Jacobite and Hanoverian Paintings
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Glasgow Museums has a small collection of painted portraits of Jacobite and Hanoverian monarchs and leaders. The collection includes two Jacobite portraits, which are oils on canvas and both by unknown artists. These are of King James II/VII, and his grandson Prince Charles Edward Stuart, better known as Bonnie Prince Charlie who led the uprising from Scotland in 1745. For the portrait of James is as a full length figure. Painted in 1683 he stands dressed as a King in a brown peruke, lace scarf, and has a green robe although he was at this time the Duke of Albany and his brother, King Charles II, reigned. James also wears the insignia of the Order of the Garter, and holds in his right hand an admiral's baton, and has armour lying at his feet. In background, to left, a naval engagement in progress, with ships on fire. These symbols signify the King’s role as war leader and more specifically to his successful command of the British Navy. The Order of the Garter is also relevant as James, as the Duke of Albany, instigated the Order of the Thistle and Saint Andrew to emphasise his patronage and power in Scotland. The portrait of Prince Charles Edward Stuart hangs in the Provands Lordship and was donated to Provand's Lordship Society through Sir William Burrell's Fund, on 25 February 1927. It shows his head and upper body, and like his grandfather Prince Charles also presents himself as a war leader. He wears a breast plate and appears ready to lead an army into another war to reclaim the monarchy and kingdoms the Stuarts believed that they were entitled to. The painting is not dated though these images of Charles were generated after the failure of the 1745-1746 unprising. There are also paintings of the Hanoverian monarchs who opposed the Stuarts. There are two painted portraits of King George I, and one of King George II. There is also a painted portrait of the Duke of Cumberland who led government troops to a crushing victory at the battle of Culloden and who was the son of King George II. Although the artists of these portraits are not known the eighteenth authenticity of the pictures are established through functions and locations, although one picture, by Robert Hannah, showing the Countess of Nithsdale petitioning King George I for clemency is an example of Victorian romance. In contrast, there is a full length portrait of King George I which shows him wearing a brown wig, with a lace scarf, and a crimson, white silk lined robe, with a collar and pendant of the Garter, crown and orb to his left hand side. The picture was painted in 1717 for Glasgow Town Council and was hung in the Trongate, and then new Town Hall built in 1737 to Allan Dreghorn’s plans. The full length portrait of King George II, once attributed to the Scottish limner, Allan Ramsay, depicts the King also with a the orb and crown beside him whilst his right hand touches the sceptre to indicate that his has royal authority. He wears a white wig, and a green, ermine lined robe, and rich braided coat with the insignia of the Garter. This portrait now hangs in the Dining Room of Pollok House, and nearby it is the portrait of his son, HRH William Augustus, Duke of Cumberland” who is best known as a army general although these images of the Hanoverian royal family and Kings show them to be more concerned with presenting themselves as having their hands on, or near, to apparatus and symbols of power than presenting themselves as war leaders and being more peaceable than their Jacobite rivals and cousins.
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