Limentinus

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Who was Saint Charles

To pray with Charles I is to stand at the uneasy crossroads of sanctity and statecraft. His blood, shed on a scaffold built by his own subjects, became the foundation of a cult that saw martyrdom where others saw failure. The image of the king at prayer, serene, composed, almost luminous, asks the viewer to forget the civil war, the political missteps, the bodies left in his wake.



Who was Saint Charles

King Charles I, by an unknown artist, second half of the 17th century. © National Portrait Gallery, London — NPG 6357 — CC BY‑NC‑ND 4.0.
King Charles I, by an unknown artist, second half of the 17th century. [Resized] © National Portrait Gallery – NPG 6357 – CC BY‑NC‑ND 4.0.

Charles I of England (1600–1649) is one of the most unlikely saints in the Christian tradition. His early portraits present a cultivated prince shaped by ceremony, hierarchy, and a deep sense of dynastic entitlement. At first glance, he seems merely another figure in the long procession of European monarchs, stiff lace, polished armour, and the distant poise of a man raised to rule. Beneath the surface lay a temperament formed by Stuart absolutism: a conviction that monarchy wasn’t a political office but a sacred identity. Many have seen him as unfit to rule.

This absolutism wasn’t flamboyant like Bourbon splendour. It was domestic, more brittle, rooted in the belief that the king embodied the nation and that resistance to him was resistance to divine order. The rise of Protestantism in England and Scotland by 1560 sharpened these tensions, and Charles’s inability to compromise helped drive the kingdoms into civil war.

Everything shifts when Charles is viewed through the lens of Saint King Charles the Martyr. His marriage to Henrietta Maria, a Bourbon princess, brought England into a Catholic cultural orbit. Far from being politically naïve, Charles pursued a deliberate foreign policy that aligned the Stuart monarchy with continental Catholic powers.

This middle stage of his life reveals a king whose devotional sensibilities, Arminian theology, sacramental beauty, reverence for bishops, shaped both his politics and his downfall. His absolutism wasn’t merely constitutional; it was liturgical. He believed he defended the soul of the Church of England, even as his choices destabilised the kingdoms he ruled.

Unknown artist, Execution of King Charles I (including Thomas Fairfax and Oliver Cromwell). Published by Francoys van Beusekom. Line engraving, c. 1650. National Portrait Gallery, London — NPG D33017. © National Portrait Gallery, London. All rights reserved.
Unknown artist, Execution of King Charles I (including Thomas Fairfax and Oliver Cromwell). Published by Francoys van Beusekom. Line engraving, c. 1650. National Portrait Gallery, London, NPG D33017. Commons Attribution NonCommercial 3.0 (CC BY NC 3.0 [Resized] ) © National Portrait Gallery, London. All rights reserved.

Tried and executed at forty‑eight outside Whitehall, Charles became a symbol of both royal failure and devotional witness. Others called Charles a tyrant. The Eikon Basilike, published after his death, cast him as a Christ‑like sufferer, serene, betrayed, dignified. It is read in churches like scripture.

In 1660, the restored Church of England, a Protestant body that rejected Roman canonisation, nevertheless gave Charles a feast day. He became a martyr without miracles, a saint without papal approval, honoured for his refusal to abolish bishops and his defence of Anglican liturgy.

This was the paradox: a king responsible for immense bloodshed was simultaneously elevated as a holy witness.

This late‑17th‑century portrait of James II of England forms part of a group of royal likenesses collected by María Luisa de Orleans, first wife of Carlos II of Spain. The painting originally decorated the Queen’s Gallery in the Alcázar of Madrid, where it contributed to a dynastic programme linking the Spanish and English royal houses. Executed by an anonymous artist, the work presents James II in armour, reflecting the conventions of royal portraiture of the period.
Museo Nacional del Prado. James II of England. Anonymous. 1675–1700. Oil on canvas. Inv. P002410. Royal Collection; Alcázar of Madrid. © Museo Nacional del Prado.

Charles’s sanctity reverberated through the exiled Stuart dynasty. His son James II, his grandson James Francis Edward Stuart, and his great‑grandson Henry Benedict Stuart, the last Stuart claimant and a Roman Catholic cardinal, all inherited the complicated legacy of a monarch who died for Anglican principles yet whose descendants lived and worshipped in Catholic Europe.

Charles’s cult became part of a wider Stuart theology of kingship: suffering, exile, and divine right woven into a narrative of dynastic endurance.

Queen Victoria abolished Charles’s feast day in 1859, judging it politically divisive and incompatible with a modern monarchy. The cult never fully disappeared. Churches dedicated to King Charles the Martyr survive in England and the American Episcopal tradition. The Society of King Charles the Martyr still meets, reads the Eikon, and commemorates his death on 30 January.

In these quiet corners of Anglo‑Catholic devotion, Charles remains present, not triumphant, but persistent. A saint who shouldn’t exist, yet does. A monarch whose absolutism helped destroy his kingdoms, although whose death became a symbol of sacrificial kingship.


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Further reading


FAQ

Plaque of walrus ivory, rectangular in shape, depicting the Crucifixion carved in high relief: crucified Christ flanked by Virgin and St John with sun and moon above and Hand of God descending. © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.
Plaque of walrus ivory, rectangular in shape, depicting the Crucifixion. Museum number
1986,0401.1
[Resized] © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.
FAQ 1 – Why is King Charles I sometimes referred to as a “blood‑stained king”?

Charles I is called “blood‑stained” because his reign ended in civil war, political collapse, and his own execution. Supporters saw him as a martyr who suffered for the Church; critics saw him as responsible for the bloodshed of the conflict. The phrase captures the dual legacy he carries – both sanctified and stained by the violence of his age

FAQ 2 – How can a figure associated with conflict be venerated as a saint?

In the Anglican tradition, Charles I is honoured not for political decisions but for the manner of his death. His supporters believed he died defending the Church’s spiritual integrity. This creates a paradox: a king implicated in war becomes a symbol of sacrificial faith. Praying with him means engaging with that tension rather than ignoring it.

FAQ 3 – What does it mean to “pray with” a historical figure like Charles I?

To pray with Charles I is to reflect on themes his life embodies – conscience, loyalty, suffering, and the cost of conviction. It doesn’t require idealising him. Instead, it invites the reader to sit with the uncomfortable truth that spiritual insight can emerge from flawed, wounded, and politically entangled lives


Last Curated: 14 08 2026

Part of: The Stuart Dynasty, Exile, Devotion, Memory