The True Effigies of Hezekiah Holland

Minister of the Gospell at Sutton Valance in Kent. This is the frontispiece from his tome entitled An exposition, or, A short, but full, plaine, and perfect epitome of the most choice commentaries upon the Revelation of Saint John, published in 1650. Amongst other bombshells, the book revealed that the end of the world was 216 years away. A comforting result for Hezekiah, but not so much for us. The Reverend Holland was originally from Ireland and an independent cleric who had been appointed a living by Parliament when the previous incumbent Robert Smith was ousted for his Royalist leanings.

The engraving shows a few quirky details, not least the overlarge hand emerging from the folds of his gown holding a book and the odd way his plain falling band corners cross over. Perhaps this is a bit more true to life than the perfect versions we usually see. It gives the minister a bit more character I think. He is also wearing a plain black day cap and a short tabbed doublet of the kind that had been generally worn, but had not been the height of fashion, since the 1630s at least. The tassels on his band strings are nice too.

Sir Francis Acland 2nd Baronet

Painted by a follower of Gilbert Jackson in 1645 four years before his untimely death, Sir Francis was the son of John Acland the Devonian peer who was created first Baronet Acland of Colum John in 1644 by Charles I. The 2nd baronet’s peerage didn’t last long.

Here he is, still very much alive with his dog in an embroidered silk or wool worsted doublet with ribbon decoration at the waist and one of those falling bands that is entirely lace with some nice pom poms on his band strings. That’s Sir Francis in the doublet, not the dog. The picture is kept in the National Trust property Killerton House near Exeter.

Sir William Dugdale

Engraved by Hollar  and used as the frontispiece to The antiquities of Warwickshire illustrated from records, leiger-books, manuscripts, charters, evidences, tombes, and armes : beautified with maps, prospects and portraitures first published in 1656.

Sir William was an antiquary famed for his work recording church monuments, inscriptions and coats of arms which he undertook in the hope that they could be recorded before they were destroyed during the war. He also acted as King’s herald at Edgehill and in the summoning of Banbury, Warwick and Coventry to submit to royal authority.

Here he is seated amongst his books dressed in a long, fur lined coat  with furred cuffs on the sleeves over a doublet, wide brimmed hat and breeches. He has double ruffs on his shirt sleeves and a decorative tassel on his band strings.

Charles I and Sir Edward Walker

Painted by an unknown artist shortly after 1650, this is a study of Charles and his Secretary at War Edmund Walker, ostensibly on campaign. The poses are staged in a tableau of Charles dictating a despatch, or maybe a proclamation to go to the printers. It’s such a static scene that it almost looks like a wax work, though notice all the subtle differences, not just in the poses, but also the clothes they are wearing that mark Charles out as the leader and Sir Edmund as the follower

Both men are wearing the blue ribbon as members of the Order of the Garter. They are both also oddly colour coordinated with each other, wearing blue doublet and breeches embroidered with gold thread, though the King’s doublet is more finely figured. Their buff coats match, though again Charles’s is more highly decorated. Edmund’s linen is plain whilst the King’s is edged with lace. He is also sporting a gilded breastplate. The picture hangs in the NPG in London and is © National Portrait Gallery.