Abstract
Hitchmough explores the built heritage of royal palaces as emotional and intellectual gateways to the narratives that help us understand the present through an analysis of the past. From the contemporary installation of Blood Swept Lands and Seas of Red at the Tower of London to Inigo Jones’s designs for the Banqueting House at Whitehall, this chapter examines the ways in which contemporary design can allude to complex political and historical loyalties. It focuses on interactions between queenship and visual culture and the agency that Queen Anna of Denmark exercised through her patronage of Inigo Jones and Ben Jonson. Hitchmough considers the Banqueting House as visual propaganda, relating its Neo-Palladian design to the Queen’s masque performances and, ultimately, to the staging of Charles I’s execution.
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Notes
- 1.
Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (London: Routledge & Kegan Paul, 1969), 57.
- 2.
Jane Spooner, “The Banqueting House, Whitehall: Conservation Management Plan,” (Internal Report, Historic Royal Palaces, 2015); Simon Thurley, Whitehall Palace. An Architectural History of the Royal Apartments, 1240–1698 (New Haven, CT: Yale University Press in association with Historic Royal Palaces, 1999), 82.
- 3.
Adrian Murphy, “The Lost Palace: Using Technology to Create a Previously Impossible Visitor Experience,” Museums & Heritage Advisor, 17 December 2015, available at http://advisor.museumsandheritage.com/features/the-lost-palace-using-technology-to-create-a-previously-impossible-visitor-experience/, accessed 17 February 2018.
- 4.
See Thurley, Whitehall Palace, 82.
- 5.
Raphael Holinshead, The Third Volume of Chronicles (1587), quoted in Howard Colvin, ed., The History of the King’s Works, Vol. IV, 1485–1660, Part II (London: Her Majesty’s Stationery Office, 1982), 320.
- 6.
“An Inventory of hir Mats owne stuffe in Oatelands taken ye day after her remove from there being the 7th of October 1617” East Sussex Record Office, Glynde MS 320.
- 7.
Wendy Hitchmough, “‘Setting’ the Stuart Court: Placing Portraits in the ‘Performance’ of Anglo Spanish Negotiations,” submitted to Journal of the History of Collections, January, 2018.
- 8.
See Leeds Barroll, Anna of Denmark, Queen of England. A Cultural Biography (Philadelphia: University of Pennsylvania Press, 2001).
- 9.
Clare McManus (ed.), Women and Culture at the Courts of the Stuart Queens (Basingstoke: Palgrave Macmillan, 2003); Clare McMnus, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court (1590–1619) (Manchester: Manchester University Press, 2002), 3.
- 10.
Dudley Carleton to John Chamberlain, 15 January 1604, in Dudley Carleton to John Chamberlain 1603–1624 Jacobean Letters, edited by Maurice Lee (New Brunswick, NJ: Rutgers University Press, 1972), 55.
- 11.
Ibid. See also Nadine Akkerman, “The Goddess of the Household: The Masquing Politics of Lucy Harington-Russell, Countess of Bedford,” in The Politics of Female Households: Ladies-in-Waiting Across Early Modern Europe, edited by Nadine Akkerman and Birgit Houben (Leiden; Boston: Brill, 2014), 287–309.
- 12.
John Harris, Stephen Orgel, and Roy Strong, The King’s Arcadia: Inigo Jones and the Stuart Court (London: Arts Council of Great Britain, 1973), 17.
- 13.
Lisbet Grandjean, “Christian IV and Drama,” Council of Europe. European Art Exhibition 1988: Denmark, Christian IV and Europe: The 19th Art Exhibition of the Council of Europe (Kobenhavn: Foundation for Christian IV, 1988), 142.
- 14.
Thurley, Somerset House, 36. John Chamberlain to Dudley Carleton, March 8, 1616/17, “The king dined that day with the queen at Somerset house, which was then new christned and must hence forward be called Denmark house,” Calendar of State Papers, Domestic Series, of the Reign of James I: 1611–18 (London: Longman, 1858), 422, 514.
- 15.
David Lindley, ed., Court Masques: Jacobean and Caroline Entertainments, 1605–1640 (Oxford: Oxford University Press, 1995). See also James Knowles, “Introduction: ‘Friends of All Ranks’? Reading the Masque in Political Culture,” in Politics and Political Culture in the Court Masque, edited by James Knowles (Basingstoke: Palgrave Macmillan, 2015), 1–20.
- 16.
Clare McManus, “When Is a Woman Not a Woman? Or, Jacobean Fantasies of Female Performance (1606–1611),” Modern Philology 105:3 (2008): 437–74.
- 17.
“Dudley Carleton to John Chamberlain,” 55.
- 18.
Attributed to John de Critz, Lucy Harington, Countess of Bedford, undated, 213.4 × 129.5 cm, The Duke of Bedford, Woburn Abbey, reproduced in Stephen Orgel and Roy Strong, Inigo Jones and the Theatre of the Stuart Court (London: Sotheby Parke Bernet Publications Ltd, 1973), 104.
- 19.
Stephen Orgel and Roy Strong, Inigo Jones and the Theatre of the Stuart Court (London: Sotheby Parke Bernet Publications Ltd, 1973), 111.
- 20.
See Orgel and Strong, Inigo Jones, 2–3; D.J. Gordon, “Poet and Architect,” Journal of the Warburg and Courtauld Institutes 12 (1949): 152–78.
- 21.
“J. Jones Surveyor at Greenwich and Oatlands,” London: The National Archives. Exchequer: Works and Buildings 351/3389.
- 22.
Paul van Somer, Anne of Denmark, 1617, 265.5 × 209 cm, Royal Collection Trust, RCIN 405887, and Inigo Jones, ‘Oatlands Palace, Weybridge, Surrey: Design for Gateway to the Vineyard’, Royal Institute of British Architects, RIBA 22803.
- 23.
An Inventory of hir Mats.
- 24.
An Inventory of hir Mats.
- 25.
Paul van Somer, James I and VI, c.1620, 227 × 149.5 cm, Royal Collection Trust, RCIN 404446.
Bibliography
Akkerman, Nadine. “The Goddess of the Household: The Masquing Politics of Lucy Harington-Russell, Countess of Bedford.” In The Politics of Female Households: Ladies-in-Waiting Across Early Modern Europe. Edited by Nadine Akkerman and Birgit Houben, 287–309. Leiden; Boston: Brill, 2014.
“An Inventory of hir Mats owne stuffe in Oatelands taken ye day after her remove from there being the 7th of October 1617.” East Sussex Record Office, Glynde MS 320.
Barroll, Leeds. Anna of Denmark, Queen of England. A Cultural Biography. Philadelphia: University of Pennsylvania Press, 2001.
Calendar of State Papers, Domestic Series, of the Reign of James I: 1611–18. London: Longman, 1858.
Colvin, Howard (ed.). The History of the King’s Works, Vol. IV, 1485–1660, Part II. London: Her Majesty’s Stationery Office, 1982.
Gordon, D.J. “Poet and Architect.” Journal of the Warburg and Courtauld Institutes 12 (1949): 152–178.
Grandjean, Lisbet. “Christian IV and Drama.” Council of Europe. European Art Exhibition 1988: Denmark, Christian IV and Europe: The 19th Art Exhibition of the Council of Europe. Kobenhavn: Foundation for Christian IV, 1988.
Harris, John, et al. The King’s Arcadia: Inigo Jones and the Stuart Court. London: Arts Council of Great Britain, 1973.
Hitchmough, Wendy. “‘Setting’ the Stuart Court: Placing Portraits in the ‘Performance’ of Anglo Spanish Negotiations.” Submitted to Journal of the History of Collections, 2018.
Jones, Inigo. “J. Jones Surveyor at Greenwich and Oatlands.” London: The National Archives. Exchequer: Works and Buildings 351/3389.
———. “Oatlands Palace, Weybridge, Surrey: Design for Gateway to the Vineyard.” Royal Institute of British Architects, RIBA 22803.
Knowles, James. “Introduction: ‘Friends of All Ranks’? Reading the Masque in Political Culture.” In Politics and Political Culture in the Court Masque. Edited by James Knowles, 1–20. Basingstoke: Palgrave Macmillan, 2015.
Lee, Maurice (ed.). Dudley Carleton to John Chamberlain 1603–1624 Jacobean Letters. New Brunswick, NJ: Rutgers University Press, 1972.
Lindley, David (ed.). Court Masques: Jacobean and Caroline Entertainments, 1605–1640. Oxford: Oxford University Press, 1995.
McManus, Clare. Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court (1590–1619). Manchester: Manchester University Press, 2002.
——— (ed.). Women and Culture at the Courts of the Stuart Queens. Basingstoke: Palgrave Macmillan, 2003.
———. “When Is a Woman Not a Woman? Or, Jacobean Fantasies of Female Performance (1606–1611).” Modern Philology, 105:3 (2008): 437–474.
Murphy, Adrian. “The Lost Palace: Using Technology to Create a Previously Impossible Visitor Experience.” Museums & Heritage Advisor, 17 December 2015. Available Online at www.advisor.museumsandheritage.com/features/the-lost-palace-using-technology-to-create-a-previously-impossible-visitor-experience/.
Orgel, Stephen, and Roy Strong, Inigo Jones and the Theatre of the Stuart Court. London: Sotheby Parke Bernet Publications Ltd, 1973.
Somer, Paul van. Anne of Denmark, 1617, 265.5 × 209 cm, Royal Collection Trust, RCIN 405887.
———. James I and VI, c.1620, 227 × 149.5 cm, Royal Collection Trust, RCIN 404446.
Spooner, Jane. “The Banqueting House, Whitehall: Conservation Management Plan.” Internal Report, Historic Royal Palaces, 2015.
Strong, Roy. The English Icon: Elizabethan and Jacobean Portraiture. London: Routledge & Kegan Paul, 1969.
Thurley, Simon. Whitehall Palace. An Architectural History of the Royal Apartments, 1240–1698. New Haven, CT: Yale University Press in association with Historic Royal Palaces, 1999.
———. Somerset House: The Palace of England’s Queens 1551–1692. London: London Topographical Society, 2009.
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Hitchmough, W. (2018). Queenship and the Currency of Arts Patronage as Propaganda at the Early Stuart Court. In: Dunn, C., Carney, E. (eds) Royal Women and Dynastic Loyalty. Queenship and Power. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-75877-0_10
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