The ‘Advice to a Painter’ Poems and the Politics of Visual Representation

Partner, Jane

doi:10.1007/978-3-319-71017-4_5

The ‘Advice to a Painter’ Poems and the Politics of Visual Representation

Jane Partner⁴

Chapter
First Online: 10 April 2018

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Part of the book series: Early Modern Literature in History ((EMLH))

Abstract

Partner shows that the anonymous ‘Advice to a Painter’ satires that Marvell published after the Restoration allowed him to develop his interest in the connections between visual perception and politics. Two important but previously under-examined contexts are put forward: firstly, the political charge that had been given to visual representation in the polemical pamphlets of the civil war and beyond, especially in the Royal Image; and secondly, the political associations that attended artistic theory, according to which the representational ideals of realism and idealism had associations with opposing Parliamentarian and royalist perspectives.

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Notes

1.
Mary Tom Osborne, in Advice to a Painter Poems: An Annotated Finding List (Austin: University of Texas, 1949), shows that ten political Advice poems appeared before 1675, followed by a further twenty-nine before 1700. The poems that appeared before 1675 were: Edmund Waller, Instructions to a Painter for the Drawing of a Picture of the State and Posture of the English Forces at Sea (London: [s. n.], 1665); Edmund Waller (enlarged version), Instructions to a Painter, for the Drawing of the Posture and Progress of his Majesties Forces at Sea (London: Henry Herringman, 1666); [Andrew Marvell, under the designation ‘Sir John Denham’], The Second Advice to a Painter, for Drawing the History of our Navall Business ([s. l.: s. n.], 1667); Anon [Andrew Marvell], The Third Advice to a Painter, in The Second, and Third Advice to a Painter, for Drawing the History of Our Navall Actions ([s. l.]: A Breda, 1667); Anon [‘Sir John Denham’] , ‘The Fourth Advice to a Painter’, in Directions to a Painter for Describing Our Navall Business: In Imitation of Mr. Waller ([s. l.: s. n.], 1667); Anon, ‘The Fifth Advice to the Painter’, in Directions to a Painter, For Describing Our Navall Business in Imitation of Mr. Waller ([s. l.: s. n.], 1667); Anon [Andrew Marvell], ‘The Last Instructions to a Painter’ (in circulation before 10 July 1668, but not printed before The Third Part of the Collection Poems on Affairs of State (1689), see Osborne, Advice to a Painter Poems, p. 36; The Poems of Andrew Marvell, ed. Nigel Smith, 2nd ed. (Harlow: Pearson, 2006), p. 360); Anon, ‘Further Advice to a Painter’ (circa 1670–1, Bodleian MS Douce 357, pp. 105–6); Anon, New Advice To a Painter; A Poetical Essay Describing the Last Sea-Engagement With the Dutch: May the 28th, 1673 (London: [s. n.], 1673); Anon, Further Advice to a Painter; or, Directions to Draw the Late Engagement Aug. 11th 1673 (London: R. Vaughan, 1673); Anon [Henry Saville], Advice to the Painter to Draw the Duke (composed August 1673, first broadside edition carries no publication details, see also British Library MS Add. 23722, pp. 11–12).
2.
See George de F. Lord, Poems on Affairs of State, 1660–1678 (New Haven and London: Yale University Press, 1963); John Wallace, Destiny His Choice: The Loyalism of Andrew Marvell (Cambridge: Cambridge University Press, 1980), pp. 148–83.
3.
Poems of Andrew Marvell, ed. Smith, pp. 323–8; see also Smith (2012), pp. 187–211.
4.
Annabel Patterson, ‘The Painter and the Poet Dare’, in Marvell and the Civic Crown (Princeton: Princeton University Press, 1978), pp. 111–74. See also, Earl Miner, ‘The “Poetic Picture, Painted Poetry” of The Last Instructions to a Painter’, Modern Philology, 63 (1966), 288–94.
5.
Laura Knoppers, Constructing Cromwell: Ceremony, Portrait, and Print 1645–1661 (Cambridge: Cambridge University Press, 2009); Kevin Sharpe, Image Wars: Promoting Kings and Commonwealths in England, 1603–1660 (New Haven: Yale University Press, 2010); Kevin Sharpe, Rebranding Rule 1660–1714: The Restoration and Revolution Monarchy (Yale: New Haven, 2013).
6.
Sharpe, Image Wars, pp. 339–69.
7.
Sharpe, Rebranding Rule, pp. 144, 215.
8.
On writing about art in seventeenth-century England, see Henry V. S. Ogden and Margaret S. Ogden, ‘A Bibliography of Seventeenth-Century Writings on the Pictorial Arts in England’, Art Bulletin, 29 (1947), 196–201; Luigi Salerno, ‘Seventeenth-Century English Literature on Painting’, Journal of the Warburg and Courtauld Institutes, 14 (1951), 234–58; Clare Pace, ‘Virtuoso to Connoisseur: Some Seventeenth-Century English Responses to the Visual Arts’, The Seventeenth Century, 2:2 (1987), 167–88; E. Houghton, ‘The English Virtuoso in the Seventeenth Century’, Journal of the History of Ideas, 3 (1942), 51–73; Lucy Gent, Picture and Poetry, 1560–1620; Ann Bermingham, Learning to Draw: The History of a Polite and Useful Art (New Haven: Yale University Press, 2000), pp. 3–73; Iain Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680–1768 (New Haven: Yale University Press, 1988).
9.
Leon Battista Alberti, On Painting; and, On Sculpture: The Latin Texts of ‘De Pictura’ and ‘De Statua’, ed. and trans. Cecil Grayson (London: Phaidon, 1972).
10.
Ludovico Dolci, Dialogo della Pittura […] Intitolato l’Aretino (Venice: Gio. Battista, Marchio Sessa, et Fratelli, 1565); Rensselaer W. Lee, Ut Pictura Poesis: The Humanistic Theory of Painting (New York: Norton, 1967), p. 9.
11.
Baldassare Castiglione, The Courtyer of Count Baldessar Castilio Divided into Foure Bookes. Very Necessary and Profitable for Yonge Gentilmen and Gentilwomen Abiding in Court, Palaice or Place, Done into English by Thomas Hoby (London: Wyllyam Seres, 1561).
12.
Richard Haydocke (trans.), Giovanni Lomazzo, A Tracte Containing the Arts of Curious Painting Carving Buildinge (Oxford: By Joseph Barnes for R[ichard] H[aydock], 1598), Preface, pp. 5–6. On the Platonic idea in English art theory, see Salerno, ‘Seventeenth-Century English Literature on Painting’, pp. 240–1.
13.
Haydocke , Tracte, Book I, pp. 25–6.
14.
Ibid., p. 26.
15.
Ibid., p. 23.
16.
Francis Junius, The Painting of the Ancients, ed. Keith Aldrich, Philip Fehl and Raina Fehl, 2 vols. (Berkeley: University of California Press, 1991). See also David Howarth, Lord Arundel and his Circle (New Haven and London: Yale University Press, 1985), pp. 79–85.
17.
Junius , Painting of the Ancients, I, 52.
18.
Ibid.
19.
Ibid., 13, my emphasis.
20.
Ibid., 212.
21.
Ibid., 24.
22.
Ibid., 52.
23.
See Edward Norgate, Miniatura, or, The Art of Limning, ed. Jeffrey Muller, Paul Mellon Centre for Studies in British Art (New Haven and London: Yale University Press, 1997), pp. 14–20.
24.
Ibid., p. 18. After 1660, interest in the Miniatura manuscripts centred on a group of individuals attached to the Royal Society. Amongst these, John Evelyn had harboured the longstanding intention of publishing a book about the techniques of painting in miniature and oil; but he was afraid, as he wrote to Robert Boyle, that it would ‘debase much of their esteem by prostituting them to the vulgar’. Evelyn wanted instead to reserve this knowledge for the members of John Wilkins’ projected ‘Mathematico-Chymico-Mechanical School’, men who would be selected with care and sworn to secrecy. John Evelyn , letter to Robert Boyle, 9 May 1657, cited in Norgate , Miniatura, ed. Muller, p. 18.
25.
See ‘William Sanderson’, ODNB.
26.
William Sanderson, Graphice. The Use of the Pen and Pensil; or, The Most Excellent Art of Painting (London: Robert Crofts, 1658), p. 15.
27.
William Sanderson, A Compleat History of the Life and Raigne of King Charles from his Cradle to his Grave (London: Printed for Humphrey Moseley, Richard Tomlins and George Sawbridge, 1658).
28.
Thomas Stanley , Psalterium Carolinum, The Devotions of His Sacred Majestie in his Solitudes and Sufferings, Rendered in Verse (London: Printed for John Martin and James Allestrey, 1657).
29.
Sanderson , Graphice, p. 34.
30.
Junius , Painting of the Ancients, I, 51; Sanderson, Graphice, p. 34.
31.
Sanderson , Graphice, p. 14. A version of these images and an account of their alleged overwhelming emotive effects are included in Henry Stubbe ’s A Further Justification of the Present War Against the United Netherlands (London: Printed for Henry Hills and John Starkey, 1673), plate inserted after p. 134.
32.
On the pamphlet debates see Joad Raymond, Pamphlets and Pamphleteering in Early Modern Britain (Cambridge: Cambridge University Press, 2003).
33.
John Phillips, The Reformation of Images: The Destruction of Art in England, 1535–1660 (Berkeley: University of California Press, 1973), pp. 119–25. See also David Howarth, Images of Rule: Art and Politics in the English Renaissance, 1485–1649 (Basingstoke: Macmillan, 1997), p. 51; Roy Strong, Gloriana: The Portraits of Elizabeth I (London: Thames and Hudson, 1987; London: Pimlico, 2003), pp. 34–8.
34.
House of Commons Journals, III 1642–1644 (London: HMSO, 1802), p. 307. See also Lois Potter, Secret Rites and Secret Writings: Royalist Literature, 1641–1660 (Cambridge: Cambridge University Press, 1989), p. 46.
35.
Anon [Daniel Fealty ], The Sea-Gull; or, The New Apparition in the Starre Chamber at Westminster ([s. l.: s. n.], [annotation on Thomason copy ‘July 8’], 1644). See Potter, Secret Rites, p. 46.
36.
Anon, The Sussex Picture; or, An Answer to the Sea-Gull (London: Printed by F. N., 29 July 1644). This frontispiece is reproduced by Sharpe but it received no analytical commentary and the text itself is not considered. Sharpe, Image Wars, p. 355.
37.
Anon, The Sussex Picture, sig. A2^r.
38.
Ibid., sig. A2^v.
39.
Ibid., sig. A2^r.
40.
Jasper Mayne, ΟΧΛΟ-ΜΑΧΙΑ [Ochlomachia]; or, The Peoples War ([Oxford: By L. Lichfield], 1647), p. 1. On this passage see Joad Raymond, ‘Popular Representations of Charles I’, in The Royal Image: Representations of Charles I, ed. T. N. Corns (Cambridge: Cambridge University Press, 1999), pp. 47–73 (p. 47).
41.
OED 5a.
42.
For another related example that shows a mirror anamorphosis of Charles I that employs a technique similar to the one illustrated in the front of this book, see Jurgis Baltrušaitis, Anamorphic Art, trans. W. J. Strachan (New York: Abrams, 1976), p. 29. A similar painting that represents Charles II is found in the Tabley House Collection, University of Manchester.
43.
Joseph Moxon , Practical Perspective; or, Perspective Made Easie Teaching by the Opticks, How to Delineate all Bodies, Buildings, or Landskips, &c (London: Printed by Joseph Moxon, and sold at his shop, 1670). Moxon was nominated ‘Hydrographer to the King’s most Excellent Majesty’ in 1662, and was elected a fellow of the Royal Society in 1678, see ‘Joseph Moxon’, ODNB.
44.
Moxon , Practical Perspective, p. 2.
45.
Ibid., p. 66.
46.
On other political usages of this optical technique see Noel Malcolm, ‘The Title Page of Leviathan, Seen in a Curious Perspective ’, The Seventeenth Century, 13 (1998), 124–55; A Critical Edition of Sir Richard Fanshawe’s 1647 Translation of Giovanni Battista Guarini’s ‘Il Pastor Fido’, ed. Walter F. Staton, Jr. and William E. Simeone (Oxford: Clarendon Press, 1964), pp. 3–4.
47.
[John Gauden and] Charles I , Είκών βασιλική [Eikon Basilike]. The Portraicture of his Sacred Majestie in His Solitudes and Sufferings (London: James Young, 1648).
48.
Francis F. Madan, ‘A New Bibliography of the Eikon Basilike of King Charles I’, Oxford Bibliographical Publications, New Series, 3 (Oxford: Oxford University Press, 1950), p. 2.
49.
John Milton, ΕΙΚΟΝΟΚΛΆΣΤΗΣ [ Eikonoklastes ] In Answer to a Book Intitl’d ΕΙΚΩΝ ΒΑΣΙΛΙΚΗ (London: Printed by Matthew Simmons, 1649); Complete Prose Works of John Milton, general ed. Don M. Wolfe, 8 vols. (New Haven: Yale University Press, 1953–82), all future references abbreviated to CPW; CPW III.342.
50.
Milton, CPW III.343, 601, 343.
51.
Anon, ΕΙΚΩΝ Α’ΛΗΘΙΝΗ [Eikon Alethine]; The Pourtraiture of Truths most Sacred Majesty (London: Thomas Paine for George Wittington, 1649).
52.
Anon, ‘To His Ingenious Friend Upon His Ε’ικων α’λη’θινη’ [sic], in Anon, Eikon Alethine, sig. a 1^v.
53.
Ibid.
54.
Anon, Eikon Alethine, ‘Epistle Dedicatory’, sig. A 1^v.
55.
Ibid., ‘To the Seduced People of England’, sig. A3^r.
56.
Ibid.
57.
Joseph Jane, ΕΙΚΩΝ ΑΚΛΑΣΤΟΣ [Eikon Aclastos] The Image Unbroken ([s. l.]: [s. n.], 1651).
58.
Ibid., p. 28; ‘perspective’ OED n. 4, 3d.
59.
Jane, ΕΙΚΩΝ ΑΚΛΑΣΤΟΣ, p. 35.
60.
‘Philo Regis’, The Right Picture of King Olivre [sic] ([London]: Printed at the Signe of the Traytors Head within Bishops-Gate, 1650).
61.
‘H. D.’, The Portraiture of his Royal Highness,Oliver Late Lord Protector (London: T. N. for Edward Thomas, 1659).
62.
On depictions of Cromwell in relation to royal image-making see Knoppers, Constructing Cromwell, passim.
63.
James Winn, John Dryden and his World (New Haven and London: Yale University Press, 1987), p. 86.
64.
John Dryden, ‘Heroique Stanza’s’, in Poems, ed. James Kinsley, 4 vols. (Oxford: Clarendon Press, 1958), I, ll. 57–60.
65.
Winn, John Dryden and his World, p. 87.
66.
Robert Walker , Oliver Cromwell (London, National Portrait Gallery, circa 1649).
67.
Anon, The Picture of the Good Old Cause Drawn to the Life in the Effigies of Master Prais-God Barebone (London: [s. n.], 1660); Anon, A Lively Pourtraict of our New-cavaliers, Commonly Called Presbyterians (London: [s. n.], 1661).
68.
Anon, The Frontispiece of the King’s Book Opened (London: [s. n.], 1649), p. 3.
69.
David Lloyd , ΕΙΚΩΝ ΒΑΣΙΛΙΚΗ; or, The True Pourtraicture of his Sacred Majesty Charls II (London: For H. Brome and H. Marsh, 1660); Walter Charleton, An Imperfect Pourtraicture of His Sacred Majesty Charls the II (London: Printed for Henry Herringman, 1661).
70.
Richard Hollingworth, Vindiciæ Carolinæ; or, A Defence of the ΄ΕΙΚΩΝ ΒΑΣΙΛΙΚῊ (London: J.L. for Luke Meredith, 1692). Political mileage was still being made out of visual representation by Titus Oates in his ΕΙΚΩΝ ΒΑΣΙΛΙΚΗ; or, The Picture of the Late King James Drawn to the Life (London: for Richard Baldwin, 1696), and in its anonymous refutation: Eikon Brotoloigou […] or, The Picture of Titus Oates D.D. Drawn to the Life (London: [s. n.], 1697).
71.
Sharon Achinstein, Milton and the Revolutionary Reader (Princeton: Princeton University Press, 1994), chapter 4, ‘Reading in the Revolution: Eikonoklastes and the Battle of Perspectives’, pp. 136–76.
72.
Martine Parker, The Poet’s Blind Mans Bough (London: F. Leach for Henry Marsh, 1641).
73.
Anon, The Eye Cleard; or, A Preservative for the Sight ([London]: G. Bishop, 25 June 1644).
74.
Anon, A New Invention; or, A Paire of Cristall Spectacles ([London]: G. Bishop, 7 June 1644).
75.
Anon, The Second Part of the Spectacles; or, Rather a Multiplying Glass, Fitted for Their Use, Which Are Not Able to See with Spectacles (London: G. Bishop, 5 June 1644).
76.
Ezekias Woodward, A Prospective Glasse Wherein the Child in Understanding is Enabled to See what the Wicked Counsellours did Above Twenty Yeares Ago (London: [s. n.], [June 28], 1644).
77.
Joanna Magali Picciotto, ‘Literary and Scientific Experimentalism in Seventeenth- and Early Eighteenth-Century England’ (Unpublished doctoral thesis, University of California, Berkeley, 1999), p. 316.
78.
On this image see Knoppers, Constructing Cromwell, p. 87.
79.
Giovanni Francesco Busenello, trans. Thomas Higgons, A Prospective of the Naval Triumph of the Venetians Over the Turk to Signor Pietro Liberi, That Renowned and Famous Painter (London: Printed for Henry Herringman, 1658). The product of this commission was Liberi’s La Vittoria dei Dardinelli (Doge’s Palace, Venice).
80.
Pepys’s Diary entry for 28 November 1663 also records that ‘In Holland publickly they have pictured our King with reproach’, IV, 400. See also Patterson, ‘The Painter and the Poet Dare’, pp. 124–5.
81.
Stubbe , Further Justification, p. 2.
82.
Ibid., p. 3.
83.
H. E. Makinson, “The ‘Great Relation’: The Word and the Graphic Image in Britain, 1650–1700” (Unpublished doctoral thesis, University of Cambridge, 1997), p. 148. See also Patterson, ‘The Painter and the Poet Dare’, p. 137.
84.
Edmund Waller, Instructions to a Painter, in Poems on Affairs of State, I, 21–33.
85.
Olivia Tate Stockard, ‘“Poetic Picture, Painted Poetry”: A Study of Restoration Advice-to-a-Painter Poems’ (Unpublished doctoral thesis, New York University, 1980), p. 48.
86.
Higgons, Prospective of the Naval Triumph, sig. B3^v. The particular visual symbols that Waller selected were, however, a response to Charles’ own iconographic programme. Thus his climactic exhortation: ‘Like young Augustus let his image be, / Triumphing for that victory at sea’ (301–2), repeats the imagery of Actium that had been used on the second naval arch in Charles II’s coronation procession. For this naval imagery see John Ogilby, The Entertainment of his Most Excellent Majestie Charles II in His Passage Through the City of London to His Coronation (London: Thomas Roycroft, 1662), pp. 43–110.
87.
On this theory see Lee, Ut Pictura Poesis, pp. 23–4.
88.
Norgate , Miniatura, ed. Muller, p. 61.
89.
The ‘Fourth’ and ‘Fifth Advices to a Painter’ that also appeared in 1667 cover much of the same events as Marvell’s ‘Last Instructions’. This factor, along with their poorer quality, is cited by Margoliouth as a reason not to ascribe the poems to the same author. In particular, ‘the painter convention is used perfunctorily, and the vivid pictorial effects of the others are lacking’, PAS, I, 140.
90.
Norgate , Miniatura, ed. Muller, p. 73.
91.
Sanderson , Graphice, p. 25.
92.
John Evelyn, Sculptura (London: G. Beedle, T. Collins, J. Crook, 1662) , pp. 25–6.
93.
The dog appeared in Protogenes ’ Ialysus, see Pliny, Natural History, XXXV.102.
94.
Alexander Browne, Ars Pictoria; or, An Academy Treating of Drawing, Painting, Limning and Etching (London: J. Redmayne for the author, Richard Tompson, and Arthur Tooker, 1669), pp. 49, 45.
95.
Ibid., p. 45. Browne’s assertion that painting resembles poetry when it mobilises the passions is based upon his awareness that the manipulation of the passions was fundamental to rhetoric al theory, which—as has been discussed earlier in this chapter—formed the model for most theorisations of the visual arts . Marvell’s exploration of the ways in which artistic principles might ‘advise’ poetry, when these were themselves modelled upon literary theory, exploits this circularity.
96.
On the pervasiveness of the image of Castlemaine during the first ten years of Charles II’s reign see Catherine McLeod and Julia Marciari Alexander, Painted Ladies: Women at the Court of Charles II (London: National Portrait Gallery, 2001), pp. 116–35.
97.
Waller: ‘that care / Which keeps you waking to secure our peace’, ‘Instructions to a Painter’, ll. 318–19.
98.
See MacLeod and Alexander, Painted Ladies, pp. 94–9.
99.
On the initial 1665 version, which commemorated the naval victory at Lowestoft praised by Waller, the inscription reads ‘Quator maria vindico’ (‘I rule the four seas’). By the time of the first 1672 issue, the simpler ‘Britannia’ had replaced this motto on the grounds that after the Dutch rout on the Medway such a claim had become ‘patently ridiculous’, Peter Seaby, The Story of British Coinage (London: Seaby, 1985), p. 37. On contemporary reactions to Stuart’s appearance in this image, and in particular Waller’s ‘Upon the Golden Medal’, see McLeod and Alexander, Painted Ladies, pp. 98–9.
100.
See Steven N. Zwicker, Lines of Authority: Politics and English Culture, 1649–1689 (Ithaca: Cornell University Press, 1993), pp. 116–19.
101.
See Poems of Andrew Marvell, ed. Smith, p. 369 n.
102.
‘Last Instructions to a Painter ’, l. 58.
103.
Anon, ‘To the Seduced People of England’, Eikon Alethine, sig. A3^r.
104.
See, for example, Annabel Patterson (‘Imagining New Worlds: Milton, Galileo, and the “Good Old Cause”’, in The Witness of Times: Manifestations of Ideology in Seventeenth-Century England, ed. Katherine Z. Keller and Gerald J. Schiffhorst (Pittsburgh, PA: Duquesne University Press, 1993), pp. 238–60) who leaves the chronology indeterminate by stating simply that the two poems were written ‘in the same year’, but credits Milton with a ‘more profound’ intention (p. 258). Due to the density of topical allusions, Marvell’s satire can be dated with some precision to 1667. We also know that Paradise Lost had been drafted, if not finally completed, by August 1665, when Thomas Ellwood received a copy of the manuscript. On the solar imagery in this passage, see J. E. Weiss and N. O. Weiss, ‘Andrew Marvell and the Maunder Minimum’, Quarterly Journal of the Royal Astrological Society, 10 (1979), 115–18; J. E. Weiss and N. O. Weiss, ‘Marvell’s Spotted Sun’, N&Q, 7 (1980), 339–41.
105.
Compare ‘Last Instructions to a Painter’ ll. 145–6 and Paradise Lost II.746–85. On this connection see PAS, I, 106.
106.
Toland records that ‘we had like to be eternally depriv’d of this Treasure [Paradise Lost]’ because the censor Thomas Tomkyns ‘would needs suppress the whole Poem for imaginary Treason’ in one particular passage: cited in The Early Lives of Milton, ed. Helen Darbishire (London: Constable, 1932), p. 180. See also The Manuscript of Milton’s ‘Paradise Lost’, ed. Helen Darbishire (Oxford: Clarendon Press, 1931), p. x. The lines in question are those from Book I that refer to the fallen Lucifer as the eclipsed sun (I.591–600). On Paradise Lost and the censor see Christopher Hill, Milton and the English Revolution (London: Faber, 1977), pp. 405–6, 407. See also Christopher Ricks, Milton’s Grand Style (Oxford: Oxford University Press, 1963), pp. 148–50; John Milton, Paradise Lost, ed. Alastair Fowler, 2nd ed. (Harlow: Longman, 1998), PL I.596–9 n., p. 97.
107.
PAS, I, pp. 153–6, ll. 1–2.

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Partner, J. (2018). The ‘Advice to a Painter’ Poems and the Politics of Visual Representation. In: Poetry and Vision in Early Modern England. Early Modern Literature in History. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-71017-4_5

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