Henry Wriothesley, Southampton earl John de Critz (1555-1641)

The portrait presents a man in formal attire, positioned against a backdrop that suggests both domesticity and intellectual pursuits. He is depicted from the waist up, his gaze directed towards the viewer with a composed expression. The lighting emphasizes his face and hands, drawing attention to these features as indicators of character and status.
He wears a dark, voluminous coat lined with fur, indicative of wealth and social standing. A high, stiff collar frames his neck, characteristic of the period’s fashion. His hair is long, falling in waves around his shoulders, styled in a manner common among men of influence. The hands are meticulously rendered; one rests gently on a padded glove, while the other is extended slightly forward, as if offering a gesture of greeting or perhaps presenting himself for inspection.
A black cat sits perched upon a table beside him, its white markings sharply contrasting against its dark fur. This inclusion is significant; cats were often associated with domesticity and sometimes with esoteric symbolism in the 17th century. The presence of the animal might suggest an interest in learning or a connection to the occult, though this remains speculative.
On the table, alongside the cat, rests a closed book adorned with what appears to be a heraldic emblem. This detail reinforces the sitter’s association with nobility and lineage. A framed inscription is visible on the wall behind him; its Latin text, In Victores Invicto, followed by dates, likely commemorates a victory or significant event. The cityscape glimpsed through a window further contextualizes his position within a broader social and political landscape.
The overall impression conveyed is one of controlled power and cultivated refinement. The careful arrangement of objects – the cat, the book, the glove – and the deliberate pose suggest an individual conscious of his image and eager to project an aura of authority and intellectual depth. The composition aims not merely at a likeness but also at constructing a narrative about the sitter’s identity and place within society.