Concordia Magazine 2025

References 1 Fry, F.M., A Historical Catalogue of the Pictures, Herse Cloths and Tapestry at Merchant Taylors’ Hall with a List of the Sculptures and Engravings , London, 1907, p.97. 2 Tittler, R., ‘Three Portraits by John de Critz for the Merchant Taylors’ Company’, The Burlington Magazine , CXLVII, July 2005, p.493. 3 Tittler, R., The Face of the City: Civic Portraiture and Civic Identity in Early Modern England , Manchester University Press, 2013, p.51. 4 Briscoe, A.D., A Marian Lord Mayor: Sir Thomas White , East Anglian Magazine, Ipswich, 1982, pp.86–93. 5 Tittler, R., 2005, p.493. 6 Fry, 1907, p.97. 7 Fry, 1907 (catalogue entry for portrait of Walter Pell by Robert Mallory, purchased 1672), p.59. 8 The Taylorian , vol.lxvii, 1955, p.8. 9 See https://pictures.royalsociety.org/image-rs-12167. 10 Isaacson, H., An Exact Narration of the Life and Death of the Late reverent and learned Prelate, and painfull Divine Lancelot Andrewes, Late Bishop of Winchester , printed London, 1650, transcribed Dorman, M., 2005, https://anglicanhistory.org/andrewes/isaacson1650. html#:~:text=The%20next%20is%20his%20 charity,petty%20debts%2C%20or%20keeper’s%20fees. 11 The Taylorian , vol.ix, 1886–7, p.31. This painting is now lost. 12 Clayton, T., The English Print, 1688–1802 (The Paul Mellon Centre for Studies in British Art) , Yale University Press, New Haven and London, 1997, p.114. 13 Lippincott, L., Selling Art in Georgian London: The Rise of Arthur Pond , Yale University Press, 1983. 14 The Taylorian , vol.xx, (1897–8), p.70. Dance was the son of George Dance, who was the architect of The Mansion House (the Lord Mayor of London’s residence), and was a freeman of the MT Company. 15 Men of the Day , nos. 804, see https://www.npg.org.uk/ whatson/display/2008/men-of-the-day. 16 With thanks to OMT architectural historian Charles Hind (1969–1974) for his comments on this painting.

The provenance of this portrait is particularly noteworthy: it entered the School’s collection in 1924–5 as a gift from Revd Reginald Stephen Copleston, an alumnus, and is reputed to have previously belonged to Bishop Edward Copleston, former Professor of Poetry at Oxford (1802–10) and Provost of Oriel College. Current research, undertaken in collaboration with members of the Copleston family and leading Spenser scholars, seeks to establish a more precise chronology and to clarify the work’s provenance. Although the painting may represent a derivative copy, its presence within the School’s holdings contributes to the broader discourse on Spenserian portraiture. The work is in urgent need of conservation; following restoration, it is expected that the portrait will assume a prominent position within the School, reinforcing its cultural and historical significance. Portraiture functions as a visual articulation of societal norms, reflecting contemporaneous constructs of age, gender, status and occupation. The emergence of civic portraiture in late 16th century England introduced standardised iconographies that conveyed institutional identity. These works, prominently displayed in educational, charitable and civic settings, integrated organisational values into their aesthetic framework — a practice that has persisted as a defining characteristic of the civic portrait. Rather than serving as explicit representations of institutional values, the portraits at Merchant Taylors’ School primarily function as commemorative artefacts. They preserve the identities and achievements of individuals who have shaped the School’s historical narrative. Interpreted within their respective contexts, these works provide insight into personal legacies and institutional continuity. Although the loss or absence of certain portraits has created gaps in the visual record, recent discoveries underscore the collection’s cultural significance and its potential for further scholarly inquiry. Continued expansion of the collection, through acquisition, commission and bequest reflects an enduring commitment to portraiture as a tradition. The recent commission of Mr Everson’s portrait exemplifies the School’s sustained investment in this practice.

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Portraits preserve the identities and achievements of individuals who have shaped the School’s historical narrative.