Leo Martínez
The painting of Edward VI as a child by Hans Holbein the Younger features an inscription at the bottom that is a poem in Latin, written by Sir Richard Morison. The poem reads:
> Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come.
The painting, which is on display at the Denver Art Museum, is one of several portraits of Edward VI that feature inscriptions.
| Characteristics | Values |
|---|---|
| Artist | Hans Holbein the Younger |
| Painting Date | 1539 |
| Subject | Edward, Prince of Wales (later King Edward VI) |
| Age of Subject | 14 months |
| Subject's Father | King Henry VIII |
| Subject's Mother | Jane Seymour |
| Poem Inscription | "Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come." |
| Author of Poem Inscription | Sir Richard Morison |
| Language of Poem Inscription | Latin |
| Portrait Style | Formal, adult-like outfit |
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What You'll Learn
The poem in Latin by Sir Richard Morison
The Denver Art Museum houses a painting of Edward, Prince of Wales (later King Edward VI), by Hans Holbein the Younger. The painting features an inscription at the bottom, which is a poem in Latin by Sir Richard Morison. The poem, translated to English, reads:
> Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come.
Such inscriptions were not uncommon, especially for royal paintings. The King commissioned the portrait not just to have a likeness of his son, but also to serve propaganda purposes, promoting his royal dynasty and his causes. The words flatter the king, communicate his power, and lend validity to his Reformation causes. They also convey the high expectations held for the child.
The painting of the young prince Edward is set against a blue background and features him dressed in a formal adult-like outfit, including a red velvet tunic and a fancy hat tied under his chin, both adorned with elaborate gold details. The shadow cast by the boy onto the blue background creates a sense of real space. The dark blue bands lining the sides of the painting indicate that the image is not displayed in its original frame.
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The propaganda purpose of the painting
The painting of Edward VI by Hans Holbein the Younger, also known as "Edward VI as a Child", served as a powerful tool for royal propaganda. The inscription at the bottom of the painting, a poem in Latin, plays a significant role in conveying this message. The poem, written by Sir Richard Morison, urges the young prince to emulate his father, King Henry VIII, and surpass him in glory. It sets high expectations for the prince, reflecting the king's desire to promote his royal dynasty and causes.
The portrait itself was commissioned by King Henry VIII, who intended to use it as a tool to exalt himself, his power, and his Reformation causes. The painting's intricate details, such as the prince's formal outfit with elaborate gold trimmings, further reinforce the propaganda message. The artist, Holbein, was known for his highly skilled and dignified portraiture, and his style influenced English portraits for almost a century after his death.
The painting's composition also contributes to its propaganda value. The young prince is depicted behind a parapet draped with a dark green cloth, creating a sense of separation between the royal child and the viewer. This composition not only adds to the sense of majesty but also provides the perfect spot for the inscription, ensuring that the message is clearly conveyed.
The use of distorted perspective, or "anamorphosis", in the painting further serves to amaze spectators and display the virtuosity of the painter. This technique enhances the propaganda impact by creating a sense of wonder and curiosity around the young prince. The original frame of the painting, with its notch and iron viewing device, was designed to guide viewers to the correct perspective, ensuring that the inscription could be read clearly.
The painting's subsequent adaptations also reflect its ongoing propaganda value. The costume was altered to reflect Edward's coronation, and the background was repainted, possibly to cover the original inscription. These changes suggest that the portrait continued to be used as a tool to promote the royal family and their causes even as Edward's status changed.
Overall, the inscription and visual elements of the painting "Edward VI as a Child" worked together to create a powerful piece of royal propaganda, promoting the glory and expectations of the young prince, exalting the king, and advancing his causes.
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The artist's intention behind the inscription
> "Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come."
The inscription, placed on a parapet draped with a dark green cloth, serves as a reminder to the young prince to follow in his father's footsteps and uphold the family's power and legacy. It also conveys the high expectations held for the child. Such inscriptions were not uncommon, especially for royal paintings, and they often served propaganda purposes.
In another portrait of Edward VI, this time by the Dutch artist William Scrots, the inscription "guilhelmus pingebat" (William painted this) is found on the original frame. This inscription may indicate the artist, William Scrots, who was active between 1537 and 1553. The painting itself is a virtuoso piece, using the technique of distorted perspective (anamorphosis) to showcase the painter's skill and amaze viewers.
The portrait of Edward VI by Hans Holbein the Younger is believed to have been commissioned by King Henry VIII to exalt his only legitimate son and desired male heir. Holbein was known for his highly skilled and dignified portraiture, and he became the official painter to King Henry VIII in 1536. Through his meticulous technique, Holbein achieved remarkable realism in details, capturing the powerful physical presence of his subjects while also conveying their psychological reserve.
In summary, the inscriptions on these portraits of Edward VI serve to glorify the royal family, promote their dynasty, and convey the high expectations for the young prince. They also provide insights into the artists and their techniques, with Holbein's attention to detail and Scrots's use of anamorphosis, both showcasing their mastery and contributing to the overall impact of the paintings.
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The painting's original frame
The original frame of the painting of Edward VI as a child, by Hans Holbein the Younger, has survived the test of time. The painting, which is in the collection of the National Portrait Gallery, is unusual in that it retains its original engaged frame. The frame was constructed around the panel before the artist began painting. Its survival is likely due to its design, which includes a notch on the righthand edge that provides the reference point for the correct viewing angle. This notch also stored the original iron viewing device, now lost, which extended to show the viewer the correct position from which to stand and view the painting. The artist, believed to be William Scrots, has inscribed his name faintly on the frame: "guilhelmus pingebat" (Guillim painted it).
The painting itself is also unusual in that it is painted in a distorted perspective known as 'anamorphosis'. This compositional device was designed to showcase the talent of the painter and amaze the spectator. When viewed from a specific point, the features resolve into a circular portrait suspended above a landscape, and the inscription becomes legible. The painting is further distinguished by its Latin inscription at the bottom, a poem by Sir Richard Morison. The translation reads:
> Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come.
The painting is a portrait of Edward, Prince of Wales (later King Edward VI), the first and only legitimate son of King Henry VIII and his third wife, Jane Seymour. It was commissioned by the King to serve as a likeness of his son and for propaganda purposes, promoting his royal dynasty and his causes. The painting was given to the King on New Year's Day in 1539, when Edward was about 14 months old.
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The legitimacy of Edward's succession
The legitimacy of Edward VI's succession to the English throne was a matter of great significance during the Tudor period. Edward VI was the only legitimate son of King Henry VIII and his third wife, Jane Seymour. Born on 12 October 1537, Edward was the much-desired male heir to the Tudor dynasty.
The portrait of Edward VI by Hans Holbein the Younger, also known as "Edward VI as a Child," exemplifies the young prince's legitimacy and importance as the heir apparent. This portrait, created around 1539, depicts Edward in a formal and adult-like outfit, with a red velvet tunic and a hat adorned with elaborate gold details. The inscription on the bottom of the painting, a Latin poem by Sir Richard Morison, reinforces the message of royal legitimacy. The poem translates to:
> "Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come."
The painting served not only as a likeness of the prince but also as a tool for royal propaganda, promoting the Tudor dynasty and the king's causes. The inscription flatters the king, conveys his power, and underscores the high expectations held for his son.
Another painting that highlights Edward VI's legitimacy is "King Edward VI and the Pope" from the National Portrait Gallery. This complex allegorical painting depicts Henry VIII on his deathbed, pointing towards his successor, Edward VI. The inscription "ALL FLESHE IS GRASSE" appears on the vanquished Pope's chest, alluding to the anti-papal policies of Edward VI and the successful re-establishment of the Church of England.
The succession of Edward VI was a pivotal moment in English history, and these paintings, along with their inscriptions, played a role in asserting and promoting the legitimacy of his reign.
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Frequently asked questions
The inscription at the bottom of the painting is a poem in Latin written by Sir Richard Morison. The translation is: "Little one, emulate thy father and be the heir of his virtue; the world contains nothing greater. Heaven and earth could scarcely produce a son whose glory would surpass that of a father. Do thou but equal the deeds of thy parent, and men can ask no more. Shouldst thou surpass him, thou has outstript all, nor shall any surpass thee in ages to come."
The inscription was commissioned by the King to promote his royal dynasty and his causes. The words flatter the king, communicate his power, and validate his Reformation causes. They also convey the high expectations held for his son.
The portrait depicts Edward, Prince of Wales, at 14 months old. He is dressed in a formal adult-like outfit, including a red velvet tunic and a fancy hat with elaborate gold details. The painting also features a parapet draped with a dark green cloth, which separates the space between the royal child and the viewer.
