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reversed, indeed it may account for the
Elizabethans failing to take cognisance of the optical advances which created the art of the Italian Renaissance. They certainly knew about these things but, and this is central to the understanding of the Elizabethans, chose not to employ them. Instead the visual arts retreated in favour of presenting a series of signs or symbols through which the viewer was meant to pass to an understanding of the idea behind the work. In this manner the visual arts were verbalised, turned into a form of book, a 'text' which called for reading by the onlooker. There are no better examples of this than the quite extraordinary portraits of the queen herself, which increasingly, as the reign progressed, took on the form of collections of abstract pattern and symbols disposed in an unnaturalistic manner for the viewer to unravel, and by doing so enter into an inner vision of the idea of monarchy.
1943:
1400:, after an audience with the 64-year-old queen, during which he noted, "her teeth are very yellow and unequal ... and on the left side less than on the right. Many of them are missing, so that one cannot understand her easily when she speaks quickly." 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." 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. 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.
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1336:, and likely was painted for (or commemorates) her two-day visit to Ditchley in 1592. The painting is attributed to Marcus Gheerearts the Younger, and was almost certainly based on a sitting arranged by Lee, who was the painter's patron. In this image, the queen stands on a map of England, her feet on Oxfordshire. The painting has been trimmed and the background poorly repainted, so that the inscription and sonnet are incomplete. Storms rage behind her while the sun shines before her, and she wears a jewel in the form of a celestial or
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848:, dated 5 March 1575. Zuccaro's preparatory drawings for full-length portraits of both Leicester and Elizabeth survive, although it is unlikely the full-length of Elizabeth was ever painted. Curators at the National Portrait Gallery believe that the attribution of the Darnley portrait to Zuccaro is "not sustainable", and attribute the work to an unknown "continental" (possibly Dutch) artist.
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1325:, 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. Courtiers wore the image of the Queen to signify their devotion, and had their portraits painted wearing her colours of black and white.
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should be sought out and burnt, and Strong suggest that these prints, of which comparatively few survive, may be the offending images. Strong writes "It must have been exposure to the searching realism of both
Gheeraerts and Oliver that provoked the decision to suppress all likenesses of the queen that depicted her as being in any way old and hence subject to mortality."
414:, were distributed in many versions across Europe, continuing to be made for two decades from the same studio pattern; a new portrait painted in her last years, about 1560, exists in only a few repetitions. 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
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1626:. This mythology and symbology, though directly understood by Elizabethan contemporaries for its political and symbolic meaning, makes it difficult to 'read' the portraits in the present day as contemporaries would have seen them at the time of their creation. Though knowledge of the symbology of Elizabethan portraits has not been lost, Dame
760:. National Portrait Gallery researchers announced in September 2010 that the two portraits were painted on wood from the same two trees; they also found that a tracing of the Phoenix portrait matches the Pelican portrait in reverse, deducing that both pictures of Elizabeth in her forties were painted around the same time.
503:, the poetry of the court, and the most iconic of Elizabeth's portraits all reflected this effort. The management of the queen's image reached its heights in the last decade of her reign, when realistic images of the aging queen were replaced with an eternally youthful vision, defying the reality of the passage of time.
1555:, but new coins were issued in both silver and gold. This restoration of the currency was one of the three principal achievements noted on Elizabeth's tomb, illustrating the value of stable currency to her contemporaries. Later coinage represented the queen in iconic fashion, with the traditional accompaniments of
1431:'s study points out that the paintings accurately reflect the written records, although the jewels differ in the two paintings, suggesting two different sources, one possibly a miniature by Levina Teerlinc. It is not known why, and for whom, these portraits were created, at, or just after, the end of her reign.
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Hilliard's first known miniature of the Queen is dated 1572. It is not known when he was formally appointed limner (miniaturist) and goldsmith to
Elizabeth, though he was granted the reversion of a lease by the Queen in 1573 for his "good, true and loyal service." Two panel portraits long attributed
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Prior to the 1590s, woodcuts and engravings of the queen were created as book illustrations, but in this decade individual prints of the queen first appear, based on the Oliver face pattern. In 1596, the Privy
Council ordered that unseemly portraits of the queen which had caused her "great offence"
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Nicholas
Hilliard was an apprentice to the Queen's jeweller Robert Brandon, a goldsmith and city chamberlain of London, and Strong suggests that Hilliard may also have been trained in the art of limning by Levina Teerlinc. Hilliard emerged from his apprenticeship at a time when a new royal portrait
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and stayed on as a
Gentlewoman of the Privy Chamber to Elizabeth. Teerlinc is best known for her pivotal position in the rise of the portrait miniature. There is documentation that she created numerous portraits of Elizabeth I, both individual portraits and portraits of the sovereign with important
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Waterhouse (19β22) points out that only very high ranking persons could enter the room where the mural was displayed when the court was in residence at
Whitehall. But artists could probably have gained access during the long periods when the monarch was elsewhere; certainly there are many apparent
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in 2020, has been identified by Sir Roy Strong as an important early portrait, "undertaken at a time when her image was being tightly controlled", and produced "in response to a crisis over the production of the royal image, one which was reflected in the words of a draft proclamation dated 1563".
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as quiet and studious-looking, ornament in her attire as secondary to the plainness of line that emphasizes her youth. Great is the contrast with the awesome fantasy of the later portraits: the pallid, mask-like features, the extravagance of headdress and ruff, the padded ornateness that seemed to
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portraitsβare all associated with unique events in this way. 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; even those portraits that are not overtly
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284:, the outstanding Northern portraitist of the first half of the 16th century, who had made two lengthy visits to England, and had been Henry VIII's court artist. Holbein had accustomed the English court to the full-length life-size portrait, although none of his originals now survive. His great
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modelling seen in his works, reflecting the views of his patron: "seeing that best to show oneself needeth no shadow of place but rather the open light...Her
Majesty..chose her place to sit for that purpose in the open alley of a goodly garden, where no tree was near, nor any shadow at all..."
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Fear of the wrong use and perception of the visual image dominates the
Elizabethan age. The old pre-Reformation idea of images, religious ones, was that they partook of the essence of what they depicted. Any advance in technique which could reinforce that experience was embraced. That was now
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were filled with sets of portraits. The studios of Tudor artists produced images of Elizabeth working from approved "face patterns", or approved 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.
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However, Hilliard's panel portraits seem to have been found wanting at the time, and in 1576 the recently married Hilliard left for France to improve his skills. Returning to England, he continued to work as a goldsmith, and produced some spectacular "picture boxes" or jewelled lockets for
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In any event, no surviving portraits dated between 1596 and Elizabeth's death in 1603 show the aging queen as she truly was. Faithful resemblance to the original is only to be found in the accounts of contemporaries, as in the report written in 1597 by AndrΓ© Hurault de Maisse, Ambassador
1209:. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features. Curators now believe that the three extant versions are all the output of different workshops under the direction of unknown English artists.
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robes survive, both dated to 1600 or shortly thereafter. One is a panel portrait in oils, and the other is a miniature by Nicholas Hilliard. The warrant to the queen's tailor for remodelling Mary I's cloth of gold coronation robes for Elizabeth survives, and costume historian
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for "peace", and the Roman goddess of peace - reigned. The Spenserian scholar Edwin Greenlaw states, "The descent of the Britons from the Trojans, the linking of Arthur, Henry VIII, and Elizabeth as Britain's greatest monarchs, and the return under Elizabeth of the
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during Walsingham's tour of duty as ambassador to the French court. Strong identifies both paintings as celebrations of Elizabeth's just rule by Flemish exiles, to whom England was a refuge from the religious persecution of Protestants in the Spanish Netherlands.
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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. In poetry, portraiture and pageantry, the queen was celebrated as
549:", a style she no longer wore. Symbolism in these pictures is in keeping with earlier Tudor portraiture; in some, Elizabeth holds a book (possibly a prayer book) suggesting studiousness or piety. In other paintings, she holds or wears a red rose, symbol of the
1630:
points out that the most complexly symbolic portraits may all commemorate specific events, or have been designed as part of elaborately-themed entertainments, knowledge left unrecorded within the paintings themselves. The most familiar images of Elizabethβthe
837:. Likely painted from life around 1575β6, this portrait is the source of a face pattern which would be used and reused for authorized portraits of Elizabeth into the 1590s, preserving the impression of ageless beauty. Strong suggests that the artist is
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Towards the mid-16th century, the most influential Continental courts came to prefer less revealing and intimate works, and at the mid-century the two most prominent and influential royal portraitists in paint, other than Titian, were the Netherlandish
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close to her left ear. Many versions of this painting were made, likely in Gheeraerts' workshop, with the allegorical items removed and Elizabeth's features "softened" from the stark realism of her face in the original. One of these was sent as a
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863:(rather than worn and carried) in Tudor portraiture, a theme that would be expanded in later portraits. Recent conservation work has revealed that Elizabeth's now-iconic pale complexion in this portrait is the result of deterioration of
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in Brussels, presumably as a loan. It was presumably returned by or after Mary I's death in 1558, as it is in a Spanish royal inventory of 1600. The painting returned to London for an exhibition at the National Gallery until January
1942:
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255:. Portraits were commissioned by the government as gifts to foreign monarchs and to show to prospective suitors. Courtiers commissioned heavily symbolic paintings to demonstrate their devotion to the queen, and the fashionable
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was similarly skilled. Mor, who had risen rapidly to prominence in 1540s, worked across Europe for the Habsburgs in a tighter and more rigid version of Titian's compositional manner, drawing also on the North Italian style of
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The queen's hand rests on a globe below the crown of England, "her fingers covering the Americas, indicating England's and in the New World". The Queen is flanked by two columns behind, probably a reference to the famous
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had painted in an intimately informal style, but after her recruitment to the Spanish court as the Queen's painter in 1560 was able to adapt her style to the much more formal demands of state portraiture. Moretto's pupil
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had combined great psychological penetration with a sufficiently majestic impression to satisfy their royal patrons. By his second visit, Holbein had already begun to move away from a strictly realist depiction; in his
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of the queen. Only a single finished miniature from this pattern survives, with the queen's features softened, and Strong concludes that this realistic image from life of the aging Elizabeth was not deemed a success.
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Portraits of the young queen, many of them likely painted to be shown to prospective suitors and foreign heads of state, show a naturality and restraint similar to that of the portrait of the young Lady Elizabeth.
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In the Metsys version, Elizabeth is surrounded by symbols of empire, including a column and a globe, iconography that would appear again and again in her portraiture of the 1580s and 1590s, most notably in the
636:. As Susan Doran writes, "Implicit to the theme of the painting ... is the idea that Elizabeth's retention of royal power benefits her realm. Whereas Paris's judgement in the original myth resulted in the long
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says Bronzino showed the ducal family "so wrought and congealed that there is nothing of living tissue left in them. Their hands have turned to ivory, and their eyes to pieces of beautifully cut, faceted
1205:, which had been cut down at both sides leaving just a portrait of the queen, was also formerly attributed to Gower. A third version, owned by the Tyrwhitt-Drake family, may have been commissioned by Sir
1140:(Peace), and the sword of justice rests on the table at her side. In combination, these symbols represent not only the personal purity of Elizabeth but the "righteousness and justice of her government."
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93:(1400/1500-1800), from the earliest 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.
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The combination of a life-sized portrait of the queen with a horizontal format is "quite unprecedented in her portraiture", although allegorical portraits in a horizontal format, such as
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are all commonplaces of Elizabethan thought." This understanding of history and Elizabeth's place in it forms the background to the symbolic portraits of the latter half of her reign.
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667:, the god of War, on the left, while Protestant Elizabeth on the right ushers in the goddesses Peace and Plenty. An inscription states that this painting was a gift from the queen to
3518:
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
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The portrait is signed "H.E." and the artist formerly identified as the "Monogrammist H.E." is now generally assumed to be Hans Eworth. Strong had earlier attributed the painting to
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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".
2465:
1266:(Crispin van de Passe) published in 1596, but showing costume of the 1580s, carries similar iconography. Elizabeth stands between two columns bearing her arms and the Tudor
343:, until the 1570s, but in sharply reduced numbers after about 1555, and he refused to travel from Venice to do them. The full-length portrait of Philip (1550β51) now in the
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It is against this backdrop that the first of a long series of portraits appears, depicting Elizabeth with heavy symbolic overlays of the possession of an empire based on
925:. Combined with a second layer of symbolism representing Elizabeth as the Virgin Queen, these new paintings signify the manipulation of Elizabeth's image as the destined
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or Zuccaro, an "eminent" Italian artist, though not a specialist portraitist, who is known to have visited the court briefly with a letter of introduction to Elizabeth's
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of the white hind appears on the sleeve of one of the courtiers in the background, and the work may have expressed opposition to the proposed marriage of Elizabeth to
376:. 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.
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in her hand. 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".
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and Aeneas, ancestor of Brutus, suggesting that like Aeneas, Elizabeth's destiny was to reject marriage and found an empire. This painting's patron was likely Sir
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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
2860:
Waterhouse (1978), pp. 27β8. For his relationship with the Habsburgs, see Trevor-Roper (1976) passim, who also covers those of Leone Leoni and Titian in detail.
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This version was heavily overpainted in the later 17th century, which complicates attribution and may account for several differences in details of the costume.
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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
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and his followers, typically no taller than a paperback book. A few full-length portraits of royalty were produced, dependent on German or Italian models.
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descent, were heirs of the most ancient Britons and thus of Aeneas and Brutus. By uniting the Houses of York and Lancaster following the strife of the
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was Mor's contemporary and formed his mature style in the 1550s, but few of his spirited portraits were of royalty, or yet to be seen outside Italy.
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and the Italian emblem books could have read stories in the flowers the queen carried, the embroidery on her clothes, and the design of her jewels.
1313:, the goddess of love. Another exaltation of the queen's virgin purity identified her with the moon goddess, who held dominion over the waters. Sir
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2000:
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The draft proclamation (never published) was a response to the circulation of poorly-made portraits in which Elizabeth was shown "in blacke with a
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French portraiture remained dominated by small but finely drawn bust-length or half-length works, including many drawings, often with colour, by
2319:
1478:
with spring flowers and a mantle draped over one shoulder, her hair loose beneath a fantastical headdress. She wears symbols out of the popular
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are the best known examples. As part of the cult of the Virgin Queen, courtiers were expected to wear the Queen's likeness, at least at Court.
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640:'to the utter ruin of the Trojans', hers will conversely bring peace and order to the state" after the turbulent reign of Elizabeth's sister
1860:
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Around 1592, the queen also sat to Isaac Oliver, a pupil of Hilliard, who produced an unfinished portrait miniature used as a pattern for
471:
The lack of emphasis given to depicting depth and volume in her later portraits may have been influenced by the Queen's own views. In the
1544:. In December 1560, a systematic recoinage of the debased money then in circulation was begun. The main early effort was the issuance of
1470:. It was painted around 1600β1602, when the queen was in her sixties. In this painting, an ageless Elizabeth appears dressed as if for a
969:, which was accepted as true history by Elizabethan poets, and formed the basis of the symbolic history of England. In this 12th-century
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with later images of her as queen. He wrote, "The painter...is unknown, but in a competently Flemish style he depicts the daughter of
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on prepared wood surfaces were based on preparatory drawings and were usually executed at life size, as were oil paintings on canvas.
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1259:". On a secondary level, these images show Elizabeth turning her back on storm and darkness while sunlight shines where she gazes.
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1580:, issued in 1568 and revised in 1572. In various editions, Elizabeth is depicted with her orb and sceptre accompanied by female
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in 1581, was responsible for approving all portraits of the queen created by other artists from 1581 until his death in 1596.
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writes: "The cult of Gloriana was skilfully created to buttress public order and, even more, deliberately to replace the pre-
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in 1969 and again in 1987, closer examination has revealed that the painting is signed and dated on the base of the globe
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Even in Italy, his best portraits were routinely attributed to Titian or Moretto; for example, what has always been his (
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as a "Mark of her people's and her own content", and this may indicate that the painting commemorates the signing of the
220:
Unlike her contemporaries in France, Elizabeth never granted rights to produce her portrait to a single artist, although
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1492:("no rainbow without the sun"). Strong suggests that the complex "programme" for this image may be the work of the poet
1274:. The columns are surmounted by her emblems of a pelican in her piety and a phoenix, and ships fill the sea behind her.
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From the 1570s, the government sought to manipulate the image of the queen as an object of devotion and veneration. Sir
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Books provided another widely available source of images of Elizabeth. Her portrait appeared on the title page of the
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panel painting depicting the queen surrounded by symbols of empire against a backdrop representing the defeat of the
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Penny:194β5 on his life and style, 196β7 on his reputation. Freedberg (1993), pp. 593β5 analyses his portrait style.
2197:, diplomatic gift to Adriaen de Manmaker, appointed Treasurer General of the province of Zeeland on 20 October 1573.
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paintings show the early use of classical mythology to illustrate the beauty and sovereignty of the young queen. In
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910:, as the legitimate heir of his late wife Mary I. This tension played out over the next decades in the seas of the
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292:, destroyed in 1698, and perhaps other original large portraits, would have been familiar to Elizabethan artists.
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The many portraits of Elizabeth I constitute a tradition of image highly steeped in classical mythology and the
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There are three surviving versions of the portrait, in addition to several derivative paintings. The version at
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tradition. These small personal images were almost invariably painted from life over the space of a few days in
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and prayer books that would have carried meaning to viewers of her day. Later portraits of Elizabeth layer the
3675:"A historical and important English/Dutch 20KT gold-framed Elizabethan portrait miniature pendant, Christie's"
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threaten the Spanish fleet, and on the right the ships are driven onto a rocky coast amid stormy seas by the "
380:
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By far the most impressive models of portraiture available to English portraitists were the many portraits by
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on a table beside the queen, and was the first appearance of these symbols of sovereignty separately used as
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Strong, Roy: "From Manuscript to Miniature" in John Murdoch, Jim Murrell, Patrick J. Noon & Roy Strong,
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This was in notable contrast to France, in particular, where smaller portraits remained more typical until
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and of maidenly chastity. In the Hampden portrait, Elizabeth wears a red rose on her shoulder and holds a
194:
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Design for the obverse of a Great Seal for Ireland (never made), pen and ink wash over pencil, Hilliard,
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allegorical may have been full of meaning to a discerning eye. Elizabethan courtiers familiar with the
1592:
410:, the first Medici Grand-Duke. Bronzino's works, including his striking portraits of Cosimo's Duchess,
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continued in a stiffer version of his master's style, replacing him as Spanish court painter in 1561.
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with their attendant images, processions, ceremonies and secular rejoicing." The pageantry of the
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3744:(2014). The Real Tudors : kings and queens rediscovered. London: National Portrait Gallery.
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of 1561. Coins were of course the main way the mass of her people received images of Elizabeth.
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Two portraiture traditions had arisen in the Tudor court since the days of Elizabeth's father,
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675:, which established an alliance between England and France against Spanish aggression in the
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Hilliard's appointment as miniaturist to the Crown included the old sense of a painter of
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752:. These paintings are named after the jewels the queen wears, her personal badges of the
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For analysis of this trend see Levey (1971), Ch. 3, and Trevor-Roper (1976) Ch. 1 and 2.
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3855:
2887:
Levey (1971), pp. 96β108 β quotation from p. 108. See also Freedberg (1993), pp. 430β35
2726:
1617:
1533:
1467:
1332:
seems to have always been at the Oxfordshire home of Elizabeth's retired Champion, Sir
1314:
1267:
1183:
1105:
949:
915:
769:
652:
240:
210:
17:
2660:
1500:
honouring the queen use much of the same imagery, and suggests it was commissioned by
1123:, wearing a collar of gold studded with topazes. This symbol of purity appears in the
906:
in 1570 led to increased tension with Philip II of Spain, who championed the Catholic
4804:
4762:
4715:
4451:
4364:
3845:
3737:
3727:
2621:
2583:
2226:
1627:
1622:
1556:
1350:
1206:
1131:
1042:
970:
926:
777:
558:
550:
260:
4757:
4264:
4178:
3703:
2421:
1724:
1552:
1482:, including the cloak with eyes and ears, the serpent of wisdom, and the celestial
1428:
1190:
1058:
1022:
541:
356:
302:
256:
248:
229:
214:
206:
702:
620:
is turned on its head. Elizabeth, rather than Paris, is now sent to choose among
4125:
4091:
2709:
1601:
1479:
1096:. The medallions on the pillar to the left of the queen illustrate the story of
1046:
953:
903:
880:
613:
577:
562:
546:
492:
476:
464:
426:
368:
309:
198:
105:
82:
2686:
This portrait was sold at Sotheby's, London, for Β£2.6 million in November 2007.
156:
4586:
4119:
3893:
2923:
2313:
Coloured frontispiece to Christopher Saxton's Atlas of England and Wales, 1579
1564:
1560:
1475:
1423:
1271:
999:
945:
815:
787:
and he was commissioned to decorate important documents, such as the founding
637:
484:
186:
4005:
Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517β1633
4131:
1384:
1119:'s "The Triumph of Chastity". Another symbol from this work is the spotless
911:
888:, variously attributed to William Segar or George Gower, 1585. Elizabeth as
842:
800:
796:
399:
129:
1037:
face pattern, and added an allegorical overlay that depicted Elizabeth as
948:, asserting Elizabeth's claims to an empire via her supposed descent from
807:
title-page frames and borders for books, some of which bear his initials.
585:
court figures, but only a few of these have survived and been identified.
239:
Elizabeth sat for a number of artists over the years, including Hilliard,
4680:
3935:
Artists of the Tudor Court: The Portrait Miniature Rediscovered 1520β1620
2635:
1609:
1605:
1548:
1252:
1179:
1116:
933:
799:
within an elaborate framework of Flemish-style Renaissance strapwork and
605:
569:
403:
395:
364:
86:
3437:, "Icons of Divinity: Portraits of Elizabeth I" in Gent and Llewellyen,
1197:, was long accepted as the work of George Gower, who had been appointed
3040:
1322:
938:
General and Rare Memorials Pertayning to the Perfect Arte of Navigation
856:
804:
788:
753:
225:
2486:
Charter of Queen Elizabeth's Grammar School, Ashbourne, Hilliard, 1585
331:
36:
Portrait of Elizabeth I of England in her coronation robes. Copy
1613:
1471:
1128:
1038:
974:
833:
The problem of an official portrait of Elizabeth was solved with the
629:
296:
202:
125:
109:
97:
3789:
Renaissance Bodies: The Human Figure in English Culture c. 1540β1660
914:
as well as in Europe, and culminated in the invasion attempt of the
1045:
who proved her chastity by carrying a sieve full of water from the
973:, Britain was founded by and named after Brutus, the descendant of
1591:
1523:
1511:
1438:
1407:
1374:
1360:
1281:
1226:
1153:
1120:
1067:
1009:
994:
978:
879:
814:
720:
701:
693:
592:
519:
496:
440:
344:
330:
319:
308:
271:
155:
137:
121:
113:
3967:, Yale University Press, New Haven and London, 1981 (Strong 1981)
2607:, now resides in Washington, but was previously displayed in the
2252:
Preliminary chalk sketch for a portrait of Elizabeth I, Zuccaro,
2213:
wearing a cameo of the queen, 1589, unknown artist (?after Ketel)
1462:, perhaps the most heavily symbolic portrait of the queen is the
632:, all of whom are outshone by the queen with her crown and royal
536:
image of Elizabeth in a red satin gown, originally attributed to
1541:
133:
101:
4064:
4021:, 4th Edn, 1978, Penguin Books (now Yale History of Art series)
3542:"Elizabeth I // Miniature Portraits // The Portland Collection"
1061:
in 1579, but the most influential image is the 1583 version by
459:
William Gaunt contrasts the simplicity of the 1546 portrait of
398:
developed a style of coldly distant magnificence, based on the
4060:
864:
3289:
Baltimore, Johns Hopkins Press, 1932, quoted in Yates, p. 50.
1747:
The Family of Henry VIII, an Allegory of the Tudor Succession
649:
The Family of Henry VIII: An Allegory of the Tudor Succession
2817:, pp. 31β2, The National Gallery Company/Yale, London 2003,
148:
viewers the majesty and significance of the 'Virgin Queen'.
3803:
Dynasties: Painting in Tudor and Jacobean England 1530β1630
2646:
in a similar black gown and French hood with the cornet or
1115:
The virgin Tuccia was familiar to Elizabethan readers from
1604:
understanding of English history and destiny, filtered by
1218:
Family of Henry VIII: An Allegory of the Tudor Succession
367:, besides whom the Habsburg court sculptor and medallist
339:
Titian continued to paint royal portraits, especially of
144:
allusions, to present a complex "story" that conveyed to
3937:, Victoria & Albert Museum exhibit catalogue, 1983,
3900:, 1969, Routledge & Kegan Paul, London (Strong 1969)
3774:
Court Painting in England from Tudor to Victorian Times.
1486:β an Irish mantle, and carries a rainbow with the motto
475:, Hilliard cautioned against all but the minimal use of
2956:
3898:
The English Icon: Elizabethan and Jacobean Portraiture
3007:, (London), Nov 1, 2007. Retrieved on 24 October 2008.
2673:, where the costume is compared to Elizabeth's in the
2087:, 1585β90, attributed to Marcus Gheeraerts the Younger
4028:, London and Boston: Routledge and Kegan Paul, 1975,
3862:, Volume 1, 2004, National Gallery Publications Ltd,
3075:
3073:
2957:"George Gower: portraitist, Mercer, Serjeant Painter"
2455:
Illuminated initial membrane, Court of King's Bench:
1244:, Philip II of Spain's father, which represented the
568:
One artist active in Elizabeth's early court was the
347:
was sent to Elizabeth's elder sister and predecessor
4026:
Astraea: The Imperial Theme in the Sixteenth Century
3706:: "The 'Coronation' Portrait of Queen Elizabeth I",
3620:
The Complete Poems of Sir John Davies. Volume 1 of 2
2233:, a cameo of the queen. Gheeraerts the Younger, 1591
1379:
Recently discovered miniature by Hilliard, 1595β1600
867:, which has also altered the coloring of her dress.
4750:
4727:
4692:
4649:
4622:
4563:
4554:
4536:
4465:
4438:
4416:
4409:
4378:
4350:
4292:
4233:
4187:
4153:
4112:
3875:, 1996, Ministerio de EducaciΓ³n y Cultura, Madrid,
3691:. The Zeeuws Museum dates the medallion to 1572β73.
2638:
for her sister Mary; see commentary on a portrait (
1466:, so-called because the queen grasps a rainbow, at
1248:, gateway to the Atlantic Ocean and the New World.
160:Elizabeth "in blacke with a hoode and cornet", the
96:Even the earliest portraits of Elizabeth I contain
66:One of many portraits of its type, with a reversed
58:, the second known portrait of a British sovereign.
4047:Goddesses and Queens: The Iconography of Elizabeth
3036:"Early Elizabeth I portrait fetches $ 5.3 million"
2408:from the drawing by Oliver, with later inscription
3234:"Making Art in Tudor Britain: 'Darnley' portrait"
2955:Town, Edward; David, Jessica (1 September 2020).
795:(1584), which has an enthroned Elizabeth under a
85:(1533β1603) spans the evolution of English royal
3333:
3331:
1231:Engraving by Crispijn van de Passe, printed 1596
425:following, with a host of imitators, his father
295:Both Holbein and his great Italian contemporary
2288:Pen and ink drawing on vellum by Isaac Oliver,
27:Portraits of Elizabeth I of England and Ireland
3950:Art and Power; Renaissance Festivals 1450β1650
4076:
3858:, National Gallery Catalogues (new series):
2555:copies of the figure of Henry from this work.
2523:Cultural depictions of Elizabeth I of England
1454:, attributed to Marcus Gheeraerts the Younger
985:, the Tudors ushered in a united realm where
8:
3972:Gloriana: The Portraits of Queen Elizabeth I
3577:Gloriana: The Portraits of Queen Elizabeth I
2634:In these portraits Elizabeth may be wearing
2034:. Elizabeth holds the olive branch of peace.
1251:In the background view on the left, English
429:, or even smaller oils by the Netherlandish
4045:Connolly, Annaliese; Hopkins, Lisa (eds.),
3579:. Germany: Thames and Hudson, 1987. pg. 148
3376:
3374:
3372:
3370:
2725:Although Strong attributed the painting to
2653:"Mary Queen of Scots (1542 - 1587) c. 1558"
1487:
1135:
986:
889:
4560:
4413:
4083:
4069:
4061:
2926:, 1975, p.24, Michael Joseph Ltd, London,
2046:One of five known portraits attributed to
1365:The unfinished miniature by Isaac Oliver,
335:Titian's full-length portrait of Philip II
232:, a fashionable court portraitist created
4768:Queen Elizabeth Grammar School, Wakefield
3873:Museo del Prado, CatΓ‘logo de las pinturas
3852:, Weidenfeld & Nicolson, London, 1971
3732:Art and Architecture in France, 1500β1700
3298:See Hearn 1995, p. 85; Strong 1987, p. 95
3287:Studies in Spenser's Historical Allegory,
2813:Fletcher, Jennifer in: David JaffΓ© (ed),
2341:Engraving based on the Oliver pattern of
1309:, the just virgin, and simultaneously as
803:ornament. He also seems to have designed
50:. The pose echoes the famous portrait of
4580:The Private Lives of Elizabeth and Essex
2165:, the Mask of Youth, Hilliard workshop,
61:
31:
3890:, Her Majesty's Stationery Office, 1971
3860:The Sixteenth Century Italian Paintings
3835:, Northeastern University Press, 1983,
3505:
3503:
3501:
2994:Portrait of a royal quest for a husband
2950:
2948:
2753:
2534:
2445:
2303:
2242:
2180:
1875:
1784:
1669:
1596:Portrait in the Palazzo Pitti, Florence
491:externals of religion, the cult of the
3787:Gent, Lucy, and Nigel Llewellyn, eds:
3415:Cooper and Bolland (2014), pp. 151-154
3222:Cooper and Bolland (2014), pp. 162-167
2988:
2986:
2759:
2757:
1357:The last sitting and the Mask of Youth
1134:. The queen bears the olive branch of
1063:Quentin Metsys (or Massys) the Younger
647:The latter theme lies behind the 1572
325:Eleanor of Toledo and her son Giovanni
4049:, 2007, Manchester University Press,
4007:, Thames & Hudson, London, 1976,
3818:Marcus Gheeraerts II Elizabeth Artist
3717:, W S Maney and Son Ltd, Leeds 1988.
3587:
3585:
3529:Important British Paintings 1500β1850
3200:
3198:
3196:
3048:from the original on 16 January 2023.
2578:Surviving portraits include those of
2564:The portrait came from Philip's aunt
7:
3907:, 1975, Michael Joseph Ltd, London,
3888:Nicholas Hilliard & Isaac Oliver
3833:Nicholas Hilliard's "Art of Limning"
3163:from the original on 2 November 2018
3116:
3114:
3112:
2773:
2771:
2769:
1749:, 1572, attributed to Lucas de Heere
846:Robert Dudley, 1st Earl of Leicester
276:A copy of Holbein's Whitehall Mural.
4836:Portraits of Elizabeth I of England
3922:, 1977, Thames and Hudson, London,
3715:Queen Elizabeth's Wardrobe Unlock'd
3404:Queen Elizabeth's Wardrobe Unlock'd
3240:from the original on 25 August 2015
2971:from the original on 25 August 2021
1214:Elizabeth I and the Three Goddesses
1053:without spilling a drop. The first
977:, who founded Rome. The Tudors, of
610:Elizabeth I and the Three Goddesses
598:Elizabeth I and the Three Goddesses
3232:National Portrait Gallery (2014).
2657:Historical Portraits Image Library
2603:) most famous work, the so-called
2586:, who was later to commission the
1422:Two portraits of Elizabeth in her
730:painter was "desperately needed."
576:, who had served as a painter and
25:
4546:Secret correspondence of James VI
3681:from the original on 4 March 2016
3213:Cooper and Bolland (2014), p. 147
2833:Fletcher, op. cit. pp. 31 and 148
1704:, attributed to Levina Teerlinc,
1203:National Portrait Gallery, London
942:English colonies in the New World
557:, or white roses, symbols of the
4846:Material culture of royal courts
4666:Elisabetta, regina d'Inghilterra
4572:Les Amours de la reine Γlisabeth
3820:, London: Tate Publishing 2002,
3316:Hearn, p. 85; Strong 1987 p. 101
2491:
2479:
2464:
2448:
2429:
2413:
2390:
2368:
2352:
2334:
2318:
2306:
2281:
2263:
2245:
2218:
2202:
2183:
2154:
2136:
2114:
2092:
2077:
2061:
2039:
2015:
1999:
1981:
1969:
1941:
1925:
1913:
1896:
1878:
1859:
1841:
1823:
1805:
1787:
1754:
1739:
1715:
1694:
1672:
1158:The Woburn Abbey version of the
940:encouraged the establishment of
228:, or miniaturist and goldsmith.
205:, stiffened by being glued to a
3548:from the original on 6 May 2021
2708:So-called from its location at
2143:Portrait by an unknown artist,
1683:, with Elizabeth on the right,
966:History of the Kings of Britain
251:, and most likely to Gower and
4019:Painting in Britain, 1530β1790
3153:"Pelican and Phoenix research"
2177:Portrait medallions and cameos
1559:heraldic badges including the
871:The Virgin Empress of the Seas
725:Emmanuel College charter, 1584
406:, working almost entirely for
351:in advance of their marriage.
1:
3805:. New York: Rizzoli, 1995.
3710:, CXX, 1978, pp. 727β41.
3181:Strong, 1983, pp. 62 & 66
2712:, much later the seat of the
2398:
2380:
2342:
2289:
2271:
2253:
2191:
2166:
2144:
2126:
2104:
2051:
1989:
1955:
1903:
1886:
1849:
1831:
1813:
1795:
1766:
1729:
1705:
1702:Elizabeth and the Ambassadors
1684:
1460:Marcus Gheeraerts the Younger
1448:
1413:
1366:
1295:
1292:Marcus Gheeraerts the Younger
1242:Holy Roman Emperor, Charles V
1163:
1090:
824:
746:
711:
449:
253:Marcus Gheeraerts the Younger
165:
71:
44:
37:
3760:Painting in Italy, 1500β1600
3527:Sotheby's Catalogue L07123,
2786:Waterhouse (1978), pp. 25β6.
1576:, the standard Bible of the
768:, given by Elizabeth to Sir
175:Portraiture in Tudor England
3989:, 1999, Hutchison, London,
3974:, Thames and Hudson, 1987,
2620:In an extended discussion,
2379:from the drawing by Oliver
2032:Marcus Gheeraerts the Elder
1616:and, late in her reign, to
1528:Coloured title page of the
1127:of 1585, attributed to the
793:Emmanuel College, Cambridge
698:Miniature by Hilliard, 1572
589:Elizabeth and the goddesses
245:Federico Zuccaro or Zuccari
224:was appointed her official
4862:
3952:, 1984, The Boydell Press;
3623:. p. 125 – via
3615:Grosart, Alexander Balloch
2914:Quotation from Hilliard's
2518:Artists of the Tudor Court
2436:Gold half-pound of 1560β61
1201:in 1581. A version in the
1147:
1078:Quentin Metsys the Younger
959:Dee's inspiration lies in
687:
181:Artists of the Tudor court
178:
4776:
4612:Elizabeth: The Golden Age
4098:
3776:London: Constable, 1980.
3613:. "Hymnes to AstrΕa". In
2869:Waterhouse (1978), p. 28.
2010:, unknown artist, 1575β80
1728:, miniature by Teerlinc,
929:protector of her people.
81:The portraiture of Queen
4429:The Doubt of Future Foes
4169:(Lady of the Bedchamber)
3591:Strong 1987, pp. 157β160
3486:Strong 1987, pp. 135β37.
3468:Strong 1987, pp. 125β127
2601:Giovanni Battista Moroni
1681:The Family of Henry VIII
1404:The coronation portraits
876:Return of the Golden Age
717:, attributed to Hilliard
446:The Lady Elizabeth Tudor
437:Creating the royal image
390:Giovanni Battista Moroni
282:Hans Holbein the Younger
128:βand representations of
4424:On Monsieur's Departure
4394:Plimpton Sieve Portrait
3762:, 3rd edn. 1993, Yale,
3734:, 2nd edn 1957, Penguin
3708:The Burlington Magazine
3566:Strong 1987, pp. 162β63
2999:23 October 2008 at the
2961:The Burlington Magazine
2501:Roll, Easter Term, 1589
2474:Roll, Easter Term, 1584
2459:Roll, Easter Term, 1572
2442:Illuminated manuscripts
2048:John Bettes the Younger
2008:Schloss Ambras Portrait
1920:Unknown artist, 1560β65
1588:"Reading" the portraits
1110:François, Duke of Anjou
785:illuminated manuscripts
468:exclude all humanity."
18:Portrait of Elizabeth I
4841:16th-century portraits
3791:Reaktion Books, 1990,
3637:Strong 1977, pp. 46β47
3531:, November 2007, p. 20
3477:Strong 1977, pp. 70β75
3346:Yates pp. 115, 215β216
3258:Strong 1987, pp. 91β93
3106:Doran 2003b, pp.185β86
3058:Strong 1987, pp. 55β57
2777:Strong 1987, pp. 14β15
2545:came to power in 1594.
2163:Hardwick Hall Portrait
1774:Robert Peake the Elder
1658:
1597:
1537:
1521:
1488:
1455:
1419:
1380:
1372:
1301:
1232:
1169:
1136:
1081:
1026:
987:
895:
890:
830:
726:
718:
699:
684:Hilliard and the queen
673:Treaty of Blois (1572)
612:(1569), attributed to
601:
529:
456:
455:, by an unknown artist
336:
328:
317:
277:
195:illuminated manuscript
171:
78:
59:
43:of a lost original of
3987:The Spirit of Britain
3965:The English Miniature
3920:The Cult of Elizabeth
3664:Strong (1999), p. 177
3190:see Strong 1987 p. 86
3159:. 12 September 2010.
3120:Strong 1987, p. 79β83
3097:Hearn 1995, pp. 81β82
2605:Titian's Schoolmaster
2123:Jesus College, Oxford
2072:, 1580s, George Gower
1976:Unknown artist, 1570s
1653:
1595:
1527:
1515:
1442:
1411:
1378:
1364:
1347:Grand Duke of Tuscany
1334:Henry Lee of Ditchley
1285:
1278:The cult of Elizabeth
1264:Crispijn van de Passe
1230:
1157:
1071:
1013:
883:
855:features a crown and
818:
724:
705:
697:
659:Mary and her husband
596:
538:Steven van der Meulen
528:of Elizabeth I, 1560s
523:
444:
381:Alonso SΓ‘nchez Coello
334:
323:
312:
275:
259:of later Elizabethan
159:
65:
35:
4253:Religious Settlement
4241:Third Succession Act
4210:Hampton Court Palace
4144:Mary, Queen of Scots
3756:Freedberg, Sydney J.
3600:β an Irish mantle β
3044:. 22 November 2007.
2644:Mary, Queen of Scots
2513:1550β1600 in fashion
2325:Coloured engraving,
2190:Portrait medallion,
2121:Another portrait at
1651:According to Strong:
1474:, in a linen bodice
1435:The Rainbow Portrait
1349:, and is now in the
961:Geoffrey of Monmouth
908:Mary, Queen of Scots
811:The Darnley Portrait
754:pelican in her piety
553:'s descent from the
540:and reattributed to
461:Lady Elizabeth Tudor
385:Sofonisba Anguissola
379:Mor's Spanish pupil
316:, Anthonis Mor, 1554
132:and purity, such as
4816:English Renaissance
4709:Elizabeth the Queen
4259:Regnans in Excelsis
4225:Queen Elizabeth Oak
4205:Palace of Whitehall
4163:(Lady of the Robes)
4017:Waterhouse, Ellis;
3831:Kinney, Arthur F.:
3509:Strong 1987, p. 147
3495:Strong 1987, p. 143
3459:Strong 1987, p. 104
3355:Strong 1987, p. 113
3325:Doran 2003b, p. 187
3131:Hilliard and Oliver
3088:Doran 2003b, p. 176
3025:Doran 2003b, p. 177
2842:Prado:398β99 (#411)
2085:In Parliament Robes
1988:Nicholas Hilliard,
1866:Hilliard, 1595β1600
1781:Portrait miniatures
1763:Procession Portrait
1646:language of flowers
1396:Extraordinary from
1246:pillars of Hercules
923:mastery of the seas
663:are accompanied by
616:, the story of the
501:Accession Day tilts
193:developed from the
91:early modern period
4639:The Virgin's Lover
4360:Bacton Altar Cloth
4167:Elizabeth Stafford
4001:Trevor-Roper, Hugh
3886:Reynolds, Graham:
3801:Hearn, Karen, ed.
3742:Bolland, Charlotte
3655:Doran 2003a, p. 29
3646:Doran 2003a, p. 52
3450:Strong 1984, p. 51
3439:Renaissance Bodies
3433:Andrew Belsey and
3307:Strong 1987 p. 101
3267:Strong 1987, p. 91
3079:Strong 1987, p. 42
3016:Strong 1987, p. 23
2942:Strong 1977, p. 16
2663:on 16 October 2008
2580:Sir Thomas Gresham
2543:Henry IV of France
2211:Christopher Hatton
2028:Wanstead Portrait
1934:Gripsholm Portrait
1598:
1538:
1522:
1489:non sine sole iris
1456:
1420:
1398:Henry IV of France
1381:
1373:
1302:
1233:
1193:, the seat of the
1170:
1102:Christopher Hatton
1082:
1027:
896:
831:
727:
719:
700:
669:Francis Walsingham
661:Philip II of Spain
655:). In this image,
618:Judgement of Paris
602:
555:House of Lancaster
530:
457:
341:Philip II of Spain
337:
329:
318:
278:
191:portrait miniature
172:
79:
60:
4798:
4797:
4746:
4745:
4736:The Faerie Queene
4461:
4460:
4271:Throckmorton Plot
4215:St James's Palace
3905:Nicholas Hilliard
3850:Painting at Court
3625:Project Gutenberg
3424:Hearn 1995, p. 88
3276:Yates, pp. 50β51.
3204:Strong 1987, p.85
3067:Hearn 1995, p. 63
2967:(1410): 731β747.
2920:Nicholas Hilliard
2804:Waterhouse, p. 36
2588:Ditchley Portrait
2406:Crispijn de Passe
2363:, Rogers, 1590β95
1963:Nicholas Hilliard
1578:Church of England
1330:Ditchley Portrait
1317:had begun to use
1288:Ditchley Portrait
1144:Visions of empire
983:Wars of the Roses
865:red lake pigments
690:Nicholas Hilliard
431:Corneille de Lyon
412:Eleanor of Toledo
222:Nicholas Hilliard
56:Westminster Abbey
16:(Redirected from
4853:
4674:Roberto Devereux
4596:The Virgin Queen
4561:
4414:
4388:Pelican Portrait
4195:Greenwich Palace
4101:Queen of England
4085:
4078:
4071:
4062:
4024:Yates, Frances:
3772:Gaunt, William:
3692:
3690:
3688:
3686:
3671:
3665:
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3457:
3451:
3448:
3442:
3435:Catherine Belsey
3431:
3425:
3422:
3416:
3413:
3407:
3400:
3394:
3393:Hearn 1995 p. 88
3391:
3385:
3378:
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3356:
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3347:
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3202:
3191:
3188:
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3179:
3173:
3172:
3170:
3168:
3149:
3143:
3142:Strong 1975, p.4
3140:
3134:
3127:
3121:
3118:
3107:
3104:
3098:
3095:
3089:
3086:
3080:
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3017:
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2981:
2980:
2978:
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2952:
2943:
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2934:
2912:
2906:
2903:
2897:
2896:Blunt, pp. 62β64
2894:
2888:
2885:
2879:
2876:
2870:
2867:
2861:
2858:
2852:
2849:
2843:
2840:
2834:
2831:
2825:
2811:
2805:
2802:
2796:
2793:
2787:
2784:
2778:
2775:
2764:
2761:
2742:
2739:
2733:
2731:1583. Q. MASSYS
2723:
2717:
2714:Earls of Darnley
2706:
2700:
2693:
2687:
2684:
2678:
2672:
2670:
2668:
2659:. Archived from
2632:
2626:
2618:
2612:
2609:Palazzo Borghese
2597:
2591:
2576:
2570:
2562:
2556:
2552:
2546:
2539:
2495:
2483:
2468:
2452:
2433:
2417:
2403:
2400:
2394:
2385:
2382:
2372:
2356:
2347:
2344:
2338:
2322:
2310:
2300:Prints and coins
2294:
2291:
2285:
2276:
2273:
2267:
2258:
2255:
2249:
2222:
2206:
2196:
2193:
2187:
2171:
2168:
2158:
2149:
2146:
2140:
2131:
2128:
2125:unknown artist,
2118:
2109:
2106:
2096:
2081:
2065:
2056:
2053:
2043:
2019:
2003:
1994:
1991:
1985:
1973:
1960:
1957:
1951:Pelican Portrait
1945:
1929:
1917:
1908:
1905:
1900:
1891:
1888:
1885:Unknown artist,
1882:
1863:
1854:
1851:
1845:
1836:
1833:
1827:
1818:
1815:
1809:
1800:
1797:
1791:
1772:, attributed to
1771:
1768:
1758:
1743:
1734:
1731:
1719:
1710:
1707:
1698:
1689:
1686:
1679:Unknown artist,
1676:
1582:personifications
1498:Hymns to Astraea
1491:
1484:armillary sphere
1464:Rainbow Portrait
1453:
1450:
1445:Rainbow Portrait
1418:
1415:
1371:
1368:
1338:armillary sphere
1300:
1297:
1262:An engraving by
1199:Serjeant Painter
1195:Dukes of Bedford
1168:
1165:
1139:
1095:
1092:
1006:The Virgin Queen
992:
902:of Elizabeth by
894:(lit., "peace").
893:
853:Darnley Portrait
839:Federico Zuccari
835:Darnley Portrait
829:
826:
821:Darnley Portrait
797:canopy of estate
764:miniatures: the
751:
748:
716:
713:
708:Phoenix Portrait
547:hoode and cornet
532:The full-length
526:Hampden Portrait
454:
451:
416:Royal Collection
327:, Bronzino, 1545
290:Whitehall Palace
268:European context
234:Serjeant Painter
170:
167:
162:Clopton Portrait
100:objects such as
77:, artist unknown
76:
73:
49:
46:
42:
41: 1600β1610
39:
21:
4861:
4860:
4856:
4855:
4854:
4852:
4851:
4850:
4821:Renaissance art
4801:
4800:
4799:
4794:
4772:
4742:
4723:
4688:
4658:The Fairy-Queen
4645:
4618:
4550:
4532:
4457:
4434:
4405:
4400:Armada Portrait
4374:
4346:
4288:
4229:
4220:Richmond Palace
4183:
4149:
4108:
4094:
4089:
4042:
4040:Further reading
3856:Penny, Nicholas
3713:Arnold, Janet:
3700:
3695:
3684:
3682:
3673:
3672:
3668:
3663:
3659:
3654:
3650:
3645:
3641:
3636:
3632:
3609:
3608:
3604:
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3595:
3590:
3583:
3575:Strong, Roy C.
3574:
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3397:
3392:
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3379:
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3363:
3359:
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3336:
3329:
3324:
3320:
3315:
3311:
3306:
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3297:
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3284:
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3212:
3208:
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3189:
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3146:
3141:
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3128:
3124:
3119:
3110:
3105:
3101:
3096:
3092:
3087:
3083:
3078:
3071:
3066:
3062:
3057:
3053:
3034:
3033:
3029:
3024:
3020:
3015:
3011:
3005:The Independent
3001:Wayback Machine
2991:
2984:
2974:
2972:
2954:
2953:
2946:
2941:
2937:
2913:
2909:
2904:
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2877:
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2864:
2859:
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2832:
2828:
2812:
2808:
2803:
2799:
2794:
2790:
2785:
2781:
2776:
2767:
2762:
2755:
2751:
2746:
2745:
2740:
2736:
2724:
2720:
2707:
2703:
2697:Joris Hoefnagel
2694:
2690:
2685:
2681:
2666:
2664:
2651:
2633:
2629:
2619:
2615:
2598:
2594:
2577:
2573:
2563:
2559:
2553:
2549:
2540:
2536:
2531:
2509:
2502:
2496:
2487:
2484:
2475:
2469:
2460:
2453:
2444:
2437:
2434:
2425:
2418:
2409:
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2395:
2386:
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2314:
2311:
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2268:
2259:
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2250:
2241:
2234:
2223:
2214:
2207:
2198:
2194:
2188:
2179:
2172:
2169:
2159:
2150:
2147:
2141:
2132:
2129:
2119:
2110:
2107:
2101:Armada Portrait
2099:Variant of the
2097:
2088:
2082:
2073:
2066:
2057:
2054:
2050:or his studio,
2044:
2035:
2020:
2011:
2004:
1995:
1992:
1986:
1977:
1974:
1965:
1958:
1946:
1937:
1930:
1921:
1918:
1909:
1906:
1901:
1892:
1889:
1883:
1874:
1867:
1864:
1855:
1852:
1846:
1837:
1834:
1828:
1819:
1816:
1810:
1801:
1798:
1792:
1783:
1776:
1769:
1759:
1750:
1744:
1735:
1732:
1723:An Elizabethan
1720:
1711:
1708:
1699:
1690:
1687:
1677:
1668:
1666:Queen and court
1663:
1590:
1546:sterling silver
1510:
1508:Books and coins
1451:
1437:
1416:
1406:
1369:
1359:
1343:diplomatic gift
1298:
1280:
1257:Protestant Wind
1222:Armada Portrait
1175:Armada Portrait
1166:
1160:Armada Portrait
1152:
1150:Armada Portrait
1146:
1125:Ermine Portrait
1093:
1087:Armada Portrait
1057:was painted by
1051:Temple of Vesta
1031:Sieve Portraits
1008:
944:supported by a
900:excommunication
886:Ermine Portrait
878:
873:
827:
813:
749:
714:
692:
686:
651:(attributed to
591:
574:Levina Teerlinc
514:
512:The young queen
509:
507:Early portraits
452:
439:
423:François Clouet
361:Agnolo Bronzino
270:
211:Panel paintings
183:
177:
168:
154:
146:Elizabethan era
74:
47:
40:
28:
23:
22:
15:
12:
11:
5:
4859:
4857:
4849:
4848:
4843:
4838:
4833:
4828:
4823:
4818:
4813:
4803:
4802:
4796:
4795:
4793:
4792:
4785:
4777:
4774:
4773:
4771:
4770:
4765:
4760:
4754:
4752:
4748:
4747:
4744:
4743:
4741:
4740:
4731:
4729:
4725:
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4722:
4721:
4713:
4705:
4696:
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4690:
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4670:
4662:
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4608:
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4524:
4518:
4512:
4506:
4500:
4494:
4488:
4482:
4476:
4469:
4467:
4463:
4462:
4459:
4458:
4456:
4455:
4449:
4446:Tilbury Speech
4442:
4440:
4436:
4435:
4433:
4432:
4426:
4420:
4418:
4411:
4407:
4406:
4404:
4403:
4397:
4391:
4384:
4382:
4376:
4375:
4373:
4372:
4370:Royal Gold Cup
4367:
4362:
4356:
4354:
4348:
4347:
4345:
4344:
4339:
4334:
4329:
4324:
4319:
4314:
4309:
4304:
4298:
4296:
4290:
4289:
4287:
4286:
4283:Spanish Armada
4280:
4277:Babington Plot
4274:
4268:
4262:
4256:
4250:
4244:
4237:
4235:
4231:
4230:
4228:
4227:
4222:
4217:
4212:
4207:
4202:
4200:Hatfield House
4197:
4191:
4189:
4185:
4184:
4182:
4181:
4176:
4170:
4164:
4157:
4155:
4151:
4150:
4148:
4147:
4141:
4135:
4134:(half-brother)
4129:
4123:
4116:
4114:
4110:
4109:
4099:
4096:
4095:
4090:
4088:
4087:
4080:
4073:
4065:
4059:
4058:
4055:978-0719076770
4041:
4038:
4037:
4036:
4022:
4015:
3998:
3983:
3968:
3961:
3946:
3931:
3916:
3901:
3891:
3884:
3870:
3853:
3846:Levey, Michael
3843:
3829:
3816:Hearn, Karen:
3814:
3799:
3785:
3770:
3753:
3738:Cooper, Tarnya
3735:
3728:Blunt, Anthony
3725:
3711:
3699:
3696:
3694:
3693:
3666:
3657:
3648:
3639:
3630:
3602:
3593:
3581:
3568:
3559:
3533:
3520:
3511:
3497:
3488:
3479:
3470:
3461:
3452:
3443:
3426:
3417:
3408:
3395:
3386:
3366:
3357:
3348:
3339:
3327:
3318:
3309:
3300:
3291:
3278:
3269:
3260:
3251:
3224:
3215:
3206:
3192:
3183:
3174:
3144:
3135:
3122:
3108:
3099:
3090:
3081:
3069:
3060:
3051:
3027:
3018:
3009:
2982:
2944:
2935:
2918:, c. 1600, in
2916:Art of Limming
2907:
2898:
2889:
2880:
2871:
2862:
2853:
2844:
2835:
2826:
2806:
2797:
2788:
2779:
2765:
2752:
2750:
2747:
2744:
2743:
2734:
2727:Cornelis Ketel
2718:
2701:
2688:
2679:
2677:portrait type.
2627:
2613:
2592:
2571:
2557:
2547:
2533:
2532:
2530:
2527:
2526:
2525:
2520:
2515:
2508:
2505:
2504:
2503:
2497:
2490:
2488:
2485:
2478:
2476:
2470:
2463:
2461:
2454:
2447:
2443:
2440:
2439:
2438:
2435:
2428:
2426:
2419:
2412:
2410:
2402: 1592β95
2396:
2389:
2387:
2377:William Rogers
2374:
2367:
2365:
2358:
2351:
2349:
2340:
2333:
2331:
2324:
2317:
2315:
2312:
2305:
2301:
2298:
2297:
2296:
2293: 1592β95
2287:
2280:
2278:
2269:
2262:
2260:
2251:
2244:
2240:
2237:
2236:
2235:
2224:
2217:
2215:
2208:
2201:
2199:
2195: 1572β73
2189:
2182:
2178:
2175:
2174:
2173:
2160:
2153:
2151:
2142:
2135:
2133:
2120:
2113:
2111:
2098:
2091:
2089:
2083:
2076:
2074:
2070:Drewe Portrait
2067:
2060:
2058:
2055: 1585β90
2045:
2038:
2036:
2021:
2014:
2012:
2005:
1998:
1996:
1993: 1576-78
1987:
1980:
1978:
1975:
1968:
1966:
1961:, probably by
1947:
1940:
1938:
1931:
1924:
1922:
1919:
1912:
1910:
1902:
1895:
1893:
1884:
1877:
1873:
1870:
1869:
1868:
1865:
1858:
1856:
1847:
1840:
1838:
1829:
1822:
1820:
1811:
1804:
1802:
1793:
1786:
1782:
1779:
1778:
1777:
1760:
1753:
1751:
1745:
1738:
1736:
1721:
1714:
1712:
1700:
1693:
1691:
1678:
1671:
1667:
1664:
1662:
1659:
1618:Edmund Spenser
1589:
1586:
1573:Bishops' Bible
1534:British Museum
1530:Bishops' Bible
1509:
1506:
1468:Hatfield House
1458:Attributed to
1452: 1600β02
1436:
1433:
1405:
1402:
1358:
1355:
1315:Walter Raleigh
1279:
1276:
1268:heraldic badge
1184:Spanish Armada
1148:Main article:
1145:
1142:
1106:heraldic badge
1074:Sieve Portrait
1055:Sieve Portrait
1018:Sieve Portrait
1007:
1004:
950:Brutus of Troy
916:Spanish Armada
877:
874:
872:
869:
812:
809:
770:Thomas Heneage
750: 1572β76
688:Main article:
685:
682:
653:Lucas de Heere
630:Pallas-Minerva
604:Two surviving
590:
587:
513:
510:
508:
505:
473:Art of Limming
438:
435:
286:dynastic mural
269:
266:
261:country houses
257:long galleries
241:Cornelis Ketel
179:Main article:
176:
173:
169: 1558β60
153:
150:
75: 1585β90
70:face pattern,
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4858:
4847:
4844:
4842:
4839:
4837:
4834:
4832:
4829:
4827:
4824:
4822:
4819:
4817:
4814:
4812:
4809:
4808:
4806:
4791:
4790:
4786:
4784:
4783:
4779:
4778:
4775:
4769:
4766:
4764:
4763:Stuart period
4761:
4759:
4756:
4755:
4753:
4749:
4739:
4737:
4733:
4732:
4730:
4726:
4720:
4718:
4717:Elizabeth Rex
4714:
4712:
4710:
4706:
4704:
4702:
4698:
4697:
4695:
4691:
4685:
4683:
4679:
4677:
4675:
4671:
4669:
4667:
4663:
4661:
4659:
4655:
4654:
4652:
4648:
4642:
4640:
4636:
4634:
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4628:
4627:
4625:
4621:
4615:
4613:
4609:
4607:
4605:
4601:
4599:
4597:
4593:
4591:
4589:
4585:
4583:
4581:
4577:
4575:
4573:
4569:
4568:
4566:
4562:
4559:
4557:
4553:
4547:
4544:
4543:
4541:
4539:
4535:
4528:
4525:
4522:
4519:
4516:
4513:
4510:
4507:
4504:
4501:
4498:
4495:
4492:
4489:
4486:
4483:
4480:
4477:
4474:
4471:
4470:
4468:
4464:
4453:
4452:Golden Speech
4450:
4447:
4444:
4443:
4441:
4437:
4430:
4427:
4425:
4422:
4421:
4419:
4415:
4412:
4408:
4401:
4398:
4395:
4392:
4389:
4386:
4385:
4383:
4381:
4377:
4371:
4368:
4366:
4365:Chequers Ring
4363:
4361:
4358:
4357:
4355:
4353:
4349:
4343:
4340:
4338:
4335:
4333:
4330:
4328:
4325:
4323:
4320:
4318:
4315:
4313:
4310:
4308:
4305:
4303:
4300:
4299:
4297:
4295:
4291:
4284:
4281:
4278:
4275:
4272:
4269:
4266:
4263:
4260:
4257:
4254:
4251:
4248:
4245:
4242:
4239:
4238:
4236:
4232:
4226:
4223:
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4218:
4216:
4213:
4211:
4208:
4206:
4203:
4201:
4198:
4196:
4193:
4192:
4190:
4186:
4180:
4177:
4174:
4171:
4168:
4165:
4162:
4161:Lady Stafford
4159:
4158:
4156:
4152:
4145:
4142:
4140:(half-sister)
4139:
4136:
4133:
4130:
4127:
4124:
4121:
4118:
4117:
4115:
4111:
4106:
4102:
4097:
4093:
4086:
4081:
4079:
4074:
4072:
4067:
4066:
4063:
4056:
4052:
4048:
4044:
4043:
4039:
4035:
4034:0-7100-7971-0
4031:
4027:
4023:
4020:
4016:
4014:
4013:0-500-23232-6
4010:
4006:
4002:
3999:
3997:(Strong 1999)
3996:
3995:1-85681-534-X
3992:
3988:
3985:Strong, Roy:
3984:
3982:(Strong 1987)
3981:
3980:0-500-25098-7
3977:
3973:
3970:Strong, Roy:
3969:
3966:
3962:
3960:(Strong 1984)
3959:
3958:0-85115-200-7
3955:
3951:
3948:Strong, Roy:
3947:
3945:(Strong 1983)
3944:
3943:0-905209-34-6
3940:
3936:
3933:Strong, Roy:
3932:
3930:(Strong 1977)
3929:
3928:0-500-23263-6
3925:
3921:
3918:Strong, Roy:
3917:
3915:(Strong 1975)
3914:
3913:0-7181-1301-2
3910:
3906:
3903:Strong, Roy:
3902:
3899:
3895:
3892:
3889:
3885:
3882:
3881:84-87317-53-7
3878:
3874:
3871:
3869:
3868:1-85709-908-7
3865:
3861:
3857:
3854:
3851:
3847:
3844:
3842:
3841:0-930350-31-6
3838:
3834:
3830:
3827:
3826:1-85437-443-5
3823:
3819:
3815:
3812:
3811:0-8478-1940-X
3808:
3804:
3800:
3798:
3797:0-948462-08-6
3794:
3790:
3786:
3783:
3782:0-09-461870-4
3779:
3775:
3771:
3769:
3768:0-300-05587-0
3765:
3761:
3757:
3754:
3751:
3750:9781855144927
3747:
3743:
3739:
3736:
3733:
3729:
3726:
3724:
3723:0-901286-20-6
3720:
3716:
3712:
3709:
3705:
3704:Arnold, Janet
3702:
3701:
3697:
3680:
3676:
3670:
3667:
3661:
3658:
3652:
3649:
3643:
3640:
3634:
3631:
3626:
3622:
3621:
3616:
3612:
3606:
3603:
3597:
3594:
3588:
3586:
3582:
3578:
3572:
3569:
3563:
3560:
3547:
3543:
3537:
3534:
3530:
3524:
3521:
3515:
3512:
3506:
3504:
3502:
3498:
3492:
3489:
3483:
3480:
3474:
3471:
3465:
3462:
3456:
3453:
3447:
3444:
3440:
3436:
3430:
3427:
3421:
3418:
3412:
3409:
3405:
3399:
3396:
3390:
3387:
3383:
3380:Strong 1987,
3377:
3375:
3373:
3371:
3367:
3364:Yates, p. 216
3361:
3358:
3352:
3349:
3343:
3340:
3337:Yates, p. 115
3334:
3332:
3328:
3322:
3319:
3313:
3310:
3304:
3301:
3295:
3292:
3288:
3282:
3279:
3273:
3270:
3264:
3261:
3255:
3252:
3239:
3235:
3228:
3225:
3219:
3216:
3210:
3207:
3201:
3199:
3197:
3193:
3187:
3184:
3178:
3175:
3162:
3158:
3154:
3148:
3145:
3139:
3136:
3132:
3126:
3123:
3117:
3115:
3113:
3109:
3103:
3100:
3094:
3091:
3085:
3082:
3076:
3074:
3070:
3064:
3061:
3055:
3052:
3047:
3043:
3042:
3037:
3031:
3028:
3022:
3019:
3013:
3010:
3006:
3002:
2998:
2995:
2989:
2987:
2983:
2970:
2966:
2962:
2958:
2951:
2949:
2945:
2939:
2936:
2933:
2932:0-7181-1301-2
2929:
2925:
2921:
2917:
2911:
2908:
2902:
2899:
2893:
2890:
2884:
2881:
2875:
2872:
2866:
2863:
2857:
2854:
2848:
2845:
2839:
2836:
2830:
2827:
2824:
2823:1-85709-903-6
2820:
2816:
2810:
2807:
2801:
2798:
2795:Waterhouse:19
2792:
2789:
2783:
2780:
2774:
2772:
2770:
2766:
2760:
2758:
2754:
2748:
2738:
2735:
2732:
2728:
2722:
2719:
2715:
2711:
2705:
2702:
2698:
2692:
2689:
2683:
2680:
2676:
2662:
2658:
2654:
2650:pinned up at
2649:
2645:
2641:
2637:
2631:
2628:
2623:
2622:Michael Levey
2617:
2614:
2610:
2606:
2602:
2596:
2593:
2589:
2585:
2584:Sir Henry Lee
2581:
2575:
2572:
2567:
2561:
2558:
2551:
2548:
2544:
2538:
2535:
2528:
2524:
2521:
2519:
2516:
2514:
2511:
2510:
2506:
2500:
2494:
2489:
2482:
2477:
2473:
2467:
2462:
2458:
2451:
2446:
2441:
2432:
2427:
2423:
2416:
2411:
2407:
2393:
2388:
2378:
2375:Engraving by
2371:
2366:
2362:
2359:Elizabeth as
2355:
2350:
2337:
2332:
2328:
2321:
2316:
2309:
2304:
2299:
2284:
2279:
2266:
2261:
2248:
2243:
2238:
2232:
2231:Drake Pendant
2228:
2227:Francis Drake
2221:
2216:
2212:
2205:
2200:
2186:
2181:
2176:
2164:
2157:
2152:
2139:
2134:
2124:
2117:
2112:
2102:
2095:
2090:
2086:
2080:
2075:
2071:
2064:
2059:
2049:
2042:
2037:
2033:
2029:
2025:
2018:
2013:
2009:
2002:
1997:
1984:
1979:
1972:
1967:
1964:
1953:
1952:
1944:
1939:
1935:
1928:
1923:
1916:
1911:
1899:
1894:
1881:
1876:
1871:
1862:
1857:
1844:
1839:
1826:
1821:
1808:
1803:
1790:
1785:
1780:
1775:
1764:
1757:
1752:
1748:
1742:
1737:
1727:
1726:
1718:
1713:
1703:
1697:
1692:
1682:
1675:
1670:
1665:
1660:
1657:
1652:
1649:
1647:
1642:
1638:
1634:
1629:
1628:Frances Yates
1625:
1624:
1623:Faerie Queene
1619:
1615:
1611:
1607:
1603:
1594:
1587:
1585:
1583:
1579:
1575:
1574:
1568:
1566:
1562:
1558:
1554:
1550:
1547:
1543:
1535:
1531:
1526:
1519:
1514:
1507:
1505:
1503:
1499:
1495:
1490:
1485:
1481:
1477:
1473:
1469:
1465:
1461:
1446:
1441:
1434:
1432:
1430:
1425:
1410:
1403:
1401:
1399:
1393:
1389:
1386:
1377:
1363:
1356:
1354:
1352:
1351:Palazzo Pitti
1348:
1344:
1339:
1335:
1331:
1326:
1324:
1320:
1316:
1312:
1308:
1293:
1289:
1284:
1277:
1275:
1273:
1269:
1265:
1260:
1258:
1254:
1249:
1247:
1243:
1239:
1229:
1225:
1223:
1220:pre-date the
1219:
1215:
1210:
1208:
1207:Francis Drake
1204:
1200:
1196:
1192:
1187:
1185:
1181:
1177:
1176:
1161:
1156:
1151:
1143:
1141:
1138:
1133:
1132:William Segar
1130:
1126:
1122:
1118:
1113:
1111:
1107:
1103:
1099:
1088:
1079:
1075:
1070:
1066:
1064:
1060:
1056:
1052:
1048:
1044:
1043:Vestal Virgin
1040:
1036:
1032:
1024:
1020:
1019:
1012:
1005:
1003:
1001:
996:
991:
990:
984:
980:
976:
972:
971:pseudohistory
968:
967:
962:
957:
955:
951:
947:
943:
939:
936:, whose 1577
935:
930:
928:
924:
919:
917:
913:
909:
905:
901:
892:
887:
882:
875:
870:
868:
866:
862:
858:
854:
849:
847:
844:
840:
836:
822:
817:
810:
808:
806:
802:
798:
794:
790:
786:
781:
779:
778:Francis Drake
776:given to Sir
775:
774:Drake Pendant
771:
767:
761:
759:
755:
744:
742:
737:
731:
723:
709:
704:
696:
691:
683:
681:
678:
674:
670:
666:
662:
658:
654:
650:
645:
643:
639:
635:
631:
627:
623:
619:
615:
611:
607:
599:
595:
588:
586:
583:
579:
575:
571:
566:
564:
560:
559:House of York
556:
552:
551:Tudor Dynasty
548:
543:
539:
535:
527:
522:
518:
511:
506:
504:
502:
498:
494:
490:
486:
481:
478:
474:
469:
466:
462:
447:
443:
436:
434:
432:
428:
424:
419:
417:
413:
409:
405:
402:portraits of
401:
397:
393:
391:
386:
382:
377:
375:
370:
366:
362:
358:
352:
350:
346:
342:
333:
326:
322:
315:
311:
307:
305:
304:
298:
293:
291:
287:
283:
274:
267:
265:
262:
258:
254:
250:
246:
242:
237:
235:
231:
227:
223:
218:
216:
212:
208:
204:
200:
196:
192:
188:
182:
174:
163:
158:
151:
149:
147:
143:
139:
135:
131:
127:
123:
119:
115:
111:
107:
103:
99:
94:
92:
88:
84:
69:
64:
57:
53:
34:
30:
19:
4787:
4780:
4758:Tudor period
4735:
4716:
4708:
4700:
4681:
4673:
4665:
4657:
4638:
4630:
4611:
4603:
4595:
4587:
4579:
4571:
4379:
4302:Architecture
4265:Ridolfi Plot
4179:Aura Soltana
4175:(Apothecary)
4046:
4025:
4018:
4004:
3986:
3971:
3964:
3949:
3934:
3919:
3904:
3897:
3887:
3872:
3859:
3849:
3832:
3828:(Hearn 2002)
3817:
3813:(Hearn 1995)
3802:
3788:
3773:
3759:
3731:
3714:
3707:
3683:. Retrieved
3669:
3660:
3651:
3642:
3633:
3619:
3611:Davies, John
3605:
3596:
3576:
3571:
3562:
3550:. Retrieved
3536:
3528:
3523:
3514:
3491:
3482:
3473:
3464:
3455:
3446:
3438:
3429:
3420:
3411:
3403:
3402:See Arnold,
3398:
3389:
3384:, p. 130β133
3381:
3360:
3351:
3342:
3321:
3312:
3303:
3294:
3286:
3285:E Greenlaw,
3281:
3272:
3263:
3254:
3244:28 September
3242:. Retrieved
3227:
3218:
3209:
3186:
3177:
3165:. Retrieved
3156:
3147:
3138:
3130:
3125:
3102:
3093:
3084:
3063:
3054:
3039:
3030:
3021:
3012:
3004:
2973:. Retrieved
2964:
2960:
2938:
2919:
2915:
2910:
2901:
2892:
2883:
2874:
2865:
2856:
2847:
2838:
2829:
2814:
2809:
2800:
2791:
2782:
2737:
2730:
2721:
2710:Cobham House
2704:
2691:
2682:
2674:
2665:. Retrieved
2661:the original
2656:
2647:
2630:
2616:
2604:
2595:
2587:
2574:
2560:
2550:
2537:
2498:
2471:
2456:
2360:
2326:
2230:
2229:wearing the
2162:
2100:
2084:
2069:
2027:
2023:
2007:
1949:
1933:
1762:
1746:
1722:
1701:
1680:
1654:
1650:
1640:
1636:
1632:
1621:
1599:
1571:
1569:
1539:
1529:
1502:Robert Cecil
1497:
1480:emblem books
1463:
1457:
1444:
1429:Janet Arnold
1421:
1394:
1390:
1382:
1329:
1327:
1321:, and later
1303:
1287:
1261:
1250:
1234:
1221:
1217:
1213:
1211:
1191:Woburn Abbey
1188:
1173:
1171:
1159:
1124:
1114:
1086:
1083:
1073:
1059:George Gower
1054:
1034:
1030:
1029:A series of
1028:
1023:George Gower
1017:
964:
958:
937:
931:
920:
897:
885:
852:
850:
834:
832:
820:
782:
773:
766:Armada Jewel
765:
762:
745:, are dated
740:
735:
734:to him, the
732:
728:
707:
648:
646:
609:
603:
597:
572:miniaturist
567:
542:George Gower
533:
531:
525:
515:
482:
472:
470:
460:
458:
445:
420:
394:
378:
357:Anthonis Mor
353:
338:
324:
313:
303:Jane Seymour
301:
294:
279:
249:Isaac Oliver
238:
230:George Gower
219:
207:playing card
199:watercolours
184:
161:
95:
80:
67:
29:
4831:Iconography
4826:English art
4811:Elizabeth I
4466:Parliaments
4380:Portraiture
4173:Hugh Morgan
4126:Anne Boleyn
4107:(1558β1603)
4092:Elizabeth I
3894:Strong, Roy
3441:, pp. 11β35
3406:, pp. 34β36
3133:, pp. 11β18
2763:Arnold 1978
2384: 1592
2361:Rosa Electa
2346: 1592
2275: 1584
2257: 1575
2170: 1599
2148: 1595
2130: 1590
2108: 1588
2030:, 1580β85,
1959: 1575
1907: 1560
1890: 1559
1853: 1590
1835: 1587
1817: 1580
1799: 1565
1770: 1600
1733: 1560
1709: 1560
1688: 1545
1602:Renaissance
1494:John Davies
1476:embroidered
1417: 1600
1370: 1592
1299: 1592
1180:allegorical
1167: 1588
1094: 1588
1047:Tiber River
1033:copied the
954:King Arthur
946:strong navy
904:Pope Pius V
828: 1575
715: 1575
677:Netherlands
638:Trojan Wars
614:Hans Eworth
606:allegorical
578:gentlewoman
563:gillyflower
489:Reformation
477:chiaroscuro
465:Anne Boleyn
453: 1546
369:Leone Leoni
106:iconography
83:Elizabeth I
48: 1559
4805:Categories
4701:Henry VIII
4631:Kenilworth
4588:Young Bess
4556:Depictions
4538:Succession
4327:Literature
4317:Government
4247:Coronation
4120:Henry VIII
3129:Reynolds,
2924:Roy Strong
2905:Gaunt, 37.
2749:References
2667:8 November
2499:Coram Rege
2472:Coram Rege
2457:Coram Rege
2397:Engraving
2329:roll, 1581
2327:Coram Rege
1848:Hilliard,
1830:Hilliard,
1812:Hilliard,
1794:Teerlinc,
1565:portcullis
1561:Tudor rose
1424:coronation
1412:Hilliard,
1385:engravings
1272:portcullis
1072:The Siena
1000:Golden Age
927:Protestant
485:Roy Strong
187:Henry VIII
52:Richard II
4789:James I β
4604:Elizabeth
4352:Inventory
4332:Ministers
4188:Locations
4154:Household
4132:Edward VI
1872:Portraits
1606:allusions
1549:shillings
1518:sovereign
1253:fireships
1186:in 1588.
1104:, as his
1016:Plimpton
912:New World
843:favourite
801:grotesque
743:portraits
400:Mannerist
142:classical
130:virginity
87:portraits
4782:β Mary I
4682:Gloriana
4439:Speeches
4410:Writings
4146:(cousin)
4128:(mother)
4122:(father)
3679:Archived
3546:Archived
3382:Gloriana
3238:Archived
3161:Archived
3157:BBC News
3046:Archived
2997:Archived
2969:Archived
2648:bongrace
2636:mourning
2611:in Rome.
2507:See also
2239:Drawings
1637:Ditchley
1610:Petrarch
1532:, 1569,
1496:, whose
1216:and the
1117:Petrarch
934:John Dee
772:and the
756:and the
657:Catholic
408:Cosimo I
404:Pontormo
396:Bronzino
365:Florence
152:Overview
98:symbolic
4751:Related
4342:Theatre
4322:Leisure
4312:Fashion
4105:Ireland
3883:(Prado)
3698:Sources
3685:6 April
3617:(ed.).
3167:20 June
3041:Reuters
2975:1 April
2675:Clopton
2024:Welbeck
1661:Gallery
1641:Rainbow
1614:sonnets
1542:coinage
1520:of 1585
1345:to the
1323:Cynthia
1307:Astraea
1240:of the
1238:impresa
1049:to the
1035:Darnley
857:sceptre
805:woodcut
789:charter
758:phoenix
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570:Flemish
534:Hampden
374:Moretto
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89:in the
68:Darnley
4738:(1590)
4728:Poetry
4719:(2000)
4711:(1930)
4703:(1613)
4684:(1953)
4676:(1837)
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4660:(1692)
4650:Operas
4641:(2004)
4633:(1821)
4623:Novels
4614:(2007)
4606:(1998)
4598:(1955)
4590:(1953)
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