Abstract Created c.1568 to commemorate a trio of dynastic marriages between the Cavendishes and the Talbots, the ‘Aeglentyne’ Table stands in the High Great Chamber at Hardwick Hall, Derbyshire. Featuring an intricate three-panelled motif of musical instruments, gaming paraphernalia, and intertwining flowers borrowed from various continental prints, it has long been held as a masterpiece of English furniture. However, when approached through a traditional stylistic analysis, based upon the identification of tropes and features, the Eglantine Table runs the risk of falling under the category of ‘bad’ style: it is paratactic; it is epideictic. Such a judgement utterly misses the point of the Eglantine Table, and its visual strategies. ‘Style’ has become a ubiquitous term for the analysis of the things of visual culture. It allows the historian of visual culture to categorize into a shorthand that belies the sheer variety of the objects of study. The work of Willibald Sauerländer, amongst others, has long since argued for a deeper reflection on ‘style’ and a shift away from the ‘sheer abysmal vagueness’ of stylistic analysis. This paper seeks to respond to Sauerländer’s call by providing a sensitive and illuminating analysis of the style(s) of the Eglantine Table.

中文翻译：

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当我们谈论风格时，我们的意思是：“ Redolent” Eglantine表（c.1568）

摘要“ Aeglentyne”餐桌创建于1568年，以纪念卡文迪许人与塔尔伯特人之间的王朝三重婚姻，它位于德比郡哈德威克厅高大礼堂中。它以乐器，游戏用具和错综复杂的三板图案为主题，从各种欧陆版画中借来的花朵交织在一起，长期以来一直被当作英国家具的杰作。但是，当通过传统的文体分析方法进行分析时，基于对等位线和特征的识别，Eglantine表格冒着落入“不良”风格类别的风险：这是流行的。这样的判断完全错过了Eglantine表的要点及其视觉策略。“风格”已经成为分析视觉文化事物的普遍术语。它使视觉文化的历史学家可以归类为速记，而速记则掩盖了众多研究对象。WillibaldSauerländer等人的著作长期以来一直主张对“风格”进行更深入的思考，并摆脱风格分析的“纯粹的含糊不清”。本文旨在通过对Eglantine桌子的样式进行敏感而启发性的分析来回应Sauerländer的呼吁。