1. Arthur Capel, 1st Baron Capel, and his Family (c. 1641). Cornelius Johnson.
  2. Lady Mary Wroth, with archlute, artist unknown.

    The image represents the poet Mary Wroth (NAEL 8, 1.1451) in a conventional pose and role, holding the archlute, which indicates that she has been educated in the graceful arts (besides instrumental music, singing, dancing, French, fine needlework) that an aristocratic woman was expected to know. But the massive archlute, emblem of song-making, also points to her Sidney heritage — as niece of the poets Sir Philip Sidney and the Countess of Pembroke, and as daughter of Sir Robert Sidney of Penshurst, also a poet — and to her own distinctly unconventional role as female poet. In short, the image points to the normative gender and social roles for women and men, and the contests about those norms, that loom large in the literature of the early seventeenth century.
  3. From George Wither's A Collection of Emblems (1635).
  4. The image of the husband beating his wife with a rod is from a French engraving by Abraham Bosse (ca. 1640). The wife kneels before the husband as a penitent, and her children do also, as if begging mercy for her.
  5. A lady of Caroline England. From Wenceslaus Hollar's Ornatus Muliebris (1640).
  6. A countrywoman. From Wenceslaus Hollar's Ornatus Muliebris (1640).
  7. Mrs. Claypole (1658) by Michael Wright.
  8. From an early seventeenth-century collection of costumes at the time of James I. Here, as the gentleman and the lady of the household play cards with their guests, a servingman brings them dishes of food.
  9. Portrait of Robert Sidney (1563), circa 1588. Artist unknown.
  10. Portrait of Lady Sidney and six of her children. Marcus Gheeraerts.
  11. Penshurst Place, Kent (South Front).
  12. The West Front, Knole, Sevenoaks, Kent. The country house of Richard Sackville, Earl of Dorset, and his wife Anne (Clifford).
  13. Belcamp, The "Great Picture" of the Clifford Family.
  14. Title page, Hic Mulier (1620).
  15. Title page, Haec Vir (1620).
  16. The formal picture of Elizabeth Cary is a wash drawing by Athow, from a painting by Paul Van Somer.
  17. Milton's views on Divorce became an object of persistent attack in his own day, and he was sometimes satirized as the founder of a sect, Miltonists or Divorcers. This engraving, from A Catalogue of the Severall Sects and Opinions (1646), associates a sect of Divorcers with other notorious heresies and moral outcasts of the day. The image represents as a cruel driving out what Milton represents as a charitable relief of psychic suffering.

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