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The Puocession Poutuait of Queen Elizabeth I 7KH3URFHVVLRQ3RUWUDLWRI4XHHQ(OL]DEHWK,$1RWHRQD7UDGLWLRQ $XWKRU V 'DYLG$UPLWDJH 6RXUFH-RXUQDORIWKH:DUEXUJDQG&RXUWDXOG,QVWLWXWHV9RO SS 3XEOLVKHGE\The Warburg Institute 6WDEOH85/http://www.jstor.org/stable/751357 . $FFHVVHG Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=warburg. 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The Warburg Institute is collaborating with JSTOR to digitize, preserve and extend access to Journal of the Warburg and Courtauld Institutes. http://www.jstor.org PROCESSION PORTRAIT OF ELIZABETH I 301 scape on the companion Hercules and the visual mysteries of the Elizabethan age',2 not Hydra plate. least because previous commentators have The intarsia and the plate must go back to largely ignored its place in traditions of the same original design, and the suppo- representation by treating it solely as a sition that this was Pollaiuolo's Palazzo document rather than an artefact. Only Roy Medici painting looks likely to be correct. Strong has suggested a conventional context The maiolica plate and the hypothetical for the picture-that of the Roman triumph engraving which was its source were prob- as resuscitated in the court festivals of the ably reversed from the original,'7 but for Renaissance; he thus appropriates for it the the detail of the figures, the Florentine title of William Rogers's unrelated print of engraving is likely to have been at least as 1593, Eliza Triumphans.3 I should like to accurate a record of the Florentine painting suggest rather that the portrait participates as the Urbino intarsia. The maiolica plate in an isolable tradition of representing royal appears to confirm the composition of one power which indeed draws upon triumphal of the most famous of lost Renaissance motifs but is not in itself triumphal. paintings, and is probably the most vivid This tradition began with Hans Burgk- echo of it to have survived. mair's woodcut Der Kunig Von Gutzin ('The TIMOTHY WILSON King of Cochin'), a panel in five sheets produced in 1508 In March 1505 MUSEUM, OXFORD (P1. 46a).4 ASHMOLEAN a Portuguese expedition sailed to Cochin with the aim of establishing a presence in 17 the areas recently opened up by Vasco da While it is perfectly normal for a design to be Gama. An account of the reversed in there is no reason expedition by engraving, particular Balthasar of Vils describes the why a maiolica-painter should reverse the direction of Springer King an engraving or drawing which he uses as a model, being carried forth in a litter, as does a Latin unless he is using some form of mechanical transfer narrative which also exists from the voyage.5 technique, which is improbable in the present case. I Walter Oakeshott has the can think of no reason the Hercules and suggested possi- convincing why that the author of this narrative the Lion engraving should have been reversed from bility had, Pollaiuolo's original while the Hercules and the Hydra 'when he wrote, a series of pictures available was not. done ... by some considerable artist who Strong's long-standing attribution to Robert Peake is THE PROCESSION PORTRAIT questioned by Malcolm Rogers (review of Gloriana, Times Literary Supplement, 14 August 1987, p. 867). I am OF QUEEN ELIZABETH I grateful to Simon Wingfield Digby, Esq., for permission A NOTE ON A TRADITION to reproduce the portrait. 2 Strong 1977 (as in n. 1), p. 17. 3 ibid., esp. pp. 54-55, and Strong 1987 (as in n. 1), p. 155. 4 On Der Kunig Von Gutzin, and its versions, see HE DATE, occasion, subject, commission Henry Harrisse, Americus Vespuccius, London 1895, pp. 41-45; Campbell Dodgson, catalogue of Early German and artist of the Procession Portrait of and Flemish Woodcuts Preserved in the Prints and Drawings Elizabeth now at Sherborne Queen I, hanging Department of the British Museum, London 1911, ii, pp. Castle in Dorset (P1. 44), are all matters of 71-72; F. W. H. Hollstein, German Engravings, Etchings dispute.' It remains 'one of the greatest and Woodcuts ca. 1400-1700, Amsterdam 1954ff, v, pp. 132-33; Walter Oakeshott (introd.), Some Woodcuts by Hans Burgkmair printed as an Appendix to the Fourth Part of Le Relationi Vniversali di Giovanni Botero, 1618, 1 rpt The main secondary sources on the portrait are: Oxford 1960; and Hans Burgkmair: Das Graphische Werk, George Scharf, 'Queen Elizabeth's Procession in a eds T. Falk, R. Biedermann and I. Hausberger, Stuttgart Litter to Celebrate the Marriage of Anne Russell at 1973, item 26. Blackfriars, June 16 1600', Archaeological Journal, xxiii, 5 This is the 'Relatio Balthasaris Spinger [sic] de max- 1866, pp. 131-44; Viscount Dillon, 'A Procession of ima sua marina peregrinatione ex partibus Hollandiae Queen Elizabeth to Blackfriars', in in Litteraire de Deux Archaeological Journal, Ulixbonam Portugallia•' Voyage lxxii, 1915, pp. 69-74; Earl of Ilchester, 'Queen Eliza- Religieux Benedictins de la Congregation de Saint-Maur, eds beth's Visit to Blackfriars, June 16, 1600', Walpole Society, E. Martene and G. Durand, Paris 1724, ii, pp. 361-78. ix, 1921, pp. 1-19; Roy Strong, The Cult of Elizabeth, This account notes how 'in regno Gutschin subditi & London 1977, pp. 17-55; and idem, Gloriana: The familiares portant regem sedentem in feretro', ibid., p. Portraits of Queen Elizabeth I, London 1987, pp. 153-55. 365. Jaurnal of the Whrmburgand Courtauld Institutes, Volume 53, 1990 302 NOTES AND DOCUMENTS accompanied the expedition',6 but no illus- Although there is no documentable con- trations exist now, if they ever did. At this nection between the King of Cochin and the distance, it is impossible to say whether engraving of Atahualpa, the carriage of Burgkmair's composition originated with an Indian monarch by four bearers, the such drawings, with the published accounts, bulbous hat each wears, and the common or in the iconographic conventions he later German origins of both these compositions transformed with his Triumphs of Maximilian suggest that Braun and Hogenberg's piece (1526). However, its heritage, if not its may owe something to the Burgkmair or ancestry, is identifiable. An edition in 1509 one of its imitations. of Springer's narrative, Die Merfart und Er- The deposition of Atahualpa by Pizarro contained a was a crucial scene in the 'Black of farung Niiwer Schiffung, rough Legend' reversed copy of Burgkmair's King of Cochin the Spanish conquest of the New World. by Wolf Traut which in some copies, at least, The destruction of the Inca Empire began made explicit its triumphal associations by on 16 November 1532, when the King its title, 'Triumphus Regis Gosci Sive Gutsc- received Francisco Pizarro and his men min' (P1. 46b). In the same year Georg outside the city of Caxamarca. Atahualpa Glockendon of Nuremberg made a copy, arrived in his golden litter of state, intent on in and versions in the bearded reprinted 1511, appeared defying invaders, whom he Antwerp and Italy. This multiple progeny, as wished to expel. Pizarro had secretly drawn well as the deterioration of the blocks from up his forces in battle order, and was waiting which the few surviving copies of Burgk- for a moment to begin the attack. That mair's original were made, testifies to the moment came when the Dominican Fray potency of the sequence, which Burgkmair Vicente de Valverde pronounced the requeri- himself was to draw upon for details in the miento which informed Atahualpa that the Triumphs of Maximilian.7 Pope had ceded the King's lands to Spain. The Burgkmair engraving shows the King Atahualpa demanded the book on which borne forth upon a litter, heralded by mu- Valverde based his testimony and, after sicians, and surrounded by armed retainers. listening to it without hearing it speak, he In 1575, a similar composition appeared in cast it to the ground in defiance of the another German source, the second volume friar's words. The outraged Spaniards charg- of Georg Braun and Franz Hogenberg's ed upon the Indians, yet could only topple encyclopaedic topography, the Civitates Orbis Atahualpa from his litter with great struggle, Terrarum. This six-volume series of city views as each slain or wounded bearer was rapidly appeared between 1572 and 1618 in Augs- replaced. Braun and Hogenberg's placing of burg as a companion to Abraham Ortelius's Atahualpa before his city thus seems either Theatrum Orbis Terrarum. The second volume pathetically proleptic or defiantly restora- includes views of cities in the New World, tive, a Protestant refusal to accept the reality and the panorama of Cusco, Regni Peru of Spanish dominion in the New World. In Novo Orbe Caput ('Cuzco, the Capital of The scene most famously became a pitiful the Kingdom of Peru in the New World') testimony of courage as the climax of Mont- pictures Atahualpa, the pre-Conquest King, aigne's essay, 'Des Coches'.9 At least one being carried in a covered chair by four retainers, accompanied before and behind by spearmen; his stately procession can also cartouche on John Speed's 1626 map of the Western be seen heading through the streets of Hemisphere, together with other figures taken from de the city to the royal palace (P1.
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