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Abstract Elizabeth I’s portraits span more than 40 years of her reign: during this time her courtiers commissioned paintings that developed both her own image and a complex set of symbols that transmitted her power. These paintings, together with other iconological representations of her sovereignty, embody her personal way to advertise her own power and keep her subjects within the fascination of her figure. By commissioning portraits of the Queen her courtiers both expressed their loyalty to her and helped to develop the wide range of emblems and visual devices through which her propaganda could be promulgated. The analysis of the symbols interwoven with the dresses which enwrapped the Queen in her portraits conveys both the social situation of the period and Elizabeth’s will to impose her figure as divine so as to stress her legitimacy to the throne. The problem of power, legitimacy and legality are all intertwined in the dresses: the yarn that is spun by the painter’s brush represents the rules that keep society together. It symbolises the legal system with all its paraphernalia and anticipates an awareness for those in power to advertise their image which typifies our age. The fundamental function of clothing in making or unmaking a person’s status within society is often used in Renaissance plays. In many passages of Shakespeare’s The Taming of the Shrew, for example, clothing is clearly connected to authority and it becomes the central device in the taming process itself.
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