Reviews
Book
The
The
Reception
Evolution
Tudor
and
Edward
Chaney.
of English Collecting:
of Italian Art in the
Stuart
Periods.
University
London,
2003),
?40.
New
Haven
Press,
ISBN 0-300-10224-0.
the
by ELIZABETH
University ofWarwick
excellent
and
of
Buckingham
never
1628),
the
collection
art
of
of
were
of which
essays,
presented
the majority
at a conference
series
in British
to
other
the Tudor
Classicism:
occasional
same
the
art,
two
duced
of
The
The
of essays
Stuart
and
1660, edited by Lucy Gent
and Power:
Culture
Patronage,
The Early
these
earlier
publications,
an
together
of recent
extremely
on
work
teenth-
and
academic
interest
also
might
the volume
wide-ranging
on
Chaney
the
introduction,
also
six
this
places
a
that
(p.vii),
and
Edward
evolution
a
within
of
larger
here
towards
and
aesthetics
the
The
ancient
recent
collecting.
that
essays
eleven
studies
main,
works
the
as towards
from
as well
onwards,
on
ical discourse
of
individual
of collectors.
the
of
question
never
been
had
follow
how
of
these
Italy developed
on
In a piece
the Italianate.
John
ist Baron
of the second
Lumley
Barron
(? 1534-1609),
Kathryn
Italy were
of
formed
at
second-hand,
and partly
through
books
his
Cecils
to
and
in
an
Italianate
the means
essay
taste,
by which
Robert
Earl of Salisbury (1563?1612),
extensive
334
collection
MAY 20?4
of
CXLVI
Italian
on
the
speculates
Cecil,
as Anne
of
a
and
her
latter's
husband,
collection
works
is the
Chew.
Talbot
Tart
reveals,
House
art
of
of
at Tart
an essay
overshadowed
focus
of
Long
Thomas
Hall
and
Albury
and a space
domain,
an environment
create
splendour
and innovative
by
tors
this
as distinct
?
was
as
for
1560s.
early
as
ist
and
print
a
con
have
strove
1710),
'the
of
(p. 159),
'to
early
vein,
the
among
perhaps
coUectors'
179).
(p.
McEvansoneya,
pictures
more
coUecting
location
of the cut
'the
ponders
between
discussing
and
of
seventeenth-century
the mere
deserves
of art
assemblage
coUection'
(p.316).
is an
volume
which
important
to which
it
the wide
readership
aspires.
Its essays
offpoint
and the
inteUectuaUzed
have
and
nied by copious notes
mense
use
to the
and
carefuUy
are accompa
been
researched,
extensively
Puritan
that wiU be of im
student
Iconoclasm
Civil War.
and
scholar
aUke.
no
of
means
Jane
the
by Thomas
examines
the
ist Duke
as
a
Aldrich
those
of
coUector
of
(1648?
Pdchard
Isham
in
Brookes,
make
available
and
the English
during
By JuUe Spraggon. 318 pp. with
5 b. & w.
iUs.
(The
Wood
Press,
BoydeU
ISBN 0-85115
2003), ?45/$75-
895-1.
by SIMON WATNEY
in
i63
contrasted
reverence
for
the
i,
a
antiquary
traditional
to
burial
the
iconoclasts:
that
aU
John
EngUsh
and
monuments
church
of Christian
protesting
(1617-? 92) and Thomas
Both
Baker
(1657?81).
their respective
appendixes,
EngUsh
sixteenth
late
that
concluding
as works
objects
into
have
filtered
acquisition
London'
painting.
considers
example,
on
to
only
of EUzabethan
contemporary
collections
by
with
of Henry
seems
but
England,
sites
of the contribu
early EngUsh
is
volume
latter
ultimately
of these
appreciation
"fine
art"
Baroque
unusual
are
the
the
to
term
England.
'coUecting'
early modern
for example,
the question
WilUams,
probes
of precisely
when
and
'pictures
sculpture
as mere
room
to be collected
not
began
decorations
but as "works
of art"' for them
writing
been
(1650-1722),
the collection
from
consideration of the vaUdity of applying the
Reviewed
Baker
and Anne
Christopher
both
with
concerned
early
on
the former
collections,
focusing
Symonds
er the
Weever
she
activities of John Churchill,
Brookes
compar
to the late seventeenth.)
through
of the many
strands binding
togeth
in this volume
is a thoughtful
essays
century
One
Arundel
of Roman
drawings
acquired
while
Charles
Avery
Marlborough
of sculpture.
table
aristocratic
of
collections
picture
countess's
from
the
in which
concerned
exclusively
a useful
provides
contents
the
ing
(1586-1646),
emerges
the majority
on
focus
Howard,
nonetheless
Antichrist,
paintings,
Roberts,
Leonardo
of
inventory
also
1677-78.
essay
(McEvansoneya's
an
includes
based
which,
appendix
although
on
rather
than manuscript
sources,
printed
bridge,
2nd
Howard,
in pre-Restoration
Although
an
(1574?1619)
of Arundel
Countess
other
print
collecting:
c.1710,
collection,
Isham's prints
compiled
in
This
figure
liter
of her
Denmark
Talbot,
The
here
acquired an
paintings
on
light
in terms
inventory
and an
generaUy,
(pp.304-05).
who had travelled
the
sheds
discussed
Aletheia
Lumley,
creation
Henry
in
new
(1581-1627),
traditionally
and Surrey
a taste for
to have been
and Venice
Harington,
that would
(?i5ii-i58o),
to Milan,
Padua
Susan
Bracken,
early
on
contribution,
Countess
of Bedford
Earl of Arundel
who
partly
through
the experiences
of
12th Earl
Fitzalan,
father-in-law,
of Arundel
likely
collecting
Hearn's
Karen
(1584-1654).
address
suggests
not
that Lumley's
of Italy was
knowledge
as
has been
gleaned,
traditionally
thought,
from
first-hand
Barron
Rather,
experience.
that Lumley's
argues
percep
persuasively
tions
history
in
modern
impor
of
history
of the Aldrich
Buckingham's
siderable figure in her own right. As Chew
?
in the
Englishmen
to
high
in
such
or net
collectors
Several
essays
interesting
documents
unpubUshed
the
minority
In a similar
lens.
role of women
of
and Aletheia
theoret
are,
filtered
the
by
Greeks
Italian
light the largely neglected
Hall,
London,
V.
Elizabeth
gestures
Chaney'
of art criticism
evolution
the most
paintings
in Britain
century
twenty-first
In addition,
of
previously
tant to
selves
survey
fascinating
As Hearn
she
demonstrates,
ary patronage.
was
an
of painters
and
patron
important
collector
of paintings
in the realm of
who,
to
sought
connoisseurship,
self-consciously
rival contemporaries
and fellow-collectors
con
text: the history of collecting from Antiq
to the
uity
and America.
go-betweens
experiences
were
not
than
often
of
Lucy
the
surveys
only
and of Anglo-Italian
modern
but
period,
subject
Elizabethan
England.
not
Chaney
of collecting
in the early
L. Williams's
Two
In this elegantly written
EngUsh collecting.
trajectory
relations
from
Italianate
and
through a French or Netherlandish
in
ambitious
implicidy
of mediators
(2002).
selection
reader'
an
with
begins
contribution
significance,
essays,
raised by
Cecils,
one
but
reference,
the general
in London,
but
also on
only
to Paris,
The Hague
and, most
of all, Madrid.
observes,
art more
present
impressive
arts
visual
vividly
Italian
(1592?
Italy. However,
he
demonstrates,
(and other) works
of the impact of religious upheaval on
Elizabethan collecting. As Williams righdy
seventeenth-century
England.
as 'a text-book
of both
and
Conceived
of
the
creation
to
an
of Sir Dudley
Carleton's
bution,
analysis
as art agent
to
dual careers
and ambassador
Venice
and The
It
also
informs
Hague.
is handsomely produced and brings
volume
work
the
paintings
is the primary focus of Robert Hill's contri
(1995), and
1358-1612, edited by Pauline Croft
Like
these
Richard
devoted
Albion's
periods:
in Britain,
1550
Arts
Visual
publications
that has pro
series
volumes
not
travels
important
held in 1998 at the Southampton Institute's
History of Collecting Research Centre, is
the twelfth instalment in the Paul Mellon
Centre's
in his
Italian
second
travelled
McEvansoneya
seen
would
have
GOLDRING
on
contribution
are
in the Buckingham collection. Like Lumley
and Salisbury, George Villiers, ist Duke of
his
this
ventur
issues
Similar
Alps.
as
Reviewed
ever
art without
of
of
addressed by Philip McEvansoneya
by
140 b. & w.
ills. (Yale Center for British Art and Paul
Mellon Centre for Studies in British Art/
Yale
works
south
ing
Edited
pp. with
484
other
are
these
attitudes
'swearing
remaines
and damnable'.
papisticaU
of
and
of
Look
ing back to Royal Proclamations from
the time of Queen EUzabeth, he wryly
observed that they 'took small effect, for
about
[...]
this time,
there
sprung
a con
up
tagious brood of Schismatics; who,
have
might
have
robbed
ments
had
our
their wiUs,
churches
and
level
but
riches,
the ground,
their devotions,
with
exercise
erroneous
in
doctrines,
or
the woods,
with
the
also
all their
have
laid
only
orna
them
to
rather
choosing
and pubUsh
their
some
in
common
these churches, which
luted
not
would
of
if they
empty
fields,
barn,
in
than
they held to be pol
abominations
of
the whore
of Babylon.'1
Litde could Weever
within
a decade
THE BURLINGTON MAGAZINE
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All use subject to JSTOR Terms and Conditions
have imagined that
parUament
itself
would
BOOK
have
over
taken
by sectarian
largely
a
in
and be playing
role
major
new waves
As
of official
vandaUsm.
been
Puritans
inciting
Julie Spraggon explains in her introduction
to this book:
the
time
godly
effect
'The
.
[.
peculiar
.] meant
Furthermore:
a
that
minority
in a position
were
parUamentarians
and
poUtical
of
circumstances
reUgious
change'
played
out
itself,
rather
as a part
than
of
the
has
merely
a rather
seventeenth-century
it is a great virtue
of this
that it makes
plain both the leading
in
of parUament
close
relations
between
such matters
role
and
from
aboUtion
itwas
vals
closing
struggle
cerning
of
theatres,
the
Sabbath,
strict new
and
and
blasphemy
con
laws
between
the old CathoUc faith and the new
moraUty. As
reformed
one'
or extreme,
whether
moderate
'Iconoclasm,
was
in a sense part of the Puritan
tempera
ment.
It was just one physical
manifestation
to cleanse,
to purge
of the urge
aU things
(p.xni).
As her bibUography
has
a wealth
of contemporary
state papers
and parUamentary
cathedral
archives
and church
consulted
sources,
from
records
to
accounts.
wardens'
reveals, Spraggon
Such
the
invaluable,
given
over
the whole
subject.
dents
of time,
and the
that
hangs
the acci
Through
unofficial
action
church
records
iconoclasts,
many
are
this period
notoriously
incomplete,
can
there
thus be no final
reUable
evidence
mentary
nature
and
scale
is
research
primary
dense
fog
the
concerning
of destruction.
of
from
and
precise
AU
the
reason
to pay
to
attention
therefore
as
documentation,
surviving
Spraggon's
work
she
demonstrates,
admirably
although
seems much
more
to accept
Puritan
wilUng
accounts
are
than RoyaUst
which
records,
as
dismissed
of
arch-iconoclast
of
Puritan
WilUam
the most
of
themes
the book
practice
books
and
prayer
events
pubUc
fuUy
stage-managed
were
as
evidendy
a form
of
We
theatre.
and
to attend
'scandalous
and
shocking,
to contemporary
and
pictures'
to understand
in order
trash'
we
and
are found
fear
it found
rites
such
Such
acts
tion,
from
stained-glass
of
it regularly
emotions
of
measures
zeal
and
and
pubUc
sacrilege
destruction
of paintings
to the
windows
mock-baptism
as
I, should
of Puritan
rituals
improving
a
simpUstic
underlying
albeit with
mentaUsm,
ing
potential
popular
appeal.
be
of
of Torrigiano's
its
with
Abbey,
deeper
altar from
reUgious
images
was
Laud at
of course
denied
trial, and was
fervendy
Yet
far too often
opponents.
by his Puritan
EUzabethan
to defend
action
rearguard
those
bent
against
church
total
the
tradition, fighting what many
as a
see
would
rather
innovator,
within
AngUcan
a
destruction,
not be forgotten,
goal
its
upon
it should
which,
they indeed temporarily
critics
rather
than
possibly
Schismatic
the
same
the
reason
this
Spraggon's
repeated
Laudian
and Arminian
defence
wiU
readers
many
ques
of
the estabUshed
AngUcan
were
its Uturgy
somehow
with
the poUcies
and
as the
iconoclasts
such
Baptist
in 1653,
the
hierar
excesses,
Falkland,
as 'conservatives'
actions
the
number
large
moveable
removed
from
ofthat
The
sect,
Presbyterian
in
that
AngUcans,
of popular
in
is reflected
churches
to
refers
some
broad
and
kind
mass
'the Lau
of
strange
of anti
seemingly
has
and
other
for
protected
doubdess
Interregnum,
the
and
risk, by parishioners
and which
country,
happily
in some profusion.
survive
evidence
the local
Spraggon's
concerning
of
windows
would
protection
stained-glass
have
personal
the
been
example
the early
strengthened
by the documented
most
in Essex, where
of Messing
seventeenth-century
with
saved,
together
were
east
surviving
window
of
furnishings
the marveUous
van
Abraham
by
Linge of 1640. This was preserved by being
hidden at the time of the siege of nearby
in
Colchester
1646,
together
in the ancient
treasures,
parish
in a vault
under
with
other
chest
parish
It is a key work
the church.
and richly suggestive
so
in its very material,
piety,
as much
as its
abhorred
the Puritans,
by
of the ancient
Acts
charitable
iconography
now
in front
of Mercy,
however
enacted
of
Laudian
the
with
buildings
and deUghtful
Ufe.
everyday
elegant
scenes
strapwork
of north
are at the
They
to the
stiU touchingly
close
spirit
late medieval
Seven
Sacra
surviving
ments
fonts
which
suffered so grievously from Puritan
iconoclasm
and
in
windows
this
same
of
decade.
are stiU,just, in touch with
them' (p. 5 5).
author frequendy
as if
were
they
rather
than
the
the
scale
of windows
of
at real
often
of
a uniform
'to putt men
black,
blacknesse
and darknesse
On
fittings and furnishings evidendy
European
same time
Samuel
that the interiors of aU churches should be
painted
minde
Culpepper
(p.75).
devout
The
images.
such measures
reUgious
to
resistance
decoration,
to ParUament
argued
Iwould
ques
of Members
description
were
to such
who
opposed
including
red-brick
com
and
chy
mensurate
who,
of
descriptions
as if
'zeal',
reason
author's
of
church.
For
person
about
such things.
of art of the period,
dians'
of
could
and as if she could
reasonable
any
care
very
deeply
and his
iswithin
funda
his
the sanctity
of the
at the heart of
AngU
that
imagine
enemies, for bringing disaster upon himself
Hering
and
reflect
degrees
achieved.
blamed,
she often
of
Ues
can beUef and worship,
aU over
is regarded in these pages as if he
radical
they
monu
with
Indeed,
(p. 193).
comprehension
sacraments
which
the duration
his
crusading
a mainstream
important
to be
them
to which
adorned
idolatry'
and
which
observations
were
contrary,
they
simply
AngU
as best
to
could
cans,
responding
they
an
on
attack
the very
idea of
escalating
as
amount
churches
and what
holy
places,
ed to a complete
of reUgion
poUticisation
'obviously
desecration
famously reiterated by Archbishop
a
of
and Hyde,
problems.
'idols',
extent
or were
contained
more
had
is one much
of
places
special
'not aU cathedrals
that
(p. 177),
in the
of ParUament
the
The founders of the EUzabethan Settle
ment, foUowed by men such as Richard
Hooker and Bishop Lancelot Andrewes had
insisted on a distinction between legitimate
and
and
or
alike
tion
makes
the
features',
almost
acceptable
(p.91). Unfortu
there are many
other
such examples
nately
scattered
Sometimes
the book.
throughout
reflect
churches"
For much
sound
of
considered
piety,
Messianic
varying
improve
tion
purity.
desecra
the
of Charles
sanitary
description
offensive
they
"mother
defending
sonaUy
do
of animals and above aU the trial and judicial
murder
chapel
indeed
its underlying
in equal
of personal
writes
In this way
the fanaticism
of his
is ameUorated,
and he ismisleadingly
as an extremist,
is then per
who
presented
would
of
demonstrations
she
1645
Westminster
his
learn
a
destruction,
expressing
to
violent
the
national
while
past
hostiUty
a
self
embodying
strongly
self-dramatising
as manifested
in these
stark
righteousness,
in
in
her
to Laudians
Uttle
of
the
if this were
desirable
Similarly
removal
as
is one
flat
Spraggon's
were
especially
who
considered
encouraged
by
that
'cathedrals
not
it
ever
has
catastrophe
to be cantankerous.
Nor
writes with what appears to be surprisingly
descriptions
other
'popish
of destruction
pubUc
spectacles
occasioned.
related
Closely
hatred
of
kind
than
and the social significance of the
psychology
some
Laud
devout
may
House
were
art, at
care
of reUgious
about Puritanism from what
offensive
weU
Dowsing.
recurring
fascinating
involves
the widespread
of
vestments,
burning
aU forms
which
poUtico-theological
much
the main
1643
concerning
of Manchester's
One
of
and
legislation
and 1644, as weU
and the
Arms,
Royal
two
to
cornmissions
1641,
as orders
Earl
texts
parUamentary
ordinances
of
propaganda'.
several
provides
helpfuUy
the
providing
appendixes
iconoclastic
the
'blatant
she most
Also,
at Somerset
ment.
docu
more
typically
at
society
large'
(p.255).
If there
is a problem
here,
on
tone.
For
p.72
example,
of
the
of
casuaUy
'cleansing'
at
leader
spiritual
national
no other
surely
EngUsh
a time
of
comparable
but
man,
ments
? both from the church and from
ungodly
tacdess
were
concludes:
Spraggon righdy
her text might
anyone
reading
as a saint and martyr:
he may
a very
at times
difficult
and
that
hoUness'
sexual
personal
idea
regard Laud
have
been
reason
festi
'superstitious'
and May
the
Day,
supposedly
as Christmas
of
the
the
legisla
concern,
Puritan
of
observation
of
such
church
and
iconoclastic
areas
other
as the
such
dis
and
of
tion
no
been
in
issue
history,
book
(p.xi).
Protestant
the
iconoclasm
of
'What differentiated this bout
within
often
as if it were
side
EngUsh
to
iconoclasm
sponsored
had gone
before was
that
officiaUy
those which
too
Far
regarded
tasteful
REVIEWS
East
AngUa
Here
we
something of the
of late medieval
sensibiUty
piety.
to conclude
It is aU very weU
that at 'the
root of Puritan
was
iconoclasm
the fear and
hatred of idolatry' (p.25 5), but itsmeaning
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CXLVI
MAY 2004
335
BOOK
REVIEWS
No
is unclear.
as did
images
The
author's
sense
of
Christians
EngUsh
awesome
such
imputed
seventeenth-century
lack
apparent
any keen
the better
of
of
ingly
repulsive Colonel WilUam
Springett, whom
she
describes
almost
endearingly
man who
young
earnest
beUefs
took
(p. 117). Yet
seriously'
as
his
reUgious
to 'a great zeal against
things,
his soldiers
and
encouraging
tion,
to
supersti
requiring
them to break down
idolatrous pictures
and
into
and
crosses,
going
he was
the
upon
whatever
houses,
popish
service
of
searching
if they
never
not
reserved
is one
house
coUeague's
private
more
anecdotes
concerning
telUng
psychology with which
His
monument
noble
East
church,
one of
a series
which
martyrs
assessment
Spraggon
'Iconoclasm
amply
than
testified,
than a
destructive
for
fied",
human
lesson
that
to
vulnerable
and
culture
we
if reminders
dangers
of the
need,
those
today
by
aU forms of art as
posed
attack
who
enthusiasticaUy
'eUtist' or 'superstitious',
to the
tabloids.
The
from
was
ply a finite historical event
but
past,
at our
ignore
not
sim
in the distant
an active
respects
we
in the present which
force
potential
the
in many
remains
our
of
not
peril,
least,
inside
sadly,
Ancient
J. Weever:
1631, pp.38 and 54.
London
Funeral Monuments,
instance,
that
concludes
weapon
Puritans
itwas
against
no less
as bibUcal
by God,
a
was
iconoclasm
Irish Paintings
in the National Gallery
of Ireland. Vol.1. By Nicola Figgis and
Brendan
+
Ireland,
posi
rather
the
removal
of dark
496
Rooley.
36 b. & w.
incl.
pp.
col.
254
pis.
of
iUs. (National Gallery
DubUn,
ISBN
69.83.
2001),
away
the
was
symbols
an essen
this
tial first step in the building of a godly future'
This
(p.255).
sense
in some
is doubdess
true,
by MARTIN
BUTLIN
misunderstood,
especially
to place
the work
of the
same
if it tempts
iconoclasts
anyone
on the
artists
crafts
as that of creative
level
and
taste certainly made
things hap
into so many
the new Ught pouring
an accidental
was
of
consequence
Puritan
pen, but
churches
windows
purged
lately whitewashed
and reredoses
screens
than
the Bible
symboUc
of the saints which
boUsed
336
is another
stories
it replaced.
matter.
walls
was
and
Low
What
it sym
as
'in
working
Countries
who
ter and Francis Wheadey,
in Ireland
for a short
be
associated
diately
with
Luckily,
who
a more
'is ultimately
rather dull'. Minor
as major
in as much
treated
detail
are
FuU
often
biographies
given,
on individual
over
into the entries
spilUng
in the case of James Maubert
Only
pictures.
the biogra
does
lack of information
restrict
phical
erable
note
to amere
half
use
is made
of
better
to
name
such
the
either
equally
other
schools',
in view
Thomas
works,
included.
The
or more
are
and Robert
was
born
but aU his known works,
include
have
portraits
been
done
is present
having
Rome
catalogue),
almost
been
(Uke
imme
remark
too much,
outside
they
seem
sitters,
country.
Fagan
on
the basis
of
while
other
as 'an Irish CathoUc'.
resident
artists
in
from
the
catalogue
late seventeenth-
of
the
Strickland
Ireland,
works
by
Anne
and
and
in
painting
standard
Crook
sources,
and, Uke other
in notes
that, con
in the margins
of
the
appear
as
such
and
insight
the
revealed
an
selected.
Does
of
the
but
in
this
AU
complexity.
of the
account
The
quaUty
is exceptional,
tive
iUustrations
catalogue
into the Ufe
by
also
and
are
in Smock AUey which
in aU their
is
missing
the coUection.
by Henry
landscapes
the revolu
including
the 1790s and the theat
period,
troubles
of
rical activities
characteristic
pictures
subject
a marveUous
of
certain
topographical
der Hagen.
The
van
is the absence
factor
only Umiting
coUection
of
the
gives
times
colour
the
seem
one
reaUy
Three
omit
is
that
formation
of
reproductions
compara
sixty-four
somewhat
of Reynolds's
a term
and why
ofHymen,
version
of Barry's
Iachimo
need
randomly
to be
ladies adorning
the finished
the
emerging from
in Imogen's
chamber or the oil-sketch
for
Nathaniel
Hone's
the im
Conjuror,
though
of the sketch
is clear from
the text?
portance
chest
to
the
solely
described,
so many
are
Fagan
in Ireland
although
Irish
of
particularly
works
by
as a whole
competent
eighteenth-century
supplementing
G.
Walter
foreign
think that the fullness of the
reminded
excluded.
of the quaUty of their
Frye
former
Consid
a
adopt
fine-sounding
as
Somebodini'.
'Signor
artists, but
as a survey
serves
column.
from
quotations
an
example
being
that he would
do
sources,
is altogether
case
of
less
tionary
only worked
can
'and who
period
These
quite
gentleman
artists are
WilUam
before
for a consider
worked
given,
formal
as
are not
they
refreshing
such
admis
but
include
exclusively
positive
a
Portrait
sions as that Charles
Stoppelaer's
of
be
Tresham
able period in Ireland, such asGaspar Smitz
andWilUam Ashford, but Stephen Slaugh
and
any less
the Uves
born
are
and
styUstic
to assessments
of quaUty.
and
analysis
last can
works
century.
was
intention
the
to artists
catalogue
is excluded
1838)
no
onto
that
explains
Irish
Victorian idiom'. Similarly, the definition
of Irishness is sUghdy vague: included are
artists with their origins in England or the
of iUumination provided by the old faith.
Stripped of their fittings and furnishings,
the endlessly bigoted sermonising of the
Elect. Nor should we assume that the Ught
that flooded in through the new clear glass
up
by
1770, but while Martin Archer Shee (1769?
(1766?
1850) is included, John Mulvany
rather than their primary
actions,
goal.
if churches
had become
Moreover,
dark,
Puritanism
this was
because
had
already
sources
since
the
destroyed
long
consoUng
the sanctity
longer
emphasised
of the sacraments,
the Eucharist,
especiaUy
mere
and had become
for
sounding-boxes
to
preface
to limit
the
their
churches
paintings
the mid-nineteenth
thor
extremely
and sitters, for
to
extend
veniendy,
text). The
covers
The
and important, but it runs the risk of being
men.
even
act as tutelary
deities
are
fuUy acknowledged
catalogue
artists
are
identifying
landscapes
accounts
fuU biographical
and
frames,
form.
original
tabulated
in
shank and the Knight of GUn (these two last
090
316-270-9.
Reviewed
labels,
condition,
former
attribu
of
themselves
Some might
idolatrous glass aUowing the Ught to flood
in. Clearing
ough,
whom
in
act, creative
negative
were
churches
"beauti
by
entries
The
entries
sepa
later
exhibitions,
details
tions,
Uterature,
are given
and versions
contemporary
Robert
Carver's
the Church of England.
1
on
those
including
provenance,
ones.
the TaUban
iconoclasm
ancestors
seventeenth-century
aU known
such
periodic
and
vandaUsm,
self-destructive
us,
to this reviewer,
known
catalogue
even
those recendy
pubUshed
by
the National GaUery in London. Medium,
size (alas in centimetres only, despite the
fact that the artists involved would have
thought in feet and inches), inscriptions
minor
than a duty. Approved
examples
tive rather
on,
elsewhere.
eloquendy
was
the godly
and for many
idolatry,
of
constant
parish
is
here,
to
shrines
deserve
the wider
orgies
reminds
the book abounds.
in Ringmer
not discussed
as if any
visual,
seem
societies
Puritan
Sussex,
of contemporary
Puritan
rate
of
its intel
Uves
in the
apparent
glaringly
and reveaUng
that
fantasy
is somehow
verbal
primarily
accepted
culture
reinforces
or
story of his taking his sword to a painting
of the Crucifixion
inside a Protestant
tenaciously
crumbled
but
or society could ever fail to be both. Among
other things, it helps us understand why
the history of EngUsh art is to this day so
woefuUy neglected in England. Secondly, it
so rich, he
and
them,
destroyed
one of them for its comeUness
nor saved
cosdy workmanship,
anything
for his own
use'
remarkable
(p. 116). The
a decade,
than
most
than
have
regime may
inheritance
EngUsh
rather
beads,
crucifixes,
and such Uke trumpery, he found,
were
Uttle more
houses
steeple
[churches] Pie] would take the surpUces and
distribute them to big belUed women.
When
Puritan
after
these Umits, this is the fuUest of any
Given
museum
surpassing
art historians.
for
significance
The
is perhaps
his wife, his serious beUefs led him, among
other
particular
widely
a
sets out
it lucidly
First,
aspect of EngUsh history which
neglected
lectual
'an
according
reasons.
two
least
has
sometimes
gets
sacrilege
as in her
other
reveal
judgments,
assessment
understated
of the frankly
her
is of great importance for at
This book
ever
have
to
powers
Puritans.
magical
It would
the
be
presumptuous
and accuracy
scholarship
its many
and
logue
one
or two questions
last-minute
the
Knight
MAY 2OO4 ?CXLVI ?THE BURLINGTON MAGAZINE
This content downloaded from 81.130.200.251 on Tue, 26 Nov 2013 06:27:21 AM
All use subject to JSTOR Terms and Conditions
suggestion
of GUn,
to
of
question
this cata
new
but
attributions,
should
be raised. A
by Crookshank
in
reported
and
a note