Who painted Allegory on the Crowning of Charles II?

Allegory on the Crowning of Charles II was painted by Unknown in 1650.

Where can I see Allegory on the Crowning of Charles II?

Allegory on the Crowning of Charles II is held by Statens Museum for Kunst.

Artwork

Allegory on the Crowning of Charles II

Allegory on the Crowning of Charles II is a photography by Unknown. It dates from 1650 and is held in the collection of the Statens Museum for Kunst.

About this work

Overview

Allegory on the Crowning of Charles II is a mid‑seventeenth‑century work, attributed to an artist identified only as “1978_person.” Executed around 1650, the composition is preserved in the collection of the Museum of Ethnography. The image presents a staged tableau of seven figures arranged within an expansive, arched interior, rendered in monochrome.

Subject & Meaning

To the right, classical‑dressed figures—two men and a woman—pose with attributes such as a scroll and a column, reinforcing themes of legitimacy and governance.

The scene depicts an allegorical representation of Charles II’s coronation. Central to the narrative is a seated female figure cradling a child, flanked by other women who gesture toward her, suggesting a symbolic transmission of authority. To the right, classical‑dressed figures—two men and a woman—pose with attributes such as a scroll and a column, reinforcing themes of legitimacy and governance.

Technique & Style

The work employs a stark chiaroscuro scheme, using pronounced contrasts of light and shadow to model the figures and enhance spatial depth. The dramatic illumination highlights the drapery and facial expressions, while the architectural backdrop of towering arches and columns contributes to a sense of grandeur. The monochrome medium emphasizes tonal variation over color.

History & Provenance

Created circa 1650, the piece entered the Museum of Ethnography’s holdings at an unspecified date, where it remains part of the permanent collection. Its attribution to the enigmatic “1978_person” reflects a later scholarly identification rather than a contemporary signature, indicating ongoing research into its authorship.

Context

The allegorical format aligns with the visual language of Restoration England, when artists frequently employed classical motifs to celebrate the return of the monarchy. The inclusion of symbolic figures—such as the child and the scroll‑bearing man—mirrors contemporary iconography that linked royal authority to divine and historical precedent.