I’ve always thought of King Charles III as a traditional man, primarily because of his preference for classical architecture, I think. Official Coronation “paper”: invitation by heraldic artist Andrew Jamieson, emblem by Sir Jony Ive KBE and his creative coalition LoveFrom, one of four thematic stamps produced from wood engravings produced by Andrew Davidson for Atelier Works. Over my career, I’ve taught about the interrelationships between spiritual and secular authorities pretty constantly in medieval and early modern courses, but I seldom have time to delve into all the expressions of these alliances and conflicts, and coronations are case studies in both symbolism and projection: in the distant past, the more recent past, and judging from all of the official imagery leading us to the coronation of King Charles III, even today. Time to put some of my day job perspectives out there: it’s not every day/year/decade/half-century that we get to see a British coronation! I’m kind of excited I even dusted off some of my old grad school books about medieval monarchy and royal iconography last weekend.
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