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Empire, Defeat, and Exile: Napoleon Bonaparte at Saint Helena at the 200th anniversary of his death on May 5, 1821.

FEATURED image: Napoleon near Borodino, Vasily Vereshchagin (1842–1904), 1897, oil on canvas, State Historical Museum, Moscow. The image of a sullen dictator seated on his field chair with boots raised onto a battle drum, as his General Staff views in their spyglasses the men of the Grande Armée in harm’s way at the Battle of Borodino, can be seen as indicative of Napoleon’s exercise of arbitrary power as the first of modern history’s tyrants.

Napoleon Bonaparte (1769-1821) transformed France and Europe through military genius, political ambition, and administrative reform, yet the same drive that built an empire ultimately led to its collapse. His final years, exile on the remote island of Saint Helena, and the creation of his death mask contributed to a legend that outlived both the man and the empire he forged.

The Emperor Napoleon in His Study at the Tuileries, 1812, Jacques-Louis David (1748-1825), National Gallery of Art, Washington, D.C.

Major facts of the life of Napoleon Bonaparte (1769-1821) are well known. Known as Napoleon I, the French Emperor who died two centuries ago was a shrewd, ambitious and skilled military leader who conquered much of Europe in the early 19th century.

Born on the island of Corsica that had recently handed authority from Italy to France, Napoleon rose rapidly in the French military during the unsettled period of the French Revolution after 1789 and until 30-year-old Napoleon seized power in a coup d’état in 1799.

Napoleon rose from a young Corsican artillery officer to become Emperor of the French in 1804.

In 1804 Napoleon crowned himself emperor in Notre Dame Cathedral in Paris in the presence of the pope. In the next decade Napoleon successfully waged war against various coalitions of European nations and expanded his empire. Following his disastrous French invasion of Russia in 1812 explored in some detail in this post, Napoleon abdicated his throne in 1814 and was exiled to the island of Elba not far from his native Corsica in the Mediterranean Sea near Italy.

In 1815, he escaped Elba and returned to France where he briefly returned to power in his Hundred Days campaign. He received a crushing defeat at the Battle of Waterloo in today’s Belgium and was exiled until his death on May 5, 1821 to the remote island of Saint Helena in the South Atlantic Ocean. Napoleon Bonaparte was just 51 years old at the time of his death stemming from mysterious circumstances, though likely something such as stomach cancer.1

Napoleon on St. Helena, Franz Josef Sandmann (1805-1856), c. 1820. Musée national des châteaux de Malmaison et de Bois-Préau.

In 2021, the bicentenary of the death of Napoleon I is commemorated. While 200 years is a long time ago, in terms of History it is a relatively short span amount of time. In other words, Napoleon, who might have come to the United States (New Orleans) after his exile, is not very far away from modern times.

Napoleon Bonaparte, born in Corsica which had just switched allegiance from Italy to France, was born in 1769. In 1821 when he died on May 5 he was 51 years old. The former French emperor died far away from Europe on the island of Saint Helena in the middle of the South Atlantic Ocean. Napoleon had been exiled there following his defeat at Waterloo in Belgium in 1815 and escape from Elba in the Mediterranean, the British Government’s first location for his confinement.

Between the continents of Africa and South America, St. Helena is much more remote. The island built its first airport only in 2011.

Napoleon lived on St. Helena for about 6 years and died there, somewhat unexpectedly, at Longwood House. Napoleon’s permanent residence was completed for him in December 1815.

Napoleon was buried on St. Helena. In 1840, stirring old wounds of controversy, the remains of the warring General and French despot were transferred to Paris. Napoleon’s tomb in Les Invalides had been a military hospital whose construction was by Louis XIV (1638-1715).

His death mask became one of the most famous relics associated with any historical figure.

Napoleon’s plaster death mask, known as the Malmaison mask, May 1821. The death mask was made on Saint Helena about two days after the former French Emperor’s death there on May 5, 1821 at Longwood House. see – http://www.lautresaintehelene.com/autre-sainte-helene-articles-malmaison2.html – retrieved May 5, 2021.

On St. Helena, Longwood House was Napoeleon’s permanent residence completed for him by his British captors in December 1815. In 1858, French emperor Napoleon III, nephew of Napoleon I, purchased Longwood House and various other lands associated with Napoleon I on St. Helena for the French government. Though Napoleon’s remains were returned to France in 1840, Napoleon III’s purchase on St. Helena remains the property of France. It is administered by a French representative under the authority of the French Ministry of Foreign Affairs. (see – https://fondationnapoleon.org/en/activities-and-services/preserving-heritage/operation-st-helena/ – retrieved May 5, 2021). PHOTO: “Longwood House (c) St Helena Tourism” by sthelenatourism is licensed under CC BY-ND 2.0.

His military victories reshaped Europe and spread many principles of the French Revolution across the continent. The Napoleonic Code became one of his most enduring legacies, influencing legal systems worldwide.

Napoléon at Battle of Wagram, July 5-6, 1809, Joseph Chabord (Chambèry 1786-Paris 1848), 293 cm (115.3 in) x 224 cm (88.1 in), Museo Napoleónico, Rome, Italy. On July 5-6, 1809, the Battle of Wagram took place north of Vienna and was the greatest battle in world history up to that time. It was Napoleon’s last and greatest victory. The battle opposed the Austrian army led by Archduke Charles, Duke of Teschen (1771-1847) against the Franco-Italo-German army under Napoleon I, Emperor of the French, King of Italy, Protector of the Confederation of the Rhine. The painting depicts the plain of Wagram, the scene of the battle with the dominant figure of Napoleon, perfectly settled upon a wild-eyed horse. The emperor wears the uniform of Colonel of the Chasseurs on Horseback with the insignia of the Legion of Honor and the Iron Crown. The grandeur of the rider-horse group, which contrasts with the small figures of the soldiers in the background, accentuates the heroic character of Napoleon, a charismatic strategist who dominates events. The commemoration painting probably was linked to an official commission. The painting was in the collection of Hortense de Beauharnais (1783-1837), the daughter of Napoleon’s first wife, Joséphine de Beauharnais. in Arenenberg, where the former Queen of Holland lived from 1817 until her death. It remained there until 1905, when the last owner of the castle, the former Empress Eugenie, wife of Napoleon III, donated it to Count Giuseppe Primoli. Public Domain. See – https://www.museonapoleonico.it/it/percorsi/percorsi_per_sale/sale_i_e_ii_il_primo_impero/napoleone_sul_campo_di_battaglia_di_wagra

THE YEAR 1812: A BAD ECONOMY, CONTINENTAL BLOCKADES, AND A DISASTROUS INVASION OF RUSSIA BY NAPOLEON

During the War of 1812 which had ramifications for the U.S., world domination by Napoleon was being attempted within a sagging, uncooperative economy in Europe.

France had 300,000 French troops and a rafter of French generals occupying Spain to keep the blockaded British from invading. Napoleon, in a near constant state of war since 1793, had created an Empire whose subjected parts didn’t cooperate. In 1812, Napoleon had to choose between losing his blockade in Spain or in Russia.

Since the Treaty of Tilsit in 1807 which followed the Battle of Friedland where Napoleon defeated the Russian army, Russia continued to transact business with England. This was a violation of the agreement and the pretext for Napoleon’s invasion of Russia in 1812.

While over 1,500 miles away from Paris, Napoleon wanted to shut down Russia’s economy and take full control. For Russia, Napoleon’s invasion required the defense of their homeland.

NAPOLEON’S NEW WAR NEEDED 700,000 FRESH CONSCRIPTS

Napoleon needed fresh conscripts but a third of Napoleon’s French draftees didn’t report for duty. Many of Napoleon’s generals advised the dictator to stay in Paris and enjoy life’s spoils. Napoleon refused. He explained that he would not rest until he fulfilled the dream to form a United States of Europe.2

Napoleon assembled 700,000 men with the monumental task to pay for it. For years the Emperor had been stockpiling supplies along the route to Russia and even arranged for their delivery on the battlefield.

Napoleon left St. Cloud for Moscow in June 1812. His high stakes gamble would affect not just Napoleon’s fortunes but the Empire’s inhabitants.

The disastrous Russian campaign of 1812 marked a turning point in his fortunes.

Ernest Meissonier (1815-1891), Campaign of France, 1814, 1864. Oil on wood, 51.5 x 76.5 cm, Paris, Musée d’Orsay.

This was the artist’s first painting produced in a cycle of Napoleon’s conquests. Though the episode Meissonier depicts was painted for the fiftieth anniversary of Napoleon’s invasion of France from Elba in 1814, it captures the overall desolation that surrounded the former French Emperor by the time of his invasion of Russia in 1812.

The series made by the 49-year-old artist, an admirer of seventeenth-century Flemish and Dutch small-format painting, not only captures the desolate landscape the Grande Armée endured, it also shows a solitary, unusually unkempt, and tenuous figure of Napoleon who is leading the General Staff and troops in an over-extended military campaign that spelled defeat.

For the painting, the artist’s imagination was informed by historical documentation and interviews of surviving eyewitnesses, including the detail of the emperor’s grey coat. Its realist style was a prevailing aspect of mid-19th century artistic taste during the Second Empire headed by Napoleon III from 1852 to 1870.

(see –https://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/campaign-of-france-1814-8947.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41368ad16b#:~:text=Campagne%20de%20France%2C%201814%20%5BCampaign,demonstrates%20his%20nimble%2C%20polished%20style. – retrieved May 5, 2021.

FAILURE OF THE SUPPLY CHAIN AND “THE ENEMY OF LIBERTY”

The army marched 1,200 miles to Lithuania to engage the Russian army. But the Russians had retreated. Napoleon’s men had to march another 550 miles to Moscow. The generous supply lines got snarled. French troops turned sick and exhausted.

In the Battle of Smolensk, the French invaders—viewed by some to be fighting for a united liberal Europe over small state autocrats—set that town on fire. Napoleon’s criminal reputation preceded him – he murdered without mercy and often by treachery. Royalists criticized him but also articulate liberals like Alexis de Tocqueville (1805-1859) and François-René de Chateaubriand (1768-1848). The emperor was the enemy of liberty. Chateaubriand wrote: “Les Français vont indistinctement au pouvoir, ils n’aiment pas la liberté, l’égalité est leur idole. Or l’égalité et le despotisme ont des liaisons secrètes” (“The French go to power indiscriminately, they don’t like liberty, equality is their idol. But equality and despotism have secret links”).

Portrait of Chateaubriand by Anne-Louis Girodet de Roussy-Trioson, 1809, the Musée d’Histoire de la Ville et du Pays Malouin in Saint-Malo, France. Of Napoleon Chateaubriand wrote: “Les Français vont indistinctement au pouvoir, ils n’aiment pas la liberté, l’égalité est leur idole. Or l’égalité et le despotisme ont des liaisons secrètes” (“The French go to power indiscriminately, they don’t like liberty, equality is their idol. But equality and despotism have secret links”).

The Sly Old Fox of the North

With casualties for the Battle of Smolensk around 15,000 for both sides, the Czar appointed Mikhail Kutuzov (1745-1813) as commander of Russian forces. Napoleon called Kutuzov, “The sly old fox of the north“ (cited in Roger Parkinson, The Fox of the North, 1976). At 67 years old, Kutuzov was lazy and lecherous, but knew how to fight—and, regarding Napoleon’s invasion of Russia, how to retreat strategically. It made Napoleon’s thirst for further battle on his own terms impossible.

Portrait of Mikhail Kutuzov, 1829, George Dawe (1781–1829). Oil on canvas, State Hermitage Museum, Winter Palace War Gallery, St. Petersburg, Russia.

70 MILES WEST OF MOSCOW, THE BATTLE OF BORODINO PITS 242,000 TOTAL COMBATANTS WITH OVER 1,000 BIG GUNS ON SEPTEMBER 7, 1812

In his address to troops before the Battle of Borodino General Kutuzov told his men: “Napoleon is a torrent we are yet unable to stem. Moscow will be the sponge that sucks him dry.”3 Napoleon knew what he was up against. Without supplies, Napoleon ordered his men to keep marching: “Motion alone keeps this army together.”4

The march from Smolensk to Moscow took 3 weeks. Many soldiers of the Grande Armée died on the march. Kutuzov set up a defensive position in Borodino, about 70 miles west of Moscow. On Sept. 7, 1812, French forces engaged the Russians. Both sides were evenly matched – Napoleon had 587 guns and 130,000 troops and the Russians had 640 guns and 112,000 troops.

Hanging over the battlefield was the feeling that the destiny of Europe lay in the balance. The battle’s outcome was a draw. The French were masters of the field as the Russians retreated. It was another day for war’s slaughter— combined French and Russian losses was 80,000 soldiers.

Battle of Moscow (or Borodino), the Capture of the Great Redoubt. Engraving by unknown artist, 1820’s. State Borodino Military Historical Museum, Russia.

Battle of Moscow (or Battle of Borodino) in 1812. Attack of the Lithuanian Life Guards Regiment, oil on canvas, 1912, Nikolay Semyonovich Samokish (1860-1944). State Borodino Military Historical Museum, Russia.

General Uvarov at Borodino, Auguste-Joseph Desarnod (1788-1840), State Hermitage Museum, St. Petersburg, Russia.

In the War of 1812 Fedor Petrovich Uvarov (1769 -1824) commanded the 1st Cavalry Corps and then the Cavalry of the 1st and 2nd Russian Armies. With the Cossacks of Matvei Platov (1753-1818), Uvarov distinguished himself in the Battle of Borodino when he turned the left flank of the French army and made a raid to its rear. The Russian attack of the main French forces delayed Napoleon’s battle plans for two crucial hours.

WHEN LEJEUNE’S BATTLE-PICTURES WERE SHOWN IN LONDON, EAGER CROWDS CAME TO SEE THEM FOR THEIR REALISTIC, DETAILED DEPICTIONS OF SIGNIFICANT CONTEMPORARY EVENTS.

Battle of Borodino, 7th September 1812, 1822, Louis-François Lejeune (1775-1848).

In the French invasion of Russia in 1812, Lejeune was made général de brigade and chief of staff to Davout (1770-1823). During the retreat, Lejeune was frostbitten on the face and left his post where he was subsequently arrested on Napoleon’s orders.

During his military service, Lejeune produced a series of important battle-pictures based on his experiences. They were generally executed from sketches and studies made on the battlefield. Known for their lofty perspective which, according to Chase Maenius in The Art of War[s], “offer[ed] a panoramic view of the totality of the battle’s events,” the Battle of Borodino… of 1822 is considered his masterwork.

In his Memoirs of Baron Lejeune, aide-de-camp to marshals Berthier, Davout, and Oudinot (translation, 1897), Lejeune related one of the many wretched scenes that the Napoleonic Wars produced. He wrote: “As we were pushing on the next day, we came upon two poor creatures at a turn in the road whose condition tore our hearts. They were a handsome well-built man of about forty and a woman of about thirty, also with a fine figure, both stark naked. They approached us and said to us in very good French, ‘Our home has been sacked by Cossacks, who stripped us of everything and left us as you see us. For pity’s sake help us.’ We could do nothing for them but give them a little food, and we felt very wretched as we turned away. The next day at a bivouac some distance off a fresh irresistible demand was made upon our pity, and our stock of provisions was so much reduced that I don’t know what we should have done but that some German peasants brought us a few sheep, with which we replenished our larder.” p. 158, https://archive.org/details/memoirsbaronlej01maurgoog/page/n170/mode/2up
—retrieved May 5, 2021.)

The bodies of dead soldiers of Napoleon’s Grand Armée left on the bridge over the River Kolocha after the Battle of Borodino, 1812.  Christian Wilhelm von Faber du Faur (1780-1857), published 1830’s.

Gen. Kutuzov at the conference of Fili deciding to surrender Moscow to Napoleon, Aleksey Kivshenko (1851–1895), 1880, oil on canvas, Tretyakov Gallery, Moscow.

Following the Battle of Borodino on September 7, 1812, the Russian army retreated towards Moscow and camped near Fili. A military council led by General Kutuzov assembled in a hut in Fili where, despite objections from younger generals, Kutuzov insisted on his plan to abandon Moscow.

The action not only saved the remains of the Russian army but worked to stymie and ultimately defeat Napoleon’s invasion drive. The personalities in the painting include Prince Michael Andreas Barclay de Tolly (1761-1818), who was replaced by Kutuzov on order of the Czar and sits in the corner below the Virgin Mary and Child Jesus icon. Fyodor Uvarov sits near Barclay holding a paper. Nikolay Raevsky (1771-1829) sits by the window with his fingers locked together. Aleksey Petrovich Yermolov  (1777-1861) stands on the far right. The much younger Yermolov resented old general Kutuzov’s plan and demanded to fight the enemy.

Napoleon and about 100,000 French troops reached Moscow on September 8, 1812, Napoleon found only Russia’s poor and displaced. Moscow was Russia’s largest city, its capital, and its Holy City—and French troops of the Enlightenment set it ablaze. The fires burned for 4 days as Napoleon’s army looted it.

Napoleon wrote a letter of apology and condolence to the Czar, Alexander I Pavlovich, the Blessed (1777-1825). One result was that Tthe Russians resolved never to surrender to their would-be conqueror. Only some of the wealthy in Russia looked to negotiate with Napoleon mainly out of fear of losing their assets, that is, the serfs. Napoleon surmised, “I beat the Russians every time—but that does not get me anywhere.”5 Old general Kutuzov’s inaction attained his objective to defend Russia whereas 43-year-old Napoleon failed to rally his men for his Empire these many hundreds of miles from home.

In Ridley Scott’s Napoleon, after trudging with his conscripts through most of Europe, the French Emperor (Joaquin Phoenix) reaches Moscow in Russia. Itching for a fight, the Holy City is, instead, deserted. Disappointed and mocked, Moscow is looted and set ablaze by Napoleon’s men before they retreat.

Posthumous Portrait of Czar Alexander I of Russia, 1826, George Dawe, State Hermitage Museum, St. Petersburg, Russia.

Napoleon’s interest became retreat. There was an intended coup d’état in Paris that Napoleon had to raise more fresh recruits to crush. Other parts of the Empire also raised their head following Napoleon’s inglorious retreat. But it grew worse to become one of world history’s worst defeats.

Weather in Russia turned to snow and ice. The Russians retreated into Mother Russia before they were defeated. The French retreated to the west in defeat. Reports of cannibalism among Napoleon’s army is recorded. Turning back to Paris, the French army lost another half of their men. All of Napoleon’s supply lines had been sacked. Adding further injury, the French were chased out of Russia by Kutuzov’s 80,000 troops.

Famous tell-all graph by French civil engineer Charles Joseph Minard (1781-1870) showing the size of Napoleon’s Grande Armée as it marched towards Moscow (top gray line, left to right) in summer of 1812 and its retreat (bottom black line, from right to left) in the late fall of 1812. Frozen temperatures during the humiliating retreat are plotted on the bottom graph.

On the retreat, surviving warriors fought among themselves over any existing supplies. Napoleon’s retreat included the humiliation of being chased out of Russia by Kutuzov’s redeployed 80,000 troops. The old man’s hot pursuit did not allow Napoleon, the once young Enlightenment military figure, to rest.

Under military surgeon Baron Dominique Jean Larrey (1766-1842), the Grand Army’s medical and sanitary measures were the finest in the world but the retreat route offered no food and no medical care. As a remedy for possible future ills, including his capture, Napoleon convinced his doctor to give him a vial of poison which the dictator could ingest if conditions deteriorated to become inescapably dire.

Portrait of Dominique-Jean Larrey, oil on canvas, 1804, Marie-Guillemine Benoist (1768-1826), Musée des Augustins, Toulouse, France.

Baron Dominique Jean Larrey was a French surgeon and military doctor who distinguished himself during the near endless wars of the French Revolution and under Napoleon. Baron Larrey served as the Grand Army’s medical and sanitation leader and was an important innovator in triage who is considered the first modern military doctor and surgeon.

Napoleon: Retreat, 1812. /Ncrossing The Beresina River In Russia During The Retreat Of The Grand Army Under Napoleon Bonaparte, December 1812; Baggage Carts And Ambulances Have Been Abandoned In The Foreground. Watercolor, c. 1812, attributed to General François Louis Fournier-Sarlovèze (1773-1827). During the Russian Campaign, Fournier commanded a brigade of light cavalry composed of French, German, and Central European horsemen, and led a noted cavalry charge at the Battle of Smolensk.

Generals Kutuzov and Wittgenstein attacked at a bridge crossing in what today is Belarus. Hundreds of Frenchmen drowned. To slow the attack, Napoleon ordered the bridges destroyed. In the process the general stranded hundreds of his troops to enemy gunfire.

Napoleon now told his aide-de-camp, Armand-Augustin-Louis de Caulaincourt, what the Russian campaign taught him: “I can hold my grip on Europe only from the Tuileries.” In Warsaw, Napoleon met Abbé de Pradt, his ambassador, and told him: “From the sublime to the ridiculous is but a step.”6

As Tchaikovsky’s 1812 Overture with its famous climax using cannon fire, ringing chimes and brass fanfare, commemorates a Russian defensive victory, French losses were staggering. Of Napoleon’s 700,000 men led into Russia, only 30,000 survived. Only 1,000 soldiers returned to active duty.7

NAPOLEON IN RUSSIA, HIS FORCES LOSE THE PENINSULAR WAR IN SPAIN; THE FOLLOWING YEAR, IN 1813, NAPOLEON LOSES THE BATTLE OF LIEPZIG, THE LARGEST LAND BATTLE UNTIL WORLD WAR I.

Simultaneous with the debacle of Napoleon’s Russian invasion, French forces lost the long fight (since 1808) in Spain and Portugal to keep the British off the Continent.

Significant losses in the east and west of the Empire were followed in 1813 by the Battle of Leipzig, Napoleon’s penultimate defeat by an international coalition that included Austria, Prussia, Russia and Sweden.

DEFEATED, FORCED TO ABDICATE AND EXILED TO ELBA IN 1814, HE BRIEFLY RETURNED TO POWER DURING THE AUDACIOUS HUNDRED DAYS IN 1815. NAPAOLEON MET HIS WATERLOO ON JUNE 18, 1815.

After Napoleon withdrew into France, in March 1814 these allied forces captured Paris. By early April 1814 Napoleon was forced to abdicate as Emperor. Napoleon had to go for his pursuit of glory had become a menace to his country and the world.

With the Treaty of Fontainebleau, Napoleon was exiled to Elba, and, following his brief escape into France in 1814, he was defeated for the final time at the Battle of Waterloo and exiled to St. Helena which held him until his death at 51 years old on May 5, 1821.

Waterloo Battlefield taken from Lion’s Mound, July 1984. Author’s photograph. All Rights Reserved.

Center of Wellington’s Line

This vantage point looks straight down the Allied‑Coalition center under the Duke of Wellington, facing south toward Napoleon’s army. The road cutting through the field is the Chaussée de Charleroi (today’s Route N5), the main axis of Napoleon’s plan to drive north, seize Brussels, and split the Allied and Prussian forces.

La Haye Sainte: The Breakwater

The white, walled farm complex beside the road is La Haye Sainte, held on June 18 by the King’s German Legion (expatriated Hanoverians). This fortified farmhouse became the immovable center of Wellington’s line, blocking the French advance up the main road for most of the day.

D’Erlon’s Assault and the Heavy Cavalry Counter‑Charge

The east field (left) was the killing ground for Count d’Erlon’s I Corps early that afternoon. Across this slope, British heavy cavalry—including the Scots Greys—launched their legendary, chaotic counter‑charge, smashing d’Erlon’s infantry columns before overextending and being cut down in turn.

Ney’s Mass Cavalry Attacks

The rising west field (right) hosted Marshal Ney’s massive cavalry charges. Wellington’s infantry met them in a checkerboard of roughly 20 defensive squares, each holding 500–1,000 men. The French horsemen funneled through narrow gaps, unable to break the squares and instead becoming trapped, jumbled, and exposed to disciplined musket fire. It was like as Agincourt all over again.

Portrait of the Duke of Wellington, by Sir Thomas Lawrence, c. 1815–1816, Apsley House, Apsley House, London. Public Domain.

The creation of the Lion’s Mound between 1820 and 1826 permanently reshaped the original 1815 battlefield. King William I of the Netherlands ordered the monument to mark the exact spot where his son, the Prince of Orange, was wounded. To build the 141‑foot conical hill, engineers with 2,000 workers moved an enormous volume of earth—roughly 300,000 to 400,000 cubic meters—an amount equal to over 40,000 standard dump truck loads packed back-to-back—by scraping and excavating the battlefield itself rather than importing soil. In doing so, they erased key contours, slopes, and defensive features that had defined Wellington’s position during the Battle of Waterloo. The alteration was so drastic that when Wellington returned in 1827, he reportedly reacted with fury, declaring, “They have altered my field of battle!”

Exiled to the remote South Atlantic island of Saint Helena, he spent his remaining years dictating memoirs and reflecting on his career. Napoleon died on May 5, 1821, at age 51. Two centuries after his death, historians continue to debate whether he was a liberator, dictator, military genius, or all three.

Napoleon Crossing the Alps, Jacques-Louis David, 1801, oil on canvas, 102 1⁄3 × 87 in., Château du Malmaison.

NOTES:

  1. “Napoleon Bonaparte,” HISTORY, last modified April 28, 2026, https://www.history.com/topics/france/napoleon.
  2. Will Durant and Ariel Durant, The Age of Napoleon (New York: Simon & Schuster, 1975), 698.
  3. Trevor Royle, ed., A Dictionary of Military Quotations (London: Routledge, 1989), sec. 105, quote 13.
  4. “Napoleon’s Maxims,” Military-Info, accessed May 5, 2021, http://www.military-info.com/freebies/maximsn.htm.
  5. “The Napoleon Legend—A New Look; How can we know the man whose transformation into a myth began long before his death?; Napoleonic Legend,” New York Times, April 5, 1964, https://www.nytimes.com/1964/04/05/archives/the-napoleon-legenda-new-look-how-can-we-know-the-man-whose.html.
  6. John Bartlett, Bartlett’s Familiar Quotations, 13th ed. (Boston: Little, Brown, 1955), 199.
  7. Stephan Talty, “What Blown Tire? How Typhus, Transmitted by Lice, Wiped Out Napoleon’s Grand Armée,” Slate, December 21, 2012, https://slate.com/technology/2012/12/napoleon-march-to-russia-in-1812-typhus-spread-by-lice-was-more-powerful-than-tchaikovskys-cannonfire.html.




The Painter Who Defined Elizabethan England: Marcus Gheeraerts the Younger (c. 1562-1636) and the Art of Power. Complete signed, dated, documented, inscribed artwork.

FEATURE image: Detail, Queen Elizabeth I. Ditchley portrait. Marcus Gheeraerts the Younger, 1592.

Marcus Gheeraerts the Younger was one of the most important portrait painters of Elizabethan and early Stuart England, whose innovative artistic style, influential court connections, and penetrating portrayals of political, military, and aristocratic figures helped shape English portraiture during a pivotal era in British history.

Marcus Gheeraerts the Younger, Captain Thomas Lee in Irish Dress, oil on canvas, 1594 (purchased 1980), Tate Britain.

Captain Thomas Lee (c.1551-1601) had his portrait painted by 33-year-old Marcus Gheeraerts the Younger (Bruges, 1561-1636) in London in 1594. Captain Lee was 43 years old and had worked as a military adventurer for English colonization in Ireland since the early 1570’s.

The young artist was the son of Gheeraerts the Elder (c. 1520–c. 1590), a painter and printmaker associated with the Tudor court in the late 1560’s and 1570’s. Fleeing religious persecution in Flanders, Gheeraerts the Elder arrived into England with his 7-year-old son Marcus in 1568. In 1577, Gheeraerts the Elder had likely returned to Flanders.

By 1594, when the portrait of Captain Lee was made, Gheeraerts the Younger was a rising young contemporary artist working in Elizabeth I’s Tudor court.  Sir Roy Strong, the English art historian who served as director of the National Portrait Gallery and the Victoria and Albert Museum in London is unequivocal about Gheeraerts the Younger’s artistic importance to English art history. Strong wrote that Gheeraerts is “the most important artist of quality to work in England in large-scale between (Hans) Eworth (c. 1520 – 1574) and (Anthony) van Dyck (1599-1641).”1 

In addition to a discussion of the early painting of Captain Lee, a complete collection of Marcus Gheeraerts the Younger’s 33 art works– including signed and dated works, documented and dated works, inscribed and dated works, and inscribed and undated works– is included in this post following this introduction.

Social contract: Marriages of court artists in late-16th-century Tudor England

At 22 years old in 1583, Marcus Gheeraerts the Younger’s world in and around London was ideally enclosed by marriage to the sister of talented Tudor court painter John De Critz (c.1555-c.1641). De Critz, like his new brother-in-law Gheeraerts the Younger, was a child expatriate from Flanders to England in 1568.2 

In 1571 Gheeraerts the Elder had married his son’s future wife’s sister, making father and son Gheeraerts also eventually brothers-in law.3 

Over two decades later, in 1602, Gheeraerts the Younger’s sister married the court artist Isaac Oliver (c.1565-1617).4 

This was typical social behavior at the Tudor court where many active artists were connected by ties of marriage, family, and artistic training as well as shared European origin.

In Gheeraerts the Younger’s circle, for instance, John De Critz was apprenticed to the wealthy portrait painter Lucas de Heere (1534-1584) who may also have helped train Gheeraerts the Younger. De Heere – like Gheeraerts the Younger and De Critz – was a religious refugee to England from Flanders.

Isaac Oliver, Gheeraerts the Younger’s other brother-in-law, studied under leading Tudor portrait miniaturist and goldsmith Nicholas Hilliard (c.1547-1619). 5 Roy Strong as Director of the National Portrait Gallery in London links Hilliard to Gheeraerts by way of the supreme artistic quality found in both of these contrasting artists’ masterpieces.6 

One remarkable technical innovation that the young artist applied in his portraits was the use of stretched canvas in place of wood panel that allowed for larger and lighter surface areas on which to paint and more easily transport pictures of the grand gentlemen and ladies of the time.

By way of marriage to an Irish Catholic woman, Captain Thomas Lee became a man of considerable property in Ireland. Captain Lee had separated from his wife by the time of his portrait. The next year -– in 1595 –- Lee married an Englishwoman. Over the decades, Captain Lee’s military reputation became one of an enfant terrible in Ireland which did not mellow over time. Powerful friends looked to explain Thomas’s frequent reckless political and military behavior. It was justified as the occupational hazard of a longtime English soldier in Ireland.

Planning and posing of Captain Lee’s portrait

Lee posed for Gheeraerts when the captain was straight off the battlefield from Ulster chieftain Aodh Mag Uidhir (Hugh Maguire, d. 1600) and in London for delicate negotiations.

To presumably express Thomas’s faithful service to the Crown, the portrait includes a Latin inscription in the tree that refers to Mucius Scaevola (c. 500 BC), an ancient perhaps mythical Roman fighter who remained loyal to Rome even after he was captured by mortal enemies.  

Captain Thomas Lee was related to Sir Henry Lee as paternal half cousins. Sir Henry was Queen Elizabeth I’s Champion for almost 25 years until his retirement in 1590. In that capacity, Henry was the creator of the stunning imagery for her publicly-popular Accession Day festivals that he annually planned. Along with Gheerearts the Younger’s Elizabethan allegorical portrait Lady in Fancy Dress (The Persian Lady) (#30 below) and the Ditchley portrait of Queen Elizabeth I (#31 below) — both painted in the early 1590s — Henry, who remained active and influential in political affairs, may have helped devise the symbolism in Captain Lee’s portrait. The portrait also came from Ditchley, Sir Henry Lee’s timber-framed family house set in the wooded farmsland of north Oxfordshire.

While the painting’s landscape where Captain Lee stands is likely a representation of Ireland’s wild landscape, Henry Lee’s symbolism may provide other subtle and humorous features. 

Troublesome Thomas, for example, stands under an oak, which may refer to Sir Henry’s political protection but also that these trees are prone to dangerous lightning strikes. 

The final seven years of Captain Thomas Lee’s life iterated a legendary standard: at times negotiating with or killing Irish enemies he also served time in prison in Ireland on a charge of treason. Ultimately, Sir Henry could not save his familial junior– in 1601 Thomas faced execution in England for treason against Elizabeth I.

English colonial rule tightens in 17th century Ireland

English power became increasingly absolute in 17th century Ireland.  

In the 1590’s, the Protestant Ascendancy in Ireland believed turning their backs on the mostly Catholic natives was the most effective governing strategy. While an oath of allegiance to the Crown remained law to divest Irish rebels of their property to English rule, it was not vigorously applied until the arrival in 1604 into Ireland of Lord Deputy Arthur Chichester (1563-1625). 

The 1590’s continued to implement England’s new plantation system in Ireland which amounted to confiscating Irish property for English and Scottish settlers. While this provided quick and lucrative rewards for the conquerors, the political situation was not free of ambiguity. English laws were attacked by Irish chiefs seeking protection under older common law.

Protestant settlers had their own uneasy relationship with the English Crown who, in turn, fought a tug of war with an English Parliament.

About half of settlers in Ulster were Presbyterians who were dissenters from the English church which itself was at war with Anglo- and Gaelic Irish Catholics. Moreover, London viewed new Protestant landowners in Ireland –- such as Captain Thomas Lee –- with no less suspicion as despoiled Catholics. The Crown believed that the new Protestant vanguard in Ireland had power to usurp the island’s treasure more readily than pillaged Catholics who could, ironically perhaps, be better disposed to the idea of royal governance.7

While Thomas Lee’s special status is expressed in the painting’s lace embroidery on his rolled-up shirt and inlaid pistol and Northern Italian-made helmet, the Captain is dressed as a common foot-soldier who traveled through Ireland lightly armed. Captain Lee is also, both seriously and humorously, barelegged.

Sir Henry Lee must have been one of Marcus Gheeraerts the Younger’s earliest patrons, as the Ditchley collection had several portraits which can be ascribed to the artist.8

FOOTNOTES:

  1. Strong, Roy, The English Icon: Elizabethan & Jacobean Portraiture, The Paul Mellon Foundation for British Art London Routledge and Kegan Paul Limited New Haven Yale University Press, 1969, p.22.
  2. Ibid. p.259.
  3. Hearn, Karen, Marcus Gheeraerts II: Elizabethan Artist, In Focus (Tate Publishing), 2003, p. 11ff.
  4. Strong, p.269.
  5. Hearn, p.130.
  6. Strong, p.23.
  7. See Roger Chauviré, A Short History of Ireland, New American Library, 1965; T.W. Moody & F.X. Martin, editors, The Course of Irish History, Mercier Press, Cork, 1978; http://www.tate.org.uk/art/artworks/gheeraerts-portrait-of-captain-thomas-lee-t03028 – retrieved May 28, 2017.
  8. The Captain Thomas Lee portrait was first recorded at Ditchley by Vertue in 1725 who noted there a portrait of ‘Lee in Highlanders Habit leggs naked a target & head piece on his left hand his right a spear or pike. Ætatis suae.43.ano.Dni 1594’.

Marcus Gheeraerts the Younger‘s surviving signed, dated, documented, and inscribed works demonstrate both his artistic achievement and his importance as a visual chronicler of Tudor and Jacobean society.

1. SIGNED AND DATED WORKS (8 works):

Louis Frederick, Duke of Württemberg, 1608.

1 – Marcus Gheeraerts The Younger, Louis Frederick, Duke of Württemberg, 1608, oil on canvas, 225.1 x 113.1 cm, St James Palace. Probably painted for James I though first recorded in Charles II’s collection. (Strong 255, The English Icon).

Gheeraerts II painted portraits of several foreign dignitaries on their visits to the English court. Louis Frederick, Duke of Württemberg visited James I in London for three months in the latter part of 1608 and likely the artist produced this work at that time.

Gheeraerts the Younger Wm Camden 1609

2 – Marcus Gheeraerts the Younger, William Camden, 1609, oil of panel,, 76.2.x 58.5 cm, Bodleian Library, Oxford. Given to the Schools by Camden Professor (1622-1647) Degory Whear. (Strong 256).

Gheeraerts the Younger, Lucy Davis. 1623. Private collection.

3 – Marcus Gheeraerts the Younger, Lucy Davis, Countess of Huntingdon, 1623, oil on panel, 76.8 x 62.3 cm, Private Collection. (Strong 257).

Marcus_Gheeraerts_the_Younger_William_Pope,_1st_Earl_of_Downe, 1624

4 – Marcus Gheeraerts the Younger, William Pope, 1st Earl of Downe, 1624, oil on panel, 62.3.x 47.1 cm, Trinity College, University of Oxford. It was presented to Trinity College in 1813 by Henry Kett. (Strong 258).

Gheeraerts the Younger, Elizabeth Cherry, Lady Russell, 1625.

5 – Marcus Gheeraerts the Younger, Elizabeth Cherry, Lady Russell, 1625, oil on canvas, 194.5 x 105.6 cm, The Duke of Bedford. This painting has been at Woburn Abbey since 1625. (Strong 259).

Gheeraerts the Younger Sir William Russell, 1625

6 – Marcus Gheeraerts the Younger, Sir William Russell, 1625, oil on canvas, 195.6 x 111.8 cm, The Duke of Bedford. Always at Woburn Abbey. (Strong 260).

Gheeraerts the Younger, Richard Tomlins, 1628.

7 – Marcus Gheeraerts the Younger, Richard Tomlins, 1628, oil on panel, 111.8 x 83.9 cm. The Bodleian Library, Oxford. It was in the Library in 1759. (Strong 261).

Gheeraerts_Anne_Hale_Mrs_Hoskins

8 – Marcus Gheeraerts the Younger, Anne Hale, Mrs. Hoskins, 1629, oil on panel, 111.8 x 82.7 cm. Jack Hoskins Master, Esq. The painting remains in the family. (Strong 262). 

2. DOCUMENTED AND DATED WORKS (3 works):

Gheeraerts_Barbara_Gamage_with_Six_Children 1596

9 – Marcus Gheeraerts the Younger, Barbara Gamage, Countess of Leicester, and her children, 1596, oil on canvas, 203.2 x 260.3 cm, The Viscount De L’Isle. Always at Penshurst Place near Tonbridge, Kent, 32 miles southeast of London; first recorded 1623. (Strong 263).

Marcus_Gheeraerts_the_Younger_William_2nd_Lord_Petre

10 – Marcus Gheeraerts the Younger, William, 2nd Lord Petre, 1599, oil on panel. 111.8 x 90.2.cm. The Lord Petre; custody of the Essex County Record Office. (Strong 264).

Marcus Gheeraerts the Younger, Katherine Somerset, Lady Petre, 1599.

11 – Marcus Gheeraerts the Younger, Katherine Somerset, Lady Petre, 1599, oil on panel, 111.8 x 90.2 cm. The Lord Petre. Always at Ingatestone Hall, the 16th century manor of the Barons Petre in Essex, England. Queen Elizabeth I spent several nights there in 1561. (Strong 265).

3. INSCRIBED AND DATED WORKS (18 works):

# 12 800px-Marcus_Gheeraerts_II_-_Portrait_of_Mary_Rogers,_Lady_Harington_-_Google_Art_Project

12 – Marcus Gheeraerts the Younger, Unknown Lady (Mary Rogers, Lady Harington), 1593, oil on panel, 114.3 x 94 cm, Tate (purchased 1974). The identity for the sitter is speculative, although her age (23 years old) is inscribed. It is one of the earliest known portraits by Gheeraerts. (Strong 266).

Unknown Lady (Mary Rogers, Lady Harington), 1593

Detail, Unknown Lady (Mary Rogers, Lady Harington), 1593. The sitter is identified in part by the clothes she wears: the distinctive black and white pattern on her dress heralds the Harington coat of arms. The sitter is 23 years old and her portrait may have been painted in connection with a visit to Kelston (The Harington homestead) in 1592 by Queen Elizabeth. The Latin inscription in the painting reads, “I may neither make nor break” a dramatic phrase whose meaning is no longer clear.

Marcus Gheeraerts the Younger, Captain Thomas Lee in Irish Dress, 1594.

13 – Marcus Gheeraerts the Younger, Captain Thomas Lee in Irish Dress, oil on canvas, 1594 (purchased 1980), Tate Britain. (Strong 267). With detail.

Captain Thomas Lee in Irish Dress, 1594.
si francis drake 001 FIXED

14 – Marcus Gheeraerts the Younger, Sir Francis Drake, oil on canvas, 1594. Versions at National Maritime Museum, Greenwich and Lt.- Col. Sir geirge Tapps-Gervis-Meyrick.

Marcus Gheeraerts the Younger, Unknown Man, 1599.

15 – Marcus Gheeraerts the Younger, Unknown Man (Called the Earl of Southampton), 1599, location unknown. (Strong 269).

Marcus Gheeraerts the Younger, Unknown Lady, 1600.

16 – Marcus Gheeraerts the Younger, Unknown Lady, 1600, oil on panel, The Lord Talbot de Malhide. (Strong 270).

Sir Henry Lee by Marcus Gheeraerts Tate Britain, 1600

17 – Marcus Gheeraerts the Younger, Sir Henry Lee, oil on canvas, 1600, private collection on loan since 2008 to Tate Britain.

Sir Henry Lee (1533–1611), a Tudor Court favorite under Elizabeth I, was appointed as Queen’s Champion and Master of the Armoury. In that capacity, Sir Henry organised the annual public Accession Day festivals in honor of the queen. He commissioned the famous Ditchley portrait of Elizabeth I by Gheeraerts for his house at Ditchley in Oxfordshire. In 1597 he was made a Knight of the Garter and in Gheeraerts’s portrait wears that order’s gold chain and bejeweled medal of St George slaying the dragon. (Strong 271).

Sir Henry Lee in Garter Robes, 1602.

One of Gheeraerts II’s finest portraits, Sir Henry Lee is a former man of action, whose old head is remarkably shrewd.

Sir Henry Lee in Garter Robes, 1602 (detail).

18 – Marcus Gheeraerts the Younger, Sir Henry Lee in Garter Robes, 1602, oil on canvas, 216.2 x 137.2 cm. Always at Ditchley until 1933. Today at The Armourers & Brasiers’ Company of the City of London. Founded in 1322, the livery company was awarded its first Royal Charter in 1453 from King Henry VI. In 1708 the Armourers joined with the Brasiers and received its current charter from Queen Anne. (Strong 272).

Marcus Gheeraerts the Younger, Christophe de Harlay, Comte de Beaumont, 1605.

19 – Marcus Gheeraerts the Younger, Christophe de Harlay, Comte de Beaumont, 1605, oil on canvas, The Marquess of Salibury.

The Comte de Beaumont was the French ambassador to England at a time when the Kings of England and France were looking in their own ways for a diplomatic solution to the religious controversies in Europe. The painting was made for Robert Cecil, 1st Earl of Salisbury, a politician who had won James I’s trust. (Strong 273).

Marcus Gheeraerts the Younger, Alexander Seton 1st Earl of Dunfermline, 1606.

20 – Marcus Gheeraerts the Younger, Alexander Seton 1st Earl of Dunfermline, 1606.

Alexander Seton, 1st Earl of Dunfermline (1555–1622), a Scot, was regarded as one of the finest legal minds of his time. Seton served as Lord President of the Court of Session (top judge) from 1593 to 1604, Lord Chancellor of Scotland (top presiding officer of state) from 1604 to 1622 and Lord High Commissioner to the Scottish Parliament. (Strong 274).

Marcus Gheeraerts the Younger, Anne of Denmark, 1614

21 – Marcus Gheeraerts the Younger, Anne of Denmark, 1614, oil on panel, 109.4 x 87.3 cm, Windsor Castle.

At 15 years old, Anne married the future James I of England in 1589. The Queen consort bore James three children who survived infancy, including the future Charles I (reigned 1625-1649). Once fascinated with his bride, observers regularly noted incidents of marital discord between the dour and ambitious James and his independent and self-indulgent wife. Before she died in 1619 the royal couple led mainly separate lives. (Strong 275).

Gheeraerts the Younger, Ulrik, Duke of Schleswig-Holstein, 1614.

22 – Marcus Gheeraerts the Younger, Ulrik, Duke of Schleswig-Holstein, 1614, oil on canvas, 211.2 x 114.3 cm, The Duke of Bedford.

Prince Ulrik of Denmark, (1578–1624) was the second son of King Frederick II of Denmark and his consort, Sophie of Mecklenburg-Güstrow. As second-born Ulrick bore the merely titular rank of Duke of Holstein and Schleswig although he later became Administrator of Schwerin. After his sister Anne became Queen of England, Ulrik was godfather to Princess Mary. (Strong 276).

Gheeraerts the Younger, Sir John Kennedy, 1614.

23 – Marcus Gheeraerts the Younger, Sir John Kennedy, oil on canvas, 1614, The Duke of Bedford.

Upon James I’s accession, Elizabeth Brydges — Maid of Honour of Queen Elizabeth I — married Sir John Kennedy, one of the king’s Scotch attendants. This occurred at Sudeley Manor in Gloucestershire. Chandos appears to have opposed the match, and it was rumored in early 1604 that Sir John Kennedy had a wife living in Scotland. James I wrote to Chandos (February 19, 1603, or 1604) entreating him to overlook Sir John’s errors because of his own love for his attendant. Elizabeth Brydges apparently left her husband and desired to have the matter legally examined. As late as 1609 the legality of the marriage had yet to be decided. Lord Chandos declined to aid his cousin, and Sir John Kennedy’s wife died deserted and in poverty in 1617. (Strong 277).

Gheeraerts the Younger, Catherine Killigrew Lady Jermyn, 1614.

24 – Marcus Gheeraerts the Younger, Catherine Killigrew, Lady Jermyn, 1614, oil on panel, 73.7 x 57.2 cm, Yale Center for British Art. (Strong 278). 

Catherine Killigrew was 35 years old when she sat for this portrait. The wife of an MP as well as the mother of three children, Catherine was the daughter of Sir William Killigrew (d. 1622) who was a courtier to Queen Elizabeth I and to King James I. Her father, Sir William, served as Groom of the Privy Chamber. (Strong 278).

Gheeraerts the Younger, Probably Mary (née Throckmorton), Lady Scudamore, oil on panel, 1615.

25 – Marcus Gheeraerts the Younger, probably Mary (née Throckmorton), Lady Scudamore, oil on panel, 1615, 45 in. x 32 1/2 in. (1143 mm x 826 mm), National Portrait Gallery, London, purchased 1859.

The sitter, once wrongly identified as the Countess of Pembroke, is likely Lady Scudamore though about whom little is known. The portrait is likely for the occasion of her son’s marriage (John, later Viscount Scudamore) to Elizabeth Porter of Dauntsey, Wiltshire. The wreath of flower and inscribed motto ‘No Spring Till now,’ suggest the hope that this marriage must have represented within the family. (Strong 279).

Gheeraerts the Younger, Sir Henry Savile, 1621.

26 – Marcus Gheeraerts the Younger, Sir Henry Savile, 1621, 216.2 x 127 cm, Bodleian Library, Oxford. Gift from the sitter’s widow, 1622.

Sir Henry Savile (1549-1622) was an enterprising Bible scholar. When his qualifications did not meet the standards for the role of Provost of Eton, he had Queen Elizabeth I waive the college’s rules for him. As Warden of Merton — a post secured with the help of influential friends — he was unpopular with faculty and students though the college itself flourished. Sir Henry’s brother was a powerful lawyer who helped guide his brother’s career which included knighthood in 1604. (Strong 280).

Gheeraerts the Younger, Sir Henry Savile, 1621.

27 – Marcus Gheeraerts the Younger, Sir Henry Savile, 1621, oil on canvas, 1621, 203.7 x 122 cm, Eton College. A second smaller copy of the Bible scholar and college administrator. (Strong 281).

Gheeraerts the Younger, William Herbert, Earl of Pembroke, 1628.

28 – Marcus Gheeraerts the Younger, William Herbert, Earl of Pembroke, 1628, oil on panel, 68.5 x 48.2 cm, Philip Yorke.

Under King James I, William Herbert, 3rd Earl of Pembroke (1580 –1630), founded Pembroke College, Oxford, in 1624. In 1623 the First Folio of Shakespeare’s plays was dedicated to him and to Philip Herbert, Earl of Montgomery (the later 4th Earl of Pembroke), his brother. A bookish man, the 3rd Earl of Pembroke was engaged to be married three times. The first engagement was to Elizabeth Carey in 1595. Elizabeth was the granddaughter of the Lord Chamberlain who ran Shakespeare’s company. William simply refused to marry her. In 1597 William was engaged a second time. This time it was to Bridget de Vere. As William found her dowry arrangements to be unsatisfactory, negotiations dragged out to a tiresome point where the match became unacceptable. In 1600 William impregnated a mistress at court whom he  refused to marry. The child was born and died soon after. Following this episode, William and the mistress (Mary Fitton) were barred from court. In 1604 William married Mary Talbot. Their children both died in infancy. At the same time, William was having an extra-marital affair with his cousin, Lady Mary Wroth, which produced two illegitimate children. A lively patron of the arts, William Herbert, 3rd Earl of Pembroke died suddenly in 1630 at 50 years old. He is buried in Salisbury Cathedral in the family vault at the foot of the altar. (Strong 282).

Gheeraerts the Younger, Charles Hoskins, 1629.

29 – Marcus Gheeraerts the Younger, Charles Hoskins, 1629, oil on panel, 66.1 x 52.7 cm, Jack Hoskins Master. Esq. (Strong 283).

Gheeraerts the Younger, Lady in Fancy dress (the Persian Lady), 1590.

30 – Marcus Gheeraerts the Younger, Lady in Fancy Dress (The Persian Lady), 1590s, oil on panel, 216.5 x 135.3 cm, Hampton Court.

First recorded in the collection of Queen Anne but believed to be part of the Royal Collection before that time, in the cartouche the sonnet reads: “The restless swallow fits my restless minde, Instill revivinge still renewinge wronges; her Just complaintes of cruelty unkinde, are all the Musique, that my life prolonges. With pensive thoughtes my weeping Stagg I crowne whose Melancholy teares my cares Expresse; hes Teares in sylence, and my sighes unknowne are all the physicke that my harmes redresse. My only hope was in this goodly tree, which I did plant in love bringe up in care: but all in vaine, for now to late I see the shales be mine, the kernels others are. My Musique may be plaintes, my physique teares If this be all the fruite my love tree beares.” Lady in Fancy Dress is a good example of Elizabethan allegorical portraiture. Importantly, the painting may be related to the Ditchley portrait of Elizabeth I (Strong 285) as well as the portrait of Captain Thomas Lee (Strong 267 ). These three portraits may be connected in some way to the entertainment given by Sir Henry Lee, the Queen’s Master of the Armouries and Champion of the Tilt, when the Queen visited Ditchley in 1592. (Strong 284).

NPG 2561; Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the Younger

31 – Marcus Gheeraerts the Younger, Queen Elizabeth I (“The Ditchley Portrait”), oil on canvas, 1592, 95 in. x 60 in. (2413 mm x 1524 mm). National Portrait Gallery, London. Bequeathed by Harold Lee-Dillon, 17th Viscount Dillon, 1932. Queen Elizabeth was nearly 60 years old when this portrait was made. It is traditionally understood to have been painted on the Queen’s visit to Ditchley, the timber-framed family house in north Oxfordshire of Sir Henry Lee (1533-1611). Like John II Walshe (d.1546/7) of Little Sodbury, Gloucestershire, who was the King’s Champion to Elizabeth’s father Henry VIII, Henry Lee served at that standard for Queen Elizabeth from 1570 until his retirement about two years before this painting was made.  Ditchley once provided lodging and access to the royal hunting ground of Wychwood Forest.  (Strong 285). 

ditchley a-elizdetail-1g

Queen Elizabeth I is standing on a map of England. Detail from The Ditchley Portrait of Elizabeth I by Marcus Gheeraerts the Younger in 1592.

ditchley detail fan

Detail of a bejeweled fan in Queen Elizabeth I’s right hand from The Ditchley Portrait of 1592 by Marcus Gheeraerts the Younger. In the decade before The Ditchley Portrait Gheeraerts the Elder, Marcus II’s father, had painted a full- length oil on panel portrait of Elizabeth I. In the ensuing handful of years, practical technical innovation in art is in evidence in the Elizabethan court — the the son’s oil portrait of the same royal personage was able to be produced on canvas on a much larger scale.   

ditchley.detail
ditchley

Detail of the beautiful garment and accessories.

ditchley 800px-queen_elizabeth_i_the_ditchley_portrait_by_marcus_gheeraerts_the_younger

Detail, Queen Elizabeth I. Ditchley portrait. Three fragmentary Latin inscriptions in the painting have been interpreted as: “She gives and does not expect”; “She can, but does not take revenge”; and, “In giving back, she increases.” An inscribed sonnet, whose author is not known, takes the sun as its subject. At some later date the canvas was cut more than 7 centimeters fragmenting the final words of the each line. 

The King’s Champion and the Outlaw: How Sir John Walshe’s Little Sodbury Manor Shielded the English Bible

Sir John II Walshe (d. 1546/7) was a prominent English landowner, courtier, and high-ranking local official based at Little Sodbury Manor in Gloucestershire. He is most famous historically for his close connection to King Henry VIII and his early patronage of the famous Bible translator and Catholic priest, William Tyndale. Sir John was a major favorite of the young King Henry VIII and was chosen to serve as the King’s Champion at Henry’s coronation in 1509. Because of his standing, Henry VIII and Queen Anne Boleyn stayed with Walshe at Little Sodbury Manor for two nights during the King’s Second Royal Progress on August 21, 1535. Walshe was a dominant political figure in the county, serving multiple terms as the High Sheriff of Gloucestershire (in 1526, 1530, 1535, and 1540).

Around 1521–22, Sir John Walshe hired a young William Tyndale to serve as the private tutor for his children and as the manor’s chaplain. Walshe frequently hosted local abbots, deacons, and wealthy clergymen at his dining table. Tyndale famously used these dinners to debate the local Catholic elite using scripture, which frequently troubled Walshe and his wife, Lady Anne. Since the Constitutions of Oxford in 1408, the Catholic Church had strictly banned translation of the Bible into the vernacular, fearing it would undermine theology and their authority, breeding social chaos. By translating directly from the original Greek and Hebrew (rather than the Church’s official Latin Vulgate), Tyndale was committing a capital crime. Historical tradition holds that Tyndale began his monumental work translating the Bible from Greek into English right in his bedroom at Walshe’s manor before church hostility forced him to flee to London in 1523.

Words matter, and Tyndale’s choices stirred controversy—as they actively dismantled institutional power structures. Catholic officials—most notably Sir Thomas More—charged that Tyndale used language that fueled already rampant anti-clericalism in England. For example, Tyndale translated Church as “Congregation,” shifting power from the Vatican hierarchy to local people. He also translated Do Penance to “Repentance,” cutting out the need for the Catholic sacramental system of confession. It was during his time living under Walshe’s roof that Tyndale had his historic argument with a local priest and declared: “If God spare my life, ere many years I will cause a boy that driveth the plow shall know more of the scripture than thou dost.” Sir John died around 1546 or 1547, passing the manor down to his son and heir, Maurice Walshe.

unknown artist; William Tyndale (c.1492-1536), Translator of the New Testament and the Pentateuch; Hertford College, University of Oxford; http://www.artuk.org/artworks/william-tyndale-c-14921536-translator-of-the-new-testament-and-the-pentateuch-222112 also: NPG 1592; Called William Tyndale – Portrait – National Portrait Gallery

Tyndale’s fate was far more complex. In 1528, he published The Obedience of a Christian Man, arguing that a king should answer directly to God rather than the Pope. King Henry VIII famously loved the book because it gave him a legal rationale to break away from Rome. However, in 1530, Tyndale published The Practice of Prelates, where he fiercely opposed Henry VIII’s attempt to annul his marriage to Catherine of Aragon. This instantly turned Tyndale into an enemy of the English Crown; Henry VIII declared him a traitor, banned his books, and actively hunted him down. Tyndale spent years in exile, smuggling thousands of English New Testaments into the hands of ordinary folk in England. In 1535, he was betrayed in Antwerp and spent over a year in a Brussels dungeon at Vilvoorde Castle for his religious activities.

Meanwhile, John Walshe’s role was that of a benevolent, high-status buffer. Rather than throwing Tyndale to the wolves, Walshe acted as a protective patron. He and Tyndale mutually agreed that Tyndale must leave Little Sodbury. Walshe gave Tyndale his blessing, provided him with travel funds, and wrote him letters of introduction to influential contacts in London. Even after Tyndale fled England, became an outlaw, and infuriated the King, Walshe’s loyalty did not vanish. Records indicate that both Sir John and Lady Anne Walshe were personally deeply moved by Tyndale’s theology—though made uncomfortable around powerfully connected Catholic guests—so that when Tyndale was in a dungeon near Brussels, they sent funds to support him and made behind-the-scenes diplomatic efforts to secure his release.

Ultimately, Tyndale was executed by Catholic forces in Brussels a little over a year after Thomas More and John Fisher were beheaded in London by Henry VIII. Tyndale’s execution was particularly brutal. First, since he was found guilty of heresy, he was excommunicated. Because he was an ordained priest, he was dressed in his formal vestments and mocked as the executors of 16th-century justice ripped them away, subsequently scraping the holy oil off his hands and fingers to connote that he could no longer say Mass. Tyndale was then tied to a stake and strangled to death by the hangman, who then burned his body. While Sir John Walshe’s status as King’s Champion had bought Tyndale a safe, early window of time to conceptualize his English translation, and gave him the launchpad to take his prohibited, dangerous work to the global stage, Tyndale’s famous last words were a prayer aimed directly at the monarchy: “Lord, open the King of England’s eyes.” Ironically—as is typical when it comes to Henry VIII and power mongers generally—within just three years of his execution, Henry VIII officially authorized the Great Bible to be printed in English and placed in every parish, using Tyndale’s exact work as its foundational core.

Although no painting preserves Walshe’s face, his legacy is preserved through the architecture of Little Sodbury Manor. The grand 15th-century manor house, its Great Hall where the dinner debates took place, and the room traditionally identified as Tyndale’s library still stand intact in Gloucestershire today.


Marcus Gheeraerts the Younger, Sir Henry Lee, 1590s.

32 – Marcus Gheeraerts the Younger, Sir Henry Lee, 1590s, oil on canvas, 117 x 86.4 cm, The Ditchley Foundation. Always at Ditchley.

The painting and inscribed verses memoralize an incident where Bevis – Lee’s dog – saved his master’s life. “More faithfull then favoured…” (Strong 286).

Michael Dormer, mid 1590s.

33 – Marcus Gheeraerts the Younger, Michael Dormer, mid 1590s, oil on canvas, 122 x 91.5 cm, J.C. H. Dunlop, Esq. There are Latin inscriptions which surround and are written across the globe and shield. (Strong 287).

The social and cultural world of Sir Henry Lee once again influences the young artist’s portrait of Michael Dormer, who was an Oxfordshire neighbor to Sir Henry. In Dormer’s three-quarter-length portrait, the right hand is posed similarly to Thomas Lee’s portrait. As Captain lee’s portrait is the centerpiece of this post’s explorations,it may be said with Michael Dormer’s this post has traveled full circle around Marcus Gheeraerts II’s verifiable portraiture in Elizabethan and Jacobean England.

Conclusion


Here then concludes the complete collection of Marcus Gheeraerts the Younger’s signed and dated works (Strong 255-262); inscribed and dated works (Strong 266-283); and, inscribed and undated works (Strong 284-287). Not included here are works dated and attributed to the artist (Strong 288-294) and attributed and undated (Strong 295-313). The last group includes several well-known portraits including William Cecil, Lord Burghley, c. 1595, in the National Portrait Gallery (Strong 295) and Robert Devereux, 2nd Earl of Essex, c. 1596, in collection of the Duke of Bedford. (Strong 300).

CAPTION NOTES:

Strong 255 – Hearn, Karen, Marcus Gheeraerts II, Elizabethan Artist (In Focus series), Tate Publishing, 2002, p. 29.

Strong 264 and 265 – http://www.ingatestonehall.com/

Strong 266- http://www.tate.org.uk/art/artworks/gheeraerts-portrait-of-mary-rogers-lady-harington-t01872

Strong 271- http://www.tate.org.uk/art/artworks/gheeraerts-sir-henry-lee-l02883

Strong 272- http://www.armourershall.co.uk/armourers-hall

Strong 277 – http://www.tudorplace.com.ar/BRYDGES.htm#Catherine BRYDGES (C. Bedford)

Strong 278- http://collections.britishart.yale.edu/vufind/Record/1669266

Strong 279 – http://www.npg.org.uk/collections/search/portrait/mw05683/Probably-Mary-ne-Throckmorton-Lady-Scudamore#sitter

Strong 280 – https://artuk.org/discover/artworks/sir-henry-savile-15491622-228559/search/actor:gheeraerts-the-younger-marcus-1561156216351636/view_as/list/page/2;  White, Henry Julian (1906). Merton College, Oxford. pp. 93–94; http://www.historyofparliamentonline.org/volume/1558-1603/member/savile-henry-ii-1549-1622; https://www.oxforduniversityimages.com/results.asp?image=BOD000038-01; https://en.wikipedia.org/wiki/Henry_Savile_(Bible_translator)

Strong 282 – https://en.wikipedia.org/wiki/William_Herbert,_3rd_Earl_of_Pembroke

Strong 284 – https://www.royalcollection.org.uk/collection/406024/portrait-of-an-unknown-woman; https://en.wikipedia.org/wiki/Artists_of_the_Tudor_court; http://www.tate.org.uk/art/artworks/gheeraerts-portrait-of-captain-thomas-lee-t03028; https://en.wikipedia.org/wiki/Thomas_Lee_(army_captain); https://commons.wikimedia.org/wiki/User:PKM/icon4

STRONG 285 – John II Walshe (d.1546/7) of Little Sodbury, Gloucestershire, was King’s Champion at the coronation of Henry VIII in 1509 and was a great favorite of the young king’s. Transactions of the Bristol & Gloucestershire Archaeological Society, Vol.13, 188/9, pp. 1–5, Little Sodbury”. Bgas.org.uk. Archived from the original on March 16, 2012. Retrieved 2012-03-19; Sir H Lee – Butler, Katherine (2015). Music in Elizabethan Court Politics. Woodbridge: Boydell and Brewer. pp. 129–42. ISBN 9781843839811.; Ditchley once provided lodging and access to the royal hunting ground of Wychwood Forest. – timber-framed family house in classic north Oxfordshire wooded farmland, – https://web.archive.org/web/20070404233018/http://www.ditchley.co.uk/page/37/ditchley-park.htm; Inscriptions – http://www.npg.org.uk/collections/search/portrait/mw02079/Queen-Elizabeth-I-The-Ditchley-portrait#description; http://npg.si.edu/exhibit/britons/briton1.htm; Hearn, Karen, Marcus Gheeraerts II, Elizabethan Artist (In Focus series), Tate Publishing, 2002, p. 31.

STRONG 287 – Hearn, Karen, Marcus Gheeraerts II, Elizabethan Artist (In Focus series), Tate Publishing, 2002, p. 24.