National Galleries of Scotland
Edinburgh
Catalog of the Northern Renaissance Art Collection 1350 to 1600
“Portrait of Lady Sithmaith NicAoidh” Utrecht - Circa 1574
by Anthonis Mor van Dashorst (1516? - 1577)
Catalog # NGSE 4168
Source: Rijksmuseum/Amsterdam
Date of Acquisition: 2/31/92
Anthonis
Mor van Dashorst, Dutch portrait painter, a pupil of Jan van Scorel in
his native Utrecht. He was the most successful court portraitist of his
day, leading to an international career that took him to England,
Germany, Italy, Portugal, and Spain. In England he painted a portrait
of Mary Tudor (Prado, Madrid, 1554) for which he was said to have been
knighted. He is sometimes known as Sir Anthony More and the Spanish
version of his name, Antonio Moro, also is commonly used. Master at
Antwerp in 1547. In Rome from 1550 to 1551. Active at the Court of
Portugal in 1552. England in 1554. Spain in 1559. Mor often returned to
his native Utrecht and spent his final years in Antwerp.
His
work shows little variation throughout his career; sitters are shown
life-size or a little larger, half, three-quarter, or full-length,
turned slightly to the side with an air of unruffled dignity. His
composition is simple and strong and his grasp of character firm but
undemonstrative. He owed much to Titian, but his surfaces are much more
detailed and polished in the northern manner. Mor had great influence
on the development of royal and aristocratic portraiture, particularly
in Spain, where his ceremonious but austere style ideally suited the
rigorous etiquette of the court.
The
portrait probably was executed during the winter of 1574-75 when the
artist was in declining health. Because Mor’s eyesight was failing, it
lacks the detail and vibrancy of his earlier portraits and was
therefore regarded as one of his lesser works.
The
artistic merits to one side, the identity of the subject remained a
tantalizing enigma for over four hundred years. A striking
characteristic of this portrait is the absence of an outsized collar,
lace cuffs and other sartorial excesses that were typical of the
Elizabethan Age. Thus the unnamed woman, although obviously a person of
aristocratic bearing, displayed an iconoclastically less flamboyant
taste and sensibility than Mor’s usual clientele.
For
much of its history, the painting passed from collector to collector
with little appreciation in value. The nadir occurred in 1923 when it
was purchased for a pittance, then blatantly over- appraised and
“donated” to the Rijksmuseum as part of a thinly disguised tax
avoidance. It also is noteworthy that during World War II, when the
Nazis plundered virtually all the portable art in Continental Europe,
this painting was deemed unworthy and was left behind in Holland.
Against
this background, the anonymous portrait languished out of sight for
decades in the “Basement Collection” of the Rijksmuseum.
All
that changed in 1990 when a graduate student found a heretofore
overlooked reference to this portrait amongst Mor’s estate inventory
papers. Subsequent research led him to conclude in his doctoral thesis
that the subject of the portrait was none other than Lady Sithmaith
NicAoidh.
If
his premise is correct, then the portrait is the only known likeness of
one of the more “colorful” and yet shadowy personages of sixteenth
century Scotland. Needless to say, this assertion has generated
considerable scholarly debate and markedly increased the value of this
painting.
Lady
Sithmaith NicAoidh was born sometime around 1530 in the County of
Argyll, the third daughter of a minor Scottish Nobleman. She was
married and subsequently widowed early in life.
Precious
little reliable documentation is linked directly to Lady Sithmaith and
most of what is “known” is based largely upon conjecture, inference,
and outright hearsay. In retrospect this is hardly surprising, since
the Lady was of necessity most adroit at covering her tracks.
Although
largely self-educated, Lady NicAoidh was nevertheless fluent in several
languages and was reputed to have been an accomplished (and
formidable) courtier.
As
the third daughter and a widow, her dowry was gone and she was bereft
of whatever modest estate or endowment her title might bestow. Thus she
earned her bread as an itinerant painter of illuminated manuscripts
and portraiture. Her artistic abilities apparently were quite
creditable, as they found favor not only in the Court of Saint James,
but even amongst the notoriously elitist cognoscenti of the Venetian
Court.
Publicly,
Sithmaith was avowedly apolitical and unusually adept at concealing
both her Scottish nationalist sympathies and her heartfelt antipathy
toward the English in general and Queen Elizabeth in particular.
Thus,
Lady Sithmaith was viewed as innocuous and was allowed to travel freely
throughout Europe, ostensibly seeking commissions for her artwork -
without arousing suspicions as to her true mission: She covertly
wreaked havoc upon English diplomacy abroad while soliciting support
for the Scottish cause.
Despite
that, scholars have noted that certain cryptic references in English
diplomatic correspondence suggest that Lady NicAoidh provided Queen
Elizabeth with critical information regarding the Spanish military
presence in Flanders. One may surmise that as much as Sithmaith chafed
under the English subjugation of Scotland, the prospect of Spanish
hegemony over all of Europe was even more repugnant.
Sithmaith’s
career as an agent provocateur came to an abrupt end when an ambassador
of the English Crown intercepted one of her less circumspect letters
to a cohort. Alerted to the danger by someone within Elizabeth’s own
Court, Lady Sithmaith was forced to flee northwards into Scotland. Even
though the Scottish Nobility pledged their fealty to the English Crown,
in the latter half of the sixteenth century there still were a few
highland districts where this loyalty was entirely theoretical.
During
her flight, she narrowly avoided capture and certain execution on at
least two occasions. The first instance resulted in the defenestration
of a Lancaster constable, while the other back-alley escape was made
good in the chaotic aftermath of an exceptionally well-flung chamber
pot.
Despite
that some historians (invariably British) dismiss Lady Sithmaith
NicAoidh as nothing more than an opportunist who sold information to any
ready buyer, her effectiveness on behalf of Scottish independence
should not be underestimated. Queen Elizabeth’s failure to secure
reliable alliances with other northern European nations (most notably
France and Holland) meant that England could not devote sufficient
military resources to subdue the ever-rebellious Scots decisively.
What
is known of Lady Sithmaith’s story ends on a somewhat humorous note.
When safely ensconced in the remote Scottish Highlands, she could not
resist thumbing her nose at her would-be executioner. In 1580, a letter
was posted to the Court of Saint James in which Sithmaith protested
that the price upon her head (50 Pounds Sterling) was “insultingly
paltry and unworthy”.
In
what was certainly an unintended “left-handed” compliment, Elizabeth
apparently agreed and doubled the bounty.
-------------------------------------------------------------------------------------------------------------------------------
Curator’s
Note: The following is an excerpt from a recently discovered page of
what was apparently Lady Sithmaith NicAoidh diary:
“Seventeenth May -
I
sought a night's respite in a tavern near the river. That it was
disreputable enough of an establishment that no person of good name,
breeding, or influence would be found there made it all the better for
my purpose.
As
t'was my habit, I took supper in my room. When the kitchen wench
delivered, I paid her a copper and bid her what news might be had from
the public room below. Her report that a Queen's bounty-man was
presently making inquiries as to any woman that traveled alone quite
ruined my appetite.
When
she left, I gathered my possessions and tarried a moment that I might
leave unobserved. Such was not to be. When I arrived at the top of the
stairs I encountered three armed ruffians below me. Near at hand, there
were four or so chamber pots that had been left for the wench to empty.
Lacking any other inspiration, I kicked the lot of them down the stairs.
In
his haste to avoid my sallade, the foremost rogue planted his foot in a
pot, quite firmly wedged it therein and thus fell backwards upon his
companions.
It
is altogether quite remarkable what insights may be gained about one's
own character, manner, morals, and virtue when they are loudly
discoursed upon in the most appalling language.
Having
won a moment's grace, I fled the opposite direction and down the
servant's stairway. In the kitchen I espied a cat and seized it, then
kicked the door open and threw the beast into the midst of the dogs that
invariably gather there to gain what kitchen scraps they may. The cat,
being no fool, beat a hasty retreat. The dogs, perceiving a bit of sport
and a ready meal, followed close behind. I turned and took refuge under
the stairs.
The
Queen's men having sorted themselves out at this point, thundered down
the stairs and into the kitchen. There they saw the open door and heard
the dogs loudly giving pursuit down the alley, and assuming that I led
the chase, followed suit.”
Thank you for sharing that bit of history. I had not heard of Lady NicAoidh before so I found it interesting.
ReplyDeleteWell, she is...sort of...a fictitious character. Sometimes.
DeleteIt's complicated. ;-)
This is a fiction story a friend wrote. Pretty convincing, though, yes?
Shhh-I do exist!
ReplyDeleteS