^Strong, Roy C. "Elizabethan Painting: An Approach Through Inscriptions, 1: Robert Peake the Elder", The Burlington Magazine, Vol. 105, No. 719 (February 1963), 53–57 (retrieved 12 January 2008).
^In the accounts for Prince Henry's funeral, Robert Peake is called "Mr Peake the elder painter" and William Peake "Mr Peake the younger painter". Edmond, Hilliard & Oliver, 155.
• Peake’s grandson Sir Robert Peake (sometimes wrongly called his son) was knighted by King Charles I during the English Civil War. The Parliamentarians captured him after their siege of Basing House, which was under his command. Walpole, Anecdotes of Painting, 221.
^"There is nothing like them in contemporary European painting". Waterhouse, Painting in Britain, 41.
^"The Key" would have been a sign, identifying Woodham's shop and house, as was usual before street-numbering.
^It was once assumed that Peake was much younger than Hilliard: in 1969, art historian Roy Strong called him Hilliard’s "most important follower among the younger generation" (The English Icon, 19). Edmond, "New Light on Jacobean Painters", 74.
^Weiss (2001 and 2006) judges Peake's earliest attributed works to be the portraits of Arthur, Lord Grey de Wilton, and Humphrey Wingfield, dated 1587, following Strong's English Icon of 1969. The portrait of Anne Knollys attributed to Peake in the Berger Collection at the Denver Art Museum, however, bears Peake's characteristic inscription and is dated 1582.
^Edmond, Hilliard & Oliver, 153. In April 1509, the prince paid £8 for tennis balls, in May £7.10s.0d., and in June £8.14s.0d .
^Letter writer John Chamberlain (1553–1628) recorded: "It was verily thought that the disease was no other than the ordinary ague that had reigned and raged all over England. . . . The extremity of the disease seemed to lie in his head, for remedy whereof they shaved him and applied warm cocks and pigeons newly killed, but with no success". Letter to Dudley Carleton, 12 November 1612. Chamberlain Letters, 67–68.
• Historian Alan Stewart notes that latter-day experts have suggested enteric fever, typhoid fever, or porphyria, but that poison was the most popular explanation at the time. Stewart, Cradle King, 248.
^Edmond, Hilliard & Oliver, 154. The relatively high price for the two pictures of the prince in arms (armour) may have been due to the use of gold or silver on the details.
^The coats-of-arms of the principals shown hanging from branches may reflect knowledge of the work of Lucas Cranach the Elder, who frequently used this motif, and painted portraits of Saxon and Habsburg princes hunting.
^Hearn, Dynasties, 185. It was the custom for royal children to be raised in the homes of noble families. Elizabeth lived with the Harington family at Coombe Abbey, near Coventry. Lord Harington died at Worms in 1613 on his way back from escorting her to Heidelberg with her new husband Frederick V, Elector Palatine. Lady Harington attended Elizabeth at Heidelberg from 1616 almost until her own death in 1618.
^Hearn calls it "a return to the frozen grandeur of mainstream continental court portraiture". Hearn, Dynasties, 188.
^The Latin inscription translates: "Charles, we the Muses, since you deigned to agree to both, have both welcomed you as our guest and painted you in humble duty. Visiting the University in the tenth year of his father's reign over England, on 4 March, he was enrolled in the ranks of the Masters and admitted in this Senate House by Valentine Carey Vice-Chancellor". Hearn, Dynasties, 188.
^For attribution history, see discussion in A Noble Visage: a Catalogue of Early Portraiture 1545–1660, Weiss Gallery, 2001.
^Hearn, Dynasties, 185. The portrait was probably commissioned by Elizabeth's guardian, Lord Harington of Exton, as a pendent to Peake's double portrait of her brother, Prince Henry, with Lord Harington's son John.