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The Guardian - UK
The Guardian - UK
Lifestyle

An Elizabethan power move with bows

Dr Allison Goudie views the three surviving Armada portraits of Queen Elizabeth I, on display together for the first time in their 430-year history during a preview of the exhibition Faces of a Queen: The Armada Portraits of Elizabeth I at the Queen's House, Greenwich, London, in 2020.
The three surviving Armada portraits of Queen Elizabeth I on display at the Queen’s House in Greenwich, London, in 2020. Photograph: Dominic Lipinski/PA

I thoroughly enjoyed Morwenna Ferrier’s untangling of the cultural significance of the bow (Untie me! Why big bows are everywhere – feminine, ironic and strangely subversive, 18 November). I read it just after teaching a seminar on Elizabethan virginity, and I couldn’t help but think of the famous Armada portrait.

The painting is an overt celebration of martial victory, with Spanish ships floundering in the view above Elizabeth’s right shoulder, British ships sailing triumphant on the left, her hand firmly placed on a globe. But she is also covered in pink bows, and a huge pearl hangs from a delicate white bow at the top of her skirts, symbolic of her virginity.

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