DOI Page / Citation link:
https://doi.org/10.11588/diglit.67417#0214
168 HAMPTON COURT
suggestive of Lely’s art. The imposing equestrian
portrait of Charles I. (85) is a replica of the well-
known picture at Windsor, and, like most of the other
Vandykes at Hampton Court, is almost entirely the
work of inferior hands. There are several good por-
traits by Daniel Mytens, the excellent if somewhat
prosaic artist who enjoyed the royal favour before
Vandyke’s arrival, including a fine bust of the
painter himself (48) and a full-length of Sir Jeffrey
Hudson (583), Henrietta Maria’s favourite dwarf,
who was served up at table in a huge pie, and pre-
sented to the Queen by her host, at a fete given by
the Duke of Buckingham at Burley-on-the-Hill. We
also find good portraits by Vandyke’s pupil, William
Dobson ; by Robert Walker, who became Crom-
well’s favourite artist; and by Adrian Hannemann,
whose portraits of Peter Oliver (43), (the miniature-
painter of Mary, Princess of Orange), and of
the young Prince William (212), both deserve
notice. There are a number of clever perspectives
and night-pieces by the younger Steenwyck, some
small landscapes by Roelandt Savery, a painter in
the Elector Palatine’s service, and several flower
and still-life pieces by the Spanish master, Judu
Labrador. There is a Sibyl (345) by Orazio Genti-
leschi, the Pisan artist whom Charles invited to
England to paint the ceilings of Greenwich Palace,
and a clever portrait of herself at an easel by his
daughter Artemisia (320), who seems to have been
the better painter of the two. The portrait of
Philip III. of Spain, by Pantoja de la Cruz, and
the copies of Velasquez’s portraits of Philip IV. of
suggestive of Lely’s art. The imposing equestrian
portrait of Charles I. (85) is a replica of the well-
known picture at Windsor, and, like most of the other
Vandykes at Hampton Court, is almost entirely the
work of inferior hands. There are several good por-
traits by Daniel Mytens, the excellent if somewhat
prosaic artist who enjoyed the royal favour before
Vandyke’s arrival, including a fine bust of the
painter himself (48) and a full-length of Sir Jeffrey
Hudson (583), Henrietta Maria’s favourite dwarf,
who was served up at table in a huge pie, and pre-
sented to the Queen by her host, at a fete given by
the Duke of Buckingham at Burley-on-the-Hill. We
also find good portraits by Vandyke’s pupil, William
Dobson ; by Robert Walker, who became Crom-
well’s favourite artist; and by Adrian Hannemann,
whose portraits of Peter Oliver (43), (the miniature-
painter of Mary, Princess of Orange), and of
the young Prince William (212), both deserve
notice. There are a number of clever perspectives
and night-pieces by the younger Steenwyck, some
small landscapes by Roelandt Savery, a painter in
the Elector Palatine’s service, and several flower
and still-life pieces by the Spanish master, Judu
Labrador. There is a Sibyl (345) by Orazio Genti-
leschi, the Pisan artist whom Charles invited to
England to paint the ceilings of Greenwich Palace,
and a clever portrait of herself at an easel by his
daughter Artemisia (320), who seems to have been
the better painter of the two. The portrait of
Philip III. of Spain, by Pantoja de la Cruz, and
the copies of Velasquez’s portraits of Philip IV. of