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View the Holdings for Teerlinc’S Manuscripts and Miniatures: the National Archives in Kew UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ A Conflict of Regal Identity: The Dichotomy between Levinia Teerlinc’s (1520-1576) Private and Public Images of Queen Elizabeth I (1533-1603) A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of Art History of the College of Design, Architecture, Art, and Planning 2005 by Kimberly M Faust B.A., Indiana University Purdue University Indianapolis 2003 Abstract Like many female, Netherlandish artists of the Renaissance, Levinia Teerlinc (1520-1576) learned painting through an apprenticeship with her father, Simon Beninc (1483-1561), a leading Flemish book illuminator. Teerlinc’s career began with an invitation to serve as official court painter in the last decade of Henry VIII (1491- 1547) of England’s reign, following the deaths of her cousins Lucas (1490-1544) and Susanna Horenbout (1520-1550). About ten years later Elizabeth I became the new Queen of England. She understood the power accompanying the regal portrait from her father’s reign and commissioned numerous portraits of her own image. During Elizabeth’s sovereignty, Teerlinc was the only working female artist in England, allowing her artistic influence to flourish. She introduced the portrait miniature to Queen Elizabeth I, and consequently enjoyed the patronage of this powerful female monarch. History brought these two women together – both of whom had a keen understanding of the role that representation through regal identity could play. This thesis will emphasize feminist, socio-political, and historical analyses to explore Teerlinc’s portrait miniatures and manuscript illuminations of the Queen and the image of the monarch these paintings convey. I will also compare Teerlinc’s images with the self-fashioned, private poetry and public speeches of Elizabeth I. An exploration of the dichotomy between the private and public realms assists in the construction of a unified regal identity for the Queen that was unique in history and serves to place Teerlinc among other portrait painters working in England during the Renaissance period Acknowledgments Even though little has been revealed concerning the life and work of Levinia Teerlinc, my research would not be possible without the previous scholarhship of Roy Strong, Jim Murrell, Erna Auerbach, and Susan E. James. I fell into the study of Teerlinc via an article in the 2004 Women’s Art Journal that questioned why scholars have not studied the work of this important and influential female artist at the Tudor court. My previous knowledge of Elizabethan history and art allowed me to develop a thesis that would continue the scholarship. I hope this thesis open new doors for future discovery regarding the art of Teerlinc. I would like to thank my advisor, Professor Kristi Nelson, whose unending patience during the editing process, and guiding support really made this thesis a reality. My committee members, Professor Jonathan Riess, and Professor Stephanie Dickey, also provided encouragement and imparted helpful criticism regarding editing and content. This thesis would not have been realized without their enthusiasm, patience, and knowledge. The following institutions were also very helpful in allowing me to view the holdings for Teerlinc’s manuscripts and miniatures: The National Archives in Kew Gardens where I viewed a previously undiscovered manuscript by Teerlinc, The National Portrait Gallery who hold two miniatures by Hilliard and an anonymous full-length Coronation portrait of Elizabeth from c. 1600. The staff of the Westminster Abbey Archives who carried an early manuscript illumination by Teerlinc of Mary I, and Windsor Castle where the controversial three-quarter length portraits of the young Princess Elizabeth and Edward VI are held. Some scholars have assigned these portraits to Teerlinc further stirring controversy of whether she actually painted portraits or was merely a miniaturist and manuscript illuminator for the Tudor court. In the Netherlands, specifically in den Haag, the staff at the Rijsbureau von Kunsthistoriches Documentatie (RKD) kindly directed me to their limited information regarding the life and work of Teerlinc, and the few reproductions of the miniatures attributed to her. I would like to thank the Tagenhorst family for funding my trip to Europe so that I could see Teerlinc’s work first hand. I discovered many new aspects concerning this artist’s career that would have been unrecognized if I was not given the opportunity to travel to England and the Netherlands in September 2004. The Tagenhorst’s kind support and belief in my research was an integral part in the creation of this thesis. Finally, I would like to thank my mother, Patricia Faust, for her belief and support in my work through these past two years. Her kind continuous encouragement has been the sustaining force that allowed me to complete this thesis. 1 Contents List of Illustrations ..…. 2 Introduction …… 4 Chapter One: The Dominance of Foreign Artists at the Tudor Court…… 12 Chapter Two: The Private Realm: The Personal Portrait Miniatures of Elizabeth I by Levinia Teerlinc……… 26 Chapter Three: The Private Realm: The Poetry of Queen Elizabeth…… 40 Chapter Four: The Public Realm: The Manuscript Illuminations of Elizabeth I by Levinia Teerlinc……… 48 Chapter Five: The Public Realm: The Queen’s Speeches and the Gendered ‘Body Politic’…… 60 Conclusion: The Unified Regal Identity of Queen Elizabeth I: Combining the Private and Public Realms…… 66 Bibliography…… 68 Appendix One: The Private Poems and Letters of Queen Elizabeth I….. 77 Appendix Two: The Public Rhetoric of Queen Elizabeth I…… 79 Illustrations 2 List of Illustrations Figure 1 Attributed to Gerard, Lucas, or Susanna Horenbout, Letters Patent of Henry VIII for Cardinal College, Oxford, Two Membranes, 26 3/4 x 42 1/2 in., May 5, 1526, Public Records Office, Kew Gardens, England Figure 2 Lucas Horenbout, Letters of Patent of Henry VIII to Thomas Forster, One membrane, 13 x 24 in., 1526, Victoria and Albert Museum Figure 3 Attributed to Lucas Horenbout, Portrait Miniature of Henry VIII, Parchment laid on card, 1 7/8 in. diameter, c. 1525, Windsor Castle Figure 4 Lucas Horenbout, Portrait Miniature of Henry VIII, Watercolour on vellum on card, 2 1/8 x 1 7/8 in., c. 1525-1527, Private collection of Duke of Buccleuch Figure 5 Attributed to Levinia Teerlinc, Portrait Miniature of Queen Elizabeth I Vellum stuck to a playing card with four hearts on the reverse, circular, 1 25/32 diameter, c. 1565, Walpole Society Figure 6 Attributed to Levinia Teerlinc, Elizabeth I, Miniature, circular painted on card, 4.9 x 1 15/16 cm., c. 1565, In the possession of Her Royal Majesty Queen Elizabeth II Figure 7 Nicholas Hilliard, Queen Elizabeth I, Vellum stuck on playing card with part of queen showing on reverse, oval, 5.2 x 4.7, 2 1/16 x 1 7/8 cm., c. 1572, National Portrait Gallery Figure 8 Nicholas Hilliard, Queen Elizabeth I ,Vellum stuck on card, oval, 4.8 x 3.9, 1 7/8 x 1 9/16 cm, c. 1576, Photo Courtauld Institute Figure 9 Isaac Oliver, Elizabeth I, Miniature, oval, 8.2 x 5.2 cm., c. 1592, Victoria and Albert Museum Figure 10 Isaac Oliver, Queen Elizabeth I, Miniature, oval, 4.9 x 3.9 cm., c. 1592, Private Collection Figure 11 Attributed to Teerlinc, Elizabeth I. From Indenture between the Queen and the Dean and Canons of St. George’s Chapel, Windsor, 3 Manuscript Illumination, 8 x 10 cms., 30 August 1559, Public Record Office Museum, E. 36/277. Figure 12 Attributed to Levinia Teerlinc, Title Page to the Quatro Bishops’ Bible Wood-cut, 17.5 x 12.38 cm, c. 1569, Current location unknown Figure 13 Anonymous, Apotheosis of Catherine Parr, from Thomas Bentley, The Monument of Matrones, etching, dimensions unknown, 1582, Huntington Library, San Marino, California Figure 14 Attributed to Levinia Teerlinc, Detail of Plea Roll with Portrait of Elizabeth I, Membrane, approximately 4 inches, c. 1572, Public Record Office, Kew Gardens, England, (K. B. 27/1241/2) Figure 15 Anonymous, Plea Roll of Elizabeth I, Manuscript illumination, 20.3 x 15 cms., 1571, Public Record Office in Kew Gardens, (K. B. 27/1239) Figure 16 Designed by Levinia Teerlinc?, First Great Seal of Elizabeth I, bronze, 12.5 x 5 cm., 1559, Public Record Office (SC 13/L5) Figure 17 Nicholas Hilliard, Great Seal of Elizabeth I, bronze, approximately 12.5 x 5 cm., 1586-1603, National Archives in Kew Gardens, (SC 13/N3) Figure 18 Attributed to Levinia Teerlinc, Coronation Portrait of Elizabeth I, Portrait miniature, 91 x 56 cm., c. 1559, Private collection Figure 19 Anonymous, Coronation Portrait of Elizabeth I, after a portrait from 1559, oil on panel, 127.3 x 99.7 cm., c. 1600, National Portrait Gallery, London Figure 20 Nicholas Hilliard, Elizabeth I, Vellum stuck onto plain card, 45 x 37 cm, c. 1586-1587, Victoria and Albert Museum Figure 21 Possibly designed by Nicholas Hilliard, Elizabeth I, Woodcut, 11.7 x 8.9 cm., 1580-1586, British Museum, London 4 Introduction Scholarship on the life and work of Levinia Teerlinc (1520-1576) is fraught with controversy. Like many female Netherlandish artists of the Renaissance, she learned to paint through an apprenticeship with her father, Simon Beninc (1483- 1561), a prominent book illuminator and key figure in the Ghent-Bruges school. Teerlinc’s career began with an invitation to serve as official court painter to Henry VIII (1491-1547). After his death in 1554, she worked for Edward VI (1547-1553), Mary I (1516-1558), and finally Elizabeth I (1533-1603).
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