Gloriana
the portraits of Queen Elizabeth I
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Author
Contributions
- Strong, Roy C. - Contributor
Publication
1987 - Thames and Hudson, New York, N.Y, New York (State)
Language
English
Word Count
45,000 words, Guess
Page Count
180 pages
Identifiers
- Open LibraryOL2741898M
- ISBN-100500250987
- OCLC Control Number15466969
- OCLC Control Number181815917
- OCLC Control Numberglorianaportrait0000stro
and 3 more
- Library of Congress Control Number86050217
- LibraryThing758627
- WikidataQ106316477
Classifications
- DDC942.05/5/0924
- LCCDA356 .S84 1987
Description
To examine the portraits of Elizabeth I is to witness the creation of the legend of the Virgin Queen, of Gloriana and her burgeoning empire. The history of the portraiture is that of the deliberate manufacture of an image powerful enough to hold together a people divided by both rigid hierarchy and religious belief. When Elizabeth came to the throne in 1558, her subjects had an all-too-vivid memory of military defeat and religious turmoil. Restoring stability to the kingdom involved the image of the Queen herself - over the years, she was transmuted from an elegant aristocrat into a cosmic vision. In Gloriana, Roy Strong provides a richly detailed analysis of all the major portraits. -- Book jacket. To examine the portraits of Elizabeth I is, as Roy Strong shows, to witness the creation of the legend of the Virgin Queen, of Gloriana and her burgeoning empire. The history of the portraiture is that of the deliberate manufacture of an image powerful enough to hold together a people divided by not only a rigid social hierarchy but also religious belief. When Elizabeth came to the throne in 1558 her subjects had a vivid memory of defeat in war and of religious turmoil - the bloody reign of her half-sister Mary had only just ended. The policy of restoring the stability of the kingdom necessarily involved the image of the Queen: over the years she was to be transmuted from an elegant aristocratic lady into a cosmic vision depicted standing on her realm of England or, even more boldly, clasping the whole world in her hand. In view of the uncertainty over the succession her mortality had to be denied: she was therefore presented, in a political act of rejuvenation, as a young woman, even when in her sixties. The successful proliferation of the image may be measured by the love and devotion inspired by a monarch who in the later years of her reign has been described as 'aged, toothless, bald and irascible'. For two decades, from 1580 to 1600, that propaganda machine worked triumphantly, and it was only in the very last years that it began to fail.
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