12 Tudor and Stuart Art

12-01 Early British Art

12-01 Notes on Early British Art

A podcast created by Google NotebookLM from my 12-01 Early British Art notes

12-01 Early British Art – Summary (click to view or hide)

Early British Art – A Survey

Document Source: Excerpts from “12-01 EARLY BRITISH ART” by Dr. Laurence Shafe (shafe.co.uk)

Executive Summary:

This document summarises a lecture or presentation on the history of early British art, spanning from prehistoric times to the late 17th century (the Restoration period). It highlights key archaeological finds, the development of artistic styles, the influence of various rulers and historical events (Ice Ages, Roman invasion, the Reformation, the English Civil War, etc.), and notable works and artists associated with specific periods. The document also touches upon the social and political context in which art was created and consumed.

Key Themes and Ideas:

  1. Prehistoric Britain:
  • Early Human Presence: Evidence of hominids in Britain dates back almost a million years, with footprints and tools discovered at Happisburgh, Norfolk.
  • “Around 50 footprints, made by members by an early species of prehistoric humans almost a million years ago, have been revealed by coastal erosion near the village of Happisburgh”.
  • “In 2000 this flint axe was found on the beach by a man walking his dog. It is the oldest in northwest Europe and is about 500,000 years old were discovered at Happisburgh.”
  • Ice Ages and Doggerland: Britain was connected to continental Europe by Doggerland until around 6500 BCE. The area was fertile and inhabited by humans and animals, before being flooded by rising sea levels.
  • Early Art: Cave art at Creswell Crags (13,000-15,000 BCE) provides significant examples of prehistoric carvings, depicting animals like bison and reindeer.
  • “The most significant example of cave art in the UK is in the Church Hole caves at Cresswell Crags… There are some 80 prehistoric carvings although without the drawings superimposed on the photograph it is very difficult to see them. There are bison, reindeer, birds and possibly bird-headed people.”
  • Neanderthal presence: Britain was unoccupied by humans for a time, then reoccupied by Neanderthals.
  1. Neolithic and Bronze Age:
  • Agriculture and Technology: The development of agriculture (domestication of plants and animals) and inventions like the wheel and plough significantly impacted life in Britain.
  • “Agriculture and the domestication of plants and animals can be traced back to about 11,5000 years ago and the growing of wheat to about 9,800 years ago.”
  • Stonehenge and Stone Circles: The construction of Stonehenge and numerous stone circles across Britain and Ireland suggests advanced astronomical knowledge and ceremonial practices. A “superhenge” has been discovered near Stonehenge, called Durrington Walls.
  • Bronze Age Goldwork: The Mold cape is a spectacular example of Bronze Age craftsmanship, demonstrating sophisticated metalworking techniques. “It is perhaps the most spectacular example of Bronze age gold work ever discovered. Its entire surface is covered in concentric rings and bosses emulating necklaces.”
  1. Iron Age and Roman Britain:
  • Tribal Societies: Before the Roman invasion, Britain was divided into tribes led by kings and queens.
  • Roman Influence: Julius Caesar’s initial invasion in 55 BCE was followed by Claudius’s conquest in 43 CE, establishing Roman rule and influencing British culture.
  • Hoards: Bronze and Iron Age hoards have been discovered, such as the Snettisham Treasure, consisting of torcs, bracelets, ingots, and coins.
  1. Early Christian Art and the Anglo-Saxon Period:
  • Spread of Christianity: Christianity arrived in Britain in the Roman period and was further promoted by missionaries like Augustine in the 6th century.
  • Insular Art: The Lindisfarne Gospels (c. 700 CE) exemplify ‘Insular’ art, blending Mediterranean, Anglo-Saxon, and Celtic elements.
  • “This is a page from the Lindisfarne Gospel which was produced about 700CE in the monastery at Lindisfarne. It is one of the finest examples of what is called ‘Insular’ art and combines Mediterranean, Anglo-Saxon and Celtic elements.”
  1. Medieval Art (Norman to Late Medieval):
  • Cathedral Architecture: The development of English cathedrals, from Norman Romanesque (Durham Cathedral) to Early English Gothic (Salisbury Cathedral) to Decorated and Perpendicular styles (Exeter, Gloucester, King’s College Chapel), showcases evolving architectural trends.
  • “The medieval cathedrals of England, which date from between approximately 1040 and 1540, are a group of around twenty-six buildings that constitute a major aspect of the country’s artistic heritage.”
  • Doom Paintings: Doom paintings depicting the Last Judgement were common in churches, often on the west wall or Chancel arch.
  • “A doom painting represents the Last Judgement… In England doom paintings are typically on the west wall to be seen when the congregation leaves or on the Chancel arch and date from the 12th and 13th centuries.”
  • The Wilton Diptych: This is “one of the wonders of medieval art in Britain,” dating from the late 14th century. It depicts Richard II being presented to the Virgin Mary with saints.
  • Alabaster Sculpture: The production of alabaster altarpieces and devotional images flourished, particularly in Nottingham, with exports across Europe.
  1. Tudor Art:
  • Portraiture Emerges: Portrait painting became popular, serving political and personal purposes, including royal propaganda and marriage negotiations.
  • Henry VII and VIII: Henry VII used art to reinforce his right to rule, while Henry VIII used it to demonstrate magnificence and as propaganda against the Pope.
  • “Henry VII used art as propaganda to reinforce his right to rule.”
  • “Henry VIII used art to demonstrate magnificence and as propaganda against the Pope. He also built more palaces than any other monarch.”
  • Elizabeth I: Art was used as propaganda and by her courtiers to promote their causes and flatter the queen.
  • “Elizabeth was not interested in art but it was used as propaganda and by her courtiers to promote their causes and flatter the queen.”
  • The Rainbow Portrait: This portrait of Elizabeth I contains numerous symbols, including a rainbow and eyes and ears on her cloak.
  • “She holds a rainbow with the inscription ‘Non sine sole iris’ (‘No rainbow without the sun’), a reminder that only the Queen’s wisdom can bring peace and prosperity.”
  • The Drake Jewel: Given by Elizabeth I to Sir Francis Drake, it incorporates portraits and potentially references Drake’s alliance with African slaves.
  1. Stuart Art:
  • Inigo Jones: A significant architect who designed sets and costumes for Stuart masques.
  • “Inigo Jones designed the set, created the proscenium arch, a raised stage and wings that hid the mechanisms. Scenes could quickly change, actors could appear in clouds apparently floating above the stage and he created seascape using billowing cloths.”
  • Van Dyck and Rubens: These were the two great painters of the early sixteenth century that operated in Britain.
  • “Anthony van Dyck (1599-1641) first came to England in 1620–1621, and returned in 1632 to work as court painter for King Charles I. Van Dyck’s portraits of the royal family and court were popular and set new standards for British portraiture for the next 150 years”.
  • Charles I’s Art Collection: Charles I was a major art collector, amassing one of the largest collections in Europe.
  1. The Commonwealth and the Restoration:
  • Sale of Royal Collection: During the Commonwealth period, Charles I’s art collection was sold off, leading to dispersal of significant artworks. Colonel John Hutchinson was a large cash buyer of King Charles’s pictures.
  • “During the Commonwealth sale but repurchased by George III.”
  • The Restoration: Charles II’s reign marked a shift towards extravagance and patronage of the arts.
  • “The court of Charles II (1660– 1685) was known for its extravagance, splendour, and moral laxity. The king surrounded himself with beautiful people, including actors, poets, and writers, and the court hosted lavish parties, balls, and masques.”
  • Peter Lely: Charles II is associated with the portraits of Peter Lely, including the “court beauties”.
  1. Key Figures:
  • A list of Kings and Queens of England is provided, from Anglo-Saxon kings to the early Hanoverians (George III), with brief descriptions of their personalities and reigns.

Concluding Point:

The presentation provides a broad overview of the development of art in Britain, from prehistoric artifacts to the sophisticated portraiture and architecture of the Stuart period. It emphasizes the interplay between artistic styles, historical events, and the personalities of the ruling monarchs.

12-02 British Art 1500-1800

12-02 Notes on British Art 1500-1800

12-03 British Art 1545-2000

12-03 Notes on British Art 1545-2000

12-04a Tudor and Stuart Art

12-04a Tudor & Stuart Art – From Absolute Monarch to Civil War, 1540-1650

12-04b Tudor & Stuart Art – From Absolute Monarch to Civil War, 1540-1650

12-05 Images of Elizabeth I: Fashion or Propaganda?

12-05 Tudor Art – Images of Elizabeth I: Fashion or Propaganda?

A podcast by Google NotebookLM based on the notes for 12-05 Images of Elizabeth I

12-05 Images of Elizabeth I – Summary (click here to view or hide)

Images of Elizabeth I

The talk explores how Elizabeth I and her advisors strategically used portraiture and symbolism to construct and reinforce powerful messages about her reign, particularly focusing on her identity as a female monarch, her power, her virtue, and the idea of a new Golden Age for England.

Main Themes:

  • The Construction of Royal Image as Propaganda: The central theme is how Elizabeth I’s image was carefully crafted and disseminated as a form of propaganda to legitimize her rule, manage her court, project power, and inspire national identity. This was crucial in a time with limited centralised authority and communication. As the document states, “…her later portraits certainly used symbolism to project a complex message of female power.”
  • Addressing the Challenge of a Female Monarch: A significant challenge Elizabeth faced was being a woman in a patriarchal society where monarchs were expected to be male. Her image-making actively addressed this. She famously declared, “‘I am but one body naturally considered, though by His permission a body politic to govern’,” distinguishing her mortal female form from her timeless and divinely ordained role as sovereign. This concept of the “two bodies of the monarch” was a key tool in navigating her gender.
  • The Cult of the Virgin Queen: Elizabeth’s unmarried status was transformed from a potential weakness (failure to secure succession) into a powerful symbol of her devotion to her country. This evolved into a “cult of virginity,” where she was depicted not as a normal woman but as a virgin, a goddess, or both. This imagery drew parallels with the Virgin Mary and classical goddesses like Cynthia, Diana, Belphoebe, and Gloriana.
  • Symbolism and Allegory in Portraiture: Elizabethan portraiture was not merely representational; it was a complex visual language filled with symbolism and allegory. As Dame Frances Yates pointed out, “the most complex symbolic portraits may all commemorate specific events or have been designed as part of elaborate themed entertainments.” Even seemingly non-allegorical portraits could be “full of meaning to a discerning eye,” with courtiers understanding the “language of flowers” and “Italian emblem books.”
  • The Idea of a Return to the Golden Age: The Tudors, of Welsh descent, actively promoted the idea that they were descended from Brutus of Troy, connecting them to a mythical and glorious past. This narrative, drawing on Geoffrey of Monmouth’s history and Ovid’s Metamorphosis, presented Elizabeth’s reign as a potential “Golden Age” of “peace, harmony, stability and prosperity,” often associating her with the virgin goddess Astraea who ruled during that era.
  • Managing Suitors and Advisors through Courtly Love: Elizabeth astutely used the “etiquette of courtly love” to manage her male advisors and numerous suitors. Under this protocol, she could make requests of her ‘lovers’ that they were “honour bound to obey,” effectively using the conventions of the time to exert her authority.
  • The Role of Advisors in Shaping the Image: Elizabeth had “good advisors who unusually, even uniquely, worked as a team.” They played a crucial role in creating and naming the concept of the British Empire and likely influenced the development and dissemination of her carefully constructed image.
  • Evolution of Elizabeth’s Image over Time: The document highlights three phases in Elizabeth’s portraits. Early portraits (1558-1570) were often intended for prospective suitors and depicted her more as a human being, often with symbols of piety and chastity. Later portraits emphasized her as “Empress of the Seas” following her excommunication and the rise of tensions with Spain, and then the “Virgin Queen,” utilizing increasingly complex symbolic representations. Finally, the “Mask of Youth” became prevalent in her later years, maintaining an image of ageless beauty.

Most Important Ideas and Facts:

  • Financial Prudence and Avoidance of War: Elizabeth inherited a country “close to bankruptcy” and consciously “avoided wars and was careful in her spending.”
  • Intelligence and Education: She was “extremely intelligent and well educated,” a fact highlighted by Roger Ascham, her tutor, who noted her exceptional grasp of languages and her discerning judgement in literary compositions: “Her ears are so well practised in discriminating all these things and her judgement is so good, that in all Greek, Latin, and English compositions there is nothing so loose on the one hand or so concise on the other which she does not immediately attend to, and either reject with disgust or receive with pleasure as the case may be.”
  • Religious Moderation: Unlike her predecessors, Elizabeth was “not a religious fanatic and tried to adopt a middle ground (‘I do not seek a window into men’s souls’).”
  • Support for Privateers: She strategically “supported the pirates/privateers Sir Francis Drake and John Hawkins against Spain,” a key element in England’s rise as a naval power. The Drake Jewel, featuring her portrait, was an exceptional honour bestowed upon a commoner.
  • Personal Preference for Solitude: Despite her public role, Elizabeth expressed a personal inclination for a simpler, unmarried life: “‘If I follow the inclination of my nature, it is this: beggar-woman and single, far rather than queen and married’.”
  • The Significance of Key Portraits: The document emphasizes the symbolic importance of portraits like the Armada Portrait (imperial domination), the Sieve Portrait (virginity and prudence, referencing the Vestal Virgin Tuccia and potentially her book “Christian Prayer and Meditations”), and the Ditchley Portrait (possibly a piece of political lobbying related to a personal request). The Siena Sieve Portrait’s motto, “‘a terra il ben mal dimorra in sella’,” and the inscription “‘STANCHO RIPOSO & RIPO SATO AFFA NNO’” further illustrate the layers of meaning embedded in these images.
  • The Use of Ancient Mythology: The inclusion of the story of Dido and Aeneas in portraits like the Ditchley Portrait served to portray Elizabeth as someone who rejected personal love for the sake of founding an empire, mirroring Aeneas’s destiny to found Rome.
  • The Concept of “Mask of Youth”: As Elizabeth aged, efforts were made to maintain a youthful image, with all portraits from 1596 onwards based on Hilliard’s face pattern, and “unseemly portraits were sought out and burnt.”
  • Limited State Control: Despite the importance of her image, there was “no Elizabethan civil service, no police force and no standing army.” Propaganda was largely disseminated through the Church. A draft proclamation in 1563 suggests an intention to control her image by establishing an official “patron or first portraictur,” but it appears this was never fully implemented.
  • Elizabeth’s Physical Appearance: Contemporary descriptions noted her “pale complexion, auburn hair like her father, a delicate mouth and a firmly set jaw. Her eyes are black like her mother’s, Anne Boleyn.” While not always described as a classic beauty, her “wit and intelligence gave her a certain sex appeal.”
  • The Power of Oratory: Elizabeth’s speech to her Council before her coronation, articulating the “two bodies” concept, and her speech to the troops at Tilbury (“I know I have the body of a weak, feeble woman; but I have the heart and stomach of a king”) are highlighted as crucial moments in shaping her image and demonstrating her resolve.
  • The Influence of Emblem Books: These books, such as Geoffrey Witney’s “A Choice of Emblemes,” provided a source of symbols and mottos that were incorporated into portraits, reflecting the Elizabethan love for puzzles and coded meanings.
  • The Conversation with Hilliard: Elizabeth’s discussion with Nicholas Hilliard in 1572 reveals her keen eye for detail and her preference for painting in “open light,” potentially associating shadows with “concealment which suggests treachery and evil deeds.”
  • The Significance of the Ermine Portrait: This portrait uses the ermine as a symbol of royalty, majesty, and purity, and depicts Elizabeth as “Pax or Peace” with an olive branch and the sword of justice, representing her role as head of state ensuring “righteousness and justice of her government.”
  • The Ditchley Portrait as Lobbying: The analysis of the Ditchley Portrait suggests it might have been commissioned by Sir Henry Lee as a form of lobbying, using Elizabeth’s image in a personal political campaign.
  • The Rainbow Portrait Symbolism: This later portrait incorporates complex symbolism, such as the serpent (wisdom) with a heart in its mouth (controlled passion) and the celestial globe (knowledge of higher matters), projecting an image of a wise and powerful queen in her later years.

In conclusion, the excerpts demonstrate the sophisticated and multifaceted use of imagery in Elizabeth I’s reign. Her portraits were far more than mere likenesses; they were carefully constructed pieces of propaganda designed to address the unique challenges of her rule, project power, cultivate loyalty, and establish a lasting legacy as a strong and

12-06 Elizabethan Miniatures

12-06 Tudor Art – Elizabethan Miniatures

A podcast created by Google Notebook LM from my notes on 12-06 Elizabethan Miniatures

12-06 Elizabethan Miniatures – Summary (click here to view or hide)

Elizabethan Miniatures

This briefing document reviews the main themes and important ideas presented in the provided excerpts from Dr. Laurence Shafe’s lecture on Elizabethan miniatures. The lecture covers the origins and development of miniature painting, its significance in the Elizabethan court, and focuses on the work of key artists such as Nicholas Hilliard and his pupil Isaac Oliver.

1. Origins and Technical Aspects of Miniatures:

  • The term “miniature” derives from the Latin verb miniare, meaning “to colour with minium,” a red lead used in illuminating manuscripts. While the modern sense developed due to the small size of medieval manuscript illustrations, the similar-sounding Latin words expressing smallness also likely influenced its meaning.
  • Portrait miniatures emerged in the 1520s at the French and English courts. Like medals, they were portable but offered realistic colour.
  • Common execution techniques involved gouache, watercolour, or enamel. Early miniaturists used watercolour on stretched vellum or trimmed playing cards (especially in England). Later, vitreous enamel on copper became popular in France (late 17th century), and watercolour on ivory became common in the 18th century due to its relative affordability.
  • Portrait miniatures were small, often around 40mm x 30mm, and were frequently fitted into lockets, watch covers, or jewellery for personal carry. They could also be framed or set into snuff box covers.
  • Vellum, derived from the Latin vitulinum meaning “made from calf,” is a high-quality prepared animal skin used as a support. Parchment is a broader term for prepared animal skin.

2. The Rise of Portrait Miniatures in England:

  • The earliest Tudor portrait miniature is attributed to Lucas Horenbout (c. 1490/95-1544), a Netherlandish painter who became ‘King’s Painter’ to Henry VIII and is considered the founder of the English portrait miniature. His “Portrait of Princess Mary” (c. 1525) is an early example.
  • Hans Holbein the Younger (1497/8-1543) also painted miniatures in England, sometimes on vellum laid on playing cards, such as the “Portrait of a Lady, perhaps Katherine Howard.”
  • Levina Teerlinc (1510/20-1576) was another important early miniaturist, known for her portraits of Elizabeth I.

3. The Significance of Miniatures in the Elizabethan Court:

  • Miniatures became highly popular in the Elizabethan era due to their portability and personal nature. They could be “carried and examined discreetly” and served as portraits of “secret lover[s].”
  • They played a role in Elizabethan courtly love, where the lady (often of higher status, like the Queen) was treated as an unattainable muse, and gifts like miniatures could be tokens of loyalty, respect, or love.
  • Miniatures were exchanged as intimate gifts within families, during courtship, and sometimes as diplomatic or political gifts by rulers like James I. They were particularly significant when family members were to be absent for extended periods.
  • The Drake Jewel, given by Elizabeth I to Sir Francis Drake (likely in 1586 or 1588), exemplifies the symbolic significance of these objects. It contained a miniature of Elizabeth and her emblem, the phoenix, representing chastity, rebirth, and continuity. This gift to a commoner was unusual and a mark of high favour due to Drake’s valuable contributions.

4. Nicholas Hilliard (c. 1547-1619): The Leading Elizabethan Miniaturist:

  • Hilliard “burst on the scene in the 1570s” and is considered one of the greatest artists of the British Isles. Contemporaries compared him to Michelangelo and Raphael, and he gained international fame.
  • He described limning (the contemporary term for miniature painting) as “‘A Kind of Gentle Painting’,” associating it with gentlemanly status because it used clean watercolour and was not overly demanding of one’s time, unlike oil painting. He believed “‘none should meddle with limning, but gentlemen alone, for that it is a kind of gentle painting […] it is a thing apart from all other Painting or drawing and tendeth not to common mens vsse.’”
  • Hilliard admired Holbein’s “manner of limning” and developed a “flat, linear, two-dimensional aesthetic” that became a hallmark of Elizabethan painting.
  • Queen Elizabeth I had specific preferences for portraiture, favouring open, even light without strong shadows (“chiaroscuro”), as Hilliard noted when she remarked on the “great difference of shadowing in the works, and the diversity of drawers of sundry nations, and that the Italians…shadowed not…”
  • His sitters required multiple sessions of 2-6 hours, during which he recommended “‘discreet talk or reading, quiet mirth or music’” to capture natural expressions.
  • Hilliard painted numerous significant figures, including Elizabeth I (in various guises, such as playing a lute), Sir Francis Drake, Sir Christopher Hatton (in a rare full-length miniature), George Clifford (Earl of Cumberland), Sir Walter Ralegh, and Henry Percy (9th Earl of Northumberland).
  • His self-portrait aged 30 (1577) is one of only a few surviving English artist self-portraits from the 16th century, unusual for presenting himself as a gentleman rather than a craftsman. He may have adopted this presentation due to the higher status of artists he observed in France.
  • John Donne famously compared the quality of Hilliard’s miniatures to large history paintings, writing that “‘a hand, or eye/ By Hilliard drawn, is worth an history,/ By a worse painter made’.”
  • Despite his artistic success, Hilliard was often in debt and only received an annuity from Queen Elizabeth in 1599. He even spent time in debtor’s prison later in life.

5. Isaac Oliver (c. 1565-1617): Hilliard’s Pupil and Innovator:

  • Oliver was Hilliard’s pupil and introduced “unfamiliar subtleties of High Renaissance art” to Elizabethan patrons, likely influenced by his travels in Italy.
  • His style differed from Hilliard’s, exhibiting a “softness and delicacy” with sfumato blending of light and shade, suggesting familiarity with Leonardo da Vinci’s work. His portraits sometimes feature a subtly sad half-smile, reminiscent of the Mona Lisa.
  • Oliver combined portrait and impresa (emblematic device with a motto) within a single image, drawing inspiration from Italian Renaissance medals and, to some extent, from Hilliard’s work. His “Young Man Against a Background of Flames” exemplifies this. The flames are a symbol of love in contemporary poetry.
  • He also painted significant figures, including Elizabeth I (perhaps based on Hilliard’s work), “Elizabeth I and the Three Goddesses” (a miniature reinterpretation of a painting owned by the Queen, possibly celebrating the defeat of the Armada), and rare portraits of children.
  • His “Young Man Seated Under a Tree” utilizes the full-length format pioneered by Hilliard and explores the fashionable malady of melancholy. The discarded glove in this miniature has complex erotic and linguistic associations.
  • Oliver received patronage from figures like Henry Wriothesley (3rd Earl of Southampton) and Robert Devereux (2nd Earl of Essex), sometimes supplanting Hilliard.
  • He also created larger “cabinet miniatures,” such as “The Browne Brothers,” which included symbolic details like a Latin motto relating character to appearance.
  • Later in his career, Oliver was commissioned to record extravagant masque costumes for Queen Anne of Denmark and Prince Henry, showcasing his connection to the Stuart court and his ability to depict detail.
  • His “Edward Herbert, 1st Baron Herbert of Cherbury” further illustrates the theme of melancholy in portraiture, depicting the sitter in a characteristic pose with symbolic elements like a “Magia Sympathiae” shield.
  • Oliver also painted allegorical scenes, such as the one depicting merrymaking versus misguided wantonness, showing his engagement with Netherlandish artistic traditions.

6. Themes and Symbolism:

  • Courtly Love: A significant aspect of Elizabethan court life that heavily influenced the exchange and meaning of portrait miniatures.
  • Symbolism and Impresa: Elizabethan culture had a strong appreciation for coded messages and emblematic devices. Miniatures, like the “Young Man Among Roses” and the portrait of George Clifford with his impresa, often conveyed complex personal or political statements through details of dress, attributes, and mottos.
  • Melancholy: A fashionable intellectual and artistic theme during the late 16th and early 17th centuries, often associated with genius, contemplation, and sometimes courtly love. Portraits of individuals posed in melancholic attitudes, like Oliver’s “Young Man Seated Under a Tree” and Hilliard’s portrait of Henry Percy, were popular.
  • The “Two Bodies” of the Monarch: Elizabeth I adopted the medieval political theology of the sovereign having two bodies – the body natural (her physical female form) and the body politic (her ageless, sexless role as monarch ordained by God) – to address concerns about a female ruler. This concept influenced her portraiture.
  • Secrecy and Intrigue: Hilliard’s miniatures were even considered appropriate for “undercover work,” highlighting the culture of secrecy and coded communication prevalent in the Elizabethan era.

7. Key Figures Mentioned:

  • Queen Elizabeth I: A central figure whose image and court profoundly influenced the development and function of portrait miniatures.
  • Nicholas Hilliard and Isaac Oliver: The two preeminent miniaturists of the Elizabethan period, whose contrasting styles and innovative approaches shaped the art form.
  • Sir Francis Drake: Recipient of the significant Drake Jewel, illustrating the personal and political value of miniatures.
  • Henry Percy, 9th Earl of Northumberland (“The Wizard Earl”): Patron of a particularly cryptic miniature by Hilliard, reflecting intellectual interests and personal circumstances.
  • Robert Devereux, 2nd Earl of Essex: A favourite of Elizabeth I and a patron of Oliver, potentially the subject of symbolic love-lorn portraits.

This briefing provides a comprehensive overview of the key aspects of Elizabethan miniatures discussed in the provided excerpts, highlighting their artistic techniques, social significance, and the major figures involved in their creation and patronage.

12-07 The Secrets of Tudor Art

12-07 The Secrets of Tudor Art

12-07 A podcast created by Google Notebook LM based on the notes for The Secrets of Tudor Art

12-07 The Secrets of Tudor Art

Briefing Document: Secrets of Tudor Art

Source: Excerpts from “12-07 The Secrets of Tudor Art.pdf” by Dr. Laurence Shafe

Date of Briefing: 26 October 2023

Overview: This briefing document summarises the main themes and important ideas presented in Dr. Laurence Shafe’s talk on the secrets of Tudor art. The talk emphasises the importance of understanding the mindset of the Tudor courtier and the prevalence of symbolism, puzzles, and wordplay in the art of the period. Key concepts such as the divine right of kings, magnificence, chivalry, and melancholia are highlighted as crucial for interpreting Tudor artworks. The document draws heavily on specific examples, including portrait miniatures by Nicholas Hilliard and Hans Holbein, as well as larger-scale portraits, to illustrate these themes.

Main Themes and Important Ideas:

1. The Tudor Love of Secrets and Symbolism:

  • The Tudor era was characterised by a fondness for hidden meanings and complex symbolism in art. To understand these works, it is necessary to “put ourselves back into the minds of the Tudor courtier.”
  • Concepts that are now “alien or unknown to us today” are central to the interpretation of Tudor art, including the divine right of kings, magnificence, chivalry, and melancholia.
  • Artists and patrons employed “symbols, puzzles and word play” to convey specific “conceit[s]” and “general instruction[s] or message[s].”

2. Melancholia as a Fashion and Intellectual Pursuit:

  • Melancholia was a significant concept during the Tudor period, associated with “an untamed, wild nature and with genius.”
  • Drawing on ancient Greek ideas of humours and Aristotle’s link between melancholy and genius (“Why is it that all men who are outstanding in philosophy, poetry or the arts are melancholic?’”), the talk explains the intellectual and even fashionable aspects of adopting a melancholic disposition.
  • The miniature portrait of Henry Percy, the Ninth Earl of Northumberland, by Nicholas Hilliard (c. 1594-1595) is presented as a prime example. Despite being set within a “cultivated garden,” Percy adopts “the attitude of a melancholic” and is dressed in Elizabeth’s colours (black and white, with black signifying melancholy). This juxtaposition may signify that “melancholic genius can be associated with rational thought and the measurement and control of nature.”
  • Dürer’s engraving Melencolia I (1514) is discussed as a significant influence on the Elizabethan understanding of melancholy, representing the “first type of melancholia defined by German humanist writer Cornelius Agrippa which is one in which the imagination of the artist predominates over reason.” Its widespread circulation meant its “symbols of intellectual striving resonated with a culture in love with the melancholic genius.”

3. The Impresa as a Form of Secret Communication:

  • The talk defines an impresa as “a picture containing symbols and a word or short phrase that signify some conceit and propose some general instruction or message to everyone. It should not be too obscure or too simple to work out.”
  • Hilliard’s miniature of Henry Percy is interpreted as an impresa. The “inconsistency in the perspective” and the seemingly nonsensical “hedge walls” contribute to this.
  • The balance scale hanging on a tree, with a “globe or a cannon ball balanced by a feather” and the word “TANTI,” are key elements of this impresa.
  • Interpretations of the balance as a “visual pun” on “sphere” (espere) and “feather” (penne) relating to “hope” (espoir) and “affliction” (peine) and Northumberland’s family motto “Esperance en Dieu” are discussed. The globe and feather also link to Archimedes’s principles of the lever, reflecting Percy’s intellectual interests.
  • The word “TANTI” is explored for its possible Latin (“so much,” a trifling amount) and Italian (“so many,” numerous and excessive) meanings, as well as the suggestion that it means “‘worth so much’ or ‘this much I weigh’.”
  • The reclining figure of Northumberland with a book and gloves may symbolise the “balance between theory and practice in all science.”
  • Politically, the impresa could refer to the “beheading of both his uncle and great uncle” (the “beheaded branch”) balanced by “hope,” representing the family’s “precarious balance between hope and affliction.”

4. “Secret Knowledge” and Intellectual Circles:

  • The existence of intellectual groups like the “School of Night,” thought to have met at Syon House (one of Henry Percy’s estates), is mentioned. This group combined “esoteric and scientific studies, with hermetic and cabalistic studies.”
  • Secret knowledge encompassing “magic, occultism, numerology, alchemy, astrology, Cabbala and Neo-Platonism” was important to Elizabethan scholars. The distinction between this and modern science lay in the focus on “observation and measurement of the world rather than interpretation of texts.”
  • George Peele’s poem dedicated to Northumberland, referencing “pleasant fieldes…unaccessible” where “divine science and Phylosophie” may be contemplated, is linked to the painting’s setting.
  • The “square with a square” design in the garden may relate to the ad quadratum system used in architecture, symbolising “stability” and a “constant minded man.”

5. Patronage and Personal Circumstances:

  • Henry Percy, the patron of the miniature, was a “well known Elizabethan intellectual and cultural figure” known as the “Wizard Earl” for his scientific and alchemical interests and large library.
  • His life, including his marriage to Dorothy Devereux and his later imprisonment in the Tower due to his cousin’s involvement in the Gunpowder Plot, provides context for potential interpretations of the artwork, particularly the themes of hope and despair.

6. Chivalry and its Symbolic Representation:

  • While melancholia was one aspect of the ideal courtier, chivalry remained important, though evolving. The “chivalric code” involved duties to one’s lord, God, and women.
  • The Accession Day Tilts were significant events showcasing chivalric ideals and offering opportunities for symbolic displays of loyalty and praise to Queen Elizabeth I.
  • Nicholas Hilliard’s portrait of George Clifford, Earl of Cumberland (c. 1590), is used to illustrate this. The background depicts the tiltyard at Whitehall, and Cumberland bears “armillary spheres on his sleeve” (symbolising learning, the universe, and empire) and Elizabeth’s glove on his hat.
  • His impresa on his shield, with the motto “Hasta Quan” and an image of a simultaneous solar and lunar eclipse, signifies his unwavering devotion to the Queen.

7. The Complexity of Individual Portraits:

  • Marcus Gheeraerts II’s portrait of Captain Thomas Lee (1594) demonstrates how individual portraits could also be laden with symbolism. Lee’s attire, combining Irish and Roman elements with contemporary gentleman’s fashion, reflects his complex identity and service in Ireland.
  • The Latin quotation from Livy on the tree, linking his scar to Roman fortitude, and the landscape referencing his military exploits, all contribute to a nuanced portrayal aimed at refuting suspicions of treachery against Elizabeth.

8. Hidden Meanings in Non-Aristocratic Portraits:

  • Hans Holbein the Younger’s portrait of the merchant Georg Giese (1532) shows that even portraits of non-aristocrats contained “hidden messages.” The meticulous depiction of his trade paraphernalia, along with optical paradoxes and Giese’s motto “Nulla sine merore voluptas,” suggests a deeper commentary on his profession, wealth, and perhaps the risks inherent in trade.
  • The inclusion of specific flowers (hyssop, carnation, rosemary) hints at his health, betrothal, and fidelity.
  • The emphasis on correspondence (letters, seals) underscores the importance of information in his line of work.
  • The talk raises the possibility of a moral or religious undertone, with the scales potentially alluding to the Last Judgement, reflecting a contemporary awareness of the “evils of greed and avarice.”

9. Symbolism Leading to Political Trouble:

  • The case of Henry Howard, Earl of Surrey (portrait attributed to William Scrots, 1546), illustrates the potential dangers of symbolic expression. His alleged illegal use of the arms of King Edward the Confessor led to accusations of treason and his execution, highlighting the highly sensitive political environment.

10. Multiple Interpretations of Symbolism:

  • The Rainbow Portrait of Queen Elizabeth I (attributed to Isaac Oliver and Marcus Gheeraerts the Younger, c. 1600-1602) serves as an example of how symbols can have multiple meanings.
  • The “disembodied eyes and ears” on Elizabeth’s mantle have been interpreted as representing Fame (drawing on Cesare Ripa’s Iconologia) or Elizabeth’s secret service, showcasing the different layers of meaning possible.
  • The talk stresses that the “entire context” must be considered when interpreting symbolism.

11. The Intimacy and Secrecy of Portrait Miniatures:

  • Portrait miniatures, such as those by Lucas Horenbout and Hans Holbein, offered a different form of secrecy due to their “portability” and the ability to control who saw them. They were sometimes used in “illicit relationships.”
  • Holbein’s miniature of Mrs Jane Small (c. 1540) demonstrates that this art form was not exclusively for the court.
  • Nicholas Hilliard’s Young Man Among Roses (1585-95), possibly a portrait of Robert Devereux, Earl of Essex, is presented as a quintessential impresa in miniature, conveying a “secret passion” for the Queen through its detailed symbolism (white roses/eglantine, black and white costume, Latin motto).

12. The Persistence of Melancholia into the Stuart Period:

  • Isaac Oliver’s portrait of Edward Herbert, 1st Baron Herbert of Cherbury (1610-1617), produced during the Stuart period, shows the continued association of melancholia with knightly virtues. His relaxed pose in nature, alongside his tilt armour, signifies a melancholic intellectual with an interest in metaphysics (“Magica Sympatica”).

Conclusion:

Tudor art is rich with hidden meanings and requires an understanding of the cultural context and symbolic language of the time. Concepts like melancholia, chivalry, and the use of the impresa were integral to how these artworks were created and interpreted. While modern viewers may have lost the “key” to fully unlock all the secrets, the surviving artworks offer tantalising glimpses into the complex minds and lives of the Tudor elite. The transition from interpreting texts to observation and measurement marked the nascent stages of modern science, a theme subtly woven into some of these enigmatic portraits.

12-08 How Art Helped Establish the Tudor Dynasty

12-08 Tudor Art – How Art Helped Establish the Tudor Dynasty

12-08 A podcast produced by Google NotebookLM based on my notes for “How Art helped Establish the Tudor Dynasty”

12-08 How Art Helped Establish the Tudor Dynasty

How Art Helped Establish the Tudors

Source: Excerpts from “12-08 How Art Helped the Tudors.pdf” by Dr Laurence Shafe

Date: 15 May 2024

Overview: This briefing document summarises the main themes and important ideas presented in Dr Laurence Shafe’s lecture notes on how the Tudor monarchs, particularly Henry VII and Henry VIII, utilised art as a tool to reinforce their claims to the throne and project an image of power, legitimacy, chivalry, and magnificence. The notes also touch upon the artistic context of the period, including comparisons with the Italian Renaissance and the evolving nature of portraiture.

Main Themes and Important Ideas:

1. Art as a Tool for Legitimising the Tudor Dynasty:

  • Henry VII’s Weak Claim: Dr Shafe highlights that Henry VII’s claim to the throne was “weak” due to his father’s non-royal status and a line of descent barred from inheriting. His victory at the Battle of Bosworth provided a claim by “right of conquest”.
  • Marriage and Symbolism: Henry VII strategically married Elizabeth of York, daughter of Edward IV, to unite the houses of Lancaster and York, ending the War of the Roses. The Tudor rose, symbolising this union, was prominently displayed as “a visual propaganda tool to project unity and royal legitimacy.”
  • Royal Portraiture: The 1505 portrait of Henry VII in the National Portrait Gallery depicts him holding the Tudor rose, reinforcing this key symbol of the dynasty. Royal portraits, like the terracotta bust by Pietro Torrigiano based on Henry VII’s death mask, were used to “evoke status and power” and, increasingly during the Renaissance, aimed for a “naturalistically painted” and “accurate likeness” that expressed personality. Dr Shafe suggests the 1505 portrait might have been a “prototype from which other portraits would have been produced.”
  • The Family of Henry VII with St George and the Dragon: This painting, likely commissioned by Henry VII, served as donor portraits with St George, a symbol of England, appearing to protect the royal family. The tents depicted with the Lancastrian red rose and Beaufort portcullis further reinforced the Tudor lineage and Henry VII’s claim.

2. The Importance of “Magnificence” and “Chivalry”:

  • Princely Virtues: Dr Shafe explains that monarchy in Henry VIII’s time aimed to create two critical aspects: “chivalry and magnificence.” Magnificence was a “princely virtue” involving “excessive expenditure” demonstrated through “spectacle, feasts, gifts, and charity.” It was seen as an imitation of divine perfection.
  • Henry VII’s Displays of Magnificence: Despite his reputation as a miser, Henry VII orchestrated “extravagant celebrations and court entertainments” including masques, tournaments, and pageants. These displays showcased his wealth and reinforced the image of a “powerful, cultured ruler.”
  • Henry VIII’s Pursuit of Magnificence: Henry VIII desired his court to be “the most magnificent court of Europe.” He inherited a vast fortune and spent it on maintaining his court, acquiring palaces, and amassing valuable artworks like gold plate and tapestries.
  • Tapestries as High-Value Art: Tapestries were the “most highly valued pictorial art form of the 16th century,” and Henry VIII collected over 2,000. His commission of ten tapestries about the Story of Abraham celebrated the birth of his son Edward and drew parallels between himself and the biblical patriarch, validating his actions regarding his marriage and the Church of Rome. These tapestries, costing the equivalent of two battleships, were displayed prominently at Hampton Court Palace.
  • Hampton Court Palace as a Symbol of Magnificence: Henry VIII acquired and significantly enlarged Hampton Court Palace, making it “one of the most modern, sophisticated and magnificent in Europe.” It was designed to impress foreign ambassadors and was the site of lavish events, such as the six-day feast for the French ambassador in 1546.

3. Art and the English Reformation:

  • Henry VIII as Head of the Church: Following the annulment of his marriage to Catherine of Aragon and the break from the Pope, Henry declared himself head of the Church of England. Art became a tool to visually represent and reinforce this new reality.
  • Solomon and the Queen of Sheba: Hans Holbein’s sketch equates Henry VIII with King Solomon, with the Queen of Sheba personifying the church. The accompanying biblical inscriptions reinforce the idea that Henry’s power comes directly from God, establishing him as the rightful head of both temporal and spiritual authority. The inscription on the curtain reads, “Blessed be the Lord thy God, who delighted in thee, to set thee upon his throne to be King elected by the Lord thy God.”
  • A Protestant Allegory: This engraving depicts the four Evangelists stoning the Pope, along with “Hypocrisy” and “Avarice.” This is a clear piece of anti-papal propaganda reflecting the English Reformation.

4. The Evolution of Portraiture:

  • Increasing Realism: Dr Shafe notes a shift towards more realistic portraiture during the Tudor period. While earlier painting focused on representation, it increasingly aimed to show the “personality of the sitter.”
  • Hans Holbein the Younger: Holbein is presented as a key artist of the era, whose portraits, like those of Thomas Cromwell and Sir Thomas More, were increasingly realistic. His now-lost mural at Whitehall, showing Henry VII, Elizabeth of York, Henry VIII, and Jane Seymour, became the “definitive archetype of Henry VIII” and a powerful piece of propaganda. Karel van Mander described it as so “lifelike that the spectator felt abashed, annihilated in his presence.”
  • Propaganda in Royal Portraits: Derek Wilson’s article suggests that Holbein’s portrait of Henry VIII, while unconventional, was a highly effective piece of propaganda, creating an enduring image of a powerful monarch.
  • Mary I’s Portrait by Antonis Mor: This portrait is noted for its realistic depiction of Mary and its stylistic comparison to portraits of other Hapsburg brides, possibly intended to portray her as a Hapsburg consort.

5. Architectural Patronage:

  • Henry VII’s Chapel: Henry VII commissioned the “wonder of the world,” the Henry VII Lady Chapel in Westminster Abbey. Its magnificent fan vaulting, as depicted in Canaletto’s painting, is a testament to his commitment to grandeur. The chapel also served as a burial place for Tudor and Stuart monarchs, further establishing the dynasty’s presence and legacy.
  • Torrigiano’s Work: The Italian Renaissance sculptor Pietro Torrigiano was commissioned to create the tombs of Henry VII and Elizabeth of York, as well as Lady Margaret Beaufort. John Pope-Hennessy called the tomb of Henry VII and Elizabeth “the finest Renaissance tomb north of the Alps.” Torrigiano also designed a “matchless altar” for the chapel, which was later destroyed.
  • Henry VIII’s Palace Building: Henry VIII was particularly interested in building and acquiring palaces, owning over 60 by his death. Whitehall Palace, the largest in Europe with 1,500 rooms, and the purpose-built Nonsuch Palace exemplify his architectural ambition and desire to project power through grand structures.

Quotes:

  • On Henry VII’s claim to the throne: “However, his claim to the throne was weak.”
  • On the Tudor rose: “…this symbol was prominently displayed throughout his palaces and in court pageantry, serving as a visual propaganda tool to project unity and royal legitimacy.”
  • On the aim of monarchy in Henry VIII’s time: “Art was one small aspect of creating two critical aspects of monarchy—chivalry and magnificence.”
  • On the value of tapestries: “Tapestries were the most highly valued pictorial art form of the 16th century and Henry VIII had collected more than 2,000 by his death.”
  • On Hampton Court Palace: “Henry used Hampton Court to impress.”
  • Inscription in Holbein’s “Solomon and the Queen of Sheba”: “Blessed be the Lord thy God, who delighted in thee, to set thee upon his throne to be King elected by the Lord thy God.”
  • On Holbein’s Whitehall portrait of Henry VIII: “…so lifelike that the spectator felt abashed, annihilated in his presence.”
  • Description of Henry VII’s Chapel: “The chapel was described by an antiquarian at the time as orbis miraculum, ‘the wonder of the world’.”
  • John Pope-Hennessy on Torrigiano’s tomb: “the finest Renaissance tomb north of the Alps”.
  • Text on Hoefnagel engraving of Nonsuch Palace: “Hoc est nusquam simile – this is nowhere like”.

Conclusion:

Dr Shafe’s notes clearly demonstrate the significant role art played in establishing and reinforcing the Tudor dynasty. From Henry VII’s strategic use of symbols and portraiture to legitimise his initially tenuous claim, to Henry VIII’s lavish displays of magnificence through palace building, tapestries, and politically charged imagery, the Tudors understood the power of visual representation. The evolution of portraiture under artists like Holbein further served to project specific images of royal authority and personality, while architectural patronage created lasting monuments to their power and ambition. The use of art as propaganda, particularly during the English Reformation, highlights its crucial function in shaping public perception and solidifying the monarchs’ control.

12-09a Tudor Hampton Court

12-09 Tudor Hampton Court

Podcast created by Google NotebookLM based on 12-09a Tudor Hampton Court

12-09a Tudor Hampton Court

Here is a detailed briefing document reviewing the main themes and most important ideas or facts from the provided excerpts on the Tudor history of Hampton Court, incorporating quotes from the source:

Briefing Document: The Tudor History of Hampton Court Palace

Source: Excerpts from “12-09a The Hidden History of Hampton Court.pdf” by Dr. Laurence Shafe (www.shafe.uk)

Date: October 26, 2023

Subject: Review of the Tudor and early Stuart history of Hampton Court Palace, focusing on its construction, usage, and key features under Cardinal Wolsey and the Tudor monarchs.

Overview: This briefing document summarizes key information from a talk by Dr. Laurence Shafe on the Tudor and early Stuart history of Hampton Court Palace. It focuses on the palace’s origins as a religious grange, its development under Cardinal Wolsey, its dramatic expansion and use by Henry VIII, and its subsequent use by other Tudor and early Stuart monarchs. The document highlights the palace’s architectural innovations, lavish decorations, and its role as a center of royal life and display.

Key Themes and Important Ideas:

  1. Hampton Court’s Pre-Wolsey Origins:
  • Hampton Court was not originally built or owned by Cardinal Wolsey.
  • Following the Norman Conquest, the land was granted to Walter de St Valery.
  • In 1236, the estate was donated to the Knights Hospitallers of St John of Jerusalem (later known as the Knights of Malta), a crusading religious order, who used it as a grange (agricultural center). Evidence of their presence remains in paving stones marked with a Maltese cross.
  • Before Wolsey, Giles Daubeny, Lord Daubeny, Lord Chamberlain to Henry VII, leased the land from the Knights Hospitallers and built a manor house on the site.
  • Excavations have revealed traces of an even older 14th-century timber-framed hall, indicating a long history of building on the site.
  1. Cardinal Wolsey’s Transformation (1514-1528):
  • Cardinal Thomas Wolsey, Henry VIII’s chief minister and Archbishop of York, was granted a 99-year lease on the land in 1514 by the Knights Hospitaller (he never owned the freehold).
  • He began extensive building work in 1515, transforming the existing manor house into a grand palace in a modern European style, following “the conventions of the Italian residence of a Cardinal.”
  • Wolsey’s architectural vision was influenced by Paolo Cortese’s De Cardinalatu, a manual offering advice on palatial architecture for cardinals.
  • The architecture represents a transitional period in English style, moving from Tudor perpendicular Gothic towards Italian Renaissance classical.
  • Wolsey aimed to demonstrate “that Henry VIII’s chief minister knew how to live as graciously as any cardinal in Rome,” as noted by architectural historian Sir John Summerson.
  • Evidence of Wolsey’s work includes some original brickwork in Base Court and parts of the kitchens (walls, foundations, possibly substructures) that predate his palace but were part of Daubeney’s manor house and incorporated into Wolsey’s design.
  • His coat of arms, augmented with gold leopards’ faces from the Royal Arms of England, can still be seen, having been covered by Henry VIII’s arms for centuries. His motto was “Dominus mihi adjutor” (“The Lord is my help”).
  1. Henry VIII’s Massive Expansion and Use (1529-1547):
  • Henry VIII took possession of Hampton Court from Wolsey in 1528 after Wolsey fell out of favor and cancelled the Knights Hospitaller’s lease.
  • Henry engaged in a “frantic building and rebuilding programme with workers building through the night on occasions.” He spent over £170,000 on his residences and obtained many houses through confiscation and the Dissolution of the Monasteries.
  • He significantly expanded the palace in several phases (1529-1547), adding kitchen extensions, service offices, the King’s Council chamber, a long gallery, the Baynes Tower with a bathroom and library, the Great Hall, tennis court, Queen’s apartments, Common Jakes (Great House of Easement), refurbished royal rooms, lodgings for his children, and a bowling alley.
  • By 1540, Hampton Court was “one of the most modern, sophisticated and magnificent in England.” It boasted extensive recreational facilities (tennis courts, bowling alleys, pleasure gardens), a vast hunting park (over 1,100 acres), large kitchens (36,000 square feet), a fine chapel, and significant sanitation facilities like the Great House of Easement which could accommodate 28 people.
  • Water was supplied via lead pipes from Coombe Hill, three miles away, a system in use until 1871.
  • All six of Henry’s wives visited the palace, and most had new and lavish lodgings. Henry rebuilt his own rooms “at least half a dozen times.”
  • Hampton Court was a primary residence and used extensively to “impress.” A notable example is the six-day feast in 1546 for the French ambassador and his entourage, involving 1,300 members of Henry’s own court.
  • Important life events occurred at the palace: Edward VI was born there, Jane Seymour died there, Henry was informed of Catherine Howard’s adultery there, and she is said to have run “screaming through the Haunted Gallery” seeking forgiveness.
  1. Life and Features of the Tudor Palace:
  • Royal Progresses: The court regularly moved between palaces (up to 30 times a year) due to logistical needs (depleted food/water supplies, sanitation issues, avoiding the plague) and political decisions (hunting). Moving the court was a massive undertaking involving hundreds of people and carts.
  • Lavish Interiors: Tudor palaces, especially the King’s rooms, were ornately decorated to display wealth and status. This included expensive tapestries (“threaded with silver and gold”), gold and silver plate (displayed on buffets), richly decorated walls (painted bright colors, ornamented, gilded), and luxurious furnishings (carpets, satin or silk curtains, linen-fold panelling).
  • The Great Hall: Built by Henry VIII, it was a deliberate nod to medieval architecture but primarily served as a “canteen for up to a 1,000 servants” eating in shifts, rather than the king’s daily dining room. It was used for major entertainments. The hammer-beam roof was largely for show, and the stone dais for an open fire seems to have been purely decorative.
  • Tapestries: A significant display of wealth. Henry VIII owned over 2,000. The “Story of Abraham” series in the Great Hall (10 panels, woven in Brussels, 1541-43, based on designs by Bernard van Orley) was the most expensive set in his collection and was commissioned for the hall. One tapestry took three years to weave.
  • Kitchens: Extended from Daubeny’s original kitchens, Henry VIII’s kitchens covered 3,000 square feet, employed 200 people, and served 600 or more meals twice daily. Strict hygiene regulations were in place, although basic sanitation was challenged by the sheer number of people.
  • Sanitation: Innovative for their time, with running water, baths for the king and queen, and multiple garderobes, including the Great House of Easement. Efforts were made to manage waste, including painting red crosses on walls to discourage urination.
  • Royal Apartments: Structured in a hierarchical manner, moving from public spaces (Great Watching Chamber/Guard Room) to semi-private (Presence Chamber/Audience Chamber with a throne/cloth of estate) to private (Privy Chambers for close advisors and state business) to secret lodgings (bedchamber, wardrobe, closet, library, bathroom).
  • Astronomical Clock: Installed on the Anne Boleyn Gatehouse between 1540-1542, credited to Nicholas Cratzer and built by Nicholas Oursian. It is a complex example of early Tudor horology, displaying the hour (24-hour dial), month, day, sun’s position in the zodiac, moon phase and age, and crucially, the “Hour when the moon crosses the meridian and thus high water at London Bridge,” essential for river transport. It reflects the pre-Copernican view of the universe with Earth at the center.
  • Giovanni da Maiano Roundels: Eleven terracotta medallions commissioned by Wolsey in 1521, depicting Roman emperors. Two were moved to the main gatehouse from Whitehall Palace.
  • Tiltyard: Located to the north-west, used for jousting tournaments, a popular court entertainment. Viewing towers were constructed around the tiltyard. Henry VIII himself jousted and suffered a serious accident in 1536 which aggravated leg problems and potentially affected his personality. Elizabeth I’s Accession Day tilts were major annual court festivals held at Whitehall’s tiltyard.
  • Gardens: Included ponds for fish stock and a mound with a building for entertainment. The main palace entrance in Tudor times was from the river, through the gardens.
  • Wolsey Closet: The only room believed to retain significant elements of its original Tudor decoration, including the ceiling, offering a glimpse into the lavish ornamentation of smaller rooms.
  1. Later Tudor and Early Stuart Use:
  • Mary I: Retreated to Hampton Court for her honeymoon with Philip of Spain and chose it for the anticipated (phantom) birth of her child.
  • Elizabeth I: Visited regularly but built little. Traces of her reign include the Queen’s private kitchen (now a coffee shop) and a bay window from 1568.
  • James I: Held the Hampton Court Conference here in 1604, leading to the King James Version of the Bible.
  • Charles I: Spent his honeymoon at the palace.
  • Cromwell: The palace structure remained “relatively unscathed,” but its contents were auctioned.
  • Charles II and James II: Visited but found the palace “old-fashioned.”

Conclusion: The provided excerpts offer a rich account of Hampton Court’s evolution from a medieval grange and manor house to a sophisticated and magnificent royal palace under Cardinal Wolsey and Henry VIII. It served not only as a residence but also as a powerful statement of royal wealth and authority, a center for court life and entertainment, and a showcase for architectural and technological innovations of the Tudor period, such as running water and the astronomical clock. The document also touches upon the palace’s use by subsequent monarchs before major Baroque remodelling under William and Mary, which is noted as the subject of a subsequent talk.

12-09b Wren’s Hampton Court

My Notes on 12-09 Tudor Art – The Hidden History of Hampton Court

A podcast on Wren’s Hampton Court generated by Google NotebookLM

12-09b Wren’s Hampton Court

This briefing document summarizes the key themes and important information in “12-09b Wren’s Hampton Court.pdf”.

Source Information:

  • Topic: Section 12 on Tudor and Stuart art, focusing on the Baroque palace created by Sir Christopher Wren at Hampton Court.
  • Key Citations/References: Lucy Worsley and David Souden, Hampton Court Palace: The Official Illustrated History; Simon Thurley, Hampton Court: A Social and Architectural History; Wikipedia; various museum and art gallery websites.

Main Themes:

  1. The Transition from Tudor to Baroque at Hampton Court: The core theme is the dramatic shift in architectural and artistic style at Hampton Court Palace, moving from the Tudor structures primarily associated with Cardinal Wolsey and Henry VIII to the grand Baroque vision of William and Mary, executed by Sir Christopher Wren. The excerpts highlight how the final palace is a fusion of these two distinct periods due to compromises in the original ambitious plans.
  2. William and Mary’s Ambition and Wren’s Vision: The sources emphasize the monarchs’ desire to create a palace on the scale of Versailles and their commissioning of Wren for this task. Wren’s initial elaborate designs, including integrating Bushy Park into the scheme and realigning the palace, are discussed, along with the reasons for their eventual reduction.
  3. Challenges and Setbacks in the Construction Process: The excerpts detail significant difficulties encountered during the building of Wren’s palace, including the collapse of a section of the south range due to excessive speed and poor mortar quality, and the halt in construction following Mary II’s death.
  4. Key Artistic and Architectural Contributions: The document highlights the significant artists and craftsmen involved in the Baroque additions, including:
  • Sir Christopher Wren: The principal architect responsible for the overall design of the new palace sections, including Fountain Court and the south and east facades.
  • Antonio Verrio: The Baroque mural painter responsible for the triumphant and allegorical paintings on the King’s Staircase, the lively and sometimes provocative scenes in the Banqueting House, and the allegorical ceiling of the Queen’s Drawing Room.
  • Grinling Gibbons: Known for his wood carvings within Wren’s Palace, including the fireplaces.
  • Jean Tijou: The Huguenot ironsmith who created the elaborate wrought-iron gates for the Privy Garden.
  1. Important Artworks within Hampton Court: The briefing highlights specific significant artworks housed at the palace:
  • Andrea Mantegna’s Triumphs of Caesar: Acquired by Charles I, these paintings are considered Mantegna’s masterpiece and the most complete pictorial representation of a Roman triumph. Their history, restoration, and current status are discussed.
  • Gerrit van Honthorst’s Apollo and Diana: A later painting featuring Charles I, Henrietta Maria, and the Duke of Buckingham (as Mercury) leading the Liberal Arts. The painting is discussed in the context of courtly flattery and contemporary social norms regarding depictions of women.
  1. The Evolution of Royal Use and Public Access: The sources trace the palace’s use by various monarchs after William and Mary, noting Queen Anne’s preference for hunting, George I’s limited interest, and the more active use by George II and Queen Caroline (though Caroline disliked the palace). The transition from an active royal home to a “Grace and Favour” residence and eventually a public attraction under Queen Victoria is outlined.
  2. Historical Incidents and Points of Interest: The document includes details about the Longford River and Long Water construction, the history of the bridges at Hampton Court, the 1986 fire and subsequent restoration, and a lighthearted section on reported “ghosts” at the palace.

Most Important Ideas or Facts:

  • Wren’s Grand, but Compromised, Scheme: William and Mary initially envisioned a palace comparable to Versailles, with Wren’s plans incorporating a vast area including Bushy Park. Financial constraints led to a significantly smaller, though still impressive, Baroque addition fused with the existing Tudor palace. “In the event, it was all too expensive and was cut back to the much small area we see today.”
  • The Collapse of the South Range: A critical early setback in Wren’s construction was the collapse of a section of the south range in 1689 due to “excessive speed of building and the poor quality of the mortar used,” resulting in fatalities and injuries.
  • Mary II’s Death Halts Construction: Work on the new palace ceased in 1694 following Queen Mary’s death, leaving the buildings as “an empty brick shell with bare walls and floors.” Construction resumed in 1697 after William’s European wars ended.
  • Antonio Verrio’s Impact: Verrio was crucial in introducing Baroque mural painting to England. His work at Hampton Court includes the highly symbolic King’s Staircase, the vibrant and often “racy scenes” in the Banqueting House based on Ovid, and the allegorical celebration of Queen Anne in the Queen’s Drawing Room.
  • Mantegna’s Triumphs of Caesar as a Masterpiece: These paintings are described as “acknowledged from the time of Mantegna as his greatest masterpiece,” representing a “ruin but it is a noble one.” Their acquisition by Charles I and their current status as part of the Royal Collection are highlighted.
  • The Duke of Buckingham’s Prominence and Fate: Gerrit van Honthorst’s Apollo and Diana is presented in the context of the rise and fall of the Duke of Buckingham, a controversial figure who was a favourite of James I and later assassinated. The painting serves as an example of allegorical flattery in court art.
  • Hampton Court’s Transition to Public Attraction: Queen Victoria’s decision in 1837 to open Hampton Court to “all her subjects without restriction” marked a significant shift in the palace’s role, moving it from a royal residence to a public resource.
  • The 1986 Fire: A significant event that led to restoration efforts, including the removal of “grace and favour” partitions in the Tudor kitchens and the replanting of the Privy Garden to a 17th-century design.
  • Henry VIII’s Musical Composition: While debunking the myth that he wrote “Greensleeves,” the source confirms that Henry VIII was a composer, with “Pastime with Good Company” being his most famous piece, interpreted as a declaration of independence and assertion of his authority.

Notable Quotes:

  • On the ambition of William and Mary: “They decided to demolish it and replace it with an enormous Palace on the scale of Versailles and they commissioned Christopher Wren to make sketches.”
  • On the collapse of the south range: “…in December, because of the excessive speed of building and the poor quality of the mortar used, a large section of the south range collapsed, killing two workmen and injuring eleven.”
  • Anthony Blunt on Mantegna’s Triumphs of Caesar: “The Triumphs may be a ruin but it is a noble one, one as noble as those of ancient Rome which Mantegna so deeply admired.“
  • Vasari’s description of the Triumphs of Caesar: “We can see grouped and cleverly arranged in the Triumph the ornate and beautiful chariot… along with a mass of trophies on spears, and with helmets and armour, headgear of all kinds, ornaments and countless pieces of plate.”
  • On Antonio Verrio’s work in the Banqueting House: “Around the walls he painted racy scenes from the Roman poet Ovid’s Metamorphoses about the lives and loves of the ancient gods and goddesses.”
  • Miss Baly on Verrio’s paintings: “I find very objectionable the large undressed figures in the frescoes on each side of the fireplace.”
  • James I on the Duke of Buckingham: “You may be sure that I love the Earl of Buckingham more than anyone else, and more than you who are here assembled… Christ had John, and I have George.”
  • Henry VIII’s “Pastime with Good Company” as an assertion of power: “The last line “Who shall me let?”, that is, who shall stop me, could be a reminder to critics in the court and humanists such as Thomas More that he was king and would have his way.”

Additional Points:

  • The excerpts emphasize the financial challenges in maintaining and restoring Hampton Court, noting that it is not government-funded and relies on entrance fees and events.
  • The discussion of the bridges at Hampton Court highlights the evolution of their construction and design, including criticism of the third bridge.
  • The section on “ghosts” provides examples of reported paranormal activity but concludes with a skeptical perspective from the author.

This briefing provides a comprehensive overview of the significant information presented in the provided text regarding Wren’s contribution to Hampton Court Palace and related aspects of its history and art.

12-10 Hans Holbein at the Court of Henry VIII

12-10 Tudor Art – Hans Holbein at the Court of Henry VIII

12-11 The Wholesale Destruction of English Art

12-11 Tudor Art – The Wholesale Destruction of English Art

12-12 Charles I: King and Collector

12-12 Stuart Art – Charles I: King and Collector

12-13 Inigo Jones: Man, Masques and Mansions

My Notes on 12-13 Stuart Art – Inigo Jones: Man, Masques and Mansions

A chat on Inigo Jones produced by Google NotebookLM from my notes

12-13 Inigo Jones: Man, Masques and Mansions

Inigo Jones: Man, Masques, and Mansions

Introduction

Inigo Jones (1573-1652) is presented as a “Renaissance Universal Man” whose diverse talents encompassed architecture, costume design, and theatrical staging. Though “today one of the least recognised of British artists,” his architectural innovations were “100 years ahead of his time,” profoundly shaping British architecture for centuries. This briefing will explore his life, his significant contributions to court masques, and his enduring architectural legacy.

The Man: Inigo Jones

Early Life and Character

Born in Smithfield, London, to a Welsh cloth worker, Inigo Jones’s humble origins contrast sharply with his rise to become a “confidant and advisor to both James I and Charles I.” Little is known about his earliest years, though Christopher Wren’s later claim of Jones being a joiner in St Paul’s churchyard is unconfirmed. Philip Howard describes Jones as “a man so various that he seemed to be not one, but the epitome of the Renaissance uomo universal (‘Universal Man’).” However, others offered less flattering assessments, with Michael Leapman calling him “a proud, vain, quarrelsome hypochondriac” and John Summerson noting his “enormous egotism and unbounded assurance.”

Italian Influence and Architectural Philosophy

Jones’s trips to Italy were pivotal to his architectural education. He acquired Andrea Palladio’s I Quattro Libri dell’Architettura in Venice in 1601, and his annotations in this book provide crucial insights into his thinking. Unlike his English contemporaries, Jones learned to draw “loose, freehand sketches” like an Italian. His studies allowed him to “completely understood the language and grammar of classical buildings,” identifying the five orders (Tuscan, Doric, Ionic, Corinthian, and Composite) and their hierarchical significance. He developed a “new, clean classical style of his own,” which he described as “solid, masculine and unaffected.” This unique approach marked a complete break from the prevalent “Jacobethan” style, which blended Gothic and classical elements.

Jones’s annotations also reveal philosophical leanings, such as “Music must be adorned with other senses, philosophy especially … No sort of harmony hath in it any absolute propriety,” and “Discord and disproportion are all one.” He believed in learning “the good principles; seeking to understand that parts and the manner that he means to follow,” and that “Good manner comes from copying the fairest things.”

Career Progression and Later Life

Jones first gained recognition designing sets for royal masques, starting with The Masque of Blackness in 1605. His innovative stage designs brought him to the attention of James I and Anne of Denmark. In 1611, he was appointed Surveyor to Prince Henry, and in 1615, he became Surveyor General to James I, a position he held until 1643.

His career ended abruptly with the outbreak of the English Civil War in 1642. He was captured at Basing House in 1645 and fined £1,000. He died on June 21, 1652, aged 78, “three years after his royal patron Charles I had been executed outside the Banqueting House, the building Inigo Jones had designed for the royal masques.”

Masques: A Royal Spectacle

Description and Importance of Masques

Masques were an elaborate form of court entertainment popular during the Tudor and Stuart periods, combining “poetry, dance, music and song” with “spectacular special effects and fanciful scenery design.” They were performed by the aristocracy, including the Queen, and served primarily to “praise the virtues of the King” and extol the benefits of “divine” kingship. Unlike public theatre where women’s roles were played by men, noblewomen and the Queen herself participated, which was considered “shocking to ordinary citizens let alone Puritan extremists.”

Costumes were incredibly lavish, sometimes costing hundreds of pounds each, “about ten times a skilled artisan’s annual salary.” For example, the silkman’s bill for The Masque of Queens (1609) was “an astonishing £1,984.”

Jones’s Innovations in Stage Design

Inigo Jones revolutionized stagecraft for masques. He is credited with creating the modern stage by incorporating elements like the French proscenium arch, trap doors, raked stages, revolving stages, and drop curtains with painted scenes. He used “sliding wings in grooves and devices often painted as clouds that could hold many people who could then descend from the ceiling as gods coming to earth or rise into the sky.” He also employed light boxes with “multiple candles made brighter with mirrors” and “divers diaphanal glasses filled with several waters that showed like so many stones of orient and transparent hues.” As Jones himself observed, “these shows are nothing else but pictures with light and motion.”

Collaboration and Conflict with Ben Jonson

Jones collaborated extensively with playwright Ben Jonson on “about 500 masques” between 1605 and 1640. Their partnership was a “great double act,” but their differing artistic priorities led to “disagreements.” Jonson viewed the masque as “an idealised poetry of dialogue and song,” while Jones prioritized the “spectacular event.” The audience, however, primarily came for the spectacle and the dancing, as evidenced by a Venetian visitor who exclaimed, “Why don’t they dance? What did they make me come here for? Devil take you, dance.”

Notable Masques

  • The Masque of Blackness (1605): Jones’s first masque, performed on Twelfth Night. Queen Anne and her ladies appeared as “black-skinned daughters of Niger” who sought to “become beautiful by bathing in the Thames,” symbolizing “the transformative power and reach of the British monarchy.”
  • Oberon, the Faery Prince (1611): Featured Prince Henry as Oberon, emerging from a “magical palace” to “banish disorderly satyrs, and celebrates harmony and virtue at court.”
  • The Tethys Festival (1610): Commissioned by Queen Anne to mark Prince Henry’s elevation to Prince of Wales, with Anne appearing as Tethys, the goddess of the sea.
  • Salmacida Spolia (1640): The last masque performed before the Civil War, depicting the king as a peacemaker. Ironically, Charles I and Henrietta Maria performed in it as a futile attempt to “create a friendly atmosphere for the coming Parliamentary session.”

Mansions: The Architectural Legacy

Inigo Jones introduced a “pure classical style derived from Andrea Palladio but wholly his own” to England, marking a radical departure from the prevailing “Jacobethan” architecture. His style, characterized by “simplicity of classical detail, harmonious proportions, and severe purity of line,” influenced generations of architects, though his genius was not fully appreciated until the 18th century. Michael Leapman lists “18 structures plausibly established to be by Jones,” but only four substantial ones remain.

Key Architectural Concepts

Jones approached architecture with a deep understanding of its “language and grammar,” based on the five Roman orders. He rejected “unnecessary ornament” and “did not copy the Italian style, he invented a new, clean classical style of his own.” His preference was for a “masculine and unaffected” appearance, aligning with Puritan sensitivities of Stuart England. He believed in imitating “the best of nature” and achieving perfection by “mixing the parts and composing them.”

Masterworks and Notable Designs

Jones’s most significant surviving works include:

  • The Banqueting House, Whitehall (1619-1622): This building is lauded as “the first building to be completed in the neo-classical style which was to transform English architecture.” It was revolutionary, appearing “like an alien spacecraft” amidst the “ramshackle collection of Tudor buildings” that made up Whitehall Palace. Colen Campbell, a founder of the Georgian style, praised it: “Here our excellent architect [Inigo Jones] has introduced strength with politeness, ornament with simplicity, beauty with majesty; it is, without dispute, the first room in the world.” The ceiling features magnificent panels by Peter Paul Rubens, installed in 1636, celebrating James I’s “Divine Right of Kings.” Ironically, Charles I was executed outside this building in 1649.
  • The Queen’s House, Greenwich (begun 1616, completed 1635): Described as the “first essay in pure renaissance design in England.” Originally designed for Queen Anne of Denmark, its construction was interrupted by her death and later resumed for Queen Henrietta Maria. Its symmetrical plan and classical purity were a revelation, with “the details of plan and elevation derive[d] from Jones studies of Andrea Palladio and Vincenzo Scamozzi.”
  • The Queen’s Chapel, St James’s Palace (1623-1625): Designed for the Spanish Infanta (and later used by Henrietta Maria), this was Jones’s “first design for a church and the first church structure in England in the classical style.” It features a “coffered barrel vault derived from imperial Roman architecture.”
  • Covent Garden (begun 1630): Jones designed London’s “first ‘square’ or piazza” for the 4th Earl of Bedford, along with St Paul’s Church. The church, though much modified, was conceived as an “austere classical temple with a deep portico and severe Tuscan columns.” The famous anecdote attributes Jones’s reply to the Earl’s request for a simple church “not much better than a barn” with, “Then you shall have the handsomest barn in England.” Jones also invented the “mews” (stables behind houses) for the wealthy tenants of the new terraced houses.

Other notable designs include a gateway for Beaufort House (now at Chiswick House) and the design for the Diana Fountain in Bushy Park, originally intended for Somerset House.

Conclusion

Inigo Jones’s influence on British art and architecture is profound. From his revolutionary stage designs for court masques that blended spectacle with allegorical political messaging to his introduction of a pure, masculine classical architectural style derived from Italian Renaissance masters, Jones broke new ground. His enduring structures like the Banqueting House and the Queen’s House stand as testaments to his genius, demonstrating a clarity and originality that set the stage for centuries of British architectural development, even if his contributions were not fully recognized until later generations.