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

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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