Inigo Jones, ‘Vitruvius Britannicus’

2010 ◽  
Vol 53 ◽  
pp. 1-39
Author(s):  
Vaughan Hart
Keyword(s):  
National Identity ◽  
Civil War ◽  
The West ◽  
James I ◽  
Charles I ◽  
Religious Iconography

In July 1650 the Puritans tore down the statues of the two Stuart kings, James I and Charles I, which crowned the portico on the west front of St Paul’s Cathedral in London (Fig. 1). According to one contemporary report, under the new Republican authorities the portico’s Corinthian columns, which had been erected only a few years earlier by Inigo Jones (1573-1652), were ‘shamefully hewed and defaced’. Clearly his architecture, or certain forms of it, did not enjoy immunity from the Puritan animosity directed at royalist and religious iconography during the Civil War and its aftermath. This conflict had brought to a head the underlying religious tensions and related aesthetic sensitivities that Jones had had to respect throughout his career popularizing the antique (or all’antica) style of building. The Orders had run the obvious risk of being interpreted as foreign, pagan or — worst of all — Popish, at least by Puritans, and as such they required reconciling to English sensitivities and national identity.

Could Charles I Be Trusted? The Royalist Case, 1642-1646

1966 ◽  
Vol 6 (1) ◽  
pp. 23-44 ◽  
Author(s):  
J. W. Daly
Keyword(s):  
Seventeenth Century ◽  
Civil War ◽  
General Public ◽  
Veto Power ◽  
English History ◽  
James I ◽  
Charles I ◽  
King Charles I ◽  
Constitutional Analysis

The followers of King Charles I in the Civil War, long among the whipping boys of English history, have been receiving better treatment since the Whig interpretation of the seventeenth century lost its pristine vigour. This is particularly true of their constitutional position as set forth in the great outpouring of manifestoes and pamphlets during the war. Edward Hyde, perhaps the key figure in this aspect of royalism, has recently profited from a capable defence of his opinions and policy. Similarly, pamphleteers such as Henry Ferne, Dudley Digges, and John Bramhall are now fairly well known, thanks largely to J. W. Allen's pioneering study of their writings. From work like this it is clear that the royalist spokesmen accepted the increased importance of Parliament, the end of prerogative courts and nonparliamentary taxation, and the supremacy of common and statute law. Like their armies in the field, they were defending the monarchy as overhauled in 1641, not as the Tudors left it, much less as James I may have conceived it. Indeed the classical doctrine of the mixed or balanced constitution, glorified by Blackstone and widely accepted until nearly 1830, is now credited, not to Philip Hunton, but to the royalists. Such rehabilitation has done much to remove the patronizing label of “wrong but romantic,” which was once the best which they could hope for from historians or the general public.Allen and those who followed him naturally concentrated on the legal and constitutional analysis of the origins of authority, the veto power, sovereignty, nonresistance, and so forth.

Buckingham the Masquer

1998 ◽  
Vol 34 (3) ◽  
pp. 59-81 ◽  
Author(s):  
Jean MacIntyre
Keyword(s):  
James I ◽  
Charles I

George Villiers, Duke of Buckingham (1592-1628), favorite of James I and of Charles I as both prince and king, used skill in dancing, especially in masques, to compete for and retain royal favor. Masques in which he danced and masques he commissioned displayed his power with the rulers he ostensibly served. His example and teaching taught Prince Charles that through masque dancing he might win his father's favor, and probably made Charles believe that his appearance in court masques of the 1630s would similarly win his subjects' favor.

Aesthetic Dilemmas of Adaptation and the Politics of Subjectivity: Animating the Chinese ClassicJourney to the West

2019 ◽  
Vol 12 (1) ◽  
pp. 34-46 ◽  
Author(s):  
Chengcheng You
Keyword(s):  
National Identity ◽  
Modern China ◽  
Historical Time ◽  
The West ◽  
The Real ◽  
Quest For Meaning ◽  
National Allegory ◽  
Canonical Text ◽  
The Fantastic ◽  
Monkey King

This article reviews four major Chinese animated adaptations based on the classic Journey to the West. It shows how these adaptations, spanning four historical phases of modern China, encapsulate changes in Chinese national identity. Close readings underpin a developmental narrative about how Chinese animated adaptations of this canonical text strive to negotiate the multimodal expressions of homegrown folklore traditions, technical influences of western animation, and domestic political situations across time. This process has identified aesthetic dilemmas around adaptations that oscillate between national allegory and individual destiny, verisimilitude and the fantastic quest for meaning. In particular, the subjectivisation of Monkey King on the screen, embodying the transition from primitivistic impulse, youthful idealism and mature practicality up to responsible stewardship, presents how an iconic national figure encapsulates the real historical time of China.

Sign in / Sign up

Export Citation Format

Share Document