only pictures, in this immense collection, which reached a picture’s prices.  The inventory-writer had, probably, been instructed by the public voice of their value; which, however, would, in the present day, be considered much under a fourth.  Rubens’ “Woman taken in Adultery,” described as a large picture, sold for L20; and his “Peace and Plenty, with many figures big as the life,” for L100.  Titian’s pictures seem generally valued at L100.[194] “Venus dressed by the Graces,” by Guido, reached to L200.

The Cartoons of Raphael, here called “The Acts of the Apostles,” notwithstanding their subject was so congenial to the popular feelings, and only appraised at L300, could find no purchaser![195]

The following full-lengths of celebrated personages were rated at these whimsical prices: 

Queen Elizabeth in her parliament robes, valued L1.

The Queen-mother in mourning habit, valued L3.

Buchanan’s picture, valued L3 10s.

The King, when a youth in coats, valued L2.

The picture of the Queen when she was with child, sold for five shillings.

King Charles on horseback, by Sir Anthony Vandyke, was purchased by Sir
Balthazar Gerbier, at the appraised price of L200.[196]

The greatest sums were produced by the tapestry and arras hangings, which were chiefly purchased for the service of the Protector.  Their amount exceeds L30,000.  I note a few.

At Hampton-Court, ten pieces of arras hangings of Abraham, containing 826 yards at L10 a yard, L8260.

Ten pieces of Julius Caesar, 717 ells at L7, L5019.[197]

One of the cloth of estates is thus described: 

“One rich cloth of estate of purple velvet, embroidered with gold, having the arms of England within a garter, with all the furniture suitable thereunto.  The state containing these stones following:  two cameos or agates, twelve chrysolites, twelve ballases or garnets, one sapphire seated in chases of gold, one long pearl pendant, and many large and small pearls, valued at L500 sold for L602 10s. to Mr. Oliver, 4 February, 1649.”

Was plain Mr. Oliver, in 1649, who we see was one of the earlier purchasers, shortly after “the Lord Protector?” All the “cloth of estate” and “arras hangings” were afterwards purchased for the service of the Protector; and one may venture to conjecture, that when Mr. Oliver purchased this “rich cloth of estate,” it was not without a latent motive of its service to the new owner.[198]

There is one circumstance remarkable in the feeling of Charles the First for the fine arts:  it was a passion without ostentation or egotism; for although this monarch was inclined himself to participate in the pleasures of a creating artist, the king having handled the pencil and composed a poem, yet he never suffered his private dispositions to prevail over his more majestic duties.  We do not discover in history that Charles the First was a painter and a