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By Catherine Daunt A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details PORTRAIT SETS IN TUDOR AND JACOBEAN ENGLAND Two Volumes (Volume One) Catherine Daunt Thesis submitted for the degree of DPhil at the University of Sussex May 2015 ii Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Catherine Daunt iii CONTENTS Volume One Acknowledgements x Summary xi List of Abbreviations xii Introduction 1 Chapter 1: The Origins of Portrait Sets in England 5 The Crown’s Use of Portraiture Under Henry VII 6 The Influence of Henry VIII’s Collections 13 An Emerging Market for Historical Royal Portraits 17 The Earliest Evidence for Sets in Aristocratic Collections 19 A Bishop’s Set of Heroes and Heroines 27 Mid-Century Sets of Protestant Reformers 28 An Early Set of Benefactors 31 Conclusions 33 Chapter 2: Continental Influences on English Painted Sets 34 Uomini Famosi 35 Channels of Influence 38 The Intellectual Context: Humanism 39 Numerical Series and Moralizing Imagery 42 Sibyls and Prophets 43 Roman Emperors 47 Prints and Effigy Books 49 Conclusions 53 Chapter 3: History, Antiquarianism and Genealogy 55 A New History for England 55 Antiquarianism 56 The Search for Authentic Likenesses 57 The Use of Portrait Sets to Denote Antiquity 65 i. Family Histories 65 ii. Portraits of Local Heroes in a Domestic Setting 69 iii. Royal Portrait Sets in a Domestic Setting 70 iv. Civic and Institutional Histories 75 v. Royal Sets in Civic Institutions 77 vi. The History of an Office or Profession 80 Conclusions 86 Chapter 4: Elizabethan and Jacobean Royal Sets 88 The Royal Sets: 90 Theobalds, Hertfordshire (1580s?) 90 The Lumley Collection (before 1590) 95 Ripon Deanery, North Yorkshire (c.1585-1600) 97 iv Longleat House, Wiltshire (c.1585-1600) 101 Syon House, Middlesex (c.1590s) 104 Weston, Warwickshire (c.1589-95) 107 Hardwick New Hall, Derbyshire (before 1601) 112 The ‘Cornwallis’ Set, The Royal Collection, London (c.1590-1610) 116 The ‘Hornby’ Set, National Portrait Gallery, London (1597-1618) 118 Robert Hare’s Gallery, London (before 1611) 123 The Dulwich Set (1618-20) 124 Hever Castle, Kent (after 1618) 130 Possible Lost Sets 130 Conclusions 131 Chapter 5: Galleries of Fame, 1590s-1625 133 The Weston Set 134 The Sitters 134 The Portrait Sources 136 Location and Display 137 Sheldon’s ‘Goodly Shew’ 140 The Knole Set 141 Historiography 142 The Sitters 144 Later Additions 147 The Availability of Sources 150 The Date of the Set 153 Location and Display 155 Attribution 160 A Reading of the Set 161 Conclusions 165 Conclusion 167 Bibliography 175 Volume Two Methodological Preface 1 Appendices Appendix 1: English Royal Sets - A Catalogue of Extant Paintings 6 i. The Royal Collection, 1504-30 6 ii. Hatfield House, Hertfordshire (Marquess of Salisbury), c.1580s 10 iii. Floriated Spandrel Set, c.1580s (various collections) 13 iv. The Dean and Chapter of Ripon Cathedral, North Yorkshire, c.1585-1600 15 v. Longleat, Wiltshire (Marquess of Bath), c.1585-1600 24 vi. Syon House, Middlesex (Duke of Northumberland), c.1590s 28 v vii. Hardwick Hall, Derbyshire (National Trust), before 1601 33 viii. The ‘Cornwallis’ Set, The Royal Collection (c.1590-1610) 38 ix. The ‘Hornby Set’, National Portrait Gallery, London, c.1597-1618 46 x. Dulwich Picture Gallery, London, 1618-20 55 xi. Hever Castle, Kent, after 1618 64 Appendix 2: English Royal Portraits – Known Versions 66 William I 67 William II 68 Henry I 69 Stephen 70 Henry II 71 Richard I 72 John 73 Henry III 74 Edward I 75 Edward III 76 Edward, The Black Prince 78 Richard II 79 Henry IV 81 Henry V 86 Henry VI 89 Edward IV 93 Elizabeth Woodville 96 Edward V 98 Richard III 99 Margaret Beaufort 103 Henry VII 105 Elizabeth of York 110 Prince Arthur 112 Henry VIII 113 Katherine of Aragon 116 Anne Boleyn 118 Jane Seymour 120 Edward VI 122 Mary I 126 Appendix 3: Heroines of Antiquity from Amberley Castle, West Sussex, c.1526 129 Appendix 4: A Set of Benefactors at Peterhouse College, Cambridge, c.1565-1617 134 Appendix 5: Edward Alleyn’s Set of Sibyls, 1620 139 Appendix 6: Printed Series of English Kings and Queens 144 i. John Rastell, The pastyme of people (1529/30) 144 ii. Gyles Godet, A brief abstract of the genealogie of all the kynges of England (c.1560-62) 149 iii. Hendrik Goltzius, The kings and queens of England (1584-85) 154 vi iv. Thomas Talbot, Talbot’s Rose (1589) 158 v. T.T., A booke, containing the true portraiture of the countenances and attires of the kings of England (1597) 160 vi. John Speed, Theatre of the Empire of Great Britaine (Lancashire) (1611/12) 174 vii. Walter Dight, The True and Lively Purtractures of the Kinges of England (c.1610-12) 177 viii. John Taylor, A Briefe Remembrance of all the English Monarchs (1618) 182 ix. Henry Holland, Baziliologia (1618) 188 x. John Taylor, Briefe Remembrance of all the English Monarchs (1622) 198 Appendix 7: The Norman Earls of Chester, 1578 204 Appendix 8: Gloucester Benefactors, c.1600-18 209 Appendix 9: The Constables of Queenborough Castle, Kent, 1597-1603 216 Appendix 10: The Weston Set, c.1589-95 223 Appendix 11: The Knole Set, c.1608 236 Tables Table 1: Dendrochronology – Early Pictures in the Royal Collection Table 2: Dendrochronology – Comparative Royal Portraits, 1500-1550 Table 3: Dendrochronology – Comparative Royal Portraits, 1550-1600 Table 4: Dendrochronology – The ‘Hornby’ Set (NPG), 1597-1618 Table 5: Portrait Sets of English Royal Figures Table 6: Dendrochronology – The Weston Set Table 7: English Royal Portraits at Hardwick New Hall, 1601 Table 8: Knole Sitter Comparison Table 9: Knole Sitters (Order) Illustrations 1. Paintings of Henry VI’s son Prince Edward, Edward IV, Edward V and Henry VII at St. George’s Chapel, Windsor, 1475 2. Portrait of Edward IV by an unknown artist, c.1510, Society of Antiquaries, London 3. Portrait of Richard III by an unknown artist, c.1510, Society of Antiquaries, London 4. Portrait of Edward IV by an unknown artist, 1530s, Society of Antiquaries, London 5. Portrait of Henry VI by an unknown artist, c.1530s, Society of Antiquaries, London vii 6. Portrait of Henry VI by an unknown artist, c.1540, National Portrait Gallery, London 7. Portrait of Edward IV by an unknown artist, c.1540, National Portrait Gallery, London 8. Portrait of Henry VI by an unknown artist, c.1540, Government Art Collection, London 9. Portrait of Edward IV by an unknown artist, c.1540, Government Art Collection, London 10. Portrait of Pietro Vermigli by an unknown artist, c.1560, National Portrait Gallery, London 11. The Great Chamber, Chastleton House, Oxfordshire 12. Painting of the Cumaean Sibyl, c.1610-12, Chastleton House, Oxfordshire 13. Painting of the Erythraean Sibyl, c.1610-12, Chastleton House, Oxfordshire 14. Engraved portrait of Henry VII by Jodocus Hondius, detail from Talbot’s Rose, 1589 15. Woodcut portrait of Henry VII from T.T., A booke, containing the true portraiture of the countenances and attires of the kings of England (London: John de Beauchesne, 1597) 16. Portraits of Henry III, Edward I, Edward II and Edward II, engraving by Hendrik Goltzius, 1584-85 17. Portraits of Henry VIII, Edward VI, Mary I and Elizabeth I, engraving by Hendrick Goltzius, 1584-85 18. Detail of Edward III’s gilt copper tomb effigy at Westminster Abbey, London, 1386 19. Woodcut portrait of Edward III from T.T., A booke, containing the true portraiture of the countenances and attires of the kings of England (London: John de Beauchesne, 1597) 20. Detail of Henry III’s gilt copper tomb effigy at Westminster Abbey, London, 1291-93 21. Portrait possibly representing Henry III by an unknown artist, c.1597-1618, National Portrait Gallery, London 22. Detail from Hendrik Goltzius, The kings and queens of England, 1584-85, sheet 4, showing the head of Henry III 23. Detail of the inscription on the top left of the portrait possibly representing Henry III, National Portrait Gallery, London 24. Details of the inscriptions on the portraits of Henry I and John in the Hornby Castle set of kings and queens, National Portrait Gallery, London 25. Portrait of Richard II by an unknown artist, 1394-95, Westminster Abbey, London 26. Detail of Richard II’s gilt copper tomb effigy at Westminster Abbey, London, 1394-96 27. Engraved portrait of Charles VI of France from Cronica breve de i fatti illustri de Re di Francia (Venice: Bernardo Giunti, 1588) 28. Detail of Henry IV’s marble tomb effigy (with Queen Joan) in Canterbury Cathedral, Kent, c.1410-20 29. Portrait of Henry VI(?) attributed to Sampson Strong, 1607, Christ’s Hospital, Abingdon 30. Portrait of Edward VI attributed to Sampson Strong, 1607, Christ’s Hospital, Abingdon viii 31. Figure Byrsa Londinensis vulgo the Royal Exchange by Wenceslaus Hollar (1607-1677), interior view of the Royal Exchange, London, c.1647, etching 32. The Royal Exchange by Frans Hogenberg (1539/40-1590), interior view of the Royal Exchange, London, c.1569, engraving 33.
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