On 7 May well 1603, James VI of Scotland and now James I of England rode into the cash of his new kingdom: the Stuarts had arrived. Countless numbers of Londoners gathered to view and, at Stamford Hill, the Lord Mayor was waiting to current the keys of the metropolis whilst 500 magnificently dressed citizens joined the procession on horseback.
There was a little specialized hitch. James must have been certain for the Tower of London right until proclaimed and crowned but, regardless of frantic creating do the job, it was nowhere in the vicinity of prepared. As Simon Thurley recounts—twitching apart a velvet curtain to reveal the shabby backstage machinery—parts of the Tower, common powerbase of English monarchs due to the fact William the Conqueror, were being derelict. The wonderful corridor gaped open to the skies and for a long time the royal lodgings experienced been junk rooms. During James’s continue to be, a monitor wall had been constructed to hide a gigantic dung heap.
Art and architecture for the Stuart monarchs in England—an amazing period of time when the world was turned upside down twice with the execution of one particular king (Charles I in 1649) and the deposition of yet another (James II in 1688)—were neither about holding out the weather conditions nor fully about outrageous luxurious. The royal residences were being intricate statements of electricity, authority and rank. The architecture controlled the jealously guarded entry to the king and queen: in lots of reigns, nearly everyone could get in to stand powering a railing and view the king taking in or praying, and a remarkably large circle was admitted to the point out bedrooms, but only a handful acquired into the real sleeping spots. The options of fine and ornamental art from England, Italy, France or the Very low Nations, who obtained to see it—whether an English Mortlake or a Flemish tapestry, a mattress built of durable Tudor Oak or an opulent French just one, swathed in fantastic imported gold-swagged silk—and where courtiers or mistresses had been stashed, were all significant selections and interpreted as these kinds of.
From James’s astonishing takeover of Royston in Hertfordshire as a looking base—nobody who reads Thurley’s account will once more see it as just (forgive me) a somewhat boring prevent on the street north—to the disastrous obstetric historical past of Queen Anne, which finished the Stuart reign in 1714, the sums used were amazing, even devoid of translating into modern day conditions or comparison with the golden wallpaper of present-day Key Minister Boris Johnsons’ flat. Anne of Denmark, wife of James I, spent £45,000 reworking Somerset Property on the Strand. Henrietta Maria, wife of Charles I, put in another fortune, like on the most delicate architecture of the Stuart reigns, an elaborate Roman Catholic chapel (ransacked by a rioting mob in the mid-century Civil Wars).
Thurley recreates some vanished residences, which includes the seemingly gorgeous Theobalds in Hertfordshire and a really personal pleasure dome within a wonderful back garden in Wimbledon. Maybe the most remarkable perception is that in his previous months, imprisoned on the Isle of Wight and engaged in failing negotiations with the Parliamentarians, Charles I was also looking at programs to totally rebuild Whitehall palace, a venture finished by the axe at the Banqueting Home, a single of the several buildings that would have been held.
There’s considerably less architectural record and a lot more gossip in this lively compendium than in the in-depth studies of individual structures Thurley has now published, but there are myriad floor programs and modern day engravings, and loads to established the mind of the common reader wandering by way of the very long galleries—the new Whitehall would have had a 1,000 ft gallery—and a 29-page bibliography for those people who want a lot more.
• Simon Thurley, Palaces of Revolution: Lifetime, Demise and Artwork at the Stuart Court, William Collins, 560pp, eight color plates in addition black-and-white intext illustrations, £25 (hb), revealed September 2021
• Maev Kennedy is a freelance arts and archaeology journalist and a normal contributor to The Artwork Newspaper