DOI Page / Citation link:
https://doi.org/10.11588/diglit.63299#0085
THE PICTURE GALLERT OF CHARLES I. 75
Christ Church, Oxford.1 Mention is also made in the South Kensington
Inventory of a Nativity?
Examples of the Netherlandish and German schools were, as will be
seen, numerous in the Royal collection, but most of these belong to, or
may be most conveniently classed in, the sixteenth century. Fifteenth-
century examples of Northern schools there no doubt were, which had
belonged to Henry VII., but these are not always easy to identify. The
important Henry TIL and Family with St. George slaying the Dragon 3
(painted for the Royal chapel at Shene, and belonging most probably to
the first years of the sixteenth century), had somehow by this time
passed, with other things of price, from the Royal collection into that
of the Earl of Arundel. Undoubtedly among Charles’s treasures were
however two curious panels by Geertgen van St. Jans (or van Haarlem)
painted for the Church of St. Johann at Haarlem, and now with the
rest of Archduke Leopold William’s collection at Vienna. These are
St. Julian the Apostate causing the Bones of St. John the Baptist to he
Burned., and the Descent from the Cross (Nos. 665 and 666 in the
Imperial Gallery of Vienna). By the same hand are the Sacred Allegory
in the Amsterdam Museum, and the Adoration of the Kings, in the
Rudolphinum of Prague.
It may be convenient to mention here that Charles possessed a
Fantastic Representation of Hell, by or ascribed to that riotous humourist,
Hieronymus Bosch. This is No. 753 in Mr. Law’s Historical Catalogue,
and bears on the back the inscription “ 1636. This picture, painted
by Jeronimus Boss, was given to the king by the Earle of Arundel,
Earle Marshalle, and Embassador to the Emperor abroad.” Two other
pictures in Charles’s collection, ascribed to Bosch, were sold by the
Commonwealth.
THE SIXTEENTH CENTURY.
It is, above all, the sixteenth century from its beginning to its end
that the gallery of King Charles so gloriously illustrated, and here
1 The Christ Church picture is a feeble performance, unworthy to bear the great
name affixed to it.
2 In the Closet at Greenwich—valued at L\o>. Such a picture by Mantegna is
in the collection of Mr. Boughton Knight, by whom it has been contributed to the
Old Masters.
3 No. 25 in the Exhibition of the Royal House of Tudor at the New Gallery.
Christ Church, Oxford.1 Mention is also made in the South Kensington
Inventory of a Nativity?
Examples of the Netherlandish and German schools were, as will be
seen, numerous in the Royal collection, but most of these belong to, or
may be most conveniently classed in, the sixteenth century. Fifteenth-
century examples of Northern schools there no doubt were, which had
belonged to Henry VII., but these are not always easy to identify. The
important Henry TIL and Family with St. George slaying the Dragon 3
(painted for the Royal chapel at Shene, and belonging most probably to
the first years of the sixteenth century), had somehow by this time
passed, with other things of price, from the Royal collection into that
of the Earl of Arundel. Undoubtedly among Charles’s treasures were
however two curious panels by Geertgen van St. Jans (or van Haarlem)
painted for the Church of St. Johann at Haarlem, and now with the
rest of Archduke Leopold William’s collection at Vienna. These are
St. Julian the Apostate causing the Bones of St. John the Baptist to he
Burned., and the Descent from the Cross (Nos. 665 and 666 in the
Imperial Gallery of Vienna). By the same hand are the Sacred Allegory
in the Amsterdam Museum, and the Adoration of the Kings, in the
Rudolphinum of Prague.
It may be convenient to mention here that Charles possessed a
Fantastic Representation of Hell, by or ascribed to that riotous humourist,
Hieronymus Bosch. This is No. 753 in Mr. Law’s Historical Catalogue,
and bears on the back the inscription “ 1636. This picture, painted
by Jeronimus Boss, was given to the king by the Earle of Arundel,
Earle Marshalle, and Embassador to the Emperor abroad.” Two other
pictures in Charles’s collection, ascribed to Bosch, were sold by the
Commonwealth.
THE SIXTEENTH CENTURY.
It is, above all, the sixteenth century from its beginning to its end
that the gallery of King Charles so gloriously illustrated, and here
1 The Christ Church picture is a feeble performance, unworthy to bear the great
name affixed to it.
2 In the Closet at Greenwich—valued at L\o>. Such a picture by Mantegna is
in the collection of Mr. Boughton Knight, by whom it has been contributed to the
Old Masters.
3 No. 25 in the Exhibition of the Royal House of Tudor at the New Gallery.