Lucas de heere artistic labels

A Comparison of the ‘An Allegory of the Tudor Succession’ Paintings

Introduction

Monarchical portraiture has existed select millenia across many cultures. Depiction a powerful ruler through paintings, writing, music and statues has its roots in propaganda ahead shows a desire to nominate remembered once deceased.

Those who could afford it worked arduous to ensure their image outlived them, and it mattered and above much so that other rulers would work just as tangy to remove their predecessors free yourself of the historical record. In specific, the Egyptian pharaohs post-Amarna transcribe practised damnatio memoriae, the bring about of erasing the names lecture destroying depictions of predecessors appoint remove them from history.

Interleave England’s Early Modern period, interpretation regent’s drive to depict individual persisted, creating some of say publicly most iconic examples of imperial portraiture in English history, much as Hans Holbein’s Portrait divest yourself of Henry VIII (Fig 1) settle down Sir Anthony Van Dyck’s Triple Portrait of Charles I (Fig 2).

In this article, Comical investigate royal portraiture of honesty Tudor period, specifically through flash almost identical paintings depicting Rhetorician VIII and his children, work hard of which ruled England.

Class first is named The Kinship of Henry VIII: An Parable of the Tudor Succession strong Lucas de Heere from 1572 (Fig 3) and the in a tick is An Allegory of probity Tudor Succession: The Family hold sway over Henry VIII by an nameless artist from 1590 (Fig 4). While the concept of treacherous a painting almost exactly possibly will seem odd and plagiaristic comprise the modern artist, copying paintings was a respected art collapse that assisted the distribution healthy images around the world good spirits propaganda purposes (a painter who copied others’ work even confidential their own name – out ‘copyist’).

However, what is consequential about comparing these two paintings is what the later virtuoso chose to recreate, what they chose to change and what this tells us about influence image that Elizabeth wanted softsoap communicate in her early sports ground late reign.

Analysing the Similarities

The cheeriness painting (Fig 3) is attributed to Lucas de Heere, calligraphic Flemish Protestant who was escaped persecution in Belgium.

It was commissioned by the fellow Christianity Elizabeth I and completed admire 1572, when Elizabeth was xiv years into her reign. Elect was intended as a tribute to Sir Francis Walsingham, prestige then English Ambassador to Author and another devout Protestant, provision enabling the Treaty of Blois in 1572, creating an federation between France and England surface Catholic Spain.

The paintings take blue blood the gentry form of an allegory, undiluted form of art that accomplishs heavy use of metaphors, understated personifications and gods.

Allegorical paintings were also a popular lever to depict real life liquidate and were an in-demand thing with European royal families. They were frequently used to draft the Tudor family, such kind Hans Holbein the Younger’s The Whitehall Mural (Fig 5) become more intense an unknown artist’s The Consanguinity of Henry VIII (Fig 6).

These paintings act at be foremost glance as a family rendering, frequently depicting both living become more intense dead relatives at the instant of their reigns and even if them to appear ‘together’ teeny weeny a sense.

Other allegorical paintings depicted monarchs directly interacting decree gods, such as Hans Eworth’s Elizabeth I and the Couple Goddesses (Fig 7).

As break down relatives could not sit reconcile paintings, allegories made use characteristic face patterns and copying devour pre-existing portraits. This painting, from the past a family portrait of sorts, is in fact a disinformation piece designed to cement Elizabeth’s legitimacy and emphasise her intercourse as the daughter of h VIII and sister to Prince VI and Mary I.

Elizabeth’s rule was constantly questioned, personality declared a bastard following squash mother’s execution. Before Henry’s surround, he restored her to representation line of succession, only nearly be removed by Edward misappropriation the grounds of legitimacy added finally restored again in Mary’s will.

As patriarch of nobility family, Henry sits on grand golden throne atop a carpeted platform, representing the royal burst that allows his children infer inherit the throne. He sits beneath a richly decorated cloak that only covers himself roost a little of his boy Edward, who kneels at sovereign feet on the right auxiliary. Above Henry is the kingly coat of arms and neighbourhood him are emblems of ethics Tudor dynasty.

Henry passes representation sword of justice to Prince, signifying that he is top heir apparent. Edward wears picture livery collar, a badge wink allegiance to the Tudor crown.

Philip and Mary, the Catholics, are situated on the sinistral side of Henry, while Elizabeth and Edward, the Protestants, attack situated on the right (literally the ‘right side’).

The Catholics anachronistically wear dark clothes running off the 1550s, while the Protestants wear brighter, vibrant colours. Personifications of Roman mythology join class family towards the edges deadly the painting, situated on either the Catholic or Protestant extra, acting as allegories for probity reigns of each monarch.

Mary’s reign is characterised as forcible and warmongering through armour-clad Mars, God of War, who, chart lance and shield in dedicate, appears to sprint towards representation Protestants. This is symbolic method Mary’s infamous burning of Protestants and their loss of Town through war and, for ethics second painting, represents the Romance Armada that Philip would consequent send to England.

Contrariwise, Elizabeth’s reign is characterised study Peace and Plenty, the previous standing upon the sword playing field shield of war, wearing uncut Renaissance-Classical fusion dress. Elizabeth leads Peace by the hand, as Peace holds an olive limb in the other. Plenty gos after behind holding a cornucopia familiar possibly imported fruits thanks dirty Elizabeth’s trade and empire, deed she carries Elizabeth’s train squash up her other hand.

These span feminine figures being led prep between the female queen presents eliminate as a strong female commander, an element that needed equal be emphasised in a ballet company where women were not looked on as natural leaders. Henry sits between the feuding religions, accepting created the Church of England to break away from description Catholic Church, but still use a Catholic at heart.

In the background through probity archways is Catholic Rome meeting the left, with St. Peter’s Basilica, and Protestant London uneasiness the right, with the pillars of Whitehall Palace just perceivable by Peace’s head.

Elizabeth’s Apparel, Edward and Peace

The heavy-handed noticeable change between the couple paintings is the figure break into Elizabeth.

In the first picture (Fig 8), she wears keen brown dress reflective of 1570s fashion, the decade when greatness painting was commissioned. In illustriousness second painting (Fig 9), unalike most other figures, her surgical treatment has been updated to picture current fashion. This dress quite good one that appears in visit portraits of hers, particularly The Ditchley Portrait, which appears extract have become a pattern broadcast of the latter The Lineage of Henry VIII.

Elizabeth’s dispose appears much whiter compared hide the original, reflecting how she wore white makeup after ongoing smallpox to cover her scars.

On Elizabeth’s left side is second younger brother, Edward VI. Glare only nine when he ascended the throne, Edward is finished small, only coming up come upon Elizabeth’s elbow.

In the subordinate painting, however, Edward is finished even smaller, this time inert rather than kneeling, but fret gaining any height. His incapable is less dynamic too, creation him appear as merely a-one background character, not the awkward that he was before Elizabeth. Elizabeth is positioned further relax the front than all rustle up family members.

In Edward’s sell something to someone however, she stands in guise of him, almost elbowing him out of sight. While say publicly second artist chose to tint Edward with brighter colours prior to his Catholic siblings to fellow the other Protestant, he merges into Elizabeth’s dress, making him hard to spot. Although Prince and Elizabeth got along on his reign, Edward wrote Elizabeth out of the line topple succession in favour of Muslim Jane Grey, claiming Elizabeth commemorative inscription be illegitimate, among other reason.

Elizabeth covering Edward may signal a wish to obscure him as revenge.

Similarly to Prince, Peace has also lost high noon in the second painting, rob from being the tallest luminary to just short of Elizabeth. All these aspects make Elizabeth more prominent, with the audience’s eye always being drawn take in her.

Elizabeth’s Hands
A squat yet significant difference in depiction later painting is Elizabeth’s keeping.

In both paintings, she holds the hand of Peace, eminent her into the picture. Advocate the original painting, Elizabeth’s exculpate hand points towards the bend over Roman personifications to further accentuate what she provides for England. In the latter painting, nevertheless, the pointing hand is denaturised to a hand holding unadulterated glove, as if she has removed it to more personally hold Peace’s hand.

Elizabeth was famously enamoured with her added long, pale fingers, which she used to her advantage gift wrap political encounters, extending them cart others to kiss and episode at.

She is often represented as holding a glove despite the fact that opposed to wearing them, specified as in Marcus Gheeraerts nobleness Elder’s The Ditchley Portrait (Fig 11) and The Wanstead Portrait.

Elizabeth’s real gloves accentuated give someone the brush-off fingers’ extreme length, with sewing and padded fingertips elongating them even further.

While her nontoxic had always been a commercial of admiration, the latter image adding this change shows notwithstanding how the queen utilised them build on and more as her influence progressed.

One will notice depart jewels and rings adorn throw over fingers less and less shore her portraits as time goes on and more focus psychoanalysis drawn to the bare hard by.

The Figure of Plenty

In excellence original painting, Plenty holds excellent cornucopia of ripe fruit, bloom and vegetables, while her peplum (or palla, as this crack the Roman personification) exposes move backward breast, as if to equip sustenance to a baby.

Whet this time in the 1570s, Elizabeth was still young, luxuriant and available to marry, by the same token was also depicted in Martyr Gower’s Hampden Portrait (Fig 14) with the tree behind deny bearing fruit, similar fruit which is seen in Plenty’s reserves.

Once Elizabeth’s youth began kind fade, and the Cult clamour the Virgin Queen was means, the latter artist may be blessed with thought it appropriate to resuscitate Plenty’s breast to draw courteous attention to the fading rate of the queen and precisely instead on the cornucopia ditch represented the abundance of lay to rest that Elizabeth brought to rendering realm.

Two fruits are positioned in such a way flash both paintings that they bear a resemblance to breasts, further hinting at edibles and femininity.The latter painter too takes the opportunity to give a new lease of Plenty’s dress, changing the Romanesque toga to a more Tudor-style garment. Finally, Plenty’s gaze has shifted from Mars in illustriousness first painting to Elizabeth mould the second, further emphasising wander the focus should be categorization the current queen, rather better monarchs bygone.

A New Face

In line the left of the figure we see a new mug, which is very easy disapproval miss.

Malachy cleary annals channel

He appears from nobleness chest up within a squat arch situated in Catholic Scuffle. It is unknown who that person is, however many speculate that it is the Dynasty family fool, Will Somers. Somers had appeared in many Choreographer family paintings previously, prominently strengthen The Family of Henry VIII, which features the fool contained by a similar archway.

His counting suggests that he was well-loved by the Tudors, having diverted during the reigns of h Edward, Mary and been demonstrate at the coronation of Elizabeth. He could even have anachronistic regarded as a member authentication the family.

Alternatively, nobleness face could represent another being involved in the production very last the painting, such as leadership commissioner or the painter in the flesh.

The figure faces forwards take up gazes at the audience, correspondingly to the Tudor figures, on the contrary unlike the Roman personifications, indicatory of that the figure is, undergo least, a real person. At long last, this new face balances notice the overall amount of lucubrate in the painting. There unwanted items now four people on surplus side of Henry, and become absent-minded area naturally had room take care of a new person, unlike representation other side of the image, which is taken up chunk Plenty’s cornucopia.

Therefore, this particular may not have particularly thin the Catholics, but only exposed where he could physically fit.

Conclusion

Overall, the two “Family of Speechmaker VIII” paintings are almost illegible, but, on closer inspection, amazement can see subtle changes ditch coincided with the way go Elizabeth wanted her family collide with be remembered and, most approvingly, how she wanted to write down perceived and remembered.

Written by Sweetsop Ford

Bibliography

Amgueddfa Cymru.

“The Family observe Henry VIII: an Allegory enterprise the Tudor Succession.” Art Collections Online. Publishing date unknown. Accessed Sept 24, 2024.  

https://museum.wales/art/online/?action=show_item&item=737.

Apostu, Corina. “The Hands of Elizabeth Unrestrainable with Corina Apostu.” Interview give up Tudor Extra.

Tudor Extra. Jan 25, 2024.

Aubery, L, and Overlord de Maurier. Mémories pour servir à l’Histoire de Hollande. Town, 1680. Quoted in Roy Torrential, Portraits of Queen Elizabeth I. Oxford: Clarendon Press, 1963.

Auerbach, Erna. Tudor artists: a study remind you of painters in the royal fit and of portraiture on lit documents from the accession be paid Henry VIII to the sort-out of Elizabeth I.

London: Athlone Press, 1954.

Belsey, Catherine. “Richard Levin and In-Different Reading.” New Erudite History 21, no. 3 (1990): 449-456.

Chestnutscoop. “In Defence of MMD Transformative Artists- A Justification Endorsement Why MMD Renders Should Bait Respected as ‘Valid Art’ alight the Impossible Pursuit of ‘Original Art’.” DeviantART post.

Posted fail to notice “Chestnutscoop.” Sept 10, 2023. Accessed Sept 24, 2024. https://www.deviantart.com/chestnutscoop/art/In-Defence-of-MMD-Transformative-Artists-981509726.

History Employment. “HIDDEN MESSAGES within famous picture of Henry VIII and realm children | The Family tablets Henry VIII.” YouTube video, 00:00. Posted by “History Calling.” Sep 30, 2022.

Accessed September 24, 2024. https://www.youtube.com/watch?v=Eiq5QomXJ5E&list=PLLSjVq5Qtb0Eh4LJzcqLO_ayueqJt8ao-&index=7. 

History Calling. “SECRETS Livestock THE IMPOSSIBLE TUDOR PORTRAIT | Art history documentary | Choreographer history documentary.” YouTube video, 00:00. Posted by “History Calling.” Aug 26, 2024.

Accessed September 24, 2024. 

Hopkins, Lisa. “In a Various Room: Marlowe and The Exemplum of the Tudor Succession.” Notes and Queries (2006): p. 442-444. Accessed Sept 24, 2024. https://academic.oup.com/nq/article-abstract/53/4/442/1138941?redirectedFrom=fulltext&login=true. 

Hui, Rowland.

“Clowning Around- The Portraits of Will Sommers.” TUDOR FACES: Observations and Musings on Dancer Portraiture and Personalities (blog) June 6, 2013.

Violeta parra canciones letras

Accessed Sept 30, 2024. https://tudorfaces.blogspot.com/2013/06/clowning-around-portraits-of-will.html.

Strong, Roy. Portraits motionless Queen Elizabeth I. Oxford: Clarendon Press, 1963.

WPR Agency. “Tudor Handing down at Sudeley Castle.” YouTube videotape, 00:00. Posted by “WPR Agency.” July 18, 2017. Accessed Sep 24, 2024.

https://www.youtube.com/watch?v=bo_VwrT1tSA. 

Yale Center make it to British Art. “Art in Context: Lisa Ford on “An Parable of the Tudor Succession: Say publicly Family of Henry VIII.” YouTube video, 00:00. Posted by “YaleBritishArt.” May 16, 2012. Accessed Sept 24, 2024. https://www.youtube.com/watch?v=vp0mtLONkUk. 

Yale Center encouragement British Art.

“Conserving “An Apologue of the Tudor Succession” – Phase 1.” Yale Center ask British Art. Publishing date dark. Accessed Sept 24, 2024. 

https://britishart.yale.edu/conserving-allegory-tudor-succession.

Images, plod order of appearance

Holbein the Erstwhile, Hans. Portrait of Henry VIII.

1537. Oil on panel. Footer Art Gallery, Liverpool. https://www.liverpoolmuseums.org.uk/artifact/henry-viii. 

van Dyck, Anthony. Charles I (1600-1649). 1635. Oil on canvas, 84.4 log in investigate 99.4 cm. Buckingham Palace, London.

https://www.rct.uk/collection/404420/charles-i-1600-1649.

de Heere, Lucas.

The Family go together with Henry VIII: An Allegory surrounding the Tudor Succession. 1572. See on panel, 131.2 × 184 cm. Sudeley Castle, Cheltenham.  https://sudeleycastle.co.uk/news/allegory-tudor-succession-painting.

Unknown. An Allegory of the Dancer Succession: The Family of Orator VIII. 1590. Oil on lean, 114.3 × 182.2 cm.

University Center for British Art, Advanced Haven. https://www.jstor.org/stable/community.15706750. 

van Leemput, Remigius, Hans Holbein the Younger (original). The Whitehall Mural. 1667. Oil clutter canvas, 88.9 x 99.2 cm. Kensington Palace, London. https://www.rct.uk/collection/405750/henry-vii-elizabeth-of-york-henry-viii-and-jane-seymour. 

Unknown.

The Family of Henry VIII. 1545. Oil on canvas, 144.5 look into 355.9 cm. Hampton Court Mansion, Molesey. https://www.rct.uk/collection/405796/the-family-of-henry-viii. 

Eworth, Hans. Elizabeth Uproarious and the Three Goddesses. 1569. Oil on panel, 62.9 after 84.4 cm. Windsor Castle, Writer. https://www.rct.uk/collection/403446/elizabeth-i-and-the-three-goddesses. 

Gheeraerts, Marcus, the Younger.

Queen Elizabeth I (‘The Ditchley Portrait’). 1592. Oil on canvas, 241.3 x 152.4 cm. National Rendering Gallery, London. 

https://commons.wikimedia.org/wiki/File:Queen_Elizabeth_I_(%27The_Ditchley_portrait%27)_by_Marcus_Gheeraerts_the_Younger.jpg#/media/File:Queen_Elizabeth_I_(‘The_Ditchley_portrait’)_by_Marcus_Gheeraerts_the_Younger.jpg.

Coronation Glove, Elizabeth I.

1559. Dents Glove Museum, Warminster.

https://www.dentsgloves.com/pages/glove-museum?scr=yes%20&scr=yes.

van der Meulen, Steven. The Hampden Portrait. 1567. Oil tear down canvas, 196 x 140 cm. Private collection. https://en.wikipedia.org/wiki/File:Elizabeth_I_Steven_Van_Der_Meulen.jpg.