DOI Page / Citation link:
https://doi.org/10.11588/diglit.67417#0211
THE PICTURES
165
This last picture is named in Henry VIII.’s Cata-
logue of 1542, in which we also find mention of
“ A Table with the picture of our Lord appearing
to Mary Magdalen,” probably the fine early German
“ Noli Me Tangere,” with the poetical landscape
(272), here ascribed to Holbein. Another picture
which cannot fail to attract attention is one labelled
“A Face at a Window ” (371), which is first men-
tioned in Prince Henry’s collection, and was for-
merly supposed to be a portrait of the fool, Will
Somers, and attributed to Holbein. There is no
ground for either of these suggestions, but the
picture may possibly be the one described in the
Commonwealth Inventory as “ Edward VI. peep-
ing through a Hole,” and sold for £2 in 1651. The
features and dress closely resemble those of the
short-lived prince, only that here he wears a happier
and more animated expression than in his other
portraits.
Three interesting pictures of Queen Elizabeth
are still to be seen here. The most characteristic
of the three is the portrait painted in 1575 by
Zucchero (306), in which she is represented clad in
a richly embroidered robe adorned with glittering
jewels, holding Leicester’s white feather fan, studded
with emeralds and rubies, in her hand. The second
is a quaint allegorical painting (250), executed by
Lucas de Heere in 1569, in which the three goddesses
Juno, Pallas, and Venus fall back in awe and ad-
miration as the Virgin Queen emerges from her
palace gates in her royal robes, bearing the crown
and sceptre. In the third (346) Elizabeth is repre-
165
This last picture is named in Henry VIII.’s Cata-
logue of 1542, in which we also find mention of
“ A Table with the picture of our Lord appearing
to Mary Magdalen,” probably the fine early German
“ Noli Me Tangere,” with the poetical landscape
(272), here ascribed to Holbein. Another picture
which cannot fail to attract attention is one labelled
“A Face at a Window ” (371), which is first men-
tioned in Prince Henry’s collection, and was for-
merly supposed to be a portrait of the fool, Will
Somers, and attributed to Holbein. There is no
ground for either of these suggestions, but the
picture may possibly be the one described in the
Commonwealth Inventory as “ Edward VI. peep-
ing through a Hole,” and sold for £2 in 1651. The
features and dress closely resemble those of the
short-lived prince, only that here he wears a happier
and more animated expression than in his other
portraits.
Three interesting pictures of Queen Elizabeth
are still to be seen here. The most characteristic
of the three is the portrait painted in 1575 by
Zucchero (306), in which she is represented clad in
a richly embroidered robe adorned with glittering
jewels, holding Leicester’s white feather fan, studded
with emeralds and rubies, in her hand. The second
is a quaint allegorical painting (250), executed by
Lucas de Heere in 1569, in which the three goddesses
Juno, Pallas, and Venus fall back in awe and ad-
miration as the Virgin Queen emerges from her
palace gates in her royal robes, bearing the crown
and sceptre. In the third (346) Elizabeth is repre-