Charles the First, indeed, not only possessed a critical tact, but extensive knowledge in the fine arts, and the relics of antiquity. In his flight in 1642, the king stopped at the abode of the religious family of the Farrars at Gidding, who had there raised a singular monastic inst.i.tution among themselves. One of their favorite amus.e.m.e.nts had been to form an ill.u.s.trated Bible, the wonder and the talk of the country. In turning it over, the king would tell his companion the Palsgrave, whose curiosity in prints exceeded his knowledge, the various masters, and the character of their inventions. When Panzani, a secret agent of the Pope, was sent over to England to promote the Catholic cause, the subtle and elegant Catholic Barberini, called the protector of the English at Rome, introduced Panzani to the king's favour, by making him appear an agent rather for procuring him fine pictures, statues, and curiosities: and the earnest inquiries and orders given by Charles the First prove his perfect knowledge of the most beautiful existing remains of ancient art. "The statues go on prosperously," says Cardinal Barberini, in a letter to a Mazarin, "nor shall I hesitate to rob Rome of her most valuable ornaments, if in exchange we might be so happy as to have the King of England's name among those princes who submit to the Apostolic See." Charles the First was particularly urgent to procure a statue of Adonis in the Villa Ludovisia: every effort was made by the queen's confessor, Father Philips, and the vigilant cardinal at Rome; but the inexorable d.u.c.h.ess of Fiano would not suffer it to be separated from her rich collection of statues and paintings, even for the chance conversion of a whole kingdom of heretics."[190]

This monarch, who possessed "four-and-twenty palaces, all of them elegantly and completely furnished," had formed very considerable collections. "The value of pictures had doubled in Europe, by the emulation between our Charles and Philip the Fourth of Spain, who was touched with the same elegant pa.s.sion." When the rulers of fanaticism began their reign, "all the king's furniture was put to sale; his pictures, disposed of at very low prices, enriched all the collections in Europe; the cartoons when complete were only appraised at 300, though the whole collection of the king's curiosities were sold at above 50,000.[191] Hume adds, "the very library and medals at St. James's were intended by the generals to be brought to auction, in order to pay the arrears of some regiments of cavalry; but Selden, apprehensive of this loss, engaged his friend Whitelocke, then lord-keeper of the Commonwealth, to apply for the office of librarian. This contrivance saved that valuable collection." This account is only partly correct: the love of books, which formed the pa.s.sion of the two learned scholars whom Hume notices, fortunately intervened to save the royal collection from the intended scattering; but the pictures and medals were, perhaps, objects too slight in the eyes of the book-learned; they wore resigned to the singular fate of apprais.e.m.e.nt. After the Restoration very many books were missing; but scarcely a third part of the medals remained: of the strange manner in which these precious remains of ancient art and history were valued and disposed of, the following account may not be read without interest.

In March, 1648, the parliament ordered commissioners to be appointed, to inventory the goods and personal estate of the late king, queen, and prince, and appraise them for the use of the public. And in April, 1648, an act, adds Whitelocke, was committed for inventorying the late king's goods, &c.[192]

This very inventory I have examined. It forms a magnificent folio, of near a thousand pages, of an extraordinary dimension, bound in crimson velvet, and richly gilt, written in a fair large hand, but with little knowledge of the objects which the inventory writer describes. It is ent.i.tled "An Inventory of the Goods, Jewels, Plate, &c. belonging to King Charles the First, sold by order of the Council of State, from the year 1619 to 1652." So that from the decapitation of the king, a year was allowed to draw up the inventory; and the sale proceeded during three years.

From this ma.n.u.script catalogue[193] to give long extracts were useless; it has afforded, however, some remarkable observations. Every article was appraised, nothing was sold under the affixed price, but a slight compet.i.tion sometimes seems to have raised the sum; and when the Council of State could not get the sum appraised, the gold and silver were sent to the Mint; and a.s.suredly many fine works of art were valued by the ounce. The names of the purchasers appear; they are usually English, but probably many were the agents for foreign courts. The coins or medals were thrown promiscuously into drawers; one drawer having twenty-four medals, was valued at 2 10_s_.; another of twenty, at 1; another of twenty-four, at 1; and one drawer, containing forty-six silver coins with the box, was sold for 5. On the whole the medals seem not to have been valued at much more than a shilling a-piece. The appraiser was certainly no antiquary.

The king's curiosities in the Tower Jewel-house generally fetched above the price fixed; the toys of art could please the unlettered minds that had no conception of its works.

The Temple of Jerusalem, made of ebony and amber, fetched 25.

A fountain of silver, for perfumed waters, artificially made to play of itself, sold for 30.

A chess-board, said to be Queen Elizabeth's, inlaid with gold, silver, and pearls, 23.

A conjuring drum from Lapland, with an almanac cut on a piece of wood.

Several sections in silver of a Turkish galley, a Venetian gondola, an Indian canoe, and a first-rate man-of-war.

A Saxon king's mace used in war, with a ball full of spikes, and the handle covered with gold plates, and enamelled, sold for 37 8_s_.

A gorget of ma.s.sy gold, chased with the manner of a battle, weighing thirty-one ounces, at 3 10_s_. per ounce, was sent to the Mint.

A Roman shield of buff leather, covered with a plate of gold, finely chased with a Gorgon's head, set round the rim with rubies, emeralds, turquoise stones, in number 137, 132 12_s_.

The pictures, taken from Whitehall, Windsor, Wimbledon, Greenwich, Hampton-Court, &c., exhibit, in number, an unparalleled collection. By what standard they were valued, it would perhaps be difficult to conjecture; from 50 to 100 seems to have been the limits of the appraiser's taste and imagination. Some whose price is whimsically low may have been thus rated from a political feeling respecting the portrait of the person; there are, however, in this singular appraised catalogue two pictures, which were rated at, and sold for, the remarkable sums of one and of two thousand pounds. The one was a sleeping Venus by Correggio, and the other a Madonna by Raphael. There was also a picture by Julio Romano, called "The great piece of the Nativity," at 500. "The little Madonna and Christ," by Raphael, at 800. "The great Venus and Parde," by t.i.tian, at 600. These seem to have been the only pictures, in this immense collection, which reached a picture's prices. The inventory-writer had, probably, been instructed by the public voice of their value; which, however, would, in the present day, be considered much under a fourth. Rubens' "Woman taken in Adultery," described as a large picture, sold for 20; and his "Peace and Plenty, with many figures big as the life," for 100. t.i.tian's pictures seem generally valued at 100.[194] "Venus dressed by the Graces," by Guido, reached to 200.

The Cartoons of Raphael, here called "The Acts of the Apostles,"

notwithstanding their subject was so congenial to the popular feelings, and only appraised at 300, could find no purchaser![195]

The following full-lengths of celebrated personages were rated at these whimsical prices:

Queen Elizabeth in her parliament robes, valued 1.

The Queen-mother in mourning habit, valued 3.

Buchanan's picture, valued 3 10s.

The King, when a youth in coats, valued 2.

The picture of the Queen when she was with child, sold for five shillings.

King Charles on horseback, by Sir Anthony Vand.y.k.e, was purchased by Sir Balthazar Gerbier, at the appraised price of 200.[196]

The greatest sums were produced by the tapestry and arras hangings, which were chiefly purchased for the service of the Protector. Their amount exceeds 30,000. I note a few.

At Hampton-Court, ten pieces of arras hangings of Abraham, containing 826 yards at 10 a yard, 8260.

Ten pieces of Julius Caesar, 717 ells at 7, 5019.[197]

One of the cloth of estates is thus described:

"One rich cloth of estate of purple velvet, embroidered with gold, having the arms of England within a garter, with all the furniture suitable thereunto. The state containing these stones following: two cameos or agates, twelve chrysolites, twelve ballases or garnets, one sapphire seated in chases of gold, one long pearl pendant, and many large and small pearls, valued at 500 sold for 602 10s. to Mr. Oliver, 4 February, 1649."

Was plain Mr. Oliver, in 1649, who we see was one of the earlier purchasers, shortly after "the Lord Protector?" All the "cloth of estate" and "arras hangings" were afterwards purchased for the service of the Protector; and one may venture to conjecture, that when Mr.

Oliver purchased this "rich cloth of estate," it was not without a latent motive of its service to the new owner.[198]

There is one circ.u.mstance remarkable in the feeling of Charles the First for the fine arts: it was a pa.s.sion without ostentation or egotism; for although this monarch was inclined himself to partic.i.p.ate in the pleasures of a creating artist, the king having handled the pencil and composed a poem, yet he never suffered his private dispositions to prevail over his more majestic duties. We do not discover in history that Charles the First was a painter and a poet. Accident and secret history only reveal this softening feature in his grave and king-like character. Charles sought no glory from, but only indulged his love for, art and the artists. There are three ma.n.u.scripts on his art, by Leonardo da Vinci, in the Ambrosian library, which bear an inscription that a King of England, in 1639, offered one thousand guineas of gold for each.

Charles, too, suggested to the two great painters of his age the subjects he considered worthy of their pencils; and had for his "closet-companions" those native poets for which he was censured in "evil times," and even by Milton!

In his imprisonment at Carisbrook Castle, the author of the "Eikon Basilike" solaced his royal woes by composing a poem, ent.i.tled in the very style of this memorable volume, "Majesty in Misery, or an Imploration to the King of kings;" a _t.i.tle_ probably not his own, but like that volume, it contains stanzas fraught with the most tender and solemn feeling; such a subject, in the hands of such an author, was sure to produce poetry, although in the unpractised poet we may want the versifier. A few stanzas will ill.u.s.trate this conception of part of his character:--

The fiercest furies that do daily tread Upon my grief, my grey-discrowned head, Are those that own my bounty for their bread.

With my own power my majesty they wound; In the king's name, the king himself uncrowned; So doth the dust destroy the diamond.

After a pathetic description of his queen "forced in pilgrimage to seek a tomb," and "Great Britain's heir forced into France," where,

Poor child, he weeps out his inheritance!

Charles continues:

They promise to erect my royal stem; To make me great, to advance my diadem; If I will first fall down and worship them!

But for refusal they devour my thrones, Distress my children, and destroy my bones; I fear they'll force me to make bread of stones.

And implores, with a martyr's piety, the Saviour's forgiveness for those who were more misled than criminal:

Such as thou know'st do not know what they do.[199]

As a poet and a painter, Charles is not popularly known; but this article was due, to preserve the memory of the royal votary's ardour and pure feelings for the love of the Fine Arts.[200]

SECRET HISTORY OF CHARLES THE FIRST, AND HIS QUEEN HENRIETTA.

The secret history of Charles the First, and his queen Henrietta of France, opens a different scene from the one exhibited in the pa.s.sionate drama of our history.

The king is accused of the most spiritless uxoriousness; and the chaste fondness of a husband is placed among his political errors. Even Hume conceives that his queen "precipitated him into hasty and imprudent counsels," and Bishop Kennet had alluded to "the influence of a stately queen over an affectionate husband." The uxoriousness of Charles is re-echoed by all the writers of a certain party. This is an odium which the king's enemies first threw out to make him contemptible; while his apologists imagined that, in perpetuating this accusation, they had discovered, in a weakness which has at least something amiable, some palliation for his own political misconduct. The factious, too, by this aspersion, promoted the alarm they spread in the nation, of the king's inclination to popery; yet, on the contrary, Charles was then making a determined stand, and at length triumphed over a Catholic faction, which was ruling his queen; and this at the risk and menace of a war with France. Yet this firmness too has been denied him, even by his apologist Hume: that historian, on his preconceived system, imagined that every action of Charles originated in the Duke of Buckingham, and that the duke pursued his personal quarrel with Richelieu, and taking advantage of these domestic quarrels, had persuaded Charles to dismiss the French attendants of the queen.[201]

There are, fortunately, two letters from Charles the First to Buckingham, preserved in the State-papers of Lord Hardwicke, which set this point at rest: these decisively prove that the whole matter originated with the king himself, and that Buckingham had tried every effort to persuade him to the contrary; for the king complains that he had been too long overcome by his persuasions, but that he was now "resolved it must be done, and that shortly!"[202]

It is remarkable, that the character of a queen, who is imagined to have performed so active a part in our history, scarcely ever appears in it; when abroad, and when she returned to England, in the midst of a winter storm, bringing all the aid she could to her unfortunate consort, those who witnessed this appearance of energy imagined that her character was equally powerful in the cabinet. Yet Henrietta, after all, was nothing more than a volatile woman; one who had never studied, never reflected, and whom nature had formed to be charming and haughty, but whose vivacity could not retain even a state-secret for an hour, and whose talents were quite opposite to those of deep political intrigue.