Abstract
This chapter begins with a sculptural group, not an easel painting. It is the effigy of James I which faces the main entrance of the Bodleian Library, on the inside of the Tower of the Five Orders described by Pevsner as ‘a frontispiece prouder than any in England’. The sculpture was erected to commemorate the foundation of the library by Sir Thomas Bodley in the early years of the seventeenth century. It is a concentrated and richly allusive image of a king who responded to the book more than to visual imagery but who nevertheless well understood the power of art.
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Notes
W. Noël Sainsbury, Original Papers relating to Rubens (London, 1859), p. 61.
Gregory Martin, ‘The Banqueting House ceiling: Two newly-discovered projects’, Apollo, February 1994, pp. 29–34.
Geoffrey Whitney, A Choice of Emblemes (Amsterdam and New York, 1969 reprint), p. 168.
Rubens to Pierre Dupuy, London, 8 August 1629, in R. S. Magurn, The Letters of Peter Paul Rubens (Cambridge, Mass., 1955), p. 320.
Peter Burke, The Fabrication of Louis XIV (New Haven and London, 1992), p. 9.
Martin Warnke, The court artist: On the ancestry of the modern artist (Cambridge, 1993), p. 196.
Oliver Millar, ‘Abraham Van Der Doort’s Catalogue of the Collections of Charles I’, Walpole Society 37 (1958–60), p. 62.
Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen 2 vols (London, 1963), text vol., p. 94.
Isaac D’Isreali, Curiosities of Literature 3 vols (London, 1859), vol. 2, pp. 329–30.
John Evelyn, Numismata (London, 1698), p. 335.
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© 1997 David Howarth
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Howarth, D. (1997). The Royal Portrait: The Stuarts. In: Images of Rule. Palgrave, London. https://doi.org/10.1007/978-1-349-25481-1_5
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DOI: https://doi.org/10.1007/978-1-349-25481-1_5
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