[63][65] Some 16 miniatures by Hilliard and his studio are known based on this face pattern, with different combinations of costume and jewels likely painted from life, and it was also adopted by (or enforced on) other artists associated with the Court. The Armada Portrait is an allegorical panel painting depicting the queen surrounded by symbols of empire against a backdrop representing the defeat of the Spanish Armada in 1588. Yet he added, "her figure is fair and tall and graceful in whatever she does; so far as may be she keeps her dignity, yet humbly and graciously withal. Even those portraits that are not overtly allegorical may be full of meaning to a discerning eye. His name may seem familiar; his father, Marcus Gheeraerts the Elder, painted the 'Peace Portrait' above. It celebrates Elizabeth's divine powers; a jeweled celestial sphere hangs from the queen's left ear, signifying her command over nature itself. The wired-out portions are the only parts of the veil visible. The painting has been trimmed and the background poorly repainted, so that the inscription and sonnet are incomplete. Elizabeth, rather than Paris, is now sent to choose among Juno, Venus, and Pallas-Minerva, all of whom are outshone by the queen with her crown and royal orb. Fear of the wrong use and perception of the visual image dominates the Elizabethan age. [61], Around 1592, the queen also sat to Isaac Oliver, a pupil of Hilliard, who produced an unfinished portrait miniature (left) used as a pattern for engravings of the queen. Another exaltation of the queen's virgin purity identified her with the moon goddess who holds dominion over the waters. Of this image, Strong says "'Here Elizabeth is caught in that short-lived period before what was a recognisable human became transmuted into a goddess'. "[29], Hilliard's first known miniature of the Queen is dated 1572. This painting's patron was likely Sir Christopher Hatton (his heraldic badge of the white hind appears on the sleeve of one of the courtiers in the background), and the work may express opposition to the proposed marriage of Elizabeth to François, Duke of Anjou. Strong points out that there is no trace of this iconography in portraits of Elizabeth prior to 1579, and identifies its source as the conscious image-making of John Dee, whose 1577 General and Rare Memorials Pertayning to the Perfect Arte of Navigation encouraged the establishment of a British Empire supported by a strong navy, asserting Elizabeth's claims to imperial status via her supposed descent from Brutus of Troy and King Arthur.[40]. Other interesting details are the ropes of pearls hanging from the neck and the pearls on the wig, the pink rose set on the ruff, the decorated brown leather gloves in the left hand, and the Chinese fan, made to open and shut, attached by a coral-colored ribband to the waist girdle. [4], Both Holbein and his great Italian contemporary Titian had combined great psychological penetration with a sufficiently majestic impression to satisfy their royal patrons. Connolly, Annaliese, and Hopkins, Lisa (eds. This famous work can be viewed at the NPG. [57], In the background view on the left, English fireships threaten the Spanish fleet, and on the right the ships are driven onto a rocky coast amid stormy seas by the "Protestant Wind". The portrait I found to be the most striking at the national portrait gallery was 'The Ditchley Portrait' by Marcus Gheeraerts the Younger. Sir Walter Raleigh had begun to use Diana and later Cynthia as aliases for the queen in his poetry around 1580, and images of Elizabeth with jewels in the shape of crescent moons or the huntress's arrows begin to appear in portraiture around 1586 and multiply through the remainder of the reign. The full-length Hampden image of Elizabeth in a red satin gown by Steven van der Meulen has been identified by Sir Roy Strong as an important early portrait, "undertaken at a time when her image was being tightly controlled. [55][56] The Queen is flanked by two columns behind, probably a reference to the famous impresa of the Holy Roman Emperor, Charles V, Philip II of Spain's father, which represented the pillars of Hercules, gateway to the Atlantic Ocean and the New World. [35] Recent conservation work has revealed that Elizabeth's now-iconic pale complexion in this portrait is the result of deterioration of red lake pigments, which has also altered the coloring of her dress.[37][38]. Illuminated initial membrane, Court of King's Bench: Coram Rege Roll, Easter Term, 1572, Charter of Queen Elizabeth's Grammar School, Ashbourne, Hilliard, 1585, Waterhouse (1978), pp. 27–8. Faithful resemblance to the original is only to be found in contemporaries’ accounts as in the report written in 1597 by André Hurault de Maisse, Ambassador Extraordinary from Henry IV of France, after an audience with the sixty-five year-old queen, during which he noticed, "her teeth are very yellow and unequal ... and on the left side less than on the right. The fashionable long galleries of later Elizabethan country houses were filled with sets of portraits. Tudor / Renaissance fashion buffs should note that the queen wears her lovely gown over a wheel farthingale. [67], Attributed to Marcus Gheeraerts the Younger,[68] perhaps the most heavily symbolic portrait of the queen is the Rainbow Portrait at Hatfield House. Marileecody has this description: "This is the largest surviving full-length portrait of Queen Elizabeth I, despite having 7.5 cm cut from each side. [14], William Gaunt contrasts the simplicity of the 1546 portrait of Elizabeth Tudor as a Princess with later images of her as queen. [74], Sir Christopher Hatton wearing a cameo of the queen, 1589, unknown artist (?after Ketel), Sir Francis Drake wearing the Drake Pendant, a cameo of the queen. "[64] All subsequent images rely on a face pattern devised by Nicholas Hilliard sometime in the 1590s called by art historians the "Mask of Youth", portraying Elizabeth as ever-young. [10] Mor had actually visited London in 1554, and painted three versions of his well-known portrait of Queen Mary; he also painted English courtiers who visited Antwerp. "[42] This understanding of history and Elizabeth's place in it forms the background to the symbolic portraits of the latter half of her reign. In other paintings she holds or wears a red rose, symbol of the Tudor Dynasty's descent from the House of Lancaster, or white roses, symbols of the House of York and of maidenly chastity. [60], The Ditchley Portrait seems to have always been at the Oxfordshire home of Elizabeth's retired Champion, Sir Henry Lee of Ditchley, and likely was painted for (or commemorates) her two-day visit to Ditchley in 1592. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features. "[63], In any event, no surviving portraits dated between 1596 and Elizabeth's death in 1603 show the aging queen as she truly was. Strong suggests that the complex "programme" for this image may be the work of the poet John Davies, whose Hymns to Astraea honouring the queen use much of the same imagery, and suggests it was commissioned by Robert Cecil as part of the decor for Elizabeth's visit in 1602, when a "shrine to Astraea" featured in the entertainments of what would prove to be the "last great festival of the reign".[69][70]. "[31] Two panel portraits long attributed to him, the Phoenix and Pelican portraits, are dated c. 1572–76. In this image, Catholic Mary and her husband Philip II of Spain are accompanied by Mars the god of War on the left, while Protestant Elizabeth on the right ushers in the goddesses Peace and Plenty. [49] In combination, these symbols represent not only the personal purity of Elizabeth but the "righteousness and justice of her government."[50]. The columns are surmounted by her emblems of a pelican in her piety and a phoenix, and ships fill the sea behind her. The headdress of crown-shape is a mass of rubies, pearls, and some spherical jewel of a brilliant red, with a pearl apex surmounting the whole structure. At the least many of the foreign painters in London are likely to have seen versions of the earlier type, and there may well have been one in the Royal Collection. National Portrait Gallery researchers announced in September 2010 that the two portraits were painted on wood from the same two trees. The portraiture of Elizabeth I illustrates the evolution of English royal portraits in the Early Modern period from the representations of simple likenesses to the later complex imagery used to convey the power and aspirations of the state, as well as of the monarch at its head. It is not known why, and for whom, these portraits were created; at or just after the end of the reign. George Gower, a fashionable court portraitist created Serjeant Painter in 1581, was responsible for approving all portraits of the queen created by other artists from that date until his death in 1596. The studios of Tudor artists produced images of Elizabeth working from approved "face patterns" or drawings of the queen to meet this growing demand for her image, an important symbol of loyalty and reverence for the crown in times of turbulence. Known as the “Ditchley portrait,” this painting was produced for Sir Henry Lee (1533–1611), who had served as Elizabeth I’s champion from 1559 to 1590. The long-pointed bodice and sleeves are decorated in the same manner, but the hanging sleeveshave these ornaments set along the edges. Prior to the wide dissemination of prints of the queen in the 1590s, the common people of Elizabeth's England would be most familiar with her image on the coinage. )” (bottom right). [43] The first Sieve Portrait was painted by George Gower in 1579, but the most influential image is the 1583 version by Quentin Metsys (or Massys) the Younger. Many of them are missing, so that one cannot understand her easily when she speaks quickly." It is also one of the earliest works by Gheeraerts. To the extent that the contexts of other portraits have been lost to scholars, so too the keys to understanding these remarkable images as the Elizabethans understood them may be lost in time. In this twelfth century pseudohistory, Britain was founded by and named after Brutus, the descendant of Aeneas who founded Rome. Her portrait appeared on the title page of the Bishops' Bible, the standard Bible of the Church of England, issued in 1568 and revised in 1572. This, the "Ditchley" portrait, is THE classic Elizabethan wheel farthingale image! [58], The various threads of mythology and symbolism that created the iconography of Elizabeth I combined into a tapestry of immense complexity in the years following the defeat of the Spanish Armada. [5] This tendency was to be taken much further by the later portraits of Elizabeth, where "Likeness of feature and an interest in form and volume have gradually been abandoned in favour of an effect of splendid majesty obtained by decorative pattern, and the forms have been flattened accordingly". A series of Sieve Portraits copy the Darnley face pattern and add an allegorical overlay that depicts Elizabeth as Tuccia, a Vestal Virgin who proved her chastity by carrying a sieve full of water from the Tiber River to the Temple of Vesta without spilling a drop. The portrait is signed "H.E." For his relationship with the Habsburgs, see Trevor-Roper (1976) passim, who also covers those of Leone Leoni and Titian in detail. [28], Nicholas Hilliard was an apprentice to the Queen's jeweller Robert Brandon,[29] a goldsmith and city chamberlain of London, and Sir Roy Strong suggests that Hilliard may also have been trained in the art of limning by Levina Teerlinc. has this description: "This is the largest surviving full-length portrait of Queen Elizabeth I, despite having 7.5 cm cut from each side. Two surviving allegorical paintings show the early use of classical mythology to illustrate the beauty and sovereignty of the young queen. [6], Titian continued to paint royal portraits, especially of Philip II of Spain, until the 1570s, but in sharply reduced numbers after about 1555, and he refused to travel from Venice to do them. These gold ornaments vary in design; some have groups of four pearls, others oval rubies, and others again rectangular sapphires. See Arnold, De Maisse: a journal of all that was accomplished by Monsieur De Maisse, ambassador in England from King Henri IV to Queen Elizabeth, anno domini 1597, Nonesuch Press, 1931, p. 25-26, Cultural depictions of Elizabeth I of England, "Mary Queen of Scots (1542 - 1587) c. 1558", "Making Art in Tudor Britain: 'Darnley' portrait", "A historical and important English/Dutch 20KT gold-framed Elizabethan portrait miniature pendant, Christie's", https://en.wikipedia.org/w/index.php?title=Portraiture_of_Elizabeth_I&oldid=974884407, Articles with unsourced statements from August 2009, Creative Commons Attribution-ShareAlike License.

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