The Stuart Parliaments and the Civil War, c.1604-49

Imaginative reconstruction of the interior of the House of Commons in 1646.

The Gallery

Detail of MPs in debate, from ‘Platform of the Lower House of this Present Parliament’, by an unknown engraver, 1640. Engraving, 42.5 × 33.2 cm. British Museum, London. BM 1885, 1114.124.1-3. © Trustees of the British Museum.
‘Portrait of Bulstrode Whitelocke’, by an unknown artist, 1634. Oil on canvas, 76.2 × 63.5 cm. National Portrait Gallery, London, NPG 4499. © National Portrait Gallery, London.

With so many MPs crammed into the former chapel, a solution needed to be found.

In 1601 parliamentary diarist Hayward Townshend recorded "old Parleamente men" talking about "certeyne holes, some two inches square, in the walls". These were to "uphould a skaffold round about the House, for them to sit on", last used in 1566.

Curiously enough, the reason for this "skaffold" was the early Elizabethan fashion for "greate breeches stuffed with hayre like great wollsackes".

By 1606 a gallery had been built in the Commons to accommodate more MPs. Serjeant Painter John de Critz was paid 32s. for painting "certaine postes rayless and boordes" a russet colour.

Fifteen years later the gallery was reconstructed with balusters, a handrail and three "longe Collumnes", which de Critz painted to resemble 'Rance', a fashionable marble.

The lawyer and MP Bulstrode Whitelocke criticised the disruptive MPs who occupied the gallery, "the resort of mutineers".

Image 1: Detail of MPs in debate, from ‘Platform of the Lower House of this Present Parliament’, by an unknown engraver, 1640. Engraving, 42.5 × 33.2 cm. British Museum, London. BM 1885, 1114.124.1-3. © Trustees of the British Museum.

Image 2: Portrait of Bulstrode Whitelocke’, by an unknown artist, 1634. Oil on canvas, 76.2 × 63.5 cm. National Portrait Gallery, London, NPG 4499. © National Portrait Gallery, London.

Click images to enlarge.

The Experience of Debate

‘Portrait of Inigo Jones’, after Sir Anthony van Dyck, after original of 1625. Oil on canvas, 64.1 × 53.3 cm. National Portrait Gallery, London, NPG 603. © National Portrait Gallery, London.
Detail of opening casements in the east window, from ‘Platform of the Lower House of this Present Parliament’, by an unknown engraver, 1640. Engraving, 42.5 × 33.2 cm. British Museum, London. BM 1885, 1114.124.1-3. © Trustees of the British Museum.

With a greater number of MPs attending Parliament, the problems with the Commons Chamber became acute. In 1604 the Works Accounts record the construction of "certaine newe steppes up to the seates".

In March 1621 a committee was created to "take a View for enlarging the Seats in the House, and for making a Provision for keeping out the Sun". One member was Inigo Jones (1573-1652), the celebrated architect and Surveyor of the King's Works.

It is clear that the Commons Chamber was still often unpleasant to sit in. During debates in May 1641, Sudbury MP Sir Simonds D'Ewes complained about being "thus shut in this hot and sweltery time".

The Commons could also become very noisy. Writing on 9 June 1614, the diplomat Sir John Chamberlain noted that some MPs thought "many that sat there were more fit to have ben among roaring boyes then in that assemblie".

Later, opening casements were introduced into the east window.

Image 1: ‘Portrait of Inigo Jones’, after Sir Anthony van Dyck, after original of 1625. Oil on canvas, 64.1 × 53.3 cm. National Portrait Gallery, London, NPG 603. © National Portrait Gallery, London.

Image 2: Detail of opening casements in the east window, from ‘Platform of the Lower House of this Present Parliament’, by an unknown engraver, 1640. Engraving, 42.5 × 33.2 cm. British Museum, London. BM 1885, 1114.124.1-3. © Trustees of the British Museum.

Click images to enlarge.

The Mace in the Commons

‘Portrait of Speaker Francis Rous’, by Frederick Newsham, after original of 1653. Oil on canvas, 125 × 101 cm. Parliamentary Art Collection, Palace of Westminster, WOA 2690. © Parliamentary Art Collection.
Serjeant at Arms carrying the mace on his right shoulder. © Parliamentary Estates Directorate.

The mace is the emblem of office of the Serjeant at Arms. Originally a symbol of royal authority, the mace came gradually to represent the power of the Commons.

In 1640 the Commons spokesman John Pym criticised the "new doctrine, that wee can doe nothing without a Speaker, or the mace".

Following the execution of Charles I in 1649, the goldsmith Thomas Maundy was commissioned to make a new mace without the royal arms.

The mace has an important role in parliamentary ceremonial to this day. Dating from Charles II's reign, the current Commons mace is decorated with the royal arms, a crowned rose, a thistle and a harp.

Carrying the mace on his right shoulder, the Serjeant at Arms precedes the Speaker into the chamber at the start of each day's business. Between Parliaments the mace is kept at the Jewel House in the Tower of London.

Image 1:‘Portrait of Speaker Francis Rous’, by Frederick Newsham, after original of 1653. Oil on canvas, 125 × 101 cm. Parliamentary Art Collection, Palace of Westminster, WOA 2690. © Parliamentary Art Collection.

Image 2: Serjeant at Arms carrying the mace on his right shoulder. © Parliamentary Estates Directorate.

Click images to enlarge.

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