Early training and career
Nicholas Hilliard was born in 1547 in Exeter, Devon. His father, Richard Hilliard, was a goldsmith, which likely introduced young Nicholas to the craft of working with precious materials and fine detail.
Hilliard's apprenticeship began under the tutelage of the prominent goldsmith Robert Brandon in London. This training was crucial, as it honed his skills in the intricate work required for miniatures. During this period, Hilliard likely encountered miniature painting, or 'limning' as it was known – a form of portraiture that demanded precision and a deep understanding of materials. Limning involved painting with watercolour on a small oval of vellum. Rooted in the rich traditions of manuscript illumination, miniature painting, was introduced to the English court by Flemish artists such as Simon Bening. Bening's meticulous manuscript illuminations inspired English artists to explore the possibilities of this intricate art form. It was Hilliard, however, who elevated miniature painting to new heights, focussing on portraiture. He not only mastered its techniques but also infused the art with his distinctive style, setting a new standard for portrait miniatures in England.
By the 1560s, Hilliard was already producing portraits, but it wasn't until the 1570s that he began to gain significant recognition. His miniatures were distinctive for their remarkable and intricate details, their almost jewel-like quality, and their ability to convey psychological depth. Hilliard's early career laid the foundation for his later success at the court of Elizabeth I, where he became the preeminent miniaturist of his time.
Hilliard and Elizabeth I of England
Nicholas Hilliard's connection with Queen Elizabeth I was the defining relationship of his career. In the late 1570s, Hilliard was appointed as the Queen's official limner, a position that brought him not only prestige but also considerable influence. Elizabeth, known for her desire to control her image, found in Hilliard a master capable of capturing her likeness in a way that conveyed both her majesty, authority, and her splendour.
Hilliard's portraits of Elizabeth I are among his most famous works, such as the 'Drake Jewel'. These miniatures often depicted the Queen with the symbols of power and purity – crown, sceptre, and the famous ruff – encapsulating the myth of the Virgin Queen. The Queen's image, as crafted by Hilliard, was not just a reflection of her physical appearance but a carefully constructed persona, blending realism with idealism.
Hilliard had the privilege of painting the Queen numerous times. Painting her in 1595, towards the end of her reign, Hilliard portrayed Elizabeth with a remarkably youthful appearance and unwavering expression, thus crafting a stylised official image that presented a reassuring, age-defying, and commanding monarch dressed in lavish costume and glittering jewels. These type of portraits of the Queen, known as 'The Mask of Youth', perpetuated the legendary allure of ageless beauty and diverted attention from Elizabeth's mortality. Elizabeth's patronage was crucial to Hilliard's success, as it placed him at the heart of the English court, where he was commissioned to create portraits of many of the leading figures of the time. The Queen's favour ensured that Hilliard's reputation would endure, and his work became synonymous with the Elizabethan age.
Major commissions
Beyond his work for Elizabeth I, Hilliard received numerous important commissions from the English nobility. His miniatures were highly sought after, not only for their artistic merit but also for their role as personal mementos and tokens of affection. These small, portable portraits were frequently exchanged between lovers or given as cherished gifts, making them intimate objects with significant emotional value. They were highly valued not only by the Tudors and their courtiers but also by the rising middle class, acting as powerful tools for demonstrating favour, showcasing loyalty, and expressing personal relationships. Often encased in ornate jewellery, Hilliard's miniatures were worn as pendants, pinned to clothing or discreetly concealed.
One of Hilliard's major patrons was Robert Dudley, Earl of Leicester. Dudley was one of the Queen's favourites and became one of Hilliard's most loyal clients. One of the earliest known portraits of Dudley, painted by Hilliard in the early 1570s, shows him wearing a black doublet embellished with gold and a black cap studded with gold jewels and trimmed with red and green plumes. In place of the conventional blue background, Hilliard uses a black decorative pattern on a silver ground. This portrait is a testament to Hilliard's ability to capture both the likeness and the character of his sitters, conveying his stature and influence. Another of Elizabeth's favourites and her Lord Chancellor, Sir Christopher Hatton, is depicted in his state robes, adorned with the collar of the Order of the Garter, and wearing the garter itself on his left leg. This work is particularly notable as a rare experiment by Hilliard, showcasing a full-length figure on a minute scale.
These commissions not only reinforced Hilliard's standing as the preeminent miniaturist of his time but also helped spread his reputation across the continent. This growing renown led him to travel to France in 1576, where he spent two years working at the court of King Henry III. His time in France was a pivotal period in his career, immersing him in the sophisticated artistic environment of the French court. While there, Hilliard created portraits for the French nobility, including members of the royal family, and was exposed to continental styles and techniques that would later influence his work upon his return to England.
Allegorical portraits
Nicholas Hilliard's work extended beyond mere representation; he was a master of creating allegorical portraits, where he infused deeper symbolic meanings into his miniatures. These portraits, laden with intricate iconography, conveyed complex messages about the subject's virtues, status, and ideals, often reflecting the broader cultural and political narratives of the Elizabethan era.
Hilliard's allegorical portraits are characterised by their use of symbolism, where objects, gestures, and even colours were carefully chosen to convey specific meanings. One of the most famous examples is 'Young Man Among Roses', a miniature that likely depicts a young Elizabethan courtier. The portrait is filled with allegorical elements: the roses, which may symbolise love or the Tudor dynasty; the melancholic expression of the sitter, suggestive of unrequited love or the ideal of the melancholy lover, a popular theme in Elizabethan literature; and the lavish dress, indicating both wealth and refinement.
Another enigmatic portrait of an unknown gentlemen dated 1588 offers another fascinating glimpse into the artist's allegorical language. The young man, elegantly dressed, clasps a hand emerging from a cloud, which likely symbolises a connection between the earthly and celestial realms, suggesting spiritual or intellectual aspirations. The inclusion of the Latin motto 'Attici amoris ergo' adds another layer of intrigue; translating to English as "Athenians for the sake of love", or "Athenians because of love", remains enigmatic.
Perhaps one of his most fascinating allegorical portrayals is of an unknown man, portrayed in half-length, with an open undershirt and surrounded by flames symbolizing the fervour and passion that engulfs him. His chest is exposed as though consumed by the intensity of his emotions, and he holds a locket close to his heart, suggesting it contains a miniature of a cherished loved one. This intimate and evocative composition captures the sitter's deep emotional connection, conveying a powerful narrative of devotion and desire through Hilliard's exquisite craftsmanship.
Family portraits
Hilliard's craft was also deeply personal and extended to loving and meticulous portraits of his family, including his father Richard Hilliard and his first wife, Alice Brandon. The portrait of Alice, daughter of Robert Brandon, the Queen's Goldsmith and Hilliard's former mentor, is especially remarkable. In 1578, while the couple was in France, Alice – pregnant with their first child – sat for this miniature. Pinned to her dress are symbolic elements: a head of wheat, representing fertility, and a carnation, signifying marriage. Hilliard likely painted this portrait as a keepsake, a deeply personal memento to carry with him. The inscription on Alice's miniature written around the edge records that this is the wife of Nicholas Hilliard and was probably added by Laurence Hilliard, Hilliard's son. Hilliard's legacy extended to his son Laurence, whom he trained in the art of miniature painting and who later achieved success in his own right.
The treatise on limning
In addition to his practical work as an artist, Nicholas Hilliard made a significant contribution to the theoretical understanding of miniaturist art through his treatise on limning, A Treatise Concerning the Arte of Limning, written around 1600. This treatise is one of the earliest English texts on painting and provides invaluable insights into the techniques and materials used in the creation of miniatures.
In his treatise, Hilliard discusses the preparation of vellum, the use of gold leaf, and the careful application of colours to achieve the vibrant and durable effects for which his miniatures are known. According to his own treatise, he rendered pearls by placing a raised blob of white with the fine tooth of a ferret or stoat on the vellum, then added a delicate drop of silver to create lustre. Unfortunately, silver has tarnished over time, causing the once-shimmering pearls and other silver elements to appear blackened. He emphasised the importance of patience, precision, and a steady hand – qualities essential to the art of limning. The treatise also reflects Hilliard's broader views on art, including his belief in the superiority of the miniature form for capturing the 'true' likeness of a sitter.
The treatise was not widely circulated during Hilliard's lifetime, but it remains an important document for understanding the practice of miniature painting in the late 16th and early 17th centuries. Through his treatise, Hilliard ensured that the techniques and artistic principles he perfected would be passed down to future generations, influencing artists long after his death in 1619. It serves as a testament to Hilliard's mastery of his craft and his commitment to preserving and advancing the art of miniature painting.
Later years
After the death of Elizabeth I in 1603, Hilliard continued his career under the reign of King James I of England. Though his prominence at court slightly diminished as new artists emerged, Hilliard remained a respected figure, receiving commissions from James and his court. He adapted his style to suit the tastes of the new king and the Jacobean court, by introducing more elaborate backgrounds, such as a sumptuous red velvet curtain draped behind his sitters, replacing the previously uniform blue backdrop. Hilliard's ability to navigate this transition and continue producing fine miniatures ensured his enduring legacy as one of the leading portraitists of the English Renaissance.
Today, Hilliard's intimate and portable miniatures – much quicker to produce than an oil painting – find their heirs in photos of loved ones kept on our phones, which we cherish and share with the same devotion as our ancestors.
