Archaeologia: Miscellaneous Tracts
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ARCHAEOLOGIA: OR, MISCELLANEOUS TRACTS, &C. I.—Remarks on a Portrait in the possession of Earl Stanhope, P.8.A. represent- ing the Empress Leonora of Portugal, mother of Maximilian I. By GEORGE SCHARF, Esq. F.S.A., with additional observations by AUGUSTUS WOLLASTON FRANKS, Esq. V.P., in a Letter to Mr, Scharf; together with Notes on a Portrait in the Dresden Gallery, by DR. JULIUS HUEBNER, Curator of that Gallery. Read May 23rd, 1867. I FEEL much honoured by permission to offer a few words upon the curious and finely-preserved portrait of the Empress Leonora, mother of the great Maxi- milian, which our noble President exhibits before the Society this evening. It had for some time been supposed to represent one of our English monarchs living after the middle of the fifteenth century, and the words " Henry 6th," although written in somewhat recent characters on the back of the oak panel, tended considerably to strengthen that impression. The arched crown was favourable to the name which had thus been suggested. The richness, however, of the jewellery, and the peculiar construction of the crown, combined with a singular arrangement of lacing the dress in front of the neck, had always excited considerable feelings of uncertainty as to the correct- ness of the attribution. The very long rich brown hair, and the golden damask robe, patterned with crimson and faced with white fur, were peculiarities of costume somewhat hard to reconcile with the more generally known portraits of our English monarchs of that period. VOL. XLIII. B 2 Portrait of the Empress The picture (of which a chromo-lithograph is given in Plate I., reduced to a scale of two-thirds of the original,) may be described as a bust-portrait, with the face seen in three-quarter view, turned towards the spectator's right. The long flowing rich brown hair gives a decidedly feminine appearance to the face. The countenance is beardless, and very handsome. The eyes large and full, of a deep brown colour, and with strongly-defined eyelashes to the upper lids. There is no lustre or sparkling light in the eyes, and their white partakes strongly of a blueish tinge, which may generally be considered as a foreign characteristic. The eyebrows are of a deep brown colour and gracefully arched; although the cheeks are very pale, the lips are deep red, full, and classical in form. Some of the delicate tints on the face have most probably faded. The dress is entirely grounded with gold, and enriched with that crimson line- ornamentation of the sharp-pointed foliage and fish-scale pattern, so prevalent in connection with the pine-apple and pomegranate on brocades of the fifteenth and sixteenth centuries. The background is intensely dark brown. The precious stones in the crown, principally blue and crimson, are imperfectly cut, some being left almost entirely in the cabochon condition. The plain gold arches of the crown support rows of pearls, which also stud the lower circlet; but these are of a great size, alternating with coloured stones. , The central portion of the circlet round the head is composed of ovals of gold interwoven, or laced, like the links of a chain, with pearls upon them, producing an original and very graceful effect. The pearls are carefully painted, but with a singular translucency and glassy yellowness of colour, resembling rather an ordinary white currant than the beautiful surface so peculiar to the pearl itself. At the summit of the crown, where the arches meet, is a large and very brilliant ruby set in a broad band or hoop of gold, seen sideways. In the centre, over the forehead, is a large deep blue stone, set in gold and surrounded externally by an oval of small pearls. Notwithstanding the effeminate character produced by the long flowing hair and smooth beardless face—peculiarities common to all the known portraits of Edward the Fourth of England—it may be observed that there is no decided development or feminine appearance about the breast. The light is admitted upon the face, as usual in the majority of pictures, from the left-hand side, and somewhat from behind, so that the front ridge of the nose and the whole of the left cheek are thrown into deep shade. The depth of this Vol XLUi. PI \ y From a Picture in the possession of the Earl Stanhope. THE EMPRESS LEONORA b. 1434. - d. 14 6 7. P/ih/i.shed In/ //w Society of es of London . ffi7O. Leonora of Tor tug al. 3 mass is very cleverly relieved by a reflected light, which we may still further remark upon when we come to consider the artistic qualities of the picture. Whilst recently entrusted to the hands of Mr. Merritt, the well-known picture restorer (whose skill has already rendered considerable service towards the im- provement of the pictures on our walls), some letters were observed projecting through the dark background along the upper part of the picture on each side of the large ruby surmounting the crown. As the operation of cleaning advanced, the letters became much more distinct, and finally the words LEONORA ATJGUSTA were revealed in capitals of a slender and graceful form in a soft white or cream- like colour. The discovery of this inscription immediately afforded the desired clue to the person represented. Leonora Augusta could only mean the Empress Leonora, and the style of art clearly fixed the date and showed that the person represented must be the daughter of Edward King of Portugal, and wife of Frederic of Austria, who was elected Emperor in 1440. The foreign and elaborate character of the jewellery and the extreme delicacy of the face were at once accounted for. On reference to other professed portraits of this empress the same peculiarities of costume were recognised, and will after- wards be mentioned. On the personal history of this lady, and that of her imperial husband, a few passing observations will probably suffice. Leonora of Portugal, celebrated for her beauty, daughter of Edward King of Portugal, and great-granddaughter of John of Gaunt, was born September 8, 1434, and married to the indolent Frederic of Styria in 1452, who appears to have been the James I. of that period. He was surnamed Pacificus, and spent his whole time in the study of astrology, cultivating his garden, and the scholastic amusement of capping verses. This inert being was nevertheless destined to reign over the empire for a period of fifty-three years. The lady met her intended husband at Siena, in the presence of iEneas Sylvius, then bishop of that city," and they both proceeded to Borne, to be crowned by the Pope Nicholas V. A few days afterwards they proceeded to Naples, where the marriage was celebrated with great pomp under the auspices of her uncle, Alfonso the Magnificent. The fountains of the city were made to run with wine, and tables were spread for the entertainment of 30,000 guests.5 When objections had been raised against the intended visit of an emperor to a * Milman's History of Latin Christianity, vi. 342. b MenzeFs History of Germany, translated by Horrocks, ii. 189. B 2 4 Portrait of the HJmpress king, Frederic met them by observing, that, although an emperor could not visit a king, there was no reason against Frederic visiting Alfonso.* On his way in returning to Germany, the emperor paused at Ferrara, where he created Borsi Marquis of Este, Duke of Modena and Heggio, and knighted Galeazzo, the youthful son of Francesco Duke of Milan. He was afterwards regally entertained at Venice, and quitted Italy, leaving behind him, as it is recorded, a very contemptible character both in point of understanding and liberality. The empress bore him two children, Maximilian, his illustrious successor, and Cunegunda, married to the Duke of Bavaria. On one occasion, when the Viennese revolted against the emperor, Frederic degraded himself so far as to flatter Holzer, the chief instigator of the tumult, to gain admission into his castle. Upon this the Empress Leonora said to her little son Max, " Could I believe you capable of demeaning yourself like your father, I should lament your being destined to the throne."b Max is said to have inherited the physical strength of his grandmother Cim- burga of Poland, and the mental qualities of his Portuguese mother. He surpassed all other knights in chivalric feats, and was modest, gentle, and amiable.0 The following incident, related by Archdeacon Coxe as having occurred during the progress of the Emperor and Empress from Siena to Rome, is too curiously indicative of the social condition of the people at that period, and affording the almost solitary example of intrepidity on the part of Frederic, to be passed over in silence. "When passing through the streets of Viterbo in solemn procession and great splendour a violent tumult took place. Some young men grappled with iron hooks and tore in pieces the cloth of gold under which he rode. Some of the Papal soldiers endeavoured to seize his horse, and others still more presumptuous attempted to snatch off his hat, which was adorned with a jewel of great value. In the midst of this tumult, Frederic, with more spirit than accorded with his phlegmatic character, turned towards the legates, and said, " We must repel force by force." Snatching a staff from one of his domestics, he disengaged himself from his assailants, put spurs to his horse, and charged the populace, overturning all who stood in his way. The legates followed Ms example, and the gentlemen » L'Art de Verifier les Dates, vii.