The Plimpton "Sieve" portrait of Queen Elizabeth I: Difference between revisions
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==Iconography== | ==Iconography== | ||
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. | 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, and the sieve is not just held by, but joined to, the queen's form, corded to the front of her dress. | ||
Scholars consider the sieve emblematic of two traditions: one connects the sieve to the queen's virginity, while the other suggests the queen's power of discernment. Connections between the sieve and virginity are drawn together in the tradition of Tuccia, a Roman Vestal Virgin who proved her purity to her accusers by carrying a sieve of water from the banks of the Tiber to the Temple of Vesta.<ref>Montrose 125.</ref> Tuccia was lauded by Petrarch in his ''Triumph of Chastity''; companion to this poem is his ''Triumph of Love'', part of which is used in the Plimpton portrait as an inscription. The inscription on the rim of the sieve references the second tradition present within the painting, implying that the queen is skilled at separating the "good" from the "bad" as she rules the country, ensuring that it is only the "good" that reaches her people.<ref>Pressly 331.</ref> It has also been suggested that the sieve is a reminder of the monarch's sexual sacrifice for her country, the result of which is a bounty of earthly gifts for it and her people.<ref>Dana Percec, ''Elizabeth I: Creativity, Authorship, and Agency'', in ''Episodes from a History of Undoing: The Heritage of Female Subversiveness'', ed. Reghina Dascal. (Newcastle upon Tyne: Cambridge Scholars Publishing, 2012), 9.</ref> | |||
==Creator== | ==Creator== | ||
Revision as of 10:59, 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, and the sieve is not just held by, but joined to, the queen's form, corded to the front of her dress.
Scholars consider the sieve emblematic of two traditions: one connects the sieve to the queen's virginity, while the other suggests the queen's power of discernment. Connections between the sieve and virginity are drawn together in the tradition of Tuccia, a Roman Vestal Virgin who proved her purity to her accusers by carrying a sieve of water from the banks of the Tiber to the Temple of Vesta.[2] Tuccia was lauded by Petrarch in his Triumph of Chastity; companion to this poem is his Triumph of Love, part of which is used in the Plimpton portrait as an inscription. The inscription on the rim of the sieve references the second tradition present within the painting, implying that the queen is skilled at separating the "good" from the "bad" as she rules the country, ensuring that it is only the "good" that reaches her people.[3] It has also been suggested that the sieve is a reminder of the monarch's sexual sacrifice for her country, the result of which is a bounty of earthly gifts for it and her people.[4]
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.[5]
Attribution
In The English Icon, Roy Strong attributes this portrait to Gower on stylistic grounds.[6]
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.
- ↑ Montrose 125.
- ↑ Pressly 331.
- ↑ Dana Percec, Elizabeth I: Creativity, Authorship, and Agency, in Episodes from a History of Undoing: The Heritage of Female Subversiveness, ed. Reghina Dascal. (Newcastle upon Tyne: Cambridge Scholars Publishing, 2012), 9.
- ↑ 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.