她可能是55的时候舰队幅肖像画是为了纪念1588年击败西班牙入侵舰队。她的红头发珠宝和光滑,苍白的脸色看不出她的年龄(从天花和伤疤她遭受了29)。直立的姿势,张开双臂,清晰的目光都说活力和力量,也是她的王冠。蛋形的最高点略高于她的左肩甚至可能被视为象征如果没有生育能力,然后重生和永恒的生命。但后来,随着沃尔特·罗利爵士所观察到的,她是一个女士谁时间surprisedA”。ElizabethA奢华的衣服,然而,充满意义。黑色和白色(在本实例的灰色)是她喜欢的颜色有几个原因。白色象征纯洁和美德,是昂贵的维护;黑色的谦卑,也权威和权力,并要求罕见的染料。但这些颜色也暗指辛西娅,月亮女神(黑色的夜晚,白色的珠光月亮),RaleighA的主题的冗长的诗OceanA爱辛西娅,庆祝女王这样的神。 Then there are the abundant pearls – visual metaphors for the moon in themselves – with which she is draped, also symbolic of her chastity. (Note that the largest baroque pearl, topped by a large pink bow, in the painting hangs on a level with her crotch, as blatant as a codpiece in a portrait of a man.) But pearls are not the only astronomical reference. On her skirt and her sleeves there are numerous suns to signify power and enlightenment, embroidered in gold. Look at her ruff and the lace on it, the shape of her hair, her headdress, her sleeves, her ostrich-feather fan, and it is tempting to suppose that the curves and arcs that describe them are intended to suggest the moon in orbit. She wears no jewellery on her hands – of which she was said to be proud – so as not to distract from the globe on which her fingers rest above the New World, a signal of her continuing potency as a ruler not just of England, but of America. (Raleigh had sponsored the first English colony on Roanoke Island, in what was then Virginia and is now North Carolina, three years earlier, and in 1587, the year before the portrait was probably painted, the first English child had been born there.) England was a seafaring power, hence the numerous marine references from the gilded mermaid or siren, reminiscent of a shipÂ’s figurehead, calling the Spanish sailors to their fate, to the ships in the background, direct references to the Armada. In the background of the seascape in the top left-hand corner, the painting shows the Armada itself forming a distinctive crescent shape as it travelled up the channel, while the English ships in the foreground. The ensuing storms and towering waves that later helped disperse them can be seen in the top right-hand corner, a scene of devastation on which the victorious monarch has, it seems, turned her back. The painting now hangs in the QueenÂ’s House, designed by Inigo Jones, 1616-1635, close to the site of Greenwich Palace, where Elizabeth was born, and reopened in October following a major restoration.
出处
可能委托或被弗朗西斯·德雷克爵士收购;记录在1775年家族历史的记录;下降到威廉Tyrwhitt-Drake收。