ABSTRACTHenry Bennet, earl of Arlington, is a neglected statesman. A sometime diplomat, he was Charles II's longest-serving secretary of state, held the highest household office for ten years, and married his daughter to a royal bastard. It is, however, his artistic patronage that has most conspicuously been overlooked and, consequently, its political significance underestimated. Informed by his experiences abroad, he appreciated the power of the arts to influence and impress and used the cultural mediation of the English diplomatic network in his control to help skilfully fashion his domestic political identity. Through judicious display of architecture, paintings, sculpture, and furniture, Arlington created a cultural world that confirmed both his close relationship with Charles II and his dominance of foreign affairs. Even after he resigned as secretary of state in 1674, Arlington continued to deploy artistic patronage for political ends: as lord chamberlain, he controlled the largest government department and was formally responsible for fashioning the royal image. This article reconsiders Arlington's contributions as a statesman through his considered use of material consumption and artistic patronage and thereby illuminates corners of cultural practice which are situated firmly in the political sphere.
Ulisse Aldrovandi’s Color Sensibility: Natural History, Language and the Lay Color Practices of Renaissance Virtuosi
