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This article explores the public ceremonies chosen to mark the restoration of Charles II in a range of provincial towns. It emphasizes both the extent of performative creativity and the prominence of martial forms at the proclamation in May 1660 and the coronation in April 1661. Using evidence from contemporary printed sources and the records of civic government, it demonstrates how local authorities could use public ritual to negotiate instabilities linked to the 'Old Army' of the commonwealth and the practical logistics of the new settlement while continuing to formulate more specific statements on the honour and security of the immediate vicinity.

One of the most defining phenomena of the city of Las Palmas during the Restoration Period (1874-1924) was the reform of public squares of the historical city, the quarters of Vegueta and Triana within the old urban walled space. With these reforms, the town-center shifted from the Santa Ana Square, the political, religions and administrative center since the early sixteenth century to «La Alameda-Cairasco» and «La Plazuela», a group of public spaces which, thus, sed their previous scatological image and became a second center to the historical center. These reforms pushed out from here, the banks of the «Barranco Guiniguada» to the «parque San Telmo» on the very edge of the northern wall. ; Uno de los fenómenos más definitorios de la ciudad de Las Palmas en el periodo de la Restauración (1874-1924) fue la reforma de las plazas de la ciudad histórica-los barrios de Vegueta y Triana dentro del antiguo espacio urbano amurallado. Con estas reformas se desplazó la centralidad desde la Plaza de Santa Ana-centro político, religioso y administrativo desde principios del siglo xvt- hacia la Alameda-Cairasco y la Plazuela, que pasó de tener una imagen escatológica a ser el segundo centro de la ciudad histórica, pero, ahora, adecuado a las nuevas funciones que reclamaba la ciudad portuaria y «estación turística». Estas reformas avanzaron desde aquí -a ambos lados del barranco Guiniguada- hasta el Parque de San Telmo en el borde mismo de la muralla norte.

"These reflections occur in the beginning of the third book of Milton's History of England, from the earliest ages to the conquest of it by William, duke of Normandy": p. 805. ; In Maseres, F., ed. Select tracts . London, 1826. 25 cm. v. 2, p. [801]-815. ; Mode of access: Internet.

This article explores visual strategies of legitimisation deployed in the establishment of the Dutch Restoration monarchy. It asks how these visual strategies were shaped by historically specific notions of masculinity and simultaneously helped shape such notions. Concentrating on the first state portrait of William I as King by Joseph Paelinck painted in 1818, it argues that this portrait was part of a 'staging' of the Dutch Restoration monarchy. In the absence of ancien régime claims to legitimacy, Restoration monarchies needed to have recourse to theatrical means of legitimisation, but also had to make sure not to provoke associations with the theatrical elements inherent in old regime monarchies. The representation of the King's body in the state portrait, drawing strongly on neoclassical and revolutionary conventions, invoked notions of masculinity centring around political virtue and naturalness. As such, the King's body, and the masculinity it represented, helped undo the artificiality associated with monarchy and lent a sense of reality to the staging of the Dutch Restoration monarchy.

This article explores visual strategies of legitimisation deployed in the establishment of the Dutch Restoration monarchy. It asks how these visual strategies were shaped by historically specific notions of masculinity and simultaneously helped shape such notions. Concentrating on the first state portrait of William I as King by Joseph Paelinck painted in 1818, it argues that this portrait was part of a 'staging' of the Dutch Restoration monarchy. In the absence of ancien régime claims to legitimacy, Restoration monarchies needed to have recourse to theatrical means of legitimisation, but also had to make sure not to provoke associations with the theatrical elements inherent in old regime monarchies. The representation of the King's body in the state portrait, drawing strongly on neoclassical and revolutionary conventions, invoked notions of masculinity centring around political virtue and naturalness. As such, the King's body, and the masculinity it represented, helped undo the artificiality associated with monarchy and lent a sense of reality to the staging of the Dutch Restoration monarchy. This article is part of the special issue 'Low Countries Histories of Masculinity'.

This article explores visual strategies of legitimisation deployed in the establishment of the Dutch Restoration monarchy. It asks how these visual strategies were shaped by historically specific notions of masculinity and simultaneously helped shape such notions. Concentrating on the first state portrait of William I as King by Joseph Paelinck painted in 1818, it argues that this portrait was part of a 'staging' of the Dutch Restoration monarchy. In the absence of ancien régime claims to legitimacy, Restoration monarchies needed to have recourse to theatrical means of legitimisation, but also had to make sure not to provoke associations with the theatrical elements inherent in old regime monarchies. The representation of the King's body in the state portrait, drawing strongly on neoclassical and revolutionary conventions, invoked notions of masculinity centring around political virtue and naturalness. As such, the King's body, and the masculinity it represented, helped undo the artificiality associated with monarchy and lent a sense of reality to the staging of the Dutch Restoration monarchy. This article is part of the special issue 'Low Countries Histories of Masculinity'.

Intro -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 Using National Memory -- 1.2 The Four Royal Women -- 1.3 Publications and Biographies -- 1.4 Structure of the Volume -- Chapter 2: The Return of the Bourbon Family (1814-1819) -- 2.1 Marie-Thérèse de France, Acting Queen of France -- 2.2 Marie-Caroline, Young Mother and a Wife -- Chapter 3: The Last Bourbon Moment (1820-1830) -- 3.1 Duchesse de Berry, Mother of the Bourbon Hope -- 3.2 Duchesse d'Angoulême, the Dauphine -- 3.3 The Rising Star of the Orléans Family -- Chapter 4: New Dynasty, Old History (1830-1839) -- 4.1 Saintly Queen Marie-Amélie -- 4.2 Adélaïde d'Orléans, Power Behind the Throne -- 4.3 Duchesse de Berry and the Crisis of the Bourbons -- 4.4 Exiled Madame Royale -- Chapter 5: Dying Royal Power (1840-1848) -- 5.1 Marie-Amélie and the Catholic Revival -- 5.2 No More Revolutions for Adélaïde d'Orléans -- 5.3 Remembering the Exiled Bourbon Women -- Chapter 6: Conclusion -- Annex 1 -- Bibliography -- Primary Sources -- Newspapers -- Images -- Secondary Sources -- Index.

It was less than a year since the Second Spanish Republic had been founded. In early December 1931 parliament, which had become the focal point of national politics with the elections to the Constituent Assembly, accepted the new constitution by an overwhelming majority after three months of lively debate, and elected the first democratic state president. In mid-December the right-wing Radical Party withdrew from the Republican/Socialist coalition, which was an advantage for the reform programme advocated by premier Manuel Azaña, and seemed to pave the way for reforms to be forced through. These were aimed, above all, at modernising the economy, establishing social justice in rural areas, continuing the process of democratisation and developing federal, decentralised structures. However, the first parliamentary session of the new year, with the new government, was certainly not dominated by the reform measures fought for with such determination. Rather the central theme of the opening session was a bloody incident in a small place in the south-west region of Extremadura which stirred up public opinion to an extreme degree in Spain during the first days of January 1932.