The Plimpton "Sieve" portrait of Queen Elizabeth I: Difference between revisions
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==Physical description== | ==Physical description== | ||
===Inscriptions=== | |||
The portrait contains four inscriptions in Latin, French, and Italian. | |||
{| border="2" class="wikitable sortable" style="text-align: center" | |||
! Inscription !! Position !! Translation !! Notes | |||
|- | |||
| <small>TUTTO VEDO & MOLTO MANCHA</small> || upper left, above globe || ''I see everything and much is lacking'' || last two letters of inscription are joined | |||
|- | |||
| <small>E.R.</small> || upper right, above the royal arms || ''Elizabeth regina'' || | |||
|- | |||
| <small>HONI SOIT QV...I MAL Y PENSE</small> || on the coat of arms || ''Evil be to him who evil thinks'' || motto of the [[Symbols of Honor exhibition material#The Order of the Garter and The Garter King of Arms|Order of the Garter]] | |||
|- | |||
| <small>SEMPER EADEM</small> || on the coat of arms || ''Always the same'' || Motto of Elizabeth I | |||
|- | |||
| <small>STANCHO RIPO / SO & RIPOSATO / AFFANO 1579</small> || beneath the coat of arms || ''Weary I rest and, having rested, I am still weary'' || Petrarch's ''Trionfo d'Amore'', IV, 1. 145 | |||
|- | |||
| <small>ATERA...MAL DIMORAINSELA</small> || on the sieve's rim || ''To earth the good, bad remains in the saddle'' || | |||
|} | |||
==Iconography== | ==Iconography== | ||
Other well-known portraits of this type include the Siena "sieve" portrait, completed in 1583 by Quentin Messys the Younger. | Other well-known portraits of this type include the [http://pinacotecanazionale.siena.it/ Siena] "sieve" portrait, completed in 1583 by Quentin Messys the Younger. These portraits were painted in the wake of Elizabeth I's abandoned marriage negotiations with François, duc d'Anjou as assertions of the queen's royal chastity.<ref>Louis Montrose, ''The Subject of Elizabeth: Authority, Gender, and Representation'' (Chicago: The University of Chicago Press, 2006), 121-122.</ref> The Plimpton portrait is unique among this series, as the queen turns to the viewer's right, not left. | ||
==Creator== | ==Creator== | ||
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In [https://books.google.com/books/about/The_English_icon_Elizabethan_Jacobean_po.html?id=QVcYAQAAMAAJ| ''The English Icon''], Roy Strong attributes this portrait to Gower on stylistic grounds.<ref>Pressly 330.</ref> | In [https://books.google.com/books/about/The_English_icon_Elizabethan_Jacobean_po.html?id=QVcYAQAAMAAJ| ''The English Icon''], Roy Strong attributes this portrait to Gower on stylistic grounds.<ref>Pressly 330.</ref> | ||
==Provenance== | ==Provenance== | ||
Revision as of 09:28, 17 July 2015
Completed by George Gower in 1579, this work is part of a series of portraits of Elizabeth I in which she holds a sieve to symbolize her chastity. It is the earliest of the "sieve" portraits, and the oldest painting in the Folger Collection. The portrait is currently displayed in the Founders' Room. For more information, see this item's Hamnet record.
Physical description
Inscriptions
The portrait contains four inscriptions in Latin, French, and Italian.
| Inscription | Position | Translation | Notes |
|---|---|---|---|
| TUTTO VEDO & MOLTO MANCHA | upper left, above globe | I see everything and much is lacking | last two letters of inscription are joined |
| E.R. | upper right, above the royal arms | Elizabeth regina | |
| HONI SOIT QV...I MAL Y PENSE | on the coat of arms | Evil be to him who evil thinks | motto of the Order of the Garter |
| SEMPER EADEM | on the coat of arms | Always the same | Motto of Elizabeth I |
| STANCHO RIPO / SO & RIPOSATO / AFFANO 1579 | beneath the coat of arms | Weary I rest and, having rested, I am still weary | Petrarch's Trionfo d'Amore, IV, 1. 145 |
| ATERA...MAL DIMORAINSELA | on the sieve's rim | To earth the good, bad remains in the saddle |
Iconography
Other well-known portraits of this type include the Siena "sieve" portrait, completed in 1583 by Quentin Messys the Younger. These portraits were painted in the wake of Elizabeth I's abandoned marriage negotiations with François, duc d'Anjou as assertions of the queen's royal chastity.[1] The Plimpton portrait is unique among this series, as the queen turns to the viewer's right, not left.
Creator
George Gower
George Gower was born in Yorkshire around 1540, and died in 1596 in London, where he was buried on August 30. By 1573, he was working in London as a portrait painter. Among his subjects were Sir Thomas Kytson and his wife Elizabeth, both 1573, and Elizabeth Knollys, 1576. On July 5, 1581, he was appointed Elizabeth I's Serjeant Painter for life. After this appointment, Gower and fellow painter Nicholas Hilliard attempted to streamline production of images of Elizabeth such that their production was exclusive to the pair. This attempt failed, and to date no images of the queen credited to Gower during his lifetime exist.[2]
Attribution
In The English Icon, Roy Strong attributes this portrait to Gower on stylistic grounds.[3]
Provenance
Publisher George Arthur Plimpton acquired the painting by 1930, which was inherited by his son Francis T. P. Plimpton upon the former's death in 1936. The younger Plimpton bequeathed the work to the Folger Shakespeare Library, but, through an arrangement with the Library, was possessed by his widow until its transfer to the Library in 1997.
Notes
<references>
- ↑ Louis Montrose, The Subject of Elizabeth: Authority, Gender, and Representation (Chicago: The University of Chicago Press, 2006), 121-122.
- ↑ William L. Pressly, A catalogue of paintings in the Folger Shakespeare Library : "as imagination bodies forth" (New Haven: Yale University Press, 1993), 329-330.
- ↑ Pressly 330.