This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1882 Excerpt: ... return from Ireland, April, 1399, to the period of his Deposition, with exquisite illuminations correctly displaying the dresses of the time, and giving finished portraits of all the historical characters therein mentioned. The figures of King Richard correspond exactly with the authentic portraits of earlier times, ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1882 Excerpt: ... return from Ireland, April, 1399, to the period of his Deposition, with exquisite illuminations correctly displaying the dresses of the time, and giving finished portraits of all the historical characters therein mentioned. The figures of King Richard correspond exactly with the authentic portraits of earlier times, allowing for the natural changes produced by misery and ill-treatment. The entire series has been engraved and published in the " Archaiologia" of the Society of Antiquaries in 1824, vol. xx., and was previously etched by Joseph Strutt in his "Regal and Ecclesiastical "Antiquities," 4to. 1777. Perhaps the most complete portrait of the King in this series is to be found on Plates xv. and xxxi. of the "Archasologia" and "Regal Antiquities,"respectively, where Richard is conveyed to London by the Duke of Lancaster. Both wear the double chin-tufts, and the long garment of the King, with a wide falling cape or hood, is very similar to that which appears on the monumental effigy. He is bareheaded, and the hair, although still abundant, is long and uncared-for. A more extended enumeration of all the principal representations of King Richard the Second, whether in painting, sculpture, or engraving, has been given in a paper contributed by the present writer to the "Fine Arts Quarterly Review." f We may now revert to the Diptych. The crowding and animation of the right-hand compartment contrast strikingly with the repose and solemnity of the four figures on the opposite side. In the latter a large field of the gilded ground is laid open; whilst, in the right, which contains thirteen figures, the chief part being angels with upraised wings, very little of the ground is seen. Ante, page 38, note. f Ne...
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