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DESCRIPTION

OK TllR

DIPTYCH AT WILTON HOUSE,

CONTAINING

A PORTRAIT OF RICHARD II.

GEORGE SCHAKF, F.S.A.

WILTON HOUSE DIPTYCH.

RICHARD THE SECOND.

Bonx AT BoRPEACX, Ai'RiL 3ui>, 13G0. Dkthrosed ht PAin.iAMKxr,
30™ Ski'tkiiher, 131»0.

iloniimpiital pfUgy in AVpstmiiistcr Abliey, wrought in lii? lifetime, A.n. 1395.

From Hollis's "Monumental Effigies." Tlio Icfi-liand figure exhibits

the rich patterning upon his garments. See page 44.

DESCRIPTION

OF THE

WILTON HOUSE DIPTYCH,

CONTAINING

A CONTEMPOKAllY ruimiAlT

KING rilCHARD THE SECOND,

GEOrtGE SCHAKF, F.S.A.

DIRECTOR OF THE SATIOXAL POKTBAIT GALLEKY, AND ME.MlJlill OF lUE GERMAN
.UlCU.tOLOGICAL IKSTITUTE.

PRINTED FOR Till] ARUNDEL SOCIETr.

1882.

^ A '^ u^

?43

,e * • ' , « ,

Nt longer the proph-ty oftfw

CHISWICK KRRS-i:— C. WHITTINt.HAM ANB CO. TOnKS COt'BT, CHANCERY LANE.

>5i a

SUMMARY OF CONTENTS.

Earliest record of the Diptych, 1G30.
Van der Doort's description.
Engraved by Hollar, 1G30.
In possession of King Charles the First.
In possession of the Earl of Castlemaiue.
Purchased by the Earl of Pembroke.
■ Modern external casing to the Diptych.
Folding tablets and folding pictures.
Regal portraits in St. Stephen's Chapel.
Portrait of John, King of France.
Westminster Abbey portrait of Rluhard 11.
Gilt and diapered backgrounds. •• »• ■

Canopy to the tomb of Richard II.
Description of figures on the Wilton Diptvch.
Edward the Confessor.
Brocade and Embroideries.
Costume of Richard II. in 1381.
Broom-cod collar or device.

Monumental effigy of the King in Westminster Abbey, wrought in 18t)5.
Punctured or pounced-work patterns.

Metrical History of Richard II. e.xliiljit.s the King'.', latent portrait.
Costume of the Virgin and Angels in Diptych.
Red cross banner.
Wreaths of roses.
White Hart badges.

Remarkable emblems in nimbus of the Infant Saviour.
St. Louis King of France adopt (mI the same.
External paintings on Diptych.

Arms of England impaling those of lldwavd the Confessor.
The White Uart lodged.

Summarij of Contents.

Tcclmiuul observatious.

Probable date of tlic painting.

Crusaders' banners.

The Tapal Sdiism of 1378.

lied Crosses on WLite Cloaks.

Incitement to lead a Crusade.

London during the Insurrection of 1381.

Variations in Art according to Nationality-.

Excellence of Flemish painters before and after the rulf uf lUirgundy.

Illuminations in Manuscripts the most reliable evidence as to style and
period.

The countenances ponrtrayed in the Diptych are English in character,
and quite distinct from Italian and German.

Minuteness and accuracy of the copy made from the original, and faith-
fulness of the chromolithic reproduction.

Chronological table.

Index.

-J

From tlic largo full-length picture iu 'Westminster Abljoj-.

T70R the earliest historical account and a general explanation
of the subject of this painting we are indebted to a de-
scriptive catalogue of the [)ictnres and works of art Avhich
belonged to King Charles I. in IGol). The manuscript was
prepared ))}' Abraham A'ander Doort, in obedience to the
King's command, and is preserved among the Ashmolean
treasures in tlic I'odleian Library at Oxford. A more finished
copy (but of the first portion only), annotated ])y ihe King's
own hand, formerly at Strawberry Hill, is now in the Royal

8 Wilton House rortrait of Richard the Second.

Library at AVindsor. The Aslimolcan manuscript has been
printed in 1757 in quarto, under the supervision of George
Yertue, entitled " A Catalogue a7id Description of King Charles
the First's Cajntal Collection.^'

The following passage, at page 173, near the end of the
volume, relates to the picture which is about to occupy our
attention : — " An altarpiece with two shutting all over gilded
"doors, wherein is painted on the one side Richard the
" Second sideling, kneeling in his golden robes to our Lady,
" besides him standing S'. John Baptist with a white lamb,
" and King Edward the Confessor, with a ring on his left
"hand, standing by, and S'. Edmund with an arrow in his
"left hand, and upon the other door, our Lady and Christ,
"and some eleven Angels all in blue, with garlands of roses
" upon their heads, the badge of the white hind upon their
"left shoulders ; on the outside of the door, the arms of
" Edward the Confessor, with a red hat and mantle ; which
'■'■ said piece was given to the King, by Sir James Palmer, u-ho
" had it of the Lord Jennings. Length 1 foot 9 inches."

This, it will be observed, on comparison with the Chromo-
lithograph, is not altogether a precise description ; but al-
lowance is to be made for the writer being a foreigner. Yan-
der Doort, however, had been a considerable time in England,
as he quitted the service of the Emperor of Germany Rodolph
II., and attached himself to Henry, Prince of Wales, who
died in 1G12. He was appointed medallist to King Charles I.
in 1G25.*

* See Bathoc's edition of King Charles's Catalogue, p. 1C4 ; anil AVal-
polo's " Auccdotcs," edited by Da'.laway and 'Worninn, p. 206.

Earliest knoicn liecord of the Diptijcli. 9

From an earlier page (72) of ^'ancIer Doort's catalogue,
where the engraving is described, we obtain a lew further
2>articulars of the history of this picture, and find that Wen-
ceslaus Hollar had at this very time completed the engraving
of it which is well known to comioisseurs, bearing the dale
1G39, with the following dedication to the King : —

" Serenlithio, rolenlistimo et ExcellcnUtsimo Frundp!, Carolo, Dei gratia,
" ilagna: Brillanice Francke et HihernicB Jlegi Fidei dcjensori, Has taloUas aqua
"forti (seeundum anliqtui originalia colorilnit depida) (eri insculjiias HumUlime
" dedlcat comeeralq : IVciiceslaui JloUav, Bohem ; A". 1C39, cum rrivllegio Sac.
'• Peg. ilojeslafis." •

The entrj' on page 72 runs thus: — "Item, In a black
"ebony frame, a jiiccc (from copper) printed upon pjqxr,
"which was copied from the King's old altar piece, which
" his Majesty had of the Lady Jeniungs, by Sir James Palmer's
" means, for the which, in the way of exchange, his Majesty
"gave his own picture in oil colours done by Lemons."

The mention of Lady Jennings, instead of her husband,
and therefore, it may be inferred, his survivor, raises a difficulty,
as no lord, baronet, or knight of that name existed at this
pcriotl. The Dutch compiler is known in several instances to
have made errors in transcribing names, so that it is quite
possible that the previous possessor of the Diptych was Sir
Thomas Jermyn, Knight, of Rushbroke, Suffolk, who held the
office of Vice-Chamberlain of the Royal Household from 1G2G
to 163*J. t Sir Thomas Jermyn was made Knight of the Bath
at St. James', July 24, 1G0;5. Instances of official dignitaries

• Parthoy'a "Ilollar," vol. i. p. IJ ; and Anstis, p. 112.
t Soo Haydn's '-Book of Difjiiitics," Ucatsou's " Political Inde.r," 1806,
vol. i. p. 42o, and Nichols' " Progresses of King James 1st," p. 2tiC.

10 WiUon House For trait of Rkhard the Second.

efiectiii',' 8uch exchanges occur not unlrequcntly in the
catalogue.

Sir James Palmer,* through -whose intervention the transfer
was made, was a great favourite at Court, and much consulted
by the King on matters of art. His son, Roger Pahiier, be-
came Earl of Castlemaine and husband of the favourite of
Charles II., the celebrated Duchess of Cleveland. To him it is
said, but only I believe on the authority of Gambarini, that
King James 11. gave this Diptych when sending him on an
embassy to Rome. At all events, it had wandered from the
royal collection, and after the death of Lord Castlemaine in
July, 1705, was purchased by Thomas Herbert, eighth Earl of
Pembroke, the collector, and has been carefully treasured by
his descendants at Wilton House ever since.

The Earl of Pembroke f was devoted to antique art. He
served in the navy, and held the appointment, of First Com-
missioner of the Admiralty and Lord President of the Council.
In consequence of his scientific attainments, he was elected
President of the Royal Society. It was during the period
between his resignation of the office of Lord High Admiral
in favour of Prince George of Denmark in 1702, and his ap-
pointment as Lord Liei;tenant of Ireland in 1707, that this
Diptych came into his collection. Lord Pembroke died
January, 1733, aged 77, and during his lifetime two de-
scriptions of the relic had been published. The first, b)'
John Anstis, in " The Register of the Order of the Garter,"
pul)lished in two folio volumes, in 1724. At the head of

* Wal pole's "Anecdotes," D. and W., p. 373.

f Collins' " Peerage," edition 1812, vol. iii. p. 140.

Diptych Eiifjraved bi/ Ho/la r In 1639. 11

the section setting I'ortli " the Reason of tho Introduction of
"the Order," vol. ii., page 61, and addressed to Thomas, Earl
of Pembroke, are inserted two very imperfect engravings of
the devices painted on the outside of the Diptych, which will
hereafter be described. At page 112, Anstis refers minutely
to the kneeling figure of Richard II., and quotes in i'liU
Pecham's Latin explanatory lines appended to Hollar's en-
graving.* As the passage is addressed by Anstis to the then
possessor of the Dipytch, no reference to its former history
would have been required; but the other writer, C. Gamburini
of Lucca, gives more detailed particulars in his " Descriplii)ii
"of the Earl of Pembroke's Pictures," published in 8vo. at
Westminster in 1731.

This work is written confusedly uiid in very bad English.
The ibllowing passages will afford a sullicient specimen of his
style. Page 5 : — " This picture was given by King James 2nd
" to the Lord Castlemaine when he went Ambassador to Rome.
" My Lord bought it of his Heirs after he died. The Pictures
" (sic) since Sir Peter Lely advised to put on the back thick
"Priming that could not soak through, receives uo Prejudice
"as Painting on the wall docs even in Italy as in the Vatican.
"It is dated 1410 and etched by Holler" (sic). Hence
it is probable that the strips of gilt metal, with the engraved
letters which have led to a great deal of needless discussion,
had even then been fastened to the Irame. The picture and
its original mounting had been completely encased in glass
before Walpole saw it. He tells us in the "Anecdotes of
Painting," 17(!2, tliat lie had liccii uiialile to examine the

• See iwtl, page 40.

12 Wilton House Foriralt of Richard the Second.

surface of" the painting so as to decide whether it was painted
in oil or tempera. Walpole adds, " To the bottom of this picture
are affixed the icords ' Invention of painting in oil, (j-c.,' " and he
pondered over them as seriously as if they had been written
upon the picture itself, without arriving at any conclusion.

A few years later, in 1766, a very careful description of the
Diptych was published in the second volume of the " English
Connoisseur," page 160, Avhere the inscriptions are thus repro-
duced : — " on two brass plates on the bottom of the picture is
"engraved '•Invention of Paiiiting in oyle 1410. TIds was
" ^painted before in thebeginning of Richard 2^ 1377.;' and on
" the second plate, to the right, ' Uollar grav'd (j- Ded : it
" ' to K. Ch. V S,- calls it Tabida a^itiqua of K. Ric'^. 2''. «;'* his 3
" ' Saints Patrons, S'J" Bap\ cj- 2 & S' Edmund (j- Edw"". Conf: "
No notice whatever is taken of the paintings on the back, and
no mention in either this or Walpole's work is made of any former
ownership of the picture. Granger, in describing the plate by
Hollar, vol. i., i)age 16, edition 1824, says that the original
picture is in the collection of the Earl of Pembroke, and " was
" in the royal collection, but given by James II. to Lord
" Castlemaine." A more lucid description of the picture, in-
cluding the brass plates and paintings on the back, will be
found ill " The Beauties of Wiltshire," in 8vo., 1801, written by
John Britton (vol. i., pages 192-196). lie also inserts some
technical observations made in 1800 by Mr. Thomas riiillips,
the eminent portrait-painter. In 1833, J. D. Passavant, in
his " Kunstreise," pnlilished at Frankfurt am ]\l:iin, gives at
page 140 a detailed account of this picture. He attributes the
painting to an Italian hand of the middle of the fifteenth century.

}

Diplijt'h Piuxhmed hij the Earl of Pembroke. 13

and is reminded ut" the School of Fra Angclieo, and Cobinio
Rosselli. Two years later, in 1835, Dr. G. F. Waageii* care-
fully examined the picture, and unhesitatingly pronounced it a
distemper painting, and the work of a very able Italian painter,
who probably lived at the Court of King Kichard II. in tJK^
same niaiuier as, in the thirteenth century, a painter iVom
Florence, named William, was in the service of King Henry III.
He mentions also that the [ticture was presented by James II.
to Lord Castlemaine, and afterwards purchased by Thomas,
Earl of Pembroke.

This Diptych, during the short period that wc know of its
existence in the royal collection, docs not appear to have
occupied a position of any importance. It had indeed been only
recently acquired, and therefore perhaps was deposited, accord-
ing to Vander Doort's Catalogue (page 171), among "pictures
" and other things kept in store and yet unplaced." We caimot
trace the picture in any list of the King's works of art dis-
jx^rsed by order of the Parliament. The same, also, may be
said of the miniatures and portraits of sovereigns which
are conspicuous in Vander Doort's list, and are still to
be found among the property belonging to the crown. From
Whitehall these treasures were transferred to Kensington
Palace, and finally to Windsor Castle.

It would be dilHcnlL to allege a reason for the transfer
of this Diiityeh to Lord Castlemaine, in lG<S8,f on the occasion
of Ills embassy to Ivome, and no sudi painting is traceable in the

• "Treasures of Art," &c., London edition, 1833, vol. iii. p. "I.
t Lord Mucaulay's " Ilistory of England," vol. ii. pages .520-530. See Wright's
" Account of the Embassy," folio, with plates, Lund, 1(JS8.

14 Wilton Home Portrait of Richard the Second.

List of royal pictures draAvn up and signed Ijy Cliiffinch for
James II.* Tiicrc can, however, 1)C no doubt that it was
subsequently in the possession of Lord Castlemuine, and that
his heirs sold it to the Earl of Pembroke.

Having now stated all that is known of the history of this
valuable relic, it will be time to concentrate our attention on
the monument itself.

The general visitor to the magnificent collection at Wilton
House will find this Diptych, as in the days of its noble
purchaser, encased in an outer frame and glass, with a carved
division down the centre, so as effectually to conceal what is
really a matter of great interest, namely, the fitting together of
the two panels, with finely constructed hinges, which still work,
and enable them to be folded face to face like the pages of a book.

The pamting is on two separate panels of oak, gilded all
over, not only back and front, but on their edges, and beautifully
finished. The bed of the pictures and the framework arc all
carved out of the same piece of wood, the external thickness of
the frame being I5 in., and each panel sunk in the middle so
as to leave mouldings inside and outside; reserving for the
central painting a thickness no greater than a quarter of an
inch. The surface of the wood, however, is in excellent con-
dition and perfectly flat.

At this period it was not uiuisual to make the frame and
flat surface for painting out of the same juece of wood. Several
examples may be seen among the old arch-topjjcd portraits in

* Ilarloian JISS. No. ISOO, now in tlio British Mnscnm. William Chiflinch
liad been one of the jiagcs of the bed-chamber to Cliarlcs the yccouJ, and
Keeper of the King's Cabinet Closet. Granger, vol. v. page 103.

llie Fohli/ig Tabids of Antiqaity. 15

the i)OSSCSsioii of the Society of Antiquaries of Loudon, and
one also in the portrait of Henry A'll., wearing the Toison d'or,
in the National Portrait Gallery. In most instances the mould-
ings of the frames are elegant and carved with great precision.

\\'itli regard to the peculiarity of consiruction of this
painting, it is certain that it never was more than a double
picture, as we see at present. In early works of art, especially
in Itah', we are accustomed to meet with the triple form,
where the central picture contains the principal subject, and
where the outer leaves are made to fold over, so as to form,
when closed, a protection to the middle portion. In most
cases the outer wings, or doors, occupy half the width of the
central picture, and join with a fastening down the centre.

The twofold arrangement seems, however, to be of greater
antiquity. Among the beautiful facsimiles of ivory carvings
issued by the Arundel Society* will Ijc found many specimens
of two leaves oid}' joined together ])y lunges.

Ancient Tablets, botli double and manifold, with a stylus and the omphalus
to protect each page ; from the paintings discovered at Pompeii.

It may he well, in a passing word, to refer to the
earlier cinploymeiit of those twofold tablets b)- the ancients,

• Seo "Notices of Scnlptnre in Ivory," a lecture by M. Digby Wyatt, and
"A Catalogue of .Specimens," by Eiliniiiul Olilfii'lil, Jf.A., piiUlir^lifd liy tlio
Arundel Society, 1856.

in Wilton House rortmit of liichard the Second.

as exemplified in tlic pointings of llerculaucum and Pompeii.
The Romans made use of tablets of soft wax, enclosed
in square frames, upon wliich memoranda were indented
by means of a blunt point or stylus, but as the writing
might easily be effaced, the tablets were joined so as to fold
one upon the other, and the soft surface still further protected
from the pages touching when closed by the insertion of a
buttonlike projection in the middle of each leaf. A pair of
these tablets is called from the Greek Inrrv^ov, whence our
word diptych, and a set consisting of manifold leaves (as our
modern books) -KoXinrTvyov^ whilst the central projection was
called ofi<j)u\og, or umbilicus, l)ut with the latter we have no
occasion to concern ourselves.

The classic arrangement of these tablets is well shown in
the preceding woodcuts from paintings found at Pompeii.*

The working of the Wilton Diptych, when laid completely
open and when nearly closed, is shown by the following wood-
cuts. The hinges, it will be seen, are carefnlly embedded in
the wood-work. It ma}' be mentioned in this [ilace that.

Xietiitc

Bed of Picture | inch

Join

Bed of Picture.

* " Pitture di Ercolatio," vol. ii. p. 55 ; vol. vii. p. 375. " Museo Borbouico,"
vol. i. tavola xii.

Construction of the 7 ablets.

External surface of the Diptjch, nearly closed, showing the arrangement of the hinges and

one of the outer paintings.

Sei-tion to show the
nuiuliHiig uf the
frume.

I'ortion of the inner surface of the Diptych, wlicn laid completely opon ; showing also parts
of the modern engraved metal strips and the worn surface of the wood at the bottom.

18 Wilton House Porlrall of Richard the Second.

although originally gilt like the rest, the surface at the bottom
has been much worn, and the wood laid entirely bare by friction
when the di^itych was placed upright either on a table or altar.
There are no traces of any arrangement by which it could
ever have been hung up.

r)efore quitting the subject of double pictures which
are complete in themselves, mention ought to be made,
although belonging to a much later period, of a painting
which happily remains in the royal collection. This is the
famous diptych now at Holyrood Palace, containing, on the
exterior, portraits of King James III. of Scotland and his
Queen, Margaret of Denmark, with their oldest son, afterwards
James IV. The paintings are large and on panels of fir, each
measuring G feet 10 inches by 3 feet 8 inches, and painted as
usual on both sides. The late Dr. David Laing, in a valuable
de ;crlptive account of this altarpiece published at Edinburgh,
1857, observes (page 14) that it is "a diptych, and is
" evidently a complete and entire composition. Had it been
"otherwise, there cau be no question that the subject of the
" Trinity would have formed the centre portion of the paint-
"ing." Dr. Laing (page 4) considers that it was painted for
the Collegiate Church of the Holy Trinity, Edinburgh, about
the year 1470. The internal jiaintings exhibit on the left a
personification of the Holy Trinity in full-length figures, and
on the right a kneeling ecclesiastic. Sir Edward Bonkil, Provost
of the College of the Trinity, with his hands joined in adora-
tion. Behind him an angel, wearing a jewelled circlet of gold,
plays an organ, the tall pipes of which occupy a large portion
of the jncture. The head of the angel is supposed to represent

Various Foldi/if/ Pic lures. 19

the deceased Queen Mary of Gueldrcs, by wlioiu the church
was founded. Both this li^^ure and an attendant anjrcl blowing
the bellows of the organ are winged, but havo no nimbus.

These conipartnient^, all excepting the Holy Trinity, have
been engraved in Pinkertoa's " Iconogruphia Scotica," London,
1797; and the Queen attended by her patron saint, Eric or
Olaus, in armour, reproduced by II. Shaw, in colours with
great care, in his "Dresses and Decorations," London, 1843,
vol. ii., plate 59.

Another instance of the division of sacred subjects accord-
ing to a diptychal arrangement, occurs among the works of Hans
Memliiic, and has already been described by Mr. AV. II. James
Weale, in his excellent notice of that painter's life and works
printed for the Arundel Society in 1865. This diptych, still
in the possession of the Rev. John Fuller Russell, F.S.A.,
was probably executed about 14G0. The leaves are not
exactly round-headed, but terminate in a double ogee curve,
and are joined by hinges running on a long rod of metal or
bodkin placed between them. The right-hand subject is the
Crucifixion, and the left a personification of the Holy Trinity
with the A'irgin ^lary crowned, holding the Infixnt Saviour,
and, underneath these, the Princess Jouii, daughter of
Charles Wl. of France, kneeling at a prayer-desk. Ilcr
husband was John, Duke of Bourbon, and Constable of
France. She died in 11 82.*

The wood at the back of these tablets is perfectly 2>Iain.
Another historical picture with complicated folding arraiio-o-
ments, but in reality triptychal, deserves attention here on

• See Mr. Wealc'e descriiition, p. 9.

20 Wilton House rorlrait of Richard the Second.

account of" the great peculiarity of the disposition of the tablets.
They arc all three exactly of the same size and shape, and, by
a very clever construction of the hinges, literally rest one upon
the other. As the subjects of the paintings are portraits, there
would be no need for any particular sequence between them.
The backs of the panels are quite [)laiM, and show no signs of
ever having been painted. They represent the " Three Children
" of the King of Castile," and, under that title, arc recognizable
as a group that had formerly belonged to King Henry YIII.,
according to an inventory taken of his pictures at Whitehall
in 1542. They are not traceable in the catalogue of pictures
belonging to Charles I., but became the i«*operty of the late
Evelyn Philip Shirley, Esq., F.S.A., of Ettington Park,
Stratford-upon-Avon.* The persons represented are Charles,
afterwards emperor, and his two sisters Leonora and Isabella.
The triptych Av^as probably given by Philippe le Beau and
Jeanne la Folle, parents of the children therein rejiresented,
to King Henry VII., to commemorate a visit which they un-
expectedly paid to this country at the beginning of 1505.

In entering upon consideration of the interesting paintings
on this Diptych, which have been so ably reproduced by means
of the pencil of Ilerr Kaiser, we must at first concentrate our
attention upon the kneeling monarch figured on the left-hand
tablet, and endeavour to ascertain the position which it is
entitled to hold among other known royal portraits.

The figure of King Richard II. here presented may
certainly be considered to be one of the earliest and most
refined regal portraits extant, not only in l^igland, but in any

* See '' Archaiologia of the Society of Antiquaries," vol. xlii. p. 250; 1869.

lieaal Povlraits in >it. Stephens Chapel. 21

European country. Until within the hist filty ycai's, a remark-
able series of royal portraits existed at Westminster on the
walls of the ancient Chapel of St. Stephen, that had been con-
verted into the House of Commons. They perished in the
lamentable fire of 1831, which destroyed the Houses of
Parliament and adjoining buildings.

On the cast end of the chapel, both above and on either
side of the altar, wore painted in compartments a scries of
sacred subjects, including the Adoration of the Magi and
Presentation in the Temple, and a row of kneeling figures
below, representing King Edward III., preceded by St. George,
also kneeling, and his Queen Philippa on the opposite side,
together with their sons and daughters, each in a separate
niche. The Black Prince, as a young man in full armour,
was very prominent. The precise date of these [)aintings,
soon after the year 1355, is ascertained by the fact of the
king's youngest son, who Avas born in that year, being intro-
duced.* These i)aintings were of very great importance in
the history of art, inasmuch as having been associated witli
the most sacred functions, it may Ijc inferred that the best
available talent would have been secured for their execution.
iVIoreover, the accounts for payment coimected with the con-
struction are still extant, and it is known that the best materials
were employed.

Fortunatel}', accurate records of many of these paintings
had been preserved before the occurrence of tiie lire.f In the

• Shaw's " Dresses and Prcorations," vol. i. plate 30.
t Smith's " Antiquities of Westminster," London, 4to. 1837. Sec pp. vl.
and vii. of the Prcfoce ; and plate facing p. 153.

22 Wilton House Portrait of liichard the Second.

month of August, 1800, during some alteration of the littiiigs
of the House of Commons, the existence of these paintings was
first discovered. They hiy concealed behind woodwork, and
could only be exposed for a very short time during the
process of reconstruction. An artist, Mr. liichard Smirke,
was employed to trace and make copies of them for the Society
of Antiquaries, which were published in a large handsome
volume with descriptive text by Sir Henry Charles Englefield ;
and Mr. John Thomas Smith also made drawings from them,
which he published independently. The figures of King Edward
and of the Black Prince are reproduced in coloured plates in
Shaw's " Dresses and Decorations," and the same Avork con-
tains a minute and faithful representation, in colours also, of the
kneeling Richard of this dipytch, but the figure alone is given.
A portrait of a foreign monarch, of a more recent
date, and probably executed in England, is the curious
profile, somewhat larger than life, of John, King of France,
who died in captivity in London, at the Savoy, 1364, and
still 2)reserved in the national collection at Paris. It was
engraved in a very finished style, in the dotted manner, by
W. T. Fry, from a drawing executed for the Pev. T. F. Dibdin
by I\I. Canire.* This portrait has also been reproduced in
Avood engraving, but Avith greater attention to its actual
condition, in the " Arcluvologia " of the Society of Antiquaries,
vol. xxxviii., ])age 1!>7, from a draAving done from the original
by Mr. E. J. Poyntor, P. A. It is described by the last-
named gcnllenian as " ;i]>paronlly pnintcd in tempera or l)ody

* Dibdiu's " Bibliograjiliical and riclurcpquc Tour in France and Ger-
" many," 1821, vol. ii. p. 1-10.

Porlra'd of John ^ Kukj of France. *23

" colour, on ii jesso ground, sprciid upon rather coarse canvas.
" There is round the [)ortr:iit a wooden I'ranie, formed of a
" small ogee moulding, which has been gilded as well as the
" background. It has evidently been the original moulding
" round the panel, which was probably let into a wall,"

The frame does not appear in the woodcut given in the
" Arcluvologia," but is carefully shown in Dr. Dibdin's volume,
after M. Ca'ure's drawing. The size of the original is 22 in,
by 14 in.* It is supposed to have been the work of Maitre
Girard d'Orleans, King John's painter, who was with him. in
England, and is mentioned in several items of the accounts
of exjMjnditure during the king's detention in this country.
An approximate date of 1360 may be assigned to it. This
was the year of the king's temporary freedom and i-eturn
to France. The Rev. Edwaz'd Trollope, F.S.A.,f the present
liishop of Nottingham, has collected some ver}' interesting
particulars of the king's sojourn in England, which will be
referred to subsequently.

The Westminster Abbey portrait of King Richard II.
exhibits the monarch, full faced, seated on his throne and
holding the regal attributes, the orb and sceptre. It is perhaps
more generally known than the proiile on the Dii»tych. The
figure is full-length and somewhat larger than lii'e. This picture
has been frequently engraved, and the head alone was published
in 1C18 by Elstrack in the "r>asiliol()gi;i," tlie first published
series of [lortraits of English sovereigns. Sandford, in the first

• " Arclueologia," p. T.'7, note n.

t Sec a cominuuicaliou from tlic Rev. Edward Trollopp, F.S.A., to the
LiDColiisliiro Arcliiteetural Society, iu "Memoirs of tlio Associated Societies,"
Lincoln, ls67.

24 ] I "ilton House Portrait of Richard the Second.

edition of his "Genealogical History of England," 1G77, in-
troduced a very careful transcript of the face, and was especially
accurate in copying the peculiar growth of the moustaches.
The engraving occurs on page 127.

The entire figure was engraved by G. Ycrtue in 1718 after
a drawing by Grisoni, and again, with much greater fidelity, by
John Carter in 178G. The latter appears in his valualde work
entitled " Specimens of the Ancient Sculpture and Painting
"now remaining in this Kingdom," two volumes folio, London,
1780-1794.

The AVestminster portrait had for successive periods been
a victim to extensive restorations^ such at least they were
termed, but in reality clumsj' and coarse re-paintings, so that,
at length, the picture ceased to be regarded as of any importance
beyond giving the costume of the monarch. When removed
from the Jerusalem Chamber to the better light of the South
Kensington Gallery during the Loan Exhibition of National
Portraits in 18GG, it was suggested by Mr. George Richmond,
li.A., that the picture was not beyond the possibility of a
satisfactory restoration. Having received full sanction from
Dr. Stanley, the Dean of Westminster, Mr. Richmond con-
fided the picture to the experienced hands of the late Mr.
Henry Merritt, and under his supervision the experiments
were commenced.

In a short time, after testing a small portion, suflUcient
proofs were obtained to warrant proceeding with the whole,
and in the course of a fcAV months the picture resumed what
must very nearly have been its original appearance. The
following notes of the change thus effected will serve to show

Enthroned Forlmit in Westminster Abbey. 25

the main points of divergence. They arc taken from observa-
tions by the present writer "On the Westminster Abbey
"portrait of Richard II., reprinted with corrections and addi-
"tions from the ' Fmc Arts Quarterly Review,' " 18G7.

" Instead of a Iar<Te, coarse, heavy-toned figure, with very
"deep solid shadows, strongly marked eyebrows, and a confi-
" dent expression, — almost amounting to a stare, — in the dark
" brown sparkling eyes, wc now have a delicate pale picture,
" in carefully modelled forms, with a placid and somewhat
"sad cx2)ression of countenance ; grey eyes partially lost
" under heavy lids; pale yellow eyebrows and golden-brown
" hair. These latter points fully agree with the King's profde
" in the small tempera Diptych at Wilton belongirg to the
" Earl of Pembroke. The long thin nose accords with the
" bronze effigy of the King in Westminster Abbey; whilst the
"mouth, hitherto smiling and ruddy, has become delicate, but
" weak and drooping in a curve, as if drawn down by sorrowful
"anticipations even in the midst of pageantry. Upon the face
" there is a preponderance of delicate shadow, composed of
" soft brown tones, such as are observable in early paintings
" of the Umbrian and Sicnesc Schools executed at a corre-
"sjKjnding period. Many gratuitous changes seem to have
" been made by the restorers in various parts of this figure of
"King Richard; several well-devised folds of drajx'ry were
"quite destroyed through ignorance. The globe held in his
"hand, and covered with some very inappropriate acanthus
" leaves, was at once found to be false, and beneath it was laid
"bare a slightly convex disc of composition, gilded and very
" highly burnished. This, however, was not an original part

2G Wilton House Portrait of Richard the Second.

" of the picture. A pluiu Hat 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,
"in like manner, been loaded with gold and polished. Beneath
" these masses of soUd burnished gilding, bearing false forms
"and ornaments unknown to the 14th century, was found the
" oi-iginal gothic work, traced with a free brush in beautiful
" foliage upon a genuine gold surface lying upon the gesso
" preparation coating the panel itself. The singular device of
" a fir cone on the summit of the sceptre disappeared at once.
" The diaper* composed of a raised pattern decorating the back-

* IHapcr has been defiucd iu Parker's " Glossary of Architecture" as, a " mode
" of docoratiug a surface which consists iu covering it by the continual rejjetition
" of a small flower, leaf, or similar ornament, whether carved or painted. If carved,
" the flowers are entirely sunk into the work below the general surface ; they are
" usually square and placed close to each other." (Vol. i. page 105, cd. 1850.) It
may be noted that this method of decoration was first employed iu connection
with architecture. We find it extensively adopted in Westminster Abbey to fill
the wall spaces between the pointed arches. (See " Gleanings of Westminster
" Abbey," 1803, plate vi.) It imparted a peculiar richness not only to mouldings
but to sculptured forms, as may be seen in the trefoil compartment surmounting
the monument to Aymer de Valence iu Westminster Abbey. The figure of
Aymer is seen mounted on his war-horse in front of a beautiful surface of diaper
in which the pattern is diagonally arranged. Aymer de Valence was murdered
iu France in 1323. (See Neale's " Westminster Abbey," vol. ii. p. 27t.) From
architecture we find the system of patterned grounds extended to decorative
work. Good examples of an early period will be found iu the seal of Elizabeth,
Countess of Holland, daughter of Edward I., engraved in Sandford's " Genea-
logical History," 1077, p. 121, and the circular seal of Thomas, son of Edward III.,
created Duke of Gloucester 1085, engraved in the same work at page 125.
By the reign of Richard II., the use of diaper work had extended to pictorial
representations, including landscapes, as seen in Italian art, where it takes the
Iilace of the sky, and appears behind mountains and between trees. This is
strikingly shown in the Metrical History of the Deposition of Eichard II.,
published in the " Archa;ologia " of the Society of Antiquaries, vol. xx., plates 2,
C, and 13. The origin of the term diaper is stated in Planche's " CyclopEedia of

Enthroned Portrait in Westminster Abhcij. 27

"ground, coated over with a bronze powder, and not even
"gilded, was found to be a false addition. It was moulded in
" conii)Osition or cement, possibly as old as the Tudor period.
" The mould or stamp for producing the pattern was very
"irregularly applied, and some instances were detected where
" the composition and stamping overlaid sonic of the most
" beautiful foliage and delicate ornamentation."

The woodcut on the first page of this essay shows the head
of King Ilichard as it appears in the Westminster portrait after
the restoration. Faint indications of the diaper have here been
retained, in order to show the relative proportion of the pattern
to the features of the face. But in the original picture the
diaper has been entirely removed, with the exception of a small
portion in an upper corner, to show what formerly existed.
The background now presents a uniform plain surface of
subdued gilding.

An early exanii)le of a flat background i)atterncd with
lines and punctured between them, will be found in the
Rctabulum which is now deposited in the Southern Ambula-
tory, next the choir, in Westminster Abbey.* One figure,
that of St. Peter, is on a larger scale than the others in the
central compartment, and is painted upon a plain golden
ground, with doubled lines of Ijrown colour crossing each
other diagonally, and having iu the centre sunk rosettes or
crosses produced by stamping. Dots also arc punctured

" Costume," 187C, vol. i. p. 160, to be a fiiio species of linen manufactured at
YprcB, a rival in celebrity with Damascus for productions of the loom. Two
pictorial examples of ornamentation on a sliiild and a surcoat arc given by
him under the heading Diaper.

• Eastlake, "Materials for a History of Oil-paintiug," London, 18-17, p. 17(3.
Seo pott, page 75.

28 Wilton House Portrait of Richard the Second.

between the double lines. The date assignable to this work is
1299. The drawing of the figures belongs to the period of
Edward I., and if by an English artist, as Sir Charles Eastlake
observes, " the execution proves that the painters of this
" country were sometimes quite equal to those of Italy in the
•' early age to which this specimen belongs."

Another early monument of the same locality, and exhibit-
ing traces of exquisitely fine workmanship, is the celebrated
coronation chair* made for Edward I. by Master Walter, the
painter, in 1301. It was constructed of oak, and covered with
a coat of gesso, which was afterwards gilded. Mr. John Carter f
discovered traces of pattern and painted devices upon it, which
were still further explored by the late Mr. W. B urges, and
published by him in Scott's " Gleanings from Westminster
"Abbey," 1863, page 121. Mr. Burges observes (page 125)
that the surface was " first of all covered with the usual gesso,
" then gold applied by means of white of c^g^ then burnished,
" and a pattern pricked upon it with a blunt instrument before
" the ground and gilding had lost their elasticity. Great care
" was requh'ed to prevent the instrument with which the dots
" were made from going through the gold and showing the gesso
" underneath, and still greater patience in executing a design
" every line of which was to be expressed by very small dots
" alone."

Both in panel-paintings, especially North Italian, and in
manuscript illuminations, we constantly meet Avith examples of

* Sco also Scott's " Gleanings from Wcslmiustcr Abbcj-," 1SG3, \\ 105.
Neale's " Westminster Abbey," vol. ii., p. 133.

t See Carter's " Ancient Architecture," vol. ii. plate 6.

Ornamented Gold JJaekf/vounds. 29

a plain gilded ground punctured ■with dots and sharp indented
lines forming patterns, but never breaking through the surface
of the gold. A rich instance may be pointed out among
manuscripts in the British Museum, of a Psalter (Xo. 83,
Arundel) which is purely English work, assignable to 1310,
where richly burnished gold backgrounds arc punctured with
flowing patterns in dotted lines.

A volume of the Psalms, an English manuscript in the
British Museum (Reg. 13 D. 1), executed late in the fourteenth
century, has figures arranged hi compartments on highly
poUshcd gold backgrounds richly punctured with dots forming
rosettes and a running flowery pattern. In most of the early
Italian paintings ornamentation is confined to the borders
next the frame, and within the circle of tlie nimbus, the
field of the composition being left in [iluiu l)urnished gold.

A good example of the enriched gold background in
Italian work of the fourteenth century occurs in the panel
picture by Simonc Memmi dated 1342, preserved in the Royal
Institution at Liverpool. It is engraved in Crowe and Caval-
caselle's " History of Painting in Italy," 1864, vol. ii., page 98.
There, the flat gold ground is highly ornamented all round the
edges, following the mouldings and cusps of the frame. The
glories arc large and round and perfectly flat, but richly
patterned in the same manner.

The profile portrait of King John of France, already de-
scribed, is similarly adorned round the edges adjoining the
frame.

Although later in date, a very highly enriched panel of a
Madonna and Child, with saints on tlie wings, painted by

30 Wilton House Portrait of Richard the Second.

Domenico Bartoli, and preserved in the Accademia delle Belle
Arti at Siena, deserves to be cited as an example of this method
of ornamentation. It is engraved by Rosini in his " Storia dclla
" Pittura," tavola xli.

A diptych by Taddeo di Bartolo, of the School of Siena,
1363-1422, in the possession of the Rev. John Fuller Russell,
F.S.A.,* with the Crucifixion on one wing, and the Madonna
enthroned on the other, has a flat ground of bright gold with
pounced or dotted borders next to the frame, and flat round
glories richly dotted, in combination with indented lines to pro-
duce an elaborate pattern. Pieces of coloured glass are let
into the spandrils above.

An extremely beautiful example of diapered background
to a simple arrangement of figures, the latter occuj^ying a
comparatively small amount of space, will be found in an " An-
" nunciation " by Angelico da Fiesole upon a reliquary in Santa
]\Iaria Novella. It is engraved in plate 18 of the illustrations to
the Life of Fra Angelico, issued by the Arundel Society in 1850.

The background to the Wilton painting is remarkable for
its exquisite finish and its unobtrusiveness. It consists, on
both panels, of a highly burnished surface of gold punctured
with a minute pattern in the finest possible small dots. The
chromolithograph now issued,, being only of the same size as
the original, could not possibly reproduce these patterns in the
same manner without injuring the effect of the figures. The
compound parts of each pattern are, therefore, here given on
an enlarged scale (twice that of the original) to show how the
dotting and indented lines arc introduced on the bright gold
* Wjiagen, vol. iv. p. 284.

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Ornamented Gold Uackfj rounds. 31

surface. No colour whatever is euiployetl, and, line as the
punctures are, it may be seen, on applying a magnifying glass,
that, as on the coronation chair, the surface of the gold is not
broken through. Every cavity is as perfect as the inside
of a golden cup. The right-hand compartment is patterned
with a device consisting of square ruled lines, each containing
four trefoil leaves arranged diagonally, with their stalks meeting
in the centre. These trefoils are produced solely by punctur-
ings of surprising minuteness and precision.

^^^y!3^

Eulargcd pattorii of Diajior to the King's
Compartmcut.

Eulargcd iiattorn of Diaper to
Celestial Coitiiiartinont.

the

A distinct class of diaper ornamentation, also belonging to
this jxjriod, but very unlike that of tlie background of the
Wilton Diptych both for surface and execution, arc the grounds
of stucco patterned in relief and gilded, as seen in the large
Westminster portrait of Richard enthroned. The effect of this
ornamentation, where (he projections catch tlie light, is very

32 Wilton House Portrait of Richard the Second.

rich. All the sacred subjects on the walls of St. Stephen's
Chapel painted in the reign of Edward III. were decorated
in this manner. The lower range of the King, Queen, and
children had no diaper, but j)ictorial backgrounds instead,
with clumsy attempts at perspective. These diaper patterns
are carefully reproduced in the folio plates issued by the
Society of Antiquaries upon St. Stephen's Chapel, with
explanatory text by Sir Henry Charles Eoglcfield. Such
-P.

Stucco gilt stamped pattci-ns of Diaj.cr
from paintings iu St. Stephen's Chapel.
Same size as the originals.

Stucco gilt stamped pat-
torn of Diaper, formerly on
the background of the West-
minster Abbe}' portrait of
Richard II., greatly reduced.
Compare woodcut on page 7.

compositions as were painted at once on the stones of the
side-walls under the windows were capable of being removed,
and were accordingly taken out and replaced by thinner slabs.
The originals are now deposited iu the Mediaeval Gallery of
the British Museum. Unfortunately, the paintings at the cast
end of the chapel, in connection with the altar, where the
work was of a superior character, did not admit of removal,
and consequently perished in the conflagration of 1834.

Gilt and Moulded Background,^. 33

Sir Charles Eastlakc, in his " Materials," * &c., says : — " The
" impressions of patterns on gilt grounds, and the ornaments in
" relief, observable in early Italian pictures, are frequently
" referred to in the English accounts. The directions of
" Cennini, and the terras employed in these records, mutually
" explain each other. The Italian describes the operation of
" partially roughening or indenting (granare) the gilt field by
"means of a pattern stamp (rosetta). In the Westminster
"records (1353) we find 'stamps for printing the painting
" ' with impressions,' -with other entries of the same kind.
" Embossed ornaments, sometimes gilt, sometimes covered
" with leaf-tin lackered, or variously coloured, studded many
" parts of the interior of the chapel."

Another instance of diaper- work in relief will be found in
Westminster Abbey, as a ground to figures painted on the
under surface of the canopy of the tomb of Richard II. and
Anne, his first wife. The date of the work is ascertained by a
document in the Pell Records to be 139G. The sum of twenty
pounds was paid to John Haxey for painting the canopy (co-
opertorium) of the tomb of Anne, late Queen of England.
" At each end there are figures of angels supporting shields.
" Of the other two compartments, that near the head contains a
" representation of 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 in the act of blessing; the hands of the Virgin are crossed
" on her breast. The action and expression of this figure, as
" far as can be judged from its extremely decayed state,

• Eastlake, " Materials for a History of Oil Tainting," 1847, p. 124.

34 Wilton House Portrait of Richard the Second.

" indicate the hand of a superior painter: the ground behind
"all the figures is ornamented with gilt mosaic."*

Many years after the above was written, the painting was
cleaned under the superintendence of Mr. George Richmond,
R. A. The last-described subject appears intended for the Coro-
nation of the Virgin, and the ground which Sir Charles Eastlake
took for "gilt mosaic," proved to be a surface of "gesso
" stamped with a raised diaper of httle quatrefoils, and red
" bole has been used as a preparation for the gold." f

We may now resume our consideration of the Dijitych, and
examine a little into the action of the figures represented, and
their significance, and thereby perhaps correct some of Yander
Doort's misstatements quoted on the first pages of this
essay.

The King, cro^Tied and in a magnificent costume, kneels
and extends his hands towards the infant Saviour, in the arms
of the Virgin Mary. The three patron saints stand behind
the King, and it is observable that their heads do not reach
so high on the surface of the panel as those of the angelic
group surrounding the Virgin.

The foremost figure, that of St. John the Baptist, with
wild locks and shaggy beard, is clad only in a loose
skin. The veins on his bare arms and feet are consider-
ably distended. He hei'e stands as patron saint, so frequently
seen in German and Italian art, and holds a small lamb in his

* Eastlake, "Materials," p. 177.

f Scott, "Gleanings," 1863, p. 17G. It had, however, been remarked by
Neale, vol. ii., page 110, that this diaper resembles that of the Richard the
Second picture, at that time in tlie Jerusalem Ciiamber.

Description of Figures in the Dip(i/di. 35

right hand without any glory round the head. It is also to be
noted that the lamb docs not rest on a book according to the
usual form, as seen in the figure of St. John by Mcnilinc in
the Munich Gallery (engraved in the "History of Our Lord"
by Mi-s. Jameson, edited by Lady Eastlake, vol. i. p. 280),
but crouches in the palm of his hand.

The next figure, attired in a long robe with an crmined
mantle over it, both being of the same pale colour, is St. Edward
the Confessor wearing a richly jewelled crown. lie is distin-
guished by a large golden ring which he holds up between tlie
forefinger and thumb of his left hand. Tliis ring, like the
gilt Broom-cod collar round the King's neck, is thickly outlined
with black colour. The King's crown is also outlined with
black, but not so those of his patron saints. With the other hand,
St. EdAvard points down to Richard with a recommendatory
gesture, whilst his eyes, as those of his companions, are turned
directly towards the A'irgin.

St. Edward the Confessor was of the Uenedictine order,
and among his numerous claims to veneration one will be
specially remembered as a founder of Westminster Abbey.
The legend connected with the ring is to the cflect that the
King gave a ring from off his finger to a poor pilgrim in
charity, and tliat twunly-four years afterwards the ring was
brought to him Ijy two pilgrims from the Holy Land, who had
been warned by St. John the Baptist to return it to the King.
The pilgrim was St. Jolui, and Edward liud unwittingly
bestowed the nng upon liini.* licfore the King's decease,

• ilra. JamcsQii, " Sacred aud Lof^cndary Art," I80O, p. 102, and
" Legends of Iho Mouaslic Orders," I80O, p. 107.

3G Wilton House Portrait of Richard the Second.

which speedily followed, he conferred the ring on the Abbot
of Westminster, to be for ever preserved among the relics
there. Henry III. ordered to be painted in the Tower of
London two figures of St. Edward and St. John ; the latter
receiving the ring. According to Dart, in his " Westminster
" Abbey," King Edward 11. offered, at his coronation, two
figures of gold, one of a king holding forth a ring, and the
other a pilgrim about to receive it.

The third protecting saint is St. Edmund, King and ^lartyr.
He ruled over the East Angles, and Avas slain with arrows
durinjr the Danish invasion. His remains were watched o\ev
by a huge grey wolf, who is frequently seen crouching at his
side in the older effigies. Here he holds only the feathered
arrow in his left hand. The arrow has no point, and looks
as if the end has penetrated his heart through the richly
embroidered dress.* At this part, however, the painting is
very much damaged, many portions of the plaster being laid
bare. St. Edmund's gown, in contrast to that of The Confessor,
has long wide sleeves, and his ermine-lined mantle is folded
back over his right shoulder, in order to' show the sleeve in
the fullest extent.

A rich pattern of fanciful birds, Avith widespread plumage,
linked two and two by a coronet encircling their necks, and a
star pendent from between them, covers the deep blue robe of
St. Edmund. They are arranged in vertical rows, one pair
above the other. In many respects, the bending of this pattern
on the long folds which hang below his left arm is managed

* In Hollar's engraving, however, the point of the arrow, directed down-
wards, is seen very distinctly and in full shape.

Cloth of Gold Emhroideries. 37

with unusual skill, considering the date to wliich the painting
must be assigned.*

The very rich embroidery here displayed resembles a stuff
held by an angel on a side vail of St. Stephen's Chapel.
This was engraved in outline by James Basire for the Society
of Antifiuaries, 1805, and consists of a crowned eagle
with spread wings upon a disk which is surrounded by solar
rays, and a two-headed bird with a crown above. A similarly
rich robe with patterns on a large scale appears on a standing

• There exist now ia the South Kensington Museum some well jircscrvcd
specimens of embroidery of this period. The most beautiful clotiis of gold and
silver were wrought at Lucca, aud the weaving of silks and stud's was carried on
iu Sicily. Lucca also was among the first in Europe in the production of velvet.

liichard II. is known to have been fond of rich tissues. He left behind him
at Ilaverford Castle various suits of cloth of gold manufactured at Lucca and
in Cyprus. Edward IV. also liked cloth of gold for his personal wear, and the
taste, it seems, was continued by his immediate successors.

It is observable that the Sicilians were prone to introduce heraldic charges
such OS beasts, eagles, and griffins in their embroideries. John of Gaunt and
his duchess, according to Dugdalo, in his " Monasticon Anglicanum," vol. viii.,
presented to Lincoln Cathedral a crimson velvet vestment set with white harts
lying in colours, full of letters S.S ; the harts having crowns u]iou their necks
with chains silver and gilt. There is in the South Kensington Museum an alb
of white linen with rich and freely designed patterns on the apparels, which aro
composed of a ground of rich crimson silk. It is numbered 8710 iu the elaborate
catalogue prepared by Dr. Rock, aud published in 1870. The figures on this
pattern aro all in gold, and accord singularly with the devices observable on tlie
King's roljo in his monumental cfllgy. They consist of an eagle in dcmi-vol,
langued, with a ducal crown, not upon, but over, its head ; above this is a mass
of clouds with pencils of sun-rays darting from beneath them all around ; higher
up again, a collared hart lodged, with its park set between two large bell-shaped
seeded drooping flower.o, beneath each of which is a dog collared and courant.*

• Dr. Rock, " Textile Fabrics at South Kensington," Svo. 1870, [lages xxx,
Izxi, and 268.

117743

38 Wilton House Portrait of Ridiard the Second.

i\Iadonna by Christoforo da Bologna, dated 1380, and engraved
in D'Agincourt, Plate clx. In this the Virgin holds the
right foot of the Sacred Infant prominently forward in her
hand, as seen in the Diptych under consideration.

No rings arc Avorn by any of the persons here represented,
and tlie red shoes of St. Edmund are not extravagantly
pointed, as seen in other works of art belonging to this reign.
King Richard has no cushion or stool to kneel upon, and
the figures behind him stand upon a barren, stony ground,
broken into strange forms, and losing itself in a gloomy wood.
Above the trees, as pointed out in a note on page 26, the flat
golden background assumes the place of sky. Round the heads
of the protecting saints the gold ground is left unstamped, so
as to reserve for each a large flat circular nimbus. The face
of the King is very fair, with pink cheeks, indicating extreme
youth, and may be termed girlish. His rich ycUow-broAvn
hair is drawn back in bunching locks ; but no Ibrm of car is
traceable. The cheeks are perfectly smooth and the eyebrow
very faintly marked. He wears a scarlet gown, with broad
hanging sleeves, such as may have been known as a
" houppelande," * and a standing collar fitting close round
the neck. The gown is covered all over with gold embroidery
consisting of figures of crouching stags with wide-spreading
antlers, each enclosed in a circle of Broom-cods, two and
two, side by side, as if open. Round his neck is a short
collar consisting also of Broom-cods, two and two, with two

* Similar garments to these arc seen in the Metrical History of Richard,
especially Tlates I., XII., and XVI. of " Ai-cha^ologia," excepting that there the
borders are plain and edged with fur, without any of the " dagging," a fantastic
cutting or slashing which reached the height of popularity in the reign of
Henry V.

Costume of the Kiiifj. 30

larger cods suspended from a large diamoiid-sliaped jewel in
front.

On his left breast is a Crouching Stag similar to those
which are embroidered on the gown, but composed of highly
raised white enamel with each point of the gilt antlers tipped
with pearls or small knobs of the same opaque white material.
The stag lies upon a round black cushion instead of a field of
green, as seen in other representations of this device in connec-
tion with King Richard.

The gown is lined with a fine grey fur, which appears oidy
where the sleeve is partly turned back over the arm, and within
some of the folds as the garment sweeps upon the ground.
The broad gold bands along the length of the sleeve, across the
shoulder and round the neck, consist of a very full rich fringe,
that at the top standing upright, so as to conceal the neck like
a high-standing collar. This fringe is not sufficiently defined
in the chromolithograph. Hollar's engraving clearly indicates
the nature of the fringes, both on the standing-up and the fulling
portions bordering the King's sleeve.

The Broom-cod collar is made distinctly separate from
the golden devices on the gown by being outlined in black.*
The peas are always distinctly marked.

The introduction of the Broom-cod was lor a considcralile
time supposed to apply to the name Plantagcnet {Pl((nt(U/c-
iitslay or broom plant), a sobriquet of the reigning family; Imt
in a learned dissertation published by the late 'Mv. -lolin
Gough Nichols, F.S.A., this collar is shown to lie part of the
Livery of the King of France, f and to have been only adopted
by our kings in compliment to them.

• Seoanle, p. 35. f " Archwologia," vol. xxix. p. -11.

40 WlUon House For tr ait of Richard Hie Second.

The kneeling figure before us aiFords an illustration of the
use of an ancient collar and badge apart entirely from any
connection with knighthood. Mr. Nichols observes : — " The
" Badge was an emblematic or heraldic figure sewn or fixed
" upon some prominent part of the dress of soldiers or servants,
" to declare visibly the household or service to which they
" belonged. The Collar was a distinction given to persons of
" greater rank or importance ; but very frequently to many
" who never attained the grade of Knighthood, though it
" came to be used as conferring the grade of Esquire, and
" at length was confined to Knights in the reign of Henry VIII.
" Collars and Knighthood were two institutions entirely dis-
" tinct for some centuries after both existed." *

So far back as the reign of Charles I., in 1639, when
Hollar engraved this picture, an erroneous belief existed that
the badge of the White Hart was connected witli the Broom-
cod collar, and actually pendent from it.

The lines engraved upon Hollar's print f may have caused
the misapprehension : —

" Cur Kegi e siliquis torques contexta genista;?

" Cognomen Eegis Plautagcnista fuit ;

" Pendulus est Albus Cervus, cui colla catena

" Perque quiescentis terga reducta ligat ;

" Rpgia cum fuerat mater pulcherrima, Cervam

" Albam insigne tulit, filius undo marem."

The old chroniclers give the cognomen Plantagenet to
Geoffrey, Count of Anjon, fixthcr to King Henrj' II., but they
do not ascribe the name of Plantagenet to King Henry ; they

* " Gentleman's Magazine " for 1842, part i. p. 157.
t See ante, page 11.

Broom-cod Collar or Device. 41

call liiin " Curtmautel," and his brother Geoffrey they name
" Martel." Richard himself was styled " of Bordeaux."

The first ascertained notice of the collar of the " Cosse de
" Geneste " is in a grant of Charles V. of France to his Cham-
berlain, Geoffroy de Belleville, in the }eur 1378, to wear the
collar of the Cosse de Geneste.*

According to Favyn,t in 1389 Charles VT. of France made
his kinsmen, the King of Sicily and the Prince of Tarentum,
Knights of the Star and of the Cosse de Geneste ; and in 1393 he
sent four collars of Broom-cods to Richard II. and his uncles. +
His goldsmith, John Compere, was ordered to make for the
King of England a collar in this form, to be of two twisted
stalks interlaced with Cosses de Geneste alternated with fifty
letters hanging to the stalks, which formed the words "jamais "
many times repeated. The Broom-cods were to be enamelled
alternately green and white, and thickly set with pearls.

In the procession of Henry IV. through the City of London,
from the Tower to his coronation, Froissart says that " he was
" bareheaded, and had round his neck the Collar {la devise) of
" the King of France." §

There can then be no doubt that the collar represented
in the Wilton picture as worn by the King, and also by the
angelic company, was a livery of the King of Fi'ance, and that
the stag was an adopted badge of the King of England.

The Crouching Stag which appears on the King's robe
in the spaces formed by circlets of Broom-cods, was the

• " GonUeman's Magaziue," p. 252.

t " ArclioBologia," vol. ixii. p. V,, and " Gontloman's Magazine," p. 25-1.

♦ " Archa-ologia," vol. xxix. p. Mi. § "Gentleman's Magazine," p. 255.

42 Wdton Jloiise rortrait of Richard the Second.

most iUvoiiritc device of King Richard, and that which he
used ibr the cognizance so profusely distributed among his
courtiers and immediate dependants.* lie appears to have
adopted it from the AVhite Hind, which is said to have been
borne by his mother the Fair Maid of Kent, and it was
cei'tainly used by his half-brothers, the Holands, her sons by
her first marriage.f

A Hind lodged under a tree, gorged with a ducal coronet,
the device of Joan, Countess of Kent, with the addition of
a shield bearing the arms of Iloland suspended from the neck
of the Hind, may be seen on a seal engraved by Sandford
in his "Genealogical History," pages 124 and 21G. There
is extant a record, in a document pul)lislied in Ryraer, of
various Crown jewels paAvued, in the year 1382, to the Corpo-
ration of London, among which were three brooches in the form
of White Harts set with rubies. J

King Richard on the occasion of a magnificent tournament,
lield at Smithfield on the 12th October, 1390, distributed his
cognizance of the "White Hart with a crown and golden chain. §

In the same year as the tournament, 1390, a record
appears in the household book of the Earl of Derby || (after-
wards Henry IV.) of the expenditure of 40' for the em-
broidering of two sleeves of red velvet, and a pair of plates of
the same suit, with the Harts of the King's livery. Mr.
Nichols notices the absence of any stated collar of the Livery

* " Arcliacologia," vol. xxix. p. 37.

f T. WiUemciit, " Eegal Heraldic of the Kings and Queens of England,"
London, 1S21, p. 20.

% " Arcliajologia," vol. xxix. p. 38. § " Gentleman's llagazine," jip. 1.j9-1C0.
11 " Gentleman's Magazine," p. ICO.

Broom-cod Collar or Device. 43

of King Kichard in inventories and the public records, and that
there are no collars of Broom-cods to be met with on monu-
mental effigies. He therefore regards them as foreign. Collars
of Esses arc abundant at the beginning of the fifteenth century.
They were Lancastrian, and distributed by Henry IV., and
some even date back from his father John of Gaunt, the Duke
of Lancaster.

In the interstices between the circlets of Broom-cods on the
King's gown are inserted Eagles with their wings displayed, as
if rising in the air.* They are faintly seen in Hollar's en-
graving ; but carefully marked in the elaborate copy published
by H. Shaw, in his "Dresses and Decorations of the Midillc
"Ages," 1843, Plate xx.xii. vol. i. It has been conjectured
that the choice of this bird has a reference to Bohemia, or the
German Empire; but the situation which it occupies, and the
sinallness of its size, in comparison with the other devices, will
suffice to negative such a theory.

The elaborate patterning of the King's gown will remind
the student of the beautiful ornamentation which decorates
the robes of King Richard II. on his monumental effigy. The
period at which the figures of him and his Queen were executed
and the names of the artists arc ascertained with singular pre-
cision by means of the indentures covenanting for the erection
of the monument. t The contract for the mason's work is dated
the 1st April, 18th of Richard II. (1395), and that for the
coi)per-work on the 2'4th of the same month. The nionument
was erected in the King's lifetime as a nicinor ;il ol" his affection
for his beloved wife, Anne of Bolicniia, who died in l.'V.M. He
• '* Gcutlomau's Magaziuo," p. 250. t " Arcliaiologiu," vol. xxix. i>. 52.

44 Wilton House Portrait of llichard the Second.

placed his own effigy on the tomb, joined hand in hand with
hers. The images Averc wrought of copper and latten gilt,
by Nicholas Broker and Godfrey Prcst, citizens and copper-
smiths of London.*

The King's robe and the exterior of his mantle on this effigy
are closely covei'ed with devices consisting of three badges, the
White Hart, the Broom plant, and the Rising Sun.f The bor-
ders of the robes are ornamented with elegant patterns minutely
delineated, the principal being a running scroll of the Broom
plant ; at the foot arc two rows of ermine spots, and the hood
is also lined with ermine, but the inner sides of the mantle are
plain. The badges on the mantle are inwoven with running
lines of flowers or small leaves, forming compartments similar
to those upon the King's gown in the Wilton picture. See
the wood engravings on the frontispiece X to this essay. These
patterns are produced entirely by fine punctures, without
any incised lines, and correspond exactly with the fine
dotted ornamentation on the gold ground of the Wilton
Diptych, and in illununatcd manuscripts already described.
This peculiar style of art was anciently called in English
'■'• pouncecV^ work, in French '■'• pounsoujiez^' or '■^ poinqotme," in
Latin '■^po7isatum." § In the will of Joan Lady Bergavenny,
dated 1434, she bequeaths a "round bason of silver pounced

* Sec Rymcr's " Fuudera," vol. vii. pp. 79.3 aud 797 ; Cough's " Sepulchral
Monumcuts," Nealc's " Westminster Abbey," vol. ii. p. Ill, and Stanley's "Me-
morials of Westminster," 1869, p. 151.

f " Archajologia," vol. sxix. p. 36.

^ They are taken from the very careful plates in the " ilouumeutal Effigies,"
by Thomas and George ITollis, published London, 1840, Plates IX. and X,, but
are only sketchily given in this reproduction.

§ " Archfeologia," vol. xxix. pages 54 and 55.

Monumental J\l/i;j;j in Westminster Abbey. 45

"with morys letters." Receptacles for perfumed powders,
because perforated, were called '■^ pouncct-hoxcs."

Specimens also arc here given of the chained Hart and tlic
Broom plant as they appear pounced upon the King's gown.
It will be observed that the Stag is freely designed, and that
the Broom is represented as n growing plant, bearing both the
flower and the peas in pod.

Doited or " pouuced " patterns ou tho Monumcutal Effigy of King Richard
in Westminstor Abbey.

Tlicsc sketches of the effigy, especially the one seen hi prolilc,^
and the crowned portrait in full face, aflbrd a favourable oppor-
tunity for comparing the features of the King at different periods
of his life. It is jKiinful to contrast the jaded and worn coun-
tenance of ihf monarch, — contracted, drawn-down eyes and
mouth, — shown by the gilded effigy, representing liini win n lie

46 Wilton House Portmit of Richard the Second.

was only twenty-nine years of age, with the sprightly and intelli-
gent countenance of the promising boy as he is seen kneeling in
the AVilton picture. The expression in the face of the enthroned
monarch in the Westminster portrait partakes of both characters.
That picture probably belongs to the period when, on St.
Edward's Day, in 1390, the King and Queen sat crowned in
state in Westminster Abbey.* Both in this full face, and in the
monumental effigy, the great length and narrowness of the nose
is remarkable. In both these portraits his smooth round chin is
garnished with two little tufts, like nipples, of hair kept apart
about the width of the nostrils. The effigy exhibits moustaches
of a peculiar gi'owth. They spring from a level with the corners
of the mouth and hang down a very short distance, each termi-
nating in a peculiar twirl. In the profile painting at Wilton House
the face is beardless, but, like the enthroned portrait, the hair
is very full and naturally curling, and the checks smooth. In
both pictures the ears are concealed. In the effigy the ears are
distinctly marked. They arc not perforated for earrings.

Form of the eye of ilicliard the Socoud Eiihir^ed eye of the Virgin in the
ia his Monumeutal Effigy. Wilton House Diptych.

The drawing of the eye in the monument is very remarkable.
It is not only long, but the lower lid actually curves down, and
the external corners join so as simply to form an acute angle.
This peculiarity may be seen in some of the ivory carvings of
the period. It contrasts with the form of the eye of the Virgin
as seen in the Wilton House Diptych.

* Dart's " Westtniuster," vol. i. p. 55.

Latest Poiirait is in the Metrical History. 47

The monumental effigy, altliough old-looking, does not con-
stitute the latest portrait of the unfortunate monarch. There
is preserved in the British ^Museum a famous manuscript, for-
merly in the Ilarkian collection, marked 1,319, containing a
history of Richard 11., from liis return from Ireland, April,
139i), to the period of his Deposition, with exquisite illumina-
tions correctly displapng the dresses of the time, and giving
fmi.shcd portraits of all the historical characters therein men-
tioned.* The figures of King Richard correspond exactly with
the authentic portraits of earlier times, allowing for the natural
changes produced by misery and ill-treatment. The entire series
has been engraved and published in the " Archtcologia " of the
Society of Antiquaries in 1824, vol. xx., and was previously
etched by Joseph Strutt in his " Regal and Ecclesiastical
"Antiquities," 4to. 1777. Perhaps the most complete portrait of
the King in this series is to be found on Plates xv. and xxxi. of
the "Archa:;ologia" and "Regal Antiquities," respectively, where
Richard is conveyed to London by the Duke of Lancaster.
Roth wear the double chin-tufts, and the long garment of the
King, with a wide falling cape or hood, is very similar to that
which appears on the monumental effigy, lie is bareheaded,
and the hair, although still abundant, is long and uncared-for.

A more extended enumeration of all the principal repre-
sentations of King Richard the Second, whether in painting,
sculpture, or engraving, has been given in a paper contributed
by the present writer to the " Fine Arts Quarterly Review." f

We may now revert to tlie Diptych.

The crowding and animation of the right-hand compart-

• Ante, page 38, note. f New Series, January, 18C7, vol. ii. p. 26.

48 Wilton House For trait of Richard the Second.

ment contrast strikingly with the repose and solemnity of the
four figures on the opposite side. In the latter a large field
of the gilded ground is laid open ; whilst, in the right, which
contains thirteen figures, the chief part being angels with
upraised wings, very little of the ground is seen.

One peculiarity of this portion of the picture is, that every
figure in it is attired exclusively in blue of the same tint, and
shaded uniformly with the same colour, only darker; but
without the employment of any black, even for extreme inten-
sity of shadow.

The figure of the Virgin holding the Sacred Infant is calm
and statuesque, as seen in the French ivory carvings of
the period, contrasting with the animated countenances and
gestures of the attendant angels.

All the dresses, even that of the Vu-gin, are cut high on
the shoulders, with a plain black line bordering round the
neck. The sleeves, tapering down to the wrists, are terminated
in a simple black line, without any white cuff or embroidery,
as generally seen in works of this period. It may be remarked
that the only white observable on all the dresses is a fluted
lining to the hood of the Virgin, and a narrow strip along
the edge of her dress, below the neck, instead of the strong
black line worn by the angels. These plain garments of the
angels, destitute entirely of embroidery, fit loosely round the
body, and in all cases hang down so as to conceal the girdle.
This peculiarity is especially observable in the angels of
Angelico da Fiesole, which belong to a somewhat later period.*

* iSeo the Life of Fra Angelico published by tlie Society, Plates IV., XVI ,
and XVIII. This form of costumo is observable in the works of Giotto, at

Costume of the Virgin and Angels. 49

The figure of the Virgin here is wrapped in an ample
mantle, which encu'clcs her limbs and is drawn over her head Uke
a hood : her long under-garment conceals the feet. She supports
in her arms the Divine Infant, who 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,
towards the kneeling King, as if addressing him. The palm of
his left hand is turned towards the monarch, with rather
widespread fingers ; but the action of the right hand, with the
palm inwards, almost as if beckoning, does not imply benedic-
tion, although the two longest fingers are extended and the
others bent, but rather a pointing upwards to the red cross, on
a floating white banner, or pennon, which is held with both
hands by a youthful angel. The forefinger of this angel's left
hand, whilst grasping the long pole, is significantly straightened
towards the King. The stately figure of the Madonna is
supported on each side by a kneeling angel, each touching her
gannent with one hand, as if to urge her forward, and with
the other pointing towards the King, apparently recommending
him to favour. Every angel's head is without a nimbus,
which would rarely be the case in Italian art of this period.
In Flemish and Rhenish paintings the nimbus is less frequently
applied to angelic figures.*

Assisi ; (see Ottley's " Early Floreutiue School," Plates XVIII. and XIX.) ; it
succeeded the classic severity of the Byzantines, retained by Cimabuc, and was
afterwards amplified by the introduction of a second girdle, placed higher up,
such as occur abundantly in the works of Gozzoli, Pollajuolo, Botticelli, Oranacci,
Perugino, and Raphael.

• It may bo noted as exceptional in Italian art, that in the picture by
Filippo Lippi in our National Gallery (No. 580) of the Virgin enthroned, the
angels around and beneath the figure of the Madonna have no nimbi.

50 Wilton House Portrait of Richard the Second.

The angels are all represented with youthful, and somewhat
gu-lish, forms, in female dresses, Avearing wreaths of white and
grey roses, and theu' uniformly yellow-brown hair is dressed
either in ringlets and flowing curls, or in plain rolls on each
side of the forehead.

The peculiarity of every angel wearing a wreath of roses
merits observation. Here the flowers, which are all precisely
of the same kind, tend to give cheerfulness to the scene. In
eai'ly representations of chaplets we do not find the roses so
closely placed, or green leaves filling the spaces between them.*

The wings of the angels are of variegated plumage, lighter
towards the shoulders and growing deeper in colour, from grey

* Charles Comte d'Estampcs aud Johu Gower the poet wear the flowers
with considerable intervals between them upon golden fillets. A figure of
one of the benefactors of St. Alban's Abbey wears a fillet with roses round his
head, a double pointed beard, and a collar marked with " SS ". It is in a
Cottonian manuscript in the British Museum, marked " Nero. D. vii."

In a picture by Sano di Pietro da Siena, the property of Sir Frederick
Leighton, P.K.A., contributed by him to the Royal Academy Exhibition in
1882, No. 191 of the catalogue, augels wear wreaths of red and white roses, and
two augels in the upper extremities have circlets of dark blue leaves without
flowers. The dancing angels in the Paradiso portion of Angelico da Fiesole's
" Last Judgment " in the Accademia dclle Belle Arti at Florence, engraved in
the illustrations to the Life of the painter published by the Arundel Society,
1850, Plate XVI., wear wreaths of flowers ; and angels supporting a canopy over
a Virgin and Child, painted by Gozzoli, and fonnerly in the possession of Mr. C.
Sackville Bale, have circlets of red roses round then- heads. A small wreath of
roses is worn by St. Dorothea round her long wavy hair in the picture of the
Cologne School, No. 707 of our National Gallery. In the same collection, in the
picture by Piero della Francesca, the central standing angel wears a wreath of
white roses (No. 005 of the catalogue). In the fine picture by Gozzoli of the
Virgin enthroned (No. 283 of the National Gallery Catalogue), five angels stand-
ing round the Virgin wear white roses, which have very much the appearance of
white bands, in their curly hair. Five augels singing the " Gloria in Excelsis "
over the new-bom babe in a " Nativity " by Filippo Lippi in the " Galleria delle
Belle Arti di Firenze," Tavola 36, wear wreaths of roses compactly joined. The
form of each nimbus is flat and circular.

Badge of the White Hart. 51

to black, as the length of the feathers increases. ThLir uniform
elevation is also a point of considerable peculiarity. It certainly
contributes materially to give animation to the scene, and is
rarely to be met with in works of art.*

The collars of Broom-cods worn by the angels, from each
of which two distinct pods are pendent, are short and fit close
round the neck, so as to be distinctly independent of the top
of the blue dresses. The White Hart worn by every angel on
the left breast, encroaching slightly upon the sleeve, crouches
uiKjn an oval bed of dark green, and has long golden antlers,
outlined with black, and a gold chajn hanging down from the
crown which encircles the neck. To show the independent
manner in which this badge also was worn, it may be noted in
the angel who kneels with her face in profile and her back to
the spectator, that the mere tips of the antlers appear over her
left slioulder. i\rost of the standing angels are linked la loving
embrace ; the hand of one being passed through the arm of
another, and, in three instances, hands are laid upon shoulders.

• A remarkable instance will bo found in the " Annunciation," an early
Vouotian picture, formerly iu S. Antonio dt Castollo, now in the Accadcmia of
Venice, painted by Lorenzo Vencto, in 1358. It abounds iu rich ornaments.
There the Virgin's robe and nimbus, and even her crown, — a very unusual
emblem ia representations of this subject, — are decorated with considerable
elegance. The wiugs of the Annunciate Angel rise high and bend forward, to
suit the form of the compartment. The picture is engraved iu Rosini's " Storia
della I'ittura," 18-tO, vol. ii. p. Itt. A striking parallel will bo found in the
beautiful figure of St. Michael, standing in full armour, where his upraised
wings fill the heading of a compartment, painted by Angclico da Fiesole, and
engraved in the " Accadcmia dcllo Belle Arti di Firenze," ISI""), Tav. 33.
Another, but of the lOth century, is the magnificent figure of the creating
angel, with the starry firmament under his hands, designed in mosaic l)y
Raphael for the Chigi Chapel, and forming one of a series engraved by the late
Lewis Gruuer. An upraised wing ia also noticeable iu the Diptych at llolyrood
Palace. Soo anle, p. 19.

52 Wilton House rortrait of Richard the Second.

The golden drapery, which envelopes the lower half of the
naked Infant, consists simply of the polished gold surface of
the tablet, with the shading of the folds very artistically
rendered by means of fine dots, giving the granulated appear-
ance of modern engravings in what is known as the stipple
manner. The nimbus of the Madonna is circular, and large in
proportion. It is fluted with finely indented radiating lines,
which give a peculiar richness of effect that could not be
rendered in the facsimile before us.

The nimbus round the head of the Infant Saviour, although
only half the diameter of that of Our Lady, contains some very
remarkable emblems, but expressed merely by dotting in the
polished surface. These in the chromolithograph are indicated
by lines of red paint. They consist of a croAvn of thorns
inwoven to form a guilloche pattern, and following the circular
line of the nimbus, and three limbs of the cross issuing from
the head, but which, having triangular extremities, might also
be taken for further emblems of the Passion, namely, the three
nails of the Crucifixion.* Although the points of the nails,
if such they represent, converge to the head of the Sacred
Infant, there is strong support in favour of such an interpre-
tation, considering that St. Louis of France (died 1270, and
canonized 1297) is represented in one case holding a crown
of thorns encircling three nails, and in another, holding a
crown of thorns in his right hand and a standard of the cross
in his left.f

* The existence of these emblems was first noted iu the "English Con-
noisseur," vol. ii. p. 160. This triple object within the crown has been omitted
iu Hollar's engraving.

t Husenbeth, " Emblems of Saints," 8vo. 1860, p. 103.

External Faintinr/ft. 53

In a remarkable manuscript of this period, now preserved
in the British Museum (Bibl. Reg. 20, B. vi.) entitled
" Epistrc au Roy Richard 2, par un Solitaire des Celestins de
" Piu"is," is a large illuminated page, consisting of the letters
" I. n. s." in burnished gold, surmounted by three crowns, the
central one being the crown of thorns, with drops of blood, on
a black ground, that to the left a French crown on blue, and,
to the right, an English crown on red. Rays of light issue
from the central crown to those on each side. On 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 who kneels and holds in his
left hand a banner, which will be described hereafter.*

It may be remembered that in the description of this
picture when in the jx)ssession of King Charles I. (see ante,
page 8), mention was made of a device "on the outside of the
" door," and there said to be "the arms of Edward the Confessor
" with a red hat and mantle." This imperfect and erroneous
statement is made intelligible by a reference to the back of both
panels of the Diptych, whereon paintings still remain, of
which, although much injured by wear and tear, the subjects
can be sufficiently made out. As it was impossible in the
coloured reproduction to include these curious decorations,
reduced representations of them, from tracings taken by Lord
Pembroke's kind permission, are here inserted. The panels
are of the same size as the pictures on the other sides, and
enclosed also in gilt mouldings, all carved out of tho same
block of wood, only somewhat sliallower.f

• Page 65. f See ante, page 14.

54 Wilton Hoiifie Porlralt of Rldiard the Second.

Hinge.

Hiiigf.

jiiiiw wi;" n;,n;(ii!.,,h,„i,.v '■'" ii«ii: :'-«Bii'" *

External Decoration of the Panel, on reverse of the Madouua
with the Infant Saviour and ans-els.

External Paintings. 55

On the back of the panel containing the Virgin and Child
is a shield of arms, slung obliquely, and over it a helmet
surmounted by a Crowned Lion " passant gardant," * standing
on a chapoau. The central part of this panel is unfortunately
severely injured and almost entirely broken away, not only
exposing the rough ground of plaster and the coarse linen or
hairs used to bind it together, but laying bare the oaken panel
itself. All here is so tangled that the form and construction
of the helmet and lambrequins or mantling can hardly be made
out. The red bole on which the gilding was laid has been
exposed on the surface of the helmet, but some portion of the
"mantling" remains, and retains its original red and white
colours, whence even as far back as 1G39, Vander Doort described
the device as a " red hat and mantle." The " arms of Edward
" the Confessor " are there, it is true, but they only form a
part of the King's arms on the shield, f

It is known that King Richard 11. affected a peculiar vene-
ration for the Confessor. He assumed his arms as his patron,
and when he went to Ireland, l)y a special grace granted
them to his favourite the Earl of Norfolk. This boon in
subsequent times contributed to the tragical end of his de-
scendant, the learned and gallant Earl of Surrey. The King
possessed a ring which lie confided to St. Edward's Shrine
when he was not out of England. Richard was choleric, and
his favourite oath was " By St. Edward." On the shield
before us the arms of Edward the Confessor are impaled with
those of the Kingdom, namely, Quarterly, first and fourth

• " Sandford," p. 2-27.

t Darl's " WcstmiiiPter Abljcy," vol. i. p. 53 ; Stanley's " Memorials,"
p. 149.

Hinge.

External decoration of the panel, on reverse of the King and his patron saints.

A. The white stag (the King's device) painted in thick white colour, shining

like enamel.

B. The stag's horns covered with fine punctures or dots,
c. The coronet of gold covered with fine dots.

n. A golden chain of square links, outlined hlack j mnch injured.

E. Plain gold ground very highly burnished.

F. Dark green bank, with the flag iris flowers rising from it.
0. Fcnis and red berries and blue flowers in foreground.

H. Gold frame, all of one piece of wood with the picture; but of shallower
mouldings than those inside.

External Paintings. 57

senile with Fleurs-de-lis for France, and second and third
three Lions for England, the coat of Edward occupying the
principal place.

Sandford * informs us that King Edward III. was the first
to assume as a crest a Lion passant gardant crowned upon a
chajx^au, which was continued by all succeeding monarchs
down to Edward VL f This arrangement is shown by Sandford
on a seal of Edward IIL when Prince of Wales, where the
arms, helmet, crest, and mantlings are placed between two
feathers. The shield is hung slantwise. The helmet is similar
in shape to that of the tilting helmet of Henry V., still pre-
served in Westminster Abbey.

On the reverse of the panel bearing the kneeling King is
depicted on a large scale, and spreading over most of the
ground, the King's favourite badge, the White Hart lodged. J
The golden chain is composed of square links and hangs down,
being twisted round his bent left leg. He reclines on a bank
of flowers and well-painted bracken. Tall grass and flags of
iris fringe the summit of the bank, and their forms bend gracc-

• Page 157.

t " Saudford,- pp. 125, 157, and 185.

% It has been noted that this badge was taken from the King's mother, Joan
of Kent.' According to the legend, it was derived from the white stag caught
near Bagshot, in Windsor Forest, with the collar round its neck, " Nemo me
" tangal ; Cceiarlt turn." *

Loth the Lion and the Hart, the one a crest and the other a badge, arc sculp-
tured prominently along the string-course which runs round Westminster Ilall.
The Ilart there is usually lodged on a single row of ncbulco with orn.imcntal
foliage, sometimes of oak and sometimes of acorns. The Lion, an a crest,
invariably appears on a helmet.

Stanley's " Memorials," p. ll'X ' " Arcliajologia," vol. xxix. p. U8.

58 Wilton House For trail of llichard the Second.

fully upon the smooth glided surface of the background. The
gilt crown and the antlers are highly finished with puncturing.
The attitude of the animal, it will be observed, is more compact
than in the pounce-work device on the monumental effigy.
It fairly corresponds with those worn as a badge by Richard
and his attendants on the interior of these panels. The Stag
itself is painted opaquely with white colour, as on the small
badges, but the one worn by the kneeling King is peculiarly
brilliant and projecting in surface hke an enamel.

The following observations bear more particularly upon the
technical characteristics of the work as a whole, and indicate
also the actual condition of the picture.

In many parts it has been grievously damaged, but it was
not thought desirable in making the transcript in colours to
reproduce those blemishes. With the exception of the beau-
tiful floriation of the crowns of the two patron saints, and the
girdle of St. Edmund, the copyist has been most faitliful,
and his restorations of parts now wanting in the original are
extremely judicious. It may also be noted that in the Diptych
the Broom-cods composing the collars invariably have the rows
of round peas marked upon them. These have not always
been defined by the copyist.

The background, on the outside of the Diptych, is plain
highly burnished gold, without any diaper pattern. On
this plain ground tlie horns of the Stag, and the Crowned
Lion standing on the helmet, ai-e sufficiently indicated by
mhuite puncturings alone.

Upon a careful examination of the Diptycli, it appears that
the oak was covered with a surface of jjlaster or gesso, and

Technical Observations. 59

then red bole was used, above Avhich every part of the surface
was gilt and highly burnished. On the back, where greater
thickness was required, the gesso appears to have been mixed
up with hair or fibres of linen. The figures on the front sides
of the panel were painted at once upon the gilt surface after
it had been burnished, which is manifest where in several
places the colour has chipjjed off, especially in the white fur
lining to the King's gown, and the lining of St. Edmund's
sleeves.

The ground of the gilding shows consjiicuously across
the waist of St. Edmund, where the blue had been thickly laid
on with a brush and worn off. Even the gold had in some
places disappeared, leaving bare the red bole ground and some
of the puncturings penetrating it.

The heads of the protecting saints are encompassed by fiat
and perfectly plain disks for glories. All three crowns here
introduced, as well as the morse or fibula worn by St. Edmund,
are adorned with round knobs of an opaque enamelled sub-
stance. Some of them have been tinted to represent precious
stones.

The crowns of SS. Edmund and Edward are very deficient
in perspective. The end ornaments, which resemble fleurs-de-lis,
being perfectly flat, they are only distinguished from the gold
ground by a very fine incised outline, and being punctured all
over. The King's crown, like the Broom-cod collar, is thickly
outlined with black.

Tlie imperfect drawing of the ornaments of such crowns is
also to be seen in some fine examples of painted glass in
the church at Lower l-lttiiigton Park, formerly in the great

60 Wilton House Forlmit of Richard the Second.

window of the chapel of Winchester College belonging to the
same period, in which a portrait of either King Richard or one
of his uncles is introduced, wearing similar tufts of hair upon
the chin to those described on p. 46.*

The very rich pattern upon the gown of St. Edward is
expressed by means of a thick layer of pure ultramarine,
applied with a very full and free brush upon the polished
gold surface, leaving the birds and coronets all in bright
gold. The colour stands up in ridges. This is confirmed
by the observations of Mr. Thomas Phillips, R.A., already
referred to.f

The colours ujjon the gown of St. Edward, just across the
waist, have been very much disturbed, and the black girdle has
partly disappeared (see a?ite, pp. 36 and 55), but the end of it,
hanging down and terminated by a " chape " or " crampet," as
seen at the end of the garter in heraldic rej^rescntations, still
remains, and appears in the present reproduction. In Hollar's
engraving there is no imperfection, and it completely encircles
the waist.

In the painting of the flesh, where the colour has flaked off",
and especially in the profile face of the angel and in the King's
hands, a lower bed of pale green, as seen in Umbrian pictures,
may be detected. Beneath these there lie gold, red bole,
white plaster (gesso), and the oak itself. This green ground
is also very perceptible in the beautiful face of the angel with
downcast eyes next to and behind the Madonna.

* See " Lower Ettiiigton, its Manor Iloiise .iiid Church," by Evelyn Philip
Shirley, F.S.A., 1880, p. 49.

f Brltton, " Beauties of Wiltshire," p. 195. See ante, p. 12.

Technical Observations. 61

The cheeks of King Richard are most delicately hatched
in colours, and the Avhole countenance is modelled with
extreme care. It could only have been painted from the life.
His eyebrows arc faintly marked and that by a series of very
fine vermilion strokes, forming altogether one delicate line.

The King's eyes are of a light bluish slate colour ; the
eyeball being finely outlined in black, and the central black
spot being pure black; in fact, a projecting lump of paint.
The eyelids are broad, and not projecting bc5'ond the eyeball.
No eyelashes are visible. The complexions of the patron
saints are very clear ; the red on their checks being a pale
mixture of carmine and vcrmihon. Tlicir lii)S arc of a clear
pale vermilion tint. In the reproduction there is too much of
grey in the middle tints of these countenances.

The flesh tints arc entirely composed of solid opaque
tempera colours, pinkish and grey, minutely hatched. The
hair on all the male figures is marked with crisp wavy Imes
of brown and reddish burnt-sienna colour.

On looking carefully at the panels, it appears that their
gilded surface is thickly covered with minute horizontal cracks,
even over the figures of the Madonna and the angels. This has
led to a trifling misapprehension on the part of the faithful
copyist whilst preparing the picture for publication. The
beautiful angel kneeling at the side of the Madonna and look-
ing up to the Infant Saviour, is made to appear as if display-
ing the teeth. This is in reality the result of a mere accident :
a crack in the paint passing through the line of the mouth,
and breaking it away in the centre, has exposed the white plaster
so as to give that appearance.

62 Wilton House Portrait of Richard the Second.

The King's gown does not appear quite such a positive red
in the picture itself. This is owing to the deep and shiny holes
punctured on the gold stags and the Broom-cods, which catch the
light and, making a white glitter, produce a brilliant effect. In
the chromolithograph, where everything is produced by printing
alone, the red looks comparatively heavy and the gold appears
dull. The faces of the two angels, one holding the banner
and the other kneeling below, arc modelled with greenish
middle-tints quite in accordance with the Sicnese School; so
likewise, the one Avith downcast eyes next to the nimbus of
the Virgin.

The right arm of St. John and the right hand of St.
Edward are thickly outlined with a sharp dark madder. The
fingers of the hand holding the ring are most exquisitely
outlined and modelled, with very pale vermilion colour for
high lights.

The King's hair is yellow, shaded with reddish burnt-siena
lines. There is a subtle and fine outline in maddcry red to
his profile, which is partly lost in the shading of St. John's
yellow-brown hair shirt.

The earthly surface on which these figures stand is plain
rock of an opaque yellow ochre and brown tint. In the opposite
compartment, no foot is visible below, and the figures are aU
placed upon a verdant meadow thickly sown with asphodel
and celestial flowers.* Although the scene may be regarded
as a vision and the company the heavenly host, no cloud is
introduced.

* These flowers appear also behind the figure of the Virgin, so as to mark
the distance at which the heavenly attendants stand from her.

Prohahle Date of the FainliiKj. 03

The eyeballs of tlic Inl'aiit Saviour are of a blaty-grey
colour, outlined with black, aiul with a black central spot.
The white of the eyes is a pure flat colour. The eyebrows are
not at all indicated. The eye of the Madonna is drawn with
Uds of a peculiar curve, as shown in the woodcut on page 4G.

It is extremely desirable to ascertain the precise date and
purport of this picture, but in the total absence of any numerals
or inscription upon it, we are restricted entirely to inference and
conjecture. Indeed, it is only by means of the shield of arms,
the apparent age of the King, and details of costume, that we
can hope to obtain any guidance at all even as to the person
represented. The arms on the shield clearly indicate the
monarch to be Richard II., and the absence therefrom of any
sign of Queen Anne of Bohemia proves that it was painted
before 1382, the year of his marriage. When married, he bore
on his shield, in three divisions, the arms of (1) St. Edward
the Confessor, (2) England and France quarterly, and (3)
Roman Empire and Bohemia quarterly.* I\Iorcovcr, con-
sidering the strong affection which Richard is known to
have entertained to his young bride, as well as the ordinary
manner of treating devotional subjects, it is highly improbable
that, had he then been married, the figure of the Queen would
not have appeared. The face, again, of the King, entirely
Avithout hair, exhibits extreme youth, if not boyishness. The
crown which encircles his head shows, however, that he had
attained sovereignty, and he ascended the throne on June 21st,
1.577, when only in his twelfth year.

It should be borne in mind that it is the natur.il tendency
• Willement, " Uegal Ileraldry," 18'J1, p. 2i.

G4 Wilton House Portrait of Richard the Second.

of artists, when depicting the portraits of very young persons
in a public position, to bring them nearer to maturity ; the very
reverse of the usual form of flattery, where the apparent weight
of years has to be lessened. All royal portraits especially, even
down to modern times, are subject to this rule. The King
therefore, making all due allowance, may be assumed to be
about fifteen years of age, and this would concur with the
year 1381, a period full of political events, preceding the
commencement of the young monarch's selfish and unhappy
line of action.

The form of the helmet over the shield on the outside, so
far as can be made out from the broken condition of the
surface, corresponds exactly with one formerly in the Meyrick
Collection, belonging to the reign of Edwai'd III, The
" ocularium " is no longer a slit cut in the metal itself,
but formed by an opening left between the upper and lower
portion.*

With the exception of the large gold ring, outlined in
black, with an embossed black stone, held by the Confessor,
no instance of finger ornamentation appears in the picture.
The hands of the King are raised, but not folded in prayer.
Ilis countenance betokens expectancy, and the widespread
action of the fingers implies readiness or a preparation to
receive something. This, to judge from its position, would
be the white banner with a red cross upon it which streams
from a lofty pole, bounded by two large knobs of the same
colour as the staff. From the earnest manner in which two of
the angels look upwards, and from the significant motion of the
* Planche's " Encyclopoedia of Costume," 187C, p. 282, plate xi.

The Red Cross Banner. G5

Saviour's right liand, it Avould appear that in this banner there
centres some particular interest.

White and red are known to have been the colours assumed
b}' Richard II. as his livery, and they were consequently
much worn by courtiers during his reign.*

Tlie red cross upon a white ground might be regarded ns
the cross of St. George, who, strangely enough, is not here
among the patron saints of the King. In the series of
portraits of Edward III. and his fomily on the east wall of
St. Stephen's Chapel {ante^ p. 21), St. George appeared as the
special intercessor, and ushered the King into the Divine
Presence. But the red cross on a banner, when borne by the
Lamb of God, is also the sign of Redemption, and not uafre-
quently appears in Italian art in pictures of the Resurrection.
In the very beautiful manuscript, formerly in the Royal Col-
lection, and now in the British Museum ("Bibl. Reg." 20, B
vi.), entitled "Epistre au Roy Richard II. par un Solitaire
" des Celestins de Paris," f already referred to, is a delicately
finished representation of Richard on his throne, receiving the
book from the author, who kneels, holding at the same time
a white flag with a long white staff to it, bordered with red,
and having on it a red cross charged with the Lamb of God
bearing a small flag. The workmanship is beautiful, and the
colours delicate and clear. J

The year 1381, the date, it may be assumed, of this picture,

• Plaudit's '' British Costume," ISOl, p. lo2, note.

f The ot)ject of this letter was the confirmation of peace between the Kings
of England and France.

X This illumination has been carefully engraved by Joseph Strut t in his
"Regal and Ecclesiastical Antiquities," riato XIX. Sec ante, p. 53.

6G Wilton House For trait of Ridiard the Second.

was very memorable in the history of our country, es[3ecially
for the general outbreak of discontent, resulting chiefly from
over- taxation, and for the Kentish insurrection headed by John
Ball and Wat Tyler. Abroad, the effects of the Papal schism,
which had commenced in 1378, were severely felt throughout
Christendom, but especially in Flanders and the Kingdom of
Naples. On the death of Gregory XI. two popes were
simultaneously elected to succeed him: Urban VI., a Nea-
politan, at Rome, and Clement VII., a Frenchman, at
Avignon. The principal nations of Europe were divided at
once into two factions, either supporting the one or the
other. England, Flanders, and Germany espoused the cause
of Urban;* whilst France, Scotland, Spain, and Sicily were
for Clement. An English force led by Spenser, the martial
bishop of Norwich, was despatched to succour the Flemings,
wlio were in arms against their rulers, then leagued with France,
as in former years they had been instigated to a similar rising
by James van Artevelde. At this period Philip van Artevelde,
his son and successor, was rising into that short, brilliant, and
romantic tenure of power which forms one of the most interesting
episodes in history, and ended in the sanguinary battle of Rose-
becque, when the Flemings Avcre totally defeated by Charles
VI. Within the same year Charles of Durazzo became master
of the throne of Naples, after cruelly murdering Queen Johanna,
who had recently professed submission to the Italian pontifF.f

* By the Parliament held at Gloucester in October, 1378, Urban VI. was
recognized as Pope, and persons adhering to his rival (Clement VII.) sentenced
to lose the King's protection and forfeit their goods.

t Milman, " Latin Christianity," vol. vi. p. 19. Barante, " Dues de Bour-
" gogne," 1842, vol. i. p. 129.

Papal Schism, \.\h 1378. 67

When the Kuiitish rebels were advancing upon London, and
halted at Blackhcath, the King proceeded in his barge as far as
Kothcrhithc, and found them drawn up in gi'eat numbers along
the shore, carr}ing two banners of St. George and many
peimons.*

Again, when the King met tlieni at ^lile End Green, he
ordered in sign of agreeing to their terms one of his bainiers to
be given to those reiiresenting each county, and promised them
also letters scaled with his own seal. But after tlie death
of Wat Tyler at the Smithfield meeting, and when well sur-
rounded by his own supporters in the open fields, the King
directed them to surrender their banners, and to give buck
such letters as they had received.

During the excitement of the expedition to Flanders
led by Spenser, bishop of Xorwich, the London apprentices
mounted white cloaks with red crosses on their shoulders,
and had red scabbards to their swords, f John Philpot,
the Lord Mayor of London (1378), provided nieuiis for
the expedition, and kept ships to give these volunteers free
passage.

The Pontiff of Rome at this period promulgated a crusade
against the Pontiff of Avignon, and the bishops and the clergy
were called on by their archbishops to enforce upon their flocks
the duty of contribution to tliis sacred purpose. The same
indulgences were granted to Crusaders in this expedition as to
the Holy Land. It may possibly be that the introduction of

• Froissart (Jolmcs), chapter Ixxvi. p. iJiW. Ibkl. p. iIiM', " I'ictorial History
of Eiiglaud," vol. i. p. 786.

t Milmaii, "Latin Christianity," vol. vi. pp. 133-t.

68 Wilton House PorlraU of Richard the Second.

the banner in this picture had some reference to the part which
the young King Avas required to take in the conflict, and perhaps
to justify his determination to favour the expedition. There is
in the picture a pecuHarity in the gesture of the Madonna.
She holds the right foot of the Divine Infant with her naked
hand, between the thumb and forefinger, displaying the sole in
an apparently significant manner.*

At an earlier period, in 1363, strenuous efforts had been
made by Peter Lusignan, King of Cyprus, to induce the
Kings of France and England to conduct a crusade to the
Holy Land. He in person visited England, after having, at
Avignon, received the fullest support and encouragement from
the Pontiff, Urban V., who preached in its behalf. The
pages of Froissart contain precise accounts of the manner of
putting on the red cross. King Edward III., when the
appeal was made to him, replied that he was too old, but
would leave it to his children. At the departure of the King
of Cyprus, King Edward gave him a noble ship called the
" Catherine," which he had already had built to make a
voyage to Jerusalem (chaj^ters ccxvii. and ccxviii., pp.
303, 306). It is therefore possible that the object Avith which

* It may be noticed tbat the view of tlio Saviour's feet accords exactly
with tbat of the Infant Christ, who is there perfectly uudc, in the small
circular picture by Raphael which was formerly at Perugia, now at St. Peters-
burg (the Staffa Madonna), where the Child held in the Virgin's arms is turning
over the loaves of a book. Although the sole of the child's foot is in precisely
the same point of view, the hand of the Madonna is moved further back, so as
to support the limb itself. Another instance of the right foot of the Infant
Saviour resting directly in the hand of the IMadonna will be found in the votive
picture by Christoforo da Bologna, 1380, already referred to. (D'Agincourt.
pi. els.)

Inci lenient to lead a Crusade. 69

this diptych was designed -was merely a repetition of the
former feeling, and may have been actually intended to incite
the young King to promote some holy expedition. The
emblems already pointed out in the nimbus of the Holy
Infant, favour this view.

As it is always interesting to trace a connection between
the external appearance of an individual and the temperament
and disposition evinced by his actions, we may avail ourselves
of the opportunity afforded by this picture to examine the
personal traits of the unfortunate monarch, and to compare
them with the historical events at that time moving round
him. Richard, in June, 1381, was liftecn years and two
months old, and the countenance before us is that of a boy
of corresponding age.

We therefore see the youthfid monarch at the opening
jKjriod of his life, when his better qualities were beginning to
develop themselves, and before they were so unhappily im-
paired and negatived by bad precept and a neglected education.
In early life Richard appears to have been equally active,
intelligent, and intrepid. Read}' tact seems to have been
implanted in his nature, although it partook of cunning, and
sometimes degenerated into deceit. This was apparent on the
occasion of his retractation of his promises on dismissing the
insurgents after he had conciliated them.

The following brief recapitulation of the momentous events
which were concentrated within the short space of less than a
week, and in which tlic King appeared to so great advantage,
will perhaps tend best to elucidate his cliaraeter. Had the
King persevered in the i)romising course which lie then struck

70 Wilton House Portrait of Richard the Second.

out, and not lapsed into indolence and wayward selfishness, his
career might have been a brilUant one, and the whole current
of our national history altered. The period of these events
coincides with the apparent period of the picture. Piety seems
to have had a large share in the King's disposition, and his
devotion to Edward tlie Confessor, and consequent preference of
Westminster Abbey to St. Paul's in the moment of severest
trial, arc also characteristic indications of his temperament.

The approach of the rebels must have struck dismay into his
youthful heart, and especially when, apparently secure within
the recesses of the Tower, and surrounded by his courtiers and
friends, he was joined by his mother, Johanna, the Princess of
AVales, once the Fair Maid of Kent, who had been overtaken and
insulted, on her way back from a pilgrimage to Canterbury, by
the rabble then hurrying forward to the metropolis, and who
soon after estabhshed their head-quarters at Blackhcath.* A
gallant knight, Sir John de Newton, Constable of Rochester
Castle, arrived as an unwilUng messenger from the insurgents,
requesting the King in person to confer with them at Black-
heath. To this the King acceded, and on the following day,f
after having heard mass in the Tower Chapel, entered his
barge and rowed towards Rotherhithe. But the violence
and threats of the people assembled on the shores made it
unsafe to land, and accordingly the monarch returned at
once to the Tower. Being thus defeated of their object,
the rebels proceeded to London with great fury, and, forcing
London Bridge, destroyed the Palace of the Savoy, breaking
open the houses of the wealthy, and slaying the unguarded
• Froissart, p. 655. f Holy Thursday, 13th June, 1381.

London (hiriiif/ the Insurrection q/" 1381. 71

iiihabitaiits, e'spccially llic ricmiugs. The greater part ol"
the insurgents established themselves round the Tower in St.
Catherine's Square, and threatened to break into the King's
presence and to slay all around hini. I^ichard, liowcver,
with much policy and coolness, consented to hold a conference
with them at ^lile End, then an open meadow and frequently
resorted to for public recreation. On Friday, June 14th,
accordingly, after having heai'd mass, the King sallied forth to
keep his word, but before the drawbridge, by which the royal
equipage had issued, could be raised again, the rebels, for
many of them had remained behind, rushed in and spread
devastation everywhere. The Archbishop of Canterbury,
Simon of Sudbury, who had just officiated in the King's
presence, was murdered.* The Princess of Wales was so
terrified by the presence of these wretches in her own ajmrt-
ment that she was caiTied in a state of insensibility by
her servants and ladies to the river-side. Thence she was
conveyed in a covered boat to a ro}al establishment called
the "Wardrobe," in Barnard's Castle Ward, between St. Paul's
and the river. Meanwhile, the King had succeeded in pacify-
ing those who had atteiidt'd him to Mile End, and, instead
of returning to the Tower, where the utmost conliision pre-
vailed, he at once proceeded to the Wardrobe,t and exerted
himself to the utmost to pacify his mother, who seemed beyond
recovery from the fright she had received.

On the Saturday morning, the King, although so near to

• Hook's " Archbishops," ISC", vol. iv. p. :ilii, and Oilman's " Anuals of St.
" Paul's," 18C8, p. 73.
t Froissart, p. CGl.

72 Wilton House rortrail of Bichard the Second.

St. Paul's, left the Wardrobe and went direct to Westminster,
where he and all the lords heard mass in the Abbey. He next
resorted to the hermit who dwelt within the precincts ad-
joining to St. Margaret's Church,* and there confessed himself.
Ricliard afterwards visited the shrine of Our Lady in the
Pew, where, in a small oratory f connected with St. Stephen's
Chapel, there was a statue of Our Lady reputed to possess
many virtues and to have worked miracles, in which the
Kings of England were said by Froissart to have had much
faith.

Richard, having performed his devotions and made his
offerings, mounted his horse about nine o'clock, J as did the
barons who were with him, and set forth on his gallant
adventure to Smithfield, where his presence entirely sup-
pressed the rebellion. II

There remains only to be considered the question of the
nationality of the painter of this Diptych, and that is an
interesting but extremely difficult point to determine.

Both Dr. Waagen and J. D. Passavant, see ante., page 13,
accepted the workmanship as Italian, whilst, when seen in 1857
at the great Manchester Exhibition, it was considered by many
to be a genuine early English production.

]\Irs. Jameson, and ^Ir. W. Ilookham Caiijcnter, the late
learned keeper of prints and drawings in the British Museum,
were the first to suggest the idea of a Bohemian origin for it.

•OQ^"" """ ""•"" "' " ^v.^^.^..... ^».Q»

* Stanley's " Memorials," p. 410 ; Stowo's " Chronicle," p. 284, edition 1631,
p. 28S.

f Froissart, chap. Ixxvi. p. CGI. % Froissart, p. CCl.

II Stanley, " Memorials," p. 410.

Xational Cltaracterlstics in Painting. 73

This theory wus giouuclod on the cukivatctl taste ut' the
Emperor Charles IV. (of Bolicmm), 1318-1378, and liis foster-
ing patronage of art.

This opinion has l)cen powerfully strengthened by the
views of Mr. A. W. Franks, of the British Museum, and of
Mr. J. C. Robinson, Surveyor of the Queen's Pictures, both
of whom are eminent judges, and practically acquainted from
personal observation with productions of art existing at
Prague, Karlstein, and other localities in Bohemia. Not
having myself had the advantage of studying these interesting
examples, T am unable to judge decidedly of their peculiarities
of style.

But, if the following description of a series of paintings
at Karlstein attributed to Dietrich of Prague be correct, they
possess little in common with the Diptych before us.*

" The foi'ms are somewhat broad and ungraceful, and in the
" over-large noses with their broad ridges may be recognized
" a native Bohemian peculiarity. The female heads, on the
" other hand, are of nobler and of more refined forms. The
" wide-open eyes are characteristic of the Bohemian School."

Dr. Waagen, however, discerns in these paintings an affinity
with portions of an altarpiecc at Prague, dated 1375, in which
the portraits possess surprising individuality. The altarpicce
includes a representation of the A'irgiii and Ciiild adored by
the Emperor Charles 1 \ . and his son AVenccslaus, and attended
by various saints.

The position which Bolieniiaii art occupied during the

• Dr. Waagon's '' Handbook of German, Flemish, and Dutch Schools," 1860,
vol. i. p. '10.

74 Wilton House Portrait of Ricliard the Second.

latter half of the fourteenth century is succinctly described by
Lord Lindsay * in the following passage : —

" Two distinct revivals took place at the eastern and western
" extremities of Europe, at Prague and at Cologne, — the
" former fleeting and ephemeral, the latter permanent and
" enduring in its influence and ramifications to the present
" daj'. I almost hesitate, indeed, in terming the former a
" revival, dependent as it was on the association of various
" artists from various parts of Europe, under the patronage of
" the Emperor Charles lY., after whose death the momentary
" flame sank down and expired. Tomaso of Modenaf was pro-
" bably the eldest of these artists ; sprung apparently from
" the long lingering Eoman School of Lombardy, he had
" acquired something of the manner of Giotto." Contemporary
with Wurmser of Strasburg, and Dietrich of Prague, " or
" perhaps a little later, and amply atoning for their demerits,
" we may recognize a purely semi-Byzantine movement, akin
" to that of the Guidos, Gaddo Gaddis, and Ugollnos of Tus-
" cany, and the painters of the Baptistery at Parma, in the head
" of our Saviom' preserved in the Cathedral, and the mosaic of
" the ' Last Judgment ' on the exterior wall of the chapel of
" S. Wenceslaus — Avorks, especially the former, of exceeding
" beauty, and in their peculiar style scarcely excelled even in
" Italy. The mosaic was executed in 1371 for the Emperor
" Charles."

Charles IV., elected Emperor in 1346, it may be remem-

* " Sketches of the History of Christian Art," 1847, vol. iii. p. 27C.
t D'Agincourt, pi. 133. Vienna Gallery Catalogue, by A. KrafiTt, 1845,
p. 189.

Eurlij artistic proficiency of England. 75

bered, was the sou of Joliii, the Lluid old King oi' lioheinia,
who sided with France and perished valiantly in the thickest
of the fight at Crccy, whilst Charles, wlio had followed his
fatlicr to the field, fled ignominiously from the conflict. lu
the following year Charles succeeded Louis V., the Bavarian,
as Emperor of Germany.* During many years in his father's
lifetime he had resided in Paris, and was entirely under the
influence of France and the Papacy. He gave extensive em-
ployment to miniature illuminators, and must have summoned
French painters to Prague, or Bohemian painters to Paris.f

That England during the thirteenth and fourteenth
centuries possessed an independent school of art, and afibrded
extensive employment to artists, is conclusively shown by the
records preserved in our Exchequer accounts of sums paid, and
of the services rendered for them. A few of these records are
noted in the brief chronological tables at the conclusion of these
pages.

A just view of the condition of art, as practised in England
at this period, and its relations with other countries, is given as
follows by Sir Charles Eastlake : J —

" It is evident that, with the exception of such modifications
" in technical processes as the difference of climate required,
" the habits of the English painters in the fourteenth century
" closely resembled those of the followers of Giotto. This is
" easily explained by the bond of union wlxich existed between
" religious establishments, the members of which were chiefly
" active in collecting and commiuiicating inibrmalion on prac-

• Muiizul, " History of Germany," p. 127. f Wuagen, p. 42.

* " Materials for a Uistory of Oil Taiutiug," 18i7, p. 125.

76 Wilton House Portrait of Richard the Second.

"tical points. In all that belonged to the higher elements
" of art, in all that the dull descriptions of the monks could
" not convey, the Italians, during this period, commonly sur-
" passed their transalpine rivals ; but in mechanical details
" they -ncre indebted, in their turn, to the artists of the
" North."

England had naturally, both from its geographical position
and through family alliances, intimate relations with France
and Flanders. Commercial interests with the latter had been
greatly strengthened by the marriage of Philippa of Hainault
to Edward III. AVhcn the French king, after the battle of
Poictiers, was a prisoner in England, he retained French artists
about him, especially Girard d'Orleans,* who has been already
named (ante, page 23). The young Prince Philip, who for a
while shared his father's captivity, and afterAvards became Phihp
the Hardy, Duke of Burgundy, sent in later times rich presents
of books and pictures to the king and rojal princes of England.
He was scarcely fifteen years of age when he fought at the side
of his father, King John of France, at the battle of Poictiers.
Those illustrious captives, with many other foreigners of rank,
saw the chapel of St. Stephen in its finished state, and at that
period could imbibe a love for art in England.f

At a similar early period in Flanders, under the benign in-
fluence of the Count Louis de Male, both sculptors and jjainters
were making considerable progress. All mention of painting in
those days was connected with sculpture, as we observe that in

* Les dues de Bourgogne, par le Conitc de Labovde. Paris, 1852, vol. iii.
]). 460.

t Eastlake's " Materials," p. 122, note.

Excellence of Earl i/ Flemish Fai titers. 77

payments made to Jclian Costc in 135.3 the usf ol' paint was
confined to colouring and gilding statuary.* In 1378 Jean de
Ilasselt was employed as " Paintre de M.S " (mon seigneur) at
the Court of Louis de Male, and even after the decease of Louis
in 1386 and the consequent subjection of Flanders to the rule of
Burgundy, wc find Ilasselt executing various works for Philip
the Hardy. Philip, it is known, took constant pleasure in mak-
ing presents of gold and silver images, pictures, diamonds, and
pearls to friends and relatives and even to foes. To the Duke
of Lancaster he gave " the History of Clovis ; " to the Duke of
Gloucester " the Story of the Virgin." He presented to the King
of England a splendid book containing a picture of St. George,
and to the Duke of Gloucester an image of St. Anthony.

In 1383 Philip the Hardy founded a Carthusian convent
near Dijon, and placed in it two great shrines or altarpieces
painted and decorated by Jean Malouel and Melchior Broeder-
lain. The latter was a Fleming born, and held the office of
" Yarlet de chambrc ct paintre de M. S. le Due de Bourgogne."
The shrmes by Broederlain were completed in 13*J8, and
are now treasured in the Museum at Dijon. These Avorks,
especially the paintings representing the " Annunciation," the
" Presentation," and the " Flight," display powers of a high
order with great refinement of action and well-devised draperies.
They are pale in colour, and in delicacy of tone resemble the
picture by Mcister Stephan in Cologne Cathedral. f

But it is in the pictorial decoration of mniiuscripts, many

• Crowe and Cavalcascllo, '-Early FlemiHli I'nii iters,"' 1807, pp. il, 10, 12,
and 13.

t " Early Flemish Paiutcrs," p. lo, aud EiisUakc's ".Materials,'" p 1"2l'.

78 Wilton House Forlrait of Richard (he Second.

of them extremely well preserved, that the superior merits of
these schools can be most fairly tested. Many of these, if not
native English productions, are of Flemish or French origin in-
tended for England. In the possession of the Dean and Chapter
of Westminster is a small folio volume known as the " Liber
" Rcgalis," which was presented by the King to Westminster
Abbey, containing a few very highly finished illuminations of
royal personages. The volume relates to the ceremonial of the
coronation, and contains two subjects of a King and a Queen
being crowned separately ; a thii'd picture represents the
coronation of a King and Queen together. The gestures of the
figures are distorted and extravagant. The King and Queen arc
dressed entirely in blue lined with white. The predominance
of blue* in contact with gold, and the strong deep shadows on
the faces, show much affinity to the Wilton House Diptych. The
background is a brilliant surface of highly burnished gold,
minutely punctured with dotted lines, forming a graceful
pattern of flowing curves and drooping branches. It is
remarkable that a dotted line is carried aU round the figures,
so as to repeat their outline on the polished ground.

There is also in the Library of Westminster Abbey a large
and magnificent service-book, known as " Abbot LitUngton's
"Missal." It was presented in 1374 by Nicholas Litlington,
who was Abbot from 1362 to 1386. The figure illuminations
are inferior to the ornamental work on the same pages, and
there is not the same preponderance of blue.

In the British Museum is a Prayer Book of Margaret of

* Sir Charles Eastlakc, ou pp. 121, 122, aud 128, explains the different quali-
ties of blue pigments, and refers to the " London practice."

lUumlnated Manuscripts of the \Ath Century. 79

Bavaria, married in 1385 to John Sans Peiu\ son ol" l*liilip tlic
Hardy, wliich contains many beautiful miniatures by Nether-
landish hands, and was probably executed for Philip at the
time. It is numbered " Ilarleian, 2,897." The figures are very
delicate, with clear complexions and greenish shadows to the
faces. The sky, as seen beyond mountains and trees and
towers, is elaborately diapered. The figure of the Virgin, in
the subject of the " Ascension," wears a blue hood, and her
nimbus is flat, round, and radiated. The blue dresses are
shaded with blue (ultramai'ine) in the same manner as in the
Wilton House Diptych, and the folds of the drapery are large
and well-disposed.

The " Grandisou " Book of Hours, also in the British
Museum, marked " Bibl. Keg. A. xviii.," contains a Madonna
attired in blue, with long chestnut-brown hair under a blue
hood, as in the Diptych. The costumes of the kneeling figures
below are of the period of Richard 11.

The under-tint of light green, which pervades most of the
miniature illuminations above mentioned, appears especially in
works of the Sienese Scliool, and is conspicuous in the
paintings of Simone Memmi. This peculiarity seems to have
become traditional in all Sienese and Umbrian art.

The preponderance of blue in the draperies produces " the
" same unearthly impression of heavenly glory and peace that
" thrills us in the paintings of Fra Angclico."*

A finely-illuminated vohuuc in the British Museum, a
Psalter marked " Arundel, 83," attributable to the beginning

• Lord Lindsay's " Cliriptian Art," vol. iii. pp. 19 and 59.

80 Mil Ion House Portrait of lilchanl the Second.

of the fourteenth century, is of especial value, as tlic paintings
appear to be purely English. In the group of the Virgin and
Child, occupying a large page in this Psalter, the draperies
are well arranged, and the drawing of the Child's feet, one
displaying the sole, very remarkable.

In a Flemish manuscript of the " Biblia Pauperum,"
marked "Royal, No. 5," in the same collection, belonging to
the end of the fourteenth century (circa 1400), arc admirably
executed miniatures in delicate and refined colours with rich
gilding. The faces have greenish middle tints, with brown and
madder-red shadows. The backgrounds are of a plain burnished
gold, and the gold crowns upon them expressed in black out-
line, as seen m the Wilton House Diptych. The colours of
garments are opaquely painted in pale and very harmonious
colours ; the folds being shaded with transparent self-same
colours.*

English paintings on a larger scale, of the middle of the
fourteenth century, may still be seen, but unfortunately in a
very fragmentary condition, on the walls of the Chapter House
at Westminster, and these, on the authority of Sir Charles
Eastlake, " may be classed among the most interesting speci-
" mens of transalpine art extant of that period. The general
" character of the colouring in these paintings resembles that
" of the time ; but the local tints are forcible, and the execu-
" tion is not without a feeling for roundness." f

On turning to the painting of the Diptych of Pichard II.,
it seems to be an extraordinary anticipation of the style and

* Anie, pp. 59 and 64, and pos^ p. 82, note. f Eastlake, " 3Iatei-ials," p. 123.

A ForeshadowuKj of Angel ico da Fiesole. 81

peculiarities of Angelico da Ficsolo, who was born ten years
after the King's 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,
bearing in mind tlie turn of historical events, no reason could
be alleged for such ;i work being undertaken in the following
reign. The pure blues and the dressing of the hair of the
angels are quite in the Italian style; but the oaken panel on
which the Diptych is painted, a wood rarely employed for such
purposes in Italy, might well favour the supposition of the
work having been executed in this country.

The modelling of the heads and hands in this picture is
produced entirely by fine delicate Hues, known in l^iiglish as
hatchbtfj^ and called in Italy " tratteggiarc," in which the tem-
pera colours arc manii)ulated with egg vehicle. This method
was almost always employed by the Italians for altar pictures,
painted in tempera on wood. The productions of the older
Rhenish painters, on the contrarj', including the work of Meister
Stephan in the Cathedral of Cologne, are softened and rounded,
with scarcely any appearance of hatching. The latter works
were also executed in tempera, l)Ut with a vehicle tliat did
not dry rapidly, and allowed time i'or blending the colours
at will.*

The manner of dressing the hair of the angels has already
been noticed, <uit(\ page 50. It is similar to that adopted
subsequently by Angelico da Fiesole, excepting that in the
latter the hair is gathered into curls over the forehead, wliilst

• Eastlakc, " Materials," p. 102, 103.
L

82 Wilton House Portrait of Richard the Second.

in the Diptych, the ample forehead is iii every instance left
bare. Xo locks apjx;ar under the wreath across the brow,
and the broad bands, where folded back behind the ears,
are rather massive, and evidently in accordance with some
fashion then in vogue. The blue fillets which bind these
tresses behind the ears appear very conspicuously in a picture
in the Xational Gallery of the " Coronation of the Virgin "
(No. 560), painted about the year 1330, and attributed to the
school of Giotto.*

The hair of the male figures' on the left tablet, although
composed of curls, is gathered into compact masses below the
ears. The angels, especially those beneath the red-cross
banner, have long curls or tresses, lightly floating in separate
lengths in the air. This gives animation to the scene, and is
rarely to be met with in Rhenish or even Italian art of this
period. An approach to this fulness of curls will be found in
the Annunciate angel in the altarpicce by Melchior Croederlain
in the Museum of Dijon. f

But the distinctness with which each tress of these angels
in the Diptych stands apart is very noticeable. In the works
of Wilhelm of Cologne, and Stephen Lothener, Ave do not pei*-
ceive anything of the kind. The hair generally in the Rhenish
pictures is long and combed straight down, so as to cover the
shoulders. There is an English character about many of the

* In this picture the gilt flagons held by the angels are distinguished from
the gold ground by a sharp black outline, which is also observable in the
crowns, mitres, and crosiers in Fiesole's ■' Christ with the banner of Redemption,
" surrounded by the Blessed," No. 663 of the same collection. See ante, pp. 59
and C4.

t Crowe and Cavalcaselle, " Flemish Tainters," Second Edition, 1872, p. 24.

Enfjlish Characteristics. 83

faces in this Wilton House Dii)tycli, especiiilly in the patron
saints. Two of the angels, with downcast eyes, arc very
lovely. They stand one on each side of the ^fadonna, and arc
partly hidden by her nimbus.

The profile of the angel kneeling in front is remarkable
both for animated expression and for the delicate shadow in
Avhich the features are suffused. There is no approach in the
form of the eyes to the long almond-shaped slits, so observable
in the figures of Sinionc Memmi and of the school of Giotto,
nor is there any sleepiness or languor of expression. The
eyeballs of the male figures are distinctly formed, and although
the white of the eyes is of a delicate creamy colour, all appear-
ance of staring is avoided.

The head of the Infant Saviour exhibits several peculiarities.
The countenance can hardly be said to be an engaging one,
and the hair is remarkably close-cropped, thereby differing
from all similar representations of the early Flemish and Italian
schools. The eyebrows are entirely wanting, but the ear is
carefully modelled. The rich gilding upon the crowns and
embroideries displayed in this diptych shows affinity to the
eai'ly productions of Ital}'. Jn the Flemish and Rhenish pic-
tures golden ornaments, crowns, and embroideries ai"e generally
represented by pigments only.

In this picture, as in the language of England, the influence
of various nations may be detected ; but my strong impression
is that, whatever hands were employed upon it, the Diptych
was produced in England, and devised ilir a purfjose affecting
the King's religious movements. At that i)crio(l the King had
not sought alliance with r>u!ieniia, and his most frequent inter-

84 Wilton House For trail of Richard the Second.

course tlicn was with the French monarch and his brother,
already the reigning Duke of Burgundy. English manuscripts
show that art flourished independently in England, and was
extensively employed ; and we also find sculpture as well as
painting maintaining, under the patronage of Philip the Hardy,
a high degree of excellence, both in imagination, Ibrni, beauty
of colouring, and richness of gilding. The illuminated manu-
scripts belonging to this school preserved ua the British ]\Iuscum
fully confirm these views.

The general tabic of the leading artistic events, compared
with the most sahent points of English History, placed at the
end of these pages, will, it is hoped, suffice to show the position
in artistic refinement held by England at an early period.

I would not omit to record my very high appreciation of the
extreme accuracy and wonderful minuteness of the water-
colour copy made by Hcrr Kaiser for the purpose of this repro-
duction. Such particulars as I have had occasion to point out
in the chromolithograph were entirely the result of blurrings,
through accidental damage to the original, and the impossibility
of representing certain colours, and a particular kind of tooUng
on the polished gold, by means of the flat process of printing.
But, having held a finished proof of the chromolithograph by
the side of the original, I found that their general appearance
was identical.

I cannot conclude these long and, I fear, somewhat diffuse
notes, without expressing my thanks to Lord and Lady Pem-
broke for the abundant facilities which I enjoyed for examining
this valued relic of our early history, and for the interest
which they manifested in the progress of my investigation.

Conclusion. 85

My warm uckiiowlt'dgincnts arc due to two valued friends
of long standing, Mr. Frederick W. lUirton, IMI.A., F.S.A.,
director of the National Gallery, and Mr. Augustus W. Franks,
F.R.S., of the Firitish Museum, and also to my learned friend
I)r. AVilliani Bode, of the Royal Museum at Berlin, for readily
imparted information and for many valuable suggestions,

Nallvttal Furtrali Gallery,

2iul Novemlcr, 1882.

Since the above text was in t}pe, I have been favoured by
Mr. Franks with the following memorandum : — " Accordiner
" to the well-known Herald Pietra Santa (Tesserae Gentilitiae,
" fol. Roma, 1G38), there existed in his time in the English
" College at Rome a tabula on which were figures of Richard
" II. and Anne of Bohemia kneeling in heraldic dresses, and
" oflering to the B. Virgin the island of Britain, St. John
" assisting, with the inscrii»tion, ' Dos tua Virgo pia haec est:
" quarc regc Maria.' Slight engravings of the King and
" Queen and of their shields of arms are given in the work
"above quoted, pp. G77, 078. It would be very desirable to
"ascertain if this painting is still in existence. It is, of course,
" of a later date tlian that under consideratiun, Init it must
" have been paint-jd before the death of Anne, in 1391."

G. S.

CHRONOLOGICAL SKETCH OF SALIENT EVENTS IX

ART AND HISTORY.

Tbassai.pine Aut.

English
History.

Itai.iax Art.

Henry IH.'s

Accession, 1216

Walter (Ic Colchester ....

1-219

Giunta Pisano. (Born 1202; died

Date of p.iiiitings at Woodstock
Palace

1232

1-258.)
Guido da Siena, painting, 1221.

Otho the Goldsmith at work at

Westminster

12.') J

Tablets of the Crucifixion and a

"^lajosty" witli the four Evan-

frelists, ]iainted for the chapel in
Giiilfonl Castle

1235

Ollio the Goldsmith master of

works at A\'estminstcr

1-237

Otho and his son Edward work

together , ,

1239

Edward Fitz Otho, sole master of

works and keeper of the shrine

at Westminster

1240

1240 Cimabueborn. (Died 1302.)

William the Monk a|)pointe<l to

Winchester

1240

(He executed many works from

1-248 to 1259.)

Edward Fitz Otho painted the

Apostles ami Kinjr and Queen

in .St. Stephen's Chapel, West-

minster, and a Last Judgment

at tlie west end

1215

He painted the (iueen's ai)artnicnt

with the history of Antioch, and

the same subject was painted at
Clarendon

1250

Peter de llispania first employed .

12.J3

Walter of Diuhani restored paint-

Fire at the

ings after the fire

1-2G2

Palace of West-

minster, I2G2

I-2G.'; (llirlh of Dante.)

Peter <le Hispania at work upon

1-2(15 iMiirjraritone deeorales Old

two tablets for the altar of tlie

St. Peter's at Home.

Virgin Mary in the Abbey. He

12(i7 Vi^il of Charles of AiijoM,

is jirobably the artist of (lie altar

Edward I.'s

King of Naples, to the

frontal still preserved there . .

1272

Accession, 1272

studio r)f Ciniabue.

Chronological Sketch of

Transalpine Art.

William the Monk still living and

work ins 1272

English

lIlSTORT.

Master Waltei- restores paintings 1292
Tlie same, assisted by liis son

TlK.mas. ...'.... 1294

Date of Biloque paintings at Ghent . 1300
Master Walter at work upon the
Coronation chair forA\'estniinster
Abbey (28)* 1300

Thomas, son of Walter, becomes
sole master of the works, and
assumes the name of " De West-

minster

1300

1307

Edward II.'s
Accession, 1307

Date of description by travelling
monks of English jiaintings :
" Ineffabiliter depictie" . . . 1322

Thimp VI. (of Valois), King of

France, Accession .... 1328

Italian Art.

1276 Giotto born. (Died 133G.)

1281 Pope Martin IV.'s Acces-

sion.

1282 Duccio first painting at

Siena.

1282 (Sicilian Vespers.)

1283 Simonc Memmi born. (Died

1344.)

1294 Tope Boniface VIII.'s

Accession.

1300 "Tristan," a French mann-
script with Italian illu-
minations, done for the
Court of Naples.

1300 Taddeo Gaddi born. (Died
after 13C6.)

IQOO Giotto at Rome. Cimabiie
at Pisa.

1302 Death of Cimabue.

1303 Giotto at the -\rena, Padua.
1303 Pope Benekut XL's Ac-
cession.

1308 Spinello Aretino born.
(Died 1400.)

1310 Duccio painting at Siena.

1311 Duccio's ]>icture carried in

triumi)h.
1313 Fraucoda Bologna painting.
1315 Orcagna born. (Died 137G.)

1320 Date on Simone Memmi'g

picture at Pisa.

1321 (Death of Dante.)

Euward III.'s
Accession, 1327

1330 Giotto at Naples.

' The numerals within parentheses refer to the pages of the Description. — G. S.

Salient Events in A rl and Jlislori/.

8i)

TuAKSALriNE AbT.

KstiLlSlI
lIlSTOHT.

Italian Art.

Tumi) of John, Duke of Brabant,
at Touriiav, by AVilliain du
Gardiii, dccoratfil with statues
coloured ill oil • 1341

Loiis i)E Mai.k, Ciiunt of Flan-
ders, Accession 1340

John, Kin;; of Uulicinia, slain at
C'lccy li;.'hting against the Kn;;-
lish. His son (jnitted the field.

Charles IV. elected Emi-eror . 1347

JiiMN, Kino of France, Accession l.'toO
(His first wife was liona, daiigliler

of John, Kin;.' of IJohcinia.)
l'aintin;;s at Karlstcin near I'lagnc,
liy Thomas de .Muliiia. (D'A;:in-
court, 1.1. 133) . . . (74) 1352

.lelian Cosle |>»inlcd sculpture in

the Castle of ValdcRueil . (7<i) 1355

I'aintinps of Edwanl III. and \,ia
family at the east end of St.
Stephfn's Chapel . . , (-21) 1355

Uattle of
Ckecv, 1346

1334 Tope Benedict Xll.'s

Accession.

ricturc by I'uccio Caiianna,

1334. (D'Agiiicourt, i.l.

.117.)

1336 Giotto dies, leaviu;: the

Campanile unfinished.
1336 Latest known painting by
Uuccio.
Date on Italian Triptych,
1336. (D'Agincourt, pi.
l-i4.)
1340 Cavallini the Mosaicist dies.

1342 I'orE Cle.ment VI.'s Acces-
sion.
Date on Simonc Jlcinmi at
Liver] 1, 134-2. (29.)

1344 .Siuione Memini died.

1345 Date on piclnre by Vitalc

di Bologna. (D'Agin-
court, pi. 127.)

1346 The name of (iritto da

Fabriano (Xiieci) ap-
pears on tlic List of
I'aiuters at Florence.

1349 Foundation of the company

of ])aintcrs at Florence
by Jacopo di Cascntino.

1350 Don Silvcstro llourished.
Date on a crucifi.xiou at

Treviso, 1352.

1352 I'orE Innocent VI.'s Ac-
cession.

1354 Orcagna at work in Slri'Z/.i
Cliapel at Florence.

1354 Company of painters at
Florence oflicially regis-
tered.

* Lcs (lues do Baurgogne par loComtc dc Lab3r<lc. I'uris, ISI'.i, tmn. i p. I.\iv. note.

C/ironolo(jlc(d Sketch of

Tbaxsalpixe Art.

English

IIlSTOBT.

Italian Art.

Kin;.' Jcilm lA' Fi-aiicc ami liis sun,

ISatti.k or

attrrwaid.s I'hilip the Ilanly,

Poictiers,

Duke of I!ui;;nn(ly, niaile pri-

135(i

soners at llic liattlc of Poicticrs

and taken to England.

William of I lerle settled at Cologne

1.158

Girard d'Orleans painting; .

1360

{■23 and 7(!)

136i
1363

Pope Ubiian V.'s Acces-
sion.

Taddeo liartoli born. (Died
14-2-.>.)

Charles V., King or France,

Accession

1364

liirtli of

1365

Date on Nucci picture,
1365. (D'Agincourt, pi.
128.)

Gentile di FABRiANoborn.
(Died 1450.)

Birtli oflliiliert van Eyck. (Died

Piicliard II.,

14-.'(i)

1366

Marriage of I'liilip the Hardy,

brother of the King of France,

to Margaret of Flanders, daugh-

ter of Louis de Male, and Union

or Flanders to liiRuUNUv . .

1369

1370

Pope Gregory XL's Ac-

John of Bruges, uiiniaturist, worked

cession.

for Charles V. of France . .

1.371

1371

Coinmencenient of frescoes
of History of Job in
Cainpo Santo.

Recorded date of miniature by

AViUiaiu of Cologne ....

137-2

1374

Date on jianel in I'onrcoiu-
jiartnients by ISarnaba
da Jlodena. (D'Agin-

Date on altar-piece with portraits

court, pi. 133.)

at Prague. (D'Agincourt, ]il.

133) (74)

1375

Paintings by Theodori, ^^'urnlser,

and Kunz, in tlie Castle of

Karlstcin, a residence of the

K.MPEROR Charles IV. . abo\it

1375

Jlonnnient to Kdward tlie lilaik

I'rinee

1376

ElCUARl> Il.'s

Accession, 1377

l.)76

Death of Oreagna.

Salient Eoeitls in Art and llistvri/.

Tbansam-i.ne Art.

AVilliam of Cologne Jied . . 1378

Dcalll of tllC E.MPEBOB ClIARLUS IV. 1."178

Wenceslaus elected Kmi-ebob . 1378
Ila>selt working at the Court of

I'laiiders 1378

l'assa;re alicmt William of Cologne

in the " Linibiinr C'hronielc" . 1380

Louis of .Vnjou goes to .Julianiia

at Xaplcs 1382

Mei.ciiiob Brokuerlain and
Jeiian Malol'ei. at work fur llic
l)ukc of Unrgiindy .... 1382

Jean d'Orleans received ])aynient
for a i>ieturc from Pliilip the
Hardy 1383

l''oun<lation of llie Cliartren.-e at

Dijon l)y I'liilip tlie Hardy . . 1383

J. Ila<selt, miniaturist, retained by

riiilip the Harily 1384

Nicholas Slater, sculptor of monu-
ment at Dijon 1384

John .Sans Telr married to Mar-

UARKT or ISavaria . . (79) 138j

Hasselt's last works for I'liii.ir tiil

Haruy 138C

Uirtli of John van Kyek. (Died

I441 at latest) 138G

Cliristoforo do Almania .... 1388
I'mi.ir THE Hardy makes presents
of works of art to Kichard II.,
his uncles, and courtiers . (7fi) 1389

Nicholas .Slulcr appointed " Ynuii-

gier" to the Duke of Uurgnndy 1390
John uf liavarin, I'rince liishop

of Liege, patron of Van Kyek . 1390
The Acaiteniy of St. Luke at I'uris

patronized by Ciiari.es V. . . 1;>90
Umederlain's altar-piece at ])ijnii

in progress 1391

K.Nr.i.isH

IIlSTORV.

rAi'AL Schism,
1378

Marria(;e of
KiN'c Kichard

TO QlEKS A.NNE
OF ISoHE.MIA,

1382

Italian Art.

jl'orE Urban VI. (elected at
I PoFE Clemknt ^'II. f same time.

1380

1382

Project of 1:192
Crusade, 1392 I

Date on Christoforo da
Boh)gna, 1380. (G8.)

Death of Jacopo di Casen-
tino, founder of the
Academy of Florence.

Licence granted by Kichard
11. to Cosmo Gentiles,
the Pope's collector, to
export great images to
Italy.

1385 Cauipo Santo frescoes by

Si)incllo Aretino.

1386 Antonio Vcncziano.

1387 Angki.ico da Fi esoi.e born.
(Died 1455.)

1389 PoFE BoNUACE IX.'s Ac-
cession (at Ivome).

Spiuello's frescoes of SS.
Kfeso and Potilo in
Cainpo Snnto.

92 Chronological Sketch of Salient Events in Art and Ilistorij.

Transalpine Art.

English
History.

Italian .Vrt.

M. Brocdcrlaiu's contract to colour

Death of tub

1394

Tope Benedict XHI.'s

rotables carved by Jacques dc

Qleen, 1394.

Accession (at Avignon).

liaersc

1394

Queen's Monument in Westminster

Abbey, executed by Godfrey

Trcst and Kiuliolas Broker,

copper workers ...

1395

Nicholas Slater employed ujjon

Marriage of

sculpture

1396

King Uiciiard

TO Isaueli.a of

France, 139G

Coiniilctiou of Brocderlaiu's altar-

piece at Dijon .... (77)

1398

Dcpositiou of
King Kichard,

Sei)tembcr,

1399, and

Henry IV.'s

Accession

Henry V.'s
Accession, 1413

1408

Latest work of Spinello
Aretiuo at Siena.

(Council of Constance) ....

1414

Jcban RIaluuel painted the portrait

Battle or

of John, Duke of Burgundy, to

AulNCDLRT,

be sent to Portugal ....

1415

1415.

14-22
1424

1450

1455

Death of Taddco Bartoli.
Birth of Bcnozzo Gozzoli.

(Died 1485.)
Death of Gentile da Fa-

briano.
Death of Angelico da Fic-

sole.

INDEX.

ALMANIA, CHKISTOFORO DE
Ancicut foldiug-tablcts
Augclico da Ficsolc, tcchuiealitics of
Austis, " Register of the Order of the Garter '
Ashmolcan Library at Oxford .

Baiiucr with red cross ....

Uaptist, St. John, figure ou the Diptych .
" Basiliologia ".....

Basire, James, engraver to the Society of Autii|uaries, 1805
Bavaria, Margaret of, wife of Johu Sans Pcur
Blockhcath, proposed iutervicw of Richard at
Black outliuo to gold crowus, gold broom-cods, aud riugs
Black Priuce, portrait of, iu St. Stephen's Chapel
Bohemia, Queen Auuc of .... .

Bohemian School of Art ......

Bonkil, Sir Edward, Provost of Trinity College, Edinburg

Bourbon, John Duke of Bourbon, Constable of France

Brittou, Johu, fiuotcd

Brocade and embroideries

Brocdcrluiu, Mclchior

Broom-cod collars of a pendant

Burgcs, W., ou the Coronation chair

Castile, children of the King of, a complicated Triptych

Castlcmainc, Lady, daughter of Roger Palnici-

Catherine, name of a royal ship

Charles L, pictures Ijulonging to

Charles IV., Emperor ....

Charles V., Emperor, when a boy .

•10,

77,
•65, SO,

01
Ij
48
10
7

l, tio
ol
23
37
79
70

0,69
21
43
75
18
19
12

7, UO

.8'^
51
28

20
10

7
71.
20

Index.

of France,

Charles VII. of Franco .

Cliristoforo de Almauia .

Christoforo da Bologna .

Cocurc, ^[., copy of portrait of Johu, King

Cologne School of Paiutiug

'• Connoisseur, The English," describing the Diptych

Coronation chair described

Coste, Jchau .....

Crowns of gold outlined black

Crusaders, encouragement given to

Cyprus, Lusignan, King of

Diapered grounds ....
Dietrich of Prague, paintings attributed
Dijon, Carthusian convent near
Diptych, moaning of . . .
at Holyrood Palace

Doort, Abraham van dcr, Catalogue of the King's pictures
Dotted work upon gold surface
Dugdale, " ilouasticon," quotation from

Eagles embroidered on the King's gown
Eastlakc, Sir Charles, quotations from
Edmund, St., King and Martyr
Edward the Confessor

Edward III., portrait of, in St. Stephen's Chapel
Elstrack, engraved Westminster portrait of Richard
Embassy to Eomc, Lord Castlemaine's, in 1688
Embroidered robes ......

Englefield, Sir Henry Charles

" Epistre par un Solitaire des Celestins "

Ettington Park, coloured glass at . .

Eyes, peculiar formation of in the monumental effigy, and

in 17(30

II. in

dated

1618

FAOE

. 19
. 91
68,91
. 23
81,82
. 12
. 28
. 76
35, 59
07, 68, 69
. 68

59,
the Diptych

26-ai
. 73
. 77
. 16
. 18
1639 7, 8, 9
U, 45, 55, 58
. 37

. 43

75, 81
. 36
8,35
. 21
. 23

10,13
. 37
. 22

53,65
60, nolo

46,63

Favyn on the " Cosso do Gencste " . . . . . . . .41

Fire, destroyed Palace at Westminster in 1262, and St. Stephen's Chapel

iul8&t 21,87

Florence, William of .......... 13

Flowery mead of Paradise . . . . . . . . .62

Foot of the Infant Saviour peculiarly displayed . . . .49,68

Frame and panel for picture, one piece of wood; various examples 14, 15

Index.

9r>

Franks, Mr. A. W., communication respecting an ancient portrait of

Richard II. at Rome ......... 85

Froissart, quotation from ......... 41

Oambarini of Lucca, his description of Wilton picture
George of Denmark, Prince, Lord High Admiral in 1702
George, St., represented in St. Stephen's Chapel
Gc-sso, or wliitc plaster ......

Girard d'Orleans, a painter in the service of John, King of
" Gleanings from Westminster Abbey," by Scott
Gown, the King's embroidered ....

" Grandison Book of Hours " .

Hair, dressing of angels' ....

Rhoni.sli and Italian troatmotit of

Harts, wliite .......

Hassclt ........

Helmet, peculiar form of ....

Henry YIL, portrait in National Portrait Gallery

Ilerculaneum and Pompeii, tablets at

Hermit, visited by the King ....

Hispania, Peter de .

Hiud, crouching ......

Hinges to Diptychs .....

Iloland, Earl of Kent, half-brother of KicIiaiJ II.
Hollar, engraved the Wilton picture
Holyrood Palace, large Diptych at .

Insurrection of Wat Tyler ....
Iris, the flag, and Bracken ....
Ivories, French examples of .

James II., gave the Diptj-ch to Lord Castlemaine
Jennings, Ijord and Lad^' ....
Jermyn, Sir Thomas .....
Joan, Princess of Wales .....
daughter of Charles VII. of Franro

Johanna of Naples .....

John (.Sans Pcur) of Burgundy

Jolin, King of Franco (Lo Bon), portrait of

Fra

10,11
. 10
. 21
58, CI
23, 70
. 28
43, C2
. 79

45,

. 50
82,83
. 42
. 77
. Gi
. 15
. IG
. 72
. 87
5G, 57
. IG
. 42
9,40
. 18

. GG
50, 57
. 15

10, 14
8, 9

. 9
42, 70

. 19

. G(;

. 79

OO O.T

ur>

Imlex.

Kaisrr, Ilcrr, accuracy of, as a copyist

Karlstcin, early jiaiiitiugs at .

Kent, Joan, " fair Maid of " ....

Laing, David, ujion riiiilyoli at Ilolyrood
Laml), hold in tlic liand of .St. John in the Diiitych ;
u.sual .......

Lindsay, Lord, qnotations from

Lion, crowned, " passant gardant " .
Litlington, Nicholas, Abbot of Westminster
Livery of the King of Franco ....
Louis, St., King of France ....
Lusignan, King of Cyprus ....

Male, Count Louis do .... .

Manchester, exhibition licld at, in 1857

Mantle of Edward the Confessor

Margaret of Bavaria .....

Mary of Gueldros ......

Memmi, Simone, jiicturc dated 1342
Merritt, Henry, skilful restoration by
Metal, engraved tablets attaclicd to the Diptych
j\Iilc End Green ......

Newton, Sir John do, employed by rebels

Nichols, John Cough, his explanation of the Eroom-cod

Nimbus, varieties of, described .

Oldfield, Edmund, "Notices of Sculpture in Ivory

Palmer, Sir James and Sir Roger .
Passavant, J. D., describing the Diptych in 1833
Passion, emblems of the, within nimbus
Patterns embroidered on dros.-ses
Pembroke, Thomas, eighth Earl of .
Peter, figure of St., on the Retabulum
Pew, Our Lady of the
Philijipa, Queen of Ed\vard III., jiortrait in St. Stoiihon's Ciiapel, West-
minster ............ 21

PAGE

. 84
. 73
42,70

. 18

no statr and scroll as

. 34

7-|., 79

55,07
. 73
. 39
. 52

. 68

. 70

. 72

. 53

. 79

. 19

. 29

. 24
14, 17

. 71

. 70

device and collar . 39

. 49, 52, 59

. 15, noto

8,10
12, 72
. 52
36, CO
10,11
. 27

Index.

I'hillips, Tlionia?, describing the Dijitych in 180O
Pliil|)ot, John, Lord Mayor of London
Pilgrim received by Edward the Confessor

represented in legendary jmintings

Pinkcrton's " Iconographia Scotica "

Plantagcnista, false interpretation of

" Poiii(;onni; " or " ponsatnin "

Pompeii, ancient tablets depicted at .

Pounced work ......

Ponncet boxes ......

Poyntcr, E. J., copied porti-ait of John, King of France
Prague, works of art at ......

Pnncturings ........

27, 28,

PAGE

12, CO
. C7
. 35
. 36
. 19
. 39
30,4-1.
. 15
30, 44, 58
. 45

44, 45, 53

Qnartcrly Keview, Fine Arts," quotation from, 18G7

25, 47

Picd bole underneath gilding ....
Rotabuium in Westminster Abbey .
Rhenish School of Painting ....
Richard II., colour of his eyes and complexion .

colour of his hair ....

l)ortraits of, Westminster Abbey, enthroned

Wilton House .....

monumental effigy ....

in Metrical Histoi-y ....

on lahuhi formerly at Rome .

Richmond, George, R.A., promotes restoration of the Westmin

portrait, and the canopy to the tomb of Richard II
Rock, Dr., on mcdia3val embroideries
Rosebccrinc, battle of .... .

Roses, wreaths of, worn by angels .

Rosselli, Cosimo ......

Rotherhitho, tlie King proceeds towards .

Russell, Rev. John Fuller, owner of a Diptych by Memlinc

Sandford, "Genealogical llistory of England," 1077
Saviour, the Infant, attitude of . . .

colour of eyes .....

])cculiar movement of hand

."iiMgularity of the countenance

stcr Abbey

81, 82
. 61
. 62
. 23
34, 38, 61
. 43
. 47
. 85

24,34.
37, note
CO
50
13
70
19

24, 42, 57
. 49
. 03

65,68

Index

PAQB

Savoy, residence of John, King of Fraiire ...... 22

destroyed by tlic rebels in 13ol ....... 70

Sliaw, Ilcury, engraved Edward III., Black Prince, and King Richard

kneeling 22, 43

Shield of arms on external side of panel ....... 54

Shirley, Evelyn Philip 20, CO

Simono di Martino, picture at Liverpool ....... 29

Smirke, Richard, copyist of paintings in St. Stephen's Chapel, Westminster

Smith, J. T., published a work on the Palace of Westminster

Smithfield, the rebels assembled at .

Smithfield, tournament held at

Spenser, Bishop of Norwich

Stag, crouching .....

Stephan Lothcner of Cologne .

Stephen's, St., Chapel at Westminster

Strawberry Ilill collection

Sudbury, Simon of, the Archbishop, murdered

Sun, the rising sun a pattern on the King's robe in the monnment

Surrey, the Earl of ........

22
. 22
. 72
. 42
6(i, 67
G9, 42, 56, 57
82
21
7
71
44
55

Tempera pigments employed . . . .

Thorns, crown of ..... .

Tournament held at Smithfield, 1390
Trinity, Holy, Collegiate Church at Edinburgh
Trollopc, Dr. Edward, Bishop of Nottingham .
Tufts of hair on chin .....

Tyler, Wat

Van der Doort, Catalogue of King's pictures .

Virgin Mary, figure on the Diptych ....

Waagen, Dr. G. F., describing the Diptych in 1835 .
Walpolc'a " Anecdotes of Painting " ....

Wardrobe, near St. Paul's

Wcale, W. H. James, Notice of Memlinc ....
Wenccslaus, Emperor .......

Chapel of St., at Prague

Westminster Abbey, portrait of Richard II., full length, seated

Whitehall, Royal jiictnrcs collected at, in 1639 .

Wilholm of Cologne .......

. ei

52,53
. 42
. 18
. 23

46,60
. 66

on a throne

7.8,9
34, 48, 49

13
11

71
19
73
74
33
13
82

Index.

Wilton House

Wiugs, peculiar position of . . .

Wreaths of roses worn by angels
Wiirmscr of Strasburg ....
Wyatt, M. Digby, lecture on sculptured ivory

PAGE

10, u
. 51
. 50
. 71
15, note

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