Between 1605 and 1608 Knole was transformed into a dazzling Renaissance palace by Thomas Sackville, 1st Earl of Dorset. All around its largest Gallery ran a frieze of nearly fifty oval portraits, of which thirty-eight survive on their original rectangular framed oak panels. In 1702 the paintings were prised from their walls and moved elsewhere in the house. The surviving panels had deteriorated, mostly owing to movement in their wood being restrained by their original engaged batten frames. Sources state that in 1793 the paintings restorer Francis Parsons was responsible for significant interventions that effectively changed the set from fragments of a fitted Jacobean decorative interior into a hang of individual paintings in a more contemporary neoclassical livery. Aesthetic changes made by Parsons reflect a change in taste during this era whilst simultaneously addressing the paintings' physical deterioration—principally interventions to the back of the panels in an attempt to keep the portraits flat. Additionally, the set was augmented with six portraits, possibly older than Sackville's original set. These treatments carried out during the eighteenth century to stabilize, restore, augment and update this important Jacobean portrait set demonstrate careful manipulation of their condition and significance.

1605 年至 1608 年间，第一代多塞特伯爵托马斯·萨克维尔将诺尔改造成一座令人眼花缭乱的文艺复兴时期的宫殿。其最大的画廊周围环绕着近五十幅椭圆形肖像，其中三十八幅幸存于其原始的矩形框橡木板上。1702 年，这些画作被从墙上取下并移到房子的其他地方。幸存的面板已经恶化，主要是由于其木材的运动受到其原始接合的板条框架的限制。消息来源称，1793 年，绘画修复师弗朗西斯·帕森斯（Francis Parsons）负责重大干预，有效地将布景从合身的雅各布装饰内部的碎片变成了更现代的新古典主义涂装中的一系列独立绘画。Parsons 所做的美学变化反映了这个时代的品味变化，同时解决了画作的物理退化问题——主要是对面板背面的干预，以保持肖像平整。此外，该布景还增加了六幅肖像，可能比萨克维尔的原始布景还要古老。这些在 18 世纪为稳定、恢复、增强和更新这幅重要的雅各比肖像画集而进行的处理，展示了对其状况和意义的精心操纵。