Mazarin and Bordeaux. Yet his concern was for his country’s status rather
than his own glorification, and whatever resemblances his household bore to
the court of Charles I its cost to the taxpayer was a small fraction of what it
had been under the monarchy. The sum allocated to its upkeep, and endorsed
by parliament, was £64,000 a year, which was raised to £100,000 under the
new parliamentary constitution of 1657, which deliberately approximated
his office more closely to that of a king. This charge was formally separated
from that of the civil government and its personnel in a manner that antici-
pated the modern civil list, a wholesome practice that would not be
followed again until the reign of George III. Comparisons with early Stuart
times cannot be precise, because no firm line had then been drawn between
the functions and officers of what we would call the court and those of the
civil government; all were the king’s servants, and he remunerated them from
what was still regarded as ‘his own’—except that much of the income of many
of them came from fees and gratuities paid by the public. But a very rough
estimate of the cost of the royal court in the early 1630s, including that of the
queen’s and princes’ households, would be of the order of £250,000, plus
more than £131,000 paid from the king’s coffers in annuities and pensions,
though some of the recipients of these did render genuine political services.
This was at a time when the total ordinary revenue of the crown had averaged
less than £620,000 a year, whereas parliament in 1657 fixed the Protec-
torate’s regular revenue at £1,900,000. Before Ship Money, the royal house-
hold had consumed at least half the king’s regular income; under Cromwell
the charge was more like a twentieth.
13
Again, we are not exactly comparing
like with like, but we should be cautious about accepting the Protector as a
king in all but name.
One pleasure on which he did not stint himself was music, which he great-
ly loved. He had the organ of Magdalen College moved from Oxford to
Hampton Court, where it accompanied the musical entertainments he gave
there, as well as solacing his leisure hours. He had an organ at Whitehall too,
and music enlivened such occasions as ambassadorial banquets. The ‘Gentle-
men of His Highness’s Music’ actually outnumbered those of Charles I,
though at least four had previously served the king, and in 1657 his council
appointed a Committee for the Advancement of Music. Secular music was
flourishing in England, and from 1652 the printer and publisher John Play-
ford drove a fine trade in meeting the demand for songs and instrumental
pieces for performance in the home. Nor was music-making exclusively
domestic, for despite the ban on stage plays that the Long Parliament had
imposed in 1642 the first full-length English opera, William Davenant’s
The First Phase of Cromwellian Rule 595
13
Aylmer, King’s Servants, ch. 2 (iv), 4(v), pp. 436–7 and passim; Aylmer, State’s Servants,
pp. 322–3.
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