British Museum blog

The theatre of monarchy

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Europe: Triumphs of the Past looks at displays of power.


Jonathan Bate, Shakespeare scholar

Ceremony is the thing that makes a monarchy happen. In Shakespeare’s Henry V, the King reflects on the importance of ceremony, but he refers to it as `idol’ ceremony.

The English have always done royal ceremony and pageantry very well and it is one of the main devices that keep the monarchy going. So in Shakespeare’s time, something like the funeral procession of Queen Elizabeth or the coronation procession of King James would have been huge public events, the streets of London would have been thronged and the elite would actually have been there in the Abbey, at the front when the coronation or the burial took place.

There is an interesting difference between the way that Queen Elizabeth and King James used ceremony. Elizabeth, perhaps because of her insecurity about her own position on the throne, as a woman, a woman without an heir, and a Protestant, relied a lot on public ceremony, processions through the streets and indeed through the nation; visitations to great aristocratic households. She also moved a lot from palace to palace; the court was mobile. One week they would be at the palace at Whitehall and another week they would be down river at Greenwich, another week up river at Nonesuch or Richmond. The public saw this extraordinary bejewelled figure of the Queen.

King James was reluctant to display himself in public in this way. He did make use of ceremony, in particular made use of theatrical entertainments with the court masks in which the royal family and the courtiers participated in theatre and music and dancing. But this was very much an enclosed thing aimed at the elite who were invited to attend, aimed at visiting royalty, visiting diplomats and so on. So there is an interesting contrast between the importance of public spectacle for Queen Elizabeth and this more private, enclosed sense of the court that King James had.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Europe: Triumphs of the Past

Filed under: Shakespeare's Restless World, What's on, ,

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 12,849 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
#exhibition #art #history #BritishMuseum #Australia #museum Hans Sloane's collection also ended up as the basis of the @natural_history_museum and the @britishlibrary!
To make more room for the increasing collections held by the British Museum, the natural history collections were moved to a new building in South Kensington in the 1880s. This eventually became the Natural History Museum. These images show some of the natural history specimens on display, including giraffes and a mastodon!
In 1997, the library departments left the Museum to be re-housed at the new British Library in St Pancras.
#history #BritishMuseum #collection #animals #books
Follow

Get every new post delivered to your Inbox.

Join 12,849 other followers

%d bloggers like this: