Aware of the power of appearances, Elizabeth I of England (r. 1558-1603 CE) carefully controlled her image throughout her reign and through costume, hair, jewellery, and art, she presented herself as the great Virgin Queen. Like a goddess of antiquity, Elizabeth announced that she had sacrificed her own personal inclinations to rule for the good of her people. The cult of the queen was further fuelled by the literature of the period, and for those who could not witness the marvellous spectacle of the queen's great dresses, jewels, and wigs, there were official royal portraits which were packed with symbolic meaning. Elizabeth I is still venerated today as one of the great rulers of English history, and this is thanks not only to her achievements as a monarch but also to the memorable invention of herself as a legend in her own lifetime.

? ? ? ? ? 意識(shí)到形象的力量，英國(guó)的伊麗莎白一世（1558-1603在位）在整個(gè)統(tǒng)治期間都小心翼翼地注重自己的形象；通過(guò)服裝、發(fā)型、珠寶和藝術(shù)，她把自己表現(xiàn)為偉大的貞潔女王。像古代的女神一樣，伊麗莎白宣布自己已經(jīng)犧牲了個(gè)人意志，愿為了人民的利益而統(tǒng)治。這一時(shí)期的文學(xué)作品進(jìn)一步助長(zhǎng)了人民對(duì)女王的崇拜，對(duì)于那些無(wú)法目睹女王的偉大禮服、珠寶和假發(fā)的奇妙景象的人來(lái)說(shuō)，官方推出了皇家畫(huà)像，這些畫(huà)像充滿(mǎn)了象征意義。伊麗莎白一世至今仍然被尊為英國(guó)歷史上偉大的統(tǒng)治者之一，這不僅要?dú)w功于她作為君主的成就，也要?dú)w功于她在生前將自己塑造為一個(gè)令人難忘的傳奇。

貞 潔 女 王

In 1558 CE Elizabeth I inherited a fragile kingdom divided within by religious beliefs and surrounded by enemies abroad. All territory in France had now been lost, the state was almost bankrupt, and politics was still very much a male-dominated arena where a queen was expected to marry as soon as possible. Consequently, Elizabeth had to tread carefully and, refusing to marry, she instead cultivated an image of herself as the Virgin Queen. Elizabeth was married only to her kingdom, she said, and so was able to concentrate on the good of all her people. This became the central message of the queen's iconography and was put into words in her reply to Parliament's move to have her marry in 1559 CE:

Nothing, no worldy thing under the sun, is so dear to me as the love and goodwill of my subjects. In the end this shall be for me sufficient, that a marble stone shall declare that a queen, having reigned such a time, lived and died a virgin. (Phillips, 116)

? ? ? ? ? 公元1558年，伊麗莎白一世繼承了一個(gè)因宗教信仰而內(nèi)部分裂并被國(guó)外敵人包圍的脆弱王國(guó)。那時(shí)，英國(guó)在法蘭西的所有領(lǐng)土都已丟失，國(guó)家?guī)缀跗飘a(chǎn)，政治仍然是一個(gè)男性主導(dǎo)的舞臺(tái)，人們期待著女王盡快結(jié)婚。因此，伊麗莎白不得不小心翼翼地行事，她拒絕結(jié)婚，而是將自己塑造成了一個(gè)貞潔女王的形象。她說(shuō)，自己只與她的王國(guó)結(jié)婚，因此能夠集中精力為她所有的人民謀福利。這成為女王形象的核心信息，并在公元1559年她對(duì)議會(huì)要求她結(jié)婚的舉動(dòng)的答復(fù)中得到了體現(xiàn)：

? ? ? ? ? 對(duì)我來(lái)說(shuō)，太陽(yáng)底下沒(méi)有任何東西，比我的臣民的愛(ài)和善意更珍貴。最后，這對(duì)我來(lái)說(shuō)就足夠了。大理石將宣布，一位女王，在這樣的時(shí)間里統(tǒng)治，生前死后都是處女。(菲利普斯, 116)

?關(guān)于這塊石頭，可以參考下文：

Whether the queen was still a virgin or not mattered little; officially, at least, she remained chaste. Like the great goddesses of antiquity Athena/Minerva and Artemis/Diana or the Lady of Arthurian chivalric literature who attracted courtly love, she would remain apart from and above all men. Indeed, Elizabeth's carefully controlled public image began with the veneration of the queen herself as a semi-divine figure. Elizabeth's date of succession, 17 November, was declared a national holiday and was celebrated each year with great festivities, church services, and bell-ringing. Further, Elizabeth, who continued the English Reformation begun by her father Henry VIII of England (r. 1509-1547 CE) and elder half-brother Edward VI of England (r. 1547-1553 CE), became the living embodiment of the Virgin Mary, the ultimate Defender of the Faith monarch. The Bishop's Bible, printed from 1569 CE gave another opportunity to reinforce the link. The frontispiece showed Elizabeth being crowned by the four virtues of Fortitude, Justice, Mercy, and Prudence. Another avenue to reach a wide audience was to have paintings celebrating the queen's success over the Spanish Armada (see below) hung in churches now largely stripped of their Catholic adornments. The queen's image appeared not only in paintings (from life-size works to miniatures) but also woodcut prints, engravings, coins, medals, badges, and jewelled brooches. Miniatures of Elizabeth became almost like religious icons and were worn on noble chests of both sexes to show support and deference to their great queen.

? ? ? ? ? 女王是否保持貞潔并不重要；至少?gòu)墓俜綄用鎭?lái)看，她仍然是貞潔的。就像古代的偉大女神阿西娜/密涅瓦和阿爾忒彌斯/黛安娜，或者亞瑟騎士文學(xué)中宮廷愛(ài)情的女士一樣，她將保持與所有男人的距離，并凌駕于所有男人之上。事實(shí)上，伊麗莎白精心控制的公眾形象始于對(duì)女王本人作為半神性人物的崇敬。伊麗莎白的繼承日，即11月17日，被宣布為全國(guó)性的節(jié)日，每年都會(huì)舉行盛大的慶?；顒?dòng)、教堂儀式和敲鐘儀式來(lái)慶祝。此外，伊麗莎白繼續(xù)推動(dòng)著由她的父親亨利八世（公元1509-1547年）和同父異母的長(zhǎng)兄愛(ài)德華六世（公元1547-1553年）實(shí)施的改革，她成為圣母瑪利亞的活生生的化身，是信仰的最終捍衛(wèi)君主。從公元1569年開(kāi)始印刷的《主教圣經(jīng)》給了人們另一種加強(qiáng)聯(lián)系的機(jī)會(huì)。前面的插圖顯示伊麗莎白被堅(jiān)韌、公正、仁慈和謹(jǐn)慎這四種美德加冕。另一種讓民眾接觸廣泛的途徑是將慶祝女王成功戰(zhàn)勝西班牙艦隊(duì)的畫(huà)作（見(jiàn)下文）掛在教堂里，這些教堂現(xiàn)在基本上都被剝奪了天主教的裝飾。女王的形象不僅出現(xiàn)在繪畫(huà)中（從真人大小的作品到微型畫(huà)），還出現(xiàn)在木刻版畫(huà)、雕刻、錢(qián)幣、獎(jiǎng)?wù)隆⒒照潞椭閷毿蒯樦?。伊麗莎白的微型?huà)幾乎成了宗教圣像，被戴在男女貴族的胸前，以表示他們對(duì)偉大女王的支持與敬意。

The association between Elizabeth and the Virgin Mary became especially prevalent as the queen aged and her virginity became a demonstration of self-sacrifice. The queen's imagery increasingly used symbols traditionally associated with the Virgin Mary such as the crescent moon and pearl. The physical and spiritual distance these ideas put Elizabeth from her subjects and male ministers allowed her to overcome the long-held prejudice that a woman could not rule in her own right. Elizabeth had established a new form of rulership.

? ? ? ? ? 隨著女王年齡的增長(zhǎng)，伊麗莎白和圣母瑪利亞之間的聯(lián)系變得很緊密，她的貞潔身份成為自我犧牲的一種表現(xiàn)。女王的形象越來(lái)越多地使用傳統(tǒng)上和圣母瑪利亞有關(guān)的符號(hào)，如新月與珍珠。這些思想使伊麗莎白與她的臣民和男性大臣保持著身體和精神上的距離，這使她能夠克服長(zhǎng)期以來(lái)的偏見(jiàn)，即一個(gè)女人不能以自己的權(quán)利進(jìn)行統(tǒng)治。伊麗莎白建立了一種新的統(tǒng)治形式。

Thanks to favourable literature, Elizabeth became known as the great empress 'Gloriana', after the central figure of the 1590 CE poem The Fairie Queen by Edmund Spenser (c. 1552-1599 CE). Another cultivated association was that Elizabeth was Astraea, the virgin of the Eclogues by the Roman writer Virgil (70-19 BCE). Astraea returned to earth and with her brought in a new Golden Age where there was eternal peace, just as Elizabeth's reign was presented. Beyond literature, one court spectacle in 1581 CE depicted the queen as the 'Fortress of Perfect Beauty' successfully withstanding a siege by a cannon representing 'Desire' but which could only fire sweets at its target. Walter Raleigh named a portion of North America, England's first overseas colony after his queen: Virginia (Roanoke Island, modern North Carolina). The Elizabethan imagery and propaganda was relentless.

? ? ? ? ? 由于文學(xué)作品的渲染，伊麗莎白被稱(chēng)為偉大皇后 "Gloriana"，是以公元1590年埃德蒙·斯賓塞（公元1552-1599年）的詩(shī)歌《精靈女王》中的中心人物為名。另一個(gè)被塑造起來(lái)的形象，是羅馬作家維吉爾（公元前70-19年）的《回文集》中的處女阿莎蕊雅（Astraea）。阿莎蕊雅（Astraea）回到了人間，并帶來(lái)了一個(gè)新的黃金時(shí)代，那里有永恒的和平，就像伊麗莎白的統(tǒng)治所呈現(xiàn)出的景象。在文學(xué)之外，公元1581年的一個(gè)宮廷奇觀(guān)將女王描繪成 "完美的堡壘"，它成功抵御了代表"欲望"的大炮的圍攻，但大炮只能向目標(biāo)發(fā)射糖果。華特·雷利以女王的名字命名了英國(guó)第一個(gè)海外殖民地——北美洲的一部分，弗吉尼亞（羅諾克島，現(xiàn)代北卡羅來(lái)納州）。伊麗莎白時(shí)代的圖像與宣傳是持續(xù)不斷的。

公 開(kāi) 露 面 與 表 演

Another facet of the queen's image was her public appearances. The queen started to wow her public immediately at her coronation in Westminster Abbey on 15 January 1559 CE, one of the most sumptuous and expensive ceremonies ever seen. The great ceremony itself was preceded by a round of speeches, processions and pageants. For the big day, Elizabeth wore custom-made robes of velvet with ermine fur and trimmings of embroidered gold thread and pearls. Not only did she wow her court, government, and visiting dignitaries with her appearance wearing breathtaking dresses, ruffs, and hairpieces but she took care to appear before commoners, too. No English monarch ever toured their kingdom so frequently and showed themselves to so many of their people as Elizabeth did. The queen conducted at least 25 annual tours to various country residences of her nobles, usually travelling in great style with a vast entourage of courtiers, servants, 300 wagons, and 2,000 horses. Locals were often treated to free displays of pageantry and fireworks. There were, too, regular medieval tournaments at Greenwich, Hampton Court, and Whitehall, where knights jousted to win the queen's favour. Elizabeth even tried to convince the public she was physically more robust than she actually was by frequently riding, hunting, and dancing at court.

? ? ? ? ? 女王形象宣傳的另一方面是其公開(kāi)露面。公元1559年1月15日在威斯敏斯特教堂舉行的加冕儀式上，女王就開(kāi)始讓她的民眾驚嘆不已，這是有史以來(lái)最豪華、最昂貴的加冕儀式之一。在這個(gè)偉大的儀式之前，有一輪演講、游行和慶典活動(dòng)。這一天，伊麗莎白穿上了定制的天鵝絨長(zhǎng)袍，上面有貂毛皮和繡有金線(xiàn)和珍珠的飾物。她穿戴的禮服、圍脖和發(fā)飾不僅讓她的宮廷、政府和來(lái)訪(fǎng)的政要們驚嘆不已，而且她也很注意在平民面前的形象。沒(méi)有一個(gè)英國(guó)君主像伊麗莎白那樣頻繁地巡視王國(guó)，向大眾展示自己。女王每年至少進(jìn)行25次巡游，到貴族們的各個(gè)鄉(xiāng)村住宅去，通常是帶著由朝臣、仆人、300輛馬車(chē)和2000匹馬組成的龐大隨行隊(duì)伍，以龐大的形式出行。當(dāng)?shù)厝私?jīng)?？吹矫赓M(fèi)的慶典和焰火表演。在格林威治、漢普頓宮和白廳也有定期的中世紀(jì)錦標(biāo)賽，騎士們?cè)谀抢锉任湟在A(yíng)得女王的青睞。伊麗莎白甚至試圖通過(guò)經(jīng)常在宮廷里騎馬、打獵和跳舞來(lái)使公眾相信她的身體比實(shí)際情況更強(qiáng)壯。

Elizabeth, although frugal in most other matters, spent two hours squeezing into majestic dresses with extravagant collars and jewelled embellishments. Many of these Elizabeth bought herself but she also received many dresses and jewels as gifts from nobles and foreign rulers trying to woo her affections. Indeed, each New Year's Day there was a tradition of giving the queen a new dress, jewels, and other gifts from each of her most prominent court members.

? ? ? ? ? 伊麗莎白雖然在大多數(shù)事情上都很節(jié)儉，但她還是經(jīng)常花兩個(gè)小時(shí)的時(shí)間擠進(jìn)帶有奢侈衣領(lǐng)和珠寶點(diǎn)綴的華麗禮服堆中。其中許多是伊麗莎白自己買(mǎi)的，但她也收到了許多衣服和珠寶，作為貴族和外國(guó)統(tǒng)治者試圖追求她的禮物。事實(shí)上，每個(gè)新年都有一個(gè)傳統(tǒng)，那就是向女王贈(zèng)送一件新衣服、珠寶，她最重要的宮廷成員也會(huì)送上禮物。

The queen wore a striking array of wigs, unfortunately, necessitated by an attack of smallpox in December 1562 CE which had left her with bald patches. The disease had also left Elizabeth with facial scars, which explains her use of thick white makeup. The ravages of the disease and the passage of time perhaps also explain why the queen insisted her residences have no mirrors. Even during wartime, Elizabeth could not resist the opportunity of a memorable public appearance. When the Spanish Armada attacked England in the summer of 1588 CE, the queen visited her land army awaiting the invaders at Tilbury. Elizabeth appeared resplendent wearing shining armour on her torso and riding a grey gelding. She then gave a rousing speech that victory would belong to England.

? ? ? ? ? 女王戴著一系列引人注目的假發(fā)。不幸的是，公元1562年12月，女王發(fā)作天花，使她留下了禿頭斑。這場(chǎng)疾病也給伊麗莎白留下了面部疤痕，這也解釋了她為什么經(jīng)常涂抹厚厚的白色化妝品。疾病的摧殘和時(shí)間的流逝也許解釋了為什么女王堅(jiān)持她的住所沒(méi)有鏡子。即使是在戰(zhàn)爭(zhēng)時(shí)期，伊麗莎白也無(wú)法放棄在公眾場(chǎng)合出現(xiàn)的令人難忘的機(jī)會(huì)。當(dāng)西班牙艦隊(duì)在公元1588年夏天進(jìn)攻英格蘭時(shí)，女王訪(fǎng)問(wèn)了她在提伯利等待入侵者的英國(guó)陸軍。伊麗莎白身穿閃亮的盔甲，騎著一匹灰色的馬，顯得光彩奪目。她隨后發(fā)表了振奮人心的講話(huà)，表示勝利將屬于英格蘭。

皇 家 肖 像 畫(huà)

As few would ever see their queen in person, portraits were an especially powerful way of communicating the message of Elizabeth's right to rule and her success at it. Portraits were regularly commissioned using celebrated artists, although they often show the idealised 'Mask of Youth' of the queen, even if some do show a slight ageing of their subject as she went through her 44-year reign. The miniaturist specialist Nicholas Hilliard (1547-1619 CE) was the Peter Carl Fabergé of the period and he produced officially-approved idealised portraits, albeit exquisitely rendered in gold and other precious materials like the famous Armada Jewel. The queen's larger portraits copied this idealised approach, but they have the additional interest of being packed full of meaning and symbolic imagery. So carefully orchestrated was this build-up of the flattering royal portrait album that from 1563 CE, Elizabeth even banned the production of unofficial portraits of the royal person. Below is an examination of just some of the most famous of Elizabeth's portraits painted during her lifetime.

? ? ? ? ? 由于很少有人會(huì)目睹女王本人，所以肖像畫(huà)是傳達(dá)伊麗莎白的統(tǒng)治權(quán)和她成功形象的一種特別有力的方式。肖像畫(huà)經(jīng)常被委托給著名的藝術(shù)家來(lái)完成，他們經(jīng)常表現(xiàn)出女王理想化的 "青春面具"，即使有些畫(huà)像確實(shí)顯示出在她44年的統(tǒng)治過(guò)程中主體的輕微老化。微型畫(huà)專(zhuān)家尼古拉斯·希利亞德（公元1547-1619年）是當(dāng)時(shí)的彼得·卡爾·法貝熱，他制作了官方認(rèn)可的理想化肖像，他用黃金和其他珍貴材料進(jìn)行了精致的渲染，如著名的阿瑪達(dá)寶石。王后的大型肖像畫(huà)復(fù)制了這種設(shè)想，但它們還有一個(gè)特點(diǎn)，就是充滿(mǎn)了象征意象。這種精心策劃的、帶有諂媚意味的皇家肖像畫(huà)冊(cè)的建立，導(dǎo)致從公元1563年開(kāi)始，伊麗莎白甚至禁止制作非官方的皇家人物肖像畫(huà)。以下是對(duì)伊麗莎白生前畫(huà)家所畫(huà)的部分最著名的肖像畫(huà)的考察。

鵜 鶘 肖 像 畫(huà)

The Pelican Portrait, so-called because of a pelican brooch the queen wears, was painted around 1574 CE by Nicholas Hilliard. The queen is wearing a red and cream dress studded with pearls and square-cut jewels. The pelican brooch hangs at the centre of Elizabeth's chest with its wings spread wide. The bird was a symbol of redemption and charity as a mother pelican was said, in times of strife, to pierce her own chest to feed her young from her own blood. Above the queen, on the left, is the Tudor Rose and on the right the fleur-de-lis, symbol of England's ongoing claim to the French throne. Above both of these symbols is an arched imperial crown. The Pelican Portrait now resides in the Walker Art Gallery, Liverpool, England.

? ? ? ? ? 鵜鶘肖像因女王佩戴的鵜鶘胸針而得名，這幅畫(huà)大約在公元1574年由尼古拉斯·希利亞德繪制。女王穿著一件紅色和奶油色的裙子，上面鑲嵌著珍珠和方形切割的珠寶。鵜鶘胸針掛在伊麗莎白胸部中央，鵜鶘翅膀張開(kāi)。這只鳥(niǎo)是救贖和慈善的象征，因?yàn)閾?jù)說(shuō)母鵜鶘在爭(zhēng)斗的時(shí)候會(huì)刺穿自己的胸膛，用自己的血喂養(yǎng)自己的孩子。在女王的上方，左邊是都鐸王朝的玫瑰，右邊是象征英格蘭對(duì)法國(guó)王位權(quán)利要求的百合花。這兩個(gè)標(biāo)志的上方是一個(gè)拱形的帝國(guó)皇冠。鵜鶘肖像畫(huà)現(xiàn)藏于英國(guó)利物浦的沃克藝術(shù)館。

伊麗莎白一世的普利姆頓篩畫(huà)像

The Sieve Portrait, so-called because the queen holds a large sieve in her left hand, was painted between 1579 and 1583 CE by the Flemish artist Quentin Metsys the Younger. There are, like many of the queen's portraits, other versions of this painting, and the sieve, symbol of chastity, identifies Elizabeth in the role of Tuccia from Roman mythology. Tuccia was a Vestal Virgin who demonstrated her chastity by carrying water from the Tiber River to her temple only using a sieve. Elizabeth wears an unusually plain black dress with white lace trim (both colours being symbolic of purity and constancy) and a necklace of black pearls with an impressive brooch. The left of the painting shows a column decorated with scenes from the Aeneas and Dido story of Roman mythology. Aeneas abandoned the Queen of Carthage and so chose power over personal happiness. The story is, then, a fitting one for a portrait of the Virgin Queen who shunned marriage and became Mistress of her kingdom. Behind Elizabeth on the right of the painting is a globe on which sail English ships, symbolic of the queen's imperial power. The men in the background are courtiers, one of whom is the queen's favourite of the period, Sir Christopher Hatton, shown in the centre. The painting now resides in the Pinacoteca Nazionale, Sienna, Italy.

? ? ? ? ? 普利姆頓篩畫(huà)像，因女王的左手拿著一個(gè)大篩子而得名，是佛蘭德藝術(shù)家康坦·馬賽斯（Quentin Metsys the Younger）在公元1579年至1583年間畫(huà)的。與女王的許多肖像畫(huà)一樣，這幅畫(huà)也有其他版本，而象征著貞潔的篩子使伊麗莎白在羅馬神話(huà)中扮演了圖西婭的形象。圖西亞是一位圣母瑪利亞，她只用一個(gè)篩子就把水從臺(tái)伯河運(yùn)到她的神廟，以此來(lái)證明她的貞潔。伊麗莎白穿著一件異常樸素的黑色連衣裙，上面有白色的花邊裝飾（這兩種顏色都象征著純潔和恒久），戴著一條黑色珍珠項(xiàng)鏈，上面的胸針令人印象深刻。畫(huà)的左邊是一根柱子，上面裝飾著羅馬神話(huà)中埃涅阿斯和迪多故事的場(chǎng)景。埃涅阿斯拋棄了迦太基女王，因此選擇了權(quán)力而不是個(gè)人幸福。因此，這個(gè)故事很適合用于描繪這位回避婚姻并成為其王國(guó)女主人的貞潔女王的畫(huà)像。伊麗莎白身后是一個(gè)地球儀，上面航行著英國(guó)的船只，象征著帝國(guó)權(quán)力。背景中的人是朝臣，其中一個(gè)是女王當(dāng)時(shí)最喜歡的克里斯多?！すD爵士，他站在中間位置。這幅畫(huà)現(xiàn)在收藏在意大利西恩納的國(guó)家博物館。

白 鼬 肖 像 畫(huà)

The Ermine Portrait, so-called because of the presence of that animal on the queen's left lower arm, was painted around 1585 CE. It has been attributed by some scholars to William Segar. Resplendent in a sumptuous black dress with gold trimmings and jewels, she is wearing a triple string of black pearls. The queen has a gold sword, perhaps the sword of state and representing justice, on a small table within easy reach of her left hand. The ermine climbing onto the queen's arm was a symbol of purity and royalty, and here the animal even wears a gold crown around its neck. Elizabeth holds an olive branch, a traditional symbol of peace, in her right hand. The Ermine Portrait now resides at Hatfield House, Hertfordshire, England.

? ? ? ? ? 白鼬肖像畫(huà)是在公元1585年左右繪制的，因?yàn)榕醯淖笙卤凵嫌幸恢话作?。一些學(xué)者認(rèn)為這幅畫(huà)是由威廉·西格繪制的。她身著華麗的黑色禮服，上面有金色的裝飾和珠寶，戴著三串黑色的珍珠。女王的左手邊的小桌子上有一把金劍，也許是代表正義的國(guó)家之劍。攀附在女王手臂上的白鼬是純潔和皇室的象征，它的脖子上戴著金冠。伊麗莎白的右手拿著一根橄欖枝，這是和平的傳統(tǒng)象征。白鼬肖像畫(huà)現(xiàn)在藏于英國(guó)赫特福德郡的哈特菲爾德莊園。

艦 隊(duì) 肖 像 畫(huà)

The Armada Portrait, so-called because the windows behind the queen look out to the sea battle against the Spanish Armada, was painted around 1588 CE, shortly after the Armada was defeated. It is attributed to George Gower, although various versions exist. The queen wears a black and silver-cream dress with billowing sleeves studded with pearls and a black cloak. Elizabeth is also wearing a necklace with eight strings of pearls, there are pearls hanging from her torso and yet more pearls arranged in her hair. Looking youthful for her 57 years, the queen holds the handle of a fan in her left hand while her right is placed over a globe to symbolise England's burgeoning ambitions for empire-building. Appropriately enough, the queen has her hand over North America, the location of England's first colony Virginia. On the left is the Tudor imperial crown and at the far right in the foreground is a golden statue of a mermaid. Behind the queen, the window on the left shows the two naval fleets about to engage while the window on the right shows the Spanish being battered by storms and wrecked against a rocky shore. The most famous version of the Armada Portrait now resides in the Royal Museums Greenwich, England.

? ? ? ? ? 這幅《無(wú)敵艦隊(duì)肖像畫(huà)》之所以被稱(chēng)為 "無(wú)敵艦隊(duì)畫(huà)像"，是因?yàn)榕跎砗蟮拇皯?hù)可以看到與西班牙無(wú)敵艦隊(duì)的海戰(zhàn)，這幅畫(huà)是在公元1588年左右，即無(wú)敵艦隊(duì)被打敗后不久繪制的。這幅畫(huà)被認(rèn)為是喬治·高爾的作品，盡管還存在各種版本。女王穿著一件黑色和銀白色的連衣裙，波浪形的袖子上鑲嵌著珍珠，身披黑色斗篷。伊麗莎白還戴著一條有八串珍珠的項(xiàng)鏈，她的軀體上掛著珍珠，還有更多的珍珠排列在她的頭發(fā)上。與她57歲的年齡相比，這幅畫(huà)上的女王看起來(lái)很年輕，她的左手拿著扇子的把手，而她的右手放在一個(gè)地球儀上，象征著英國(guó)正在興起的建立帝國(guó)的雄心。恰如其分的是，女王的手放在北美洲，即英國(guó)第一個(gè)殖民地弗吉尼亞的所在地。左邊是都鐸王朝的皇冠，前景的最右邊是一尊金色的美人魚(yú)雕像。在女王身后，左邊的窗口顯示了兩支海軍艦隊(duì)即將交戰(zhàn)，而右邊的窗口顯示了西班牙人被風(fēng)暴襲擊并在巖石海岸上失事。這幅《無(wú)敵艦隊(duì)畫(huà)像》現(xiàn)藏于英國(guó)格林威治皇家博物館。

彩 虹 肖 像 畫(huà)

The Rainbow Portrait (see title image), so-called because the queen grasps a rainbow in her right hand, was painted towards the end of Elizabeth's reign, between 1600 and 1602 CE. It has been attributed to Isaac Oliver or Marcus Gheeraerts the Younger or Taddeo Zuccari. The queen wears a cream dress embroidered with wildflowers and dripping in pearls. On the queen's left lower arm is a snake, symbol of wisdom, with a heart-shaped ruby pendant hanging from its mouth. The bright orange lining of her cloak is curiously covered in eyes and ears, symbolic that the queen was ever-vigilant in looking out for the best interest of her subjects. Above the rainbow, a symbol of peace, there is an inscription which reads Non sine sole iris or 'No rainbow without the sun' with the message being the queen's wise rule is as important as the sun to the prosperity of her kingdom. The Rainbow Portrait also now resides at Hatfield House in Hertfordshire.

? ? ? ? ? 彩虹肖像畫(huà)。所謂的彩虹肖像畫(huà)因女王的右手抓著一道彩虹而得名，是在伊麗莎白統(tǒng)治末期，即公元1600年至1602年之間畫(huà)的。這幅畫(huà)被認(rèn)為是由艾薩克·奧利佛或小馬庫(kù)斯·海拉特或塔德奧·祖卡里創(chuàng)作的。女王身穿一件繡有野花的奶油色連衣裙，上面滴著珍珠。女王的左下臂上有一條象征智慧的蛇，蛇嘴上掛著一個(gè)心形紅寶石吊墜。她斗篷明亮的橙色襯里上奇怪地布滿(mǎn)了眼睛和耳朵，象征著女王永遠(yuǎn)警惕地關(guān)注著她的臣民的最佳利益。在象征和平的彩虹上方，有一個(gè)銘文，上面寫(xiě)著Non sine sole iris或 "沒(méi)有太陽(yáng)就沒(méi)有彩虹"，意思是女王的明智統(tǒng)治就像太陽(yáng)一樣對(duì)她王國(guó)的繁榮非常重要。彩虹畫(huà)像現(xiàn)藏于赫特福德郡的哈特菲爾德莊園。

參考書(shū)目：

Brigden, Susan. New Worlds, Lost Worlds. Penguin Books, 2002.

Ferriby, David. The Tudors. Hodder Education, 2015.

Guy, John. Tudor England. Oxford University Press, 1988.

Morrill, John. The Oxford Illustrated History of Tudor & Stuart Britain. Oxford University Press, 1996.

National Portrait Gallery - Portraits of Elizabeth I?Accessed 29 May 2020.

Phillips, Charles. The Complete Illustrated Guide to the Kings & Queens of Britain. Lorenz Books, 2006.

Royal Museums Greenwich - Symbolism in Portraits of Elizabeth I?Accessed 29 May 2020.

原文作者：Mark Cartwright

????????? 駐意大利的歷史作家。他的主要興趣包括陶瓷、建筑、世界神話(huà)和發(fā)現(xiàn)所有文明的共同思想。他擁有政治哲學(xué)碩士學(xué)位，是《世界歷史百科全書(shū)》的出版總監(jiān)。

原文網(wǎng)址：https://www.worldhistory.org/article/1562/elizabeth-i--the-power-of-image/