Samuel Pepys:
Plague, Fire, Revolution, edited by Margarette Lincoln. London: Thames and
Hudson, 2015. ISBN 978-0500518144, 288 pages. £29.95
This book was
published to coincide with an exhibition of the same name at the National
Maritime Museum, which was superb. The book looks at the late Stuart period
through the prism of Samuel Pepys, who aged 15 witnessed the execution of King
Charles I. It covers from that point to his death in 1703.
The book is
divided into five sections, each section has three or four chapters and ends
with “Objects in Focus”. The five sections are:
1. Turbulent
Times - for which the objects in focus include among other things, the iconic
painting of the Execution of Charles I, a set of medical instruments for
performing a lithotomy, a nice set of pikeman’s armour, the gloves that Charles
is supposed to have given Bishop Juxon, and from the Museum of London a
knitted waistcoat that Charles is supposed to have worn to the scaffold.
2. The Restoration – here the objects in focus
include the painting of Charles II’s Embarkation at Scheveningen, and Charles’s
cavalcade through the City of London. On the costume front you have Edmund
Verney’s 1662 wedding suit, on loan from the National Trust, it is a supreme
example of the heigh of the fashion for short doublets and petticoat breeches.
There is an article online on its conservation by Rosemary Weatherall (2014).
Matching this splendour is the silver
tissue dress from the Museum of Fashion at Bath. It the book it is pictured
by itself, but for the exhibition it was displayed with a stunning lace
collar from the Bowes Collection at the neck.
3. Pepys and
the Navy – the chapters here cover not only the whole debacle of the Medway,
but also Pepys work in Tangier. The objects in focus include a pair of his green
tinted spectacles, a variety of naval instruments and new fangled tea and
coffee pots.
4. Scientific
Enquiry – This was the time of the foundation of the Royal Society, and the
objects in focus include Napier’s bones, and Morland’s calculating machine
(which Pepys described as “very pretty, but not very useful”), there are also
sundials and quadrants, microscopes and telescopes.
5. Revolution
and Pepys’s Retirement – Here the objects in focus include the wedding
suit worn by James II when, as Duke of York, he married Mary of Modena in
1673, coved in silver and silver-gilt thread the base fabric is wool. There is
also James
II’s armour (breastplate, helmet and gauntlet) and buff coat made for him
in 1686, the last suit of armour made for an English monarch.
The book is a
delight, well worth the price, and I am very glad I actually got to see the
exhibition.
Rosamund
Weatherall 2014 A Hidden History at
Claydon House: The elaborate 17th-century wedding suit of Edmund Verney. National Trust, Arts, Building, Collections Bulletin,
Autumn issue http://www.nationaltrust.org.uk/documents/abc-bulletin-autumn-2014.pdf,
article pages 14 to 15.
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