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Painted frieze of the Bodleian Library
The painted frieze at the Bodleian Library, in Oxford, United Kingdom, is a series of 202 portrait heads in what is now the Upper Reading Room. It was made in 1619, and the choice of worthies to include was advanced for its time, featuring Copernicus and Paracelsus as well as Protestant reformers.〔Christopher Hill, ''Intellectual Origins of the English Revolution'' (1980), pp. 24–5.〕 The portraits have been attributed to the London guild painter Thomas Knight; they were taken from at least ten different sources, according to current views.〔M. R. A. Bullard, ''Talking Heads: The Bodleian Frieze, its Inspiration, Sources, Designer and Significance'', Bodleian Library Record, xix/6 (April 1994), pp. 461-500〕
The frieze was painted directly onto stonework (rather than by fresco technique), and its condition deteriorated despite restoration in the 18th century. It was plastered over in 1830, and rediscovered in 1949.〔
==Background==
What is now the Upper Reading Room, on the top storey of the Library, was referred to by contemporaries as the "gallery". It has been suggested therefore that the initial conception was similar to a long gallery.〔Nicholas Tyacke, ''Seventeenth-century Oxford'' (1997), p. 152; (Google Books ).〕 Nowell Myres pointed out in one of his articles on the frieze that such instructive decoration by portraits in a library or museum was well known from the Giovio Series.〔E. Hulshoff Pol, ''The First Century of Leiden University Library'' (1975), p. 416; (Google Books ).〕 Precedents from England of the 16th century were portrait series of bishops of Chichester, and founders of Peterhouse, Cambridge.〔Robert Tittler, ''Portraits, Painters, and Publics in Provincial England, 1540-1640'' (2012), p. 35; ( Google Books ).〕 Earlier precedents included portrait series of various groups such as, above all, saints, the Ancestors of Christ in a Tree of Jesse or other arrangement, or the Kings of France sculpted on the facade of Notre Dame. The Nine Worthies usually appeared in secular contexts. The Nine Worthies of London, proposed in 1592, cannot be said to have caught on. Later British examples include the Frieze of Parnassus (1864-72) at the base of the Albert Memorial in London, and the painted processional frieze of famous Scots in the entrance hall of the Scottish National Portrait Gallery (1898).
Portrait collections in books (the book of icones) became one of the recognised genres of collecting and collation for Renaissance humanists, along with the emblem book and album amicorum.〔(''Alciato's Emblems and the Album Amicorum'' )〕 The literary tradition of ''de viris illustribus'' found in this way its visual expression, typically known by the Italian term ''uomini illustri''. The Bodleian heads, as in other places, served to join knowledge of the Christian and classical traditions.〔 Mark Hengerer (editor), ''Macht und Memoria: Begräbniskultur europäischer Oberschichten in der Frühen Neuzeit'' (2005), p. 75; (Google Books ).〕
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