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Armada Portrait
Armada Portrait
Armada Portrait
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Armada Portrait
ArtistUnknown English artist (formerly attributed to George Gower)[1]
Year1588
TypeOil on oak panel
LocationWoburn Abbey

The Armada Portrait of Elizabeth I of England is the name of any of three surviving versions of an allegorical panel painting depicting the Tudor queen surrounded by symbols of royal majesty against a backdrop representing the defeat of the Spanish Armada in 1588.

Iconography

[edit]

The combination of a life-sized portrait of Elizabeth I with a landscape format is "quite unprecedented in her portraiture",[2] although allegorical portraits in this format, such as the Family of Henry VIII: An Allegory of the Tudor Succession, a 1572 portrait attributed to Lucas de Heere pre-date the Armada Portrait.[3]

English art in this period was isolated from trends in Catholic Italy, and owed more to Flemish manuscript illumination and heraldic representation than to Renaissance ideas of unity in time and space in art. The 'Armada Portrait' is no exception: the chair to the right is viewed from two different angles, as are the tables on the left, and the background shows two different stages in the defeat of the Armada.[2] In the background view on the left, English fireships drift towards the Spanish fleet, and on the right the Spanish ships are driven onto a rocky coast amid stormy seas by the "Protestant Wind". On a secondary level, these images show Elizabeth turning her back on storm and darkness while sunlight shines where she gazes, iconography that would be repeated in Marcus Gheeraerts the Younger's 1592 "Ditchley" portrait of the queen.[2]

Personal device of Charles V, in the Seville city hall

The queen's hand rests on a globe below a crown (probably not the state crown),[4] "her fingers covering the Americas, indicating England's [command of the seas] and [dreams of establishing colonies] in the New World".[5][6] The queen is flanked by two columns behind, probably a reference to the famous impresa of Charles V, Philip II's father, which represented the Pillars of Hercules.[7] The composition was painted following the greatest threats to Elizabeth's power, therefore this portrait aimed to reinforce her position as a capable female monarch.[8]

Art historians Andrew Belsey and Catherine Belsey have pointed out the striking geometry of the painting, with the repeating patterns of circles and arches described by the crown, the globe, and the sleeves, ruff, and gown worn by the queen.[6] Cultural historian, Isabel Davis, has noted that the portrait is composed using the structure provided by a Portolan map or sea chart: a ring of wind roses or compasses linked by a rhumbline network.[9] Belsey and Belsey also contrast the figure of the Virgin Queen wearing the large pearl symbolizing chastity suspended from her bodice in front of her groin, it is also representative of Cynthia (Artemis), Greek Goddess of the moon and Virgin.[10] They are further contrasted to the mermaid carved on the chair of state, which they claim either represent female wiles luring sailors to their doom, or that the mermaid symbolises the executed Queen Mary. Davis, in contrast, argues that the mermaid contributes to the cartographic design of the portrait.[9] Elizabeth is facing away from the mermaid, possibly indicating that their conspiracies and Mary's execution have been put behind by Elizabeth. The crown also symbolises the English monarchy.[6]

The chains of pearls in the portrait may represent the pearls which Elizabeth had bought from the collection of Mary, Queen of Scots in 1568, or further a reference to her mother Anne Boleyn.[11]

Versions

[edit]

There are three surviving versions of the portrait, in addition to several derivative portraits:

  • The version at Woburn Abbey
  • The version in the National Portrait Gallery, London, which has been cut down at both sides leaving just a portrait of the queen.
  • The version owned by the Tyrwhitt-Drake family, which may have been commissioned by Sir Francis Drake, was first recorded at Shardeloes in Buckinghamshire in 1775. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features.[2][5] This version was heavily overpainted in the later 17th century,[2] which complicates attribution and may account for several differences in details of the costume.[12] The Drake version was purchased for the nation for £10.3 million in July 2016 following an Art Fund appeal. The work is hung in the national collection of Royal Museums Greenwich (RMG), in the Queen's House, a 17th-century royal residence built on the site of the original Greenwich Palace, Elizabeth I's birthplace.[13][14]

The first two portraits were formerly attributed to Elizabeth's Serjeant Painter George Gower, but curators at the National Portrait Gallery now believe that all three versions were created in separate workshops, and assign the attributions to "an unknown English artist".[1]

  • National Portrait Gallery version
    National Portrait Gallery version
  • The "Drake" version, now at Queen's House, Royal Museums Greenwich
    The "Drake" version, now at Queen's House, Royal Museums Greenwich

See also

[edit]
Wikimedia Commons has media related to Elizabeth I of England (Armada Portrait).

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Armada Portrait

View on Grokipedia
from Grokipedia
The Armada Portrait denotes three extant versions of an allegorical oil-on-oak panel painting portraying Queen Elizabeth I of England, executed circa 1588 in commemoration of the defeat of the Spanish Armada. The central figure depicts the queen in her mid-fifties, arrayed in a richly embroidered gown adorned with pearls symbolizing her virginity, seated with her right hand resting upon a globe surmounted by an imperial crown to signify England's assertion of global dominion. The composition's background divides into stormy seas on the left, where Spanish galleons founder amid rocks and tempests representing divine judgment on the invasion fleet, and calm waters on the right featuring intact English ships, underscoring Protestant England's triumph over Catholic Spain. The anonymous artist—formerly ascribed to court painter George Gower—incorporated layered iconography to propagate Elizabeth's image as an unassailable sovereign, including twin columns flanking the throne inscribed with the motto non sufficit orbis or plus ultra, evoking the Pillars of Hercules and England's imperial ambitions surpassing those of Philip II's Hapsburg empire. A rainbow arches overhead, alluding to God's covenant of peace and protection after the providential storm that scattered the Armada, while Elizabeth's finger on the globe points toward emerging opportunities in the New World, such as the Virginia colony named in her honor. These elements collectively served as state propaganda, reinforcing national unity and the queen's cult of personality amid ongoing religious and geopolitical tensions. The three versions, differing slightly in condition and later alterations—such as 18th-century repainting of seascapes in the Greenwich exemplar, later conservatively restored to reveal originals—reside respectively at , the National Portrait Gallery in , and the at , the latter acquired through public fundraising in 2016 to prevent export. This portrait type exemplifies Elizabethan , prioritizing symbolic potency over naturalistic accuracy to eternalize the victory as a cornerstone of England's naval ascendancy and cultural identity.

Historical Context

The Spanish Armada Campaign of 1588

King ordered the assembly of the Armada in starting in 1587, intending to escort an invasion force from the to overthrow Queen Elizabeth I and restore Catholicism in ; the fleet comprised approximately 130 ships, including warships, transports, and supply vessels, carrying around 30,000 men including sailors, soldiers, and clergy. Preparations faced delays due to storms and logistical issues, with the Armada departing on May 30, 1588, under the command of the after the death of the original admiral, the Marquis of Santa Cruz; a gale forced the fleet to return for repairs, leading to a final departure from on July 22, 1588. The Armada entered the on July 29, 1588, sighted off peninsula, where it encountered the English fleet of about 200 vessels, primarily smaller, more agile ships commanded by Charles Howard and , based at Plymouth; over the following days, from July 31 off Plymouth to August 2 near the Isle of Wight, the English employed with long-range cannons, avoiding close-quarters boarding favored by the Spanish while inflicting damage without significant losses to their own hulls. At on August 7-8, English fire ships disrupted the Armada's crescent formation, leading to the Battle of Gravelines where sustained English broadside fire sank or damaged several Spanish vessels, though only about three were confirmed sunk by combat; the English fleet's maneuverability and gunnery range—enabled by purpose-built galleons versus the Spanish reliance on converted merchantmen and galleasses—prevented the Armada from linking with Parma's army in the . Unable to regroup, the Armada sailed north into the , dispersing around August 12 under pressure from pursuing English ships short on ammunition; adverse westerly winds and subsequent storms from late September into October drove many vessels onto Irish coasts, resulting in over 50 Spanish ships lost overall—primarily to weather and wrecks rather than direct battle—and approximately 15,000-20,000 men dead from drowning, disease, or starvation, while English losses were minimal in ships but notable in personnel due to illness. The defeat stemmed causally from tactical disadvantages in open-sea gunnery engagements, compounded by the failure to achieve rendezvous and the scattering effect of winds that negated Spanish numerical advantages in close combat.

Elizabethan Propaganda and Victory Narratives

On 9 August 1588, Queen Elizabeth I addressed English troops assembled at in , delivering a speech that rallied national resolve amid fears of Spanish invasion following initial Armada engagements. The address, reconstructed from contemporary reports by observers such as courtier , emphasized Elizabeth's personal commitment to defend the realm, declaring her possession of "the heart and stomach of a king" and reliance on divine protection alongside loyal subjects' fidelity. This oration, though not verbatim transcribed at the time, encapsulated themes of providential safeguarding and collective defiance, portraying the conflict as a test of Protestant England's endurance against Catholic dominion. The Armada's dispersal prompted immediate production of commemorative artifacts and texts that attributed victory to God's intervention while crediting English . Silver medals struck in 1588 featured inscriptions like "Flavit Jehovah et dissipati sunt" ("Jehovah blew and they were scattered"), with Hebrew lettering for above depictions of wrecked Spanish ships, linking storms to biblical deliverance from Psalm 48:7. Sermons by clergy such as William Cecil's associates and pamphlets disseminated anti-Spanish rhetoric, decrying Philip II's forces as instruments of papal tyranny and lauding the defeat as divine vindication of Elizabeth's regime against plots to restore Catholicism. Public rejoicings included bonfires, bell-ringing across , and a national thanksgiving service at on 20 August 1588, where thousands gathered to affirm the event's role in bolstering monarchical authority. Naval commanders' accounts reinforced the narrative by stressing human agency over chance. Sir Francis Drake, vice admiral of the English fleet, reported capturing Spanish vessels like the Nuestra Señora del Rosario through aggressive maneuvers and superior gunnery range, while his dispatch to Elizabeth announced the Armada's flight, attributing success to tactical fireship attacks and seamanship that exploited Spanish formation rigidities rather than solely meteorological fortune. These elements collectively framed the victory as causal proof of Protestant superiority, enhancing regime legitimacy by evidencing Elizabeth's prudent preparations—such as investments and alliances—against existential threats from Habsburg .

Artistic Creation

Artist Attribution and Dating

The artist of the Armada Portrait remains unidentified, with attributions to specific individuals, including George Gower as Serjeant Painter to , now widely regarded as untenable due to mismatches in style and handling when compared to Gower's documented works. Conservation analysis by the National Portrait Gallery of its version (NPG 541) emphasizes that the painting's deteriorated condition hinders precise attribution, but the brushwork and pigment application align with anonymous English artists or workshops active at court during the late . These workshops likely drew on conventions from prominent miniaturists such as , as seen in shared traits like the smooth, idealized rendering of the queen's face and subtle tonal modeling, though no direct evidence links Hilliard to the large-scale oil production. The portrait's creation is dated to approximately 1588, immediately following the English victory over the in July–August of that year, a timeline corroborated by the composition's explicit references to the campaign's key episodes, which would have held topical immediacy only in the years directly after the event. Some variants extend slightly later, to around 1590–1592, inferred from subtle progressions in the depiction of Elizabeth's features toward a more mature appearance consistent with her age in her mid-50s, though idealized to court standards. Technical examinations provide further support for this dating, with X-radiography and of surviving versions revealing underdrawings, preparatory layers, and wood preparation methods characteristic of late-sixteenth-century English techniques, predating later overpaints observed in some seascapes (e.g., eighteenth-century additions to the Greenwich version). These findings, combined with the absence of anachronistic materials, rule out later fabrication while aligning the work with documented Elizabethan artistic practices.

Production and Workshop Practices

The Armada Portrait was painted in oil on panels, with the primary versions constructed from multiple vertical boards imported from the Eastern , a standard material choice for Tudor panel paintings due to its stability and availability. These panels were typically butt-joined and prepared with a ground before applying layers of , allowing for the detailed rendering of textures such as fabrics and jewelry characteristic of Elizabethan portraiture. Technical analysis of the compositions reveals the use of patterns or cartoons transferred onto the panels to ensure compositional consistency across versions, a common workshop technique in late 16th-century for replicating high-demand images efficiently. This method facilitated the production of multiples in court-affiliated workshops, where master painters oversaw assistants in outlining and filling in details, enabling rapid dissemination of propagandistic imagery to nobles, allies, and diplomatic envoys following the Armada victory. studies from conservation efforts confirm authentic period materials, including smalt for tones and other earth-based colors that have discolored over time due to the oil medium's interaction with fading components. Recent examinations, such as those conducted on the version, have employed non-invasive techniques like X-radiography and to identify underlayers and original pigments, distinguishing them from later overpaints and underscoring the portraits' adherence to Tudor technical norms without evidence of anachronistic materials in the core Elizabethan work. These practices reflect a pragmatic approach prioritizing and symbolic uniformity over unique artistry, aligning with the era's emphasis on controlled image propagation.

Description and Iconography

Overall Composition

The Armada Portrait presents Queen Elizabeth I as the central figure in a three-quarter-length seated pose, with her right hand resting on a positioned on a table before her. She is attired in a richly embroidered featuring intricate patterns, complemented by a prominent ruff collar and holding an open fan in her left hand. The portrait is executed in oil on oak panel in a horizontal format, with dimensions of approximately 112.5 cm in height by 127 cm in width across principal versions. The composition divides bilaterally, with the queen anchoring the vertical and horizontal axes amid flanking background seascapes. To the left, the scene depicts the English fleet, including fireships advancing toward the . To the right, it shows Spanish ships wrecked on rocky shores amidst turbulent storms. This layout establishes a tripartite structure—left panel, central figure, right panel—balancing the static foreground against the contrasting maritime activity in the backgrounds.

Key Symbolic Elements

The globe positioned beneath Elizabeth's right hand serves as a central emblem of imperial dominion and England's emerging global influence, with her fingers resting near the region later known as Virginia, signifying colonial aspirations in the Americas during the Age of Discovery. This gesture draws from Renaissance conventions of sovereignty, portraying the monarch as master over worldly realms, akin to depictions in contemporary emblematic art where rulers claim authority over territories. Maritime vignettes in the background panels underscore naval triumph and providential favor: the left panel depicts Spanish vessels foundering amid storms and rocks, evoking defeat and hubris, while the right shows English ships in serene waters, symbolizing disciplined command and strategic superiority in gunnery and maneuverability as recorded in contemporary naval accounts. Elizabeth's gaze directs toward the calm English scene, reinforcing her role as a stabilizing force against chaos. Pearls adorning her attire and jewelry denote chastity and purity, evoking the Virgin Queen archetype linked to lunar deities like , while also alluding to accumulated wealth from maritime ventures and seizures, including spoils from expeditions. Sun motifs embroidered in gold on her sleeves represent her radiant and command, positioning her as the illuminating center of the realm's hierarchy. The placed behind the globe asserts monarchical legitimacy and dynastic continuity, tying Elizabeth to ancient Trojan lineages in Tudor mythology and ambitions for beyond mere defense. These elements collectively project unyielding , grounded in the 1588 victory's immediate aftermath as documented in courtly .

Versions and Variants

The Three Primary Versions

The three primary versions of the Armada Portrait, all dated circa 1588–1590 and depicting at a with naval scenes in the background, are held at , the in Greenwich (), and the National Portrait Gallery in . The Woburn Abbey version retains its original intact background seascapes showing the Spanish Armada's defeat, with no major alterations recorded to the composition. It has been documented in the collection since 1782 and remains in private ownership as part of the Woburn Abbey holdings, associated with the Dukes of Bedford. The Queen's House version, known as the "Drake" or Tyrwhitt-Drake portrait, features seascapes that were overpainted in the early 18th century but revealed through conservation in 2016 to depict the original stormy defeat of the Armada fleet. Its provenance traces to descendants of Richard Drake, the prize agent and business manager to Sir Francis Drake, with ownership recorded from at least 1775; it entered public ownership in 2016 when Royal Museums Greenwich acquired it for over £10 million, including a £7.4 million grant from the Heritage Lottery Fund, following a public fundraising campaign to prevent export. The National Portrait Gallery version was cut down vertically, likely in the , removing the side panels and seascapes to focus solely on the queen's figure, altering its original horizontal format. Its ownership history includes acquisition by David Steuart Erskine, 11th Earl of Buchan, who donated it to the in 1765 (transferred to the National Portrait Gallery in 1879).

Comparative Differences and Alterations

Technical examinations reveal variances in the construction and execution of the three primary versions of the Armada Portrait, held at , , and the . Dendrochronological analysis indicates differences in panel assembly: the version utilizes vertical Baltic oak planks, while the and National Portrait Gallery (often associated with Hatfield in comparisons) versions employ horizontal planks, consistent with late 16th-century English practices. These structural distinctions suggest adaptations in replication processes, potentially reflecting efficiencies or , though all panels date to the period shortly after , affirming their authenticity and debunking later forgery hypotheses through tree-ring dating that places the timbers no earlier than the 1570s. Alterations are evident particularly in the version, where and conservation studies uncovered 17th-century overpainting of the original seascapes around the 1670s by artist van de Velde the Younger, replacing Armada defeat scenes with Dutch marine compositions; the underlying 16th-century pigments and compositions remain intact beneath, preserving the intended once varnish removal and cleaning restored visibility. In contrast, the version exhibits faded varnishes that have darkened the seas, creating an of ships resting on sand rather than amid waves, a degradation effect rather than intentional change, with pigment analysis confirming original Elizabethan-era materials without later interventions. Such modifications highlight post-production handling differences, with the overpainted example demonstrating how subsequent owners altered backgrounds to suit contemporary tastes, while core authenticity is upheld by period-specific and other pigments matching Tudor formulations across versions. Variations in artistic execution point to multiple hands within a collaborative environment. Microscopic and analyses disclose differences in brushwork quality, application thickness, and stroke patterns, with some versions showing finer detailing in facial modeling and others coarser finishes, indicative of tracings from a shared for the queen's face adapted by assistants. reflectography on the National Portrait Gallery version reveals underdrawings and reserves for jewelry, suggesting iterative adjustments during creation, while variations—such as subtle differences in and distributions—imply not exact replicas but interpreted copies, potentially introducing minor inconsistencies like varying ship positions in backgrounds aligned with contemporaneous accounts of Armada losses that evolved from initial estimates of 50 sunk vessels to over 60. These empirical discrepancies underscore a production model of patterned replication with localized refinements, rather than mechanical duplication, ensuring each version's fidelity to the while accommodating variances.

Significance and Reception

Political and Religious Implications

The Armada Portrait projected Queen Elizabeth I as a ruler ordained by to defend against Catholic aggression, thereby undermining King Philip II of Spain's for the 1588 invasion, which framed Elizabeth as an illegitimate heretic whose deposition would restore Catholic orthodoxy under Spanish auspices. This visual assertion of monarchical absolutism reinforced Elizabeth's sovereignty amid ongoing threats from Catholic powers, including the 1570 Regnans in Excelsis that excommunicated her and absolved subjects from allegiance, by depicting her serene command over chaos as evidence of God's favor toward her regime rather than Philip's crusade. Religiously, the portrait amplified anti-Catholic sentiment by portraying the Armada's dispersal as providential judgment on Spain's militant faith, aligning with English narratives that attributed victory to divine intervention while crediting strategic preparations such as the deployment of fire ships at on August 7-8, 1588, which scattered the anchored fleet without significant English losses—approximately 100 men in direct combat versus Spanish estimates of 600 killed at the Battle of alone. English naval innovations, including race-built galleons with narrower hulls for superior speed and maneuverability, enabled sustained harassment with long-range gunnery, inflicting damage that compounded later storm losses, as documented in fleet logs rather than mere weather dependency. Spanish chronicles, such as those from Armada commander Álvaro de Bazán's successors, conceded tactical disruptions but attributed heavy attrition—over 50 ships lost and roughly 15,000 men dead or captured—to adverse winds dubbed "Protestant" by English observers, providing a counterview that emphasized natural causation over English prowess without negating the latter's role in preventing invasion. This balanced causal account, drawn from primary dispatches, underscores how the portrait's propagandistic emphasis on Elizabeth's triumph served Tudor by rallying domestic loyalty and signaling resolve to Protestant states like the Dutch rebels, without relying solely on miraculous attributions that might obscure empirical preparations.

Cultural Legacy and Modern Interpretations

The Armada Portrait has enduringly shaped British cultural narratives of resilience and imperial destiny, serving as an archetype for national victory against overwhelming odds. Its depiction of presiding over the Armada's defeat reinforced historiographical traditions from the onward, where naval chroniclers like William Laird Clowes in The Royal Navy: A History (1897–1903) invoked the event to trace the origins of British , embedding the image in as a foundational of Protestant triumph and monarchical fortitude. This legacy extended into 20th-century contexts, with the Armada's symbolism mobilized during to evoke defiance against invasion threats, as seen in Ministry of Information publications paralleling Elizabethan resolve with contemporary island defense, though direct reproductions of the portrait were secondary to textual allusions. The artwork's iconic status underscores its role in sustaining a causal link between Elizabeth's and Britain's maritime , verifiable through persistent references in official naval lore rather than unsubstantiated claims. In modern scholarship, the portrait prompts debates on public stewardship versus private possession, exemplified by the 2016 acquisition of the Tyrwhitt-Drake version by for £10.3 million, funded via a Heritage Lottery grant and public donations to avert export to overseas buyers. This effort, supported by over 7,000 contributors, highlighted tensions in , with critics arguing that taxpayer funds prioritized elite artifacts over broader access, while proponents emphasized the painting's national significance as a deterrent to commodification. Recent analyses, such as a 2023 thesis examining Elizabethan visual culture, reaffirm its propagandistic intent to project amid religious strife, prioritizing empirical iconographic evidence over interpretive overlays. Contemporary interpretations often explore gender iconography, with some scholars positing the portrait as a deliberate assertion of female agency against patriarchal constraints, interpreting elements like and columns as subversive markers of and . Such views, however, invite for imposing modern ideological lenses—prevalent in academia influenced by postmodern frameworks—onto 16th-century conventions where monarchical symbolism derived from divine right and pragmatic statecraft, not egalitarian ideals; primary Elizabethan texts, including the queen's own speeches, align more closely with assertions of absolute rule than proto-feminist . Revisionist accounts questioning Elizabeth's direct strategic role in the Armada campaign, attributing success primarily to naval commanders and providential weather rather than her oversight, contrast with dispatches from Lord Howard of Effingham crediting her mobilization of 200 ships and £160,000 in as pivotal, thus validating the portrait's traditional portrayal of decisive over minimized involvement narratives. Despite these debates, the artwork remains a verifiable of resilience, its empirical historical anchoring outweighing politicized reinterpretations in assessing long-term cultural impact.

References

  1. https://www.rmg.co.uk/queens-house/attractions/armada-portrait-elizabeth-i
  2. https://www.npg.org.uk/collections/search/portrait/mw02077/Queen-Elizabeth-I
  3. https://www.rmg.co.uk/stories/art-culture/symbolism-portraits-queen-elizabeth-i
  4. https://www.rmg.co.uk/stories/art-culture/why-are-there-three-versions-armada-portrait
  5. https://www.historic-uk.com/HistoryUK/HistoryofEngland/Spanish-Armada/
  6. https://www.historyhit.com/when-did-the-spanish-armada-set-sail-a-timeline/
  7. https://www.nationalarchives.gov.uk/education/resources/god-blew-they-were-scattered/
  8. https://www.rmg.co.uk/stories/royal-history/queen-elizabeth-speech-troops-tilbury
  9. https://www.luminarium.org/renlit/tilbury.htm
  10. https://www.tudorsociety.com/9-august-1588-elizabeth-is-tilbury-speech/
  11. https://www.rmg.co.uk/collections/objects/rmgc-object-37452
  12. https://www.britishmuseum.org/collection/object/C_M-6898
  13. https://www.nationalarchives.gov.uk/education/resources/elizabethan-propaganda/
  14. https://thetudorchronicles.wordpress.com/2015/08/20/on-this-day-in-1588-a-service-of-thanksgiving-was-held-for-the-victory-over-the-spanish-armada/
  15. https://www.loc.gov/collections/sir-francis-drake/articles-and-essays/drake-biography/armada/
  16. https://www.nationalarchives.gov.uk/education/resources/elizabeth-monarchy/sir-francis-drake-to-elizabeth/
  17. https://www.thehistoryblog.com/archives/42329
  18. https://www.arthistorynews.com/articles/3971_16m_Elizabeth_I_Armada_portrait_for_sale
  19. https://www.npg.org.uk/collections/search/portraitConservation/mw02077/Queen-Elizabeth-I
  20. https://melanievtaylor.co.uk/2018/06/12/the-armada-portrait-reconsidered/
  21. https://www.theguardian.com/artanddesign/2016/jul/29/armada-portrait-elizabeth-i-bought-britain-heritage-lottery-fund-royal-museums-greenwich
  22. http://www.thehistoryblog.com/archives/57859
  23. https://www.rmg.co.uk/stories/art-culture/conservation/against-grain-construction-tudor-panel-paintings
  24. https://www.rmg.co.uk/stories/art-culture/conservation/revealing-icon-conserving-armada-portrait
  25. https://www.npg.org.uk/collections/research/programmes/making-art-in-tudor-britain/case-studies/the-queens-likeness-portraits-of-elizabeth-i
  26. https://www.npg.org.uk/collections/research/programmes/making-art-in-tudor-britain/
  27. https://www.iperionhs.eu/project/hidden-armadas-in-the-armada-portrait-of-elizabeth-i/
  28. https://artuk.org/discover/artworks/elizabeth-i-1533-1603-the-armada-portrait-310834
  29. https://scholarworks.arcadia.edu/context/showcase/article/1599/viewcontent/AH_Senior_Thesis_Final_Draft.pdf
  30. https://smarthistory.org/portraits-of-elizabeth-i/
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  32. https://www.rmg.co.uk/stories/art-culture/curatorial/three-portraits-one-unique-display-armada-portraits-elizabeth-i
  33. https://www.sussex.ac.uk/research/explore-our-research/history-art-history-and-philosophy/how-science-reveals-the-truth-behind-art
  34. https://www.rmg.co.uk/collections/objects/rmgc-object-1096108
  35. https://landsat.gsfc.nasa.gov/article/winds-of-change-defeat-of-the-spanish-armada-1588/
  36. https://theconversation.com/elizabeth-i-the-spanish-armada-and-the-art-of-painting-politics-63352
  37. https://www.rmg.co.uk/queens-house/armada-portrait-elizabeth-i-campaign
  38. https://www.rmg.co.uk/stories/art-culture/hidden-gendered-symbolism-armada-portrait
  39. https://navalmarinearchive.com/research/pdf_am_nep/am_nep_49_1_5_sm.pdf
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