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 https://archive.org/details/anecdotesofpaint01walp_2 
 
AN E C DOTE S 
 
 O F 
 
 PAINTING in ENGLAND; 
 
 With fome Account of the principal Artifts ; 
 
 And incidental NOTES on other ARTS; 
 Colle&ed by the late 
 
 Mr. G E O RG E VERTUE; 
 
 And now digefted and pubiifhed from his original MSS. 
 
 By Mr. HORACE WALPOLE. 
 
 The SECOND EDITION. 
 
 Multa renafcentur quae jam cecidere. 
 
 VOL. I. 
 
 Printed by THOMAS KIRGATE at Strawberry-Hill, 
 
 MDCCLXV. 
 
To the Right Honorable 
 
 MARY LEPEL, 
 
 Baronefs Dowager HERVEY of Ickworth. 
 Madam, 
 
 Ifhall only fay in excufe for offering this work to 
 your Ladyfhip, that if I could write any thing re- 
 ally deferving your acceptance, I fhould not prefix your 
 name to fuch trifles as the following fheets. But my 
 gratitude for the goodnefs and unmerited diftin&ion 
 which your Ladyfhip has fo long fhown me, is impa- 
 tient to exprefs itfelf j and though in the prefent cafe 
 
 lam 
 
DEDICATION. 
 
 I am rather an editor than an author, yet having little 
 purpofe of appearing again in the latter chara&er, I 
 am forced to pay my debts to your Ladyfhip with 
 Mr. Vertue's coin. If his induftry has amaffed any 
 thing that can amufe one or two of your idle hours, 
 when neither affe&ion, friendfhip, nor the feveral du- 
 ties which you fill with fo much eafe and dignity, 
 have any demands upon you, I ftiall think his life was 
 well employed ; I am fure my time will have been fo, 
 if I have made hinT tolerable company to my lady 
 Hervey, who has converfed familiarly with the moft 
 agreable perfons dead and living of the moft polifhed 
 ages and moft polifhed nations. 
 
 I am^ Madam, 
 
 your Ladyftjip's 
 
 moft obedient Servant ! , 
 
 HORACE WALPOLE. 
 
PREFACE. 
 
 WHEN one offers to the public the labours of another perfon, 
 it is allowable and precedented to expatiate in praife of the 
 work. Of this indulgence however I (hall not make ad- 
 vantage. The induftry of Mr. Vertue was fufRciently known : the 
 antiquarian world had fingular obligations to him. The many valu- 
 able monuments relating to our hiftory, and to the perfons of our mo- 
 narchs and great men, which he faved from oblivion, are lading evi- 
 dences of his merit. What thanks are due to him for the materials of 
 the following meets, the public muft determine. So far from endea- 
 vouring to prepofTefs them in favour of the work, it mall be my part 
 fairly to tell them what they muft expect. 
 
 In Italy, where the art of painting has been carried to an amazing 
 degree of perfection, the lives of the painters have been written in num - 
 berlefs volumes, alone fufficient to compofe a little library. Every pic- 
 ture of every confiderable mafter is minutely defcribed. Thofe bio- 
 graphers treat of the works of Raphael and Corregio with as much 
 importance as commentators fpeak of Horace or Virgil ; and indulging 
 themfelves in the inflated ftyle of their language, they talk of pictures 
 as works almoft of a divinity, while at the fame time they lament them 
 Vol. I. a as 
 
vi PREFACE. 
 
 as perifhing before their eyes. France, neither poffeffed of fuch matters, 
 nor fo hyperbolic in their diction, contrives however to fupply by va- 
 nity what is wanting in either. Pouftin is their miracle of genius •> Le 
 Brun would difpute precedence with half the Roman fchool. A whole 
 volume is written even on the life and works of Mignard. Voltaire, 
 who underftands almoft every thing, and who does not fufpect that 
 judgment in painting is one of his deficiences, fpeaks ridiculoufly in 
 commendation of fome of their performers. 
 
 This country, which does not always err in vaunting it's own produc- 
 tions, has not a fmgle volume to fhow on the works of it's painters. 
 In truth, it has very rarely given birth to a genius in that profeflion. 
 Flanders and Holland have fent us the greateft men that we can boaft. 
 This very circumftance may with reafon prejudice the reader againft a 
 work, the chief bufinefs of which muft be to celebrate the arts of a 
 country which has produced fo few good artifts. This objection is fo 
 ftriking, that inftead of calling it 'The Lives of Englijh Painters^ I 
 have fimply given it the title of Anecdotes of Painting in England. As 
 far as it anfwers that term, perhaps it will be found curious. The in- 
 defatigable dains of Mr, Vertue left nothing unexplored that could il- 
 luminate his fubject, and collaterally led him to many particularities 
 that are at leaft amufing : I call them no more, nor would I advife any 
 man, who is not fond of curious trifles, to take the pains of turning 
 over thefe leaves. From the antiquarian I expect greater thanks \ he is 
 more cheaply pleafed than a common reader : the one demands to be 
 diverted, at leaft inftructed — the other requires only to be informed. 
 
 Mr. Vertue had for feveral years been collecting materials for this 
 work; He converfed and correfponded with moil of the virtuofi in 
 
 England \ 
 
PREFACE. vii 
 
 England ; he was perfonally acquainted with the oldeft performers m 
 the fcience; he minuted down every thing he heard from them. He 
 vifited every collection, made catalogues of them, attended fales, co- 
 pied every paper he could find relative to the art, fearched offices, re- 
 gifters of parifhes and regifters of wills for births and deaths, turned 
 over all our own authors, and tranflated thofe of other countries which 
 related to his fubject. He wrote down every thing he heard, faw, or 
 read. His collections amounted to near forty volumes large and 
 fmall : In one of his pocket-books I found a note of his firft intention 
 of compiling fuch a work.; it was in 17 13 ; he continued it afliduoufiy 
 to his death in 1757. Thefe MSS. I bought of his widow after his 
 deceafe and it will perhaps furprize the reader to find how near a 
 compleat work is offered to him, though the refearch was commenced 
 at fo late a period : I call it commenced ; what little had been done 
 before on this fubject, was fo far from affiftance, it was fcarce of ufe* 
 The fketch, called, An EJfay towards an Engli/h School, at the end of 
 the tranflation of Depiles, is as fuperficial as poffible ; nor could a fact 
 fcarce be borrowed from it 'till we come to very modern times. In 
 ■general I have been fcrupulous in acknowledging both Mr. Vertue's 
 debts and my own. The catalogues of the works of Hollar and Simon, 
 and thofe of the collection of King Charles L King James II. and the 
 Duke of Buckingham, were part of Mr. Vertue's original plan, which 
 is now compleated by the r e volumes. 
 
 The compiler had made feveral draughts of a beginning, and feveral 
 lives he had written out, but with no order, no connection, no accu- 
 racy; nor was his ftyle clear or correct enough to be offered to the 
 reader in that unpoliflicd form. I have been obliged to compofe 
 
 a- new 
 
viii PREFACE. 
 
 a-new every article, and have recurred to the original fountains from 
 whence he drew his information; I mean, where it was taken from 
 books. The indigefted method of his collections, regiftered occafio- 
 nally as he learned every circumftance, was an additional trouble, as I 
 was forced to turn over every volume many and many times, as they 
 laid in confufion, to collect the articles I wanted •, and for the fecond 
 arid third parts, containing between three and four hundred names, I 
 was reduced to compofe an index myfelf to the forty volumes. One 
 iatisfaction the reader will have, in the integrity of Mr. Vertue it 
 exceeded his induftry, which is faying much. No man living, fo bi- 
 gotted to a vocation, was ever fo incapable of falfhood He did not 
 deal even in hypothecs, fcarce in conjecture. He vifited, and revifited 
 every picture, every monument, that was an object of his refearches ; 
 and being fo little a flave to his own imagination, he was cautious of 
 trufting to that of others. In his memorandums he always put a quaere 
 againft whatever was told him of fufpicious afpect ; and never gave cre- 
 dit to it till he received the fulled fatisfaction. Thus whatever trifles 
 the reader finds, he will have the comfort of knowing that the greateft 
 part at leaft are of moft genuine authority. Whenever I have added 
 to the compiler's ftores, I have generally taken care to quote as religi- 
 oufly the fource of my intelligence. Here and there I have tried to 
 enliven the drynefs of the fubject by inferting facts not totally foreign 
 to it. Yet upon the whole I defpair of it's affording much entertain- 
 ment. The public have a title to whatever was defigned for them: I 
 offer this to them as a debt — nobody will fufpect that I fhouldhave 
 chofen fuch a fubject for fame. 
 
 If the obfervation of a dearth of great names in this lift fhould ex- 
 cite emulation, and tend to produce abler matters, Mr. Vertue, I be- 
 lieve, 
 
PREFACE. fx 
 
 lieve, and I mould be glad to have the continuation of the work do 
 greater honour to our country. It would be difficult perhaps to affign 
 a phyfical reafon, why a nation that produced Shakefpear, fhould owe 
 it's glory in another walk of genius to Holbein and Vandyck. It can- 
 not be imputed to want of protection : Who countenanced the arts 
 more than Charles the Firft? That Prince, who is cenfured for his want 
 of tafle in penfioning Quarks, is celebrated by the fame pen for em- 
 ploying Bernini — b t want of protection is the apology for want of 
 genius: Milton and Fontaine did not write in the bafk of court-favour. 
 A poet or a painter may want an equipage or a villa, by wanting pro- 
 tection : They can always afford to buy ink and paper, colours and 
 pencils. Mr. Hogarth has received no honours, but univerfal admi- 
 ration. 
 
 But whatever has been the complaint formerly, we have ground to 
 hope that a new aera is receiving it's date. Genius is countenanced, 
 and emulation will follow; Nor is it a bad indication of the fiourifh- 
 ing ftate of a country, that it daily makes improvements in arts and 
 fciences. They may be attended by luxury, but they certainly are pro- 
 duced by wealth and happinefs. The conveniences, the decorations of 
 life are not ftudied in Siberia, or under a Nero. If fevere morality 
 would at any time expect to eftablifh a thorough reformation, I fear it 
 muft chufe inhofpitable climates, and abolifh all latitude from the 
 laws. A corporation of merchants would never have kept their oaths 
 to Lycurgus of obferving his flatutes 'till he returned. A good go- 
 vernment, that indulges it's fubjecls in the exercife of their own 
 thoughts, will fee a thoufand inventions fpringing up, refinements will 
 follow, and much pleafure and fatisfaction will be produced at leafl be- 
 fore that excefs arrives, which is fo juftly faid to be the forerunner of 
 
 Vol. I, b ruin. 
 
x PREFACE. 
 
 ruin. But all this is in the common courfe of things, which tend to 
 perfection, and then degenerate. He would be a very abfurd legifla- 
 tor, who mould pretend to fet bounds to his country's welfare, left it 
 mould perim by knowing no bounds. Poverty will ftint itfelf riches 
 mud be left to their own difcretion ; they depend upon trade, and to 
 circumfcribe trade is to annihilate it. It is not rigid nor Roman to fay 
 it, but a people had better be unhappy by their own fault, than by that 
 of their government. A Cenfor morum is not a much greater bleffing 
 than an Arbiter elegantiarum. The world, I believe, is not at all agreed 
 that the aufterities of the Prefbyterians were preferable to the licenti- 
 oufnefs under Charles II. I pretend to defend the one no more than 
 the other but I am fure that in the body politic, fymptoms that prog- 
 nofticate ill, may indicate well. All I meaned to fay was, that the dif- 
 pofition ro improvements in this country is the confequence of it's vi- 
 gour. The eftablimment of a fociety for the encouragement of arts 
 will produce great benefits before they are perverted to mifchiefs. 
 The bounties beftowed by that fociety, for facilitating the necefTaries 
 of life to the poor, for encouraging the ufe of our own drugs and ma- 
 terials, or for naturalizing thofe of other countries, are beftowed on 
 noble principles and with patriot views. That fociety does not ne- 
 glect even the elegancies of life: Arts that are innocent in themfelves, 
 and beneficial to the country, either by adding value to our produc- 
 tions, or by drawing riches as they invite ftrangers to vifit us, are 
 worthy the attention of good citizens-, and in all thofe lights that fo- 
 ciety acts upon a national and extenfive plan. 
 
 The art, that is chiefly the fubject of thefe pages, is one of the leaft 
 likely to be perverted : Painting has feldom been employed to any bad 
 purpofe. Pictures are but the fcenery of devotion. I queftion if Ra- 
 phael 
 
PREFACE. xi 
 
 phael himfelf could ever have made one convert, though he had ex~ 
 haufted all the expreffion of his eloquent pencil on a feries of popifh 
 doctrines and miracles. Pictures cannot adapt themfelves to the 
 meaneft capacities, as unhappily the tongue can. Nonfenfe may make 
 an apprentice a catholic or a methodift; but the apprentice would fee 
 that a very bad picture of St. Francis was not like truth ; and a very 
 good picture would be above his feeling. Pictures may ferve as helps 
 to religion ; but are only an appendix to idolatry, for the people muft 
 be taught to believe in falfe gods and in the power of faints, before 
 they will learn to worlhip their images. I do not doubt but if fome 
 of the firft reformers had been at liberty to fay exactly what they 
 thought, and no more than they thought, they would have permitted 
 one of the moft ingenious arts implanted in the heart of man by the Su- 
 preme Being to be employed towards his praife. But Calvin by his te- 
 nure, as head of a feet, was obliged to go all lengths. The vulgar will 
 not lift but for total contradictions: They are not ftruck by feeing re- 
 ligion fliaded only a little darker or a little lighter. It was at Conftan 
 tinople alone where the very fhopkeepers had fubtlety enought to fight 
 for a letter more or lefs in a Greek adjective* that exprefTed an abftract 
 idea. Happily at this time there is fo total an extinction of all party- 
 animofity both in religion and politics, that men are at liberty to pro- 
 pofe whatever may be ufefull to their country, without it's being impu- 
 ted to them as a crime, and to invent what they mean mould give 
 pleafure without danger of difpleafing by the very attempt. 
 
 At 
 
 * In the decline of the empire there were two fects who proceeded to the 
 greateft violences againft each other in the difpute whether the nature of the 
 /econd perfon was '°^a^ t co-effentialis j or o/*o»*™ ? , fimilis efTentiae. 
 
xii PREFACE. 
 
 At this epoch of common fenfe, one may reafonably expect to fee the 
 arts flounfh to as proud a height as they attained at Athens, Rome v or 
 Florence. Painting has hitherto made but faint Efforts in England. 
 Our eloquence and the glory of our arms have been carried to the 
 higheft pitch. The more peaceful! arts have in other countries gene- 
 rally attended national glory. If there are any talents among us, this 
 feems the crifis for their appearance: The Throne itfelf is now the altar 
 of the graces, and whoever Sacrifices to them becomingly, is fure that 
 his offerings will be fmiled upon by a Prince, who is at once the exam- 
 ple and patron of accomplimments. The inftitution of a fchool of 
 ftatuary in the houfe of a young * Nobleman of the firft rank rivals the 
 boafled munificence of foreign Princes. When we abound with heroes, 
 orators and patrons, it will be hard if their images are not tranfrnitted 
 co pofterity under gracefull representations. 
 
 This is by no means faid to depreciate the artifts we have, but to in- 
 spire with emulation thofe arifing. Ryfbrack, Roubiliac, Scheemaker, 
 Wilton, would do honour to any country : But hitherto their (kill has 
 been in a manner confined to private monuments. When we have fub^- 
 jects for hiflory, the people mould read on public edifices the actions 
 of their anceflors and fellow-citizens in bafreliefs : Bufts and ftatues 
 mould reward the galant behaviour of the brave, and exhibit them as 
 models. What made Rome more venerable than every ftreet being an 
 illuflration of Livy? Painting has been circumfcribed within as felfifh 
 bounds as ftatuary j hiftoric compofitions totally neglected. Reynolds 
 and Ramfay have wanted fubjects, not genius. There is another artift, 
 who feems born for an age of naval glory, and is equal to it, Mr. Scott* 
 
 Architecture,, 
 
 * The Duke of Richmond. 
 
PREFACE. xiii 
 
 Architecture, the moft fuitable field in which the genius of a people, 
 arrived at fuperiority, may range, feems reviving. The tafte and (kill 
 of Mr. Adam is formed for public works. Mr. Chambers's treatife* 
 is the moft fenfible book and the moft exempt from prejudices that ever 
 was written on that Icience. But of all the works that diftinguifh this 
 age, none perhaps excell thofe beautifull editions of Balbec and Palmy- 
 ra — not publifhed at the command of a Louis quatorze, or at the ex- 
 pence of a cardinal nephew, but undertaken by private curiofity and 
 good fenfe, and trufted to the tafte of a polifhed nation. When I en- 
 deavour to do juftice to the editions of Palmyra and Balbec, I would not 
 confine the encomium to the fculptui es ; the books have far higher me- 
 rit. The modeft defcriptions f prefixed are ftandards of writing : The 
 exact meafure of what mould and mould not be faid, and of what was 
 neceffary to be known, was never comprehended in more clear diction, 
 or more elegant ftile. The pomp of the buildings has not a nobler air 
 than the fimplicity of the narration. — but I muft reftrain myfelfj tho' 
 it is pleafing to expatiate on the juft praife of one's country ; and they 
 who cannot perform great things themfelves,mayyethaveafatisfac"fion 
 in doing juftice to thofe who can. If Juvenal was honeft in his fatires, 
 he would have been happy if he could have lived to write the panegy- 
 ric of Trajan. 
 
 * On civil architecture, folio, 1759. 
 t By Mr. Wood. 
 
 Vou. I. 
 
 CONTENTS 
 
CONTENTS 
 
 OF THE 
 
 FIRST VOLUME. 
 
 - C H A P. I. 
 
 CJ^HE earlieft Accounts of Painting in England. 
 
 c H A P. II. 
 
 State of Painting from the Reign of Henry III. to the End of Henry VI. 
 
 CHAP. III. 
 
 Continuation of the State of Painting to the End of Henry VIL 
 
 CHAP. IV. 
 
 Painters in the Reign of Henry VIII. 
 
 c H A p. v. 
 
 State of Architecture to the End of the Reign of Henry VIIL 
 
 CHAP. VI. 
 
 State of Painting under Edward VI. and Mary. 
 
 c H A p. VIL 
 
 Painters in the Reign of Queen Elizabeth. 
 
 ANECDOTES 
 
Anecdotes of PAINTING, &c. 
 
 C H A P. I. 
 
 "The earliejl Accounts of Painting in England. 
 
 THEY who undertake to write the Hiftory of any art, are fond 
 of carrying it's origine as far back as poflible. When This 
 tends to fliow the improvements made in it, by comparing 
 latter works with the firft rude inventions, it may be of fervice ; but 
 it often happens that the Hiftorian thinks the antiquity of a difcovery 
 reflects honour on his country, though perhaps his country has been fo 
 carelefs or has wanted genius fo much, as to have refined very little on 
 the original hints. Some men pufh this farther, and venerate the firft 
 dawnings of an art more than it's productions in a riper age. The 
 inventor may have had more genius, but the performances of the im- 
 prover muft be more perfect. Mr. Vertue had taken great pains to 
 prove that painting exifted in England before the reftoration of it in 
 Italy by Cimabue. If what we pofifeiTed of it in thofe ignorant times 
 could be called painting, I fuppofe Italy and every nation in Europe re- 
 tained enough of the deformity of the art to conteft with us in point of 
 antiquity. That We had gone backwards in the fcience farther almoft 
 than any other country, is evident from our coins, on which there is no 
 more of human fimilitude, than an infant's firft fcrawl of the profile of 
 Vol. I. A a face; 
 
2 ffoe earliefi Accounts of Painting in England. 
 
 a face; and fo far therefore as badnefs of drawing approaches to anti- 
 quity of ignorance, we may lay in our claim to very ancient pofleflion e 
 As Italy has fo long excelled us in the refinement of the art, me may 
 leave us the enjoyment of original imperfection. 
 
 However, as Mr. Vertue's partiality flowed from love of his coun- 
 try, and as this is defigned for a work of curiofity, not of fpeculatiorv 
 and reafoning, I mall faithfully lay before the reader fuch materials as 
 that laborious antiquarian had amafled for deducing the Hiftory of 
 Englim Painting from a very early period. 
 
 The*firft evidences in favour of the art are drawn from our records -f, 
 
 which 
 
 * Dr. Thorpe M. D. when writing his hiflory of the town and dio- 
 cefe of Rochefter, difcovered at the weft end of that cathedral two bufts 
 of Henry I. and his queen in ftone, which had never been obferved be- 
 fore. 
 
 f Since the firft edition of this work I have been informed by a curi- 
 ous gentleman, that the earlieft place in a catalogue of Englifh painters 
 is due to St. Wolftan bifhop of Worcefter in 1062, or at leaft to Erve- 
 nius or Erwen, his mafter. William of Malmfbury, who wrote the life 
 of Wolftan in three books, gives the following account j " Habebat tunc 
 [Wolftanus] magiftrum Ervenium nomine, infcribendo et quidlibet colo- 
 iibus effingendo peritum. Is libros fcriptos, facramentarium & pfalterium, 
 quorum principales litteras auro effigiaverit, puero Wolftano delegandos cu- 
 ravit. Ule precioforum apicum captus miraculo, dum pulchritudinem inten- 
 tis oculis rimatur, fcientiam litterarum internis haufit medullis. Verum 
 doctor ad faeculi fpec"rans commodum, fpe majoris premii, facramentarium 
 regi, tunc temporis Cnutoni, pfalfteiium Enimae reginae contribuit. Percu- 
 lit puerilem animum facli difpendium, & ex imo peclore alta traxit fufpi- 
 ria." If this paftage is not fufficient authority, as I think it is not, to 
 prove St. Wolftan a painter, at leaft it is decillve for Ervenius, who was 
 certainly an illuminator of MSS, 
 
77je earlieft Accounts of Painting in England. 3 
 
 which Mr. Vertue had carefully confulted. There he found the 
 following entries*; 
 
 « MCCXXVIII, Ao. 12. Hen. HI. m. f. Rex thef. et earner. 
 " fuis lalutem. Liberate cuidam pictori 20J. ad cameram magni fcac- 
 <f carii depingendam." 
 
 This does not exprefs the kind; whether the chamber was to be 
 painted with figures, ornaments, &c. or whether the Quidam Pittor 
 was not a meer houfe-painter; probably an artift of higher rank, as 
 twenty millings would have been a great price in that age for painting 
 wainfeot. However the next record is more explicit, and afcertains the 
 point In queftion. 
 
 " MCCXXXIII. Liberate A 0 . 17. Hen. III. m. 6. Mandatum 
 " eft Vicecomiti Southton, quad cameram regis -f lambrufcatam de 
 " Caflro Winton. depingi faciat eifdem hiftoriis et pidhiris quibus fu- 
 46 erat prius depicta. Et cuftum, &c. computabitur. Tefte rege 
 44 apud Kideminiftr. iii die Junii." 
 
 There are more remarkable circumftances than one in this venerable 
 fcrap : as, the fimplicity of the times ; the king fending a precept to 
 Vol. I. B the 
 
 * There are two records more ancient than any that follow ; but they relate 
 to architecture, not painting ; however, as not foreign to this work, I fhall 
 infert them here: They are both of the reign of King John: 
 
 " Anno, 1209, Vicecomites Lond. et Midi, allocaverunt Elyae ingeniatori x 
 Cfc marcas, ad reperationem domorum regis apud Weftmonaft. per breve H. Ar- 
 " chiep. Cantuar " 
 
 Anno, 1210. Willelmus Puintellus redd. comp. de 1216/. 131. \d* quos 
 <c recepit de thefauro ad operationes turris Londoniae." 
 
 William Puintell might be only a furveyor, but Elyas was certainly an 
 architeel:. 
 
 t Lambrufcatam^ wainfeotted, from the French, Lambrls. 
 
4 72e earlieji Accounts of Painting i?i England. 
 
 the flienff of Hampfhire to have a chamber in the royal caftle 
 painted-, and his majefty, like the Roman general, who threatened his> 
 foldieis if they broke any of the antique Corinthian ftatues that they 
 mould pay for having others made, giving orders to the fame fherifF 
 to have the chamber repainted with the fame pictures and hiftories with 
 which it had been adorned before and which, by the way, implies, 
 that hiftory-painting had been in ufe ftill longer than this date, which 
 was the earliefL Mr. Vertue could difcover *. 
 
 " Liberate A 0 . 17, Hen. III. m. 10. Mandatum eft cuftodi domo- 
 " rum regis de Wudeftok quod in rotunda capella regis de Wudeftok 
 " bonis coloribus depingi faciat majeftatem domini et iiii Evangeliftas, 
 " et imaginem fancti Edmundi ex una parte, et imaginem fandti Ed- 
 " wardi ex alia parte, et ib fieri faciat duas f verimas novas." 
 
 " Rot. Claus. 20. Hen. III. m. 12. Mandatum eft thefaurario re- 
 " gis, quod magnam cameram regis apud Weftm. bono viridi colore 
 cc depingi faciat ad modum curtanae et in magno gabulo ejufdem ca- 
 <c merae juxta hoftium (oftium) depingi ludum ilium 
 
 " J Ke ne dune ke ne tine, ne pret ke defire ; 
 " et etiam parvam garderobam regis viridi colore ad modum curtanae 
 « depingi faciat : ita quod rex in primo adventu fuo illuc inveniat pre- 
 
 46 dittas 
 
 * Some have afcribed the introdu6lion of painting into this ifland to venerable 
 Bede. 
 
 + VerimaS) d. barbarous word, not to be found even in Dufrefne's glo/Tary. 
 One cannot help obferving the abfurdity of thofe times, in couching orders in a 
 language which they could not write, and addrefled to perfons by whom it was 
 not underftood. 
 
 % Qui ne donne ce qu'il tient, ne prend ce qu'il defire; or, as it is exprefTed 
 in another record, Qui non dat quod habet, non accipit ille quod optat. 
 
77je earlieji Accounts of Painting in England. 5 
 
 ** di£tas cameram et garderobam ita depi&as et ornatas, ficut predic- 
 " turn eft." 
 
 . ? c Rot. Claus. A 0 . 20. Hen. III. m. 12. Mandatum eftH. dePa- 
 *** tefhull thefaurario domini regis, quod borduram a tergo fedis regis 
 
 ** in capella fancti Stephani apud Weftm. et borduram a tergo fedis 
 ** reginae ex alia parte ejufdem capellae interius et exterius depingi 
 " faciat de viridi colore: juxta fedem ipfius reginae depingi faciat 
 " quandam crucem cum Maria et Johanne ex oppofito cruris regis, 
 <c quae juxta fedem regis depicta eft. T. vii die Febr." 
 
 The next record, which has been mentioned by Stowe, gives di- 
 rections for repairing the granary under the Tower, and all the leaden 
 gutters, and for leading the whole thoroughly on that fide, per quas 
 gentes videre pojfmt^ and for white-warning the chapel of St. John, and 
 for making three glafs windows in the fame chapel, in which were to 
 be reprefented, a little Virgin Mary holding the child, and the Tri- 
 nity and St. John the Apoftle. It gives orders too that (Patibulum) a 
 crofs mould be painted behind the altar, bene et bonis coloribus \ and 
 where ever it could be done moft conveniently, there were to be drawn 
 in the fame chapel two images of St. Edward holding out a ring and 
 delivering it to St. John the Evangelift. " Et dealbari faciatis, adds 
 " the record, totum veterem murum circa fepedi&am turrim noftram, 
 " Et cuftum quod ad hoc pofueritis, per vifum et teftimonium legali- 
 4C um hominum, computabitur vobis ad fcaccarium. Tefte rege 
 <c apud Windefor. x. die Decembr. 
 
 It is evident from this and fome following pafTages that as * paint- 
 ing 
 
 * In Aubrey's MS. furvey of Wiltfhire, in the library of the Royal Society, 
 he fays, on the authority of Sir W. Dugdale, that the firft painted glafs in 
 England was done in king John's time. Vol. ii. p. 85. 
 
6 The earlkft Accounts of Painting in England. 
 
 ing on glafs was then known, the art of painting in general could not 
 be at a very low ebb. 
 
 Then follows another, regarding the fame place ; 4 Rex eifdem fa- 
 " lutem. Praecipimus vobis quod cancellum beatae Mariae in ecclefia 
 " fancti Petri infra ballium turris noftrae London, et cancellum bead 
 il Petri in eadem ecclefia, et ab introitu cancelli beati Petri ufque ad 
 44 fpatium quatuor pedum ultra ftallos ad opus noftrum et reginae no- 
 44 ftrae in eadem ecclefia factos bene et decenter lambrufcari faciatis, 
 44 et eofdem ftallos depingi, et Mariolam cum fuo tabernaculo et yma- 
 44 gines beatorum Petri, Nicolai et Katerinae, et trabem ultra altarc 
 " beati Petri, et parvum patibulum cum fuis ymaginibus de novo co- 
 u lorari, et bonis coloribus refrefcari, et fieri faciatis quandam ymagi- 
 44 nem de beato Petroin folempni apparatu archiepifcopali in parte bo- 
 " reali ultra dictum altare, et de optimis coloribus depingi ; et quan- 
 <c dam ymaginem de fan<5lo Chriftofero tenentem et portantem Jefum, 
 u ubi melius et decentius fieri poteft, et depingi in praedicta ecclefia. 
 " Et fieri faciatis duas tabulas pulcras et de optimis coloribus et de 
 44 hiftoriis beatorum Nicolai et Katerinae depingi ante altaria dictorum 
 " fanclorum in eadem ecclefia ; et duos cherumbinos ftantes a dextris 
 46 et a finiftris magni patibuli pulcros fieri faciatis in praedicta ecclefia 
 44 cum hilari vultu et jocofo; et praeterea unum fontem marmoreum 
 44 cum colompnis marmoreis bene et decenter incifis. Et cuftum, &c. 
 44 Tefte ut fupra." 
 
 The next again fpecifies the fum to be expended on paintings at 
 Weftminfter: 44 Rot. Liberat. A 0 . 21. Hen. III. m. 5. Rex t efau- 
 44 rario et camerariis fuis falutem. Liberate cfe* thefauro noftro Odoni 
 44 aurifabro cuftodi operationis noftrae Weftm. quatuor libras et unde- 
 
 44 cim 
 
'"The earlieft Accounts of Painting in England. 7 
 
 u cim folidos ad picturas faciendas in camera noftra ibidem. Telle 
 " rege apud Weftm. ii die Augufti." 
 
 The next contains the firft mention we have of a ftar- chamber. 
 
 " Liberat. A 0 . 22. Hen. III. m. 3. Mandatum eft vie. Southampt. 
 " quod cameram apud Winton colorari faciat viridi colore, et Jlellari 
 " auro, in quibus depingantur hiftoriae veteris et novi teftamenti." 
 
 The next precept is very remarkable, as implying the ufe of oil 
 colours *, long before that method is fuppofed to have been difcovered. 
 It is dated in his 23d year, 1239, and runs in thefe words ^ 
 
 " Rex thefaurario et camerariis fuis falutem. Liberate de thefauro 
 " noftro Odoni aurifabro et Edwardo filio fuo centum et feptemdecem 
 " folidos et decern denarios pro oleo, vernici, et coloribus emptis, et 
 " picturis faclis in camera reginae noftrae apud Weftm. ab oclavis 
 " fanclae trinitatis anno regni noftri xxiii ufque ad feftum fandli Bar- 
 " nabae apoftoli eodem anno, fcilicet per xv dies." 
 
 There is another mandate of his 25th year, for two windows with 
 pictures in the hall, and with the motto above mentioned, of which 
 I do not know that any of our antiquarians have taken notice. 
 
 The two following precepts are fo connected with the foregoing, 
 that though relating only to building not to painting, I fhall infert 
 them here, as their moft proper place. 
 
 " A 0 . 28. Hen. III. Mandatum eftvicecomitiKanciae quod fubomni 
 cc qua poterit feftinatione emi faciat et cariari ufque Weftmon. 100 na- 
 4C vatas grifiae petrae ad operationes quas ibi fine dilatione fieri rex 
 
 Vol. I. C 46 prae- 
 
 * John ab Eyck the fuppofed inventor of painting in oil, which He was faid to 
 difcover in a fearch for varnifh, died in 1441. In the record before us, both oil 
 and varnifh are mentioned, and the former might indeed be only ufed in the com- 
 jaofition of the latter, 
 
8 The earliejl Accounts of Painting in England. 
 
 " praecepit : et talem et tarn feflinantem diligentiam ad hoc mandatum 
 " regis exequendurn ponat, quod fe inde rex commendare debeat : et 
 <e ne W. de Haverhull thelaurarius ed Edwardus, quibus operationes 
 " praedidtas rex injunxit faciendas, culpam dilationis in fe refundere 
 " poflint, fi praediclae operationes contra voluntatem regis differantur." 
 
 " Rex dedit et concefiit Deo et beato Edwardoet ecclefiae Weftmo- 
 " nafterii ad fabricam ipfius ecclefiae 2591 libras, in quibus regi tene- 
 " tur Licoricia, quae fuit uxor David de Oxonio Judaei, Et rex vult 
 " quod pecunia ilia reddatur ad novum fcaccarium, quod rex ad hoc 
 " conftituit apud Weftmonafterium, archidiacono Weflmonafterii, et 
 " Edwardo de Weflminftre, quos ejufdem fcaccarii thefaurarios aflig- 
 M navit. Tefte rege apud Windfore." 
 
 The miferable Latin of thefe orders is not the moft curious part of 
 them. The hundred barge loads of grey {lone to be purchafed by the 
 fheriff of Kent might be either from a Kentim quarry, or to be im- 
 ported from the coaft of France. The king's great impatience about 
 his new works, and the large fine from a Jew's widow which he be- 
 llows on his new edifice, are very obfervable. But the moft memorable 
 is the origine of the Exchequer, which feems by this precept to have 
 been inftituted folely for the carrying on the new building at Weftmin- 
 fter. 
 
 The next is in the year 1248. " Rex vicecomiti Southamtoniae fa- 
 " lutem. Praecipimus tibi quod de exitibus comitatus tui depingi fa- 
 " cias in capella reginae noilrae apud Wintoniam fuper gabulum ver- 
 " fus occidentem ymaginem fandiChrifloferi, ficut alibi depingitur; in 
 " ulnis fuis deferat Chriftum et ymaginem beati Edwardi regis, qua- 
 &i liter tradidit annulum fuum cuidam peregrino, cujus ymago fimili- 
 * ter depingatur. Tefte rege apud Windefore vii die Maii." 
 
 Another. 
 
The earliejl Accounts of Painting in England. 9 
 
 Another. " Rex euftodi manerii de Wudeftoke praecepit, ut inter 
 41 alia fieri faciat duas feneftras de albo vitro, et feneftram aulae verfus 
 46 orientem, fimiliter cum pi&ura ejus aulae emendari faciat. Quoddam 
 *' etiam fcaccarium fieri f aciat in eadem aula, quod contineat hunc ver- 
 « c fum. Qui non dat quod habet, non accipit ille quod optat." 
 
 " Clauf. 33. Hen. III. m. 3. Rex injunxit magiftro Johanni de 
 *' fancto Qmero quod garderobam camerae regis apudWeftm.perpingt 
 " faceret ficut pictura illius garderobae inchoatur, et quod faceret unum 
 46 le&rinum ponendum in novo capitulo Weftm. ad fimilitudinem illius 
 ** quod eft in capitulo fancti Albani, vel decentius et pulcrius, fi fieri 
 " poterit-, et ad haec facienda colores et maeremium et neceflarias libe- 
 " rationes ufque ad adventum regis London, ei inveniri faceret. Et 
 <c cuftum ad haec appofitum, cum rex illud fciverit, reddi faciet. Et 
 " mandatum eft abbati Weftm. Edwardo filio Odonis, et PhilippoLu- 
 44 vel, quod liberationes et alia neceifaria fupra inveniri fac. Tefte 
 4C rege apud Windefore xxxiii die Septembr." 
 
 In Henry's 34th year Edward of Weftminfter is ordered to have 
 painted in the chapel of St. Stephen the images of the apoftles round 
 about the faid chapel, by the following precept; 
 
 " Clauf. 54. Hen. III. m. 7. Mandatum eft Edwardo *de Weftm, 
 
 " quod 
 
 * This Edward of Weftminfter is the fame perfon with Edward Fitz-Odo men- 
 tioned in the preceding order, and I fuppofe fon of Odo Aurifaber, recorded 
 above. It appears by Dart's Hiftory of the Abbey that he was mafter of the 
 works ; and Dart quotes the records in the tower on the authority of Strype. The 
 whole paffage is worth tranfcribing, as it (hows the pallion of Henry for adorning 
 his new foundation there, called then, The new work at Weftminfter f. 
 
 " In 
 
 t Duchefne, antiq. France, vol. i. p. 145, fays the Louvre was fo called from 
 Foeuvre, the new work. 
 
i o The earliejl Accounts of Painting in England. 
 
 '« quod in capella beati Stephani depingi faciat imagines Apoftoloraro 
 ;t in circuitu ejufdem capellae; et judicium in occidental parte ejuf- 
 " dem ; et iconem beatae Mariae virginis in quadam tabula fimiliter 
 " pingi faciat; ita quod haec parata lint in adventu regis, Tefte rege 
 " apud Brugwauter xiii die Augufti." 
 
 The next, dated in the fame year, exhibits a donation of three 
 oaks for making images; 
 
 " Clauf. 34. Hen. III. m. 7. Mandatum eft cuftodi parci regis de 
 " Periton quod in eodem parco faciat habere facriftae Glafton. tres 
 ifc quercus ad imagines inde faciendas et ponendas in ecclefia fua Gla- 
 4C fton. de dono regis. Tefte rege apud Glafton xv die Augufti." 
 
 The following is not lefs curious ; 
 
 " Clauf. 34. Hen. III. m. 12. Mandatum eftR. deSandeford magi- 
 " ftro militiae templi in Anglia quod faciat habere Henrico de warde- 
 4t roba, latori prefentium, ad opus reginae*quendam librum magnum, 
 " qui eft in domo fua London. Gallico ydiomate fcriptum, in quo con- 
 
 " tinentur 
 
 " In the 28th of his reign he commanded Edward Fitz-Odo to make a dra- 
 gon, in manner of a ftandard or enfign, of red famit, to be embroidered with goldj, 
 and his tongue to appear, as though Continually moving, and his eyesoffapphire, 
 or other ftones agreeable to him, to be placed in this church againft the king's 
 coming thither. 
 
 " And the queen fet up in the feretry of St. Edward the image of the blefTed 
 Virgin Mary; and the king caufed the aforefaid Edward Fitz-Odo, keeper of 
 his works at Weftminfter, to place upon her forehead for ornament, an emerald 
 and a ruby, taken out of two rings which the bifliop of Chichefter had left the 
 king for a legacy." Dart. vol. i. p. 26. edit. 1742. 
 
 * The beauty of Eleanor of Provence, queen of Henry III, is thus celebrated 
 by Langtoff in his Chronicle^ published by Hearne, vol. i. p. 213. 
 
 Henry 
 
The earliejl .Accounts of Painting in England. 1 1 
 
 u tinentur gefta Antiochiae et regum aliorum, &c. Tefte rcge apud 
 * Weftm. xvii die Maii." 
 
 " The two next fpecify the ufe that was to be made of the above- 
 mentioned book, which I conclude contained an * account of the Cru- 
 fade, the hiftory of which the king orders to be painted in the tower 
 and at Weftminfter in a low chamber in the garden near what in the 
 writ is named the king's Jewry, f and which room his majefty orders 
 to be thenceforward called the Antioch-chamber ; the origine probably 
 of what is now ftyled the Jerufalem-chamber. 
 
 " Clauf. A 0 . 35. Hen. III. m. 11, Mandatum eft Edwardo de 
 " Weftm. quod depingi faciat hiftoriam Antioch. in camera regis tur- 
 " ris London, ftcut ei dicet Thomas Efpernir, et cuftum, quod ad hoc 
 44 pofuerit, rex ei faciet allocari. Tefte rege apud Winton. v die Junii." 
 
 Ibidem, m. 10. Mandatum eft Edwardo de Weftm. quod Judaif- 
 " mum regis apud Weftm. et magnum J cellarium vinorum regis 1am- 
 Vol. I. D « brufcari, 
 
 Henry king, our prince, at Weftmynfter kirke 
 The erlys douhter of Province, the faireft may o lif, 
 Her name is Helianore, of gentille norture, 
 Bizond the fe that wore was non fuilk creature. 
 ' * The emperor Frederic II. had fent to king Henry a large account of his war 
 in the Holy Land, in a letter under his own feal. See note to TindaPs Rapin 
 under the year 1228. 
 
 t This Judarfm or Jewry, was probably an exchequer or treafury erected by- 
 Henry for receiving the fums levied on the Jews, from whom he extorted a 
 third part of their fubftance to carry on the war with France. Rapin ubi fupra. 
 
 % There are two records among the foregoing, which, though not relating to 
 my fubjeft, but to the wine-cellar, and even to the compofmg of wines for his ma- 
 jefty, arefo curious that I am perfuaded the reader will be glad to fee them. 
 
 " Clauf. 
 
2 2 The earliefl Accounts of Painting in England. 
 
 tfc brufcari, et baflam cameram in gardino regis, et parvam turellam 
 " ultra capellam ibidem depingi, et in eadem camera unum caminum 
 6C fieri faciat, quam quidem cameram Antioch volumus appellari." 
 
 Thefe that follow all relate to various paintings ; 
 
 " Ibidem, m. 5. Mandatum eft Simoni Capellano et aliis cuftodi- 
 " bus operationum Windefor. quod clauftrum regis in caftro Winde- 
 " for. paviri et lambrufcari, et Apoftolos depingi faciant, ficut rex ei 
 " et magiftro Willielmo pictori fuo ibidem injunxit. Telle rege 
 " apud Havering, xx die Augufti." 
 
 46 Liberat. 36. Hen. Ill m. 15. Rex Vicecomiti Nottinghamiae 
 " falutem. Praecipimus tibi quod in camera reginae noftrae aput Not- 
 ^ tingham depingi facias hiftoriam Alexandri circumquaque; et cu- 
 46 ftum quod ad hoc pofueritis computabitur. Tefte rege apud Not- 
 u tingham xv die Januarii." 
 
 " Liberat. 
 
 « Clauf. A°. 34. Hen. III. m. 19. De potibus delicatis ad opus regis facien- 
 * 4 dis. Mandatum eft cuftodibus vinorum regis Winton* quod de vinis regis 
 " quae habent in cuftodia fua, liberent J Roberto de Monte Peflulano tanta et ta- 
 6< lia, qualia et quanta capere voluerit, ad potus regis pretiofos delicatos inde fa- 
 < c ciendos. Tefte rege apud Lutegarefhall xxvi die Novembr." 
 
 " Clauf. 36. Hen. III. m. 31. Mandatum eft cuftodibus vinorum regis de 
 " Ebor. quod de melioribus vinis regis quae funt in cuftodia fua faciant habere 
 " Roberto de Monte Peflulano duo dolia albi vini et Garhiofilacum, et unum 
 " dolium rubri vini ad || claretum inde faciend. ad opus regis contra inftans fef- 
 cc turn Nativitatis Dominicae. Et mandatum eft Rob. de Monte Peflulano quod 
 " feftinanter accedat ad Ebor. et garhiofilac. et claret, predict, faciat ficut annis 
 << preteritis facere confuevit." 
 
 % See more of him in Pegge's Life of Roger Wefeham. 
 
 y A compofition of wine and honey. V. Hift. de l'ancienne Chevalerie, vol. 
 I p. 49, 
 
Theearliejl Accounts of Painting in England. 1 3 
 
 " Liberat. 36. Hen. III. m. 15. Mandatum vie. Northampton; 
 " quod fieri faciat in caftro North, feneftras de albo vitro, et in eif- 
 u dem hiftoriam Lazari et Divitis depingi." 
 
 <c Clauf. 36. Hen. III. m. 22. Mandatum eft Radulpho de Dun- 
 " gun, cuftodi librorum * regis, quod magiftro Willielmo pictori re- 
 " gis habere faciat colores ad depingendum parvam garderobam regi- 
 * c nae, et emendandum picturam magnae camerae regis et camerae 
 * c reginae. Tefte rege apud Weftm. xxv die Febr. Per regem." 
 
 " The fix next precepts appertain to various arts, not to painting in 
 particular. 
 
 " Clauf. 36. Hen. III. m. 31. Mandatum eft Edwardo de Weftm. 
 «* quod cum feftinatione perquirat quendam pulcrum gladium, et 
 " fcauberg. ejufdem de ferico, et pomellum de argento bene et ornate 
 " cooperiri, et quandam pulcram zonam eidem appendi faciat, ita 
 ? quod gladium ilium fic factum habeat apud Ebor. de quo f rex 
 " Alexandrum regem Scotiae illuftrem cingulo militari decorare poftit 
 " in inftanti fefto Nativitatis Dominicae. Tefte rege apud Lychfeld 
 *' xxi die Novembr. Per ipfum regem." 
 
 " Clauf. 36. Hen. III. m. 30. Mandatum eft J. de Somercote J 
 et Rogero ScifTori, quod fine dilatione fieri faciant unum ledum 
 & pretiofum, ita quod illud decenter et ornate factum habeat apud 
 
 " Ebor. 
 
 ■* It would be a great curiofity if we could recover a lift of his majefty's library. 
 It probably contained fome illuminated MSS. as the librarian had the keeping of 
 the colours too. The original copy of Matthew Paris with miniatures, in the 
 Britifh Mufeum, was certainly a prefent to this king from the author. 
 
 t Alexander III. king of Scotland married Margaret, daughter of Henry, at 
 York. 
 
 % In the fame year J. de Somercote had a patent to be Warden of the mint s 
 Cuflos Cambii per totum regnum. 
 
1 4 "The earlieji Accounts of Painting in England. 
 
 " Ebor. ad dandum illud Alex, regi Scotiae illuftri in inftanti feflo 
 " Nativitatis Dominicae." 
 
 Ibidem. Mandatum eft I. de Somercote et Rogero SchTori, quod 
 " de melioribus famittis quos invenire poterunt fine dilatione facianf 
 " quatuor robas, duas videlicet ad opus regis, et duas ad opus regi- 
 " nae, cum aurifraxis femilatis, et varii coloris, et quod tunicae fint 
 * c de mollioribus famittis quam pallia et fupertunicae-, et quod pallia 
 tc fnrrentur cum ermino, et fupertunicae de minuto vario-, ita quod 
 " rex habeat praedidtas robas ornate factas apud Ebor. ad hoc inftans 
 " feftum Nativitatis Dominicae. Tefte rege apud Lychfeld xxi die 
 4t Novembr." 
 
 " Ibidem. Mandatum eft I. de Somercote et Rogero Sciflbri, quod 
 u preter illas duas robas quas rex fieri precepit ad opus fuum, fieri fa- 
 " ciant ad opus regis tres robas de queintifis, videlicet unam robam de 
 " meliori famitto violaceo, quam invenire poterunt, cum tribus parvis 
 <c *leopardis in parte anteriori, et aliis tribus parte pofteriori ; et duas 
 
 de aliis melioribus pannis qui inveniri poterunt ; ita quod robas illas 
 " decenter et ornate factas rex promptas habeat apud Ebor. in fefto 
 " Nativitatis Domini." 
 
 M Clauf. 39. Hen. III. Rex conceflit magiftro Johanni de Glouceftre 
 « cementario fuo, quod toto tempore vitae fuae quietus fit de ornni* 
 " modo Tallagio et Thelonio ubique per totam poteftatem regis." 
 
 u Clauf. 43. Hen. III. m. 10. Mandatum eft magiftro Johanni de 
 " Glouc. cementario fuo, et cuftodibus operationum Weftm. quod 
 " quinque imagines regum incifas in franca petra, et quandam petram 
 " ad fupponendum pedibus unius imaginis beatae Mariae, faciatis ha- 
 " bere cuftodibus operationum ecclefiae fancti Martini London, ad 
 
 Ht eafdem 
 
 * The lions in the arms of England were originally leopards. 
 
7*he earlieft Accounts of Painting in England, i j 
 
 " eafciem operationes, de dono regis. Tefte rege apud Weftm. xi 
 " die Maii." 
 
 Then comes a record intituled " Pro rege de coloribus ad picturam 
 " Windefor. Clauf. A 0 . 44. Hen. III. m. 6. Mandatum eft Edwardo 
 " de Weftm. quod colores et alia ad pi&uram neceftaria fine dilatione 
 " faciat habere fratri Willielmo monacho Weftm. pictori regis, ad pic- 
 u turas regis apud Windfor inde * renovandas, prout idem frater Wil- 
 «* lielmus predidto Edwardo dicet ex parte regis. Et hoc ficut regem 
 " diligit, non omittat et cum rex fciverit cuftum quod ad hoc pofue- 
 " rit, rex breve fuum de liberate fibi habere faciet. Tefte rege apud 
 " Windfor xiii die Augufti." 
 
 The next is infcribed De pidlura Rap. Guldef. and contains the fol- 
 lowing orders : 
 
 " Liberate A 0 . 44. Hen. III. m. n. Rex vicecom. Surr. faluterrr. 
 " Precipimus tibi quod de exitibus comitatus tui pidluras magnae au- 
 cc lae noftrae de Guldeford, prout necefle fuerit, fine dilatione emend a- 
 " ri, et in magna camera noftra ibidem ad caput lecli noftri fuper al- 
 tc bum murum quoddam pallium depingi, et tabulas et fruntellum al- 
 " taris magnae capellae noftrae ibidem fine dilatione fieri facias, prout 
 " injunximus Willielmo Florentino piclori-, et cuftum quod ad hoc 
 " pofueris per vifum et teftimonium proborum et legalium hominum 
 <c conf. Sec. Tefte meipfo apud Weftm. xxx die Octobr." 
 
 I conclude that mafter William, William the monk of Weftminfter, 
 and William of Florence were the fame perfon. What arts we had, as 
 well as learning, lay chiefly among the religious in thofe ages. One re- 
 mark I am furprized Mr. Vertue did not make, when he was affigning 
 Vol. I. E greater 
 
 * Hence it appears that Windfor had been a place of note even before the reign 
 of Hen. III. confequently long before it was beautified by Edward III, 
 
1 6 The earliefl Accounts of Painting in England. 
 
 greater antiquity to painting in England than in Italy, that this Wil- 
 liam of Florence was an Italian. 
 
 The two following are little remarkable, except that in the laft we 
 find the name of another painter. 
 
 " Liberate A 0 . 49. Hen. III. m. 7. Rex Thef. et camerariis fuis 
 " falutem. Liberate de thefauro noftro pictoribus camerae noftrae 
 " apud Weftm. leptem libras et decern folidos ad picturas ejufdem 
 " camerae capellae noftrie retro ledum noftrum ibidem faciend." 
 
 <; Liberate A 0 . 51. Hen. III. m. 10. et 8. Rex Ballivis civitatis 
 " London, falutem. Mandamus vobis quod de fiimi civitatis prae- 
 ** didlae habere faciatis magiftro Wahero pi&ori noftro viginti marcas 
 * c ad picturas camerae noftrae apud Weftm. inde faciend. et hoc nullo 
 " modo omittatis. Et computabitur vobis ad fcaccarium. Tefte rege 
 " apud Weftm. vii die Januar." 
 
 Among thefe records I find the following curious memorandum of 
 the fums expended on the king's building at Weftminfter to the forty- 
 fifth year of his reign. 
 
 " Summa cuft. operationum Weftm. ab inceptione ufque in die do- 
 * c minica proxima poft feftum divi Michaelis anno regni regis Hen- 
 " rici xlvto. Et cclx librae reftant folvendae pro ftipendiis alborum 
 **' ciiTorum et minutorum operariorum, et pro franca petra et aliis 
 " emptionibus quae non computantur in hac fumma; xxix millia, 
 
 " (CCXLv/. XIXJ. VIII*/." 
 
 The laft piece I have to produce relates to works to be done for the 
 Prince and his confort Eleanor-, with the addition or the falary of 
 mafter William, who was allowed fix-pence a day, as iiirveyor of the 
 works at Guilrord : 
 
 M Liberate 52. Hen. III. m. 11. Rex vicecom. Sum et Sufi*, falu- 
 
 " tern. 
 
The earliejl Accounts of Painting in England; 17 
 
 " tern. Precipimus tibi quod de exitibus com. praedictorum infra cu~ 
 4C riam noftram manerii noftri de Guldeford quandam cameram cum 
 *' ftadio et camino, garderoba, et camera forinfeca, et quandam ca« 
 " pellam ad caput ejufJem camerae, cum ftadio et feneftris vitreis, 
 " eafdem cameram et capellam decentibus, ad opus karifllmae filiae 
 " noftrae Alianorae coniortis Edwardi primogeniti noftri, et unam ca- 
 f meram cum ftadio et camino camera forinfeca, et feneftris vitreis 
 " eandem cameram decentibus, ad opus militum karifllmae confortis 
 ** noftrae Alianorae reginae Angliae, et quoddam*appenticm. ibidem 
 " de novo fine dilatione fieri, et herbarium ejufdem reginae noftrae 
 " reparari et emendari facias, fecundum quod Willielmo Florentino 
 " pictori noftro injunximus, et idem Willielmus plenius tibi fcire fa- 
 u ciet ex parte noftra ; et cuftum, &c. per vifum, &c. computa'jitur. 
 
 " Rex eidem vicecom* falutem. Precipimus tibi quod de exitibus 
 <c com. praedictorum facias habere Willielmo Florentino cuftodi ope- 
 ** rationum noftrarum manerii noftri de Guldeford fingulis diebus fex 
 " denarios pro ftipendiis fuis, quam diu fueris vicecomes nofter eorun- 
 <c dem comitate et praedictus Willielmus cuftos fuerit operationum 
 " praedi&arum, ficuteos tempori bus retroadtis ante turbationem habi- 
 *' tarn in regno ibidem percipere conluevit: et cuftum, &c. Tefte regc 
 " apud Weftm* xxix die Jan." 
 
 Befides the palaces above-mentioned, this prince laid out too large 
 fums in repairing and beautifying Kenelworth caftle, cieling the chapel 
 with wainfcot, painting that and the queen's chamber, and rebuilding 
 the wall on the outfide, as it remained to the time of Sir William 
 Dugdale.f 
 
 I cannot 
 
 * Sic originate. 
 
 t See his Warwickfli. p. 244. In the fame reign John of Hertford, Abbot of 
 
 St. 
 
1 8 "The earliejl Accounts of Tainting in England. 
 
 I cannot pafs over the princefs Eleanor, fo much celebrated by our 
 legendary hiftorians for fucking the poiibn out of her hufoand's wound, 
 without mentioning the crofles erected to her memory, which Vertue 
 with great probability fuppofed were built on the defigns of Peter Ca- 
 valini, a Roman fculptor, and whom from various circumftances he 
 di (covered to be the architect of the fhrine of Edward the ConfeiTor. 
 
 The reader, I am perfuaded, will be pleafed to fee how ingenioufly 
 my audior traced out this hitherto unknown fact. 
 
 The original infcription on the tomb Tan thus : 
 
 Anno milleno Domini cum feptmgeno 
 Et bis centeno, cum completo quafi deno, 
 Hoc opus eft factum, quod Petrus duxit in actum 
 Romanus civis : Homo, caufam nofcere 11 vis, 
 Rex fuit Henricus, fancti praefentis amicus. 
 
 The words Petrus duxit in actum Romanus civis were difcernable 'till* 
 very lately. Some old authors afcribe the erection of the ftirine to Hen- 
 ry himfelf, others, to Richard de Ware the Abbat, elected in 1260. It 
 is probable that both were concerned. The new Abbat repaired to 
 Rome immediately on his election to receive confecration from Urban- 
 IV. At that time, fays Vafari, flourifhed there Peter Cavalini, a painter 
 and the inventor of Mofaic, who had performed feveral coftly works* 
 in that city. About four years before the arrival of Abbat Ware, that 
 
 is^ 
 
 St. Albans, made great additions to his convent, and in one of the chambers pla- 
 ced a noble picture. See Willis's mitred abbies, vol. i. p. 21. OneLamb- 
 birt, builder or repairer of the fame church, heaped his own rebus, a lamb and & 
 bird, among the ornaments. Alen Strayler was illuminator to that abbey. 
 
The earliejl Accounts of Painting in England. 1 9 
 
 is in 1256, had been erected a fplendid mrine * for the martyrs Simpli- 
 cius and Fauftina, at the expence of John James Capoccio and his 
 wife, adorned with twitted columns and inlaid with precious marbles 
 exactly in the tafte, though not in the precife form of that of St. Ed- 
 ward. Nothing is more probable than that a rich abbat, either at his 
 own expence, or to gratify the tafte of his magnificent matter fhould 
 engage a capital artitt to return with him and undertake the fhrine of 
 his matter's patron faint, and the great patron of his own church. 
 Weaver fays exprefly that the abbat brought back with him from 
 Rome Workmen and rich porphyry (tones for Edward the ConfefTor's 
 feretory, and for the pavement of the chapel f: This abbat was lord 
 treafurer to his death in 1283, and was buried on the north fide of 
 the great altar: Over him was anciently this epitaph confirming the cir- 
 cumftances above mentioned,, 
 
 Vox. L F Abbas 
 
 * A draught of it by Mr. Talman in the proper colours is preferved in the 
 firft volume of the drawings belonging to the Society of Antiquaries. A fketch 
 of it I have among Vertue's MSS. 
 
 f Before Henry III. began the prefent church, there had been a rich fhrine 
 for the confeflbr erected by Wiliiam I. as the latter fays exprefly in his charter. 
 Edward had beftowed Windfor on the Abbey of Weftminfter ; the conqueror, 
 on his acceflion, prevailed on the abbat and convent to reftore Windibr, in ex- 
 change for other lands, being delighted with the fcite; " Maxime utilis & corn- 
 modus eft vifus propter contiguam aquam et filvam venationibus aptam," fays he ; 
 and after naming the lordfhips he gave them, he mentions the gift of an hundred 
 pounds of filver to compleat and finifli the building of the Abbey, and then adds, 
 * c Ob reverentiam nimii amoris quern ego in ipfum inclitum regem Ed ward urn 
 habueram, Tumbum ejus & reginse juxta eum pofuse, ex auro et argento fabrili 
 opere artificiofi decoris mirifice operiri feci," 
 
20 The ear liefi Accounts of Painting in England. 
 
 Abbas Richardus de Wara, qui requiefcit 
 Hie, portat lapides, quos hie portavit ab Urbe. 
 Vafari's filence on Cavalini's journey to England ought to be no objec- 
 tion he not only wrote fome hundred years after the time, but con- 
 founds his own account fo ftrangely as to make Peter Cavalini fcholar 
 of Giotto, who was twenty years younger. If it may be imagined that 
 Richard Ware could not have intereft enough to feduce fo capital a 
 workman from the fervice of the pope, it might ftill be accounted for, 
 by higher authority. Edward I. returning from the Holy Land 
 was conducted by the king of Sicily to Rome to vifit Gregory X. who 
 had been Edward's companion and friend in the Holy War. An artful 
 Pope would certainly be glad to furnifli a young king with artifts who 
 would encourage him in raifing fhrines and temples. The monument 
 of Henry III. erected by his fon, is beautified in the fame tafte with 
 porphyry and mofaic; and the firft brazen ftatue known to have been 
 call: here, lies upon it. The old paintings round the chapel of St. Ed- 
 ward, and thofe, in a very beautiful and fuperior ftyle, though much 
 decayed, over the ragged regiment, Vertue afcribes to the fame Cava- 
 lini. This painter and fculptor probably, as I have faid, gave the defigns 
 for the crofifes erected by Edward to his beloved Eleanor *. VeTtue 
 had drawn them, with a defign of engraving § I have his original 
 drawings, I muft not omit that it was no fmall part of Peter Cavalini's 
 fame, that he made the crucifix that fpoke to St. Bridget f . 
 
 From 
 
 * I have fome fufpicion that a fon of Peter Cavalini, is the perfon called Peter 
 !e Orfever, mentioned in a precept of Edward II. He is there intituled of Stanford, 
 and brought an action againft certain perfons for aflault and battery. As one of 
 Queen Eleanor's croffes was eredted there, it is not improbable that a fon of Ca- 
 valini might marry and fettle in that town. See Peck's Stanford, lib. x. feet. 13. 
 
 t Felibien. vol. i. p. 172* 
 
T 9 he ear lie/} Accounts of Painting in England. 2 1 
 
 From all the tefti monies above recited, Henry III. appears in a new 
 light from what has hitherto been known of him. That he was a weak 
 prince m point of government is indifp utable. That he was a great 
 encouragtr of the arts, thefe records demonftrate. When hiftorians 
 talk of his prof ufion, they evidence only in what he diffipated on his 
 favorites. But it is plain that the number and magnificence of his 
 buildings and palaces muit have fwallowed great part of the fums, ma- 
 licioufly charged to the lingle article of unworthy favorites. It matters 
 not how a prince fquanders what he has tyrannically fqueezed from the 
 fubject : If he exceeds his revenue, it is almoft as ill fpent on edifices 
 as on miniflers. But it is perhaps no more than juftice to make fome 
 allowance for partial or exaggerated relations. Henry was not a wife 
 prince — may I venture to fay more — He was not a martial prince. 
 Even in thefe more fenfible ages one illuftrious defect in a king converts 
 all his other foibles into excellencies. It muft have done fo much more 
 in a feafon of fuch heroic barbarifm as that of Henry III. and the want 
 of an enterprizing fpirit in that prince made even his patronage of the 
 arts be imputed to effeminacy, or be overlooked. The extravagance of 
 Louis XIV. in his buildings, gardens, water-works, pafTed for an ob- 
 ject of glory under the canon ( if I may fay fo ) of his ambition, Hen- 
 ry III. had no conquefts to illuminate his cielings, his halls, his bafre- 
 liefs. Yet perhaps the generous fentiment implied in his motto, Qui 
 non dat quod habet^ non accipit ilk quod optat, contained more true 
 glory than all the Fah: couched under Louis's emblem of the fun, and 
 his other oftentatious devices. But let us compare Henry with one 
 nearer to him. Henry's reign is one of the molt ignominious in our 
 annals; That of Edward the ift. of the molt triumphant. Yet I would 
 
 afk 
 
2 2 The earliejl Accounts of Painting in England. 
 
 alk by which of the Two did the nation fufFer moft ? By iums lavifhed 
 on favorites and buildings ; or by fums and blood wafted in unjuft 
 wars ? If we look narrowly into Edward's reign, we fhall fcarce * find 
 fewer reprefentations againft the tyranny of the fon than againft the 
 encroachments of the father. Who will own that he had not rather 
 employ mailer William and Edward of Weftminfter to paint the geftes 
 of the kings of Antioch, than imitate the fon in his barbarities irj 
 Wales and ufurpations in Scotland ? 
 
 * See the Parliamentary Hiftory. 
 
 ANECDOTES 
 
Anecdotes of PAINTING, &c. 
 
 CHAP. II. 
 
 State of Painting from the Reign ^Henry III. to the 
 End of Henry VI. 
 
 ROM the reign of Henry III. Mr. Vertue could difcover no re- 
 
 cords relating to the arts for feveral reigns. I mall endeavour 
 
 to fill this hiatus by producing an almoft entire chronologic 
 feries of paintings from that time to Henry VII. when Mr. Vertue's 
 notes recommence. 
 
 During the reigns of the two firft Edwards I find no veftiges * of the 
 art, though it was certainly preferved here, at leaft by painting on glafs. 
 No wonder that a proud, a warlike, and ignorant nobility encouraged 
 only that branch which attefted their dignity. Their dungeons were 
 rendered ftill darker by their pride. It was the cafe of all the arts ; 
 none flouriftied, but what ferved to difplay their wealth, or contributed 
 to their fecurity. They were magnificent without luxury, and pom- 
 Vol. I. G pous 
 
 * Except that in the reign of Edward I. Bifhop Langton built a palace and hall 
 at Litchfield, in which was painted the ceremony of the coronation, &c. Brown 
 Willis's Cath. vol. i. p. 17. 
 
24- State of Painting from the Reign of 
 
 pous without elegance. Rich plate, even to * the enamelling on gold, 
 rich fluffs, and curious armour were carried to excefs, while their chairs 
 were mere peueftals, their cloaths were incumbrances, and they knew 
 no ufe or fteel but as it ferved for fafety or deftrudtion. Their houfes, 
 for there was no medium between caftles and hovels, implied the dan- 
 gers of iocieiy, not the lweets of it; and whenever peace left them lei- 
 iuie to think of modes, they feemed to imagine that falhion eonfifted 
 in transfiguring thj human body, inftead of adding grace to it. While 
 the men woie lliocs io long and picked, that they were forced to lup- 
 port the points by chains from their middle; the ladies erected uch py- 
 ramids on their heads, that the face became the center of the body; and 
 they were hardened to theieprepoftt rous inconveniences by their pi iefts, 
 who inftead of leaving them to be cured by the ficklenefs of faftiions, 
 or by the trouble or them, denounced God's judgments on follies againft 
 
 which 
 
 * Bifhop Wickham's crozier at Oxford is an inftance how well the pomp of 
 prelacy was ferved by ingenious artifts. It is certain that in the reigns of the two 
 firit Edwards there were Greek en mellers in England, who both practiced and 
 taught the art. In Dugdale's Warwickftiire, p. 397, 403. are mentioned enamel- 
 led cups very near that period ; and fome ancient pieces are ftill extant. The 
 beautifull cup of gold, enamelled with figures in the habits of the time, given by 
 king John to the corporation of Lynn in Norfolk, and ftill preferred there, 
 gives a very favorable idea of the tafte and artifans of an age, a little antecedent 
 to that I am fpeaking of. King Alfred's jewel, found at Athelnty in Somerfet- 
 ftiire, and of which there is a print in Camden's Britannia, is of much more an- 
 cient date, but of workmanfhip far more rude. I call it a jewel, becauie it feems 
 to have been ufed as jewels were afterwards, appendent to ribbands. By the cut, 
 I fliould take it for engraven gold ; Camden, which is extraordinary, does not 
 defcribe the materials, but calls it a picture, which would make one think it was 
 enamelled. 
 
Henry III. to the End of Henry VI. 25 
 
 which a little laughter and a little common fenfe had been more effectual 
 fermons. It was not far diftant I rhink from the period of which I am 
 /peaking that the ladies wore looking-glaflcs about the fame height of 
 their bodies, with that, on which the men difplayed fuch indecent fym- 
 bols*. The reprefentations of thefe extravagances (as we fee them col- 
 lected by Montfaucon in h'S antiquities of France) demanded Japonefe 
 and Indian painters ; were not likely to produce Vandycks and Titians. 
 While we are curious in tracing the progrefs of barbarilm, we wonder 
 more that any arts exifted, than that they attained no degree of per- 
 fection. 
 
 Of the third Edward, fays Mr. Vertuef , many portraits are preferved, 
 at Windfor, in illuminated MSS. and elfewhere. As he has not marked 
 where thefe limnings exift, I can give no account of them myfelf, nor 
 refer the reader to the inipe&ion of them. But there is a portrait taken 
 from a buft of the fame age, the face of which is far from being ex- 
 ecuted in a contemptible manner. It reprefents that artift and patron 
 of arts William of Wickham bifhop of Winchefter, and prime minif- 
 ter to Edward III. a prelate whofe magnificent charities yet exift, both 
 in the benefits he calculated for poflerity and in the edifices erected on 
 his own defigns for perpetuating thofe pious bounties The portrait 
 has been engraven by Houbraken among the heads of illuftrious men-, 
 a noble memorial, which I am forry to fay was forced to be dropped 
 (though exhibited at the trifling expence of five millings for four 
 beautiful prints) the moment the novelty of it was exhaufted. 
 
 The 
 
 * La Bruyere has expreffed this with the happieft decency ; <c Us avoient 
 trouve le fecret de paroitre nuds tout habillez." Vol. ii. p. 234. 
 
 f See an account, in folio, prefixed to his prints of the kings of England. 
 
26 State of Painting from the Reign of 
 
 The Black Prince * was reprefented on glafs in a window at the weft 
 end of Weftminfter abbey, but the image is now almoft defaced. Mr. 
 Maurice Johnfon, the antiquarian of Spalding, had a MS. of Ralph 
 Higden's Polychronicon, written in 1340, wherein was an illumination 
 of the author. It was mown to the Society of Antiquaries in 1735. 
 
 The perfon of Richard II. is ftill preferved in the moft lively man- 
 ner, in two different pictures. The firft a whole length in the abbey 
 of Weftminfter the other f at the earl of Pembroke^ at Wilton, a 
 fmall piece confifting of two tablets, on which are reprefented the king 
 kneeling, accompanied by his patron faints, John the Baptift, St, Ed- 
 mund the king and Edward the Confeflbr, before the Virgin and Child, 
 attended by angels. Hollar engraved it. To the bottom of this picture 
 are affixed thefe words, " Invention of painting in oil 1410. This was 
 painted before in the beginning of Richard II. 1 377, &c." Thefe words, 
 which are very equivocal, ftarted a queftion with me, which I found 
 nobody that could refolve. Do they imply that this piece was painted 
 in oil before John ab Eyck difcovered that feeret in 141 o ? fo one 
 ftiould think, for what news did the infcriber tell, if he only meant that 
 painting in water-colours or miniature was practiced before painting in 
 oil ? Every illuminated MS. antecedent to that date was a proof of that. 
 
 The 
 
 * Mr. Onflow, the late fpeaker, has a head of the Black Prince, which there is 
 great reafon to believe was painted at the time. It is not very ill done : It repre- 
 fents him in black armour, embofTed with gold, and with a golden lion on his 
 breaft. He has a hat with a white feather, and a large ruby, exactly in the ftiape 
 of the rough ruby ftill in the crown. He appears lean and pale, as he was to- 
 wards the end of his life. This very curious picture came out of Betchworth- 
 caftle in Surrey. 
 
 f See a full defcription of it in the accounts of the curiofities at Wilton by 
 Gambarini, Cowdry, or Kennedy. 
 
Henry III. to the End of Henry VI. 27 
 
 The fhort quaere would be, With what is the picture in queflion 
 painted? To that I can only reply, that it is covered with glafs, and' 
 is too great a curiofity to have experiments made upon it. It is painted 
 on a bright golden ground, the colours of the utmoft fremnefs, and 
 not grown black as oil-colours would be, and is, as I have faid, guarded 
 by a glafs, all which indicate that it is miniature. Yet I do not pretend 
 to decide: The infcription I have mentioned and fome other circum- 
 flances feem to leave a doubt whether John ab Eyck was really the fir ft 
 perfon who mixed his colours with oil. We have feen by a record re- 
 ported above, that long before this period oil was at leaft ufed as a var- 
 nifh, and it is difficult to conceive how it was poflible to varnifh with 
 oil either water-colours or colours mixed with fize. It occured to me to 
 enquire with what the painters antecedent to John ab Eyck mixed their 
 colours: Even in this country there are a few pictures extant, and 
 painted on board, before oil-painting can be fuppofed to have been in- 
 troduced here. Not to mention the picture at Wilton, the other of 
 Richard II. at Weftminfter, and an undoubted original of Henry IV. 
 at Hampton-court in Hereford mi re, who died within two years after 
 John ab Eyck's difcovery, muft be allowed to have been drawn before 
 the new art arrived here. The picture at Weftminfter has indeed been 
 repainted*, therefore no conclusion can be drawn from it. This que- 
 ftion, eafy as I thought it, I found had been palled over without cori- 
 fideration, and though propofed to a very learned f body of men, ar- 
 rived at no folution. After turning over feveral books of painting, 
 Vol. I. H all 
 
 * By one Capt. Broom, a print-feller near the parliament houfe ; but this 
 was after Mr. Talman had taken his drawing, from whence the print was 
 engraved. 
 
 f The fociety of Antiquaries. 
 
28 State of Painting from the Reign of 
 
 all treating of John ab Eyck's invention, but without one word of the 
 method which his fecret difpofTefTed, I at laft found what I fought. 
 Sandrart put an end to the difficulty by thefe words: 
 
 Quia autem metuebant ne muri fcifluris diffinderentur, hinc eofdem 
 linteo, prius glutine mediante, induxerunt, defuperque applicito gypfo, 
 poflmodo demum pi&uras fuas effigurarunt, qui modus dici folet alia 
 tempera, id eft, temperaturae aquariae. Hanc autem temperaturam ita 
 praeparabant : effracT:o prius ovo gallinaceo, in ejufdem liquore fron- 
 dem teneram ficulneam de ficu juniore difcutiebant : ubi e ladle iftius 
 frondis, eque vitello ilia nafcebatur temperatura: qua mediante, poft- 
 modum loco aquae vel gummi, vel tragacanthae, colores fuos fubige- 
 bant, quibus dehinc opera fua perficerent*. 
 
 When they painted on walls, left their work mould crack, they pro- 
 ceeded in this manner: They glued a linnen cloth upon the wall, and 
 covered that with plaifter, on which they painted in diftemper: This 
 was thus prepared : They dropped into the yolk of an egg the milk 
 that flows from the leaf of a young fig-tree, with which inftead of wa- 
 ter, gum, or gumdragant, they mixed their laft layer of colours. It is 
 probable from the laft words of this paflage that they laid their firft co- 
 lour with water or gum only. 
 
 I mall be told perhaps, that this method was only ufed for painting 
 on walls; but, leaving out the plaifter, I fee nothing to hinder the 
 fame preparation from being ufed on board. Of what mixture Cima- 
 bue, the reftorer of the art, made ufe, we are told by the fame author, 
 Multaeque illius manu confectae non hiftoriae minus, quam imagi- 
 nes, in tabulis ligneis, colore ovis vel glutine temperato-f. 
 
 Cimabue 
 
 * Academ. piclur. p. 15. 
 t P« 94- 
 
Henry III. to the End of Henry VI. 29 
 
 Cimabue ufed yolk of egg or glue, which I fuppofe means fize. 
 
 Still the much more ancient ufe of oil, were it but as a varnilh, leaves 
 a doubt whether John ab Eyck's difcovery was entirely his own. The 
 remarkable record which I have fo often mentioned, dates above an 
 hundred years before the common aera of painting in oil. John ab 
 Eyck is allowed to have found it in fearching for a varnifh. Might he 
 not have heard that fuch a varnifh or compofition was in ufe in Eng- 
 land? *The very pictures I have mentioned as ftill extant and under 
 all the appearances of being painted in oil, feem to fay even more. 
 The Painters employed by Henry III. appear to have been Italians, and 
 yet it is eafy to vindicate the fecret from them, at leaft I can prove that 
 they muft have found the practice here, not have brought it over with 
 them, for we are told exprefly that in Italy they knew of no fuch me- 
 thod. 
 
 * I cannot help hazarding a conjecture (though unfupported by any of the wri- 
 ters on painting). There is an old altar-table at Chifwick, reprefenting the lord 
 Clifford and his lady kneeling — Van Eyck's name is burnt in on the back of the 
 board. If Van Eyck was ever in England, would it not be probable that he learned 
 the fecret of ufing oil here, and took the honour of the invention to himfelf, as we 
 were then a country little known to the world of arts, nor at leifure enough, from 
 the confufions of the times, to claim the difcovery of a fecret which foon made fuch 
 fortune abroad ? An additional prefumption, though certainly not a proof of 
 Van Eyck's being in England, is a picture in the duke of Devonfhire's collection 
 painted by John ab Eyck in 1422, and reprefenting the confecration of St. Tho- 
 mas Becket. The tradition is, that it was a prefent to Henry V. from his uncle 
 the duke of Bedford, regent of France; but tradition is no proof; and two pic- 
 tures of this author in England, one of them of an Englifti family, and the other 
 of an Englifh ftory, are at leaft as g©od evidence for his having been here, as tra- 
 dition for one of them being painted abroad. However I pretend to nothing more 
 in all this than meer conjecture. 
 
30 State of Painting from the Reign of 
 
 thod. When fome of John ab Eyck's pictures were carried to Al- 
 phonfo king of Naples, the Italian painters were furprized, fays San- 
 drart*, Quod aqua purgari poffent, coloribus non deletis. 
 
 I muft beg not to have it luppofed that I am fetting up any novel 
 pretentions for the honour of my own country. Where the difcovery 
 was made I do not pretend to guefs : the fact feems to be that we had fuch 
 a practice. Curious facts are all I aim at relating, never attempting to 
 eftablifh an hypothefis, which of all kind of vifions can nourilh itfelf 
 the molt eafily without any. The paflion for fyftems did not introduce 
 more errors into the old philofophy, than hypothefis has crouded into 
 hiftory and antiquities. It wrefts all arguments to the favorite point. 
 A man who fees with Saxon eyes fees a Saxon building in every mole- 
 hill: a Mercian virtuofo can difcover king lords and commons in the 
 tumultuary conventions of the Wittenagemot-, and an enthufiaft to the 
 bards find primaeval charms in the rudeft ballad that was bawled by 
 the mob three or four hundred years ago. But the truths we antiqua- 
 rians fearch for, do not feem of importance enough to be iupported by 
 fictions : the world in general thinks our ftudies of little confequence; 
 they do not grow more valuable by being fluffed with guefTes and in- 
 vention. 
 
 The painters of thefe portraits f of king Richard are ftill more un- 
 certain 
 
 * P. 105. Maffei indeed in his Verona Uluftrata is of a different opinion, and 
 thinks oil-painting was known in Italy before John ab Eyck. 
 
 f Another reprefentation of this king is exhibited by Montfaucon from a MS. 
 Froifard in the library of the king of France. There is another illuminated edi- 
 tion of that author in the Britifh Mufeum, in which is a miniature of the young 
 monarch fitting on his throne and attended by his uncles. In the fame place is art 
 
 hiftoric 
 
Henry III. to the End of Henry VI. 3 1 
 
 certain than the method in which they pa : nted. I can find no names 
 of artifts * at that period. Nor is this extraordinary. In countries 
 where the fcience flourifhed more, our knowledge of the profelTors is 
 very imperfect. Though Cimabue reftored the art as early as 1250, 
 yet the number of his fuccefTors on record is extremely fmall, 'till An- 
 tonello of Meflina carried the fecret of painting in oil into Italy : and 
 for Flanders, where it was invented, the biographers of the mafters of 
 thatcountry, as Carl Vermander, Sandrart, &c. profefTedly begin their 
 lifts with John ab Eyck. We mult leave therefore in the dark what 
 we find irrecoverably fo. 
 
 Two of the artifts employed on the tomb of Richard are recorded 
 by Stowe. That prince had prepared it for himfelf and his queen. B. 
 Vol. L I and 
 
 hifloric poem in old French, written by a perfon of condition in the fervice of 
 Richard II. and an eye-witnefs of all that he relates. It has fixteen curious illumi- 
 nations, in which that king is eight times reprefented in different fituations. 
 There are alfo the portraits of Henry of Lancafter (four times) of Archbifhop 
 Arundel, the dukes of Surrey and of Exeter, the earls of Northumberland, Salis- 
 bury, &c. Part of this curious piece was tranflated by George Carew earl of 
 Totnefs ; the tranflation was publifhed with ten other tracts in a thin folio called 
 Hibernica, by Walter Harris ; Dublin 1747. 
 
 * Except of John Sutton a carver, who was employed by Thomas Beauchamp 
 earl of Warwick to alter a ftatue of the famous Guy earl of Warwick, ftanding 
 in the choir of the church there, and to cut the arms of the ancient earls on it. It 
 was from the fpoils of this family that Richard II. granted to his half brother 
 Thomas duke of Surrey a fuit of arras wrought with the ftory of the fame Guy. 
 See Dugdale's Warwickfhire p 402, 431. The city of London made prefents to 
 Richard and his queen, among other curiofities, of pictures of the Trinity valued 
 at 800/. An enormous fum for that time ! See defcrip. of Lond. and the environs* 
 vol. iv. p. 30. 
 
3 2 State of Painting from the Reign of 
 
 and Godfrey of Woodftreet, gold-fmiths, made the moulds and cad 
 the images of the king and queen [ftill extant in the abbey] " the 
 " charges of gilding of them coft 400 marks * ." 
 
 The next picture of the fame age is a portrait of John of Gaunt 
 painted on glafs, with other portraits of that time, in the college of 
 All Souls at Oxford. 
 
 His fon Henry IV. is extant, as I have faid, at Hampton-court in 
 Herefordfhire, formerly his f palace: a copy or duplicate of this piece 
 is at Kenfington. In a book called Studio di Pittura, Scoltura, &c. 
 di Filippo Tito, is a coin of Charles VI. of France with exactly the 
 fame extraordinary head drefs, as was worn by this king. 
 
 Vertue met with a fine illuminated MS. of this age, a milTal for the 
 ufe of Salifbury; in the beginning was the figure of John lord Lovel 
 receiving the book from Frater Johannes Sifernas, who was probably 
 the illuminator. It is now in the Britifh Mufeum. 
 
 The fine eaft window in the cathedral of York was painted in this 
 reign, at the expence of the Dean and Chapter, who contracted with 
 John Thornton, glazier, of Coventry, to execute it. He was to receive 
 for his own work four millings a week, and to finifh the whole in lefs 
 than three years. The indenture, ftill preferved, adds, that he was to 
 receive an hundred millings fieri ing, each of the three years ; and if 
 he executed his work truly and perfectly, he was to have ten pounds 
 more. Another indenture of 1338, for glazing fome of the weft win- 
 dows, 
 
 * Annals p. 342. 
 
 t This is the common report. Others fays that Hampton-court was built by 
 Sir John Lenthall, from the profit of fpoils taken in the French war under Henry 
 V. confequently Henry IV. could not have lived there. 
 
Henry III. to the End of Henry VI. 3 3 
 
 clows, articles, that the workman mould have fix-pence a foot for white 
 glafs, and twelve-pence for coloured. The great window evidences 
 how able an artift John Thornton was*. 
 
 The painted effigies of Chaucer remained 'till within thefe few years 
 on his tomb at Weftminfter ; and another, fays Vertue on his print of 
 that poet, is preferved in an illuminated MS. of Thomas Occleve, 
 painted by Occleve himfelf. D'Urry and Tanner both mention fuch 
 a portrait, which places Occleve in the rank of one of our firft paint- 
 ers as well as poets f. 
 
 Henry V. is like wife on board at Kenfington, and on vellum in fome 
 MSS. as Vertue fays in his account prefixed to the heads of our kings, 
 but he does not mention where thofe MSS. are preferved. But a moft 
 curious picture of this king and his family is frill extant in the collec- 
 tion of James Weft, efq; fecretary of the treafury. This piece is evi- 
 dently painted in oil-colours, and though the new art might have reach- 
 ed England before the death of that prince, which happened in 1422, 
 yet there are many circumftances that lead me to think it of a later 
 date. It was an altar-piece at Shene, and in all probability was painted 
 by order of Henry VII. for the chapel in his palace there. His fondnefs 
 for the houfe of Lancafter is too well known to be dwelt on : the fmall 
 refemblance of the portrait of Henry V. to genuine pictures of him, 
 and the great refemblance of all the other perfonages to one another, 
 
 make 
 
 * Drake's York, p. 527. 
 
 t I find by Montfaucon that the ufe of crayons was known in this age in 
 France ; but nothing of that kind appears to have been practiced in this country. 
 See his account of the portraits of John duke of Berry and Louis duke of Orleans^ 
 the uncle and the brother of Charles VI. 
 
34 State of Painting from the Reign of 
 
 make it evident that it was rather a work of command and imagination 
 than of authenticity. Add to this that on the tents (which I mall men- 
 tion prefently) portcullifes are mixed with red rofes the portcullis* 
 was the cognizance of the illegitimate branch of Beaufort, and was 
 never that I can find born by the houfe of Lane after f 5 but when Hen- 
 ry VII. gave himfelf for the heir of that royal line, no wonder he 
 crouded the badges of his own baftard blood among the emblems of 
 the crown. However the whole piece is fo ancient and fo lingular, 
 that I mall be excufed inferring the defcription of it in this place. 
 
 It is painted on feveral boards joined, and is four feet three inches 
 high, by four feet fix wide. 
 
 On the left hand is the king in dark purple robes lined with ermine, 
 the crown on his head. He is kneeling before a defk on which is a 
 miffal, and the fceptre and globe. Behind him on their knees are his 
 three brothers, Thomas duke of Clarence; \ John duke of Bedford ; 
 Humphrey duke of Glocefter. They are drefTed in robes like the king's 
 and wear golden coronets : over them is a tent, ftriped with white and 
 gold, on which are red rofes crowned ; and the valance, of the fame 
 colours with red rofes and portcullifes. A fmall angel flying holds the. 
 top of the tent. The queen is oppofite, under another tent exactly in 
 the fame manner, except that there is no fceptre on her defk Behind 
 her are four ladies drefTed like her and with coronets. The two firft 
 
 arej, 
 
 * See Sand ford. 
 
 t The red rofe is another proof that this pi&ure was not painted in the reign 
 of Henry V. as the red and white rofes were not adopted as diftinctions of the two 
 houfes, till the reign of Henry VI. 
 
 % This is extremely unlike the miniature of him which I fhall mention pre- 
 fently j and which is too remarkable a face not to have had much refemblance* 
 
Henry III. to the End of Henry VI. 35 
 
 are probably Blanche duchefs of Bavaria, and Philippa queen of Den- 
 mark, the king's fillers; who the other two are is more difficult to de- 
 cide, as they are reprefented with diflievelled hair, which in pictures of 
 that time, is a mark of virginity. It has been fuppofed that the two 
 elder were the wives of the dukes of Clarence and Bedford, and the two 
 younger their fitters \ but this clafh.es with all hiliory and chronology. 
 Blanche and Philippa were both married early in their father's reign : 
 and to fuppofe the two younger ladies the brides of Clarence and Bed- 
 ford would be groundlefs, for Margaret Holland the wife of the form- 
 er was a widow when he married her. As all the portraits are imagi- 
 nary, it does not much fignify for whom the painter intended them. A 
 larger angel (landing, holds the cloth of the two tents together. On 
 a rifing ground above the tents is St. George on a brown fleed ftriking 
 with his fword at the dragon, which is flying in the air, and already 
 pierced through the forehead with a fpear, on which is a flag with the 
 crofs of St. George. Cleodelinde, with a lamb, is praying beneath 
 the dragon. On the hills are gothic buildings and caflles in a pretty 
 tafte. 
 
 This curious picture, after it was taken from Shene, was in the 
 Arundelian collection, and was fold at Tart-hall in 1 719. In the long 
 gallery at Lambeth is an ancient portrait of queen Catherine of Va- 
 lois, and another of archbifhop Chicheley. 
 
 Richard Frampton had a gift of five marks from Henry V. for il- 
 luminating a book of grants in the office of the dutchy of Lancafter. 
 
 An original portrait of John duke of Bedford, above-mentioned, is 
 extant * in a fine illuminated Prayer Book prefented by him to Henry 
 Vol. t. K VI. 
 
 * It is now in the collection of her grace the duchefs of Portland : the duke of 
 Bedford's head was engraved by Vertue with thofe of the kings. 
 
36 State of Painting from the Reign of 
 
 VI. The duke and his firft wife Anne of Burgundy are reprefented 
 with their arms and devices. 
 
 Of that indifcreet but amiable and unfortunate prince Humphrey 
 duke of Glocefter, I know no memorial ; nor will I mention him but 
 to make one remark, fufficient alone to detect the malice of h;s enemies, 
 if it had not been detected. What probability was there that the wife 
 of a man illuftrious for expofing impoftors, who encouraged learning,* 
 and founded the Divinity-fchool at Oxford, mould have dared under 
 his roof to dabble with witches and necromancers ? His firft wife Ja- 
 queline, the amorous Countefs of Holland, is known by more than one 
 monument. Two fine prints of her, and her laft hufband, were pub- 
 lifhed in 1753 by Folkema, from pictures painted by Moftert at Har- 
 lem. William Bridges, the firft Garter King at Arms, inftituted by 
 Henry V. fet up in the windows of the c urch of St. George at Stan- 
 ford the portraits of the firft Knights of the Garter: It was from thefe 
 paintings that Hollar etched the plate of them publifhed in Ammolt's 
 hiftory of the order, f 
 
 In the reign of Henry VI. our field begins to grow lefs barren. 
 Many portraits of the king himfelf are preferved, as on board at Km- 
 fington and on glafs in the chapel of King's college. In my pofieflion 
 is a remarkable piece, which fo many circumftances affix to the hiftory 
 of this prince that I cannot heritage to believe it defigned for him, 
 though I imagine it was painted after his death. It is the reprefenta- 
 tion of his marriage. There are eleven figures, of which all the heads 
 are well painted : the draperies are hard and ftifF. The king in rich 
 
 robes, 
 
 * He had a valuable library for that time, and gave 129 volumes to the univer- 
 fity. Hearne. 
 
 f Peck's Annals of Stanford, book ii. chap. 18. 
 
m 
 
Henry III. to the End of Henry VI. 37 
 
 robes, but with rude diftievelled hair, as are all the men, ftands before 
 the portal of a magnificent church, giving his hand to the queen, who 
 is far from being a lovely bride, and whom the painter feems fatiri- 
 cally to have infinuated by the prominence of her waift not to have 
 been fo perfect a virgin as her flowing hair denotes. Kemp arch- 
 bifhop of York and afterwards of Canterbury, and one of her chief 
 counfellors, is performing the marriage rites by holding the pallium 
 over their conjoined hands. It is remarkable that the prelate wears 
 thin yellow gloves which are well reprefented. Behind the king in a 
 robe of date ftands the duke of Glocefter, and feems reproving a no- 
 bleman, * whom I take for the marquis of Suffolk. Behind the 
 queen is a lady in a kind of turban or diadem, probably defigned for 
 her mother the titular queen of Naples and Jerufalem, Beyond her, 
 another in a widow's drels, oppofite to whom is a comely gentleman. 
 This pair I conclude is Jaqueline, duchefs of Bedford, widow of ciukc 
 John, and her fecond hufband. Our hiftorian fays that pretty iudden- 
 ly after the duke's death, fhe married Sir Richard Widville, a goodly 
 young knight. They were theparents of Elizabeth, queen of Ed ward I V„ 
 On the fore ground oppofite to the marquifs of Suffolk ftands a 
 noble virgin, whom I take for Margaret of Richmond, mother of 
 Henry VII. one of the charges againft the marquis of Suffolk was, 
 that he endeavoured to marry his fon to this lady Margaret, a princefs 
 of the blood. Near the archbifhop is a cardinal, who is certainly 
 Winchefter, the king's great uncle. The face is very like the image 
 on his tomb at Winchefter; nor can one account for his not perform- 
 ing the ceremony, but by his dignity of prince of the blood, which 
 did not fuffer by the miniftration of an inferior prelate. Behind the 
 
 queen 
 
 * He has a hawk on his fill:, a mark of nobility in old paintings. 
 
38 State of Painting from the Reign of 
 
 queen of Naples is an abbefs, and at a diftance a view of a town, that 
 muft be Tichfield, from whence the queen was led to be married at 
 Southwick. Befides the feeming pregnancy of the queen, there is 
 another circumftance, conclusive for this picture being painted after 
 the death of Henry. Round his head is the nimbus or glory : an ad- 
 dition that was as pofterior to his marriage, as the painter feems to in- 
 timate the queen's fruitfullnefs v/as anterior to it. Round the hem of 
 the queen's robe are fome letters*, which are far from being fo intel- 
 ligible as the other incidents. The words are involved in the folds ; 
 what appear, are Vol falv Regin m — one knows that Salve Regina 
 mater coelorum is the beginning of a hymn - — but I know not what 
 to make of Vol. — the painter probably was no Latinift — and in- 
 deed the firft letter of Regina, he has drawn more like to a B than an 
 R. On the abbefs's girdle is Vel ave — as little to be decyphered 
 as her majefty's Vol. 
 
 But it is to Sir William Dugdale that I am indebted for the greateft 
 difcoveries I have made towards the hiftory of our ancient artifts. In 
 that collection of various treafures which he has faved from oblivion 
 [faved the more luckily, as he wrote but the inftant before it became 
 piety to commit devaflation] He has incidentally preferved fome me- 
 morials of the ftate of painting in the reigns of our earlieft princes. I 
 have found fome names of the profefTors, and even the rates of their 
 
 work. 
 
 * This was a fafhion as early as the reign of Richard II. when Edward Earl of 
 Rutland, the Lord Spencer and others accufed the Earl of Arundel of treafon, they 
 appeared before the king at Nottingham in red gowns offilk, garded and bordered 
 with white filk and embroidered with letters of gold. Peck's Annals of Stanford 12, 
 39. The lady Margaret in this picture is in a green gown bordered with white 
 filk. 
 
Henry III. to the End of Henry VI. 39 
 
 work. I call them profelTors, agreably to modern eftimation, but our 
 anceftors feem to have treated them without any diftinction from other 
 mecanics. If Henry III. befpoke pictures by the intervention of the 
 fherirf, under Henry VI. we were ftill fo unpolifhed, that a peer of the 
 firft nobility going into France on an embafly, contracted with his 
 taylor for the painter's work that was to be difplayed in the pageantry 
 of his journey. The bill itfelf is fo curious that I fliall tranfcribe part 
 of it. 
 
 Thes be the parcels that Will. Seburgh citizen and peyntour of 
 London hath delivered in the month of Juyll the xv yeer of the reign 
 of king Harry the fixt, to John Ray, taillour of the fame citee, for 
 the ufe and fluff of my lord of Warwyk. 
 
 Ferft, cccc pencels bete with the raggidde ftaffe of filver, pris the 
 pece vd. 08/. — 6s. — ood. 
 
 Item, for the peynting of two paveys for my lord, the one with a 
 gryfon flondying in my lordis colours rede, white and rurTet, pris of 
 the pavys 00 06 — 08. 
 
 Item, for the other pavys peyntid with black and a raggid ftafFe 
 bete with filver occupying all the felde, pris 00 — 03 — 04. 
 
 Item, one coat for my lordis body, bete with fine gold, pris 01-10-00. 
 
 Item, for a grete ftremour for the fhip of xl yerdis length, and vrn 
 yerdis in brede, with a grete bere and gryfon holding a ragidd ftafFe, 
 poudrid full of raggid ftaves •, and for a grete crofTe of St. George, for 
 the lymmyng and portraying 01 — 06 -- 08. 
 
 There are feveral other articles which the reader may find at lenoth 
 in the original from whence I have copied thefe *. 
 
 Vol. L L If 
 
 * Dugdale's Warwickfhire, p. 408. 
 
40 State of Painting from the Reign of 
 
 If it is objected to me, that This was meer herald's painting, I an> 
 fwcr, That was almoft the only painting we had. The art was en- 
 grofled by and confined to the vanity or devotion of the nobility. The 
 arms they bore and quartered, their mifials, their church- windows and 
 the images of their idols were the only circumftances in which they had 
 any employment for a painter. Even portraits, the object of modern 
 vanity, feem not to have been in fafhion. I know not one except of 
 the blood royal or of a bifhop or two, painted during the period of 
 which I am writing. Devout fubjects were held in fufficient eftimation. 
 Ifabel countefs of Warwick in 1439, bequeathed her tablet with the 
 image of our lady to the church of Walfingham, and it is even men- 
 tioned that this tablet had a glafs over it. I cannot pafs over this 
 magnificent lady without taking a little notice of fome other particu- 
 lars of her will. She was daughter and at length fole heirefs of Tho- 
 mas le Defpenfer earl of Glocefter, widow of Richard Beauchamp ear! 
 of Worcefter, and afterwards by difpenfation married to his coufin that 
 potent and warlike peer, Richard Beauchamp earl of Warwick. Their 
 portraits on glafs with others of their lineage were long extant in the 
 church at Warwick. Her great templys * with the baleys fold to the 
 utmoft, Ihe gave to the monks of Tewkfbury, fo that they grucht not 
 with her burial there, and what elfe me had appointed to be done a- 
 bout the fame. To our lady of Walfingham, her gown of green alyz 
 cloth of gold with wide fleeves, and a tabernacle of filver like in the 
 timbre to that over our lady of Caverfliam, and ordered that her great 
 image of wax, then at London, mould be offered to our lady of Wor- 
 
 , cefter. 
 
 * Jewels hanging on the foreheads of ladies by bodkins thruft into their hair. 
 See Dugdale's Warwickfliire, p. 413. 
 
Henry III. to the End of Henry VI. 41 
 
 cefter. To the abbey of Tewkmury fhe gave her wedding gown, and 
 all her cloaths of gold and cloaths of filk without furs, faving one of 
 ruflet velvet which fhe bellowed on St. Winifrede. But having thus 
 difpofed of her wardrobe for the ufe of the faints, me feems to have 
 had very different thoughts about her felf, ordering that " a ftatue of 
 her mould be made all nakyd with her hair caft backward, according 
 to the defign and model that one Thomas Porchalion had for that 
 purpofe." This extreme prohibition of all covering, I fuppofe, 
 flowed from fome principle of humility in this good lady, who having 
 diverted herfelf of all vain ornaments in favour of our lady and St. 
 Winifrede, would not indulge her own perfon even in the covering of 
 the hair of her head. And it looks, by the legacy to the monks above, 
 as if fhe had fome apprehenfions that they would not relifh or compre- 
 hend the delicacy of fuch total rejection of all fuperfluities. I was will- 
 ing to mention this teflament too, becaufe it feems to record even the 
 name of an ancient ftatuary. Other ftatuaries and founders are men- 
 tioned in the coft bellowed on the tomb of the earl her hufband. 
 Dugdale has preferved the covenant between the executors and the 
 artifts. There I find John Eflex, marbler, William Auftin, founder, 
 Thomas Stevens, copper-fmyth, John Bourde of CorfTe caftle, marbler, 
 Bartholomew Lambfpring a Dutch gold-fmith; they agree on all the 
 particulars for the image on the tomb, and the little images and ef- 
 cutcheons round it. The tomb with the image ftill extant in po- 
 lifhed brafs of the higheft prefervation witnefTes that the artifts were ex- 
 cellent enough to deferve this memorial. John Prudde of Weftmin- 
 (ler, called Amply, glazier, appears to have painted the windows of 
 the chapel ; and it was particularly ftipulated that " he mould employ 
 
 no 
 
42 State of Painting from the Reign of 
 
 no glafs of England, but with glafs beyond the Teas, and that in the 
 fined wife, with the bed, cleaned, and ftrongeft glaflTe of beyond Tea 
 that may be had in England, and of the fined colours of blew, yellow, 
 red, purpure, fanguine and violet, and of all other colours that mall be 
 mod necefTary and bed to make rich and embellifh the matters, images 
 and dories that mail be delivered and appointed by the faid executors 
 by patterns in paper, afterwards to be newly traced and pictured by 
 another painter in rich colour at the charges of the faid glazier." By 
 all thefe circumdances it is plain that the executors thought that the 
 magnificence of the intended monument mud confid in the value and 
 fhow of the materials, rather than in any excellence of the workman- 
 fhip. This covenant carries us dill farther, and has even brought to 
 light a hidory-painter of that time. John Brentwood citizen and deyn- 
 er of London engages " to paint on the wed wall of the chapel the 
 dome of our Lord Jefus and all manner of devifes and imagery there- 
 unto belonging, of fair and fightly proportion, as the place mall ferve 
 for, with the fined colours and fine gold ; M and Kriftian Coleburne, 
 another painter dwelling in London, undertakes to paint " in mod 
 fine, faired and curious wife four images of done, of our lady, St. 
 Gabraell the angel, St. Anne and St. George ; thefe four to be paint- 
 ed with the fined oil colours, in the richeft, fined and frefhed clothings 
 that may be made of fine gold, azure, of fine purpure, of fine white, 
 and other fined colours necefTary, garniflied, bordered and poudered in 
 the fined and curioufed wife." 
 
 This fingular record contains too the prices dipulated for the feve- 
 ral performances. The tomb was to cod 125/. derling ; the image 
 40/. the gilding of the image and its appurtenances, 13/. The glafs- 
 
 painter 
 
Henry III. to the End of Henry VI. 43 
 
 painter was to have 2 s. for every foot of glafs, and fo for the whole 
 91/. is. 10 d. The fcripture-piece on the wall wasto coll: 13/. 6 s. Sd. 
 and the painting of the four images 12/. The whole expence of the 
 chapel and monument, which were not compleated under one and 
 twenty years, amounted to 2481/. $s. yd. 
 
 The wealth and fplendor of that family was fo great, that Henry 
 Beauchamp, fon of Richard and Ifabel, was at the age of nineteen 
 created premier earl of England, and three days after he was made 
 duke of Warwick, with precedence next to the duke of Norfolk and 
 before the duke of Buckingham— an act of power fo deftructive of all 
 the vanity of nobility and blood, that the duke of Buckingham could 
 not digeft it: It occafioned fuch animofity, that the king was obliged 
 to qualify his grant, by eftablifhing between the contending parties a 
 rotation of feniority, each to take place alternately for a year, the fur- 
 vivor to precede for his life the heir of the other, and fo in perpetuum. 
 A fenfelefs jumble, foon liquidated by a more egregious act of folly, 
 the king with his own hand crowning the young duke of Warwick 
 king of the ifle of Wight— nor can one eafily conceive a more ridicu- 
 lous circumftance, than a man who had loft the kingdom of France 
 amufing himfelf with bellowing the diadem of the little ifle of Wight— 
 but to return to our artifts— I find the name of another fculptor at the 
 fame aera; not employed indeed in any considerable work, and called 
 only Richard the carver; he and one brother Rowfby a monk were en- 
 gaged on fome repairs in the church of St. Mary at Stanford. 
 
 But the moft valuable artifts of that age were the illuminators of 
 manufcripts. Their drawing was undoubtedly ftiff, but many of the or- 
 naments as animals, flowers and foliage they often painted in a good 
 Vol. I. M tafte, 
 
 * See Peck's Antiquities of Stanford, lib. 14. cap, 5, 
 
44 State of Painting from the Reign of 
 
 tafte, and finifhed highly. To feveral mifTals were added portraits of 
 the princes and princefTes to whom they belonged, or tor whom they 
 were defigned as prefents. The dreffes and buildings of the times are 
 preferved, though by frequent anachronifms applied to the ages of 
 fcripture; and the gold and colours are of the greateft brightness and 
 beauty. Several receipts for laying thefe on are ftill extant, particularly 
 in the Britifli Mufeurru* Dugdale from fome of thefe illuminations 
 has given cuts of two remarkable combats or tournaments performed 
 in the 15th year of king Henry VI. f in which the defigns are far from 
 unworthy of a better age^ and the cuftoms and habits delineated with 
 great accuracy. 
 
 Henry himfelf, I fuppofe, had no tafte for the arts-— the turbulent 
 ambition of his queen left her as little — yet fhe was the daughter of a 
 prince, who was not only reckoned the beft painter of his age, but who 
 would really appear no mean performer in the prefent: This was Rene 
 of Anjou, king of the two Sicilies, duke of Lorrain and count of 
 Provence, much known from having loft almoft all his dominions ; 
 yet it has been little remarked that he was one of the very few princes 
 who did not deferve to lofe them, having merited from his fubjects 
 the title of the good. His own picture painted by himfelf is ftill ex- 
 tant in the chapel of the Carmelites at Aix, and the print from it in 
 
 Mont- 
 
 * See Catal. Harl. MSS. No. 273. art. 34. where is alfo a receipt for painting 
 on glafs. In that collection is a MS. in which Henry VI. is reprefented looking 
 out of a window in the tower. In Dufrefne's Greek glolTary are three receipts 
 for illuminating under the article x$y?oyg«<p»a. There are two others in Montfau- 
 con's Palaeographia Graeca. 
 
 f See Warwickihire, p. no. 
 
Henry III. to the End of Henry VI. 45 
 
 Montfaucon's Antiquities of France will juftify what I have faid of 
 this prince's talent* 
 
 In this age was finilhed the cloyfler adjoining to the old church of 
 St. Paul : It was built round a chapel in Pardon-church Hawgh, a 
 place fituated on the north fide of the church, where Thomas More 
 dean of St. Paul's in the reign of Henry V. reftored an ancient chapel, 
 but dying before he had accomplifhed it, it was finifhed by his execu 
 tors, by licenfe from Henry VI. On the walls of this cloyfter was 
 painted, at the charge of Jenkyn Carpenter, a citizen of London, the 
 Dance of Death, in imitation of that in the cloyfter adjoining to St. In- 
 nocent's church-yard at Paris. Underneath were Englifh verfes (to 
 explain the paintings) tranflated from the French, by John Lidgate 
 the famous poetic monk of Bury. Dugdale has pfeferved the lines, 
 and Holbein by borrowing the thought, ennobled the pictures.* 
 
 In this reign John de Whethamfted abbot of St. Albans, a man of 
 great learning and merit, adorned the chapel of our lady there with va- 
 rious paintings, as he did the fides of the church and his own lodg- 
 ings, under all which paintings he caufed mottos and infcriptions to 
 be placed. At his manor of Tittenhanger he had pictures in the church 
 4)[ all the faints of his own name.f 
 
 I mall clofe my notes on the ftate of painting under Henry VI. with 
 bbferving that the portraits on glafs in the windows of the college of 
 All Souls at Oxford, were painted in his reign. 
 
 , * See Dugdale's St. Paul's, p. 134, and Stowe, 354. 
 t Chauncy, 445. 
 
 CHAP. 
 
Anecdotes of PAINTING, &c. 
 
 CHAP. III. 
 
 Continuation of the State of Painting to the End of 
 
 Henry VII. 
 
 WHether it was owing to the confufions of his reign, or to 
 his being born with little propenfity to the arts, we find but 
 fmall traces of their having flourifhed under Edward IV. 
 Brave, afpiring and beautiful, his early age was wafted on every kind 
 of conqueft-, as he grew older, he became arbitrary and cruel, not lefs 
 voluptuous nor even * more refined in his pleasures. His picture on 
 board, ftiff and poorly painted, is preferved at Kenfington — the whole 
 length of him at St. James's in a night gown and black cap was drawn 
 many years after his death by Belcomp, of whom an account will be 
 given hereafter. A portrait, f faid to be of his queen, in the Ammo- 
 lean Mufeum at Oxford, conveys no idea of her lovelinefs nor of any 
 /kill in the painter. Almoft as few charms can be difcovered in his 
 
 favorite 
 
 * His device, a falcon and fetter-lock, with a quibbling motto in French, had 
 not even delicacy to excufe the witticifm. 
 
 f There is another at Queen's college Cambridge, of which me was fecond 
 foundrefs 5 it feems to be of the time, but is not handfome. 
 
Painting to the End of Henry VII. 47 
 
 favorite Jane Shore, preferved at Eton, and probably an original, as 
 her confefTor was provoft of that college, and by her interceflion reco- 
 vered their lands, of which they had been defpoiled, as having owed 
 their foundation to Edward's competitor. In this picture her fore- 
 head is remarkably large, her mouth and the reft of her features fmall; 
 her hair of the admired golden colour:* A lock of it (if we may be- 
 lieve tradition) is ftill extant in the collection of the countefs of Car- 
 digan, and is marveloufly beautiful, feeming to be poudered with 
 golden duft without prejudice to it's filken delicacy. The king him- 
 felf, with his queen, eldeft fon and others of his court, are reprefented 
 in a MS. in the library at Lambeth, from which an engraving was 
 made, with an account of it, and prefixed to the Catalogue of Royal 
 and noble Authors. It was purchafed of Peacham by Sir Robert 
 Cotton. Richard III. the fucceflbr of thefe princes, appears in ano- 
 ther old picture at Kenfington. In the princefs dowager's houfe at 
 Kew in a chamber of very ancient portraits, of which moft are ima- 
 Vol. L N ginary, 
 
 * This picture an fwers to a much larger mentioned by Sir Thomas More; 
 who, fpeaking of her, fays, " her ftature was mean ; her hair of a dark yellow 9 
 her face round and full, her eyes grey ; delicate harmony being betwixt each 
 part's proportions, and each proportion's colour ; her body fat, white and fmooth ; 
 her countenance chearfull, and like to her condition; the picture which I have 
 feen of her was fuch as me rofe out of her bed in the morning, having nothing on 
 but a rich mantle, caft under one arm and over her moulder, and fitting in a chair, 
 on which one arm did lie." The picture at Eton is not fo large, and feems to 
 have been drawn earlier than that Sir Thomas faw ; it has not fo much as the 
 rich mantle over one moulder. There is another portrait of Jane Shore to be- 
 low the breafts, in the provoft's lodge at King's college, Cambridge ; the body 
 quite naked, the hair dreffed with jewels, and a necklace of mamve gold. It is 
 painted on board, and from the meanefs of the execution feems to be original* 
 
48 Continuation of the State of 
 
 ginary, is one very curious, as it is probably an original, of the duke 
 of Norfolk killed at the battle of Bofworth. 
 
 Names of artifts in thefe reigns, of which even fo few authentic re- 
 cords exift, are not to be expected — one I have found, the particulars 
 of whofe work are exprefled with fuch rude fimplicity, that it may not 
 be unentertaining to the reader to perule them. They are extracted 
 from a book belonging to the church of St. Mary Ratcliffe at Briftol. 
 Memorandum, 
 
 That mafter Cumings hath delivered the 4th day of July in the year 
 of our Lord 1470 to Mr. Nicholas Bettes vicar or Ratcliffe, Mofes 
 Couteryn, Philip Bartholemew, and John Brown, procurators or Rat- 
 cliffe beforefaid, a new fepulchre well-gilt, and cover thereto, an image 
 of God Almighty ryfing out of the fame fepulchre, with all the ordi- 
 nance that longeth thereto; that is to fay, 
 
 A lath made of timber and iron work thereto ; 
 
 Item, Thereto longeth Heven> made of timber, and ftained cloth; 
 
 Item, Hell, made of timber and iron work, with devils the num- 
 ber, thirteen ; 
 
 Item, Four knights armed, keeping the fepulchre, with their wea- 
 pons in their hands, that is to fay, two fpears, two axes, two paves; 
 
 Item, Four pair of angel's wings, for four angels, made of timber 
 and well-painted. 
 
 Item, The fadre, the crown and vifage, the bell with a crofs upon it 
 w. 11-gilt with fine gold ; 
 
 Item, The Holy Ghofl: coming out of heven into the fepulchre; 
 
 Item, Longeth to the angels four chevelers.* 
 
 HENRY 
 
 * This memorandum is copied from the minutes of the Antiquarian Society 
 
 under 
 
Painting to the End of Henry VII. 49 
 
 T TENRY VIL feems never to have laid out any money fo willingly, 
 as on what he could never enjoy, his tomb *— on that he was 
 profufe-, but the very fervice for which it was intended, probably com- 
 forted him with the thought that it would not be paid for 'till after his 
 death. Being neither oftentatious nor liberal, genius had no favour 
 from him: He reigned as an attorney would have reigned, and would 
 have preferred a conveyancer to Praxiteles. 
 
 Though painting in his age had attained it's brighteft epoch, f no 
 tafte reached this country. Why mould it have fought us ? the king 
 penurious, the nobles humbled, what encouragement was there for abi- 
 lities? what theme for the arts ! barbarous executions, chicane, pro- 
 ceffes, and mercenary treaties, were all a painter, a poet or a ftatuary 
 had to record— accordingly not one that deferved the title (I mean na- 
 tives) arofe in that reign. The only names of painters that Vertue 
 could recover of that period were both foreigners, and of one of them 
 the account is indeed exceedingly flight; mention being barely made 
 in the regifter's office of Wells, that one Holbein lived and died here in 
 
 the 
 
 tinder the year 1736 Two paves: A pave (in French, pavois or talevas) is a 
 large buckler, forming an angle in front, like the ridge of a houfe, and big enough 
 to cover the talleft man from head to foot. The bell with the crofs : probably the 
 ball or mound. Four chevelers : chevelures or perukes. 
 
 * The whole chapel, called by his name, is properly but his maufoleum, he 
 building it folely for the burial place of himfelf and the royal family, and accord- 
 ingly ordering by his will that no other perfons mould be interred there. See 
 Dart's Antiquities of Weftminfter abbey vol. L p 32. The tomb was the work 
 of one Peter a Florentine, as one Peter a Roman made the Ihrine of Edward the 
 Confeflbr. 
 
 f Raphael was born in 1483. 
 
50 Continuation of the State of 
 
 the reign of Henry VII. Whether the father of the celebrated Holbein" 
 I fliall inquire hereafter in the life of that painter — but of this perfon 
 whoever he was, are probably fome ancient limnings * in a cabinet at 
 Kenfington, drawn before the great matter of that name could have 
 arrived here. Among them is the portrait of Henry VII. from whence 
 Vertue engraved his print. The other painter had merit enough te 
 deferve a particular article \ He was called 
 
 JOHN MABUSE or MABEUGIUS, 
 
 and was born at a little town of the fame name in Hainault, f but in 
 what year is uncertain, as is the year J of his death. He had the two 
 defects of his cotemporary countrymen, ftiffnefs in his manner, and 
 drunkennefs. Yet his induftry was fufficient to carry him to great 
 lengths in his profeilion. His works were clear and highly finifhed. 
 He was a friend rather than a rival of Lucas || of Leyden. After fome 
 practice at home he travelled into Italy, where he acquired more truth 
 
 in 
 
 * Two miniatures of Henry VII. each in a black cap, and one of them with % 
 rofe in his hand are mentioned in a MS. in the Harleian collection, 
 t Le Compt fays it was in Hungary. 
 
 I Le Compt and Defcamps fay it was in 1562 ; a print of him, publifhed by 
 Galle, fays " Fuit Hanno patria Malbodienfis ; obiit Antwerpiae anno 1532, in 
 cathedrali aede fepultus 5" but Vertue thought part of this infcription was added 
 to the plate many years after the firft publication ; and Sandrart whom I follow, 
 fays exprefly that he could not difcover when Mabufe died. Vertue conjectured, 
 that he lived to the age of fifty two. 
 
 || Lucas made an entertainment for Mabufe and other artifts that coft him ilxty 
 florins of gold, 
 
Painting to the End of Henry VII. 5 2 
 
 in treating naked fubjects than freedom of expreflion. Indeed Raphael 
 himfelf had not then (truck out that majeftic freedom, which has fince 
 animated painting, and delivered it from the fervility of coldly copy- 
 ing motionlefs nature. Mabufe fo far improved his tafte, as to intro- 
 duce among his countrymen poetic hiftory, for fo I mould underftand 
 * Sandrart's varia poemata conficiendi, if it is meant as a mark of real 
 tafte, rather than what a later f author afcribes to Mabufe, that he firffc 
 treated hiftoric fubjects allegorically. I never could conceive that rid- 
 dles and rebus's (and I look upon fuch emblems as little better) are 
 any improvements upon hiftory. Allegoric perfonages are a poor de- 
 compofition of human nature, whence a Tingle quality is feperated and 
 erected into a kind of half deity, and then to be rendered intelligible, 
 is forced to have it's name written by the accompanyment of fymbols* 
 You rnuft be a natural philofopher before you can decypher the voca- 
 tion of one of thefe Amplified divinities. Their dog, or their bird, or 
 their goat, or their implement, or the colour of their cloaths, muft all 
 be expounded, before you know who the perfon is to whom they be- 
 long, and for what virtue the hero is to be celebrated, who has all this 
 hieroglyphic cattle around him. How much more genius is there in 
 exprefling the paflions of the foul in the lineaments of the countenance ! 
 Would Meflalina's character be more ingenioufly drawn in the warmth 
 of her glances, or by ranfacking a farm-yard for every animal of a con- 
 genial conftitution ? 
 
 A much admired work of Mabufe was an altar-piece at Middle- 
 burgh, J a defcent from the crofs: Albert Durer went on purpofe to 
 Vol. I. O fee 
 
 * ^ 234. 
 
 f Defcamps, Vies des Peintres Flamands, p. 83. 
 
 % Painted for the abbot Maximilian of Burgundy who died 1524. 
 
5 2 Continuation of the State of 
 
 fee and praifed it. Indeed their ftyle was very like : A picture of Ma- 
 bufe now at Sc. James's is generally called Albert's. The piece at 
 Middleburgh was deftroyed by lightning. A great number of Ma- 
 bufe's works were preferved in the fame city in the time of Carl Ver- 
 mander. M. Magnus at Delft had another defcent from the crofs by 
 this mafter. The * Sieur Wyntgis at Amfterdam had a Lucretia by 
 him. But one of his mod ftriking performances was the decollation of 
 St. John, painted in the mades of a Jingle colour. 
 
 The Marquis de Veren took him into his own houfe, where he drew 
 the Virgin and Child, borrowing the ideas of their heads from the Ma- 
 quis's lady and fon. This was reckoned his capital piece. It afterwards 
 pafTed into the cabinet of M. Frofmont. 
 
 While he was in this fervice, the Emperor Charles V. was to lodge 
 at the houfe of that lord, who made magnificent preparations for his re- 
 ception, and among other expences ordered all his houfhold to be 
 drefTed in white damafk. Mabufe, always wanting money to wafte in 
 debauchery, when the tailor came to take his meafure, defired to have 
 the damalk, under pretence of inventing a lingular habit. He fold the 
 fturT, drunk out the money, and then painted a fuit of paper, fo like 
 damafk, that it was not diftinguifhed, as he marched in the proceflion, 
 between a philofopher and a poet, other penfioners of the Marquis, 
 who being informed of the trick, afked the Emperor which of the three 
 fuits he liked bell : The Prince pointed to Mabufe's, as excelling in the 
 whitenefs and beauty of the flowers ; nor did he 'till convinced by the 
 touch, doubt of the genuinenefs of the filk. The Emperor laughed 
 much- — but, though a lover of the art, feems to have taken no other 
 
 notice 
 
 * Mint-mafter of Zeland. 
 
Painting to the End of Henry VTL 53 
 
 notice of Mabufe ; whofe excelTes fome time after occafioned his being 
 filing into prifonat Middleburgh, where however he continued to work. 
 Vermander had feen feveral good drawings by him in black chalk. 
 
 At what time Mabufe came to England I do not find Vermander 
 fays exprefiy that he was here, and the portraits drawn by him are a 
 confirmation. The picture of Prince Arthur, Prince Henry and Prin- 
 cefs Margaret, when children, now in the china-clofet at Windfor, was 
 done by him. A neat little copy of, or rather his original defign for it, 
 in black and white oil-colours is at the Duke of Leeds's at Kiveton.* 
 Sandrart fpeaks of the pictures of two noble youths drawn by him at 
 Whitehall. Over one of the doors in the King's anti-chamber at St. 
 James's is his picture of Adam and Eve, which formerly hung in the 
 gallery at Whitehall, thence called the Adam and Eve gallery, -f- Mar- 
 tin Papenbroech, formerly a famous collector in Holland, had another of 
 them. It was brought over as a picture of Raphael in his firfb manner, 
 in the time of Vertue, who by the exact defcribtion of it in Vermander 
 difcovered it to be of Mabufe. It was fold however for a confiderable 
 
 in 
 
 * There is another of thefe in fmall in queen's Caroline's clofet at Kenfington, 
 another, very good, at Wilton, and another in Mr. Methuen's collection. One 
 ©f thefe pictures, I do not know which of them, was fold out of the royal collec- 
 tion, during the civil war, for ten pounds. The picture that was at Kiveton is 
 now in London, and is not entirely black and white, but the carnations are pale, 
 and all the fhadows tinged with pure black : but that was the manner of painting 
 at the time ; blues, reds, greens and yellows not being blended in the gradations. 
 
 t Evelyn in the preface to his idea of the perfection of painting, mentions this 
 picture, painted, as he calls him, by Mai vagi us, and objects to the abfurdity of re- 
 prefenting Adam and Eve with navels, and a fountain with carved imagery in Pa- 
 radife — the latter remark is juft ; the former is only worthy of a critical manmid- 
 wife. 
 
5 4 Continuation of the State of 
 
 price.* In a MS. catalogue of the colledbon of King Charles I. taken 
 in the year 1649, and containing (ome pictures that are not in the 
 printed lift, I find mention made of an old man's head by Mabufe ; 
 Sir Peter Lely had the ftory of Hercules and Deianira by him. f 
 The only work befides that I know of this mafter in England, is a ce- 
 lebrated picture in my pofTeffion. It was bought for 200/. by Henri- 
 etta Louifa Countefs of Pomfret, and hung for fome years at their 
 feat at Eafton Nefton in Northamptonfhire, whence it was fold after the 
 late earl's death. The earl of Oxford once offered 500/. for it. J It is 
 painted on board and is four feet fix inches and three quarters wide 
 by three feet fix inches and three quarters high. It reprefents the infide 
 of a church, an imaginary one, not at all refembling the abbey where 
 thofe princes were married. The perfpeclive and the landfcape of the 
 country on each fide are good. On one hand on the fore ground 
 ftand the king and the biftiop of Imola who pronounced the nuptial 
 benediction. His majefty || is a trift, lean, ungracious figure, with a 
 down-caft look, very expreflive of his mean temper, and of the little fa- 
 tisfadtion he had in the match. Oppofite to the bifriop is the queen,§ 
 a buxom well-looking damfel, with golden hair. By her is a figure, 
 
 above 
 
 * It is now at the Grange in Hampfhire, the feat of the lord chancellor Henley* 
 
 f See catalogue of his collection, p. 48. No. 99. 
 
 % I gave eighty-four pounds. 
 
 j| He is extremely like his profile on a milling. 
 
 § Her image preferred in the abbey, among thofe curious but mangled figures 
 of fome of our princes, which were carried at their interments, and now called the 
 ragged regiment, has much the fame countenance. A figure in Merlin's cave 
 was taken from it. In a MS. account of her coronation in the Cottonian library 
 mention is made of her fair yellow hair hanging at length upon her fhoulders* 
 
Painting to the End of Henry VII. 55 
 
 above all proportion with the reft, unlefs intended, as I imagine, for 
 an emblematic perfonage, and defigned from its lofty ftature to give an 
 idea of fomething above human. It is an elderly man, * drefled like a 
 monk, except that his habit is green ; his feet bare, and a fpear in his 
 hand. As the frock of no religious order ever was green, this cannot 
 be meant for a friar. Probably it is St. Thomas, reprefented, as in the 
 martyrologies, with the inftrument of his death. The queen might 
 have fome devotion to that peculiar faint, or might be born or mar- 
 ried on his feftival. Be that as it may, the picture, though in a hard 
 manner, has it's merit, independent of the curiofity. 
 
 John Schorel fludied fome time under Mabufe, but quitted him on 
 account of his irregularities, by which Schorel was once in danger of 
 his life. Paul Van Aelft excelled in copying Mabufe's works, and 
 John Moftart affifted the latter in his works at Middleburgh. 
 
 In the library of St. John's college Cambridge is an original of their 
 foundrefs Margaret of Richmond, the king's mother, much damaged, 
 and the painter not known. Mr, Weft has a curious mhTal (the painter 
 unknown) which belonged to Margaret queen of Scotland, and was a 
 prefent from her father Henry VII. His name of his own writing is in 
 the firft page. The queen's portrait praying to St. Margaret, appears 
 twice in the illuminations, and beneath feveral of them are the arms 
 and matches of the houfe of Somerfet, befides reprefentations of the 
 twelve months, well painted. 
 
 In this reign died John Rous, the antiquarian of Warwickfhire, who 
 
 drew his own portrait and other femblances, but in too rude a manner 
 
 to be called paintings. 
 
 * This allegoric figure feems to agree with the account of Defcamps mentioned 
 above, and Mabufe might have learned in Italy that the Romans always reprefent- 
 ed their divine perfonages larger than the human, as is evident from every model 
 whereon are a Genius, and an Emperor. 
 
 Vol.. I. P CHAP. 
 
Anecdotes of PAINTING, 
 
 CHAP. IV. 
 
 Painters in the Reign of Henry VIII. 
 
 1509. 
 
 THE acceflion of this fumptuous prince brought along with it 
 the eftablifhment of the arts. He was opulent, grand and li- 
 beral—how many invitations to artifts! A man of tafte en- 
 courages abilities ; a man of expence, any performers ; but when a 
 king is magnificent, whether he has tafte or not, the influence is fo ex- 
 tenfive.. and the example fo catching, that even merit has a chance of 
 getting bread. Though Henry had no genius to ftrike out the im- 
 provements of latter ages, he had parts enough to chufe the beft of 
 what the then world exhibited to his option. He was galant as 
 far as the rufticity of his country and the boifterous indelicacy of his 
 own complexion would admit. His tournaments contracted, in imi- 
 tation of the French, a kind of romantic politenefs. In one * which he 
 held on the birth of his firft child, he ftyled himfelf Coeur Loyal. In 
 his interview with Francis I. in the vale of Cloth of Gold, he revived 
 
 the 
 
 * See a defcription and exhibition of this tournament among the prints pub- 
 limed by the Society of Antiquaries, vol. i. 
 
Painters in the Reign of Henry VIIL 57 
 
 die pageantry of the days of Amadis. He and his favorite Charles 
 Brandon were the prototypes of thofe illuftrious heroes, wit.h which 
 Mademoifelle Scuderi has enriched the world of chivalry. The Favo- 
 rite's motto on his marriage with the monarch's fitter retained that mo- 
 ral fimplicity, now totally exploded by the academy or fentimentsj 
 Cloth 01 gold do not delpiie, 
 Tho' thou be matched with cloth of frizej 
 Cloth of frize, be not too bol J, 
 Tho' thou be matched with cloth of gold. 
 Francis the firft was the ftandard which theie princely champions co- 
 pied. While he contended with Charles V. for empire, he rivalled our 
 Henry in pomp and protection of the arts. Francis handelled the pen- 
 cil himfelf; I do not find that Henry pumed his imitation fo far; but 
 though at lad He wofully unravelled moft of the purfuits of his early 
 age, (for at lead it was great violation of galantry to cut off the heads 
 of the fair damfels whole true knight he had been, and there is no for- 
 giving him that deftrudtion of ancient monuments and gothic piles and 
 painted glafs by the fuppreffion of monafteries; a reformation, as he 
 called it, which we antiquarians almoft devoutly lament) yet he had 
 countenanced the arcs fo long, and they acquired fuch folid foundation 
 here, that they were fcarce eradicated by that fecond ftorm which broke 
 upon them during the civil war,— an aera we antiquarians lament 
 with no lefs devotion than the former. 
 
 Henry had feveral painters in his fervice, and, as Francis invited 
 Primaticcio and other matters from Italy, he endeavoured to tempt 
 hither Raphael * and Titian. Some performers he did get from that 
 
 country, 
 
 * Raphael did paint a St. George for him, which has fince been in Monfr. Cra- 
 vat's collection. See Recueil des plus beaux tableaux qui font en France, p. 13. 
 
58 Painters in the Reign of Henry VIII. 
 
 country, of whom we know little but their names. Jerome di Trevifi* 
 was both his painter and engineer, and attending him in the latter qua- 
 lity to the fiege of Boulogne, was killed at the age of thirty-fix. Joan- 
 nes Corvus was a Fleming. Vertue difcovered his name on the anci- 
 ent picture of Fox bifhop of Winchefter, full preferved at Oxford, ft 
 was painted in the beginning of the reign of this king, after the prelate 
 had loft his fight. The painter's name Johannes Corvus Flandrus fa- 
 deb at is on the frame, which is of the fame age with the picture, and 
 coloured in imitation of red marble with veins of green, f 
 
 Others of Henry's painters are recorded in an office-book J figned 
 monthly by the king himfeif, and containing payments of wages, pre^ 
 fents, &c. probably by the treafurer of the chambers Sir Brian Tuke. 
 It begins in his twenty-firft year, and contains part of that and the two 
 next years compleat. There appear the following names, 
 
 An°. reg. xxii. Nov. 8. Paid to Anthony Toto and Barthol. Penne, 
 painters, for their livery coats xlvs. 
 
 An 0 , reg. xxiii, Jan. xv day. Paid to Anthony Toto paynter, by the 
 king's commandment xx/. 
 
 In another book of office R Vertue found thefe memorandums, 
 
 March 1538. Item to Anthony Toto and Bartilmew Penn, painters, 
 12 pounds, 10 millings, their quarterly payments between them 5 alfo 
 prefents on new-year's day 1539. 
 
 Ta 
 
 * He is mentioned by Ridolphi in the lives of the painters. Some fketches of 
 fieges at that time, probably by his hand, are preferved in a book in the Cotton- 
 library. 
 
 t There are two or three pictures of the fame prelate in the college, but this is 
 probably the original ; is flat and a poor performance. 
 
 % It was in the collection of Mrs. Bridgman of Hanover- fquare, 
 )| In the library of the Royal Society. 
 
Painters in the Reign cf Henry VIII. 59 
 
 To Anthony Toto's fervant that brought the king at Hampton- 
 court a depicled table of Colonia 7 {hillings and 8 pence. 
 
 Feb, An 0 , reg. xxix. Gerard Luke Horneband painter 56 /hillings 
 and 9 pence per month. 
 
 Toto was afterwards ferjeant painter, and in Rymer are his letters 
 of naturaliztfion under this title, 
 
 * An 0 . 30. Hen. VIII. 1583. Pro pi&ore regis de indigenatione, 
 
 Felibien mentions this painter and his coming to England f fpeak- 
 ing of Ridolphi, fils de Dominique Ghirlandaio, he fays, " Chez luy il 
 y avoit Toto del Nuntiato, qui depuis fen alia en Angleterre, ou il fit 
 plufieurs ouvrages de peinture et d'architecture, avec lequel Perrin fit 
 amitie, et aPenvie l'un de lautre f'efforcoit a bien faire." 
 
 But Toto's works are all lofl or unknown, his fame with that of his 
 aflbciates being obfcured by the luftre of Holbein. 
 
 Penne or Penn, mentioned above, is called by Vafari, not Barthole- 
 mew, but Luca Penni ; he was brother of Gio. Francefco Penni, a 
 favorite and imitator of Raphael. Luca, or Bartholomew (for it is un- 
 doubtedly the fame perfon) worked iome time at Genoa and in other 
 parts of Italy, from whence he came into England, and painted feve- 
 ral pieces for the king, and for fome merchants here J. In a fmall room 
 called the confeflionary near the chapel at Hampton- court, Vertue 
 found feveral fcripture ftories painted on wainfcot, particularly the 
 Vol. I. paflion. 
 
 * Foedera vol. xiv. p. 595. 
 t Tom ii. p. 158. 
 
 % Vafari adds, that Luca Penni addi&ed himfelf latterly to making defigns for 
 Flemifh engravers. This is the mark on his prints, y& 3 that is, Luca Penni 
 Romano. 
 
60 Painters in the Reign of He7iry VIIL 
 
 pafiion. He and Sir James Thornhill agreed that they were much in 
 the ftyle of Raphael, particularly the (mall figures and landfcapes in the 
 perfpe&ive, and not at all in the German tafte. Thefe Vertue conclu- 
 ded to be of Luca Penni. 
 
 To fome of thefe painters Vertue afcribes, with great probability, 
 the battle of the fpurs, the triumphs of the valley of cloth of gold, 
 and the expedition * to Boulogne, three curious pictures now at Wind- 
 sor -f commonly fuppofed by Holbein, but not only beneath his ex- 
 cellence, but painted (at lead two of them) if painted as in all likely- 
 hood they were on the feveral occafions, before the arrival of that 
 great mailer in England. 
 
 Of another painter mentioned in the payments above, we know ftill 
 lefs than of Toto. He is there called Gerard Luke Horneband. Ver- 
 mander and Defcamps call him Gerard Horrebout, and both mention 
 him as painter to Henry VIIL He was of Ghent, where were his prin- 
 cipal works, but none are known in England as his. J In the fame 
 book of payments are mentioned two other painters, Andrew Oret, 
 and one Ambrofe, painter to the queen of Navarre. The former in- 
 deed was of no great rank, receiving 30/. for painting and covering 
 the king's barge •, the latter had 20 crowns for bringing a pi&ure to 
 the king's grace at Eltham. 
 
 Henry 
 
 * It is not very furprizing, that a prince of feemingly fo martial a difpofition 
 fhould make fo little figure in the roll of conquerors, when we obferve by this pic- 
 ture that the magnificence of his armament engaged fo much of his attention. 
 His fhips are as fumptuous as Cleopatra's gaily on the Cydnus. 
 
 f This bad judgment was made even by Mr. Evelyn in his difcourfe on medals. 
 
 % Sufanna, the fitter of Luke Horneband, painter in miniature, was invited, 
 fays Vafari, into the fervice of Henry VIII. and lived honorably in England to the 
 end of her life. 
 
Painters in the Reign of Henry VIII. 61 
 
 Henry had another ferjeant- painter, whofe name was Andrew 
 Wright ; he lived in Southwark and had a grant * of arms from Sir 
 Thomas Wriothefly, Garter. His motto was, En Vertu Delice \ but 
 he never attained any renown indeed this was in the beginning of 
 Henry's reign before the art itfelf was upon any refpectable footing : 
 they had not arrived even at the common terms for it's productions. 
 In the inventory in the augmentation-office which I have mentioned, 
 containing an account of goods, pictures and furniture in the palace of 
 Weftminfter, under the care of Sir Anthony Denny keeper of the 
 wardrobe, it appears that they called a picture, a table with a picture \ 
 prints, cloths Jlained with a pitture ; and models and bafreliefs, they 
 termed pittures of earth \ for inftance, 
 
 Item, One table with the picture of the duchefs of Milan, being 
 her whole ftature. 
 
 Item, One table with the hiftory of Filius Prodigus. 
 
 Item, one folding table of the pafiion, fet in gilt leather. 
 
 Item, One table like a book with the pictures of the king's ma<- 
 jefty and queen Jane. 
 
 Item, One other table with the whole ftature of my lord prince his 
 grace, ftained upon cloth with a curtain. 
 
 Item, One table of the hiftory of Chriftiana Patientia. 
 
 Item, One table of the paflion, of cloth of gold, adorned with pearls 
 and rubies. 
 
 Item, One table of rurTet and black, of the parable of the 18 th 
 chapter of Matthew, raifed with liquid gold and filver. 
 
 Item, 
 
 * From a MS. in the pofieflion of the late Peter Leneve Norroy. In the 
 Britifh Mufeum, among the Harleian MSS. is a grant of arms and creft to the 
 Craft of Painters dated in the firft year of Henry VIII. 
 
» 
 
 62 Painters in the Reign of Henry VIII. 
 
 Item, One table of the king's highnefs, (landing upon a mitre with 
 three crowns, having a ferpent with feven heads going out of it, and 
 having a fword in his hand, whereon is written, Verbum Dei. 
 
 Item, One cloth ftained with Phebus rideing with his cart in the air, 
 with the hiftory of him. 
 
 Item, One picture of Mofes made of earth, and fet in a box of 
 wood.* 
 
 Another ferjeant-painter in this reign was John Brown,-)- who if he 
 threw no great luftre on his profeflion, was at lead a benefactor to it's 
 profeflbrs. In the 24th of Henry he built painter's hall for the com- 
 pany, J where his portrait is ftill preferved among other pictures given 
 
 by 
 
 * In an old chapter-houfe at Chrift church Oxford I difcovered two portraits, 
 admirably painted and in the moll perfect prefervation, which certainly belonged 
 to Henry VIII. the one an elderly, the other, a young man, both in black bon- 
 nets, and large as life. On the back of the one is this mark, No. 22 ' 011 
 
 the other, No. //\ ^ 5 * In the catalogue of King Henry's pictures in the aug- 
 mentation office, No. 25. is Frederic Duke of Saxony, No. 26. is Philip Archduke 
 •f Auftria; in all probability thele very pictures. They have a great deal of the 
 manner of Holbein, certainly not inferior to it, but are rather more free and bold* 
 Frederic, the wife, Duke of Saxony, died in 1525, about a year before Holbein 
 came to England, but the Arch duke Philip died when Holbein was not above 
 eight years of age : Holbein might have drawn this Prince from another picture,, 
 xis a fmall one of him when a boy, in my poiTeHion, has all the appearance of Hol- 
 bein's hand. Whoever painted the pictures at Oxford, they are two capital por- 
 traits. 
 
 f His arms were, argent, on a fefs counter-embatteled, fable, three efcallopsof 
 the firft; on a canton, quarterly gules and azure, a leopard's head cabofhed, or. 
 % Camden, whofe father was a painter in the Old-Bailey, gave a filver cup and 
 
 cover 
 
Painters in the Reign of Henry VIII. 63 
 
 by perfons of the fociety. Their firft charter in which they are ftyled 
 Peyntours, was granted in the 6th of Edward IV. but they had exifted 
 as a fraternity long before. Holme Clarenceux, in the 1 ft of Henry 
 VII. granted them arms, viz. azure, a chevron, or, between three 
 heads of phoenixes erafed. They were again incorporated or con- 
 firmed by charter of the 23d of queen Elizabeth, 1581, by the title of 
 Painter-ftainers. 
 
 In this reign flourimed 
 
 LUCAS CORNELII* 
 
 Who was both fon and fcholar of Cornelius Engelbert, but reduced to 
 fupport himfelf as a cook, fo low at that time were funk the arts in 
 Leyden, his country. He excelled both in oil and miniature, and hear- 
 ing the encouragement beftowed on his profeiTion by Henry VIII. 
 came to England with his wife and feven or eight children, and was 
 made his majefty's painter. Some of his works in both kinds are ftill 
 preferved at Leyden ; one particularly, the ftory of the woman taken 
 in adultery. His chief performances extant in England are at Penf- 
 hurft, as appears by this mark on one of them ^5) ^ that is, Lucas Cor- 
 
 nelii pinxit. They are a feries, in f fixteen pieces, of the conftables of 
 Vol. I. R Queen- 
 
 cover to the company of Painter-Stainers, which they ufe on St. Luke's day at 
 their election, the old mafter drinking out of it to his fucceflbr ele£t. Upon this 
 cup is the following infcription ; Gul. Camdenus Clarenceux, filius Samfonis, pic- 
 toris Londinenfis, dedit. Maitland. 
 * See Sandrart, p. 232. 
 
 t One of them, I have heard, was given by Mr. Perry, the laft mafter of Penf- 
 hurft, to Mr. Velters Cornwall. It was the portrait of his anceftor Sir John 
 Cornwall. 
 
64 Painters t7t the Reign of Henry VI II. 
 
 Queenborough caftle from the reign of Edward III. to Sir Thomas 
 Cheyne knight of the garter in the 3d of Henry VIII. Though not 
 all originals, they undoubtedly are very valuable, being in all proba- 
 bility painted from the belt memorials then extant and fome of them, 
 reprefentations of remarkable perfons,of whom no other image remains. 
 Of thefe, the greateft curiofities are, Robert de Vere, the great duke of 
 Ireland, and George, the unfortunate duke of Clarence. Harris, in 
 his hiftory of Kent, * quotes an itinerary by one Johnfton, who fays, 
 that in 1629, he faw at the houfe of the minifter of Gillingham, the 
 portrait of Sir Edward Hobby, the laft governor but one, who had 
 carefully afTembled all the portraits of his predeceiTors, and added his 
 own ; but at that time they were all lofl or difperfed. He did not know 
 it feems that they had been removed to Penmurft \ nor can we now dif- 
 cover at what time they were tranfported thither. 
 
 Many more of the works of Lucas Cornelii were bought up and 
 brought to England by merchants, who followed Robert Dudley Earl 
 of Leicefter into the Low-countries, and who had obferved how much 
 this mailer was efteemed here. However, none of thefe performers 
 were worthy the patronage of fo great a Prince \ his munificence was 
 but ill beftowed 'till it centered on 
 
 HANS HOLBEIN, 
 
 Few excellent artifts have had morejuftice done to their merit than 
 Holbein. His country has paid the higheft honours to his memory 
 and to his labours. His life has been frequently written ; every cir- 
 
 cumftance 
 
 p « 377- 
 
Painters in the Reign of Henry VIII. 65 
 
 cumftance that could be recoverd in relation to him has been fedu- 
 loufly preferved \ and, as always happens to a real genius, he has been 
 complimented with a thoufand wretched performances that were un- 
 worthy of him. The year of his birth, the place of his birth have been 
 contefted \ yet it is certain that the former happened in 1498, and the 
 latter moil probably was Bafil. His father was a painter of Aufburg, 
 and fo much efteemed, that the Lord of Walberg paid an hundred flo- 
 rins to the monaftery of St. Catherine for a large picture of the faluta- 
 tion painted by him. He executed too in half figures the life of St. 
 Paul, on which he wrote this infcription, " This work was compleated 
 by J. Holbein, a citizen of Aufburg, 1499." JohnHolbein, the elder, 
 had a brother called Sigifmond, a painter too. Hans, fo early as 15 12, 
 drew the pictures of both, which came into the pofTefiion of Sandrart, 
 who has engraved them in his book, and which, if not extremely im- 
 proved by the engraver, are indeed admirable performances for a boy 
 of fourteen. 
 
 I have faid that in the regifter's office of Wells there is mention of a 
 Holbein who died here in the reign of Henry VII. Had it been the 
 father,, it would probably have been mentioned by fome of the biogra- 
 phers of the fon but I find it no where hinted that the father was ever 
 ki England. It is more likely to have been the uncle, who we have 
 feen was a painter, and do not find that he was a very good one. He 
 might have come over, and died here in obfcurity. 
 . Holbein's inclination to drawing appeared very early, and could not 
 fail of being encouraged in a family * fo addicted to the art. His father 
 
 himfelf 
 
 * Holbein had two brothers, Ambrofe and Bruno, who were alfo painters at 
 Bafil. 
 
66 Painters in the Reign of Henry VIII. 
 
 himfelf inflructed him ; and he learned befides, graving, calling, mo- 
 delling and architecture: in the two latter branches he was excellent. 
 Yet with both talents and tafte, he for fome time remained in indigence, 
 diflipating with women what he acquired by the former, and drowning 
 in wine the delicacy of the latter. At that time Erafmus was retired ta 
 Bafil, a man y whofe luck of fame was derived from all the circumftan- 
 ces which he himfelf reckoned unfortunate. He lived when learning 
 was juft emerging out of barbarifm, and mone by lamenting elegantly 
 the defects of his cotemporaries. His being one of the firfl to attack 
 fuperftitions which he had not courage to relinquifh, gave him merit 
 in the eyes of proteftants, while his time-ferving had an air of modera- 
 tion ; and his very poverty, that threw him into fervile adulation, ex- 
 prefTed itfelf in terms that were beautifull enough to be tranfmitted to 
 pofterity. His cupboard of plate, all prefented to him by the greateft 
 men of the age, was at once a monument of his flattery and genius* 
 With a mind fo poliflied no wonder he diftinguiflied the talents of 
 young Holbein. He was warmly recommended to employment by 
 Erafmus and Amerbach, * a printer of that city. He painted the pic- 
 ture of the latter in 15 19, who mowing him the Moriae Encomium of 
 the former, Holbein drew on the margin many of the characters defcri- 
 bed in the book. Erafmus was fo pleafed with thofe fketches that he 
 kept the book ten days — the fubfequent incidents were trifling indeed, 
 and not much to the honour of the politenefs of either. Holbein, rude- 
 ly enough, wrote under the figure of an old ftudent, the name of Eraf- 
 mus, The author, with very little fpirit of repartee, wrote under a 
 fellow drinking, the name of Holbein. Theie are anecdotes certainly 
 
 noi 
 
 * Sec an account of him in Palmer's hiftory of printing, p. 218. 
 
Painters in the Reign of Henry VIII. 67 
 
 not worth repeating for their importance, but very defcriptive of the 
 efteem in which two men were held of whom fuch anecdotes could be 
 thought worth preferving. * 
 
 Supported by the protection of thefe friends, Holbein grew into 
 great reputation. The earl of Arundel f returning from Italy through 
 Bafil, faw his works, was charmed with them, and advifed him to go 
 into England. At fir ft Holbein neglected this advice ; but in 1526 
 his family and the froward temper of his wife increafing, and his bu- 
 finefs declining, he determined upon that journey. 
 
 At firft he faid he mould quit Bafil but for a time, and only to raife 
 the value of his works, which were growing too numerous there; yet 
 before he went, he intimated that he mould leave a fpecimen of the 
 power of his abilities. He had ftill at his houfe a portrait that he had juft 
 finimed for one of his patrons — on the forehead he painted a fly, and 
 fent the picture to the perfon for whom it was defigned. The gentle- 
 man ftruck with the beauty of the piece, went eagerly to brum off the 
 fly — and found the deceit. The ftory foon fpread, and as fuch trifling 
 Vol. I. S deceptions 
 
 * In the Moriae Encomium publiflied at Bafil by M. Patin, 1656, with cuts 
 from Holbein's defigns, there is a large account of him collected by Patin, and a 
 catalogue of his works. On thofe drawings were written the following lines ; 
 Rex Macedon Coo tumidus pictore, cani fe 
 
 Maeoniae doluit non potuilTe fene. 
 Stultitiae potior fors eft ; hanc alter Apelles 
 Pingit, et eloquium laudat, Erafme, tuum. 
 
 Seb. Fefchius Bafil. 
 
 f Others fay it was the earl of Surrey who was travelling into Italy ; and that 
 Holbein not recollecting his name, drew his picture by memory, and Sir Thomas 
 More immediately knew it to be that lord. 
 
68 Painters in the Reign of Henry VIII. 
 
 deceptions often do, made more imprefllon than greater excellencies. 
 Orders were immediately given to prevent the city being deprived of fo 
 wonderfull an artift — but Holbein had withdrawn himfelf privately, 
 Erafmus had given him recommendatory letters to Sir Thomas More, 
 with a prefent of his own picture by Holbein, which he allured the 
 Chancellor was more like than one drawn by Albert Durer.* Holbein 
 flopped for a fhort time at Antwerp, having other letters for P. Aegi- 
 dius, 
 
 * At lord Folkfton's at Longford in Wilrihire, are the portraits of Erafmus 
 and Aegidius, faid to be drawn by Holbein; they belonged to Dr. Meade, and 
 while in his collection had the following lines written on the frames, and ftill re= 
 maining there : On that of Erafmus, 
 
 E tenebris clarum doctrinae attollere lumen 
 Qui felix potuit, primus Erafmus erat. 
 
 On Aegidius. 
 
 Aegidium mufis charum dilexit Erafmus ; 
 Spirat ab Holbenio pictus uterque tuo. 
 The latter is far the better ; that of Erafmus, is ftiff and flat. However this is 
 believed to be the very picture which Erafmus fent by Holbein himfelf to Sir Tho- 
 mas More, and which was afterwards huhe cabinet of Andrew de Loo and from 
 thence patted into the Arundelian collection. But I mould rather think it is the 
 picture which was in king Charles's (fee his catal. No. 13, p. 154.) where it i& 
 faid to have been painted by George Spence of Nuremberg. Quintin Matfis too 
 painted Aegidius, with which Sir Thomas More was fo pleafed, that he wrote a 
 panegyric on the painter, beginning, 
 
 Quintine, o veteris novator artis, 
 
 Magno non minor artifex Apelle. 
 
 Aegidius held a letter in his hand from Sir Thomas, with his hand-writing fo well 
 imitated, that More could not diftinguifh it himfelf. Quintin too in the year 
 1 52 1 drew the picture of the celebrated phyfician Dr. Linacre. 
 
Painters in the Reign of Henry VIII. 69 
 
 dius, a common friend of Erafmus and More. In thofe letters the for- 
 mer tells Aegidius, that Holbein was very defirous of feeing the works 
 of Quintin Math's, the celebrated black-fmith painter, whofe tools, it is 
 faid, Love converted into a pencil. Of this mafter Holbein had no 
 •reafon to be jealous : With great truth and greater labour, Quintin's 
 pictures are inferior to Holbein's. The latter fmoothed the ftiffnefs of 
 his manner by a velvet foftnefs and luflre of colouring -, the perfor- 
 mances of his cotemporary want that perfecting touch *, nor are there 
 any evidences that Quintin could afcend above the coarfenefs or defor- 
 mities of nature. Holbein was equal to dignified character-— He could 
 cxprefs the piercing genius of More, or the grace of Ann Boleyn. Em- 
 ployed by More, Holbein was employed as he ought to be : This was 
 the happy moment of his pencil; from painting the author, he rofe to 
 the philofopher, and then funk to work for the king. I do not know 
 a (ingle countenance into which any mafter has poured greater energy 
 of expreflion than in the drawing of Sir Thomas More at Kenfington : 
 It has a freedom, a boldnefs of thought and acutenefs of penetration 
 that atteft the fmcerity of the refemblance. It is Sir Thomas More in 
 the rigour of his fenfe, not in the fweetnefs of his pleafantry — Here he 
 is the unblemiflied magiftrate, not that amiable philofopher, whofe hu- 
 mility neither power nor piety could elate, and whofe mirth even mar- 
 tyrdom could not fpoil. Here he is rather that fingle cruel judge whom 
 one knows not how to hate, and who in the vigour of abilities, of know- 
 ledge and good humour perfecuted others in defence of fuperftitions 
 that he himfelf had expofed \ and who capable of difdaining life at the 
 price of his fmcerity, yet thought that God was to be ferved by promo- 
 ting 
 
70 Painters in the Reign of Henry VIII. 
 
 ting an impofture; who triumphed over Henry and Death, and funk 
 to be an accomplice, at lead the dupe, of the holy maid of Kent ! 
 
 Holbein was kindly received by More and was taken into his houfe 
 at Chelfea. There he worked for near three years, drawing the por- 
 traits of Sir Thomas, his relations and friends. The king vifiting the 
 chancellor, faw fome of thofe pictures, and exprefTed his fatisfaction. 
 Sir Thomas begged him to accept which ever he liked— but he enqui- 
 red for the painter, who was introduced to him. Henry immediately 
 took him into his own fervice, and told the chancellor, that now he 
 had got the artift, he did not want the pictures. An apartment in the 
 palace was immediately allotted to Holbein, with a falary of 200 florins, 
 befides his being paid for his pictures : The price of them 1 no where 
 find. 
 
 Patin fays that after three years Holbein returned to Bafil to difplay 
 his good fortune, but foon returned to England. It is not probable that 
 he lived fo long with Sir Thomas More as is afTerted. He drew the 
 king feveral times, and I fuppofe all his queens, though no portrait 
 of Catherine Parr is known of his hand. He painted too the king*s 
 children, and the chief perfons of the court, as will be mentioned here- 
 after. The writers of his life relate a ftory, which Vermander, his firft 
 biographer, affirms came from Dr. Ifely of Bafil and from Amerbach: 
 yet, in another place, Vermander complaining of the latter, to whom 
 he fays he applied for anecdotes relating to Holbein and his works ; 
 after eight or ten years could get no other anfwer, than that it would 
 cod a great deal of trouble to feek after thofe things, and that he mould 
 expect to be well paid. The ftory is, that one day as Holbein was pri- 
 vately drawing fome lady's picture for the king, a great lord forced 
 
 himfelf 
 
Painters in the Reign of Henry VIII. 7 1 
 
 himfelf into the chamber. Holbein threw him down ftairs \ the peer 
 cried out Holbein bolted himfelf in, efcaped over the top of the hcufe, 
 and running directly to the king, fell on his knees, and befought his 
 majefty to pardon him, without declaring the offence. The king pro- 
 mifed to forgive him if he would tell the truth \ but foon began to re- 
 pent, faying he mould not eafily overlook fuch infults, and bad him 
 wait in the apartment 'till he had learned more of the matter. Imme- 
 diately arrived the lord with his complaint, but finking the provoca- 
 tion. At firft the monarch heard the ftory with temper, but broke out, 
 reproaching the nobleman with his want of truth, and adding, " You 
 have not to do with Holbein, but with me ; I tell you, of feven pea- 
 fants I can make as many lords, but not one Holbein- -begone, and 
 remember, that if you ever pretend to revenge yourfelf, I fhall look 
 on any injury offered to the painter as done to myfelf." Henry's be- 
 haviour is certainly the moft probable part of the ftory.* 
 
 After the death of Jane Seymour, Holbein was fent to Flanders to 
 draw the picture of the duchefs dowager of Milan, f widow of Fran- 
 cis Sforza, whom Charles V. had recommended to Henry for a fourth 
 wife, but afterwards changing his mind, prevented him from marrying. 
 Among the Harleian MSS. there is a letter from Sir Thomas Wyat to 
 the king, congratulating his majefty on his efcape, as the duchefs's 
 chaflity was a little equivocal. If it was, confidering Henry's temper, 
 I am apt to think that the duchefs had the greater efcape. It was 
 about the fame time that it is faid Ihe herfelf fent the king word, 
 Vol. I. T " That 
 
 * Lovelace, in his collection of poems called Lucafta, has an epigram on this 
 fubjecl:, but it is not worth repeating. 
 
 f Chrifliana daughter of Chriftiern king of Denmark. Lord Herbert fays that 
 Holbein drew her picture in three hours, p. 496, 
 
72 Painters in the Reign of Henry VIII. 
 
 *' That flie had but one head \ if fhe had two, one of th .m fhould be 
 u at his majefty's fervice."* 
 
 Holbein was next difpatched by Cromwell to draw the lady Anne 
 of Cleve, and by practicing the common flattery of his profeflion, was 
 the immediate caufe of the deftruction of that great fubjecT:, and of the 
 difgrace that fell on the princefs herfelf. He drew fo favorable a-f like- 
 nefs, that Henry was content to wed her — but when he found her fo 
 inferior to the miniature, the ftorm which really fhould have been di- 
 rected at the painter, burft on the minifler ; and Cromwell loft his 
 head, becaufe Anne was a Flanders mare^ not a Venus, as Holbein 
 had reprefented her. 
 
 Little more occurs memorable of this great painter, but that in 
 1538, the city of Bafil, on the increafe of his fame, beftowed an annuity 
 of fifty florins on him for two years, hoping, fays my author, that it 
 would induce him to return to his country, to his wife and his children. 
 How large fo ever that falary might feem in the eyes of frugal Swi fs 
 citizens, it is plain it did not weigh with Holbein againft the opulence 
 of the court of England. He remained here 'till his death, which was 
 occafioned by the plague in the year 1554, in the fifty-fixth year of his 
 age. Some accounts make him die in the fpot where is now the paper- 
 office ; 
 
 * Vertue faw a whole length of this princefs at Mr. Howard's in Soho-fquare. 
 Such a picture is mentioned to have been in the royal collections. 
 
 f This very picture, as is fuppofed, was in the porTeflion of Mr. Barret of Kent, 
 •whofe collection was fold a few years ago, but the family referved this and fome 
 other curiofities. The print among the illuftrious heads is taken from it; and fo 
 far juftifies the king, that he certainly was not nice, if from that picture he con- 
 cluded her handibnie enough. It has fo little beauty, that I fhould doubt of it's 
 being the very portrait in queftion-— it rather feems to have been drawn after 
 Holbein faw a little with the king's eyes. 
 
Painters in the Reign of Henry VI II. 7 3 
 
 office ; but that is not likely, as that very place had been king Henry's 
 private ftudy, and was then appointed for the reception of the letters 
 and papers left by that prince and of other public papers. Vertuc 
 thought, if he died in the precincts of the palace, that it was in fome 
 flight lodgings there, then called the paper-buildings, or in Scotland- 
 yard where the king's artificers lived ; but he was rather of opinion 
 that Holbein breathed his laft in the duke of Norfolk's houfe in the 
 priory ofChrift-church* near Aldgate, then called DukeVplace, having 
 been removed from Whitehall, to make room for the train of Philip, 
 to whom queen Mary was going to be married.-)- The fpot of his in- 
 terment was as uncertain as that of his death. Thomas earl of Arun- 
 del, the celebrated collector in die reign of Charles I. was defirous of 
 creeling a monument for him, but dropped the defign from ignorance 
 of the place. Strype in his edition of Stowe's Survey fays that he was 
 buried in St. Catherine-Cree church, which (lands in the cimetery of 
 that diflblved priory, and coniequently clofe to his patron's houfe. 
 
 Who his wife was, or what family he left we are not told ; mention 
 ©f fome of his children will be made in the lift of his works. 
 
 Holbein painted in oil, in diftemper and water-colours. He had 
 never practiced the laft 'till he came to England, where he learned it of 
 Lucas Cornelii, and carried it to the higheft perfection. His miniatures 
 have all the ftrength of oil-colours joined to the moft finiflied delicacy. 
 
 He 
 
 * There was a priory given at the diffolution to Sir Thomas Audley, from 
 whofe family it came by marriage to the duke of Norfolk, but this was not 'till 
 four years after the death of Holbein, confequently Vertue's conjecture is not well 
 grounded. 
 
 t Holbein was not likely to be in favour in that reign, being fuppofed a pro- 
 tectant. 
 
74 Painters in the Reign of Henry VIII. 
 
 He generally painted on a green ground in his fmall pictures often on 
 a deep blue. There is a tradition that he painted with his left hand, 
 like the Roman knight Turpilius, but this is contradicted by one of 
 his own portraits that was in the Arundelian collection and came to 
 lord Stafford, in which he holds his pencil in the right hand. 
 
 It is impoflible to give a compleat catalogue of his works ; they were 
 extremely numerous ; and as I have faid, that number is increafed by 
 copies, by doubtfuli or by pretended pieces. Many have probably 
 not come to my knowledge thofe I fliall mention were of his hand, 
 as far as I can judge. 
 
 From his drawings for the Moriae Encomium there have been prints 
 to many editions, and yet they are by no means the mofl meritorious 
 of his performances. 
 
 At Bafil in the town-houfe are eight pieces of the hiftory of Chrift's 
 paffion and crucifixion. Maximilian duke of Bavaria offered a great 
 fum for them. 
 
 Three of the walls in the upper part of the fame edifice are adorned 
 with hiftories by him. 
 
 In the library of the univerfity there is a dead Chrift, painted on 
 board in the year 1521. In the fame place the Lord's fupper much 
 damaged. 
 
 Another there on the fame fubjeft, drawn by Holbein when very 
 young. Chrift fcourged-, in the fame place, but not very well painted. 
 
 Ibidem, A board painted on both fides a fchool-mafter teaching 
 boys. It is fuppofed to have been a fign to fome private fchool, 1 516. 
 
 Ibidem, A profile of Erafmus writing his Commentary on Saint 
 Matthew. 
 
 Ibidem, The fame in an oval - 7 fmaller. Ibidem^ 
 
Painters i?t the Reign of Henry VIII. 75 
 Ibidem, The portrait of Amerbach. 
 
 Ibidem, A woman fitting with a girl in" her arms, and ftroaking a 
 little boy. Thefe are faid to be Holbein's wife and children. This has 
 been engraved by Jofeph Wirtz. 
 
 Ibidem, A lady of Alface, with a boy. 
 
 Ibidem, A beautifull woman, infcribed, Lais Corinthiaca 1526. 
 Ibidem, Adam and Eve, half figures, 151 7. 
 
 Ibidem, Two pictures in chiaro fcuro, of Chrifl crowned with thorny 
 and the Virgin praying. 
 
 Ibidem, One hundred and three (ketches on paper, collected by 
 Amerbach who has written on them Hans Holbein genuina. They are 
 chiefly defigns for the Life of Chrift, and fome for the family of Sir 
 Thomas More. Many of them are thought to have been patterns for 
 glafs-painters. I have heard that at Bafil there are paintings on glafs 
 both by Holbein himfelf and his father. 
 
 Ibidem, Two death's heads near a grate. 
 
 Ibidem, The portrait of John Holbein (I do not know whether fa- 
 ther or ton) in a red hat, and a white habit trimmed with black. 
 
 The portrait of James Mejer, Conful or Burgo-mafter of Bafil, and 
 his wife, 151 6, with the Iketches for both pictures. In the muleum of 
 Fefchius. 
 
 Erafmus, in the fame place. 
 
 In the ftreet called EilTengarTen, is a whole houfe painted by him on- 
 the outfide, with buildings and hiftory. For this he received fixty 
 florins. 
 
 The Emperor Charles V. Le Blond a Dutch painter * gave an hun- 
 
 Vol. I. U dred 
 
 * So I find him called in the lift of Holbein's works prefixed to the Englifh edi- 
 tion 
 
j 6 Painters in the Reign of Henry VIII. 
 
 dred crowns for this at Lyons in 1633, for the duke of Buckingham. 
 
 Another portrait of Erafmus, bought at Bafil by the fame Le Blond 
 for an hundred ducats. This was engraved in Holland by Vifcher. It 
 is mentioned in the catalogue of the duke's pictures p. 17, N g . 6. To' 
 this was joined the portrait of Frobenius, Both pictures are now* at 
 Kenfington; but the architecture in the latter was added afterwards by 
 Stenwyck. 
 
 A large picture, containing the portraits of the Conful Mejer and his 
 fons on one fide, and of his wife and daughters on the other, all pray- 
 ing before an altar. This was fold at Bafil for an hundred pieces of 
 gold; the fame Le Blond in 1633 gave a thoufand rix-dollars for it, 
 and fold it for three times that fum to Mary de' Medici, then in Hol- 
 land. 
 
 Another portrait of Erafmus ; at Vienna. 
 
 Another 
 
 tion of the Moriae Encomium ; Sandrart mentions another perfon of almoft the 
 fame name, who he fays was the Swedifh minifter in Holland, and that he, San- 
 drart, gave him an original portrait of Holbein. He adds, that Monf. Le Blon had 
 another picture by Holbein of a learned man and death with an hour-glafs, and a 
 building behind ; and that Le Blon, being earneftly follicited, had fold to J* LofTerr, 
 a painter, for, three hundred florins, a picture of the Virgin and child by the fame 
 mafter. Le Blon had alfo fome figures by Holbein, particularly a Venus and 
 Cupid, finely modelled. There is a print of the Swedifli Le Blon, after Van- 
 dyck by Theo. Matham, thus infcribed, Michel Le Blon, Agent de la Reyne et 
 couronne de Suede chez fa Majeure de la Grande Bretagne. 
 
 * But the Erafmus is thought a copy : the true one King Charles gave to 
 Monf. de Liencourt. fee catal. p. 18. The Frobenius was given to the king by 
 the duke of Buckingham juft before he went to the iile of Rhee. 
 
Painters in the Reign of Henry VIII. 77 
 
 Another there, fuppofed the father of Sir Thomas More. This was 
 reckoned one of his capital works. 
 
 Two pieces about five feet high, reprefenting monks digging up the 
 bones of fome faint, and carrying them in procefiion ; at Vienna. 
 , A pi&ure about four feet fquare, of dancing, hunting, tilting and 
 other fports ; in the public library at Zurich. 
 
 The infide of a church, the virgin, and apoflles ; angels finging 
 above ; in the collection of Mr. Werdmyller at Zurich. 
 
 The portrait of an Englilh nobleman ; in the fame cabinet. 
 
 The portrait of Conrad Pellican, profefibr of Theology and Hebrew 
 at Zurich; in the houfe of Mr. Martin .Werdmyller fenator of Bafil. 
 
 Chrift in his cradle, the Virgin and Jofeph : Shepherds at a diftance; 
 in the church of the Auguftines at Lucern. 
 
 The Adoration of the Wife men. ibidem, 
 
 Chrift taken from the crofs. ibidem. 
 
 The San&a Veronica, ibidem, 
 
 Chrift teaching in the temple, ibidem. 
 
 Chrift on the crofs ; the Virgin and St. John; with infcriptions in 
 Hebrew, Greek and Latin. 
 
 All the Prophets, in nine pieces, each a yard long; painted in di- 
 ftemper. Thefe were carried to Holland by Barthol. Sarbruck a paint- 
 er, who made copies of them, preferved in the Fefchian mufeum. 
 
 The pidure of queen Mary : Dn Patin had it, and the following ; 
 
 An old man with a red forked beard, fuppofed to be a grand ma- 
 tter of Rhodes. 
 
 The dance of Death in the church-yard of the Predicants of the 
 fubtirbs of St. John at Bafil is always afcribed to Holbein, and is fhown 
 
 to 
 
j 8 Painters in the Reign of Henry VIII. 
 
 to ftrangers through a grate. And yet, as Vertue obferved, our 
 painter had undoubtedly no hand in it. Pope Eugenius IV. appointed 
 the council of Bafil in 1431, and it fat there 15 years, during which 
 time a plague raged that carried off all degrees of people. Onthecef- 
 fation of it, the work in queftion was immediately painted as a memo- 
 rial of that calamity. Holbein could not be the original painter, for 
 he was not born 'cill 1498 •, nor had any hand in the part that was add- 
 ed in 1529, at which time he had left Bafil. Even if he had been there 
 when it was done (which was about the time of his fhort return thither) 
 it is not probable that mention of him would have been omitted in the 
 infcription which the magiftrates caufed to be placed under thofe paint- 
 ings, efpecially when the name of one Hugo Klauber, a painter who 
 repaired them in 1 569, is carefully recorded. But there is a ftronger 
 proof of their not being the work of Holbein, and at the fame time an 
 evidence of his tafte. The paintings at Bafil are a dull feries of figures, 
 of a pope, emperor, king, queen, &c. each feized by a figure of Death; 
 but in the prints which Hollar has given of Holbein's drawings of 
 Death's Dance, a defign he borrowed from the work at Bafil, there 
 are groupes of figures, and a richnefs of fancy and invention peculiar 
 to himfelf. Every fubject is varied, and adorned with buildings and 
 habits of the times, which he had the fingular art of making pic- 
 turefque. 
 
 At Amfterdam in the Warmoes-ftreet was a fine picture of a queen 
 of England in filver tifiue. 
 
 Two portraits of himfelf, one, a fmall round,* was in the cabinet of 
 
 James 
 
 • Mr. George Auguftus Selwyn has one that anfwers exactly to this account, 
 and is in perfect prefer vation. 
 
Painters in the Reign of Henry VIII. 79 
 
 James Razet ; the other as big as the palm of a hand ; in the collec- 
 tion of Barth. Ferrers. 
 
 Sandrart had drawings by Holbein of (Thrift's paffion, in folio ; two 
 of them were wanting ; in his book he offers 200 florins to whoever 
 will produce and fell them to him. p. 241. 
 
 In the king of France's collection are the following \ 
 
 1. Archbifhop Warham. aet fuae 70. 1527. There is another of 
 thefe at Lambeth. Archbifhop Parker entailed this and another of 
 Er annus on his fucceffors ; they were ftolen in the civil war, but Juxon 
 repurchafed the former. 
 
 2. The portrait of Nicholas Cratzer, Aftronomer to Henry VIII. 
 This man after long refidence in England had fcarce learned to fpeak 
 the language. The king afking him how that happened, he replied, 
 " I befeech your highnefs to pardon me; what can a man learn in only 
 thirty years ?" Thefe two lafl pictures * were in the collection of An- 
 drew de Loo, a great virtuofo, who bought all the works of Holbein 
 he could procure ; among others a portrait of Erafmus, which king 
 Charles afterwards exchanged for a picture of Leonardo da Vinci. A 
 
 Vol. I. X drawing 
 
 * Warham's came afterwards to Sir Walter Cope, who lived without Temple- 
 bar over againft the lord treafurer Salifbury, and had feveral of Holbein, which 
 paffed by marriage to the earl of Holland, and were for fome time at Holland- 
 houfe. See Oxf. MSS. Yelvert. p. 118. Another of Cratzer remained at Hoi - 
 land-houfe 'till the death of the countefs of Warwick, wife of M. Addifon ; a fine 
 picture, ftrongly painted, reprefenting him with feveral inftruments before him, 
 and an infcription exprefling that he was a Bavarian, of the age of 41 in 1528, 
 In one of the office-books are entries of payment to him. 
 
 April, paid to Nicholas the Aftronomer 11/. 
 
 Anno 23, paid to ditto, ■ ■ ■ ■ 5— 4— 0 
 
80 Painters in the Reign of Henry VIII. 
 
 drawing of Cratzer is among the heads by Holbein at Kenfington. 
 Among others in de Loo's collection was the fine Cromwell earl of 
 EfTex, now at Mr. Southwell's, and engraved among the illuftrious 
 heads.* 
 
 3. Anne of Cleve. . 
 
 4. Holbein's own portrait. 
 
 5. Erafmus writing a fmaller picture, 
 
 6. An old man, with a gold chain. 
 
 7. Sir Thomas More, lefs than life. 
 
 8. An old man with beads and a death's head. 
 
 In the collection of the duke of Orleans are four heads j 
 Another Cromwell earl of EfTex.f 
 Sir Thomas More. 
 A lady. 
 
 George Gyfein.j: 
 
 But the greater! and beft of his works were done in England, many 
 of which ftill remain here. Some were loft or deftroyed in the civil 
 war ; fome fold abroad at that time ; and fome, particularly of his mi- 
 niatures were, I believed, confumed when Whitehall was burned. 
 There perimed the large picture of Henry VII. H and of Elizabeth of 
 
 York, 
 
 * De Loo had alfo the family-picture of Sir Thomas More, which was bought 
 by his grandfon Mr. Roper. 
 
 f There is a fmall head of him at Devonftiire-houfe with this date, aet. 15. 
 1515. 
 
 J This is a Dutch name: Peter Gyzen, born about 1636, was a painter, 
 and fcholar of Velvet Breughel. Defcamps vol. iii. p. 41. 
 
 [] The portraits of Henry VII. and Elizabeth muft have been taken from older 
 originals : Holbein more than once copied the picture of this queen, and of the 
 king's grandame (as me was called) Margaret countefs of Richmond. 
 
Painters in the Reign of Henry VIIL 81 
 
 York, of Henry VIIL and Jane Seymour •, it was painted on the wall 
 in the privy chamber. The copy which Remee * made of it for Charles 
 II. in fmall, and for which he received 150/. hangs in the king's bed- 
 chamber below flairs at Kenfington; from that Vertue engraved his 
 print. Holbein's original drawing of the two kings is in the collec- 
 tion of the duke of Devonshire. It is in black chalk, heightened, and 
 large as life ; now at Chatfworth. The architecture of this picture is 
 •very rich, and parts of it in a good ftyle. 
 
 In the chapel at Whitehall he painted Jofeph of Arimathea, and in 
 that at St. James's, Lazarus rifing from the dead-bothnow deftroyed.f 
 
 That he often drew the king is indubitable ; feveral pictures extant 
 of Henry are afcribed to him— I would not warrant many of them. 
 There is one at Trinity college Cambridge, J another at lord Torring- 
 ton's at Whitehall, both whole lengths, and another in the gallery of 
 royal portraits at Kenfington, which whoever painted it, is execrable \ 
 one at Petworth, and another in the gallery at Windfor. But there is 
 one head of that king at Kenfington, not only genuine, but perhaps 
 the moft perfect of his works. It hangs by the chimney in the fecond 
 room, leading to the great drawing-room ; and would alone account 
 for the judgment of Depiles, who in his fcale of picturefque merit, 
 allows 16 degrees to Holbein, when he had alloted but 12 to Raphael. 
 I conclude that it was in the fame light that Frederic Zucchero consi- 
 dered our artift, when he told Goltzius that in fome refpects he pre- 
 ferred him to Raphael. Both Zucchero and Depiles underflood the 
 
 fcience 
 
 * Remee was a fcholar of Vandyke and died in 1678, aged 68. 
 + See Peacham on limning. 
 
 % It has j££ Fecit upon it 5 and was probably a copy by Lucas de Heere, of 
 whom hereafter. 
 
8 2 Painters in the Reign of Henry VIII. 
 
 fcience too well to make any companion except in that one particular 
 of colouring, between the greater!: genius, in his way, that has ap- 
 peared, and a man who excelled but in one, and that an inferior 
 branch of his art. The texture of a rofe is more delicate than that of 
 an oak I do not fay that it grows fo lofty or cafts fo extenfive a made. 
 
 Oppofite to this picture hangs another, but much inferior, called in 
 the catalogue lord Arundel, or Howard ;* the latter name is a confu- 
 fion, occafioned by the title of Arundel paffing into the family of 
 Howard. The portrait in queftion, I fuppofe, is of H. Fitzalan earl 
 of Arundel, and probably the very perfon who firft perfuaded Hol- 
 bein to come into England. 
 
 In the ftate bed-chamber is a portrait of Edward VI. It was origi- 
 nally a half length; but has been very badly converted into a whole 
 figure fince the time of Holbein. 
 
 Confidering how long he lived in the fervice of the crown, it is fur- 
 prizing that fo few of his works mould have remained in the royal col- 
 lection ; Charles I. appears by his catalogue to have porTefTed but about 
 a dozen. All the reft were difperfed but thofe I have mentioned (unlefs 
 the whole length of the unfortunate earl of Surrey, in a red habit, in 
 the lower apartment at Windfor is fo, as I believe it is) and a fine little 
 picture of a man and woman, faid to be his own and wife's portraits 
 which hangs in an obfcure clofet in the gallery at Windfor ; and the 
 portrait of a man opening a letter with a knife, in the ftandard-clofet 
 in the fame palace. But at prefent an invaluable treafure of the works 
 
 of 
 
 * The fine original of Thomas Howard duke of Norfolk with the flaves of 
 earl-marlhal and lord treafurer 3 from whence the print is taken, is at Leicefter- 
 houfe. 
 
Painters in the Reign of Henry VIII. 83 
 
 of this matter is preferved in one of our palaces. Soon after the accef- 
 fion of the late king, queen Caroline found in a bureau at Kenfington 
 a noble collection of Holbein's original drawings for the portraits of 
 fome of the chief perfonages of the court of Henry VIII. How they 
 came there is quite unknown. They did belong to * Charles I. who 
 changed them with William earl of Pembroke for a St. George by 
 Raphael, now at Paris. Lord Pembroke gave them to the earl of 
 Arundel, and at the difperfion of that collection, they might be bought 
 by or for the king. There are eighty-nine f of them, a few of which 
 are duplicates : a great part are exceedingly fine, J and in one refpect 
 preferable to his finiftied pictures, as they are drawn in a bold and free 
 manner : and though they have little more than the out-line, being 
 drawn with chalk upon paper flamed of a flem colour, and fcarce 
 Vol. I. Y fhaded 
 
 * After Holbein's death they had been fold into France, from whence they 
 were brought and prefented to king Charles by Monf. de Liencourt. Vanderdort, 
 who did nothing but blunder, imagined they were portraits of the French court. 
 Saunderfon in his Graphice p* 79, commends this book highly, but fays fome of 
 the drawings were fpoiled. 
 
 f See the lift of them, fubjoined to the catalogue of the collection of king 
 James II. publifhed by Bathoe in quarto, 1758. In king Charles's catalogue 
 they are faid to be but fifty-four, and that they were bought of, not given by, 
 Monf. de Liencourt. 
 
 f Some have been rubbed, and others traced over with a pen on the outlines 
 by fome unfkillfull hand. In an old inventory belonging to the family of Lum- 
 ley mention was made of fuch a book in that family, with a remarkable note, that 
 it had belonged to Edward VI. and that the names of the perfons were written on 
 them by Sir John Cheke. Moft of the drawings at Kenfington have names in an 
 ©Id hand ; and the probability of their being written by a minifter of the court who 
 fo well knew the perfons reprefented, is an addition to their value. 
 
84- Painters in the Reign of Henry VIII. 
 
 fhaded at all, there is a ftrength and vivacity in them equal to the 
 mod perfect portraits. The heads of Sir Thomas More, * bifliop 
 Fiflier, Sir Thomas Wyat, and Broke lord Cobham are m after-pieces, f 
 It is great pity that they have not been engraved, not only that fuch 
 frail performances of fo great a genius might be preferved, but that the 
 refemblances of fo many illuftrious perfons, no where elfe exifting, 
 might be faved from deftru&ion. Vertue had undertaken this noble 
 work, and after fpending part of three years on it, broke off, I do not 
 know why, after having traced off on oil-paper but about five and 
 thirty. Thefe I bought at his fale ; and they are fo exactly taken as 
 to be little inferior to the originals. 
 
 In the fame clofet are two fine finiftied portraits by Holbein, faid to 
 be his own and his wife's ; they were prefented to queen Caroline by 
 Sir Robert Walpole, my father. J And a circular drawing \ the ftory 
 of Solomon and the queen of Sheba. 
 
 In 
 
 * Richardfon the painter had another of thefe, which was fold at his auclion, 
 and from whence Houbraken's print among the illuftrious heads was taken. 
 
 f They were firft placed by the queen at Richmond, but afterwards removed to 
 Kenfmgton where they ftill remain ; but it is a very improper place for them, ma- 
 ny hanging againft the light or with fcarce any, and fome fo high as not to be dif- 
 cernible, efpecially a moft gracefull head of the duchefs of Suffolk. 
 
 % The father of lord treafurer Oxford palling over London bridge, was caught 
 in a mower, and ftepping into a goldfmith's mop for fhelter, he found there a pic- 
 ture of Holbein (who had lived in that houfe) and his family. He offered the 
 goldfmith 100/. for it, who confented to let him have it, but delired firft to mow 
 it to fome perfons. Immediately after happened the fire of London and the pic- 
 ture was deftroyed. 
 
Painters in the Reign of Henry VIII. 85 
 
 In one of the king's cabinets is a miniature of two children of 
 Charles Brandon. 
 
 Over one of the doors is a picture afcribed to Holbein, and fuppofed 
 to be queen Elizabeth, when princefs, with a book in her hand, but I 
 queftion both the painter and the perfon reprefented. 
 
 He drew Will. Somers, * king Henry's jefter.. from which there is a 
 print. It is perhaps a little draw- back on the fame of heroes and ftatef- 
 men, that fuch perfons, who fhared at lean: an equal portion of royal 
 favour formerly, continue to occupy a place even in the records of time 
 — at lead, we antiquarians, who hold every thing worth preferving, 
 merely becaufe it has been preferved, have with the names of Henry, 
 Charles, Elizabeth, Francis f. Wolfey, Sir Thomas More, &c. trea- 
 fured up thofe of Will. Somers, Saxton, Tom Deny, ( queen Anne's 
 jefter) Tarlton, (queen Elizabeth's) Pace, another fool in that reign, 
 Archee, the difturber of Laud's greatnefs ; Muckle John, who fuc- 
 ceeded; Patch, Wolfey's fool ; Harry Patenfon, Sir Thomas More's ; 
 and of Bifquet and Amaril, the jefters of Francis I. not to mention 
 Hitard,-f king Edmund's buffoon ; Stone, J and Jeffery Hudfon, the 
 dwarf of Henrietta Maria. Of fome of thefe perfonages I have found 
 the following anecdotes: Saxton is the firft perfon recorded to have 
 worn a wig : In an account of the treafurer of the chambers in the 
 reign of Henry VII L there is entered " Paid for Saxton, the king's 
 fool, for a wig, 20s." In the accounts of the lord Harrington who 
 was in the fame office under James L there is, " Paid to T. Mawe for 
 
 the 
 
 * There is a burlefque figure of him in the armory at the Tower, 
 f See Dart's antiq. of Canterbury, p. 6. 
 % A fool mentioned in Selden's table-talk. 
 
86 Painters in the Reign of Henry VIII. 
 
 the diet and lodging of Tom Derry, her majefty's jefter, 1 3 weeks, 
 10/.--1 8 s. — 6d» iy Patch and Archee were political characters: The 
 former, who had been Wolfey's fool, and who like wifer men, had 
 lived in favour through all the changes of religion and folly with which 
 four fucceflive courts had amufed themfelves or tormented every body 
 elfe, was employed by Sir Francis Knollys to break down the crucifix, 
 which queen Elizabeth ftill retained in her chapel ; and the latter, I 
 fuppofe on fome fuch inftigation, demolilhed that which Laud erected 
 at St. James's, and which was probably the true caufe of that prelate 
 engaging the king and council in his quarrel, though abufive words 
 were the pretence. Of little JefFery I mall fay more in another place. 
 
 King James II. as appears by the catalogue of his pictures publilhed 
 by Bathoe, had feveral of Holbein though all in that lift were not 
 painted by him. 
 
 Of Holbein's public works in England I find an account of only 
 four. The firft is that capital picture in furgeon's hall, of Henry VIII. 
 giving the charter to the company of iurgeons. The character of his 
 majefty's bluff haughtinefs is well reprefented, and all the heads are 
 finely executed. The picture itfelf has been retouched, but is well 
 known by Baron's print. The phyfician in the middle on the king's 
 left hand is Dr. Butts, immortalized by Shakefpear.* 
 
 The fecond is the large piece in the hall of Bridewell, reprefenting 
 Edward VI. delivering to the lord mayor of London the royal charter* 
 by which he gave up and erected his palace of Bridewell into an hof- 
 pital and workhoufe. Holbein has placed his own head in one corner of 
 the picture. Vertue has engraved ic. This picture, it is believed, was 
 
 not 
 
 * The ring which Henry fent by Dr. Butts to Cardinal Wolfey, was a cameo 
 an a ruby of the king himfelf, formerly given to him by the Cardinal. 
 
Painters in the Reign of Henry VIII. 87 
 
 not compleated by Holbein, both he and the king dying immediately 
 after the donation. 
 
 The third and fourth were two large pictures, painted in diftemper, 
 in the hall of the Eafterling merchants in the Steelyard, Where Def- 
 camps found, I do not know, that they were defigned for ceilings. 
 It is probably a miftake. Thefe pictures exhibited the triumphs of 
 riches and poverty. The former was reprefented by Plutus riding in a 
 golden can*; before him fat Fortune fcattering money, the chariot 
 being loaded with coin, and drawn by four white horfes, but blind, 
 and led by women, whofe names were written beneath. Round the carr 
 were crowds with extended hands catching at the favours of the god. 
 Fame and Fortune attended him, and the procefllon was clofed by 
 Croefus, Midas, and other avaritious perfons of note. 
 
 Poverty was an old woman, fitting in a vehicle as mattered as the 
 other was fuperb; her garments fqualid, and every emblem of wretch- 
 ednefs around her. She was drawn by afTes and oxen, which were 
 guided by Hope, and Diligence, and other emblematic figures, and at- 
 tended by mechanics and labourers, The richnefs of the colouring, 
 the plumpnefs of the flefh, the gaudy ornaments in the former \ and 
 the ft'rong touches and expreflion in the latter were univerfally admi- 
 red. It was on the fight of thefe pictures that Zucchero exprefled fuch 
 efteem of this matter : he copied them in Indian ink, and thofe draw- 
 ings came afterwards into the polferTion of Monf. Crozat. Vo Herman 
 jun. engraved prints from them, at lean: of the triumph of Poverty, 
 but Vertue could never meet with that of Riches: however in Buck- 
 ingham-houfe in St. James's park, he found two fuch drawings, on 
 one of which was an infcription attributing them to Holbein, and add- 
 Vol. I. Z ing, 
 
8 8 Painters in the Reign of Henry VIII. 
 
 ing, that they were the gift of Sir Thomas More, who wrote verfes 
 under them. Vertue thought that thefe drawings were neither of 
 Holbein nor Zucchero, but the copies which Vofterman had made, 
 in order to engrave. Thefe drawings I fuppofe were fold in the 
 duchefs's auction.* For the large pictures themfelves Felibien and 
 Depiles fay that they were carried into France from Flanders, whither 
 they were tranfported I fuppofe after the deftrudtion of the company, 
 of which Stowe f gives the following account. The Steelyard was a 
 place for merchants of Almaine who ufed to bring hither wheat, rye, 
 and other grain cables, ropes, mafts, fteel and other profitable mer- 
 chandize. Henry III. at the requeft of his brother Richard earl of 
 Cornwall and king of Almaine gave them great privileges, they then 
 having a houfe called, Guilda Aula Teutonicorum. Edward I. con- 
 firmed 
 
 * So I concluded, but have fince been fo lucky to find that they were pre- 
 fer ved at Buckingham houfe, till it was purchafed by his majefly, when the pic- 
 tures being expofed to auction, thefe very drawings were exhibited there, as alle- 
 goric pieces by Vandyck. They more than come up to any advantageous idea I 
 had formed of Holbein. The compofition of each is noble, free, and niafterly. 
 The expreflions admirable, the attitudes gracefull, and feveral of them bearing 
 great refemblance to the ftyle of Raphael. The Triumph of Riches is much 
 wider than the other. The figures in black and white chalk, the fkies coloured. 
 On each are Latin verfes, but no mention of Holbein, as Vertue relates. The 
 figure of Crcefus has great refemblance to the younger portraits of Henry VIII. 
 By the mafterly execution of thefe drawings, I fhould conclude them Zucchero's 
 copies ; but the horfes, which are remarkably fine and fpirited, and other touches, 
 are fo like the manner of Vandyck, that one is apt to attribute them to Vofter- 
 man who lived in his time. Probably the Triumph of Riches is Vofterman's 
 copy and that of Poverty, Zucchero's. They are now at Strawberry-hill. 
 
 f Survey of London p. 249. 
 
Painters in the Reign of Henry VIII. 89 
 
 firmed their charter ; and in the fame reign there was a great quarrel 
 between the mayor of I>ondon and thofe merchants of the Haunce $ 
 about the reparation of Bifhop-gate, which was impofed on them in 
 confideration of their privileges, and which they fuffered to run to ruin, 
 Being condemned to the repairs, they were in recompence indulged 
 with granaries, and an alderman of their own but in time were com- 
 plained of, for importing too great quantities of foreign grain. They 
 were reftricted, yet ftill increafed in wealth, and had a noble hall in 
 Thames-ftreet with three arched gates, and in the reign of Edward III. 
 they hired another houfe of Richard Lions, a famous lapidary, one of 
 the fheriffs, who was beheaded by the Kentifh rebels in the reign of 
 Richard II, and another for which they paid 70/. per arm. But ftill 
 continuing to engrofs the trade, they were iupprelTed in the reign of 
 Edward VI. who feized the liberties of the Steelyard into his own 
 hands. 
 
 But for nothing has Holbein's name been oftener mentioned than 
 for the picture of Sir Thomas More's family, Yet of fix pieces ex- 
 tant on this fubjedt, the two fmaller are certainly copies, the three 
 larger probably not painted by Holbein, and the fixth, tho' an original 
 -picture, mod likely not of Sir Thomas and his family. That Hol- 
 bein was to draw fuch a piece is indubitable ; a letter of Erafmus is 
 extant, thanking Sir Thomas for fending him the fketch of it; but there 
 is great preemption, that though Holbein made the defign, it was 
 not he who executed the picture in large, as will appear by the follow- 
 ing accounts of the feverai pieces. The molt known is that at Burford, 
 the feat of the famous Speaker Lenthall. To fay that a performance 
 is not equal to the reputation of it's fuppofed author, is not always an 
 
 argument 
 
go Painters in the Reign of Henry VIII. 
 
 argument fufficient to deftory it's authenticity. It is a well-known fay* 
 ing of Sir Godfrey Kneller, when he was reproached with any of his 
 hafty flovenly daubings, " Pho, it will not be thought mine ; nobody 
 will believe that the fame man painted this and the Chinefe at Wind- 
 for." 
 
 But there is a fpeaking evidence on the picture itfelf againft it's own 
 pretenfions. Holbein died In 1 554, The picture at Burford is dated 
 1593. It is larger and there are more figures than in it's rival, the 
 piece in Yorkfliire, and fome of thefe Vertue thought were painted 
 from the life. This was kept at Gubbins in Hertfordfliire, the feat of 
 the Mores; but by what means the piece pafTed into the hands of 
 Lenthall, is uncertain •, the remains of the family of More are feated 
 at Barnborough in Yorkfliire, where they have a fmall picture of their 
 anceftor and his relations like that at Burford, but undoubtedly not an 
 original. There too they preferve fome relicks which belonged to that 
 great man ; as a George enamelled, and within it a miniature of Sir 
 Thomas \ a gold crofs with pearl drops, and the cap he wore at his 
 execution. 
 
 The fecond picture is at Heron in EfTex, the feat of Sir John Tyrrei, 
 but having been repainted, it is impoffible to judge of it's antiquity. 
 The difpute of originality has lain only between the piece at Burford, 
 and the next. 
 
 The third large picture, and which Vertue thought the very one 
 painted for Sir Thomas himfelf, is twelve feet wide, and is the actual 
 piece which was in Deloo's collection, after whofe death it was bought 
 by Mr. Roper, Sir Thomas's grandfon. As Deloo was a collector of 
 Holbein's works, and his cotemporary, it founds extraordinary, that a 
 
 picture, 
 
Painters in the Reign of Henry VIII. gi 
 
 picture, which he thought genuine, mould be doubted now ; and yet 
 Vertue gives fuch ftrong reafons, fupported by fo plaufible an hypothe- 
 fis, to account for its not being Holbein's, that I think them worth lay- 
 ing before the reader. He fays the picture is but indifferent ; on this 
 I lay no more ftrefs than I do in the cafe of that at Burford but his 
 obfervation that the lights and fhades in different parts of the picture 
 come from oppofite fides, is unanfwerable, and demonftrate it no ge- 
 nuine picture of Holbein, unlefs that matter had been a mod ignorant 
 dauber, as he might fometimes be a carelefs painter. This abfurdity 
 Vertue accounts for, by fuppofing, that Holbein quitted the chancel- 
 lor's fervice for the king's, before he had drawn out the great picture, 
 which however Sir Thomas always underflood was to be executed ; 
 that Holbein's bufinefs increafing upon him, fome other painter was 
 employed to begin the picture, and to which Holbein was to give the 
 laft touches; in fhort that inimitable perfection of flefti which charac- 
 terizes his works.. And this is the more probable as Vertue obferved 
 that the faces and hands are left flat and unfinifhed, but the ornaments, 
 jewels, &c. are extremely laboured. As the portraits of the family, 
 in feperate pieces, were already drawn by Holbein, the injudicious 
 journeyman ftuck them in 'as he found them, and never varied the 
 lights, which were difpofed, as it was indifferent in fingle heads, fome 
 from the right, fome from the left, but which make a ridiculous con- 
 tradiction when tranfported into one piece. This picture, purchafed 
 as I have faid by Mr. Roper, the fon of that amiable Margaret, whofe 
 behaviour when Sir Thomas returned to the tower was a fubjecl not 
 for Holbein, but for Pouffin or Shakefpear! This picture remained 
 'till of late years at Wellhall in Eltham, Kent, the manfion of the Ro- 
 Vol. L A a pers, 
 
92 Painters in the Reign of Henry VIIL 
 
 pers. That houfe being pulled down, it hung for fome time in the 
 king's houfe at Greenwich, foon after which, by the death of the laft 
 Roper, whofe fole daughter married Mr. Henfhaw, and left three 
 daughters, the family-picture then valued at 300/. came between them, 
 and Sir Rowland Wynne, who married one of them, bought the 
 fhares of the other two, and carried the picture into Yorkfhire where 
 it now remains. 
 
 The other fmall one is in the collection of colonel Sothby in Bloomf- 
 bury-fquare. It is painted in the neateft manner in miniature. On 
 the right hand are inferted the portraits of Mr. More and his wife, 
 Sir Thomas's grandfon, for whom it was drawn, and their two fons, 
 with their garden at Chelfea behind, and a view of London. The 
 painter of this exquifite little piece is unknown. 
 
 The fifth was in the palace of the Delfino family at Venice, where it 
 was long on fale, the price firft fet 1500/. When I faw it there in 1741, 
 they had funk it to 400/. foon after which the prefent king of Potand 
 bought it. 
 
 It was evidently defigned for a fmall altar-piece to a chapel ; in the 
 middle on a throne fits the Virgin and child; on one fide kneels an 
 elderly gentleman with two fons, one of them a naked infant ; oppofite 
 kneeling are his wife and daughters. The old man is not only unlike 
 all representations of Sir Thomas More, but it is certain that he never 
 had but one fon*- -For the colouring it is beautifuli beyond defcrip- 
 
 tion, 
 
 * There is recorded a bon-mot of Sir Thomas on the birth of his fon : He had 
 three daughters : His wife was impatient for a fon; at laft they had one, but not 
 much above an idiot — " You have prayed fo long for a boy, faid the chancellor, 
 that now we have got one who, I believe, will be a boy as long as he lives." 
 
Painters in the Reign of Henry VIII. 93 
 
 tion, and the carnations have that enamelled bloom fo peculiar to 
 Holbein, who touched his works 'till not a touch remained difcerni- 
 ble ! A drawing of this picture by Bifchop was brought over in 1723, 
 from whence Vertue doubted both of the fubject and the painter; but 
 he never faw the original ! By the defcription of the family-picture of 
 the conful Mejer, mentioned above, I have no doubt but this is the 
 very picture — Mejer and More are names not fo unlike, but that in 
 procefs of time they may have been confounded, and that of More re- 
 tained, as much better known. 
 
 In private houfes in England are or were the following works of 
 Holbein, beficies what may not have come to Vertue's or my know- 
 ledge. 
 
 In the Arundelian collection, fays Richard Symonds, * was a head 
 of Holbein in oil by himfelf, moft fweet, dated 1543. 
 
 At Northumberland-houfe an Englilh knight fitting in a chair and 
 a table by him. 
 
 Lord Denny, comptroller, and his lady, 1527. 
 
 Sir Henry Guldeford and his lady. They were engraved by Hol- 
 lar, f As alfo Monf. Moret, jeweller to Henry VIIL 
 
 In the earl of Pembroke's collection was a lady in black fatin, which 
 Zucchero admired exceedingly.;}; 
 
 The 
 
 * In one of his pocket-books which will be mentioned more particularly in the 
 fecond volume. 
 
 f They were at Tart-hall. 
 
 X There is a view of the Siege of Pavia at Wilton, faid to be by Holbein, but 
 It is by Albert Durer. I even queftion whether the profile of Edward VI. there 
 be an original. 
 
94- Painters in the Reign of Henry VIII. 
 
 The duke of Buckingham had eight of his hand, in particular the 
 ftory of Jupiter and Io. See his catal. p, 16. 
 
 At the earl of Uxbridge's at Drayton, his anceftor lord Paget. 
 
 At the earl of Guilford's at Wroxton, Sir Thomas Pope, the founder 
 of Trinity-college, Oxford. 
 
 At Blenheim, a very lively head of a young man. 
 
 At Buckingham houfe was the portrait of Edmund lord Sheffield. 
 
 Henry VIII. and Francis I. exchanged two pictures the king of 
 France gave to Henry the Virgin and child by Leonardo da Vinci ; 
 the Englifh prefent was painted by Holbein, but the fubject is not men- 
 tioned. The former came into the porTeflion of Catherine Patin. 
 
 In the late duke of Somerfet's polTeflion was a head of his anceftor 
 the protector, engraved among the illuftrious heads. 
 
 Vertue mentions having feen a fine miniature of Henry VIII. and 
 his three children, but does not fay where. It had a glafs over it, and 
 a frame curioufly carved. 
 
 At lord Orford's at Hougton is a fmall whole length of Edward 
 VI. on board, which was fold into Portugal from the collection of 
 Charles L and Eraimus, fmaller than life. 
 
 I have 
 
 Catherine of Arragon, a miniature, exquifitely finimed ; a 
 round on a blue ground. It was given to the duke of Monmouth by 
 Charles II. I bought it at the fale of the lady Ifabella Scott, daughter 
 of the duchefs of Monmouth. 
 
 A head of the fame queen on board in oil ; hard, and in her latter 
 age. It is engraved among the illuftrious heads. 
 
 Cath. Howard, a miniature, damaged. It was Richardfon's who 
 
 bought 
 
Painters in the Reign of Henry VIII. 95 
 
 bought it out of the Arundelian collection. It is engraved among the 
 illuftrious heads; and by Hollar, who called it, Mary queen oi France, 
 wife of Charles Brandon duke of Suffolk. 
 Edmund Montacute, a judge. D°. flat. 
 
 Philip, the Fair, fon of the emperor Maximilian, and father of 
 Charles V. when a boy. It is finely coloured ; and is engraved in 
 Mountfaucon's antiquities of France, This muft have been copied 
 from fome other picture. 
 
 A drawing of a man in a blue gown, cap, and bufkins. It feems to 
 be a mafquerade drefs. 
 
 Another drawing, the head of a man, with a hat and picked beard. 
 
 A defign in water colours, which he afterwards executed on a houfe 
 at Bafil. 
 
 A head of Melancthon, in oil on board, a fmall round, very fine. 
 
 Several drawings by Holbein, and fome miniatures are preferved 
 in various collections. 
 
 There is a very curious picture in the collection of col. Sothby, faid 
 to be begun in France by Janet, and which Vertue thinks might be 
 retouched by Holbein, as it was probably painted for his patron the 
 duke of Norfolk, from whom it defcended immediately to the earl 
 of Arundel, out of whofe collection the father of the prefent poflfefTor 
 purchafed it. It repreients three royal pair dancing in a meadow, with 
 a magnificent building at a diflance-, they are Henry VIII. and Anne 
 Boleyn •, and his fillers Margaret queen of Scots and Mary queen of 
 France with their fecond hufbands, Archibald Douglas and Charles 
 Brandon.* The circumftances of three matches fo unequal affembled 
 
 Vol. I. B b together, 
 
 * This was Vertue's opinion. The account in the family calls the man in the 
 
 middle 
 
g6 Painters in the Reign of Henry VIII. 
 
 together, induced Vertue, with much probability to conclude that it 
 was a tacit fatire, and painted for the duke of Norfolk, who, however 
 related to Anne Boleyn, was certainly not partial to her, as protectrefs 
 of the reformed. If this conjecture could be verified, it would lead 
 one to farther reflections. The jealoufy which Henry towards the 
 end of his reign conceived againft the Howards, and his facrificing 
 the galant earl of Surrey for quartering the arms of England, as he 
 undoubtedly had a right to quarter them, have always appeared acts 
 of moft tyrannic fufpicion. He fo little vouchfafed to fatisfy the pub- 
 lic on the grounds of his proceedings, that it is pollible he might fome- 
 times act on better foundation than any body knew. If he really dis- 
 covered any ambitious views in the houfe of Norfolk, this picture 
 would feem a confirmation of them. To expofe the blemifhes in the 
 blood of the three only branches of the royal family, might be a lead- 
 ing ftep towards afferting their own claim — at leaft their own line 
 would not appear lefs noble, than the dependents of Boleyn, Brandon 
 and Douglas. 
 
 Holbein's talents were not confined to his pictures-, he was an ar- 
 chitect, he modelled, carved, was excellent in defigning ornaments, 
 and gave draughts of prints for feveral books, fome of which it is fup- 
 
 pofed 
 
 middle the dufce of Norfolk, and him an the right hand the duke of Suffolk. If 
 the tradition that this picture reprefents only Englifh perfonages were not fowell 
 grounded, I mould take it for a French compofition. The perfon in the middle is 
 a black fwarthy man with a fharp beard, like Francis I. and refembling neither of 
 the dukes of Norfolk and Suffolk, the former of whom is never drawn with a 
 beard, the latter always with a fhort fquare one : add to this, that the figure called 
 Henry VIII. and which certainly his much of his countenance, is in an obfeure 
 corner of the picture, and exhibits little more than the face. 
 
Painters in the Reign of Henry VIIL 97 
 
 pofed he cut himfelf. Sir Hans Sloane had a book of jewels defigned 
 t>y him, now in the Britifh mufeum. He invented patterns * for 
 gold-imith's work, for enamellers and chafers of plate, arts much 
 countenanced by Henry VIIL Inigo Jones mowed Sandrart another 
 book of Holbein's defigns for weapons, hilts, ornaments, fcabbards, 
 fheaths, fword-belts, buttons and hooks, girdles, hatbands and clafps 
 for (hoes, knives, forks, faltfellers and vafes, all for the king. Hollar 
 engraved feveral of them. The duchefs of Portland \ and lady Eli- 
 zabeth Germayn have each a dagger let with jewels, which belonged 
 to that prince and were probably imagined by Holbein. The latter 
 lady has a fine little figure of Henry cut in ftone, whole length ; Hol- 
 bein cut his own head in wood, and 1 have another by his hand of the 
 king, in which about his neck inftead of a George he wears a watch. 
 Two other figures carved in ftone were in the mufeum of Tradefcant 
 aC Lambeth. 
 
 His cuts to the bible were engraved and printed at Leyden by Jo- 
 hannes Frellonius, in 1547, under this title, Icones Hiftoriarum vete- 
 ris Teftamenti. The titles to every print are in Latin, and beneath is 
 an explanation in four French verfes. Prefixed is a copy of Latin 
 verfes, in honour of Holbein, by Nicholas Borbonius, a celebrated 
 
 French 
 
 * The noble feal appendent to the furrendor of Cardinal Wolfey's college at 
 Oxford, has all the appearance of being defigned by Holbein. The deed is pre- 
 ferred in the augmentation-office, and the feal has been engraved among the plates 
 publifhed by the fociety of Antiquaries. 
 
 f The dagger, in her grace's collection, is fet with jacynths, and coft lord Ox- 
 ford 45/. at Tart-hall, when the remains of the Arundelian collection were fold 
 there in 1720. 
 
98 Painters in the Reign of Henry VIII. 
 
 French poet of that time, and of whom there is a profile among ths 
 drawings at Kenfington.* 
 
 Lord Arundel mowed Sandrart a little book of twenty-two defigns 
 of the Pafllon of Chrift, very imall; in which, fays the fame author, 
 Chrifl was every where reprefented in the habit of a black monk— but 
 that was a miftake, for Hollar engraved them, and there is only Chrift 
 perfecuted by monks. Sandrart adds that it is incredible what a quan- 
 tity of drawings of this mafter lord Arundel had collected, and fur- 
 prizing, the fruitfullnefs of Holbein's invention,, his quicknefs of exe- 
 cution and induftry in performing fo much. 
 
 To the Catechifmus or Inftruction of Chriftian Religion, by Tho- 
 mas Cranmer, printed by Walter Lynn 1538, quarto, the title is a 
 wooden cut reprefenting Edward VI. fitting on his throne giving the 
 bible to the Archbifhop and Nobles kneeling : This and feveral head- 
 pieces in the fame book were defigned by Holbein, and probably fome 
 of them cut by him; one has his name. 
 
 On the death of Sir Thomas Wyat the poet in 1541, a little book 
 of verfes, entituled Naenia, was publifhed by his great admirer Le- 
 land. Prefixed was a wooden cut of Sir Thomas, from a picture of 
 Holbein, with thefe lines y 
 
 Holbenus nitida pingendi maximus arte 
 Effigiem exprefiit graphice-, fed nullus Apelles 
 Exprimet ingenium felix animumque Viati. 
 
 Of his architecture nothing now remains {landing but the beautiful! 
 porch at the earl of Pembroke's at Wilton. From that and his draw- 
 ings 
 
 * In St. John's college Camb. is Henry the 8th's bible printed on vellum, with 
 Holbein's cuts finely illuminated, and the figures of Henry, Cromwell and others- 
 
Painters in the Reign of Henry VIII. gg 
 
 ings it is evident that he had great natural tafte. One cannot but la- 
 ment that a noble monument of his genius has lately been demolifhed, 
 the gateway at Whitehall, fuppofed to have been erecled for the entry 
 of Charles V. but that was a miftake ; the emperor was here in 1 521 •, 
 Holbein did not arrive at fooneft 'till five years after. Peacham men- 
 tions a defign that he faw for a chimney-piece for Henry's new palace 
 at Bridewell. There undoubtedly, at Whitehall, and at Nonfuch 
 were many of his productions. 
 
 It may be wondered that I have faid nothing of a work much re- 
 nowned and afcribed to this mailer I mean the chamber at the lord 
 Montacute's at Coudray ; but it is moft certainly not executed by him. 
 Though the hiftories reprefented there, the habits and cuftoms of the 
 times, make that room a lingular curiofity, they are it's only merit. 
 There is nothing good either in the defigns, difpofition or colouring. 
 
 There are three other hiftoric pieces in the fame houfe, of much 
 more merit, afcribed likewife to Holbein, and undoubtedly of his time. 
 The firft reprefents Francis I. on his throne, with his courtiers, and 
 the duke of Suffo (fo it is written) and the earl of Southampton Hand- 
 ing before him on an embafly. This is by much the word of the three, 
 and has been repainted. The next is fmaller, and exhibits two knights 
 running a tilt on the foreground ; one wears the crown of France, 
 another a coronet, like that of an Englifh prince, compofed of crofTes 
 and fleurs de lys, and not clofed at top. An elderly man with a broad 
 face, and an elderly lady in profile, with feveral other figures, boldly 
 painted, but not highly finimed, are fitting to fee the tilt. On the 
 back ground is the French king's tent, and feveral figures dancing, re- 
 joycing, and preparing entertainments. A perfon feems leading a 
 queen to the tent. Under this is written, u The meeting of the kings 
 Vol, L C c between 
 
i co Painters in the Reign of Henry VITI. 
 
 between Guines and Arden in the Vale of Gold." This is an upright 
 piece. The third is the largeft, broad like the firft. Francis on his 
 throne at a diftance with guards &c. on each fide in a line. Before him 
 fit on ftools with their backs towards you four perfons in black, and 
 one like a clergyman (landing in the middle and haranguing che king. 
 One eac h fide fit nobl men, well drawn, coloured and neatly finiftvd. 
 On this piece is written, " The great ambafTade fent to the French 
 king, of the earl of Worcefter, lord chamberlain, the bifhop of Ely, the 
 lord St. John, the lord Vaux and others." Thefe pictures I mould 
 not think of Holbein; the figures are more free than his, lefs finifhed, 
 and the colouring fainter: and none of the Englifh feem portraits. 
 The Spelling too of Suffo, is French. Probably thefe pieces were done 
 by Janet, who was an able mafter, was cot j mporary with Holbein, 
 and whofe works are often confounded with cur painter's. 
 
 Holbein's fame was fo thoroughly eftab'ifh d,* even in his life, that 
 the Italian mailers vouchfafed to borrow from, him. In particular 
 Michael Angelo Caravaggio was much indebted to him in two differ- 
 ent pictures. Rubens was lo great an admirer of his works that he 
 advifed young Sandrart to fludy his Dance of Death, from which Ru- 
 bens himfelf had made drawings. 
 
 This account of a man, dear to connoiffeurs for the lingular perfec- 
 tion of his colouring, become dear to antiquaries by the diftance of 
 time in which he lived, by the prefent fcarcity of his works, and by 
 his connections with More and Erafmus, I muft clofe with all I can 
 difcover more relating to him; that he formed but one fcholar, Chrif- 
 topher Amberger of Aufburg-, and that in a roll f of new-year's gifts 
 
 in 
 
 * Sandrart. 
 
 t It was in the pofieflion of Mr. Holmes keeper of the records in the tower, 
 and was exhibited to the Antiquarian fociety in 1736. 
 
Painters in the Reign of Henry VIIL 101 
 
 in the 30th year of the reign of Henry VIIL figned by the king's own 
 hand, in which are regiftered preients to the prince, to the ladies Mary 
 and Elizabeth, to the lady Margaret Douglas, to the nobility, bifhops, 
 ladies and gentry, moft of the gifts being of plate, mention is made 
 of a prelent to Hans Holbein of a gilt creufe and cover, weighing ten 
 ounces two penny weights, made by (Lucas) Cornelii. 
 
 D°. to Lucas (Penne) a gilt creufe and cover, fame weight. 
 
 On the other fide of the roll prefents to the king ; 
 
 Holbein gave a picture of the prince's grace, 
 
 Lucas, a fcreen to fet before the fire. 
 
 Richard Atfyll a broach of gold with an antique head.* 
 
 In the library of the Royal fociety is a book of the chamberlain's 
 office, containing payments made by Sir Bryan Tuke treafurer of the 
 king's chamber beginning in Feb. 1538, in the 29th of Henry VIIL 
 There appear the following accounts. 
 
 Payd to Hans Holbein, paynter, a quarter due at Lady-day laft 
 8/. — ioj. — od. 
 
 Again at Midfummer quarter. 
 , Item, for Hans Holbein, paynter, for one half year's annuitie ad- 
 vanced to him before hand, the fame year to be accounted from our 
 Lady-day laft paft, the fum of 30/. 
 
 December 30, An. 30. Item, payd to Hans Holbein, one of the 
 king's paynters, by the king's commandment certify'd by my lord 
 privy feal's letter, x/. for his coft and charge at this time, lent about 
 certeyn his grace's affairs in the parts of High Burgundy, f by way of 
 his grace's reward. . 
 
 Septem- 
 
 * He was an engraver of {rones. See the end of this chapter. 
 
 f It was to draw the picture of the Duchefs of Milan, mentioned above. 
 
102 Painters in the Reign of Henry VI II. 
 
 September An. 31. Item, payd by the king's highnefs command* 
 ment, certifyed by the lord privy Teal's letters, to Hans Holbein 
 paynter, in the advancement of his whole year's wages before hand, 
 after the rate of xxx/. * by the year, which year's advancement is to 
 be accounted from this prefent, which fhall end ultimo Septembris 
 next enfuing. 
 
 The advancement of his falary is a proof that Holbein was both 
 favoured and poor. As he was certainly very laborious, it is probable 
 that the luxury of Britain did not teach him more oeconomy than he 
 had practiced in his own country. 
 
 Henry, befides thefe painters had feveral artifts of note in his fer- 
 vice. The fuperb tomb of his father, fays Stowe, f was not finifried 
 : till the eleventh year of this king, 15 19. It was made, adds the fame 
 author, by one Peter, a painter of Florence, for which he received a 
 thoufand pounds, for the whole fluff and workmanfhip. This Peter, 
 Vertue difcovered to be, Pietro Torregiano, a valuable fculptor. That 
 he was here in the preceding year appears by a book of acts, orders, 
 decrees and records of the Court of Requefts printed in 1592 in quarto, 
 where it is faid, p. 60, that in a caufe between two Florentine mer- 
 chants, Peter de Bardi and Bernard Cavalcanti, heard before the coun- 
 cil at Greenwich, mafler Peter Torifano, a Florentine fculptor, was 
 one of the witneffes. Vafari fays, that Torregiano having made feve- 
 ral figures in marble and fmall brafs, which were in the town-hall at 
 Florence, and drawn many things with fpirit and a good manner, in 
 competition with Michael Angelo (and confequently could be no defpi- 
 
 cable 
 
 * Sandrart by miftake lays only 200 florins, 
 t Page 499* 
 
Painters in the Reign of Henry VlII. 103 
 
 cable performer) was carried into England by fome merchants, and en- 
 tertained in the king's fervice, for whom he executed variety of works 
 in marble, brafs, and wood, in concurrence with other matters of this 
 country, over all whom he was allowed the fuperiority — He receiv- 
 ed, adds Vafari, fuch noble rewards, that if he had not been a proud, 
 inconfiderate, ungovernable man, he might have lived in great felicity 
 and made a good end ; but the contrary happened, for leaving Eng- 
 land and fettling in Spain, after feveral performances there, he was 
 accufed of being a heretic, * was thrown into the inquifition, tried 
 and condemned —- the execution indeed was refpited, but he became 
 melancholy mad and ftarved himfelf to death at Seville in 1522 in the 
 fiftieth year of his age. 
 
 Torregiano, it feems, with Henry's turbulence of temper, had a- 
 dopted his religion, and yet, as he quitted England, one Ihould fup- 
 pofe had not fupplenefs enough to pleafe the monarch, even after 
 that complaifance. In the life of Benvenuto Cellini is farther evi- 
 dence of Torreggiano's being employed here, and of his difputes with 
 Michael Angelo. 
 
 When Cellini was about feventeen he fays there arrived at Florence 
 a fculptor called Pietro Torreggiani, who came from England where 
 he had refided many years; this artift much frequenting Cellini's 
 mafter, told the former, that having a great work of bronze to execute 
 for the king of England, he was come to engage as many youths as 
 he could to afTift him and that Cellini being rather a fculptor than a 
 graver, Torreggiani offered to make his fortune if he would accom- 
 pany him to London. He was, adds Cellini, of a noble prefence, bold, 
 and with the air of a great foldier rather than of a ftatuary, his admi- 
 Vol. I. D d rable 
 
 * In a paflion he had broken an image of the Virgin, that he had juft carved. 
 
104 Painters in the Reign of Henry VIIL 
 
 rable geftures, fonorous voice, and the action of his browftriking with 
 amazement, ed ogni giorno ragionava delle fue bravure con quelle be- 
 ftie di quelli Inglefi, every day relating his brave treatment of thofe 
 beafts the Englifli. But as much ftruck as Cellini was with this lofty 
 behaviour to us favages, he took an averfion to his new mafter, on the 
 latter boafting of a blow in the face that he had given to the divine 
 Michael Angelo with his fift, the marks of which he would carry to his 
 grave. Others fay that this event happened in the palace of the Car- 
 dinal de' Medici, Torreggiano being jealous of the fuperior honours 
 paid to Michael Angelo, whofe nofe was flattened by the blow. The 
 aggreiTor fled, and entered into the army, where he obtained a cap- 
 tain's commiffion, but being foon difgufted with that life, he retired to 
 Florence, and from thence came to England* 
 
 To Torreggiano Vertue afcribes likewife the tomb of Margaret 
 countefs of Richmond, the mother of Henry VII. and that of Dr. 
 Young mafter of the rolls, in the chapel at the rolls in Chancery-lane. 
 There is a head of Henry VIII. in plaifter in a round at Hampton- 
 court, which I mould fuppofe is by the fame mafter. 
 
 Among the Harleian MSS. is an eftimate of the charge and ex- 
 pence of the monument to be erected for Henry VII. in which appear 
 the names of other artifts who worked under Torreggiano, as Lau- 
 rence Ymber, kerver, for making the patrons in timber Humphrey 
 Walker, founder ; Nicholas Ewer, copper-fmith and gilder John 
 Bell and John Maynard, painters ; Robert Vertue, Robert Jenings, 
 and John Lebons, mafter mafons. There was another called William 
 Vertue, who by indenture dated June 5, in the twenty-firft year of 
 Henry VII. engaged with John Hylmer, to vault and roof the choir 
 
 Pf 
 
Painters in the Reign of Henry VIII. 105 
 
 of the chapel of St. George at Windfor for 700/,* Humphrey Cookef 
 was mailer carpenter employed in the new buildings at the Savoy. 
 The tomb at Ormfkirk of Thomas Stanley earl of Derby, laft hufband 
 of Margaret of Richmond, was in the fame ftyle with that of his wife 
 and fon-in-law. On it lay an image of brafs five feet fix inches long, 
 which when caft and repaired ready for gilding weighed 500 weight 
 and a half. James Haks for making the image of timber had an hun- 
 dred millings. 
 
 It was in the reign of Henry VIII. that the chapel of King's college 
 Cambridge was J finifhed, a work, alone fufficient to ennoble any age. 
 
 Several 
 
 * Afhmole's Order of the Garter, p. 136. 
 
 f Robert Cook, clarenceux in that reign, was a painter, and atCockfield-hall in 
 Yoxford in Suffolk: drew the portraits of Henry VII. Henry VIII. queen Cathe- 
 rine, Charles Brandon duke of Suffolk, Sir Anthony Wingfield, Sir Robert 
 Wingfield, his lady and feven or eight fons, all remaining there lately. At Bough- 
 ton, the feat of the late duke of Montagu, is a fmall piece of the family cf Wing- 
 field, containing feveral figures, which probably is. the picture here alluded to. 
 
 X The name of the original architect is preferved by Hearne, who in his pre- 
 face to the Hiftory of Glaftonbury p. Ixv. fays, " All that fee King's college 
 chapel in Cambridge are ftruck with admiration, and moft are mighty defirous 
 of knowing the architect's name. Yet few can tell it. It appears however 
 from their books at King's college [as I am informed by my friend Mr. Baker, 
 the learned antiquary of Cambridge] that one Mr. Cloos, father of Nicholas 
 Cloos, one of the firff. fellows of that college, and afterwards bifhop of Litchfield, 
 was the architect of that chapel [though Godwin fays the bifhop himfelf was 
 mafter of the king's works here] as far as king Henry 6th's mare reacheth, and 
 contriver or defigner of the whole, afterwards finifhed by Henry 7th, and beauti- 
 fied by Henry 8th." 
 
 In a MS. account of all the members of King's college, a copy of which is in 
 the poiTeffion of the Rev. Mr. Cole of Blecheley, to whom the public and I are 
 
 obliged 
 
io6 Painters in the Reign of Henry VIM. 
 
 Several indentures are extant relative to the execution of that fabric' 
 One in the fourth year of this king, between the provoft, Robert Ha- 
 comblein, and Thomas Larke furveyor of the works on one part, and 
 John Waftell, matter mafon, on the other part, by which he agrees 
 to build or fet up a good fufficient vault for the great church there, ac- 
 cording to a plat figned by the lords executors of king Henry VII. 
 they covenanting to pay him 1200/. that is to fay, 100/. for every fe- 
 verey (or partition) of the church, there being twelve fevereys. 
 
 Another, dated Auguft 4, in the fifth of the fame king, between 
 the fame parties, for the vaulting of two porches of the king's college 
 chapel, and alfo feven chapels, and nine other chapels behind the choir, 
 according to a plat made and to be finifhed, the vaults and battlements 
 before the feaft of St. John Baptift next enfuing, 25/. to be paid for 
 each of the faid porches-, 20/. for each of the feven chapels; 12/. for 
 each of the nine chapels; and for ftone and workmanfhip of the bat- 
 tlements of all the faid chapels and porches, divided into twenty feve- 
 reys, each feverey c £* 
 
 Another between the fame perfons, for making and fetting up the 
 finyalls of the butreffes of the church, and one tower at one of the 
 corners of the faid church, and for finiming and performing of the 
 faid tower with finyalls, ryfaats, gabletts, battlements, orbys and crofs- 
 
 quarters 
 
 obliged for this and feveral other curious particulars, bifhop Nicholas Clofe is 
 mentioned as a perfon in whofe capacity king Henry 6th. (who had appointed 
 him fellow in 1443) had fuch confidence, that he made him overfeer and ma- 
 nager of all his intended buildings and defigns for that college : In the fame MS. 
 John Canterbury, a native of Tewkfbury and fellow of the college in 145 i y is 
 faid to have been clerk of the works there. 
 
Painters in the Reign of Henry VIII. 107 
 
 quarters and every thing belonging to them. For every buttrefs to be 
 paid 61.— 13 s. — 4-d. and for all the faid buttrefles 140/. and for the 
 tower 100/. 
 
 The two next deeds are no lefs curious, as they have preferved the 
 names of the artifts who painted the magnificent windows in the fame 
 chapel. 
 
 Indenture of May 3, in the 1 8th of Hen. VIII. between the forefaid 
 provoft and Thomas Larke Arch-deacon of Norwich, and Francis 
 Williamfon of Southwark, glazier, and Simon Symonds of St. Marga- 
 ret's Weftminfter, glazier, the two latter agreeing curioufly and fuffi- 
 ciently to glaze four windows of the upper ftory of the church of 
 King's-college Cambridge, of orient colours and imagery of the ftory 
 of the Old Law and of the New Law, after the manner and goodnefs 
 in every point of the king's new chapel at Weftminfter, alio according 
 to the manner done by Bernard Flower glazier deceafed; alfo accord- 
 ing to fuch patrons, otherwife called vidimus, to be fet up within two 
 years next enfuing, to be paid after the rate of fixteen pence per foot 
 for the glafs. 
 
 The laft is between the fame provoft: and Thomas Larke on one part, 
 and Galyon Hoone of the parifh of St. Mary Magdalen glazier, Rich- 
 ard Bownde of St. Clement's-Danes, glazier, Thomas Reve of St. Se- 
 pulchre's, glazier, and James Nicholfon of Southwark, glazier, on the 
 other part, the latter agreeing to fet up eighteen windows of the upper 
 ftory of King's college chapel, like thofe of the King's new chapel at 
 Weftminfter, as Barnard Flower glazier (late deceafed) by indenture 
 flood to do, fix of the faid windows to be fet up within twelve months : 
 The bands of lead to be after the rate of two pence per foot.* 
 
 Vol. I. E e In 
 
 * An indenture more ancient than thefe, and containing names of perfons em- 
 ployed 
 
io8 Painters in the Reign of Henry VTII. 
 
 In thefe inftruments there appears little lefs fimplicity than in the old 
 ones I have reported of Henry III. Yet as much as we imagine our- 
 felves arrived at higher perfection in the arts, it would not be eafy for a 
 mailer of a college now to go into St. Margaret's pariih or Southwark 
 and befpeak the roof of fuch a chapel as that of King's college, and a 
 dozen or two of windows, fo admirably drawn, and order them to be 
 fent home by fuch a day, as if he was belpeaking a chequered pave- 
 ment or a church bible. Even thofe obfcure artifts Williamfon, Sy- 
 monds, Flower, Hoone, &c. would figure as confiderable painters in 
 any reign and what a rarity in a collection of drawings would be 
 one of their vidimus's ! It is remarkable that one of the fineft of thefe 
 windows is the ftory of Ananias and Saphira as told by Raphael in 
 the cartoons-— probably the cartoons being configned to Flanders for 
 tapefiiry, drawings from them were fent hither-, an inftance of the di- 
 ligence of our glafs-painters in obtaining the befl: defigns for their 
 work. 
 
 John 
 
 ployed in this celebrated building, has been difcovered in the archives of Caius- 
 college, by the prefent mafter, Sir James Burrough, and is as follows ; 
 
 " To alle chriften people this pfent writyng endented feeng, redyng, or he- 
 ryng, John Wulrich, maiftr mafon of the werkes of the Kyngs college roial of 
 our lady and feynt Nicholas of Cambridge, John Bell, mafon wardeyn in the fame 
 werkes, Richard Adam, and Robert Vogett, carpenters, arbitrours indifferently 
 chofen by the reverent fader in God, Edward, by the grace of God, bysfhopp of 
 Karlyle, Mr. or Wardeyn of the houfe or college of St. Michael of Cambr: and 
 the fcolers of the fame on the oon part, and maift: Henry Coffey, warden of the 
 college or hall of the Annuntiation or Gonville hall, and the fellowes and fcolers 
 of the fame, on the other part, of and upon the Evefdroppe in the garden of Ffyf- 
 fhwyke hoftle, belonginge to Gonville hall &c. Written at Cambr: 17. Aug, 
 1476. 16. Edvv. 4." 
 
Painters in the Reign of Henry VIIL 109 
 
 John Muftyan born at Enguien, is recorded as Henry's arras- 
 maker; John de Mayne as his feal-graver-, and Richard Atfyll * as 
 his graver of ft ones. -f Skelton mentions one matter Newton as a 
 painter of that time ; 
 
 Cafting my fight the chambre about 
 To fe how duly eche thyng in ordre was, 
 Towarde the dore as we were commyng out 
 I faw maifter Newton fyt with his compas 
 His plummet, his penfell, his fpedtacles of glas, 
 Devyfing in picture by his induftrious wit 
 Of my laurel the proces every whitte. 
 
 And among the payments of the treafurer of the chambers, reported 
 above, is one of 40/. to Levina Tirlinks paintrixe— a name that oc- 
 curs but once more, in a roll of new-year's gifts to and from queen 
 Elizabeth. This gentlewoman prefents the queen's picture painted 
 -finely on a card. 
 
 In the cathedral of Chichefter are pictures of the kings of England 
 and bifhops of that fee, painted about the year 15 19 by one Bernardi, 
 anceftor of a family Hill fettled in thofe parts. They were done at the 
 expence of bifliop Sherborne, who erected a monument for himfelfi 
 yet remaining there. Vermander mentions one Theodore Bernardi of 
 Amfterdam, m after of Michael Coxie, who Vertue thinks painted thofe 
 
 works 
 
 * Hillyard (die fame perfon probably, of whom more hereafter) cut the images 
 of Henry VIII. and his children on a fardonyx, in the collection of the duke of 
 Devonfhire. The earl of Exeter has fuch another. Lady Mary Wortley has a 
 head of the fame king on a little ftone in a ring; cameo on one fide and intaglia 
 on the other. 
 
 f With a fee of twenty pounds a year* 
 
no Painters in the Reign of Henry VIII. 
 
 works at Chichefter, as they are in a Dutch tafte. They were repaint- 
 ed in 1 747 by one Tremaine. 
 
 The congenial temper of Wolfey difplayed itfelf in as magnificent a 
 manner as the king's. Whitehall, Hampton-court, and his college of 
 Chrift-church, were monuments of his grandeur and difgrace, flowing 
 from the bounty of and then reverting to the crown. In 1524 he be- 
 gun a monument for himfelf at Windfor, erecting a fmall chapel ad- 
 joining to St. George's church which was to contain his tomb, the de- 
 fign whereof, fays lord Herbert, * was To glorious that it exceeded far 
 that of Henry VII. One Benedetto, a ftatuary of Florence took it in 
 hand and continued it 'till 1529, receiving for fo much as was already 
 done 4250 ducats. The Cardinal, adds the hiftorian, when this was 
 finifhed, did purpofe to make a tomb for Henry, but on his fall, the 
 king made ufe of fo much as he found fit and called it his. Dr. Fiddes 
 fays that the Cardinal made fuit to the king to have his own image 
 with fuch part of his tomb as mall pleafe the king to let him have, to 
 be fent to York, where he intended to be buried. In the fame collec- 
 tions mention is made of Antony Cavallari, as guilder of the tomb, 
 whom the Cardinal is befought to permit to return home to Antwerp, 
 if he means to employ him no farther, and alfo that Benedict the carver 
 may return to Italy. But Benedict: Henry took into his own fervice, 
 and employed on the fame tomb which his majefty had now adopted 
 for himfelf-— This perfon was Benedetto da Rovezzano, another Flo- 
 rentine fculptor, who, Vafari fays, executed many works of marble 
 and bronze for Henry, and got an ample fortune, with which he re- 
 turned to his native country, but his eyes having fufFered by working 
 in the foundery, he grew blind in 1550 and died foon after. The 
 
 cek.- 
 
 * Page 342. 
 
Painters in the Reign of Henry VIII. in 
 
 celebrated Baccio Bandinelli made an admirable model of wood with 
 figures of wax for the fame monument ; but Benedetto of Rovezzano, 
 itfeems, was preferred.* 
 
 The fepulchral -f chapel was never compleated. Henry and Jane 
 Seymour were buried in St. George's church, with an intention of their 
 being removed into the monument as foon as it mould be finifhed. 
 Charles I. refumed the defign, propofmg to enlarge the chapel and fit 
 it for his own and the interment of his fuccefTors. But the whole was 
 demolished in 1 646, by order of parliament and the rich figures of 
 copper gilt melted down. James II. repaired this building, and em- 
 ployed Verrio to paint it, intending it for a popifh chapel — but no de- 
 flination of it has yet fucceeded \ it remains a ruin, known by the name 
 of the tomb-houfe. 
 
 * I fuppofe it was Antony Cavallari or Benedetto da Rovezzano who made the 
 large ftatue in metal of Henry VIII. in a cloyfter at Gorhambury ; it is not in a 
 bad tafte. 
 
 f Leland fays that the ancient chapel of St. George built by Edward III. flood 
 on this very fpot, and that Henry VII. pulled it down, and erected the prefent 
 tomb-houfe in it's place, intending himfelf to be buried there ; but afterwards 
 changed his mind and built his chapel at Weftminfter. See Leland's comment 
 on the Cygnea Cantio publifhed with his Itinerary by Hearne, vol. 9. 
 
 Vol. I. 
 
 CHAP. V. 
 
Anecdotes of PAINTING, &c. 
 
 C H A P. V. 
 
 State of Architecture to the end of the Reign of 
 
 Henry VIII. 
 
 'W T is unlucky for the world, that our earlieft anceftors were not 
 I aware of the curiofity which would infpire their dependents of 
 knowing minutely every thing relating to them. When they 
 placed three or four branches of trees acrofs the trunks of others and 
 covered them with boughs or ftraw to keep out the weather, the good 
 people were not apprized that they were difcovering architecture, and 
 that it would be learnedly agitated fome thouland of years afterwards 
 who was the inventor of this ftupendous fcience. In complaifance to 
 our inquiries they would undoubtedly have tranfmitted an account of 
 the firft hovel that was ever built, and from that patriarch hut we mould 
 polTefs a faithfull genealogy of all it's defcendents : Yet fuch a curiofity 
 would deftroy much greater treafures it would annihilate fables, 
 refearches, conjectures, hypothefes, difputes, blunders and difiertations, 
 that library of human impertinence. Necefiity and a little common 
 fenfe produced all the common arts, which the plain lolks who prac- 
 ticed them were not idle enough to record. Their inventions were 
 obvious, their productions ufefull and clumfy. Yet the little merit 
 
 there 
 
the Reign of Henry VIIL 113 
 
 there was in fabricating them being foon configned to oblivion, we are 
 bountifull enough to fuppofe that there was defign and fyftem in all 
 they did, and then take infinite pains to digeft and methodize thofe 
 imaginary rudiments. No fooner is any aera of an invention invented, 
 but different countries begin to aiTert an exclufive title to it, and the 
 only point in which any countries agree is perhaps in afcribing the dis- 
 covery to ibme other nation remote enough in time for neither of them 
 to know any thing of it. Let but France and England once difpute 
 which firft ufed a hatchet, and they mail never be accorded 'till the 
 chancery of learning accommodates the matter by pronouncing that 
 each received that invaluable utenfil from the Phoenicians. Common 
 fenfe that would interpofe by observing how probable it is that the ne- 
 ceffaries of life were equally difcovered in every region, cannot be 
 heard ; a hammer could only be invented by the Phoenicians, the firft 
 polimed people of whom we are totally ignorant. Whoever has thrown 
 away his time on the firft chapters of general hiftories, or of hiftories 
 of arts, muft be fenfible that thefe reflections are but too well ground- 
 ed. I defign them as an apology for not going very far back into the 
 hiftory of our architecture. Vertue and Several other curious perfons 
 have taken great pains to enlighten the obfcure ages of that fcience ; 
 they find no names of architects, nay little more, than what they might 
 have known without inquiring; that our anceftors had buildings. 
 Indeed Tom Hearne, Brown Willis, and fuch illuftrators did fometimes 
 go upon more pofitive ground : They did now and then (tumble up- 
 on an arch, a tower, nay a whole church, fo dark, fo ugly, lo uncouth, 
 that they were fure it could not have been built fince any idea of grace 
 had been transported into the illand. Yet with this incontestable Secu- 
 rity on their fide, they f 1 ill had room for doubting \ Danes, Saxons, 
 
 Normans* 
 
1 1 4 State of ArchtteSiure to the end of 
 
 Normans, were all ignorant enough to have claims to peculiar uglinefs 
 in their fafhions. It was difficult to afcertain the period * when one 
 ungracious form joflled out another : and this perplexity at laft led 
 them into fuch refinement, that the term Gothic Architecture, inflicted 
 as a reproach on our ancient buildings in general by our anceftors who 
 revived the Grecian tafle, is now confidered but as a fpecies of modern 
 elegance, by thofe who wifh to diftinguifh the Saxon ftyle from it. 
 This Saxon ftyle begins to be defined by flat and round arches, by 
 fome undulating zigzags on certain old fabrics, and by a very few other 
 characleriftics, all evidences of barbarous and ignorant times. I do not 
 mean to fay limply that the round arch is a proof of ignorance \ but 
 being fo natural, it is fimply, when unaccompanied by any graceful! 
 ornaments, a mark of a rude age— -if attended by mifhapen and heavy 
 decorations, a certain mark of it. The pointed arch, that peculiar of 
 Gothic architecture, was certainly intended as an improvement on the 
 circular, and the men who had not the happinefs of lighting on the fim- 
 plicity and proportion of the Greek orders, were however fo lucky as 
 to ftrike out a thoufand graces and effects, which rendered their build- 
 ings magnificent, yet genteel, vaft, yet light, f venerable and pictu- 
 refque. It is difficult for the nobleft Grecian temple to convey half fo 
 many impreffions to the mind, as a cathedral does of the beft Gothic 
 tafte— -a proof of fkill in the architects and of addrefs in the priefts 
 
 who, 
 
 * When men inquire, " who invented Gothic buildings ?" they might as well 
 afk, " who invented bad Latin ?" The former was a corruption of the Roman 
 architecture, as the latter was of the Roman language. Both were debafed in bar- 
 barous ages; both were refined, as the age polifhed itfelf; but neither were re- 
 ftored to the original ftandard. Beautifull Gothic architecture was engrafted oa- 
 Saxon deformity ; and pure Italian fucceeded to vitiated Latin. 
 
 t For inftance, the facade of the cathedral of Rheims. 
 
the Reign of Henry VIII. 115 
 
 who erected them. The latter exhaufted their knowledge of the paf- 
 fions in compofing edifices whofe pomp, mechanifm, vaults, tombs, 
 painted windows, gloom and perfpectives infilled fuch fenfations of ro- 
 mantic devotion ; and they were happy in finding artifbs capable of 
 executing fuch machinery. One muft have tafte to be fenfible of the 
 beauties of Grecian architecture ; one only wants paflions to feel 
 Gothic. In St. Peter's one is convinced that it was built by great 
 
 princes In Weftminfter-abbey, one thinks not of the builder \ the 
 
 religion of the place makes the firft impreflion — and though ftripped 
 of it's altars and fhrines, it is nearer converting one to popery than all 
 the regular pageantry of Roman domes. Gothic churches infufe fu- 
 perftition Grecian, admiration. The papal fee amafTed it's wealth by 
 Gothic cathedrals, and difplays it in Grecian temples. 
 
 I certainly do not mean by this little contrail to make any compari- 
 fon between the rational beauties of regular architecture, and the unre- 
 ftrained licentioufnefs of that which is called Gothic. Yet I am clear 
 that the perfons who executed the latter, had much more knowledge 
 of their art, more tafte, more genius, and more propriety than we 
 chufe to imagine. There is a magic hardinels in the execution of fome 
 of their works which would not have fuftained themfelves if dictated by 
 mere caprice. There is a tradition that Sir Chriftopher Wren went 
 once a year to furvey the roof of the chapel of King's college, and faid 
 that if any man would fliow him where to place the firft ftone, he 
 would engage to build fuch another. That there is great grace in fe- 
 veral places, even in their clufters of (lender pillars, and in the appli- 
 cation of their ornaments, though the principles of the latter are fo 
 confined that they may almoft all be reduced to the trefoil, extended 
 
 Vol. I. G g and 
 
1 1 6 State of ArchlteSlure to the end of 
 
 and varied, I fhall not appeal to the edifices themfelves — It is fufficient 
 to obferve, that Inigo Jones, Sir Chriftopher Wren and Kent, who cer- 
 tainly underftood beauty, blundered * into the heavier!: and clumfieft 
 compofitions whenever they aimed at imitations of the Gothic— Is an 
 art defpicable in which a great mafter cannot mine ? 
 
 Considering how fcrupuloufly our architects confine themfelves to 
 antique precedent, perhaps fome deviations into Gothic may a little re- 
 lieve them from that fervile imitation. I mean that they mould ftudy 
 both taftes, not blend them: that they mould dare to invent in the one, 
 fince they will hazard nothing in the other. When they have built a 
 pediment and portico, the Sibyll's circular temple, and tacked the wings 
 to a houfe by a colonade, they feem an bout de leur Latin. If half a 
 dozen manfions were all that remained of old Rome, inftead of half a 
 dozen temples, I do not doubt but our churches would refemble the 
 private houfes of Roman citizens. Our buildings muft be as Vitru- 
 vian, as writings in the days of Erafmus were obliged to be Ciceronian. 
 Yet confined as our architects are to few models, they are far from 
 having made all the ufe they might of thofe they pofTefs. There are 
 variations enough to be ftruck out to furniili new fcenes of fingular 
 beauty. The application of loggias, arcades, terrafies and flights of 
 fleps, at different ftages of a building, particularly in fuch fituations as 
 Whitehall to the river, would have a magnificent effect. It is true, our 
 climate and the expence of building in England are great reftrictions 
 on imagination but when one talks of the extent of which architec- 
 ture is capable, one muft fuppofe that pomp and beauty are the prin- 
 cipal objects one fpeaks of palaces and public buildings-, not of fhops 
 
 and 
 
 * In Lincoln's-inn chapel, the fleeple of the church at Warwick, the king's- 
 bench in Weftminfter-hall, the fcreen at Gloucefter 5cc. 
 
the Reign of Henry VIII. 117 
 
 and fmall houfes— but I muft reftrain this diflertation, and come to 
 the hiftoric part, which will lie in a fmall compafs. 
 
 Felibien took great pains to afcertain the revival of architecture, af- 
 ter the deftruction of the true tafte by the inundation of the northern 
 nations; but his difcoveries were by no means anfwerable to his labour. 
 Of French builders he did find a few names, and here and there an 
 Italian or German. Of Englifh he owns he did not meet with the leaft 
 trace; while at the fame time the founders of ancient buildings were 
 every where recorded: lb carefull have the monks (the only hiftorians 
 of thofe times) been to celebrate bigotry and pafs over the arts. But I 
 own I take it for granted that thefe feeming omilTions are to be attri- 
 buted to their want of perfpicuity rather than to neglect. As all the 
 other arts * were confined to cloyfters, fo undoubtedly was architecture 
 too ; and when we read that fuch a biftiop or fuch an abbot built fuch 
 and fuch an edifice, I am perfuaded that they often gave the plans as 
 well as furniflied the necefTary funds; but as thofe chroniclers fcarce ever 
 fpecify when this was or was not the cafe, we muft not at this diftance 
 of time pretend to conjecture what prelates were or were not capable 
 of directing their own foundations. 
 
 Felibien is fo impartial an author, that he does not even reject the 
 fables with which our own writers have replenimed the chafms in our 
 hiftory. He quotes Matthew of Weftminfter for the flouriming con- 
 dition 
 
 * The arts flouriflied fo much in convents to the laft, that one Gyftard, a vifitor 
 employed by Thomas Cromwell to make a report of the flate of thofe focieties 
 previous to their fuppreffion, pleads in behalf of the houfe of Wolftrop, " That 
 there was not one religious perfon there, but that he could and did ufe, either 
 embrotheryng, writing books with very fair hand, making their own garment?, 
 carvings painting, grafting. " Strype's memor. vol. i. p. 255. 
 
1 1 8 State of ArchtteSiure to the end of 
 
 dition of architecture in Britain at a time when indeed neither that nor 
 any other fcience flouriftied here — King Arthur, fay they, * caufed 
 many churches and confiderable edifices to be erected here. It would 
 in truth have been an act of injuftice to us to omit this vifion, in a man 
 who on the authority of Agathias, relates that the emperor Juftinian 
 had in his fervice one Anthemius, fo able a mathematician that he could 
 make artificial earthquakes, and actually did revenge himfelf by fuch 
 an experiment on one Zeno a rhetorician. The machinery was ex- 
 tremely fimple, and yet I queftion whether the greater! mathematician 
 of this age is expert enough to produce the fame effect: ; it confifted in 
 nothing but placing feveral caldrons of hot water againft the walls of 
 Zeno's houfe. The fame author has cited Procopius for the origine 
 of dams to reftrain the courfe of rivers, the method of whofe conftruc- 
 tion was revealed to Chryfes, an architect of Alexandria, in a dream. 
 Dreams, lies, and abfurdities are all one finds in fearching into early 
 times. In a fcarcity of facts probability was the laft thing to which 
 fuch authors attended, and confequently they left a mark by which, if 
 we pleafed, we might diftinguifli between the truth and what they 
 invented. 
 
 In Felibien-f the only thing I find to my purpofe, and all that he 
 really found in Matthew of Weftminfter, is, that in the kingdom of the 
 Mercians Sexulphus, abbot and afterwards bifhop, built a confiderable 
 monaftery called \ Medes Hampftede : Unlefs it may be a fatisfaction 
 to antiquaries to know who firft invented thofe Grotefque monfters 
 and burlefque faces with which the fpouts and gutters or ancient build- 
 ings 
 
 * Felib. vol. v. p. 165, 
 t Felib. p. 185. 
 % Peterborough. 
 
the Reign of Henry VIII. 119 
 
 ings are decorated. It was one Marchion of Arezzo, * architect to 
 Pope Innocent III. Indeed I fpeak now critically Marchion ufed 
 thofe grinning animals only to fupport columns — but in fo fantaftic 
 an age they were fure of being copied, and foon arrived at the top. 
 
 Vertue, no lefs induftrious than Felibien, could difcover but two 
 ancient architects, Gundulphus who built the tower-J-(the fame perfon 
 who ere&ed the cathedral of Rochefter) and Peter of Colechurch prieft 
 and chaplain, who in the year 1163, rebuilt London bridge of tim- 
 ber. J Edward Fitzodo, we have feen, was mafter of the new works 
 at Weftminfter under Henry III. and may fairly claim his place in this 
 
 iift.11 
 
 In the cathedral of Lincoln is a curious graveftone over a mafon of 
 that church, almoft perfect, except in that material part the year of 
 his death, the latter figures being obliterated. On each fide of him is 
 his trowel and fquare; 
 
 Hie jacet Ricardus de Gaynifburgh olym Cementarius hujus ec- 
 clefie qui obiit duodecim. Kalendarum Junii Anno Domini Mccc.-- 
 Vol. I, H h But 
 
 * Felib. p. 224. 
 
 t See the compact between the king and bifhop in the Textus RofFenfis, pub- 
 limed by Hearne ; and that between the fame bifhop and William Rufus for erect- 
 ing the caftle of Rochefter. cap. 88. and Stowe's Survey of London. 
 
 % William de Sens foon after the year 11 74 temp. Hen. 2di. built the choir of 
 the cathedral of Canterbury, as it frill exifts. Helias de Berham, canon of Salis- 
 bury, a prima fundatione (temp. Hen. 3<di.) rector fuit novae fabricae per 25 an- 
 nos ; et Robertus caementarius rexit per 25 annos. See Leland's Itinerary vol. 
 iii. p. 66. Helias de Berham was probably the perfon mentioned above p. 2. by 
 the name of Elyas in the reign of king John. 
 
 || See Stowe's Survey p. 28. Ifembert of Xaintes is mentioned as a builder of 
 the bridge of London, and of the chapel in it. 
 
120 State of Archtte&ure to the end of 
 
 But the brighteft name in this lift is William of Wykeham, who 
 from being clerk of the works rofe to be biftiop of Winchefter and 
 lord chancellor— a height which few men have reached by mere merit 
 in any mechanic fcience. Wykeham had the fole direction of the 
 buildings at Windfor and Queenborough-caftle \ not to mention his 
 own foundations. He rofe by pleafing one of the greater!: princes, and 
 deferved his fortune by beftowing it on noble charities. 
 
 William Rede bilhop of Chichefter in 1369, reckoned the beft ma- 
 thematician of the age, was a prelate of fimilar tafte \ he built the firffc 
 library at Merton college, and the caftle of Amberley. 
 
 In St. Michael's church at St. Alban's were the following infcrip- 
 tions : 
 
 " Hie jacet Thomas Wolvey [or Wolven] Latomus in arte, nec 
 non armiger illuftriflimi Principis Ric. fecundi, quondam Regis 
 Anglise, qui obiit Anno Dom. M,cccc,xxx. in vigilia Sti. Thomas 
 Martyris, cujus animse propitietur Deus. Amen." 
 
 " This man, as far as I underftand by this infeription [fays Weaver, 
 p. 582.] was the mafter-mafon, or furveior of the king's ftone-works, 
 as alfo efquire to the king's perfon." 
 
 " Hie jacet Richardus Wolven [or Wolvey] Lathonius, filius Jo- 
 hannis Wolven, cum uxoribus mis, Agnete et Agnete, et cum odto 
 filiis, et decern filiabus fuis, qui Richardus obiit An. 1490. Quorum 
 animabus &c." 
 
 I have myfelf turned over moft of our hiftories of churches, and can 
 find nothing like the names of artifts. With refpect to the builders of 
 Gothic, it is a real lofs : there is beauty, genius and invention enough 
 in their works to make one wifh to know the authors. I will fay no more 
 
 no 
 
the Reign of Henry VIII. 121 
 
 on this fubjedt, than that, on confidering and comparing it's progrefs, 
 the delicacy, lightnefs and tafte of it's ornaments, it feems to have been 
 at it's perfection about the reign of Henry IV. as may be feen partial- 
 lary by the tombs of the archbifhops at Canterbury. That cathedral 
 I mould recommend preferably to Weftminfter to thofe who would 
 borrow ornaments in that ftile. The fretwork in the fmall oratories at 
 Winchefter, and the part behind the choir at Glocefter would furnifh 
 beautifull models. The windows in feveral cathedrals offer gracefull 
 patterns for airy towers of almoft flligraine we have none to be com- 
 pared with thofe of Rheims.* 
 
 It is certain that the Gothic tafte remained in vogue 'till towards 
 the end of the reign of Henry VIII. His father's chapel at Weftmin- 
 fter is entirely of that manner. So is Wolfey's tomb-houfe at Windfor 
 But foon after the Grecian ftyle was introduced ; and no wonder when 
 fo many Italians were entertained in the king's fervice. They had feen 
 that architecture revived in their own country in all it's purity — but 
 
 whether 
 
 * Some inftances of particular beauty, whofe conftru&ions date at different 
 aeras from what I have mentioned, have been pointed out to me by a gentleman 
 to whofe tafte I readily yield ; fuch as the nave of the minfter at York (in the great 
 and limple ftyle) and the choir of the fame church (in the rich and flligraine work- 
 manfhip) both of the reign of Edward III. The Lady-chapel (now Trinity - 
 church) at Ely, and the Lantern-tower in the fame cathedral, noble works of the 
 fame time: and the chapel of bifhop Weft (alfo at Ely) who died in 1533, for 
 exquifite ait in the lefler ftyle. Thefe notices certainly can add no honour to a 
 name already fo diftinguifhed as Mr. Gray's ; it is my own gratitude or vanity 
 that prompts me to name him ; and I muft add, that if fome parts of this work 
 are more accurate than my own ignorance or careleflhefs would have left them, 
 the reader and I are obliged to the fame gentleman, who condefcended to correct, 
 what he never could have defcended to write. 
 
122 State of Architecture to the end of 
 
 whether they were not perfectly matters of it, or that it was neceffary 
 to introduce the innovation by degrees, it certainly did not at firft ob- 
 tain full poffeffion. It was plaiftered upon Gothic, and made a barba- 
 rous mixture. Regular columns, with ornaments, neither Grecian nor 
 Gothic, and half embroidered with foliage, were crammed over fron- 
 tifpieces, facades and chimnies, and loft all grace by wanting fimplici- 
 ty. This mungrel fpecies lafted 'till late in the reign of James the firft. 
 
 The beginning of reformation * in building Teems owing to Hol- 
 bein. His porch at Wilton, though purer than the works of his fuc- 
 cefibrs, is of this baftard fort; but the ornaments and proportions are 
 gracefull and well chofen. I have feen of his drawings too in the 
 fame kind. Where he acquired this tafte is difficult to fay ; probably 
 it was adopted from his acquaintance with his fellow-labourers at court. 
 Henry had actually an Italian architect in his fervice, to whom I fhould 
 without fcruple affign the introduction of regular architecture, if it was 
 clear that he arrived here near fo early as Holbein. He was called 
 John of Padua, and his very office feems to intimate fomething novel 
 in his practice. He was termed Bevizor of his majejifs buildings. In 
 one of the office-books which I have quoted, there is a payment to 
 him of 36/.--- 10 j.-— od. In the fame place is a payment of the fame 
 fum to Laurence Bradlhaw, furveyor, with a fee of two fhil lings per 
 diem. To the clerk of the latter, 9/.— 2 s.— od. for riding expences, 
 53/. — 6s.— od. and for boat hire 13/.— -6s. — Sd. John de Padua 
 is mentioned again in Rymer's Foedera, on the grant of a fee of 2 
 per diem. 
 
 AD. 1544. Rex omnibus ad quos, &c. Salutem. Sciatis quod nos, 
 
 De 
 
 * Brunellefchi began to reform architecture in the fourteenth century. See 
 Voltaire. Hift. Univ. vol. ii. p. 179* 
 
the Reign of Henry VIII. 123 
 
 De gratia noftra fpeciali, ac ex certa fcientia et mero motu noftris, nec- 
 non in confideratione boni et fidelis fervitii quod dilectus ferviens nofter 
 Johannes de Padua nobis in architectura, ac aliis in re mufica inventis 
 impendit ac impendere intendit, 
 
 Dedimus et conceflimus, ac per praefentes damus et concedimus ei- 
 dem Johanni vadium five feodum Duorum Solidorum Sterlingorum per 
 diem, 
 
 Habendum et annuatim percipiendum praefato Johanni dictum va- 
 dium five foedum Duorum Solidorum, durante beneplacito noftro de 
 thefauro noftro ad receptam fcaccarii noftri, per manus thefaurii et 
 camerariorum noftrorum ibidem pro tempore exiftentium, ad fefta 
 Sandli Michaelis Archangeli et Pafchae per aequales portiones ; 
 
 Et infuper fciatis quod, cum dictus Johannes nobis infervivit in dicta 
 arte a Fefio Pafchae quod erat in anno regni noftri tricefimo quarto, 
 prout certam habemus notitiam, nos de uberiori gratia noftra dedimus 
 et conceflimus, ac per praefentes damus et concedimus eidem Johanni 
 praefatum feodum Duorum Solidorum per diem habendum et percipi- 
 endum eidem, a dicto fefto Pafchae nomine regardi noftri ; 
 
 Eo quod exprefla mentio, &c. Tefte rege apud Weftmonafterium 
 tricefimo die Junii. 
 
 Per Breve de Privato Sigillo. 
 This grant was renewed to him in the third of Edward VI. From 
 the firft warrant it appears that John of Padua was not only an archi- 
 tect but mufician, a profeftion remarkably acceptable to Henry. 
 I cannot certainly indicate to the reader any particular work* of this 
 Vol. I. I i mafter ; 
 
 * Holmby-houfe was one of our earlieft productions in regular architecture, 
 and by part of the frontifpiece lately ftanding, appeared to be of a very pure and 
 
 beautiful! 
 
124 State of ArchiteElure to the end of &c. 
 
 mafter ; but thefe imperfect notes may lead curious perfons to farther 
 difcoveries. Jerome di Trevifi, one of the painters mentioned before, 
 is alfo faid to have built fome houfes here."* 
 
 Henry had another architect of much note in his time, but who ex- 
 celled chiefly in Gothic (from whence it is clear that the new tafte was 
 alfo introduced) This was Sir Richard Lea mafter mafon, and mafter 
 of the pioneers in Scotland. Henry gave him f the manor of Sopewell 
 in Hertfordfhire, and he hijnfelf beftowed a brazen font on the church 
 of Verulam, or St. Alban's, within a mile of which place out of the 
 ruins of the abbey he built a feat called Lees-place. The font was 
 taken in the Scottifh wars, and had ferved for the chriftening of the 
 royal children of that kingdom. A pompous infeription J was engrav- 
 ed on it by the donor ; | but the font was ftolen in the civil wars. 
 
 Hector Afheley appears, by one of the office-books that I have 
 quoted, to have been much employed by Henry in his buildings, but 
 whether as architect or only fupervifor is not clear. In the fpace of 
 three years were paid to him on account of buildings at Hunfdon- 
 houfe above nineteen hundred pounds. 
 
 beautifull ftyle, but can not well be afcribed to John of Padua as the date was 
 1583. Wollaton-hall in Nottinghamihire was perhaps of the fame hand. The 
 porch of Charlcot-houfe, the feat of the Lucys, is in the fame ftyle, and at Ke- 
 nel worth was another, with the arms of Dudley Earl of Leicefter. 
 * Felibien vol. ii. p. 71. 
 
 f Chauncy's Hertfordfhire, p. 461, where he is called Sir Richard a Leigh. 
 
 J See it in Camden's Britannia p. 355. vol. i. edit. 1722. 
 
 || Nicholas Stone fen. the ftatuary and mafter mafon had a portrait of this Sir 
 Richard Lee, whom he mucli efteemed. It was painted on board about a foot 
 high, his fwordby his fide. It came afterwards to one whom Vertue calls, old 
 Stoakes, and he gave it to — Jackfon, mafter mafon, lately dead. 
 
 CHAP. 
 
Anecdotes of PAINTING, &>c. 
 
 CHAP. VI. 
 
 State of Painting under Edward VI. and Mary, 
 
 UNDER a minor prince, and amidft a ftruggle of religions, we 
 are not likely to meet with much account of the arts. No- 
 body was at leifure to mind or record them. Yet the feeds 
 fown by Henry were not eradicated \ Holbein was ftill alive. We have 
 feen that he was chofen to celebrate the inftitution of Bridewell. He 
 drew the young king more than once after he came to the crown. 
 
 Among the ftores of old pictures at Somerfet-houfe was one, paint- 
 ed on a long board, reprefenting the head of Edward VI. to be difcern- 
 ed only by the reflection of a cylindric mirrour. On the fide of the 
 head was a landfcape, not ill done. On the frame was written Guliel- 
 mus.pinxit. This was probably 
 
 MARC WILLEMS, 
 
 Who was born at Antwerp about 1527, and was fcholar of Michael 
 Coxie. He was reckoned to furpafs his cotemporaries in his manner 
 and facility of compofing. This picture is the fole evidence of his 
 having been in England: in his own country he painted the decolla- 
 tion 
 
126 Painting under Edward VI. and Mary. 
 
 tion of St, John, flill extant in the church of St. Rombout, for which 
 too he drew the ftory of Judith and Holofernes. When Philip II. 
 made his public entry into Mechlin in 1549, Willems was employed 
 to paint a triumphal arch, on which he reprefented the hiftory of 
 Dido. He made defigns for moft of the painters, glafs-painters and 
 arras-makers of his time, and died lamented in 1561.* 
 
 Another picture of Edward VL was in the collection of Charles L 
 painted by Hans Hueet, of whom nothing elfe is known. It was fold 
 for 20/. in the Civil War. 
 
 There was another painter who lived at this time, of whom Vertue 
 found an account in a MS. of Nicholas Hilliard, but never difcovered 
 any of his works. As this perfon is fo much commended by a brother 
 artift, one may believe he had merit, and as the teftimony may lead to 
 farther inveftigation, 1 mail give the extract in the author's own words \ 
 
 " Neverthelefs, if a man be fo induced by nature, and live in time 
 of trouble and under a government wherein arts be not efteemed, and 
 himfelf but of fmall means, woe be unto him, as unto an untimely 
 birth; for of my own knowledge, it hath made poor men poorer, as 
 amongft others many, that moft rare Englilh drawer of ftory works 
 in black and white 
 
 JOHN BOSSAM. 
 
 One for his {kill worthy to have been ferjeant-painter to any king or 
 emperor, whofe works in that kind are comparable with the beft what- 
 foever in cloth, and in diftemper-colours for black and white; who 
 being very poor, and belike wanting to buy fairer colours, wrought 
 
 therefore 
 
 * See Defcamps and Sandrart. 
 
Painting under Edward VI. and Mary. 127 
 
 therefore for the mod part in white and black; and growing yet poorer 
 by charge of children, &c. gave painting clean over : but being a very 
 fair-conditioned, zealous and godly perfon, grew into a love of God's 
 divine fervice upon the liberty of the gofpel at the coming in of queen 
 Elizabeth, and became a reading minifter ; only unfortunate, becaufe 
 he was Englifh born, for even the ftrangers * would otherwife have fet 
 him up." 
 
 The protector was magnificent, and had he lived tocompleatSomer- 
 fet-houfe, would probably have called in the afliftance of thofe artifts 
 whofe works are the nobleft furniture. I have already mentioned his 
 portrait by Holbein. His ambitious duchefs Anne Stanhope and her 
 fon are preferved in a fmall piece *f- of oil-colours at Petworth, but I 
 know not who the painter was, nor of the portrait of the protector's 
 brother, admiral Seymour, at Longleat. A miniature of the fame per- 
 fon is in the polTeflion of Mrs. George Grenville. Of the admiral's 
 creature Sir William Sherrington there are two or three pictures ex- 
 tant ; one, among Holbein's drawings at Kenfington. This man was 
 matter of the mint, and was convicted by his own confeflion of great 
 frauds. J He put the mint of Briftol into the hands of the admiral, who 
 was to take thence 10,000/. per month for his rebellious purpofes. 
 Yet Sherrington was pardoned and reftored. It has never been ob- 
 ferved, but I fuppofe the lightnefs which is remarked in the coins of 
 Edward VI. was owing to the embezzlements of this perfon. 
 
 Vol. I. K k Now 
 
 * King Philip and the Spaniards. 
 
 t There is ahead of her too atSion, and Mr. Bateman has given me another in 
 fmall, with a portrait of the protector in her hand 5 painted probably after his death. 
 % Strype's memorials vol. ii. p. 123. 
 
128 Painting under Edward VI. and Mary. 
 
 Now I am mentioning the mint, I mall take notice that among the 
 patent- rolls is a grant in the 6th of Edward to Antony Deric of the 
 office of capital fculptor of the monies in the tower of London ; and at 
 the end of the fame year John Brown is appointed during pleafure fur- 
 veyor of the coins. Clement Adams has a grant to inftruct the king's 
 henchmen or pages an office he retained under queen Elizabeth. 
 In Hackluyt's voyages, * that of Richard Chanceler to Cathay is faid 
 to be written in Latin by that learned young man Clement Adams. 
 
 Of the protector's rival, Dudley duke of Northumberland, there is 
 a good head in the chamber at Knowle, where there are fo many cu- 
 rious portraits, fuppofed to have been aflembled by the treafurer Buck- 
 hurft. 
 
 Another perfon of fome note in this reign was Sir John Godfalve, 
 created knight of the carpet at the king's coronation ; f and commif- 
 iioner of vifitation the fame year ; J and in the third year comptroller 
 of the mint. His portrait is in the clofet at Kenfington, and Vertue 
 mentions another in miniature, drawn by John Betts, |j (who he fays 
 was an efteemed painter in the reign of queen Elizabeth) On this pic- 
 ture was written, captum in caftris ad Boloniam 1540 \ with his arms, 
 party per pale gules and azure, on a fefs wavy argent, between three 
 croflets pattee, or, as many crefcents fable. The knight was drawn 
 with a fpear and fhield. This picture belonged to Chriftopher God- 
 falve, clerk of the victualling- office in the reign of Charles I. in whofe 
 
 caufe 
 
 * Page 270. 
 f See Strype. 
 % Heylin. 
 
 || Vertue fays that Betts learned of Hilliard, 
 
- 
 
 Painting under Edward VI. and Mary. 129 
 
 caufe he loft 7000/. and was near being hanged. He was employed 
 by Charles II. in the navy-office and lived to 1694. 
 
 Guillim Stretes was painter to king Edward-, in 155 1 "He had 
 paid him, fays Strype, * fifty marks for recompence of three great ta- 
 bles made by the faid Guillim, whereof two were the pictures of his 
 highnefs, fent to Sir Thomas Hoby, and Sir John Mafon (ambafTadors 
 abroad) the third a picture of the late earl of Surrey attainted, and by 
 the council's commandment fetched from the faid Guillim's houfe." 
 The peculiarity of thefe laft words induce me to think that I have dis- 
 covered this very picture. In my father's collection was a very large 
 piece reprefenting that unfortunate lord, at whole length, leaning on 
 a broken column, with this motto, Sat fupereft, and other devices, 
 particularly the arms of England, one of the articles of his impeach- 
 ment, and only the initial letters of his name. This was evidently 
 painted after his death, and as his father was ftill detained in prifon du- 
 ring the whole reign of Edward, it cannot be probable that a portrait 
 of the fon, with fuch marks of honour, mould be drawn by order of the 
 court. On the contrary, it's being fetched from Guillim' s houfe by the 
 council's commandment^ feems to imply that it was feized by their order* 
 It is now in the poflefTion of his grace the duke of Norfolk. 
 
 Architecture preferved in this reign the footing it had acquired un- 
 der the laft king. Somerfet-houfe is a compound of Grecian and 
 Gothic. It was built on the fcite of Chefter inn, where the ancient 
 poet Occleve formerly lived. As the penfion to John of Padua was 
 renewed in the third of this king, one may fuppofe that he owed it to 
 the protector, and was the architect of his palace. In the fame ftyle 
 and dating it's origine from the fame power, as Somerfet-houfe, is 
 
 Longleat, 
 
 * Vol. ii. p. 494. 
 
130 Painting under Edward VI. and Mary. 
 
 Longleat, though not begun 'till 1 567. It was built by Sir John 
 Thynne, a principal officer to the protector. 
 
 The reign of Mary, though lhorter even than that of her brother, 
 makes a much more considerable figure in the annals of painting. It 
 was diflinguifhed,by more good painters than one; the principal was 
 
 Sir ANTONIO MORE. 
 
 He was a native of Utrecht, and fcholar of John Schorel, * but feems 
 to have ftudied the manner of Holbein, to which he approached nearer 
 than to the freedom of defign in the works of the great mailers, that 
 he faw at Rome. Like Holbein he was a clofe imitator of nature, but 
 did not arrive at his extreme delicacy of finiming \ on the contrary, 
 Antonio fometimes ftruck into a bold and mafculine ftyle, with a good 
 knowledge of the Chiaro Scuro. In 1522 he drew Philip II. and was 
 recommended by cardinal Granvelle to Charles V. who fent him to 
 Portugal, where he painted John III. the king, Catherine of Auftria 
 his queen, and the infanta Mary, firft wife of Philip. For thefe three 
 pictures he received fix hundred ducats, befides a gold chain of one 
 thoufand florins, and other prefents. He had one hundred ducats f for 
 his common portraits. But ftill ampler rewards were beftowed on him 
 when fent into England, to draw the picture of queen Mary, J the in- 
 tended 
 
 * Schorel was fcholar of Mabufe, and was a poet, mufician and orator. Sec 
 an account of him in Sandrart, p. 235. 
 
 f Titian himfelf had but one hundred pieces of gold. See Sandrart, p. 224. 
 
 J Sandrart fays fhe was very handfome. It is certain that the drawing of her 
 
 (when about fixteen) by Holbein at Kenfington is not difagreable, though her 
 later pictures have all a ftern hard-favoured countenance. 
 
Painting tinder Edward VI. and Mary. 131 
 
 tended bride of Philip. They gave him one hundred pounds, a gold 
 chain, and a penfion of one hundred pounds a quarter as painter to 
 their majefties. He made various portraits of the queen \ * one was 
 fcnt by cardinal Granvelle to the emperor, who ordered two hundred 
 florins to Antonio. He remained in England during the reign of 
 Mary, and was much employed, but having neglected, as is frequent, 
 to write the names on the portraits he drew, moil of them have loft 
 part of their value, by our ignorance oftheperfons reprefented. The 
 pooreft performers have it in their power to add fo much merit to their 
 works, as can be conferred by identifying the fubjecls, which would 
 be a little reparation to the curious world, though fome families fliould 
 mifs imaginary anceftors. 
 
 On the death of the queen, More followed Philip [and probably 
 his religion -f] into Spain, where he was indulged in fo much familia- 
 rity, that one day the king flapping him pretty roughly on the 
 fhoulder, More returned the fport with his handftick : A ftrange li- 
 berty to be taken with a Spanifh monarch, and with fuch a monarch! 
 His biographer gives but an awkward account of the fequel ; and I 
 Vol. I. LI repeat 
 
 * In king Charles's colle&ion was a miniature in oil of this queen by Antonio 
 More, painted on a round gold plate, in blue flowered velvet and gold tifTue with 
 fleeves of fur, two red rofes and a pair of gloves in her hand ; the very fame drefs 
 of her picture at the duke of Bedford's, at Woburn. The miniature was a preient 
 to the king from the earl of Suffolk. 
 
 t He was fufpe&ed by the inquifition of making ufe of his intereft with the 
 king in favour of his countrymen, fays Sandrart. This might be meant either of 
 their religious or political principles. But fure the inquifitors knew Philip toa 
 well to be apprehenfive of his liftening to any infinuations of tendernefs on either 
 head* 
 
132 Painting under Edward VI. and Mary. 
 
 repeat it as I find it. A grandee interpofed for his pardon, and he was 
 permitted to retire to the Netherlands, but under promife of returning 
 again to Spain. I mould rather fuppofe that he was promifed to have 
 leave to return thither, after a temporary banimment; and this fuppo- 
 fition is the more likely, as Philip, for once forgetting majefty in his 
 love of the arts, difpatched a meffenger to recall him, before he had 
 finifhed his journey. But the painter fenfible of the danger he had 
 efcaped, modeflly excufed himfelf: and yet, fays the ftory, the king 
 beftowed noble prefents and places on his children. At Utrecht An- 
 tonio found the duke of Alva, and was employed by him to draw fe- 
 veral of his miftrefTes, and was made receiver of the revenues of Weft- 
 Flanders a preferment, with which, they fay, he was fo elated, that 
 he burned his eafel, and gave away his painting tools. 
 
 More was a man of a ftately and handfome prefence ; and often went 
 to Bruffels, where he lived magnificently. He died at Antwerp in 
 1575 in the 56th year of his age. 
 
 His portrait, painted by himfelf, is in the chamber of painters at 
 Florence, with which the great duke, who bought it, was fo pleafed, 
 that he ordered a cartel with fome Greek verfes, written by Antonio 
 Maria Salvini, his Greek profeflbr, to be affixed to the frame. Salvini 
 cranflated them into Italian and into the following Latin, 
 
 Papae! eft imago cujus, 
 -Qui Zeuxin atque Apellem, 
 Veterumque quot fuere, 
 Recentiumque quot funt, 
 Genus arte vicit omne! 
 Viden' ut fuam ipfe pinxit 
 
 Propria 
 
Painting under Edward VL and Mary. 133 
 
 Propria manu figuramj 
 Chalybis quidem nitenti 
 Speculo fe ipfe cernens. 
 ManusO! potens magiftri? 
 Nam pfeudo-morus ifte 
 Fors, More, vel loquetun 
 
 Another picture of himfelf, and one of his wife, were in the collec- 
 tion of Sir Peter Lely. More's was three feet eight inches high, by 
 two feet nine wide. King Charles had five pictures painted by this 
 matter; and the duke of Buckingham had a portrait of a man by 
 him. See his catalogue p. 18. A print of him in profile was publifbed 
 by Hondius, and a medal ftruck of him in Italy with this legend, Ant. 
 More, pictor tranfmontanus. At what time or where he was knighted 
 is uncertain. He painted his matter John Schorel in 1560. Several 
 of his works are or were at Sir Philip Sydenham's at Brympton in So- 
 merfetlhire. A very good portrait of Sir Thomas Grettiam is at 
 Houghton. I have a miniature by him, called Thomas duke of 
 Norfolk, engraved among the illuftrious heads : it belonged to Rich- 
 ardfon the painter, and came out of the Arundelian collection ; and a 
 half length of a lady in black With a gold chain about her watte, which 
 is mentioned in the catalogue of pictures of James II. and by that of 
 Charles L appears * to be Margaret of Valois, fitter of Henry II. of 
 Prance, and duchefs of Savoy, at the tournament for whofe wedding 
 that monarch was killed. Lady Elizabeth Germayn has the portrait 
 of Anne daughter of Francis earl of Bedford and wife of Ambrofe 
 earl of Warwick. 
 
 At 
 
 * See p. 108. No. 7. 
 
134- Painting under Edward VI. and Mary. 
 
 At Newftede abbey in Nottinghamfhire, the beautifull feat of the 
 lord Byron, where are the moft perfed remains of an ancient convent, 
 is an admirable portrait, painted as I believe by this mailer, and wor- 
 thy of Holbein. It is a half length of a fat man with a beard, on a 
 light greenim ground. His arms are, three rofes, the middle one 
 higheft, on a field argent; in bafe, fomething like a green hill: Thefe 
 arms are repeated on his ring, and over them, J. N. aet. 1557. As 
 this bearing is evidently foreign, I fuppofe the portrait reprefents one 
 of the family of Nnmigen. Nicholas Byron married Sophia, daughter, 
 of Lambert Charles of Numigen. * 
 
 But More did not always confine himfelf to portraits. He painted 
 feveral hiftoric pieces, particularly one much efteemed of the refurrec- 
 tion of Chrift with two angels ; and another of Peter and Paul. A 
 painter, who afterwards fold it to the prince of Conde, got a great 
 deal of money by mowing it at the foire St. Germain. 
 
 He made a fine copy of Titian's Danae for the king; and left un- 
 finimed the Circumcifion, defigned for the altar in the church of our 
 Lady at Antwerp. 
 
 In the catalogue of pictures at the palais royal is a portrait faid to 
 be of Grotius by Antonio More, who was dead above twenty years 
 before Grotius was born. 
 
 Another performer in this reign was 
 
 JOAS VAN CLEEVE, 
 
 Or Sotto Cleefe, an induftrious painter of Antwerp : his colouring was 
 good, and his figures flefliy and round \ but before he arrived at the 
 
 perfeo 
 
 f Thoroton's Nottinghamfhire, p, 26 u 
 
Painting under Edward VI. and Mary. 135 
 
 perfection he might have attained, his head was turned with vanity; a 
 misfortune not uncommon to the profeflion, who living fecluded from 
 the world and feeing little but their own creation rifing around them, 
 grow intoxicated with the magic of their own performances. Cleeve 
 came to England, expecting great prices for his pictures from king 
 Philip, who was making a collection, but unluckily, fome of the works 
 of Titian arrived at the fame time. Cleeve begged the recommenda- 
 tion of Sir Antonio More, his countryman but Philip was too much 
 charmed with the beauties of the Venetian matter, and overlooked the 
 labours of the Fleming. This neglect compleated his frenzy, the ftorm 
 of which firft vented itfelf on Sir Antonio. Cleeve abufed him, un- 
 dervaluing his works, and bidding him return to Utrecht and keep his 
 wife from the canons. At laft the poor man grew quite frantic, 
 painted his own cloaths, and fpoiled his own pictures, till they were 
 obliged to confine him, in which wretched condition he probably died. 
 He had a fon that followed his profeflion, and was, it is faid, no des- 
 picable performer. 
 
 Of Joas there is a print with this legend, vivebat Antwerpiae in pa- 
 tria 1544. Another infcribed,. Jufto Clivenfi, Antwerpiano pictori. 
 The original painted by himfelf with a black cap and furred gown, 
 upon a greenifh ground, and a portrait of his wife, were purchafed by 
 King Charles I. * who had alfo of this matter a picture of Mars and 
 Venus.f 
 
 James II. had of his painting, the Judgment of Paris, J and the birth 
 Vol. I. Mm of 
 
 * See his catal. p. 153. Cleeve's portrait is ftill in the lower apartment at 
 Kenfington. 
 
 t Mentioned in a MS. catalogue. 
 J See his catal. No. 540, and 830. 
 
136 Painting under Edward VI. and Mary. 
 
 of Chrift with angels. * The duke of Buckingham had a portrait of 
 & man, and Sir Peter Lely a bacchanalian two feet one inch wide, by- 
 three feet four inches high. 
 
 Vertue found grants in this reign to another painter, who, it feems, 
 had been in the fervice too of Henry and Edward. His name was 
 Nicholas Lyfard he had a penfion for life of ten pounds a year, and 
 the fame fee charged on the cuftoms, as had been granted to the 
 ferjeant-painters John Brown and Andrew Wright— Of Lyfard I find 
 no farther mention, but that in a roll of queen Elizabeth's new-years 
 gifts he prefents her with a table painted of the hiftory of Ahafuerus, 
 and her majefty gives him one gilt creufe and cover. This was in the 
 firft year of her reign. He died in her fervice 1570. In the regifter 
 of St. Martin's is this entry, " April 5, buried Nicholas Lyzard fer- 
 jeant-painter unto the queen's majeftie." 
 
 There was in this reign another perfon too illuftrious a lover atnd 
 even pradlicer of the art to be omitted, though I find no mention of 
 him in Venue's MSS. This was 
 
 EDWARD COURT ENEY, 
 
 The laft earl of Bevonlhire,f 
 
 The comelinefs of whofe perfon was very near raifing him to that 
 throne, for nearnefs to which in blood, he was a prifoner from ten 
 
 years 
 
 * See his catal. p. 18. 
 
 t When queen Mary releafed him, fhe reftored him too to the Marquifate of 
 Exeter, though that title is omitted by all our hiftorians when they mention him. 
 
Edward Courtney Earl of Devonshire. 
 
 cr 
 
 r 7i 
 
 rv art Or^jyrta//^ K^ T ^Zntmiio *ytferre<, a&M^&!#A& c^&ec^vrvfo at 'fPo^ur/v. 
 
 IZnIPuer" a& inserts, et aaViac juveniH&us atmis, 
 u4nrws his septem car cere ciausus eram. 
 
 ^Me Pater his temcit vhicus, ana Filia solvit; 
 Sors meet sic tandem, vertUur a J uteris . 
 
Painting under Edward VI. and Mary. 137 
 
 years old; and from that time to thirty when he died, he fcarce 
 enjoyed two years of liberty. It was a happinefs peculiar to him 
 to be able to amufe himfelf with drawing, * in an age in which 
 there were fo many prifoners and fo few refources, and it gives 
 one very favorable ideas of his being naturally accompliihed, of 
 a fpirit not eafily to be depreffed, when we find that queen 
 Mary no fooner delivered him from his captivity than (he wilhed 
 to marry him; and that he, confeious of his great blood and yet 
 void of interefted ambition, declined a crown, and preferred the 
 younger fitter, the princefs Elizabeth. For this partiality, and on 
 the rifmg of the Carews in Devonshire who were flattered with 
 the hopes of this match, the princefs and he were committed to 
 the tower, and accufed by Wyat as his accomplices. Our hiftorians-f 
 all reject this accufation, and declare that Wyat cleared him at his 
 death ; and indeed the earl's gratitude would not have been very fhi- 
 ning, had he plotted to dethrone a princefs who had delivered him 
 from a prifon and offered him a throne. The Englifh, who could 
 not avoid feeling partiality to this young prince, were pleafed with 
 king Philip, to whofe interceflion they afcribed the fecond releafe of 
 
 the 
 
 * My authority is Strype, who produces undoubted authority for his afTertion, 
 having given us the oration pronounced at his funeral by Sir Thomas Wilfon, 
 afterwards Secretary of State. Befides his progrefs in philofophy, mathematics^ 
 mufic, and the French, Spanifh and Italian languages, Sir Thomas adds, M Tanta 
 etiam expingendarum effigierum cupiditate ardebat, ut facile et laudabiliter cu- 
 jufcumque iraaginem in tabula exprimeret. " See Strype's memorials vol. iii. p. 
 339, and appendix p. 192. 
 
 \ See Holinfhead, Hcylm, and Burnet. 
 
138 Painting under Edward VI. and Mary. 
 
 the earl, as well as the fafety of the lady Elizabeth. Courteney afked 
 leave to travel, and died at Padua, not without fufpicion of poifon, 
 which feems more probable than thofe rumours generally are, as 
 he was fufpected of being a Lutheran and as his epitaph, * written in 
 defence of the Spaniards, formally declares that he owed his death to 
 affecting the kingdom, and to his ambition of marrying the queen y 
 the lad of which affertions at lead is a falfhood, and might be a blun- 
 der, confounding the queen and princefs. After his death one Gey- 
 bery was executed for pretending to be this earl, and thence endea- 
 vouring to raife commotions. 
 
 There is a very good portrait of him at the duke of Bedford's at 
 Woburn, painted, I mould think, by Sir Antonio More ; on the back 
 ground, a ruined tower. 
 
 * See it at length in the genealogical hiftory of the noble houfe of Courtenay 
 by Edward Cleaveland, fol. 1735, p. 261. 
 
 CHAP. VIL 
 
/ 
 
 Anecdotes of PAINTING, &c. 
 
 CHAP. VII. 
 
 Painters in the Reign of £%ueen Elizabeth. 
 
 THE long and remarkable reign of this Princefs could not but 
 furnifh many opportunities to artifts of fignalizing themfelves. 
 There is no evidence that Elizabeth had much tafte for 
 painting ; but me loved pictures of herfelf. In them me could appear * 
 really handfome and yet to do the profeffion juftice, they feem to 
 have flattered her the leaft of all her dependents : There is not a 
 fmgle portrait of her that one can call beautifull. The profufion of 
 ornaments with which they are loaded, are marks of her continual 
 fondnefs for drefs, while they entirely exclude all grace, and leave no 
 more room for a painter's genius than if he had been employed to 
 copy an Indian idol, totally compofed of hands and necklaces. A pale 
 Roman nofe, a head of hair loaded with crowns and powdered with 
 diamonds, a vaft ruff, a vafter fardingale and a bufhell of pearls are 
 the features by which every body knows at once the pictures of queen 
 Elizabeth.* Befides many of her majefty, we are fo lucky as to pofTefs 
 the portraits of almoft all the great men of her reign, and though the 
 Vol. I. N n generality 
 
 * It is obfervable that her majefty thought enormity of drefs a royal prerogative, 
 for on the 12th of February 15793 an order was made in the Star-chamber, "that 
 
 no 
 
 V 
 
140 Painters in the Reign of ^uecn Elizabeth. 
 
 generality of painters at that time were not equal to the fubjects on 
 which they were employed, yet they were clofe imitators of nature, and 
 have perhaps tranfmitted more faithfull reprefentations, than we could 
 have expected from men of brighter imagination. The firft painter 
 who feems to have made any figure in this reign, was 
 
 LUCAS DE HEEREj 
 
 Born at Ghent in 1534, of a family peculiarly addicted to the arts. 
 John his father was a good ftatuary and architect: Anne Smitter his 
 
 mother 
 
 no perfon mould ufe or wear exceffive long cloaks (this might proceed from ap- 
 prehenfion of their concealing arms under them) as of late be ufed, and before 
 two years pafthath not been ufed in this realm; no perfons to wear fuch great 
 ruffes about their necks to be left off fuch monftrous undecent attyring." Alfo 
 another againft wearing any fword rapier, that mail pafle the length of one yard 
 and half a quarter in the blade, nor dagger above twelve inches in the blade at 
 moft. In her father's time, who dictated in every thing from religion to fafhions, 
 an act of parliament was pafled in his twenty-fourth year againft inordinate ufe of 
 apparel, directing that no one mould wear on his apparel any cloth of gold, filver 
 ortinfel, fatyn, filk, or cloth mixed with gold or filver, any fables, velvet, furrs, 
 embroidery, velvet in gowns or outermoft garments, except persons of di- 
 stinction, dukes, marquiffes, earls, barons and knights of the order, barons* 
 fons, knights or fuch that may difpend 250 /. per ann. This act was renewed in 
 the fecond of Elizabeth. Edward VI. carried this reftraint (till farther : In heads 
 of a bill drawn up with his own hand 155 1, (though it never pafted into a law) no 
 one, who had lefs than 100/. a year for life, or gentlemen, the king's fworn fer- 
 vants, was to wear fatten, damafk, oftrich-feathers, or furs of conies ; none not 
 worth 200/. or 20/. in living certain, to wear chamblet : no ferving-man, under 
 the degree of a gentleman, to wear any fur,-fave lamb \ nor cloth above ten fhii- 
 Jii-gs the yard. 
 
Painters in the Reign of ^ueen Elizabeth. 141 
 
 mother painted in miniature, and with fuch diminutive neatnefs, that 
 fhe executed a landfcape with a windmill, millers, a cart and horfe and 
 paffengers-, and half a grain of corn would cover the whole composi- 
 tion. The father went often to Namur and Dinant, where the fon 
 copied ruins and caftles; but he foon learned of a better matter, Fran- 
 cis Floris, under whom Lucas improved much, and drew many defigns 
 (which paITed for his matter's) for tapeftry and glafs-painters. From 
 Ghent he went to France and was employed by the queen and queen- 
 mother in making drawings for tapeftry \ and refiding fome time at 
 Fontainbleau, where he married Eleanor Carboniere, he contracted a 
 tafte for the antique by feeing the ftatues there, an inclination he mow- 
 ed lefs by his own works, than by making a collection of bronzes and 
 medals. He returned to Ghent, where he drew the Count de Vaken, 
 his lady and their jefter, and painted two or three churches; in St. Pe- 
 ter's, the fhutters of an altar piece, in which he reprefented the I ,ord's 
 Supper, much admired for the draperies of the apoftles. In St. John's 
 church he painted an altar-piece of the RefurrecYion, and on the doors 
 of it, Chrift and the difciples at Emaus, and his apparition in the 
 garden, 
 
 Lucas was not only a painter, but a poet: He wrote the Orchard of 
 Poefie-, and tranflated from the French of Marot, the Temple of Cu- 
 pid and other pieces. He had begun the lives of the Flemifh painters 
 in verfe. Carl Vermander his fcholar, who has given the lives of thofe 
 matters, learned many anecdotes of our Englifh painters from Lucas. 
 
 At what time the latter arrived in England is not certain : nor were 
 his works at all known here, 'till the indefatigable induftry of Mr, 
 Venue di (covered feveral of them. 
 
 1. The 
 
142 Painters in the Reign of ^ueen Elizabeth. 
 
 1. The firft of thefe was a portrait of Sir William Sidney, grand- 
 father of Sir Philip; but as Sir William died in 1553 at the age of 72, 
 when Lucas de Heere was but nineteen, it is not probable that Sir 
 William was abroad after that young man was in repute enough to 
 draw his picture and it is lefs probable that he had been in France, 
 had married and arrived here by the age of nineteen. This picture 
 which Vertue found at Penfhurft, was in all likelyhood a copy. 
 
 2. The next was a portrait of Henry lord Maltravers eldeft fon of 
 Henry Fitzalanearl of Arundel, dated 1557, the year before the ac- 
 cefTion of queen Elizabeth \ but as this young lord died at Bruflels, 
 it is probable that De Heere drew his picture there, and that very ac- 
 quaintance might have been a recommendation of Lucas to England. 
 
 3. The third is a picture in my poffeffion, well known by the print 
 Vertue made from it. It contains the portraits of Frances duchefs of 
 Suffolk, mother of lady Jane Grey, and her fecond hufband Adrian 
 Stoke. Their ages, and De Heere's mark J-jT are on the picture, 
 
 which is in perfect prefervation, the colouring of the heads clear, and 
 with great nature, and the draperies which are black with furs and 
 jewels, highly finifhed and round, though the manner of the whole is 
 a little ftiff. This picture was in the collection of lord Oxford. 
 There is a tradition that when this great lady made this fecond match 
 with a young fellow who was only m after of her horfe, queen Eliza- 
 beth faid , " What ! has me married her horfe-keeper ? Yes, madam, 
 replied my lord Burleigh, and fhe fays your majefty would like to do 
 fo too." — Leicefter was mafter of the horfe. The date on this picture 
 is 1559. 
 
 4. lord Darnley, hufband of Mary queen of Scots, and his brother 
 
 Charles 
 
Painters in the Reign of Qtieen Elizabeth. 143 
 
 Charles Stuart, a boy, afterwards father of the lady Arabella. There 
 are two of thefe •, one as large as life, in the room going into the king's 
 clofet at St. James's; the other fmall and neatly finiftied in the private 
 apartments below flairs at Hampton-court. The date 1569. 
 
 5. The next is a very remarkable picture on board at Kenfington : 
 Queen Elizabeth richly drefl, with her crown, fcepter, and globe, is 
 coming out of a palace with two female attendants. Juno, Pallas, and 
 Minerva feem flying before her ; Juno drops her fcepter, and Venus 
 her rofes ; Cupid flings away his bow and arrows, and clings to his 
 mother. On the old frame remain thefe lines, probably written by 
 the painter himfelf, who, we have feen, dabled in poetry too ; 
 
 Juno potens fceptris, et mentis acumine Pallas, 
 
 Et rofeo Veneris fulget in ore decor \ 
 Adfuit Elizabeth Juno perculfa refugit ; 
 
 Obflupuit Pallas, erubuitque Venus. 
 
 To have compleated the flattery, he fhould have made Juno or 
 Venus refemble the queen of Scots, and not fo handfome as Elizabeth*, 
 who would not have blulhed like the laft goddefs.* 
 
 Vol. I. O o 6. There 
 
 * Another curious picture painted about the fame time, I know not by what 
 hand, is in the collection of James Weft, efq ; It reprefents Henry VIII. fitting 
 under a canopy fupported by pillars and delivering the fword to prince Edward. 
 On the right hand of the king ftand Philip and Mary ; Mars is coming in behind 
 them. Queen Elizabeth, too large in proportion to the reft, ftands foreward on 
 the other fide, and leads Peace and Plenty, whofe faces are faid to be portraits of 
 the countefles of Shrewfbury and Salifbury ; but the latter muft be a miftake in 
 the tradition, for there was no countefs of Salifbury at that time. Lady Shrewfbury I 
 
 fuppofb 
 
14-4- Painters in the Reign of ^ueen Elizabeth. 
 
 6. There is a fmall whole length of queen Elizabeth by De Heere 
 at Welbec: on the back ground, a view of the old fabric at Wanftead. 
 
 7. At lord Dacre's at Belhoufe in Effex is one of the beft works of 
 this matter j it always paffed for Holbein's, but Vertue difcovered it to 
 be of De Heere, whofe mark is (till difcernible. It is the portrait of 
 Mary Neville daughter of George lord Abergavenny, and widow of 
 Thomas Fienes lord Dacre, executed for an accidental murder in the 
 reign of Henry VIII. a picture of her hufband, aet. 22, 1549, copied 
 from a larger piece, is reprefented as hanging in the room by his wife. 
 Her head is finely coloured. 
 
 8. The picture from whence Vertue engraved his lady Jane Grey, 
 he thought, was drawn too by Lucas ; but that is liable to the fame 
 objection as his painting Sir William Sidney. 
 
 Since the firft edition of this work, I have difcovered another con- 
 fiderable work of this matter ; it is at Longleate, and reprefents a 
 
 whole 
 
 fuppofe was the famous Elizabeth of Hardwicke. Circumfcribed in golden letters 
 on the frame are thefe lines, extremely in the flyle of the queen's own compo- 
 fitions 
 
 A face of much nobility lo ! in a little room, 
 Four Fates with their conditions here fhadow'd in a fhow ; 
 A father more than valiant, a rare and virtuous fon ; 
 A daughter zealous in her kind, what elfe the world doth know. 
 And la ft of all a virgin queen to England's joy we fee 
 Succeffively to hold the right and virtues of the three. 
 And in fmall letters on the fore-ground at bottom, thefe, 
 The queen to Walfingham this table lent, 
 Mark of her people's and her own content. 
 
 This picture was brought from Chiflehurft, whither it. had been carried from 
 
 Sradbury, the feats of the Walfinghams. 
 
Painters in the Reign of ^ueen Elizabeth. 14$ 
 
 whole family. The figures are lefs than life, and about half lengths, 
 An elderly gentleman is at table with his wife, and another lady, pro- 
 bably from the refemblance, her fifter. The firft lady has tags of a 
 particular form, exactly like thole on the drefs of my duchefs of Suf- 
 folk, as is the colouring, though not To highly finimed ; yet the head: 
 have great nature. Before them are feven young children, their ages 
 marked, which mow that three of them were born at a birth. They 
 are playing with fruit, and by them are a parrot and a monkey: but 
 the animals and fruit are much inferior to the figures. There are fome 
 Latin verfes in commendation of the gentleman, whofe name or title 
 was Cobham. I fuppofe Sir George Brooke lord Cobham, who died 
 in the firft year of queen Elizabeth, leaving eight fons and two daugh- 
 ters. He had been committed to the tower by queen Mary, as privy 
 to Wyat's rebellion. I have likewife found two more pieces of this 
 mafter at Drayton, the ancient caftle-like manfion of the Mordaunts, 
 now of the lady Elizabeth Germain. One is a half length of Marga- 
 ret Audley fecond wife of Thomas duke of Norfolk beheaded temp. 
 Eliz. Her arms and titles are on the back ground : but the picture 
 has fuffered. The other, of the fame fize, is of a young nobleman, in 
 a white ftiff-bodied habit, black cloak and hat ; he is very fwarthy but 
 handfome. His age 22, 1563. This piece is finely preferved and 
 flrongly coloured. In the life of Holbein I have mentioned the Henry 
 VIII. at Trinity Coll. Cambridge, with De Heere's mark. The face 
 has been repainted, but the reft of the body is highly finimed, and does 
 great honour to the copyift. 
 
 In 1570 Lucas was employed to paint a gallery for Edward earl of 
 Lincoln, the lord high admiral.* He was to reprefent the habits of 
 
 different 
 
 * At the duke of Bedford's at Woburn are two heads of a countefs of Lincoln 
 
 and 
 
146 Painters in the Reign of ^ueen Elizabeth. 
 
 different nations. When he came to the Englim, he painted a naked 
 man with cloth of different forts lying by him, and a pair of fheers, as 
 a fatire on our ficklenefs in fafhions. This thought was borrowed from 
 Andrew Borde, who in his introduction of knowledge, to the firft 
 chapter prefixed a naked Englilhman, with theie lines, 
 I am an Englifhman, and naked I ftand here, 
 Mufing in my mind what rayment I mall wear.* 
 
 Lucas 
 
 and of lady Anne Ayfcough, daughter of the earl. As they are evidently painted 
 at the fame time, and as the daughter appears the elder perfon, there is great rea- 
 fon to believe that the countefs was only the mother-in-law, and confequently 
 that this portrait reprefents the fair Geraldine, fo much celebrated by the earl of 
 Surrey. Her chief beauty feems to have been her golden hair. Thefe pictures, I 
 fhould think, were painted by the following matter, Ketel,. rather than by Lucas 
 de Heere. 
 
 * It is not extraordinary that this witticifm fhould have been adopted into the 
 lord admiral's gallery. Andrew Borde, or Andreas Perforatus, as he called him- 
 felf, was an admired wit in the latter end of Henry VIII. to whom he was fome- 
 time phyfician. He had been a Carthufian, then rambled over many parts of the 
 world, turned phyfician, and at 1 aft wrote againft the marriage of priefts; for 
 which I conclude (though Antony Wood could not guefs the reafon) he was fhut 
 up in prifon, where fome faid he poifoned himfelf. He wrote The Introduc- 
 tion to knowledge, partly in verfe and partly in profe, and dedicated it to the 
 lady Mary, afterwards queen. There are cuts before every chapter. Before 
 the feventh is his own picture, ftanding in a pew with a canopy over him, a gown 
 with wide lleeves and a chaplet of laurel. The title of the chapter is, " The feventh 
 chapter fhoweth how the author of this boke had dwelt in Scotland, and did go 
 thorow and round about Chriftendom, and out of Chriftendom, declaring the pro- 
 perties of all the regions, countries and provinces, the which he did travel thorow." 
 He wrote befides, The Breviary of Health - 3 a Dietary of Health \ The merry 
 
 tales 
 
Cornelius Ketel. 
 
/ 
 
 Painters in the Reign of ^ueen Elizabeth. 147 
 
 Lucas de Heer returned to his own country before his death, which 
 happened at Ghent in 1584. His mark, as above, is on moft of his 
 pictures. He ufed for an anagram thefe words, Schade leer u, which 
 Sandrart fays fignify, Nocumenta tibi fint documenta. 
 
 CORNELIUS KETEL* 
 
 Was born at Gouda in 1548, and early profecuted his art with great 
 ardour, under the direction of his uncle, a tolerable painter and a better 
 fcholar. At eighteen he went to Delft, and placed himfelf with Antony 
 Blockland, with whom he remained a year. From thence he travelled 
 to Fontainbleau, where he worked with great applaufe, in competition 
 with three of his countrymen ; but the court coming to Fontainbleau, 
 they were ordered to leave the palace Ketel went to Paris and lodged 
 with John de la Hame, the king's enameller, where he painted fome 
 hiftories but an edict obliging the fubjects of the king of Spain to 
 quit France, Ketel returned to Gouda and remained there fix years. 
 The troubles in his own country continuing, and confequently little 
 encouragement being given to the arts, Ketel embarked in 1573 for 
 England, and was entertained at London by a fculptor and architect 
 there, a friend of his uncle. Here he married a Dutch woman, and 
 his works growing into efteem, he was much employed by the mer- 
 Vol. I. P p chants 
 
 tales of the mad men of Gotham; a book extremely admired and oft n reprinted 
 in that age. A right pleafant and merry hiftory of the mylner of Abingdon, with 
 his wife and his fair daughter, and of two poor fcholars of Cambridge j and other 
 things which may be feen in Antony Wood, vol. i. p. 75. 
 
 * See Sandrart 272. and Carl. Vermander, from whence Vertue collect d moft 
 of the particulars of Ketel's life y and Defcamps who copied Vermander. p. 69* 
 
148 Painters in the Reign of ^ueen Elizabeth. 
 
 chants in painting portraits, but was feldom engaged on hiftory, to 
 which his inclination chiefly led him. However, having painted art 
 allegoric piece of Strength vanquimed by Wifdom, it was purchafed 
 by a young merchant, and prefented to Sir Chriftopher Hatton, after- 
 wards lord chancellor. This incident introduced Ketel to court ; he 
 drew a good whole length of Sir Chriftopher, now at the earl of 
 Litchfield's at Ditchley ; the portrait of Edward Vere earl of Oxford, 
 of William Herbert earl of Pembroke of the lord admiral Lincoln, 
 now at Woburn, and of Henry Fitzalan earl of Arundel ; and of fe- 
 veral others. At laft, in 1578, he had the honour of painting the 
 queen herfelf, at the requeft of the * countefs of Hertford ; Elizabeth 
 being then entertained at Hanworth by the famous Anne Stanhope, 
 widow of the protector, and mother of the earl of Hertford, then 
 very aged.f 
 
 Ketel left England in 158 1, and fettled at Amfterdam, where he 
 painted a large picture of the trained bands with their portraits, and 
 their captain Herman Rodenburgh Beths at their head. In this pic- 
 ture too he introduced his own portrait. The difpofition, refemblances, 
 and the different fluffs of the habits, well imitated, were much admi- 
 red in this piece. It was placed in the gallery of the Mall at Amfter- 
 dam. In 1589 he undertook another picture of the fame fort for the 
 company of St. Sebaftian, in which was the portrait of their captain 
 Didier Rofencraus. It was reckoned not inferior to the former, and 
 
 was 
 
 * This I fuppofe was Frances Howard, fecond wife of the earl, and fifler of 
 the lord admiral Nottingham, a favorite. The earl of Hertford had been in dif- • 
 grace for his firft marriage with the lady Catherine Grey. 
 
 t The duchefs died nine years afterwards at the age of ninety. 
 
Painters in the Reign of ^ueen Elizabeth. 149 
 
 was neither confufed nor unanimated, notwithstanding the number of 
 portraits it contained. 
 
 In another of his works, under the figures of Chrift and the apoftles, 
 he reprefented Henry Keyfer an architect of Amfterdam, and the prin- 
 cipal virtuofos of that city. His beft picture was the portrait of Si- 
 mon Lack of that city, it was in the pofleflion of one of the fame fa- 
 mily at the Hague. Many of his works were carried to Dantzick. 
 
 In the duke of Buckingham's collection was a large picture by this 
 mailer, reprefenting the Virtues and Vices. See his catal. p. [9. 
 
 But Ketel, not content with the glory he acquired by thefe perfor- 
 mances, inftead of aiming at greater perfection, took it into his head to 
 make himfelf known by a method of painting entirely new. He laid 
 afide his brumes, and painted only with his fingers,* beginning with his 
 own portrait. The whim took he repeated the practice, and they 
 pretend, executed thofe fantaftic works with great purity and beauty 
 of colouring. In this manner he painted two heads for the Sieur Van 
 Os of Amfterdam the firft, a Democritus, was his own portrait ; the 
 other, of M. Morofini, in the character of Heraclitus. The due de 
 Nemours, who was a performer himfelf, was charmed with the latter 
 and bought it. Another, was the picture of Vincent Jacobfon, a 
 noted Wine-merchant of Amfterdam, with a glafs of renifh in his 
 hand. As hisfuccefs increafed, fo did his folly \ his fingers appeared 
 too eafy tools ; he undertook to paint with his feet, and his firft efTay 
 he pretended to make in public on a picture of the God of Silence. That 
 public, who began to think like Ketel, that the more a painter was a 
 
 mounte- 
 
 * Defcamps mentions a fine picture painted by Weeninx in the fame manner. 
 Vol. ii. p.' 310. And in a fale of pictures in Covent-garden 1729, were two 
 heads painted by one Brandell with his thumb. 
 
150 Painters in the Reign of^ueen Elizabeth. 
 
 mountebank, the greater was his merit, were fo good as to applaud 
 even this caprice. 
 
 Ketel, like De Heere, was a poet too, and wrote defcriptions of feve- 
 ral of his own works in verfe. He underftood architecture, geometry 
 and perfpective, and modelled in clay and wax. He was living in 1 600,. 
 when Vermander wrote his account of him. Sandrart who makes him 
 travel to Venice and Rome, and die young, while he was employed oa. 
 a picture of the king of Denmark, has confounded the mafter with the 
 fcholar \ the latter incidents relate to Ifaac Oteryn of Copenhaguen* 
 Ketel's only difciple. 
 
 Vermander dedicated to Ketel a difiertation on the ftatues of the an- 
 cients, in which he mentions the great friendlhip that had fubfifted be- 
 tween them for thirty years. 
 
 Vertue obferved on the works of De Heere and Ketel, that thofe of 
 the former are generally fmaller than the life, neater, not fo flrongly 
 coloured, and moft commonly painted on board. Thofe of Ketel, more 
 flrongly coloured and with a fuller pencil, and always as large or rather 
 larger than nature. 
 
 The next on our lift is a name of more note, celebrated even in the 
 lifts of the great Italian mafters : this was 
 
 FREDERIC ZUCCHERO,* 
 
 The younger brother of Taddeo, and born like him, at Vado in the 
 duchy of Urbino, in the year 1550. Frederic was carried by his pa- 
 rents to Rome, where their elder fon was then employed : the younger 
 improved fo much in the fpace of fix years, that without his brother's 
 
 afliftance 
 
 * See Sandrart, Felibien, and Baglionet 
 
Painters in the Reign of ^tieen Elizabeth. 151 
 
 affiflance he painted a picture of Helicon and the Mufes for a Roman 
 nobleman •, and executed greateft part of a chapel in which his brother 
 was engaged. They worked for fome time in concert and being at 
 Florence painted in four days the whole hiftory of the Paflion which 
 was befpoken in a hurry for the decoration of a church on Eafter fun- 
 day. Taddeo dying at the age of thirty-feven, Frederic finillied his 
 imperfect works, among which were the paintings at the magnificent 
 palace then lately built at Caprarola by cardinal Farnefe. His picture 
 in diftemperof Calumny, borrowed from the defcription of one paint- 
 ed by Apelles, was fuppofed a tacit fatire on that cardinal, with whom 
 he had quarrelled on foma deficience of payment. Zucchero's temper 
 feems by another inftance to have been pretty ftrongly tinctured with 
 refentment; while he was employed by Gregory XIII. to paint thePau- 
 line chapel in the Vatican, he fell out with fome of his holinefs's officers. 
 To be revenged, he painted their portraits with ears of afies, and expo- 
 fed the picture publicly over the gate of St. Luke's church, cm the fefti- 
 val of that faint, the patron of painters.* But for this exploit he was 
 forced to fly from Rome; and paffing into France, he was for fome 
 time employed in the fervice of the cardinal of Lorrain. Thence he 
 went into Flanders, and made cartoons for tapeftry; and in the year 
 1574 arrived in England. The queen fat to him for her picture ; fo 
 did the queen of Scots, for that well-known portrait at Chifwick, 
 which has been engraved by Vertue. Another picture of Elizabeth, 
 in a fantaftic habit, fomething like a Perfian, is in the gallery of royal 
 Vol. I. Q^q perfonages 
 
 * Verrio quarrelling with Mrs. Marriot the houfekeeper at Windfor, drew her 
 picture for one of the furies. This was to gratify his own paflion ; to flatter that 
 of the court, he has reprefented lord Shaftfbury among the Demons of fa£tion 5 in. 
 St. George's hall. 
 
152 Painters in the Reign of^ueen Elizabeth. 
 
 perfonages at Kenfington. Melville mentions her having and wearing 
 drefles of every country: In this picture too appears her romantic 
 turn Ihe is drawn in a foreft, a flag behind her, and on a tree are in- 
 fcribed thefe mottoes and verfes, which as we know not on what oc- 
 cafion the piece was painted, are not eafily to be interpreted; 
 
 Injufti j uft a querela* 
 
 a little lower, 
 
 Mea fic mini. 
 
 ftill lower, 
 
 Dolor eft medicina ed tori. (mould be, dolori.) 
 on a fcroll at bottom, 
 
 The reftlefs fwallow fits my reftlefle mind, 
 In ftill revivinge, ftill renewinge wrongs ; 
 Her jufte complaints of cruelty unkinde 
 Are all the mufique that my life prolonges. 
 With penfive thoughts my weeping ftag I crown, 
 Whofe melancholy teares my cares exprelTe; 
 (i ) His teares in fylence and my fighes unknowne 
 Are all the phyficke that my harmes redreffe. 
 My onely hopes was in this goodly tree, 
 Which I did plant in love, bring up in care, 
 (too) But all in vaine, for now to late I fee 
 (fhells) The jhales be mine, the kernels others are. 
 
 My mufique may be plaintes, my mufique teares, 
 If this be all the fruite my love-tree beares. 
 
 Tradition gives thefe lines to Spenfer I think we may fairly acquit 
 him of them, and conclude they are of her majefty's own compofition, 
 
 as 
 
Painters in the Reign of ^ueen Elizabeth. 153 
 
 as they much refemble the ftyle of thofe in Hentznerus p. 66. of the 
 Englifh edition. 
 
 The portraits of Sir Nicholas Bacon at Woburn, of Charles How- 
 ard, earl of Nottingham, lord high admiral, at* Hampton-court, and 
 of Sir Francis Walfingham, in my poffefTion, all three engraved among 
 the illuftrious heads and the picture of queen Elizabeth's gigantic 
 porter at Kenfington, were painted by Zucchero here too he drew his 
 own portrait, and copied the works of Holbein at the Steelyard as I 
 have mentioned. A chapel at Roehampton belonging to Mr. Bagnols 
 was faid to be painted by him. What other works he performed here 
 I do not find-, f probably not many, his flay was not long-, hiitoric 
 fubjects were not in fafhion, and he was offended at our religion. He 
 returned to Italy, and finifhed the dome at Florence begun by Vafari. 
 The Pope's anger too being vanifhed, he was readmitted to his old 
 employment at Rome, where he built a houfe for himfelf on the Monte 
 di Trinita, adorned with four portals, and painted on the outfide in 
 frefco by his own hand. On the acceflion of Sixtus V. Zucchero was 
 invited to Spain by Philip II. to paint the Efcurial, but his frefcos not 
 pleafing, he returned to Rome, and founded the academy of painting, 
 for which Gregory XIII. had given him a brief, and of which he was 
 elected the firft prince. Thefe expences however drained him fo much, 
 
 that 
 
 * There too by his hand was a picture of Venus pafling fentence on the boar 
 that had killed Adonis. It was fold for 25 /. at the fale of king Charles's collec- 
 tion. 
 
 f Vertue mentions a portiait of a marquis of Somerfet ; but there was no fuch 
 perfon in that reign. At Wilton is a Nativity by Taddeo and Frederic, and two 
 fmall portraits of Francis II. and Charles IX. of France, but thefe were not paint- 
 ed in England. 
 
154 Painters in the Reign of ^ueen Elizabeth. 
 
 that he again quitted Rome, and went to Venice * to print fome trea- 
 tifes that he had written on painting ; and iome poems too, for Zuo 
 chero was a poet like others of his profcfllon. From Venice he paffed 
 into Savoy, where he was favorably received by the duke for whom he 
 began to paint a gallery. Returning, he vifited Loreto, and died at 
 Ancona in 1616, aged 66, leaving the remains of his fortune to his 
 academy. 
 
 MARC GARRARDf 
 
 The fon of a painter of the fame names, was born at Bruges in 1561, 
 and practiced hiftory, landfcape, architecture and portrait. He engra- 
 ved, illuminated, and defigned for glafs-painters. His etchings for 
 Aefop's fables and view of Bruges were much efteemed. He came to 
 England not long after the year 1580, and remained here 'till his death 
 which did not happen 'till 1635, having been painter to queen Eliza- 
 beth and Anne of Denmark. 
 
 His works are very numerous, though not eafily known, as he never 
 ufed any peculiar mark. In general they are neat, the ruffs and habits 
 flifF, and rich with pearls and other jewels. His fleiri-colours are thhv 
 and light, tending to a blueifh tincture. 
 
 His proceflion of queen Elizabeth to Hunfdon-houfe has been en- 
 graved and defcribed by Vertue, who thought that part of the picture 
 
 of 
 
 * There he was competitor with Tintoret for painting the chapel of St. Rocho 
 Catal. raifonne des tableaux du Roi. vol. ii. p. 70. 
 
 f His name is written Gerhardus, Guerards, and Garrard. Among the Sid- 
 ney-papers at Penfhurft was a letter from Sir Robert Sidney to his lady about 
 1597, defiring her to go to Mr. Garrats, and pay him for the picture of her and 
 the children, fo long done and unpaid* 
 
to£l.P. J 43. 
 
Painters in the Reign of ^ueen Elizabeth 155 
 
 of Sir Thomas More's family at Burford might have been compleated 
 by this painter. 
 
 Garrard drew a proceflion of the queen and knights of the garter 
 in 1584, from whence Aftimole took his plate for the hiftory of that 
 order. The portraits, though fmall, have great refemblance, with 
 that uncommon fidelity of reprefenting the air, ftature and bulk of the 
 perfons exhibited. Vertue made a copy of this roll in water-colours, 
 which I bought at his fale. It is not quite compleat, the original not 
 having been entirely finifhed. 
 
 Garrard painted both prince Henry and prince Charles. Some 
 portraits of ladies by him are at lord Litchfield's at Ditchley. His 
 own picture was engraved by Hollar. 
 
 An introduction to the general art of drawing, firft fet out by Marc 
 Gerard of Bruges, was tranflated and publifhed in Engiifh, quarto, 
 1674. 
 
 HENRY CORNELIUS VROOM* 
 
 Was born in 1566 at Harlem, where his father was a ftatuary, of 
 whom and of his father-in-law, a painter of Florence, young Henry 
 learned to draw. His inclination led him firft to paint views of towns; 
 in that purfuit he went to Rotterdam, and foon after on board a Spa- 
 nifh ftiip to St. Lucar, and thence to Seville, where he lived a fhort 
 time with a Dutch performer, a painter of monkeys, called by the 
 Spaniards, a Pintemony : From thence to Florence and Rome, where 
 he fixed for two years and was employed by Cardinal de' Medici, and 
 became acquainted with Paul Brill. At Venice he ftaid a year, and 
 Vol. % R r paffing 
 
 * See Sandrart 274 and Defcamps 254. 
 
156 Painters in the Reign of ^ueen Elizabeth. 
 
 palling through Milan, Genoa, Turin and Paris, returned to Harlem, 
 where he employed himfelf on devout fubjects in little, and having 
 flocked himfelf with a quantity, again fet out for Spain, where he pro- 
 pofed to fell them, but was call away on a lmall ifland near the coaft of 
 Portugal. He and fome of the crew were relieved by monks that lived 
 among the rocks, and concluded to Lilbon, where relating the danger 
 he had efcaped, a paltry painter there engaged Vroom to draw the 
 ftorm he defcribed, in which he fucceeded fo happily, that it was fold 
 to a nobleman for a confiderable price. The Portuguefe painter was 
 charmed, and continued to employ Vroom, who improved fo much in 
 fea-pieces, that having got money, and returning home, he applied 
 himfelf entirely to that ftyle of painting. 
 
 At this period, the great earl of Nottingham, lord high admiral 
 of England, whofe defeat of the Spanifh Armada had eftablifhed the 
 throne of his miftrefs, being defirous of preferving the detail of that il- 
 luftrious event, had befpoken a fuit of tapeftry defcribing the particu- 
 lars of each day's engagement. Francis Spiering, an eminent maker 
 of tapeftry, undertook the work, and engaged Vroom to draw the de- 
 figns. The excellence of the performance, obvious to the public eye, 
 makes encomiums unneceflary. 
 
 It is pleafingly remarkable that there are two monuments of this 
 fort, and both finely executed, the tapeftry in queftion and the fuit at 
 Blenheim, monuments of two fignal victories, acquired by fea and 
 land, under the aufpices of two queens of the fame country, and both 
 gained in defence of the liberties of nations, attacked by two of the 
 moft powerfull princes, Philip II. and Louis XIV. 
 
 Vroom received an hundred pieces of gold for his labour : The arras 
 icfelf containing 708 ells Flemiih, at 10/. is. per ell, coft 1628/. which 
 
 was 
 
Painters in the Reign of ^ueen Elizabeth. 157 
 
 was paid by the crown to the earl in the 14th of king James— but it 
 was during the Republic that this noble trophy was placed in a temple 
 worthy of it.* 
 
 The painter came to England to receive inftructions and execute 
 his commiflion ; and contracting a friendfhip with Ifaac Oliver was 
 drawn by him : There is a print from that picture. 
 
 He returned to his own country, and painted a large picture, which 
 was much admired by prince Maurice, of the feventh day's action of 
 the fight above-mentioned. Vroom died rich, in what year is not 
 mentioned. 
 
 In the collection of king James II. were two fea-pieces, and in that 
 of Sir Peter Lely, a landfcape, both defcribed to be of old Vroom, 
 whence I fuppofe he had a fon who followed his profeflion, and his 
 ftyle too, as jn the former catalogue is mentioned a fea-piece with king 
 Charles coming from Spain, faid to be by Vroom, without the adjunct 
 of old. I find no other account of the fon, nor of his being in Eng- 
 land. 
 
 Thefe were the principal performers in oil in this reign : fome of 
 lefs note, and of whom but little is recorded, I mail mention at the 
 end of this chapter ; but firft I mail treat of the painters in miniature* 
 The name of 
 
 PETRUCCIO UBALDINI 
 
 Occurs in feveral places. f He appears to have been an illuminator on 
 vellom fome of his works in that kind are or were very lately extant : 
 
 As, 
 
 * See Journals of the Commons, January i, 1650. The houfe of Lords was 
 then ufed for committees of the Commons, 
 f Vertue fays he taught the Italian language. 
 
158 Painters in the Reign of ^ueen Elizabeth. 
 
 As the pfalms of David in folio: at the beginning the coat of arms 
 and fupporters of a nobleman, and facing it, king David on his knees. 
 At the end of the book this infcription ; 
 
 Petruccius Ubaldinus Florentinus Henrico comiti Arundeliae, Mae- 
 cenati fuo, fcribebat Londini M.D.LXV. 
 
 Another book of vellom, written and illuminated by the fame per- 
 fon, containing the fentences of fcripture painted in the I ord Keeper's 
 gallery at Gorhambury.* This book was made by order of Sir Ni- 
 cholas Bacon, and by him prefented to the lady Lumley. 
 
 Another, containing various kinds of writing, chiefly in the Italian 
 language, very neatly executed. This was in the Cotton library. 
 
 There were befides, in the king's library, (moft of them now in the 
 Mufeum) Scotiae defcriptio aDeidonenfi quodam facTo A. D. 1550. et 
 per Petruccium Ubaldinum tranfcripta A. D. 1576. in charta. 13. 
 A. viii. 
 
 Petruccio Ubaldino, un libro d'efiemplari. carta. 14. A. i. 
 
 un libro della forma et regola dell' eleggere e coronare gli 
 
 imperadori. carta 14. A. viii. 
 
 comentario del fucceflb dell' armata Spagnuola, &c. 14. 
 
 A. x. 
 
 —dell* 
 
 * This gallery and the infcriptions are ftill extant at the houfe, now lord 
 Grimfton's near St. Alban's, where are feveral curious portraits, a large flatue of 
 Henry VIII. in armour, bufts of Sir Nicholas Bacon and his lady, and of lord 
 Bacon when a boy. This manfion was built by the Keeper, and much improv- 
 ed by Sir Francis Bacon, who added Italian porticos, and loggias, but artfully pre- 
 ferved from being too diflbnant from the older parts of the building. It is a fweet 
 retirement, without orientation, and adapted to his motto, Mediocria firma. It 
 was purchafed by Sir Harbottle Grimfton, and much of the old furniture the pur- 
 ehafers and prefent pofTeflbrs have had the good taile to preferve. 
 
Painters in the Reign of £>ueen Elizabeth. 159 
 
 - — dell' imprefa fatta contro il regno d'Inghilterra dal re Cat- 
 
 tolico. &c. fcritta da Petruccio Ubaldino cittadino Florentino, in Lon- 
 dra, il di 15 d' Aprile 1589. 14. A. xi. 
 
 Le vite et i fatti di fei donne illuftri. 14. A. xix.* 
 Another Italian book, prefented by Petruccio to the queen, is in the 
 Bodleian library. 
 
 Petruccio feems to have been in favour at court; he is frequently 
 mentioned in the rolls of new-year's gifts, which ufed to be repofited 
 in the jewel- office, and in which the names of Hilliard, Oliver and 
 Marc Garard do not appear. 
 In the 2 1 ft year of Elizabeth — 
 
 To Petruccio — vl. 
 He returns, a book of Italian, with pictures to the life, and meta- 
 morphofis of Ovid. 
 
 Another in 1585, by Petruccio Ubaldini, a pedigree: To him, gilt 
 plate five ounces. 
 
 In 1588, To Petruccio in gilt plate five ounces: He returned, a 
 book covered with vellom, of Italian. 
 
 Vol. I. S f In 
 
 * He publifhed a book of this kind, intituled, Le Vite delle Donne illuftri del 
 regno d'Inghilterra, e del regno di Scotia, e di quelle, che d'altri paefi nei due det = 
 ti regni fono ftate maritate. Thin quarto, London, printed by John W olf 159 1. 
 To give an idea of Petruccio's talents for hiftory, it will fuffice to produce two oi 
 his Heroines. The firir. was Chenibrigia, daughter of Gurguntius, fon of king 
 Bellinus, who having married one Cantabro, founded a city, which from a mix- 
 ture of both their names was called Cambridge. The other illufirious lady he 
 ftyles exprefsly Donna fenza name. As the reader may be curious to know T who 
 this namelefs yet illuftrious lady, who deferved to have her life written, was, It is 
 the mother of Ferrex and Porrex in lord Dorlefs Gorboduc, who becaufe one of 
 her fons killed the other, that was her favorite, killed a third fon in a paflion. 
 
1 60 Painters in the Reign of ^ueen Elizabeth. 
 
 In one of thefe rolls Mr. Sidney (the famous Sir Philip) prefents the 
 queen at new-year's tide with a whip fet with jewels, and another time 
 wuh a cattle enriched with diamonds. 
 
 NICHOLAS H1LLIARD 
 
 Limner, jeweller and goldfmith to queen Elizabeth and afterwards to 
 king James, was fon of Richard Hilliard of Exeter, high flierifF of 
 that city and county in the year 1560. Nicholas (I fuppofe a younger 
 fon) was born in 1547, and brought up to the bufmefs of a jeweller 
 and goldfmith, to which his inclination foon added that of painting in 
 miniature. The want of an able inftru&or directed him to ftudy the 
 works of Holbein, as he fays in a MS. I mall mention ; " Holbein's 
 manner of limning I have ever imitated and hold it for the beft." But 
 though Hilliard copied the neatnefs of his model, he was far from at- 
 taining that nature and force which that great matter imprefled on his 
 moft minute works. Hilliard arrived at no ftrength of colouring; his 
 faces are pale, and void of any variety of tints, the features, jewels 
 and ornaments expreffed by lines as (lender as a hair. The exact drefs 
 of the times he curioufly delineated ; but he feldom attempted -beyond 
 a head, yet his performances were greatly valued ; Dr. Donne in his 
 poem on the ftorm in which the earl of EfTex was furprized returning 
 from the ifland voyage, fays, 
 
 a hand or eye 
 
 By Hilliard drawn, is worth a hiftory 
 
 By a worfe painter made — 
 And Peacham on limning fays, " comparing ancient and modern 
 painters, brings the comparifon to our own time and country ; nor 
 
 mutt. 
 
Nicholas Milliard. 
 
 ietatis iiise 30. i^yy 
 
 ^Jr<?/ns as fanning a/ 7^t7<r///,//\r£ . 
 
Painters in the Reign of ^ueen Elizabeth. 1 6 1 
 
 mufl I be ungratefully nnmindfull of my own countrymen, who have 
 been and are able to equal the beft if occafion ferved, as old Hilliard, 
 Mr. Ifaac Oliver, inferior to none in Chriftendome for the countenance 
 in fmall, Sec. " * Richard Heydock too of new college Oxon, in his 
 tranflation of Lomazzo on painting, publifhed in 1598, fays, " Lim- 
 ning?, much ufed in former times in church-books, as alfo in drawing 
 by the life in fmall models ; of late years by fome of our countrymen, 
 as Shoote, Betts, Sec. but brought to the rare perfection we now fee, by 
 the moft ingenious, painfull and fkilfull mailer, Nicholas Hilliard> 
 and his well-profiting fcholar, whofe farther commendations I refer to 
 the curiofitie of his works. " 
 
 The fame author in another place mentioning " Mr, N. Hilliard fo 
 much admired by ftrangers as well as natives, adds, " to fpeak truth 
 of his ingenious limnings, the perfection of painting (in them is) fo 
 extraordinary, that when I devized with myfelf the beft argument to 
 fet it forth, I found none better than to perfuade him to do it himfelf 
 to the view of all men by his pen, as he had before unto very many by 
 his learned pencil, which in the end he affented to and by me promif- 
 eth a treatife of his own practice that way, with all convenient fpeed." 
 This tract Hilliard actually wrote but never publifhed. Vertue met 
 with a copy of it, which I have among his MSS.f 
 
 Blaife Vigenere mentions Hilliard and the neatnefs of his pencil 
 very particularly •, " Telle eftoit auffi Pecriture et les traits d'un pein- 
 tre Anglois homme Oeillarde, d'autant plus a emerveiller, que cela fe 
 faifoit avec un pinceau fait des poils de la queue d'un efcurieul, qui ne 
 
 refifte 
 
 * See an account of him in Wood's Athenae vol. ii. p. 296. 
 + An extract of it is in Brown's Ars pictoriap. 95. Lond. 1675. and fome of 
 his receipts in Sanderfon's Graph ice. 
 
1 6 2 Painters in the Reign of 'Queen Elizabeth. 
 
 refifte ni ne foutient pas comme feroit une plume de corbeau, qui eft 
 
 tres ferme." 
 
 Milliard's portrait, done by himfelf at the age of thirteen, was in the 
 cabinet of the earl of Oxford. He was ftill young when he drew the 
 queen of Scots. Queen Elizabeth fat to him often. Charles L had 
 three of her portraits by him, one, a fide face in the clouds, another, 
 one of his mod capital performances, a whole length of her in her 
 robes fitting on her throne. In the fame collection were feveral more 
 of his works, particularly a view of the Spanifh Armada •, and a curi- 
 ous jewel, containing the portraits of Henry VII. Henry VIII. Edward 
 VI. and queen Mary; on the top was an enamelled reprefentation of 
 the battle of Bofworth, and on the reverfe, the red and white rofes. 
 This jewel was purchafed by the king of Hilliard's fon. 
 
 In the effay towards an Englifli fchool of painters, * it is faid that 
 Mr. Fanlhaw had the portraits of f Hilliard and his father, finely ex- 
 ecuted, with infcriptions on gold letters -> on the former 
 
 Nicolas Hilliardus, aurifaber, fculptor et Celebris illuminator fere- 
 niffimae reginae Elizabethae, anno 1577. aet. fuae 30. 
 
 On the other, 
 
 Ricardus Hilliardus, quondam vicecomes civitatis et comitatus Ex- 
 oniae, anno 1560, aetatis fuae 58, annoque Domini 1577.+ 
 
 Hilliard 
 
 ■* Printed in 1706 at the end of the tranflation of De Piles Art of Painting. 
 See p. 430. 
 
 -f Vertue fays he faw them afterwards in the polTemon of the laft Sidney earl of 
 Leicefter, and that they were then taken out of the old frames, and fet in a fnuff 
 box. Mr. Simon Fanfhaw is in polTeflion of two fuch heads, which have been 
 thought the very pictures, and are undoubtedly of Hilliard's beft manner,, 
 though one has no infcription, and the other only the date of the year and the age. 
 
 But 
 
Painters in the Reign of ^ueen Elizabeth. 163 
 Milliard continued in vogue during this reign, and great numbers of 
 portraits by his hand, efpecially of ladies, are extant. He obtained 
 (till greater favour from king James, drawing his majefty's and prince 
 Henry's pictures and receiving a patent, printed by Rymer, to this 
 effect, 
 
 Whereas our well-beloved fervant Nicholas Milliard, gentleman, 
 our principal drawer of fmall portraits, and emboffer of our medals in 
 gold, in refpect of his extraordinary fkill in drawing, graving, and 
 imprinting, &c. we have granted unto him our fpecial licence for 
 twelve years, to invent, make, grave and imprint any pictures of our 
 image or our royal family, &c. and that no one do prefume to do, 
 without his licence obtained, &c. 
 
 This grant was of great emolument to him, as about that time he 
 engraved many fmall plates and fold licences for others, with the heads 
 of the king and royal family, which were then and are ftill ufed for 
 counters. Simon Pafs and other engravers were employed by him in 
 thefe works. 
 
 Hilliard died January 7, 1619, and was buried in St. Martin's 
 church in the fields, Weftminfter (as appears by the regifter) in which 
 parifh he had a houfe. He made his will * in the preceding Decem- 
 ber, leaving twenty millings to the poor of the parifh ; to his lifter 
 Anne Avery twenty pounds of thirtyf that were due of his penfion; 
 the remaining ten pounds to his other fifter ; fome goods to his fer- 
 vant maid ; and all the reft of his effects, plate, jewels, rings, &c. to 
 Vol. L T t his 
 
 But lord Leicefter gave the fnuff-box in queftion to marfhal Sir Robert Rich, in 
 whofe pofTeflion it remains with the pictures. I have a duplicate of the father* 
 
 * From the remitter in Doctors Commons. 
 
 \ He had the fame falary as Holbein, 
 
1 64 Painters in the R}ign ofS>ueen Elizabeth. 
 
 his fon Laurence Milliard, his fole executor. But the greateft obliga- 
 tion we have to Hilliard is his having contributed to form * 
 
 JSAAC OLIVE R.f 
 
 Hitherto we have been obliged to owe to other countries the beft 
 performances exhibited here in painting. But in the branch (miniature) 
 in which Oliver excelled, we may challenge any nation to ftiow a greats 
 er mafter, if perhaps we except a few of the fmaller works of Holbein. 
 Don Julio Clovio, the celebrated limner, whofe neatnefs and tafte in 
 grotefque were exquifite, cannot be compared with Jfaac Oliver, be- 
 caufe Clovio never painted portraits, and the latter little elfe. Petitor, 
 whofe enamels have exceeding merit, perhaps owed a little of the beau- 
 ty of his works to the happy nature of the compofition : We ourfelves 
 have nobody to put in competition with Oliver, except it be our own 
 
 Cooper 
 
 * John Betts, whom I have mentioned as painting the portrait of Sir John 
 Godfalve, is faid by Vertue to have learned of Hilliard, and is called Designer 
 in Hall's chronicle about the year 1576, where too is mentioned one Tyrrel, p 
 carver in wood. 
 
 t I muft not difguife, that, though Oliver was probably born in England, he 
 was in all likely hood of French extraction : In his will he fpells his name Oliver, 
 but on his drawings writes it Olivier. Vertue found mention of one tC Aubin 
 Olivier natif de Boify, inventeur des engins de monoyes a Moulins and in Pal- 
 mer's Hiftory of Printing, p. 274, are accounts of Peter Olivier printer at Caen 
 in Normandy 1515, and of Jean Olivier printer in the fame city 1521. But 
 Hondius, Sandrart, and all the writers who mention him, call him an Englifh- 
 man, and it is an additional confirmation of his Englifh birth, that he wrote in 
 that language a treatife on limning, partly printed in Sanderfon's Graphice; in 
 jais pocket-book was a mixture of French and Englifh. 
 
Painters in the Reign of ^ueen Elizabeth. 165 
 
 Cooper, who, though living in an age of freer pencil and under the au- 
 fpices of Vandyke, fcarce compenfated by the boldnefs of his exprel 
 fion, for the truth of nature and delicate fidelity of the older mailer* 
 Oliver's fon, Peter, alone approached to the perfection of his father. 
 
 Of the family of Jfaac Oliver I find no certain account ; nor is it of 
 any importance ; he was a genius \ and they tranfmit more honour by 
 blood than they can receive. After ftudying under Hilliard, he had 
 fome inflru&ions from Zucchero ; Vertue even thought, from variety 
 of his drawings after the great mailers, efpecially Parmegiano, that he 
 had been in Italy. For whatever elfe relates to him, let his works 
 fpeak. 
 
 Dr. Meade pofifefTed fome of the moft capital ; as Oliver's own por- 
 trait, extremely fmall \ the head of the queen of Scots,* an admirable 
 piece, though very doubtfull whether of her *, queen Elizabeth, pro - 
 file; Henry prince of Walesf, Ben JohnfonJ; and the whole length 
 of Sir Philip Sidney, fitting under a tree. All thefe were purchafed 
 by the late prince of Wales. I have another portrait of Oliver him- 
 felf, larger than that of Dr. Meade's, and without a hat, bought at 
 Mr. Barret's fale. This picture alone would juftify all I have laid of 
 him. The art of the mailer and the imitation of nature are fo great in 
 it, that the largeft magnifying glafs only calls out new beauties. || 
 
 At 
 
 * Zink made an exceedingly fine copy of this in enamel, purchafed by his 
 Royal Highnefs the Duke of Cumberland. It is engraved in Jebb's collections. 
 
 f There are one or two others of this prince by the fame hand. 
 
 X It is engraved among the illuftrious heads, but is very unlike the old pictures 
 and prints of that poet. 
 
 || Col. Sothby has another larger, and containing only the head, but bold, and 
 admirably painted. 
 
1 66 Painters in the Reign of ^tteen Elizabeth. 
 
 At the lord Montacute's at Coudray is another invaluable work of 
 Jfaac. It reprefents three brothers of that lord's family, whole lengths, 
 in black: their ages twenty-one, twenty-four, and eighteen, with the 
 painter's mark (^). Thefe young gentlemen refembled each other 
 
 remarkably, a peculiarity obferveable in the picture, the motto on 
 which is, Figurae conformis affectus, 1598.* another perfon is coming 
 into the room, aged twenty-one. The picture is ten inches by feven. 
 
 His painting of James I, ferved Rubens and Vandyke, when they 
 had occafion to draw that prince after his deceafe. 
 
 In an office- book of the lord Harrington treafurer of the chambers, 
 - in the pofTeflion of the late Dr. Rawlinfon, was an entry of payment to 
 Jfaac Oliver picture-drawer, by a warrant dated at Lincoln April 4, 
 '161 7, for four feveral pictures drawn for the prince's highnefs as ap- 
 peareth by a bill thereunto annexed, 40/. 
 
 In king Charles's catalogue are accounts of feveral of his works : 
 king James II. had ftill more ; the earl of Arundel many. He drew 
 a whole length of Robert earl of EfTex in white, and heads of him 
 feveral times, and of many others of the nobility ; but his works are 
 much fcarcer than thofe of his m after Hilliard. 
 
 Colonel Sothby has a fine Magdalen by him, and the duchefs of 
 Portland a head of Chrift, that was Dr. Meade's. 
 
 Of his drawings feveral are extant, particularly a capital one in 
 queen Caroline's clofet at Kenfington > the fubject, the placing of 
 
 Chrift 
 
 * Vertue met with a print, from whence he fuppofed Oliver borrowed his de- 
 ftgn. It was infcribed, Colignaei Fratres, Odetus, Gafpar, Francifcus. 
 
Painters in the Reign of ^ueen Elizabeth 167 
 
 Chrifl in the fepulchre, confiding of twenty-fix figures. * This piece 
 which Jfaac had not compleated, was finifhed by his fon, and is dated 
 j 6 16. Another, a large drawing, the murder of the Innocents, on 
 blue paper heightened, after Raphael. Verme faw a print of the hif- 
 tory of St. Laurence, touched and heightened by Oliver with great 
 fkiil. 
 
 He did not always confine himfelf to water-colours. There are in- 
 ftances of his working in oil. In this manner he painted his own, his 
 wife's, and the portraits of his children ; a head of St. John Baptift on 
 board-, and the holy family.-)- Vertue commends thefe much: as I ne- 
 ver faw them, I can give no other account of his fuccefs in this way, 
 than that the works I have feen in oil by him are but indifferent. 
 
 Jfaac Oliver died at his houfe in the Black-friars London, in 1617 
 aged fixty-one or fixty-two. He was buried in St. Anne's church in 
 that parifh, where his fon erected a monument to his memory, with his 
 buft in marble-J By his will (in the Prerogative- office) proved in 
 October, and executed in the preceding June, he bequeathed to his 
 wife the third of his effects, and the leafe of his houfe in Black-friars ; 
 excepting only to his eldeft fon Peter, all his drawings, limnings, hifto- 
 Vol. I. U u rical 
 
 * Mr. Hollis has a fine drawing of the fame, infcribed Jfa. Ollivier, which he 
 bought at Vertue's fale. It has been retouched in feveral places. 
 
 -j- Four heads on board in oil, by Oliver, are at lord Guildford's at Wroxton. 
 Thefe Vertue owns have a little of the ftiffnefs of miniature, though at the fame 
 time very neat. Lord Oxford had the famous feamanT. Cavendifh and Sir Philip 
 Sidney, by Oliver, in oil : the laft is now lord Chefterfield's : the former is at 
 Welbeck. 
 
 J The monument and bufl were deflroyed in the great fire in 1666, but a mo- 
 del of the latter is probably extant, Vertue having feen it. 
 
V 
 
 j 68 Painters in the Reign of ^ueen Elizabeth. 
 
 rical or otherwife, finifhed, or unfmifhed, of his own handy-works, or 
 in cafe of Peter's death, to any of his other fons that fhould follow his 
 profeflion. All the other two parts of his effects, to be fold and equally 
 divided between his fons and a daughter. His other paintings or col- 
 lections to be fold, allowing his fon Peter to purchafe whatever he 
 pleafed thereof at five fhillings per pound lefs than the true or genuine 
 value of them. His wife he left fole executrix ; his fon Peter and two 
 other gentlemen truftees. 
 
 Hondius, in his collection of artifts of that age, has given the por- 
 trait of Oliver, with thefe lines, which are poor enough, 
 
 Ad vivum laetos qui pingis imagine vultus, 
 
 Olivere, oculos mirifice hi capuint. 
 Corpora quae formas jufto haec exprefla colore, 
 
 Mul turn eft, cum rebus convenit ipfe color. 
 
 Vertue found another in a MS. treatife on limning, the author un- 
 known, but the epitaph which follows, was infcribed, " On my dear 
 coufin, Mr. Jfaac Oliver." 
 
 Qui vultus hominum, vagafque formas 
 Brevi defcribere doctus in tabella, 
 Qui mundum minimum typo minore 
 Solers cudere mortualque chartas 
 Felici vegetare novit arte, 
 Ifaacus jacet hie Olivarius, 
 Cujus vivifica manu paratum eft, 
 Ut nihil prope debeant Britanni 
 Urbino, Titianoque, Angeloque. 
 
 Befides 
 
Painters in the Reign of ^ueen Elizabeth. 169 
 
 Befides thefe principal, there were feveral other artifts in this reign, 
 of whom there are only flight memorials. I mall throw them together 
 as I find them, without obferving any particular method.* 
 
 At the duke of Bedford's at Woburn is a portrait of Elizabeth 
 Bruges, daughter of the lord Chandois, with this infcription, Hiero- 
 nymus Cuftodio, Antwerpienfis fecit 1589. The colouring is flat and 
 chalky. 
 
 On the picture of the murder of the lord Darnley at Kenfington is 
 the name of the painter, but fo indiftinct, that Vertue who engraved it,, 
 could not be fure whether it was Levinus Vogelarius or Venetianus. As 
 it is as little certain whether the picture was painted in England, Scot- 
 land, or abroad, no great ftrefs can be laid on this painter, as one of 
 queen Elizabeth's artifts. Vertue thought he might be the fame per- 
 fon with Levino, nephew of Pordenone, of whofe hand king Charles 
 had a picture. 
 
 At 
 
 * Vertue had feen on a large fkin of velom a plan of the town and bounda- 
 ries of Dunwich in Suffolk, with it's churches, adjacent villages, &c. and feveral 
 remarks, made by Radulphus Aggas in March 1589. Whether this perfon was 
 a profefled painter does not appear ; but from him was probably defcended Ro- 
 bert Aggas, commonly called Augus, " who, fays Graham in his Englifh fchool, 
 p. 398, was a good landfcape-painter both in oil and in diftemper, and was fkill- 
 full in architecture, in which he painted many fcenes for the playhoufe in Co- 
 vent-garden. " Few of his works are extant; the beft is a land fc ape prefented 
 by him to the company of painter-ftainers, and {till preferved in their hall, with 
 other works of profeffors, whofe dates I cannot aflign. Robert Aggas died in 
 
 London in 1 679, aged about fixty but I know not what the author I quote 
 
 means by a playhoufe in Covent-garden before the year 1679 1 fuppofe it 
 
 ftiould be the theatre in Dorfet-gardens. 
 
170 Painters in the Reign of ^ueen Elizabeth. 
 
 At the fame time refided here one Le Moyne, called * Le Mor- 
 gues, who is mentioned by Hackluyt in his tranflation of Laudonnie- 
 re's voyage to Florida, vol. iii. p. 300. " Divers things of chiefeft 
 importance at Florida drawn in colours at the charge of Sir Walter 
 Raleigh by that fkillfull painter James Morgues, fome time living in 
 the Blackfryars London, he whom monfieur Chatillon, then Admiral 
 of France, lent thither with Laudonniere for that purpofe." 
 
 We have feen in the life of Hilliardthat Shoote and Bettes are men- 
 tioned as painters in miniature. The former I fuppofe was John Shute, 
 who ftyles himfelf paynter and architecle in a book written and pub- 
 limed by him in folio in 1563, called, The firft and chief groundes of 
 architecture, ufed in all the auncient and famous monyments, with a 
 farther and more ample difcourfe uppon the fame, than hitherto hath 
 been fet out by any other. The cuts and figures in the book are in a 
 better ftyle than ordinary, the author, as he tells the queen in the dedi- 
 cation, having been fent into Italy in 1550 by the duke of Northum- 
 berland, (in whofe fervice he had been) and who maintained him there 
 in his ftudies under the beft architects. This perfon publimed another 
 work, intituled, Two notable commentaries, the one of the original of 
 the Turks, &c. the other of the warres of the Turke againft George 
 vScanderbeg, &c. tranflated out of Italian into Englilh. Printed by 
 Rowland Hall i^6i.f Of Bettes, there were two of the name, Tho- 
 mas and John, who, with feveral other painters of that time, are men- 
 tioned by Meres in his fecond part of Wit's Commonwealth, publifhed 
 in 1598 at London. " As learned Greece had thefe excellent artifts 
 
 renowned 
 
 * Indorum Floridam provinciam habitamium Icones primum ibidem ad vivura 
 expreffae a Jacopo Le Moyne cui nomen De Morgues 159 1, 
 -f Ames's Hiftory of Printing p. 217. 
 
Painters in the Reign of ^ueen Elizabeth. 171 
 
 renowned for their learning, fo England has thefe, Milliard, Jfaac Oli- 
 ver and John de Cretz, very famous for their painting. So as Greece 
 had moreover their painters, fo in England we have alfo thefe, William 
 and Francis Segar brethren, Thomas and John Bettes, Lockie, Lyne, 
 Peake, Peter Cole, Arnolde, Marcus (Garrard) Jacques de Bruy, Cor- 
 nelius, Peter Golchi, Hieronimo (de Bye) and Peter Vandevelde. As 
 Lyfippus, Praxiteles and Pyrgoteles, were excellent engravers, fo have 
 we thefe engravers, Rogers, Chriflopher Switzer and Cure." I quote 
 this paffage to prove to thofe who learn one or two names by rote, that 
 every old picture they fee is not by Holbein, nor every miniature by 
 Hilliard or Oliver. By Nicholas Lockie, mentioned in this quotation, 
 there are feveral portraits ; Dr. Rawlinfon had one of Dr. John King 
 bifhop of London, from which Simon Pafs engraved a plate. Stowe 
 mentions one matter Stickles, an excellent architetl of that time, who 
 in 1596, built for a trial a pinnace that might be taken to pieces. 
 Chron. p. 769. 
 
 In the lift of new-year's gifts to Queen Elizabeth, Bartholomew 
 Campaine prefents one piece of cloth of filver ftained with the half 
 figure of Henry VIII. This might be the fame perfon with one Cam- 
 pion, an engraver or chafer of plate, whofe name is prefervcd in an old 
 inventory of the goods, chattels, jewels, &c. of the earl of Su/Tex 
 taken at his death in 1583. There appear the names of the following 
 artifts \ amongft the gilt and filver plate, one great pair of gilt vafes 
 richly wrought by Derick others made by Campion. Pots engraven 
 and made by Martin, many other vefTels by Derick, and others by 
 Metcalfe. 
 
 The contract for the tomb of this great peer, Thomas Radcliffe 
 earl of Sufiex, lord chamberlain to the queen and a fignal antagonift 
 Vol. I. X x of 
 
172 Painters in the Reign of Queen Elizabeth. 
 
 of Leicefter, is ftili extant.* He bequeathed 1500/. to be expended 
 on it; and his executors, Sir Chriftopher Wray, lord chief juftice of 
 her majefty's bench, Sir Gilbert Gerard, matter of the rolls, Sir Tho- 
 mas Mildmay and others, agreed with Richard Stevens for the making 
 and fetting it up in Boreham church in Suffolk, where it fliil remains. 
 The whole charge paid to Stephens for his part of the work was 
 292/.— 1 2 J.— 8 d. In a lift of debts to be paid after the earl's death 
 by his executors, one was to f Horatio Palavicini ; probably for a 
 
 fet 
 
 * This contract and inventory Vertue faw among the MSS. of Peter Leneve 
 Norroy, a great antiquarian. I do not doubt but confiderable difcoveries might 
 be made of our old artifts, particularly architects, from papers and evidences in 
 ancient families. 
 
 t Sir Horatio Palavicini was collector of the pope's taxes in England in the 
 reign of queen Mary, on whofe death, and the change of religion that enfued, he 
 took the liberty of keeping the money himfelf, and fettling in England, he built a 
 houfe in the Italian flyle with a loggia to the fecond ftory with his arms over the 
 portal, at Little Shelford ; which was pulled down in 1750. He was alfo pof- 
 feflbr of the eftate and houfe at Baberham near Cambridge, where in the hall, on 
 a coftly chimney-piece, adorned with the hiflory of Mutius Scasvola, his armsftill 
 remain. His family were buried at Baberham, as appears by feveral entries in 
 the parifh regifter, where alfo is recorded the marriage of his widow (exactly a 
 year and a day after Sir Horatio's death who died July 6, 1600) thus, Mr. Oliver 
 Cromwell and the lady Anne Palavicini were married July 7, 1601." In a MS. 
 of Sir John Crew of Uthington, a great antiquary and herald was this epitaph, 
 corroborative of the tradition .abovementioned ; 
 
 Here lies Horatio Palavazene, 
 
 Who robb'd the pope, to lend the queene. 
 
 He was a theif : a theif! thou lyeft ; 
 
 For whie ? he robb'd but Antichrift. 
 
 Him 
 
Painters in the Reign of^ueen Elizabeth. 173 
 
 fti of hangings mentioned in the inventory, and 6/. — i6j.— od. to 
 Randolph the painter. 
 
 Richard Stephens above-mentioned was a Dutchman, and no com- 
 mon artift. He was a ftatuary, painter and medallift. The figures 
 on lord SiuTex's tomb were his work, and in a good ftyle. In the fa- 
 mily of Lumley are fome portraits painted by him,* and among other 
 accounts fome of his receipts, as there are too in the porTeflion of the 
 duke of Devonfhire, which makes it highly probably that the curious 
 portraits at Hardwicke of queen Elizabeth, in a gown embroidered 
 with fea-monfters, the queen of Scots, both at whole length, and others, 
 were painted by this Richard Stevens. But his beft performances 
 feem to have been his medals, which are bold and in good tafle. Mr. 
 Bryan Fairfax had one with a lady's head in the drefs of the times, 
 and this legend, 
 
 Anna 
 
 Him Death wyth befome fwept from Babram 
 Into the bofome of oulde Abraham : 
 But then came Hercules with his club, 
 And ftruck him down to Belzebub. 
 
 In Peck's Defiderata Curiofa vol. ii. p. 52. lib. 7. it is faid that when the 
 lord Arundel was imprifoned by queen Elizabeth for accepting the title of cOunt 
 of the empire, he referred his cafe to Sir Horatio and others, adding thefe words 
 in his letter to one of the principal lords of the court ; " Neither doe I thinke 
 England to be fo unfurnimed of experienced men, but that either Sir Horatio 
 Palavicini, Sir Robert Sidney, Mr. Dyer, or fome other, can witnefs a truth 
 therein." 
 
 * Particularly John lord Lumley 1590. When Jervafe faw this picture (on 
 which the name of Stephens appears) it was fo well coloured, and fo like the man- 
 ner of Holbein, that he concluded many pictures afcnbed to that matter are the 
 works of Stephens, • 
 
174 Painters in the Reign of ^ueen Elizabeth. 
 
 Anna Poines, uxor Thomae Heneage-, under the buft, 1562. Ste. 
 H. F. that is, Stephens, Hollandus, fecit. 
 
 Dr. Meade had two more, one of William Parr marquis of North- 
 ampton; the other of Robert Dudley earl of Leicefter, engraved in 
 Evelyn's difcourfe on Englifh medals. That author fays, that when 
 Leicefter quitted Holland, he caufed feveral medals to be engraved, 
 which he gave to his friends there. The medal in queftion is remark- 
 able for the impertinence of the reverfe; fheep grazing, and a dog 
 turning from them under his feet, Invitus defero-— round, Non 
 gregem fed ingratos. Vertue mentions others by the fame workman, 
 of the earl of Pembroke and Sir Thomas Bodley. 
 
 Robert Adams, furveyor of the queen's buildings, feem to have 
 been a man of abilities. I cannot fpecify his works in architecture, 
 but there are two plans extant that he published-, one is a large print 
 of Middleburgh dated 1588; the other, of the fame date, is a fmall 
 parchment roll, drawn with the pen and intituled Thamefis Defcriptio; 
 (hewing by lines crofs the river how far and from whence canon-balls 
 may obftrucl: the paflage of any fliip upon an invafion, from Tilbury 
 to London, with proper diftances marked for placing the guns. Adams 
 was buried in an ifle on the north fide of the church of Greenwich 
 with this infcription ; Egregio viro, Roberto Adams, operum regio- 
 rum fupervifori, architecture peritiffimo. ob. 1595. Simon Bafil, 
 operationum regiarum contrarotulator hoc pofuit monumentum 1601. 
 
 Valerio Belli, called Valerio Vicentino, was a celebrated engraver of 
 precious ftones ; Felibien fays,* if his defigns were equal to his execu- 
 tion, he might be compared with the ancients. He engraved cafkets 
 and vafes of rock chryftal for pope Clement VII. and performed an 
 
 infinite 
 
 * Vol. ii. p. in. 
 
Painters in the Reign of ^iteen Elizabeth. 175 
 
 infinite number of other works. He certainly was in England in this 
 reign, and carved many portraits in cameo. Dr. Meade had a fine 
 buft of queen Elizabeth on onyx,* alto relievo in profile, and very 
 large, by the hand of this mailer. I have a jewel by him, containing 
 the head of lord treafurer Burleigh, affixed to the back of an antique 
 intaglia of Caracalla, and appendant to it, a fmaller head of the queen, 
 both in cameo on onyx. The duke of Devonfhire has feveral of his 
 works: Two f profiles in cameo of queen Elizabeth; another gem with 
 the head of Edward VI. cameo on one fide, and intaglia on the other; 
 and two pieces of chryftal with intaglias of feveral figures from the an- 
 tique. To thefe two laft is the fculptor's name. 
 
 The duchefs of Leeds has a fingular curiofity by this hand ; it is a 
 pebble, in the fhape of an oblong button; the upper fide, brown, and 
 very convex; the under, red and white, and fomewhat concave. On 
 the top is a profile of queen Elizabeth, incircled with foliage : at bot- 
 tom, a knight, compleatly armed, in the act of tilting: on the back 
 ground the front of a caftle with columns ; on the bafes of which 
 are the fyllables, Ef-— fex ; intimating the earl to be her majefty's 
 knight. In the mufeum Trevifanum is a medalion of him in marble, 
 another fmaller in copper ; on the back of it Valerio Belli Vicentino, 
 and a third of his fon, dated 1572. 
 
 Among the Harleian MSS. is a lift of jewels belonging to queen 
 Elizabeth ; Item, a flower of gold garnilried with fparkes of diamonds, 
 rubyes and ophals, with an agath of her majeftie's vifnomy and a perle 
 pendante with devifes painted on it given by eight mafkers in the 
 Chnftmas week anno regni 24. The agate was perhaps the work of 
 Vicentino. 
 
 Vol. I. Y y It 
 
 * Lord Charlemont bought it at Dr. Meade's fale, 
 t The earl of Exeter has alfo one or two. 
 
176 Painters in the Reign of ^ueen Elizabeth. 
 
 It is certain, though the queen's oeconomyorwant of tafte reftrained 
 her from affording great encouragement to genius, that the riches and 
 fiouriming fituation of the country offered fufficient invitations to the 
 arts. Arcbifhop Parker retained in his fervice at Lambeth a printer, 
 a painter and more than one engraver. Of the latter, the principal 
 were Berg or Hogen Berg, and Lyne above-mentioned, who was pro- 
 bably his painter too. Prefixed to the archbifhop's life, printed at 
 Lambeth, is a cut of his grace, inferibed, R. Berg f. Above twenty 
 books were publimed by the archbifhop from his own printing-houfe: 
 two only have this head. At Ruckolt in the parifh of Low-layton in 
 EfiTex (the manfion of the Hicks's) was a large genealogy of the kings 
 of England from the conqueft to queen Elizabeth, with all the line of 
 France and England under thefe two titles, Linea Valefiorum et Linea 
 Angliae ; at bottom the workman's name, Remigius Hogenbergius, 
 fervusD. Matt, archiep. Cant, fculpfit 1574.* 
 
 There was another filch genealogic chart, intituled, Regnum Britan- 
 niae tandem plene in Heptarchiam redactum a Saxonibus, expulfis 
 Britannis, &c, A 0 . 686. executed in wood very plain and well: the 
 name, Richardus Lyne, fervus D. Matth. archiep. Cant, fculpfit 
 *574- 
 
 One Lyly too is mentioned as curious in copying the hands of an- 
 cient deeds, who was employed by the fame patron. 
 
 D. John Twifden, a divine of that age, was himfelf a performer in 
 painting. He died at the age of eighty-five in 1588. Vertuewas 
 mowed a fmali portrait of him neatly done by himfelf in oil on cop- 
 per about forty years before his death. 
 
 But 
 
 * Ames's Typograph. antiqu. p. 540. 
 
Painters in the Reign of ^ueen Elizabeth 177 
 
 But there was one gentleman in this reign, who really attained the 
 perfection of a matter, Sir Nathaniel Bacon * knight of the Bath, a 
 younger fon of the keeper, and half brother of the great Sir Francis, 
 He travelled into Italy and ftudied painting there-, but his manner and 
 colouring approaches nearer to the ftyle of the Flemifli fchool. Peach- 
 am on limning p. 126, fays, " But none in my opinion deferveth 
 more refpect and admiration for his fkill and practice in painting than 
 matter Nathaniel Bacon of Broome in Suffolk (younger fon to the molt 
 honorable and bountifull-minded Sir Nicholas Bacon) not inferior in 
 my judgment to our fkillfulleft matters." At Culford where he lived, 
 are preferved fome of his works, and at Gorhambury his father's feat, 
 is a large picture in oil by him, of a cook maid with dead fowls, ad- 
 mirably painted, with great nature, neatnefs and luftre of colouring. 
 In the fame houfe is a whole length of him by himfelf-f drawing on 
 a paper: his fword and pallet hung up : and a half length of his mother 
 by him. At Redgrave-hall in Suffolk were two more pieces by the 
 fame hand, which afterwards patted into the pofleflion of Mr. Row- 
 land Holt, the one, Ceres with fruit and flowers ; the other, Hercules 
 and the Hydra. In Tradefcant's Mufeum was a fmall landfcape, 
 painted and given to him by Sir Nathaniel Bacon. 
 
 Of 
 
 * He married the daughter of the famous Sir Thomas Grefham, by whom he 
 was anceflor of the prefent lord Townfhend. See Collins's Englifh Baronets, 
 vol. i. p. 4. 
 
 f His monument and bud are in the church at Culford, with his pallet and 
 pencils. There is another for him at StifFkey in Norfolk, the infeription on 
 which may be feen in the appendix to Mafters's Hiftory of Corpus Chrifti coll. 
 Camb. p. 85. It is faid in the note that Sir Nathaniel was famed for painting 
 plants, and well (killed in their virtues. 
 
j 7 8 Painters in the Reign of ^ueen Elizabeth. 
 
 Of the engravers in the reign of queen Elizabeth, who were many 
 and of merit, I fhall fay nothing here •, Vertue having collected an 
 ample and feperate account of them, which makes another volume 
 of this work. I fhall only mention now that that age refembled 
 the prefent in it's paflion for portraits of remarkable perfons. Stowe 
 in his annals fpeaking of the duke d'Alencon, who came over to 
 marry the queen, fays, " by this time his picture, ftate and titles were 
 advanced in every ftationer's fhop and many other public places." * 
 The fame author mentioning Sir Francis Drake's return, fays, there 
 were books, pictures and ballads publifhed of him." In another point 
 too there was a parity \ auctions were grown into vogue, and confe- 
 quently, abufe ; the firft orders for regulating them by the lord mayor 
 were hTued in that reign. 
 
 At 
 
 * In the Cecil papers is a letter to the lord mayor of London dated July 2r, 
 1 56 1, telling him " The queen's majefty underftandeth that certain bookbinders 
 and ftationers utter certain papers wherein be printed the face of her majefty and 
 the king of Sweden ; and although her highnefs is not mifcontented that either 
 her own face or the laid king's mould be painted or portraited ; yet to be 
 joined with the faid king or with any other prince that is known to have made any 
 requeft in marriage to her majefty, is not to be allowed ; And therefore your 
 lordfhip mould fend for die warden of the ftationers or other wardens that have 
 fuch papers to fell, and caufe fuch papers to be taken from them and packed up to- 
 gether in fuch fort as none of them be permitted to be feen in any place." The 
 effect of this order appears from a paflage in Evelyn's art of chalcography ; " Had 
 queen Elizabeth been thus circumfpect, there had not been fo many vile copies 
 multiplied from an ill painting ; as being called in and brought to EfTex-houfe, did 
 for feveral years furnifh the paftrymen with peels for the ufe of their ovens/*" 
 p. 25- 
 
 ,0 
 
Painters in the Reign of ^ueen Elizabeth. 179 
 
 At the fame period was introduced the cuftom of publifhing repre- 
 fentations of magnificent funerals. There is a long roll exhibiting the 
 proceflion at the obfequies of Sir Philip Sidney. It was (as is faid at 
 the bottom of it) contrived and invented by Thomas Lant, * gentle- 
 man, fervant to the faid honorable knight, and graven in copper by 
 Derick or Theodor de Brie in the city of London 1587. It contains 
 about thirty-four plates. Prefixed is a fmall oval head of Mr. Lant. 
 aet. 32. The fame perfon wrote a treatife of Heraldry. 
 
 John Holland f of Wortwell efq; living in 1 586, is commended as 
 an ingenious painter in a book called " The excellent Art of Paint- 
 ing," p. 20. But it is to the J fame hand, to which this work owes 
 many of it's improvements, that I am indebted for the difcovery of a 
 very valuable artift in the reign of queen Elizabeth. 
 
 The eaftern fide of the college of Caius and Gonville at Cambridge, 
 in which are the Portae Virtutis et Sapientiae, was built in the years 
 1566 and 1567. Thefe are joined by two long walls to the Porta 
 Humilitatis, and in thefe are two little Doric frontifpieces, all, in ap- 
 pearance, of the fame date, and mowing the Roman architecture revi- 
 ving, with little columns and pilafters, well enough proportioned in 
 themfelves and neatly executed, though in no proportion to the build- 
 Vol. I. Z z ing 
 
 * This Thomas Lant was portcullis pourfuivant: there are fevered copies ex- 
 tant in MS. of a treatife called, the Armoury of Nobility, firft gathered by Ro- 
 bert Cook Clarencieux, corrected by Robert Glover, Somerfet herald, and laftly 
 augmented with the knights of the garter by Thomas Lant, portcullis, anno 1589. 
 One copy of this work is in the pofTeflion of the Rev. Mr. Charles Parkin of Ox- 
 burgh in Norfolk, to whom I am obliged for this and other curious communi- 
 cations. 
 
 + See the pedigree of Holland in Blomfield's Norfolk. 
 Z Mr. Gray. 
 
i P o Painters in the Reign of ^ueen Elizabeth. 
 
 ing they were intended to adorn. In the entries of the college under 
 the year [575 are thefe words, " Porta, quae honoris dicitur et ad 
 fcholas publicas aperit, a lapid * quadrato duroque extrucbatur, ad earn 
 fciiicet formam et effigienu quam Doctor Caius, dum viveret, arrhi- 
 teclo praeft ripferat, elaborata." This gate coft 128/.- --9 J.--*/. Dr. 
 Caius di d July 29, 1573 In the fame year are thefe words, ** Pofitum 
 eft Joh. Caioex alabaftro monumentum fummi decons et artifioi eo- 
 dem in facelli loco, quo corpus ejus antea fepeliebatur : rui praeter in- 
 fcuipta illius infignia, et annotatum aetatis obitufque diem et annum 
 (uti vivus executoribus ipf. praeceperat) duas tantummodo fentennas 
 has infcripfimus, Vivit poft funera Virtus— Fui Caius." This monu- 
 ment ("made to ftand upon the ground, but now railed much above the 
 eye on a heavy bafe projecting from the wall) is a farcophagus with 
 ribbed work and mouldings, fomewhat antique, placed on a bafement 
 fupporting pretty large Corinthian columns of alabafter, which uphold 
 an entablature, and form a fort of canopy over it. The capitals are 
 gilt and painted with ugly fcrolls and compartments, in the tafte of 
 that reign. The charge of the founder's tomb was as follows 
 
 For alabafter and carriage - 10— 10— o 
 
 To Theodore and others for carving 33--16--5 
 
 To labourers 0—18— 1 
 
 Charges extraordinary — 2— 0-2 
 
 Then in the year 1 576 are thefe words, " In atrio doftorio Caii 
 columna erecta eft, eique lapis miroartificio elaboratus, atque in fe 60 
 horologia complexus imponitur, quern Theodorus Haveus Clevien- 
 fis, artirex egregius, et infignis architecture prolefibr, fecit, et infigni- 
 bus eorum generoiorum, qui turn in collegio morabantur, depinxit ; 
 
 et 
 
Painters in the Reign of ^ueen Elizabeth. i 8 1 
 
 et velut monumentum fuae erga collegium benevolentiae eiclem dedica- 
 vit. Hujus in fummitate lapidis conftituitur ventilabrum ad formam 
 P.gafi formatum." That column is now deftroyed with all it's fun- 
 dials, but when Loggan did his views of the colleges, the pillar (though 
 not the dials) was yet (landing. 
 
 In the college is a good portrait on board of Dr. Keys (not in pro- 
 file) undoubtedly original, and dated 1563, aetatis fuae 53, with Latin 
 verfes and mottoes and in the fane room hangs an old picture (had 
 at firft and now almoft effaced by cleaning) of a man in a flafhed 
 doublet, dark curled hair and beard, looking like a foreigner, and hold - 
 ing a pair of compafTes, and by his fide a Polyedron, compoied of 
 twelve pentagons. This is undoubtedly Theodore Haveus himfelf, 
 who, from all thefe circumftances, feems to have been an architect, 
 fculptor, and painter, and having worked many years for Dr. Caius and 
 the college, in gratitude left behind him his own picture. 
 
 In the gallery of Emanuel college, among other old pictures, is one 
 with the following infeription, recording an architect of the fame age 
 with the preceding •, " Effigies Rodulphi Simons, architecti fua aetate 
 peritifiimi, qui (praeter plurima aedificia ab eo praeclare facta) duo 
 collegia, Emanuelis hoc, Sidneii illud, extruxit integre : magnam etiam 
 partem Trinitatis reconcinnavit ampliflime. " head and hands, with a 
 great pair of compafTes. 
 
 In a book belonging to the jewel-office, in the pofTefiion of the earl 
 of Oxford, Vertue found mention " of a fair balon and lair (Ewer) 
 guilt, the bafon having in the bufhel (body) a boy beftriding an eagle, 
 and the ewer of the worke of Groteftain, with goofes heads antique 
 upon the handle and fpoute, weighing together xx ounces. " In the 
 
 fame 
 
1 8 2 Painters in the Reign of ^ueen Elizabeth. 
 
 fame book was this memorandum, " remaining in the hands of Robert 
 Brandon and Affabel Partrage, the queen's goldfmiths, four thoufand 
 ounces of guilt plate, at five millings and four pence the ounce, in the 
 fecond year of the queen. " 
 
 I mall conclude this reign and volume with what, though executed 
 in the time of her fucceffor, properly relates to that of Elizabeth. 
 In the earl of Oxford's collection was an office-book in which was con- 
 tained an account of the charge of her majefty's monument. 
 
 Paid to Maximilian Powtran — 170/. 
 
 Patrick Black fmith 95/. 
 
 John de Critz,* the painter, --- 100/. 
 
 Befides the ft one, the whole coft 965/.+ 
 
 * This is the painter mentioned above by Meres, and who, I fuppofe, gave the 
 defign of the tomb. One De Critz is often mentioned among the purchafers of 
 king Chades's pictures during the civil war, as will appear in the fecond volume. 
 
 t This monument, and thofe of the queen of Scots, and of the two young prin* 
 cefTes Mary and Sophia, daughters of king James, coft 3500 £. 
 
 End of Volume the First* 
 
APPENDIX. 
 
 HIS INDENTURE* made the 
 
 day of 
 
 in 
 
 the fourth yere of our fovrain lord kyng Herry the 8th be- 
 
 twyne Mr. Robert Hacomblein provoft of the kynge's col- 
 lege royal at Cambrydge and the fcolers of the fame with the advife 
 and agrement of Mr. Thomas Larke furveyor of the kynge's works 
 there on the oon partye, and John Waftell mafter mafon of the feid 
 works, and Herry Severick oon of the wardens of the fame on the 
 other partye, witnefTeth that hit is covenaunted bargayned and agreed 
 betwyne the partyes aforefaid, That the feid John Waftell and Herry 
 Severick fhall make and fett up, or cawfe to be made and fett up at 
 ther cofts and charges, a good, fuer, and fufficient vawte for the grete 
 churche there, to be workmanly wrought, made, and fett up after the 
 beft handlyng and forme of good workmanfhip, according to a plat 
 thereof made and figned with the hands of the lords executors to the 
 kyng of moft famous memorye Herry the 7th, whofe fowle God par- 
 don. And the feid John Waftell and Herry Severick fhall provide and 
 fynde at ther coft and charges, as moche good fufficyent able fton of 
 Weldon quarryes, as fhall fuffife for the performing of all the faid 
 vawte, together with lyme, found fcaffoldyng, cinctores, moles, ordi- 
 naunces, and evry other thyng concerning the fame vawtyng, as well 
 workmen and laborers, as all manner of fluff and ordinances that fhall 
 be required or neceffary for the performance of the fame j except the 
 Vol. I. A a a feid 
 
 See page 99. 
 
APPENDIX. 
 
 feid Mr. Provoft and fcolers with the aflent of thefeid furveyors grant- 
 en to the feid John Waftell and Herry Severick for the great coft and 
 charge that they fhall be at in remevyng the great fcaffold there, to 
 have therefore in recompence at the end and performyng of the feid 
 vawte the timber of two fevereyes of the feid grete icaffold by them 
 remeved to ther own ufe and profight *, And on that the feid John 
 Waftell and Herry Severick mail have duryng the tyme of the feid 
 vawtyng, certeyne fluffs and neceiTaryes there, as gynnes, whels, ca- 
 bles, hobynatts fawes and fuch other as mall be delyvered unto them 
 by indenture And they to delyver {he fame agayne unto the college 
 there at the end of the feid worke. The faid John Waftell and Herry 
 Severick gran ten alfo and bynde themfeives by thefe coven auntes, 
 that they mall performe and clerely fynyfti all the feid vawte within 
 the time and fpace of three yeeres next enfuyng after the tyme of their 
 begynnyng upon the fame; And for the good and fuer performyng 
 of all the premyfTes as is afore fpecyfyed, The feid Provoft and fcolers 
 covenaunt and graunte to pay unto the feid John Waftell and Herry 
 Severick 1200/. that is to fey, for every feverey in the feid churche 
 j 00/. to be payd in forme followyng, from tyme to tyme as moche 
 money as fhall fufHie to pay the mafons and others rately after the 
 numbre of workmen ; And alfo for fton in fuche tymes and in fuche 
 forme as the feid John Waftell and Herry Severick fhall make their 
 bargaynes for fton, fo that they be evyn paid with 100/. at the end 
 of the performyng every feverey ; and if there remayne ony parte of 
 the feid 100/. at the fyniftiing of the leid feverey, then the feid Mr. 
 Provoft and fcholers to pay unto them the furplufage of the feid 100/. 
 for that feverey, and fo from tyme to tyme unto ali the feid 12 feve- 
 revs be fully and perfyttly made and performed. 
 
 THIS 
 
APPENDIX. 
 
 THIS INDENTURE made the fourth day of Auguft in the 
 fifth yere of the reign or our ioverayn lord kyng Herry the 
 8th, betwene Mr. Robert Hacombleyn provoft of the kynge's 
 college royal in Cambrydge and the fcokrs of the fame with the ad- 
 vice and agrement of Mr. Thomas Larke iurveyor of the kynge's 
 works there on the oon partye, and John Waftell mafter mafon of the 
 feid works on the other panye, witnelfeth, That it is coven aunted, 
 bargayned, and agreed betwene the partyes aforefeid, that the feid 
 John Waftell fhall make and fett up or cawfe to be made and fett upp 
 at his propre cofts and charges the vawting of two porches of the. 
 newe churche of the kynge's college aforefeid with Yorkfhere fton^ 
 And alfo the vawtes of feven chapels in the body of the lame churche 
 with Weldon fton accordynge to a plat made as well for the fame fe- 
 ven chapels as for the feid two porches and nine other chapels behynd 
 the quyre of the feid churche with like Weldon fton to be made of a 
 more courfe worke, as appereth by a platte for the fame made; And 
 that the feid John Waftell fhall make and fett up or cawfe to be 
 made and fett up at his coft and charge the batelments of all the feid 
 porches and chapels with Weldon fton accordynge to another platte 
 made for the fame remayning w r ith all the other plattes afore reherfed 
 in the kepynge of the feid furveyor figned with the hands of the lords 
 the kynge's executors ; All the feid vawtes and batelments to be well 
 and woikmanly wrought, made and fett up after the bed handlynge 
 and forme of good workmanfhyp, and according to the platts afore 
 fpecifyed ; The forefeid John Waftell to provide and fynde at his coft 
 
 and 
 
APPENDIX. 
 
 and charge not only as moche good fufficient and hable fton of Ham- 
 pole quarryes in Yorkfhere as fhall fuffife for the performance of the 
 feid two porches, but alfo as moche good fufficient and hable fton of 
 Weldon quarryes as (hall fuffife for the performyng of all the feid cha- 
 pels and batelments, together with lyme, fand, fcaffoldyng, mooles 5 
 ordinaunces, and every other thyng concernyng the fynyfhing and per- 
 formyng of all the feid vawtes and batelments, as well workmen and 
 laborers, as all manner of fluff and ordinaunce as mail be requyred or 
 neceffary for performance of the fame : provided alwey that the feid 
 John Waflell fhall kepe continually 40 fre-mafons workyng upon the 
 fame. The feid John Waflell graunteth alfo and byndeth hymfelf by 
 thefe prefents to performe and clerely fynyfh all the feid vawtes and 
 batelments on this fide the ffeefle of the Nativitie of Seynt John Bap- 
 tifle next enfuyng after the date hereof ; And for the good and fuer 
 performyng of all thefe premyfTes, as is afore fpecyfyed the feid pro- 
 vofl and fcolers granten to pay unto the feid John Waflell for fton 
 and workmanfhip of every the feid porches with al other charge as is 
 afore reherfed 25/. 
 
 And for evry of the feid feven chapels in the body of the churche 
 after the platt of the feid porches 20/. 
 
 And for vawtyng of evry of the other nine chapels behind the quyre 
 to be made of more courfe work 12/. 
 
 And for fton and workmanfhip of the batelments of all the feid 
 chapels and porches devided into twenty fevereys evry feverey at ioqL 
 
 And for all and fingler covenaunts afore reherfed of the partye of 
 the feid John Waftell wele and truly to be performed and kept, he 
 byndeth himfelf, his heirs and executors in 400/. of good and lawful! 
 
 money 
 
APPENDIX. 
 
 money of England to be paid unto the feid Mr. Provoft, fco!ers> and 
 furveyor at the ffeefte of the Purification of our blefled Lady next co~ 
 myng after the date of thefe prefentes And in lyke wife for all and 
 fingler covenauntes afore reherfed of the party of the feid Mr. Provoft, 
 fcolers and furveyor wele and truly to be performed and kept, they 
 bynde themfelves, their fuccefTors and executors in 400/. of good and 
 lawfull money of England to be paid unto the feid John Waflell at 
 the feid ffeefte of the Purification of our bleffed Lady, In witnerTe 
 whereof the parties aforefeid to thefe prefent indentures interchange- 
 ably have fett their feales, the day and yere above wryten. 
 
 THIS INDENTURE made the fourth day of January in the 
 fourth yere of the reign of our foverayn lord kyng Herry 
 the 8th, betwene Mr. Robert Hacombleyn provoft of the 
 kynge's college royal in Cambrydge and the fcolers of the fame with 
 the advice and agrement of Mr. Thomas Larke furveyor of the 
 kynge's works there on theoon partye, and John Waftell maftermafon 
 of the feid works on the other partye, witneffeth, That it is covenaunt- 
 ed, bargayned, and agreed betwene the partyes aforefeid, that the 
 feid John Waftell mall make and fett up or cawfe to be made and fete 
 up at his propre cofts and charges the fynyalls of the buttraffes of the 
 grete churche there, which be 2 1 in numbre •, the feid fynyalls to be 
 well and workmanly wrought made and fett up after the beft hande- 
 lyng and forme of good workmanfhip, according to the platts con- 
 ceyved and made for the fame, and according to the fynyall of oon 
 buttraffe which is wrought and fett up, except that all thefe new fyny- 
 alls ftiall be made fum what larger in certayne places, according to the 
 Vol. £ B b b mooles 
 
APPENDIX. 
 
 mooles for the fame conceyved and made ; Alfo it is covenaunted, 
 bargayned and agreed between the partyes aforefeid that the feid John 
 Waftell fhall make and fett up or cawfe to be made and fett up at his 
 propre coft and charges the fynyfhing and performyng of oon towre at 
 oon of the corners of the feid churche, as fhall be afligned unto him 
 by the furveyor of the feid works •, all the feid fynyfhing and perfor- 
 myng of the feid towre with fynyalls, ryfaat gabbletts, batelments, 
 orbys, or crolfe quarters, and every other thynge belongyng to the 
 fame to be well and workmanly wrought made and fett up after the 
 beft handelyng and forme of goode workmanfhip, accordyngtoa plat 
 thereof made remayning in the kepyng of the feid furveyor. The feid 
 John Waftell to provide and fynde at his coft and charge as moche 
 good fuffycyent and able fton of Weldon quarryes, as fhall fuffife for 
 the performyng of the fynyalls of all the feid buttraffes, and alfo for 
 the performyng and fynyfhing of oon of the towres, as is afore fpeci- 
 fyed, together with lyme, fand, fcaffolding, mooles, ordinances and 
 evry other thyng concernyng the fynyfhyng and performyng of all the 
 buttraffes and towre aforefeid, as well workmen and laborers, as all 
 manner of fluff and ordenances as fhall be required or necefTary for 
 performance of the fame, except the feid Mr. Provoft, fcolers and fur- 
 veyor granten to lend to the feid John Waftell fcrttl parte of old fcaf- 
 foldyng tymbre, and the ufe of certayne fluff and neceffaryes there, as 
 gynnes, whel?, cables, hobynatts, fawes, and fuch other as fhall be de- 
 ]y vered to him by indenture ; and the feid John Waftell to dely vre the 
 fame agayne unto the feid furveyor as fone as the feid buttrafles and 
 towre fhall be performed. The feid John Waftell graunteth alfo and 
 byndeth himfelf by thefe covenaunts to perform and clerely fynyfh all 
 £he feid buttraffes and towre on this fide the feeft of the Annunciation 
 
 of 
 
APPENDIX. 
 
 of our Blefled Lady next enfuyng after the date hereof; And for the 
 good and fure performyng of all thefe prcmyfTes, as is afore fpecifyed. 
 the feid Provoft and fcholers covenaunten and granten to paye unto the 
 feid John Waftell for the performyng of evry buttrafle '6/.--13 j.— 4^. 
 which amownteth for all the feid buttrafles 140/. and for performyng 
 •of the feid towre 100/. to be paid in forme followyng *, That is to fey, 
 from tyme to tyme as moche money as mall fuffife to pay the mafons 
 and other laborers rately after the numbre of workmen ; And alfo for 
 Hon at fuche times and in fuche form as the feid John Waftell fhall 
 make his provifyon or receyte of the fame fton, from tyme to tyme as 
 the cafe mall requyre •, provided alway that the feid John Waftell fhall 
 kepe continually fixty fre-mafons working upon the fame works, as 
 fone as mall be poflible for him to call them in by vertue of fuche 
 commifTyon as the feid furveyor fhall delyvre unto the feid John 
 Waftell for the fame entent ; and in cafe ony mafon or other laborer 
 fhall be found unprofytable or of ony fuche ylle demeanor whereby the 
 worke mould be hyndred or the company myfordred, not doing their 
 duties accordyngly as they ought to doo, then the feid furveyor to in- 
 devor hymfelf to performe them by fuch wayes as hath byn there ufed 
 before this time^ And alfo the forenamed Mr. Provoft, fcolers and 
 furveyor mall fynde as moche iron worke for the fynyalls of the feid 
 buttraffes as fhall amounte to five fhillings for every buttrafTe ; that is 
 in all 4/.— 5 j. And whatfoever iron werke fhall be occupyed and fpent 
 about the feid werkes and for fuertie of the fame above the feid five 
 fhillings for a buttrafTe, the feid John Waftell to bere hytt at his own 
 coft and charge ; And for all and finguler covenaunts afore reherfed 
 of the partie of the feid John Waftell wele and truly to be performed 
 aad kepte, he byndeth himfelf, his heirs and executors in 300 /. of 
 
 good 
 
APPENDIX. 
 
 good and lawfulle money of England to be paid unto the feid Mh 
 Provoft, fcolers and furveyor at the fefte of Efter next comyng after 
 the date of thes prefentes ; And in lyke wife for all and finguler cove- 
 nauntes afore reherfed of the partie of the feid Provoft, fcolers and 
 furveyor well and truly to be performed and kepte, they bynde them 
 their fucceffor and executors in 300/. of good and lawfulle money of 
 Englande to be paid unto the feid John Waftell at the feid ffefte of 
 Efter, in witnefle whereof the parties aforefeid to this prefent indenture 
 interchangeably have fett their feales the day and yere above wryten.- 
 
 THIS INDENTURE made the thirde day of the moneth 
 of May in the yere of the reigne of Henry the 8th by the 
 Grace of God Kyng of England and Ffraunce, Defendor of 
 the Ffeyth and Lorde of Ireland the eightene, betwene the Right 
 Wodhepfulle mafters Robert Hacombleyn Doctor of Divinitie and 
 Provoft of the Kynge's college in the univerfitie of Cambridge, Wil- 
 liam Holgylle clerke mafter of the hofpitalle of Seint John Baptifte 
 called the Savoy befydes London, and Thomas Larke clerke Arch- 
 deacon of Norwyche on that oon partie, And Ffraunces Wylliamfon 
 of the paryffhe of Seint OlyfFin Southwerke in the countie of Surrey 
 glafyer, and Symond Symonds of the paryffhe of Seint Margaret of the 
 towne of Weftminfter in the countie of Middlefex on that other partie, 
 witneffeth, That it is covenaunted condefcended and aggreed betwene 
 the feid parties by this indenture in manner and forme folowing, that 
 is to wete, the feid Ffraunces Wylliamfon and Symond Symondes co- 
 venaunte, graunte and them bynde by thefe prefents that they lhalle 
 
 at 
 
I 
 
 APPENDIX. 
 
 at their owne propre coftes and charges wele, fuerly, clenely, work- 
 manly, fubftanty ally curyoufly and fufficyently glafe and fett up or 
 caufe to be glafed and fett up foure windowes of the upper ftory of the 
 great churche within the Kynge's college of Cambridge, that is to wete, 
 two wyndowes on the oon fyde of the feid churche, And the other two 
 wyndowes on the other fyde of the fame church with good, clene, 
 fure and perfyte glaffe and oryent colors and imagery of the flory of 
 the old lawe and of the newe lawe after the forme, maner, goodenes, 
 curyoufitie and clenelynefs in every poynt of the glafle windowes of 
 the Kynge's newe chapell at Weftmynfter ; And alfo accordyngly and 
 after fuche maner as oon Barnard Fflower glafyer late decealed by in- 
 denture {lode bounde to doo - 5 And alfo accordyngly to fuche patrons 
 otherwyfe called vidimus, as by the feid mailers Robert Haccombleyn, 
 William Holgylle and Thomas Larke or by any of them to the feid 
 Ffraunces Wylliamfon and Symond Symondes or to either of them 
 fhal be delyvered, for to forme glafle and make by the forefeid foure 
 wyndowes of the feid churche; And the feid Ffraunces Wylliamfon 
 and Symond Symondes covenaunte and graunte by thefe prefentes that 
 two of the feid wyndowes mall be clerely fett up and fully fynyfhed 
 after the fourme abovefeid within two yeres next enfuyng after the 
 date of thefe prefentes, And that the two other wyndowes refydue of 
 the feid foure wyndowes fhal be clerely fett up and fully fynyfhed 
 
 within three yeres next enfuyng after that without any furder or 
 
 longer delay *, Furdermore the feid Ffraunces Wylliamfon and Symond 
 Symondes covenaunte and graunte by thefe prefentes that they fhalle 
 flrongely and fuerley bynde all the feid foure wyndowes with double . 
 bands of leade for defence of great wyndes and other outragious we- 
 thers \ And the feid mailers Robert Haccombleyn, William Holgylle 
 Vol. I. C c c and 
 
APPENDIX. 
 
 and Thomas Larke covenaunte and graunt by thefe prefentes that the 
 feid Ffraunces Wylliamfon and Symond Symondes fhall have for the 
 giafife, workmanftiip and lettyng up of every foot of the feid glafle by 
 them to be provided, wrought, and fett up after the forme abovefeid 
 fixtene pence fterlinges*-, And where the feid Ffraunces Wylliamfon and 
 Symond Symondes, and alfo John a More of the paryffhe of Seint Mar- 
 garett of the towne of Wefimynfter in the countie of Middlefex fquyer, 
 John Keilet of the fame paryifhe towne and countie yoman, Garrard 
 Moynes of the paryifhe of Seint Olyffe in Suthwerke in the countie of 
 Surrey joyner, and Henry Johnfon of the paryffhe of Seint Clement 
 Danes without the barres of the newe temple of London in the countie 
 of Middlefex cordwaner by their writtyng obligatory of the date of 
 thefe prefentes be holden and bounde to the feid mafters Robert Hac- 
 combleyn, William Holgylle and Thomas Larke in the fumme of two 
 hundred poundes fterlinges to be paid at the ffeefte of the Nativitie of 
 Seint John Baptifte now next comyng after the date of thefe prefentes, 
 as in the fame writtyng obligatory more plainly at large doothe appere ; 
 NeverthelcfTe the fame mafters Robert Haccombleyn, William Hol- 
 gylle and Thomas Larke for them and their executors covenaunte and 
 graunte by thefe prefentes, that yf the faid Ffraunces Williamfon and 
 Symond Symondes on their part wele and truly performe, oblerve, 
 fulfille and kepe all and every the coveaaunts, bargaynes, graunts, and 
 promyfes and agreements aforefeid in maner and fourme as is above 
 declared, That then the fame writtyng obligatory flial be voyd and had 
 for nought, And elfe it fhall ftande in fuile ftrengthe and effect. In 
 witneffe whereof the feid parties to thefe indentures interchangeably 
 have lett their fealles. 
 
 YOVEN the day and yere abovefeid. 
 
 THIS 
 
APPENDIX, 
 
 THIS INDENTURE made the lafte day of the moneth 
 of Aprelle in the yere of the reigne of Henry the 8th by the 
 Grace of God Kyng of England and Ffraunce, Defendor of 
 the Ffeyth and Lorde of Ireland the eightene, betwene the Right 
 Worfhepfulle mafters Robert Hacombleyn Doctor of Divinitie and 
 provofl of the kynge's college in the univerfitie of Cambridge, mailer 
 William Holgylle clerke mafter of the hofpitalle of Seint John Baptifte 
 called the Savoy befydes London, and mafter Thomas Larke clerke 
 archdeacon of Norwyche on that oon partie, and Galyon Hoone of the 
 paryflh of Seint Mary Magdelen next Seint Mary Overey in Suth- 
 werke in the countie of Surrey glafyer, Richard Bownde of the paryifhe 
 of Seint Clement Danes without the barres of the newe temple of 
 London in the countie of Middlefex glafyer, Thomas Reve of the 
 paryfflie of Seint Sepulcre without newgate of London glafyer, and 
 James Nycholfon of Seint Thomas Spyttell or Hofpitalle in Suthwerke 
 in the countie of Surrey glafyer on that other partie witnefTeth, That 
 it is covenaunted condefcended and aggreed between the feid parties 
 by this indenture in manner and forme folowing, that is to wete, The 
 feid Galyon Hoone, Richard Bownde, Thomas Reve and James Ni~ 
 choifon covenaunte, graunte and them bynde by thefe prefentes that 
 they Ihalle at their owne propre coftes and charges well, fuerly, clenely, 
 workmanly, fubftantyally, curioufly and fufHciently glafe and fette up, 
 or caufe to be glafed and fett up eightene wyndowes of the upper ftory 
 of the great churche within the kynge's college of Cambridge, whereof 
 the wyndowe in the efte ende of the feid churche to be oon, and the 
 windowe in the wefte ende of the fame churche to be another \ And fo 
 
 feryatly 
 
 o 
 
APPENDIX. 
 
 feryatly the refydue with good, clene, fure and perfyte glafle and oryent 
 colors and imagery of the ftory of the olde lawe and of the newe lawe 
 after the forme, maner, goodenes, curioufytie, and clenelynef, in every 
 poynt of the glafle wyndowes of the Kynge's newe chapell at Weft- 
 minfter ; and alfo accordyngly and after fuche maner as oon Barnard 
 Fflower glafyer late deceafed by indenture flode bounde to doo, that is 
 to fey, fix of the feid wyndowes to be clerely fett up and fynyffhed after 
 the forme aforefeid within twelve moneths next enfuyng after the date 
 of thefe prefentes ; And the twelve wyndowes refidue to be clerely fett 
 up and fully fynyflhed within, foure yeres next enfuyng after the date 
 of thefe prefentes And that the feid Galyon, Richard, Thomas Reve 
 and James Nicholfon fhalle fuerly bynde all the feid windowes with 
 double bands of leade for defence of great wyndes and outragious 
 wetheringes Furdermore the feid Galyon, Richard, Thomas Reve 
 and James Nycholfon covenaunte and graunte by thefe prefentes that 
 they mall wele and fuffycyently fett up at their owne propre coftes and 
 charges all the glafle that now is there redy wrought for the feid wyn- 
 dowes at fuche tyme and whan as the feid Galyon, Richard, Thomas 
 Reve and James Nicholfon fhal be afligned and appoynted by the feid 
 mafters Robert Haccombleyne, Wylliam Holgylle, and Thomas 
 Larke or by any of them ; And wele and fufFyciently mall bynde all 
 the fame with double bandes of leade for the defence of wyndes and 
 wetheringes, as is aforefeid after the rate of two pence every ffbotte ; 
 And the feid mafters Robert Haccombleyne, Wylliam Holgylle and 
 Thomas Larke covenaunte and graunte by thefe prefentes, That the 
 forefeid Galyon, Richard Bownde, Thomas Reve and James Nicholfon 
 fhall have for the glafle workmanfliip and fetting up twenty foot of the 
 feid glafle by them to be provided, wrought, and fett up after the ' 
 
 forme 
 
/ 
 
 APPENDIX. 
 
 forme abovefeid eightene pence fterlinges ; Alfo the feid Galyon 
 Hoone, Richard Bownde, Thomas Reve and James Nicholfon cove- 
 naunte and graunte by thefe prefentes that they malle dely ver or caufe 
 to be delyvered to Ffraunces Willi amfon of the paryffhe of Seint OlyfF 
 in Suthwerke in the countie of Surrey glafyer, and to Symond Sy- 
 mondes of the parylfhe of Seint Margarete of Weftmynfter in the 
 countie of Middlefex glafyer, or to either of them good and true pa- 
 trons, otherwyfe called a vidimus, for to four me glaiTe and make by 
 other four wyndowes of the feid churche, that is to fey, two on the 
 oon fyde thereof and two on the other fyde, whereunto the feid Ffraun- 
 ces and Symond be bounde, the feid Ffraunces and Symond paying to the 
 feid Galyon, Richard Bownde, Thomas Reve and James Nycholfon for 
 the feid patrons otherwyfe called a vidimus as moche redy money asfhal 
 be thought refonable by the forefeid mafters William Holgylle and 
 Thomas Larke; And where the feid Galyon Hoone, Richard Bownde, 
 Thomas Reve and James Nycholfon by their writtyng obligatory of 
 the date of thefe prefentes be holden and bounden to the feid mafters 
 Robert Haccombleyne, William Holgylle and Thomas Larke, in the 
 fome of five hundred markes fterlinges to be paide at the ffeifte of the 
 nativitie of Seint John Baptifte now next comyng after the date of 
 thefe prefentes, as in the writtyng obligatory more plainly at large may 
 appere *, NevertheleiTe the lame mafters Robert Haccombleyne, Wil- 
 liam Holgylle and Thomas Larke for thtm and their executors wille 
 and graunte by thefe prefentes that yf the feid Galyon Hoone, Richard 
 Bownde, Thomas Reve and James Nycholfon well and truly performe, 
 obferve, fullfille and kepe all and every the covenaunies, bargaynes, 
 Vol. L D d d graunts, 
 
APPENDIX. 
 
 graunts, promyfes and aggreementes aforefeid in maner and forme as 
 is above declared, That then the feid writtyng obligatory (hall be 
 voyde and had for nought, and elfe it fliall ftand in full ftrength and 
 effect ; In witnefle whereof the feid parties to thefe indentures Inter* 
 changeably have fett their fealles. 
 
 YOVEN the day and yere above feid. 
 
 INDEX 
 
INDEX 
 
 O F 
 
 NAMES of ARTISTS 
 
 IN THIS VOLUME 
 Ranged according to the Times in which they livedo 
 
 In the Reign of King JOHN, 
 J^LYAS, architect, p. 3* 
 
 HENRY IIL 
 
 Odo, goldfmith, 6. 
 
 Edward Fitzodo or Edward of Weft- 
 
 minfter, 8. 
 Matter William, painter, 15. 
 Mafter Walter, painter, 16. 
 Peter Cavalini, fculptor, 18. 
 
 RICHARD II. 
 
 John Sutton, carver, 31. 
 B. and Godfrey of Woodftreet, gold- 
 fmiths, do. 
 
 1 
 
 HENRY IV. 
 John Sifernas, monk, illuminator, 32. 
 John Thornton, glazier, ib. 
 Thomas Occleve, poet and painter^ 
 33- 
 
 HENRY V. 
 Richard Frampton, illuminator, 350 
 
 HENRY VI. 
 
 William Seburgh, painter, 39. 
 Thomas Porchalion, ftatuary, 4.1. 
 John Eflex, marbler, ib. 
 William Auften, founder, ib. 
 Thomas Stevens, copperfmith, ib. 
 
 Johia 
 
INDEX. 
 
 John Bourde, marbler, 41. 
 Barth. Lambfpring, goldfmith, do. 
 John Prudde, glazier, do. 
 John Brentwood, painter, 42. 
 Kriftian Coleburne, painter, ditto. 
 
 Richard , carver, 43. 
 
 Brother Rowfby, monk and architect 
 ditto. 
 
 EDWARD IV. 
 
 Mailer Cumings, fculptor, 48. 
 
 HENRY VII. 
 
 John Mabufe, painter, 50. 
 
 John Rous, antiq. and painter, 55. 
 
 58. 
 
 HENRY VIII. 
 
 Johannes Corvus, -v 
 Antony Toto, > painters, 
 Barth. Penne, J 
 Gerard Luke Horneband, painter, 60. 
 Sufanna Horneband, paintrefs, ditto. 
 Andrew Wright, painter, 61. 
 John Brown, painter, 62. 
 Lucas Cornelii, painter, 63. 
 Hans Holbein, painter, 64. 
 Pietro Torreggiano, fculptor, 102. 
 Laurence Ymber, carver, 104. 
 Humphrey Walker, founder, ditto* 
 Nicholas Ewer, copperfmith, do. 
 John Bell, painter, do. 
 John Maynard, painter, do. 
 
 lfon, -> 
 Is, j 
 
 lde > ( glafs- 
 
 frm J 
 
 107, 
 
 painters, 
 08. 
 
 Robert Vertue, mafon, 104. 
 Robert Jenings, mafon, do. 
 John Lebons, mafon, do. 
 William Vertue, mafon, do. 
 John Hylmer, carpenter, do. 
 Humphrey Cooke, carpenter, 105, 
 James Hales, carver, do. 
 Robert Cook, painter, do. 
 John Waftell, mafon, 106* 
 Francis Williamfon, 
 Simond Symonds, I g^-pa 
 Barnard Flower, 
 Galyon Hoone, 
 Richard Bownde, 
 Thomas Reve, 
 James Nicholfon, 
 John Muftyan, arras -maker, 109. 
 John de Mayne, feal -engraver, do. 
 Richard Atfyll, graver of ftones 3 da. 
 M after Newton, painter, do. 
 Levina Tirlinks, paintrefs, do. 
 Theodore Bernardi, painter, do. 
 Benedetto da Rovezzano, fculptor* 
 no. 
 
 Antonio Cavallari, fculptor, do. 
 
 Architects in various Reigns. 
 Gundulphus, 119. 
 Peter of Colechurch, do. 
 William de Sens, do. 
 Helias de Berham, do. 
 Ifembert de Xaintes, do. 
 
 William 
 
J N 
 
 William of Wykeham, 120. 
 William Rede Liftiop of Chichefter, 
 
 ditto. 
 Holbein, 122. 
 John of Padua, do. 
 Jerome di Trevifi, 124. 
 Sir Richard Lea, do. 
 
 EDWARD VI. and MARY. 
 
 MarcWillems, painter, 125. 
 
 Hans Hueet, painter, 126* 
 
 John BofTarn, painter do. 
 
 Antony Deric, medallift, 128. 
 
 Guillim Stretes, painter, 129. 
 
 Sir Antonio More, 130. 
 
 Joas Van N Cleve, 134. 
 
 Nicholas Lyfard, 136. 
 
 E, Courtney, Earl of Devonfhire, do. 
 
 Queen ELIZABETH. 
 Lucas de Heere, painter 140. 
 Cornelius Ketel, 147. 
 Frederic Zucchero, 150* 
 Marc Garrard, 1 54. 
 H. Cornelius Vroom, 155. 
 Petruccio Ubaldini, 157. 
 Nicholas Hilliard, painter in minia- 
 ture, 160. 
 Ifaac Oliver, 164. 
 
 Tyrrell, carver, do. 
 Hieronymus Cuftodio, painter, 169. 
 
 E X. 
 
 Levinus Vogelarius, 169. 
 
 Robert Aggas, painter, do. 
 
 James Morgues, painter, 170. 
 
 John Shute, painter and architect, do. 
 
 Tho. and John Bettes, painters, do. 
 
 Will . and Fran. Segar, painters, 171. 
 
 Lyne, P. Cole, Arnolde, painters, do. 
 
 Jacques de Bruy, painter, do. 
 
 Peter Golchi, painter, do. 
 
 Hieronymo de Bye, painter, do. 
 
 Peter Vandevelde, painter, do. 
 
 Nicholas Lockie, painter, do. 
 
 Rogers, Chr. Switzer, Cure, engra- 
 vers, do. 
 
 Matter Stickles, architect, do. 
 
 Barth. Campaine, or Campion, cha- 
 fer, do. 
 Martin and Metcalf, do. 
 Richard Stevens, painter, ftatuary, 
 
 and medallifr, 172. 
 Horatio Palavicini, arras -maker, do. 
 Randolph, painter, 173. 
 Rob. Adams, architect, 174. 
 V^alerio Vincentino, engraver of 
 
 ftones, do. 
 Dr. J Twifden, painter, 176. 
 Sir Nath. Bacon, painter, do. 177. 
 John Holland, painter, 179. 
 Theodore Haveus, architect, 180. 
 Ralph Simons, architect, 181. 
 
 E e c 
 
 INDEX 
 
INDEX 
 
 O F 
 
 NAMES of ARTISTS 
 
 Ranged alphabetically. 
 
 A. 
 
 ^DAMS, Robert, 174. 
 
 Aggas, Robert, 169. 
 Arnolde, , 171. 
 
 Atfyll, Richard, 109. 
 Auften, William, p. 41. 
 
 B. 
 
 Bacon, Sir Nath. 177. 
 Bell, John, 104. 
 Berham, Helias de, 119. 
 Bernardi, Theodore, 109. 
 Bettes, John, 170. 
 Bettes, Thomas, 170. 
 BofTam, John, 126. 
 Bourde, John, 41. 
 Bownde, Richard, 108. 
 Brentwood, John, 42, 
 Brown, John, 62. 
 
 Bruy, Jacques de, 171. 
 Bye, Hicronymo de, do. 
 
 c. 
 
 Campaine or Campion, Barth. 1 71* 
 
 Cavalini, Peter, 18. 
 
 Cavallari, Antonio, no. 
 
 Cleeve, Joas van, 134. 
 
 Cole, Peter, 171. 
 
 Coleburne, Kriftian, 42. 
 
 Colechurch, Peter of, 119. 
 
 Cook, Humphrey, 105. 
 
 Cook, Robert, do. 
 
 Cornelii, Lucas, 63. 
 
 Corvus, Johannes, 58. 
 
 Courtney, Earl of Devonfhire, 136, 
 
 Cumings, 5 48. 
 
 Cure,—, 1 7 1, 
 Cuftodio, Hieronymus, 169. 
 
 Deric 
 
INDEX. 
 
 D. 
 
 Deric, Antony, 128. 
 Devonfhire, Earl of, 136, 
 
 E. 
 
 Elyas, , 3. 
 
 Eflex, John, 41. 
 Ewer, Nicholas, 104. 
 
 F. 
 
 Flower, Bernard, 107. 
 Frampton, Richard, 35, 
 Fitzodo, Edward, 8. 
 
 G. 
 
 €rarrard, Marc, 154. 
 
 Godfrey, , 31. 
 
 Golchi, Peter, 171. 
 Gundulphus, 119. 
 
 H. 
 
 Hales, James, 105. 
 Haveus, Theodore, i8g. 
 Heere, Lucas de, 140. 
 Hilliard, Nicholas, 160. 
 Holbein, Hans, 64. 
 Holland; John, 179. 
 Hoone, Galyon, 108. 
 Horneband, Gerard Luke, 60. 
 Horneband, Sufanna, do. 
 Haeet, Hans, 126. 
 Hylmer, John, 104, 
 
 J. 
 
 Jenings Robert, 104. 
 
 K. 
 
 Ketel, Cornelius, 147. 
 
 L. 
 
 Lambfpring Barth. 41. 
 Lea, Sir Richard? 124. 
 Lebons, John, 104. 
 Lockie, Nicholas, 171. 
 
 Lyne, , do. 
 
 Lyfard, Nicholas, 136. 
 
 M. 
 
 Mabufe, John, 50* 
 
 Martin, , 171, 
 
 Maynard, John, 104,, 
 Mayne, John de, 109. 
 
 Metcalf, , 171. 
 
 More, Sir Antonio, 130* 
 Morgues, James, 170. 
 Muftyan, John, 109. 
 
 N. 
 
 Newton, ■ , 109. 
 Nicholfon, James, 108.. 
 
 O. 
 
 Occleve, Thomas, 33. 
 
 Odo, , 6. 
 
 Oliver, Ifaac, 164. 
 
 P. 
 
 Padua, John of, 122. 
 Palavicini, Horatio, 172* 
 Penne 3 Barthol, 58. 
 
 Per* 
 
INDEX. 
 
 Porchalion, Thomas, 41. 
 
 Torreggiano, Pietro, 102. 
 
 Prudde, John, do. 
 
 Toto, Antony, 58. 
 
 R. 
 
 Trevifi, Jerome di, 124. 
 
 Randolph,—, 173. 
 
 Twifden, Dr. John, 176, 
 
 Rede, Bifhop of Chichefter, 120. 
 
 r~r* 1 s 
 
 Reve, Thomas, 108. 
 
 V. 
 
 
 Vandevelde, Peter, 171. 
 
 Rogers,—, 171. 
 
 Vertue, Robert, i04. 
 
 Rovezzano, Benedetto da, no. 
 
 Vertue, William, do. 
 
 Kous, John, 55. 
 
 Vincentino, Valeno, 174. 
 
 Rowfby, , 43. 
 
 Vogelarius, Levinus, 169* 
 
 S. 
 
 Vroom, rl. Cornelius, 155. 
 
 beburgn, William, 39. 
 
 u. 
 
 oegar, r rancis, 171. 
 
 Ubaldini, Petruccio, 157. 
 
 Segar, William, 171. 
 
 W. 
 
 Sens, William de, 1 ig. 
 
 Walker, Humphrey, 104, 
 
 Shute, John, 170. 
 
 Walter, , 16. 
 
 Sifernas, John, 32. 
 
 waltell, John, 100. 
 
 Simons, Ralph, 181. 
 
 w liiems, lvlarc, 1 25* 
 
 Stevens, Richard, 172^ 
 
 William, , 15. 
 
 Stevens, Thomas, 41. 
 
 Williamfon, Francis, 107* 
 
 Stickles, , 171. 
 
 Wright, Andrew, 61. 
 
 Stretes, Guillim, 129. 
 
 Wykeham, William of, 120, 
 
 button, John, 31. 
 
 X. 
 
 Switzer, Chriftopher, 171. 
 
 Xaintes, Ifembert de, 119. 
 
 Symonds, Simon, 107. 
 
 Y. 
 
 
 Ymber, Laurence, 104* 
 
 Thornton, John, 32. 
 
 Z. 
 
 Tirlinks, Levina, 109. 
 
 Zucchero, Frederic, 150. 
 
 FINIS. 
 
special 
 
 P~e> 
 
 V. 
 
 THE GETTY CENTES 
 UBRARV