Portraiture was often used to shape and display one’s reputation. Joan Alleyn’s portrait tells us that she was a wealthy, fashionable woman. Her clothes are at the height of Elizabethan trends and would have been made from the finest materials—clear from the lace fringing on her ruff. As shaming rituals practised across England suggest, reputation was among the most important elements in maintaining a woman’s status. However, it could sometimes be harder to craft, as it was so often linked to a husband or other male relatives. It also walked a tightrope between respectability and showiness or immodesty.<br /> <br /> Through this portrait, Joan is able to display her own wealth, taste, authority, marriage and religion – all things that contributed to a good reputation. We can read these status symbols via the material details on display. Joan’s outfit is that of a member of the urban elite, similar to those worn by the wives of London citizens (as distinguished from women of the royal court). The tall hat, large ruff (collar), padded sleeves and strong stance give her a sense of importance. In her right hand, she holds a book, likely a prayer book to signify her religious piety. She wears one glove on her left hand and holds the other. Gloves this fine would not have been worn during activities like manual work or horse riding, they could only be worn by wealthy women who had other people do these tasks for them.<br /> <br /> This portrait is dated 1596, four years after Joan’s marriage to wealthy theatre actor, Edward Alleyn. This union was happy and profitable for both Joan and Edward, who became extremely wealthy through his business partnership with his father-in-law, theatre entrepreneur Philip Henslowe. Joan herself undertook many of the London business dealings while her husband was away on theatrical tour.
Portrait of Joan Alleyn (Painting), 1596

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Portrait of Joan Alleyn

Portrait of Joan Alleyn (Painting), 1596

Portraiture was often used to shape and display one’s reputation. Joan Alleyn’s portrait tells us that she was a wealthy, fashionable woman. Her clothes are at the height of Elizabethan trends and would have been made from the finest materials—clear from the lace fringing on her ruff. As shaming rituals practised across England suggest, reputation was among the most important elements in maintaining a woman’s status. However, it could sometimes be harder to craft, as it was so often linked to a husband or other male relatives. It also walked a tightrope between respectability and showiness or immodesty.

Through this portrait, Joan is able to display her own wealth, taste, authority, marriage and religion – all things that contributed to a good reputation. We can read these status symbols via the material details on display. Joan’s outfit is that of a member of the urban elite, similar to those worn by the wives of London citizens (as distinguished from women of the royal court). The tall hat, large ruff (collar), padded sleeves and strong stance give her a sense of importance. In her right hand, she holds a book, likely a prayer book to signify her religious piety. She wears one glove on her left hand and holds the other. Gloves this fine would not have been worn during activities like manual work or horse riding, they could only be worn by wealthy women who had other people do these tasks for them.

This portrait is dated 1596, four years after Joan’s marriage to wealthy theatre actor, Edward Alleyn. This union was happy and profitable for both Joan and Edward, who became extremely wealthy through his business partnership with his father-in-law, theatre entrepreneur Philip Henslowe. Joan herself undertook many of the London business dealings while her husband was away on theatrical tour.

Object Type Painting
Year 1596
Material Oil on panel
Owned By Dulwich Picture Gallery, DPG444
Keywords portrait; displaying; self-fashioning; wearing; craftsmanship; gender; reputation; credit; performance; visual culture; London; paint; clothing; gloves
Image Credit British School, Joan Alleyn, 1596, oil on panel, 79.1 x 63.2 cm, DPG444. Dulwich Picture Gallery, London.

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