Leo Martínez
The defeat of the Spanish Armada in 1588 was a pivotal moment in European history, marking the decline of Spanish naval dominance and the rise of England as a global power. It was also a significant event in the religious and political conflicts of the time, with the victory seen as a triumph for Protestant England against Catholic Spain. To commemorate this event, there are three surviving versions of the 'Armada Portrait', a painting that depicts Queen Elizabeth I against a backdrop of the defeated Spanish fleet. The portrait was likely commissioned by courtiers to show their allegiance to the Queen and served as a form of propaganda, portraying Elizabeth as a strong leader. While there is no confirmed artist for the portraits, they have been attributed to George Gower and Nicholas Hilliard, two of the most important English artists of that period.
| Characteristics | Values |
|---|---|
| Name of Painting | Armada Portrait |
| Number of Versions | 3 |
| Year of Events Depicted | 1588 |
| Artist | Unknown; possibly George Gower or Nicholas Hilliard |
| Subject | Elizabeth I of England |
| Subject's Title | Queen, monarch, Virgin Queen |
| Subject's Attributes | Wearing crown, moon/pearl dangling from crown/bodice symbolising virginity and chastity, dressed in repeating patterns of circles and arches, facing away from a mermaid carved on her chair |
| Background | Two pictures: English vessels facing the Spanish Armada, smoke over some ships, disturbed sand-coloured sea, blown sails; Spanish fleet in storm, English ships in calm seas |
| Symbolism | Religious: "Protestant wind"; political: English naval power, English national pride, British/English victory over Catholic Spain |
| Owners/Locations | National Portrait Gallery, Tyrwhitt-Drake family, Woburn Abbey, Richard Drake, David Steuart Erskine (11th Earl of Buchan), British Museum |
| Dimensions | One vertical, two horizontal; one cut down on sides and possibly lower edge |
| Related Artworks | Tapestries commissioned by Lord Howard of Effingham, Burchett's "The English Fleet Pursuing the Spanish Fleet Against Fowey" |
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What You'll Learn
The three versions of the Armada Portrait
The Armada Portrait is one of the most famous portraits of Elizabeth I, commemorating the most famous conflict of her reign: the defeat of the Spanish Armada in 1588. There are three surviving versions of the painting, believed to have been painted around the same time, shortly after the defeat of the Spanish. The three paintings may have been produced by different workshops associated with unknown English artists, modelled on an approved miniature image of Elizabeth's face by Hilliard. The first two portraits were formerly attributed to Elizabeth's Serjeant Painter George Gower, but curators at the National Portrait Gallery now believe that all three versions were created in separate workshops, and assign the attributions to "an unknown English artist".
- The painting displayed at the Queen's House in Greenwich, owned by the descendants of Richard Drake, the business manager and prize agent to his friend, Sir Francis Drake, who fought against the Spanish Armada.
- The version in the Woburn Abbey Collection, believed to show the seascapes as they were originally painted in the 16th century. This version was once owned by Scottish antiquarian David Steuart Erskine, the 11th Earl of Buchan, who presented it to the British Museum in 1765, and it was later transferred to the National Portrait Gallery in 1879.
- The third, partly cut-down version at the National Portrait Gallery in London, which has been cut down at both sides, leaving just a portrait of the queen. This version was formerly owned by the Tyrwhitt-Drake family and may have been commissioned by Sir Francis Drake. It was first recorded at Shardeloes in Buckinghamshire in 1775.
The three portraits show Elizabeth in triumph, with the storm-lashed Spanish fleet behind her on the right and the English ships sailing through calm seas on the left. Elizabeth's hand rests on a globe, with her fingers covering the Americas, indicating England's command of the seas and dreams of establishing colonies in the New World. The queen wears an imperial crown atop her hat, with a moon dangling from it, symbolising virginity and chastity. The chains of pearls in the portrait may represent the pearls which Elizabeth bought from Mary, Queen of Scots, or a reference to her mother, Anne Boleyn.
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The unknown artist
The defeat of the Spanish Armada in 1588 was a pivotal event in European history, marking the decline of Spanish naval dominance and the rise of England as a global power. It was also a significant victory for Protestant England against Catholic Spain, bolstering national pride and a sense of identity.
The triumph of the English over the Spanish Armada was immortalized in a painting called the "Armada Portrait", which depicts Queen Elizabeth I surrounded by symbols of royalty and majesty. The backdrop of the painting showcases the English victory, with the storm-lashed Spanish fleet on the right and the English ships sailing through calm seas on the left. The tempest that engulfed the Spanish navy became known as the "'Protestant Wind", further emphasizing the religious aspect of the conflict.
While there are three surviving versions of the "Armada Portrait", the artist responsible for these paintings remains unknown. Curators at the National Portrait Gallery believe that the portraits were created in separate workshops, attributing them to "an unknown English artist". Two names have been suggested as possible painters: George Gower and Nicholas Hilliard, both prominent artists of the period. George Gower was the Queen's Serjeant Painter, while Nicholas Hilliard was her principal miniature portrait painter and created some of the most famous images of Elizabeth I.
Thus, while the identity of the artist remains a mystery, their work has left a lasting legacy, commemorating a pivotal moment in English history and celebrating the reign of Queen Elizabeth I.
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The symbolism of the painting
The Armada Portrait is an allegorical panel painting that exists in three surviving versions, commemorating the most famous conflict of Elizabeth I's reign: the defeat of the Spanish Armada in 1588. The painting depicts the Tudor queen surrounded by symbols of royalty and majesty, with the background showcasing two different stages of the English victory.
The portrait symbolises Elizabeth's success in protecting the nation from Spanish invasion and can also be interpreted through a religious lens, with the ships being forced onto the rocks by a "Protestant wind". Elizabeth's use of portraiture as propaganda is evident, as she sought to be viewed as a strong, Renaissance leader, equal to her Continental male counterparts.
The painting's composition is structured like a Portolan map or sea chart, with a ring of wind roses or compasses linked by a rhumbline network. The repeating patterns of circles and arches are notable, from the crown to the globe and the queen's sleeves, ruff, and gown. The crown symbolises the English monarchy, and a dangling moon or pearl represents virginity and chastity, also invoking the Greek Goddess of the moon and virginity, Cynthia (Artemis).
The chains of pearls in the portrait may reference the pearls Elizabeth bought from Mary, Queen of Scots, or her mother, Anne Boleyn. A mermaid is carved on the chair of state, which could symbolise female wiles, the executed Queen Mary, or contribute to the cartographic design, with Elizabeth facing away, indicating a move beyond conspiracies and Mary's execution.
The three versions of the painting were likely commissioned by courtiers to demonstrate allegiance to the Queen, and they differ in format, with one being vertical and the others horizontal. The vertical version, once owned by the Tyrwhitt-Drake family, has been cut down on the sides, leaving just a portrait of the queen, while the horizontal versions display two distinct seascapes in the background.
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The historical context
The Spanish Armada was a formidable naval fleet assembled by King Philip II of Spain in 1588 with the aim of invading England and overthrowing Queen Elizabeth I. Philip's motivation stemmed from religious differences, as he wanted to restore Catholicism in Protestant England. He also refused to accept Elizabeth's right to reign, seeing her as a Protestant heretic. Elizabeth I, like all monarchs, used portraiture as a form of propaganda. The Armada Portrait, depicting the Tudor queen surrounded by symbols of royalty, was commissioned to commemorate the most famous conflict of her reign—the defeat of the Spanish invasion fleet. The painting shows Elizabeth in triumph, with the storm-lashed Spanish fleet behind her on the right and the English ships sailing through calm seas on the right. The tempest that engulfed the enemy navy became known as the "'Protestant Wind", further emphasising the religious significance of the victory.
The defeat of the Spanish Armada was a pivotal event in European history, marking the decline of Spanish naval dominance and the rise of England as a global power. It also had a significant impact on the religious and political conflicts of the time, bolstering England's confidence and sense of national identity. The victory was seen as a triumph of Protestant England over Catholic Spain. To celebrate this triumph, Lord Howard of Effingham commissioned a set of ten spectacular tapestries, each taller than 14 feet and up to 28 feet wide, adorned with glittering gold and silver threads.
There are three surviving versions of the Armada Portrait, believed to have been painted around the same time shortly after the defeat of the Spanish Armada. The first two portraits were attributed to Elizabeth's Serjeant Painter George Gower, but it is now thought that all three were created in separate workshops by unknown English artists. The portrait at Greenwich was owned by the descendants of Richard Drake, who was the business manager and friend of Sir Francis Drake, the English sea captain who fought against the Spanish Armada. The version owned by the Tyrwhitt-Drake family may have been commissioned by Sir Francis Drake himself. The National Portrait Gallery's version was presented to the British Museum in 1765 by Scottish antiquarian David Steuart Erskine, the 11th Earl of Buchan, and later transferred to the National Portrait Gallery in 1879.
The Armada Portrait is exceptional because, although it is a portrait, it features two distinct pictures in its background. One is vertical, while the others are horizontal. The version in the National Portrait Gallery has been altered, with the sides cut down to focus solely on the portrait of the queen. The portrait of Elizabeth has also been modified over time, with her face and hair adjusted to match eighteenth-century standards of beauty and style, making her appear younger.
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Other artistic depictions
The defeat of the Spanish Armada was a significant turning point in European history, marking the decline of Spanish naval dominance and the rise of England as a global power. This event was not only commemorated in paintings but also in tapestries.
The Armada Tapestries
In celebration of England's victory over the Spanish Armada, Lord Howard of Effingham commissioned a set of ten tapestries. These tapestries were spectacular, with sumptuously decorated borders, glittering gold and silver threads, and large dimensions (4.4m x 8.7m). Each tapestry depicted battle scenes, with one showing the English vessels facing the incoming Armada, and another depicting the English pursuit of the Spanish fleet against Fowey. The original tapestries hung in the House of Lords until they were destroyed in 1834. However, they were recreated as paintings in 2010, based on engravings published by John Pine in 1739.
In addition to the Armada Portrait and the tapestries, there are several other artistic depictions of the English triumph over the Spanish Armada:
- A watercolour from 1831-1834 depicts King William IV on the throne at the State Opening of Parliament, with the walls filled with tapestry hangings. This painting captures one of the last images of the Chamber and the textiles before their destruction in 1834.
- The National Portrait Gallery in London holds a version of the Armada Portrait that has been cut down on both sides, leaving a portrait focused solely on Queen Elizabeth.
- The Tyrwhitt-Drake family owns a version of the Armada Portrait that may have been commissioned by Sir Francis Drake, an English sea captain, and pirate who fought against the Spanish Armada.
- The Royal Museums Greenwich mentions that there are three versions of the Armada Portrait, with one originally owned by the descendants of Richard Drake, who was the business manager and friend of Sir Francis Drake.
- David Steuart Erskine, the 11th Earl of Buchan, once owned a version of the Armada Portrait that he presented to the British Museum in 1765. It was later transferred to the National Portrait Gallery in 1879.
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Frequently asked questions
The painting is called the Armada Portrait.
There are three surviving versions of the Armada Portrait.
There is no confirmed artist for any of the surviving Armada portraits. However, two names have been suggested: George Gower and Nicholas Hilliard, two of the most important English artists of the period.
