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196
COPENHAGEN.
Chap. XII.
at Frederiksborg, where they are arranged in
chronological order. Two, however, hang suspended in the
Royal Gallery, one of Charles I., then Prince of Wales,
by Mytens. He is represented with short-cropped hair,
much as young men now wear it, with moustache and
budding beard, clad in a dress of violet velvet, braided in
green; he wears a starched ruff of the Jacobian period;
the love-locks, and that indescribable expression of
melancholy so fascinating in the monarch of Vandyke’s
pencil, are here wanting. He appears ill at ease, and has
a sort of unfledged appearance. A second portrait, by
Paul van Somer, said to be of the same Prince at a more
tender age, I believe myself to be that of his brother
Henry. He is seated on a throne in his robes of state,
holding in his hand a white rod, a small brown and white
spaniel at his feet—a fine, handsome, beardless boy of
eighteen, with short-cropped hair, full lip, sullen
expression, an air of obstinacy, and little animation, but a face
which, animated, would become highly attractive. He
looks bored in his starched lace ruff, collar of St. George,
and rosetted shoes, and I dare say felt so. The small
brown and white spaniel dog which plays at the feet of
Charles (in Mytens’s portrait) is not of the race which
derives its name from that monarch, and which we so often
see represented in his portraits as well as in those of his
successors. It more resembles that which in former days
existed in France, and which enjoyed as great a celebrity
as the black and tan do at present in England. These
little spaniels went by the appellation of “ Mignons Henri
III.,” having been much affected by that monkey-loving
sovereign, and are often to be seen represented in his
portraits, as well as in those of his mother, Queen
Catherine de Medicis; the race is now almost entirely extinct,
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