The Emblematic Queen: Extra-Literary Representations of by D. Barrett-Graves
By D. Barrett-Graves
This examine examines representations of early sleek girl consorts and regnants through extra-literary emblematics akin to work, jewellery, miniature pics, carvings, placards, masques, funerary monuments, and imprese.
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Additional info for The Emblematic Queen: Extra-Literary Representations of Early Modern Queenship
In contrast, Elizabeth’s reign lasted four decades longer, and despite her many courtships she never married and chose to rule alone. Faced with issues during her long tenure as queen concerning her right to rule, her female body, and her marital status, Elizabeth was keenly aware of the importance of self-definition and self-presentation. Using precious stones to aid in the fashioning of her public image was a way for Elizabeth to support and maintain her royal authority and sovereignty. As a female queen and a queen ruling without a husband, it is not surprising that Elizabeth’s appearance would be the topic of conversation for many people both inside and outside of England.
4 Clearly, through the decadence of Henry’s court and the lavish displays of her sister, Elizabeth was met with many examples of the influence jewelry could have upon the public. She realized, however, as a queen regnant she needed to concern herself with more than simply conveying the prosperity and stability of England. Although Mary set the 38 Cassandra Auble precedent as the first crowned queen regnant of England, her reign was a short one—lasting only five years. Moreover, Mary eagerly sought marriage as soon as she took the throne, and less than a year into her rule, she married Prince Philip, the future king of Spain.
35 During this period, Isis and Minerva and, sometimes, Artemis, were identified as the same goddess. Thus, the veil became associated with a transcendental passage between natural and spiritual realms. 36 Bellini is referring to Caterina’s sagacity in surviving the vicissitudes of life, the animosity of her family, and the mercenary behavior of the Venetian Signory. The Venetian painter also alludes to the significance of her name, Caterina, from the Greek word kathors, which means pure or modest.