10 Surprising Facts About the Spanish Armada

On May 28, 1588, the Spanish Armada set sail from Lisbon, Portugal, headed for England with 130 ships and 30,000 men.

Meaning literally “Great and Most Fortunate Navy”, the Spanish Armada’s strategic goal was to overthrow Queen Elizabeth I and put an end to Protestantism in England.

In so doing, Spain also hoped to stop English and Dutch privateering in the Spanish Netherlands.

Here’s our list of 10 surprising facts about the Spanish Armada.

1. The English fleet significantly outnumbered the Spanish Armada

It might be surprising to discover that the English had a lot more ships—200 ships to the 130 of the Spanish. But the Spanish threat lay in their firepower, which was 50% greater than the English.

English ships and the Spanish Armada, August 1588
English ships and the Spanish Armada, August 1588

2. No Spanish ships were lost to the English fire ships

Waiting for additional troops from the Duke of Parma’s army to join the invasion, the Spanish fleet lay at anchor off the Coast of Calais in northern France.

In a surprise attack, the English sent eight fire ships downwind into the closely anchored Spanish vessels.

Although no Spanish ships were actually lost to fire, it caused them to scatter and break their defensive “crescent formation”, allowing the English to attack.

The Spanish Armada Driven out of Calais by Fire by Richard Brydges Beechey
The Spanish Armada Driven out of Calais by Fire by Richard Brydges Beechey

3. The Spanish had to “cut and run” to save their fleet

Many of the Spanish ships had to “cut and run” to escape the English fire ships at Calais. Meaning to make a cowardly retreat, the phrase “cut and run” that we use today originates from the navy and in literal terms means to cut the anchor line and sail downwind, leaving the anchor behind.

The Spanish Armada off the English coast, by Cornelis Claesz van Wieringen
The Spanish Armada off the English coast, by Cornelis Claesz van Wieringen

4. The Battle of Gravelines changed the future of naval warfare

After the Spanish ships had scattered, the Duke of Medina Sidonia, commanding the Armada tried to regroup at a small port between Calais and Dunkirk called Gravelines in what is now Northern France.

The English had observed the Spanish tactics of firing guns once and then for the marines onboard to jump to the rigging to prepare for boarding the enemy ships. Knowing this, the English ships provoked Spanish fire while staying out of range, then moved in for the kill with repeated broadsides at close range.

In this scenario, many experienced Spanish gunners were killed, but the regular marines did not know how to operate the big guns effectively.

Up until this time, gunnery had played a supporting role to ramming and boarding in naval battles. The English tactic of standing off and firing decisive broadsides proved the more effective and would see England’s Royal Navy become the dominant military force for the next 300 years.

"Ramming and boarding" tactic of naval warfare
“Ramming and boarding” tactic of naval warfare

5. The Gulf Stream played a big part in the fate of the Armada

When the Armada had sailed around Scotland in 1588 and entered the North Atlantic, they thought they were sailing west into the safety of the open seas. But the strong Gulf Stream ocean current pushed the ships northeast.

This meant that when they turned to sail south, they were too close to the shore and were driven onto the rocks off the coast of Ireland in strong westerly winds, becoming shipwrecked. Without their anchors, they were unable to secure a position and wait out the stormy weather.

Storm in the Sea by Peter Mulier II
Storm in the Sea by Peter Mulier II

6. The “Little Ice Age” may have helped doom the Spanish fleet

The year of the Spanish Armada in 1588 was marked by unusually strong North Atlantic storms, a characteristic of the “Little Ice Age” which was a period of cooling in the northern hemisphere causing unusually bad weather. As a result, the cold and stormy weather caused significantly more loss of life than did direct combat.

Galleass Girona. Credit Notafly
Galleass Girona. Credit Notafly

7. Of the 130 Spanish ships sent against England, only 67 survived the attack

The literal meaning of Spanish Armada is “great and most fortunate navy”. But of the 130 ships and some 30,000 men setting sail from Spain, only 67 ships and 10,000 men survived to tell the tale. An enraged Philip II of Spain declared,

“I sent the Armada against men, not God’s winds and waves.”

The mighty display of the Spanish armada in 1588 by Jan Luyken.
The mighty display of the Spanish armada in 1588 by Jan Luyken.

8. The English launched a counter Armada which also failed

María Pita, was a Galician heroine in the defense of Corunna, northern Spain, against the English Counter Armada in 1589.
María Pita, was a Galician heroine in the defense of Corunna, northern Spain, against the English Counter Armada in 1589.

A fleet of warships was sent to Spain by Queen Elizabeth I in 1589 to try to capitalize on the advantage England had after the loss of the Spanish Armada. The campaign resulted in the defeat of the English fleet with heavy loss of lives and ships. The Spanish victory once again gave Philip II’s navy the upper hand against England, with Spain ruling the waves for another decade.

When English forces attacked the city of Corunna as part of the English counter Armada in May 1589, Maria Pita was helping her husband defend the city walls. A crossbow bolt hit her husband in the head, killing him. Maria grabbed a spear and killed an English soldier scaling the wall. She appeared on the heights of the wall shouting: Quen teña honra, que me siga (“Whoever has honor, follow me!”), rallying the Spanish troops and driving back the English.

9. A 12th-century Abbey’s barn held 397 Spanish sailors prisoner

Torre Abbey’s barn was originally built to store grain, hay and other farm produce as payment of taxes to the Abbey. But in 1588, the barn in Torquay, Devon, served another purpose. It held 397 Spanish prisoners captured by Sir Francis Drake, for fourteen days and became known as the “Spanish barn”.

Having been dissolved by Henry VIII some 50 years earlier, the Abbey church was ruined but several major outbuildings were left intact.

Today, it is the best preserved medieval monastery in Devon and Cornwall.

Resulting from an extensive remodeling in the 18th century, a Georgian manor house occupies part of the site and houses a permanent art exhibition.

Torre Abbey, Devon, England
Torre Abbey, Devon, England

10. The English Victory was acclaimed as the greatest since Agincourt

“He came, he saw, he fled.”

Used by the English as a play on the words of Julius Caesar to refer to a swift, conclusive victory, the Armada had been anything but conclusive for Spain.

But this was one of England’s greatest moments.

Spain would send two further armadas against England in 1596 and 1597, and both would be scattered by storms and fail.

Britain would face the real danger from invasion again during both the Napoleonic Wars and the Second World War.

During the Spanish Armada, Britain proved that superior naval tactics, coupled with the British weather are an invincible combination!

"My ass in a bandbox". British cartoon mocking Napoléon's invasion plans against England
“My ass in a bandbox”. British cartoon mocking Napoléon’s invasion plans against England

20 Eligible Bachelors — vote for Your 16th Century “Renaissance Man”

Imagine we’ve traveled back in time to the 16th century.

This was a time called the Renaissance, covering roughly 1400-1600, a time scholars consider the birth of the “modern age”.

“Renaissance” means “rebirth”, derived from the Old French word “renaistre”—to be born again. People took an interest in Greek philosophy, art, and science—a “rebirth” of ancient learning.

The Renaissance was filled with famous artists, writers and philosophers. Many people studied science and mathematics.

Leonardo Da Vinci was a painter, a scientist, a musician and a philosopher. He was called a “Renaissance man” because he was knowledgeable and skilled in many areas.

Our 20 Renaissance Men might not be quite as gifted as DaVinci, but they range from kings, earls, and counts to warriors, scholars, and artists.

Vote for your favorite 16th century “renaissance man”.





Gloriana!—the Many Faces of Elizabeth I

Portraiture played an important role in the Elizabethan era. Queen Elizabeth’s portraits conveyed the regal image of a powerful monarch—the steadfast, ageless force behind England.

Queen Elizabeth I of England in her coronation robes, patterned with Tudor roses and trimmed with ermine. She wears her hair loose, as traditional for the coronation of a queen, perhaps also as a symbol of virginity.

Owning paintings of the Queen was viewed as a status symbol. Robert Dudley, Earl of Leicester, displayed over 50 paintings at his Castle in Kenilworth, Warwickshire—a bold reminder to guests that he was the man closest to the Queen.

Although Elizabethan artists drew inspiration from the European Renaissance, it was Elizabeth herself who was the national preoccupation. Invoking her image in paintings and literature had the effect of elevating them to a higher level.

Procession Portrait of Elizabeth. Queen Elizabeth I of England preceded by the Knights of the Garter.
Procession Portrait of Elizabeth. Queen Elizabeth I of England preceded by the Knights of the Garter.

Today, we like to think of art as an expression of feelings and beliefs. But in Elizabethan England, flattery was the order of the day—a time when most artists needed wealthy sponsors to survive.

It was the patriotic duty of artists to glorify their queen. Gloriana!

Join us as we marvel at paintings from Queen Elizabeth’s life and discuss some of the symbolism used to project an image of purity, virginity, and majesty.

The Lady Elizabeth in about 1546, by an unknown artist.
The Lady Elizabeth in about 1546, by an unknown artist.
The 'Hampden' portrait, by Steven van der Meulen, ca. 1563.
The ‘Hampden’ portrait, by Steven van der Meulen, ca. 1563.

The ‘Hampden portrait’ (above) is the earliest full-length portrait of the queen, made before the emergence of symbolic portraits representing the iconography of the “Virgin Queen”.

Elizabeth I by Hans Eworth, c. 1570. Current location: Denver Art Museum.
Elizabeth I by Hans Eworth, c. 1570. Current location: Denver Art Museum.
The Pelican Portrait by Nicholas Hilliard, c.1573. The pelican was thought to wound her breast to nourish her young, and became a symbol of Passion and Eucharist, adopted by Elizabeth portraying herself as the
The ‘Pelican Portrait’ by Nicholas Hilliard, c.1575.
The 'Phoenix Portrait', attributed to Nicholas Hilliard, c. 1575
The ‘Phoenix Portrait’, attributed to Nicholas Hilliard, c. 1575

The ‘Pelican’ and ‘Phoenix’ portraits (above) were named after the beautiful pendants worn by the queen (shown just above her hand in each painting).

Pelican (left) and Phoenix pendants
Pelican (left) and Phoenix pendants

The Pelican jewel denotes self-sacrifice since a pelican was thought to draw blood from its own breast to feed its young. It represents Elizabeth’s role as mother to the nation and of the Church of England.

The Phoenix is a mythical bird symbolizing rebirth and chastity—an emblem of virginity, carrying the hope that she would be able to continue the dynasty. Elizabeth holds a red rose—the symbol of the House of Tudor.

Portrait of Elizabeth I of England by George Gower, 1580s
Portrait of Elizabeth I of England by George Gower, 1580s
The
The “Darnley Portrait” of Elizabeth I of England, c1575.

The Darnley Portrait (above) features symbols of sovereignty—a crown and sceptre—used as props instead of being worn or carried. This Tudor theme would be expanded upon in later portraiture.

Named after a previous owner, it is the source of the face pattern called “The Mask of Youth” which would be used for authorized portraits of Elizabeth for decades to come. The faded oranges and browns would have been crimson red in Elizabeth’s time.

The Siena Sieve Portrait of Queen Elizabeth I by Quentin Metsys the Younger, 1583
The Siena ‘Sieve Portrait’ of Queen Elizabeth I by Quentin Metsys the Younger, 1583

The ‘Sieve Portrait’ (above) depicts Elizabeth as Tuccia, a Vestal Virgin who carried a sieve full of water from the Tiber to the Temple of Vesta to prove her chastity.

Around her are symbols of imperial power, including a column with the crown of the Holy Roman Empire at its base and a globe showing ships sailing west in search of the New World.

The Ermine Portrait of Elizabeth I of England by William Segar, 1585.
The ‘Ermine Portrait’ of Elizabeth I of England by William Segar, 1585.

The Ermine Portrait (above) symbolizes purity and status. Legend has it that the ermine (of the stoat or weasel family) would rather die than soil its pure white coat—prized as a status symbol that only royalty and nobility could afford to wear. The olive branch and the sword of justice represent the righteousness and justice of Elizabeth’s government.

Portrait of Elizabeth I of England, the Armada Portrait by an anonymous artist
Portrait of Elizabeth I of England, the Armada Portrait by an anonymous artist.

One of three versions of the same portrait, the Woburn Abbey version (above) is unusual in its landscape format. It depicts England’s victory over the Spanish Armada in the background.

Elizabeth has her back against the storm and darkness of the past, and her hand rests over the New World, signifying England’s expansionist plans for the future.

Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the Younger, 1592.
Queen Elizabeth I (‘The Ditchley portrait’) by Marcus Gheeraerts the Younger, 1592.

The Ditchley Portrait (above) was commissioned by Sir Henry Lee (1533 – 1611), of Ditchley, Oxfordshire, who was Queen’s Champion and Master of the Armoury.

After his wife died, Lee lived openly with one of the Queen’s Ladies in Waiting. Needless to say, the queen did not approve. But on a visit to his home in Ditchley, she forgave him—for becoming a “stranger lady’s thrall”.

The portrait is the largest and grandest ever painted of the queen. The symbolism shows just how eager Sir Henry must have been to show his loyalty and subservience.

Elizabeth stands on a globe directly over Oxfordshire as the sun (symbol of the monarch) shines through a stormy sky. The Latin inscriptions say: “she gives and does not expect”; “she can but does not take revenge”, and “in giving back she increases”.

The 'Hardwick Hall' portrait of Elizabeth I of England by Nicholas Hilliard, c.1599.
The ‘Hardwick Hall’ portrait of Elizabeth I of England by Nicholas Hilliard, c.1599.

The ‘Hardwick portrait” (above) is all about the dress—typical of extravagant and sometimes outlandish late-Elizabethan embroidery depicting an eclectic mix of motifs from nature. Roses, irises and pansies intermix with insects, animals and fish. The lace ruff alone is a masterpiece.

It is thought that the dress was a New Year’s Day gift to the Queen from Bess of Hardwick—one of the most influential of Elizabeth’s courtiers who became England’s most powerful woman after the Queen died.

The Rainbow Portrait of Queen Elizabeth I, c1601.
The ‘Rainbow Portrait’ of Queen Elizabeth I, c1602.

The ‘Rainbow portrait’ (above) was painted near the end of Elizabeth’s life—she was in her late sixties. It represents an ageless queen and is full of allegorical symbols. The cloak with eyes, ears and mouths has been given many interpretations by historians and is a fitting symbol to end our journey with.

During her reign of 44 years, English drama flourished through the likes of Shakespeare and Marlowe, the age of discovery was opening up the world through the likes of Sir Francis Drake.

The eyes of the world were upon Elizabeth; people listened to Elizabeth, and people spoke of her the world over.

Elizabeth carries a rainbow, next to which are the words non sine sol iris—”no rainbow without the sun”.

Gloriana!