When King Charles III was a young prince, in the early nineteen-fifties, he sometimes propelled a ride-on toy around Windsor Castle, one of several royal residences where he spent his childhood. Pedalling furiously, he hardly registered the spectacular works from the Royal Collection on the walls. “It’s just a background,” Charles later recalled. His attention was arrested, however, by one unusual portrait: of King Charles I, displayed in the Queen’s Ballroom. The sensitive and reflective prince, who was born in 1948 and who by the age of seven was being tutored by a governess in the history of the nation—and of his historic family—was fascinated by the painting. “King Charles lived for me in that room in the castle,” he later said.
Titled “Charles I in Three Positions,” and painted in the sixteen-thirties by Van Dyck, the work offers three representations of the elegant monarch: in profile, facing forward, and in three-quarter view. With his long, flowing hair cut fashionably shorter on one side, he is depicted wearing three distinct robes and three ornate lace collars, and he is accessorized with the blue sash of the Order of the Garter, Britain’s oldest chivalric order. The painting was made about a decade after Charles’s accession, in 1625, and was used as a blueprint for a marble bust by Bernini. Charles I— who was devout, reserved, and convinced of his right to absolute power as the head of the Stuart dynasty—was a great patron of the arts. Among other extravagant commissions, he asked Rubens to decorate the ceiling of the grand Banqueting House, in London’s Palace of Whitehall, with canvases illustrating heavenly approval of James I, his father.
Diese Geschichte stammt aus der May 08, 2023-Ausgabe von The New Yorker.
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Diese Geschichte stammt aus der May 08, 2023-Ausgabe von The New Yorker.
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