ABSTRACT
To many in the early seventeenth century, and to many commentators since, Pembroke’s greatest claim to fame has lain in his discerning but open-handed patronage of the arts. Artistic patronage in the seventeenth century usually manifested itself in the dedication of literary works to a patron. The artistic patronage of the William Herbert–Robert Sidney circle, which the Third Earl fell heir to in 1601, was, however, unique in the period. Pembroke’s patronage of churchmen such as John Donne and Herbert was only natural in a man with strong religious convictions. Poet and patron of poets, with an active interest in the whole corpus of poetry and all it practitioners, Pembroke was truly his ‘mother’s glass’ if not her magnified image. Pembroke’s patronage was also extended to religious satirists. Sir John first made his appeal for Pembroke’s patronage when he dedicated his Epigrammatum to him early in 1607.
