James VI and I

Although portrayed without the formal trappings of a crown, sceptre and ermine, this is undoubtedly a royal portrait. Everything in this carefully composed image has been chosen to signify the material power and refined taste of King James VI of Scotland and I of England (1566-1625). The full-length pose, reserved for royalty, conveys an assured yet informal stance. The King’s direct gaze commands attention, even if he looks out a little reticently from beneath his hat adorned with the ‘Great Feather’ jewel. Crafted from gold and diamonds, this glittering jewel was made especially for him and is a worthy substitute for a crown here. Dressed in silver fabric and swathed in a fur cape, the King stands like a mannequin on which to advertise his wealth and status. The jewelled hilt of a sword is just visible behind the silk-lined gloves he casually holds in his hand. The chain across his chest, which bears the Order of the Garter, is clearly outlined against the shimmering silk of his doublet. His breeches are heavily embroidered with pearls while the ensemble is finished with matching beribboned shoes. The ornate complexity of the King’s clothing is almost rivalled by the boldly patterned, colourful background.  He is posed against an inventory of ‘carpets’, a term used at the time for any covering fabrics. He stands on a prized Anatolian rug, the corner rolled back to reveal the fringed edge. The carpet would have travelled over land and sea from Turkey to reach the King, a visual reminder of his global influence. The wall behind him is also covered with an oversized motif, and the tall table against which the King nonchalantly leans is draped in thick velvet, generously puddling on the floor at his feet – all indicating an equally luxurious and excessive lifestyle.  

This portrait is one of four known full-length versions of a standard, officially approved type associated with the Flemish artist, John de Critz the elder (c.1554-1642). James was a reluctant sitter, so this image could be replicated without him having to sit for his portrait each time. The format appears in many variations, including a head and shoulders version also in the Dulwich Picture Gallery collection (DPG384). This would have been a lucrative commission for De Critz and his studio. Having fled the persecution of Dutch protestants in Antwerp as a child, by the beginning of the seventeenth century De Critz was an established artist, sharing his workshop with other Huguenot refugees such as the artist Marcus Gheeraerts the Younger (c.1562-1636) and French miniaturist Isaac Oliver (1556-1617). De Critz became ‘Serjeant Painter’ to the King in 1605, an official and lucrative position at court.