Daniel Nijs (1572 - 1647). The Whitehall group is a term applied to a small circle of art connoisseurs, collectors, and patrons, closely associated with King Charles I, who introduced a taste for the Italian old masters to England. The term usually includes the advisors and agents who facilitated the group's acquisition of works of art. The term Whitehall Group was used by Oliver Millar in a magazine article in 1956 and subsequently in a 1958 book. He used the term Whitehall Circle in a book published in 1971. The term encompasses King Charles I himself and a number of his close associates including the Duke of Buckingham, the Earl of Arundel, the 3rd and 4th Earls of Pembroke, the Earl of Northumberland and the Duke of Hamilton. Between them, they introduced a taste for the Italian old masters to England. 16th century Italian paintings were more highly valued than Dutch pictures. Arundel was perhaps the most dedicated connoisseur of the group, whilst Hamilton may have taken an interest in art collecting simply to gain the ear of the King. The group acquired works through a network of advisors, agents, dealers and ambassadors who had a significant influence in the formation of the group's collections. These included William Petty, Sir Dudley Carleton and Inigo Jones. Following the accession of Charles I, art and collecting became an integral part of life at court. The group were able to exploit the low cost of paintings to accumulate significant collections in a short time. They collected paintings and other works of art including sculptures and tapestries. These were more highly prized than paintings in the 17th century. As far as paintings were concerned, they were primarily interested in acquisition of old masters, but did commission new works by outstanding contemporary artists such as Rubens and van Dyck. Between them they produced what Alex Trumble described as the most spectacular but short-lived episode in British connoisseurship. As a result of the Group's activities, on the eve of the Civil War, the area of London close to the Strand which included the London homes of most members of the group, contained some of the finest pictures in the world. Main article: Charles I of England King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his grandiose view of the monarchy. His interest in art was initially stimulated by his elder brother, Henry, and his enthusiasm was subsequently encouraged by George Villiers, 1st Duke of Buckingham. One of his first acquisitions was Woman in a fur wrap bought in a Madrid market while he and Buckingham were attempting to secure Charles's marriage to the sister of King Phillip IV. In the space of about twenty years, King Charles put together one of the largest collections of works of art in Europe, relying on the eyes and ears of a number of agents and connoisseurs. Charles bought extensively from Italy where economic conditions meant that collection owners needed to raise money. In 1628, he bought the fabulous collection that the Gonzagas of Mantua were forced to dispose of. As a result of this, his collection rivalled that of the King of Spain. His interest in art also resulted in him being given works by European rulers attempting to gain favour or as part of marriage negotiations. Following his accession in 1625 he tried to bring leading foreign painters to England. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens, who eventually came to London in 1630 on a diplomatic mission, was an especial target. While in London Rubens painted and later supplied more paintings from Antwerp. He was very well-treated during his nine-month visit, during which he was knighted. Charles eventually persuaded Ruben's pupil, Van Dyck, to settle in London. Charles employed English and foreign court painters from whom he commissioned new works. In addition to Van Dyck, these included Cornelius Johnson and Daniel Mytens. Van Dyck's portraits, particularly those on horseback that disguised the fact that Charles was very short, presented an authoritative and majestic image of the King. Much of his collection was put up for sale during the protectorate. Both Spanish and French collectors were active in obtaining paintings and a number of the best works are now in European collections. However, many of the works that were still in England at the time of the restoration were returned and now form part of the Royal Collection. Main article: Thomas Howard, 21st Earl of Arundel Thomas, Earl of Arundel and his wife Aletheia were dedicated art connoisseurs. They were arguably the greatest collectors in early Stuart England.