Portrait Power: Sixteenth Century Iconography by Amy Pickford

January 1536 - Henry VIII had an accident that changed his life forever. This unfortunate turn of events created an unlikely problem – how the monarch would subsequently be depicted in portraits. For the Tudors portraiture was a fundamental part of communication as it was used as a tool to spread messages about their status, power and wealth. Portraying the monarch as weak or injured was not an option. This meant that as Henry VIII's health declined, his pomp and presence in portraits did not. The most famous paintings of arguably the most recognisable Tudor monarch, Henry VIII, were created by the workshop of Holbein. Due to the rise of the Protestant Reformation across Europe, there was a subsequent decline of commissions which led Holbein to travel (with recommendation from the scholar Erasmus) to England. By the mid to late 1530s, he had become court painter to Henry VIII. Over one hundred miniatures and portraits of courtiers and other famed figures are attributed to Holbein. One of these attributed works is Henry VIII (ca. 1540) from the workshop of Hans Holbein the Younger. Henry commissioned Holbein to paint a portrait on a wall in his residence, Whitehall Palace. The work showed Jane Seymour (third wife of Henry VIII), Henry VII and Elizabeth of York (Henry VIII's parents) and Henry himself. Devastatingly, it was destroyed in a palace fire in 1698. The portrait of Henry VIII for the Whitehall Palace mural is almost identical to the full-length portrait Henry VIII from ca.1540. This portrait is one of immense power and importance. Henry VIII is notably posed without the usual royal paraphernalia one would expect to see in a royal portrait. There is no crown, sceptre or sword. Yet to the viewer, he is unequivocally portrayed as a king. Holbein instead uses iconography. An elaborate array of ornate clothing is the first thing to catch the eye of any viewer. It is interesting to note that sumptuary laws were used in England from the twelfth to the eighteenth century, and the Tudors were no exception. The Tudor sumptuary laws, called the Statutes of Apparel, limited extravagance in certain items like clothing. Only the elite could dress how Henry VIII did, and this enforced social hierarchy. His elaborate way of dressing depicts Henry as a paramount leader and emphasises his power as a monarch.

Henry VIII’s dominant posture projects power and pride. His form takes up most of the space in Holbein's painting, leaving no doubt as to what one should be looking at. Iconography is used by Holbein in the objects that Henry VIII is holding. In one hand he holds a glove (a fashionable accessory) and in the other he holds a dagger. The dagger could be interpreted as a phallic symbol representing masculinity. Daggers symbolise strength, honour and even hunting which creates an important message about Henry VIII to the viewer, whether a contemporary or modern-day audience. The positioning of the dagger draws the viewers gaze toward Henry VIII's codpiece. Two triangles created by Henry VIII’s body further draw attention to his masculinity. His wide shoulders lead down to his arms, which in turn point to his codpiece. His legs mirror this and angle upwards pointing to the same spot. In the Tudor period, codpieces were meant for protection, but they were often used as a masculine power symbol, usually exaggerated in size. Henry VIII ensured all eyes were on his manhood. Perhaps this was not only to convey his power but to dispel rumours of him being unable to sire a son. Not long before this portrait was painted, Henry VIII was involved in a jousting accident. He would have been suffering from injuries and not at the peak of his health, which is clearly not shown in Holbein's work. Henry VIII is painted as healthy and young, but he would have been in his forties. It is also worth noting Henry VIII's padded shoulders and skewed figure which further enhance the masculinity of his image. These choices further solidify the power and unchallengeable strength of the reigning king.

This remarkable portrait, from the workshop of Holbein, is one of the few surviving portraits of Henry VIII painted during his lifetime. It has descended in the possession of one of the most powerful families in the Tudor era, the Howard family. Like Henry VIII's other portraits, power and wealth are indisputably demonstrated. Half-length portraits are predominantly used to convey the importance of the sitter; to keep the subject as the focus, the background tends to be of little significance. Holbein deploys this tactic perfectly in his portrait by using a dark, plain background. The darkness highlights Henry VIII's figure and emphasises his strong and striking stance, while the contrast between the dark tone of the background and the sumptuous red fabric of his garments offers an extravagant display of his wealth. Much like in the portrait from ca. 1540, Henry VIII is holding a glove in one hand which often symbolises power and honour in portraits from this era. To the viewer, there is little difference between the two paintings of Henry VIII in terms of perception of his status, wealth and power through the iconography Holbein uses. However, on closer analysis, it is possible to identify the nuances of the second portrait which show the deterioration in Henry VIII's health in just two years. In his left hand, he is tightly gripping onto a staff with gold embellishments which may seem like another display of power, but that is not the sole purpose of the object. At this point in Henry VIII's life, his health was deteriorating and he would have needed a walking aid, hence the staff. A small, yet interesting detail of the staff is that it is inscribed with the initial ‘H’ and the date 1542. Holbein's use of space in this portrait could also be used to hide Henry VIII's figure. In contrast to the ca.1540 portrait, it is not full length and the draping of Henry VIII's garments is wide; they fill the entirety of the bottom section in the portrait, likely hiding his immense weight gain. However, this technique can also be interpreted as another way of showing Henry VIII's power. His figure dominates the frame which feels imposing to the viewer. These two portraits demonstrate the importance of iconography in establishing the status and power of the sitter. Holbein is able to manipulate the viewer's perception by incorporating subtle changes. Holbein's efforts to conceal Henry VIII's declining health are testimony to the importance of the Tudor portrait and how the Tudors wished to be represented. They are a perfect example of the part played by iconography in portraiture.