I. In a book of portraits in Vol. 266 of the BibliothÈque de la ville d’Arras, on folio 37, there is a portrait bearing Gloucester’s name, a reproduction of which hangs in the Bodleian Library. It appears among a series of portraits of people from the fourteenth to the seventeenth century, which represent in most cases Flemish grandees and prominent courtiers of the Court of Burgundy. On folio 36 there is a portrait of Jacqueline of Hainault, and on folio 35 another of the Dauphin John, her first husband. All are in crayon, and are probably the work of Jacques Le Boucq, a herald of the Toison d’Or, who was known as a painter in the days of Philip II. of Spain. It has been thought probable that he copied contemporary portraits for these crayon drawings, and if this be true, he provides us with the only attempt at real portraiture of Duke Humphrey (Catalogue of the Arras Library; Les Portraits Aux Crayons, by Henri Bouchet, Paris, 1884).

II. In the initial letter of the dedication to Duke Humphrey, prefixed to Capgrave’s Commentary on Genesis, a miniature portrays the author in the act of presenting his book to his patron. The workmanship of this miniature is too coarse to allow of any portraiture, though a slight likeness to the Arras portrait may be traced (Oriel MS., xxxii.). A line reproduction of the Duke’s head, taken from this manuscript, is given in Doyle’s Official Baronage.

III. In a register at St. Albans Abbey there is a small illumination representing Duke Humphrey and his wife Eleanor, painted on the occasion of the latter’s reception into the confraternity of St. Albans. There is here a more successful attempt at portraiture than in the Oriel manuscript, and the type of face, long, clean shaven, almost apathetic, is similar to that in the Arras drawing. Nevertheless, here as elsewhere there is no real character in the face of Humphrey, and still less in that of his wife; there is, indeed, a strong suggestion of mediÆval formalism (Cotton MS., Nero, D. vii. f. 154).

IV. Among the royal collection of manuscripts in the British Museum there is a Psalter which was prepared for Duke Humphrey, and which, besides being beautifully illuminated, bears a miniature which may contain a portrait of the owner (Royal MS., 2, B. i.). It represents a man kneeling at a Prie-Dieu, with a patron standing behind him. The kneeling figure may very well be taken to represent the owner of the book. Again there are very few signs of portraiture, but such as it is, the miniature seems to be the likeness of Humphrey when still a young man The manuscript was written about 1415, which would lead us to suppose that the artist here tried to present the Duke’s features at the age of twenty-five.

V. In the church at Greenwich which was destroyed in 1710 there was a stained-glass window representing the Duke in a kneeling posture. A copy of this window is still extant, and is to be found as the headpiece of the preface to the old catalogue of manuscripts contained in the Bodleian Library (Oxford, 1697). A rough drawing thereof, executed in 1695, is also to be found in Tanner MS., 24, f. 107, and another, dating from some seventy-five years earlier, exists in Ashmole MS., 874, f. 113^vo. Humphrey is represented in armour, and in appearance he is here totally unlike any of the above-mentioned portraits, being represented as wearing a beard. The window was probably placed in Greenwich church some time after his decease.

VI. In the year 1610 there was at the west end of the church of St. Helen’s, Abingdon, a glass window, in which were portraits of Henry V. and his three brothers. ‘These Dukes be in their robes and their coronalls with their arms over their Hedds, and their names written under their feet.’ No drawing of this window has survived, and it has disappeared as completely as the one in Greenwich church. (Ashmole MS., 874, f. 113^vo.)

VII. Horace Walpole possessed amongst his collection of pictures at Strawberry Hill three paintings in which he claimed there were portraits of Duke Humphrey. The first was a representation of the marriage of Henry VI., and Walpole thought that it was probably designed for the King, but executed after his death. The King and Queen stand in the front of the picture, and behind the former is a nobleman, bald headed, with a beard, and wearing a furred mantle. The workmanship throughout shows considerable power and expression, and would seem to be of a later date than is supposed. (Walpole, Anecdotes of Painting in England, London, 1876, i. 34, 35; Catalogues of Strawberry Hill Sale, p. 197.) The second picture was once part of the doors of a shrine in the Abbey of St. Edmundsbury, which Walpole had sawed into four panels. According to his judgment two of the panels bear portraits of Cardinal Beaufort and Archbishop Kemp; the third may represent St. Joseph in adoration, or more probably the donor, the fourth is described as a portrait of Duke Humphrey of Gloucester, and corresponds exactly in dress and appearance with the figure said to be a likeness of the same Duke in the ‘Marriage of Henry VI.’ The third and fourth panels ‘are so good that they are in the style of the school of the Caracci. They at least were painted by some Italian; the draperies have large folds, and one wonders how they could be executed in the reign of Henry VI.’ (Walpole’s Letters, Mrs. Paget Toynbee’s edition, xi. 183, 184; Catalogue of Strawberry Hill Sale, p. 211.) Probably neither of these pictures was painted in the reign of Henry VI. The King would not have wished to have the uncle whom he had been taught to hate introduced into a picture of his marriage, nor would a contemporary have painted Cardinal Beaufort, Kemp, and Gloucester on adjoining panels. Far more probably the marriage picture represents the union of the houses of Lancaster and York in the persons of Henry VII. and his wife Elizabeth, an event fraught with far more significance than the one suggested by Walpole, and the shrine is most likely of much the same date. However, Walpole’s theory had been universally accepted, and prints of the figure from the panel of St. Edmundsbury were made, as being an authentic likeness of the Duke of Gloucester (Ackerman’s History of Oxford (London, 1814), ii. 272; Collections for the History of Hertfordshire, by N. Solomon, i. 87: Extra illustrated copy of Wood’s History and Antiquities of the University of Oxford in the Bodleian, MS. Top. Oxon., c. 16, p. 914). George Perfect Harding also painted one of his well-known water-colour portraits from this panel, and it is now in the possession of Miss C. Agnes Rooper, Per Selwood, Gervis Road, Bournemouth. It is to be noticed that the likeness between the two so-called portraits of Gloucester is not so exact as Walpole would have us think, for whereas, in the marriage of Henry VI., he is represented with a beard, in the panel he is clean shaven. This last, though probably not contemporary, seems to possess some indications that it represents the same face as the Arras manuscript, but at a later stage of life. Also it was quite possible that when personal rivalries had been forgotten in the lapse of years, the monks of Bury might erect a memorial to one of their patrons, along with others who had not been his friends during his life. Nevertheless, we cannot generalise as to Humphrey’s appearance from this portrait, which, to say the least, has a doubtful authenticity. The third picture of the Strawberry Hill collection, said to contain a portrait of the Duke of Gloucester, was once an altar-piece at Shene, and was probably painted for Henry VII. It represents Henry V. and his three brothers, together with his wife and other ladies, but the faces have no individuality, and are too conventional to be taken as portraits. These three pictures were sold to two different buyers at the Strawberry Hill sale. The ‘Marriage of Henry VI.’ and the panels from St. Edmundsbury were bought by the Duke of Sutherland, while the picture of Henry V. and his family went to the Earl of Waldegrave (Catalogue of the Strawberry Hill Sale).

VIII. In St. Mary’s Hall, Coventry, there is an Arras tapestry, which hangs below the north window. It is divided into six compartments, the two centre ones containing allegorical figures, and in the upper ones to left and right certain saints are represented. In the remaining two compartments a king and queen kneel before desks with their suite in attendance. The king and queen are supposed to be Henry VI. and his wife. Behind the king stands a bearded figure, which ‘is with no small reason supposed to be the good Duke of Gloucester’ (Thomas Sharp, Dissertation on the Pageants or Mysteries at Coventry (Coventry, 1825); The Coventry Guide (Coventry, 1824), p. 46; The History of the Antiquities of the City of Coventry, No. vi. pp. 187, 188; Handbook of the Arts of the Middle Ages and Renaissance, by M. Jules Labarte (London, 1855), p. 90. An illustration of the tapestry is to be found in this last). However, the workmanship of this tapestry tends to prove that it dates from Tudor rather than Lancastrian times, and in all likelihood it was made to celebrate the visit of Henry VII. and his Queen to Coventry, not that of Henry VI. and Margaret. Both these monarchs and their consorts were members of the Guild of the Holy Trinity in that city.