The picture was exhibited for some time in Old Bond-street; but the opinion in favour of its being by Velasquez did not gain ground among connoisseurs: the distance has more of the painter’s manner than the portrait itself, which is rather that of Vandyke. The pamphlet goes very far to settle the identity of the picture with that mentioned in the Fife House Catalogue; but the ascription may merely have been that of the Earl of Fife; and it is somewhat strange that it should not have been specially mentioned as the lost picture, had its identity been positively settled.
Since the publication of Mr. Snare’s pamphlet, Sir Edmund Head, in his “Handbook of the History of the Spanish and French Schools of Painting,” has expressed his disbelief in the authenticity of the picture being the long-lost portrait; adding, first, it is not in his opinion by Velasquez; secondly, it is a finished picture; and, thirdly, it represents Charles as older than twenty-three years, which was his age when at Madrid. Again, Mr. Stirling, in his “Annals of the Artists of Spain,” published in 1848, does not consider the picture proved to be that formerly at Fife House; nor does he regard it as a sketch, (“bosquexo,”) but more than three parts finished. He thinks also that Charles looks considerably older than twenty-three; and he sees “no resemblance in the style of the execution to any of the acknowledged works of Velasquez.” To both these objections, Mr. Snare replied, in a second pamphlet, wherein he opposed to their opinions the cumulative evidence of his unwearied investigations. His first pamphlet, “The History and Pedigree”—is a singularly interesting array of presumptive evidence.[15]
HAYDON’S “MOCK ELECTION.”
While Haydon was an inmate of the King’s Bench Prison, in July, 1827, a burlesque of an election was got up. “I was sitting in my own apartment,” (writes the painter,) “buried in my own reflections, melancholy, but not despairing at the darkness of my own prospects, and the unprotected condition of my wife and children, when a tumultuous and hearty laugh below brought me to my window. In spite of my own sorrow’s, I laughed out heartily when I saw the occasion.” (He sketched the grotesque scene, painted it in four months with the aid of noblemen and friends, and the advocacy of the press, in exciting the sympathy of the country.) “To the joint kindness of each,” wrote the painter, in gratitude, “I owe the peace of the last five months, without which I never could have accomplished so numerous a composition in so short a time.” The picture proved attractive as an exhibition; still better, it was purchased by King George IV. for 500l., and it was conveyed from the Egyptian-hall to St. James’s Palace. A committee of gentlemen then undertook Mr. Haydon’s affairs; and with the purchase-money of the picture, and the proceeds of the exhibition, the painter was restored to the bosom of his family. In 1828, he painted, as a companion to this picture, “The Chairing of the Members,” which was bought by Mr. Francis, of Exeter, for 300 guineas.
PORTRAITS IN THE BRITISH MUSEUM.
The Eastern Zoological Gallery of the British Museum has its walls decorated with an assemblage of portraits, in number upwards of one hundred, forming, probably, the largest collection of portraits in the kingdom. The execution of many of them is but indifferent; there are others which are exceedingly curious; and some are unique. Great part of them came into the Museum from having belonged to the Sloanean, Cottonian, and other collections, which now form the magnificent library; and others have been the gifts of individuals. Before the rebuilding of the Museum, many of these pictures were stowed away in the lumber-rooms and attics of the mansion; and it was principally at the suggestion of an eminent London printseller, that they were drawn from their “dark retreat,” cleaned, and the frames regilt, and hung in their present position, above the cases containing the fine zoological specimens. The Gallery itself occupies the whole of the upper story of the wing of the edifice, and has five divisions formed by pilasters, on the side walls, the ceilings being also divided into the same number of compartments, which gives an harmonious proportion to the whole it would not otherwise possess. The light comes from elevated skylights, and it may be a question whether, taken altogether, its advantages for the display of paintings are not superior to those of the National Gallery, in Trafalgar-square.
Among the portraits are those of the English Sovereigns, including Richard II., Henry V., Margaret Countess of Richmond, Edward VI., (no doubt an original,) and Elizabeth, by Zucchero. Here are likewise foreign sovereigns, British statesmen, heroes, and divines, &c., peculiarly appropriate to the place; naturalists and philosophers, mathematicians, navigators, and travellers, whose labours have contributed to enrich this national Museum.