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As I have built my collection of miniature portraits, I have strived to assemble an eclectic mix of miniatures. This provides an esthetic benefit by infusing the collection with refreshing contrast; but, more importantly, it serves to intrigue and engage the viewer. Of course, as is the case with most collections, it is the collector himself who is most often the primary “viewer”, the one most engaged with his collection. So, yes, I suppose you could say that my inclusion of rare, unusual and quirky portraits is as much for my own personal entertainment as that of others!
Today’s featured miniature is one such unusual portrait; and yes, it has been both a satisfying and entertaining addition to the collection. In several respects, it is a wonderful looking portrait; and it is housed in a stunning pendant frame that makes it all the more attractive. It is the portrait’s subject, however, a Georgian era university graduate, that makes this piece so rare and unusual. Personally, it is the only miniature portrait of a graduate that I have ever encountered — even amongst all the books, catalogues and exhibitions I have perused that feature large and well-known collections. It is unusual, too, in that it features a subject matter that we tend to mistakenly assume originated in modern times.
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Georgian Era University Graduate with Mortarboard
Artist: thus far, unidentified
Date/age: Circa 1810 (204 years ago, as of this writing)
Size: 2 3/4 inches tall x 2 1/4 inches wide (framed)
Medium: watercolor and gouache on thin ivory wafer
About the Portrait
Our featured portrait was clearly commissioned to commemorate the graduation of the painted subject from a British university (most likely, Oxford or Cambridge). This can be deduced by the fact that the young man is wearing traditional English academic attire and a university mortarboard. While perhaps surprising to modern American readers, such mortarboards actually originated at Oxford University many generations ago. (In some circles, they are still referred to as Oxford caps or Oxford mortarboards.) Mortarboards were, in fact, not common at American or even European graduation ceremonies until well into the twentieth century — further reinforcing my conclusion that the portrait originated in the United Kingdom.
Typical of fashion tastes of the early nineteenth century, our young subject’s neck is wrapped in a snug-fitting white stock (what we would describe as a high collar of sorts), adorned with a ruffled, white jabot or cravat. His waistcoat is, likewise, white, creating the formal, white ensemble that college graduates were expected to wear in the subject’s day. (To this day, many universities in the United Kingdom still require male graduates to wear a white shirt and white tie under their graduation gowns.) Over this, he wears a black cloak (the most traditional of nineteenth century academic attire), with a hood that drapes down his back; and, of course, he wears a black mortarboard.
As an aside, it should be noted by the viewer that this type of formal academic dress was not originally relegated to just graduation ceremonies. In the day of our portrait’s subject, for example, cloaks and even longer academic robes were elements of daily attire at institutions of the likes of Oxford University. Mortarboards were, likewise, a daily sight on campus — though, other than during graduations or other very formal occasions, mortarboards were rarely worn, but were rather carried symbolically in one’s arms (perhaps much in the same way that many Georgian and Victorian era gentlemen carried ornately designed walking sticks even though they did not need the assistance of a cane).
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Closeup view of the graduate’s mortarboard. Note that the tassel is affixed directly to the button at the center of the brim. This is typical of British mortarboards — as opposed to the typical American style that evolved a few generations later. (American style tassels are typically attached to a decorative cord; and it is this cord that attaches to the center of the mortarboard’s brim.) The tassel in our featured portrait is depicted fanned out and draped along the edge of one side of the square mortarboard. It is assumed that the artist depicted it this way simply for visual interest.
A Bit of Time Machine Déjà Vu?
As you look closely at our featured portrait, does anything stand out as appearing to be from the wrong era? Do you perhaps see a bit of the 1970s in the graduate’s long, shoulder-length hair? Well, interestingly, despite popularly held belief, long hair styles were not “invented” in the 1970s. Indeed, there have been many periods in centuries past when men wore their hair quite long (just as there, surprisingly, have been many periods when men had pierced ears). Personally, I find such revelations to be fascinating; and, interestingly, such facts can oftentimes only be learned by studying painted images from the past — making historical portraits (both miniature and full-sized) valuable tools of historical anthropology.
About the Pendant Frame
Our featured portrait is enclosed within a substantial pendant-style frame. Such pendant frames were occasionally worn, suspended from a gold chain, as a means of keeping the painted subject close to heart. More often than not, however, such pendants were displayed on a desk or a table, suspended from a hooked stand designed for just such a purpose.
The pendant is tightly sealed with no apparent way to open it. On both its front side and reverse, heavy, beveled glass protects the image within; and a wide band of gold wraps around the entire side edge, tightly binding the separate parts together. (I have not tested the gold; but by appearance, I would guess it to be 18 karat.)
Behind the glass on the reverse side of the pendant, one finds tasteful and beautifully decorated glass and metal work. In the center, there is a monogrammed “F” (presumably indicating that the subject’s family name began with the letter F), made of seed pearls (some of which have come loose). This is set over cobalt blue-colored glass that is framed by a gold inner frame and bordered by a brown-colored cloth mat of what appears to be combed silk.
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View of the pendant from the side, giving a better view of the gold band that wraps around it.
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A more angled view, giving a better view of the pendant’s thick, beveled glass lens.
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View of the pendant from the rear, showing its decorative monogram and gold inner frame.
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An angled view of the rear of the pendant from more of an angle. Just like the obverse of the pendant, it is sealed with a thick, beveled glass lens. From this angle, one can see some errant seed pearls that have come loose under the glass (not a surprise, given the two centuries that have passed since it was created; and not easily fixed, being that the pendant is so tightly sealed).
Anonymity
Other than the decorative monogram enclosed to the rear of the portrait’s pendant frame, there are no clues offered to our subject’s identity. The pendant itself is substantial and heavy, however, leading one to believe that the young graduate must have come from a family of significant means. The artist who painted the young man’s image is, likewise, unidentified. There is no small signature hidden within the painted surface of the portrait; nor is there a cryptic monogram or other symbol, as painters will sometimes discreetly apply. It is highly possible, however, that a written clue of some kind is enclosed within the pendant, between the portrait and its decorative backing. (Many painters were known to enclose within frames written notes identifying both themselves and their subjects.) Personally, I am not willing to risk damage to the portrait, however, by trying to open its well-sealed pendant in search of such written notes. (Many such pendants were sealed tightly shut, with the expectation that they would never be opened again — if for no other reason than to secure the painted portrait from the elements and to ensure its longevity.)
Historical Context
In 1810, the year our featured portrait is estimated to have been painted, King George III (yes, the same king who was a major character in the War of American Independence) was in the 50th year of his 60-year reign as King of Great Britain and Ireland. (He was, nonetheless, by 1810, quite elderly and showing signs of dementia.) Just one year later, in 1811, the King’s son, the Prince of Wales, was appointed Prince Regent, effectively imparting him with the powers of king during his father’s incapacity. (Not until George III eventually died, in 1820, was the Prince Regent officially coronated as King George IV.)
At the time our featured portrait was painted, Oxford University was an all-male institution (female students not having been admitted to the university until 1875). Students studied a curriculum of classical knowledge (language, history, literature, philosophy, theology and principles of law); and to be granted admission to the university, students were required to have an active knowledge of both Ancient Greek and Latin.
Outside of Great Britain, James Madison was in the second year of his first term as the fourth President of the United States. Back across the Atlantic, Europe was in turmoil as the Napoleonic Wars raged across the continent (making one believe that the young subject of our portrait must surely have been grateful to have been a British subject rather than a Frenchman or a German).
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Copyright © 2014 Michael Tormey. All rights reserved. All images contained herein are the property of Michael Tormey unless specifically noted otherwise.
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