The Ambassadors & Anamorphosis
The illusion hidden in the middle of an art masterpiece
In 1526 German painter Hans Holbein the Younger went to England in search of work. Eventually he found a client in Anne Boleyn (wife number 2 of Henry the VIII, and mother of Elizabeth I). By 1535 he was the King’s painter, creating portraits and documenting courtly life. It was through this life at court that he came to paint one of his most famous works, the double portrait of French ambassador Jean de Dinteville and French bishop Georges de Selve titled The Ambassadors.
Painted in 1533, The Ambassadors is a meticulously detailed masterpiece of Renaissance art. At the time it was painted, Henry VIII was separating the English Church from the Catholic Church of Rome, and these two ambassadors were most likely trying to resolve this political & religious turmoil. Filled with symbolism and hidden messages, the painting is more than just a double portrait. Between the two men is a table crowded with objects. On the top shelf are instruments to study the skies and on the lower shelf are items associated with the Earth and human activity. The lute with a broken string, the book of mathematics opened to division, and the hymn book are all references to the political & religious discord taking place at the time.
It’s what’s below the bottom shelf that makes this painting especially famous. With the top shelf representing the heavens, the bottom shelf representing life, then what is this thing below that? When viewed head-on it is a long diagonally shaped blob that looks out of place in this very life-like painting. However, when viewed by standing at the edge of the painting’s frame (or tilting your device), through a distortion of space, it is revealed to be a skull. The skull as a reminder of death completes the three levels of the center of the painting with the heavens, life, and finally death. It is also interesting that death exists amongst life but can’t be seen properly. It can only be viewed when you can no longer view the rest of the painting (when you can no longer view life).
The skull at the center of The Ambassadors is one of the most famous examples of anamorphosis. In anamorphosis an image can only be properly seen from a certain point of view, or with the aid of a special device (such as a mirrored cylinder), or sometimes both. It’s an illusion where you start not understanding and then move into understanding. Unlike normal optical illusions or trope l’oeil which can be understood (albeit mind bendingly) at face value, anamorphosis can only be understood when viewed the right way.
It’s a neat optical trick that has been used in various ways for millennia. The technique goes back at least as far as the ancient Greeks, but it really came into being in the Renaissance. Leonardo da Vinci included an early example in the illusion known known as Leonardo’s Eye. It was also used at times with tromp l’oeil to create more elaborate church ceilings. This was the case when Andrea Pozzo painted a “dome” on the ceiling of Saint Ignatius’s in Rome because the church builders were not allowed to construct an actual dome. So if you stand in the right spot the illusion of looking up into a dome is excellent, but from any other angle the illusion breaks down.
Today we find anamorphosis in fun street art. Sidewalks become filled with precarious holes or cliff faces that confuse our sense of space. Artist Jonty Hurwitz creates anamorphic sculptures including a three dimensional version of the skull from Holbein’s The Ambassadors. In practical usage we experience anamorphosis most frequently while driving. Words written in the road are elongated but look correct from the vantage point of a seated driver. Similarly emergency vehicles such as ambulances frequently have words written backwards, but when seen from a driver’s mirror they read correctly.
Added bonus: There is a great video by The National Gallery in London where Deputy Director and Director of Public Engagement Susan Foister discusses The Ambassadors and some of its hidden messages.