PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
 l 9°9 ' v* ’ *s 
 
From tbe Library of 
 Frank Simpson 
 
Burlington Fine Arts Club 
 
 EXHIBITION 
 
 ILLUSTRATIVE OF 
 
 EARLY ENGLISH 
 PORTRAITURE 
 
 LONDON 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
 I 9°9 
 
CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
COMMITTEE FOR THIS EXHIBITION 
 
 SIR WALTER ARMSTRONG 
 
 THE LORD BALCARRES, M.P., F.S.A, 
 
 C. F. BELL, ESQ., F.S.A. 
 
 JAMES L. CAW, ESQ. 
 
 SIR MARTIN CONWAY, F.S.A. 
 
 HERBERT COOK, ESQ., F.S.A. 
 
 LIONEL CUST, ESQ., M.V.O., F.S.A. 
 EDWARD DILLON, ESQ. 
 
 ALBAN HEAD, ESQ., F.S.A. 
 
 W. H. ST. JOHN HOPE, ESQ., M.A. 
 LIEUT. -COL. G. B. CROFT LYONS, F.S.A. 
 MAX ROSENHEIM, ESQ., F.S.A. 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/exhibitionillust00burl_2 
 
LIST OF CONTRIBUTORS 
 
 Contributors whose names are marked thus * are Members of the Club 
 
 *Lord Aldenham. 
 
 Earl of Ancaster. 
 
 Society of Antiquaries. 
 
 Captain Josceline Bagot. 
 
 St. Bartholomew’s Hospital. 
 
 Sir Henry Bedingfeld, Bt. 
 
 Mrs. Booth. 
 
 H. Dent-Brocklehurst, Esq. 
 
 *Earl Brownlow. 
 
 Duke of Buccleuch and Queens- 
 BERRY, K.G., K.T. 
 
 Cambridge: Trinity College. 
 Archbishop of Canterbury. 
 
 P. T. Davies-Cooke, Esq. 
 
 Duke of Devonshire. 
 
 R. Langton Douglas, Esq. 
 
 Prince Frederick Duleep Singh. 
 Major W. G. Eley. 
 
 Earl of Essex. 
 
 Earl Fortescue. 
 
 Colonel Edward Frewen. 
 
 *Rt. Hon. Lewis Fry. 
 
 Miss Guest of Inwood. 
 
 *Lieut.-Col. G. L. Holford, C.V.O., 
 C.I.E. 
 
 Earl of Home, K.T. 
 
 *Edward Huth, Esq. 
 
 Mrs. Joseph. 
 
 Hamon Le Strange, Esq. 
 
 Mrs. Locker-Lampson. 
 
 Earl of Loudoun. 
 
 Merchant Taylors’ Company. 
 
 *J. Pierpont Morgan, Esq. 
 
 Duke of Norfolk, K.G. 
 
 *Henry Oppenheimer, Esq. 
 
 Oxford: Christ Church. 
 
 Major Charles H. D. Palmer. 
 Alfred Peachey, Esq. 
 
 Earl of Pembroke, G.C.V.O. 
 
 Duke of Portland, K.G. 
 
 *Max Rosenheim, Esq. 
 
 Lord Sacicville, G.C.M.G. 
 
 *George Salting, Esq. 
 
 *The late Major-General F. E. 
 
 SOTHEBY. 
 
 Earl Spencer, K.G. 
 
 Lord Edmund Talbot, M.P. 
 University of Oxford: 
 
 Ashmolean Museum. 
 
 Bodleian Library. 
 
 Lord Vaux of Harrowden. 
 
 Sir Edmund Verney, Bt. 
 
 Earl of Verulam. 
 
 Victoria and Albert Museum, South 
 Kensington. 
 
 *T. Humphry Ward, Esq. 
 
 Vernon Watney, Esq. 
 
 Dean of Westminster. 
 
 *Earl of Yarborough. 
 
 Marquess of Zetland, K.T. 
 
✓ 
 
 
 
 
PREFATORY NOTE 
 
 HIS Exhibition of Early English Portraits has 
 been organized in order to illustrate, so far as was 
 within the powers of the Committee, the history 
 of portrait-painting in England from the earliest 
 days up to the time of Holbein and his immediate 
 
 successors. 
 
 The Committee have not been so successful as they hoped 
 in obtaining the loan of some of the more important historical 
 examples of English portraiture of this period, the portraits at 
 Windsor Castle and Hampton Court Palace, for instance, being 
 no longer available for such a purpose. The Committee have, 
 therefore, the more cordially to thank the many owners of valuable 
 works of art for their kindness in lending their precious posses- 
 sions to promote the object of this Exhibition. 
 
 The Catalogue of Paintings and Drawings has been compiled 
 by Mr. Lionel Cust, Director of the National Portrait Gallery, 
 assisted by Mr. C. F. Bell, Keeper of the Department of Fine 
 Art in the Ashmolean Museum. So little is known for certain 
 of the painters of this period, that the compilers of the catalogue 
 have not hesitated to ascribe the authorship of the portraits 
 
Vlll 
 
 Prefatory Note 
 
 exhibited to such painters or schools as seemed consonant with 
 recent research and historical knowledge. For these ascriptions 
 the compilers hold themselves entirely responsible. 
 
 The Catalogue of Coins and Medals has been supplied by 
 Mr. Max Rosenheim, F.S.A. 
 
 The Introductory Notes by Mr. Lionel Cust are intended to 
 afford some material for the early history of painting in England, 
 which still remains to be written, and offers an interesting field 
 for research. 
 
 The presence of a few works by French and Netherlandish 
 artists will serve to illustrate the relations between the artists of 
 England and of the neighbouring countries. 
 
NOTES ON THE EARLY HISTORY OF THE ART 
 OF PORTRAIT-PAINTING IN ENGLAND 
 
 NDEAVOURS to trace the early history of the Arts in 
 any country frequently end by leading the explorer either 
 into a jungle, or a trackless forest of archaeology, or else 
 on to the bleak side of some cloud-capped height, where 
 the fountain-sources of the fair springs of art lie some- 
 where hidden, and not to be discovered without much fatigue and patient 
 pertinacity. The art of Portrait-Painting has been brought to such a high 
 pitch of excellence in England, that its early history can hardly be lacking 
 in interest. This history has, however, been sadly neglected, not for want 
 of materials, even if these be scanty, but rather from the pre-disposition, 
 inculcated by an old-fashioned curriculum of teaching, to look upon the 
 history of the Arts as closing rather abruptly with the classical era of 
 Greece and Rome, to be resuscitated after a period of barren darkness by 
 that somewhat ill-regulated revival of classical traditions in Italy, which is 
 usually known as the Renaissance. It is only comparatively recently that 
 the early rise and progress of the Fine Arts in the countries north of the 
 Alps, beyond which the classical traditions did not so quickly penetrate, 
 have been made the subject of diligent and earnest enquiry. It has been 
 shown that the Netherlands, many parts of the countries now known as 
 Germany and Austria, and great provinces of ancient France, all possessed 
 and fostered the Fine Arts in a way which, however susceptible it may 
 
 B 
 
2 
 
 Early English Portraiture 
 
 have been to foreign influence, still showed those arts to have been 
 indigenous, as reflecting the life and character of the folk who produced 
 them, and not mere echoes of a bygone or remote civilization. 
 
 England has been looked upon, somewhat unjustly, as a somewhat 
 barbarous land in which the Arts were planted by foreign hands, and 
 cultivated with difficulty in consequence of the poorness and unreceptivity 
 of the intellectual soil. Can this charge be controverted? To build houses, 
 to make implements of domestic use or personal defence, to carve or mould 
 or sometimes to draw representations of animals, human figures, or other 
 objects for worship, for memorials, or even for mere amusement, have been 
 among the earliest forms of expression due to the gradual progress of 
 human civilization. These simple efforts, like those of children, show but 
 few signs of distinctive nationality and are common to all races. A new 
 element is required, which may perhaps be called the literary element, as 
 opposed to the merely decorative, to bring national distinctions into life. 
 It is possible to trace the gradual growth of these distinctions in the art of 
 each country north of the Alps from the early barbarous days up to the 
 time when the native Art encounters some powerful influence from Rome 
 or Byzantium, by which it is either engulfed or absorbed, or in which 
 it drapes itself as with new robes, and sets forth on a new path of 
 development. 
 
 England, by reason of its island formation, was late among the 
 countries to come under any southern influence. Ireland and Wales were 
 perhaps the earliest to receive such influence; but in Ireland an Art, both 
 graphic and plastic, grew up, in which under the influence of Christianity 
 the old barbarian or even prehistoric arts found a new and original 
 expression. This did not, however, last long, for the opening up of Britain 
 to commerce, and its subjection to Scandinavian rulers, with the consequent 
 rise of sea-power, introduced a more complex element, from which sprang 
 the Anglo-Saxon character. This in its turn received through France an 
 infusion of artistic conventions from Byzantium, beneath which all that was 
 
History of the Art in England 
 
 3 
 
 left of the early British Art had great difficulty in escaping extinction. 
 That this was not the case is evident from the strong individual character 
 shown by the English manuscripts of the succeeding period, as was seen so 
 well at the Exhibition of Illuminated MSS. recently held at the Burlington 
 Fine Arts Club in 1908. To what extent the art of limning was governed 
 by English or by French influences may still remain a subject of discussion. 
 The student learns to look for in English work not pretty taste or refine- 
 ment, but a certain rough directness, an uncompromising reality, even 
 when conventions are employed, a predilection for strong colours and 
 somewhat excessive gilding and a tendency to a barbaric and fantastic 
 style of ornament, a connecting link with the primitive art of the North, 
 together with a growing delight in a somewhat grotesque humour, occa- 
 sionally degenerating into coarseness. There is no shrinking from repre- 
 senting the naked form, and often some skill in doing it. An example 
 of this is to be found in the famous series of embroideries, known as the 
 Bayeux tapestry, wherein so many of the aforesaid ingredients occur, 
 that it is easier to class this work of art with those of English artists, 
 rather than with the already more advanced and better regulated art of 
 France, although the close relations between Normandy and Brittany and 
 the southern provinces of England make it difficult to speak with any 
 certainty. 
 
 In all these early efforts of painting in England the art of portraiture 
 is hardly to be discerned. In northern climates the human body is but 
 seldom exposed, and the ideal was sought in external trappings and 
 ornament, rather than in the human person itself. The gods of Asgard 
 are never unclothed like the gods of Olympus, and Odin, Freya, Loki, and 
 other deities were creatures of the imagination, which never took shape in 
 concrete anthropomorphism in the way that the idea of Zeus, Aphrodite, 
 or Hermes was impressed upon the minds of ancient Greece or Rome. 
 The human figure in early Christian art, whether representing the deity or 
 mankind, is usually conveyed in the form of a convention from East to 
 
4 
 
 Early English Portraiture 
 
 West. All learning was controlled by the Church, which ever strove to 
 humiliate and depreciate real humanity in order to enhance the greatness 
 and majesty of the Divine Ideal. Only kings and princes, secular and 
 ecclesiastical, were by virtue of their high offices considered to possess 
 such divine attributes as entitled them to be gazed upon in reverence by 
 the people. For them was permitted the funeral effigy, the monument in 
 stone or bronze, the figure in a stained-glass window, the portrait in the 
 frontispiece, or the initial letter of an illuminated manuscript, but usually 
 under the authority and often within the precincts of the Church. 
 
 The archaeological history of England shows that there was always to 
 be found a supply of native artists or craftsmen ready to work in stone or 
 metal, or to decorate with paint the walls of churches, palaces, or other 
 public buildings. If the inspiration came from outsiders, even if the leading 
 workmen were in many cases of foreign origin, the arts in England were 
 in the hands of as capable workmen as they were in Germany or France. 
 
 The records of the Anglo-Saxon period show occasional references to 
 artists, which indicate some activity. About 668 Benedict, a Saxon monk, 
 who made a pilgrimage to Rome, returned in the train of Theodore, 
 Archbishop of Canterbury, and with him came various artists, glaziers, 
 painters, etc. It may, however, be supposed from this, as in later years, 
 that the necessity for such employment of foreigners argues a lack of 
 native-born artists. Painters called Aelfsin and Ervenius are alluded to in 
 Saxon Chronicles before the Conquest. The rule of the Norman Kings 
 does not seem to have been so favourable to the arts, which seldom thrive 
 under war or strict legislation. It is not, therefore, till the thirteenth century 
 that definite traces can be found of a public interest in the arts. Henry III 
 does not rank among the great kings of England, but he seems to have 
 been the first to employ painters to decorate the royal palaces. 
 
 In 1228 payments are recorded to a painter for painting the chamber 
 of the Great Exchequer; in 1233 payments for the renewal of paintings 
 in the King’s wainscoted chamber in Winchester Castle, where he was 
 
History of the Art in England 
 
 5 
 
 born, “ cameram regis lambruscatam de castro Winton depingi faciat eisdem 
 historiis et picturis quibus fuerat prius depicta,” and for paintings in the 
 royal chapel at Woodstock; in 1236 for paintings in the great King’s 
 chamber at Westminster, and in St. Stephen’s chapel there. The latter 
 seem to have been executed by one Odo, the goldsmith, and later works 
 by Edward, his son. They are paid “pro oleo vernici et coloribus emptis, 
 et picturo facto in camera reginae nostrae apud Westm:,” showing that 
 the secret of painting in oils had already been revealed, though it had 
 not separated itself from the other methods of painting, and been developed 
 as in later days in the hands of Antonello da Messina and the Van Eycks. 
 The art of painting was in fact developing itself slowly alongside of the 
 gradual transition in architecture from Norman to Gothic, the latter style 
 allowing much greater facilities for the painter’s art. 
 
 Monumental portraiture is probably the first attempt to depict an 
 actual counterfeit of the human body, whether in stone or marble from 
 Purbeck, as in the thirteenth century, in alabaster, which was introduced in 
 the fourteenth century, on brasses or occasionally in stained glass windows, 
 which were introduced from France during the fourteenth century. In 
 many cases such figures, like the so-called Crusaders in the Temple 
 Church, are simply conventional figures, made to order from certain definite 
 stock types with little regard to actual portraiture. Some figures, however, 
 like those of King John at Worcester, William de Longuespeeat Salisbury, 
 Edward II at Gloucester, all show so much individuality and special 
 character, that, as Mr. Hartshorne has well said, “ we must accept them as 
 representatives of the persons commemorated as nearly as the circumstances 
 of their production would permit.” These circumstances, however prima 
 facie . prevent the portraits, such as they are, from ever having been taken ad 
 vivum. Many of the figures were coloured to imitate life, but more attention 
 was given to the armour, robes, and other trappings, than to the actual 
 delineation of the human face. In these works portraiture is therefore only 
 a casual ingredient, though it is in the natural sequence of artistic events 
 
6 
 
 Early English Portraiture 
 
 that the desire to portray, or prolong the memory of departed heroes, 
 should precede in date a similar desire to accomplish this during their 
 lifetime, leading gradually and individually to that study of human character, 
 and its interpretation, which is the true and vital spirit of the portrait- 
 painter’s art. 
 
 It has been sometimes alleged that the encouragement to the art of 
 painting given during the reign of Henry III was due to that King’s 
 marriage, in 1236, with Eleanor of Provence, a bride from the more 
 enlightened country of France. The works however already alluded to were 
 executed previous to this marriage, and continue afterwards as executed 
 for the King at the Tower of London, Westminster, Windsor Castle, and 
 Guildford, where there was a royal palace. The names of the artists, to 
 whom payments for such services were made, Odo the goldsmith and 
 Edward his son, known as Edward Fitz-Otho and Master of the Mint, 
 Wilhelmus pictor, or William the Florentine, suggest foreign artists, and as 
 before, a lack of commanding native talent. One of the great events of 
 Henry Ill’s reign was the translation of the body of Edward the Confessor 
 to a new shrine, which was constructed by Italian workmen in the Italian 
 style. The golden casket, however, containing the coffin was of English 
 workmanship, as were other images forming part of the shrine. 
 
 That portrait-painting was not entirely unknown in Henry Ill’s reign 
 could have been seen in Westminster Abbey at that date. The paintings 
 on the tomb accredited to Sebert are of great interest, but perhaps hardly 
 rank as portraits. In 1257 Henry III erected a costly tomb in the Abbey 
 for his little daughter, Catherine, in which others of his children and grand- 
 children were also interred. A painting on the back of the tomb is said to 
 have contained portraits of the children interred within. The tomb also of 
 Edmund Crouchback, the King’s second son, contained a painting supposed 
 to represent ten knights, including Edmund and his brother Edward, who 
 went together to the Crusade in 1270. 
 
 At the accession of Edward I Italian workmen were still being 
 
History of the Art in England 
 
 7 
 
 employed on the Confessor’s shrine, and they were probably the same who 
 were employed by the new King to make a tomb for his father. 
 
 The brazen effigy on this tomb was, however, the work of a presumed 
 Englishman, William Torel, who afterwards made a similar effigy of Queen 
 Eleanor of Castile, working in each case probably from the effigy carried at 
 the funeral. English craftsmen also made the iron grilles for both tombs. 
 The King’s glazier also in 1290 was an Englishman, John of Bristol, and 
 the painter, who was called in to make paint, gild, and decorate the 
 famous Coronation Chair, was also an Englishman, Walter of Durham. 
 
 On entering the fourteenth century a distinct advance in the art of 
 portraiture may be noted. The practice of painting the portraits of 
 sovereigns on the walls or wainscoting of rooms was existing in the reign 
 of Edward II, for when, in 1342, that monarch visited the Abbey of 
 Gloucester, and was entertained at a feast by the Abbot, John Thokey, the 
 King remarked on the portraits of previous Kings painted on the walls of 
 the parlour, and asked, jocularly, if he would have the honour of having his 
 portrait added to the series. 
 
 This set of portraits, if it be the first of its kind, was the inauguration 
 of a practice which obtained for some three centuries to come, during 
 which, especially in Tudor times, it became a frequent ornament of small 
 panelled rooms or closets in great houses or public buildings, to paint the 
 panels with portraits of Kings and Queens. Monumental sculpture also 
 took a new line. Whereas the effigy in brass or stone had, in such cases 
 as Henry III and Eleanor of Castile, become somewhat conventional, and 
 based in all probability on the “lively image” in wax that was borne upon 
 the funeral car, the monumental effigy placed by King Edward III to the 
 memory of Queen Philippa of Hainault has every appearance of being a 
 likeness modelled, if not from life, from the actual figure of the Queen 
 herself. The effigy of the King himself is a mere convention again, and 
 this is not surprising in view of the loneliness and neglect of this great 
 King during his last hours and after death. 
 
8 
 
 Early English Portraiture 
 
 In illuminated manuscripts also real, as opposed to conventional, por- 
 traiture begins about the thirteenth century to make an appearance of a 
 more definite nature than had been shown by such examples as hitherto 
 existed. 
 
 The commercial importance of England was now beginning to increase 
 by leaps and bounds. The arts wait on commerce, and follow the great 
 arteries thereof which lead to such centres as Rome, Paris, London, 
 Antwerp, or Cologne. To this period of increasing commerce belong the 
 best examples of architecture, both civil and ecclesiastical, and humanity 
 begins to assert itself at the expense of hidebound ecclesiastical tradition. 
 
 The same expansion was taking place in literature, where Chaucer and 
 the author of “ Piers the Plowman ” were laying the foundations of the 
 English language as a vehicle of world-wide literary expression. In Italy 
 Giotto, Orcagna, Duccio, and Simone Martini, were opening the gates of 
 painting to a paradise of unlimited delight, while in Flanders Hubert and 
 Jan van Eyck came into the world to perfect these reforms in the technical 
 art of painting, which were to transform that art throughout the civilized 
 world. If England seemed reluctant or unable to free the art of painting 
 from slavery to the architect, the sculptor, or the scribe, it must be borne in 
 mind that this country had no classical prototypes to follow as in Italy, and 
 that its commerce was all sea-borne with none of the easier means of 
 communication, which added so much to the artistic influences felt, for 
 instance, in the Netherlands. 
 
 Again, the Church in England, even in pre- Reformation days, never 
 seems to have given the same facilities or the same welcome to pictorial 
 art as in other countries on the Continent. England was not yet a wealthy 
 country. Its kings and nobles of the Plantagenet era were too much occupied 
 in war at home or abroad to pay much attention to domestic comfort and 
 luxury, which indeed seemed more ready to connect themselves with the 
 less robust and manly rulers, such as Henry III and Richard II. Domestic 
 life in England also offered but little encouragement to the art of painting 
 
History of the Art in Rngland 
 
 9 
 
 The entrance hall, which served as a dining-room, was usually hung with 
 tapestry or other woven hangings. The sitting-rooms were low and almost 
 invariably panelled with wainscoting. The rooms upstairs were furnished 
 with hangings of worsted say, or other stuff, and sometimes painted cloths, 
 to cover the bare walls. Pictures in private houses, as chattels, are seldom 
 recorded before the fifteenth century, an occasional table (or panel picture) 
 or stained cloth (or tempera painting on canvas) being mentioned in wills or 
 inventories. These tables or stained cloths bore, however, subjects of a 
 religious or mythological nature. Portraiture had still to wait some time 
 before it was adopted as an ingredient in family life. 
 
 A decided advance in the direction of portraiture was made about 
 1350, when the walls of St. Stephen’s Chapel at Westminster were further 
 adorned with paintings, entrusted to Hugh of St. Alban’s as master painter, 
 representing the Adoration of the Magi, and in a row below this scene 
 portraits of Edward III, Queen Philippa, with their sons and daughters. 
 The accounts for these paintings, as well as for the glazing of the windows 
 in the chapel, are of extreme interest. The payments show that, as in 
 1236, oil was used as a vehicle in the execution of the painting. In this 
 painting a genuine attempt at portraiture is discernible. Although the 
 original painting perished with the chapel in the great fire of 1834, tracings 
 had fortunately been taken, and copies made to imitate, the originals by 
 Richard Smirke, R.A. It has already been noted that the alabaster effigy 
 on Queen Philippa’s tomb is the first obvious portrait-effigy executed in 
 England for such a purpose. A comparison with Smirke’s tracing of the 
 Westminster portrait of Philippa shows an agreement between that portrait 
 and the effigy, which denotes a real resemblance to life, sufficient to denote 
 the character and even the race of the person represented. 
 
 That English art was of some repute is shown by a casual description 
 — brought home by some friars on their travels about 1322 — of English 
 paintings as ineffabiliter depictae. The paintings in the Painted Chamber 
 
 and in St. Stephen’s Chapel at Westminster must have been of extra- 
 
 c 
 
io 
 
 Early English Portraiture 
 
 ordinary beauty, if one can judge by the copies of the former made by 
 C. A. Stothard, and of the latter by R. Smirke, R.A., so fortunately made 
 before the paintings were destroyed by fire. A selection from these 
 designs will be found in the present Exhibition. The eulogy of the friars 
 would, however, refer either to the mural paintings in the churches or 
 perhaps only to the illuminated manuscripts, and not to anything connected 
 with portraiture. 
 
 The air was, however, big with artistic gestation. Without going too 
 closely into the relations between one country and another, it may be 
 surmised that the same influences were working throughout, and that the 
 artistic impulse, which emanated from Italy, gradually permeated and 
 informed the existing native schools and crafts in each country north of 
 the Alps, at Prague, at Cologne, at Paris, and in England. The inter- 
 marriages of royal personages, with the trappings and paraphernalia which 
 they brought in their train, the increasing wealth and desire for display 
 not only among the nobles, but among wealthy citizens, the greater 
 freedom for circulation and interchange of ideas, in fact the gradual 
 yielding of the mediaeval to the modern spirit, the spiritual to the human, 
 the feudal to the commercial, all contributed to the advance and expansion 
 of the fine arts. 
 
 The paintings in St. Stephen’s Chapel were contemporaneous with 
 another landmark in the history of painting. At the battle of Poitiers in 
 1356 King John of France and his son were made prisoners and brought 
 to England. King John brought in his train as varlet de chambre , or gentle- 
 man in waiting, one Girard of Orleans, a painter. To this Girard is 
 attributed a portrait of King John, still preserved in the Bibliotheque 
 Nationale at Paris, which is believed to have been painted in England 
 about 1359. It formed part of a fourfold folding picture, a quadriptych, 
 the three other portraits, which have unfortunately been separated and lost 
 to sight, being those of Edward III, Charles IV, Emperor of Germany, 
 and Charles, Duke of Normandy, afterwards Charles V, King of France, 
 
History of the Art in England, i \ 
 
 for whom it seems to have been painted. The painting is executed in 
 tempera on a ground of mixed plaster and canvas pasted on to a 
 panel of walnut wood. The surface is gilt and ornamented with pounced 
 work. 
 
 This portrait is of the utmost importance in the history of painting in 
 both England and France. It is the first known portrait from the life, 
 executed by a French painter, and it is also the first known portrait 
 painted from the life that can be said to have been executed in England. 
 
 The arrival of Girard of Orleans in England was a notable event in 
 his life, as well as in the history of art; but it still remains to be decided, if 
 it was Girard, who gave the impulse to the budding art of portraiture in 
 England, or if it were not perhaps the more advanced state of the art in 
 England which inspired Girard to paint this fourfold set of portraits. 
 There was certainly nothing in France to rival the beauty of the paintings 
 at Westminster already referred to, and even if French artists began now 
 to supplant English, it is not without some confidence that one might urge 
 both the superiority and the priority of English painting over the early 
 efforts of the French. 
 
 The technique of this portrait is characteristic of an age when the art 
 of the painter was not yet dissociated from that of the sculptor, the 
 goldsmith, and the metal-worker. The painter would reckon among the 
 obvious duties of his art the colouring of a monument, the decoration of 
 furniture, the completion of an architectural design in colour, as well as the 
 painting of a retable or votive picture or a portrait. 
 
 One of the most notable influences on Western Art during the 
 fourteenth century was the great Sienese painter, Simone Martini, who 
 towards the end of his career was summoned to the Papal court, then 
 established at Avignon, to decorate the Papal palace with paintings. At 
 Avignon Simone met and painted the portraits, so tradition says, of 
 Petrarch and his beloved Laura. From Avignon there emanated an 
 influence which pervaded France, especially in the great centres of Dijon 
 
12 Early English Portraiture 
 
 and Moulins. The Italian influences detected by some in English paintings 
 of this century are probably due to the fame of Simone’s paintings at 
 Avignon. King Charles V of France, and the Emperor Charles IV of 
 Germany, two of the personages in the quadriptych of Girard d’Orleans, 
 were ardent patrons of the art in Paris and at Prague. In France the art 
 of illuminating manuscripts was encouraged and developed great beauties, 
 studies of natural objects and portraits being frequently introduced. 
 Capable artists were attracted to the French court from the Netherlands. 
 The Bible given to King Charles V by Jean de Vaudetor in 1372 
 contains a portrait of the King drawn in 1371, inscribed: “Johannes de 
 Bruges, pictor regis fecit hanc picturam propria sua manu.” Girard of 
 Orleans worked to a good old age, and was succeeded by Jean of Orleans, 
 probably his son. To one or both of them has been attributed the famous 
 altar-front, painted on silk, known as the “ Parement de Narbonne.” Girard’s 
 master, King John, had delivered up his son Jean, Due de Berri, as a 
 hostage in England, who there, while in confinement, lost his heart to an 
 English maiden. For this Due de Berri Jacquemart de Hesdin executed 
 the famous “ Grandes Heures . . . enluminees et historiees de grans 
 histoires,” now at Paris, and the “Tres Belles Heures Tres Richement 
 Enluminees” of the Royal Library at Brussels. For him also was executed 
 the “Tres Riches Heures,” illuminated by Pol de Limbourg and his 
 brothers. For him also was executed a Psalter illuminated “ de la main 
 de Maistre Andre Beaunepveu.” Before the end of this century Philippe 
 le Hardi, Duke of Burgundy, had brought to Dijon painters of repute from 
 the Netherlands, such as Jean Malouel and Melchior Broederlam. Philippe, 
 like his brother Jean, had shared his father’s captivity in England. In 
 1377 Richard II, a boy of eleven years old, succeeded his grandfather as 
 King of England. Five years later he was married to Anne of Bohemia, 
 daughter of the Emperor Charles IV. In 1389 Philippe, Duke of Burgundy, 
 sends illuminated manuscripts and other works of art as presents to King 
 Richard and his uncles the Dukes of Lancaster and Gloucester. Richard 
 
History of the Art in England 13 
 
 was thus in personal contact with the three chief art-centres of northern 
 Europe, Paris, Dijon, and Prague. 
 
 If the progress of the arts in England at the close of the fourteenth 
 century may seem to be disappointingly slow, it must be taken into 
 account that the Fine Arts depend on the prosperity of a country as much 
 as on the will and fancy of a prince or the patronage of the Church. 
 England at this period was going through a series of severe convulsions, 
 social, political, and domestic. Richard II succeeded to the throne at the 
 moment of the great conflict of the Church in England with Wyclif and 
 the reformers of religion, who were in little sympathy with, if not in actual 
 hostility to, the developments of the arts, as practised and fostered by the 
 Church. Richard also succeeded to the first great struggle for the possession 
 of land between lord and peasant, and the rise both of the farmer and the 
 labourer to a share in the country’s government and a freedom from 
 bondage. The whole social condition of England was already undergoing a 
 course of alteration, when a great disaster happened to the country in the 
 shape of the Black Death, the great visitation of the plague in 1348 which 
 paralyzed the new social movement and produced reaction on the one side 
 and revolt on the other, resulting in a turmoil during which the whole 
 social system of the Middle Age sank in ruins. The nation had hardly 
 recovered from these disturbances before it was plunged into the futile series 
 of wars in France, and the still more disastrous civil war of the Roses in 
 England, in which feudalism was finally wrecked. The way was thus 
 cleared for the establishment of what has been called the New Monarchy, a 
 period which lasted from the days of Edward IV to those of Charles I, 
 during which England was consolidated into a nation under the gradually 
 increasing supremacy of the Crown. During the early stages of this 
 transition literature and the arts had a hard struggle for existence. The 
 churches no longer claimed to hold a monopoly of intellect, and the 
 universities were only saved by the introduction of the collegiate system 
 from possible extinction. The power of the nobles was scattered in frag- 
 
Early English Portraiture 
 
 ments on the battlefields of Tewkesbury, Towton, and Bosworth. Nothing 
 remained but the King, who now for the first time found himself the 
 sovereign of a united nation, freed from dynastic struggles and to a great 
 extent from the oppression of foreign warfare. 
 
 This power was first exercised by Henry VII, whose accession put an 
 end to the internecine strife which had ravaged and wasted England for 
 fifty years or more. He found the country exhausted, and its exchequers 
 practically empty. Henry VII therefore laid himself out to attract 
 foreigners with their merchandise and money to set his marts at work. 
 He encouraged the civic spirit, as opposed to that of the nobles, though it 
 was long before England could be said to breathe the same civic spirit 
 which inspired the citizen life of Athens, Florence, Antwerp, or Venice. 
 As England needed the foreigner’s gold to stimulate the energy of her 
 re-awakening commerce, so she needed the foreigner’s art to impel and 
 inform the growing desire for artistic expression. It was therefore the 
 foreign artist whom kings and nobles delighted to honour with their 
 patronage, while the native born artist worked in obscurity. Italy was 
 teeming with surplus artists skilled in decorative sculpture and archi- 
 tecture. Bruges was ready to send over painters practised in the newly 
 developed technique of painting, which had been perfected by the Van 
 Eycks. At Ghent, Mechlin, Antwerp, Brussels, and other towns in the 
 Low Countries, at Dijon, Moulins, Lyons in France, at Cologne, Basle, 
 Augsburg in Germany, artists began to cast longing eyes on England, as a 
 land where novelty was always welcome, money was easily to be gained, and 
 competition from artists of the first rank was less likely to be encountered. 
 Unfortunately for England this encouragement of the foreigner had a most 
 repressive effect upon native talent, and played into the fickle hands of 
 fashion and caprice. English authors, dramatists, and artists have never 
 ceased from those days to the present to lament the lack of support for 
 native talent in England. Even in the days of Holbein, the humorous 
 doctor Andrew Boorde spoke of Englishmen as the bold, strong, and 
 
History of the Art in England 
 
 '5 
 
 mighty, the women “ ful of bewty and decked gaily ” but also of their 
 national failing for new and foreign fashions “ Now I wyll were this, and 
 now wyl were that, and now I wyl were I cannot tel what!” 
 
 Henry VII was too parsimonious to help the arts. Henry VIII was a 
 man of culture and learning, who was lavish in expenditure but rather in 
 rivalry of the Courts of Maximilian and Francis I than from any real love 
 of the fine arts. The death of Maximilian in January, 1519, marked the 
 close of the Middle Age. Charles V, Francis I, and Henry VIII may 
 be looked upon as the pioneers of Modern Europe. Of these three great 
 sovereigns Charles and Francis were enlightened patrons of the arts. 
 Henry VIII cannot lay claim to this distinction. Even Holbein seems to 
 have lived and worked in London for some time before he was discovered 
 and employed by the King. Throughout the reigns of the Tudors it is 
 difficult, though probably not impossible, to trace the progress of native 
 art in England, even under the shadow of the more brightly bedizened 
 banners of the foreigner. 
 
 To trace this progress, as far as portrait-painting is concerned, is the 
 object of the present Exhibition. 
 
PORTRAITS OF RICHARD II 
 
 Richard II (born 1367, succeeded to the throne of England 1 377, died 
 1400) is the subject of the first known paintings of any importance 
 containing direct English portraiture, apart from such portraits as may have 
 been introduced into decorative wall paintings or into the illuminations of 
 manuscripts. Two undoubted portraits exist of Richard II, which have 
 every appearance of having been taken from the life, the famous diptych in 
 the possession of the Earl of Pembroke and Montgomery at Wilton 
 House, and the equally famous portrait in Westminster Abbey. 
 
 The folding diptych at Wilton of Richard II, attended by St. John 
 the Baptist, St. Edward the Confessor, and St. Edmund, King and Martyr, 
 on his knees before the Virgin and Infant Christ, who are surrounded by 
 eleven angels, is well known to students and to the public generally through 
 the fairly accurate chromo-lithographic reproduction issued by the Arundel 
 Society, for which the late Sir George Scharf, K.C.B., compiled and 
 published a minute and elaborate description in 1882. More recently a 
 further description, based on Scharf s, has been published by Captain Nevile 
 Wilkinson in his ‘Catalogue of the Pictures at Wilton House.’ 
 
 The diptych is painted on two separate panels of oak, the frame being 
 part of the same piece of wood as the panel, hinged together and folding 
 flat in the manner of ancient tablets in classical days. These tablets are 
 gilded all over, back, front, and edges. It is clearly meant to be portable, 
 and not to be suspended from the wall. On the dexter panel, speaking 
 heraldically, the King is seen kneeling accompanied by his three patron 
 saints. The King is of very youthful aspect, and wears a rich scarlet gown, 
 with broad hanging sleeves, lined with and embroidered all over in gold 
 with figures of crouching stags, each enclosed in a circle of broomcods. 
 He wears a collar of broomcods round his neck. On his left breast is the 
 
Portraits of Richard II 
 
 l 7 
 
 King’s favourite badge of the white hart, in enamel. Of the three patron 
 saints St. Edmund is noticeable from his rich blue robe embroidered with 
 birds. On the sinister panel stands the Virgin in a blue robe bearing in 
 her arms the Infant Christ, and surrounded by angels, each of whom bears 
 a wreath of roses, has wings of variegated plumage, and wears a collar of 
 broomcods and the badge of a white hart on the left breast, like that of 
 the King. The background of both panels is polished gold, pounced and 
 stippled with various patterns. On the back of the sinister panel is the 
 shield and crest of the King, bearing the arms of Edward the Confessor, 
 while on the back of the dexter panel is the King’s badge of the white 
 hart. 
 
 “ Upon a careful examination of the diptych,” says Scharf, “it appears 
 that the oak was covered with a surface of plaster or gesso, and the red 
 bole was used, above which every part of the surface was gilt and highly 
 burnished. On the back, where greater thickness was required, the gesso 
 appears to have been mixed up with hair or fibres of linen. The figures on 
 the front sides of the panel were painted at once upon the gilt surface after 
 it had been burnished, which is manifest where in several places the colour 
 has chipped off.” 
 
 The portrait of King Richard himself is modelled with extreme care 
 and is evidently taken from the life. It may be inferred from details in the 
 painting that it was painted after his accession to the throne in 1377, and 
 before his marriage to Anne of Bohemia in 1382. It is possible that it was 
 a votive painting to commemorate the King’s visit to the shrine of Our 
 Lady in the Pew at St. Stephen’s, Westminster, on Saturday, 15th June, 
 1381, before riding out to Smithfield on his gallant and successful attempt 
 to quell Wat Tyler’s dangerous insurrection. 
 
 The history of this precious diptych is unknown until the time of 
 Charles I, when it was obtained by Sir James Palmer from Lord or Lady 
 Jennings, and given to the King, who possessed it in 1639, in which year 
 it was engraved by Wenzel Hollar. The painting seems to have been kept 
 
 D 
 
i8 
 
 Early English Portraiture 
 
 in store and escaped dispersal during the Commonwealth, reverting to the 
 Crown after the Restoration. So little was it valued that it was presented 
 to Sir Roger Palmer, Lord Castlemaine, son of the original donor, and was 
 taken by Lord Castlemaine with him on his embassy to Rome in 1686. 
 Lord Castlemaine’s heirs sold it to the Earl of Pembroke and Montgomery, 
 in which family it still remains. 
 
 The actual provenance of this important painting has been the subject 
 of much dispute. The technique is characteristic of the early English school 
 of painting, but at the same time of the early French school, first seen in 
 Girard d’Orleans’ portrait of King John of France. Scharf confines himself 
 to saying that the diptych was produced in England and devised for a 
 purpose affecting the King’s religious movements. Other authorities from 
 1857 to the present day attribute it entirely to an English hand and regard 
 it as a proof of the high point of excellence to which English painting has 
 attained. Dr. Waagen and Passavant boldly accepted an Italian origin, 
 Mrs. Jameson, Dr. Carpenter, Sir A. Wollaston Franks, and Sir J. C. 
 Robinson inclined to a Bohemian origin. The most recent criticism tends 
 to accredit the painting to the French school, even if it were actually 
 executed in England. It seems difficult, if not impossible, to separate the 
 diptych of Richard II from that group of paintings, of which examples 
 exist in the altar-front in the Louvre, known as the “ Parement de 
 Narbonne,” in the small panel of “The Adoration of the Magi,” formerly 
 in the collection of Dr. Lippmann at Berlin, and the miniature paintings 
 executed by Jacquemart de Hesdin, Andre Beauneveu, and others for 
 Jean, Due de Berri, especially the miniatures in the so-called “ Belles 
 Heures du Due de Berri ” in the royal library at Brussels, representing the 
 duke with his patron saints kneeling before the Virgin and Child. Nothing 
 so minutely, so tenderly finished with such sentimental refinement had been 
 produced in England up to this date, not even the paintings in the Palace 
 at Westminster. The intercourse between the courts of Richard II and 
 the French princes was frequent and close, and it is not impossible that 
 
Portraits of Richard II 
 
 19 
 
 painters may have been summoned from France to England at the time 
 of Richard’s coronation or of his marriage in 1382. Such a painter may 
 have executed the paintings of the coronation in the “ Liber Regalis ” at 
 Westminster Abbey, as well as the Wilton diptych. 1 
 
 Richard 1 1 is the subject also of the second and perhaps most important 
 example of painting executed in England at this epoch. This is the great 
 full-length seated portrait of Richard II, now preserved in Westminster 
 Abbey, and open to inspection to any visitor. Here again the student must be 
 referred to the article on this and other portraits of Richard 1 1 contributed by 
 Sir George Scharf to the “ Fine Arts Quarterly Review ” in 1 867. The monu- 
 mental scale of this portrait, its regal splendour and dignity, its rich colour 
 and ornamentation, have usually led critics to look upon this portrait as 
 perhaps the finest and greatest manifestation of British mediaeval art. The 
 picture is painted on six oaken panels joined vertically; it is executed 
 in tempera and gesso, with a gilt burnished background, over which a 
 stucco diaper background had at an early, but perhaps later, date been 
 added. The date of execution is uncertain. The King is several years 
 older than he appears in the Wilton diptych. On 13th October, 1390, 
 the King visited Westminster Abbey on the anniversary of the Translation 
 of St. Edward, when the King and Queen sat crowned in this Church, 
 with their sceptres in their hands, during the celebration of Mass. The 
 picture may have been painted to commemorate their visit. In 1394 
 Queen Anne of Bohemia died, and King Richard at once determined 
 to erect a monument in memory of his Queen in Westminster Abbey to 
 carry effigies of the King himself as well as his deceased consort. There are 
 points of resemblance between the painting and the bronze effigy on the 
 Queen’s tomb which suggests some connection between the two. 
 
 The history of the Westminster portrait is uncertain. It was copied 
 before 1590 in an adaptation made from it for John, Lord Lumley, and 
 
 1 See L. Dimier, “ Les Origines de la Peinture Franchise” in “ Les Arts,” vol. iv, p. 17, 
 1905; Roger E. Fry in the “Burlington Magazine,” June, 1903. 
 
20 
 
 Early English Portraiture 
 
 now at Lumley Castle, in which the King is shown seated, as in the portrait 
 at Westminster, presenting a Charter to Lord Lumley. 
 
 The head of Richard II from this portrait was engraved by Elstracke 
 for Holland’s “ Baziliwlogia,” published in 1618. It was probably preserved at 
 Hampton Court Palace, for it was there in the Queen’s Gallery as late as the 
 reign of James II, in whose catalogue it occurs as No. 869: “ King Richard 
 the Second sitting in a chair, with his crown on his head.” 
 
 Not long after the date of this catalogue, in 1689, the picture, if it be 
 identical with that in James II’s collection, was engraved in 1718 by 
 G. Vertue from a drawing by Grisoni, and was hanging in Westminster 
 Abbey above one of the stalls on the north side of the choir, where it had 
 already in 1723 sustained much injury to the lower portion. In 1733 it was 
 almost entirely repainted in oil colour over the tempera by Captain Broome, 
 a picture-restorer and dealer in Westminster. It was then re-engraved by 
 Vertue for Rapin’s “History of England.” In 1786 a large and accurate 
 engraving was made by John Carter for his “Specimens of the Ancient 
 Sculpture and Painting now remaining in this Kingdom.” It was then 
 hanging in the Jerusalem Chamber at Westminster Abbey, whither it had 
 been removed in 1775. In 1823 it was cleaned by Mr. Charles Muss the 
 eminent painter. 
 
 In 1857 it was lent for exhibition to the Manchester Exhibition, and 
 in 1866 to the National Portrait Exhibition at South Kensington. After this 
 Exhibition it was carefully restored by Mr. Henry Merritt under the 
 supervision of Mr. George Richmond, R.A. The treatment was somewhat 
 drastic and comprised the removal of the raised diaper background laid on 
 gesso, which, even if not the original background, must have been added 
 at a very early date, probably by an English artist. A full account of this 
 restoration is given by Scharf. The portrait has since been placed within 
 the Sacrarium in Westminster Abbey on the southern side, whence it 
 cannot be removed. 
 
 Merritt’s removal of the disfigurements added by Broome and other 
 
Portraits of Richard II 
 
 2 I 
 
 restorers revealed the original painting, as seen and engraved by Carter. 
 This had the appearance of being the work of an English painter of the 
 time of Henry VII. The removal of the additions of this early period 
 revealed a still earlier portrait with a gold background, ornamented with 
 punctures and other features, which bring the portrait into line with the 
 portrait at Wilton House, the illuminations in the “ Metrical History of 
 Richard II” (Brit. Mus., Hist. MSS., 1319) and those in Abbot Litlington’s 
 Missal at Westminster Abbey. The gold background is, however, in some 
 places evidently intended to receive the additional ground of gesso and of 
 paint. If it be conceded that the Wilton House diptych is by a French 
 artist, and it be admitted that the Metrical History Manuscript is certainly 
 of French origin, it must also be concluded that the original painting of the 
 Westminster Abbey portrait was by a French artist. The close relations 
 between Richard II and the King of France, Charles V, and with the 
 latter’s brothers the Dukes of Burgundy, Anjou, and Berri, have already 
 been noticed. It is with the painters employed by the Due de Berri that 
 the choice seems likely to be made. Of these were Jean Bondorf of Bruges, 
 Jacquemart of Hesdin, who may have painted the Wilton House diptych, 
 and Andre Beauneveu of Valenciennes, sculptor to Charles V and miniature- 
 painter to the Due de Berri. 
 
 Mr. S. C. Cockerell 1 has called attention to the resemblances in the 
 Westminster Abbey portrait to the miniatures in the famous Psalter at 
 Paris, executed by Beauneveu for the Due de Berri. Mr. Roger Fry 2 
 has called attention to resemblances in the interesting sketch-book by 
 Beauneveu in the collection of Mr. J. Pierpont Morgan, kindly lent for 
 this Exhibition. Froissart, in his “ Chronicles,” alludes to Beauneveu’s 
 works in England, saying of the employment of Beauneveu by the Due 
 de Berri : “ et il etoit bien addresse, car dessus ce Maistre Andrieu n’avoit 
 pour lors meilleur, ni le pareil, et nulles terres ni di qui tant de bons 
 
 1 “Burlington Magazine,” x, 126. 
 
 2 Ibid., x, 31. 
 
22 
 
 Early English Portraiture 
 
 ouvrages fussent demeures en France on en Hainaut, dont il etoit de 
 nation, et ail royaume d’Engleterre.” 
 
 The general character of the precious portraits of Richard II, together 
 with the prevalence of French tastes and fashions at Richard’s court, 
 indicate that these portraits, if done on English soil, as they probably were, 
 should be attributed to French artists, certainly in the case of the Wilton 
 House diptych, and probably in the case of the portrait at Westminster 
 Abbey, though the possibility of the latter portrait being by an English 
 artist must not be rejected. 
 
PORTRAIT MINIATURES 
 
 So much has been written on the history of miniature painting, and the 
 illumination of manuscripts, and this history was so amply illustrated at the 
 Burlington Fine Arts Club such a short time ago, that it is hardly 
 necessary to dwell upon the general features which marked the progress 
 of this interesting and fascinating branch of the art of painting. The use 
 of portraiture in these illuminations of limnings has lately been the subject 
 of special attention, especially in France. Painting, being really an applied 
 art, is governed and must always be governed by both the material, on 
 which it is applied, and the materials, which are to be applied to the object 
 in question. The first-named material, though of a passive nature, is 
 largely instrumental in governing the composition of the latter materials, 
 the application of which is the function of the artist. For the same reason, 
 therefore, that led a painter to utilize, when covering a large wall space, the 
 processes of fresco or encaustic or tempera, the easel-painter was impelled 
 to seek out a method of applying and forming colours for pictorial purposes 
 better suited for spaces of smaller dimensions, and for work in studios. 
 The illuminator of books in his turn found it necessary to use, while 
 applying his paint to a vellum page, a different kind of paint from the 
 easel-painter. There was, however, no reason why a skilful painter should 
 not be able to practise every kind of painting, and there is particularly no 
 reason for separating the art of the miniaturist from that of the easel- 
 painter. The innovations and improvements, however, in the art of oil- 
 painting, which were introduced by Hubert and Jan van Eyck, so far 
 extended the bounds and capabilities of the easel-painter, that the 
 miniaturist became more and more restricted to his less pliable method 
 until his art became quite distinct from that of the easel-painter. 
 
 In the domain of portraiture, however, the art of the miniaturist has 
 
24 
 
 Early English Portraiture 
 
 played a conspicuous and important part. In early days this art follows 
 generally the same lines as those of the painter, the sculptor, or the worker 
 in metal. Where portraiture is introduced, it progresses slowly from a series 
 of mere conventions to certain fixed types. By degrees the human element 
 begins to break through, as in the other arts, and the desire to imitate and 
 reproduce real nature begins to make itself felt. Portraiture, being for so 
 long a time the appanage of royalty or persons of exalted rank, lent itself 
 easily to that form of flattery which can be conveyed by the means of con- 
 secration or dedication. Such use was made of it in quite early days, when 
 the art of painting had not released itself from conventions or types. When 
 the intellectual study of nature began to assert itself, and in the domain of 
 the portrait-painter to call for something more than a superficial resem- 
 blance, the miniature-painter, or limner, was quick to avail himself of the 
 opportunity so far as the limitations of his scope and materials gave him 
 liberty to do so. The restrictions of space and material led the minia- 
 turist to certain conventions, which were in their turn derived from the 
 worker in metal or the weaver. Portraits, conventional and otherwise, were 
 relieved on flat gold backgrounds, themselves pierced or pounced with 
 patterns akin to those on metal. The rich curtains, or cloths of state, which 
 were an essential asset of regal panoply, were reproduced in elaborated 
 diaper patterns in many cases filling the backgrounds. The sense of per- 
 spective or atmosphere was absent from these early attempts of portraiture. 
 On these lines the painting of portraits in illuminated manuscripts became 
 largely developed in the time of Charles V, King of France, and his 
 brothers, Louis of Anjou, Philippe of Burgundy, and Jean, Due de Berri, 
 under whom the art of illumination in the hands of French or Franco- 
 Flemish painters reached its highest point. The immense advance in the 
 observation of nature, together with the improvements in the art of painting 
 inaugurated by the painters of Flanders and Hainault, soon permeated the 
 art of the painter at Paris and other centres of life in France. If it be 
 accepted that Hubert van Eyck began his career as an illuminator of 
 
Portrait Miniatures 
 
 2 5 
 
 manuscripts as in the case of the famous “ Livre d’Heures” executed for 
 William IV of Bavaria and his daughter Jacqueline and destroyed by fire 
 at Turin, the progress of the art is easily explained so far as France and 
 the Netherlands are concerned. 
 
 In the manuscripts illuminated for King Charles V, the advance in the 
 art of portraiture is very clearly marked, for this King’s familiar features are 
 recorded in the paintings, great and small, with a fidelity which denotes 
 more than mere superficial observation. 
 
 In England the art of the miniaturist had at one time maintained a very 
 high degree of authority, as was seen in the recent Exhibition, but in the 
 fourteenth century, whereas the art in France and the Netherlands made 
 such a remarkable advance, in England it seemed to recede, as the illuminated 
 manuscript began to be in less demand. 
 
 It has already been stated that it is difficult to attribute the existing 
 portraits of Richard II and his time to a purely English origin. The same 
 may be said of the manuscripts. One, however, executed about the close of 
 the fourteenth century, was certainly executed in England and by an English 
 artist. This is the Salisbury “ Lectionarium ” or rather the pages which 
 survive in the British Museum, which has as frontispiece the portrait of 
 John, Lord Lovell of Tichmarsh, receiving the book from its maker, one 
 John Siferwas. This portrait shows a great advance in the interpretation of 
 character. Siferwas was the illuminator employed on the famous Sherborne 
 Missal in the possession of the Duke of Northumberland. In this manuscript, 
 which was executed for the Bishop of Salisbury, and the abbot of Sherborne 
 Abbey about 1400, Siferwas appears as a Dominican friar, whose portrait is 
 introduced several times into the illumination, together with that of the 
 scribe John Whas, a monk. Siferwas or Siferwast being the name of an old 
 English family, it may be assumed safely that John Siferwas was of purely 
 English extraction. 
 
 Among other portraits in English MSS. of the fifteenth century may be 
 noted the well-known portrait of Geoffrey Chaucer, painted by Occleve in 
 
 E 
 
26 
 
 Early English P ortraiture 
 
 a manuscript of “ De Regimine Principis,” now in the British Museum 
 (Harl. MSS., 4866). In the text of this manuscript Occleve distinctly 
 alludes to the importance of portraiture for preserving the memory of 
 friends, saying of Chaucer: 
 
 I haue heere his lyknesse 
 Do make to this ende in sothfastnesse 
 That thei may haue of him lest thought and mynde 
 By this peynture may ageyn him finde. 
 
 In the British Museum also are the portraits of Occleve himself presenting 
 his book to Henry V (Arundel MSS., 38), and of John Lydgate, poet, 
 presenting his book to Henry V (Harl. MSS., 2278). 
 
 The portraits in English manuscripts of the fifteenth century are other- 
 wise very scanty and unimportant, but as the art of the limner of manuscripts 
 began to perish with the invention of printing and the advance of easel or 
 panel painting, this small though important section of the limner’s art con- 
 cerned with portraiture held its ground and gave birth eventually to a branch 
 of the art which will always be identified with England, and in which 
 English artists were in the future to reign supreme. 
 
 Like all other advances in the art of painting, the gradual evolution of 
 the art of portrait-painting in miniature and its separation from the mere 
 decoration of books are scarcely perceptible. It was probably due mainly to 
 a change of fashion. Who first, so to speak, cut out a portrait in miniature 
 from an illumination, and inserted it in a jewelled or ivory case or picture- 
 box, it is impossible to surmise, but such a caprice, once started, was 
 likely quickly to become popular. Portraits executed in so small a compass 
 required particular skill, and called for the most exact and minute execution 
 on the part of the artist, who thus took the place of the former miniaturist 
 and even inherited the name. 
 
 Early in the sixteenth century this new art began to come into fashion. 
 Each of the great schools contributed to its development, the school of 
 Bruges through Simon Binninc and his daughter Levina Terlinck, who 
 
Portrait Miniatures 
 
 2 7 
 
 was employed as a painter in the royal household from the days of 
 Henry VIII to those of Elizabeth, the school of Ghent through Lucas 
 and Gerard Hoorenbault and the latter’s daughter Susanna, whose work 
 pleased Diirer so much that he purchased a specimen from her in person, 
 and the French school through jehan de Perreal of Lyons and Moulins. 
 All of these three streams of influence were probably instrumental in 
 turning the mind of Hans Holbein to this branch of painting for which he 
 was by genius and by special training so admirably well fitted, and of which 
 he was the first great exponent, the greatest that the world has yet seen, 
 as will be seen from the admirable examples of his portrait miniatures, 
 which have been kindly lent to this Exhibition. 
 
EARLY PAINTERS IN ENGLAND BEFORE 
 
 HOLBEIN 
 
 When trying to trace the history of painting in England, it is necessary to 
 survey the situation of the art of painting in those countries which were 
 nearest to England geographically and through which most communications 
 with England had to pass. As at this early date commerce was to a great 
 extent water-borne, the intervening sea must not be looked upon as any 
 obstacle to interchange of wares, either in person or by agent. 
 
 Taking the Netherlands first we find that by the middle of the 
 fifteenth century, when painting seems to take a fresh lease of life in 
 England, the great artistic importance of Bruges had begun to wane. The 
 Van Eycks and their immediate school were passing away, and beyond the 
 enormous benefits rendered by them to the technical side of the art of 
 painting, this school seems to have had little or no influence in England. 
 The precious portrait of Edward Grimston, painted in 1446 by Petrus 
 Christus, and kindly lent to this Exhibition by the Earl of Verulam, was 
 painted out of England while Grimston was on an embassy to the Duke 
 of Burgundy for Henry VI, and therefore cannot really be included as part 
 of the history of English art. The fact that this remarkable portrait should 
 apparently have had no effect upon the style of painting in England points 
 either to the absence of a native school, or to such a school, if it did exist, 
 being entirely subjected to some more powerful influence. The same may 
 be said of the important triptych by Hans Memlinc, lent by the Duke of 
 Devonshire, which contains the portraits of Sir John and Lady Donne. 
 This painting was executed in 1468, and is one of the earliest works of 
 Memlinc, so that it is interesting to note that, in spite of this great 
 painter’s reputation, his influence does not seem to have spread to England. 
 
Early Painters in England before Holbein 29 
 
 Commerce with England seems to have been chiefly transacted 
 through Antwerp. Antwerp was at this date under the artistic hegemony 
 of Quintin Massys, and here again we find no traces in English art of the 
 period of this most powerful and interesting personality. It is quite 
 possible, and though it remains to be proved, that in the last quarter of the 
 century Jenin Gossart of Maubeuge may have come from Antwerp to 
 England, but if so he could not have stayed for long, and he certainly 
 executed no paintings of first-class importance in this country. During the 
 sixteenth century Antwerp was to send many artists to England, but in the 
 fifteenth century neither King nor church, nor the state, nor private 
 enterprise, seem to have offered sufficient inducement to the leading painters 
 of the Netherlands to seek their fortunes in England. 
 
 We are, however, on different ground when we approach that district 
 in which art and geography cease to go hand in hand. In the provinces of 
 Hainault, Picardy, and Artois, a quite definite school of painting was 
 growing up, which cannot be ascribed to any national distinctions, such as are 
 implied usually by the words French or Flemish, and can only be described 
 as P'ranco-Flemish, for want of a better word. This district comprised 
 important centres of commerce and religion, such as Tournay, Valenciennes, 
 Douai, Arras, and Amiens. If we bear in mind that part of the district, 
 now French territory, which was then bounded by this sphere of influence, 
 was at that date part of the English kingdom it is not surprising to find 
 that it is difficult to separate the painters who worked in England from 
 those who worked at Tournay or at Amiens. Geographically the boundary 
 between England and France was at that date not the sea, as at the present 
 day, but a mere artificial frontier line, such as now divides France from 
 Belgium. The history of this early school of Franco-Flemish painting has 
 been investigated lately by French students, such as M. Dimier and the late 
 M. Bouchot, and in view of its close and inseparable alliance with the Flemish 
 schools by such learned investigators as Mr. Weale, M. Hymans, M. Hulin 
 de Loo, and Dr. Max Friedlander. It remains to be seen if, in making a 
 
3 ° 
 
 Early E?iglish Portraiture 
 
 complete survey of the situation, it be not necessary to take in England as 
 part and parcel of the same artistic territory. So little is really known of the 
 early history of painting in France, so few are the examples, that it is not 
 surprising to find that the late M. Bouchot, with a fervid enthusiasm for 
 everything which could possibly be called French, M. Dimier with a strong 
 prejudice in favour of the Renaissance as against the Middle Ages, and 
 M. Hulin de Loo with a sympathetic glance at French art through Flemish 
 spectacles, are as yet in profound disagreement upon the main questions 
 which have arisen. All, however, agree in the importance given to certain 
 artists, whose names are now becoming well-known, if their actual works 
 are the subject of controversy, Bourdichon, Jacques Daret, Jehan Perreal, 
 jean Fouquet, and Jean Clouet. Of these the most likely to have affected 
 the trend of art in England were Daret and Perreal. 
 
 Jacques Daret was a native of Tournay, and a junior contemporary of the 
 famous Roger de la Pasture, or Van der Weyden. Roger was one of the 
 most powerful influences in European art, but, like the Van Eycks and 
 Memlinc, he seems to have had no influence on art in England. Daret, on 
 the other hand, was one of that notable group of painters who was 
 employed at Bruges in 1468 at the marriage of Charles the Bold, 
 Duke of Burgundy, with Margaret of York, sister of King Edward IV, 
 and so brought into contact with England. Among this group also was 
 Hugo van der Goes, who is now generally accepted as the author of 
 the great paintings, now at Holyrood Palace, painted for Sir Edward 
 Bonkyl. 
 
 Jehan Perreal, who seems to have been usually known as Jehan de Paris, 
 was a native of Lyons, and about 1500 enjoyed the greatest repute of any 
 painter in the North of France. The following facts may be accepted 
 about Perreal : 
 
 He was a painter of portraits at Lyons as early as 1483. He was 
 employed by Pierre, Due de Bourbon, and his wife Anne de Beaujeu at 
 Moulins, and is probably the painter of their portraits in 1488, and that of 
 
Early Painters in England before Holbein 31 
 
 their daughter, Suzanne. He has also been identified with less certainty 
 with the so-called Maitre de Moulins. 
 
 He was attached officially as painter to Charles VIII, and to his 
 successor, Louis XII. 
 
 At the time of the marriage of Louis XII with Princess Mary Tudor, 
 Perreal was sent over to England to design the new queen’s toilettes. 
 
 In 1502 or thereabouts he designed the tomb of Francis II, Duke of 
 Brittany, at Nantes. 
 
 If Jehan de Paris be the author of the set of miniatures of the Preux de 
 Marignan in the manuscript of Caesar’s “ De Bello Gallico ” at Paris, he 
 may be credited with being one of the pioneers of portrait-painting in 
 miniature, and is perhaps the author of some of the early portraits in 
 miniature of King Henry VIII before the time of Holbein. Other authorities 
 attribute the portraits of the Preux de Marignan to Jean Clouet on the 
 strength of the drawings attributed to Clouet, which correspond to the 
 miniature-paintings in question. 
 
 There is, however, sufficient evidence to show that portrait-painting 
 was practised by native English artists by the middle of the fifteenth century. 
 Several examples by different hands are shown in this Exhibition, such as 
 the portrait of Sir John Fortescue, the early portraits of kings from the 
 Society of Antiquaries, and the admirable little portrait of Henry VII, 
 lent by Earl Brownlow. Another good example is the portrait of the Lady 
 Margaret Beaufort, lately purchased for the National Portrait Gallery. 
 Some of the remains of English art are due to the practice of painting panels 
 of wainscoting in rooms which has been alluded to in the Introduction as 
 being of very early date. When the parlours and other rooms were altered 
 or destroyed, the panels containing such portraits were often preserved, and 
 many fragmentary examples of such series of royal portraits have been 
 preserved to the present day, though in no case has any series survived 
 which can be called complete in itself. Such a series exists at Windsor Castle, 
 unfortunately not available for exhibition, which is made up of divers 
 
32 
 
 Early English Portraiture 
 
 ingredients, of very varying merit. A few, but only a few, of the portraits 
 at Windsor can claim to be original portraits, and are to be found in the 
 inventory of the royal collection of pictures at Westminster taken in 1542 
 for Henry VIII. The Palace of Westminster had from the days of 
 Henry III been adorned by successive monarchs with portraits of English 
 sovereigns, such as have been described in the paintings formerly in St. 
 Stephen’s Chapel. Possibly some of the old portraits on panels still existing 
 at Windsor Castle may have been painted for some panelled room in the 
 reign of Henry VII, for Henry VIII began to rebuild the Palace of 
 Westminster in 1532. In such a case these portraits would rank as early 
 and important examples of English painting. The series of portraits in the 
 royal collection seems to have been the source from which copies of early 
 sovereigns were derived. 
 
 The English portraits at Windsor which remain, and which seem to 
 belong to an earlier date than Henry VIII and can be identified in the 
 aforesaid inventory, are as follow : 
 
 1. King Henry V. [Henry the V, protected by a curtain.] 
 
 2. King Henry VI. [Henry the VI, with a curtain.] 
 
 3. King Edward IV. [Kynge Edwarde the iiij. with a curtain.] 
 
 4. King Richard III. [Kynge Richarde the Thirde, with a curtain.] 
 
 5. Queen Elizabeth of York. [Quene Elizabethe, with a curtain.] 
 
 6. Arthur, Prince of Wales. [Prince Arthurre, wearing like a redde 
 cappe with a brooche oppon it and a collar of redde and white rooses.] 
 
 The portraits of Edward III, Richard II, Henry IV, Elizabeth 
 Widvile (two), Edward IV (2nd portrait), and Henry VII, at Windsor 
 Castle do not appear to be original portraits like those specially mentioned. 
 
 A valuable portrait of Arthur, Prince of Wales, painted in the same 
 manner as the Windsor portraits, is in the collection of the Earl of Jersey 
 at Middleton Park. 
 
 The portraits thus mentioned present certain common features. They 
 are painted on panel with a gesso ground, and they have in each case a 
 
Early Painters in England before Holbein 
 
 33 
 
 floriated diaper background, which connects them with the earlier paintings 
 of the English School, and to some extent with the earlier French portraits. 
 The series of portraits which was probably painted for the Palace of 
 Westminster seem to have been the prototype for other series. One such 
 series was in the Palace at Greenwich, and portions of this series are also 
 at Windsor. Another important series of royal portraits of this class 
 belongs to the Marquess of Bath at Longleat. Unfortunately no complete 
 set of portraits of this descripton has been preserved in its original entirety, 
 but speaking generally such portraits of kings and queens are very rough 
 work of the sixteenth century, and cannot compare in excellence with 
 those mentioned at Windsor Castle. A series of portraits of the Kings of 
 Scotland, similar to those mentioned above, is in a private collection at 
 St. Andrews in Scotland. 
 
 No portrait of King Henry IV was in the royal collection in early 
 days. The earliest known seems to be that from Hampton Court in 
 Herefordshire, lent to this Exhibition by the Earl of Essex. In spite of 
 strong local tradition, it is difficult to believe that this painting can be 
 contemporary with Henry IV and of older date than the portraits at 
 Windsor. 
 
 F 
 
THE PAINTER-STAINERS OF LONDON 
 
 That the art of painting was in full practice in London when Henry VIII 
 came to the throne is shown by the foundation of the Paynter-Stayners’ 
 Company, and the institution of the office of Serjeant Painter to the King. 
 
 The first holder of this office was an Englishman, John Browne by 
 name, citizen and paynter-stayner, and eventually alderman and sheriff of 
 London. He was appointed King’s Painter in December, 1511. The duties 
 of this office were various, as may be seen from the following items. In 
 October, 1519, Browne was employed to gild and garnish the roofs of the 
 building at Guisnes; in 1520 at a Masque, held at New Hall, to beat and 
 put on the scales of gold and silver on the garments and for the beating 
 and the gold and silver on the children’s garments and bonnets, etc. 
 
 In 1528 he had to provide tabards for the heralds. 
 
 There is no evidence to show that Browne or his successors to his 
 office were employed to paint portraits. If they were so employed, it was 
 probably only from a superficial and decorative point of view. John Browne 
 made his will on 17th September, 1532, which was proved by his widow on 
 2nd December following. The will contains most important details for the 
 history of painting in England. Omitting any details of merely family 
 interest, as those relating to his very considerable property, he mentions 
 the Paynter-Stayners as an existing Company, and the overseer of his will 
 was Richard Calard, paynter-stayner. As early as 1505, John Browne, then 
 styled paynter-stayner, purchased a piece of land in Trinity Lane, which 
 just before his death he conveyed to Richard Rypyngale, Richard Laine, 
 Thomas Alexander, John Hethe, Richard Gates, Andrew Wright, Thomas 
 Crystyne, William Lucas, William Hauntlowe, and Robert Cope, all citizens 
 and paynter-stayners. On this land Paynter-Stayners’ Hall was built. A 
 portrait of John Browne is preserved by the Paynters-Stayners’ Company. 
 
The Painter-Stainers of London 
 
 35 
 
 The painting itself is not earlier than the late seventeenth or the eighteenth 
 century, but it is evidently founded on an older and contemporary portrait, 
 which has unfortunately perished. 
 
 Of the painters mentioned in John Browne’s will, Andrew Wright 
 succeeded him as Sergeant Painter. The only thing known of him seems 
 to be that he painted the King’s barge. He, however, made his will in 
 March, 1543, which was proved on 29th May following by his widow. In 
 this will he mentions his son Christopher, who was also a paynter-stayner, 
 and leaves to him all his utensils for a painting of “ pyncke ” at Cowden in 
 Kent, pink being at this time a trade term for a staining material. Andrew 
 Wright seems to have been succeeded as sergeant-painter by Anthony 
 Toto, the Italian painter. John Hethe, another paynter-stayner, made his 
 will in 1552, and bequeathed to his son Lawrence, “all my moldes and 
 molded workes that I served the Kinge withall,” and to my elder son 
 Lancelot, all the utensils belonging to ‘ Payntour’s crafte.’” He desired 
 “ nothing in my hall to be moved, as tables, tresselles, stoles, portalles, 
 virgynalls, hangynges, targettes, pictures in tables, so long as my said wife 
 dwell in the house.” 
 
 It is noteworthy that all these paynter-stayners were extremely wealthy 
 for their time. This wealth can hardly have been gained from devotion to 
 the painter’s art, but rather to painting as a craft. The duties of a Serjeant 
 Painter remained much the same down to the seventeenth century. The 
 pictor serviens must therefore be carefully distinguished from the Court- 
 painter. The allusion to pictures in tables in the will of John Hethe rather 
 suggests that these paintings were not of Hethe’s own making. 
 
JENIN GOSSART OF MAUBEUGE 
 (JAN VAN MABUSE) 
 
 An early tradition has credited Jan van Mabuse with being the pioneer of 
 portraiture in England during the reign of Henry VII. The career of 
 Jan, or Jenin, Gossart has recently been investigated by such historians of 
 Flemish art as Weale, Hymans, Hulin, and Friedlander, from which 
 investigations the following facts have been established. 
 
 Jenin Gossart was born at Maubeuge in Hainault about 1470, or accord- 
 ing to some accounts about 1465. Of his early life and training nothing is 
 known, though it is possible that he visited Italy and Sicily. In 1503 he 
 was admitted as “Master” in the Guild of St. Luke at Antwerp, and is 
 described as Jennyn van Henegauwe. In a few years he seems to have been 
 settled at Antwerp, where he had pupils. In 1508 he went to Italy in the 
 train of Philippe of Burgundy, afterwards Bishop of Utrecht, an illegitimate 
 son of Philippe le Bon, Duke of Burgundy, and remained there until 1514, 
 when he returned to Antwerp. He then entered, for a time, the service of 
 Margaret of Austria, Regent of the Netherlands, at Mechlin. Subsequently 
 he was settled for a time at Middelburg about 1528, and then at Utrecht in 
 the service of his former patron. In 1533 or 1534 he died at Antwerp. 
 
 In his early work Gossart shows first the influence of Memlinc and 
 Gerard David, and then that of the great Antwerp master Quentin Massys. 
 During his residence in Italy he was strongly influenced by Leonardo da 
 Vinci, and his later works are for the most part executed under Italian 
 influence. 
 
 The connection of the name of Mabuse with English art seems to be 
 chiefly due to the identification of a well-known portrait group of three 
 children, the original of which was in the collection of Henry VIII, and is 
 
Jenin Gossart of Maubeuge ( Jan van Mabuse) 3 7 
 
 now at Hampton Court Palace, with three of the children of Henry VII, 
 whereas they have been identified with certainty as the portraits of three 
 children of the King of Denmark. If Gossart came to England at all, it 
 must have been before 1503. Various portraits of Henry VII have been 
 attributed to his hand, but there is no case in which the portrait has the 
 evidences of Gossart’s very marked and powerful personality. It is possible 
 that the altar-piece formerly at Strawberry Hill and now at Sudeley 
 Castle may be a work by Gossart of his early period. This was almost 
 entirely repainted in the seventeenth century, but one figure, which is more 
 untouched than the others, is possibly a portrait of Henry VII. It can 
 hardly be compared with the great painting by Gossart of “ The Adoration 
 of the Magi” in the collection of the Earl of Carlisle at Naworth Castle. 
 
HANS HOLBEIN IN ENGLAND 
 
 It is not difficult to trace the reasons which led to the first visit of Hans 
 Holbein, the younger, to England. 
 
 In 1516 the young Holbein removed from Augsburg, his native town, 
 to Basle, where he obtained immediate employment, being at once employed 
 on portrait-painting by the burgomaster, Jacob Meier, and by the Amerbachs. 
 The elder Amerbach had been instrumental in bringing the printer Froben 
 to settle in Basle, and with the young Bonifacius Amerbach, Holbein seems 
 to have been on terms of great friendship. Froben at once employed 
 Holbein to design borders and title-pages for books, and a border so 
 designed by Holbein was used by Froben for one of Erasmus’s works, 
 issued in 1516 and 1517, and again for an edition of Sir Thomas More’s 
 ‘Utopia,’ issued in 1518. Another design was utilized by Froben for 
 More’s ‘ Epigrammata,’ issued in 1520. So early in life was Holbein 
 brought into contact with Erasmus and More. 
 
 In 1520 Holbein seems to have determined to settle permanently at 
 Basle, for in that year he was admitted to the guild of painters and took up 
 citizenship with all due formality. 
 
 In 1521 Erasmus removed from Antwerp to Basle. In view of the close 
 relations between Erasmus and Froben, it may readily be assumed that the 
 writer would quickly get to know something of the young artist, whose designs 
 had done so much to help the publication of Erasmus’s writings and those of 
 his great friend in England, Sir Thomas More, with whom he was in 
 frequent correspondence. Holbein meanwhile married a widow, Elizabeth 
 Schmid, with a young son, and became himself the father of a son, Philipp. 
 Although he received some important commissions from the Town Council 
 at Basle, the scale of pay was low, and the expenses of life no doubt tended 
 to increase. Holbein evidently consulted Erasmus as to the possibility of 
 
Hafts Holbein in England 
 
 39 
 
 obtaining better work and pay in England under the lavish rule of so 
 brilliant and already famous a King as Henry VIII. This was communicated 
 by Erasmus to Sir Thomas More, but the latter’s reply in December, 1525, 
 was not very encouraging, though he promised to do something for the 
 painter. Holbein’s mind was evidently made up, for after painting a portrait 
 of his wife and family, he obtained two years’ leave of absence and started 
 off from Basle for England. On his way Holbein stopped at Antwerp, 
 where he, no doubt, presented a letter of introduction which Erasmus had 
 given him for Erasmus’s friend Peter Gillis (Aegidius), containing a further 
 introduction for the painter, Quentin Massys, who had painted Erasmus and 
 Aegidius in companion portraits a few years previously. Erasmus speaks 
 of Holbein as insignis art if ex, and adds “hie frigent artes, petit Angliam, 
 ut corradat aliquot Angelatos.” 
 
 It is important to note that Holbein’s visit to England was due to his 
 own initiative and not to any invitation from any other person. It is clear 
 that the patronage of the arts in London was considered by Holbein more 
 likely to be favourable than it was at Basle. The circumstances also show 
 the difference between the patronage of the arts by a jovial monarch, who 
 brooked no opposition and kept no accounts of expenditure himself, and 
 that of a town council, cashier of the strings of their own purses, and 
 governed too frequently not only by the force of their own prejudices, but 
 also by the desire to resist the prejudices of those with whom they did not 
 happen to agree. It need not be doubted that on his arrival in London 
 Holbein was received under the roof of Sir Thomas More’s house at 
 Chelsea. From Peter Gillis, no doubt, he received also an introduction to 
 Nicolas Kratzer, the King’s German astronomer, who had resided for some 
 time at Antwerp before settling in England. Sir Thomas More, however, 
 wrote to Erasmus to say that his painter was a wonderful artist, but that 
 England might not prove so fertile as he had hoped. 
 
 The relations between Holbein and the family of Sir Thomas More 
 are well known and need no detailed account here. More seems to have 
 
4 ° 
 
 Early English Portraiture 
 
 kept his word to Erasmus that the painter should not find England barren 
 by employing Holbein to draw the heads of himself and his family, which 
 are preserved in the matchless series of drawings by Holbein now at 
 Windsor Castle. From these studies Holbein composed that famous 
 family-group, of which the original sketch was sent by More to Erasmus 
 at Basle, where it still remains. Of the various painted versions of the 
 group only one, that which descended from the Roper family to that of 
 Winn at Nostell Priory, can claim any actual affinity to the handiwork of 
 Holbein himself. The well-known portrait of Sir Thomas More, belonging 
 to Mr. Huth and kindly lent to this Exhibition, is painted by Holbein after 
 his own drawing, and to him, perhaps, may be credited the much-damaged 
 portrait of Margaret Roper, lent by Lord Sackville, which has hung for so 
 many years at Knole under the false name of Catherine of Arragon. 
 
 While under More’s protection Holbein enjoyed the patronage of the 
 leading personages at the Court of Henry VIII. William Warham, 
 Archbishop of Canterbury, might be a shadowy name in history but for 
 the drawing by Holbein at Windsor Castle, and the portraits founded on it 
 in the Louvre at Paris, at Lambeth Palace, and at Ditchley. Sir Henry 
 Guldeford, K.G., Comptroller of the Household to King Henry VIII, 
 would hardly be known were it not for the series of portraits of himself 
 and his wife from Holbein’s pencil and brush. It was Sir Henry Guldeford, 
 no doubt, who obtained for “ Master Hans,” if he be Holbein, a share in 
 the decoration of the banqueting house erected at Greenwich in February, 
 1527, to celebrate the visit of the ambassadors from Francis I of France. 
 John Fisher, Bishop of Rochester, so tragically associated with Sir Thomas 
 More a few years later, lives, as an ascetic saint, in the drawings by 
 Holbein. Thomas and John Godsalve, father and son, are typical English- 
 men of the time, as seen in their double portrait at Dresden, and the 
 drawing of the elder man at Windsor Castle. At Windsor, too, of this 
 date, are the drawings of Sir Thomas and Lady Elyot. Nicolas 
 Kratzer, the astronomer, whose portrait Holbein painted in 1528, was 
 
Hans Holbein in England 
 
 4i 
 
 the centre of that little group of foreign residents, with whom Holbein 
 was so much associated on his second visit to England. 
 
 This group of portraits is one of the landmarks in the history of 
 painting in England. It marks the culmination of a period. The costume, 
 aspect, and character of the persons portrayed show the sobriety and 
 dignity which had been handed down from the reign of Henry VII. 
 The Court of Henry VIII had not yet begun to copy the habits and 
 costumes of the Court of Francois I. 
 
 In 1529 Holbein was obliged to return to Basle to fulfil his duties as 
 a citizen and burgher of the town, by the rules of which he was debarred 
 from entering the service of any foreign prince. The condition of Basle, so 
 far as art was concerned, was worse than when Holbein left it, for a religious 
 war had broken out, an iconoclastic outbreak had destroyed every work of 
 art which it could reach, and most of Holbein’s friends had left. Froben was 
 dead, Erasmus was at Freiburg in Breisgau, where Holbein visited him. 
 For about two years Holbein remained at Basle, but employment was 
 scanty and ill paid, and, if report be true, his family ties were rather 
 irksome than binding. Towards the end of 1531 he was on his way back to 
 England. Here, however, his former patrons were no longer accessible. 
 Warham and Guldeford died in 1532. More had been made Lord 
 Chancellor, but was out of favour with the King, and so was Fisher. 
 Holbein now was received and entertained by the German merchants of 
 the Stahlhof, on the banks of the river Thames within the precincts of 
 which he could be free to exercise his art. The series of admirable 
 portraits of the German merchants who sojourned under this hospitable 
 roof during Holbein’s residence there, are among the most notable 
 achievements of portrait painting. Holbein was present at the festivities 
 connected with the marriage and coronation of Anne Boleyn in 1533, and 
 designed a pageant of “ Parnassus ” for the merchants of the Stahlhof on 
 the occasion of the coronation procession. Anne Boleyn herself seems 
 never to have sat to Holbein. That year he painted the well-known portrait 
 
 G 
 
42 
 
 Early English Portraiture 
 
 of Robert Cheseman, which was removed by William III to the Hague, 
 where it still remains. Holbein’s associates at this time were chiefly foreign 
 residents, such as Kratzer, the astronomer, Cornelius Heyss, the goldsmith, 
 and Nicholas Bourbon, the French poet. It was probably through Bourbon 
 that Holbein was introduced to the French envoy, Jean de Dinteville, and 
 George de Selve, Bishop de Lavaur, and painted in 1533 the famous double 
 portrait of “ The Ambassadors,” now in the National Gallery. This portrait 
 no doubt led to the portrait of another French envoy, Charles Solier, 
 Seigneur de Morette, which portrait is now at Dresden, and with these 
 must be linked in style of decoration the fine portrait of Sir Nicholas 
 Carew, lent by the Duke of Buccleuch. Holbein does not appear to have 
 been employed at court until the fall of Anne Boleyn and the rise of Jane 
 Seymour. He painted Thomas Cromwell, but not Wolsey or Cranmer. It 
 was probably the portrait of Jane Seymour which brought him into favour 
 with King Henry VI 1 1 , and obtained for him, in 1537, the royal commission 
 for a great painting on the wall of the privy chamber of the King’s new 
 palace at Whitehall representing Henry VIII and Jane Seymour, with the 
 King’s parents, Henry VII and Elizabeth of York. This painting perished 
 in the fire of 1698, but half of the composition is preserved in the original 
 cartoon by Holbein, lent to this Exhibition by the Duke of Devonshire. 
 The small portrait of Henry VIII, lent by Earl Spencer, shows the King 
 at the same date, and was probably a companion portrait, possibly a 
 diptych, to one of Jane Seymour. The Queen’s portrait on a larger scale is 
 now at Vienna, but a version of it has been lent to this Exhibition by Lord 
 Sackville. From this date, during the few remaining years of his life, 
 Holbein remained in the service of the King, for whom he is said to have 
 painted other subjects at Whitehall, including a “ Dance of Death.” He 
 had a painting room in the Palace at Whitehall, probably over the gateway, 
 which was long known as Holbein’s Gate, and there is no need to discredit 
 the story, handed down byVan Mander, of Holbein throwing downstairs 
 an English nobleman who had forced his way into Holbein’s room, and 
 
Hans Holhein in Kngla7id 
 
 43 
 
 who, on complaining to the King, was told by the King that he could make 
 seven yokels into seven earls, but seven earls would not make a Holbein. 
 
 In 1538 payments to Hans Holbein begin in the accounts of the royal 
 household, when he was receiving a salary of £^o a year. In this year, as is 
 well known, Holbein was sent to “ high Burgoney ” to paint the portrait of 
 the young widowed and eligible princess, Christina, Duchess of Milan. 
 From the Netherlands he returned to Basle, where he was received with great 
 honour as the servant of Henry VIII. So much impressed were his fellow 
 burghers at Basle, that, through their burgomaster, Jacob Meier, they gave 
 Holbein special permission to be absent from Basle for two years, and to be 
 employed by foreign kings, princes, and others, in France, England, Milan, 
 or the Netherlands, so long as he did not settle anywhere and returned at 
 the end of the prescribed period. They even agreed to support his wife 
 until his return after the two years. Holbein, however, never returned to 
 Basle. He took his son, Philipp, to Paris and apprenticed him to a Basle 
 jeweller, Jacques David, and probably never saw his wife again. He was 
 now the leading painter in London, and most of the distinguished ladies 
 and courtiers were drawn or painted by him. In the latter part of his life 
 he turned his hand to portraits in miniature and quickly brought that 
 branch of painting to a prominence which the older limners had not attained. 
 
 In July, 1539, Holbein was sent into “the parties of High Almayne,” 
 otherwise the Duchy of Cleves, to draw portraits of the Princess Anne 
 of Cleves and Lady Amelye her sister. He must have been in frequent 
 employment up to 1541, which was a prolific year, and in which the great 
 painting of the ‘ Henry VIII giving a Charter to the Barber-Surgeons’ 
 Company ’ was commenced. In the autumn of 1543 the plague broke out 
 in London. On 7th October Holbein made his will, and on 29th November 
 administration of his effects was granted to his executor. He resided in the 
 parish of St. Andrew Undershaft, and is said to have been buried in the 
 neighbouring church of St. Catherine Cree. 
 
 Hans Holbein, though he must have had assistants to help him in his 
 
44 
 
 Early English Portraiture 
 
 work at Whitehall, had no direct pupils and founded no school. Imitators 
 he had, and perhaps rivals, but no painter has been handed down to 
 posterity as the pupil of Holbein. Holbein came alone to England on his 
 own venture. He never abandoned his citizenship of Basle or his intention to 
 return there to fulfil his duties to his fellow burghers and his family. It 
 would seem moreover that, when Holbein was once established in the service 
 of the King of England, he deliberately ignored his promises to the burgo- 
 master of Basle, and left his wife to her fate and to the goodwill of the 
 burghers. The children mentioned in his will could hardly have had 
 Elizabeth Schmid for their mother. 
 
 Holbein’s unexpected death must therefore have left an almost complete 
 blank in the ranks of painters in London. Lucas Hoorenbault, Gerard of 
 Treviso, probably Joost van Cleef, had predeceased Holbein or followed him 
 quickly to the grave. Who then took his place and carried to completion 
 the works on which Holbein must have been engaged? Gerlach Fliccius 
 seems to have been ready to step into the vacant place, but his portraits are 
 akin to Holbein more in their German feeling than in their actual execution. 
 It is rather to Paris and the Franco-Flemish school that one must look for 
 the painter of the later portraits of Henry VIII, the portraits of the 
 Princesses Mary and Elizabeth, and the boy-prince Edward, which are 
 based upon the work of Holbein. The Court of Francois I was so full of 
 artists that some could easily be spared to take up work for Henry VIII in 
 England. That king is not likely to have relaxed in his rivalry, political 
 and artistic, with the debonnaire King of France. Antwerp was ready to 
 send over any number of clever picture-makers, though painters of the 
 calibre of Antonio Moro did not readily shift their quarters, except by direct 
 royal command or invitation. 
 
JOHANNES CORVUS (JAN RAF or RAVE) 
 
 One of the earliest known contemporaries of Holbein in London was 
 Johannes Corvus, whose identity is known from two important portraits, 
 one of Richard Foxe, Bishop of Winchester, founder of Corpus Christi 
 College, Oxford, where the original portrait is still preserved. In 1723, 
 when Vertue engraved the portrait, it was still in its old frame, coloured 
 in imitation of red marble with veins of green, and bearing the inscription, 
 “joannes corvus flandrus faciebat.” Unfortunately this frame was re- 
 placed in 1820 by a showy gilt frame, designed by Wyatt, and the precious 
 document of the old frame perished. No less than four copies of the portrait 
 are at Corpus Christi College; one, much damaged, is in the National 
 Portrait Gallery, and another, formerly at Condover, belongs to the 
 University of Cambridge. A similar frame, with a similar inscription, was 
 formerly fitted to a portrait of Princess Mary Tudor, sister of Henry VIII, 
 which belongs to Mr. H. Dent-Brocklehurst, at Sudeley Castle, and has been 
 kindly lent for this Exhibition. The old frame has, however, also given 
 place to a new one. From the inscription on this portrait it appears that it 
 was painted in 1532. A similar manner of painting is to be found in a 
 series of portraits of Princess Mary Tudor, daughter of Henry VIII, 
 including that in the National Portrait Gallery, dated 1544, with which 
 should be compared that in the Ashmolean Museum, Oxford, lent to this 
 Exhibition, and the full-length portrait of a Tudor princess, belonging to 
 Mrs. Booth of Glendon, where it bears the name of Catherine Parr. If 
 these be also by Corvus, he can safely be identified with the following 
 entry in the Privy Purse Expenses of Princess Mary: “ 1544. It 111 p d to 
 one John that drue her Grace in a table vli.” To this group of portraits 
 may be added the portrait of Henry Grey, Duke of Suffolk, in the National 
 Portrait Gallery. 
 
4 6 
 
 Early English Portraiture 
 
 The painter, Johannes Corvus, may be safely identified with one Jan 
 Raf, or Rave, who was admitted to the Guild of Painters at Bruges in 
 1512, and with the “ Jehan Raf, painctre de Flandres,” who in 1532 painted 
 for Francis I, “ une carte ou est figure les villes et pays d’Angleterre,” 
 and in 1534 “ ung pourtraict de la ville de Londres dont il a ci-devant fait 
 present au diet Seigneur.” These entries show that Jean Raf was sent to 
 England from France, possibly more than once. The fact that no portraits 
 are attributed to him in England between 1532 and 1544 maybe accounted 
 for by his return to France during the supremacy of Holbein, after whose 
 death he found an opportunity of establishing himself at the English 
 Court. 
 
 Another Jean de Rave was a leading maker of tapestry at Brussels in 
 1465. 
 
GERARD AND LUCAS HOORENBAULT 
 (HORNEBOLT) 
 
 The family of Hoorenbault belonged to Ghent, and from a very early date, 
 from 1414 onwards, the name appears in the list of masters of the Guild of 
 St. Luke in that town. 
 
 Francois Hoorenbault, who was sub-dean in 1495, had four sons 
 admitted masters of the guild; Michel in 1492, Jean in 15 11, who was 
 dean in 1524 and 1530, Lucas in 1512, who was sub-dean in 1525, and 
 Jacques in 1513, sub-dean in 1526. Another Lucas was admitted in 1533, 
 and was sub-dean in 1539, and a Lucas, the son of Lucas, was admitted in 
 1534. The name Gerard Hoorenbault does not occur in the lists. In the 
 communal accounts for 1510-11 are payments to Gheraerd Hurrebaut, 
 scildere, for a plan of part of the town of Ghent and its neighbourhood 
 painted by him. This Gerard was held in high estimation as a painter at 
 Ghent. He painted altar-pieces for the Abbe Lievin Huguenoisof S. Bavon, 
 designed vestments for that church, and was employed as an illuminator of 
 books by Margaret of Austria at Antwerp and Mechlin. While at Antwerp 
 in 1521 he met Albrecht Diirer on the latter’s journey to the Netherlands. 
 
 It is possible that Gerard Hoorenbault is identical with “ Gherardo da 
 Guanto,” who contributed to the famous Grimani breviary at Venice, 
 although this miniature-painter is usually identified with Gerard David, 
 Gerard Hornebolt, or Hoorenbault, was married before 1517 to Margaret 
 Svanclers, daughter of Derick Svanders and widow of Jan van Heerweghe. 
 This Margaret died at Fulham in England on 26th November, 1529, and a 
 memorial brass was erected to her memory there, stating that she was a 
 native of Ghent, and by Gerard Hornebolt, a most noted painter of Ghent, 
 was the mother of Susanna, wife of John Parker, keeper of the robes to the 
 
4 8 
 
 Early English Portraiture 
 
 King. Susanna, the daughter, was with her father at Antwerp in 1521, and 
 Diirer praises her skill in miniature-painting, and purchased an example from 
 her. The names of John Parker, Luke Hornebaud (or Hornebolte), and 
 Gerard Hornebaud occur simultaneously in the accounts of the royal house- 
 hold, Luke as early as 1 526. Luke was in receipt of a higher salary than the 
 said Gerard, and must therefore be regarded as of more importance. Gerard 
 Hoorenbault was dead at Ghent in 1 540-1, when his son Joris was served as 
 his heir. There is no actual evidence that it was this Gerard who came to 
 England. Luke Hornebaude died in 1 544 in London, and made his will on 8th 
 December, 1543, which was proved on 27th May, 1544, with administration 
 to his widow Margaret. He describes himself as “ servante and painter 
 unto the Kinges majestie,” directs that he should be buried in St.-Martin’s- 
 in-the-Fields, and leaves his goods to his wife and his daughter Jacomina. 
 He is paid wages up to April, 1544, but in May is entered as “ Item for 
 Lewke Hornebaude, paynter, wages nil quia mortuus. ” 
 
 Guicciardini, in his description of the Netherlands, published in 1567, 
 mentions “ Lucas Hurembaut di Guanto grandissimo pittore, et singulare 
 neir arte dell’ alluminare,” and Susanna, sister of Luke, whose renown was 
 so great that she was induced by Henry VIII to come to England, where 
 she received favour from all the Court and died in riches and honour. 
 
 It may be surmised that Lucas, Gerard, and Susanne were the 
 children of Gerard and Margaret Hoorenbault, and that the latter died 
 at Fulham on a visit to her daughter and son-in-law, John Parker. If the 
 elder Gerard had a grown-up daughter in 1521, he must have been of 
 some considerable age at the time of his death in 1541, and a painter of his 
 age and repute is not likely to have thrown up his position in Ghent. It is 
 evident that they were regarded as of importance in their day. The only 
 paintings which have been attributed to Lucas Hornebolt are the versions 
 of the elderly portrait of Henry VIII at Warwick Castle, St. Bartholomew’s 
 Hospital, and elsewhere, painted according to the St. Bartholomew’s 
 version in 1544, in which year we know that Lucas died in April or May. 
 
LUCAS CORNELISZ (CORNELII) 
 
 Lucas Cornelisz, born in 1495, wasone of theyounger sons of Cornelis Engel- 
 brechtsen of Leyden, the master of Lucas van Leyden. His elder brother, 
 Cornelis, surnamed Kunst, was also a well-known painter at Leyden, and 
 died in 1544 according to some accounts. There is a possible connection 
 between this Cornelis Cornelisz and the later Corneille de la Haye, better 
 known as Corneille de Lyon. Lucas, who seems to have been called 
 De Kock, or the Cook, also painted at Leyden, but according to Carel van 
 Mander, finding work scarce there, embarked for England with his wife 
 and seven children. Van Mander also relates that he painted large 
 canvases in distemper. This makes it highly probable that Lucas is 
 identical with the Luca d’Olanda, who, between 1535 and 1547, was 
 employed at the Court of Ferrara in designing tapestries. A tradition, 
 which does not seem earlier than the days of George Vertue, has connected 
 the name of Lucas Cornelisz with a series of portraits of the constables of 
 Queenborough Castle, sixteen in number, one of which is stated to have 
 been signed “ L. C. P.” in monogram. These portraits are stated to have 
 been last preserved as a collection at Penshurst, where one of them, that of 
 Sir Henry Wentworth, remains. One specimen, that of George, Duke of 
 Clarence, has been lent to the present Exhibition by the Earl of Loudoun. 
 Another, that of John. of Gaunt, Duke of Lancaster, is in the collection of 
 the Duke of Beaufort at Badminton. Another, the portrait of Sir John 
 Cornewall, Lord Fanhope, also exists as the property of a member of the 
 Cornewall family. It will be evident from the portrait of the Duke ol 
 Clarence that this series of portraits cannot have been painted before the 
 latter half of the sixteenth century. A statement has been recorded that 
 Sir Edward Hoby, the last governor but one, collected all the portraits of 
 his predecessors, and added his own. Sir Edward Hoby was M.P. for 
 
 H 
 
5 ° 
 
 Early English Portraiture 
 
 Queenborough in 1586, and constable of Queenborough Castle in 1597, 
 where he died in March, 1617. It is quite reasonable to suppose that the 
 series of portraits were painted for Sir Edward Hoby. 
 
 A tradition, equally erroneous, and on still slenderer foundation, has 
 connected the name of Lucas Cornelii with a series of small paintings of 
 ladies of the Hapsburg family at Hampton Court Palace, which portraits 
 clearly belong to the school of Bernard van Orley at Brussels. Another 
 unfounded tradition has seen in Lucas Cornelii the master of Hans 
 Holbein in the art of miniature-painting. There is nothing to connect 
 Lucas Cornelii with this branch of the arts, and the Lucas who is supposed 
 to have taught Holbein was more probably Lucas Hoorenbault. 
 
JEAN CLOUET (JANET) 
 
 In considering the history of painting in England in the reign of Henry VIII 
 it is very necessary to keep an eye on the state of painting at the Court of 
 France. After Henry VIII’s successful campaign in France in 1513 at 
 Therouanne and Tournay, peace was patched up with France, and the old 
 king, Louis XII, was married in June, 1514, to Henry VIII’s sister, Mary 
 Tudor. Louis XII died, however, on 1st January, 15 14-5, and was succeeded 
 by Francis I, between whom and Henry a friendly rivalry ensued as 
 sovereigns. Francis I was an intelligent lover and patron and even practiser 
 of the arts, but this cannot be said of Henry VIII, gifted as he was in many 
 other ways. 
 
 One of the chief painters at the Court of Francois I was Jean Clouet, 
 whose name first appears in 1516. He was known as Janet or Jehannet. He 
 appears to have been of Netherlandish origin, and was attached to the 
 personal service of the King as varlet de chambre. With Jean Clouet begins 
 a series of portraits and portrait- drawings, which have made the name 
 Clouet famous. In 1522 Janet was living at Tours with his wife, Jeanne 
 Boucault; in 1529 he and his wife were living in Paris. It is possible, indeed 
 highly probable, that Janet would have been in attendance of the King at 
 the Field of the Cloth of Gold in 1520, where he may have seen and painted 
 Henry VIII. Janet died in Paris some time in 1541, leaving his son, 
 Frangois, aged about twenty or twenty-five, to succeed him in his name 
 and place in the service of Frangois I. 
 
 What were the relations between Holbein and Jean Clouet, who were 
 almost exactly contemporaries ? Each of these great artists is famous for his 
 portrait-drawings in crayon. They can hardly have been unaware of each 
 other’s existence. The costume of some of the personages drawn by the 
 elder Clouet belongs to the decade of about 1515-25. Among the persons 
 
5 2 
 
 Early English Portraiture 
 
 depicted are Queen Claude who died in 1524, and the Preux de Marignan, 
 the companies in arms of Francis I at Marignan, and in some instances at 
 Pavia. Again, what relations do the drawings by Clouet bear to the miniature- 
 paintings of the Preux in the famous manuscript of Caesar’s “ Commentary 
 on the Gallic War,” which have been attributed to Jean Clouet and to Jean 
 Perreal, but which appear priina facie to be the work of one Godofredus 
 Batavus? Who was this Godfrey the Dutchman whose work may have had 
 so powerful an influence on Janet, and perhaps indirectly on Holbein? 
 Holbein’s crayon portraits do not date back earlier than his famous drawings 
 for the Meier Madonna at Darmstadt, the exact date of which is not quite 
 certain, but which could not have been painted very long before Holbein’s 
 first visit to England. M. Dimier, in his work on French painting in the 
 seventeenth century, speaks of Janet as a Fleming of the Renaissance, and 
 says that his work may be said to spring from Holbein and from Leonardo. 
 It is probably safer to look upon Jean Clouet as a clever and skilful 
 imitator of others, imitating in early life the Italian painters who had visited 
 France such as Solario at Chateau Gaillon, and Leonardo da Vinci at 
 Amboise, and in middle life his great contemporary, Holbein, whose 
 drawings so far surpass those by Clouet in vigour, veracity, and interpretation 
 of character. 
 
JOOST VAN CLEEF (SOTTO CLEVE) 
 
 Carel Van Mander in his “ Livre des Peintres” gives an account of 
 Josse Van Cleve, and the circumstances in which he lost his reason. As 
 this narrative refers to the date of Queen Mary Tudor and Philip II of 
 Spain, it does not fall, if true, within the scope of this Exhibition. 
 
 The researches of MM. Hulin, Friedlander, and others have lately 
 shown that considerable confusion has been made by early chroniclers of 
 art with reference to the various artists who were known, in the colloquial 
 terms of the day, as Van Cleef, or Van Cleve, and hailed from the Duchy 
 of Cleves. 
 
 Among these was Joos Van cler Beke, called Joos Van Cleve, who 
 was admitted into the painters’ guild at Antwerp in 15 11, and died in 1540. 
 He is usually identified in these days with the “ Master of the Death of 
 Mary,” whose works are so well known. It seems almost certain that this 
 Joos Van Cleve is quite a distinct personality from “ de sotte Van Cleve.” 
 
 Guicciardini in his description of the Netherlands, published at Antwerp 
 in 1567, speaks of Gios di Cleves , as a remarkable colourist and excellent 
 painter at Antwerp, who was sent for by Francis I to paint several portraits 
 at the Court of France. It is probably this Joos Van Cleve, who came to 
 England in 1554, as Van Mander states, and who died mad. It is he and 
 his wife who are represented in the fine pair of portraits at Windsor Castle, 
 and to his hand have been attributed various religious and other paintings 
 under strong Italian influence, such as “ The Nativity” at Windsor Castle, 
 which has even been ascribed to Correggio. 
 
 To this Joos Van Cleve have been ascribed the portraits of Henry VI 1 1 , 
 Francois I, and Queen Eleonora at Hampton Court Palace, in which others 
 could see the hand of Jean Clouet. Other portraits in England, especially 
 those with a hand in deliberate foreshortening, have been ascribed to this 
 
54 
 
 Early English Portraiture 
 
 excellent portrait-painter. He had, moreover, a son, Cornelis Van Cleve, 
 painting in England, and it is possible that the story of the painter’s conceit 
 and eventual insanity refer to the son and not to the father, and that 
 the Italianized paintings are also the works of Cornelis, and not of the 
 portrait painter. 
 
CORNEILLE DE LYON 
 
 Corneille de la Haye, known usually as Corneille de Lyon, was no 
 doubt, as his name suggests, of Dutch origin, and was settled at Lyons 
 before 1536, in which year Francois I paid several visits to that city. In 
 1 540- 1 he was given the title of Painter to the Dauphin, afterwards 
 Henri II. In 1547, on the accession of Henri II, Corneille was naturalized, 
 which proves his foreign origin. In 1548 he probably received in his studio 
 at Lyons visits from the King with his new Queen, Catherine de’ Medicis, 
 and their court. In 1564 Corneille was again visited at Lyons by Catherine 
 de’ Medicis with her three daughters. In 1569 he abjured the Protestant 
 religion with his wife, daughters, and servants, having probably been a 
 Huguenot before, and soon after 1574 he was dead. 
 
 The name of Corneille de Lyon is connected with a great number of 
 small portraits painted on clear green, sometimes blue or brown, back- 
 grounds, in the style of the Clouets, and with some affinity to Holbein. 
 In view of Holbein’s relations with the printers and publishers at Lyons, 
 it is possible that the two painters may have met. Both of Holbein’s 
 famous series of woodcuts, “The Old Testament” and “Les Simulachres 
 de la Mort,” were published at Lyons during Holbein’s second residence 
 in England. To the former Nicholas Bourbon, the poet, of Vandoeuvre, 
 contributed an introductory poem, and continued without doubt to corre- 
 spond with his friend Holbein, after Bourbon’s return to France in 1536. 
 It is even possible that, as there is no actual record of Corneille’s work 
 between 1541 and 1547, he may have been sent for to England, or gone 
 over on his own account, after the sudden and unexpected death of Holbein. 
 To complete Holbein’s unfinished work required a skilful artist, who was 
 already acquainted with Holbein’s method. 
 
GERLACH FLICCIUS 
 
 One of the few painters, who both from nationality and from style of 
 painting, may be classed as belonging to the school of Holbein, was one 
 Gerlach Fliccius. His name is known from the fine portrait of Thomas 
 Cranmer, now in the National Portrait Gallery, which is signed Gerbicus 
 Flicciis Germanus faciebat, and was painted in 1 546. A smaller version of 
 this portrait has been lent to this Exhibition by Mr. Frewen. Two, or 
 perhaps three, portraits by this painter are in the collection of the Marquess 
 of Lothian at Newbattle Abbey. There was formerly at Irnham in 
 Lincolnshire, belonging to Lord Clifford, a full-length portrait of Thomas, 
 first Lord Darcy of Chiche, Lord Chamberlain to King Edward VI, 
 signed and dated 1551. This portrait was previously in the possession of 
 John, Lord Lumley, Lord Darcy’s son-in-law, at Lumley Castle, in 1590, as 
 appears from the entry in Lord Lumley’s manuscript inventory of that date : 
 “ The statuary of Thomas first Lo: Darcy of Chiche, created by King 
 Edw. 6. L d Chamberlayne to the said K. Edw: drawn by Garlicke.” 
 
 In the same inventory occur also the following entries : 
 
 “ Oueen Marye, drawne by Garlicke.” 
 
 “ Thomas the third Duke of Northfolke, drawne by Garlicke.” 
 
 There also exists a curious double portrait, a small oak panel, with 
 two half-length portraits, one of Gerlach Fliccius, the painter, the other of 
 one Strangwish (? Strangeways). These portraits were painted in 1554, and 
 bear inscriptions, that on the portrait of Fliccius being in Latin : 
 
 “ Talis erat facie Gerlachus Flicci s , ipsa Londonia quado Pictor in Urbe 
 fuit, Hanc is ex speculo p charis pixit amicis Post obitu possint quo 
 meminisse sui.” 
 
 On that of Strangeways is an inscription in English: 
 
 “ Strangwish thus strangely depicted is, One prisoner for thother hath 
 
Gerlach Fliccius 
 
 57 
 
 this Gerlin hath garnisht for his delight, This woorck whiche you se before 
 youre sight.” 
 
 These portraits are painted with a blue-green background in the style 
 of Lucas Cranach. Possibly the painter and his friends were imprisoned for 
 religion under Queen Mary. This interesting double portrait belonged to 
 the Rev. Thomas Monkhouse, D.D., F.S.A., who died in 1793. In 1881 
 it was the property of Mr. Robert des Ruffieres, of 68, Belsize Park 
 Gardens, N.W., who offered it for sale at Christie’s. 
 
 1 
 
GILLAM (GUILLIM) STRETES 
 
 Tradition of no very long standing has established one Guillim, or Gillam, 
 Stretes as one of the immediate successors of Holbein. He does not, 
 however, make any appearance until some years after the deaths of both 
 Holbein and Henry VIII. All that is known of him is that in 1551 he was 
 paid by the privy council fifty marks for three great tables, two of the King 
 (Edward VI) sent to Sir Thomas Hoby and Sir John Mason, ambassadors 
 abroad, and one of the late Earl of Surrey attainted, which by the council’s 
 commandment had been fetched from the said Guillim’s house. 
 
 In 1553 he is styled the King’s painter with an annuity of ^62 icxs - ., 
 a large sum denoting a post of importance. In 1556 he presented Queen 
 Mary with a table of Her Majesty’s marriage. 
 
 As he is distinctly described as Gillam Strettes, Dutchman , it is clear 
 that he cannot be claimed for the English school of painting. He may have 
 belonged to the family of Van der Straeten, which gave some members to 
 the history of art. On the strength of the particular mention of the great 
 table of the late Earl of Surrey attainted, Stretes has been credited with the 
 full-length portrait of the Earl of Surrey, dated 1546, at Arundel Castle, 
 lent by the Duke of Norfolk for exhibition here, and also with the similar 
 portrait of the Earl of Surrey at Knole, belonging to Lord Sackville. The 
 latter portrait is also dated 1546, and belongs to a group of full-length 
 portraits, consisting of those of Sir Thomas Gresham, painted in 1544, now 
 at Mercers’ Hall; the young man in a red dress at Hampton Court Palace, 
 which has been called at different times Henry VIII when young and the 
 Earl of Surrey, but certainly represents neither; William West, Lord de 
 la Warr, belonging to Lieut. -Col. Holford, C.B., at Dorchester House, 
 lent here also for exhibition, and Sir William Fitzwilliam, Earl of South- 
 ampton, dated 1542, in the Fitzwilliam Museum at Cambridge. These 
 
Gillam ( Guillim ) Stretes 
 
 59 
 
 portraits belong to the years immediately preceding and succeeding the 
 death of Holbein. That of Lord de la Warr differs from the others and 
 is very close to Holbein himself, though lacking in something of Holbein’s 
 strong individual touch. Supposing it to be possibly a portrait begun but 
 left unfinished at Holbein’s sudden death in 1543, the whole group can be 
 attached to the actual school of Holbein, even if the painter’s name 
 should still remain undiscovered. If Gillam Stretes be the author of these 
 remarkable portraits, it is curious that his name should not appear until 
 some years later. There is nothing but the name of the Earl of Surrey to 
 connect him with these portraits, and it may perhaps be surmised that he 
 was employed to paint the second or larger version of the Earl of Surrey’s 
 portrait, that at Arundel Castle with the allegorical additions. It is clear, 
 however, that Stretes enjoyed the favour of King Edward VI, and some 
 of the well-known portraits of the young King must be attributed to him, 
 perhaps such portraits as the full-length portrait from Hamilton Palace, now 
 at Hampton Court Palace, the bust belonging to Lord Aldenham, lent 
 to this Exhibition, and others of the same type, showing the King as from 
 fourteen to sixteen years of age, including the full-length portrait of 
 Edward VI, belonging to Mr. Vernon J. Watney, the beautiful little full- 
 length portrait belonging to the Duke of Portland, and a whole-length 
 portrait at Southam Delabere, near Cheltenham. As, however, the loan of 
 some of these portraits could not be obtained, the question remains difficult 
 to solve. 
 
ITALIAN ARTISTS IN ENGLAND 
 
 During the fifteenth century the supremacy of Italy in the arts of painting 
 and sculpture remains unchallenged, In sculpture, moreover, the influence 
 of the Renaissance had aroused in the Italian nation, especially in Tuscany, 
 an ardent and an emotional output of technical skill, combined with ideal 
 beauty, which has not been excelled at any period in the history of art, not 
 even in the pure Hellenic age. It is not surprising, therefore, to find that 
 not only did the renown of these Italian artists and craftsmen spread 
 beyond the barrier of the Alps, but that the competition in Italy itself was 
 sufficient to make even the greatest artists among them willing to enter the 
 service of foreign and more richly endowed potentates. Charles VIII 
 brought back to France an army of Italian artists, makers of ceilings and 
 turners of alabaster and sculptors including the famous Guido Mazzoni 
 (Paganino) of Modena, who designed a tomb for Charles VIII at St. Denis. 
 Cardinal Georges d’Amboise under Louis XII had built at Chateau Gaillon 
 on the Seine an Italian house, adorned by Italian sculptors and Italian 
 painters. Francis I was a few years later to summon Italian painters to 
 create Fontainebleau. 
 
 On 24th January 1502-3 Henry VII laid the first stone of the Lady 
 Chapel in the Abbey of Westminster, which still bears his name, into 
 which he intended to translate the body of Henry VI, and about a year 
 later he buried in this chapel his queen, Elizabeth, near whom he gave 
 directions for himself to be buried, which event took place on 10th May, 
 1509. Henry VII had left elaborate instructions for a tomb to be erected 
 for himself and his wife, and this task had been entrusted at first to 
 Mazzoni, in emulation of Charles VIII’s tomb at St. Denis. “Master 
 Pageny,” as he was called, completed a design for Henry VII’s tomb, but 
 it was not liked by Henry VIII, who gave the commission to the famous 
 sculptor Pietro Torrigiano, of Florence, though the monument was not 
 
Italian Artists in England 
 
 61 
 
 actually commenced until 1512. Meanwhile Torrigiano, who had been 
 residing in the Abbey precincts, had collected a number of Italian workmen, 
 and executed other works in England, including the monument to the Lady 
 Margaret Beaufort, the mother of Henry VII, who was buried in 
 Westminster Abbey on 30th June, 1509, the monument of Dr. Yonge, 
 Master of the Rolls, in the Rolls Chapel, erected about 1516-7, and 
 perhaps the monument to Sir Thomas Lovell in the priory of Holywell in 
 Shoreditch. In these and other works of the famous Florentine the art of 
 portrait-sculpture is carried to high perfection. 
 
 The tomb of Henry VII and his queen was completed in 1518, and 
 Henry VIII, influenced by Wolsey and quick to appropriate some one 
 else’s ideas, at once commissioned Torrigiano to make a finer tomb for 
 himself and his queen Katherine. This tomb was not only to be of the 
 same materials as that of Henry VII, though larger, but was to be placed 
 in a separate chapel to be adorned by frescoes. As this chapel was 
 apparently to be Torrigiano’s own creation, he visited Italy to find artists 
 to help him. Benvenuto Cellini narrates that when he was about eighteen 
 years old, there came to Florence a sculptor named Piero Torrigiani, who 
 arrived from England, where he had resided many years. Happening to see 
 Cellini’s drawings, Torrigiano told him that he had come to Florence to 
 enlist as many young men as he could, for he had undertaken a great work 
 for the King, and wanted some of his own Florentines to help him. As 
 the work included a great piece of bronze, he thought that Cellini would 
 be useful for that purpose. Cellini, who did not accept the offer, remarks 
 on Torrigiano’s splendid person and most arrogant spirit, and how he talked 
 every day about his gallant feats among those beasts of Englishmen. 
 
 Torrigiano, who returned to England in 1519-20, did enlist in his 
 service a young painter called Antonio Toto del Nunziata, of Florence, 
 who made a contract, together with one Antonio di Piergiovanni di Lorenzo, 
 sculptor, of Settignano, with Torrigiano in September, 1519, to work with 
 him for four and a half years in France, Italy, Flanders, England, Germany, 
 
62 
 
 Early English Portraiture 
 
 or any other part of the world. The monument to Henry VIII was never 
 executed, but Toto remained in England and entered the King’s service, 
 and in the household accounts for the year 1530 Anthony Toto and 
 Bartholomewe Pent, paynters of Florence, appear on the list of artists in 
 the royal service “upon several warrantes being dated the iiij th day of 
 June, anno xxij 0 , for their wages, after the rate of xxv u a year to every of 
 them, to be paid unto them quarterly &c during the Kinges pleasure.” 
 
 xAmtonio Toto was the son of an artist called Toto del Nunziata, 
 who enjoyed some repute at Florence. He was a pupil of his father’s friend, 
 Ridolfo del Ghirlandajo, and a fellow student with Perino del Vaga. Vasari 
 mentions Toto more than once, and notes that “he afterwards went to 
 England, where he entered the service of the King of that country, for 
 whom he executed numerous works; some of which were in architecture, 
 more especially the principal palace of that monarch, by whom he was very 
 largely remunerated.” Lanzi, in his “ History of Painting,” speaks of Toto 
 as a worthy rival of Perino, and as esteemed by the English as the best 
 Italian of his time that had painted in these islands, although he remained 
 comparatively unknown in his native country. 
 
 The principal palace referred to should be Whitehall, and there is no 
 reason why Toto should not have been employed there on decorative work 
 like Holbein. It is probable, however, that the palace referred to was 
 Nonsuch Palace, near Cheam in Surrey. This palace was a two-storied 
 building of stone and wood “ richly adorned and set forth and garnished 
 with a variety of statues, pictures, and other artistic forms of excellent art 
 and workmanship, and of no small cost.” Pictures here denote coloured 
 works in statuary. In 1582 Joris Hoefnagel drew a view of the palace for 
 Braun’s “ Urbium Praecipuorum Mundi Theatrum,” in the text of which it 
 is stated that Henry VIII procured many excellent artificers, architects, 
 sculptors, and statuaries, as well Italians, French, and Dutch, as natives 
 Camden, in his History, repeats the statement as to the profusion of animated 
 statues and finished pieces of art which adorned Nonsuch Palace. 
 
Italian Artists in Rngland 
 
 6 3 
 
 By patent of 26th June, 1538, denization was granted to Anthony 
 Toto, pic tor, born in the city of Florence, under the obedience of the 
 Emperor, and Anthony T oto and Elenora his wife received a grant of cottages 
 and land at Mitcham in Surrey, not far from Nonsuch. Toto was appointed 
 Sergeant- Painter to Henry VIII, and was employed like other sergeant- 
 painters on painting buildings, heraldry, and the like, painting tabards for 
 heralds, painting and gilding figures for the revels. In 1540 he appears in 
 the list of New Year’s gifts to the King, as “Item to Anthony Totos 
 servant that brought the King a table of the Story of King Alexander, 
 vi'. viijffi,” and again when he brought to the King at Hampton Court “A 
 depicted table of Calomia,” evidently a painting of the popular legend 
 “ The Calumny of Apelles.” 
 
 Holbein in his will mentions “ M r Anthony the Kynges servaunte of 
 Grenwiche,” who may be identical with Anthony Toto. Toto continued in 
 the service of Edward VI as sergeant-painter, and held that office at the 
 time of that King’s death in 1553. In 1552 he presented to the King as a 
 New Year’s gift “ the phismanye of the duke of ..., steyned upon cloth of 
 silver, in a frame of wood.” This last entry is the only one which connects 
 Toto with portraits. His occupation otherwise was that of a decorative 
 painter, and there is no actual proof that the paintings given by Toto at 
 the New Year were the works of his own hand. 
 
 Another Florentine painter, who was enlisted probably by Torrigiano, 
 though his name does not appear in the contract between Torrigiano and 
 Toto, was Bartolommeo Penni, probably a younger brother of Gian Francesco 
 Penni, the pupil and assistant of Raphael and of Luca Penni, who was in 
 the service of Francis I at Fontainebleau. He received the same wages as 
 Anthony Toto, and seems to have been associated with him throughout up 
 to the death of Edward VI. Letters of denization were granted on 
 1st September, 1541, to “ Batholmew Penney, paynter, from the dominion 
 of the Duke of Florence.” 
 
 Another Italian painter of note was Girolamo Pennacchi da Treviso, 
 
6 4 
 
 Early English Portraiture 
 
 who was born at Treviso in 1497, and worked chiefly at Bologna and 
 Genoa in the Raphaelesque manner. As his works were chiefly frescoes, few 
 have survived, but one important example is in the National Gallery. 
 Girolamo is said to have been driven to leave Italy by his rivalry with 
 Perino del Vaga. His name does not appear as a painter in the accounts 
 of the royal household, but according to tradition he practised as an 
 architect and also as an engineer in the service of Henry VIII, and in the 
 latter capacity served at the siege of Boulogne in 1544, where he was 
 killed by a cannon ball. According to some accounts Girolamo also excelled 
 as a portrait-painter, and if so, he can hardly have failed to practise this art 
 in England. 
 
 The same accounts for 1528-30, which record payments to Luke and 
 Gerard Hornebaud, and to Anthony Toto and Bartolommeo Penni, record 
 payments to Alice Carmillian, paynter, and Vincent Volpe, paynter. Alice, 
 or Ellys Carmillian, received the same wages as Gerard Hornebaud, at 
 the rate of £ 20 a year. This painter is usually supposed to be a female 
 artist, who is described in the list of New Year’s Gifts for 1539 as Alys 
 Carmillian, millyner, and Ellis Carmillian, millyner, but the trade-name 
 millyner was used equally for men as for women, and Levina Terlinck, the 
 miniature-painter, is described as painctrix. This painter may also have 
 been an Italian and related to Petrus Carmelianus, of Brescia, who seems 
 to have had a position in the royal chapel at the same date. 
 
 Vincent Volpe was in the pay of the royal household some years 
 previous to the other Italian artists mentioned. He seems to have 
 performed the same duties as the sergeant-painters Browne, Wright, and 
 Toto. In 1514 he supplied streamers and banners for the great ship the 
 “Henry Grace a Dieu.” His wages were £20 a year, like others. In 1520 
 Vincent Volpe and John Browne, the sergeant-painters, were employed 
 at Guines to carry out the painters’ share in the decorations for the Field 
 of the Cloth of Gold. His name disappears from the accounts before the 
 death of Henry VIII. It has been suggested that the large painting of the 
 
Italian Artists in England 
 
 6 5 
 
 “ Field of the Cloth of Gold,” and its companion picture of the “ Embarkation 
 of Henry VIII for Dover,” both at Hampton Court Palace, were painted 
 by Volpe, who in December, 1530, was paid £3 IOi ‘- “for paynting of a 
 plat of Rye and Hastings,” being then described as “the King’s paynter.” 
 
 Another artist who was working for the royal household was Nicholas 
 of Modena, who made the picture, or coloured effigy, of Henry VIII for 
 the King’s funeral. He remained in the service of Edward VI, for whom 
 he made masks and other mountings for masques and revels. He is 
 described in the accounts as “Nicholas Modena, stranger.” In 1539 he 
 was receiving /20 a year like Volpe and others. On New Year’s Day, 
 1534, a reward was given to Nicholas Modena, that brought the King a 
 “Story of Abraham vi s viij d ,” and in 1552 he presented to Edward VI 
 “ By Modeno a feire picture of the Frenche King his hoole personage, 
 sette in a frame of wodde,” and was rewarded “ to Modeno, an Italian, oone 
 grotte salte with a cover.” The similarity of name would lead to a possible 
 identification of this Niccolo with Niccolo dell’ Abbate da Modena, who 
 arrived in France after the accession of Henri II, and took an important 
 share in the decorative paintings at Fontainebleau, where he died in 1571. 
 To the above-named artists should be added the Florentine sculptors 
 Benedetto da Rovezzano and Giovanni da Maiano, who came to England 
 to work on the great tomb designed for himself by Cardinal Wolsey in the 
 Tomb-house at St. George’s Chapel, Windsor. It appears that Giovanni 
 da Maiano was the author of the fine circular terra-cotta medallions, which 
 are on the towers of Hampton Court Palace, and some of which were on 
 the Holbein Gate in Whitehall. 
 
 The close connection between the Italian artists employed by Henry 
 VIII in England as those employed by Francois I and Henri II at 
 Fontainebleau cannot be ignored, and leaves much scope for investiga- 
 tion and discovery. An important essay on the above-mentioned Italian 
 sculptors was contributed by the late Mr. Alfred Higgins, F.S.A., to the 
 “Archaeological Journal” for 1894. 
 
 K 
 
ENGLISH PAINTERS IN THE REIGN OF 
 
 HENRY VIII 
 
 Notices of any native artists during the reign of Henry VIII are very 
 scanty. The accounts of the royal household and the Privy Council contain 
 the names of numerous artists, but in every case these artists seem to be 
 of foreign extraction. It need not be assumed, however, that the strain of 
 artistic craftsmanship, which had been shown with such conspicuous dis- 
 tinction by English artists in the thirteenth and fourteenth centuries, had 
 entirely perished during the fifteenth. It seems to have been temporarily 
 submerged by the influx of foreigners encouraged by Henry VII and his 
 successor, and does not seem to reassert itself until later in the sixteenth 
 century. The earliest names of apparent English origin are those of 
 John Shute and John Bettes, who are both recorded as miniature-painters 
 and contemporaries of Nicholas Hilliard, in the reign of Queen Elizabeth. 
 
 The name of Bettes has, however, attached itself to an interesting 
 portrait of Edmund Butts, a son of Sir William Butts, M.D., physician 
 to Henry VIII. This portrait bears the date 1545, with the age of the 
 person represented as twenty-six, and on a slip of card fastened to the 
 back it is stated to be faict par Johan Bettes Anglois. This portrait was 
 purchased for the National Gallery in 1897. Another portrait of a member 
 of the same family, as denoted by the armorial bearings on the picture, has 
 been lent to this Exhibition. It bears the same date and age, and is stated 
 to represent the same man, Edmund Butts, of Barrow in Suffolk, and has 
 also been attributed to Bettes. It is impossible that these two portraits can 
 represent the same person, and they do not seem to have been painted by 
 the same hand. 
 
 According to Meres in his “Wits Commonwealth,” published in 1598, 
 
English Painters in the Reign of Henry VIII 67 
 
 there are two painters, Thomas and John Bettes. If the National Gallery 
 portrait of Edmund Butts be accepted, the painter, John Bettes, must 
 belong to the period covered by this Exhibition. Vertue records the 
 existence of a portrait in miniature of Sir John Godsalve, drawn by John 
 Bettes in 1540. 
 
 The Eastern counties were always active in the practice of art and 
 industry owing to their vicinity to the Netherlands, and such great commercial 
 centres as Ipswich and Norwich, and such great places of pilgrimage as 
 Walsingham and Bury St. Edmunds would be likely to foster a school 
 of local artists. 
 
 L. C. 
 
CATALOGUE 
 
 i King Henry VII. 
 
 Half length, three-quarters to right; clean-shaven face; white hair; black 
 cap with gold medallion ; scarlet and black gown lined with brown fur over cloth 
 of gold jerkin; both hands, his right holding a red rose, rest on a parapet before 
 him ; brown background. 
 
 Panel, 14^ by ioi inches. 
 
 Given to Christ Church by Lord Frederick Campbell, 1808. 
 
 Exhibition of National Portraits, 1866, No. 62. 
 
 Tudor Exhibition, 1890, No. 3. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 39. 
 
 Oxford Exhibition of Historical Portraits, 1904, No. 9. 
 
 Lent by the Dean and Canons of Christ Church , Oxford. 
 
 2 Sir John Fortescue, Knt. 
 
 Half length, three-quarters to right; clean-shaven face; dark hair falling to 
 neck; black cap; scarlet robes lined with brown fur over black under-dress; 
 black hood; both hands folded in prayer before him; cloudless sky background. 
 
 Panel, 1 6\ by 12 inches. 
 
 Sir John Fortescue, Knt., was constituted Lord Chief Justice of England, 
 1442, and is said to have been made Lord Chancellor by Henry VI. He was 
 esteemed a very eminent lawyer, and was author of the celebrated treatise 
 De Laudibus Legum Angliae, in which he calls himself Cancellarius Angliae. Sir 
 John retired, after the final overthrow of his royal master Henry VI, to his seat 
 at Ebrington, and died there at the advanced age of ninety. 
 
 Engraved by W. Faithorne. 
 
 Exhibition of National Portraits, 1866, No. 21. 
 
 English SCHOOL (?) about 1480. Lent by the Earl Fortescue. 
 
 L 
 
7 o 
 
 Early English Portraiture 
 
 3 King Edward IV. 
 
 Half length, three-quarters to right; clean-shaven face; brown hair falling to 
 shoulders; cloth of gold gown over black jerkin, trimmed across the breast with 
 four rows of pearls and pendent jewels ; both hands, his right holding white rose, 
 rest on a parapet before him ; dark brown background ; inscribed on the splay 
 of the moulded frame, which is in one piece with the picture: dEDtoaCd 3 li?U£ 
 
 quart 5 * * 8 * 
 
 Panel, i5f by io|- inches (arched top). 
 
 Scharf, “ Catalogue of Pictures belonging to the Society of Antiquaries,” Fine 
 Arts Quarterly Review, 1864, No. XXIII. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich, in whose 
 possession it was before 1788. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 25. 
 
 Exposition de la Toison d’Or, 1907, No. 137. 
 
 Lent by the Society of Antiquaries. 
 
 4 King Henry VII. 
 
 Half length, three-quarters to right; clean-shaven face; gray hair; blackcap 
 with gold jewelled medallion; black fur-lined gown with red sleeves, over cloth 
 of gold jerkin; jewelled gold collar of trefoils and roses en soleil] both hands, his 
 right holding red rose, rest on a parapet before him; dark green background; 
 gold foliated arch with ornamental spandrels above; the moulded frame is in 
 one piece with the picture. 
 
 Panel, 18 by 13 \ inches. 
 
 Scharf, No. XXII. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich, who 
 appears to have acquired it in 1792. 
 
 Tudor Exhibition, 1890, No. 31. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 43. 
 
 Exposition de la Toison d’Or, 1907, No. 138. 
 
 Lent by the Society of Antiquaries. 
 
 5 Guillaume, Baron de Montmorency. 
 
 Bust, three-quarters to right; aged, clean-shaven face; large black cap over 
 
 black coif tied under chin; black gown, lined with brown fur, over red doublet; 
 narrow white collar and ruffles; collar and badge of the Order of St. Michel; his 
 
 left hand, the knuckles of which alone are seen, rests on a parapet before him; 
 dark green background; inscribed on the front of the parapet: “GVILLAVME 
 BARON DE MONTMORENCY.” 
 
Pictures 
 
 7 1 
 
 Panel, I2f by 8| inches. 
 
 Guillaume, Baron de Montmorency, was Chevalier d’honneur to Louise of 
 Savoy. He was the father of the Connetable Anne de Montmorency; and died 
 in 1531 - 
 
 A very similar picture is in the Museum of the Louvre, another is in the 
 Museum at Lyons. These pictures are attributed to the SCHOOL OF JEAN 
 Fouquet, and are possibly by the master of the miniatures in the Gallic War 
 MS. 
 
 Lent by the Lord Sackville. 
 
 6 Margaret of York, Duchess of Burgundy. 
 
 Bust slightly to left; black steeple-crowned head-dress with transparent veil 
 falling behind ; square-cut red dress edged with dark brown ; gold collar, set with 
 pearls, pendent jewel, and gold chain round neck ; dark background ; inscribed 
 on the frame : “ MARGAR DE * ORC ■ 5 4 VXOR • CAROLI ' DVCIS ' BOVRGON.” 
 
 Panel, i6f by 12 inches. 
 
 Scharf, No. XIX. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich. 
 
 Exhibition of National Portraits, 1866, No. 32. 
 
 Monarchs of Great Britain Exhibition, 1901 -2, No. 23. 
 
 Exposition de la Toison d’Or, 1907, No. 17. 
 
 Probably a copy of an original portrait painted at Bruges at the time of the 
 marriage of Margaret of York to Charles the Bold, 1468. 
 
 Lent by the Society of Antiquaries. 
 
 7 Four Scenes from the Life of St. Etheldreda. 
 
 These paintings are in four square compartments, painted on two panels, 
 which may have formed the doors of an ambry, and are said to have formerly 
 belonged to Ely Cathedral. They were probably executed about 1425. 
 
 (A) The Marriage of St. Etheldreda with Egfrid, King of 
 Northumbria. 
 
 (B) St. Etheldreda leaving her Husband and retiring into a 
 Convent. 
 
 (C) St. Etheldreda superintending the building of the Church 
 at Ely. 
 
 (D) The Interment of St. Etheldreda in presence of the Bishop 
 of Ely and others. 
 
 Each panel 49 1 by 21 inches. 
 
7 2 
 
 Early English Portraiture 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich. 
 
 Scharf, No. XI. 
 
 “Arundel Club Publications,” 1904, Nos. 13 and 14. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 1. 
 
 Lent by the Society of A ntiqnaries. 
 
 8 King Richard III. 
 
 Half length, three-quarters to left; clean-shaven face; brown hair falling to 
 shoulders ; black cap with golden rose medallion ; cloth of gold gown over red 
 jerkin; gold and jewelled collar; both hands before him, his right placing a ring 
 on the third finger of his left ; dark green background ; inscribed on the splay of 
 the frame, which is in one piece with the picture: I&JCljartl 6 ]&e,£ t£t 4 tiU£C 
 
 Panel. 15J by n|- inches (arched top). 
 
 Scharf, No. XX. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 30. 
 
 Lent by the Society of Antiquaries. 
 
 9 King Henry VI. 
 
 Half length, slightly to left; clean-shaven face; brown hair; black cap; 
 black gown, edged with white over blue damask dress with white collar turned 
 down, showing cloth of gold vest at neck; rose-coloured sleeves; white pleated 
 cuffs ; gold collar decorated with S.S. and jewels and pendent cross; both hands 
 clasped together before him; scarlet background; inscribed on the frame: 
 “ HENRICVS VI.” 
 
 Panel, \2\ by 9f inches. 
 
 Scharf, No. XVI. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich. 
 
 Monarchs of Great Britain Exhibition, 190 1-2, No. 16. 
 
 Similar pictures are in the National Portrait Gallery and the Royal 
 Collection at Windsor Castle, the latter of which appears to be the original. 
 
 Lent by the Society of Antiquaries. 
 
 10 King Henry VII. 
 
 Half length, slightly to left, looking at the spectator; clean-shaven face; 
 gray hair falling to neck; black cap with jewelled medallion; black stole and 
 crimson gown both lined with brown fur over cloth of gold doublet; gold and 
 jewelled collar of saltires; both hands, his right holding a red rose, before him; 
 
Pictures 
 
 73 
 
 cloudless sky background ; the top of the panel decorated with tracery in gold 
 inclosing lilies, portcullises, and roses. 
 
 Panel, 13^ by inches. 
 
 Tudor Exhibition, 1890, No 22. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 37. 
 
 Attributed to JEAN DE Mabuse, but possibly English School of 1480 to 
 1500. 
 
 Lent by the Earl Brownlow. 
 
 ii An Unknown Man. 
 
 Bust, three-quarters to left; brown hair falling to neck; clean-shaven face; 
 carnation pink cap turned up and tied with golden tags, with gold medallion 
 representing the Virgin and Child in an aureole; carnation pink gown lined with 
 brown fur, over carnation pink jerkin slashed and cut low at neck, showing white 
 shirt; dark green background. 
 
 Panel, I2| by 8f inches. 
 
 Apparently dating from the period of Henry VII. Recently removed to 
 Montague House from Boughton, Northamptonshire. 
 
 Lent by the Duke of Buccleuch and Queensberry , K.G., K.T. 
 
 12 King Richard III. 
 
 Half length, three-quarters to left; clean-shaven face; fair hair falling to 
 neck; small black cap; black gown with red sleeves over quilted cloth of gold 
 jerkin; his right hand, raised, holds a broken sword, with a rich gold hilt, resting 
 against his left shoulder; his left hand rests on a parapet before him ; dark green 
 background. 
 
 Panel, 19 by 14 inches. 
 
 Scharf, No. XXI. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich, who had 
 acquired it in 1783. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 28. 
 
 Lent by the Society of Antiquaries. 
 
 13 King Henry IV. 
 
 Half length, slightly to left, looking at spectator; brown beard and 
 moustache; scarlet turban-shaped head-dress, with hanging ends, edged with 
 jewels; grayish-blue robe, trimmed with gold and jewels and lined with ermine, 
 over crimson under-dress; gold chain with pendent oval jewel with lion rampant; 
 both hands, his right holding red rose, his left sceptre, which leans against his 
 
74 
 
 Early English Portraiture 
 
 shoulder, rest on a ledge before him; background inscribed: “ HENRICVS nil.” 
 Underneath is inscribed: “Henry the fourth, King of England who 
 LAYD THE FIRST STONE OF THIS HOUS * AND LEFT THIS PICTURE IN IT WHEN 
 
 he Gave it to Lentall, whoe sold it to Cornwall of Burford, whoe 
 
 SOLD IT TO THE AUNCESTERS OF THE LORD CONINGESBY IN THE REIGN OF 
 
 Henry the 6 th . (* Hampton Court, Herefordshire.) ” 
 
 Panel, 22-|- by 17I inches. 
 
 The house at Hampton Court, Herefordshire, was built for Sir Roland 
 Lenthal, Yeoman of the Robes to Henry IV, who married Margaret, daughter 
 of Richard Fitzalan, Earl of Arundel, and Elizabeth de Bohun, sister of Mary de 
 Bohun, queen of Henry IV. Lenthal was thus nephew to Henry IV, and first 
 cousin to Henry V, under whom he served at Agincourt. According to tradition 
 the first stone of Hampton Court was laid by Henry IV, though there is evidence 
 to show that it was not completed until after Agincourt. Sir Roland Lenthal’s 
 son by his first wife predeceased him. He married, secondly, Lucy, daughter of 
 Richard, Lord Grey, and the estate of Hampton Court passed eventually to the 
 heirs of their daughter Elizabeth, wife of Thomas Cornewall, of Burford, from 
 whom it came to the family of Coningsby, ancestors of the present owner of the 
 portrait, the Earl of Essex. 
 
 This picture of Henry IV is stated to have been painted at the time to 
 commemorate the visit of the King and the laying of the first stone. It appears to 
 be the original of numerous replicas, or copies, and English work, though not so 
 early as the time of Henry IV, who died in 1413. This portrait, moreover, does not 
 closely resemble the effigy on the tomb of Henry IV in Canterbury Cathedral. 
 
 “ Archaeologia,” xxxix, p. 246. 
 
 Art Treasures Exhibition, Manchester, 1857, No. 1. 
 
 Exhibition of National Portraits, 1866, No. 13. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 7. 
 
 Lent by the Earl of Essex. 
 
 14 Margaret Wotton, Marchioness of Dorset. 
 
 Three-quarters length, three-quarters to right; black diamond-shaped hood 
 lined with white with black veil falling at the back ; black square-cut dress 
 edged with ermine; deep ermine cuffs at elbows; white scarf over shoulders; 
 double string of small black beads round neck; both hands before her grasp 
 bunch of flowers and walking staff; dark background inscribed above to left (in 
 early seventeenth-century hand): 
 
 “ AD HOSPITEM PICTOR 
 
 TOT PROCERES GENEROSA PARENS TOT CLARA NEPOTVM 
 LUMINA QU^E TERRIS LIQVIT, SACRAVIT OLYMPO 
 WUTTONIAM A GENITORE VIDES A CONIUGE GRAIAM.’’ 
 
Pictures 
 
 75 
 
 To right: 
 
 “ WUTTONIA AD SVOS 
 
 VIVITE FOELICES ANIMISQ INGENTIBUS ISTA 
 SORDIDA CALCANTES PEDIBUS SUBLIMIA SEMPER 
 SPIRATE & CERTOS VIT/E MELIORIS HONORES.” 
 
 Below, to right, is inscribed (in eighteenth-century hand) : “ MARGARET WOOTTON, 
 WIFE | TO SR. THOS. GREY, KNT. | OF TPIE GARTER, AND | GRANDMOTHER 
 TO | LADY JANE GREY.” 
 
 Panel, 40 J by 31^ inches. 
 
 Margaret, daughter of Sir Robert Wotton, and widow of William Hedley, 
 was wife of Thomas Grey, 2nd Marquess of Dorset, K.G., and mother of Henry 
 Grey, Duke of Suffolk, the father of Lady Jane Grey. 
 
 “ Archaeologia,” xxxix, p. 44. 
 
 Art Treasures Exhibition, Manchester, 1857, No. 53. 
 
 Apparently a late sixteenth-century copy of an earlier portrait, possibly 
 by HOLBEIN, since there is, in the Royal Collection at Windsor Castle, an 
 original drawing by him, corresponding closely with this picture and with the 
 miniature in the collection of the Duke of Buccleuch (see Case C, No. 1). 
 
 A similar portrait is at Enville Hall, Stourbridge. 
 
 Lent by the Duke of Portland, K.G. 
 
 15 Isabel Nevill, Duchess of Clarence. 
 
 Half length, facing the spectator, the head turned slightly to right; cloth of 
 gold diamond-shaped hood edged with jewels, black veil falling at back ; square- 
 cut grayish-green damask dress, edged with jewels; sleeves lined with ermine 
 under sleeves of white embroidered with black; gold chain with oval pendent 
 jewel set with crucifix; both hands, her right holding orange stuck with cloves, 
 her left closed book, before her; brown background. 
 
 Panel, 22\ by ip|- inches. 
 
 On the frame is an inscription (in an eighteenth-century hand): “ YSABELA 
 DUCISSA CLARENTUE RIC: COM: DE WARWICK FILIA.” 
 
 Isabel, daughter and coheir of Richard Nevill, Earl of Warwick, was married 
 in 1469 to George, Duke of Clarence, K.G., younger brother of Edward IV, by 
 whom she was mother of Edward, Earl of Warwick, and Margaret Pole, Countess 
 of Salisbury (see No. 20). She died in 1476. The costume of this portrait is 
 that of a lady fifty years later than the death of the Duchess of Clarence. 
 
 Exhibition of National Portraits, 1866, No. 26. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 24. 
 
 Probably a late Tudor copy of a picture in the manner of JOHANNES CORVUS. 
 
 Lent by the Earl of Loudoun. 
 
7 6 
 
 Early English Portraiture 
 
 1 6 George, Duke of Clarence. 
 
 Three-quarters length, standing slightly to left in the opening of a cloth of 
 gold tent; clean-shaven face; fair hair falling to neck; full plate armour edged 
 with gold; hauberk of mail pushed back round neck; jewelled girdle; George of 
 the Order of the Garter suspended by chain round neck; his right hand, wearing 
 gauntlet, is raised, and grasps a truncheon which rests on his hip; his left, 
 ungauntleted, holds the hilt of his sword; helmet with jewelled coronet on table 
 to right; above, to left, the arms of England, with a label of three points, 
 surrounded by the Garter and ensigned with ducal coronet; to right, inscription: 
 “GEORGIVS DVX CLARENTLE CONS. CAST. DE QVEENEBVRGH ANN° IX . EDW. 4.” 
 
 George, Duke of Clarence, born 1449, was the younger son of Richard, Duke 
 of York, and brother of King Edward IV. He married Isabel, daughter of 
 Richard, Earl of Warwick, with whom he made war on his brother. Afterwards 
 he joined Edward IV, and fought with him at Barnet and Tewkesbury. Subse- 
 quently he was suspected of treason, attainted, and put to death, according to 
 some accounts, by drowning in a butt of Malmsey wine, in the Tower of London, 
 1478. 
 
 Walpole, “Anecdotes of Painting in England,” s.v. Lucas Cornelii. 
 
 Exhibition of National Portraits, 1866, No. 25. 
 
 Lent by the Earl of Loudoun. 
 
 17 Young Man (called Henry Howard, Earl of Surrey). 
 
 Half length, very slightly to right; close-cut brown beard; youthful face; 
 black cap trimmed with gold tags and white plume; narrow white collar and 
 ruffles; black dress; double gold chain round neck; both hands, his right holding 
 white gloves, before him ; dark green background ; inscribed (in late eighteenth- 
 century hand): “ Earl OF SURRY.” 
 
 Panel oval, 15^ by io|^ inches. 
 
 Lent by the Lord Sackville. 
 
 18 Gentleman of the Du Bois Family of Brabant. 
 
 Half length, three-quarters to left; looking at the spectator; slight brown 
 beard and moustache; dark hair cut straight at neck; narrow white collar and 
 cuffs; his left hand, at his waist, holds white gloves; green background; coat of 
 arms (sable, a garb or, on a chief argent three martlets gules) with the date 1543 
 above, to the left. 
 
 Panel, circular. Diameter 19^ inches. 
 
 Flemish School. Lent by the Lord Sackville. 
 
Pictures 
 
 77 
 
 19 Lady of the Court of King Henry VIII. 
 
 Three-quarters length, seated slightly to left ; diamond-shaped hood of cloth 
 of gold edged with pearls ; black veil, falling at the back ; square-cut cloth of 
 gold dress with large sleeves turned back over inner sleeves of black, slashed and 
 pulled with white ; two strings of pearls round neck ; both hands, clasped 
 together, appear to rest on a dark cushion before her ; green background. 
 
 Panel, 1 6\ by 14J inches. 
 
 Scharf, No. XXXVI. 
 
 Bequeathed to the Society in 1828 by the Rev. Thomas Kerrich, who had 
 acquired it in 1781. 
 
 Tudor Exhibition, 1890, No. 71. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 59. 
 
 “Entitled, without any satisfactory grounds, Jane Seymour.” — Scharf. 
 School of Holbein. 
 
 Lent by the Society of Antiquaries. 
 
 20 Margaret Pole, Countess of Salisbury. 
 
 Half length, slightly to left; diamond-shaped hood of ermine, square-cut 
 black dress, the sleeves slashed with white, and with deep ermine cuffs at elbows; 
 white shawl folded over shoulders, string of small black beads round neck; both 
 hands before her, her right holding a black cord, to which is attached a jewel 
 shaped like a W, her left a sprig of honeysuckle; greenish-gray background; 
 shield of arms, quarterly, France and England, with a label of three points for 
 difference, ensigned with an earl’s coronet, above to left; inscribed (in a hand of 
 the early seventeenth century): “ MARGARETA COMITISSA SARUM GEORGIJ 
 
 DUCIS CLARENTIAE FILIA.” 
 
 Canvas laid down on panel, 25 \ by 19I inches. 
 
 Margaret Plantagenet, daughter of George, Duke of Clarence, and Lady 
 Isabel Nevill, daughter and heir of Richard, Earl of Warwick and Salisbury, 
 born 1474, became the last of the Plantagenets upon the execution of her brother, 
 Edward, Earl of Warwick, in 1499. She married Sir Richard Pole, and was 
 created Countess of Salisbury in 1513. Governess to Princess Mary, and mother 
 of Cardinal Reginald Pole. Attainted and executed in the Tower of London by 
 order of Henry VIII, May, 1541. 
 
 Exhibition of National Portraits, 1866, No. 28. 
 
 Tudor Exhibition, 1890, No. 78. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 38. 
 
 English School; apparently a copy from a portrait of the first half of the 
 sixteenth century. 
 
 M 
 
 Lent by the Earl of Loudoun. 
 
7 § 
 
 Early English Portraiture 
 
 21 King Henry VIII. 
 
 Three-quarters length, standing, facing the spectator; close-cut gray beard 
 and moustache; brown and gold striped gown, embroidered with gold and jewels 
 and lined with fur, over cloth of gold doublet slashed and pulled with white and 
 trimmed with jewels; his right hand, at his waist, holds brown gloves, his right 
 grasps a staff mounted with gold; bluish green background. 
 
 Panel, 3 7% by 28 \ inches. 
 
 Lent by the Lord Sackville. 
 
 22 Triptych: The Virgin and Child, with attendant Saints 
 
 and Angels, adored by Sir John Donne, his Wife, 
 and Daughter. 
 
 The central panel is occupied by a composition of nine figures in an open 
 loggia. In the centre, the Virgin, seated, with the Child on her lap, under a rose- 
 coloured canopy in front of a hanging of blue and gold ; she wears a blue dress and 
 rose-coloured mantle; He is entirely nude; His left hand rests on an open book 
 held in her left hand; His right is outstretched in blessing towards Sir John 
 Donne, who kneels on the left. Sir John has dark hair falling to neck; clean- 
 shaven face; and wears black gown lined with brown fur, and rose-coloured 
 doublet, open at breast, showing white shirt ; gold collar of roses and suns with 
 white enamel lion pendant round neck. Behind him stands Saint Catherine 
 wearing jewelled carcanet in her hair; blue mantle over crimson and white low- 
 necked bodice, and black and gold petticoat; her right hand holds a large sword, 
 with her left she indicates the presence of Sir John Donne to the Infant Christ. 
 Between Sir John and the central group kneels a youthful angel, with white 
 wings, clad in green and gold, holding an apple in his right hand, a viol in his 
 left. The landscape background, on this side of the picture, represents a winding 
 river with a castle, bridge, and water-mill. 
 
 On the right of the central group kneels Lady Donne, wearing gray and 
 black steeple-crowned headdress with transparent veil ; low-necked purplish 
 brown gown bordered with ermine; gold collar with enamelled pendant similar 
 to her husband’s; with both hands she holds an open book before her. Behind 
 her kneels her daughter, wearing black hood, and low-necked brown dress with 
 crimson stomacher. Behind stands Saint Barbara, her fair hair dressed with 
 jewels ; she wears a robe of warm green, with sleeves of crimson and gold ; in her 
 right hand she holds a model of a tower, her left is held with a protecting 
 gesture above the shoulders of Lady Donne. Between the Saint and the central 
 group kneels a youthful angel, with white wings, clothed in white, playing on a 
 portable organ. The landscape background represents a meadow, with a horse- 
 man and a cow, and wooded distance. 
 
Pictures 
 
 79 
 
 On the capital of the column to the left are the arms of Donne (azure, a 
 wolf salient argent, langued gules); on that to the right the same coat, impaling 
 Hastings (argent, a maunch sable). 
 
 The backgrounds of the wings represent the sides of the apartment of which 
 the loggia forms one end. On that to the left is Saint John the Baptist, 
 standing three-quarters to right; he has bare legs and feet, and wears grayish- 
 violet robe and shirt of buff hide; his left hand supports a lamb; with his right 
 he points to the central group. Behind, to left, an open door; to right, one end of 
 the loggia , through which is seen the half-length figure of a man (sometimes 
 supposed to represent the painter), dressed in gray with a red jerkin and cap. 
 
 On the outside of this shutter is painted, in stone-coloured grisaille , a full- 
 length figure, in a niche, of Saint Christopher, standing, facing the spectator, on 
 a rock with the Infant Christ seated on his shoulders. 
 
 On the inside of the right-hand wing is Saint John the Evangelist, 
 standing, facing the spectator, in flowing rose-coloured draperies ; with his right 
 hand he makes the sign of consecration over the chalice held in his left; beyond, 
 an open window; to right, the courtyard of a house, with a peacock, seen through 
 the opening of the loggia , to left. 
 
 On the outside of this shutter is painted, in stone-coloured grisaille , a full- 
 length figure, in a niche, of St. Anthony, standing three-quarters to left, holding 
 bell, book, and staff ; a pig at his feet. 
 
 Panel, the centre inches square. The shutters, 27f by nf inches. 
 
 “Sir John Donne of Kidwelly, County Caermarthen, son of Griffith Donne 
 and Janet Scudamore; married Elisabeth, daughter of Sir Leonard Hastings of 
 Kirkby, and sister of William, first Lord Hastings, Lord Chamberlain of 
 Edward IV. Sir John was slain at the battle of Edgecote, 26th July, 1469. 
 This triptych must have been painted between 1461, when Edward adopted the 
 badge which Sir John and his wife are wearing, and 1469; probably in 1468, 
 when a number of Yorkists came to Bruges to assist at the wedding of Charles 
 the Bold and Margaret of York. Besides the daughter represented in the 
 picture, Sir John had two sons, Edward and Griffith. Had the triptych been 
 painted in England, they would no doubt have been represented kneeling behind 
 their father.” — Weale, “ Hans Memlinc,” 1901, p. 14. 
 
 Strong, “ Masterpieces in the Duke of Devonshire’s Collection of Pictures,” 
 1901. Plate 15. 
 
 Exhibition of National Portraits, 1866, No. 18. 
 
 Royal Academy Winter Exhibition, 1876, No. 172. 
 
 Burlington Fine Arts Club, Exhibition of Pictures of the Netherlandish 
 School, 1892, No. 20. 
 
 Bruges Exhibition, 1902. 
 
 Guildhall Exhibition, 1906, No. 21. 
 
 By Hans Memlinc. 
 
 Lent by the Duke of Devonshire. 
 
8o 
 
 Early English Portraiture 
 
 23 Henry VIII. 
 
 Three-quarters length, standing facing the spectator; brown beard and 
 moustache; black cap trimmed with jewels, loops of pearls and white plume; 
 brown gown with hanging sleeves, striped horizontally with gold, edged with 
 gold embroidery, fastened by bands of jewels, and lined with white fur, over red 
 doublet embroidered with gold and jewels, and slashed and pulled with white ; 
 gold and jewelled collar; his right hand at his side holds glove, his left grasps a 
 black staff mounted with gold ; dark background ; inscribed : “ ANNO DNI 1 544. 
 yETATIS SV.E 55 ” [sic]. 
 
 Panel, 46 by 374 inches. 
 
 This is an important example of one type of the portraits of Henry VIII, 
 executed towards the end of his life, examples of which are in Warwick Castle, 
 Kimbolton, and the National Portrait Gallery. They have been ascribed 
 variously to Hans Holbein, who died in 1543, and to Lucas Hornebolt, who died 
 in 1544. 
 
 “ Archaeologia,” xxxix, p. 254. 
 
 Royal Academy Winter Exhibition, 1877, No. 249. 
 
 Tudor Exhibition, 1890, No. 49. 
 
 Lent by the Governors of St. Bartholomew' s Hospital. 
 
 24 King Henry VIII “with Scroll.” 
 
 Half length, facing the spectator, the head turned slightly to right; fair, 
 close-cropped hair and beard; black cap with enamelled gold medallion and 
 plume; brown fur-lined gown over cloth of gold jerkin, slashed and pulled with 
 white and trimmed with jewels cut low on breast, showing white shirt; his right 
 hand rests on a crimson cushion before him, his left holds scroll, inscribed: 
 “ MARCI 16 | ITE IN MVDVM VNIVERSV ET PREDICATE | EVANGELIVM OMNI 
 CREATVRE ”; warm greenish gray background. 
 
 Canvas, 28f by 224 inches. 
 
 This appears to be an early and very interesting copy of the portrait, painted 
 on panel, at Hampton Court Palace, about the painter of which there exists a 
 diversity of opinion. It has been attributed by various writers to Holbein, Janet, 
 Sotto Cleve, and Girolamo da Treviso. The ascription to an Italian origin has 
 been given some weight, owing to the scroll with inscription, a feature not usually 
 found in the English and French portraits of the time. ( Cf. the cartellino in Italian 
 pictures.) It is usually asserted that the original portrait must have been painted 
 in 1 536, because (i) it was in that year that Henry ordered Miles Coverdale’s 
 English version of the whole Bible to be laid in the choir of every church “ for 
 every man that will to look and read therein ; and shall discourage no man from 
 reading any part of the Bible, but rather comfort, exhort, and admonish every 
 
Pi ctures 
 
 8 1 
 
 man to read the same.” To this the text on the scroll would seem to refer, 
 (ii) It was in 1535 that the King “ commanded all those about his Court to poll 
 their heads; and to give them example he caused his own head to be polled, and 
 from thenceforth his beard to be knotted and no more shaven.” The hair and 
 beard are here treated, it is said, in this fashion. 
 
 Against these two arguments in favour of the date 1536, it may be pointed 
 out that the King presents the aspect of a young man of not more than thirty 
 years of age, and this would place the portrait at about the date of the meeting 
 with Francis I at the Field of the Cloth of Gold in 1520. The portrait of 
 Eleonora of Spain, wife of Francis I, also at Hampton Court, is evidently by the 
 same hand; and the smaller portrait of Francis I, also at Hampton Court, is 
 either by, or a copy after, the same painter. These circumstances would point to 
 a possible French origin, and lend some colour to the ascription of the portrait 
 either to “ Sotto ” Cleef, who worked in France before coming to England, or to 
 Jean Clouet, more probably the latter, who may very well have been in 
 attendance on Francis I at the Field of the Cloth of Gold. 
 
 This portrait was presented to the Merchant Taylors’ Company in 1616 by 
 Mr. John Vernon. The portrait at Hampton Court, described by Vanderdoort 
 in Charles I’s catalogue as “ A Whitehall piece, said to be done by Gennet or 
 Sotto Cleve,” came into the possession of the King in 1624 by exchange “with 
 my Lord Arundel.” 
 
 Tudor Exhibition, 1890, No. 120. 
 
 Lent by the Merchant Taylors' Company. 
 
 25 Unknown Lady. 
 
 Half length, three-quarters to right; fair hair parted in the middle and 
 turned forward over the ears; black French hood; black dress lined with white 
 fur, the sleeves puffed and slashed; both hands, folded before, hold a small book; 
 dark green background; inscribed: “AN 0 DNI 1551 zetatis . 34.” 
 
 This possibly represents a member of the Grey family, and is probably 
 by the painter PE (Haunce Eworth ?). 
 
 Panel, 1 4^ by iof inches. 
 
 Lent by the Duke of Norfolk, E.M., K.G. 
 
 26 Thomas Cranmer, Archbishop of Canterbury. 
 
 Half length, three-quarters to left, looking at the spectator; clean-shaven 
 face; brown hair on temples; black cap; brown fur scarf; black chimere; white 
 rochet; both hands before him hold a small open book; on the first finger of his 
 left he wears a signet ring upon the bezel of which are a shield, now blank, 
 
82 
 
 Early English Portraiture 
 
 and the letters IT; brown background; inscribed: “ THOMA CRANMERE FVISTI 
 TEMPORA LETA DEVS TEMPORA DVRA DEDIT.” 
 
 Panel, 1 5-J- by i<>§- inches. 
 
 On the back is the inscription : “ Portrait of Archbp. Cranmer found at 
 Farthings & presented to me by Moreton Frewen Esq re in 1845; supposed by 
 Sir Hy Ellis & other Antiquaries to be an Original, it has probably been in the 
 Frewen family 2 Centuries & a half or more. T 1846. Lucas Kranach PinxV’ 
 
 This portrait is a smaller version, varied in the background, of the upper 
 portion of the portrait of Archbishop Cranmer in the National Portrait Gallery, 
 painted and signed by Gerlach Fliccius. A similar portrait is at Jesus College, 
 Cambridge. 
 
 Tudor Exhibition, 1890, No. 226. 
 
 Possibly by GERLACH FLICCIUS. Lent by Mr. Edward Frewen. 
 
 27 Mary Hungerford, Baroness Hungerford. 
 
 Three-quarters length, standing three-quarters to left, looking at the spectator ; 
 fair hair parted in the middle; white hood, fastened under the chin, over white 
 coif; black gown lined with brown fur, with deep fur cuffs at elbows, crimson 
 undersleeves; brown petticoat; narrow white ruffles at neck and wrists; round 
 waist gold chain, to which is attached rosary of coral beads ; both hands, her left 
 holding the rosary, her right red rose, before her; dark green background; 
 inscribed (in eighteenth-century hand): “ MARY BARONESS HUNGERFORD &C. &C. 
 WIDOW OF EDWARD LORD HASTINGS.” 
 
 Panel, 32^ by 26 inches. 
 
 Mary, daughter of Sir Thomas Hungerford, was born about 1466, and suc- 
 ceeded as Baroness Botreaux in 1478. Before 1481 she was married to 
 Sir Edward Hastings, K.B. In 1485 she became in her own right Baroness 
 Hungerford and Baroness de Moleyns. She was re-married to Sir Richard 
 Sacheverell, and died before 1534. 
 
 Exhibition of National Portraits, 1866, No. 66. 
 
 Tudor Exhibition, 1890, No. 32. 
 
 Possibly a work of the English School ; recalls in style the portrait called 
 Margaret Tewkesbury, Abbess of Godstow, dated 1529, in the possession of 
 St. John’s College, Oxford. 
 
 Lent by the Earl of Loudoun. 
 
Pictures 
 
 83 
 
 28 Mary Tudor, Sister of King Henry VIII, and Wife of (i) 
 Louis XII, King of France, (2) Charles Brandon, 
 Duke of Suffolk. 
 
 Half length, facing the spectator; cloth of gold diamond-shaped hood, edged 
 with jewels, with black veil falling at the back; square-cut gray dress edged with 
 jewels; white sleeves embroidered with black, gold, and silver; jewelled necklace 
 and pendants; both hands, her right holding an apple, rest on a table with 
 a red cloth before her ; background of a hanging of cloth of gold with a design 
 of armed knights in architectural panels. 
 
 Panel, 224 by i8| inches. 
 
 P'ormerly in the possession of Sir Henry des Voeux, by whom it was acquired 
 from an unrecorded source in January, i860. It was at that time in the original 
 frame, which bore, besides the titles of the subject, copied on the present frame, 
 the actual signature of the artist, “Johannes Corvus Flandrus Faciebat.” 
 (“ Archaeologia,” xxxix, p. 49, and xlix, 286.) 
 
 Tudor Exhibition, 1890, No. 5. 
 
 Monarchs of Great Britain Exhibition, 1901 -2, No. 50. 
 
 By Johannes Corvus. Lent by Mr. H. Dent-Brocklehurst. 
 
 29 Queen Elizabeth as Princess (?) (called Queen Kather- 
 ine Parr). 
 
 Whole length, standing, facing the spectator, on a Persian carpet, the head 
 turned slightly to left, looking at the spectator; fair hair, parted in the middle; 
 golden brown French hood, trimmed with gold and jewels; square-cut cloth of 
 silver gown lined with ermine, with deep ermine cuffs at elbows, over red dress 
 richly embroidered with gold and pearls; sleeves slashed and pulled with white 
 embroidered with scarlet; jewelled necklaces and girdle with long ends, con- 
 sisting of strings of cameo heads; both hands folded before her, holding red 
 carnation ; dark bluish-green background. 
 
 Panel, yof by 34^ inches. 
 
 This portrait, which is believed to have been preserved at Glendon Hall, 
 Northamptonshire, ever since it was executed, has long borne the traditional 
 name of Katherine Parr. No authentic portrait of this queen is known. The 
 date of the costume and the type of countenance both point to its being more 
 probably a portrait of the Princess Elizabeth. It is noticeable that several of the 
 rings on the fingers are the same as those in the well-known portrait of the 
 Princess at a slightly earlier age in the Royal Collection at Windsor Castle. A 
 
8 4 
 
 Early English Portraiture 
 
 portrait of the Princess Mary, dated 1544, and attributed to JOHANNES CORVUS 
 in the National Portrait Gallery, has many points of resemblance with this 
 picture. 
 
 “ Archaeologia,” xl, p. 79. 
 
 Exhibition of National Portraits, 1866, No. 131. 
 
 Lent by Mrs. Booth. 
 
 30 Edmund Butts. 
 
 Half length, standing three-quarters to right; brown hair, beard, and 
 moustache; narrow pleated ruff; full plate armour, with gauntlets, of steel edged 
 with gold; his right hand on his hip, his left rests on his helmet which stands 
 before him to right; greenish-gray background; inscribed: “Anno Dni 1545 
 Aetatis SUAE 26”; coat of arms (azure on a chevron or, between three estoiles 
 of six points rayonnant or, three lozenges gules — a mullet for difference — with 
 mantling and crest a horse’s head couped proper, armed with chamfron and 
 neck armour; on the head two plumes, quarterly, azure and argent) above 
 to left. 
 
 Panel, 21 by 15P inches. 
 
 Edmund Butts, of Thornham, Norfolk, born in 1519, was the third and 
 youngest son of Sir William Butts, Knt., M.D., Physician to King Henry VIII. 
 He died in 1549. 
 
 Attributed to JOHN BETTES. Lent by Prince Frederick Duleep Singh. 
 
 31 John Howard, ist Duke of Norfolk, K.G. 
 
 Half length, slightly to left, looking at the spectator; brown hair, falling to 
 neck, and moustache ; black cap ; black gown lined with brown fur over red 
 doublet with cylindrical gold buttons; George of the Order of the Garter 
 suspended by black cord round neck; both hands, his left pointing to himself, 
 before him; dark green background; inscribed on a cartellino to right: “JHON 
 HOWARDE THE FIRST DUKE OF NORFOLK OF THAT NAME.” 
 
 Panel, 29f by 24 inches. 
 
 John Howard was son and heir of Sir Robert Howard and Margaret, 
 daughter of Thomas Mowbray, Duke of Norfolk, and was in the service of his 
 kinsman, John Mowbray, Duke of Norfolk, in 1455; by close interest he was 
 returned to parliament. He rendered considerable service to the Yorkist cause, 
 under Edward IV ; and in 1467 was made Treasurer of the Household, in which 
 capacity he attended at the marriage in 1468 of the King’s sister Margaret with 
 the Duke of Burgundy. He continued to serve Edward IV, and, after his death, 
 Richard III, by whom he was created, in June, 1483, Duke of Norfolk and Earl 
 
Pictures 
 
 85 
 
 Marshal, and soon after Admiral of England. In spite of warnings to the 
 contrary he refused to desert the King, whom he joined at Bosworth, where he 
 was killed on 22nd August, 1485. 
 
 A small panel portrait of the 1st Duke of Norfolk, usually stated to have 
 been copied from the portrait here exhibited, is at Windsor Castle. The Windsor 
 portrait, which can hardly be regarded as taken from life, is, however, probably 
 the older, the present portrait having the appearance of being a version painted 
 by a more skilful painter at a somewhat later period. 
 
 Tudor Exhibition, 1890, No. 15. 
 
 Lent by the Duke of Norfolk, E.M., K.G. 
 
 32 Henry, Lord Marney. 
 
 Half length, three-quarters to right; brown hair, red moustache, and long 
 pointed beard; black cap; narrow pleated white collar and ruffles embroidered 
 with black; black gown, with high standing collar, over brown doublet; both 
 hands, his right holding white gloves, before him ; green background, inscribed 
 (in late seventeenth-century hand): “HENRY, LORD MARNEY.” 
 
 Panel, 22\ by 14-f inches. 
 
 Sir Henry Marney, 1st Lord Marney, was made Privy Councillor to 
 Henry VII, 1485, created a Knight of the Garter, 1510, Baron Marney and Lord 
 Privy Seal, 1523, in which year he died. He attended Henry VIII to the Field 
 of the Cloth of Gold, 1520. Lord Marney was twice married, firstly to 
 Thomazine, daughter of Sir John Arundel of Lanherne; secondly to Elizabeth, 
 daughter of Sir Nicholas Wilford. 
 
 Lent by Sir Henry Bedingfelct \ Bart. 
 
 33 King Henry VIII. 
 
 Half length, slightly to left; close cut fair beard ; black cap and coif cover- 
 ing ears, trimmed with gold and plume; fur-lined gown; black doublet, slashed 
 and pulled with cloth of gold, over rose-coloured jerkin cut low on breast, showing 
 white chemisette trimmed with gold; both hands, apart, rest on a green velvet 
 cushion before him ; bright green background. 
 
 Panel, 18 J by 13^ inches. 
 
 Scharf, No. XXXIV. 
 
 Bequeathed to the Society by the Rev. Thomas Kerrich, 1828. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 48. 
 
 A similar portrait is in the National Portrait Gallery. 
 
 Lent by the Society of A ntiquaries. 
 
 34 Sir William Fitzwilliam, K.G., Earl of Southampton. 
 
 Head three-quarters to right; clean-shaven face; gray hair cut straight on 
 neck; black cap over black coif tied under chin; brown fur gown over black 
 
 N 
 
86 
 
 Early English Portraiture 
 
 doublet; brown background inscribed (in eighteenth-century hand) : “ SIR THOMAS 
 MOORE.” 
 
 Panel, 13^ by 9f inches. 
 
 Sir William Fitzwilliam was younger son of Sir Thomas Fitzwilliam, of 
 Aldverke, and Lucy Nevill, daughter of John, Marquess of Montacute. He was 
 brought up as a boy as the companion of Henry VIII, and was one of the King’s 
 most intimate friends. He attached himself to Cardinal Wolsey, by whom he 
 was sent as Ambassador to the French Court. In 1526 he was appointed 
 Comptroller of the King’s Household, and made K.G. In 1529 he succeeded 
 Sir Thomas More as Chancellor of the Duchy of Lancaster; in 1533 acted as 
 Lord Privy Seal; in 1536 was appointed Lord High Admiral; in 1537 Treasurer 
 of the King’s Household, and raised to the peerage as Earl of Southampton. 
 He was one of the most astute and unscrupulous ministers of the reign. He 
 purchased the Estate of Cowdray in 1528, and was buried at Midhurst. 
 
 This head is evidently copied from that in the full-length portrait of 
 Fitzwilliam in the Fitzwilliam Museum at Cambridge, which is dated 1542. 
 This is sometimes ascribed to Holbein, or stated to be a copy from a 
 picture by Holbein, which was destroyed by fire at Cowdray House. An original 
 drawing, by Holbein, of the head and shoulders only, corresponding closely with 
 the picture, is in the Royal Collection at Windsor Castle. The painting has, 
 however, all the appearance of being an original work, and is clearly by the same 
 hand as the Earl of Surrey at Knole, the full-length of a young man in red at 
 Hampton Court Palace, and the Sir Thomas Gresham at Mercers’ Hall. 
 
 Panel, 13 by g\ inches. 
 
 Lent by the Duke of Devonshire. 
 
 35 King Henry VII. 
 
 Bust, three-quarters to right; aged, clean-shaven face; white hair falling to 
 neck; black cap with jewelled medallion; fur-lined scarf; brownish-green robe 
 embroidered with gold and lined with ermine over scarlet dress; jewelled collar; 
 'warm gray background. Inscribed (in a late hand): “KYNGE HENRY YE SEVENTH 
 JOHAN DE MAUBEUSE, F T .” 
 
 Panel, 22 \ by 17J inches. 
 
 Tudor Exhibition, 1890, No. 6. 
 
 Apparently based upon the wall-painting by HOLBEIN at Whitehall. 
 
 Lent by Captain Josceline Bagot. 
 
 36 Queen Mary I (as Princess). 
 
 Three-quarters length, seated, facing the spectator, in a red arm-chair; fair 
 hair ; red French hood edged with pearls ; square-cut black dress edged with pearls ; 
 wide sleeves lined with ermine, with deep crimson cuffs at elbows; inner sleeves 
 
Pictures 
 
 87 
 
 of cloth of gold slashed with white; jewelled necklace and girdle; hands folded 
 before her ; in front, an open book, inscribed with maxim from Epictetus in Greek, 
 lies on a green cushion; dark golden damask background; coat of arms (a later 
 addition) above to left. 
 
 Panel, 38+ by 28% inches. 
 
 Presented to the University by Mr. Chambers Hall in 1855; the previous 
 history of the picture is not known. 
 
 Oxford Exhibition of Historical Portraits, 1904, No. 32. 
 
 Apparently by the same hand as the portrait of Henry VIII “with the 
 scroll,” at Hampton Court. 
 
 Lent by the University of Oxford ( Ashmolean Museum ). 
 
 37 King Henry VII. 
 
 Bust, three-quarters to right, looking at the spectator; aged clean-shaven 
 face ; white hair falling to neck ; black cap with jewelled gold badge ; black fur-lined 
 gown, and cloth of gold robe lined with ermine, and fastened with large jewelled 
 clasp, over crimson doublet ; dark background ; inscribed: “ HENRICVS VII R.” 
 
 Panel, 22 J by inches. 
 
 Scharf, No. XXIV. 
 
 Presented to the Society by Richard Rawlinson, 1753. 
 
 Monarchs of Great Britain Exhibition, 1901 -2, No. 35. 
 
 A similar picture is at Eton College. 
 
 Lent by the Society of Antiquaries. 
 
 38 King Henry VIII. 
 
 Half length, three-quarters to the right; close-cropped fair beard and 
 moustache; black cap trimmed with jewels and loops of pearls and white plume; 
 cloth of gold gown lined with brown fur, over light gray doublet embroidered 
 with black, trimmed with jewels and slashed and pulled with white; this is cut 
 low at the neck, and shows white shirt with neckband embroidered with gold ; 
 round jewel suspended by chain of spiral black and gold beads and Hs round 
 neck; both hands are partially visible, his left at his side, his right holding glove 
 before him; bright blue background. 
 
 Panel, icd- by 7^ inches. 
 
 The age of the portrait appears to be that of the original cartoon for the 
 wall-painting at Whitehall, drawn in 1537. 
 
 “ Archaeologia,” xxxix, p. 250. 
 
 Loan Exhibition, South Kensington, 1862, No. 2651. 
 
 Exhibition of Portrait Miniatures, South Kensington, 1865, No. 2082. 
 
 By Hans Holbein. Lent by the Earl Spencer , K.G. 
 
88 
 
 Early English Portraiture 
 
 39 An Elderly Man, unknown. 
 
 Half length, three-quarters to right; clean-shaven face; black cap and coif 
 with long strings falling beneath chin; black gown, with sleeves, over russet 
 doublet; white shirt showing at throat; both hands drawing his gown round him; 
 dark greenish-blue background; inscribed: “ANNO DNI MDXXXVIII.” 
 
 Panel, I5f by 12 inches. 
 
 Formerly in the collection of the late Mr.Henry Willett, of Brighton. 
 Attributed to HOLBEIN. Lent by Mr. R. Langton Douglas. 
 
 40 King Henry VII and King Henry VIII. Cartoon for 
 the wall-painting at Whitehall. 
 
 Two whole-length standing figures; to left, Henry VIII slightly to right wear- 
 ing fur-lined gown, reaching to the knees, over doublet slashed and richly decorated 
 with jewels; cap trimmed with jewels and plume; to right, Henry VII, standing 
 on a higher level, clothed in flowing ermine-lined robes, and wearing black cap. 
 The background is composed of decorative architecture; in the middle a shell- 
 shaped niche; above, a frieze with sirens supporting a shield with the letters 
 “ H.I.” knotted together. 
 
 Brush and ink on paper stretched on canvas of the sixteenth century, 
 103^- by 54 inches. 
 
 The Palace of Whitehall, originally called York House, was the London 
 residence of Cardinal Wolsey, and, after Wolsey’s disgrace, was delivered over to 
 the King in February, 1530. The King at once commenced to build a royal 
 palace on the site, which he called Whitehall. He employed many artists to 
 adorn his new palace, and among them Hans Holbein. Holbein is stated to have 
 painted a ceiling in the Matted Gallery. Pepys in his Diary for 28th August, 
 1668, mentions that he saw alterations going on in this Gallery, and remarks: 
 “ And pity to see Holbein’s work in the ceiling blotted out and only whited over.” 
 Elsewhere Holbein is also stated to have painted on a wall a “ Dance of Death.” 
 In the Privy Chamber Holbein painted on the wall a large painting — Henry VIII 
 and his queen, Jane Seymour, with the King’s parents, Henry VII and Elizabeth 
 of York. The two kings were represented standing on one side of (apparently) a 
 chimney-piece, balanced by the two queens on the other side. This painting was 
 executed in 1537, and perished in the conflagration of January, 1697-8. For- 
 tunately, two small copies of the painting had been made by Remigius van 
 Leemput for Charles II, one of which is preserved at Hampton Court and gives 
 the whole composition. This was engraved by Vertue. 
 
 The present portion of Holbein’s original cartoon has been handed down 
 in fairly good preservation, considering that it has been pricked for actual use in 
 
Pictures 
 
 89 
 
 transferring the design to the wall, and the perishable nature of the paper on 
 which it is drawn. This cartoon was in 1590 in the possession of John, Lord 
 Lumley, at Lumley Castle, and is entered in the inventory of his pictures as 
 “ The Statuary of King Henry the Eight and his father Kinge Henry the 
 Seventh Joyned together, doone in white and blacke by Haunce Holbyn.” It 
 passed subsequently into the collection of the Duke of Devonshire, and has 
 since been preserved at Hardwick Hall. 
 
 The importance of this great drawing is easy to recognize. It is especially 
 noteworthy that the likeness of Henry VIII, as given in the cartoon, corresponds 
 with the likeness in the portrait belonging to Earl Spencer, and that in the 
 miniature belonging to the Duke of Buccleuch, both included in this Exhibition, 
 whereas the likeness in Van Leemput’s copy is that of Henry VIII in later years, 
 as shown in the portraits from St. Bartholomew’s Hospital, and Knole. 
 
 “ Archaeologia,” xl, p. 83. 
 
 Strong, “ Drawings by Old Masters in the Collection of the Duke of 
 Devonshire,” Plate I. 
 
 Exhibition of National Portraits, 1866, No. 134. 
 
 Royal Academy Winter Exhibition, 1879, No. 231. 
 
 Tudor Exhibition, 1890, No. 42. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 62. 
 
 By Hans Holbein. Lent by the Duke of Devonshire. 
 
 i Sir Thomas le Strange, Knight. 
 
 Bust, three-quarters to left; gray hair cut straight on forehead; brown beard 
 and moustache; black cap trimmed with gold loops and medallion; white pleated 
 collar with hanging tags in front; brown fur gown over black dress; gold chain 
 round neck; greenish blue background; inscribed: “ANNO D e 1536 /ETATIS 
 SU.E 43.” 
 
 Panel, 1 5 J by ioJ- inches. 
 
 Sir Thomas Strange, or le Strange, Knt., only son of Robert le Strange, of 
 Hunstanton in Norfolk, and Margaret, daughter and heir to Thomas le Strange, 
 of Walton d’Eivell in Warwickshire; born 1493, inherited the estates of the 
 family from his uncle, Sir Roger, and, being introduced at Court, was appointed 
 an Esquire of the Body of Henry VIII, received the honour of knighthood and 
 accompanied the King to the Field of the Cloth of Gold. He was High Sheriff 
 of Norfolk in 1 5 3 2 > and a Commissioner to inquire into the revenues of 
 Walsingham Abbey in 1536. Died 1 6th January, 1545. 
 
 The original drawing for this picture is in the Royal collection at Windsor 
 Castle. 
 
 Tudor Exhibition, 1890, No. 113. 
 
 By Hans Holbein. 
 
 Lent by Mr. H anion le Strange. 
 
9 o 
 
 Early English Portraiture 
 
 42 Sir Thomas le Strange. 
 
 Similar to the last, but larger, and on a warm greenish gray background ; 
 the design of the cap-medallion, an antique laureate head, is distinguishable. 
 Inscribed: “$ THOMS LE STRANGGE ANNO DO 1 536. HiTATIS SV^E 43.” 
 
 Panel, 19J by 15J inches. 
 
 Attributed to Holbein, but apparently a nearly contemporary copy of the 
 preceding on an enlarged scale. 
 
 Lent by Mr. Hamon le Strange. 
 
 43 Sir Bryan Tuke. 
 
 Half length, three-quarters to left; clean-shaven face; black cap over black 
 coif; black gown lined with brown fur, with deep fur collar, over black doublet; 
 sleeves of fine chequered black and gold stuff' ; gold jewelled cross suspended by 
 gold chain round neck ; his right hand held before him, his left holding gloves, 
 rests beside a folded paper, inscribed : “ N VNQVID NON PAVCITAS DIERVM MEORVM 
 FINIETVR BREVI ? ” (Job x, 20) on a red-covered table before him; brown back- 
 ground inscribed: “ BRIANVS TVKE MILES ANO ETATIS SV,E LVII.” 
 
 Panel, 18J by 14J inches. 
 
 Secretary to Cardinal Wolsey, French Secretary to Henry VIII, Treasurer 
 of the Household in 1528. 
 
 Royal Academy Winter Exhibition, 1880, No. 188. 
 
 A similar portrait, with the addition of a figure of Death behind the head, is 
 in the Munich Gallery. 
 
 By Hans Holbein. Lent by Miss Guest , of Inwooa. 
 
 44 Margaret Roper, Daughter of Sir Thomas More. 
 
 Three-quarters length, three-quarters to left; white diamond-shaped hood 
 embroidered with gold ; square-cut black and white dress, edged with jewels over 
 transparent chemisette; string of black beads and fine gold chain round neck; 
 cinquefoil jewel on breast; cloth of gold sleeves slashed and pulled with white; 
 both hands hold an open book resting on a table before her; dark background. 
 Inscribed (in eighteenth-century hand): “ Queen Catherine.” 
 
 Panel, 25^ by 19^- inches. 
 
 Exhibition of National Portraits, 1866, No. 78. 
 
 Probably a nearly contemporary copy of a lost original by HOLBEIN. It 
 corresponds closely, excepting for slight differences in the position of the hands, 
 with the figure in the sketch for the More family in the Museum at Basel. 
 
 Lent by the Lord Sackville. 
 
Pictures 
 
 9 1 
 
 Sir Nicholas Carew. 
 
 Three-quarters length, standing three-quarters to left; brown beard and 
 moustache; black cap trimmed with white plume and octagonal gold badge (repre- 
 senting a tree stem raguly and a banderole inscribed “ SOLA . . ”), over cloth of gold 
 coif; full plate armour; brown trunks slashed with cloth of gold; his right hand 
 grasps a white truncheon which rests on his hip ; his left hand, on his hip, grasps 
 his sword by the scabbard ; background of green damask curtain looped up to 
 right; inscribed on a cartellino below to left : “SR NICHOLAS CAREWE, MASTER 
 OF THE HORSE TO KING HENRY YE 8.” 
 
 Panel, 36 by 40 inches. 
 
 Son of Sir Richard Carew; one of Henry VI II’s household, and Master of 
 the Horse, 1524; Envoy to France and to the Emperor Charles V; K.G., 1536; 
 incurred the King’s displeasure and executed, 1539. 
 
 This portrait was in the possession of John, Lord Lumley, in 1590, and was 
 sold from Lumley Castle in 1785 for .£10 iol 
 
 Art Treasures Exhibition, Manchester, 1857, No. 26. 
 
 Royal Academy Winter Exhibition, 1880, No. 192. 
 
 The original drawing for the head is in the Museum at Basel. 
 
 By Hans Holbein. 
 
 Lent by the Duke of Bnccleuch and Queensberry, K.G. 
 
 Queen Jane Seymour. 
 
 Three-quarters length, standing three-quarters to left; cloth of gold and 
 white diamond-shaped hood, edged with pearls, with black veil falling at the back ; 
 square-cut red dress, trimmed with network of gold cord ; petticoat and under- 
 sleeves of cloth of gold, slashed and pulled with white; pearl necklace with 
 pendent jewels; jewel in the form of the monogram I.H.S. on breast; both 
 hands clasped together before her; greenish blue background. 
 
 Panel, 24 by 19 inches. 
 
 Tudor Exhibition, 1890, No. 44. 
 
 A similar picture is in the possession of theDuke of Bedford at Woburn Abbey. 
 
 Excellent contemporary copy of the picture by PIOLBEIN in the Imperial 
 Gallery at Vienna, the original drawing for which is in the Royal Collection at 
 Windsor Castle. 
 
 Lent by the Lord Sackville. 
 
 An Italian Nobleman (called James, 2nd Earl of 
 Douglas, surnamed “the Black”). 
 
 Bust, three-quarters to right, the head turned in profile to right; clean-shaven 
 face; dark hair cut straight on neck ; black cap with gold medallion ; steel corselet 
 
92 
 
 Early English Portraiture 
 
 over shirt of mail; collar of Order of St. Michel round shoulders; warm gray 
 background; inscribed, in seventeenth-century hand: “THE EARLE OF DOUGLAS 
 SURNAMED BLACK,” with the number “ 109.” 
 
 Panel, 13-J by 12 J- inches. 
 
 Sir James Douglas, born about 1286, was a supporter of Robert Bruce, King 
 of Scotland, with whom he warred successfully against the English. He com- 
 manded the left wing of the Scots at Bannockburn. After the death of Robert 
 Bruce, Douglas started to carry out the King’s wish that his heart should be 
 deposited in the Holy Sepulchre at Jerusalem. On the way he entered the service 
 of the King of Spain; fought against the Saracens, and was killed in battle 
 on 25th August, 1330. 
 
 Formerly in the collection of King Charles I, whose brand of ownership is 
 on the back of the panel, and described in Vanderdoort’s catalogue: “A White- 
 hall piece. Item. Above the door of the Coffer Chamber, the picture of the 
 valliant Scottish Earl Douglas, also called the black Dudley [sic], in a black cap 
 with a little medal, being side faced.” 
 
 Exhibition of National Portraits, 1866, No. 12. 
 
 Milanese School, probably by BERNARDINO DEI CONTI. 
 
 Lent by the Earl of Home. 
 
 48 Sir Thomas Wyat, the younger. 
 
 Profile, to left, looking upwards; head and neck only, cut off at commence- 
 ment of shoulders ; slight, light brown moustache and beard, dark brown short hair. 
 
 Panel, circular, 13 inches diameter. 
 
 Born 1521 (?), the son of Sir Thomas Wyat, the poet; associated with 
 Henry Howard, Earl of Surrey, in campaigns in France; engaged in the 
 insurrection against the marriage of Queen Mary and Philip II, but, having been 
 deserted by his followers, was compelled to surrender, and was beheaded, 1554. 
 
 Formerly in the collection of King Charles I, whose brand of ownership it 
 bears. 
 
 A similar picture is in the possession of the Countess of Romney. (Tudor 
 Exhibition, 1890, No. 224.) 
 
 A portrait of Sir Thomas Wyat, the younger, was in the collection of John, 
 Lord Lumley, in 1590. 
 
 Ascribed to Hans Holbein. 
 
 Lent by the Right Hon. Lewis Fry. 
 
 49 Thomas Howard, 3RD Duke of Norfolk, K.G. 
 
 Half length, standing slightly to left; clean-shaven face; red hair; black cap 
 over black coif; black gown lined with ermine with deep ermine collar over rose- 
 
Pictures 
 
 93 
 
 coloured doublet; collar and George of the Order of the Garter; both hands, his 
 right holding the gold stick as Earl Marshal, his left the white wand as Treasurer, 
 before him; warm green background; inscribed: “ THOMAS DVKE OFF NORFOLK 
 MARSHALL AND TRESVRER OFF INGLONDE THE LXVI YERE OF HIS AGE.” 
 
 Panel, 30 by 23 inches. 
 
 Thomas Howard, 3rd Duke of Norfolk, born in 1473, was the most 
 conspicuous man at Court in his time next to the King. He was married in 
 1495 to Lady Anne of York, daughter of Edward IV, and sister of Elizabeth of 
 York, Queen of Henry VII. He was thus uncle to Henry VIII. In 1513 he 
 married, as his second wife, Elizabeth, daughter of Edward Stafford, Duke of 
 Buckingham. He was also uncle to both Anne Boleyn and Catherine Howard. 
 He was an implacable enemy of Wolsey and Cromwell, and assisted in the fall 
 of both. He was also the enemy and rival of the Earl of Hertford and the 
 Seymours, and under their regime was accused of high treason and sentenced to 
 death, and was only saved from execution by the death of Henry VIII. Under 
 Queen Mary he was restored to honours and royal favour, but died in 1554, and 
 was buried at Framlingham. 
 
 Tudor Exhibition, 1890, No. 41. 
 
 This is a replica, with slight variations, of the portrait by HOLBEIN at 
 Windsor Castle. A careful comparison of the two shows that the Windsor 
 portrait is the original, and the present picture an excellent contemporary copy. 
 
 Lent by the Duke of Norfolk, E.M . , K.G. 
 
 50 Sir Thomas Wyat. 
 
 Bust, three-quarters to left ; dark hair, beard, and moustache, bald forehead ; 
 red drapery round the shoulders; brown background. Inscribed “SYR • THOMAS • 
 WYAT.” 
 
 Born 1503 (?); accompanied an embassy to the Papal Court, 1527; knighted 
 1537; as a diplomatist enjoyed the chequered favour of King Henry VIII; as a 
 poet remarkable as a student of Italian poetry, and the first to adapt its forms, 
 including the sonnet, to English use; died 1542. 
 
 Panel, by 12^ inches. 
 
 Exhibition of National Portraits, 1866, No. 68. 
 
 Tudor Exhibition, 1890, No. 169. 
 
 Oxford Exhibition of Historical Portraits, 1904, No. 24. 
 
 This and the similar picture in the National Portrait Gallery are based 
 upon a woodcut after HOLBEIN published in Leland’s “Naeniae in mortem 
 Thomae Viati equitis incomparabilis,” 1543. (See Case E, No. 5.) 
 
 Lent by the University of Oxford (. Bodleian Library). 
 
 O 
 
94 
 
 Early English Portraiture 
 
 51 William West, ist Lord Delawarr (?). 
 
 Three-quarters length, standing, facing the spectator; clean-shaven face; 
 black cap trimmed with gold; narrow pleated collar and cuffs; black cloak 
 edged with gold ; black slashed doublet over red jerkin ; black trunks and 
 hose; his right hand on his hip; his left, holding gloves, rests on the hilt of his 
 sword ; warm gray background. 
 
 Panel, 5 if by 30! inches. 
 
 The identification of the subject has been made on the evidence of the arms 
 on the bezel of the ring (argent, a fess dancetty sable), which are those of the 
 West family. The probable date of the costume would point to the first Baron 
 Delawarr; b. c. 1520, d. 1595. 
 
 Arundel Club Publications, 1908, No. 10. 
 
 Royal Academy Winter Exhibitions, 1870, No. 23; 1880, No. 167; and 1908, 
 No. 2. 
 
 Attributed to Hans Holbein and to Guillim Stretes. 
 
 Lent by Lieut.-Col. G. L. Holford , C.I.E., C.V.O. 
 
 52 Sir Thomas More. 
 
 Half length, three-quarters to right; close shaven beard ; black cap and coif; 
 black sleeveless gown lined with brown fur; red sleeves; gold collar of S.S., with 
 pendent jewelled cross; his right hand, on breast, touches this cross, his left 
 rests on a book, inscribed “ NON MORS SED CAVSA,” lying on a green covered 
 table before him; brown background, inscribed (in eighteenth-century hand): 
 “S r THOS MORE.” 
 
 Panel, 25 by 19^ inches. Lent by the Lord Sackville. 
 
 53 Sir Thomas More. 
 
 Half length, seated three-quarters to right; close-shaven gray moustache 
 and beard; dark hair; black cap; black gown lined with brown fur, with deep 
 fur collar; crimson satin sleeves; golden collar of S.S. with portcullis clasps and 
 Tudor rose pendant; his right elbow rests on a table to left; both hands together 
 holding a folded paper before him; background of green curtain with gold fringe 
 tied back by golden cord ; inscribed on table MDXXVII. 
 
 Panel, 29^ by 23L inches. 
 
 Exhibition of National Portraits, 1866, No. 157. 
 
 Royal Academy Winter Exhibitions, 1870, No. 121; 1881, No. 194; and 
 1896, No. 138. 
 
 Tudor Exhibition, 1890, No. 94. 
 
Pictures 
 
 95 
 
 A portrait of Sir Thomas More by Holbein was in the possession of Lord 
 Lumley in 1590, and was sold from Lumley Castle in 1785 to Mr. Hay of Savile 
 Row. 
 
 This is the original from which so many copies have been made. The 
 study for the head is in the Royal Collection at Windsor, and the position 
 corresponds with the figure in the sketch at Basel representing the family of 
 More. 
 
 By Hans Holbein. Lent by Mr. Edward Huth. 
 
 Henry Howard, Earl of Surrey. 
 
 Whole length, represented as standing, facing the spectator, in an archway, 
 which forms the centre of a decorative architectural composition; dark hair; red 
 moustache and beard in two tufts on chin; black cap trimmed with gold and 
 silver tags and white plume; dark cloak lined with brown fur over brown doublet 
 and trunks embroidered with large pattern in white; white hose and slashed 
 shoes; Garter round left leg; collar and George of unusual form — the figure of 
 the Saint being represented on a heater-shaped shield surrounded by jewels; 
 dagger and sword with gold mounts, set with antique heads in silver; his right 
 elbow rests on the broken shaft of a fluted red marble column; the hand holds 
 white gloves; his left hand on his hip; the base of the pillar inscribed “SAT 
 SVPEREST”; the architrave of the arch, “ANNO DNI 1546 AiTATIS SVE 29”; dark 
 blue sky background ; between the legs is seen a ruined wall overgrown by weeds. 
 
 The architectural framework of which this portrait forms the centre is (with 
 the exception of the shields) executed in stone-coloured grisaille against a ground 
 simulating porphyry; at the bottom on either side are consoles, consisting of 
 grotesque masks and bucrania, sustaining a cornice upon which stand, to left, a 
 male figure supporting the arms of Brotherton — England, a label of three points 
 for difference; to right, a female figure, holding a shield, with the arms of 
 England and France, quarterly within a bordure argent; above is a sort of 
 podium supporting two urns and two pairs of amorini ; an amorino perched on 
 the moulding at either side holds the ends of two swags falling from the top of 
 the arch, at the summit of which are two other amorini supporting a golden H. 
 
 Canvas, 86 by 85 inches. 
 
 This picture was purchased in 1720 at the sale of the Arundel Collection at 
 Stafford House for Sir Robert Walpole, who made a present of it to Edward, 
 Duke of Norfolk. A duplicate version, showing the figure only, is at Knole, 
 and is regarded by some authorities as the original. 
 
 Henry Howard, Earl of Surrey, born about 1517, was eldest son of Thomas 
 Howard, 3rd Duke of Norfolk (see No. 49) by Elizabeth, daughter of Edward 
 Stafford, Duke of Buckingham (see No. 55). He was noted in youth for his 
 
9 6 
 
 Early English Portraiture 
 
 literary accomplishments, and was chosen by Henry VIII to be companion to 
 the King’s son, the Duke of Richmond, at Windsor Castle. In February, 1 531-2, 
 he married Frances, daughter of John Vere, Earl of Oxford. He accompanied 
 the King and the Duke of Richmond to France in 1532. He was a conspicuous 
 figure at Court, though he was much implicated in the intrigues of his father, the 
 Duke of Norfolk, and was considered by some to be a “ foolish proud boy.” In 
 1543 he served with distinction in France, and in 1545 was appointed commander 
 of Boulogne. At the time of Henry VIII’s last illness, Surrey was involved with 
 his father in the intrigues about the succession and the protectorship of the 
 young Prince Edward. Charges of a rather vague nature were brought against 
 him, though he denied any treasonable intention. He was found guilty, however, 
 and beheaded on Tower Hill on 21st January, 1546-7. His repute as a poet has 
 been well maintained. 
 
 “ Archaeologia,” xxxix, pp. 42 and 50. 
 
 Arundel Club Publications, 1907, No. 3. 
 
 Tudor Exhibition, 1890, No. 51. 
 
 Attributed to GwiLLIM STRETES, who, in 1551, was paid by the Privy 
 Council for one of three great tables, being a picture of the late Earl of Surrey 
 attainted, which by the Council’s commandment had been fetched from the said 
 Gwillim’s house. There is nothing, however, to identify the portrait thus 
 mentioned with that described above. It would appear, on the contrary, to be a 
 pasticcio , the portrait based upon an original possibly by the painter of the Knole 
 and Hampton Court pictures, the decorative surroundings designed by an artist 
 of the Florentine Manneristic School, possibly one of those, such as Niccolo dell’ 
 Abbate, who worked at Fontainebleau. 
 
 Lent by the Duke of Norfolk, E.M . , K.G. 
 
 55 Edward Stafford, 3RD Duke of Buckingham, K.G. 
 
 Half length, three-quarters to left; brown beard and moustache; large black 
 cap with gold medallion; black fur-lined gown over cloth of gold jerkin cut low 
 on breast showing white shirt; collar and George of the Order of the Garter; 
 with his right hand he appears to be drawing a knife (?) from a sheath held by 
 his left on a ledge before him ; green background. 
 
 Panel, 22f by 18 inches. 
 
 Son of Henry Stafford, 2nd Duke; born 1478; attached to the Court of 
 Henry VIII, whom he attended at Gravelines 1520; executed in the following 
 year on charges of high treason. 
 
 A similar portrait is in the collection of the Marquess of Bath at Longleat. 
 
 Exhibition of National Portraits, 18 66, No. 71. 
 
 Lent by the Earl of Loudoun. 
 
Pictures 
 
 97 
 
 56 Sir Anthony Wingfield, K.G. 
 
 Three-quarters length, standing, slightly to left, looking at the spectator; 
 white hair and long forked beard; black fur gown over black satin doublet; 
 collar and George of the Order of the Garter; his left hand in his girdle, his 
 right grasps a white wand. On the forefinger of his right hand is a ring with 
 coat of arms (quarterly, first and fourth grand quarters argent a bend gules; 
 second grand quarter, quarterly, first and third, paly of gules and argent; second 
 and fourth, chequy of or and azure; third grand quarter, quarterly of sable and 
 or. These arms, represented as though on a seal, are reversed. There appear 
 to be traces on the bends in the first and fourth quarters of the three pairs 
 of wings conjoined in lure argent, borne by the Wingfield family) on the bezel. 
 Architectural background, to left a pedestal, to right a fluted red marble column, 
 in the middle a dark panel against which the head is relieved. 
 
 Panel, 34 by 27! inches. 
 
 Sir Anthony Wingfield, son of Sir John Wingfield, of Letheringham in 
 Suffolk, was knighted for his military services in France in 1513. He attended 
 Henry VIII to the Field of the Cloth of Gold, and at the King’s meetings 
 with Charles V. At the dissolution of the monasteries he obtained large grants 
 of land in Suffolk. In 1539 he was appointed vice-chamberlain and a member of 
 the Privy Council, and in 1 541 he was made K.G. He was also Captain of the 
 Guard, and arrested in that capacity Thomas Cromwell and the Earl of Surrey. 
 He retained office under Edward VI, and arrested Bishop Gardiner and the Duke 
 of Somerset. He was then appointed to be Comptroller of the Household. He 
 died at Bethnal Green in 1552. 
 
 This portrait was formerly in the collection of the Rev. John Longe, of 
 Sternfield Rectory, Saxmundham. A simila r portrait, in the collection of Viscount 
 Powerscourt, was exhibited in the Tudor Exhibition, 1890, No. 66. 
 
 Attributed to Holbein, but shows affinities with the Northern Italian 
 school; possibly a work of Girolamo Pennacchi da Treviso. 
 
 Lent by Mr. T. Humphry Ward. 
 
 57 Sir Peter Carew. 
 
 Three-quarters length, standing, facing the spectator, the head turned three- 
 quarters to left; dark hair; brown moustache and flowing beard; black cap, 
 trimmed with gold, and plume; narrow white pleated collar and cuffs embroidered 
 with black; black damask dress tied with golden points; gold jewel suspended 
 by black ribbon round neck; his right hand gloved, at waist, holds glove, his left 
 rests on the golden hilt of his sword ; warm gray background ; inscribed : “ AN 
 1549 35 ” 
 
 Panel, 41 by 32^ inches. 
 
 Sir Peter Carew was born in 1514; he began his career as a page in France; 
 
9 8 
 
 Early English Portraiture 
 
 travelled widely, mainly in the character of a soldier of fortune, in Italy, 1525, in 
 the service of Philibert, Prince of Orange, 1525-30011 Italy and Turkey, 1540; 
 he was Sheriff of Devonshire, 1546, and was active in repressing the Devonshire 
 rising, 1549; an opponent of the marriage of Philip and Mary; in the latter 
 years of his life much engaged in affairs in Ireland; died 1575. 
 
 This portrait has long been known as that of Sir Nicholas Carew, to whose 
 features as seen in the picture by Holbein in the collection of the Duke of 
 Buccleuch (No. 45 in the present Exhibition) it bears no sort of resemblance. 
 On the other hand, it is extremely like the portrait of Sir Peter Carew in the 
 Royal Collection at Hampton Court, and the age, as given in the inscription 
 corresponds with his at the date of the picture. 
 
 Exhibition of Art Treasures, Manchester, 1857, No. 502. 
 
 Exhibition of National Portraits, 1866, No. 162. 
 
 Seems to show combined Italian and French influence, possibly by a painter 
 of the School of Fontainebleau. 
 
 Lent by the Earl of Yarborough. 
 
 58 Edward Seymour, Duke of Somerset. 
 
 Half length, three-quarters to right, looking at spectator; red moustache and 
 flowing beard; broad-brimmed black cap, trimmed and edged with gold cord 
 and jewel under brim; white falling collar; black dress; his right hand before 
 
 ac 
 
 him holds folded paper inscribed C ][ J) ; dark background. 
 
 154-8 
 
 Panel, 25 by 19^ inches. 
 
 Sir Edward Seymour, brother of Jane Seymour, third wife of Henry VIII, 
 was thus uncle to Edward VI. He was created Viscount Beauchamp, 1536, 
 Earl of Hertford, 1537, and K.G., 1541. He was Lord High Admiral, 1542, and 
 Lord Great Chamberlain, 1543. Lieutenant-General of the army in France, 1546. 
 On the accession of Edward VI, he was named Lord Protector to his nephew, 
 and created Duke of Somerset. He governed the country with high principles, 
 and especially favoured the Protestant Revolution. He excited, however, the 
 jealousy of his enemies, and lost the King’s favour, and was finally condemned 
 for an imaginary plot, and beheaded on Tower Hill. 
 
 The portrait has the appearance of being by an Italian painter, probably one 
 of those who were invited to England by Henry VIII, and remained there after 
 his death. 
 
 Lent by Sir Edmund Verney, Bart. 
 
Pictures 
 
 99 
 
 59 Thomas Wriothesley, ist Earl of Southampton, K.G. 
 
 Halflength, slightly to left, looking at the spectator; brown hair, cut straight 
 on neck, moustache and full beard ; black flat cap ; black gown lined with brown 
 fur over black dress; the thumb of his right hand (on the first finger of which is 
 a signet-ring with arms or merchant’s mark on bezel) tucked into his girdle, his 
 left hand before him holds brown gloves; mottled brown background; inscribed: 
 “AN 0 yETATIS SV.E 5 I. I 545.” 
 
 Panel, 24 by 18 inches. 
 
 Thomas Wriothesley, Lord Chancellor, was born 1494; was appointed, in 
 1537, coroner and attorney in the Court of Common Pleas and, in 1538, one of 
 the King’s secretaries, and was knighted. Though attached to the principles of 
 the old religion, Wriothesley became a favourite with Henry VIII, and was 
 employed on several missions. In 1544 he was created Baron Wriothesley of 
 Titchfield, Hants. The same year he succeeded Lord Audley as Lord Chancellor, 
 and shortly afterwards was elected K.G. By the will of Henry VIII, Wriothesley 
 became one of his executors, and a member of the Council of Edward VI, three 
 days after whose coronation he was elevated to the Earldom of Southampton. 
 Having placed the Great Seal into commission without the consent of the King, 
 he was accused of an illegal act, and, in spite of his able defence, was deprived 
 of his office, March 6th, 1547, and heavily fined. He died 1550. 
 
 Probably by a painter of the Northern German School, such as one of the 
 Van Cleef family (?). 
 
 Tudor Exhibition, 1890, No. 77. 
 
 Lent by the heirs of the late Major-General Sotheby. 
 
 60 King Edward VI. 
 
 Half length, in profile, to left; boyish face; close cropped golden hair; 
 black cap with white plume; purple gown, lined with white fur, over pale pink 
 doublet, open, showing white shirt at breast; both hands before him, his right, 
 raised, holding a rose, his left, gloves; greenish blue background. 
 
 Panel, 18 by 1 2\ inches. 
 
 A similar picture is in the National Portrait Gallery, and another in the 
 Victoria and Albert Museum. They are based upon the drawing by Holbein in 
 the Royal Collection at Windsor Castle. 
 
 Lent by the Lord Sackville. 
 
1 oo 
 
 Early English Portraiture 
 
 61 Thomas Seymour, Lord Seymour of Sudeley, K.G. 
 
 Half length, slightly to left, looking at the spectator; gray hair, long reddish 
 brown beard and moustache; black cap with medallion and plume; white falling 
 collar, and cuffs; black dress; collar of the Order of the Garter; both hands, his 
 left holding gloves, before him; dark brown background, shield of arms (quarterly, 
 first, on a pile between six fleurs-de-lis three lions of England; second, two 
 wings conjoined in lure, the tips downwards; third, vair; fourth, three lions 
 rampant, two and one; surrounded by the Garter and ensigned with a ducal 
 coronet) above to left. 
 
 Panel, 14J by io| inches (segmental top). 
 
 Thomas Seymour, born about 1508, younger brother of Edward Seymour, 
 Duke of Somerset, and of Queen Jane Seymour, was a conspicuous personage 
 at the Court of King Henry VIII. He was Lord High Admiral in 1547, and 
 a Knight of the Garter. After the death of the King he married the widowed 
 Queen Catherine Parr, and after her death aspired to marry the Princess Eliza- 
 beth ; restless and intriguing, he was impeached, found guilty of high treason, 
 and beheaded in 1549. 
 
 Lent by Mr. H. Dent-Brocklehurst. 
 
 62 Edward VI, as a Child. 
 
 Half length, slightly to left, the head, turned towards the spectator, seen 
 beyond a parapet covered with olive-green drapery; childish face; scant fair hair 
 cut in straight line on forehead; scarlet cap trimmed with gold, and white plume, 
 over similar coif lined with white; square-cut scarlet gown piped with gold, cloth 
 of gold undersleeves; white shirt showing at throat and wrists; his right hand 
 spread open and raised, his left, holding golden rattle, rests on the parapet before 
 him; light turquoise-blue background; on a white tablet affixed to the front of 
 the parapet is the inscription : 
 
 PARVVLE PATRISSA, PATRI.E VIRTVTIS ET HAiRES 
 ESTO, NIHIL MAIVS MAXIMVS ORBIS HABET. 
 
 GnATVM VIX POSSVNT COELVM ET NATVRA DEDISSE, 
 
 HVIVS QVEM PATRIS, VICTVS HONORET HONOS. 
 
 TEqvato tantvm, tanti tv facta parentis, 
 
 VOTA HOMINVM, VIX QVO PROGREDIANTVR, HABENT 
 
 VlNCITO, VICISTI, QVOT REGES PRISCVS ADORAT 
 ORBIS, NEC TE QVI VINCERE POSSIT, ERIT. 
 
 Ricard. Morjs. Car. 
 
 Panel, 22\ by i6f inches. 
 
Pictures 
 
 101 
 
 The verses were written by Sir Richard Morysin, poet and diplomatist. 
 Another portrait by Holbein, very similar to this, with verses by Sir Richard 
 Morysin, is in the collection of the Duke of Northumberland at Syon House. 
 
 Art Treasures Exhibition, Manchester, 1857, No. 55. 
 
 Exhibition of National Portraits, 1866, No. 176. 
 
 Royal Academy Winter Exhibition, 1875, No. 179. 
 
 Tudor Exhibition, 1890, No. 174. 
 
 Ascribed to Holbein; most probably an old and careful copy after the 
 original by that master in the gallery at Hanover. 
 
 Lent by the Earl of Yarborough. 
 
 63 King Edward VI. 
 
 Bust slightly to left, looking at the spectator; fair hair; black cap trimmed 
 with jewels; narrow white, pleated collar, embroidered with black; dark gray 
 dress trimmed with gold cord and jewels; warm gray background; inscribed: 
 “EDWARDVS DEI GRATIA SEXTVS REX ANGLIE FRANCIE ET HIBERNIE ETC 
 /ETATIS SVAE XIII AN 0 DOMINE MDL SEPTEMBRIS XXIX.” 
 
 Panel, I9f by i 6 h inches. 
 
 Formerly in the possession of the Cokayne family at Rushton Hall, North- 
 amptonshire. Acquired by the first Lord Aldenham in 1884. 
 
 Royal Academy Winter Exhibition, 1886, No. 183. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 60. 
 
 Attributed to GUILLIM STRETES. Lent by the Lord Aldenham. 
 
 64 Margaret Wyat, Lady Lee (?). 
 
 Three-quarters length, three-quarters to left; reddish gold hair; black and 
 white French hood trimmed with pearls; white collar and ruffles; reddish brown 
 damask gown, sleeves puffed and tied with golden points; rose-coloured 
 petticoat; gold chain round neck; red rose at breast; both hands, clasped 
 together before her, hold golden medallion; green background; inscribed: 
 “ ETATIS SVA) 34.” 
 
 Panel, 16^ by 12^ inches. 
 
 Royal Academy Winter Exhibition, 1907, No. 13. 
 
 An enlarged version of this portrait, painted on canvas, is in the possession 
 of Viscount Dillon at Ditchley, Oxfordshire (“ Catalogue of Pictures at Ditchley,” 
 1908, No. 32, where the identification of the subject with Margaret, daughter of 
 Sir Henry Wyat, and wife of Sir Anthony Lee, by whom she was mother of Sir 
 Henry Lee, K.G., is suggested). 
 
 By Hans Holbein. Lent by Major Charles Palmer. 
 
 P 
 
102 
 
 Early English Portraiture 
 
 65 Unknown Lady. 
 
 Half length, three-quarters to left; dark hair; black French hood trimmed 
 with gold; white collar and cuffs embroidered with black; black gown with dark 
 gray undersleeves; gold chain and tippet of sable-skins round neck; both hands 
 before her, the left supporting the right, which holds gray glove with russet 
 gauntlet; gray background. 
 
 Panel, 1 if by 8f inches. 
 
 Attributed to Hans Holbein. Lent by Mr. P. T, Davies Cooke. 
 
 66 Unknown Lady. 
 
 Half length, seated three-quarters to the left on a wooden seat with panelled 
 back; fair hair parted in the middle; black diamond-shaped hood lined with 
 white, edged with jewels, and with medallion representing a female head over 
 left ear; square-cut purplish-brown dress, edged with carnation colour; deep 
 black cuffs at elbows; crimson undersleeves; white ruffles embroidered with 
 black; both hands, clasped together, in her lap; greenish-blue background. 
 Signed “ H. H.” (on back of seat, to the right). 
 
 Panel, I2f by 9! inches. 
 
 By Hans Holbein. Lent by the Marquess of Zetland. 
 
 67 Edward Grimston. 
 
 Half length, slightly to right, looking at the spectator; clean-shaven face; 
 large black turban-shaped head-dress, with one long end brought over his left 
 shoulder; warm green sleeveless gown, over red doublet, open, showing white 
 shirt at breast; his right hand, before him, holds silver collar of S.S. ; the 
 background represents the interior of a room, with greenish walls and boarded 
 ceiling supported by beams; circular lattice window in wall to right; behind the 
 figure wainscot, upon which appears twice a shield of arms (argent on a fess 
 sable three spur rowels of six points pierced or, a sable spot for difference). 
 
 Panel, I2f by 9f inches. 
 
 On the back of the panel, which is painted green, the same coat of arms is 
 repeated, with a badge representing a heart transfixed by the escapement of a 
 clock, and the inscription : ,£n 1110 fCClt a im6. 
 
 Edward Grimston was employed upon various diplomatic missions under 
 King Henry VI. It was probably at Brussels, where he appears to have been 
 engaged upon one of these embassies in 1446, that the present portrait was 
 
Pictures 
 
 io 3 
 
 painted. In 1449 he was one of five ambassadors sent to Calais, to “commune, 
 treat, appoint and conclude with the Commissaries of the Duchesses of Bour- 
 goigne ” in matters connected with commercial treaties. He was one of those for 
 whose removal from the King’s presence the Commons petitioned after the 
 murder of William de la Pole, Duke of Suffolk, in 1450. He died in 1478. 
 
 “ Stands alone in English portraiture, being a solitary instance, for the 
 fifteenth century, of a picture having the date, the names of the painter, and 
 the persons represented equally well defined .” — Scharf 
 
 “ Archaeologia,” xl, p. 451, where is a very full account of Grimston and the 
 present portrait by W. J. Thoms, A. W. Franks, and G. Scharf. 
 
 Exhibition of National Portraits, 1866, No. 17. 
 
 Burlington Fine Arts Club, Exhibition of Pictures of the Netherlandish 
 School, 1892, No. 12. 
 
 Guildhall Exhibition, 1906, No. 25. 
 
 By Petrus CRISTUS. Lent bv the Earl of Verulam. 
 
 68 King Edward VI. 
 
 Whole length, standing slightly to left, on dark blue carpet; fair hair; dull 
 crimson cap, trimmed with gold, and plume; dull crimson gown, doublet and 
 trunks trimmed with gold cord and jewels; light gray hose; brown slashed 
 shoes; Garter round left leg; his right hand at his side holds fold of his gown, 
 his left his sword belt; turquoise blue background inscribed: “ EDWARDVS 
 SEXTVS DEV [sic] GRATIA ANGLIE REX CATHOLICE FIDEI DEFENSOR.” 
 
 Panel, i6f by 9f inches. 
 
 Catalogue of Pictures in the possession of the Duke of Portland 1894, 
 No. 121. 
 
 Exhibition of Art Treasures, Manchester, 1857, No. 56. 
 
 Loan Exhibition, South Kensington, 1862, No. 2574. 
 
 Tudor Exhibition, 1890, No. 180. 
 
 Lent by the Duke of Portland, K.G. 
 
 69 Mary Tudor, Sister of King Henry VIII, and Wife of (i) 
 Louis XII, King of France, (2) Charles Brandon, 
 Duke of Suffolk (?). 
 
 Half length, facing the spectator, the head turned slightly to left; fair hair 
 parted in the middle; jewelled bandeau; square-cut cloth of gold dress, the 
 sleeves slashed and pulled with white and trimmed with jewels; pearl necklace 
 and collar of order, having bunches of short gold cords at intervals, with pendant 
 
104 
 
 Early English P ortraiture 
 
 of same design; both hands hold silver covered box before her; green damask 
 curtain background. 
 
 Panel, i6i by \2\ inches (arched top). 
 
 Whether or not this picture represents Mary Tudor may admit of some 
 dispute. It rather resembles a princess of the House of Hapsburg. It is treated 
 in a somewhat idealized manner; doubtless it was intended to represent the lady 
 under the semblance of the Magdalen, as she holds in her hands a vase or pot, 
 the usual emblem of the saint. 
 
 This seems the work of JEHAN PERREAL (Jehan de Paris), court painter to 
 Louis XII. He was working 1483-1528, and in 1514 was sent to England by 
 Louis XII to design the dresses for Mary Tudor’s approaching marriage. A 
 contemporary MS. list of these dresses is in the possession of Mr. Max Rosen- 
 heim, F.S.A. 
 
 Formerly in the collection of Mr. Hollingworth Magniac of Colworth. 
 
 Lent by Mr. George Salting. 
 
 70 George Nevill, 3RD Lord Abergavenny. 
 
 Bust, three-quarters to right; aged, clean-shaven face; black cap; fur scarf 
 and fur-lined gown over doublet; inscribed: “LORD CROMWELL HOLBEIN.” 
 
 Coloured chalks reinforced with pen and ink on pale pink-tinted paper, 
 iof by oi inches. 
 
 The original drawing upon which the miniature by Holbein in the collection 
 of the Duke of Buccleuch (included in the present Exhibition, Case C, No. 22) 
 and a panel picture, dated 1524, in the possession of the Marquess of Abergavenny 
 are founded. 
 
 Tudor Exhibition, 1890, No. 1414. 
 
 By Hans Holbein. Lent by the Earl of Pembroke and 
 
 Montgomery , G.C.V.O. 
 
 71 An Unknown Man. 
 
 Half length, three-quarters to right; clean-shaven face, curling hair falling to 
 neck; high crown skull cap; gown over doublet; his left hand held before him; 
 inscribed above, to right: “PH 1543.” 
 
 Metal point on prepared white paper, 5-/^- by 3^ inches. 
 
 Burlington Fine Arts Club, Exhibition of Portrait Miniatures, 1889, Case 
 XXXIX, No. 2. 
 
 Lent by Mrs. Locker Lampson. 
 
Drawings and Sculpture 
 
 io 5 
 
 72 An English Lady (supposed to be Margaret Roper, daugh- 
 ter of Sir Thomas More). 
 
 Bust, slightly to left, the head turned three-quarters to left; fair hair; large 
 cap over white coif; square-cut gown over high-necked bodice. 
 
 Coloured chalks reinforced with pen and ink upon pale pink-tinted paper, 
 icdj- by 7f inches. 
 
 From the collections of Jonathan Richardson the Elder, the Marquess of 
 Stafford, and Lord Ronald Sutherland Gower. 
 
 Publications of the Vasari Society, Part I, No. 31. 
 
 By Hans Holbein. Lent by Mr. George Salting. 
 
 73 John Yonge. 
 
 Mask with closed eyes; aged, clean-shaven face; dark hair falling to neck; 
 red cap. 
 
 Plaster cast painted to imitate nature; height 11^ inches, width 9 inches. 
 
 This cast was formerly in the possession of George Smalridge, Bishop of 
 Bristol (b. 1663, cl. 1719), and passed from his family to that of John Wainwright, 
 Baron of the Exchequer in Ireland, who in 1732 presented it to Mrs. Clayton, 
 afterwards Viscountess Sundon. After the death of Lord Sundon in 1752 the 
 cast passed by inheritance into the possession of Mr. Richard Peachey, ancestor 
 of the present owner. 
 
 It was for many years supposed to be a portrait of King Henry VII, but a 
 comparison with the portrait on the tomb of Torrigiano in Westminster Abbey 
 is sufficient to show that this is not the case. 
 
 The head was exhibited at the Society of Antiquaries in 1901, when it was 
 conjectured that it might be a cast from the effigy of Sir Thomas Lovell, K.G., 
 who built a chapel and erected a tomb for his own sepulture in the nunnery of 
 Holywell in Shoreditch, where he was buried in June, 1526. 
 
 It seems clear, however, that it is a contemporary model for, or copy from, 
 the head of the effigy, of painted terra-cotta, on the monument of Dr. John 
 Yonge, executed in 1516 by Piero Torrigiano, and placed in the Rolls Chapel, 
 now the Museum of the Record Office, with which it appears in every respect 
 to correspond. 
 
 John Yonge, born in 1463, was employed in various diplomatic missions 
 under King Henry VII. He was made Master of the Rolls in 1508, and was 
 preferred to the Deanery of York in 1514. He died in 1516. 
 
 Proceedings of the Society of Antiquaries, 1901, xviii, p. 280. 
 
 Tudor Exhibition, 1890, No. 881. 
 
 By Piero Torrigiano. Lent by Mr. Alfred Peachey. 
 
io6 
 
 Early English Portraiture 
 
 74 King Henry VII. 
 
 Aged, clean-shaven face ; hair falling to neck ; cap ; gown with deep collar 
 turned over; pendant in shape like the lower part of a pine cone suspended by- 
 cord round neck. Bronze bust, height 22 inches, width 20 inches. 
 
 Attributed to Piero Torrigiano. 
 
 Lent by the Victoria and Albert Museum. 
 
 75 Sir Gilbert Talbot. 
 
 Coloured terra-cotta bust. 
 
 Sir Gilbert Talbot, of Grafton, third son of John Talbot, second Earl of 
 Shrewsbury, commanded the right wing of Henry VII’s army at the battle of 
 Bosworth Field, and was knighted for his services on the field. 
 
 Lent by the Lord Edmund Talbot , M.P. 
 
CASE A.— MEDALS AND COINS 1 
 
 1 Margaret d’Anjou, Wife of Henry VI, about 1462. 
 
 Obverse: Legend : “ SAGAX . IMBVTA . FVLGET . VIRTVTIBVS . AVDIAS.” 
 Bust of the queen to right, wearing a closed crown. 
 
 Reverse: Legend: “ prvdentia . EST . svper . ONIA . virtvs.” Below: 
 “OPVS . PETRI . DE MEDIOLANO.” Prudence, represented as a female figure 
 holding in her right hand a staff encircled by a snake, in her left a mirror. 
 
 Bronze gilt, cast, D. 85. 
 
 By Pietro da Milano. 
 
 The queen, having left England in 1462, stayed for some time at the court 
 of Ren£ d’Anjou, her father, whose medals by the same artist bear the dates 
 1461 and 1462. 
 
 2 John Kendal, 1480. 
 
 Obverse: Legend : “10 . KENDAL . RHODI . TVRCVPELLERIVS.” Bust of John 
 Kendal to right, in armour ; on his breast the cross of the Knights of St. John ; 
 bareheaded, with wavy, long hair. 
 
 Reverse: Legend: “ iR TEMPORE . OBSIDIONIS . TVRCHORVM . MCCCCLXXX.” 
 Arms of Kendal with a chief of the order of St. John. 
 
 Electrotype of a specimen in the British Museum, Bronze cast, D. 57. 
 
 This medal is evidently by an Italian, probably Florentine, artist, and its 
 obverse bears a distinct resemblance to the work of Niccolo Fiorentino. 
 
 John Kendal was “ Turcopolier,” or Colonel General of the Infantry of the 
 Order of St. John during the siege of Rhodes in 1480. He became Prior of the 
 English Hospitallers in London about 1491, and probably died in November, 1501. 
 
 3 William Schevez, Archbishop of St. Andrews, 1491. 
 
 Obverse: Legend: “ WILHELMVS + SCHEVEZ + SCI + ADREE + archieps.” 
 Bust of the archbishop to left, with plain cap and mantle. 
 
 Reverse: Legend : “ LEGATVS + natvs + & TOTIVS + regni + SCOTIE + 
 PRIMAS + 149(1). Coat of arms, behind the shield an archiepiscopal cross. 
 
 Electrotype of a specimen in the British Museum, Bronze cast, D. 80, the 
 
 1 The descriptive matter is largely derived from the Medallic Illustrations of British History ( 1 885). 
 The dimensions are stated in millimetres. 
 
io8 
 
 Early English Portraiture 
 
 [Case A 
 
 work of a great artist, Flemish or French, unequalled by any other northern 
 medal of the same period. 
 
 William Schevez, Archdeacon of St. Andrews, was made Archbishop of that 
 See in 1478, and greatly favoured by James III and James IV, who entrusted 
 him with important negotiations both at home and abroad ; he was a patron 
 of Art and formed an important collection of MSS. and books. He died at 
 St. Andrews in 1497. 
 
 4 Henry VIII, about 1524. 
 
 Obverse: Legend: “ henricvs . VIII . DEI . gra rex angl. franc . DOM. 
 HyB. ” Bust of Henry VIII to left, with beard and wavy, long hair; heavy 
 mantle; hat with drapery looped under the brim, showing a jewel. 
 
 Reverse: Legend across the field. Above: “ ODOR EIVS VT LIBANI.” Below: 
 “ DEFENSOR FIDEI.” A Tudor rose. 
 
 Silver, cast and chased, D. 33. 
 
 5 Henry VIII. Medallic Portrait, about 1542. 
 
 Obverse: No legend; bust of Henry VIII nearly full face; flat hat trimmed 
 with feathers and decorated with jewels under the brim; medal suspended by 
 ribbon from his neck ; over fur-trimmed mantle a jewelled chain. 
 
 No Reverse. 
 
 Cast from a specimen in the British Museum, lead, 101 by 87. There 
 are several varieties of this medallic portrait (see also No. 6), evidently after a 
 drawing or painting by HOLBEIN, and they were probably made in the Low 
 Countries in the second half of the sixteenth century. 
 
 6 H ENRY VIII, ABOUT 1 542 . 
 
 Obverse: Legend: “ HENRICVS VIII DE. [sic] GRATIA . ANGLIA [sic] REX.” 
 
 Bust of Henry VIII, nearly full face; flat hat trimmed with feathers; the 
 badge of the Garter suspended by a ribbon from his neck ; over fur-trimmed 
 mantle a jewelled chain. 
 
 No Reverse. 
 
 Bronze, cast and chased, D. 95. 
 
 7 Henry VIII, 1545. Supremacy of the Church. 
 
 Obverse: Legend in two circles divided into four parts by the Royal badges, 
 the Rose, Portcullis, Fleur-de-lis, and Harp, each crowned: “HENRICVS . OCTA . 
 
Case A] 
 
 Medals and Coins 
 
 109 
 
 ANGLIE . FRANCI . ET . IIIB . REX . FIDEI . DEFENSOR . ET . IN . TERR . ECCLE . 
 ANGLI . ET . HIBE . SVB . CHRIST . CAPVT . SVPREMVM ” (Henry VIII, King of 
 England, France, and Ireland, defender of the faith and under Christ the 
 supreme head on earth of the Church of England and Ireland). Bust of 
 Henry VIII to right, on his head a cap decorated with jewels, his robe ermined, 
 a collar of rubies over his shoulders. 
 
 Reverse: Inscriptions in Hebrew and Greek of the same import as the 
 legend on the obverse. Above, “ H. R.”; below, “ Londini 1545.” 
 
 Bronze, gilt, D. 54; a cast of the original medal, which was struck in gold 
 and silver. 
 
 8 Thomas Cromwell, 1538. 
 
 Obverse: Legend: “IMAGO D . THOMAS CRVMVELLI REG | SECRET | AN • 38.” 
 Bust of Cromwell to left, cap with flap covering the hair; gown trimmed 
 with fur. 
 
 Reverse: Armorial shield of Cromwell within the Garter. 
 
 Electrotype of a specimen in the British Museum, bronze, cast and chased, 
 D. 53; undoubtedly of contemporary workmanship. 
 
 The occurrence of the Garter on this medal proves it to have been made 
 subsequently to the 5th August, 1537, when Cromwell was elected a knight of 
 that Order; the absence of the title, Earl of Essex, dates it before 17th April, 
 1 5 39 1 ,n 1539 he was succeeded in the secretaryship by Sir Thomas Wriothesley, 
 so that it may be presumed that the medal was issued in 1538, and that the 
 figures 38 indicate the year of the century, and not the age of Cromwell. 
 
 9 Edward VI, 1547. Coronation. 
 
 Obverse: Legend in three circles divided into four parts by the Royal badges, 
 the Rose, Portcullis, Fleur-de-lis, and Harp, each crowned: “ EDWARDVS . VI . 
 D.G. ANG . FR . ET , HI . REX FIDEI . DEFENS . ET . IN . TERRIS . ANG . ET . HIB . 
 ECCLE . CAPVT . SVPREMVM . CORONATVS . EST . M.D.XLVI . XX . FEBRVA . ETATIS . 
 DECIMO.” Half-length figure of Edward VI to right, crowned, in armour, holding 
 sword and orb. 
 
 Reverse: Inscriptions in Hebrew and Greek of similar import to the legend 
 on the obverse; both not very correctly written. Above, the word Lambhith, 
 probably for Lambeth. 
 
 Electrotype of a specimen in the British Museum, gold, cast, D.6o. 
 
 IO 
 
 The same medal, modern cast, highly chased, to show the reverse. 
 
 Q 
 
I IO 
 
 Early English Portraiture 
 
 Case A 
 
 1 1 Edward VI, 1547- Coronation. 
 
 Obverse: Legend: “ SCVTVM . FIDEI . PROTEGET . EVM.” (The shield of the 
 faith will protect him.) Bust of Edward VI, to right, in armour, head bare, cross 
 suspended round his neck. 
 
 Reverse: Inscription across the field: “1547 . ANNO . DECIMO . ETATIS . 
 EIVS.” 
 
 Electrotype of a specimen in the British Museum; bronze, struck, D. 26. 
 
 12 Edward VI, about 1550. 
 
 Obverse: No legend. Bust of Edward VI, to right, cap with feather; under 
 quilted doublet with high upright collar, and open in front, the badge of the 
 Garter. 
 
 No Reverse. 
 
 Bronze, cast; oval, 86 by 73. 
 
 This medallion is probably the production of a contemporary foreign artist 
 working in England, and was a few years later used with some slight alterations 
 for a medal of Francis II of France (1559-1560), and again in 1561 for one of 
 Charles IX of France (Mazerolle, “ Les Medailleurs fran§ais,” No. 351). 
 
 13 Edward VI, about 1550. 
 
 Obverse: Legend engraved: “ EDVARD VS . V [sic] DEI . GRA . AN . REX.” 
 Bust of Edward VI, to left, cap with one feather, jewels on the band ; high collar 
 to dress, gloves in right hand ; large chain of beads with pendant on breast. 
 
 No Reverse. 
 
 Electrotype of a specimen in the British Museum; lead, cast probably from 
 another medallion, D. 76. 
 
 14 Sir John Cheke, 1555. 
 
 Obverse: Legend across the field :“ IOANNES CHECVS.” Bust of Sir John 
 Cheke, to right, draped in antique fashion; long beard, short hair. 
 
 No Reverse. 
 
 Bronze, cast, D. 54. Probably the work of Martino da Bergamo, whose only 
 other known medal, that of the lawyer Marco Benavides, of Padua, may have 
 been made about the same period. 
 
 Sir John Cheke, the celebrated English humanist and tutor of Edward VI, 
 received in 1554 a royal licence to travel abroad; after staying at Bale, 
 we find him in 1555 at the University of Padua, lecturing to Englishmen on 
 Demosthenes; he returned to England early in 1556, and died in 1557. 
 
Case A] 
 
 Medals and Coins 
 
 1 1 1 
 
 COINS 
 
 15 Henry VII. 
 
 Groat, struck 1504 at the Tower Mint. Mintmark: Cross crosslet. 
 
 16 Henry VII. 
 
 Similar to No. 1, but the Portrait slightly varied. 
 
 17 Henry VII. 
 
 Groat of same coinage, but different mintmark (a Pheon). 
 
 18 Henry VII. 
 
 Half groat, of same issue. Mintmark: fleur-de-lis; the French title omitted. 
 
 19, 20 Henry VIII. 
 
 Groats (2) of the coinage of 1509; both struck at the Tower Mint. Mint- 
 mark: Rose. 
 
 21 H ENRY VIII. 
 
 Half-Sovereign of the fourth or fifth coinage (1545-6); struck at the Tower 
 Mint. Mintmark: ®. 
 
 22 Henry VIII. 
 
 Testoon of the third (1543), fourth (1545), or fifth coinage, 1546; struck at 
 the Tower Mint. Mintmark: ®. 
 
 23 Edward VI. 
 
 Half-Sovereign of the second coinage, 1548-9; Tower Mint. Mintmark: 
 Arrow. 
 
 24 Edward VI. 
 
 Half-Sovereign of the second coinage, 1548-9; struck at the Royal Mint in 
 Southwark. Mintmark: Y. 
 
I I 2 
 
 Early English Portraiture 
 
 [Case A 
 
 25 Edward VI. 
 
 Testoon, of base silver, dated 1549; Tower Mint. Mintmark: Arrow. 
 
 26 Edward VI. 
 
 Shilling, of fine silver; third coinage, 1551; Tower Mint. Mintmark: Tun. 
 
 27 Edward VI. 
 
 Sovereign of the fourth coinage, 1552; Tower Mint. Mintmark: Tun. 
 
 No. 1. Lent by Mr. George Salting. 
 
 Nos. 2-18, 22-25. Lent by Mr. Max Rosenheim. 
 
 Nos. 19-21, 26-27. Lent by Mr. Henry Oppenheimer. 
 
 28 King Henry VIII. 
 
 Whole length, standing, facing the spectator, on an Ionic capital, the head 
 turned three-quarters to right; flat cap, trimmed with jewels and plume; fur- 
 lined gown reaching to the knees, over slashed and pulled doublet ; circular jewel 
 suspended round neck; his right hand, holding gloves, rests on his hip; his left 
 on a jewelled dagger, with large tassel, hanging at his left side. 
 
 Carving in buff hone-stone, 5f by 3 J inches. 
 
 “ It has evidently been painted, as traces of blue and crimson on the dress 
 still remain in some of the hollows.” — SCHARF. 
 
 Formerly in the collection of the Earl of Arundel, from whom it passed 
 to Lady Elizabeth Germaine, at whose sale, in 1770, it was bought by Horace 
 Walpole. “ Anecdotes of Painting in England,” s.v. Holbein. “ Description of 
 Strawberry Hill,” 1774, p. 63. In the Strawberry Hill sale, 1842, it was lot 52 
 on the twentieth day. 
 
 “ Archaeologia,” xxxix, p. 55. 
 
 Loan Exhibition, South Kensington, 1862, No. 2219. 
 
 Tudor Exhibition, 1890, No. 1074. 
 
 Monarchs of Great Britain Exhibition, 1901 -2, No. 342. 
 
 Founded on the Whitehall wall-painting by HOLBEIN. 
 
 Lent by Mr. H. Dent-Brocklehurst. 
 
 29 King Henry VIII. 
 
 Bust, slightly to right; close trimmed beard; flat cap over coif; fur gown 
 with standing collar, open over embroidered doublet ; watch suspended by chain 
 round neck. Medallion carved in boxwood. 
 
Case A] 
 
 Medals and Coins 
 
 1 1 3 
 
 Diameter, 3 inches. 
 
 Formerly in the possession of Horace Walpole. “Anecdotes of Painting in 
 England,” s.v. Holbein. “Description of Strawberry Hill,” 1774, p. 62. In the 
 Strawberry Hill sale, 1842, it was lot 47 on the twentieth day. 
 
 Loan Exhibition, South Kensington, 1862, No. 2220. 
 
 Tudor Exhibition, 1890, No. 1081. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 348. 
 
 Lent by Mr. H. Dent-Brocklehurst. 
 
CASE B.— MINIATURES 
 
 i King Henry VIII. 
 
 Head and shoulders only, facing the spectator; gray beard and moustache; 
 black cap trimmed with jewels, loops of pearls, and white plume; brown fur 
 gown over gray doublet embroidered with black; narrow white collar; gold chain 
 round neck ; blue background. 
 
 Water-colours. Diameter, i£ inch. 
 
 In contemporary turned ivory box. 
 
 Traditionally said to have been presented by the King himself to Queen 
 Anne of Cleves. Subsequently in the possession of the Barrett family, of Lee 
 Priory, Kent, from whom it passed about 1826 into the collection of Francis 
 Douce, who bequeathed it (1830) to Sir Samuel Rush Meyrick. 
 
 Williamson, “ Catalogue of the Collection of Miniatures the Property of 
 J. Pierpont Morgan,” 1906, vol. i, p. 4, No. 2. 
 
 Exhibition of Art Treasures, Manchester, 1857, No. 5 7. 
 
 By Hans Holbein. Lent by Mr. J. Pierpont Morgan. 
 
 2 Queen Jane Seymour. 
 
 Bust, three-quarters to left; cloth of gold diamond-shaped hood lined with 
 white, with heartsease pinned at left side; black veil hanging over shoulders; 
 square-cut black damask dress, with white border embroidered with gold and 
 black; narrow folded white scarf over shoulders; fine black chain and double 
 gold chain, from which is suspended jewel set with large pearis, round neck; 
 round brooch, apparently representing the Majesty, or Holy Trinity, on breast; 
 blue background, inscribed: “ A°N XXV ’’d 
 
 Water-colours. Diameter, i| inch. 
 
 Believed to have been in the possession of Horace Walpole, but cannot be 
 exactly identified in the “ Description of Strawberry Hill ” or the sale catalogue. 
 
 Said to have belonged originally to the Seymour family, and to have been 
 given by Charles, Duke of Somerset, to his granddaughter, Elizabeth Wyndham, 
 wife of the Right Hon. George Grenville, from whom it passed into the possession 
 
 1 It has been suggested by Scharf (“ Archaeologia,” xxxix, pp. 252, 254; xl, p. 81) that the form 
 of dating seen in this and some other portraits of this period, refers to the regnal years of King 
 Henry VIII. The inscription on a medal of Thomas Cromwell (see Case A, No. 8) shows that this 
 style was sometimes used for the year of the century. 
 
Case B] 
 
 Miniatures 
 
 JI 5 
 
 of the Duke of Buckingham. Subsequently in the collections of Mr. Sackville 
 Bale and Dr. Lumsden Propert. 
 
 “ Archaeologia,” xl, pp. 77, 81, and 88. 
 
 Loan Exhibition, South Kensington, 1862, No. 1935. 
 
 Exhibition of Portrait Miniatures, South Kensington, 1865, No. 1645. 
 
 Burlington Fine Arts Club, Exhibition of Portrait Miniatures, 1889, Case 
 XXXIV, No. 22 a . 
 
 Tudor Exhibition, 1890, No. 1118. 
 
 Closely resembles, excepting in the presence of the pendent jewel and the 
 inscription, the miniature in the collection of the Duke of Buccleuch, included 
 (Case C, No. 5) in the present Exhibition. 
 
 By Hans Holbein. Lent by Mr. Vernon Watney. 
 
 3 Mrs. Pemberton. 
 
 Half length, three-quarters to right; fair hair parted in the middle; white 
 cap over white coif; black gown, open, showing white underdress embroidered 
 with black at throat and wrists ; white folded scarf over shoulders ; red carnation 
 in bosom of dress; both hands, her left holding a green leaf, folded together 
 before her; slate-blue background, inscribed: “ANNO ETATIS SV^ 23.” 
 
 Water-colours; painted on the back of a playing-card, nine of diamonds. 
 Diameter, 2^ inches. 
 
 On the back is a coat of arms: quarterly, first and fourth argent on a chevron 
 between three pails sable hooped or, an estoile of the second ; second and third 
 three wy verns’ heads erect, langued and couped gules; dimidiated and impaling 
 argent, three talbots langued gules, collared or courant in pale; crest, a wyvern’s 
 head sable langued and couped gules. 
 
 In contemporary metal frame decorated with black and white enamel and 
 three drop pearls. 
 
 Formerly in the collection of Mr. C. H. T. Hawkins. 
 
 “Burlington Magazine,” 1904, V, p. 337. 
 
 Williamson, “ Catalogue of the Collection of Miniatures the Property of 
 J. Pierpont Morgan,” 1906, vol. i, p. 8, No. 4. 
 
 Exhibition of Portrait Miniatures, South Kensington, 1865, No. 2627. 
 
 By PIans Holbein. Lent by Mr. J. Pierpont Morgan. 
 
 4 Queen Anne of Cleves. 
 
 Bust, facing the spectator; golden hood-shaped headdress set with pearls, 
 with long gold tassel hanging at her left side; transparent veil covering the 
 forehead, turned up at either side; cloth of gold square-cut bodice edged with 
 
Early English Portraiture 
 
 [Case B 
 
 i 16 
 
 jewels over transparent bodice trimmed with lines of pearls in a nebuly design; 
 double gold chain round neck; rose-coloured sleeves; blue background. 
 
 Water-colours. Diameter, i| inch. 
 
 Set in a contemporary ivory case delicately turned and carved in the form 
 of a rose. 
 
 This miniature corresponds with the well-known portrait of the Queen by 
 Holbein in the Louvre. 
 
 In all probability the portrait painted by Holbein in July, 1539, at Dtiren in 
 Cleves, whither he had been dispatched for the purpose by King Henry VIII. 
 
 Formerly, along with the miniature of Henry VIII now in the collection of 
 Mr. J. Pierpont Morgan, (included in the present Exhibition, Case B, No. 1), in 
 the possession of the Barrett family at Lee Priory, Kent; offered for sale at 
 auction in 1757-8 but bought in; subsequently in the collection of Francis Douce, 
 by whom it was bequeathed, 1834, to Sir Samuel Rush Meyrick, from whose 
 heir it passed to Miss Davies, from whom it was acquired by the present owner. 
 
 “ Archaeologia,” xl, p. 77. 
 
 Exhibition of Art Treasures, Manchester, 1857, No. 58. 
 
 By Hans Holbein. Lent by Mr. George Salting. 
 
 5 Pair of Portraits of Little Girls. 
 
 (A) Three-quarters length, standing, facing the spectator; fair hair brushed 
 off the forehead; rust-red coif embroidered with black and gold, with peak in 
 front; circular pleated ruff; black dress with purple and black damask sleeves; 
 white cuffs; her right hand, at her waist, holds red carnation; her left, at her 
 side; blue background, inscribed: “ANO Dfil 1590 AETATIS SUAE 5.” 
 
 Water-colours. Oval, ij|- by inch. 
 
 (B) Three-quarters length, standing, facing the spectator; fair hair brushed 
 off the forehead ; rust-red coif embroidered with black and gold ; circular pleated 
 ruff; purple bodice trimmed with black; purple and black damask sleeves ; black 
 petticoat; her right hand, at her waist, holds apple; her left at her side; blue 
 background, inscribed: “ANO UNI 1590 AETATIS SUAE 4.” 
 
 Water-colours. Oval, ii|-by ij inch. 
 
 Enclosed in contemporary turned ivory case. 
 
 It is stated (Williamson, “ Catalogue of the collection of Miniatures the 
 Property of J. Pierpont Morgan,” 1906, vol. i, p. 20) that the present miniatures 
 had at one time attached to them “ a strip of parchment on which was recorded, 
 in handwriting undoubtedly contemporary, that the two little portraits were 
 ‘fynely ’ painted by Lavina Teerlinc in 1590 at Greenwich.” The present owner 
 has never seen this document. 
 
 Formerly in the collection of Mr. C. H. T. Hawkins. 
 
 By Levina Teerlinck. Lent by Mr. George Salting. 
 
Case B] 
 
 Miniatures 
 
 1 1 7 
 
 6 Queen Jane Seymour. 
 
 Bust, three-quarters to left; golden hair; cloth of gold diamond-shaped hood 
 trimmed with jewels, with black veil falling at the back; square-cut cloth of 
 gold dress with rose-coloured cuffs at elbows ; jewelled necklace ; tau-cross set with 
 sapphires on breast; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 Formerly in the possession of Horace Walpole. “ Description of Strawberry 
 Hill,” 1774, p. 83. In the Strawberry Hill sale, 1842, it was lot 67 on the 
 fourteenth day. 
 
 “ Archaeologia,” xl, p. 84. 
 
 Loan Exhibition, South Kensington, 1862, No. 2217. 
 
 Tudor Exhibition, 1890, No. 1079. 
 
 Monarchs of Great Britain Exhibition, 1901-2, No. 205. 
 
 By Hans Holbein. Lent by Mr. H. Dent-Brocklehurst. 
 
 7 Queen Katherine Parr (?). 
 
 Bust, three-quarters to left; fair hair; scarlet, black and white French 
 hood trimmed with jewels, with black veil hanging at the back; square cut cloth 
 of gold dress with deep black fur cuffs at elbows; pearl necklace with tau- 
 cross set with rubies; blue background ; inscribed: “ ANO XXXII.” 1 
 
 Water-colours, Diameter, if inch. 
 
 Formerly in the collection of Horace Walpole. “ Description of Strawberry 
 Hill,” 1774, p. 83. In the Strawberry Hill sale, 1842, it was lot 69 on the 
 fourteenth day. 
 
 “ Archaeologia,” xl, p. 84. 
 
 Loan Exhibition, South Kensington, 1862, No. 2218. 
 
 Tudor Exhibition, 1890, No. 1076. 
 
 Monarchs of Great Britain Exhibition, 1901 -2, No. 204. 
 
 By Hans Holbein. Lent by Mr. H. Dent-Brocklehurst. 
 
 1 For this form of dating see p. 1 1 4, footnote. 
 
 R 
 
1 18 
 
 Early English Portraiture 
 
 [Case C 
 
 CASE C 
 
 Lent by the Duke of Buccleuch and Queensberry , K.G., K.T. 
 
 1 Margaret Wotton, Marchioness of Dorset (?) (called 
 
 Queen Katherine of Arragon). 
 
 Bust, three-quarters to right; black diamond-shaped hood lined with white; 
 black and white square-cut dress edged with ermine; deep ermine cuffs at elbows; 
 strings of small black beads round neck ; both hands, grasping a gold-headed 
 staff and a bunch of flowers, before her; blue background. 
 
 Water-colours. Circular, i|- inch diameter. 
 
 Loan Exhibition, South Kensington, 1862, No. 2024 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 1. 
 
 For a similar portrait of the same personage see No. 14, p. 74. 
 
 The original drawing for this portrait is in the Royal Collection at Windsor 
 Castle. 
 
 By Hans Holbein. 
 
 2 King Henry VIII. 
 
 Bust, facing spectator; gray beard; black cap trimmed with white feathers 
 and pearls; sea-green gown embroidered with gold and lined with fur over cloth 
 of gold doublet slashed and pulled with white; right hand holds a round gold 
 box which is suspended by jewelled chain round neck; blue background. 
 
 Water-colours. Circular, 2§ inches diameter. 
 
 Royal Academy Winter Exhibition, 1879, F. 10. 
 
 By Hans Holbein. 
 
 3 King Henry VII (?). 
 
 Bust, facing the spectator, the head three-quarters to the right ; clean-shaven 
 face; flat black cap ornamented with jewels; dark fur-lined gown over cloth of 
 gold doublet, worked with a flaming brazier, cut low in the breast; gold chain 
 round neck ; both hands, clasped before him, hold bunch of pansies ; to left, a female 
 left arm, the hand resting on his heart; above this arm is the inscription, “A 
 CORDE COR TRAHO”; blue background, inscribed (apparently in later hand): 
 “ IIENRICUS VII ANGLIC ETC REX.” In a carved contemporary wooden frame, 
 inscribed, “ LE MAL VIENT DE NOUS.” 
 
 Water-colours. Circular, if inch diameter. 
 
Case C] 
 
 Miniatures 
 
 119 
 
 Formerly in the collection of King Charles I, and described in Vander- 
 doort’s catalogue: “ Item. Done upon the right light. Another King Henry VII, 
 when he was young, without a beard, holding in his hand some three little flowers, 
 called heart’s-ease, with a lady’s hand touching his heart; whereby written with 
 some golden letters, being in a round old turned box of wood, wherein another 
 round little carved frame is, in which the picture is set. Brought from Germany 
 and given to the King by the Lord Embassador, Sir Hen. Vane.” 
 
 The period assignable to the costume makes it quite impossible that it can 
 represent King Henry VII ; if a Tudor portrait, or even English at all, it would 
 appear rather to represent Prince Arthur. 
 
 “ Archaeologia,” xxxix, p. 271. 
 
 Exhibition of Art Treasures, Manchester, 1857, No. 7. 
 
 Loan Exhibition, South Kensington, 1862, No. 2018. 
 
 Royal Academy Winter Exhibition, 1879, F. ir. 
 
 A copy of this miniature is in the Royal Collection at Windsor Castle; a 
 replica, in the possession of Sir C. Wentworth Dilke, was exhibited at South 
 Kensington in 1865 (No. 2195). 
 
 French School (?). 
 
 4 Queen Catherine Howard. 
 
 Half length, three-quarters to left, French hood trimmed with pearls and 
 jewels, with black veil falling at the back; square-cut gray dress edged with 
 broad band of gold and jewels over white chemisette; deep fur cuffs at elbows; 
 double necklace of clusters of pearls, with pendent jewel round neck; both hands 
 folded together before her; blue background. 
 
 Water-colours. Circular, 2 inches diameter. 
 
 Formerly in the collection of the Earl of Arundel, then in that of Jonathan 
 Richardson the Younger (1694-1771), whose stamp of ownership it bears. 
 Subsequently in that of Horace Walpole, who mentions it (“ Description of Straw- 
 berry Hill,” 1774, p. 84) as “a lady painted by Holbein; engraved by Hollar 
 when in the Arundelian collection, and probably Mary Tudor, Queen of France, 
 sister of Henry VIII, but amongst the Illustrious Heads [of Houbraken] called 
 Catherine Howard.” At the Strawberry Hill Sale, 1842, it was lot 68 on the 
 fourteenth day. 
 
 “ Archaeologia,” xl, pp. 78 and 82. 
 
 Loan Exhibition, South Kensington, 1862, No. 2029 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 22. 
 
 A similar miniature is in the Royal collection at Windsor Castle. 
 
 By Hans Holbein. 
 
i 20 
 
 Early English Portraiture 
 
 [Case C 
 
 5 Queen Jane Seymour (called Queen Catherine of 
 
 Arragon). 
 
 Bust, three quarters to left; white diamond-shaped hood embroidered with 
 gold, with black veil falling at back; black square-cut dress edged with black 
 and gold embroidery on white; double gold chain and black chain round; neck 
 round jewel apparently representing the Majesty or Holy Trinity on breast; blue 
 background. 
 
 Water-colours. Circular, i 4 inch diameter. 
 
 This is the miniature formerly in the possession of Horace Walpole, 
 mentioned by him (“ Anecdotes of Painting,” s.v. Holbein, and “ Description 
 of Strawberry Hill,” 1774, p. 84) as having been bought by him from the 
 collection of Lady Isabella Scott, to whose father, James, Duke of Monmouth, 
 it had been given by his father, King Charles II. At the Strawberry Hill Sale, 
 1842, it was lot 65 on the fourteenth day, and was bought by Mr. W. Blamire, at 
 whose sale, in November, 1863, it passed into the Buccleuch Collection. Great 
 confusion has been introduced into the history of the miniatures of the queens of 
 King Henry VIII owing to a statement having been made current (Robinson, 
 “ Catalogue of the Colworth Collection ” ; “ Catalogue of the Exhibition of Portrait 
 Miniatures at South Kensington, 1865 ”), that the miniature of Catherine of 
 Arragon, formerly in the collection of Mr. Hollingworth Magniac, was that from 
 Strawberry Hill. This is an error. The present miniature is that from Horace 
 Walpole’s collection, which is known to have been bought by Mr. Blamire, and is 
 identified by a drawing made by Scharf at the time of the Blamire sale. 
 
 “ Archaeologia,” xl, pp. 74, 82. 
 
 Exhibition of Portrait Miniatures, South Kensington, 1865, No. 1590. 
 
 Royal Academy Winter Exhibition, 1879, F. 5. 
 
 By Hans Holbein. 
 
 6 King Henry VIII. 
 
 Bust, slightly to right, looking at the spectator; reddish-golden hair, close 
 cropped beard and moustache; black cap trimmed with jewels and plume; red 
 gown edged with gold, over gray jerkin embroidered with black, gold, and jewels, 
 and slashed and pulled with white; white shirt, the neckband embroidered with 
 gold; circular jewel suspended by chain round neck; blue background. 
 
 Water-colours. Circular, if inch. 
 
 “Archaeologia,” xxxix, p. 251. 
 
 Loan Exhibition, South Kensington, 1862, No. 2021 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 27. 
 
 This appears to be a copy of the small portrait by Holbein, belonging to 
 Earl Spencer. (See No. 38.) 
 
Case C] 
 
 Min iatures 
 
 I 2 I 
 
 7 King Henry VIII. 
 
 Bust, facing the spectator, the head turned slightly to right; clean-shaven 
 face; black cap with gold medallion; fur-lined gown over gray jerkin, embroidered 
 with black, cut low on the breast; gold chain round neck; blue background 
 inscribed “ H. R. VIII. ANO XXXV” 1 ; painted in a circle; in the surrounding 
 spandrels are four flying angels in gold camaieu , supporting the initials H. K. 
 on a scarlet ground. 
 
 Water colours. 2 by ijf inches. 
 
 In contemporary metal frame decorated with dark blue and white enamel. 
 
 Formerly in the possession of Mr. Hollingworth Magniac (Robinson, Cata- 
 logue of the Colworth Collection,” 1862, No. 193), and stated to have been pre- 
 viously in the collection of Horace Walpole, but cannot be identified either in 
 the “ Description of Strawberry Hill,” or the sale catalogue. 
 
 “ Archaeologia,” xxxix, p. 253. 
 
 Loan Exhibition, South Kensington, 1862, No. 2544. 
 
 Exhibition of Portrait Miniatures at South Kensington, 1865, No. 652. 
 
 A copy of this miniature is in the Royal Collection at Windsor Castle. 
 
 Possibly the work of an illuminator of the French School. 
 
 8 Eight Miniatures in an Ebony Frame. 
 
 Formerly in the collection of King Charles I, whose brand of ownership 
 it bears, and described in Vanderdoort’s catalogue: “In the first, and the least 
 Square Frame, about nine inches and a quarter broad eight inches and a half 
 high, wherein are set eight pictures of the King’s progenitors in their several 
 bignesses and shapes, and all of them as yet without crystal, whereof the pictures 
 are specified as follows”: 
 
 In 1842 this frame of miniatures is stated to have been in the possession of 
 the Duke of Richmond; about i860 it was brought for sale to Messrs. Colnaghi, 
 by a frame maker who declined to furnish particulars of its history, and secured 
 through them for the Buccleuch Collection. 
 
 (A) King Henry VII. 
 
 Bust, three-quarters to left, looking at the spectator; clean-shaven face; 
 gray hair; black cap with jewelled medallion; black fur-lined gown over scarlet 
 and gold dress; jewelled collar of saltires; blue background. 
 
 Water-colours. Diameter, 1^ inch. 
 
 “Done upon the right light, King Henry VII, supposed to be done in his 
 time, painted in a black cap, being in a red habit with some brown scarf about his 
 
 For form of dating see p. 114 , footnote. 
 
I 22 
 
 Early English Portraiture 
 
 [Case C 
 
 neck; painted upon a red grounded card. Given to the King by my Lord of 
 Suffolk.” 
 
 Loan Exhibition, South Kensington, 1862, No. 2019. 
 
 Royal Academy Winter Exhibition, 1879, F. 12. 
 
 (B) Queen Elizabeth of York. 
 
 Bust, three-quarters to left; black diamond-shaped hood trimmed with gold 
 and jewels; cloth of gold dress trimmed with ermine; pearl necklace with round 
 pendent jewel ; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 “ Done upon the wrong light, being the second picture, of King Henry VII’s 
 queen, in a black dressing, adorned with gold and pearls, in a golden habit 
 with white ermine; being copied by Hoskins after an ancient ould coloured 
 piece.” Appears, judging from Van Leemput’s copy, to correspond with the 
 portrait of this Queen in the wall-painting by Holbein at Whitehall. 
 
 Loan Exhibition, South Kensington, 1862, No. 2020. 
 
 Royal Academy Winter Exhibition, 1879, F. 17. 
 
 By John Hoskins. 
 
 (C) Queen Katherine of Arragon. 
 
 Bust, three-quarters to left; black and gold diamond-shaped hood lined with 
 white; square cut black and gold dress over white chemisette; pearl and gold 
 necklace; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 “ Item. The Third, done upon the right light, being the picture of King 
 Henry VI II’s first Queen Katherine being one of the house of Spain, and Queen 
 Mary of England’s mother, in a black dressing and habit, adorned with gold and 
 pearls. Given to the King by my Lord of Suffolk.” 
 
 Loan Exhibition, South Kensington, 1862, No. 2025 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 13. 
 
 (D) King Henry VIII. 
 
 Bust, facing the spectator; gray beard; black cap trimmed with loops of 
 jewels and plume; brown fur gown over cloth of gold doublet slashed and pulled 
 with white; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 “ Item. Done upon the right light, the fourth picture, being King 
 Henry VIII, flat and full-faced, in a black cap with a white feather, in a golden 
 habit and furred gown, and a very little falling band. Done by Hans Holbein, 
 given to the King by my Lord Suffolk.” 
 
Case C] 
 
 Miniatures 
 
 1 2 3 
 
 Loan Exhibition, South Kensington, 1862, No. 2022 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 15. 
 
 By Hans Holbein. 
 
 (E) Queen Anne Boleyn. 
 
 Bust, three-quarters to left, looking at spectator; fair hair; black French 
 hood trimmed with pearls; square cut black dress trimmed with gold and pearls; 
 gold chain and pearl necklace with pendent gold B round neck ; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 “Item. Done upon the wrong light, the fifth, being King Henry VI II’s 
 Second married Queen Ann of Bullen, in a black dressing adorned with pearls, 
 which was copied by Hoskin after an ould colured piece.’’ 
 
 “ Archaeologia,” xl, p. 82. 
 
 Loan Exhibition, South Kensington, 1862, No. 2028. 
 
 Royal Academy Winter Exhibition, 1879, F. 18. 
 
 By JOHN Hoskins, after a portrait now in the Royal Collection at Windsor 
 Castle. 
 
 (F) Queen Mary I. 
 
 Half length, slightly to left, looking at spectator; fair hair ; black and white 
 hood trimmed with pearls ; green and gold damask dress with standing collar and 
 fur cuffs at elbows ; pearl necklace with jewelled cross and large pendent jewel on 
 breast ; both hands, the right holding red roses, before her ; architectural and 
 rose-coloured curtain background. 
 
 Oil colours. Diameter, 2f inches. 
 
 “Item. Done upon the right light, the sixth, being King Henry VIII’s 
 daughter Queen Mary, done in oil-colurs, in a black and white head-dressing, 
 and gold and blew woven flowers tissue, and the sleeves lined with fur, holding 
 two red roses in her hand, and in her other hand a pair of gloves, with a carnation 
 curtain behind, and painted upon a round golden plate. Done by Ant. More, 
 given to the King by My Lord of Suffolke.” 
 
 Loan Exhibition, South Kensington, 1862, No. 2027. 
 
 Royal Academy Winter Exhibition, 1879, F. 14. 
 
 By ANTHONIS MOR. 
 
 (G) King Edward VI. 
 
 Bust, facing the spectator, the head turned slightly to right ; youthful face ; 
 black cap trimmed with gold, jewels and plume ; narrow white plaited collar ; 
 gray gown embroidered with gold, over black and gold dress ; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 “ Item. Done upon the right light, the seventh being King Edward VI 
 
Early English Portraiture 
 
 [Case C 
 
 i 24 
 
 meanly done in a black cap and habit, adorned with pearls and gold, upon a 
 round card. Given to the King by My Lord of Suffolk.” 
 
 Loan Exhibition, South Kensington, 1862, No. 2040 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 16. 
 
 (H) Queen Elizabeth. 
 
 Bust, three-quarters to right ; black hair with jewelled carcanet ; circular 
 lace ruff ; black dress trimmed with jewels and strings of pearls ; blue background. 
 
 “ Item. Done upon the wrong light, Being Oueen Elizabeth, upon an oval 
 card, in a laced ruff, in a black dressing and habit, very richly adorned with gold 
 and pearls, and a picture-box hanging at her right breast. Done by Old Hilliard, 
 bought by the King of the Young Hilliard.” 
 
 Water-colours. Oval, 2 by if inches. 
 
 Loan Exhibition, South Kensington, 1862, No. 2032 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 19. 
 
 By Nicholas Hilliard. 
 
 9 Unknown Lady. 
 
 Bust, three-quarters to left, looking at the spectator; black hair; black and 
 white French hood trimmed with jewels; black gown slashed and pulled with 
 white, with standing collar, over square-cut blue bodice, and white and gold 
 chemisette with narrow pleated ruff; pearl necklace, and gold chain with pendent 
 jewel on breast; blue background, inscribed: “ AETATIS SUAE XVIII . ANO DNT 
 1572.” 
 
 Water-colours. 2 by if inches. 
 
 Royal Academy Winter Exhibition, 1879, F. 3 (?). 
 
 10 Queen Elizabeth. 
 
 Bust, three-quarters to left; fair hair with jewelled carcanet; deep circular 
 plaited ruff; gray dress trimmed with many jewels; blue background, inscribed: 
 “. . . DNI . . .” 
 
 Water-colours. Oval, l T \ by i T V inch. 
 
 Loan Exhibition, South Kensington, 1862, No. 2033 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 4 (?). 
 
 By Nicholas Hilliard. 
 
 11 Swiss or German Lady (called Margaret Tudor). 
 
 Half length, nearly in profile, to right; white coif covering the forehead, the 
 hair gathered at the back into a red and gold net; black gown over red bodice 
 and white chemisette; both hands folded before her; blue background. 
 
Case C] 
 
 Miniatures 
 
 5 
 
 Water-colours. Diameter, 2ff inches. 
 
 The style of cap suggests a German lady; the features do not at all resemble 
 the wife of James IV of Scotland. 
 
 Unknown. 
 
 12 A Boy (called King Edward VI). 
 
 Bust, three-quarters to left; childish face, fair hair; broad-trimmed black 
 cap with gold and pearl medallion; square-cut black dress over white chemisette; 
 black cord with gold clasp round throat; blue background. 
 
 In contemporary metal frame decorated with dark blue and white enamel. 
 
 Water-colours. Oval, if by if inch. 
 
 Said to have been in the possession of Mr. Hollingworth Magniac, but 
 cannot be identified in the Colworth Catalogue. 
 
 Loan Exhibition, South Kensington, 1862, No. 2039 (?). 
 
 By Hans Holbein. 
 
 13 King Edward VI. 
 
 Bust, facing the spectator, the head turned slightly to right; youthful face; 
 black cap trimmed with gold, jewels and plume; narrow plaited collar; dark 
 gray gown embroidered with gold, over black and gold dress; blue background. 
 
 Water-colours. Oval, iff by iff inch. 
 
 Loan Exhibition, South Kensington, 1862, No. 2041 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 9 (?). 
 
 14 Unknown Lady (called Queen Elizabeth). 
 
 Half length, slightly to left; fair hair with jewelled carcanet; large circular 
 lace ruff; black dress with large sleeves, trimmed with gold and slashed and 
 pulled with white; blue background. 
 
 Water-colours. Oval, 2 ff by iff inches. 
 
 Set in a turned ivory box. 
 
 From the collection of King Charles I. Described in Vanderdoort’s catalogue. 
 
 “ Item done upon the right light. In a white ivory box without a crystal, a 
 certain lady’s picture in her hair, in a gold bonelace little ruff, and black habit 
 lined with white furr with goulden tissue sleeves with one hand over another, 
 supposed to have been Queen Elizabeth before she came to the crown. Done 
 by an unknown hand.” 
 
 Loan Exhibition, South Kensington, 1862, No. 2031. 
 
 Royal Academy Winter Exhibition, 1879, F. 23. 
 
 S 
 
126 
 
 Early English Portraiture 
 
 [Case C 
 
 15 Katherine of Arragon. 
 
 Half length, three-quarters to left; black and white diamond-shaped hood 
 edged with pearls; square-cut black and white dress trimmed with pearls, with 
 ermine sleeves; white chemisette; both hands before her, her right holding food 
 for a monkey which is seated on her left forearm ; blue background. 
 
 Water-colours. by 1 [f inch. 
 
 “ Archaeologia,” xl, p. 73. 
 
 Loan Exhibition, South Kensington, 1862, No. 2026 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 21. 
 
 Attributed to Hans Holbein. 
 
 16 Possibly Lady Arabella Stuart (called Queen Eliza- 
 
 beth). 
 
 Bust, slightly to left; in a fanciful Renaissance-Classic costume, mainly of 
 blue and gold; green mantle lined with orange; headdress of blue and gold with 
 white veil over shoulders ; dark gray background. Signed. 
 
 Water-colours. Oval, 2^ by i-fl inches. 
 
 Loan Exhibition, South Kensington, 1862, No. 2037. 
 
 Royal Academy Winter Exhibition, 1879, F. 24. 
 
 By Isaac Oliver. 
 
 17 Sir Thomas More. 
 
 Bust, three-quarters to right; close trimmed gray beard; black cap over 
 black coif ; black gown over black doublet, both lined with brown fur ; collar 
 of S.S. with rose pendant; dark background. 
 
 Oil colours, on a silver (?) plaque. Oval, iyV by 1^- inch. 
 
 “The Connoisseur,” 1907, xviii, p. 143. 
 
 Loan Exhibition, South Kensington, 1862, No. 2061. 
 
 Royal Academy Winter Exhibition, 1879, L. 4. 
 
 Possibly by Holbein, after the life-sized portrait in the possession of 
 Mr. Huth, No. 53 in the present exhibition. 
 
 18 Queen Elizabeth (?). 
 
 Bust, three-quarters to left, looking at spectator; fair hair, dressed with 
 jewels and sprig of honeysuckle; black and white square-cut dress, trimmed with 
 lace and jewels; deep pleated lace ruff and stomacher, to which are fixed a straw- 
 berry and a thistle; blue background. 
 
 Water-colours. Oval, 2 T 3 g by i^f inches. 
 
Case C] 
 
 Miniatures 
 
 1 27 
 
 Loan Exhibition, South Kensington, 1862, No. 2034 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 6 (?). 
 
 By Nicholas Hilliard. 
 
 19 King Edward VI. 
 
 Three-quarters length, standing in profile to left; black cap, trimmed with 
 gold, and white plume; purple gown, trimmed with gold and lined with ermine, 
 over scarlet doublet and trunks embroidered with gold ; his right hand, at his 
 waist, holds gloves, his left hangs by his side; blue background. 
 
 Water-colours. Diameter, if inch. 
 
 Loan Exhibition, South Kensington, 1862, No. 2042 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 30 (?). 
 
 20 Queen Elizabeth. 
 
 Bust, slightly to left, looking at spectator; fair curling hair, with carcanet of 
 jewels and lace; deep circular lace ruff; square cut white dress, trimmed with 
 gold and many strings of pearls; blue background. 
 
 Water-colours. Oval, 2 by if inches. 
 
 Loan Exhibition, South Kensington, 1862, No. 2035 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 6 (?). 
 
 By Nicholas Hilliard. 
 
 21 Queen Elizabeth. 
 
 Bust, slightly to right; aged face; fair curling hair; deep, white, pleated 
 ruff; small jewelled necklace; black dress; blue background. 
 
 Water-colours. Oval, if by if inch. 
 
 Loan Exhibition, South Kensington, 1862, No. 2036 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 7 (?). 
 
 22 George Nevill, 3RD Lord Abergavenny. 
 
 Bust, three-quarters to right; aged, clean-shaven face; white hair; black 
 cap with jewel ; black fur-lined gown, over black doublet open at throat, showing 
 white shirt; blue background. Inscribed: “ G. abergaveny.” 
 
 Water-colours, on playing-card. Diameter, if inch. 
 
 From the collection of the Earl of Westmorland, Apethorpe, Northants, 1892. 
 
 “The Connoisseur,” 1907, xviii, p. 143. 
 
 The original drawing by Holbein, in the collection of the Earl of Pembroke, 
 is included in the present Exhibition (see No. 70), and a picture, similar, but 
 
128 
 
 Early English Portraiture 
 
 [Case C 
 
 showing the hands, dated 1524, is in the collection of the Marquess of Aber- 
 gavenny, K.G., at Eridge Castle, Kent. 
 
 By Hans Holbein. 
 
 23 Hans Holbein. 
 
 Bust, three-quarters to left, the head turned towards the spectator; dark hair 
 and close-cut beard; black skull-cap; black dress, open, showing pleated collar 
 at throat and pleated cuff at wrist; his left hand supports his right, which is raised, 
 holding a brush with which he is painting; blue background. Inscribed: “ H. H. 
 AN. 1543. /ETATIS SUAE 45.” 
 
 Water-colours, on the back of a playing card of clubs. Diameter, i t 7 ¥ inch. 
 
 Formerly in the collection of Horace Walpole (“Description of Strawberry 
 Hill,” 1774, p. 25). In the Strawberry Hill Sale, 1842, it was lot 40 on the 
 eleventh day, and was sold to Mr. W. Blamire, at whose sale in November, 1863, 
 it passed into the Buccleuch Collection. 
 
 Royal Academy Winter Exhibition, 1879, F. 25. 
 
 A similar portrait is in the Wallace Collection. 
 
 By Hans Holbein. 
 
 24 Probably a Lady of the French Court (called Queen 
 
 Catherine Howard). 
 
 Bust, slightly to left; fair hair parted in the middle; French hood trimmed 
 with bands of scrolls with black veil at the back; square cut black dress, edged 
 with pearls, with white fur sleeves; gold chain and jewelled necklace round neck; 
 blue background. Inscribed: “ CATHERINE HOWARD HENRY VIII.” The inscrip- 
 tion does not appear to be of the time. This portrait may represent Anne de 
 Pisseleu, Duchesse d’Estampes. 
 
 Oil colours on panel, 5f by \\ inches. 
 
 “ Archaeologia,” xl, p. 87. 
 
 Loan Exhibition, South Kensington, 1862, No. 2030 (?). 
 
 Royal Academy Winter Exhibition, 1879, F. 20. 
 
 Style of Janet. “ Apparently a French work, and, indeed, thoroughly so in 
 personal characteristics.” — SCHARF. 
 
 25 King Henry VIII. 
 
 Bust, facing the spectator, the head turned slightly to right; clean-shaven 
 face; fair hair; black cap trimmed with gold and medallion; fur-lined gown and 
 gray jerkin embroidered with black, cut low on the breast; gold chain round 
 neck; blue background. Inscribed: “ H. R. VIII . AN 0 . ETATis . xxxv 0 .” 
 
Case D] 
 
 Min iatures 
 
 1 29 
 
 Water-colours, varnished. Diameter, if inch. 
 
 Formerly in the collection of King Charles I. Possibly that described in 
 Vanderdoorts’ catalogue: “Being of the number of the limned pictures which my 
 Lord Suffolk gave to the King. Item done upon the right light. Another and 
 lesser picture, as if it were a copy of the aforesaid picture, without a beard, also in 
 a black cap and a little golden chain about his neck, in an ash-coloured wrought 
 doublet in a furred coat with crimson sleeves, his name and age written also with 
 golden letters. 
 
 Copied from the miniature No. 7 in the present case. 
 
 Loan Exhibition, South Kensington, 1862, No. 2023 (?). 
 
 CASE D 
 
 1 Hans Holbein. 
 
 Bust, facing and gazing at the spectator; dark brown hair, moustache, and 
 full beard; black cap; dark gray gown, with standing collar, lined with black 
 fur, over striped brown and black coat lined with buff fur, open in front showing 
 black jerkin cut low on breast over white shirt ; his left hand, wearing gold ring on 
 first finger, held clenched before him ; peacock-blue background, inscribed : 
 “ ETATIS SWE 35.” 
 
 Panel. Diameter, 4J inches. 
 
 As the date shows, this portrait must have been painted in 1532, the year of 
 Holbein’s return to London, which saw the completion of the pictures of Georg 
 Gisze, now in Berlin, and John of Antwerp, in the Royal Collection at Windsor. 
 
 By Hans Holbein. Lent by Mr. George Salting. 
 
 2 Katherine Willoughby, Duchess of Suffolk, Baroness 
 
 Willoughby. 
 
 Bust, three-quarters to right; reddish brown hair; black head-dress edged 
 with gold; narrow standing collar; black dress trimmed with white fur; blue 
 background, inscribed (in later hand) “ H. HOLBEIN FECIT.” 
 
 Water-colours, varnished. Diameter, 2^ inches. 
 
 Only child of William Willoughby, eighth Baron Willoughby d’Eresby; 
 born 1520; married firstly, 1536, Charles Brandon, Duke of Suffolk; secondly, 
 about 1552, Richard Bertie. She was an ardent sympathizer with the Reforma- 
 tion. Died 1580. 
 
 Loan Exhibition, South Kensington, 1862, No. 2726. 
 
 Lent by the Earl of A ncaster. 
 
 3 Katherine of Arragon. 
 By Hans Holbein. 
 
 Lent by Mrs. Joseph. 
 
CASE E.— MANUSCRIPTS 
 
 1 The Dictes and Sayings of the Philosophers translated 
 
 out of Latyn into Frenshe by Messire Johan de 
 Teonville and from thence rendered into English 
 by Anthony Wydville, Earl Rivers. 
 
 The work was printed by William Caxton in 1477. 
 
 The illumination which appears as a frontispiece to the manuscript represents 
 Anthony Wydville, Earl Rivers, the translator of the book, presenting the 
 book to King Edward IV, who is accompanied by his queen, Elizabeth 
 Wydville, and his son, Edward, Prince of Wales, afterwards King 
 Edward V. By the side of Earl Rivers kneels a man in monastic dress, who 
 is probably the original author of the book. Some authorities, such as Horace 
 Walpole, have stated that this figure represents William Caxton, the printer, but 
 there is no reason for supposing that Caxton would have been represented in a 
 religious habit, or that Caxton would have been introduced into this particular 
 group. 
 
 This portrait of Edward V and the painting on Bishop Oliver King’s 
 Chantrey in St. George’s Chapel, Windsor Castle, are the only extant repre- 
 sentations of the ill-fated boy-king. 
 
 Lent by His Grace the Archbishop of Canterbury, Lambeth Palace Library . 
 
 2 Thomas Chaundler, Chancellor of Wells and Oxford. 
 
 Liber Apologeticus de omni statu humane nature. 
 
 The manuscript was lent to the Exhibition of Illuminated MSS. last year, in 
 the catalogue of which (No. 158) a description will be found. 
 
 It contains fifteen full-page pictures of delicate stipple work with light 
 washes of colour, the work of Chaundler himself. The fifteenth picture 
 represents Thomas Chaundler himself presenting his book to Thomas de 
 Beckington, Bishop of Bath and Wells. 
 
 Thomas de Beckington, born about 1390, was educated at Winchester and 
 New College, Oxford, and had much to do with the foundation of Eton College. 
 He was one of the most conspicuous churchmen and statesmen of his time, a 
 diplomatist, King’s Secretary, Lord Privy Seal, and Bishop of Bath and Wells. 
 He died in 1465. 
 
 Lent by Trinity College, Cambridge. 
 
Case E] 
 
 Manuscripts 
 
 * 3 * 
 
 3 Liber Regalis: or, the Order for the Coronation and 
 Burial of a King. 
 
 This manuscript contains the order for the Coronation of the King and the 
 Queen, and for the obsequies of a king. 
 
 It dates from the period King Richard II, and is stated by tradition to 
 have been given to the Abbey of Westminster by Richard II himself. 
 
 It contains four full-page illustrations: 
 
 (A) The King enthroned after the Crown has been placed on his head. 
 
 (B) The King and the Queen enthroned with Crowns on their heads, with 
 the Courtiers taking the Oath of Fidelity. 
 
 (C) The Coronation of the Queen alone. 
 
 (D) The Lying in State of a King. 
 
 The figures of the King in these illuminations bear sufficient resemblance 
 to the genuine portraits of Richard II to support the statement that this 
 manuscript was prepared for and at the time of that king, and refers to the 
 Coronation of Richard II in 1378. 
 
 It appears to be English work of the date in question. 
 
 Lent by the Very Rev. the Dean of Westminster. 
 
 4 Sketch-book of a Mediaeval Artist (about 1370-1390). 
 
 This little sketch-book, or model-book, consists of six panels of boxwood, 
 about 5E inches long by 2f inches broad, the surfaces of which have been carefully 
 prepared to receive silverpoint drawings. The drawings are evidently the work of 
 a French miniaturist of the fourteenth century, about 1370-90, such as Jacquemart 
 de Hesdin or Andre Beauneveu. 
 
 A full description of these drawings with reproductions has been given by 
 Mr. Roger E. Fry in the “Burlington Magazine” (1906-7), vol. x, p. 31. The 
 drawings should be carefully studied with reference to the portraits of King 
 Richard II as stated in the Introduction. 
 
 Lent by Mr. J. Pierpont Morgan. 
 
 5 Sir Thomas Wyat (the elder). 
 
 This portrait of Sir Thomas Wyat, the poet, was engraved on wood from a 
 drawing by Hans Holbein, evidently made for the purpose, which was to illus- 
 trate a volume of panegyric verses, collected or written by John Leland, on the 
 death of Sir Thomas Wyat, and published in 1 542. 
 
1 3 2 
 
 Early English Portraiture 
 
 [Case E 
 
 The following lines accompany the woodcut: 
 
 Holbenus nitida pingendi maximus arte 
 Effigiem expressit graphice : sed nullus Apelles 
 Exprimet ingenium felix animumque Viati. 
 
 For the portrait of Sir Thomas Wyat, founded on the same drawing, see 
 No. 50. 
 
 Lent by His Grace the Archbishop of Canterbury , Lambeth Palace Library. 
 
WRITING ROOM 
 
 1 Sebert, King of the East Saxons. 
 
 2 King Henry III. 
 
 Drawings from paintings on the north front of the monument of King 
 Sebert in Westminster Abbey. 
 
 Drawn by J. Basire (see “ Vetusta Monumenta,” vol. ii). 
 
 Lent by the Society of Antiquaries. 
 
 3-8 Drawings of the Paintings in the Great Hall, or 
 Painted Chamber, in the Palace of Westminster. 
 
 These copies were made by C. A. Stothard from the remains of the paintings 
 in the Great Hall at Westminster, which was known at one time as St. Edward’s 
 Chamber, and was afterwards used as the House of Lords, where the lower portions 
 of the walls were covered with tapestry. 
 
 The paintings represent scenes from the Old Testament, and from the life 
 of St. Edward the Confessor. They were arranged round the walls in six bands 
 of painting in strong resemblance to the Bayeux Tapestry, with which they have 
 considerable affinity, although, artistically, they denote an immense advance in 
 skill. Payments for painting the walls of this Chamber, or Great Hall, occur 
 frequently during the reign of Henry III, from 1237 upwards ; payments being 
 made to Otho the Goldsmith in 1237, Master William, painter, in 1252, Master 
 Walter, the king’s painter (Walter of Durham), in 1264, Thomas, the son of 
 Walter, in 1295. Petrus de Hispania, painter, is frequently mentioned from 1253 
 to 1272. 
 
 The paintings in this Hall, judging from the copies in water-colours, must 
 have been of extraordinary beauty. In 1322 they were seen by two Franciscan 
 friars, Simon Fitzhugh and Hugh the Illuminator, who carried word to Italy of 
 the beauty of these paintings and those in St. Stephen’s Chapel. 
 
 The subjects selected from Stothard’s drawings comprise: 
 
 (3) The Miracles of Elisha (with an excellent study of the nude). 
 
 (4) The Coronation of Edward the Confessor. 
 
 (5 and 6) Heads of St. John and Edward the Confessor, from the 
 legend of King Edward and the Pilgrim. 
 
 T 
 
1 34 
 
 Early English Portraiture 
 
 (7) The Triumph of Largesse (or Bounty) over Avarice. 
 
 (8) The Triumph of Debonerete (or Meekness) over Anger. 
 
 Some fragments of the original paintings are still preserved in the British 
 Museum. 
 
 A full description of these paintings will be found in the description of the 
 Painted Chamber contributed by John Gage Rokewode, F.S.A., to “Vetusta 
 Monumenta,” vol. vi. Lent by the Society of Antiquaries. 
 
 9-13 Drawings by R. Smirke, R.A., from the Paintings for- 
 merly on the Walls of St. Stephen’s Chapel in 
 the Palace at Westminster. 
 
 (9) Coloured Drawing in water-colours, gilded and silvered in facsimile 
 imitation of the original, from the painting on the north side of the high altar at 
 the east end of St. Stephen’s Chapel, containing portraits of King Edward III, 
 Edward the Black Prince, and others. 
 
 (10) Uncoloured Drawing, from the painting on the south side of the 
 high altar, representing Queen Philippa and her daughters. 
 
 (1 1) Figures OF Angels, from the paintings on the side walls of St. Stephen’s 
 Chapel. 
 
 (12 and 12*) Outlines of tpie Figures representing King 
 Edward III and Son (corrected from the original). 
 
 (13) Outline of tpie Figure representing Queen Philippa (cor- 
 rected from the original). 
 
 Lent by the Society of Antiquaries. 
 
 These drawings were made by R. Smirke in 1800, before the destruction of 
 these valuable paintings in the conflagration of 1834, in which the whole chapel 
 was destroyed. 
 
 The following extracts from the accounts for these paintings are taken from 
 the article by Mr. J. G. Nichols in the “Gentleman’s Magazine” for 1836, 
 N.S., vol. v, p. 33. 
 
 St. Steppien’s Chapel. 
 
 The ornamental painting was commenced about 1350, and carried on for 
 several years. In March, 1350, by royal command, Hugh de St. Alban’s was 
 appointed master of the painters assigned for the works to be executed in our 
 Chapel and at our Palace of Westminster, to take and choose as many painters 
 and other workmen as may be required for those works, in any places, where it 
 may seem expedient, either within liberties or without, in the counties of Kent, 
 Middlesex, Essex, Surrey, and Sussex. . . . Similar mandates are issued to John 
 
IV riting Room 
 
 1 35 
 
 Athelard for Lincolnshire, Northamptonshire, Oxfordshire, Worcestershire, and 
 Leicestershire, and to Benedict Nightengale for Cambridgeshire, Huntingdon- 
 shire, Norfolk, and Suffolk. 
 
 John Geddyng, glazier, was employed to procure glaziers for the works of 
 the chapel in Kent and Essex. 
 
 The following painters’ names are recorded among other entries: 
 
 “1351. June 20. To John Echam and Gilbert Pokering, painters, working on 
 the chapel . . . six days at io d per day each. icw. 
 
 “July 4. To Master Hugh de St. Alban’s and John de Cotton, painters, 
 working there on the drawing of several images ... 4 days and a 
 half at I s per day each. gs. 
 
 “ 1352. April 12. To W m Heston and two others, laying on the gold, as well on 
 the said walls, as on the placing of the preynts on the marble 
 columns in the chapel . . . two days and a half at 5 d per day 
 each. 3-y. i\d. 
 
 “ May 28. To W m de Walsyngham, working on the painting of the 
 angels in the chapel, 2\ days at io d per day. 2s. id. 
 
 “July 1 6. To Edw. Paynell, and three others, laying on gold and 
 preyntes in the chapel, six days at 6 d per day each. 12 s.” 
 
 (These prints were clearly used for stencilling, as there are entries of 
 payment to John Tynpeter “for leaves of tin to make the preyntes 
 for the painting of the chapel.”) 
 
 “ 1351. June 26. To John Lightgrave, for 600 leaves of gold, for painting the 
 tablements of the chapel at 5-y. per 100. £1 io.r. 
 
 “ July 18. To John Matfrey, for sixty two pounds of red lead at 5 d per 
 pound. £1 5i\ 10 d. 
 
 „ “To Master H. de St. Alban’s for four flagons of painter’s 
 oil for the painting of the chapel, i6.y.” 
 
 “Aug. 15. To Lovyn de Bruges, for six and a half pounds of white 
 varnish at 9 d per pound, 4s. 10 Id.” 
 
 Payments also occur for peacocks’ and swans’ feathers, and squirrel tails 
 for the painters’ pencils; for hogshair for the same, for white lead, 
 leaves of gold and silver, azure, “ vermelon,” “ viridisgrece,” and 
 
 “ Aug. 27. To Nicholas Chaunser, for fifteen ells of canvas to cover the 
 images of the Kings to be painted, 6 s. 8d. 
 
 “Sept. 3. To George Cosyn, for one quatern of royal paper, to make 
 the painters patrons, 10 d.” 
 
 Details are also given for the stained glass windows, which are expressly 
 stated to be drawn by Master John de Chester, Glazier. 
 
 A full description of these paintings was given by Mr. John Topham and 
 Sir Henry C. Englefield, Bart., F.S.A., in “ Vetusta Monumcnta.” 
 
3 6 
 
 Early English Portraiture 
 
 The following extracts from this description are interesting as showing 
 the technique of the paintings, as noted by Mr. Smirke. 
 
 “ The paintings formed the decoration of the east end of St. Stephen’s 
 Chapel, on the north side of the high altar. They were in two tiers, or series, 
 totally unconnected with each other. The lower division exhibited a row of 
 arches, seven in number, but which are divided into three compartments, each 
 having its separate perspective of groins and windows, resembling in some degree 
 small oratories or chapels. In each arch was a figure in armour, kneeling, repre- 
 senting the king Edward the Third, with his five sons, introduced as it were to 
 the altar by St. George, the patron saint of England. There can be little doubt 
 that these were intended for portraits of the royal family. 
 
 “The Prince of Wales, the immortal Black Prince, was about twenty-five or 
 twenty-six years old, and represented as a beardless youth, with a likeness to his 
 father. His helmet has a coronet on its brim, which sufficiently distinguishes 
 him. The next in order is probably John of Gaunt, Duke of Lancaster. Edmund 
 of Langley, Duke of York, comes next, and the traces of his name appear under 
 his feet. The small figure on a pedestal must have been designed to represent 
 Thomas of Woodstock, Duke of Gloucester, and it is curious that he should be 
 thus brought up to a level with his brothers. As he was not born till 1355 this 
 circumstance places the finishing of this part of the paintings in this or the next 
 year at the earliest. 
 
 “ The throne on which the Virgin is seated in its form and ornaments 
 very much resembles the venerable Coronation chair still preserved in West- 
 minster Abbey. 
 
 “ The detail of the colouring of this, and all the other pictures to be here- 
 after described, was drawn up by Mr. Smirke, who made the outlines from 
 them as follows: 
 
 “ In describing the colouring of these paintings, 1 begin with the upper subject 
 on the right side of the altar, which represents the king and queen offering to the 
 Virgin and Child. 
 
 “ The background of the figures is diaper work embossed and gilt. The 
 king’s crown embossed and gilt; his hair reddish brown; cape of his mantle 
 white ermine. The mantle itself is deep olive green glazed upon silver, the 
 lining of it white and gray fur en vair. His under coat has a crimson pattern on a 
 gilt ground. The ornament of the waist-belt consists of blue squares with a gilt 
 rim. A thin lamen of talc covers each blue square. The pantaloons are 
 scarlet, and shoes black, ornamentally pierced showing the scarlet underneath. 
 The sceptre and shrine in his hands are gilt but not embossed. 
 
 “ In the group of three attendants standing behind the king I begin with the 
 one furthest from him. 
 
 “ His cap is pink faced with white and grey fur e?i vair; his mantle crimson 
 
W riting Room 
 
 *37 
 
 lined with white and grey fur en vair\ his coat and sleeve dark green, his right 
 leg black and shoe white, the left leg light blue and shoe black. Scabbard of his 
 sword black. The hilt I suspect has been silver; but its colour is now doubtful. 
 The sword-belt black with a gilt pattern. Middle figure, feather white; scroll 
 gilt; cap scarlet; beard dark; left side of his cape pink; right side light blue; 
 belt across his shoulders, black and silver. The flowered pattern of his coat and 
 sleeves is light blue on a ground of silver. His left leg scarlet and shoe black; 
 his right leg pink, with shoe also black; his sword-belt gilt. Of his sword hilt I 
 entertain the same opinion as that of figure i. The scabbard black. Figure 
 nearest the King. Cap green; cape grey; coat scarlet; legs pink and shoes 
 black. Cap of the groom crimson; jacket olive green, with stripes of yellow; 
 pouch black; legs naked and shoes black; horse grey; bridle gilt. Pattern of 
 the tiled floor, alternate lozenges of brown-red with white pattern, and white with 
 brown patterns. For the purpose of making the floor appear to recede, it is 
 glazed with transparent brown, which increases in strength as the floor approaches 
 the diaper work. The mantle of the kneeling queen, scarlet, sprinkled with gilt 
 fleur-de-lys\ its lining white and grey fur en vair. Her loose sleeve has a light 
 blue pattern on a silver ground; border of the sleeve embossed and gilt, its 
 lining crimson ; her right sleeve is white with stripes of light brown ; shoes black ; 
 crown embossed and gilt. Mantle of her attendant light blue; sleeve crimson; 
 shrine flat gilt. Floor consists of triangular tiles, alternately olive green with 
 white pattern, and white with brown pattern. Mantle of the Virgin seated in 
 the chair is pink (seemingly produced by a mixture of red lake and white); the 
 folds are rounded with red lake; the ornaments of its border gilt; its lining dark 
 green, glazed on gold ; the wavy lines of the pattern have been made while the 
 glazing colour was soft, by pressing a hard point through it to the gold under- 
 neath. Her under-mantle is light blue; her shoes black; the swathing of the 
 infant is purple grey; the cloth he sits on is orange, with a pattern of gold and 
 green flowers; cushion gilt; chair silvered; the forms upon it made with black 
 lines, and the shadows opake grey. Joseph’s mantle brownish-yellow. The 
 squares of the tiled floor are alternately brownish red with a white pattern, and 
 white with a brown pattern. This portion of flooring, as also that under the 
 Queen, is glazed in the same manner as the King’s. The bars separating each 
 have a quatrefoil pattern expressed with white lines on a black ground. 
 
 “ In describing the lower subject, I begin on the right with St. George. His 
 helmet is silvered ; its rim embossed and gilt ; the mail defending the neck and 
 other parts is embossed and gilt ; his surcoat and cross upon it are also embossed 
 and gilt, but the cross is glazed with red lake on the gold ; scabbard of his sword 
 black ; that of the dagger gilt ; its handle silvered ; the plate armour is flat gilt, 
 and the form of its parts given by black lines. His spurs are embossed and gilt. 
 The crown of the king who kneels under the adjoining arch is embossed and gilt ; 
 the helmet silvered ; its rim gilt. Mail the same as on St. George. His surcoat 
 
3 « 
 
 Early English Portraiture 
 
 is quartered with the arms of England and France ; lions embossed and gilt on a 
 field, made by glazing red lake on gold ; fleur-de-lys embossed and gilt on a light 
 blue field ; the scabbard of his sword black ; that of his dagger mottled black and 
 gold ; handles of both gilt ; sword-belt black with gold quatrefoils. Without 
 attempting to describe the various colouring of the architectural work of the 
 arches, I must, to prevent confusion, be content to say generally, that the battle- 
 ments are grey; the piers of the range of windows blue ; those of the pinnacles 
 pink ; but the windows of these last are expressed by a dark brown glazed over 
 gold, whereas the others are black. The walls of the apartment within the arches 
 are dark brown ; groin work of the roof crimson ; the windows are silvered, and 
 the form of the panes and their ornament are given by black lines ; the pillars, 
 crockets, and mouldings, are everywhere flat gilt, their forms expressed by black 
 lines and shadows, by glazing of red lake. 
 
 “ Pattern of the tiled floor, white lozenges containing red ones, upon a light 
 blue ground. This flooring is not glazed as in the upper subject. Ground of the 
 inscription at bottom light opake purple, the letters white. It is unnecessary to 
 detail thus accurately all the remaining arches, or the dress of the king’s sons 
 under them, as it would be mostly repetition, I shall therefore confine myself to 
 the mention of those particulars in which they differ. Except the helmet of the 
 first son, the rim of which has an embossed and gilt ornament on its upper edge, 
 that and all the others resemble St. George’s already described. Their surcoats, 
 mail and plate armour are like the king’s. The first and third sons have embossed 
 and gilt heraldic labels on their breasts. The floor pattern to the first and second 
 sons is white hexagons containing a blue flower, on a scarlet ground. The floor 
 to the third and fourth sons, a blue square containing a white lozenge enclosing 
 a red flower, alternating with a white square, blue lozenge and white flower. 
 Floor to the youngest son blue and white chequer ; the intervals between the 
 compartments of the arches white. 
 
 “ The paintings on the south side of the high altar were, like those in the 
 former plate, divided into two distinct tiers. 
 
 “ The lower division consisted of four arches, similar in their general form 
 to those on the north side of the altar, but differing essentially in details. In 
 each of them was a female figure kneeling, and apparently looking towards the 
 altar in an attitude of prayer. 
 
 “ There can be no doubt that these were designed for portraits of Queen 
 Philippa and three of her daughters; their figures are as stiff and meagre as those 
 of the king and his sons, and the heavy platted tresses which load their heads 
 are nearly as adverse to grace as the mailed gorgets of the princes. 
 
 “ The architecture introduced in the background of this picture differs much 
 from that behind the portraits of the princes. All the windows have mullions, 
 and very elegant tracery in their heads. The small columns, too, from which the 
 groins spring have wreathed shafts and capitals of a more elegant design. 
 
W \ riting Room 
 
 1 39 
 
 The colouring of these paintings is given, as in the former case, in the words 
 of Mr. Smirke: 
 
 “ Left side of the Altar. I shall begin at the left with the upper subject. 
 The stone upon which the first figure was painted has been lost since I made 
 the outline from it. The table cloth between the first and second figures is white 
 with gilt lines. Beneath it may be observed some unconnected patches of orna- 
 ment introduced to fill up injuries which the original had received. The 
 preparation for them is a dark grey composition, the surface of which is not level 
 with the original painting, and the black and red chequers with gilt tracery upon 
 it are of much inferior execution. This grey composition I remember to have 
 been very hard when first discovered, but the damp situation it is removed to 
 has destroyed its tenacity. The upper mantle of figure 2 is light blue, lined with 
 white fur; its border gilt; the stripe gilt. The upper mantle of figure 3 is 
 purple; hanging belt yellow; trefoils upon it brown; the under mantle is pink; 
 the stripe upon it yellow ; the different borders gilt ; shoes black. 
 
 “ The upper mantle of the Virgin purplish pink ; its folds are rounded with 
 red lake; the border gilt ; its lining is dark green. Her under mantle and sleeve 
 light blue; its borders gilt; her hair is light brown; and shoes black. Joseph’s 
 upper mantle dark olive green; his under vest and sleeve brownish-orange; the 
 basket he holds brown. The background of the figures diaper work, embossed 
 and gilt. The original floor has been chipped out with some care, and what at 
 first sight seems to be fragments of it are remains of inferior work upon the grey 
 composition already noticed, which is not level with the other parts. 
 
 “ I proceed now to the subject underneath, beginning on the left with the 
 kneeling Queen. Her crown is embossed and gilt; her hair light brown, with 
 small gold ornaments in it; the under vest and sleeves light blue; a pattern upon 
 it of gilt stars and spots covers the arms and part of the body and is terminated 
 by a gilt border. The stomacher is of white and brown fur en vaiv, the stripe 
 of ornament down the middle of the body is gilt ; her outer hanging sleeves or flaps 
 are blue, of the same hue as the under one. Fur appears where they are attached 
 to the shoulders, and fur like that of the stomacher lines them as low as the gilt 
 pattern of the under vest, terminating with a similar gilt border. The dress of 
 the Queen’s first daughter resembles hers in colour and shape; there is only a 
 slight difference in the borders and pattern on her body. The second daughter’s 
 dress is also light blue; it varies a little from the other two figures, and so does 
 her crown. The third daughter is obliterated. The buttresses and external 
 parts of the building containing the above figures are painted in imitation of 
 grey granite. The mouldings, pinnacles, crockets and semiquatrefoils are gilt, 
 upon which the forms and shadows are expressed with black lines and red lake. 
 The internal part of each arch exhibits an aperture filled with diaper work 
 embossed and gilt; a silvered window with grey mullions, and a gilt column 
 
140 
 
 Early English Portraiture 
 
 supporting a groined roof, whose ridges are gilt and intervals crimson; the piers 
 are dark brown ; the intervals on each side of the compartments of arches are 
 orange. 
 
 “ The subject of the Adoration of the Shepherds is painted on a recess con- 
 tiguous to the left side of the altar, the sides of which are laid open in the 
 outline, to show what is represented on them. The background is diaper work 
 embossed and gilt. The ox brown; ass grey; manger light brown. The Virgin’s 
 hair is light brown ; her dress light blue ; the pillow and sheet white ; coverlet 
 scarlet with a gilt pattern; nimbus round the Infant’s head flat gilt, with flat black 
 tracery; its swathing white. Joseph’s cap black; the facing pink; his vest and 
 sleeves pink, rounded with red lake; outer mantle blue; chair light brown. 
 Shepherd No. 1. His hair black; hood light brown; coat light green ; legs bare. 
 Shepherd No. 2. His hair white; cap and coat grey. Shepherd No. 3. Hair 
 and beard black; coat and hood light brown. Shepherd No. 4. Cap and coat 
 purplish pink. The sheep are white. The rocky ground opake green, shadowed 
 with green of a darker hue. The sides of the recesses are finished in a very 
 slovenly manner, as may be seen by the outline, to which I refer you for a 
 memorandum of the colours. The carved leaf in the corner on the right hand is 
 gilt; the diaper work beneath it embossed and gilt; the nimbus of the angel is 
 gilt, his hair light brown; mantle pink, and wings light blue; the scroll in his 
 hand is flat gilt. The parts underneath have been lost since I made the outline 
 from them. If I remember rightly the dress of the female figure was light blue.” 
 
 14, 15, 16. Three Ancient Paintings formerly in Baston 
 House, Kent. 
 
 These paintings, which represent (14) King Athelstan, seated on a stone 
 throne; (15) A King, standing at whole length; (16) A Young Prince, in an 
 attitude of prayer, were, with other fragments of the same series, removed from 
 Baston House, on Hayes Common, Kent, which was originally the property of 
 the Squerry family and later of the Wardes. 
 
 They appear to have been painted in the fifteenth century. 
 
 Lent by the Society of Antiquaries. 
 
 17 Sir Anthony Browne, K.G. 
 
 Bust, facing the spectator, the head turned three-quarters to left, seen above 
 a parapet; clean-shaven face; dark hair, cut straight over forehead and ears; 
 black cap trimmed with gold, with jewelled cross and red carnation on his left 
 side; crimson gown lined with brown fur, with deep fur collar, over cloth of silver 
 jerkin edged with gold and slashed and pulled with white; small gold chain and 
 black ribbon, from which is suspended the George of the Order of the Garter, 
 
JV riting Room 
 
 I 4 I 
 
 round neck; dark background; inscribed above to right in fourteen lines, with the 
 titles of the offices borne by the subject; below, on a simulated panel in the 
 parapet, is another inscription of fourteen lines, commemorating Sir Anthony’s 
 marriages and progeny. 
 
 Canvas, 37 by 30 inches. 
 
 Sir Anthony Browne was only son of Sir Anthony Browne, Standard 
 Bearer of England, and Lucy Nevill, daughter and co-heiress of John Nevill, 
 Marquess of Montacute, niece of Richard, Earl of Warwick, and widow of Sir 
 Thomas Fitzwilliam of Aldoake. He was thus half-brother to Sir William 
 Fitzwilliam, afterwards Earl of Southampton (see No. 34). He was one of 
 Henry VII I’s most intimate friends and trusted servants, and Master of the 
 Horse to the King. At the dissolution of the monasteries he received large 
 grants of land, including Battle Abbey and the Priory of St. Mary Overy, 
 Southwark. At the death of the Earl of Southampton he inherited the estate of 
 Cowdray. He acted as proxy for the King at the marriage of Anne of Cleves, 
 and attended the King on his death-bed. He was appointed guardian to 
 Edward VI and Queen Elizabeth, and confirmed in his office of Master of the 
 Horse, but he only survived Henry VIII one year. His first wife was Alice, 
 daughter of Sir John Gage, and his second was Lady Elizabeth Fitzgerald, 
 known as “ the fair Geraldine.” 
 
 By a hand later than the lifetime of the subject, possibly copying an earlier 
 work, as indicated by the inscription. This picture is probably identical with 
 that formerly in the possession of Mr. Baylis of Prior’s Bank, Fulham. The 
 original appears to be in a private collection at Hereford, and is stated to have 
 come from the Browne family. A portrait of Sir Anthony Browne, perhaps corre- 
 ponding to one of these, was in the possession of Lord Lumley in 1590. 
 
 Tudor Exhibition, 1890, No. 50. 
 
 Lent by Lord Vaux, of Harrow den. 
 
 18 King Edward VI. 
 
 Standing, nearly to knees, facing a little to left; black cap with white 
 feather; collar of Garter and George. 
 
 Formerly in “ Nell Gwynn’s ” house at Hampstead, appears to be a genuine 
 old portrait, but almost entirely re-painted. 
 
 Panel, 41 by 29 inches. 
 
 Lent by Major Eley. 
 
 u 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
INDEX 
 
 Abbate. Xiccolo dell’, notice of, 65. 
 Abergavenny, Lord. See Xevill, George. 
 
 Marquess of, picture belonging to, 104, 128. 
 Aelfsin, painter, 4 
 
 Aldenham, Lord, picture lent by, 59, 10 1. 
 Alexander, Thomas, painter-stainer, 34. 
 
 Alnwick Castle. See Xorthumberland, Duke of. 
 Ancaster, Earl of, miniature lent by, 129. 
 
 Anjou, Queen Margaret of, portrait of, exhibited. 
 107. 
 
 Antiquaries, Society of, pictures lent by. 70, 71, 
 72. 73) 77) §5, 87* 14°- 
 Drawings lent by, 133, 134. 
 
 Arragon, Queen Catherine of, portraits of, ex- 
 hibited, 1 18, 120, 122, 126, 129. 
 
 Arthur, Prince of Wales. See Tudor. 
 
 Athelstan, King, 140. 
 
 Bagot, Captain Josceline, picture lent by, S6. 
 Basel Museum, drawings in: 
 
 Sir Nicholas Carew, 91. 
 
 More family group, 90, 95. 
 
 Basire, J., drawings by, exhibited, 133. 
 
 Baston House, paintings from, exhibited, 140. 
 Batavus, Godofredus, painter, 52. 
 
 Bath, Marquess of, pictures belonging to, 33, 96. | 
 Beaufort, Lady Margaret, monument of, 61. 
 
 Portrait of, mentioned, 31. 
 
 Beauneveu, Andre, painter, 12, 18, 21. 
 Beckington, Thomas de, portrait of, exhibited, 
 130. 
 
 Bedford, Duke of, picture belonging to, 91. 
 Bedingfeld, Sir Henry, Bart., picture lent by, 85. 
 Beke, J 00s Van. See Cleef. 
 
 Bergamo, Martino da, medal attributed to. ex- 
 hibited, no. 
 
 Bettes, John, notice of, 66. 
 
 Painting attributed to, exhibited, S4. 
 
 Binninc, Simon, illuminator, 26. 
 
 Bohemia, Queen Anne of, monument of, 19. 
 Boleyn, Queen Anne, portrait of, exhibited, 123. 
 Bondorf, Jean, painter, 21. 
 
 Booth, Mrs., picture lent by, 45, S4. 
 
 Bristol, John of, glazier, 7. 
 
 British Museum, MSS. in : 
 
 Arundel MSS., 3S, 26. 
 
 Harleian MSS., 2278, 26. 
 
 Harleian MSS., 4S66 (“ De Regimine Prin- 
 cipis ”), 26. 
 
 Historical MSS., 1319 (“ Metrical History of 
 Richard II ”), 21. 
 
 “ Salisbury Lectionarium,” 25. 
 
 Brocklehurst, Mr. H. Dent-, pictures lent by, 45. 
 83, 100. 
 
 Sculpture lent by, 112, 113. 
 
 Miniatures lent by, 117. 
 
 Picture belonging to, 37. 
 
 Broederlam, Melchior, painter, 12. 
 
 Browne, Sir Anthony, portrait of, exhibited, 140. 
 Browne, John, painter-stainer, 34, 64. 
 
 Brownlow, Earl, picture lent by, 31, 73. 
 
 Bruges, Johannes de, painter, 12. 
 
 Buccleuch and Queensberry, Duke of, pictures 
 lent by, 73, 91. 
 
 Miniatures lent by, 11S-129. 
 
 Buckingham, Duke of. See Stafford. 
 
 Burgundy, Duchess of. See York, Margaret of. 
 Butts, Edmund, portrait of, exhibited, 66, 84. 
 
Early English Portraiture 
 
 1 44 
 
 Cambridge: 
 
 Fitzwilliam Museum, picture in, 58, 86. 
 
 Jesus College, picture belonging to, 82. 
 Trinity College, MS. lent by, 130. 
 
 Canterbury, Archbishop of, MS. lent by, 130. 
 
 Printed book lent by, 132. 
 
 Carew, Sir Nicholas, portrait of, exhibited, 42, 
 9 1 - 
 
 Carew, Sir Peter, portrait of, exhibited, 97. 
 Carmillian, Alice, milliner, 64/ 
 
 Castile, Queen Eleanor of, monument of, 7. 
 Charles IV, Emperor of Germany, portrait of, 
 mentioned, 10, 12. 
 
 Charles V, King of France, portrait of, men- 
 tioned, 10. 
 
 Chaucer, Geoffrey, portrait of, mentioned, 25. 
 Chaundler, Thomas, portrait of, exhibited, 
 130. 
 
 Cheke, Sir John, portrait of, exhibited, no. 
 Chester, John de, glazier, 135. 
 
 Clarence, Duchess of. See Nevill, Isabel. 
 Clarence, Duke of. See Plantagenet, George. 
 Cleef, Joost Van, notice of, 53. 
 
 Painting attributed to, exhibited, 99. 
 
 Painting attributed to, mentioned, 81. 
 
 Cleve, Sotto. See Cleef, Joost Van. 
 
 Cleves, Queen Anne of, portrait of, exhibited, 
 US- 
 
 Clouet, Jean, notice of, 51. 
 
 Painting by, mentioned, 81. 
 
 Conti, Bernardino dei, painting by, exhibited, 
 92. 
 
 Cooke, Mr. P. T. Davies, picture lent by, 102. 
 Cope, Robert, painter-stainer, 34. 
 
 Cornbury Park, picture at. See Watney, Mr. 
 Vernon. 
 
 Cornelii, Lucas. See Cornelisz. 
 
 Cornelisz, Lucas, notice of, 49. 
 
 Painting attributed to, exhibited, 76. 
 
 Corvus, Johannes, notice of, 45. 
 
 Painting by, exhibited, 83. 
 
 Painting by, mentioned, 84. 
 
 Painting of the school of, exhibited, 75. 
 Cotton, John de, painter, 135. 
 
 Cranmer, Thomas, portrait of, exhibited, 81. 
 
 Portrait of, mentioned, 56. 
 
 Cristus, Petrus, painting by, exhibited, 28, 
 103. 
 
 Cromwell, Thomas, portrait of, exhibited, 109. 
 
 Portrait misnamed, exhibited, 104. 
 
 Crystyne, Thomas, painter-stainer, 34. 
 
 Darcy of Chiche, Thomas, Lord, portrait of, 
 mentioned, 56. 
 
 Daret, Jacques, painter, 30. 
 
 Delawarr, Lord. See West, William. 
 
 Devonshire, Duke of, pictures lent by, 79, 86, 
 89. 
 
 Dhuleep Singh, Prince Frederick, picture lent 
 by, 84. 
 
 Dilke, Sir C. Wentworth, miniature belonging 
 to, 1 19. 
 
 Dillon, Viscount, picture belonging to, 101. 
 
 Ditchley, picture at. See Dillon, Viscount. 
 
 Donne, Sir John and Lady, portraits of, ex- 
 hibited, 28, 78. 
 
 Dorset, Marchioness of. See Wotton, Margaret. 
 
 Douglas, James, Earl of, portrait of, exhibited, 
 91. 
 
 Douglas, Mr. R. Langton, painting lent by, 88. 
 
 Du Bois family, portrait of a gentleman of the, 
 exhibited, 76. 
 
 Durham, Walter of, painter, 7. 
 
 Echam, John, painter, 135. 
 
 Edinburgh, Holyrood Palace, pictures at, 30. 
 
 Edward II, King, monument of, 5. 
 
 Edward III, King, monument of, 7. 
 
 Portraits of, mentioned, 10, 32. 
 
 And his family, portraits of, exhibited, 9, 134, 
 136. 
 
 Edward IV, King, portraits of, exhibited, 70, 
 130 - 
 
 Portraits of, mentioned, 32. 
 
 Edward V, King, portrait of, exhibited, 130. 
 
 Edward VI, King, portraits of, exhibited, 59, 
 99, 100, 101, 103, 109, no, in, 112,125, 
 127, 141. 
 
 Portraits of, mentioned, 59. 
 
 Eley, Major, picture lent by, 141. 
 
 Elizabeth, Queen, portraits of, exhibited, 45, 
 83, 124, 125, 126, 127. 
 
 Eridge Castle, picture at. See Abergavenny, 
 Marquess of. 
 
 Ervenius, painter, 4. 
 
 ■ Essex, Earl of, picture lent by, 33, 74. 
 
Index 
 
 145 
 
 Etheldreda, Saint. See Saint Etheldreda. 
 
 Eton College, picture at, 87. 
 
 Eworth, Haunce, painting attributed to, ex- 
 hibited, 81. 
 
 Fiorentino, Niccolo, medal attributed to, ex- 
 hibited, 107. 
 
 Fitz Otho, Edward, painter, 5, 6. 
 
 Fitzwilliam, Sir William, Earl of Southampton, 
 portrait of, exhibited, 85. 
 
 Portrait of, mentioned, 58. 
 
 Fliccius, Gerlach, notice of, 56. 
 
 Painting attributed to, exhibited, 82. 
 
 Florentine, William the, painter, 6. 
 
 Fortescue, Earl, picture lent by, 31, 69. 
 
 Fortescue, Sir John, portrait of, exhibited, 31, 
 69. 
 
 Fouquet, Jean, picture of the school of, ex- 
 hibited, 71. 
 
 Franco-Flemish School of the fifteenth century, 
 notice of, 29. 
 
 Frewen, Mr. Edward, picture lent by, 56, 82. 
 
 Fry, Right Hon. Lewis, picture lent by, 92. 
 
 Garlicke. See Fliccius Gerlach. 
 
 Gates, Richard, painter-stainer, 34. 
 
 Gloucester Abbey, Royal portraits formerly 
 in, 7. 
 
 Gloucester Cathedral, monument of King Ed- 
 ward II, 5. 
 
 Goes, Hugo van der, paintings by, mentioned, 
 30. 
 
 Gossart, Jenin. See Mabuse. 
 
 Greenwich Palace, portraits formerly at, 33. 
 
 Gresham, Sir Thomas, portrait of, mentioned, 
 
 58, 86. 
 
 Grimston, Edward, portrait of, exhibited, 28, 
 102. 
 
 Guest, Miss, picture lent by, 90. 
 
 Guildford Palace, paintings formerly at, 6. 
 
 Hainault, Queen Philippa of, monument of, 7, 9. 
 
 Portrait of, exhibited, 9, 134. 
 
 Hampton Court Palace, pictures at, mentioned: 
 
 Sir Peter Carew, 98. 
 
 “Children of King Henry VII,” 37. 
 
 “ Earl of Surrey,” 58, 86, 96. 
 
 King Edward VI, 59. 
 
 Hampton Court Palace, pictures at, mentioned: 
 Eleanora of Spain, Queen of France, 81. 
 Embarkation of King Henry VIII, 65. 
 
 Field of the Cloth of Gold, 65. 
 
 King Francis I of France, 81. 
 
 King Henry VII and King Henry VIII (copy 
 of wall-painting at Whitehall), 88. 
 
 King Henry VIII, “ with the scroll,” 80, 87. 
 Harrowden, Lord Vaux of, picture lent by, 141. 
 Hauntelowe, William, painter-stainer, 34. 
 
 Haye, Corneille de la. See Lyon, Corneille de. 
 Henry III, King, monument of, 7. 
 
 Henry IV, King, portrait of, exhibited, 33, 73. 
 
 Portrait of, mentioned, 32. 
 
 Henry V, King, portraits of, mentioned, 26, 32. 
 Henry VI, King, portrait of, exhibited, 72. 
 
 Portrait of, mentioned, 32. 
 
 Henry VII, King, portraits of, exhibited, 31, 42, 
 69, 70, 72, 86, 87, 88, 105, 106, hi, 1 18, 
 121. 
 
 Portraits of, mentioned, 32, 37. 
 
 Group supposed to represent the children of, 
 mentioned, 37. 
 
 Henry VIII, King, portraits of, exhibited, 42, 
 78, 80, 85, 87, 88, 108, hi, 112, 114, 118, 
 120, 121, 122, 128. 
 
 Portraits of, mentioned, 87. 
 
 Hesdin, Jacquemart de, illuminator, 12, 18, 21. 
 Heston, William, painter, 135. 
 
 Hethe, John, painter-stainer, 34, 35. 
 
 Hethe, Lancelot, painter-stainer, 35. 
 
 Hethe, Lawrence, painter-stainer, 35. 
 
 Hilliard, Nicholas, miniatures by, exhibited, 
 124, 127. 
 
 Holbein, Hans, notice of, 38. 
 
 Portraits of, exhibited, 128, 129. 
 
 Paintings by, exhibited, 87, 89, 90, 91, 95, 
 101, 102. 
 
 Drawings by, exhibited, 104, 105. 
 
 Miniatures by, exhibited, 114, 115, 117, 118, 
 119, 120, 123, 125, 128, 129. 
 
 Woodcut after, exhibited, 13 1. 
 
 Paintings attributed to, exhibited, 80, 86, 88, 
 9 2 > 94, 97. 101, 102. 
 
 Miniatures attributed to, exhibited, 126. 
 Paintings of the school of, exhibited, 75, 77, 
 9°, 9L 93- 
 
 Miniature of the school of, exhibited, 120. 
 
146 
 
 Early English P ortraiture 
 
 Holbein, Hans, Medal of the school of, ex- 
 hibited, 108. 
 
 Sculpture of the school of, exhibited, 112. 
 
 Holford, Lieut.-Colonel G. L., picture lent by, 
 58, 94. 
 
 Home, Earl of, picture lent by, 92. 
 
 Hoorenbault, Gerard, notices of, 27, 47. 
 
 Hoorenbault, Lucas, notices of, 27, 47. 
 
 Painting attributed to, exhibited, 48, 80. 
 
 Hoorenbault, Susanna, miniaturist, 27. 
 
 Hornebolt. See Hoorenbault. 
 
 Hoskins, John, miniatures by, exhibited, 122, 123. 
 
 Howard, Queen Catherine, portraits of, ex- 
 hibited, 1 1 9, 128. 
 
 Howard, Henry, Earl of Surrey, portraits of, ex- 
 hibited, 76, 86, 95. 
 
 Portraits of, mentioned, 58, 59. 
 
 Howard, John, Duke of Norfolk, portrait of, ex- 
 hibited, 84. 
 
 Howard, Thomas, Duke of Norfolk, portrait of, 
 exhibited, 92. 
 
 Portrait of, mentioned, 56. 
 
 Hungerford, Mary Baroness, portrait of, ex- 
 hibited, 82. 
 
 Huth, Mr. Edward, picture lent by, 95. 
 
 Janet. See Clouet, Jean. 
 
 Jersey, Earl of, picture belonging to, 32. 
 
 John, King, monument of, 5, 
 
 John, King of France, portrait of, mentioned, 
 
 10. 
 
 Joseph, Mrs., miniature lent by, 129. 
 
 Kendal, John, portrait of, exhibited, 107. 
 
 Kimbolton Castle, picture at, 80. 
 
 Knole House, pictures at. See Sackville, Lord. 
 
 Laine, Richard, painter-stainer, 34. 
 
 Lambeth Palace Library. See Canterbury, Arch- 
 bishop of. 
 
 Lampson, Mrs. Locker, drawing lent by, 104. 
 
 Lee, Lady. See Wyat, Margaret. 
 
 Le Strange, Mr. Hamon, pictures lent by, 89, 
 90. 
 
 Le Strange, Sir Thomas, portraits of, exhibited, 
 89, 90. 
 
 Liber Regalis MS. exhibited, 19, 131. 
 
 Limbourg, Pol de, painter, 12. 
 
 Litlington, Abbot, missal of, mentioned, 21. 
 Longleat, pictures at. See Bath, Marquess of. 
 Longuesp6e, William de, monument of, 5. 
 Lothian, Marquess of, pictures belonging to, 56. 
 Loudoun, Earl of, pictures lent by, 49, 75, 76, 
 77, 82, 96. 
 
 Lovell, John, Lord, portrait of, mentioned, 25. 
 Lovell, Sir Thomas, monument of, 61, 105. 
 Lucas, William, painter-stainer, 34. 
 
 Lydgate, John, portrait of, mentioned, 26. 
 
 Lyon, Corneille de, notice of, 55. 
 
 Mabuse, Jenin Gossart, called, notices of, 29, 36. 
 
 Painting attributed to, exhibited, 73. 
 
 Maiano, Giovanni da, notice of, 65. 
 
 Malouel, Jean, painter, 12. 
 
 Marney, Henry Lord, portrait of, exhibited, 85. 
 Mary I, Queen, portraits of, exhibited, 45, 86, 
 123. 
 
 Portraits of, mentioned, 56, 84. 
 
 Mazzoni, Guido, notice of, 60. 
 
 Memlinc, Hans, painting by, exhibited, 28, 79. 
 Mercers’ Company, picture belonging to, 58, 
 86 . 
 
 Merchant Taylors’ Company, picture lent by, 
 81. 
 
 Middleton Park, picture at. See Jersey, Earl of. 
 Milano, Pietro da, medal by, exhibited, 107. 
 Modena, Nicholas of. See Abbate Niccolo dell’. 
 Montmorency, Guillaume, Baron de, portrait of, 
 exhibited, 70. 
 
 Mor, Anthonis, miniature by, exhibited, 123. 
 More, Sir Thomas, portraits of, exhibited, 40, 
 94, 126. 
 
 Morgan, Mr. J. Pierpont, miniatures lent by, 
 H4, 115. 
 
 Sketch-book lent by, 13 1. 
 
 Moulins, Maitre de, notice of, 31. 
 
 Munich Gallery, picture in, mentioned, 90. 
 
 National Portrait Gallery, pictures in, men- 
 tioned : 
 
 Lady Margaret Beaufort, 31. 
 
 Thomas Cranmer, 82. 
 
 King Edward VI, 99. 
 
 Henry Grey, Duke of Suffolk 45. 
 
 King Henry VI, 72. 
 
 King Henry VIII, 80, 85. 
 
Index 
 
 *47 
 
 National Portrait Gallery, pictures in, men- 
 tioned : 
 
 Queen Mary I, 45, 84. 
 
 Sir Thomas Wyat, 93. 
 
 Nevill, George, Lord Abergavenny, portaits of, 
 exhibited, 104, 127. 
 
 Nevill, Isabel, Duchess of Clarence, portrait of, 
 exhibited, 75. 
 
 Newbattle Abbey, pictures at. See Lothian, 
 Marquess of. 
 
 Norfolk, Duke of, pictures lent by, 81, 85, 93, 
 96. 
 
 Norfolk, First Duke of. See Howard, John. 
 Norfolk, Third Duke of. See Howard, Thomas. 
 Northumberland, Duke of, MS. belonging to, 
 25 - 
 
 Picture belonging to, 10 1. 
 
 Nunziata, Antonio Toto del, notices of, 35, 
 61. 
 
 Occleve, Thomas, portrait by, mentioned, 25. 
 
 Portrait of, mentioned, 26. 
 
 Odo the Goldsmith, painter, 5, 6. 
 
 Oliver, Isaac, miniature by, exhibited, 126. 
 Oppenheimer, Mr. Henry, coins lent by, 112. 
 Orleans, Girard of, notices of, 10, 11, 12. 
 Orleans, Jean of, painter, 12. 
 
 Oxford, Christ Church, picture lent by, 69. 
 
 St. John’s College, picture at, 82. 
 
 University of, pictures lent by, 45, 87, 93. 
 
 Paganino. See Mazzoni, Guido. 
 
 Painter-Stainers’ Company, notice of, 34. 
 Palmer, Major Charles, picture lent by, 101. 
 Paris, Bibliotheque Nationale, MS. in, 31, 52, 
 71 - 
 
 Museum of the Louvre, pictures in, 116. 
 Paris, Jehan de. See Perrdal, Jean. 
 
 Parr, Queen Catherine, portraits of, exhibited, 
 
 83, ii 7 - 
 
 Paynell, Edward, painter, 135. 
 
 Peachey, Mr. Alfred, bust lent by, 105. 
 Pemberton, Mrs., portrait of, exhibited, 115. 
 Pembroke and Montgomery, Earl of, drawing 
 lent by, 104. 
 
 Picture belonging to, 16. 
 
 Pennacchi, Girdamo. See Treviso. 
 
 Penni, Bartolommeo, notice of, 63. 
 
 Perreal, Jehan, notices of, 27, 30. 
 
 Painting by, exhibited, 104. 
 
 Philippa, Queen. See Hainault. 
 
 Plantagenet, George, Duke of Clarence, por- 
 trait of, exhibited, 49, 76. 
 
 Pokering, Gilbert, painter, 135. 
 
 Pole, Margaret, Countess of Salisbury, portrait 
 of, exhibited, 77. 
 
 Portland, Duke of, pictures lent by, 59, 75, 103. 
 Powerscourt, Viscount, picture belonging to, 97. 
 
 Raf, or Rave, Jan. See Corvus. 
 
 Record Office, monument in, 61, 105. 
 
 Richard II, King, Metrical History of, MS. 
 mentioned, 21. 
 
 Portraits of, exhibited, 19, 13 1. 
 
 Portraits of, mentioned, 16, 32. 
 
 Richard III, King, portraits of, exhibited, 72, 
 
 73 - 
 
 Portraits of, mentioned, 32. 
 
 Rivers, Earl. See Wydville, Anthony. 
 
 Romney, Countess of, picture belonging to, 92. 
 Roper, Margaret, portraits of, exhibited, 40, 90, 
 105. 
 
 Rosenheim, Mr. Max, medals and coins lent by, 
 1 1 2. 
 
 Rovezzano, Benedetto da, notice of, 65. 
 Rypyngale, Richard, painter-stainer, 34. 
 
 Sackville, Lord, pictures lent by, 71, 76, 78, 90, 
 9 1 ! 94 , 99 - 
 
 Pictures belonging to, mentioned, 58, 86, 95. 
 Saint Alban’s, Hugh de, painter, 9, 134, 135. 
 Saint Bartholomew’s Hospital, picture lent by, 
 80. 
 
 Saint Etheldreda, scenes from the life of, pic- 
 tures, exhibited, 71. 
 
 Salisbury Cathedral, monument in. See Longues- 
 pee. 
 
 Salisbury, Countess of. See Pole, Margaret. 
 Salting, Mr. George, picture lent by, 104. 
 Drawing lent by, 105. 
 
 Medal lent by, 1 12. 
 
 Miniatures lent by, 116, 129. 
 
 Schevez, William, portrait of, exhibited, 107. 
 Scotland, portraits of Kings of, mentioned, 33. 
 Seymour, Edward, Duke of Somerset, portrait 
 of exhibited, 98. 
 
148 
 
 Early English Portraiture 
 
 Seymour, Queen Jane, portraits of, exhibited, 
 42, 77, 91, 1 14, 117, 120. 
 
 Seymour, of Sudeley, Thomas Lord, portrait 
 of, exhibited, 100. 
 
 Shute, John, painter, 66. 
 
 Siferwas, John, illuminator, 25. 
 
 Sketch-book of a Mediaeval Artist, exhibited, 21. 
 Smirke, R., drawings by, exhibited, 10, 134. 
 Somerset, Duke of. See Seymour, Edward. 
 Sotheby, heirs of the late Major-General, picture 
 lent by, 99. 
 
 Southam Delabere, picture at, 59. 
 
 Southampton, Earls of. See Fitzwilliam and 
 Wriothesley. 
 
 Spencer, Earl, picture lent by, 42, 87. 
 
 Stafford, Edward, Duke of Buckingham, portrait 
 of, exhibited, 96. 
 
 Stothard, C. A., drawings by, exhibited, 10, 133. 
 Strangwish, portrait of, mentioned, 56. 
 
 Stretes, Gillam or Guillim, notice of, 58. 
 
 Paintings attributed to, exhibited, 94, 96, 101. 
 Stuart, Lady Arabella, portrait of, exhibited, 126. 
 Sudeley Castle, pictures at. See Brocklehurst. 
 Sudeley, Lord Seymour of. See Seymour, 
 Thomas. 
 
 Suffolk, Duchess of. See Tudor, Mary, and Wil- 
 loughby, Katherine. 
 
 Surrey, Earl of. See Howard, Henry. 
 
 Syon House, picture at. See Northumberland, 
 Duke of. 
 
 Talbot, Lord Edmund, bust lent by, 106. 
 Talbot, Sir Gilbert, portrait of, exhibited, 106. 
 Teerlinck, Levina, notice of, 27. 
 
 Miniatures by, exhibited, 116. 
 
 Temple Church, monuments in, 3. 
 
 Torel, William, notice of, 7. 
 
 Torrigiano, Piero, notice of, 60. 
 
 Busts by, exhibited, 105, 106. 
 
 Toto, Antonio. See Nunziata. 
 
 Tower of London, paintings formerly in, 6. 
 Treviso, Girolamo Pennacchi da, notice of, 63. 
 
 Painting attributed to, exhibited, 97. 
 
 Tudor, Arthur, Prince of Wales, portrait of, ex- 
 hibited, 1 19. 
 
 Portraits of, mentioned, 32. 
 
 Tudor, Margaret, Queen of Scotland, portrait 
 of, exhibited, 124. 
 
 Tudor, Mary, sister of King Henry VIII, por- 
 traits of, exhibited, 45, 83, 103, 119. 
 
 Tuke, Sir Bryan, portrait of, exhibited, 90. 
 
 Unknown ladies, portraits of, exhibited, 77, 81, 
 102, 105, 124, 125, 128. 
 
 Little boy, portrait of, exhibited, 125. 
 
 Little girls, portraits of, exhibited, 116. 
 
 Men, portraits of, exhibited, 73, 88, 104. 
 
 Verney, Sir Edmund, Bart., picture lent by, 98. 
 Verulam, Earl of, picture lent by, 28, 103. 
 Victoria and Albert Museum, bust lent by, 106. 
 
 Picture belonging to, 99. 
 
 Volpe, Vincent, notice of, 64. 
 
 Wales, Arthur, Prince of. See Tudor. 
 Walsyngham, William de, painter, 135. 
 
 Ward, Mr. T. Humphry, picture lent by, 97. 
 Warwick, Earl of, picture belonging to, 80. 
 Watney, Mr. Vernon, miniature lent by, 115. 
 
 Picture belonging to, mentioned, 59. 
 
 West, William, Lord Delawarr, portraits of, ex- 
 hibited, 58, 94. 
 
 Westminster Abbey: 
 
 Abbot Litlington’s Missal MS., 21. 
 Coronation Chair, 7. 
 
 Monument of Lady Margaret Beaufort, 61. 
 Monument of Queen Anne of Bohemia, 19. 
 Monument of Queen Eleanor of Castile, 7. 
 Monument of Catherine, daughter of King 
 Henry III, 6. 
 
 Monument of Edmund Crouchback, 6. 
 Monument of King Edward III, 7. 
 Monument of King Henry III, 7. 
 
 Monument of King Henry VII, 60. 
 Monument of Queen Philippa, 7, 9. 
 Monument of King Sebert, drawings of, ex- 
 hibited, 6, 132. 
 
 Portrait of King Richard II, 19. 
 
 Westminster, Dean of, MS. lent by, 19, 13 1. 
 Westminster Palace: 
 
 Painted Chamber, copies of paintings former- 
 ly in, exhibited, 5, 9, 133. 
 
 Saint Stephen’s Chapel, copies of paintings 
 formerly in, exhibited, 5, 9, 134. 
 
 Portraits formerly at, 32. 
 
 Whas, John, portraits of, mentioned, 25. 
 
Index 
 
 H9 
 
 Willoughby, Katherine, Duchess of Suffolk, por- 
 trait of, exhibited, 129. 
 
 Wilton House, picture at. See Pembroke, Earl 
 of. 
 
 Winchester Castle, paintings formerly in, 4. 
 Windsor Castle, portraits at, mentioned: 
 
 Queen Anne Boleyn, 123. 
 
 King Edward III, 32. 
 
 King Edward IV, 32. 
 
 King Edward V, 130. 
 
 King Edward VI, 99. 
 
 Queen Elizabeth, 83. 
 
 Sir William Fitzwilliam, Earl of Southampton, 
 
 86 . 
 
 King Henry IV, 32. 
 
 King Henry V, 32. 
 
 King Henry VI, 32, 72. 
 
 King Henry VII, 32, 09. 
 
 Queen Catherine Howard, 09. 
 
 John Howard, Duke of Norfolk, 85. 
 
 Thomas Howard, Duke of Norfolk, 93. 
 
 Sir Thomas Le Strange, 89. 
 
 Sir Thomas More, 95. 
 
 King Richard II, 32. 
 
 King Richard III, 32. 
 
 Queen Jane Seymour, 91. 
 
 Arthur, Rrince of Wales, 32, 119. 
 
 Margaret Wotton, Marchioness of Dorset, 75. 
 Queen Elizabeth Wydville, 32. 
 
 Queen Elizabeth of York, 32. 
 
 Wingfield, Sir Anthony, portrait of, exhibited, 97. 
 Woburn Abbey, picture at. See Bedford, Duke 
 of. 
 
 Woodstock, Royal Chapel, paintings formerly 
 in, 5. 
 
 Worcester Cathedral, monument in, 5. 
 
 Wotton, Margaret, Marchioness of Dorset, por- 
 traits of, exhibited, 74, 118. 
 
 Wright, Andrew, painter-stainer, notices of, 34, 
 35 - 
 
 Wright, Christopher, painter-stainer, 35. 
 
 Wriothesley, Thomas, Earl of Southampton, por- 
 trait of, exhibited, 99. 
 
 Wyat, Margaret, Lady Lee, portrait of, exhibited, 
 101 . 
 
 Wyat, Sir Thomas (the elder), portraits of, ex- 
 hibited, 93, 131. 
 
 Wyat, Sir Thomas (the younger), portrait of, 
 exhibited, 92. 
 
 Wydville, Anthony, Earl Rivers, portrait of, ex- 
 hibited, 130. 
 
 Wydville, Queen Elizabeth, portrait of, ex- 
 hibited, 130. 
 
 Portraits of, mentioned, 32. 
 
 Yarborough, Earl of, pictures lent by, 98, 10 1. 
 
 Yonge, John, bust of, exhibited, 105. 
 
 Monument of, 61. 
 
 York, Queen Elizabeth of, portrait of, exhibited, 
 122. 
 
 Portrait of, mentioned, 32, 42. 
 
 York, Margaret of, Duchess of Burgundy, portrait 
 of, exhibited, 71. 
 
 Zetland, Marquess of, picture lent by, 102. 
 
 X 
 
CHISWICK press: CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 

 
 
 
 
 
 
 
 
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