That we were able to make a bid for the portrait is entirely due to the generosity of a former volunteer guide, Moira Carmichael. She had left a legacy which meant that we were not only able to bring King James back to the house but were also able to undertake a fascinating programme of research and conservation.
That research showed that the oil paints were brushed on to a wooden board made of three planks. The marks of tools used to fit the boards together and level the surface are still visible on the back.
This portrait is based on an original pattern by the artist John de Critz the Elder (1551/1-1642). There are records of payments for it in 1606 and 1607. It’s one of a number of versions made in the artist workshops at the time. Without TV or social media, the King relied on copies of portraits to make sure that his image was recognisable throughout the country
We are face to face with the first person to combine the thrones of England and Scotland. But looking at this painting I also also think of Miss Carmichael. It feels such a personal legacy and so much a part of the spirit of Montacute House.