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Iconography of the Assumption and Coronation of the Virgin in Post-Reformation England, 1580-1616

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Iconography of the Assumption and Coronation of the Virgin in Post-Reformation England, 1580-1616 ‘Some Out of Vanity Will Call Her The Queene of Heaven’: Iconography of the Assumption and Coronation of the Virgin in post-Reformation England, 1580-1616. Submitted by Elizabeth Jane Grindlay to UCL as a thesis for the degree of DOCTOR OF PHILOSOPHY in ENGLISH LITERATURE I, Elizabeth Jane Grindlay, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed:……………………………………………………………………………… 1 ABSTRACT This thesis aims to conceptualise the Virgin through a focus on post-Reformation representations of her bodily assumption and coronation as Queen of Heaven. The Reformation’s emphasis on the Word was a driving force behind a diminishing of significance of the Virgin, underpinning a shift in perception of her image from Heaven’s Queen to humble handmaid. This thesis will show how in spite of its eradication from state-approved liturgy, iconography of the assumption and coronation of the Virgin continued to be of cultural significance. Through historicised close reading of works by writers from a range of confessional standpoints, it will show how these contentious aspects of Mariology aroused powerful and complex responses in post-Reformation England. The timescale of the thesis commences midway through the reign of Elizabeth I, in the year that marked the start of the Jesuit mission, and finishes midway through the reign of James I, in a year which saw the investiture of Charles as Prince of Wales. Thematically rather than chronologically structured, the thesis itself journeys on a spectrum of faith, encompassing views that range from Protestant polemicist to Jesuit Catholic. It will show how iconography of the assumption and coronation was symptomatic of the continued confessional complexity of post-Reformation England. The thesis commences with two chapters exploring oppositional representations of the Virgin as Queen of Heaven in Protestant writing. Chapters focusing on individual voices follow: Elizabeth Cary, the writers of recusant rosary books, Sir John Harington, Henry Constable and Robert Southwell. In a variety of ways, both oblique and direct, these writers engaged with images of the Virgin’s assumption and coronation, and their representation of the Virgin’s image reflects cultural and political as well as religious concerns. 2 CONTENTS List of illustrations p. 4 Notes on the text p. 5 Acknowledgements p. 6 Introduction: The Empty Image p. 7 Section 1: Rethinking the Virgin Mary p. 7 Section 2: The Virgin’s Assumption and Coronation Through the Ages p. 25 PART ONE: SHARDS AND FRAGMENTS Chapter 1: Images of the Queen of Heaven in Protestant Religious Discourse p. 48 Chapter 2: Sham Queens of Heaven: Iconoclasm and the Virgin Mary p. 97 PART TWO: VOICES FROM THE SHADOWS Chapter 3: The Queen of Heaven and the Humble Handmaid in Elizabeth Cary’s The Tragedy of Mariam p. 151 Chapter 4: The Virgin Mary and the Early Modern Rosary p. 190 Section 1: Recusant Rosary Books p. 190 Section 2: Harington’s Rosary p. 221 Chapter 5: The Queen of Heaven and the Sonnet Mistress: The Sacred and Secular Poems of Henry Constable p. 246 Chapter 6: ‘Faultles cors’: Robert Southwell and the Assumption of the Virgin p. 291 EPILOGUE: The Assumption and Coronation of the Virgin in the Caroline Period p. 332 APPENDIX A p. 362 APPENDIX B p. 366 APPENDIX C p. 367 BIBLIOGRAPHY p. 370 3 LIST OF ILLUSTRATIONS Introduction. Figure 1: Mosaic decoration of the Coronation of the Virgin by Jacopo Torriti in Santa Maria Maggiore, Rome, completed 1296. Figure 2: Modern-day statue of Our Lady of Walsingham, based on original eleventh-century statue. Figure 3: Imprint of original Walsingham pilgrimage seal. Figure 4. Twelfth-century mosaic of the Virgin’s Dormition from La Martorana, Palermo. Figure 5: The Virgin of the Assumption, by Bartolomeo Bulgarini (1300-1310-1378), tempera on panel. Chapter 4. Figure 1: Illustration of the Coronation of the Virgin from Anon, A Methode, to Meditate on the Psalter, or Great Rosarie of Our Blessed Ladie (1598), sigs. F8v-G1r. Figure 2: ‘The Lady Hungerfords Meditacions Upon the Beades’, from John Bucke, Instructions for the Use of the Beades (1589). Figure 3: The title page of Gaspar Loarte’s Instructions and Advertisements, How to Meditate the Misteries of the Rosarie (1613), sig. A1r. Figure 4: Engraving of Mysteries of the Rosary included in gift-book of Epigrams of Sir John Harington, Folger MS V.a.249. Chapter 5. Figure 1: Thirteenth-century statue of The Black Virgin of Halle. Figure 2: Virgin and Child from St Mary’s Church, Great Canfield, Essex (early thirteenth century). Watercolour of figurative architectural detail by E.W. Tristram, Victoria and Albert Museum, London. Chapter 6. Figure 1: Giuseppe Valeriano, Assumption of the Virgin (1586-8). Oil on panel, Chapel of the Madonna della Strada, Church of the Gesù, Rome. Epilogue. Figure 1: Illustration of the Virgin’s bodily assumption from Anthony Stafford, The Femall Glory (1635), p. 209. 4 Notes on the Text When referencing early modern editions, I have retained original spellings, with the exception of i/j and u/v, which have been modernised. All Biblical references have been taken from The Geneva Bible unless stated: The Geneva Bible, introd. Lloyd E. Berry, facs. of 1560 edn (1969; rpt Peabody MA: Hendrickson, 2007). All biographical information is from the Oxford Dictionary of National Biography Online unless stated: http://www.oxforddnb.com, Oxford University Press, 2004; online edn, May 2011, which is abbreviated as ODNB in the text. All references to the works of Shakespeare are from The Complete Works of Shakespeare, ed. Stanley Wells, Gary Taylor, John Jowett and William Montgomery (Oxford: Clarendon Press, 1986). All references to The Faerie Queene are from Edmund Spenser, The Faerie Queene, ed. A.C. Hamilton with Hiroshi Yamashita and Toshiyuki Suzuki (2001; Harlow: Pearson Longman, 2007). In bibliographical references, ESTC refers to the English Short Title Catalogue: http://estc.bl.uk. A&R refers to A.F. Allison and D.M. Rogers., The Contemporary Printed Literature of the English Counter-Reformation Between 1558 and 1640, vol. 2, Works in English (Aldershot: Scolar Press, 1994). 5 ACKNOWLEDGEMENTS This thesis owes a debt to a number of people. My first, and biggest, debt is to my supervisor, Helen Hackett. I feel immensely privileged that this project has led to so many intellectually stimulating hours in her company. Her friendship and guidance have made the completion of this thesis a truly enjoyable experience. As secondary supervisor, Alison Shell went way above and beyond, and her expertise has considerably shaped my research. Many of the chapters I have written have grown out of papers given at conferences. I am grateful for the comments and suggestions from a range of scholars who have heard me air my views, particularly Robert Miola, Arthur Marotti, Susannah Brietz Monta, Susan Signe Morrison and Gary Waller. René Weis, Gerard Kilroy, Jeanne Shami, Anne Dillon and Alexander Samson have also offered invaluable advice. Fr Peter McGeary, Serenhedd James and Fiona Porter all generously gave their time to proofread sections of the work, while Tristan Franklinos provided gold-plated help on primary sources written in Latin. My final debt is to my wonderful family. My children Jess and Sam have dealt with my mental and physical absences with patience and good humour, and I thank them for dragging me – just occasionally – out of post-Reformation England and back to reality. My husband Bruce is the busiest person I know, and yet still found the time to read my work and discuss my ideas. I could not have completed a PhD at this stage in my life without his intellectual and emotional support. 6 INTRODUCTION: THE EMPTY IMAGE SECTION 1: RETHINKING THE VIRGIN MARY That she can be represented in so many ways, thought about and imagined in so many forms, is an indication of how deeply she speaks to us about the hope for the world’s transfiguration through Jesus; how she stands for the making strange of what is familiar and the homeliness of what is strange.1 The image of the Virgin is one of paradoxes: regal and domestic, submissive and militaristic, both warmly human and impossible to reach. It is perhaps its emptiness which is the source of both its power and its appeal. Appearances of the Virgin in the gospels themselves are relatively rare; with the exception of St Luke’s Magnificat, Mary is in the main a mute figure whose acquiescence to God’s will leads to a reversal of the Fall.2 Over the centuries, writers, artists and musicians have filled these gaps in the text of the Virgin’s life, making the role of the creative imagination integral to the construction of her image. With emptiness comes adaptability: the result is as multi-layered as it is elusive, an image that can frequently bring insights into the age in which its creator lived and worked. In this thesis, I will be focusing on a period of England’s history when the image of the Virgin underwent a radical shift, moving from an object of devotion to a site of resistance and controversy. My research concentrates on the latter part of the reign of Elizabethan I and the early years of the reign of King James. We thus find ourselves in post-Reformation England, at a time when, following the pendulum swings of the earlier sixteenth century, Protestantism can be viewed as the established 1 Rowan Williams, Ponder These Things (Norwich: Canterbury Press, 2002) p. xv. 2 A list of the Virgin’s appearances in the Bible can be found in Chris Maunder, ‘Mary in the New Testament and Apocrypha’, in Sarah Jane Boss (ed.), Mary: The Complete Resource (Oxford: Oxford University Press, 2007), p.
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