This woman, nevertheless, with so many frailties and ultra-feminine vanities, was a sovereign with a will and a purpose. Even in the midst of this talk about buskins, love-books and virginals, it shone out. So much so, that hearing she is resolved not to marry, the Scottish ambassador immediately retorts in somewhat blunt fashion: "I know the truth of that, madam, said I, and you need not tell it me. Your Majesty thinks if you were married, you would be but Queen of England, and now you are both King and Queen. I know your spirit cannot endure a commander."[60]
The same singular combination may be observed in the literary works of her time: flowers of speech and vanities abound, but they are not without an aim. Rarely was any sovereign so completely emblematic of his or her period. She may almost be said to be the key to it; and it may be very well asserted that whatever the branch of art or literature of this epoch you wish to understand, you must first study Elizabeth.
Her taste for finery and jewels remained to the last. Hentzner, a German, who saw her many years after Melville, describes her coming out of her chapel at Greenwich Palace, in 1598. She has greatly altered; she is no longer the young princess that would publicly forget etiquette at Westminster for the sake of Robert Dudley; but she still glitters with jewels and ornaments. "Next came the Queen, in the sixty-fifth year of her age, as we were told, very majestic; her face oblong, fair, but wrinkled, her eyes small, yet black and pleasant; her nose a little hooked, her lips narrow, and her teeth black.... She had in her ears two pearls, with very rich drops; she wore false hair and that red; upon her head she had a small crown.... Her bosom was uncovered as all the English ladies have till they marry, and she had on a necklace of exceeding fine jewels; her hands were small, her fingers long, and her stature neither tall nor low; her air was stately, her manner of speaking kind and obliging. That day she was dressed in white silk, bordered with pearls of the size of beans, and over it a mantle of black silk, shot with silver threads ... Instead of a chain, she had an oblong collar of gold and jewels."[61]
[p. 97.
These descriptions of her by Melville and Hentzner are supplemented, in highly characteristic fashion, not only by such fancy portraits as the one alluded to before, where she is represented as a shepherdess, a nymph, an imaginary being from Arcady, from mythology, or from nowhere, but by such grave, dignified, official portraitures as the very fine engraving left by Rogers. Round the sharp-featured face, with closed, wilful lips, weary eyes, open, intelligent forehead, lace ruffs of various shapes, some very bushy, some quite flat and round-shaped like butterfly wings, are displayed in most imposing array. No imaginable kind of gum or starch could keep them straight; they were spread on iron wires. The gown itself, of cylindric shape, expanded by means of a farthingale, is covered with knobs, knots, pearls, ribbons, fringes, and ornaments of all sorts. Well does this figure deserve the attention of the student of Shakespeare, for in this and no other fashion was Cleopatra, the Egyptian queen, dressed, when she appeared on the boards of the Globe Theatre. Never did the author of "Antony" dream of Denderah's temple, and of the soft, voluptuous face, peacock-covered, representing there Isis-Cleopatra; but he dressed his Egyptian queen as the queen he had known had been dressed, and it was in the costumes of Rogers' engraving, and most appropriately too, that the Cleopatra of the Globe was heard to make the remarkable proposal, "Let's to billiards."[62]
Does this seem very strange or in any way incredible? But we must remember that many years, nay, several centuries, were to elapse before anything like historical accuracy was to affect dresses on the stage. Another Cleopatra trod the boards of the English theatre in the eighteenth century; she was very different from her Elizabethan elder sister; she wore paniers and a Louis XV. wig, and, as may be seen in our engraving, came in no way nearer the model at Denderah.
sketches made by inigo jones in italy.