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| Keywords: Ed and pope.png the Reformation National Portrait Gallery London <br/> Inscribed on open book centre left THE WORDE OF THE LORD ENDURETH FOR EVER ; on ribbons of pope's tiara IDOLATRY and SUPERSTICION ; on pope's chest ALL FLESHE IS GRASSE 'All flesh is grass ' from Isaiah 40 6 meaning the body is ephemeral ; lower left in the golden frame POPS and FEYNED HOLINESS <br> The painting represents the handing over of power from Henry VIII to his son Edward VI Henry lies in bed and Edward sits on a dais beneath a cloth of state with a book at his feet containing a text from Isaiah which falls onto the slumped figure of a pope The pope points a triple cross towards two monks lower left who pull on chains attached to Edward's dais Standing to Edward's side is a figure identified as his uncle Edward Seymour 1st Duke of Somerset and Lord Protector Other figures on the right represent Edward's Privy Council and include the Archbishop of Canterbury Thomas Cranmer in white the Lord Privy Seal John Russell grey beard and William Paget forked beard the Comptroller of the King's Household At top right is a picture of iconoclasm the smashing of idols an activity approved of by Cranmer and many religious reformers <br>The scholarship on this painting is conflicted It was once taken for granted that the painting was contemporary with the succession of Edward VI in 1547 Dr Margaret Aston in The King's Bedpost a book devoted to this painting has claimed instead that the work could not have been painted before the late 1560s She bases her theory on the similarities between the sphinx bedpost foot of Henry's bed and between the column in the iconoclastic scene and those in two engravings of pictures by Maerten van Heemskerk produced between 1564 and 1569 Roy Strong has accepted Aston's redating of the picture but regards many of her views on the painting's significance as conjectural Jennifer Loach has challenged Aston's reading of the picture disputing her identification of some of the figures she accepts the ones mentioned above however and believes that the painting was a piece of contemporary propaganda created during Edward VI's reign References Margaret Aston The King's Bedpost Reformation and Iconography in a Tudor Group Portrait Cambridge 1993; Roy Strong The Tudor and Stuart Monarchy Pageantry Painting and Iconography Woodbridge UK 1995; Jennifer Loach Edward VI Yale University Press 1999 la Réforme la National Portrait Gallery à Londres <br>Inscrit dans le livre ouvert « the worde of the Lord endureth for ever» la parole du Seigneur demeure pour toujours ; sur la tiare « idolatry » et « supersticion » superstition ; sur la poitrine du pape « All fleshe is grasse » Toute chair est de l'herbe Isaiah Isaïe 40 6 signifiant que le corps n'est qu'éphémère ; autour de la main « pops » pape et « feyned holiness » sainteté feinte <br> Le garçon dans le trône est Édouard VI Dans le lit s'assoit son père Henri VIII qui lui transfère son pouvoir <br> à droit est un dessin de l ™iconoclasme protestant montrant des hommes déstruisant une statue Karen Hearn Dynasties Painting in Tudor and Jacobean England 1530 “1630 London Tate Publishing 1995 p 76 See also 4165 Artist unknown Uploaded by qp10qp Estimates vary from 1547 to 1570s left 100px Edward VI and the Pope detail PD-old-100 DEFAULTSORT Edward VI and the Pope Edward VI of England Henry VIII of England in art National Portrait Gallery London Iconoclasm 16th-century group portraits Tudor portraits John Russell 1st Earl of Bedford John Dudley 1st Duke of Northumberland Edward Thomas Cranmer William Paget 1st Baron Paget Edward Seymour 1st Duke of Somerset | ||||
