are of royalty or the more important nobility; the oldest work in the collection is a portrait of James IV of Scotland from 1507. The collection includes two portraits of Mary, Queen of Scots, although neither dates from her lifetime; one was painted some 20 years after her death in 1587, and the other is later still; there are also a number of 19th-century paintings showing scenes from her life. Mary's circle is actually better represented by portraits from the life, with her three husbands all having portraits, including Darnley by Hans Eworth and an unknown painter, and miniatures from 1566 of Bothwell and his first wife. There is a portrait of Mary's nemesis, Regent Morton, by Arnold Bronckhorst who was from 1581 the first artist to hold the title of "King's Painter" in Scotland, though he only spent about three years there. The gallery holds several works by Bronckhorst and his successor, Adrian Vanson; both were skilled painters in the Netherlandish tradition. The collection includes portraits by Bronckhorst and Vanson of James VI and I, but the others were made after he succeeded to the English throne and moved to London, where the many portraits of other Stuart monarchs were also mostly painted. The first significant native Scot to be a portrait painter, George Jamesone (1589/90-1644) only once got the chance to paint his monarch, when Charles I visited Edinburgh in 1633. The collection includes two Jamesone self-portraits and portraits of the Scottish aristocracy, as well as some imagined portraits of heroes of Scotland's past. There are three portraits by Jamesone's talented pupil John Michael Wright and ten aristocratic portraits by Sir John Baptist Medina, the last "King's Painter" before the Acts of Union 1707. The display "Blazing with Crimson: Tartan Portraits" (until December 2013) concentrates on portraits featuring tartan, which begin to be painted in the late 17th century, at that time apparently with no political connotations. The museum has one of the earliest examples, a full-length portrait of 1683 by John Michael Wright of Lord Mungo Murray, son of John Murray, 1st Marquess of Atholl, wearing a belted plaid for hunting. The wearing of tartan was banned after the 1745 Jacobite Rebellion, but reappears in grand portraits after a few decades, before becoming ever more popular with Romanticism and the works of Sir Walter Scott. Also wearing tartan is Flora MacDonald, painted by Richard Wilson in London