W Roberts 18 King's ave 
 Clapham Pajk 
 
 LONDON S W 
 
Mx B. A. 
 
aechtEOLogical institute 
 
 OF GREAT BRITAIN AND IRELAND. 
 
 OLD LONDON. 
 
 PAPERS READ AT THE LONDON CONGRESS, 
 JULY, 1866. 
 
 LONDON : 
 
 JOHN MURRAY, ALBEMARLE STREET. 
 1867. 
 
LONDON : 
 
 BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIAES. 
 
CONTENTS. 
 
 PRELIMINARY ADDRESS. By A. J. B. Beeesford-Hope, M.P. v 
 
 ARCHEOLOGY IN ITS RELIGIOUS ASPECT. By Dean 
 
 Stanley . . . . \ 1 
 
 SOME PARTICULARS CONCERNING THE MILITARY ARCHI- 
 TECTURE OF THE TOWErIoF LONDON. By G. T. Clark 13 
 
 THE CHAPTER-HOUSE OF 'WESTMINSTER. By George 
 
 Gilbert Scott, R.A. 
 
 ON THE SCULPTURE IN ESTMINSTER ABBEY. By 
 
 Professor Westmacott, R.A. F.R.S 159 
 
 WESTMINSTER HALL. By Edward Foss, F.S.A. . . .219 
 
 PUBLIC RECORD OFFICE. By^ Joseph Burtt . . . . 241 
 
 LONDON AND HER ELECTION OF STEPHEN. By Rev. J. R. 
 
 Green .... ■ / ^ 261 
 
 ROYAL PICTURE GALLERIES. By George Scharf, F.S.A. 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/oldlondonpapersrOOroya 
 
VI. 
 
 EOYAL PICTUEE GALLEEIES. 
 
 By GEORGE SCHAEP, P.S.A. 
 
 SECRETARY AND KEEPER TO THE NATIONAL PORTRAIT GALLERY. 
 
 Notwithstanding the many removals, conceal- 
 ments, and occasional dispersions that have befallen 
 the royal pictures, we find that those still remaining 
 to us, of British historical interest, are much more 
 numerous, and in a far better state of preservation, than 
 might have been expected after the lapse of so long a 
 time, and such frequent dangers ; to say nothing of 
 occasional neglect. 
 
 As belonging to the earlier periods, we look in vain 
 for the existence of movable pictures painted on a 
 large scale. During; the Saxon or Anglo-Norman Earliest 
 
 ^ . . . Royal 
 
 period of our history, the portraits of reigning mo- portraits, 
 narchs were principally to be found associated with 
 the representation of personages of ecclesiastical or 
 legendary history. They might chiefly be met with 
 under the semblance of such characters as Pharaoh, 
 David, Solomon, Hezekiah, and Herod. Most of these 
 paintings were large mural decorations, executed in 
 fresco or tempera colours upon the walls themselves. 
 The same figures and compositions, on a reduced scale, 
 are constantly to be met with on the pages of the 
 more costly illuminated manuscripts. Perhaps the 
 
282 
 
 HISTOEY OF OLD LONDON. 
 
 Durham earliest and most characteristic example of genuine 
 
 Cathedral. ^ ^ ... 
 
 A.D. 1190. and abstract portraiture in fresco painting is tlie life- 
 sized, although much damaged, portrait of Eichard I. 
 standing on the side wall of a niche, facing the figure 
 of Bishop Pudsey, in the Galilee of Durham Cathedral. 
 
 Henry III. Hcury III., that liberal patron of art, employed 
 both foreign and native artists in the decoration of his 
 palaces with scriptural histories ; and in the year 1245 
 we read of a London artist, Edward de Westminster, 
 son of Odo the goldsmith, being commissioned to paint 
 in St. Stephen's Chapel a beautiful figure of the Blessed 
 Virgin on one side, and the king and queen on the 
 wall opposite. 
 
 Westmin- William, a monk of Westminster, who served also 
 ings.^'^^^* as chief of the painters at Windsor Castle, executed 
 an allegorical picture under the king's direction at 
 Westminster, in 1256, in the royal lavatory, which 
 represented the king being rescued by his dogs from 
 the seditions and mischiefs plotted against him by his 
 subjects. 
 
 Portrait at Only oue fragmentary example in colours now re- 
 1270. ' mains of the regal portraiture of this period. It is to 
 be seen on the south wall of the deanery cloisters at 
 Windsor. Little, however, now exists, beyond the 
 crowned head, with blue-shaded waving hair and 
 staring eyes. But the drawing is bold, and the 
 general appearance of the face coincides with the 
 beautiful bronze effigy of the monarch, so well pre- 
 served in Westminster Abbey, and still more closely 
 corresponds with certain regal figures in some of the 
 manuscripts in the British Museum of the same period. 
 
ST. STEPHEN^S CHAPEL, WESTMINSTEE. 283 
 
 But it is not my intention to dwell here upon the 
 history of art in this country. I have only ventured 
 to adduce these examples for the purpose of showing 
 what kind of employment our figure-painters met 
 with in those days, and to observe that abstract 
 portraiture, of historic personages, was scarcely ever 
 thought of for its own sake — excepting on coins, 
 seals, and monumental effigies — before the fifteenth 
 century. 
 
 I must not, however, omit to mention one very St. ste- 
 
 J)llGll's 
 
 remarkable instance which existed till recently, in St. chapei. 
 Stephen's Chapel at Westminster, of a series of royal 
 portraits, displaying the entire family of King Edward 
 III., painted on the east wall. They were represented 
 kneeling, in two distinct groups, one on each side of 
 the high altar. The King and his sons on the north 
 side, and the Queen with her daughters on the south. 
 And there is every reason to suppose that they were 
 done from the life. They were probably the work of 
 the best painter belonging to the royal establishment, 
 and were certainly executed with the richest colours, 
 an exquisite finish, and heightened with a profusion 
 of the finest leaf-gold and silver. After the time when 
 the chapel had been transferred to the service of Par- 
 liament, and the walls were concealed by woodwork, 
 plaster, and tapestry, the very existence of these 
 paintings seems to have been forgotten ; and it was 
 only on the occasion of enlarging the House of Com- 
 mons for the accommodation of the Irish Members in 
 1800 that these valuable relics were discovered. 
 
 On the 12th of August, 1800, these ancient paint- 
 
284 
 
 HISTOEY OF OLD LONDON. 
 
 ings were once more exposed to the light.'''' But the 
 haste with which the carpenters' work had to be 
 carried on, in order to secure completion for the 
 opening of Parliament, prevented a satisfactory exa- 
 mination or even removal of any of the more important 
 portions ; and they were speedily covered over and 
 closed up again. A few careful tracings and elaborate 
 copies in water-colours had been taken from them ; 
 but only in part, and unfortunately very hurriedly. 
 The calamitous fire which broke out and consumed 
 the Houses of Parliament in 1834 entirely destroyed 
 these valuable works of art. It is, however, a fortu- 
 nate circumstance that carefully-studied transcripts 
 were secured from the paintings at the east end 
 of the chapel at this juncture. Elaborate copies of 
 them, in colours, with complete facsimiles of the 
 original gilding and silvering upon the armour and 
 metal ornaments, were commenced by Mr. Smirke 
 for the Society of Antiquaries, which, together with 
 his original tracings, are still preserved in the Society's 
 apartments at Somerset House. Mr. J. T. Smith also, 
 in his " Antiquities of Westminster," '''' published many 
 valuable sketches and records of these same paintings. 
 His observations also, made on the spot, at the same 
 time, afford valuable corrections, and a supplement to 
 Mr. Smirke's laborious undertaking. 
 
 Advancing to the next reign, we recognise two 
 
 * See Smith's Antiquities of Westminster," pages vi. and viii. of 
 the Preface. Outlines from Mr. Smirke's drawings were published in 
 a folio volume by the Society of Antiquaries, with illustrative text by 
 Sir Henry Englefield. The engravings were published iu 1805. 
 
EOYAL POETEAITS IN ST. STEPHEN'S CHAPEL. 285 
 
 specially interesting examples of regal portraiture. ^^f^^^^^^J- 
 
 Both represent King Eicliard II., in royal robes and in 
 
 full state. The one, a small highly-finished miniature, 
 
 in profile, hereafter to be described,'"'' and now preserved 
 
 at Wilton House ; the other, an almost colossal figure 
 
 of the king on his throne, which has in recent years 
 
 been deposited in the Jerusalem Chamber, Westmin- a.d. 1390. 
 
 ster.f Its original position was in the choir of the 
 
 Abbey; and we may now hope that, since the pure 
 
 and genuine picture has been recovered from beneath 
 
 repeated coatings, not merely of dirt, but of dense 
 
 layers of false painting, the portrait may once more 
 
 be restored to the place for which it appears to have 
 
 been intended. 
 
 The earliest documentary record we possess of the Hen.viii. 
 
 1509-47. 
 
 royal pictures, as a collection, belongs to the period of 
 Henry YIIL, and is to be met with in a catalogue or 
 inventory of ''painted tables'^ or pictures, occupying 
 several folio pages of a ponderous volume containing 
 "An account of the king's money, jewels, plate, utensils, 
 apparel, wardrobe stuffs, goods, and chattels, consigned 
 to the care of Sir Anthony Denny at Westminster!' 
 This volume is now deposited in the Eecord Ofiice. 
 Many other pages are devoted to a very interesting list 
 of King Henry's books. The date of this inventory is 
 April 24th, "the 34th year of our reign" (1542). The 
 account of the pictures in it extends from pages 53 to 
 
 * See page 346. See also "The Fine Arts Quarterly Review," 
 New Series, for January, 1867, page 32. 
 
 ■j- This picture was No. 7 of the National Portrait Exhibition at 
 South Kensington, and has since that time become the subject of a 
 most remarkable restoration. See Appendix. 
 
286 HISTOEY OF OLD LONDON. 
 
 Westmin- 60 ; and from these Eecords, notwithstanding that the 
 
 sterPalace. . . , , 
 
 1542-7. descriptions are barren in the extreme and entirely 
 deficient in measurements, a considerable amount of 
 curious and valuable information may be derived. 
 
 The pictures may be broadly classed under three 
 heads ; namely, 1. Portraits ; 2. Religious subjects ; and 
 3. Historical Descriptions/' including maps of particu- 
 lar localities. The second division contains principally 
 various representations of the Virgin Mary and Infant 
 Jesus, Holy Families attended by saints, who, in the 
 absence of any specification of the emblems pertaining 
 to them, or any incidental allusion to their names, are 
 removed beyond all possibility of recognition. 
 
 In the British Museum is preserved a similar 
 A.D. 1547. inventory, made after the King's death, of the " late 
 King's " property, taken by vertue of a Commission 
 under the greate Scale of England, bearing date at 
 Westminster the viij. day of September, in the first 
 year of our Sovereyne Lord Edwarde the Sixte " 
 (1547). As this volume, being five years later, con- 
 tains some two or three additional pictures, probably 
 painted expressly for the King during the interval, I 
 prefer to make my extracts from that volume. Here, 
 again, no measurements are given ; but some few are 
 distinguished from the rest by being designated as 
 " great Tables," " whole stature," " Little Tables," and 
 " Tables like a book with folding leaves." A superior 
 value is also to be inferred in those cases where curtains 
 to protect them are mentioned. Thus, many of the 
 pictures have, in addition to the brief record of their 
 subject, the following almost unvarying form: — " With 
 
EOYAL PICTUEES AT WESTMINSTEE, A.D. 1542. 287 
 
 a curteyne of yellow and white sarconette paned Hen.viii. 
 
 ^ J- 1509-47. 
 
 together." * 
 
 The following are the principal portraits. For the 
 convenience of more ready reference, I have arranged 
 them in alphabetical order. The strange spelling of 
 proper names has been preserved, but the words of each 
 entry are not absolutely given in exact succession. 
 
 WESTMINSTEE INVENTOEY. A.D. 1542-7. 
 
 Ijroocje oppon it antr a collor of retitie anti toi^ite xm%t%y 
 
 No mention of a curtain^ 
 
 This picture is one that I have succeeded in identifying at 
 Windsor Castle, and of which, until my attention was attracted 
 to it, the name had been lost. (See Archseologia, vol. 39, page 
 245.) It was No. 49 of the recent Portrait Exhibition at South 
 Kensington. (98.)t 
 
 2, ^rgnce ^rtjure,'' No curtain. (32.) 
 
 3, ^WC%Z\Z tf)e (tmXiXZ%U of (JTorne/' With a curtain. 
 (83,) 
 
 4, Cije M\X\Z of i3utt)0nne,'^ A curtain. (86.) 
 
 6, CJe <?luene of (S^astUe, a little tatle/' No curtain. (75.) 
 6, '^Clje^nge of (tmiiW^ cSiltone; afol^mge idMz:' 
 
 (53.) 
 
 CSe dFrencS i^gnge, (KSarles tlieigfit/^ A curtain. (84.) 
 
 * In pictures of the 1 6th century we sometimes observe represen- 
 tations of framed paintings, hanging on a wall in the background, 
 as if partially covered by curtains attached to rings running on a 
 rod. 
 
 t These numbers in brackets refer to the order in which the pictures 
 appear in the original inventory. 
 
288 
 
 HISTOEY OF OLD LONDON. 
 
 Westmin- S. (^t1)axU^ IBufee of i^urgotttJe, a little talile.^^ With a 
 
 '^lll^^^^'- curtain. (102.) 
 
 9* ^jarles tje (Srteat ^[^mperouer/^ With a curtain. 
 
 This Portrait of Charlemagne occurs again in the catalogue of 
 Charles I.'s pictures, and is not at present to be identified among 
 the royal paintings ; but an apparently similar picture belongs to 
 the Society of Antiquaries at Somerset House. (114.) 
 
 10. Ol^fiarleis tSemprouer, a * stagneti clotj'.^^ 
 
 This term "stained" appears to have been used for pictures 
 painted in transparent colours upon linen. Many instances of 
 this kind of painting may be met with at this period. (154.) 
 
 11. Kf^mpmmXf f)is ^outlet Mmt cutte antf a 
 marg trauncfie in jis fiantre/^ iVb curtain. 
 
 This picture is at present at Windsor Castle. (See Archseologia, 
 vol. 39, page 263.) (99.) 
 
 12. €:i)r)ltre (&m^mmx, tjemprouer tj)at notoe 10, anti 
 
 ^jFertlgnantlCI.^^ With a curtain. 
 
 2\pparently Maximilian, Charles V., and his brother Ferdinand, 
 as seen in a beautiful little wood-carving at Vienna, where their 
 names are inscribed. This group appears again, but under false 
 names, in the catalogue of Charles I. See post, page 335. (16.) 
 
 13. Cfire cjiltrerne of tf)e i^gnge of Bmmaxke.'^ 
 
 (Christian II.) With a curtain. 
 
 Still in the royal collection at Hampton Court. Engraved by 
 G. Vertue, and by him incorrectly named " the children of Henry 
 VII." (See Archaeologia, vol. 39, p. 256.) It was No. 58 of the 
 Kensington Portrait Exhibition, and, notwithstanding repeated 
 remonstrances, retained an unqualified designation in the ofiicial 
 catalogue of the Exhibition, as " Prince Arthur, Prince Henri/, and 
 Princess Margaret.'^ (l^O 
 
 14. *^ %nge ©titoartie tje iii].^^ With a curtain. 
 
 Of this monarch two portraits on panel still remain at Windsor 
 
PICTURES AT WESTMINSTER PALACE, A.D. 1542. 289 
 
 Castle. One, rather large, which is extremely weU wrought, and Inven- 
 surrounded by a peculiar, gilt inner framework, which corresponds Hen.VlII. 
 with some borderings on other royal portraits of the same period. 1542-47. 
 He is putting a ring on the first finger of his left hand. We shall 
 again meet with this picture in the collection of Charles I. The 
 smaller, but very inferior portrait, also of life-size, but showing- 
 little more than the head, was No. 24 of the Kensington Exhibi- 
 tion. (52.) 
 
 15* CJe i^gnge^^ iHajeistie,'^ With a curtain. Edw. vi. 
 
 This designation of the "King's Majesty" applies to Edward VI., 
 and is, therefore, only to be found in the Inventory of 1547. Before 
 his accession he was merely styled " Prince Edward," and the 
 " Lord Prince his Grace," as will be seen in the earlier catalogue 
 preserved in the Record Office. (46.) 
 
 16» Cj)e Hpnge^s JHajeistie, tje bjfiole stature, in a 
 Qotone lifee ccgmsen isatten iwxxz^ toitj lusecnes/' Protected 
 
 hy a curtain. (150.) 
 
 17, Cf)e Itgnge's JHajesti), tje b3f)ole stature, stagnctJ 
 
 upon ClCltf)0/^ Protected hy a curtain of green sarcenet. (47.) 
 
 18, (!§ueen mi^M^^z, UiM <^tib)art('s TOife/' With Elizabeth 
 
 , . Woodville. 
 a curtain. 
 
 This picture still exists at Windsor Castle, and it was No. 30 of 
 the Kensington Exhibition. An inferior picture, although in many 
 respects very similar, was contributed to the Exhibition, No. 29, 
 from Hampton Court. (51.) 
 
 19, (J^Uene ©ll^atietfie.'' With a curtain. 
 
 Evidently Elizabeth of York, Consort of King Henry VIL This 
 picture still remains at Windsor Castle, and also belonged to King 
 Charles 1. (43.) 
 
 Princess 
 
 f)er iiantre, Set Qotone \\f^z crfime.6(in clotje of goltie, toitfje e^^^^^^*^- 
 
 tOOtfeeS/^ (Patterned.) No curtain. 
 
 u 
 
290 HISTORY OF OLD LONDON. 
 
 Princess The remains of an early inscription on the upper part of the 
 A.^D^lS^e picture clearly show that it was intended for Queen Elizabeth, 
 when Princess. The dress is richly embroidered with patterns 
 (works). It occurs again in King Charles's catalogue. This very 
 interesting picture has recently been removed from Hampton 
 Court to St. James's Palace. It was No. 247 of the Kensington 
 Portrait Exhibition. (15L) 
 
 2h O^li^atietSe of ^uistrg, Oluene of Benmatlt/' With 
 
 a curtain. 
 
 Most probably Isabella (Elizabeth), wife of Christian II., and 
 sister to the Emperor Charles V. She would consequently be the 
 mother of the three children already specified in No. 13 of this 
 inventory. (29.) 
 
 Eieonora, 22. (3!5lonora t^e Jfxtxit^z (!|tiene m i%t ^paniisfie arrage 
 France.^^ ^ ^^^ppe ou Jet Jeatitie bttj an Orrenge in Jer fiantie/^ 
 
 Several portraits of this sister of the Emperor Charles V. are 
 still extant ; but in the majority of them she is represented hold- 
 ing a letter instead of an orange. A j^icture, answering to the 
 description given above, was recently in the possession of Mr. H. 
 Graves, the print-seller. A fine portrait of this princess, holding 
 the letter, is still preserved at Hampton Court Palace, No. 319, of 
 the catalogue ; and another, on a much smaller scale, belongs to 
 H.R.H. the Duke d'Aumale, at Orleans House. (9.) 
 
 23, *^ dFertiinantro Itgnge of ^ragon**^ Without a curtain. 
 
 This picture is still preserved at Windsor Castle. It is inscribed : 
 " Le Roy Dnn Fernando Dorragon." A similar picture of Ferdi- 
 nand the Catholic is in the collection of the Society of Antiquaries. 
 This royal picture reappears in the catalogue of Charles 1. (135.) 
 
 Francis I. 24. Jfxtm\^z W^^Xi^t tojeit bag ponge^ a little 
 
 tOUntie tal)le/^ With a curtain at the time of the earlier In- 
 ventory. (77.) 
 
 25* CJe dFtenc^e i^gnge, jabmg a ^wWX of crgmeson 
 coloure antf a gotone garngisSeli bitj tmWt^ matre lii^e 
 peerlsi/^ 
 
PICTUEES AT WESTMINSTER PALACE, A.D. 1542. 291 
 
 A small picture of Francis I., corresponding in many respects Inven- 
 with this, remains at Hampton Court. The Earl of Dudley has a Hen Vui. 
 similar portrait, the size of life. Compare King Charles's cata- 1542-47. 
 logue, page 111, No. 21. (8.) 
 
 dFOOle iStantlinge lieJgntJe f)im»'^ Protected by a curtain. 
 
 This curious, but much injured picture, is still preserved at 
 Hampton Court. A similar painting is at Longleat, the seat of 
 the Marquis of Bath. (71.) 
 
 W ^^^t*'' Protected by a curtain. (117.) Germany. 
 
 28. dFretiergfe IBuke of Sa:ron-^^ >ri^7i a curtain. 
 
 Probably Frederick III., called the Wise, who took Lucas Cra- 
 nach the painter with him to the Holy Land. (27.) 
 
 29. CJe 515aife of tje loctJ dFgennes; a little tal)le/' 
 
 With a curtain. (140.) 
 
 30. JSenrg ti)e Y^f^J^ Protected by a curtain. 
 
 This interesting profile portrait still remains in the royal col- 
 lection at Windsor. It also belonged to Charles I., and was 
 subsequently removed to Kensington Palace. It was not included 
 in the Kensington Portrait Exhibition. There are naturally many 
 repetitions of this picture, on account of his universal popularity. 
 (49.) 
 
 31. J^enrg tf)e 1^$.^^ With a curtain. English 
 
 Monarchs 
 
 The well-known picture, with the hands clasped. It is in a gilt 
 frame, with the royal arms of France and England in the spandrils 
 to correspond with similar borderings to the portraits of Edward 
 IV. and Richard III. This picture is still at Windsor Castle. There 
 are repetitions of it belonging to the Society of Antiquaries and the 
 British Museum. It appears in the catalogue of pictures belonging 
 to Charles L (50.) 
 
 32. i^mge J^enrge tje S^bentJ.*' Protected by a curtain. 
 
 V 2 
 
292 
 
 HISTOEY OF OLD LONDON. 
 
 English This picture is more difficult to reco<2:nise amonp^ the still exist- 
 Monarchs. . & o 
 
 mg portraits of the monarch. In King Charles's catalogue only 
 
 one portrait of Henry VIL occurs in the series of "Old heads," and 
 
 it is distinguished as having "two hands." * (42.) 
 
 InitJ a flobre of isilber oppon tfje locke. ^ taUz iDitift ttooe 
 
 Probably leaves or doors to close over it, like a triptych, with a 
 silver ornament, such as adorn the clasps and hinges of books, to fasten 
 it externally. In this the King appears to be bareheaded, but I 
 cannot at present identify it with any known picture. (44.) 
 
 34. itgnge Jgenrp hiii^ tfien Muqc i)onge/^ 
 
 This may possibly be the picture which we shall find more fully 
 specified in the collection of Charles I., where he holds a scroll of 
 parchment in his hand. It was, however, acquired by King Charles 
 I. from Lord Arundel in 1624.t (97.) 
 
 35* Itgnge Jgenrg tfjetgjt m\i §me (©uene ; a Catile 
 
 One-half of this folding picture or diptych (containing the figure 
 of the King) may still be traced at Althorp, in Lord Spencer's 
 beautiful little Holbein portrait of Henry VIII. The corresponding 
 figure of the Queen is not so satisfactorily to be identified. J (45.) 
 
 * See page 114, No. 33, of Bathoe's edition. 
 
 f See page 119, No. 57, of Bathoe's edition. The picture is now at 
 Hampton Court Palace, and was No. 124 of the Kensington Exhibi- 
 tion. 
 
 ;|; The Duke of Northumberland's little picture of Jane Seymour at 
 Sion, and Lady De la Warr's portrait at Knole, exhibit the type which 
 accords with the picture formerly painted by Holbein on the wall of the 
 Privy Chamber, at Whitehall. (See Yan Leemput's copy at Hampton 
 Court, and Holbein's cartoon belonging to the Duke of Devonshire.) 
 It is remarkable that this is the only consort of Henry YIIL, whose 
 name as Queen is specified in this inventory. Portraits of Catherine 
 of Arragon and Anne Boleyn are still preserved at Windsor Castle ; 
 
PICTUEES AT WESTMINSTEE PALACE, A.D. 1542. 293 
 
 36, ftgnge J^enrg tjeisfjt stantjmg oppon a Mv^i^x bjitj invento- 
 tftree crobneis, Jabing a 5atpent bjitje seben Jeatito cm- Senl'viiT. 
 mgnge oute of it, antr Jabinge a i3b)oort»e m Jis Jantie bD^win 1^42-47. 
 is toriten Uecljum Bei*^^ 
 
 It would be curious to recover this picture of King Henry 
 trampling on the Papal tiara. (64.) 
 
 37» ISabell (^Uene of (BmUlV With a curtain. 
 
 This picture still exists at Windsor Castle. Her hair is quite 
 plain, and parted in the middle ; she holds a book in her right 
 hand. Inscribed "Le Vaymne Ysabean ne Eastille." It also 
 belonged to King Charles I. See^jos^, page 334. (103.) 
 
 38, gacot)t)e l^gnge of S^tottes, Mtf) a i^atofee on jig James IV. 
 
 fl'Ste/' Protected hy a curtain. land^°*" 
 
 A curious copy of this, by Daniel Mytens, in water-colours, was 
 No. 61 of the Kensington Portrait Exhibition. It formerly be- 
 longed to King Charles I., and is now the property of Sir William 
 Stirling Maxwell, Bart., M.P. (See Pinkerton's Scottish Icono- 
 gTaphy.) (134.) 
 
 39. ^'fojanna arcpulteof ^ustrie/' With a curtain, (los.) •J,<^^^|ij^e la 
 
 In the earlier inventory the words are " Joan Archduches of 
 
 AUSTRYE."* 
 
 but they do not appear in these records. The best portraits .of Jane 
 Seymour, by Holbein, are now at Vienna, and at Woburn Abbey, in 
 Bedfordshire. 
 
 * Apparently J ohanna, wife of the Archduke Philip of Austria, and 
 mother of the Emperor Charles V. As her parents, her husband, 
 and so many members of their family are conspicuous in this inven- 
 tory, it is scarcely to be supposed that the Emperor's own mother, 
 Jeanne la Folle, would be wanting to the series. In the extracts 
 from King Charles's catalogue, subsequently given, will be found the 
 mention of a portrait of "The Queen of Castile," which occurs almost 
 immediately after one specified as " Queen Isabella of Castilia." See 
 post, pages 304 and 334 (51). Johanna, the daughter of Charles V., 
 would, at the date of the first inventory, have been only twelve 
 years old. 
 
294 
 
 HISTOEY OF OLD LONDON. 
 
 40, M\lke 0(l]&n/^ With a curtain. 
 
 This appears to be the same as a picture bearing the same 
 title, and described in King Charles's catalogue as " looking down- 
 wards, in a black habit and cap." This seems to represent John 
 " Sans Peur," Duke of Burgundy, and father of Philip the Good. 
 (131.) 
 
 Egnncin Ol^lotje, Muq tits tojole stature/^ (147.) 
 
 42. fJuliUS ©e$iar»^^ With a curtain. 
 
 Described in King Charles's catalogue as " bald, side faced, in a 
 golden dress like a priest." ^qq post, p. 335. (112.) 
 
 43. Hetoi^ie tje jFrencfie Itgnge/^ With a curtain. 
 
 Louis XII. (76.) Now atWindsor Castle. 
 
 44. W^t Hatig JHargaret tje Bucfies of Saboge/' 
 
 With a curtain. 
 
 This lady was the sister of Philip le Bel, aunt to Charles V. , 
 and Governess of the Netherlands. She had been married in 
 1501 to Philibert, Duke of Savoy; she became a widow in 1504. 
 The portrait is now in Hampton Court Palace. No. 298 of the 
 catalogue. (18.) See ^05^, page 333. 
 
 45. ^ boman fiabinge a iHonifeeg on Jer 5ant»0.'' With 
 
 a curtain. 
 
 Probably Margaret of Scotland. A portrait of similar character 
 is at Queen's College, Oxford. A full length, enlarged by Mytens, 
 from an earlier picture, is stiU at Hampton Court. (26.) 
 
 46. Cfie Oluene of Jgungerge, teinge IKegent of 
 
 Of this lady, Mary of Austria, sister of the Emperor, there is in 
 the possession of the Society of Antiquaries a curious portrait, 
 wearing a very broad-brimmed hat, painted on vellum, and richly 
 gilded.* 
 
 * I believe that this portrait may be identified among the existing 
 Crown pictures (30) at Windsor Castle. The picture is at present 
 called "The Mother of Mary Queen of Scots. See_^:)osf, p. 305, No. 
 20. See No. 26 of Catalogue of Pictures belonging to the Society, 
 
PICTURES AT WESTMINSTER PALACE, A.D. 1542. 295 
 
 47. E boman calletr JEicSaell to^^ a teti'tre rose in tjone invento- 
 tantre, antJ laginge tfjotjer i^anbe oppon a tJogge's iact/^ A^o Hen°yiii. 
 
 curtain, (145.) 1542-47. 
 
 48. CJe Buctoeis of i^gllagne. E greate tatle, ieittfle 
 tier hjjole stature/^ 
 
 This very important picture of Christina, niece of the Emperor 
 Charles V., one of the finest of Holbein's works in England, now 
 belongs to the Duke of Norfolk, at Arundel Castle. (See Archseo- 
 logia, vol. xL, p. 110.) (12.) 
 
 49. *'CSe Bncf}me of i^gllaBne.'^ Duchess of 
 
 A smaller picture of the same lady, still preserved at Windsor Milan, 
 Castle.* (138 ) 
 
 60. ^*ESe Wince of (©rrenge; a stagnetr clotj.'' (155.) 
 
 61. WiilUpP ^^XpU^te of ^mttXJ^ With a curtain. 
 This appears to be Philip le Bel, father of the Emperor Charles 
 
 v., and husband of Johanna of Castile. The picture is still pre- 
 served at Windsor Castle. (28.) 
 
 63. ^IJilipp Bute of i^urgogne.^^ With a curtain. 
 This portrait of Philip the Good still exists in the royal collection 
 at Windsor Castle. (110.) 
 
 63. Bute ^PJilipp tf)e J^artrge/' With a curtain. 
 
 This, although not at present traceable in the royal collections, 
 appears to correspond with an entry in King Charles's catalogue, 
 
 Philip, Duke of Burgone, in a black cap, with a golden medal." f 
 (113.) 
 
 64. 3^gnge i^icjartie tje W^ittit:' With a curtain. 
 
 This impressive picture, which is in a frame similar to those of 
 
 English 
 
 contributed to the Fine Arts Quarterly Review, May, 1864, vol. ii., Sovereign 
 page 327. 
 
 * It was No. 104 of the Kensington Portrait Exhibition. (See 
 also Archaeologia, vol. xl., p. 106). This was apparently the first 
 sketch made by Holbein, at Brussels, in 1538 
 
 t See page 117, No. 45, of Bathoe's edition. 
 
296 
 
 HISTOEY OF OLD LONDON. 
 
 English the portraits of Edward IV. and Henry VL, already described, is 
 portraits. . , « t -tit 
 
 a very genuine work of art, and very possibly the original of the 
 
 numerous repetitions or copies that are known to exist. The best 
 are in the National Portrait Gallery (presented by Mr. Gibson- 
 Craig) ; at Knowsley (the Earl of Derby's), Arundel Castle, Hat- 
 field, and Longleat.''^ (S2.) 
 
 This picture occurs again in the collection belonging to King 
 Charles L See post, page 333. 
 
 66. ^'Cje (Kounfeis of Hici^emon'&e, Itgnge J^enrge tje 
 
 ^SebentJ^S motjer/^ Protected hy a curtain. 
 
 Now in the royal collection at Windsor Castle, painted on 
 panel. This picture also belonged to King Charles I. There is a 
 similar portrait, on panel, in St. John's College, Cambridge, and a 
 more modern version of it, on canvas, belonging to the Earl of 
 Derby, at Knowsley. These pictures were respectively Nos. 47 
 and 48 of the Kensington Portrait Exhibition. (48.) 
 
 Duke of 66. Cf)e Bui^e of Safiautlie/^ With a curtain. (130.) 
 Savoy. 
 
 67. Solpmaname tje turpe, Ijcing iDjoole gitature^ a 
 stagnetr clotj.*' (160,) 
 
 The following pictures are unknown ; but tlie de- 
 scriptions given with them are nevertheless deserving 
 of consideration : — 
 
 68. ^ picture jabing a i3lacfee Olappe bitfie a liroccfje 
 
 antr a color of ScallOpp gfiellCS.^^ With a curtain. 
 
 * The rich brown tone, and a certain severity of form in this pic- 
 ture, are quite consistent with the style of, and indeed may have 
 some associations with, the Italian schools of Botticelli or Castagno. 
 During the reign of Richard III., Pietro Perugino, Sandro Botticelli, 
 Andrea del Castagno, and Luca Signorelli, were painting in Italy ; 
 whilst, beyond the Alps, Memling, Martin Schoen, and the youthful 
 Albert Durer, were exercising their pencil. 
 
 "Whilst speaking of contemporaneous art in different countries, it may 
 not be uninteresting to observe that both Eaphael and Martin Luther 
 were born in 1483, the year of the accession of our Eichard III. 
 
PICTURES AT Westminster palace, a.d. 1542. 297 
 
 This picture corresponds with the Marquis of Queensberry's fine Invento- 
 profile portrait of a young man wearing a black cap and a large Hen^VIIT. 
 golden enseign on the side of it. The collar of the order of St. 1542-47. 
 Michel, composed of scallop shells, is conspicuous on his shoulders. 
 The countenance is very like Louis XII. of France. The picture 
 may be traced again in the royal collections of Charles I. and 
 James II. See post, pages 332 and 357. 
 
 69. *'(fBne fiabinse a longe fjeare ieinge crobjneti antr Jabmge Uncertain 
 a rootle lifee clotje of Qoltie anti tje futre temge tofiite/^ With 
 
 a curtain. 
 
 The picture may possibly be the portrait of Richard II., still in 
 the royal series at Windsor, where he appears crowned, wearing 
 long hair, and has a large white fur cape or tippet, similar to his 
 costume in the Westminster picture and the engraving in the Basi- 
 liologia. (78.) 
 
 60. ^ pnge man Jabmg Mtz tjre trodjeis anti a rotoe ot 
 pcrlesi Ojppon Jiis cappe anti lifte a ejagne of istone an)3 pnles; 
 aiolDte mttt b)itj) a tatoljrike aI)ob)te \)\% %\)t\\\X^tx% to 
 
 Jange \^\% SbDOVtie l)3)e/^ Protected hy a curtain. (80.) 
 
 61. One fieinge in Jjlacke toiti) tf)is scripture, * (JBflori^ 
 ft'eamus te saneta tiei genetrix/ ^c.'' A^o ci^r^am. (loi.) 
 
 62. tooman Jabinge a tier oppon Jer Jealjtie like mgter.'^ 
 
 ir ith a curtain. (111.) 
 
 63. E bjoman in a frenejie Jootre bjitlj a gotone like elotje uncertain 
 of goltf ant( tlue for .^ilebes.^^ With a curtain. poXaits. 
 
 Apparently still in the royal collection. No. 303 of the cata- 
 logue at Hampton Court.* (104.) 
 
 64. E bjoman in a frencje ^ootie in a gobjne like clotje 
 of goltie tje slebess turnetr up bjit^ bjite antr pob3t(eretr bjitfj 
 
 lllacke.'^ With a curtain. 
 
 * See page 115, No. 36, of Bathoe's edition of King Charles's cata- 
 logue. The tighter "blue fore - sleeves " and crimson broad outer 
 sleeves are both observable in the Hampton Court picture. 
 
298 
 
 HISTOEY OF OLD LONTiON. 
 
 Uncertain Apparently now at Hampton Court. No. 304 of the catalogue.* 
 female /i 00 \ 
 portrait?. V^'^^-; 
 
 66. ^ boman nalte'tf, |)oltimse a iaW toitfie a sitripture 
 in It m tf)om Jantie antr a bracelet oppon tf)otf)a arme at 
 tj)e opper parte ti^extaV^ 
 
 This recalls the composition of some of the pictures of Diane de 
 Poictiers. (3.) 
 
 66. tooman, f)er j^ealitre antr ter itecke tiate, f^n gai*:= 
 ment cutte anti puUeli out bjitj tojite.^^ i^^^A a curtain. (107.) 
 
 67. tooman ^abing lj)]fee a itacelette on Jet arme 
 antr lite ttoooe petles ta^nging at tier eares.*^ No curtain. 
 
 (73.) 
 
 68. E naltetr boman sitting opon a roeifee of stoone 
 a iscripture ober Ijer teatilie.^^ No curtain. (14.) 
 
 These are all the portraits contained in the inventory 
 of 1547. 
 
 Scriptural The Scriptural subjects include "Adam and Eve," 
 "^'^ " St. Anne," King Asa," " Asceuerus," " David 
 and Goliathe (2 pictures), " The fyve wondes,'' " St. 
 George " (4 pictures), f " St. Jerome " (2 pictures), 
 "Beheading of St. John the Baptist," "Judithe" 
 (2 pictures), " Marye Magdalene " (4 pictures), " The 
 Parable of Mathewe, chapter xviij, a table of russet 
 and blacke, raised with liquide golde and silver" (pro- 
 bably representing the Unjust Steward), " St. Mychaell 
 and St. George." (7.) 
 
 C{)e J^istorse of (Ei^tistiana latiencia.^' (36.) 
 
 * See page 114, No. 35, of Bathoe's edition of King Charles's 
 catalogue. 
 
 t One of these four pictures must have been Eaphael's well-known 
 picture of St. George on horseback, now at St. Petersburg. See jpost, 
 page 323. 
 
PICTURES AT WESTMINSTER PALACE, A.D. 1542. 299 
 
 *'?3rOtllSUg jPilim.*' (19.) invento- 
 ries of 
 
 leabeis, J^abing in tf)e mintit^ tfie tjree Itgnges of Otolaggne, 
 tit tje one leaf tje ^irtj of Oljrist, anti tSotJec foltiing leaf 
 our Eatrg gibing our Eortie suete/^ (lOO.) 
 
 *^ CJe Salutation of oure Eatig in tjone leaf. Efte C^tee Sacred 
 i^gngs of OToloine saluting our lorli in tje mititieg, Our ^^^^J^^ts. 
 ilatrge ggbinge our lortre suefee in t{)ot{)er leafe. ^ tatle 
 b3it6 ttoo foltJinge leabes/' (139.) 
 
 <©ur Eatrge, OBur Eorbe sleeping on Jer breste, an)3 a a Trip- 
 tree at our tallies baefee.^^ With a mrtairi, (58.) 
 
 (©ur Eatrg Jolting our lorlie in Jer amies bjitj ejerries 
 in {)is Janbe. E table bjitb tb)o folbinge leabes/^ (72.) 
 
 (©ur Eatige toitj a boofee in tjer one f)anbe anb our 
 lortr in Jer otjer arme anb Sosepl) stanbinge bge. ^ great 
 
 table/^ TF«//i curtain. (85.) 
 
 (J^ur Eatifge fiolbinge our lorbe in Jer lappe anb a pome^ 
 granette in Jer t)anbe toitlj an Eungell plaging oppon a lute 
 anb S^osepje stanbinge bge/' With a curtain. (105.) 
 
 <©ur Habge antr OTSrist sue^ting anb( gosepje looking 
 
 on a bOOifee* ^ table/^ With a curtain. (31.) 
 
 **<!^ur Eabg anlr oure lorbe sittinge on tier lappe 
 plaginge bjitj tier booifce, a table bjitij tbjooe folbinge leabes/^ 
 
 (142.) 
 
 Our ilorlre erotonetr bjitft tljorne, bis arms bobjnbe. 
 Stagneti oppon elottje* ^ little square table.'' (121.) 
 
 Olbriste taken bobjn from tjie (Erosse. ^ table bitj a Deposi- 
 ttoooe folbinge leabes/' (149.) 
 
 Our Ea"bg f)olbing our Eorbfe talten bobne from tje a Pieti. 
 €^rosse in Jer armes. stable.*' With a cm-tain. (17.) 
 
300 
 
 HISTOEY OF OLD LONDON. 
 
 Tiie E.1- 13urgall of our Hortre* ^ taW of all sontirge b)ootiegj 
 
 tombn.ent. .^^^^^ tOQltDerS.- 
 
 This appears to have been executed in tarsia, a method of 
 operation still practised in Italy. (61.) 
 
 <©ur Sabioure Utmmt toit^ ^I'lS one ^antie mts jioltringe 
 tjotjer j)ant»e oppon t^e b3orltJe.^^ (127,) 
 
 Classic Among the classic subjects we find " Lucre tia 
 Romana" (three pictures) : " King My das and Myserie ; 
 a table of walnuttree raised withe liquide gold and 
 silver." (62.) " A woman holdinge an Onycorne in her 
 lappe.'^ (34.) " Orpheus with sondrye strange beastes 
 and monsters. Stayned oppon clothe." (148.) "Phebus 
 ridinge in his carte in the ayre, with thistorye of him. 
 A stayned cloth." (158.) 
 
 In the following pictures the Landscape element 
 appears to preponderate : — 
 
 Land- ^ great i^untmge ai^mit a f)oWe of tj)e Bute of Saions 
 
 scapes. painte'tJ oppon a tOrtie/^ ^ Description. 
 
 *^ dFoure Catiles of parejment isetle in frames of bootie, 
 anti eberge of tl)egm a matior plaee/' viz. :— 
 
 Jl^ampton (Eourte/^ Emtiogee/' OTosnaefee/' Q^aniV 
 
 (79). 
 
 Descrip- Numerous pictures also occur under the heading of 
 " DescriiJtioUy' which seem^s to have been a combina- 
 tion of the perspective and figure drawing, with the 
 laying down of a map. The well-known pictures at 
 Hampton Court representing the " Embarkation of 
 Henry VHL at Dover," and the " Interview at the 
 Field of the Cloth of Gold," would probably have been 
 
PICTUEES AT WESTMINSTEE PALACE, A.D. 1542. 301 
 
 placed under this denomination. Of this class we find invento- 
 
 ries 01 
 
 in this inventory : — Heii.viii. 
 
 1542-47. 
 
 Bimiption of tje mqe anti Ingnngnge of IBolloigtte,'' Descnp- 
 ^ longe mappe of (Eonstantgrenople, 'Umict, anti Naoples,^' 
 jBober antf (Kalice, a large tnappe*'^ Ell (Ji^urope, a mappe 
 of E tieiscription of J^lorence, b^itj sontfrge tobncs 
 
 jognpnge tjeronto,^^ IBiscription of tlje tiXit of SS^tusalm, 
 of gtagneti clotje*^' 
 
 E liiiscciption of tje OlasteU of JHillagne, paintetr oppon 
 clot^e.'^ tiiiscrtption of Naoples tieing tiisegetr bjitj 
 iEounsieur tie iBontiraitS^ a ^tagnetr clotje/^ 
 
 C]^e Siege of ^abte. Protected hy a curtain. 
 
 ^* ^f)t Bimi^iion of tje Siege of ^3abie toten p*^ dTreneSe 
 Hgnge bas tafeen, ISeing of Egnnen clotlje stagneti/' 
 
 CJe Bigseiiption of ICome anti tje Sacke tjecof. <©f 
 stagneti clotije/^ 
 
 E Bisieription of t{)e Siege of a totone, ?3ainteli oppon 
 
 E Bi^eription of tfje Siege of Uienna* Stagnetr elotlje 
 jsette oppon Uxtit.*' 
 
 COLOUEED SCULPTUEES. 
 There were also several framed pieces of sculpture Painted 
 
 ^ . . Terra- 
 
 executed in terra cotta, and coloured to look like life, cottas. 
 
 They were called " pictures made of earthe." 
 
 The following subjects were among them : — 
 
 E IBiscription of Bober, matie of eartje* Sette in a loxc 
 of toootie/' 
 
 E Morian toge bjitf) a garment of bDfjite anlj l)leb)e. E 
 pieture matie of earti^e/' 
 
302 
 
 HISTOEY OF OLD LONDON. 
 
 Painted Moim. ^ ^ittuu ttiatfe of eailje, MU in a loxt of 
 
 Terra- . ^ 
 cottas. bOOtie/^ 
 
 69, E b3oman tn a pitrple garment bit^ a garlantr of 
 gmn leabeis atiotote i^er i^eatitie, E picture matre of eartlje/^ 
 
 70, tooman bitj a carnaaon roote ifenitte Mf) a 
 Itnotte on ttie lefte gi^oltfer antr tarejeatietr^ bitj Jer i&eare 
 xoultts opp bitj a toj^ite lace. ^ picture matie of eartje/^ 
 
 71, E boman bttj a carnation garment after tje enfllistje 
 attier anti liaretjeatttieti, bitf) tjer tjeare rolletf op bitj a incite 
 lace. ^ picture malie of eartje, set in a ioxe of toootie.^^ 
 
 73. ^ tooman jer garment Jieinge (Ergmesion, j^er j&eati'tfe 
 i^xtti after dFlan'trers fasisjon. ^ picture matie of cartje.^^ 
 
 73. 1 ixioman in a roote of asi^ colotire, anb Jer J^are 
 truisseti tJcSgntJe Jer ears;. ^ picture matie of earti^e.^^ 
 
 74. inoman initio a coife of orrenge coloure oppon 
 5er fteatiije. ^ picture matie of eartje, set in a l)oxe of 
 bootie.^^ 
 
 Among miscellaneous subjects the following tables 
 deserve to be specified : — 
 
 Paintings, a boman placing opon a lute biti^ a liooifee before jer 
 antr a little potte bitj lillies springinge out tf)moV^ (6.) 
 
 *^ ^ boman placing oppon a lute antf an olh if^lanne i)oXti^ 
 (ng a glasse in tjone l)antie anti a tieatitie manner ijeatitie in 
 tjotjer fiantie.'^ (5.) 
 
 iEen antr bomen isittinge at a lianquet tieatje com^ 
 mgnge in matinge tljem all afrailre antJ one stantiinge hjitf) 
 a sb3ortie to ifeepe f)im oute at tje tiore. E stagnctr cloti)e.'' 
 
 (156.) 
 
 Sontirge wen anti bjomen sgttinge at a Janpette in a 
 Inootfc an^r a crgmegon clotje fiange tiettoeite tje crocjes of 
 
PICTUEES AT ^'ESTMIXSTEE PALACE, A.D. 1542. 303 
 
 tbiooe Um to sfjaticitoc ti^rm anti a inoman on Ijorsrtarlvf invento- 
 toitj footmen niitgnge tg f}tx. 1 stagnrti dotljc/' (157.) Hen^Yiii. 
 
 1542-47. 
 
 E lartige tatlc patntcti bitj sontirge Images of tnSite anti 
 tlaelte, oppon tilte naileti oppon Uxhc:' (153.) 
 
 Ci^oole 51Horll3e. E mappe or a eartiemargne of parej- iiappe- 
 ment set in a frame of tojite iuootie, bitf) t^e l^gnge^s Ermes 
 erotone^ supporteti Jis graee's teastes/' 
 
 The foUowino' extract from tlie index to tlie Invert- index to 
 
 . ^ . . Inventory, 
 
 tory of 1547, relating to Westminster, ^ill afford some 1547. 
 idea of the principal apartments in the okl palace as 
 it then existed. The numbers relate to the pages in 
 the volume. 
 
 ^iSaestminster,'' , . . , folio 
 €j)e Ouartierotie/' .... 
 CJe Seereate (guartierobe.'' 
 C^e icing's oton §tW\l Souse in tije olti gaUorg.'' 
 ^f^t stutig at t^e f)itljer enti of tfje Hong gaUorg.'' 
 CJe (E:SairSouse.'' .... 
 C^e ejartige of Sir Entljong Senng.'' . 
 
 Tables with pictures. 
 
 Cije glass f)ouse.'' .... 
 Ef^t stutig next t^'olti i3elieSaml)er.'' 
 ST^e oltr 0eb)el Jouse.'* .... 
 K\^z iaebj Hiirarg.*' .... 
 
 Many works of art were also deposited in St. James's 
 Palace ; as aj)pears by the follo^^ing list taken in 1548. 
 
 37 Apart- 
 nients in 
 
 63 
 
 Westmin- 
 ' star Palace, 
 
 91 
 111 
 113 
 115 
 119 
 
 143 
 161 
 159 
 186 
 
304 HISTOEY OP OLD LONDON. 
 
 St. James's Several among tliem seem to correspond with those 
 Edw. VI. already noted at Whitehall, and had probably been 
 moved away soon after the other inventory was taken. 
 
 mbentotg of t^e Iving'g ^tuft remaining if^m in t{)e 
 cfiarge an)? custotig of i^lici)atlj (Eott^ one of tje grooms of 
 tf)e 3King^js ^Pribg Otfiamlier^ antJ Iteeper of tlje ^saiti f)omt 
 of St» Sames. ^nno secuntio regis; iStibartri Sexti/^ 
 
 The list of pictures begins at page 446 of the 
 second volume of the Inventory in the British 
 Museum. — Harleian MS. 1419. B. 
 
 Foreign 1. $tem a ta^le b)itli tfte picture of Cftetuperor dFteljeriefe/^ 
 
 Poten- 
 tates. 2, lim a tatle bjitj tfie picture of i^latram g^afjane.^' * 
 
 3. Stem a taUt toitf) t{)e picture of (KJriistianuiS i^lex 
 
 l^anie*^^ Christian, 2nd King of Denmark, who took refuge for a 
 time in England. 
 
 4. Item a taW bitlj tje picture of €:i^riist bitj t^e 
 jscourtjge in Ji.^ ijantr/' 
 
 6. Item a tatle biti^ tje picture of ©ueen (^l^li^atiet]^/' 
 
 6. Item a table biti& ti^e picture of (Earolus Her dFrancie,'^ 
 
 7. Item a tatile toitj t^e picture of Butt ^PJillippe t{)' 
 
 3garl(g»^^ See ante, page 295, No. 53. 
 
 8. Item a tatile bitj tje picture of BuJte (Karolug/^ 
 
 9. Item a table init^ tf)e picture of Bx(kt Sojn,^^ 
 
 10. Item a table toitj tje picture of IBabiti Itilling 
 €rOllias/^ 
 
 * This picture appears to be Johanna of Arragon, wife of Philip 
 le Bel of Austria. See ante, p. 293, No. 39. 
 
PICTUEES AT ST. JAMES'S, A.D. 1549. 305 
 
 11. Item a XdMz bjitf) i%t picture of tfie Salutation of our Edw. vi. 
 
 at St. 
 
 12. Item a foltJmg taile toiti& tje picture of (EJrist an'ti James's 
 iiii pictures more in tje same,^^ ifl^' 
 
 13. item a ta!)le tojerein is set a stainetr clotf) fieino 
 partlg tje declaration of tfi^^ppocalipses,^^ 
 
 14. Item a tafile bitft tje picture of ^rtfturus i^ei King 
 
 ^ V Arthur. 
 
 ^nglie.^' 
 
 15. Item a tatle bitf) tf)e picture of tf)e Bulte of Sabog.^^ pSates. 
 
 16. Item a table toitift tje picture of S^ulius papa 
 
 Compare post, page 330, No. 8. 
 
 17. Item a tatle toitt tje picture of IBufee OTSaroluis/' 
 
 18. Item a table bjitj) tje picture of lerome Beispaine/' * 
 
 19. Item a table b^itj tje picture of ^rgus toitj t1)is 
 toortie— iHotierat Burant.*' 
 
 20. Item a table Initi^ tje picture of tje (!|uene of 
 Jgungrie nob) regent of dFlantiers, Jer Jeatr tireti in iMjite.*' 
 
 This picture appears to be the one now at Windsor Castle, 
 called " The Mother of Mary Queen of Scots." See ante, page 294, 
 No. 46. 
 
 21. Item a table bjitj tje picture of (llaroluis tje fiftj 
 ^mperor.^' 
 
 22. Item a table toitj ti^e picture of tS'emperor iHaxi^ 
 milian.'^ 
 
 23. Item a table bjitj tje picture of rog Bon fert»inanti 
 ti^^rragon/^ 
 
 24. Item a table biitj ti)e picture of S^ojn Jiispanie 
 princeps/^ 
 
 * So the letters clearly read, but the meaning is hard to make out. 
 The same observation applies to the motto in the picture following. 
 
306 HISTOEY OF OLD LONDON. 
 
 26. lim a iahU hjit^ tje picture of Maxit JHagtialen.'' 
 
 26. Itm a tatle toit^ tje picture of a bjoman Joltring an 
 apple in Jer one Janti anli tje cober of a cup in t^'otjer 
 Jantr/^ 
 
 ''Tables 27. Item a tatile bitj tJe picture of a nalteli bjoman antr 
 tlires in cupitT Jicttocen ^cr j^antis/^ 
 
 theym. " 
 
 28. Stem a tatle biti) a picture of tje Buci^es of 
 i^tilan.^^ 
 
 29. Item a tatle bitj tje picture of f uliujs Qtmax:* 
 
 80. Item a talile toitj tl^e picture of a tooman JoltJing a 
 teast in f^tx one fianb toiti) tji^s scripture * fem^««^ natura j)ic 
 bepicta est/ 
 
 Margaret 31. Itcm a ta^lc bitf) tJc picturc of a boman nametr 
 gundy. Bomina il^argareta tius ^urguntis.^^ 
 
 32. Item a tatile bitj tje picture of Iting J^enrg tfte bii»'' 
 
 33. Item a taile biti^ tje picture of tf)e (Eountess of 
 HicSmontJ anti BaxW,^^ 
 
 34. Item a tatle toitS tf)e picture of tJe Essention of 
 arjrist.^' 
 
 English 35. Item a tatile toitj tJe picture of i^ing (iBtitoartr tj^ 
 
 Monarclis. jjjjt^j n 
 
 36. item a tatile toitj tje picture of i^ing i^icjartr tJe 
 
 37. Item a taile bitj tJe picture of <!Sueen IBli^aietft/' 
 
 38. Item a tatle bitj ti^e picture of Iting l^enrg tje 
 
 39. Item a tatile bjitj tje picture of ?Prince ^rtjur.^' 
 
 40. Item a tatle bit{) tje picture of King J^enrg 
 tjeigjt/^ 
 
 41. Item a tafile toitj tje picture of ^aipjas ^ittiuQ in 
 Sutigment uppon iKjrist.'' 
 
PICTUE.es at ST. JAMES'S, A.D. 1549. 307 
 
 42. Itm a tafile bjjecein is a man Soltiing a 5b3cn:ti Edw. vi. 
 in Jis one i&antr anti a Sceptre in Jts oti^ec ftanti, of neetile- p^tos 
 toorfe partlie garnisi^etr toitf) sseetJ pearl/^ ^tst. 
 
 J ciincs s 
 
 43. Itm a table bjitj) tje picture of tfie Bucjes of 
 i^icfimounte antr IBartie sitting upon Jer Jtneegi.'^ 
 
 44. Item a tal)le h)itf) tje picture of l^ex tie (KastelL'' 
 
 46. $tnn a taJjle toitj tj)e picture of tje ^ssention of 
 iEJriist upon stainetr clotf)/' 
 
 46. item a tatile l»itf) tj^e picture of dTertiinantius ^rci&ie 
 tux ^U0trie.'' 
 
 47. Item a table toitj t^e picture of H^acobus quartus James, 
 Scotorum.- 
 
 48. Item a table toitj^ tje picture of ^lexantjer iEag^ 
 nujs/' 
 
 49. Item a table toitf) pictxires toberein is containetr 
 tbis Scripture * i^epleta sum. $cc.' bjitb otber sagings/' 
 
 50. item a table toberein is containetJ tbe S^ging of 
 Cournag anti ^roge.*^ 
 
 61. item a table b)itb tbe picture of francis tf)e frencb Francis 
 
 i^ing.^^ the First. 
 
 62. item a table bjitb tbe picture of (guene IHlenor of 
 dFrance/' 
 
 63. item a table bit^ tbe picture of tbe ©ufee of Sai- 
 on iDit^ a garlantr of Koses upon bis b^ali*'' 
 
 64. item a foltiing table bitb tbe 19^. Boctors, Uutbcr 
 being in tbe mibbes of tbem.'' 
 
 66. item a foltiing table biti) pictures of fretiericit Bukt 
 of Saxon anti 3fobn Bufee of Saxon.'' 
 
 66. ^* item anotber foltiing table containing ^f)xz pictures, 
 one nametr fretiericlt iBulte of Saxon, anotber nameti Soi)n 
 dfretiericlt MuU of Saxon, anti tbe tbirti f obn Bultc of 
 Saxon.'' 
 
 X 2 
 
308 
 
 HISTOEY OF OLD LONDON. 
 
 Fall of the The Same volume contains, at page 448, the folio w- 
 
 Protector , ' r & J 
 
 Somerset, ino; remarkable note relating to the custody of the 
 
 1556. ^ . . ^ . 
 
 royal property at a critical period in the reign of 
 Edward VL :— 
 
 A particular hook of all such parcels of stuff, <kc., in various places 
 at WestrnT on the xii day of November ^ in the third year of our 
 Sovereign Lord King Edward the Sixth. The Tceys of which were in 
 the only keeping of the Duke of Somerset until the time of his appre- 
 hension, being in October the said third year, at which time the same 
 keys were delivered to the King's Ma^^^^ most honorable Council, and 
 by their commandment the doors sealed until the said xii^^ day of 
 November, at which time, by their appointment, S^ William Herbert, 
 knight of the order, and master of the King's horses, Sir Edward 
 North, knight, one of the King^s most honor^^ Council, and S'^ Walter 
 Mildmay, knight, entered into the same houses, and there took a 
 perfect survey and view of all such things as they found there re- 
 maining, and the same stuff, by like order of the Council, they delivered 
 to the hands of James Rufforth to the King's Majesty, for the parti- 
 culars whereof hereafter ensue.'"' 
 
 Ward- The catalogue itself, of which this is the preamble, 
 contains many curious particulars illustrative of royal 
 costume. 
 
 Pictures, however, were not much employed as a 
 means of decorating the ordinary living rooms of a 
 palace. In these times " Hangynges of Arras,'^ with 
 gay patterns, landscapes called " forest- work,'' and 
 " storied " tapestries covered the walls. 
 Tapestries. The Guardrobe " at the honor of Hampton Court 
 contained, among other " Hanginges," " Tenne peces of 
 wove Arras of the Historic of Abraham." These are 
 still in use, and now line the sides of the Great Hall, 
 where they appear to great advantage.* 
 
 * John Evelyn observed these tapestries in the same palace during 
 his visit there in 1662. See posf, page 352. 
 
EAPHAEL'S CARTOONS, A.D. 1519. 
 
 309 
 
 They afford the best illustration of the scale and 
 effect of the tapestries wrought for the Sistine Chapel Tapestries, 
 from Eaphael's celebrated cartoons, which have recently 
 been removed from Hampton Court to London. 
 
 Being of the same period, and executed also in the 
 same rich materials, it is easy to imagine from them the 
 grandeur and brilliancy which Eaphael's designs must 
 have exhibited when they came fresh from the looms of 
 Arras. Not only were the silk and woollen threads of Brilliancy 
 
 . . . of their 
 
 the brightest possible hues, but the high lights on the original 
 
 ^ ^ ' & & condition. 
 
 garments of the figures and all the ornamental acces- 
 sories were wrought in tissues of the finest gold and 
 silver. Many of the colours of the Tapestries at 
 Hampton Court are now faded, and much of the gold 
 of the threads has tarnished ; but the chief allowance 
 must be made for those blackened patches, which usurp 
 the place where the shining masses of silver originally 
 stood. On comparing these tapestries with the Sistine 
 series from the " Lives of the Apostles," still preserved 
 in the Vatican, it will be seen that the materials are 
 perfectly alike, and that the ones at Hampton Court 
 have certainly sufiered in a less degree. The design Designed 
 of these tapestries is attributed to Bernard Van Orley, Van Oriey. 
 a very excellent Flemish artist, who worked in the 
 school of Raphael, and who was entrusted by that 
 great painter with the execution of his (Raphael's) 
 series of designs for tapestry, which are known in the 
 History of Art as the " Arazzi della Scuola nuova." 
 
 At this period, it may be incidentally mentioned, Raphael 
 that England was in possession of a duplicate set of 
 the original Sistine set of hangings. Pope Leo X. 
 
310 
 
 HISTOEY OF OLD LONDON. 
 
 Duplicate had Ordered replicas to be executed for tlie King of 
 
 set of the . .. pi- 
 
 Vatican England, and presented them m recognition of nis 
 
 Tapestries . . 
 
 made for published trcatiso against the principles oi Luther ; 
 viiL^ conferring on him, at the same time (1521), the title 
 A. D. 1519. Defender of the Faith. Meanwhile, treasured and 
 admired as these gorgeous productions must have been 
 both at Eome and in London, the original drawings 
 by the artist, the very cartoons themselves, were lying 
 uncared for at Arras, in some of the lumber rooms 
 belonging to the Flemish manufacturers. They were 
 considered to have served their purpose. 
 The ^ It was only about the year 1630, that Charles L, at 
 Sgns the suggestion of Kubens, became possessed, for a com- 
 by Charles parativcly small sum, of these priceless designs, and to 
 the credit of our rulers they have remained in this 
 country ever since. 
 
 Notwithstanding Wolsey's care and extravagance in 
 the decoration of his palace at Hampton Court with 
 historical subjects in tapestry (see Harleian MSS., No. 
 599), we do not find any record of his having collected 
 pictures by great Italian masters at that residence. 
 Paintings It appears, however, from an incidental mention in the 
 
 at White- 
 hall travels of the Grand Duke of Tuscany, Cosmo III. 
 
 Palace. ^^ggg^^ [j^ England,* that the Gallery at Whitehall was 
 originally enriched by Cardinal Wolsey with choice 
 paintings. The Cardinal, however, does not seem to 
 have any claims as a patron of art, and it is remark- 
 able that, among the various portraits still existing of 
 him, there is not one by any artist of repute — although 
 
 * Trayels of Cosmo, &c. ito, London: 1821. Page 368. 
 
WHITEHALL PALACE, A.D. 1598. 
 
 311 
 
 the best Italian painters were assembled in Eome when Queen 
 he resided there — nor is there a single picture offjss^ig^os 
 Wolsey that can be said to rank in any way above 
 mediocrity. 
 
 The next record of the royal pictures as a collection 
 belongs to the reign of Queen Elizabeth, and for this 
 we are indebted to the curious volume of travels by 
 Paul Hentzner, who visited England in the year 1598. 
 The book was published in Latin, and has been trans- 
 lated by Horace Walpole. 
 
 At Whitehall Palace,* Hentzner was shown the Hentzner's 
 
 n . . Travels. 
 
 lollowmg portraits : — a.d. 1598. 
 
 " Queen Elizabeth at 1 6 years old." This is evi- Portrait of 
 
 Queen 
 
 dently the same as the one already quoted from Henry Elizabeth 
 Vni.'s Inventory of Whitehall."!* girl. 
 
 " Henry, Kichard, and Edward, Kings of England." 
 The three pictures in remarkable borders abeady 
 noted in King Henry's Inventory. 
 
 " Eosamond." " Lucrece." " Chas. V. Emperor." 
 " Charles Emanuel Duke of Savoy and Catherine of 
 Spain his wife." 
 
 " Ferdinand Duke of Florence with his daughters." 
 " Philip King of Spain when he came into England." 
 "Henry 7*^ Henry 8*^ and his mother." This last 
 group very probably the same as the fine picture 
 painted by Holbein on the wall of the Privy Council 
 Chamber at Whitehall that was destroyed in the fire 
 of 1691. 
 
 * Page 22 of the 1797 edition, and page 189 of the Latin edition, 
 printed at Nuremberg, 12"^o- 1629. 
 
 t See page 289, No. 20; and also pod, page 336. 
 
312 HISTOEY OF OLD LONDON. 
 
 Windsor Windsor Castle, at this period, does not appear to 
 
 1558-1603. have been the depository of any very remarkable 
 paintings, as Hentzner, who minutely records every- 
 thing which he saw there, is entirely silent upon them. 
 
 Hentzner speaks of the numerous rooms at Hamp- 
 ton Court palace being adorned with tapestry of gold, 
 silver and velvet, in some of which were woven history 
 pieces, in others Turkish and American dresses " all 
 extremely natural." Here he observed a portrait of 
 Edward VI., a true portrait of Lucretia, a picture 
 of the battle of Pavia (probably the "Description" 
 ^'stayned on Lynnen Clothe" already quoted), the 
 portraits of Mary Queen of Scots, Ferdinand of Spain, 
 Philip of Spain, and of Henry VIII. 
 
 Portrait of William Lambarde the antiquary records an inter- 
 ' view which he had with Queen Elizabeth, at Green- 
 wich, August 4th, 1601, when the Queen spoke to 
 him of a portrait of Eichard II., which Lord Lumley 
 had given to her. It was then at Whitehall, in the 
 custody of Sir Thomas Knevet.* 
 
 James 1. The accessiou of James 1. to the throne of England 
 seems incidentally to have been the means of adding 
 various pictures to our royal collection. Until this 
 period only one portrait of a Scottish king was re- 
 corded in the Crown Inventory. James probably intro- 
 duced portraits of his mother and of his ancestors, and 
 seems to have indulged in collecting and multiplying the 
 likenesses of distinguished persons, since he frequently 
 employed the Dutch painters, Van Somer and Marc 
 Gheeraedts, to whom posterity is under considerable 
 
 * Bibliotheca Topographica Britannica, 1780, vol. i. page 525. 
 
PICTURES BELONGING TO JAMES I., A.D. 1624. 313 
 
 oblis^ations. Although their works are to a great James i. 
 
 1603-25. 
 
 degree both stiff and formal, they possessed much 
 individuality of character; and the general appear- 
 ance of the person was, in almost every instance, 
 fearlessly represented. 
 
 A curious document, setting forth some of the prin- 
 cipal acquisitions and inheritances belonging to the 
 king towards the close of his reign, has recently been 
 found among the State Paper Office records. It is 
 entitled " A Note of all such pictures as your highnes 
 (hath) at this present, done by severall famous mas- 
 ters owne handes by the life.'' The date assigned to 
 this memorandum is October, 1624. 
 
 The pictures are twenty-one in number, and speci- ^^^p^^^"® 
 fied in the following manner. traits. 
 
 1. ^'Imprimis. King James Queene donne by Joan Vauak" 
 the 3rd of Scotland with his (John Van Eyck).* 
 
 * This is evidently the fine diptych altar-piece which remained at 
 Hampton Court Palace till 185 Y. It was originally designed for the 
 Trinity College Church of Edinburgh. Such Mr. David Laing has con- 
 clusively shown to have been the case in his privately printed memoir * 
 describing the altar-piece, and the historical circumstances connected 
 with it. He establishes also the fact that the kneeling ecclesiastic on 
 the reverse of one of the wings is " Sir Edward Bonkil the first 
 provost of the College of the Trinitie, beside the burgh of Edinburgh." 
 The figure of St. Cecilia, wearing a coronet, and seated at the organ, 
 is probably the deceased Queen Mary of Gueldres, by whom the 
 church was founded. These portraits were for a very long period 
 at Kensington Palace, and were subsequently among the most at- 
 tractive pictures at Hampton Court. The diptych has, with great 
 propriety, and chiefly through the instrumentality of Mr. David 
 
 * Edinburgh, 1857, p. 9. 
 
314 
 
 HISTOEY OF OLD LONDON. 
 
 James I, 
 A.D. 1624 
 Catalogue 
 of Por- 
 traits. 
 
 2. " Item a Venetian Senator 
 donne by Joan Tibulini " (pro- 
 bably Gentile Bellini). 
 
 3. " Item a head to the wast, 
 donne by ould Qnintin." 
 
 4. " Erasmus Eoterodamus, 
 donne by Holbyn" (now No. 324 
 of Hampton Court). 
 
 5. " An ould woman of Hemp- 
 scherch." (By Martin or Egbert 
 Heemskerk). 
 
 6. "The Emperor at whole 
 length, by Titian." 
 
 7. " A head of a Venetian 
 Senator, by ould Tintorett." 
 
 8. King Phillipp the 2nd, of 
 Anthonio More." 
 
 9. "Lazarus Spinola's head, 
 by Gains" (William Key). 
 
 10. "The Prince of Orange, 
 by Michael Johnson." 
 
 11. "Your highnes owne pic- 
 ture, by Blyemberch." 
 
 12. *'The late Queenes pic- 
 ture, by Paule Vanzomor " (van 
 Somer), probably the signed pic- 
 
 ture, No. 780 of Hampton Gourt, 
 dated 1617. It was No. 418 of 
 the Kensington Portrait Exhibi- 
 tion. 
 
 13. "The Marquesse Hamil- 
 ton, by My tens." (No. 41 of 
 Hampton Gourt Palace. It was 
 No. 522 of the Kensington Por- 
 trait Gallery.) 
 
 14. " Titian and Arentyne, by 
 the yong Quintyn." (There is a 
 very fine Titian picture of this 
 subject at Windsor Gastle, and 
 many repetitions elsewhere. One 
 specially worthy of notice at 
 Gobham Hall.) 
 
 15. " Peeter Paule Rubens, 
 one picture done by his owne 
 hand." 
 
 16. "The Kynge Henry the 
 4th of Fraunce, don by Bonnell." 
 
 17. "His queene mother of 
 Fraunce, done by younge Pur- 
 bus." 
 
 18. "The Duke Gharles of 
 Burbon, done by ." 
 
 Minia- 
 tures. 
 
 ' In lymninge, as follows " :- 
 
 19.-20. "The queene of Scot- 
 Ian d,with the Dolphin of Fraunce, 
 of Gennetts doeinge." This mi- 
 niature portrait of Mary Queen 
 of Scots, by Janet, is still pre- 
 
 served in the royal library at 
 Windsor Gastle. It is one of the 
 most authentic and interesting 
 among the reliable portraits of 
 Mary. The companion portrait 
 
 Laing, once more been restored to Scotland. After having been 
 seen at the Manchester Exhibition of Art-Treasures in 1857, the 
 panels, instead of being sent back to Hampton Court, were, by her 
 Majesty's command, transferred to Edinburgh. Thoy are now very 
 appropriately deposited in the Palace of Holyrood. 
 
BIPOETATION OF PICTUEES, A.D. 1632. 315 
 
 of the Dauphin, afterwards in hangeinge hayi-e, done by Charles I. 
 Frangois II., cannot now be re- old Oliver" (Isaac Olivier). ^^^^ 
 cognised. They both appear in 22. " The earle of Northum- 
 the Catalogue of Charles I. berland, done by old Hilliard." 
 
 21. " An other gentlewoman's 
 
 Both sons of James I. evinced an early interest in 
 Art. Prince Henry liad formed a noble collection 
 of paintings and statuary, and designed an apartment 
 at Whitehall expressly for their reception. Charles, even 
 before his accession to the throne, had distinguished 
 himself by the possession of paintings of the highest 
 quality. It was under his authority that the finest 
 productions of the greatest Italian masters made their 
 way to this country. The collection of Yincenzo, Duke Agents 
 
 ' sent 
 
 of Mantua, containing some of the choicest works of abroad for 
 
 ' P the pur- 
 
 Eaphael, Corregsrio, Giulio Eomano, and Titian, arrived chase of 
 
 ' * ' ' pictures. 
 
 in England about the close of 1632.''^ 
 
 Nicholas Lanier conveyed many of the finest pictures 
 from Venice to Brussels in the beginning of May, 1628, 
 having laden five horses. He carried with him two 
 pictures of Correggio, in tempera, and one of EafiaeUe, 
 " the finest pictures in the world," as Daniel Nys writes 
 to Endymion Porter, " and well worth the money paid 
 for the whole [collection], both on account of their 
 rarity and exquisite beauty." f The remainder of the 
 pictures were consigned to the ship Margaret. 
 "Among them," Nys continues, in his letter dated 
 Venice, May 12, 1629, "is the Madonna of EafFaelle 
 
 * See Original Papers of Rubens, by Noel Sainsbuiy. 1859. Pages 
 32'7 and 339. 
 
 t Ibid., pages 325-327. 
 
316 
 
 HISTOEY OF OLD LONDON. 
 
 chef-d'- del Canozzo, for which the Duke of Mantua gave a 
 
 ceuvres of ^ 
 
 Eaphaei, MaiQuisate worth 50,000 scudi ; and the late Duke of 
 
 Titian, and 
 
 Correggio. Florence would have ^iven the Duke of Mantua for 
 the said Madonna 25,000 ducat oni in ready money. 
 The man who negotiated this matter is still alive. 
 Then there are the twelve Emperors of Titian, a large 
 picture of Andrea del Sarto, a picture of Michelangelo 
 di Caravaggio ; other pictures of Titian, Correggio, 
 Giulio Eomano, Tintoretto, and Guido Eeni, all of 
 the greatest beauty." 
 tiiTbest^^ These passages may suffice to afford a general 
 EnSnd ^^P^^^^i^^ ^^^^ Spirit in which the royal 
 
 acquisitions were made, and of the manner in which 
 the King's agents worked. It appears, also, that in 
 1635 the State's Ambassador presented five pictures to 
 the King at St. James's. 
 
 All the choicest productions of art above alluded to 
 arrived safely in England, and are to be traced in the 
 catalogue of the collection at Whitehall prepared for 
 Charles I. 
 
 ^'^^der xhis compilation is by far the most important of all 
 the records that have hitherto been prepared of the 
 various works of art belonging to the Crown. It was 
 drawn up by Vander Doort, who had the charge " of 
 all the King's Pictures, medals, books, and gems." 
 The latest date that occurs in the body of the book is 
 October, 1639. The original MS. of the Catalogue is 
 still preserved at Oxford, bound in two volumes, which 
 are stamped on both sides with the royal arms, sur- 
 mounted by a crown and encircled by the garter. 
 The letters C. E. take the place of the usual heraldic 
 
CATALOGUE OF PICTUEES AT WHITEHALL, A.D. 1639. 317 
 
 supporters. Above the crown is the date 1639. dearies l 
 The contents consist partly of fair copies, repeti- 
 dons, rough writings, and hastily-scribbled notes, 
 all bound together. Many of the pages are covered 
 with a close, strange handwriting, probably Vander 
 Doort's own, which presents many gross irregularities 
 of spelling and curiosities in grammatical construction. 
 The lists seem to have been prepared for the king's own 
 revision. These volumes were formerly in the Ashmo- Catalogues 
 lean Museum at Oxford, and have only within the last 
 few years (since 1863) been removed to the Bodleian 
 Library. Vander Doort's position and the nature of vander 
 his artistic qualifications will be seen by the following 
 account of himself entered in his Catalogue.'"* 
 
 "No. 21. Item. Imbost in coloured wax, so big as the life, ""V^Tiich 
 upon a black ebony pedestal, a woman's head laid in with silver 
 and gold, which was made for the Emperor Kodulphus, who did ham 
 write divers times for it to be brought to him, but Prince Henry Doort^^and 
 would, upon no terms or conditions, let the same and the maker given to 
 thereof go out of England, but promising he would give so good jil^^j 
 entertainment as any Emperor should ; whereupon he promised upon con- 
 him that when the cabinet-room should be done, that he should ^^^^J^^* 
 have the keeping of all his medals, &c., and £50 a year for service piece is^too 
 done and to be done, which as yet, by reason of his unseasonable kept in the 
 death, was never performed." cupboards 
 
 at White- 
 
 The Catalogue was, for the first time, printed in a 
 quarto form by Bathoe, in 1757; and taken, as the 
 title runs, ^'from an Original Manuscript in the Asli- 
 
 * See Walpole's Anecdotes, edited by Dallaway and Wornum, 
 page 269, for an account of Yander Doort, and of the melancholy 
 termination of his career. Bathoe' s Edition of King Charles' Cata- 
 logue, page 164, No. 21. 
 
318 HISTOEY OF OLD LONDON. 
 
 prepared^^ '^^^^^^^ -Mt^^etm at Oxfovd. The whole transcribed 
 Dooi?^^^^ preparecZ for the press, and a great part of it 
 printed, hy the late ingenious Mr. Vertue, and noiu 
 finished from his papers/' 
 
 It is, however, mucli to be regretted that Vertue's 
 life was not spared to complete the supervision of this 
 reproduction, as many of the errors, omissions, and 
 gratuitous insertions which now disfigure the work 
 would scarcely have been tolerated by so vigilant and 
 zealous an antiquary, 
 incor- J liave, during several visits to Oxford, carefully 
 
 rectly ^ o ^ j 
 
 published, collated the printed copy with these manuscripts, and 
 regret to observe how little the former is to be trusted. 
 In many places words are mis-read and changed ; 
 punctuation altered, and both dimensions of pictures 
 and observations upon them, inserted in the text with- 
 out any shadow of authority from the original, or any 
 means afibrded of distinguishing them. The detection 
 of these faults has several times enabled me at 
 once to identify the description of some particular 
 picture which I had been vainly seeking after. 
 
 Troubles The chicf perplexities have been caused by stops 
 
 caused by ./ x 
 
 inaccuracy gratuitously foistcd in, and by a careless and uncalled 
 for employment of capital letters. 
 
 At present it may be sufficient for me to ofier a few 
 remarks on some of the peculiarities of this catalogue 
 as compared with the valuable Inventory of Henry 
 VIIL 
 
 In the first place, the plan of Yander Doort s cata- 
 logue is fuller and more methodised ; he specifies 
 the apartments which they occupy : in some instances 
 
VANDEE DOOET'S CATALOGUE, A.D. 1639. 319 
 
 the writer even advances critical opinions ; whilst the Charles i. 
 circumstances under which a particular work of art 
 came into the royal possession are frequently stated 
 upon the margin with much care. Dimensions in feet 
 and inches are occasionally given. 
 
 There is an occasional naivetd about many of the 
 expressions used in his descriptions, and most of the 
 painter's names are loosely spelt. The latter feature 
 certainly indicates that the Keeper s acquaintance with 
 foreign names has been derived from hearsay rather 
 than from books. 
 
 Vander Doort uses the word picture, not only for 
 models painted, as we have abeady seen in Henry's 
 Inventory; but for bas-relief representations, and this 
 when speaking of the effigies on gold coins and like- 
 wise of a model of King Charles on horseback done by 
 Le Seur. He uses the word harness for armour, and 
 whiskers for moustaches. Portraits represented to the Pecuiiari- 
 hips or elbows, he occasionally designates as " to the Vander 
 shoulders.'^ He adopts one means of distinguishing Catalogue, 
 portraits that has already proved very serviceable. In 
 describing separate heads, especially miniatures, Yander 
 Doort generally commences with " Done upon the right 
 lighty" — meaning thereby that the light is admitted 
 on to the subject from the right side ; and, on the 
 other hand, when intending to express the opposite, he 
 avoids using the word "left," but invariably says 
 " Done upon the wrong light." 
 
 On testing these expressions, — by comparing them 
 with recognised and well-ascertained pictures, — I find 
 that he always intends the word "right" to imply 
 
320 HISTOEY OF OLD LONDON. 
 
 light^and ^^^^^ persoii represented, and not of the be- 
 
 iTghr' holder. Thus ; most of the portraits of Henry YIIL, 
 more especially those attributed to Holbein, have the 
 light coming in from the spectators right, a circum- 
 stance which may have tended in some degree to 
 establish the tradition that Holbein was left-handed. 
 These are specified by Yander Doort as "Done upon 
 the wrong light." 
 
 A large amount of space in the catalogue is occupied 
 by a list of the Miniatures. They are very numerous 
 and valuable, and it is a great satisfaction to find that 
 the majority of them can still be identified in the royal 
 Library at Windsor. 
 Whitehall Pennant says,* that in the time of James I., Whitehall 
 
 Palace. , \ 
 
 A.D. 1620. was in a most ruinous state. He determined to rebuild 
 it, and began with pulling down the banquetting rooms 
 built by Elizabeth ; but all that he lived to accomplish 
 was the present building retaining that name, begun in 
 1619, from a design of Inigo Jones, and now known as 
 the Chapel Eoyal, Whitehall. 
 
 At Whitehall Palace, soon after his accession to the 
 throne, Charles I. assembled all the choicest works of 
 art. The whole number of his pictures amounted to 
 l,387,t of which 216 were reckoned first-class paintings, 
 and 88 chef-d'oeuvres. Some of these were kept also 
 at St. James s and at Hampton Court. The Sculptures, 
 amounting to 399, were principally arranged at his 
 palace at Greenwich. The Miniatures, Books, Medals, 
 and Gems were kept in an apartment called the 
 
 Page 139, of ''London," fifth edition, 1813. 
 t Mrs. Jameson's Public Galleries, p. 191. 
 
WHITEHALL PALACE IN THE EEIGN OF CHAELES I. 321 
 
 Cabinet-room at Whitcliall, built by order of Prince The Cabi- 
 Hemy from a design of Inigo Jones.* It stood on the 
 west side of the road towards St. James's Park, on the 
 site of the present Dover House (Lady Clif den's), between 
 the Horse Guards and the Treasury. 
 
 It is remarkable that the locality where the choicest 
 works of art belonging to the Crown were then con- 
 centrated, is now occupied by our principal government 
 offices. Smith, in his Antiquities of Westminster,t 
 says that the western side of King Street was for- 
 merly bounded by that open space which afterwards 
 became enclosed under the name of St. James's Park. 
 When Henry VIII. had acquired possession of White- Whitehall 
 
 ^ ^ ^ ^ ^ towards 
 
 hall, he, in 1531, by exchano;e with the abbot and st. James's 
 
 Park. 
 
 convent of Westminster, procured to himself this 
 enclosure, part of which he converted into the before- 
 mentioned park ; and on the rest he erected a tennis- 
 court, a cock-pit, a bowling-alley, a long stone gallery. 
 All these buildings were on the opposite side of the 
 public street to the original residence. He connected 
 them by two gateways across the street. That 
 nearest to Charing Cross was called Holbein's Gate, 
 and, after serving as the State Paper Office, was demo- 
 lished in 1750. It crossed the street just below the 
 Banqueting House, at the point between Gwyder 
 House and the Chapel Eoyal. 
 
 Some of the largest pictures seem to have been placed 
 in the Tennis-Court Chamber and the Bear Gallery. 
 
 The general arrangement of Whitehall Palace during 
 
 * Pennant's London, p. 142. 
 t Page 20. 
 
322 
 
 HISTOEY OF OLD LONDON. 
 
 Whitehall the fiist half of the seventeenth century may still be 
 reign of traced by reference to a curious ground plan * that 
 A.D. 1670.* was taken by John Fisher in the reign of Charles II., 
 and engraved by Vertue, who regarded it as belonging 
 to the year 1680. Cunningham, however, in the 
 Handbook to London," t records his conviction that 
 a still earlier date, by ten years, might have been 
 assigned to it. 
 
 After so long an interval, many of the names of the 
 rooms, as well as of the occupants of the apartments, 
 or " lodgings," as they were then termed, had changed 
 entirely. The general appearance of the buildings at 
 Whitehall, at different periods, may be seen in the 
 Illustrated Pennant in the British Museum Print- 
 room. 
 
 On a wall in the Privy Chamber still remained 
 Holbein's painting of Henry YIL and Henry VIII., 
 with their Queens.;}: 
 
 As not only the pictures themselves, but the manner 
 in which they were arranged during the prosperous 
 days of King Charles L, cannot but possess a par- 
 
 * Smith's Antiquities of Westminster, p. 19. 
 t Page 550. 
 
 X This picture was destroyed in the fire which broke out April 10th, 
 1691 ;* but it had fortunately been copied for Charles II. by Eeme 
 van Leemput, and his performance still exists at Hampton Court 
 Palace. What yet remained of the old pala.ce was consumed in the 
 second fire, which began January 4th, 1698, and lasted seventeen 
 hours. Cunningham's London, p. 550, and Sanderson's Graphice, 
 p. 24. 
 
 * Cunningham, p. 549. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 323 
 
 ticular interest, I will invite a cursory p;lance at those Charles i. 
 
 . 1625-49 
 
 apartments in the palace which were specially devoted 
 to works of art, and state as briefly as possible the 
 nature and character of the principal pictures that 
 each room contains, following, of course, the arrange- 
 ment adopted in Yander Doort's Catalogue. 
 
 The opening portion of the catalogue does not 
 specify what apartment the pictures occupied. The first 
 division comprises eighty-one paintings, which appear 
 to have been of very various sizes and quality. Their 
 dimensions are stated in feet and inches. They consist Vander 
 principally of Italian pictures. The following is a cXiogiie. 
 selection of the principal paintings. The numbers in 
 brackets correspond with those introduced in Bathoe s 
 edition of Yander Doort's catalogue : — 
 
 CATALOGUE OF THE KING'S PICTUEES BY ABEAHAM 
 VANDEE DOOET. 
 
 (4.) Titian's Lucretia, a small 
 whole length. 
 
 (10.) Raphael's Marquis of 
 Mantua (Frederic, afterwards 
 Duke, born 1500).* 
 
 Raphael's St. George, a little 
 
 picture (14).t See Henry VIII.'s 
 pictures, ante, page 298. 
 
 Bellini's portrait of a young 
 woman (15), and the Infant 
 Christ and St. John embracing, 
 by Parmigiano (26) ; both of 
 
 * Now at Charlecote (Mr. Lucy's) in Warwickshire. 
 
 t Now at St. Petersburg. To recover this picture Charles I. gave 
 the volume of Holbein's drawings in exchange. See the engraving 
 in the Crozat Gallery and in Landon, QEuvres de Raphael," vol. 6, 
 pi. 334. Passavant's Eafael, vol. 2, page 51. He describes it as 
 St. George holding a lance. The painter's name is on the breast of 
 the horse, and the picture belongs to the year 1506. The garter, 
 with only the word Kom visible, encircles the plate armour of the left 
 leg. 
 
 Y 2 
 
324 
 
 HISTOEY OE OLD LONDON. 
 
 WhitehaU 
 Pictures. 
 
 which the King had obtained 
 of Lord Pembroke in exchange 
 for a small Raphael picture of 
 Judith. 
 
 A small picture of Mice, by 
 Raphael''^' (32). Presented by 
 Sir Henry Wooton. 
 
 St. John the Baptist, by Da 
 Vinci t (71). 
 
 Two small pictures, by Man- 
 tegna, of the Death of the 
 Virgin (27), and a "Sacred Con- 
 versation" (33); both crowded 
 with incidents. 
 
 Silver embossed plates, by 
 Van Vianen (3). 
 
 A beautiful little carving in 
 hone-stone, representing Henry 
 VII I., J a whole length, in full 
 relief, about 6 inches high (12). 
 
 Holbein's picture of a German 
 and his wife§ (22). It bears 
 date 1512. 
 
 Holbein's portrait of a Cornish 
 Gentleman II (30). 
 
 Holbein's Frobenius the 
 printer (43). No. 323 of the 
 Hampton Court Catalogue. 
 
 Holbein's portrait of a man 
 in long beard, "almost side- 
 faced" (46). 
 
 Holbein's Erasmus ^ (49), 
 fellow" to the Frobenius* 
 No. 324 of the Hampton Court 
 Catalogue. 
 
 Holbein's Sir Thomas More 
 (48), in black cap, furred gown, 
 and red sleeves, on a very small 
 circular piece of wood.** 
 
 A small picture by Paolo 
 
 * Such a picture was left by the Duchess of Portland to Mrs. 
 Delany, who bequeathed it to Lady Stamford. See Mrs. Delany's 
 Autobiography, vol. 3, Second Series, page 490, and _pos#, page 369. 
 
 t A present from the French King, in return for which King 
 Charles sent a Profile of Erasmus by Holbein, and a Holy Family of 
 three figures by Titian. 
 
 X Probably the work of Nicolas da Modena. Purchased by Mr. 
 J. Dent, of Sudeley Castle, at the Strawberry Hill sale in 1842. It 
 had formerly been the property of Lady EHzabeth Germaine. 
 
 § These figures have been called the parents of Holbein. The 
 picture is now at Hampton Court, No. 336 of the Catalogue. 
 
 II Called " Eeskemeer," on the original drawing for it, at Windsor. 
 It is now at Hampton Com't, No. 325 of the Catalogue. He was 
 High Sheriff for the county of Cornwall in 1557. See Lodge's Biogra- 
 phical illustrations of Chamberlaine's 4to edition of Holbein's draw- 
 ings. London: 1812. 
 
 51 Charles had already parted with an Erasmus, by Holbein, " side- 
 faced, and looking downwards," to the King of France, in return for 
 the St. John by Da Viaci, named above on this page (71). 
 
 ** The frame and picture seem all to have been of one piece. 
 
PICTUEES AT ^\TIITEHALL PALACE, A.D. 1639. 325 
 
 Veronese, containing some eleven so many of the finest pictures Charles I. 
 figures, of the Finding of Moses for the King. 1625-49. 
 (11), purchased at Venice by Martin Luther (51), painted 
 Daniel Nys, the French mer- by Cranach, in a small " eight- 
 chant and agent who procured square " ebony frame. 
 
 TECE CABINET EOOM. Page 21* Cabino 
 
 Room. 
 
 Thirty-six sculptures in stone, bronze, and wood, are 
 enumerated as placed round tlie room and in tlie 
 windows. Among them — 
 
 " The King's own picture on life, being only a head. Done g^^ip^^ 
 
 horseback, done by the French- by the Frenchman " (35). 
 man" (24), apparently a model A little shagged dog, carved 
 
 (one foot one inch high) for the in alabaster, scratching his head 
 
 statue at Charing Cross. with his left foot (33), being 
 
 "The picture of the King done in King Henry VIII.'s time, 
 himself in brass, so big as the 
 
 Next follow a list of bas-reliefs, medallions, and 
 a series of copies, in miniature, by Peter Olivier, 
 after Eaphael, Correggio, and Titian, from pictures 
 already in the King's possession. These were kept 
 within cupboards, in double-shutting cases, with locks 
 and keys, and glasses over them. 
 
 The fine collection of Miniatures,! by Holbein, 
 
 * These nimihers following the names of the apartments refer to 
 the pages in Bathoe's edition of the Catalogue. 
 
 t These, it is hardly necessary to state, were termed Limnings,^* 
 a word applied to all minute paintings in water-colour (whether 
 opaque or transparent) upon separate cards, or the parchment leaves 
 of an ancient manuscript. The word has been used indiscriminately 
 as a heading throughout Bathoe's edition of this Catalogue. Every 
 page, whether describing oil pictures, miniatures, or sculptures, com- 
 mences with " The King's Collection of Limnings." The royal ap- 
 pointment of painter to the crown in Scotland, is traditionally made 
 at the present time under the title of " Limner.'' 
 
326 
 
 HISTOEY OF OLD LONDON. 
 
 Limnings Janet, Hilliard, Isaac Olivier, and Hoskins, were all 
 Cabinet arranged within square frames. These "Limnings" 
 Whitehall, amounted altogether to seventy-five in number. 
 
 LIMNINGS OE MINIATUEES. Page 32. 
 
 The most important among them are :- 
 
 Miniatures, Four Miniatures of Queen 
 Henrietta-Maria (11)— (14). 
 
 Four Miniatures of Henry 
 VIIL (45—48). 
 
 Three Miniatures of Queen 
 Elizabeth (31), (40), (41). 
 
 Isaac Olivier's portrait of 
 Prince Henry (17), of consider- 
 able size. 
 
 Mary Queen of Scots, as 
 
 Dauphine (33), by Janet. See 
 ante, p. 314. 
 
 Eight Miniatures in one frame 
 (24)— (31),* including Henry 
 VIIL, Catharine of Arragon, 
 Anne Boleyn, Queen Mary, and 
 Elizabeth. The miniature of 
 Queen Mary, painted in oil on 
 metal, is especially beautiful. 
 
 Many of the above miniatures had been presented 
 to the King by the Earl of Suffolk, the Earl of Pem- 
 broke (Lord Steward), Sir H. Vane, Lord Feilding. 
 
 Books, BOOKS, GEMS, MEDALS, 
 
 gems, and 
 
 medals. A collection of fifty-four books 
 of prints, drawings, &c., includ- 
 ing a volume of crayon portraits 
 of the nobility of France (42), a 
 4to book of studies by Michel 
 Angelo (47), and a proof im- 
 pression of Hollar's engraving 
 from the Eichard II. diptych, f 
 
 ND DEAWINGS. Page 56. 
 
 Four large engraved antique 
 cameos. 
 
 A large collection of golden 
 coins and medals. 
 
 Two large pictures, in guazzo 
 or distemper colours, by Cor- 
 reggio (Mantua pieces), which at 
 this period had no place assigned 
 
 * This frame, with all the contents as specified in this catalogue, 
 has passed into the collection of the Duke of Buccleuch. 
 t See post, p. 346. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 327 
 
 to them,* but were protected Gallery of Drawings at the Charles I. 
 in double-door shutting wooden Louvre.t 1625-49. 
 cases. They are now in the 
 
 After this are specified a large number of wax 
 " pictures," chiefly medallions, some modelled in relief 
 and others impressed from dies, set upon a black ground 
 in coloured velvet cases, black jet oval and circular 
 boxes. 
 
 Among them might be observed the King's portrait 
 when he was only eighteen years of age, the royal arms 
 at the back, and the motto " Si vis omnia subjicere, 
 subjice^te rationi, 1636 " (page 78). 
 
 TENNIS-COUET. Page 83. Tennis 
 
 Court. 
 
 The second volume commences with the Tennis- 
 court Chamber, which, according to Fisher s Map of 
 the Palace, must have been on the western side of the 
 public street, that is, towards the Cockpit, in the mass 
 of buildings abutting on St. James's Park. 
 
 In the Tennis-court Chamber, Sir James Palmer's 
 lodgings, were five pictures, figure subjects. 
 
 The chief among them being : — 
 
 " The picture of Queen Mary Prince (2), full length ; by Portraits, 
 
 of Scotland, King James's mo- Abraham Blyenburch. (Qy. 
 
 ther, at length, painted upon a Abraham Bloemaert). The name 
 
 board. Brought from Scotland of Cornelius Polenburgh has 
 
 and given to the King." (1.) been erroneously substituted for 
 
 Portrait of the King, when the above in Bathoe's edition. 
 
 * Bathoe's edition of the Catalogue, p. 76. 
 
 t See Landon's " CEuvres de Correge," planches 59 and 60; and 
 Landon's " Annales du Musee," vol. 2, planches 9 and 69. 
 
328 
 
 HISTOEY OF OLD LONDON. 
 
 Bear 
 Gallery. 
 
 BEAE GALLEEY. Page 84. 
 
 The Bear Gallery contained twenty-eight portraits, 
 the size of life, by good painters, and with powerful 
 effects of light and shadow; one Holy Family, by 
 Schidone (15), placed over the door ; a picture of three 
 Angels (20), by Salviati ; one Scriptural subject (l) ; 
 and two grand compositions by Eubens ; making, with 
 two other Italian pictures, (2) and (26,) thirty-five in all. 
 
 Pictures 
 by Rubens. 
 
 The " Emblem," or Allegory 
 " of Peace and War" * (13), by 
 Rubens. 
 
 The second large picture is 
 the grand composition of "Da- 
 niel in the Lion's Den "t (14), 
 presented to the King by Sir 
 Dudley Carleton. Size, 7 ft. 4 
 in. by 10 ft. 8 in. 
 
 Twenty-two out of these por- 
 traits were whole length, the 
 size of life ; nine of them by 
 Daniel Mytens, two by Van 
 Somer, two by Honthorst, five 
 by Van Dyck (three of them 
 half-lengths), one by Janet, and 
 one by Titian.:}: 
 
 * This is the fine picture now in the National Gallery. Its history 
 is so well known, that it is suflB.cient merely to allude to the circum- 
 stance that the picture was painted by Rubens during his residence 
 in England on diplomatic service, and that he himself gave it as a 
 present to King Charles. The dimensions are stated to be 6 ft. 8 in. 
 by 9 ft. 11 in. In the present official catalogue of the National 
 Gallery they are 6 ft. 6 in. by 9 ft. 9 in. 
 
 •f It now belongs to the Duke of Hamilton, at his palace in Scot- 
 land. 
 
 J Three of these paintings by Mytens were adaptations or copies 
 from earlier pictures, namely James IV. with a falcon on his wrist 
 (16), Margaret of Scotland (17), and Mary Queen of Scots (18), the 
 last being turned the reverse way of the panel picture, from which it 
 was taken. The first of these now belongs to Sir William Stirling 
 Maxwell of Keir, and the two last remain in the royal possession, 
 at Hampton Court Palace. The Queen Mary, with the rich black 
 robes and finely massed shadows, is a striking picture. The full 
 
PICTURES AT WHITEHALL PALACE, A.D. 1639. 329 
 
 ADAM AND EYE STAIES. Page 90. i625 49. 
 
 At the head of the Adam and Eve Stairs, outside 
 of the door of the room, an old Whitehall picture of 
 Adam and Eve, nearly the size of life, painted by 
 Mabuse * (1). 
 
 ^1 Adam aiid 
 
 ADAM AND EYE STAIRS-EOOM. Page 91. Eve Room. 
 
 Over the door, 
 
 " Titian and Aretino," a picture copied by H. Goltius (2). 
 
 The room contains twenty-four historical paintings, 
 chiefly Italian ; the largest being Titian s St. Sebas- 
 tian (4), and The Calling of St. Matthew, painted by 
 Mabuse, a present to the King (13). The latter picture 
 is now at Windsor Castle, after having been for some 
 time at Hampton Court. See post, page 373. 
 
 WHITEHALL. 
 
 THE FIRST PRIVY LODGING-ROOM. Page 96. Privy 
 
 Lodgings. 
 
 Containing twelve choice historical pictures, and all, 
 with the exception of one by Correggio, painted by 
 Titian. The figures are on a large scale. The best 
 known pictures are — 
 
 length of Charles Y. "with an Irish dog (12) is engraved in Madrazzo's 
 Gallery of Madrid. The Duke of Buckingham in white satin (29), and 
 the Earl of Nottingham, the gallant Admiral of the Eleet that repulsed 
 the Spanish Armada (31), are noble specimens of Myten's ability as 
 a portrait painter. The majority of these pictures measure 1 ft. 4 in. 
 by 4 ft. 6 in. 
 
 * This is now at Hampton Court, No. 580 of the Catalogue. 
 
330 
 
 HISTOEY OF OLD LONDON. 
 
 Privy 
 
 Lodging 
 
 Eoom. 
 
 Titian's 
 master- 
 pieces. 
 
 Tarquin and Lucretia (1), 
 Philip II. and the Princess of 
 Eboh as a naked Venus * (5) ; 
 The Entombment, " a Mantua 
 piece," t (7) ; The Supper at 
 Emmaus, "a Mantua piece," J 
 
 (9); The Marquis del Guasto 
 and his Mistress (10); Titian 
 himself, and a Senator § (11); 
 St. John the Baptist, " a tall 
 narrow piece " (6), by Correggio. 
 
 Second 
 
 Privy 
 
 Lodging. 
 
 Titian's 
 master- 
 pieces. 
 
 Giulio 
 Romano. 
 
 SECOND AND MIDDLE PEIVY LODGING-EOOM. Page 99. 
 
 Containing nineteen pictures, principally Italian, by 
 Titian, Polidoro, and Griulio Eomano. 
 
 Among tliem, 
 
 A Concert, by Titian (1), « a 
 Mantua piece," now in the 
 National Gallery. Titian's Mag- 
 dalen (14), Titian's Venus del 
 Pardo|| (16), presented to the 
 King when he went to Spain. 
 Three heads of a Jeweller in one 
 picture, by Titian (18); Giulio 
 Eomano's large altarpiece of the 
 Nativity (11), measuring 9 ft. 
 
 by 6 ft. 1 in. It is now in the 
 Louvre.^ The Birth of Hercules 
 (9), and The Education of Jupiter 
 (12), both by the last-named 
 master. Four narrow frieze-like 
 paintings of antique designs, by 
 Polidoro.** Giulio Romano's 
 ' ' Italian Prelate " ff (8) ; " Ch arles 
 Audax" (19), now in the Im- 
 perial Gallery at Vienna. 
 
 * Now in the Eitzwilliam Museum at Cambridge, 
 t Now in the Gallery of the Louvre. 
 X Now in the Louvre. 
 
 § Still in the Eoyal Collection at Windsor Castle. Compare ante, 
 314, No. 14. 
 
 II The real subject is Jupiter and Antiope. The picture is now in 
 the Louvre, No. 468 of the present Catalogue. 
 ^ No. 293 of the Catalogue. 
 
 ** All the last-named pictures now remain at Hampton Court. 
 
 tt In all probability Eaphael's Julius II., which passed from the 
 Queen of Sweden's to the Orleans' Collection, and is now in our 
 National Gallery. See ante, page 305, No. 16, for a portrait of 
 Julius II. in the Eoyal Collection at the time of James I. 
 
 XX The picture is now attributed to Hemessen. Along the ledge 
 or table in front is inscribed CAEOLVS AVDAX EVE. An old 
 copy still remains at Hampton Court. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 331 
 
 Charles I. 
 1625-49. 
 
 THIRD PRIVY LODGING-ROOM, CALLED ALSO THE Third 
 
 Trivy 
 
 SQUARE-TABLE ROOM. Page 104. Lodging. 
 
 Containing fifteen of the choicest pictures, exclu- 
 sively Italian. The following among them are the 
 most important : — 
 
 Holy Family, by Raphael 
 (11); "a large piece, painted 
 upon board, by Raphael Urbin, 
 being our Lady, Christ, and 
 Joseph, St. John, St. Anne, en- 
 tire figures less than the life. 
 A Mantua piece." 
 
 Giulio Romano's Triumph of 
 Vespasian and Titus t (1), 
 painted on panel. 
 
 A picture attributed to " Per- 
 mensius " (6). " An Italian 
 
 woman's picture, with her arm Italian 
 
 naked, dressing herself, and a 
 
 pieces by 
 
 man holding a looking-glass to Raphael, 
 her ; half a figure, so big as the 
 life, painted upon cloth." " Size, and Cor- 
 3 ft. 5 in. by 2 ft. 9 in." + ^"^Sgio- 
 
 Correggio's celebrated "Jupi- 
 ter and Antiope " § (12), " a 
 Mantua piece." Con-eggio's " Mer- 
 cury teaching Cupid to read"|| 
 (13), " a Mantua piece." 
 
 PRIVY GALLERY, WHITEHALL. Page 107. ^rWj 
 
 Gallery. 
 
 The Privy Gallery contained seventy-three portraits. 
 Only five out of the series were full length, namely 
 (56), (61), (68), (69), (70). 
 
 * This is the celebrated picture known as " La Perla," and now 
 in Madrid. See Passayant's Rafael, vol. ii. page 306. 
 
 t The picture is now in the Louvre, N"o. 295 of the Catalogue. 
 
 X This composition accords wath Titian's well-known composition, 
 now in the Louyre, No. 471, called " Titian's Mistress," but more 
 probably representing Alfonso I., Duke of Eerrara and Laura de' 
 Dianti. See Landon, *'CEuyres de Titien," pi. 13. 
 
 § Now in the Louvre, No. 28 of the Catalogue. See also Landon, 
 *' Ann ales du Musee," vol. iy. pi. 1, 
 
 II Now in our National Gallery. 
 
332 
 
 HISTOEY OF OLD LONDON. 
 
 Privy 
 Galler}^ 
 
 The majority are lialf length, life size, and by 
 wlTtehaii. painters of eminence. No dimensions appear in this 
 portion of the catalogue. 
 
 Foreign 
 Portraits. 
 
 Isabella de Valois, wife of 
 Philip IL* (5). 
 
 Earl Douglas, "also called 
 Black Dudley, in a black cap 
 with a little medal, being side- 
 faced " t (6), a " Whitehall piece," 
 a spirited profile, wearing the 
 collar of St. Michael. See In- 
 ventory of Henry VIIL, ante, 
 page 296, No 58. 
 
 Isabella, wife of the Emperor 
 Charles V. (11), painted by 
 Titian ; bought by the King. 
 Now in Warwickshire, at Char- 
 lecote, the residence of Mr. 
 Lucy. 
 
 The two sisters of Charles V; 
 half-length figures, the size of life 
 (9 and 10). The first, Mary of 
 Hungary, was Governess of the 
 Netherlands, and the second, 
 Isabella (Elizabeth), was married 
 to the King of Denmark. J 
 
 Charles V. (12), a " Whitehall 
 piece," in armour, holding a trun- 
 cheon. 
 
 The Duke of Alva when 
 young (17), presented by the 
 Earl of Arundel. Now at Wind- 
 sor. 
 
 Leonora, wife of Francis I., 
 and sister of Charles V., hold- 
 ing an orange (19), painted by 
 Janet. § Purchased hy the King. 
 No dimensions stated. 
 
 See Henry VIIL Inventory, 
 ante, No. 22, page 290. 
 
 Marie de' Medici, by Van 
 Dyck (22), wearing black, and 
 holding " a handful of roses." || 
 
 Ahove the door : A small draw- 
 ing with a pen, on parchment 
 (23), representing the Prince of 
 Wales's feathers encircled by the 
 Collar of the Garter, here styled 
 " a collar of roses." 
 
 * This corresponds with a fine picture, by Coello, recently be- 
 longing to Mr. Davenport Bromley, of Wotton, and of which a fine 
 repetition was exhibited by Mr. Joseph Bond at the British Institu- 
 tion in 1866. No. 90 of the Catalogue. 
 
 t It now belongs to the Marquis of Queensberry, and was No. 
 1 2 of the recent Portrait Exhibition at Kensington. 
 
 \ This picture appears to be the one now at Hampton Court **in 
 a widow's habit." No. 916 of the Catalogue. Mary of Hungary was 
 No. 284 of Hampton Court Catalogue. See^os^, page 374. Note. 
 
 § A similar picture is now at Hampton Court, but holding a 
 letter instead of the orange here mentioned by Vander Doort. 
 
 II This corresponds with a picture now at Blenheim Palace. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 333 
 
 THIETY-TWO SlVLiLL HISTOEICAL POETEAITS, BEENG A Charles I. 
 CONTEN-UATION OE THE SAME SEEIES. Page 112. 1625-49. 
 
 At the upper end of the same apartment com- ^'^^ 
 mences a series of small historical portraits, "p^acec^ old Por- 
 at the upper end of the Privy Gallery, toivards the 
 Queens side!' They are all marked as "Whitehall 
 pieces, and divided into two classes ; the first being 
 called ''Nine old heads upo7i hoard,'' and the second 
 being styled " Twenty-three little heads, most of them 
 painted without hands, upon hoard, much smaller 
 than the life!' The latter number probably occupied 
 a different side of the wall of the gallery. Dimensions 
 are noted against the second portion only. 
 
 The greater part of these ''heads' appear to be iden- p^J^^f^^-^g 
 tical with the former entries in King Henry's Inventory, 
 as shown by the following list : — 
 
 A young King (Qj. Eichard Margaret of Eichmond, mother 
 
 IL),(2-1). Compare King Henry's of King Henry VIL (31). No. 55, 
 
 Inventory, No. 59, ante, p. 297. page 296. 
 
 Eichard IIL (25). See In- Elizabeth of York (32). Com- 
 
 ventory, No. 54, page 295. pare No. 34 below. 
 
 Edward IV. (26). No. 14, King Henry VIL, with 
 
 page 288. two hands, in a furred gown 
 
 Henry V. (27). No. 30, page and a black cap " (33). No. 
 
 291. There is no king's name 32, ante, page 291. 
 
 given in the original manuscript. Elizabeth of York (34). No. 
 
 Henry VI. (28). No. 31, page 19, page 289. 
 
 291. A lady in a red golden cloth 
 
 Margaret of Scotland (29). habit (35). See No. 304 of 
 
 No. 45, page 294. Hampton Court Catalogue. 
 
 King Henry VIIL (Prince A lady putting a ring on her 
 
 Arthur), (30), with red cap and left-hand finger (3 6). See No. 296 
 
 collar about his neck, of white of Hampton Court Catalogue, 
 
 and red roses. See Inventory A White Nun (37), Margaret, 
 
 No. 1, ante, p. 287. Aunt to Charles V., Governess 
 
334 
 
 HISTOEY OF OLD LONDON. 
 
 Privy of the Netherlands in 1520. 
 Gallerj 
 Whitehall. 
 
 ,%lle^7'„ See Inventory, No. 14, ante, 
 
 page 294. It is now No. 298 
 of the Hampton Court Cata- 
 logue. 
 
 Henry VIII. when young ; a 
 glove in his right hand (38).* 
 See Inventory, No. 35, page 292. 
 
 The Princess of Castilion, " in 
 a black dressing, with her hands 
 together" (39). Possibly a wrong 
 name for the picture, now at 
 Windsor, which I recently dis- 
 covered to be the Duchess of 
 Milan. Compare King Henry's 
 Inventory, No. 49, page 295. 
 
 Countess of Cobbona (40). 
 Compare the " Barcele Countess 
 of Corne " of King Henry's In- 
 ventory, No. 3, ante, page 287. 
 This picture afterwards appears 
 in the collection of James II. 
 See page 23, No. 255, of Bathoe's 
 edition, where it is called " Ber- 
 scele Countess de Corne." 
 
 Elizabeth " Elizabeth, the Austrian 
 
 or Isabella q^^^^ ^f Bavaria" (41). Com- 
 
 Queeii of ^ ^ 
 
 Denmark, pare No. 296 of the Hampton 
 
 Court Catalogue. This is pro- 
 bably an erroneous substitution 
 of the word Bavaria for Den- 
 mark. See ante, page 290, 
 No. 21. Isabella or EUzabeth, 
 
 the wife of Christian IL and 
 sister of the Emperor, would be 
 the subject most likely to occur 
 in this place. Otherwise the 
 portrait might have been Cune- 
 gunda, the sister of Maximilian 
 I., and married to Albert, Duke 
 of Bavaria, in 1487. 
 
 The Emperor Frederick, side- 
 faced, with a golden cap (42). 
 See King Henry's Inventory, 
 No. 27, ante, page 291. 
 
 Philip le Bel (43). See No. 
 51, ante, page 295. 
 
 Charles VIII. of France f (44). 
 See No. 7, ante, page 287. 
 
 Philip of Burgundy (45), (pro- 
 bably the Hardy). See No. 52. 
 
 Louis XII. of France (46). 
 See No. 43, ante, page 294. 
 
 Prince Arthur when young 
 (47), " in his minority, in a 
 black cap and golden habit, 
 holding in his right hand a 
 white gilly flower." See King 
 Henry's Inventory, No. 2, ante, 
 page 287. This picture is no 
 longer in the royal collections, 
 but old copies, illustrating the 
 type, are occasionally to be met 
 with. See " Archseologia," vol. 
 xxxix,, pages 249 and 462. 
 
 Elizabeth, Queen of Edward 
 
 * Now at Althorp, and may have had originally a companion 
 picture of Jane Seymour, of similar treatment, as shown by the Car- 
 toon by Holbein and Van Leemput's copy, now at Hampton Court, 
 post, p. 356. 
 
 t Bathoe prints "King Charles XIL," but the original manu- 
 script says simply *' the King of France." 
 
PICTUEES AT ^TOTEHALL PALACE, A.D. 1639. 335 
 
 lY. (48). See No. 18, ante, page 
 289. 
 
 Isabella of Castile (49). See 
 No. 37, ante, page 293, now at 
 Windsor. 
 
 Ferdinand of Arragon (50). 
 See No. 23, ante, page 290. 
 
 The Queen of Castile (-51). 
 See page 293, No. 39. 
 
 Charlemagne, "Charles Mag- 
 nus, in a furred cap, with a glory 
 about his head ; " no dimensions 
 are given (52). A similar pic- 
 
 ture to this now belongs to the Charles I. 
 o • X r A X- • 1625-49. 
 Society of Antiquaries. 
 
 Philip (Audax) the Bold (53). 
 Compare No. 53, ante, page 295. 
 
 Julius Csesar, " side-f aced 
 (54). See No. 42, ante, page 
 294. 
 
 Duke John (Sans Peur) of 
 Burgundy (55), " looking down- 
 wards, in a black habit and 
 cap."* Father of Philip the 
 Good, murdered 1419. See 
 No. 40, ante, page 294. 
 
 This concludes the thirty- two Old Heads (9 + 23), Privy 
 as distinctly specified. Those that follow are ap- Portraits, 
 parently of a larger size ; but no dimensions are in 
 the original catalogue, although in Bathoe s edition 
 measurements are given to the following : — • 
 
 Henry VIII., his Queen (Ca- 
 therine Parr), Edward YL, and 
 the Princesses Mary and EHza- 
 bethf (56). 
 
 King Henry when young, hold- 
 
 of the Inventory, ante, p. 292. Henry 
 Upon the door of the " Clmir- VIII. 
 room."" — A small group of three picture, 
 half-figures, Maximilian, Charles 
 v., and Ferdinand, in one frame.;}; 
 
 ing a scroll (57). Compare No. 34 (58.) 
 
 * A portrait of this Duke, engraved in Montfaucon's " Monumens 
 de la Monarchie Fran^aise," vol. iii. pi. xxx. No. 2, exhibits tho 
 above-mentioned pecuHarities of the eyes looking down, and a black 
 dress and cap. 
 
 t This is the first mention of this pictui-e in any catalogue. Judg- 
 ing by the countenance of the King, and the ages of the children, it ap- 
 pears to have been painted almost at the close of his reign. It is 
 painted on canvas, and now at Hampton Court. No. 510 of the 
 Catalogue. 
 
 X Apparently a medallion, carved in wood. See King Henry's 
 Inventory, No. 12, ante, page 288. This composition corresponds with a 
 beautiful little box -wood carving at Yienna. See ' ' Arneth Monumente 
 
336 
 
 HISTOEY OF OLD LONDON. 
 
 Privy Philip IL when young, in 
 
 Gallery, black dress lined with white 
 Whitehall. ^ , ^ 
 fur* (59). 
 
 " Two men children and one 
 woman child playing at a table." 
 The three children of the King 
 of Denmark f (60). See Inven- 
 tory, No. 13, ante, page 288. 
 King Edward VL,when Prince, 
 at length, in a red satin coat, 
 lined with white fur, and in a 
 wdiite suit " (61). " A Whitehall 
 piece." No dimensions given. 
 See Inventory of 1547, No. 16, 
 ante, p. 289. 
 Foreign Archduke Charles of Austria 
 (62). Father of the Emperor 
 Ferdinand II., and of Margaret, 
 wife of Philip III. of Spain. 
 Born 1540 ; died 1590. "A 
 Whitehall piece." 
 
 The old Duke of Savoy (63), 
 " so big as life to the shoulders. 
 
 Portraits. 
 
 with a white cross on hlach 
 armour." 
 
 " The aforesaid Duke's son, 
 with a white cross on white 
 armour, so big as life to the 
 shoulders " (64). Both pictures 
 brought from Savoy by Sir Hen. 
 Wooton, and presented by him 
 to the King. 
 
 Queen Elizabeth, when young, 
 in a red dress, holding a book % 
 (65). No dimensions are given in 
 Van Doort's original MS. See 
 Inventory, No. 20, page 289, 
 and also page 311. 
 
 King James, in white, with a 
 hat and feather (66). " A White- 
 hall piece." 
 
 Small picture of the Con- 
 version of St. Paul (67). "A 
 Whitehall piece." 
 
 The young Palsgrave, " at 
 length" (68). 
 
 in Wien," fol. 1858, pi. 1, No. 128. In Yander Doort's Catalogue 
 the names are wrongly set down as Henry YIIL, Emperor Frede- 
 rick and his son, Maximilian Prime. This last word is wrongly 
 printed by Bathoe as "PWwce." 
 
 * This picture, printed on panel, is now at Hampton Court, No. 
 291 of the Catalogue. It was No. 209 of the recent Portrait 
 Exhibition. A similar picture is in the possession of Earl Stanhope, 
 painted on canvas. 
 
 t This picture has, as before stated, been falsely engraved by 
 Yertue as the children of King Henry YII. of England. (See 
 
 Archseologia," vol. xxxix. p. 256.) 
 
 X This picture, inscribed with her name in the corner, has recently 
 been removed from Hampton Court to St. James's Palace. It first 
 appears in the Inventory of 1547, and must therefore have been 
 painted between that time and 1542, which contains no mention 
 either of it, or of the full-length of Prince Edward, in red. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 337 
 
 The Ai'chduke Matthias, " at 
 length" (69). 
 
 The Duke of Savoy, when 
 young, in armour, attended by 
 his page, " so big as the life, at 
 length" (70). "A WhitehaU 
 piece." 
 
 A daughter of the Duke of 
 Savoy, fair, and adorned with 
 jewels (71). 
 
 The three children of the 
 Palsgrave (72). That is of the 
 
 King and Queen of Bohemia, Charles I. 
 two guls and a boy, nephew and 162o-J9. 
 nieces of King Charles. They are 
 represented, each in a separate 
 oval compartment, side by side. 
 The punctuation of the descrip- 
 tion has been sadly blandered in 
 Bat hoe's transcript."' 
 
 A daughter of the Duke of 
 Savoy (73). Showing two hands, 
 having a dark complexion, with 
 diamonds and chains. 
 
 mTHDEAWING EOOM, 
 OE, THE king's BEEAKFAST CHAMBEE. 
 
 contained, above the table, — 
 
 Van Dyck's fine picture of 
 the children of Charles I., with 
 great dog, which is now in the 
 Van Dyck gallery at Windsor 
 Castle (1). This picture was 
 painted in 1637, and purchased 
 by King George III. from Lord 
 
 Page 123. 
 
 Breakfast 
 Chamber. 
 
 Portmore. It is one of the very 
 few works of the ancient masters 
 acquired by that monarch. 
 
 Over a door was Giulio Ro- 
 mano's " Mermaid, with young 
 Mermaids" t (2). " A Mantua 
 piece." 
 
 KING'S BEDCHAMBEE. Page 123. 
 
 The Kings Bedchamber contained family portraits, Bedcham- 
 and a few choice pictures of religious and classic 
 subjects. 
 
 Above the chimney, " The Duke Holy 
 
 At the bed-side was a small 
 " Holy Family," by Eaphael (9), 
 "Our Lady, Christ, and St. John, 
 little entire figui'es, half as big 
 as the life." 
 
 of Buckino;ham and Family" F^i""^}' 1*7 
 
 ® IJaiihael. 
 (8), done by Honthorst, " half 
 
 figures, so big as the life." 
 
 * This picture is now at Buckingham Palace, in the green draw- 
 ing-room, where it was quite recently entitled ' ' Children of Henry 
 VII." (See Archseologia, vol. xxxix. p. 461.) 
 
 t This picture has lately been restored to public view in the 
 rooms at Hampton Court Palace. 
 
338 
 
 HISTOEY OF OLD LONDON. 
 
 Portraits 
 by Hon- 
 thorst. 
 
 chamber, 
 Whitehall, 
 
 Little 
 Room. 
 
 Portraits, 
 
 Raphael. 
 
 This fine picture is now at 
 Buckingham Palace, over a door 
 in one of the drawing-rooms. 
 
 Van Dyck's portrait of " Queen 
 Henrietta Maria," in white satin 
 (1), " to the knees," now at 
 Windsor. 
 
 " The King of Bohemia," on 
 board, " to the shoulders, in a 
 cloak, with one hand" (2), hj 
 Honthorst. 
 
 " The Queen of Bohemia," in 
 yellow and black, with one hand 
 
 holding a fan, " to the shoul- 
 ders " (4), by Honthorst. 
 
 " Prince Henry," in armour, 
 enlarged, by My tens, after Olivier, 
 " to the shoulders" (3). 
 
 The Children of the King 
 of Bohemia," by Poelemburgh 
 (7). Numerous small full-length 
 figures in a landscape. Now at 
 Hampton Court Palace. No. 
 311 of the Catalogue. See post, 
 p. 369. 
 
 LITTLE EOOM. Page 125. 
 
 This small apartment, between the Withdrawing- 
 room and the Long Gallery, contained principally 
 Italian pictures, and portraits of painters by themselves. 
 
 The most distinguished among them was Titian s 
 large picture, on canvas, of " The Entombment (3), 
 " a Mantua piece," with three crosses in the distance, 
 and the figure of Christ, " painted in shortning." * 
 
 Portraits of the Painters by cap, in a black habit, with his 
 
 themselves — namely, Rubens (2), 
 Van Dyck (4), Mytens (5), over 
 the door, and an old man with a 
 long beard (6), by Michal John- 
 son Mireveldt. 
 
 Portrait, by Raphael, of a man 
 (15) "in a two-peaked black 
 
 right hand holding his garment 
 at his breast." 
 
 Portrait of a Gardener (Ar- 
 borist)t to the Duke of Flor- 
 ence (14), attributed to Andrea 
 del Sarto, but bearing the mono- 
 gram of Franciabigio on a prun- 
 
 * The great picture, now in the Louvre, we have already noticed 
 in the First Privy Lodging-room. (See a7ite, p. 330.) Against this 
 picture, in Vander Doort's original MS., is the following note : — 
 
 This piece was hy your Ma^'^ appointm*- removed into the Queen's 
 Bedchanih. ahove the chimney. 1639. Odo." 
 
 t The word in Yander Doort's MS. is Rarhorest,^' which Bathoe 
 explains as the "Harbinger." 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 339 
 
 ing knife at the back. 
 Windsor Castle. 
 
 Portrait of an old shaven man, 
 like a friar, holding his right 
 
 Now at hand to his breast, and in his Charles I. 
 left hand a scroll of paper (13), 
 
 on canvas. 
 
 LONG GALLEEY. Page 130. 
 
 The King's Long Gallery, toivards the Orchard, con- Long 
 tains one hundred and three pictures ; very varied in ^ * 
 character. 
 
 The chief picture, and pro- 
 bably the one occupying the 
 upper end of the gallery, is Van 
 Dyck's large family piece of King 
 Charles and Queen Henrietta, 
 with their two children ; West- 
 minster being seen across the 
 water in the distance (1). Size, 
 9 ft. 8 in. by 8 ft. 
 
 This grand composition is now 
 in the Van Dyck room at Wind- 
 sor Castle. Kepetitions of it 
 are at Chiswick, the Duke of 
 Devonshire's, and at Goodwood, 
 the Duke of Eichmond's. 
 
 Giulio Eomano, painted by 
 himself (21). 
 
 Over the door, towards Lord 
 Holland^s lodgings, a Spanish 
 Landscape, with St. Peter re- 
 ceiving the Keys, in the fore- 
 ground (26). 
 
 An Angel defending three 
 Churchmen by driving from 
 them naked figures, personify- 
 
 * The three principal personages are not tonsured, but one wears 
 a richly embroidered cope ; apparently a portrait of Cardinal Gran- 
 velle, Minister of Philip II. Now at Hampton Court, transferred 
 from panel to canvas. No. 145 of the Catalogue. 
 
 z 2 
 
 ing the Vices (27). Half-length y^^^^ 
 figures. The picture is attri- 
 buted to Palma Giovane.* 
 
 Portrait of a young man with 
 red sleeves (28), signed G. P. 
 48. By George Penz. Now at 
 Hampton Court. No. 903 of 
 the Catalogue. 
 
 Above the door of His Majesty'' s 
 Robes, a Saint, by Guercino, 
 holding a scroll in his right and 
 leaning on his left hand (30). 
 
 Above the chimney, a water- Lncas Van 
 colour picture, by Lucas Van Leyden. 
 Leyden (33), "containing some 
 fifteen figures, half so big as 
 the life, sitting, playing at chess." 
 
 The good thief and the bad 
 thief on their crosses (34 and 
 36) ; being two leaves of a trip- 
 tych, the centre having con- 
 tained Our Lord on the cross. 
 
 Eome set on fire, " where the 
 people flying with pack and sack, 
 containing upon the first ground 
 
340 
 
 HISTOEY OF OLD LONDON. 
 
 Long gal- some seventeen figures, besides 
 
 Whitlhall ^^^^^^ landskip 
 ' afar off" (35). " A Mantua piece, 
 said to be of Giulio Romano." 
 Compare the fine cUrtoon (in 
 powerful colours) now in the 
 Louvre. 
 
 Above the Diike of Lenox's door, 
 Half figure of a woman, by 
 Palma Vecchio, with yellow hair, 
 white habit, and white wide 
 sleeves, holding her right hand 
 to the left sleeve (40). Life size. 
 
 St. Anthony of Padua, side- 
 faced, looking up and holding a 
 branch of white lilies (46). "A 
 Mantua piece," by Domenico 
 Feti. 
 
 Ahove the Duke of Lenox's door, 
 "A black- com plexioned man, 
 with his right hand on a table, 
 in black slashed sleeves, with 
 white imder it, in a little fall- 
 ing-peaked band, stitched with 
 silk" (47). "A Mantua piece." 
 Size, 2 ft. 5 in. by 2 ft. 
 Ginlio At the lower end of the gallery, 
 
 Eomano. Jg^^c^g Orchard window-door, 
 a piece of "Lantyr (Atalanta), 
 to whom is presented by a 
 young man, a wild boar, and 
 Envy lying on the ground, with 
 some other figures" (59). "A 
 Mantua piece." Painted upon 
 panel by Giulio Romano. 
 
 On the other side of the win- 
 
 doiv, Jupiter between two female 
 figures, the one Pallas and the 
 other a woman "holding the 
 flame of Jupiter's thunderbolt " 
 (60). " A Mantua piece, painted 
 on panel by Giulio Romano." 
 
 Upon the third window-post, a 
 piece of our Lady, copied at the 
 Escui'ial, after Raphael, by 
 Mich, de la Croy (66), or Mi- 
 chael Cross. Our Lady in a 
 yellow and blue habit, em- 
 bracing Christ in both her arms, 
 she looking about her left 
 shoulder (73). Half a figure, 
 almost so big as the life ; said 
 to be a copy after Raphael. 
 (See Walpole's Anecdotes, page 
 264 of Dallaway and Wornum's 
 edition.) 
 
 Ahove my Lord of Monmouth'' s 
 door, a woman's picture in a 
 black habit and scarf, said to be 
 done by Rubens when he was 
 in Italy (75). Size, 2 ft. 5 in. 
 by 1 ft. 7 in. 
 
 The two daughters of Philip 
 IL, in their childhood (82).* 
 Two whole-length standing 
 figures, a dog on table between 
 them. Presented to the King 
 by Lord Ancram. 
 
 Giulio Romano's figure of 
 Temperance (83), half-length, 
 emptying water from one vessel 
 into another ; a man in red, with 
 
 * Isabella, afterwards Governess of the Netherlands, and Cathe- 
 rine, married to Charles Emanuel, Duke of Savoy. Now at Bucking- 
 ham Palace, over a door in the green drawing-room. 
 
PICTURES AT WHITEHALL PALACE, A.D. 1639. 341 
 
 both his hands at his breast, 
 standing by. " A Mantua piece." 
 
 Above Lord Ancrams door, 
 Rembrandt's own portrait, in a 
 black cap and furred habit, with 
 a little golden chain upon both 
 his shoulders (87). Presented 
 to the King by the Earl of 
 Ancram.* 
 
 A large picture of a naked 
 Venus, sitting at a table, with a 
 looking-glass, white vase, and 
 water-glass on it ; Cupid at her 
 right shoulder, with a bow in 
 his hand (95). Painted by 
 Palma Giovane.f 
 
 DUCHESS OF SHREWSBUEY^S LODGINGS. Page 151. 
 In the Duchess of Shrewsbury s Lodgings, above Duchess of 
 the chimney, placed during the time of her abode there, hmf^ 
 
 Lodgings. 
 
 " Judith cutting off the head of by Frosley. Size, 2 ft. 5 in. by 
 Holofernes" (103). Purchased 2 ft. 
 
 KING'S CHAIE-EOOM. Page 151. 
 
 The Kings Chair-room, in the Privy Gallery, con- ciiair- 
 taining thirty-four pictures, placed round about the Th^one-^ 
 chair-room by the King. 
 
 These pictures are very varied in character ; some 
 
 * Eembrandt's portrait of his mother, now called the Countess of 
 Desmond, was in the same gallery, and appears under No. 101 of 
 this Catalogue. It was also presented by Lord Ancram. 
 
 t Compare this composition with the engraving of a similar pic- 
 ture by Teniers, which is now in the Imperial Gallery at Yienna, 
 attributed to Correggio. See Landon, *' Yie et (Euvre du Correge,'' 
 pi. 66. 
 
 X This has subsequently acquired the false designation of the 
 Countess of Desmond. See Lord Orford's Works, 1798, 4to., vol. i., 
 page 217, for a valuable note on the subject. 
 
 " Leda," by Paul Yeronese Charles I. 
 (98); upon a white bed, with a 1625-49. 
 white swan, holding with her Long 
 right hand under a purple cur- 
 tain. Exchanged with Lady 
 Buckingham for a Mantua piece. 
 
 Between the \Q)th and last Rem- 
 
 window, " An old woman with a bi-andt's 
 ' mother, 
 great scarf upon her head, with called the 
 
 a peaked falling band"+ (101). ^g^^'f^"^^^^^^^ 
 Done by Rembrandt. Presented 
 by the Earl of Ancram. This 
 appears to have been a com- 
 panion picture to Rembrandt's 
 own portrait. No. 87. 
 
342 
 
 HISTOKY OF OLD LONDON. 
 
 Chair or 
 Tiirone- 
 room at 
 WhitehaU. 
 
 Equesti'ian 
 portrait by 
 Van Dyck, 
 
 of tliem by Albert Durer, Holbein, Kubens, Isaac 
 Olivier, Janet, Mireveldt, and Italian masters, in- 
 cluding several historical portraits. 
 
 Van Dyck's " King Charles," Hampton Court. ItwasNo. 321 
 
 Kings of 
 Scotlandt 
 
 upon a yellow horse, one follow- 
 ing him carrying his "head-piece" 
 (helmet), " which was the model 
 whereby the great picture was 
 made " (3) ; size 3 ft. 2 in. by 2 ft. 
 Now in the picture-gallery at 
 Buckingham Palace. The great 
 picture is now at Blenheim. 
 
 " Sotto Cleeve and his Wife " 
 (7 and 8)^ painted by himself. 
 "Bought by the King." Now 
 at Windsor Castle. 
 
 " James I.," aged six years, in 
 cap and feather, with a falcon on 
 his right fist (10). Given to the 
 King by Mr. Kobert Young. 
 
 A similar, but larger, picture 
 is now in the National Portrait 
 Gallery. 
 
 King James V. of Scotland, 
 with the Scottish arms by. "Both 
 his hands one over another" (12). 
 Now at Windsor Castle. 
 
 Erasmus," copied by G. Penz, 
 after Holbein (13). Now at 
 Windsor Castle. 
 
 Queen Mary of Scotland, " in 
 her white morning habit " (14). 
 Given by the Marquis of Hamil- 
 ton. (A defaced picture.) 
 
 " Queen Mary of Scotland " 
 (15), similar to the preceding, 
 said to be done by Janet. Given 
 by Lord Denbigh. Both of them 
 measm^e 1 ft. by 9 in. Now at 
 
 of the South Kensington Portrait 
 Exhibition. 
 
 "An Interior," by Steenwyck, 
 with a figure of the King walk- 
 ing in it, painted by Cornelis 
 Janssens (19). 
 
 "Albert Durer, when young, 
 in long yellow hair" (25), painted 
 by himself. Presented to the 
 King by the city of Nuremberg. 
 This corresponds with the picture 
 now in the gallery at Florence. 
 
 " Albert Durer's Father 
 (26), in a black Himgarian cap. 
 This picture corresponds with 
 one now belonging to the Duke 
 of Northumberland. Engraved 
 by Hollar. 
 
 Holbein's " Portrait of a Mer- 
 chant opening a letter with a 
 knife" (29). Now at Windsor 
 Castle. One of the Steelyard 
 fraternity. 
 
 A holy family, by some un- 
 known Italian painter, under a 
 green curtain, " Christ reaching 
 some Cherries to Joseph" (33). 
 See ante, p. 299. 
 
 Isaac Olivier's portrait, "a 
 big limning,'' of Prince Henry. 
 A red curtain by him, and tents 
 pitched in the distant field (34). 
 This valuable miniature is now 
 preserved in the royal library at 
 Windsor Castle. 
 
PICTURES AT WHITEH.iLL PALACE, A.D. 1639. 343 
 
 More pictures in the chair-room : — Page 161. 
 
 Rubens's "model and first 
 pattern " for the ceiling in the 
 Banquetting House (5), which 
 was sent for the King's appro- 
 bation, was suspended from the 
 ceiUng over the table, painted 
 upon cloth, in a gilded frame. 
 Size, 1ft. 3|in. by 1 ft. 10 in. 
 
 "The King's Head," looking 
 into the fields (10). 
 
 The Queen's picture, stitched 
 in silk (16). 
 
 Van Dyck's portrait of Lady 
 Shirley in a Persian dress (18). 
 Now at Petworth House. 
 
 The Marquis del Guasto and 
 family as Mars, Venus, and 
 Cupid (20). 
 
 Four pictures by Guido, of 
 the " Labours of Hercules " 
 (19), with figures larger than 
 life. They are now in the 
 Louvre, Nos. 335 to 338 in the 
 Catalogue. 
 
 Vander Doort's "Head of a 
 Woman," modelled in coloured 
 wax, inlaid with gold and silver 
 (21), intended for the Emperor 
 Rudolph, but detained by Prince 
 Henry, who pressed the artist 
 into his service. See ante, p. 
 317. 
 
 French Portrait, supposed to 
 represent Charles IX. of France 
 (24). Bought by the King. Size 
 1 ft. 2 J inches by 10 J inches. 
 
 Page 166. 
 
 Charles I. 
 1625-49. 
 Chair or 
 Throne- 
 room. 
 
 Vander 
 Doort's 
 model. 
 
 IN STORE. 
 
 In Store in the Passage-room hetiveen the Banquet- 
 ting House and the Privy Lodgings : — 
 
 store- 
 room. 
 
 brought back to England in 17 98 
 among the Flemish pictures of 
 the Orleans Collection. Pur- 
 chased of Mr. Morland by George 
 IV. See Mr. Jameson's Private 
 Galleries, page 41. 
 
 The great picture of " St. 
 George," by Rubens (1). Bought 
 by the King of Sir Endymion 
 Porter. This dramatic picture is 
 now in the Queen's Gallery at 
 Buckingham Palace. It was 
 
 Raphael's Cartoons *^'' (2) : — 
 
 * It is said by Dorigny, on the authority of the Lord Cham- 
 berlain, in his dedication to George I., who knighted him, that 
 Charles I. had purchased them, for a large sum, from Flanders, at 
 the suggestion of Rubens. See also Walpole's Anecdotes," edited 
 by Dallaway and Wornum, p. 272. An interesting series of copies 
 from them by Mytens still exists at Knole, and many repetitions 
 in tapestry are distributed over the country in ancient family 
 residences. 
 
344 
 
 HISTOEY OF OLD LONDON. 
 
 Whitehall " In a slit deal wooden case, 
 
 Store- some two cartoons of Raphael 
 rooms. ^ 
 Raphael's ^^^^^'^j hangings to be made 
 Cartoons, by, and the other five are, by 
 the King's appointment, deli- 
 vered to Mr. Franciscus Cleane, 
 at Mortlack, to make hangings 
 by." No dimensions given. 
 
 " Mary of Guise, the King of 
 Scotland, King James the 5th's 
 wife, mother to Queen Mary of 
 Scotland" (3).* 
 
 Honthorst Honthorst's large picture of 
 portraits. ^^^.^^ -g-.^^ 
 
 Queen of Bohemia in the clouds, 
 with the Duke of Buckingham 
 presenting their children to 
 them, as allegorical figures " (4). 
 No dimensions given, but men- 
 tioned as " a very large piece." 
 Now on a staircase at Hampton 
 Court Palace. 
 
 "Diana and Calisto, a large 
 piece. The figures half so big 
 again as life. Made for a pattern 
 for hangings" (6). 
 
 " Mucins Scaevola" (7). " A 
 Whitehall piece." 
 
 IN STOEE. Page 168. 
 
 In the little Store-room in the Bear Gallery : — 
 
 *'The Duke of Brunswick, of "Maximilian's Triumph" 
 
 Bishop of Halberstadt" (2), " to (3). 
 
 the shoulders," on panel, by Breughel's (?) " Blind leading 
 Michael Johnson Mireveldt. the Blind " (4). " A water- 
 Albert Dui'er's large print coloured piece. A Mantua piece." 
 
 THE queen's bedchamber. Page 169. 
 
 A little piece of " A Bacchus finished painting in chiaroscuro. 
 Triumph ; many little entire " Done at Venice ; done in black 
 figures." Apparently a highly- and white " (8). 
 
 THE queen's LITTLE DRESSING-ROOM. Page 169. 
 
 " The Queen's own picture," " The King's Niece,'' in a 
 in a shepherd's habit (9). Done shepherd's habit (11). Done 
 by Honthorst. by Honthorst. t 
 
 * Apparently the panel picture with a shield of arms, and date 
 1611, in the background, now at Hampton Court, No. 315 of the 
 Catalogue. 
 
 t Apparently the Princess Sophia, mother of George I. The pic- 
 ture is said to be at Wilton House. 
 
 Queen's 
 Bedroom. 
 
 Queen's 
 Dressing- 
 room. 
 
PICTUEES AT WHITEHALL PALACE, A.D. 1639. 345 
 
 " The Queen's Sister, the 
 Duchess of Savoy," when she 
 was young (12), in her blue 
 embroidered habit. This lady was 
 Christina, the second daughter 
 of Henri IV. of France, married 
 to Victor Amadeus of Savoy in 
 1619. 
 
 " The Queen herself, " before Charles I. 
 she was married (13). 1625-49. 
 
 " The now Prince of Spain " Portraits. 
 (U). The Infant Don Balthasar, 
 eldest son of Phihp IV. He 
 died 1646. 
 
 "An engraving of the King 
 and Queen together" (15).* 
 
 THE QUEENS SECOND BEDCHAMBER. Page 110. 
 
 Contains five pictures, all of them representing tlie ^^^^^^ 
 Holy Family. 
 
 Second 
 Bedroom. 
 
 " Our Lady and Christ ' (16). 
 " New and fresh made, done in 
 France. Bemoved from Somer- 
 set House Gallery." 
 
 " Our Lady, Christ, St. John, 
 and Joseph" (17). By Luca 
 Coniagio (Luca Cambiasi or 
 Cangiaci). 
 
 "Our Lady, Christ, and Jo- 
 seph" (18). A copy, by Gen- 
 tileschi. 
 
 " Our Lady and Christ." 
 " Said to be of Baphael. Painted 
 
 upon a heavy board. She Holy 
 reaching, with her right hand. Families, 
 flowers to Christ, and with her 
 left hand holding a book. Be- 
 moved hy the King himself out of 
 the Long Gallery into the Queen's 
 Bedchamher'' (19). 
 
 Van Dyck's " Our Lady with 
 Christ, where many Angels are 
 a dancing. Removed hy the King 
 himself out of the Little Room hy 
 the Long Gallery " f (20). 
 
 QUEENS WITHDEAWIXG CHAMBER. Page 111. 
 
 Above the chimney, "A Susanna, with the two -vMth- 
 
 drawing 
 room. 
 
 Elders" (21). 
 
 * Apparently the engraving by Van Voerst, fi'om Van Dyck's fine 
 picture of King Charles and his Queen holding a wreath between 
 them. The picture is now in Buckingham Palace, over a door in 
 one of the drawing-rooms. A copy in limning, done by Hoskins 
 when the original was at Denmark House, appears in Vander 
 Doort's Catalogue, p. 37, No. 15. 
 
 f Now in the Collection at St. Petersburg, to which it passed, with 
 other pictures, belonging to the Houghton Gallery. 
 
346 
 
 HISTORY OF OLD LONDON. 
 
 IN STORE. Page 17 L 
 
 ■Whiteliall 
 Store- 
 room. 
 
 " The following are hept 
 yet unplaced " : — 
 
 Titian's Holy Family. " She 
 sitting on the ground, in a blue 
 garment, with Christ on her lap ; 
 with Joseph in a yellow drapery, 
 with three angels in a landscape. 
 A Mantua piece" (22). 
 Portraits. " Q^een Mary of Scotland " 
 (23) j as big as life, to the 
 shoulders, her name being there- 
 by written in great letters. 
 Thought to be done by Frederick 
 Zuccaro. Changed with Lord 
 Holland for the King's picture 
 in brass.* 
 
 The Queen, when she was a 
 child ; with gold flowers, made 
 in a head-dressing, upon a red 
 Kichardll. ground (25). Painted upon 
 (Diptych.) ^2oth, "being but meanly done." 
 
 An Interior, "wherein the 
 Queen is painted in little, at 
 length, standing by a blue table, 
 in white apparel" (26). By 
 
 in several 'places, and are 
 
 " John Van Beliame " (Bel- 
 camp). 
 
 A similar piece, *'by Houk- 
 gest, with the Queen's picture 
 therein, done by Cornelius John- 
 son, whereof the dress is un- 
 finished" (27). 
 
 " The Procession of the 
 Knights of the Garter"t (27 a). 
 A long narrow piece, " in black 
 and white," by Van Dyck. 
 
 Copies, by Greenbury, from 
 portraits of Albert Durer and 
 his father (28). The originals 
 have already been specified in 
 the King's Chair -room; see 
 ante, page 342. 
 
 "King Richard II., attended 
 by his Patron Saints, kneeling 
 to the Virgin, surrounded by 
 Angels" (30). It is called "an 
 altarpiece, with two shutting 
 all-over gilded doors." J "On 
 
 * Compare the picture of Mary of Guise, with an inscription, now 
 at Hampton Court, No. 315 of the Catalogue, 
 f Now at Belvoir Castle. 
 
 X This is the earliest record which I remember of the exquisite 
 and well-preserved diptych now belonging to the Pembroke family 
 at Wilton House. Hollar has engraved this diptych with extreme 
 accuracy, and his engraving dedicated to the King, bears the same 
 date as Vander Doort's Catalogue — namely, 1639. — (See Parthey's 
 "Hollar," No. 229, page 42.) A proof impression of this plate, in 
 the King's Collection, has already been noticed. See ante, p. 326. 
 
PICTURES AT WHITEIDU:.L PALACE, A.D. 1639. 347 
 
 the outside of the door, the and Lady Jennings, " in the way Charles I. 
 
 arms of Edward the Confessor, of exchange for his Majesty's own 1625-49. 
 
 with a red hat and mantle." picture, in oil-colours, by Le- Sjf J^^^^^^' 
 
 Obtained by the King, through mons." ^PJ^^-) 
 Sir James Palmer,^ from Lord 
 
 LONG GALLEEY. Page 174. Long 
 
 Galleiy. 
 
 In the Long Gallery, and in the little room at the 
 upper end of the Long Gallery, are enumerated many 
 statues, and frao;ments in bronze and marble, most of Antique 
 
 ' ^ ' Sculptures. 
 
 them antiques, Greek and Eoman. They were mounted 
 on wooden pedestals and placed in the windows. 
 
 CHAIK-EOOM. Page 180. 
 
 In the Chair-room, at this time, were several statues ciiair- 
 in brass and marble, both ancient and modern. They 
 were twelve in number. The most important of them Sculptures, 
 appears to have been " the King s statue, cast in brass, 
 by the Frenchman, Le Sueur ; being a bust upon a 
 black pedestal, with a helmet on his head, whereupon a 
 dragon, after the ancient Eoman fashion; being in 
 height, with the pedestal and all together, three feet"(l). 
 
 This completes the general view of the most remark- 
 able objects among King Charles's extensive collection 
 
 * K. C. C. p. 72. Sir James Palmer had already presented some 
 pictures to the King, and seems to have been emploj^ed in making 
 designs for tapestry. King Charles gave a picture of a Bacchanalian 
 subject into his hands for the express purpose of being copied in 
 Mortlake tapestry. See King Charles Catalogue, by Bathoe, p. 159. 
 He copied Titian's " Tarquin and Lucrece." Palmer succeeded Sir 
 T. Rowe as Chancellor of the Order of the Garter. 
 
348 
 
 HISTOEY OF OLD LONDON. 
 
 Whitehall of woiks of art. The incidental notes and references, 
 
 A.D. 1649. 
 
 introduced on the foregoing pages, may tend to show 
 that although many of the finest productions of the 
 great masters are no longer in this country, the majority 
 of the historical portraits yet remain in the Eoyal Col- 
 lection, and that even those portraits which have 
 passed into other hands are fortunately still retained 
 within our shores. 
 
 On reviewing the foregoing Catalogue of the King's 
 property, it will be obvious that many of the descrip- 
 tions had been hastily drawn up from the pictures 
 themselves, and with very little reference to earlier 
 records. Several names had already perished, and we 
 find that, among the foreign portraits specified as 
 " "Whitehall pieces,'^ those numbered 35, 36, and 60, 
 are merely called " ladies " and " men and women 
 children." (See ante, page 336, No. 60). They might 
 have been ascertained by a reference to King Henry's 
 Inventory of 1542. 
 
 The unfortunate valuation, sale, and dispersion of 
 King Charles's magnificent collection after his death, 
 are too generally known to render any special account 
 necessary on the present occasion. 
 
 The Commons resolved upon the disposal of the pro- 
 perty belonging to the King, Queen, and Prince, March 
 23, 1649, and ordered everything to be inventoried, 
 appraised, and sold, 
 
 Vertue prepared extracts from one of the Parlia- 
 mentary appraised lists, together with notes of the 
 prices at which the pictures were actually sold, as an 
 introduction to the printed edition of Yander Doort's 
 
DISPERSION OF THE EOYAL PEOPEETY, A.D. 1649. 349 
 
 Catalogue. They were taken from a MS. tlien in the Appraise- 
 possession of John Anstis, Garter King-at-Arms. the King's 
 
 T)lCtlir6S. 
 
 I have, however, been favoured by Lord Methuen 
 with the use of a still more valuable list of the pictures 
 and their appraisements, which formerly belonged to 
 Sir Paul Methuen. The MS. is signed and sealed on 
 the last page by G. Wither, Jo: v: Belcamp, Mempriere, 
 and A. Mildmay. 
 
 According to this document, the pictures at Oatlands 
 were viewed and appraised September 13, 1649. 
 
 At Windsor, the Wardrobe and " tapistry-hangings" Windsor. 
 were viewed and appraised September 15, 1649. 
 Signed " Thomas Greene, Bertie!' They were in the 
 custody of Col. Whichcote, Governor of Windsor 
 Castle. 
 
 Next follows, A true inventorie of the goods vieived wimbie- 
 in Wimhleton House, being the remainder of which 
 goods were left by the Queen ; the rest being removed 
 thence to Somerset House." No date is given. 
 
 These are followed by " A true Inventory of severall Somerset 
 Pictures now remaining in Somerset House in the 
 custody of Mr. Henry Browne and appraised the — 
 September, 1649. They came from Whitehall and 
 St. James s." 
 
 The next heading is — ■ 
 
 "In the withdrawing-roome begins the pictures 
 belonging to Somerset House, with some feiv belonging 
 to Whitehall." Afterwards, the headings change suc- 
 cessively to "In the Closet," "Pictures in the Gallery,'- 
 " In the Great Closet," and, finally, " In the Cross Gal- 
 lery at Somerset House." 
 
350 
 
 HISTOEY OF OLD LONDON. 
 
 Removal All the pictuies described in this MS., notwith- 
 King's pic- standing the extreme brevity of most of the entries, 
 can be identified with the fuller descriptions pre- 
 pared by Vander Doort ; and in some instances, the 
 spelling of the names of artists, and of the persons 
 represented, throws a considerable light upon the diffi- 
 cult passages of the Dutchman's own writing. 
 
 It would appear from this Parliamentary Inventory, 
 that the pictures were removed from Whitehall to 
 Somerset House previous to the sale. Eaphael's 
 Cartoons having been reserved by Cromwell at the 
 price of 300^. We do not, however, find that any use, 
 beyond serving as "patterns" for tapestry, was made 
 of these noble works of art, until the time when Wil- 
 liam III. built the Gallery at Hampton Court expressly 
 for their reception. 
 Foreign Clarendon, in his History,* refers to the melan- 
 a!d?i649.^ choly dispersion of the King's property. The chief 
 purchasers were Philip IV. of Spain, Christina of 
 Sweden, the Duke of Alva, Cardinal Mazarin, the 
 Due de Pichelieu, and the Archduke Leopold, Governor 
 of the Netherlands. Through the last-named purchaser, 
 many English pictures passed to the Imperial Gallery 
 at Vienna. Two private and wealthy connoisseurs, 
 Eberhard Jabach, and a Dutch gentleman, Gerard Van 
 Eeynst, became possessed of many of the choicest works 
 of art. Jabach afterwards sold his acquisitions to 
 Louis XIV., and they now enrich the Louvre ; whilst 
 
 * Yol. iv. p. 547 of the 1849 Oxford edition. For many curious 
 and valuable particulars see "Walpole's Anecdotes, edited by Dallaway 
 ■ and Wornum, pp. 282-290, and Disraeli's Curiosities of Literature, 
 vol. ii. pp. 326-335 of 1858 edition. 
 
WHITEHALL PALACE, A.D. 1669. 
 
 351 
 
 the States-General purchased from the widow of Van charies n. 
 Eeynst all that he had obtained, and presented them to 
 Charles IL, on the occasion of his restoration to the 
 throne of his ancestors. By this means a large number 
 of pictures in the Catalogue of Charles L was recovered/'" 
 The Grand Duke of Tuscany, Cosmo III., during his 
 travels in England in 1669, visited Whitehall. He has 
 left a curious and elaborate description of the King's 
 palace and the Banquetting-room. He observes in one 
 passage : " In the gallery, formerly enriched by Cardinal Dig. 
 Wolsey with choice paintings, which were taken aAvay oaiieiies. 
 and sold by Cromwell, there are now fastened up some 
 vile daubings of battles by sea and land, in the time of 
 Henry VIII. The other gallery, alongside the King s 
 Chamber, which is the first in front of the Anti- 
 chamber, is entirely naked ; all its treasures, consisting 
 of a prospect of a beautiful meadow, laid out like a 
 garden, planted with trees and beautiful hedges of 
 roses, and having four rows of statues in the middle, 
 part of which are of bronze and standing, part of 
 white marble, and, for the most part, in a sitting 
 posture. In the centre, which is surrounded by the 
 statues, there rises a certain structure encircled by iron 
 rails, composed of many and different kinds of dials of 
 various shapes." f 
 
 * The pictures thus acquired may still be distinguished by refer- 
 ence to a Yolume of engravings that was published of Van Eeynst' s 
 gallery, generally known under the title " Cabinet du Bourgmestre 
 Eeynst," consisting of thirty-three plates, principally engraved by 
 Corn, Yischer. 
 
 t Translation of Travels of Cosmo through England. 4to. Pub- 
 lished at London: 1821. Page 368. 
 
352 
 
 HISTOEY OF OLD LONDON. 
 
 Hampton The following description of Hampton Court Palace, 
 Palace re- two jcars after the Eestoration, will be read with 
 decora- interest, from the Diary of the excellent John Evelyn : 
 Evelyn's " Hampton Court is as noble and uniform a pile, 
 A 1662 capacious as any Gothic architecture can have 
 
 made it. There is an incomparable furniture in. it, 
 especially hangings designed by Eaphael, very rich 
 with gold ; also many rare pictures, especially the 
 Csesarean Triumphs of Andrea Mantegna, formerly 
 the Duke of Mantua's ; of the tapestries, I believe the 
 world can show nothing nobler of the kind than the 
 stories of Abraham and Tobit." * 
 
 Both sets of "hangings" and Mantegna's original 
 paintings of the Triumphs of Julius Caesar still con- 
 stitute the principal features of Hampton Court 
 Palace."]' The mention of gold being woven in 
 with the tapestries designed by Eaphael, shows that 
 they could not have been the original cartoons, 
 which are executed in plain ''tempera'' or water- 
 colours, on paper, and that they were not the 
 splendid series of tapestries, wrought by order of the 
 Pope as a present for Henry YHL, that remained trea- 
 sured by his descendants till the unfortunate sale 
 of the crown property after the death of Charles I. 
 The latter were purchased by Don Alonzo de Car- 
 nas, the Spanish minister resident in London, who 
 
 * Diary of John Evelyn, 9tli June, 1662. 
 
 t Tapestries were also wrought from these designs. Three of the 
 series are at Boughton, the seat of the Duke of Buccleuch. See Pas- 
 sayant's Kunstreise clurch England. 8vo., London 1833; p. 189. 
 Other sets are mentioned in the Catalogue of James II. 's effects. 
 
CATALOGUE OF KING JAMES'S PICTURES. 353 
 
 transmitted them to Spain, after which thev passed James II. 
 
 1685-88 
 
 into the possession of the Dukes of Alva.* 
 
 A catalogue of pictures belonging to Charles 11. and 
 James II., formerly preserved in the Earl of Oxford s 
 library, affords some very interesting particulars re- 
 specting the royal property during the second half of 
 the l7th century. The total number of works of art 
 is 1,383, and the list is signed at the end by "Will. Oataio^ue 
 Chiffinch.'' The catalogue was printed by Bathoe in w."ciiiff^ 
 1758, to correspond with the one of King Charles "^^^* 
 already published. 
 
 The first portion contains 683 pictures, of various 
 proportions — some being specified as " to the waste," 
 and others as " at length," — including miniatures or 
 limnings, and these can for the most part be iden- 
 tified with the ones previously described in the Cata- 
 logue of Charles I. A special record is made, at 
 page 60, of the sum of eighty thousand pounds having 
 been paid for the Mantuan collection. The concluding 
 note, on the same page, deserves attention : " Those 
 called the Dutch presents, were several pictures 
 first belonging to King Charles, and sold to a curious 
 man in Holland, Myn Heer Keyntz, who, when he died, 
 
 * In 1824 they were brouglit back to England, and publicly ex- Rapliael 
 bibited by Mr. Tupper in London. They were subsequently removed Tapestries, 
 to Liverpool, and finally deposited in the Eoyal Museum of Berlin. 
 See Gunn's " Cartonensia," 1831, pp. 32, et seq. Peacbum, in his 
 " Compleat Gentleman," p. 154 of the 1661 edition, thus alludes to 
 them : — " Those stately hangings of arras containing the history of 
 St. Paul out of the Acts (than which eye never beheld more absolute 
 art, and which long since you might have seen in the Banquetting 
 house-at White Hall) were wholly of Eaphael's invention." 
 
 A A 
 
354 
 
 IIISTOEY OF OLD LONDON. 
 
 otTiew^of States purchased them, and sent them as a present 
 the Royal ]3ack to King Charles the Second, after the Eestoration, 
 
 Pictures. o ' ' 
 
 when the Ambassadors from Holland came to settle a 
 peace in England." 
 
 The remaining portion is classified into " Pictures in 
 
 Oisti^^^ the Queen Dowager s custody,'' Pictures in Windsor 
 Castle," and at Hampton Court," comprising alto- 
 gether 1,247 entries.* As the size of the pictures is 
 not in any one instance stated, all hope of conclusive 
 identification is destroyed. After the enumeration of 
 the pictures above stated, follows an exclusive account of 
 King James's pictures ; being a list " of his Majesty's 
 pictures, &c. that were not the late King's, in Windsor 
 Castle." And also of Pictures in Whitehall of his 
 Majesty's that were not the late King's." 
 
 In the first portion — namely, among those pictures 
 
 Whitehall, which belonged to Charles II. at Whitehall — we again 
 recognise the series of small old heads of English and 
 foreign princes in Nos. 189, 190, 198 to 203, 250 to 
 264, and 422 to 424, which have already been noticed 
 ante, p. 333. 
 
 The Emperor Charles V. is recognisable under No. 
 571, "A man's head with a long chin, in a cut doublet, 
 by Jennett." See ante, p. 288, No. 11. 
 
 A series of the old " limnings " extends from 
 Nos. 575 to 628, and again from 643 to 650. 
 " King Charles II. regained some of the finest por- 
 traits of his father, of himself and family, by Yan 
 
 * In the original catalogue, the pictures are not continuously 
 numbered throughout; but divided into separate localities. The 
 highest amount of consecutive numbers is 537. 
 
KING JAMES'S PICTUEES, A.D. 1688. 355 
 
 Dyck; namely, Nos. 742, 745, 749, 753, 771. He ^J'g^^'iVg^- 
 kept them at Windsor, where they still remain, in the 
 Van Dyck room. The great family-picture of the 
 King and Queen seated, was then at Whitehall, 
 No. 173. 
 
 There are many portraits of eminent artists painted 
 by themselves, extending from No. 107 to No. 135. 
 Kembrandts mother is recognizable under No. 113, as 
 " an old woman's picture in a veil." See ante, p. 341. 
 No. 123, "Eaphaers picture in a black habit and black 
 cap, done by himself," appears to be the same as the 
 portrait of a young man, now at Hampton Court, No. 
 278 of the Catalogue, with the name Eaffaello vrbi- 
 NAS. EEC. inscribed round the clasp in front of his black 
 dress.* 
 
 In this catalogue we first meet with several pictures 
 of historical importance, and which, in our time, con- 
 stitute some of the leading features of the collec- 
 tion at Hampton Court Palace ; namely, the series of 
 Mantegna's Triumphs of Julius Csesar — " nine of Andrea 
 
 JMantegna's 
 
 Caesar's triumphs," 986 — 994. These wwe at Hampton Triumphs 
 
 . , . of Julius 
 
 Court, as previously shown by John Evelyns notice of Casar. 
 them. I 
 
 The great paintings of the Embarkation of Henry 
 yill. at Dover, and his meeting with Francis I. at Historical 
 
 ^ Pictures. 
 
 the " Field of the Cloth of Gold," are entered among 
 the pictures at Whitehall as the work of ''Holbein," 
 and are thus described : " King Henry the 8*^ going 
 in triumph into BuUoigne," No. 85; "King Henry 
 the 8^^ going to BuUoigne, a sea piece," No. 86. Also 
 
 * See^osf, page 371. t See ante, p. 352. 
 
356 
 
 HISTORY OF OLD LONDON. 
 
 Historical WG find in the same series " A large piece, being tlie 
 Pictures. Battle of Spurrs," No. 87, and "King Henry the 
 8*^ and Maximilian the Emperor encamped," "by 
 Holbein," No. 90. These were probably the pictures 
 alluded to by the Grand Duke of Tuscany in the 
 passage above quoted, ante, p. 351. 
 
 " King Henry the 8*^ when he was prince, at length, 
 in red," "by Holbein," No. 1047, then at Hampton 
 Court Palace, is probably a large picture still there 
 representing the Earl of Surrey. 
 Queen The curious picture of Queen Elizabeth and the 
 
 Elizabeth r ^ ^ 
 
 and the Thrcc Goddcsscs, by Lucas de Heere, is thus described : 
 
 Three God- 
 
 desses. " Vcuus and Pallas, and Queen Elizabeth coming in," 
 "by De Cheere," No. 934. It was then, and still is, 
 at Hampton Court. 
 
 Holbein's The Small copy in oil, which Eemee van Leemput 
 
 painting m 
 
 the Privy made from Holbein s paintinof on the wall of the 
 
 Chamber. ^ ^ ^ 
 
 Privy Chamber — and of which there is no notice in 
 Charles I.'s Catalogue — was at this time preserved at 
 Whitehall. It is thus entered : " King Henry the 8^^ 
 being a copy after the piece upon the wall in the 
 Privy Chamber, by Eemy." No. 355. 
 
 A remarkable picture of King Eichard II., but with 
 no painter s name or any dimensions to guide us, 
 recalls the famous Westminster whole-length portrait 
 previously referred to. The picture was at Hampton 
 Court in the time of Charles IL, and is thus entered 
 in the Catalogue : " King Eichard the 2'''^, sitting in 
 a chair with his crown on his head." No. 869. It is 
 apparently no longer in the royal possession. 
 Diptych. The celebrated diptych, with two early portraits of 
 
PICTUEES AT HAMPTON COUET, A.D. 1688. 357 
 
 a Kinof and Queen of Scotland * at their devotions, Jamer, ii. 
 
 ° . . 1685-88. 
 
 and attended by their patron saints, recently removed j^^^^ 
 from Hampton Court Palace to Holyrood, were at 
 Hampton Court during the time of Charles H. They 
 are thus entered in the Catalogue : " One of the Kings 
 of Scotland at devotion, crowned by St. Andrew ; 
 James lY." No. 955 ; and " One of the Queens of 
 Scotland at devotion, a saint in armour by her/' 
 No. 960.1 
 
 Among the early portraits we recognise the fine Douglas, 
 profile of the Earl of Douglas (see ante, p. 332), 
 although the description here given of it, "still at 
 Whitehall," is somewhat erroneous : " Earl Douglas's 
 
 head, surnamed Blackson, by a good Italian 
 
 hand." No. 393. 
 
 " Mary Queen of Scots, to the waste," No. 926, Maiy 
 at Hampton Court, appears to be Mary of Guise ; scoTs!^ ° 
 whilst similar words applied to No. 408, at Whitehall, 
 and " a copy of it," No. 409, in the same place, equally 
 refer to the well known portrait of Mary Stuart wear- 
 ing the white veil and " barbe " of a widow in mourn- 
 ing. The name of "Jennett" is also given as the painter 
 of No. 408. King Charles I. had, as we have seen, two 
 portraits of this type in his possession.^ 
 
 " Mary Queen of Scotland, at length :" by Mytens," 
 No. 15, at Whitehall, is the picture adapted, and turned 
 
 * James III. and Margaret, daughter of Christiern I. of Denmark. 
 
 t They were seen to great advantage at the Manchester Exhibition 
 of 1857, where the remarkable ecclesiastic paintings on the reverse 
 of each panel attracted the special attention of connoisseurs. They 
 were Nos. 433 and 433 a of the Exhibition Catalogue. 
 
 I See Bathoe's edition of the Catalogue, p. loo, Nos. 14 and 15. 
 
358 HISTOEY OF OLD LONDON. 
 
 Yarions the reverse way, from one painted from the life at 
 
 Portraits, gj^^g^^j^^ ^g^^ ^^^^^ ^ g^g^ No. 18.) 
 
 Margaret Douglas is recorded in the following 
 entry : " Lady Margaret, mother to Henry King of 
 Scotland, at length," No. 16. The picture is very 
 large, and now at Hampton Court Palace, No. 513 of 
 the Catalogue. 
 
 Mother of A curious portrait, " by Honthorst," at Whitehall, 
 
 the Duke , 
 
 ofMou- ''The Duke of Monmouth's mother, half length," 
 
 mouth. , 
 
 No. 429, may now be very difficult to trace. A 
 series of beautiful miniatures, both " limnings and 
 "enamels," commences with No. 1164, on page 96. 
 They are at the present time, for the most part, framed 
 in one of the bedrooms at Windsor Castle, and in excel- 
 lent preservation ; Madam Gwynn (1183) and the Duke 
 of Monmouth's Mother (1170) being among them. 
 Misnomers In this catalopfuc mav be found the origin of a 
 ton Court, singular error, which has been continued in the 
 catalogues of Hampton Court Palace even to the 
 present time ; which is the calling two Austrian prin- 
 cesses, born respectively in the years 1575 and 1577, 
 by the names of our English Queens, Mary and 
 Elizabeth.* They were thus regarded at Whitehall 
 Palace after the Eestoration : — " Queen Elizabeth's 
 head when she was a child," No. 415, and "Queen 
 Mary's head when she was a child" No. 416. 
 It is scarcely requisite to add that Queen Mary 
 ascended the throne of England in 1553, and was 
 succeeded by her sister Elizabeth in 1558. These 
 
 * They are Nos. 281 and 282 of the Hampton Court Catalogue. 
 (See *'Arc]i8eologia," vol. xxxix. p. 461.) 
 
THE WINDSOE BEAUTIES, A.D. 16/0. 
 
 359 
 
 little princesses were daughters of the Archduke Spanish 
 
 ^ ... Infant 
 
 Charles of Austria. Mary Christierna was born No- Princesses, 
 vember, 1574, and Elizabeth born in March, 1577. 
 Their sister Margaret became Queen of Philip III. of 
 Spain.* 
 
 King Charles 11. was never distinguished by his 
 patronage of art. Even the well-known series of the 
 Beauties of his time did not emanate from himself. 
 The first collective appearance of the Beauties of King 
 Charles's Court occurs in the List of King James's 
 own pictures at Windsor Castle. They never belonged ^J^l 
 to King Charles ; they came to be Crown property y^k^^^ 
 through J ames II., whose first wife, the Duchess of Jg^g'^^^^g^ 
 York, had commanded Sir Peter Lely to paint them.| i673. 
 
 They remained at Windsor till after the accession of 
 William lY., and were always spoken of up to that pe- 
 riod as the " Windsor Beauties "I By their removal to 
 Hampton Court they produce some confusion, since they 
 have had the effect of eclipsing a set of Beauties already 
 there ; painted by Kneller expressly for that palace, 
 and known by the distinctive title of the Hampton 
 Court Beauties' The Windsor Beauties, as enu- 
 merated in King James's Catalogue, were originally 
 
 * These portraits are on canTas, well painted, and probably the 
 work of a Spanish artist. 
 
 t The Duchess desired to have the handsomest women of the time 
 painted, and the series was commenced with portraits of her own lovely- 
 maids of honour. See Mrs. Jameson's Public Galleries, p. 320. 
 
 X They were still at Windsor when Mrs. Jameson's *' Beauties of 
 the Court of King Charles the 2nd" was published in 1833. In 
 1835 they appeared among the pictures at Hampton Court, according 
 to a catalogue preserved at the Lord Chamberlain's office. 
 
360 
 
 HISTOEY OF OLD LONDON. 
 
 Windsor ten in number, and their names run in the following 
 
 Beauties. i /i • • • i -nt \ t-\ i 
 
 order (begmnmg with JNo. 1111) : — 1. Duchess of 
 Cleveland ; 2. Duchess of Eichmond ; 3. Mrs. Mid- 
 dleton ; 4. Lady Northumberland ; 5. Lady Sunder- 
 land ; 6. Lady Falmouth ; 7. Lady Denham ; 8. Lady 
 Denham's sister (Lady Whitmore) ; 9. Lady Eochester ; 
 10. Lady Grammont. 
 
 In Bickham's account of Windsor Castle, published 
 in his " Deliciae Britannicse/' 1742, five additional 
 ladies have been added to the list, namely, Mrs. Knott, 
 Mrs. Lawson, La.dy Byrom, the Duchess of Somerset, 
 and Lady Ossory. 
 Gwyun '^^^ Duchcss of Portsmouth and Nell Gwynn do not 
 appear to have at any time formed part of the series 
 before its removal to Hampton Court. 
 
 In King James's Catalogue there are three entries 
 of equestrian portraits of Charles I. They are 
 numbered respectively 359, 1076, and 880. Two 
 are distinguished by the words "on a dun horse and 
 the third by the mention "Mons. St. Antoine by 
 Portidte^^ him.'^ This is the group now in the Van Dyck room 
 Charles I Wiudsor. The other pictures seem to be the small 
 sketch, and the grand finished picture from it, now at 
 Blenheim. The Duke of Marlborough puchased the 
 latter from the Duke of Bavaria, and after its return to 
 England the picture remained at Marlborough House 
 till the year 1818, when it was removed to Blen- 
 heim.* 
 
 * See De Piles' Art of Painting, Lond., 8vo., 1Y06, page 412, for a 
 notice of the picture being then in Bavaria, and Catalogue of Pictures 
 at Blenheim by G. Scharf. London, 8vo., 1862, p. 36. 
 
DESTEUCTION OF WHITEHALL PALACE. 361 
 
 In the year 1683, the Marcliese Luca Casimiro Italian 
 clegl' Albizzi visited England, and his travels were re- 
 corded in manuscript by Dr. A. Forzoni. At Windsor wniiam 
 
 and Mary 
 
 he observed a full-length portrait of Mary Queen of 1689-1702. 
 Scots (probably the picture still there), and, over a 
 chimney-piece, a finely-wrought piece of embroidery, 
 " uri educazione di fanciidli," by the hands of Mary 
 Queen of Scots.* 
 
 The Court does not seem to have been immediately Fire at the 
 
 Palace 
 
 driven from Whitehall Palace by the fire which con- leoi. ' 
 sumed the long stone gallery, and the lodgings of the 
 Duchess of Portsmouth in April, 1691. Queen Mary 
 is recorded as having in the October following re- 
 ceived addresses from both Houses of Parliament in 
 the drawing-room at Whitehall. This must have been 
 the Withdrawing-room adjoining the Banqueting-hall.f 
 
 A melancholy picture is given incidentally in Ward s The Palace 
 London of the desolation of Whitehall Palace after the 
 second conflagration : — " We crossed the palace-yard, 
 on the east end of which lay the relics of Westminster 
 clock-house in a confused heap; from thence we passed 
 to the tennis-court, and went forwards to Whitehall, 
 whose ruins we viewed with no little concern, as con- 
 sumed by flames near so much water, and all that 
 artists, at the cost of our greatest kings, had improved 
 to delight and statehness, remains dissolved in rubbish ; 
 those spacious rooms where majesty has sat so oft, 
 
 * See Catalogue of the Temporary Museum of the Archaeological 
 Institute at Edinburgh in 1856, hj A. Way, p. xxii. 
 
 t Lives of the Queens of England, by Agnes Strickland. Vol. vii. 
 p. 339 ; edition 1853. 
 
362 
 
 HISTOEY OP OLD LONDON. 
 
 attended with the glories of tlie Court, — the just, the 
 wise, the beautiful — now huddled in confusion, as if 
 the misfortunes of princes were visited on their palaces 
 as well as persons. Through several out-courts we 
 came to Scotland Yard, covered with recumbent sol- 
 diers who were basking in the sun.'' '''' 
 
 KENSINGTON. 
 
 When William III. purchased Kensington Palace in 
 1691, he employed Sir Christopher Wren to make 
 additions to it, and he divided his time between Ken- 
 sington and Hampton Court. It became the favourite 
 residence of his beloved Queen, and she died there. 
 
 Immediately after the demise of King William, this 
 Palace was fitted up for the residence of Queen Anne 
 and Prince George of Denmark. 
 
 George 1. employed Kent to build the cupola room 
 and great staircase. Kent also, under the King s par- 
 ticular instructions, painted the figures and decorations 
 on the walls. 
 
 George 11. and Queen Caroline passed much of their 
 time at Kensington, and the Queen expended large 
 sums upon the improvement of the palace and gardens. 
 She generally resided here with the royal family, in 
 the absence of the King when on the Continent. Her 
 Majesty held a court at Kensington regularly every 
 Sunday after divine service, f 
 
 HAMPTON COUET. 
 Hampton Court Palace, meanwhile, had undergone 
 
 * Lives of the Queens of England by Agnes Strickland, vol. vii. 
 p. 383. 
 
 t Faulkner's History of Kensington, p. 481. 
 
HAMPTON COUET PALACE UNDEE WILLIAM III. 363 
 
 extensive alterations, and received many additions, to wiiiiam 
 suit the requirements of a royal residence. Sir Chris- 1689^1702. 
 topher Wren completed the Fountain Court in 1690, 
 and built the beautiful Ionic colonnade leading to the -^^^ 
 principal entrance. Laguerre painted the " Labours of ^{^"en^ 
 Hercules " in the external lunettes of Sir Christopher 
 Wren's new building. George II. and Queen Caro- 
 line were the last sovereigns that resided with their 
 families at Hampton Court. 
 
 King William had the Cartoons by Eaphael properly Cartoons 
 joined and laid down upon canvas, under the direction pLeiT 
 of the painter Henry Cooke.* He employed Sir Chris- 
 topher Wren to build a gallery at Hampton Court 
 expressly for their reception. The "Triumphs of 
 Julius Caesar," by Mantegna, were also in the same 
 palace. 
 
 At Hampton Court, in I742,t were many whole- Historical 
 length pictures by Van Somer, Mytens, Van Dyck, and 
 Honthorst ; but the works of Sir Godfrey Kneller and 
 Verrio occupied the largest amount of space, both on 
 walls and ceilings. Over the chimney-piece in the 
 drawing-room was Van Dyck's standing portrait of 
 Charles I., in royal robes, which is now at Windsor.^ 
 Andrea Mantegna s cartoons were in the Queens 
 drawing-room. Full-length portraits of various mem- 
 bers of the Brunswick family. Lady Margaret Lenox, 
 
 * Walpole's Anecdotes, edited by Dallaway and Wornum, p. 603, 
 and Euland's Notes on the Cartoons, 1866, p. 7. 
 t Bickhani's Deliciae Britannicse, p. 121. 
 
 J This is the fine standing figure so admirably engraved by Sir 
 Robert Strange. 
 
364 
 
 HISTOEY OE OLD LONDON. 
 
 Hampton and Marv Queen of Scots (Mytens) were in the Queen's 
 
 Court. \ »/ / 
 
 state audience room. 
 
 The Queen's Gallery or Tapestry Gallery contained, 
 as now, seven fine pieces of tapestry from the designs 
 
 French of Lc Bruu, representing the History of Alexander 
 
 lapcbtiy. ^1^^ Great. They were set up in their present order 
 about the beginning of the reign of George I. General 
 Cadogan brought them from Flanders, where they 
 had been purchased at a common auction at a very 
 inferior price.* 
 
 In the apartments belonging to Frederick Prince of 
 Wales, were several whole-lengths of Spanish ministers 
 and foreign potentates. Eaphael's Cartoons were in the 
 
 Adinimif Glreat council chamber or Cartoon Gallery." The 
 Admiral's Gallery contained fifteen portraits of re- 
 nowned admirals by Sir Godfrey Kneller and Michael 
 Dahl. The Beauty room held nine portraits of the 
 most distinguished ladies ; Queen Mary by Wissing, 
 the rest by Kneller. They are named in the following 
 
 Hampton order. " 1. Lady Peterborough. 2. Lady Kanelagh. 
 
 Court 
 
 Beauties. 3. Lady Middlctou. 4. Miss Pitt. 5. Duchess of St. 
 Albans. 6. Lady Essex. 7. Lady Dorset. 8. Queen 
 Mary. 9. The Duchess of Grafton." 
 
 On the Queen's Staircase was the large picture by 
 
 Hontiiorst. Houthorst, representing the Duke of Buckingham in 
 the character of Mercury introducing the children of 
 the King of Bohemia to King Charles 1st and his 
 Queen.")" It still occupies the same position, and has 
 
 * Bickham, ut sitpra, p. 81. 
 t See antCj p. 344. 
 
WINDSOE CASTLE, A.D. 1742. 
 
 865 
 
 been carefully cleaned within the last few years by George ii. 
 
 ^ ^ 1727-60. 
 
 Mr. H. Mcrritt. 
 
 "WINDSOE. 
 
 At Windsor Castle, at the same date (1742), there 
 were not many very remarkable paintings. A large 
 equestrian portrait 'of Prince George of Denmark, by 
 Dahl, was over the chimney in the Queen^s guard- 
 chamber.* 
 
 Van Dyck's Lady Venetia Digby was over the Historical 
 chimney in the King's drawing-room. The Beauty- 
 room contained fourteen of Sir Peter Lely's most 
 distinguished female Beauties, already referred to.t 
 The picture of Eembrandt's mother, now called the Rem- 
 Countess of Desmond ; J various portraits of Queen's of Motiier? 
 England, and portraits of Erasmus and other learned 
 men, were in the Blenheim closet. § Queen Elizabeth's 
 picture gallery, now the library, included whole-lengths 
 of King James I. and his Queen by Van Somer, 
 Henry YIII. by Holbein, the Two Misers by Quentin JMisers by 
 Matsys, Titian and Aretino, Bandinello by Correggio, Matsys. 
 two views of Windsor Castle by Vorsterman, and the 
 Battle of Spurs, with tervaine inscribed over it ; 
 Griulio Eomano s Burning of Eome (see ante, p. 339). 
 
 The extensive works of Sir Godfrey Kneller and Ij^^^J^^f^^y 
 Sir James Thornhill, decorating St. George's Hall and 
 the great Staircase have entirely passed away. The 
 ceiling of the Hall was " embellished with the repre- 
 
 * Delicise Britannicse, pp. 152, 184. 
 
 t Ante, p. 359. X See ante, p. 341. 
 
 § Pote's Windsor, p. 419. 
 
366 
 
 HISTOEY OF OLD LONDON. 
 
 St. sentation of William III. surrounded hy the Graces 
 
 George's -\ • a 
 
 Hall at and the same monarch was represented m State seated 
 Castle. on a throne at the upper end. Over a side door, just 
 by the gallery, was " a fine portrait of the Lady who 
 lost her garter at an assembly." These, together with 
 various allegorical figures and a picture of the Insti- 
 tution of the Order of the Garter, were commenced by 
 Verrio and completed by Kneller. The grand stair- 
 case was designed and executed by Sir James Thornhill, 
 who also completed all the paintings under the dome. 
 Queen After 1743, the portrait picture of the so-called Chil- 
 china-^^^ dren of Henry YII. by Holbein (see ante, pp. 288 and 
 
 the Bleu- 
 
 336), was hung over the chimney in Queen Carolines 
 Eoom. china-closet opening out of the Picture Gallery. It had 
 previously been in her Majesty's closet at Kensington.* 
 Van Dyck s Charles 11. in armour when a boy," was 
 in the King's bedchamber ; and Kneller's much-talked- 
 of " Converted Chinese," "j" was in the King's drawing- 
 room. The presence-chamber was adorned with Van 
 Dyck's portrait of the Duke of Gloucester ; the Coun- 
 tess of Dorset (his governess), by the same artist, and 
 a picture of Sarpi (Father Paul), by Tintoretto. 
 
 ST. JAMES'S. 
 
 St. James's A fcw historical portraits of considerable value were 
 lodged at St. James's Palace in 1766. J Among them 
 Van Somer's " Earl of Pembroke, lord chamberlain," a 
 
 * See " Archseologia," vol. xxxix. p. 256; and Pote's Windsor, 
 1749, p. 420. 
 
 t Now at Buckingliam Palace. 
 
 X Pote's Windsor, p. 418, 1749; Delia. Brit. p. 187; Dodsley's 
 London, Yol. vi. p. 336, 1761. 
 
BUCKINGHAM PALACE UNDER GEORGE II. '361 
 
 half-length picture ; JefFery Hudson, the dwarf, by George iii. 
 Mytens ; Adam and Eve, by Mabuse ; Mary Queen 
 of Scots, the version of the Sheffield picture, by 
 Mytens ; * Darnley and his brother, the size of life, 
 by De Heere.t 
 
 BUCKINGHAM PALACE. 
 
 Raphaers Cartoons were removed to the Queen s Eaphaei's 
 
 palace in St. J ames's Park from Hampton Court about remo°ve^d to 
 1 764. In the " English Connoisseur," published 1 766, 
 vol. ii. page 3, they are spoken of as " lately removed 
 thence they were taken to Windsor Castle in 1787 or 
 1788; and in 1814 once more restored to Hampton 
 Court by the Prince Regent. J 
 
 KENSINGTON. 
 
 Kensington Palace during the reign of George U. Portraits 
 appears to have contained many, if not most, of the %ck at 
 
 • o ^TT • n TT -rx 1 ) Keiising- 
 
 finest pictures. § We especially note Van Uycks pic- ton. 
 tures of King Charles and his Queen ; Van Dyck's Cupid 
 and Psyche-; Van Dyck s Three Children of Charles I. ; 
 The Widow Eliot, by Riley; two heads erroneously 
 named Queen Mary and Queen Elizabeth when children 
 (see ante, p. 358); "Queen Elizabeth in a Chinese Queen 
 
 Elizabetli 
 
 dress, drawn when she was a prisoner at Woodstock ;'' in a fancy 
 
 dress. 
 
 * See ante, pp. 328 and 358. 
 
 + English Connoisseur, vol. i. p. 184. 
 
 X Euland, p. 7; Dodsley's London, vol. iii. p. 155. 
 
 § Dodsley's London, vol. iii. p. 269 ; English Connoisseur, vol, i. 
 
368 
 
 IIISTOEY OF OLD LONDON. 
 
 Reusing- Kiiellei s portraits of King William and Queen Mary, 
 in their coronation robes — (he was knighted for 
 painting these pictures) ; Domenichino's " St. Agnes," 
 whole length; Eubens' large Holy Family, with St. 
 Francis in adoration; Pontormos Yenns and Cupid," 
 after Michael Angelo ; Van Dyck's " Second Duke of 
 Buckingham and his brother"; Guido's pictures of 
 " Venus attired by the Graces," and " Perseus and An- 
 dromeda"; and Holbein's ''Edward VL" 
 Grand pic- In the Painted Gallery were many large pictures, 
 Tintoretto especially Van Dyck's " Charles 1. on horseback coming 
 byck. through an arch," at one end of the gallery, and Van 
 Dyck's " King and Queen, seated, with their children," 
 at the opposite extremity ; Tintoretto's grand pictures 
 of " Esther fainting before Ahasuerus," and "Apollo 
 and the Nine Muses." 
 
 Palma's "Adoration of the Shepherds," "The 
 Woman of Samaria," and Giulio Eomano's "Birth of 
 Jupiter," were in the same apartment. 
 Madonna Over the chimney a circular Madonna and Child, 
 by Ra- ' attributed to Eaphael. This picture still remains at 
 paaei. Kcusingtou Palacc in the same position. 
 
 Queen Caroline had before this period, accidentally 
 discovered, in a bureau at Kensington, a volume con- 
 HoiLein tainins: Holbein's orio^inal drawings of the most emi- 
 
 Drawings. & & to 
 
 nent persons belonging to the court of Henry VIII. 
 These the Queen desired to have arranged on the walls 
 of her closet next to the state bedroom, together with 
 frames containing choice miniatures and medallions, 
 
 * See Walpole's Anecdotes edited by Dallaway and "Wornum, 
 p. 84. 
 
KENSINGTON PALACE UNDEE GEOEGE 11. 
 
 369 
 
 accompanied by a few oil pictures of special delicacy George ii. 
 and historical interest. The miniature portraits and 
 copies by Peter Olivier contained in those frames cor- 
 respond with those enumerated in Vander Doort's 
 catalogue. Among the oil paintings are " Two Mice,"* 
 by Eaphael (see ante, p. 324, and No. 654 of King 
 James's Collection) ; and Queen Elizabeth when prin- 
 cess, in a red dress (see ante, pp. 289, 311 and 336). 
 
 General Monck, by Cooper, unfinished ; Holbein and Poitraits. 
 his "Wife, in tempera, on linen, two separate pictures, 
 which have been recently removed from Hampton 
 Court to the library at Windsor. 
 
 The Children of "Henry VIL," or rather of the 
 King of Denmark. (See ante, pp. 288 and 336, and 
 " Archaeologia," vol. xxxix. p. 256.) 
 
 Children of the King and Queen of Bohemia. (See 
 ante, p. 338.) 
 
 A catalo2:ue of the entire contents of this room was Vevtue's 
 
 "-^ ^ Catalogue. 
 
 taken by Mr. G. Yertue in September, 1743, by com- 
 mand of Queen Caroline. 
 
 It appears that about the time of the fire at White- 
 hall, the series of old heads and foreim portraits were Royal 
 
 P T • AT- 1-1 Portraits. 
 
 transi erred to Kensington, as Vertue — on the title to 
 his engravings from them, in Eapin, published 1736 — 
 mentions them as being in the latter palace ; and 
 Walpole, in the first edition of his " Anecdotes,^' 1762, 
 especially alludes to the early royal portraits at 
 Kensington. He also (p. 47) speaks of a chamber 
 of very ancient portraits, — among them one of the 
 
 * Page 19, No. 123 of Bathoe's edition. "In a small square 
 black frame, 2\ inches by 3i inches, Two Mice, painted by Eaphael." 
 
 B B 
 
370 HISTOEY OF OLD LONDON. 
 
 Duke of Norfolk, — as then existing in the Princess 
 Dowager's house at Kew. 
 
 Henry IV. It is somewhat remarkable, that in none of the lists 
 above cited, is any mention made of Henry lY. But 
 his portrait, now at Windsor, first appeared by name 
 at Kensington among the royal portraits of the earlier 
 series. It agrees with the type adopted in the 
 Bazilicologia," published in 1618, which has been so 
 many times repeated in various sets of English 
 monarchs distributed over the country. The hanging 
 head-dress is clearly of the beginning of the fifteenth 
 century, and seems inseparable from portraits of 
 Chaucer and Philip the Good. This fashion is also 
 conspicuous in some of the foreground figures in Van 
 Eycks "Adoration of the Lamb.''* 
 
 Waipoie. Walpole, in his "Anecdotes," pronounced the Ken- 
 sington picture to be a duplicate of the one at 
 Kensington, although the latter is in reality infinitely 
 superior. Walpole was easily persuaded to do this 
 by the notes he had purchased from Vertue. 
 
 These old portraits were at Kensington Palace in 
 the year 1820, and they appear in Faulkner's history 
 of that parish, page 554. 
 
 The most ancient historical ones were deposited in 
 the " Private Closet." 
 
 "Henry lY., to the waist," is No. 630. Portraits 
 
 * Yertue engraved his portrait of Henry IV. for Eapin's History 
 of England, in 1*732, from a picture belonging to Lord Essex at 
 Hampton Court, in Herefordshire. In the illustrative text which 
 accompanied Vertue' s plates, afterwards issued separately in 1736, the 
 engraver refers to the "ancient picture on board in the Palace of 
 Kensington " as being similar to it. 
 
KENSINGTON PALACE, A.D. 1820. 3*71 
 
 of Catherine of Arragon, No. 643, and Anne Boleyn, George i v. 
 
 1820-30 
 
 No. 645, are also specified. A great number of addi- 
 tional portraits seem also to have been added from other 
 residences. A portrait of Eaphael, by himself (162), 
 with a brooch on his breast, is said to have been pre- 
 sented by Earl Cowper to King George III.* The large 
 diptych paintings of James III. and his Queen (Nos. 
 157 and 166) that had previously been at Hampton 
 Court, now made their appearance within these walls, t 
 A catalogue of these Kensington pictures was taken 
 by Benjamin West, at the Kings desire, in 1818.| 
 Many of the dimensions were inserted, and dates and 
 inscriptions on the pictures carefully observed. 
 
 CAELTON HOUSE. 
 About 1802, the Prince of Wales had begun to form ^aTiton 
 his own private collection, under the guidance and 
 advice of Lord Farnborough ; and in 1812 he also 
 obtained the choice collection of Flemish and Dutch 
 pictures that had been formed by Sir Francis Baring. § 
 These pictures, with many subsequent additions, are 
 now concentrated in the Picture Gallery at Bucking- 
 ham Palace. 
 
 In the year 1816, two of Eaphael's Cartoons — " The Raphael's 
 Miraculous Draught," No. 1, and " Paul Preaching at a.d. 1816. 
 Athens," No. 96, were exhibited to the public at the 
 British Institution, and the rest followed in consecutive 
 
 * Compare ante, page 355. 
 t See ante, p. 356. 
 I Faulkner's Kensington, p. 499. 
 Mrs. Jameson's Private Picture Galleries, p. 4. 
 
372 
 
 HISTOEY OP OLD LONDON. 
 
 British In- years : tlms, in 1817, the "Elymas/' No. 1, and the 
 f^mn. Death of Ananias/' No. 133. In 1818, "The Beau- 
 tiful Gate,'' No. 1, " Feed my Sheep," No. 124 ; and in 
 1819, the series was completed by the display of " The 
 Sacrifice at Lystra," No. 124. 
 
 GEEENWICH HOSPITAL. 
 Donation In 1824, King George lY. transferred the series of 
 wich portraits of Admirals, painted by KneUer, Lely, and 
 Hospital. -jQ^-j^-^^ from Hampton Court Palace, to the Governors 
 
 of Greenwich Hospital, where they now decorate the 
 
 great Hall. 
 
 In the following year, his Majesty presented the fine 
 whole-length, by Mytens, of the Admiral Howard, Earl 
 of Nottingham, with the Spanish Armada tossing on 
 the waves in the distance.* 
 
 BUCKINGHAM PALACE AND CAELTON HOUSE. 
 Altera- In May, 1825, in consequence of the alterations 
 Bucking:- about to be made by Nash at Buckingham Palace, the 
 Palace and whole of the pictures belonging to that residence were 
 
 destruc- i j 
 
 tion of removed to Kensmgton. 
 
 Housed 1826 and the following year, the Carlton House 
 
 pictures, acquired by the Prince of Wales under the 
 circumstances above mentioned, were exhibited col- 
 lectively at the British Institution. They entirely 
 occupied the walls of the gallery during two con- 
 secutive years. 
 
 HAMPTON COUET PALACE, 
 tion^of I^i^g William IV., on his accession, ordered all the 
 
 * See ante, p. 329. See Locker's Admirals, 4to, Lond., 1831. 
 
HAMPTON COUET PALACE, IN 1834. 
 
 373 
 
 pictures accumulated at Kensington Palace to be trans- Koyai pic- 
 tures at 
 
 ferred to Hampton Court. His desire was to have Hampton 
 them shown to better advantage, and to enable the ^iniam 
 public to participate in these advantages. The granting ^ Jgo.y 
 a free access to these valuable works of art to the 
 general public, has tended to exercise a far more 
 beneficial effect upon public taste than has hitherto 
 been acknowledged. 
 
 At the time of this extensive removal, which lasted Extensive 
 
 change oi 
 
 during the years 1833, 1834, 1835, several Pictures |^ocdities^^ 
 of historical importance were removed to Windsor 
 Castle, and among them, from Kensington, the series 
 of old portraits which originally belonged to Henry 
 yilL, at Whitehall. They are now arranged with great 
 good taste and judgment, in a small apartment at the 
 foot of the stairs leading to the royal pew of the 
 chapel. Holbein's fine portrait of Sir Henry Guild- 
 ford, apparently obtained from the Arundel Collection,'''' 
 was for some time at Hampton Court, and is now at 
 Windsor. The curious picture "of James 1st praying 
 at the tomb of his father. Lord Darnley/' was at 
 Hampton Court till 1853, when it was transferred to 
 Windsor Castle. The singular picture of " The Calling 
 of St. Matthew,'' attributed to Mabuse, was at Buck- 
 ingham Palace in 1842. It is now at Windsor, f 
 
 Several pictures were removed, in 1834, from the 
 green dressing-room, Buckingham Palace, to the royal 
 residence at Kew. 
 
 * SeeAnstis' Eegister of the Order of the Garter, London, folio, 1724, 
 vol. 2, p. 244, and Mrs. Jameson's Public Galleries, vol. 2, p. 344. 
 
 t See ante, p. 329, and Mrs. Jameson's Private Picture Galleries, 
 p. 27. 
 
374 
 
 HISTOEY OF OLD LONDON. 
 
 HOLYEOOD PALACE. 
 Removal of At the time of the great Manchester Exhibition, 
 
 Scottish . . ^ , ' 
 
 Portraits in 1857, it was suggested that the celebrated diptych 
 burgh. painting of the King and Queen of Scotland (see 
 ante, pp. 313 and 356), which had been lent by 
 her Majesty from Hampton Court Palace, would be 
 more appropriately placed in her royal residence at 
 Holyrood, and for which, in all probability, the picture 
 had originally been painted. The suggestion, chiefly 
 promoted by Mr. D. Laing, readily found favour, and 
 was, before the close of the same year, removed to 
 Holyrood Palace. A few more pictures were selected 
 for transfer from Hampton Court to Holyrood, and 
 accordingly the following pictures, taken, with their 
 numbers, from the catalogue of the time, were removed 
 from Hampton Court in 1864 : — 
 The Mo- The Countess of Lenox,* 284 ; Queen Anne of Den- 
 
 ther of 
 Lord 
 
 Dariiley. * I am under a strong impression that this picture now lies under 
 a false designation. It differs considerably from the authentic por- 
 traits of the Countess of Lenox at Hampton Court, No. 513 of the 
 Catalogue, and from the kneeling figure in the picture at Windsor, 
 representing the parents and infant son of Darnley praying before his 
 tomb. In those instances the eyes of the Countess are pale blue 
 grey ; the eyebrows very arched, and of a pale brown colour. In 
 the picture above mentioned the eyes are very dark brown, and the 
 eyebrows of a different character. My expectation is that the picture 
 will prove to be the portrait of Mary of Hungary, sister to the 
 Emperor, and governess of the Netherlands. It is a very fine por- 
 trait, signed and dated " Antomus more pingebat, 1554," and has the 
 brand of C. E. crowned on the back of the panel ; thereby proving 
 that it really belonged to Charles I. It corresponds with the de- 
 scription already cited from Vander Doort's Catalogue. See ante, 
 p. 332, No. 9. 
 
HOLYEOOD AND ST. JAMES'S, A.D. 1864. 375 
 
 mark, 578 ; King Charles II., small, whole length, Removal of 
 by EusseU, 607 ; King James IL, same scale as pre- Portraits 
 ceding, 604; King James L, by Van Somer, 334 ; The don to 
 Children of Charles L, after Van Dyck, 639; Henry 
 Prince of "Wales, 269 ; The Admirable Crichton, 335 ; 
 James Stuart, when young, 626 ; Lord Darnley and 
 his Brother, when boys, 512 ; King of Bohemia, 312 ; 
 Queen of Bohemia, 312 ; and The Pretender, James 
 Stuart, when a boy, 626. 
 
 At the same time, a curious picture, called Mary 
 Queen of Scots, was forwarded to the Scottish capital 
 from St. James's Palace. 
 
 ST. JAMES'S PALACE. 
 St. James's Palace has, in the course of last year st.^ James's 
 received some accessions from Hampton Court. The 
 interesting whole-length of Henry Prince of Wales, in 
 armour, No. 454, is placed there in the Long Gallery. As 
 the suit of armour, decorated with golden thistles and 
 roses, which he wears, is identical with the suit still 
 preserved in the guard-chamber at Windsor, it is much 
 to be hoped that, in the event of any further change, 
 the picture may be destined to a position near it in the 
 Castle. 
 
 The beautiful picture of the Princess Elizabeth, in 
 a red dress, holding a book (see ante, pp. 289, 311 and 
 336), now in the first state-room of St. James's, would 
 also have made an interesting addition to the Henry 
 VIII. pictures at Windsor Castle. This would be the 
 more appropriate, considering that Windsor Castle, in 
 which Queen Elizabeth ajDpears to have so much 
 
376 
 
 HISTOEY OF OLD LONDON. 
 
 No por- delisfhted, does not at present contain even a single 
 
 trait of • 
 
 Uiieen portrait of her. 
 
 Elizabeth ' 
 
 at Wind- ' HAMPTON COUET PALACE. 1867. 
 
 sor Castle. 
 
 At Hampton Court great improvements have re- 
 cently taken place. Many of the finest pictures have 
 been cleaned, and all are now in the course of a better 
 system of arrangement. These changes are the result 
 of a thoroughly matured scheme laid down by the 
 lamented Prince Consort, and it may indeed be said 
 that all the good now performed in respect to our 
 national collections of art, is but a realization of his 
 wise and benevolent intentions. 
 
 APPENDIX. 
 
 Since the London Congress of the Archaeological Institute in July last, and 
 after the termination of the Portrait Exhibition, at South Kensington, the 
 Dean and Chapter of Westminster confided the Westminster Portrait of 
 Richard II. (ante, page 285) to the care of Mr. Geo. Eichmond, R.A., for pur- 
 poses of cleaning and reparation. This eminent portrait-painter bestowed 
 his personal attention and practical experience, with unremitting zeal, upon 
 the picture during many weeks, and the result, both in an artistic and antiqua- 
 rian point of view, has far exceeded the most sanguine hopes that could have 
 been entertained of its recovery. The picture, as seen at the Manchester 
 and Kensington Exhibitions, was found to have been an absolute falsification. 
 Not only was the original surface covered with several layers of thick paint, 
 but the figure itself was converted into a totally different personage ; whilst 
 clumsy, ignorant art was substituted for portraiture of the most delicate and 
 refined quality. These high qualities were fully recovered by Mr. Eichmond, 
 who worked with the assistance of Mr. H. Merritt, the well-known picture 
 restorer. For a longer account and elaborate details, the writer of this 
 paper refers to an article which he contributed to the January number, 1867, 
 of the Fine Arts Quarterly Eeview," p. 27. 
 
 THE END. 
 
 BRADBTJIiy, KVANS, AND CO. , PRINTERS, WtUTEFRlARS. 
 
GETTY RESEARCH INSTITUTE^ 
 
 3 3125 01046 0828