She thereby reveals a richer and more complex reading of Richard as more than just a monstrous or moral example. This painting in the Royal Collection was first recorded in an inventory of Henry VIII’s collection and would have been commissioned either by Henry VII or Henry VIII as part of a set of royal portraits. One might ask if it is even possible to play Shakespeare’s Richard without falling into the trap of portraying his physical impairments as a symbol or cause of the character’s immorality. It was likely copied from a pattern or painting made during Richard’s lifetime, but at some point either during its creation or shortly after the portrait was completed, the subject’s right shoulder was altered, the line of his coat being raised to exaggerate or create an unevenness in the shoulders that either wasn’t there or was very slight before. First recorded in the 1542 and 1547 inventories of Henry VIII and Edward VI. The analysis suggests only a slight effect on his appearance and his movement would not have been limited. Malcolm Hebron explains how Shakespeare drew on earlier depictions of Richard III and other ruthless rulers in order to create his own power-hungry king, and how Richard III has influenced later depictions of megalomania. His Tudor successors, from Henry VII onwards, had a vested interest in portraying Richard III as a bad King to increase their own legitimacy as the line who deposed him. A new study of his skeleton seeks to … The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen, London AND 1969. What do these decisions say about our attitudes to Richard’s body, or to disabled bodies in general? There are external signs, as in a portrait where Richard holds a broken sword symbolising his defeat and failed monarchy; signs of personality in his features, such as painting him with a mean or severe facial expression; and signs written into the characteristics of his body, which is often presented with exaggerated physical impairments to his hand and shoulder, and a dark complexion and hair and eye colour. The researchers said while Richard III had a severe case of scoliosis, he was far from the limping "hunchbacked toad" with a withered arm depicted in William Shakespeare's play. Recent dendrochronological (tree-ring) analysis indicates that this panel was painted between 1504 and 1520. The artist is unidentified but is most likely to have been either British or Flemish, working for the royal court. The gold painted spandrels in the upper corners contain monochrome profiles of a crowned man and of a woman. Richard had scoliosis and writers of the Tudor period (including Shakespeare) latched on to this physical difference as a way to tarnish his reputation and prove that he was evil, revelling in a rhetoric of deformity and monstrosity. Richard was the last monarch of England's Plantagenet dynasty. It is now displayed in a twentieth-century reproduction Tudor frame. "Piers Mitchell of the University of Cambridge co-authored the report. 56.5 x 35.6 cm (support, canvas/panel/str external) William Shakespeare immortalized King Richard III as a villainous, sneering hunchback. People involved . 56.5 x 35.6 cm (support, canvas/panel/str external), A collaboration with BBC Radio 4 to mark Her Majesty The Queen’s Diamond Jubilee, Learn more about the stories behind the BBC series. Examination of the wooden panel on which the portrait was painted suggests a date between 1504 and 1520. This alteration can be seen with the naked eye as the overpaint has aged differently to the original layer. Researchers wrote about "one of history's most famous spinal columns" in The Lancet Friday, saying their 3-D visualization "reveals how the king's spine had a curve to the right, but also a degree of twisting, resulting in a 'spiral' shape."

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