Richard Bucholz on Charles I of England

“Unlike James, Charles looked every inch a Divine Right monarch, despite his short stature. That is, he bore himself with regal dignity and maintained proper courtly etiquette at all times. He was also monogamous and kept a much more respectable court than his father. Highly cultured, he was probably the greatest connoisseur ever to sit on the English throne. Charles sent his diplomats scouring the studios of Europe to fill Whitehall Palace with the most distinguished collection of artwork of any early modern ruler. At his insistence both Rubens and van Dyck came to England and painted for the Stuarts. Van Dyck's portraits of the royal family are one of the great achievements of Western art and kingly propaganda, projecting an image of monarchy so serenely confident in its exercise of divinely inspired royal power.”

“Unfortunately, that image also concealed a more ambiguous reality. As with so many rulers before him, the new king's good qualities had a dark side. Charles's sense of royal dignity often struck his subjects as mere aloofness; indeed, it cannot be said that he was often generous or possessed of a common touch. Perhaps his punctiliousness compensated for insecurity: over his short stature, his stutter, and his general awkwardness in dealing with people. Unlike his voluble father, Charles was a shy and reticent man who, nevertheless, rarely took advice. He would make a decision or issue an order as a matter of royal prerogative, without consultation, then expect unquestioning obedience, no matter how apparently absurd the demand. He felt no need to explain himself to his parliaments or his people. As a result, his enemies were often able to put their own "spin" on his motives. His authoritarianism was the product of an inflexible mind which saw dissent as disloyalty, retreat as a sign of weakness. That is, unlike James, Charles was very nearly incapabe of compromise or even understanding opposing viewpoints. His court may have been more decorous than his father's, but it was also more narrow. Buckingham was allowed no rival in distributing patronage and politicians out of royal favor received clear signals that they were not welcome. This left the court isolated from opinion in the rest of the country.”

“Charles did not wish to moderate between competing views; he expected compliance and he was perfectly capable of being disingenuous or duplicitous in order to win it.”

“Refusing to recognize the court's authority, Charles stood or sat impassively and disdainfully, but with great dignity, as the prosecution sought to make its case. The spectacle must have been impressive: the largest medieval hall in England packed to the rafters with spectators. At its south end, on several tiers of red velvet benches sat the commissioners: assorted army officers, MPs, and gentlemen, presided over by a heretofore obscure judge, John Bradshaw (1602-59). Before them sat an array of lawyers and clerks, all in black. At the north end and in the upper galleries, crowds of spectators, held back by wooden rails and soldiers in their red coats. On the other side of a hastily constructed wooden partition, in a makeshift dock in the middle of the hall, the magnetic object of all eyes, a solitary figure in black, but for the brilliant blue and silver of the Star and Garter- the king. Given his refusal to make or plead a case, the verdict was a foregone conclusion. King Charles was found guilty of high crimes and misdemeanors against the people of England. On January 27 he was condemned to death by beheading. At this point he demanded to speak, but Parliament was not about to let him do so now. Instead, 59 commissioners signed the most notorious death warrant in English history. Years later, upon losing the first English Civil War, Charles I had stated "that if I cannot live as a king, I shall die like a gentleman." He now set about to do precisely that.”

“The night before his execution, the king burned his papers and saw his youngest children for the last time. The next morning, January 30, 1649, he rose and, after asking about the weather outside, put on an extra shirt for the walk across St. James' Park to the scaffold: ever concerned with the dignity of his appearance, Charles did not want to create an impression of fear by shivering. He was escorted by armed guard through the park to the Banqueting House at Whitehall- one of those expensive building projects of his father's which had so alienated the English taxpayer. One wonders what he thought as he walked through the hall under its magnificent ceiling- a depiction of his father's apotheosis in heaven by Peter Paul Rubens- and thus the sort of expensive art project which had proved controversial in his own ill-fated reign. At the end of his walk was an open window facing west; outside it a scaffold draped in black, at the center of which was the block. Beyond and below stood a crowd of ordinary Londoners, held back by solders. The king emerged into the gray light of the January day and asked to speak, but, dogged by his weak voice and bad luck to the last, he was inaudible. He then turned to his Archbishop of Canterbury, William Juxon (1582-1663), and remarked that the executioner sent him "from a corruptible to an incorruptible crown." Turning to the block, he knelt down, said a brief prayer, and in signal worked out with the henchman beforehand, stretched out his hands. The axe fell and, as was customary, the executioner raise the late king's head for all to see. It is said that at this sight, which normally elicited cheers, the crowd uttered a deep groan.”