By M. Pittock
Fabric tradition and Sedition, 1688-1760 is a groundbreaking research of the ways that fabric tradition (and its linked designs, rituals and emblems) used to be used to prevent prosecution for treason and sedition within the British Isles. The clean theoretical version it provides demanding situations current money owed of the general public sphere and patron tradition.
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Extra resources for Material Culture and Sedition, 1688–1760: Treacherous Objects, Secret Places
The Jacobite age was an age when ‘watchmakers and glassmakers eclipsed even goldsmiths and jeweller’s shops with their displays’ and when china began to made in Europe. 42 It can be argued that the undercutting of major literary genres – the mock-heroic of Rape of the Lock, for example – is linked to aspects of the political resistance to this journey from charisma to kitsch, and kitsch’s retaliatory invasion of consciousness, in Pope’s contemporary material culture. 43 Howard Erskine-Hill points out, that the card game in the poem is allusively Jacobite, not least in the fact that ‘Loo’ was the name of William of Orange’s Dutch palace, here played out in the exchange value of objects controlled by a cant term, the name of a game and a political allusion, not in speech or even the objects that occupy it, but in negotiative exchange: the world of the card game (it is noteworthy that explicitly political playing cards illustrating episodes such as the Popish Plot or Monmouth’s rebellion had been in circulation since at least the late 1670s or early 1680s).
The chapter will end by looking at two case-studies: Décor, Decoration and Design 35 the architect James Gibbs and the plasterworker Joseph Enzer, whose designs at the House of Dun in Montrose basin represent perhaps the apogee of Jacobite interior design. The discussion that follows will begin, however, in the garden and policies of the house. Exteriors The eighteenth-century gentleman would have known from Pliny that the sacred tree of the Druids was the oak. In the 1630s, the Druids were confused with the bards by Milton and presented as ‘priests of nature’ in a court masque of Charles I.
It was not usually linked to explicit reading and clearly agreed indications: if it had been, more of it would have been vulnerable to prosecution. 36 Some verbal tags, particularly Latin tags, could be daring without being explicit, as they referred to a wider coded discourse of Jacobite sympathies which was denominated by classical literary reference or by cant terms such as ‘honest’ (see Chapter 3). Their inscription on objects, such as the 1752 ‘Redeat Magnus Ille Genius Britanniae’ medal with its allusion to William King’s 1749 speech on the opening of the Radcliffe Camera, or the ‘Fiat’ and ‘Hic Vir Hic Est’ glasses/medals (the latter from the meeting of Aeneas with Caesar Augustus in Aeneid VI: 791–5) were tags to give a voice beyond prosecution to the silent communication of the treacherous objects they often adorned.