Henrietta’s fervour had much to do with fashion. To a godly critic of the queen, Catholicism was part of a deadly and poisoned past, but to the queen herself it seemed the future. Catholicism fitted with court fashions; the court loved ritual and drama, colour and the baroque. The Laudian idea of ‘the beauty of holiness’ was one that Catholicism could accept, even if Laud himself was eager to maintain boundaries. When the aestheticization of faith became the goal, England could only lope awkwardly behind Rubens’s Antwerp or Bellini’s Rome. Both Charles and Henrietta did not want to trail in last in the aesthetic revolutionary army; they wanted to march in the front ranks. Precisely because the godly were not keen on images, pagan or Christian, those vanguards were dominated by Catholics.
As well, Henrietta wanted to be Esther, freeing her people through her influence. She was called to save English Catholics from the savage prejudices of their fellow-countrymen. Henrietta had been asked by the pope himself to promote Catholicism in her new kingdom. She went about it with characteristic verve and taste.
The centrepiece of her campaign was the building of her hated chapel. She wanted to create a new kind of place of worship, employing the most avant-garde and brilliant architect, Inigo Jones. The foundation stone was laid on 14 September 1632, and the chapel opened 8 December 1635, the feast of the Immaculate Conception of the Virgin Mary. One French envoy claimed that it had taken a long time because Inigo Jones was a Puritan and did not want it done. However, like many a godly soul, Jones was not averse to commerce, and after he had been given some additional monies, the work was completed.
The old chapel, which had existed since Anne of Denmark’s day, had been unpopular enough. Apprentices talked of pulling it down in 1634. The new one became a symbol of all the terrors the queen’s very existence came to evoke. It was plain outside; inside it was exuberant, rich, fanciful. There were the gold and silver reliquaries. There were ciberia, chalices, embroidered stoles. There were paintings, statues, even a chapel garden, a tribute to the queen’s interest in all things that grew green. It was, observers thought, ‘quite masculine and unaffected’ on the outside. But inside it was splendid, with an elaborate altarpiece made up of a series of seven oval frames containing angels sitting on clouds. A delicate carved screen on fluted and gilded Doric columns marked the entrance to the queen’s closet. And the opening celebrations were more splendid still.
As George Garrard observed tartly, ‘the ceremonies lasted three days, massing, preaching and singing of litanies, and such a glorious scene built over their altar, the Glory of Heaven, Inigo Jones never presented a more curious piece in any of the masques at Whitehall; with this our English ignorant papists are mightily taken’. The king visited it three days after the opening, and told Father Gamache that he had never seen anything more beautiful or more ingeniously contrived. It had one feature which would strike some modern Catholics as surprising, and which horrified Protestant contemporaries. An eminent sculptor named François Dieussart ‘made a machine, which was admired even by the most ingenious persons, to exhibit the Holy Sacrament, and to give it a more majestic appearance’. The resulting spectacle deserves a full description, even though it is tiring; the ceremony itself must have been even slower:
It represented in oval a Paradise of glory, about forty feet in height. To accommodate it to the hearing in the chapel, a great arch was supported by two pillars towards the high altar, at the distance of about eight Roman palms from the two side walls of the chapel. The spaces between the pillar and walls served for passages to go from the sacristy to the altar … Over each side appeared a Prophet, with a text from his prophecy. Beneath the arch was placed outside the portable altar, ten palms in height … Behind the altar was seen a paraclete, raised above seven ranges of clouds, in which were figures of archangels, of cherubim, of seraphim, to the number of two hundred, some adoring the Holy Sacrament, others singing and playing on all sorts of musical instruments … all conceiving that, instead of the music, they heard the melody of the angels, singing and playing upon musical instruments … In the sixth and seventh circles were seen children with wings … like so many little angels issuing from the clouds … In the eighth and ninth circles appeared cherubim and seraphim among the clouds, surrounded by luminous rays … All these things were covered with two curtains. It was the 10th of December, in the year 1636, that the queen came with all her court to hear Mass. As soon as she had taken the place prepared for her, the curtains being drawn back, all at once gave to view those wonders which excited admiration, joy, and adoration in her Majesty and in all the Catholics … Tears of joy seemed to trickle from the eyes of the queen.
This magic chapel was the height of fashion, but in essence not unique. Before the Reformation, such contraptions were not uncommon, and they were not, of course, intended to fool anyone, but to add a dramatic element to sacred ritual. In the 1433 York Domesday pageant, there was ‘a cloud and two pieces of rainbow of timber array for God’ and a heaven with red and blue clouds, an iron swing or frame pulled up with ropes ‘that God shall sit upon when he shall sit up to heaven’. At Lincoln Cathedral, a series of ropes and pulleys allowed the Paraclete to descend at Pentecost. The grail romances sometimes described similar contrivances. Reincarnating and refurbishing such sacred dramas, Henrietta had not meant to trick anyone, any more than she thought people would take her for a goddess when she appeared before Inigo Jones’s painted scenes, so lifelike in their three-dimensionality. What she did intend to convey was sophisticated knowledge, spectacle, and perhaps fun.
She liked jokes. She once managed to inveigle Charles into gambling with her for a golden crucifix. The king won, and was placed in the embarrassing position of having to decide whether to keep it or not. The Catholic Elizabeth Thorowgood thought that the king was sympathetic to Catholics because of his wife, but Mary Cole, also a Catholic, thought the opposite. She wondered how the queen could stand it.
She could stand it best by making and enlarging her own brilliant Catholic world, lit and sculpted with the very latest. And Henrietta wanted London to know it was there; in 1638, she even planned a procession to Somerset House to celebrate the birth of the dauphin. She made a new and very Catholic festive calendar for it; in 1637, there was a special Christmas Mass, attended by her flock of recent converts, and at Worcester House, in the Strand, there was a display of the Holy Sepulchre during the 1638 Easter season. But on Holy Thursday 1638, the Spanish ambassador shocked London by processing through the streets, crucifixes and torches held aloft, from the queen’s chapel to his own residence. There was a minor riot, and he was warned by the king.
So neither Henrietta nor her allies were content to hear Mass in a private fashion. It was not only that she felt she had nothing to be ashamed of. She was not even trying to revive Catholic England, that medieval past that had been violently rocked to sleep by Elizabeth and James and by her husband. She was trying something much more ambitious. She was attempting to bring modern Catholicism to England, and with it the eye-popping glories of the Catholic baroque that had fuelled the Counter-Reformation with their beauty and exoticism. She was hoping to seduce the English aristocracy with the brilliant modernity of a Church that was part of a rich aesthetic future. This was a far riskier project. It was also doomed to ultimate failure.
But not at first; initially it succeeded brilliantly. When the Earl of Bath attended Catholic Mass for the first time, he wondered aloud why Protestants were deprived of the many splendid aesthetic consolations offered by Rome. There were multiple conversions among Henrietta’s ladies, and Rome became quite the fashion, especially when Lady Newport converted, despite her husband’s godliness. The centre of much of the bustle was the household of Olive Porter, niece of Buckingham; she had been miraculously prevented from dying in childbirth in February 1638. ‘Our great women fall away every day’, wrote one of Strafford’s less sanguine correspondents. One of the horrors was that it was all so … feminine. But there were men involved too – social historia
n Lawrence Stone speculates that in 1641 something in the order of a fifth of the in peers were Roman Catholics. Historian Kevin Sharpe suggests that not only were there more Catholics in the 1630s – and more visible Catholics – but that overall numbers may have reached 300,000. The papal envoy George Conn reported happily that while in the past Catholics would only hear Mass in secret, now they flocked to the queen’s chapel and the embassy chapels. When one of the king’s favourites, Endymion Porter, abruptly silenced a French Huguenot for criticizing the papal agent, the court knew the prevailing wind was blowing from Rome.
Inigo Jones, of course, was the name that connected the chapel with other activities at Somerset House; as well as building the chapel, he was also constructing a theatre there from 1632, and the connection was not lost on men like William Prynne. The new theatre was to be the venue for a new kind of play, a French pastoral by Walter Montagu. It was called The Shepherd’s Paradise, it lasted for seven hours, and was in rehearsal for four months. It was about love. It was about faith. It was about four hours longer than the audience was used to.
For William Prynne, the problem with such work wasn’t that it was long and exceedingly moral and rather dull; anyone who thought Montagu’s playtexts on the long and wordy side had only to sample Prynne’s prose to find Montagu positively crisp and succinct. No, for Prynne the problem was that it was all far too terribly exciting, so that Tempe Restored, another drama of the same sort, was for him a ‘Devil’s mass’, a Catholic ritual. In this masque, there is a kind of confession, and a scene of absolution: Tempe is cleansed of the evil beasts of Circe.
Everyone at court took the hint, though not all were willing to act from expediency. They could see that the tides of fashion were flowing in the queen’s favour. Laud, who hated Rome because he was somewhat seduced by it himself, stridently issued a proclamation against those resorting to Mass, and the queen as belligerently responded by holding a special midnight Mass for all converts. Endorsements of the Virgin Mary, including Maria Triumphans, an anonymous work dedicated to defending the Virgin, linked Henrietta – Queen Mary – with Mary the Queen of Heaven: ‘She whom [the book] chiefly concerns, will anew become your patroness, and thus will Mary, the Queen of Heaven for a great queen upon earth, the mother of our Celestial king for the mother of our future terrene king. And finally, by your protecting and pleading for it, the immaculate virgin will (in a more full manner) become an advocate for you, her Advocate.’
This was not the wisest move the queen could have made. It arose from her name: the king liked to call her Maria, and the English did call her Queen Mary, a name that now sounds positively stuffy and cosy, but which at the time had a dangerous ring. England had had a Queen Mary, and a Catholic one at that. She had also narrowly missed another in Mary Queen of Scots. ‘Some kind of fatality, too,’ wrote Lucy Hutchinson waspishly, ‘the English imagined to be in her name of Marie.’ When Marian devotion was constantly evoked, so too were the queen’s dismal predecessors, Mary Tudor and Mary Queen of Scots. It did offer the queen an opportunity to knit together the Platonic cult of devotion to her, evoked by many sighing sonnets, and the cult of the Virgin Mary, so that she and the Virgin could be understood in the same way; as intercessors, whose special grace it was to plead with the king … of earth, of heaven. It made the tiny queen feel important. Being Mary’s votary involved (again) touches of theatre; one could be Mary’s bondslave, for instance, and wear a length of chain to show it.
But it was the sheer flagrant unapologetic visibility of Henrietta’s Catholicism and its proximity – in every sense – to the centre of monarchic power that really alarmed those who hated and feared popery. We might detect a trace of defiance in Henrietta’s openness, a trace, therefore, of fear. But to the godly, she seemed a shameless emissary of the Whore of Babylon. Her attempts to secure the religious toleration of Catholics seemed to many a sinister plot. When she and her helper Conn tried to facilitate Catholic marriages (then illegal) and to obstruct a plan to take into care the eldest sons of all Catholic families to bring them up as Protestants, she was thwarting the godly.
The fact that the godly were witnessing the happiest royal marriage in English history only made them more miserable, for what might the emissary of the Whore do with the king? Everyone knew how close they were, and for anyone who doubted it, there was the long row of children to prove it. Lucy Hutchinson thought, with many, that Charles was more in love with his wife than she with him, describing him as ‘enslaved in his affection towards her’. She was, thought Hutchinson, ‘a great wit and beauty’, which only made matters worse. Just as ordinary women could persuade their husbands to buy them pretty dresses while cosily tucked up between the sheets, thought one pamphlet, so the queen might incline the king to popery: note the connection between popery and feminine frills and furbelows. ‘Some say she is the man, and reigns’, said Mercurius Brittanicus more bluntly and much later (15–22 July 1644). When Parliamentarians said ‘evil counsellors’, it was often the queen they meant. Surely, they felt, it was only a matter of time before Henrietta managed to persuade the king to greater toleration – or worse … In fact, perhaps, even now … The dreads represented by the queen were knitted together and became suspicion of the king. At one London house in May 1640, a woman named Mrs Chickleworth told all she knew: ‘the queen’s grace, she said, went unto the communion table with the king, and the queen had asked your grace [Archbishop Laud] whether that she might not be of that religion which the King was – yes or no? Whereupon his Grace answered her Majesty “you are very well as you are, and I would wish to keep you there.” And now the King goes to Mass with the queen.’ The story spread, and was retold in the same London neighbourhood later that year, this time (optimistically?) by a Catholic. The king, she said, ‘was turned to be a Papist’.
Actually, this was unlikely to the point of impossibility. Charles was horrified by the rate of conversion the queen’s efforts had made possible, just as Laud was. In 1630 he ordered his subjects not to attend Mass at Denmark House, and he repeated the ban the following year. Laud was even less enthusiastic. In particular, he was dismayed by the ructions in the Falkland family. Lady Newport and Lady Hamilton converted. Elizabeth Cary, Viscountess Falkland, had not only converted to Catholicism, but managed to persuade her daughters to it as well, and Laud was alarmed. It was partly because he so feared the new waves of conversion that Laud thought it sensible to readmit the beauty of holiness to the simplicity of the Church of England. The queen’s favourite, Walter Montagu, had also converted, and when he returned to England from France the only people who would receive him were the earls of Holland and Dorset. Charles ordered his subjects not to attend embassy Masses, and ticked off the Spanish ambassador for going so openly to Somerset House. But suspicion continued to rise, and as Laud tightened his grip on ordinary worship, people formed simple equations: altar-rails, popery, the queen, the king. What it amounted to was that England, elect Protestant nation, was believed to be in danger from its own sovereign.
Nevertheless, despite all these doubts and difficulties, the terrifying thing about Charles’s personal rule is not that it was bound to fail, but that it nearly succeeded. There were tensions, there were fears, even panics; there was also opposition. But these things were common, and had accompanied the Tudor reforms of the monarchy, too; indeed, Elizabeth I was threatened with far greater outbursts of popular dissent than Charles faced before 1642. The Civil War was not bound to occur; it would take a special, exceptional set of circumstances to make it happen.
Like all those keen to redefine their powers by extending them, Charles eventually stretched his arm too far, and only in this sense was he ‘doomed’ to failure. But had he managed to avoid this characteristic tendency to test the limits one more time, he might well have succeeded in transforming the English monarchy at any rate from a leadership role amidst a system of checks and balances to something that would look to history like the rule of the Bourbons in France. Such absolutism mig
ht have produced a comparable cultural renaissance. Certainly this would have suited Charles; without the restraints of the implied need for consultation, he might even have endorsed something like Catholic toleration, and equally probably a more determined attempt to confine and restrict Calvinist Protestantism. After all, these became the settled policies of both his sons when they eventually succeeded him.
And we should not assume too blithely that the sequel would therefore have been a more violent and more total repudiation of the monarchy at some later date. But it would also have had an immeasurable impact on the history of the world. If there had been no English Civil War, would there have been an American or a French Revolution? It may be that Charles could have redefined government in autocratic terms for the whole of Western civilization, almost indefinitely. The result might well have been a British Empire that looked a good deal more like the Roman Empire, with concomitant court corruption and rivalry. Charles’s good characteristics – taste, refinement, elegance, sophistication, complexity – would have flourished. But we would altogether have lost Cromwell’s virtues – common sense, pragmatism, simple hard work, honesty. We would be a different nation in a different world.
III Two Women: Anna Trapnel and Lucy Hay
The key to the kingdom in 1639 was London, and it was mushrooming from town to megalopolis. At the beginning of the sixteenth century it was as small and compact as a provincial town in modern Britain. Now it was growing rapidly, and its growth imposed structural change. The old ways of life in London had to alter to accommodate the city’s new immensity. It was possible to begin to think new thoughts – political, religious, social – in this new space.
The English Civil War: A People’s History (Text Only) Page 5
