12 Tudor and Stuart Art | The Free Art History Course

12-01 Early British Art

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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:

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.

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.”

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.

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.”

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.

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.

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.

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”.

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 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.