexed colour palette. To avoid quantization errors this file should not be used for further processing. Any modifications are best applied to the original.

 Rhinoceros

The earliest known image of a rhinoceros was drawn as a woodcut in 1515 in Italy. That same year, another famous and much more detailed woodcut of a rhinoceros would be drawn by Albrecht Duer who drew the animal from a description provided about a live rhino that had been given as a gift to the King of Portugal. While most of the instances of rhinoceroses are drawings and woodcuts included in naturalist texts there was one instance of a live rhinoceros in England in the year 1684. 

Dated October 10, 1684, this London newspaper records an advertisement for a Rhinoceros. The animal was shipped to England from India and placed on display at a tavern where patrons could pay money to look at and to ride the “Rhynoceros.”

A peacock in a flask, “representing the stage in the alchemical process when the substance breaks out into many colours”,from the Splendor Solis (1582). “Detail of a miniature of a peacock in a flask. Image taken from f. 28 of Splendor Solis (an alchemical treatise) (index Splendor of the Sun). Written in German.” by Salomon Trismosin | The British Library | This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication.

Peacocks

“Proud as a peacock” is a well known English saying that stems from the prevalence of peacocks in England. These birds, known as blue peafowl, do not have what bird experts call an “established” presence in the country, but they have remained popular in England since at least Roman times when the birds were first introduced from India by the Romans. 


What made the peacock popular for Stuart England was the use of their beautiful feathers in decoration as well as their popularity as an elegant dinner dish on the tables of England’s nobility. In this 1618 painting by Jan Brueghel the Elder, you can see a peacock served at the table with it’s full plumage and even it’s head salvaged for decoration on the dinner table. 

The peacock was frequently used as a symbol of pride. You can see this usage of the peacock’s reputation in this drawing of James II of Scotland who is depicted in caricature as an owl kneeling to the Pope, who is caricatured as a peacock. 

Lion from Cosmographia by Sebastian Münster., unknown artist, published 1544. Published to http://www.tablespace.net/maps/ by William Favorite. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.

Lions, Tigers, and…Eagles?

By 1622, Lord Protector Olive Cromwell had outlawed animal fighting, but animals were still kept in the Tower of London. There’s a record of eleven lions, two leopards, three eagles, two pumas, a tiger, and a jackal being housed there that year. 

Sports in Stuart England often included pets with popular pastimes like bull and bear baiting both involving dogs, often pit bulls, being trained to attack bulls or bears in an arena for the purpose of entertaining a gathered group of spectators. Beyond spectator sports, activities like falconry involved the use of birds to capture prey and was a popular form of hunting for the monarchy. 

Dogs and cats were the most common household pets, but cats were also used by the military as a weapon. Published in official military manuals, one strategy for burning down a town including strapping flammable material to the back of a cat, lighting it on fire, and setting the cat loose in the town. The cat being extremely hard to catch anyway, it’s even harder to catch once it’s on fire, so the cat would mercilessly spread fire over an entire town during this death run.

Ostrich Hunt byAntonio Tempesta (Italy, Florence, 1555-1630), Italy, 16th century Series: Hunting Scenes V Prints; etchings Etching Los Angeles County Fund (65.37.1) Prints and Drawings Los Angeles County Museum of Art | Public Domain

Ostriches

For 16-17th century London, the ostrich was known, and considered incredibly exotic, rare, and consequently, images of ostriches were used to communicate great wealth. According to the Art Institute of Chicago, Ostrich feathers were used to create the decorative panache combatants wore during a jousting match in the 16th century, and some historians report that ostrich feathers were used as quill pens during Shakespeare’s lifetime. Colored ostrich feathers were also popular in the 16th century. Read more about that here. Not native to England, ostriches were imported from Northern Africa to England for their feathers. I was unable to find any ostrich farmers in Stuart England, but the sheer volume of feathers that were in demand for clothing and ink pens would have made it practical to try and raise them on a farm, so I wouldn’t be surprised to discover a farm did exist for Stuart England. 

Ostriches, along with elephants, lions, and rhinoceros were among the animals kept in the Tower of London. This menagerie of animals was considered the first zoo, and many of the inhabitants were there because explorers or even dignitaries would give the exotic animals to the King as a gift and the gifted animals had to be kept somewhere.

A Polar bear approaches the men of Willem Barentsz.| Engraving by Gerrit de Veer 1596, from Diary of Gerrit de Veer | Public Domain

Polar Bears

As an example of animals returned from exotic lands as a gift for the King, there were two polar bear cubs brought back from an expedition to the Arctic to be given as a gift to James I in the early 17th century. 

We know about Poole’s polar bear cargo because Samuel Purchas writes about it in Pilgrimes (1625).

we slue 26. Seales, and espied three white Beares: wee went aboord for Shot and Powder, and comming to the Ice againe, we found a shee-Beare and two young ones: Master Thomas Welden shot and killed her: after shee was slayne, wee got the young ones, and brought them home into England, where they are aliue in Paris Garden.

By 1611, Philip Henslowe and Edward Alleyn had, as Aubrey notes in today’s episode, received the royal warrant from King James to be in charge of the various bears, bulls, and mastiffs in the King’s care. Which means they were specifically in charge of the polar bear cubs which Poole had gifted the King. King James loved animal blood sports and is reported to have kept quite the zoo inside the Tower of London. As shareholders in the Fortune Theater and investors in Bear Garden, Henslowe and Alleyn bought their own zoo, and several critics have pointed out that the young bears could have performed in playhouses as well as baiting rings.

During that 1595 expedition, Barents lost two of his men to a ferocious polar bear attack. In his diary, Gerrit de Veer recounts the episode by saying the bear pursued the first man, before he  “bit his head in sunder, and suckt out his blood” The rest of the crew takes off running, and the bear chases them, grabbing his second victim “which she tare in peeces” The story was written down close to 15 years later, and published in English in 1609, the same year Jonas Poole returned to England with two polar bear cubs for King James, and the same year William Shakespeare wrote A Winter’s Tale and included the not only famous, but curiously unique “exit, pursued by a bear” stage direction.

From elephants to monkeys and parrots, it seems Stuart England had more than their fair share of surprising exotic animals in the streets and homes around England.

Cassidy Cash is a Shakespeare historian and host of That Shakespeare Life, the podcast that goes behind the curtain and into the real life and history of William Shakespeare. Cassidy runs a vibrant membership community for Shakespeare enthusiasts and creates history activity kits that work like science labs for Shakespeare history. Learn more at www.cassidycash.com 

Pontefract Castle and John Morris: How an English Civil War Siege was Undone by Beds

Pontefract Castle in Yorkshire has been a place of power ever since he was originally built during the Norman Period. It became a place of royal power after it was brought into royal hands in the 12th century, after the power struggles during the reign of Henry I. For me, the castle means a lot as the place that Anthony Woodville, my favourite historical figure, his nephew, Richard Grey, and his friend, Thomas Vaughn, were executed in 1483. The years of the English Civil War in the 1640s continued this tumultuous history when it was besieged 3 times.[1] In fact, the consequences of the last siege in 1648, following the Parliamentarians gaining control of the castle ended in an interesting, even somewhat comical, way.

The Royalists were determined to again take possession of the castle. None was more enthusiastic than the Yorkshireman, Colonel John Morris. He was known for carrying on fighting at both the Battle of Nantwich and Middlewich, despite being on the losing side.[2] However, following the fall of Royal forces at Liverpool, he briefly switched sides. It is thought that this was because of a soldiers’ desire to win, rather than any heartfelt gesture. As Edward Hyde, the Earl of Clarendon (also a very distant ancestor of mine), noted on Morris’ decision to change sides, this didn’t help him with the Parliamentarians either, for they “left him out in their compounding of their new army”.[3] The lack of acceptance made him once again return to his Royalist roots and he found himself assisting in the third siege at Pontefract Castle.

Pontefract Castle during the Siege of 1645 in, “Supplement to the Sieges of Pontefract Castle, etc”, British Library

The original plan was to scale the walls using ladders, but the men Morris commanded had got a little too drunk beforehand and they ended up being disturbed by the guards but weren’t captured.[4] Following this attempt at entering the castle, there were orders to employ more men at garrison inside the castle. This meant more beds were needed for these extra men, so Morris and his men were able to successfully disguise themselves by carrying beds into the castle.[5] It’s almost beyond belief, but this strategy worked, and the Royalists were able to take charge of the castle. The Parliamentarians were placed in the dungeons and many of their names were carved into the walls.[6] In direct response, other Parliamentarians in the area were sent to ransack John Morris’ house in the West Riding of Yorkshire. They stole £1,000 (around £103,500 in today’s money) in goods, and £1,800 (just over £186,000 in today’s money) in cash.[7]

The Royalists held Pontefract for around 9 months in total, even well after the Parliamentarians had officially won the war. It wasn’t until the execution of Charles I in January 1649 at Whitehall in London, that the garrison finally realised that they would have to surrender. Even so, just as before, Morris wasn’t willing to give in without having his final say. He made demands that he said had to be met before he would allow the garrison to surrender. He specifically asked for an armed convoy home and for all the men to be exempt from prosecution or being sued for their parts on the Royalist side.[8] These terms proved too much, and it was finally agreed that only Morris and 5 others would be exempt, but this proved to be a trick so they would leave the castle.[9] One man was shot when they left and Morris escaped, but went on the run. He was found 10 days later and sent to York to be condemned to death as a traitor, but again he briefly escaped.[10] He was eventually executed on 23rd of August 1649.

Pontefract Castle as of 2016 (Author’s Own Image)

The Parliamentarians, especially Oliver Cromwell, never forgot how stupid they were made to look when John Morris and his men had taken over the castle at Pontefract. Cromwell saw it as such a troublesome place than instead of the customary slighting, where a castle was partially damaged, he ordered and paid the townspeople of Pontefract to destroy it.[11] To this day, the castle is a former shadow of itself. It’s very hard to imagine what the castle had once looked like prior to the destruction as there is so little left of it. Thankfully, there are some lovely images available to give a sense of what that might have been like. Whatever that may have been, you can’t help but commend John Morris for his tenacity and quick thinking when it came to infiltrating Pontefract Castle by using just beds.

If you would like to learn more about the history of Pontefract Castle, please do take a look at the following website: https://pontefractsandalcastles.org.uk/. It’s run by an amazing team of volunteers for both Pontefract and nearby Sandal Castle, both with wonderful Wars of the Roses connections. The team are lovely and the website is full of information on all aspects of history connected to both sites.


[1] Exploring Castles, Pontefract Castle: History of England’s Most Fearsome Fort, https://www.exploring-castles.com/uk/england/pontefract_castle/

[2] Cooper, S., The Bravest Cavalier: John Morris & The Siege of Pontefract Castle, 1648-9 (2014), http://www.chivalryandwar.co.uk/Resource/THE%20BRAVEST%20CAVALIER.pdf, p. 21

[3] Clarendon cited in Cooper, S., The Bravest Cavalier, p. 21.

[4] Pontefract Castle, Stories, https://www.pontefractcastle.co.uk/Castle-Stories.aspx; Thomas Paulden cited in Cooper, S., The Bravest Cavalier, p. 21.

[5] Earls of Manchester, Sieging and besieged: who were the soldiers who fought to control Pontefract Castle?, https://earlofmanchesters.co.uk/sieging-and-besieged-who-were-the-soldiers-who-fought-to-control-pontefract-castle/

[6] Cooper, S., The Bravest Cavalier, p. 49.

[7] Cooper, S., The Bravest Cavalier, p. 50.

[8] Earls of Manchester, Sieging and besieged: who were the soldiers who fought to control Pontefract Castle?, https://earlofmanchesters.co.uk/sieging-and-besieged-who-were-the-soldiers-who-fought-to-control-pontefract-castle/

[9] Earls of Manchester, Sieging and besieged: who were the soldiers who fought to control Pontefract Castle?, https://earlofmanchesters.co.uk/sieging-and-besieged-who-were-the-soldiers-who-fought-to-control-pontefract-castle/

[10] Earls of Manchester, Sieging and besieged: who were the soldiers who fought to control Pontefract Castle?, https://earlofmanchesters.co.uk/sieging-and-besieged-who-were-the-soldiers-who-fought-to-control-pontefract-castle/; Pontefract Castle, Stories, https://www.pontefractcastle.co.uk/Castle-Stories.aspx;

[11] Exploring Castles, Pontefract Castle: History of England’s Most Fearsome Fort, https://www.exploring-castles.com/uk/england/pontefract_castle/

A Riot, a Dog and The George Hotel in Reading- Guest Post by Jo Romero

Jo Romero has been obsessed with history for as long as she can remember and gained her History degree at the University of Hull. Her articles have been published in online magazines The Historians and The C Word and she runs the blog Love British History.

Reading, King Street: September 1639. The town constables skidded to a stop outside The George hotel to shrieks of murder. Their eyes were met with a grisly scene. Moaning townsmen clutching their heads lay scattered across cobblestones, deep red blood oozing from their scalps and dripping down past their ears and onto their shoulders.

Reading in Berkshire was a small, prosperous town that had become famous for its Medieval abbey, founded by Henry I in 1121. Parliaments were held within its pale, cold walls and Edward IV chose it as the place to formally introduce his new bride, Elizabeth Woodville in 1464. Trades sprang up to cater for travellers who came to worship and do business with the abbey –  the royalty, nobles and pilgrims. But since Henry VIII’s dissolution, Reading concentrated on its market days and clothing industry with clothiers and shoemakers working in the town.

Photograph of The George by Jo Romero

Seventeenth-century Reading was the smell of bonfires, the barking of dogs and the furtive, eager glances of pick-pockets and cut-purses loitering in the busy market square. The malty scent of alehouses and taverns and the sharp, musty tang of leather workshops. The earthy, metallic sting of fresh meat wafted out from Butcher’s Row and the bells clanged out from church towers. Alehouses, taverns and inns were always in demand, tucked awkwardly into timber-framed streets, signs swinging above their doors with names like The Katherine Wheele, The Bear and The Sun.

Samuel Pepys visited Reading in the summer of 1668 and wrote that the town “is a very great one, I think bigger than Salsbury: a river runs through it, in seven branches, and unite in one, in one part of the town, and runs into the Thames half-a-mile off one odd sign of the Broad Face.”(1) The Broad Face was another pub on the High Street almost opposite The George.

All important town business – debts, rents and petty crime – was written down in the Corporation Diary. They were mostly concerned with mundane minutes of council meetings, the execution of wills and enforcing trade regulations, but on 21st September 1639, we can almost detect the breathless excitement of the minute-taker, as they recorded the events at the inn:

“Then complaynt was made that murder was likely to be commytted in The George backside, for there was fyghting; whereupon the Constables were presently called, and at their comynge to keep the peace they found a number of people, amongest whiche some had their heades broken and cutt with swordes and staves, and some of the fighters and quarrellers gone.” They add, with a trace of both bewilderment and derision: “And beinge brought before the Maiour, upon examynacion, it apeared the quarrell arose about a dogge.” (2)

At first glance, it seems far too serious a fight to have been over a dog. Could it have been that some drunken haggling over the sale of a dog spiralled out of control? Or perhaps the dog had been stolen and was recognised by the original owner leading to a confrontation?

A detail in the town’s diary for January 1641 might give us a clue. It records the case of a butcher named Edward Vindge who “caused a tumult in The George gate-house, by settinge and causinge dog-fightinge and other brabbles.” He also struck a man called Humfrey Dewell, and “abused him in wordes”.(3) Edward Vindge isn’t mentioned as being involved in the 1639 attack, but the fact that we have evidence of dog fighting in Reading, in this very spot, suggests that it may have been common and certainly had the potential to disturb the peace. Perhaps one of the two men implicated in 1639 (William Keate and a certain man named Cumber of Tilehurst) were training dogs to fight, or it was a bet placed on a disputed winner?

While many people think of Stuart life as a cosy huddle of timber-framed houses and cobbled streets there was, to us looking back today, a darker side, particularly in their choice of entertainment. Dog fights and bear baiting were famously enjoyed by Elizabeth I and continued into the reigns of the Stuarts. In 1666 Samuel Pepys travelled to Southwark to watch a bull baiting, “and saw some good sport of the bull’s tossing of the dogs.”(4) A dog fight in 1629 in Greenwich was one of the events blamed for the onset of Queen Henrietta Maria’s early labour after they did “snatch at her and pull her by the gown.” (5)

Baiting a live bull with dogs before it was slaughtered by a butcher wasn’t just for entertainment – the Stuarts also believed that it made the meat more tender, perhaps explaining the temperament of butcher Edward Vindge’s dogs at The George in 1641. A writer who in 1660 spoke out to discourage these baiting sports proclaimed that although ‘the baiting of the bear, and cockfights, are no meet recreations,’ he drew attention to this practice, accepting that ‘the baiting of the bull has its use.’(6)

The Stuart townspeople of Reading might not have blinked an eye at a dog fight or a bull being baited outside the butcher’s shop, but the loud clatter of swords clashing at the local inn must have been a subject of local gossip.

The men who were injured – five men are recorded as having been at the scene, but it’s possible there were others – lived to tell the tale. Two men blamed for inflicting injuries fled the scene, but Thomas Soundey is recorded as suffering cuts to his head, and Morrice Nashe, for whom “blood was seene run about his eares.” The Constables called the surgeon, who confirmed the men were in “no danger of death.”(2)

For the town’s mayor, Richard Burren, it was business as usual. First mentioned in the diary in 1618 as a Constable of the town, he was a clothier by trade and sworn in as Mayor in October 1638. Unusual for Reading mayors, who tended to be re-elected more than once, he served just one year. This incident would have come during his last serving month. He would stay on in a different role as a town justice and overseer of St Laurence’s parish. He dutifully brought in the people involved, questioned the ones that hadn’t run away and concluded the cause.

It’s true that daily Stuart life was probably not as inherently violent as most TV dramas and films make it out to be, but this case shows that there were occasional hot-tempered outbursts involving weapons and risk to life. The exact details of the cause of the fight are missing from the records, and so we can only speculate as to the real trigger. This scrawled entry in the town’s diary does give us a glimpse into how crime was dealt with in Stuart towns and how important the clothing industry still was to Reading, with a wealthy clothier able to advance to various positions within town administration, including Mayor. Today, as shoppers grab coffee and chat with friends they would have no idea that on this spot blood was violently spilled on the cobblestones of The George on that late September day in 1639.

Notes:

  1. The Diary of Samuel Pepys, 16 June 1668.
  2. The Reading Records, The Diary of the Corporation, entry for 21 September 1639. Ed. JM Guilding. Vol 3. p464. 1892.
  3. The Reading Records, The Diary of the Corporation, entry for 12 January 1641. Ed. JM Guilding, Vol 4. p37. 1892.
  4. The Diary of Samuel Pepys, 14 August 1666.
  5. Katie Whitaker, A Royal Passion: The Turbulent Marriage of Charles I and Henrietta Maria, 2010, Google Books.
  6. The Harleian Miscellany, vol 7. The Opinion of Mr Perkins, and Mr Bolton, and Others Concerning The Sport of Cock-Fighting, 1660. Ed. by R Dutton, 1810. Accessed via Google Books.

Margaret Cavendish (nee Lucas), Duchess of Newcastle

I first came across Margaret’s story during my volunteering at Bolsover Castle. I admired her determination to be what we would view as a modern woman, which during the seventeenth century, was an incredibly difficult thing to do. The saddest thing is that she was often nicknamed ‘Mad Madge’, when really, the exact opposite was true. Margaret was a highly intelligent woman who was interested in science, art, laboratories, and literature.[1] She was a prolific writer of books and essays on these topics and much more, including a biography of her husband, William Cavendish, poetry, and plays which often reflected her life experience. Best of all, William actively encouraged these interests his wife, who was 30 years younger than himself, had. He often spoke out about the reasons her being criticised as being unladylike and socially inappropriate in her pursuits, as pure sexism.[2] In Margaret he saw an intellectual equal, which it a very unique relationship for the times. I completely commend them for it. They received a huge amount of criticism for this, meaning they often spent long periods away from court, but that didn’t stop them from showing genuine love and acceptance of each other’s talents.

P. Lely, Margaret Cavendish, Wikimedia Commons

Margaret was born Margaret Lucas in 1623 to a respectable, royalist leaning family, in Colchester. We know little as to how she became interested in the usually male reserved topic of science and literature, but it is probable that she accessed these during her private tutoring at home.[3] What is clear is that she had an innate understanding of these topics. It was this that probably attracted William Cavendish when they met at the exiled court of Henrietta Maria in 1645. By this time, Margaret was a lady-in-waiting to the exiled Queen of England and William’s first wife, Elizabeth, had died. This first marriage, although is deemed to have eventually become a love match, was more a typical match of convenience, despite it producing 8 children. In Margaret, William had found his equal in all things, other than age and status.  

The couple’s early courtship was full of romance, despite the unhappiness that Henrietta Maria felt about the match.[4] From these letters we can clearly see the emotions that William felt for Margaret. They often referenced the large age gap between them, hoping that it would not hinder their love.

“I know that I’m old, it is too true,

Yet love, nay, I am in love with you.

Do not dispise me, or be cruell

For thus I am loues best fuell

No man can love more, or loves higher

Old, and dry wood, makes the best fier.”[5]

Even more touching is the references made to the lack of financial stability during his time in exile on the continent, following on from the Battle of Marston Moor and the English Civil War.

“The Princess Mary, marrys Kinge of Poland,

And you my Deer, do marry Prince of Noland”[6]

These letters offer us an incite into what appears to have been a genuine love between William and Margaret. It would appear that William didn’t hide his faults at this time, but he certainly made it no secret that he had a true love for Margaret, despite the small differences between them. However, they also had a lot in common.

William Cavendish, 1st Duke of Newcastle-upon-Tyne and Margaret Cavendish (née Lucas), Duchess of Newcastle upon Tyne by Peter van Lisebetten, © National Portrait Gallery, London

The exile they endured until the Restoration of Charles II in 1660 didn’t hinder their enthusiastic collecting of books and scientific instruments, amongst other things, a hobby they often shared together. The couple amassed a large collection of microscopes and telescopes during this period. Margaret even had her own ones to use personally, which was why she later went on to critique the use of them in the Royal Society. Many at the time used this to rubbish her opinion, believing that them as childlike. However, as she used such instruments herself, she knew very well that the instruments could offer imprecise readings, especially as the grinding of lenses was a common problem.[7] These critiques of microscopes would later be reflected in the work of John Locke and Thomas Sydenham, but were largely brushed off.[8] These were not the only dealings Margaret had with the Royal Society, she often attended their public experiments, much to the comment of others. Sadly, this meant that after Margaret, women were excluded from the Royal Society until 1945.[9]

Science wasn’t the only interest Margaret had. She also published a lot of material, starting with Poems and Fancies in 1653. At the time, as William also was a writer, they believed it was truly her husband, using his wife’s name as a pen name. William always supported his wife, claiming it was always her own work. Margaret did the same but did credit William as a writing mentor. As Billing suggests, the pair actually relied on each other in print, in order to maintain a certain reputation in the public sphere: William as a supportive husband and loyal subject to the king, Margaret as a dutiful wife and writer in her own right.[10] It was for this that Margaret so wished to be remembered. Instead, society wished to rubbish her as a woman whose opinion on usually male dominated topics wasn’t required.

Margaret Cavendish (née Lucas), Duchess of Newcastle upon Tyne by Pieter Louis van Schuppen, © National Portrait Gallery, London

The relationship she had with William’s children and household also proved to be a rocky affair, probably not helped by the fact her marriage proved childless. Margaret blamed Henry, William’s longest surviving son, for abandoning his father during the exile. This alongside her unusual approach to societal norms caused a lot of tension within the family.[11] In October 1670, not long before the death of both William and Margaret, these tensions came to a head. William wrote over more of his lands to Margaret in the hope of sustaining her during her widowhood, believing he would die first (although sadly that was not to be the case).[12] This move angered William’s children, especially Henry, who believed she had had enough lands and was now stealing the inheritance. At the same time, William’s steward, Andrew Clayton, began to spread malicious rumours about Margaret, suggesting she was being unfaithful, and was purposefully stockpiling money and land to fund a second marriage after William’s death.[13] However, Margaret herself died on the 15th of December 1673 at their main house of Welbeck Abbey, nearly 3 years before William himself. Probably still hurt by the turn of events in 1670, William instead used the money he had saved for Margaret to begin reworking Nottingham Castle.[14]

Welbeck Abbey in Nottinghamshire, England from Jones’s Views of the Seats of Noblemen and Gentlemen, 1829

Sadly, I don’t have enough time or words to go into depth about the many works published by Margaret, or the influence they had. If you would like to know more, I would recommend looking into The Blazing World, often referenced as a proto-science fiction novel, almost Jules Verne in character. For now though, I hope this post has managed to highlight the unfair attitude that Margaret Cavendish was treated with in her own time. During the Seventeenth Century, intelligence in a woman, whilst accepted to a small degree, was often seen as far too dangerous, and in the case of Margaret, was dismissed as childish. However, she did have similar views to men in her field, but she was always excluded. From this, it is no surprise that she advocated for better education for women and believed that women were being forced to obey men.[15] That is why I am glad she married William, because without his support and understanding her as an equal to him, she wouldn’t have been allowed to follow her interests and talents. This can be seen in the epitaph he gave her tomb:

This Dutches was a wife wittie and learned lady, which her many books do well testifie. She was a most virtuous and a louieng and careful wife and was with her lord all the time of his banishment and miseries and when he came home never parted from him in his solitary retirements.[16]


[1] Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy (London: Fabor and Faber Ltd, 2007), p. 219.

[2] Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 223.

[3] British Library, Margaret Cavendish, https://www.bl.uk/people/margaret-cavendish

[4] Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 177.

[5] BL Add MS 32497, f. 11or, cited in Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 178.

[6] BL Add MS 32497, f. 11or, cited in Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 179.

[7] Wilkins, E., ‘Margaret Cavendish and the Royal Society’, Notes and Records of the Royal Society of London, 68.3 (2014), p. 247.

[8] Wilkins, E., ‘Margaret Cavendish and the Royal Society’, p. 248.

[9] Drury, P., Bolsover Castle Guidebook (London: English Heritage, Revised Edition, 2016), p. 43.

[10] Billing, V., ‘”Treble marriage”: Margaret Cavendish, William Newcastle, and Collaborative Authorship’, Journal for Early Modern Cultural Studies, 11.2 (2011), p. 95.

[11] Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, pp. 229-230.

[12] Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 230.

[13] Drury, P., Bolsover Castle Guidebook, p. 43; Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 230.

[14] Drury, P., Bolsover Castle Guidebook, p. 43.

[15] Drury, P., Bolsover Castle Guidebook, p. 43; Worsley, L., Cavalier: The Story of a Seventeenth-Century Playboy, p. 223.

[16] Lees, L. E., ‘Introduction: A Glorious Resurrection’ in Lees, L. E. (ed), Margaret Cavendish (Manchester: Manchester University Press, 2003), p. 1.

The Star Chamber at Bolsover Castle

Since 2016, I have volunteered at Bolsover Castle in Derbyshire every summer as a guide. Sadly, this year I haven’t been able to return due to the pandemic, but the site is open daily between 10 am and 5 pm for pre-booked slots only.[1] I know I’m biased, but I would really recommend a visit if you can. It has a fascinating history and some wonderful period paintings which are well worth seeing. The castle is a wonderful mix of Stuart pleasure with the sense of nostalgia towards the medieval, as designed by father and son team Robert and John Smythson for the father and son owners, Charles and William Cavendish.[2] It has been recognised by some as “the most beautiful house in England, and one of the treasures of Western Europe”.[3] I will leave that judgement up to you if you ever visit, but I can imagine in its heyday, it would have been a spectacular sight to behold.

The first building phase of the current castle was between 1611 and 1617, following the footprint of an older medieval castle that was once in existence. This included the building known as the Little Castle, which was the main living accommodation until the Terrace Range was built in anticipation of a visit from Charles I and his wife, Henrietta Maria in 1634. The Little Castle was built as William Cavendish’s pleasure holiday home, as he mainly lived at Welbeck Abbey nearby. For this reason, it was sumptuously decorated and furnished. Each room had a theme and relevant imagery was used to show the classical and biblical knowledge of William.

The Little Castle (Author’s Own Image)

One of the most popular rooms in the Little Castle is the Star Chamber, mainly as it was refurnished in 2014 to replicate what it may have once looked like in the Stuart era, and as many visitors have noted, it feels the most homely. The tapestries are not original to the house, they are actually reproduced versions of original 17th century tapestries found at Blickling House in Norfolk. They were recreated by 3D printing onto linen but are still very effective.

The original interiors of the Little Castle, including the Star Chamber were completed roughly between 1619 and 1921. The Star Chamber itself was created as the main entertaining and reception space for the Castle. It would have originally been furnished with a large table to eat from, as well as many seats to be used either during banqueting or for watching or listening to entertainment, with a raised dais to be used by William and either his first wife, Elizabeth Basset, or his second wife, Margaret Lucas.

The Raised Dais (Author’s Own Image)

The theme of this room is biblical, with painted panels depicting old and new testament figures, the largest of which are King David and King Solomon. These contrast with the two painted panels in the corner, which would have once formed a door to a concealed privy. These depict men in armour, and it has been debated about who these are.[4] Some have claimed that it could be William and his brother. There was once another panel depicting a young boy with a pet cat, but sadly this was stolen.[5] Raylor argues that all the paintings in this room are an allegory for political and religious authority, which originated with these biblical figures, and was passed down not just to himself as the local landowner, but replicated in the monarchy.[6] This can be seen in the use of family crests, indicating where William’s personal authority comes from.

Interior of Star Chamber, showing ceiling, Wikimedia Commons

The reason the room is called the Star Chamber is because at some point following William’s death, an auditor named the rooms in an inventory. The Star Chamber took its name from the wonderfully elaborate ceiling, featuring 254 gold leaf stars. This was restored in 2000, when the coving had to be redone. During this process, the ceiling colour was changed. Prior to this, the colour had been a dark blue, to represent the night sky. During the investigation work, an original light blue colour was found underneath, and it was decided to return it to its sky-blue colour. The ceiling would have originally cost a fortune, as the sky-blue colour is blue verditer, which is created by smelting silver.[7] Also during the restoration, an original 17th century playing card was found underneath the coving. It was probably put there by one of the craftsmen who worked there, hoping to be remembered in some way centuries after he had completed his work. Unfortunately, the card is now at the British Museum, but it is only one of many hidden treasures found secreted away in many country houses across the country.

The Star Chamber Fireplace (Author’s Own Image)

The fireplaces throughout the Little Castle, are all made from Derbyshire stone and marble (other than the Italian Marble used in the Marble Closet) either mined in the Peak District, or more locally to the Castle. They all feature slightly different imagery, but the fireplace in the Star Chamber is the most carved and represents different parts of the Cavendish family. The Talbot dogs on the front are to remember George Talbot, the last of William’s grandmother, Bess of Hardwick’s husbands, and through who’s son, sold Bolsover to this side of the Cavendish family. The Cavendish crest is also wrapped around the sides. This is also the only fireplace to have received some damage. It was probably done by Parliamentarian forces who lived here during the Civil War, following William’s forced personal exile after his defeat at the Battle of Marston Moor in July 1644. Luckily for William, despite instructions to have the place destroyed, the Parliamentarians never did, instead choosing to sell it on in 1650.[8] William’s brother, Charles, saved stopped this sale by returning apologetically to England and brought back William’s estates.[9]

Despite not being able to return to Bolsover myself this year, I have extremely fond memories and hope to return next summer. I gave my first ever guided tour last year and it was received very well by visitors and was hoping to do some more this time, but sadly that wasn’t to be. I hope that this short history of one of the most popular rooms, although not my personal favourite (that’s the Heaven Closet), has been a guided tour of sorts, even if it’s in a very different way. By knowing the history and style of the house, it is almost like knowing William Cavendish himself. This very unique house is said to openly reflect his style and character.[10] If you ever have the chance to visit, remember that as you look around the rooms that are full of imagery that often seems to be puzzling to us. It’s just that for whatever reason, the meaning has somehow been lost to us to a certain extent.


[1] Bolsover Castle, English Heritage, https://www.english-heritage.org.uk/visit/places/bolsover-castle/

[2] Drury, P., Bolsover Castle Guidebook (London: English Heritage, Revised Edition, 2016), p. 3.

[3] T. Mowl, Elizabethan and Jacobean Style (1993), cited in Raylor, T., ‘“Pleasure Concealed as Virtue”: William Cavendish, Ben Jonson, and the Decorative Scheme of Bolsover Castle’, Renaissance Quarterly, 52.2 (1999), p. 402.

[4] Drury, P., Bolsover Castle Guidebook, p. 20.

[5] Raylor, T., ‘“Pleasure Concealed as Virtue”, p. 420.

[6] Raylor, T., ‘“Pleasure Concealed as Virtue”, p. 420.

[7] Drury, P., Bolsover Castle Guidebook, p. 20.

[8] Drury, P., Bolsover Castle Guidebook, p. 41.

[9] Drury, P., Bolsover Castle Guidebook, p. 41.

[10] Raylor, T., ‘“Pleasure Concealed as Virtue”, p. 404.

Charles II’s Search for His Royal Image

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John Gilbert, The Restoration of Charles II,  engraving from the Illustrated London News, 1 June 1861, Private Collection/Bridgeman Images.

For me, Charles II so rightly deserves the title given to him by the BBC children’s TV series, Horrible Histories, as the ‘King of Bling’. In the few essays I’ve written about him during my time as a student, I will confess that is how I address him in my personal notes. I did this even more so on an essay I did on the material culture of the Restoration period being a product of power, especially Charles’ royal power at the time. The most interesting part of this was his search for the art that was looted and sold on from his father, Charles I’s, collection after his execution.

The royal image during the Restoration period needed to be re-established in order to reflect the new role of a constitutional monarchy. Charles II needed to prove he was worthy of being King, whilst also separating himself from the unsuccessful regimes of his father, Charles I, and Oliver Cromwell.[1] However, this was a complicated process. First of all, Charles had to reclaim his father’s art, then create new meanings to them that would apply to his political restoration.[2] The main aim of the Restoration period was to find a midway between the absolutism Charles I had practised, and the Puritanism practised by Cromwell. The way Charles did this was by making luxury consumption an essential part of the pageantry of the royal court.[3] This performance element was most noticeable in the art created for Charles II, as it was essential in creating and maintaining his own form of power.

Upon Charles II’s restoration as King of England, he had stated that his rule would be one of peace and reconciliation.[4] Upon the restoration, symbols of the Commonwealth were destroyed in celebration of what was to come.[5] What is interesting to note is that the political peace was actually closely linked with the retrieval of the goods, jewels and pictures once owned by Charles I. Within a few days of the restoration of the monarchy, a committee was held to find out what had happened to the old king’s collection. It soon became clear that the political restoration of Charles II couldn’t happen “without the material restitution of the trappings of royal power”.[6]

So why was it so important for Charles II to reinstate his father’s collection when it had connections to the absolutism that caused Charles I to lose his head and the destructiveness of the Commonwealth under Cromwell? Art was seen as part of the royal image and it was important to use the old images of the previous king who practised absolute authority in order to show how the new constitutional monarchy would be under the reign of Charles II. The main way to do this was for a shift in the types of artists used for royal art commissions. Charles II didn’t want to repeat his father’s mistakes by buying art for the sake of it and so only brought and commissioned art he believed would be for his own political benefit.[7]

As Charles II hadn’t actually lived in England since he was a teenager, art was needed to familiarise his subjects with what he looked like now.[8] Depictions of him were hung up in many streets so that the ordinary man could know who was going to be in charge of this new political regime.[9] Nothing was more important to spread this message than Charles’ coronation portrait (see below).

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John Michael Wright, Charles II,  Royal Collection Trust © Her Majesty Queen Elizabeth II, 2018 / Bridgeman Images

The portrait by John Michael Wright was seen as a definite portrayal of the restoration of royal power.[10] The tapestry behind him is The Judgement of Solomon and was one of the pieces of his father’s recovered collection, showing how important the reclamation process to Charles’ royal image and comparing his own rule to that of his father’s.[11] The comparison with his father goes even deeper when used in connection with the Latin inscription of the portrait. It is taken from 1 Chronicles 29:23 and compares Solomon’s rule with that of his father, King David (of David and Goliath fame): “Solomon sat on the throne of the Lord as King instead of David, his father, and prospered; and all Israel obeyed him”.[12] This clarifies Charles relationship with his father in terms of monarchy. He knew that if his regime was to survive, he had to separate his way of ruling with the absolute monarchy that had been practised previously. Still, there was also some expectation that he would be obeyed as a king for the Order of the Garter symbol still appears. Whilst this is not used to claim divine status as Charles I would have once used it, it still showed links to royalist loyalty and confirmed his new level of authority.[13]

Art was the way Charles reinforced ideas of his own authority onto others. It also helped to solidify the royal image after decades of it being undermined by his father’s eventual fate and the Commonwealth[14]. It helped to define exactly what the new image of constitutional monarchy was by describing it as different to the absolutist monarchical image practised by Charles I. Using art to portray this was vitally important as a monarch’s life and image was meant to reflect the state he was in control of.[15] After the horrors and uncertainty of the English Civil War and the Commonwealth under Cromwell, it was necessary for Charles to create an image that would portray himself as a magnificent monarch who was the answer to the country’s hopes of stability and as someone who would bring glory back to the nation.[16] Most of this was actually illusion, for he was only a constitutional monarch and parliament had more power, but it still had the desired effect.[17] It did largely make Charles a popular monarch at the start of his reign, but this dwindled the longer his reign continued. Still, he was more successful than his two predecessors as he was able to maintain more stability for the nation. All of this was down to how he presented himself in the royal image due the way he imposed his power through portraiture that would be seen throughout the country.[18]

1126581
Smiadecki, F., Charles II, Private Collection/Philip Mould Ltd/Bridgeman Images

[1] Uglow, J., A Gambling Man: Charles II and the Restoration (London: Faber and Faber, 2009), p. 2.

[2] Brotton, J., The Sale of the Late King’s Goods: Charles I and His Art Collection (London: Macmillan, 2006), p. 316.

[3] Jacobsen, H., ‘Luxury Consumption, Cultural Politics, and the Career of the Earl of Arlington, 1660-1685’, The Historical Journal, 52.2 (2009), p. 297.

[4] Malcolm, J. L., ‘Charles II and the Reconstruction of Royal Power’, The Historical Journal, 32.5 (1992), p. 317.

[5] Porter, S., Pepys’ London: Everyday Life in London, 1650-1703 (Stroud: Amberley, 2011), p. 46.

[6] Cited in Brotton, J., The Sale of the Late King’s Goods, p. 316.

[7] Brotton, J., The Sale of the Late King’s Goods, p. 326.

[8] Jackson, C., Charles II: The Star King (London: Penguin, 2016), p. 42.

[9] E. Scott, The Travels off the King: Charles II in Germany and Flanders, 1654-1660 cited in Jackson, C., Charles II: The Star King, p. 42.

[10] Brotton, J., The Sale of the Late King’s Goods, p. 340.

[11] Brotton, J., The Sale of the Late King’s Goods, p. 340.

[12] Jackson, C., Charles II: The Star King, p. 45.

[13] Jackson, C., Charles II: The Star King, pp. 43 and 45.

[14] Uglow, J., A Gambling Man: Charles II and the Restoration, p. 2.

[15] Uglow, J., A Gambling Man: Charles II and the Restoration, p. 2.

[16] Uglow, J., A Gambling Man: Charles II and the Restoration, p. 51.

[17] Uglow, J., A Gambling Man: Charles II and the Restoration, p. 77.

[18] Veblen, T., Theory of the Leisure Class, Reprint (Breman: Outlook, 2011), p. 26.