Pub Date : 2022-09-02DOI: 10.1080/14629712.2022.2137349
P. Stiffell
F rom May to August , the Walker Art Gallery in Liverpool hosted an exhibition that brought its own impressive collection of Tudor art into dialogue with Tudor-related collections from across the United Kingdom, for instance at the National Portrait Gallery and the College of Arms in London, and continental Europe, for example at the Museo del Prado in Madrid. By combining these various collections, the exhibition reminds visitors that Tudor history was not connected to one specific place but had connections throughout England and wider Europe. As the curators highlight in the introduction to their catalogue, the exhibition is a milestone. Even though it includes well-known items, such as the portraits of Henry VIII (c. , NPG ) or Anne Boleyn (late sixteenth century, NPG ), the pairing of an early portrait of Catherine of Aragon (c. , NPG L) with the aforementioned portrait of Henry VIII, allows visitors to observe the King’s first love match in a way not previously possible. The joint display imitates historical practices of exhibiting portraits of the King and Queen together, to represent the couple as a united front, with Henry as England’s new king and Catherine as fertile queen. These and other such images would be commissioned and copied to present to courtiers as gifts. The exhibition strikes a commendable balance between well-known historical figures, such as Henry VIII’s chief minister, Thomas Cromwell (NPG ) and humanist scholar Thomas More (NPG ), and lesser-known people, such as Thomas Chaloner (–), English ambassador in the Spanish Netherlands, and John Astley (–), Elizabeth I’s Master of the Jewel House. The exhibition is thematically organised, but follows a chronological approach: it begins with the Tudor founders and ends with Elizabeth I. The exhibition approaches the Tudor dynasty as a global phenomenon with particularly strong ties to the European continent. The final section of the exhibition is divided into two parts and is probably one of its most engaging, since visitors can examine up close fully preserved Tudor gowns. One of these gowns has been inspired by Master John’s portrait of Catherine Parr (NPG ), the sixth queen consort of Henry VIII, while the other one is an impression of a dress that may have been worn by a lady in waiting. An accompanying video helpfully explains how the gowns may
{"title":"Uneasy Is the Head That Wears a Crown: The Tudors, A Global Phenomenon","authors":"P. Stiffell","doi":"10.1080/14629712.2022.2137349","DOIUrl":"https://doi.org/10.1080/14629712.2022.2137349","url":null,"abstract":"F rom May to August , the Walker Art Gallery in Liverpool hosted an exhibition that brought its own impressive collection of Tudor art into dialogue with Tudor-related collections from across the United Kingdom, for instance at the National Portrait Gallery and the College of Arms in London, and continental Europe, for example at the Museo del Prado in Madrid. By combining these various collections, the exhibition reminds visitors that Tudor history was not connected to one specific place but had connections throughout England and wider Europe. As the curators highlight in the introduction to their catalogue, the exhibition is a milestone. Even though it includes well-known items, such as the portraits of Henry VIII (c. , NPG ) or Anne Boleyn (late sixteenth century, NPG ), the pairing of an early portrait of Catherine of Aragon (c. , NPG L) with the aforementioned portrait of Henry VIII, allows visitors to observe the King’s first love match in a way not previously possible. The joint display imitates historical practices of exhibiting portraits of the King and Queen together, to represent the couple as a united front, with Henry as England’s new king and Catherine as fertile queen. These and other such images would be commissioned and copied to present to courtiers as gifts. The exhibition strikes a commendable balance between well-known historical figures, such as Henry VIII’s chief minister, Thomas Cromwell (NPG ) and humanist scholar Thomas More (NPG ), and lesser-known people, such as Thomas Chaloner (–), English ambassador in the Spanish Netherlands, and John Astley (–), Elizabeth I’s Master of the Jewel House. The exhibition is thematically organised, but follows a chronological approach: it begins with the Tudor founders and ends with Elizabeth I. The exhibition approaches the Tudor dynasty as a global phenomenon with particularly strong ties to the European continent. The final section of the exhibition is divided into two parts and is probably one of its most engaging, since visitors can examine up close fully preserved Tudor gowns. One of these gowns has been inspired by Master John’s portrait of Catherine Parr (NPG ), the sixth queen consort of Henry VIII, while the other one is an impression of a dress that may have been worn by a lady in waiting. An accompanying video helpfully explains how the gowns may","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"284 - 286"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42367644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14629712.2022.2137339
Rocío Martínez López
Archduchess Maria Antonia of Austria (1669–1692) was the heir to the Spanish Monarchy for almost twenty years, from the death of her mother, Infanta Margarita of Austria, to her own demise on Christmas Eve, 1692. Her image as one of the most prominent members of the Habsburg family, as both the eldest daughter of Emperor Leopold I and niece of Charles II of Spain, was carefully constructed from a very young age, when she appeared in detailed portraits, often with her mother. But she was also presented as the rightful heir to the Spanish Monarchy, not only during her life, but for years after her death. In this article, I want to study the political and dynastic image of Archduchess Maria Antonia of Austria, with a special focus on the portraits painted after her death, which presented her both with her young son and as the legitimate heir of the Spanish Monarchy. 1
{"title":"The Dynastic and Political Use of the Image of Archduchess Maria Antonia of Austria (1669–1692): The ‘Imagined’ Portraits of the Heiress of the Spanish Monarchy","authors":"Rocío Martínez López","doi":"10.1080/14629712.2022.2137339","DOIUrl":"https://doi.org/10.1080/14629712.2022.2137339","url":null,"abstract":"Archduchess Maria Antonia of Austria (1669–1692) was the heir to the Spanish Monarchy for almost twenty years, from the death of her mother, Infanta Margarita of Austria, to her own demise on Christmas Eve, 1692. Her image as one of the most prominent members of the Habsburg family, as both the eldest daughter of Emperor Leopold I and niece of Charles II of Spain, was carefully constructed from a very young age, when she appeared in detailed portraits, often with her mother. But she was also presented as the rightful heir to the Spanish Monarchy, not only during her life, but for years after her death. In this article, I want to study the political and dynastic image of Archduchess Maria Antonia of Austria, with a special focus on the portraits painted after her death, which presented her both with her young son and as the legitimate heir of the Spanish Monarchy. 1","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"208 - 227"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41910512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14629712.2022.2137345
P. Mansel
Review of: Prince Ali Vasib, Memoirs of an Ottoman Prince (Istanbul, Timas Publishing, ); Prince Arfa, Memoirs of a Bygone Age. Qajar Persia and Imperial Russia –, Michael Noel-Clarke, trans. and ed. (London, Gingko Library, ); Youssouf Bey: The Charged Portraits of Fin-de-Siècle Pera, Bahattin Oztuncay, Sinan Kuneralp, et al, eds (Istanbul, Vehbi Koc Foundation, ); Pierre Loti et les Silhouettes de Hassan, Erol Makzume, Hélène Corbiere et al, eds (Istanbul, Gezegen Basim san, ); Twenty Years under the Reign of Abdulhamid. The Memoirs and Works of Fausto Zonaro, Erol Makzume and Cesare Mario Trevigne, eds (Istanbul, Genis Kitaplik ); and Halid Ziya Usakligil, Memoir of the Ottoman Palace –, Douglas Scott Brookes, trans. and ed. (Bloomington, Indiana University Press, ).
评论：Ali Vasib亲王，《奥斯曼王子回忆录》（伊斯坦布尔，Timas出版社，); 阿法王子，《逝去时代的回忆录》。卡塔尔波斯与俄罗斯帝国–, 迈克尔·诺埃尔·克拉克，跨性别。和编辑（伦敦，Gingko Library，); Youssouf Bey：Fin de Siècle Pera、Bahatin Oztuncay、Sinan Kunerap等人的带电肖像（伊斯坦布尔，Vehbi Koc基金会，); Pierre Loti et les Silhouettes de Hassan，Erol Makzume，Hélène Corbiere et al，编辑（伊斯坦布尔，Gezegen Basim san，); 阿卜杜勒哈米德统治下的二十年。Fausto Zonaro、Erol Makzume和Cesare Mario Trevigne的回忆录和作品，编辑（伊斯坦布尔，Genis Kitaplik); 和Halid Ziya Usakligil，《奥斯曼宫殿回忆录》–, Douglas Scott Brookes，跨性别。和编辑（Bloomington，印第安纳大学出版社，).
{"title":"The Empire Writes Back","authors":"P. Mansel","doi":"10.1080/14629712.2022.2137345","DOIUrl":"https://doi.org/10.1080/14629712.2022.2137345","url":null,"abstract":"Review of: Prince Ali Vasib, Memoirs of an Ottoman Prince (Istanbul, Timas Publishing, ); Prince Arfa, Memoirs of a Bygone Age. Qajar Persia and Imperial Russia –, Michael Noel-Clarke, trans. and ed. (London, Gingko Library, ); Youssouf Bey: The Charged Portraits of Fin-de-Siècle Pera, Bahattin Oztuncay, Sinan Kuneralp, et al, eds (Istanbul, Vehbi Koc Foundation, ); Pierre Loti et les Silhouettes de Hassan, Erol Makzume, Hélène Corbiere et al, eds (Istanbul, Gezegen Basim san, ); Twenty Years under the Reign of Abdulhamid. The Memoirs and Works of Fausto Zonaro, Erol Makzume and Cesare Mario Trevigne, eds (Istanbul, Genis Kitaplik ); and Halid Ziya Usakligil, Memoir of the Ottoman Palace –, Douglas Scott Brookes, trans. and ed. (Bloomington, Indiana University Press, ).","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"268 - 272"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44668588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14629712.2022.2093478
R. Bucholz
In February 1780, Edmund Burke rose in the House of Commons to explain the impending loss of America and rail against political corruption in the speech on Economical Reform. Among the speech’s most effective rhetorical refrains was to remind the honourable members, repeatedly, that true reform of a corrupt, expensive and antiquated royal administration was impossible because ‘The King’s turnspit was a member of parliament’. But was he? The answer lies in the Database of Court Officers. Since 2005, the Database of Court Officers 1660–1837, hosted by Loyola University Chicago, has sought to provide an authoritative source for the career histories of every salaried member of the British royal household for this period. Prior to 2019 it included only the servants of the sovereign’s household, but in that year, it was expanded to include the forty-nine satellite courts of the various queens (consort, mother and dowager), as well as princes and princesses of the blood — a total of 21,000 officers and servants overall. The household, among its many ceremonial, social, and domestic functions, provided places for peers and members of Parliament — the vehicle of political influence and corruption that Burke decried and sought to reform. This article introduces the expanded database and establishes the size, expense, and opportunities for patronage of the combined royal households (sovereign’s and satellite courts) across the period. It concludes with an analysis of the number of peers and members of Parliament who held household office over time with a view towards establishing 1) the identity of the offending turnspit; and 2) whether the ‘corruption’ Burke called out (i.e., the contingent of peers and MPs with positions at court) was really so large or decisive as he and other reformers alleged, determining that it was neither of those things.
1780年2月，埃德蒙·伯克（Edmund Burke）在下议院发表了关于经济改革的演讲，解释了美国即将遭受的损失，并抨击了政治腐败。演讲中最有效的措辞之一是反复提醒尊敬的议员们，对腐败、昂贵和陈旧的皇家政府进行真正的改革是不可能的，因为“国王的叛徒是国会议员”。但他是吗？答案在法院官员数据库中。自2005年以来，芝加哥洛约拉大学（Loyola University Chicago）主办的1660–1837年法院官员数据库（Database of Court Officers 1660–183 7）一直试图为这一时期英国王室中每一位受薪成员的职业史提供权威来源。在2019年之前，它只包括君主家庭的仆人，但在那一年，它被扩大到包括49个不同女王（配偶、母亲和太后）的附属法院，以及王子和血亲公主，总共有21000名军官和仆人。家庭在其众多仪式、社会和家庭职能中，为贵族和议员提供了场所——伯克谴责并寻求改革的政治影响力和腐败工具。本文介绍了扩展后的数据库，并确定了这一时期联合王室（主权法院和附属法院）的规模、费用和赞助机会。最后，它分析了一段时间以来担任家庭职务的同行和议员的数量，以期确定1）犯罪罪犯的身份；以及2）伯克所呼吁的“腐败”（即在法庭上有职位的同僚和议员队伍）是否真的像他和其他改革者所声称的那样庞大或果断，并认定这两者都不是。
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Pub Date : 2022-05-04DOI: 10.1080/14629712.2022.2093025
Inmaculada Rodríguez-Moya
This article addresses the baptism of Don José de la Cerda y Manrique, son of the viceroy of New Spain, the marquis of La Laguna, and his spouse, the countess of Paredes, in 1683. In contrast to previous baptisms of children born to the viceroys and seemingly going against the guidelines established by the royal court in Madrid, the ceremonial employed for his baptism was transposed almost exactly from that used for the baptism of the monarch, Charles II of Spain in 1661. The article analyses the royal baptismal ceremony used at the Spanish court with regard to its most significant artistic and symbolic elements. Attention is then turned to the splendid ritual organized by the cathedral chapter of the City of Mexico. The article argues that the Countess’ participation in the ceremony held in Madrid in 1661 influenced her to urge the Mexican authorities to stage her son’s baptism in a similar form.
{"title":"Court Etiquette for the Viceroys: The Marquises of La Laguna, from the Court of Madrid to the Court of Mexico","authors":"Inmaculada Rodríguez-Moya","doi":"10.1080/14629712.2022.2093025","DOIUrl":"https://doi.org/10.1080/14629712.2022.2093025","url":null,"abstract":"This article addresses the baptism of Don José de la Cerda y Manrique, son of the viceroy of New Spain, the marquis of La Laguna, and his spouse, the countess of Paredes, in 1683. In contrast to previous baptisms of children born to the viceroys and seemingly going against the guidelines established by the royal court in Madrid, the ceremonial employed for his baptism was transposed almost exactly from that used for the baptism of the monarch, Charles II of Spain in 1661. The article analyses the royal baptismal ceremony used at the Spanish court with regard to its most significant artistic and symbolic elements. Attention is then turned to the splendid ritual organized by the cathedral chapter of the City of Mexico. The article argues that the Countess’ participation in the ceremony held in Madrid in 1661 influenced her to urge the Mexican authorities to stage her son’s baptism in a similar form.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"97 - 115"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41666938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14629712.2022.2093482
Matthias Range
This article presents the first detailed exploration and discussion of the history of the royal bridal bouquet in Britain. First introduced in Victorian days, it was in the early 1920s, and then again from 1947 onwards, that the royal bridal bouquet was imbued with an additional significance far beyond its original meaning and which it retains until the present day: after the wedding, it is laid on the grave of the Unknown Warrior in Westminster Abbey, in commemoration of all the war dead. This article explores the origins of this royal tradition, discussing its meaning and further implications. In this context, the article briefly looks also at the overall link between the military and royal weddings in Britain – exploring in particular the issue of bridegrooms marrying in uniform; the royal bridal bouquet as a female, floral tribute adds another important component to this military link. The article thus contributes a significant detail to the wide literature on war commemoration and also the monarchy in the twentieth century. It emerges that the royal bridal bouquet in Britain is a significant detail that takes the occasions of royal weddings beyond their original meaning by adding the aspect of royal remembrance. While this is not prominently seen in any other monarchy, it testifies to British royalty’s wide-ranging instinct for and application of ceremonial events and gestures as a means of enhancing the monarchy’s appeal and its bond with the people.
{"title":"The Royal Bridal Bouquet: From Wedding Accessory to Royal Remembrance","authors":"Matthias Range","doi":"10.1080/14629712.2022.2093482","DOIUrl":"https://doi.org/10.1080/14629712.2022.2093482","url":null,"abstract":"This article presents the first detailed exploration and discussion of the history of the royal bridal bouquet in Britain. First introduced in Victorian days, it was in the early 1920s, and then again from 1947 onwards, that the royal bridal bouquet was imbued with an additional significance far beyond its original meaning and which it retains until the present day: after the wedding, it is laid on the grave of the Unknown Warrior in Westminster Abbey, in commemoration of all the war dead. This article explores the origins of this royal tradition, discussing its meaning and further implications. In this context, the article briefly looks also at the overall link between the military and royal weddings in Britain – exploring in particular the issue of bridegrooms marrying in uniform; the royal bridal bouquet as a female, floral tribute adds another important component to this military link. The article thus contributes a significant detail to the wide literature on war commemoration and also the monarchy in the twentieth century. It emerges that the royal bridal bouquet in Britain is a significant detail that takes the occasions of royal weddings beyond their original meaning by adding the aspect of royal remembrance. While this is not prominently seen in any other monarchy, it testifies to British royalty’s wide-ranging instinct for and application of ceremonial events and gestures as a means of enhancing the monarchy’s appeal and its bond with the people.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"162 - 181"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41539357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14629712.2022.2093489
Simon Lambe
This article explores the moment that Henry VIII’s son, the future Edward VI, was christened at Hampton Court Palace on Monday 15 October 1537. It addresses the event as a moment of magnificent courtly celebration, largely owing to the collective sense of relief at the safe delivery of a healthy, legitimate male heir. As such, we find aspirational families vying for a position at — or an invitation to — court in the name of career progression. Accordingly, the article highlights in particular the presence of one of the guests at the christening, Sir Hugh Paulet (c. 1500–73), and shows how his invitation and attendance symbolised his enhanced status within his native county of Somerset and confirmed his place among the great and good of the kingdom. The subplot to this event, however, was an outbreak of plague across London and the south of England, leading the King to move away from the city and to keep his family and his court in isolation in the healthier environs of his favourite royal palace. The plague itself offers a crucial context to this ceremony, as it suggests that even in the face of such dangers, Paulet and others like him saw the necessity of attending this ceremony. Indeed, the reverse is also true: the King needed to demonstrate his favour for those who were loyal.
{"title":"Sir Hugh Paulet and the Christening of Prince Edward, Monday 15 October 1537","authors":"Simon Lambe","doi":"10.1080/14629712.2022.2093489","DOIUrl":"https://doi.org/10.1080/14629712.2022.2093489","url":null,"abstract":"This article explores the moment that Henry VIII’s son, the future Edward VI, was christened at Hampton Court Palace on Monday 15 October 1537. It addresses the event as a moment of magnificent courtly celebration, largely owing to the collective sense of relief at the safe delivery of a healthy, legitimate male heir. As such, we find aspirational families vying for a position at — or an invitation to — court in the name of career progression. Accordingly, the article highlights in particular the presence of one of the guests at the christening, Sir Hugh Paulet (c. 1500–73), and shows how his invitation and attendance symbolised his enhanced status within his native county of Somerset and confirmed his place among the great and good of the kingdom. The subplot to this event, however, was an outbreak of plague across London and the south of England, leading the King to move away from the city and to keep his family and his court in isolation in the healthier environs of his favourite royal palace. The plague itself offers a crucial context to this ceremony, as it suggests that even in the face of such dangers, Paulet and others like him saw the necessity of attending this ceremony. Indeed, the reverse is also true: the King needed to demonstrate his favour for those who were loyal.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"151 - 161"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42427472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14629712.2022.2093480
Helen Watanabe-O’kelly
At the moment of his coronation or succession, the early modern ruler, whether Catholic or Protestant, took on the role of bishop in the territory he ruled over. In addition, many rulers were imbued with a very real personal faith which underpinned their pious practices and those of their families. The first half of this article examines the monarch’s divine mandate and the reality of piety at court. The second half moves from the notion of religion as the foundation of the monarchical state, irrespective of confessional difference, to the impact that post-Reformation confessional divisions had on the lives of royal women by determining their marriage partners. It also discusses the way in which religion provided them with comfort in times of sorrow and the way in which they used the convent as a refuge from the world of the court.
{"title":"Religion and Confession as the Bedrock of Monarchy and Court in Early Modern Europe","authors":"Helen Watanabe-O’kelly","doi":"10.1080/14629712.2022.2093480","DOIUrl":"https://doi.org/10.1080/14629712.2022.2093480","url":null,"abstract":"At the moment of his coronation or succession, the early modern ruler, whether Catholic or Protestant, took on the role of bishop in the territory he ruled over. In addition, many rulers were imbued with a very real personal faith which underpinned their pious practices and those of their families. The first half of this article examines the monarch’s divine mandate and the reality of piety at court. The second half moves from the notion of religion as the foundation of the monarchical state, irrespective of confessional difference, to the impact that post-Reformation confessional divisions had on the lives of royal women by determining their marriage partners. It also discusses the way in which religion provided them with comfort in times of sorrow and the way in which they used the convent as a refuge from the world of the court.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"27 1","pages":"135 - 150"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44270106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14629712.2022.2047303
C. Adams
K ingship in early modern France involved numerous royal ceremonies and rituals imbued with social and political meaning. Through these ceremonies, a mix of the traditional and the improvised, the bonds between the king and his people were reified and reinforced. But in an era of dramatic change, like the eighteenth century, how should we interpret these sometimes ancient rituals? Historians have painstakingly dissected the political and social dynamics of the eighteenth century to better understand the turmoil that resulted in the French Revolution of , leading to the dissolution of the Bourbon monarchy. What can an analysis of royal ritual contribute to our knowledge of the political and cultural context of this period? In this well-written and meticulously researched book, Anne Byrne sets out to examine a series of grand royal ceremonies that took place in the mid-s, ceremonies that marked the end of the reign of Louis XV, who died of smallpox in , and the transfer of power to his grandson, Louis XVI. While uncertainty accompanied this important moment of transition from an unpopular king to a new monarch, Louis XVI’s accession to the throne offered a moment of hope and optimism to the French people, reflected in the outpouring of emotion that accompanied his coronation. Byrne places herself in the footsteps of revisionist historians who have questioned both the nature of absolutism and the desacralization of the French monarchy, two concepts that have long dominated our historical understanding of early modern French politics. Along with most historians today, Byrne rejects the notion of ‘an absolutely powerful king incrementally increasing his command of the land and people of France’ (p. ), instead adopting Joël Félix’s argument that absolutism ‘rested on the king’s claim to absolute power and functioned through collaboration’ (p. ), a tension that royal ceremonies highlight. While intentionalism and functionalism have dominated interpretations of royal ritual, Byrne questions the utility of these concepts: ‘both link ritual to power — the power to persuade or the more subtle and complex assertion and enactment of new legal forms of royal power. Such power operates in a unidirectional fashion, projected from actor to audience’ (p. ). Dissatisfied by the assumption of passivity on the part of the audience, she seeks to understand the meanings that all participants brought to and took from these ceremonies, which, although political in nature, also depended on social collaboration.
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