D RIC HAR D S EC O N .
PA R L I A M IZ X 'I B o n x A n n m x P R I L 3 1m 6 . D ETH R O N ED BY T B o r , A , 1 30 ,
TH E E R 1 3 9 . 30 S PT M BE , 9
1 395 u a ffi i n ‘Vc s t mi n s t er w rou h t; i n l i fe t i me A . D . . Mon ment l e gy Abbey , g his , ' “ ” H ol l i s s M o n u me n t al Efli i es l ol l - h a n d fi u re exh ib i t s From g . The g
4- 4 i c e e S ee a . the r h p a t t rn i n g u p o n his ga rm n t s . p ge D ESC R I PTI O N
O F THE
W I LTO N H O U SE DI PTYC H ,
CONTAINING
A CONTE M PORAR Y POR TRAIT
KI N G R I CHARD THE SECON D ,
B Y
A . RF . . GEORGE SCHA , F S
D I R I'X T O R OF TH E N AT ON A PO RT RA I T G A LLE R Y A N D M E M BE R O F TH E GE R M AN I L ,
A l l L i IO LO GI C A L I N STI T UT E .
C, E Y P RINTE D F O R T H E ARU NDE L S O CI T .
1 882 . [ A f go y
3 0 7
N s o longer the proPe t v of tha BOSTO N u 'l RV
’ C DH S W I C K PR E S Q C “ N I T T I N G N A M A N D C O . T K S C O L R T C H A X L BR V L A N " OO , SU M M A R Y O F C O N TEN TS .
1 a of 039 . E rliest record the Diptych ,
’ V an d er D oort s description .
a a 1 63 9 . Engr ved by Holl r ,
n In possession of Ki g Ch arles the First . h I n possession of t e E arl of C astlem a ine .
Purch a sed by the E arl of Pembroke .
Modern extern al c asing to the Diptych .
Folding tablets an d folding pictures . ’ Rega l portra its in St . Stephen s Ch a pel .
a of K n of F a . Portr it John , i g r nce
\V i a f cs t m n s t cr Abbey portr it o R ich ard II .
G ilt an d di a pered b ackgrounds .
C a nopy to the tomb of Rich a rd I I .
h t c h Description of figures on t e W ilton Di p y .
Edw ard the Conf essor .
B rocade an d E mbroideries .
1 3 1 . Costume o f Rich ard I I . in 8
- Broom cod coll a r or device . h a c fli o f t e K 1 395 . Monument l gy ing in Westminster Abbey , wrought in
- Punctured or pounced work pa tterns .
'
a f R a H . t h e Metric l History o ich rd exhibits King s l ate s t portra it .
f h i a n d t Costume o t e Virg n Angels in Dip ych .
R e d cross ba nn er .
\Vrea t h s of roses .
“f i ni te Ha rt b adges . Rem a rk able emblems in nimbus o f t he Infa nt S a v iour
t h e a a a . S t . Louis King of Fr nce dopted s me
Ex t ern a l pa intings on Diptych .
Arms of Engl a nd impal ing those o f Edwa rd t he Confessor .
The White Ha rt lodged . v i Smmn c uy/ (MCon ten ts .
Tech nica l observ a tions .
Prob able d a te of t h e p a inting . ’ Crus aders b anners . f 1 8 Th e P a p al Schism o 3 7 .
R ed Crosses on Wh ite Clo aks .
I ncitement to le a d a Crusa de . t London during h e I nsurrection of 1 38 1 .
a V ariations in Art a ccording to N tion ality .
E xcellence of Flemish p a inters before an d a fter t h e rule o f B urgundy . I llumin ations i n M a nuscripts t h e most reli a ble evidence as t o sty le a n d period .
The n a a t h e are a a cou ten nces pourtr yed i n D iptych English in ch r cter ,
n an d quite distinct from Ital ia n a d G erm a n .
i an d a a of t h e a f t h e a an d a M nuteness ccur cy copy m de rom origin l , f ith f ul ness of t h e chromolithic reprod u ction .
C hronologic al ta ble .
Index . a - i n IYe s t mi n s t e r From the l rge full length picture Abbey .
O R t h e e arliest historical account and a general explanation
o f t h e subject of this p ainting we are indebted to a de scriptive catalogue of the pictures and w o rk s of art w hich
1 639 . belonged to Ki n g Charles I . in The manuscript was
e r t h e prepared by Abraham Vander D o t , in obedien ce to
’ d n King s comman , and is preserved amo g the Ashmolean treasures in the B odleian Libra ry at Oxford . A more finished
’ o b u o f c py ( t the first portion only) , annotated by the King s
a f o l l il l n e w a own h nd , rmerly at Strawberry , is i n the R oy l 8 I Vi lton House Portra it of Richard the Secon d.
Library at W indsor . The Ashmolean manuscript has been r 1 75 7 i n of p inted in quarto, under th e supervision George
“ A C a talo u e an d D esc i t ion o Ki n Cha les Vertue , entitled g r p f g r
’ ” t he F irst s a i ta l ll t C p C o ec ion .
1 73 of The following passage , at page , near the end the
u t o ou r vol me, relates to the picture which is about occupy attention An altarpiece with t w o shutting all over gilded “ on on e doors, wherein is painted the side Richard the
n t o ou r Second sideling, k eeling in his golden robes Lady,
‘ . J besides him standing S ohn Baptist with a white lamb ,
on and King E dward the Confessor , with a ring his left
‘ n hand , standi g by, and S . Edmund with an arrow i n his
u r left hand , and upon the other door , o Lady and Christ ,
n t of and some eleven A gels all in bl ue , wi h garlands roses
o upon their heads , the badge f the white hind upon their
of o f left shoulders ; on the outside the door , the arms “ w w hi h Ed ard the Confessor , with a red hat and mantle c
sa id iece w as iv en t o t he Ki n b ir Ja mes P alme w ho p g g, y S r , ” ha d t o th Lo n n 1 9 . i f e rd Jen n i gs . Le gth foot inches
on This , it will be observed , comparison with the Chromo
n ot al lithograph , is altogether a precise description ; but lowance is to be made for the writer being a foreigner . Van
D oort i n n d der , however, had been a considerable time E glan , as he quitted the service o f the Emperor of German y Rodolph
l n of w h o I I . , and attached himse f to He ry , Prince Wales ,
i n 1 6 1 2 w as a . died . He ppointed medallist to King Charles I i n
‘ ’ S ee Bat h oc s K i n a a a 1 64 an d W a l edition of g Ch rles s C t logue , p . ; ‘ “ f ol c s l l m . 966 Da aw a an d “ orn u . p Anecdotes , edited by y , p i E a rlies t kn ow n Record of the D p tgch . 9
’ 72 o f Doort s F rom an earlier page ( ) Vander catalogue ,
w e a where the engraving is described , obtain few further
of fi IVen particulars of the history this picture , and nd that ee sl au s l - I o ll ar had at th is very time completed the engraving o f a it which is well known to connoisseurs , be ring the date
1 639 w , ith the following dedication to the King
“ ' ' S e en ass imo P ol en t iss imo et E x cel l en t iss i mo Pawn ci i C a r ol e D ei ra t in r , p , , g ,
' M a m D1 {Ita n i F ra n ci cl H ibern i R e —i F ide z d e en s ori H a s t a hcl l a s a u a g a w i e ce g f , q
o t -i semmd m a n i i a —l o l o rl bn s d c i ct a ccr i i n scn l t as H u mi l li me f r ( n n t i g a or g n l a, c p ) p “ ' " ed i a c e e a d c l n so ra l : s a us H ol l e r B o em A 1 639 cu m P i v i l i o S c . co c l l n c l h . q , ; , r g
" R e M o es l a l is g. f .
“ a 7 2 I n The entry on p ge runs thus Item , a black
u a ebony frame , a piece (from copper) printed pon p per ,
’ w w as ol d hich copied from the King s altar piece , which
’ a a his M j esty had of the Lady Jennings, by Sir James P lmer s
an of a me s , for the which , in the way exchange , his M j esty
oi gave his o w n picture in l colours done by Lemons .
of The mention of Lady Jennings, instead her husband , f and therefore , it may be inferred , his survivor , raises a di ficulty ,
o r as no lord , baronet , knight of that name existed at this
t o period . The D utch compiler is known in several instances
i n have made errors transcribing names , so that it is quite
possible th at the previo us possessor of the Diptych was Sir
cri n n R u shb re k e f w h o Thomas J y , Knight , of , S u folk , held the
offi ce of Vice - Chamberlain of the Royal Household from 1 626 1 to 639 . t Sir Thomas Jermyn was made Knight of the B ath
’
a t . a 24 1 60 3 f St J mes , July , . Instances of o ficial dignitaries
4' ’ “ Part h e s II ol l ar v ol 42 an d 1 1 2 y , . i . p. ; Austis , p . . ‘ “ " ‘ " I I a d n s of Beat s o n s “ a 1 806 1 See y Book Dignities , Politic l Index , ,
' " v ol . . . 423 a n d f 1 26 o a s t . 6 . i p , Nichols Progresses King J mes , p B 1 0 l Vil/on H ouse Por t rait of Richard the Secon d.
eff ecting such exchan ges occur not u nfrequently i n the
catalogue .
a * Sir James P lmer , through whose intervention the tran sfer
a was made , was a great f vourite at Court, and much consulted
b e on . son by the King matters of art H is , Roger Palmer ,
came Earl of Castlemaine and husband of the favourite of
. o f To Charles I I , the celebrated Duchess Cleveland . him it is
on of Gamb ari n i h said , but only I believe the authority , t at
a on King James I I . g ve this Diptych when sending him an
t o h ad embassy Rome . At all events , it wandered from the ro v al of collection , and after the death Lord Castlemaine in
1 70 5 a of July , , was purchased by Thomas Herbert, eighth E rl
h as u Pembroke , the collector , and been carefully treas red by
his descendants at Wilton H ouse ever since .
L The Earl of Pembroke 1 was devoted t o antique art . He
t h e n of C o m served i n avy , and held the appointment , F irst
mission er of the Admiralty and Lord Presiden t of the Council .
of fi I n consequence his scienti c attainments, he was elected
President of the Royal Society . It was d uri n g the period
between his resignation of the office o f Lord High Admiral
of of 1 70 2 a i n favour Prince George Denmark in , and his p
of 1 70 7 pointment as Lord Lieutenant Ireland in , that this
(l Diptych came into his collection . Lord Pembroke ied 1 733 7 7 January , , aged , and during his lifetime two de
cri t i on s of h ad . s p the relic been published The first , by “ o f of t h e John Austis , in The Register the Order Garter ,
1 4 o f u 72 . p blished in two folio volumes , i n A t the head
’ “ n d 373 a a W . . W lpole s Anecdotes , D . , p .
’ “ ” 1 1 2 i ii . 1 40 a 8 . . T Collins Peer ge , edition , vol p. i r b [f r n 1 1 D p ty ch E n g av ed y olla i 6 39 . 1
“ the section setting forth the Reason of t h e Introd uction of
“ ” O . . a 6 1 a a a the rder , vol ii , p ge , and ddressed to Thom s, E rl
a re o f of Pembroke , inserted two very imperfect engravings
a o n D w l the devices p inted the outside of the iptych , which i l
a . a 1 1 2 here fter be described At p ge , Austis refers minutely
e a a n d i n to the kne ling figure of Rich rd I L , quotes full
’ ’ Pe e li a m s L ati n expl anatory l i n es a ppended to Holla r s e n
fi‘ grav i n g As the pass age is addressed by A u stis to the the n
Di t ch possessor of the py , no reference to its former history m . Ga b ari n i would have bee n required ; but the other writer , C
a e a i n D of L ucc , gives more d tailed particul rs his escription
“ ’ ’ ” l mb rok e e s i n 8 v e . at of the Earl of Pictures , published
W estminster i n 1 73 1 .
w e a n d i n This ork is writt n confusedly very bad English .
The following p assages w ill afford a s u fii ci en t specimen of his “ a 5 T w as n style . P ge his picture given by King James 2 d
“ u a to the Lo l Castlem ine when he went Ambassador to Home .
M y Lord bought it of his Heirs after he died . The Pictures
(s i c ) since Sir Peter Lely a dvised to put on the back t hi ck
’ l i i mi n g that could not soak through , receives no Prej udice
a o n i n a i n a a as P inting the wall does even It ly as the V tic n .
“ ” a 1 41 0 an i It is d ted d etched by Holler (s c) . Hence
a o f t a n it is prob ble that the strips gil met l , with the e graved
a letters which h ve led to a great deal of needless discussion ,
h ad e a a Th e ev n then been f stened to the fr me . picture and
its o riginal mounting had been completely encased i n glass
e \V l l s aw u s n b fore a po e it . He tells i the Anecdotes of ” Pa 1 70 2 t a h e h ad a e e a inting, , h t been un bl to x mine the
S ee os t a e 40 p , p g . 1 2 Wi lton House Por ra it o c ar the S n t f Ri h d eco d. surfa ce of the painting so as to decide whether i t w as painted
m W a T h o il o r . o t e bottom o this i t u e in te pera alpole dds , f p c r
‘ are a r ed the w o ds I n v en t ion o ai n ti n i n oil fi r f p g , and he pondered over them as seriously as if they h ad been written
upon the picture itself, without arriving at any conclusion .
f ew 1 76 6 of A years later, i n , a very careful description the
“ Diptych was published in the second volume of the E nglish 1 60 Connoisseur, page , where the inscriptions are thus repro d u c e d on two brass plates on the bottom of the picture is
‘ I n n ti on o P a i ti n i l 1 41 0 This w as engraved v e f n g n oy e .
‘ a i n t d be or i n th e in n in o R i ha rd 1 377 p e f e e b g g f c . and on
“ ‘ ’ H oltar ra v d ( D ed : i t the second plate , to the right , g S
“ ' “ “ to K . Ch . 1 ( ca lls i t Ta bn ta a n ti u e o K h R i . w is 3 S q f . c
‘ " ‘ ” t ' " i n ts P a t s B a ( S a on S J . ( 2 K dm n E u d Edw . r , p S S S
0 o f on an d N notice whatever is taken the paintings th e back ,
’ no mention in either this or Walpole s work is made of any former
f n o . i n ownership the picture Gra ger , describing the plate by
i . a 1 6 v ol . 1 824 a Hollar , , p ge , edition , s ys that the original
“ o f a an c picture is in the collection the E rl of Pembroke , was
i n . the royal collection , but given by James I I to Lord
a . of i n Castlem ine A more lucid description the picture ,
a n o n eluding the br ss plates and painti gs the back , will be
“ ” u 8 1 W i 8 v o . 1 0 found in The B ea ties of ltshire , in , , written by
i . Brit t e n . a 1 92 a John (vol , p ges He lso inserts some
i n 1 0 0 m 8 . technical observations ade by M r Thomas Phillips ,
- n rt . I n 1 833 . D . a the emine t po rait painter , J Pass vant , in
“ ” n a at his K u streise , published at Frankfurt am M in , gives page 1 40 a detailed account of this picture . I I e attributes the
of of f painting to an Italian hand the middle the fi teenth century , ' D i t ch P r as b h E ar ( r 1 p y u ch ed y t e l y Pemb oke. 3 a n d a n d is reminded of the School of Fra Angelico , Cosimo
V a * a a a i n 1 835 . . . V a e n . D Rosselli Two ye rs l ter , , r G F g c re
a a fully ex mined the picture , and unhesitatingly pronounced it d a an d istemper p inting , the work of a very able Italian painter ,
i n who prob ably lived at the Court of King Richard I I . the a i n a s me manner as , the thirteenth century , a p inter from
i n W w as . Florence , named illiam , the service of King Henry I II
He mentions also that the picture was presented by James I I .
a a to Lord C stlemaine , and fterwards purchased by Thomas ,
E arl of Pembroke .
n of i t s This Diptych , duri g the short period that we know e e i n a does xist nce the roy l collection , not appear to have occupied a position of any importance . I t had indeed been only
a recently cquired , and therefore perhaps was deposited , accord
’ ing to V a nder D oort s Catalogue (page among pictures ” a n d \'Ve other things kept in store and yet unplaced . cannot
’ trace the picture i n any list of the Ki n g s works of art dis
d a e rse e l . p by ord r of the P r iament The same , also , may be s a id of the miniatures an d portraits of sovereigns which
’ a re i n D o ort s conspicuous Vander list , and are still to
r be found among the p operty belonging to the crown . From
W hitehall these treasures were transferred to Kensington
a a an d W . P l ce , finally to indsor Castle
I t would b e di fli e u l t to a llege a re ason for the transfer
a a i n o n of this Diptych to L ord C stlem ine , the occasion
e a an d of his mb ssy to Rome , no such painting is traceable i n the
' ’ l rc as u re s o f &c 3 . L 1 8 8 ol v . . 71 Art , , ondon edition , , . iii p .
‘ " ‘ L a a a of a v ol . a 526 - 530 f ord M c ul y s History Engl nd , . ii p ges . See Wright s " t he a a L 1 6 88 . Account of Emb ssy , folio , with pl tes , ond . 1 4 W ilton House Portra it of Richard the Secon d.
List of royal pictures drawn up and signed by C hi fii n ch for
a * w a s J mes II . There can , however , be no doubt that it subsequently i n the possession of Lord Castlemaine , and that his heirs sold it to the Earl of Pembroke .
Having n ow sta ted a ll that is known of the history o f this
a a reli c o u r v lu ble , it will be time to concentrate attention on the monument itself.
The general visitor to the magnificent collection a t W ilton
D i n cf n House will find this iptych , as the days its oble
an purchaser , encased in outer frame and glass , with a carved
f w division down the centre , so as e fectually to conceal hat is
a a of of re lly matter great interest , namely , the fitting together
n the two pan els , with finely constructed hi ges , which still work ,
a o f an d en able them to be folded face to face like the p ges e book .
i on t w o a a of oak all T he pa nting is sep r te panels , gilded
n ot on over , only back an d front, but their edges , and beautifully
of finished . The bed the pictures and the framework are all
of of a carved out the same piece wood , the extern l thickness of
t h e 1 i n . a frame being 12 , and each p nel sunk in the m iddle so as to leave mouldin gs inside an d outside ; reserving for the central painting a thickness n o greater than a quarter of an
of inch . The surface the wood , however, is in excellent con
dition and perfectly flat .
At this period it was not unusual to make the frame an d
a n a flat surface for p inti g out of the same piece of wood. Sever l
examples may be seen among the ol d a rch - topped portraits in
1 90 l l ' li N O . 8 il m . C h i a a . a tIi u H rlei n MSS , now in the British Museum ch
h ad a of - a t o a a n d been one of the p ges the bed ch mber Ch rles the Second , ' 3 G a . . a 1 9 Ki a . f . Keeper o the ng s C binet Closet r nger, vol v p ge T e n 1 h F oldi g Ta blets of A n t iga i ty . 5
e a e the possession of the Soci ty of Antiqu ri s of London , and
’ d o r o n e VI I . w also in the portrait of Henry , earing the Toison , i n the National Portrait G allery . I n most instances the mould ings of the frames are elegant and carved with great precision .
W ith regard to the peculiarity of construction of this
a p inting , it is certain that it never was more than a double f . I n o picture , as we see at present early works art , especially i n a w e are a It ly , ccustomed to meet with the triple form , w a here the central picture cont ins the principal subj ect , and w t o here the outer leaves are made to fold over, so as form , w hen closed , a protection to the middle portion . In most
a w o f c ses the outer ings , or doors , occupy half the width the
a an d a . centr l picture , join with a f stening down the centre
w of The t ofold arrangement seems, however , to be greater a ntiqu ity . Among the beautiful f acsimiles of ivory carvi n gs issued by the Arundel Society * will be found m any Specimens
of two leaves only joined together by hinges .
Ta an d ma a an d Ancient blets , both double nifold , with stylus the omphalus
ac a ; a at to protect e h p ge from the p intings discovered Pompeii .
I t ma w a w y be ell , in a p ssing ord , to refer to the
a e m l e rli r e ploymen t of these twofold tab ets by the ancients ,
o f i n a a n See Notices Scul pture Ivory , lecture by M . Digby Wy tt, a d
a t a o f e O fi A C logue Specim ns , by Edmund ld eld , M. A . , published by the A 1 856 rundel Society , . 1 6 l Vi lton P r r r n House o t a it of Richa d the Seco d.
n as exempli fied in the paintin gs of I I ercu l an eu m and Pompe .
of of The Romans made use tablets soft wax , enclosed
u i n square frames , pon which memoranda were indented
o f or by means a blunt point stylus , but as the writing
ff so might easily be e aced , the tablets were joined as to fold o n e u s pon the other, and the soft urface still further protected from the pages touching when closed by the insertion of a
o f buttonlike projection in the middle of each leaf. A pair '
t t h e Greek Su rr v o v w ou r these ablets is called from x , hence
of o ur word diptych , and a set consisting manifold leaves (as
w o Av w r v or modern books) x , whilst the central proj ection was
o a k o or l b u t n o called p e g, umbi icus , with the latter we have occasion to concern ourselves .
The classic arran gement of these tablets is well shown in the preceding woodcuts from paintings found at Pomp eii fl‘
o f h a The working the Wilton Diptyc , when l id completely open and when nearly closed , is shown by the following wood
i i n cuts . The hinges , it w ll be seen , are carefully embedded
- n i n a the wood w ork . It may be me tioned this pl ce that,
r i ch : re P i c t u re
5 Bed of Picture } inch Bed of Picture .
a . 1 1 55 3 . . . v u . 75 Pitture di Ercol no , vol p ; vol . p . Museo Borbonico ,
. t a a vol . i vol xii .
1 8 l Vilton House Port ra it of Richard the Secon d .
a i m lthough originally gilt l ke the rest, the surface at the botto
a has been much worn , and the wood l id entirely bare by friction
w hen the diptych was placed u pright either on a table or altar .
There are n o traces of any arrangement by which it could
ever have been hung u p .
B efore quitting the subject of double pictures which
t o are complete in themselves , mention ought be made ,
a a lthough belonging to a m uch l ter period , of a painting
which happily remains in t h e royal collection . This is the
n ow a a famous diptych at Holyrood Pal ce , cont ining, on the f of . o exterior, portraits King James I II Scotland and his
of son Queen , M argaret Denmark , with their eldest , afterwards
a on o f James I V . The p intings are large and panels fi r, each 6 1 0 e 3 8 measuring feet inch s by feet inches , and painted as
u a su l on both sides . The late Dr . David Laing, in a valuable
d s of e criptive account this altarpiece published at Edinburgh ,
“ 1 8 57 1 4 a d , observes (page ) th t it is a iptych , and is
evidently a complete and entire composition . Had it been “ can n o f otherwise , there be no questio that the subj ect the
Trinity would have formed the centre portion o f the paint ” ing . Dr . Laing (page 4) considers that it was painted for
a of h the Collegi te Church the Holy Trinity , Edinburg , about
1 4 a n the year 70 . The internal p intings exhibit o the left a
of - personification the Holy Trinity i n full length figures , and
o n a Bon k il the right a kneeling ecclesi stic , Sir E dward , Provost
o f of the College the Tri nity , with his hands joined in adora
. l n l of tion Behind him an ange , weari g a jewe led circlet gold ,
a n o f w a pl ys an orga , the tall pipes hich occupy large portion of of the picture . The head the angel is supposed to represent a r u F n r V io s oldi g Pictu es . 1 9
a a G ue ld re s the dece sed Queen M ry of , by whom the church w a n d a n a a a s founded . Both this figure attend nt ngel blowing t h e a e bellows of the org n are winged , but hav no nimbus .
a m all These comp rt ents , excepting the Holy Trinity, have
’ “ ” i n I co n o ra hi a a been engraved Pinkerton s g p Scotic , London ,
1 79 7 a n d n a b a ; the Quee ttended y her p tron saint , Eric or
C la u s i n a . i n , rmour, reproduced by H Shaw colours with
r a a i n D D 1 843 g e t c re , his resses and ecorations , London , ,
5 . . a 9 vol . ii , pl te Another instance of the division of sacred subjects accord
a d i t chal a a ing to p y rrangement , occurs mong the works of H an s
a n d M emlinc , has already been described by M r . W . H . Ja mes
’ W a i n o f a e le , his excellent notice that p inter s life and works
i n 1 865 printed for the Arundel Society . This diptych , still in the possession of the Rev . John Fuller Russell , 6 w as probably executed about 1 4 0 . The leaves are not
a - i n ex ctly round headed , but terminate a double ogee curve , an d a re j oined by hinges running on a long rod of metal or
- bodkin placed between them . The right hand subject is the
a n d n o f Crucifixion , the left a personificatio the Holy Trinity
n a r with the Virgi n M ary crowned , holding the I f nt Saviou , a n d u , nderneath these , the Princess Joan , daughter of
V - a I I . Ch rles . of France , kneeling at a prayer desk H er
u a as D a h sb nd w John , uke of Bourbon , and Const ble o f
Fra nce . She died in
a t The wood the back of these tablets is perfectly plain .
Another historical picture w ith complicated folding arrange
a t ri t e h al o ments , but in re lity p y , deserves attention here n
'
r W eal c s . 9 . S ee M . descri ption , p n r ar h n 20 PVilto House Po t ra it of Rich d t e Seco d.
a of f account of the gre t peculiarity the disposition o the tablets .
al l of They are three exactly the same size and shape , and , by
of n on e a very clever construction the hi ges, literally rest upon
. of the other As the subj ects the paintings are portraits , there
a would be no need for any p rticular sequence between them .
of o The backs the panels are quite plain , and show no signs f ever having been painted . They represent the Three Children “ ” o f t h e n C ast il c K i g of , and , under that title , are recognizable as t o V a group that had formerly belonged King Henry I I I . , according to an inventory taken of his pictures at W hitehall
n 1 542 n ot a o f i . They are traceable in the cat logue pictures
a f n t o I . o a belo ging Ch rles , but became the property the l te
Es o f E velyn Philip Shirley , q , F Ettington Park ,
* - - Stratford upon Avon . The persons represented are Charles ,
a n d l afterwards emperor, his two sisters Leonora and Isabel a .
The triptych was probably given by Philippe l e Bean and
of Jeanne la Folle , parents the children therein represented ,
. t o t h e u n to King Henry VI I , commemorate a visit which y
of 1 5 5 expectedly paid to this country at the beginning 0 .
I n entering upon consideration of the interesting paintings
o n so this Diptych , which have been ably reproduced by means
o f ou of the pencil Herr Kaiser , we must at first concentrate r
attention u pon the kneeling monarch figured on the left - hand
an d a n tablet , endeavour to scertai the position which it is
entitled to hold a mong other known royal portra its .
The figure of King Rich a rd I I . here presented may
~ certainly be considered to be o n e of the earliest and most
n a refi ned regal portraits extant , not o ly in Engl nd , but in any
A r h l o ia a . xl u . . 250 1 869 . See c aeo g of the Society of Antiqu ries , vol p ; ' e h n Rega l Port ra its i n St . S t p e s Ch ap el . 2 1
h a n . t e a E urope n cou try Until within last fifty years, a rem rk,
able s eri e s of royal portraits existed at W estminster o n the
o f a . con walls the ancient Ch pel of St Stephen , that had been
verted into the House of Commons . They perished in the
a a fi re 1 8 34 o f l ment ble of , which destroyed the Houses
n d d Parliament a a j oining buildings .
O n o f o n e i t he r the east end the chapel , both above and
o f side of the altar , were painted in compartments a series
a of s cred subj ects , i ncluding the Adoration the Magi and
a n i n ro w of Present tio the Temple , and a kneeling figures
n below, representi g King Edward I I I . , preceded by St . George ,
a on lso kneeling , and his Queen Philippa the opposite side ,
i n a a together with their sons and daughters , each separ te
a a s n ma n i n a niche . The B l ck Prince , a you g full rmour ,
The a a . o f was very prominent precise d te these p intings ,
a 1 355 o f soon fter the year , is ascertained by the fact the
’ n a king s youngest son , who was bor in that ye r , being intro
* a f n d u ced . These p intings were o very great importance i
art a s a the history of , inasmuch h ving been associated with
a ma a the most s cred functions , it y be inferred th t the best
a a a a v il ble t lent would have been secured for their execution .
a h con M oreover, the accounts for p yment connected with t e
are a a n d struction still ext nt, it is known that the best materials
were employed .
a a a of e e Fortun tely , accur te records of m ny th s paintings
L had been preserved before t he occurrence o f t h e fi re ] I n the
'
d a . 3 a an . a 0 . Sh w s Dresses Decor tions , vol i pl te
' " “ of W 4 1 8 37 f Smith s Antiquities estminster , London , to . . See pp . vi .
a n d v n of a a n d a a . 1 53 . . the Pref ce ; pl te f cing p u r ra o ar h 2 2 Wi lton Ho se Po t it f Rich d t e Secon d.
o f 1 800 n o f month August , , d uring some alteratio the fittings
f o f m of w a s o the House Co mons , the existence these paintings
w firs t discovered . They lay concealed behind oodwork , and could only be exposed . for a very short time d uring the
o f . A n . l i ch ard Smi rk e process reconstruction artist , M r , w as employed to trace and make copies of the m for the Society o f a i n Antiqu ries , which were p ublished a large handsome vol u me with descriptive text b y Sir Henry Charles E n gl efiel d
a and M r . John Thomas Smith also m de drawings from them ,
of which he published independently. The figures King Edwa rd a n d of the B lack Prince are reprod uced i n coloured plates in
’ “ ” w Shaw s Dresses and Decorations , and the same ork con a a f a a of t ins a minute and f ith ul represent tion , in colours lso , the
of di t ch kneeling Richard this py , but the figure alone is given .
A mon arch portrait of a foreign , of a more recent
a d te , and probably executed in E ngland , is the curious
a a of of a profile , somewh t larger th n life , John , King Fr nce ,
i n a i n at a 1 3 64 a n who died c ptivity London , the S voy, , d
n l still preserved in the ational col ection at Paris . It w as n i n e graved a very finished style , in the dotted manner , by
n R ev . . . Di W . . b di n T Fry , from a drawi g executed for the T F “ C oeu réfi by M . This portrait has also been reproduced i n w n a ood e graving, but with greater attention to its ctual
“ i n A rehmol o i a of of condition , the g the Society Antiquaries ,
1 9 7 n vol . xxxviii . , page , from a drawi g done from the original
R A . by M r . E . J . Poynter , It is described by the last “ named gentleman as apparen tly painted in tempera o r body
“ ’ “ 3 Dib d i n s Bibliogra phical an d Picturesque Tour in France an d Ger " 40 1 . . 1 . a 1 82 . m ny , , vol ii p " Po rt ra it Joh n K in o F ra n ee . 3 of , g f
- o n a esse e a a e a . colour, y ground , spr d upon r th r co rse canvas
w There is round the portra it a ooden frame , formed of a
a w as sm ll ogee moulding, hich has been gilded as well the
e v id en t l background . It has v been the original moulding ”
w a . round the panel , hich was prob bly let i nto a wall
The frame does not appea r in the woodcut given in the
” ’ A reh ze ol o ia a i n D . Dib di n s g , but is c refully shown r volume ,
’ e 22 u a w . . after M . C u ré s dr ing The size of the original is in
1 4 i n * a o f by . It is supposed to h ve been the work M aitre
’ ’ d O rl ean s a Girard , King John s p inter , who was with him in
i n a England , and is mentioned several items of the ccounts
’ of ex pe nditure during the king s detention in this country .
A n approximate date of 1 3 60 may be assigned to it. This
’ w as the year of the king s temporary freedom and return
a to Fr nce . The Rev . Edward Trollope , the present i l Sll O i l p of Nott ngham , has co lected some very interesting
’ a of a d w p rticulars the king s sojourn in Engl n , which ill be referred to subsequently .
W a 1 1 The estminster Abbey portrait of King Rich rd .
mo n arch a exhibits the , full f ced , seated on his throne and
a a t h e holding the reg l ttributes , orb and sceptre . It is perhaps more generally known t ha n the profile on the Diptych . The
- a figure is full length and somewhat l rger than life . This picture h as r an d a been f equently engraved , the he d alone was published “ i n 1 6 1 8 El s t rack Basil iol o ia by in the g , the first published e s ries of portraits of English sovereigns . Sandford , in the first
A rc h aeol o i a 1 9 7 n n g , p , , ote .
S ee a t he a . a T t o 1 communic tion from Rev Edw rd rollope , the ” L a M e mo n s o f a incolnshire Architectur l Society , in the Associ ted Societies , 1 57 L 8 . incoln , ' 24 l / Vilton House Portrait o R 'tc/t arcl S d j the econ .
“ ” of of 1 6 7 i a edition his Genealogical History E ngland , 7 ,
t rod u ced of a very careful transcript the face , an d was especially f accurate in copying the peculiar growth o the moustaches .
n on 1 2 The e graving occurs page 7 .
i n 1 71 8 a The entire figure was engraved by G . Vertue fter
a drawing by Grisoni , and again , with much greater fidelity , by
i n 78 6 John Carter 1 . The latter appears in his valuable work “ entitled Specimens of the Ancient Sculpture and Pain ting ” n o w remaining in this Kingdom , two vol umes fol io , London ,
1 780 - 1 94 7 .
The Westminster portrait had for successive periods been
v v res to a tion s a ictim to extensi e r , such at least they were
re termed , but in reality clumsy and coarse so that ,
t o o f at length , the picture ceased be regarded as any importance
beyond giving the costume of the monarch . When removed from the Jerusalem Chamber to the better li ght of the South
Kensington Gallery during the Loan Exhibition of National
i n 1 8 66 . Portraits , it was suggested by Mr George Richmond ,
R . A . n ot of , that the picture was beyond the possibility a satisfactory restoration . Having received full sanction from
of R co n Dr . Stanley , the Dean Westminster, Mr . ichmond
fid ed o the picture t the experienced hands of the late M r .
t h e Henry M erritt, and under his supervision experiments were commenced .
I n n f a short time , after testi g a small portion , su ficient proofs were obtained to warrant proceeding with the whole , and i n the course of a few months the picture resumed w hat must very nearly have been its original appear ance . The following notes o f the change thus effected will serve to show
26 t t n P r r n to House ort a it of Richa d the Seco d.
o f a the picture . A pl in flat globe with its delicate gilding
was found hidden still lower ; and it was then ascertained “ that the head of the sceptre and the crown on his head had ,
i n like man ner , been loaded with gold and polished . B eneath
“ these masses of solid burnished gilding, bearing false forms
1 4 w as d and ornaments unknown to the th century, foun the
i n original gothie work , traced with a free brush beautiful
foliage upon a genuine gold surface lying u pon the gesso
of preparation coating the panel itself. The singular device
a fir cone on the summit of the sceptre disappeared at once .
The diaper * composed of a raised pattern decorating the back
’ “ Di a h as fi a a r as a p er been de ned in P rker s Gloss ry ofA chitecture , mode of decora ting a surfac e which consists i n coveri ng i t by the continual repetition
a a a or a orn ame n t w h e t h er a a a of sm ll flower , le f, simil r , c rved or p inted. If c rved , the flowers are entirely sunk i nto the work below the general surfac e they are ” u a a an d a a a 1 65 su lly squ re pl ced close to e ch other . (Vol . i . p ge , ed . It may be noted th at this method of decoration w as first employed i n connection
fi n d i fil l with architecture . We t extensively a dopted in Westminster Abbey to
a a a S ee a the w ll sp ces between the pointed rches . ( Gle nings of Westminster " 1 3 a i a 86 . a a Abbey , , pl te vi ) It mp rted peculi r richness not only to mouldings
as ma i n a i but to scul ptured forms , y be seen the trefoil comp rtment surmount ng
a i n fi u the monument to Aymer de V lence Westminster Abbey . The g re of
Aymer i s seen mounted on his w ar- horse i n front of a b eau t i fu l surfa ce of dia per
a i a a a a a w as in which the p ttern is d gon lly rr nged . Aymer de V lence murdered ' “ ” i n 323 . i n a 1 . S ee N a Fr nce ( e le s Westminster Abbey , vol . ii . p From architecture we fi n d the system of pa tterned grounds extended to decora tive
a an a i n a z a work . Good ex mples of e rly period will be found the se l of Eli beth ,
’ I a a e s a a a . Countess of Holl nd, d ughter of Edw rd , engr ved in S ndford Gene ” a 1 677 . 1 21 a n d a a a a . logic l History , , p , the circul r se l of Thom s , son of Edw rd III ,
a 1 385 a i n a at a 1 25 . cre ted Duke of Gloucester , engr ved the s me work p ge
a u s e a had t a By the reign of Rich rd II . , the of di per work extended to pic ori l
a i a a as i n a a art a represent tions , ncluding l ndsc pes , seen It li n , where it t kes the
ac an d a a a an d . s pl e of the sky , ppe rs behind mount ins between trees This i
a . strikingly shown in the Metrical History of the Deposition of Rich rd II ,
l a 2 A rehze ol o ia of a v o . . published in the g the Society of Antiqu ries , xx , pl tes ,
’ n d 1 3 T Pl an ché s C cl O aadi a 6 a . a a , he origin of the term di per is st ted in y p of r n l e mtn r A E n th ron ed Port a it i V st ste bbey . 2 7
w ground , coated over ith a bronze powder , and not even
a a . gilded , was found to be a f lse ddition It was moulded in
composition or cement , possibly as old as the Tudor period .
Th e mould or stamp for producing the pattern was very
a a irregul rly applied , and some inst nces were detected where
the composition and stamping overlaid some o f the most
” be a utiful foliage and delicate ornamen tation .
The woodcut on the first page of this essay shows the head
' of King Richard as it appears i n t h e W estminster portrait after
a a the restoration . F int indications of the di per have here been
a a of a n ret ined , in order to show the rel tive proportion the p tter i t o t he features of the fa ce . B ut n the original picture the
a d of l di per has been entirely remove , with the exception a smal
t o . portion in an upper corner , show what formerly existed
The background now presents a uniform plain surfa ce of subdued gilding .
An early example of a flat background patterned with
i n lines and punctured between them , will be found the
R e t ab u l u m w hich is now deposited in the Southern Ambula
i n W tory , next the choir, estminster Abbey One figure ,
a o f . on i n th t St Peter , is a larger scale than the others the
a u a centr l compartment , and is painted pon a pl in golden
o f ground , with doubled lines brown colour crossing each
a an d i n other di gonally, having the centre sunk rosettes or crosses produced by stamping . Dots also are punctured
” 1 8 76 v ol . 1 69 a. fi n e a a Costume , , . i . p , to be species of linen m nuf ctured a t
Y a a a a o f t ho T pres , riv l in celebrity with D m scus for productions loom . wo pic t ori a l examples of orn amenta tion on a shield a n d a surcoat a re given by
a a him under the he ding Di per .
as a a e a fo r a o O - a 1 1 8 7 1 76 . E tl ke , M t ri ls Hist ry of il p inting , London , , p .
oet a 75 See p , p ge . n e r r r 28 W ilto Hous Po t a it of Richa d the Secon d.
between the double lines . The date assignable to thi s work is
of of 1 299 . The drawing the figures belongs to the period
I . Edward , an d if by an E nglish artist, as Sir Charles Eastlake “ n o f observes, the executio proves that the painters this “ country were sometimes quite equ al to those of Italy in the
n early age to which this specimen belo gs .
of Another early monumen t the same locality , and exhibit i n of g traces exquisitely fine workmanship , is the celebrated
* f or a coronation chair made Edward I . by M aster W lter , the k i n 1 30 1 . of oa painter , It was constructed , and covered with
‘ of . . a coat gesso , which was afterwards gilded M r John Carter 1
of u discovered traces pattern and painted devices pon it, which were still further explored by the late Mr . W . B urges , and
’ published by him i n Scott s Gleanings from Westminster ” 1 8 63 1 21 . . 1 25 Abbey, , page M r B urges observes (page )
of that the surface was first all covered with the usual gesso , “ of then gold applied by means of white egg, then burnished , and a pattern pricked upon it with a blunt instrument before “ n the groun d and gildi g had lost their elasticity . Great care
was requ ired to prevent the instrument with which the dots
were made from going through t h e gold and showing the gesso
an d i n underneath , still greater patience executing a design
every line o f w hich was to be expressed by very small dots
alone .
i n - a an d B oth panel paintings , especi lly North Italian , in t manuscript illuminations , we constantly mee with examples of
' a G a l Ves t mi n s t e r 1 863 1 05 See lso Scott s le nings from Abbey , , p. .
’ ” a i i 1 33 Ne le s Westminster Abbey , vol . . , p . .
’ a 1 1 a 6 1 See C rter s Ancient Architecture , vol . . pl te . r Orn amen ta l Gold B ackg ou n ds . 2 0 a pl ain gilded ground punctured w ith dots an d sharp indented
a a lines forming patterns , but never bre king through the surf ce
' ou t of the gold . A rich instance may be pointed among 3 a i n N o . 8 m nuscripts the British M useum , of a Psalter ( , 1 3 1 0 Arundel ) which is purely English work , assignable to , where richly burnished gold backgrounds are punctured w ith
flowing patterns in dotted lines .
n i n A volume of the Psalms , an English ma uscript the 1 3 British M useum ( Reg . D . executed late in the fourteenth
n n n on ce tury , has figures arra ged in compartme ts highly polished gold backgrounds richly punctured with dots forming
a I n rosettes and running flowery pattern . most of the early
Italian paintings ornamentation is confined to t h e borders
n of next the frame , and withi the circle the nimbus , the
e n fi ld of the composition being left in plai burnished gold .
A good example of t h e enriched gold background i n
I talian w ork o f t he fourteenth cen tury occurs i n the panel
H a 1 342 i n picture by Simone emmi d ted , preserved the Royal
a t i n Institution Liverpool . I t is engraved Crowe and Caval
’ ” l l i s or of a 1 86 t 4 . . a 98 caselle s y P inting in Italy , , vol ii , p ge .
t h e fla t a n al l There , gold ground is highly orn me ted round the d e e g s , following the mouldings and cusps of the frame . The
l ar e glories are g and round and perfectly flat , but richly
a h p tterned i n t e same manner .
The a a d o profile portrait of King John of Fr nce , lready
a d a scribed , is similarly dorned round the e ges dj oining the
a fr me .
l a i n a a a A though l ter d te , very highly enriched p nel of a
M adon n a ' an d a w Child , with s ints on the ings , painted by W n u P r r t o r n 30 i lto Ho se o t a i f Richa d the Seco d.
Domenico Bartoli , and preserved i n the Accademia delle Belle
t o of Arti at Siena , deserves be cited as an example this method of ornamentation . It is engraved by Rosini in his Storia della ”
a . Pittura , t vola xli
of of A diptych by Taddeo di Bartolo , the School Siena ,
- 2 f 1 3 6 3 1 42 o . , in the possession the Rev John Fuller R ussell ,
F fi on on e with the Cruci xion wing , and the M adonna
on o f h enthroned the other , has a flat ground bright gold wit
or n t o pounced dotted borders ext the frame , and flat round
i n glories richly dotted , combination with indented lines to pro
an a f d uce el borate pattern . Pieces o coloured glass are let
a into the sp ndrils above .
An extremely beautiful example of diapered background
n n of to a simple arra geme t figures , the latter occupying a
of i comparatively small amount space , will be found n an A n
n u n ei at i on by A n gel i co da Fiesole u pon a reliquary i n Santa
n M aria Novella . It is e graved in plate 1 8 of the illustrations to
o f F ra A n el i eo the Life g , issued by the Arundel Society i n 1 850 .
The background to the Wi lton pai n ting is remarkable for
. n its exquisite finish and its unobtrusiveness It co sists , on
of of both panels , a highly burnished surface gold punctured
i n with a mi nute pattern the finest possible small dots . The
of chromolithograph now issued , being only the same size as
n ot the original , could possibly reproduce these pattern s in the
f of same manner without inj uring the e fect the figures . The
of on compound parts each pattern are , therefore , here given
an en larged scale (twice that of the original) t o show how the
dotting and indented lines are introduced on the bright gold
i 2 aa . v . . 84 . W gen , vol p
1 3 1 ent p0 1 glo d u < intl to con
D 1 the its b ot l w i t l chm the sam com an dott
32 l l n H Vi to ouse Portrait of Ri chard the Secon d.
’ . A ll a rich the sacred subj ects on the w lls of St . Stephen s
Chapel painted i n the reign of E dward I II . Were decorated i n . of this manner The lower range the King , Queen , an d
b u t children had no diaper , p ictorial backgrounds instead , with clumsy attempts at perspective . T hese diaper patterns are carefully reproduced in the folio plates issued by the
’
of . Society Antiquaries upon St Stephen s Chapel , with
' expl anatory text by Sir Henry Charles E ngl efi eld . S uch
Stucco gilt stamped p a tterns of Diaper ’
a . from pa intings in St . Stephen s Ch pel
a z as a . S me si e the origin ls Stucco gilt sta mped Pa t ' a o n tern of Di per, formerly the b a ckground of the “l ost minster Abbey portra it of
a . a Rich rd II , gre tly reduced. a o n a 7 Comp re woodcut p ge .
on of compositions as were painted at once the stones the .
- of side walls under the windows were capable being removed ,
a ou t and were accordingly t ken and replaced by thinner slabs .
The origin als are now deposited i n the - M edi a3v al Gallery o f the British M useum . Unfortunately , the paintings at the east
of l en d the chape , in connection with the altar, where the
of n ot of work was a superior character , did admit removal ,
i n on fla rat io n 1 4 and consequently perished the c g of 83 . 3 G ilt an d M oulded B ackgroun ds . 3
“ ” i n & c . Sir Charles Eastlake , his M aterials , , says The
of on i n impressions patterns gilt grounds, and the ornaments
a i n relief, observ ble early Italian pictures , are frequently
of referred to i n the English accounts . The directions
C en ni n i i n , and the terms employed these records , mutually
of explain each other . The Italian describes the operation
partially roughening or indenting (granare) the gilt field by
I n means of a pattern stamp (rosetta ) . the Westminster records ( 1 353) we find ‘ stamps for printing the painting
‘ ’ of . with impressions , with other entries the same kind
“ Embossed ornaments , sometimes gilt , sometimes covered
- t i n or with leaf lackered , variously coloured , studded many
o f parts the interior of the chapel .
Another instance of diaper - work i n relief will be found in
on Westminster Abbey , as a ground to figures painted the
o f of under surface of the canopy the tomb Richard I I . and i Anne , his first w fe . The date of the work is ascertained by a
1 9 6 of document in the Pell Records to be 3 . The sum twenty pounds was paid to John Haxey for painting the canopy ( co o ri m ert o u o f o f of . p ) the tomb Anne , late Queen England “ At each end there are figures of angels supporting shields .
Of the other two compartments , that near the head contains a
a o f represent tion the Almighty enthroned , holding a globe ,
and in the act of blessing ; the other represents Christ and “ : the Virgin , both seated the Saviour holds a globe and is
also i n the act of blessing ; t h e hands of the V irgin are crossed
on a . n of her bre st The action and expressio this figure , as
far as can be j udged from its extremely decayed state ,
“ a a a e a for on a 4 24 a 1 8 7 . 1 . E stl ke , M t ri ls History of P inting , . p
E 34 l Vilton House Portra it of Richard the Secon d .
i n dica te the hand of a superior pa inter : the ground behi n d
all the figures is ornamented with gilt
a M ny years after the above was written , the painting was cleaned under the superintenden ce of Mr . George Richmond ,
R A a - C ore . The l st described subj ect appears intended for the n of ation the Virgin , and the ground which Sir Charles Eastlake “ i t o of took for g lt mosaic , proved be a surface gesso “ of l stamped with a raised diaper ittle quatrefoils , and red
” ‘ bole has been used as a preparation for the gold . 1
n e w ou r of We may resume consideration the Diptych , and
of examine a little into the action the figures represented , and
o of V their significance , and thereby perhaps correct s me ander
’ ‘ D oort s misstatements quoted on the first pages of this
n The Ki g , crowned and in a magnificent costume , kneels
hi s and extends hands towards the infant Saviour , in the arms o f the Virgin M ary . The three patron saints stand behind
n ot the King , and it is observable that their heads do reach so high on the surface of the panel as those o f the an gel i c group surrounding the Virgin . h of . The foremost figure , that St John the Baptist , wit
a wild locks and shaggy beard , is cl d only in a loose skin . The veins on hi s bare arms and feet are consider
n ably distended . He here sta ds as patron saint , so frequently
i n i n seen German and Italian art , and holds a small lamb his
a a a a 1 77 E stl ke , M teri ls , p . . " a 1 863 1 7 h d . 6. a a 1 Scott , Gle nings , , p It , however , been rem rked by
a . u . a 1 1 0 a a a a Ne le , vol , p ge , th t this di per resembles th t of the Rich rd the
t a a a a . Second picture , th t time in the Jerus lem Ch mber D r u i i 35 esc ip t ion of F ig res i n the D p tgcl .
a h a right h nd without any glory round t e he d . I t is also to be
noted that the lamb d oes not rest on a book according to the
a i n i n usu l form , as seen the figure of St . John by M emlinc ” the M unich Gallery (engraved in the History of O ur Lord
M rs . a a . . . by J meson , edited by Lady Eastl ke , vol i p
i n t he a but crouches palm of his h nd .
an The next figure , attired in a long robe with ermined mantle over it, both being of the same pale colour, is St . Edward the Confessor we arin g a richly j ewelled crown . He is distin gu i sh e d by a l a rge golden ring w hich he holds up betw een the
f . fore inger and thumb of his left hand This ring, like the
’ - a gilt Broom cod coll r round the King s neck , is thickly outlined
’ w ith black colour . The King s crown is also outlined with
a n o t . W bl ck , but so those of his patron saints ith the other hand ,
w reconn n en dat or St . Ed ard points down to Richard with a y
of n gesture , whilst his eyes , as those his companio s , are turned directly towards the Virgin .
St . Edward the Confessor was of the B enedictine order, a n d among his numerous claims to veneration on e will be
a of speci lly remembered as a founder Westminster Abbey . The legend connected with the ring is to the eff ect that the
King gave a ring from off his finger to a poor pilgrim in
a n d a - charity , th t twenty four years afterwards the ring was
t w o l d brought to him by pi grims from the H oly Lan , who had
bee n warned by St . John the Baptist to return it to the King .
r m . The pilg i was St John , and Edward had unwittingly
* ’ m f n r u hi . e a bestowed the ing pon B ore the Ki g s dece se ,
" ° “ a a n d a 1 850 . a . 1 0 an d Mrs J meson , S cred Legend ry Art , , p "
f 1 850 1 0 7. L o a O . egends the Mon stic rders , , p r 36 W ilton House Portra it of Richa d the Secon d.
l n o n which speedily fol owed , he conferred the ri g the Abbot
o f l Westminster, to be for ever preserved among the re ics
. i n o there H en ry I II . ordered to be painted the Tower f
of . London two figures St . E dward and St John ; the latter “ i n W receiving the ring. According to Dart , his estminster
“ . f n t w o Abbey , King E dward I I o fered , at his coronatio ,
of d on e of figures gol , a king holding forth a ring, and the
other a pilgrim about to receive it .
The third protecting saint is St . E dmund , King and M artyr .
H e ruled over the E ast Angles , and was slain with arrows
a o durin g the Danish invasion . His remains were w tched ver
w h o n by a huge grey wolf, is freque tly seen crouching at his
‘ fii i s side in the older e g e . H ere he holds only the feathered
i n . arrow his left hand The arrow has n o point, and looks as if the end has penetrated his heart through the richly
* embroidered dress . At this part , however , the painting is
of a very much damaged , many portions the plaster being l id
’
a . a o f b re . St Edmund s gown , in contrast to th t The Confessor,
n hi s - l has lo g wide sleeves , and ermine ined mantle is folded
' i n back over his right shoulder , order to show the sleeve in
the fullest extent .
n of A rich patter fanciful birds, with widespread plumage ,
w o t w o linked t and by a coronet encircling their necks , and a
of star pen dent from between them , covers the deep blue robe
. . n r a on e St Edmund They are arra ged in ve tic l rows , pair
a . o f bove the other I n many respects , the bending this pattern
on the lon g folds which han g below his left arm is man aged
‘ H e l l ar s a a In engr ving , however, the point of the rrow , directed down
a an d a . w rds , is seen very distinctly in full sh pe 0 loth of Gold E mbroideries . 3 7
a t h e a with unusu l skill , considering d te to which the painting
* must be assigned . The very rich embroid ery here displayed resembles a stu ff
’
w . held by an angel on a side all of St Stephen s Chapel .
This w as engraved in outline by James Basire for the Society
a 1 80 5 of n a o f Antiqu ries , , and consists a crow ed e gle with spread wings u pon a disk which is surrounded by solar
- t w o w n . rays , and a headed bird with a cro above A similarly rich robe with patterns on a large scale appears on a standing
There exist now i n the South Kensington Museum some well preserved
a specimens of embroidery of this period . The most be utiful cloths of gold a n d
' i a t a an d a an d ll w as a on s lver were wrought Lucc , the we ving of silks stu s c rried i n a a w as a fi i n Sicily . Lucc lso mong the rst in Europe the production of velvet .
a 1 t o a Rich rd 1 . is known h ve been fond of rich tissues . He left behind him a t H a verford Castle v arious suits of cloth of gold m anufactured at L u eca an d
l of for a . a a a an d in Cyprus . Edw rd IV lso iked cloth gold his person l we r , the
a w as i a . t ste , it seems , continued by his mmedi te successors It is observable th a t the Sicilia ns were prone to introduce heraldic ch arges i fii as a a an d r n s . G a a n d such be sts , e gles , g in their embroideries John of unt
ac t o da M on ast icon a his duchess , cording Dug le , in his Anglic num , vol . viii . , presente d to Lincoln Cathedral a crimson velvet vestment s e t with white ha rts
a a lying in colours , full of letters the h rts h ving crowns upon their necks
a an d i n an al b with ch ins silver gilt . There is the South Kensington Museum o f e an d n a a a are whit linen with rich freely desig ed p tterns on the pp rels , which
of i 8 71 0 composed of a ground r ch crimson silk . It is numbered in the elaborate
a a a . an d 1 870 . fi on c t logue prep red by Dr Rock , published in The gures this
a are al l an d ac a a p ttern in gold , cord singul rly with the devices observ ble on the
‘ a ffi T of an a - King s robe in his monument l e gy . hey consist e gle in demi vol ,
a a a o a a a a l ngued , with duc l crown , not upon , but ver, its he d ; bove this is m ss of clouds with pencils of s u m ray s darting from beneath them al l around ; higher u a a a a a a a - a p g in , coll red h rt lodged , with its p rk set between two l rge bell sh ped ‘ a ac a a an d eou ran t seeded drooping flowers , bene th e h of which is dog coll red .
. a at 8 v e . 1 870 a Dr Rock , Textile F brics South Kensington , , p ges xxx ,
an d 268 . lxxi , 38 I Vi l ton House Portra it o c ar the S c n f Ri h d e o d.
a 1 380 n M adonna by Christoforo da Bologn , dated , and e graved
’ D A i n cou rt L x C . h in g , Plate In this t e Virgin holds the right foot of the Sacred I nfant prominently forward i n h e r
a d h n , as seen in the Diptych under consideration .
0 of d N rings are worn by any the persons here represente ,
i n d the red shoes of St . E dmund are n o t extravagantly
of o pointed , as seen in other works art belonging t this reign .
n o o r st e el e U King Richard has cushion to kn el pon , and the figures behind him stand upon a barren , stony ground ,
i n w broken into strange forms, an d losing itself a gloomy ood .
ou t i n on 2 6 fla Above the trees , as poin ted a note page , the t
k of golden bac groun d assumes the place sky . Rou nd the heads of n the protecting saints the gold ground is left u stamped , so
each fi at as to reserve for a large circular nimbus . The face o f n n the Ki g is very fair , with pi k checks , indicating extreme
- i . youth , and may be termed girl sh His rich yellow brown hair is drawn b ack i n bunching locks but n o form of car is h k traceable . The c ec s are perfectly smooth and the eyebrow
a t . very f in ly marked H e wears a scarlet gown , with broad
su ch a hanging sleeves, as may have been known as and a standing collar fitting close round the neck ; The gown is covered all over with gold embroidery
' consistin g of figm es of crouching stags with wide - spreading a l of - t w o ntlers , each enclosed in a circ e B room cods , and
n two , side by side , as if open . Round his eck is a short
a n of - t w o coll r co sisting also Broom cods, two and two , with
a a Simil ar garments to these are seen in the Metric l History of Rich rd , " I K I n d A rch se ol o ia a a a . L a . especi lly Pl tes , , XVI of g , excepting th t there the ” are a an d an a a a a borders pl in edged with fur , without y of the d gging , f nt stic cutting or sl ashing which reached the height of popul arity i n the reign of
Henry V.
' ' 4 P r o r h 0 W z lton House ort ait f Richa d t e Secon d.
The kneelin g figure before us affords an illustration of the
use of an ancient collar and badge apart entirely from any
“ connection with knighthood . M r . Nichols observes The
Badge was an emblematic or heraldic figure sewn or fixed
of of s or n upon some prominent part the dress oldiers serva ts ,
to declare visibly the household or service t o which they
t o of belonged . The Collar was a distinction given persons
greater rank or importance ; but very frequently t o man y
of ni who never attained the grade K ghthood , though it
a of i c me to be used as conferring the grade E squ re , and f at len gth was confined to Knights in the reign o Henry VII I .
Collars and Knighthood were t w o i nstitutions entirely dis ~ f ” tinct or some centuries after b oth existed . 1 639 So of I . far back as the reign Charles , in , when
n Hollar e graved this picture , an erroneous belief existed that
the badge of the White Hart was connected with the Broom
l . cod collar, and actual y pendent from it
’ The lines engraved u pon Holl ar s print Tmay have caused the misapprehension
Cur Regi e sil iq u i s torques con t ex t a ge n i s t az Cognomen Regis Pl an t agen i s t a fui t ;
a a a Pendulus est Albus Cervus , cui coll c ten Perque qu i escen t i s terga redu ct a lig at ;
i a f u erat a a C erv am Reg cum m ter pulcherrim , " A lb am i fil iu s ma m nsigne tulit , unde re .
The ol d chroniclers give the cognomen Plantagenet t o
ff of . G eo rey Count Anj ou , father to King Henry I I , but they
do n ot ascribe the name of Plantagenet to King Henry they
’ 57 a a az 1 842 a . . 1 . Gentlem n s M g ine for , p rt i p
an te a 1 1 . 1 See , p ge B - 1 room cod Collar or D ev ice . 4
” a C u rt ma n t el f c ll him , and his brother Geo frey they name “ M artel . Richard himself was styled of Bord eaux .
The first ascertained notice of the collar of the Cosse de
i n a Geneste is a grant of Charles V . of Fr nce to his Cham
' b e rl a i n Gc ofi ro 1 378 , y de B elleville , in the year , to wear the
”c en est e collar of the Cosse de G .
F av n ' 1 389 According to y , 1 in Charles VI . of France made
i o f his k nsmen , the King of Sicily and the Prince Tarentu m ,
Knights of the Star and of the Cosse de Geneste ; an d i n 1 393 he
- of u n cl es . sent four collars Broom cods to Richard I I . and his I
Il is goldsmith , John Compere , was ordered to make for the
t o of t w o King of England a collar in this form , be twisted
stalks interla ced with Cosses de Geneste alternated with fifty
letters hanging to the stalks , which formed the words j amais
ma - ny times repeated . The Broom cods were to be enamelled a lternately green and white , and thickly set with pearls .
of In the procession of Henry I V . through the City London ,
“ a from the Tower to his coronation , Froissart s ys that he was
a la, dev ise f b reheaded , and had round his neck the Collar ( ) o
o the King f France . There can then be no doubt that the collar represented W in the ilton picture as worn by the King, and also by the
w as of angelic company , a livery the King of France , an d that
n n the stag was an adopted badge of the Ki g of E gland .
’ The Crouching Stag which appears on the King s robe
i n of - the spaces formed by circlets Broom cods , was the
' a a az Gentlem n s M g ine , p .
" ' A r h ol o i 254 c w a 45 n d a a a . . x. a 1 g , vol xxi p . , Gentlem n s M g zine ,
' A r h c mol o i a 45 a a a . 255 I g , vol . xxix . p . . Gentlem n s M g zine , p . 42 t lton House Port rait of Richard the Secon d.
a o f most f vourite device King Richard , and that which he u sed for the cognizance so profusely distributed among his
* courtiers and immediate dependants . He appears to have
d t o adopted it from the White Hin , which is said have been
a o f borne by his mother the F ir M aid Kent, and it was
h - H ol an d s certainly used by his alf brothers , the , her sons by her first marri age si
A w Hind lodged under a tree , gorged ith a d ucal coronet ,
of n of o f the device Joa , Countess Kent , with the addition a shield bearing the arms o f Holand suspended from the neck o f on n the Hind , may be seen a seal e graved by Sandford “ 24 2 1 6 . i n his Genealogical History , pages 1 and There
i n of is extant a record , a document published in Rymer ,
i n 1 3 82 various Crown j ewels pawned , the year , to the Corpo
o f i n ration London , among which were three brooches the form
“ of White Harts set with rubie s ;
h on of n King Ric ard the occasion a magnificent to urname t ,
Smi t hfi el d o n 1 2t h 1 390 held at the October, , distributed his
of cognizance the White Hart with a crown and golden chain . " 1 390 I n the same year as the tournament , , a record a ppears in the household book of the Earl of Derby H(after
s of f wards H enry I V . ) the expenditure o 40 for the em
of t w o an d of of broidering sleeves of red velvet, a pair plates
’
of . . the same suit , with the H arts the King s livery M r
Nichols notices the absen ce of any stated collar of the L ivery
A r h l i 3 7 c ae o o a . . g , vol . xxix . p “ T l Vil l emen t a a an d a 1 . , Reg l Her ldry of the Kings Queens of Engl nd , L 1 821 20 ondon , , p . .
' A rch l i l 38 - ae o o a v o . a a a 1 59 0 x. . 1 6 . I g , . xxi p. Gentlem n s M g zine , pp
’ " a a a . 1 00 . H Gentlem n s M g zine , p - 43 B room cod Colla r or D ev ice.
a i n a n d t h e a of King Rich rd inventories public records , and th t there are no collars of Broom - cods to be met with o n monu
me n tal e ffi i es a . g . He therefore reg rds them as foreign Collars of Esses a re abund a nt at the beginning of t h e fifteen th century .
a n d . They were Lancastrian , distributed by Henry I V , and
a a of a some even d te back from his f ther John G unt , the D uke o f Lancaster .
I n the interstices between t h e circlets of Broom - cods on the
’ King s gown are inserted Eagles with their wings displayed , as
’ if rising i n the ai r They are faintly seen i n Hollar s e n graving ; but carefully m arked i n t h e elabora te copy publi shed
“ I I . w D o f by Sha , in his Dresses and ecorations the M iddle 3 1 84 x x x n . . h as Ages , , Plate vol i . It been conjectured
of a that the choice this bird has a reference to Bohemi , or the
a t h e Germ n Empire ; but the situation which it occupies , and
a o f i n sm llness its size , comparison with the other devices , will
ffi a su ce to neg tive such a theory .
’ The elaborate patterning of the lu ng s gown will remind the student o f t h e beautiful ornamentation which decorates
h f . on a fii t e robes o King R ichard II his monument l e gy . The pe riod at which the figures of him and his Q u een were executed and the names o f the artists are ascertained with singular pre c i s io n by means of the indentures covenanting for t h e erection
’ of t he monument s} The contract for the m ason s work is d a ted
h n t e 1 8 t h a I I . a d a l st April , of Rich rd th t for the
- m copper work on the 24t h o f the s ame mon th . The monu en t
’ w as erected in the King s life time a s a m e mo rfa l o f his a ffection
e f 3 4 e a w h o d e i n 1 9 . for his b loved wi , Anne of Bohemi , i d He
' h l i l 52 A rc ae o o a \ o . . a a a . 256 . . Gentlem n s M g zine , p . f g , xxix p r n 44 W ilton Hou se Port ra it of Richa d the Seco d.
ow n f on placed his e figy the tomb , joined hand i n han d with
hers . The images were wrought of copper and latten gilt, by Nicholas Broker and Godfrey Prest , citizens and copper
* smiths of London .
’ The Ki n g s robe and the exterior of his mantle on this c fii gy
of are closely covered with devices consisting three badges , the
L W Su n b or hite Hart , the Broom plant , an d the Rising q The ders of the robes are ornamented with elega nt patterns minutely
of delineated , the principal being a r unning scroll the B room
t w o of an d plant ; at the foot are rows ermin e spots , the hood
of is also lined with ermine , but the inner sides the mantle are
on plain . The badges the mantle are inwoven with running l or i ines of flowers small leaves , form ng compartments similar
’ t o n n those upon the Ki g s gown in the Wilto picture . See
n n on f ron t IS i ece t o a the wood e gravi gs the p I this ess y . These
are n patterns produced entirely by fine pu ctures , without an i y ncised lines , and correspond exactly with the fine dotted ornamentation on the gold ground of the Wilton i Diptych , and i n illum nated manuscripts already described .
This peculiar style of art was anciently called i n E nglish “ oun ed i n ou n son n ez or p c work , French p in
i of Ber av en n Lat n In the will Joan Lady g y , “ a 1 434 of ou n ed d ted , she bequeaths a round bason silver p c
' ’ d r oe e a v ol . v n . 795 an d 797 a See Rymer s F , . pp ; Gough s Sepulchr l ' " ' “ a W 1 1 1 an d a Monuments , Ne le s estminster Abbey, vol . ii . p . , St nley s Me " mori al s 1 1 869 . 1 5 . of Westminster , , p h l i A rc ae o o a . 36 T g , vol xxix . p . .
are a a a a Efii ie s I They t ken from the very c reful pl tes in the Monument l g ,
a an d L 4 n d X 1 8 0 a . a by Thom s George Hollis , published ondon , , Pl tes IX . . but a re only sketchily given in this reproduction .
A rch ae 0 1 0 i a a 54 a n d 55 g vol . xxix. p ges . r l / l l n l n i in r A be . 45 i on uzn en ta Efi gy i l cs t s te b y
w e . ith m rys letters Receptacles for perfumed powders , “ ” - ou n cet . because perforated , were called p boxes
Specimens also are here given of the chained Hart an d the
’ Broom plant a s they appea r pounced upon t h e King s gown .
I t w a ill be observed that the Stag is freely designed , and th t
a w a t he the B room is represented as gro ing pl nt , bearing both
w o d flo er and the peas in p .
Dotted or pounced pa tterns on the Monumenta l Effigy of King Richa rd
e in Westminst r Abbey.
hesc ffi a t he on e T sketches of the e gy , especi lly seen in profile , a n d t h e i n l f ff crowned portrait fu l ace , a ord a favourable oppe r t u n i t y for comp aring the fea tures of the King at different periods
o of his life . It is painful t contrast the j aded a n d w orn cou n
t e n an ce t h e a — d a - of mon rch , contracte , dr wn down eyes and
— f s n h mouth , shown by the gilded e figy , repre enti g i m w hen he 46 r W i lton House Port rait of Richa d the Secon d.
w as - of w i n t el l i only twenty nine years age , ith the sprightly and
gent countenance of the promisin g boy as he is seen kneeling i n f the Wilton picture . The expression in the face o the enthroned
monarch in the Westminster portrait partakes of both character s .
n n on . That picture probably belo gs to the period whe , St
’ 1 390 w Edward s Day , in , the King and Queen sat cro ned in
at A b b e . state in Westminster y B oth in this full face , and in the
f of n monumental e figy , the great length and narrowness the ose
is remarkable . I n both these portraits his smooth round chin is
t w o of garnished with little tufts , like nipples , hair kept apart f i about the width of the nostrils . The e figy exh bits moustaches
of a p ecu l i ar grow th . They spring from a level with the corners
of the mouth and hang down a very short distance , each termi l n at i n g in a peculiar twirl . In the profi e painting at Wilton House
the face is beardless, but, like the enthroned portrait , the hair
a is very full and n turally curling , and the cheeks smooth . I n
I n ffi both pictures the ears are concealed . the e gy the ears are
. f disti n ctly marked They are not perforated o r earrings .
Form of the eye of Rich ard the Second Enl arged eye of the Virgin i n the a ffi W i n his Monument l E gy . ilton House Diptych .
w of i n The dra ing the eye the monument is very remarkabl e .
n I t is not only lo g, but the lower lid actually curves down , and
t o the external corners j oin so as simply form an acute angle .
This peculiarity may be seen i n some of the ivory c arvings o f
of e e t h e period . I t contrasts with the form the y of the Virgin i h W as seen n t e ilton House Diptych .
’
i . a . . 55 . D rt s Westm nster, vol i p
4 8 W ilton House Portra it of Richard the Secon d. ment contrast strikingly with the repose and solemnity of the
on r four figures the opposite side . I n the latter a la ge field o f the gilded ground is laid open ; whilst , i n the right, which t contains hirteen figures , the chief part being angels with
of u praised wings , very little the ground is seen .
of of On e peculiarity this portion the picture is , that every
i n of figure it is attired exclusively in blue the same tint, and f d shaded uni ormly with the same colour, only arker ; but
h of an s wit out the employment y black , even for extreme int u i s t y of shadow .
The figure of the Virgin holdi n g the Sacred Infant is calm
u as s n s of and stat esque , ee i n the French ivory carving
s the period , contrasting with the animated countenance and gestures of the attendant angels .
A ll of Vi n the dresses, even that the rgin , are cut high o
n the shoulders , with a plai black line bordering round the
t o neck . The sleeves , tapering down the wrists, are terminated
ff or in a simple black line , without any white cu embroidery ,
i n of as generally seen works this period . It may be remarked that the only white observable o n all the dresses is a fluted
t o of V a a lining the hood the irgin , and narrow strip long
of n of the edge her dress , below the neck , i stead the strong black line worn by the an gels . These plain garments of the
of angels , destitu te entirely embroidery , fit loosely round the
i n so t o body , and all cases hang down as conceal the girdle .
Thi s peculiarity is especially observable i n the angels of
n t o A gelico da Fiesole , which belong a somewhat later period .
F ra a e See the Life of Angelico published by the Society , Pl t s IV. , XVI
a n d . a G at XVIII This form of costume is observ ble in the works of iotto, Cos t ume of the Virgin an d A ngels . 49
The figure of the Vir gin here is wrapped in an ample i i i mantle , wh ch enc rcles her limbs and is drawn over her head l ke
- a hood her long under garment con ceals the feet . She supports i n a w h o her arms the Divine Inf nt , is quite naked , excepting a golden drapery which covers the lower limbs , but leaves both feet bare and prominent . He turns , with an animated gesture , f r . o towa ds the kneeling King, as if addressing him The palm his left hand is turned towards the monarch , with rather
of w t h e widespread fingers ; but the action the right hand , ith m pal inwards , almost as if beckoning, does not imply benedic
a n tion , lthough the two lo gest fingers are extended and the
on others bent , but rather a pointing upwards to the red cross ,
or a floating white banner , pennon , which is held with both
’ o i hands by a youthful angel . The forefinger f th s angel s left hand , whilst grasping the long pole , is significantly straightened
o f towards the King . The stately figure the Madonna is
on a supported each side by kneeling angel , each touching her garment with one hand , as if to urge her forward , and with the other pointing towards the King, apparently recommending h m ’ i a . a w n to f vour Every angel s he d is ithout a imbus ,
a which would rarely be the case in Itali n art of this period .
In Flemish and Rhenish paintings the nimbus is less frequently
fi "E applied to angelic gu res .
’
O a a e . an d X I X i t Assisi ; (see ttley s E rly Florentine School , Pl t s XVIII ) ;
a a a a an d w as succeeded the cl ssic severity of the Byz ntines , ret ined by Cim bue , a e a a fi a ac ft rw rds mpli ed by the introduction of second girdle , pl ed higher up ,
as c a a t h e G oz z ol i a G ran acci such oc ur bund ntly in works of , Poll juolo, Botticelli , ,
a n d a a Perugino , R ph el .
ma e as a a a art a i n It y be not d exception l in It li n , th t the picture by
i n ou r a a G a r 586 o f t h e Filippo Lippi N tion l lle y (No . ) the Virgin enthroned , a a an d a h e fi a ngels round bene th t gure of the Madonn a h ve no nimbi . G 50 Wilton House Portra it of Richard the Secon d.
f The angels are all represented with youth ul , and somewhat
r of gi lish , forms , in female dresses , wearing wreaths white and
u - r grey roses , and their niformly yellow brown hai is dressed
an d r or on either in ringlets flowing cu ls , in plain rolls each side of the forehead .
The peculi arity of every an gel wearin g a wreath of roses merits observation . Here the flowers , which are all precisely
of i n t o . the same k d , tend to give cheerfulness the scene I n early representations of chaplets we do n ot find the roses so
* or . closely placed, green leaves filling the spaces between them
of of The wings the angels are variegated plumage , lighter
n towards the shoulders and growi g deeper in colour , from grey
’ Charles Comte d Es t amp es an d John Gower the poet wear the flowers
a i fi fi r with consider ble ntervals between them upon golden llets . A gu e of
’ ac a a a fi one of the benef tors of St. Alb n s Abbey we rs llet with roses round his “ a a oi a an d a a a i s a he d, double p nted be rd, coll r m rked with S S It in “ a a i n B i a . v n . Cottoni n m nuscript the r tish Museum , m rked Nero. D
I n a a di i da a Fr picture by S no P etro Sien , the property of Sir ederick
h i m a a i i n Leighton , contributed by to the Roy l Ac demy Exh bition
1 882 1 91 a a a a a of an d i an d , No. of the c t logue, ngels we r wre ths red wh te roses , two angels i n the upper extremi ties h ave circlets of dark blue leaves without
‘ a a i n Paradi se t i da F i esol e s flowers . The d ncing ngels the por ion of Angel co ” a i n a a at F a L st Judgment the Acc demi delle Belle Arti lorence, engr ved in
i i a l the llustrations to the L fe of the p inter published by the Arunde Society .
1 850 at X VI a a an d a a ca , Pl e , we r wre ths of flowers ; ngels supporting nopy over
a i an d a G oz z ol i an d i n . . V rgin Child , p inted by , formerly the possession of Mr C
a i a a i a . a l a S ckv lle B le , h ve circlets of red roses round the r he ds A sm l wre th of
i s a a ai i n roses worn by St . Dorothe round her long w vy h r the picture of the 7 7 . 0 a i a Ga . a i n Cologne School , No of our N t on l llery In the s me collection , the
i a F a a al a d a l a a a picture by P ero dell r ncesc , the centr st n ing nge we rs wre th of
. 665 a a fin e i u G oz z ol i white roses (No of the c t logue) . In the p ct re by of the
r o . 283 of a i a G a a a fi v e a a Virgin enth ned (No the N t on l llery C t logue) , ngels st nd
n a hi a ing round the Virgi we r w te roses , which h ve very much the appearance of
a a . Fi a a i n white b nds , in their curly h ir ve ngels singing the Glori Excelsis
over the new - born babe i n a N ati v ity by Filippo Lippi in the G alleria delle
F z a o a 36 a a a Belle Arti di iren e , T v l , we r wre ths of roses comp ctly joined . The
a flat an d a form of e ch nimbus is circul r. H r B adge of the W hite a t . 5 1
a o f . to bl ck , as the length the feathers increases Their uniform
elevation is also a point of considerable peculiarity . It certa inly t contribu e s materially to give animation to the scene , and is
* rarely to be met with i n works of art .
of Broom~ cod s The collars worn by the angels , from each
o w o arc f which t distinct pods pendent, are short and fit close
t h e n t 0 round neck , so as to be disti ctly independent of the p
W o of the blue dresses . The hite Hart worn by every angel n
n the left breast , encroachi g slightly upon the sleeve , crouches
U l b ed of n po n an ova dark green , and has lo g golden antlers ,
outlined with black , and a gold ch ain hanging down from the
n crown which encircles the eck . To show the independent d i manner in which this ba ge also was worn , it may be noted n
t he a n gel who kneels with her face i n profile and her back to
of the spectator , that the mere tips the antlers appear over her i left shoulder . M ost of the standing angels are linked n loving
embrace ; the hand of o n e being passed through the arm of
a i n are nother , and , three instances , hands laid upon shoulders .
“ a a a i n a an a A rem rk ble inst nce will be found the Annunci tion , e rly
l l o i n a e . C as t c a a Veneti n pictur , formerly in S Antonio di , now tho Acc demi of
a e i n 1 358 . a a Venice , p int d by Lorenzo Veneto , It bounds in rich orn ments .
’ The re rob e an d an d — a a the Virgin s nimbus , even her crown , very unusu l
i n a of — aro a emblem represent tions this subject , decor ted with considera ble
a c . The t h e a an d a eleg n e wings of Annunci to Angel rise high bend forw rd , to
' h e f a T a i n R os i n i s suit t form o the comp rtment . he picture is engr ved Stori a
" 1 1 44. a a i n h a a 840 . . . t e dell Pittur , , vol ii p A striking p r llel will be found
a fi a a i n l a a be utiful gure of St. Mich el , st nding ful rmour, where his upr ised
fill a of a a a d a F iosol o an d wings the he ding comp rtment , p inted by Angelico , “ " a i n a a 1 845 Tav 33 engr ved the Acc demi delle Belle Arti di Firenze , , . .
t h e l 6 t h t h e a fi fi t he a Another, but of century , is m gni cent gure of cre ting a a fi rmame n t a a ngel , with the st rry under his h nds , designed in mos ic by
a a for t h e a a n d on o a a a R ph el Chigi Ch pel , forming of series engr ved by the l te
L e w is ru n or A n a a i n t C . upr ised wing is also notice ble the Diptych a Holyrood 9 a ac S ec a n te . 1 P l e . , p . n u r r o 52 Wilto Ho se Po t a it f Richard the Secon d.
of The golden drapery , which envelopes the lower half the
n of of aked I nfant , consists simply the polished gold surface
of the tablet , with the shading the folds very artistically
of rendered by means fine dots , giving the granulated appear
ance of modern engravings in what is known as the stipple
a . of i n m nner The nimbus the Madonna is circular , and large
. u l proportion It is fl ted with finely indented radiating ines ,
w hich give a peculiar richness o f eff ect that could n o t be
rendered in the facsimile before us .
’ h ead of i The nimbus round the the I nfant Sav our , although
of of only half the diameter that Our Lady , contains some very
b u t remarkable emblems , expressed merely by dotting in the
i ar polished surface . These in the chromol thograph e indicated
of by lin es of red paint . They consist a crown of thorns
u illoche n n inwoven to form a g patter , an d followi g the circular
n of line of the imbus , and three limbs the cross issuing from
the head , but which , having triangular extremities , might also
a f or of h be t ken further emblems the Passion , namely, the t ree
* n a ils of C ru cifix i on . of the Although the points the nails ,
t o if such they represent , converge the head of the Sacred
of i n t er r Infant , there is strong support in favour such an p e
'
i on n . of 2 t at , consideri g that St Louis France (died 1 70 , and
canonized 1 297) is represented i n on e case holdi n g a crown
o f thorns encircling three nails, and in another , holding a
crown of thorns in his right h a nd and a standard of the cross
' i n his left . 1
The existence of these emblems w as first noted i n the “ English Con 1 60 n oi s se u r . . . . T w h as , vol ii p his triple object within the cro n been omitted
’ i n Holl a r s engravi ng .
' h a v 1 60 1 3 H u sen b et 8 o. 8 . 0 1 , Emblems of S ints , , p . n 53 E x tern al Pa in t i gs .
a a I n a rem rk ble manuscript of this period , now preserved
20 . . in the B ritish M useum ( Bibl . Reg . , B vi ) entitled
i r au a 2 u n d c s C cl est i n s Ep s t c Roy Rich rd , par Solitaire de
’ a Paris , is a large illumin ted page , consisting of the letters
n . . I . s in burnished gold , surmounted by three crowns , the
a on e t h e w of o n centr l being cro n thorns , with drops of blood ,
w a black ground , that to the left a French cro n on blue , and ,
on . to the right , an English crown red Rays of light issue from t h e central crown to those on each side . O n the opposite page of the volume is a small and very delicate representation of King Richard on his throne , attended by his courtiers , receiving a book from a monk w h o kneels and holds in his
“ l e ft hand a banner , which will be described hereafter .
I t may be remembered that i n the description of this
i n of a n te picture when the possession King Charles I . (see , page 8 ) mention was made of a device on the outside of the “ t h e door , and there said to be arms of Edward the Confessor
with a red hat and mantle . This imperfect and erroneous statement is made intelligible by a reference t o the back of both
a D o p nels of the iptych , whereon paintings still remain , f
a which , although much inj ured by we r and tear , the subjects
f a can be su ficiently m de out . As it w as impossible i n the
coloured reproduction to include these curious decorations , reduced representations of them , from tracings taken by Lord
’ are here T Pembroke s kind permission , inserted . he panels a re t h e o n of same size as the pictures the other sides , and
a ou enclosed lso in gilt mouldings , all carved t of t he same
o f d sh al l w c rx block woo , only somewhat o f
a 65 . Se c a n t e a 1 4 P ge 1 , p ge . 5 ' ' 4 W ilton, Hous e Port ra it R t c/za rd S d qf the econ .
H i n ge
a a a Extern l Decor tion of the P nel , on reverse of the Ma donna
a a a n d a with the Inf nt S viour ngels .
H i n e g .
H i n e g .
a a a Ki an d a a Extern l decor tion of the p nel , on reverse of the ng his p tron s ints .
’ A . a i a i n e The white st g (the King s dev ce) p inted thick whit colour , shining
like en amel .
‘ n ta fi n e . The s g s horns covered with punctures or dots .
. i fi n e c The coronet of gold covered w th dots .
D. A a a ac i golden ch in of squ re links , outlined bl k ; much njured .
3 a n i ed . Pl in gold ground very highly bur sh .
P. a a fla i t D rk green b nk , with the g iris flowers rising from .
an d n d i n 0 . F a erns red berries blue flowers foreground .
H a al l . Gold fr me, of one piece of W ood with the picture ; but of sh allower
a i mouldings th n those nside . E xtern al Pa in t ings . 5 7
w - d - semée ith Fleurs c lis for Fran ce , and second and third
three Lions for England , the coat of Edward occupying the
principal place .
a s S ndford informs u that King Ed w ard II I . was the first to assume as a crest a Lion passant gardant crowned upon a eh a eau all p , which was continued by succeeding monarchs
w w s n do n to Ed ard VI . 1 Thi arra gement is shown by Sandford o n of W a seal of Edward I I I . when Prince ales, where the
an d a t w o arms , helmet, crest, m ntlings are placed between
a feathers . The shield is hung sl ntwise . The helmet is similar i n a V sh pe to that of the tilting helmet of Henry . , still pre served in W estminster Abbey .
O n t he reverse of the panel bearing the kneeling Kin g is
o n a S of depicted a l rge scale , and preading over most the
’ a d ground , the King s f vourite badge , the White Hart lodge }:
i of The golden cha n is composed square links and hangs down , being twisted round his bent left leg . He reclines on a bank
of fl - f owers and well painted bracken . Tall grass an d flags o
of iris fringe the summit the bank , and their forms bend grace
4' a 1 57 P ge .
' 25 1 57 an d 1 85 a . 1 . 1 S ndford , pp , ,
' has a i a w as a t h e a 1 It been noted th t th s b dge t ken from King s mother, Jo n ‘ to w as a a of Kent . According the legend, it derived from the white st g c ught
a Ba a N emo on e ne r gshot , in Windsor Forest , with the coll r round its neck , " 2 t a n a t C aes a ri : su m g .
o L an d a a an d a a are B th the ion the H rt , the one crest the other b dge , sculp
a a - a t red prominently long the string course which runs round Westminster H ll . The Hart there is usu ally lodged on a si ngle row of n eb u l ée with orn amenta l
a oak a n d a . T as a fol i ge , sometimes of sometimes of corns he Lion , crest, inv ariably appea rs on a helmet .
' 2 “ 1 49 o i a a . . A rch aa l o a v ol . . 38 St nley s Memori ls , p g , xxix p . . 5 8 W ilton House Portrai t of Richard the Secon d.
fully upon the smooth gilded surface of the background . The gilt crown and the antlers are highly finished with puncturing .
of m The attitude the animal , it will be observed , is ore compact
- than i n the pounce work device on the monumental efii gy . I t fairly corresponds with those worn as a badge by Richard
n and his attendants o the interior of these panels . The Stag
is n itself painted opaquely with white colour, as o the small
o n e i badges , but the worn by the kneeling King is pecul arly l bril iant and proj ecting in surface like an enamel .
The following observations bear more particularly upon the
of technical characteristics the work as a whole , and indicate f also the actual condition o the picture .
n a In ma y p rts it has been grievously damaged , but it was not thought desirable in making the transcript i n colo urs t o reproduce those blemishes . With the exception of the beau
fl r i n o f of t w o an d tiful o i at o the crowns the patron saints , the
- hf of . girdle St Edmund , the copyist has been most fait ul , and his restorations of parts n ow wanting i n the original are extremely j udicious . It may also be noted that in the Diptych the Broom - cods eomposi n g the collars invariably have the rows
u of round peas marked pon them . These have n ot always been defined by the copyist .
on of The background , the outside the Diptych , is plain
n d n a . highly bur ished gold , without y iaper pattern O n
n of an d this plai ground the horns the Stag, the Crowned
on f Lion standing the helmet , are su ficiently indicated by minute pu n ct u ri n gs alone .
of Upon a careful examination the Diptych , it appears that
oak w as f of o r the covered with a sur ace plaster gesso , and T n ech n ica l O bserv a t io s . 59
hol e w as ev er a rt of a then red used , above which y p the surf ce
w as a n d . O n t h e a gilt highly burnished back , where gre ter i thickness was required , the gesso appears to have been m xed u p w ith hair or fibres of linen . The figures on the front sides o f t he panel were pain t at once upon the gilt surface after
had i n it been burnished , which is manifest where several
' a t h e ofi a n pl ces colour has chipped , especi lly i the white fur i ’ f ’ o . l ning to the King s gown , and the lining St Edmund s sleeves . The ground of the gilding shows conspicuously across
of . a the waist St Edmund , where the blue had been thickly l id on with a brush and worn o ff . Even the gold had i n some
a m pl ces disappeared , leaving bare the red bolc gro und and so e of the pu n ct u ri n gs penetrating it .
The heads of the protecting saints are encom passed by flat a n d r a pe fectly pl i n disks for glories . All three crown s here
or . introduced , as well as the morse fibula worn by St Edmund , are adorned with round knobs of an opaque enamelled sub
o f stance . Some them have been tinted t o represent precious
stones .
ar The crowns of SS . Edmund and Edward e very deficient
a fieu rs- - in perspective . The end orn ments, which resemble de lis , being perfectly flat , they are only distinguished from the gold groun d by a very fine incised outline , and being punctured al l
’ - . cod over The King s crown , like the Broom collar , is thickly
w a outlined ith bl ck .
The imperfect d rawing of the ornaments of such crowns is also t o be seen in some fi ne ex amples o f painted glass in
at a i n the church Lower Ettington P rk , formerly the great 6 0 W ilton H ouse Portra it of Richard the Secon d. window of the chapel of Winchester College belon gin g t o the
in of or on e same period , which a portrait either K ing Richard
f u i l of u o his ncles is ntroduced , wearing simi ar tufts hair pon
on the chin to those described p . f The very rich pattern upon the gown o St . E dward is
of t hi ck of U expressed by means a layer pure ltramarine , applied with a very full an d free brush upon t h e poli shed
a i n gold surf ce , leaving the b rds and coro ets all in bright
n gold . The colour stands u p in ridges . This is co firmed
f . o R A . by the observations M r Thomas Phillips , . , already
o ' referred t . 1
of . T he colours upon the gown St E dward , j ust across the
r waist , have bee n very much disturbed , and the black gi dle has
an te . 3 6 en d of partly disappeared (see , pp and but the it , ” n o r ha ging down and terminated by a chape crampet , as
of n seen at the end the garter in heraldic representatio s , still
’ n remains , and appears in the present reproductio . In H ollar s
n o m engraving there is imperfection , an d it co pletely en circles the wai st .
of w off I n the painting the flesh , here the colour has flaked ,
’ and especially in the profil e face of the an gel and i n the King s
of hands , a lower bed pale green , as seen in Umbrian pictures ,
. may be detected B eneath these there lie gold , red bole ,
oak white plaster (gesso) , an d the itself. This green groun d
i s also very perceptible in t h e beautiful face of the angel with
i t he downcast eyes next to and beh nd Madonna .
“ i t s a u an d See Lower Ettington , M nor Ho se Church , by Evelyn Philip 1 880 49 Shirley , , p. . “ o a il 1 95 . n te 1 2 . a . . 1 Britt n , Be uties of W tshire , p See , p 1 Tech n ical Observ a t ion s . 6
The checks of King Richard are most delicately hatched
n w i colours , and the hole countenance is modelled with h e . extreme care . I t coul d only have been painted from t life
His eyebrows are faintly marked and that by a series of very
l on e . fine vermi ion strokes , forming altogether delicate line
’ The King s eyes are of a light bluish slate colour ; the
eyeball being finely outlined in black , and the central black i n fact of . spot being pure black ; , a proj ecting lump paint
The eyelids are broad , and not proj ecting beyond the eyeball .
No eyelashes are visible . The complexions of the patron
saints are very clear the red on their cheeks bein g a pale
mixture of carmine and vermilion . Their lips are of a clear
p ale vermilion tint . I n the reproduction there is too much of
n of grey i the middle tints these countenances .
The flesh tints are entirely composed of solid opaque
tempera colours , pinkish and grey, minutely hatched . The
hair on all the male figures is marked with crisp wavy lines
- of brown and reddish burnt sienna colour .
O n looking carefully at the panels , it appears that their h gilded surface is thickly covered wit minute horizontal cracks,
of even over the figures the Madonna and the angels . This has
l ed to a trifling misapprehension on the part of the faithful
n t he Th copyist whilst prepari g picture for publication . e
beautiful angel kneeling at the side of the Madonna and look
t h e ing up to I nfant Saviour , is made to appear as if display
n ing the teeth . This is i reality t he result of a mere accident
a i n t h e a of crack p int passing through the line the mouth ,
a n d a a i n h a bre king it aw y the centre , has exposed t e white pl ster
a so as to give that appe rance . 6 2 W ilton House Por ra it o Richard the Secon d t f .
’ The King s gown does n o t appear quite such a positive red
t o t h e i n the picture itself. This is owing deep and shiny holes
on - pu n ctured the gold stags and the Broom cods , which cat ch the
W ff I light and , making a hite glitter , produce a brilliant e ect . n
the chromolithograph , where everything is produced by printing
alone , the red looks comparatively heavy and the gold appears
of t w o n on e t h e dull . The faces the a gels , holding ban ner ei and the other kne l ng below , are modelled with greenish
middle - tints quite i n accordan ce with the Sienese School ; s o
i o n e t o n l kewise , the with downcast eyes next the imbus of
the Virgin .
of . th e o The right arm St John an d right hand f St . S Edward are thickly outlined with a. harp dark madder . The
fingers o f the hand holding the ring are most exquisitely
outlined and modelled , with very pale vermilion colour f or
high lights .
’
- The King s hair is yellow , shaded with reddish burnt siena
mad d r lines . There is a subtle and fine outline in e y red to i ’ hi s a of t . profile , which is partly lost in the sh d ng S John s
- yellow brown hair shirt .
The earthly surfa ce on which these figures stand is pl a in
I n rock o f an opaque yellow ochre and brown tint . the opposite
an d compartment , no foot is visible below, the figures are all
u placed pon a verdant meadow thickly sown . with asphodel
"é and celestial flowers . Although the scene may be regarded
n n o as a vision and the compa y the heavenly host, cloud is
introduced .
a a a i fi i as t o a These flowers ppe r lso beh nd the gure of the V rgin , so m rk
a at a a a a the dist nce which the he venly ttend nts st nd from her.
6 4 W n P r r o ar S ilto House o t a it f Rich d the econ d. of n of artists , when depicti g the portraits very young persons
t o i n a public position , bring them nearer to maturity ; the very
of of reverse the usual form flattery, where the apparent weight f o b e . ai years has to lessened All royal portr ts especially, even
t o . down to modern times, are subj ect this rule T he King
t o therefore , making all d ue allowance , may be assumed be
o f about fifteen years age , an d this would concur with the
1 3 81 of year , a period full political events , preceding the
’ commencement of the young monarch s selfish and unhappy line of action .
of on so The form the hel met over the shield the outside , far as can be made ou t from the broken condition of the
on e surface , corresponds exactly with formerly in the Meyrick
t o n of w a . Collection , belonging the reig E d rd I II The ” u l ari u m n o oc is longer a slit cut in the metal itself,
' but formed by an opening left between the u pper an d l ow er “ p ort i on fi
of i n With the exception the large gold ring , outlined
s b black , with an embossed black ton e , held y the Confessor ,
i n no i nstance of finger ornamentation appears the picture .
of n ai n ot . The hands the Ki g are r sed , but folded in prayer
His countenance betokens expectancy, and the widespread action of the fingers implies readiness or a preparation t o
. t o receive something This, j udge from its position , would be the white banner with a red cross u pon it which streams
t w o from a lofty pole , bounded by large knobs of the same colour as the staff . From the earnest manner in w hich t w o of
u the angels look pwards , and from the significant motion of the
’ ” a e En c cl O sed i a 1 7 2 2 i 8 6 . 8 a x . Pl nch s y p of Costume, , p , pl te The R ed Cross B a n n er 6 5
’ w a a i n Saviour s right hand , it ould appe r th t this banner there
centres some particula r interest .
W hite and red are kno w n to have been t h e colours assumed I I by Richard . as his livery, and they were consequently
r * much wo n by courtiers during his reign .
The red cross upon a white ground might be regarded as
o f n the cross St . George , who , stra gely enough , is not here
among the patron saints of the King . I n the series of
of n o portraits Edward I II . and his family o the cast wall f
’
. an t e . . S t Stephen s Chapel ( , p St George appeared as the
a speci l intercessor , and ushered the King into the Divin e
. on Presence B ut the red cross a banner , when borne by the
of God u n fre Lamb , is also the sign of Redemption , and not
i a i f quently appears n It lian art n pictures o the Resurrection .
I n C ol the very beautiful manuscript , formerly in the Royal
“ ” n i 0 i B b L . 2 lection , and now the B ritish Museum ( Reg , B
“ u n i entitled Epi st re au Roy Richard 1 1 . par Sol taire ” C cl est i n s des de Paris, 1 already referred to , is a delicately
of on reeei v i n finished representation Richard his throne , g the i book from the author, who kneels , hold ng at the same time
fla f red a white g with a long white sta f to it, bordered with ,
and having on it a red cross charged with the Lamb of God
a fla . bearing a sm ll g The workmanship is beautiful , and the
colours delicate and cl ean i
1 38 1 a of The year , the d te , it may be assumed , this picture ,
'
Pl n h 1 884 1 52 . a c é s . British Costume , , p , note 1' The object of this letter w as the confirm a tion of peace between the Kings o f a n d a Engl nd a Fr nce . I This illumin ation has been carefully engraved by Joseph Strutt in his " R e al an d a a a . S ee a n t e . 5 3 . g Ecclesi stic l A ntiquities , Pl te XIX , p 6 6 l Vilton House Portra it of Richard the Secon d.
a i n of ou r was very memor ble the history co untry , especially
of n f for the general outbreak discontent, resulti g chiefly rom over - taxation,an d for the Kentish insurrection headed by John
ff of a . t B ll and Wat Tyler Abroad , the e ec s the Papal schism ,
i n 1 3 78 which had commenced , were severely felt throughout
h i n an d of C ristendom , but especially Flanders the Kingdom X I a of . N ples . O n the death Gregory two popes were
: . simultan eously elected to succeed him Urban VI , a Nea
V . n politan , at Rome , and Clement I I , a Frenchma , at
n of Avignon . The principal ations E urope were divided at
' on e or once into two factions , either supporting the the
t h e other . E ngland , Flanders , and Germany espoused cause of ”9 Urban ; whilst F rance , Scotland , Spain , an d Sicily were
m . for Cle ent A n English force led by Spenser, the martial
o f bishop Norwich , was despatched to succour the Flemings ,
i n who were arms against their rulers , then leagued with France , as in former years they had been instigated t o a similar rising A by James van Artevelde . At this period Philip van rtevelde ,
s on an d his and successor , was rising into that short , brilliant , romantic ten ure of power which forms on e of the most interesting
i n n b of episodes history, and ended in the sa guinary attle Rose
n becque , whe the F lemings were totally defeated by Charles
of V I . Within the same year Charles D urazzo b ecame master
of J the throne of Naples , after cruelly murdering Queen ohanna ,
w ho h a d recently professed submission to the Italian pon t i ff d'
a a at i n O 1 378 U a . w as By the P rli ment held Gloucester ctober , , rb n VI
z as a n d a a recogni ed Pope, persons dhering to his riv l ( Clement VII . ) sentenced
' an d to lose the King s protection forfeit their goods . “ 1 9 D u es a a a . . a a 1 Milm n , L tin Christi nity , vol vi p . . B r nte, de Bour ” 1 842 v ol 1 29 . gogne , , . i . p . Pa a S m A D 1 l chis . 378 . 7 p , 6
W w a n d hen the Kentish rebels ere advancing upon London ,
a e a a e h lt d at Bl ckhe th , the King proceed d in his barge a s fa r as
u r a n Rotherhithe , and found them drawn p in g eat numbers lo g
. n d the shore , carrying two banners of St George a many pen n on s fl‘
a a t e r Ag in , when the King met them M il End G een , he ordered in sig n of agreeing to their terms one of his banners to
e ach be given to those representing county, and promised them a s w l o letters seal ed with his o n seal . B ut after t h e death
r “at a t Smi t h fie ld w e of Tyler the meeting , and hen w ll sur
t h e rounded by his own supporters i n the open fields , King d v a irected them to surrender their banners , and to gi e b ck h d such l e tters as they a received .
D uring t h e excitement of the expedition to Fl anders l e d of a by Spenser , bishop Norwich , the London pprentices
a red o n mounted white clo ks with crosses their shoulders ,
L had a s w o rd s and red scabb rds to their ] John Philpot , the Lord M ayor of Londo n provided means for
a n d the expedition , kept ships to give these volunteers free
a p a ss ge . The Pontiff of Rome at this period promulgated a crusade
‘ a Pon t ifi n ag inst the of Avigno , and the bishops and the clergy w ere called on by their archbishops to enforce u pon their flocks the d uty of contribution to this sacred purpose . The s ame indulgences were granted to Crusaders i n this expedition as to
ma a t h e the Holy L and . I t y possibly be th t introduction of
a a t . . (560 . . . 6 64 a Froiss rt (Johnes) , ch p er lxxvi p Ibid p , Pictori l History " l 7 6 f a v o . . 8 . o . Engl nd , i p
‘ l i 33 - 4 a a a v o . \ . . 1 , 1 Milm n , L tin Christi nity , pp r c ar 6 8 l Vi lton House Port ait of Ri h d the Secon d. the banner i n this picture had some reference t o the part which
n the you g King was required to take in the conflict, and perhaps
t o to j ustify his determination favour the expedition . There is in the pictu re a peculiarity in the gesture of the M adonna .
She holds the right foot of the Divine I nfant with her naked
n sol o i n hand , between the thumb and forefi ger , displaying the
’ n t an apparently significant ma n er .
i n 1 3 63 f At an earlier period , , strenuous e fo rts had been
n of t o made by Peter Lusigna , King Cyprus , induce the
Ki n gs of France and E n gland to conduct a crusade t o the
v d n H oly L and . H e i n person isited Englan , after havi g , at
Avignon , received the fullest support and encouragement from
ff V . i n . the Ponti , Urban , who preached its behalf The pages of Froi ssart contain precise accounts of the manner of
n w . putting on the red cross . Ki g E d ard III , when the
t oo ol d appeal was made to him , replied that he was , but h would leave it t o his children . At the departure of t e King
f n o Cyprus , King E dward gave him a oble ship called the
“ a i C ther ne , which he had already had built to make a
l . t o a . voyage Jerus em ( chapters ccxvii and ccxviii , pp .
30 3 w , It is therefore possible that the obj ect ith which
’ It may be noticed tha t the view of the S aviour s feet accords exa ctly
a a i n t h e with th t of the Inf nt Christ, who is there perfectly nude, small
a u a a w as at a a t circul r pict re by R ph el which formerly Perugi , now St . Peters
' ‘ St afla a a i n i a burg (the M donn ) , where the Child held the V rgin s rms is tur ning
’ a a over the le ves of book . Although the sole of the child s foot is i n precisely
a a a a a as the s me point of view , the h nd of the M donn is moved further b ck , so
i a of to support the limb tself. A nother inst nce the right foot of the Infa nt S a viour resting directly in the h a nd of the M a donn a will be found i n the votive
‘ da 380 a i a 1 a . D A n cou rt picture by Christoforo Bologn , , lre dy referred to ( g .
pl . clx . ) I n cite/nea t to lead a Crusade . 6 9 this diptych was designed was merely a repetition of the
an d former feeling, may have been actually intended to incite
Th e the young King t o promote some holy expedition . emblems already pointed out in the nimbus of the H oly
a a . Inf nt, f vour this view
As it is al w ays interesting to trace a connection betwee n the external appearance of an indi vidual and the temperament d and isposition evinced by his actions , we may avail ourselves of the Opportunity afforded by this picture to examine t h e
a of m person l traits the unfortunate onarch , and to compare them with the historical events at that time moving round
i n Ju n e 1 38 1 w as him . Richard , , , fifteen years and two
old an d a o f months , the countenance before us is th t a boy
n o f correspondi g age .
W e therefore see the youthful monar ch at the Opening
e of p riod his life , when his better qualities were beginning to i develop themselves , and before they were so unhappily m paired and negatived by bad precept and a neglected education .
n i f a I early l e Richard ppears to have been equally active ,
an d intelligent , intrepid . Ready tact seems to have been
a i n i t of impl nted his nature , although partook cunning, and sometimes degenerated into deceit . This was apparent on the occasion of his retractation of his pre mises on dismissing the
h a insurgents after he d concili ated them .
The following brief rec a pitulation of the momentous events w hich were concentrated w ithin the short space of less than a
w a a t o week , and in hich the K ing ppe red so great advantage ,
a a a H ad will pe rh ps tend best to elucid te his ch racter . the
King persevered i n the promis ing course which he then struck r r o r S 70 W ilton House Po t a it f Richa d the econ d. o u t n ot , and lapsed into indolence and wayward selfishness , his
i on e c areer might have been a brill ant , and the whole curren t f of ou r national history altered . The period o these events coincides with the apparent period of the picture . Piety seems
’ i n to have had a large share the King s disposition , and his
n n o devotion to Edward the Confessor , and co sequent prefere ce f
’ W estminster Abbey to St . Paul s in the moment of severest f a are o . tri l , also characteristic indications his temperamen t
The approach of the rebels must have struck dismay into his
n youthful heart , and especially whe , apparently secure within
of the recesses the Tower , and surrounded by his courtiers and
h n o f friends , he was joined by his mother , Jo anna , th e Pri cess
W r of w h o ales, once the F ai Maid Kent , had been overtaken and
on t o insulted , her way back from a pilgrimage Canterbury , by
a w t o an d w ho the r bble then hurrying for ard the metropolis , “ soon after established their head - quarters at Bl ackh eat h fi A
Sir of gallant knight , John de Newton , Constable Rochester
Castle , arrived as an unwilling messenger from the insurgents , requesting the King in person to confer with them at Black
‘ . To on heath this the King acceded , and the following dayd
i n after having heard mass the Tower Chapel, entered his barge and rowed towards Rotherhithe . B ut the violence and threats of the people assembled on the shores made it
d an d unsafe to lan , accordingly the monarch returned at
e of once to the Tower . Being thus d feated their obj ect,
o the rebels proceeded t L ondon with great fury, and , forcing
o f London Bridge , destroyed the Palace the Savoy , breaking
of a open the houses the wealthy , and sl ying the unguarded
' 1 3 1 381 . a . 655 a Froiss rt, p . 1 Holy Thursd y , th June,
72 W ilton House Portrait of Rich ard the Secon d.
’ t o St . Paul s , left the Wardrobe and went direct Westminster,
n where he and all the lords heard mass i n the Abbey . He ext
i resorted to the hermit w h o dwelt within the precincts ad
’ * t o . . j oining St Margaret s Church , and there confessed himself
Richard afterwards visited the shrine of O ur Lady in t he
’ ' n Pew, where , in a small oratory 1 connected with St . Stephe s
o f t o Chapel , there was a statue O ur Lady reputed possess
i n many virtues and to have worked miracles , which the
Kings of E ngland were said by Froissart t o have had much
a m R ichard , h ving performed his devotions and ade his
’ f o cl o ck o ferings , mounted his horse about nine , I as d id the
w h o on barons were with him , and set forth his gallant
t o Smi t hfi el d su adventure , where his presence entirely p
pressed the rebellion . ”
There remains only t o be considered the question of the
n of of an d ationality the painter this Diptych , that is an f interesting but extremely di ficult point t o determine .
J. . n an te 1 3 Both Dr . Waagen and D Passava t , see , page ,
a 1 857 accepted the workmanship as Itali n , whilst, when seen in
n m at the great Manchester Exhibitio , it was considered by any
to be a genuine early English production .
n . . H ookham M rs . Jameso , and Mr W Carpenter, the late
of learned keeper prints and drawings in the British M useum ,
t o u of f were t h e first s ggest the idea a Bohemian origin or it .
' ’ a . 41 0 284 1 631 Stanley s Memori ls , p ; Stowe s Chronicle , p . , edition , 288 p . . 61 . 6 . F a 1 F a . 6 a . 6 . 1 roiss rt , ch p. lxxvi p I roiss rt, p
a a . 41 0 . St nley , Memori ls , p ' n 73 N a t ion a l C/uu acteris tics in Pa in t i g.
This theory w a s ground e d o n the cultivated taste of the
O f a 1 31 8 - 1 378 Emperor Charles I V . ( Bohemi ) , , and his foster ing patron age Of art .
This Opinion has been pow erfully strengthened by the
W . O f O f views Of Mr . A . Franks, the British M useum , and
’ M r . J . C . Robinson , Surveyor of the Queen s Pictures, both
Of whom are eminent j udges , and practically acquainted from personal Observation with productions Of art existing at
a i n N o t Prague , Karlstein , and other loc lities Bohemia . having myself had the advantage Of studying these interesting
of examples , I am unable to j udge decidedly their peculiarities
Of style .
l n seri es of a B ut , if the fol owi g description Of a p intings
o f at Karlstein attributed to Dietrich Prague be correct, they
* possess little in common with the Diptych before u s .
u n The forms are somewhat broad and graceful , and in the
over - large noses with their b re ad ridges may be recognized
. a on a native Bohemian peculiarity The fem le heads , the
O f . other hand , are of nobler and more refined forms The ” - a wide Open eyes are characteristic Of the B ohemi n School .
W an f Dr . aagen , however , discerns in these paintings a finity
O f a 1 3 75 i n with portions an altarpiece at Pr gue , dated , which the portraits possess surprising individuality . The altarpiece includes a representation Of the Virgin and Child adored by
. son l Ve n cesl au s the E mperor Charles I V and his , and attended by various s aints .
The position which B ohemi a n art occupied during the
' “ " W e e a a of G e rman a n d 1 860 Dr. gen H ndbook , Flemish , Dutch Schools , , v ol 40 . i . p . . 7 4 TVi lton H ouse Portra it of Richard the Secon d . l atter hal f Of the fourteenth century is succin ctly described by Lord Lindsay in the following passage
Tw o distinct revivals took place at the eastern and western
of — extremities E urope , at Prague and at Cologne , the
an d former fleeting ephemeral , the latter permanent and
enduring in its infl u ence and ramifications to the present
day . I almost hesitate , indeed , in terming the former a
on revival, dependent as it was the association Of various
of of artists from various parts E urope , under the patronage
the E mperor Charles IV . , after whose death the momentary
' ' flame sank down and expired . Tomaso Of M od en a l was p ro
bably the eldest of these artists ; sprung apparently from “ of the long lingering Roman S chool Lombardy , he had f ” acquired something o the manner Of Giotto . Contemporary
W urmser or with Of Strasburg , and Dietrich Of Prague ,
“ perhaps a little later , and amply atoning for their demerits ,
z - n we may recogni e a purely semi Byzantine moveme t , akin “ t o a of Gu id e s U ol i n os of th t the , Gaddo Gaddis , and g Tus
i n cany , and the painters Of the Baptistery at Parma , the head
ou r ur al of Of Savio preserved in the Cathedr , and the mosaic
“ ‘ ’ the Last Judgment on the exterior wall Of the chapel Of
— . a of n S Wenceslaus works , especi lly the former , exceedi g
beauty , and i n their peculiar style scarcely excelled even i n
1 371 f or Italy . The mosaic was executed in the E mperor
Ch ar les .
. 1 346 Charles I V , elected Emperor in , it may be remem
f ” i ii 2 O a 1 847 76 . Sketches the History of Christi n Art, , vol . . p.
’ ’ D A in cou rt 1 33 Kraflt 1 845 . a G a a a . 1 g , pl . Vienn llery C t logue, by A , , 1 89 p . . r r r n n E a ly a t ist ic p oficie cy of E glan d.
w as s o n O f O l d a bered , the John , the blind King of B ohemi , who sided with Fra nce and perished valiantly i n the thickest
O f e a w h o the fight at Cr cy , whilst Ch rles , had followed his
a I n f ther to the field , fled ignominiously from the conflict .
V . the following year Charles succeeded Louis , the Bavarian ,
* ’ as E mperor Of Germany . D uring many years in his father s
f i n w as li etime he had resided Paris, and entirely under the i n fl u ence of France and the Papacy . H e gave extensive em
a l an d ployment to mini ture i luminators , must have summoned
n or Pari s ' F rench pai ters to Prague , Bohemian painters to j That E ngland during the thirteenth and fourteenth
O f f centuries possessed an independent school art, and a forded h extensive employment to artists , is conclusively s own by the
i n of a records preserved our E xchequer accounts sums p id , and
Of the services rendered for them . A few Of these records are
note d in the brief chronological tables at the conclusion O f these
pages .
of O f n A j ust view the condition art , as practised in Engla d
at this period , and its relations with other countries , is given as follows by Sir Charles Eastlake 1'
“ It is evident that, with the exception Of such modifications
i n a f i technic l processes as the di ference Of cl mate required ,
the habits O f the English painters in the fourteenth century
closely resembled those of the followers of Giotto . This is
e asily explained by the bond O f unio n whi ch existed between
a O f fl religious est blishments , the members which were chie y
act ive i n collecting an d communicating inform ation on prae
‘ O a 1 27. W a a . 42 Menzel , History f Germ ny , p . 1 gen , p .
fo r f 7 1 25 a a a o O a 1 84 . . I M teri ls History il P inting, , p 76 IVi l ton House Portra it of Richard the Secon d.
“ I n a tica l points . all th t belonged to the higher elements
O f al l art , i n that the dull descriptions Of the monks could
n ot t h e a convey, Itali ns , during this period , commonly sur
passed their transalpine rivals ; but i n mechanical details
i n they were indebted , their turn , to the artists Of the ” North .
a h ad a a a E ngl nd n tur lly , both from its geographic l position
a a and through f mily lliances , intimate relations with France
an a d Fl nders . Commercial interests with the latter had been
greatly strengthened by the marri age of Philippa of Hain ault
a W to Edw rd I II . hen the French king, after the battle Of
Poi ct i ers w a s n , a prisoner i n E gland , he retained French artists
’ a t d O rl ean s * l bou him , especially Girard , who has been a ready
a n te w h o named ( , page The young Prince Philip , for a
’ hi s t l while shared father s captivity , and af erwards became Phi ip
a the Hardy , D uke Of B urgundy , sent in l ter times rich presents
a n d a o f n of books and pictures to the king roy l princes E gland .
He was sca rcely fif teen years Of age when he fought at the side
f a at Poi t iers O c . his f ther , King John Of France , the battle Of
of Those illustrious captives , with many other foreigners rank ,
saw the chapel Of St . Stephen in its finished state , and at that f L period could i mbibe a love or art i n En gl an d . 1
m n At a si ilar early period in Flanders, under the benign i
n ce of a flu e the Count Louis de M le , both sculptors and painters
A ll a were making considerable progress . mention of p inting in
scul t i u ' e those days was connected with p , as we Observe that in
at d ues ar l s a . a 1 852 Les de Bourgogne , p Comte de L borde P ris , , vol . iii .
460 . p . ‘ “ a a a a . 1 22 . T E stl ke s M teri ls , p , note E ccellen ce of E ar ly F lemish Pa in ters . 7 7
payments made to Jch an C os t c i n 1 355 the use O f pai nt w a s
" confined to colouring an d gilding s t at u ary fi I n 1 3 78 Jean de
w a i n r d c M me n sci n u a H a ssel t as employed as P t e . S ( g e r ) t
an d the Court of Louis de M ale , even after the decease Of Louis i n 1 386 and the consequent subj ection O f Flanders to the rule O f l B urgundy, we find Hasselt executing various works for Phi ip
i n mak the Hardy . Philip, it is known , took constant pleasure
a a n d ing presents Of gold and silver im ges , pictures , diamonds ,
O pearls t o friends and relatives and even to foes . T the D uke “ O f Lancaster he gave the History Of Clovis to the D uke O f “ ” Gloucester the Story of the Virgin . He presented to the King
of England a splendid book containing a picture Of St . George ,
an d of a n a of . to the D uke Gloucester im ge St Anthony .
I n 1 38 3 Philip the Hardy founded a Carthusian convent
D i n t w o near ijon , and placed it great shrines or altarpieces
painted and decorated by Jean M al ou el and M elchior Broeder f a . of l in The latter was a Fleming born , and held the O fice ” i n t re . l e D u V et a . e arlet de chambre p de M S de Bourgogne .
n Broederl ai n 1 398 a n d The shri es by were completed in ,
i n n ow . are treasured the M useum at Dij on These works , ” a especially the paintings representing the Annunci tion , t he ” “ ” of Presentation , and the F light , display powers a high
fi O f - order with great re nement action and well devised draperies .
are i n a n d i n They pale colour, delicacy of tone resemble the
picture by Meister Stephan i n Colog n e C a t h ed raH'
of a B ut it is in the pictorial decoration m nuscripts , many
" C row c an d C a v al cas el l e a a 1 857 0 1 0 1 9 , E rly Flemish P inters , , p p , , , ,
a n d 1 3.
’ 1 5 an d a a a a . a a 1 22 1 E rly Flemish P inters , p , E stl ke s M teri ls , p . 78 l Vil ton House Por tra it of Richard the Secon d.
Of them extremely well preserved , that the superior merits Of if these schools can be most fairly tested . Many Of these , not
or in native E nglish productions , are Of Flemish F rench origin tended for England . I n the possession Of the Dean and Chapter Of Westminster is a small folio volume known as the “ Liber
” t o Regalis, which was presented by the King Westminster
n f ew of Abbey, containi g a very highly finished illuminations
t o O roya l personages . The volume relates the ceremonial f the coronation , and contains two subj ects Of a King and a Queen being crowned separately a thi rd picture represents the
of coronation a King and Queen together . The gestures Of the
figures are distorted and extravagant . The King and Queen are
i dressed entirely in blue lined with white . The predom nan ce
n on Of blue in contact with gold , and the stro g deep shadows
f t o W . the faces , show much a finity the ilton House Diptych The
l u background is a bril iant s rface Of highly burnished gold , i minutely punctur ed with dotted l nes , forming a graceful
n pattern Of flowing curves and droopi g branches . It is
all rem arkable that a dotted line is carried round the figures , so as to repeat their outline on the pol ished ground . There is also in the Library Of Westmi nster Abbey a large
“ ’ — w Li t li n t on s and magnificent service book , kno n as Abbot g “ ” 1 3 74 Missal . It was presented in by Nicholas Litlington ,
1 2 o 1 38 6 w h o was Abbot from 36 t . The figure illuminations
On are i n ferior to the ornamental work the same pages , and there is n ot the same preponderance of blue .
I n the B ritish M useum is a Prayer Book of Margaret of
a a a . 1 21 1 22 an d 1 28 a iff a Sir Ch rles E stl ke , on pp , , , expl ins the d erent qu li
O an d t h e L on d on a . ties f blue pigments , refers to pr ctice
8 0 W ilton House Port ra it of Richard the Secon d.
of of the fourteenth century , is especial value, as the paintings
n of appear to be purely E glish . I n the group the Virgin and
Child , occupying a large page in this Psalter , the draperies
’ n on e are well arra ged , and the drawing Of the Child s feet ,
displaying the sole , very remarkable .
Pau eru m I n a Flemish manuscript Of the Biblia p ,
“ O . i n marked Royal , N the same collection , belonging to the end of the fourteenth century (circa are admirably
executed miniatures i n delicate an d refined colours with rich
gilding . The faces have greenish middle tints , with brown an d
- of b madder red shadows . The backgrounds are a plain urnished
i n ou t gold , and the gold crowns upon them expressed black
i n W . line , as seen the ilton House Diptych The colours Of garments are Opaquely painted in pale and very harmonious
colours ; the folds bein g shaded with transparent self- same
in on m of English paint gs a larger scale , Of the iddle the
i n fourteenth century , may still be seen , but unfortunately a
on of very fragmentary condition , the walls the Chapter House
an d on at Westminster , these , the authority Of Sir Charles “ m Eastlake , may be classed among the ost interesting speci
men s of transalpine art extant Of that period . The general character Of the colouring in these paintings resembles that
ex ecu Of the time ; but the local tints are forcible , and the
” ” tion is n ot without a feeling for rou ndness . 1
of O n turning to the painting the Diptych Of Richard I I . ,
i t seems to be an extraordinary an t icip a t ion of the style an d
4“ 2 a a a a . 1 23. 59 an d 64 a n d ost . 8 . A n te . , pp , p , p , note 1 E stl ke , M teri ls , p 8 1 A F oreshadoui ny of A nyelico ( la F iesole.
of t en peculiarities Angelico da Fiesole , who was born years
' s after the King accession , and came to maturity in the following century . There can be no reason to doubt that the portrait of Richard is a perfect contemporaneous production , and ,
O f bearing in mind the turn historical events , no reason could be alleged for such a w ork being undertaken in the following
of a of t h e reign . The pu re blues and the dressing the h ir angels are quite i n the Italian style ; but the oaken panel o n w hich the Diptych is painted , a wood rarely employed for such
i n w a purposes Italy , might ell f vour the supposition Of the w ork having been executed i n this country .
The modelling of the heads and hands i n this picture is
i i n produced entirely by fine delicate l nes , known E nglish as ” ha te/t i n i n y, and called in Italy tratteggiare , which the tem
r a pera colours a e m nipulated with egg vehicle . This method was almost always employed by the Italians for altar pictures ,
a p inted in tempera on w ood . The productions Of the Older
a of Rhenish p inters, on the contrary , including the work M eister
i n O f Stephan the Cathedral Cologne , are softened and rounded , w w ith scarcely any appearance O f hatching . The latter orks
a i n were lso executed tempera , but with a vehicle that did n o t dr a d a y r pi ly , and llowed time for blending the colours
* at will .
The manner O f dressing the hair Of the angels has already
a n te a 50 been noticed , , p ge . It is similar to that adopted
i n subsequently by Angelico da Fiesole , excepting that the
a a t d l tter the h ir is ga hered into curls over the forehea , whilst
” a a a a 1 02 1 0 3 E stl ke , M teri ls , p . , . 8 2 W ilton House Portra it of Richard the Secon d. i n i n t the Diptych , the ample forehead is every instance lef
N O bare . locks appe ar under the wreath across the brow, and the broad bands , where folded back behind the ears , i are rather mass ve , and evidently in accordance with some
i n fashion then vogue . The blue fillets which bind these tresses behind the ears appear very conspicuously in a picture in the National Gallery Of the “ Coronation Of the Vi rgin
o . 1 330 t o ( N painted about the year , and attributed the “ school Of Gi o t t ofi
‘ The hair Of t h e male figures on the left tablet , although
of composed curls, is gathered into compact masses below the
n - ears . The a gels , especially those beneath the red cross
n or i i n banner , have lo g curls tresses , l ghtly floating separate
n t o le gths in the air . This gives animation the scene , and is rarely t o b e met with i n Rhenish or even Italian art of this l period . An approach t o this fulness of curls wi l be found i n the Ann u nciate angel in the altarpiece by Melchior Broederl ai n i n the Museum Of Dijon sl‘ B ut the distinctness with which each tress Of these an gels i n the Diptych stands apart is very n oticeable . In the works o f lm of L ot hen er d o n ot Wilhe Cologne , and Stephen , we per cei v e anythi ng Of the kind . The h ai r generally in the Rhenish pictures is long and combed straight down , so as to cover the shoulders . T here is an English character about many Of the
I n thi s picture the gilt flagon s held by the a ngels are distinguished from
a a a i s a a i n the gold ground by sh rp bl ck outline, which lso observ ble the
’ “ an d i n Fi esol e s i a crowns , mitres , crosiers Chr st with the b nner of Redemption , " 3 f a a n te 59 66 O . . surrounded by the Blessed , No . the s me collection See , pp
an d 64 .
an d C av al casel l e F a 1 872 . 24. f Crowe , lemish P inters , Second Edition , , p n E glish Character ist ics . 83
a i n W a i n a f ces this ilton House Diptych , especi lly the p tron
a O f s ints . Two the angels , with downcast eyes , are very
o n O f lovely . They stand one each side the M adonna , and are partly hidden by her nimbus . The profile of the angel kneeling in front is remarkable both for a nimated expression and for the delicate shadow in
f n o i n which the features are su fused . There is approach the
n - form of the eyes to the lo g almond shaped slits , so observable
M emmi of of in the figures Of Simone and the school Giotto ,
or n nor is there any sleepiness la guor Of expression . The
d u eyeballs of the male figures are distinctly forme , and altho gh
of the white the eyes is of a delicate creamy colour, all appear ance O f staring is avoided .
The head O f the Infant Saviour exhibits several peculiarities .
The n on e countenance can hardly be said to be an e gaging ,
- f a nd the hair is remarkably close cropped , thereby di fering from all similar representations O f the early Flemish and Italian
schools . The eyebrows are entirely wanting, but the ear is
l u carefully mode led . The rich gilding pon the crowns and
embroideries displayed i n t his diptych shows afli n it y to the
I n e arly productions of Italy . the Flemish and Rhenish pic
a tures golden orn ments , crowns , and embroideries are generally
represented by pigments only .
I n a this picture , as in the langu ge of England , the influence
of va rious n ations may be detected but my strong impression
i s a w a m U th t , h tever hands were e ployed pon it , the Diptych
w as i n a d ff produced Engl n , and devised for a purpose a ecting ’ h the King s religious movements . At that period t e King had
a a not sought alli nce with Bohemi , and his most frequent inte r 84 W ilton. Hou se Portrait o c ar the S f Ri h d econ d.
course then was with the French monarch and his brother, already the reigning D uke of B urgundy . English manuscripts
i n a show that art flourished independently Engl nd , and was extensively employed an d we also find sculpture as well as a of p inting maintaining, under the patronage Philip the Hardy ,
of m a high degree excellence , both in imagination , for , beauty
cr f il di n col ou ri n o . a of c , and richness g g The illumin ted man u scripts belongin g to this school preserved in the B ritish Museum fully confirm these views .
o f a The general table the le ding artistic events , compared
of a with the most salient points E nglish History , pl ced at the
of a d f t he end these p ges , will, it is hope , su fice to show position
n i n artistic refinement held by E gland at an early period .
I would n ot omit to record my very high appreciation of the extreme accuracy and wonderful minuteness of the water colour copy made by Herr Kaiser for the purpose of this repro
Su ch o u t duction . particulars as I have had occasion to point
of b l u rri n s in the chromolithograph were entirely the result g ,
t o l through accidental damage the original, and the impossibi ity
n l a of i n of representi g certain colours , and a particu r kind tool g
f o f n o . o the polished gold , by means the flat process printing
v of ch ro mo lit h O ra h But , ha ing held a finished proof the g p by
of the side the original , I found that their general appearance was identical .
n f I cannot conclude these lo g and , I fear, somewhat di fuse m n otes , without expressing y thanks to Lord and Lady Pem broke for the abunda nt facilities which I enjoyed for examin ing
u r this valued r e lic of o early history , and for the interest which they manifested i n the progress of my investigation . Con clus ion . 8 5
M y wa rm acknowledgments are d ue to two v alued friends o V f a . l . B long st nding , M r Frederick urton ,
' l V. a director of the National Gallery, and M r . Augustus Fr nks , l of the British M useum , and a so to my learned friend
W a Dr . illi m Bode , of the Royal M useum at Berlin , for readily
a imparted information and for many v luable suggestions .
N a t i o n a l P o t a it G a ll e r r ry ,
2 n d N orcmber, 1 882 .
a w as i n a a Since the bove text type , I h ve been f voured by
memoran d u m z M r . Franks with the following According
- G en t il it i ae to the well known Herald Pietra Santa (Tesserae ,
. a i n i n fol Rom , there existed his time the English
College at Rome a ta bzt la o n which were figures of Richard
e i n . a n d I I Anne of Boh mia kneeling heraldic dresses , and
f e . of . o f ring to the B Virgin the island Britain , St John
‘ a w ssisting, ith the inscription , Dos tua Virgo pia haec est t quare rege M aria . Sligh engravings of the King and
Queen and of their shields of arms are given i n the work
d 6 7 7 6 78 . t o above quote , pp . , It would be very desirable
a a . of ascert in if this p inting is still in existence It is, course ,
a a a of l ter date th n that under consideration , but it must
of have been painted before the death Anne , in
G . S .
Chron ologica l Stretch of
TRA N SALP I NE A R T .
‘Vil l iam t h e Monk still living an d w orking r 1 33 Giotto bo n . ( Died 6 ' Po r n A R T I N I V s A eee M .
sion . Duccio first painting a Sien .
( Sicili an Vespers . ) ' M emmi D Simone born . ( M ast er W al t er restores p a intings 1 292 T a a t e s on he s me , ssis d by his Thomas 1 2 94 Po r n B o n i r ac s VIII
Accession . " a of Bil o n e a at 1 30 0 T i s a a man D te q p intings Ghent r t n , French M aster at work u pon t h e scri pt w ith Italian ilb at a for “W t t min at ion s f or t l Coron ion ch ir es mins er , done 1 300 a Abbey Court of N ples . a G ad d i b orn T ddeo . ( Di after o at a i Giott Rome . Cim h at a Pis . a De th of Cimabue . o at a Pad n Giott the Aren , ' P O PE BENEDI C T X L s A
cession . T a son o f \ a1 hom s , V ter, becomes a t h e an d sole m ster of works, ' s assumes the n ame of De \Ve st ED W A R D I I . t 1 30 7 1 30 7 mins er Accession , Spinello Aret ino bor ( Died Duccio p ainting at Siena ’ D ucei o s picture c arried
triumph . F r an co d a Bologn a p ai n t i n r a O e gn a born . ( Died 1 3 7( at on m D e Si one Memm. t s pic ure at Pi a . a t a a of D te of description by r velling ( De th D ant e . ) monks o f English p a intings I n e tf ab il i t er depict s} : ' DW A D I I I s E R . 1 327 Accession,
Pm u e . of a s of VI ( V loi ) , King a Fr nce , Accession 1 330 t at a Gio to N ples .
T he me a s w t a e t ese e e t o t h e a e f t he e — s o s o S . nu r l i hin p r n h s r f r p g D cripti n G . r St) Sa lien t E v en ts i n 4 1 rt an d H is to y .
T A ar . A n r . I ALIAN
‘ s De s s i r X 1 1 s Por ne .
Accession . ’ l a a a Picture by uccio C p nn , ’ A i 1 3 34. D n co u rt . ( g , pl
e s a t he G iotto di , le ving
s Campanile unfini hed . L atest kno w n p ainting by
Duccio . a t 0 11 a a T D e It li n riptych , ’ A i 1 3 36 . D n co urt . ( g , pl
T o f o o f a a a a a i . omb J hn , Duke Br b nt , C v llini the Mos icist d es a t T a d a ourn y, by ' a at w t s t a s G rdin , decor ed i h tue 1“ coloured in o il ' Po m: C u m ES T VL s Acces
sion . D at e 0 1 1 Simone M emmi a t
L i 1 r o o l 1 3 2 2 . e 4 . 9 p , C ) m M e mmi Si one died . D a te on picture by Vitale ' a D A i n di Bologn . ( g
l . court, p L U IS m; A E C O I I n t o f A S O M L , FL D s n s s s a m o f G r i t t o ( l a , Acce ion The n e o o f o a a a t a a N n c c i a J hn , King B hemi , sl in F bri no ( ) p Crecy fighting aga ins t t h e Eng pea rs 0 1 1 the List o f
e i s . H is s o n t i a at . l h q uit ed the f eld . P int rs Florence
C H A RLES IV. elected E M PE R O R Found ation of t he company o f p a inters a t Florence a a by J copo di C sentino . s IN G o r AN C E D 0 11 s t f s Jon , K FR , Accession Silve ro louri hed . i fi w w as l l o n a a a 0 1 1 a fi a t ( H s rst ife , d ughter D te cruci xion ' o l Jo h n o s 2 1 35 . f a . T , King Bohemi ) revi o , a a t a t n e a r l a P intings K rls ein P gue , ' i n o by Thomas de Mutina . ( D A g ' ‘ o t . 1 33 74 t : I a n o c m r V L s A o c ur , pl ) ( ) Por
cess ion . 1 35 4 O re agn a a t work in St ro zzi a a t Ch pel Florence . Jeh a n Co ste p a in t ed sculp t ure in 1 3 34 C o mpany o f p a in t ei s at t h e Cas t le of V al d e l i n e il ( 76 ) 1 35 5 F lorence offici a lly regi s a i t o f a 1 1 n d t o . P n ings Edw rd 1 . a his red a i a t t he as n d f f m ly e t e o St . ' St ephen s Cha pe l ( 2 1 )
L e s d m v ue s do e o n e a r lo o mt e d e La a e . a s 1 8 t o t o . . . o t o . g g p C b rd P ri , , i p lxi n M EN) Ch ron ologica l Sket ch of
x T I T A L L T n a s s a u u s A R .
King John of France an d h i s son a fterwa rds Philip the H ardy of a Duke Burgundy, m de pri sou ers a t t h e b attle o f Po i c t i e rs a a n d taken t o Engl nd . o f I I e rl e settled a t Col ogne 1 35 8 ' G ira rd d O rl ean s p a inting 1 360 an d 76) ' 1 3 62 t: U R B A N V s Por . Acce
sion . 1 3 3 1u ld eo Bart ol i r11 D 6 T b o . ( 2 2 1 4 .
‘ H A ES V . K t O F F R A N C B C RL , , Accession D a te 0 1 1 Nucci pic t u r '
1 3 65. D A in c o n rt ( g , 1
1 365 GENTILE D 1 F a n ma x o b o r ( Died
o f I l u rt v a E Birt h b c n ) ck . ( Died 1 42 0 ) iM arria e o f t h e I I a rd g Philip y , t o f t h e o f a bro her King Fr nce , t o a a o f a s u M rg ret Fl nder , d ngh t e r o f L o u i s a an d U N I N de M le, O o r FLANDERS TO B U RG U N D Y ' 1 3 70 Po r n G REG OR Y X L s A I o f Bru es a s w o 1 k e d c css i o n John g , mini turi t , . f r f a 1 3 o f o Charles V . o Fr nce 7 1 Commencement fresco o f History o f Jo b 1 a C mpo Santo . Recorded d ate o f miniature by \Vil li am of Cologne 1 3 74 D ate on panel in fo ur co n p ar t mc n t s by B arn al ' d A i I a Modena . ( D g
- a o n a a a . D te lt r piece with portr its court , pl ' D i n r a t a . A e ou t . Pr gue ( g , pl (74) a s \Vu r1 n s er P inting by Theodori , , a n d t h e as t o f Kunz , in C le a a o f t h e K rlstein , residence O H a E M PER R C A RLES I V . bout Monument t o Ed w ard t h e Bl ack n Prince 1 3 76 Deat h o f O rc ag a . R I C I I A R D 1 3 77 Accession , Sa lien t E v en ts i n A r t an d [l istory 1 1
T R A R T . T A R T I ALI AN .
Of Co logne died 1 378 a t t E C I I \ B L 1 ‘ 1 3 78 De h of he M PEROR S IV . ’ - M PE 1 3 7 8 1 1 I A L Sc n I SM n U R B A N . a t elected E RO R , Por VI elected l w h l l as s c t o a t t e o f 1 . rking Court {Por t : Y 1 }s ame time . Fl a nders 1 378 P ass age a b o ut I l li al n o f Co logne D ate o n Christ oforo d a " t he L i i n b u r 1 3 8 0 na 1 38 0 . in g Chronicle Bolog , 1 38 0 Death o f J acopo di Cas en t he tino, founder of o f Academy Florence . L o r I s o r A xJo u goes t o Joh anna 1 3 8 2 Licencegranted byRichard
a t a t o . N ples H . Cosmo Gentiles ' M c n I O R B R O U D E R L A I N an d c t o the Pope s colle tor, J u n a s M A Lo c s L at work fo r the export great images t o ' D o t B n r u n d uke g y Italy . ' Je au d U rl ca n s I C C C l \ C t 1 payment fo r a pic ture from Philip the l l a rdy Found a t ion of t h e Char t reus e at Dijon by Philip the l l ardy
. I l as s el t I n i n ia t n i is t t a n J , , re i ed by Philip the l ' I a t ' dy a a t Nichol s Sl er, sculptor of monu ment a t D Ijo n J O H N SANS PE U R mai ri e d t o M A R
' C A R E? o r B n A R I A ( 79) 1 3 8 5 Campo Sa nto f 1 e sc ocs b y ' l l ass e l t s as w s fo r PI I I L I P T 1 1 11 t l t ork Spinello Are ino. A D Y 1 38 H R 6 Antoni o Venezi ano . o f v an Birth John Eyc k . (Died 1 4 1 at at s t 4 l e ) . 1 38 7 A s c uu c o DA PI r s o u ; 11 0 1 1 1 ( Died Chris t o f oro de Almuni a ' l l) 1 1 1 1 1 . 1 r Ti HARD Y makes presen t s o f works o f a rt t o Richa rd ' s a n d 76 1 389 Po r n Bo a l ra c z I X . s his uncle , courtiers ( ) Ac
cession ( at Rome) . Nicho l as Sl a t e r a ppointed Y i n ai " gi e r t o t h e Duke o f Burgundy o f B a v a t ia s o John , Prince Bi h p
o f l i ie e a t i o n o f V an g , p Eyck c a o f The A demy St . Luke a t Pa ri s p a t ronized by C H ARLES V ' B ro e d e rl a i n s al t ar- piec e a t D iJo n I n progress
' PRO JEC T o r 1 1 9 2 Spi n c llo s fresco es o f SS C a u s A D i z 1 3 92 Efc s o a n d o t t o i I , P i C a l n o a t p S n o. 9 2 Chron ological Sket ch of Salien t E v en ts i n A r t an d His tory .
T R A N SAL P I N E A R T T A IAN A R T . . I L
' ‘ Broed erl ai n s a EAT H T H E 1 8 94 Po r n ENEDI C T M . contr ct to colour D or B XIII
a a a d e U EEN 1 39 4. A c ce ssw n at A v 1 n on ret bles c rved by J cq ues Q , ( g ) B aers e
' Queen s Monument i n“l es t mi n s t er
Abbey, executed by Godfrey F rost an d a Nichol s Broker, copper w orkers 1 395 Nichol as Sluter employed u pon M A R R M G E o r s culpture 1 396 li mo 11 1 0 1 1 1 1 11 1) T O ISA B ELL A o r AN C E 1 396 FR , ' Completion o f Broederl ain s altar i 1 3 8 piece at. D jon ( 77) 9
1 40 8 L a test work of Spinell
Aretino at Siena . '
H EN R Y V . s
s 1 41 3 Acce sion ,
( Council o f Const ance) . Jeh an M al o u el p a i nted the port1 ait o f u t o John , Duke of Burg ndy, h e sent to Portugal 1 42 2 De a th o f T addeo B artoli . 1 424 Birth o f Benozzo G oz z o l i ( Died 1 450 De ath of G entile d a F a
briano . 1 45 5 Death o f Angelico d a Fic
sole . I N DEX .
P A G E L M A N I A O O O , CHRIST F R DE
Ancient folding - tablets
d a a of Angelico Fiesole , technic lities
of O a Austis , Register the rder of the G rter Ashmolean Libra ry at Oxford
Banner with red cross fi a . B ptist , St John , gure on the Diptych Bas il i ol ogia
a a a t h e of a 1 805 B sire , J mes , engr ver to Society Antiq u ries ,
a a a a a a Pou r B v ri , M rg ret of, wife of John S ns
a a a a t Bl ckhe th , proposed interview of Rich rd
a t o - a n d Bl ck outline gold crowns , gold broom cods , rings
’ a a o f i n a Bl ck Prince , portr it , St . Stephen s Ch pel
a Bohemi , Queen Anne of Bohemia n School of Art
] a of Bonki , Sir Edw rd , Provost Trinity College , Edinburgh
o f a F a Bourbon , John Duke Bourbon , Const ble of r nce
B ri t t e n , John , q uoted Brocade a n d embroideries
Broe de rl ai n , Melchior
Broom - cod coll a rs of a penda nt V a \ . on a a B rges , , the Coron tion ch ir
a i o f o f a a C st le , children the King , complic ted Triptych
a a a a o f a C stlem ine , L dy , d ughter Roger P lmer
a a o f a a C therine , n me roy l ship Ch arles I pictures belonging to
a . Ch rles IV , Emperor
a V . a b o Ch rles , Emperor , when y 94 d I n ex .
P A G E
a Ch rles VII . of France Christoforo d c A l man ia Christoforo d a Bologn a
ca e of a F a Ce r , copy portr it of John , King of r nce , by Cologne School of Pa inting
t he Connoisseur, The English , describing Diptych i n 1 766 Coron a tion ch air described
Joh an Coste, Crowns of gold outli ned bl ack
a a Crus ders , encour gement given to
a of Cyprus , Lusign n , King
Di a pered grounds
a a a Dietrich of Pr gue , p intings ttributed to 73
a a a Dijon , C rthusi n convent ne r 77
a Diptych , me ning of 1 6 at Holyrood Pal ace 1 8
’ a a v an a a K a 1 639 7 8 9 Deort , Abr h m der, C t logue of the ing s pictures , d ted , , a 41 45 55 58 Dotted work upon gold surf ce , , , " a M on as t i con a m 37 Dugd le , , quot tion fro
‘ E agles embroidered on the King s gown 43
a a a a 75 81 E stl ke , Sir Ch rles , quot tions from ,
St . K a n d a 36 Edmund , , ing M rtyr
a 8 35 Edw rd the Confessor ,
' ‘ a a i n . a Edw rd portr it of, St Stephen s Ch pel 21
E l s t rac k a W a a 1 1 i 1 23 . n 1 , engr ved estminster portr it of Rich rd 6 8
' a C ast l emai n e s 1 688 1 0 1 3 Emb ssy to Rome , Lord , in , Embroidered robes 3 7
E n l e fiel d a 22 g , Sir Henry Ch rles
E i s t re ar n u a d es C el es t i n s 53 65 p p Solit ire ,
n o a a at 59 60 n ot e Etti gt n P rk , coloured gl ss , ,
a a i n a ffi a n d 46 63 Eyes , peculi r form tion of the monument l e gy , the Diptych ,
F av y n on the Cosse de Geneste
’ 1 Vc mi n i n 2 2 r a a at s t s t c r 1 6 a n d . Fi e , destroyed P l ce , St Stephen s
i n I S3A
W a Florence , illi m of Flowery mea d of Pa ra dise Foot of the Infa nt S a viour peculia rly displ ayed
n d a f or on e a a Frame a p nel picture , piece of wood ; v rious ex mples
9 6 n d I ex .
a a a as a K iser, Herr , ccur cy of, copyist
a a a at K rlstein , e rly p intings “ a a a Kent , Jo n , f ir M id of
a a at L ing , D vid , upon Diptych Holyrood
a h t e a . t h e f n d s L mb , held in h nd of St John in Diptych ; n o sta f a scroll a usu al
L a t a inds y , Lord, quo tions from
n a a a a Lio , crowned , p ss nt g rd nt
a Litlington , Nichol s , Abbot of Westminster Livery of t h e King of Fra nce
S t . a Louis , , King of Fr nce
L an K usign , ing of Cyprus
a dc M le , Count Louis
a at i n 1 857 M nchester , exhibition held , Ma ntle of Edward the Confessor Marga ret of B av aria Ma ry of G u el d res
M emmi a 1 342 , Simone , picture d ted
u a Merritt, Henry , skilf l restor tion by
a a t a a a t Met l , engr ved blets tt ched to the Dip ych Mile End Green
dc 7 Newton , Sir John , employed by rebels
- a a an d a 8 . Nichols , John Gough , his expl n tion of the Broom cod device coll r
a 49 52 59 Nimbus , v rieties of, described , ,
O fi “ r 1 5 ld eld , Edmund , Notices of Sculpture in Ivo y , note
a a an d P lmer, Sir J mes Sir Roger 1 8 a a a . D . P ss v nt , J , describing the Diptych in
a t h e n P ssion , emblems of , within imbus Pa tterns embroidered 0 11 dresses
T a a Pembroke , hom s , eighth E rl of
h e R e t b u l u m fi S t . t a Peter , gure of , on
O a Pew , ur L dy of the ' “r a u a . a . a Philipp , Queen of Ed rd III , portr it in St Stephen s Ch pel , est minster I n ( lea:
T a s i n 1 800 Phillips , hom , describing the Diptych
a Philpot , John , Lord M yor of London Pilgrim received by Edwa rd the Confessor represented i n legend ary pa intings
’ Pinkerton s I c on ograph i a Scotica
Pl an t a e n is t a a a g , f lse interpret tion of Po i n go n n é o r p o n s at u m
a a at Pompeii , ncient t blets depicted Pounced work Pouncet boxes
i e a J. co i d a Poynter, E . , l portr it of John , King of Fr nce
a of art a t Pr gue, works Pu n c t u ri n gs
a a 1 867 Qu rterly Review , Fine Arts , quot tion from ,
R e d b ol e underneath gilding r R e t ab u l u m in “ e s t mi n s tc r Abbey Rhenish School of Pa inting
a L an d Rich rd I , colour of his eyes complexion colour of his h a ir
t a W por r its of, estminster Abbey , enthroned W ilton House monumental e lligy in Metrical History t on t a bu l a formerly a Rome .
of W R . A . a Richmond , George , , promotes restor tion the estminster
a a n d t h e a of a . portr it, c nopy to the tomb Rich rd II
0 1 1 me d iaa v al Rock , Dr . , embroideries
R os e b ec u c a q , b ttle of
w a a Roses , re ths of, worn by ngels
Rosselli , Cosimo
a Rotherhithe , the King proceeds tow rds
of a Russell , Rev . John Fuller , owner Diptych by Memlinc
“ a d a a a 1 677 S n ford , Gene logic l History of Engl nd ,
a a a S viour , the Inf nt , ttitude of colour of eyes peculi a r movement of h and singul a rity o f the countena nce 98 I n dex
a a S voy , residence of John , King of Fr nce destroyed by the rebels in 1 381
a a a . a a n d Sh w , Henry , engr ved Edw rd III , Bl ck Prince , King Rich a rd 22 43 kneeling ,
Shield of arms on extern al side of pa nel 54, 20 60 Shirley , Evelyn Phili p ,
a at 9 Simone di M rtino , picture Liverpool 2
' mirk e a i n S a C . a W 22 , Rich rd , opyist of p intings St Stephen s Ch pel , estminster
. T. a on a a 22 Smith , J , published work the P l ce of Westminster
Smi t hfiel d a a t 72 , the rebels ssembled
Smi t h fiel d a at 42 , tourn ment held B 66 6 7 Spenser, ishop of Norwich ,
a 9 42 56 57 St g, crouching , , , Stepha n L ot h e n er of Cologne 82 ' t St . a a 21 Stephen s , , Ch pel Westminster Strawberry Hill collection 7 71 Sudbury , Simon of, the Archbishop , murdered
' a a 44, Sun , the rising sun p ttern on the King s robe in the monument
a 55 Surrey , the E rl of
Tempe ra pigments employed
Thorns , crown of
a at Smi t h fiel d 1 390 Tourn ment held ,
a at Trinity , Holy , Collegi te Church Edinburgh
a a Trollope , Dr . Edw rd , Bishop of Nottingh m Tufts of hair on chin
W at Tyler,
' an Doort a a K V der , C t logue of ing s pictures
a fi on Virgin M ry , gure the Diptych
i n 1 835 F . l Vaa e n . . g , Dr G , describing the Diptych
‘ W alpole s Anecdotes of Painting
‘
a n ear . a W rdrobe , St P ul s
l Veal e IV. . a , H J mes , Notice of Memlinc
a Wencesl us , Emperor
a S t . a t a Ch pel of , Pr gue
a a . a a Westminster Abbey , portr it of Rich rd II , full length , se ted on throne
a a at i n 1 639 Whiteh ll , Roy l pictures collected , W ilhel m of Cologne