In an age when engraving and photography were making artistic images available to a much wider public, artists were able to influence public attitudes more powerfully than ever before. This book examines works of art on military themes in relation to ruling-class ideologies about the army, war and the empire. The first part of the book is devoted to a chronological survey of battle painting, integrated with a study of contemporary military and political history. The chapters link the debate over the status and importance of battle painting to contemporary debates over the role of the army and its function at home and abroad. The second part discusses the intersection of ideologies about the army and military art, but is concerned with an examination of genre representations of soldiers. Another important theme which runs through the book is the relation of English to French military art. During the first eighty years of the period under review France was the cynosure of military artists, the school against which British critics measured their own, and the place from which innovations were imported and modified. In every generation after Waterloo battle painters visited France and often trained there. The book shows that military art, or the 'absence' of it, was one of the ways in which nationalist commentators articulated Britain's moral superiority. The final theme which underlies much of the book is the shifts which took place in the perception of heroes and hero-worship.
This chapter discusses the articles by Walter Goffart which allege that Gregory of Tours’ Histories show that the early Franks had no concept of military heroism. The evidence for the existence of heroic songs and traditions is examined, as well as admiration for military prowess, particularly in the near-contemporary military history of Prokopios. The criticisms of Walter Goffart’s views in Laury Sarti’s Perceiving war are discussed. The chapter concludes by suggesting that the absence of heroic military virtues in Gregory is deliberate and significant. His religious aim is to show the worthlessness of military virtues, because he wants to show that spiritual heroism is what matters. Gregory’s descriptions of warfare are all part of his attempts to show that true worth only comes through the Church and through following the teachings of Christ.
medieval knighthood. 16
The only work depicting near-contemporarymilitaryhistory
in the completed Houses of Parliament was Maclise’s waterglass
painting The Meeting of Wellington and Blucher, etc . Maclise was
commissioned to paint this and The Death of Nelson . The pictures
were conceived as part of an integral scheme for the Royal Gallery with
the subjects to the ‘military history and glory of the