DOI Page / Citation link:
https://doi.org/10.11588/diglit.59673#0022
fi
esteemed by many to equal the first ten. This second series
having been also worked in Tapestry at Brussels, were sent to
Rome, and decorated the old Vatican Basilica.
The two series were considered as different in style as they
were in size, and thus acquired distinctive names.
Again, it has been stated, and copied by the greater part
of writers on the subject, without any investigation, that
Charles I. purchased the seven Cartoons now at Hampton
Palace, at the suggestion of Rubens the great painter; who had
heard of some old patterns by Raphael, lying neglected in the
tapestry factory at Brussels, which led to his purchase of them
for Charles. This story is however flatly contradicted by a
searching clever critic, whose industry is no less conspicuous
than his acuteness; he states that Villiers Duke of Buck-
ingham bought at Antwerp a collection of Rubens for
£10,000, and that these Cartoons of Raphael may have
formed part of it; for that they W’ere obtained by Charles I.
through the means of that Duke; and from various circum-
stances in the passing events of those times, this is rendered
most likely. That Charles procured the finest works of art
through every possible means is certain; but his object in
possessing these old patterns was for a totally different purpose
than has been generally affirmed; he never intended to fix them
up in his rooms as Paintings, but to apply them, as originally
intended, to work Tapestry from ; and to this end only were
they applied, and so continued, till Oliver Cromwell secured
them for the country, and doubtless for the same purpose.
Had the Cartoons been in even a tolerable state of preser-
vation, is it likely Rubens would have parted with them, or
have given Charles the opportunity of possessing them, unless
at an enormous advance, and in some proportion to the high
prices he obtained for his own paintings ? which latter may
be judged of from his having offered about £5,000 for his
Descent from the Cross, upon finding its value not duly
appreciated by the city of Cologne, which he had presented it
esteemed by many to equal the first ten. This second series
having been also worked in Tapestry at Brussels, were sent to
Rome, and decorated the old Vatican Basilica.
The two series were considered as different in style as they
were in size, and thus acquired distinctive names.
Again, it has been stated, and copied by the greater part
of writers on the subject, without any investigation, that
Charles I. purchased the seven Cartoons now at Hampton
Palace, at the suggestion of Rubens the great painter; who had
heard of some old patterns by Raphael, lying neglected in the
tapestry factory at Brussels, which led to his purchase of them
for Charles. This story is however flatly contradicted by a
searching clever critic, whose industry is no less conspicuous
than his acuteness; he states that Villiers Duke of Buck-
ingham bought at Antwerp a collection of Rubens for
£10,000, and that these Cartoons of Raphael may have
formed part of it; for that they W’ere obtained by Charles I.
through the means of that Duke; and from various circum-
stances in the passing events of those times, this is rendered
most likely. That Charles procured the finest works of art
through every possible means is certain; but his object in
possessing these old patterns was for a totally different purpose
than has been generally affirmed; he never intended to fix them
up in his rooms as Paintings, but to apply them, as originally
intended, to work Tapestry from ; and to this end only were
they applied, and so continued, till Oliver Cromwell secured
them for the country, and doubtless for the same purpose.
Had the Cartoons been in even a tolerable state of preser-
vation, is it likely Rubens would have parted with them, or
have given Charles the opportunity of possessing them, unless
at an enormous advance, and in some proportion to the high
prices he obtained for his own paintings ? which latter may
be judged of from his having offered about £5,000 for his
Descent from the Cross, upon finding its value not duly
appreciated by the city of Cologne, which he had presented it