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145:, symbolic of their allotted place in life. They then climb up a mountain, which divides into two peaks, symbolic of the right and the wrong paths in life. The path to the peak on the right appears more attractive at first, but then becomes rocky and finally leads only to death; the path on the left is at first harder, but eventually becomes pleasant and leads to paradise. A Christian
207:(history). Like Wither, Milton was unimpressed by Marshall's work, considering the portrait to be deeply unflattering. He had Marshall engrave satirical verses written in Greek underneath the image. It is assumed that this was a practical joke on Marshall, who is unlikely to have known that he was engraving insults directed at himself. The verses read in translation,
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Wither's lengthy poem on the engraving claims that its apparently inconsistent symbolism revealed, unintentionally, a deeper truth. The lower part of the frontispiece depicts people wandering in confusion in a cave, apparently having emerged from a womb-like pool in which babies are shown swimming.
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The landscape at the left contains the weighted palm tree and the rock buffeted by winds and waves, emblematic of the king's steadfastness. The beam of light from heaven passing through the king's eye illustrates his vision of his heavenly crown of martyrdom, while he picks up the
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Looking at the form of the original, you could say, perhaps, that this likeness had been drawn by a rank beginner; but, my friends, since you do not recognize what is pictured here, have a chuckle at a caricature by a useless
124:. Wither left the design to Marshall, having given general instructions, but expressed himself exasperated with the result, on the grounds that its symbolism was thoroughly incoherent. As he wrote,
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It is assumed that
Marshall died in 1649, since there are no more references to him and the Eikon Basilke plate was reengraved for the eighth time that year by another engraver,
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and its portrait of
Charles's execution as a martyrdom were so successful that, at the Restoration, a special commemoration of the King on 30 January was added to the
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Nothing is known of
Marshall's life beyond references to his career as an engraver. Marshall's earliest known work is the frontispiece to the book
277:. Marshall created the image on the frontispiece, which employs symbolism derived from the Emblem Book tradition. This depicts the King as a
497:; Bibliographical notes by Charles S. Hensley, Columbia: published for the Newberry Library by the University of South Carolina Press, 1975.
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Skerpan, Elizabeth Penley, Authorship and
Authority: John Milton, William Marshall, and the Two Frontispieces of Poems 1645,
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In the first edition, the frontispiece was accompanied by Latin and
English verses that explain it. The English verses go:
97:, which was published in 1617. In the 1630s he produced a number of portrait engravings and book frontispieces, depicting
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179:'s (notoriously inaccurate) edition of the poet's sonnets. This was an adapted and reversed version of the original
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and discards the earthly crown and worldly power (represented by the chart of the world on which he treads).
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British
Printed Images:William Marshall, title-page to The English Gentleman and The English Gentlewoman
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divines, poets, and figures associated with the High Church establishment of the day, such as
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written by the King. It was published on
February 9, 1649, ten days after the King was
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The
Pourtrature of His Sacred Majestie in His Solitudes and Sufferings
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Marshall's image of
Shakespeare for Benson's 1640 edition of his poems
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Society of King
Charles the Martyr: Marshall's Eikon Basilike print
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A Solemne Joviall Disposition Briefly Shadowing the Law of Drinking
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Marshall also created forty-one of the seventy-nine plates in
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is depicted on the left and a Pagan temple on the right.
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They exit the cave to draw lots given to them by the
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Dictionary of National Biography, William Marshall.
479:National Portrait Gallery, William Marshall prints
521:- Volume 33, Number 4, December 1999, pp. 105-114
183:print. Five years later, he created the image of
108:His most ambitious work was the highly elaborate
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133:The true Design: And, so (with pains, and cost)
129:Instead thereof, the Workman brought to light,
131:What, here, you see; therein, mistaking quite
36:1617–1649) was a seventeenth-century British
118:Collection of Emblemes, Ancient and Moderne
135:The first intended FRONTISPIECE, is lost.
348:— "Bitter and Light", the martyr's
320:("Glory")); meant to be contrasted with:
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402:The boist'rous Windes and raging waues
187:surrounded by four muses for Milton's
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424:I slight vaine things, and do embrace
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414:With joie I take this Crown of thorn
409:That Splendid, but yet toilsom Crown
404:So triumph I. And shine more bright
395:Tho' clogg'd with weighs of miseries
352:held by Charles; contains the motto
531:Milton, In Effigiei Ejus Sculptorem
419:That heavn'nlie Crown, already mine
416:Though sharp, yet easie to be born.
60:martyr, which was published as the
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566:Art of the Print: William Marshall
426:Glorie, the just reward of Grace.
406:In sad Affliction's darksom night.
397:Palm-like Depress'd, I higher rise
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421:I view with eies of Faith diuine.
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400:And as th'unmoved Rock outbraues
171:In 1640 he created the image of
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601:People of the English Civil War
386:— "I tread on the world".
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308:CRESCIT SUB PONDERE VIRTVS
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296:IMMOTA, TRIVMPHANS
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195:(tragedy),
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177:John Benson
122:Emblem book
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585:Categories
466:References
453:repentance
275:Parliament
189:1645 Poems
328:the Crown
279:Christian
193:Melpomene
58:Christian
342:"); and
271:beheaded
116:'s 1635
87:Emblemes
84:Wither's
38:engraver
449:fasting
336:Vanitas
332:England
212:artist.
99:Puritan
64:to the
54:England
354:Gratia
340:vanity
318:GLORIA
282:martyr
201:Urania
147:church
358:grace
289:Latin
255:Greek
239:print
197:Erato
56:as a
451:and
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