THE PORTFOLIO MONOGRAPHS ON ARTISTIC SUBJECTS WITH MANY ILLUSTRATIONS ISSUED PERIODICALLY No. 25 January^ 1896 The Picture Gallery of Charles I h CLAUDE PHILLIPS London : SEELEY AND CO., LIMITED, ESSEX STREET, STRAND Sold by Hatchard, 187 Piccadilly Paris: Librairie Galignani, 224 Rue de Rivoli. Berlin : A. Asher & Co., 13 Unter den Linden New York : Macmillan & Co. Six Monographs are issued in the Year THE PORTFOLIO. THE AUTOTYPE FINE ART GALLERY J 74 NEW OXFORD STREET, LONDON, Is Renowned! for its Display of £>ER]Vi:ANrENT AXXTOTYI>E COPIES Of Celebrated Works by the GREAT MASTERS From the^ Principal National Collections of Europe. Amongst these are to be found 'many of the finest Works which adorned the Collecti* of Charles I., treated of in the current number of "THE PORTFOLIO." COPIES OF THE FOLLOWING NOTABLE PAINTINGS ARE INCLUDED : AT WINDSOR. RUBENS— Portrait of Himself. VANDYCK — Henrietta Maria, profile. VANDYCK — Duke of Buckingham and his Brother, AT HAMPTON COURT. MANTEGNA — Triumph of Julius Caesar. IN THE LOUVRE. TITIAN — The Entombment. TITIAN — Laura de Dianti. TITIAN — The Disciples at Emmaus. HOLBEIN — Portrait of Erasmus. A T MADRID. A. DURER— Portrait of Himself. ANDREA DEL SARTO— Holy Fam v\rith an Angel. MANTEGNA— Death of the Virgin. AT ST. PETERSBURGH. RAPHAEL— St. George. VANDYCK — Madone aux Perdrix. IN THE NATIONAL GALLERY, LONDON. CORREGGIO — Mercury teaching Cupi RUBENS— Peace and War. THE AUTOTYPE PINE ART CATALOGUE of 184 Pages, and Illustrated Supplement with 68 Miniature Ph( of Notable Autotypes. Post Free, One Shilling". rrxiE -A.xja?o^r" oo]»fl:f»u^iv^sr, x^oKTiDoiKr. MR. MORING'S Catalogues & Books of Examples. MONUMENTAL BRASSES. Book of Examples of Monumental Brasses. Royal quarto, post free. BRASS DOOR PLATES. Book of Examples of Brass Door Plates. Royal quarto, post free. BOOK-PLATES. A Book of Illustrations of Book-Plates designed and engraved in mediaeval style on wood. Imperial i6mo, printed on hand-made paper, 25 stamps. SEAL ENGRAVING, RINGS, SEALS, &c. Catalogue of Seal Engravings, Rings, Seals, Stones, &c., handsomely printed on hand-made paper, and illustrated with Autotype reproductions of seals and medals. Also an Introduction on the History of Seals and the Art ot Seal Engraving, 13 stamps. VISITING CARDS AND PRIVATE STA- TIONERY. Price List and specimens of Visiting, Invitation, ^Vedding, and Memorial Cards, Dies, and Note Papers, post free. HERALDIC PAINTING AND ILLUMIN- ATING. A leaflet containing prices for Armorial Painting, Shields, Banners, Hatchments, Heraldic Stained Glass, and Illuminated Addresses, post free. THOMAS MORING, 52 HIGH HOLBORN, LONDON, V/.C. Established 1 79 1. ?3ermanrnt l^fjotograpfjs, THE COMPLETE COLLECTION THE HOLBEIN DRAWING WINDSOR CASTLE {Photographed by the gracious perviission of Her Majesty Queen). THE WORKS OF SIR EDWARD BURNE- JONES, BAR: AND MANY OF THE PORTRAITS AND PICTURES I G. F. WATTS, R.A., & D. G. ROSSETT] "Beata Beatrix" & "Dante's Dream," &e. CAN NOW BE OBTAINED FROM FREDERICK HOLLYER, 9 PEMBROKE SQUARE, KENSINGTO Lists of Subjects and Prices will be sent post free on applicat or Illustrated Catalogue for Twelve Stamps. Communications respecting advertisements must be addressed to Mr: JOHN HART, 6 Arundel Street, Strand, London, V THE PICTURE GALLERY OF CHARLES L By CLAUDE PHILLIPS Author of *' Frederick Walker^' " Antoine Watteau^'' ^c, i^c. LONDON SEELEY AND CO. LIMITED, ESSEX STREET, STRAND NEW YORK, MACMILLAN AND CO. 1896 hiiou LIST OF ILLUSTRATIONS PLATES PAGE Alfonso of Ferrara and Laura de' Dianti. By Titian. Louvre . . Frontispiece Portrait of Albrecht Durer. By Himself. Prado, Madrid to face 14 The Holy Family, with an Angel. By Andrea del Sarto. Prado, Madrid „ „ 84. The Madone aux Perdrix. By Van Dyck. Hermitage, St. Petersburg . „ „ 120 ILLUSTRATIONS IN THE TEXT Charles I. By Sir Peter Lely, after Van Dyck. Dresden. From a photograph by Mr. F. Hanfstaengl 7 Portrait of Albrecht Diirer the Elder. By Albrecht Diirer. Syon House. From the engraving by Hollar 13 Portrait of Erasmus. By Holbein. Louvre. From a photograph by Messrs. Braun, Clement & Cie 23 Portrait of Rubens. By Himself. Windsor Castle. From a photograph by Mr. F. Hanfstaengl 25 Peace and War. By Rubens. National Gallery. From a photograph by Mr. F. Hanfstaengl 35 Charles L, Henrietta Maria, and two Children. By Van Dyck. Windsor Castle. From a photograph by Mr. F. Hanfstaengl 39 Queen Henrietta Maria. By Van Dyck. Windsor Castle. From a photograph by Mr. F. Hanfstaengl 42 The Prince of Wales (afterwards Charles IL). By Van Dyck. Windsor Castle. From a photograph by Mr. F. Hanfstaengl . . . . 44 St. William armed (?). By Dosso Dossi. Hampton Court. From a photograph by Messrs. Spooner & Co 57 Second Duke of Buckingham and his Brother. By Van Dyck. Windsor Castle. From a photograph by Mr. F. Hanfstaengl 59 Portrait of a young Woman. Ascribed to Holbein. The Hague. From a photograph by Mr. F. Hanfstaengl 63 218402 4 LISr OF ILLUSTRATIONS PAGE The Baptism of Christ. By Francesco Francia. Hampton Court. From a photo- graph by Messrs. Spooner & Co 68 The Triumph of Julius C^sar (fifth picture). By Andrea Mantegna. Hampton Court. From the engraving ascribed to Mantegna " 7° The Triumph of Julius Csesar (sixth picture). By Andrea Mantegna. Hampton Court. From the engraving ascribed to Mantegna Ji The Death of the Virgin. Ascribed to Andrea Mantegna. Prado, Madrid. From a photograph by Messrs. Braun, Clement & Cie 73 Julian the Apostate burning the bones of St. John the Baptist. By Geertgen van St. Jans. Imperial Gallery, Vienna 74 The Descent from the Cross. By Geertgen van St. Jans. Imperial Gallery, Vienna . . . ' yS St. George and the Dragon, By Raphael. Hermitage, St. Petersburg. From the engraving (in reverse), by Lucas Vorsterman 78 Holy Family. By Franciabigio. Imperial Gallery, Vienna 83 Holy Family, with St. Bridget. Copy of a picture by Titian. Hampton Court. From a photograph by Messrs. Spooner & Co 89 Portrait of Andrea Odoni. By Lorenzo Lotto. Hampton Court. From a photo- graph by Messrs. Spooner & Co 90 The Bishop of Paphos (Baffo) recommended to St. Peter. By Titian. Antwerp. From a photograph by Messrs. Braun, Clement & Cie 93 The Entombment. By Titian. Louvre. From a photograph by Messrs. Braun, Clement and Cie 95 The Disciples at Emmaus. By Titian. Louvre. From a photograph by Messrs. Braun, Clement & Cie 97 The Marques del Vasto with his Family. By Titian. Louvre 98 The Nine Muses. By Tintoretto. Hampton Court. From a photograph by Messrs. Spooner & Co loi The Expulsion of Heresy. By Palma Giovine. Hampton Court. From a photo- graph by Messrs. Spooner & Co 103 The Education of Cupid. By Correggio. National Gallery . ... .... 105 Holy Family with St. James. By Correggio. Hampton Court. From a photo- graph by Messrs. Spooner & Co 107 Portrait of a Young Man. By Albrecht Diirer. Hampton Court. From a photo- graph by Messrs. Spooner & Co 109 Portrait of Frobenius. By Holbein. Hampton Court. From a photograph by Messrs. Spooner & Co Hi Adam and Eve. By Mabuse. Hampton Court, From a photograph by Messrs. Spooner & Co u? THE PICTURE GALLERY OF CHARLES I. " Monsieur le Prince de Galles est le prince le plus amateur de la peinture qui soit au monde." — Rubens a Valavez, io Janvier, 1625. CHAPTER I. From the following remarks it will be seen that the writer has not in any way sought to reconstruct in its entirety the catalogue of the unri- valled collection which Charles L, within a space of hardly more than twenty years, succeeded in bringing together in the palaces of Whitehall, St. James's, and Hampton Court, and the minor royal residences of which the chief were Greenwich, Nonesuch, Oatlands, and Wimbleton. Even now that we possess so much information in further confirmation of the imperfect yet inestimable catalogue of Vanderdoort, first brought forward by Vertue, such a task could be but very incompletely per- formed, so many are the gaps which yet remain to be filled up, so curt and yet so vague are the descriptions of the pictures and works of art in the inventories other than Vanderdoort's catalogue. When the paintings have retained their original frames or straining boards, the royal brand (a crown surmounting a C.P. or a C.R., as the case may be) helps out the starved, twisted descriptions, and enables us to earmark the works to which they refer in their present resting-places in the public and private galleries at home and abroad. In many other cases we may, supported by our knowledge of the provenance of the pictures, form conjectures closely bordering upon certainty. In a large 6 THE PICTURE GALLERY OF CHARLES L number of instances, however, we cannot even vaguely guess at this period what the vaguely described works were ; whether masterpieces, known to us now under other designations, or paintings then generically classed under great names, but which we should now put down to pupils and followers whom the seventeenth century had already lost sight of or merged in the great central names of art. Still, it may be assumed that we now know the main facts connected with the rapid acquisition of Charles's treasures, and the main works which gave to his collection, as a representation of what the perfected art of painting had achieved up to his time, an unrivalled splendour, if by no means an absolute completeness. It appears unlikely that at this stage any further material of striking importance will be forthcoming to help the student out with his conjectures, and enable him to supply the blanks which still provokingly baffle his attempts. Enough, and more than enough is known, all the same, to place beyond doubt the high level of King Charles's connoisseurship, and to reconstitute his marvellous gallery in its essential features. Who- ever engages upon such a task will be filled with an astonishment and a regret, which cannot but grow more and more poignant, as he groups together again in the mind's eye the treasures which are scattered now through the galleries of Hampton Court, Windsor, Buckingham Palace, and some private collections at home ; as he sees how abroad the Louvre, the Museo del Prado of Madrid, the Vienna Gallery, and those of St. Petersburg and the Hague — to name only the principal museums thus enriched — are now splendid with the spoils which were with such fatal improvidence handed over to the royal and private dilettanti of Europe after the closing tragedy of the king's trial and execution. Wonderful as are, or were, the collections which the aristocratic amateurs of the eighteenth century succeeded in bringing together, comprising, as they did, the noblest examples of Italian, Netherlandish, German, and, within much narrower limits, of French art — even these can hardly suffice to console us for the loss of what the ill-fated king had accumulated, with a passionate enthusiasm which was sustained, if his contemporaries are to be believed, by the keenest and most intelligent connoisseur- ship. And now, alas ! the superb private collections thus formed by England's great houses are being scattered to the four winds of Charles 1. By Sir Peter Lely, after Van Dyck. Dresden. From a photograph by Mr. F. Hanfstaengl. 8 THE PICTURE GALLERY OF CHARLES I. heaven, are resolving themselves into their component parts with a rapidity so alarming that the National Gallery and the dwindling band ot the higher collectors at home cannot absorb a tithe of what is offered to them. It is the museums of Berlin, of Dresden, of Brussels, of Antwerp, of the Hague and Amsterdam, and, above all, the private collectors of France and the United States, whose glory is increased as our own is diminished. The extent and value of our artistic exports increases from year to year, while the imports, especially now that Italy wisely resists to the utmost any further attempt to filch away her priceless inheritance, are too insignificant to afford any compensation for the constant drain upon our accumulated treasure. The earlier half of the seventeenth century was pre-eminently the time of the great collectors — great, not only in the sense that they collected, or sought to collect, great works, but that they sought to acquire as many of them as they could. They were the gourmets cer- tainly, but also the gourmands of their kind. The point of view in the fifteenth century, and to a certain extent also in the sixteenth, had been another. Works of art were, as a rule, ordered of artists with a definite object, and for a definite place ; and movable pictures, other than portraits, even when they dealt with the subjects of classical antiquity, with mediaeval romance, or allegory, were, as a rule, executed with a view to the particular function which they were to fulfil, and to the company in which they were to find themselves. It is only by degrees, as sacred works, secular pieces, and portraits were by degrees, as it were, uprooted, to be detached from their true centres and converted into floating treasure, that the galleries of the modern type began to be formed. A collector who stands midway between the mediaeval and early Renaissance type of the protector of art and artists, and that of the modern dilettante^ is the great Isabella d'Este Gonzaga, Marchioness of Mantua. Keenest and most intelligent of connoisseurs, able and even hard in driving a bargain, indefatigable in her efforts to obtain " something from the hand " of all the most renowned Italian artists of her time, she not only assumed to sit in judgment on the painters of whom she con- stituted herself the patron, but, with or without the aid of the court humanists, often dictated to them the subject-matter, and even the THE PICrURE GALLERY OF CHARLES L 9 pictorial distribution, of the works which she destined to adorn her apart- ments. This was notoriously the case with the famous Parnassus and Wisdom Vanquishing the Vices^ by Andrea Mantegna, now with the two companion pieces of Lorenzo Costa, and the very weak Combat between Love and Chastity of Perugino, in the Louvre. The notes of the so- called Anonimo of Jacopo Morelli, a record of artistic travel in the first half of the sixteenth century, probably written by Marcantonio Michiel, a patrician of Venice, furnish proof that at that time there existed in Venice and throughout Northern Italy small but choice collections, in which were treasured the most precious things of both living and deceased Italian masters. We know Francis I. as the splendid and gracious patron of Leonardo da Vinci, Raphael, Andrea del Sarto, Benvenuto Cellini, Rosso, and Prima- ticcio — as an art-loving prince, who -not only undertook great pictorial enterprises, such as the decoration of the Chateau of Fontainebleau, but coveted and obtained some of the most famous paintings of his time, among which are the familiar Leonardos and Raphaels which constituted the foundation of the French royal collections, and are now one of the chief glories of the Louvre. It is hardly necessary to touch upon the close relation which bound Titian to Charles V,, and not much more so to point out that Philip II. continued to be a consistent patron of the same great Venetian master down to his last days, taking of him not only religious and allegorical works, and portraits, but some pieces savouring very strongly of the joys of this earth. Philip indeed, although he was the patron not only of Titian, but of Antonio Moro, of his own Sanchez Coello, of the Cremonese Sophonisba Anguissola, the Milanese sculptors Leone and Pompeo Leoni, and a good number of other artists of distinction, must be regarded more as a collector in the modern inter- pretation of the word, than as a patron of art in the higher sense in which those splendid princes of an earlier time, Matthias Corvinus of Hungary, Lorenzo de' Medici, Pope Leo X., and the Emperor Maximilian I. were its protectors. Henry VIII. of England would not, we know, in kingly pomp and material splendour lag behind his brother sovereigns and rivals. He evi- dently deemed — and wisely too — that it was part of his royal state to hold in close dependence on him limners of note, whose chief task should be to lo rHE PICTURE GALLERT OF CHARLES I. portray the ample splendours of the royal person, to furnish counterfeit presentments of court favourites and notabilities, and to commemorate events in which the king filled the chief role. Though he was the patron of Holbein and of the Anglo-Flemish group over which his influence radiated, as of the curious Veneto-Ferrarese painter Girolamo da Treviso, Henry cannot be called an art-loving prince in the sense that Francis I. of France deserved that title. We have in two great manuscript volumes at the British Museum (Harleian MS., 14 19) the inventory taken after his death of his possessions in the royal palaces, including furniture, wearing-apparel, precious tapestries, and pictures, or " tables " as they were designated. Here the pictures are furnished with short but clear descriptions of their subject and their material aspect, which yet absolutely ignore as a thing of no importance the name of the artist. It is only fair to point out that not the royal owner, but the ignorant valuer making the inventory after his death may have been answerable for this in many cases fatal omission. Queen' Mary Tudor was at any rate painted by two of the most admirable among the Northern portrait-painters of her time, Antonio Moro (Antonie Mor) and Lucas de Heere. The sober magnificence of her apparel, and the exquisite artistry of the jewels which she wore afford proof that she had more taste and discretion in matters bordering upon the regions of art than her fantastic half-sister, the great Elizabeth. But for other patronage of painters in her short and troubled reign, there was little or no time. The art of the world had, after the great climax achieved by the painters and sculptors of the Renaissance in its full maturity, sunk almost to its nadir in the latter half of Elizabeth's reign. In England its state was more hopeless, if anything, than else- where, though the darkness was brightened by those exquisite miniature painters, Nicholas Hilliard and Isaac Oliver. How absolutely devoid of taste in regard to such things the Virgin Queen was is proved by the boundless extravagance and grotesque exaggeration which marked the fashion, or rather the ever-varying fashions, of her costumes. The world had hardly before seen such monstrosities in sumptuous wearing apparel ; they were indeed only to be surpassed in perverse ingenuity by those which Spanish etiquette made de rigueur at the frozen court of Madrid some half a century later. rHE PICTURE GALLERY OF CHARLES L ri The greatest collection made by any one during the last years of the sixteenth century, and the one which no doubt constituted the ideal upon which the royal and noble dilettanti of the succeeding time, both at home and abroad, based their aspirations, was that brought together by the Em- peror Rudolph II, at Prague, and consisting not only of pictures and statues of the highest celebrity, but of bronzes, gold and silver plate, precious stones, rock crystals curiously wrought, ivory carvings, faience, medals and coins, and mathematical instruments. As arranged in the im- posing fortified palace of the Hradschin at Prague, it excited the wonder — say the contemporary accounts — of the entire world. Included among the pictures were the Jupiter and lo, and the Ganymede of Correggio, the Amor of Parmigianino, and most of the famous Diirers which now form part of the Imperial Gallery at Vienna. This renowned collection was not long to remain intact. Having been already repeatedly plundered during the Thirty Years' War, it was finally broken up and completely scattered in 1648, when the Swedes made themselves masters of the Hradschin. James I. of England contented himself with the services of those excellent but unimaginative portrait-painters Vansomer, Daniel Mytens, and Cornelius Janson van Ceulen, but there is considerable evidence that young Henry, Prince of Wales, showed an initiative in such matters which it is not easy to account for, save as an inheritance from his grandmother, Mary Stuart, who was bred at the Valois court in a more stimulating artistic atmosphere than that of England. Henry left behind when he died not yet counting nineteen years, a collection of pictures and objets de vertu which formed the nucleus round which the great collection of Charles I. afterwards gathered itself, but the more important component parts of which the writer has found it somewhat difficult to ascertain. Certain relatively unimportant pieces bearing his royal brand, an H. crowned, are at Hampton Court, and are duly noted in Mr. Law's Historical Catalogue. The best portrait of the comely and accomplished Henry Stuart, whose delight was, no doubt, in art, music, and dancing, but who . according to his own account was still fonder of " arms and horses and sports," is that Henry Prince of Wales., and Robert Devereux^ Earl of Essex huntings of which there are two examples, one No. 400 at Hampton Court, the other at Wroxton. To say that Charles, who at the date of his brother's death was but a 12 THE PICTURE GALLERY OF CHARLES L boy of twelve years, succeeded to his brother's collection, and thereupon began to develop that taste which was soon to make of him one of the keenest connoisseurs and the most enthusiastic collector of his time, is an exaggeration or rather a condensation of the probable circumstances of the case. It cannot have been until some years later that he entered into formal possession of his brother's treasures, and it is not much before 1620 or 1 62 1, that we obtain evidence of his activity as a collector, and his precocious critical power in such matters. The great Thomas Howard, Earl of Arundel, fills, and fills nobly, the part of artistic Maecenas during the two reigns, and to him has been given the title, " Father of vertu in England," one which to-day savours too much of Wardour Street and miscellaneous bric-a-brac to sound well as an encomium of the august and gracious nobleman in whose honour it was coined. Far more worthily is he described by Evelyn as " the great Maecenas of all politer arts, and the boundless amasser of antiquities." It was indeed as a collector of antique marbles, inscriptions, and gems that his chief celebrity was acquired, although his collection of pictures comprised an unrivalled series of Holbeins, works by Albert Diirer, Venetian canvases of price, and famous drawings by the great masters, a striking record of which treasures is in many cases furnished by the engravings of his protege Wenceslaus Hollar. Well known as are the main facts in connection with the Arundel collection, it may not appear altogether superfluous to recapitulate a few of them. Lord Arundel had spent several years of his early manhood in travelling through Italy, and had there laid the foundation of that taste for art and archaeology which was to bear such magnificent results. The Arundelian or Oxford marbles were purchased for him in 1624, by Mr. (afterwards Sir William) Petty, whom, together with John Evelyn, he had employed to collect marbles, books, statues, and other curiosities in Italy, Greece, and Asia Minor. Some of the statues and the bulk of the inscribed marbles, including the much-discussed Parian Chronicle, or Marmor Chronicon — so long a bone of contention between scholars and archaeologists — are preserved in the collection of the University of Oxford, to which they were presented in 1667 by Arundel's grandson, Henry Howard, afterwards sixth Duke of Norfolk. The busts and some of the marbles form part of the collections of the Portrait of Albrecht D'urer the Elder. By Albrecht DUrer. Syon House From the engraving by Hollar. 14 "THE PICTURE GALLERY OF CHARLES I. Pembroke family at Wilton House ; the gems descended to the Marl- borough family, in whose possession they remained until the recent dispersion of the Blenheim collections. Among the pictures we note as having passed through the Earl's hands — in this case as intermediary only — the Portrait of Albert Diirer by Himself 1498 (Madrid), and Portrait of Diirer s Father^ of 1497 (Syon House), both of which, as will be seen, are afterwards found in Charles I's. col- lection. There was also in the collection, as Hollar's print shows, the Lady of the Fiirleger Family of 1497, now at the Stsedel Institut of Frankfurt-am-Main. The wonderful series of Holbeins, which a pane- gyrist with measureless exaggeration described as being " more of that exquisite painter Hans Holbein than are in the world besides," included among many other things the great full-length Christina of Danemark Duchess of Milan, once, as the inventory already referred to shows, in Henry VIII.'s collection ; the original Edward VI. as an Infant, now in the Provincial Gallery at Hanover ; the Duke of Norfolk, the original of which is at Windsor Castle, while an old copy supplies its place at . Arundel ; the Dr. John Chambers, Physician to Henry VIIL, now in the Imperial Gallery at Vienna ; the Anne of Cleves, now in the Louvre, or a picture identical with it in design ; a Jane Seymour, which cannot have been, and from Hollar's engraving does not appear to be, that now at Vienna. But the most precious section of the Holbein collection was perhaps that unique series of studies in black chalk, heightened with colour, portraying notable personages of Henry VIII.'s court, many of them the preliminary studies for still extant por- traits in oils by the Bale master.^ This great series of drawings which was subsequently to go through so many strange vicissitudes before it found a final resting-place in the royal collection at Windsor Castle, was the subject of an amusing deal. It was, as we find from an entry in Vanderdoort's catalogue of the King's pictures, exchanged by Charles with the Earl of Pembroke, for the Little St. George, of Raphael, and then by the latter immediately passed on to that Holbein collector par excellence, the Earl of Arundel, but in exchange for what picture or work of art we do not learn. If Charles appears to have 1 The Windsor drawings were last publicly exhibited at the Tudor Exhibition, held at the New Gallery in 1890. Gir«unS&m4^S(j8ie£?£Sc . recSd ^^ilrer^. THE PICTURE GALLERY OF CHARLES L 15 acted somewhat lightly in the matter, and with an insufficient appreci- ation of the treasure he was allowing to slip through his fingers, it must be urged in his defence that he obtained in return a genuine Raphael of the purest water, and one belonging of right to the Royal House of England. Some of the examples of sixteenth-century Venetian art included in the Earl's great collection were sent over to him as early as 161 5, by Sir Dudley Carleton, then ambassador to the Venetian State, and others more important were among those originally purchased by Carleton for the Earl of Somerset. The latter Lord Arundel had the good fortune to obtain from the king in 1 6 1 6 as a gift upon the confiscation of the favourite's property. This addition of pictures included Venetian canvases, for which Somerset had paid Sir Dudley Carleton a sum of nearly ^^900. Among these last were " The Susanna, of Tintoretto ; the Benediction of Jacob, of Tintoretto ; the Ciueen of Sheha, of Tintoretto ; the Samaritan Woman, of Tintoretto ; Ceres, Bacchus and Venus, of Tintoretto ; The Labyrinth, of Tintoretto ; three pieces by Paolo Veronese, the Beheading of St. John by Bassano Vecchio ; the Venus of Titian, and the Shepherds, of Andrea Schiavone." It is to this eminent diplomatist and negotiator that we owe the first importation of fine Venetian works into England. It is no doubt in a great measure to his enthusiastic efforts, in this direction, during his official residence of three years at Venice, that must be traced the passion for the sixteenth-century masters of the Venetian city and territory which suddenly flamed up with such wonderful results among the royal, noble, and citizen collectors of England and the Netherlands. Sir Dudley Carleton, afterwards Baron Carleton and Viscount Dorchester, had been appointed to Venice in 16 12 as the successor to Sir Henry Wotton, and while rapidly acquiring there the reputation of one of the most sagacious and skilful diplomatists in Europe, he found time to conduct negotiations for the acquisition of pictures and works of art with a tact and a success no less remarkable. He married Anne, daughter of the learned Sir Henry Saville, who, from letters cited by Sainsbury in the above-quoted work, appears to have been not less enthu- ^ Original Unpublished Papers, illustrative of the Life of Sir Peter Paul Rubens, &c. W. Noel Sainsbury. 1859. i6 1'HE PICTURE GALLERY OF CHARLES I. siastic than her lord in the searching out and acquisition of works of art on behalf of her friends and patrons. It was when Sir Dudley Carleton was recalled from Venice and sent to the Hague, in 1616, that he first entered into correspondence and perhaps came into personal contact with the Titian of Flanders, Peter Paul Rubens, thus laying the foundation of those relations with the English crown which . were established by the choice of the great Antwerp master in 1621 to decorate the ceiling of Inigo Jones's Banqueting House at Whitehall, and culminated in the subsequent diplomatic and artistic connection of Rubens with the court of Charles I. Charles Stuart, Prince of Wales, outgrowing the extreme physical debility of his childhood, had grown to manhood, a cavalier not less vigorous than elegant, skilled in all manly exercises, bearing himself with dignity and modesty, and showing a singular and almost exaggerated shrinking from coarseness whether in speech or action. He had an exquisitely attuned ear for music, and an innate love of art and power of discriminating artistic excellence, which ripened even some years before his accession in 1625 into connoisseurship of a rare order. The stories given in Walpole's Anecdotes of Fainting^ with a view not only to affirm this connoisseurship, but to show him a proficient in draughtsmanship so far advanced that Rubens himself did not disdain to correct his drawings, are not so supported by trustworthy evidence as to make it necessary that they should be here retailed. As uncorroborated is that other pretty tale, showing the prince able to distinguish in a painting two different hands, neither of them previously known to him — a piece of art-criticism affirmed, the story goes on to say, by subsequent proof. Loosely knit and vague as these legends appear to us in Walpole, they yet serve a purpose in demonstrating that Charles was esteemed in his own time and subsequently a genuine art-lover, a judge well able to discriminate between the v/heat and the chaff, and not merely an ostenta- tious splendour-loving dilettante like his bosom friend, George Villiers, Duke of Buckingham. In 1621 we find authenticated evidence that the prince, who is of the same age as the century, already has what is styled a gallery, and that, with the confidence in his own opinion which is charac- teristic of the youthful connoisseur, he does not scruple to sit in judgment on the works of one of the greatest living masters of his time. Lord THE PICTURE GALLERT OF CHARLES I. 17 Danvers, afterwards Earl of Danby, takes considerable pains to obtain a painting from the hands of Rubens, and at the same time sends a Creation by Bassano to be repaired by him. He is then commissioned to paint a picture for the gallery of Charles, Prince of Wales. The picture fails, however, to command the approval of Lord Danvers, who complains to Sir Dudley Carleton that in every painter's opinion the Flemish master has sent a piece scarce touched by his own hand, and the positions so forced that the prince will not admit the picture into his gallery.^ His lordship expresses the wish that the famous man will do some one thing to register or redeem his reputation in the royal house and to stand among the " many excellent works which are here (at St. James's) of all the best masters in Christendom." He adds that Prince Charles at that time possesses of his paintings only Judith and Holof ernes, of little credit to his great skill. ^ There can be no reasonable doubt that it was the romantic journey undertaken by the prince in 1623 to Madrid, at the instiga- tion and under the guidance of foolish firebrand Buckingham, in order to secure and bring back as his bride Philip IV. 's sister, the Infanta Maria, which served to give a still further development to his dis- criminating enthusiasm for the art of painting. What the portrait of the Infanta was which was shown to the prince in 1622, when the idea of the informal visit to Madrid was just broached, the writer has been unable to ascertain. There is little pretence that Charles cared for the match at this period, save as furthering his idee fixe, the restoration of the 1 The picture appears to have a Caccia or hunting-piece (Noel Sainsbury, Original Unpublished Papers, Sec). 2 This cannot be that splendid night-piece, the Judith with the head of Holofernes, in the Brunswick Gallery, which belongs to Rubens's late time (after 1630). It is beyond reasonable doubt the Judith cutting off" the head of Holofernes (engraved by Corn. Galle), which, according to M. Max Rooses, was painted before 161 1. Rubens, in a letter dated 13th September, 162 1, to William Trumbull, speaks byway of excuse of this last as "celle d'Holofernes laquelle j'ai fait {sic) en ma jeunesse," which would mean during the Italian period. He winds up this letter : " Quant a Sa Majeste et son A. Mons. le Prince de Galles, je serai toujours bien aise de recevoir I'honneur de leurs commande- mens, et touchant la sale au nouveau Palays, je confesse d'estre par un instinct naturel plus propre a faire des ouvrages bien grandes {sic) que des petites curiositez. Chacun a sa grace ; mon talent est tel que jamais entreprise, encore quelle fust desmesuree en quantite et diversite de suggets, a surmentc mon courage." B 1 8 THE PICTURE GALLERY OF CHARLES L Palatinate to his beloved sister Elizabeth, and her husband the Elector Palatine. How far this point of view was modified, and whether Charles conceived at Madrid a veritable passion for the Infanta, who from the very beginning had from scruples of conscience been filled with an absolute loathing for the alliance, it is difficult to decide. When we see him, the royal gentleman of reserved and dignified manners, so far break- ing through the inflexible rules of Spanish etiquette as to address to the Infanta at a public reception words of love, and even to leap walls and intrude upon her privacy with an ungainly and unconvincing show of gallantry, we seem to have for the nonce the soul of parvenu Bucking- ham animating the body and directing the actions of Charles Stuart. At any rate the Infanta Maria, whose youth and feminine charm were not so absolutely obliterated by her court costumes, as were the attractions of the Spanish princesses later on in the reign, was well worthy, without being absolutely a beauty, to inspire such a passion. The attractive half-length by Velazquez, in the gallery of the Prado (No. 1072), painted some few years after Charles's adventures, comes much nearer to the expression of youthful vivacity and charm than Philip's court painter ventured to approach in any other presentment of a royal Spanish lady. It well gives the unalterable sweetness of the devout princess, but not as convincingly as does the full-length in the Berlin Gallery (No. 41 3^), that rare self-possession which enabled her to meet with the impassive coldness and dignity prescribed by the situation the embarrassing show of passion made by the prince on the occasion just now referred to. Velazquez migrated definitively to Madrid in the same year which was marked by the memorable visit of Charles and Buckingham, but his formal appointment as court painter was not made until after the prince's departure. Shortly before he left the Spanish capital Charles sat to the young Sevillan painter, who was but a year older than himself. Velazquez had not time to make more than a sketch, for which he received a hundred escudos. The prince does not appear to have taken it away with him, since no trace of it is to be found in the royal collections or the inven- tories. It may therefore be surmised, though there is nothing particular to support the conjecture, that he intended the picture for the Infanta, or that, already wavering when he left Madrid, he deliberately left it behind THE PICrURE GALLERY OF CHARLES I. 19 when he took with him so much that was precious. Though it must have been in the first and least attractive manner of Velazquez, like the early portraits of Philip himself, it would have been of inestimable value as depicting the prince with that objective truth of which Philip's painter had the secret, just at the exact period when there is little or nothing to show what he looked like. The earliest record that we possess of Charles Stuart is the charming portrait now in the collection of the Duke of Portland, showing him at the age of five or six years in a long green velvet frock . laced with gold and crossed by a red baldric, with a hat and feather on a table by his side. He holds a pistol to his hip with one hand, while the other rests on his sword. This is now absurdly given to Daniel Mytens, who would not have been more than sixteen at the time it was painted. In the catalogue of King James IT.'s pictures it, or an exactly similar picture, is men- tioned thus : " No. 9 1 . King Charles the First at length in coats, with hat and feather, by Paul Vansomer." The eyes of the little man in this picture are already those sad ones of the later time. Then we have the grisaille of Balthasar Gerbier,i done when the Prince of Wales was sixteen ; we have the engraved medallions and the prints of the De Passes, who portrayed both James and his two sons ; we have the coldly faithful, impassive portraits of Daniel Mytens, of which the finest and the least impassive is, perhaps, that painted of the young king in 1627, with a background of stately architecture by Steenwyck, now in the Royal Gallery at Turin. Velazquez's sketch would have just filled up the gap, and might have thrown some new light on a personality which we cannot now, if we would, dissociate from Van Dyck's pensive, courtly presentments. The collections of the king contained nothing from the hand of the Spanish master, since it is impossible to rank as more than atelier pieces, at the most, the portraits of Philip IV. and his first consort, Elisabeth de Bourbon, which came to England at some period subsequent to the prince's visit, and are now at Hampton Court. ^ According to Lope de Vega, Charles ^ brought together with sin- 1 In the Jones collection at the South Kensington Museum. 2 Sold by the Commonwealth in 165 1 for ;^40 the two. 2 Diego Velazquex und sein Jahrhundert^ von Carl Justi : Erster Band. B 2 20 THE PICrURE GALLERY OF CHARLES L gular energy all such paintings as were to be had, estimating them at exaggerated prices, and paying for them accordingly. He sought to obtain from their owner, Juan de Espina, the two great volumes with the manuscripts and drawings of Leonardo da Vinci, formerly in the posses- sion of the sculptor, Pompeo Leoni, but without success, as the owner destined them after his death for his own sovereign. One great volume of such manuscripts and drawings owned by Pompeo — but whether one of these two appears doubtful — is the famous Codice Atlantico^ presented by Galeazzo Arconati in 1637 to the Ambrosiana of Milan, This, too, the emissaries of the English king had made strenuous but unavailing efforts to secure, offering, it is said, the great price of one thousand doubloons. The not less precious Windsor volume, which also belonged to Pompeo, as its cover still shows, was probably one of those seen and coveted by Charles in Spain, but there is no trace of it in his collection.^ We hear, moreover, of a little Holy Family by Correggio painted on copper (!) and coming also from the collection of Pompeo Leoni, for which the prince vainly offered 2,000 escudos. This the king, with true Spanish courtesy, bought and offered to his guest. Charles went often to the house of D. Geronimo Fures y Munoz, a collector and an inventor of quaint painted symbolisms, to see his cabinet of paintings and drawings by the great masters of Italy. The Spaniard presented to him eight paintings and a number of curiously fashioned weapons. Out of Crescenzi's collection the prince obtained through Cottington, for the substantial price of 400 ducats, Rosso's Contest of the Muses and Pierides^ which is now No. 369 in the Louvre. It was then, in all probability, that he acquired the flower-pieces by the Spanish painter, Juan Labrador ; the Night-piece with Shepherds^ by the Spanish Bassano, Pedro Orrente ; and the Portrait of Philip IIL^ by Pantoja de la Cruz.^ The prince's enthusiasm for Italian, and especially for Venetian art, was still further nourished on the masterpieces inherited by Philip IV, from his ancestors, Charles V. and Philip II. Charles spoke in such ecstatical terms of the so-called Venere del Pardo of Titian (the Jupiter and Antiope now in the Louvre), that the king, in accordance with Spanish custom, felt bound to offer the famous piece to him. He 1 Leone Leoni et Pompeo Leoni : Eugene Plon, 2 No. 406 at Hampton Court. Law's Historical Catalogue. 1881. THE PICTURE GALLERY OF CHARLES L 21 may not perhaps have expected to be held to his word, since we find ^ that the royal decree to the Marques de Flores Davila to deliver the picture to Balthasar Gerbier, as representing Charles, is dated the 21st of June, 1623 ; notwithstanding which the marquis does not make the order of delivery to the keeper of the Prado until three weeks later (ist of July, 1623). Charles further took with him to England from Madrid the Girl with the Fur Cloak^ by Titian. This Justi surmises to be the picture which passed in the eighteenth century from the Crozat collection into the Imperial Gallery of St, Petersburg, but it is clearly that genuine Titian, the No. 473 in the Imperial Gallery at Vienna. He brought with him further a St. John the Baptist., attributed to Correggio, and the great full-length portrait of Charles V. with the White Dog., by Titian, which, as will be seen, returned a quarter of a century later to Madrid. According to the painter and art-historian, Vincente Carducho, the Spanish king had also presented to his guest other Titians of the mythological and undraped type ; which, when he took his departure, already half estranged, save in mere externals, from the Spanish court, did not go with him. Among them were the Diana and Actjeon and Diana and Calisto (not the small copies of these splendid late works by Titian, now at the Prado, but the originals, which were after presented by Philip V. to the Marquis de Grammont, and are now in the collection at Bridgewater House), the famous Europa., now in the collection of the Earl of Darnley, and the sensuous Danae of the Prado. Charles's loving recollection of the pictures seen at Madrid is further evidenced by the fact that he employed Michael Cross (Vincente Carducho calls him Miguel de la Cruz) to copy the Titians in the palace there and at the Escurial, and six years after his abrupt departure was still trying to get back through Cottington the precious things left behind. The tradi- tion is that the magnificent version done by Rubens of Titian's Adam and Eve., which, with the original, is now at the Prado, and there actually out- shines it in its present injured state, was done at the instigation of Charles. In any case, he never owned this most glorious of copies, since it was, together with the copy of the Europa (also in the gallery of the Prado), purchased in 1640 by Philip IV. direct out of Rubens's estate. A word must be said about this same Balthasar Gerbier d'Ouvilly, ^ Diego Felazquez, Sec, von Carl Justi : Erster Band. 22 rHE PICTURE GALLERY OF CHARLES L whose name appears so prominently in the art negotiations of the reign, and especially in connection with Orazio Gentileschi, Rubens, and Van Dyck. Coming over in 1 6 1 6 to England he entered the service of the Duke of Buckingham as architect, being employed by him " on the con- triving of some of his houses," as well as in the capacity of miniature painter, and in due course being promoted to the office of keeper of York House and its artistic treasures. He accompanied the duke to Spain when he journeyed thither with Prince Charles, and made a portrait of the Infanta Maria, which was sent to James I. This is, perhaps, the poor miniature photographed in Lord Ronald Gower's Historical Galleries of Englandy with the inscription, " This is the picture of the Infanta of Spain that was brought over by the Duke of Bucks. She was to have married King Charles I. " — an inscription which cannot, on the above assumption, have been contemporaneous with the miniature itself. Later on we find Gerbier actually carrying on political -pourparlers with Rubens, first at Paris and then at Brussels, these having for their object the arrangement of a peace between England and Spain ; and here we have no doubt the com- mencement of that close relation, both of business and friendship, which as Sainsbury's often-cited publication proves, united Gerbier to the splendid Antwerp master, whom Lord Dorchester, with a most appropriate grandi- loquence of phrase, called "The prince of painters and of gentlemen." Later on we find this clever go-between as Sir Balthasar Gerbier, rich and honoured, giving splendid and costly entertainments to the court. The later part of his life is full of strange vicissitudes, which cannot be here recounted. Failing to regain his position at court after the Restoration, he had the energy to resume in his old age his former profession of archi- tect, and actually in the year 1667 died in harness, while superintending the building of Lord Craven's house at Hampstead Marshall. He was a curious, doubtful personage this Gerbier, shifty and remaant from one end of his career to the other. His great anxiety would appear to have been to keep the king's patronage of artists and his expenditure on them well under his control, as his intrigues against Gentileschi and his curious passage with Van Dyck before the definitive migration of the latter to England, tend to show. To Rubens, as we shall see, motives of self- interest or friendship, or a mixture of both, kept him faithful to the end. Gerbier's name will live chiefly by reason of his connection with Sir Peter rHE PICrURE GALLERY OF CHARLES L 23 Paul, and because the latter painted the famous Family of Balthasar ^o for the set, while the Correggio temperas are valued and sold at ^^ i ,000 apiece, and Giulio Romano's big, ugly Nativity (No. 291 in the Louvre), originally painted for S. Andrea at Mantua, is deemed to be worth ;^500. I^ may be as well to record here, though in doing so the chronological sequence is disturbed, that Charles purchased in 1637 ^^^ Italian collec- tion of the German artist Frosley, described as the painter-in-ordinary of Emperor Rudolph II. This consisted of twenty-three pictures, including among other things the six spirited grisailles by or attributed to Polidoro da Caravaggio, now at Hampton Court, more than one piece ascribed by the Catalogue to Titian, and paintings by Guido Reni.^ In 1626 Orazio Gentileschi came over to England at the invitation of the Duke of Buckingham to paint ceilings for the palaces of the king and the nobility. He was then already sixty years of age, and his career had been long and laborious. Pisan by birth, he was never- theless in style a Bolognese : for the eclectic school, founded by the Carracci, and of which Guido Reni was then the unchallenged leader, over- shadowed more or less the whole of Italy. He had painted much in Rome for Clement VIII. and the cardinals, collaborating with his friend Agostino Chigi, the landscape painter. He then worked at Genoa and Turin, and subsequently proceeded at the invitation of the Queen Mother to Paris, where he met George Villiers, Duke of Buckingham, who secured him for the English court. Here he painted at York House, the duke's palace, then did for the king ceilings at Greenwich, and many 1 These were sold by the Gommonweakh for £i\o, and reappear in James II. 's catalogue. (Law's Historical Catalogue.) THE PICTURE GALLERY OF CHARLES L 31 pictures, of which the only two remaining at Hampton Court are A Sibyly No. 227, and Joseph and Potiphars Wife^ No. 229. Another of Gentileschi's pictures in the Royal Collection was the Repose in Egypt, now No. 223 in the Louvre. Nine of his paintings for Greenwich were sold together by the Commonwealth for ;£6oo, and are now in the great hall at Marlborough House. The masterpiece of the artist is, how- ever, the Annunciation in the Turin Gallery, a vast canvas painted in 1621, a few years before he came over. Very characteristic of the Italian decadence to which it belongs, this show-piece attracts the beholder by the brilliancy of the illumination and the peculiar scenic artifice of the conception. Gentileschi's daughter, the fair, and if we are to credit contemporary scandal, frail Artemisia, followed him to England where, notwithstanding the favour with which she was received, she did not remain long. Her portrait of herself Artemisia Gentileschi at the Easel, No. 226, at Hampton Court, shows ^ her a painter of more savour and originality than her father. Other things done by her in England were Fame with a Trumpet, and David and Goliath. Orazio's service to the king was splendidly rewarded with an annuity of ;/^ioo, which was independent of the high prices paid for his pictures. Moreover, the king bore the expense of his son's education and travels in Italy, and furnished all his house from top to toe, at a cost if we are to believe the angry Gerbier of over ^4,000 — for those days a fabulous sum. Gerbier overhauling Gentileschi's accounts in a spirit of undisguised jealousy and mistrust - which does not appear, judging from the inflated accounts themselves, to have been without a considerable justification, has among many other items the following amusing outbursts, in which he combines the roles of critic, accountant, and amateur detective : — " Item after his arrival he importuneated the Duck so long, that Mr Indimion Porter was forcett to solicitt for him LS'^'^ which was the 500 whaire with his son with a plott ment to go for Itally " Item got for to buy Collors, beeinge a neew plott to putt upon the King, witnes Mr. Cary £^S^ 1 Sold by the Commonwealth in 165 i for ^10. 2 Sainsbury's Unpublished Papers, pp. 314.-315. 32 rHE PICrURE GALLERY OF CHARLES J. *' And after the sonne caeme back agayne maide beleeve that he had bin robde at sea and got an other somme which I cannot tell " Gentilesco for this hath sent a Madelen which in regard of rare peeces of Titian, and better Masters than he, may be worth £5'^^' If Charles's temporary engouement for this well-trained, artificial Italian of a bad period is a little difficult to understand, it must be borne in mind that the greater luminaries had not yet risen upon the horizon ; that he had not yet come into personal contact with Rubens, or recog- nised in Van Dyck the painter for whom he had so long waited. It was in the spring of 1628, but a few months before the assassination of the Duke of Buckingham, that Gerard Honthorst arrived in England, just in time to paint that well-known and particularly tiresome portrait- group, "The Family of VilUers, Duke of Buckingham^ No. 58 at Hampton Court, which in its stiff, awkward literalness gives but so faint an idea of the unrivalled personal beauty to which the duke owed his wonderful fortunes. The first picture of his which came to England was in all probability an Mneas Flying from Troy^ sent by Sir Dudley Carleton as a present to Lord Arundel in 1621. Honthorst, though at this period not more than thirty-six years of age, had acquired some celebrity in Italy, especially for those night-pieces which procured for him the cognomen of Gherardo dalle Notti. Of this last class was a Decollation of St. John^ by torchlight, seen and admired by Sandrart in the Church of the Madonna della Scala at Rome. Such pieces, too, are the Joseph and Mary^ by lamplight. No. 383 at Hampton Court {not King Charles's collection), and Singing by Lamplight (No. 393 ibid.\ which is said, but not proved, to have been the painter's presentation piece to the king. No. 128 in the same Gallery, is the portrait by Honthorst of the king's dearly-beloved sister Elizabeth, Queen of Bohemia, who inspired as many romantic and chivalrous attachments as her grandmother, Mary Stuart, but proved less fatal to her platonic admirers. This picture is the same which Sir Henry Wotton, by his will made on October ist, 1637,^ ^^^^ ^^ . . ^ Law's Historical Catalogue. THE PICTURE GALLERY OF CHARLES I. 33 the boy Prince of Wales in the following both stately and touching form of bequest : — " I leave to the most hopeful Prince the picture of the elected and crowned Queen of Bohemia, his aunt, of clear and resplendent virtues through the clouds of her fortune." One of the least fortunate of Honthorst's works, done in the service of Charles, is the bad and clumsy allegory which is placed in one of the great staircases at Hampton Court. Here, seated in the clouds, are Charles and Henrietta, as Apollo and Diana, to whom Mercury — on this occasion the Duke of Buckingham — introduces the Arts and Sciences, while several Genii drive away Envy and Malice. Not even the genius of Rubens could make anything of a subject such as this. It wants the bold semi-realism, coupled with incomparable scenic splendour, of a Tintoretto or a Paolo Veronese. It was in August, 1628, after the assassination of Buckingham had removed the chief hindrance to a settlement, that Rubens entered upon his famous diplomatic mission to Madrid to negotiate the terms of a peace between England and Spain. This fruitful journey, with which we are not here directly concerned, had its sequel in the mission to England which Rubens undertook as the diplomatic representative of the Infanta Isabella, Regent of the Netherlands. The painter-diplomat reached this country between the 20th and 27th May, 1629, in company with his brother-in-law, Henry Brant, and with several attendants. Not much is known of his actual intercourse with the King on this occasion, and we can only guess that art as well as high politics must have been discussed between them. On the 23rd of September, 1629, Rubens proceeded to Cambridge with the Chancellor of the University, Lord Holland, the French ambassador, and other persons of distinction, and there received the honorary degree of Master of Arts. The master remained some nine months in England, and there painted besides the sketches for the great ceiling of the Whitehall Banqueting House, the sumptuous Peace and JVar of the National Gallery, which he presented to the king. Technically a fine example of his splendid maturity, it is in conception one of those heavy, unimaginative, Nether- landish allegories, which well serve to show in what direction the limits of his immense power lay. Easily recognisable as the models for the Peace^ and the group of children in the foreground are the wife and c 34 I'HE PICTURE GALLERT OF CHARLES L oiFspring of Balthasar Gerbier, with whom Rubens had taken up his quarters during his sojourn in London. It was at this moment, no doubt, that he painted also the Family of Balthasar Gerbier already referred to. Charles had promised to confer knighthood upon Rubens, and we see by the letter which his mouthpiece, Gerbier, addressed on February 17th, 1630,^ to Sir F. Cottington, that some disappointment was felt by the ambassador of the Archduchess Infanta that when he paid his visit of ceremony the King should not have fulfilled the expectations raised. On the 21st of February, however, the ceremony actually took place, and Sir Peter Paul received as a gift the sword enriched with diamonds with which it had been performed, besides a hatband of the same precious stones and a ring, which the King had purchased for the purpose from the obliging Gerbier at the price of ^f 500. We have seen that as far back as 1621 the Antwerp master had been talked of as the artist to be charged with the decoration of the great ceiling, but the commission was not actually given until 1629, when the price was fixed at ^^ 3,000. The ceiling pictures were com- pleted in 1634, but did not reach England until October 1635, in con- sequence of all sorts of difficulties in connection with custom-house duties and other expenses, serving to show Charles already at this period hampered in his artistic enterprises by the lack of funds. Rubens had intended to give the finishing touches to his immense work when it had been placed in position, but ill health and the fear of his old enemy the gout prevented him. He therefore resolved, before despatching the canvases to " overpaint them at his own house," retouching and mending the cracks which had been caused through their having been rolled up almost a whole year, pending their transmission to England. Had he actually seen his ceiling pictures at Whitehall, he must have been struck by the clumsiness and the disproportionate dimensions of some of the figures, and not less by the heaviness of the whole decoration. The splendour of colour which we may, and indeed must, take for granted in a production which belonged to the period when Rubens, as regards pictorial virtuosity, was at his very highest, has vanished under successive renovations and restorations. As it now appears, blackened and dull in aspect, the work does nothing to enhance the reputation of the mighty Antwerper, who 1 Sainsbury's Unpublished Papers. <5S N3 O § 'a ■^N4 -^ ^ f*H' ^' c ^ ^ ^ -5^ "^ ^ THE PICrURE GALLERY OF CHARLES L probably took a less dominant part in its elaboration than he did even in the painting from his sketches of the vast Luxembourg series of canvases dedicated to the glorification of Henri IV. and Marie de Medicis. It has been stated that in 1631 Jan Lievens, the fellow-student and imitator of young Rembrandt at Leyden, came over to England, was well received at court, there painted the portraits of the king and queen and their children, and after a sojourn of three years, retired to Antwerp. Documents have, however, been recently discovered establishing that Lievens was on February 6th, 1632, still at Leyden, so that we are left in some doubt as to this period of his career. It would be difficult at the present moment to point to any portraits — especially royal ones — painted by the artist in England, but that of Laniere (engraved by Lucas Vorsterman) may have been among the number.^ The papers and correspondence exhumed by Sainsbury throw no light upon the subject. It appears, however, that Lievens did not reach Antwerp until 1635, ^^ that the three preceding years remain to be accounted for. To set out over again in detail the relations between the king and his favourite court painter. Van Dyck, would appear to be superfluous, so familiar are the main outlines of the story. He came to England once in 1621, before the great Italian journey which metamorphosed his style, and again in 1630-31, but it was only in 1632, when the king had seen the portrait of Nicholas Laniere, on which he had bestowed infinite pains, and a scene from Torquato Tasso, Rinaldo and Armida^ that he determined to secure Van Dyck, and attach him permanently to his person. It has been seen that a number of artists of distinction had already defiled before Charles in addition to his father's painters, of whom Mytens was the most favoured. All these had derived honour and profit from their service to the king, and the best they could yield had been got out of them. The unique pre-eminence of Sir Peter Paul Rubens, both in art and diplomacy, and his close connection with the Spanish Regents of the Netherlands, made the permanent transfer of his allegiance cut of the question. Moreover, it may fairly be inferred, since the Royal 1 Mus'ee Royal de la Haye. Catalogue Raisonne, p. 123. 2 This has generally been supposed to be the picture in the Louvre, of which a small grisaille, from the Peel collection, is in the National Gallery. THE PICrURE GALLERY OF CHARLES I. 37 Collection included only a moderate number of his works,^ and no royal portraits, that the King's taste for his sumptuous art had its well-defined limits. When the mature style of Van Dyck, perfected by his contact with the great Venetians was revealed to Charles by the Nicholas Laniere^ he seems to have divined that here at last was his man — the painter to whom the great ofEce of portraying the King's Majesty, the royal consort, and the royal children could safely be confided. It has been said many times already, and yet it must be said once again, that never were limner and sitter in a more intimate and sympathetic relation the one to the other than Van Dyck and his royal master. At this stage, even with the aid of the portraits produced by Sir Anthony's predecessors in the royal favour, we cannot quite decide how far he found in the King's face that melancholy dignity, that suggestion of foreboding and impend- ing tragedy which he imprinted upon the finest of his portraits, or how far he poetised the personality of Charles Stuart, by emphasising and still further refining those elements of the King's physique and character which were most in consonance with his own reserved, melancholy nature, and the undemonstrative dignity of his mode of conception. "^ Sir Balthasar Gerbier, then the king's resident at Brussels, was charged with the negotiations for bringing over Van Dyck, and in the course of them he seriously offended the gifted young master, and very nearly brought them to an abrupt end. Thinking to please the king, Gerbier purchased in December 1631, and offered to him as a fine original from the hand of the painter a Virgin with St. Catherine^ which was discovered by George Geldorp,^ a Flemish artist then at Antwerp, who was in frequent correspondence with Van Dyck, to be only a copy. Gerbier, whose reputation either as a connoisseur, or in the alternative as a man 1 There is no extant portrait of Charles I. by Rubens except as St. George in the St. George and the Dragon of Buckingham Palace. He painted the handsome favourite, George Villiers, Duke of Buckingham, in 1625 (Pitti Palace, No. 324), and did of him also the fine equestrian portrait now at Osterley Park. 2 The only exactly parallel instance is that contemporary one of Velasquez painting Philip IV., and here one cannot be sure that the icy self-possession of the Spanish king did not chill the blood of his great portraitist. ^ This Geldorp was an indifferent painter who had worked in England in the last years of James's reign and the beginning of his successor's. He returned to England about this time, and it was in his dwelling that Van Dyck first took up his quarters. He had afterwards a large and by no means well-famed house in Drury Lane, in which a number of works belonging to the Royal Collection were subsequently stored for safety. 38 THE PICTURE GALLERT OF CHARLES I. of honour, was at stake, fired up, maintaining the authenticity of the picture even against Van Dyck himself, whose attitude he attributed to a malicious desire by picking a quarrel to get out of his engagement to serve the King. Gerbier invoked the authority of Rubens as confirming the authenticity of his pupil's picture, and even went so far as to make a notarial declaration to that effect. Van Dyck retorted by a curt communication practically suspending the negotiations for his transference to London. There is a fine Virgin and St. Catherine by Van Dyck in the collection of the Duke of Westminster,^ revealing not only the usual influence of Titian, but with it a most pronounced reminiscence of Correggio's Madonna and Child^ now in the Real Galleria Estense at Modena. If this were the picture in question we should be compelled to side with Gerbier against the painter, since it is an undoubted and fine example of his art. But there is nothing, so far as the writer is aware, to connect it with Gerbier's acquisition, though the conjecture is a per- missible one that it is the original from which the former was copied. Notwithstanding all this, we find Van Dyck taking up his quarters in London in March or April 1632, and making England thenceforth until his death in 1641 his permanent domicile, though he undertook on several occasions journeys to Flanders and France. Some of the best of the so-called English Van Dycks were produced in the first year of the sojourn, when the master still retained the carefulness and solid finish of his third or Italo-Flemish manner, and married to it the incomparable elegance of his fourth. Among these were the great Family Portrait with king, queen, and two children (Windsor Castle), a full-length of the King, an exquisite half-length of Henrietta Maria., now at Longford Castle, the Charles I. receiving a Wreath from Henrietta Maria^ a Gaston d^ Orleans., the noble half-length of the King, of which a sur- prisingly good copy by Lely, now in the Dresden Gallery, and repro- duced on p. 7, is all that is left to us,^ and the Prince and Princess of Orange with their Son. ^ No. 5 I in the Van Dyck Exhibition at the Grosvenor Gallery. 2 The version once in Charles's collection belongs to the Duke of Grafton ; another, with certain variations, is now at Buckingham Palace. 3 The many admirers of this favourite and often reproduced Charles I. will find some difficulty in accustoming themselves to the idea that it is after all but the copy of Charles I., Henrietta Maria^ and two Children. By Van Dyck. Windsor Castle. From a photograph by Mr. F. Hanfstaengl. 43 THE PICTURE GALLERY OF CHARLES L We need not do more than enumerate here as belonging to the later years great equestrian portraits at Windsor and the National Gallery respectively — the Charles L in three aspects^ done as an instruction to Bernini, from which to execute the King's bust ; and the magnificent Charles J. attended by the Marquis of Hamilton in the Salon Carre of the Louvre (about 1635). In Carpenter's Pictorial Notices of Van Dyck^ ^c.^ is published a precious memoir addressed by the court-painter to the King at some time in 1638 or 1639 (0' when his annual salary of ;£200 was already five years in arrear, and many pictures were unpaid for. Of this it will be useful to quote the main items, connecting them, so far as may be possible, with known works by the master :^ Memoire pour sa Mag"""- le Roi. £ £ Le Prince Henri ... . . , . . 50 — Le Roi a la ciasse . . . , . . . 200 100 200 40 50 100 50 50 20 15 20 15 Le Prince Carles avec le ducq de Jorc (York), Princesse Maria Princesse Elizabet, Princesse Anna Une Reyne vestu' en blu' Une Reyne mere . Une Reyne vestu' en blanc La Reyne pour Mons""- Barnino La Reyne pour Mons""- Barnino Le Prince Carlos en armes, pour Somerset (House ?). Le Roi en armes donne au Baron Warto La Reyne au d°' Baron . Une piece pour le maison de Green Witz Le Dessin du Roy et tous les chevaliers . a lost original. The fact is, however, proved firstly by the technical qualities of the picture, and, secondly, by John Faber's mezzotint, exactly reproducing it, with the inscription, " From Sir Peter Lely's copy of the celebrated original, which was destroyed in the fire at Whitehall, anno 1697" (Catalogue of the Dresden Gallery, 1892). 40 4Q THE PICrURE GALLERY OF CHARLES L 41 There were in all no less than nineteen portraits unpaid for, besides the arrears of salary and moneys owing by the Queen on her private account. The second column shows the reductions on Van Dyck's prices made by the Lord Treasurer, if not by Charles's direction, at any r^te with his'assent. It may be imagined with what reluctance the King, so lavish in former days to a Gentileschi and men of his calibre, adopts such a course with his favourite, to save whose life a year or two later on he will in vain offer a reward of ^300 to the court physician. The two pieces described as La Reyne pour M. Barnino are the portraits destined to be delivered to Bernini, whom the Queen, delighted with the King's bust done from Van Dyck's indications, commissioned in a flattering autograph letter, dated from Whitehall in 1639 ^^"^^ written in rather indifferent Italian, to execute a companion portrait of herself. They are respectively the Henrietta Maria^ full face^ and the Henrietta Maria in -profile at Windsor Castle. The pictures were probably not delivered, and it does not appear that the project was carried into effect. There is also at Windsor a half-length of Henrietta Maria in white satin, with the royal crown and some red roses beside her ; and in the same gallery a very similar full-length. It would take too long, indeed, to catalogue all the originals, repeti- tions, and copies in which the Queen appears in white satin. In the full-length Henrietta Maria^ with her dwarf Sir Jeffrey Hudson, now belonging to the Earl of Northbrook (No. 35 at the Van Dyck Exhibi- tion of the Grosvenor Gallery), the Queen is robed in blue. The similar picture, now owned by Earl Fitzwilliam, is described as having been presented by the King to the Earl of Strafford. The Gallery of the Hermitage at St. Petersburg now holds the companion full-lengths of Charles and Henrietta Maria from Houghton, the same which were pre- sented by the King to Lord Wharton. Here Charles is depicted in armour with the Garter, and the Queen is in crimson, the whole canvas in which she appears being a harmony in reds (Nos. 609 and 610 in the Hermitage). Of the portraits of the royal children, the earliest in date (about 1635), ^^ ^^ ^^' indeed, infinitely the finest, is the picture in the Royal Collection at Turin. We may indeed go beyond this and say that it is the finest of all Van Dycks of the late time, the most radiant in the pure Queen Henrietta Maria. By Van Dyck. Windsor Castle. From a photograph by Mr. F. Ilanfstaengl. THE PICTURE GALLERT OF CHARLES I. 43 brilliancy of the colour and the delicacy of the silvery tone. It proves itself beyond question the earliest of the series, because Charles, Prince of Wales, is here depicted in frocks, whereas in the next picture he appears in a smart little suit of amber satin. The original of this last piece is at Windsor, but there is another example of almost equal merit in the Dresden Gallery (No. 1033). The original sketch for it is No. 183 in the Louvre, and the Earl of Clarendon possesses a brilliantly coloured little studio repetition of still smaller dimensions. In the Five Children of the King at Windsor — the children being Charles, Prince of Wales, James, Duke of York, Mary, afterwards Prin- cess of Orange, Princess Elizabeth, and the little Princess Anne, who died in infancy — the deterioration of the master's style, through haste and ill-health, is already apparent. The version of this last group in the Berlin Gallery has no serious pretensions to be considered as more than a school- piece or old copy. Last of all, judging by the young prince's apparent age, must have come the Charles^ Prince of Wales ^ in Half Armour^ at Windsor, or as Van Dyck himself calls it Le Prince Carlos en armes 'pour Somerset^ of which a studio repetition belongs to the Duke of Rutland. No picture of all those now enumerated had a stranger fate than the Charles I. with the Marquis of Hamilton^ of the Salon Carre, called in Van Dyck's Memoir Le Roi a la ciasse {chasse). It was in the collection of the Baron de Thiers (a nephew of Crozat), almost the whole of which was absorbed by Catherine II. of Russia. The Comtesse du Barry purchased this picture, however, at the sale for 24,000 livres, on the strange ground that the Du Barry family were related to the Stuarts. Always a puppet in the hands of her political supporters and friends at court, she had been prompted to acquire the great Van Dyck for a special purpose. Louis XV. was to be induced by fear to deal a crushing blow at the Parliament of Paris, and to finally stamp out its opposition. La du Barry had the portrait hung in a prominent place in her apartment, and would constantly in her audaciously canaille way apostrophise the Well- Beloved thus : " La France^ tu vois ce tableau ; si tu laisses faire ton parlement, il te fera cowper la tete^ comme le parlement a Angleterre Ta fait couper a Charles'' ^ After the death of her royal lover Du Barry ceded the ^ Edmund et Jules de Goncourt : La du Barry. 44 'T'HE PICTURE GALLERY OF CHARLES L picture to Louis XVl. for a thousand louis, and it thus passed to the Royal House of France. The Prince of Wales {afterwards Charles II.). By Van Dyck. Windsor Castle. . From a photograph by Mr. F. Hanftaengl. The Reyne mere of Van Dyck's Memoir is no doubt identical with the portrait of Marie de Medicis, catalogued by Vanderdoort as " A THE PICTURE GALLERY OF CHARLES L 45 picture of the Queen Mother of France, sitting in a chair in a black habit, holding in her hand a handful of roses" (p. iii,No. 22). Of this type the best extant example is that now in the Borghese Gallery at Rome. One of the last pictorial enterprises attempted during this final period of the reign, when black storm-clouds had already gathered, was the decoration of the queen's cabinet at Greenwich House, a recent con- struction by Inigo Jones. This she desired to have done, not by her mother's painter-in-chief, Rubens, but by Jordaens,^ it may be on account of the saving in expense which would thus be effected. This economy Gerbier, the staunch friend and supporter of Rubens, opposes to the best of his power, suggesting that the latter shall do the ceiling, even though the cost be the greater by ^^240, and that Jordaens shall do the walls. Meanwhile, however, Rubens dies, and Jordaens evidently gets the commission and proceeds with the work, since he receives ^^loo on account, and is found to be dissatisfied and expecting more. The Greenwich Inventory makes mention, indeed, of " Eight pieces by Jordano," which are valued at jf 200. This can be none other than the robust Fleming Italianised for the occasion, and it may be inferred from the entry, and another making mention of ceiling pictures by Gentileschi, that Jordaens completely performed his share of the decoration, leaving that for which Rubens was in treaty to the Italian. Lack of space prevents any more detailed reference to the other artists, some of them of high distinction, whom Charles employed, or to those whom he sought in vain to entice into his service. His great merit as a connoisseur and patron of artists was that while the Italian, and especially the Venetian, painters of the sixteenth century were next his heart, he showed a lively interest in his contemporaries, whether Italian, Flemish, Dutch, or French. He included in his collections, though it may be not on equal terms with its finest jewels, paintings by the Carracci, by Guido, by his own proteges the Gentileschis, by the chief of the Tenebrosi, Michelangelo da Caravaggio, by the too little appreciated Domenico Feti, and other Italians of less worth. He endeavoured to attract to England the Bolognese Albano, but failed, and is said to have addressed a like invitation to Carlo Maratta, who was, however, but twenty-four years old at the date of the King's execution. 1 Sainsbury, Unpublished Papers. 46 rHE PICTURE GALLERT OF CHARLES I. He would have drawn to the English court the veteran Michiel Janson Mirevelt, then nearing the close of a well-furnished career, and if he did not seek to establish relations with Rembrandt, he at any rate owned no less than five canvasses by or attributed to him. We have seen that Velazquez painted Prince Charles in the days of his youth ; but the estrangement from the Spanish court consequent upon the rupture of the marriage negotiations and the choice of a French princess, must have prevented the bestowal of any further patronage in that quarter, even had it been contemplated. Passing reference has been made to the famous bust ^ fashioned of the king by Bernini from the three heads done by Van Dyck, much as another Italian sculptor, Tacca, fashioned the equestrian portrait of Philip IV. now at Madrid from the painting by Velazquez sent to Florence for the purpose, and now in the Pitti Palace. The king had in his immediate employment in England Steenwyck the younger, whose exquisitely precise, skilful architectural pieces, many of them night-scenes, abounded in his collection, as in that of the Duke of Buckingham. Cornelis Poelemberg, "the sweet painter of little landscapes and figures," worked here for him, as is evidenced by a number of small paintings of the usual pastoral and mythological type at Hampton Court, besides the curious Children of the King and Queen of Bohemia^ No. 643 there, with portraits of the seven little princes and princesses, among them the future Elector Palatine, Prince Rupert, and the Princess Sophia, mother of George I. This last was, however, probably painted in Holland ; it was sold by the Commonwealth to Mr. Decritz for £2^. Gerard Ter Borch, then, according to dates, a mere boy, was over in England in 1635, ^^^ there is nothing to show that he came in contact with the court. There may be further cited Petitot, the enameller and copyist of Van Dyck's portraits, the sculptors Le Sceur (or Sueur) and Francesco Fanelli, Cleyn, the designer of tapestries, and Briot, the medallist. Among the Britons employed were Peter Oliver, Dobson, Cooper, Hoskins, Barlow, Jamesone, Gibson, Michael Cross (if he was indeed an Englishman),^ the sculptor, ^ This was sold by the Commonwealth for ;^8oo, and obtained back after the Restoration. It is believed to have perished in the great fire at Whitehall in 1698. 2 It has been seen that Carducho spoke of him as Miguel de la Cruz. Vanderdoort gives his name as Michel de la Croy. THE PICrURE GALLERY OF CHARLES L 47 Nicholas Stone, his son, the copyist Henry Stone (known as " Old Stone), and others, to say nothing of Inigo Jones, whose finest achievements and designs belong, however, to the preceding reign. ^ Of Charles's treasured pictures the majority of the famous works adorned, in Vanderdoort's time, St. James's and Whitehall palaces, and chiefly the Banqueting House of the latter, though a fair number of the finest pieces were hung at Greenwich, Hampton Court, and Somerset House, while other things of less value found a place at Nonesuch, Oatlands, and Wimbleton. His solicitude for their preservation is well shown by the circumstance that in 1637 ^^ ordered that there should be constructed, at a cost of ^^2500, a new covered chamber for the performance of masques in the court adjoining Whitehall, " because the king will not have his pictures in the Banqueting House hurt with lights," Mr. Hewlett, citing Scobell's Acts of Parliament^ tells us that the letter which he left on his table, addressed to Colonel Whalley, his custodian at Hampton Court, on the day of his escape from that palace, contained injunctions " to protect his household stufi^ and movables of all sorts," and that it proceeded to specify three pictures there, which, not being his own, he desired to restore, with particular directions respecting their identification and ownership. Parliament as early as 1645 began to sell the pictures at York House^ " for the benefit of Ireland and the North," ordering that all such pictures and statues as were without any superstition should be sold, but that all such pictures as contained a representation of the " Second Person of the Trinity or the Virgin Mary should be forthwith burnt." Judging by the catalogues and inventories of the pictures and works of art subse- quently appraised and sold by the Commonwealth, this part of the parliamentary resolution must have remained a dead letter. Some two months after the final downfall, with its tragic closing scene, the execution of the King, the House passed the vote that " the personal estates of the late king, queen, and prince should be inventoried, appraised, and sold, 1 " Charles I. as a Picture Collector " (article by Henry G. Hewlett in the Nineteenth Century, August, 1890). 2 Walpole's Anecdotes of Painting. There would appear to be some confusion as to this. York House belonged to the Duke of Buckingham. 48 THE PICTURE GALLERY OF CHARLES L except such parcels of them as should be thought fit to be reserved for the use of the State," and it was reserved for the Council of State to consider and direct what parcels of the goods and personal estates aforesaid were fit to be retained for the use of the State. Certain commissioners were at the same time appointed to inventory, secure, and appraise the said goods, and others, not members of Parliament, to make sale of the said estates to the best value. A certain stern rectitude, even in the administration of plunder, is apparent in the provision that the first proceeds shall go towards satisfying the debts and servants of the king, queen, and prince the rest to be applied to public uses, and the first ^30,000 to be appro- priated to the navy. Among the commissioners appointed the chief were Captain A. Mildmay, a parliamentary officer, George Withers the poet, and John van Belcamp, a painter who had often been employed by the late king as a copyist. The commissioners performed their task with great thoroughness and regularity, and notwithstanding an ignorance of art and artists too often laid bare by the entries in the inventories and the sale-contracts, they appear to have formed a very fair idea of the then market-value of the works appraised by them, since although these in a great many cases fetched more than the price put upon them, they only in rare instances appear to have sold for less. The sales were effected, not by anything in the way of a public auction, but by private negotia- tions and sale-contracts made with persons acting sometimes on their own behalf, sometimes on behalf of more august personages who wished to remain in the background. The dispersion of the collections, although it began in 1649, was "^^ finally completed until 1652 or 1653, the total price obtained for the late king's effects, including not only pictures, drawings, and objects of vertu^ but furniture, household, and miscellaneous effects, being given as ^118,080 \os. id. It must be borne in mind, however, that in strict accordance with the parliamentary resolution to that effect, Cromwell caused to be reserved, among other things, for the adornment of Hampton Court Palace, which had been assigned to him by the legislature as a residence, the Triumph of Julius desar^ by Mantegna ; the Cartoons of Raphael ; two pictures bearing the name of Titian ", the Family Groups then assigned to Pordenone, but now to Bernardino Licinio ; historical pictures associated with Henry VIII. and Hampton Court ; some portraits ; and the tapestries with the Story THE PICTURE GALLERY OF CHARLES I. 49 of Eighty-eight'^ (being the destruction of the Spanish Armada). Apart from the commanding artistic worth and the celebrity of the 'Triumph and the Cartoons — the two most precious things by far which England has retained out of the wreck of Charles I.'s incomparable gallery — it is easy to see how the Triumph must have appealed to Cromwell, the victorious general and the man who aspired to play Dictator without incurring the obloquy which belongs of right to the part; while the Cartoons^ of all the sacred works in the collection, were those which most took the beholder back to the evangelical simplicity of the Gospels, and were freest from any suggestion of Popish or other ritual. The chief buyers from abroad were the Spanish ambassador, Don Alonzo de Cardenas, on behalf of, or more properly with a view to, Philip IV. ; the art-loving Archduke Leopold William, Regent of the Netherlands, who had just absorbed the better part of the Duke of Buckingham's collection when it was sold at Antwerp; Queen Christina of Sweden, who bought chiefly jewels and medals ; that enthusiastic collector, Cardinal Mazarin, who bought pictures, statues, tapestries, and stuffs ; the banker, connoisseur, and dealer, Eberhard Jabach, of Cologne,^ most of whose magnificent acquisitions were afterwards absorbed by Louis XIV. ; and Van Reynst, a rich Dutch amateur, whose pictures were after his death purchased by the Dutch States, and by them pre- sented to Charles II. at the Restoration. Sir Balthasar Gerbier bought, too, to sell again, as is shown by his parting with the Charles /^., by Titian, to the Spanish ambassador ; and another buyer was the painter, Remigius Van Leemput, from whom, at the Restoration, the great equestrian Charles I. now at Windsor was recovered for the Crown by legal process. Other buyers were the Parliamentary colonels, Hutchin- son, Harrison, and Webb, the Earl of Sussex, for whom at least twenty pictures were bought, and Lord Peterborough, who acquired four.^ Buyers, too, were among many others of less note : Nicholas, Jerome, and Clement Laniere, Emanuel Decritz (or De Critz), and Belcamp. Whether the last-named is identical with the painter Van Belcamp, who ^ Fine Arts Quarterly Review, 1863-64 : "State Papers of the Interregnum." 2 His portrait by Van Dyck, in his second Flemish manner, is in the picture gallery at Cologne. 3 Charles I. as a Picture Collector, H. G. Hewlett. D so THE PICTURE GALLERT OF CHARLES L acted as one of the commissioners, does not sufficiently appear, but the presumption is in favour of that supposition. In all the transactions for the acquisition of Charles's pictures, Philip's name was kept carefully in the background ; the fiction being maintained that the purchases had been made by Cardenas, on behalf of the first minister, Don Luis de Haro — the nephew and successor of the Conde-Duque Olivarez — who, thinking them worthy of the king, proceeded to lay them at his feet. Philip, remembering his royal guest some twenty-five years before, and his genuine enthusiasm over the Titians, must evidently have felt some compunction, some shame even, in the matter, seeing that when the ship containing the precious freight of masterpieces arrived at Corunna, the aged Cottington, who, with Sir Edward Hyde was in Madrid as Charles II. 's am- bassador, suddenly received his passports. The real reason for this abrupt dismissal was, as they afterwards learnt, that they should be prevented from beholding the arrival in Madrid of the pictures formerly among Charles's choicest treasures. They were conveyed to the Spanish capital borne on the backs of no less than eighteen mules.^ Among the pictures were Raphael's i/o/y Family [La Perla), Titian's Twelve (or, more exactly, eleven) Emperors^ his Charles V. with the White Dogy his Venus with the Organ Player^ his Repose in Egypt^ St. Margaret^ and Marquis del Vasto Haranguing his Troops ; Tintoretto's great Christ Washing the Feet of the Disciples^ Andrea del Sarto's Holy Family with the Angela and much prized works by Veronese, Albrecht Diirer, and other masters of high fame, which will be mentioned in due course. The Egerton Manuscripts (No. 1636, British Museum, quoted by Justi) contain in a contemporary diary, some interesting hints as to the modus operandi of Cardenas, which may serve as a sample of what took place generally. *' The Spanish ambassador," the diary says, in the German translation furnished by Justi, " was the first who bought these things. He bought of the wood merchant, Harrison, such things to the value of ^^ 5 00 ; from Murray, the tailor, and others, two paintings by Titian, a half figure of Venus and the Jeweller (now in the Vienna Gallery), for ^^o. A Cardinal seated and two old men 1 Carl Justi, Diego Velasquez,, vol. ii. THE PICTURE GALLERY OF CHARLES L 51 behind hirriy by Tintoretto, for ;^8oo (?). The State ^ gave him the Eleven Casars of Titian, with the twelfth, painted by Van Dyck." Philip sent to the Escorial, which he was then re-arranging and adorning with paintings, as many of the new acquisitions as were suitable to the august melancholy and the conventual character of the place. Among other acquisitions, however, the Twelve C^sars were hung in the palace at Madrid, where they remained, in the Galeria de Mediodia^ until the end of the seventeenth century, since which all trace of them has disappeared. In the description of the Escorial pictures, drawn up by Padre de los Santos, not long after this great addition to their number, mention is made of the tragic fate of Charles Stuart, his love for the fine arts is praised, and it is deplored that upon his death the results achieved by the care and labour of many days should in a moment have been reduced to nothingness. Care is also taken to give in each case the names of the Spanish donors, so as to exclude the responsibility of the Spanish king. CHAPTER III The standard authority in connection with the collections of Charles I. has been, as indeed it still remains, the catalogue drawn up by the Dutch artist Abraham Van der Doort (spelt by his English contemporaries Vanderdoort), Keeper of the King's pictures at Whitehall and St. James's, in 1639, ^^^ including only the pictures in those two palaces and some afterwards removed from thence to Hampton Court, and leaving un- touched the paintings divided between the royal residences of Somerset House, Hampton Court (save as above), Greenwich, Oatlands, and Wimbleton. This was copied by Vertue from the Ashmolean Codex, and published after his death by Bathoe (1757) with a prefatory note by Horace Walpole, the same volume containing also the catalogues of the Duke of Buckingham's and James II. 's collections respectively, and some others. No doubt Vanderdoort's English is often quaint to the verge of grotesqueness, while his attributions are sometimes puzzling and in not a few instances quite unacceptable. Moreover, the late Sir ^ Cardenas appears, however, to have paid j^i,200 for the Ceesars. D 2 52 THE PICTURE GALLERY OF CHARLES L George Scharf was at considerable pains to prove, from a collation of the published catalogue with the manuscript Codex, that Vertue, or whoever transcribed the Ashmolean Codex for him, many times mis- copied the text, and moreover made, in a good many instances that could be cited, arbitrary corrections and interpolations ; with the result of impairing the trustworthiness of his catalogue as a whole. Still with all its faults it is of inestimable value, and we have every reason to be grateful to the compiler for the relative accuracy of his measurements, as well as for the elaboration of many of his descriptions. We have only to compare these with the curt and crabbed entries in the inventories and sale contracts, many of which, and especially those relating to the minor pieces, utterly defy all identification ; or with the too vague and general entries in the Duke of Buckingham's catalogue ; in order to perceive how much we should have gained had the other cataloguers and appraisers had even his knowledge and industry. It is with poor Vanderdoort — to compare small things with great — as it is with Vasari. Every subsequent cataloguer, critic, and art-historian uses him as a foundation, and stepping first on to his back and then upwards on to the backs of others, proceeds to belittle him with every expression of supercilious disparagement, choosing to ignore that were the foundation not there, there would be nothing to support the superstructure. The other chief authority has been the Register of Sale Contracts, of which Vertue obtained a copy from the original, then recently discovered, and in his time belonging to Sir John Stanley ; to this reference is made in Horace Walpole's Anecdotes of Painting compiled from Vertue's notes. Abraham Vanderdoort was originally in the service of Prince Henry, as is shown in a quaint entry in his catalogue (p. 164). In this, after describing a life-size wax bust, or high-relief, fashioned by himself — *' Imbost in coloured wax, so big as life, upon a black ebony pedestal, a woman's head laid in with silver and gold " — he goes on to tell how it was done for the Emperor Rudolph II., but retained together with the artist by the enthusiastic young prince, who declared that he would give him " so good entertainment as any Emperor should." According to Walpole's Anecdotes of Painting (quoting Sanderson's Graphice\ Vanderdoort offered himself up in voluntary expiation for a supposed breach of duty; committing suicide because he could not at the THE PICTURE GALLERY OF CHARLES L S3 opportune moment find a miniature, The Parable of the Lost Sheep, by Gibson, which the King had with especial recommendations committed to his charge. This is only to be paralleled with the end of that great artist Vatel, who is said to have fallen, Roman fashion, on his sword because the fish did not arrive at Versailles in time for one of the Grand Monarque's banquets. Mr. Henry G. Hewlett, in his interesting article, " Charles I. as a Picture Collector," already more than once cited, points, however, to the existence of an important piece of original evidence, supplying many deficiencies, which, as he says, has apparently escaped the attention of previous writers on the subject. " After the sale of the collection," — to quote from him — " the inventories drawn up by the Parliamentary Commissioners appointed to appraise it were handed over to the Auditors of Land Revenue, presumably to enable them to check the accounts of the officers who had negotiated with the contracting purchasers. Upon the abolition of the Auditors' Depart- ment and the distribution of its functions in 1832 these documents, with the bulk of its records, were transferred to the newly established office of Land Revenue Records, now located at No. 6, Whitehall." It is clear, as Mr. Hewlett points out, that these inventories, " validated as they are by the signatures of the Commissioners, possess an authority at first hand which belongs to no other evidence relating to the King's pictures." They come down to the date of the King's death, whereas Vanderdoort catalogued the Whitehall and St. James's pictures in 1639, and they include all the royal palaces and residences. On the other hand the descriptions (as furnished in Mr. Hewlett's specimen extracts) are unduly laconic without being precise, the attributions, save in the case of famous pieces, are often entirely left to the imagination, and the measurements are also wanting. The writer of the present notice has not been able to consult these inventories at first hand, but he has found at the South Kensington Museum another inventory which, less the crabbed English, appears to be in substantial agreement with them, so far as it goes. It is entered in the catalogue of the Art Library as follows : " Charles I. Inventories of the pictures, plate, jewels, statues, with their valuations, as possessed by King Charles I., and appraised during the Commonwealth, &c. (time of 54 "tHE PICTURE GALLERY OF CHARLES L sale, 1 649-1 653). A well- written official MS., folio (rmtl!^ n^^^.^.nn (.RAEHH. Y although Hampton Court claims it as No 60 in the Historical Catalogue. A Piece of Music, by Giorgione (appraised in the Commonwealth Inventory at ;^ioo) is the Concert, No. 144 at Hampton Court, there ascribed to Lorenzo Lotto. It bears a striking resemblance to the greatly superior and better preserved Three Ages of Man at the Pitti Palace, there also given to Lorenzo Lotto, but by Giovanni Morelli ranked as an original Giorgione, an attribution which must be deemed still open to question. Of the paintings by Palma Vecchio up to the present identified among the king's pictures the finest is the Madonna and Child ^ Ivan LcrmoliefF, Die Galerien von Muncken und Dresden^ p. 286. THE PICTURE GALLERY OF CHARLES L 89 adored by Saints^ No. 115 in the Hampton Court Gallery. This was described as a Palma both in Vanderdoort's Catalogue and the Common- wealth Inventory ; appraised at ;,^200, it fetched £22^. Among the sacred works of " Old " Palma to be found in England there is nothing so beautiful or so characteristic. The Holy Family with St. Bridget (No. 79), nominally put down to him in the same collection, is a washed-out repetition with some slight variation of a famous early Titian Holy Fiimil'j with St. Bridget. Copy of a picture by Titian. Hampton Court. From a photograph by Messrs. Spooner i^ Co. in the Prado Gallery of Madrid, where, until quite recently, it was catalogued as a Giorgione. In Charles's collection was also to be found a Palma which has enjoyed the highest celebrity among his productions. This is the Lucre tia killing Herself (No. 338 in the Vienna Gallery), a superb example of female loveliness, such as the Venetians prized, and one rendered doubly attractive, too, by the dramatic passion which spiritualises its sensuous character. A better and more authentic example, however, than the popular Vienna picture is the one in the Borghese Gallery 90 THE PICrURE GALLERY OF CHARLES L at Rome, now removed to the Villa Borghese, though its reputation with the general public is not so great. Of the magnificent Portrait of Andrea Odoni^ by Lorenzo Lotto, dated 1527 (No, 148 at Hampton Court), there remains nothing new to be said. It was in Van Reynst's collection, and formed part of the Dutch Portrait of Andrea Odoni. By Lorenzo Lotto. Hampton Court. From a photograph by Messrs. Spooner &' Co. gift to Charles II., but we cannot yet trace it in the gallery of his predecessor. The Portrait of a Man in a Red Girdle (No. 92 at Hampton Court), as a Pordenone, is superb in force and grasp of character. There is something in the execution, however, and especially in the rUE PICrURE GALLERT OF CHARLES I. 91 landscape background, suggesting less a true Venetian than a northern hand schooled to paint in the Venetian style. The eyes dazzle when we come to the Titians, and pass in review the masterpieces owned by Charles, and now alas ! for the most part the glories of foreign galleries. The master of Cadore is to be seen from those early days in which the Bellini, and afterwards Giorgione were his inspiring influences, through the period of his long and splendid maturity, in the latter part of which an undisguised sensuousness makes itself felt, on to the not less splendid .period of his prolonged old age. Its extreme period, however, in which the master painted sacred subjects with a passion, an awe, almost a fear, for which there is no parallel in the earlier works, can only be understood at Venice and Madrid. As belonging to this last class in the king's collection it is difficult to point to anything beyond the ultra-passionate St. Margaret with the Dragon^ now No. 469 in the Prado Gallery. The earliest Titian in our collection, and one of the earliest known to exist is the Pope Alexander VI. recommending the Bishop of Paphos {Baffo) to St. Peter., now in the Antwerp Gallery. Here the student may, as in no other extant example of the master — save perhaps the early Virgin and Child at Vienna, known as La Zingarella — trace his artistic origin, and mark how in the Alexander VI. he recalls Gentile, in the St. Peter Giovanni Bellini, and in the kneeling bishop or admiral Jacopo Pesaro — he was, it appears both — his contem- porary and master, Giorgione. This picture has the added interest that we can date it pretty accurately. The detested Borgia, Alexander VI., died on the i8th of August, 1503, and after that date no Italian painter would have ventured to reproduce his effigy, unless he cared to run the risk of having his picture torn to pieces. The beautiful canvas. No. 452 in the Louvre, fantastically named there Alfonso of Ferrara and Laura de" Dianti^ was called in the Commonwealth Inventory, Titian's Mistress after the Life., and described at length by Vanderdoort with a false attribution to Permensius (Parmegianino). Somewhat later in style than the Vanity., of Munich, it ranks with and above it as a supreme present- ment of Venetian loveliness of the more material order — such a one as Palma himself has hardly equalled.^ The Entombment., No. 446 in the 1 In the S.K.M. Inventory (Whitehall) as " Pope Alexander and Seigr. Burgeo (Borgia) his son." Appraised and sold by the Commonwealth at ;^ioo. 92 THE PICTURE GALLERT OF CHARLES L Louvre,-^ is one of the world's greatest pictures, and to describe or to praise it anew would be almost an impertinence. Titian in the full splendour of his early maturity still shows here his artistic descent from Giorgione. Scarcely less noble or less well known is the Supper at Emmaus^^ No 443 in the I.ouvre, in which the sublime mansuetude of the Christ between the disciples shows the highest level of mature yet not over- ripe Venetian art. An early portrait by Titian is the superb though injured half-length, No. 149 at Hampton Court — there without reason called Alessandro de Medici — than which, injured though it is, it would be difficult to point to a more subtle or powerful piece of charac- terisation in the whole portrait gallery of the master. Like the Andrea Odoni, it belonged to Van Reynst, and returned to England in the Dutch gift, but we can only conjecture that it may have been one of King Charles's Italian acquisitions. He owned among his pictures ascribed to Vecellio a repetition of the famous St. Sebastian^ in one of the wings to the great altar-piece painted in 1522 for the Church of SS. Nazzaro e Celso, at Brescia, This clever, contorted academic study, inspired by the art of Michelangelo, and taking physical agony as its key-note, was deemed by Titian, as we are told, the best thing he had ever done. Such a repetition of the St. Sebastian belongs to Earl Wemyss, and has been seen at the Old Masters'. Its background does not, however, quite agree with that in the King's picture, in which the saint is described as bound to a pillar. The great full- length Charles V. with a White Dog^ now No. 453 in the Prado Gallery, where it adorns the Sala de la Reina Isabel., was the picture brought by Charles as Prince of Wales from Madrid. Though dimmed and injured, it still presents the Emperor with that grandeza., that undemonstra- tive dignity above vulgar display, of which the Hapsburg princes in the Spanish branch had the secret. Presented to Charles at the same time, as has already been recounted, was the great Jupiter and Antiope^ No. 449 in the Louvre, and universally known as the Venere del Pardo. Exception may be taken in it to the breaking up of the 1 Sold by the Commonwealth at the unaccountably low price of ;^I20. Louis XIV. obtained it from Jabach for 3,200 francs (Lafenestre). ■^ Appraised by the Commonwealth at £600. 2 Appraised in the Commonwealth Inventory at ^5°° 5 sold for £6^0. f^ ^ O =^ :& cq ■<-» Si "^ C ■^ ^ Qj 1^ sT ->~r « <^ ^ V ■a •^ >s •-> "^ >-> ^ g 1 ^ ^ P-s ^ -^ w ~^' _^ — ^ ■^ ^ ^ cq ^ — ^ -<5 •-, ■»^ Q t" -J Q^ V ^ cq g 94 1'HE PICTURE GALLERY OF CHARLES L composition into two distinct halves, but the rich leafy landscape shows the master at his best. The beautiful figure of the sleeping An- tiope contains nearly as pronounced a reminiscence of Giorgione's great Venus at Dresden, as does the more famous of Titian's two Venuses in the Tribuna. The same model which served for this last piece and the Bella di Tiziano^ at the Pitti, may be detected in the painter's Toung Girl wrapped in Fur, No. 473 in the V^ienna Gallery, which came too with Charles from Spain, and had its place in his collection. It may have suggested to Rubens his famous Helene Fourment in a Fur Mantle, also in the Vienna Gallery. Another but a very doubtful Titian from the Collection, now to be found in the Vienna Gallery, is the Portrait of a Man in Three Aspects (No. 244) catalogued by Vanderdoort as " Three heads, one full-faced and two side-faced .... being all three done from one that was a jeweller." We have a Duchess of Mantua, by Titian, in the Commonwealth Inventory estimated at {^^o, and identical no doubt with Vanderdoort's. If so, it cannot be that great portrait of Isabella Gonzaga, which is No. 476 in the Vienna Gallery, the costume of which does not at all agree with this description, while there is proof that it was not one of the pieces sent to England, it being ascertained that it was at Mantua in the beginning of the seventeenth century, and was there copied by Rubens. There was, however, in Charles's collection, and is now No. 1 177 in the Vienna Gallery, a copy by Rubens of yet another portrait done by Titian of the great Marchioness, which does exactly answer to Vanderdoort's description, and it thus appears probable that the king possessed one of Rubens's wonderful copies, which passed for the original. A superb example of the late time is the so-called Allegory, No. 451 in the Louvre, showing Don Alonso Davalos (or d'Avalos), Marques del Vasto, with his wife and two children, as the Common- wealth Sale Register puts it, " representing Mars, Venus, and Cupid." No. 471 in the Prado Gallery at Madrid is the Marques del Vasto haranguing his troops, undoubtedly the same picture which Vanderdoort refers to in Charles's collection as The Marquis of Vangona (sic), but showing in the two principal figures such disproportions as to arouse the suspicion that it cannot be from the master's own hand. The large Repose in Egypt, No, 472 in the Prado Gallery, was also one of the CJ 2D 'J ■t* V, Si '^ S «\ «%, V. •C ^ s? ii ^ -^ ■<5 ^ »c> -> c •-) Si ^ k; bs 5^ J^ -j^ (^ •^ ■<; ■-^ <^ 5i <3 ,*^ ^1 ^ r^' b^ I02 THE PICrVRE GALLERY OF CHARLES I. reflected by his follower, is more excusable than that to Paolo Veronese, with whose manner the work shows few if any real points of contact. There was, moreover, among the King's pictures a " Prometheus chained to the Rock^ by young Palma," sold by the Commonwealth for £2^,. This is now No. 774 at Hampton Court, and so far as an opinion can be formed by examining the picture where it hangs, in the darkest of dark lobbies, the ascription is a justifiable one. There is great power in the design, in which Palma recalls this time Titian, and especially the master's similar canvas at Madrid. Many things are in the catalogue of the Royal Collection attributed to the Veronese painter who became the most sparkling and brilliant of all the Venetian colourists, and renewed the art of Venice by a stimulating infusion of that of Verona ; but the writer confesses himself unable to identify among those any canvases of importance undoubtedly from the brush of Paolo. No. 534 in the Prado Gallery is a Marriage of Cana^ of important dimensions, bought on the dispersion of Charles's pictures, and ascribed to the master. The King owned among other things a little Pharaoh's Daughter and the infant MoseSy which must have been very similar to the beautiful, though much injured painting in the Prado Gallery, the dimensions of which are not much greater. The subject was> by reason of its sumptuous adjuncts, one of the most popular of its class with the followers of Veronese. The picture of Faith in a white habit with a Communion cup in one hand . . . (Vanderdoort, p. 136) is evidently copied from the beautiful figure, all shimmering in its silver draperies, which appears in Paolo's masterpiece in the Doges' Palace — the resplendent canvas in which he commemorates Venetia's share in the Lepanto victory. It is unfortunately impossible to refer in detail to the other Venetian pictures in the collection, including interesting examples of Bernardino Licinio, the Bonifazi, Paris Bordone, various members of the Bassano group, Schiavone, and the Veneto-Brescian Savoldo, as to many of which valuable information will be found in the Hampton Court Catalogue. It will suffice to enumerate, among many other things at Hampton Court, the so-called Family ofPordenone and Lady Playing on the Virginals^ both by Bernardino Licinio ; the so-called St. Ignatius Loyola^ a noble portrait, ascribed not without reason to Tintoretto ; the important Christ with the Woman of Samaria^ by Bonifazio Veronese II.; the very remark- THE PICTURE GALLERY OF CHARLES L 103 able Shepherds' Offerings by one of the Bassanos, probably Leandro, since it is harder and less transparent than Jacopo, the head of the school, generally is ; The Deluge^ by one of the same group ; the fresh and brilliant Diana and AcUon^ absurdly ascribed to Giorgione ; the Warrior in Armour (called Gaston de Foix)^ and the Holy Family with two Donors^ both by Savoldo, and both of them original replicas of pictures respectively The Expulsion of Heresy. By Palma Giovine. Hampton Court. From a photograph by Messrs. Spooner iff Co. in the Louvre and the Turin Gallery. Savoldo was one of the very few masters of the great time who undoubtedly did repeat themselves in this fashion. The Magdalen, of which original versions, differing in colour, are at Berlin and in the National Gallery, is another case in point. Dosso Dossi is a Ferrarese, and yet Venetian art did so much to shape his style that he follows here most appropriately upon the Venetians themselves. The so-called St. William Armed has already been discussed I04 THE PICrukE GALLERY OF CHARLES L as one of his most characteristic works, and as a picture which, while almost invariably passing under a wrong name, has enjoyed an extra- ordinary popularity. It has been noted that it was catalogued by Vander- doort as a Michael Coxcie, by the Commonwealth as a Giorgione. and rightly given in King James's catalogue as a Dosso. As already pointed out, Charles may possibly have possessed two editions of the work — the original and one of the Netherlandish copies, such as those in Vienna.^ The imaginative eccentricity of Dosso is characteristically if not happily exhibited in the large Holy Family ^ (No. 97 at Hampton Court), a picture which was in the Mantua inventory of 1627, and also in that of the Commonwealth. The rare vein of serio-comic poetry, which lends enchantment to conceptions like the Circe of the Borghese Gallery, serves to impart to the sacred subject here fantastically treated in the same style, a strange and repellent novelty. Next to Charles's Titians — nay, before them if we were to judge only by the prices which they afterwards attained — were his Correggios, forming a series of mythological and allegorical subjects for which it would be hard to find a parallel in any collection. The Jupiter and Antiope (No. 20 in the Louvre), if we must account it a conception, the refined sensuousness of which is not elevated by the magic of the higher imagination — by such a vein of poetry as Giorgione and, some- times as a reflection from him, Titian infused into their outwardly more realistic productions of the same class — is at any rate one of the marvels of pure painting at its highest. Not inferior in this respect must have been once the familiar Education of Cupid in the National Gallery, though it has not the fascination of the ruined Leda of Berlin or the Dana'e of the Borghese Gallery.^ No. 276 at Hampton Court is the charming Holy Family with St. James, in Correggio's early, but not earliest manner, since it dates after that landmark of the first style the great Virgin with St. Francis at Dresden. The St. Catherine Reading (No. 281 at Hampton Court), in respect of which modern criticism is, notwithstanding certain obvious weaknesses of execution, inclined to 1 Vanderdoort could scarcely have called this original, with its pronounced, disc- like halo, " Charles Audax, Duke of Bur gundy. ^^ 2 Valued at £,%o ; sold for ;^ioo, 2 This great picture was for a time in the collection of the Duke of Bridgewater, and afterwards in that of Henry Hope, before it was acquired by the Princess Borghese. The Education of Cupid. By Correggio. National Gallery. io6 THE PICTURE GALLERY OF CHARLES L maintain the name of Correggio, is not conclusively shown to have been in Charles I.'s collection, though it was in that of James II. The King did not possess the original of the Mystic Marriage of St. Catherine^ now in the Louvre ; but at any rate he owned a good copy of it, presented by the Duke of Buckingham, which it is not, however, safe to identify with the feeble Mystic Marriage of St. Catherine (No. 245 at Hampton Court). In this last the copyist has wholly left to the imagination the martyrdom of St. Sebastian in the background, to which Vanderdoort specially refers as being in the Duke of Buckingham's copy. No two paintings in the Royal Collection were described with such care and minuteness by Vanderdoort as the two celebrated temperas by Correggio, The Flaying of Mar sy as and An Allegory^hoth. of them at the Louvre, in one of the suite of galleries devoted to cartoons and drawings. His description is (p. 76) : "One large and famous picture painted upon cloth in water-colours, kept shut up in a wooden case, where they are tormenting and flaying Marsyas . . . ." And again: "Item. The second, another the like piece in water-colours of Anthony Correggio, being an unknown story containing four entire figures in a landskip, and four angels in the clouds . . . ." The two pieces are also in the South Kensington Museum Inventory as A Satire Flead (sic) and Another of the same (a quaint mode of avoiding difficulties of interpretation) — the high price of ^1,000 each, which, indeed, they fetched, being set against them. By far the finer work of the two is the Marsyas., which is above all remarkable, apart from the harmonious rhythm of the compo- sition and the usual tours de force in the way of foreshortening, for the expression of blood-lust, of an implacable cruelty, in the beautiful, androgynous creatures who execute the behests of the offended god.^ In the Allegory the group of angels in the clouds is in design one of Correggio's most audacious effects, but the composition, as a whole, is confused and ungraceful, and its execution, whether in the landscape or the figures, appears much less convincingly the master's own than that of the companion piece. Vanderdoort (p. 97, No. 6) catalogues as by Correggio, " a high, ^ It must be noted that Signor Corrado Ricci, the able Director of the Parma Gallery, has, in his new Life of Correggio, named the two pieces Vice and Virtue — a designation more convincing in the latter than the former case. THE PICTURE GALLERY OF CHARLES J. 107 narrow piece, being a standing St. John Baptist, holding in his left hand Holy Family with St. James. By Correggio. Hampton Court, From a photograph by Messrs. Spooner i^ Co. a cane-cross, and with his right hand pointing forwards, which piece the King brought from Spain (5 ft. i in. by i ft. 8 in.)." We have here io8 THE PICTURE GALLERY OF CHARLES L evidently either the original or one of the numerous copies of the St. John the Baptist on one of the wings of the lost triptych, painted by the master for the high altar of Santa Maria della Misericordia at Correggio — the centre showing Christ the Redeemer, and the other wing St. Bartholomew} The name of Parmentius, or Pernentius, or Parmensis — intended in each case to designate Parmegianino — occurs frequently in the Royal Catalogue and the Inventories, generally, however, in relation to pictures erroneously ascribed to the great, if mannered, Parmese painter, whose influence was so wide and so pernicious in and outside Italy. A genuine example from the Royal Collection is, however, among others that might be cited, the St. Catherine, now No. 444 in the Vienna Gallery. In dealing with the paintings of the sixteenth century produced by Northern artists of the Netherlandish, German, and French schools, it has been found convenient to include two panels of Albrecht Diirer which, properly speaking, fall within the limits of the fifteenth century. These are the pictures presented by the city of Nuremberg, through the Earl Marshal, Lord Arundel, to Charles I. One is the well-known Portrait of the Painter by himself y dated 1498, and now No. 13 16 in the Prado Gallery, of which there exists a fine repetition in the Painters' Gallery of the Uffizi. The other is the Portrait of Diirer s Father, dated 1497, of which the original is in the collection of the Duke of Northumberland at Syon House, an old copy being in the Munich Gallery, and another in the Staedel Institut at Frankfort. Our admirable Portrait of a Young Man, No. 589 at Hampton Court, is a genuine example of the Nuremberg master, which until quite recently has been strangely neglected by modern criticism. It was in Vanderdoort's catalogue as "A red-faced man's picture without a beard . . . ," and it is stated in Mr. Law's Historical Catalogue that hidden within the frame is the usual monogram, with the date 1506. It is the more easy to accept this date as the genuine one, seeing that the style of the picture shows the influence of Venetian portraiture as it was developed under the influence of Antonello de Messina. The characterisation is here far truer, the 1 The St. John is engraved in Corrado Ricci's Antonio Allegri da Correggio, &c., which may be consulted for further particulars. Portrait of a Toting Man. By Albrecht D'urer. Hampton Court. From a photograph hy Messrs. Spooner ^ Co. no THE PICTURE GALLERY OF CHARLES I. painting more homogeneous than in such sensational examples of por- traiture as the Diirer by himself^ of 1500, at Munich, and the famous Hieronymus Holzschuher of Berlin. Charles's Holbeins do not appear to have equalled either in number or quality the great collection of the Earl of Arundel, which had been enriched from former Royal collections and out of the King's own store. Nevertheless there may be traced among them — apart from the purely historical pieces now at Hampton Court, which were catalogued in his name in later times as covering the whole school — a number of the Bale painter's most interesting portraits. The John Reskemeer of Cornwall^ No. 610, at Hampton Court is too familiar to need description. The Elizabeth, Lady Vaux, No. 591, which is accepted as a genuine original by Woltmann and other authorities is, in the opinion of the writer, not more than a good old copy of the picture at Prague. It is in all probability the latter, and not the Hampton Court panel, which was The Picture of Madame de Vaux, by Holbein, in the Duke of Buckingham's collection. It has been seen that many of the pictures originally belonging to that nobleman passed into Archduke Leopold William's collection, and that some of these last remained at Prague. The Frobenius, on the other hand (No. 603 at Hampton Court), though not accounted an original by Woltmann, has very serious claims to be admitted as a genuine work of the earlier Bale period, while the Erasmus (No. 597 ibid.), though it was, as we are told, arranged as a diptych with its companion-piece by Erasmus himself, intending a memorial to his dead friend, cannot for a moment be accepted as such.^ The Duke of Buckingham secured the Frobenius and Erasmus from the well-known collector and agent, Michel Le Blon, and pre- sented them to Charles, as we learn from the following inscriptions in the handwriting of the time on the back of the former : " This picture of Frobonus was delivered to his M'. by y' Duke of Buckingham (before he went to the) Isle of Ree." The pictures were enlarged for the King, and the backgrounds then repainted with elaborate architectural additions by Steenwyck, which may, to a certain extent, account for the difficulty in deciding whether Holbein's own hand is to be traced in both or one of them, or as Waagen and Woltmann hold, in neither. The 1 This pair of pictures were sold by the Commonwealth for ;^ioo each. THE PICTURE GALLERY OF CHARLES L iii Erasmus of the Salon Carre — the only rival of which, as a presentment Portrait of Frobenius. By Holbein. Hampton Court. From a photograph by Messrs. Spooner 55" Co. by Holbein of the great humanist, is the panel at Longford Castle — has been fully dealt with in a previous section. The Sir 'Thomas 112 THE PICTURE GALLERY OF CHARLES L More with a black cap and furred gown with red sleeves of Vander- doort's catalogue, has been identified notwithstanding certain differ- ences of dimensions, with the noble portrait of 1527 in the Huth collection (No. 99 in the Tudor Exhibition), of which there exists in the Prado Gallery a fine copy by Rubens (No. 1609), showing, however, more of the figure than is now seen in the original. It might fairly be inferred from this that Mr. Huth's picture has been cut down since it was in the Royal Collection. The Portrait of a Goldsmith of the Stahlhof (Hans van Antwerpen .?) now at Windsor Castle was in Charles's collection, as were the two beautiful miniatures by Holbein, depicting children of the Duke of Brandon, also to be found there. The admirable little Picture of Ciueen Elizabeth when she was young to the waist in a red habit ^ . . . called "a Whitehall piece by Holbein," and until lately at St. James's Palace, from whence it has been removed to Windsor, is no Holbein but probably the work of an accomplished Netherlander. The great fresco painting done by Holbein at Whitehall of Henry VIIL with Jane Seymour and Henry VIL with Elizabeth Woodville^ would naturally, as an integral part of the decoration, remain unnoticed by Vanderdoort. It perished utterly in the great fire of 1698, but luckily the Flemish artist, Remigius van Leemput, had by order of Charles II. made from it, in 1667, the excellent little copy which is No. 601 at Hampton Court. This usefully supplements the original cartoon by Holbein for the side of the fresco showing Henry VIII. with Henry VII. above him,^ which is all that remains of one of the master's most famous works. The splendid dueen Jane Seymour of the Vienna Gallery had in King Charles's time already found its way into the collection of Emperor Rudolph II. at Prague. Mabuse is represented by his Children of Christian II. of Denmark^ No. 595 at Hampton Court, the original of many repetitions. The picture cannot even now quite shake off the erroneous designation The Children of Henry VIL given to it in later times. The large Italo-Flemish Adam and Eve^ No. 385 at Hampton Court, is next to the much earlier Adoration of the Kings at Castle Howard, the most important example of this master's art to be found in England. 1 No. 195 at the Old Masters in 1880 as a Holbein. 2 No. 42 at the Tudor Exhibition (collection of the Duke of Devonshire). rHE PICTURE GALLERY OF CHARLES L 113 It serves, notwithstanding, the astonishing precision of the execution, to show how much Mabuse deteriorated when, like many of his most skilful countrymen of the same transitional period, he strove to speak Adam and Eve. ' By Mabuse. Hampton Court. From a photograph by Messrs. Spooner y Co. in a tongue foreign to him, and to assume the suave graces of the Italian Renaissance. Another very similar work by the Master of Maubeuge is the Adam and Eve of the Berlin Gallery, in which col- lection is also a Neptune and Amphitrite of the same late type, signed H 114 1'HE PICTURE GALLERY OF CHARLES I. and dated 15 16. In the collection of Charles I. was also to be found another picture ascribed to Mabuse — -the very curious altar-piece with ne Conversion of St. Matthew., now in the Royal Collection at Bucking- ham Palace. It is said to have formed part of the booty taken by the Earl of Essex in his expedition against Cadiz in 1596. The King's collection included the two superb portraits by Joos van Cleve — Sotto Cleve, Clef le Fol, Foolish CI eve, as he was then variously called— of the painter himself and his wife, the same which are now at Windsor Castle. This artist, one of the greatest Flemish painters of the early sixteenth century, has fallen a little out of the knowledge of our time, chiefly because his recognised pictures are so few, and must be sought for mainly at Windsor and Munich, or in the Uffizi. An effort has very recently been made to identify him with that prolific and accomplished painter, but elusive artistic personality, the Meister des Ixodes der Maria., but on grounds which appear but remotely connected with the style and technique of the still anonymous Nether- lander who painted at Cologne in the first quarter of the sixteenth century, and there acquired certain German characteristics. Among the French pictures in the Collection may be mentioned the two portraits of Mary Queen of Scots, in her white robes as widowed Queen of France, both derived from the same original drawing by Francois Clouet in the Bibliotheque Nationale of Paris, the better of which is to be identified as the picture — now at Windsor, and formerly No. 631 at Hampton Court — known as Le Deuil blanc. A replica of this panel is in the collection of Mr. Alfred Morrison. The finest example of the French art of the period in England is the Eleanor of Austria^ second consort of Francis /., No. 561 at Hampton Court which cannot at present be traced in the Royal Collection earlier than the reign of Charles II. Unattractive as the faithful portrait of a Hapsburg princess will inevitably be, it is of the most precious workmanship, and has serious claims to be considered an original by Jean Clouet — the real Janet. The picture, like many others at Hampton Court, was until quite lately in an alarming state, threatening its very existence as a work of art ; it has now been properly cared for, with the result that it stands forth, one of the most remarkable portraits in the gallery. The curious Allegorical Picture of dueen Elizabeth^ which is No. 6^$ THE PICTURE GALLERY OF CHARLES L 115 at Hampton Court, is the Piece of Queen Elizabeth^ Juno^ and Pallas^ sold by the Commonwealth for the modest sum of j/^2. The frame, which is the original one, bears on it the following compliment, which, outrageous as it was, must have been quite to the taste of the Virgin Queen : — "Juno potens sceptris et mentis acumine Pallas; Et roseo Veneris fulget in ore decus. v Adfuit Elizabeth, Juno perculsa refugit ; Obstupuit Pallas, erubuitque Venus." Another point of interest about this unlovely piece is to note how De Heere, a true Netherlander of the sixteenth century — of the school led by Frans Floris — is bent on " Italianising " in allegory, but the moment he touches portraiture regains his feet and falls into the true style of his country. Ascribed to Federigo Zuccaro is the Clueen Elizabeth's Giant Porter^ No. 20 at Hampton Court, retained there by Cromwell as one of the curiosities of the Palace, and undoubtedly by the Italian painter the curious Calumny of Apelles^ No. 394 there. These pieces should of course have been mentioned under the section dealing with Italian art. CHAPTER IV THE SEVENTEENTH CENTURY. It is again necessary, in order to confine this notice within the prescribed limits, to take a great leap, omitting altogether most of the minor and some of the major luminaries of painting in the seventeenth century, who found a place at King Charles's court or in his collections ; or at the best contenting ourselves with the passing reference to some of them, which is to be found in the preceding pages. Thus we must perforce abstain from all comment on the pictures by and attributed to Van Valkenborgh, the Breughels, Roelant Savery, Michiel Janson, Mirevelt, Paul Brill, P. Neefs, Daniel Seghers, Jan Torrentius of Haarlem, Henry Pot, Breenberg, among the contemporary masters of the Netherlands. A bald record of the fact must suffice that Charles possessed a little Adam Elsheimer, The Witch with Cupids^ No. 733 at H 2 ii6 THE PICrURE GALLERY OF CHARLES L Hampton Court, besides pictures by Rottenhammer. But scant courtesy can be shown even to such painters, more immediately under the King's patronage, as Daniel Mytens, Cornelius Janson van Ceulen, Gerard Honthorst, Steenwyck the younger, Poelenburg, Van Bassen, Peter Oliver, Michael Cross or Miguel de la Cruz, Dobson, " Old " Stone, Hanneman, and Van der Faes, better known as Sir Peter Lely (the last of the arrivals). We must pass over too in silence the sculptors — even the grandiose chief of the Barocco School, Bernini, and those able craftsmen Le Soeur and Fanelli — and the enameller Petitot, whose training at the court of Charles I under the influence of Van Dyck prepared him for the great position which he afterwards took up at the court of Louis XIV. The unquestioned head of the later Bolognese School, Guido Reni, was represented among other things by the Venus attired by the 'Three Graces^ presented by William IV. in 1836 to the National Gallery, and now transferred to the National Gallery of Scotland at Edinburgh. Originally from Mantua, and duly catalogued as such among the King's possessions, were the four large canvases with Labours of Hercules^ now in the Long Gallery of the Louvre ; they are in Guido's earlier and more robust manner. Catalogued as by the Bolognese caposcuola were further a Judith and Holofernes and a Head of St. Peter. The powerful leader of the Naturalists, Michelangelo da Caravaggio, was represented by the vast Death of the Virgin^ now also in the Long Gallery of the Louvre, as well as by a curiously-named picture Dorcas lying Dead, appraised at ^£150, and sold for ;£ 170. The seventeenth-century Roman painter Domenico Feti — not easily recognisable at first under his transformed name Phetti — was copiously represented in the Royal Gallery. There are still to be found at Hampton Court from the brush of this artist, who was painter-in- ordinary to the Duke of Mantua — -the same who afterwards negotiated the sale of the Mantuan Collection to King Charles — an eccentric David with the Head of Goliath (No. 151), and a series of 'Twelve Saints (No. 506), seven of which, if not all, were Mantua pieces. Among the numerous works commissioned of Daniel Mytens by Charles L, several will be found accurately described in the Historical Catalogue of Hampton Court. Perhaps the one most intimately con- rHE PICrURE GALLERY OF CHARLES L 117 nected with the Stuart King, and certainly the one which stands forth most distinctly above the level of the painter's sincere and skilful, but cold and prosaic portraiture, is the fine, and for Mytens, unusually sympathetic Charles I. of the Turin Gallery, painted in 1627, and furnished with a splendid architectural background by Steenwyck. Hardly less imposing is the portrait-group at Buckingham Palace, showing, about the same date, the royal pair, Charles and Henrietta Maria ; a replica of this last being in the collection of Lord Galway. The King possessed an early portrait of Rembrandt by Himself^ which is thus described in Vanderdoort's catalogue : " Item. Above my Lord Ankrom's door the picture done by Rembrandt, being his own picture and done by himself, in a black cap and furred habit, with a little gold chain hung upon both his shoulders, in an oval and square black frame (2 ft. 4 in. by i ft. 11 in.)" This in all the details, in the oval form, as in the dimensions of the canvas, agrees very well indeed with the Portrait de Rembrandt^ No. 413 at the Louvre, painted in 1634. The catalogue being drawn up in 1639, ^^^ portrait would have just had time to get into the Royal Collection. This is one of the series which depicts the young painter of Leyden in all the energy and passion of his quickly achieved success, just at the moment when he had made Saskia his bride. He is decked out in all the fantastic splendours with which he loved to adorn his own person, and still more that of his new wife. The Louvre catalogue does not trace the picture back beyond the collection of the Due de Choiseul. Vanderdoort's catalogue further records, as works by Rembrandt pre- sented, like the last-named portrait, to King Charles by Lord Ankrom (Ancrum .^), two other pieces. One is described as "A young scholar sitting upon a stool, in a purple cap and black gown, reading in a book by a sea-coal fire . . . . (5 ft. i in. by 4 ft. 3 in. This is singularly like a Rembrandt, VEtudiant, described by Olaf Granberg in his work Les Collections privee de la Suede^ as being in the Ugglas collection, and by him praised as a masterpiece ; unfortunately, however, the dimensions of the two canvases do not agree. The Old Woman^ as catalogued by Vanderdoort, recalls more than one extant picture of Rembrandt's mother. The Man s Head and the so-called Prospect of Greenwich (?) which the ii8 rHE PICTURE GALLERY OF CHARLES L South Kensington Inventory connects with Rembrandt's name have already been referred to. What chiefly surprises the student who remembers Rubens's con- nection, first with the Duke of Buckingham, then withj Charles himself, is the comparative paucity of his works in the Royal Collection, that is considering the opportunities of which Charles might during the lifetime of the Antwerp master have availed himself. In 1640, at the death of Rubens, the horizon was already black and threaten- ing. The king, to whom the catalogue of Rubens's pictures and effects was duly sent, could no longer come forward as a purchaser ; he was at that time reduced to cutting down the salary and the prices of his favourite Van Dyck, and he had not, as we must infer, the spirit or the credit to compete with the many illustrious connoisseurs who were attracted bv the rich and varied succession. Philip IV., whom we have learned to look upon as the incarnation of impassive and frozen correctness, had all the same a most pronounced taste for Rubens's latest and least draped nudities, such as the blond, dazzling Three Graces, and the great Judgment of Paris, of the Prado Gallery ; and he, even more than his brother, the Cardinal- Archduke Ferdinand, was the great patron of Sir Peter Paul's closing years. After his death the Spanish king purchased from the succession the colossal St. George of the Antwerp master's early time, now in the Sala de la Reina Isabel of the Prado, and it is from thence, too, that he obtained the sumptuous Adam and Eve, and Ra-pe of Europa, copied from Titian in Madrid. One might have imagined this last huge canvas to be the Great St. George, of Vanderdoort's catalogue, had it not been that the picture remained among Rubens's possessions down to the time of his death. The one other Great .St. George is the Buckingham Palace picture (badly hung and badly seen), in which the warrior has the features of Charles I. and the St. Cleodolinda, those of Henrietta Maria. There is the strongest presumption, based upon the subject itself, and the models chosen by the artist, that this last work was painted, or at any rate designed, in England, and that it passed into King Charles's possession. M. Rooses does not exactly controvert, but yet he does not maintain this view. But to what Great St. George by Rubens can we point besides the two pictures just mentioned.^ The exhaustive catalogue of M, THE PICTURE GALLERY OF CHARLES I. 119 Rooses himself gives no other complete picture of this subject. The famous and extraordinarily popular Rubens by Himself^ at Windsor, has already been discussed at length. The large, ugly Daniel in the Lions' Den was in the Hamilton Palace collection, and has since its dispersion been seen again in the auction-room. The same robust model served for the prophet here, and for the nude St. Sebastian in the magnificent work at Berlin, in which the saint appears bound naked to a tree. The Peace and War^ of the National Gallery — more accurately de- scribed as Minerva Protecting Peace Against War — has also been noticed as a canvas painted in England in 1629-30, and presented to the King. We have seen that Rubens's copy of one of Titian's portraits oi Isabella d'Este Gonzaga was in all probability catalogued in the Royal Collec- tion as an original by the Venetian master. Still unidentified is the Portrait of the Duke of Mantua's Brother^ painted by Rubens during his sojourn at the Mantuan court. The Woman in Blacky in Vanderdoort's catalogue, is not the fine Isabelle Brant, now at Windsor Castle. This last portrait, a drawing for which, formerly in the Peel collection, is now in the National Gallery, remained together with the Chapeau de Paille {Poil), of the National Gallery, and the Prairie de Laeken, in the possession of Rubens's descendants, and was not united to that of the lady's magnificent spouse, until it was purchased by George IV. in 1820. It has been shown that the Judith and Holofernes, which belonged to Charles when he was Prince of Wales, and was by no means one of his most treasured possessions, is to be identified with the very exaggerated version of the subject, painted in the master's early time, and engraved by Corn. Galle. Among the original sketches for the Whitehall Ceiling are the Apotheosis of James I. and James Designating Charles as King of Scotland, at the Hermitage, the Religion Crowned by a Genius, in the Lacaze section of the Louvre, and the Benefits of King Jameses Govern- ment, in the Academy of Arts at Vienna. None of these, however, came into the King's possession. The Birth of Venus (^Design for a Silver Dish), now No. 1195 in the National Gallery, was together with a companion Design for a Ewer, painted by Rubens for Charles I. It is a very characteristic example of his mode in purely decorative work — finely balanced for all its Flemish exuberance, and well adapted for realisation in silver repousse relief I20 THE PICTURE GALLERY OF CHARLES I. It appears unnecessary to enumerate over again the great canvases by Van Dyck v^^hich v^-ere done for the King and retained to adorn the Royal residences. If Sir Anthony did not until he reached the climax of his last English manner, achieve that wonderful silveriness of tone, that delicate radiance of colour, or that supreme elegance which we admire in the Turin l^hree Children of Charles I. and the best portraits of the same time, or the more daring brilliancy of the Rachel Countess of Southampton^ his earlier styles had their own deeper pathos, perhaps in a way their more solid merits. Of the first Flemish manner, that which was marked by an exaggerated brutality in passion such as a gentle nature sometimes brings forth when forced against itself. King Charles had nothing to show. This particular style is best seen in the Galleries of Madrid, Dresden, Munich, and Berlin. Of the darkly-glowing, stately Italian or Genoese style, as it is exemplified in the Dorchester House Lady of the Balhi Family, and Lord Cowper's Children of the Balbi Family^ there was again no example. To illustrate the accom- plished Italo-Flemish style which marks Van Dyck's return to Antwerp, and the resumption by Rubens of a part of his influence, we have the charming Madone aux Perdrix^ of the Hermitage, a canvas of im- posing dimensions once in Lord Orford's collection at Houghton, as were among many other things those two other Van Dycks of the Hermitage, the pendant portraits of Charles and his Queen, given to Lord Wharton. To this period belongs, besides the Nicholas Laniere already more than once mentioned, the Henri Liberti^ organist of the Cathedral of Antwerp — that curious presentment of the smooth-faced, golden-haired musician, which is catalogued without its name, yet so as to be easily recognisable, by Vanderdoort. Of this there exist versions at Munich, at Madrid, and in the collection of the Duke of Grafton, the first-named being the best. The Catalogue gives further among the court-painter's pictures owned by the King a Portrait of Count Henry Vandenburgh (Van den Berg) done by Van Dyck beyond the Seas. There is a portrait answering to this description at Windsor Castle, and a magnificent original of the same design — one of the most virile performances of the artist — in the Prado Gallery at Madrid. The Portrait of Van Dyck by Himself at Windsor Castle has been generally identified with that catalogued by THE PICrURE GALLERY OF CHARLES L 121 Vanderdoort. This Windsor piece M. Max Rooses deems, however, to be an original though injured portrait of the pupil by the master, Rubens, completed perhaps by another hand. He seeks to identify it with the Vandycke in a Dutch Habit, which was in King James II. 's Gallery as a Rubens. That collection contained, it must be remembered, besides the above, a '' Van Dyck by Himself.'' To this second Flemish time must belong too the Rinaldo and Armida, which has been identified with the picture No. 141, in the Louvre, but may very likely turn out to be the more important and quite different version in the collection of the Duke of Newcastle (No. 19, at the Van Dyck Exhibition of the Grosvenor Gallery). Yet another piece of this type and period is the less important Cupid and Psyche, No. 663, at Hampton Court. That most imposing portrait d'apparat, the Princess of Phalsburg with a Negro Page, though painted in Flanders, belongs in time (1634), as in style and colouring, to' the English period.^ 'The Duchess of Richmond as St. Agnes, a picture which may have given Sir Joshua Reynolds the first idea for a class of masquerading portraits which are by no means his most admirable, is in the Van Dyck room at Windsor. Pet worth holds the Lady Shirley in a fantastic habit supposed to be a Persian habit described by Vanderdoort. Then we have the Prince Charles-Louis and Prince Rupert, No. 144, in the Louvre, once in Charles's Gallery as The King s Nephew, Prince Charles, Elector Palatine, together with his brother. Prince Robert. It is one of those portrait-groups of two noble youths, in which the painter so often excelled, although in more complicated arrangements of figures he as usually failed. No painter has depicted the ingenuous grace of fresh, unsullied youth with the sympathetic intuition shown by Van Dyck ; and to be convinced of this we need only recall those yet more beautiful portrait-groups, the Lord John and Lord Bernard Stuart, in the two distinct versions belonging to the Cowper and Darnley collections re- spectively. The Duke of Buckingham and his Brother (reproduced on page 59) now at Windsor, and formerly among King Charles's pictures, 1 It has generally been identified with the full-length in the collection of the Earl of Carlisle. A splendid original by Van Dyck, answering in all respects to Vanderdoort's description, was contributed by Lord Ivcagh to the Old Masters in 1892. Is this the same or another picture ? 122 rHE PICTURE GALLERY OF CHARLES I. is another instance in point. The two beautiful boys, sons of the comely George Villiers, win all hearts by their brave yet modest bearing. To quite a different order of portraiture belongs the Mistress Lemon^ of Hampton Court, that voluptuous siren who metamorphosed herself into a vengeful fury when the gentle favourite of Charles slipped from her bonds, and obeying his sovereign's behests, plighted himself to Lady Mary Ruthven. In this undisguisedly sensuous mode of presenting the physical charms of woman, based on one phase of Venetian portraiture, and that the least admirable, we find already in the bud the whole art of Lely, which was twenty years later to bear blossoms so brilliant, so heavily scented, so coarse. More noteworthy from the historical standpoint than pictorially attractive is the Procession of the King and the Knights of the Garter on St. George' s Day, a design done by Van Dyck as a preparation for the great decorative paintings which he was to execute, but never did paint or even commence, in the Banqueting House of Whitehall. This was engraved by R. Cooper, in 1780, and is now in the collection of the Duke of Rutland. The weak spot in the armour of the supremely accomplished artist is here only too apparent. He cannot compose with the requisite variety in unity a multitude of figures on the same plane, and thus his frieze-like painting would have been of an exasperating monotony, which not even brilliancy of colour could have wholly redeemed. If King Charles had counted among his proteges a painter like Teniers, who, while he filled the office of keeper of the Archduke Leopold William's magnificent collection at Brussels, over and over again painted the saloons of his palace, with the pictures, for the most part now in the Vienna Gallery, as they hung on the walls,^ we might have a better idea than we have of the Royal Collection as it actually appeared when dis- tributed among the palaces of Whitehall, St. James's, and Hampton Court, at Somerset House, and in the minor royal residences. Still better would it have been could the art-loving prince have commanded for such a purpose the services of that marvellously patient Netherlander, anonymous as yet, who under the fantastic title of the Studio of Apelles^ has rendered a gallery of pictures (some originals, some, ^ For Teniers's pictures of this class, see the galleries of Vienna and Munich. 2 Royal Gallery of the Hague, No. 227. THE PICTURE GALLERT OF CHARLES I. 123 as we must assume, copies) with such marvellous skill that the learned compilers of the new Hague catalogue have been able to identify every single work in the collection, including the Carondelet of Sebastian del' Piombo, the pictures by Quentin Matsys in the Louvre and the Staedel Institut of Frankfort, the Venus blindfolding Love of the Borghese Gallery, &c. The Flemish temperament of Teniers forces its way unconsciously through, whether he paints the l^hree Philosophers of Giorgione, the Ecclesiastic of Catena, a Sacred Conversation by Bonifazio, or a Deposition by Lorenzo Lotto. This anonymous craftsman, inferior to him as an artist but greatly superior as a copyist, is absolutely impersonal and absolutely veracious. Let us imagine for a moment — and the effort of imagination required is after all not a very great one, or the case pre-supposed at all improb- able — let us imagine the stars less inauspicious, and King Charles adding to his own great collection the brightest jewels of the Duke of Buckingham's gallery, begun before his own and prematurely brought to a standstill by the assassination of the splendour-loving nobleman in 1628. Under happier circumstances, and with a better filled ex- chequer, the King would certainly not have allowed the art treasures of his favourite to slip from his grasp when he was sending so far afield to add to his own store. Let us see then whether the two collections com- bined would not have constituted a whole eclipsing in magnificence and artistic worth all the royal and private galleries of the King's own time, or the succeeding century ; whether on its own ground the whole thus made up has been surpassed, or even equalled, by the greatest of the public galleries, as they are to-day — by the galleries of the Prado, of the Uffizi and the Pitti, of the Louvre, of the Accademia at Venice, by the Dresden Gallery, the Hermitage, the National Gallery, the Berlin Gallery, or the Alte Pinakothek of Munich. It has been seen how the Qiuattro cento was necessarily, and for obvious reasons, scantily represented. Still, the Royal Collection could show on its walls the finest purely decorative work of that period at its climax, the 'Triumph of Julius Caesar of Mantegna; and not the hopeless wreck which now at Hampton Court excites even more regret than admiration, but a series of temperas, bright and pure, in their sharply contrasted tints, and marked by that austere beauty peculiar to the master, which we may 124 THE PICTURE GALLERY OF CHARLES I conjure up for ourselves by a study of such late works as our Madonna and Child with Saints at the National Gallery, or the Vierge des Victoires and the Parnassus of the Louvre. The Cartoons of Raphael have already been estimated at their true worth, and luckily they remain the greatest artistic treasure of the British Crown. We may no longer maintain La Perla in the commandmg position claimed for it by the king's contemporaries, or agree with Philip IV., when he calls it the pearl of his collection. We may not set upon the avowed productions of Giulio Romano the high value which the seven- teenth century evidently attributed to them. But none would be found to deny the artistic value of the St. Petersburg St. George by Raphael, or of the Little Madonna with Christ., if indeed it was, as the writer has ven- tured to surmise, the Vierge de la Mai son d' Orleans. The King possessed in the St. John the Baptist, of the Louvre, a work which many connois- seurs of authority are still content to accept as from the hand of Leonardo da Vinci, besides a certain number of Milanese paintings of minor interest. What gallery of to-day of those most famous for their Correggios, save perhaps that of Parma — as rich in sacred as the gallery of Charles was in mythological works — can show a group surpassing the Jupiter and Antiope, of the Louvre, the two great temperas Marsyas, and An Allegory ( Vice and Virtue F) of the same gallery, the Education of Cupid, of the National Gallery, and the Holy Family with St. James, of Hampton Court .^ In those days England possessed, in the Concert Champetre of the Louvre, what she has no longer, a real and admirable Ginrgione ; to say nothing of the Giorgionesque Shepherd with the Flute of Hampton Court, and other school-pieces. But after all the Titians were the great glory of the King's gallery, and as a group united in one collection they have never again been equalled, even by the marvellous series in the Prado Gallery, or those only less admirable collections of works by the master, to be found in the Louvre, the Imperial Gallery of Vienna, the Accademia of Venice, and the Uffizi. Imagine the Twelve {or eleven) Emperors hung on the second line as splendid decorations, together with some of the less satisfactorily certi- fied Titians, of which a selection only have been enumerated. Then, below, the Baffo presented to St. Peter by Alexander VL, the Entombment of the Louvre, the less admirable Entombment of Vienna (Duke of THE PICTURE GALLERY OF CHARLES L 125 Buckingham), the Supper at Emmaus^ the so-called Alfonso of Ferrara^ and Laura de Dianti^ the so-called Alessandro de Medici of Hampton Court, the full-length Charles V. of Madrid, the Venere del Pardo of the Louvre, the Girl in the Fur Cloak of Vienna, the Marques del Vasto with his Family of the Louvre, the great Ecce Homo of Vienna (Duke of Buckingham), the Venus, the Herodias or Salome, the St. Margaret with the Dragon of Madrid, the Portrait of the Painter by Himself also there ; to say nothing of imposing but more doubtful examples, such as The Marques del Vasto haranguing his Troops, and the large Repose in Egypt in the same rich gallery, and the St. Sebastian repeating the figure in the Brescia altarpiece. In addition to this unexampled series let it be remembered that England held at the same moment the great Cornaro Family of the Venetian master, now belonging to the Duke of Northumberland, but then in the possession of Van Dyck, from whose representatives it was acquired by the ancestor of the present duke. A copy of this picture made by '-'■ Old " Stone, probably for Charles I., is No. 444 at Hampton Court. The three splendid Tintorettos already enumerated, represented his fervent unrestrained genius as finely as it is represented in any European gallery outside Venice ; leaving out of the question for the present all the works attri- buted to him, and those, not less numerous, which were given to Paolo Veronese, especially in the Duke of Buckingham's catalogue. As to these last it will be time to speak when they have been more satisfac- torily identified. Comment has already been made on the curious circumstance that Rubens should not have been more splendidly represented in the Royal Collection. The pictures belonging to Charles, supplemented by those at least equal to them, belonging to Buckingham, would have made up, all the same, a sufficiently representative show, though not one that could compare for a moment with the groups of works by the Antwerp master, now in the galleries of Antwerp, Madrid, Munich, and Vienna. Van Dyck as a portrait-painter shone, we have seen, with an un- rivalled splendour, though the would-be-brutal art of his earliest time and the sombre, courtly portraiture of his Italian manner were unrepre- sented, while the second Flemish style was only moderately illustrated. Windsor Castle retains much in its Van Dyck Room, but one would like 126 THE PICTURE GALLERY OF CHARLES L to reclaim from Turin its incomparable T'hree Children of Charles I. ; from Dresden its fine copy, by Lely, of the most royal portrait burnt at Whitehall ; to win back from the Louvre that precious ornament of the Salon Carre, Le Roi a la Chasse, and T'he Elector Palatine with Prince Rupert; from the Hermitage the Madone aux Perdrix, a beautiful example of Van Dyck's sacred art, which would be the more precious to us because that side of his artistic personality is only to be studied in the galleries of the Continent. Regrets are, no doubt, vain things, and we shall be told that our country in the eighteenth century, and the earlier part of the nineteenth, gained, in the wonderful private collections of many illustrious families, an equivalent for what she lost when Charles's pictures were scattered ; when many of Lord Arundel's most famous possessions remained per- manently abroad ; when the Duke of Buckingham's collection was almost wholly absorbed by foreign buyers. Still, to recall that England held, though only for a short quarter of a century, collections of pictures and works of art in many respects above rivalry, and as a group certainly without any equal in their own time ; to see how, deliberately loosening her grasp on them, she enriched eager rivals whose gain has been permanent, is — it must be repeated, though the cry should become monotonous — even now to suffer an intolerable pang. INDEX Albano, 45 Amsterdam Museum, 8 Anguissola, Sophonisba, 9 Anne, Queen, 62, 64 ,, of Bohemia, 66 Antwerp, 37, 47, 58, 91 Arconati, Galeazzo, 20 Arras, 29, 30 Arundel, Earl of, 12, 14, 15, 32, 58, 75, 108, Barberini, Cardinal, 28 Barlow, Francis, 46 Barry, Madame du, 43 Bassani, The, 15, 17, 102, 103 Bathoe (his Catalogue), 51, 18, 69 Bellini, Giovanni, 69 Bembo, 98 Berensen, Bernard, 88 Berlin Museum, 8, 18, 43, 96 Bernini, 40, 41, 46, 116 Blenheim, 14 Bockelts, Jan, 62 Bonifazi, The, 102 Bonsignori, 56 Bordone, Paris, 102 Borgia, Alexander VI., 91 Bosch, Hieronymus, 75 Bourbon, Elisabeth de, 19 Bramante, 56 Bramantino, 56 Brant, Henry, 33 ,, Isabella, 119 Brescia (SS. Nazzaro e Celso), 92 Bridgewater House, 21 British Museum, 10 Bronzino, 56 Brownlow, Lord (his Collection), 99 Brunswick Gallery, 17 Brussels Museum, 8, 22, 29, 55, 58 Buckingham, Duke of (George VilHers), 16 — 18, 22, 27, 32, 33, 46, 49) 51. 57> 58, 60, 106, no, 118 ,, (his Collection), 57 — 61 Buckingham Palace, 6, 38 (note), 114, 117, 118 Butler, Mr. Charles (his Collection), 99 Cambridge, 33 Campi, Bernardino, q8 Cantelmo, Sigismondo, 71 Caravaggio, Michelangelo da, 45. 116 ,, Polidoro da, 30 Cardenas, Don Alonzode, 49, 50, 51 (note) Carducho, Vincente, 21, 46 (note) Cariani, Giovanni, 87 Carleton, Sir Dudley, 15 — 17, 22, 24, 27, 28, 32 Carpenter (his Notices of Van Dyck), 30 Carracci, The, 30, 45, 99 Castiglione, Baldassare, 77, 81 Catherine II. (of Russia), 43 Cellini, Benvenuto, 9 Chantilly Collection, 72 Charlecote Manor, 80 Charles II. (of England), 43, 49, 64, 90, 112, 114 Charles V. (Emperor), 20, 29 Chiaravalle, 56 Chigi, Agostino, 30 Choiseul Collection, 117 Christina of Sweden, 49, 55 (note) Clement VIII., 30 Cleve, Joos van, see Van Cleve Cleyn, Francis, 46 Clouet, Francois, 114 ,, Jean, 1T4 Coello, Sanchez, 9 Contarini, Taddeo, 54 Cook, Sir Francis (his Collection), 62 Cooper, Richard, 122 ,, Samuel, 46 Correggio, 11, 20, 21, 28, 30, 38, 104, 106 —108 Costa, Lorenzo, 9, 29 Cottington, Sir Francis, 20, 21, 34, 50 Cowper Collection, 121 Coxcie, Michael, 56, 104 Craven, Lord (his Collection), 22 Crescenzi Collection, 20 Cromwell, Oliver, 48, 49 Cross, Michael, 21, 46, 116 Crowe and Cavalcaselle, 81, 99 Crozat Collection, 21, 43 Cruz, Pontoja de la, 20 Danby, Earl of, see Danvers Danvers, Lord, 17 Darnley, Lord (his Collection), 21, 121 Decritz, Emanuel, 46, 49 Dobson, William, 116 Dorchester House, 120 ,, Lord, see Carleton Dossi, Dosso, 55, 56, 78, 103, 104 Dresden Gallery, 8, 38, 40 (note), 43, 58, 60, 61, 66, 78 Duart, 58 Dudley Collection, 61 Diirer, Albert, 11, 12, 14, 50, 64, 108 Elizabeth, Queen, 10 ,, Queen of Bohemia, 18, 32, 33, 46 _ Elsheimer, Adam, 113 Espina, Juan de, 20 Este, Isabella d', 8, 29, 44 Evelyn, John, 11, 27 Fanelli, Francesco, 46, 116 Ferrara, Duke of, 71 Feti, Domenico, 45, 61, 116 Florence (Uffizi), 26, 108 Flores Davila, Marques de, 21 Fontainebleau, 9 Francia, Francesco, 67, 68 Franciabigio, 84 Francis I., 9, 10 Francken, see Vranckx Frankfort-on-the-Main, 14, 56, loS Franks, Sir A., 65, 66 Frizzoni, Gustavo, 61, 64, 86, 88 Frosley (painter), 30 Fures y Munoz, Geronimo, 20 Galle, Cornelius, 119 Galway, Lord (his Collection), 117 Gautier, Th6ophile, 85 Gerbier, Sir Balthasar, 19, 21, 23, 24, 26, 31. 34. 37. 38, 49. 55 Geldorp, George, 37 Genoa, 30 Gentileschi, Artemisia, 31 ,, Orazio, 22, 30, 31, 32 The, 45 George IV., 119 Gherardo dalle Notti, see Honthorst Giamberti, Francesco, 64, 67 Giampetrino, 85 Gibson, Richard, 46, 53 Giorgione, 54, 56, 61, 87, 88, 103, 104 Glasgow Gallery, 60, 62 Gonzaga Collection, 27 — 29, 69, 70 ,, Isabella, see Este ,, Vincenzo, 27 Gower, Lord Ronald, 22 Graham-Gilbert Collection, 61 Grammont, Marquis de, 21 Greco, El, 62 Greenwich Palace, 5, 31, 45, 47, 51, 54 Guarienti, Pietro, 60 Hague, The (Royal Museum), 6, 8, 55, 62, 65, 96, loo, 119 Hampton Court, s, 6, 11, 19, 20 (note), 28, 30—33, 46—48, 51, 54, 56, 66, 68, 69, 7r, 75, 80, 84, 86 — ^89, 90, 92, 99, 100, 102, 104, no, 112, 114 — 116, 121 Hanneman, Adriaen, 65, 116 Hanover (Provincial Gallery), 14, 99 Haro, Don Luis de, 50, 96 Harrison, Colonel, 49 Heemskerk, see Van Heemskerk Heere, Lucas de, 10, 15 Hemessen, see Van Hemessen Henrietta Maria, 41, 45 Henry VIL, 75, 77 „ VIIL, 9, 10, 14, 48 ,, (Stuart), Prince of Wales, 11, 27 (note), 52 Hewlett, Mr. Henry, 47, 49 (note), 53, 74 Hilliard, Nicholas, 10 Holbein, Hans, 10, 12, 14, 24 (note), 26, 62 64, 65, 85, no, III Holland, Lord, 33 Hollar, Wenceslas, 12, 14, 66 Honthorst, Gerard, 32, 33, 116 Hope Collection, 60 Hoskins, John, 46 Houghton, 41, 120 Howard, see Arundel, Earl of, and Nor- folk, Duke of Huth Collection, 112 Hutchinson, Colonel, 49 Hyde, Sir Edward, 50 Isabella, The Infanta, 33, 34 Jabach, Eberhard, 49, 84, 85, 87, 92 James I. (note), 11, 19, 22, 30 (note), 51, 62, 64, 65, 121 Jamesone, George, 46 Janet, see Clouet Janson, Cornelius, 11, 116 Jones, Inigo, 16, 47 Jordaens, Jakob, 45 Justi, Carl, 21, 50 128 INDEX Kingston Lacy Collection, 8i Labrador, Juan, 20 Laguerre, Louis, 69 Laniere, Clement, 49 ,, Jerome, 49 ,, Nicholas, 26 — 28, 36, 37, 49 Law, Mr. Ernest, 11, 85, 108 Lely, Sir Peter, 38, 40 (note), 116, 122 Leo X., 9, 29 Leoni, Leone, 9 ,, Pompeo, 9, 20 Leopold William, The Archduke, 49, 54, 58, 59. 75. 85, 100, no Le Sceur (sculptor), 46, 116 Leyden, see Van Leyden Licinio, Bernardino, 48, 102 Lievens, Jan, 36 Longford Castle, 38, 60, in Lotto, Lorenzo, 88, 90 Louis XIIL, 24, 85 ,, XIV., 28, 85, 87, 92 (note), 116 „ XV., 43, 44, 49 Louvre, The, 6, 9, 14, 20, 28, 36 (note), 40, 61, 77, 81, 84, 85, 87, 91, 92, 103, 104, 106, 116, 117, 119, 121 Luini, Bernardino, 85, 86 Mabuse, 112, 114 Madrid, 10, 14, 17, 18, 28, 33, 50, 51, 57, 81, 84 ,, (Alcazar), 99 , ,, (Escorial), 21, 100 ,, (Prado), 6, 18, 21, 72, 78, 83, 87, 91, 92, 94, 96, 102, 108, 118, 120 Mantegna, Andrea, 9, 28, 29, 48, 66, 69, 72. 75 Mantua, 8, 27, 29, 30, 70, 72, 80, 84, 86, 94, 116 ,, (Palazzo del Te), 96 ,, Duke of, 80, 116 Maratta, Carlo, 45 Maria, The Infanta, 17, 18, 22 Marlborough House, 31 Mary (Stuart), Queen, n ,, (Tudor), Queen, 10 Mathias of Hungary, 9 Maximilian I., Emperor, 9 Mazarin, 28, 49, 67 McArdeil, James, 23 Medici, Lorenzo de', 9 ,, _ Marie de', 44, 67 Messina, Antoneilo da, 56 Michelangelo, 56, 60 Michiel, Marcantonio, 9 Mierevelt, Michiel, 46 Milan (Ambrosiana), 20, 72, 85 Miles Collection, 55 Modena, 38 Morelli, Jacopo, 9 ,, Giovanni, 61, 78, 88, 96 Moro, Antonio, 9, 10 Mortlake, 30, 81 Munich, 108 Miintz, Eugene, 29 Mytens, Daniel, n, 19, 26 (note), 36, 116, 117 ,, Johannes, 65 National Gallery, 8, 28 (note), 33, 36, 40, 62, 72, 87, 100, 104, 116, 119 ,, Gallery of Scotland, 116 Newcastle, Duke of (his Collection), 121 Nonesuch House, 5, 47, 54, 55 Norfolk, Duke of, 12 Northbrook, Lord (his Collection), 41 Northumberland, Earl of, 58 ,, Duke of (his Collection), 108 Nuremberg, 108 Nys, Daniel, 26, 27, 69, 80 Oatlands Park, 5, 47, 51, 54, 55 Oggionno, Marco d', 86 Oliver, Isaac, 10 ,, Peter, 46, 116 Orleans Collection, 80, 85 Orrente, Pedro, 20 Oxford, 12, 82 ,, (Christ Church), 75, 99 Palma Giovine, 100 ,, Vecchio, 88, 89 Parmegianino, 11, 91, 108 Pass, De, 19 Passavant, 66 Pembroke, Earl of, 14, 86 Perugino, 9, 29 Peterborough, Lord, 49 Petitot, 46,"ii6 Petty, William, 12 Petworth, 121 Philip II., 9, 20 ,, I v., 17, 19, 20, 21, 37, 50, 51, 96, 118 ,, v., 21 Piombo, Sebastianodel, 60, 84 Piero di Cosimo, 64, 67 Poelenburg, Cornelis, 46, 116 Pontormo, 56 Pordenone, 90 Porter, Endymion, 27, 28 Portland Collection, 19 Prague, n, 58, 60, 66, no, n2 Primaticcio, 9 Raphael, 9, 14, 28, 29, 30, 48, 50, 55, 60, 77, 78, 80, 81, 82 Rembrandt, 46, 54, 81, 117 Reni, Guido, 30, 116 Richard II., 66 Richelieu, Cardinal, 27 Richter, Dr., 88 Ridolfi, 100 Robinson, Sir J. C, 62, 66 Romano, Giulio, 30, 78, 81, 84, 96 Rome, 32, 45 ,, (Borghese), 90 Rooses,Max, 17 (note), 24 (note), 26 (note), 61, 118, 119, 121 Ro.sso, Giambattista, 20, 84 Rottenhammer, 116 Rubens, 16, 17, 21, 24, 26, 29, 30, 33, 34, 36, 37. 45, 55, 56, 58, 60, 61, 67, 72, 8r, 94, 118, ng Rudolph II., n, 30, 57, loo, 112 Ruston, Mr. J. (his Collection), 61 Rutland, Duke of (his Collection), 132 Sadeler, 99 Sainsbury, W. Noel, 7 (note), 15 (note), 22, 28 (note), 31, 34, 36, 37, 45 Saint James's Palace, 5, 17, 30, 47, 51, 53, 80, 1 1 2 ,, Petersburg, 6, 21, 6r, 77, 96, iiy, 120 Sandrart, 32 San Gallo, Girolamo da, 64, 67 Santos, Padre de los, 51 Sarto, Andrea del, 9, 28, 50, 61, 83, 84 Saville, Anne, 15 Savoldo, 55, 102, 103 Schiavone, Andrea, 15, 102 Scharf, Sir George, 51 Shene (Royal Chapel), 75 Sint-Jans, G. Van, see Van St. Jans Smith-Barry Collection, 86 Somerset, Earl of, 15, 47, 51, 54, 88 South Kensington Museum, 81 .Strafford, Lord, 41 Steenwyck, 19, 46, no, 116 Stone, Henry, 47 ,, Nicholas, 47 „ "Old," n6 Sussex, Earl of, 49 Syon House, 14, 108 Terborch, Gerard, 46 Thiers, Baron de, 43 Tintoretto, 15, 28, 50, 51. 100, 102 Titian, 9, 15, 20, 21, 24, 28, 29, 49—51, 54 — 56, 61, 85, 91, 92, 94, 96, 99, 100 Trevi.so, Girolamo da, ic Trumbull, William, 17 Turin (Royal Gallery), 19, 30, 31, 103, 117, 120 Ugglas Collection, 117 Valavez, 26 Van Aelst, Pieter, 29 Van Bassen, 116 Van Belcamp, John, 48, 49 Van Cleve, joos, 114 Van Dalen, 62 Vanderdoort, Abraham, 5, 14, 28 (note), 30, 44, 46, 47, 51—54. 69, 72, 73, 77, 80, 84, 86, 88, 89, gi, 94, 96, 99, 102, 104, 106, 112, 117, n8, 119 Van Dyck, 19, 22, 23, 30, 37, 38, 40, 41, 43, 51. 99, 118, 120, 122 Van Hemessen, Jan, 56 Van Leemput, Remigius, 49, 112 Van Leyden, Lucas, 64 Van Reynst, 49, go, 92 Van St. -Jans, Geertgen, 75 Vansomer, Paul, n, 19 Vasari, 64, 80 Vatican, The, 29 Vega, Lope de, 19 Velasquez, 18, 19, 37 (note), 46 Veneto, Bartolomeo, 61, 69 Venice, 9, 15, 27, 54, 69, 87 Veronese, Paolo, 15, 50, 102 Vertue, George, 5, 51, 52, 56 Vicenza (Casa Loschi), 56 Vienna (Academy), ng ,, (Gallery), 6, 14, 21, 50, 54, 56, 58, 59, 61, 75, 81, 84, 85, 88, 89, 94, 100, .108, 112 Vinci, Leonardo da, 9, 20, 24 (note), 60, 64, 85, 86 Vorsterman, 36 Vranckx, Sebastian, 55 Waagen, 66, 86, no Wallace Collection, gg Walpole, Horace, 16, 47, 51, 52, 80 Webb Collection, 4g Wemyss Collection, g2 Westminster, Duke of (his Collection), 38 Wharton, Lord, 41, 120 Whitehall, 5, 16, 30, 33, 34, 40 (note), 41, 47. 51, 53. 54. 80, 112, iig Wickhoff, Franz, 54 William III., 62, 65, 6g Wilton Hou.se, 14, 65 Wimbleton House, 5, 47, 51, 54, 55 Wind.sor Castle, 6, 14, 23, 26, 38, 40, 41, 43, 4g, 112, 114, 119 — 121 Wither, George, 4S Woltmann, no Wotton, Sir Henry, 15, 27, 32, 58 Wroxton, n Yarborough, Lord (his Collection), 62 York House, 30, 47 Zoan Andrea, 72 Zuccaro, Federigo, 115 iM.i. "^"'CH BORROWED LOAN DEPT .05 4e date J^LfcS."??' ^eW. or Renewed books renewed. ^_Z^^ to immediate recall (l-1795sl0)476B YD 01976 F^-^ 8402