page_title: Anthony Roll
section_title: Artistic analysis
hierarchical_section_title: Anthony Roll / Artistic analysis
caption_attribution_description: English: Illustration of the galleass Salamander. Notification about possible deletion Cathsuth (talk) 16:17, 9 February 2017 (UTC) Svenska: Illustration av galeasen Salamander ("Salamandern").
context_page_description: The Anthony Roll is a paper record of ships of the English Tudor navy of the 1540s, named after its creator, Anthony Anthony. It originally consisted of three rolls of vellum, depicting 58 naval vessels along with information on their size, crew, armament, and basic equipment. The rolls were presented to King Henry VIII in 1546, and were kept in the royal library. In 1680 King Charles II gave two of the rolls to Samuel Pepys, who had them cut up and bound as a single volume book, which is now in the Pepys Library at Magdalene College, Cambridge. The third roll remained in the royal collection until it was given by King William IV to his daughter Lady Mary Fox, who sold it to the British Museum in 1858; it is now owned by the British Library.
  The Anthony Roll is the only known fully illustrated inventory of ships of the English navy in the Tudor period. As the work of a successful state official in 16th century England, the artistic value of the Anthony Roll has been described as being characterised by "naive draughtsmanship and conformity to a pattern" though its artistic aspects display "a decent amateur grasp of form and colour".
context_section_description: Anthony Anthony was not a trained, professional artist. The illustrations are described as "striking and boldly executed, but [...] have few claims to be fine works of art". The vessels are for the most part painted according to a standard formula, with distinct repetitions even in the more elaborate depictions. Anthony's style is signified by a "naive draughtsmanship and conformity to a pattern [...] consistent with the abilities of a government official with a decent amateur grasp of form and colour".
  The rolls were all of roughly the same length, about 15 feet (4.6 m), and would most likely have been presented side by side for display on a table or hung on a wall. The focal point of the whole composition is in the second, middle roll where the exceptionally well-executed painting of the Galley Subtle is placed. That this ship was intended to be the centrepiece illustration is made clear by the presence of the pinnace Mary James in the first roll, which is otherwise reserved for (sailing) ships. This appears to have originally been placed at the beginning of the third roll, among the other pinnaces and rowbarges, but was moved to achieve more equal lengths. In his pursuit of living up to the image of a Renaissance prince Henry is known to have been particularly fond of galleys, something which would have been known to Anthony.
  The lettering, framing lines and floral pattern decorations are painted in red or black with the exception of the first three ships of the first roll, which also feature gold. Most of the illustrations were first sketched with plummet outlines and were then painted over in washes. Ship timbers are a light brown that are shaded in the bow and stern to achieve depth, decorations and anchors are highlighted with red, and green is used for guns. Contours are in black and the sea is in shades varying from "greyish green" to "a richer blue".
  The first two rolls were done with roughly the same amount of detail while the lesser rowbarges (essentially small galleys) were done more hastily. The first two ships of the first roll, the Henry Grace à Dieu and the Mary Rose, have traces of a grid pattern, indicating that they were transferred from a different drawing while the rest are done in freehand. Overall, the ships follow a formula depending on the type of ship. The exceptions are stern galleries of some of the galleasses and the figureheads of the Mary Rose, Salamander and the Unicorn, the latter both captured from the Scots in 1544. The prominent exception is the Galley Subtle placed in the middle of the second roll. It is more consistent in type with Mediterranean-type galleys than the galleasses and small rowbarges, and features a considerable amount of detail not present in the other ships. It is the only ship where any crew is visible, in this case rowers behind pavisades as protection from enemy arrows and an overseer wearing "a bonnet, full skirted armorial doublet and baggy breeches" holding a stick or baton, as if beating the time of the strokes of the rowers.
caption: The Salamander, a galleass captured from the Scots and one of only three ships in the Anthony Roll which has an identifiable figurehead.
exif: {"Image Orientation": "Horizontal (normal)", "Image XResolution": "236", "Image YResolution": "236", "Image ResolutionUnit": "Pixels/Centimeter", "Image Software": "Adobe Photoshop Elements 2.0", "Image DateTime": "2009:07:29 13:45:42", "Image ExifOffset": "164", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "72", "Thumbnail YResolution": "72", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "302", "Thumbnail JPEGInterchangeFormatLength": "12560", "EXIF ColorSpace": "Uncalibrated", "EXIF ExifImageWidth": "4013", "EXIF ExifImageLength": "2829"}