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Chap. XII.
ROYAL PICTURE GALLERY.
195
and date from 1508 till 1520, the year previous to
his journey. Some of these are on iron, others on
stone, but the best are on copper. Those on iron, far
inferior to the rest, date from 1512-16. Although the
engravings themselves are admirable as works of art, you
are quite taken aback at the ugliness of his models, both
male and female, as well as the want of breeding
displayed in his horses. The portraits of the early
reformers, Melancthon and Erasmus, sour-visaged old
fellows, do not render the collection more attractive.
There is every reason to suppose this to be the collection
mentioned by Albert Dürer in his journal.
Christian II. also dwelt for some weeks at
Wirtem-berg, in the house of Lucas Cranach, who painted him
a genealogy with his portrait bust thereon.* Quentin
Matsys and Jean de Mabuse were also employed to paint
Christian and his family; and pictures by these masters
were forwarded as presents to King Henry VIII. of
England, and to Christian’s sitter Elizabeth: what
became of the English portraits none can say.
Until I called to mind that the mother of King
Charles I. was a Danish princess, the light-hearted Anne,
I wondered how so many portraits of our early Stuarts
came to be lodged in Denmark. Anne was proud, and
justly so, of the beauty of her offspring, and forwarded,
until the year of her death, numerous portraits of Princes
Henry and Charles, as well as of their sister Elizabeth,
to her brother, Christian IV. The greater part of
these are preserved in the National Portrait Gallery
* An engraving from which is preserved in the Kobberstik Museum
at Copenhagen, after the portrait of Christian II. by this master, as
well as one from a painting by Binck.
O 2
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