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lightning pass and another countenance taketh place". His normal technique (except for duplicates of royal images) was to paint the whole face in the presence of the sitter, probably in at least two sittings. He kept a number of prepared flesh-coloured blanks ready, in different shades, to save time on laying the "carnation" ground. He then painted the outlines of the features very faintly with a "pencil", actually a very fine pointed
1077:
641:
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170:
40:
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157:, very different from that of most of Europe in the late sixteenth century. Technically he was very conservative by European standards, but his paintings are superbly executed and have a freshness and charm that has ensured his continuing reputation as "the central artistic figure of the Elizabethan age, the only English painter whose work reflects, in its delicate microcosm, the world of
758:-hair brush, before filling these out by faint hatchings. He added to the techniques available, especially for clothes and jewels, often exploiting the tiny shadows cast by thick dots of paint to give a three-dimensionality to pearls and lace. A few half-finished miniatures give a good idea of his working technique. He probably made few drawings; certainly few have survived.
859:
385:, a suitor of Queen Elizabeth, under the name of "Nicholas Belliart, peintre anglois", in 1577, receiving a stipend of 200 livres. The miniature of Madame de Sourdis, certainly the work of Hilliard, is dated 1577, in which year she was a maid of honour at the French court; and other portraits which are his work are believed to represent
330:. Hilliard was appointed limner (miniaturist) and goldsmith to Elizabeth I at an unknown date; his first known miniature of the Queen is dated 1572, and already in 1573 he was granted the reversion of a lease by the Queen for his "good, true and loyal service." In 1571 he had made "a booke of portraitures" for
487:. He appears to have given lessons to amateurs also; a letter from a young lady being "finished" in London in 1595 says: "For my drawing, I take an hour in the afternoon ... My Lady ... telleth me, when she is well, that she will see if Hilliard will come and teach me, if she can by any means, she will".
775:
His style shows little development after the 1570s, apart from developing some technical refinements, except that many of his later repetitions of James I and his family are much weaker than his early works. James did not like sitting for his portrait and
Hilliard probably had few sittings with him.
428:
acknowledging the annuity of £40, but asking permission to retire from London and live more cheaply in the countryside. He explained that he had trained apprentices who now competed with him in the private painting market. Hilliard asked that Cecil employ his son as a clerk, because he could not keep
436:
has transformed our understanding of his work as two large-scale paintings have been newly attributed to him. The portraits, of Sir Amyas Paulet and
Elizabeth, are painted on French oak panels, not the Baltic oak commonly used in England, and are thought to date to Hilliard's time in France. The new
749:
modelling that we see in his works, reflecting the views of his patron
Elizabeth: "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
412:
that year, after standing surety for the debt of another, and being unable to produce the amount. His father-in-law evidently had little trust in his financial acumen; his will of 1591 provided for his daughter by an allowance administered by the
Goldsmiths' Company. The same year the Queen gave
341:
Despite this patronage, in 1576 the recently married
Hilliard left for France "with no other intent than to increase his knowledge by this voyage, and upon hope to get a piece of money of the lords and ladies here for his better maintenance in England at his return", carefully reported the English
244:. Calvinism does not seem to have struck with Hilliard, but the fluent French he acquired abroad was later useful. Thomas Bodley, two years older, continued an intensive classical education under leading scholars in Geneva, but it is not clear to what extent Hilliard was given similar studies.
753:
He emphasises the need to catch "the grace in countenance, in which the affections appear, which can neither be well used nor well-judged of but by the wiser sort". So the "wise drawer" should "watch" and "catch these lovely graces, witty smilings, and these stolen glances which suddenly like
558:, courtiers were rather expected to wear the Queen's likeness, at least at Court. Elizabeth had her own collection of miniatures, kept locked in a cabinet in her bedroom, wrapped in paper and labelled, with the one labelled "My Lord's picture" containing a portrait of Leicester.
1035:
370:
784:
when he established his own household in 1610. Oliver had travelled abroad and developed a more modern style than his master, and was certainly better at perspective drawing, though he could not match
Hilliard in freshness and psychological penetration.
631:
in London have several others. The conditions in which miniatures have been kept ensure that many remain in excellent condition, and have avoided the attention of restorers, although fading of pigments, and oxidization of silver paint are common.
476:, out of the city and nearer the Court. Strong describes the opening of the shop as "a revolution" which soon broadened the clientele for miniatures from the Court to the gentry, and by the end of the century to well-off city merchants.
420:
After his return from France he had invested in a scheme, or perhaps scam, for gold-mining in
Scotland, which he still remembered bitterly twenty-five years later. During a low point in his finances, in July 1601 Hilliard wrote to the
726:. Both were dead by the time of Hilliard's birth, and in many respects he is more conservative even than Holbein. He also learned from French art, including their chalk drawings, and refers to the artist and theoretical writer
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in 1569. He set up a workshop with his younger brother John; another brother was also a goldsmith, and the youngest a clergyman. He married
Brandon's daughter Alice (1556–1611) in 1576 and they had seven children.
1008:
577:
title-page frames and borders for books, some of which bear his initials. As a New Year's day gift in 1584, Hilliard presented Queen
Elizabeth with a picture of the story of five wise and foolish virgins.
322:
Hilliard emerged from his apprenticeship at a time when a new royal portrait painter was "desperately needed". Two panel portraits long attributed to him, the "Phoenix" and "Pelican" portraits, are dated
1124:
581:
He was in high favour with James I as well as with
Elizabeth, receiving from the king a special patent of appointment, dated 5 May 1617, granting him a sole licence for royal portraits in
366:, who perhaps paid him the rather double-edged compliment later quoted by Hilliard: "the islands indeed seldom bring forth any cunning man, but when they do it is in high perfection".
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1055:
843:
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to the poor of the parish, thirty between his two sisters, some goods to his maidservant, and all the rest of his effects to his son, Lawrence Hilliard, his sole executor.
201:
goldsmith. He was one of four boys: two others became goldsmiths, and one a clergyman. Hilliard may have been a close relative of Grace Hiller (Hilliar), first wife of
472:, from 1579 to 1613, when his son and pupil Laurence took it over, carrying on in business for many decades. Hilliard had moved to an unknown address in the parish of
153:
of Elizabeth. He enjoyed continuing success as an artist, and continuing financial troubles, for forty-five years. His paintings still exemplify the visual image of
1879:
354:
was attached to the embassy, and Hilliard did a miniature of him in Paris. He remained until 1578–79, mixing in the artistic circles round the court, staying with
304:
964:
874:
699:, Serjeant Painter to James I, from instructions by Hilliard for the benefit of one of his pupils, perhaps Isaac Oliver, more recent scholarship holds that the
464:, after his appointment as the Queen's Champion, in tilting attire (which survives) with the Queen's glove as her favour pinned to his hat. 25.2 × 17.5 cm.
589:
to actually engrave the plates. James's more lavish presentation of portraits had its effect on the quality of the work from the Hilliard workshop. When the
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624:
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returned from an embassy to Denmark, sixteen members of his party were given chains of gold with the king's picture, and others received just a picture.
404:
and lost money. In 1599 Hilliard secured an annual allowance from the Queen of £40, and in 1617 managed to obtain a monopoly on producing miniatures and
1869:
986:
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He continued to work as a goldsmith, and produced some spectacular "picture boxes" or jewelled lockets for miniatures, worn round the neck, such as the
1163:
1907:
1046:
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Money was a persistent problem for Hilliard. The typical price for a miniature seems to have been £3 – which compares well with prices charged by
797:
454:
397:
1977:
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1962:
1211:
573:(1584), which has an enthroned Elizabeth within an elaborate framework of Flemish-style Renaissance ornament. He also seems to have designed
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538:, which, typically, was given by James I (more generous in this respect than Elizabeth) to a courtier, Thomas Lyte, in 1610. The
287:
1967:
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812:
338:, which is likely to be how he became known to the Court; several of his children were named after Leicester and his circle.
216:
He appears to have been attached at a young age to the household of the leading Exeter Protestant John Bodley, the father of
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From the 1590s on, his old pupil Isaac Oliver was a competitor, who was appointed as Limner to the new Queen
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1992:
1932:
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1855:
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form for twelve years; he had already been producing these, although probably usually using the immigrant
562:
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275:
1659:
Silent Elizabethans : The Language of Colour in the Miniatures of Nicholas Hilliard and Isaac Oliver
1947:
1509:
Strong (1983), pp. 9, 156–7, gives the identity of this painting as "almost certainly" the Earl of Essex
1154:
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715:
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Strong (1975), p.5 – Paulet seems careful to avoid any suggestion of emigration in this despatch home.
1076:
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1952:
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248:
730:. English art was distinctly provincial, and Hilliard's art is a world away from that of the early-
479:
Apart from Laurence, who continued in a "feeble" version of his father's style, his pupils included
247:
Hilliard painted a portrait of himself at the age of 13 in 1560 and is said to have executed one of
609:
604:(1597) praises the work of this artist. He died on 7 January 1619 and was buried in the church of
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in the 1570s of £1 for a head-and-shoulders portrait and £5 for a full-length. A portrait of the
146:
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83:
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1522:, also given in full in: Patricia Fumerton, 'Secret Arts: Elizabethan Miniatures and Sonnets',
408:
of James I, something Elizabeth had refused in 1584. Nonetheless, he was briefly imprisoned in
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cost £3 in 1586. Around the year 1574 Hilliard invested in a gold mine in Scotland with
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703:"can be dated rather closely and established convincingly" as the work of Hilliard.
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His appointment as miniaturist to the Crown included the old sense of a painter of
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149:, up to about 10 inches (25 centimetres) tall, and at least two famous half-length
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death. After his seven years' apprenticeship, Hilliard was made a freeman of the
1049:. Hilliard's earliest miniature of Elizabeth, executed when she was 38 years old.
949:
746:
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After his return from France he lived and worked in a house in Gutter Lane, off
158:
138:
99:
389:(niece of Madame de Sourdis), la princesse de Condé, and Madame de Montgomery.
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at the Victoria & Albert Museum site (also contains a miniature not shown)
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and he was commissioned to decorate important documents, such as the founding
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1467:"A radical new look at the greatest of Elizabethan artists | Apollo Magazine"
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He was the author of an important treatise on miniature painting, now called
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126:
1785:
Artists of the Tudor Court: The Portrait Miniature Rediscovered 1520-1620
1288:
755:
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613:
1933:
Power & Portraiture exhibition: painting at the court of Elizabeth I
1303:. Vol. 13 (11th ed.). Cambridge University Press. p. 469.
1153:
Probably one of the alternative designs Elizabeth requested for her new
1527:
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574:
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409:
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130:
228:. John Bodley went into exile on the accession of the Catholic Queen
1926:
695:. Although it was once believed that the author of that treatise was
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182:
59:
1518:
Strong (1975) pp. 14–18, quoting a revealing account of 1564 by Sir
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in 1547. He was the son of Richard Hilliard (1519–1594) of Exeter,
1668:
Hilliard and Oliver: The Lives and Works of Two Great Miniaturists
792:
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232:, and on 8 May 1557 Hilliard, then ten years old, was recorded in
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Originally dated as 1550; date altered according to Edmond (1983)
596:
The esteem of his contemporaries for Hilliard is testified to by
1062:
262:
suggests that Hilliard may also have been trained in the art of
145:. He mostly painted small oval miniatures, but also some larger
519:
Portrait miniature thought to be Penelope Devereux, Lady Rich,
258:(d. 1591), a goldsmith and city chamberlain of London, and Sir
197:
in 1568, by his marriage to Laurence, daughter of John Wall, a
1862:
Second Great Seal of Elizabeth I, designed by Hilliard c. 1584
441:'s 1983 attribution of the portrait of Elizabeth to Hilliard.
417:, and perhaps bearing in mind that he had not had an annuity.
1212:
Portrait of Sir Francis Drake wearing the Drake Pendant, 1591
362:, respectively the Queen's sculptor and painter, and meeting
1698:
Dynasties: Painting in Tudor and Jacobean England 1530–1630
1410:
Household Papers of Henry Percy, 9th Earl of Northumberland
1454:
Manuscripts of the Marquis of Salisbury at Hatfield House
554:
are the best known examples. As part of the cult of the
1867:"Dangers Averted" medal, c. 1569, attributed to Hilliard
1185:, and her son Frederick Henry, probably for an engraving
173:
Hilliard's wife Alice, an example of the influence from
734:
Italian artists of his time, or his close contemporary
189:, also spelt Hellyer, a goldsmith who became a staunch
1661:. Montpellier: Charles Whitworth, Collection Astraea.
254:
Hilliard apprenticed himself to the Queen's jeweller
619:
By far the largest collection of his work is in the
236:
as one of an eleven-strong Bodley family group at a
93:
79:
67:
52:
30:
1908:"Nicholas Hilliard (1547–1619), Miniature painter"
1826:
1803:
1747:English Icon: Elizabethan and Jacobean Portraiture
1695:
1526:, 15 (Summer, 1986), pp. 57–97, available on-line
350:, with whom Hilliard stayed for much of the time.
413:him £400, a large amount, after he made a second
745:he cautioned against all but the minimal use of
1157:in 1584 - another version was chosen. V&A.
1880:"Nicholas Hilliard's 'Young Man Among Roses'"
8:
1806:Gloriana: The Portraits of Queen Elizabeth I
1312:
1310:
270:during this period. She was the daughter of
432:21st century research on two paintings at
27:
1923:12 artworks by or after Nicholas Hilliard
672: in (60 mm × 50 mm),
1657:Costa de Beauregard, Raphaelle (2000).
1223:
1120:
1004:
839:
808:
798:Henry Percy, 9th Earl of Northumberland
455:George Clifford, 3rd Earl of Cumberland
278:tradition, and became court painter to
274:, the last great master of the Flemish
1347:
1345:
1335:
1333:
1331:
1242:"Exeter Memories – Sheriffs of Exeter"
1169:Charter of Emmanuel College, Cambridge
71:7 January 1619 (aged 71–72)
1632:V&A website (and following pages)
1613:VJ Murrell in Strong (1983), pp.15–16
1255:
1253:
1251:
765:Elizabeth I, the "Phoenix" portrait,
722:, who he probably only knew from his
7:
1738:Nicholas Hilliard & Isaac Oliver
1719:Nicholas Hilliard's "Art of Limning"
1677:Nicholas Hilliard, Life of an Artist
1553:British Library Egerton MS 3052 f. 4
1423:Nicholas Hilliard, Life of an Artist
1282:
1280:
1278:
1276:
1274:
1183:Elizabeth Stuart, Electress Palatine
1287:Williamson, George Charles (1911).
1740:. Her Majesty's Stationery Office.
251:, when he was eighteen years old.
14:
1916:National Portrait Gallery, London
1721:. Northeastern University Press.
1047:National Portrait Gallery, London
483:, by far the most important, and
125:– 7 January 1619) was an English
1845:(now Yale History of Art series)
1787:. Victoria & Albert Museum.
1412:, Camden Society, (1962), 64–65.
1174:
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842:
823:
811:
381:He appears in the papers of the
288:Worshipful Company of Goldsmiths
38:
1833:(4th ed.). Penguin Books.
1604:, quoted in Strong (1975), p.23
205:(1590–1657), the co-founder of
16:English miniaturist (1547–1619)
1829:Painting in Britain, 1530-1790
1749:. Routledge & Kegan Paul.
1679:. New Haven and London: Yale.
1538:Strong (1983), pp. 62 & 66
1141:. Hilliard drawings are rare.
995:, daughter of James I, 1605–10
1:
1978:English portrait miniaturists
1973:17th-century English painters
1963:16th-century English painters
1586:
1135:
1082:
1065:
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800:, the "Wizard Earl", 1590–95.
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685:
612:, leaving in his will twenty
520:
498:
458:
324:
313:
119:
1675:Goldring, Elizabeth (2019).
1372:, accessed 12 September 2007
1130:Design for the obverse of a
750:any shadow at all ..."
542:, given by Elizabeth to Sir
506:Victoria & Albert Museum
137:of members of the courts of
1856:The Heneage or Armada Jewel
993:Elizabeth, Queen of Bohemia
571:Emmanuel College, Cambridge
2014:
1888:Victoria and Albert Museum
1825:Waterhouse, Ellis (1978).
1717:Kinney, Arthur F. (1983).
1694:Hearn, Karen, ed. (1995).
1634:accessed 12 September 2007
1581:Quotation from Hilliard's
1443:Strong (1975), pp. 4–7, 17
1425:(London, 2019), pp. 127–8.
1351:Reynolds (1971), pp. 11–18
1290:"Hilliard, Nicholas"
1207:Portraiture of Elizabeth I
1197:Artists of the Tudor court
621:Victoria and Albert Museum
18:
1736:Reynolds, Graham (1971).
1551:(Yale, 2019), pp. 186–7:
1230:Waterhouse (1978), p. 38.
1027:Nationalmuseum, Stockholm
830:Sir Amias Paulet, 1576–78
706:The masters mentioned in
644:Unknown man of 24, 1572,
625:National Portrait Gallery
240:service presided over by
109:
89:
37:
21:Nicholas Hilliard (judge)
1912:Paintings & Drawings
1884:Paintings & Drawings
1592:, in Strong (1975), p.24
1456:, vol. 11 (1906), p. 306
1339:Strong (1987), pp. 79–83
1117:Drawing and illumination
1061:Elizabeth I playing the
973:, Countess of Leicester
712:Hans Holbein the Younger
606:St Martins-in-the-Fields
474:St Martins-in-the-Fields
1300:Encyclopædia Britannica
1202:List of British artists
952:, Countess of Pembroke
600:, who in a poem called
563:illuminated manuscripts
276:manuscript illumination
1670:. London: Robert Hale.
1622:Strong (1983), pp.28–9
1259:Kinney (1983), pp.3–12
801:
782:Henry, Prince of Wales
772:
718:'s court painter, and
677:
527:
512:
465:
429:him in his own trade.
398:Earl of Northumberland
378:
319:
178:
1968:English male painters
1810:. Thames and Hudson.
1702:. New York: Rizzoli.
1666:Edmond, Mary (1983).
1643:Strong (1983), p. 151
1316:Strong (1975), pp.3–4
1155:Great Seal of England
1132:Great Seal of Ireland
896:Unknown youth, 1585,
850:Marguerite de Navarre
796:
780:in 1604, and then to
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643:
518:
508:. Believed to be the
495:Young Man Among Roses
493:
452:
372:
332:the Earl of Leicester
307:
181:Hilliard was born in
172:
165:Early life and family
1872:7 April 2008 at the
1802:Strong, Roy (1987).
1783:Strong, Roy (1983).
1764:Strong, Roy (1975).
1745:Strong, Roy (1969).
1572:Strong (1975), p. 17
1563:Strong (1983), p.150
1547:Elizabeth Goldring,
1500:Strong (1975), p. 13
1491:Strong (1983), p. 12
1434:Strong (1983), p. 72
1421:Elizabeth Goldring,
818:Elizabeth I, 1576–78
691:), preserved in the
526:by Nicholas Hilliard
249:Mary, Queen of Scots
1958:Artists from Exeter
1894:on 9 September 2009
1408:Batho, G. R., ed.,
1399:Strong (1969), p.49
1390:Strong (1975), p. 6
1360:Strong (1975), p. 4
836:Portrait miniatures
453:Large miniature of
387:Gabrielle d'Estrées
161:'s earlier plays."
155:Elizabethan England
135:portrait miniatures
133:best known for his
84:Portrait miniatures
19:For the judge, see
1998:Sheriffs of Exeter
1988:English goldsmiths
1983:English medallists
1768:. Michael Joseph.
1240:Cornforth, David.
930:Christopher Hatton
802:
773:
728:Gian Paolo Lomazzo
708:The Art of Limning
682:The Art of Limning
678:
528:
513:
466:
423:Secretary of State
379:
320:
308:Elizabeth I, the "
179:
147:cabinet miniatures
143:James I of England
1766:Nicholas Hilliard
1549:Nicholas Hilliard
1268:Strong (1975), 3.
437:data support Sir
230:Mary I of England
195:Sheriff of Exeter
177:in his work. 1578
116:Nicholas Hilliard
113:
112:
32:Nicholas Hilliard
2005:
1919:
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1890:. Archived from
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1686:978-0-300-241426
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693:Bodleian Library
690:
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671:
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658: in ×
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502: 1585–1595
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402:Cornelius de Vos
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272:Simon Bening
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1953:1619 deaths
1590: 1600
1181:Drawing of
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1023: 1586
1016:Elizabeth I
1001:Elizabeth I
978: 1590
957: 1590
950:Mary Sidney
936: 1589
770: 1575
747:chiaroscuro
689: 1600
610:Westminster
524: 1590
462: 1590
317: 1572
159:Shakespeare
139:Elizabeth I
123: 1547
100:Elizabeth I
1942:Categories
1651:References
914:, 1603–9,
716:Henry VIII
598:John Donne
532:Lyte Jewel
439:Roy Strong
415:Great Seal
406:engravings
280:Henry VIII
260:Roy Strong
191:Protestant
175:French art
1111:1595-1600
1099:1595-1600
614:shillings
602:The Storm
470:Cheapside
375:d'Alençon
336:favourite
284:Holbein's
242:John Knox
238:Calvinist
127:goldsmith
95:Patron(s)
62:, England
1870:Archived
1528:on JSTOR
1191:See also
1045:, 1572,
756:squirrel
736:El Greco
583:engraved
546:and the
193:and was
1898:4 March
1297:(ed.).
916:V&A
912:James I
898:V&A
868:, 1581
789:Gallery
741:In the
732:Baroque
674:V&A
667:⁄
653:⁄
575:woodcut
567:charter
534:in the
364:Ronsard
264:limning
211:America
104:James I
1927:Art UK
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884:, 1585
852:, 1577
724:prints
377:, 1577
346:, Sir
295:Career
282:after
234:Geneva
226:Oxford
183:Exeter
131:limner
60:Exeter
47:, 1577
1452:HMC,
1293:. In
1218:Notes
1025:–87,
980:–1595
636:Style
344:Paris
187:Devon
1929:site
1900:2011
1835:ISBN
1812:ISBN
1789:ISBN
1770:ISBN
1751:ISBN
1723:ISBN
1704:ISBN
1681:ISBN
1479:2017
1063:lute
880:Sir
864:Sir
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627:and
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701:Art
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