Portrait of Henry VIII of England, unknown artist after Hans Holbein the Younger, unknown date early 17th

century, Collection of the Duke of Rutland, Belvoir Castle, County of Leicestershire, England
Queen Elizabeth I ('The Ditchley portrait'), by Marcus Gheeraerts the Younger, oil on canvas, circa 1592,
95 in. x 60 in. (2413 mm x 1524 mm), Bequeathed by Harold Lee-Dillon, 17th Viscount Dillon, 1932,
On display in Room 2 at the National Portrait Gallery, London
Known as the 'Ditchley Portrait', this painting was produced for Sir Henry Lee who had been the
Queen's Champion from 1559-90. It probably commemorates an elaborate symbolic entertainment
which Lee organised for the Queen in September 1592, and which may have been held in the
grounds of Lee's house at Ditchley, near Oxford, or at the nearby palace at Woodstock.. After his
retirement in 1590 Lee lived at Ditchley with his mistress Anne Vavasour. The entertainment
marked the Queen's forgiveness of Lee for becoming a 'stranger lady's thrall'. The portrait shows
Elizabeth standing on the globe of the world, with her feet on Oxfordshire. The stormy sky, the
clouds parting to reveal sunshine, and the inscriptions on the painting, make it plain that the
portrait's symbolic theme is forgiveness. The three fragmentary Latin inscriptions can be interpreted
as: (left) 'She gives and does not expect'; (right) 'She can but does not take revenge', and (bottom
right) 'In giving back she increases (?)'. The sonnet (right), perhaps composed by Lee, though
fragmentary, can mostly be reconstructed. Its subject is the sun, symbol of the monarch.

http://www.npg.org.uk/collections/search/portrait/mw02079/Queen-Elizabeth-I-The-Ditchley-portrait

Elizabeth I The ‘Ditchley Portrait’

This portrait shows a 59 year old Elizabeth, standing on a globe with her feet placed on England.
The background is divided into two areas. The left shows sunshine, the right a cloudy, stormy sky.

Symbolism

Elizabeth is wearing a white dress, which is a symbol of virginity. The rose pinned to her ruff
represents the house of Tudor. The map of England highlights her domination of her country. The
background of the painting presents contrasting weather. Storms refer to troubled times in her past.
The sunshine refers to her bringing her kingdom into better times.

Why was the portrait painted?

Sir Henry Lee commissioned the portrait. It commemorates Elizabeth’s forgiveness of Sir Henry
Lee, for taking a mistress. The reason that the portrait is called the ‘Ditchley’ portrait is because
Elizabeth is standing on the point in the map where Sir Henry Lee’s house is located in Ditchley,
Oxfordshire. It was made for Elizabeth’s first visit to Lee’s house in September 1592, after he had
been out of favour for two years. The weather depicted behind her in the portrait may also refer to
their quarrel.

For further information on these portraits, why not order a copy of the Portraits of Queen Elizabeth
Resource Pack http://www.npg.org.uk/live/pubeliz1resource.asp or Tudor Portraits Resource Pack
http://www.npg.org.uk/live/edtudor.asp

http://www.npg.org.uk/assets/files/pdf/exploring-elizabeth/npg_portraits.pdf
Launch of Fire Ships against the Spanish Armada, 7 August 1588, c. 1590, oil on canvas, 990 mm x 1725
mm, Netherlandish School, National Maritime Museum,Greenwich, London, Caird Collection

A contemporary Flemish interpretation of the launching of English fire-ships against the Spanish
Armada. As Spain and England were in conflict, English piracy against Spanish ships was a
continuing grievance for Philip II. The English were aware that Spain was amassing a fleet so, by
the mid-1580s, it had reconstructed its own fleet to meet the threat. In the summer of 1588, England
knew the Armada was on its way and knew its exact size and firepower. The 'battle' of the Armada
was in reality a series of inconclusive engagements during which the Spanish fleet struggled up the
English Channel. This campaign was the first occasion at which the great gun played the chief part
in naval warfare. Although, the English captured three flagships, their success was not decisive and
the Duke of Medina Sidonia, in charge of the Spanish fleet, arrived safely at Calais with his fleet
not seriously depleted. On the night of 7 August Sir Francis Drake, second in command of the
English fleet, sent in eight small ships packed with inflammables, known as fire-ships. They were
set alight amongst the anchored Spanish fleet which caused great confusion, forcing the Spanish
ships to cut their cables in order to save themselves. They never regained their anchorage. When
storms swept the Spanish into the North Sea, they were scattered round the Scottish coast, and many
ended up wrecked off Northern Ireland. This painting of an imagined scene shows the fire-ships
running down on the Spanish fleet, with the English fleet following, although this did not happen.
In the left foreground is a Spanish flagship engaged with an English vessel on her starboard side
which, in turn, is engaged with a galleass on her port quarter. An English ship is running down on
them from the right. Painted in about 1590, it is part of the Caird collection and was presented to the
National Maritime Museum in 1938.

Read more at http://collections.rmg.co.uk/collections/objects/11755.html#V2WQsqB55qlhiUYZ.99

The Armada Portrait, Unknown English artist (formerly attributed to George Gower), c.1588, Oil on oak
panel, Woburn Abbey, Woburn, Bedfordshire, England
The Armada Portrait of Elizabeth I of England is the name of any of three surviving versions of an
allegoricalpanel painting depicting the Tudor queen surrounded by symbols of imperial majesty
against a backdrop representing the defeat of the Spanish Armada in 1588.

QUEEN ELIZABETH I (1533-1603)

The Armada Portrait, c.1588. Attributed to George Gower (c.1546-1596).

The Armada Portrait, displayed in the Long Gallery, is a must see for visitors to Woburn Abbey. An
impressive picture, it is a statement of power and authority with Queen Elizabeth I portrayed as
Empress of the world and commander of the seas.

This portrait of Elizabeth I is attributed to George Gower in 1588 and is an oil painting on an oak
panel. It is known as 'The Armada Portrait' because it commemorates the great sea battle of 1588
when the English fleet defeated the invading Spanish Armada sent to overthrow Elizabeth. The
view of the battle in the two windows behind the Queen conveys messages of Elizabeth's victory.

Symbolism
This is probably the most iconic portrait of Elizabeth the Virgin Queen (and is one of three versions
in existence). Her hand is firmly on the globe and the Imperial crown reflects her equality with the
Holy Roman Emperor and her status as Empress of the world, whilst the mermaid hints at her
command of the seas. Her dress, in her preferred colours of black and white, also proclaims her rank
and is covered with her favourite gems and precious pearls from the sea, a sign of virginity.

The Long Gallery

The Long Gallery is a space that served several purposes. It could be used for displaying collections
of art and for exercise by walking up and down the room when the weather discouraged a visit to
the gardens. It is still used by the family when entertaining guests.

http://www.woburnabbey.co.uk/abbey/art-and-the-collection/the-armada-portrait/
Portrait of Queen Elizabeth I, known as The Rainbow Portrait, Isaac Oliver, (c. 1600), Oil on
canvas, Hatfield House, Hatfield, Hertfordshire, UK
Rainbow Portrait of Queen Elizabeth I, attributed to Isaac Oliver, between circa 1600 and circa
1602, oil on canvas, 127 × 99.1 cm (50 × 39 in), Collection of the Marquess of Salisbury, on
display at Hatfield House, Hatfield, Hertfordshire, England

Attributed to Isaac Oliver (1556-1617) but also to Marcus Gheeraerts the Younger (1561-1636)

This portrait of Elizabeth I painted in the last year of her long reign portrays her in the prime of life
as the immortal Queen and Virgin Mother of her people. With the abolition of Catholicism under
Henry VIII, images of the other Virgin had disappeared to be displaced, to some extent, in the
national consciousness by Elizabeth’s. Although by 1600 an accurate likeness was expected in
portraits on the continent, England had been slow to adopt Renaissance innovations in the visual
arts. Besides, few could probably remember what the seventy-year old queen once looked like. As
long as she had a regal costume, red hair and was beautiful, Oliver could probably imagine her as
he liked.

http://www.everypainterpaintshimself.com/article/isaac_olivers_rainbow_portrait_of_queen_elizabe
th_i_c.1600
Queen Elizabeth I, Coronation Portrait, by Unknown English artist, oil on panel, circa 1600, 50 1/8 in. x 39
1/4 in. (1273 mm x 997 mm), The National Portrait Gallery, London
This painting is known as 'The Coronation portrait', and shows the Queen crowned, wearing the
cloth of gold that she wore at her coronation on 15 January 1559, previously worn by Mary I. She
holds the orb and sceptre, symbols of her authority. The portrait appears to have been painted in
about 1600, and is probably a copy of a lost original from circa 1559.

Elizabeth I The ‘Coronation’ Portrait

This portrait shows a 26-year-old Elizabeth in her coronation robes; it was unusual for a Tudor
portrait as she is shown full face. This image was used as the basis for coins and seals. The portrait
was painted around 1600 –1610 and it was based on an original painting (now lost) which dated
from Elizabeth’s coronation in 1559.

Symbolism

Elizabeth is wearing a dress decorated with Tudor roses and fleur-de-lis. The fleur-de-lis is a
reference to the English claim to French soil. Elizabeth has long flowing hair in this portrait, which
is traditional for the coronation of a queen. The fabric of her dress is made from woven gold and
silver silk thread. The lining of her robe is ermine, with each black dot being the tail of one animal.
These coronation robes were originally used by Elizabeth’s sister Mary I, five years earlier.

http://www.npg.org.uk/assets/files/pdf/exploring-elizabeth/npg_portraits.pdf

http://www.marileecody.com/eliz1-images.html