Martial law does not have a good reputation. William Blackstone set the tone of modern attitudes in the 18th century. Martial law is ‘built upon no settled principles ... entirely arbitrary in its decisions ... no law, but something indulged, rather than allowed as a law’ (quoted at p. 251).
Padraig Lenihan, The Last Cavalier: Richard Talbot (1631-91), Dublin, UCD Press, 2014, 268 pages, €40, ISBN 9781906359836.
As Professor Gunn observes in his foreword, this book has been a long time coming: first mooted in fact in 1985 (a very suitable date). This has had two significant consequences which I shall discuss sequentially.
Erin Peters, Commemoration and Oblivion in Royalist Print Culture, 1658-1667 (Palgrave Macmillan, 2017), 184 pp., ISBN: 978-3-319-50474-2, £52.99
This book was commissioned by the Bank of England, when Mervyn (now Lord) King was Governor. The aim was to produce a popular history of the Bank, an institution important in Britain since its inception. If it was intended to be a popular volume, the kind that flies off the shelves in bookshops, I hope that I’m right when I say it will not.
Francis Young’s Magic as a Political Crime in Medieval and Early Modern England makes an important contribution to both the historiography of political culture in medieval and early modern England and the historiography of magic. This book develops ideas from Young’s previous monograph English Catholics and the Supernatural, 1553–1829.
Many years ago, J. H. Overton drew a fine line between Non-Jurors on the one hand and Jacobites on the other. The former, according to Overton, were ‘in no active sense of the term Jacobites’ because they were ‘content to live peacefully and quietly without a thought of disturbing the present government’.
Catriona Murray’s Imaging Stuart Family Politics is an impressive book, both for its high level of original research, and for its balance of academic sophistication with accessibility.
As uncomfortable as it is for historians to admit, we cannot deny the veracity of the old adage, ‘history is written by the victors’. Before the advent of gender and feminist histories in the latter part of the last century, victors were almost all invariably men.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.