Writing Worth Reading
Writing Worth Reading
I chose this partly because I love Hardwick. It’s an amazing place. The embroideries are one of the most fascinating aspects of it, because it’s got this huge collection unequalled anywhere... Somehow I find it fascinating to use this book, because as you move through the pages you just seem to be moving into the Elizabethan age.
On to The Embroideries at Hardwick Hall.
I chose this partly because I love Hardwick. It’s an amazing place. The embroideries are one of the most fascinating aspects of it, because it’s got this huge collection unequalled anywhere. All Elizabethan houses were full of embroideries, but in most cases the contents have been dispersed. At Hardwick there’s never been a sale, and it just piled up. There’s no other building in the world with such a wealth of original fabrics, which have always been in the house, and these are very richly illustrated in this book. Somehow I find it fascinating to use this book, because as you move through the pages you just seem to be moving into the Elizabethan age. You really feel that you’re there, because all the different aspects of it – the animals, flowers, stately women or grotesque faces, crossbows, carriages and so on – show the sort of fascination Elizabethans had with symbolism. They didn’t think abstractly very much, I don’t think: when they thought of geometry, they thought of a woman symbolising geometry and holding a pair of compasses. On the whole, Hardwick was a woman-dominated house, because it was this rich widow who created it, Bess of Hardwick. She was keen on illustrations of Patience, because she thought she'd been very patient, having survived her four husbands and all sorts of dramas and excitements, and having won through at the other end, becoming the richest woman in England. Men seem to come rather badly out of the art at Hardwick.
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Mark Girouard is an architectural writer, a leading architectural historian, and biographer of James Stirling, as well as an authority on the country house. He was previously architectural editor of Country Life magazine, and was Slade Professor of Fine Art from 1975 to 1976. He was elected a Fellow of the Society of Antiquaries of London in 1987. His book Elizabethan Architecture was published in 2009. Elizabethan theatre, he says, wasn’t at all a provincial thing but was tied into the classical world and Europe. There were ideas of geometry and proportion in the theatres, and there was this idea that the theatre was a miniature of the world. ‘Elizabethan theatre was a conscious re-creation of Roman theatres,’ he says.
