Terms and conditions of use
Charles II, King of England
(c. 1662)
- Credit Line
- National Gallery of Victoria, Melbourne
Everard Studley Miller Bequest, 1959
- Gallery location
- 17th Century & Flemish Paintings Gallery
Level 2, NGV International
About this work
The beheading of King Charles I in 1649 was one of the most controversial events in English history. Royalists saw it as the martyrdom of an innocent man, while republicans believed it was a necessary step towards democracy. Following England’s infamous interregnum, Charles I’s son returned from exile and assumed the throne in 1660. Prints played a vital role in rallying support for the restored monarchy. Like other engravings from this period, this portrait of the new king features a poem that positions Charles II’s accession as his rightful inheritance and reinforces Charles I’s status as a martyr.
Artwork Details
printed in ink l.l.: The Second Charles Heire of ye (e above y) Royall Martyr; / Who, for Religion and his Subjects Charter; Spent ye (e above y) best blood that unjust Sword ere dy’de,
printed in ink l.c.l.: PN (monogram)ason pinxit: J : Chantry sculp:
printed in ink l.c.: HONI · SOIT · QVI · MAL · Y · PENSE / (coat of arms)
printed in ink l.c.r.: Tho: Crosse excud: J: Ogil:
printed in ink l.r.: Since the rude Souldier pierc'd our Saviours side; / Who such a Father had'st, art such a Son; / Redeem thy people and assume thy owne.
Everard Studley Miller Bequest, 1959
This digital record has been made available on NGV Collection Online through the generous support of the Joe White Bequest
Level 2, NGV International