1. Puritan hero Oliver Cromwell (1657).
  2. Charles I Resting from the Hunt (1635). Van Dyck.
  3. This engraving of King James by Simon van de Passe was included as the frontispiece to The Workes of James, published in 1616.
  4. The Londinium Arch at Fenchurch, constructed in London for the 1604 royal entry of James I.
  5. The New World Arch in Fleet Street, also constructed for the 1604 royal entry of James I.
  6. This 1605 engraving, by an unknown artist, shows Guy Fawkes (1570–1606) and the other conspirators in the Gunpowder Plot.
  7. The great hall, with the Rubens ceiling.
  8. Daughter of Niger. Inigo Jones (1605).
  9. Two lady masquers. Inigo Jones.
  10. King's and Queen's costumes. Inigo Jones.
  11. Frontispiece to the Authorized Version of the Bible (the King James version) (1611).
  12. Jesuit emblem: Cordis Mundatio. From Benedict van Haeften's book, Schola Cordis (1629).
  13. Jesuit emblem: Cordis Humiliatio. From Benedict van Haeften's book, Schola Cordis (1629).
  14. Lutheran emblem: Probor. From Daniel Cramer's book Emblemata Sacra.
  15. Lutheran emblem: Mollesco. From Daniel Cramer's book Emblemata Sacra.
  16. Lutheran emblem: Praedestinor. From Daniel Cramer's book Emblemata Sacra.
  17. Emblem: The risen Christ in the heart. From Zacharias Heyns's Emblemes Chrestienes (1625).
  18. Emblem: O wretched man . . . From Hermannus Hugo's Pia Desideria (1624).
  19. St. Teresa and the Seraph. Bernini.
  20. This is the portrait of Lucy Russell, Countess of Bedford, dressed in her masque costume for Ben Jonson's Masque Hymenaei (1606) for the marriage of the Earl of Essex and Lady Frances Howard. The marriage ended in divorce and led to one of the most notorious scandals of the age. One basis for Prynne's tirade against masques is the fact that in these court entertainments Queens and aristocratic ladies display themselves, he thought, indecently and scandalously.
  21. An engraving of Westminster Hall at the trial of Charles I. The court is full of spectators, soldiers, and court officials. Lord President Bradshaw sits in the midst of a large group of commissioners appointed to try the king. Directly facing Bradshaw, the king sits in a box, alone, wearing the hat he steadily refused to remove in deference to the authority of the court. Standing to Charles's right are John Cook, the prosecutor, and his two assistants; as was customary in treason trials, there was no defense attorney. On the clerks' table in the center, between the king and the commissioners, lie the mace and sword of state, as well as a copy of the charge. From John Nalson, A True Copy of the Journal of the High Court of Justice for the Tryal of K. Charles I (London, 1684).
  22. A German engraving of the execution of Charles I (1649); the unknown artist probably worked from second-hand descriptions. The executioner's block, in fact, was only six or seven inches tall, requiring the king to lie almost prone, and more effective for beheading than the pedestal depicted here. The hooded executioner, holding the ax, has just struck; his assistant, also hooded, lifts Charles's head for the crowd to see. Dr. Juxon, in clerical robes, stands just to the right of the king, holding some items of his clothing. Colonel Hacker, farthest right, superintends the execution.
  23. Frontispiece from a copy of Eikon Basilike.
  24. Engraving, by William Faithmore, of Milton in 1670, a few years after he completed Paradise Lost; it was published as the frontispiece to his History of Britain (1670).
  25. Title page to Thomas Hobbes's Leviathan (1651). Abraham Bosse. Printed by Andrew Crooke, London.
  26. The frontispiece engraving to a work published in the year of Oliver Cromwell's death, 1658.

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