While contemporaries praised the monarchy in terms of likeness, Renaissance portraiture was more than a simple recording of characteristics. It can be argued that the depiction of wealth, symbols of power and badges of ancestry are not art for art's sake; but rather art for the sake of power and dynasty. However, this scrutiny of the current dynasty is often somewhat inappropriate and impossible, best recognized in describing the two-year-old Edward VI as a symbol of sexual fluidity. Both the Tudor and Stuart courts used their dynastic branding to enhance their individual image, but this somewhat diluted the importance of collective representation. Nowhere is this more evident than in the image of Elizabeth at the Tudor court, where she rejects the appearance of fecundity to celebrate her celibate monarchical identity. However, his image remains one of the most recognized by the modern population. It should therefore be considered that, although the dynasty is represented in the Tudor and Stuart courts, the importance of this representation is not always at the forefront of success. The multifaceted reality of the imagery of both houses is that they always rely on the success and memory of the previous reign. Although in retrospect there is a more harmonious dynastic government with the Stuart monarchs, their imagery is often the subject of great contestation. Therefore it is questionable whether the importance of the dynasty acted favorably for both courts or was interrupted with the complicity of socio-political factors. Although Henry VII founded the Tudor dynasty; the real focus of the instigation of dynastic representation is with Henry VIII. Kevin Sharpe goes on to say that although he created one of the greatest historical monarchs - Henr...... middle of paper ......sh Library Journal, 8: 1-16.• Smith, David. 2005. “Portrait and Counter-Portrait in Holbein's “Family of Sir Thomas More.” The Art Bulletin, 87: 484-506. • Ferguson, Margaret., Quilligan, Maureen., and Vickers, Nancy. 1986. Rewriting the Renaissance: the discourses on sexual difference in early modern Europe, (Chicago; London: University of Chicago Press).• Margaret, Aston 1995. The King's Bedpost: Reform and Iconography in a Portrait of the Tudor Group, (Cambridge, Cambridge University Press).• Smuts, Malcoil. (1996). The Stuart court and Europe: essays in politics and political culture, (Cambridge, Cambridge University Press).• Montrose, Louis. imagine the queen's two bodies" in The Queen's Body: Gender and Government in the Courtly World, 1500-2000, edited by Schulte, Regina. (New York, Bergahn Books) : 61-87.