The neglected period of the Protectorate is reviewed and reassessed in this stimulating collection. The Protectorate is arguably the Cinderella of Interregnum studies: it lacks the immediate drama of the Regicide, the Republic or the Restoration, and is often dismissed as a 'retreat from revolution', a short period of conservative rule before the inevitable return of the Stuarts. The essays in this volume present new research that challenges this view. They argue instead that the Protectorate was dynamic and progressive, even if the policies put forwardwere not always successful, and often created further tensions within the government and between Whitehall and the localities. Particular topics include studies of Oliver Cromwell and his relationship with Parliament, and the awkward position inherited by his son, Richard; the role of art and architecture in creating a splendid protectoral court; and the important part played by the council, as a law-making body, as a political cockpit, and as part of a hierarchy of government covering not just England but also Ireland and Scotland. There are also investigations of the reactions to Cromwellian rule in Wales, in the towns and cities of the Severn/Avon basin, and in the local communities of England faced with a far-reaching programme of religious reform. PATRICK LITTLE is Senior Research Fellow at the History of Parliament Trust. Contributors: BARRY COWARD, DAVID L. SMITH, JASON PEACEY, PAUL HUNNEYBALL, BLAIR WORDEN, PETER GAUNT, LLOYD BOWEN, STEPHEN K. ROBERTS, CHRISTOPHER DURSTON.

Biographical studies of the two Dukes of Ormonde illuminate aspects of the operation of political power in seventeenth-century Ireland, and, on a wider European stage, the predicaments facing the nobility. A valuable insight into the political and material world of Ireland's leading aristocratic family. HISTORY For much of their lives the two dukes of Ormonde dominated public events in Ireland, where they served the English sovereign as viceroy five times; they were also powerful presences in the Stuart court in England, and commanded armies both in Ireland and Europe. Later, they spent long periods on the continent as travellers and exiles. Yetdespite their importance in the public life of the age, neither duke has been the subject of a full modern biography, a gap which this collection of essays aims to fill, using key episodes and phases in the Ormondes' careers to investigate the larger picture. The dukes' lives as great nobles, landowners and converts to Protestantism raise problems specific to Ireland, but they also exemplify the predicament of nobles elsewhere in Europe. A particular focusis on the worlds that they and their wives created, often innovative and always dazzling, and on the clienteles who looked to them for preferment and on which a part of the Ormondes' political weight rested. Throughout, much newlight is cast on such vexed questions as the troubled and constantly changing relationship between Ireland and England, between public and private interests, and the roles of women. Dr TOBY BARNARD teaches at the University of Oxford. Contributors: G.E. AYLMER, T.C. BARNARD, EVELINE CRUICKSHANKS, DAVID EDWARDS, JANE FENLON, RAYMOND GILLESPIE, DAVID HAYTON, PATRICK LITTLE, RENE MOULINAS, EAMONN - CIARDHA, NATHALIE GENET ROUFFIAC

The seventeenth century witnessed a radical and far-reaching transformation in English architecture, as new and purer forms of classical design became firmly established, sweeping away earlier fashions. How this dramatic change came about at local level has never been fully understood. Using Hertfordshire as a case-study, this ground-breaking, interdisciplinary book reconstructs the complete built landscape-not just houses but churches, momnnuments, and almshouses-to reveal a competitive and visually sensitive environment in which people at all social levels exploited architectural display to enhance their personal image. New fashions were an important weapon in this struggle. Because only the county elite possessed the necessary contacts and resources to obtain the latest classical designs, such patterns became badges of status, symbols not just of cultural aspirations but of social ambition. Paul Hunneyball demonstrates that classical architecture caught on at local level less because it was aesthetically superior than because its advocates were socially superior.