This controversial study takes the provocative line that the French monarchy was a complete success. James turns the idea of royal ‘absolutism’ on its head by redefining the French monarchy’s success from 1598 - 1661. The Origins of French Absolutism, 1598-1661 maintains that building blocks were not being laid by the so-called architects of absolutism, but that by satisfying long-established, traditional ambitions, cardinal ministers Richelieu and Mazarin undoubtedly made the confident, ambitious reign of the late century possible.
Yves-Marie Berce's THE BIRTH OF ABSOLUTISM offers a refreshingly original approach to the history of France between the Edict of Nantes and the personal rule of Louis XIV, a period dominated by the names of two cardinals - Richelieu and Mazarin. Berce brings to the task not only familiarity with the sources and with French historiography, but also a thorough knowledge of the large body of English and American research on seventeenth-century France. This has enabled him to escape the diminishing perspective of the older French school, the 'grand history told from Paris' which reduced the course of events to an account of the inevitable triumph of the 'Royal state'. Berce emphasises the degree to which the French Crown remained beset by an aristocratic faction only too ready to avail itself of royal minorities, religious dissent or provincial grievances in the pursuit of its own ambitions.
This controversial study takes the provocative line that the French monarchy was a complete success. James turns the idea of royal ‘absolutism’ on its head by redefining the French monarchy’s success from 1598 - 1661. The Origins of French Absolutism, 1598-1661 maintains that building blocks were not being laid by the so-called architects of absolutism, but that by satisfying long-established, traditional ambitions, cardinal ministers Richelieu and Mazarin undoubtedly made the confident, ambitious reign of the late century possible.
Interest in the history of violence has increased dramatically over the last ten years and recent studies have demonstrated the productive potential for further inquiry in this field. The early modern period is particularly ripe for further investigation because of the pervasiveness of violence. Certain countries may have witnessed a drop in the number of recorded homicides during this period, yet homicide is not the only marker of a violent society. This volume presents a range of contributions that look at various aspects of violence from the fourteenth to the seventeenth centuries, from student violence and misbehaviour in fifteenth-century Oxford and Paris to the depiction of war wounds in the English civil wars. The book is divided into three sections, each clustering chapters around the topics of interpersonal and ritual violence, war, and justice and the law. Informed by the disciplines of anthropology, criminology, the history of art, literary studies, and sociology, as well as history, the contributors examine all forms of violence including manslaughter, assault, rape, riots, war and justice. Previous studies have tended to emphasise long-term trends in violent behaviour but one must always be attentive to the specificity of violence and these essays reveal what it meant in particular places and at particular times.
Interest in the history of violence has increased dramatically over the last ten years and recent studies have demonstrated the productive potential for further inquiry in this field. The early modern period is particularly ripe for further investigation because of the pervasiveness of violence. Certain countries may have witnessed a drop in the number of recorded homicides during this period, yet homicide is not the only marker of a violent society. This volume presents a range of contributions that look at various aspects of violence from the fourteenth to the seventeenth centuries, from student violence and misbehaviour in fifteenth-century Oxford and Paris to the depiction of war wounds in the English civil wars. The book is divided into three sections, each clustering chapters around the topics of interpersonal and ritual violence, war, and justice and the law. Informed by the disciplines of anthropology, criminology, the history of art, literary studies, and sociology, as well as history, the contributors examine all forms of violence including manslaughter, assault, rape, riots, war and justice. Previous studies have tended to emphasise long-term trends in violent behaviour but one must always be attentive to the specificity of violence and these essays reveal what it meant in particular places and at particular times.
In 1603, the beginning of the Stuart reign, painting was of minor importance at the English court, where the elaborately designed masques of Inigo Jones served as the prime medium of royal representation. Only two decades later, their most celebrated performer, George Villiers, the First Duke of Buckingham had assembled one of the largest and most significant collections of painting in early seventeenth-century Europe. His career as the personal and political favourite of two succeeding monarchs – James I and Charles I – coincides with the commission of a number of highly ambitious portraits from the hands of Peter Paul Rubens and Anthony van Dyck that displayed his body in spectacular manner. As the first comprehensive study of Buckingham’s patronage of the visual arts, this book is concerned with the question of how the painted image of the courtier transferred strategies of social distinction that had originated in the masque to the language of painting. Establishing a new grammar in the competing rhetorics of bodily self-fashioning, this recast notion of portraiture contributed to an epistemological change in perceptions of visual representation at the early modern English court, in the course of which painting advanced to the central art form in the aesthetics of kingship.
