The print depiction of King William III’s masculinity

Abstract

Famous for his work on military subjects, Jan Wyck's use of symbolism and imagery in his portrait William III at the Battle of the Boyne (c.1690-1695) connotes overt messages about the recently crowned king's qualities. The portrait (Figure 1) depicts William III flourishing his sword while riding a white horse as the battle ensues around him. In the background, the clouds and smoke are just beginning to part as cavalry charge down the hill. The blue sash of the Order of the Garter, the highest order of chivalry in England, can be seen across his chest. Wyck presents William as a brave, hardy, and heroic British commander. His calm expression astride the rearing white horse (a common trope for heroic princes and chivalric knights) suggests a natural authority and ease. Portraits such as this depicting scenes of William's military glory and feats of arms presented William as an overtly masculine military hero. It celebrates the masculine qualities that his military prowess conveyed. Even more accessible depictions of William's character came in the form of the burgeoning medium of print. As much a function of easily applicable norms as a reflection of actual agency, Williamite writers, usually Whigs, deliberately fashioned him as England's Protestant warrior-king and a constitutional monarch. 1 Investigating the importance of public image and its connection to monarchical power in his seminal text,