¹ The present article is an excerpt from alonger monograph, ‘Studier i Christiern II's ikonografi’, published in Copenhagen University's memorial volume on the occasion of His Majestythe King's birthday on nth March 1970. I am much indebted to the Society for the opportunity of publishing this excerpt, translated into English by David Hohnen, in the Antiquaries Journal.

^{page 287 note 2} Dimensions: 32·5 × 20·5 cm. Measured on the reverse, i.e. including the frame: 39·7 × 28·1 cm. Hung in a glass showcase on the wall in the Society's meeting room. On a label on the back, written in ink, are the words: ‘Frederick I King of Denmark 1477–1533.’

^{page 287 note 3} A Catalogue of the Pictures belonging to the Society of Antiquaries, Somerset House, London, by George Scharf, F.S.A., Secretary to the National Portrait Gallery. Reprinted from the Fine Arts Quarterly Review (no. iii) for private circulation only by John Childs 's Possessions, 1847, p. 52.

^{page 288 note 1} Sthyr, Jørgen, Kobberstikkeren Albert Haelwegh(Copenhagen, 1965), p. 200, nos. 14–115. ‘Regum Daniæ Icones.’ Hafniæ 1646. Here described as workshop production.Google Scholar

^{page 288 note 2} I am grateful to Mr. J. H. Hopkins, the librarian, for kindly giving me access to the collections and archives of the Society of Antiquaries in 1966.

^{page 288 note 3} George Scharf believed that Frederick I was born in 1477. See p.287, n.2. In the copy of Scharf's catalogue displayed in the exhibition room, a pencilled note has been added beside the description of this picture (no. xxx) to the effect that ‘Mr. Friedländer’ had stated that he did not believe the portrait represented Frederick I at all, but ‘a Saxon Prince, painted between 1505–10’

^{page 288 note 4} Royal Museum of Fine Arts, Catalogue of Foreign Paintings, Copenhagen, 1951, pp. 292 ff., no. 663. For information concerning the latest investigations conducted on this portrait, see Else Kai Sass, op. cit. p. 287, n. I.Google Scholar

^{page 289 note 1} C. v. Mander, Le Livre des peintres. Vie des peintres flamands, hollandais et allemands (1604). Traduction, notes et commentaires par H. Hymans, i–ii (Paris, 1884), p. 76. It is in connection with his mention of the miniature painter Gerard Hore[n]bout, who in 1521 received payment from Margaret of Austria for portrait of Christian II (ibid. pp. 73 f.) that Hymans suggests the possibility that the portrait in the collection of the Society of Antiquaries in London might be the one mentioned in the accounts. Gustav Glück has pursued this line of thought in his article ‘Portrætter af Christian IIog hans Hustru Isabella’, Kunstmuseets Aarsskrift, XXVII (Copenhagen, 1940), p. 16Google Scholar, but at the same time writes that he cannot express an opinionvregarding Hymans's suggestion ‘as a picture answering to this description no longer exists on the premises of this learned Society, where it may once quite temporarily have been exhibited.’ Glück apparently made inquiries about the picture in London andwas told that no portrait of Christian II existed.

^{page 289 note 2} The Rev. Thomas Kerrich (1748–1828), who was senior librarian at the university library at Cambridge, had been a member of the Society of Antiquaries since 1798. See his biography in Dict, of National Biography, vol. XI (London, 1909)Google Scholar, and Evans, Joan, A History of the Society of Antiquaries, Oxford, 1956, passim; concerning the portrait collection in particular, see pp. 250 f. Kerrich, who was himself a painter, draughtsman, and lithographic artist, had acquired quite an appreciable knowledge of art history in the course of extensive travels on the Continent in his youth.Google Scholar

^{page 289 note 3} MS. in the Society of Antiquaries. Catalogue of Drawings and Pictures. T. Kerrich. A pencilled note reads: ‘Transcript made by Mr. F. M. O'Donoghue, F.S.A. of notes made by Rev. T. Kerrich.’ The list comprises 31 numbers, all from Kerrich's own collection; of these, 26 were bequeathed to the Society of Antiquaries. At the bottom of the last page of the MS. is an inscription reading as follows: ‘The foregoing notes are copied from M.S. Catalogue of pictures and drawings belonging to the Reverend Thomas Kerrich, in possession of Albert Hartshorne, who also possesses a notebook in which Mr. K. recorded his “Experiments on old Pictures as to the cleaning and repairing of them”.’ By way of enlightenment concerning the provenance it may be added that Thomas Kerrich's daughter was married to the Rev. Henry Hartshorne.

^{page 290 note 1} The late C. Kingsley Adams, former directorof the National Portrait Gallery, drew my attention to this provenance from the very outset. See also Thomas Kerrich's notes, mentioned in p. 289, note 3, and E. K. Sass, op. cit., pp. 14–18.

^{page 290 note 2} Concerning the Paston family (and the Earl of Yarmouth) see Dict. of National Biography, vol. xliv, London, 1895Google Scholar, and The Complete Peerage of G.E.C., ed. by White, G. H. and Lea, R. S., London, 1959Google Scholar, vol. II, part ii. Cf. The Paston Letters, 1422–1509. Ed. with Notes and Introduction by Gairdner, James, i–vi, London, 1904.Vol. i contains information about the Paston family. Cf. Original Letters Written during the Reigns of Henry VI, Edward IV and Richard III, by Various Persons of Rank and Consequence, Elucidating not only Public Matters of State, but likewise the Private Manners of the Age. With notes, historical and explanatory, by John Fenn. With engravings and autographs, papermarks, and seals. Vols. i–ii, London, 1787. Vols. iii–iv, 1789. Vol. v, 1823 (ed. by William Frere). Illustrated with reproductions of portraits in Thomas Kerrich's collection. Concerning the portraits themselves and John Fenn's connection with Thomas Kerrich, see vol. v: Advertisement Containing Notes of the Life of Sir John Fenn, by William Frere, pp. xxxiii f.Google Scholar

^{page 290 note 3} See James Gairdner's edition, vi, 161, no. 1060. Henry VII wrote a personal letter to John Paston dated 20th March 1500, instructing himto hold himself in readiness to receive the princess upon her arrival, which was regarded as being imminent. However, her departure was delayed; Catherine did not reach England until October 1501.

^{page 290 note 4} Gachard, L. P., Collection des voyages des souverains des Pays-Bas, i–iv (Brussels, 1874–1882), i, 410 ff.Google Scholar

^{page 290 note 5} ‘William Makefyrr to Darcy and Alyngton’, dated 17th January 1506, in J. Gairdner, The Paston Letters, vi, 172–4, no. 1078.

^{page 291 note 1} Glück, Gustav, ‘The Henry VII in the National Portrait Gallery’, The Burlington Magazine, lxiii (1933), 100–8.Google Scholar

^{page 291 note 2} Thomas Kerrich refers to this person as ‘M. de Nassau’, without discussing his identity any further, G. Scharf believes, just like Albert Way, that it is Henry, Count of Nassau, Governor of Brabant and general-in-command of the imperial forces. He was born in 1483, became a Knight of the Golden Fleece in 1505 and died in 1538. However, it appears to me more likely that it is a portrait of Englebert II, Count of Nassau (1451–1504), who received the Order of the Golden Fleece already in 1473 in recognition of his services on behalf of Charles the Bold. Englebert II's features are known from an excellent portrait in the Rijks-museum, Amsterdam, which, according to the inscription on the frame, is said to have been painted in 1487, and is attributed to an artist who is described as ‘Maître des portraits princiers’. See Primitifs flamands anonymes. Exposition, Bruges, 1969, Cat. No. 60, p. 128 (incl. colour plate) and p. 257 ff. A comparison of the two portraits reveals a pronounced resemblance, the sitter merely being older in the London picture. It might well represent Englebert at the age of about fifty. If it is supposed to represent his nephew, Henry III, Count of Nassau, it would have to have been painted much later, possibly towards the end of the 1520s, but this would not conform with the costume and style.

^{page 291 note 3} Thomas Kerrich is of the opinion that it is Philip of Cleves, Seigneur de Ravenstein and brother of the Duke of Cleves, whilst Scharf, who was unaware of the existence of Kerrich's notes, believes (p. 26) that it is a portrait of Adolphe of Cleves, (1498–1528) son of John, the 3rd Duke of Cleves. However, there can be no doubt that it is Philip of Cleves, son of Adolphe de Ravenstein (1425–1492), and himself a great collector of art. On one occasion he presented Duke Philip the Handsome with a painting of a nude woman. See Onghena, M. J., De iconographie van Philip de Schone, Brussels, 1959, p. 41.Google Scholar

^{page 292 note 1} The 1516 inventory is published in Glay, A. Le, Correspondance de l'empereur Maximilien I et de Marguerite d'Autriche, sa fille, gouvernante des Pays-Bas, 1507–1519, i–ii (Paris, 1839), ii, 479–88;Google Scholar that of 1523 by Michelant, M. in Compte rendu de la Commission royale d'Histoire, 3^e série, xii (Brussels, 1871)Google Scholar, and the inventory of 1524 by Zimmermann, H. in Jahrb. d. kunsthist. Sammlungen, iii, (Vienna, 1885).Google Scholar

^{page 292 note 2} A. Le Glay, op. cit. ii, 477 (inventory of the contents of the library).

^{page 293 note 1} Else Kai Sass, op. cit., pp. 57–76, with reproduction of X-ray photographs pp. 58–9.

^{page 293 note 2} Johansen, Paul, ‘Meister Michel Sittow, Hofmaler der Königin Isabella von Kastilien und Bürger von Reval’, Jahrbuch der preuβischen Kunstsammlungen, lxi (Berlin, 1940), pp. 1–36.Google Scholar

^{page 293 note 3} Michel Sittow must at all events have been at Malines in March 1515 as the sum of twenty Philip guilders was made over to him on 23 rd March 1515 by Margaret of Austria through her treasurer, Diego Flores. See Crowe, J. A. and Caval-caselle, G. B., Les anciens peintres flamands, leur vie et leurs œuvres. Annoté et augmenté de documents inédits par Alex. Pinchart et Ch. Ruelens, i–ii (Brussels–Paris, 1862–1863), ii, pp. cccxi f.Google Scholar

^{page 294 note 1} Erik Valkendorf's letters in the State Archives, Copenhagen. Kongehusets Arkiv II, Ægteskabs-sager. Printed in Danske Magasin, ii (Copenhagen, 1746). Letter dated 10th July 1515, pp. 26 f.

^{page 294 note 2} Letter printed in Danske Magasin, ii, (1746), 30 f.

^{page 294 note 3} See Paul Johansen, loc. cit., n. 2, p. 293 above, and Else Kai Sass, op. cit., pp. 50–3.

^{page 294 note 4} This would appear to be indicated by a letter dated 1st June 1514 from the Customs Officer at Elsinore, in which he informs the King of the painter's arrival from Reval. E. K. Sass, op. cit., pp. 50–3.

^{page 294 note 5} See Strong, Roy, National Portrait Gallery, Tudor and Jacobean Portraits, i–ii, (London, 1969), i, 149 f., no. 416, reproduced ii, pp. 290–1. The portrait is painted on wood. Dimensions: 42·5×30·5 cm.Google Scholar

^{page 295 note 1} Cat. National Gallery of Art, Washington, D.C, 1965, no. 46. Cf. Else Kai Sass, op. cit., pp. 46 f.; reproduced p. 49.

^{page 295 note 2} The fringe beard seems to have been especially popular at the Saxon court. The Elector Frederick the Wise, maternal uncle of Christian, is represented with this type of beard in many portraits painted by Lucas Cranach between 1506 and 1516 (cf. Friedländer, M. J. and Rosenberg, J., Die Gemälde von Lucas Cranach (Berlin, 1932)Google Scholar, pls. 14, 18, 19, 35, 57, 76). John the Staunch, Frederick's brother, also wore the fringe for some time (ibid., pl. 18), likewise a few commoners (ibid., pls. 33, 354, 358). The fringe beard also appears in two drawings of a peasant (see Rosenberg, Jacob, Die Zeichnungen Lucas Cranach d. Ä. (Berlin, 1960), no. 71 and A9). (Cf. M.J. Friedländer's suggestion as to the identity of the sitter for the Society's portrait, p. 288, n.3). Christian II was on frienly terms with Frederick the Wise, who acted as mediator at his betrothal with Isabella of Habsburg in 1513–14.Google Scholar