Tea at Trianon: Mystery of a 17th-Century Portrait

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Monday, April 20, 2026

Mystery of a 17th-Century Portrait

a painting of two very finely dressed boys, one is white and one is Black, the portrait is full-length and clearly old fashioned in its styling

From ArtNet:

It is not known when the painting entered the collection of the Sidney family, which has lived at Penshurst Place since Tudor times. However, it was first recorded at the family home in 1743 and has been on public display since 1947.
The NPG’s senior curator for research, Charlotte Bolland, has described the painting as “an incredibly early” full-length depiction of a person of African heritage in England. She told ITV that portraits were typically reserved for elite subjects “who were interested in conveying messages about themselves.” She described the portrait as particularly “ambitious and unusual” in its presentation of two young boys side-by-side.

Conservators have lifted layers of discolored varnish from the canvas, allowing the work to “really come to life,” said Bolland.

A deeper investigation into the portrait has so far included both a technical analysis, including examining pigments and using radiography to look beneath the surface, and extensive archival research to try and find hints about who the two boys might be. Speaking to the BBC, Bolland described the work as “a real collaborative effort.” Dress historians, hunting historians, and genealogists are among the experts who will weigh in. (Read more.)