The mystique of airbrushing and digital enhancements might seem exclusive to the modern era, yet the recent conservation of a 17th-century portrait uncovers the age-old practice of retouching images.
English Heritage, custodians of over 400 historic sites in England, has unearthed modifications made to a portrait that dates back nearly four centuries, revealing attempts to “enhance” the appearance of the subject.
After meticulous hours of work, conservators have unveiled the authentic visage of Diana Cecil, a noblewoman whose portrait underwent subtle alterations.
Cecil (1596–1654) hailed from a powerful lineage connected to William Cecil, Lord Burghley, a close confidant and advisor to Queen Elizabeth I, holding significant influence in the Jacobean court.
Described by English Heritage as “one of the great beauties of the age,” the full-length painting had undergone discreet cosmetic changes since its creation in the 17th century.
Manipulations to Cecil’s lips and hairline, suggesting a smaller forehead, were discovered upon closer examination by conservators. The painting, slated for display at London’s Kenwood House starting November 30, had experienced notable damage due to being rolled widthways, prompting alterations believed to have occurred in the late 19th or early 20th century.
The comprehensive restoration not only reinstated Cecil’s original facial features but also removed aged layers of varnish, exposing an unexpected detail: hidden within the curtain was the signature of artist Cornelius Johnson, dating back to 1634, four years earlier than previously believed.
Expressing surprise at the alterations, Alice Tate-Harte, a collections conservator at English Heritage, remarked, “While the original reason for overpainting could have been to cover damage from the portrait being rolled, the restorer certainly added their own preferences to ‘sweeten’ her face. I hope I’ve done Diana justice by removing those additions and presenting her natural face to the world.”
The restored portrait is set for exhibition alongside a portrait of Cecil’s husband, Thomas Bruce, the 1st Earl of Elgin.
