Portrait of James Butler, 1st Duke of Ormond (1610-1688) c. 17th century

Editor: So, this is Thomas Flatman’s “Portrait of James Butler, 1st Duke of Ormond,” from the 17th century. It’s an oil painting, but such a small, precious thing. I’m struck by the almost unsettling intimacy – like a secret glimpse into the past. What stories do you see in this portrait? Curator: Ah, yes, unsettling intimacy, precisely! Miniatures such as this were meant to be held close, touched, kept secret, almost like relics. This is not just a portrait, but a carefully constructed icon, meant to transmit very specific cultural messages about status and power, and maybe even function as a love token. Consider the Duke’s elaborate wig and lace collar – symbols of aristocratic identity that also resonate with a broader history of colonialism and trade. Editor: Colonialism? I hadn't considered that. Curator: Indeed! Lace at this time was an exquisite status symbol deeply entwined with colonial economies. And that background glimpse of land? Perhaps suggesting estates, dominion. Even the gold frame and its loop whisper of wealth and preciousness. Editor: It’s amazing how much is packed into something so small. The miniature becomes this potent little object, representing more than just a likeness. Curator: Precisely. Look at the face – there's an attempt to convey power, but there's also something else...a weariness perhaps? Or a carefully cultivated pose? This tension itself is revealing of the complexities of identity at the time. A sort of visual negotiation of who the subject is, and wants to be seen as. Editor: It does feel very staged, now that you mention it. This has definitely changed how I see the portrait – it's more of a loaded object now. Curator: Wonderful! It's a conversation starter with history! Editor: I’ll never look at lace the same way again.