Who painted Arthur Lake, Bishop of Bath and Wells?

Arthur Lake, Bishop of Bath and Wells was painted by Unknown 17th Century in 1650.

Where can I see Arthur Lake, Bishop of Bath and Wells?

Arthur Lake, Bishop of Bath and Wells is held by National Gallery of Art.

What movement is Arthur Lake, Bishop of Bath and Wells?

Arthur Lake, Bishop of Bath and Wells is associated with Baroque.

Artwork

Arthur Lake, Bishop of Bath and Wells

Unknown 17th Century , 1650

Arthur Lake, Bishop of Bath and Wells is an ink print by the Baroque artist Unknown 17th Century. It dates from 1650 and is held in the collection of the National Gallery of Art. The print is an engraving on laid paper depicting Arthur Lake, who served as Bishop of Bath and Wells.

About this work

Overview

Rendered in monochrome, the portrait shows a bearded cleric wearing a high, ruffled collar and holding a folded document.

The print is an engraving on laid paper depicting Arthur Lake, who served as Bishop of Bath and Wells. Rendered in monochrome, the portrait shows a bearded cleric wearing a high, ruffled collar and holding a folded document. His expression is solemn, with pronounced lines around the eyes and mouth, and the composition is framed by ornamental scrollwork and Latin inscriptions that encircle his head like a wreath.

Subject & Meaning

Arthur Lake, a prominent early‑17th‑century English bishop, is presented in a formal, dignified pose that emphasizes his ecclesiastical authority. The folded paper in his hand likely signifies official duties or a written decree, while the surrounding Latin phrases serve to laud his scholarly and pastoral capabilities, reinforcing his status within the church hierarchy.

Technique & Style

The image relies on dense cross‑hatching to model the facial features and the folds of the collar, creating a rich tonal range despite the absence of color. The decorative border employs fine, interlaced scrolls and inscribed text, a common decorative strategy in early modern portrait prints that both frames the sitter and adds a textual layer of praise.

Context

Engravings of high‑ranking clergy were a popular means of disseminating their likenesses and reinforcing their public image in the period before portrait painting became widespread. This work reflects the broader tradition of using print media to circulate images of religious officials, combining visual representation with textual commendation to reach a literate audience.