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ANECDOTES 
 
 OF 
 
 PAINTING IN ENGLAND; 
 
 WITH SOME 
 
 ACCOUNT OF THE PRINCIPAL ARTISTS. 
 By HORACE WALPOLE. 
 
 WITH ADDITIONS BY THE REV. JAMES DALLAWAY, 
 
 AND VERTUE'S CATALOGUE OF ENGRAVERS WHO HAVE BEEN 
 BORN OR RESIDED IN ENGLAND. 
 
 A NEW EDITION, REVISED, WITH ADDITIONAL NOTES, 
 
 By RALPH N. WORNUM. 
 
 IN THREE VOLUMES.— VOL. I. 
 
 ITottboit : 
 
 CHATTO AND WINDUS, PICCADILLY. 
 1876. 
 
LONDON : 
 
 E. CLAY, SONS, AND TAYLOR, PRINTERS. 
 BREAD STREET HILL. 
 
 THE GETTY CENTER 
 v- LIBRARY * 
 
CONTENTS TO VOL. I. 
 
 PAGE 
 
 Advertisement to Mr. Dallaway's Edition v 
 
 Dedication vii 
 
 Horace Waxpole's Preface ix 
 
 Horace Walpole's Advertisement xv 
 
 List of Plates xxv 
 
 List of Wood Engravings * xxvi 
 
 Names of Artists, arranged chronologically xxvii 
 
 Chapter I. — The earliest Accounts of Painting in England . . 1 
 II.— State of Painting from the Reign of Henry III. to the 
 
 End of Henry VI 21 
 
 III. — Continuation of the State of Painting to the End of 
 
 Henry VII 46 
 
 IV. — Painters in the Reign of Henry VIII 57 
 
 V. — State of Architecture to the End of the reign of 
 
 Henry VIII 114 
 
 VI. — State of Painting under Edward VI. and Mary . . 135 
 VII. — Painters in the Reign of Queen Elizabeth .... 150 
 Supplement. No. I. — Account of John Thorpe, Architect .... 199 
 II. — King Henry the Eighth's Collection of Pic- 
 tures at Westminster 203 
 
 Chap. VIII. — Painters and other Artists in the Reign of James I. . 207 
 IX. — Charles I. His Love and Protection of the Arts. Ac- 
 counts of Vanderdort and Sir Balthazar Gerbier. 
 Dispersion of the King's Collection and of the Earl 
 
 of Arundel's , 261 
 
 X.— Painters in the Reign of Charles 1 302 
 
 VOL. I. 
 
ADVERTISEMENT 
 
 TO 
 
 THE EDITION OF ME. DALLAWAY. 
 
 The Proprietor of this edition, in offering it to the public in its 
 present augmented state, feels himself justified in claiming their 
 indulgence to the following observation. 
 
 It is well known that the portraits which Walpole procured to be 
 engraved for the former editions were not only sometimes taken from 
 authorities inferior to others equally accessible, but that they were 
 executed in a manner which, candour must allow, exhibited the 
 parsimony, rather than the encouragement, of this otherwise noble 
 patron of the arts. 
 
 Neither care nor expense has been spared to render the present 
 engravings, as to number, exact imitation of the originals now 
 selected, and high finishing, worthy of the work they embellish, and 
 of the best modern artists, "who have been engaged for that purpose. 
 
 Walpole designated his volumes Anecdotes of Painting in England, 
 b u found that he could not treat of the sister arts incidentally, as he 
 had intended, with complete satisfaction. It has b een my endeavour 
 to fill up his outline more methodically, and to expand his information, 
 where he has been concise, upon a presumption that his readers pos- 
 sessed a range of knowledge which equalled his own. I have there- 
 fore allotted a greater share to Architecture and Sculpture ; that a 
 more general and equal view may be offered of the origin and progress 
 of the sister arts in this kingdom, in marking their fate through 
 successive eras, and as they have been highly favoured or bare] 7 
 tolerated, by its sovereigns. It is scarcely less difficult to offer any 
 new remarks, than to condense what is valuable in those already 
 made. Both will be attempted, and as succinctly as possible. 
 
 My primary intention has been to extend an acquaintance with 
 these subjects, by contributing to the original work various remarks, 
 which have occurred to me, during the leisure of many years' pursuit 
 of an inquiry, at least, interesting and delightful to myself. If, as 
 Horace warns us, not to become obscure by brevity and conciseness ; 
 I fear that to be copious and tedious, may not be far distant from 
 each other. Without assuming a diffidence which common discern- 
 ment would be prompt to detect, I have studiously abstained from 
 
vi ADVERTISEMENT. 
 
 giving a peremptory or decisive opinion, if not depending on fact, 
 concerning the ambiguous originality of any particular portrait, ex- 
 cepting where I have followed a judgment much abler than my own. 
 The additions will be rather Anecdotes of Portraits, than of those 
 by whom they were painted. 
 
 A certain risk may be incurred, of fatiguing such of my readers 
 who little value minuteness of inquiry, and have no taste for cata- 
 logues, however elucidated. I must nevertheless consider them as a 
 part of Walpole's plan, and necessarily expletive of this work. There 
 is, in fact, no method so satisfactory of ascertaining the excellence or 
 fertility of the pencil of any able artist, as by collecting notices of his 
 performance, and comparing them with each other — scattered abroad 
 as the individual pictures are, and many of them no longer extant. 
 So that valuable information must be drawn from many sources still 
 existing ; and, what is most to the purpose, accessible. I consider 
 myself as having been much favoured in that respect, and beg to 
 express my particular obligation, as it may be due. 
 
 Mr. Park, the excellent editor of the Royal a,ud Noble Authors, 
 has very truly observed, that Walpole requested information from 
 those whom he thought best qualified to supply it ; and that when he 
 had obtained and acknowledged it, he rejected it altogether, with the 
 exception only of what was given by the poet Gray, or Mr. Cole. 
 
 It is apparent, that the same inert or fastidious principle prevailed, 
 when he left the Anecdotes completed by himself so as to form a 
 portion of the posthumous edition of his works. Of what he then 
 added, nothing has been altered or omitted. But it was very in- 
 considerable. In Italy, Flanders, Holland, France and Spain, the 
 biography of their painters is positively voluminous. We had none, 
 before a few scattered notices of a few of the early writers were 
 embodied by Walpole. 
 
 The plan was his own, and the intelligence gratuitously given. 
 Whatever was known on these subjects was confined to the memo- 
 randa of a very few virtuosi and antiquaries, before his first volume 
 appeared, at the commencement of the last reign. By him, the 
 prospect was first opened, the sources of information pointed out, 
 and a new interest in the works of our native or adopted artists was 
 created, which, in its progress, was animated by taste, and fostered by 
 industrious research. 
 
 The praise and thanks of every lover of the arts are but a just 
 tribute to the memory of Horace Walpole. 
 
 JAMES DALLAWAY. 
 
 Herald's College, 
 
 London, 1826. 
 
TO THE RIGHT HONOURABLE 
 
 MARY LEPEL, 
 
 BARONESS DOWAGER, HERVEY OF ICKWORTH. 
 
 Madam, 
 
 I shall only say in excuse for offering this work 
 to your Ladyship, that if I could write anything really 
 deserving your acceptance, I should not prefix your name 
 to such trifles as the following sheets. But my gratitude 
 for the goodness and unmerited distinction which your 
 Ladyship has so long shown me, is impatient to express 
 itself; and though in the present case I am rather an 
 editor than an author, yet having little purpose of appear- 
 ing again in the latter character, I am forced to pay my 
 debts to your Ladyship with Mr. Vertue's coin. If his 
 industry has amassed anything that can amuse one or two 
 of your idle hours, when neither affection, friendship, nor 
 the several duties which you fill with so much ease and 
 dignity, have any demands upon you, I shall think his life 
 was well employed ; I am sure my time will have been m. 
 
viii DEDICATION, 
 
 if I have made him tolerable company to my Lady Hervey, 
 who has conversed familiarly with the most agreeable 
 persons dead and living of the most polished ages, and 
 most polished nations. 
 
 I am, Madam, 
 Your Ladyship's most obedient Servant, 
 
 HOEACE WALPOLE. 
 
 \ 
 
HORACE WALPOLE'S PREFACE. 
 
 When one offers to the public the labours of another person, 
 it is allowable and precedented to expatiate in praise of the 
 work. Of this indulgence, however, I shall not make advan- 
 tage. The industry of Mr. Vertue was sufficiently known ; 
 the antiquarian world had singular obligations to him. The 
 many valuable monuments relating to our history, and to the 
 persons of our monarchs and great men, which he saved from 
 oblivion, are lasting evidences of his merit. What thanks are 
 due to him for the materials of the following sheets, the public 
 must determine. So far from endeavouring to prepossess them 
 in favour of the work, it shall be my part fairly to tell them 
 what they must expect. 
 
 In Italy, where the art of paintii g has been carried to an 
 amazing degree of perfection, the lives of the painters have 
 been written in numberless volumes, alone sufficient to compose 
 a little library. Every picture of every considerable master is 
 minutely described. Those biographers treat of the works of 
 Eaphael and Correggio with as much importance as comment- 
 ators speak of Horace or Virgil ; and indulging themselves in the 
 inflated style of their language, they talk of pictures as works 
 almost of a divinity, while at the same time they lament them as 
 perishing before their eyes. France, neither possessed of such 
 masters, nor so hyperbolic in their diction, contrives, however, 
 to supply by vanity what is wanting in either. Poussin is their 
 miracle of genius ; Le Brun would dispute precedence with 
 half the Eoman school. A whole volume is written even on 
 the life and works of Mignard. Voltaire, who understands 
 almost everything, and who does not suspect that judgment in 
 painting is one of his deficiencies, speaks ridiculously in com- 
 mendation of some of their performers. 
 
 This country, which does not always err in vaunting its own 
 productions, has not a single volume to show on the works of 
 its painters. In truth, it has very rarely given birth to a genius 
 in that profession. Flanders and Holland have sent us the 
 greatest men that we can boast. This very circumstance may 
 with reason prejudice the reader against a work, the chiei 
 
X 
 
 PREFACE. 
 
 business of which must be to celebrate the arts of a country 
 which has produced so few good artists. This objection is so 
 striking, that instead of calling it The Lives of English Painters, 
 I have simply given it the title of Anecdotes of Painting in 
 England. As far as it answers that term, perhaps it will be 
 found curious. The indefatigable pains of Mr. Vertue left 
 nothing unexplored that could illuminate his subject, and colla- 
 terally led him to many particularities that are at least amusing : 
 I call them no more, nor would I advise any man, who is not 
 fond of curious trifles, to take the pains of turning over these 
 leaves. From the antiquary I expect greater thanks ; he is 
 more cheaply pleased than a common reader : the one demands 
 to be diverted, at least instructed — the other requires only to 
 be informed 
 
 Mr. Vertue had for several years been collecting materials for 
 this work : he conversed and corresponded with most of the 
 virtuosi in England: he was personally acquainted with the 
 oldest performers in the science : he minuted down everything 
 he heard from them. He visited every collection, made cata- 
 logues of them, attended sales, copied every paper he could find 
 relative to the art, searched offices, registers of parishes and 
 registers of wills for births and deaths, turned over all our own 
 authors, and translated those of other countries which related to 
 his subject. He wrote down everything he heard, saw, or read. 
 His collections amounted to near forty volumes, large and small. 
 In one of his pocket-books I found a note of his first intention 
 of compiling such a work ; it was in 1713 ; he continued it 
 assiduously to his death in 1756. These MSS. I bought of his 
 widow after his decease ; and it will perhaps surprise the reader 
 to find how near a complete work is offered to him, though the 
 research was commenced at so late a period; I call it com- 
 menced ; what little had been done before on this subject was 
 so far from assistance, it was scarce of use. The sketch called 
 An Essay towards an English School, at the end of the translation 
 of Depiles, is as superficial as possible ; nor could a fact scarce 
 be borrowed from it till we come to very modern times. In 
 general I have been scrupulous in acknowledging both Mr. 
 Vertue's debts and my own. The catalogues of the works of 
 Hollar and Simon, and those of the collection of King Charles I., 
 King James II., and the Duke of Buckingham, were part of 
 Mr. Vertue's original plan, which is now completed by these 
 volumes. 
 
 The compiler had made several draughts of a beginning, and 
 several lives he had written out, but with no order, no con- 
 nexion, no accuracy; nor was his style clear or correct enough 
 to be offered to the reader in that unpolished form. I have 
 
PREFACE. 
 
 xi 
 
 been obliged to compose anew every article, and have recurred 
 to the original fountains from whence he drew his information : 
 I mean where it was taken from books. The indigested method 
 of his collections, registered occasionally as he learned every 
 circumstance, was an additional trouble, as 1 was forced to turn 
 over every volume many and many times, as they lay in con- 
 fusion, to collect the articles I wanted ; and for the second and 
 third parts containing between three and four hundred names, 
 I was reduced to compose an index myself to the forty volumes. 
 One satisfaction the reader will have, in the integrity of Mr. 
 Vertue; it exceeded his industry, which is saying much. No 
 man living, so bigoted to a vocation, was ever so incapable of 
 falsehood. He did not deal even in hypothesis, scarce in conjec- 
 ture. He visited and revisited every picture, every monument, 
 that was an object of his researches; and being so little a slave 
 to his own imagination, he was cautious of trusting to that of 
 others. In his memorandums he always put a quere against 
 whatever was told him of suspicious aspect; and never gave 
 credit to it till he received the fullest satisfaction. Thus what- 
 ever trifles the reader finds, he will have the comfort of knowing 
 that the greatest part at least are of most genuine authority. 
 Whenever I have added to the compiler's stores, I have generally 
 taken care to quote as religiously the source of my intelligence. 
 Here and there I have tried to enliven the dryness of the subject 
 by inserting facts not totally foreign to it. Yet upon the whole, 
 I despair of its affording much entertainment. The public have 
 a title to whatever was designed for them : I offer this to them 
 as a debt — nobody will suspect that I should have chosen such 
 a subject for fame. 
 
 If the observation of a dearth of great names in this list should 
 excite emulation, and tend to produce abler masters, Mr. Vertue, 
 I believe, and I should be glad to have the continuation of the 
 work do greater honour to our country. It would be difficult 
 perhaps to assign a physical reason, why a nation that produced 
 Shakspeare, should owe its glory in another walk of genius to 
 Holbein and Vandyck. It cannot be imputed to want of pro- 
 tection. "Who countenanced the arts more than Charles the 
 First ? That prince, who is censured for his want of taste in 
 pensioning Quarles, is celebrated by the same pen for employing 
 Bernini; but want of protection is the apology for want of 
 genius : Milton and Fontaine did not write in the bask of court- 
 favour. A poet or a painter may want an equipage or a villa 
 by wanting protection ; they can always afford to buy ink and 
 paper, colours and pencils. Mr Hogarth has received no 
 honours, but universal admiration. 
 
 But whatever has been the complaint formerly, we have 
 
xii 
 
 PREFACE. 
 
 ground to hope that a new era is receiving its date. Genius is 
 countenanced, and emulation will follow. Nor is it a bad in- 
 dication of the flourishing state of a country, that it daily makes 
 improvements in arts and sciences. They may be attended by 
 luxury, but they certainly are produced by wealth and happiness. 
 The conveniences, the decorations of life are not studied in 
 Siberia, or under a Nero, If severe morality would at any time 
 expect to establish a thorough reformation, I fear it must choose 
 inhospitable climates, and abolish all latitude from the laws. A 
 corporation of merchants would never have kept their oaths to 
 Lycurgus of observing his statutes till he returned. A good 
 government, that indulges its subjects in the exercise of their 
 own thoughts, will see a thousand inventions springing up, re- 
 finements will follow, and much pleasure and satisfaction will be 
 produced at least before that excess arrives, which is so justly 
 said to be the forerunner of ruin. But all this is in the common 
 course of things, which tend to perfection, and then degenerate. 
 He would be a very absurd legislator, who should pretend to 
 set bounds to his country's welfare, lest it should perish by 
 knowing no bounds. Poverty will stint itself; riches must be 
 left to their own discretion : they depend upon trade, and to 
 circumscribe trade is to annihilate it. It is not rigid nor Eoman 
 to say it, but a people had better be unhappy by their own fault 
 than by that of their government. A Censor morum is not a much 
 greater blessing than an Arbiter elegantiarum. The world, I 
 believe, is not at all agreed that the austerities of the Presby- 
 terians were preferable to the licentiousness under Charles II. 
 I pretend to defend the one no more than the other; but I am 
 sure that in the body politic, symptoms that prognosticate ill, 
 may indicate well. AH I meant to say was, that the disposition 
 to improvements in this country is the consequence of its vigour. 
 The establishment of a society for the encouragement of arts 
 will produce great benefits before they are perverted to mis- 
 chiefs. The bounties bestowed by that society for facilitating 
 the necessaries of life to the poor, for encouraging the use of 
 our own drugs and materials, or for naturalizing those of other 
 countries, are bestowed on noble principles and with patriot 
 views. That society does not neglect even the elegances of 
 life : arts that are innocent in themselves, and beneficial to the 
 country, either by adding value to our productions, or by 
 drawing riches as they invite strangers to visit us, are worthy 
 the attention of good citizens ; and in all those lights that society 
 acts upon a national and extensive plan. 
 
 The art, that is chiefly the subject of these pages, is one of 
 the least likely to be perverted ; painting has seldom been 
 employed to any bad purpose. Pictures are but the scenery of 
 
PREFACE. 
 
 xiii 
 
 devotion. I question if Baphael himself could ever have made 
 one convert, though he had exhausted all the expression of his 
 eloquent pencil on a series of popish doctrines and miracles. 
 Pictures cannot adapt themselves to the meanest capacities, as 
 unhappily the tongue can. Nonsense may make an apprentice 
 a Catholic or a Methodist ; but the apprentice would see that a 
 very bad picture of St. Francis was not like truth : and a very 
 good picture would be above his feeling. Pictures may serve as 
 helps to religion ; but are only an appendix to idolatry ; for the 
 people must be taught to believe in false gods and in the power 
 of saints, before they will learn to worship their images. I do 
 not doubt but if some of the first reformers had been at liberty 
 to say exactly what they thought, and no more than they 
 thought, they would have permitted one of the most ingenious 
 arts implanted in the heart of man by the Supreme Being to be 
 employed towards his praise. But Calvin, by his tenure, as head 
 of a sect, was obliged to go all lengths. The vulgar will not 
 list but for total contradictions ; they are not struck by seeing 
 religion shaded only a little darker or a little lighter. It was at 
 Constantinople alone where the very shopkeepers had subtlety 
 enough to fight for a letter more or ]ess in a Greek adjective 1 
 that expressed an abstract idea. Happily at this time there is 
 so total an extinction of all party animosity both in religion and 
 politics, that men are at liberty to propose whatever may be 
 useful to their country, without its being imputed to them as a 
 crime, and to invent what they mean should give pleasure, with- 
 out danger of displeasing by the very attempt. 
 
 At this epoch of common sense, one may reasonably expect 
 to see the arts flourish to as proud a height as they attained at 
 Athens, Pome, or Florence. Painting has hitherto made but 
 faint efforts in England. Our eloquence and the glory of out 
 arms have been carried to the highest pitch. The more peace- 
 ful arts have in other countries generally attended national 
 glory. If there are any talents among us, this seems the crisis 
 tor their appearance ; the Throne itself is now the altar of the 
 Graces, and whoever sacrifices to them becomingly, is sure that 
 his offerings will be smiled upon by a prince, who is at once the 
 example and patron of accomplishments. The institution of a 
 school of statuary in the house of a young nobleman 2 of the first 
 rank rivals the boasted munificence of foreign princes. When 
 
 1 In the decline of the Empire there were two sects who proceeded to the greatest, 
 violences against each other in the dispute whether the nature of the Second Person 
 was oixoovcrios, co-essentialis ; or o/ixoioio-ios, similis essentise. 
 
 2 The Duke of Richmond. Charles, third Duke of Richmond, who died in 
 
 1806. Of this institution, in 1770, an account is given by Edwards, in his Intro 
 duction to the Anecdotes of Painters, 4to. 1808. It continued for a very few years. — D • 
 
xiv 
 
 PREFACE. 
 
 we abound with heroes, orators, and patrons, it will be hard if 
 their images are not transmitted to posterity under graceful 
 representations. 
 
 This is by no means said to depreciate the artists we have, but 
 to inspire with emulation those arising. Eysbrack, Eoubiliac 
 Scheemaker, Wilton, would do honour to any country : but 
 hitherto their skill has been in a manner confineS to private 
 monuments. When we have subjects for history, the people 
 should read on public edifices the actions of their ancestors and 
 fellow-citizens in bas-reliefs : busts and statues should reward 
 the gallant behaviour of the brave, and exhibit them as models. 
 What made Eome more venerable than every street being an 
 illustration of Livy ? Painting has been circumscribed within 
 as selfish bounds as statuary ; historic compositions totally neg- 
 lected. Reynolds and Eamsay have wanted subjects, not genius. 
 There is another artist, who seems born for an age of naval 
 glory, and is equal to^it, Mr. Scott. 1 Architecture, the most 
 suitable field in which the genius of a people arrived at 
 superiority, may range, seems reviving. The taste and skill of 
 Mr. Adam is formed for public works. Mr. Chambers's treatise 2 
 is the most sensible book and the most exempt from prejudices 
 that ever was written on that science. But of all the works that 
 distinguish this age, none perhaps excel those beautiful editions 
 of Balbec and Palmyra — not published at the command of a 
 Louis quatorze, or at the expense of a cardinal nephew, but 
 undertaken by private curiosity and good sense, and trusted to 
 the taste of a polished nation. When I endeavour to do justice 
 to the editions of Palmyra and Balbec, I would not confine the 
 encomium to the sculptures ; the books have far higher merit. 
 The modest descriptions 3 prefixed are standards of writing : the 
 exact measure of what should and should not be said, and of 
 what was necessary to be known, was never comprehended in 
 more clear diction, or more elegant style. The pomp of the 
 buildings has not a nobler air than the simplicity of the narration ; 
 but I must restrain myself, though it is pleasing to expatiate 
 on the just praise of one's country ; and they who cannot per- 
 form great things themselves, may yet have a satisfaction in 
 doing justice to those who can. If Juvenal was honest in his 
 satires, he would have been happy if he could have lived to write 
 the panegyric of Trajan. 
 
 1762. 
 
 1 Samuel Scott, a marine painter. He is noticed under the Reign of George 
 III.— W. 
 
 2 On Civil Architecture, folio, 1759. 3 By Mr. Wood. 
 
HORACE WALPOLE'S ADVERTISEMENT 
 
 PREFIXED TO THE FOURTH VOLUME OF THE ORIGINAL EDITION. 
 
 This last volume has been long written, and even printed. 
 The publication, 1 though a debt to the purchasers of the pre- 
 ceding volumes, was delayed from motives of tenderness. The 
 author, who could not resolve, like most biographers, to dispense 
 universal panegyric, especially on many incompetent artists, 
 was still unwilling to utter even gentle censures, which might 
 wound the affections, or offend the prejudices of those related to 
 the persons whom truth forbade him to commend beyond their 
 merits. He hopes, that as his opinion is no standard, it will 
 pass for mistaken judgment with such as shall be displeased 
 with his criticisms. If his encomiums seem too lavish to others, 
 the public will at least know that they are bestowed sincerely. 
 He would not have hesitated to publish his remarks sooner, if 
 he had not been averse to exaggeration. 
 
 The work is carried as far as the author intended to go, 
 though he is sensible he could continue it with more satisfaction 
 to himself, as the arts, 2 at least those of painting and architec- 
 
 1 It was not published till October 9, 1780, though printed in 1771. 
 "Walpole means the last volume of the Anecdotes of Painting. The volume of 
 
 the Engravers had been published in 1762. Farther information respecting the 
 Anecdotes and their appearance, may be collected from Walpole's correspondence, 
 and which is of course the most authentic. 
 
 In 1770, to Mr. Cole : "The last volume of my Anecdotes is completed." In 
 1780 : " The first edition of the Anecdotes was of 300 of the two first volumes ; and 
 of as many of the third volume, and of the volume of Engravers. Then there was 
 an edition of 300 of all four." " 1 am ashamed at the price of my book, though 
 not my fault ; but I have so often been guilty myself of giving ridiculous prices 
 for rarities, though of no intrinsic value, that I must not condemn the same folly 
 in others." With regard to certain microscopic criticisms, Walpole observes : "I 
 took my dates and facts from the sedulous and faithful Vertue, and piqued myself 
 on little but on giving an idea of the spirit of the times, with respect to the arts, 
 at the different periods." — D. 
 
 2 Sculpture should not have been passed over in silence, with any just apprecia- 
 tion of the talents of Nollekens, Banks, or Bacon, which were exhibited before the 
 year 1780. The present age has estimated the merit of these artists individually ; 
 as a classic, Banks has deserved the palm. Flaxman had not distinguished him- 
 self at that period. — D. 
 
xvi 
 
 ADVERTISEMENT. 
 
 ture, are emerging from the wretched state in which they lay at 
 the accession of George the First. To architecture, taste and 
 vigour were given by Lord Burlington and Kent. They have 
 successors 1 worthy of the tone they gave; if, as refinement 
 generally verges to extreme contrarieties, Kent's ponderosity 
 does not degenerate into filligrain. But the modern Pantheon 
 uniting grandeur and lightness, simplicity and ornament, seems 
 to have marked the medium, 2 where Taste must stop. The 
 architect who shall endeavour to refine on Mr. Wyat, will 
 perhaps give date to the age of embroidery. Virgil, Longinus, 
 and Vitruvius 3 afford no rules, no examples, of scattering finery. 
 
 This delicate redundance of ornament growing into our archi- 
 tecture might perhaps be checked, if our artists would study the 
 sublime dreams of Piranesi, who seems to have conceived visions 
 of Eome beyond what it boasted even in the meridian of its 
 splendour. Savage as Salvator Eosa, fierce as Michael Angelo, 
 and exuberant as Eubens, 4 he has imagined scenes that would 
 startle geometry, and exhaust the Indies to realize. He piles 
 palaces on bridges, and temples on palaces, and scales Heaven 
 
 1 Walpole here clearly alludes to the external ornaments upon the walls of the 
 Adelphi buildings, and the gateway which leads to Sion-house, by the Adams. 
 The works of Robert and James Adam were published in numbers, tour of which 
 had appeared before 1776, and contained architectural plans and descriptions of 
 Sion-house, Caen-wood, Luton- Park house, and Lansdowne-house, Berkeley-square ; 
 the two last mentioned were built for the premier, Lord Bute, who greatly patro- 
 nised them. None of these structures " degenerate into filligraine," but display 
 decorations selected from entablatures of classic antiquity. The house at Keddle- 
 stone, which they designed for Lord Scarsdale, abounds in parts copied from the 
 finest examples of Palmyra and Spalatro. — D. 
 
 2 This temple of elegance and pleasure was so nearly destroyed by fire, about 
 thirty years ago, that it has not been since applied to its original destination. 
 The walls only remain. The architect had not exceeded his twenty-first year, 
 (1764) when he astonished and delighted the world of architectural science and 
 taste. Praise so bestowed, seconded, as it certainly was, by superior merit, soon 
 placed James Wyatt in a -very eminent rank among English architects ; and he 
 was consequently engaged, during a long period, till he had reached the age of 
 seventy years, in works most distinguished by taste, magnificence, and boundless 
 expense. The future historian of the arts, in the reigns of George the Third and 
 Fourth, will find in them an ample field for the display of his powers of description 
 and criticism. — D. 
 
 3 " Eum Architectum oportet usu esseperitum et solertem, qui demere aut adji- 
 cere prescriptis valet." Vitruvius. — D. 
 
 4 Giovanni Battista Piranesi (died at Eome 1778, aged seventy-one), whose 
 works are well known. They consist of nearly twenty large volumes in folio, con- 
 taining, upon an average, fifty plates each. The Antiquities of Rome, are in a 
 bold and free style of etching, peculiar to himself. His views of ruins are, many 
 of them, the effort of his own imagination, and strongly characterise the magnifi-, 
 cenee of nis ideas. Gilpin, [Essay on Prints, p. 118,) speaking technically, says 
 that " his great excellence lay in execution, of which he was a consummate master. 
 His faults are many. His horizon is often taken too high — his views are frequently 
 ill-chosen — his objects crowded ; his forms ill-shaped — of the distribution of light 
 and shade he has little knowledge," &c, &c. — D. 
 
ADVERTISEMENT. 
 
 xvii 
 
 with mountains of edifices. Yet what taste in his boldness ! 
 what grandeur in his wildness ! what labour and thought both 
 in his rashness and details ! Architecture, indeed, has in a 
 manner two sexes ; its masculine dignity can only exert its 
 muscles in public works and at public expense ; its softer beau- 
 ties come better within the compass of private residence and 
 enjoyment. 
 
 How painting has rekindled from its embers, the works of 
 many living artists demonstrate. 1 The prints after the works 
 Of Sir Joshua Eeynolds have spread his fame to Italy, where 
 they have not at present a single painter that can pretend to 
 rival an imagination so fertile, that the attitudes of his portraits 
 are as various 2 as those of history. In what age were paternal 
 despair and the horrors of death pronounced with more expres- 
 sive accents than in his picture of Count Ugolino ? 3 When was 
 infantine loveliness, or embryo passions touched with sweeter 
 truth than in his portraits of Miss Price and the baby Jupiter? 4 
 What frankness of nature in Mr. Gainsborough's landscapes ; 5 
 
 1 The prints after the designs of Sir Joshua Reynolds amount, according to the 
 most authentic catalogue, published in Northcote's Life of Sir Joshua Jteynolds, 
 to those of historical and fancy subjects, 132 ; Portraits 150, and chiefly in mezzo- 
 tinto. A complete collection of prints from his entire works is now (1828) in the 
 course of publication, by W. Reynolds. — D. 
 
 2 Sir J. Reynolds has been accused of plagiarism for having borrowed attitudes 
 from ancient masters. Not only candour but criticism must deny the force of the 
 charge. When a single posture is imitated from an historic picture and applied to 
 a portrait in a different dress and with new attributes, this is not plagiarism, but 
 quotation : and a quotation from a great author, with a novel application of the 
 sense, has always been allowed to be an instance of parts and taste ; and may have 
 more merit than the original. When the sons of Jacob imposed on their father by 
 a false coat of Joseph, saying, "Know now whether this be thy son's coat or not?" 
 they only asked a deceitful question — but that interrogation became wit, when 
 Richard I. on the pope reclaiming a bishop whom the king had taken prisoner in 
 battle, sent him the prelate's coat of mail, and in the words of Scripture asked his 
 holiness whether that was the coat of his son, or not ? Is not their humour and 
 satire in Sir Joshua's reducing Holbein's swaggering and colossal haughtiness of 
 Henry VIII. to the boyish jollity of Master Crewe?* One prophecy I will venture 
 to make : Sir Joshua is not a plagiary, but will beget a thousand. The exuber- 
 ance of his invention will be the grammar of future painters of portrait. 
 
 3 Ugolino and his children, in the dungeon ; purchased by a late Duke of Dorset 
 for 40 01. Now at Knole, and engraved by Dixon. — D. 
 
 4 Infant Jupiter, purchased by the late Duke of Rutland for 100Z. now at Relvoir- 
 castle ; engraved by Smith, 1775. Miss Price, painted for Uvedale Price, Esq. of 
 Foxley Herefordshire, engraved by J. Watson, 1770. — D. 
 
 5 Thomas Gainsborough, died 1788, aged sixty -one. " It is in his chaste and 
 picturesque delineation of English landscape, so exquisitely exhibited in his admir- 
 able pictures of our domestic scenery ; the bewitching embellishments with which 
 he has decorated them of groups of cottage children ; the charming rusticity of his 
 husbandmen, their horses and their cattle ; and the characteristic simplicity of the 
 
 * Master Crewe, painted for J. Crewe, Esq. now at Crewe-hall, Cheshire. 
 Engraved by Smith, 1776. 
 
 vol. i. b 
 
xviii 
 
 ADVERTISEMENT. 
 
 which may entitle them to rank in the noblest collections 
 What genuine humour in Zoffanifs comic scenes; 1 which do 
 not, like the works of Dutch and Flemish painters, invite 
 laughter to divert itself with the nastiest indelicacy of boors ! 
 
 Such topics would please a pen that delights to do justice to 
 its country ; but the author has forbidden himself to treat of 
 living professors. Posterity appreciates impartially the works 
 of the dead. To posterity he leaves the continuation of these 
 volumes ; and recommends to the lovers of arts the industry of 
 Mr. Vertue, who preserved notices of all his contemporaries, as 
 he had collected of past ages, and thence gave birth to this work. 
 In that Supplement will not be forgotten the wonderful progress 
 in miniature of Lady Lucan, 2 who has arrived at copying the 
 
 whole, that his transcendent merit is peculiarly conspicuous. " (Bryan. ) Sir J. 
 Reynolds observes of him, that "his grace was not academical nor antique, but select- 
 ed by himself from the great school of nature. " Two of his early landscapes are in 
 the collection of J. Hawkins, Esq. of Bignor-park Sussex, and one of the finest of 
 his later compositions was given by the late Sir G. Beaumont to the National 
 Gallery. No less than sixty - nine of his works were exhibited in the gallery of the 
 British Institution in 1814. — D. 
 
 1 Johann Zoffanij, a native of Frankfort, came to England when about thirty 
 years old. He soon acquired celebrity by his admirable portraits of favourite 
 dramatic performers, Garrick, Foote and Weston, in their best comic characters. 
 The first mentioned, indeed, had many of his pictures ; and may be considered as 
 his patron. He painted Garrick's portrait with better success than Gainsborough 
 had done — who excused himself, "from the difficulty of making a true likeness of 
 those who had every body's face but their own." He may be called the " Histo- 
 rian of the stage of Garrick." Those who remember that inimitable actor, will be 
 grateful to Zoffanij, for the accuracy with which he has recorded all that it was 
 possible to catch of his exquisite, but evanescent art. His pictures best known 
 are the Royal Academy, representing thirty-six acurate portraits, and the Tribune 
 of the Florence Gallery, into which he has introduced those of twenty English gentle- 
 men. The late Mr. Townley had the interior of his statue room, with himself and 
 D'Hankarville in conversation. An elaborate engraving of it has been completed 
 within the present year, in which Mr. T. and the apartment which he delighted to 
 embellish, are represented with no common truth of resemblance. Zoffanij after- 
 wards went upon a speculation to India, where he painted groups, the chief of which 
 were Nabobs, both native and British, and returned with increased fortune but 
 with talents and health much impaired. — D. ■ 
 
 [Zoffanij was born at Regensburg, or more probably Frankfort, in 1735 ; he was 
 by descent a Bohemian ; his father, an architect, settled in Germany. Zoffanij 
 studied in Italy, and came to England shortly before the foundation of the Royal 
 Academy, in 1768, of which he was one of the original thirty-six members. He 
 went to the East Indies in 1781 or 82, and lived some years at Lucknow, and 
 painted there three of his most celebrated works : "The Embassy of Hyder- 
 beck to Calcutta;" "A Tiger-hunt;" and "A Cock-fight;" they have been 
 scraped in mezzotinto by Earlom. He returned to London about 1796, with a 
 considerable fortune, and died at Kew, in 1810. Fiorillo, Geschichte der Mah- 
 lerey, &c. — WJ 
 
 2 Margaret, Countess of Lucan, died in 1815. This singularly excellent 
 talent of copying illuminations and miniatures was exerted in completing em- 
 bellishments of Shakspeare's historical plays, in live folio volumes, now preserved 
 in the library at Al thorp. From Dr. Dibdein's JEdes AUhorpiance, vol. i. p. 200, 
 the following account of this monument of female genius is extracted. " During 
 sixteen years, this accomplished lady pursued the pleasurable toil of illustration, 
 
ADVERTISEMENT. 
 
 XIX 
 
 most exquisite works of Isaac and Peter Oliver, Hoskins and 
 Cooper, with a genius that almost depreciates those masters, 
 when we consider that they spent their lives in attaining per- 
 fection ; and who, soaring above their modest timidity, has 
 transferred the vigour of .Raphael to her copies in water colours. 
 There will be recorded the living etchings of Mr. H. Bunbury, 1 
 the second Hogarth, and first imitator who ever fully equalled 
 his original ; and who, like Hogarth, has more humour when he 
 invents, than when he illustrates ; 2 probably because genius 
 can draw from the sources of nature with more spirit than from 
 the ideas of another. Has any painter ever executed a scene, a 
 character of Shakspeare, that approached to the prototype so 
 near as Shakspeare himself attained to nature ? Yet is there a 
 pencil in a living hand as capable of pronouncing the passions 
 as our unequalled poet : a pencil not only inspired by his insight 
 into nature, but by the graces and taste of Grecian artists ; but 
 
 having commenced in her fiftieth and finished in her sixty-sixth year. Whatever 
 of taste, beauty and judgment in decoration by means of portraits, landscapes, 
 houses and tombs — flowers, birds, insects, heraldic ornaments and devices, could 
 dress our immortal bard in a yet more fascinating form, has been accomplished by 
 a noble hand which undertook an Herculean task ; and with a truth, delicacy and 
 finish of execution which have been very rarely imitated. " The colophon of the 
 fifth volume is illustrated by a drawing of the portrait of Lady Lucan, in her sixty- 
 sixth year, attended by Genius, Affection and Perseverance, by her daughter 
 Lavinia, Countess Spencer. The colophon is inscribed : — 
 
 Margaret Countess of Lucan 
 Mt : bjjm LXV1. 
 Genius, Affection 
 
 and 
 Perseverance 
 Record the Completion of this beautiful vjork, 
 Happily conceived, cordially undertaken, 
 and 
 
 Zealously pursued. 
 Begun in mdccxc. Finished in mdoccvi. 
 
 See Lord Orford's Works, 4to. 1798, vol. ii. p. 425. — D. 
 1 Henry William Bunbury died in 1811, aged 61. The productions of his 
 pencil were from early infancy the delight and admiration of his friends, and 
 afterwards of the public. The original vein of true humour in most of his draw- 
 ings, and the grace which he displayed in others, were such as to render his works 
 justly popular in his day. His is no common instance of the union of talents of 
 such a various and opposite character, in the same artist, had to so great an extent. 
 It must, in candour, be allowed, that W'alpcle's criticism, if it were just when 
 applied to his illustrations of Tristram Shandy, were not less so with reference to 
 his elucidation of scenes in Shakspeare. 
 
 Who would suspect the ascetic Barry of paying a compliment so refined and 
 elegant as the following, to Mr. Bunbury ? 4 ' As to Mr. Bunbury, who had so hap- 
 pily succeeded in the vein of humour and caricature, he has for some time past 
 altogether relinquished it for the more amiable pursuit of beautiful nature : this is 
 indeed not to be wondered at, when we recollect that he has in Mrs. Bunbury so 
 admirable an exemplar of the most finished grace and beauty continually at his 
 elbow."— Works, vol. ii. p. 386. — D. 
 
 2 For instance, in his prints to Tristram Shandy. 
 
 b 2 
 
XX 
 
 ADVERTISEMENT. 
 
 it is not fair to excite the curiosity of the public, when both the 
 rank and bashful merit of the possessor, and a too rare exertion of 
 superior talents, confined the proofs to a narrow circle. Whoever 
 has seen the drawings, and bas-reliefs, designed and executed by 
 Lady Diana Beauclerc, 1 is sensible that these imperfect encomiums 
 are far short of the excellence of her works. Her portrait of the 
 Duchess of Devonshire, in several hands, confirms the truth of 
 part of these assertions. The nymph-like simplicity of the 
 figure is equal to what a Grecian statuary would have formed 
 for a dryad or goddess of a river. Bartolozzi's print of her two 
 daughters after the drawing of the same lady, is another speci- 
 men of her singular genius and taste. The gay and sportive 
 innocence of the younger daughter, and the demure application 
 of the elder, are as characteristically contrasted as Milton's 
 L' Allegro and II Penseroso. A third female genius is Mrs. Darner, 
 daughter of General Conway, in a walk more difficult and far 
 more uncommon than painting. The annals of statuary record 
 few artists of the fair sex, and not one that I recollect of any 
 celebrity. 2 Mrs. Darner's busts from the life are not inferior to 
 
 1 Lady Diana Spencer, the wife of Topham Beauclerk, of literary distinction, 
 died in 1808, at the advanced age of seventy-four. In so high estimation were the 
 graphic performances of this honourable lady held by Walpole, that he constructed 
 an hexagon tower in 1776, and designated it the "Beauclerk Closet." " It was 
 built (he says) purposely for the reception of seven incomparable drawings by 
 Lady Diana Beauclerk for scenes in the ' Mysterious Mother. ' — These sublime draw- 
 ings, the first she ever attempted, were all conceived and executed in a fortnight. " 
 ■ — Walpole's Works, 4to. vol. ii. p. 504. — Description of Strawberry -hill. 
 
 She pursued this style of art almost exclusively afterwards, and in 1796, gave 
 designs for a translation of Burger's German poem of Leonora, by her nephew 
 W. R. Spencer, Esq., published in folio. In 1797, she added a series of designs for 
 a splendid edition of Dryden's Fables, folio. These will confirm Walpole's par- 
 tiality, by proofs of an elegant and fertile imagination and classic taste. — D. 
 
 2 Walpole's observation is not strictly correct. The celebrity of Propertia de' 
 Rossi, of Bologna, is sufficiently knowi? from Vasari's account of her, and her sin- 
 gular talents as a female sculptor. (Tom. i. p. 171, Edit. 1568,) where is a portrait 
 engraved in wood, but of uncertain resemblance. D'Argenville ( Vies des fameux 
 Sculpteurs, torn. ii. p. 3) relates an affecting anecdote of her. She was the victim 
 of an unfortunate attachment, and died at an early age, in 1530 ; immediately upon 
 the completion of a beautiful bas-relief in white marble, the subject of which was 
 Joseph and Potiphar's wife. 
 
 The Honourable Anna Seymour Darner, to whom Walpole bequeathed his villa 
 at Strawberry-hill, and its rare contents. Since the year 1780, she has produced 
 several specimens of sculpture, both in marble and terra-cotta, progressively in- 
 creasing in number and excellence. She first acquired the elements of the art 
 from Ceracci, and afterwards perfected herself in the practical part, in the studio 
 of the elder Bacon. 
 
 Sculptures and Models by the Hon. Anna Seymour Darner. 
 
 Two Kittens in white marble, and an 
 Osprey Eagle in terra-cotta. Straw- 
 berry-hill. 
 
 A Dog in marble, presented to the late 
 
 Queen Charlotte. Landgravine of 
 Hesse Homberg. 
 A group of two Sleeping Dogs in white 
 marble, presented to her brother in- 
 
ADVERTISEMENT. 
 
 xxi 
 
 the antique, and theirs we are sure were not more like. Her 
 shock dog, large as life, and only not alive, has a looseness and 
 softness in the curls that seemed impossible to terra-cotta : it 
 rivals the marble one of Bernini in the royal collection. As 
 the ancients have left us but five animals of equal merit with 
 their human figures, namely, the Barberini goat, 1 the Tuscan 
 boar, the Mattei eagle, the eagle at Strawberry-hill, and Mr. 
 Jennings's, now Mr. Duncombe's, dog, the talent of Mrs. Darner 
 must appear in the most distinguished light. Aided by some 
 instructions from that masterly statuary Mr. Bacon, she has 
 
 law, the late Duke of Richmond. 
 Goodwood, Sussex. 
 
 A marble of her own favourite Italian 
 Greyhound. 
 
 Models in terra-cotta, of other Dogs. 
 
 His late Majesty, in marble, larger than 
 life. Regi ter's Office, Edinburgh. 
 
 Bust of C. J. Fox, in marble, presented 
 in person to Napoleon, in 1815. 
 
 Two colossal heads in Portland stone, 
 representing Tame and Isis, as key- 
 stones of the centre arch of Henley 
 Bridge, Oxfordshire. 
 
 Bust in stone (on a monument in Sund- 
 ridge Church, Kent), of her mother, 
 the Countess of Aylsbury, who was re- 
 married to General Seymour Conway. 
 
 Bust, heroic size, of Lord Nelson, pre- 
 sented to the City of London. 
 
 Model in terra-cotta, for a Bust of Sir 
 Joseph Banks (in bronze). British 
 
 Bust of Herself, given to the late R. P. 
 
 Knight, Esq. with an inscription — 
 Hanc sui-ipsius effigiem. Ad vota 
 veteris amici rlchardi payne 
 Knight, sua manu fecit Anna Sey- 
 mour Damer, now in the British Mu- 
 seum, with his collection. Engraved 
 for this work. 
 Isis, Bust in Greek marble. T. Hope, Esq. 
 Lady Viscountess Melbourn, bust in 
 
 marble. Earl Cowper, 
 Lady Eliz. Forster, (afterwards D. Dow. 
 
 of Devonshire). D. of Devonshire. 
 Honourable Peniston Lamb, as Mercury, 
 
 bust in marble. 
 Paris, a small bust, in marble. 
 Sir Humphry Davy, bust in marble. 
 Two Basso-relievos from Coriolanus and 
 Marc Antony, for the Shakspeare Gal- 
 lery, models in terra-cotta. 
 Thalia. Bust in Marble. 
 Caroline, Countess of Aylsbury. 
 
 Ditto. 
 
 Museum. 
 
 A head of a young Bacchus, (Portrait of Field-Marshal Seymour Conway. 
 
 Prince Lubomirski). Bodleian Gal- in terra-cotta. 
 
 lery, Oxford. 
 Mrs. Siddons, in the character of the 
 
 Tragic Muse. Bust. 
 Bust of Herself, in marble. Gallery at 
 
 Florence. 
 
 Ditto. 
 Ditto 
 
 The late Queen Caroline. 
 A Muse, head in bronze. 
 Bust of Lord Nelson, model for cast in 
 bronze, sent as a present to the king 
 of Tanjore. 
 
 The Editor has been favoured with this accurate list of Mrs. Darner's perform- 
 ances by her relative, Sir Alexander Johnston, late President of His Majesty's 
 Council in the Island of Ceylon. The King of Tanjore, a Hindoo sovereign of 
 great power and influence in the South of Asia, had discovered to Sir Alexander 
 in various communications with him, an ardent desire to disseminate among his 
 Court, a knowledge and love of the arts, as practised in Europe. This circum- 
 stance having been made known to Mrs Damer, she completed a bust of Nelson 
 (the last-mentioned) for the acceptance of the Royal amateur, and which Sir Alex- 
 ander presented to him. 
 
 It would be a subject of proud congratulation to Mrs. Damer, if this able speci- 
 men of her singular talent, should first tend to disseminate through that remote, 
 nation, a desire of acquiring statuary by British artists, and an eventual imitation 
 of it.— D. 
 
 [Mrs. Damer died May 28th, 1828. See Cunningham's Lives, vol. iii. — W.] 
 1 The " Stanza dei Animali," in the Pope's collection at the Vatican, would con- 
 test this criticism. The Townleian eagle and greyhound in the British Museum, 
 are perhaps not inferior to those five, mentioned above. — D. 
 
xxii 
 
 ADVERTISEMENT. 
 
 attempted and executed a bust in marble. Ceracchi, from 
 whom first she received four or five lessons, has given a whole 
 figure of her as the muse of Sculpture, in which he has happily 
 preserved the graceful lightness of her form and air. 1 
 
 Little is said here but historically of the art of gardening. 
 Mr. Mason, in his first beautiful canto on that subject, has 
 shown that Spenser and Addison ought not to have been omitted 
 in the list of our authors who were not blind to the graces of 
 natural taste. The public must wish, with the author of this 
 work, that Mr. Mason would complete his poem, and leave this 
 essay as unnecessary as it is imperfect. 2 
 
 The historic compositions offered for St. Paul's by some of 
 our first artists, seemed to disclose a vision of future improve- 
 ment — a period the more to be wished, as the wound given to 
 painting through the sides of the Eomish religion menaces the 
 arts as well as idolatry — unless the Methodists, whose rigour 
 seems to soften and adopt the artifices of the Catholics, [for our 
 itinerant mountebanks already are fond of being sainted in 
 mezzotinto, as well as their St. Bridgets and Teresas] should 
 borrow the paraphernalia of enthusiasm now waning in Italy, 
 and superadd the witchery of painting to that of music. Whit- 
 field's temples encircled with glory may convert rustics, who 
 have never heard of his or Ignatius Loyola's peregrinations. 
 If enthusiasm is to revive, and tabernacles to rise as convents 
 are demolished, may we not hope at least to see them painted ? 
 Le Sueur's cloister at Paris makes some little amends for the 
 imprisonment of the Carthusians. The absurdity of the legend 3 
 of the reviving canon is lost in the amazing art of the painter ; 
 and the last scene of St. Bruno expiring, in which are expressed 
 all the stages of devotion, from the youngest mind impressed 
 with fear, to the composed resignation of the prior, is perhaps 
 
 1 This statue has been lately contributed to the Museum by Mrs. Damer. 
 Ceracci, was a young Italian sculptor of rising talents. Sir J. Reynolds 
 
 sate to him, for the only bust in marble which was ever executed of that illustrious 
 painter. Ceracci was in France during the Revolution, and having been impli- 
 cated in the plot to destroy Buonaparte, suffered under the guillotine. North- 
 cote. — D. 
 
 [Giuseppe Ceracchi, according to some accounts, was born in Corsica ; according 
 to Cicognara, at Rome, about 1760. He practised his art in London, Vienna, 
 America, Italy, and France, where he was guillotined in 1801. A marble statue 
 of Mrs. Damer, from a model by Ceracchi, was placed after her death in the hall 
 of the British Museum. — W. ] 
 
 2 The first book of the English Garden was published by Mason in 1772, the 
 second in 1777, the third in 1779, and the last in 1783, 8vo., with a Commentary 
 by W. Burgh, Esq. — D. 
 
 3 Eustache Le Sueur, 1617 — 1655. The History of St. Bruno was painted upon 
 board, consisting of twenty-two pictures, originally hung up in the Cloister of the 
 Chartreux, at Paris. They have been transferred to canvas, and are now a chief 
 ornament of the Royal Gallery of the Louvre.— D. 
 
ADVERTISEMENT. 
 
 XXlll 
 
 inferior to no single picture of the greatest master. If Raphael 
 died young, so did Le Sueur ; the former had seen the antique, 
 the latter only prints from Raphael : yet in the Chartreuse, what 
 airs of heads J what harmony of colouring ! what aerial perspec- 
 tive ! How Grecian the simplicity of architecture and drapery ! 
 How diversified a single quadrangle, though the life of a hermit 
 be the only subject, and devotion the only pathetic ! In short, 
 till we have other pictures than portraits, and painting has ampler 
 fields to range in than private apartments, it is in vain to expect 
 the art should recover its genuine lustre. Statuary has still less 
 encouragement ; sepulchral decorations are almost disused ; and 
 though the rage for portraits is at its highest tide both in pic- 
 tures and prints, busts and statues are never demanded. 1 We 
 seem to wish no longer duration to the monuments of our ex- 
 pense, than the inhabitants of Peru and Russia, where edifices 
 are calculated to last but to the next earthquake or conflagration. 
 
 October 1, 1780. 
 
 i At the date of this Advertisement, "Nollekens and Bacon had finished many 
 busts, and several of their most admired emblematical statues, for sepulchral 
 monuments . — D. 
 
LIST OF ILLUSTEATIONS-VOL. I. 
 
 PLATES. 
 
 The Honourable Horace Walpole facing the title 
 
 The Honourable Anna Seymour Damer xx 
 
 Henry the Fifth, his Queen and Family 32 
 
 Marriage of Henry VI. 34 
 
 John Mabuse ' 50 
 
 Marriage of Henry VII 54 
 
 Hans Holbein 66 
 
 Sir Antonio More 139 
 
 Joas Van Cleeve 144 
 
 Edward Courtenay, Earl of Devonshire . . . . , . 146 
 
 Cornelius Ketel 158 
 
 F. Zuccaro, and M. Garrard 161 
 
 Nicholas Hilliard * 171 
 
 Isaac Oliver 176 
 
 Sir Nathaniel Bacon 190 
 
 Paul Vansomer ........... 209 
 
 The Countess of Arunde], from the Original Painting at Worksop Manor 210 
 
 Cornelius Jansen 211 
 
 * Daniel My tens . . . 215 
 
 Peter Oliver 221 
 
 The Earl of Arundel 292 
 
 Sir Peter Paul Eubens 302 
 
 Abraham Diepenbeck 315 
 
 Sir Anthony Vandyck . . . . . . . . . 316 
 
 Cornelius Polenburg 342 
 
 John Torrentius 344 
 
 George Jameson, his Wife and Son 346 
 
 XXV 
 
WOODCUTS. 
 
 PAGE 
 
 Arms and Quar ten rigs of the Author iv 
 
 View of Strawberry Hill viii 
 
 Strawberry Hill . . xxiii 
 
 Arms of Rubens, Vandyck, and Inigo Jones xxiv 
 
 M. and S. Ricci, and Baker xxxii 
 
 Effigies of Henry the Third and Edward the Confessor ... 20 
 
 Henry the Seventh's Chapel, and Tomb . . . . . . 49 
 
 Henry VIII 57 
 
 Holbein's Gate 114 
 
 Henry the Eighth's Gateway, Windsor Castle 134 
 
 Portrait of Henry Cornelius Vroom 167 
 
 Monument of Queen Elizabeth 198 
 
 Queen Elizabeth 206 
 
 Henry Gyles and John Rowell . . . . . . . . 230 
 
 Nicholas Stone, Senior and Junior 238 
 
 Henry Stone . . . . . 215 
 
 Holland House . . . ■ . . 260 
 
 Abraham Vanderdort .......... 266 
 
 Sir B. Gerbier D'Ouvilly ..... ... 274 
 
 George Geldorp ......... a 335 
 
 Henry Steenwyck 343 
 
 Burleigh Hou.e 351 
 
 vol f 
 
 xxvi 
 
NAMES OF ARTISTS, 
 
 BANGED ACCORDING TO THE TIMES IN WHICH THEY LIVED. 
 
 IN THE REIGN OF KING JOHN. 
 Elyas, architect. 
 
 HENRY III. 
 Odo, goldsmith. 
 
 Edward Fitzodo, or Edward of West- 
 minster. 
 Master William, painter. 
 Master Walter, painter. 
 Peter Cavalini, sculptor. 
 
 RICHARD II. 
 
 John Sutton, carver. 
 B. and Godfrey, of Wood-street gold- 
 smiths. 
 
 HENRY IY. 
 
 John Sifernas, monk, illuminator. 
 
 John Thornton, glazier. 
 
 Thomas Occleve, poet and painter. 
 
 HENRY Y. 
 Richard Frampton, illuminator 
 
 HENRY VI. 
 
 William Seburgh, painter. 
 Thomas Porchalion, statuary. 
 John Essex, marbler. 
 William Austin, founder. 
 Thomas Stevens, coppersmith. 
 John Bourde, marbler. 
 Barth. Lambspring, goldsmith. 
 John Prudde, glazier. 
 John Brentwood, painter. 
 Kristian Coleburne, painter. 
 
 Richard , carver. 
 
 Brother Rowsby, monk and architect. 
 
 EDWARD IV. 
 Master Cumings, sculptor. 
 
 HENRY VII. 
 
 John Mabuse, painter. 
 
 John Rous, antiq. and painter. 
 
 HENRY VIII. 
 
 Johannes Corvus, painter. 
 Jerome di Trevisi. 
 Antony Toto, painter. 
 Barth. Penne, painter. 
 Gerard Luke Horneband, painter. 
 Susannah Horneband, paintress. 
 Andrew Wright, painter. 
 John Brown, painter. 
 Lucas Cornelli, painter. 
 Hans Holbein, painter. 
 Pietro Torreggiano, sculptor. 
 Laurence Ymber, carver. 
 Humphrey Walker, founder. 
 Nicholas Ewer, coppersmith. 
 John Bell, painter. 
 John Maynard, painter 
 Robert Vertue, mason. 
 Robert Jenings, mason. 
 John Lebons, mason. 
 William Vertue, mason. 
 John Hylmer, carpenter. 
 Humphrey Cooke, carpenter. 
 Robert Cook, painter. 
 James Hales, carver. 
 John Wastell, mason. 
 Francis Williamson, glass-painter 
 Simond Symonds, glass-painter. 
 Barnard Flower, glass-painter. 
 Galyon Hoone, glass-painter. 
 Richard Bownde, glass-painter. 
 Thomas Reve, glass-painter. 
 James Nicholson, glass-painter. 
 John Mustyan, arras-maker. 
 John de Mayne, seal -engraver. 
 Richard Atsyll, graver of stones. 
 Master Newton, painter. 
 Levina Tirlinks, paintress. 
 
xxviii 
 
 NAMES OF ARTISTS. 
 
 Theodore Bernardi, painter. 
 Benedetto da Rovezzano, sculptor. 
 Antonio Cavallari, sculptor. 
 
 ApvChitects in various Reigns. 
 
 Gundulphus. 
 
 Peter of Coleclrurch. 
 
 William de Sens. 
 
 Helias de Berham. 
 
 Isembert de Xaintes. 
 
 William of Wykeham. 
 
 William Rede, Bisiiop of Chichester. 
 
 Holbein. 
 
 John of Padua. 
 
 Sir Richard Lea. 
 
 EDWARD VI. and MARY. 
 
 Marc Willems, painter. 
 Hans Hucet, painter. 
 John Bossam, painter. 
 Antony Deric, medallist. 
 Guillim Stretes, painter. 
 Sir Antonio More. 
 Joas Van Cleve. 
 Nicholas Lysard. 
 
 E. Courtenay, Earl of Devonshire. 
 
 QUEEN ELIZABETH. 
 
 Lucas de Heere, painter. 
 Cornelius Ketel. 
 Frederic Zucchero. 
 Marc Garrard. 
 H. Cornelius Vroom. 
 Petruccio Ubaldini. 
 
 Nicholas Hilliard, painter in miniature. 
 Isaac Oliver. 
 
 Tyrrell, carver. 
 
 Robert Aggas, painter. 
 Hieronymus Custodio, painter. 
 Levinus Vogelarius. 
 James Morgues, painter. 
 John Shute, painter and architect. 
 Antonius Van Den Wynegaarde. 
 Tho. and John Bettes, painters. 
 Will, and Fran. Segar, painters. 
 Lyne, P. Cole, Arnolde, painters. 
 Jacques de Bruy, painter. 
 Peter Golchi, painter. 
 Hieronymo de Bye, painter. 
 Peter Vandevelde, painter. 
 Rogers, Cha. Switzer, Cure, engravers. 
 Nicholas Lockie, painter. 
 Master Stickles, architect. 
 Barth. Campaine, or Campion, chaser. 
 Martin and Metcalf. 
 Richard Stevens, painter, statuary, and 
 medallist. 
 
 Horatio Palavicini, arras maker. 
 
 Randolph, painter. 
 
 Rob. Adams, architect. 
 
 Valerio Vincentino, engraver of stones. 
 
 Dr. J. Twisden, painter. 
 
 Sir Nath. Bacon, painter. 
 
 John Holland, painter. 
 
 Theodore Haveus, architect. 
 
 Ralph Simons, architect. 
 
 IN THE REIGN OF JAMES I. 
 
 Paul Vansomer. 
 Cornelius Jansen. 
 Theodore Russel. 
 Daniel Mytens. 
 Christopher Roncalli. 
 Sir Robert Peake. 
 Peter Oliver. 
 
 Glass Painters. 
 
 Isaac Oliver. 
 Bernard Van Linge. 
 Baptista Sutton. 
 Henry Giles. 
 William Price. 
 William Price, jun. 
 
 Other Artists. 
 
 Edward Norgate. 
 Solomon de Caus. 
 Sir Francis Crane. 
 
 Statuaries. 
 
 Maximilian Colte. 
 Epiphanius Evesham. 
 Nicholas Stone. 
 Henry Stone. 
 John Stone. 
 Nicholas Stone, jun. 
 
 Architects. 
 
 Bernard Jansen. 
 Gerard Chrismas. 
 John Smithson. 
 
 Butler. 
 
 Stephen Harrisun. 
 
 • 
 
 Medallists. 
 
 Charles Antony. 
 Thomas Antony. 
 Thomas Bushell. 
 Nicholas Briot. 
 
 CHARLES I. 
 
 Abraham Vanderdort. 
 Sir Balthazar Gerbier. 
 
NAMES OF ARTISTS. 
 
 xxix 
 
 Henry Vanderborcht. 
 Sir Peter Paul Rubens. 
 Abraham Diepenbeck. 
 Sir Anthony Vandyck. 
 David Beck. 
 George Geldorp. 
 Isaac Sailmaker. 
 
 Bradshaw. 
 
 B. Van Bassen. 
 Cornelius Poelenburg. 
 Henry Steenwyck. 
 John Torrentius. 
 J. C. Keirincx. 
 John Priwitzer. 
 George Janiesone. 
 William Dobson. 
 Gerard Honthorst. 
 John Van Belcamp. 
 Horatio Gentilescbi. 
 Artemisia Gentilesehi. 
 Nicholas Laniere. 
 Francis Wouters. 
 
 Weesop. 
 
 John De Chtz. 
 Adrian Hanneman. 
 Cornelius Neve. 
 K. Coker. 
 
 Matthew Goodricke. 
 Adrian Stalband. 
 
 Portman. 
 
 Greenbury. 
 
 Horatio Paulin. 
 
 Povey. 
 
 Hamilton. 
 
 Edward Bower. 
 
 ■ Holderness. 
 
 T. Johnson. 
 
 Reurie. 
 
 Francis Barlow. 
 Sir Toby Matthews. 
 Sir James Palmer. 
 Samuel Butler. 
 Francis Cleyn. 
 John Hoskins. 
 Alexander Cooper. 
 Anne Carlisle. 
 John Petitot. 
 P. Bordier. 
 
 Statuaries and Carvers. 
 
 Andrew Kearne. 
 John Schurman. 
 Edward Pierce, sen. 
 Edward Pierce, jun, 
 Hubert Le Soeur. 
 Enoch Wyat. 
 Zachary Taylor. 
 John Osborn. 
 
 Seal Cutters. 
 
 Martin Johnson. 
 Green. 
 
 Christian Van Vianen, chaser. 
 Francis Fanelli, sculptor. 
 Theodore Rogiers, chaser. 
 
 Medallists. 
 
 Thomas Rawlins. 
 John Varin. 
 
 Architect. 
 
 Inigo Jones. 
 
 INTERREGNUM. 
 
 General Lambert. 
 Robert Walker. 
 Edward Mascall. 
 Heywood. 
 
 Medallists. 
 
 Peter Blondeau. 
 Thomas Violet. 
 Francis Carter, architect. 
 
 IN THE REIGN OF CHARLES L 
 
 Isaac Fuller. 
 Cornelius Boll. 
 John Freeman. 
 Remee Van Lemput. 
 Robert Streater. 
 Henry Anderton. 
 Francis Vanzoon. 
 Samuel Van Hoogstraten. 
 Balth. Van Lemens. 
 Abraham Hondius. 
 William Lightfoot. 
 Sir Peter Lely. 
 Joseph Buckshorn. 
 John Greenhill. 
 
 Davenport. 
 
 Pr. Henry Lankrink. 
 John Baptist Gaspars. 
 John Vander Eyden. 
 Anne Killigrew. 
 
 Bustler. 
 
 Daniel Boon. 
 Isaac Paling. 
 Henry Paert. 
 Henry Dankers. 
 Parrey Walton. 
 Thomas Flatman. 
 Claude Le Fevre. 
 Le Fevre de Venise t 
 John Hayls. 
 Henry Gascar. 
 Simon Varelst. 
 Antonio Verrio. 
 James Pluysman 
 
XXX 
 
 NAMES OF ARTISTS. 
 
 Michael Wright. 
 Edmund Ashfield. 
 Peter Roestraten. 
 Gerard Zoust. 
 "William Reader. 
 John Loten. 
 Thomas Manby. 
 Nicholas Byer. 
 Adam Coloni. 
 John Griffiere. 
 Gerard Edema. 
 Thomas Stevenson. 
 Philip Duval. 
 Edward Hawker. 
 Sir John Gawdie. 
 B. Flesshier. 
 Benedetto Genaro. 
 Gaspar Netscher. 
 Jacob Pen. 
 
 Sun man. 
 
 William Shephard. 
 
 Steiner. 
 
 Peter Stoop. 
 
 Waggoner. 
 
 Alexander Souville. 
 William Yandevelde. 
 John Yosterman. 
 William Wissing. 
 Adrian Henny. 
 Herbert Tuer. 
 Tempesta and Tomaso. 
 Samuel Cooper. 
 Eichard Gibson. 
 William Gibson. 
 Edward Gibson. 
 John Dixon. 
 Alexander Marshal. 
 William Hassel. 
 Matthew Snelling. 
 Mary Beale. 
 Charles Beale. 
 Elizabeth Neale. 
 
 Statuaries, Carvers, Architects, 
 and Medallists. 
 
 Thomas Burman. 
 
 Bowden, Latham, and Bonne. 
 
 William Emmet. 
 
 Caius Gabriel Cibber. 
 
 Francis du Sart. 
 
 Grinling Gibbons. 
 
 Lewis Payne. 
 
 John Webbe. 
 
 William Winde. 
 
 Marsh. 
 
 Monsieur Pouget. 
 Sir Christopher Wren. 
 The Rotiers. 
 
 Du Four. 
 
 George Bower. 
 
 | IN THE REIGN OF JAMES II. 
 
 William G. Ferguson. 
 Jacques Rousseau. 
 Charles de la Fosse. 
 N. Heude. 
 William de Keisar. 
 Nicholas Largilliere. 
 John Sybrecht. 
 Henry Tilson. 
 Fancati. 
 
 Statuaries, &c. 
 
 Thomas Beniere. 
 
 Quellin. 
 
 Thomas East. 
 
 IN THE REIGN OF WILLIAM III. 
 
 Sir Godfrey Kneller. 
 John Zachary Kneller. 
 John James Bakker. 
 Jacob Vander Roer. 
 John Pieters. 
 John Baptist Monoyer. 
 Henry Vergazon. 
 Philip Boul. 
 Edward Dubois. 
 Simon Dubois. 
 Henry Cooke. 
 Peter Berchett. 
 Louis Cheron. 
 John Riley. 
 John Clostermau. 
 William Deryke. 
 Dirk Ma as. 
 Peter Vander Meulen. 
 Paul Mignart. 
 Egbert Hemskirk. 
 Frederic Kerseboom. 
 Anthony Sevonyans. 
 Sir John Medina. 
 Marcellus Laroon. 
 Thomas Pembroke. 
 Francis Le Piper. 
 Thomas Sadler. 
 Godfrey Schalken. 
 Adrian Yandiest. 
 Gaspar Smitz.. 
 Thomas Yan Wyck. 
 John Yan Wyck. 
 Sir Martin Beckman. 
 Henry Yan Straaten. 
 J. Woolaston. 
 John Schnell. 
 Sir Ralph Cole. 
 
 . Hefele. 
 
 Bishop of Ely. 
 Bishop of Elphin. 
 Susan Penelope Rose. 
 Mary More. 
 
 \ 
 
NAMES OF ARTISTS. 
 
 xxxi 
 
 Statuaries, Carvers, Architects. 
 
 John Bushnell. 
 Thomas Stanton. 
 D. Le Marchand. 
 William Talman. 
 Sir William Wilson. 
 
 IN THE REIGN OF ANNE. 
 
 Pelegrini. 
 
 Marco Ricci. 
 Sebastian Ricci. 
 
 Baker. 
 
 James Bogdani. 
 William Claret. 
 Thomas Murray. 
 Hugh Howard. 
 James Parmeutier. 
 John Vander Vaart. 
 Rodolphus Shmutz. 
 
 Preudhomme. 
 
 Colonel Seymour. 
 Charles Boit. 
 Lewis Crosse. 
 
 Statuaries, Architects, &c. 
 
 Francis Bird. 
 
 Sir John Vanbrugh. 
 
 Roberti. 
 
 Bagotti. 
 
 John Croker. 
 
 IN THE REIGN OF GEORGE I. 
 
 Louis Laguerre. 
 
 Lanscroon. 
 
 Michael Dahl. 
 Peter Angelis. 
 Antony Russel. 
 Luke Cradock. 
 Peter Casteels. 
 Jacopo Dagar. 
 Theodore Netscher 
 Charles Jervas. 
 Jonathan Richardson. 
 Giuseppe Grisoni. 
 William Aikman. 
 John Alexander. 
 Sir James Thornhill. 
 Robert Brown. 
 Antonio Bellucci. 
 Belthazar Denner. 
 Francis Ferg. 
 Thomas Gibson. 
 Thomas Hill. 
 P. Monamy. 
 James Van Huysum, 
 James Maubert. 
 John Pesne. 
 John Stevens. 
 
 ! John Smibert. 
 
 Trevett. 
 
 Henry Trench. 
 Peter Tillemans. 
 John Vandrebank. 
 Samuel Barker. 
 Peter Van Bleeck. 
 H. Vandermijn. 
 Enoch Zeeman. 
 Antoine Watteau. 
 Robert Woodcock. 
 Isaac Whood. 
 Isaac Vogelsang. 
 
 Zurich. 
 
 Christian Richter. 
 J. Antoine Arlaud. 
 Mrs. Hoadley. 
 
 Architects, &c. 
 
 Mr. Archer. 
 — Wakefield. 
 Nich. Hawksmoor. 
 James Gibbs. 
 Colin Campbell. 
 John James. 
 
 Carpentiere. 
 
 Christian Reisen. 
 
 IN THE REIGN OF GEORGE II. 
 
 Hans Huyssing. 
 Charles Collins. 
 
 Cooper. 
 
 Barthol. Dandridge. 
 
 Damini. 
 
 Jeremiah Davison. 
 John Ellis. 
 Philip Mercier. 
 J. Francis Nollekins. 
 
 Robinson. 
 
 Andrea Soldi. 
 Chevalier Rusca. 
 Stephen Slaughter. 
 James Worsdale. 
 Ranelagh Barrett. 
 John Wootton. 
 Joseph Highmore. 
 Thomas Hudson. 
 Francis Hayman. 
 Samuel Scott. 
 Mr. Taverner. 
 George Knapton. 
 Francis Cotes. 
 William Oram. 
 John Shackleton. 
 Giacomo Amiconi. 
 
 Brunetti. 
 
 James Seymour. 
 J. Baptist Vanloo. 
 Joseph Vanaken. 
 
 * 
 
xxxii 
 
 NAMES OF ARTISTS. 
 
 Clermont. 
 
 Antonio Canaletti. 
 Antonio Joli. 
 George Lambert. 
 Thomas Woriidge. 
 William Hogarth. 
 
 Painters in Enamel and Mix: 
 
 J. S. Liotard. 
 
 C. Frederic Zincke. 
 
 Jean Rouquet. 
 
 Groth. 
 
 Bernard Lens. 
 Joseph Goupy. 
 James Deacon, 
 Jarvis Spencer. 
 
 Statuaries. 
 
 J. Michael Rysbrach. 
 L. F. Roubiliac. 
 
 Guelfi. 
 
 L Delvanx. 
 
 J. Francis Verskovis. 
 
 Medallists. 
 
 John Dassier. 
 
 J. Christopher Tanner. 
 
 Laurence Nattier. 
 
 Architects. 
 
 Giacomo Leoni. 
 
 J. Nicholas Servandoni. 
 
 Thomas Ripley. 
 
 Batty Langley. 
 
 H. Earl of Pembroke. 
 
 R. Earl of Burlington. 
 
 Charles Labelye. 
 
 William Kent. 
 
 Henry Fliteroft. 
 
ANECDOTES 
 
 OF 
 
 PAINTING, 
 
 CHAPTER I 
 
 THE EARLIEST ACCOUNTS OF PAINTING IN ENGLAND. 
 
 They who undertake to write the history of any art are 
 fond of carrying its origin as far back as possible. When 
 this tends to show the improvements made in it, by com- 
 paring latter works with the first rude inventions, it may 
 be of service ; but it often happens that the historian 
 thinks the antiquity of a discovery reflects honour on his 
 country, though perhaps his country has been so careless, 
 or has wanted genius so much, as to have refined very 
 little on the original hints. Some men push this farther, 
 and venerate the first d awnings of an art more than its 
 productions in a riper age. The inventor may have had 
 more genius, but the performances of the improver must 
 be more perfect. Mr. Vertue had taken great pains to 
 prove that painting existed in England before the restora- 
 tion of it in Italy by Cimabue. If what we possessed of 
 it in those ignorant 7 times could be called painting, I sup- 
 pose Italy and every nation in Europe retained enough 
 of the deformity of the art to contest with us in point of 
 antiquity. That we had gone backwards in the science 
 farther almost than any other country, is evident from 
 our coins, on which there is no more of human similitude 
 than an infant's first scrawl of the profile of a face ; and 
 so far therefore as badness of drawing approaches to 
 antiquity of ignorance, we may lay in our claim to very 
 VOL. i. B 
 
o 
 
 THE EARLIEST ACCOUNTS OF 
 
 ancient possession. As Italy lias so long excelled us in 
 the refinement of the art, she may leave ns the enjoy- 
 ment of original imperfection. 
 
 However, as Mr. Vertue s partiality flowed from love 
 of his country, and as this is designed for a work of 
 curiosity, not of speculation and reasoning, I shall faith- 
 fully lay before the reader such materials as that labori- 
 ous antiquary had amassed for deducing the History of 
 English Painting from a very early period. 
 
 The 1 first evidences in favour of the art are drawn from 
 our records, 2 which Mr. Vertue had carefully consulted. 
 There he found the following entries : 3 
 
 "MCCXXVIIL Ao. 12. Hen. III. m. f. Eex thes. et earner, suis salutem. 
 Liberate cuidam pictori 20s. ad cameram magni scaccarii depingendam." 4 
 
 1 Dr. Thorpe, M. D. , when writing his history of the town and diocese of 
 Pochester, discovered at the west-end of that cathedral two bnsts, of Henry I. and 
 his queen in stone, which had never been observed before. 
 
 2 Since the first edition of this work I have been informed by a curious gentleman, 
 that the earliest place in a catalogue of English painters is due to St. Wolstan, 
 bishop of Worcester in 1062, or at least to Ervenius, or Erwen, his master. William 
 of Malmesbury, who wrote the life of Wolstan in three books, gives the following 
 account : " Habebat tunc [Wolstanus] magistrum Ervenium nomine, inscribendo 
 et quidlibet coloribus effingendo peritum. Is libros scriptos, sacramentarium et 
 psalterium, quorum principales litteras auro effigiaverit, puero Wolstano dele- 
 gandos curavit. Ule preeiosorum apicum captus miraculo, dum pulchritudinem 
 intentis oculis rimatur, scientiam litterarum internis hausit medullis. Verum 
 doctor ad sseculi spectans commodum, spe majoris premii, sacramentarium regi, 
 tunc temporis Cnutoni, psalterium Emmas reginse contribuit. Perculit puerilem 
 animum fact! dispendium, et ex imo pectore alta traxit suspiria." If this passage, 
 is not sufficient authority, as I think it is not, to prove St. Wolstan a painter, at 
 least it is decisive for Ervenius, who was certainly an illuminator of MSS. — 
 [Aelfsin, an Anglo-Saxon monk of the tenth century, appears also to have some 
 claim to a place in a catalogue of early English painters. There is a curious 
 example of Anglo-Saxon drawing in a MS. by Aelfsin in the British Museum, 
 MSS. Cott. Titles, I), xxvi. It represents St. Peter seated on a throne, and a 
 monk offering him -a book. The saint, who is of a colossal size compared with the 
 monk, holds in his right hand the two keys; his left is in the attitude of benedic- 
 tion. It gives a good specimen of the state of the art at that period. — W.] 
 
 3 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 shall insert 
 them here : They are both of the reign of King John : 
 
 "Anno, 1209, Vicecomites Lond. et Midi, allocaverunt Elyae ingeniatori x 
 marcas, ad reparationem domorum regis apud Westmonast. per breve H. Archie p. 
 Cantuar." 
 
 Anno, 1210, Willelmus Puintellus redd. comp. del216£. 13s. 6d. quos " recepit 
 de thesauro ad operationes turris LQndonise." 
 
 William Pumtell might be only a surveyor, but Elyas was certainly an 
 architect. 
 
 4 " 1228, the 12th year of Henry III. membrane f. The king to his treasurer 
 and chamberlains health. * Pay to a certain painter 20 shillings for painting the 
 great Exchequer chamber." — I). 
 
PAINTING IN ENGLAND. 
 
 3 
 
 This does not express the kind'; whether the chamber 
 was to be painted with figures, ornaments, &c, or whether 
 the quidam pictor was not a mere house-painter ; prob- 
 ably an artist of higher rank, as twenty shillings would 
 have been a great price in that age for painting wainscot. 
 However, the next record is more explicit, and ascertains 
 the point in question. 
 
 " MOCXXXIII. Liberate Ao. 17. Hen. III. m. 6. Mandatum est Vice- 
 eomiti Southton. quod camerani regis lambruscatam 1 de Castro Winton. 
 depingi faciat eisdem historiis et picturis quibus fuerat prius depicta. Et 
 cusinni, &e. computabitur. Teste rege apud Kideministr. iii. die Jimii." 2 
 
 There are more remarkable circumstances than one in 
 this venerable scrap : as, the simplicity of the times ; the 
 king sending a precept to the sheriff of Hampshire to have 
 a chamber in the royal castle painted ; and his majesty, 
 like the Eoman general who threatened his soldiers if 
 they broke any of the antique Corinthian statues that 
 they should pay for having others made, giving orders to 
 the same sheriff to have the chamber repainted with the 
 same pictures and histories with which it had been 
 adorned before ; and which, by the way, implies that 
 history-painting had been in use still longer than this 
 date, which was the earliest Mr. Vertue could discover. 3 
 
 a Liberat. Ao. 17. Hen. III. m. 10. Mandatuui est custodi domorum regis 
 de Wudestok, quod in rotunda capella regis de Wudestok bonis coloribus 
 depingi faciat, majestatem domini et iiii Evangelistas, et iniaginem sancti 
 Edmundi ex una parte, et iniaginem sancti Edwardi ex alia parte, et ib fieri 
 faciat duas verimas 4 novas." 5 
 
 1 Lambruscatam, wainscoted, from the French, Lambris. 
 
 2 " 1233, payments Anno 17. Hen. III. m. 6. Precept to the Sheriff of 
 Southampton, that he shall cause the king's chamber wainscot, in the castle of 
 Winchester, to be painted with the same pictures as formerly ; and that he shall 
 account for the cost. Witness the King, at Kidderminster, June 3." — D. 
 
 3 Some have ascribed the introduction of painting into this island to Venerable 
 Bede. 
 
 4 Verimas, a barbarous word, not to be found even in Dufresne's glossary. One 
 cannot help observing the absurdity of those times, in couching orders in a lan- 
 guage which they could not write, and addressed to persons by whom it was not 
 understood. 
 
 "The word ' verimas' is not barbarous only, but unknown. The transcriber 
 from the Close Rolls was not aware that the word is really fenestras or fenestras ," 
 by which no one will be puzzled. — D. 
 
 5 "Payments, 17 Henry III. m. 10. Order to the keeper of the king's palace 
 at Woodstock, that he cause the round chapel there to be painted with the figures 
 of our Lord, and the four Evangelists, and of St. Edmund, on one part, and that 
 of St. Edward on the other part, and that he should have two windows made 
 there." — D. 
 
 B 2 
 
4 
 
 THE EARLIEST ACCOUNTS OF 
 
 " Rot. Claus. 20. Hen. III. 'in. 12. Mandatum est thesaurario regis, quod 
 magnam cameram regis apud Westm, bono viridi colore depingi faciat ad 
 modum curtanae et in magno gabulo 1 ejusdem camerae juxta hostium (ostium) 
 depingi luclum ilium 
 
 4 Ke ne dune ke ne tine, ne pret ke desire ; 7 2 
 
 et etiam parvam garderobam regis viridi colore ad modum curtanae depingi 
 faciat : ita quod rex in primo adventu suo illuc inveniat predictas cameram 
 et garderobam ita depictas et ornatas, sicut predictum est." 3 
 
 "Rot. Claus. Ao. 20. Hen. III. m. 12. Mandatum est H. de Pateshull 
 thesaurario domini regis, quod borduram a tergo sedis regis in capella sancti 
 Stephani apud Westm. et borduram a tergo sedis reginae ex alia parte ejusdem 
 capellae interius et exterius depingi faciat de viridi colore : juxta sedem ipsius 
 reginae depingi faciat quandam crucem cum Maria et Johanne ex opposito 
 crucis regis, quae juxta sedem regis depicta est. T. vii. die Febr." 4 
 
 The next record, which has been mentioned by Stowe, 
 gives directions for repairing the granary under the Tower, 
 and all the leaden gutters, and for leading the whole 
 thoroughly on that side, per quas gentes videre possint, 
 and for white-washing the chapel of St. John, and for 
 making three glass windows in the same chapel, in which 
 were to be represented a little Virgin Mary holding the 
 child, and the Trinity, and St. John the Apostle. It gives 
 orders too that (Patibulum) a cross should be painted 
 behind the altar, bene et bonis coloribus ; and wherever it 
 could be done most conveniently, there were to be drawn 
 in the same chapel two images of St. Edward holding 
 out a ring and delivering it to St. John the Evangelist. 
 
 " Et dealbari faciatis," adds the record, " totum veterem murum circa sepe- 
 dictam turrim nostram. Et custum quod ad hoc posueritis, per visum et 
 
 1 "In magno gabulo," the great west window above the entrance. — D. 
 
 2 Qui ne donne ce qu'il tient, ne prend ce qu'il desire : or, as it is expressed in 
 another record, Qui non dat quod habet, non accipit ille quod optat. 
 
 3 "Close RoU, 20 Hen. III. m. 12. Order to the king's treasurer, that he cause 
 the king's great chamber at Westminster to be painted with a good green colour, 
 so as to resemble a curtain, and in the great window of the said chamber, this 
 motto to be painted : 
 
 * He who gives not what he has, receives not what he wishes for ; ' 
 and likewise, the king's small wardrobe, with green like a curtain ; and that the 
 king, on his first coming there, may find the said chamber and wardrobe so 
 ■ painted, as beforesaid." — D. 
 
 4 " Close Rolls, 20 Hen. III. m. 12. Order to Henry de Pateshull, treasurer of 
 our Lord the King, that he have the bordure behind the king's seat in the chapel 
 of St. Stephen, Westminster, and the bordure of the queen's seat, in the other 
 part of the said chapel, painted with green colour, both withinside and out ; and 
 that he cause a crucifix with Mary and John, to be painted near the said seat of 
 the Queen, and opposite to the cross painted near the king's seat." ^Witness, &a 
 7th of Februar} 7 ." — D. ' 
 
PAINTING IN ENGLAND. 
 
 s 
 
 testimonium legalium hominum, computabitur vobis ad scaccarium. Teste 
 rege apud Windesor. x. die Deceinbr. 1 
 
 It is evident from this and some following passages 
 that as painting on glass 2 was then known, the art of 
 painting in general could not be at a very low ebb. 3 
 
 Then follows another regarding the same place : 
 
 " Rex eisdem salutein. Praecipimus vobis quod cancellum beatae Marine 
 in ecclesia, sancti Petri infra ballium turris nostrae London, et cancellum beati 
 Petri in eadeni ecclesia, et ab introitu cancelli beati Petri usque ad spatium 
 quatuor pedum ultra stallos ad opus nostrum et reginae nostrae in eadem 
 ecclesia factos bene et deceuter lambruscari faciatis, et eosdem stallos depingi, 
 et Mariolam cum suo tabernaculo et ymagines beatorum Petri, Nicolai "et 
 Katerinae, et trabem ultra altare beati Petri, et parvum patibulum cum suis 
 ymaginibus de novo colorari, et bonis coloribus refrescari, et fieri faciatis 
 quandarn ymaginem de beato Petro in solempni apparatu archiepiscopali in 
 parte boreali ultra dictum altare, et de optimis coloribus depingi ; et quandarn 
 ymaginem de sancto Christofero tenentem et portantem J esum, ubi melius et 
 decentius fieri potest, et depingi in praedicta ecclesia. Et fieri faciatis duas 
 tabulas pulcras et de optimis coloribus et de historiis beatorum Nicolai et 
 Katerinae depingi ante altaria dictorum sanctorum in eadem ecclesia ; et duos 
 cherumbinos stantes a dextris et a sinistris magni patibuli pulcros fieri faciatis 
 in praedicta ecclesia cum hilari vultu et jocoso ; et praeterea unum fontem 
 marmoreum cum colompnis marmoreis bene et decenter incisis. Et custum, 
 &c. Teste ut supra." 4 
 
 1 "That ye cause to be whitened all the old wall round our tower above 
 mentioned. And the cost that ye shall make upon it, shall be accounted to you, 
 at our Exchequer, upon the view and oath of lawful men. At Windsor, 10 Dec." — D. 
 
 2 In Aubrey's MS. survey of Wiltshire, in the library of the Royal Society, he 
 Fays, on the authority of Sir W. Dugdale, that the first painted glass in England 
 was done in King John's time. Vol. ii. p. 85. 
 
 Some of the most ancient and beautiful stained glass in the kingdom remains 
 in the Chancel of Chetwood in Buckinghamshire, which is undoubtedly of the 
 date of 1244. The design or pattern is precisely that usually wrought in mosaic, 
 as at that time newly introduced into England by Italian artists. Lysons's Magn. 
 Brit. vol. i. p. 488.— D. 
 
 3 [See an interesting work on glass -painting, lately published by Mr. Winston, 
 Inquiry into the Differences of Style Observable in Ancient Painted Glass. 
 Oxford: 1847.— W.] 
 
 4 "The King to the same, &c. We order that you have the chancel of the 
 blessed Virgin Mary in the Church of St. Peter, in the baily of our Tower of 
 London, and the chancel of St. Peter, within the said church, to be well aud 
 properly wainscoted for the space of four feet beyond the stalls, erected for the 
 use of ourself and queen, and that the said stalls be painted with a small figure of 
 the V. Mary, standing in her shrine (or niche) ; the figures of the Saints Peter,- 
 Nicholas, and Catherine, the beam beyond the altar of St. Peter, and the small, 
 crucifix with its figures, to be painted anew with fresh colours. And that ye cause 
 to be made an image of St. Peter, in his pontificals as an archbishop, on the north 
 side beyond the said altar, and the same to be painted with the best colours : and 
 also an image of St. Christopher holding and carrying Christ, in the best manner 
 that it can be painted and finished in the said chapel. And that ye likewise cause 
 two fair pictures to be painted with the best colours, of the histories of St. Nicholas 
 and Catherine, at the altar of the said saints, in the said church ; with two fair 
 cherubim s standing to the right and left of the crucifix ; and having a cheerful 
 countenance ; and also a marble font, having pillars of marble neatly carved. 
 And the cost, &c. dated as above." — D. 
 
6 
 
 THE EARLIEST ACCOUNTS OF 
 
 The next again specifies the sum to be expended on 
 paintings at Westminster : 
 
 "Rot. Liberat. Ao, 21. Hen. III. m. 5. Bex thesaurario et camerariis suis 
 salutem. Liberate cle thesauro nostro Odoni aurifabro custodi operationis 
 nostrae Westm. quatuor libras et undecim solidos ad picturas faciendas in 
 camera nostra ibidem. Teste rege apud Westm. ii. die Augusti." 1 
 
 T]ie next contains the first mention we have of a Star 
 Chamber. 
 
 " Liberat. Ao. 22. Hen. III. m. 3. Mandatum est vie. Southampt. qnod 
 cameram apud Winton colorari faciat viridi colore, et stellari auro, 2 in quibus 
 depingantur historiae veteris et novi testamenti." 3 
 
 The next precept is very remarkable, as implying the 
 use of oil-colours/ long before that method is supposed 
 
 1 " Roll of Liveries, 21 Hen. III. m. 5. The king to his treasurer and chamber- 
 lains, &c. Pay from onr treasury to Odo, the goldsmith, keeper of our works at 
 Westminster, four pounds and eleven shillings, for making the pictures (statues) 
 in our chamber there. Witness, &c. 2d August." — D. 
 
 2 "Stellari auro, set with stars of gold." This alludes to the fashion of studding 
 the ceiling and frequently the side walls of rich chambers, with stars of gold, upon 
 a ground of green or blue, in compartments. Representations of such chambers 
 occur in several of the illuminated MSS. preserved in the British Museum." — D. 
 
 3 "The same, 22d. Henry III. m. 3. Precept to the Sheriff of Southampton, 
 that he cause the chamber at Winchester to be painted of a green colour, and with 
 stars of gold {and compartments ?), in which may be painted histories, from the 
 Old and New Testament." — D. 
 
 4 John ab Eyck, the supposed inventor of painting in oil, which he was said to 
 discover in a search for varnish, died in 1441.* In the record before us both oil 
 and varnish are mentioned, and the former might indeed be only used in the com- 
 position of the latter. Mr. Raspe, in his curious treatise published in 1781, has 
 proved that oil-painting was known long before its pretended discovery by 
 Van Eyck. — [The above remark renders this the most fit place for some obser- 
 vations on both the origin of oil-painting and the particular invention of the Van 
 Eycks.] 
 
 The oil-painting " invented" by John, or rather Hubert "Van Eyck,t was really 
 varnish-painting, and was incidentally discovered in experimenting for a good 
 varnish for tempera pictures. In the life of Antonello da Messina, Vasari says, 
 "At last, having tried many things, separately and compounded, he discovered 
 that linseed and nut-oils were the most siccative : these, therefore, he boiled with 
 other mixtures, and produced that varnish which he, and indeed every painter in 
 the world, had long desired." Van Eyck, however, continues Yasari, found that 
 by mixing his colours with these prepared oils (that is, the varnish), instead of 
 the common tempera vehicle, his pictures required no varnishing at all, or that 
 they were then quite as brilliant without varnish as they had previously been 
 with. 
 
 Here there is evidently no question of the mere immixture of colours with oil ; 
 this was an old practice, and is mentioned by many old writers ; but, as Vasari 
 says in the life of Agnolo Gaddi, even this simple method was not used in Italy 
 for figure painting. The general term oil-painting was therefore sufficiently 
 
 * [John Van Eyek died in the latter part of 1445, or possibly in the beginning 
 of the following year. He was still living in 1445, but he was dead before 
 Feb. 24, 1446. This is shown by a lottery notice of his widow. — See de Bast, 
 Messagcr des Sciences et des Artes. Gand, 1824. — W.] 
 
 t [See the Editor's Epochs of Painting Characterized^ eh* xxiiL-- W*] 
 
PAINTING IN ENGLAND. 
 
 7 
 
 to have been discovered. It is dated in his 23d year, 
 1239, and runs in these words : 
 
 " Rex thesaurario et camerariis suis salutem. Liberate de thesauro nostro 
 Odoni aurifabro et Edwardo filio suo centem et septemdecem solidos et decern 
 denarios pro cleo Vernici, et coloribus emptis, et picturis factis in camera reginae 
 nostrae apud Westm. ab octavis sanctae trinitatis anno regni nostri xxiii usque 
 ad festum sancti Barnabae apostoli eodem anno, scilicet per xv. dies." 1 
 
 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 antiquaries had taken notice.. 
 
 The two following precepts are so connected with the 
 
 characteristic to justify Vasari in using it in contradistinction to the common pre- 
 vailing method of tempera painting ; especially after the very particular ex- 
 planation of the Van Eycks' method given in the notice of Antonello da Messina. — 
 [We have mention of the use of oil in varnishing as early as the fifth century. Mr. 
 Eastlake, in his Materials for a History of Oil Painting, p. 20, quotes a passage 
 from Aetius, an old Greek medical writer of that period, which notices the em- 
 ployment of walnut-oil by gilders and encaustic painters, on account of its drying 
 property, and its long preservation of gildings and pictures. There is mention 
 also of linseed-oil varnish in the eighth century, and this was in common use in 
 the twelfth ; and in the two following centuries linseed-oil appears to have been 
 abundantly employed at Westminster and Ely, even in painting. 
 
 The earliest writers who mention the mixture of oil with colours for painting, 
 (chiefly decorative) are Eraclius, Theophilus Presbyter, Peter de St. Audemar, 
 (the author of an unpublished MS. in the Royal Library at Paris,) and Cennino 
 Cennini. The first named is the author of a treatise entitled De Coloribus et 
 Artibus Romanorum, published by Raspe in his Critical Essay on Oil Painting, 
 London, 1781 : there is a MS. of this work in the British' Museum. The second is 
 the author of the well-known Diversarum Artium Schechda, or, De omni Scientid 
 Artis Pingendi, first published by Lessing, at Brunswick, in 1781, in the sixth 
 number of his Beitrdge zur Geschichte und Litteratur ; partly also by Raspe ; 
 again in 1843. at Paris, by le Comte Charles de l'Escalopier, Theophile, Pretre et 
 Moine, Essai sur divers Arts ; and recently in Latin and English by Mr. R. Hen- 
 drie, jun., from a MS. in the British Museum, The Arts of the Middle Ages ; or, 
 Essay on Various Arts, by the monk Theophilus. The treatise of Cennino 
 Cennini, which explains the practice of the fourteenth century in Italy, was first 
 published in Rome in 1821, Trattato delta Pittura, &c. ; and an English trans- 
 lation by Mrs. Merrifield was published in London in 1844. Sloane MSS. 1754, 
 an old manuscript of the thirteenth century, also contains frequent mention of 
 the use of oil in painting. All these works, unless that of Cennini must be con- 
 sidered an exception, treat of a period antecedent to the V an Eycks ; their 
 invention, therefore, was something quite distinct from the mere immixture of oil 
 with colours : and the general adoption of their method in the latter part of the 
 fifteenth century in preference to the old tempera painting, evidently shows that 
 it was a discovery of considerable importance. What it was has been already 
 explained ; the curious reader, however, will find this subject very ably and 
 thoroughly elucidated in Eastlake's Materials for a History, of Oil Painting, — W.] 
 
 1 " The King to his treasurer and chamberlains. Pay from our treasury to Odo 
 the goldsmith, and Edward his son, one hundred and seventeen shillings and ten 
 pence for oil, varnish, and colours bought by them, and for pictures made in the 
 Queen's chamber at Westminster, to the octaves of the Holy Trinity, (May 25,) in 
 the 23d year of our reign, to the feast of St. Barnabas, (June 11th,.) in the same 
 S'ear, namely for fifteen days. " — D. 
 
8 
 
 THE EARLIEST ACCOUNTS OF 
 
 foregoing, that though relating only to building, not to 
 painting, I shall insert them, here, as their most proper 
 place : 
 
 " Ao. 28. Hen. III. Mandatum est vicecomifci Kanciae quod sub omni qua 
 poterit festinatione emi faciat et cariari usque Westmon. 100 navatas grisiae 
 petrae ad operationes quas ibi sine dilatione fieri rex praecepit ; et talem et 
 tarn festinantem diligentiam ad hoc mandatum regis exequendum ponat, 
 quod se inde rex commendare debeat ; et ne W. de Haverhull thesaurius et 
 Edwardus, quibus operationes praedictas rex injunxit faciendas, culpam dila- 
 tionis fn se refundere possint, si praedictae operationes contra voluntatem 
 regis difTerantur." 1 
 
 u Ilex dedit et concessit Deo et beato Edwardo et ecclesiae Westmon asterii 
 ad fabricam ipsius ecclesiae 2,591 libras, in quibus regi tenetur Licoricia, quae 
 fuit uxor David de Oxonio Judaei. Et rex vult quod pecunia ilia reddatur ad 
 novum scaccarium, quod rex ad hoc constituit apud Westmonasterium, archi- 
 diacono Westmonasterii, et Edwardo de Westminstre, quos ejusdem scaccarii 
 thesaurarios assignavit. Teste rege apud Windsore." 2 
 
 The miserable Latin of these orders is not the most 
 curious part of them. The hundred barge-loads of grey 
 stone to be purchased by the sheriff of Kent might be 
 either from a Kentish quarry, or be imported from the 
 coast of France. The king's great impatience about his 
 new works, and the large fine from a Jew's widow which 
 he bestows on his new edifice, are very observable. But 
 the most memorable is the origin of the Exchequer, which 
 seems by this precept to have been instituted solely foi 
 the carrying on the new building at Westminster. 
 
 The next is inrthe year 1248. 
 
 " Eex vlcecomiti Southamtonise salutem. LPraecipimus tibi quod de exitibus 
 comitatus tui depingi facias in capella reginae nostrae apud Wintoniam super 
 gabulum versus occidentem ymaginem sancti Christoferi, sicut alibi depingitur ; 
 in ulnis suis deferat Christum ; et ymaginem beati Edwardi regis, qualiter 
 tradidit annulum suum cuidam peregrino, cujus ymago similiter depingatur. 
 Teste rege apud Windesore vii. die Maii." 3 
 
 1 " 28 Henry III. Precept to the Sheriff of Kent, that with all possible speed, 
 lie cause to be purchased and conveyed to Westminster, one hundred barge loads 
 of grey stone, for the works which the king has ordered to be done there, and that 
 lie use such speed and diligence, that the king should commend him for the same ; 
 so that neither W. de Haverhill, the treasurer, nor Edward, to whom the king has 
 entrusted these works, may have any blame on account of delay, if they should 
 be delayed contrary to the will of the king." — D. 
 
 2 "The King gave and granted to God and St. Edward, and the church at 
 Westminster, towards the building of the said church, 2,591Z. in which sum 
 Licoricia, the widow of David, a Jew of Oxford, was bound. And the King wills, 
 that the said money shall be returned into the new Exchequer, which the King 
 has established for this purpose at Westminster, to the Archdeacon of Westmin- 
 ister, and to Edward of Westminster, whom the King has appointed to be the 
 'treasurers of that Exchequer. Witness, &c." — D. 
 
 3 " A.D. 1248. The King to the Sheriff of Southampton. We enjoin you, that 
 
PAINTING IN ENGLAND. 
 
 9 
 
 Another : 
 
 " Eex custodi manerii dc Wudestoke praecipit, ut inter alia fieri faciat duas 
 fenestras de albo vitro, et fenest?am aulae versus orientem, similiter cum pic- 
 tura ejus aulae emendari faciat. Quoddam etiam scaccarium fieri faciat in 
 eadem aula, quod contineat hunc versum, Qui non dat quod habet, non accipit 
 ille quod optat. ;; 1 
 
 " Claus. 33. Hen. III. m. 3. Eex injunxit rnagistro Johanni de sancto 
 Omero quod garderobam camerae regis apud Westm. perpingi faceret sicut 
 pictura illius garderobae inchoatur, et quod faceret unum lectrinum ponendum 
 in novo capitulo Westm. ad similitudinem illius quod est in capitulo sancti 
 Albani, vel decentius et pulcrius, si fieri poterit ; et ad haec facienda colores 
 et maeremium, et necessarias liberationes usque ad adventum regis London, ei 
 inveniri faceret. Et custum ad haec oppositum, cum rex illud sciverit, reddi 
 faciet. Et mandatum est abbati Westm. Edwardo filio O.donis, et Philippo 
 Luvel, quod liberationes et alia necessaria supra inveniri fac. Teste rege apud 
 Windesore. xxiii. die Septembr." 2 
 
 In Henry's 34th year Edward of Westminster is ordered 
 to have painted in the chapel of St. Stephen the images 
 of the apostles round about the said chapel, by the follow- 
 ing precept : 
 
 " Claus. 34. Hen. III. ni. 7. Mandatum est Edwardo 3 de Westm. quod in 
 capella beati Stephani depingi faciat imagines Apostolorum in circuitu ejusdem 
 
 out of the receipts of your county, you cause to be painted in the chapel of oui 
 Queen, at Winchester, over the great west window, the image of St. Christopher, 
 as he is elsewhere painted, bearing Christ in his arms ; and the figure of St. 
 Edward the King, when he gave his ring to a pilgrim, whose figure should be 
 painted in like manner. Witness, &c. at Windsor, 7th May." — D. 
 
 1 The King to the Keeper of the manor of Woodstock. ' ' Precept, that amongst 
 other things, he will cause to be made two windows of white glass : and the 
 window of the hall towards the east he shall cause to be amended, and likewise 
 the paintings in the said hall. And he shall also have made a chequered table, 
 upon which shall be painted this verse : * He who gives not what he has, receives 
 not what he desires.' " — D. 
 
 2 " Close Rolls, 33d of Henry III. m. 3. The King enjoins Master John of St. 
 Omer, that he shall cause the wardrobe of the king's chamber at Westminster to 
 be painted, in the same manner as the painting of the said wardrobe is begun, and 
 that he shall make a new reading desk, to be placed in the new Chapter-house at 
 Westminster, like that which is in the Chapter-house at St, Alban's ; or more hand- 
 some and fair, if it can be so made ; and that he provide for this work, colours and 
 timber and other necessaries, before the coming of the king to London. And 
 the king, when he is made acquainted with the amount, will order it to be paid. 
 Precept to the abbot of Westminster, Edward Fitz-Odo and Philip Lovel, that they 
 shall find these deliveries and other necessaries. Witness, &c. at Windsor, 23d 
 September." — D. 
 
 3 This Edward of Westminster is the same person with Edward Fitz-Odo men 
 tioned in the preceding order, and 1 suppose son of Odo Aurifaber recorded above. 
 It appears by Dart's History of the Abbey that he was master of the works ; and 
 Dart quotes the records in the Tower on the authority of Strype. The whole 
 passage is worth transcribing, as it shows the passion of Henry for adorning his 
 new foundation there, called then, the new work at Westminster.* 
 
 ' ' In the 28th of his reign he commanded Edward Fitz-Odo to make a dragon, in 
 
 * Deuchesne, Antiq. Franc, vol i. p. 145, says the Louvre was so called from 
 l'ceuvre, the new work. 
 
10 
 
 THE EARLIEST ACCOUNTS OP 
 
 capellae ; et judicium in occidentali parte ejusdem ; et iconem beatae Mariae 
 virginis in quadam tabula similiter pingi faciat ; ita quod haec parata sint in 
 adventu regis. Teste rege apud Brugwauter xiii. die Augusti/' 1 
 
 The next, dated in the same year, exhibits a donation 
 of three oaks for making images. 
 
 " Claus. 34. Hen. III. m. 7. "Mandatum est custodi parci regis de Periton 
 quod in eodem parco faciat habere sacristae Glaston. tres quercus ad imagines 
 inde faciendas et ponendas in ecclesia sua Glaston. de dono regis. Teste rege 
 apud Glaston. xv. die Augusti." 2 
 
 The following is not less curious : 
 
 iC Claus. 34. Hen. III. m. 12. Mandatum est R. de Sandeford magistro 
 militiae templi in Anglia quod faciat habere Henrico de warderoba, latori 
 presentium, ad opus reginae 3 quendam librum magnum, qui est in domo sua 
 London. Gallico ydiomate scriptum, in quo continentur gesta regis Antiochiae 
 et regum aliorum, &c. 4 Teste rege apud Westm. xvii. die Maii." 5 
 
 manner of a standard or ensign, of red samit, to be embroidered with gold, and 
 his tongue to appear as though continually moving, and his eyes of sapphire, or 
 other stones agreeable to him, to be placed in this church against the king's 
 coming thither. 
 
 "And the queen set up in the feretry of St. Edward the image of the blessed 
 Virgin Mary ; and the king caused the aforesaid Edward Fitz-Odo, keeper of his 
 works at Westminster, to place upon her forehead for ornament, an emerald and 
 a ruby, taken out of two rings which the bishop of Chichester * had left the king 
 for a legacy." Dart, vol. i. p. 26, edit. 1742. 
 
 1 " Close Rolls, 34 Henry III. m. 7. Precept to Edward of Westminster, that 
 in the Chapel of St. Stephen he shall have painted, around the walls, the figures 
 of the Apostles, and the Day of Judgment in the western part of the same, and 
 that he shall cause the figure of the Blessed Virgin to be painted in the same 
 manner upon a pannel : so that these things may be ready at the king's coming. 
 Witness, &c. at Bridgewater, 13th August." — D. 
 
 2 " Id. Precept to the keeper of the park at Periton, that he shall deliver from 
 the said park three oak-trees to the sacristan of the abbey of Glastonbury, that 
 images may be made out of them, to be placed in the church of Glastonbury, as 
 of the royal gift. Witness, &c. at Glastonbury, 15th August." — D. 
 
 3 The beauty of Eleanor of Provence, queen of Henry III., is thus celebrated by 
 LangtofE in his Chronicle, published by Hearne, vol. i. p. 213 — 
 
 " Henry king, our prince, at Westmynster kirke 
 The erlys douhter of Province, the fairest may o lif,+ 
 Her name is Helianore, of gentille norture, 
 Bizond the se that wore was non suilk creature." 
 
 4 "Gesta regis Antiochise et regum aliorum." Richard the First performed 
 scarcely credible feats of valour, at the siege of Antioch, during the Croisade. King 
 Henry III. greatly admired his uncle's heroic character. The book above-mentioned 
 was compiled and illuminated by his order, and in the Pipe roll of the 21st of his 
 reign, it is ordered that these exploits should be the subject of paintings on the 
 wainscot of a room in the royal palace at Clarendon, " hystoria Antiochiae in. 
 eadem depingenda, cum duello regis Ricardi." Archceolog. vol. iii. p. 187. 
 WartorCs Hist, of Poetry, vol. i. p. 114. — D. 
 
 5 " Id. Precept to R. de Sandford, Master of the Knights Templars in England, 
 that he cause to be delivered to Henry of the wardrobe, bearer of these presents, in 
 
 * Ralph de Neville, bishop of Chichester, who had been lord chancellor of Eng- 
 land, ob. 1244.— D. 
 
 i "May o lif," — "maid alive." Hearne's Glossary. 
 
TAINTING IN ENGLAND. 
 
 11 
 
 The two next specify the use that was to be made of the 
 above-mentioned book, which, I conclude, contained an 
 account 1 of the Crusade, the history of which the king 
 orders to be painted in the Tower and at Westminster, in a 
 low chamber in the garden, near what in the writ is named 
 the King's Jewry, 2 and which room his majesty orders to 
 be thenceforward called the Antioch chamber ; the origin, 
 probably, of what is now styled the Jerusalem chamber. 
 
 " Claus. Ao. 35. Hen. III. m. 11 . Mandatum est Edwardo de Westm. quod 
 depingi faciat historiam Antioch. 3 in camera regis turns London, sicut ei dicet 
 Thomas Espernir, et custum, quod ad hoc posuerit, rex ei faciet allocari. Teste 
 rege apud Winton. v. die Junii." 4 
 
 " Ibidem, m. 10. Mandatum est Edwardo de Westm. quod Judaismum 
 regis apud Westm. et magnum 5 cellarium vinorum regis lambruscari, et bassam 
 cameram in gardino regis, et parvam turellam ultra capellam ibidem depingi, 
 et in eadem camera unum caminum fieri faciat, quam quidem cameram An- 
 tioch volumus appellari." 6 
 
 aid of the Queen, a certain great book, which is in his house in London, written in 
 the French language, in which are contained the gests of the King of Antioch, 
 and of other kings. Witness at Westminster, 17th May." — D. 
 
 1 The Emperor Frederic II. had sent to King Henry a large account of his war 
 in the Holy Land, in a letter under his own seal. See note to Tindal's Rapin, 
 under the year 1228. 
 
 2 This Judaism, or Jewry, was probably an exchequer or treasury erected by 
 Henry for receiving the sums levied on the Jews, from whom he extorted a third 
 part of their substance to carry on the war with France. Rapin, ubi supra. 
 
 3 This order for painting the history of Antioch, in the Tower of London, bears 
 date fourteen years subsequently to that for the same subject at Clarendon, of 
 which it was probably a copy, " sicut ei dicet Thomas Espernir," the inventor of 
 it — D. 
 
 4 " Close Roll, 35 Henry III. m. 11. Precept to Edward of Westminster, that 
 he cause to be painted the history of Antioch, in the king's chamber, in the Tower 
 of London, as Thomas Espernir shall say to (or direct) him ; and the cost which 
 he shall incur shall be allowed by the king. Witness, &c. at Westminster, 5th of 
 June." — D. 
 
 5 There are two records among the foregoing, which, though not relating to my 
 subject, but to the wine-cellar, and even to the composing of wines for his majesty, 
 are so curious that I am persuaded the reader will be glad to see them. 
 
 " Claus. Ao. 34. Hen. III. m. 19. De potibus delicatis ad opus regis faciendis. 
 Mandatin est custodibus vinorum regis Winton. quod de vinis regis quae habent 
 in custodv* sua liberent * Roberto de Monte Pessulano tanta et talia, quali.a et 
 quanta capere voluerit, ad potus regis pretiosos delicatos inde faciendos. Teste 
 rege apud Lutegareshall xxvi. die Novembr." 
 
 " Claus. 36. Hen. III. m. 31. Mandatum est custodibus vinorum regis de Ebor. 
 quod de melioribus vinis regis quae sunt in custodia sua faciant habere Roberto de 
 Monte Pessulano duo dolia albi vini et Garhiofilacum, et unum dolium rubri vini 
 ad claretum f inde faciend. ad opus regis contra instans festum Nativitatis Do- 
 mimcae. Et mandatum est Rob. de Monte Pessulano quod festinanter accedat ad 
 Ebor. et garhiofilac. et clarat. predict, faciat sicut annis preteritis facere consuevet." 
 
 6 Ibid. m. 10. Precept to the said Edward, that the king's Jewry at West- 
 
 * See more of him in Pegge's Life of Roger Weseham. 
 
 t A composition of wine and honey, V. His. de l'ancienne Chevaleric, vol. i. p. 49. 
 
12 
 
 THE EARLIEST ACCOUNTS OF 
 
 These that follow all relate to various paintings. 
 
 " Ibidem, m. 5. Mandatum est Simoni Capellano et aliis custodibus opera- 
 tionum Windesor. quod claustrum regis in castro Windesor. paviri et lambrus- 
 cari, et Apostolos depinrd faciant, sicut rex ei et magistro Willielmo pictori 
 suo ibidem injunxit. Teste rege apud Havering, xx. die Augusti." 1 
 
 "Liberat. 36. Hen. III. m. 15. Eex Vicecomiti Nottinghamiae salutem. 
 Praecipimus tibi quod in camera reginae nostrae aput Nottingham depingi 
 facias his tori am Alexandri circumquaque ; et custum quod ad hoc posueritis 
 computabitur. Teste rege apud Nottingham xv. die J anuarii." 2 
 
 " Liberat. 36. Hen. III. m. 15. Mandatum vie. Northampton, quod fieri 
 faciat in castro North, fenestras de albo vitro, et in eisdem historiam Lazari 
 et Divitis depingi." 3 
 
 " Claus. 36. Hen. III. m. 22. Mandatum est Eadulpho de Dungun, custodi 
 librorum 4 regis, quod magistro Willielmo pictori regis habere faciat colores ad 
 depingendum parvam garderobam reginae, et emendandum picturam magnae 
 camerae regis et camerae reginae. Teste rege apud Westm. xxv. die Febr. 
 Per regem.' ; 5 
 
 The six next precepts appertain to various arts, not to 
 painting in particular. 
 
 " Claus. 36. Hen. III. m. 31. Mandatum est Edwardo de Westm. quod 
 cum festinatione perquirat quendam pulcrum gladium, et scauberd. ejusdem de 
 serico, et pomellum de argento bene et ornate cooperiri, et quandam pulcram 
 zonam eidem pendi faciat, ita quod gladium ilium sic factum habeat apud 
 Ebor. de quo rex 6 Alexandrum regem Scotiae illustrem cingulo militari deco- 
 rare possit in instanti festo Nativitatis Dominicae. Teste rege apud Lychfeld 
 xxi. die Novembr. Per ipsum regem." 7 
 
 minster, and the king's great wine-cellar should be wainscoted ; and that the low 
 chamber in the king's garden, and the little turret beyond the chapel there, should 
 be painted, and that in the same chamber a chimney should be made, and that we 
 will that the said chamber shall be called the Antioch Chamber." — D. 
 
 1 " Ibid. m. 5. Precept to Simon the chaplain, and other masters of the works, 
 at Windsor, that they have the king's cloister in the castle paved and wainscoted, 
 and the Apostles painted there, as the king has given orders to William, his 
 painter. Witness, &c. at Havering, 20th of August. " — D. 
 
 2 "Payments, 36 Henry III. m. 15. Precept to the Sheriff of Nottingham- 
 shire, that he cause the queen's chamber in the castle of Nottingham to be painted 
 all around with the history of Alexander, and the king will account with him for 
 the cost. Witness, &c. at Nottingham, 15th January." — I). 
 
 3 " Ibid, to the Sheriff of Northampton, that he cause a window of white glass 
 to be made in the castle of Northampton, and that the history of Dives and 
 Lazarus be painted thereupon." — D. 
 
 4 It would be a great curiosity if we could recover a list of his majesty's library. 
 It probably contained some illuminated MSS. as the librarian had the keeping of 
 the colours too. The original copy of Matthew Paris with miniatures, in the 
 British Museum, was certainly a present to this king from the author. 
 
 5 " Close Roll, 36 Hen. III. Precept to Ralph de Dungun, keeper of the king's 
 books, that he should supply William the painter with colours for painting the. 
 queen's little wardrobe, and to restore the paintings in the king's and queen's 
 chambers. Witness at Westminster, 25th February." — D. 
 
 6 Alexander III. king of Scotland, married Margaret, daughter of Henry, at 
 York. 
 
 7 " Ibid. m. 31. Precept to Edward of Westminster, that he will procure with - 
 out delay, a certain handsome sword, and have made a scabbard of silk, with the 
 
PAINTING IN ENGLAND. 
 
 13 
 
 " Glaus. 36. Hen. III. m. 30. Mandatum est J. de Soniercote 1 et Eogero 
 Scissori, quod sine dilatione fieri faciant unum lectum pretiosum, ita quod 
 Jllud decenter et ornate factum habeat apud Ebor. ad dandum illud Alex, 
 regi Scotiae illustri in instanti festo Nativitatis Dominicae." 2 
 
 " Ibidem. Mandatum est I. de Somercote et Rogero .Scissori, quod de 
 melioribus samittis quos invenire poterunt sine dilatione faciant quatuor robas, 
 duas videlicet ad opus regis, et duas ad opus reginae, cum aurifraxis semilatis, 
 et varii coloris, et quod tunicae sint de mollioribus samittis quam pallia et 
 supertunicae ; et quod pallia furrentur cum ermino, et supertunicae de minuto 
 vario ; ita quod rex habeat praedictas robas ornate factas apud Ebor. ad hoc 
 instans festum Nativitatis Dominicae. Teste rege apud Lychfield xxi. die 
 Novembr." 3 
 
 " Ibidem. Mandatum est I. de Somercote et Rogero Scissori, quod preter 
 illas duas robas quas rex fieri preeepit ad opus suum, fieri faciant ad opus regis 
 tres robas de queintisis, videlicet unam robam de meliori samitto violaceo, 
 quam invenire poterunt, cum tribus parvis leopardis 4 in parte anteriori, et 
 aliis tribits parte posteriori ; et duas de aliis melioribus pannis qui inveniri 
 poterunt ; ita quod robas illas decenter et ornate factas rex promptas habeat 
 apud Ebor. in festo Nativitatis Domini." 5 
 
 " Claus. 39. Hen. III. Eex concessit magistro Johanni de Gloucestre 
 cementario suo, quod toto tempore vitae suae quietus sit de omnimodo Tal- 
 lagio et Theionio ubique per totam potestatem regis." 6 
 
 " Claus. 43. Hen. III. m. 10. Mandatum est magistro Johanni de Glouc. 
 cementario suo, et custodibus operationum Westm. quod quinque imagines 
 
 pommel of silver, well and fairly ornamented, and a rich belt to hang therefrom : so 
 that the said sword may be delivered to him at York, with which Alexander, the 
 illustrious king of Scotland, may be decorated, together with a military girdle, at 
 the feast of the Nativity of our Lord next ensuing. Witness at Lichfield, 21st 
 November." — D. 
 
 1 In the same year J. de Somercote had a patent to be Warden of the mint, 
 Gustos Cambii per to turn regnum. 
 
 2 "Ibid.m. 30. Precept to John de Somercote, and Roger the Tailor, that 
 without delay they make a bed of great price, so that it may be delivered at York, 
 to be presented as a gift to Alexander King of Scotland, at the feast of the 
 Nativity next ensuing. 
 
 3 4 i Ibid. Precept to John de Somercote and Roger the Tailor, that, without 
 delay, they make four robes of the best satin that can be procured, viz. two for the 
 service of the king, and two for the queen, with fringes laid thereon of gold and 
 various colours : and that the tunics shall be of softer satin than the clokes and 
 surcoats : that the clokes be furred with ermine, and the surcoats with minevre, 
 so that the king may have the said robes handsomely made, and delivered to him 
 at York. Witness at Lichfield, 21st November.' 5 — D. 
 
 4 The lions in the arms of England were originally leopards. 
 In the romance of Richard Cuer de Lyon, 
 
 " Upon his shoulders a scheld of stele, 
 With the Lybbards painted wele. " 
 
 Barrington on the Statutes, p. 227. 
 Menestrier, De l'Origine des Amoires. L. i. p. 68, &c. — D. 
 
 5 " Ibid. Precept to the same, that beside those two robes which the king has 
 ordered for his own use, that they likewise make for him three robes of embroidery 
 or fancy work, viz. one robe of violet-coloured satin, the best that can be procured, 
 wrought with three leopards in the fore and as many in the hinder part : and two 
 robes of other cloth, the best that can be found. So that the king may receive 
 them duly finished, at York, on the feast of the Nativity. " — D. 
 
 6 " Close Roll, 39 Henry III. The king granted to' John of Gloucester, his 
 plasterer, that for the whole term of his life he shall be free from all taillage and 
 tolls, everywhere throughout the realm. " — D. 
 
14 
 
 THE EARLIEST ACCOUNTS OF 
 
 regurn incisas in franca petra, et quandani petram ad supponendum pedibus 
 unius iniaginis beatae Mariae, faciatis habere custodibus operationum ecclesiae 
 sancti Martini London, ad easdem operationes, de dono regis. Teste rege apud 
 Westm. xi. die maii." 1 
 
 Then comes a record intituled : 
 
 " Pro rege de coloribus ad picturam Windesor. Claus. Ao. 44. Hen. III. 
 m. 6. Mandatum est Edwardo de Westm. quod colores et ad picturam neces- 
 garia sine dilatione faciat habere fratri Willielmo monacho Westm. pictori regis, 
 ad picturas regis apud Windsor inde 2 renovandas, prout idem frater Willielmus 
 predicto Edwardo dicet ex parte regis. Et hoc sicut regem diligit, non 
 omittat : et cum rex sciverit custum quod ad hoc posuerit rex breve suum de 
 liberate sibi habere faciet. Teste rege apud Windsor xiii. die Augusti." 3 
 
 The next is inscribed De pictirra Eap. Guldef. and con- 
 tains the following orders : 
 
 " Liberat. Ao. 44. Hen. III. m. 11. Rex vicecom. Surr. salutem. Precipimus 
 tibi quod exitibus comitatus tui picturas magnae aulae nostrae de Guldeford, 
 prout necesse fuerit, sine dilatione emendari, et in magna camera nostra ibidem 
 ad caput lecti nostri super album mururn quocldam pallium depingi, et tabulas 
 et fruntellum altaris magnae capellae nostrae ibidem sine dilatione fieri facias, 
 prout injunximus Willielmo Florentino pictori : et custum quod ad hoc posueris 
 per visum et testimonium proborum et legalium hominum conf. &c. Teste 
 meipso apud Westm. xxx. die Octobr." 4 
 
 I conclude that master William, William the monk of 
 Westminster, and William of Florence, were the same 
 person. What arts we had, as well as learning, lay chiefly 
 among the religious in those ages. One remark I am 
 surprised Mr. Vertue did not make, when he was assign- 
 ing greater antiquity to painting in England than in 
 Italy, that this William of Florence was an Italian. 
 
 1 " Close Roll, 43 Henry III. m. 10. Precept to master John of Gloucester, his 
 plasterer, and the master of his works at Westminster, that they make five statues 
 of kings carved in freestone, and a pedestal for the image of the blessed Virgin, to 
 be delivered to the masters of the works of the Church of St. Martin in London, 
 as the king's gift. Witness, &e. 11th of May." — D. 
 
 2 Hence it appears that Windsor had been a place of note even before the reign 
 of Hen. III., consequently long before it was beautified by Edward III. 
 
 3 " Close Roll, 44 Hen. III. m. 6. For the king. Precept to Edward of West- 
 minster, that without delay he shall deliver to brother William, Monk of West- 
 minster, colours and other things necessary for painting, for restoring the king's 
 paintings at Windsor, accordingly as William the monk shall instruct the said 
 Edward, on the part of the king. And this, as he loves the king, he may not 
 omit : and when the king knows the cost he has incurred, he will send his 
 writ for payment thereof. Witness, &c. 13th of August." — D. 
 
 4 " Payments, 44 Henry II. in. 11. Precept to the Sheriff of Surrey, that out 
 of the issues of the said county you cause the paintings of the great hall at 
 Guildford to be repaired, as it may be necessary, without delay, and in our large 
 chamber there to be painted upon the white wall, at the head of our bed, a certain 
 cloth or pall : and that immediately the pictures and frontispiece of the altar of 
 the great chapel be made, as we have directed William of Florence, and the cost 
 shall be paid upon the view of honest and lawful men, &c. Witness, &c. at 
 Westminster, 30th October."— D. 
 
 ft 
 
PAINTING IN ENGLAND. 
 
 15 
 
 The two following are little remarkable, except that 
 in the last we find the name of another painter. 
 
 " Liberat. Ao. 49. Hen. III. m. 7. Eex Thes. et camerariis suis salutem. 
 Liberate de thesauro nostro pictoribus camerae nostrae apud Westm. septem. 
 libras et decern solidos ad picturas ejusdem camerae nostrae retro lectum 
 nostrum ibidem faciend." 
 
 . "Liberat. Ao. 51. Hen. III. m. 10. et 8. Eex Ballivis civitatis London, 
 salutem. Mandamus vobis quod de firma civitatis praedictae habere faciatis 
 magistro Waltero pictori nostro viginti marcas ad picturas camerae nostrae 
 apud Westm. inde faciend. et hoc nullo modo omittatis. Et computabitur 
 vobis ad scaccarium. Teste rege apud Westm. vii. die Januar." 2 
 
 Among these records I find the following curious me- 
 morandum of the sums expended on the kings building 
 at Westminster to the forty-fifth year of his reign. 
 
 " Summa cust. operationum Westm. ab inceptione usque in die dominica 
 proxima post festum divi Michaelis anno regni regis Henrici xlvto. Et cclx. 
 librae restant solvendae pro stipendiis alborum cissorum et minutorum 
 operariorum, et pro franca petra et aliis emptionibus quae non computantur 
 in hac summa : xxix millia, cccxlvZ. xixs. vind" 3 
 
 The last piece I have to produce relates to works to be 
 done for the Prince and his consort Eleanor ; with the 
 addition of the salary of master William, who was allowed 
 six pence a day, as surveyor of the works at Guildford : 
 
 " Liberat. 52. Hen. III. m. 11. Eex vicecom. Surr. et Suss, salutem. Pre- 
 cipimus tibiquod de exitibus com. praedictorum infra curiam nostram manerii 
 nostri de Guldeford quandam cameram cum stadio et camino, garderoba, et 
 camera forinseca, et quandam capellam ad caput ejusdem camerae, cum stadio 
 et fenestris vitreis easdem cameram et capellam decentibus, ad opus karissimae 
 filiae nostrae Alianorae consortis Edwardi primogeniti nostri, et unam cameram 
 cum stadio et camino camera forensica, et fenestris vitreis eandem cameram 
 decentibus, ad opus militum karissimae consortis nostrae Alianorae reginae 
 Anglia, et quoddam appenticm. 4 ibidem de novo sine dilatione fieri, et her- 
 barium ejusdem reginae nostrae reparari et emendari facias, secundum quod 
 Willielmo Florentino pictori nostro injunximus, et idem Willielmus plenius 
 tibi scire faciet ex parte nostra ; et custum, &c. per visum &c. coniputabitur." 5 
 
 1 " Payments, 49 Hen. III. The king to his treasurer and chamberlain. Pay 
 from our treasury at Westminsterto the painter of our chamber at Westminster, seven 
 pounds and ten shillings for pictures at the back of our bed, in our said chamber." 
 
 2 "Ibid. 51 Henry III. m. 10. and 8. Precept to the bailiffs of the City of 
 London, that ye pay out of the fee-farm of the said city, to master Walter, our 
 painter, twenty marks for pictures in our great chamber at AVestminster : and 
 that ye by no means omit to do it. And it shall be accounted with you in the 
 Exchequer. Witness, &c. 7th of January." — D. 
 
 3 " The sum total of the works at Westminster, from their beginning to the 
 Sunday next after the feast of St. Michael, in the forty -fifth year of the reign of 
 King Henry. And 260Z. remain to satisfy the wages of the freestone cutters, and 
 of other workers in the minuter parts of the building, and for freestone, and other 
 purchases which are not computed in this sum, 29,3457. I9s. 8d." — D. 
 
 4 Sic originale. 
 
 r ° "52 Henry III. m. 11. The king to the Sheriff of Surrey and Sussex. 
 
16 
 
 THE EARLIEST ACCOUNTS OP 
 
 " Rex eidem vicecom. salutem. Precipinius tibi quod de exitibus com. prae- 
 dictorum facias habere Willielmo Florentino custodi operationum nostrarum 
 manerii nostri de Guldeford singulis diebus sex denarios pro stipendiis suis, 
 quam diu fueris viceconies noster eorundem comitat. et praedictus Willielmus 
 custos fuerit operationum praedictarum, sicut eos temporibus retroactis ante 
 turbationem habitam in regno ibidem percipere consuevit : et custum, &c. 
 Teste rege apud Westm. xxxix. die Jan." 1 
 
 Besides the palaces above mentioned, this prince laid out 
 also large sums in repairing and beautifying Kenilworth 
 castle, ceiling the chapel with wainscot, painting that and 
 the queen's chamber, and rebuilding the wall on the out- 
 side, as it remained to the time of Sir William Dugdale. 2 
 
 I cannot pass over the Princess Eleanor, so much 
 celebrated by our legendary historians for sucking the 
 poison out of her husband's wound, without mentioning 
 the crosses erected to her memory, which Vertue with 
 great probability supposed were built on the designs of 
 Peter Cavallini, a Roman sculptor, and whom, from 
 various circumstances, he discovered to be the architect 
 of the shrine of Edward the Confessor. 3 
 
 The reader, I am persuaded, will be pleased to see how in- 
 geniously my author traced out this hitherto unknown fact. 
 
 Precept, that out of the issues of the said counties ye cause a certain chamber 
 to be ejected within the castle of our manor of Guildford, with a raised hearth 
 and chimney, a wardrobe and necessary closet, and with glazed windows, and a 
 small oratory at the end of the said chamber, for the use of our dearest daughter, 
 Eleanor the wife of our eldest son Edward : and also another chamber as above, 
 for the body guard of Eleanor our dearest queen consort, with a penthouse leaning 
 thereto, and that they be made anew, without farther delay. And that ye cause 
 the queen's inclosed herb garden to be repaired and amended in the manner 
 which we have enjoined William the Florentine our painter, and of which the said 
 William will inform you farther upon our part. And the cost, &c." — D. 
 
 1 " The King to the same. Precept, that out of the issues of the said counties 
 you shall pay to William the Florentine, Master of our works at Guildford, on 
 each day, six pence, for his wages, as long as you shall remain Sheriff of the said 
 counties. And that the said William shall be master of the aforesaid works, as he 
 was before the late troubles in the realm. And the cost, &c. Witness at West- 
 minster, 29th January." — D. 
 
 2 See his Warwicksh. p. 244. In the same reign John of Hertford, Abbot of 
 St. Alban's, made great additions to his convent, and in one of the chambers 
 placed A noble picture. See Willis's Mitred Abbeys, vol. i. p. 21. One Lambbirt, 
 builder or repairer of the same church, heaped his own rebus, a lamb and a bird, 
 among the ornaments. Alen Strayler was illuminator to that Abbey. 
 
 In the reign of Edward II. John Thokey, Abbot of Gloucester, had embellished 
 the wainscot of his great parlour with the portraits of all the preceding monarchs. 
 This circumstance is related in his life. MSS. Cotton. Bomitian VIII. p. 128. — D. 
 
 3 [The only three remaining crosses, those of Northampton, Geddington, and 
 Waltham, are engraved in the Monumenta Vetusta, vol. iii., and in Britton's Archi- 
 tectural Antiquities, vol. i. — W.] 
 
PAINTING IN ENGLAND. 
 
 17 
 
 The original inscription on the tomb ran thus : 
 
 Anno milleno Domini cum septuageno 
 Et bis centeno, cum completo quasi deno, 1 
 Hoc opus est factum, quod Petrus duxit in actum 
 Romanus civis : Homo, causam noscere si vis, 
 Rex fuit Henricus, sancti praesentis amicus. 
 
 The words Petrus duxit in actum Romanus civis were 
 discernible till very lately. Some old authors ascribe the 
 erection of the shrine to Henry himself; 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 consecration from 
 Urban IV. At that time, says Vasari, flourished there 
 Peter Cavallini, a painter and the inventor of Mosaic, who 
 had performed several costly works in that city. About 
 four 3^ears before the arrival of Abbat Ware, that is in 
 1256, had been erected a splendid shrine 2 for the martyrs 
 Simplicius and Faustina, at the expense of John James 
 Capoccio and his wife, adorned with twisted columns, and 
 inlaid with precious marbles exactly in the taste, though 
 not in the precise form of that of St. Edward. Nothing is 
 more probable than that a rich abbat, either at his own 
 expense, or to gratify the taste of his magnificent master, 
 should engage a capital artist to return with him and 
 undertake the shrine of his masters patron saint, and the 
 great patron of his own church. Weaver says expressly 
 that the abbat brought back with him from Rome work- 
 men and rich porphyry stones for Edward the Confes- 
 sor's secretary, and for the pavement of the chapel. 3 This 
 
 1 [That is, in 1279 or 1280 ; when Pietro Cavallini was in his twenty-first year 
 only, according to the most generally received date of his birth, 1259. See Manni, 
 Notes to Baldinucci, and Lanzi, Storia Pittorica, &c. Cavallini was a distin- 
 guished painter, architect, and worker in Mosaic ; but what knowledge we have of 
 him is too vague either to corroborate or refute the conjectures of Walpole : he is 
 said to have died in 1344. Vasari, Vite de Pittori, <fcc. ; Lanzi, I. I. — W.] 
 
 2 A draught of it by Mr. Talman in the proper colours is preserved in the first 
 volume of the drawings belonging to the Society of Antiquaries. A sketch of it 
 I have among Vertue's MSS. Great part of that identic shrine, which stood ori- 
 ginally in the church of Santa Maria Maggiore at Rome, and was removed of late 
 years, on making a new pavement to the church, is now at Strawberry -hill, in a 
 chapel erected on purpose to receive it : being sent (in 1768) to Mr. Walpole by 
 Sir William Hamilton, Envoy to Naples, who purchased it on its removal. — [It 
 was sold at the Strawberry-hill sale in 1842 for lorty-seven guineas. Walpole 
 had had it restored. See Walpole's Description of Strawberry -kill, 1784. — W.] 
 
 3 Before Henry III. began the present church, there had been a rich shrine for 
 
 VOL. I. C 
 
18 
 
 THE EARLIEST ACCOUNTS OF 
 
 abbat was lord treasurer to liis death in 1283, and was 
 buried on the north side of the great altar. Over him 
 was anciently this epitaph, confirming the circumstances 
 above mentioned : 
 
 Abbas Richardus de Wara, qui requiescit 
 Hie, portat lapides, quos hie portavit ab Urbe. 
 
 Vasari's silence on Cavallini' s journey to England ought 
 to be no objection ; he not only wrote some hundred years 
 after the time, but confounds his own account so strangely 
 as to make Peter Cavallini scholar of Giotto, who was 
 twenty years younger. If it may be imagined that Richard 
 Ware could not have interest enough to seduce so capital 
 a workman from the service of the Pope, it might still be 
 accounted for, by higher authority. Edward I. returning 
 from the Holy Land was conducted by the king of Sicily 
 to Rome, to visit Gregory X. who had been Edward's com- 
 panion and friend in the Holy War. An artful Pope 
 would certainly be glad to furnish a young king with 
 artists who would encourage him in raising shrines and 
 temples. The monument of Henry III. erected by his son, 
 is beautified in the same taste with porphyry and mosaic ; 
 and the first brazen statue known to have been cast here, 
 lies upon it. The old paintings round the chapel of St. 
 Edward, and those, in a very beautiful and superior style, 
 though much decayed, over the ragged regiment, Vertue 
 ascribes to the same Cavallini. This painter and sculp- 
 tor probably, as I have said, gave the designs for the 
 crosses erected by Edward to his beloved Eleanor} 
 
 the Confessor, erected by William I. as the latter says expressly in his charter. 
 Edward had "bestowed Windsor on the Abbey of Westminster : the conqueror on 
 his accession, prevailed on the abbat and convent to restore Windsor, in exchange 
 for other lands, being delighted with the site : " Maxime utilis & commadus est 
 visus propter contiguam aquam et silvam venationibus aptam," says he ; and after 
 naming the lordships he gave them, he mentions the gift of an hundred pounds of 
 silver to complete and finish the building of the Abbey, andrthen adds, 1 'Ob reve- 
 rentiam nimii amoris quern ego in ipsum inclitum regem Edwardum habuerum, 
 Tumbum ejus et reginae juxta eum pasitse, ex auro et argento, fabrili opere, 
 artificiosi decoris mirifice operiri feci. 
 
 1 I have some suspicion that a son of" Peter Cavallini is the person called 
 Peter le Orfever, mentioned in a precept of Edward II. He is there intituled of 
 Stanford, and brought an action against certain persons for assault and battery. 
 As one of Queen Eleanor's crosses was erected there, it is not improbable that a 
 son of Cavallini might marry and settle in that town. See Peck's Stanford, lib.x. 
 sect. J 3. 
 
PAINTING IN ENGLAND. 
 
 19 
 
 Vertue had drawn them with a design of engraving ; I 
 have his original drawings. I must not omit that it was 
 no small part of Peter Cavallini s fame, that he made the 
 crucifix that spoke to St. Bridget. 1 
 
 From all the testimonies above recited, Henry IIL ap- 
 pears in a new light from what has hitherto been known 
 of him. That he was a weak prince in point of govern- 
 ment is indisputable. That he was a great encourager of 
 the arts, these records demonstrate. When historians 
 talk of his profusion, they evidence only in what he dis- 
 sipated on his favourites. But it is plain that the num- 
 ber and magnificence of his buildings and palaces must 
 have swallowed great part of the sums maliciously 
 charged to the single article of unworthy favourites. 2 
 
 It matters not how a prince squanders what he has 
 tyrannically squeezed from the subject : if he exceeds his 
 revenue, it is almost as ill spent on edifices as on ministers. 
 But it is perhaps no more than justice to make some allow- 
 ance for partial or exaggerated relations. Henry was not 
 a wise prince — may 1 venture to say more — He was not 
 a martial prince. Even in these more sensible ages one 
 illustrious defect in a king converts all his otherfoibles into 
 excellences. It must have done so much more in a season 
 of such heroic barbarism as that of Henry III. ; and the 
 want of an enterprising spirit in that prince made even his 
 
 1 [This happened in 1370 ; the event is noticed by VasarL The crucifix in 
 question is still preserved in the church of San Paolo fuori le mara, at Eonie ; 
 it escaped the memorable conflagration by which this ancient church was almost 
 wholly destroyed in 1823.— W.] 
 
 2 The unbounded liberality of this sovereign to his favourites, was, in one 
 instance at least, applied with a profusion emulous of his own ; and is a curious 
 evidence how much he encouraged the magnificence of architecture, in those 
 whom he patronized and enriched. Pauline le Peyvere was the steward of his 
 household, to whom he made enormous grants both of land and money. This 
 courtier built, at Toddington in Bedfordshire, a castellated house, which with vast 
 extent, apartments covered with lead, orchards, and gardens, excited universal 
 wonder * ' ut intuentibus admirationem parturient,' 5 says M. Paris, (p. 821,) who 
 adds, that "he spent more than a hundred shillings in every week during the 
 building ; and that the wages of certain of the artificers amounted to ten marks 
 in the same space of time. Some of the most sumptuous parts of cathedral and 
 conventual churches in different parts of England, in fact, a new and most beau- 
 tiful style of Gothic, originated and reached perfection during the long reign of 
 Hen. III. So urgent was his want of money, that he was forced to pawn and sell 
 the jewels with which he had enriched the shrine of St. Edward, to the Pope's 
 Legate. Patent Roll, 51st Henry III. memb. 18. — D. 
 
 c 2 
 
20 THE EARLIEST ACCOUNTS OF PAINTING IN ENGLAND. 
 
 patronage of the arts be imputed to effeminacy, or be over- 
 looked. The extravagance of Louis XIV. in his buildings, 
 gardens, water- works, passed for an object of glory under 
 the canon (if I may say so) of his ambition. Henry III. 
 had no conquests to illuminate his ceilings, his halls, his 
 bas-reliefs. Yet perhaps the generous sentiment implied 
 in his motto, Qui non dat quod habet non accipit ille quod 
 optat, contained more true glory than all the Fast couched 
 under Louis's emblem of the sun, and his other ostenta- 
 tious devices. But let us compare Henry with one nearer 
 to him. Henry's reign is one of the most ignominious in 
 our annals ; that of Edward the First of the most triumph- 
 ant. Yet I would ask by which of the two did the nation 
 suffer most ? By sums lavished on favourites and build- 
 ings, or by sums and blood wasted in unjust wars ? If 
 we look narrowly into Edward's reign, we shall scarce 
 find fewer representations against the tyranny of the son 
 than against the encroachments of the father. Who will 
 own that he had not rather employ master William and 
 Edward of Westminster to paint the gestes of the kings 
 of Antioch, than imitate the son in his barbarities in 
 Wales, and usurpations in Scotland ? 
 
 HENRY III. ED. CONFESSOK. 
 
 In the north transept of Westminster Abbey. 
 From castes in the Museum of L. N. Cottingham, F.R.S. 
 
21 
 
 CHAPTER II. 
 
 STATE OF PAINTING FROM THE REIGN OF HENRY III. TO THE END OF 
 
 HENRY VI. 
 
 FrOxM the reign of Henry III. Mr. Vertue could discover 
 no records relating to the arts for several reigns. I shall 
 endeavour to fill this hiatus by producing an almost entire 
 chronologic series of paintings from that time to Henry 
 VII. when Mr. Vertue s notes recommence. 
 
 During the reigns of the two first Edwards, I find no 
 vestiges 1 of the art, though it was certainly preserved here, 
 at least by painting on glass. No wonder that a proud, a 
 warlike, and ignorant nobility, encouraged only that branch 
 which attested their dignity. Their dungeons were ren- 
 dered still darker by their pride. It was the case of all the 
 arts ; none flourished, but what served to display their 
 wealth, or contributed to their security. They were mag- 
 nificent without luxury, and pompous without elegance. 
 Rich plate, even to the enamelling on gold, 2 rich stuffs and 
 
 1 Except that in the reign of Edward I. Bishop Langton built a palace and 
 hall at Lichfield, in which was painted the ceremony of the coronation, &c. 
 Brown Willis's Cath. vol. p. 17. 
 
 In the MS. of the lives of the abbats of Gloucester (MSS. Cotton, Domit. viii.) 
 it is asserted, that John Wygmore Abbat procured his great dining room to be 
 painted with portraits of all the English kings who preceded Edward II., against 
 his being present there at a sumptuous feast. The same MS. p. 23, mentions, 
 that Wygmore not only employed artists, but was himself eminent for the practice 
 of limning and embroidery. " Quod in diversis artibus multum delectabatur ut ipse 
 ssepissime operetur, et multos diversos operarios in dicta arte (limning) percolleret, 
 tarn in opere mechanico, quam in textura." Similar instances might be easily 
 adduced which had escaped the notice of Vertue, and Walpole's antiquarian con- 
 tributors. If, as is most probable, the chapel of St. Stephen, within the palace of 
 Westminster, was embellished with paintings by its founder, K. Edward I., an 
 additional proof is supplied.— D. 
 
 2 Bishop Wickham's crozier at Oxford is an instance how well the pomp of 
 prelacy was served by ingenious artists. It is certain that in the reigns of the two 
 first Edwards there were Greek enamellers in England, who both practised and 
 taught the art. In Dugdale's Warwickshire, p. 397, 403, are mentioned enamelled 
 cups very near that period : and some ancient pieces are still extant. The beautiful 
 cup of gold, enamelled with figures in the habits of the time, given by King John 
 to the corporation of Lynn in Norfolk, and still preserved there, gives a very 
 
22 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 curious armour, were carried to excess, while their chairs 
 were mere pedestals, their clothes were incumbrances, and 
 they knew no use of steel but as it served for safety or 
 destruction. Their houses, for there was no medium be- 
 tween castles and hovels, implied the dangers of society, 
 not the sweets of it ; and whenever peace left them leisure 
 to think of modes, they seemed to imagine that fashion 
 consisted in transfiguring the human body, instead of add- 
 ing grace to it. While the men wore shoes so long and 
 picked, that they were forced to support the points by 
 chains from their middle; the ladies erected such pyramids 
 on their heads, that the face became the centre of the body ; 
 and they were hardened to these preposterous inconve- 
 niences by their priests, who instead of leaving them to be 
 cured by the fickleness of fashions, or by the trouble of 
 them, denounced God's judgments on follies against which 
 a little laughter and a little common sense had been more 
 effectual sermons. It was not far distant, I think, from 
 the period of which I am speaking that the ladies wore 
 looking-glasses about the same height of their bodies, with 
 
 favourable idea of the taste and artisans of an age a little antecedent to that I am 
 speaking of. King Alfred's jewel, found at Athelney in Somersetshire, and of 
 which there is a print in Camden's Britannia, is of much more ancient date, but 
 of workmanship far more rude. I call it a jewel, because it seems to have been 
 used as jewels were afterwards, appendent to ribands. By the cut, I should take 
 it for engraven gold ; Camden, which is extraordinary, does not describe the 
 materials, but calls it a picture, which would make one think it was enamelled, 
 — The singularly sumptuous erozier which belonged to W. Wykeham, and was 
 bequeathed in his will to remain in his college, at Oxford, is still shown there, 
 being preserved in the chapel. In Carter's Ancient Sculpture and Painting, 
 (vol. i. pi. 47),* it is most accurately delineated, at length, upon a folded folio 
 sheet. It is of silver gilt, and very richly enamelled ; about seven feet high, and 
 in the crook or circle, instead of the Holy Lamb, frequently introduced in other 
 croziers, is a kneeling figure of the Bishop himself. The will is printed in Bishop 
 Lowth's Life of Wykeham, in the Appendix, by reference to which the antiquarian 
 reader will entertain no doubt concerning the perfection of the arts of enamelling, 
 limning, and embroidery, during reigns immediately antecedent to that of Edward 
 the Third. The wills of noblemen and prelates which have been collected and pub- 
 lished give us numerous examples. It has been observed, indeed, by Warton (HisL 
 of Poetry, vol. ii. p. 254) that " after the battle of Cressy by our victorious monarch, 
 and towards the end of the 14th century, riches and plenty, the effects of conquest, 
 peace, and prosperity, were spread on every side, and new luxuries were imported 
 in great abundance from the conquered countries. There were few families, even 
 of a moderate condition, but had in their possession precious articles of dress and 
 furniture, such as silk, fur, tapestry, embroidered beds, embossed cups of gold and 
 silver, agate and crystal, bracelets, chains, and necklaces, brought from Caen, 
 Limoges, and other foreign cities." — D. 
 
 * PI. 83, in the Edition of 1838. 
 
HENRY III. TO THE END OF HENRY VI. 
 
 23 
 
 that on which the men displayed such indecent symbols. 1 
 The representations of these extravagances (as we see 
 them collected by Montfaucon in his Antiquities of France) 
 demanded Japanese and Indian painters ; they were not 
 likely to produce Vandycks and Titians. While we are 
 curious in tracing the progress of barbarism, we wonder 
 more that any arts existed, than that they attained no 
 degree of perfection. 
 
 Of the third Edward, says Mr. Vertue, 2 many portraits 
 are preserved, at Windsor, in illuminated MSS. and else- 
 where. As he has not marked where these limnings exist, 
 I can give no account of them myself, nor refer the reader 
 to the inspection of them. But there is a portrait taken 
 from a bust of the same age, the face of which is far from 
 being executed in a contemptible manner. It represents 
 that artist and patron of arts, William of Wickham, 3 bishop 
 of Winchester, and prime minister to Edward III., a prelate 
 whose magnificent charities yet exist, both in the benefits 
 he calculated for posterity and in the edifices erected on 
 his own designs for perpetuating those pious bounties. 
 The portrait has been engraven by Houbraken among the 
 heads of illustrious men ; a noble memorial, which I am 
 sorry to say w^as forced to be dropped (though exhibited 
 at the trifling expense of five shillings for four beautiful 
 prints) the moment the novelty of it was exhausted. 
 
 1 La Bruyere has expressed this with the happiest decency : "lis avoient trouve 
 le secret de paroitre nudstout habillez." Vol. ii. p. 234. 
 
 2 See an account in folio, prefixed to his prints of the kings of England. — 
 The figure of a knight standing in plate armour, holding a spear, with a long- 
 sword by his side, and the escutcheon of France and England quarterly (France 
 anciently), and having a red rose placed beneath his feet, is said to represent (but 
 from no stated authority) Edward the Black Prince. It is a fragment, which still 
 remains in a lancet window, under the south tower, in Westminster Abbey. The 
 flowing beard belongs to no portrait of the Black Prince, and his effigy upon his 
 tomb at Canterbury has scarcely any. This representation is, with a greater 
 degree of probability, that of his father, who first quartered the arms of France. 
 Edward the Third's portrait is exhibited, with the utmost exactness, in the brass 
 effigy recumbent upon his tomb. His beard is long, and his hair dishevelled. 
 Engraved in Gough's Sep. Monum. vol. i. p. 138. — D, 
 
 3 Walpole was probably not aware that the figure and face of the munificent 
 Wykeham are of very inferior workmanship, and that he founded his praise upon 
 Vertue's engraving. It is remarkable that the head of his successor, Bishop 
 Waynflete, whose tomb is likewise in Winton cathedral, is of peculiar excellence 
 for strength of character. In Chandler's Life of that prelate, (8vo. 1811) is a 
 spirited engraving of it. But it applies to a later period of the arts, as Waynflete 
 died in I486.— D. 
 
24 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 The Black Prince 1 was represented on glass in a window 
 at the west end of Westminster Abbey, but the image is 
 now almost defaced. Mr. Maurice Johnson, the antiquary 
 of Spalding, had a MS. of Ealph Higden s Polychronicon, 
 written in 1 340, wherein was an illumination of the author. 
 It was shown to the Society of Antiquaries in 1735. 
 
 The person of Eichard II. is still preserved in the most 
 lively manner in two different pictures. The first a whole 
 length in the abbey of Westminster; 2 the other 3 at the 
 Earl of Pembroke's at Wilton, a small piece consisting of 
 two tablets, on which are represented the king kneeling, 
 accompanied by his patron saints, John the Baptist, St. 
 Edmund the king and Edward the Confessor, before the 
 Virgin and child, attended by angels. Hollar engraved it. 
 To the bottom of this picture are affixed these words, *■ In- 
 vention of painting in oil 1410. This was painted before 
 in the beginning of Eichard II. 1377," &c. These words, 
 which are very equivocal, started a question with me, which 
 I found nobody that could resolve. Do they imply that 
 this piece was painted in oil before John ab Eyck disco- 
 vered that secret in 1410 ? so one should think, for what 
 news did the inscriber tell, if he only meant that painting 
 in water-colours or miniature was practised before painting 
 
 1 Mr. Onslow, the late speaker, Lad a head of the Black Prince, which there is 
 great reason to believe was painted at the time. It is not 1 very ill done : it repre- 
 sents him in black armour, embossed with gold, and with a golden lion on his 
 breast. He has a hat with a white feather, and a large ruby, exactly in the shape of 
 the rough ruby still in the crown. He appears lean and pale, as he was towards the 
 end of his life. This very curious picture came out of Betchworth castle in Surrey. 
 — The claim of this, as a genuine portrait of the Black Prince, is at least apocry- 
 phal. I cannot but consider it as of a much later age, and painted even since the 
 succeeding century. There is a poor engraving of it in the Antiquarian Reper- 
 tory. Among the paintings discovered in St. Stephen's Chapel, Westminster, 
 when fitted up for the accommodation of the House of Commons, in 1800, were the 
 portraits, undoubtedly taken from the life, both of King Edward and his heroic 
 son, concerning which more will be said in the Remarks on this chapter. — D. 
 
 2 This portrait of Richard II. was in its primary state of singular curiosity. It 
 was, at first, placed above one of the stalls of the choir of Westminster Abbey ; but 
 has been removed into the Jerusalem chamber, in the Dean's lodgings. It was 
 most injudiciously restored, or, in fact, painted over, about a centmy ago. In 
 Carter's Ancient Sculpture and Painting (pi. 61, ed. 1838), is given an elaborately 
 coloured etching of it, on a large scale ; and in the printed description, it is said 
 that either Talman's drawing, or Vertue's engraving was deficient, in point of 
 accuracy. It has been lately cleaned, and made to approach nearer to its original 
 character. — D. 
 
 3 See a full description of it in the accounts of the curiosities at Wilton by Gam- 
 barini, Cowdry, or Kennedy. 
 
HEKRY III. TO THE END OF HENRY VI. 
 
 25 
 
 in oil ? Every illuminated MS. antecedent to that date was 
 a proof of that. The short quaere would be, with what is 
 the picture in question painted ? To that I can only reply, 
 that it is covered with glass, and is too great a curiosity to 
 have experiments made upon it. It is painted on a bright 
 golden ground, the colours of the utmost freshness, and not 
 grown black as oil-colours would be, and is, as I have said, 
 guarded by a glass, all which indicate that it is miniature. 
 Yet I clo not pretend to decide : The inscription I have 
 mentioned and some other circumstances seem to leave a 
 doubt whether John ab Eyck was really the first person 
 who mixed his colours with oil. 1 We have seen by a record 
 reported above, that long before this period oil was at least 
 used as a varnish, and it is difficult to conceive how it was 
 possible to varnish with oil either water-colours or colours 
 mixed with size. 2 It occurred to me to inquire 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 
 supposed to have been introduced here. Not to mention 
 the picture at Wilton, the other of Richard II. at West- 
 minster, and an undoubted original of Henry I V. 3 at 
 Hampton-court in Herefordshire, who died within two 
 years after John ab Eyck's discovery, must be allowed to 
 have been drawn before the new art arrived here. The 
 
 1 [See previous note on Oil-Painting. — W.] An accurate and scientific examina- 
 tion of the Wilton picture has been made by T. Phillips, Esq. R.A. (published in 
 the Beauties of Wiltshire) who says 4 * that it is certainly painted in water colours, 
 on a gilt ground, which is left in a most ingenious manner for the ornaments of 
 the draperies ; these ornaments are exceedingly rich and minute. The colours are 
 laid on very thick, with an even and full touch. The drawing is very good, when 
 we consider the early period of its production." It was engraved by Hollar, 
 1639. — D. 
 
 2 [It was a common practice in the time of Van Eyck and earlier, to cover Tem- 
 pera pictures with oil varnish. It was this custom that led Van Eyck to the disco- 
 very that Oil-varish was the best vehicle to mix the colours themselves in. — W 
 
 3 " The undoubted originality" of this portrait of Henry IV. may be, at least, 
 investigated. No doubt is entertained of its having been carefully preserved, at 
 Hampton-court, Herefordshire, till its late removal to Cashiobury, Essex. When 
 Vertue was engraving his series of English monarchs, he procured permission, 
 from the proprietor, Lady Coningsby, to copy it. A gentleman who resided in 
 the neighbourhood at that time, and who was particularly versed in the knowledge 
 of old portraits, assured the editor, that it then exhibited such marks of decay, 
 that the restorer thought it necessary to paint it over, in many parts. It is now 
 highly varnished. — D. 
 
26 STATE OF PAINTING FROM THE REIGN OF 
 
 picture at Westminster has indeed been repainted/ there- 
 fore no conclusion can be drawn from it. This question, 
 easy as I thought it, I found had been passed over with- 
 out consideration, and though proposed to a very learned 
 body 2 of men, arrived at no solution. After turning over 
 several books of painting, all treating of John ab Eyck's 
 invention, but without one word of the method which 
 his secret dispossessed, I at last found what I sought. 
 Sandrart put an end to the difficulty by these words : 
 
 Quia autem metuebant ne muri scissuris diffinderentur, hinc eosdem linteo, 
 prius glutine mediante, induxemnt, desuperque applicito gypso, postmodc 
 demum picturas suas effigurarunt, qui modus dici solet alia tempera, id est, 
 temperaturae aquariae. Hanc autem temperaturam ita praeparabant : effracto 
 prius ovo gallinaceo, in ejusdem liquore frondem teneram ficulneam de ficu 
 juniore discutiebant : ubi e lacte istius frondis, eque vitello ilia nascebatur . 
 temperatura : qua mediante, postmodum loco aquae vel gunimi, vel tragacan- 
 thae, colores suos subigebant, quibus dehinc opera sua perncerent. 3 
 
 When they painted on walls, lest the work should crack, they proceeded in 
 this manner : they glued a linen cloth upon the wall, and covered that with 
 plaister, on which they painted in distemper : 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, instead of water, gum, or gum-draggant, they mixed their 
 last layer of colours. 
 
 It is probable from the last words of this passage that 
 they laid their first colour with water or gum only. 4 
 
 I shall be told perhaps, that this method was only used 
 for painting on walls ; but, leaving out the plaister, I see 
 nothing to hinder the same preparations from being used 
 on board. Of what mixture Oimabue, the restorer of the 
 art, made use, we are told by the same author. Multaeque 
 illius manu confectae non historiae minus, quam imagines, 
 in tabulis ligneis, colore ovis vel glutine temperato. 5 
 
 1 By one Capt. Brome, a print-seller near the parliament house ; but this was 
 after Mr. Talman had taken his drawing, from whence the print was engraved. 
 
 2 The Societiy of Antiquaries. 
 
 3 [Academ. Pict. p. 15. Walpole here quotes the Latin translation ; the ori- 
 ginal work was written in German ; it was published at Niirnberg, 1675-79, 
 under the following title — VAcademia Todesca, or Teutsche Academie der edlen 
 Bau-Bild-und- Mahler ey Kiinste. For the original passage, see vol. i. p. 66, The 
 last words are inaccurately translated in the English ; Sandrart does not specify 
 the last layer of colours ; he alludes to the colours generally.— W.] 
 
 4 [The reader will find almost every process of oil-painting of the earlier and 
 later ages of the art described in detail, and every practical difficulty explained, in 
 Eastlake's Materials for a History of Oil- Painting. London, 1847.— W.] 
 
 5 Acad. Pictur. p. 94. 
 
HENRY III. TO THE END OF HENRY VI. 
 
 27 
 
 Cimabue used yolk of egg or glue, which I suppose 
 means size. 
 
 Still the much more ancient use of oil, were it but as a 
 varnish, leaves a doubt whether John ab Eyck's discovery 
 was entirely his own. The remarkable record which I 
 have so often mentioned, dates above an hundred years 
 before the common sera of painting in oil. John ab Eyck 
 is allowed to have found it in searching for a varnish. 
 Might he not have heard that such a varnish or composi- 
 tion was in use in England ? 1 The very pictures I have 
 mentioned as still extant and under all the appearances 
 of being painted in oil, seem to say even more. The 
 painters employed by Henry III. appeared to have been 
 Italians, and yet it is easy to vindicate the secret from 
 them ; at least I can prove that they must have found 
 the practice here, not have brought it over with them, 
 for we are told expressly that in Italy they knew of no 
 such method. When some of John ab Eyck s pictures 
 were carried to Alphonso, king of Naples, the Italian 
 painters were surprised, says Sandrart, 2 Quod aqua pur- 
 gari possent, coloribus non deletis. 
 
 I must beg not to have it supposed that I am setting up 
 any novel pretensions for the honour of my own country. 
 Where the discovery was made I do not pretend to guess : 
 the fact seems to be that we had such a practice. Curious 
 
 1 I cannot help hazarding a conjecture (though unsupported by any of the 
 writers on painting). There is an old altar-table at Chiswick, representing 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 secret of using oil here, and took the honour of the invention to him- 
 self, as we were then a country little known to the world of arts, nor at leisure 
 enough, from the confusion of the times, to claim the discovery of a secret which 
 soon made such fortune abroad ? An additional presumption, though certainly not 
 a proof, of Van Eyck's being in England, is a picture in the Duke of Devonshire's 
 collection, painted by John ab Eyck in 1422, and representing the consecration of 
 St. Thomas Becket. The tradition is, that it was a present to Henry V. from his 
 uncle the Duke of Bedford, regent of France ; but tradition is no proof ; and two 
 pictures of this author in England, one of them of an English family, and the 
 other of an English story, are at least as good evidence for his having been here, 
 as tradition for one of them being painted abroad. However, I pretend to nothing 
 more in all this than mere conjecture. — [It is needless to make any further 
 remarks on oil-painting, after what has been already said on the subject in the 
 note to the first chapter. — W.J. 
 
 2 P. 125, Maffei indeed in his Verona illustrata is of a different opinion, and 
 thinks oil-painting was known in Italy before John ab Eyck. 
 
28 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 facts are all I aim at relating, never attempting to establish 
 an hypothesis, which of all kinds of visions can nourish, it- 
 self the most easily without any. The passion for systems 
 did not introduce more errors into the old philosophy, 
 than hypothesis has crowded into history and antiquities. 
 It wrests all arguments to the favourite point. A man 
 who sees with Saxon eyes sees a Saxon building in every 
 mole-hill : a Mercian virtuoso can discover kings, lords, 
 and commons in the tumultuary conventions of the Wit- 
 tenagemot ; and an enthusiast to the bards finds primeval 
 charms in the rudest ballad that was bawled by the mob 
 three or four hundred years ago. But the truths we 
 antiquaries search for, do not seem of importance enough 
 to be supported by fictions : the world in general thinks 
 our studies of little consequence ; they do not grow more 
 valuable by being stuffed with guesses and invention. 
 
 The painters of these portraits 1 of King Eichard are still 
 more uncertain than the method in which they painted, 
 I can find no names of artists 2 at that period. Nor is this 
 
 1 Another representation of this king is exhibited by Montfaucon from a MS. 
 Froissard in the library of the King of Fiance. There is another illuminated edi- 
 tion of that author in the British Museum,* in which is a miniature of the young 
 monarch sitting on his throne and attended by his uncles. In the same place is an 
 historic poem in old French, written by a person of condition in the service of 
 Eichard II. and an eye-witness of all that he relates. It has sixteen curious illumi- 
 nations, in which that king is eight times represented in different situations. f 
 There are also the portraits of Henry of Lancaster (four times), of Archbishop 
 Arundel, the Dukes of Surrey and of Exeter, the Earls of Northumberland, Salis- 
 bury, &c. Part of this curious piece was translated by George Carew, Earl of 
 Totness ; the translation was published with ten other tracts in a thin folio called 
 Hibemica, by Walter Harris ; Dublin, 1747. 
 
 2 Except of John Sutton, a carver, who was employed by Thomas Beauchamp, 
 Earl of Warwick, to alter a statue of the famous Guy, Earl of Warwick, standing 
 
 * This most beautiful and perfect of the MS. copies of Froissart, which are to be 
 found not unfrequently, both in public and private libraries in England, is a very 
 large and magnificent folio volume, marked No. 4350, MSS. Harleian Brit. 
 Museum. It is covered with green velvet, and has large cjasps of silver. The 
 illuminations are very numerous and elaborately finished with gold and colours, of 
 which four centuries have not diminished the freshness and brilliancy. In almost 
 every page we are presented with a portrait or scene, in which the dress, armour, 
 furniture, and architecture of the 14th century are minutely given. The portraits 
 of King Edward III. his son and Richard II. occur in several instances. ' The "His- 
 toric poem " is still superior to it for the delicacy of the limnings. That is like- 
 wise among the MSS. Harl. numbered 1319. Appended to Johnes's Translation of 
 Froissart, 4to. are engravings of the first mentioned : and outlines of the last are 
 given in the very excellent prose translation by the Rev. J. Webb, published in 
 the 20th vol. of the Archceologia. — D. 
 
 t Strutt has engraved them for his Regal and Ecclesiastic Antiquities. 
 
HENRY III. TO THE END OF HENRY VI. 
 
 29 
 
 extraordinary. In countries where the science flourished 
 more, our knowledge of the professors is very imperfect. 
 Though Cimabue restored the art as early as 1250, yet 
 the number of his successors on record is extremely small, 
 till Antonello of Messina carried the secret of painting in 
 oil into Italy : and for Flanders, where it was invented, 
 the biographers of the masters of that country, as Carl 
 Vermander, Sandrart, &c. professedly begin their lists 
 with John ab Eyck. "We must leave therefore in the 
 dark what we find irrecoverably so. 
 
 Two of the artists employed on the tomb of Richard 
 are recorded by Stowe. That prince had prepared it for 
 himself and his queen. B. and Godfrey of Wood-street, 
 goldsmiths, made the moulds and cast the images of the 
 king and queen [still extant in the abbey] " the charges 
 of gilding of them cost 400 marks." 1 
 
 The next picture of the same age is a portrait of J ohn 
 of Gaunt 2 painted on glass, with other portraits of that 
 time, in the college of All Souls at Oxford. 
 
 His son, Henry IV. is extant, as I have said, at Hamp- 
 ton-court in Herefordshire, formerly his palace : 3 a copy 
 
 in the choir of the church there, and to cut the arms of the ancient Earls on it. It 
 was from the spoils of this family that Richard II. granted to his half brother 
 Thomas, Duke of Surrey, a suit of arras wrought with the story of the same Guy. 
 See Dugdale's Warwickshire, p. 402, 431. The city of London made presents to 
 Richard and his queen among other curiosities, of pictures of the Trinity, valued at 
 800£. An enormous sum for that time ! See Descrijpt. of London and the Environs, 
 vol. iv. p. 30. 
 
 1 Annals, p. 342. 
 
 2 Engraved and coloured in Carter's Anc. Sculp, and Archit. The other por- 
 traits, which have the best claim to be considered as original and contemporary, 
 are those of Hen. VI. and Archbishop Chicheley. There were once those of 
 Edward III. Henry IV. and V., and of John Stratford, Archbishop of Canterbury. 
 Wood, p. 486. — D. 
 
 3 This is the common report. Others say that Hampton-court was built by Sir 
 John Lenthall, from the profit of spoils taken in the French war under Henry V. , 
 consequently Henry IV. could not have lived there. — Leland's authority is 
 beyond tradition. In the 4th vol. of his Itinerary (p. 91), he distinctly mentions 
 Hampton-court, in Herefordshire, and its founder, with the date and cause of 
 its being built. "This place was sumptuously erected by one Sir (Rowland) 
 Lenthal, knight, that thus rose by service. He was yeoman of the robes to 
 K. Henry IV, and being a gallant fellowe, either a daughter or a neere kins- 
 woman of the kinges fell in love with him, and in continuance, was wedded unto 
 him." He adds, "This Lenthal was victorious at the battaile of Agincourte, 
 and tooke many prisoners there, by which pay he began the newe building of 
 Hampton Courte." Margaret, daughter of Richard Fitzalan, Earl of Arundel, 
 who was allied in blood to the king, was the wife of Sir Rowland Lenthal. Sus- 
 pended round the neck of the portrait in question, is a jewel or piece of gold 
 
30 
 
 STATE OF PAINTING FEOM THE KEIGN OF 
 
 or duplicate of this piece is at Kensington. In a book 
 called Studio di Pittura, Scoltura, &c. di Filippo Tito, is 
 a coin of Charles VI. of France, with exactly the same 
 extraordinary head-dress as was worn by this king. 
 
 Vertue met with a fine illuminated MS. of this age, a 
 missal for the use of Salisbury ; in the beginning was the 
 figure of John, Lord Lovel, receiving the book from Frater 
 Johannes Sifernes, who was probably the illuminator. It 
 is now in the British Museum. 
 
 The fine east window in the cathedral of York was 
 painted in this reign, at the expense 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 shillings a week, and to finish the whole in less 
 than three years. The indenture, still preserved, adds 
 that he was to receive an hundred shillings sterling, each 
 of the three years ; and if he executed his work truly and 
 perfectly, he was to have ten pounds more. Another in- 
 denture of 1338, for glazing some of the west windows, 
 articles, that the workman should have sixpence a foot 
 for white glass and twelve pence for coloured. The great 
 window 1 evidences how able an artist John Thornton was. 2 
 
 The painted effigies of Chaucer 3 remained till within 
 these few years on his tomb at Westminster; and another, 
 says Vertue on his print of that poet, is preserved in an 
 illuminated MS. of Thomas Occleve, painted by Occleve 
 
 marked with a lion rampant, which was never adopted as a cognizance by the 
 house of Lancaster : but was the bearing of Fitz-Alan. May it not then rather 
 represent the Earl of Arundel, and have been copied in large from a miniature 
 illumination at a later period. It is observable, that a similar turban or coif, 
 partly hanging on one side, appears likewise to have been worn by one of the 
 nobility attendant on Richard II. See the MS. already adverted to. — D. 
 
 1 The west window in the same Cathedral, and the east window at Gloucester, 
 are not inferior in point of dimensions, number of compartments, or workmanship ; 
 and are likewise of the same era. In the next century, similar examples abound. — D. 
 
 2 Drake's York, p. 527. 
 
 3 This portrait of Chaucer could not have afforded any specimen of painting in 
 the reign of Henry IV., for it was copied from some known miniature of him, when 
 Nicholas Brigham erected a monument to his memory in Westminster Abbey, in 
 1550, as the inscription proves, at which time it was painted against the wall. No 
 trace is now visible. A miniature of Chaucer, on horseback, as he represents him- 
 self journeying with the pilgrims to Canterbury, is preserved in a MS. of his 
 poems belonging to the Marquis of Stafford, which has been engraved in Todd's 
 Illustrations of Gower and Chaucer, 8vo. 1810. Other MSS. have his portrait, 
 but usually of half length only.— D. 
 
HENRY III. TO THE END OF HENRY VI. 
 
 31 
 
 himself. Urry and Tanner both mention such a portrait, 
 which places Occleve in the rank of one of our first 
 painters as well as poets. 1 
 
 Henry V. is likewise on board at Kensington, and on 
 vellum in some MSS. ? as Vertue says in his account prefixed 
 to the heads of our kings, but he does not mention where 
 those MSS. are preserved. But a most curious picture of 
 this king and his family is still extant in the collection of 
 James West, Esq., secretary of the Treasury. 2 This piece 
 is evidently painted in oil-colours ; and though the new 
 art might have reached England before the death of that 
 prince, which happened in 1422, yet there are many cir- 
 cumstances 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 fondness for the House of Lancaster is too well known 
 to be dwelt on : the small resemblance of the portrait of 
 Henry V. to genuine pictures of him, and the great resem- 
 blance of all the other personages to one another, make it 
 evident that it was rather a work of command and imagi- 
 nation than of authenticity. Add to this, that on the 
 tents (which I shall mention presently), portcullises are 
 mixed with red roses ; the portcullis 3 was the cognizance 
 of the illegitimate branch of Beaufort, and was never, that 
 I can find, borne by the House of Lancaster ; 4 but when 
 Henry VII. gave himself for the heir of that royal line, no 
 wonder he crowded the badges of his own bastard blood 
 among the emblems of the crown. However, the whole 
 piece is so ancient and so singular, that I shall be excused 
 inserting the description of it in this place. 
 
 1 I find by Montfaucon that the use of crayons was known in this age in France ; 
 but nothing of that kind appears to have been practised 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. — A most curious illumination of the 
 Coronation of Henry V. is preserved among the MSS. in Bene't College library at 
 Cambridge. See Archceolog. vol. ii. 124, and vol. iii. p. 189. It is a frontispiece 
 to a French translation of the Legenda Aurea. — D. 
 
 2 It is now at Strawberry-hill. — [It was purchased at the Strawberry-hill sale 
 in 1842, by Earl Waldegrave for 125 guineas. — W.] 
 
 3 See Sanfdord. 
 
 4 The red rose is another proof that this picture was not painted in the reign of 
 Henry V. , as the red and white roses were not adopted as distinctions of the two 
 houses till the reign of Henry VI. 
 
32 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 It is painted on several boards joined, and is four feet 
 three inches high, by four feet six 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 desk on which is a missal, and the sceptre and globe. 
 Behind him on their knees are his three brothers, Thomas, 
 Duke of Clarence ;* John, Duke of Bedford ; Humphrey, 
 Duke of Gloucester. They are dressed in robes like the 
 king's, and wear golden coronets : over them is a tent, striped 
 with white and gold, on which are red roses crowned ; and 
 the valance of the same colours, with red roses and port- 
 cullises. A small angel flying holds the top of the tent. The 
 queen is opposite, under another tent exactly in the same 
 manner, except that there is no sceptre on her desk. Be- 
 hind her, are four ladies dressed like her, and with coronets. 
 The two first are probably Blanche, Duchess of Bavaria, 
 and Philippa, queen of Denmark, the kings sisters; who the 
 other two are is more difficult to decide, as they are repre- 
 sented with dishevelled hair, which in pictures of that time 
 is a mark of virginity. It has been supposed that the two 
 elder were the wives of the Dukes of Clarence and Bedford, 
 and the two younger their sisters ; but this clashes with all 
 history and chronology. Blanche and Philippa were both 
 married early in their father s reign : and to suppose the 
 two younger ladies the brides of Clarence and Bedford 
 would be groundless, for Margaret Holland, the wife of the 
 former, was a widow when he married her. As all the 
 portraits are imaginary, it does not much signify for whom 
 the painter intended them. A larger angel standing, holds 
 the cloth of the two tents together. On a rising ground 
 above the tents, is St. George on a brown steed, striking 
 with his sword at the dragon, which is flying in the air, 
 and already pierced through the forehead with a spear, on 
 which is a flag with the cross of St. George. Cleodelinde, 
 with .a lamb, is praying beneath the dragon. On the 
 hills are Gothic buildings and castles in a pretty taste. 
 
 This curious picture, after it was taken from Shene, was 
 
 1 This is extremely unlike the miniature of him which I shall mention presently x 
 and which is too remarkable a face not to have had much resemblance. 
 
HENRY III. TO THE END OF HENRY VI. 33 
 
 in the Arunclelian collection, and was sold at Tart-hall in 
 '1719. In the long gallery at Lambeth is an ancient 
 portrait of Queen Catherine of Valois, and another of 
 Archbishop Chicheley. 
 
 Eichard Frampton had a gift of five marks from Henry 
 V. for illuminating a book of grants in the office of the 
 duchy of Lancaster. 
 
 An original portrait of John Duke of Bedford, above- 
 mentioned, is extant 1 in a fine illuminated Prayer Book 
 presented by him to Henry VI. The duke and his first 
 wife Anne of Burgundy are represented with their arms 
 and devices. 2 
 
 Of that indiscreet but amiable and unfortunate prince, 
 Humphrey, Duke of Gloucester, I know 3 no memorial ; 
 nor will I mention him but to make one remark, suf- 
 ficient alone to detect the malice of his enemies, if it had 
 not been detected. What probability was there that the 
 wife of a man illustrious for exposing impostors, who 
 encouraged learning, 4 and founded the Divinity- school at 
 Oxford, should have dared under his roof to dabble with 
 witches and necromancers ? His first wife Jaqueline, the 
 amorous Countess of Holland, is known by more than 
 one monument. Two fine prints of her, and her last 
 husband, were published in 1753 by Folkema, from pic- 
 tures painted by Mostert at Harlem. William Bridges, 
 the first Garter King at Arms, instituted by Henry V., 
 set up in the windows of the church of St. George at 
 Stanford the portraits of the first Knights of the Garter. 
 
 1 It is now in the collection of her grace the Duchess of Portland ; the Duke 
 of Bedford's head was engraved by Vertue with those of the kings, — [for the 
 translation of Rapin's History of England, published by the Knaptons. — W.] 
 
 2 [This interesting French MS., known as the Bedford Missal, was presented to 
 Henry VI. on his coronation in France. After passing through various hands, it 
 was purchased in 1833, by Sir John Tobin, of Liverpool, for 1,100£. It is 11 
 inches high, by 7J wide, and contains fifty-nine illustrations nearly of the size of 
 the page, and numerous small illuminations, enriched with borders and foliage. 
 &6. : there js a copy of it in the British Museum. The Duke of Bedford is 
 represented in a crimson robe embroidered with gola, kneeling before St. George, 
 who is dressed in a suit of armour, with the mantle of the Order of the Garter on 
 his shoulders ; behind the saint is his armour-bearer. This is the only known 
 portrait of the Duke of Bedford.— W.] 
 
 3 I have since the first edition of this work authenticated two portraits of that 
 prince ; v. hereafter, p. 34. 
 
 _ 4 He had a valuable library for that time, and gave 129 volumes to the univer- 
 sity. ITcarnc. 
 
 VOL. I. ]) 
 
34 STATE OF PAINTING FROM THE REIGN OF 
 
 It was from these paintings that Hollar etched the plate 
 of them published in Ashmole's history of the order. 1 
 
 In the reign of Henry VI. our field begins to grow less 
 barren. Many portraits of the king himself are preserved, 
 as on board at Kensington, and on glass in the chapel of 
 King's College. In my possession is a remarkable piece, 
 which so many circumstances affix to the history of this 
 prince that I cannot hesitate to believe it designed for 
 him, though I imagine it was painted after his death. It 
 is the representation of his marriage. There are eleven 
 figures, of which all the heads .are well painted ; the 
 draperies are hard and stiff. The king in rich robes, but 
 with rude dishevelled hair, as are all the men, stands 
 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 seems satirically to have insinuated, 
 by the prominence of her waist, not to have been so per- 
 fect a virgin as her flowing hair denotes. Kemp, Arch- 
 bishop of York and afterwards of Canterbury, and one o< 
 her chief counsellors, is performing the marriage rites b)* 
 holding the pallium over their conjoined hands. It is 
 remarkable that the prelate wears thin yellow gloves, 
 which are well represented. Behind the king, in a robe 
 of state, stands the Duke of Gloucester, and seems re- 
 proving a nobleman, 2 whom I take for the Marquis of 
 Suffolk. Behind the queen is a lady in a kind of turban 
 or diadem, probably designed for her mother, the titular 
 queen of Naples and Jerusalem. Beyond her, another in 
 a widow's dress, opposite to whom is a comely gentleman. 
 This pair I conclude is Jaqueline, Duchess of Bedford, 
 widow of Duke John, and her second husband. Our his- 
 torian says that pretty suddenly after the duke's death, 
 she married Sir Richard Widville, a goodly young knight. 
 They were the parents of Elizabeth, queen of Edward IV. 3 
 
 1 Peck's Annals of Stanford, book ii. chap. 18. 
 
 2 He has a hawk on his fist, a mark of nobility in old paintings. 
 
 3 The portraits of Duke Humphrey * and Archbishop Kemp have been authen- 
 
 * As late as the 16th century a portrait of Humphrey, Duke of Gloucester, 
 was perfect in a window of Greenwich Old Church, which was engraved for the 
 Catalogue of the Bodleian Library, .latter. JL — D. 
 
JfiAIEIMA(Ml ©IF HUT 
 
HENRY ill. TO THE END OF HENRY VI. 
 
 35 
 
 On the foreground, opposite to the Marquis of Suffolk, 
 stands a noble virgin, whom I take for Margaret of Rich- 
 mond, mother of Henry VII. One of the charges against 
 the Marquis of Suffolk was, that he endeavoured to marry 
 his son to this lady Margaret, a princess of the blood. 
 Near the archbishop is a cardinal, who is certainly Win- 
 chester, the king's great uncle. The face is very like the 
 image on his tomb at Winchester ; nor can one account 
 for his not performing the ceremony, but by his dignity 
 of prince of the blood, which did not suffer by the minis- 
 tration of an inferior prelate. Behind the queen of 
 Naples is an abbess, and at a distance a view of a town, 
 that must be Tichfield, from whence the queen was led 
 to be married at Southwick. Besides the seeming preg- 
 nancy of the queen, there is another circumstance, con- 
 clusive for this picture being painted after the death of 
 Henry. Bound his head is the nimbus or glory : an ad- 
 dition that was as posterior to his marriage, as the painter 
 seems to intimate the queen's fruitfulness was anterior to 
 it. Bound the hem of the queen s robe are some letters, 1 
 which are far from being so intelligible as the other inci- 
 dents. The words are involved in the folds ; what appear, 
 are Vol salv Begin m — one knows that " Salve Begin a 
 mater coelorum " is the beginning of a hymn — but I 
 know not what to make of Vol — the painter probably 
 was no Latinist — and indeed the first letter of Begina he 
 has drawn more like to a B than an B. On the abbess's 
 girdle is Vel ave — as little to be decyphered as her 
 majesty's Vol. 2 
 
 But it is to Sir William Dugdale that I am indebted for 
 the greatest discoveries I have made towards the history of 
 
 ticated by two others of the same persons, which formed part of an altar-piece at 
 St. Edmundsbury, and are now at Strawberry-hill. — [They were purchased at 
 the sale in 1842, by the Duke of Sutherland, for 60 guineas. — W.] 
 
 1 This was a fashion as early as the reign of Richard II. ; when Edward, Earl 
 of Rutland, the Lord Spencer, and others, accused the Earl of Arundel of treason, 
 they appeared before the king at Nottingham in red gowns of silk, guarded and 
 bordered with white silk, 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 silk. 
 
 2 [This curious picture is in good preservation ; it is on panel, and measures 
 37 inches high, by 34 wide. It is now in the possession of the Duke of Suther- 
 land, who purchased it at the Strawberry-hill sale, in 1842, for 80 guineas. — VV.] 
 
 D 2 
 
36 STATE OF PAINTING FROM THE REIGN OF 
 
 our ancient artists. In that collection of various treasures 
 which he has saved from oblivion [saved the more luckily, 
 as he wrote but the instant before it became piety to com- 
 mit devastation] he has incidentally preserved some memo- 
 rials of the state of painting in the reigns of our earliest 
 princes. I have found some names of the professors, and 
 even the rates of their work. I call them professors, agree- 
 ably to modern estimation, but our ancestors seem to have 
 treated them without any distinction from other mecha- 
 nics. If Henry III. bespoke pictures by the intervention 
 of the sheriff ; under Henry VI. we were still so unpol- 
 ished, that a peer of the first nobility going into France on 
 an embassy, contracted with his tailor for the painter's 
 work that was to be displayed in the pageantry of his 
 journey. The bill itself is so curious that I shall trans- 
 cribe 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 sixt, to J ohn Hay, taillour of the same citee, for the use and stuff of my 
 lord of Warwyk. 
 
 Ferst, cccc pencels bete with the raggidde staffe of silver, pris the pece vd. 
 081— 6s.— OOd. 
 
 Item, for the peynting of two paveys for my lord, the one with a gryfon, 
 stondying in my lordis colours rede, white and russet, pris of the pavys 
 00—06—08. 
 
 Item, for the other pavys peyntid with black and a raggid staffe bete with 
 silver 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 stremour for the ship of XL yerdis length, and viii yerdis 
 in brede, with a grete bere and gryfon holding a ragidd staffe, poudrid full of 
 raggid staves ; and for a grete crosse of St. George, for the lymmyng and 
 portraying— 01— 06— 08." 
 
 There are several other articles which the reader may 
 find at length in the original from whence I have copied 
 these. 1 
 
 If it is objected to me, that this was mere herald's 
 painting, I answer, that was almost the only painting we 
 had. The art was engrossed by and confined to the vanity 
 or devotion of the nobility. The arms they bore and 
 quartered, their missals, their church-windows and the 
 images of their idols, were the only circumstances in which 
 they had any employment for a painter. Even portraits, 
 the object of modern vanity, seem not to have been in 
 
 1 Dugdalc's Warwickshire, p. 408. 
 
HENRY III. TO THE END OF HENRY VI. 
 
 37 
 
 fashion. I know not one except of the blood royal or of a 
 bishop or two, painted during the period of which I am 
 writing. Devout subj ects were held in sufficient estimation. 
 Isabel, Countess of Warwick, in 1439, bequeathed her tab- 
 let with the image of our Lady to the church of Walsing- 
 ham, and it is even mentioned that this tablet had a glass 
 over it. I cannot pass over this magnificent lady without 
 taking a little notice of some other particulars of her will. 
 She was daughter and at length sole heiress of Thomas le 
 Despenser, Earl of Gloucester, widow of Richard Beau- 
 champ, Earl of Worcester, and afterwards by dispensation 
 married to his cousin, that potent and warlike peer, Richard 
 Beauchamp, Earl of Warwick. Their portraits on glass with 
 others of their lineage were long extant in the church at 
 Warwick. Her great templys 1 with the baleys sold to the 
 utmost, she gave to the monks of Tewksbury, so that they 
 grucht not with her burial there, and what else she had 
 appointed to be done about the same. To Our Lady of 
 Walsingham,her gown of green alyz cloth of gold with wide 
 sleeves, and a tabernacle of silver like in the timbre to that 
 over Our Lady of Caversham, and ordered that her great 
 image of wax, then at London, should be offered to Our 
 Lady of Worcester. To the abbey of Tewksbury she gave 
 her wedding gown, and all her cloaths of gold and cloaths 
 of silk without furs, saving one of russet velvet which she 
 bestowed on St. Winifrede. But having thus disposed of 
 her wardrobe for the use of the saints, she seems to have 
 had very different thoughts about herself, ordering that 
 " a statue of her should be made all naked with her hair 
 cast backward, according to the design and model that one 
 Thomas Porchalion had for that purpose." This extreme 
 prohibition of all covering, I suppose, flowed from some 
 principle of humility in this good lady, who having divest- 
 ed herself of all vain ornaments in favour of Our Lady and 
 St. Winifrede, would not indulge her own person even in 
 the covering of the hair of her head. And it looks, by the 
 legacy to the monks above, as if she had some apprehen- 
 
 1 Jewels hanging on the foreheads of ladies, by bodkins thrust into their hair. 
 See Dugdale's Warwickshire, p. 413. 
 
38 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 sions that they would not relish or comprehend the delicacy 
 of such total rejection of all superfluities. I was willing to 
 mention this testament too, because it seems to record even 
 the name of an ancient statuary. Other statuaries and 
 founders are mentioned in the cost bestowed on the tomb 
 of the earl her husband. Dugdale has preserved the cove- 
 nant between the executors and the artists. There I find 
 John Essex, marbler, William Austin, founder, Thomas 
 Stevens, coppersmyth, J ohn Bourde, of CorfFe castle, mar- 
 bler, Bartholomew Lambspring, a Dutch goldsmith ; they 
 agree on all the particulars for the image on the tomb, and 
 the little images and escutcheons round it. The tomb with 
 the image still extant in polished brass of the highest pre- 
 servation witnesses that the artists were excellent enough 
 to deserve this memorial. J ohn Prudde, of Westminster, 
 called simply, glazier, appears to have painted the windows 
 of the chapel ; and it was particularly stipulated that " he 
 should employ no glass of England, but with glass beyond 
 the seas, and that in the finest wise, with the best, cleanest, 
 and strongest glasse, of beyond sea that may be had in Eng- 
 land, and of the finest colours of blew, yellow, red purpure, 
 sanguine and violet, and of all other colours that shall be 
 most necessary and best to make rich and embellish the 
 matters, images and stories that shall be delivered and ap- 
 pointed by the said executors by patterns in paper, after- 
 wards to be newly traced and pictured by another painter 
 in rich colour at the charges of the said glazier." By all 
 these circumstances it is plain that the executors thought 
 that the magnificence of the intended monument must 
 consist in the value and show of the materials, rather than 
 in any excellence of the workmanship. This covenant 
 carries us still farther, and has even brought to light a 
 history -painter of that time. J ohn Brentwood, citizen and 
 steyner of London, engages " to paint on the west wall of 
 the chapel the dome of our Lord Jesus and all manner of 
 devises and imagery thereunto belonging, of fair and 
 sightly proportion, as the place shall serve for, with the 
 finest colours and fine gold and Kristian Coleburne, 
 another painter dwelling in London, undertakes to paint 
 
HENRY III. TO THE END OF HENRY VI. 39 
 
 "in most fine, fairest and curious wise, four images of stone, 
 of our lady, St. Grabraell the angell, St. Anne, and St. 
 George ; these four to be painted with the finest oil colours, 
 in the richest, finest and freshest clothings that may be 
 made of fine gold, azure, of fine purpure, of fine white, and 
 other finest colours necessary, garnished, bordered and 
 pondered in the finest and curiousest wise." 
 
 This singular record contains too the prices stipulated 
 for the several performances. The tomb was to cost 1251. 
 sterling ; the image iOl.; 1 the gilding of the image and its 
 appurtenances, 13l. The glass-painter was to have 25. for 
 every foot of glass, and so for the whole 917. Is. lOd. The 
 scripture-piece on^the wall was to cost 131. 6s. 8d., and the 
 painting of the four images 12^. The whole expense of the 
 chapel and monument, which were not completed under- 
 one and twenty years, amounted to 2,481 1 3s. 7d. 
 
 The wealth and splendour of that family was so great, 
 that Harry Beauchamp, son of Richard and Isabel, was at 
 the age of nineteen created premier Earl of England, and 
 three days after he was made Duke of Warwick, with pre- 
 cedence next to the Duke of Norfolk and before the Duke 
 of Buckingham — an act of power so destructive of all the 
 vanity of nobility and blood, that the Duke of Buckingham 
 could not digest it. It occasioned such animosity, that the 
 king was obliged to qualify his grant, by establishing be- 
 tween the contending parties a rotation of seniority, each 
 to take place alternately for a year, the survivor to precede 
 for his life the heir of the other, and so in perpetuum ; a 
 
 1 [William Austen, who made this image, is the first eminent English founder on 
 record. He was the contemporary of Donatello and Ghiberti : the Earl of Warwick 
 died in 1439. The following is the original contract for the figure as given by Dug- 
 dale : "The said William Austen xi. Feb. 28, H. 6, doth covenant to cast and 
 make an image of a man armed, of fine latten (brass), garnished with certain 
 ornaments, viz. with sword and dagger ; with a garter ; with a helme and crest 
 under his head, and at his feet a bear musted (muzzled), and a griffoift perfectly 
 macle of the finest latten, according to patterns ; all of which to be brought to 
 Warwick and layd on the tombe, at the perill (risk) of the said Austen ; the 
 executors paying for the image, perfectly made and layd, and all the ornaments in 
 good order, besides the cost of the said workmen to Warwick, and working there 
 to lay the image ; and besides the cost of the carriages, all of which are to be 
 borne by the said executors, in total xl.Zi.. M 401. seems a small sum for making and 
 placing a brass image of the natural size, but at that time an ox was sold for 
 13s. 4d. This monument, says Flaxman, is excelled by nothing that was done in 
 Italy at the same time, though Donatello and Ghiberti were then living. — W.] 
 
40 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 senseless jumble, soon liquidated by a more egregious act 
 of folly, the king with his own hand crowning the young 
 Duke of Warwick king of the isle of Wight — nor can one 
 easily conceive a more ridiculous circumstance, than a man 
 who had lost the kingdom of France amusing himself with 
 bestowing the diadem of the little isle of Wight — but to 
 return to our artists — I find the name of another sculptor 
 at the same aera ; not employed indeed in any considerable 
 w T ork, and called only Richard the carver ; he and one 
 brother Rowsby, a monk, were engaged on some repairs 
 in the church of St. Mary at Stanford. 1 
 
 But the most valuable artists of that age were the illu- 
 minators of manuscripts. Their drawing was undoubtedly 
 stiff, but many of the ornaments, as animals, flowers and 
 foliage, they often painted in a good taste, and finished 
 highly. To several missals were added portraits of the 
 princes and princesses to w r hom they belonged, or for whom 
 they were designed as presents. The dresses and buildings 
 of the times are preserved, though by frequent anachron- 
 isms applied to the ages of scripture ; and the gold and 
 colours are of the greatest brightness and beauty. Several 
 receipts for laying these on are extant, particularly in 
 the British Museum. 2 Dugdale from some of these illu- 
 minations has given cuts of two remarkable combats or 
 tournaments performed in the 1 5th year of King Henry 
 VI. 3 in which the designs are far from unworthy a better 
 age ; and the customs and. habits delineated with great 
 accuracy. 
 
 Henry himself, I suppose, had no taste for the arts — the 
 turbulent ambition of his queen left her as little — yet she 
 was the daughter of a prince who was not only reckoned 
 the best painter of his age, but who w^ould really appear no 
 mean performer in the present : this was Eene of Anjou, 
 King of the two Sicilies, Duke of Lorrain and Count of 
 
 1 See Peek's Antiquities of Stanford, lib xiv. cap. 5. 
 
 2 See Catal. Harl. MSS. No. 273. art. 34, where is also a receipt for painting on 
 glass. In that collection is a MS. in which Henry VI. is represented looking out 
 of a window in the Tower. In Dufresne's Greek Glossary are three receipts for 
 illuminating, under the article xP vff0 YP a< P La - There are two others in Montfaucon's 
 Paleeographia Grseca. 
 
 1 3 See Warwickshire^ p. 110. 
 
HENRY III. TO THE END OF HENIIY VI. 
 
 41 
 
 Provence, much known from having lost almost all his 
 dominions ; yet it has been little remarked that he was one 
 of the very few princes who did not deserve to lose them, 
 having merited from his subjects the title of the good. 
 His own picture painted by himself is still extant in the 
 chapel of the Carmelites at Aix, and the print from it in 
 Montfaucon's Antiquities of France will justify what I 
 have said of this prince's talent. 
 
 In this age was finished the cloister adjoining to the old 
 church of St. Paul. It was built round a chapel in Pardon- 
 church Hawgh, a place situated on the north side of the 
 church, where Thomas More, Dean of St. Paul's in the 
 reign of Henry V., restored an ancient chapel, but dying 
 before he had accomplished it, it was finished by his ex- 
 ecutors, by license from Henry YI. On the walls of this 
 cloister was painted, at the charge of Jenkyn Carpenter, 
 a citizen of London, the Dance of Death, in imitation of 
 that in the cloister adjoining to St. Innocents church-yard 
 at Paris. Underneath were English verses (to explain 
 the paintings) translated from the French, by John Lid- 
 gate, the famous poetic monk of Bury. Dugdale has 
 preserved the lines, and Holbein by borrowing the thought, 
 ennobled the pictures. 1 
 
 In this reign J olm de Whethamsted abbot of St. Albans, 
 a man of great learning and merit, adorned the chapel of 
 Our Lady there with various paintings, as he did the 
 sides of the church and his own lodgings, under all which 
 paintings he caused mottoes and inscriptions to be placed. 
 At his manor of Tittenhanger he had pictures in the 
 church of all the saints of his own name. 2 
 
 I shall close my notes on the state of painting under 
 Henry VI. with observing that the portraits on glass in 
 the windows 3 of the college of All Souls' at Oxford were 
 painted in his reign. 
 
 1 See Dugdale' s St. PauVs, p, 131, and Stowe, 354. 2 Chauncy, 445. 
 
 3 Mr. Pennant discovered at Canon's Ashby, the seat of the Marquis of North, 
 ampton, two portraits painted in oil, npon panel, of the age of Henry VI. They 
 represent the great warrior, Talbot, Earl of Shrewsbury and his countess. The ear) 
 is in his tabard of arms. A duplicate, which had been placed near his tomb, in 
 old St. Paul's Cathedral, was brought, after the fire of London, to the College ol 
 Arms, where it is still preserved. — 1). 
 
42 STATE OF PAINTING FROM THE REIGN OF 
 
 REMARKS. 
 
 We certainly owe to Walpole a direction of the mind to pursuits of high 
 gratification, to he experienced by those who value the arts, as well in their 
 origin as their perfection, and who love to ascertain and to contemplate the 
 efforts of skill, ingenuity, and fancy which were displayed in the habits of our 
 forefathers. Rude magnificence, in their external shows, did not engage all 
 their attention. Their richly painted oratories and cabinets, their tapestries, 
 and their embossed and illuminated manuscript books, shared their delight and 
 expenditure in no inferior degree. Among the first efforts of design and 
 painting were limnings, 1 or illuminations, introduced as embellishments of the 
 more splendidly written missals and chronicles, which when finished in the 
 greatest degree of excellence of which they were capable, were extremely rare, 
 and of vast expense, the pride of the possessor in life, and the subject of 
 testamentary bequest. 
 
 The devastation committed by the early reformers upon these exquisite 
 specimens of art, exceeded the destruction and mutilation of stained windows, 
 or the obliterating of fresco paintings from the walls. Humphrey, Duke of 
 Gloucester, and Tiptoft, Earl of Worcester, presented many of the very rich 
 MSS. to the newly-found library at Oxford, the annihilation of which (a copy 
 of Valerius Flaccus only excepted) is so deeply deplored by A' Wood. 
 
 The whole life of an individual artist was not unfrequently spent in com- 
 pleting a single MS. ; 2 so great was the number^ and so exquisite the finishing 
 af the subjects. Others, and the more common, have a limning, as a frontis- 
 piece, representing the artist offering his book to his patron, a king or noble- 
 man ; and with the initial letters and bordures wrought in gold, intermixed 
 with the brightest colours. 3 
 
 1 Du Cange ascertains the origin and meaning of the word limning, or as he terms 
 it, "Illumination" — ' ' illuminare, coloribus adumbrare," — illuminator, Enlumi- 
 neur, Gallice, Aurarius Pictor, as occurring in Ordericus Yitalis, L. hi. p. 480. 
 
 Spelman, in his Glossary. " Illuminare, " Anglice, to limne — and he quotes 
 Higden de Osmundo Episc. Sarisburiensi "utipsemet Episc. libros scribere, ligare, 
 et illuminare non fastidiret." "Miniare"* quasi minio describere, miniator 
 " relieveur in vermilion." The custom of writing the great initial letters in MSS. 
 with red lead, or vermilion, was the most ancient variation, for the sake of orna- 
 ment, and that which eventually introduced the exquisitely finished miniatures, 
 inclosed within the space once occupied by the letter. In many MSS. common- 
 place books, or collections made by the more ingenious monks, we find secrets and 
 recipes of the various modes and processes by which colours and the laying on of 
 solid gold were effected. — D. [There is an interesting MS. in the possession of Sir 
 Thomas Phillips, entitled "Mappae Clavicula," which is a direction book for 
 illuminators. — W. ] 
 
 2 [Vassari says, that Julio Clovio, a distinguished illuminator of the sixteenth 
 century, spent nine years in painting the twenty-six miniatures in a Breviary of 
 the Virgin, now in the royal library at Naples; it was originally executed for the 
 Cardinal Alessandro Farnese. There is also a Missal of a very large size, in the 
 library at Rouen, which is said to have cost the monk of St. Andoen, who illuminated 
 it, thirty years' labour ; it was completed in 1682. — W.] 
 
 s A more curious instance of minute representation than that of the MS. Froissart, 
 
 * [It is from this word that we derive our term miniature painting ; the early 
 decorators of books in Italy were called Miniatori, from their common use of minio 
 or minium (red lead). Dante speaks of illuminating as a French term, where he 
 notices the famous Miniatore Oderigi of Gubbio : 
 
 " Non sei tu Oderisi, 
 
 L'Onor d'Agobbio e l'onor di quell' arte 
 Oh' aUuminare h chiamata in Parish" 
 
 Purgato Ho, Ca n to xi . — W. ] 
 
HENRY III. TO THE END OP HENRY VI. 
 
 43 
 
 To some readers, perhaps, a concise view of the MSS. of this description 
 still extant in England, and particularly those which are accessible to the 
 curious in the British Museum, may give satisfaction. The subjoined account 
 commences with the reign of Edward III. and is continued with the contents 
 of this chapter to the end of that of Henry VI. 1327—1460. 
 
 I. " La Bible Historiaux." — A large folio, covered with velvet, King's MSS. 
 19D 2. This richly ornamented book was taken after the battle of Poytiers 
 by William Montacute, Earl of Shrewsbury, and given by him to his lady 
 Elizabeth. It was began in 1350. " Ce commence La Bible Historiaux, ou 
 les histoires escolastres. C'est le proheme de celuy qui mist cest livre de 
 Latin en Francois," — The buildings and figures represented are all of them in 
 the style of the 14th century. 
 
 II. The Histories of Froissart, now in the British Museum, MSS. Harl. 
 No. 4380, large folio, written about 1490. Montfaucon, in his Monarchic 
 Franchise, has engraven similar illuminations from two copies of equal curiosity 
 in the Royal Library, Paris, No. 8320 ; and the other in that of Mons. 
 Colbert. This MS. remains in a state of great perfection. 
 
 III. The history of the deposition of K. Richard II. MSS. Harl. No. 1319, 
 containing sixteen illuminations, exquisitely finished, and superior to the 
 Froissart. " Ce livre de la privee du Roy Richard d'Angleterre est a Mons. 
 Charles d' Anion, Conte du Maine et de Mortaing, et gouverneur de Lan- 
 guedoc," with his autograph. It bears sufficient internal evidence of its 
 authenticity, is the production of an eye-witness, and the MS. probably 
 finished under his own immediate inspection. 
 
 IV. Legenda Aurea. Folio of the largest size bound in green velvet, 
 with silver clasps. It was translated into French by Jean de Vignay, at the 
 request of Jane, wife of Philip de Yalois, about 1330, and contains more 
 than two hundred miniatures of the martyrdom of Saints. After the Revo- 
 lution it was brought to England by Gilbert Heathcote, Esq., and is now in 
 the collection of the Duke of Norfolk. 
 
 V. The Sherburne Missal, dated 1339, with very numerous and most 
 delicate miniatures, bordures, &c. It is a large folio, purchased at the sale 
 of G. Mills, Esq., in 1800, by the late Duke of Northumberland, for 210?. 
 
 VI. The Lutterell Psalter, which belongs to H. Weld, Esq., of Lulworth 
 Castle, Dorset. " Dominus Galfridus Loterell me fecit." It was once in the 
 possession of Lord W. Howard, and was inherited by the Welds from a 
 daughter of Sir Nicholas Sherburne. 
 
 VII. The Life of Richard Beauchamp, Earl of Warwick, by Rous, the 
 hermit of Guy's Cliff. It is a quarto, containing fifty-five drawings, in black 
 and white, as if preparatory to illumination, and drawn with great skill. 
 MSS. Cotton. The whole engraved by Strutt. Among the Norfolk MSS. in 
 the Herald's College are the portraits of all the Earls of Warwick. 
 
 VIII. The Bedford Missal, executed for John, Duke of Bedford, and Anne 
 
 above quoted, does not remain to our time. We have the chamber and bed in 
 which Anne wife of Richard II. died. Rich specimens of dossers, or clothes of 
 estate, placed behind the king at the high table ; arras, insides of royal tents, 
 trappings of horses, which reach the ground, composed of silk boudekin, and gold ; 
 views of the interior of churches, and large trees with scrolls and mottoes placed 
 across their stems, single letters, &c. 
 
 The prurient imagination of these ingenious scribes incited them to introduce 
 frequently ridiculous combinations, intended to convey satire upon certain orders 
 of ecclesiastics. These devices were usually inserted into the arabesque bordures 
 of each page. One has a cock tilting on the back of a fox— a hare riding on a 
 greyhound — a monkey carrying a fox upon his shoulders — preaching to geese ; — and 
 in a cardinal's cloak, holding a mitre. Cocks fighting, &c. ; not unfrequent allusion 
 to the intercourse between monks and nuns. 
 
44 
 
 STATE OF PAINTING FROM THE REIGN OF 
 
 of Bretagne, his wife, in 1430, whcr.e portraits appear in it, with many other 
 highly- wrought paintings. It is eleven inches long by seven and a half wide 
 and two and a half thick, with gold clasps. It was presented to K. Henry 
 VI. by the Duchess, and was purchased out of the Arundel Collection, by the 
 late Duchess of Portland. At the sale of her collection, in 1786, Mr. 
 Edwards, of Pall Mall, gave 213Z. for it. The late king offered 200 guineas. 
 When Mr. Edwards's books were sold, the Duke of Marlborough advanced 
 its price to 70QL 1 
 
 This short catalogue might be extended, and we should hardly be excused 
 for omitting a most splendid and elegant MS. on vellum, which was un- 
 doubtedly a present to K. Henry VI. during his retirement to the abbey of 
 St. Edmundsbury, from the feast of Christmas to St. George's day, (April 
 23,) 1433. It contains a set of Lidgate's (the monk of Bury) poems in honour 
 of their patron St. Edmund the king, embellished with 120 pictures of various 
 sizes, and amongst them the portraits of the young monarch and his guardian 
 uncles. MSS. Had, 2278, 4to. and WartonhHist. of Poetry, vol. ii. p. 365 8vo. 
 
 But Lidgate appears to have been a translator only. The late John 
 Towneley, Esq., possessed the original in Latin, written in the early part of the 
 twelfth century, with 32 illuminations, exhibiting the architecture, shipping, 
 arms, armour, and various habits of that period. In the same Collection was a 
 MS. entitled the Miracles of St. Edmund, with 23 illuminated initials, differing 
 from those in the British Museum. MSS. Cotton. Tib. B. 2, and Tit. A. 8. 
 
 These references are offered merely for the gratification of the more curious 
 reader, and not with a view to supply a deficiency in Walpole's work. It is 
 evident that he mentions " limning n only incidentally, not as necessarily con- 
 nected with his plan, and that he considers painting as simply applied to any 
 wall or surface. The genuine and very early Saxon illuminations were there- 
 fore omitted by him upon that account ; yet those who may be interested in an 
 inquiry after them may consult Warton, Hist. Poet. vol. i. Dissert, p. 129, 130, 
 8vo., and inspect also those in MSS. Cotton Calig. 1. — Vespas : A. 8. and the 
 Missal of Ethelred, Bish. Winton a.d. 970 — all in the British Museum > and 
 what information is given cannot be considered as irrelevant to the history of 
 painting in England before the use of oil, and pictures upon panel or canvas, 
 were in fact known. The designs and portraits were then transferred and 
 enlarged ; but miniature limnings were their true prototype. — D. 
 
 [Palaeography, or the study of ancient MSS. has engaged much attention since 
 the publication of the last edition of this work, in England and mother countries. 
 The whole subject, both as regards caligraphy and illumination, is thoroughly 
 illustrated by Champollion Figeac and Aime Champollion, Fils, in the magni- 
 ficent work lately published in Paris, by Silvestre. This work contains fac- 
 similes from most of the principal illuminated MSS. in Europe, most ably exe- 
 cuted; it is entitled, " PalIsografhie Universelle ; on, Collection de Fac- 
 similes cVEcritures de tons les Peuples } et de tons les Temps, par M. Silvestre," 
 4 vols, folio, with 300 coloured plates (Paris, 1839-42) ; and an English 
 edition, with notes by Sir Frederick Madden, has been issued by the 
 publishers of the present work. Besides the Bibliographical Decameron of 
 Dibdin, in our own language, we have now the beautiful work in colours of 
 Mr. Shaw, Illuminated Ornaments selected from MSS. and early printed boohs, 
 from the sixth to the seventeenth century, drawn and engraved by Henry Shaw, 
 with descriptions and an introduction by Sir F. Madden, keeper of the MSS. 
 in the British Museum, folio, London, 1833. The celebrated work, also, of 
 d'Agincourt, Histoire de V Art par les Monumens, published in 1823, contains 
 
 1 [A small 4to. describing this missal, with four facsimiles, cleverly etched in 
 outline, was published in 1794, by the late Mr. Gough. It is now, as already men- 
 tioned, in the possession of Sir John Tobin, at Liverpool. — W.] 
 
HENRY III. TO THE END OF HENRY VI. 
 
 45 
 
 many specimens of designs from valuable Greek and Latin MSS., especially 
 from those in the library of the Vatican at Rome. There is a concise review 
 of this subject in the article Paleography, in the supplement to the 
 " Penny Cyclopedia."— W.] 
 
 Another mode of painting, which had risen to considerable perfection, as 
 early as the reign of K. Edward III. deserves a particular notice ; especially 
 as the most remarkable specimen of it had not been discovered when Walpole 
 published this work. The subjoined notes concerning these portraits, extracted 
 from the memoir by Sir H. Englefield, accompany several copies of fine en- 
 gravings of the paintings on the walls of St. Stephen's Chapel, Westminster, 
 discovered in 1800, and published by the Society of Antiquaries. Imperial 
 folio. It is a source of no small regret that the originals were destroyed. 
 
 Upon the north side of the high altar are seven arcades, each having a 
 figure in the armour peculiar to the fourteenth contury, who is represented as 
 kneeling. 1 These are the portraits of K. Edward III. 2 with his five sons, ac- 
 companied by their tutelar Saint George. Under each of these his name has 
 been inscribed in French, of which those of the king and the saint only were 
 legible. There can be no doubt that they were intended for the Royal family ; 
 and it is much to be regretted that the faces of the four younger princes should 
 have been obliterated, while every other part remains in nearly a perfect state. 
 The emblazoned coat armour is resplendent in colours and gold. Of the 
 King's portrait, the face may be called handsome ; and with great probability 
 as true a likeness as the art of that day could effect. He was then forty-four 
 years old. His son the Prince of Wales was twenty-five or six, and is re- 
 presented as a beardless young man, with a decided resemblance to his father. 
 A helmet ensigned with a coronet, distinguishes him. None of the figures 
 exceed eighteen inches in height, PI. XVI. 
 
 PI. XVII. On the other side of the altar, under the great East window, are 
 delineated the Queen Philippa and the Princesses kneeling, which are higher 
 by two inches than the figures on the other side. These figures are habited in 
 rich kirtled surcoats, but are stiff and meagre, as those of the king and his 
 sons ; and the heavy, plaited tresses which load their heads are nearly as 
 adverse to grace as the mailed gorgets of the men. These two compartments 
 have been very beautifully copied in colours as a facsimile, for the Anti- 
 quarian Society, by the late E. Smirke, and are exhibited in their library. 
 
 There is besides a series of scriptural subjects : 1. Presentation of Christ in 
 the Temple. 2. History of Job. 3. History of Tobit and the Angel. Mr. 
 Smirke in his annexed account observes that, " the great beauty and variety 
 of design, both in the tunics of the angels, and the mantles they hold ; and the 
 extreme richness and elegance of the embroidery, with which the drapery of all 
 the figures is bordured, and otherwise decorated, shows that the art of em- 
 broidery had attained to a very high perfection at that early period. Splendour 
 of dress in the higher orders, and particularly in all the functions of religion, 
 was a characteristic of the times, and numerous artists were employed in em- 
 broidery. Some of these were of so great eminence, and (though rather of a 
 later date than this we now treat of) had attained such excellence in finishing 
 not only arabesques and flowers, but historical subjects worked with the needle 
 in silk and gold, as to be recorded in history with the painters of their time ; 
 and Lanzi speaks distinctly of individual artists who not only possessed un- 
 usual dexterity but knowledge of design." — D. 
 
 1 The following patent seems to ascertain the chief artist employed in this ela- 
 borate work. " Hugoni de S ct0 Albano magistko pictorum pro Capelia S u Steph. 
 "Westmonast." — Rymer, vol. v. p. 670. 
 
 2 [There is a portrait, said to be that of Edward III at Hampton Court ; For- 
 trait Gallery, No. 825.— W.] 
 
46 
 
 is 
 
 CHAPTER III. 
 
 CONTINUATION OF THE STATE OF PAINTING TO THE END OF HENRY VII. 
 
 Whether it was owing to the confusions of his reign, or to 
 his being born with little propensity to the arts, we find but 
 small traces of their having flourished under Edward IV. 
 Brave, aspiring, and beautiful, his early age was wasted on 
 every kind of conquest ; as he grew older, he became arbi- 
 trary and cruel, not less voluptuous nor even 1 more refined 
 in his pleasures. His picture on board, 2 stiff and poorly 
 painted, is preserved at Kensington 3 — the whole length of 
 him at St. James's, in a night-gown and black cap, was 
 drawn, many years after his death, by Belcamp, 4 of whom 
 an account will be given hereafter. A portrait, 5 said to be 
 of his queen, in the Ashmolean Museum at Oxford, conveys 
 no idea of her loveliness, nor of any skill in the painter. 
 Almost as few charms can be discovered in his favourite 
 
 1 His device, a falcon and fetter-lock, with a quibbling motto in French, had 
 not even delicacy to excuse the witticism. — 
 
 "Edmund of Langley did bear also for an impress a falcon in a fetter-lock, 
 implying that he was shut up from all hopes and possibility of the kingdom, when 
 his brother John (of Gaunt) began to aspire thereto. Whereupon he asked (on a 
 time) his sons, when he saw them viewing this device, set up in a window : what 
 was the Latin for a fetter-lock, whereat when the young gentlemen studied, the 
 father said, * Well, if you cannot tell me, I will tell you. Hie hcec hoc taceatis,' 
 as advising them to be silent and quiet ; and wherewithal said, * Yet Godknoweth, 
 what may come hereafter. ' This his great-grandson, Edward TV. reported, when 
 he commanded that his younger son, Richard, Duke of York, should use this device, 
 with the fetterlock opened, as Roger Wall, a herald of that time, reporteth." — 
 Camden's Remains, p.. 215. Sandford, p. 357. — D. 
 
 2 Partrait painting, which was the true likeness of an individual represented, 
 and of the size of life, cannot be said to have been practised in England before 
 this reign. There are preserved at Kensington (which being a royal collection 
 has superior pretensions to originality) several of these heads, which have, cer- 
 tainly, a few contemporaneous copies. Edward IV. — others at Q. College, Cam- 
 bridge, and at Hatfield, exactly like. — Richard III. with three rings, one of 
 which he is placieg on his finger, — others at Hatfield. — D. 
 
 3 [The collection of pictures at Kensington was removed in the reign of William 
 IV. to Hampton Court — W. 
 
 4 [Now at Hampton Court : Queen s Audience Chamber, No. 524. — WJ 
 
 6 There is another at Queen's College, Cambridge, of which she was second 
 foundress; it seems to be of the time, but is not handsome. 
 
STATE OF PAINTING, ETC. 
 
 47 
 
 Jane Shore, preserved at Eton, and probably an original, as 
 her confessor was provost of that college, and by her inter- 
 cession recovered their lands, of which they had been 
 despoiled, as having owed their foundation to Edward's 
 competitor. In this picture her forehead is remarkably 
 large, her mouth and the rest of her features small ; her hair 
 of the admired golden colour : l a lock of it (if we may believe 
 tradition) is still extant in the collection of the Countess of 
 Cardigan, and is marvellously beautiful, seeming to be pow- 
 dered with golden dust, without prejudice to its silken de- 
 licacy. The king himself, with his queen, eldest son and 
 others of his court, 2 are represented in a MS. in the library at 
 Lambeth, from which an engraving was made, with an ac- 
 count of it, and prefixed to the Catalogue of Royal and 
 Noble Authors. It was purchased of Peacham,by Sir Robert 
 Cotton. Eichard III. the successor of these princes, appears 
 in another old picture at Kensington. In the Princess 
 Dowager's house at Kew, in a chamber of very ancient 
 portraits, of which most are imaginary, is one very curious, 
 as it is probably an original of the Duke of Norfolk/ 
 killed at the battle of Bosworth. 
 
 Names of artists in these reigns, of which even so few 
 authentic records exist, are not to be expected — one I have 
 
 1 This picture answers to a much larger, mentioned by Sir Thomas More : who, 
 speaking of her, says, " Her stature was mean ; her hair of a dark yellow, her face 
 round and full, her eyes grey ; delicate harmony being betwixt each part's propor- 
 tions, and each proportion's colour ; her body fat, white, and smooth ; her counte- 
 nance cheerful, and like to her condition ; the picture which I have seen of her 
 was such as she rose out of her bed in the morning, having nothing on but a rich 
 mantle, cast under one arm and over her shoulder, and sitting in a chair, on which 
 one arm did lie." The picture at Eton is not so large, and seems to have been drawn 
 earlier than that Sir Thomas saw ; it has not so much as the rich mantle over one 
 shoulder. There is another portrait of Jane Shore to below the breasts, in the 
 provost's lodge at King's College, Cambridge : the body quite naked, the hair 
 dressed with jewels, and a necklace of massive gold. It is painted on board, and 
 from the meanness of the execution seems to be original. 
 
 2 Portraits of Edward IV. and V., Richard III., and Henry VII. are painted 
 in distemper, in the Royal Chapel at Windsor. King Edward IV. with his Queen, 
 and her two sons and five daughters, are still to be seen in stained glass at Canter- 
 bury ; and in a less perfect state, in the church of Little Malvern Priory, Worces- 
 tershire. These were not imaginary, but from drawings or patterns made from 
 the life. At Donnington, the ancient seat of the Earls of Huntingdon, are 
 portraits, on panel, of Edward IV. and George, Duke of Clarence. — D, 
 
 3 The original is in the possession of the Duke of Norfolk, from which there 
 are several very early copies belonging to the other noble branches of the house 
 of Howard. — D. 
 
48 
 
 STATE OF PAINTING 
 
 found, the particulars of whose works are expressed with 
 such rude simplicity, that it may not be unentertaining to 
 the reader to peruse them. They are extracted from a book 
 belonging to the church of St. Mary Ratcliffe, at Bristol : — 
 
 u Memorandum, 
 
 That master Cumings hath delivered the 4th day of July in the year of our 
 Lord 1470 to Mr. Nicholas Bettes vicar of Katcliffe, Moses Couteryn, Philip 
 Bartholomew, and J ohn Brown, procurators of Batcliffe beforesaid, a new se- 
 pulchre well gilt, and cover thereto, an image of God Almighty rysing out of 
 the same sepulchre, with all the ordinance that longeth thereto ; that is to say, 
 
 A lath made of timber, and iron work thereto ; 
 
 Item. Thereto longeth Heven, made of timber, and stained cloth. 
 
 Item. Hell, made of timber and iron work, with devils, the number thirteen. 
 
 Item. Four knights armed, keeping the sepulchre, with their weapons in 
 their hands, that is to say, two spears, two axes, two paves. 
 
 Item. Four pair of angels' wings, for four angels, made of timber and 
 well painted. 
 
 Item. The fadre, the crown and visage, the bell of a cross upon it well- 
 gilt with fine gold. 
 
 Item. The Holy Ghost coming out of heven into the sepulchre. 
 Item. Longeth to the angels for chevelers." 1 
 
 Henry VII. seems never to have laid out any money so 
 willingly as on what he could never enjoy, his tomb 2 — on 
 that he was profuse ; but the very service for which it was 
 intended probably comforted him with the thought that it 
 would not be paid for till after his death. Being neither 
 ostentatious 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 its brightest 
 epoch, 4 no taste reached this country. Why should it have 
 sought us? the king penurious, the nobles humbled, what 
 encouragement was there for abilities? what theme for the 
 arts ? barbarous executions, chicane, processes, and merce- 
 nary treaties, were all a painter, a poet, or a statuary had to 
 
 1 This memorandum is copied from the minutes of the Antiquarian Society, 
 under 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 house, and big enough to 
 cover the tallest man from head to foot. The bell with the cross : probably the 
 ball or mound. Four Chevelers : chevelures or perukes. 
 
 2 The whole chapel, called by his name, is properly but his mausoleum, he 
 building it solely for the burial-place of himself and the royal family, and accord- 
 ingly ordering by his will that no other persons should be interred there. See 
 DarVs Antiquities of Westminster Abbey, vol. i. p. 32. The tomb was the work 
 of one Peter, a Florentine, as one Peter, a Roman, made the shrine of Edward 
 the Confessor. 
 
 3 Ptaphael was born in 1483. 
 
TO THE END OF HENRY VII. 
 
 49 
 
 record — accordingly, not one that deserved the title (I mean 
 natives) arose in that reign. The only names of painters 
 that Vertue could recover of that period were both foreign- 
 ers, and of one of them the account is indeed exceedingly 
 
 HENRY VII. 'S CHAPEL AND TOMB. 
 
 slight ; mention being barely made in the register s office of 
 Wells, that one Holbein lived and died here in the reign of 
 Henry VII. Whether the father of the celebrated Holbein, 1 
 I shall inquire hereafter, in the life of that painter ; but of 
 this person, whoever he was, are probably some ancient lim- 
 nings 2 in a cabinet at Kensington, drawn before the great 
 master of that name could have arrived here. Among them 
 is the portrait of Henry VII. from whence Vertue engraved 
 
 1 [There were many painters of this name and of the family of the celebrated 
 Holbein, whose father and grandfather were both named Hans, but there is no 
 evidence of their having been in England : they resided chiefly at Augsburg and 
 Frankfort. See note, p. 66— W.] 
 
 2 Two miniatures of Henry VII., each in a black cap, and one of them with a 
 rose in his hand, are mentioned in a MS. in the Haiieian collection. 
 
 VOL. I. E 
 
50 
 
 THE STATE OF PAINTING-. 
 
 his print. The other painter had merit enough to deserve a 
 particular article ; he was called 
 
 JOHN MABUSE, or MABEUGIUS, 1 
 
 and was born at a little town of the same name, in Hainault, 2 
 but in what year is uncertain, as is the year 3 of his death. 
 He had the two defects of his contemporary countrymen, 
 stiffness in his manner and drunkenness. Yet his industry 
 was sufficient to carry him to great lengths in his profession. 
 His works were clear and highly finished. He was a friend 
 rather than a rival of Lucas 4 of Leyden. After some prac- 
 tice at home he travelled into Italy, where he acquired 
 more truth in treating naked subjects than freedom of ex- 
 pression. Indeed, Eaphael himself had not then struck out 
 that majestic freedom, which has since animated painting, 
 and delivered it from the servility of coldly copying motion- 
 less nature. Mabuse so far improved his taste as to intro- 
 duce among his countrymen poetic history, for so I should 
 understand 5 Sandrart's varia poemata conficiendi, if it is 
 meant as a mark of real taste, rather than what a later 9 
 author ascribes to Mabuse, that he first treated historic 
 subjects allegorically. 7 I never could conceive that riddles 
 and rebuses (and I look upon such emblems as little better) 
 
 1 [ Jan tie Mabuse, or Maubeuge, sometimes called Jan Gossaert : lie occasionally 
 signed himself Joannes Malbodius. — W.] 
 
 2 Le Compt says it was in Hungary. 
 
 3 Le Compt and Descamps say it was in 1562 ; a print of him published by Galle, 
 says, ' ' Fuit Hanno patria Malbodiensis obiit Antwerpiae anno 1532, in cathedrali 
 ae,de sepultus : " but Vertue thought part of this inscription was added to the plate 
 many years after the first publication ; and Sandrart, whom I follow, says ex- 
 pressly that he could not discover when Mabuse died. Yertue conjectured that he 
 Jived to the age of fifty-two. — [From the picture of the children of Henry VII. at 
 Hampton Court, Mabuse must have been in England as early as 1498 or 99, at 
 latest, and it is not probable that he was then much less than thirty years of 
 age ; he was therefore born about 1470. 1532 appears to be the correct date of his 
 death.— W.] 
 
 4 Lucas made an entertainment for Mabuse and other artists, that cost hinirsjxty 
 florins of gold. — [This was at Middelburg, in 1521 ; he gave in that year similar 
 entertainments to the artists of Ghent, Antwerp, and Mechlin. Albert Diirer was 
 at that given at Antwerp : he notices the circumstance in his Diary. — W.] 
 
 5 Page 234. 6 Descamps, Vies des Peintres Flamands, p. 86^ 
 
 7 [Sandrart says he was one of the first — historien voll nackender bilder zu 
 machen, und allerley Poetercycn darein zu setzen — to paint historical pictures 
 full of naked figures, and to introduce into them all kinds of Poetereyen (alle- 
 gories ?)— W.] 
 
TO THE END OF HENRY VII. 
 
 5] 
 
 are any improvements upon history. Allegoric personages 
 are a poor decomposition of human nature, whence a single 
 quality is separated and erected into a kind of half deity, 
 and then to be rendered intelligible, is forced to have its 
 name written by the accompaniment of symbols. You must 
 be a natural philosopher before you can decipher the voca- 
 tion of one of these simplified divinities. Their dog, or their 
 bird, or their goat, or their implement, or the colour of 
 their clothes, must all be expounded, before you know who 
 the person is to whom they belong, 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 expressing 
 the passions of the soul in the lineaments of the counten- 
 ance ! Would Messalina's character be more ingeniously 
 drawn in the warmth of her glances, or by ransacking a 
 farmyard for every animal of a congenial constitution ? 
 
 A much admired work of Mabuse was an altar-piece at 
 Middleburgh, 1 a descent from the cross : Albert Diirer 
 went on purpose to see, and praised it. 2 Indeed their 
 style was very like : a picture of Mabuse now at St. 
 James's is generally called Albert's. The piece at Mid- 
 dleburgh was destroyed by lightning. A great number 
 of Mabuse s works 3 were preserved in the same city in 
 
 1 Painted for the abbot Maximilian of Burgundy, who died 1524. 
 
 2 [Albert went to see it during his journey in the Netherlands in 1521. He 
 notices this picture in his Diary, and observes that it was better painted than 
 drawn. See his Journal of his Tour, in the Reliquien von ADbrecM Diirer. 
 Niimberg, 1828.— W.] 
 
 3 Mr. Bryan (Diet, of Painters, 4to, 1816,) has observed, "that to appreciate 
 the extraordinary merit of John de Mabuse, it is necessary to have seen his 
 genuine pictures, instead of the wretched remains of gothicity, which are fre- 
 quently ascribed to him. His colouring is fresh and clear, his design as correct 
 as that of Albert Diirer, and much in the style of that master, and his pictures 
 are of a finish so precious and polished, that they are not surpassed by the sur- 
 prising productions of Mieris and Gerard Douw. One of his most admired works 
 was a picture of the descent from the cross, painted for a church at Middleburgh, 
 which was considered one of the most surprising productions of the age. His 
 most capital and distinguished performance was a picture painted for the altar- 
 piece of the Abbey of Grammont ; it represents the Wise Men's Offering, a corn- 
 
 osition of several figures admirably grouped, with a fine expressfcn of the 
 eads ; and the draperies and ornamental accessories, coloured and teished in 
 the most beautiful manner. It appears by the registers of the abbey, that this 
 picture occupied the painter for seven years, and that he was paid two thousand 
 golden pistoles for his labour. When Albert and Isabella were governors of the 
 Netherlands, they purchased it of the monks, and placed it in the private chapel 
 of their palace. After the death of Prince Charles of Lorraine it was sold with 
 
 E 2 
 
52 
 
 THE STATE OF PAINTING 
 
 the time of Carl Vermander. M. Magnus at Delft had 
 another descent from the cross by this master. The 
 Sieur 1 Wyntgis at Amsterdam had a Lueretia by him. 
 But one of his most striking performances was the de- 
 collation of St. John, painted in the shades of a single 
 colour. 
 
 The Marquis de Veren took him into his own house, 
 where he drew the Virgin and Child, borrowing the ideas 
 of their heads from the Marquis s lady and son. This 
 was reckoned his capital piece. It afterwards passed into 
 the cabinet of M. Frosmont. 
 
 While he was in this service, the Emperor Charles V. 
 was to lodge at the house of that lord, who made mag- 
 nificent preparations for his reception, and among other 
 expenses ordered all his household to be dressed in white 
 damask. Mabuse, always wanting money to waste in 
 debauchery, when the tailor came to take his measure, 
 desired to have the damask, under pretence of inventing 
 a singular habit. He sold the stuff, drank out the 
 money, and then painted a suit of paper, so like damask, 
 that it was not distinguished, as he marched in the proces- 
 sion, between a philosopher and a poet. Other pension- 
 ers of the Marquis, who being informed of the trick, 
 asked the emperor which of the three suits he liked best : 
 The Prince pointed to Mabuse's, as excelling in the 
 whiteness and beauty of the flowers ; nor did he till 
 convinced by the touch, doubt of the genuineness of the 
 silk. The Emperor laughed much — but, though a lover 
 of the art, seems to have taken no other notice of Ma- 
 buse ; whose excesses some time after occasioned his 
 being flung into prison at Middleburgh, where however 
 he continued to work. Vermander had seen several good 
 drawings by him in black chalk. 
 
 At what time Mabuse came to England I do not find ; 
 
 the rest of his pijtures, and afterwards "brought to this country. It is now in the 
 possession of the Earl of Carlisle." — D. 
 
 [This picture, which is still at Castle Howard, is, in the opinion of Dr. Waagen, 
 one of the master-pieces of the early Flemish School of Painting. It is about 
 6 feet high , by 5 feet wide, and contains about thirty , figures. See Waagen, 
 Kunstwerke and Kiinstler in England. — -W* 
 
 1 .Mint-Master, of Zealand. 
 
TO THE END OF HENRY VII. 
 
 53 
 
 Vermander says expressly that he was here, and the 
 portraits drawn by him are a confirmation. The picture 
 of Prince Arthur, Prince Henry, and Princess Margaret, 
 when children, now in the china-closet at Windsor, was 
 done by him. 1 A neat little copy of, or rather his original 
 design for it, in black and white oil-colours, is at the 
 Duke of Leeds , at Kiveton. 2 Sandrart speaks of the 
 pictures of two noble youths drawn by him at Whitehall. 
 Over one of the doors in the King's ante-chamber at 
 St. James s is his picture of Adam and Eve, which for- 
 merly hung in the gallery at Whitehall, thence called the 
 Adam and Eve gallery. 3 Marten Papenbroech, formerly 
 a famous collector in Holland, had another of them. It 
 was brought over as a picture of Raphael in his first 
 manner, in the time of Vertue, who by the exact descrip- 
 tion of it in Vermander discovered it to be of Mabuse. 
 It was sold however for a considerable price, 4 In a MS. 
 
 1 These paintings are extremely interesting, as being the first attempt in 
 portrait, with any effort or success in art, which had appeared in England, a t the 
 end of the fifteenth century. One of the four must have been original ; and there 
 is a circumstance which may be added to the greater excellence of that at Wilton, 
 that it bears a date, 1495.* The children are represented as being dressed in 
 black, playing with fruit, which is spread upon a green cloth, covering the table. 
 Though in the early dry manner, the infantine faces are well drawn, and the 
 carnations bright. There is much good colouring, particularly in the head of 
 Prince Henry, which having a half reflected light, presented a considerable diffi- 
 culty to the artist. Each of these pictures is on panel, with a small difference in 
 point of size. The Wilton, is one foot three inches and a half, by one foot one 
 inch — the Methuen, twenty inches by fourteen. It is one of Cr. Vertue's histori- 
 cal engravings. — D. 
 
 2 There is another of these in small, in Queen Caroline's closet at Kensington ; 
 another, very good, at Wilton ; and another in Mr. Methuen's collection. One of 
 these pictures, I do not know which of them, was sold out of the royal collection, 
 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 shadows 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. 
 
 3 Evelyn, in the preface to his idea of the perfection of painting, mentions this 
 picture, painted, as he calls him, by Malvagius., and objects to the absurdity of 
 representing Adam and Eve with navels, and a fountain with carved imagery in 
 Paradise — the latter remark is just ; the former is only worthy of a critical man- 
 midwife. — [This picture is now at Hampton Court, where there is also a picture 
 of the Virgin and Child, enthroned* with St. Michael and St. Andrew on the 
 sides, which is attributed to Mabuse. — W. ] 
 
 4 It is now at the Grange, in Hampshire, the seat of the Lord Chancellor 
 Henley, [at whose sale it produced 101. 10s. ! — D.] 
 
 * [If this date be correct Henry was only four years old when the picture was 
 painted. The Strawberry-hill copy of this picture, which formerly belonged to 
 Cosway, was sold at the sale in 1842 for thirty guineas, to J. Dent, Esq. The 
 picture noticed in the text is at Hampton Court. — W. 
 
54 
 
 THE STATE OF PAINTING 
 
 catalogue of the collection of King Charles I. taken in 
 the year 1649, and containing some pictures that are not 
 in the printed list, I find mention made of an old man's 
 head by Mabuse ; Sir Peter Lely had the story of Her- 
 cules and Deianira by him. 1 The only 2 work besides 
 that I know of this master in England is a celebrated 
 picture in my possession. It was bought for 200?. by 
 Henrietta Louisa, Countess of Pomfret, and hung for 
 some years at their seat at Easton Neston in Northamp- 
 tonshire, whence it was sold after the late Earl's death. 
 The Earl of Oxford once offered 5007. for it. 3 It is 
 painted on board ; and is four feet six inches and three 
 quarters wide, by three feet six inches and three quarters 
 high. It represents the inside of a church, an imaginary 
 one, not at all resembling the abbey where those princes 
 w r ere married. The perspective and the landscape of 
 the country on each side are good. On one hand, on the 
 fore ground, stand the king and the bishop of Imola, 
 who pronounced the nuptial benediction. His majesty 4 
 is a trist, lean, ungracious figure, with a downcast look, 
 very expressive of his mean temper, and of the little 
 satisfaction he had in the match. Opposite to the 
 bishop is the queen, 5 a buxom well-looking damsel, with 
 golden hair. By her is a figure, above all proportion 
 with the rest, unless intended, as I imagine, for an em- 
 blematic personage, and designed from its lofty stature 
 to give an idea of something above human. It is an 
 elderly man, 6 dressed like a monk, except that his habit 
 
 1 See Catalogue of his collection, p. 48. No. 99. 
 
 2 I have since bought a small one of Christ crowned with thorns, by him, with 
 his name, Malbodius, on it ; and Mr. Raspe mentions another at Rochester : 
 Assay on Oil Painting, p. 56. 
 
 3 I gave eighty-four pounds.— [It was purchased at the Strawberry-hill sale, in 
 1842, by J. Dent, Esq., for fifty guineas.— W.] 
 
 4 He is extremely like his profile on a shilling. 
 
 5 Her image preserved in the abbey, among those curious but mangled figures 
 of some of our princes, which were carried at their interments, and now called the 
 ragged regiment, has much the same, 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 shoulders. 
 
 6 This allegoric figure seems to agree with the account of Descamps, mentioned 
 above, and Mabuse might have learned in Italy that the Romans always re- 
 presented their divine personages larger than the human, as is evident from 
 every model whereon are a genius and an Emperor 
 
TO THE E^D OF HENRY VII. 
 
 55 
 
 is green, his feet bare, and a spear 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, 
 represented, as in the martyrologies, with the instru- 
 ment of his death. The queen might have some 
 devotion to that peculiar saint, or might be bom or 
 married on his festival. Be that as it may, the picture, 
 though in a hard manner, has its merit, independent of 
 the curiosity. 1 
 
 John Schorel studied some time under Mabuse, but 
 Quitted him on account of his irregularities, by which 
 Schorel was once in danger of his life. 2 Paul Van Aelst 
 excelled in copying Mabuse's works, and John Mostart 
 assisted the latter in his works at Middleburgh. 
 
 In the library of St. John's College, 3 Cambridge, is an 
 original of their foundress, Margaret of Eichmond, the 
 king s mother, much damaged, and the painter not known, 
 Mr. West has a curious missal (the painter unknown) 
 which belonged to Margaret, Queen of Scotland, and was 
 a present from her father, Henry VII. His name of his 
 own writing is in the first page. The queen's portrait 
 praying to St. Margaret, appears twice in the illuminations, 
 and beneath several of them are the arms and matches 
 
 1 [Besides the pictures here mentioned by Mabuse, there are in England a 
 Madonna and Child, in the collection of Sir Thomas Baring at Stratton ; and a 
 St. Jerome at Althorp. — W.] 
 
 2 Jan van Schoorel (1495 — 1562) was one of the first Italianizers of Flemish 
 art. He studied under Albert Diirer at Nurnberg after he left Mabuse : he studied 
 also at Venice and at Rome, and he visited Jerusalem. He was one of the earliest 
 to pay much attention to landscape-painting. — W.] 
 
 3 Of Prince Arthur there are several portraits extant, which claim originality, 
 and those taken of him when a youtm One was at Mr. Sheldon's, at Weston, 
 Warwickshire. But the most likely to have afforded a true resemblance, is in 
 stained glass, now carefully preserved in the Church of Great Malvern, Worcester- 
 shire. Both he and his friend, the celebrated Sir Reginald Bray, are represented 
 in their tabards of coat armour, kneeling at an altar. These have been published 
 in coloured etchings by Carter. At Strawberry Hill are Prince Arthur and 
 Catherine of Arragon, brought from Colonel Middleton's in Denbighshire, and at 
 Lee Court, Kent, Margaret, Queen of Scotland. At Kensington (now at Hampton 
 Court) is a tripartite picture, probably intended for an altar-piece at the Ro3 r al 
 Chapel at Stirling, on panel, painted certainly after the departure of Mabuse 
 from England. 1. Margaret, Queen of James IV. King of Scots and her husband. 
 
 2. The same with his brother Alexander Stuart, praying before Saint Andrew. 
 
 3. The Queen kneeling before St. George, who is habited in the plate armour of 
 the time. At Knowsley, the Earl of Derby has a head of Margaret Countess of 
 Richmond, wife of the first earl, a circumstance which favours its originality. — D. 
 
56 STATE OF PAINTING TO THE END OF HENRY VII. 
 
 of the house of Somerset, besides representations of the 
 twelve months well painted. 1 
 
 In this reign died John Kous, 2 the antiquary of 
 Warwickshire, who drew his own portrait and other 
 semblances, but in too rude a manner to be called 
 paintings. 
 
 1 It was sold for 32Z. 10s. at Mr. West's sale in 1773. — D. 
 
 2 If the drawings which are seen in a MS. (Brit. Museum, Cotton MSS., 
 Julius E 4, ) of which there are no less than fifty -five excellently done in trick, and 
 uncoloured, in the Life of Richard Beauchamp, Earl of Warwick, were the genuine 
 work of the author John Rous, the hermit of Guy's Cliff, near Warwick, Walpole 
 has disparaged his talents. Among the Norfolk MSS. Herald's College, is a long 
 roll, about nine inches wide, in which are delineated the whole series of the Earls 
 of Warwick, with their arms emblazoned, down to R, Beauchamp. It must be 
 confessed that though a curious, it is an inferior performance. A similar roll was 
 in the possession of the late Earl of Sandwich, from which was taken the etching 
 in the Historic Doubts. At Oxburgh Hall, Norfolk, Sir R. Bedingfield's, are por- 
 traits upon panel of William de la Pole, Duke of Suffolk, King Edward IV. , and 
 Henry VII. when young, apparently ancient or original. These several proofs are 
 adduced, that portraits in oil, taken from the life, had a date in this kingdom some 
 years earlier than has been generally allowed. A portrait of Henry the Seventh, 
 soon after his accession to the throne, (now in the possession of Mr. Gwennap, 
 London,) is attributed, from its excellence, to Mabuse. It has a distinguished 
 peculiarity : on the button of the hat is represented, and of course very minutely, 
 a memorable circumstance of Welsh history, the Chief, Rice ap Thomas, prostrating 
 himself on the ground, and the Earl of Richmond, on his landing, as passing over 
 his body, in consequence of a vow. Of the same monarch and his queen there are 
 two large portraits in stained glass, now in St. Margaret's Church, Westminster. 
 They were intended as a present by the magistrates of Dort, in Holland, and 
 probably the work of Adrian de Vrije, an eminent Dutch artist. — D. 
 
57 
 
 CHAPTER IV. 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 1509. 
 
 The accession of this sumptu- 
 ous prince brought along with 
 it the establishment of the arts. 
 He was opulent 5 grand, and 
 liberal — how many invitations 
 to artists ! A man of taste 
 encourages abilities ; a man of 
 expense, any performers ; but 
 when a king is magnificent, 
 whether he has taste or not, 
 the influence is so extensive, 
 and the example so catching, 
 that even merit has a chance of getting bread. Though 
 Henry had no genius to strike out the improvements of 
 latter ages, he had parts enough to choose the best of what 
 the then world exhibited to his option. He was gallant, as 
 far as the rusticity of his country and the boisterous indeli- 
 cacy of his own complexion would admit. His tourna- 
 ments contracted, in imitation of the French, a kind of 
 romantic politeness. In one 1 which he held on the birth of 
 his first child, he styled himself Cceur Loyal? In his 
 
 1 See a description and exhibition of this tournament among the prints pub- 
 lished by the Society of Antiquaries, vol. i. 
 
 2 This singularly curious roll of vellum was contributed to the library of the 
 College of Arms by Henry, Duke of Norfolk. It is in length seventy feet, eighteen 
 inches broad, and contains 170 figures and seventy-three horses in procession, 
 with the lists, combat, and triumphal return. Some readers will approve of the 
 following extract, which offers a nearer view of the forms and circumstances by 
 which these gorgeous ceremonies were conducted : — " At the beginning of the roll, 
 is the Eoyal cognizance, the red rose impaled with the pomegranate of Arragon — 
 on a scroll, 1 Vive le noble roy Henry viij.' Then follows the procession, with 
 names in French superscribed, * Le maystre des armurez du Roy/ with men 
 carrying the tilting spears, capped with horn or cornel — Les trompettes — Les 
 Gorgyas de la cour, who are eight of the young nobility upon horses superbly 
 caparisoned — Les Officiers d'armes, five heralds and pursuivants with Wriothesley 
 Garter, represented as a very old man introducing the four knights with their 
 
58 PAINTERS IN THE KEIGN OF HENRY VIII. 
 
 interview with Francis I. in the Vale of Cloth of Gold, he 
 revived the pageantry of the days of Amadis. He and 
 his favourite Charles Brandon, were the prototypes of 
 those illustrious heroes with which Mademoiselle Scuderi 
 has enriched the world of chivalry. The favourite's motto 
 on his marriage with the monarch's sister retained that 
 moral simplicity now totally exploded by the academy of 
 sentiments — 
 
 " Cloth of gold do not despise, 
 Though thou be matched with cloth of frize ; 
 Cloth of frize, be not too bold, 
 Though thou be matched with cloth of gold." i 
 
 oeauvoirs close, riding under superb pavilions of estate, with the letter K pro- 
 fusely scattered about them, and their ' Noms de guerre ' or chivalrous names 
 superscribed. * Joyeulx Penser ' — * Bon vouloir ' — * ValiantjDesire ' — and * Noble 
 Coeur Royal, ' who was the King in person. They are followed by Les selles des 
 armes, horses richly caparisoned for the tilt. Les pages du Roy, mounted on nine 
 horses bearing the cognizances of York, Lancaster or Beaufort, France, Grenada, and 
 Arragon, with those of France and England. La selle d'honneur, covered entirely 
 with ermine. Le grand escuyer et le maystre des pages. The barriers and scaffold 
 are next represented. The point of time is the victory of Noble Coeur Loyal (the 
 king) over one of the Yenans or Comers, whose spear he had just broken. In the 
 centre of the gallery sits Queen Katherine, under a tester of estate, accompanied 
 by the ladies of her court, and on either side, in separate compartments, several of 
 her nobility. Les Yenans, are nine knights in closed helmets ; and upon the 
 horse trappings of one of them are three escallops, which denote him to be Lord 
 Scales or Dacre of the North. 
 
 " The scene is now changed — and after the trumpets is L'yssue du champ, or the 
 triumphal return ; in which sixteen of the young nobility, gorgeously apparelled, 
 lead the procession. L'heaulme du Koy, ensigned with the crown imperial, is next 
 borne. The Queen is drawn as sitting in state, attended as before, but on a smaller 
 scaffold : then follows the King in a magnificent robe, holding part of a broken 
 spear, in token of his victory : over him is written, Le Koy desarme. The whole is 
 then closed by a crowd of attendants." — D. 
 
 1 In the royal collection at Windsor were formerly four large historical paint- 
 ings of very great interest and curiosity. * 
 
 I, The Embarcation of Henry YIII. at Dover, May 31, 1520, previously to 
 his interview with Francis I. In this picture is an exact representation of the 
 celebrated ship, called the ' ' Harry Grace Dieu," a most curious specimen of early 
 naval architecture in England. It has the peculiarity of four masts, Archceologia, 
 vol. vi. pp. 179—220. 
 
 II. Le Champ de Drap d'Or. — The interview between Henry YIII. and 
 Francis I. between Guisnes and Ardres, near Calais, on the seventh of June, in 
 1520. It contains every circumstance of the interview, in progression, from the 
 commencement to the conclusion of the interview. A great uncertainty has 
 hitherto prevailed concerning the artist of this elaborate work. An anecdote of 
 this picture is worthy notice. After the death of Charles I. the Parliament 
 appointed commissioners to dispose of his collection, and an agent from France 
 was in treaty for this particular picture. Philip, Earl of Pembroke, resolved to 
 
 * [Now at Hampton Court, where they are accredited to Holbein, but with the 
 exception of one, the Family of Henry YIII., they do not show the slightest 
 evidence of the hand of this painter. They were most probably executed before 
 Holbein's visit to this country. — W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 59 
 
 Francis the first was the standard which these princely 
 champions copied. While he contended with Charles V. 
 for empire, he rivalled our Henry in pomp and protection 
 of the arts. Francis handled the pencil himself. I do not 
 find that Henry pushed his imitation so far ; but though at 
 last he wofully unravelled most of the pursuits of his early 
 age, (for at least it was great violation of gallantry to cut 
 off the heads of the fair damsels whose true knight he had 
 been, and there is no forgiving him that destruction of 
 ancient monuments, and Gothic piles, and painted glass by 
 the suppression of monasteries ; a reformation, as he called 
 it, which we antiquaries almost devoutly lament,) yet he 
 had countenanced the arts 1 so long, and they acquired such 
 
 prevent the conclusion of the bargain, and found a secret opportunity to cut out 
 the head of King Henry from the canvas, and to conceal it in his pocket-book. The 
 a gent, after such a mutilation, declined the purchase ; and it was reserved in that 
 condition until the Restoration. The succeeding Earl of Pembroke delivered the 
 dissevered part to King Charles II. at the first levee he attended ; and it was care- 
 fully reinserted into its place. By looking at the picture in a side light, the 
 restoration is readily discerned. Each of these pictures is five feet six inches in 
 height, and eleven feet three inches wide. Described in Archceologia, vol. iii. 
 pp. 185 — 229, by Sir Joseph Ayloffe. 
 
 III. The Battle of the Spues, which was fought at Guinegaste in France, in 
 1513, and was so called from the French having made more use of their spurs than 
 their swords. 
 
 IV. K. Henry VIII. with Q. Katherine Par, Edward, Mary, and Elizabeth, 
 W. Somers the jester at one door, and a female dwarf at the other. The King sits 
 on his throne, with one hand laid on the shoulder of the Prince. The scene is an 
 open colonnade, looking through to a garden, and it is evident that the painter 
 must have drawn his lines from one of Henry's palaces. 
 
 At Apuldurcombe in the Isle of Wight, is a small picture on a panel, much in 
 the manner (if not an original) of Mabuse, of Charles Brandon, Duke of Suffolk, 
 and Mary his wife, Queen Dowager of Louis XII. King of France, 
 
 Another is in the possession of Sir S. Egerton Brydges, Bart., in which is intro- 
 duced the Duke's fool, as whispering these monitory verses in his ear. The intro- 
 duction of privileged jesters who called themselves, and were called, Fools, into 
 family pictures, is not unfrequent in this and the subsequent reigns. — D. 
 
 1 It has been allowed by all who have written concerning the age or the cha- 
 racter of Henry VIII. , that in the early part of his reign he discovered a considerable 
 intention to patronise the arts. Mabuse had long before quitted England, and 
 Henry was induced (and the desire of rivalling Francis I. in all that should pro- 
 mote splendour was a paramount motive) to offer liberally both to Raphael and 
 Primaticcio, if they would visit England, and embellish his palaces. Wolsey's 
 influence at Rome would seem to have forwarded these views ; it is yet certain 
 that the offer was rejected. There are, however, satisfactory proofs that some of 
 their eminent "scholars enjoyed the patronage of that monarch. Walpole has 
 mentioned them only cursorily. The records of grants issued to them from the 
 Treasury confound their real designation and names. 
 
 Before the most unfortunate conflagration of Cowdray -house, Sussex, in 1793> 
 there were several portraits of great curiosity which were destroyed by that cala- 
 mity. They were painted by some of those artists who had preceded Holbein. 
 1. Sir William Fitzwilliam, K. G. the Founder, represented as walking by the sea« 
 
60 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 solid foundation here, that they were scarce eradicated by 
 that second storm which broke upon them during the civil 
 war, — an era we antiquaries lament with no less devotion 
 than the former, 
 
 Henry had several painters in his service, and, as Francis 
 invited Primaticcio and other masters from Italy, he endea- 
 voured to tempt hither Eaphael 1 and Titian. Some per- 
 formers he did get from that country, of whom we know 
 little but their names. Jerome di Trevisi 2 was both his 
 painter and engineer, and attending him in the latter 
 quality to the siege of Boulogne, was killed at the age of 
 thirty-six. Joannes Corvus was a Fleming. Vertue dis- 
 covered his name on the ancient picture of Fox, bishop of 
 Winchester, still preserved at Oxford. It was painted in 
 the beginning of the reign of this king, after the prelate 
 had lost his sight. The painter's name Joannes Corvus 
 (otherwise unknown) Flandrus faciebat, is on the frame, 
 which is of the same age with the picture, and coloured in 
 imitation of red marble with veins of green. 3 
 
 Others of Henry's painters are recorded in an office- 
 book, 4 signed monthly by the king himself, and containing 
 payments of wages, presents, &c, probably by the treasurer 
 of the chambers-, Sir Brian Tuke. It begins in his twenty- 
 first year, and contains part of that and the two next years 
 complete. There appear the following names : — 
 
 side, holding a staff with a head of gold emblazed with his arms in fifteen quarter- 
 ings. 2. The same, together with Thomas Howard, Duke of Norfolk, with whom 
 he was sent as ambassador to France in 1536, to treat with Francis I. 3. Sir 
 Anthony Browne, with a cap and feather, and a gillyflower fastened in the band ; 
 a medal of St. George depending from the neck. Of the celebrated fresco-paint- 
 ing, likewise destroyed, a farther mention will be made. — D. 
 
 1 Raphael did paint a St. George for him, which has since been in Monsieur 
 Crooat's collection. See Recueil des plus beaux Tableaux qui sont en France, p. 13. — 
 [Now in St. Petersburg. — W.] 
 
 2 He is mentioned by Ridolfi in the lives of the painters. Some sketches of 
 sieges at that time, probably by his hand, are preserved in a book in the Cotton 
 libray. — [Girolamo da Trevigi was born at Trevigi in 1508 ; his family name was 
 Pennacchi. He was an imitator of Eaphael, and was an excellent portrait painter. 
 After practising as a painter in fresco and in oil with considerable distinction in 
 various cities in Italy, but more especially at Bologna, he entered the service of 
 Henry VIII. and was killed before Bologna in 1544. He was employed by 
 Henry chiefly as architect and engineer, at a fixed salary of 400 crowns, about 
 100?. per annum. See Vasari ; Ridolfi ; Lanzi. — W.] 
 
 3 There are two or three pictures of the same prelate in the college, but this is 
 probably the original : it is flat, and a poor performance. 
 
 4 It was in the collection of Mrs. Bridgman, of Hanover Square. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 61 
 
 " An°. reg. xxii. Nov. 8. Paid to Anthony Toto 1 and Barthol. Penne, 2 
 painters, for their livery coats xlvs. 
 
 An°. reg. xxiii. J an. xv. day. Paid to Anthony Toto paynter, by the 
 king's commandment, xxZ." 
 
 In another book of office, 3 Vertue found these memo- 
 randums : 
 
 " March 1538. Item, to Anthony Toto and Bartilrnew Penn, painters, 12 
 pounds, 10 shillings, their quarterly payments between them ; also presents 
 on new-year's day, 1539. 
 
 To Anthony Toto's servant that brought the king at Hampton Court a de- 
 picted table of Colonia 7 shillings and 8 pence. 
 
 Feb. An°. reg. xxix. Gerard Luke Horneband painter, 56 shillings and 9 
 pence per mo nth. " 
 
 Toto was afterwards serjeant painter, and in Eymer 
 are his letters of naturalization under this title : 
 
 " An°. 30 Hen. VIII. 1543. 4 Pro pictore regis de indigenatione." 
 
 Felibien mentions this painter, and his coming to Eng- 
 land f speaking of Bidolphi, fils de Dominique Ghirlan- 
 daio, he says, " Chez luy il y avait Toto del Nuntiato, qui 
 depuis s en alia en Angleterre, ou il fit plusieurs ouvrages 
 de peinture et d'architecture, avec lequel Perrin fit amitie, 
 et a Ten vie Tun de Tautre s effo^oit a bien faire," 
 
 But Toto s works are all lost or unknown, his fame, 
 with that of his associates, being obscured by the lustre 
 of Holbein. 
 
 Penne or Penn, mentioned above, is called by Vasari, not 
 Bartholomew, but Luca Penni ; he was brother of Gio. 
 
 1 Anthony Toto was known among his countrymen as " Toto del Nunziata." 
 Lanzi speaks of him as one of the best Italian artists who came to England, " che 
 gl' Inglesi computano fra' miglior Italiani che dipingessero in quel secolo nella 
 lor isola." — There is no certain document to fix his arrival to a period earlier 
 than 1531 ; and he remained in England twenty years. In the accounts of Sir 
 T. Carwarden, Master of the Revels in 1551, is this entry, "To Antony Toto, 
 Serjeant painter, 2Z. 135. 4c?. towards his pains and charges in the setting forward 
 the painter's work." — Archceolog. vol. xviii. p. 324. — D. [This painter is almost 
 unknown in Italy.— W.] 
 
 2 Bartholomew Penne, an Anglicised name, probably intended for " Luca Penni." 
 Vasari says, that Luca was associated in several considerable works with PerinO - 
 del Vaga. He arrived here about 1537, having previously accompanied II Rosso, 
 or, as he is more frequently called, Maitre Roux, to the Court of Francis the First. , 
 This fact is stated in the grant, and according to Lanzi " passato per ultimo in 
 Inghilterra, dipinse pel Re e per privati, e piu anche disegno per le stampe." He 
 
 is said not only to have designed for engravers, but to have engraved himsel^^ 
 There is no certain date of his death, or of his leaving this country. He had tra- 
 velled much, and was retained by Francis I. for some years, to decorate his palace 
 at Fontainebleau. — 1) 
 
 3 In the library of the Royal Society, 
 
 4 Foedera, vcl. xiv. p. 595. 5 Tom. ii. p. 158. 
 
62 
 
 PAINTERS IN THE REIGN OP HENRY VIII. 
 
 Francesco Penni, a favourite and imitator of Raphael. 
 Luca, or Bartholomew (for it is undoubtedly the same 
 person) worked some time at Genoa and in other parts of 
 Italy, from whence he came into England, and painted seve- 
 ral pieces for the king, and for some merchants here. 1 In 
 a small room called the confessionary, near the chapel at 
 Hampton Court, Vertue found several Scripture stories 
 painted on wainscot, particularly the Passion. He and Sir 
 James Thornhill agreed that they were much in the style of 
 Raphael, particularly the small figures and landscapes in 
 the perspective, and not at all in the German taste. 
 These Vertue concluded to be of Luca Penni. 
 
 To some of these painters Vertue ascribes, with great 
 probability, the Battle of the Spurs, the Triumphs of the 
 Valley of Cloth of Gold, and the Expedition 2 to Boulogne, 
 three curious pictures now at Windsor : 3 commonly sup- 
 posed by Holbein, but not only beneath his excellence, 
 but painted (at least two of them), if painted, as in all 
 likelihood they were on the several occasions, before the 
 arrival of that great master in England. 
 
 Of another painter mentioned in the payments above we 
 know still less than of Toto. He is there called Gerard 
 Luke Horneband. Vermander and Descamps call him 
 Gerard Horrebout, and both mention him as painter to 
 Henry VIII. He was of Ghent, where were his principal 
 works, but none are known in England as his. 4 In the 
 same book of payments are mentioned two other painters, 
 Andrew Oret, and one Ambrose, painter to the Queen of 
 
 i Vasari adds that Luca Penni addicted himself latterly to making designs for 
 
 Flemish engravers. This is the mark on his prints, 
 Romano. 
 
 that is, Lnca Penni 
 
 2 It is not very surprising that a prince of seemingly so martial a disposition 
 should make so little figure in the roll of conquerors, when we observe, by this 
 picture, that the magnificence of his armament engaged so much of his attention. 
 His ships are as sumptuous as Cleopatra's galley on the Cydnus. 
 
 3 This bad judgment was made even by Mr. Evelyn in his Discourse on Medals. 
 
 4 Susanna, the sister of Luke Horneband, painter in miniature, was invited, says 
 Vasari, into the service of Henry VIII. and lived honourably in England to the 
 end of her life. — [Gerard Horebout was born at Ghent, about 1498, and settled in 
 this country, where he died in 1558, as court painter to Philip and Mary. He was 
 the father of Luke and Susannah Horebout. The latter is said to have married 
 an English sculptor, of the name of Whorstley, and to have died at Worcester. See 
 Immexzeel, Levens en Werken der Hollandsche Kwistschilders, Sec . — TF.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 63 
 
 Navarre. The former indeed was of no great rank, re- 
 ceiving 30Z. for painting and covering the king's barge ; 
 the latter had 20 crowns for bringing a picture to the 
 king's grace at Eltham. 
 
 Henry had another serjeant-painter, whose name was 
 Andrew Wright ; he lived in Southwark, and had a grant 1 
 of arms from Sir Thomas Wriothesly 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 itself was upon any respectable footing : they had not 
 arrived even at the common terms for its productions. In 
 the inventory 2 in the Augmentation Office, which I have 
 mentioned, containing an account of goods, pictures, and 
 furniture, in the palace of Westminster, under the care of 
 Sir Anthony Denny, keeper of the wardrobe, it appears that 
 they called a picture, a table ivith a picture ; 3 prints, cloths 
 stained with a picture ; and models and bas reliefs, they 
 termed pictures of earth ; for instance : 
 
 " Item, One table with the picture of the Duchess of Milan, being her 
 whole stature. 
 
 Item, One table with the history of Filius Prodigus. 
 
 Item, One folding table of the Passion, set in gilt leather. 
 
 Item, One table like a book, with the pictures of the King's Majesty and 
 Queen Jane. 
 
 Item, One other table with the whole stature of my lord Prince his grace, 
 stained upon cloth with a curtain. 
 
 Item, One table of the history of Christiana Patientia. 
 
 Item, One table of the Passion, of cloth of gold, adorned with pearls and 
 rubies. 
 
 Item, One table of russet and black, of the parable of the 18th chapter of 
 Matthew, raised with liquid gold and silver. 
 
 Item, One table of the King's highness, standing upon a mitre with three 
 crowns, having a serpent with seven heads going out of it, and having a sword 
 in his hand, whereon is written, Verbum Dei. 
 
 Item, One cloth stained with Phebus rideing with his cart in the air, with 
 the history of him. 
 
 Item, One picture of Moses made of earth, and set in a box of wood." 4 
 
 1 From a MS. in the possession of the late Peter Leneve Norroy. In the British 
 Museum, among the Harleian MSS. is a grant of arms and crest to the Craft of 
 Painters, dated in the first year of Henry VIII. 
 
 2 See note to the first Supplement in this volume. 
 
 3 [Tabula picta (a panel painted) was the common Latin expression for an easel 
 picture, among the Romans and in later ages. — W.] 
 
 4 In an old chapter house at Christ Church, Oxford, I discovered two portraits 
 admirably painted, and in the most perfect preservation, which certainly belonged 
 to Henry VIII. , the one an elderly, the other a young man, both in black bonnets, 
 
64 
 
 PAINTERS IN THE REIGN OF HENRY VilL 
 
 Another serjeant painter in this reign was John Brown, 1 
 who, if he threw no great lustre on his profession, was at 
 least a benefactor to its professors. In the 24th of Henry 
 he built Painter's Hall for the company, 2 where his portrait 
 is still preserved among other pictures given by persons of 
 the society. Their first charter, in which they are styled 
 Peyntours, was granted in the 6th of Edward IV., but they 
 had existed as a fraternity long before. Holme Clarenceux, 
 in the 1st of Henry VII. , granted them arms, viz. azure, a 
 che vron, or, between three heads of phoenixes erased. They 
 were again incorporated or confirmed by charter of the 23d 
 of Queen Elizabeth, 1581, by the title of Painter-stainers. 
 
 In this reign flourished 
 
 LUCAS COENELII, 3 
 
 who was both son and scholar of Cornelius Engelbert, but 
 reduced to support himself as a cook, so low at that time 
 were sunk the arts in Leyden, his country. He excelled 
 both in oil and miniature, and hearing the encouragement 
 bestowed on his profession by Henry VIII., came to Eng- 
 land, with his wife and seven or eight children, and was 
 made his majesty's painter. Some of his works in both 
 kinds are still preserved at Leyden ; one particularly, the 
 
 and large as life. On the back of the one is this mark, -^ 0 -jfJ^22 » 011 ^ ne otner > 
 
 No. ^5. In the catalogue of King Henry's pictures in the Augmentation 
 
 Office, No. 25, is Frederic, Duke of Saxony ; No. 26, is Philip, Archduke of Austria, 
 in all probability these 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 Wise, Duke of Saxony, died in 1525, about a year before Holbein came to Eng- 
 land, but the Archduke Philip died when Holbein was not above eight years of 
 age : Holbein might have drawn this prince from another picture, as a small one 
 of him, when a boy, in my possession, has all the appearance of Holbein's hand. 
 Whoever painted the pictures at Oxford, they are two capital portraits. 
 
 1 His arms were, argent, on a fess counter- embattled, sable, three escallops of 
 the first ; on a canton, quarterly gules and azure, a leopard's head caboshed, or. 
 
 2 Camden, whose father was a painter in the Old Bailey, gave a silver cup $nd 
 cover to the company of Painter-stainers, which they use on St. Luke's day, at 
 their election, the old master drinking out of it to his successor elect. Upon this 
 cup is the following inscription: " Gul. Camdenus Clarenceux, nlius Samsonis, 
 pictoris Londinensis, dedit." — Maitland. 
 
 3 See Sandrart, p. 232. — [Lucas Cornelisz, that is. the son of Cornells (Engel- 
 brechtsz), was born at Leyden, in 1495 ; he died, according to some accounts, in 
 1552, but on what authority is not stated.— W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 65 
 
 story of the woman taken in adultery. His chief perform- 
 ances extant in England are at Penshurst, as appears by 
 
 this mark on one of them, , that is, Lucas Cornelii 
 
 pinxit. They are a series, in sixteen pieces/ of the consta- 
 bles of Queenborough Castle, 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 probability painted from the 
 best memorials then extant ; and some of them, representa- 
 tions of remarkable persons, of whom no other image re- 
 mains. Of these, the greatest curiosities are, Eobert de 
 Vere, the great Duke of Ireland, and George, the unfor- 
 tunate Duke of Clarence. Harris, in his history of Kent, 2 
 quotes an itinerary by one J ohnston, who says, that in 1 629 
 he saw at the house of the minister of Gillingham, the por- 
 trait of Sir Edward Hobby, the last governor but one, who 
 had carefully assembled all the portraits of his predeces- 
 sors, and added his own ; but at that time they were all 
 lost or dispersed ; he did not know, it seems, that they 
 had been removed to Penshurst ; nor can we now discover 
 at what time they were transported thither. 
 
 Many more of the works of Lucas Cornelii were bought 
 up and brought to England by merchants, who followed 
 Eobert Dudley, Earl of Leicester, into the Low Countries, 
 and who had observed how much his master was esteemed 
 here. However, none of these performers were worthy the 
 patronage of so great a prince ; 3 his munificence was but 
 ill bestowed, till it centred on— 
 
 1 One of them, I have heard, was given by Mr. Perry, the last master of 
 Penshurst, to Mr. Velters Cornwall. It was the portrait of his ancestor, Sir John 
 Cornwall. 
 
 2 Page 377. 
 
 3 Walpole's observation on the incompetency of the artists who were invited into 
 England before Holbein must be rather taken in a comparative sense, because the 
 fame they had gained before their arrival, in the schools of art where they had 
 studied, and the value of their works in their own country, after death, absolutely 
 excludes the idea of their positive inferiority. — D. 
 
 VOL. I. 
 
66 
 
 PAINTERS IN THE REIGN OP HENRY VIII. 
 
 HANS HOLBEIN. 
 
 (1498—1554.) t 
 
 Few excellent artists have had more justice done to their 
 merit than Holbein. His country has paid the highest 
 honours to his memory and to his labours. His life has 
 been frequently written ; every circumstance that could be 
 recovered in relation to him has been sedulously preserved ; 
 and, as always happens to a real genius, he has been compli- 
 mented with a thousand wretched performances that were 
 unworthy of him. The year of his birth, the place of his 
 birth, have been contested ; yet it is certain that the former 
 happened in 1498, and the latter, most probably, was Basil. 2 
 His father was a painter of Augsburg, and so much esteem- 
 ed that the Lord of Walberg 3 paid a hundred florins to the 
 monastery of St. Catherine for a large picture of the Saluta- 
 tion painted by him. He executed too, in half figures, the 
 Life of St. Paul, on which he wrote this inscription : u This 
 work was completed by J. Holbein, a citizen of Augsburg, 
 149 9." 4 John Holbein, the elder, had a brother called 
 Sigismond, a painter too. Hans, so early as 1512, drew 
 the pictures of both, which came into the possession of San- 
 drart, who has engraved them in his book, and which, if not 
 extremely improved by the engraver, are indeed admirable 
 performances for a boy of fourteen. 
 
 I have said that in the register'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 
 
 1 [The addition of the dates of the birth and death of a painter, beneath his 
 name, as in this case, has its advantages, though the information may be repeated 
 in the text. They were omitted by Walpole, but Dallaway inserted them in his 
 edition of the Anecdotes, &c. ; the same plan has been adopted in this edition, in 
 which many erroneous dates have been corrected, and a great number added. — W.] 
 
 2 [According to more recent researches, Augsburg has been ascertained to have 
 been the place of Holbein's birth, and he resided there the first eighteen years of 
 tis life. Holbein's father and grandfather were also both natives of Augsburg, 
 and they both bore the name of Hans or Johannes. See Passavant, Zte^ragre zur 
 Kentniss der alien malerschulen Deutschlands, in the Kunstblatt for 1846, Nos. 
 45, 46.— W.] 
 
 3 [Herr von Walberg, — W.] 
 
 4 [This date belongs to another work. The inscription, which was on a frame, 
 long since laid aside, was : " Prsesens Opus «omplevit Johannes Holbein Civis 
 Augustanus. This picture, painted about 15 04-5, is now in the Royal Picture 
 Gallery at Augsburg. — W.] 
 
1 
 
PAINTERS IN THE REIGN OF HENRY VIII. 67 
 
 mentioned by some of the biographers of the son ; but I find 
 it nowhere hinted that the father was ever in England. It 
 is more likely to have been the uncle, who, we have seen, 
 was a painter, and do not find that he was a very good one. 
 He might have come over, and died here in obscurity. 1 
 
 Holbein's inclination to drawing appeared very early, and 
 could not fail of being encouraged in a family 2 so addicted 
 to the art. His father himself instructed him ; and he 
 learned besides, graving, casting, modelling, and architec- 
 ture ; in the two latter branches he was excellent. Yet with 
 both talents and taste, he for some time remained in indi- 
 gence, dissipating with women what he acquired by the 
 former, and drowning in wine the delicacy of the latter. At 
 that time Erasmus was retired to Basil, a man whose luck 
 of fame was derived from all the circumstances which he 
 himself reckoned unfortunate. He lived when learning was 
 just emerging out of barbarism, and shone by lamenting 
 elegantly the defects of his contemporaries. His being one 
 of the first to attack superstitions which he had not courage 
 to relinquish, gave him merit in the eyes of Protestants, 
 while his time-serving had an air of moderation ; and his 
 very poverty that threw him into servile adulation ex- 
 pressed itself in terms that were beautiful enough to be 
 transmitted to posterity. His cupboard of plate, all pre- 
 sented to him by the greatest men of the age, w r as at once 
 a monument of his flattery and genius. With a mind so 
 polished, no wonder he distinguished the talents of young 
 Holbein. He was warmly recommended to employment 
 by Erasmus and Amerbach, 3 a printer of that city. He 
 painted the picture of the latter in 1519, 4 who showing 
 
 1 [This inference is contradicted by facts. Sigmund Holbein settled at Bern, and 
 made his will there in 1540, previous to a journey to his relations at Augsburg, 
 where he probably died. Hans Holbein, the j^ounger, was his principal heir. This 
 will is still preserved at Bern. See Passavant, I. I. — W.] 
 
 2 Holbein had two brothers, Ambrose and Bruno, who were also painters at 
 Basil. 
 
 3 See an account of him in Palmer's History of Printing, p. 218. 
 
 4 [It was in this year, 1519, that Holbein settled in Basil ; but he appears, from 
 the dates of still existing pictures painted there, to have paid it two previous 
 visits — first in 1513, and afterwards in 1516. His last works executed at Augsburg 
 are dated 1516. Passavant, l.l., and Hegner, Hans Holbein der Jiingere. Berlin, 
 1827.— W.] 
 
 F 2 
 
68 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 him the Morice Encomium of the former, Holbein drew 
 on the margin many of the characters described in the 
 book. Erasmus was so pleased with those sketches that 
 he kept the book ten days— the subsequent incidents were 
 trifling indeed, and not much to the honour of the polite- 
 ness of either. Holbein, rudely enough, wrote under the 
 figure of an old student, the name of Erasmus. The 
 author, with very little spirit of repartee, wrote under a 
 fellow drinking, the name of Holbein. These are anecdotes 
 certainly not worth repeating for their importance, but 
 very descriptive of the esteem in which two men were held 
 of whom such anecdotes could be thought worth preserving. 1 
 
 Supported by the protection of these friends, Holbein 
 grew into great reputation. The Earl of Arundel, 2 return- 
 ing from Italy through Basil, saw his works, was charmed 
 with them, and advised him to go into England. 3 At first 
 Holbein neglected this advice : but in 1526, his family 
 and the froward temper of his wife increasing, and his 
 business declining, he determined upon that journey, 
 
 At first he said he should quit Basil but for a time, and 
 only to raise the value of his works, which were growing too 
 numerous there ; yet before he went he intimated that he 
 should leave a specimen of the power of his abilities. He 
 had still at his house a portrait that he had just finished for 
 one of his patrons — on the forehead he painted a fly, and 
 sent the picture to the person for whom it was designed. 
 The gentleman, struck with the beauty of the piece, went 
 eagerly to brush off the fly — and found the deceit. The 
 story soon spread, and as such trifling deceptions often do, 
 made more impression than greater excellences. 4 Orders 
 
 1 In the Morice Encomium, published at Basil, by M. Patin, 1656, with cuts 
 from. Holbein's designs, there is a large account of him collected by Patin, and a 
 catalogue of his works. On those drawings were written the following lines : 
 
 ' i Rex Macedon Coo tumidus pictore, cani se 
 Maeoniae doluit non potuisse sene. 
 Stultitiae potior sors est : hanc alter Apelles 
 Pingit, et eloquium laudat, Erasme, tuum. 
 
 Seb. Feschius Basil." 
 
 2 Others say it was the Earl of Surrey who was travelling into Italy ; and that 
 Holbein, not recollecting his name, drew his picture by memory, and that Sir 
 Thomas More immediatly knew it to be that lord. 
 
 3 [This story appears to be unauthenticated. — W.] 
 
 4 [This anecdote is told of many painters. — W.] 
 
PAINTERS IN THE EEIGN OF HENRY VIII. 69 
 
 were immediately given to prevent tlie city being deprived 
 of so wonderful an artist — but Holbein had withdrawn him- 
 self privately. Erasmus 1 had given him recommendatory 
 letters to Sir Thomas More, with a present of his own pic- 
 ture by Holbein, which he assured the chancellor was more 
 like than one drawn by Albert Diirer. 2 Holbein stopped for 
 a short time at Antwerp, having other letters for P.iEgidius, 
 a common friend of Erasmus and More. In those letters 
 the former tells iEgidius that Holbein was very desirous of 
 seeing the works of QuintinMatsis^the celebrated blacksmith 
 painter, whose tools, it is said, love converted into a pencil. 8 
 Of this master Holbein had no occasion to be jealous : with 
 
 1 Erasmus wrote to Peter iEgidius to introduce Holbein, when at Antwerp on 
 his way to England. " Qui has reddit, est qui me pinxit, ejus commendatione te 
 non gravabo, quanquam est insignis artifex. Si cupiat visere, Quintinum (Matsys) 
 ejus poteris commonstrare domum. Hie {Basle) artes frigent, petit Angliam, ut 
 corrodat, aliquot Angellotos" alluding to an English gold coin, then called 
 "Angels," current in the reigns of Henry VII. and VIII. — D. 
 
 2 At Lord Folkston's, at Longford in Wiltshire, are the portraits of Erasmus and 
 Aegidius, said to be drawn by Holbein ; they belonged to Dr. Meade, and while in 
 his collection had the following lines written on the frames, and still remaining 
 there : on that of Erasmus, 
 
 6 ' E tenebris clarum doctrinae attollere lumen 
 Qui felix potuit, primus Erasmus erat." 
 On Aegidus, 
 " jEgidium musis charum dilexit Erasmus ; 
 Spirat ab Holbenio pictus uterque tuo." 
 The latter is far the better ; that of Erasmus is stiff and flat. However, this is* 
 believed to be the very picture which Erasmus sent by Holbein himself to Sir 
 Thomas More/" and which was afterwards in the cabinet of Andrew de Loo, and 
 from thence passed into the Arundelian collection. But I should rather think it 
 is the picture which was in King Charles's (see his Catal. No. 13, p. 154), where 
 it is said to have been painted by George Spenen, of Nuremberg. Quintin Matsis, 
 too, painted iEgidius, with which Sir Thomas More was so pleased that he wrote a 
 panegyric on the painter, beginning, 
 
 " Qaintine, o veteris novator artis, 
 Magno non minor artifix Apelle." 
 iEgidius held a letter in his hand from Sir Thomas, with his handwriting so well 
 imitated, that More could not distinguish it himself. Quintin, too, in the year 
 1521, drew the picture of the celebrated physician, Dr. Linacre. 
 
 3 [Quinten Matsys or Metsys, the Smith of Antwerp, was one of the most remark- 
 able painters of his time. He was born at Antwerp in 1450, and died there in 
 1529. The story of his love adventure, and his forsaking the anvil for the easel, 
 is alluded to in the following expressive words on the monument erected to him 
 at Antwerp, a century after his death — " Connubialis amor de Mulcibre fecit 
 Apellem."— W.] 
 
 * This identical portrait, which is exquisitely finished, of a small size, belongs to 
 the Hon. H. Howard, of Grey stoke Castle, Cumberland, where it is now preserved. 
 It was bequeathed by Alathea, Countess of Arundel, to her grandson, Charles 
 Howard, the immediate ancestor of the late Duke of Norfolk. — D. 
 
70 PAINTERS IN THE REIGN OF HENRY VIII, 
 
 great truth, and greater labour, Quintin's pictures are in- 
 ferior to Holbein's. The latter smoothed the stiffness of his 
 manner by a velvet softness and lustre of colouring; the per- 
 formances of his contemporary want that perfecting touch; 
 nor are there any evidences that Quintin could ascend above 
 the coarseness or deformities of nature. Holbein was equal 
 to dignified character. He could express the piercing genius 
 of More, or the grace of Anne Boleyn. Employed by More. 
 Holbein was employed as he ought to be ; this was the 
 h appy moment of his pencil j from painting the author, he 
 rose to the philosopher, and then sunk to work for the king. 
 I do not know a single countenance into which any master 
 has poured greater energy of expression than in the draw- 
 ing of Sir Thomas More at Kensington : it has a freedom, a 
 boldness of thought and acuteness of penetration that attest 
 the sincerity of the resemblance. It is Sir Thomas More in 
 the rigour of his sense, notin the sweetness of his pleasantry. 
 Here he is the unblemished magistrate,not that amiable phi- 
 losopher, whose humility neither power nor piety could elate, 
 and whose mirth even martyrdom could not spoil. Here he 
 is rather that single, cruel judge, whom one knows not how 
 to hate, and who, in the vigour of abilities, of knowledge, 
 and good humour, persecuted others in defence of super- 
 stitions that he himself had exposed ; and who, capable of 
 disdaining life at the price of his sincerity, yet thought 
 that God was to be served by promoting an imposture; who 
 triumphed over Henry and death, and sunk to be an ac- 
 complice, at least the dupe, of the Holy Maid of Kent ! 
 
 Holbein was kindly received by More, and was taken into 
 his house at Chelsea. There he worked for near three years, 
 drawing the portraits of Sir Thomas, his relations, and 
 friends. The king, visiting the chancellor, saw some of 
 those pictures, and expressed his satisfaction. Sir Thomas 
 begged him to accept whichever he liked ; but he inquired 
 for the painter, who was introduced to him. Henry im- 
 mediately took him into his own service, and told the chan- 
 cellor, that now he had got the artist, he did not want the 
 pictures. An apartment in the palace was immediately 
 allotted to Holbein, with a salary of 200 florins, besides his 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 71 
 
 being paid for his pictures : the price of them I nowhere 
 find. 
 
 Patin says that after three years Holbein returned to Basil 
 to display his good fortune, but soon returned to England. 
 It is not probable that he lived so long with Sir Thomas 
 More as is asserted. He drew the king several times, and I 
 suppose all his queens, though no portrait of Catherine Parr 1 
 is certainly known to be of his hand. He painted too the 
 king's children, and the chief persons of the court, as will 
 be mentioned hereafter. The writers of his life relate a 
 story, which Vermander, his first biographer, affirms came 
 from Dr. Isely of Basil and from Amerbach : yet, in another 
 place, Vermander complaining of the latter, to whom he says 
 he applied for anecdotes relating to Holbein and his works ; 
 after eight or ten years could get no other answer than 
 that it would cost a great deal of trouble to seek after those 
 things, and that he should expect to be well paid. The 
 story is, that one day as Holbein was privately drawing 
 some lady's picture for the king, a great lord forced himself 
 into the chamber. Holbein threw him down stairs ; the 
 peer cried out ; Holbein bolted himself in, escaped over the 
 top of the house, and running directly to the king, fell on 
 his knees, and besought his majesty to pardon him, without 
 declaring the offence. The king promised to forgive him if 
 he would tell the truth ; but soon began to repent, saying 
 he should not easily overlook such insults, and bade him 
 wait in the apartment till he had learned more of the matter. 
 Immediately arrived the lord with his complaint, but sink- 
 ing the provocation. At first the monarch heard the story 
 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 seven peasants I can 
 make as many lords, but not one Holbein — begone, and 
 remember, that if ever you pretend to revenge yourself, I 
 shall look on any injury offered to the painter as done to 
 
 1 Mr. Dawson Turner, of Yarmouth, Norfolk, lias a portrait attributed to Hol- 
 bein, of this queen, from which an engraving has been lately taken for Mr. Lodge's 
 Portraits of Illustrious Personages. It differs considerably from the beautiful 
 miniature of her (formerly) at Strawberry-hill. — D. 
 
72 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 myself." Henry's behaviour is certainly the most probable 
 part of the story. 1 
 
 After the death of Jane Seymour, Holbein was sent to 
 Flanders to draw the picture of the Duchess Dowager of 
 Milan/ widow of Francis 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 majesty on his escape, as 
 the duchess's chastity was a little equivocal. If it was, 
 considering Henry's temper, I am apt to think that the 
 duchess had the greater escape. It was about the same 
 time that it is said she herself sent the king word, " That 
 she had but one head ; if she had two one of them should 
 be at his majesty's service." 3 
 
 Holbein was next despatched by Cromwell to draw the 
 Lady Anne of Cleve, and by practising the common flattery 
 of his profession, was the immediate cause of the destruc- 
 tion of that great subject, and of the disgrace that fell on 
 the princess herself. He drew so favourable a likeness, 4 
 that Henry was content to wed her ; but when he found her 
 so inferior to the miniature, the storm which really should 
 have been directed at the painter, burst on the minister ; 
 and Cromwell lost his head, because Anne was a Flanders 
 mare, not a Venus, as Holbein had represented her. 
 
 Little more occurs memorable of this great painter, but 
 
 1 Lovelace, in his collection of poems called Lucasta, has an epigram on this 
 subject, but it is not worth repeating. 
 
 2 Christiana, daughter of Christiern, King of Denmark. Lord Herbert says that 
 Holbein drew her picture in three hours, p. 496. 
 
 3 Vertue saw a whole length of this princess at Mr. Howard's, in Soho Square. 
 Such a picture is mentioned to have been in the royal collections. 
 
 4 This very picture, as is supposed, was in the possession of Mr. Barrett, of Kent, 
 whose collection was sold a few years ago, but the family reserved this and some 
 other curiosities. The print among the illustrious heads is taken from it : and so 
 far justifies the king, that he certainly was not nice, if from that picture he con- 
 cluded her handsome enough. It has so little beauty, that I should doubt of its 
 being the very portrait in question — it rather seems to have been drawn after Hol- 
 bein saw a little with the king's eyes. 
 
 I have seen that picture in the cabinet of the present Mr. Barrett, of Lee, and 
 think it the most exquisitely perfect of all Holbein's works as well as in the highest 
 preservation. The print gives a very inadequate idea of it, and none of her Flemish 
 fairness. It is preserved in the ivory box in which it came over, and which repre- 
 sents a rose, so delicately carved as to be worthy of the jewel it contains. 
 
 Now (1826) in possession of his great nephew, T, Brydges Barret, Esq. — D. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 73 
 
 that in 1538, the city of Basil, on the increase of his fame, 
 bestowed an annuity of fifty florins on him for two years, 
 hoping, says my author, that it would induce him to return 
 to his country, to his wife and his children. 1 How large 
 soever that salary might seem in the eyes of frugal Swiss 
 citizens, it is plain it di d not weigh with Holbein against the 
 opulence of the court of England. He remained here till 
 his death, which was occasioned by the plague, in the year 
 1554, in the fifty- sixth year of his age. 2 Some accounts 
 make him die in the spot where is now the paper-office ; but 
 that is not likely, as that very place had been King Henry's 
 private study, and was then appointed for the reception of 
 the letters and papers left by that prince, and of other public 
 papers. Vertue thought, if he died in the precincts of the 
 palace, that it was in some slight 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 last in the Duke of Norfolk's house, in the 
 priory of Christ Church, 3 near Aldgate, then called Duke's 
 Place, having been removed from Whitehall, to make room 
 for the train of Philip, to whom Queen Mary was going to 
 be married. 4 The spot of his interment was as uncertain as 
 that of his death. Thomas, Earl of Arundel, the celebrated 
 collector in the reign of Charles I., was desirous of erecting 
 a monument for him, but dropped the designfrom ignorance 
 of the place. Strype, in his edition of Stowes Survey, 
 says that he was buried in St. Catherine Cree Church, 
 which stands in the cemetery of that dissolved priory, and 
 consequently close to his patron's house. 
 
 Who his wife was, or what family he left, we are not 
 
 1 [Or rather, remain with. Holbein visited Basil in 1538, for the last time ; he 
 returned, apparently in the same year, to England. — W. ] 
 
 2 [Van Mander, Set Schildcr Boelc, &c. 1604. Haarlem. Sandrart, IS Accidentia, 
 Todesea, or Teutsche Academic der Edlen Ban — Bild — und Mahlery — Kiinste, 
 vol. ii. Niirnberg, 1675. Vita Johannis Holbcnii Geradi Littrij, 8vo. 1676. 
 C. de Meehel, (Euvres de lean Holbein, ou Recueil de Gravures d'ap*es ses plus 
 beaux Ouvrages. Basle, 4to. 1780. Hegner, Hans Holbein der Jilngere. Berlin, 
 1827.— W.] 
 
 3 There was a priory given at the dissolution to Sir Thomas Audley, from whose 
 family it came, by marriage, to the Duke of Norfolk, but this was not till four years 
 after the death of Holbein ; consequently Vertue's conjecture is not well grounded. 
 
 4 Holbein was not likely to be in favour in that reign, being supposed a Pro- 
 testant. 
 
74 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 told ; mention of some of his children will be made in 
 the list of his works. 
 
 Holbein painted in oil, in distemper, and water-colours. 
 He had never practised the last till he came to England, 
 where he learned it of Lucas Cornelii, and carried it to 
 the highest perfection. His miniatures have all the strength 
 of oil colours, joined to the most finished delicacy. He 
 generally painted on a green ground ; in his small pictures 
 often on a deep blue. There is a tradition that he painted 
 with his left hand, like the Eoman knight, Turpilius, 1 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. 2 
 
 It is impossible to give a complete catalogue of his 
 works ; they were extremely numerous ; and, as I have 
 said, that number is increased by copies, by doubtful or 
 by pretended pieces. Many have probably not come to 
 my knowledge ; those I shall mention were of his hand, 
 as far as I can judge. 
 
 From his drawings for the Morioe Encomium there 
 have been prints to many editions, and yet they are by 
 no means the most meritorious of his performances. 
 
 At Basil, in the town-house, are eight pieces of the 
 history of Christ's Passion and Crucifixion. 3 Maximilian, 
 Duke of Bavaria, offered a great sum for them. 4 
 
 Three of the walls in the upper part of the same edifice 
 are adorned with histories by him. 
 
 In the library of the University there is a dead Christ, 
 painted on board in the year 1521. In the same place, 
 the Lord's Supper, much damaged. 
 
 Another there on the same subject, drawn by Holbein, 
 when very young. Christ scourged ; in the same place, 
 but not very well painted. 
 
 1 [Pliny mentions some works by him at Verona, which were painted with his 
 left hand. Hist. Nat xxxv. 7.— W.] 
 
 2 It is evident that Holbein did not confine himself to work exclusively with his 
 left hand, but that he used either hand at pleasure. Both Leonardo da Vinci and 
 himself were ambi-dextrous. — D. 
 
 3 Engraved in Mechel's work : which contains likewise Le Triomphe des Rich- 
 esses et de la Pauvrete, hereafter noticed. — D. 
 
 4 [30,000 florins. — W.] 
 
PAINTERS IK THE REIGN OF HENRY VIII. 75 
 
 Ibidem, A board painted on both sides ; a schoolmaster 
 teaching boys. It is supposed to have been a sign to 
 some private school, 1516. 
 
 Ibidem, A profile of Erasmus writing his Commentary 
 on St. Matthew. 
 
 Ibidem, The same in an oval ; smaller. 
 
 Ibidem, The portrait of Amerbach. 
 
 Ibidem, A woman sitting with a girl in her arms, 
 and stroking a little boy. These are said to be Holbein's 
 wife and children. This has been engraved by Joseph 
 Wirtz. 
 
 Ibidem, A lady of Alsace, with a boy. 
 Ibidem, A beautiful woman, inscribed Lais Corinthiaca, 
 1526. 
 
 Ibidem, Adam and Eve, half figures, 1517. 
 
 Ibidem,Two pictures in chiaro 'scuro, of Christ, crowned 
 with thorns, and the Virgin praying. 
 
 Ibidem, One hundred and three sketches on paper, col- 
 lected by Amerbach ; who has written on them Hans 
 Holbein genuina. They are chiefly designs for the Life 
 of Christ, and some for the family of Sir Thomas More. 
 Many of them are thought to have been patterns for glass 
 painters. I have heard that at Basil there are paintings 
 on glass, both by Holbein himself and his father. 
 
 Ibidem, Two death's heads near a grate. 
 
 Ibidem, The portrait of J ohn Holbein (I do not know 
 whether father or son) in a red hat, and a white habit 
 trimmed with black. 
 
 The portrait of James Mejer, consul or burgomaster of 
 Basil and his wife, 1516, with the sketches for both pic- 
 tures. In the museum of Feschius. 
 
 Erasmus, in the same place. 
 
 In the street called Eissengasse is a whole house painted 
 by him on the outside, with buildings and history. For 
 this he received sixty florins. 
 
 The Emperor Charles V. Le Blond, a Dutch painter, 1 
 
 i So I find him called in the list of Holbein's works prefixed to the English 
 edition of the M or ice Encomium ; Sandrart mentions another person of almost the 
 same name, who he says was the Swedish minister in Holland, and that he, San- 
 drart, gave him an original portrait of Holbein. He adds, that Mons. Le Blon 
 
76 PA-INTERS m THE REIGN OF HENRY VIII. 
 
 gave a hundred crowns for this at Lyons in 1633, for the 
 Duke of Buckingham. 
 
 Another portrait of Erasmus, bought at Basil by the 
 same Le Blond for a hundred ducats. This was engraved 
 in Holland by Vischer. It is mentioned in the catalogue 
 of the dukes pictures, p. 17, No. 6. To this was joined 
 the portrait of Frobenius. Both pictures are now 1 at 
 Kensington ; but the architecture in the latter was added 
 afterwards by Stenwyck. 
 
 A large picture, containing the portraits of the Consul 
 Mejer and his sons on one side, and of his wife and daugh- 
 ters on the other, all praying before an altar. This was 
 sold at Basil for a hundred pieces of gold ; the same Le 
 Blond in 1 633 gave a thousand rix- dollars for it, and sold it 
 for three times that sum to Mary de Medici, then inHolland. 2 
 
 Another portrait of Erasmus ; at Vienna. 
 
 Another there, supposed the father of Sir Thomas More. 
 This was reckoned one of his capital works. 
 
 Two pieces, about five feet high, representing monks 
 digging up the bones of some saint, and carrying them in 
 procession j at Vienna. 
 
 A picture, about four feet square, of dancing, hunting, 
 tilting and other sports * in the public library at Zurich. 
 
 The inside of a church, the Virgin and apostles ; angels 
 singing above ; in the collection of Mr. Werdmyller at 
 Zurich. 
 
 The portrait of an English nobleman, in the same cabinet. 
 The portrait of Conrad Pelican, professor of Theology 
 
 had another picture by Holbein of a learned man, and Death with an hour-glass, 
 and a building behind ; and that Le Blon, being earnestly solicited, had sold to 
 J. Lossert, a painter, for three hundred florins, a picture of the Virgin and Child by 
 the same master. Le Blon had also some figures by Holbein, particularly a Venus 
 and Cupid, finely modelled. There is a print of the Swedish Le Blon, after Van- 
 dyke, by Theo. Matham, thus inscribed — Michel Le Blon, Agent de la Reyne et 
 Couronne de Suede chez sa Majestie de la Grande Bretagne. 
 
 1 But the Erasmus is thought a copy : the true one King Charles gave to Mons. 
 de Liencourt, see Catal. p. 18. The Frobenius was given to the King by the Duke 
 of Buckingham just before he went to the Isle of Khee. — [These pictures are now 
 at Hampton-court. — W.] 
 
 2 [This work is considered Holbein's master-piece. It is now in the Gallery at 
 Dresden, and there is a copy or duplicate of it in the Gallery at Berlin. It is 
 engraved by Catherine Patin ; in wood by Unzelmann in Count Raczinsky's His- 
 toire de V Art Modcrne en AUcmagne ; and there is a beautiful lithograph of it by 
 Hanfstangel. Meyer was a burgomaster of Basil. — W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 77 
 
 and Hebrew at Zurich ; in the house of Mr. Martyn 
 Werdmyller, senator of Basil. 
 
 Christ in his cradle, the Virgin and Joseph ; Shepherds 
 at a distance ; in the church of the Augustines at Lucerne. 
 
 The Adoration of the Wise men, ibidem. 
 
 Christ taken from the cross, ibidem. 
 
 The San eta Veronica, ibidem. 
 
 Christ teaching in the Temple, ibidem. 
 
 Christ on the cross ; the Virgin and St. John s with 
 inscriptions in Hebrew, Greek, and Latin. 
 
 All the prophets, in nine pieces, each a yard long ; 
 painted in distemper. These were carried to Holland by 
 Barthol. Sarbruck, a painter, who made copies of them, 
 preserved in the Feschian museum. 
 
 The picture of Queen Mary ; Dr. Patin had it and the 
 following : 
 
 An old man with a red forked beard, supposed to be a 
 grand master of Ehodes. 
 
 The Dance of Death, in the churchyard of the Predicants 
 of the suburbs of St. John at Basil, is always ascribed to 
 Holbein, and is shown to strangers through a grate. And 
 yet, as Vertue observed, our painter had undoubtedly no 
 hand in it. Pope Eugenius IV. appointed the Council of 
 Basil in 1431, and it sat there fifteen years, during which 
 time a plague raged that carried off all degrees of people. 
 On the cessation of it, the work in question was imme- 
 diately painted as a memorial of that calamity. Holbein 
 could not be the original 1 painter, for he was not born till 
 
 1 [It is now generally allowed that Holbein never painted any Dance of Death ; 
 but he is the author of a series of designs known as the " Triumph of Death," cut 
 in wood and first published at Lyons in 1538 : they were engraved afterwards by 
 Hollar and others. These are, however, quite distinct from the designs alluded to 
 in the text. The cuts are attributed by some to Holbein himself, and by others to 
 Hans Liitzelburger. See Eumohr, Hans Holbein der Jungere in seinem Ver~ 
 haltniss zum Deutschen Formschnittwesen, 1836, and Nagler Neues Allgemeines 
 Kunstler Lexicon, article Liitzelbiirger. — W.] 
 
 At Munich Mr. Dibdin saw a series of these figures, which are (he says) indis- 
 putably the oldest of their kind extant, as old probably as the middle of the fif- 
 teenth century. The figure of Death is always entwined by a serpent, and when 
 before a Pope is represented as playing upon bagpipes." (Bibliograph. Tour, 
 vol. iii. p. 278.) The fact appears to be that Holbein was not the inventor of the 
 original idea, but that he very greatly improved it. The earliest edition of the 
 Dance of Death known, was published at Lyons in 1538. Warton, in his Essay 
 on Spenser, (vol. ii. pp. 115 — 121 ; ) gives an admirable critique on this subject, 
 
78 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 1498 ; nor had lie any hand in the part that was added in 
 1529, at which time he had left Basil. Even if he had 
 been there when it was done (which was about the time of 
 his short return thither) it is not probable that mention of 
 him would have been omitted in the inscription which the 
 magistrates caused to be placed under those paintings, espe- 
 cially when the name of one Hugo Klauber, a painter who 
 repaired them in 1 5 6 9, is carefully recorded. But there is 
 a stronger proof of their not being the work of Holbein, 
 and at the same time an evidence of his taste. The paint- 
 ings at Basil are a dull series of figures, of a pope, emperor, 
 king, queen, &c, each seized by a figure of Death ; but in 
 the prints which Hollar has given of Holbein's drawings 
 of Death's Dance, a design he borrowed from the work at 
 Basil, there are groups of figures, and a richness of fancy 
 and invention peculiar to himself. Every subject is varied, 
 and adorned with buildings and habits of the times, which 
 he had the singular art of making picturesque. 1 
 
 At Amsterdam in the Warmoes-street was a fine picture 
 of a queen of England in silver tissue. 
 
 Two portraits of himself, one, a small round, 2 was in the 
 cabinet of James Razet ; the other, as big as the palm of a 
 hand, in the collection of Barth. Ferrers. 
 
 Sandrart had drawings by Holbein of Christ's Passion, 
 in folio ; two of them were wanting ; in his book he 
 offers two hundred florins to whoever will produce and 
 sell them to him, p. 24 1. 3 
 
 In the King of France's collection are the following. 4 
 
 1. Archbishop Warham, aet. suae. 70, 1527. There is 
 
 which must be injured by an attempted abridgment. The book from which 
 Hollar copied these designs was published at Basle, in 1554, entitled, " Icones 
 Mortis. " Spenser alludes to some of these representations, which in his age were 
 fashionable and familiar : 
 
 " All musicke sleepes, where Death doth lead the daunce." 
 See likewise, Wartorts His. Poet. vol. ii. p. 364 n. 8vo. — D. 
 
 1 This subject was painted in fresco on the walls of the cloisters of Old St. Paul's 
 Cathedral, about 1440. Stowe's Survey of London, p. 264. Dugdale's Hist , of 
 St. Paul's, and Lidgate's Daunce of Maccabre. — D. 
 
 2 Mr. George Augustus Selwyn has one that answers exactly to this account, 
 and is in good preservation. Mr. Walpole has another, and better preserved. 
 
 3 [Of the Latin translation, p. 252 of the original. — W.] 
 
 4 These pictures are still in the collection of the King of France at the Louvre, 
 St. Germain, Guide des Amateurs, 1818. — D. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 79 
 
 another of these at Lambeth. Archbishop Parker entailed 
 this, and another of Erasmus, on his successors; they were 
 stolen in the civil war, but Juxon repurchased the former. 
 
 2. The portrait of Nicholas Cratzer, astronomer to 
 Henry VIII. This man, after long residence in England, 
 had scarce learned to speak the language. The king asking 
 him how that happened, he replied, " I beseech your high- 
 ness to pardon me ; what can a man learn in only thirty 
 years ? " These two last pictures 1 were in the collection of 
 Andrew de Loo, a great virtuoso, who bought all the works 
 of Holbein he could procure ; among others, a portrait of 
 Erasmus, which King Charles afterwards exchanged for a 
 picture of Leonardo da Vinci. A drawing of Cratzer is 
 among the heads by Holbein at Kensington. Among 
 others in De Loo's collection was the fine Cromwell, Earl 
 of Essex, now at Mr. Southwell's, and engraved among 
 the illustrious heads. 2 
 
 3. Anne of Cleve. 
 
 4. Holbein's own portrait. 
 
 5. Erasmus writing ; a smaller picture. 
 
 6. An old man, with a gold chain. 
 
 7. Sir Thomas More, less than life. 
 
 8. An old man with beads, and a death's head. 
 
 In the collection of the Duke of Orleans are four heads ; 
 Another Cromwell Earl of Essex. 3 
 Sir Thomas More. 
 A lady. 
 
 1 Warham's came afterwards to Sir Walter Cope, who lived without Temple- 
 bar, over against the Lord Treasurer Salisbury, and had several of Holbein, which 
 passed by marriage to the Earl of Holland, and were for some time at Holland- 
 house. See Ox/ MSS. Yelvert, p. 118. Another of Cratzer remained at Holland- 
 house till the death of the Countess of Warwick, wife of Mr. Addison ; a fine 
 picture, strongly painted, representing him with several instruments before him, 
 and an inscription expressing that he was a Bavarian, of the age of forty-one in 
 1528. In one of the office-books are entries of payment to him : — 
 
 April, paid to Nicholas the Astronomer . . . 111. 
 
 Anno 23, paid to ditto 51. is. Od. 
 
 Cratzer in 1550 erected the dial at Corpus Christi Coll. Oxford. Brit Topogr. 
 vol. ii. p. 159. 
 
 m 2 De Loo had also the family picture of Sir Thomas More, which was bought by 
 his grandson Mr. Roper. 
 
 The portrait of the Earl of Essex is now (1826) at King's Weston near Bristol, 
 and a repetition at Sir T. Clifford's, Tixal, Staffordshire. — D. 
 
 3 There is a small head of him at Devonshire-house with this date, aet. 15, 1515. 
 
80 PAINTERS IN THE KEIGN OF HENRY VIII. 
 
 George Gysein. 1 
 
 But the greatest and best of his works were done in Eng- 
 land, many of which still remain here. Some were lost or 
 destroyed in the civil war ; some sold abroad at that time f 
 and some, particularly of his miniatures were, I believe, 
 
 1 This is a Dutch name : Peter Gyzen, born about 1636, was a painter, and 
 scholar of Velvet Breughel. Descamps, vol. iii. p. 41. 
 
 The four portraits above mentioned, upon the sale of the Orleans Gallery, were 
 brought with it into England, and first exhibited in 1793, previously to the general 
 sale, in 1798. — D. 
 
 2 In the Florence Gallery were small portraits of Henry, Earl of Surrey, and 
 Eichard Southwell, both purloined during its occupation by the French, in 1800. — D. 
 
 The Editor,* not without diffidence, offers an extended catalogue of the works of 
 Holbein, now remaining in England. This list (he wishes it to be understood) 
 does not pretend to indubitable verification of the portraits, noticed, as authentic. 
 Such he has selected, in addition to others mentioned by Walpole ; but he has 
 passed over, without offering any criticism, a few which have certainly long en- 
 joyed the credit of having been painted by Holbein, without contributing to his 
 fame in the least degree. He would be unwilling to give the slightest offence to 
 their possessors, by exciting doubts or obtruding opinions, even if such judgment 
 could confer or detract, a certain value. It must be recollected, too, that many 
 curious collections are accessible only by personal favour. 
 
 No doubt is entertained, that Holbein painted the portraits of the royal or more 
 eminent personages, more than once. These pictures may be fairly estimated as 
 repetitions. That in certain instances copies have been made by his assistants, or 
 his successors, is equally true. 
 
 PORTRAITS BY HOLBEIN, NOW IN ENGLAND. 
 
 In the Royal Palaces. 
 Windsor. iEgidius, or Peter Giles, the lawyer of 1 
 
 1. Sir Thomas More. Antwerp, his friend. In the same 
 
 2. ' Thomas, third Duke of Norfolk. I collection. 
 
 3. Henry, Earl of Surrey (w. I. ) hampton court. 
 
 4. Holstoff, a merchant. ^ 
 
 Erasmus. 
 
 Kensington. *[• John Keiskimer : 
 
 Holbein's Father, and his Mother, and Several portraits by Holbein are 
 
 J. H. sen. or his son Sigismond. said to have been preserved in 
 
 Himself and Wife [sm. ), water-colours. the royal palaces of Somerset or 
 
 Henry VIII. a head, white fur in the Denmark-house, taken down in 
 
 shoulders. 1775. Whitehall was burned in 
 
 Katherine of Aragon, with a Dwarf. 1698, and St. James's in 1809, 
 
 Sir Henry Guldeford. and the pictures have been either 
 
 William Somers, the King's Jester, destroyed, or replaced in others 
 
 looking through a lattice. of the king's residences. 
 
 Erasmus, valued at Charles I.'s sale at Erasmus {sm.), Greystoke Castle, Cum- 
 
 200Z. berland. The original. 
 
 rt* A^J&U architecture Thom ^ ^ f N rf ^ ( } 
 
 added by Steinwyck) H H ' oward> E ^ 
 
 Others at Hatfield, before 1527, at The same (A. I.), Norfolk House. 
 
 Althorp and Strawberry-hill. i) } Castle Howard, with a 
 
 Erasmus, at Althorp ; and at Strawberry- View of two Castles. 
 
 hill (round), at Longford Castle, for- (h. l.) 9 Thorndom 
 
 merly Dr. Mead's, sold for 110Z. (h. I. ), Gorhambury. 
 
 [Of the Edition of 1826, Dallaway.— W.] t [Now at Hampton Court.— W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 81 
 
 consumed when Whitehall was burned. There perished 
 the large picture of Henry VII. 1 and of Elizabeth of 
 York, of Henry VIII. and Jane Seymour ; it was painted 
 on the wall in the privy chamber. The copy which Remee 2 
 
 Henry VIII. (w.l.), bought at Lord Tor- 
 rington's sale, in 1778, for 1121., sit- 
 ting, holding a walking staff, at 
 Knole. 
 
 Francis I. at Lord Harrington's, 1780, 
 
 brought from Spain. 
 Henry VII. and Henry VIII. sketch in 
 black chalk, size of life, Chats worth. 
 Henry VIII. (sm.), was in the Duke of 
 
 Buckingham's collection. 
 The same (w.l.), at Petworth. 
 
 (w. I, ), at Belvoir Castle. 
 (head), Apuldercombe. 
 from Lee Court, Kent, Sir T. 
 Baring. 
 
 and Queen Catherine with the 
 divorce in her hand (sm. ), 
 Dalkeith. 
 
 Queen Anne Boleyn, half length, with 
 a velvet bonnet and single feather, 
 many jewels, Anna Regina,IH.1533. 
 
 Queen Anne Boleyn, Warwick Castle. 
 
 Queen Jane Seymour (1336), Woburn. 
 
 QueenCatherinePar,DawsonTurner,Esq. 
 
 Margaret, Queen of Scotland, Newbattle 
 Abbey. 
 
 King Edward VI. (w.l.), Petworth. 
 The same, when a child, with a rattle, 
 
 Apuldercombe. 
 Ditto (sm,w.l.), Houghton. 
 W. Warham, Archbishop of Canterbury, 
 
 Lambeth. At Ditchley. 
 Martin Luther, Stowe. 
 J. Fisher, Bishop of Ro jhester, St. John's 
 
 Coll. Cam. ; Didlington, Norfolk, 
 Sir John Gage, K.G. Belvidere, Kent. 
 Judge Montague, Liscombe, Bucks. 
 Lord Paget (a repetition), Beaudesert. 
 Sir Nicholas Carew, Lumley Castle. 
 Sir W. Petre, Thorndon. At Lumley 
 
 Castle. 
 
 H. Fitzalan, Earl of Arundel, Longleafc. 
 John Dudley, Duke of Northumberland, 
 
 Penshurst. , 
 Sir J. Brydges, first Lord Chandos, 
 
 Avington. 
 
 Sir A. Denny, and his Lady, Northum- 
 berland House. 
 
 The same, when Lord Denny, Longford 
 Castle. 
 
 Sir H. Guldeford and his Lady, North- 
 umberland House. 
 Sir J. More (Judge), Longleat. 
 Sir Edward Grimstone (1548, set. 20), 
 
 Gorhambury. 
 Sir Thomas Smyth, Secretary of State. 
 Edward Seymour, Duke of Somerset, at 
 
 Longleat, Stowe, and Castle Ashby. 
 Thomas, Lord Seymour of Sudely, at 
 
 Longleat, and at Stowe. 
 Gregory, Lord Cromwell, Tixhall, Purn- 
 
 ham, Dorset. 
 Sir T. Chaloner (set. 28, 1548). 
 Henry Chesman (1533), Falconer to 
 Henry VIII. 
 
 This portrait, or a repetition of it, 
 is noticed by Sir J. Reynolds 
 (Works, vol. ii. p. 346), at the 
 Hague, as being * i admirable for 
 its truth and precision, and ex- 
 tremely well coloured. The blue 
 flat ground, which is behind the 
 head gives a general effect of 
 dryness to the picture : had the 
 ground been varied, and made to 
 harmonise more with the figure, 
 this portrait might have stood in 
 competition with the works of 
 the best portrait-painters. On it 
 is written Henry Chesman, 1 533. " 
 
 Moret, the king's jeweller and enchaser, 
 who wrought from Holbein's designs, 
 cups, daggers, &c, Northumberland 
 House. | 
 
 Sir Thomas Pope, founder of Trin. Coll. 
 Oxon, Wimpole, brought from Titten- 
 hanger, Herts. At Wroxton. 
 
 Holbein, his wife, four boys, and a girl 
 (sm.), Mere worth Castle, Kent. 
 
 "As a whole, it has no effect; but the 
 heads are excellent. They are not 
 
 1 The portraits of Henry VII. and Elizabeth must have been taken from older 
 originals. Holbein more than once copied the picture of this queen, and of the 
 king's grandame (as she was called), Margaret, Countess of Richmond. 
 
 2 Remee was a scholar of Vandyck, and died in 1678, aged 68. This was Reme- 
 gius, or Remee Van Lernput. — D. 
 
 VOL. I. Q 
 
82 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 made of it for Charles II. in small, and for which he received 
 150Z. hangs in the king's bedchamber below stairs at Ken- 
 sington from that Vertne engraved his print. Holbein's 
 original drawing of the two kings is in the collection of the 
 Duke of Devonshire. - It is in black chalk, heightened, and 
 large as life ; now at Chatsworth. The architecture of this 
 picture is very rich, and parts of it in a good style. 
 
 In the chapel at Whitehall he painted Joseph of Ari- 
 mathea, and in that at St. James s, Lazarus rising from 
 the dead — both now destroved. 2 
 
 That he often drew the king is indubitable ; several pic- 
 tures extant of Henry are ascribed to him — I would not 
 
 painted in the common flat style 
 of Holbein, but with, a round, 
 firm, glowing pencil, and yet ex- 
 act imitation of nature is preserved 
 — the boys are very innocent, 
 beautiful characters. — Gilpin. 
 May not this be a repetition of 
 the family picture mentioned by 
 Walpole, in a note, p. 86, as 
 having been in Holbein's house, 
 on London Bridge, and destroyed 
 in the great fire ? Or may it not 
 be the same picture rescued ? 
 
 Edward Stanley, third Earl of Derby, 
 
 Knowsley. 
 Sir T. Wyat, Earl of Eomney, the Moat, 
 
 Kent. 
 
 John, Lord Berners., Didlington, Nor- 
 folk, as Chancellor of the Exchequer. 
 He holds a lemon in one hand, to 
 prevent infection ; alluding, probably, 
 to his having escaped the plague, 
 when sitting as a judge in court. 
 
 Henry VIII. Didlington, Norfolk. 
 
 John Dudley, Viscount Lisle, afterwards 
 
 Duke of Northumberland, 1545, Pens- 
 hurst. 
 
 The Princess, afterwards Queen Eliza- 
 beth, when young, in red, holding a 
 book, formerly at Whitehall, now at 
 Kensington. 
 
 Sir Brian Tuke. Corsham. 
 
 Sir John Gage, 1541. 
 
 W. Par, Marquis of Northampton, Ken- 
 sington. 
 
 Anne Boleyn ; sold at Sir L. Dundas's 
 
 sale for 781. Us. 
 W. Herbert, first Earl of Pembroke, 
 
 Wilton. 
 
 Dr. Butts, Henry VII I.'s physician, and 
 his wife, at Anthony, Cornwall. 
 
 W. Fitzwilliam, Earl of Southampton, 
 destroyed at Cowdray. 
 
 In the collection of G. Villiers, Duke of 
 Bucks, were four portraits, none ex- 
 ceeding two feet square. 1. King 
 Henry VIII. 2. Mary, Queen of 
 France. 3. Erasmus. 4. T. third 
 Duke cf Norfolk. Attributed to 
 Holbein, in B. Fairfax's catalogue. 
 
 Miniatures by Holbein. 3 
 
 Himself (round), Strawberry-hill. Himself (small, round), Althorp. 
 Catherine of Aragon, ditto. Henry VIII. (size of life), sitting at a 
 Queen Catherine Par, ditto. table, with his daughter, the Princess 
 Queen Anne of Cleves, Lee Priory, Kent. Mary, and W. Somers bringing in a 
 Henry Brandon, Duke of Suffolk, and lap-dog, has been attributed to Hoi- 
 Frances (Grey), Duchess of Suffolk, bein, from its resemblance to the 
 two children of Charles, Duke of Suf- family picture at Somerset House, 
 folk (limning), Kensington. Althorp. — D. 
 
 1 [It is now at Hampton Court. — W.] 
 
 2 See Peacham on Limning. 
 
 3 Several of Holbein's miniatures were preserved in carved boxes of ivory and 
 ebony, in Charles the First's Cabinet ; and some of the smaller portraits perished 
 in the fire at Whitehall, in 1698. — D. 
 
PAINTERS IN THE KEIGN OF HENRY VIII. 
 
 83 
 
 warrant many of them. There is one at Trinity College, 
 Cambridge, 1 another at Lord Torrington's, at Whitehall, 
 both whole lengths, and another in the gallery of royal por- 
 traits at Kensington, which, whoever painted it, is execrable ; 
 one at Petworth, and another in the gallery at "Windsor. 
 But there is one head of that king at Kensington, not only 
 genuine, but perhaps the most perfect of his works. 2 It 
 hangs by the chimney in the second room, leading to the 
 great drawing-room : and would alone account for the 
 judgment of Depiles, who, in his scale of picturesque merit 
 allows 1 6 degrees for colouring to Holbein, when he had 
 allotted but 1 2 to EaphaeL I conclude that it was in the 
 same light that Frederic Zucchero considered our artist, 
 when he told Goltzius that, in some respects, he preferred 
 him to EaphaeL Both Zucchero and Depiles understood 
 the science too well to make any comparison except in that 
 one particular of colouring, between the greatest genius, in 
 his way, that has appeared, and a man who excelled but 
 in one, and that an inferior branch of his art. The 
 texture of a rose is more delicate Lhan that of an oak ; I do 
 not say that it grows so lofty or casts so extensive a shade. 
 
 Opposite to this picture hangs another,but much inferior, 
 called in the catalogue Lord Arundel, or Howard f the 
 latter name is a confusion, occasioned by the title of 
 Arundel passing into the family of Howard. The 
 portrait in question, I suppose, is of H. Fitzalan, Earl of 
 Arundel, and probably the very person who first persuaded 
 Holbein to come into England. 
 
 In the state bed-chamber is a portrait of Edward VI. 
 It was originally a half-length ; but has been very badly 
 converted into a whole figure since the time of Holbein. 4 
 
 Considering how long he lived in the service of the crown, 
 it is surprising that so few of his works should have re- 
 mained in the royal collection ; Charles I. appears by his 
 
 1 It has fff] Fecit upon it ; and was probably a copy by Lucas de Heere, of 
 
 whom hereafter. 
 
 2 [Now at Hampton Court. — W.] 
 
 3 The fine original of Thomas Howard, Duke of Norfolk, with the staves of Earl 
 Marshal and Lord Treasurer, from whence the print is taken, is at Leicester House. 
 —The original is now at Norfolk House. — D, 4 [Now at Windsor. — W.] 
 
 G 2 
 
84 
 
 PAINTERS IN THE EEIGN OF HENRY VIII. 
 
 catalogue to have possessed but about a dozen. All the rest 
 were dispersed but those I have mentioned (unless the whole- 
 length of the unfortunate Earl of Surrey, in a red habit, in 
 the lower apartment at Windsor 1 is so, as I believe it is), 
 and a fine little picture of a man and woman, said to be his 
 own and wife's portraits, which hangs in an obscure closet 
 in the gallery at Windsor; 2 and the portrait of a man open- 
 ing a letter with a knife, in the standard closet in the same 
 palace. But at present an invaluable treasure of the works 
 of this master is preserved in one of our palaces. Soon after 
 the accession of the late king, Queen Caroline found in a 
 bureau at Kensington a noble collection of Holbein's origi- 
 nal drawings for the portraits of some of the chief personages 
 of the court of Henry VIII. How they came there is quite 3 
 
 1 [At Hampton Court.— W.] 2 [Ibid.— W.] 
 
 3 In the British Museum is a MS. of great curiosity, Harl. No. 6, 000, in which 
 an account of these limnings is given, which greatly elucidates the subject. It was 
 evidently written in the reign of Charles I. , and, from strong internal evidence, 
 compiled from the notes of Hilliard. Concerning this work of Holbein, Sander- 
 son, or rather Flatman,who composed the extraordinary book which was published 
 in his name, has taken great liberties with the original notice. Page 15 of the 
 genuine MS. affords the following information : — " I shall not need to insist upon 
 the particulars of this manner of working (crayons), it shall suffice, if you please, 
 to take a view of a booke of pictures by the life, by the incomparable Hans Hol- 
 bein, servant to King Henry VIII. They are the pictures of most of the English 
 lords and ladies then living, and were the patterns whereby that excellent 
 painter made his pictures in oyl ; and they are all done in this last manner of 
 crayons. I speak of and knowe of many of them to be miserably srjoyled by the 
 injury of tyme, and the ignorance of some who had formerly the keepinge of the 
 booke, yet you will find in these ruinous remaines an admirable hand, and a rare 
 manner of working in few lines, and no labour in expressing of the life and 
 likenesses, many times equal to his own, and excelling other men's oyl-pictures. 
 The booke hath beene long a wanderer ; but is now happily fallen into the hands 
 of my noble lord the Earl Marshal (T. Earl of Arundel) of England, a most emi- 
 nent patron to all painters who understood the arte ; and who therefore preserved 
 this book with his life, till both were lost together.'' 
 
 Sir Edward Walker, in his life of Lord Arundel, observes (p. 222) that " his 
 paintings were numerous, and of the most excellent masters, having more of that 
 exquisite master Hans Holbein, than are in the world besides/' 
 
 In a MS. bequeathed by Dr. Eawlinson to the Bodleian Library, (No. 336,) 
 entitled, Miniature, or the Arte of Limning, by Edw. Norgate, after treating of 
 crayons, he says, " A better way was used by Holbein, by pinning a large paper 
 with a carnation or complexion of flesh colour, whereby he made pictures by the 
 life, of many great lords and ladies of his time, with black and red chalke, with 
 other flesh colours, made up hard and dry, like small pencil sticks. Of this kind, 
 was an excellent booke, while it remained in the hands of the most noble Earl of 
 Arundel and Surrey. But I heare it has been a great traveller, and wherever now, 
 he hath got his errata, or (which is as good) hath met with an index expurgatorius, 
 and is made worse with mending." 
 
 The Editor has reason to believe that they were purchased for the Crown, at the 
 sale of Henry, Duke of Norfolk, in 1686. — London Gazette of that year. 
 
 By the order of Queen Caroline, they were framed and glazed. His late Majesty 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 8ff 
 
 unknown. They did belong to Charles I. 1 who changed 
 them with William, Earl of Pembroke, for a St. George by 
 Kaphael, now at Paris. Lord Pembroke gave them to the 
 Earl of Arundel, and at the dispersion of that collection, 
 they might be bought by or for the king. There are eighty- 
 nine of them, 2 a few of which are duplicates : a great part 
 are exceedingly fine, 3 and in one respect preferable to his 
 finished pictures, as they are drawn in a bold and free 
 manner : and though they have little more than the outline, 
 being drawn with chalk upon paper stained of a flesh colour, 
 and scarce shaded at all, there is a strength and vivacity in 
 them equal to the most perfect portraits. The heads of Sir 
 Thomas More, 4 Bishop Fisher, Sir Thomas Wyat,and Broke 
 Lord Cobham, are master-pieces. 5 It is a great pity that 
 
 released them, and they were placed in portfolios, He gave permission to J. Cham- 
 berlaine, Esq. to have them engraven, as nearly as possible, fac-similes. His prede- 
 cessor, Mr, JDalton, originated the idea, but the public were so little satisfied with 
 an inferior work, that it was abandoned, after the publication of ten plates only, 
 in 1774. 
 
 Between the years 1792 and 1800 were published fourteen numbers, (price 
 thirty-six guineas imperial folio,) which contain eighty- two portraits, of which 
 twelve are unknown. Of these, all excepting eight were engraved by F, Barto- 
 lozzi, and the biographical notices were written by Edmund Lodge, Esq. then 
 Lancaster Herald. They are entitled, " Imitations of Original Drawings by Hans 
 Holbein, in the Collection of His Majesty, for the Portraits of Hlustrious Persons 
 of the Court of Henry VIII. with Biographical Tracts. Published by John Cham- 
 berlaine, Keeper of the King's Drawings and Medals." This book is indeed a 
 splendid addition to many libraries, and the plan, so well executed, was first 
 suggested by Walpole. — D. 
 
 1 After Holbein's death they had been sold into France, from whence they were 
 brought and presented to King Charles by Mons. de Liencourt. Yanderdort, who 
 did nothing but blunder, imagined they were portraits of the French court. 
 Sanderson in his Graphice, p. 79, commends this book highly, but says some of 
 the drawings were spoiled. 
 
 2 See the list of them, subjoined to the catalogue of the collection of King 
 James II. published by Bathoe in quarto, 1758. In King Charles's catalogue they 
 are said to be but fifty-four, and that they were bought of, not given by, Mons. de 
 Liencourt. 
 
 3 Some have been rubbed, and others traced over with a pen on the outlines by 
 some unskilful hand. In an old inventory belonging to the family of Lumley, 
 mention was made of such a book in that family, with a remarkable note, that it 
 had belonged to Edward VI., and that the names of the persons were written on 
 them by Sir John Cheke. Most of the drawings at Kensington have names in an 
 old hand ; and the probability of their being written by a minister of the court 
 who so well knew the persons represented, is an addition to their value. 
 
 4 Richardson the painter had another of these, which was sold at his auction, 
 and from whence Houbraken's print among the illustrious heads was taken. 
 
 5 They were first placed by the Queen at Richmond, but afterwards removed to 
 Kensington, where they still remain ; but it is a very improper place for them, 
 many hanging against the light, or with scarce any, and some so high as not to be 
 discernible, especially a most graceful head of the Duchess of Suffolk. — [They are 
 now in a Portfolio in the Queen's Library at Windsor.— W.] 
 
86 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 they have not been engraved ; not only that such frail per- 
 formances of so great a genius might be preserved, but that 
 the resemblances of so many illustrious persons, nowhere 
 else existing, might be saved from destruction. Vertue 
 had undertaken this noble work ; and after spending 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. 
 These I bought at his sale ; and they are so exactly taken 
 as to be little inferior to the originals. 
 
 In the same closet are two fine finished portraits by 
 Holbein, said to be his own and his wife's j 1 they were 
 presented to Queen Caroline by Sir Robert Walpole, my 
 father. 2 And a circular drawing : the story of Solomon 
 and the Queen of Sheba. 
 
 In one of the king's cabinets is a miniature of two chil- 
 dren of Charles Brandon. 
 
 Over one of the doors is a picture ascribed to Holbein, 
 and supposed to be Queen Elizabeth, when princess, with 
 a book in her hand ; but I question both the painter and 
 the person represented. 
 
 He drew Will. Somers, 3 King Henry's Jester, from which 
 there is a print. It is perhaps a little drawback on the 
 fame of heroes and statesmen, that such persons, who 
 shared at least an equal portion of royal favour formerly, 
 
 1 [Now at Hampton-court. — W.] 
 
 2 The father of Lord Treasurer Oxford passing over London-bridge, was caught 
 in a shower, and stepping into a goldsmith's shop for shelter, he found there a 
 picture of Holbein (who had lived in that house) and his family. He offered the 
 goldsmith 100Z. for it, who consented to let him have it, but desired first to show 
 it to some persons. Immediately after happened the fire of London, and the 
 picture was destroyed. 
 
 3 There is a burlesque figure of him in the armoury at the Tower. — Of those 
 extraordinary characters denominated Fools or privileged Jesters, which were not 
 merely tolerated at Court, and in the houses of the higher nobility, most interest- 
 ing information is given by Mr. Douce, in a Dissertation on the Clowns and Fools 
 of Shakespeare, vol. ii. p. 299. The very frequent introduction of them, and like- 
 wise of Dwarfs of either sex, into groups of family pictures, affords ample evidence 
 of the estimation in which they were held by their masters, even to so low an era 
 as that of Charles 1. and Vandyck. 
 
 William Somers appears in more instances than others. He is introduced in an 
 illumination of Henry VIII. 's Psalter, now in the British Museum, MS. Reg. 2 A. 
 vi. where is the king himself as David playing on the harp, and likewise in the 
 large picture of himself and family, above mentioned, as now being in the Anti- 
 quaries'-room at Somerset-place. At Kensington (Hampton- court), he is standing 
 behind a glazed lattice. The two last are by Holbein. There is a portrait of him 
 at Billingbear, Berks, perhaps a repetition. — D. 
 
PAINT EES IN THE KEIGN OP HENftY VIII. 87 
 
 continue to occupy a place even in the records of time — at 
 least, we antiquaries, who hold everything worth preserv- 
 ing, merely because it has been preserved, have with the 
 names of Henry, Charles, Elizabeth, Francis I., Wolsey, 
 Sir Thomas More, &c. treasured up those of Will Somers, 
 Saxton, Tom Derry, (Queen Anne s Jester,) Tarlton, (Queen 
 Elizabeth's,) Pace, another Fool in that reign, Archee, the 
 disturber of Laud's greatness ; Muckle John, who suc- 
 ceeded ; Patch, Wolsey's fool ; Harry Patenson, Sir Thomas 
 More's ; and of Bisquet and Amaril, the J esters of Francis 
 I., not to mention Hitard, 1 King Edmund's buffoon ; Stone, 2 
 and Jeffery Hudson, the dwarf of Henrietta Maria. Of 
 some of these personages I have found the following anec- 
 dotes : Saxton is the first person recorded to have worn a 
 wig. In an account of the Treasurer of the chambers in the 
 reign of Henry VIII. there is entered, " Paid for Saxton, the 
 king's fool, for a wig, 205." In the accounts of the Lord 
 Harrington, who was in the same office under James I. 
 there is, " Paid to T. Mawe for the diet and lodging of Tom 
 Derry, her Majesty's Jester, 13 weeks, 10/. 18s. 6d" Patch 
 and Archee were political characters ; the former, who had 
 been "Wolsey's fool, and who, like wiser men, had lived in 
 favour through all the changes in religion and folly with 
 which four successive courts had amused themselves or 
 tormented everybody else, was employed by Sir Francis 
 Knollys to break down the crucifix which Queen Elizabeth 
 still retained in her chapel ; and the latter, I suppose on 
 some such instigation, demolished that which Laud erected 
 at St. James's, and which was probably the true cause of 
 that prelate engaging the king and council in his quarrel, 
 though abusive words were the pretence. Of little Jeffery 
 I shall say more in another place. 
 
 King James IL, as appears by the catalogue of his pic- 
 tures published by Bathoe, had several of Holbein ; though 
 all in that list were not painted by him. 
 
 Of Holbein's public works in England I find an account 
 of only four. The first is that capital picture in Surgeon's 
 
 1 See Dart's Antiq. oj Canterbury, p. 6. 
 
 2 A fool mentioned in Selderts Table-Talk. 
 
88 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 Hall, of Henry VIII. giving the charter to the company of 
 surgeons. The character of his Majesty's bluff haughtiness 
 is well represented, and all the heads are finely executed. 
 The picture itself has been retouched, but is well known by 
 Baron's print. The physician in the middle, on the king's 
 left hand, is Dr. Butts, immortalized by Shakspeare. 1 
 
 The second is the large piece in the hall of Bridewell, 
 representing 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 hospital and workhouse. 
 Holbein has placed his own head in one corner of the 
 picture. Vertue has engraved it. This picture, it is be- 
 lieved, was not completed by Holbein, both he and the king 
 dying immediately after the donation. 
 
 The third and fourth were two large pictures, painted in 
 distemper, in the hall of the Easterlings merchants in the 
 Steel-yard. Where Decamps found, 1 do not know, that 
 they were designed for ceilings. It is probably a mistake. 
 These pictures exhibited the triumphs of riches and 
 poverty. The former was represented by Plutus riding in a 
 golden car ; before him sat Fortune scattering money, the 
 chariot being loaded with coin, and drawn by four white 
 horses, but blind, and led by women whose names were 
 written beneath ; round the car were crowds with extended 
 hands catching at the favours of the god. Fame and 
 Fortune attended him, and the procession was closed by 
 Croesus, and Midas, and other avaricious persons of note. 
 
 Poverty was an old woman, sitting in a vehicle as shat- 
 tered as the other was superb ; her garments squalid, and 
 every emblem of wretchedness around her. She was drawn 
 by asses and oxen, which were guided by Hope, and Dili- 
 gence, and other emblematic figures, and attended by 
 mechanics and labourers. The richness of the colouring, 
 the plumpness of the flesh, the gaudy ornaments in the 
 former, and the strong touches and expression in the 
 latter, were universally admired. It was on the sight of 
 these pictures that Zucchero expressed such esteem of this 
 
 1 The ring which Henry sent by Dr. Butts to Cardinal Wolsey, was a cameo on 
 a ruby of the king himself, formerly given to him by the cardinal. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 89 
 
 master ; he copied them in Indian ink, and those drawings 
 came afterwards into the possession of Mons. Crozat Vos- 
 terman, jun., engraved prints from them, at least of the 
 Triumph of Poverty, but Vertue could never meet with that 
 of Eiches : however, in Buckingham-house, in St. James's 
 Park, he found two such drawings, on one of which was an 
 inscription attributing them to Holbein, and adding that 
 they were the gift of Sir Thomas More, who wrote verses 
 under them. Vertue thought that these drawings were 
 neither of Holbein nor Zuechero, but the copies which Vos- 
 terman had made in order to engrave. These drawings 
 I suppose were sold in the duchess's auction. 1 For the 
 large pictures themselves Felibien and Depiles say that 
 they were carried into France from Flanders, whither they 
 were transported I suppose after the destruction of the com- 
 pany of which Stowe 2 gives the following account : — The 
 Steel-yard was a place for merchants of Almaine, who used 
 to bring hither wheat, rye, and other grain; cables, ropes, 
 masts, steel and other profitable merchandize. Henry III. 
 at the request of his brother, Eichard, Earl of Cornwall, and 
 Kingof Almaine, gave them great privileges, they then hav- 
 ing a house called Guilda Aula Teutonicorum. Edward I. 
 confirmed their charter ; and in the same reign there was 
 a great quarrel between the Mayor of London and those 
 merchants of the Haunce, about the reparation of Bishop- 
 gate, which was imposed on them in consideration of their 
 privileges, and which they suffered to run to ruin. Being 
 
 1 So I concluded, but have since been so lucky to find that they were pre- 
 served at Buckingham-house, till it was purchased by his Majesty, when the 
 pictures being exposed to auction, these very drawings were exhibited there as 
 allegoric pieces by Vandyck. They more than come up to any advantageous idea 
 I had formed of Holbein. The composition of each is noble, free, and masterly. 
 The expressions admirable, the attitudes graceful, and several of them bearing 
 great resemblance to the style of Raphael. The Triumph of Riches is much wider 
 than the other. The figures in black and white chalk, the skies coloured. On 
 each are Latin verses, but no mention of Holbein, as Vertue relates. The figure 
 of Croesus has great resemblance to the younger portraits of Henry VIII. By 
 the masterly execution of these drawings, I should conclude them Zucchero's 
 copies ; but the horses, which are remarkably fine and spirited, and other touches 
 are so like the manner of Vandyck, that one is apt to attribute them to Vosterman, 
 who lived in his time. Probably the Triumph of Riches is Vosterman's copy, and 
 that of Poverty Zucchero's. They are now at Strawberry-hill." — [They were sold at 
 the sale of 1842 for sixteen guineas ; and are now in the possession of Mr. East- 
 lake.— W.] 
 
 2 Survey of London, p. 249. 
 
90 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 condemned to the repairs, they were inrecompense indulged 
 with granaries, and an alderman of their own ; but in time 
 were complained of, for importing too great quantities of 
 foreign grain. They were restricted, yet still increased in 
 wealth, and had a noble hall in Thames-street, with three 
 arched gates ; and in the reign of Edward III. they hired 
 another house of Eichard Lions, a famous lapidary, one of 
 the sheriffs, who was beheaded by the Kentish rebels in 
 the reign of Richard IL, and another for which they paid 
 70Z. per ann. But still continuing to engross the trade, 
 they were suppressed in the reign of Edward VL, who 
 seized the liberties of the Steel-yard 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 six pieces extant on this subject, the two 
 smaller are certainly copies, the three larger probably 
 not painted by Holbein, and the sixth, though an original 
 picture, most likely not of Sir Thomas and his family. That 
 Holbein was to draw such a piece is indubitable ; a letter 
 of Erasmus is extant thanking Sir Thomas for sending 
 him a sketch of it ; but there is great presumption, that 
 though Holbein made the design, it was not he who 
 executed the picture in large, as will appear by the following 
 account of the several pieces. The most known is that at 
 Burford, the seat of the famous Speaker Lenthall. To say 
 that a performance is not equal to the reputation of its 
 supposed author, is not always an argument sufficient to 
 destroy its authenticity. It is a well-known saying of 
 Sir Godfrey Kneller, when he was reproached with any of 
 his hasty slovenly daubings, " Pho, it will not be thought 
 mine ; nobody will believe that the same man painted 
 this and the Chinese at Windsor." 
 
 But there is a speaking evidence on the picture itself 
 against its own pretensions. Holbein died in 1554. The 
 picture at Burford is dated 1593. It is larger, and there are 
 more figures than in its rival, the piece in Yorkshire, and 
 some of these Vertue thought were painted from the life. 
 This was kept at Gubbins in Hertfordshire, the seat of the 
 Mores ; but by what means the piece passed into the hands 
 
PAINTERS IN THE REIGN OF HENRY VIII. 91 
 
 of Lenthall is uncertain ; the remains of the family of More 
 are seated at Barnborough in Yorkshire, where they have 
 a small picture 1 of their ancestor and his relations like 
 that at Burford, but undoubtedly not an original. 2 There 
 too they preserve some relics which belonged to that 
 great man ; as a George enamelled, and within it a 
 miniature of Sir Thomas ; a gold cross with pearl drops, 
 and the cap he wore at his execution. 
 
 The second picture is at Heron in Essex, the seat of 
 Sir John Tyrrel, but having been repainted, it is impos- 
 sible to judge of its antiquity. The dispute 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 himself, is twelve feet 
 wide, and is the actual piece which was in Deloo's collec- 
 tion, after whose death it was bought by Mr. Eoper, Sir 
 Thomas's grandson. As Deloo was a collector of Holbein's 
 works, and his contemporary, it sounds extraordinary that 
 a picture which he thought genuine should be doubted 
 now ; and yet Vertue gives such strong reasons, supported 
 by so plausible an hypothesis, to account for its not being 
 Holbein's, that I think them worth laying before the 
 reader. He says the picture is but indifferent j on this I 
 lay no more stress than I do in the case of that at Burford ; 
 but his observation that the lights and shades in different 
 parts of the picture come from opposite sides, is unanswer- 
 able, and demonstrate it no genuine picture of Holbein, 
 
 1 The picture of Sir T. More, with his family, at Barnborough, in Yorkshire, is 
 so large as to cover one end of an apartment, and is of little value in point of 
 art.— D. 
 
 2 The Burford Picture was bought in at Christie's a few years since for 1,000Z. 
 with a view to ascertain its value. As Walpole has omitted the names of the 
 persons of whose portraits this celebrated picture is composed, they are now 
 added. 
 
 1. Elizabeth Damsey, his daughter, set. 21. 2. Margaret Gigey, a relative, 
 set. 22. 3, Csecilia Heron, his daughter, set. 20. 4. Alicia More, second wife of 
 Sir Thomas, set. 57. 5. Sir John More, the Judge, his father, set. 76. 6. Anne 
 Grisacre, betrothed to John More, his son, set. 15. 7. John More, last mentioned, 
 set. 19. 8. Sir Thomas More, set. 50. 9. Henry Patenson, his Fool, set. 40. 
 10. Margaret Roper, his heroic daughter, set. 22, who died in 1544, set. 36. An 
 outline of this picture is prefixed to the Tabclloe Selectee Catharines Patince, Fol. 
 1691, which Yertue has copied for KnigMs Life of Erasmus. Aubrey, who saw 
 this picture (now at Burford) in the hall of Sir J, Lenthall, at Besilsleigh, Berks, 
 says that it had an inscription in golden letters of about sixty lines, 1670. — D. 
 
92 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 unless that master had been a most ignorant dauber, as he 
 might sometimes be a careless painter. This absurdity 
 Vertue accounts for by supposing that Holbein quitted the 
 chancellor s service for the king's before he had drawn out 
 the great picture, which however Sir Thomas always under- 
 stood was to be executed; that Holbein's business increasing 
 upon him, some other painter was employed to begin the 
 picture, and to which Holbein was to give the last touches; 
 in short, that inimitable perfection of flesh which character- 
 izes his works. And this is the more probable, as Vertue ob- 
 served that the faces and h ands are left flat and unfinished, 
 but the ornaments, jewels, &c, are extremely laboured. As 
 the portraits of the family, in separate pieces, were already 
 drawn by Holbein, the injudicious journeyman stuck them 
 in as he found them, and never varied the lights, which 
 were disposed, as it was indifferent in single heads, some 
 from the right, some from the left, but which make a 
 ridiculous contradiction when transported into one piece. 
 This picture, purchased, as I have said, by Mr. Eoper, the 
 son of that amiable Margaret, whose behaviour, when Sir 
 Thomas returned to the Tower, was a subject not for 
 Holbein, but for Poussin or Shakspeare ! This picture 
 remained till of late years at Welhall in Eltham, Kent, the 
 mansion of the Eopers. That house being pulled down, it 
 hung for some time in the king's house at Greenwich, soon 
 after which, by the death of the last Eoper, whose sole 
 daughter married Mr. Henshaw, and left three daughters, 
 the family picture, then valued at 300/., came between 
 them, and Sir Eowland Wynne, who married one of 
 them, bought the shares of the other two, and carried the 
 picture into Yorkshire, where it now remains. 
 
 The other small one is in the collection of Colonel 
 Sothby, in Bloomsbury-square. It is painted in the neatest 
 manner in miniature. On the right hand are inserted the 
 portraits of Mr. More and his wife, Sir Thomas's grand- 
 son, for whom it was drawn, and their two sons, with 
 their garden at Chelsea behind, and a view of London. 
 The painter of this exquisite little piece is unknown, but 
 probably was Peter Oliver 
 
PAINTEKS EST THE REIGN OF HENRY VIII. 93 
 
 The fifth was in the palace of the Delfino family at 
 Venice, where it was long on sale, the price first set 1,5 001. 
 When I saw it there in 1741, they had sunk it to iOOl 
 soon after which the present King of Poland bought it. 
 
 It was evidently designed for a small altar-piece to a 
 chapel ; in the middle on a throne sita the Virgin and 
 Child ; on one side kneels an elderly gentleman with two 
 sons, one of them a naked infant ; opposite, 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 son. 1 For the colouring, it is 
 beautiful beyond description, and the carnations have that 
 enamelled bloom so peculiar to Holbein, who touched his 
 works till not a touch remained discernible ! A drawing 
 of this picture by Bischop was brought over in 1723, from 
 whence Vertue doubted both of the subject and the 
 painter ; but he never saw the original ! By the de- 
 scription of the family-picture of the Consul Mejer, men- 
 tioned above, 2 I have no doubt but this is the very 
 picture — Mejer and Moore are names not so unlike but 
 that in process of time they may have been confounded, 
 and that of More retained, as much better known. 
 
 In private houses in England are or were the following 
 works of Holbein, besides what may not have come to 
 Vertue's or my knowledge : — 
 
 In the Arundelian collection, (says Eichard Symonds, 8 ) 
 was a head of Holbein, in oil, by himself, most sweet, 
 dated 1543. 
 
 At Northumberland-house, an English knight sitting 
 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 Hollar. 4 As also Mons. Moret, jeweller to Henry VIII. 
 
 1 There is recorded a don mot of Sir Thomas on the birth of his son : he 
 had three daughters : his wife was impatient for a son ; at last they had one, 
 but not much above^ an idiot — "You have prayed so long for a boy," said the 
 chancellor, "that now we have got one who, I believe, will be a boy as long as 
 he lives." 
 
 2 [See page 76, note 2 .— W.] 
 
 3 In one of his pocket-books, which will be mentioned more particularly in the 
 second volume. 
 
 4 They were at Tart-hall. 
 
94 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 In the Earl of Pembroke's collection was a lady in 
 black satin, which Zucchero admired exceedingly. 1 
 
 The Duke of Buckingham had eight of his hand, in par- 
 ticular the story of Jupiter and lo. See his Catal. p. 16. 
 
 At the Earl of Uxbridge's at Drayton, his ancestor Lord 
 Paget. 
 
 At the Earl of Guildford's at Wroxton,Sir Thomas Pope, 
 the founder of Trinity College, Oxford. 
 
 At Blenheim, a very lively head of a young man. 
 
 At Buckingham-house was the portrait of Edmund, 
 Lord Sheffield. 2 
 
 Henry VIII. and Francis I. exchanged two pictures ; 
 the King of France gave to Henry the Virgin and Child by 
 Leonardo da Vinci ; the English present w T as painted by 
 Holbein, but the subject is not mentioned. The former 
 came into the possession of Catherine Patin. 
 
 In the late Duke of Somerset's possession was a head 
 of his ancestor the Protector, engraved among the 
 illustrious heads. 
 
 Vertue mentions having seen a fine miniature of 
 Henry VIII. and his three children, but does not say 
 where. It had a glass over it, and a frame curiously- carved. 
 
 At Lord Orford's at Houghton is a small whole-length 
 of Edward VI. on board, which was sold into Portugal from 
 the collection of Charles I. ; and Erasmus, smaller than life. 
 
 I have Catherine of Aragon, a miniature, exquisitely 
 finished : a round on a blue ground. It was given to the 
 Duke of Monmouth by Charles II. I bought it at the 
 sale of the Lady Isabella Scott, daughter of the Duchess 
 of Monmouth. 3 
 
 A head of the same queen, on board in oil ; hard, and in 
 her latter age. It is engraved among the illustrious heads. 4 
 
 Catherine Howard, a miniature, damaged, it was Richard- 
 son's, who bought it out of the Arundelian collection. It 
 
 1 There is a view of the Siege of Pavia, at Wilton, said to be by Holbein, but it 
 is by Albert Diirer. I even question whether the profile of Edward VI. there be 
 an original. 
 
 2 This is a mistake. It was painted by Antonio More, and is now at Strawberry • 
 hill, and is the portrait of John, Lord Sheffield. 
 
 13 [Sold at the Strawberry-hill sale in 1842, for 48 guineas. — W.] 
 4 [Sold at the sale of 1842, for 31 guineas.— W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 95 
 
 is engraved among the illustrious heads ; and by Hollar, 
 who called it Mary, Queen of France, wife of Charles 
 Brandon, Duke of Suffolk. 1 
 
 Edmund Montacute, a judge. Ditto, flat. 2 
 
 Philip the Fair, son of the Emperor Maximilian, and 
 father of Charles V., when a boy. It is finely coloured ; 
 and is engraved in Mountfaucons Antiquities of France. 
 This must have been copied from some other picture. 
 
 A drawing of a man in a blue gown, cap, and buskins. 
 It seems to be a masquerade dress. 3 
 
 Another drawing, the head of a man, with a hat and 
 picked beard. 
 
 A design in water colours, which he afterwards executed 
 on a house at Basil. 
 
 A large design for a chimney-piece. 4 
 
 A design for a clock, in great taste. It was drawn for 
 Sir Anthony Denny, and intended for a new-year's gift to 
 Henry VIII. From the collection of Mons. Mariette at 
 Paris. 
 
 A head of Melancthon, in oil on board, a small round, 
 very fine. 5 
 
 Several drawings by Holbein, and some miniatures, are 
 preserved in various collections. 
 
 There is a very curious picture in the collection of Col. 
 bothby, said to be begun in France by Janet, 6 and which 
 Vertue thinks might be retouched by Holbein, as it was 
 probably painted for his patron, the Duke of Norfolk, from 
 whom it descended immediately to the Earl of Arundel, 
 out of whose collection the father of the present possessor 
 
 1 [Sold at the Strawberry-hill sale for 25 guineas. 2 Sold for 51. 15s. 6d. 
 
 3 Sold together with the following drawing for 51. 
 
 4 Sold for 32 guineas. 5 Sold for 15 guineas. — W.] 
 
 6 Francois Clouet, dit Janet, was painter to the French Court during the reigns 
 of Francis II. Charles IX. and Henry III. He greatly excelled in miniature and 
 small portraits in oil, very much in the style and execution of Holbein. At 
 Kensington (Hampton Court) are the portraits of Francis II. and Mar} r , Queen 
 of Scots, by him. The latter in a white dress ; and in the Bodleian Gallery, 
 Oxford, in mourning, as Queen Dowager, which was brought from France, by an 
 ancestor of the Sheldon family. His most admired portraits were those of Francis 
 the First and Second at Fontainebleau, and a collection of them made by the 
 celebrated President De Thou.— D.* 
 
 * [The following portraits by Janet were sold at the Strawberry-hill sale in 
 1842 : — A French Courtier for 9 guineas ; Anthony, King of Navarre, father of 
 
96 PAINTERS IN THE REIGN OP HENRY VIII. 
 
 purchased it. It represents three royal pairs dancing in a 
 meadow, with a magnificent building in the distance ; they 
 are Henry VIII. and Anne Boleyn ; and his sisters, 
 Margaret, Queen of Scots, and Mary, Queen of France, 
 with their second husbands, Archibald Douglas and Charles 
 Brandon. 1 The circumstance of three matches so unequal 
 assembled together induced Vertue, with much probability, 
 to conclude that it was a tacit satire, and painted for the 
 Duke of Norfolk, who, however related to Anne Boleyn, 
 was certainly not partial to her as protectress of the 
 reformed. If this conjecture could be verified, it would 
 lead one to farther reflections. The jealousy which Henry 
 towards the end of his reign conceived against the Howards, 
 and his sacrificing the gallant Earl of Surrey for quarter- 
 ing the arms of England, as he undoubtedly had a right to 
 quarter them, have always appeared acts of most tyrannic 
 suspicion. He so little vouchsafed to satisfy the public on 
 the grounds of his proceedings, that it is possible he might 
 sometimes act on better foundation than any body knew. 
 If he really discovered any ambitious views in the House 
 of Norfolk, this picture would seem a confirmation of 
 them. To expose the blemishes in the blood of the three 
 only branches of the Eoyal Family, might be a leading 
 step towards asserting their own claim — at least, their own 
 line would not appear less noble, than the descendants of 
 Boleyn, Brandon, and Douglas. 
 
 Holbein s talents were not confined to his pictures j he 
 was an architect, he modelled, carved, was excellent in 
 
 1 This was Vertue's opinion. The account in the family calls the man 
 in the middle the Duke of Norfolk, and him on the right hand the Duke of 
 Suffolk. If the tradition that this picture represents only English personages 
 were not so well grounded, I should take it for a French composition. The person 
 in the middle is a black swarthy man with a sharp beard, like Francis L, and 
 resembling neither of the Dukes of Norfolk and Suffolk, the former of whom is 
 never drawn with a beard, the latter always with a short square one : add to this, 
 that the figure called Henry VIII. and which certainly has much of his 
 countenance, is in an obscure corner of the picture, and exhibits little more than 
 the face. 
 
 Henry IV. of France, 11 guineas ; Marshal Montluc, 12 guineas ; Charlotte, 
 daughter of Francis I, who died in her sixth year, from Sir Luke Schamb's 
 collection, 56 guineas ; Claude de Clermont, Sieur de Dampier, 13 guineas ; and 
 full-lengths of Catherine de Medici, and her children Charles IX., Henry III., the 
 Duke d'Alencon, and Margaret, Queen of Navarre, 86 guineas. — W. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 97 
 
 designing ornaments, and gave draughts of prints for seve- 
 ral books, some of which it is supposed he cut himself. Sir 
 Hans Sloane had a book of jewels designed by him, now 
 in the British Museum. He invented patterns 1 for gold- 
 smith's work, for enamellers and chasers of plate, arts 
 much countenanced by Henry VIII. Inigo Jones showed 
 Sandrart another book of Holbein's designs for weapons, 
 hilts, ornaments, scabbards, sheaths, sword-belts, buttons 
 and hooks, girdles, hatbands, and clasps for shoes, knives, 
 forks, salt-sellers and vases, all for the king. Hollar 
 engraved several of them. The Duchess of Portland 2 and 
 Lady Elizabeth Germayn, 2 have each a dagger set 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 stone, whole length ; Holbein cut 
 his own head in wood, and I have another by his hand of 
 the king, in which, about his neck instead of a George, he 
 wears a watch. Two other figures carved in stone were 
 in the museum of Tradescant at Lambeth. 3 
 
 His cuts to the Bible were engraved and printed at 
 Leyden by Johannes Frellonius, in 1547, under this title, 
 Icones Historiarum Veteris Testamenti. The titles to every 
 print are in Latin, and beneath is an explanation in four 
 French verses. Prefixed is a copy of Latin verses in 
 honour of Holbein, by Nicholas Borbonius, a celebrated 
 French poet of that time, and of whom there is a profile 
 among the drawings at Kensington. 4 
 
 1 The noble seal appendant to the surrender of Cardinal Wolsey's college at 
 Oxford, has all the appearance of being designed by Holbein. The deed is pre- 
 served in the Augmentation-office, and the seal has been engraved among the 
 plates published by the Society of Antiquaries. 
 
 2 The dagger, in her Grace's collection, is set with jacynths, and cost Lord 
 Oxford 451. at Tart-hall, when the remains of the Arundelian collection were sold 
 there in 1720. The dagger that was Lady E. Germayn's is set with above a 
 hundred rubies and a few diamonds, and is now at Strawberry-hill, with other 
 curiosities bought out of that collection, particularly the figure of Henry VIII. in 
 stone, mentioned in the text. 
 
 For the dagger Walpole gave 50 guineas. — D. 
 
 3 [Two figures of Henry VIII., one in stone and the other in box- wood, both by 
 Holbein, were sold at the Strawberry-hill sale. The one in stone to John 
 Dent, Esq. for 64 guineas. It was purchased at the auction of Lady Elizabeth 
 Germayn's property in 1707 ; it was previously in the Arundelian collection. 
 The one cut in wood was sold to the same gentleman for 38 guineas. — W.] 
 
 4 In St. John's College, Cambridge. is Henry the Eighth's Bible, printed on vellum., 
 with Holbein's cuts finely illuminated, and the figures of Henry, Cromwell, and others. 
 
 VOL. I. H 
 
98 
 
 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 Lord Arundel showed Sandrart a little book of twenty- 
 two designs of the Passion of Christ, very small ; in which, 
 says the same author, Christ was everywhere represented 
 in the habit of a black monk ; but that was a mistake, for 
 Hollar engraved them, and there is only Christ persecuted 
 by monks. Sandrart adds that it is incredible what a 
 quantity of drawings of this master Lord Arundel had 
 collected, and surprising, the fruitfulness of Holbein's 
 invention, his quickness of execution and industry in 
 performing so much. 
 
 To the Catechismus, or Instruction of Christian Reli- 
 gion, by Thomas Cranmer, printed by Walter Lynn, 1538, 
 quarto, the title is a wooden cut representing Edward VI. 
 sitting on his throne, giving the Bible to the archbishop 
 and nobles kneeling. This and several head-pieces in 
 the same book were designed by Holbein, and probably 
 some of them cut by him ; one has his name. 
 
 On the death of Sir Thomas Wyat, the poet, in 1541, 
 a little book of verses, entitled Naenia, was published by 
 his great admirer, Leland. Prefixed was a wooden cut of 
 Sir Thomas, from a picture of Holbein, with these lines : 
 
 " Holbenus nitida pingendi maximus arte 
 Effigiem expressit graphice ; sed nullus Apelles 
 Exprimet ingenium felix animumque Viati." 
 
 Of his architecture nothing now remains standing but 
 the beautiful porch at the Earl of Pembroke's at Wilton. 
 From that and his drawings it is evident that he had great 
 natural taste. One cannot but lament that a noble 
 monument of his genius has lately been demolished, the 
 gateway at Whitehall, supposed to have been erected for 
 the entry of Charles V. ; but that was a mistake ; the 
 Emperor was here in 1521 ; Holbein did not arrive, at 
 soonest, till five years after. Peacham mentions a design 
 that he saw for a chimney-piece 1 for Henry's new palace 
 at Bridewell. There, undoubtedly, at Whitehall, and at 
 Nonsuch, were many of his productions. 
 
 It may be wondered that I have said nothing of a work 
 much renowned and ascribed to this master : I mean the 
 
 1 I have a large drawing by him for a magnificent chimney-piece — I do not know 
 if the same. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 99 
 
 chamber at the Lord Montacute's at Coudray ; but it is 
 most certainly not executed by him. Though the histories 
 represented there, the habits and customs of the times, 
 make that room a singular curiosity, they are its only 
 merit. There is nothing good either in the designs, dis- 
 position, or colouring. 
 
 There are three other historic pieces 1 in the same house, 
 of much more merit, ascribed likewise to Holbein, and 
 undoubtedly of his time. The first represents Francis I. 
 on his throne, with his courtiers, and the Duke of Suffo (so 
 it is written), and the Earl of Southampton standing before 
 him on an embassy. This is by much the worst of the 
 three, and has been repainted. The next is smaller, and 
 exhibits two knights running a tilt in the foreground ; one 
 wears the crown of France, another a coronet, like that of 
 an English prince, composed of crosses and fleiirs-de-lys, 
 and not closed at top. An elderly man with a broad face, 
 and an elderly lady in profile, with several other figures, 
 boldly painted, but not highly finished, are sitting to see 
 the tilt. On the background is the French king's tent, 
 and several figures dancing, rejoicing, and preparing enter- 
 tainments. A person seems leading a queen to the tent. 
 Under this is written, " The meeting of the kings between 
 Gruines and Ardres, in the Vale of Gold." This is an 
 upright piece. The third is the largest, broad like the 
 first. Francis on his throne at a distance with guards, &c. 
 on each side in a line. Before him sit on stools, with their 
 backs towards you, four persons in black, and one like a 
 clergyman standing in the middle and haranguing the 
 king. On each side sit noblemen, well drawn, coloured, 
 and neatly finished. On this piece is written, " The great 
 ambassade sent to the French king, of the Earl of 
 Worcester, Lord Chamberlain, the Bishop of Ely, the Lord 
 St. John, the Lord Vaux, and others/' These pictures 
 
 1 In the third volume of the ArcJiceologia, is given a minute account of these 
 most curious paintings upon the walls of a large apartment in Coudray House, 
 Sussex, all of which perished in the fire, Sept. 27, 1793. The originals are lost to 
 the antiquarian world. A few of them have been accurately engraved, at the 
 expense of the Antiquarian Society ; and Mr. Gough's complete description will 
 supply a competent idea of the rest.— D. 
 
 H 2 
 
100 PAINTERS IN THE REIGN OF HENRY VI II. 
 
 I should not think of Holbein ; the figures are more free 
 than his, less finished, and the colouring fainter : and none 
 of the English seem portraits. The spelling, too, of Suffb, 
 is French. Probably these pieces were done by Janet, 
 who was an able master, was contemporary with Holbein, 
 and whose works are often confounded with our painter's. 1 
 
 Holbein's fame was so thoroughly established 2 even in 
 his life, that the Italian masters vouchsafed to borrow from 
 him. In particular, Michael Angelo Caravaggio was much 
 indebted to him in two different pictures. Eubens was so 
 great an admirer of his works that he advised young 
 Sandrart to study his Dance of Death, from which Kubens 
 himself had made drawings. 
 
 This account of a man, dear to connoisseurs for the 
 singular perfection of his colouring, become dear to anti- 
 quaries by the distance of time in which he lived, by the 
 present scarcity of his works, and by his connections with 
 More and Erasmus, I must close with all I can discover 
 more relating to him ; that he formed but one scholar, 
 Christopher Amberger of Augsburg f and that in a roll 4 of 
 new-year s gifts in the thirtieth year of the reign of 
 Henry VIII., signed by the king's own hand, in which are 
 registered presents to the prince, to the Ladies Mary and 
 Elizabeth, to the Lady Margaret Douglas, to the nobility, 
 bishops, ladies and gentry, most of the gifts being of plate ; 
 mention is made of a present to Hans Holbein of a gilt 
 creuse and cover, weighing ten ounces two pennyweights, 
 made by (Lucas) Cornelii. 
 
 "D°. to Lucas (Penne) a gilt creuse and cover, same weight." 
 
 On the other side of the roll, presents to the king. 
 
 1 In the great drawing-room at Coudray is a chimney-piece painted with 
 grotesque ornaments in the good taste of Holbein, and .probably all he executed at 
 that curious old seat, the tradition in the family being, that he stayed there but a 
 month. 
 
 2 Sandrart. 
 
 3 [Amberger is supposed to have been the pupil of the- elder, but to have copied 
 and imitated the portraits of the younger Holbein. He appears to have been an 
 older man than Holbein, though he was still living at Augsburg, where he 
 enjoyed a great reputation, in 1568. He was a native of Nurnberg, where several 
 of his works are still preserved. — W.] 
 
 4 It was in the possession. of Mr. Holmes, keeeper of the records in the Tower, 
 and was exhibited to. the Antiquarian Society, in 1730. 
 
PAINTERS IN THE REIGN OP HENRY VIIT. 101 
 
 Holbein gave a picture of the prince's grace. 
 
 Lucas, a screen to set before the fire. 
 
 Eichard Atsyll, a broach of gold with an antique head. 1 
 
 In the library of the Koyal Society is a book of the 
 chamberlain's office, containing payments made by Sir 
 Bryan Tuke, treasurer of the king s chamber beginning in 
 Feb. 1538, in the 29th of Henry VIII. There appear the 
 following accounts : 
 
 "Payd to Hans Holbein, paynter, a quarter due at Lady-day last 81. 10s. Od." 
 
 Again, at midsummer quarter. 
 
 " Item, for Hans Holbein, paynter, for one half year's annuitie advanced to 
 him before hand, the same year to be accounted from our Lady-day last past, 
 the sum of 3(K 
 
 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 Seal's 
 letter, xl. for his cost and charge at this time, sent about certeyn his grace's 
 affairs in the parts of High Burgundy, 2 by way of his grace's reward. 
 
 September An. 31. Item, payd by the king's highness commandment, 
 certifyed by the Lord Privy Seal's letters, to Hans Holbein, paynter, in the 
 advancement of his whole year's wages before hand, after the rate of xxxl. 3 
 by the year, which year's advancement is to be accounted from this present, 
 which shall end ultimo Septembris next ensuing." 4 
 
 The advancement of his salary 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 economy than he had practised in his own 
 country. 5 
 
 1 He was an engraver of stones. See the end of this chapter. 
 
 2 It was to draw the picture of the Duchess of Milan, mentioned above. 
 
 3 Sandrart by mistake says only 200 florins. 
 
 4 Subsequently to these grants, it appears from an entry in the accounts of 
 Sir T. Carwarden, Master of the Masques and Kevels, in 1551, " Item, for a peynted 
 booke of Mr. Hanse Holbye, (H. Holbein) making, 61. " It probably contained his 
 designs for the scenes." — D. 
 
 5 [The following pictures, attributed to Holbein, were sold at Strawberry-hill, 
 in 1842 :— 
 
 Holbein himself, in a black dress and cap, signed J. H., date 1545, for 13 guineas. 
 A miniature of Jane Seymour, in water colours, formerly in the collection of 
 
 Lady Worsley, for 10 guineas. 
 A miniature of Catherine Parr, for 10 guineas. 
 
 Two miniatures in one frame : one a portrait of Louis XII. of France, and the 
 other a portrait of Sir John Gage, knight ; from the collection of Lady 
 Elizabeth Germaine, for 20 guineas. 
 
 A miniature, in oil, of a man, for 3 guineas. 
 
 A small portrait, in oil, of Frobenius, for 19 guineas. 
 
 A small portrait, in oil, of a man's head, with a black beard, and a cloak trimmed 
 
 with fur, for 11. 5s. 
 A portrait of a man with a red beard, in a black dress, for 10 guineas. 
 
 A portrait 
 
102 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 Henry, besides these painters, had several artists of note 
 in his service. The superb tomb of his father, says Stowe, 1 
 was not finished till the eleventh year of this king, 1-519. 
 It was made, adds the same author, by one Peter, a painter 
 of Florence, for which he received a thousand pounds, for 
 the whole stuff and workmanship. This Peter, Vertue dis- 
 covered to be Pietro Torreggiano, a valuable sculptor. 2 
 That he was here in the preceding year appears by a book 
 of acts, orders, decrees and records of the Court of Requests, 
 printed in 1592, in quarto, where it is said, p. 60, that in 
 a cause between two Florentine merchants, Peter de Bardi 
 and Bernard Cavalcanti, heard before the council at Green- 
 wich, Master Peter Torisano, a Florentine sculptor, was one 
 of the witnesses. Yasari says that Torreggiano having made 
 several figures in marble and small brass, which were in the 
 town-hall at Florence, and drawn many things with spirit 
 and a good manner, in competition with Michael Angelo 
 (and consequently could be no despicable performer) was 
 carried into England by some merchants, and entertained in 
 the kings service, for whom he executed variety of works in 
 marble, brass, and wood, in concurrence with other masters 
 of this country, over all whom he was allowed the superi- 
 ority. He received, adds Vasari, such noble rewards, that if 
 he had not been a proud, inconsiderate, ungovernable man, 
 
 A portrait of a man in black, holding a ring ; on the back is written H.H., for 
 17 guineas. 
 
 A portrait of a young lady, Costanza Fregosa, its companion, for 27 guineas. 
 These last two pictures were from the Palace of the Prince of Monaco, and were 
 presents to Walpole from his great nephew, George, Earl of Cholmorjdeley. 
 An architectural drawing, for two guineas. 
 
 An original drawing of a clock, designed for Sir Anthony Denny, as a new-year's 
 
 gift to Henry VIII., purchased at the sale of M. Mariette, for 61. 16s. 6d. 
 A drawing of a Romish episcopal saint, whole length, for 3 guineas. 
 A portrait of the Duchess of Suffolk, on panel, for 10 guineas. 
 A curious portrait, with the arms and an inscription of Coleshill of Cornwall, 
 
 with a Latin inscription on the frame, for 61. 16s. 6d. 
 A portrait of Henry VIII. the dress elaborately worked to represent embroidery, 
 
 for 48 guineas ; and 
 A man in black holding a ring, a small half length, in a richly carved and gilt 
 
 frame, for il. — W.] 
 
 1 Page 499. 
 
 2 Pietro Torreggiano, or as he was called in England, Peter Torisa, or Torrysani. 
 Vasari says that he was born in Florence about the year 1470, and was an eminent 
 sculptor, when he contracted to make King Henry Vllth's, tomb, as appears by 
 the original deed of contract, in the archives of Westminster Abbey, dated in 1516. 
 It was finished in 1519, after which he left England for Spain.— D. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 103 
 
 lie might have lived in great felicity and made a good end ; 
 but the contrary happened, for leaving England and 
 settling in Spain, after several performances there, he was 
 accused of being a heretic, 1 was thrown into the Inquisition, 
 tried and condemned. The execution indeed was respited, 
 but he became melancholy mad and starved himself to 
 death at Seville in 1522, in the fiftieth year of his age. 
 
 Torreggiano,it seems, with Henry's turbulence of temper, 
 had adopted his religion, and yet, as he quitted England, 
 
 1 In a passion lie had broken an image of the Virgin that he had just carved. 
 
 Cumberland, in his Anecdotes of Spanish Painters, 8vo., 1787, p. 10, relates this 
 story at large : — " Torrigiano had undertaken to carve a Madonna and child of the 
 natural size, at the order of a Spanish grandee : it was to be made after the model 
 of" one which he had already executed, and a promise was given him of a reward 
 proportioned to the merit of his work. His employer was (the Duke d' Areas) one 
 of the first grandees of Spain ; and Torrigiano, who conceived highly of his 
 generosity, and well knew what his own talents could perform, was determined to 
 outdo his former work. He had passed a great part of his life in travelling from 
 kingdom to kingdom in search of employment, and, flattering himself with the 
 hope that he had now found a resting-place after all his labours, the ingenious 
 artist, with much pains and application, completed the work ; and presented to his 
 employer a matchless piece of sculpture, the utmost effort of his art. The grandee 
 surveyed the striking performance with great delight and reverence, applauded 
 Torrigiano to the skies, and impatient to possess himself of the enchanting idol, 
 forthwith sent to demand it. At the same time, to set off his generosity with a 
 better display, he loaded two lacqueys with the money ; the bulk was promising 
 but when Torrigiano turned out the bags and found the specie nothing but a parcel 
 of brass maravedi, amounting only to thirty ducats, vexation upon the sudden dis- 
 appointment of his hopes, and just resentment for what he considered as an insult 
 to his merit, so transported him, that snatching up his mallet in a rage, and not 
 regarding the perfection (or what was to him of more fatal consequence) the sacred 
 character of the image he had made, he broke it suddenly to pieces, and dismissed 
 the lacqueys with their load of farthings to tell the tale. They executed their 
 talent too well. The grandee, in his turn fired with shame, vexation, and revenge, 
 and assuming, or perhaps conceiving horror for the sacrilegious nature of the act, 
 presented himself before the Inquisition and impeached the artist at that terrible 
 tribunal. It was in vain that Torrigiano urged the right of an author over his 
 own creation. Reason pleaded at his side, but superstition sate in judgment, the 
 decree was death, with torture. The Holy Office lost its victim, for Torrigiano 
 expired in prison, and not under the hands of the executioner." 
 
 Cumberland observes, 4 'For my part, I lament both his offence and his punish- 
 ment. The man who could be so frantic with passion, as in the person of 
 M. Angelo, to deface one of the divinest works of heaven, might easily be tempted 
 to destroy his own ; and it has been generally observed that hearts so prone to 
 anger, have, on occasion, been as susceptible of apprehension and fear. It is to be 
 supposed that Torreggiano's case was not better, in the eyes of the Holy Office, for 
 his having been resident in England, and employed by King Henry VIII. Whether 
 they considered him as tinctured with the heresy of that royal apostate does not 
 appear. I am inclined to think that he more resembled Henry in temper, than in 
 opinion : at least if we are to credit his assault on M. Angelo, and to try him on that 
 action, since the days of Diomede, few mortals ever launched a more impious 
 blow."— Page 17. 
 
 Condivi relates this act of violence. See likewise BuppaJs Life of M. Angelo^ 
 p. 159, 4to.~- D„ 
 
104 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 one should suppose had not suppleness enough to please the 
 monarch, even after that complaisance. In the life of Ben- 
 venuto Cellini is farther evidence of Torreggiano's being 
 employed here, and of his disputes with Michael Angelo. 
 
 When Cellini 1 was about seventeen, he says, there arrived 
 at Florence a sculptor call Pietro Torreggiano, who came 
 from England where he had resided many years ; this artist 
 much frequenting Cellini's master, 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 assist him ; and that Cellini being rather a sculptor than 
 a graver, Torreggiano offered to make his fortune if he would 
 accompany him to London. He was, adds Cellini, of a 
 noble presence, bold, and with the air of a great soldier 
 rather than of a statuary, his admirable gestures, sonorous 
 voice, and the action of his brow striking with amazement, 
 ed ogni giorno ragionava delle sue bravure con quelle 
 bestie di quelli Inglesi — and every day he talked of his 
 brave treatment of those beasts the English. But as much 
 struck as Cellini was with this loftybehaviour to us savages, 
 he took an aversion to his new master, on the latter boast- 
 ing of a blow in the face that he had given to the divine 
 Michael Angelo with his fist, the marks of which he would 
 carry to his grave. Others say, that this event happened in 
 the palace of the Cardinal de' Medici, Torreggiano being 
 jealous of the superior honours paid to Michael Angelo, 
 whose nose was flattened by the blow. The aggressor fled, 
 and entered into the army, where he obtained a captain's 
 commission, but being soon disgusted with that life, he 
 retired to Florence, and from thence came to England. 
 
 To Torreggiano Vertue ascribes likewise the tomb of 
 Margaret, Countess of Bichmond, the mother of Henry 
 VII. and that of Dr. Young, Master of the Bolls, in the 
 chapel at the Bolls in Chancery-lane. There is a head of 
 Henry VIII. in plaister in a round at Hampton-court, 
 which I should suppose is by the same master. 
 
 1 Vita di Benvenuto Cellini, soritta da lui sUsso, 1730. Translated by Dr. 
 Nugent, and republished with additional notes, 2 vols. 8vo, 1822, by T. Roscoe. — 
 D. [Reprinted in Bonn's Standard Library. London, 1847. — W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. 
 
 105 
 
 Among the Harleian MBS. is an estimate of the charge 
 and expense of the monument 1 to be erected for Henry 
 VIL in which appear the names of other artiste who 
 worked under Torreggiano, as Laurence Ymber, kerver, 
 for making the patrons in timber ; Humphrey Walker, 
 founder; Nicholas Ewer, copper-smith and gilder ; John 
 Bell and John Maynard, painters ; Robert Vertue, Robert 
 Jenings, and John Lebons, master masons. There was 
 another called William Vertue, who by indenture dated 
 June 5, in the twenty-first year of Henry VII. engaged 
 with John Hylmer, to vault and roof the choir of the chapel 
 of St. George, at Windsor, for 70 0 1 2 Humphrey Cooke, 3 was 
 master carpenter employed in the new buildings at the 
 Savoy. The tomb at Ormskirk of Thomas Stanley., Earl 
 of Derby, last husband of Margaret of Richmond, was in 
 the same style with that of his wife and son-in-law. On 
 it lay an image of brass, five feet six inches long, which 
 when cast and repaired ready for gilding weighed 500 
 weight and a half. James Hales for making the image 
 of timber had a hundred shillings. 
 
 It was in the reign of Henry VIII. that the chapel of 
 King s College, Cambridge, was finished, 4 a work alone 
 
 At Strawberry-hill is a model in stone of the head of Henry VIL in the agony 
 of death. It is in the great style of Kaphael and Michael Angelo, and worthy of 
 either, thongh undoubtedly by Torreggiano. 
 
 2 Ashmole's Order of the Garter, p. 136. 
 
 3 Robert Cook, Clarenceux in that reign, was a painter ; and at Cockfield-hall, in 
 Yoxford,in Suffolk, drew the portraits of Henry VII., Henry VIII., Queen Catherine, 
 Charles Brandon, Duke of Suffolk, Sir Anthony Wingfield, Sir Robert Wingfield, 
 his lady, and seven or eight sons, all remaining there lately. At Boughton, the 
 seat of the late Duke of Montagu, is a small piece of the family of Wingfield, con- 
 taining several figures, which probably is the picture here alluded to. 
 
 4 The name of the original architect is preserved by Hearne, who in his preface 
 to the History of Glastonbury, p. lxv. says, " All that see King's College Chapel in 
 Cambridge are struck with admiration, and most are mighty desirous 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 first fellows 
 of that college, and afterwards Bishop of Litchfield, was the architect of that chapel 
 [though Godwin, says the bishop himself, was master of the king's works here] 
 as far as King Henry Vlth's share reacheth, and contriver or designer of the 
 whole, afterwards finished by Henry VII. and beautified by Henry VIII." 
 
 In a MS. account of all the members of King's College, a copy of which is in the 
 possession of the Rev. Mr. Cole, of Blecheley, to whom the public and I are obliged 
 for this and several other curious particulars, Bishop Nicholas Close, is mentioned 
 as a person in whose capacity King Henry Vlth (who had appointed him fellow 
 in 1443) had such confidence, that he made him overseer and manager of all his 
 
 / 
 
106 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 sufficient to ennoble any age. Several indentures are 
 extant relative to the execution of that fabric. One in the 
 fourth year of this king, between the provost, Robert 
 Hacomblein, and Thomas Larke, surveyor of the works on 
 one part, and John Wastell, master mason, on the other part, 
 by which he agrees to build or set up a good sufficient vault 
 for the great church there, according to a plat signed by the 
 lords executors of King Henry VII. they covenanting to 
 pay him 1,2 00Z. ; that is to say, 100Z. for every severey 
 (or partition) of the church, there being twelve severeys. 
 
 Another, dated August 4, in the fifth of the same king, 
 between the same parties, for the vaulting of two porches of 
 the King s College Chapel, and also seven chapels, and nine 
 other chapels behind the choir, according to a plat made 
 and to befmished, the vaults and battlementsbeforethefeast 
 of St. John Baptist next ensuing, 25Z. to be paid for each of 
 the said porches; 20/. for each of the seven chapels; 12l. for 
 each of the nine chapels ; and for stone and workmanship 
 of the battlements of all the said chapels and porches, 
 divided into twenty severeys, each severey cl. 
 
 Another, between the same persons, for making and 
 setting up the finyalls of the buttresses of the church, and 
 one tower at one of the corners of the said church, and for 
 finishing and performing of the said tower with finyalls, 
 rysaats, gablets, battlement, orbys and cross-quarters, and 
 everything belonging to them. For every buttress to be 
 paid 61. 13,9. 4c?., and for all the said buttresses 140/., and 
 for the tower 100Z. 
 
 The two next deeds are no less curious, as they have 
 preserved the names of the artists who painted the mag- 
 nificent windows in the same chapel. 
 
 Indenture of May 3, in the 1 8th of Henry VIII. between 
 the aforesaid provost and Thomas Lark, archdeacon of 
 Norwich, and Francis Williamson of Southwark, glazier, 
 and Simon Symonds of St. Margaret's, Westminster, gla- 
 zier, the two latter agreeing curiously and sufficiently to 
 glaze four windows of the upper story of the church of 
 
 intended buildings and designs for that college. In the same MS. John Canterbury, 
 a native of Tewkesbury, and fellow of the college in 1451, is said to have been clerk 
 of the works there, 
 
PAINTERS IN THE REIGN OF HENRY VIII. 107 
 
 King's College. Cambridge, of orient colours and imagery 
 of the story of the Old Law and of the New Law, after 
 the manner and goodness in every point of the king's new 
 chapel at Westminster, also according to the manner done 
 by Bernard Flower, glazier, deceased ; also according to 
 such patrons, otherwise called vidimus, to be set up within 
 two years next ensuing, to be paid after the rate of six- 
 teen pence per foot for the glass. 
 
 The last is between the same provost and Thomas Larke 
 on one part, and Galyon Hoone, of the parish of St. Mary 
 Magdalen, glazier, Eichard Bownde, of St. Clement's Danes, 
 glazier, Thomas Eeve, St. Sepulchre's, glazier, and James 
 Nicholson, of Southwark, glazier, on the other part ; the 
 latter agreeing to set up eighteen windows of the upper 
 story of King's College chapel, like those of the king's 
 new chapel at Westminster, as Bernard Flower, glazier 
 (late deceased,) by indenture stood to do, six of the said 
 windows to be set up within twelve months : the bands 
 of lead to be after the rate of two pence per foot. 1 
 
 In these instruments there appears little less simplicity 
 than in the old ones I have reported of Henry III. Yet 
 as much as we imagine ourselves arrived at higher per- 
 fection in the arts, it would not be easy for a master of a 
 college now to go into St. Margaret's parish of Southwark 
 and bespeak the roof of such a chapel as that of King's 
 College, and a dozen or two of windows, so admirably 
 drawn, and order them to be sent home by such a day, 
 as if he were bespeaking a chequered pavement or a church 
 Bible. Even those obscure artists, Williamson, Symonds, 
 Flower, Hoone, &c. would figure as considerable painters 
 
 1 An indenture more ancient than these, and containing names of persons em- 
 ployed in this celebrated building, has been discovered in the archives of Caius 
 College, by the present master, Sir James Burrough, and is as follows : — 
 
 " To alle christen people this psent writyng endented seeng, redyng, or heryng, 
 John Wulrich, maistr mason of the werkes of the Kyngs college roial of our lady 
 and seynt Nicholas of Cambridge, John Bell, mason wardeyn in the same werkes, 
 Eichard Adam, and Robert Vogett, carpenters, arbitrours indifferently chosen by 
 the reverend fader in God, Edward, by the grace of God, bysshopp of Karlyle, Mr. 
 or Wardeyn of the house or college of St. Michael of Cambr : and the scolers of the 
 same on the oon part, and maist : Henry Cossey, warden of the college or hall of 
 the Annuntiation or Gonville hall, and the fellowes and scolers of the same, on 
 the other part, of and upon the Evesdroppe in the garden of Ffyshwyke hostle, 
 belonginge to Gonville hall, &c. Written at Cambr : 17 Aug. 1476, 16 Edward IV." 
 
108 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 in any reign ; and what a rarity in a collection of draw- 
 ings would be one of their vidimuses ! It is remarkable 
 that one of the finest of these windows is the story of 
 Ananias and Sapphira, as told by Raphael in the cartoons : 
 probably the cartoons being consigned to Flanders for 
 tapestry, drawings from them were sent hither ; an in- 
 stance of the diligence of our glass-painters in obtaining 
 the best designs for their work. 
 
 John Mustyan, born at Enguien, is recorded as Henry's 
 arras-maker ; John de Mayne, as his seal - graver ; and 
 Eichard Atsyll, 1 as his graver of stones. 2 Skelton men- 
 tions one Master Newton as a painter of that time : 
 
 " Casting my sight the chambre about 
 To se how duly eche thyng in ordre was, 
 Towards the dore as we were commyng out 
 I saw Maister Newton syt with his compas, 
 His plummet, his pensell, his spectacles of glas, 
 Devysing in picture by his industrious wit 
 Of my laurel the proces every whitte." 
 
 And among the payments of the treasurer of the chambers, 
 reported above, is one of 40Z. toLeviniaTirlinks,paintrixe — 
 a name that occurs but once more, in a roll of new-year s 
 gifts to and from Queen Elizabeth. This gentlewoman 
 presents the queen's picture, painted finely on a card. 
 
 In the cathedral of Chichester 3 are pictures of the kings 
 of England and bishops of that see, painted about the year 
 1519, by one Bernardi, ancestor of a family still settled in 
 those parts. They were done at the expense of Bishop 
 Sherborne, who erected a monument for himself, yet re- 
 maining there. Vermander mentions one Theodore Ber- 
 
 1 Hillyard (the same person, probably, of whom more hereafter) cut the images 
 of Henry VIII. and his children on a sardonyx, in the collection of the Duke of 
 Devonshire. The Earl of Exeter has such another. Lady Mary Wortley had the 
 head of the same king, on a little stone in a ring ; cameo on one side, and intaglio 
 on the other. 2 With a fee of 207. a-year. 
 
 3 Bishop Sherburne employed Theodore Bernardi, a Flemish painter who came 
 to England, with his two sons, in 1519. They painted two pictures of very con- 
 siderable dimensions, upon oak panel, describing two principal epochs in the 
 history of that church of Chichester ; the foundation of the see of Selsey by Cead- 
 walla. and the establishment of four prebends by himself. There is sufficient 
 reason for conjecture, that the chambers in Coudray House were likewise painted 
 by them. Theodore's descendants, Anthony and Lambert Bernardi, and another 
 Lambert Bernardi, are registered in the parish of All Saints, Chichester. — Hist, of 
 Western Sussex, vol. i. p. 181. — D. 
 
PAINTERS IN THE REIGN OF HENRY VIII. 109 
 
 nardi, of Amsterdam, master of Michael Coxie, who Vertue 
 thinks painted those works at Chichester, as they are in 
 a Dutch taste. They were repainted in 1747, by one 
 Tremaine. 
 
 The congenial temper of Wolsey 1 displayed itself in as 
 magnificent a manner as the kings. Whitehall, Hampton 
 Court, and his college of Christ Church were monuments 
 of his grandeur and disgrace, flowing from the bounty of, 
 and then reverting to, the Crown. In 1524 he began 
 a monument for himself at Windsor, erecting a small 
 chapel adjoining to St. George's Church, which was to 
 contain his tomb, " the design whereof/' says Lord Her- 
 bert, 2 " was so glorious that it exceeded far that of Henry 
 VII. One Benedetto, a statuary of Florence, took it in 
 hand, and continued it till 1529, receiving for so much 
 as was already done 4,250 ducats. The cardinal," adds 
 the historian, u when this was finished, did purpose to make 
 a tomb for Henry, but on his fall, the king made use of so 
 
 1 Lord Herbert adds a reflection : " Thus did the tomb of the cardinal partake 
 the same fortune with his college (at Ipswich), as being assumed by the king, both 
 which yet remain still imperfect." 
 
 Speed, in his History of Britain, p. 1,083, has copied a MS. of Nicholas Charles, 
 Lancaster Herald, entitled, " The manner of the Tombe to be made for the king's 
 Grace at Windsor." Of its extraordinary dimensions and magnificence, both of 
 materials and art, the following extract may communicate some idea. " The in- 
 closure, statues, &c. to be composed of copper gilt. Upon two separate altar or 
 table tombs of touch stone, the figures Henry VIII. and his Queen Jane Seymour, 
 recumbent in their royal habits, ' not as death but as sleeping on both sides, and 
 of the size of a man and woman, with two angels at the head of each. Upon a 
 high basement between them, upon which shall be the history of St. George em- 
 bossed, shall stand the king on horseback, in full armour, ' of the stature of a 
 goodly man and a large horse.' Over all, 4 the Image of God the Father, holding 
 the king's soul in his left hand, and his right hand extended, in the act of bene- 
 diction.' Thirteen prophets and four saints, all five feet high, and between each, 
 pillars of serpentine marble. The amount of the carvings, 133 statues, and 44 
 ' stories, or bas-reliefs. In Henry Vlllth's will this tomb is specified, ' an ho- 
 nourable tomb for our bones to rest in, which is well onward, and almost made 
 therefore, already. Dated, Dec, 30. 1546." The whole of this unfinished pile or 
 statuary was sold by the Parliament Commissioners, for 600£. and melted down. 
 Among the Lansdowne State Papers, No. 116, is a certificate of the Lord Trea- 
 surer (Burghley) of the state of the tombs of Henry VII. and VIII. with a view to 
 their repair. It is dated in 1579, when Queen Elizabeth might have entertained 
 some serious intention of paying that respect to her ancestors. No estimate of 
 the expense is given in this document, and it is more than probable that her 
 economy subdued her filial piety. It had been exerted in Vain. 
 
 In the Archceologia, vol. xvi. p. 84, is the draft of an indenture of covenants for 
 the erecting of a tomb for King Henry VIII. and Queen Catherine, the place not 
 specified, at the expense of 2,000Z. between the king and Peter Torreggiano, or 
 Torysany. Dated in 1518. Found among the papers of Cardinal Wolsey, in 
 the Chapter-house, Westminster. — D 2 Page 342. 
 
110 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 much as he found fit, and called it his." Dr. Fidde says, 
 that the cardinal made suit to the king to have his own 
 image with such part of his tomb as shall please the king 
 to let him have, to be sent to York, where he intended to 
 be buried. In the same collections mention is made of 
 Anthony Cavallari, as gilder of the tomb, whom the cardi- 
 nal is besought to permit to return home to Antwerp, if he 
 means to employ him no farther, and also that Ben edict, the 
 carver, may return to Italy. But Benedict Henry took into 
 his own service, and employed on the same tomb, which 
 his majesty had now adopted for himself. This person was 
 Benedetto da Rovezzano, another Florentine sculptor, who, 
 Vasari says, executed many works of marble and bronze for 
 Henry, and got an ample fortune, with which he returned 
 to his native country; but his eyes having suffered by work- 
 ing in the foundry, he grew blind in 1550, and died soon 
 after. The celebrated Baccio Bandinelli made an admirable 
 model of wood, with figures of wax,for the samemonument; 
 but Benedetto of Rovezzano, it seems, was preferred. 1 
 
 The sepulchral 2 chapel was never completed. Henry and 
 Jane Seymour were buried in St. George's Church, with an 
 intention of their being removed into the monument as soon 
 as it should be finished. Charles I. resumed the design, pro- 
 posing to enlarge the chapel, and fit it for his own and the 
 interment of his successors. But the whole was demolished 
 in 1646 by order of parliament, and the rich figures of 
 copper gilt melted down. James II. repaired this building, 
 and employed Verrio to paint it, intending it for a popish 
 chapel ; but no destination of it has yet succeeded ; it re- 
 mains a ruin, 3 known by the name of the Tomb-house. 
 
 1 I suppose it was Anthony Cavallari, or Benedetto da Rovezzano, who made the 
 large statue in metal of Henry VIII. in a cloister at Gorhambury ; it is not in a 
 bad taste. 
 
 2 Leland says that the ancient chapel of St. George, built by Edward III. stood 
 on this very spot, and that Henry VII. pulled it down, and erected the present 
 tomb-house in its place, intending himself to be buried there ; but afterwards 
 changed his mind, and built his chapel at Westminster. See Leland's comment 
 on the Cygnea Cantio, published with his Itinerary, by Hearne, vol. ix. 
 
 3 In 1800, his late majesty directed that the whole structure should be repaired 
 and glazed ; and the decayed battlements and other ornaments completely restored, 
 
 but nothing farther, as to its appropriation, was done at that time. — D. [It is 
 
 now literally the Royal Tomb-house ; several of the royal family are buried in the 
 vaults beneath. — W.] 
 
PAINTERS IN THE REIGN OF HENRY VIII. Ill 
 
 REMARKS. 
 
 Holbein was the luminary of painting in England, in the semi-barbarous 
 court of Henry VIII., which shone with a powerful influence in efforts of 
 ingenuity and splendour ; and diffused a taste for the various works of art, 
 and a perception of their comparative excellence, hitherto unknown. 
 
 The common, but somewhat injurious consequence of this supereminence 
 is the throwing into shade the merits of other artists, who approach them 
 with a degree of successful competition which is not always duly allowed. 
 
 Henry VII. was of too penurious a character to patronize artists ; and we 
 find that Mabuse was so little satisfied with the encouragement he received 
 from him, that he quitted England after a residence of one year only. 
 
 When Henry VIII. succeeded, his love of gorgeous ornament, and his 
 rivalry of the Emperor Charles V. 1 and of Francis I. incited him to a display 
 of Gothic magnificence, in which the wealth amassed by his father enabled 
 him to surpass them. But the same motives induced a more elegant pursuit ; 
 and as those monarchs were liberal patrons of painters, who, at that period, 
 professed likewise architecture, and all works of design, he followed their 
 example by offers of great remuneration to some members of the Italian and 
 Flemish schools. And though Raphael, Primaticcio, and Titian, declined to 
 accept his munificence, others, already celebrated in their own country, were 
 willing to try their fortune in this. 
 
 The faculty of an artist, at that time, was to complete a palace — to plan 
 and design it, as an architect — to embellish it, as an inventor of carvings, and 
 of patterns for tapestry and stained glass — to enrich the larger apartments 
 with fresco paintings on the *walls and ceilings, and the smaller with portraits 
 and cabinet pictures. Such palaces had already risen, under the royal 
 auspices, on the Continent, by the efforts and directing genius of one man. 
 Our Henry spared neither solicitation nor expense to effect a similar purpose. 
 
 Previously to the arrival of Holbein in England, Lucas Cornelisz, Luca 
 Penni, Toto del Nunziata, and another of Raphael's scholars, Girolamo da 
 Trevigi, were settled and constantly employed in the court of Henry VIII. 
 
 Evidences fail us in ascertaining their several works, and appropriating 
 them either separately or conjointly. We know that the palaces of St. 
 James's, York House, Richmond, Nonsuch, and Hampton Court, were, each 
 of them, built or ornamented during the early part of the sixteenth century ; 
 and that retaining pensions were paid to all these artists ; but we are not 
 supported, even by tradition, as to their individual performance. 
 
 The superior talents of Holbein commanded universal praise and acknow- 
 ledgment ; but eminent as his powers, both of invention and execution must 
 have been, he is familiarised to us as a painter of portraits. As Walpole 
 speaks only of Holbein's general excellence, and chiefly as a colourist, the 
 opinions of other critics may not be irrelevant. De Piles, in his scale of 
 painting, places him but one degree below Rubens and Vandyck. His 
 immediate successors, and those who followed them in the reign of Charles j. 
 considered his portraits as models of perfection ; they were frequently 
 employed in copying them ; and were emulous to acquire his style. Norgate 
 (in the MS. treatise already quoted) observes, " The incomparable H. Holbein, 
 who, in all his different and various methods of painting, either in oyle, 
 
 1 [There was at Strawberry- hill an historical .. picture of Henry VIII. and 
 Charles V. with two figures behind Charles, probably his grandfather, the Empero 
 Maximilian, and his father, Philip. It was sold at the sale for 52 guineas. — W.] 
 
112 PAINTERS IN THE REIGN OF HENRY VIII. 
 
 distempre, lymning, or crayon, was, it seems, so general an artist, as never to 
 imitate any man, nor ever was worthily imitated by any." Zucchero, after 
 having examined his works, preserved in the English collections, indulged in 
 extravagant encomium. 
 
 Holbein gratified his royal patron by furnishing designs to be embossed or 
 chased in gold or silver, to the goldsmiths ; particularly to Moret, whose 
 portrait was one of the most admired in the Arundel collection. These were 
 principally applied to standing cups, daggers, and flasks for gunpowder. 
 Sandrart says (p. 241) that Inigo Jones showed him a small book, full of the 
 most beautiful conceits, drawn in Indian ink (now 5,308, MSB. Harl.) 
 About this time Benvenuto Cellini was retained by Francis I. and Benedetto 
 da Rovezzano was resident in England, and associated with Holbein ; who 
 had opportunities of seeing their exquisite works, and of acquiring their art, 
 with the usual happiness of his genius. As an architect, he properly belongs 
 to the next chapter. 
 
 Respecting the cartoons, or as these designs were then called, " vidimus" 
 prepared by painters in water-colours, to be transferred or copied upon glass, 
 Walpole has remarked an exact adaptation of one of Raphael's in the windows 
 of King's College, Cambridge. Designs of able masters, originally intended 
 for tapestry, were easily applied to stained glass, more particularly when the 
 windows were made to represent Scripture histories. 
 
 The celebrated cartoons were designed and executed by Raphael about the 
 year 1517. 1 The building of King's College Chapel is said to have been 
 completed in 1515 ; and as the agreement cited in the text bears date in 1527, 
 the cartoons had been long enough in Flanders to admit of copies having 
 been obtained, according to Walpole's conjecture. The exquisite series of 
 the story of Cupid and Psyche, painted by the same master, in the Farnesina 
 of Rome, were copied " en grisaille " for the windows of the gallery of the 
 castle of Ecouen. We had, at this time, the above-mentioned artists resident 
 in England, who are known to have had employment in similar designs, from 
 the glaziers, who made similar contracts ; and who were in constant intercourse 
 with France, Holland, and the Netherlands, where the art of staining glass 
 had nearly reached the zenith of its perfection. 
 
 Although the mausoleum of Henry VII. be, in dimensions and magnificence, 
 a work worthy of all the admiration then bestowed upon it, the art of sculpture 
 and casting in metal, as applied to sepulchral monuments, had previously 
 attained to a positive degree of excellence in this kingdom. If we refer to 
 the effigies of his predecessors, still extant, it will appear that sculpture had 
 made nearly an equal progress with architecture during the fourteenth and 
 fifteenth centuries. Casting in metal succeeded to the art of plating with it 
 
 1 [They were executed in 1515-16, and the tapestries from them, for the Sistine 
 Chapel, were completed three years afterwards. These designs were originally 
 ten. Besides the seven now at Hampton Court, there were — The Conversion of 
 St. Paul, Paul in Prison at Philippi, and the Stoning of St. Stephen ; which are 
 lost. Passavant (Rafael von Urbmo, vol. i. p. 279 ; vol. ii. p. 258) mentions an 
 eleventh, of the Coronation of the Virgin —the tapestry of which was placed above 
 the altar of the chapel ; the others were arranged on each side of the altar ; the 
 series from the life of St. Paul being placed opposite to the papal chair, and all 
 within that portion of the chapel called the Presbyterium. (Platner and Bunsen, 
 Beschreibung der Stadt Rom. vol. ii. pt. 2, p. 408.) There is another set of tapestries 
 at the Vatican, which was executed from cartoons made from designs by Raphael, 
 after his death : they are distinguished from the others as the Arazzi della Scuola 
 Nuova, the earlier set being known as the Arazzi della Scuola Yecchia. The 
 Murder of the Innocents, in the National Gallery, is a portion of one of the 
 cartoons of the later set, or the Scucla Nuova. — W.J 
 
PAINTERS IN THE REIGN OF HENRY VIII. 113 
 
 upon wood. The faces were wrought from masques taken from the dead 
 subject, and therefore the likeness was preserved entire, of which many- 
 curious and authentic specimens are given in Gough's Sepulchral Monuments. 
 They occur in the following series : — 
 
 1272. Henry III Copper-gilt Westminster. 
 
 1290. Eleanor, Queen of, Bronze or latten 1 . . . Ditto. 
 
 1307. Edward I Copper-gilt ....... Ditto. 
 
 1327. Edward II Alabaster Gloucester. 
 
 1377. Edward III Copper-gilt Westminster. 
 
 1369. Queen Philippa Alabaster Ditto 
 
 1395. Richard II. Anne, his Queen. . Latten, or mixed metal . Ditto. 
 
 1412. Henry IV. his Queen Alabaster Canterbury. 
 
 1 499 Hpnrv V i 0ak > P lated with silver ' I Westminster 
 
 1422. Henry V j and the head solid . J W estmmster - 
 
 Added to these are Aymer de Valence, 1246, of oak plated with copper, 
 and John of Eltham, of alabaster, in Westminter; Edward the Black Prince, 
 in Canterbury, and Richard Beauchamp, Earl of Warwick, in his chapel at 
 Warwick, both of copper-gilt. 2 The existing contracts are made with English 
 artists, coppersmiths, chasers, or gilders . From Le Noir's collections relative 
 to the statues of the kings of France, it may be supposed that the art of 
 casting in metal was there unknown at the same period. Certain it is that it 
 was rarely practised : because so many monuments mentioned are of marble, 
 black or white, and of alabaster, almost without exception. 
 
 In this era of the history of painting in England, it is obvious to con- 
 template the perfection to which it had already attained in Italy. Leonardo 
 da Vinci, Michelangelo, Raphael, and Titian, were in their full glory ; and 
 when compared with their transcendent works in other countries, painting, 
 in our own, was little more than genius struggling with barbarism. 
 
 France had not long preceded or excelled us. The light diffused by II Rosso 
 and Primaticcio over that country, was soon reflected here by the efforts of 
 such of the Roman school as had ventured to visit this northern region. An 
 admiration of painting, more especially of portrait, was excited by the novel 
 exhibition of it under the royal protection. Still, however, till after the 
 arrival of Holbein, our native artists were content to admire, and had not 
 dared to imitate. — D. 
 
 1 [Brass. — W.] Of brass. See note, p. 39.— W.] 
 
 VOL. I. 
 
 I 
 
holbein's gate. 
 
 CHAPTER V. 
 
 STATE OF ARCHITECTURE TO THE END OF THE REIGN OF HENRY VIII. 
 
 It is unlucky for the world that our earliest ancestors 
 were not aware of the curiosity which would inspire their 
 descendants of knowing minutely everything relating to 
 them. When they placed three or four branches of trees 
 across the trunks of others and covered them with boughs 
 or straw to keep out the weather, the good people were 
 not apprized that they were discovering architecture, and 
 that it would be learnedty agitated some thousand of years 
 afterwards who was the inventor of this stupendous science. 
 In complaisance to our inquiries they would undoubtedly 
 
STATE OF ARCHITECTURE, ETC. 115 
 
 have transmitted on account of the first hovel that was ever 
 built, and from that patriarch hut we should possess a faith- 
 ful genealogy of all its descendants : yet such a curiosity 
 would destroy much greater treasures ; it would annihilate 
 fables, researches, conjectures, hypotheses, disputes, blun- 
 ders, and dissertations, that library of human impertinence. 
 Necessity and a little common sense produced all the com- 
 mon arts, which the plain folks who practised them were 
 not idle enough to record. Their inventions were obvious, 
 their productions useful and clumsy. Yet the little merit 
 there was in fabricating them being soon consigned to 
 oblivion, we are bountiful enough to suppose that there 
 was design and system in all they did, and then take infi- 
 nite pains to digest and methodize those imaginary rudi- 
 ments. No sooner is any era of an invention invented, but 
 different countries begin to assert an exclusive title to it, 
 and the only point in which any countries agree is perhaps 
 in ascribing the discovery to some other nation remote 
 enough in time for neither of them to know anything of it 
 Let but France and England once dispute which first used 
 a hatchet, and they shall never be accorded till the chancery 
 of learning accommodates the matter by pronouncing that 
 each received that invaluable utensil from the Phoenicians. 
 Common sense that would interpose by observing how pro- 
 bable it is that the necessaries of life were equally disco- 
 vered in every region, cannot be heard ; a hammer could 
 only be invented by the Phoenicians, the first polished peo- 
 ple of whom we are totally ignorant. Whoever has thrown 
 away his time on the first chapters of general histories, or 
 of histories of arts, must be sensible that these reflections 
 are but too well grounded. I design them as an apology 
 for not going very far back into the history of our archi- 
 tecture. Vertue and several other curious persons have 
 taken great pains to enlighten the obscure ages of that 
 science ; they find no names of architects, nay, little more 
 than what they might have known without inquiring : that 
 our ancestors had buildings. Indeed Tom Hearn, Brown, 
 Willis, and such illustrators, did sometimes go upon more 
 positive ground ; they did now and then stumble upon an 
 
 I 2 
 
116 STATE OF ARCHITECTURE TO THE END OF 
 
 arch, a tower, nay, a whole church, so dark, so ugly, so un- 
 couth, that they were sure it could not have been built since 
 any idea of grace had been transported into the island. 
 Yet with this incontestable security on their side, they still 
 had room for doubting; Danes, Saxons, Normans, were all 
 ignorant enough to have claims to peculiar ugliness in their 
 fashions. It was difficult to ascertain the period 1 when 
 one ungracious form jostled out another : and this per- 
 plexity at last led them into such refinement, that the term 
 Gothic Architecture, inflicted as a reproach on our ancient 
 buildings in general by our ancestors who revived the Gre- 
 cian taste, is now considered but as a species of modern 
 elegance, by those who wish to distinguish the Saxon style 
 from it. This Saxon style begins to be defined by flat and 
 round arches, by some undulating zigzags on certain old 
 fabrics, and by a very few other characteristics, all evidences 
 of barbarous and ignorant times. I do not mean to say 
 simply that the round arch is a proof of ignorance ; but 
 being so natural, it is simply, when unaccompanied by any 
 graceful ornament, a mark of a rude age — ifattended by 
 misshapen and heavy decorations, a certain mark of it. 2 
 
 1 When men inquire, " Who invented Gothic buildings ? " they might as well 
 ask, " Who invented bad Latin ? * The former was a corruption of the Roman 
 architecture, as the latter was of the Koman language. Both were debased in bar- 
 barous ages ; both were refined, as the age polished itself ; but neither were restored 
 to the original standard. Beautiful Gothic architecture was engrafted on Saxon 
 deformity ; and pure Italian succeeded to vitiated Latin. 
 
 2 This definition of the Saxon style by our ingenious author will be considered 
 as rather jejune, and by no means satisfactory. When Walpole wrote, the subject 
 had not been explored, the points of discrimination discovered, nor the precise 
 boundary marked out, which divide the pure Saxon manner, before Edward the Con- 
 fessor, from that introduced by the Norman prelates. They are still frequently 
 confounded. 
 
 It is allowed by those who have investigated the history of architecture among 
 the Saxons, that very few churches of that early date are now seen above ground, 
 and that crypts and door-cases supply the most authentic evidence. These, in 
 many most curious instances, are sufficiently known to the architectural antiquary. 
 Who that has examined the workmanship of capitals, door-cases, bas-reliefs, and 
 soffits of arches, or the carvings of fonts, all of which have a confirmed reference to 
 the Saxon era, will hastily condemn them as ' ' heavy or misshapen ornaments?" 
 Malmesbury, to cite no other instance, will vindicate such specimens from that 
 censure in particular. Several of the ornaments of the door-cases resemble those 
 we see adopted in the Roman mosaic ; and the finishing, so far from being coarse, 
 approaches to delicacy. 
 
 The leading marks of distinction between the Saxon and the Anglo-Norman 
 style, immediately consequent upon it, does not depend upon the arches ; for, in 
 both, they are circular. The arcades of St. Frideswyde (now Oxford Cathedral), 
 and of Waltham Abbey, are exclusively Saxon, according to the learned Mr. King, 
 
THE KEIGrN OF HENRY VIII. 
 
 117 
 
 The pointed arch, that peculiar of Gothic architecture, was 
 certainly intended as an improvement on the circular, and 
 the men whe had not the happiness of lighting on the sim- 
 plicity and proportion of the Greek orders, were however so 
 lucky as to strike out a thousand graces and effects which 
 rendered their buildings magnificent, yet genteel, vast, yet 
 light, 1 venerable and picturesque. It is difficult for the 
 
 whose authority was highly valued. But a chief peculiarity (continued certainly 
 by the Normans) was the carving on the soffits of the arches ; and the placing a 
 bas-relief of our Saviour, generally as sitting, in the round head of the door-case, 
 so as to leave the door itself of an oblong shape. 
 
 The Anglo-Norman period may be comprised between the reigns of Edward 
 Confessor and that of Henry I., when several of the cathedrals were first rebuilt, 
 with greatly increased dimensions, and simpler ornaments in the moulding. The 
 heads of animals, beaks of eagles, and other chimeras were then very rarely intro- 
 duced, and are rather demonstrative of the Saxon manner, and evidently copied 
 from the lower Roman. The Norman 4 4 Romanesque" which prevailed to the year 
 1100, was characterised by plainness and simplicity. 
 
 Few subjects have been investigated with more zeal than the real origin of the 
 " Pointed Arch," since this observation of Walpole first appeared. To detail and 
 examine the various hypotheses, which have in general been supported with consi- 
 derable ability, would demand volumes. 
 
 Sir Christopher Wren's opinion, to which Warburton and Warton greatly in- 
 clined, ascribed what is commonly known as Gothic architecture to the invention 
 of the Saracens, which the Crusaders first introduced into Christendom. * ' Time has 
 revealed that errour ; no such Saracenic works exist in Spain, nor Sicily, nor in any 
 other country to which the Arabian power had extended {Archccol. vol. viii. p. 191); 
 yet Mr Hamilton, (in his JEgyptiaca, p. 347) and Mr Haggit, (in Gothic Arch. 
 p. 121) contend for the eastern origin of the pointed arch ; and that remains of 
 Gothic architecture are not less frequent in Egypt than in Palestine ; Alexandria, 
 Rosetta, Cairo and Upper Egypt abound with them." 
 
 Mr. Barry {Works, p. 123) is convinced "that the style called Gothic is nothing 
 more than the architecture of the old Greeks and Romans, in the state of final 
 corruption into which it had fallen." This mode since its introduction into Italy, 
 has acquired various designations, from different authors on the subject — such as 
 " La maniera vecchia, non antica — Greco -Goffa — Goffa-Tedesca — Gottica — Longo- 
 bardica," the last mentioned was the heavy style ; the light Gothic "maniera 
 tedesca." * Muffei, Muratori, and Tiraboschi have shown "that neither the 
 Goths nor the Lombards introduced any style in particular ; but employed the 
 architects whom they found in Italy." Dr. Moller, a late German writer on the 
 Gothic style in that country, remarks that " neither the Goths nor the Lombards 
 were inventors of the architecture which has taken their name, for the ancient 
 paganism of the northern nations had no influence on the style of church build- 
 ing." Heyne (the well-known) is more decisive in asserting, that the Gothic 
 architects residing at Rome were in reality those who first migrated into France 
 with other Goths who professed the arts, from Aquitaine and Spain ; and concludes 
 with his confirmation of the opinion above cited. 
 
 Millin says, that the style denominated " Le Gothique Grec," is peculiar to the 
 lower empire ; when Greek architects were employed in Italy, to apply fragments 
 of classical architecture to Gothic irregular edifices, as at San Marco at Venice." 
 The Genoese and Pisan merchants were frequently laden on their return from their 
 
 1 For instance, the facade of the cathedral at Rheims. 
 
 * [The Gothic is evidently a style especially suited to, and matured in, a cold 
 climate ; the high angular roof indicates provision against the snow-storm, and a 
 form first dictated by necessity was in course of time rendered ornamental by 
 art.— W.] 
 
118 STATE OF ARCHITECTURE TO THE END OF 
 
 noblest Grecian temple to convey half so many impressions 
 to the mind, as a cathedral does of the best Gothic taste — 
 a proof of skill in the architects and of address in the 
 priests who erected them. The latter exhausted their 
 knowledge of the passions in composing edifices whose 
 pomp, mechanism, vaults, tombs, painted windows, gloom, 
 and perspective infused such sensations of romantic devo- 
 
 settlements in Greece, with marble from the ruined cities, which was used in con- 
 structing their churches, as a more abundant quarry. 
 
 Great resemblance of the first to the later Gothic will excuse the introduction of 
 the following passage, frequently quoted by others, into this long note. Cassio- 
 dorus, who, in the sixth century, was secretary to the first Gothic kings of Italy, 
 has this striking observation concerning their ecclesiastical architecture, which 
 had then begun to prevail. He inquires (Op. Cassiod. Venetiis, p. 23), " Quid 
 dicamus columnarum junceam proceritatem ! moles illas sublimissimas fabricarum ; 
 quasi quibusdam erectis pastilibus continui, et substanfiae qualitate concavis 
 canalibus excavatas ; ut magis ipsas, estimes fuisse transfusas, alias ceris judices 
 factas, quod metallis durissimis expolitum." 
 
 Mr. R. Smirke, (Archceol. vol xv. p. 363), thinks that Gothic architecture was 
 introduced into Italy at a very early period, and that it acquired a degree or rich- 
 ness, which Gothic buildings in this country did not assume, till many years after- 
 wards. His specimens, in confirmation, are a window of the church of Messina, 
 in Sicily, in the early part of the tenth century ; the baptistery at Pisa, by Dioti 
 Salva, 1152 ; and the Campo Santo begun by Giovanni da Pisa, in 1275. The 
 late Sir H. Englefield, adds remarks on the same letter (p. 367) ; and conjectures 
 that the tracery of the windows of the great cloister of the Campo Santo is not of 
 a period earlier than 1464 ; and he grounds his opinion upon an inscription still 
 to be seen, and quoted in the Theatrum Basilicce Pisanoz, p. 375. Mr. Smirke 
 replies, in confirmation of his first opinion, to show that the circular and pointed 
 arch with tracery, were not uncommon in the same building, as early as he has 
 stated. He discredits Sir H. E.'s proofs, that any material alteration or addition 
 took place either in the Battisterio or the Campo Santo. Mr. Gunn ( On the 
 Origin and Influence of Gothic Architecture, p. 227) had commissioned a friend to 
 cause an accurate investigation to be made, whether the Gothic ornaments were 
 original or substituted ; when the first opinion was said to have been confirmed by 
 the keeper, Sign. Toscanelli ; who has since declared, that it was never authorized 
 by him. (Arch. vol. xx. p. 551.) 
 
 That this style 6 ' originated in ancient Rome," is advanced in Mr. Gunn's very 
 sensible treatise, and pursued with more science by Mr Kerrick, the librarian of 
 the University of Cambridge, Whose notes and illustrations are most ingenious and 
 valuable. A satisfactory extract only is offered to those who have pursued these 
 inquiries, and who are referred to the latter volumes of the Archceologia, and the 
 treatises which have been mentioned. ' ' Gothic Architecture is said by Torre, to 
 have been first so named by Cesare Cesarini, in his Commentary on Vitruvius 
 The Italians call the old heavy style of building Lombard architecture, and we, 
 for like reason, call it Saxon or Norman, but the architecture is the same. The 
 error has been to suppose that it came to us, from some distant country, adult, 
 and in its full vigour ; and not that it was implicitly adopted, and made use of, 
 exactly as received. And it was not till very lately that, these notions having been 
 found not to be supported by facts, we began to look nearer home, to observe the 
 buildings around them ; and to consider the objects themselves, with the abilities 
 required for their production." (Arch. vol. xvi. p. 292.) 
 
 But the single hypothesis of the origin of the pointed arch was more generally 
 agitated after the appearance of Mr. "Whittington's Treatise on the Ecclesiastical 
 Antiquities of France, and the Rise and Progress of Gothic Architecture in Europe. 
 This very ingenious author attributes the introduction to France, at least the 
 adaptation of it, in priority to England. 
 
THE REIGN OF HENRY VEIL 
 
 119 
 
 tion ; and they were happy in finding artists capable of 
 executing such machinery. One must have taste to be 
 sensible of the beauties of Grecian architecture ; one only 
 wants passions to feel Gothic. In St. Peters one is con- 
 vinced that it was built by great princes — in Westminster 
 Abbey, one thinks not of the builder ; the religion of the 
 place makes the first impression ; and though stripped of 
 its altars and shrines^ it is nearer converting one to popery 
 than all the regular pageantry of Eoman domes. Gothic 
 churches infuse superstition — Grecian admiration. The 
 papel see amassed its wealth by Gothic cathedrals, and 
 displays it in Grecian temples. 1 
 
 Dr. Milner disallows that fact, in a treatise which immediately followed, en- 
 titled, On Ecclesiastical Architecture in England during the Middle Ages ; the 
 avowed object of which is to refute the assertion that the pointed style first appeared 
 in France. " It is probable that the first pointed open arches in Europe were the 
 twenty windows constructed by that great patron of architecture, Henry de Blois, 
 Bishop of Winton, in the choir of the church of St. Cross, near that city, between 
 the years 1132 and 36." 
 
 This essay called forth a spirited examination of that fact from Mr. Haggitt, 
 with a farther confirmation by Mr Hawkins, in the instance of the Abbey of 
 Chigny. 
 
 As a corollary to this limited view of the question, we may perhaps safely infer 
 that the Lombardic, Saxon, and Anglo-Norman is one and the same style, formed 
 upon the "Romanesque," or debased Roman, and that the pointed arch originated 
 in the east, or was, in fact, a new style in Europe, from whencesoever it sprang : 
 
 « * se d hac in lite 
 
 Apellabo " 
 
 no author in particular ; but leave the matter for the decision of future critical 
 antiquaries. One result is certain, that science may be exercised, and ingenuity 
 elicited by such investigations. 
 
 No one literary pursuit has been farther advanced within the last half century, 
 in the rapid progress of the graphic art in England, by its numerous professors, 
 than our knowledge of the Gothic style and construction. The building of a 
 cathedral is no longer a mystery. By the ample elucidation afforded in the publi- 
 cations of the Antiquarian Society, and in those of Mr. Britton, the amateur is 
 competently instructed in the architectural antiquities of his own country, and 
 enabled not only to " feel Gothic " (as Walpole says) but to comprehend it. — D. 
 
 1 In the six volumes of letters published at Rome, and entitled Jlaccolta di 
 Lettere sulla Pittura* Scultura ed ArcMtettura, are several of Mons. Mariette, a 
 most worthy m>an, but too naturally infected by the prejudices of his country, 
 his religion, and his profession of connoisseur. All professions are too apt to be led 
 by words, and to talk by rote. Connoisseurs in the art are not least bigoted. 
 Taste has its inquisition as well as popery : and though Mariette has been too 
 partial to me, he has put this work in his Index Expurgatorius, from totally mis- 
 understanding my meaning. Here follows the censure of the passage above, in 
 which I have ascribed more address to the architects of Gothic churches, than to 
 those of St. Peter's — not as architects, but as politicians — a distinction M. Mariette 
 did not give himself time to make, or he could not have understood a book so ill 
 that he gave himself the trouble to translate : after an account of these anecdotes, 
 and too nattering a mention of the author, he says, * * Quest' opera e arrichita di 
 presso di cento ritratti, e la st^.mpae veramenti magnifica. lo vi fard ridere, ae 
 vi dir6, che la Chiesa di San Fietro non e di suo gusto, e che egli la trova, troppo 
 
120 STATE OF ARCHITECTURE TO THE END OF 
 
 I certainly do not mean by this little contrast to make 
 any comparison between the rational beauties of regular 
 architecture, and the unrestrained licentiousness of that 1 
 which is called Gothic. Yet 1 am clear that the persons 
 who executed the latter, had much more knowledge of their 
 art, more taste, more genius, and more propriety than we 
 choose to imagine. There is a magic hardness in the exe- 
 cution of some of their works which would not have sus- 
 tained themselves if dictated by mere caprice. There is a 
 tradition that Sir Christopher Wren went once a year to 
 survey the roof of the chapel of King's College, and said 
 that if any man would show him where to place the first 
 stone, he would engage to build 2 such another. That there 
 
 carica d'omati, il che non gli, pare proprio per an tempio degno dello Maesta dell' 
 Kssere siapremo, che lo abita : che gli ornamenti, che vi sono sparsi a profusione, 
 non vi sono posti per altro che per f omen tare * la superstitione, di che egliaceusa 
 malamente la nostra Chiesa Romana. Ed a quale edifizio credete voi, che egu conceda 
 la preferenza sopra a S. Pietro ! A una Chiesa fabricata sul gusto Gotico, e le di 
 cui muraglie sieno tutte nude : cosa, che fa Pieta !" 
 
 1 " We admire commonly those things which are oldest and greatest, old monu- 
 ments and high buildings do affect us above measure ; and what is the reason ? 
 Because what is oldest cometh nearest to God for antiquity, and what is greatest 
 cometh nearest His works in spaciousness and magnitude." — Bishop Corbet. — D 
 
 2 This circumstance cannot deserve implicit credit ; Walpole had probably heard 
 it himself from the verger, or copied it from Vertue's notes ; but Sir Christophei 
 Wren had too perfect a knowledge of geometry ever to have made the observation. 
 This roof, and that of Henry Vllth's chapel, of the same date, are either of them 
 composed of twelve substantive divisions, then called " severeys," and as totally 
 independent on each other for support, and being so considered they were separately 
 contracted for with the builders, "100<?. to be paid to them upon the completion of 
 each severey, and so from tyme to tyme until all the said twelve severeys be fully 
 
 * Observe that I have said just the contrary — in that Gothic churches infuse 
 superstition ; Grecian, admiration. In my comparison between the effects of a 
 Grecian and a Gothic church, is there any question of preferring the latter to the 
 former in point of architecture ? Have I not said that Gothic architects had not 
 the happiness of discovering the true beauties of the Grecian orders? Is there a 
 word of St. Peter's being overloaded with ornaments ? Have I not even said that 
 a Gothic church, though stripped of its shrines and splendour, makes stronger 
 religious impressions, than the cathedral of Rome, though advantaged by all those 
 decorations ? And why ? but because gloom and well-applied obscurity are better 
 friends to devotion than even wealth ! A dark landscape, savage with rocks and 
 precipices, by Salvator Rosa, may be preferred to a serene sunshine of Claude 
 Lorraine ; not because it is a more pleasing, but a more striking picture. Cato is 
 a regular drama, Macbeth an extravagant one ; yet who thinks the genius of Addi- 
 son equal to Shakspeare's? The one copies rules, the other the passions. A 
 Gibbs and money, a French critic and an English schoolmaster, can make a build • 
 ing or a tragedy without a fault against proportion or the three unities ; and the 
 one or the other might make either. It required a little more genius to write 
 "Macbeth," or to establish the Roman Catholic religion ; and though Mons. Mariette, 
 does not know it, his creed, which he mistakes for architecture, was more obliged 
 to Gothic architects than to Michael Angelo, and the rest, who designed St. 
 Peter's. 
 
THE REIGN OF HENRY VIII. 
 
 121 
 
 is great grace in several places, even in their clusters of 
 slender pillars, and in the application of their ornaments, 
 though the principles of the latter are so confined that they 
 may almost all be reduced to the trefoil, extended and 
 varied, I shall not appeal to the edifices themselves. It is 
 sufficient to observe, that Inigo Jones, Sir Christopher 
 Wren, and Kent, who certainly understood beauty, blun- 
 dered 1 into the heaviest and clumsiest compositions when- 
 ever they aimed 2 at imitations of the Gothic — Is an art 
 despicable in which a great master cannot shine ? 
 
 Considering how scrupulously our architects confine 
 themselves to antique precedent, perhaps some deviations 
 into Gothic may a little relieve them from that servile 
 imitation. I mean that they should study both tastes, 
 not blend them : that they should dare to invent in the 
 one, since they will hazard nothing in the other. When 
 they have built a pediment and portico the Sibyl's 
 circular temple, and tacked the wings to a house by a 
 colonnade, they seem au bout de leur latin. If half a dozen 
 mansions were all that remained of old Rome, instead of 
 half a dozen temples, I do not doubt but our churches would 
 resemble the private houses of Roman citizens. Our build- 
 ings must be as Vitruvian, as writings in the days of Eras- 
 mus were obliged to be Ciceronian. Yet confined as our 
 architects are to few models, they are far from having 
 made all the use they might of those they possess. There 
 are variations enough to be struck out to furnish new scenes 
 
 and perfectly made and performed. " The point of difficulty will be solved in a great 
 measure, if, instead of contemplating the roof as a whole and entire work, we con- 
 sider the space only which is contained between four buttresses, as independent 
 and complete in itself; and, the connection between each several compartment con- 
 cealed for the purpose of producing a very surprising effect of elongation. Each 
 severey is bonded by two strong arches. Allowing this position, the length ceases 
 to be wonderful, excepting on account of the great labour and expense. The more 
 scientific reader will consult Ware's Essay on Vaults {Archccol. vol. xvii. p. 79), for 
 a very satisfactory description of the roof of King's College Chapel. — Particulars 
 of the building of King's Coll. Chapel, MSS. Harleian, No. 433, t. 49. — D. 
 
 i In Lincoln's Inn Chapel, the steeple of the church at Warwick, the Kings 
 Bench in Westminster Hall, the screen at Gloucester, &c. — [To these may be added 
 the towers of Westminster Abbey. — W.] 
 
 * The reason of the failure of these two most eminent architects was simply 
 their classically confined views of architecture. They w T ere unwilling to copy, and 
 incompetent to invent designs, in any degree analogous to original examples of the 
 different Gothic manners. — D. 
 
122 STATE OF ARCHITECTURE TO THE END OF 
 
 of singular beauty. The application of loggias, arcade?, 
 terraces and flights of steps, at different stages of a building, 
 particularly in such situations as Whitehall to the river, 
 would have a magnificent effect. It is true, our climate 
 and the expense of building in England are great restric- 
 tions on imagination ; but when one talks of the extent of 
 which architecture is capable, one must suppose that pomp 
 and beauty are the principal objects ; one speaks of palaces 
 and public buildings ; not of shops and small houses ; but 
 I must restrain this dissertation, and come to the historic 
 part which will lie in a small compass. 
 
 Felibien took great pains to ascertain the revival of 
 architecture, after the destruction of the true taste by the 
 inundation of the northern nations ; but his discoveries 
 were by no means answerable to his labour. Of French 
 builders he did find a few names, and here and there an 
 Italian or German. Of English 1 he owns he did not meet 
 with the least trace ; while at the same time the founders of 
 ancient buildings were everywhere recorded ; so careful 
 have the monks (the only historians of those times) been to 
 celebrate bigotry and pass over the arts. But I own I take 
 it for granted that these seeming omissions are to be attri- 
 buted to their want of perspicuity, rather than to neglect. 
 As all the other arts 2 were confined to cloisters, so un- 
 doubtedly was architecture too; and when we read that such 
 a bishop or such an abbot built such and such an edifice, 
 
 1 Among the MSS. Cotton, in the British Museum, is one of Gervasius, a Bene- 
 dictine monk of Canterbury ( Vespers, b. ii. 19), relative to the building of that 
 magnificent cathedral, after the fire in 1174. It is incorporated with the other 
 works of Gervase, in the Decern Scriptores (col. 1290), published by E. Twisden, 
 fol. 1652. 
 
 It is the more curious from the extreme rarity of any MS. on architectural 
 science of so early a date as the reign of King John. It includes a very minute 
 account of Bishop Lanfrank's original structure, as well as of the restoration made 
 under the superintendence of William of Sens, and of William the Englishman,, 
 who completed the work, and who is the first architect, or at least mastei -mason,, 
 a native of this country, concerning whom anything satisfactory is known ; and 
 that he was the first who boldly attempted to work the ribbed and vaulted ceilings 
 in stone and toph. — D. 
 
 2 The arts flourished so much in convents to the last, that one GyfTard, a visitor- 
 employed by Thomas Cromwell to make a report of the state of those societies- 
 previous to their suppression, pleads in behalf of the house of Wolstrop, " That 
 there was not one religious person there, but that he could and did use, either 
 embrotheryng, writing books with very fair hand, making their own garments,, 
 carving, painting, graffing." — Stryyes Memor, vol. i. p. 255. 
 
THE REIGN OF HENRY VIII. 
 
 123 
 
 I am persuaded that they often gave the plans, as well as 
 furnished the necessary funds ; but as those chroniclers 
 scarce ever specify when this was or was not the case, we 
 must not at this distance of time pretend to conjecture 
 what prelates were or were not capable of directing their 
 own foundations. 
 
 Felibien is so impartial an author, that he does not even 
 reject the fables with which our own writers have re- 
 plenished the chasms in our history. He quotes Matthew 
 of Westminster for the flourishing condition of architecture 
 in Britain at a time when indeed neither that nor any 
 other science flourished here. King Arthur, say they, 1 
 caused many churches and considerable edifices to be 
 erected here. It would, in truth, have been an act of in- 
 justice to us to omit this vision in a man, who, on the 
 authority of Agathias, relates that the Emperor Justinian 
 had in his service one Anthemius, so able a mathematician 
 that he could make artificial earthquakes, and actually did 
 revenge himself by such an experiment on one Zeno, a 
 rhetorician. The machinery was extremely simple, and 
 yet I question whether the greatest mathematician of this 
 age is expert enough to produce the same effect ; it con- 
 sisted in nothing but placing several cauldrons of hot 
 water against the walls of Zeno's house. The same author 
 has cited Procopius, for the origin of dams to restrain the 
 course of rivers, the method of whose construction was 
 revealed to Chryses, an architect of Alexandria, in a dream. 
 Dreams, lies, and absurdities, are all one finds in searching 
 into early times. In a scarcity of facts, probability was 
 the last thing to which such authors attended ; and conse- 
 quently they left a mark by which, if we pleased, we might 
 distinguish between the truth and what they invented. 
 
 In Felibien 2 the only thing I find to my purpose, and 
 all that he really found in Matthew of Westminster is, 
 
 1 Felib. vol. v. p. 165. 2 Felib. p. 185. 
 
 That Walpole should have consulted Felibien only, for information concerning 
 architecture in England will excite some surprise. Felibien avows his disap- 
 pointment, on finding that Dugdale's Monasticon gave no account of Gothic 
 architects ! We may indeed be considered as nationally unfortunate that whilst 
 the great Italian, French, and German churches are indubitably ascertained, as the 
 wort of architects whose names have been recorded, and have reached us, we are 
 
124 STATE OF ARCHITECTURE TO THE END OF 
 
 that in the kingdom of the Mercians, Sexulphus, abbot 
 and afterwards bishop, built a considerable monastery, 
 called "Medes Hampstede," 1 unless it may be a satisfaction 
 to antiquaries to know who first invented those grotesque 
 monsters and burlesque faces with which the spouts and 
 gutters of ancient buildings are decorated. It was one 
 Marchion of Arezzo, 2 architect to Pope Innocent III. In- 
 deed, I speak now critically ; Marchion 8 used those grin- 
 ning animals only to support columns ; but in so fantastic 
 an age they were sure of being copied, and soon arrived 
 at the top. 
 
 left to strengthen our plausible conjectures, as to the builders of almost all in 
 England, by defective evidence. 
 
 We have yet notices, sufficiently authentic, of several eminent master-masons, a 
 term in those days equivalent to architects. 
 
 1. Henry Latomus (Lithotomus, Stone-cutter), who rebuilt the church of Eves- 
 ham, 1319. — Leland, Collect, vol. i. p. 249. 
 
 2. Walter de Weston ; St. Stephen's Chapel, Westminster. — Pat. iv. Edw. III. 
 
 3. Alan de Walsingham ; the octagon and louvre of Ely Cathedral. In the 
 Life of Bishop Hotham, LelanoVs Collect, vol. ii. p. 604, Alan, the sacrist, is said 
 to have built the " Campanile Novum," in twenty years, and that the whole cost 
 was 2,406?. 6s. lid. in 1342. Alan is styled " Vir venerabilis et artificiosus Frater." 
 
 4. William Wynford, mentioned in the will of W. Wykeham, as the architect 
 of the nave of Winton Cathedral, 1403. 
 
 5. Nicholas Walton, Pat. 17, Richard II. m. 3. " To N. Walton, Master Car- 
 penter and Engineer of the King's works for the Art of Carpentry." In that reign 
 the grand halls of Westminster and Eltham were completed, the stupendous 
 timber-framed roofs of which were probably designed by, and executed under the 
 superintendence of, this architect. 
 
 6. John Kendale, Pat. lmo. Edward IV. m. 16, p. 3. A fee to J. Kendale for 
 life, as supervisor of all the king's works, throughout the realm. 
 
 In the archives of the great abbeys and churches on the Continent, the original 
 plans as drawn by their architects, have been preserved to the present day. In 
 England, perhaps, not a single document of that nature remains. There is a basso- 
 relievo in the cathedral at Worcester, on which is represented an architect present- 
 ing a plan to the superior of a monastery, drawn on tablets ; it is of high antiquity, 
 and affords a certain proof that ecclesiastical buildings were not erected without a 
 plan. — Carter's Ancient Sculpture. 
 
 When the zealous, but tasteless reformers, seized on the literary treasures of the 
 Eomish church, the MSS. in conventual libraries were frequently destroyed without 
 reserve. But all illuminated books were condemned and dispersed ; and as those 
 which contained architecture, or any other art or science, were usually so elucidated, 
 they were involved in one common annihilation, and we cannot wonder that scarcely 
 one remains to this day. — D. 
 
 1 Peterborough. 2 Felib. p. 224. 
 
 3 Marchion of Arezzo must resign the merit of this invention to the ancient 
 Greeks. The masks or heads of lions were placed to convey the water from the 
 roofs, not unfrequently, but particularly in the temple of Ceres, at Eleusis. ( Un- 
 edited Antic, of Attica.) Gothic fancy having once adopted them, exerted itself 
 in a great variety of monstrous shapes. They were generally called gargouilles, 
 which are, literally, dragons ; yet they are made to represent chimeras and demons. 
 Lidgate mentions them — 
 
 "And many a gargoyle and manie a hidous head." — Troy BoTce. — D. 
 
THE REIGN OF HENRY VIII. 
 
 125 
 
 Vertue, no less industrious than Felibien, could dis- 
 cover but two ancient architects, Gundulphus, who built 
 the Tower 1 (the same person who erected the cathedral of 
 Rochester), and Peter of Colechurch, priest and chaplain, 
 who in the year 1163 rebuilt London bridge, of timber. 2 
 Edward Fitzodo, we have seen, was the master of the 
 new works at Westminster, under Henry III., and may 
 fairly claim his place in this list. 3 
 
 In the cathedral of Lincoln is a curious gravestone over 
 a mason of that church, almost perfect, except in that ma- 
 terial part, the year of his death, the latter figures being 
 obliterated. On each side of him is his trowel and square : 
 
 Hie jacet Ricardus de Gaynisburgh olym Cementarius hujus ecclesie qui 
 obiit duodecim. Kalendarum Junii Anno Domini Mccc. — 
 
 But the brightest name in this list is William of Wyke- 
 ham, 4 who from being clerk of the works, rose to be Bishop 
 of Winchester and Lord Chancellor — a height which few 
 men have reached by mere merit in any mechanic science. 
 Wykeham had the sole direction of the buildings at 
 Windsor and Queenborough castle — not to mention his 
 own foundations. He rose by pleasing one of the 
 greatest princes, and deserved his fortune by bestowing 
 it on noble charities. 
 
 William Rede, Bishop of Chichester in 1369, reckoned 
 
 1 See the compact between the king and bishop, in the Textus Eoffensis, pub- 
 lished by Hearne ; and that between the same bishop and William Rufus, for erect- 
 ing the castle at Rochester, cap 88, and Stoves Survey of London. 
 
 2 William de Sens, soon after the year 1174, temp. Hen. 2d, built the choir of 
 the cathedral of Canterbury, as it still exists. Helias de Berham, canon of Salis- 
 bury, a prima fundatione (temp. Hen. 3") rector fuit novae fabricae per 25 annos ; 
 et Robertus caementarius rexit per 25 annos. See LelandCs Itinerary, vol. iii. p. 66. 
 Helias de Berham, was probably the person mentioned above, p. 2, by the name of 
 Elyas, in the reign of King John. 
 
 3 See Stowe's Survey, p. 28. Isembert of Xaintes is mentioned as a builder of 
 the bridge of London, and of the chapel in it. 
 
 4 " Anno 1359, circa haec tempora R. Edoardus castrum de Windlesore pulchris 
 edificiis splendide decoravit, &c. et idem fecit in palaito suo de Westminster, con- 
 sulente eum ad hoc Dno. Gulielmo de Wykeham, quern Rex de paupere clerico 
 assumens constituit superiorem operum suorum." — Leland Collect, vol. v. p. 378. 
 
 Lowth (Life of Wykeham, p. 195) says decisively that William Wynford was his 
 architect, and employed for the nave of his cathedral, in 1394. May it not be 
 presumed that Wynford had been previously engaged in the colleges founded by 
 Wykeham at Oxford and Winton ? The munificent prelate's claim to the science 
 and practice of architecture rests upon an undisputed tradition ; and that plans or 
 "vidimus " were drawn out by ecclesiastics, for the master-masons to work by, 
 appears to be certain, from remaining MSS. — D. 
 
126 
 
 STATE OF ARCHITECTURE TO THE END OP 
 
 the best mathematician of the age, was a prelate of similar 
 taste : he built the first library at Merton College, and 
 the castle of Amberley. 1 
 
 In St. Michael's Church, at St. Alban's were the 
 following inscriptions : 
 
 66 Hie jacet Thomas Wolvey [or Wolven] Latomus in arte, nee non armiger 
 illustrissimi Principis Ric. secundi, quondam Regis Angliae, qui obiit Anno 
 Dom. M,cccc,xxx. in vigilia Sti. Thomae Martyris, cujus animse propitietur 
 Deus. Amen." 
 
 " This man, as far as I understand by this inscription, 
 says Weaver, p. 582, was the master-mason, orsurveiorof 
 the king s stone -works, as also esquire to the king's person." 
 
 " Hie jacet Ricardus Wolven [or Wolvey] Lathomus, films Johannis Wol- 
 ven, cum uxoribus suis, Agnete et Agnete, et cum octo filiis, et decern filiabus 
 suis, qui Richardus obiit An. 1490. Quorum animabus," &c. 
 
 I have myself turned over most of our histories of 
 churches, and can find nothing like the names of artists. 
 With respect to the builders of Gothic, it is a real loss : 
 there is beauty, genius, and invention enough in their 
 work to make one wish to know the authors. 2 I will say 
 no more on this subject, than that, on considering and 
 comparing its progress, the delicacy, lightness, and taste 
 
 1 " The construction of this castle is upon a geometrical plan, which differs in 
 many respects from the military architecture and contrivance of that age. It is 
 nearly a parallelogram : there was a square tower at each angle, which did not 
 project beyond the side walls." — Hist, of Western Sussex, vol. ii. p. 198. — D. 
 
 2 Chaucer was appointed clericus operationum, clerk of the works of all the 
 royal palaces, with a salary of two shillings a day. (Pat. 13, Ric. II. p. i. m. 30.) 
 "Pro capella Regis Vindsorise emendauda, Galfrido Chaucer, " &c. From these 
 grants it is evident that he was paymaster and director only of the workmen, and 
 not that he furnished designs, or, in fact, could be professionally considered as an 
 architect. Notwithstanding, the very minute and correct descriptions of the 
 various architectural ornaments, of which his imaginary castles and palaces are 
 composed, give a certain degree of evidence that Chaucer was a proficient in the 
 science. The great hall and other additions to Kenilworth Castle were made by 
 John of Gaunt, and the great gateway at Lancaster. Dugdale mentions a warrant 
 from King Richard II. dated in 1392, directed to Robert de Skillington, master- 
 mason, to impress twenty workmen, carpenters and others. The ruins of this hall 
 show that it nearly resembled, both in plan and dimensions, those of Westminster 
 and Eltham. 
 
 John Druell and Roger Keys were the architects of All Souls, and W. Orchyerde, 
 of Magdalen Colleges, in Oxford. (Wood). The original contract, with the last 
 mentioned is preserved in their muniment room. It appears that he was not only 
 the supervisor, but the architect and designer. On a plate of brass to the memory 
 of " Eustace Marshal," in 1567, in the church of Farnham Royal, Bucks, he is said 
 to have been " clerk of the works to Cardinal Wolsey, at the building of St. Frides- 
 wide's, in Oxford (Christ Church College), and for several years chief clerk of 
 accounts for all the buildings of King Henry VIII. within twenty miles of London 
 but this may not be considered as a sufficient proof that he was an architect. — D. 
 
THE REIGN OF HENRY VIII. 
 
 127 
 
 of its ornaments, it seems to have been at its perfection 
 about the reign of Henry IV. as may be seen particularly 
 by the tombs of the archbishops at Canterbury. That 
 cathedral I should recommend preferably to Westminster, 
 to those who would borrow ornaments in that style. The 
 fretwork in the small oratories at Winchester, and the 
 part behind the choir at Gloucester, would furnish 
 beautiful models. The windows in several cathedrals 
 offer graceful patterns ; for airy towers of almost filigraine 
 we have none to be compared with those of Eheims. 1 
 
 It is certain that the Gothic taste remained in vogue till 
 towards the end of the reign of Henry VIII. His father's 
 chapel at Westminster is entirely of that manner. So is 
 Wolsey s tomb-house at Windsor. 2 But soon after the 
 Grecian style was introduced ; and no wonder, when so 
 many Italians were entertained in the kings service. 
 They had seen that architecture revived in their own 
 country, in all its purity ; but whether they were not 
 
 1 Some instances of particular beauty, whose constructions date at different 
 eras from what I have mentioned, have been pointed out to me by a gentleman 
 to whose taste I readily yield ; such as the nave of the minster at York (in the 
 great and simple style), and the choir of the same church (in the rich and filigraine 
 workmanship), both of the reign of Edward III. The Lady Chapel (now Trinity 
 Church) at Ely, and the lantern tower, in the same cathedral, noble works of the 
 same time : and the chapel of Bishop West (also at Ely) who died in 1533, for 
 exquisite art in the lesser style. These notices certainly can add no honour to a 
 name already so distinguished as Mr. Gray's ; it is my own gratitude or vanity 
 that prompts me to name him ; and I must add, that if some parts of this work 
 are more accurate than my own ignorance or carelessness would have left them, the 
 reader and I are obliged to the same gentleman, who condescended to correct 
 what he never could have descended to write. 
 
 The idea that the Essay on Gothic Architecture prefixed to Bentliarris History 
 of Ely Cathedral, was, in fact, written by Gray, was firmly held by the late most 
 able critic, T. Warton, who had himself announced an intention of writing a his- 
 tory of Gothic Architecture, for which if he had ever made collections, they were, 
 at his death, either lost or destroyed. — D. 
 
 2 The chapel, called Wolsey's tomb-house, had been previously erected by 
 Henry VII. 
 
 The computus, or statement of sums expended on some of the great ecclesiastical 
 buildings begun in the end of the fifteenth century, are of sufficient curiosity to be 
 inserted. 
 
 1. Beau champ Chapel, Warwick. Computus for seventeen years, from 1443, 
 1,806Z. 35. Sd. 2. King's College, Cambridge, from 1441 to 1515, 22,469Z. 2s. Id. 
 
 3. Windsor chapels, from 1478 to 1482, 6,572/. ; much more was added to this sum. 
 
 4. Henry VHth's Chapel, according to an account mentioned, but not specified, by 
 Hollinshed, 14,000Z. For the perfect restoration of the external walls of this sump- 
 tuous building, with their ornamental mouldings, figures, and foliage, parliament 
 voted, between the years 1807 and 1822, the aggregate snm of 42,028Z. 145. 2>\d. 
 The whole has been most ably executed by the master-mason (Mr. Gayfere) ; and 
 with skill and ingenuity equal to that of his predecessors, in the original work. — D. 
 
128 STATE OF ARCHITECTURE TO THE END OF 
 
 perfectly masters of it, or that it was necessary to 
 introduce the innovation by degrees, it certainly did not 
 at first obtain full possession. It was plaistered upon 
 Gothic, and made a barbarous mixture. Eegular columns, 
 with ornaments, neither Grecian nor Gothic, and half 
 embroidered with foliage, were crammed over frontispieces, 
 fagades, and chimneys, and lost all grace by wanting sim- 
 plicity. This mongrel species lasted till late in the reign 
 of James L 
 
 The beginning of reformation in building 1 seems owing 
 to Holbein. His porch at Wilton, though purer than the 
 works of his successors, is of this bastard sort ; but the 
 ornaments and proportions are graceful and well-chosen. 
 I have seen drawings of his too in the same kind. Where 
 he acquired this taste is difficult to say ; probably it was 
 adopted from his acquaintance with his fellow-labourers 
 at court. Henry had actually an Italian architect in his 
 service, to whom I should, without scruple, assign the 
 introduction of regular architecture, if it was clear that 
 he arrived here near so early as Holbein. He was called 
 John of Padua, and his very office seems to intimate 
 something novel in his practice. He was termed Devizor 
 of his Majesty's buildings. 2 In one of the office-books 
 which I have quoted, there is a payment to him of 
 
 1 Brunelleschi began to reform architecture in the fourteenth century. See 
 Voltaire, Hist. Univ. vol. ii. p. 179. 
 
 It should be considered that at this period, when Holbein presided over the arts 
 in England, under Francis I. and his successor Henry II. during the whole of the 
 sixteenth century, architecture had been carried to a very high degree of excellence. 
 Vignola had resided two years in France ; Le Scot and De Lorme had practised in 
 the great Italian schools of architecture. Their works had been seen and admired 
 by the English nobility who had visited France ; and it is by no means improbable 
 that even their plans and elevations had been acquired by Holbein. Of the two 
 gates built after his design, at Whitehall, now removed, there are plates in the 
 Man. Vetusta, vol. i. pi. 171. That of New Hall, in Essex, is likewise taken down, 
 but the above-mentioned, at Wilton, is still extant. — D. 
 
 2 Who was 1 ' Johannes de Padua ?" what was his real name ? how educated ? and 
 what were his works previously to his arrival in England ? no research has hitherto 
 discovered with any satisfaction. But here he acquired a title, not before that 
 patent (1544) given to any architect as ' 6 Devizor of his Majesty's buildings," which 
 implies likewise, that he had the sole and exclusive appointment. Henry VIII. 
 had then completed his palaces, and little more could have been done, before his 
 death, in 1547. D. — [This John of Padua was probably appointed as successor to 
 Girolamo da Trevigi, likewise architect to Henry VIII. ; Girolamo, as noticed 
 above, died in this year, 1544. — W.] 
 
THE REIGN OF HENRY VTTI. 
 
 129 
 
 36l. 10s. In the same place is a payment of the same 
 sum to Laurence Bradshaw, surveyor, with a fee of two 
 shillings per diem. To the clerk of the latter, 9/. 2&, 
 for riding expenses, 531. 6s., and for boat hire, 131. 6s. 8d. 
 John de Padua is mentioned again in Eymers Fcedera, on 
 the grant of a fee of two shillings per diem. 
 
 " A.D. 1544. Rex omnibus ad quos, &c. Salutem. Sciatis quod uos, De 
 gratia nostra speciali, ac ex certa scientia et mero motu nostris, necnon in con- 
 sideration e boni et fidelis servitii quod dilectus serviens noster Johannes de 
 Padua nobis in architectura, ac aliis in re musica inventis impendit ac im- 
 pendere intendit. 
 
 Dedinius et concessimus, ac per praesentes damus et concedimus eidem Jo- 
 hanni vadium sive feodum Duorum ISolidorum Sterling or um 'per diem. 
 
 Habendum et annuatim percipiendum praefato Johanni dictum vadium 
 sive feodum Duorum Solidorum, durante beneplacito nostro de thesauro 
 nostro ad receptam scaccarii nostri, per manus thesaurii et camerariorum nos- 
 trorum ibidem pro tempore existentium, ad festa Sancti Michaelis Archangel! 
 et Pasehae per aequales portiones ; 
 
 Et insuper sciatis quod, cum dictus Johannes nobis inservivit in dicta arte 
 a Festo Pasehae quod erat in anno regni nostri tricesimo quarto, prout certain 
 habenius notitiam, nos de uberiori gratia nostra dedimus et concessimus, ac 
 per praesentes damus et concedimus eidem J ohanni praefatum feodum Duorum 
 Solidorum, per diem habendum et percipiendum eidem, a dicto festo Pasehae 
 nomine regardi nostri ; 
 
 Eo quod expressa mentio, &c. Teste rege apud Westmonasterium tricesimo 
 die J unii. 
 
 Per Breve de Privato Sigillo.' 
 
 This grant was renewed to him in the third of Edward 
 VI. From the first warrant it appears that John of Padua 
 was not only an architect but musician — a profession 
 remarkably acceptable to Henry. 
 
 I cannot certainly indicate to the reader any particular 
 work 1 of this master; but these imperfect notes may lead 
 
 1 Holmby-house was one of our earliest productions in regular architecture, and 
 by part of the frontispiece lately standing, appeared to be of a very pure and 
 beautiful style, but cannot well be ascribed to John of Padua, as the date was 1583. 
 Wollaton-hall, in Nottinghamshire was perhaps of the same hand. The porch of 
 Charlcot-house, the seat of the Lucys, is in the same style ; and at Kenilworth, 
 was another, with the arms of Dudley, Earl of Leicester. 
 
 John of Padua enjoyed the patronage of the Protector Somerset, for whom, in 
 1549, he designed and built his great palace in the Strand. The walls only were 
 finished, when the duke was led to the scaffold, in 1552. It is said to have 
 abounded in ornaments of Roman architecture, and greatly to have resembled the 
 mansion at Longleat, Wiltshire, which was begun by Sir John Thynne, in 1567, 
 and according to a received tradition, under the superintendence of John of Padua. 
 The design likewise of the " Gate of Honor," at Caius College, Cambridge, has been 
 attributed to him by Mr. Wilkins, architect, in Mon. Tetusta, v. 4. Begun in 
 1572. These facts being allowed, it is certain that John of Padua came to Eng- 
 land in the early part of his life, and practised his profession to a good old age. 
 
 VOL. I, K 
 
130 STATE OF ARCHITECTURE TO THE END OF 
 
 curious people to farther discoveries. J erome da Trevigi, 
 one of the painters mentioned before, is also said to have 
 built some houses here. 1 
 
 Henry had another architect of much note in his time, 
 but who excelled chiefly in Gothic (from whence it is clear 
 that the new taste was also introduced). This was Sir 
 Richard Lea, master-mason, and master of the pioneers in 
 Scotland. 2 Henry gave him 3 the manor of Sopewell, in 
 Hertfordshire, and he himself bestowed 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 seat, 
 called Lees Place. The font was taken in the Scottish wars, 
 and had served for the christening of the royal children of 
 that kingdom. A pompous inscription 4 was engraved on 
 it by the donor ; 5 but the font was stolen in the civil wars. 
 
 Hector Asheley 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 supervisor, 
 is not clear. In the space of three years were paid to him 
 on account of buildings at Hunsdon-house, above nineteen 
 hundred pounds. 6 
 
 JohnShute was sent, in 1550, to study in Italy, by John Dudley, Duke of North- 
 umberland, with an intention of employing him upon his return, in constructing 
 a palace. Shute, in 1563, published the first scientific book upon architecture 
 which had appeared in our language. — D. 
 
 1 Felibieu, vol. ii. p. 71. 
 
 2 This Sir Richard Lee, or a Lee, was, with greater probability, excellent as an 
 engineer or military architect. He was certainly so employed by his .Royal master, 
 as Jerome da Trevigi had previously been. His grant of the demesnes and site of 
 the nunnery of Sopewell bears date in 1539. His pedigree is given in Clutterbuck's 
 Herts, vol. i. p. 105. The inscription on the brazen font above mentioned is 
 sufficiently pompous : L^us Victor, sic voluit, a.d. 1543." Walpole specifies 
 no work which he completed as a civil architect.— -D. 
 
 3 Chauncey's Hertfordshire, p. 461, where he is called Sir Richard a Leigh. 
 
 4 See it in Camden's Britannia, p. 355, vol. i. edit. 1722. 
 
 5 Nicholas Stone, sen. the statuary and master-mason, had a portrait of this Sir 
 Richard Lea, whom he much esteemed. It was painted on board, about a foot 
 high, his sword by his side. It came afterwards to one whom Vertue calls old 
 Stoakes, and he gave it to Jackson, master-mason, lately dead. 
 
 6 Hunsdon-house (Herts), though much reduced, retains its ancient appearance. 
 It was principally built by Henry VIII. for the reception of his children, as New 
 Hall, in Essex, had been. Strype {Annals) has preserved letters from Edward VI. 
 and the princesses Mary and Elizabeth, dated from this place. After the latter 
 became queen, she gave this domain to Sir Henry Gary, her cousin, and created 
 him Baron Hunsdon. The procession, when the queen came to visit him there, 
 was the subject of a most curious picture, painted by Marc Guerard, and engraved 
 by Vertue, which contains the portraits of the queen and several of her ladies and 
 chief officers of state. — D. 
 
THE REIGN OF HENRY VIII, 
 
 131 
 
 REMARK^. 
 
 Walfole has made but a slight allusion to domestic architecture during 
 the reigns of Henry VII. and his more magnificent successor. 
 
 In endeavouring to supply a certain quantity of information upon that sub- 
 ject, it must be premised that an account of castles would be necessarily too 
 voluminous for our present purpose, and it is therefore omitted. The periods 
 and the instances to be described must be confined to the whole of the fifteenth 
 and the first part of the next century, which preceded the appearance of 
 Holbein, and John of Padua, by adducing the examples of palaces built by 
 sovereigns, and others of the nobility, in England, without assuming to present 
 them all to the reader's view. 
 
 And now " that the substance of the far greater part of these fabrics has 
 passed away, their very shadows may be acceptable to posterity." In the 
 plans, surveys, verbal descriptions, and engravings of them still to be seen, 
 and examined by investigators of curiosity and taste, in the national reposi- 
 tories, a very competent knowledge of what they have been may be retrieved, 
 although now in dilapidation, or totally removed from the earth. Imperious 
 necessity, the effect of the waste or the division of property ; want of respect 
 to ancient things in individual possessors, as to past magnificence ; personal 
 absence and the neglect of agents, and more frequently the advice of interested 
 architects as to modernization or supposed improvement, have sunk more of 
 these venerable and once splendid mansions into decay or oblivion, than even 
 the direct injuries of time, assault, or conflagration. 
 
 Those castles which were erected in the later ages, after they had ceased to 
 be entirely military, in their plan and dimensions, had usually a spacious 
 court, accommodated to the purposes of domestic habitation, and which con- 
 sisted of large and even splendid apartments. As the necessity of defence and 
 seclusion abated with the exigencies of the times, the palaces and great manor- 
 houses were constructed with more ornament, which was engrafted upon, or 
 mixed with, the ancient military manner of building. Towers placed at the 
 angles were retained, but now richly parapeted and embattled — superb portals 
 and gateways rose from the centre — wide windows were perforated through 
 the external side- walls ; and the projecting or bay windows were worked into 
 forms of most capricious embellishment. 
 
 About the reign of Edward IV. a mode of building of a new character, as 
 applied to palatial structures, was introduced into our own country. In the 
 middle of the fifteenth century (for there are no satisfactory proofs of an earlier 
 date), under the auspices of Philip, the good Duke of Burgundy (1419 — 1467), 
 a peculiar invention of civil architecture appears to have originated, and was 
 certainly much practised within his dominions. It may fairly be considered 
 as a distinct mode, and denominated the " Burgundian." In that prince's palace 
 at Dijon, its features and discriminations were first exhibited ; and these were 
 carried to a higher degree of excellence in the hall of justice at Rouen, andlikewise 
 in similar edifices at Bruges, Brussels, and Ghent. The a Maison de laPucelle" 
 at Rouen is an admirable specimen of the Burgundian domestic architecture. 
 
 Our English architects soon adopted, in part, the Burgundian style, aided 
 probably by the increasing intercourse between Flanders and England. 
 
 When any memorable change in the construction or ornament of any con- 
 siderable castle or mansion-house took place, the novel mode of building was 
 adopted by others. Such a transition, from rude and massive strength to light 
 and picturesque decoration, may be traced, with scarcely less certainty than in 
 sacred architecture ; and although so few instances remain, they are equally to 
 be referred to their own era. The " Burgundian " may be therefore considered 
 
 K 2 
 
132 
 
 STATE OF ARCHITECTURE TO THE END OF 
 
 as the true prototype of our " Tudor " style, and as being merely confined to 
 the two first reigns of that dynasty. 1 
 
 But, in the reigns of the three* preceding sovereigns, castellated houses of 
 rich and highly decorated architecture had been erected ; and it is curious to 
 observe that during the turbulent times of the last of those princes, the great 
 ministers of his government had severally built for themselves palatial castles. 2 
 
 It appears that Henry VII. confined himself to the expense of rebuilding 
 the palace of Shene, after a destructive fire in 1500, when he conferred on it 
 his own name of " Richmond." It was in the Burgundian style, being the 
 second instance, as the " Plaisance p at Greenwich was the first. It now 
 remains to us only in early and accurate delineations. 
 
 Henry VIII. is styled by Harrision, (Descript. of England, p. 330,) "The 
 onlie phoenix of his time, for fine and curious masonrie." But he is so to be 
 considered rather for the additions of large apartments and external ornament 
 to the palaces already built, as at Windsor, Whitehall, and Hunsdon. Bride- 
 well, St. James's, and Beaulieu or New-hall, Essex, of an inferior description, 
 were indeed entirely built by him. Nonsuch was begun, but not finished. 3 
 
 His courtiers vied with each other in the vast expenditure which they 
 employed in erecting sumptuous houses in the provinces, where their influence 
 extended. Wolsey, besides the great progress he had made at the time of his 
 fall in his colleges of Oxford and Ipswich, had completed Hampton-court, and 
 rebuilt the episcopal residences of York-house (afterwards Whitehall), and 
 Esher, in Surrey. Edward Stafford, Duke of Buckingham, rivalled him in 
 his palace at Thornbury, Gloucestershire, from which, when half finished, he 
 was hurried to the scaffold. Grimsthorp in Lincolnshire, was built by Charles 
 Brandon, Duke of Suffolk. Both the Treasurer Duke of Norfolk and his ac- 
 complished son, Lord Surrey, were magnificent in their ideas of architecture, 
 as the descriptions of their houses at Kenninghall, Norfolk, and Mount Surrey, 
 near Norwich, amply prove. These are said to have had the ornaments subse- 
 quently introduced, but not a stone of either now remains in its former place. 
 Others may be classed together for particular information. 1 . Haddon-hall, 
 Derbyshire. 2. Coudray, Sussex, destroyed by fire, in 1793. 3. Hever-castle, 
 Kent. 4. Gosfield-hall, Essex, perfect. 5. Hengrave-hall, Suffolk, perfect. 
 6 Layer Marney, Essex, ruined. 7. Raglan-castle, Monmouthshire, ruined. 
 8. Hunsdon-house, Herts, rebuilt. 9. South Wingfield, Derbyshire, dilapi- 
 dated. 10. Hill-hall, Essex, built in 1542, by Sir Thomas Smyth. 11. Wool- 
 
 1 Speed {Hist. Britaine, p. 995) observes concerning Henry VII. — " Of his build- 
 ing was Richmond Palace, and that most beautiful piece, the chapel at Westminster, 
 which forms of more curious and exquisite building, he and Bishop Foxe first, as 
 is reported, learned in France, and thence brought with them into England" This 
 peculiar architecture was effectually promoted by Henry VII. whose enormous 
 wealth enabled him to undertake the most sumptuous buildings, and, in most 
 instances, his avarice directed that they should not be paid for till after his death. 
 By his executors, in the early part of his son's reign, the chapels of Westminster, 
 King's College, Cambridge, and Windsor, were completed. Henry VIII. contri- 
 buted nothing ! 
 
 2 These were, 1. "Placentia or Plaisance," at Greenwich, by Humphrey, Duke of 
 Gloucester, Lord Protector, 1440. 2. Hurstmonceaux, Sussex, by James Fiennes, 
 Lord Say and Sele, and Lord High Treasurer, 1447. 3. Sudley-castle, Gloucester- 
 shire, by Ealph, Lord Sudley, 1550. 4. Tattershal-castle, Lincolnshire, byEalph, 
 Lord Cromwell, 1455. Both the last-mentioned enjoyed the same office. Of these 
 structures, Greenwich and Sudley are dilapidated and ruined, Tattershal and Hurst- 
 monceaux are bare walls only ; the last was despoiled by the advice of a modern 
 architect, about fifty years ago. " Reproach and glory of the Regnian coast !" 
 
 3 Castles, royal palaces, and buildings, temp. Edw. IV. Henrici VII. and VIII. 
 Westminster Chapter-house Records, and Vetusta Monum. vol. ii. 
 
THE REIGN OP HENRY VIII. 
 
 133 
 
 terton, in East Barsham, Norfolk, brickwork, in ruins. 12. Harlaxton, Lin- 
 colnshire, perfect. 13. Westwood, Worcestershire, perfect. 
 
 There seems to have been a leading idea, as to the construction of mansion- 
 houses of the first degree, which was generally considered, as complete, and 
 therefore adopted iD numerous instances. In the very curious tract, entitled, 
 A Dyetorie or Regiment of Health by Andrew Boorde ofPhysicke Doctor, 8vo. 
 first printed in 1547, we have directions " how a man should build his house 
 or mansion. " " Make the hall of such fashion that the parlour be annexed t o 
 the head of the hall ; and the buttrye and pantrye at the lower end thereof; 
 the cellar under the pantrye sett somewhat at a base ; the kechyn sett somewhat 
 at a base from the buttrye and pantrye; coming with an entrie within, by the 
 wall of the buttrie; the pastrie house and the larder annexed to the kechyn. 
 Then divyde the logginges by the circuit of the quadrivial courte, and let the 
 gatehouse be opposite, or against the hall doore; not directly, but the hall doore 
 standyng abase of the gatehouse, in the middle of the front enteringe into the 
 place. Let the prevye-chamber be annexed to the great chamber of estate, 
 with other chambers necessary for the buildinge ; so that many of the cham- 
 bers may have a prospect into the chapell." The antiquary who investigates 
 the ground plot of many of these large mansions in their present ruined state, 
 will find this description to be exactly correspondent, particularly at Coudray. 
 
 A very principal innovation in the early Tudor style was the introduction 
 of gatehouses, bay windows and quadrangular areas, of which castles con- 
 structed for defence could not admit. Of these component parts of the 
 palaces and mansions of this age, some account may be allowed. As to their 
 materials, freestone or brick, they seem to have depended entirely upon the 
 greater facility with which they might be acquired, and they were not un- 
 frequently mixed. Girolamo da Trevigi and Holbein introduced both terra 
 cotta or moulded brickwork for rich ornaments, and medallions or bas-reliefs 
 fixed against the walls ; plaster- work laid over the brick wall, and sometimes 
 painted, as at Nonsuch, and square bricks of two colours highly glazed and 
 placed in diagonal lines, as at Layer Marney. The chimneys were clustered 
 and composed of columns twisted or wrought in patterns, with heads or 
 capitals embossed with the cognizance of the founder, as at Thornbury- castle 
 and Woolterton Manor-house. 
 
 Gateways were considered as a great feature in all these edifices, and con- 
 structed with most expensive ornament. That at Whitehall, before mentioned 
 as having been designed by Holbein, was composed of square glazed bricks of 
 different colours, over which were appended four large circular medallions of 
 busts, now preserved at Hatfield Peveril, Herts. It contained several apart- 
 ments, but the most remarkable was the "little study, called the New Library," 1 
 in which Holbein was accustomed to employ himself in his art, and the courtiers 
 to sit for their portraits. It was probably in this chamber that the adventure 
 took place which Walpole repeated, as having been omitted by none of his 
 biographers. The gateway at Hampton-court and Woolterton afford such 
 specimens. 
 
 Of bay-windows, and the capricious variety in their first formation, some 
 observations occur. 
 
 A bay-window, in common acceptation, means simply a projecting window 
 between two buttresses (a space anciently termed a bay building), and fre- 
 quently placed at the end of the mansion. They were invented a century, at 
 least, before the Tudor age ; 2 in which they were usually composed of divisions 
 
 1 Wartoris Hist. Poet vol. ii. p. 44. 8vo. MSS. Harl. 1419. 
 
 2 In John of Gaunt's palace at Lincoln, built in 1390, there still remains a most 
 beautiful Oriel window, the corbel which supports it having most elaborate sculp- 
 ture in distinct panels. 
 
134 
 
 STATE OF A RCHITECTURE, ETC. 
 
 made at right angles and semicircles placed alternately, as may be seen in the 
 buildings of Henry VIII. at Windsor, and at Thornbury-castle. Those at the 
 upper end of the great halls were brought from the ceiling to the floor, and 
 were of a more simple and regular form. The use to which they were applied, 
 appears from a MS. in the Herald's College, relating to a feast given by Henry 
 VII, in the hall of Richmond palace. " Agaynst that his Grace had supped ; 
 the hall was dressed and goodlie to be seen, and a rich cupboord sett thereup 
 in a bay window of ix or x stages and haunces of hight, furnissed and fulfilled 
 with plate of gold, sylver and regilte." As an interior decoration, carved 
 wainscoting, generally of oak in panels, was introduced into halls, and with 
 greater nicety both of design and execution into parlours and presence chambers; 
 there was an abundance of cyphers, cognizances, chimeras and mottoes. These 
 ornaments prevailed in the splendid castles built in France about the age of 
 Francis I. and were called " Boisseries." (Mittin, Monumens Franc, t. i. 
 p. 20.) The hall and other chambers of the dilapidated mansion of the Lords 
 La Warre, at Halnacre, Sussex, still retain some singularly curious specimens. 
 
 The area or court was quadrangular : and besides the great staircase near the 
 hall, there were several hexangular towers containing others. These usually 
 occurred in each angle of the great court ; and exceeding the roof in height, 
 gave a very picturesque effect to the whole pile of building, and grouped with 
 the masses of the lofty and richly ornamented chimneys. 
 
 By these peculiarities, the era of the earlier Tudor style may be discriminated 
 from that prevalent in the reign of Queen Elizabeth, of which a similar 
 description will be given in its place. — D. 
 
 KING HENRY THE EIGHTH'S GATE WINDSOR CASTLE. 
 
135 
 
 CHAPTER VI. 
 
 STATE OF PAINTING UNDER EDWARD VI. AND MARY. 
 
 Under a minor prince, and amidst a struggle of religions, 
 we are not likely to meet with much account of the arts. 
 Nobody was at leisure to mind or record them. Yet the 
 seeds sown by Henry were not eradicated : Holbein was 
 still alive. We have seen that he was chosen to celebrate 
 the institution of Bridewell. He drew the young king 
 more than once after he came to the crown. 
 
 Among the stores of old pictures at Somerset-house was 
 one, painted on a long board, representing the head of 
 Edward VI. 1 to be discerned only by the reflection of a 
 cylindric mirror. On the side of the head was a land- 
 scape, not ill done. On the frame was written Gulielmus 
 pinxit. This was probably 
 
 MARC WILLEMS, 2 
 
 » 
 
 (1527—1561.) 
 
 who was born at Antwerp about 1527, and was scholar of 
 Michael Coxie. 3 He was reckoned to surpass his cotem- 
 
 1 There is reason to believe that when Somerset-house was entirely taken down, 
 from 1776 to 1784, that though orders were given for the removal of what were 
 then considered as the best pictures, to the other palaces, many of considerable 
 value were dispersed. The curiosity here mentioned, is noticed by Hentzner in 
 his travels. — D. 
 
 2 [Marcus Willems would scarcely sign his name Gulielmus but rather Marcus ; 
 Gulielmus, as the second name shows, was his father's name. There is no evidence 
 of this painter's having been in England. The evidence is more in favour of 
 Guillim Stretes mentioned below. — W.] 
 
 3 Descamps says, that Marc Willems was born at Malines, and not at Antwerp. 
 Millin (Peinture sur Verre, p. 57) follows Descamps, adding that he was established 
 in that city, where he gained a lasting reputation. He excelled chiefly in designs 
 for stained glass and tapestry, and we may conclude that his works, for both those 
 materials, were well known in England before his arrival, and certainly short 
 residence. — D 
 
136 
 
 PAINTING UNDER 
 
 poraries in his manner and facility of composing. This 
 picture is the sole evidence of his having been in England : 
 in his own country he painted the decollation of St. J ohn, 
 still extant in the Church of St. Kombout, for which too 
 he drew the story 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 
 represented the history of Dido. He made designs for 
 most of the painters, glass-painters, and arras-makers of 
 his time, and died lamented in 1561. 1 
 
 Another picture of Edward VI. was in the collection of 
 Charles L, painted by Hans Hueet, of whom nothing else 
 is known. It was sold for 201. 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 discovered any of his w T orks. As this 
 person is so much commended by a brother artist, one 
 may believe he had merit, and as the testimony may 
 lead to farther investigation, I shall give the extract in 
 the author s own words : 
 
 " Nevertheless, if a man be so induced by nature, and 
 live in time of trouble, and under a government wherein 
 arts be not esteemed, and himself but of small means, 
 woe be unto him, asunto an untimely birth ; for of my own 
 knowledge, it hath made poor men poorer, as amongst 
 others many, that most rare English drawer of story works 
 in black and white, 
 
 JOHN BOSSAM, 
 
 one for his skill worthy to have been serjeant-painter to any 
 king or emperor, whose works in that kind are comparable 
 with the best whatsoever in cloth, and in distemper colours 
 for black and white ; who being very poor, and belike want- 
 ing to buy fairer colours, wrought, therefore, for the most 
 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 person, grew into a 
 
 1 See Descamps and Sandrart. 
 
EDWARD VI. AND MARY. 
 
 137 
 
 love of God's divine service upon the liberty of the Gospel 
 at the coming in of Queen Elizabeth, and became a reading 
 minister ; only unfortunate, because he was English born, 
 for even the strangers 1 would otherwise have set him up." 
 
 The Protector was magnificent, and had he lived to com- 
 plete Somerset-house, would probably have called in the 
 assistance of those artists whose works are the noblest fur- 
 niture. I have already mentioned his portrait by Holbein. 
 His ambitious duchess, Anne Stanhope, and her son, are 
 preserved in a small piece 2 of oil-colours at Petworth; but I 
 know not who the painter was, nor of the portrait of the 
 Protectors brother, Admiral Seymour, at Longleat. A 
 miniature of the same person is in the possession of Mrs. 
 George Grenville. Of the admiral's creature, Sir William 
 Sherrington, there are two or three pictures extant ; one, 
 among Holbein's drawings at Kensington. This man was 
 master of the mint, and was convicted by his own confes- 
 sion of great frauds. 3 He put the mint of Bristol into the 
 hands of the admiral, who was to take thence 10,000Z. per 
 month for his rebellious purposes. Yet Sherrington was 
 pardoned and restored. It has never been observed, but 
 I suppose the lightness which is remarked in the coins of 
 Edward VI. was owing to the embezzlements of this person. 
 
 Now I am mentioning the mint, I shall take notice that 
 among the patent-rolls is a grant in the sixth of Edward, 
 to Antony Deric, of the office of capital sculptor of the 
 moneys in the Tower of London ; and at the end of the 
 same year John Brown is appointed during pleasure 
 surveyor of the coins. Clement Adams has a grant to 
 instruct the king's henchmen or pages — an office he re- 
 tained under Queen Elizabeth. In Hackluyt's Voyages* 
 that of Bichard Chancel er to Cathay is said to be written 
 in Latin by that learned young man, Clement Adams. 
 
 Of the Protector's rival, Dudley, Duke of Northumber- 
 land, there is a good head in the chamber at Knole, where 
 
 1 King Philip and the Spaniards. 
 
 2 There is a head of her too at Sion ; and Mr. Bateman has given me another in 
 small, with a portrait of the Protector in her hand ; painted probably after his 
 death. 
 
 3 Strype's Memorials, vol. ii. p. 123. 4 Page 270. 
 
138 
 
 PAINTING UNDER 
 
 there are so many curious portraits, supposed to have 
 been assembled by the treasurer, Buckhurst. 1 
 
 Another person of some note in this reign was Sir John 
 Godsalve, created knight of the carpet at the king's 
 coronation ; 2 and commissioner of visitation the same 
 year ; 8 and in the third year the comptroller of the mint. 
 His portrait is in the closet at Kensington, and Vertue 
 mentions another in miniature, drawn by John Betts 4 (who 
 he says was an esteemed painter in the reign of Queen 
 Elizabeth). On this picture was written, " Captum in 
 castris ad Boloniam 1540 ; " with his arms, party per 
 pale gules and azure, on a fess wavy argent, between three 
 croslets pattee, or, as many crescents sable. The knight 
 was drawn with a spear and shield. This picture belonged 
 to Christopher Godsalve, clerk of the victualling- office in 
 the reign of Charles I. in whose cause he lost 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 1551.. 
 " He had paid him," says Strype, 5 " fifty marks for recom- 
 pence of three great tables made by the said Guillim, 
 whereof two were the pictures of his Highness sent to Sir 
 Thomas Hoby, and Sir John Mason (ambassadors abroad) ; 
 the third a picture of the late Earl of Surrey, 6 attainted, 
 and by the council's commandant fetched from the said 
 
 ir Biographical Sketches of Eminent Persons whose Portraits form part of the 
 Duke of Dorset? s Collection, at Knole, Kent, 8vo. 1795. Nearly fifty portraits 
 are noticed, the majority of which have certainly no claim, as original. 
 
 2 See Strype. 3 Heylin. 
 
 4 Vertue says that Betts learned of Hilliard. 
 
 This miniature must have been a copy from Holbin. — D. 5 Vol. ii. p. 494. 
 
 6 Henry Howard, the highly gifted and unfortunate Earl of Surrey, was beheaded 
 January 19, 1546-7. He is standing under a Roman arch, habited in a close dress 
 of brown silk, profusely embroidered with gold. He has the order of the Garter, 
 
 a sword and dagger; the motto, "Sat superest j— J-j set. 29, 1547 ;" and two 
 
 escutcheons, upon one the arms of France and England, quarterly ;' and on the 
 other, those of Thomas de Brotherton, Earl of Norfolk, eldest son of King Edward 
 the First by his second marriage, from whose surviving coheir, Lord Surrey was 
 lineally and legitimately descended. 
 
 This most curious picture is a whole length of large dimensions, and nearly of a 
 square shape, and has never been engraved. At Knole, there is a half length of 
 Lord Surrey exactly copied from this portrait. 
 
 It was purchased in 1720, at the sale of the Arundel collection at Stafford-house, 
 near Buckingham-gate, for Sir Robert Walpole, who made a present of it to the 
 late Edward, Duke of Norfolk. It is now at Arundel -castle. — D. 
 
,'' E. Co over, scidpf 
 
 Seipse. pmxS 
 
EDWARD VI. A.ND MARY. 
 
 139 
 
 Guillim's house." The peculiarity of these last words in- 
 duce me to think that I have discovered this very picture. 
 In my father's collection was a very large piece representin g 
 that unfortunate lord, at whole length, leaning on a broken 
 column, with this motto, "Sat superest," and other devices, 
 particularly the arms of England, one of the articles of his 
 impeachment, and only the initial letters of his name. This 
 was evidently painted after his death, and as his father was 
 still detained in prison during the whole reign of Edward, 
 it cannot be probable that a portrait of the son, with such 
 marks of honour, should be drawn by order of the Court. 
 On the contrary, its being fetched from Guillims house 
 by the council's commandment seems to imply that it was 
 seized by their order. It is now in the possession of his 
 grace the Duke of Norfolk. 
 
 Architecture preserved in this reign the footing it had 
 acquired under the last king. Somerset-house is a com- 
 pound of Grecian and Gothic. It was built on the site of 
 Chester-inn, where the ancient poet Occleve formerly lived. 
 As the pension to John of Padua was renewed in the third 
 of this king, one may suppose that he owed it to the Pro- 
 tector, and was the architect of this palace. In the same style 
 and dating its origin from the same power as Somerset- 
 house, is Longleat, though not begun till 1567. It was built 
 by Sir John Thynne, a principal officer to the Protector. 
 
 1553. — The reign of Mary, though shorter even than 
 that of her brother, makes a much more considerable figure 
 in the annals of painting. It was distinguished by more 
 good painters than one ; the principal was 
 
 SIR ANTONIO MOKE, 
 
 (1525—1581.) 
 
 He was a native of Utrecht, and scholar of John Schorel, 2 
 but seems to have studied the manner of Holbein, to which 
 
 1 [More, or Moro, died at Antwerp in 1581, aged fifty-six. SeeDe Yongh's edition of 
 Van Mander, Het Leven der Schilders. Amsterdam, 1764, vol. i. p. 176, note. — W.] 
 
 2 Schorel was scholar of Mar/use, and was a poet, musician, and orator. See an 
 account of him in Sandrart, p. 235. [More studied also in Rome. — W.] 
 
 In Cumberland's Anecdotes of Eminent Painters in Spain, we have the following 
 
140 
 
 PAINTING UNDER 
 
 he approaehecl nearer than to the freedom of design in the 
 works of the great masters that he saw at Rome. Like 
 Holbein, he was a close imitator of nature, but did not 
 arrive at his extreme delicacy of finishing; on the contrary, 
 Antonio sometimes struck into a bold and masculine style, 
 with a good knowledge of the chiaro' scuro. In 1592, he 
 drew Philip II. and was recommended by Cardinal Granvelle 
 to Charles V. who sent him to Portugal, where he painted 
 John III. the king, Catherine of Austria his queen, and 
 the Infanta Mary, first wife of Philip. For these three 
 pictures he received six hundred ducats, besides a gold 
 chain of one thousand florins, and other presents. He had 
 one hundred ducats 1 for his common portraits. But still 
 ampler rewards were bestowed on him when sent into 
 
 notice of Sir Antonio More : — " He came into Spain in 1552, Charles V. being then 
 on the throne, under the protection of his countryman Cardinal Granvelle ; he made 
 a portrait of Prince Philip, and being recommended by the cardinal to the service of 
 the emperor, he was sent by him into Portugal, to take the portrait of the Princess 
 Donna Maria, then contracted to Philip. At the same time he painted John, third 
 King of Portugal, &c. by all which portraits he gave entire satisfaction, and w <s 
 magnificently rewarded. Having succeeded so well in this commission, he was next 
 despatched by the emperor into England, to the court of Mary, to take the portrait 
 of that princess previous to her espousals with Philip. More employed all the 
 flattering aids of his art in this portrait, and so captivated the courtiers of Spain 
 with the charms of Mary's person, that he was required to make copies of his 
 picture ; one of which I have seen in the possession of a noble family, by which it 
 appears that More was not only a good painter, but an excellent courtier. Having 
 enriched himself in England, he returned to Spain, and entered into the service of 
 Philip II. who made slaves of his friends, and friends of his painters ; and treated 
 More with great familiarity. This great artist wanted discretion, and he met the 
 king's advances with the same ease that they were made ; so that, one day whilst he 
 was at his work, and Philip looking on, More dipped his pencil in "Hrmine, and with 
 it smeared the hand of the king, who was resting his arm on his shoulder. The 
 jest was rash, and the character to which it was applied, not to be played upon with 
 impunity. The hand of the King of Spain (which even the fair sex kneel down to 
 salute) was never so treated since the foundation of the monarchy. The king sur- 
 veyed it seriously a while, and in that perilous moment of suspense, the fate of More 
 balanced on a hair ; the courtiers who were in awful attendance, revolted from the 
 sight with horror and amazement. Caprice, or perhaps pity, turned the scale ; and 
 Philip passed the silly action off with a smile of complacency. The painter, 
 dropping on his knee, eagerly seized those of the king, and kissed his feet, in humble 
 atonement for the offence, and all was well, or at least seemed to be so : but the 
 person of the king was too sacred in the consideration of those times, and the act 
 too daring to escape the notice of the awful office of the Inquisition ; and they 
 learnedly concluded that Antonio Moro, being a foreigner and a traveller, had 
 either learned the art magic, or more probably obtained, in England, some spell 
 or charm wherewith he had bewitched the king." — Vol. ii. p. 97, 8vo. 1787. — D. 
 
 [The story, as told in Walpole's text, which differs from this, is from Van 
 
 Mander ; Cumberland's account is from Palomino, who wrote a century after 
 Van Mander. — W.] 
 
 1 Titian himself had but one hundred pieces of gold. See Sandrart, p. 224. 
 
EDWARD VI. AND MARY. 
 
 141 
 
 England, to draw the picture of Queen Mary, 1 the intended 
 bride of Philip. They gave him one hundred pounds, a 
 gold chain, and a pension of one hundred pounds a quarter 2 
 as painter to their majesties. He made various portraits 
 of the queen ; 3 one was sent 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, most of them 
 have lost part of their value, by our ignorance of the per- 
 sons represented. The poorest performers have it in their 
 power to add so much merit to their works, as can be 
 conferred by identifying the subjects, which would be a 
 little reparation to the curious world, though some families 
 should miss imaginary ancestors. 
 
 On the death of the queen, More followed Philip, (and 
 probably his religion,) 4 into Spain, where he was indulged 
 in so much familiarity, that one day the king slapping him 
 pretty roughly on the shoulder, More returned the sport 
 with his hand-stick — a strange liberty to be taken with a 
 Spanish monarch, and with such a monarch ! His bio- 
 grapher gives but an awkward account of the sequel ; and 
 I repeat it as I find it : A grandee interposed for his pardon, 
 and he was permitted to retire to the Netherlands, but 
 under promise of returning again to Spain. I should rather 
 suppose that he was promised to have leave to return thither, 
 after a temporary banishment ; and this supposition is the 
 more likely, as Philip, for once forgetting majesty in his 
 
 1 Sandrart says, she was very handsome.* It is certain that the drawing of 
 her (when abont sixteen) by Holbein at Kensington is not disagreeable, though 
 her later pictures have all a stern hard-favoured countenance. 
 
 2 [Van Mander says, 1001. per annum. — W.] 
 
 3 In King Charles's collection was a miniature in oil of this queen, by Antonio 
 More, painted on a round gold plate, in blue flowered velvet and gold tissue with 
 sleeves of fur, two red roses and a pair of gloves in her hand ; the very same dress 
 of her picture at the Duke of Bedford's at Woburn. The miniature was a present 
 to the king from the Earl of Suffolk. 
 
 4 He was suspected by the Inquisition of making use of his interest with the 
 king in favour of his countrymen, says Sandrart. This might be meant either of 
 their religious or political principles. But sure the inquisitors knew Philip too 
 well to be apprehensive of his listening to any insinuations of tenderness on either 
 head. 
 
 * [Sandrart merely repeats what is said by Van Mander. — W.] 
 
142 
 
 PAINTING UNDER 
 
 love of the arts, dispatched a messenger to recall him before 
 he had finished his journey. But the painter, sensible of 
 the danger he had escaped, modestly excused himself ; 
 and yet, says the story, the king bestowed noble presents 
 and places on his children. At Utrecht, Antonio found 
 the Duke of Alva, and was employed by him to draw 
 several of his mistresses, and was made receiver of the 
 revenues of West Flanders — a preferment, with which, 
 they say, he was so elated, that he burned his easel, and 
 gave away his painting tools. 1 
 
 More was a man of a stately and handsome presence ; 
 and often went to Brussels, where he lived magnificently. 
 He died at Antwerp in 1575, 2 in the fifty-sixth year of 
 his age. 
 
 His portrait, painted by himself, is in the chamber of 
 painters at Florence, with which the great duke, who 
 bought it, was so pleased, that he ordered a cartel with 
 some Greek verses, written by Antonio Maria Salvini, his 
 Greek professor, to be affixed to the frame. Salvini 
 translated them into Italian and into the following Latin : 
 
 " Papae ! est imago cujus, 
 Qui Zeuxin at que Apellem, 
 Veterumque quot fuere, 
 Kecentiumque quot sunt, 
 Genus arte vicit omnes ! 
 Viden 7 ut suam ipse pinxit 
 Propria manu figuram ; 
 Chalybis quidem nitenti 
 Speculo se ipse cernens. 
 Manus 0 ! potens magistri ! 
 Nam pseudo morus iste 
 Fors, More, vel loquetur." 
 
 Another picture of himself, and one of his wife, were m 
 the collection 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 master ; and the Duke of 
 Buckingham had a portrait of a man by him ; (see his cata- 
 
 1 [This post was not given to More, but to his son-in-law. lie burned his easel 
 and gave away his tools, when he was invited by the Duke of Alva from Utrecht to 
 Brussels, where he continued to paint for the duke ; and, according to Van Mander, 
 realized a considerable property by his profession. — W.j 
 
 2 [1581. See previous note. — W.J 
 
EDWARD VI. AND MARY. 
 
 143 
 
 logue, p. 18. 1 A print of him in profile, 2 was published 
 by Hondius, and a medal struck of him in Italy with this 
 legend, "Ant. More, pictor transmontanus." At what time 
 or where he was knighted is uncertain. He painted his 
 master, John Schorel, in 1560. Several of his works are or 
 were at Sir Philip Sydenham's, at Brympton, in Somerset- 
 shire. A very good portrait of Sir Thomas Gresham is at 
 Houghton. 3 I have a miniature by him, called Thomas, 
 Duke of Norfolk, 4 engraved among the illustrious heads ; 
 it belonged to Eichardson the painter, and came out of 
 the Arundelian collection ; and a half-length of a lady in 
 black, with a gold chain about her waist, which is men- 
 tioned in the catalogue of pictures of James II. and by 
 that of Charles I., 5 appears to be Margaret of Valois, 6 
 sister of Henry II. of France, and Duchess of Savoy, at 
 the tournament for whose wedding that monarch was 
 killed. Lady Elizabeth Germayn has the portrait of 
 Anne, daughter of Francis, Earl of Bedford, and wife of 
 Ambrose, Earl of Warwick. 
 
 At Newstede Abbey, in Nottinghamshire, the beautiful 
 
 In Brian Fairfax's Catalogue of the Duke of Buckingham's pictures, p. 18, No. 2. 
 William Kay (a celebrated Flemish painter) by More, and More by Kay ; and in 
 Sir P. Lely's Catalogue, No. 103 and 104, A. More and his wife by himself ; and a 
 very fine portrait by him, called " A man with a gold chain and dog," No. 108, now 
 at Althorp ; Philip II., and Mary, Queen of England, in one picture, dated 1553, and 
 Queen Mary singly, dated 1556, at Woburn Abbey. 
 
 In the palace at Kensington (Hampton-court) are two daughters of Philip II. of 
 Spain. 1. Isabella Clara fil. Phil. II. Regis Hisp. set. 11, 1571. 2. Catherine, 
 set. 10. Whole lengths of Philip and Queen Mary at the Earl of Westmoreland's, 
 Althorp, 1553. John, Lord Sheffield, at Strawberry-hill." Sir T. Gresham, once at 
 Houghton. Sir Richard Southwell, 1554, at King's Weston. Sir Philip Sidney, 
 Woburn. This portrait has been attributed to More, but unluckily for that asser- 
 tion, Sidney was born in the year immediately following the painter's arrival in 
 England. At Windsor, Emanuel Philibart, Duke of Savoy, 1570. In the Na- 
 poleon collection there was a single picture, the Resurrection of our Lord. Six 
 portraits by him were in the collection of Yilliers, Duke of Buckingham. — D. 
 
 2 The engraving given in this edition is taken from the picture in the Florentine 
 Gallery. 
 
 3 [The collection of Sir Robert Walpole at Houghton, or the greater portion of it, 
 was sold to the Empress Catherine II. of Russia, and is now at St. Petersburg. — W.] 
 
 4 [Sold at the sale of 1842, to P. Howard, Esq. for 35 guineas. There was another 
 portrait of the Duke of Norfolk, as a young man, by More, at Strawberry-hill, 
 which was sold for 42 guineas. — W.] 
 
 5 See p. 108, No. 7. 
 
 6 [Purchased at the sale of 1842, by the Duke of Sutherland, for 36 guineas.— W.] 
 
 * [Sold at the sale of 1842 for 14 guineas ; it was formerly in the collection cf old 
 Buckingham-house. — W. ] 
 
144 
 
 PAINTING UNDEIl 
 
 seat of the Lord Byron, where are the most perfect remains 
 of an ancient convent, is an admirable portrait, painted, as 
 I believe, by this master, and worthy of Holbein. It is a 
 half-length of a fat man with a beard, on a light greenish 
 ground. His arms are three roses, the middle one highest, 
 on a field argent ; in base, something like a green hill. 
 These arms are repeated on his ring, and over them J. N. 
 set. 1557. As this bearing is evidently foreign, I suppose 
 the portrait represents one of the family of Numigen. 
 Nicholas Byron married Sophia, daughter of Lambert 
 Charles of Numigen. 1 
 
 But More did not always confine himself to portraits. 
 He painted several historic pieces, particularly one much 
 esteemed of the Resurrection of Christ with two angels ; 
 and another of Peter and Paul. A painter, who afterwards 
 sold it to the Prince of Conde, got a great deal of money 
 by showing it at the foire St. Germain. 
 
 He made a fine copy of Titian's Danae for the king ; 
 and left unfinished the Circumcision, designed for the 
 altar in the church of our Lady at Antwerp. 
 
 In the catalogue of pictures at the Palais Eoyal is a 
 portrait said to be of Grotius, by Antonio More, who was 
 dead above twenty years before Grotius was born. 2 
 
 Another performer in this reign was 
 
 JOAS VAN CLEEVE, 
 
 (1550—1556,) 
 
 or Sotto Cleefe, 3 an industrious painter of Antwerp ; his 
 colouring was good, and his figures fleshy and round ; but 
 before he arrived at the perfection he might have attained, 
 his head was turned with vanity — a misfortune not 
 uncommon to the profession, who living secluded from 
 
 1 Thorotorfs Nottinghamshire, p. 261. 
 
 2 [A portrait of Anne Stanhope, Duchess of Somerset, second wife of the Pro- 
 tector, whose portrait she holds in her hand, likewise attributed to More, was sold 
 at the Strawberry-hill sale : it was purchased by the Hon. and Kev. Heneage 
 Finch, for 8 guineas. — W.] 
 
 3 [Joost van Cleef, or Zotte Cleefe ; that is, crazy Cleef. The dates are only 
 approximate : Immerzeel gives 1550 — 1536, but the latter is, from the above 
 account of him, which is derived origiaily from Van Mander, an error of at least 
 twenty years. Van Mander speaks of him as an excellent colourist. — W.] 
 
EDWAED VI. AND MARY. 
 
 145 
 
 the world, and seeing little but their own creation rising 
 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 some of the works of 
 Titian arrived at the same time. Cleeve begged the re- 
 commendation of Sir Antonio More, his countryman; but 
 Philip was too much charmed with the beauties of the 
 Venetianmaster,andoverlookedthe labours of the Fleming. 
 This neglect completed his frenzy, the storm of which first 
 vented itself on Sir Antonio. Cleeve abused him, under- 
 valuing his works, and bidding him return to Utrecht 
 and keep his wife from the canons. At last the poor man 
 grew quite frantic, painted his own cloths, and spoiled 
 his own pictures, till they were obliged to confine him, 
 in which wretched condition he probably died. He had 
 a son that followed his profession, and was, it is said, no 
 despicable performer. 
 
 Of Joas there is a print with this legend — Vivebat 
 Antwerpiae in patria, 1544. Another inscribed, Justo 
 Clivensi, Antwerpiano pictori. The original painted by 
 himself, with a black cap and furred gown, upon a greenish 
 ground, and a portrait of his wife, were purchased by 
 King Charles I. 1 who had also of this master a picture of 
 Mars and Venus. 2 
 
 James II. had of his painting, the Judgment of Paris, 3 
 and the Birth of Christ, with angels. 4 The Duke of 
 Buckingham had a portrait of a 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, 1 
 who it seems, had been in the service too of Henry and 
 Edward. His name was Nicholas Lysard ; he had a 
 pension for life of ten pounds a year, and the same fee 
 charged on the customs, as had been granted to the ser- 
 
 1 See his Catalogue, p. 153. Cleeve's portrait is still in the lower apartment at 
 Kensington. — [These pictures are now at Windsor. — W.] 
 
 2 Mentioned in a MS. Catalogue. 
 
 3 See his Catalogue, No. 540 and 830. 
 
 4 See his Catalogue, p. 18. 
 
 VOL. I. L 
 
146 
 
 PAINTING UNDER 
 
 jeant-painters, John Brown and Andrew Wright. Of 
 Lysard I find no further mention, but that in a roll of 
 Queen Elizabeth's new-year s gifts he presents her with 
 a table painted 1 of the history of Ahasuerus, and her 
 majesty gives him one gilt cruse and cover. This was in 
 the first year of her reign. He died in her service 1570. 
 In the register of St. Martin's is this entry, " April 5, 
 buried Nicholas Lyzard, serjeant-painter unto the Queen's 
 majestie." 
 
 There was in this reign another person, too illustrious a 
 lover and even practiser of the art to be omitted, though 
 I find no mention of him in Vertue's MSS. This was 
 
 EDWARD COURTENAY, 
 
 The last Earl of Devonshire, 
 
 the comeliness of whose person was very near raising him 
 to that throne, for nearness to which in blood he was a 
 prisoner from ten years old ; and from that time to thirty, 
 when he died, he scarce enjoyed two years of liberty. It 
 was a happiness peculiar to him to be able to amuse him- 
 self with drawing, 3 in an age in which there were so many 
 
 1 [Or more correctly & picture, a painted panel. — W.] 
 
 2 When Queen Mary released him, she restored him too to the Marquisate of 
 Exeter, though that title is omitted by all our historians when they mention him. 
 
 3 My authority is Strype, who produces undoubted authority for his assertion, 
 having given us the oration pronounced at his funeral . by Sir Thomas Wilson, 
 afterwards Secretary of State. Besides his progress in philosophy, mathematics, 
 music, and the French, Spanish, and Italian languages, Sir Thomas adds, "Tanta 
 etiam expingendarum effigierum cupiditate ardebat, ut facile et laudabiliter cujus- 
 cumque imaginem in tabula exprimeret." — See Strype' s Memorials, vol. iii. p. 339, 
 and Appendix, p. 192. 
 
 This accomplished and ill-fated nobleman has surely very slight pretension 
 to a niche among the professors in the temple of art. All that the Funeral 
 Oration (seldom the best authority) would insinuate, is rather that the Earl pos- 
 sessed a love of painting, than the power of producing a picture. It is more than 
 probable, that among the avocations of his sad and unjust confinement, he amused 
 himself with sketching with his pencil ; but no tradition authenticates any 
 portrait by his hand ; and but one of himself (here engraved), which has never 
 been considered as his own work. If his fellow-sufferer, Lady Jane Grey, had ever 
 exhibited graphic talents equal to those of Lord Devonshire, she would probably 
 have been introduced into these volumes as a paintress, and associated with 
 Artemesia Gentileschi, and Maria Beale. Walpole has recorded her as * 4 a noble 
 author," upon the sole pretension of four Latin epistles, and two private letters, 
 addressed to her father and sister. 
 
 There are two portraits of this lovely scholar, which advance the claim of 
 originality ; one preserved in the collection of her own family at Wrest ; the other 
 at Stowe. It is not improbable that Edward VI. in his partiality to her should 
 
I 
 
EDWARD VI. AND MARY. 
 
 147 
 
 prisoners and so few resources; and it gives one very 
 favourable ideas of his being naturally accomplished, of 
 a spirit not easily to be depressed when we find that Queen 
 Mary no sooner delivered him from his captivity than she 
 wished to marry him ; and that he, conscious of his great 
 blood and yet void of interested ambition, declined a crown, 
 and preferred the younger sister, the Princess Elizabeth. 
 For this partiality, and on the rising of the Carews in 
 Devonshire, who were flattered with the hopes of this 
 match, the princess and he were committed to the Tower, 
 and accused by Wyat as his accomplices. Our historians 1 
 all reject this accusation, and declare that Wyat cleared 
 him at his death ; and indeed the earl's gratitude would 
 not have been very shining, had he plotted to, dethrone 
 a princess who had delivered him from a prison and 
 offered him a throne. The English who could not avoid 
 feeling partiality to this young prince, were pleased with 
 King Philip, to whose intercession they ascribed the second 
 release of the earl, as well as the safety of the Lady 
 Elizabeth. Courtenay asked leave to travel, and died at 
 Padua, not without suspicion of poison, which seems 
 more probable than those rumours generally are, as he 
 was suspected of being a Lutheran, and as his epitaph, 2 
 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 ; the last of which 
 assertions at least is a falsehood, and might be a blunder, 
 confounding the queen and princess. After his death one 
 Cleybery was executed for pretending to be this earl, and 
 thence endeavouring to raise commotions. 
 
 There is a very good portrait of him at the Duke of 
 Bedford's at Woburn, painted, I should think, by Sir 
 Antonio More ; in the background a ruined tower. 
 
 be possessed of her portrait ; and that it was removed by his successors from the 
 Royal Collection, in any catalogue of which it is not seen. In Lord Oxford's 
 copy of the Heroologia, (Brit. Mus. ) the portraits, from which the prints were 
 taken, are authenticated. That of Lady Jane Grey, by Holbein, is said to belong 
 to Mr. J. Harrison — Query, if a retainer of the court ?— - D. 
 
 1 See Rolinshed, Heylin, and Burnet. 
 
 2 See it at length in the Genealogical History of the Noble Bouse of Courtenay. 
 by Edward Cleaveland, fol. 1735, p. 261. 
 
 L 2 
 
148 
 
 PAINTING UNDER 
 
 KEMARKS. 
 
 Two painters only of eminence are known to have visited this country 
 during the twelve years in which Edward and his sister Mary were its sovereigns. 
 Holbein was their contemporary, but from all that can be collected, was not suffi- 
 ciently occupied in painting portraits to be considered as their rival in point 
 of employment ; for his own patron, Thomas, Duke of Norfolk, was not re- 
 leased from the Tower till a year before Holbein's death, and More possessed 
 so much greater an interest at Court, that little encouragement was afforded to 
 others, who, it is certain, were neglected by King Philip. It is therefore not 
 unlikely that Holbein during that interval, applied himself more particularly to 
 paintings in large, upon walls, and surfaces prepared to receive them. His 
 works at the Steel-yard, Surgeons'-hall, and Bridewell, of that description, en- 
 grossed his pencil at that period. It is said likewise, that he designed and 
 finished the inside ornaments of the chapel at Whitehall, which performance 
 perished in the conflagration in 1698, together with a family picture, so painted, 
 of the Kings Henry VII. and VIII. of very large dimensions. 
 
 More had formed his style in the schools of Rome and Venice, yet in his 
 portraits, though evidently emulous of Titian's colouring, he may be, with 
 more correctness, assimilated to Holbein, whose works he had studied pre- 
 viously to his arrival in England. With much delicacy of finishing, somewhat 
 of a dry and hard manner is always to be remarked. He was a precise 
 follower of nature, and possessed a tolerable acquaintance with chiaro scuro. 
 
 With respect to Architecture. The patronage of John of Padua by the 
 Protector, Duke of Somerset, ushered into notice the Italian, or rather 
 French style, first adopted in part by Holbein, but now much more divested 
 of the Gothic, or castellated manner. At this period several royal palaces in 
 France had been recently completed, and were considered by English travel- 
 lers as the perfection of architecture. Imitation, as in every former instance 
 connected with the arts, immediately followed. The first deviations from the 
 Burgundian, or later Gothic, were partial, and mixed with it in a limited de- 
 gree, and principally in door-cases, window-frames, and parapets. This inno- 
 vation made its first appearance in Somerset-house. Of the French palaces 
 above alluded to, the principal which may be adduced as the prototypes of 
 our own, in this era, are the following: — The Chateau of Gaillon, finished in 
 1500 by Francis I. Of Chambord in 1526, by Henry II. and D'Anet, 1540. 
 Vignola (whose real name was Barozzi) exercised his art of design in France 
 during a residence of two years, 1537 — 1539. Lescot gave his design for the 
 Louvre in 1541. Philip de Lornie, who had learned architecture in Italy, and 
 practised it in his own country, wrote a treatise in two parts, entitled Nou- 
 velles Inventions, pour bien bdtir. Paris. He had prepared the MS. in 1561 
 as it is dated, but not published till after his death, 1576. 1 It is therefore 
 evident that the novel art of building was brought to us from Italy, through 
 France ; and it is equally probable that John of Padua was one of those 
 Italian artists who had accompanied Vignola into France, and from thence 
 had been invited into England. 
 
 This subject will be investigated in its progress after this introduction (in per- 
 haps a single instance, that of Somerset-house) through the reign of Queen 
 Elizabeth, at the close of which the mixed Gothic or lower Tudor style of building 
 
 D'Argenville, \ Vies des Architectes, 8vo. 1787. 
 
EDWARD VI. AND MARY. 
 
 149 
 
 mansion houses no longer prevailed. Harrison (in his Description of England), 
 to whom we cannot ascribe any knowledge of the arts, has merely repeated 
 the praise of the newly-introduced style of building popular in his time. He 
 has observed (p. 328), " that such palaces as King Henry VIII. erected, after 
 his owne devise, do represent another kind of patterne, which as they are sup- 
 posed to excel all the rest that he found stanclinge in this realme, so they are, 
 and shall be, a perpetuall precedent unto those that do come after, to follow 
 in their workes and buildings of importance. Certes, masonrie did never 
 better flourish in England than in his time." — D. 
 
150 
 
 CHAPTER VII. 
 
 PAINTERS IN THE REIGN OF QUEEN ELIZABETH. 
 
 The long and remarkable reign of this princess could not 
 but furnish many opportunities to artists of signalizing 
 themselves. There is no evidence that Elizabeth had much 
 taste for painting ; but she loved pictures of herself. In 
 them she could appear really handsome ; and yet to do the 
 profession justice, they seem to have flattered her the least 
 of all her dependants. There is not a single portrait of her 
 that one can call beautiful. The profusion of ornaments 
 with which they are loaded are marks of her continual 
 fondness for dress, 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 com- 
 posed of hands and necklaces. A pale Eoman nose, a head 
 of hair loaded with crowns and powered with diamonds, 
 a vast ruff, a vaster fardingale, and a bushel of pearls, 
 are the features by which every body knows at once the 
 pictures of Queen Elizabeth. 1 Besides many of her ma- 
 
 1 The rational pleasure we receive from the inspection of portraits, added to 
 excellence in point of art, is the assurance of identity ; and that they reflect, as in 
 a mirror, real personages, with their features, dress, and character, such as they 
 were in life. 
 
 That this genuine resemblance was falsified by personal vanity and the painter's 
 adulation is certain, and in no subsequent instance, more decidedly, than in many 
 portraits which are called those of Queen Elizabeth. 
 
 It has occurred to the editor, that by placing together the verbal descriptions 
 of her person, which those conversant with her at different periods have given 
 us, a clearer idea of it may be suggested, than by any other means, and a criterion 
 afforded of the exact degree of resemblance, which even the best authenticated 
 portraits now present. 
 
 There is, at Hatfield, a portrait of her, when Princess Elizabeth (to be noticed 
 hereafter), accompanied by emblems, which was painted during her residence 
 there. It represents a young woman, fair, but not beautiful. From thence she 
 sent a letter, with a portrait of herself in miniature, to her brother, Edward VI., 
 and observes, " for the face I might well blusche to offer — and I beseche your 
 majestie to think that when you shall loke in my pictur, you will witsafe {vouch- 
 safe) to think that you have the outwarde shew of the body before you," &c. 
 
PAINTERS IN THE REIGN OF QUEEN ELIZABETH. 151 
 
 jesty, we are so lucky as to possess the portraits of almost 
 all the great men of her reign ; and though the generality 
 of painters at that time were not equal to the subjects on 
 which they were employed, yet they were close imitators 
 of nature, and have perhaps transmitted more faithful 
 representations than we could have expected from men 
 
 (Ellis's Coll. of Orig. Letters, vol. ii. p. 158.) There is another, when Princess 
 Elizabeth, at Kensington, said to be by Holbein. It is a half length, in a red dress. 
 
 Sir James Melville (in his Memoirs, p. 46) describes, in a very interesting 
 manner, his interview and conversation with Queen Elizabeth, when she was in 
 her thirty-second year, 1564. He observed, "that her hair was more reddish than 
 yellow, curled, in appearance, naturally. She desired to know of me what colour 
 of hair was reputed best, and whether my queen's (Mary Queen of Scots) hair or 
 hers was best, and which of them two was fairest ? " Melville's reply was very 
 courtly, but not satisfactory ; for, like a true knight, he would not allow the meed 
 of superior beauty to any but his own mistress. At his first audience he was 
 received in the Privy-garden. The queen was walking in an alley. She considered 
 the open daylight as most favourable to her beauty. As her nose was the peccant 
 feature, thin and hooked ; or, as Naunton says, 44 high-nosed," most of her portraits 
 present a full-face, in order to conceal it. Yet in King Charles's collection there 
 was a profile in miniature, by 1ST. Hilliard, 6 c the light coming neither from the 
 right nor the left side, being done without any shadows, in an open garden light. " 
 This was peculiarly a conceit of her own ; and more that of a queen than an artist. 
 Her partiality to the miniature size is likewise mentioned by Sir J. Melville. 
 " She took me to her bed-chamber, and opened a cabinet, wherein were divers little 
 pictures, wrapped within paper, and their names written, with her own hand, upon 
 the papers. Upon the first that she look up was written, ' my lord's picture.' I 
 held the candle, and pressed to see the picture so named : she seemed loath to let 
 me see it ; yet my importunity prevailed for a sight thereof, and I found it to be 
 J my Lord of Leycester's.' " (Page 49. ) In 1563, she issued a proclamation, now in 
 the State Paper-office, and which may be seen, Arch. vol. ii. p. 169, by which none 
 but "a special cunninge paynter," is permitted to draw her likeness, and Zuccaro 
 was then, probably, appointed. Kaleigh, in his preface to the History of the World, 
 says, that she ordered all pictures of her, by unskilful painters to be burned. 
 
 Hentzner saw her when she had advanced to her sixty-fifth year, in 1591. " Next 
 came the queen, very majestic, her face oblong, fair, but wrinkled, her eyes small, 
 yet black and pleasant ; her nose a little hooked, her lips thin, and her teeth black. 
 She had in her ears two pearls, with very rich drops ; she wore false hair, and that 
 red ; upon her head she had a small crown. Her bosom was uncovered, as all the 
 English ladies have it till they marry ; and she had on a necklace of exceeding fine 
 jewels ; her hands were small, her fingers long, and her stature neither tall nor low." 
 (Itinerary, p. 65, translated by Walpole.) Long before this period she had quar- 
 relled with her looking-glasses ; and her indignation was so great, because they 
 would not flatter, that her female attendants removed the mirrors (at that time 
 small) from any room through which she was about to pass. Hearne (in his edition 
 of Camden's Eliz.) says, " specula amovebant famulfe, ne vultum forte conspicerit, 
 et e mutationis contemplatione iracundia incenderetur." So gratified was she with 
 the unceasing incense of inordinate adulation, which she felt naturally and en- 
 couraged politically, because she wished to be represented to her people as the 
 beau-ideal of a "Virgin Queen," both by poets and painters, who will wonder that 
 the die for coinage, which Walpole had engraved for his royal and noble authors, 
 was immediately broken ? — D. 
 
 It is observable that her majesty thought enormity of dress a royal prerogative ; 
 for on the 12th of February, 1579, an order was made in the Star-chamber, ' ' that 
 no person should use or wear excessive long cloaks (this might proceed from appre- 
 hension of their concealing arms under them) as of late be used, and before two 
 
152 
 
 PAINTERS m THE REIGN OF 
 
 of brighter imagination. The first painter who seems to 
 have made any figure in this reign, was 
 
 LUCAS DE HEEKE, 1 
 
 (1534—1584.) 
 
 Born at Ghent, in 1534, of a family peculiarly addicted to 
 the arts. John, his father, was a good statuary and archi- 
 tect ; Anne Smitter, his mother, painted in miniature, and 
 with such diminutive neatness, that she executed a land- 
 scape with a windmill, millers, a cart and horse, and pas- 
 sengers ; and half a grain of corn would cover the whole 
 composition. The father went often to Namur and Dinant, 
 where the son copied ruins and castles ; but he soon learned 
 of a better master, Francis Floris, under whom Lucas im- 
 proved much, and drew many designs (which passed for his 
 master s) for tapestry and glass-painters. From Ghent he 
 went to France, and was employed by the queen and queen- 
 mother in making drawings for tapestry ; and residing some 
 time at Fontainbleau, where he married Eleanor Carboniere, 
 he contracted a taste for the antique by seeing the statues 
 there, an inclination he showed less 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 jester, and painted two or three churches; in St. Peter's 
 
 years past hath, not been used in this realm ; no persons to wear such great ruffes 
 about their necks ; to be left off such monstrous undecent attyring." Also another 
 against wearing any sword rapier that shall pass the length of one yard and half 
 a quarter in the blade, nor dagger above twelve inches in the blade at most. In 
 her father's time, who dictated in every thing, from religion to fashions, an act of 
 parliament was passed in his twenty-fourth year against inordinate use of apparel, 
 directing that no one should wear on his apparel any cloth of gold, silver or tinsel, 
 satin, silk, or cloth mixed with gold or silver, any sables, velvet, furs, embroidery, 
 velvet in gowns or outermost garments, except persons op distinction, dukes, 
 marquises, earls, barons and knights of the order, barons' sons, knights, or such that 
 may dispend 2501. per annum. This was renewed in the second of Elizabeth. 
 Edward VI. carried this restraint still farther. In the heads of a bill drawn up with 
 his own hand, 1551 (though it never passed into a law), no one who had less than 
 10 OZ. a year for life, or gentlemen, the king's sworn servants, was to wear satin, 
 damask, ostrich feathers, or furs of conies ; none not worth 2001. or 20?. in living 
 certain, to wear camlet ; no serving-man, under the degree of a gentleman, to 
 wear any fur, save lamb ; nor cloth above ten shillings the yard. 
 
 1 This account of Lucas de Heere, Walpole has taken almost literally from 
 Descamps ; but he has omitted to mention his extreme facility in taking likenesses, 
 and that his memory was so tenacious and faithful, that he could paint any face which 
 he had examined but once. — D. [The original account is from Van Mander. — W.] 
 
QUEEN ELIZABETH. 
 
 153 
 
 the shutters of an altar-piece, in which he represented the 
 Lord's Supper, much admired for the draperies of the 
 apostles. In St. John's Church he painted an altar-piece of 
 the Resurrection, and on the doors of it, Christ and the 
 disciples at Emmaus, and His apparition in the garden. 
 
 Lucas was not only a painter, but a poet : he wrote the 
 Orchard of Poesie ; 1 and translated, from the French of 
 Marot, the Temple of Cupid, and other pieces. He had 
 begun the lives of the Flemish painters, in verse. Carl 
 Vermander, his scholar, who has given the lives of those 
 masters, learned many ancedotes of our English 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 
 industry of Mr. Vertue discovered several of them. 
 
 1. The first of these was a portrait of Sir William Sidney, 
 grandfather of Sir Philip ; but as Sir William died in 1563, 
 at the age of seventy-two, 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 less probable that he had been in France, 
 had married, and arrived here by the age of nineteen. This 
 picture, which Vertue found at Fenshurst, was, in all likeli- 
 hood, a copy. 
 
 2. The next was a portrait of Henry, Lord Maltravers, 
 eldest son of Henry Fitzalan, Earl of Arundel, dated 1557, 
 the year before the accession of Queen Elizabeth ; but as this 
 young lord died at Brussels, 2 it is probable that De Heere 
 drew his. picture there, and that very acquaintance might 
 have been a recommendation of Lucas to England. 
 
 3. The third is a picture in my possession, 3 well known 
 
 1 Boomgaard derPoesije — the Garden of Poetry. It is now lost. — W.] 
 
 2 The original is a small half length, now at Norfolk-house, with an inscription, 
 which mention his death at Brussels, in 1556, aged nineteen. It was subsequently 
 added, and does not therefore give the true date of the picture, though certainly 
 not far distant. At Arundel- castle is a whole length, which was probably copied 
 by L. de Heere himself, after he came to England : there is also a half length of 
 Henry Fitzalan, the last Earl of Arundel of that name ; and two whole lengths of 
 Thomas, Duke of Norfolk, and the Lady Mary Fitzalan, his duchess, which must 
 have been painted before 1557. — D. 
 
 3 [Purchased at the Strawberry-hill sale, by the Hon. and Rev. Heneage Finch, 
 for 88 guineas. — W.] 
 
154 
 
 PAINTERS IN THE REIGN OP 
 
 by the print Vertue made from it. It contains the portraits 
 of Frances, Duchess of Suffolk, mother of Lady Jane Grey, 
 and her second husband, Adrian Stoke. Their ages, and 
 De Heere's mark, BE, are on the picture, which is in perfect 
 preservation, the colouring of the heads clear, and with 
 great nature, and the draperies, which are black, with furs 
 and jewels, highly finished and round, though the manner 
 of the whole is a little stiff. This picture was in the collec- 
 tion of Lord Oxford. There is a tradition, that when this 
 great lady made this second match, with a young fellow who 
 was only master of her horse, Queen Elizabeth said, " What ! 
 has she married her horse-keeper ? " " Yes, madam/' re- 
 plied my Lord Burleigh ; "and she says your majesty would 
 like to do so too," — Leicester was master of the horse. The 
 date on this picture is 1559. 
 
 4. Lord Darnley, husband of Mary Queen of Scots, and 
 his brother, Charles Stuart, a boy afterwards father of the 
 Lady Arabella. There are two of these ; one as large as 
 life, in the room going into the King's closet, at St. James's ; 
 the other small and neatly finished, in the private apart- 
 ments, below stairs, at Hampton-court. The date, 1569. 
 
 5. The next is a very remarkable picture, on board, at 
 Kensington: 1 Queen Elizabeth, 2 richly dressed, with her 
 crown, sceptre, and globe, is coming out of a palace, with 
 two female attendants. Juno, Pallas, and Minerva, seem 
 
 1 [Now at Hampton-court. — W.] 
 
 2 There are other portraits of Queen Elizabeth, equally abounding in ' 'concetto, " 
 and accompanied by emblems of animals or inanimate things. 
 
 At Hatfield are portraits of that description. 1. In a close dress of black, sitting, 
 a sword on the table, with an ermine running up her arm. The ermine is adopted 
 as the emblem of chastity ; it has a golden crown and collar. Taken during her early 
 residence there. 2. Queen Elizabeth, probably soon after her accession to the throne : 
 she is depicted with a long, distended, gauze veil. On her head a small crown and 
 aigret; a necklace of large pearl, her hair is yellow, depending in two long tresses. 
 She is represented young. The lining of her robe is worked with eyes and ears ; 
 on her left sleeve a serpent, on the other a rainbow, "non sine Sole Iris." 3. At 
 Hardwicke-hall, Derbyshire, a whole length, in a gown painted with serpents, 
 birds, a sea-horse, a swan, and ostrich ; her hair is of a golden colour. There is 
 another picture of her, in which her vest is worked with eyelet holes, having the 
 silk and needle hanging down from each — an allegory much too recondite for 
 common apprehension. The pastoral poems of that age abound in compliments 
 to her beauty; but, as Warton sensibly observes, "the present age sees her charms 
 and her character in their proper colours" {Ohserv. on Spenser, vol. ii. p. 20) ; 
 and he gives a very masterly sketch of her habits, in the conclusion of the 
 sixty-first section of the History of English Poetry. — D. 
 
QUEEN ELIZABETH. 
 
 155 
 
 flying before her ; Juno drops lier sceptre, and Venus her 
 roses; Cupid flings away his bow and arrows, and clings to 
 his mother. On the old frame remain these lines, probably 
 written by the painter himself, who, we have seen, dabbled 
 in poetry ! 
 
 " Juno potens sceptris, et mentis acumine Pallas, 
 Et roseo Veneris fulget in ore decor ; 
 Adfuit Elizabeth ; Juno perculsa refugit ; 
 Obstupuit Pallas, erubuitque Venus." 
 
 To have completed the flattery he should have made 
 Juno or Venus resemble the Queen of Scots, and not so 
 handsome as Elizabeth, who would not have blushed like 
 the last goddess. 1 
 
 6. There is a small whole length of Queen Elizabeth, by 
 De Heere, at Welbeck : on the background, a view of the 
 old fabric at Wanstead. 
 
 7. At Lord Dacre's, at Belhouse in Essex, is one of the 
 best works of this master ; it always passed for Holbein's, 2 
 but Vertue discovered it to be of De Heere, whose mark is 
 still discernible. It is the portrait of Mary Neville, daughter 
 
 1 Another curious picture painted about the same time, I know not by what 
 hand, was in the collection of James West, Esq. : it represents Henry VIII. sitting 
 under a canopy supported by pillars, and delivering the sword to Prince Edward. 
 On the right hand of the king stand Philip and Mary ; Mars is coming in behind 
 them. Queen Elizabeth, too large in proportion to the rest, stands forward on the 
 other side, and leads Peace and Plenty, whose faces are said to be portraits of the 
 Countesses of Shrewsbury and Salisbury ; but the latter must be a mistake in the 
 tradition, for there was no Countess of Salisbury at that time. Lady Shrewsbury 
 I suppose was the famous Elizabeth of Hardwicke. Circumscribed in golden 
 letters on the frame are these lines, extremely in the style of the queen's own 
 compositions : — 
 
 " A face of much nobility, lo ! in a little room, 
 
 Four States with their conditions here shadowed in a show ; 
 A father more than valiant, a rare and virtuous son ; 
 A daughter zealous in her kind, what else the world doth know : 
 And last of all a virgin queen to England's joy we see 
 Successively to hold the right and virtues of the three." 
 
 And in small letters on the foreground at bottom, these — 
 
 " The queen to Walsingham this table sent, 
 Mark of her people's and her own content." 
 
 This picture was brought from Chislehurst, whither it had been carried from 
 Scadbury, the seat cf the Walsinghams, and is now at Strawberry-hill. 
 
 2 The portraits painted by Holbein and De Heere have been frequently mistaken 
 as the work of each other, for even when they marked their pictures, their mono- 
 gram was similar. The latter seldom painted pictures of very small dimensions, 
 and no miniatures of his hand are known. Lady Holderness had a portrait by him 
 of Margaret Audley, second wife of Thomas, Duke of Norfolk. — D. 
 
156 
 
 PAINTERS m THE REIGN OF 
 
 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 husband, set. twenty-two, 
 1549, copied from a larger piece, is represented 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 ; x but that 
 is liable to the same objection as his painting Sir William 
 Sidney. 
 
 Since the first edition of this work, I have discovered 
 another considerable work of this master : it is at Longleate, 
 and represents a whole family. The figures are less than 
 life, and about half lengths. An elderly gentleman is at 
 table with his wife and another lady, probably, from the 
 resemblance, her sister. The first lady has tags of a parti- 
 cular form, exactly like those on the dress of my Duchess of 
 Suffolk, as is the colouring, though not so highly finished; 
 yet the heads have great nature. Before them are seven 
 young children, their ages marked, which show 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 some 
 Latin verses in commendation of the gentleman, whose 
 name or title was Cobham; I suppose Sir George Brooke. 
 Lord Cobham, who died in the first year of Queen Eliza- 
 beth, leaving eight sons and two daughters. He had been 
 committed to the Tower by Queen Mary, as privy to Wyat's 
 rebellion. I have likewise found two more pieces of this 
 master at Drayton, the ancient castle-like mansion of the 
 Mordaunts, now of the Lady Elizabeth Germ ay n. One is 
 a half length of Margaret Audley, second wife of Thomas, 
 Duke of Norfolk, beheaded temp. Eliz. Her arms and 
 titles are on the background : but the picture has suffered. 
 The other, of the same size, is of a young nobleman, in a 
 white, stiff-bodied habit, black cloak and hat ; he is very 
 swarthy, but handsome. His age twenty-two, 1563. This 
 piece is finely preserved and strongly coloured, In the life 
 
 1 Lady Jane Grey was bom in 1537, married in 1553, and beheaded in 1554. 
 De Heere was not in England during that time. — D. 
 
QUEEN ELIZABETH. 
 
 157 
 
 of Holbein I have mentioned the Henry VIII. at Trinity 
 College, Cambridge, with De Heere s mark. The face has 
 been repainted, but the rest of the body is highly finished, 
 and does great honour to the copyist. 
 
 In 1570, Lucas was employed to paint a gallery for 
 Edward, Earl of Lincoln, the Lord High Admiral. 1 He 
 was to represent the habits of different nations. When 
 he came to the English, he painted a naked man with cloth 
 of different sorts lying by him, and a pair of shears, as 
 a satire on our fickleness in fashions. 2 This thought was 
 borrowed from Andrew Borde, who, in his Introduction 
 to Knowledge, to the first chapter prefixed a naked 
 Englishman, with these lines : — 
 
 " I am an Englishman, and naked I stand here, 
 Musing in my mind what raiment I shall wear." 3 
 
 1 At the Duke of Bedford's at Woburn are two heads of a Countess of Lincoln 
 and of Lady Anne Ayscough, daughter of the earl. As they are evidently painted 
 at the same time, and as the daughter appears the elder person, there is great 
 reason to believe that the countess was only the mother-in-law, and consequently 
 that this portrait represents the fair Geraldine, so much celebrated by the Earl of 
 Surrey. Her chief beauty seems to have been her golden hair. These pictures, 
 I should think, were painted by the following master, Ketel, rather than by Lucas 
 de Heere. 
 
 2 The two next lines are more explanatory of the subject : — 
 
 ' ' For now I will wear this, and now I will wear that, 
 And now I will wear — I can not tell what." 
 The work from which this rhyme is extracted, is entitled " The first boke of the 
 Instruction of knowledge, the which doth teach a man to speake parte of al maner 
 of languages, and to know the usage and fashion of al maner of countryes, and for 
 to knowe the most part of all maner of coynes of money, the which is current in 
 every region. Made by Andrew Borde of Physyk doctor." Printed by the Cop- 
 lands, and dedicated to the King's daughter, the Princess Mary. From Mont- 
 pellier, 1542— Wartoris Hist, of Eng. Poet. vol. iii. p. 357, 8vo.— D. 
 
 3 It is not extraordinary that this witticism should have been adopted into the 
 Lord Admiral's gallery. Andrew Borde, or Andreas Perforatus, as he called him- 
 self, was an admired wit in the latter end of Henry VIII., to whom he was some time 
 physician. He had been a Carthusian, then rambled over many parts of the world, 
 turned physician, and at last wrote against the marriage of priests ; for which 
 I conclude (though Antony Wood could not guess the reason) he was shut up in 
 prison, where some said he poisoned himself. He wrote the Introduction to 
 Knowledge, partly in verse, and partly in prose, and dedicated it to the Lady Mary, 
 afterwards queen. There are cuts before every chapter. Before the seventh is his 
 own picture standing in a pew with a canopy over him, a gown with wide sleeves, 
 and a chaplet of laurel. The title of the chapter is, " The seventh chapter showeth 
 how the author of this boke had dwelt in Scotland, and did go thorow and round 
 about Christendom and out of Christendom, declaring the properties of all the 
 regions, countries, and provinces, the which he did travel thorow." He wrote, 
 besides the Breviary of Health, A Dietary of Health, the Merry Tales of the Mad 
 Men of Gotham — a book extremely admired, and often reprinted in that age. A 
 right pleasant and merry history of the " mylner " of Abingdon, with his wife and 
 his fair daughter, and of two poor scholars of Cambridge : and other things which 
 may be seen in Antony Wood, vol. i. p. 75. 
 
158 
 
 PAINTEES IN THE REIGN OF 
 
 Lucas de Heere returned to his own country before his 
 death, which happened at Ghent in 1584. . His mark, as 
 above, is on most of his pictures. He used for an anagram 
 these words, Schade leer u, 1 which Sandrart says signify 
 Nocumenta tibi sint documenta. 
 
 CORNELIUS KETEL, 2 
 
 (1548— 1604,) 3 
 
 was born at Gouda in 1548, and early prosecuted his art 
 with great ardour, under the direction of his uncle, a tole- 
 rable painter and a better scholar. At eighteen he went to 
 Delft, and placed himself with Antony Blockland, with 
 whom he remained a year. From thence he travelled to 
 Fontainebleau, where he worked with great applause, in 
 competition with three of his countrymen; but the court 
 coming to Fontainebleau, they were ordered to leave the 
 palace ; Ketel went to Paris and lodged with John de la 
 Hame, the Kings enameller, where he painted some his- 
 tories; but an edict obliging the subjects of the King of 
 Spain to quit France, Ketel returned to Gouda and remained 
 there six years. The troubles in his own country con- 
 tinuing, and consequently little encouragement being given 
 to the arts, Ketel embarked in 1573 for England, and was 
 entertained at London by a sculptor and architect there, a 
 friend of his uncle. Here he married a Dutch woman, and 
 his works growing into esteem, he was much employed by 
 the merchants in painting portraits, but was . seldom en- 
 gaged on history, to which his inclination chiefly led him. 
 However, having painted an allegoric piece, of Strength 
 vanquished by Wisdom, it was purchased by a young mer- 
 chant, and presented to Sir Christopher Hatton, afterwards 
 Lord Chancellor. This incident introduced Ketel to court ; 
 he drew a good whole length of Sir Christopher, now at 
 the Earl of Lichfield s, at Ditchley ; the portrait of Edward 
 
 1 [" Injuries teach you." — W.] 
 
 2 See Sandrart, p. 272, and Carl Vermander, from whence Vertue collected 
 most of the particulars of Ketel's life : and Dcscamjis, who copied V ermander, p. 69. 
 
 3 [The date of Ketel's death is not known, but he was still living when Van 
 Mander published his work in 1604. — W.] 
 
(D©K.MEILIIIU§ EIETIB3C 
 
I 
 
QUEEN ELIZABETH. 
 
 159 
 
 Vere, Earl of Oxford, of William Herbert, Earl of Pem- 
 broke ; of the Lord Admiral Lincoln, now at Woburn, and 
 of Henry Fitzalan, Earl of Arundel, and of several others. 
 At last, in 1578, he had the honour of painting the Queen 
 herself, at the request of the Countess of Hertford; 1 Eliza- 
 beth being then entertained at Hanworth by the famous 
 Anne Stanhope, widow of the Protector, and mother of 
 the Earl of Hertford, then very aged. 2 
 
 Ketel left England in 1581, and settled at Amsterdam, 
 where he painted a large picture of the trained, bands 
 with their portraits, and their captain Herman Koden- 
 burgh Beths at their head. In this picture too he 
 introduced his own portrait. The disposition, resem- 
 blances, and the different stuffs of a the habits, well 
 imitated, were much admired in this piece. It was 
 placed in the gallery of the Mall at Amsterdam. In 1589, 
 he undertook another picture of the same sort for the 
 company of St. Sebastian, in which was the portrait of 
 their captain, Didier Eosencrans. It was reckoned not 
 inferior to the former, and was neither confused nor 
 unanimated, notwithstanding the number of portraits it 
 contained. 
 
 In another of his w r orks, under the figures of Christ 
 and the Apostles, he represented Henry Keyser, an 
 architect of Amsterdam, and the principal virtuosos of 
 that city. His best picture was the portrait of Simon 
 Lack, of that city ; it was in the possession of one of 
 the same family at the Hague. Many of his works were 
 carried to Dantzic. 
 
 In the Duke of Buckingham's collection was a large 
 picture 3 by this master, representing the Virtues and 
 Vices. See his Catalogue, p. 19. 
 
 But Ketel, not content with the glory he acquired by 
 these performances, instead of aiming at greater perfec- 
 tion, took it into his head to make himself known by a 
 
 1 This, I suppose, was Frances Howard, second wife of the earl, and sister of the 
 Lord Admiral Nottingham, a favourite. The Earl of Hertford had been in dis- 
 grace for his first marriage with the Lady Catherine Grey. 
 
 2 The duchess died nine years afterwards, at the age of ninety. 
 
 3 This picture was four feet six inches high, and seven feet broad. — D. 
 
160 
 
 PAESTTEKS IN THE REIGN OF 
 
 method of painting entirely new. He laid aside his 
 brushes, and painted only with his "fingers, 1 beginning 
 with his own portrait. The whim took: he repeated the 
 practice, and, they pretend, executed those fantastic 
 works with great purity and beauty of colouring. In 
 this manner he painted two heads for the Sieur Van Os 
 of Amsterdam ; the first, a Democritus, was his own 
 portrait ; the other, of M. Morosini, in the character of 
 Heraclitus. The Due de Nemours, who was a performer 
 himself, was charmed with the latter, and bought it. 
 Another, was the picture of Vincent Jacobson, a noted 
 wine-merchant of Amsterdam, with a glass of renish in 
 his hand. As his success increased, so did his folly ; his 
 fingers appeared too easy tools ; he undertook to paint 
 with his feet, and his first essay he pretended to make in 
 public on a picture of the Grod of Silence. That public, 
 who began to think like Ketel, that the more a painter 
 was a mountebank, the greater was his merit, were so 
 good as to applaud even this caprice. 
 
 Ketel, like De Heere, was a poet too, and wrote descrip- 
 tions of several of his own works in verse. He understood 
 architecture, geometry, and perspective, and modelled in 
 clay and wax. He was living in 1600, when Vermander 
 wrote his account of him, Sandrart, who makes him 
 travel to Venice and Eome, and die young, while he was 
 employed on a picture of the King of Denmark, has con- 
 founded the master with the scholar ; the latter incidents 
 relate to Isaac Oteryn of Copenhagen, KeteFs only disciple. 
 
 Vermander dedicated to Ketel a dissertation on the 
 statues of the ancients, in which he mentions the great 
 friendship that had subsisted between them for thirty 
 years. 
 
 Vertue observed on the works of De Heere and Ketel, 
 that those of the former are generally smaller than the 
 life, neater, not so strongly coloured, and most commonly 
 painted on board. Those of Ketel, more strongly coloured 
 
 1 Descamps mentions a fine picture painted by Weenix in the same manner, 
 vol. ii. p. 310. And in a sale of pictures in Covent-garden in 1729, were two heads 
 painted by one Brandell with his thumb. 
 
QUEEN ELIZABETH. 
 
 161 
 
 and with a fuller pencil, and always as large, or rather 
 larger, than nature. 
 
 The next on our list is a name of more note, celebrated 
 even in the lists of the great Italian masters : this was 
 
 FREDERIC ZUCCHERO, 1 
 
 (1543—1609,) 
 
 the younger brother of Taddeo, and born like him at 
 Vado, in the Duchy of Urbino, in the year 1550. 2 Fre- 
 deric was carried by his parents to Rome, where their elder 
 son was then employed : the younger improved so much in 
 the space of six years, 3 that without his brother's assistance 
 he painted a picture of Helicon and the Muses for a Roman 
 nobleman ; and executed the greatest part of a chapel in 
 which his brother was engaged. They worked for some time 
 in concert ; and being at Florence, painted in four days the* 
 whole history of the Passion, which was bespoken in a 
 hurry for the decoration of a church on Easter Sunday. 
 Taddeo dying at the age of thirty- seven, 4 Frederic finished 
 his imperfect works, among which were the paintings at 
 the magnificent palace then lately built at Caprarola by 
 Cardinal Farnese. His picture in distemper of Calumny, 
 borrowed from the description of one painted by Apelles, 5 
 was supposed a tacit satire on that cardinal, with whom 
 he had quarrelled on some deficiency of payment. Zuc- 
 chero's temper seems by another instance to have been 
 pretty strongly tinctured with resentment ; while he was 
 
 1 See Sandrart, Felibien, and Baglione. 
 
 2 [Federigo Zuccaro was born at Sant Angelo in Vado in 1543 ; lie was in his 
 eighteenth year in 1560. 1550 is the year in which he was placed with his 
 brother Taddeo at Rome. See Vasari, and Cean Bermudez, Diccionario Historico 
 de los mas Ilustres Professor es de las Bellas Artes en Espana. — W.] 
 
 3 Memoirs of " Federigo Zuccaro," are given by Vasari, Bellori, and Lanzi, who 
 speak of his residence in England, slightly, but who refer chiefly to his great histo- 
 rical works on the Continent. He is mentioned in Cumberland's Lives of Painters 
 in Spain, vol. i. p. 110. The late Mr. Rogers, who published A Collection of 
 Prints, in Imitation of Drawings, with Lives of their Aitthors y &c. in two volumes, 
 imp. fol. 1778, has made a large collection of notes relative to F. Zuccaro, and 
 added many judicious criticisms. — D. 4 [In 1566. — W.] 
 
 5 [This was an Apelles of Ephesus, a distinct painter from the celebrated Apelles 
 of Cos. The former lived at the court of Ptolemy Philopater in Egypt 218 B.c 
 See the editor's notices of these painters in the Biographical Dictionary of the 
 Society for the Diffusion of Useful Knowledge, and the notice of Antiphilus, in 
 the Penny Cyclopaedia, Sup>p. — W.] 
 
 VOL. I. M 
 
162 
 
 PAINTERS IN THE REIGN OF 
 
 employed by Gregory XIII. to paint the Pauline Cliapel in 
 the Vatican, he fell out with some of his holiness's officers. 
 To be revenged, he painted their portraits with ears of 
 asses, and exposed the picture publicly over the gate of 
 St. Luke's Church, on the festival of that saint, the patron 
 of painters. 1 But for this exploit he was forced to fly 
 from Rome ; and passing into France, he was for some 
 time employed in the service of the Cardinal of Lorrain. 
 Thence he went into Flanders, and made cartoons for 
 tapestry ; and in the year 1574 arrived in England. The 
 queen sat to him for her picture ; so did the Queen of 
 Scots, 2 for that well known portrait at Chiswick, which has 
 been engraved by Vertue. Another picture of Elizabeth, 
 in a fantastic habit, something like a Persian, is in the 
 gallery of royal personages at Kensington. 3 Melville* 
 
 1 Verrio, quarrelling with Mrs. Marriott, the housekeeper at Windsor, drew her 
 picture for one of the Furies. This was to gratify his own passion ; to flatter that 
 of the court, he has represented Lord Shaftesbury among the Demons of faction, 
 in St. George's Hall. 
 
 2 This portrait of Mary Queen of Scots is a copy by Zuccaro, and that lately at 
 St. James's, another by Mytens. In Charles the First's Collection was a small 
 whole length, which was brought from Scotland, as stated in the Catalogue. She 
 had been in England, and under the strictest confinement since 1568, several years 
 previously to Zuccaro's arrival ; and it is utterly improbable that any foreign 
 painter should have been admitted to her presence under the then existing circum- 
 stances. In fact, it would be extremely difficult to prove that any picture of her 
 is genuine since her departure from France and Scotland. During her residence 
 at Paris, which she quitted in 1571, she is known to have sate to the court painters, 
 to Janet and F. Fourbus the elder. In the Bodleian Gallery at Oxford is a head 
 of her by the first named represented as in mourning for her husband, Francis II. 
 But the portrait of her which has the general suffrage, for its authenticity, is one 
 preserved at Dalmahoy, the principal seat of the Earl of Morton, in Scotland, 
 trom which an elegant engraving has been made. It is inscribed, 4 4 Mary Queen 
 of Scots, said to have been painted during her confinement in Lochleven-castle." 
 Yet the name of the painter will elude the most laborious search. — D. 
 
 3 [Now at Hampton-court. — W.] 
 
 4 Mr. Rogers has given an exact fac-simile of a sketch in black and red chalk, 
 taken in 1575, for a portrait of Queen Elizabeth. It is a whole length. In compli- 
 ance with the taste of the times, Zuccaro has introduced emblematically, a column, 
 a serpent, an ermine, and a dog. Her arms are crossed, and in one hand she 
 holds a feather fan. Another sketch is the portrait of her favourite, Robert 
 Dudley, Earl of Leicester, standing in complete armour, done at the same time, 
 and in a similar manner, both of them in the collection of the late Lord Frederick 
 Campbell. 
 
 In proof of the extent of this extraordinary love of variety in dress, a quotation 
 may be allowed from a MS. folio entitled, A Book of all such Garments, Jewels, 
 Silks, <£c. belonging to the Queen'' s Wardrobe, in 1660. Exclusively of Coronation, 
 mourning, and parliament robes, and of the garter robes, being ninety-nine in all, 
 there were French gowns, 102 ; round ditto, 67 ; loose ditto, 100 ; kirtles, 126 ; 
 foreparts, 136 ; petticoats, 125 ; cloaks, 96 ; safeguards, 13; jupes, 43 ; doubletts, 
 85; lap-mantles, 18 ; fans, 27 ; pantofles, 9. — NichoVs Queen Elizabeth Progresses, 
 
QUEEN ELIZABETH. 
 
 163 
 
 mentions her having and wearing dresses of every country. 
 In this picture too appears her romantic turn; she is drawn 
 in a forest, a stag behind her, and on a tree are inscribed 
 these mottoes and verses, which, as we know not on what 
 occasion the piece was painted, are not easily to be inter- 
 preted : 
 
 Injusti justa querela. 
 
 A little lower, 
 
 Mea sic mihi. 
 
 Still lower, 
 
 Dolor est medicina ed tori (should be, dolori.) 
 
 On a scroll at bottom, 
 
 " The restless swallow fits my restlesse mind, 
 In still revivinge, still renewinge wrongs ; 
 Her juste complaints of cruelty unkinde 
 Are all the musique that my life prolonges. 
 With pensive thoughts my weeping stag I crown, 
 Whose melancholy teares my cares expresse : 
 His teares in silence and my sighes unknowne 
 Are all the physicke that my harmes redresse. 
 My onely hopes was in this goodly tree, 
 Which I did plant in love, bring up in care, 
 But all in vaine, for now to late I see 
 The shales be mine, the kernels others are. 
 My musique may be plaintes, my musique teares, 
 If this be all the fruite my love- tree beares." 
 
 Tradition gives these lines to Spenser : I think we may 
 fairly acquit him of them, and conclude they are of her 
 majesty's own composition, as they much resemble the style 
 of those in Hentznerus, p. 66 of the English edition. 1 
 
 The portraits of Sir Nicholas Bacon at Woburn, of 
 Charles Howard, Earl of Nottingham, Lord High Admiral, 
 
 vol. ii. p. 53. She was then sixty-eight years old, and had been a very careful 
 preserver ! — Of the peculiarities of English dress, a summary but satisfactory 
 account is given in Peck's Desiderata Curiosa, from the earliest times to those of 
 Charles the Second, p. 586. <! A stomacher or forepart is thus described: — Ot 
 white sattin embroidered all over with spiders, flies and roundels, with cobwebs 
 of Venice gold and tawney silke." — D. 
 
 1 In the Catalogue of the collection of Lady Holderness (1802), was a whole 
 length of Queen Elizabeth, in small, with this distich and emblems, not apparently 
 applicable to the Virgin Queen, 
 
 ' ' Uxor amet, sileat, servet, nec ubique vagetur, 
 Hoc testudo docet, clavis labra junctaque turtur. 
 
 Hsec talis est." — D. 
 
 [A portrait of Queen Elizabeth when a girl, by this painter, was sold at the 
 Strawberry-hill sale, to J. Tollemache, Esq., M.P., for 13 guineas. — W.] 
 
 M 2 
 
 (too) 
 (shells) 
 
164 
 
 PAINTERS IN THE REIGN OF 
 
 at Hampton-court, 1 and of Sir Francis Walsingham in my 
 possession, 2 all three engraved among the illustrious heads; 
 and the picture of Queen Elizabeth's gigantic porter at 
 Kensington, were painted by Zucchero : here too he drew 
 his own portrait, and copied the works of Holbein at the 
 Steel-yard, as 1 have mentioned. A chapel at Eoehampton, 3 
 belonging to Mr. Bagnols, was said to be painted by him. 
 What other works he performed here I do not find f pro- 
 bably not many ; his stay was not long ; historic subjects 
 were not in fashion, and he was offended at our religion. 
 He returned to Italy, and finished the dome at Florence 
 begun by Vasari. The Pope's anger, too, being vanished, 
 he was readmitted to his old employment at Rome, where 
 he built a house for himself on the Monte di Trinita, 
 adorned with four portals, and painted on the outside in 
 fresco by his own hand. On the accession of Sixtus V. 
 Zucchero was invited to Spain by Philip II. to paint the 
 Escurial, but his frescoes not pleasing, he returned to Rom-e, 
 and founded the Academy of Painting, for which Gregory 
 XIII. had given him a brief, and of which he was elected 
 the first prince. 5 These expenses, however, drained him so 
 
 1 There, too, by his hand was a picture of Venus passing sentence on the boar 
 that had killed Adonis. It was sold for 25Z. at the sale of King Charles's 
 collection. 
 
 2 [Sold at the sale in 1842, to B. Botfield, Esq. M.P., for 36 guineas.— W.] 
 
 3 "The chapel at Roehampton," is an altar - picture, and still so applied. 
 {Lysons. ) At Strawberry-hill, Sir Francis Walsingham, by Zuccaro. As Walpole 
 has given his opinion, with so much decision, as to the existence of many genuine 
 works of Zuccaro's pencil, it would be thought perhaps presumptuous to bring 
 forward the claims of many portraits, so designated by the Cicerones of several of 
 the more celebrated collections in the palaces of our nobility. The claims of some 
 are certainly defeated by chronology, when we see portraits of elderly men, which, 
 if drawn by Zuccaro, could hardly have been youths when he was in England. 
 Of Robert Dudley, Earl of Leicester, the portraits are some of them so highly 
 finished, that although they are not appropriated with satisfactory evidence to 
 Zuccaro, or to his contemporary artists, they deserve to be noticed. At Hatfield ; 
 Woburn ; Wroxton, Oxfordshire ; Parham, Sussex ; Lumley-castle ; Knole ; Straw- 
 berry-hill ; Miniature at Belvoir-castle. Of his elder brother Ambrose, Earl of 
 Warwick, at Penshurst, Hatfield, Woburn and Lumley-castle. And to which of 
 all these " des nominis hujus honorejii?" — D. 
 
 4 Vertue mentions a portrait of a Marquis of Somerset ; but there was no such 
 person in that reign. At Wilton, is a Nativity, by Taddeo and Frederic, and two 
 small portraits of Francis II. and Charles IX. of France ; but these were not 
 painted in England. Mr. Pennant mentions a head of Sir Lionel Talmache, by 
 Zucchero. Tour to Scotland, vol. ii. p. 15. 
 
 5 [This was in 1590. Gregory granted the original brief at the instance of 
 Girolamo Muziano, who died in 1590. Zucchero was three years in Spain, from 
 1585 to 1588, when he returned to Rome richly rewarded ; many of his frescoes 
 
QUEEN ELIZABETH. 
 
 165 
 
 much, that he again quitted Rome, and went to Venice 1 to 
 print some treatises that he had written on painting f and 
 some poems too, for Zuccliero was a poet, like others of his 
 profession. From Venice he passed into Savoy, where he 
 was favourably received by the duke, for whom he began 
 to paint a gallery. Returning, he visited Loretto, and 
 died at Ancona in 161 6, 3 aged sixty-six, leaving the 
 remains of his fortune to his academy. 4 
 
 MARC GARRARD, 5 
 
 (1561—1635,) 
 
 the son of a painter of the same name, 6 was born at 
 Bruges in 1561, and practised history, landscape, architec- 
 ture, and portrait. He engraved, illuminated, and designed 
 for glass-painters. His etchings for JEsops Fables and 
 
 were, however, destroyed by Philip II. to make room for others by Pellegrino 
 Tibaldi.— W .] 
 
 1 There he was competitor with Tintoret for painting the chapel of St. Roch. 
 Cat. Rais des Tableaux du Roi, vol. ii. p. 70. 
 
 2 Znccaro was among the earliest of the eminent painters who wrote on the 
 subject of art. His Idea de' Pittori, Scultori et Architetti, divisa in due libri, was 
 printed in 1 607 at Turin, not at Venice. This book had become so extremely 
 scarce, as to induce the publishers of the Lettere sulla Pittura to reprint it in their 
 fifth volume. They state, that they searched all over Italy for it in vain ; when 
 it was discovered in the Library at Florence, and communicated to them. Mr. 
 Rogers judiciously observes, that "after all this pains the Idea scarcely merits to 
 be read, much less to be transcribed and reprinted ; Zuccaro having involved his 
 own acute remarks in metaphysical subtleties, and obscured the minds of the 
 studious with scholastic definitions and divisions : for he has laboured far more to 
 appear as a philosopher than as a painter, and has given his book a Platonic dress, 
 better suiting the fifteenth century than the age in which he wrote." Vol. i. p. 88. 
 For further information concerning these rare books consult Mariette's Letter in 
 the Lettere sulla Pittura, vol. vi. p. 199. — D. [Lanzi says that a single page of 
 Vasari is worth all that Zuccaro ever wrote. He published, besides the above- 
 mentioned work, 27 passaigo per Italia, colla dimora di Parma, del Sig. Cav. 
 Federigo Zuccaro. Bologna, 1608. He died at Ancona, in the following year, 
 1609.— W.] 
 
 3 [1609, Bellori in the Life of M. da Caravaggio, p. 226.— W.] 
 
 4 [In addition to the pictures of Zucchero already noticed, a painting of St. 
 James and St. Catherine, attributed to him, was sold at the Strawberry-hill sale 
 for il. St. James and St. Catherine are represented as pilgrims, crowned by an 
 angel ; it is very highly finished. — W.] 
 
 5 His name is written Gerhardus, Guerards, and Garrard. Among the Sidney 
 Papers at Penshurst was a letter from Sir Robert Sidney to his lady about 1597, 
 desiring her to go to Mr. Garrats, and pay him for the picture of her and the 
 children, so long done and unpaid. 
 
 6 The father of Marc Garrard excelled principally in painting animals, and was 
 the author of Ours dessines par Marc Guerard, 1559, gravees a Veau forte, par 
 Marc djz Bye, 1664, 4 to. 12 morceaux. The designs for ^Jsop s Fables were by the 
 elder M. Garrard. — D. 
 
166 
 
 PAINTERS IN THE REIGN OF 
 
 View of Bruges were much esteemed. He came to Eng- 
 land not long after the year 1580, and remained here till 
 his death, which did not happen till 1635, having been 
 painter to Queen Elizabeth and Anne of Denmark. 
 
 His works are very numerous, 1 though not easily known, 
 as he never used any peculiar mark. In general they are 
 neat, the ruffs and habits stiff, and rich with pearls and 
 other jewels. His flesh-colours are thin, and light, tend- 
 ing to a bluish tincture. 
 
 His procession of Queen Elizabeth to Hunsdon-house 
 has been engraved and described by Vertue, who thought 
 that part of the picture of Sir Thomas More's family at 
 Burford might have been completed by this painter. 
 
 Garrard drew a procession of the queen and knights of 
 the garter in 1584, from whence Ashmole took his plate 
 for the history of that order. The portraits, though small, 
 have great resemblance, with that uncommon fidelity of 
 representing the air, stature, and bulk of the persons 
 exhibited. Vertue made a copy of this roll in water 
 colours, which I bought at his sale. It is not quite com- 
 plete, the original not having been entirely finished. 
 
 Garrard painted both Prince Henry and Prince Charles. 
 Some portraits of ladies by him are at Lord Litchfield's at 
 Ditchley. 2 His own picture was engraved by Hollar. 
 
 An Introduct ion to the General Art of Drawing, first 
 set out by Marc Garrard of Bruges, was translated and 
 published in English, quarto, 1674. 
 
 1 Some of those which confirm his reputation may be mentioned. The portraits 
 in the procession to Hunsdon-house, now at Sherburn, Dorsetshire, in the 
 collection of Earl Digby, are taken from the life. Lord Treasurer Burleigh, at 
 Burleigh ; Mary Sidney, Countess of Pembroke, Penshurst ; Frances Howard, 
 Duchess of Richmond and Lennox, Strawberry-hill ;* Robert Dudley, Earl of 
 Leicester, Hatfield ; James, first Marquis of Hamilton, Sir W. Maitland, and 
 John, first Lord Thirlestane, Earl of Lauderdale. Camden, the historian, Bodleian 
 Gallery, Oxford. — D. 
 
 2 Inherited by the present Lord Viscount Dillon. — D. 
 
 * [Sold at the sale of 1842, to J. Tollemache, Esq. M.P., for 38 guineas.— W.] 
 
QUEEN ELIZABETH. 
 
 167 
 
 HENRY CORNELIUS VROOM, 1 
 
 (1566—1640,) 
 
 was born in 1566, at Harlem, where his father was a 
 statuary, of whom and of his father-in-law, a painter of 
 Florence, young Henry learned to draw. His inclination 
 led him first to paint views of towns : in that pursuit he 
 went to Rotterdam, and soon after on board a Spanish ship 
 to St. Lucar, and thence to Seville, where he lived a short 
 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 stayed a year ; and passing through 
 Milan, Genoa, Turin, and Paris, returned to Harlem, where 
 he employed himself on devout subjects a little, and having 
 stocked himself with a quantity, again set out for Spain, 
 where he proposed to sell them, but was cast away on a 
 small island near the coast of Portugal. He and some of 
 the crew were relieved by monks that lived among the 
 rocks, and conducted to Lisbon, where, relating the danger 
 
 1 See Sandrart, p. 274, and Descamps, t. i. p. 254. 
 
168 
 
 painters m the reign of 
 
 he had escaped, a paltry painter there engaged Vroom to 
 draw the storm he described, in which he succeeded so 
 happily, that it was sold to a nobleman for a considerable 
 price. The Portuguese painter was charmed, and continued 
 to employ Vroom, who improved so much in sea-pieces, 
 that having got money, and returning home, he applied 
 himself entirely to that style of painting. 
 
 At this period, the great Earl of Nottingham, Lord High 
 Admiral of England, whose defeat of the Spanish Armada 
 had established the throne of his mistress, being desirous of 
 preserving the detail of that illustrious event, had bespoken 
 a suit of tapestry, describing the particulars of each day's 
 engagement. Francis Spiering, an eminent maker of 
 tapestry, undertook the work, and engaged Vroom to draw 
 the designs. The excellence of the performance, obvious 
 to the public eye, makes encomiums unnecessary. 1 
 
 It is pleasingly remarkable that there are two monuments 
 of this sort, and both finely executed — the tapestry in 
 question, and the suit at Blenheim ; monuments of two 
 signal victories acquired by sea and land, under the auspices 
 of two queens of the same country, and both gained in 
 defence of the liberties of nations, attacked by two of the 
 most powerful princes, Philip II. and Louis XIV. 
 
 Vroom received a hundred pieces of gold for his labour ; 
 the arras itself, containing 708 ells Flemish, at 10 1. Is. per ell, 
 
 1 These designs, for which Sanclrart says, that Lord "Nottingham remunerated 
 him with 100 florins, were made for ten compartments. The whole series, with 
 the marginal portraits, was ably engraved by John Pine. 
 
 . We are not to suppose that the portraits of the officers and volunteers engaged 
 in the defeat of the Armada were imaginary, but that the brave individuals, who 
 formed a constellation of heroes, were faithfully delineated to complete Vroom's 
 designs for the tapestry. The names are given alphabetically : — 1. Christopher 
 Baker. 2. Sir George Becton. 3. Sir Charles Blount. 4. Sir Robert Carey. 
 5. Captain Crosse. 6. Earl of Cumberland. 7. Sir Francis Drake. 8. Charles 
 Howard, Baron of Effingham, the Lord Admiral. 9. Sir Martin Frobisher. 
 10. Sir Thomas Garrat. 11. Captain Benjamin Genson. 12. Sir John Hawkins. 
 13. Sir Edward Hobye. 14. Lord Thomas Howard. 15. Mr. Knevet. 16. Earl 
 of Northumberland. 17. Sir Horatio Palav-cini. 18. Captain George Penner. 
 19. Captain Penton. 20. Lord Henry Seymour. 21. Lord Sheffield. 22. Sir 
 Robert Southwell. 23. Sir Thomas Cecil. 24 Sir Roger Townshend. 25. Mr. 
 Thomas Vavasor. 26. Mr. Willoughby. 27. Sir William Winter. Vroom was 
 a marine painter only, and therefore these most interesting portraits were supplied 
 by some competent portrait-painter of the time ; for we cannot allow that, whilst 
 so many of these heroes were living and employed in the service of their country, 
 Lord Effingham, who ordered the ten pictures, would have been content with 
 imaginary resemblances of those who shared with him the honour of the victory. — D. 
 
QUEEN ELIZABETH. 
 
 169 
 
 cost 1,62 8 Z. 1 which was paid by the crown to the Earl in the 
 fourteenth of King James; but it was during the Eepublic 
 that this noble trophy was placed in a temple worthy of it. 2 
 
 The painter came to England to receive instructions 
 and execute his commission ; and contracting a friend- 
 ship with Isaac 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 seventh day's action of the fight above mentioned. 
 Vroom died rich; in what year is not mentioned. 8 
 
 In the collection of King James II. were two sea-pieces, 
 and in that of Sir Peter Lely a landscape, both described to be 
 of old Vroom, whence I suppose he had a son who followed 
 his profession, and his style too, as in the former Catalogue 
 is mentioned a sea-piece with King Charles coming from 
 Spain, said to be by Vroom, without the adjunct of old. I 
 find no other account of the son, nor of his being in England. 
 
 These were the principal performers in oil in this reign; 
 some of less note, and of whom but little is recorded, I 
 shall mention at the end of this chapter; but first I shall 
 treat of the painters in miniature. The name of 
 
 PETPUCCTO UBALDINI 
 
 occurs in several places. 4 He appears to have been an 
 illuminator on vellum ; some of his works in that kind 
 are, or were very lately, extant ; as the Psalms of David, 
 in folio : at the beginning the coat of arms and supporters 
 of a nobleman, and facing it, King David on his knees. 
 At the end of the book this inscription : — 
 
 Petruccius Ubaldinus Florentinus Henrico comiti Arun- 
 deliae, Maecenati suo, scribebat Londini m.d.lxv. 5 
 
 Another book of vellum, written and illuminated by 
 
 1 There is a discrepancy between the number of ells and the amount as here 
 stated, which should be 7,1151. 8s. — D. 
 
 2 See Journals of the Commons, January 1, 1G50. The House of Lords was then 
 used for committees of the Commons. — [These tapestries were burnt in the fire of 
 1834.— W.] 
 
 3 [1640, at Haarlem. He left two sons, Cornells and Frederick ; the former was 
 a good landscape painter, the latter an historical painter and architect. Immerzeel, 
 Levens en Werken, &c. — W.] 
 
 4 Vertue says he taught the Italian language. 
 
 5 Henry Fitz Alan, the last earl of that name. — D. 
 
170 PAINTERS IN THE REIGN OF 
 
 the same person, containing the sentences of Scripture 
 painted in the Lord Keeper s gallery at Gorhambury. 1 
 This book was made by order of Sir Nicholas Bacon, and 
 by him presented 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, besides, in the king's library (most of them 
 now in the Museum), 
 
 " Scotiae descriptio a Deidonensi quodam facto a.d. 1550, et per Petruccium 
 Ubaldinum transcripta a.d. 1576, in charta. 13. A. viii. 
 
 Petruccio Ubaldino, un libro d'essemplari. carta 14. A. i. 
 
 un libro della forma et regola dell' eleggere e coronare 
 
 gli Imperadori. carta 14. A. viii, 
 
 comentario del successo deir Armata Spagnuolo, &c. 
 
 14. A. x. 2 
 
 deir impressa fatta contro il regno d' Inghilterra da] 
 
 re Cattolico, &c. scritta da Petruccio Ubaldino cittadino Florentino, in Londra, 
 il di 15 d'Aprile 1589, 14. A. xi. 
 
 Le vite et i fatti di sei donne illustri. 14. A. xix." 3 
 
 1 This gallery and the inscriptions are still extant, at the house now the Earl 
 of Verulam's, near St. Alban's, where are several curious portraits : a large statue 
 of Henry VIII. in armour, busts of Sir Nicholas Bacon and his lady, and of Lord 
 Bacon when a boy. This mansion was built by the keeper, and much improved 
 by Sir Francis Bacon, who added Italian porticos and loggias, but artfully pre- 
 served from being too dissonant from the older parts of the building. It is a 
 sweet retirement, without ostentation, and adapted to his motto, Mediocria fit •ma. 
 It was purchased by Sir Harbottlc Grimston, and much of the old furniture the 
 purchasers and present possessors have had the good taste to preserve. 
 
 Besides the Manor-house, built by Sir Nicholas Bacon, and which was entirely 
 taken down in 1778, his son had erected a smaller mansion, within the walls of the 
 ancient Verulamium, and where he displayed much of his classical taste. Aubrey, 
 Mem. vol. ii. p. 228, who gives a minute and interesting description of it, attri- 
 butes the whole design to Lord Bacon ; and adds, that soon after it was purchased, 
 in 1666, by Sir H. Grimston, it was disposed of for the sake of the materials. The 
 new seat is the repository of a very celebrated collection of ancient English 
 portraits, made originally by the Bacons. — D. 
 
 2 "A Discourse concerning the Spanish Fleet, in 1588, overthrown by the Queenes 
 Navy, the Lord Charles Howarde, Lord High Admiral of England. Written in 
 Italian, by Petrucchio Ubaldino, citizen of Florence, and translated for A Ryther, 
 {a little from Leadenhall) next to the signe of the Towre, 27 pages, with cuts of the 
 several exploits and conflicts had with the said Fleet, graved by Ryther, 4to. 1590." 
 Herbert, Hist. Printing, vol. i. p. 1212. — D. 
 
 3 He published a book of this kind, entitled, Le Vite delle Donne illustri del 
 regno d } Inghilterra, e del regno di Scotia, e di quelle, che d' altri paesi nei due detti 
 regni sono state maritate. Thin quarto, London, printed by John Wolf, 1591. 
 To give an idea of Petruccio's talents for history, it will suffice to produce two of 
 his heroines. The first was Chembrigia, daughter of Gurguntius, son of King 
 Bellinus, who having married one Cantabro, founded a city, which, from a mixture 
 of both their names, was called Cambridge. The other illustrious lady he styles 
 expressly Donna senza nome. As the reader may be curious to know who this 
 nameless yet illustrious lady, who deserved to have her life written, was, it is the 
 mother of Ferrex and Porex in Lord Dorset's Gorbocluc, who, because one of her 
 sons killed the other, that was her favourite, killed a third son in a passion. 
 
QUEEN ELIZABETH. 
 
 171 
 
 Another Italian book, presented by Petruccio to the 
 queen, is in the Bodleian Library. 
 
 Petruccio seems to have been in favour at court ; he is 
 frequently mentioned in the rolls of new-years gifts, 
 which used to be deposited in the jewel-office, and in 
 which the names of Hilliard, Oliver, and Marc Garrard, 
 do not appear. 
 
 In the twenty-first year of Elizabeth: — To Petruccio — vl. 
 
 He returns, a book of Italian, with pictures to the life, 
 and Metamorphosis 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 vellum, of Italian. 
 
 In one of these rolls Mr. Sidney (the famous Sir Philip) 
 presents the queen, at new-year's tide, with a whip set 
 with jewels, and another time with a castle enriched with 
 diamonds. * 
 
 limner, jeweller, and goldsmith to Queen Elizabeth, and 
 afterwards to King James, was son of Eichard Hilliard, 
 of Exeter, high sheriff of that city and county, in the year 
 1560. Nicholas (I suppose a younger son), 1 was born in 
 
 1 The pedigree of Hilliard, MSS. Coll. Arm. Vis. London, 1634, seems to affirm 
 the contrary. 
 
 NICHOLAS HILLIARD, 
 
 (1547—1619,) 
 
 John Hilliard, = 
 of Cornwall. 
 
 f 
 
 Eichard Hilliard, = Laurence, daughter of John Wall, 
 of Exeter. goldsmith, of London. 
 
 r 
 
 Nicholas Hilliard, 
 Goldsmith to Q. Eliz. and K. James, 
 the painter, ob. 1619. 
 
 == Alice, daughter of John Brandon, 
 Chamberlain of London. 
 
 i 
 
 Laurence Hilliard, 
 of London, living 1634, 
 only son. 
 
 ( 
 
 1. Brandon Hilliard. 
 1634. 
 
 2. Thomas. 
 
 3. Charles. 
 
 4. Laurence, 
 a daughter. — D 
 
172 
 
 PAINTERS IN THE REIGN OF 
 
 1547, and brought up to the business of a jeweller and 
 goldsmith, to which his inclination soon added that of paint- 
 ing in miniature. The want of an able instructor directed 
 him to study the works of Holbein, as he says in a MS. I 
 shall mention : 1 " Holbein's manner of limning I have ever 
 imitated, and. hold it for the best." But though Hilliard 
 copied the neatness of his model, he was far from attaining 
 that nature and force which that great master impressed 
 on his most minute work. Hilliard arrived at no strength 
 of colouring ; his faces are pale, and void of any variety 
 of tints, the features, jewels, and ornaments expressed by 
 lines, as slender as a hair. The exact dress of the times 
 he curiously delineated ; but he seldom attempted beyond 
 a head ; yet his performances were greatly valued ; Dr. 
 Donne, in his poem on the storm in which the Earl of 
 Essex was surprised returning from the island voyage, says 
 
 w a hand or eye 
 
 By Hilliard drawn, is worth a history * 
 By a worse painter made ? 
 
 And Peacham on Limning, says, "Comparing ancient and 
 modern painters, brings the comparison to our own time 
 and country ; nor must I be ungratefully unmindful of my 
 own countrymen, who have been and are able to equal the 
 best, if occasion served, as old Hilliard, Mr. Isaac Oliver, 
 inferior to none in Christendome for the countenance in 
 small/' &c. 2 Eichard Heydock, too, of New College Oxon, 
 in his translation of Lomazzo on Painting, published in 
 1598, says, " Limnings, much used in former times in 
 church-books, as also in drawing by the life in small mo- 
 dels, of late years by some of our countrymen, as Shoote, 
 Betts, &c. but brought to the rare perfection we now see, 
 by the most ingenious, painful, and skilful master, Nicholas 
 Hilliard, and his well - profiting scholar, whose farther 
 commendations I refer to the curiositie of his works/' 
 
 1 This MS. has been alluded to (p. 84 n.) In the Catalogue of Charles the First's 
 limnings, he is styled " old Hilliard," as having painted a miniature presented by 
 his son " young Hilliard," who was a goldsmith only. Peacham likewise calls him 
 4 'old Mr. Hilliard," but Norgate, " N. Hilliard," in the MS. above mentioned. 
 If the son had been an artist of eminence, his works would have appeared in the 
 Royal Gallery. Hilliard's will is dated Dec. 24, 1618.— D. 
 
 2 See an account of him in Wood's Athene?, vol. ii. p. 296. 
 
QUEEN ELIZABETH. 
 
 173 
 
 The same author, in another place, mentioning "Mr. N. 
 Hilliard, so much admired by strangers as well as natives/' 
 adds, " To speak truth of his ingenious limnings, the per- 
 fection of painting (in them is) so extraordinary, that when 
 I devised within myself the best argument to set it forth, 
 I found none better than to persuade him to do it himself 
 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 
 assented to ; and by me promiseth a treatise of his own 
 practice that way, with all convenient speed/' This tract 
 Hilliard actually wrote, but never published. Vertue met 
 with a copy of it, which I have among his MSS. 1 
 
 Blaise Vigenere mentions Hilliard, and the neatness 
 of his pencil, very particularly : " Telle estoit aussi 
 l'ecriture et les traits dun peintre Anglois nomme 
 Oeillarde, d'autant plus a emerveiller, que eela se 
 faisoit avec un pinceau fait des poils de la queue d un 
 escureuil, qui ne resiste ni ne soutient pas comme 
 feroit une plume de corbeau, qui est tres ferme." 
 
 Hilliard's portrait, done by himself, at the age of thirteen, 
 was in the cabinet of the Earl of Oxford. He was still 
 young when he drew the Queen of Scots. Queen Elizabeth 
 sat to him often. Charles I. had three of her portraits by 
 him ; one, a side face in the clouds ; another, one of his most 
 capital performances, a whole length of her in her robes, 
 sitting on her throne. In the same collection were several 
 more of his works, particularly a view of the Spanish Ar- 
 mada, and a curious j ewel, containing the portraits of Henry 
 V1L, Henry VIII., Edward VI., and Queen Mary; on the 
 top was an enamelled representation of the battle of Bos- 
 worth, and on the reverse, the red and white roses. This 
 jewel was purchased by the king, of Hilliard s son. 2 
 
 1 An extract of it is in Brown's Ars Pictoria, p. 95, Lond. 1675 ; and some of 
 liis receipts in Sanderson' 's Graphice. 
 
 2 The tablets upon which Hilliard painted his miniatures were seldom of ivory. 
 " Hippolito Donato, a celebrated limner at Rome, used a card, or smooth piece of 
 pasteboard, which, after he had rubbed with a slickstone, he, with starch finely 
 laid on, \ pasted an abortive skin upon the same, upon which, when it was 
 thoroughly dry, smooth, pressed, and prepared, he did draw the form of the face, 
 with lines of lake." — Peacham, p. 385. The Editor possesses one, singularly 
 perfect, which proves that this method was that usually practised by him. This 
 is upon a playing card, cut into a small oval shape. — D. 
 
174 
 
 PAINTERS IN THE REIGN OF 
 
 In the essay towards an English school of painters/ it is 
 said that Mr. Fanshaw had the portraits of Hilliard 2 and 
 his father, finely executed, with inscriptions on gold letters; 
 on the former. 
 
 Nicolas Hilliardus, aurifaber, sculptor et Celebris illumi- 
 nator serenissimae reginae Elizabethae, anno 1557, aet. 
 suae 30. 
 
 On the other, 
 
 Eicardus Hilliardus, quondam vicecomes civitatis et 
 comitatus Exoniae, anno 1560, aetatis suae 58, annoque 
 Domini 1577. 3 
 
 Hilliard continued in vogue during this reign, and great 
 numbers of portraits by his hand, especially of ladies, are 
 extant. 4 He obtained still greater favour from King James 
 
 1 Printed in 1706, at the end of the translation of De Pile's Art of Painting. 
 See p. 480. 
 
 2 Vertne says he saw them afterwards in the possession of the last Sidney, Earl 
 of Leicester, and that they were then taken out of the old frames, and set in a 
 snuff-box. Mr Simon Fanshaw is in possession of two such heads, which have 
 been thought the very pictures, and are undoubtedly of Hilliard's best manner, 
 though one has no inscription, and the other only the date of the year and the 
 age. But Lord Leicester gave the snuff-box in question to Marshal Sir Robert 
 Rich, in whose possession it remains with the pictures. I have a duplicate of the 
 father.* 
 
 3 Of this fact doubts may reasonably be entertained, because so much time was 
 requisite for a degree of finishing so elaborate ; and his price was also very large. 
 Want of a careful protection, or the evanescent nature of the tints, has, at all 
 events, reduced them now to a very small number. — D. 
 
 4 Miniatures, for many obvious reasons, are much more liable to be destroyed 
 than oil-paintings, if the fading of their colours only were considered. Many of 
 Hilliard's more highly-finished works have long been attributed to I. Oliver. To 
 particularise a few, of which some are still extant, may not be tedious. 
 
 Among Charles the Firsts Limnings were thirteen by Hilliard. 
 
 1. Queen Elizabeth in her parliament robes. 
 
 2. Henry, Prince of Wales, standing with a gauntlet on one hand, in gilded 
 armour, 2^ inches by 2. 
 
 3. King James, without a hat, with a falling lace ruff. 
 
 4. The Earl of Hertford, in a black cap and feather. 
 
 5 — 13. These were dispersed before the reign of James II. in whose collection 
 one only is mentioned ; and in that made by Queen Caroline at Kensington there 
 are none by Hilliard. 
 
 AT STRAWBERRY-HILL, f 
 
 1. Robert, Earl of Essex. 2. Henry Carey, Lord Hunsdon. 3. Lady Arabella* 
 Stuart. 4. Queen Elizabeth. Her prayer-book, with the heads of herself and the 
 Duke of Anjou, was sold at the Duchess of Portland's sale. 
 
 George Clifford, Earl of Cumberland, King's Weston. 
 
 Queen Elizabeth, given to Lord Chancellor Bacon, at Gorhambury. — D. 
 
 * [It was sold at the Strawberry -hill sale, for 41. lis. 6d. — W.] 
 
 t [A miniature of Lord Hunsdon, another of Lady Arabella Stuart, and two 
 
QUEEN ELIZABETH. 
 
 175 
 
 drawing his majesty's and Prince Henry's pictures ; and 
 receiving a patent, 1 printed by Rymer, to this effect : — 
 
 "Whereas our well-beloved servant, Nicholas Hilliard, 
 gentleman, our principal drawer of small portraits, and 
 embosser of our medals in gold, in respect of his extraor- 
 dinary skill in drawing, graving, and imprinting, &c, we 
 have granted unto him our special licence for twelve years, 
 to invent, make, grave, and imprint any pictures of our 
 image or our royal family, &c. 2 and that no one do pre- 
 sume to do, without his licence obtained, &c. 
 
 This grant was of great emolument to him, as about 
 that time he engraved many small plates, and sold licences 
 for others, with the heads of the king and royal family, 
 which w^ere then and are stillused for counters. Simon Pass 
 and other engravers were employed by him in these works. 
 
 Hilliard died January 7, 1619, and was buried in St. 
 Martin's Church in the Fields, Westminster, (as appears by 
 the register,) in which parish he had a house. He made 
 his will 3 in the preceding December, leaving twenty shil- 
 lings to the poor of the parish ; to his sister Anne Avery 
 
 1 A curious specimen of the panegyrical style, so much in fashion in the reign 
 of Elizabeth, occurs in Heydoclc's Preface to Lomazzo on Painting, translated by 
 him, small fol. 1585. " I wish I had the skilful pen of Giorgio Vasari, for then 
 I doubt not, but that I should, in a short time, finde matter enough to write 
 paralels of their lives, comparing our English painters with the Italian, as Plu- 
 tarch did the Roman captaines with the Grecian. Then would Master Nicholas 
 Hilliard's hand, so much admired among strangers, strive for a comparison with 
 the milde spirit of the late world's wonder, Raphael Urbine ; for to speak truth, 
 his perfection in ingenious illuminating or limning, is so extraordinary," &c. con- 
 tinued by Walpole, p. 173. — D. 
 
 2 The last clause, (Pat. 15, Jac. I. p. 9, No. 15. De licentia Nicholao Hillyard 
 super pictura Regis) omitted above, is of an extraordinary privilege. " In respect 
 of his art and skill in drawing, engraving and imprinting of pictures and repre- 
 sentations of ourselves and others, wo do give and grant the privilege for twelve 
 years, to grave any manner of picture of our image, or other representation of our 
 person, with power to take a constable and search for any pictures, plates, or 
 works, printed, sold, or set up, contrary to the true meaning and intent of these 
 presents, at the yearlie rent of thirteen shillings and fourpence." This monopoly 
 gave Hilliard a control over all the engravers and printsellers of that time, and 
 havingdied in 1616, his son enjoyed thepatent during the remainder of its term.— D. 
 
 3 From the Registers in Doctors' Commons. 
 
 miniatures of Queen Elizabeth, were sold at the Strawberry-hill sale. That of Henry 
 Carey, Lord Hunsdon, in a gold enamelled case, from the collection of Lady 
 Germayn, was bought by the Duke of Buckingham for 20 guineas. The miniature 
 of the Lady Arabella Stuart, a remarkably hue specimen of Hilliard's art, from 
 the collection of Lord Wilmington, was sold for SI. 8s. One of the miniatures of 
 Queen Elizabeth, also from the collection of Lord Wilmington, was bought by 
 the Earl of Derby for HI. lis. ; the other was sold for 8 guineas. — W.] 
 
176 
 
 PAINTERS IN THE REIGN OF 
 
 twenty pounds of thirty 1 that were due of his pension ; 
 the remaining ten pounds to his other sister ; some goods 
 to his servant-maid ; and all the rest of his effects, plate, 
 jewels, rings, &c. to his son Lawrence Hilliard, his sole 
 executor. But the greatest obligation we have to Hilliard 
 is his having contributed to form 2 
 
 ISAAC OLIVER. 3 
 
 (1555—1617.) 
 
 Hitherto we have been obliged to owe to other coun- 
 tries the best performances 4 exhibited here in painting ; 
 
 1 He had the same salary as Holbein. 
 
 2 John Betts, whom I have mentioned as painting the portrait of Sir John 
 Godsalve, is said by Vertue to have learned of Hilliard, and is called Designer 
 in HalVs Chronicle about the year 1576, where too is mentioned one Tyrrell, a 
 carver in wood. 
 
 This notice cannot occur in HalVs Chronicle, which commences with the reign 
 of Henry IV. and concludes with that of Henry VIII. 1399 — 1547; neither are the 
 names of Bettes and Tyrrel found in the reign of Queen Elizabeth, by Holinshead 
 or Stowe. — D. 
 
 [Besides the pictures of Hilliard, already noticed, the following were sold at the 
 Strawberry-hill sale : — A miniature of Sir Francis Drake, bought by the Earl of 
 Derby for 20 guineas. A miniature of a lady in the time of Elizabeth, sold for 
 one guinea ; another sold for 14«s. — W.] 
 
 3 I must not disguise, that, although Oliver was probably born in England, he 
 was in all likelihood of French extraction. In his will he spells his name Oliver, 
 but on his drawings writes it Olivier. Vertue found mention of one 1 \ Aubin 
 Olivier natif ds Boissy, inventeur des engins de monoyes a Moulins ;" and in 
 Palmer's History of Printing p. 274, are accounts of Peter Oliver, printer, at Caen 
 in Normandy 1515, and of Jean Olivier, printer, in the same city 1521. But 
 Hondius, Sandrart, and all the writers who mention him, call him an Englishman, 
 and it is an additional confirmation of his English birth that he wrote in that 
 language a treatise on limning, partly printed in Sanderson 's Graphice. In his 
 pocket-book was a mixture of French and English. We have seen in the pre- 
 ceding life of Hilliard, that Peacham calls Oliver his countryman. 
 
 Burton, in his MSS. Collections for Leicestershire, says, " Of this family (Oliver), 
 settled at East Nortin in 1570, was Isaac Oliver, the curious limner, as I have 
 heard."— D. 
 
 4 There are assertions in the MS, Harleian, No. 6,000, in the Museum, which 
 excite a doubt, whether it were the work of Hilliard, which is above adverted to : 
 " An exact and compendious discourse concerning the arte of Miniature or Lim- 
 ning ; the names, nature, a-nd property of the colours ; the order to be preserved 
 in preparing and using them ; both by picture by the life, landscape and history. " 
 Hilliard is always spoken of distinctly, " and this was the manner of our late ex- 
 cellent N. Hilliard, in making his sattins." These directions appear to have been 
 sent to a young artist — " By this time I suppose you are fitted with tooles, but 
 want a table whereon to expresse your arte, which to the end you may be excel- 
 lent, as was written and insinuated in the epitaph of your late countryman, and 
 my dear cousin Mr. Isaac Oliver." No clue offers itself by which we may discover 
 the author of this MS. Most probably, it was compiled from his unpublished 
 notes, some years after his death. It is a practical and most useful treatise, and 
 was certainly gathered from conversations with Hilliard, as well as his MS. " This 
 
QUEEN ELIZABETH. 
 
 177 
 
 but in the branch (miniature) in which Oliver excelled. 7 
 we m&y challenge any nation to show a greater master, if 
 perhaps we except a few of the smaller works of Holbein. 
 Don Julio Clovio, 2 the celebrated limner, whose neatness 
 and taste in grotesque were exquisite, cannot be compared 
 with Isaac Oliver, because Clovio never painted portraits,' 5 
 
 secret I had from Mr. Hilliard." It is divided into three sections or parts. 1. On 
 Miniature. 2. Landscape, and 3. History. The author, whoever he was, speaks 
 of various works which he saw at Rome in the time of Pope Sesto Quinto. — D. 
 
 1 His merit was known and acknowledged on the Continent. Sanclrart, p. 311, 
 mentions " Oliveirius membranarum Pictor Londinensis," alluding to the very 
 general practice of all limners to lay their colours upon aborti ve vellum, duly pre- 
 pared. He speaks likewise with admiration of the durability of Oliver's colours, 
 " ut ut durando dimidium jam excesserint sseculum, incorruptae tamen et integer- 
 rinme perse verint, " p 312. 
 
 2 [Dom Giulio Clovio, a native of Croatia, was bom in 1498. He was at first 
 an ecclesiastic, but received the dispensation of the Pope. He studied design 
 under Giulio Romano, but afterwards, by the advice of that painter, confined his 
 practice entirely to illuminating and miniature, in which he received some instruc- 
 tion from Girolamo da' Libri, and attained an unrivalled distinction for that class 
 of painting in Italy. He commanded the patronage of sovereigns and princes, for 
 whom he chiefly painted. Vasari, his great panegyrist, places him at the head of 
 all the miniatori. Memling, however, though his works are not so minute as 
 Clovio's, may fairly dispute the palm with him in point of excellence : there is a 
 celebrated illuminated missal by this painter in the Library of St. Mark at Venice. 
 For Cardinal Farnese, Clovio illuminated "the Office of the Virgin Mary," in 
 which the figures did not exceed the size of an ant ; yet all the parts were per- 
 fectly distinct when seen through a magnifying glass. — W.] 
 
 3 Lanzi asserts that he painted portraits in miniature, for particular persons ; 
 but that it was not his usual practice. " Per pri^ati, lavoro rittratini, in gran 
 numero, (nella quai arte e dal Vasari ugualiato a Tiziano) ed anche qualche quad- 
 retto. Questi pero sono rarissimi nelle raccolte." Tom. iv. 19. Whoever has well 
 examined the works of Giulio Clovio, will perceive that he was able to represent 
 giants in miniature, as in his painting of their combat with the gods, from Ovid. 
 
 There are now in England three specimens of his matchless talent. 1. The 
 Book of Psalms* (dated 1537), which had belonged to Lord Arundel, from whom 
 it passed to the Duchess of Portland, and at her sale was purchased for 1691. and 
 is now at Strawberry-hill. 
 
 2. An illumination, on pecorella (abortive velulm) representing a cardinal, sit- 
 ting before a table with St Andrew and other tutelar saints, at Kensington. 
 
 3. Several folio sheets, (formerly part of a larger MS.) upon the same material, 
 containing Scripture history, purchased from the Continent, by the late Johu 
 Towneley, Esq. ; not inferior to any of Clovio's known works. — D. 
 
 * [The Book of Psalms mentioned, which was purchased at the sale in 1842 by the 
 Earl of Waldegrave, for 420 guineas, is thus described in Walpole's own description 
 of Strawberry-hill, printed in 1784 : — " The Book of Psalms, with twenty-one 
 inimitable illuminations, by Don Julio Clovio, scholar of Julio Romano. If any- 
 thing can excel the figures, it is the execution of the borders, which are of the 
 purest antique taste, and unrivalled for the lustre and harmony of the colours, as 
 well as for the preservation, which is allowed to be more perfect than (that of) any 
 of the few works of this "extraordinary master." It was painted, as indicated oil 
 one of the illuminations, Principi Andegavcnsi, in 1537. It was formerly in the 
 Arundelian Collection, on the dispersion of which in 1720, it was purchased by the 
 Earl of Oxford, who bequeathed it to his daughter the Duchess of Portland, at 
 whose sale Walpole bought it. — W.] 
 
 VOL. 1. N 
 
178 
 
 PAINTERS IN THE REIGN OF 
 
 and the latter little else. Petitot, whose enamels have 
 exceeding merit, perhaps owed a little of the beauty of his 
 works to the happy nature of the composition : we our- 
 selves have nobody to put in competition with Oliver, 
 except it be our own Cooper, who, though living in an age 
 of freer pencil, and under the auspices of Vandyck, scarce 
 compensated by the boldness of his expression for the 
 truth of nature and delicate fidelity of the older master. 
 Oliver's son, Peter, alone. approached to the perfection of 
 his father. 
 
 Of the family of Isaac Oliver I find no certain account ; 
 nor is it of any importance ; he was a genius : and they 
 transmit more honour by blood than they can receive. 
 After studying under Hilliard, he had some instructions 
 from Zucchero. Vertue even thought, from the variety of 
 his drawings after the great masters, 1 especially Parme- 
 giano, that he had been in Italy. For whatever else re- 
 lates to him let his works speak. 
 
 Dr. Meade possessed some of the most capital : as 
 Oliver s own portrait, extremely small ; the head of the 
 Queen of Scots, 2 an admirable piece, though very doubt- 
 ful whether of her ; Queen Elizabeth, profile ; Henry, 
 Prince of Wales f Ben Jonson ; 4 and the whole length of 
 Sir Philip Sidney, sitting under a tree. All these were 
 purchased by the late Prince of Wales. I have another 
 portrait of Oliver himself, larger than that of Dr. Meade's, 
 and without a hat, bought at Mr. Barret's sale. This 
 picture alone would justify all I have said of him. The 
 art of the master and the imitation of nature are so great 
 in it, that the largest magnifying glass only calls out 
 new beauties. 5 But the first, at least the best preserved 
 
 1 Vertue does not tell , us where these drawings of I. Oliver after the Italian 
 masters were preserved: if he means limnings, none of them after Parmegiano 
 were in Charles the First's cabinet. There were seven oil paintings by Parmegiano 
 (called erroneously Parmentius) some of which appear subsequently in King- 
 James the Second's Catalogue. — D. 
 
 2 Zink made an exceedingly fine copy of this in enamel, purchased by his Eoyal 
 Highness the Duke of Cumberland. It is engraved in Jebb's collections. 
 
 3 There are one or two others of this prince by the same hand. 
 
 4 It is engraved among the Illustrious Heads, but is very unlike the old pictures 
 and prints of that poet. 
 
 5 Col. Sothby has another larger, and containing only the head, but bold, an 1 
 admirably painted. 
 
QUEEN ELIZABETH, 
 
 179 
 
 of all his works, is in my possession ; it is the head of 
 Lady Lucy Percy, mother of Venetia, Lady Digby ; she is 
 in black, with a large hat of the same colour, and a very 
 large ruff ; the whole painted on a lilac ground. This was 
 purchased, with many exquisite pieces, by his son Peter, 
 under whose article I shall mention them. 
 
 At the Lord Montacute's at Coudray 1 is another in- 
 valuable work of Isaac. It represents three brothers of 
 that lord's family, whole lengths, in black : their ages, 
 twenty-one, twenty-four, and eighteen, with the painter's 
 mark — <E>. These young gentlemen resembled each other 
 remarkably, a peculiarity observable in the picture, the 
 motto on which is Figurae conformis affectus, 1598 ; 2 
 another person is coming into the room, aged twenty-one. 
 The picture is ten inches by seven. 
 
 His painting of James I. served Rubens and Vandyck, 
 when they had occasion to draw that prince after his 
 decease. 
 
 In an office-book of the Lord Harrington, treasurer of 
 the chambers, in the possession of the late Dr. Eawlinson, 
 was an entry of payment to Isaac Oliver, picture- drawer, 
 by a warrant dated at Lincoln, April 4, 1617, for four 
 several pictures drawn for the prince's highness, as ap- 
 peareth by a bill thereunto annexed, 40Z. 
 
 In King Charles's Catalogue 8 are accounts of several of 
 his works : King James II. had still more ; the Earl of 
 
 1 This invaluable picture was fortunately preserved from the effects of the con- 
 flagration in 1793, and is now (1826) in the cabinet of the Hon. Mrs. Poyntz, at 
 Coudray. It represents three brothers, 1. Anthony, 2. John, 3. William, sons of 
 Anthony Browne, the second Viscount Montacute, whole length, in black, their 
 ages twenty -four, twenty-one, and eighteen, with the painter's mark — <p. Motto — 
 Figurae conformis affectus, 1598. — D. 
 
 2 Vertue met with a print, from whence he supposed Oliver borrowed his 
 design. It was inscribed, Colignaei Fratres, Odetus, Gaspar, Franciscus. 
 
 3 As it is possible that some readers, who are more interested in the earlier 
 history of miniature painting in England, may consider Walpole's notices of Isaac 
 Oliver's works as too concise ; and as the Catalogues published by Bathoe (a print- 
 seller) under his inspection and patronage, are become scarce, the Editor offers a 
 more minute and copious description of them, as extracted from the above- 
 mentioned sources of information : — 
 
 hi the Royal Collection. 
 1. Entombing of Christ, above mentioned, 11 J inches by 1 foot 3|. In the MS. 
 before cited —"But that which is insiar omnium, (comparing Oliver's works with 
 those of G. Clovio) is the Buriall of Jesus Christ, done upon a large table of hue 
 abortive vellum (half a yard long but not so wide), pasted upon a smooth and well 
 
 N 2 
 
180 
 
 PAINTERS IN THE REIGN OF 
 
 Arundel many. He drew a whole length of Kobert, Earl 
 of Essex, in white, and heads of him several times, and 
 
 seasoned board. It is now in the hands of my very worthie cossen, Mr. Peter 
 Oliver, by whose incomparable father, Mr. Isaac Oliver, it was begun and almost 
 finished. It was a piece of the greatest beauty and perfection, so neare as it was 
 finished, that I thinke Europe, nor the world can produce ; and I believe if Carlo 
 Van Mander, in his Dutch history of the famous painters had seen this picture, 
 or the inventor, his booke of a quarto would have grown into a tome with the 
 description." 
 
 2. Henry, Prince of Wales, the larger 5^ by 4 ; another in a white turned ivory 
 box. 
 
 3. Robert, Earl of Essex, above mentioned, 8 J inches by 5. 
 
 4. Anne, Queen of James L 8. Another portrait of her. 
 
 5. Henry, Prince of Wales. 9. The Lady Shirley. 
 
 6. Charles L when Duke of York. 10. The same, in a Persian dress. 
 
 7. PrincessElizabethbeforehermarriage.il. A young man, St. Sebastian. 
 
 12. Death, with a laurel round his head, apprehending Pilate ; intended as a 
 satire on some ecclesiastical prince. From Holbein. 
 
 In King James the Second's Collection, Isaac Oliver and Laniere, in one piece. 
 
 Several were disposed of at the sale of the Duchess of Richmond {London 
 Gazette, 1702), which she had received as presents from King Charles II., to which 
 circumstance Walpole alludes. 
 
 STRAWBERRY-HILL. 
 
 1. Isaac Oliver, by himself. 2. A young bride. 3. A lady behind a red 
 curtain, both of the family of Digby, but not known. 4. Lady Lucy Percy, 
 daughter of T. Earl of Northumberland, and wife of Sir Edward Stanley, younger 
 son of the Earl of Derby, mother of Venetia, Lady Digby. 5. Lady Arabella 
 Stuart, when a child. 6. Sir Philip Sydney sitting under a tree, large size, with a 
 caparisoned horse held by a servant, purchased at Mr West's sale for 161. 5s. ; 
 where, likewise, was Lord Burleigh, in water colours."* 
 
 At Penshurst are several portraits which have suffered greatly from the effects 
 both of time and climate, and are in an evanescent state. 
 
 Earl Powys has Edward, Lord Herbert of Cherbury. He is lying down reclined 
 on one arm, which supports his head, and with a shield on the other ; in the 
 background are men and horses caparisoned for the tilt. Large size. 
 
 At King's Weston, Lord de Clifford's, and the Marquis of Hastings, at Donning- 
 ton, are miniatures undoubtedly by I. Oliver, particularly a very fine one of Anne 
 Clifford, Countess of Cumberland, at the first-mentioned seat. 
 
 In the chivalrous age of Elizabeth, when emblems and mottoes, either allusive 
 or explanatory, were so frequently invented and so much admired, it was not 
 unusual to introduce upon the ground of the miniature, above the portrait, in the 
 Italian writing character, with letters of gold most delicately pencilled, a few 
 words expressive of some complimentary sentiment. The Editor remembers to have 
 seen two (probably of lovers) which bore these very elegant inscriptions. On the 
 young man's -Non poco da chi si medesimo dona ; and on that of the young lady — 
 A colui chi si stesso rassomiglia, e non altrui. These were interchanged between 
 them, and preserved in beautifully-turned boxes, one of ebony, and the other of 
 ivory. The tradition is, that they represent ancestors of the Harrington family. 
 Miniatures so enclosed were sometimes worn as ornaments of dress. In the King's 
 Collection was a miniature of Queen Elizabeth, by Hilliard, (above-mentioned,) 
 with a black dress, richly wrought with gold and pearls, * ' and a picture-box 
 hanging at her right breast the upper lid was commonly very richly carved as 
 a rose. — D. 
 
 * [For particulars of the sale of these pictures at the dispersion of the collections 
 at Strawberry-hill, see p. 222.— W.] 
 
QUEEN ELIZABETH. 
 
 181 
 
 of many others of the nobility * but his works are much 
 scarcer than those of his master Hilliard. 
 
 Colonel Sothby has a fine Magdalen by him, and the 
 Duchess of Portland a head of Christ, that was Dr. Mead's. 
 
 Of his drawings several are extant, particularly a capital 
 one in Queen Caroline's closet at Kensington ; the subject, 
 the placing of Christ in the sepulchre, consisting of twenty- 
 six figures. 1 This piece, which Isaac had not completed, 
 was finished by his son, and is dated 1616. Another, 
 a large drawing, the Murder of the Innocents, on blue 
 paper heightened, after Eaphael. Vertue saw r a print of 
 the history of St. Lawrence, touched and heightened by 
 Oliver with great skill. Sir John Evelyn, in 1734, showed 
 to the Society of Antiquaries 2 a drawing by Oliver from a 
 picture of Eaphael in the Escurial, of the Virgin, Child, and 
 St. John ; it was copied by Isaac in 1631, while the original 
 was in the collection of Charles I. 
 
 He did not always confine himself to water-colours. 
 There are instances 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 Baptist, on board ; and the 
 Holy Family. 3 Vertue commends these much ; as I never 
 saw them, I can give no other account of his success in this 
 way, than that the works I have seen in oil by him are but 
 indifferent. 
 
 Isaac Oliver died at his house in the Blackfriars, 
 
 1 Mr. Hollis has a fine drawing of the same inscribed Isa. Ollivier, which he 
 bought at Vertue' s sale. It has been retouched in several places. 
 
 2 V. Minutes of the Society, vol. i. p. 206. 
 
 3 Four heads on board in oil, by Oliver, are at Lord Guildford's at Wroxton. 
 These Vertue owns have a little of the stiffness of miniature, though at the same 
 time very neat. Lord Oxford had the famous seaman, T. Cavendish, and Sir Philip 
 Sidney, by Oliver, in oil ; the last is now Lord Chesterfield's : the former is at 
 Welbeck. In a sale of pictures brought from Ireland w T as a large oval head of 
 Lucy Harrington, Countess of Bedford, and the Marriage at Canaan [Cana], by 
 Isaac Oliver, and, I conclude, in oil. 
 
 In the Bodleian Gallery, at Oxford, is a portrait of Sir Thomas Overbury, in oil, 
 nearly the size of life, painted in an oval shape, and upon a bright blue ground. 
 It has so much the air of an enlarged miniature, that it may be, conjee turally, 
 added to those at Wroxton. A small oil portrait of a young lady in the dress of 
 the early part of James the First's time painted upon an oval plate of silver, 
 4 inches by 3^, after having been preserved in a cabinet, for nearly two centuries, 
 has descended to the Editor. It has the beauty and delicate touch, so admirable 
 in his limnings. — D. 
 
182 
 
 PAINTERS IN THE REIGN OF 
 
 London, in 1617, aged sixty-one or sixty- two. He was 
 buried in St. Anne's Church in that parish, where his son 
 erected a monument to his memory, with his bust in 
 marble. 1 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 lease of his 
 house in Blackfriars ; excepting only to his eldest son 
 Peter, all his drawings, limnings, historical or otherwise, 
 finished or unfinished, of his own handy- works : or in case 
 of Peter s death, to any of his other sons that should follow 
 his profession. All the other two parts of his effects to be 
 sold, and equally divided between his sons and daughter. 
 His other paintings or collections to be sold, allowing his 
 son Peter to purchase whatever he pleased thereof at five 
 shillings per pound less than the true or genuine value of 
 them. His wife he left sole executrix ; his son Peter and 
 two other gentlemen trustees. 
 
 Hondius, in his collection of artists of that age, has 
 given the portrait of Oliver with these lines, which are poor 
 enough — 
 
 " Ad vivum laetos qui pingis imagine vultus, 
 Oliviere, oculos mirifice hi capiunt. 
 Corpora quae formas justo haec expressa colore, 
 Multum est, cum rebus convenit ipse color." 
 
 Vertue found another in a MS. treatise on limning, 2 the 
 author unknown, but the epitaph w T hich follows was in- 
 scribed, " On my dear cousin, Mr. Isaac Oliver." 
 
 " Qui vultus hominum, vagasque formas 
 Brevi describere doctus in tabella, 
 Qui mundum minimum typo minore 
 Solers cudere mortuasque chartas 
 Felici vegetare novit arte, 
 
 1 The monument and bust were destroyed in the great fire in 1666, but a model 
 of the latter is probably extant, Vertue having seen it. 
 
 2 " Mr. Hilliard and his rare disciple Mr. Isaac Oliver." 
 
 "As histories in limning were strangers in England, the king (Charles) com- 
 manded the copying of some of his owne pieces of Titian, to be translated into 
 English limning, which indeed were admirably performed by his servant Mr. Peter 
 Oliver. The history of the Entombing of Christ begun by Isaac Oliver, but by 
 the royal command, finished by his sonne, of which for the rare art, invention, 
 colouring and neatness, may be said as Vasari speaks of Giulio Clovio, ' ondc 
 possiam dire che habbia superato gli antichi e moderni ; e che sia stato a i tempi 
 nostri, tin nuovo Michel Agnolo/ A madonna of Mr. Isaac Oliver's limning, cost 
 him two yeares, as himselfe told mee." — MS. Norgate, Bodl. Lib. — D. 
 
QUEEN ELIZABETH. 
 
 183 
 
 Isaacus jacet hie Olivarius, 
 Cujus vivifica manu para turn est, 
 Ut nihil prope debeant Britanni 
 Urbino, Titianoque, Angeloque." 
 
 Besides these principal, there were several other artists 
 in this reign, of whom there are only slight memorials. 
 I shall throw them together as I find them, without 
 observing any particular method. 1 
 
 At the Duke of Bedford's at Woburn, is a portrait of 
 Elizabeth Bruges, daughter of the Lord Chandois, with this 
 inscription — Hieronymus Custodio, Antwerpiensis fecit, 
 1589. The colouring is flat and chalky. 
 
 On the picture of the murder of the Lord Darnley at 
 Kensington 2 is the name of the painter, but so indistinct 
 that Vertue, who engraved it, could not be sure whether it 
 was Levinus Vogelarius or Venetianus. As it is as little 
 certain whether the picture was painted in England, 
 Scotland or abroad, no great stress can be laid on this 
 painter, as one of Queen Elizabeth's artists. Vertue 
 
 1 Vertue had seen on a large skin of vellum a plan of the town and boundaries 
 of Dunwich, in Suffolk, with its churches, adjacent villages,. &c. and several remarks, 
 made by Radulphus Aggas* in March, 1589. Whether this person was a professed 
 painter does not appear ; but from him was probably descended Robert Aggas, 
 commonly called Augus, " Avho," says Graham in his English School, p. 398, "was 
 a good landscape-painter, both in oil and in distemper, and was skillfull in 
 architecture, which he painted many scenes for the playhouse in Coveut-garden." 
 Few of his works are extant ; the best is a landscape presented by him to the 
 company of Painter-stainers, and still preserved in their hall, with other works of 
 professors, whose dates I cannot assign. Robert Aggas died in London in 1679, 
 aged about sixty ; but I know not what the author I quote means by a playhouse 
 in Covent-garden before the year 1679 — 1 suppose it should be the theatre in 
 Dorset-gardens. 
 
 2 [The collections at Kensington were, as already mentioned, with few excep- 
 tions, removed in the reign of William IV. to Hampton-court. — W.] 
 
 * Ralph Aggas was a surveyor, maker of maps and engraver, whose works arc, 
 known, 1. Celeberrimse Oxon. Academiae elegans simul et accurata descriptio, 
 Radulpho Aggas autore 1578. It gives a sort of bird's-eye view of the University, 
 with the several colleges in the margin. 2. Cambridge upon the same plan. 
 3. The City of London. See British Topog. vol. i. p. 209, 1774. Herbert (Hist, 
 of Printing, p. 1166) gives a very curious title of one of his professional 
 publications : 4 * A preparative to platting of landes and tenements for surveigh — 
 patched up as plainly together as boldly offered to the curteous and regarde of all 
 worthie gentlemen, lovers of skill — and published instead of his flying papers, 
 which cannot abide the pasting to poastes. London, printed by him, 1596." Ho 
 is subsequently mentioned in the Catalogue of Engravers. Another of this ingenious 
 family, and probably the brother of the former, was Edward Aggas. He translate* ( 
 and published several books from the French, which he dedicated to his patron, 
 G. Clifford, Earl of Cumberland, 1586.- -Herbert, p. 1167. — D, 
 
184 
 
 PAINTERS IN THE PJEIGN OF 
 
 thought he might be the same person with Levino, nephew 
 of Pordenone, of whose hand King Charles had a picture. 
 
 At the same time resided here one Le Moyne, called 1 
 Le Morgues, who is mentioned by Hackluy t, in his transla- 
 tion of Laudonnieres Voyage to Florida, vol. iii. p. 300. 
 " Divers things ofchiefest importance at Florida drawn in 
 colours at the charge of Sir Walter Raleigh, by that skillful 
 painter James Morgues, some time living in theBlackfryars, 
 London, he whom Monsieur Chatillon, then admiral of 
 France, sent thither with Laudonniere for that purpose." 2 
 
 We have seen in the life of Hilliard, that Shoote and 
 Betts are mentioned as painters in miniature. The former, 
 I suppose, was John Shute, who styles himself, " paynter 
 and architecte " in a book written and published by him 
 in folio, in 1563, called The first and chief groundes of 
 Architecture, used in all the auncient and famous mony- 
 mentSy ivitha farther and more ample Discourse upon the 
 same, than hitherto hath been set out by any other. The 
 cuts and figures in the book are in a better style than ordi- 
 nary, the author, as he tells the queen in the dedication, 
 having been sent into Italy in 1550, by the Duke of 
 Northumberland, (in whose service he had been,) and who 
 maintained him there in his studies under the best archi- 
 tects. This person published another work, entitled, Two 
 
 1 Indorum Floridam provinciam habitantium Icones prinmm ibidem ad vivum 
 expressae a Jacopo Le Moyne cui nomen De Morgues, 1591. 
 
 1 A work of singular curiosity has lately been brought to England, which in- 
 troduces an artist hitherto unknown, as having practised here. It is a very large 
 collection of Topographical Drawings, by Antonius Van Den Wynegaarde, chiefly 
 in England, but others at Rome, in Spain, and the Netherlands. It contains 
 views and perspectives of London, as taken from the top of old Suffolk-house, in 
 Southwark (since called the Mint), and included the old bridge, and the whole 
 north-western bank of the river Thames, from the Tower to Westminster-abbey, 
 with all the conspicuous palaces and buildings. There are likewise separate views, 
 in detail, of the royal palaces of Westminster, St. James's, Plaisanceat Greenwich, 
 Richmond, Hampton-court and Oatlands. These are given in elevations and 
 parts, with many delineations of each. The artist has affixed his name with 
 dates, " Antonius van den Wynegaarde ad vivum fecit, 1558." A conjecture 
 may be fairly allowed that he was a Fleming, attached to the court of Philip II. 
 when in England, and was so employed during that time, and that he attended that 
 monarch into his different dominions. The drawings, which are very well and 
 accurately sketched with a pen, and heightened with a slight tint of red and blue, 
 are of the largest imperial folio size, about eighteen inches high, and some of them 
 are so long as to require a double folding. They are now (1826) in the possession 
 of Messrs. Harding, Triphook, and Lepard, booksellers, by whom proposals have 
 been published for facsimiles, on a reduced scale. — D. 
 
QUEEN ELIZABETH. 
 
 185 
 
 notable Commentaries, the one, of the original of the Turks, 
 &c, the other of the Warres of the Turke against George 
 Scanclerbeg, &c. ; translated out of Italian into English. 
 Printed by Kowland Hall, 1562. 1 Of Bettes, there were 
 two of the name, Thomas and John, who, with several other 
 painters of that time, are mentioned by Meres in his second 
 part of Wit's Commonwealth, published in 159 8, at London. 
 "As learned Greece had these excellent artists renowned 
 for their learning, so England has these, Hilliard, Isaac 
 Oliver and John cle Cretz, very famous for their painting. 
 So as Greece had moreover their painters, so in England 
 we have also these, William and Francis Segar brethren, 
 Thomas and John Bettes, Lockie, Lyne, Peake, Peter Cole, 
 Arnolde, Marcus (Garrard) Jacques de Bruy, Cornelius, 
 Peter Golchi, Hieronimo (de Bye) and Peter Vandevelde. 
 As Lysippus, Praxiteles and Pyrgoteles were excellent 
 engravers, so have we these engravers Rogers, Christopher 
 Switzer and Cure." 2 I* quote this passage to prove to 
 those who learn one or two names by rote, that every old 
 picture they see is not by Holbein, nor every miniature by 
 Hilliard or Oliver. 8 By Nicholas Lockie, mentioned in this 
 quotation, there are several portraits ; Dr. Eawlinson had 
 one of Dr. John King, Bishop of London, from which 
 Simon Pass engraved a plate. Stowe mentions one Master 
 Stickles, an excellent architect of that time, who, in 1596, 
 built for a trial a pinnace that might be taken to pieces. 
 Chron. p. 769. 
 
 In the list of new-year's gifts to Queen Elizabeth, Bar- 
 tholomew Campaine presents one piece of cloth of silver 
 
 1 Ames's History of Printing, p. 217. 
 
 2 William Cure, afterwards master-mason to King James I., made the monument 
 of Sir Eoger Ashton, at Cranford, Middlesex, with seven figures kneeling, for 180£. 
 in 1611, Lysons's Middlesex. — D. 
 
 3 This caution, as given by Walpole, is equally reasonable and just. How 
 many a well painted portrait, by the reverse of fortune, has been divorced from 
 the ancient oak wainscot in the manor house, where it had hung for centuries ; 
 and after the name, both of the person represented, and the painter, had been long 
 lost, found an entirely new one, for both characters, among the crowd in the 
 repository of the picture-dealer and auctioneer ! In fact, there are several com- 
 petent, if not excellent painters of portrait, who were valued only, in their own 
 time, for the faculty and success of imitating those of greater fame, whilst their 
 own names were sunk in obscurity, as in the instance of Nicholas Lockie and 
 Kichard Steevens. — D. 
 
186 
 
 PAINTERS IN THE REIGN OF 
 
 stained with the half-figure of Henry VIII. This might 
 be the same person with one Campion, an engraver or 
 chaser of plate, whose name is preserved in an old inventory 
 of the goods, chattels, jewels, &c. of the Earl of Sussex, 
 taken at his death in 1583. There appeared the names of 
 the following artists ; amongst the gilt and silver plate, one 
 great pair of gilt vases richly wrought by Derick ; others 
 made by Campion. Pots engraved and made by Martin, 
 many other vessels by Derick, and others by Metcalfe. 
 
 The contract for the tomb of this great peer, Thomas 
 Eadcliffe, Earl of Sussex, Lord Chamberlain to the Queen, 
 and signal antagonist of Leicester, is still extant. 1 He 
 bequeathed 1,500?. to be expended on it ; and his executors, 
 Sir Christopher Wray, Lord Chief Justice of her Majesty's 
 Bench, Sir Gilbert Gerard, Master of the Eolls, Sir Thomas 
 Mildmay and others, agreed with Richard Stevens, for the 
 making and setting it up in Boreham Church in Suffolk, 
 where it still remains. The whole charge paid to Stevens 
 for his part of the work was 292Z. 125. 8d. In a list of 
 debts to be paid after the earl's death by his executors, 
 one was to Horatio Palavicini ; 2 probably for a set of 
 
 1 This contract and inventory, Vertue saw among the MSS. of Peter LeneveNorroy, 
 a great antiquary. I do not doubt but considerable discoveries might be made of 
 our old artists, particularly architects, from papers and evidences in ancient families. 
 
 2 Sir Horatio Palavicini, was collector of the pope's taxes in England in the 
 reign of Queen Mary, on whose death, and the change of religion that ensued, he 
 took the liberty of keeping the money himself, and settling in England ; he built 
 a house in the Italian style, with a loggia to the second story, with his arms over 
 the portal, at Little Shelford ; which was pulled down in 1750. He was also 
 possessor of the estate and house at Baberham near Cambridge, where, in the hall, 
 on a costly chimney-piece, adorned with the history of Mutius Scsevola, his arms still 
 remain. His family were buried at Baberham, as appears by several entries in the 
 parish register, where also 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 Ushington, a great antiquary and herald, was this epitaph, corrobora- 
 tive of the tradition above-mentioned : — 
 
 " Here lies Horatio Palavazene, 
 Who robb'd the pope, to lend the queene. 
 He was a theif : a theif ! thou lyest ; 
 For whie ? he robb'd but Antichrist. 
 Him Death with besome swept from Babram 
 Into the bosome of oulde Abraham : 
 But then came Hercules with his club, 
 And struck him down to Belzebub. " 
 
 * An account of the family of Palavicini and their connection with that of 
 Cromwell, is given in Noble's Mem. of the Cromwells, vol. ii. p. 178. — D. 
 
QUEEN ELIZABETH. 
 
 1*7 
 
 hangings mentioned in the inventory; and 61. 16s. Od. 
 to Eandolph the painter. 
 
 Eichard Stevens, 1 above mentioned, was a Dutchman, 
 and no common artist. He was a statuary, painter, and 
 medallist. The figures on Lord Sussex's tomb were his 
 work, and in a good style. In the family of Lumley are 
 some portraits painted by him, 2 and among other accounts 
 some of his receipts, as there are too in the possession of 
 the Duke of Devonshire ; which makes it highly probable 
 that the curious portraits at Hardwicke,of Queen Elizabeth, 
 in a gown embroidered with sea-monsters, the Queen of 
 Scots, both at whole length, and others, were painted by 
 this Eichard Stevens. But his best performances seem to 
 have been his medals, which are bold and in good taste. 
 Mr. Bryan Fairfax had one with a lady's head in the dress 
 of the times, and this legend : — 
 
 Anna Poines, uxor Thomae Heneage ; under the bust, 
 1562. Ste. H. F. that is, Stevens, Hollandus, fecit. 
 
 Dr. Meade had two more : one of William Parr, Marquis 
 of Northampton ; the other, of Eobert Dudley, Earl of 
 Leicester, engraved in Evelyn's Discourse on English 
 
 In Peck's Desiderata Curiosa, vol. ii. p. 52, lib. 7, it is said that when the Lord 
 Arundel, * was imprisoned by Queen Elizabeth for accepting the title of Count of 
 the Empire, he referred his case to Sir Horatio and others, adding these words in 
 his letter to one of the principal lords of the court : "Neither doe 1 thinke England 
 to be so unfurnished of experienced men, but that either Sir Horatio Palavicini, 
 Sir Robert Sydney, Mr. Dyer, or some other, can witness a truth therein." But 
 Palavicini had higher merit, as appears by an incontestable record ; he was one of 
 the commanders against the Spanish Armada in 1588, and his portrait is preserved 
 amongst those heroes in the borders of the tapestry in the House of Lords, engraved 
 by Pine. 
 
 1 The more eminent artistes of the sixteenth century practised the arts univer- 
 sally, and equally excelled in painting, sculpture, and architecture. Richard 
 Steevens deserves to be enumerated among them. The Earl of Sussex had be- 
 queathed 1,500?. for his sumptuous funeral and monument, but Steevens was paid 
 for the figures only. It is probable, that he was extensively employed, and that 
 monuments, which partook alike of the three arts, of vast size and magnificence (of 
 which Westminster Abbey is the chief repository), composed of alabaster and 
 various marbles, were finished, or contracted for, by Steevens. Another subject 
 of his art, were the magnificent chimney pieces, similar to the sepulchral monuments, 
 both in composition, dimensions, and ornament, of which grand specimens remain 
 at Hatfield, Burleigh, Kenilworth, Audley End, and other palaces of that age. — D. 
 
 2 Particularly John, Lord Lumley, 1590. When Jervase saw this picture (on 
 which the name of Stephens appears) it was so well coloured, and so like the 
 manner of Holbein, that he concluded many pictures ascribed to that master are 
 the works of Stephens. 
 
 * Sir Thomas Arundell, created a Count of the Sacred Roman Empire, by the Em- 
 peror Rodolph II. in 1595 ; and Baron Arundell of Wardour, in 1607, 5 Jac. I. — D. 
 
188 
 
 PAINTERS IN THE REIGN OF 
 
 Medals. The author says, that when Leicester quitted 
 Holland, he caused several medals to be engraved, which 
 he gave to his friends there. The medal in question is 
 remarkable for the impertinence of the reverse : sheep 
 grazing, and a dog turning from them ; under his feet, 
 Xnvitus desero — round, Non gregem sed ingratos. Vertue 
 mentions others by the same workman, of the Earl of 
 Pembroke and Sir Thomas Bodley. 
 
 Eobert Adams, Purveyor of the queen's buildings, seems 
 to have been a man of abilities. I cannot specify 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 same date, is a small parch- 
 ment roll, drawn with the pen, and entitled Thamesis 
 Descriptio: showing by lines crossing the river how far and 
 from whence cannon-balls may obstruct the passage of 
 any ship upon an invasion, from Tilbury to London, with 
 proper distances marked for placing the guns. Adams 
 was buried in an aisle on the north side of the church of 
 Greenwich, with this inscription : Egregio viro, Eoberto 
 Adams, operum regiorum supervisori, architecturae peri- 
 tissimo, ob. 1595. Simon Basil, operationum regiarum 
 contrarotulator, hoc posuit monumentum, 1601. 
 
 Valerio Belli, called Valerio Vicentino, was a celebrated 
 engraver of precious stones ; Felibien says, 2 if his designs 
 were equal to his execution, he might be compared with 
 the ancients. He engraved caskets and vases of rock 
 crystal for Pope Clement VII. and performed an infinite 
 number of other works. He certainly was in England in 
 this reign, and carved many portraits in cameo. 3 Dr. 
 Meade had a fine bust of Queen Elizabeth on onyx, 4 
 alto-relievo in profile, and very large, by the hand of 
 this master. I have a jewel by him, containing the head 
 of Lord Treasurer Burleigh, affixed to the back of an 
 antique intaglio of Caracalla, and appendant to it, a 
 
 1 Robert Adams translated Ubaldini's account of the defeat of the Spanish 
 Armada, from the Italian into Latin, 4to. 1589, with eleven maps. — Herbert 
 p. 1697. -D. 2 Vol. i. p. 121. 
 
 3 Several very small bas-reliefs of histories, by this artist, cast in copper, are 
 preserved in a frame in the British Museum. — D. 
 
 4 Lord Charlemont bought it at Dr. Meade's sale. 
 
QUEEN ELIZABETH. 
 
 18.0 
 
 smaller head of the Queen, both in cameo on onyx. 
 The Duke of Devonshire has several of his works r 1 two 
 profiles in cameo of Queen Elizabeth : another gem with 
 the head of Edward VI., cameo on one side, and intaglio 
 on the other ; and two pieces of crystal, with intaglios 
 of several figures from the antique. To these two last is 
 the sculptors name. 
 
 The Duchess of Leeds has a singular curiosity by this 
 hand ; 2 it is a pebble, in the shape of an oblong button ; 
 the upper side, brown, and very convex ; the under, red 
 and white, and somewhat concave. On the top is a 
 profile of Queen Elizabeth, encircled with foliage ; at 
 bottom, a knight, completely armed, in the act of tilting: 
 on the background the front of a castle with columns ; 
 on the bases of which are the syllables, Es — sex ; inti- 
 mating the earl to be her majesty's knight. In the 
 Museum Trevisanum is a medallion of him in marble, 
 another smaller in copper ; on the back of it Valerio 
 Belli Vicentino ; and a third of his son, dated 1572. 
 
 Among the HarleianMSS. is a list of jewels belonging 
 to Queen Elizabeth. Item, a flower of gold garnished 
 with sparkes of diamonds, rubyes and ophals, with an 
 agath of her Majestie's visnomy and a perle pendante 
 with devises painted on it given by eight maskers in the 
 Christmas week anno regni 24. The agate was, perhaps, 
 the work of Vicentino. 
 
 It is certain, though the queen's economy or want of 
 taste restrained her from affording great encouragement 
 to genius, that the riches and flourishing situation of the 
 country offered sufficient invitations to the arts. Arch- 
 bishop Parker retained in his service 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 probably his painter too. Prefixed 
 
 1 The Earl of Exeter has also one or two. 
 
 2 From the collection of the Countess of Holderness. Thomas Sackville, Earl 
 of Dorset, the Lord Treasurer, by his will, dated Aug. 11, 1607, bequeaths ' 'the 
 sole use of one picture of our late famous Queen Elizabeth, being cut out of an 
 agate, with excellent similitude, oval fashion, and set in gold, with 26 rubyes about 
 the circle of it, and one orient pearle pendant to the same, to remaine as an heir- 
 loome to the house and family of the Sackvilles." — Collins's Peerage. — D. 
 
190 
 
 PAINTERS IN THE REIGN OF 
 
 to the archbishop's Life, printed at Lambeth, is a cut of 
 his grace, inscribed, E. Berg f. Above twenty books 
 were published by the archbishop from his own printing- 
 house : l two only have this head. At Euckolt, in the 
 parish of Lowlayton in Essex (the mansion of the Hicks) 
 was a large genealogy of the kings of England from the 
 conquest to Queen Elizabeth, with all the line of France 
 and England under these two titles — Linea Valesiorum 
 et Linea Angliae ; at bottom the workman's name, 
 Eemigius Hogenbergius, servus D. Matt, archiep. Cant, 
 sculpsit 1574. 2 
 
 There was another such genealogic chart, entitled, Keg- 
 num Britanniae tandem plene in Iieptarchiam redactum a 
 Saxon ibus, expulsis Britannis, &c. Ao. 686, executed in 
 wood very plain and well ; the name, Eichardus Lyne, 
 servus D. Matth. archiep. Cant, sculpsit 1574. 
 
 One Lyly too is mentioned as curious in copying the 
 hands of ancient deeds, who was employed by the same 
 patron. 
 
 D. John Twisden, a divine of that age, was himself a 
 performer in painting. He died at the age of eighty-five 
 in 1588. Vertue was showed a small portrait of him, 
 neatly done by himself in oil on copper, about forty yeans 
 before his death. 
 
 But there was one gentleman in this reign, who really 
 attained the perfection of a master, Sir Nathaniel Bacon, 8 
 
 1 These artists are farther particularised by Walpole, in his Catalogue of 
 Engravers. — I). 
 
 2 Ames's Typograph. Antiqu. p. 540. 
 
 3 He married the daughter of the famous Sir Thomas Gresham, by whom he 
 was ancestor of the present Lord Townshend. — See Collins' s English Baronets, 
 vol. i. p. 4. 
 
 The monument erected by Sir Nathaniel Bacon in Culford Church, during his 
 lifetime, was probably after his own design. The introduction of the pallet and 
 pencils affords a satisfactory proof that he valued himself upon his love of and pro- 
 ficiency in the art. In a MS. by Edward Norgate, to the account of whom, in this 
 work, notes will be added, Sir Nathaniel Bacon is mentioned with much interest. 
 Speaking of "pinke which is a colour, soe usefull and hard to get good, as gave 
 occasion to my late deare friend Sir N. Bacon, K. B. (a gentleman whose rare parts 
 and generous disposition, whose excellent learning and great skill in this and good 
 arts, deserves a never dyinge memory} to make or fmde a pinke, so very good, as 
 my cousinell P. Oliver, (without disparagement to any the most excellent in this 
 art) making proofe of some that 1 gave him, did highly commend it, and used 
 none other to his dyinge day ; wherewith, and with Indian lake, hee made sure 
 expressions of those deep aud glowing shadows, in those histories he copied after 
 
QUEEN ELIZABETH. 
 
 191 
 
 knight of the Bath, a younger son of the Keeper, and 
 half brother of the great Sir Francis. He travelled into 
 Italy and studied painting there ; but his manner and 
 colouring approaches nearer to the style of the Flemish 
 School. Peachamon Limning, p. 126, says, " But none 
 in my opinion deserveth more respect and admiration for 
 his skill and practice in painting than master Nathaniel 
 Bacon of Broome in Suffolk (younger son to the most 
 honorable and bountiful-minded Sir Nicholas Bacon) not 
 inferior in my judgment to our skillfullest masters." At 
 Culford, where he lived, are preserved some of his works ; 
 and at Grorhambury, his father s seat, is a large picture 
 in oil by him, of a cook maid with dead fowls, admirably 
 painted, with great nature, neatness, and lustre of colour- 
 ing. In the same house is a whole length of him by 
 himself, 1 drawing on a paper ; his sword and pallet hung 
 up : and a half length of his mother by him. At Bed- 
 grave hall in Suffolk were two more pieces by the same 
 hand, which afterwards passed into the possession of Mr. 
 Eowiand Holt, the one, Ceres with fruit and flowers ; the 
 other, Hercules and the Hydra. In Iradescant's Museum 
 was a small landscape, painted and given to him by Sir 
 Nathaniel Bacon. 2 
 
 Titian, that no oyle painting should appeare more warme and fleshy than those 
 of his hand." After ascribing so much praise to this preparation, he gives the 
 secret, 
 
 " To make Sir N. Bacon's brown pinhe." 
 " About Midsummer, take as much of a green e weed called genestella tinctoris, 
 as will be well boiled and covered in a paile of water, but let the water be seethed 
 well, and be scumbed, before you put it in. You will know when it is well sodde, 
 when the leaves and the bark will slip from the stalke drawn through your fingers. 
 Then take it from the fire, and poure it into a wooden bowle or pail, through a 
 clothe, till all the water be strained through ; then cast the wood away. Take this 
 water and set it on the fire againe, and when it begins to seethe put into it the 
 quantity of half an eggshell of ground chalke with a little water of the kettle in a 
 dish, after the manner of thickening the pot ; then put in a little jellied size, 
 broken small with your hand, as it were strewed all over the superficies of your 
 colour, and so let it stand. The size is put in, to make the water separate from 
 the colour. Then take off the scumme, and put it into a jarglass, and set it 
 where no sun comes ; and it will be excellent yellow." The annexed engraving will 
 give a proof of Sir N. Bacon's great talent, exhibited in a portrait of himself. — D. 
 
 1 His monument and bust are in the church at Culford, with his pallet and 
 pencils. There is another for him at Stiffkey in Norfolk, the inscription on which 
 may be seen in the Appendix to Masters's History of Corpus Christi College, Cam- 
 bridge, p. 85. It is said in the note that Sir Nathaniel was famed for painting 
 plants, and well skilled in their vertues. 
 
 2 Now> or formerly, in the Ashrnolean Museum, at Oxford. — D. 
 
192 
 
 PAINTERS IN THE REIGN OF 
 
 Of the engravers in the reign of Queen Elizabeth, 
 who were many and of merit, I shall say nothing here ; 
 Vertue having collected an ample and separate account 
 of them, which makes another volume of this work. I 
 shall only mention now, that that age resembled the 
 present in its passion for portraits of remarkable persons. 
 Stowe, in his Annals, speaking of the Duke d'Alengon, 
 who came over to marry the queen, says, " By this time 
 his picture, state and titles, were advanced in every 
 stationers shop, and many other public places/' 1 The 
 same author, mentioning Sir Francis Drake s return, says, 
 " There were books, pictures, and ballads, published of 
 him." In another point too there was a parity ; auctions 
 were grown into vogue, and consequently abuse ; the first 
 orders for regulating them by the Lord Mayor were 
 issued in that reign. 
 
 At the same period was introduced the custom of pub- 
 lishing representations of magnificent funerals. There is a 
 long roll, exhibiting the procession at the obsequies of Sir 
 Philip Sidney. It was (as is said at the bottom of it) con- 
 trived and invented by Thomas Lant, 2 gentleman, servant 
 
 1 In the Cecil papers is a letter to the Lord Mayor of London, dated July 21, 
 1561, telling him, "The Queen's Majesty understandeth that certain bookbinders 
 and stationers utter certain papers wherein be printed the face of her Majesty and 
 the King of Sweden : and although her Highness is not miscontented that either 
 her own face or the said King's should be painted or portraited ; yet to be joined 
 with the said King or with any other prince that is known to have made any 
 request in marriage to her Majesty is not to be allowed ; and therefore your Lord- 
 ship should send for the warden of the stationers, or other wardens that have such 
 papers to sell, and cause such papers to be taken from them and packed up together 
 in such sort as none of them be permitted to be seen in any place." The effect of 
 this order appears from a passage in Evelyn's Art of Chalcography : "Had Queen 
 Elizabeth been thus circumspect, there had not been so many vile jopies multi- 
 plied from an ill painting ; as being called in and brought to Essex-house, did for 
 several years furnish the pastrymen with peels for their ovens," p. 25. 
 
 2 Of this most rare publication two copies are extant in the Library of the Col- 
 lege of Arms. Thomas Lant was created Portcullis Pursuivant, 1558, Windsor 
 Herald, 1597, and died in 1600. A short abstract of this very curious work will 
 communicate some idea of the pomp with which the funeral of the illustrious 
 Sydney was conducted. " Here followeth the manner of the whole proceedinge of 
 the Funerall, which was celebrated in St. Paule's, the sixteenth of February, 1586. 
 Followers, six peers, relatives, among whom were the Earls of Leicester and Essex, 
 Sir Robert Sydney chief mourner, with six others. Pall bearers, Sir Fulk Greville, 
 Sir Edward Dyer. Six banner bearers, two before and four behind. Six heralds 
 bearing the insignia escocheon, sword, gloves and spurs. The Horse of the Field 
 in full comparison — the barbed horse. The whole conducted by Garter King of 
 Arms. Followers, twelve Knights relatives, and 60 Esquires. Thirty-two poor 
 men to denote his age. The procession closed by the Mayor and Corporation, 
 
QUEEN ELIZABETH. 
 
 193 
 
 to the said 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 small 
 oval head of Mr. Lant, set. 32. The same person wrote 
 a treatise of Heraldry. 
 
 John Holland 1 of Wort well, Esq., living in 1586, is 
 commended as an ingenious painter, in a book called The 
 .Excellent Art of Painting, p. 20. But it is to the same 
 hand, 2 to which this work owes many of its improve- 
 ments, that I am indebted for the discovery of a very 
 valuable artist in the reign of Queen Elizabeth. 
 
 The eastern side of the college of Caius and Gonville 
 at Cambridge, in which are the Portae Virtutis et Sapien- 
 tiae, was built in the years 1566 and 1567. These are 
 joined by two long walls to the Porta Humilitatis, and in 
 these are two little Doric frontispieces, all in appearance, 
 of the same date, and showing the Eoman architecture 
 reviving, with little columns and pilasters, well enough 
 proportioned in themselves and neatly executed, though 
 in no proportion to the building they were intended to 
 adorn. In the entries of the College, under the year 
 1575 are these words: " Porta, quae honoris dicitur et ad 
 scholas publicas aperit, a lapide quadrato duroque ex- 
 truebatur, ad earn scilicet formam et effigiem, quam 
 Doctor Caius, dum viveret, architecto praescripserat 
 elaborata." This gate cost 128Z. 9s. Dr. Caius died July 
 29, 1573. In the same year are these words : "Positum 
 est Joh. Caio ex alabastro monumentum summi decoris 
 et artificii eodem in sacelli loco, quo corpus ejus antea 
 sepeliebatur : cui praeter insculpta illius insignia, et 
 
 Artillery and Trained-bands of the City of London. Engraved in copper by 
 Derick Theodore de Bry of the Cittye of London, 1587. This picture, which yon 
 see expressed, is the true pourtraiture of Thomas Lant, who was the author and 
 inventor of this worke." — D. 
 
 This Thomas Lant was Portcullis Pursuivant. There are several copies extant in 
 MS. of a treatise called, the Armoury of Nobility, first gathered by Robert Cook, 
 Clarancieux, corrected by Robert Glover, Somerset Herald, and lastly, augmented 
 with the Knights of the Garter by Thomas Lant, Portcullis, anno 1589. One 
 copy of this work is in the possession of the Rev. Mr. Charles Parkin, of Osburgh, 
 in Norfolk, to whom I am obliged for this and other curious communications. 
 
 1 See the pedigree of Hollnnd in BlomfieloV s Norfolk. 
 
 2 Mr. Gray. 
 
 VOL. 1. 0 
 
194 
 
 PAINTERS IN THE REIGN OF 
 
 annotatum setatis obitusque diem et annum (uti vivus 
 executoribus ipse praeceperat) duas tantummodo sen- 
 tentias has inscripsimus, Vivit post funera Virtus — Fui 
 Cains!' This monument — made to stand upon the 
 ground, but now raised much above the eye on a heavy- 
 base projecting from the wall — is a sarcophagus with 
 ribbed w r ork and mouldings, somewhat antique, placed on 
 a basement supporting pretty large Corinthian columns of 
 alabaster, which uphold an entablature, and form a sort 
 of canopy over it. The capitals are gilt and painted with 
 ugly scrolls and compartments, in the taste of that reign. 
 The charge of the founder s tomb was as follows : — 
 
 For alabaster and carriage £1010 0 
 
 To Theodore and others for carving . . . . 33 16 5 
 
 To labourers 0181 
 
 Charges extraordinary 2 0 2 
 
 Then in the year 1576 are these words: "In atrio 
 doctoris Caii columna erecta est, eique lapis miro artificio 
 elaboratus, at que in se 60 horologia complexus imponitur, 
 quern Theodorus Haveus Cleviensis, artifex egregius, et 
 insignis architecturae professor, fecit, et insignibus eorum 
 generosorum, qui turn in collegio morabantur, depinxit ; 
 et velut monumentum suae erga collegium benevolentiae 
 eidem dedicavit. Hujus in summitate lapidis constituitur 
 ventilabrum ad formam Pegasi formatum." That column 
 is now destroyed with all its sun-dials ; but when Loggan 
 did his views of the colleges, the pillar, though not the 
 dials, was yet standing. 
 
 In the college is a good portrait on board of Dr. Keys, 
 not in profile, undoubtedly original, and dated 1563, 
 aetatis suae 53, with Latin verses and mottoes : and in 
 the same room hangs an old picture, bad at first, and now 
 almost effaced by cleaning, of a man in a slashed doublet, 
 dark curled hair and beard, looking like a foreigner, and 
 holding a pair of compasses, and by his side a polyedron, 
 composed of twelve pentagons. This is undoubtedly 
 Theodore Haveus himself, who, from all these circum- 
 stances, seems to have been an architect, sculptor, and 
 
QUEEN ELIZABETH. 
 
 195 
 
 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 inscription, recording an 
 architect of the same age with the preceding ; " Effigies 
 Rodulphi Simons, architecti sua aetate peritissimi, qui 
 (praeterplurima aedificia ab eopraeclare facta) duo collegia, 
 Emanuelis hoc, Sidneii illud, extruxit integre : magnam 
 etiam partem Trinitatis recocinnavit amplissime," head 
 and hands with a great pair of compasses. 
 
 In a book belonging to the Jewel-office, in the possession 
 of the Earl of Oxford, Vertue found mention " of a fair 
 bason and lair (ewer) guilt, the bason having in the bushel 
 (body) a boy bestriding an eagle, and the ewer of the worke 
 of Grotestain, with gooses heads antique upon the handle > 
 and spoute, weighing together xx ounces/' In the same book j 
 was this memorandum : "Kemaining in the hands of Robert 
 Brandon and Assabel Partrage, the queen's goldsmiths, 
 four thousand ounces of guilt plate, at five shillings and 
 fourpence the ounce, in the second year of the queen." 
 
 I shall conclude this reign and volume with what, though 
 executed in the time of her successor, properly relates to 
 that of Elizabeth. In the Earl of Oxford's collection was 
 an office-book, in which was contained an account of the 
 charge of her majesty's monument. 
 
 Paid to Maximilian Powtran 170/. 
 
 Patrick Blacksmith 95Z. 
 
 John de Critz, 1 the painter 1001. 
 
 Besides the stone, the whole cost 965Z. 2 
 
 1 This is the painter mentioned above by Meres, and who, I suppose, gave the 
 design of the tomb. One De Critz is often mentioned among the purchasers 
 of King Charles's pictures during the civil war, as will appear in the second 
 volume. 
 
 Maximilian Poutraine, more commonly known as Maximilian Colte, and by 
 which name Walpole mentions him, had a writ of privy seal in 1607 for 14:01. 
 for a monument in Westminster-abbey, for Princess Sophia, fourth daughter of 
 James I. — Lodges Illustrations, vol. iii. p. 319. 
 
 Of the several individuals of the De Critz, a farther account will be given when 
 they occur. — D. 
 
 2 This monument, and those of the Queen of Scots, and of the two young 
 princesses, Mary and Sophia, daughters of King James, cost 3,500/. 
 
 o 2 
 
196 
 
 PAINTERS IN THE EEIGN OF 
 
 EEMARKS. 
 
 A sketch of the history of the architecture in use, to the close of the reign 
 of Elizabeth, may now be resumed. More interesting specimens of that pecu- 
 liar style could not be adduced than the mansions erected by her ministers for 
 their own residence. She rather encouraged that enormous expense in the 
 noblemen of her court, than set them any such example. She neither built 
 nor rebuilt any palace, for she considered that her father's magnificence had 
 supplied them ; and excepting the gallery at Windsor-castle, no royal building 
 claims her for its founder. Lord Leicester is said to have expended 6O,O00Z. upon 
 Kenilworth only, which sum will not bear the test of comparative examination. 
 
 Of the palatial houses finished before 1600, the following list will include 
 those of greater celebrity in that era ; reserving others, the foundations only 
 of which were laid in the reign of Queen Elizabeth, to that of her successor. 
 Some curiosity respecting their architects, more essentially connected with the 
 original plan of this work will necessarily arise, which will be informed, as far 
 as any document within the Editor's knowledge will confirm the appropriation. 
 Yet there is undoubted authority for the names of certain individuals, as archi- 
 tects whose works are not exactly known at this period, but whose fame must 
 have been acquired by the eminent talents they displayed in the age wherein 
 they lived. Such names, without reference to any building in particular, are 
 not unfrequently mentioned. Eobert Adams, Bernard Adams, Laurence 
 Bradshaw, Hector Ashley, and Thomas Grave, as holding the employments of 
 architects, surveyors, or master-masons to the queen and her nobility. 
 
 1. Burleigh 
 
 2. Kenilworth ... 
 
 3. Hunsdon 
 
 4. Stoke Pogeis.. 
 
 5. Gorhambury.. 
 
 6. Buckhurst 
 
 7. Knowle 
 
 8. Catledge 
 
 9. Longleat 
 
 10. Basinghouse .. 
 
 11. Wanstead 
 
 12. Wimbledon ... 
 
 13. Westwood 
 
 14. Penshurat 
 
 15. Kelston 
 
 16. Toddington ... 
 
 17. Hard wick-hall 
 IS. Theobalds 
 
 Date. County. 
 
 1580 
 1575 
 
 1580 
 1565 
 1565 
 1570 
 1560 
 1579 
 1560 
 1576 
 1588 
 1590 
 1570 
 1560 
 1580 
 1597 
 1580 
 
 Founder. 
 
 Lincoln ... 
 
 Warwick . 
 
 Herts 
 
 Bucks 
 
 Herts 
 
 Sussex .... 
 
 Kent 
 
 Cambridge 
 
 Wilts 
 
 Hants 
 
 Essex 
 
 Surrey 
 
 Worcester 
 
 Kent 
 
 Somerset . 
 Bedford ... 
 
 Derby 
 
 Herts 
 
 Lord Burleigh 
 
 Earl of Leicester 
 
 Lord Hunsdon 
 
 Earl of Huntingdon 
 
 Sir N. Bacon 
 
 Lord Buckhurst 
 
 The Same 
 
 Lord North 
 
 Sir J. Thynne 
 
 Marquis of Winton 
 
 Earl of Leicester 
 
 Sir T. Cecil 
 
 Sir J. Pakington 
 
 Sir H. Sydney 
 
 Sir J. Hartington 
 
 Lord Cheyney 
 
 Countess of Shrewsbury 
 Lord Burleigh ... 
 
 Architect. 
 
 John Thorp 6 
 Skillington 
 
 Present \ 
 State. 
 
 Perfect. 
 
 Ruins. 
 
 Rebuilt. 
 
 Rebuilt. 
 
 Ruins. 
 
 Destroyed. 
 
 Perfect. 
 
 Destroyed. 
 
 Perfect. 
 
 Ruins. 
 
 Destroyed. 
 
 Rebuilt. 
 
 Perfect. 
 
 Perfect. 
 
 Rebuilt. 
 
 Destroyed. 
 
 Ruins. 
 
 Destroyed. 
 
 The principal deviation from the plan of the earlier houses in the times of the 
 Tudors was in the bay windows, parapets, porticos ; and internally in the halls, 
 galleries, chambers of state and staircases. The two last-mentioned were ren- 
 dered as rich in ornamental carving as the grotesque taste then prevalent could 
 invent or apply. The ceilings were fretted only with roses and armorial devices, 
 but without pendents, as in the earlier style. The fronts of the porticoes were 
 
QUEEN ELIZABETH. 
 
 197 
 
 overlaid with carved entablatures, figures and armorial devices, the lofty and 
 wide galleries generally exceeded one hundred feet in length, and the staircases 
 were so spacious as to occupy a considerable part of the centre of the house. 
 
 The imperfectly-imitated Roman style, introduced, as before noticed, by 
 John of Padua, in its first dawn in this kingdom, began now to extend its 
 influence, although partially. At Burleigh, the parapets which surround the 
 whole structure, are composed of open work, describing a variety of Tuscan 
 scrolls, and the chimneys are Tuscan columns two, three, or four clustered 
 together, and surmounted by a frieze and entablature. Open parapets, hav- 
 ing letters placed within them, as a conceit indicative of the founder, were 
 then first introduced. 
 
 The large manor-houses, dispersed through the several English counties, con- 
 structed of timber frame- work, were very general, where a supply of stone or 
 brick failed. The carved pendents, and the weather-boards of the gables and 
 roof, were carved in oak or chestnut, with exuberance of fancy and good exe- 
 cution. The counties of Chester, Salop, and Stafford abounded, more 
 especially, in curious instances, many of which are no longer seen, and their 
 memory preserved only in old engravings. The zenith of this particular fashion 
 of domestic architecture was the reign of Elizabeth, and it is thus discrimi- 
 nated by a contemporary observer : " Of the curiousnesse of these piles I speake 
 not, sith our workmen are grown generallie to such an excellencie of devise in 
 the frames now made, that they farre pass the finest'of the olde." tc It is a 
 worlde to see how divers men being bent to buildinge, and having a delectable 
 veine in spending of their goodes by that trade, doe dailie imagine new devises 
 of their owne to guide their workmen withall, and those more curious and 
 excellent than the former." — Harrison's Desc. of England, p. 336. 
 
 In the more ancient cities and towns, houses of timber- frame, but in a pecu- 
 liar and not less ornamented style of carvings were frequent ; and in their 
 fronts towards the street, and in the wainscoting of the apartments, the sup- 
 porting figures were of extremely whimsical forms. It is not easy to determine 
 what they were intended to represent. 
 
 Those which have remained to our own times might have been seen at 
 Chester, Shrewsbury, Coventry and Bristol ; but in the last-mentioned 
 place, most have vanished in the course of the last century, and their repre- 
 sentations are preserved only in the portfolios of local antiquaries. On the 
 Continent, although more ancient, as we have been merely imitators, they 
 have been better preserved to the present day. All the eccentricities of the 
 Burgundian manner have been adopted in their buildings of timber-frame, as 
 well as of brick and stone. Numerous and remarkable specimens may still be 
 examined and admired at Rouen, Bruges, Nuremberg, and Strasbourg, to 
 which we could at no period have offered examples of equal excellence. 
 
 The age of Queen Elizabeth introduced so total a deviation from the plan 
 of sepulchral monuments in the preceding reigns that it may be considered as 
 a new style. 
 
 Upon a large altar-tomb of marble was erected an open arcade, having a 
 very rich and complicated entablature. The columns were marble shafts, with 
 capital, white or black, of the Doric or Corinthian order. Small pyramidal 
 figures, the sides of which were richly veneered with variously coloured pieces, 
 disposed in ornamented squares or circles, supporting globes or balls. Armorial 
 bearings were emblazoned, and the effigies painted and gilt in exact resem- 
 blance to the armour or robes in which the noble deceased were invested 
 during life. When these monuments were placed against a wall, which was 
 more commonly done, the plan was accommodated to it, and the alcove, with 
 its columns, universally retained. Not to mention inferior instances, the 
 monuments of Ratcliffe, Earl of Sussex, at Boreham, before noticed • of the 
 
198 PAINTERS IN THE REIGN OF QUEEN ELIZABETH. 
 
 Countess, in Westminster- abbey ; of Dudley, Earl of Leicester, at Warwick ; 
 and of Carey, Lord Hunsdon, in Westminster-abbey, will amply confirm these 
 observations. The taste in which these monuments are executed is alike cum- 
 brous and confused ; and to the figures, the anomaly of form with colour is 
 indiscriminately applied. 
 
 MONUMENT OF QUEEN ELIZABETH. 
 
199 
 
 SUPPLEMENT. 
 
 By the favour of the Earl of Warwick, I am enabled to 
 bring to light a very capital artist, who designed or im- 
 proved most of the principal and palatial edifices erected 
 in the reigns of Elizabeth and James L, though even his 
 name was totally forgotten. I am empowered by the same 
 condescension to point out a volume of drawings of that 
 individual architect 
 
 JOHN THORPE, 
 
 who has left a folio of plans/ now in Lord Warwick's pos- 
 session. There are not many uprights, but several ground 
 plans of some of the palaces and many of the seats of the 
 nobility, extant, erected, or altered at that period. Of some 
 he names himself the author ; of others he either designed, 
 supervised, or proposed alterations ; though, according to 
 the negligence of that age, he is not circumstantial in par- 
 ticulars. There are ground plans of Somerset-house; 2 of 
 
 1 This singularly curious and valuable MS. had passed to the library of the 
 Hon. Charles Greville, at the sale of which, April 10, 1810, it was purchased by 
 Sir John Soane, who offered it to Lord Warwick for the price he had given, when 
 it was declined, with a merited compliment. The Editor requested of Sir J. Soane 
 a favour, which he has conceded, with a liberal promptitude, and an unrestrained 
 permission of inspecting and making extracts, which will prove that the present 
 proprietor is worthy of the possession, and that it has found its proper place, in the 
 most curious and select library of architecture now in this country. It is a folio 
 of the common size, composed of thick paper, and consists of 280 articles or pages. 
 The plans are accurately executed, but not always accompanied by a scale. Where 
 names of places and proprietors are written, though sometimes with a pencil only, 
 in ar ery difficult running hand, these plans or elevations are, of course, authen- 
 ticated. We have sometimes one, without the other. Several of them were merely 
 designs prepared for houses to be built, and to be offered for approbation. 
 
 The elevation are very neatly tricked, and shaded with ink. The more common 
 form is that of three sides of a quadrangle, the portico in the centre being an open 
 arcade, finished by a turreted cupola, roofed with lead. Where the quadrangles 
 are complete, they are for convenience intersected by an open corridor. The 
 windows of the front are large and lofty, sometimes alternated with bows or pro- 
 jecting angles, and always so, at either end, Scroll ornaments copied from the 
 designs of the French school, under Vignola and P. Le Scot, are interlaced upon 
 the friezes, or applied in open work in the parapets. The effort by which chimneys 
 were concealed was to couple or group them with Roman Doric pillars, having a 
 plain entablature, of which manner Burghley offers a particular instance. — D. 
 
 2 The result of the present examination varying from that here printed by Wai- 
 pole, the Editor finds it expedient to offer one, more in detail ; having investigated 
 the whole contents. 
 
 1. Somerset-house. 
 
 2. Buckhurst-house, in the parish of Withiam, Sussex, built by Thomas Sack- 
 ville, Earl of Dorset, Lord High Treasurer to Queen Elizabeth. Ground plan and 
 
200 
 
 SUPPLEMENT. 
 
 Buckhurst-house in Sussex, an immense pile ; of Woolaton ; 
 Copthall; Burleigh-house; 1 Burleigh-on-the-Hill(theDnke 
 of Buckingham's) ; Sir Walter Cope's, now Holland-house, 
 
 elevation. Front extending 230 feet. Quadrangle, 100-80 ; Hall, 50-80. Very 
 inconsiderable remains. 
 
 3. P. 24. " A garden side for a nobleman's house," probably never executed. 
 
 4. "The way how to drawe any ground plot into the order of perspective." 
 Diagrams, with written instructions. 
 
 5. Design for a large house, with three sides of a quadrangle. 
 
 6. " Sir Thomas Dorrell, Lincolnshire." Elevation. 
 
 7. " Godstone," an open corridor upon Roman Doric arches. 
 
 8. " Copthall," Essex, built by Sir Thomas Heneage, to whom the manor was 
 granted by Queen Elizabeth. Gallery 168 feet long, 22 wide, and 22 high. Inner 
 court, 83 feet square. Destroyed. 
 
 9. " Wollaton," Nottinghamshire, built according to the inscription, " En has 
 
 FrANCISCI WlLLOUGHB^I ^DES, RARA ARTE CONSTRUCTAS, WlLLOTJGHR^IS 
 
 RELICTAS — inchoate 1580-1588." A part only of the front. An inscription in 
 the church at Wollaton appears to invalidate Thorpe's claim. ' 'Mr. Robert 
 Smithson architect and surveyor unto the most worthy house of Wallaton, with 
 divers others of great account, oh. 1614." He was probably the pupil and 
 successor of Thorpe. 
 
 10. Three sides of a quadrangle with a corridor intersecting. A design. 
 
 11. Sir John Bagnall. A gallery above 60 feet in length. 
 
 12. " Burghley juxta Stamford," built by W. Cecil, Lord Treasurer. Plans only. 
 1. Ground plan. 2. Fir>t floor. Sketches and designs for the scroll parapet. 
 
 13. " Four turrets at the four corners, and a lan thorn in the middle, leaded all 
 over, and no tunnels appeare, for Sir George St. Poole." 
 
 14. "Thornton College (Lincolnshire), Sir Vincent Skinner." Gallery 100 feet, 
 with circular projecting windows at either end. 
 
 15. Ground plan. " Sir Thomas Holte." 
 
 16. A design of more elegance, with Corinthian pilasters. 
 
 17. "Sir Walter Coapes at Kensington, erected by me I.T. " This, now Holland- 
 house, was finished by Thorpe in 1607, but afterwards altered and added to by 
 Inigo Jones and Stone. 
 
 13. " Giddea Hall," Essex, altered for Sir Anthony Coke, who entertained Queen 
 Elizabeth there. Taken down. 
 
 19. " for Sir George Coppen." 
 
 20. "Burghley on the Hill : the garden side ; lodgings below and a gallery 
 above, J.T." 
 
 21. "A front or garden side for a nobleman, three breadths of ordinary tene- 
 ments." Conjecturally for Sir Fulk Greville's (Lord Brooke) house near Gray's-inn. 
 
 22. "A London house for Mr. Darby." 
 
 23. Wimbledon ; "a howse stands upon the edge of a hill." Built for Sir 
 Thomas Cecil, in 1588. Fuller calls it " a daring structure nearly equal to. Non- 
 such." Rebuilt by Sarah, Duchess of Marlborough, and since burned down. 
 
 24. " Queene Mother's house, Faber St. Jermin alia Parie ; altered per J. Thorpe." 
 
 25. "Monsieur Jammet in Paris, his howse, 1600 ; all his offices are under 
 grounde." 
 
 26. Jarmin's howse v leagues from Paris, A. 1600." The elevation is very 
 spacious, and exhibits widows of right angles and circles alternately. 
 
 27. " Sir William Hazlerigg." Elevation. 
 
 28. " Longford-castle." A diagram of the Trinity is drawn in the centre of a 
 plan of the triangular court. There are tw r o elevations of parts of each front. This 
 very singular construction was erected by Sir Thomas Gorges and his lady, the 
 Marchioness Dowager of Northampton, in 1591. Now the seat of the Earl of Radnor. 
 
 29. 
 
 i Cliefden, built by the second Villiers, Duke of Buckingham, was evidently 
 copied in little from his father's seat, Burleigh-on-the-Hili. 
 
SUPPLEMENT. 
 
 201 
 
 at Kensington ; Giddy-hall in Essex ; Audley-inn; A rapt- 
 hill (now called Houghton) ; and Ampthill Old-house, 
 another spacious palace, in which Catherine of Arragon 
 some time resided, and of which he says he himself gave 
 the plan of enlargement ; and Kirby, of which he says he 
 laid the first stone in 1570. The taste of all these stately 
 mansions was that bastard style which intervened between 
 Gothic and Grecian architecture, or which, perhaps, was 
 the style that had been invented for the houses of the 
 nobility, when they first ventured, on the settlement of the 
 kingdom after the termination of the quarrel between the 
 Roses, to abandon their fortified dungeons, and consult 
 convenience and magnificence ; for I am persuaded that 
 what we call Gothic architecture was confined solely to 
 religious buildings, and never entered into the decoration 
 of private houses. 1 Thorpe's ornaments on the balustrades, 
 
 29. " Sir Percival Hart." Plan, Lullingstone, Kent. 
 
 30. " Mr. Panton." A large and compact house, not much ornamented, 
 having lofty octagon turrets, leaded conically, at each corner. 
 
 31. " Holdenby," (written in pencil). Two large quadrangles in the plan, and 
 an elevation of the front. Built in 1 580, for Sir Christopher Hatton, and now in ruins. 
 
 32 and 33. Plans. "Mr. William Fitzwilliams, and Sir Henry Neville." 
 
 34. " Audley End." Plan of the two courts. Thorpe's part of this once enor- 
 mous building appears to have been completed about 1616. It has been since very 
 greatly reduced, and is now the seat of Lord Braybroke. 
 
 35. A concetto or design of <£ a crosse buildinge, " which has semi-octagon projec- 
 tions at the ends. 
 
 36. " Mr. Tayler at Potter's-barr." 
 
 37. " Sir "Walter Covert's," at Slaugham, near Horsham, Sussex. The ruined 
 walls are still standing. 
 
 38. t ' Hatfield Lodge." Apian. 
 
 39. " Ampthill, the topp plott." 
 
 40. "Ampthill Old House enlardged, per J. Thorpe." 
 
 41. " Kerby whereof I layd the first stone 1570." This house was built for John 
 I^irby, citizen of London. Fleetwood, the Eecorder of London, in a letter to the 
 Lord Treasurer (Burghley) about 1578, mentions the death of John Kirby, who 
 built a fair house on Bethnal -green, which house, lofty like a castle, occasionod 
 certain rhymes, abusive of him and some other city builders of great houses, who 
 had prejudiced themselves thereby, viz. " Kirby's Castle, and Fisher's Folly, Spi- 
 nola's Pleasure, and Megg's Glory." (Lysons's Env. Lond. vol. ii. p. 29.) These 
 were probably erected in the suburbs, from the plans above-mentioned, which 
 Thorpe calls of London houses. — D. 
 
 1 This assertion certainly requires some qualification. Could Walpole have 
 over-looked the construction of the roofs of the Halls of Westminster, Eltham, and 
 Crosby-place, all of which are still perfect, built in a decidedly Gothic era ? — or 
 those, still Gothic, of Christ Church, Oxford, and Hampton Court ? In what eccle- 
 siastical buildings are there roofs in a similar style of construction or ornament ? 
 
 This question might be pursued much farther, but the distinction between 
 Gothic Architecture, as applied to ecclesiastical buildings, or to the interior of 
 castles, or to Bishops' palaces, abbeys, and large houses, in the middle centuries, 
 is sufficiently evident. — D. 
 
202 
 
 SUPPLEMENT. 
 
 porches, and outsides of windows, are barbarous and un- 
 graceful, and some of his vast windows advance outwards 
 in a sharp angle ; but there is judgment in his dispositions 
 of apartments and offices, and he allots most ample spaces 
 for halls, staircases, and chambers of state. He appears 
 also to have resided at Paris, and even seems to have been 
 employed there ; at least he gives alterations for the Queen- 
 mother s house, FaberSt.Germains, which I suppose means 
 the Luxembourg in the Fauxbourg St. Germain, and a plan 
 of the house of Monsieur Jammet (Zamet.) 
 
 There are several other smaller seats and houses in the 
 book, some with the names of the gentlemen for whom they 
 were built. One, which he calls Cannons, his Father Fakes 
 house, 1 and another is a whimsical edifice designed for him- 
 self, and forming the initial letters of his name IHT , 2 
 conjoined by a corridor (which I have expressed by the 
 dotted lines) and explained by this curious triplet : — 
 
 " These two letters, I and T, 
 Joined together as you see, 
 Is meant for a dwelling house for me 
 
 John Thorpe." 
 
 The volume, however, is a very valuable record of the 
 magnificence of our ancestors, 3 and preserves memorials of 
 many sumptuous buildings of which no other monument 
 remains. 
 
 1 The MS. has "my fa : Lakes house, Canons." Sir T. Lake, who was impli- 
 cated with the Earl of Suffolk, and severely fined in the reign of James I., built 
 the first house at Canons, where the magnificent Duke of Chandos erected 
 a palace which was deservedly satirized by Pope, and which was sold for the 
 materials. Was Thorpe Sir T. Lake's son-in-law ? no evidence of that fact has 
 occurred. 
 
 2 The orthography is different : 
 
 "Thes 2 letters I and T 
 Joyned together as you see 
 Is meant for a dwelling house for mee." 
 
 The I is applied as offices ; the T, skilfully distributed into large and small apart- 
 ments. — D. 
 
 3 There is a draught of the chapel of Henry YIT. which he says cost 14,000Z.— 
 " Capellam istam Henrici 7mi, impensis 14,000Z. adjecit ipse 1502." — D. 
 
203 
 
 SUPPLEMENT No. II. 
 
 The wardrobe accounts of King Henry VIII. preserved in the British 
 Museum (MSS. Harl. 1419, two volumes) are replete with most curious 
 evidence, particularly interesting to those of our antiquarian readers who de- 
 light to inquire into the splendour, domestic furniture, and habits of life 
 which were peculiar to the ancient monarchs of England. 
 
 This inventory was made by commissioners in the first year of the reign of 
 Edward VI. (1547), minutely notifying the furniture of fifteen palaces, so left 
 by his father. The articles, indeed, are much too multifarious, and our plan 
 necessarily excludes a series of copious extracts, although so many of them 
 would tend to confirm our notions of the actual magnificence of the age of 
 Henr}' the Eighth. 
 
 The honour of being the first royal collector of pictures, has been given 
 exclusively to Charles I. without due examination into the fact. The princi- 
 pal extract, therefore, which the Editor will venture to offer at length, will be 
 a catalogue of Henry's collection, which exhibits no small number ; and it is 
 an allowable conjecture, that many of them were fine specimens of the Flemish 
 and Italian schools, exclusively of those by Holbein and other eminent artists, 
 who were resident in England, and enjoyed the royal patronage. By the ex- 
 treme simplicity used in these descriptions and the obsolete terms applied, 
 much satisfactory information is obscured. Though the subjects are men- 
 tioned, and sometimes even with minuteness, the name of the master is never 
 given. The frames are as exactly described. Over many of the portraits in 
 particular, curtains of white and yellow taffety were placed in order to pre- 
 serve them — a proof how greatly they were valued by their royal proprietor. 
 
 Upon a comparison of the subjoined, with the Catalogue of Charles the 
 First's pictures, it may be ascertained, that several of them are still extant 
 in the palaces of George the Fourth. 
 
 " Stuffe and Implements, at Westminster, in the charge of Sir Anthonie Denny, 
 Knight, keeper of the Howse, (St. James's. ) 
 
 Tables with pictures (on panel, 25 in all) among them, 
 
 1. A table with a picture of St. Jerome paintinge upon a deade man's head. 
 
 2. A table with a nakid woman holding a table with a scripture upon it, in th' 
 one hand, and a bracelet on th 5 other at the upper part thereof. (A portrait. ) 
 
 4. A table of the Decollation of John the Baptiste. 
 
 5. A table with a picture of a woman playing upon a lute, and an olde manne 
 holdinge a glasse in the one hande, and a deade manne's heade, in the other hande. 
 
 6. Lucretia Eomana in a gowne like crimosin velvett with greene forsleeves 
 cutte. 
 
 7. The same being alle nakid. (There are three others of this subject.) 
 
 8. On a table of Walnut-tree, St. George on horsebacke (probably that by Raphael, 
 which was known to have been in this collection). 
 
 Stained Clothes, (Pictures on canvas.) 
 
 1. A table of St. Michael and St. George, being in harnesse (armour) holdinge 
 a stremer. 
 
 2. The Decollation of St. John. 
 
 3. A table of the nakid truthe having the woorkes of the byshopp of Rome sette 
 forthe in it. 
 
 4. Filius Prodigus. 
 
204 
 
 SUPPLEMENT. 
 
 5. A table of an olde manne dally inge with women, and a Pheasant cocke hang- 
 inge by the bill. 
 
 6. St. John the Baptistes headd. 
 
 7. A table of the Frenshe Kinge {Francis I.) the queene his wife, and a foole 
 standinge behind hym, {with a curtain of yellow and white sarcenet before it. ) 
 
 8. The Siege of Pavie. 
 
 9. A stayned clothe, with men and womenn sittinge at a bankett, and death 
 comyng in makinge them all affrerde, and one standinge with a sworde at the dore, 
 to kepe him owt. 
 
 There are mentioned many pictures, the subjects of which are repeated 
 several times, having probably been the work of different Flemish and Italian 
 masters, as ordered by the king himself, and painted by those artists, who pre- 
 ferred to send him their works, before living under his auspices in England. 
 
 The prevailing subjects of these are— the Madonna and Child. The Virgin 
 Mary with the dead body of Christ. The Beheading of St. John, and the 
 Story of Judith and Holofernes. There were three of St. George, and one of 
 them by Eaphael, as above-mentioned. 
 
 Tables or steyncd clothes. (Portraits upon poMel or canvas. ) 
 
 1. "A table of the Frenshe Kinge havinge a dublet of crimsin and a gowne gar- 
 nished with knottes made like perle. {Francis I.) 
 
 2. Ditto, the Frenshe queene Elonora, in the Spanyshe arraie, and a cap on 
 her headd, with an orange in her hande. (Sister of the Emperour.) 
 
 3. Ditto, Three children of the Kinge of Denmarke. (Frederick I.) 
 
 4. The Duchesse of Myllaine {Christina 1 ) being her whole stature. 
 
 5. Th' olde Emperoure,th' Emperoure thatnoweis, and Ferdinande, (Maximilian I. 
 Charles V. and Ferdinand I. successively Emperours of Germany.) 
 
 6. The Ladye Margarite, Duchesse of Savoy. 
 
 7. Friderike Duke of Saxon, (John Frederick, styled the Magnanimous.) 
 
 8. Elizabeth e of Austrie, Queene of Denmarke. 
 
 9. Queene of Hungarie being regente of Flanders. (Donna Maria, widow of 
 Louis II. King of Hungary, and sister of the Emperour.) 
 
 10. Prince Arthure. 
 
 11. Ditto of Prince Arthure, wearing a redde cappe, with a brooch upon it, and 
 a collar of redde and white roses. 
 
 12. King Henry t' eyght, when yonge. 
 
 13. Th' hoole stature of the Kynges Majestie, in a gowne like crimsin satten, 
 furred with luzernes. 
 
 14. In the newe librarye, a table of the picture of oure late souverayne lorde 
 Kynge Henrie th' eyght, not fynished. 
 
 15. Ditto, of the Ladye Elizabeth, her grace, with a booke, in her hande her 
 gowne like crimsin clothe of golde, with woorkes {needlework or embroidery.) 
 
 16. Kinge Richard III. 
 
 17. A stained clothe being Solymaine the Tirque, being the hoole stature. 
 
 18 to 23. Kinge Henrie 5 the . Kinge Henrie 6 the . Kinge Edward 4 the . Q 
 Elizabethe hys wife King Henrie 7 the . alle with yellow and white sarcenet. {They 
 are heads only. ) 
 
 24. Louise the Frenshe Kinge. {Louis XII.) 
 
 25. The Queene of Castyle. (Joan, Queen of Castile and Leon.) 
 
 26. A littel rounde table of the Frenshe Kinge (Francis I. ) when he was yonge. 
 
 1 "Cromwell, lord privy seale, signified his master's desire, that a match might 
 be had betwixt oure King and Christina, Duchess of Milan, being a beautiful lady. 
 Cromwell answered, that he must first see her picture. Which being granted, one 
 Hans. Holbein, being the king's servant, was sent over to Flanders, and in three 
 hours space shewed what a master he was in the science."— Herbert's Hen. viij. 
 p. 496. This was prcbably a sketch only in crayons. — D. 
 
SUPPLEMENT. 
 
 205 
 
 27. Charles VIII. the Frenshe Kinge, (6b. 1498.) 
 
 28. St. with the picture of Charles th* emperour. 
 
 29. The Duke of Burbon. 
 
 30. Th' emperour, his dublett beinge cutte, and a rose-marine branche in 
 his hande. 
 
 31. Isabelle Quene of Castyle, (the wife of Ferdinand V. King of Ar rag on.) 
 
 32. John Archduke of Austrie. 
 
 33. A man having a black cappe, with a brooche and a collar of scallop-shells. 
 (Order of St. Michael. ) 
 
 34. A littel table with Charles Duke of Burgundy. 
 
 35. Philip Duke of Burgundy. 
 
 36. Philip Duke, the hardy e. 
 
 37. Charles the Great th' emperoure. 
 38 Frederike III. Emperoure. 
 
 39. Duke of Sabaudie Savoy. (Philibert II.) 
 
 40. Jacobbe Kinge of Scottes (James IV.) with a hawke on his fiste. 
 
 41. Ferdinande Kinge of Arragon. 
 
 42. Duchesse of Millayne (repetition). (This was the princess ivho being solicited 
 to marry King Henry VIII. objected i that she had only one neck." 
 
 43. The wyfe of the Lorde Fienues. 
 
 44. A table of a woman called Michaell, with a redde rose in her hande. 
 
 45. Friderike Duke of Saxon, stayned upon a linen clothe, being his whole 
 stature (repetition). 
 
 46. The Prince of Orange. 
 
 47. The Phisnomy of the Kinge paynted in a table. 
 
 The guardrobe of the Honour of Hampton Cowrte. In the Kinges gallerie. 
 
 48. A picture of my Lorde prince, (afterwards Edward VI) 
 
 49. Another table of oure lady and her sonne, having a stranet, (curtain.) 
 
 50. A table of our ladye and her sonne painted. 
 
 51. A table of the bussopp of Rome, the four Evangelists casting stones at him." 
 (Eighteen pictures, in the whole, at Hampton-court, chiefly of the Virgin and 
 Child, and the life of Our Saviour, which probably belonged to Cardinal Wolsey. ) 
 
 The whole number of pictures, in the several palaces, amounted, in this in- 
 ventory, to one hundred and fifty-three. 
 
 If it be allowed, that the mind and taste of Henry VIII. were demonstrated 
 by the subjects upon which he employed the painters whom he patronized, 
 and to whom he dictated them, an opinion exactly correspondent with his 
 character will be the result. We find in his collection numerous portraits of 
 himself, repetitions of those of his contemporary princes, particularly those of 
 the Emperor and Francis I. with whom he was perpetually conversant ; of his 
 predecessors ; two of the Duchess of Milan, who refused to marry him ; but not 
 one of his six wives ! The historical and scriptural subjects were — the viola- 
 tion and death of Lucretia ; the Decollation of St. John Baptist, and his head 
 in a charger ; a similar exhibition of Judith and Holofernes ; St. George, his 
 patron saint ; the Virgin and Child, and with the dead Christ : sundry 
 Flemish moralities, in which Death is personified ; and drolls of the imbeci- 
 lity of old men ; with caricatures of the Pope, after the Eeformation ! 
 
 If the limits which the Editor has prescribed to himself could be extended, 
 the interest excited by the perusal of many of the other articles would induce 
 him to add other equally curious particulars, which elucidate the manners of 
 the monarch and his times. Of those more immediately connected with the 
 arts of design, tapestry will be noticed in a subsequent chapter, excepting 
 two pieces. 1. Item, one piece of arras of the corny nge of K. Henry VII. 
 into Englande, with the Kinge holdinge with th' one hande the crowne 
 from K. Rycharde the thirde usurper of the same ; and with th ? other hande 
 holding a swoord crowned. Given by the Master of the 'orse, (Sir Anthony 
 Browne) . 2. One piece of arras of the Marriage of the Kinge and Quene. 
 
206 
 
 SUPPLEMENT. 
 
 (Henry vij. and Elizabeth of York.) Given by the same. There were many- 
 maps " streyned on borde." Of the Cinque Poortes ; Callis and Bulloign, 
 of the sieges of Balloign, Rome, Vienna, &c. &c. Views of Paris, Antwerp, 
 Florence, floly Land, and the " whoole worlde." The " pictures made of 
 Erthe," were small figures in terra-cotta, which were painted, and likewise 
 bas-reliefs of scriptural subjects, painted or gilt. 
 
 But, that those who think the investigation would repay their trouble may 
 not lose the gratification, the necessary references are as follow, in the British 
 Museum. 1. Wardrobe books of Sir Nicholas Vaux and Sir Henry Guide- 
 ford, anno 12mo. Henrici 8vi. MSS Harl. 4217. 2. An inventorye of King 
 Henry VIII/s gold and silver plate. Bodleian Library, MSS. Hatton, No. 
 3502, and the Survey of the Wardrobe, &c. of Henry VIII. taken by the com- 
 missioners of Edward VI. Septembers, 1547. MSS Harl. 1419. 3. The 
 Inventorye of Cardinal Wolsey's householde stuffe at Hampton Court, York 
 Place, &c. ann. 14. Henrici 8vi. MSS Harl. 599. This contains furniture 
 and hangings of gold tissue, clothes of estate of crimson velvet and gold, with 
 the cardinal's arms emblazoned : and suites of tapestry of infinite number and 
 richness. In the Chapel Furniture is noticed " Seyntes apparell." A coote 
 of crymson velvatte garded with contrefayte perles, for Our Ladye." " A coote 
 of blewe for Seynte J ohan." 4. An account of Plate, gold and silver, made 
 for Cardinal Wolsey from the ninth year of Henry VIII. unto the nineteenth 
 year, wherein is set forth what he gave to the colleges founded by hini., 
 —Collectan. Curios. No. xxviij. — D. 
 
 QUEEN ELIZABETH. 
 
207 
 
 CHAPTER VIII. 1 
 
 PAINTERS AND OTHER ARTISTS IN THE REIGN OF JAMES I. 
 
 It was well for the arts that King J ames had no disposition 
 to them ; he let them take their own course. Had he felt 
 any inclination for them, he would probably have intro- 
 duced as bad a taste as he did into literature. A prince 
 who thought puns 2 and quibbles the perfection of eloquence, 
 would have been charmed with the monkies of Hemskirk 
 and the drunken boors of Ostade. James loved his ease 
 and his pleasures, and hated novelties. He gave himself 
 up to hunting, and hunted in the most cumbrous and in- 
 convenient of all dresses, a ruff and trowser breeches. The 
 nobility kept up the magnificence they found established 
 by Queen Elizabethan which predominated a want of taste, 
 rather than a bad one. In more anckxio times the mansions 
 of the great lords were, as I have mentioned before, built 
 for defence and strength rather than convenience. The walls 
 thick, the windows pierced wherever it was most necessary 
 for them to look abroad, instead of being contrived for sym- 
 metry or to illuminate the chambers. To that style succeed- 
 ed the richness and delicacy of the Gothic. As this declined 
 before the Grecian taste was established, space and vast- 
 ness seem to have made their whole ideas of grandeur. The 
 palaces erected in the reign of Elizabeth by the memorable 8 
 
 1 First chapter of the second volume of the original Edition. 
 
 2 Hayley's opinion on this subject, when given, was allowed to be just. 
 
 " James, both for empire and for arts, unfit, 
 (His sense a quibble, and a pun his wit.) 
 Whatever works he patronized, debased ; 
 But haply left the pencil undisgraced. " 
 
 Epistle to Eomney. 
 
 Whitehall would never have been built nor embellished by the "mere motion" of 
 that pedantic king, but for. the suggestion of the favourite Buckingham. — D. 
 
 3 It is a tradition in the family of Cavendish, that a fortune-teller had told her 
 that she should not die while she was building ; accordingly, she bestowed a great 
 deal of the wealth she had obtained from three husbands, in erecting large seats at 
 Hardwicke, Chatsworth, Bolsover, and Oldcotes, and 1 think, at Worksop ; and died 
 iu a hard frost when the workmen could not labour. 
 
208 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 Countess of Shrewsbury, Elizabeth of Hardwicke, are ex- 
 actly in this style. The apartments are lofty and enormous, 
 and they knew not how to finish them. Pictures, had 
 they had good ones, would be lost in chambers of such 
 height ; tapestry, their chief movable, was not commonly 
 perfect enough to be real magnificence. Fretted ceilings, 
 graceful mouldings of windows, and painted glass, the orna- 
 ments of the preceding age, were fallen into disuse. Im- 
 mense lights, 1 composed of bad glass, in diamond panes, cast 
 an air of poverty on their most costly apartments. That at 
 Hardwicke, still preserved as it was furnished for the recep- 
 tion and imprisonment f£ the Queen of Scots, is a curious 
 picture of that age and style. Nothing can exceed the 
 expense in the bed of state, in the hangings of the same 
 chamber, and of the coverings for the tables. The first is 
 cloth of gold, cloth of silver, velvets of different colours, lace, 
 fringes, and embroidery. The hangings consist of figures, 
 large as life, representing the virtues and vices, embroidered 
 on grounds of white and black velvet. The cloths to cast 
 over the tables are embroidered and embossed with gold, on 
 velvets and damasks. The only movables of any taste are 
 the cabinets and tables themselves, carved in oak. The 
 chimneys are wide enough for a hall or kitchen, and over 
 the arras are friezes of many feet deep, with miserable 
 relievos in stucco representing huntings. There, and in all 
 the great mansions of that age, is a gallery, remarkable only 
 for its extent. That at Hardwicke is of sixty yards. 
 
 James built no palace himself. Those erected by the 
 nobles in his reign are much like what I have been describ- 
 ing. Audley-inn, 2 one of the wonders of that age, deserved 
 
 " Rich windows that exclude the light, 
 And passages that lead to nothing." 
 
 Gray's Long Story. 
 
 This description is given of Stoke Pogeis, Bucks, built by an Earl of Hunting- 
 don.— D. 
 
 2 Dugdale, writing after the days of Inigo Jones, says, that this house was not to 
 be equalled by any fabric in this realm, excepting Hampton-court. There are 
 prints of Audley-inn, in its grandeur, by Winstanley, who lived at Littlebury, 
 near it, where, within my memory, was his house, remarkable for several mechanic 
 tricks, known by the name of " Winstanley s Wonders." His plates of Audley-inn 
 are extant, but the prints are very scarce. Part of the edifice was taken down 
 about forty years ago, and a greater part, with the magnificent gallery, was 
 demolished after the decease of the last Earl of Suffolk of that line. 
 
PAUIL YAMS ©MB IE 
 
PAINTERS IN THE REIGN OF JAMES I. 209 
 
 little notice but for the prodigious space it covered. Towards 
 the end of that monarch's reign genius was called out, and 
 appeared. The magnificent temper or taste of the Duke of 
 Buckingham led him to collect pictures, and pointed out 
 the study of them to Prince Charles. Eubens came over, 
 Inigo Jones arose, and architecture broke forth in all the 
 lustre and purity of Eome and Athens. But before I come 
 to that period, I must clear my way by some account of 
 the preceding artists. The first painter who seems to have 
 arrived after the accession of James was 
 
 PAUL VANSOMEK, 
 
 (1576—1621,) 
 
 a native of Antwerp. The accounts of him are extremely 
 deficient, no author of the lives of painters mentioning him 
 but Carl Vermander, who only says that Vansomer was 
 living when he wrote, and then resided with his brother 
 Bernard, 1 at Amsterdam. Yet Vansomer, as a painter of 
 portraits, was a very able master. The picture of the lord 
 chamberlain, William, Earl of Pembroke, half length, at St. 
 James's, is an admirable portrait ; and a whole length, at 
 Chatsworth, of the first Earl of Devonshire, in his robes, 
 though ascribed to Mytens, I should think was painted by 
 the same hand. Mytens was much colder in his colouring, 
 and stiff in his drawing. 2 Both these portraits are bold and 
 round, and the chiaroscuro good. The Earl of Devonshire 
 is equal to the pencil of Vandyck, and one of the finest 
 single figures I have seen. In what year Vansomer came 
 to England we do not know ; certainly, as early as 1606, 
 between which and 1620 he did several pictures. I shall 
 mention but a few, that are indubitably his, from whence, 
 by comparison, his manner may be known. 
 
 1 Bernard Vansomer had married the daughter of Arnold Mytens, and both were 
 natives of Antwerp. ' ' Paul Vansomer n'etoit pas moins estime, et les succes de 
 son frere n'empechereat pas qu'il fut egalement recherche pour le portrait." — 
 Descamps, t. i. p. 334. — D. 
 
 2 Mytens improved so much in his later portraits, that this character must be 
 read with allowances, and on studying more of his works. I cannot determine 
 whether the portrait at Chatsworth is not painted by him, as constant tradition 
 says it was. In general, the portraits by Vansomer and Mytens, when at whole 
 length, may be thus distniguised : Vansomer commonly placed his on a mat — 
 Mytens, on a carpet. . 
 
 VOL. I. P 
 
210 PAINTERS IN THE REIGN OF JAMES I. 
 
 James I., at Windsor ; behind him a view of Whitehall. 
 Anne of Denmark, with a prospect of the west end of 
 St. Paul's. 
 
 The same king, at Hampton- court, armour lying by him 
 on the ground ; better than the former. Dated 1615. 
 
 His queen, 1 in blue, with a horse and dogs ; also at 
 Hampton-court. This picture is imitated in the tapestry 
 at Houghton. 
 
 Three ladies, 1 6 1 5, at Ditchley : Lady Morton, in purple : 
 another, with yellow lace about her neck, and a gauze scarf ; 
 the third in black, with a crape over her forehead. 
 
 Lord Chancellor Bacon and his brother Nicholas at Gor- 
 hambury. 
 
 Sir Simon Weston, brother of Lord Treasurer Portland, 
 whole length, with a pike in his hand, 1608, set. 43. 
 This piece was in the possession of the Lord Chief Justice 
 Eaymond. 
 
 Marquis of Hamilton, with the white staff, at Hampton- 
 court. 2 
 
 Vansomer died about the age of forty-five, and was 
 buried at St. Martin's-in-the-Fields, as appears in the 
 register, Jan. 5,1621. Paulus Vansomer, pict or eximius, 
 sepultus fuit in ecclesid. 
 
 1 Iua hunting dress, hat and feather, with her horse and five dogs, " Anna Reg. 
 &c. set. 43." At Hampton-court (8 feet 6, by 6 feet 11) ; with a view of the 
 palace at Oatlands.— D. 
 
 2 To this list of Vansomer's works may be added, upon competent authority — 
 1 and 2. Thomas Howard, Earl of Arundel, and his lady, Alathea Talbot, at 
 
 Worksop Manor. The Earl is represented as sitting in the statue gallery, which 
 he had formed at Arundel-house, London, of which it is an exact representation. 
 He is dressed in black, with the Order of the Garter and points to the statues with 
 his marshal's baton. The countess likewise is sitting in the gallery of pictures, and 
 holds a handkerchief, very richly embroidered with gold. Each of these pictures 
 is marked "P. Vansomer, 1618." Lord Arundel claims a particular distinction in 
 a work on the arts ; and as portraits of him are so frequent, we have an ambition, 
 which has been allowed with the greatest liberality by the noble possessor, to 
 present him to the public in a station characteristic of his acknowledged taste, by 
 the first engravings ever made from these portraits. 
 
 3. Henry, Prince of Wales (with Mytens), Hampton-court. 
 
 4. A double portrait of Prince Henry. Robert, Second Earl of Essex, afterward 
 the parliament general ; a youth is kneeling before him ; each of them having 
 hunting horns. Behind the prince, who is dressed in greene, and drawing his sword 
 to cut off the stag's head, is a horse. On the boughs of a tree, the royal arms, and 
 his own, in two escutcheons, hung upon them. At St. James's-palace,. (Pennant). 
 The same subject, with slight variation, is at Wroxton-abbey, Oxfordshire. The 
 prince is represented as cutting the throat of a stag. The Harrington arms are 
 introduced, as belonging to John, second Lord Harrington, (Granger). The origin 
 
Seipse, pirur. 
 
 1V.HJ',< crt/iing ton. , sc. 
 
 ©liHIiMWg JAB' S BM, 
 
PAINTERS IN THE REIGN OF JAMES I. 211 
 
 CORNELIUS JANSEN, 1 
 
 (1590—1665,) 
 
 generally, but inaccurately, called Johnson, was, according 
 to Sandrart, born in London, of Flemish parents ; but 
 Vertue, and the author of an Essay towards an English 
 School, say it was at Amsterdam, where the latter asserts 
 that he resided long, the former that he came over young, 
 which, considering how late he lived, I should be inclined 
 to believe, if Vertue did not at the same time pronounce 
 that his earliest performances are his best ; so good a style 
 of colouring was hardly formed here. His pictures are 
 easily 2 distinguished by their clearness, neatness, and 
 
 of this design is mentioned by Felibien, (t. iii. p. 334,) in a similar occurrence, of 
 Count Ubaldini and the Emperor Frederic I. The picture in the royal collection 
 has been attributed to Vansomer. 
 
 5. King James L, his queen, and Prince Henry, (Wrest). 
 
 6. Count Mansfeldt, 1624, set. 48 {w.l.) Windsor. Described in Charles the 
 First's Catalogue, as by Mytens, at Whitehall. 
 
 7. Lodowick Stuart, Duke of Richmond, {w.l.) Petworth. 
 
 8. Frances Howard, Duchess of Richmond, (w. I. ) Strawberry -hill. 
 
 9. The same ditto, Petworth. 
 
 10. Henry Wriothesley, Earl of Southampton, 1624, (w.l.) Bulstrode. 
 
 11. Henry Carey, Lord Falkland, Strawberry-hill.* 
 
 12. Charles Blount, Earl of Newport, (w.l.) 
 
 13. Henry Hastings, Earl of Huntingdon, (w.l.) in his robes, set. 28, 1616. Castle 
 Donnington. 
 
 14. Himself (head). Ham-house. 
 
 15. Thomas Howard, Earl of Suffolk I /1% , x n x1 TT , 
 
 16. Henry Howard, Earl of Northampton [ Castle Howard - 
 
 17. F. Duchess of Richmond in mourning, with a miniature of the duke at her 
 breast. Longleat. 
 
 18. The Lady Arabella Stuart, (Ji.l.) Longleat (Welbeck). 
 
 19. Elizabeth, Queen of Bohemia. Royal Collection. 
 
 20. King Charles L, in coats (as a child), with a hat and feather by him. Van- 
 derdoort's Catalogue. 
 
 21. William, Earl of Pembroke, (w.l.) Windsor. 
 
 22. Christian IV., King of Denmark, (w.l.) Hampton-court. 
 
 23. James I. (w.l.), in black ; ditto. 
 
 24. Anne, his queen (w.l.), with a view of Oatlands. Kensington. 
 
 25. Princess Elizabeth (afterwards Queen of Bohemia) ; ditto. 
 
 Vansomer was among the first of those artists who, having established them- 
 selves in England, practised a skilful management of the chiaroscuro ; and his 
 portraits were deservedly admired for a greater elegance of the attitudes, and for a 
 remarkable resemblance. — D. 
 
 1 [Cornelis Janssens, was born at Amsterdam in 1590, and died there in 1665. 
 Immerzeel, Levens en Werken der Hollandsche Kunstschilders. — W. ] 
 
 2 He sometimes put this mark on his pictures ^ fecit. 
 
 ' [Purchased at the sale of 1842, by J. Tollemache, Esq. M. P. for 70 guineas. — W.) 
 
 P 2 
 
212 PAINTERS IN THE REIGN OF JAMES I. 
 
 smoothness. They are generally painted on board, and 
 except being a little stiff, are often strongly marked with 
 a fair character of nature, and remarkable for a lively 
 tranquillity in the countenances. His draperies are seldom 
 but black. 1 I have two portraits by him of singular merit ; 
 one of Mr. Leneve, 2 master of the company of merchant- 
 tailors ; the other of Sir George Villiers, 3 father of the 
 great Duke of Buckingham, less handsome, but extremely 
 like his son. One of his hands rests on the head of a 
 greyhound, as fine as the animals of Snyder. 
 
 Jansen's first works in England are dated about 1618. 
 He dwelt in the Blackfriars, and had much business. His 
 price for a head was five broad pieces. He painted too in 
 small in oil, and often copied his own works in that man- 
 ner. In the family of Verney were the portraits of Sir 
 Eobert Heath and his lady, in both sizes. At Cashiobury 
 is a large piece, curious, but so inferior to Jansen's general 
 manner, that if his name were not to it, I should doubt 
 its being of his hand. It represents Arthur, Lord Capel, 
 who was beheaded, his lady and children. Behind them 
 is a view of the garden at Hadham, at that time the chief 
 seat of the family. Between the years 1630 and 1640, 
 Jansen lived much in Kent 4 , at a small village called 
 
 1 He used much ultramarine in his blacks as well as his carnations, which gave 
 them roundness and relief ; and affected black draperies to add to the force of the 
 face ; yet it has been said that the features are deficient in that suppleness 
 which is the characteristic of flesh. Rubens and Vandyck were partial to black 
 draperies. — D. 
 
 2 [Sold at the Strawberry -hill sale, for 34 guineas. — W.] 
 
 3 [Sold for 32 guineas.— W.] 
 
 4 In 1636, and the next following years, Cornelius Jansen resided with Sir 
 Arnold Braems, a Flemish merchant, at Bridge, near Canterbury. St. Alban's 
 court, the residence of the Hammond family, still retains remarkable examples of 
 his genuine and best style. He was engaged to paint the portraits of the indivi- 
 viduals of the families of Sir Dudley Digges, of Chilham-castle, Sir Anthony Aucher,of 
 Bourne-place ; and Sir William Hammond, of St. Albans-court, between whom a 
 close degree of consanguinity existed ; where are Colonels Francis, Robert, and John 
 Hammond, who afterward distinguished themselves in the wars of Charles I. , 
 Lady Dormer (1642), Lady Ady and Lady Thynne (1636), their sisters; and Lady 
 Bowyer, daughter of Sir Anthony Aucher, their first cousin, whose exquisite beauty 
 obtained for her, not the poetical but the usual name of the " Star in the East.'* 
 At Harlaxton, near Grantham, Lincolnshire, are preserved several of equal merit, 
 of individuals of the families of De Ligne and Lister. That which attracts general 
 admiration is one of Susanna Lister painted in her wedding dress, as Lady Thorn- 
 hurst, in 626. She was considered as the most beautiful woman at Court when 
 presented in marriage to Sir Geoffrey Thornhurst by James I. in person. Beside 
 the family picture of Lord Capel, Jansen painted another on a large scale (6 feet 
 
PAINTERS IN THE REIGN OF JAMES I. 213 
 
 Bridge, near Barhamdown, and drew many portraits for 
 gentlemen in the neighbourhood, particularly of the fami- 
 lies of Auger, Palmer, Hammond, and Bowyer. One of his 
 best works was the picture of a Lady Bowyer, of the family 
 of Auger, called, for her exquisite beauty, The Star in the 
 East At Sherburn-castle, in Dorsetshire, is a head of 
 Elizabeth Wriothesley, eldest daughter of Henry, Earl of 
 Southampton, and wife of William, Lord Spencer, her head 
 richly dressed, and a picture in a blue enamelled case at her 
 breast. This picture is well coloured, though not equal to 
 another at the same seat, a half length of her mother, Eliza- 
 beth, daughter of John Vernon, wife of Earl Henry. Her 
 clothes are magnificent, and the attire of her head singular, 
 a veil turned quite black. The face and hands are coloured 
 with incomparable lustre, and equal to anything this 
 master executed. There is also a half length in black 
 satin of John Digby, first Earl of Bristol, young, and 
 remarkably handsome. It is ascribed to Jansen, but is 
 faintly coloured, and evidently in the manner of Vandyck, 
 whom perhaps he imitated as well as rivalled. 1 
 
 by 10) containing six portraits of the family of John de Rushault or Rushout, a 
 Fleming, who was settled at Maylands, Essex. Now at Northwick, Worcester- 
 shire. The De Lignes and Rushaults were established here from Flanders. At 
 Charlcote, Warwickshire, a similar picture of Sir Thomas Lucy's family, wife, 
 nurse, and six children, attributed to Jansen. — D. 
 
 1 Of an artist so excellent and industrious, and whose residence in this country 
 was of so long a duration as thirty years, Walpole has been very sparing in the 
 number of the examples he has quoted. If from a distrust of originality, the 
 Editor ventures upon a greater risk, but will mention none concerning which he 
 has not obtained a certain degree of satisfactory proof. 
 
 I. Princess* Elizabeth, Queen of Bohemia, (head) belonged to Mr. Pilkington, 
 the author of the Dictionary of Painters. 
 
 2. King Charles I., Chiswick. 
 
 3. Queen of Bohemia, (in black). The Grove and Ditchley. 
 with the Prince Palatine. Kensington. 
 
 4. G. Villiers, Duke of Bucks. The Grove. 
 
 5. Lord Keeper Coventry. The Grove. 
 
 6. Sir Kenelm Digby, when a youth. Althorp. 
 
 7. Sir Richard Wynne. Wynstay. 
 
 8. Benjamin Jonson, (head. ) Wimpole. 
 
 9. Sir Robert Cotton Bruce, 1629. Connington, Cambridgeshire. 
 10. Sir Thomas Overbury. Southam, Gloucestershire. 
 
 II. Elizabeth Hardwick, Countess of Shrewsbury. 
 
 12. Sir John Coke, Secretary of State. Mr. Halse, Blackheath. 
 
 13. King Charles I. (a head.) Burford Priory, Oxfordshire. 
 
 14. Sir Henry Neville. Appuldurcombe. 
 
 15. Lord William Howard, (w.l.) in black, arms and inscription. 
 
 16. Elizabeth Dacre, his lady. She is represented as coming out of an arbour, 
 against which leans her walking cane with a rosary ; in her left hand a flower, and 
 
214 PAINTERS IN THE REIGN OF JAMES I. 
 
 Jansen's fame declined on the arrival of Vandyck, and 
 tlie civil war breaking out, Cornelius, at the importunity 
 of his wife, quitted England. 1 His pass is recorded in 
 the Journals of the Commons : 
 
 October 10, 1648. Ordered, that Cornelius Johnson, 
 picture-drawer, shall have Mr. Speaker's warrant to pass 
 beyond seas with Emanuel Passe, George Hawkins ; and 
 to carry with him such pictures and colours, bedding, 
 household stuff, pewter, and brass, as belongs unto himself. 
 
 He retired first to Midelburg, and then to Amsterdam, 
 where he continued to paint, and died in 1 665. 2 His wife's 
 name was Elizabeth Beck, to whom he was married in 1622. 
 They had a son Cornelius, bred to his father s profession, 
 which he followed in Holland, where he died poor, being 
 ruined by the extravagance of a second wife. The son 
 drew the Duke of Monmouth's picture, as he was on the 
 point of sailing for his unfortunate expedition to England. 
 
 in her right a piece of bread, with which she feeds robins. In widow's weeds, 
 set. 73, 1637. Castle Howard. 
 
 17. Edmnnd Waller, set. 25, 1630. Beaconsfield, Bucks. 
 
 18. James Lord Hay (afterward Lord Doncaster and Earl of Carlisle). Castle 
 Dupplin, Scotland. 
 
 19. His own portrait, (head.) Badminton, Gloucestershire. 
 
 29. Edward Denny, Earl of Norwich, (w. I. ) Ombresley, Worcestershire. 
 
 21. Sir Edward Coke, Lord Chief Justice. Stoke Pogeis, Bucks. 
 
 22. Count de Gondemar. Hatfield. 
 
 23. Sir Henry Lee, (w.l.) in the robes of the Garter. Ditchley. 
 
 24. The same with the mastiff which saved his life. Ditto. 
 
 25. Sir Henry Spelman, (head. ) The Grove. 
 
 26. Edward Hastings, Lord Loughborough. Donington. 
 
 27. Mabel, Lady Noel, daughter of Lord Harrington. Ditto. 
 
 28. Spenser Compton, Earl of Northampton, (h.l.) Castle Ashby. 
 
 29. A head of George Yilliers, Duke of Buckingham, taken after his death, 
 traditionally by Jansen, and worthy of his pencil. This most curious picture was 
 probably drawn at the desire of his mother, the Countess of Bucks, who had 
 married Sir Thomas Compton, brother of William, first Earl of Northampton, or 
 of Mary Beaumont, the lady Spencer, second Earl of Northampton, who was 
 his first cousin. 
 
 30. Kichard, Earl of Dorset, (w.l.) Castle Ashby. 
 
 31. Edward, Earl of Dorset, (w.l.) Charlton, Wilts. 
 
 32. Sir Thomas Overbury. Longleat. 
 
 Many other portraits are confidently attributed to Jansen, which so nearly 
 approach to his best manner, and have been so long given to him, that it might 
 be an invidious task to hesitate a distrust of their pretensions, when advanced by 
 those who possess them. At Mr. Watson Taylor's sale, in 1823, a head of John 
 Fletcher, the dramatist, was sold for 20 guineas. It is ascertained that for 
 several of the nobility he copied the portraits of their ancestors, in the possession 
 of others, and those have jDorne his name, which the comparative dates would not 
 otherwise warrant. — D. 
 
 1 At Lord Pomfret's at Estonestone was a portrait of Charles I. by Jansen. 
 
 2 Sandrart, p. 314. 
 
112) ASf KM IL WTTM W § . 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 215 
 
 A sister of Cornelius Jansen the elder, was second wife 
 of Nicholas Eussell 1 or Eoussel, of Bruges, jeweller to the 
 Kings James and Charles the First. They had many- 
 children. To one of the sons, born in 1619, Cornelius 
 Jansen was godfather, and the widow of Isaac Oliver, god- 
 mother. Theodore Eussel, an elder son, was born in 1 6 1 4, 
 and lived nine years with his uncle Cornelius Jansen, and 
 afterwards with Vandyck, whose pictures he copied very 
 tolerably on small panels ; many of them are in a private 
 apartment at Windsor, 2 at Warwick-castle, and in the 
 collection of the Duchess Dowager of Argyle. Eussell 
 was chiefly employed in the country in the families of the 
 Earls of Essex and Holland, and was a lover of his ease and 
 his bottle. He was father of Antony Eussel, a painter, 
 from whom Vertue received these particulars, and at whose 
 house he saw a picture of Cornelius J ansen, his wife and 
 son, drawn by Adrian Hanneman, who courted Jansen's 
 niece, but was disappointed. 
 
 DANIEL MYTENS, [The Elder,] 
 
 (1590—1656,) 3 
 
 of the Hague, 4 was an admired painter in the reigns of 
 King James and King Charles. He had certainly studied 
 the works of Eubens before his coming over ; his landscape 
 in the back grounds of his portraits is evidently in the 
 style of that school ; and some of his works have been 
 taken for Vandyck's. The date of his arrival is not cer- 
 tain ; probably it was in hopes of succeeding Van Somer ; 
 but though he drew several of the court, he was not for- 
 mally employed as the king's painter till the reign of Charles. 
 His patent is preserved in Eymer's Foedera, vol. xviii. p. 3. 
 
 1 In the catalogue of King Charles's pictures is mentioned a portrait drawn by 
 George Spence, of Nuremberg, and bought of Mcasius Russel, p. 135. 
 
 2 Thirteen of these small copies from portraits of ladies by Vandyck and Lely, 
 are now (1828), in the queen's drawing-room at Windsor. They are a creditable 
 proof of the talents of Theodore Eussel. — D. 
 
 3 [These dates are only approximate, the exact dates are not known. — W.] 
 
 4 The^ family of Mytens has produced several portrait painters of great merit. 
 The subject of the present memoir is Daniel Mytens, the elder, his son of the same 
 names, was not born before 1636. — D. 
 
216 PAINTEES IN THE REIGN OF JAMES I. 
 
 I found the minute of the docket warrant for this 
 among the Conway papers in these words : 
 
 The office of one of his majesty's picture-drawers in 
 ordinary, with the fee of 20?. per ann. graunted to Daniell 
 Mitens during his life. Subscribed by order from the 
 Lord Chamberlain. Procured by Mr. Endimyon Porter, 
 May 30, 1625, 
 
 And among the same MSS. is the following docket- 
 warrant : 
 
 July 31, 1626. A warrant to the exchequer to paie 
 unto Daniel Mittens his majesty's picturer the somme of 
 12 5 1, for divers pictures by him delivered to sondry per- 
 sons by his majesty's special direction. By order of the 
 Lord Chamberlain e of his majesty's household, procured 
 by the Lord Conway. 
 
 At Hampton-court are several whole lengths of princes 
 and princesses of the house of Brunswick-Lunenburgh,and 
 the portrait of Charles Howard, Earl of Nottingham ; 1 at 
 Kensington is Mytens's own head. At Knole, Lionel 
 Cranfield, Earl of Middlesex, lord treasurer, with his white 
 staff ; whole length. A small bell on the table has these 
 letters, D.M.F. 1623. It was more common 2 for him to 
 paint a slip of paper on his pictures, inscribed only with the 
 names or titles of the persons represented. At Lady Eliza- 
 beth Cermayn's, at Drayton, is a very fine whole length of 
 Henry Rich, Earl of Holland, in a striped habit, with a 
 walking stick. At St. James's 8 is Jeffery Hudson, the 
 Iwarf, 4 holding a dog by a string, in a landscape, coloured 
 vvarmly and freely, like Snyder or Rubens. Mytens drew 
 bhe same figure in a very large picture of Charles I. and his 
 
 1 A repetition, with a view in a forest. Worksop Manor. — D. 
 
 2 This date, 1623, is sufficient to prove that he was then in England. That 
 lone of his works remaining here were painted after 1630, is by no means ascer- 
 ained. If his jealousy of Vandyck's reception by the king were the cause of his 
 departure, it could not have taken place before 1632. But it is said that he 
 ielded to the royal entreaties to prolong his residence. He probably did not 
 e-establish himself at the Hague before 1634. — D. 
 
 3 The picture of the Queen of Scots, at St. James's, is a copy by Mytens. 
 
 4 There is a repetition of this picture at Holyrood-house. In another picture, 
 ormerly at St. James's, he is drawn as walking under tall trees. 
 
 His portrait is at Wentworth castle, and in the large picture of Queen Henrietta, 
 :opied from Vandyck, at Petworth, he is ludicrously introduced with a marmoset 
 nonkey on his shoulder, which he holds by a silk string. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 217 
 
 queen, which was in the possession of the late Earl of 
 Dunmore; but the single figure is much better painted. 
 The history of this diminutive personage was so remarkable 
 that the reader will, perhaps, not dislike the digression. 
 
 He was born at Oakham, in Eutlandshire, in 1 61 9 ; and 
 about the age of seven or eight, being then but eighteen 
 inches high, was retained in the service of the Duke of 
 Buckingham, who resided at Burleigh-on-the-hill. Soon 
 after the marriage of Charles I., the king and queen being 
 entertained at Burleigh, little J effery was served up to table 
 in a cold pie, and presented by the duchess to the queen, 
 who kept him as her dwarf. From seven years of age till 
 thirty he never grew taller ; but after thirty he shot up to 
 three feet nine inches, and there fixed. Jeffery became a 
 considerable part of the entertainment of the court. Sir 
 William Davenant wrote a poem called J effreidos, on a 
 battle between him and a turkey-cock; 2 and in 1638 was 
 published a very small book, called The New Years Gift? 
 presented at court from the Lady Parvula to the Lord Mini- 
 mus (commonly called little Jeffery) her majesty's servant, 
 &c, written by Microphilus, with a little print of Jeffery 
 prefixed. Before this period Jeffery was employed on a 
 negotiation of great importance ; he was sent to France to 
 fetch a midwife for the queen, and on his return with this 
 
 1 See Fuller and Wright's Rutlandshire. 
 
 2 The scene is laid at Dunkirk, and the midwife rescues him from the fury of 
 his antagonist. 
 
 3 A small print of Jeffery Hudson is prefixed to a very diminutive and ex- 
 tremely rare book, with the title above-mentioned, to which is added, " With a 
 letter penned in short-hand, wherein is proved, that little things are better than 
 great. Written by Microphilus, 12mo, 1636." There are verses to his high and 
 mighty friend William Evans, surnamed the Great Porter. 
 
 " Well — be not angrie this small book is read 
 In praise of one, no bigger than thy head," &c. 
 
 The dedication presents to us a complete specimen of what was then called the 
 euphuistic style of writing, so much admired. 
 
 " To the most exquisite epitome of nature, and the complete st compendium of a 
 courtier, the Lady Parvula wished health and happinesse, &c. 
 
 "Goe on, goe on therefore diminutive Sir ! with the guide of honour, and the 
 service of fortune ; your lovelinesse being such, as no man can disdaine to serve 
 you— your littleness such, as no man can need to feare you ; so the first having put 
 you without hatred, the latter below envy, &c. 
 
 "Minde not — minde not, most perfect abridgement of nature, the great neglect 
 which the ignorant vulgar cast upon littlenesse, since it hath made you attendant 
 upon Royaltie." — D. 
 
218 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 gentlewoman, and her majesty's dancing-master, and many 
 rich presents to the queen from her mother, Mary de' Me- 
 dici, he was taken by the Dunkirk ers. 1 Jeffery, thus made 
 of consequence, grew to think himself really so. He had 
 borne with little temper the teazing of the courtiers and 
 domestics and had many squabbles with the king's gigantic 
 porter; 2 at last, being provoked by Mr. Crofts, a young 
 gentleman of family, a challenge ensued, and Mr. Crofts 
 coming to the rendezvous armed only with a squirt, the 
 little creature was so enraged that a real duel ensued, and 
 the appointment being on horseback, with pistols, to put 
 them more on a level, J effery, with the first fire, shot his 
 antagonist dead. This happened in France, whither he had 
 attended his mistress in th e troubles. He was again taken 
 prisoner by a Turkish rover, and sold into Barbary. He 
 probably did not long remain in slavery ; for at the begin- 
 ning of the civil war he was made a captain in the royal 
 army, and in 1 644 attended the queen to France, where he 
 remained till the Restoration. At last, upon suspicion of 
 his being privy to the Popish plot, he was taken up in 1682, 
 and confined in the gate-house, Westminster, where he 
 ended his life, in the sixty-third year of his age. 
 
 My tens remained in great reputation till the arrival of 
 Vandyck, 3 who being appointed the king's principal painter, 
 
 1 It was in 1630. Besides the present he was bringing for the queen, he lost to 
 the value of 2,500Z. that he had received in France on his own account from the 
 queen -mother and ladies of that court. 
 
 2 A bas relief of this dwarf and giant is to be seen fixed in the front of a house 
 near the end of Bagnio-court, on the east side of Newgate-street. Probably it was 
 a sign. Oliver Cromwell, too, had a porter of an enormous height, whose standard 
 is recorded by a large O on the back of the terrace at Windsor, almost under the 
 window of the gallery. This man went mad and prophesied. In Whitechapel was 
 a sign of him, taken from a print of St. Peter. 
 
 3 To the very short list given by Walpole, we may be authorised in adding the 
 following portraits : — 
 
 1. Himself and family. Mereworth- castle, Kent. 
 
 2. Count Mansfeldt, in armour, (w.l.) Royal Collection. 
 
 3. William, first Earl of Devon. Chatsworth. 
 
 4. Henry, Prince of Wales. Hampton-court. 
 
 5. James, Duke of Richmond, (w.l.) Windsor; Warwick-castle. 
 
 6. G. Yilliers, Duke of Bucks, (w.l.) Gorhambury ; Royal Collection. 
 
 7. James, Marquis of Hamilton, (w.l.) Hamilton-palace. 
 
 8. Anne, Countess of Dorset. Knole. 
 
 9. W., Earl of Pembroke, Royal Collection; with a view of Wilton. Wilton. 
 
 10. Himself and wife. Woburn. 
 
 11. The same. Kensington. 12. C. Howard, 
 
PAINTERS IN THE REIGN OP JAMES I. 219 
 
 the former, in disgust, asked his majesty's leave to retire to 
 his own country ; but the king, learning the cause of his 
 dissatisfaction, treated him with much kindness, and told 
 him that he could find sufficient employment both for him 
 and Vandyck; Mytens consented to stay, and even grew 
 intimate, it is probable, with his rival, for the head of 
 Mytens 1 is one of those painted among the professors, by 
 that great master. 2 
 
 Whether the same jealousy operated again, or real decline 
 of business influenced him, or any other cause, Mytens did 
 not stay much longer in England. We find none of his 
 works here after the year 1630 ; yet he lived many years 
 afterwards. Houbraken quotes a register at the Hague, 
 dated in 1656, at which time it says Mytens painted part 
 of the ceiling' of the town-hall there j the subject is, Truth 
 writing history on the back of Fame. 
 
 These were the most considerable painters in oil in the 
 reign of James. There were, undoubtedly, several others 
 of inferior rank, whose names are not come down to us, 
 except two or three ; and of one of those I find nothing 
 but this short note from Baglione : — Christofano Eoncalli 3 
 pittore, andb per la Grermania, per la Fiandra, per TOlanda, 
 
 12. C. Howard, Earl of Notts, (w.l.) Royal Collection. 
 
 13. H. Wriothesley, Earl of Southampton. Althorp. 
 
 14. Lionel Cranfield, Earl of Middlesex. Knole. 
 
 15. Frances, Duchess of Eichmond. Duff-house, Scotland. 
 
 ' 16. Philip, Earl of Pembroke, with a view of Wilton. Strawberry-hill.* 
 
 17. Charles I. and Queen Henrietta, with Prince Charles, as an infant, seated on 
 a velvet cushion. Charlton-house. 
 
 18. Ernest Augustus, Elector of Brunswick, (w.l.) Hampton-court. 
 
 19. His duchess, [w.l.) Ditto. 
 
 20. Duke of Richmond, Ludovicus Richmondise et Lenoxise Dux 1623, set. 
 LIX. D. Mytens Fee. Buckingham-house. 
 
 21. Jerome Weston, Earl of Portland. Grimsthorp. — D. 
 
 1 In some of the first impressions the name of Isaac appears in this plate, instead 
 of Daniel. It was corrected afterwards. 
 
 2 Imagines 100 ab Antonio Vandyck depictoz et partim a seipso aqua forti 
 
 exaratce. Antv. 1650. Vanden Enden. — D. [The Centum Icones were published 
 
 by Giles Hendrix, at Antwerp, in 1645, under the following title : — Icones Prin- 
 cipum, Virorum Doctorum, Pictorum, Chalcograpliorum, Statuariorum, nec non 
 Amatorum pictorice artis numero centum ab Antonio Vandyck pictore ad tiivum 
 expresses ejusq. sumptions oeri incisoz. — W. 
 
 3 Notices of Christofano Roncalli delle Pomerance, are found in Baglione ; and 
 in Lanzi. He was a superior artist in fresco. He was engaged in no similar work 
 in England, and was probably merely a traveller. — D. 
 
 [Sold at the sale of 1842, for 82 guineas.— -W.] 
 
220 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 per ringhilterra, per la Francia j e finalmente carico d'ho- 
 nori, e di [richezze, di] 74 anni fini il corso [della sua 
 vita — 14 di Maggio] 1626. 1 I should not mention such 
 slight notices, but that they may lead to farther discoveries. 
 Another was a more remarkable person, especially in the 
 subsequent reign j but in a work of this nature it is 
 impossible not to run the subjects of one chapter into those 
 of another, taking care, however, to distribute them as they 
 serve best to carry on the chronologic series. His name 
 was 
 
 KOBERT PEAKE. 
 
 The earliest mention of him that appears is in the books 2 of 
 the Lord Harrington, treasurer of the chambers, No. 78, 79, 
 being accounts of moneys received and paid'by him : — 
 
 Item, paid to Robert Peake, 3 picture-maker, by warrant 
 from the council October 4, 1612, for three several pictures 
 made by him at the commandment of the Duke of York his 
 officers, and given away and disposed of by the duke's 
 grace, twenty pounds. 
 
 It does not appear whether these pictures were in oil or 
 water-colours j I should rather suppose portraits in minia- 
 ture of (King Charles I. then) Duke of York ; but that 
 Peake painted in oil is ascertained by Peacham, in his Booh 
 of Limning , where he expressly celebrates his good friend 
 Mr. Peake,* and Mr. Marquis, 5 for oil-colours. Peacham 
 
 1 He died at Rome. 
 
 2 They were in the collection of the latk Dr. Rawlinson. 
 
 3 Mr. Pennant, in his Tour to Scotland, vol. ii. p. 12, mentions a family picture 
 done by one Tobias RatclifTe, but by the account he was rather a picture-maker 
 than a painter, in this reign. 
 
 4 Peacham first published his Treatise on Drawing and Limning in 1634, 4to. ; 
 republished in 1662, 8vo. The information he gives is superficial ; but a larger 
 extract will convey his opinion as to the art and its professors at that period. 
 I? Nor must I be ungratefully unmindful of my own countrymen, who have been and 
 are able to equal the best, if occasion served, as old Mr. Hilliard, Mr. Isaac Oliver, 
 inferior to none in Christendom for the countenance in small, my good friend 
 Mr. Peake and Mr. Marquis for oyll colours, and many more unknown to me," 
 p. 310. He speaks of the principal patrons of painters. " The Earls of Arundel, 
 "Worcester, Southampton, Pembroke, SufTolke, and Northampton, with many 
 knights and gentlemen, to whom our painters are equally beholden. Now, lest 
 you should esteem over basely of this arte, and disdaine to have your picture 
 because you may have it for a trifle, which I account a fault in many of our good 
 workmen," &c. — D. 
 
 5 Of this man I find no other mention. 
 
PAINTERS IN THE REIGN OF JAMES t. 
 
 221 
 
 himself was a limner, as he tells us in the same book* 
 having presented a copy of his majesty's Basilicon Doron, 
 illuminated, to Prince Henry. 
 
 Peake was originally a picture-seller by Holborn-bridge, 
 and had the honour of being Faithorn's master, and, what 
 perhaps, he thought a greater honour, was knighted at 
 Oxford, 1 March 28, 1645. The disorders of the times 
 confounding all professions, and no profession being more 
 bound in gratitude to take up arms in the defence of King 
 Charles, Sir Eobert Peake entered into the service, and was 
 made a lieutenant-colonel, and had a command in Basing- 
 house when it was besieged, where he persuaded his disciple 
 Faithorn to enlist under him, as the latter in his dedication 
 of the Art of Graving to Sir Eobert expressly tells him, 
 and where Peake himself was taken prisoner. 2 He was 
 buried in the church of St. Stephen, London. 3 
 
 Miniature makes a great figure in this reign by the 
 lustre thrown on it by 
 
 PETER OLIVER, 
 
 (1594—1654,) 4 
 
 the eldest son of Isaac Oliver, and worthy of being compared 
 with his father. In some respects the son even appears the 
 greater master, as he did not confine his talent to single 
 heads. Peter copied in water-colours several capital pictures 
 with signal success. By the catalogues of King Charles I. 
 and King James II. it appears, that there were thirteen 
 pieces of this master in the royal collection, chiefly historic 
 miniatares ; seven of them are still preserved in Queen 
 Caroline's closet at Kensington. 5 At the Earl of Exeter's, 
 
 1 William Peak, Lord Mayor of London, was knighted in 1668 ; and John 
 Peak, his son, in 1701. — D. 
 
 2 See a letter from Oliver Cromwell to the Speaker of the House of Commons, 
 on the reduction of Basing-house. Printed in the Annual Register for 1761. 
 
 3 Payne Fisher's Catalogue of Monuments. 
 [ 4 These dates are approximate only. — W.] 
 
 5 Isaac and Peter Oliver employed themselves so frequently upon the same 
 picture, particularly after the former had grown old, that it becomes a difficult 
 task to attribute some of their works exclusively to either. Vanderdoort, in his 
 catalogue of King Charles's collection gives thirteen pieces to Isaac Oliver, and 
 fourteen to his son ; by whom were most of the copies from Titian and Correggio. 
 
222 PAINTEHS TN THE KEIGN OF JAMES I. 
 
 at Burleigh, is the story of Venus and Adonis, painted by- 
 Peter, and dated 1631. Vertue mentions another, which 
 was in Mr. Halsteds sale in May, 1726 ; it represented 
 Joseph, the Virgin, and the Child, asleep, eight inches wide 
 and five high. On it was written his name, with the ter- 
 mination French, P. Olivier fecit, 1628. Another piece, 
 a fine drawing in Indian ink, was copied by him from a 
 picture of Kaphael, in the collection of King Charles, St. 
 John presenting a cross to the Child, kneeling before the 
 Virgin. The original was sold after the King's death to 
 the Spanish ambassador for 6001. J erome Laniere bought 
 Peter's drawing, and sold it for 20 guineas to Mr. John 
 Evelyn, from which it came to the present Sir John Evelyn. 
 The Duke of Devonshire has the portrait of Edward VI. 
 when an infant, the drapery highly ornamented and finished ; 
 a copy from Holbein. 1 Lady Elizabeth Germayn has, at 
 Drayton, the Madonna and Child. The finest work of 
 Peter Oliver, in my opinion, is the head of his own wife, 2 
 
 The whole collection of limnings and miniature portraits ly Holbein, Hilliard, the 
 Olivers, Hoskins, &c. amounted to seventy-five, of a size varying from two to seven 
 inches in diameter. Some of these had been preserved from the dispersion ordered 
 by the parliament, or had been re-purchased ; as the whole number in Chiffmch's 
 Catalogue of Pictures, belonging to King James II. was increased to seventy-one, of 
 which thirty were by the Olivers ; and among them were singularly fine heads of 
 P. Oliver and Laniere, by the first-mentioned. Seven only of the historical subjects 
 by him have descended to the present Koyal Family, and were preserved in Queen 
 Caroline's cabinet, at Kensington, — D. 
 
 1 In the first edition, I, by mistake, ascribed this to Isaac Oliver, but Peter's 
 mark is upon it. 
 
 2 She had likewise, a head of Christ, of exquisite workmanship. Mr. West had 
 Sir Philip Sydney in armour, a servant holding his war-horse, and Lord Burleigh, 
 copied by I. Oliver in water colours. 
 
 In the sale of the late Earl of Besborough, in 1801, there were three copies from 
 Titian and Corregio, of Venus, Venus sleeping, and with Mercury and Cupid, by 
 Peter Oliver, from Dr. Mead's collection. Those in Dr. Mead's collection were 
 mostly purchased for Frederick, Prince of Wales. 
 
 Independently of the celebrated collection of the Digby family, which will be 
 next mentioned, Walpole had previously collected the following, (with the exception 
 of two, by Isaac Oliver,) which have not been yet adverted to, (vol. i. p. 299.) 
 
 1. Elizabeth, Queen of Bohemia, <p. [Bought at the Strawberry-hill sale, by 
 
 the Earl of Derby, for 13 guineas. Purchased from the collection of Lady Isabella 
 Scott, daughter of the Duchess of Monmouth. — W.] 
 
 2. Charles Howard, Earl of Notts. [Bought by the Duke of Buckingham 
 
 for 151. 4s. 6d.— W.] 
 
 3. Isaac Oliver, by himself. <£. [Bought at the Strawberry-hill sale, by the 
 
 Earl of Derby, for 20 guineas ; it was formerly in the collection of Mr. Barrett, of 
 Lees, in Kent. — W.] 
 
 4. Peter Oliver, profile, in black lead, from a leaf of his own pocket-book, and 
 his wife full faced on the other side.— — [Bought at the Strawberry -hill sale, by the 
 
PAINTERS IN THE HEIGN OF JAMES I. 
 
 223 
 
 in the cabinet of the Duchess of Portland : it is life itself. 
 I doubt whether his father ever excelled this piece. I have 
 a head of the same woman drawn in black lead on the leaf 
 of a vellum pocket-book ; on the reverse is his own portrait 
 in profile : both masterly ; and in black and red chalk. 
 I have a boy's head, larger than he generally painted, of 
 great nature and vivacity. At Kensington, below stairs, is 
 the portrait of Peter Oliver, by Hanneman, who painted 
 the wife too ; but I know not where the latter is. 1 
 
 Earl of Derby, for 51. 15s. 6d. It was formerly in the possession of Vertue, the 
 engraver. — W. ] 
 
 5. Queen Anne of Denmark, and another lady, in one frame. — [Bought at the 
 Strawberry-hill sale by the Duke of Buckingham, for 10 J guineas. — W.] 
 
 6. Francis Howard, Countess of Essex and Somerset, (p. [Bought at the 
 
 Strawberry -hill sale, by the Earl of Derby, for 18 guineas. — W.] 
 
 7. Sir Anthony Shirley, Ambassador from the Sophy of Persia, to King James I. 
 
 dress— half English, half Persian. [Bought by William Blannie, Esq., for 17 
 
 guineas. — W.] 
 
 8. Elizabeth, Queen of Bohemia, (another.) Sold at the Strawberry -hill sale, 
 
 foi 8 guineas. — W.] 
 
 9. Sir Kenelm Digby, from Dr. Meade's collection, by Peter Oliver. [Sold 
 
 for 16 guineas. — W.] 
 
 10. Robert Cecil, Earl of Salisbury. [Sold for 13 guineas.— W.] 
 
 11. King James I. [Bought at the Strawberry-hill sale, by Robert Holford, 
 
 Esq. for 18 guineas. — W.] 
 
 12. Robert Devereaux, Earl of Essex. — D. [Bought by John P. Beaven, Esq. 
 
 for 34 guineas. — W.] 
 
 [An unfinished miniature of the earl was also sold at the sale ; it was bought by 
 the Earl of Derby, for 7 guineas. A miniature of the Lady Arabella Stuart, by 
 Isaac Oliver, was also sold at the Strawberry-hill sale, for 7 guineas. — W.] 
 
 1 Since this work was first published, a valuable treasure of the works of this 
 master and his father Isaac, was discovered in an old house in Wales, which 
 belonged to a descendant of Sir Kenelm Digby. The latest are dated 1633 ; but 
 being enclosed in ivory and ebony cases, and the whole collection locked up in a 
 wainscot box, they are as perfectly 1 preserved as if newly painted. They all re- 
 present Sir Kenelm and persons related to or connected with him. There are 
 three portraits of himself, six of his beloved wife at different ages, and three 
 triplicates of his mistress, all three by Isaac Oliver, as is Lady Digby's mother, 
 which I have mentioned before. But the capital work is a large miniature copied 
 from Vandyck, of Sir Kenelm, his wife and two sons, the most beautiful piece of 
 the size that I believe exists. There is a duplicate of Sir Kenelm and Lady Digby 
 from the same picture, and though of not half the volume, still more highly 
 finished. This last piece is set in gold, richly inlaid with flowers in enamel, and 
 shuts like a book. All these with several others I purchased at a great price, but 
 they are not to be matched. 
 
 W alpole's own Catalogue raisonne, of his unrivalled collection of the works of 
 the Olivers, chiefly portraits of the family of Sir Kenelm Digby, is subjoined as 
 published in the last edition of his works, v. ii. p. 421, 4to, 1798. 
 
 A frame with nine miniatures, viz.* 
 
 A young Bride, by Isaac Oliver. A Lady ; 
 
 * [These miniatures were sold at the Strawberry-hill sale, as follows : — 
 The miniature of Sir Kenelm Digby, after Vandyck, to Robert Holford. Esq. 
 for 170 guineas. 
 
 Venetia 
 
224 PAINTERS IN THE REIGN OF JAMES I. 
 
 It is extraordinary that more of the works of this 
 excellent master are not known, as he commonly made 
 
 A Lady ; behind her a red curtain. Both of the family of Digby, but not known. 
 
 Venetia Stanley, Lady Digby, aged nineteen, very beautiful, by Peter Oliver. 
 
 Sir Kenelm Digby and Lady Digby 3 after Vandyck ; by ditto, set in the form of 
 a book with covers of gold enamelled. 
 
 The same Lady Digby, as she was found dead in her bed ; by ditto, after ditto ; 
 set in gold enamelled black, on which behind is a sphere ; it seems to meau, that 
 the world was in mourning for her. Sir Kenelm was passionately fond of this lady, 
 who, Lord Clarendon says, was of extraordinary beauty and as extraordinary fame. 
 At Windsor is a whole length of her, by Yandyck, treading on serpents, to imply 
 that the stories told of her were the produce of malice. At Goathurst, where they 
 lived, are two busts of her in bronze ; on the pedestal of one are inscribed these 
 tender words, Uxorem vivam amare voluptas, defunctam religio. 
 
 Sir Kenelm Digby, when young ; by Peter Oliver, very fine.* 
 
 Lady Digby, again, most beautiful ; by ditto. 
 
 Lady Lucy Percy, daughter and co-heiress of Thomas, Earl of Northumberland, 
 who was beheaded, wife of Sir Edward Stanley, younger son of the Earl of Derby, 
 mother of Yenetia, Lady Digby ; by Isaac Oliver. She is still more beautiful than 
 her daughter, though dressed very unbecomingly, in a great black hat and large 
 ruff ; only set off by a lilac ground. This is perhaps the finest and most perfect 
 miniature in the world. All the seven last are wonderfully preserved, though 
 found in a garret in an old house in Wales, belonging to a Mr. Watkin Williams, 
 probably descended from Sir Kenelm, one of whose sons left only two daughters, 
 that were married into Welsh families. This set of pictures, with a few more less 
 fine, cost Walpole 300 guineas. 
 
 A Lady of the family of Digby, belonging to the set above-named, in a white 
 enamelled case. 
 
 THE SECOND PURCHASE. 
 
 Two boys, sons of Sir Kenelm Digby. Note, these and some Rafter-mentioned 
 pictures of the Digbys, were the other division of that collection, and were pur- 
 chased by Walpole of the lady who shared them with the other heir. [These two 
 
 miniatures were sold separately, at Strawberry -hill sale. One is dated 1632, and 
 was bought by Eobert Holford, Esq., for 10 guineas; the other was bought by 
 C. Wentworth Dilke, Esq., for 6 guineas. — W.] 
 
 Sir Kenelm Digby, his wife, and two sons ; by Peter Oliver, after Yandyck ; a 
 large miniature in the highest preservation, in an ebony case set with Wedgwood's 
 
 cameos. On the inside of the doors, two other ladies of the same set. [Bought 
 
 by Miss Burdett Coutts, for 230 guineas. — W.] Two 
 
 Yenetia Stanley, Lady Digby, the companion, after Yandyck, to Miss Burdett 
 Coutts, for 27 guineas. 
 
 A miniature of a Lady in a blue dress, one of the Digby family, to Eobert 
 Holford, Esq. for 10 guineas. 
 
 Lady Digby, as she was found dead in her bed, to the same, for 50 guineas. 
 
 Sir Kenelm Digby, when young, in a black slashed dress, to Miss Burdett 
 Coutts, for 4 guineas. 
 
 Lady Digby, with flowing hair, to the same, for 18 guineas. 
 
 Lady Lucy Percy, mother of Lady Yenetia Digby, in a black hat and ruff, which 
 was considered by Walpole to be the most perfect miniature in the world, to 
 Robert Holford, Esq. for 100 guineas. 
 
 The young Bride, to the same, for 9 guineas. — W.] 
 
 * An exquisite miniature of Sir K. Digby, when nineteen years old, was painted 
 at Yenice by Giovanna Garzoni, a very celebrated female artist (of whom, see 
 Lanzi, t. ii. p. 209). He returned to England in 1619. It now belongs to the 
 lady of Colonel Spicer, of Chelsea College, and bears a decided resemblance to the 
 portrait at Althorp, by C. Jansen. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 225 
 
 duplicates of his pictures, 1 reserving one of each for him- 
 self. 2 On this subject Eussel the painter, 3 related to or 
 connected with the Olivers, told Vertue a remarkable story. 
 The greater part of the collection of King Charles being dis- 
 persed in the troubles, among which were several of the 
 Olivers, Charles II. who remembered, and was desirous of 
 recovering them, made many inquiries about them after the 
 Restoration. At last he was told by one Rogers, 4 of Isle- 
 worth, that both the father and son were dead, but that the 
 sons widow was living at Isleworth, and had many of their 
 works. The king went very privately and unknown, with 
 Rogers, to see them : the widow showed several finished 
 and unfinished, with many of which the king being pleased, 
 asked if she would sell them : she replied, she had a mind 
 the king should see them first, and if he did not purchase 
 them, she should think of disposing of them. The king 
 discovered himself, on which she produced some more 
 pictures which she seldom showed. The king desired her 
 to set her price ; she said she did not care to make a price 
 with his majesty, she would leave it to him ; but promised 
 
 Two other ebony cases, set with Wedgwood's cameos. In one, a lady of the Digby 
 family, half length, after Vandyck, with a beautiful landscape ; by Peter Oliver. 
 
 Lady Catherine Howard, daughter of H. Fred. Earl of Arundel, and first wife of 
 John Digby, son of Sir Kenelm. 
 
 On the reverse, in the same enamelled frame, another lady of the family ; exqui- 
 sitely painted by Peter Oliver— probably the second wile of John Digby. 
 
 [Bought by Lord Northwick, for 21 guineas. — W.] 
 
 The singularly curious and valuable collection of portraits, and rare specimens 
 of English antiquity, which embellished and distinguished Strawberry-hill, of 
 Walpole's own creation, was bequeathed by him, to descend entire, to the present 
 possessor, John James, Earl of Waldegrave. — D. 
 
 1 Siv Andrew Fountaine lost many miniatures by a fire at White's original 
 chocolate house in St. James's-street, about thirty years ago, where he had hired 
 two rooms for a repository of part of his collection. Probably some of the works 
 of the Olivers, of Cooper, &c. were destroyed there. 
 
 2 Peter Oliver etched a few small histories, but Vertue does not specify the 
 subjects. 
 
 3 Anthony Russel, great nephew of Cornelius Jansen, as mentioned below. 
 
 4 Vertue says, he was very great at court ; it was probably Progers, well known 
 for being employed in the king's private pleasures. See Memoir es de Gfram- 
 mont. 
 
 Edward Progers was buried at Hampton in Middlesex, in 1714, aged ninety-one. 
 He had distinguished himself in early life, in the service of Charles I. ; and had 
 obtained the confidence of his successor upon many secret occasions, as he was a 
 groom of the bed-chamber. He possessed a gentleman's estate in Brecknockshire, 
 which county he long represented in Parliament. He is mentioned in the Mimoires 
 de Grammont, p. 188, where, in a note, Walpole remarks the singular cause of his 
 death, occasioned by a fever in cutting four new teeth, at the age of ninety-one. — D. 
 
 VOL. I. Q 
 
226 
 
 PAINTERS IN THE REIGN OF JAMES L 
 
 to look over her husband's books and let his majesty know 
 what prices his father, the late king, had paid. The king 
 took away what he liked, and sent Eogers to Mrs. Oliver 
 with the option of 1,000?., or an annuity of 3002. for her 
 life. She chose the latter. Some years afterwards it hap- 
 pened that the king's mistresses having begged all, or most 
 of these pictures, Mrs. Oliver, who was probably a prude, 
 and apt to express herself like a prude, said on hearing it, 
 that if she had thought the king would have given them to 
 such whores, and strumpets, and bastards, he never should 
 have had them. This reached the court, the poor woman's 
 salary was stopped, and she never received it afterwards. 
 The rest of the limnings which the king had not taken, fell 
 into the hands of Mrs. Kussel's father. 
 
 Peter Oliver, says Vertue, died about the year 1664, 
 aged near sixty ; but this must be a mistake, as his father's 
 drawing at Kensington, finished by his son, is dated 1616, 
 when by that account Peter was not above twelve years old. 
 From his age, and the story of his widow, it is more likely 
 that he died before the Restoration. Probably the date 
 1664 should be 1654. He was buried with his father, in 
 the Blackfriars. 
 
 As in none of these accounts mention is made of any 
 children of Peter Oliver, I conclude that Isaac Oliver, glass 
 painter, born in 1616, was son of the younger brother, 
 James. Among the verses printed by the University of 
 Cambridge, in 1638, on the death of Mr. Edward King, 
 Milton's Lycidas, one of the English copies is inscribed 
 Isaac Oliver, 1 who, I suppose, was the glass painter, and 
 then about the age of twenty-two, as appears from the fol- 
 lowing inscription on a painted window in Christ-church, 
 Oxford: J. Oliver, setat. suae 84, anno 1700, pinxit de- 
 ditque. 2 The story is St. Peter delivered out of prison, 
 
 1 Peck's Life of Milton, p. 36. 
 
 8 The inscription upon this window is " J. Oliver," which is not necessarily the 
 initial of " Isaac nor is there any proof that the execution of his gift did not 
 precede the year 1700. The finest specimen of his minute works, sun-dials with 
 flies, insects and butterflies, is (or was) at Northill in Bedfordshire, in the parlour 
 window of the rectory -house. This was probably a present to the rector, as Oliver 
 had been employed to make a window of exquisitely finished emblazoning, for the 
 chancel. Both are inscribed * ' John Oliver fecit 1664." One of his best perform 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 227 
 
 the drawing and execution good, but the colouring in some 
 parts faint. The long life of this person, 1 estimable for his 
 own merit and that of his family, served almost alone to 
 preserve the secret of painting on glass — a secret which, 
 however, has never been lost, as I shall show, in a moment, 
 by a regular series of the professors. The first interruption 
 given to it was by the Reformation, which banished the art 
 out of churches ; yet it was in some measure kept up in the 
 escutcheons of the nobility and gentry in the windows of 
 their seats. Towards the end of Queen Elizabeth it was 
 omitted even there, yet the practice did not entirely cease. 
 The chapel of Our Lady at Warwick was ornamented anew, 
 by Robert Dudley, Earl of Leicester, and his countess, and 
 the cypher of the glass painter s name yet remains, with the 
 date, 1574 ; and in some of the chapels at Oxford the art 
 again appears dating itself in 1622, by the hand of no con- 
 temptible master. I could supply even the gap of forty - 
 eight years by many dates on Flemish glass, but nobody 
 ever supposed that the secret was lost so early as the 
 reign of James L, and that it has not perished since will 
 be evident from the following series, reaching to the 
 present hour. 
 
 ances is a sun-dial, with the arms of Archbishop Sheldon, and a view of the Theatre, 
 Oxford, now in Lambeth-palace. This John Oliver was born in 1616, and was 
 probably the son of one of Isaac's younger sons, who were brought up as painters 
 in miniature, (for he speaks of them in his will as artists, ) and one of them, at 
 least, might have practised drawing, annealing, and staining upon glass. In the 
 beginning of the reign of James I. small portraits, oval, or round, and about five or 
 six inches by seven or eight in diameter, were much in usage ; of which there still 
 remain some curious specimens in different colleges, at Oxford. The Editor has 
 one much smaller, of Queen Elizabeth, which came out of a- parlour in Kent, in 
 which were likewise many iEsopian figures of animals placed singly in lozenges. 
 Aubrey, describing Lord Bacon's villa at Verulam, (vol. ii. p. 232,) says, u that the 
 glass windows of the gallery were all painted, and every pane with figures of beast, 
 bird or flower ; perhaps his lordship might use them as topiques for locall memory. " 
 
 The name of Oliver appears to have been connected with the arts from the time 
 of James I. to whom John Oliver was master-mason, buried in the church of St. 
 Faith, London. His descendant of the same names was one of the three com- 
 missioners for regulating the plan of rebuilding London after the fire of 1666. 
 Aubrey says, that he was the City Surveyor, and that he became possessed of a 
 great part of the MS. designs and sketches of Inigo Jones. — D. 
 
 1 After the fire of London he was employed, jointly with Mr. Hooke, in survey- 
 ing and laying out the ground for rebuilding the city. (See Biog. Britann. vol. 
 iv. p. 2654, marginal note.) There is a mezzotinto of Egbert Hemskirk, sold by 
 J. Oliver, at the Eagle and Child, on Ludgate-hill ; and another of James II. on 
 his throne, with addresses thanking him for his declaration of liberty of conscience, 
 — V, Granger's Catalogue of English Heads. 
 
 Q 2 
 
228 PAINTERS m THE REIGN OF JAMES L 
 
 The portraits in the windows of the library at All-souls, 
 Oxford. 1 
 
 In the chapel at Queens-college, twelve windows, dated 
 1518. 
 
 PC, a cypher on th*e painted glass in the chapel at War- 
 wick, 1574. 
 
 The windows at Wadham-college ; the drawing pretty 
 good, and the colours fine ; by Bernard van Linge, 1622. 
 
 In the chapel at Lincoln Vinn, a window with the name of 
 Bernard, 1623. This was probably the preceding Van Linge. 
 
 In the chapel at Wroxton, stories from the Bible, by 
 Bernard van Linge, 1632. 
 
 In Christ-church, Oxford, by Abraham van Linge, 1640. 
 
 In the church of St. Leonard, Shorediteh, two windows, 
 by Baptista Sutton, 1634. 
 
 The east window in the chapel at University-college ; 
 Hen. Giles 2 pinxit, 1687. There are eight or ten more, 
 dated 1640. 
 
 — at Christ-church, Isaac Oliver, aged eighty-four, 1700. 
 
 1 Walpole probably intended only a chronological notice, or he would not have 
 omitted two such memorable specimens as the windows in King's-college, Cam- 
 bridge, and at St. Margaret's, Westminster, in the reign of Henry VIII. The 
 present additions are made to render the series, in point of date, more complete. 
 
 After the Reformation in England, we may trace a new era of stained glass, which 
 may be said to have commenced with the seventeenth century. The prejudices of 
 the first reformers having relaxed in certain points, relative to the internal deco- 
 ration of churches, the introduction of so splendid a mass of ornament, and of one 
 *o congenial with the architecture still remaining, was no longer proscribed by a 
 positive injunction. Our commercial intercourse with the Low Countries, where 
 the arts had begun to flourish, and where a school for painting had been established, 
 facilitated the acquirement of stained glass, which, emerging from its rudeness, 
 now exhibited some regularity of design. During the reigns of Elizabeth and 
 James L, armorial bearings and small portraits in circles, were the usual decoration 
 of the bay windows in the great manorial halls ; but complete scriptural histories, 
 in which the figures were well designed and grouped, were rarely seen, excepting in 
 the two Universities, and in private chapels in the houses of the nobility. 
 
 About the middle of the reign of James I. , Bernard van Linge, a Fleming, is 
 supposed to have settled in England : but was, at all events, the father of glass 
 painting in its renewed and improved state, in this kingdom. 
 
 He stained scriptural subjects in Lincoln-college chapel, 1629, 1631. In the 
 Divinity School of Christ-church, Oxon. 1640. In the chapels of University and 
 Lincoln colleges, 1641. The three last-mentioned by Abraham van Linge, who 
 was more probably the brother than the son of Bernard, as he was competent to a 
 work of no inferior merit, in 1640. William Price, the elder, had a brother, Joshua 
 Price, who finished the windows at Queen's-college, Oxford, in 1717. His son, 
 William Price, stained the windows in Westminster-abbey, in 1735 ; and several at 
 New College, from Flemish cartoons. — D. 
 
 2 In Mr. Thoresby's museum was "the picture of Mr. Henry Gyles (called there) 
 the famous glass painter at York, wrote in mezzo tino by the celebrated Mr. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 229 
 
 Window in Merton-chapel, William Price/ 1700. 
 
 Windows at Queens, New-college, and Maudlin, by 
 William Price, the son, now living, whose colours are fine, 2 
 whose drawing is good, and whose taste in ornaments and 
 mosaic is far superior to any of his predecessors, is equal 
 to the antique, to the good Italian masters, and only 
 surpassed by his own singular modesty. 3 
 
 Francis Place, when that art was known to few others. Bought, with other 
 curiosities, of Mr. Gyles's executors." See Thoresby's Ducatus Leodiensis, p. 492. 
 
 1 He died in 1722. 
 
 2 He died a bachelor, at his house in Great Kirby-street, Hatton-garden, July 16, 
 1765. 
 
 Walpole here speaks of the taste for collecting stained glass upon its first appear- 
 ance ; and as his own at Strawberry-hill (which must now be comparatively con- 
 sidered as very inferior) contributed much to the introduction of it, among the 
 lovers of Gothic embellishment. 
 
 The Revolution in France forced the persecuted clergy to supply themselves with 
 the means of emigration from the private sale of the stained glass in their chapels. 
 Our English agents were particularly industrious to procure it, under the pressure 
 of such circumstances, and were great gainers. 
 
 The Editor inspected with interest most that was offered for public sale ; and 
 made notes of the new proprietors and application, as he has been able to authen- 
 ticate them. 
 
 A window — subject, the Nativity — was purchased by the Earl of Radnor, at 
 Algiers, in 1787, and by him replaced in the church of Coleshill, in Berkshire. 
 
 In consequence of the suppression of monasteries in Flanders, many chapels, 
 most richly ornamented with stained glass, were dilapidated and sold. Sir Brooke 
 Boothby, Bart., being at Liege, in 1800, purchased the glass, long celebrated, of the 
 chapel of Herkenrode, near that city, for 200Z., which has been erected, and now 
 fills seven large windows of the choir in the cathedral of Lichfield. The subjects 
 are scriptural, with emblazoned portraits of the Counts of Egmont and Horn. 
 Dates from 1532 — 1539. Initials of artists, &c. 
 
 A great importation of stained glass, collected in the Netherlands, was sold by 
 auction in London, in 1807, which was purchased by individuals and given to 
 churches. 
 
 The Meeting of Mary and Elizabeth, from the chapel of St. Nicholas, at Rouen, 
 bought by the Earl of Carlisle, and given to the cathedral of York, in 1804. 
 
 Christ before Pilate .... Ely Cathedral. 
 
 Evangelists and Prophets . . Tottenham Church. 
 
 Crucifixion Rickmansworth Church. 
 
 Life of St. Barbara .... Cholmondeley. 
 
 Another collection, not inferior to the above, was offered for sale in 1808. It 
 had been taken from the cathedral and other churches at Cologne, from the Car- 
 thusian monastery at Rouen, which consisted of twelve lights, en grisaille, describ- 
 ing the history of eremitism ; the Last Supper (1542), from St. John's-church, in 
 that city, and eleven large subjects, of most brilliant colouring, taken from a 
 chapel in the cathedral of Cologne. The works en grisaille were chiefly by the 
 Pinaigriers. 
 
 In a chapel at the Yine, Hants, is a series of stained glass brought from Boulogne. 
 The three upper tiers contain scriptural subjects, and the lower have the portraits 
 of Francis L, with his two wives, Claude and Margaret, and their tutelar saints. 
 Of smaller pieces, the finest collection made by Sir T. Neave, Bart., is now at his 
 seat, at Dagenham, Essex. — D. 
 
 2 It may not be unwelcome to the curious reader to see some anecdotes of th© 
 revival of taste for painted glass in England. Price, as I have said, was the only 
 
230 
 
 PAINTERS IN THE REIGN OF JAMES 1. 
 
 EDWARD NORGATE, 
 
 though of a very inferior walk in the profession, deserves 
 to be remembered for his uncommon excellence in his way. 
 He was son of Dr. Robert Norgate, master of Bennet- 
 college, Cambridge, where Edward was born. He was 
 brought up by Nicholas Felton, Bishop of Ely, who married 
 his mother, and who, observing his inclination to limning 
 and heraldry, permitted him to indulge his genius. 1 As 
 
 painter in that style for many years in England. Afterwards, one Rowell, a 
 plumber at Reading, did some things, particularly for the late Henry, Earl of 
 Pembroke ; but Rowell's colours soon vanished. At last he found out a very durable 
 and beautiful red ; but he died in a year or two, and the secret with him. A man 
 at Birmingham began the same art, in 1756 or 57, and fitted up a window for Lord 
 
 Lyttelton, in the church of Hagley, but soon broke. A little after him one Peckitt, 
 at York, began the same business, and has made good proficience. A few lovers 
 of the art collected some dispersed panes from ancient buildings, particularly the 
 late Lord Cobham, who erected a Gothic temple at Stowe, and filled it with arms 
 of the old nobility, &c. About the year 1753, one Asciotti, an Italian, who had 
 married a Flemish woman, brought a parcel of painted glass from Flanders, and 
 sold it for a very few guineas to the Hon. Mr. Bateman, of Old Windsor. Upon 
 that I sent Asciotti again to Flanders, who brought me 450 pieces, for which, 
 including the expense of the journey, I paid him 36 guineas. His wife made more 
 journeys for the same purpose, and sold her cargoes to one Palmer, a glazier in 
 St. Martin' s-lane, who immediately raised the price to one, two, and five guineas 
 for a single piece, and fitted up entire windows with them, and with mosaics of 
 plain glass of different colours. In 1761, Paterson, an auctioneer at Essex-house 
 in the Strand, exhibited the first auctions of painted glass, imported in like manner 
 from Flanders. All this manufacture consisted in rounds of scripture-stories, 
 stained in black and yellow, or in small figures of black and white, birds and 
 flowers, in colours, and Flemish coats of arms. 
 
 1 In very early life, he discovered considerable talents for minute drawing, and 
 designing ornamental scrolls for the embellishment of MSS. He was Clerk of the 
 Signet to King Charles the First, whom he attended into Scotland in 1640. 
 Fuller says, that the Bishop, finding him inclined to limning and heraldry, per- 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 231 
 
 he had good judgment in pictures, he was sent into Italy 
 by the great collector, Thomas, Earl of Arundel, to make 
 purchases for him ; but, returning by Marseilles, and by 
 some accident being disappointed of the remittances he 
 
 mitted him to follow his fancy therein. It does not appear that he remained long 
 enough at Cambridge to have taken any degree, or to have applied himself to any 
 of the learned professions. In pursuit of that branch of the arts to which his 
 genius more particularly led him, he came to London, and soon connected himself 
 with the eminent painters who were patronised by Charles I. To the Royal 
 Gallery, and to those of Lord Arundel and the Duke of Buckingham, at that 
 period, containing the finest collection of foreign pictures, before their dispersion 
 on the Continent, he had constant access. Norgate soon obtained the patronage of 
 Thomas, Earl of Arundel, the father of vertu in England, and it is presumed that 
 he was domesticated at Arundel-house. In 1633, he was appointed by Lord 
 Arundel, as Earl Marshal, Windsor Herald, in the College of Arms, and soon after, 
 "Illuminator of Royal Patents," some of which are still preserved by noblemen to 
 whom they were granted, and are indeed exquisite specimens of beautiful design 
 and finishing, upon vellum, inferior in no great degree, to the elaborate bordures 
 which enclose the miniatures of Giulio Clovio. With such excellence and facility 
 of pencil, it is a fair conjecture that he made many small limnings from the 
 Arundelian collection, (a kind of drawing in which the Earl is said to have taken 
 great delight,) but from their evanescence or other causes, I know of none now 
 extant. He instructed Lord Arundel's sons, Henry- Frederick and William, after- 
 wards the unfortunate Viscount Stafford, in his elegant art. Thus having, from 
 superior opportunities, acquired a correct knowledge of masters, and become inti- 
 mately conversant with the theory of painting, Lord Arundel, sent him with a 
 confidential commission to purchase pictures for him on the Continent, as he had, 
 with similar directions, for William Petty, an uncle of the celebrated Sir William, 
 the founder of the Lansdowne family, to the Levant, to procure marbles, many 
 of which are now to be seen at Oxford. 
 
 Fuller relates a story as received from himself, that Norgate, when returning to 
 England, was detained at Marseilles ; and having exhausted his purse, a misfortune 
 which Lord Orford rather uncandidly seems to attribute to his patron's intentional 
 neglect of him, used frequently to walk for several hours in a public part of the 
 city, with a most dejected air. A merchant who had often observed him, told him 
 that so much walking would soon have brought him to the end of his journey; 
 when Norgate confessed his inability to proceed for want of money. Without 
 delay money was advanced him, by which he might pursue his route through 
 France on foot. That a nobleman like Lord Arundel, who expended princely 
 estates in the pursuits of the arts should have wilfully exposed an agent of so 
 much merit, and of whom he entertained the greatest favour, is not to be credited : 
 and the extreme difficulty, at that time, of remitting small sums from one distant 
 part of the Continent to another, must be likewise taken into the account. Fuller 
 has asserted, ''this story is his own relation." Previously to his leaving England, 
 he was promoted, without intermediate step, to be Windsor Herald, of which office 
 he was, with several of his loyal brethren, deprived, before the execution of the 
 king, in 1648. It is erroneously stated by Fuller, that he died at the Herald's 
 College, in 1650. The MS. which has been quoted in these notes for the first 
 time, is now in the Bodleian Library, Oxon. {Rawlinson and Willis, No. 326,) and 
 is entitled, Miniature, or the Art of Limning, by Edward Norgate, dedicated to 
 Henry Frederick, Earl of Arundel, and dated July 8, 1654. It is a thin folio, 
 very fairly written with his own hand, and commences thus : " There are now 
 more than twenty years past, since at the request of that learned physician, 
 Sir Theodore May erne, I wrote the ensuinge discourse." Fuller's date of his death, 
 therefore, is inaccurate, although it does not appear that he lived to regain his 
 station, under Charles II. Loyd {Loyalists) says that he left several MSS. ready 
 for the press, which were never printed. — D. 
 
232 
 
 PAINTERS IN THE KEIGN OF JAMES I, 
 
 expected, and totally unknown there, he was observed by a 
 French gentleman to walk many hours every day on the 
 cours in a disconsolate manner. The gentleman inquiring 
 into his circumstances, told him, that, perceiving he was 
 able to walk at least twenty miles a day, if he would set 
 out on his journey homewards, he would furnish him hand- 
 somely for a footman, by which assistance Norgate arrived 
 in his own country. 1 Among the accounts of the Lord 
 Harrington quoted above, is the following entry : — 
 
 Paid to Edward Norgate, by warrant from the council, 
 April 24, 1613, for his paynes taken to write and lymne 
 in gold and colours certain letters written from his majesty 
 to the kiDg of Persia, the sum of ten pounds. 
 
 These letters w 7 ere undoubtedly in answer to those 
 brought by that singular adventurer, Sir Anthony Shirley, 
 ambassador from the Sophy to his own sovereign. 
 
 The warrant for restoring the use of the old English 
 march, which I have set forth in the Catalogue of Noble 
 Authors, was illuminated by this person; but the best 
 evidence of his abilities is a curious patent lately discovered. 
 The present Earl of Stirling received from a relation an old 
 box of neglected writings, among which he found the 
 original commission of Charles L, appointing his lordship's 
 predecessor, Alexander, Earl of Stirling, commander-in- 
 chief of Nova Scotia, with the confirmation of the grant 
 of that province made by James I. In the initial letter are 
 the portraits of the king sitting on the throne, delivering 
 the patient to the earl, and round the border representa- 
 tions, in miniature, of the customs, huntings, fishiDgs, and 
 productions of the country, all in the highest preservation, 
 and so admirably executed, that it was believed of the pencil 
 of Vandyck. But as I know no instance of that master 
 having painted in this manner, I cannot doubt but that it 
 was the work of Norgate, allowed the best illuminator of 
 that age, and generally employed, says Fuller, to make the 
 initial letters in the patents of peers and commissions of 
 ambassadors. 2 Fuller concludes his account of him in 
 
 1 Fuller'is Worthies in Cambridgeshire. 
 
 2 In this very curious and delicate art, a legitimate branch of the ancient 
 limning or illumination as used in MSS., Norgate found an equal in Henry Lilley. 
 
PAINTERS IN THE REIGN OF JAMES L 
 
 233 
 
 these words : "He was an excellent herald by the title of 
 
 / and, which was the crown of all, a right honest 
 
 man. Exemplary his patience in his sickness (whereof I 
 was an eye-witness) though a complication of diseases, 
 stone, ulcer in the bladder, &c. seized on him/' He died 
 at the Herald s-office, Dec. 23, 1650. 
 
 SOLOMON DE CAUS, 
 
 a Gascon, was Prince Henry's drawing master. All 2 we 
 know of him is, that in 1612, the year of the prince s death, 
 he published a book, entitled, La Perspective, ou Raison 
 des ombres et miroirs, with several engraved plates, folio. 3 
 It is addressed from Kichmond-palace to Prince Henry, 
 
 an officer likewise of the College of Arms, as Rouge Dragon Pursuivant. His 
 extraordinary skill had recommended' him to the patronage of the Earl of Arundel. 
 For that nobleman he had compiled a sumptuous folio MS. of the genealogy of 
 the Howards, enriched with armorial designs, sepulchral monuments, small 
 portraits, and almost every other decoration which could be applied to such a 
 composition by skill and taste. It appears, from the beautiful frontispiece, that it 
 is entitled, The Oenealogie of the Princelie Familie of the Hoviards, &c. collected 
 and disposed by Hen. Lilly Rouge Dragon, 1638. He died in that year, having 
 lived only to finish this work. After his death, his executors demanded for it, of 
 Lord Arundel, a sum which he declined to give, and it was retained in his family, 
 until his surviving daughter sold it to the Earl of Northampton. It is now in a 
 most perfect state, and is preserved in the library of the Marquis of Northampton, 
 at Castle-ashby, Northamptonshire. Aubrey mentions (vol. ii. p. 329), that Sir 
 Kenelm Digby had a large book most exquisitely embellished, and probably either 
 by Norgate or Lilly. "Mr. J. Digby, (son of Sir Kenelm,) brought me a great 
 book, as big as the biggest church Bible I ever saw, and the richliest bound, bossed 
 with silver, and engraven with scutcheons and crest. It was the historye of the 
 Digbyes, which Sir Kenelme had ordered to be done. There was inserted all that 
 was to be found, anywhere, relating to them, out of recordes, the Tower rolls, &c. ; 
 all the church monuments are most exquisitely limned, by some rare artist. He 
 told mee that the compileing of it did cost his father a thousand pounds. When 
 Mr. J. Digby did me the favour to show me this rare MS., ' This booke,' sayd 
 he * is all that 1 have left me of all tire estate that was my father's.' " — D. 
 
 1 It is extraordinary that Fuller, who was acquainted with him, did not know 
 the title of his office. It appears by the warrant for the march, that Norgate was 
 Windsor Herald. He was also Clerk of the signet. — V. Masters' s Hist, of Corpus 
 Christi Coll. Camb. p. 118. 
 
 2 I have learnt that the front of Wilton by Inigo Jones was conducted by this 
 De Caus. 
 
 De Caux, or Caus, was employed by Henry, Prince of Wales, in making addi- 
 tions to the palace at Richmond, before 1612. It was a picture gallery, which was 
 afterwards furnished by his brother, Charles I. It appears from Archceolog. vol. xv. 
 p. 17, that De Caus had been paid 2,826Z. l§\d. on account of these works, and there 
 remained due to him, when the prince died in 1614, 303?. 13s. 6d. In the Lans- 
 downe M8S., No. 446, Brit. Mus., is an account of moneys issued to Solomon de 
 Caus, for works at Greenwich and Somerset-gardens, in 1612. — D. 
 
 3 From prints in that book I should think that he was brother of Isaac de Caus, 
 and assisted him in building the porticos and loggias of Gorhambury, and at least 
 part of Camden-house, near Kensington. 
 
234 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 after he had been, as he tells his highness, two or three 
 years in his service ; and another tract in folio, on mechanic 
 powers, 1628. 
 
 This young prince was a great lover of the arts, and laid 
 the foundation of the collection, which his brother complet- 
 ed. The medals were purchased by him, and Vanderdoort, 
 in his Catalogue, mentions several statues 1 and pictures 
 which King Charles inherited from Prince Henry. In the 
 Appendix to Birch's life of this prince are several letters 
 from Sir Edward Conway, in one 2 of which he mentions 
 having bought a picture of the Four Evangelists, whom 
 he calls affectedly, the most faithfully glorious, and excellent 
 secretaries that ever were to the infinite incomprehensible 
 Prince ; desiring Mr. Adam Newton, secretary to the most 
 hopefull, "power full, and glorious earthly Prince, to present 
 it to his Eoyal Highness ; and in others is much talk of a 
 negotiation in which he was employed by the same prince 
 to engage an eminent painter of Delft to come to England. 
 This was Mireveldt, who had many solicitations afterwards 
 from King Charles on the same head ; but none succeeded. 
 The printed letters are from the Harleian MSS. and describe 
 Mireveldt as very fantastic and capricious. Mr. West has 
 two others, one from Mireveldt to Sir Edward Conway, the 
 other from Sir Edward, in which appears the cause of 
 Mireveldt's uncertainty ; 3 he was afraid of being stayed in 
 
 1 V. Brit. Topogr. vol. ii. 375. 
 
 2 "1636, the king's statues placed at this instant round his Majesties cabanet 
 roome, being in number 36. Eighteen little statues in bronze came from Prince 
 Henry." Vanderdoort's MS. Catal. Harl. Brit. Mus. As the last mentioned 
 were by Franc. Fanelli, they will be hereafter particularised. 
 
 The medals and gems, amounting in the whole to 1,200, were purchased of the 
 executors of Abraham Gorlee, (the author of the Dack/lotheca, (for Prince Henry. D. 
 
 3 All the foreign biographers declare positively, that Michael J arisen Mireveldt 
 (as he is called in Charles the First's Catalogue) was never in England. We know 
 that several other painters are said to have never been in this country, who can be 
 proved to have been so, during two or three years ; and a difficulty occurs, how to 
 account for so many of his genuine portraits of Englishmen, now preserved in 
 England ? He is said to have been employed in copying portraits, by Holbein, in 
 English collections, whose touch he had successfully acquired. The originals must 
 have been sent to him, as perhaps in other instances. His son, Peter Mireveldt 
 imitated him very nearly, and died young, in 1632. Did he come to England ? 
 By the hand of Mireveldt are portraits of William, first Earl of Devon, at Chats- 
 worth, G. Villiers, Duke of Bucks, and of Lord Arundel and his countess. His 
 own portrait was in the collection of King James II. At Coombe-abbey, Warwick- 
 shire, is a head by himself ; and a whole-length of Henry, Prince of Wales, a 
 landscape seen through a window. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 235 
 
 England by authority, and stipulated that he should have 
 liberty to return in three months. In 1625, he had again 
 engaged to come, but was prevented by the breaking out of 
 the plague. Mireveldt is said to have painted five thousand 
 portraits ; 1 there are some in England of his hand, as 
 Henry, Earl of Southampton, at Woburn ; Sir Ealph 
 Win wood ; a fine whole-length at Kimbolton, of Robert 
 Rich, Earl of Warwick, and a print of Robert, Earl of 
 Lindsey, by Vorst, 1631, was engraved from a picture 
 of Mireveldt ; but these portraits must have been painted 
 when those persons followed the wars and their business 
 abroad. 
 
 It was in the reign of King James that the manufacture 
 of tapestry 2 was set up at Mortlake, in Surrey. 3 Aubrey, 
 in his history of that county, dates its institution in the 
 subsequent reign ; but Loyd 4 is not only positive for the 
 former era, but affirms that at the motion of King James 
 himself, who gave 2,000Z. towards the undertaking, Sir 
 Francis Crane erected the house at Mortlake, for the execu- 
 tion of the design ; and this is confirmed by authentic 
 evidence. In Rymer s Fcedera, 5 is an acknowledgment from 
 
 1 [This celebrated portrait painter was born at Delft in 1567. He was invited 
 to England by Charles I. in 1625, but he declined the invitation : he died at Delft, 
 in 1641. Van Mander ; Houbraken. — W.] 
 
 2 The art of weaving tapestry was brought into En 6 land by William Sheldon, Esq. 
 about the end of the reign of Henry VIII. (See Dugdale's Warwickshire in stem- 
 mate Sheldon, p. 584.) At Mr. Sheldon's are four maps of Oxford, Worcester, 
 Warwick, and Gloucester, shires, executed in tapestry on a large scale. 
 
 Fragments of this tapestry are among the curiosities of Strawberry-hill. The 
 making of tapestry had been introduced into England many years before the 
 establishment of Sir Francis Crane's manufactory, by W. Sheldon, Esq. The 
 name of the artist was Eobert Hicks, who had the use of Mr. Sheldon's manor- 
 house at Burcheston, in Warwickshire, Mr. Sheldon, in his will bearing date 
 1570, calls Hicks "the only auter and beginner of tapestry and arras within this 
 realm." (Lysons. ) Yet, a proof of a much earlier introduction occurs in the reign 
 of Edward III. De inquirendo de mystera Tapiciorum, London. Rotul. 17 Ewd. 
 Mii. M. 41.— D. 
 
 3 " A manufacture of tapestry was established at Mortlake, Surrey, by Sir Francis 
 Crane, who purchased premises for that purpose. In the first year of Charles I. 
 (1625) as the debt to him for his tapestry works was then 6,000Z. he procured a 
 pension of 1,000Z. a year. In the survey made by order of the Parliament, the 
 tapestry-house is described, as containing one room eighty-two feet in length, and 
 twenty in breadth, with twelve looms ; another half as long with six looms, and a 
 great room called the limning room." In 1623, Prince Charles wrote to his council 
 from Madrid, directing them to pay 700£. for some drawings for tapestry which 
 he had ordered from Italy, and 500Z. for a suit then making for him at Mortlake, 
 by Sir Francis Crane, representing the twelve months, which he earnestly desires 
 may be finished before his return. — Records in the Duchy of Cornwall Office. 
 Lysons 's Environs , ut supra. — D. 
 
 ' 4 State Worthies, p. 953. 6 Vol. xviii. p. 66, 
 
236 PAINTERS IN THE REIGN OF JAMES I. 
 
 King Charles in the very first year of his reign, that he 
 owes 6,0 001 to Sir Francis Crane for tapestry : l 
 "Franciso Crane militi A.D. 1625. 
 
 " For three suits of gold tapestry, for our use we stand 
 indebted to Sir Francis Crane for 6,00 01. Granted to him 
 an annuity of 1,000 1. To Sir Francis Crane also allowed 
 more 2,000Z. yearly for the better maintenance of the said 
 worke of tapestries for ten years to come." 
 
 It is plain by this deed, that the manufacture was then 
 arrived at great perfection. Another suit of hangings, exe- 
 cuted at the same place, and representing the Five Senses, 
 was in the palace at Oatlands ; they were sold in 1649 for 
 270Z. At Hampton-court are some of the cartoons. 
 
 The beautiful hangings at Lord Orford's, at Houghton, 
 containing whole-lengths of King James, King Charles, 
 their queens, and the King of Denmark, with heads of the 
 royal children in the borders, were in all probability the 
 production of the same manufacture. 
 
 Williams, Archbishop of York, and Lord Keeper, paid 
 Sir Francis Crane 2,500/. for the Four Seasons. 
 
 At Knole, is a piece of the same tapestry, 2 wrought in 
 
 1 In the European Magazine, 1786, p. 285, is a letter from Sir F. Crane to 
 James I. which explains that debt. — D. 
 
 2 Francis Crane, who was the last lay chancellor of the Order of the Garter, 
 appears to have had an enterprising mind ; for under the patronage of King James 
 the First, and encouraged by the Prince of Wales, and Yilliers, Marquis of Buck- 
 ingham, he established a manufactory of tapestry, on an extensive scale, at 
 Mortlake in Surrey, But the extent of patronage does not appear to have been 
 by any means adequate to the magnitude of the undertaking. For in a letter 
 written to the king by Sir Francis, he complains of the royal negligence ; of the 
 non-payment of large sums he had expended for the Marquis ; of three hundred 
 pounds, besides carriage, paid for certain drawings, as designs for tapestry, made 
 for Pope Leo the Tenth ; the subject, the twelve months in the year, by Raphael 
 d'Urbino. And he further states, that his disbursements in the concern had ex- 
 ceeded upwards of 16, 0001. , of which, in return, he had received no more than 2,5001. f 
 and both his estate and credit were so far exhausted, that without further support, 
 he should be unable to continue the business one month longer. The royal bounty 
 expected, however, was not extended, and the trade, consequently unsupported, 
 soon fell into decay. He died, according to the record on his monument in the 
 church of Stoke Bruerne, in the eighty-second year of his age, a.d. 1703. 
 
 IN 
 
 MEMORY OF 
 
 FRANCIS CRANE, 
 
 TENTH SON OF JO HIS CR !NE, * 
 OF LOUGHTON, IN THE COUNTY OF BUCKS, ESQ. 
 (SERVANT TO QUEEN ELIZABETH, KING JAMES, KING CHARLES I. 
 AND CHIEF OF THE GREEN CLOTH TO KING CHARLES II.) 
 AND OF MARY CRANE, ELDEST DAUGHTER 
 OF SIR THOS. TRESHAM, OF NEWTON, 
 
 in this county. At Stoke 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 237 
 
 silk, containing the portraits of Vanclyck and Sir Francis 
 himself. Mrs. Markham, whose maiden name was Crane, 
 and a descendant of Sir Francis, has a half-length portrait 
 in tapestry of her ancestor, with the collar of St. George 
 over his shoulders. She has also a picture, in the same 
 manufacture, of St. George and the dragon. She is a 
 Roman Catholic lady, and lives in Lincolnshire. At Lord 
 Ilchester's, at Redlinch, in Somersetshire, is a suit of hang- 
 ings of this manufacture, representing the twelve months 
 in compartments. I have seen several more sets of the 
 same design ; the habits are of the court of Francis L, 
 and one of the months represents a gentleman and lady 
 riding together to hawk. 
 
 Of this person I find no farther record with relation to 
 the arts, but that he made a present to the king of a sea- 
 piece painted by Persellis; and was dead when Vander- 
 doort drew up the catalogue. 1 The manufacture will be 
 mentioned again in the article of Francesco Cleyne. 
 
 Sculpture was carried to no great height in the reign of 
 James ; what statuaries there were, found employment 
 chiefly on monuments, which, as far as I have seen, were 
 generally in a bad taste. What little Vertue could discover 
 of the artists I shall set down. 
 
 MAXIMILIAN COLTE, 2 
 
 lived in St. Bartholomew's-close ; in the church is a monu- 
 ment for his daughter Abigail, who died at the age of 
 sixteen, March 29, 1629 ; and in the register of the parish 
 
 At Stoke Bruerne Park, in Northamptonshire, an estate which he had received 
 in consideration of money due to him from the crown, he built a house upon a plan 
 which he had procured from Italy. The building, which had two wings connected 
 with the body by corridors, was built from 1630 to 1636 : and was spacious enough 
 to receive a visit from Charles I. his queen and courtiers. It is still extant, and 
 inhabited. — D. 
 
 1 King Charles's Catalogue, p. 13. He went to Paris, to be cut for the stone in 
 the bladder, in 1635, and probably died there. He was at that time engaged in a 
 suit in the Star-chamber with Sir Robert Osborne, an old servant of King James, 
 who had mortgaged to Crane for 7,500Z. the royal manor of Grafton, of which he was 
 only tenant. (See Strafford' s Papers, vol. i. p. 261, 336, 524.) He was some time 
 Chancellor of the Garter, and founded five additional alms-knights, by his will 
 dated in 1635. (See Aubrey's History of Surrey, vol. iii. p. 206.) In Rymer, is a 
 patent granting to him and Frances, Duchess of Richmond and Lenox, the mono- 
 poly of farthings for seventeen years. Vol. xviii. p. 143. 
 
 2 Maximilian Colte was the son of Maximilian Poutrain, otherwise Colte, already 
 noticed. — D. 
 
238 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 is mentioned the interment of his wife Susan, who died in 
 1645. He had two sons, Alexander and John ; the latter 
 was a stone-cutter, and was buried in the same parish with 
 his wife and children. Maximilian, the father, was of some 
 eminence, and was in the service of the crown, as appears 
 by an office- book of the board of works : 
 
 Maximilian Colte, master sculptor at 81. a-year, 1633. 
 
 EPIPHANIUS EVESHAM 1 
 
 was another sculptor of that time. In the translation of 
 Owen's Epigrams, by John Penkethman, printed in 1624, 
 the translator says, ic Give me leave to insert his (Owen's) 
 epitaph, which is engraved in a plate of brass, and fixed 
 under his monumental image, formed and erected by that 
 most exquisite artist, Mr. Epiphanius Evesham, in the 
 cathedral of St. Paul." 
 
 NICHOLAS STONE, 
 
 (1586—1647,) 
 
 was the statuary most in vogue. He was born at Wood- 
 bury, near Exeter, in 1586, and coming to London, lived 
 
 • 1 Epiphanius Evesham affords the first instance of an English sculptor, and if 
 Penkethman's praise be not immoderate, of considerable talent. The practice of 
 placing the name of the artist upon the plinth of any sepulchral monument is of a 
 date much subsequent to Evesham's time. Numerous monuments of acknowledged 
 merit, therefore, remain unattributed, and it will not 'be supposed that Evesham 
 had acquired fame without having produced many examples, the record of which 
 will now be sought for in vain. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 239 
 
 for some time with one Isaac James. He then went to 
 Holland, where he worked for Peter de Keyser, whose 
 daughter he married ; and returning to England, was 
 employed in making monuments for persons of the first 
 distinction. 1 In 1616, he was sent to Edinburgh, to w r ork 
 in the king s chapel there. In 161 9, he was engaged on the 
 building of the banqueting-house ; and in the beginning of 
 the reign of King Charles he received his patent as master- 
 mason, recorded in Rymer's Fcsdera, 2 of which this is the 
 substance : " Know ye that we do give and graunt unto 
 our trusty and well-beloved servant Nicholas Stone the 
 office and place of our master-mason and architect for all 
 our buildings and reparations belonging to our castle of 
 Windsor during the term of his natural life ; and further, 
 for the executing the said office, we do give him the w r ages 
 and fee of twelve pence by the day in as ample and as large 
 a manner as William Suthis 3 or any other person heretofore 
 did enjoy. A.D. 1626, April 20." 
 
 The history of his works is fully recorded by himself. 
 Vertue met with his pocket-book, in which he kept an 
 account of the statues and tombs he executed, of the persons 
 f<x whom done, and of the payments he received ; a copy 
 of this 4 pocket-book Vertue obtained, from which I shall 
 extract the most remarkable and curious articles : — 
 
 " In June 1614, I bargained with Sir Walter Butler for 
 to make a tomb for the Earl of Ormond, and to set it up in 
 Ireland ; for the which I had well paid me 100£. in hand 
 and 300Z. when the work was set up at Kilkenny in 
 Ireland." 
 
 " 1615. Agreed with Mr. Griffin for to make a tomb for 
 
 1 We owe to Nicholas Stone the full praise of having deviated, with more success 
 than his immediate predecessors, from the stiff and Gothic style, yet his approaches 
 towards classic grace were distant. During the time of his practice, the French, 
 Flemings, or Italians brought to England sometimes the manner of Gougeon or 
 Pilon, sometimes a debased imitation of John of Bologna, and sometimes the taste 
 of Bernini, but never a pure style nor sound principles. — D. 
 
 2 Yol. xviii. p. 675. 
 
 3 William Suthis, master-mason of Windsor-castle, citizen and goldsmith of 
 London, is buried at Lambeth, where a tomb was erected for him by his wife. He 
 died October 5, 1625. See the epitaph in Aubrey's History of Surrey, vol. v. 
 p. 248. 
 
 4 Mr. Hawksmore had the original. Another copy was in the possession of 
 Captain Wind, an architect, who will be mentioned hereafter. 
 
240 PAINTERS IN THE REIGN OF JAMES I. 
 
 my Lord of Northampton/ and to sett it in Dover-castle, 
 for the which I had 5001. well payed. I made master Isaac 
 James a partner with me in courtesy, because he was- my 
 master three years, that was, two years of my prentice, 
 and one year journeyman." 
 
 " In May 1615, I did set up a tomb for Sir Thomas 
 Bodely in Oxford, for which Mr. Hackwell of Lincolns-inn 
 payed me 200/. good money/' 
 
 " In November 1615, Mr. Jansen in Southwark and I 
 did sett up a tomb for Mr. Sutton at Charter-house, for the 
 which we had £001. well payed, but the little monument of 
 Mr. Lawes was included, the which I made and all the 
 carven work of Mr Sutton's tomb." 
 
 " July 1616 was I sent into Scotland, where I undertook 
 to do work in the king's chappie and for the king's 
 clossett, and the organ, so much as came to A50l. of wain- 
 scot-worke, the which I performed and had my money 
 well payed, and 50l. was given to drink, whereof I had 
 201. given me by the kings command." 
 
 " 1616. A bargain made with Mr. Chambers for the use 
 of the Eight Honourable Luce Countes of Bedford, 2 for 
 one fair and stately tomb of touchstone and w T hite marble 
 for her father and mother and brother and sister, for the 
 which I w r as to have 1,020/., and my lady was to stand at 
 all charges for carridge and iron and setting up." 
 
 " 1619. A bargain made with Sir Charles Morison of 
 Cashioberry in Hartfordshire for a tomb of alabaster and 
 touchstone onely. One pictor of white marble for his father, 
 and his own, and his sister the Countess of Sesex, 3 as great 
 as the life, of the alabaster, for the which I had well pa} ed 
 2601. and four pieces given me to drink." 
 
 " 1619. I was sent for to the offices of his majesty's 
 
 1 Henry Howard, Earl of Northampton. See Catalogue of Royal and Noble 
 Authors. 
 
 a Lucy Harrington, a great heiress, wife of Edward, Earl of Bedford, whose 
 fortune and her own she wasted. She was a great patroness of the wits of that age, 
 and was much celebrated by them, particularly by Dr. Donne. May dedicated his 
 Lucan to her. At Woburn there is a picture of her in a fantastic habit, dancing ; 
 and another very fine one by Honthorst, which will be mentioned hereafter. She 
 was a collector of antique medals : among Sir Thomas Roe's is a letter to her, or 
 rather a dissertation, which infers that she was no mean Latin scholar. V. p. 583. 
 
 3 Bridget Morrison, wife of Robert Ratcliffe, Earl of Sussex. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 241. 
 
 workes to undertake the charge of the place of master 
 mason for the new banquetting-house at Whitehall, wherein 
 I was employed two years, and I had payed me four 
 shillings and ten pence the day : And in that year I made 
 the diall at St. James's, the King finding stone and work- 
 manship only, and I had for it 6l. — 135. — 4 c?. And I took 
 down the fountain at Theobalds, and sett it up again, 
 and the fountain at Nonsuch, and I was paid for both 
 481" 
 
 ''And in 1622, I made the great diall 1 in the Privy- 
 garden at Whitehall, for the which I had 46 I" 
 
 "And that year 1622 I made a diall for my Lord 
 Brook in Holbourn, for the which I had 81. — 10s" 
 
 66 Unto Sir John Daves at Ghelsey I made two statues 
 of an old man and a woman and a diall, for the which 1 
 had 71. a piece." 
 
 " And a tomb for Dr. Donne's wife in St. Clement- 
 danes, for the which I had fifteen pieces." 
 
 " 1620. In Suffolke I made a tomb for Sir Edmund 
 Bacon's lady, and in the same church of Kedgrave I made 
 another for his sister Lady (Gawdy) and was very well 
 payed for them. And in the same place I made two pictors 
 of white marbell of Sir N. Bacon and his Lady, and they 
 were layed upon the tomb that Bernard J anson had made 
 there, for the which two pictors I was payed by Sir 
 Edmund Bacon 2001." 
 
 " I also made a monument for Mr. Spencer the poet, and 
 set it up at Westminster, for the which the Countess 
 of Dorsett payed me 40/." 
 
 " And another therefor Mr. Francis Holies, the youngest 
 son of the Earl of Clare, for the which the sayd Earl payed 
 forit50Z." [As this figure is of most antique simplicity 
 and beauty, the design was certainly given by the earl to 
 Stone, who when left to himself had no idea of grace, as 
 appears by the tomb of the Lytteltons at Oxford.] 
 
 " My Lord of Clare also agreed with me for a monu- 
 ment for his brother Sir George Holies, the which I made 
 and sett up in the chappell at Westminster w^here Sir 
 
 1 Mr. Marr drew the lines. 
 VOL. I. R 
 
242 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 Francis Vere lyetli buried, for the which I was payed from 
 the hands of the said Earl of Clare, 100/." 
 
 " And in the same church I made an inscription for 
 Sir Eichard Cox for the which I had 30/." 
 
 " And another fast by for Monsieur Casabon, the Lord 
 Bishop of Durham payed for it 60Z." 
 
 " And about this time (1625) I made for the Old 
 Exchange in London four statues, the one Edward V. 
 Richard III. and Henry VII. for these three I had 25Z. a 
 piece, and one for Queen Elizabeth, which was taken down 
 and sett up again where now it standeth at Guildhall 
 gate, for the which I had 30/." 
 
 "And in 1629 I made a tomb for my lady Paston, of 
 Norfolk, and set it up at Paston, and was very extraordi- 
 narily entertained there, and payed for it 340/." 
 
 "In 1631, I made a tomb for the Right Hon. Lady the 
 Countess of Buckingham, and set it up in Westminster 
 Abbey, and was payed for it 560/." 
 
 "In 1631 I made a tomb 1 for Dr. Donne, and sett it 
 up in St. Paul's London, for the which I was payed by 
 Dr. Mountford the sum of 120/. I took 60/. in plate, in 
 part of payment/' 
 
 "In 1634 I made a chemny-peece for Sir John Holland, 
 and sett it up at Godnon [Quidnam] in Norfolke, for the 
 which I had 100/." 
 
 "And 1632 I made a chemny-peece for Mr. Paston, 
 sett up at Oxnett in Norfolke, and for the which I had 
 80Z. and one statue of Venus and Cupid, and had 30/. for 
 it; and one statue of Jupiter 25/. and the three-headed 
 dog Cerberus with a pedestal 14/. and Seres, and Hercules, 
 and Mercury 50/. and a tomb for my Lady Catherine his 
 dear wife 200/. and a little chemny-peece in a banquetting- 
 house 30/. and one Ranee marbel tabel with a foot 15/. and 
 divers other things sent down to him from time to time, as 
 paintings, arms, &c. and in May 1641 sent to him three 
 
 1 This monument of Dr. Donne is remarkable for its singularity ; a print of it 
 is prefixed to the first edition of his Sermons. Another plate is in Dugdale's 
 St. Paul's. 
 
 He is represented in a winding-sheet ; and the figure is now in the vault under 
 St. Paul's-church — D. 
 
PAINTERS IN THE REIGN OF JAMES T. 
 
 243 ' 
 
 statues, the one Appollo, Diana, and Juno, agreed for 25?. 
 a piece, with pedestals/' 
 
 ' 'In 1635 I made a tomb for the two sonns of Sir 
 Thomas Littleton, and sett it up in Maiden-college in 
 Oxford, where the boys were drowned, for the which work 
 I had30r 
 
 " In 1 649 I made a tomb for my Lord Carleton Vycount 
 Dorchester, and sett it up at Westminster-abbey, for the 
 which 1 had 200Z.and an old monument that stood in the 
 same place before sett up for his Lady some eight years 
 before." 1 
 
 The whole receipts, as they were cast up by Stone s 
 kinsman, Charles Stoakes, amounted to 10,889?. 
 
 Besides these works, Stone, in 1629, undertook to build 
 for the Earl of Holland at Kensington, two piers of good 
 Portland stone to hang a pair of great wooden gates ; the 
 estimate of the piers (which were designed by Inigo Jones, 
 and are still standing at Holland-house, though removed 
 to greater distance from each other) was 100Z. 
 
 1 As persons of curiosity may be glad to know the workman and the expense of 
 the tombs of their ancestors, I shall here briefly recapitulate the rest. Eor Lady 
 Bennet's, at York, 35/. Sir Roger Wilbraham's, at Hadley by Bar net, 80/. Sir 
 Thomas Hayes, in Aldermanbury, 100/. Sir Robert Drury, at Hasteed by Bury, 
 140/. Alderman Anguish, at Norwich, 20/. Sir Thomas Ewer, at Lynn, 95/. Lady 
 Carey,* mother of Lord Danvers, at Stow, Northamptonshire, 220/. Mr. Moles- 
 worth, at Croyland, 23/. Mrs. Palmer, at Enfield, 16/. Sir Thomas Comwallis, 
 groom-porter, at Portchester, 18/. Mr. Cornwallis, of Suffolk, 16/. Sir Thomas 
 Monson's father and mother, set up two miles beyond Lincoln. For Sir Edmund 
 Paston, 100/. Sir Charles Morrison and his lady, in the chancel at Watford, 400/. 
 Sir George Copen, at St. Martin's, 40/. Dr. Barker, in New-college, Oxford, 50/. 
 Lord Knevett, at Stanwell, Middlesex, 215/. Sir Adam Niton (Newton), at 
 Charlton by Greenwich, 180/. Sir Humphrey Lee, at Acton-Bromwell, 66/. Sir 
 Thomas Palmer, at Winam, Kent, 100/. Sir Thomas Meary, at Walthamstow, 50/. 
 Sir William Stonehouse, at Radley, Oxfordshire, 120/. Sir Richard and Lady 
 Verney, at Compton Verney, 90/. Mr. Cook and his wife, at Brampton, Suffolk, 
 130/. Sir Julius Caesar, in St. Helen's, London, 110/. Lord and Lady Spencer, at 
 Althorp, 600/. This was in 1638. Lord Chief Justice Coke, at Tittleshall, 400/. 
 Sir Thomas Puckering, at Warwick, 200/. Judge Hatton, at St. Dunstan's, by 
 Temple-bar, 40/. Sir J. Worsnom, at Stanmore, 200/. and a porch to the new church 
 there, 30/. Besides others for very obscure persons, and without specification of 
 place. 
 
 * Elizabeth Nevil, daughter of John, Lord Latimer, by Lady Lucy Somerset, 
 daughter of Henry, Earl of Worcester. Lady Elizabeth was first married to Sir 
 John Danvers, of Dauntesey, and then to Sir Edmund Carey, son of Henry, Lord 
 Hunsdon. She died in 1630, aged eighty-four. The tomb, I am assured, is admir- 
 ably performed. 
 
 K 2 
 
244 PAINTERS IN THE REIGN OF JAMES I. 
 
 He built the great gate of St. Marys-church, 1 and the 
 stone gates for the physic-garden at Oxford, designed too 
 by Inigo,forthe Earl of Danby, by whom (as by some other 
 persons) he was employed even as an architect. The earl 
 ordered Stone to design a house for him at Cornbury , and 
 to direct the workmen, for which he was paid 1,000Z. In 
 1638, he built Tarthall, near Buckingham-house, for the 
 Countess of Arundel, and had paid to himat different times 
 to pay workmen, 634L He built the front 2 of St. Mary's 
 at Oxford, and executed many works at Windsor for King 
 Charles, particularly three cartouches to support the bal- 
 cony, the star and garter. The figure of the Nile on the 
 stairs at Somerset-house was of his work; the other statue 
 was done by Kerne, a German, who married Stone's sister. 
 He employed several workmen, some of whose names he 
 has preserved among his own accounts, as follow: — 
 
 " 1629. John Hargrave made a statue of Sir Edward 
 Cook for 15/.— Os.— Od." 
 
 "1631. Humphrey Mayor finisht the statue for Dr. 
 Donne's monument, 8/. — Os. — Od" 
 
 " 1638. John Hargrave made the statue to the monu- 
 ment of Lord Spencer, 14?. — Os. — Od. and Eichard White 
 made the statue of Lady Spencer, 15l. — Os. — Od" 
 
 " 1643. John Schurman, carver." 
 
 Nicholas Stone died in 1647, and was buried in St. 
 Martin's, where on the north wall within the church is the 
 following inscription, with a profile of his head : 
 
 "To the lasting memory of Nicholas Stone, Esq. master 
 mason to his majesty, in his life time esteemed for his 
 knowledge in sculpture and architecture, which his w T orks 
 in many parts do testify, and, though made for others, 
 will prove monuments of his fame. He departed this life 
 on the 24th of August 1647, aged sixty-one, and lyeth 
 buried near the pulpit in this church. Mary his wife and 
 Nicholas his son, lye also buried in the same grave. She 
 
 1 Where he has introduced the twisted columns (the original of which is said to 
 have been brought from Jerusalem to Borne,) with the worst effect. — D. 
 
 2 He built the portal only, facing the High Street, but no other part of St. Mary's- 
 church. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 245 
 
 died November 19th, and he on the 17th of September, 
 1647. H. S. posuit." 
 
 Stone had three sons : Henry, 
 
 Nicholas, 1 and John. The two eldest were sent to Italy to 
 study; the youngest was educated at Oxford, being designed 
 for a clergyman; but in the civil war he entered into the army 
 on the king's side. During that period this John Stone pub- 
 lished a book on fortification, called Enchiridion , with many 
 small cuts, etched by himself, but without his name. The 
 king s forces being routed, young Stone and a companion 
 
 1 Among the Ilarleian MSS. (No. 4049) is a journal of Nicholas Stone, with his 
 brother Henry, during the early part of their residence in Italy. It contains very 
 short notices of places or things, but affords some information worth extracting. 
 Oct. 26, 1638. "Arrived at Rome, waited on Cav. Bernini at St. Peters, hee 
 favoured me so far as to shew me the statue he had under hand (probably the 
 colossal statue of St. Longinus), in the church ; and told me, that for a while, he 
 should be busy there, but when he had done, and that he was at his house, I should 
 be welcome to spend my time with other of his disciples." " December 1638, 
 I went to Saint Peters, and with me Cav. Bernini from the church to his house ; 
 and I showed him some drawings that I had copyed after .Raphael's, with three or 
 foure of architecture of my owne capriccio — hee was very well pleased to see them, 
 and tolde mee that in 15 days time, he should have finished the statua then under 
 hand, and then if 1 would come to him he would have practice upon some things 
 that he had, and I should see his manner of working, and then worke myselfe : in 
 the mean time, he says, ' I would advise you, as yon have began, to continue to 
 draw with chalke, which is very necessary. ' " This anecdote will establish the 
 claim of Nicholas Stone, jun. to be considered as having studied under Bernini, 
 whose Apollo and Daphne he copied ; another more curious anecdote respecting 
 that sculptor will be given in its place. The brothers left Rome for England, on 
 the 18th of May, 1642, having been in Italy four years. — D. 
 
246 
 
 PAINTERS IN THE REIGN OP JAMES I. 
 
 made their escape ; the latter was taken, and hanged before 
 his father s door, in Smithfield ; but Stone hid himself in 
 his fathers house in Long-acre, for above a twelvemonth, 
 without the knowledge, says Vertue, of his father, whence 
 I suppose he had either offended the old man by quitting 
 his studies for arms, or the father was too prudent to risk 
 the emoluments of his profession by engaging in party 
 dissensions. John at last foundmeans of retiring to France, 
 where he lived some years, and, I conclude, applied him- 
 self to the arts, as we shall find him, after his return, 
 engaged in his fathers business. Nicholas, the second 
 son, was of a promising genius ; and while abroadmodelled 
 after the antiques so well that his works have been mis- 
 taken for the best Italian masters. Mr. Bird, the statuary, 
 had the Laocoon and Bernini's Apollo and Daphne in 
 terra-cotta by this Nicholas Stone j and Vertue saw a 
 book with many of his drawings of palaces, churches, and 
 other buildings, in Italy. He returned to England in 
 1642, and died the same year as his father, 
 
 Henry, the eldest son, who erected the monument for his 
 father, mother, and brother, 1 carried on in conjunction with 
 John, the business of statuary, after his father's death ; 
 though Henry addicted himself chiefly to painting, and was 
 an excellent copyist of Vandyck and the Italian masters. 
 He is generally known by the name of Old Stone, I sup- 
 pose to distinguish him from his brother John. Henry 
 wrote a book, a thin folio, entitled, The Third Part of the 
 Art of Painting , taken mostly from the ancients. Vertue, 
 who saw this book, was uncertain whether the two former 
 parts were composed by Stone, or by some other author. 
 The accounts of Nicholas Stone, sen., which I have quoted 
 above, were continued by John, while he and Henry worked 
 in partnership ; among other articles are the following : 2 
 
 1 Old Stone (i.e. Henry) might have studied under Vandyck for a short period, 
 but he acquired the perfection of his art in Italy. He particularly followed Titian, 
 and succeeded well in a copy of the Cornaro Family, at Northumberland-house, 
 which copy is now in the Royal Collection, (Hampton-court.) We hear Stone 
 generally mentioned as the best and most frequent copyist of portraits by Vandyck, 
 That was not the case. Hanneman excelled him, and others equalled him. — D. 
 
 2 In the Diary, Nicholas Stone, jun. , speaks of being employed at Rome, upon 
 a monument for Lady Berkeley. Lysons {Middlesex Parishes, p. 25), describes 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 247 
 
 t€ In the year of our Lord 1659 my brother and I made 
 a tomb for the Lord Ashley, for which we had 601. 
 
 " Formerly I made a little tomb of white marble, being 
 an eagle with an escutcheon upon his breast, sett up at 
 Sunning in Barkshire, for 71. 
 
 "In Ano. 1656, I sett up a little tomb in the Temple 
 church for Sir John Williams, and had for it 1 OZ. It 
 was an eagle of white marble." 
 
 There are but fifteen monuments entered in this ac- 
 count, the prices of none of which rise above 100/. 
 Consequently the sons, I suppose, never attained the 
 reputation of the father. 
 
 A head of Sir Jonas Moore, with a scroll of paper in 
 his hand, was engraved by T. Cross in 1649, from a 
 painting by Henry Stone, 1 whose house, garden, and 
 work-yard in Long-acre, the same that had been his 
 fathers, were rented from the crown at 10/. a-year, as 
 appeared when surveyed in 1650, by the commissioners 
 appointed to inspect the lands that had belonged to the 
 king. Henry Stone died in 1563, and was buried near 
 his father, where a monument was erected, and this 
 epitaph written for him by his brother J ohn : — 
 
 " To the memory of Henry Stone of Long-acre, painter 
 and statuary, who having passed the greatest part of 
 thirty-seven years in Holland, France, and Italy, atchieved 
 a fair renown for his excellency in arts and languages, 
 and departed this life on the 24th day of August, A.D. 
 1653, and lyeth buried near the pulpit in this church : 
 
 6 His friends bewail him thus, 
 Could arts appease inexorable fate, 
 Thou hadst survived this untimely date : 
 Or could our votes have taken place, the sun 
 Had not been set thus at its glorious noon: 
 Thou shouldst have lived such statues to have shown 
 As Michael Angelo might have wished his own : 
 And still thy most unerring pencil might 
 Have rais'd his admiration and delight, 
 
 " the figure of the lady, in a shroud, well executed in alto-relievo, in white marble. 
 She died in 1635, and was buried at Cranford." It was probably his earliest per- 
 formance in the school of Bernini. — D. 
 
 1 Ferdinando Boll, the painter, sent his own portrait to Henry Stone, in exchange 
 for his. Boll's was sold to Counsellor Eades, at Warwick, in 1680. 
 
248 PAINTERS IN THE RETGN OF JAMES I. 
 
 That the beholders should inquiring stand 
 Whether 'twas Nature's or the Artist's hand. 
 But thy too early death we now deplore, 
 There was not art that thou couldst live to more, 
 Nor could thy memory by age be lost, 
 If not preserved by this pious cost ; 
 Thy names a monument that will surpass 
 The Parian marble or Corinthian brass/ 
 
 John Stone to perfect his fraternal affections erected this 
 monument/' 
 
 And a little lower, June 1699. 
 
 " Four rare Stones are gone, 
 The Father and three Sons." 
 
 In memory of whom their near kinsman, Charles Stoakes, 
 repaired this monument. 
 
 John Stone, the last of the family, died soon after the 
 Eestoration ; and Stoakes, the person above-mentioned, 
 from whom Vertue learned all these circumstances, came 
 into possession of many drawings, prints, paintings, 
 models, &c, particularly many portraits of the family, m 
 small, by Henry Stone, and from Stoakes the pictures 
 fell into the hands of Mr. Cock, the auctioneer. 
 
 BEENAED JANSEN 
 
 was an architect at the same time that Nicholas Stone 
 was the fashionable statuary. They were employed to- 
 gether, as appears by the foregoing memorandums, on the 
 tomb of Mr. Sutton, the founder of the Charter-house. Of 
 what country Jansen was, 1 does not appear ; by both his 
 names, I conclude, a foreigner, and probably a Fleming, 
 as he was a professed imitator of Dieterling, a famous 
 builder in the Netherlands, who wrote several books on 
 architecture. Jansen was engaged on many great works 
 here f he built Audley-inn, 3 and the greater part of 
 
 1 Among the Harleian MSS. (No. 8, art 15,) are articles of agreement between 
 Paul D'ewes, Esq. and Jan. Jansen, stonecutter, for setting up a tomb in the 
 church of Stowlangtoft ; dated June 25, 1624. 
 
 2 This account Vertue received from Stoakes, the relation of Stone, mentioned 
 in the preceding article. 
 
 3 Audley-inn, near Walden, in Essex, was an immense pile of building ; the 
 rooms large, but some of them not lofty in proportion, and a gallery of ninety-five 
 yards, which, with the chapel and great council chamber, each projecting back- 
 wards from the ends of the gallery, have been demolished. The present chapel 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 249 
 
 Northumberland - house, except the frontispiece, which 
 Vertue discovered to be the work of the next artist, 
 
 GERARD CHRISMAS. 
 
 Before the portal of that palace was altered by the present 
 Earl of Northumberland, there were in a frieze 1 near the 
 top, in large capitals, C. M., an enigma long inexplicable 
 to antiquaries. Vertue found that at the period when the 
 house was built, lived Chrismas, an architect and carver 
 of reputation, who gave the design of Aldersgate, and 
 cut the bas-relief on it of James I. 2 on horseback, and 
 thence concluded that those letters signified Chrismas 
 
 was lately fitted up. The screen accompanying the ascent of steps from the 
 hall was designed by Sir John Vanbrugh, and has no relation to the rest of the 
 building. That injudicious architect, too, advised the destruction of the first 
 court, which consisted of noble corridores, supported by columns of alabaster, 
 in the room of which he built two ugly brick walls, which cost 1,600/. The 
 marble pillars of the chapel were purchased by Lord Onslow. King William 
 bought thence some suits of tapestry, now at Windsor, for which he paid 4,500/. 
 The drawing-room, called the Fish-room, is a noble chamber ; the ceiling and a deep 
 frieze adorned in stucco with sea-monsters, and great fishes, swimming. All the 
 costly chimney-pieces have been sold : over that in the gallery were the labours of 
 Hercules, and in the ceiling the lov^s of the gods. Many of the friezes still extant 
 are in very good taste. It was erected by Thomas Howard, Earl of Suffolk, lord 
 treasurer in the reign of James I., and was generally supposed to be founded on 
 Spanish gold, his countess, who had great sway with him, being notoriously 
 corrupt. There is a whole length of her in the hall at Gorhambury. She was 
 mother of the memorable Frances, Countess of Essex and Somerset, whose 
 escutcheon still (1762) remains entire in the chancel of the church at Walden, one 
 
 of the lightest and most beautiful parish churches I have seen. 
 
 It appears from Mr. Soane's MS. of John Thorpe, that he was in some manner 
 associated with Bernard Jansen, in the designing of this enormous palace, as 
 plans of both the quadrangles are given, in that singularly curious collection. A 
 correct idea of the ground plan, and a bird's-eye view of the whole edifice, taken 
 soon after its completion, which may be seen in Brittons Architect. Antiq. of 
 Great Britain, vol. ii. p. 114, is one of the most interesting subjects of that satis- 
 factory work. After the death of Henry Howard, tenth Earl of Suffolk, in 1745, 
 this magnificent house passed eventually to Sir John Griffyn, K.B., who was allowed 
 the barony, in 1784 ; and who restored Audley-inn as it is now seen : it was be- 
 queathed by him to Richard, Lord Braybroke, the present proprietor. — D. 
 
 1 Sir Hugh Smithson, Bart., created Earl of Northumberland, in 1750, and 
 assumed the name of Percy, Duke of Northumberland, 1766. — D. 
 
 2 It may be presumed that Gerard Christmas was as much sculptor as architect, 
 and, like Nicholas Stone, was equally employed in either art. The front of North- 
 ampton-house (as it was called when first built by Henry Howard, Earl of North- 
 ampton before 1614), was profusely ornamented with rich scrolls of architectural 
 carving, and with an open parapet, worked into letters and other devices. His 
 sons, John and Mathias Christmas, were very able carvers, and were extensively 
 employed in designing and finishing monuments. Very creditable specimens of 
 their skill are the busts of Ralph Hawtrey and his wife (1638-1647), on their tomb 
 at Riselip, Middlesex, in white marble. Lysons. -D. 
 
250 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 sedificavit. 1 Jansen probably built the house, which was 
 of brick, and the frontispiece, which was of stone, was. 
 finished by Chrismas. The carvers of the great ship, 
 built at Woolwich, by Mr. Peter Pett, in 1637, were John 
 and Mathias Chrismas, 2 sons of Gerard. 3 
 
 JOHN SMITHSON 
 
 was an architect in the service of the Earls of Newcastle. 4 
 He built part of Welbeck, in 1604, the riding-house 5 there 
 in 1623, and the stables in 1625 ; and when William 
 Cavendish, Earl, and afterwards Duke of Newcastle, pro- 
 posed to repair and make great additions to Bolsoyer- 
 castle, Smithson, it is said, was sent to Italy to collect 
 designs. From them I suppose it was that the noble apart- 
 ment erected by that Duke, and lately pulled down, was 
 completed, Smithson dying in 1648. Many of Smithson s 
 drawings were purchased by the late Lord Byron from his 
 descendants who lived at Bolsover, in the chancel of which 
 church Smithson is buried, with this inscription : 
 
 1 It is probable that, originally, there was a larger inscription, containing, I 
 suppose, the titles of the Earl of Northampton, the founder, in Latin, as well as 
 the builder's name ; for in Camden's Annalium apparatus of James I. (p. 45), at 
 the end of his letters, it is said that at the funeral of his queen, Anne, a young 
 man among the spectators was killed by the fall of the letter S, from the top of 
 Northampton-house. 
 
 In the New Description of London, vol. v. , it is said, that from some letters on 
 the front, when it was last rebuilt, it was inferred that one Moses Glover was the 
 architect, which is not improbable, as that great curiosity at Sion-house, the survey 
 of Sion and the neighbouring villages, was performed by Moses Glover, painter 
 and architect. In that valuable plan are views of the royal houses and seats in 
 the neighbourhood. — D. 
 
 2 They also made a tomb at Ampton, in Suffolk, for Sir H. Calthorpe. {QougKs 
 Topogr. vol. i. p. 579.) In the same work is mentioned a panegyric on Mayster 
 Gerard Christmas, for bringing pagents and figures to such great perfection, both 
 in symmetry and substance, being before but unshapen monsters, made only of 
 slight wicker and paper, p. 676. 
 
 3 Vertue had seen a printed copy of verses in praise of the father. 
 
 4 Some confusion of persons and names of this family of architects has here 
 taken place, which has been rectified by Mr. Lysons, and in the Architectural 
 Antiquities. In the church at Wollaton, Notts, is the following inscription : 
 "Mr. Robert Smithson, Gent, architecter and surveyor unto the most worthy house 
 of Wollaton, with diverse others of great account, Ob. xv. Oct. A.D. 1614, set. 79." 
 In the chancel of Bolsover, Derby, is the tomb of " Huntingdon Smithson, archi- 
 tect, who died in 1648 ;" upon which is the epitaph quoted by Mr. Walpole. He 
 was the architect of Bolsover-castle, rebuilt in 1613, by Sir Charles Cavendish ; 
 and before his death had completed the far-famed Riding-house, for the Duke of 
 Newcastle. His son, John Smithson, died in 1678, who it is certain followed his 
 father's profession. — D. 
 
 5 As appears by his name over the gate. 
 
PA1NTEES IN THE REIGN OF JAMES I. 
 
 251 
 
 " Reader, beneath this plain stone buried lie 
 Smithson's remainders of mortality ; 
 Whose skill in architecture did deserve 
 A fairer tomb his memory to preserve: 
 But since his nobler works of piety 
 To God, his justice and his charity, 
 Are gone to heaven, a building to prepare 
 Not made with hands, his friends contented are, 
 He here shall rest in hope, 'till th' worlds shall burn 
 And intermingle ashes with his urn, 
 Ob. Decemb. 27, 1648." 
 
 His son, a man of some skill in architecture, was buried 
 in the same grave. 
 
 BUTLER, 
 
 a name preserved only by Peachani, in whose time Butler 
 seems to have been still living, for speaking of architecture 
 and of the Lord Treasurer Salisbury, " who, he adds, as he 
 favoureth all learning and excellency, so he is a principal 
 patron of this art, having lately employed Mr. Butler 
 
 and many excellent artists for the beautifying his 
 
 especially his chapel at Hatfield." 
 
 STEPHEN HARRISON, 
 
 who calls himself joiner and architect, invented the tri- 
 umphal arches erected in London for the reception of 
 James I. They were engraved by Kip, on a few leaves in 
 folio, a work I never saw but in the library at Chatsworth. 
 
 I shall conclude what I have to say on the reign of 
 King James, with a brief account of a few of his medallists. 
 This article is one of the most deficient in Vertue's notes ; 
 he had found but very slight materials, though equally in- 
 [uisitive on this head with the rest. One must except the 
 subject of the two Simons, of whose works, as he himself 
 published a most curious volume, I shall omit the mention 
 of them in this catalogue, only desiring that Vertue's 
 account of the two Simons and Hollar, and the catalogues 
 of the collections of King Charles, King James, and the 
 Duke of Buckingham, may be regarded as parts of this his 
 great design. By those specimens one sees how perfect he 
 wished and laboured to make the whole. 
 
252 PAINTERS IN THE REIGN OF JAMES L 
 
 I was in hopes of completing this article, by having 
 recourse to Mr. Evelyn's Discourse on Medals, but was ex- 
 tremely disappointed to find that, in a folio volume, in 
 which he has given the plates and inscriptions of a regular 
 series of our medals, he takes not the least notice of the 
 gravers. I should not have expected that a virtuoso so 
 knowing would have contented himself with descriptions of 
 the persons represented, he who had it in his inclination, 
 and generally in his power, to inform posterity of almost 
 every thing they would wish to learn. 1 Had Mr. Evelyn 
 never regretted his ignorance of the names of the workmen 
 of those inimitable medals of the Seleucidse, of the fair 
 coins of Augustus, and of the Denarii of the other Koman 
 emperors ? Was he satisfied with possessing the effigies of 
 Tiberius, Claudius, Irene, without wishing to know the 
 names of the ingenious and more harmless gravers — why 
 did he think posterity would not be as curious to learn 
 who were the medallists of Charles II., James L, Mary L ? 
 He has omitted all names of gravers except in two or three 
 of the plates, and even there says not a word of the artist. 
 For instance, in a medal of Charles I. (p. 113,) 2 under the 
 king's bust are the letters N. R. F. I cannot discover who 
 
 1 To add to the praise which has been allowed to John Evelyn would be a 
 superfluous attempt, as his general character has been rendered more admirable by 
 the late publication of his Life from his own prepared MS. than from Walpole's 
 more candid sketch of it, given in the Catalogue of Engravers. Pinkerton, in his 
 preface, speaks of the Numismata with contempt, and asserts that none of the 
 observations are new, but all tacitly taken from Vico, Le Pois, Patin, and Jobert." 
 Essays on Medals, 8vo. 
 
 The work on medals is, it must be fairly acknowledged, of less merit than many 
 others of his multifarious treatises. To the copy which he presented to Sir Hans 
 Sloane, now in the British Museum, is prefixed a letter, written by himself, deeply 
 regretting the carelessness of his printer, and acknowledging numerous errors. It 
 was his last performance, published in 1697. — D. 
 
 2 In Pepys's Diary, lately published, is an account of these medals, the work 
 of Mons. Roettier and his sons, which may supply some of the deficiencies in the 
 Numismata. Mr. Slingsby of the Mint writes to Mr. Pepys, 1687, containing a 
 list of Mons. Roettier's medals, (twenty-five in all, and valued at 43Z.) and pro- 
 posing to sell them at the original price. "When Roettier happens to die, they 
 may be worth 5 or 10 pounds more, and yett cannot be had, many of the 
 stamps being broken or spoiled. " This list may be referred to ; ten or twelve of 
 them have been engaved for Evelyn's book. He speaks of them with merited 
 commendation : " Mons. Roettier and his sons, who continued their father's 
 travail, and who have given to the world such proof of their abilities and perform- 
 ances of this kind as may rightly paragon them with many of the celebrated 
 ancients." {Numismata, p. 229.) There was a rivalship between Thomas Simon, 
 and the Roettiers for the appointment of engraver to the Mint, in 1663. when the 
 latter were preferred. — Ruding on English Coinage, vol. ii. p. 331. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 253 
 
 this N. R. was. 1 Thomas Rawlins was a graver of the 
 mint about that time ; perhaps he had a brother who 
 worked in partnership with him. I was so surprised at 
 this omission, that I concluded Mr. Evelyn must have 
 treated of the gravers in some other part of the work. I 
 turned to the index, and to my greater surprise found 
 almost every thing but what I wanted. In the single 
 letter N., which contains but twenty-six articles, are the 
 following subjects, which I believe would puzzle any man 
 to guess how they found their way into a discourse on 
 medals : — 
 
 Nails of the cross. Negros. 
 
 Narcotics. Neocoros. 
 
 Nations, whence of such Nightingale, 
 various dispositions. Noah. 
 
 Natural and artificial curi- Noses. 
 
 osities. Nurses, of what importance 
 
 Navigation. their temper and dispo- 
 
 Neapolitans, their character. sitions. 
 
 In short, Mr. Evelyn, who loved to know, was too fond 
 of telling the world all he knew. 2 His virtue, industry, 
 ingenuity, and learning, were remarkable ; one wishes he 
 had written with a little more judgment, or perhaps it is 
 not my interest to wish so ; it would be more prudent to 
 shelter under his authority any part of this work that is not 
 much to the purpose. 
 
 All this author says 3 of our medallists is, that we had 
 Symons, Rawlins, Mr. Harris, Christian, &c, and then 
 refers us to his Chalcography* where indeed he barely 
 names two more, Restrick and Johnson, of whom I can 
 
 1 Unless it was Norbert Rotier, who arrived in the reign of Charles II. In 
 that case, the medal in question must have been executed aftei the Restoration. 
 
 2 Among other branches of science, if one can call it so, Mr. Evelyn studied 
 physiognomy, and found dissimulation, boldness, cruelty and ambition, in every 
 touch and stroke of Fuller s picture of Oliver Cromwell's face, which he says was 
 the most resembling portrait of the Protector. In Vandyck's Earl of Strafford, 
 a steady, serious, and judicious countenance ; and so in many others whose charac- 
 ters, from knowing their history, he fancied he saw in their features. How his 
 divination would have been puzzled if he had been shown a picture of Cromwell 
 in the contemptible appearance which Sir Philip Warwick says he made at his 
 first entry into the House of Commons ! Or if my Lord Strafford had continued 
 to oppose the court, and had never changed sides, would Mr. Evelyn have found 
 his countenance so steady and judicious ? 
 
 3 Page 239. 4 Page 49. 
 
254 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 find no other account. The reader must, therefore, accept 
 what little is scattered up and down in Vertue's MSS. 1 
 have already mentioned one or two. The first graver I 
 meet in the reign of James is 
 
 CHARLES ANTONY, 
 
 to whom Sir Thomas Kny vet, master of the mint in , the 
 second of that king, paid by warrant 402. for gold and 
 workmanship, for graving an offering piece of gold, Antony 
 having then the title of the kings graver. 1 Vertue sup- 
 poses this person made the medal in 1604 on the peace 
 with Spain, a medal not mentioned by Evelyn, and that 
 he continued in office till 1620. Mr. Anstis informed him, 
 of a warrant to a brother of Charles Antony, called 
 
 THOMAS ANTONY 
 
 curatori monetae et sigillorum regis ad cudendum magnum 
 sigillum pro episcopatu et comitatu palatino Dunelm. 1 61 7. 
 But of neither of these brothers do I find any other traces. 
 
 THOMAS BUSHELL 
 
 was probably a medallist of the same age. In the year 
 1 737, Mr. Compton produced at the Antiquarian Society, 
 as I find by their minutes, a gold medal, larger than a 
 crown piece ; on one side Lord Chancellor Bacon in his 
 hat and robes, with this legend — Bacon Viceco. Set. Alb. 
 Anglise Cancell. On the reverse — Thomas Bushell. Deus 
 est qui clausa recludit. 
 
 NICHOLAS BRIOT 
 
 was a native of Lorrain, and graver of the mint to the king 
 of France, in which kingdom he was the inventor, or at 
 least one of the first proposers of coining money by a press, 
 
 1 I have a thin plate of silver, larger than a crown piece, representing King 
 James on his throne. It is very neat workmanship, and probably by this 
 Antony. 
 
 2 " Nicholas Briot tailleur general des monnoies sous Louis XII. a qui Ton est 
 redevable du Balancier. Cette invention fut approuvee en Angleterre, comme 
 elle meritoit." — Diction. Historique, Pinkerton, vol. ii. p. 169. — D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 255 
 
 instead of the former manner of hammering. As I am 
 ignorant myself in the mechanic part of this art, and have 
 not even the pieces quoted by Vertue, I shall tread very 
 cautiously, and only transcribe the titles of some memorials 
 which he had seen, and from whence I conclude a literary 
 controversy was carried on in France on the subject of this 
 new invention, to which, according to custom, the old prac- 
 titioners seem to have objected, as probably interfering 
 with the abuses of which they were in prescriptive pos- 
 session. 
 
 Eaisons de Nicolas Briot, tailleur et graveur des monoyes 
 de France, pour rendre et faire toutes les monoyes du 
 royaume a Tadvenir uniformes et semblables, &c. 
 
 Les remonstrances faites par la cour des monoyes contre 
 la nouvelle invention (Tune presse ou machine pour fa- 
 briquer les monoyes, proposee par Nicolas Briot, 1618. qu. 
 
 Examen (Tun avis presente au conseil de sa majeste 1621 
 pour la reformation des monoyes par Nicolas Briot. com- 
 pose par Nicolas Coquerel. This Coquerel, I find by 
 another note, was generalis monetarius, or pope of the 
 mint, into which the reformation was to be introduced. 
 The Luther, Briot, I suppose, miscarried, as we soon 
 afterwards find him in the service of the crown of England, 
 where projectors were more favourably received. From 
 these circumstances I conclude he arrived in the reign of 
 King James, though he did not make his way to court before 
 the accession of King Charles, the patron of genius. Briot's 
 first public work was a medal of that prince exhibited in 
 Evelyn, with the artists name and the date 1628. To 
 all, or to almost all his coins and medals, he put at least 
 the initial letter of his name. He was employed both m 
 England and Scotland. In 1631, as appears by Kymer's 
 Feeder a, torn. xix. p. 287, 1 a special commission was ap- 
 
 1 The coronation medal of Charles I. when he underwent his inauguration at 
 Edinburgh, 18 June, 1663. This was executed by Briot, an eminent French artist. 
 It was the first piece struck in Britain with a legend on the edge ; and was, as is 
 supposed, the only one ever coined, in gold, found in Scotland. On the front is 
 the king's bust, crowned and robed, with his titles. The reverse bears a thistle 
 growing, " Hinc nostra crevere ros^." Around the edge is "Ex auro ut 
 in Scotia reperitur : Briot fecit Edinburgi, 1633." Three only of them 
 are known to exist, one of which is in the British Museum. (Folkes* Introd, p. 148. 
 
256 
 
 PAINTERS IN THE REIGN OF JAMES I. 
 
 pointed for making trial of the experience, skill, and indus- 
 try of Nicholas Briot, in the coinage of money at the mint, 
 dated June 13, 1631, at Westminster. This was the pro- 
 ject he had attempted in France, by instruments, mills, and 
 presses, to make better money and with less expense to the 
 crown than by the way of hammering. The scheme was 
 probably approved ; for in the very next year we find him 
 coining money upon the regular establishment. There is 
 extant a parchment roll, containing the accounts of Sir 
 Eobert Harley, Knight of the Bath, master worker of his 
 majesty's monies of gold and silver within the Tower of 
 London, in the reign of King Charles 1. from November 8, 
 1628, to August 1, 1636. In this account, in 1632, are 
 payments to Briot for coining various parcels of gold and 
 silver, which are followed by this entry : — 
 
 " And delivered to his majestie in fair silver monies at 
 Oatlands by Sir Thomas Aylesbury, viz. iij crownes, and 
 iij half crownes of Briot's moneys, and iij crownes, and iij 
 half crownes, and ten shillings of the monoyers making." 
 
 These comparative pieces were probably presented to the 
 king by Sir Eobert Harley, Briot's patron, to show the 
 superior excellence of the latter's method. 
 
 Briot returned to France about 1642, having formed 
 that excellent scholar Thomas Simon. 
 
 In a private family (the name of which he does not 
 mention) Vertue saw a peach-stone, on which was carved 
 the head of King Charles, full faced, with a laurel, and on 
 the reverse, St. George on horseback, with the garter round 
 it ; and on one side above the King s head, these letters 
 NB. The tradition in that family was, that the carver 
 having been removed from the service of the crown, and at 
 last obtaining the place of poor knight at Windsor, cut that 
 curiosity to show he was not superannuated nor incapable 
 of his office, as he had been represented. If the mark NB. 
 signified Nicholas Briot, as is probable, either the story is 
 fictitious, or Briot did not return to France on the breaking 
 
 Pinkerton, vol. ii. p. 147.) luRymer, is a grant to him of the office "unius capi- 
 talis sculptoris ferrorum monetae, infra turrim, London." Dat. Jan. 27, 1633. 
 - Folkes* Introd. p. 80— 82.— D. 
 
PAINTERS IN THE REIGN OF JAMES I. 
 
 257 
 
 out of the civil war. The latter is most likely, as in the 
 Treasury, where the plate of St. George's chapel is deposited, 
 there is such another piece, though inferior in workman- 
 ship to that above mentioned. In the museum at Oxford 
 are two small carvings in wood — Christ on the Cross, and 
 the Nativity, with the same cypher NB on each. 
 
 REMARKS. 
 
 A general view of the arts, at the commencement of the seventeenth cen- 
 tury, illustrating their progress by a comparison with the former ages, will 
 assist us in the conclusion we may arrive at concerning the characteristic 
 peculiarities of each. Reference will be separately made to architecture, 
 sculpture, and painting. 
 
 From Gothic magnificence in domestic architecture to interpolations of clas- 
 sical ornaments and members ; and lastly, to a style retaining no part of 
 either in perfection, it must occur that the great mansions which were erected 
 during the reign of James the First, were built upon plans which are discri- 
 minated from all by which they were preceded — a circumstance immediately 
 obvious to the practised eye. The date of the completion of any great build- 
 ing will be adopted in preference to that of its first foundation, as both of them 
 together will frequently include parts of two reigns, which might render any 
 other classification indeterminate. 
 
 The exclusion of angular or circular bay windows, and the introduction of 
 very large square ones, unequally divided by a transom, and all placed in 
 lengthened rows, in the several tiers or stories, form the leading distinction. 
 The parapets were farther removed from an appearance of battlements, and 
 the general effect of the whole pile was that of massive solidity brotoen gene- 
 rally by one square turret more lofty than those at the angles. The houses of 
 James the First's time are much less picturesque than those of his prede- 
 cessors. 
 
 Of the architects who are known to have designed and completed principal 
 buildings, the names of John Thorpe (of whom an ample account has been 
 given in the Appendix), Gerard Christmas, and Bernard Jansens, with Eobert 
 (not J ohn) Smithson, are mentioned by Walpole with their works. 
 
 Besides these, there were Huntingdon Smithson, Thomas Holte, 
 Kodolph Symonds, and Moses Glover, architects of equal merit. Hunting- 
 don Smithson built Bolsover, an immense pile, for the first Cavendish, Duke 
 of Newcastle, and was buried there in 1 648. Thomas Holte was the architect 
 of the quadrangle of the schools ; that of Merton-college, and by fair conjec- 
 ture, of the whole of Wadham-college in Oxford before 1613 ; Eodolph 
 Symonds superintended Sydney and Emanuel Colleges at Cambridge, and 
 Moses Glover was associated with Gerard Christmas in building Northamp- 
 ton (now Northumberland-house,) and was much employed at Sion-house, by 
 Henry, Earl of Northumberland, where he had expended 9,000Z. between the 
 years 1604 and 1613. A plan, dated 1615, for rebuilding Pet worth-house, 
 belonging to the same nobleman, and probably drawn by Glover, is still 
 preserved there. 
 
 The inside of the square of the public schools at Oxford, built by Thomas 
 Holte above mentioned, has an air of great grandeur, resulting from the large 
 dimensions of the relative parts, rather than accuracy of proportion. To the 
 VOL. I. S 
 
258 
 
 PAINTERS IN THE REIGN OP JAMES I. 
 
 lofty tower is attached a series of double columns, which demonstrate the five 
 orders from the Tuscan at the base to the Composite. The architect has 
 proved that he knew the discriminations but not the application of them. It 
 is at least possible, that he was apprised of a prior instance adopted by 
 Stefano Maruccio (1360) in the Campanile of Santa Chiara, at Naples, with 
 the intention of exhibiting the five orders in as many divisions of the tower, 
 three only of which were completed. The portico of the Chateau d'Anet, near 
 Paris, designed by Philibert de Lorme, may have more probably supplied 
 the idea. 
 
 At Beaupr^-castle (Glamorganshire), is a chapel with a front and porch of 
 the Doric order, dated 1600. It consists of three orders, Doric, Ionic, and 
 Corinthian. The capitals and cornices are accurately designed and finished. 
 
 % Hatfield 
 
 2. Audley-inn 
 
 3. Wollaton 
 
 4. Bolsover 
 
 5. Longford-cas- \ 
 
 tie / 
 
 6. Temple New- » 
 
 sham j 
 
 7. Charlton 
 
 8. Holland-house. 
 
 9. Bramshill 
 
 10. Castle-ashby ... 
 
 11. Summerhill 
 
 12. Charlton 
 
 Date. 
 
 1616 
 
 1613 
 1612 
 
 1607 
 
 County. 
 
 Herts 
 
 Essex 
 
 Notts 
 
 Derby 
 
 Wilts 
 
 Yorkshire 
 
 Kent 
 
 Middlesex 
 
 Hants 
 
 Northampton 
 
 Kent 
 
 Wilts 
 
 Founder. 
 
 Robert, Earl of Salisbury 
 T. Earl of Suffolk 
 
 Sir Francis Willoughby... 
 
 Sir Charles Cavendish ... 
 Sir T. Gorges 
 
 Sir Arthur Ingram 
 
 Sir Adam Newton 
 
 Sir Walter Cope 
 
 Edward, Lord Zouche ... 
 
 H. Lord Compton 
 
 Earl of Clanricarde 
 
 Sir Henry Knevet 
 
 Architect. 
 
 B. Jansen.. 
 [ J. Thorp & \ 
 \R. Smithsonj 
 ( Huntingdon! 
 I Smithson j 
 John Thorp... 
 
 John Thorpe., 
 
 Present 
 State. 
 
 Perfect. 
 Perfect. 
 
 Perfect. 
 
 Dilapidated. 
 Perfect. 
 
 Perfect. 
 
 Perfect. 
 Perfect. 
 Perfect. 
 Perfect. 
 Perfect. 
 Restored. 
 
 This fashion of building enormous houses was still more prevalent during the 
 reigns of James the First and his successor, before the civil wars, even than 
 it had been in that of Queen Elizabeth. Audley-inn, in 1616, by Lord- 
 Treasurer Suffolk, Hatfield, by Lord Salisbury in 1611, and Charlton -house in 
 Wiltshire, by Sir Henry Knevet, are those in which the best architecture of 
 that era may be seen. Others of the nobility, deserting their baronial resi- 
 dences, indulged themselves in a rivalship in point of extent and grandeur of 
 their country-houses, which was of course followed by opulent merchants, the 
 founders of new families. Sir Baptist Hicks, the Mercer to the Court, built 
 Campden-house, Kensington, and another at Campden, Gloucestershire, 
 scarcely inferior to Hatfield, which was burned down during the civil 
 wars. It consisted of four fronts, the principal towards the garden, upon the 
 grand terrace ; at each angle was a lateral projection of some feet, with 
 spacious bay windows ; in the centre a portico with a series of columns of the 
 five orders (as in the schools at Oxford), and an open corridor. The parapet 
 was finished with pediments of a capricious taste ; and the chimneys were 
 twisted pillars with Corinthian capitals. A very capacious dome issued from 
 the roof, which was regularly illuminated for the direction of travellers during 
 the night. This immense building was enriched with friezes and entablatures 
 most profusely sculptured ; it is reported to have been erected at the expense 
 of 29,000Z., and to have occupied with its offices a site of eight acres. The late 
 Earl of Gainsborough had the plan and elevation. 
 
 There is scarcely a county in England which cannot boast similar edifices ; 
 a very few of them are still inhabited, others to be distinguished only by their 
 ruins, and remembered only by the oldest villagers, who can confirm tradition. 
 
 Sculpture had made a considerable progress in France, as having been first 
 emancipated from Gothic forms and system by John Gougeon, at least for half 
 a century, before any effort of skill, taste, or variety in design, had appeared 
 
PAINTERS IN THE REIGN OF JAMES I. 259 
 
 in England. The tomb of Diana of Poitiers, in the chapel of the Castle 
 d'Anet, was composed of a sarcophagus, placed on a square, having four 
 female figures at the angles, sculptured in wood by Germain Pilon, in 1570. 
 The principal figure is kneeling upon the sarcophagus. Nothing of so classical 
 an adaptation was seen here before the middle of the reign of James the First. 
 The effigies, if two, were extended upon a very large slab, and composed of 
 white marble or alabaster, and the latter of black marble, called by the statu- 
 aries touch-stone. A better taste prevailed in abandoning colour and gilding, 
 excepting for the blazonry. These figures were frequently copied from whole- 
 length portraits, and were well proportioned, and exquisitely finished, as to 
 the drapery and armour. Another fashion was to place the figure as kneeling 
 in prayer before a desk, borrowed from the French, especially for ecclesiastics, 
 or for soldiers, with a casque placed before them. Sometimes a man was re- 
 presented as recumbent and leaning upon his elbow, as a deviation from the 
 postrate position. 
 
 In Westminster-abbey, the monument of Queen Elizabeth and that of Mary 
 Queen of Scots, of larger dimensions, were composed from the same plan and 
 of the same materials, and were likewise the work of the same artists. The 
 king, as we have seen, did not spare a sumptuous expense, for this proof of 
 his gratitude and filial piety. Both these monuments are chiefly of an archi- 
 tectural character. The royal effigies lie upon raised table tombs. There is 
 a vast entablature supported by four columns, with Corinthian capitals, from 
 which springs a high circular arch, finished by a superstructure exhibiting the 
 arms and supporters. 
 
 In the monument of Sir Francis Vere, a more theatric attempt is made by 
 the introduction of personages, as in life, accompanying the dead. He is 
 placed on a ground slab in a loose robe; four knights are represented as kneel- 
 ing, but in varied postures, who support another plinth, upon which a com- 
 plete suit of armour is disposed, in different pieces. 
 
 In that of Lord Norris, which is of large dimensions, his six sons (celebrated 
 warriors) in armour, of the size of life, kneel around his tomb, and are doubt- 
 less portraits of them. These, which may be deemed statuary, required the 
 talents of a sculptor, and however void of classical simplicity or correctness, 
 are entitled to the praise of skilful labour, and afford most interesting evidence 
 of the state of the art at the commencement of the seventeenth century. So 
 general the fashion of grand mausolea had now become, that there are few of 
 the more ancient nobility of this realm who have not sepulchral chapels, in 
 different counties, which contain equally splendid and costly vestiges of ela- 
 borate, though tasteless art, which are now, in numerous instances, the spoils 
 of time and neglect. 
 
 In the reign of James the First, the pride of gorgeous monuments was no 
 less excessive than that of large houses. Few counties but still exhibit these 
 sumptuous tombs in obscure villages, where the great mansion has totally dis- 
 appeared, or has fallen into hopeless decay. More than a year's rental of the 
 whole estate was frequently lavished upon the memorial of its deceased lord, 
 and, generally speaking, under testamentary direction. 
 
 Painting, if indeed it had made no great progress since the time of Holbein, 
 More, or Zuccaro,had maintained a respectable state, from the talents of Van- 
 somer, Mytens, and Jansens, who found no want of due patronage. Vansomer 
 is said to have excelled in the accuracy of his likenesses, and he frequently 
 enlivened his portraits by the introduction of accessories, such as the interior 
 of rooms, furniture, or landscape. 
 
 Mytens exerted himself so much to imitate Vandyck, upon his arrival in 
 England, with a design to rival him in his own manner, that his later pictures 
 are particularly excellent. He introduced landscapes very happily into his 
 
 S 2 
 
260 
 
 PAINTERS IN THE REIGN OF JAMES 1. 
 
 back-grounds, and with a decided effect of warm and harmonious colouring, 
 emulous of his master Rubens, and in the style of that school. 
 
 If Jansens had not the freedom of hand nor the grace of Yandyck, he 
 equalled him in the lively effect of his carnations, and excelled him in the neat- 
 ness of his finishing. Although his attitudes are stiff and formal, they are 
 remarkable for truth and tranquillity in the countenances. His portraits are 
 usually painted upon panel. The men place one hand on their sword, and the 
 other upon a richly-carpeted table. The ladies are usually standing with 
 their arms crossed, and holding a feather fan in one hand, with a rich accom- 
 paniment of Persian silk tapestry ; rarely in open air, with a landscape. His 
 groups, or family pictures, are not so well arranged as by Holbein, in Sir T. 
 More's. The individuals of whom they are composed appear to be placed to- 
 gether without reciprocal action, or being connected by any other principle than 
 that of juxtaposition. They stand in a row, and do not form a pyramidal line. 
 
 Miniature painting possessed other claims for popular acceptation than its 
 more commodious size only. It was made ornamental to the person by having 
 been, in the progress of luxury, worn as an ornament, when the carved ebony 
 and ivory box was superseded by gold setting, enriched with diamonds or other 
 jewels. What at first enhanced the value became, under adverse circum- 
 stances, the cause of the miniature having been left without protection ; and 
 thus hastened to decay. A specimen, therefore, of this age by Hilliard, 
 Oliver, or some of the best artists, whose names we know not, remaining in a 
 perfect state, is a real curiosity. 
 
 HOLLAND-HOUSE. 
 
261 
 
 CHAPTER IX. 
 
 CHA.RLES I. — HIS LOVE AND PROTECTION OF THE ARTS — ACCOUNTS OF VAN- 
 DERDORT AND SIR BALTHAZAR GERBIER — DISPERSION OF THE KING-'S 
 COLLECTION, AND OF THE EARL OF ARUNDEL 7 S. 
 
 The accession 1 of this Prince was the first era of real taste 
 in England. As his temper was not profuse, the expense 
 he made in collections, and the rewards he bestowed on 
 men of true genius and merit, are proofs of his judg- 
 ment. He knew how and when to bestow. Queen 
 Elizabeth was avaricious with pomp — James I. lavish with 
 meanness. A prince who patronises the arts, and can 
 distinguish abilities, enriches his country, and is at once 
 generous and an economist. Charles had virtues to 
 make a nation happy ; fortunate, if he had not thought 
 that he knew how to m&ke them happy, and that he 
 alone ought to have the power of making them so ! 2 
 
 His character, so far as it relates to my subject, is thus 
 given by Lilly : — " He had many excellent parts in nature, 
 was an excellent horseman, would shoot well at a mark, 
 had singular skill in limning, was a good judge of pictures, 
 a good mathematician, not unskilful in music, well read in 
 divinity, excellent in history and law ; he spoke several 
 
 1 [March 27, 1625.— W.] 
 
 2 Mr. Gilpin ( Western Tour, p. 318) has drawn the portrait of King Charles I. 
 with a felicitous hand. 
 
 " If Charles had acted with as much judgment as he read, and had shown as 
 much discernment in life as he had taste in the arts, he might have figured among 
 the greatest princes. Every lover of picturesque beauty, however, must respect 
 this amiable prince, notwithstanding his political weaknesses. We never had a 
 prince in England whose genius and taste were more elevated and exact. He saw 
 the arts in a very enlarged point of view. The amusements of his court were a 
 model of elegance to all Europe ; and his cabinets were the receptacles only of 
 what was exquisite in sculpture and painting. None but men of the first merit in 
 their profession found encouragement from him, and these abundantly. Jones was 
 his architect and Vandyck his painter. Charles was a scholar, a man of taste, a 
 gentleman and a Christian ; he was everything but a king. The art of reignin°- 
 was the only art of whish he was ignorant." — D. 
 
262 PAINTERS IN THE REIGN OF CHARLES I. 
 
 languages, and writ well, good language and style." 1 Perm- 
 chief is still more particular : — " His soul," says that writer, 
 " was stored with a full knowledge of the nature of things, 
 and easily comprehended almost all kinds of arts that either 
 were for delight or of a public use ; for he was ignorant of 
 nothing, but of what he thought it became him to be negli- 
 gent, for many parts of learning that are for the ornament 
 of a private person are beneath the cares of a crowned 
 head. He was well skilled in things of antiquity, could 
 judge of medals whetherthey had the number of years they 
 pretended unto ; his libraries and cabinets were full of 
 these things on which length of time put the value of rarities. 
 In painting he had so excellent a fancy, that he would supply 
 the defect of art in the workman, and suddenly draw those 
 lines, give those airs and lights, which experience and prac- 
 tice had not taught the painter. He could judge of forti- 
 fications, and censure whether the cannon were mounted to 
 execution or no. He had an excellent skill in guns, knew 
 all that belonged to their making. The exactest arts of 
 building ships for the most necessary uses of strength or 
 good sailing, together with all their furniture, were not 
 unknown to him. He understood and was pleased with 
 the making of clocks 2 and watches. He comprehended the 
 art of printing. There was not any one gentleman of all 
 the three kingdoms that conld compare with him in an 
 universality of knowledge. He encouraged all parts of 
 learning, and he delighted to talk with all kinds of artists, 
 and with so great a facility did apprehend the mysteries of 
 their professions, that he did sometimes say, ' He thought 
 he could get his living, if necessitated, by any trade he 
 knew of, but making of hangings ; ' although of these he 
 
 1 Lilly, on the Life and Death of Charles I. p. 10. Perinchief, &c. — D. 
 
 2 Mr. Oughtred made a horizontal instrument for delineating dials, for him : 
 "Elias Allen,' ' says that celebrated mathematician, 4 'having been sworn his 
 majesty's servant, had a purpose to present his majesty with some new year's gift, 
 and requested me to devise some pretty instrument for him. I answered that 
 I have heard that his majesty delighted much in the great concave dial at White- 
 hall ; and what fitter instrument could he have than my horizontal, which was the 
 very same represented in flat ? " (Biogr. Brit vol. v. p. 3279.) Delamain, another 
 mathematician, made a ring dial for the king, which his majesty valued so much, 
 that, on the morning before he was beheaded, he ordered it to be given to the 
 Duke of York, with a book showing its use. — Ibid. p. 3283. 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 263 
 
 understood much, and was greatly delighted in them, for 
 he brought some of the most curious workmen from foreign 
 parts to make them here in England/' 1 
 
 With regard to his knowledge of pictures, I find the 
 following anecdote from a book called The Original and 
 Grotvth of Printing, byEichard Atkyns, Esq. : — " This ex- 
 cellent prince," says that author, " who was not only aliquis 
 in omnibus, but singularis in omnibus, hearing of rare 
 heads (painted) amongst several other pictures brought me 
 from Eome, sent Sir James Palmer to bring them to White- 
 hall to him, where were present divers picture drawers and 
 painters. He asked them all of whose hand that was ? 
 Some guessed at it ; others were of another opinion, but 
 none was positive. At last, said the king, "This is of such 
 a man's hand, I know it as well as if I had seen him draw 
 it ; but/ said he, ' is there but one man's hand in this 
 picture?' None did discern whether there was or not; but 
 most concluded there was but one hand. Said the king, 
 ' I am sure there are two hands have workt in it, for I 
 know the hand that drew the heads, but the hand that did 
 the rest I never saw before/ Upon this a gentleman that 
 had been at Rome about ten years before, affirmed that he 
 saw this very picture with the two heads unfinished at that 
 time, and that he heard his brother (who staid there some 
 years after him) say, that the widow of the painter that 
 drew it wanting money , got the best master she could find 
 to finish it and make it saleable/' This story, which in 
 truth is but a blind one, especially as Mr. Atkyns does 
 not mention even the name of the painter of his own 
 picture, seems calculated to prove a fact, of which I have 
 no doubt — his majesty's knowledge of hands. The gen- 
 tleman who stood by and was so long before he recollected 
 so circumstantial a history of the picture was, I dare say, 
 a very good courtier. 
 
 The king is said not only to have loved painting, but 
 to have practised it. It is affirmed that Rubens correctd 
 some of his majesty's drawings. 2 
 
 1 Life of Chartes I. at the end of the Icon Basililce. Edit. 1727. 
 
 2 De Piles, in his Life of Rubens, says, that the king's mother-in-law, Mary 6V 
 Medici, designed well. 
 
264 PAINTEKS IN THE EEIGN OF CHARTES £ 
 
 It was immediately after his accession that Charles began 
 to form his collection. The crown was already in posses- 
 sion of some good pictures : Henry VIII. had several 
 What painters had been here had added others. Prince 
 Henry, as I have said, had begun a separate collection both 
 of paintings and statues. All these Charles assembled, and 
 sent commissioners into France and Italy to purchase more. 
 Cross 1 was despatched into Spain to copy the works of 
 Titian there ; and no doubt as soon as the royal taste was 
 known, many were brought over and offered to sale at 
 court. The ministers and nobility were not backward with 
 presents of the same nature. Various are the accounts of 
 the jewels and baubles presented to magnificent Elizabeth. 
 In the Catalogue of King Charles's collection are recorded 
 the names of several of the court who ingratiated themselves 
 by offerings of pictures and curiosities. 2 But the noblest 
 addition was made by the king himself. He purchased, at 
 
 1 Vincentio Carducci, in his Dialogo della Pittura, printed at Madrid in 1633, 
 calls him Michael de la Crux ; others say it was Henry Stone, jun., who was sent to 
 Spain. When Charles was at that court, the King of Spain gave him a celebrated 
 picture by Titian called the Venus del Pardo — (see Catal. p. 103) ; and the Cain and 
 Abel, by John of Bologna, which King Charles afterwards bestowed on the Duke 
 of Buckingham, who placed it in the garden of York house — (see Peacham, p. 108.) 
 From WhitlocJce, p. 24, we have the following information: — ' 'In December the 
 Queen was brought to bed of a second daughter named Elizabeth. To congratulate 
 her Majesty's safe delivery, the Hollanders sent hither a solemn embassy and a 
 noble present, a large piece of ambergrease, two fair china basons almost transpa- 
 rent, a curious clock, and four rare pieces of Tintoret's and Titian's painting. Some 
 supposed that they did it to ingratiate the more with our King, in regard his fleet 
 was so powerful at sea, and they saw him resolved to maintain his right and domi- 
 nion there." 
 
 2 A Catalogue and Description of King Charles the First's capital Collection of 
 Pictures, &c. now first published from an original MS. in the Ashmolean Museum 
 at Oxford, prepared for the press by Mr. Yertue, and printed by W. Bathoe, 4to. 
 1757. The introductory advertisement was written by Walpole. This catalogue 
 is much too long to be .copied, but too curious for a cursory notice only ; and the 
 book itself is now extremely scarce. The Editor will therefore endeavour to con- 
 dense the information it affords. It was compiled by Abraham Yanderdoort, and 
 there are several other MS. copies, hereafter to be mentioned. 
 
 The pictures are described as they were then placed in the several apartments of 
 the palace of Whitehall. Those of the Duke of Mantua's cabinet are each called 
 " a Mantua piece," and amount to eighty-two pictures, principally by Giulio 
 Komano, Titian, and Correggio. Others are marked "a Whitehall piece," which is 
 thus explained in the margin — " all these olde pictures collected in former times." 
 Many in Henry the Eighth's Catalogue may be identified upon examination. King 
 Charles willingly received paintings as presents ; and as the names of Lord Cot- 
 tington, Sir Arthur Hopton, Sir Dudley Carlton, and others occur generally, from 
 his ambassadors. His agents for purchases were Sir James Palmer and Endymion 
 Porter. Of the seventy-seven limnings or miniatures, twelve of the more ancient 
 were given by the Earl of Suffolk. There were fifty-four books of limnings and 
 drawings, which were mostly presented.— D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 265 
 
 a great price, 1 the entire cabinet of tlie Duke of Mantua, 
 then reckoned the most valuable in Europe. 2 But several 
 of those pictures were spoiled by the quicksilver on the 
 frames, owing, I suppose, to carelessness in packing them 
 up. Vanderdort, from whom alone we have this account, 
 does not specify all that suffered, though in general he is 
 minute even in describing their frames. The list, valuable 
 as it is, 3 notwithstanding all its blunders, inaccuracy, and 
 bad English, 4 was, I believe, never completed, which might 
 be owing to the sudden death of the composer. There are 
 accounts in MS. of many more pictures, indubitably of that 
 collection, not specified in the printed catalogue. 
 
 Now I have mentioned this person, Vanderdort, it will 
 not be foreign to the purpose to give some little account of 
 him, especially as to him we owe, however mangled, the 
 only record of that Royal Museum. 5 
 
 1 The lowest I have heard was 20,000?. So R. Symondes said. At Kensington 
 are several pieces of the Venetian and Lombard schools, in uniform frames of black 
 and gold, the pictures themselves much damaged. These I take to have been part 
 of the collection from Mantua. 
 
 2 That sum would not exceed 300?. each, supposing that we have the exact 
 number of the whole collection in this catalogue. The sleeping Venus, by Cor- 
 reggio, and the Venus del Pardo, by Titian, were sold by the Commissioners, in 
 1649, for 1,6002. — D. 
 
 3 The original copy, of which there were two or three transcripts, is preserved 
 in the Ashmolean Museum at Oxford. Tom Hearne once thought of publishing it, 
 but at last, concluding it was German, gave it over. Mr. Vertue, better grounded, 
 and still more patient, transcribed it for the press ; but dying before the impression 
 was finished, it was published by Mr. Batho, as were Vertue's catalogues of the 
 collections of James II., the Duke of Buckingham, Queen Caroline, &c, the whole 
 making three volumes in quarto. 
 
 4 Vanderdoort's bad English is at least better than Felibien's " Due deBonquin- 
 quam," (Buckingham,) "Blaifore," {Blackfriars,) &c, and is not so difficult to be 
 understood by any person conversant with the collection of Charles the First. 
 Hearne's pursuits had a very different direction, and he had no knowledge of 
 pictures to assist his conjectures. — D. 
 
 5 In the British Museum, MBS. Harl. 4718, is a folio by Vanderdoort, containing 
 " an inventory of pictures, medals, agates and other rarities in the privy-garden 
 at Whitehall." It is in his handwriting. " In 1636, the King going alone into 
 the Chair-room (Presence Chamber) with his servant Vanderdoort, shewed him 27 
 golden medals, in black turned hoops, lying on a table, and sayde, Looke Abraham, 
 how came these here ? I answered, I see by this there are more kings than one, 
 which your Majesty has given mee ; and he said, Yes, I have one which 27 medals 
 the King gave me in charge, and also 38 in sylver repaired medals, at the same 
 time." The collection made by Charles I. should be considered as the first grand 
 effort sanctioned by royalty, to introduce a taste for and knowledge of art, 
 especially of painting, into this kingdom. This catalogue gives the opportunity of 
 presenting a general view of it, confining the information to an enumeration of the 
 pictures, and the masters by whom they were painted. 
 
 In the palace of Whitehall, 460 pictures were disposed in various apartments, 
 
266 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 Abraham Vanderdort, a Dutchman, had worked for the 
 Emperor Rodolphus, whose service he left, we do not know 
 on what occasion. He brought away with him a bust of a 
 woman modelled in wax, as large as the life, which he had 
 begun for that monarch, but Prince Henry was so struck 
 with it, that though the emperor wrote several times for it 
 the young prince would neither part with the work nor the 
 workman, telling him he would give him as good entertain- 
 ment as any emperor would; and indeed Vanderdort seems 
 to have made no bad bargain. He parted with the bust 
 to the prince upon condition that as soon as the cabinet, 
 then building from a design of Inigo Jones, should be 
 
 including 102 in the Long Gallery. Those only of the more celebrated masters are 
 here noticed. 
 
 LIMNINGS. 
 
 PAINTINGS. 
 
 Holbein .... 4 
 
 Janet 4 
 
 Hilliard .... 13 
 J. Oliver .... 13 
 P. Oliver .... 14 
 Hoskins .... 7 
 A. More .... 1 
 Sir J. Palmer . . 1 
 The Princess Louisa 1 
 Giovanna Garzoni . 1 
 By unknown ( ^4 
 
 hands ( 
 Frossley .... 1 
 
 Albert Diirer . . 3 
 M. Angelo da. Carav , 2 
 Bassano .... 5 
 Annibale Carracci*. 2 
 Correggio . . . .11 
 
 Holbein . . . .11 
 Hontliorst ... 9 
 Julio Romano . .16 
 Mierevelt .... 6 
 Ant. More ... 5 
 D. My tents . . .10 
 Parmegiano ... 7 
 
 Poelenburg ... 4 
 Polidoro .... 9 
 Pordenone ... 4 
 Raphael .... 9 
 Rubens .... 7 
 Rembrandt ... 3 
 Tintoretto ... 7 
 
 Titian 28 
 
 Vandyck . . . .16 
 Vansomer ... 2 
 P. Veronese ... 4 
 Leonardo da Vinci . 2 
 — D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 267 
 
 finished, he should be made keeper of his royal highnesss 
 medals, with a salary of 501. a year; 1 a contract voided 
 by the death of the prince. However, upon the accession 
 of King Charles, Vanderdort was immediately retained in 
 his service, with a salary of 40Z. a year, and appointed 
 keeper of the cabinet. This room was erected about the 
 middle of Whitehall, running across from the Thames 
 towards the banqueting-house, and fronting westward to 
 the privy garden. 2 Several warrants for payments to 
 Vanderdort, as follow, are extant in Rymer, and among 
 the Conway papers ; one of the latter is singular indeed, 
 and shows in what favour he stood with his royal master. 
 
 "The second day of April 1625, at St. James. His 
 Majesty was pleased by my Lord Duke of Buckingham's 
 means to send for Sir Edward Villiers, warden of his 
 Majesties mint, as also for his owne servant Abraham Van- 
 derdoort, where his Majesty did command in the presence 
 of the said Lord Duke and Sir Edward Villiers that the 
 said Abraham Vanderdoort should make patterns for his 
 Majesties coynes, and also give his assistance to the in- 
 gravers and his furtherance that the same may be well 
 engraven according to their abilities. For which he de- 
 sireth a warrant with an annual fee of 40Z. a year, where- 
 by it may appear that it was his Majesties pleasure to 
 appoint him for that service/' (Conway Papers.) At the 
 bottom of this paper is this entry : — " It is his Majesty's 
 pleasure that the clerk of his Majesties signett for the tyme 
 being doe cause a booke to be prepared fitt for his Majesties 
 signature of the office, with the annuitie or fee beforemen- 
 tioned to be paid out of the exchequer duringe his life." 
 
 The patent itself is in Rymer. 3 
 
 " A warrant under the signet to the officers of his 
 Majesty's household for the allowance of five shillings and 
 sixpence by the day unto Abraham Vanderdoorte for his 
 boorde wages, to begyne from Christmass last and to con- 
 
 1 See Birch's Life of Prince Henry, Append, p. 467, and Rymer, vol. xviii. 
 p. 100. [A.D. 1625, 2 Car. lmi. — D.] which patent gave him likewise the privilege 
 of being the king's medallist, "in gold, silver, brasse, &c." 
 
 2 Catalogue of King Charles's Collection, p. 164. 
 
 There is a print of it in Pennant's London, from a drawing by Lievens — D. 
 
 3 Fcedera, vol. xviii. p. 73. 
 
268 PAINTERS IN THE REIGN OF CHARLES I. 
 
 tynue during his life. By order of the Lord Conway and 
 by him procured. March 24, 1625." 1 
 
 * Docquett. 11°. Junii, 1628. A warrant unto Abraham 
 Vanderdort for his lyfe of the office of keeper of his 
 Majesties cabynett roome with a pension of 40Z. per 
 annum, and of provider of patternes for the punches and 
 stamps for his Majesties coyne in the mynt with the allow- 
 aunce of 40Z. per annum for the same paiable quarterly 
 out of the exchequer, the first payment to begynne at 
 Midsommer next 1628. With further warrant to pay unto 
 him the several arrearage of 120Z. 100Z. and of 101. due 
 unto him upon privy seales for and in respect of his im- 
 ployment in the said office and place which are to bee sur- 
 rendered before this passe the greate seale. His Majesties 
 pleasure signyfied by the Lord Viscount Conway and by 
 him procured. Subscribed by Mr. Solicitor Generall." 
 
 " To Mr. Attorney ; Junii 17, 1628. Sir, his Majestic 
 is pleased to make use of the service of his ser vaunt 
 Abraham Vanderdoort, to make patternes for his Majesties 
 coynes, and give his assistance and furtherance to the 
 ingravers for the well makinge of the stamps ; and for his 
 paines therein to give him an allowance of 40Z. per ami. 
 duringe pleasure. To which purpose you will be pleased 
 to draw a bill for his Majesties signature. 2 
 
 « Docquett. 11°. Octobr. 1628. A letter to Sir Adam 
 Newton, Knight and Baronett, receaver generall of his 
 Majesties revenue whilst he was Prince, to pay unto 
 Abraham Vanderdort for the keeping of his Majesties 
 cabinett room at St. James's, and other service the some 
 of 130 Z. in arreare due unto him for the said service from 
 our Ladyday 1625, 'till Midsommer 1628; procured by 
 Lord Viscount Conway." 
 
 The next is the extraordinary paper I mentioned : it 
 shows at once how far the royal authority in that age 
 thought it had a right to extend, and how low it conde- 
 scended to extend itself. 
 
 "Docquett. 28 November. 1'628. A letter to Louysa Cole, 
 the relict of James Cole, in favour of Abraham Vander- 
 
 1 Conway Papers. 
 
 2 Minute of a letter from Lord Conway. 
 
PAINTERS IN THE REIGN OP CHARLES I. 269 
 
 dort his Majesties servant, recommending him to her in the 
 way of marriage. Procured by the Lord Viscount Conway." 
 
 What was the success of this royal interposition 1 I no- 
 where find. Vanderdort, in this Catalogue, 2 mentions 
 presents made by him to the king, of a book of prints by 
 Albert Dtirer, of a head in plaster of Charles V., and of the 
 arm of the King of Denmark, 3 modelled from the life. It 
 is certain that the poor man had great gratitude to or great 
 awe of Charles I. The king had commended to him to take 
 particular care of a miniature by Gibson, the parable of the 
 Lost Sheep. Vanderdort laid it up so carefully, that when 
 the king asked him for it he could not find it, and hanged 
 himself in despair. 4 After his death his executors found 
 and restored it. As this piece is not mentioned in the 
 Catalogue, probably it was newly purchased. There is an 
 admirable head of Vanderdort, by Dobson, at Houghton. 5 
 
 The king, who spared neitherfavours nor money to enrich 
 his collection, invited Albano 6 into England, by a letter 
 written by his own hand. It succeeded no more than a 
 like attempt of the Duke of Buckingham to draw Carlo 
 Maratti hither. Carlo 7 had drawn for the duke the por- 
 traits of a prince and princess of Brunswick, but excused 
 
 1 How much this was the practice of that court we are told by an unexception- 
 able witness ; Lord Clarendon, in his character of Waller, says, * He had gotten a 
 very rich wife in the city, against all the recommendation, and countenance, and 
 authority of the court, which was thoroughly engaged on the behalf of Mr. Crofts, 
 and which used to be successful in that age against any opposition." — V. Life, in 
 folio, p. 24. 2 Page 57, 72. 
 
 3 In the king's collection was a portrait of the King of Denmark, by Yander- 
 dort, which proves that he dabbled too in painting. 
 
 4 Sanderson's Graphice, p. 14. 
 
 5 In the yffldes Walpolianaz, I have called this Dobson's father, as it was then 
 believed ; but I find by various notes in Vertue's MSS. that it was bought of 
 Richardson the painter, and is certainly the portrait of Vanderdort. 
 
 6 In the life of Romanelli, in Catalogue Raisonne des Tableaux du Roi (de France), 
 it is said that Charles invited that painter hither too ; vol. i. p. 163. 
 
 7 Several English sat to that master at Rome, particularly the Earls of Sunder- 
 land, Exeter, and Roscommon, Sir Thomas I sham,* Mr. Charles Fox, and Mr. 
 Edward Herbert, of Packington, a great virtuoso. The portrait of Lord Sunder- 
 land is at Althorp, a whole length, in a loose drapery, like an apostle ; the head 
 and hands are well painted. The head of Mr. Herbert, who was called the Rough 
 Diamond, was, with some of his books, left by his nephew to the library of the 
 Middle- temple, where it remains. At Waldeshare, in Kent, a portrait of Sir 
 Robert Fnrnese ; and at Sherburn- castle, in Dorsetshire, another, not quite half 
 
 * It is at Lord Ilchester's, at Redlinch, and is a good head ; on the shoulders 
 are scarlet ribands. 
 
270 PAINTERS IN THE REIGN OF CHARLES I. 
 
 himself from obeying the summons, by pleading that he had 
 not studied long enough in Kome, and was not yet worthy 
 of painting for the king. Simon Vouet, an admired French 
 painter, who, while very young, had been sent over in 1604, 
 to draw the portrait of some lady of great rank,retiredhither 
 from Paris, was invited by King Charles, with promise of 
 great rewards, to return to England, but declined the offer. 1 
 His majesty was desirous too of having something of the 
 hand of Bernini. 2 Vandyck drew, in one piece the full face, 
 and the three-quarter face, and the profile of the king, from 
 which Bernini mude a bust, that was consumed or stolen in 
 
 length, of Robert, Lord Digby, son of Kildare, Lord Digby, holding a paper with 
 a mathematical figure. At Burleigh, a portrait of the Earl of Exeter, who col- 
 lected so many of Carlo's works ; and a head of Charles Cavendish, a boy, with 
 the eyes shut, said to be taken after his death, but it seems too highly coloured, 
 and is probably sleeping. 
 
 At Castle-Howard is a portrait of Cardinal Howard, sitting, by C Maratti. His 
 right hand rests upon some papers upon a table, and in his left is a cardinal's cap. 
 When C. Maratti heard complaints of his extravagant prices, he replied, " I am 
 sent as the receiver-general for all the good painters that have lived before me, and 
 have been poorly paid, to collect their arrears !" In the HougHon collection was 
 a fine portrait of Cardinal Rospigliosi, and another at Chiswiek. — D. 
 
 1 Felibien. Jan. 4, 1698-9. — D. 
 
 2 Before 1839. In Stone's MS. Diary, above cited, he notes down, ' 6 Oct 22, 
 1638. I went to Cav re . Bernini. Hee asked me whether I had seene the head of 
 marble that was sent into England for the King, and to tell him the truth of what 
 was spoken of it. I tolde him, that whosoever I had heard, admired it, not only 
 for the exquisitenesse of the worke, but the likenesse and near resemblance it had 
 to the Kinges countenance. He said that divers had told him so, but that he could 
 not believe it. Then he began to be very free in his discourse, and to aske if 
 nothing was broke of it." Stone then relates that an English cavalier had per- 
 suaded him to make his bust, and that as soon as he had finished the mould, the 
 Pope hearing of it, sent to forbid him, because he would have none but the King's 
 sent there ; and that Bernini had consented to make it, because he wished to have 
 the English see the difference between a bust taken from the life, or from a painting. 
 "Do not we see," said Bernini, ' ' that when a man is affrighted there comes a 
 palenesse on the countenance suddenly, and wee say he looks not like the same 
 man ; how can it possibly be, that a marble picture can resemble the nature, when 
 it is all one coullour in his face, another in his haire, a thirde in his lipps and his 
 eyes, yet different from all the rest ? therefere," sayd the Cavaliere Bernini, "I 
 conclude; that it is the impossiblest thing in the world to make a picture in stone, 
 naturally to represent any person." 
 
 There are other busts of Charles I., of great merit. 1. Of bronze, placed by 
 Sir Nicholas Crispe, in the church at Hammersmith. 2. Done by Rysbrack, and 
 composed from a copy of the portrait sent to Bernini, for the late G. Selwyn, Esq. 
 It is now in the possession of the Duke of Hertford. 3. By Le Soeur, at Stour- 
 ton. Evelyn observes, " I have been told of the famous architect and statuary 
 Bernini, who cut that rare bust of Charles I. at Rome, in white marble, from a 
 picture by Vandyck, yet extant in one of his Majesty's apartments, that he foretold 
 something ficnest and unhappy which the countenance of that prince foreboded," 
 " Ecco il volto funesto /" {Numismata.) The original picture by Vandyck, after 
 the dispersion of the Royal collection, found its way into the Doria palace at Genoa, 
 
 and has been lately purchased by his present (1828) majesty. — D. [It is now in 
 
 the Vandyck Gallery at Windsor.— -W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 27 1 
 
 the fire of Whitehall. 1 It was on seeing this picture that 
 Bernini pronounced, as is well known, that there was some- 
 thing unfortunate in the countenance of Charles. The same 
 artist made a bust too of Mr. Baker, who carried the picture 
 to Eome. The Duke of Kent's father bought the latter bust 
 at Sir Peter Lely s sale ; it is now in the possession of Lord 
 Koyston, and was reckoned preferable to that of the king. 2 
 The hair is in prodigious quantity, and incomparably loose 
 and free ; the point-band very fine. Mr. Baker paid 
 Bernini a hundred broad pieces for his, but for the king's 
 Bernini received a thousand Eoman crowns. The king was 
 so pleased with his own, that he desired to have one of the 
 queen too ; but that was prevented by the war. 3 
 
 1 It is very uncertain what became of this bust. Vertue, from several circum- 
 stances, which I shall lay before the reader, believed it was not destroyed. Cooper, 
 the printseller, told him that he had often heard Norrice, frame-maker to the 
 Court, and who saved several of the pictures, aver, that he was in the room where 
 the bust used to stand, over a corner chimney, and that it was taken away before 
 that chamber was destroyed. Lord Cutts, who commanded the troops, was im- 
 patient to blow up that part ; and yet after he had ordered the drums to beat, it 
 was half an hour before the explosion was begun; time enough to have saved the 
 bust, if it was not stolen before. Sir John Stanley, then deputy chamberlain, was 
 of the latter opinion. He was at dinner in Craig-court when the fire began, which 
 was about three o'clock : he immediately went to the palace, and perceived only an 
 inconsiderable smoke in a garret, not in the principal building. He found Sir 
 Christopher Wren and his workmen there, and the gates all shut. Looking at 
 Bernini's bust, he begged Sir Christopher to take care of that, and the statues. 
 The latter replied, " Take care of what you are concerned in, and leave the rest to 
 me." Sir John said it was above five hours after this before the fire reached that 
 part. Norrice afterwards dug in the ruins of that chamber, but could not discover 
 the least fragment of marble. The crouching Venus, in the same apartment, was 
 known to be stolen, being discovered after a concealment of four years, and 
 retaken by the crown. Vertue thought that the brazen bust of King Charles in the 
 passage near Westminster-hall, was not taken from Bernini's, of which casts are 
 extant, but of an earlier date. In the Imperial library at Vienna, says Dr. Edward 
 Brown, in his Travels, is a head of King Charles, in white marble ; but this cannot 
 be Bernini's, as Brown wrote in 1673, and the fire of Whitehall happened in 1697. 
 
 2 At Wimpole, the seat of the Earl of Hardwicke. — D. 
 
 3 In the church at Chelsea is a fine monument, in a niche, for the Lady Jane 
 Cheyney ; she is represented lying on her right side, and leaning on a Bible. This 
 
 tomb was the work of Bernini, and cost 5001. Lady Jane Cheyney was the 
 
 daughter of William Cavendish, Duke of Newcastle. — D. 
 
 Mr. Buchanan (Mem. of Painting, 1824, 8vo. vol. ii. p. 127) sent the original 
 letter from Queen Henrietta to Bernini, inclosed with a picture of Charles I. from 
 Rome. " Having been put up in a book and carelessly torn out, some words are 
 wanting at one side. An Italian translation may be seen in Baldinucci's Life of 
 Bernini." It is likewise printed in the Letter e sulla Pittura, torn. v. p. 58, from 
 which a translation is offered. This letter was probably written by the Queen, in 
 French. The Editor is ignorant where, in England, it is now deposited. 
 "Signor Cavalier Bernini, 
 
 " The high estimation in which both the King my husband and myself have 
 held the bust which you have made of him, being in every respect equal to the 
 
272 PAINTERS IN THE REIGN OF CHARLES I. 
 
 Among the Strafford papers is an evidence of this prince's 
 affection for his pictures. In a letter from Mr. Garrard, 1 
 dated November 9, 1637, speaking of two masks that were 
 to be exhibited that winter, he says : — " A great room is 
 now 2 building, only for this use, betwixt the guard-chamber 
 and banquetting-house, of fir, only weather-boarded and 
 slightly covered. At the marriage of the Queen of Bohemia 
 I saw one set up there, but not of that vastness that this 
 is, which will cost too much money to be pulled down, and 
 yet down it must when the masks are over." 
 
 In another, of December 16, the same person says : — 
 " Here are two masks intended this winter ; the King is 
 now in practising his, which shall be presented at Twelfth- 
 tide, most of the young Lords about the town, who are 
 good dancers, attend his Majesty in this business. The 
 other the Queen makes at Shrove-tide, a new house being 
 erected in the first court at Whitehall, which cost the King 
 2500Z., only of deal boards, because the King will not have 
 his pictures in the banqueting-house hurt with lights." 
 
 The most capital purchase made by King Charles were 
 the cartoons of Raphael, now at Hampton- court. They 
 had remained in Flanders from the time that Leo X. sent 
 them thither to be copied in tapestry, the money for the 
 tapestry having never been paid. Rubens told the king of 
 them, and where they were, and by his means they were 
 bought. 3 
 
 It may be of use to collectors and virtuosi, for whose 
 
 satisfaction we have received from it, as from a performance which merits the 
 approbation of all who see it, induces me now to make known to you, that, to 
 complete my gratification, I should desire one of myself of equal excellence, by 
 your hand, and designed from pictures which Mr. Lomas will deliver to you. I 
 have commissioned him to assure you of the pleasure I shall feel from the taste and 
 talent which I expect from you in that work ; and I pray God to have you in his 
 holy keeping. Dated Whitehall, June 16, 1639. Henriette Marie, K." — D. 
 
 1 Page 130, vol. ii. 
 
 2 Journal of the House of Commons, July 16, 1645. " Ordered, that the 
 boarded masque-house at Whitehall, the masque-house at St. James's and the courts 
 of guard, be forthwith pulled down and sold away." 
 
 3 The cartoons were purchased by Charles I. for the manufactory of tapestry 
 
 established at Mortlake under Sir Francis Crane. — D. [The cartoons cost 
 
 Leo 1601., while the price of the tapestries was, according to Fea, 34,000 scudi, 
 or about 7,000£. These relative prices account, in some measure, for the neglect 
 with which the cartoons were treated after the tapestries were completed. — See 
 Fea, Notizie intorno di Baphaele, Sc. ; Plainer und Bunsen, Beschreibung 
 Moms. — W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 273 
 
 service this work is composed, to know when they meet 
 with the ruins of that royal cabinet, or of the Earl of Arun- 
 
 del's. On the king's pictures was this mark, C. P. or C. E. ; 
 
 on his drawings a large star, thus, 5HK ; on the earl's a 
 smaller^. 1 
 
 The Dials at Whitehall were erected by the order of 
 Charles, while he was prince. Mr. Gunter drew the lines, 
 and wrote the description and use of them, printed in a 
 small tract, by order of King James, in 1624. There were 
 five dials ; afterwards some were made of glass, in a pyra- 
 midal shape, by Francis Hall, and. placed in the same 
 garden. One or two of these may still be extant ; Vertue 
 saw them at Buckingham-house, in St. J ames's-park, from 
 whence they were sold. 
 
 It looks as if Charles had had some thoughts of erecting 
 
 O o 
 
 a monument for his father. 2 In the lodgings of the warden 
 of New-college, Oxford, was a mausoleum with arms, altar- 
 tomb, columns and inscriptions, in honour of that prince, 
 dated 1630. It is certain King Charles had no less incli- 
 nation for architecture than for the other arts. The in- 
 tended palace at Whitehall would have been the most truly 
 magnificent and beautiful fabric of any of the kind in 
 Europe. His majesty did not send to Italy and Flanders 
 for architects as he did for Albano and Vandyck : he had 
 Inigo Jones. Under the direction of that genius, the king 
 erected the house at Greenwich. 3 
 
 Charles had in his service another man, both architect 
 and painter, of whom, though excellent in neither branch, 
 the reader will perhaps not dislike some account, as he 
 was a remarkable person and is little known. 
 
 These two marks are on drawings, often accompanied with, the name of the 
 master written in a very fine Italian hand, by Nicholas Laniere, who, in the early 
 part of his life, was employed both by the king and Lord Arundel to purchase 
 drawings in Italy. — D. 
 
 2 It is a painting, not a model, of a mausoleum, still remaining in the warden's 
 lodgings, at New-college. It represents a kind of Roman temple, with many half 
 figures and fulsome inscriptions, bordering on the blasphemous ; a vile piece of 
 art, and a viler piece of flattery. There is little probability that it was ever seen 
 by Charles I. — D. 
 
 3 It now forms a part of the Naval Asylum at the centre. — D. 
 
 VOL. I. T 
 
274 PAINTERS IN THE EEIGN OF CHARLES I. 
 
 Sir Balthazar Gerbier D'Ouvilly of Antwerp, 1 was bom 
 about 1581, came young into England, and was a retainer 
 
 of the Duke of Buckingham as early as 1613. In Finette s 
 Master of the Ceremonies, it is said, " Alonzo Contarini, 
 Embassador from Venice, came to Mr. Gerbier, a gentle- 
 man serving the Duke of Buckingham." Sanderson 2 calls 
 him a common penman, " who pensiled the dialogue" 
 (probably the decalogue) " in the Dutch church, London, 
 his first rise of preferment." It is certain that he ingra- 
 tiated himself much with that favourite, and attended him 
 into Spain, where he was even employed in the treaty of 
 marriage, though ostensibly acting only in the character of 
 
 1 Many readers may be of opinion that more pages of this work have been 
 allotted to Gerbier than he had deserved, considered merely as an artist. His 
 talents were rather those of a courtier ; and having, in early life, made himself 
 necessary to the Duke of Buckingham, he found a ready admission to court, and 
 recommended himself, to the end of the king's reign, by various projects of high 
 pretension, connected with the arts and belles-lettres. His intimacy with Vandyck 
 proved of mutual advantage to both. Saunderson (an authority to be suspected) 
 speaks of him with contempt as an ai tist. He was knighted, sent as the king's 
 agent to Brussels, and at his return made Master of the Ceremonies. For his 
 political negotiations, see ffardwicke'3 State Papers, vol. ii. p. 5i. — D. 
 
 2 Grapkice, p. 15. 
 
PAINTERS IN THE REIGN OF CHARLES I. 275 
 
 a painter. 1 Among the Harleian MSS. is a letter from the 
 Duchess of Buckingham to her lord in Spain, " I pray you, 
 if you have any idle time, 2 sit to Gerbier for your picture 
 that I may have it well done in little." Bishop Tanner 
 had a MS. Catalogue of the duke's collection drawn up by 
 Gerbier, who had been employed by the duke in several 
 of the purchases. However, there is some appearance of 
 his having fallen into disgrace with his patron. In one of 
 Vertue s MSS. is a passage that seems to be an extract, 
 though the author is not quoted, in which the duke treats 
 Gerbier with the highest contempt. The transcript is so 
 obscure and imperfect, that I shall give it in Vertue's own 
 words : 
 
 " King James I. ill and dying the Duke of Buckingham 
 was advised to apply a plaister to his stomach, which he 
 did with proper advice of doctors, physicians of the king. 
 But the king dying, the duke was blamed — one Eglesham 
 printed a scurrilous libel, 3 and flew away into Flanders. — 
 I was told by Sir Balthazar Gerbier [though his testimony 
 be odious to any man] that Eglesham dealt with him in 
 Flanders for a piece of money [not more than 400 guilders 
 to defray the charges] to imprint his recantation, of which 
 the Duke bid Gerbier join malice and knavery together, 
 and spit their venom 'till they split, and he would pay for 
 printing that also." 
 
 Nothing can be built upon so vague a foundation. It is 
 certain, that immediately after the accession of King Charles 
 
 1 He painted small figures in distemper. (De Piles.) While in Spain he drew 
 the Infanta in miniature, which was sent over to King James. 
 
 2 In a letter, dated 1628, it is said the king and queen were entertained at 
 supper at Gerbier, the duke's painter's house, which could not stand him in less 
 thanljOOOZ. The Duchess of Northumberland has a large oval miniature of the 
 Duke of Buckingham on horseback. The head is well painted ; the figure dressed 
 in scarlet and gold, is finished with great labour and richness. The head of the 
 horse, which is dark grey with a long white mane, is lively. Under the horse, a 
 landscape and figures ; over the duke's head, his motto, Fidei coticula Grux ; and 
 on the foreground, B. Gerbier, 1618. 
 
 3 The title was, " The Forerunners of Revenge, in two petitions, the one to the 
 King, the other to the Parliament ; concerning the Duke of Buckingham's poy- 
 soning King James, and the Marquis of Hamilton. By George Englisham, physi- 
 cian to King James, quo. 1642." By the date of this piece, I suppose it was 
 reprinted at the beginning of the war. The piece itself was transcribed by Mr. 
 Baker of St. John's-college, Cambridge, from the printed copy in possession of Dr. 
 Zachary Grey, editor of Hudibras. — V. also Loyd's State Worthies i p. 654, 655. 
 
 T 2 
 
276 PAINTERS TN THE REIGN OF CHARLES L 
 
 Gerbier was employed in Flanders to negotiate privately a 
 treaty with Spain, the very treaty in which Eubens was 
 commissioned on the part of the Infanta, and for which 
 end that great painter came to England. Among the Con- 
 way papers I found a very curious and long letter from 
 Gerbier himself on this occasion, which, though too prolix 
 to insert in the body of this work, I shall affix at the end/ 
 not only as pertinent to my subject from the part these 
 painters had in so important a business, but as it is more 
 particular than any thing I know in print on that occasion. 
 
 Gerbier kept his ground after the death of Buckingham. 
 In 1628, he was knighted at Hampton-court, and, as he 
 says himself in one of his books, was promised by King 
 Charles the office of Surveyor-general of the Works after 
 the death of Inigo J ones. 
 
 In 1637, beseems to have been employed in some other 
 private transactions of state, negotiating with the Duke of 
 Orleans, the king's brother, who was discontented with the 
 court. The Earl of Leicester, ambassador to Paris, writes 2 
 to Mr. Secretary Windebank, November 24 : " I received 
 a packet from Garbier to Monsieur d d " [French king's 
 brother.] 
 
 July 13, 1641, he took the oaths of allegiance and supre- 
 macy, having a bill of naturalization. 3 From that time to 
 the death of the king, I find no mention of him, though 
 I do not doubt but a man of so supple and intriguing a 
 nature, so universal an undertaker, did not lie still in times 
 of such dark and busy complexion. However, whether 
 miscarrying or neglected, 4 in 1648, he appears not only in 
 the character of author, but founder of an academy. In 
 
 1 Vide Appendix. 
 
 ' z Sidney Papers, vol. ii, p. 528. In one of his dedications mentioned hereafter, 
 Gerbier puts this lord in mind of his having been in a public employment when 
 his lordship was at Paris : and De Piles says that the Duke of Buckingham finding 
 him a man of good understanding, recommended him to the king, who sent him 
 as his agent to Brussels. 3 Journals of the Commons. 
 
 4 Vertue says he was much hated and persecuted by the anti-monarchic party, 
 being always loyal and faithful to the king and his son ; which may explain and 
 soften what is said above of his testimony being odious to any man. He bought 
 goods at King Charles's sale to the value of 350Z. Gerbier was so far from deserv- 
 ing the character given above, that his fifth lecture (with which I havektely met), 
 read at his academy in Whitefriars, on military architecture, is dedicated, 1650, 
 to Major-general Skippon, and is full of fulsome flattery; and tells him he is 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 277 
 
 that year he published a thin quarto, entitled, The Inter- 
 preter of the Academie for Forrain Languages, and all 
 noble sciences and exercises. To all fathers of families 
 and lovers of vertue. The first part by Sir Balthazar 
 Gerbier, Knight. Lond. French and English ; with a 
 print 1 of his head in oval, and this motto, Heureux qui en 
 Dieu se confie. It is a most trifling, superficial rhapsody, 
 and deserved the sarcasm that Butler passed on so incom- 
 petent an attempt. 2 In his fictitious will of Pembroke, 
 that lord is made to say, " All my other speeches, of what 
 colour soever, I give to the academy, to help Sir Baltha- 
 zar's Art of Well-speaking!' 
 
 In 1649, he published the first lecture of Geography, 3 
 read at Sir Balthazar Gerbier s academy at Bednal-Green, 4 
 by which it seems that at least his institution was opened. 
 This piece I have not seen, nor the next, though from 
 Vertue's extract one learns another singular anecdote of 
 this projector s history. 
 
 " Sir Balthazar Gerbier's manifestation of greater profits 
 to be clone in the hot than the cold parts of America. 
 Rotterdam, 1660. Wherein is set forth that he having a 
 commission to go there, settle and make enquirys, he went 
 to Cajana (Cayenne) with his family, and settled at Suri- 
 nam. A governor there from the Dutch had orders to seize 
 upon him and all his papers and bring him back to Hol- 
 
 under the immediate protection of Providence, and that no man can really perish 
 in a good cause ! In 1665, the versatile Gerbier published a piece he called Sub- 
 sidium Peregrinantibus, or an Assistance to a Traveller (an incoherent medley, 
 teeming with as many blunders and incorrections as his other tracts) ; this he 
 addressed to James, Duke of Monmouth. 
 
 1 There is another print of him, half-length, by Pontius, after Vandyck, in which 
 he is styled Bruxellas Prolegatus. 
 
 2 For instance, he translates Arcadia, Orcadys. 
 
 3 So Vertue calls it ; but it is probably a mistake, Mr. Masters being possessed 
 of a tract, which is probably the same, and corresponds exactly to Butler's words ; 
 it is entitled, The Art of Well-speaking, being a lecture read gratis at Sir B. 
 Gerbier's academy, dedicated to the right high and supreme Power of this Nation, 
 the Parliament of England, &c. dated 6 Jan. 1649. 
 
 4 Of this academy, which professed to be a continuation of Sir I. Kynaston's 
 Museum Minerva, for which he had procured the royal sanction {Pat. 11 mo 
 Car. l me p. 8. n. 14,) and which was established at Bethnal Green, an interesting 
 account is given in Lysons's Environs, vol. ii. p. 31. Several of his advertisements 
 are extracted, such as ' ' the lecture of the next week designed for the ladies and 
 honourable women of this nation, on the Art of Speaking." This institution was 
 of very short duration ; but Gerbier, in 1649, had fallen into poverty, and had 
 resorted to it merely as an expedient. — D. 
 
278 PAINTERS IN THE REIGN OF CHARLES I. 
 
 land, which they did in a very violent manner, breaking 
 into his house, killed one of his children, endangered the 
 lives of the rest of his family, and narrowly escaped himself 
 with his life, having a pistol charged at his breast if he 
 had resisted. They brought him to Holland. He com- 
 plained, but got no redress, the States disowning they had 
 given any such orders. However, it was just before the 
 Restoration, and knowing the obligations he had to Eng- 
 land, they apprehended he might give the king notice of the 
 advantages might be gained by a settlement there/' 
 
 This perhaps was one among the many provocations 
 which, meeting his inclinations to France, led Charles II. 
 into his impolitic, though otherwise not wholly unjustifi- 
 able war with Holland, a people too apt, even in their 
 depressed state, to hazard barbarous and brutal infraction 
 of treaties and humanity, when a glimpse of commercial 
 interest invites it. 
 
 Gerbier probably returned to England with that prince, 
 for the triumphal arches erected for his reception are said 
 to have been designed by Sir Balthazar. 1 
 
 In France he published a book on fortification, and in 
 1662, at London, a small discourse on magnificent build- 
 ings, dedicated to the king, in w T hich he principally treats 
 of solidity, convenience, and ornament, and glances at some 
 errors of Inigo Jones, in the banqueting-house. Here, 
 too, he mentions a large room built by himself near the 
 water-gate, 2 at York-stairs, thirty-five feet square, and says 
 that King Charles I., being in it in 1628, at some repre- 
 sentation of scenery, commended it, and expressed as much 
 satisfaction with it as with the banqueting-house. In the 
 piece, he proposes to the Lords and Commons to level the 
 streets, Fleet-bridge and Cheapside, and erect a sumptuous 
 gate at Temple-bar, of which he had presented a draught to 
 his majesty. Before this book is a different print of him, 
 with a riband and a medal, inscribed C. E. 1653. The 
 medal, I suppose, was given him when appointed, as he 
 says he was, master of the ceremonies to Charles L 
 
 1 They were so.— V. Brit. Topogr. vol. i. p. 683. 
 
 2 The gate itself was designed by Inigo. 
 
PAINTERS IN THE REIGN OF CHARLES L 279 
 
 His portrait, in one piece with Sir Charles Cotterel and 
 Dobson, painted by the latter, is at Northumberland-house ; 
 Gerbier has been mistaken in that picture for Inigo Jones. 
 This piece was bought for iil. at the sale of Betterton, the 
 player. 
 
 Gerbier's 1 last piece is a small manual, entitled, Counsel 
 and Advice to all Builders. &c. London, 1663. 2 A full 
 half of this little piece is wasted on dedications, of which 
 there are no fewer than forty, and which he excuses by the 
 example of Antonio Perez. They are addressed to the 
 queen-mother, Duke of York, and most of the principal 
 nobility and courtiers. The last is his own disciple, Cap- 
 tain William Wind. There is a heap of a kind of various 
 knowledge, even in these dedications, and some curious 
 things, as well as in the book itself, particularly the prices 
 of work and of all materials for building at that time. In 
 one place he ridicules the heads of lions, which are creeping- 
 through the pilasters on the houses in Great Queen-street, 
 built by Webb, the scholar of Inigo Jones. 
 
 Hempstead-marshal, 3 the seat of Lord Craven, since de- 
 stroyed by fire, was the last production of Gerbier. He 
 gave the designs for it, and died there in 1667, while it was 
 building, 4 and was buried in the chancel of that church. 
 The house was finished under the direction of Captain 
 Wind, above mentioned. 
 
 In the library of Secretary Pepys, at Magdalen-college, 
 Cambridge, is a miscellaneous collection in French, of robes, 
 manteaux, couronnes, armes, &c. d'Empereurs, Eois, Papes, 
 Princes, Dues, et Comtes, anciens et modernes, blazonnes 
 et elumines par Balthazar Gerbier. 
 
 Among the Harleian MBS., No. 2384, is one entitled 
 
 1 Victor, in his Companion to the Playhouse, vol. i., says, Gerbier wrote a play 
 called " The False Favourite Disgraced, and the Reward of Loyalty," tragi-comedy, 
 1657, and that it was never acted, and contains false English. By mistake he calls 
 him Geo. instead of Balthazar. 
 
 2 Among his many and various treatises was one entitled, A Treatise on Mag- 
 nificent Building, with his portrait, 1662. — D. 
 
 3 In the Britannia Illustrata (imp. folio, 1714), is a view of the western front 
 of Hempsted-marshal. It has five projecting bay-windows with a portal, which 
 are low ; above them a range of square windows dressed with architraves, like those 
 at Whitehall. The whole inconceivably ugly. — D. 
 
 4 The foundation was laid in 1662. 
 
280 PAINTERS IN THE REIGN OF CHARLES I. 
 
 Sir Balthazar Gerbier his admonitions and disputes with 
 his three daughters retired into the English nunnery at 
 Paris, 1646. 
 
 Since the former edition of this work, I have received a 
 present from Mr. J. Bindley, of another piece of Gerbier, 
 which I never saw elsewhere. The title is, Les Effets per- 
 niceux de meschants Favoris & grands Ministres d'Etats es 
 provinces Belgiques, en Lorraine, Germanie, France, Italie, 
 Espagne & Angleterre, & desabuses d'erreurs populaires sur 
 le subject de Jacques & Charles Stuart, Boys de la Grande 
 Bretagne, par le Chev. B. Gerbier, a la Haye, 1653. Small 
 duod. It is an ignorant, servile rhapsody, containing little 
 argument, many lies, and some curious facts, if the author 
 is to be believed. There are two dedications, one, a tous 
 Empereurs, Boys, Beines, Brinces, Brincesses, Begentes, 
 Etats, & Magistrats ; another to Charles II. The scope 
 of the book is to lay all the faults committed by sovereigns 
 on wicked favourites, in which class he ranks even the 
 leaders of the Barliament which opposed Charles I. He 
 gives a list of the favourites of James L, but excuses them 
 all, as he does Buckingham and Charles I. The secondpart 
 is a defence of James and Charles, and such a defence as 
 they deserved ! There follow indexes of 3d, 4th, and 5th 
 parts, and the heads of what they were to contain in defence 
 of Charles and of the chastity of his queen, against the 
 Barliamentarians. Those, probably, never appeared. 
 
 He says that Lord Cottington betrayed to Spain a de- 
 sign of the Catholic States of Flanders to revolt, in 1632, 
 on their oppressions. Such a witness may be believed. 
 
 He speaks of a young lady who was shut up between 
 four walls, for blabbing that Lafin, agent of Emanuel, Duke 
 of Savoy, by the advice of Count Fuentes, had incited Ba- 
 vaillac to murder Henry IV. He says that Eggleston 
 desired Sir W. Chaloner to ask Gerbier to get his pardon, 
 on condition of his confessing that some Scotch and English 
 had set him on publishing his libel, to blacken the prince 
 and Buckingham ; that he wrote to the Secretary of State, 
 but got no answer. 
 
 He says the Earl of Berkshire was likely to be Charles's 
 
PAINTERS IN THE REIGN OF CHARLES I. 281 
 
 minister on the death of James ; that Larkin, who was em- 
 ployed at Paris to watch the sincerity of France, was 
 drowned : and that Rubens was sent to assure King J ames 
 that the Infanta had power to conclude the treaty for the 
 restitution of the Palatinate. But his most remarkable 
 anecdote, and probably a true one, is, that Monsieur Blin- 
 ville, the French ambassador, when lodged at the Bishop 
 of Durham's, celebrated mass openly, that the odium might 
 fall on the king ; and when the mob rose, told them that 
 he had been privately assured by the king and Buckingham 
 that he might. Gerbier says, " This was done by Riche- 
 lieu s order ; " and he adds, that he himself was sent to 
 Paris to complain of Blinville. 
 
 The late Prince of Wales hearing of a capital picture by 
 Vandyck, in Holland, to which various names of English 
 families were given, as Sir Balthazar Arundel, Sir Melchior 
 Arundel, Sir Balthazar Buckingham, or Sheffield, the last of 
 which gained most credit from a resemblance in the arms, 
 his royal highness gave a commission to purchase it, and it 
 was brought to Leicester-house. It appeared that a cele- 
 brated piece for which Lord Burlington had bid 500Z. at 
 Lord Radnor's 1 sale, and which Mr. Scawen 2 bought at a 
 still greater price, was the same with this picture, but not 
 so large nor containing so many figures. Mr. Scawen s had 
 always passed for a mistress and children of the Duke of 
 Buckingham ; but Vertue discovered on that of the Prince 
 of Wales an almost effaced inscription, written by Van- 
 dyck's own hand, with these words remaining : La famille 
 de Balthazar — Chevalier ; and he showed the prince that 
 the arms on a flower-pot were the same with those on two 
 different prints of Gerbier, and allusive to his name, viz. a 
 chevron between three garbs or sheafs. There is a group of 
 children on the right hand, very inferior to the rest of the 
 composition, and certainly not by Vandyck. The little 
 girl, 3 leaning on the mother s knee, was originally painted 
 
 1 Robartes, Earl of Radnor in 1724.— D. 
 
 2 It was again exposed at Mr. Scawen's sale, but bought in, and has since been 
 purchased by Sampson Gideon. 
 
 5 One of Geibier's daughters was made of honour to the Princess of C mde, and 
 passed for her mistress while the princess made her escape from Chantilli, when 
 
2S2 PAINTERS IN THE REIGN OF CHARLES I. 
 
 by Rubens, in a separate piece, formerly belonging to 
 Richardson, the painter, since that to General Skelton and 
 Captain William Hamilton, and now in the collection of the 
 Lord Viscount Spenser. It is finer than any large picture. 
 But it is time to return to King Charles. 
 
 The academy erected by Gerbier was probably imitated 
 from one established by Charles L, in the eleventh year of 
 his reign, and called Museum Minervae. The patent of 
 erection is still extant in the office of the Rolls. None but 
 who could prove themselves gentlemen were to be admitted 
 to education there, where they were to be instructed in arts 
 and sciences, foreign languages, mathematics, painting, 
 architecture, riding, fortification, antiquities, and the 
 science of medals. Professors were appointed, and Sir 
 Francis Kynaston, 1 in whose house in Covent-garden the 
 academy was held, was named regent. There is a small 
 account of the design of this academy, with its rules and 
 orders, printed in 16 36. 2 But it fell to the ground, with 
 the rest of the king's plans and attempts ; and so great was 
 the inveteracy to him, that it seems to have become part 
 of the religion of the time to war on the arts, because they 
 had been countenanced at court. The Parliament began to 
 sell the pictures at York-house so early as 1645 ; but lest 
 the necessity of their affairs should not be thought sufficient 
 justification, they coloured it over with a piece of fanatic 
 bigotry that was perfectly ridiculous; passing the fol- 
 lowing votes, among others, July 23. 3 
 
 Ordered, that all such pictures and statues there (York- 
 house), as are without any superstition, shall be forthwith 
 sold, for the benefit of Ireland and the North. 
 
 the prince was imprisoned by Mazarin. V. Memoires de Lcnet, vol. i. p. 189. 
 Lenet was in love with Mile. Gerbier, p. 263. 
 
 1 Sir Francis Kynaston, who styled himself Corporis Armiger, printed in 1635 
 a translation into Latin verse of Chaucer's Troilus and Cressida. 
 
 2 At the end of the little edition of Busbequius's Epistles, printed at Oxford 
 1660, is the grant of a coat of arms to the regent and professors of the Museum 
 Minervse, from Sir John Burroughs, the herald, dated 1635, which arms are pre- 
 fixed to the rules and orders of that establishment, printed 1636. Previous to its 
 being set on foot, a committee had been appointed in the House of Lords, con- 
 sisting of the Duke of Buckingham and others, for taking into consideration the 
 state of the public schools and method of education. What progress was made by 
 this committee is not known, but probably the Museum Minervse owed its rise to it. 
 
 3 Journal of the Commons. 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 283 
 
 Ordered, that all such pictures there as have the repre- 
 sentation of the Second Person in Trinity upon them, 
 shall be forthwith burnt. 
 
 Ordered, that all such pictures there as have the repre- 
 sentation of the Virgin Mary upon them, shall be 
 forthwith burnt. 
 
 This was a worthy contrast to Archbishop Laud, who 
 made a star-chamber business of a man who broke some 
 painted glass in the cathedral of Salisbury. The cause of 
 liberty was then, and is always, the only cause that can 
 excuse a civil war : yet if Laud had not doated on trifles, 
 and the Presbyterians been squeamish about them, I ques- 
 tion whether the nobler motives would have had sufficient 
 influence to save us from arbitrary power. They are tht 
 slightest objects that make the deepest impression on the 
 people. They seldom fight for the liberty of doing what 
 they have a right to do, but because they are prohibited or 
 enjoined some folly that they have or have not a mind to do, 
 One comical instance of the humour of those times I find 
 in Aubreys History of Surrey .- 1 one Bleese was hired for 
 half-a-crown a clay to break the painted glass windows of 
 the church of Croydon. The man probably took care 
 not to be too expeditious in the destruction. 
 
 Immediately after the death of the king, 2 several votes 
 were passed for sale of his goods, pictures, statues, &c. 
 
 Feb. 20, 1648. It was referred to the committee of 
 the navy to raise money by sale of the crown, jewels, 
 hangings, and other goods of the late king. 
 
 Two days after, Cromwell, who, as soon as he was 
 
 1 Vol. ii. p. 30. 
 
 2 I cannot help inserting a short remark here, though foreign to the purpose. 
 The very day after the execution of the king was passed this vote^ ' ' Ordered, 
 That the Lord Grey be desired, out of Haberdasher' s-hall, to dispose of one hun- 
 dred pounds for the service of the commonwealth, as he shall think fit ; and that 
 the committee at Haberdasher's-hall be required forthwith to pay the same to the 
 said Lord Grey for that purpose." This order is so covertly worded, without any 
 particular application, at the same time that the sum is so small for any public 
 service, that, joined to the circumstance of time and the known zeal of the pay- 
 master, I cannot doubt but this was intended for the reward of the executioner. 
 Mr. West has an authentic account of the execution, in which it is said, that 
 Richard Brandon, the executioner, having found in the king's pocket an orange 
 stuck with cloves, was offered twenty shillings for it ; which he refused, but sold 
 it for ten on his way home. 
 
^84 PAINTERS m THE REIGN OF CHARLES I. 
 
 possessed of the sole power, stopped any farther 1 dis- 
 persion of the royal collection, and who even in this trifling 
 instance gave an indication of his views, reported from the 
 council of state, that divers goods belonging to the state 
 were in danger of being; embezzled : which notification 
 was immediately followed by this order : 
 
 That the care of the public library at St. James's, and 
 of the sta/tues and pictures there, be committed to the 
 council of state, to be preserved by them. 
 
 However, in the ensuing month, 2 the house proceeded 
 to vote that the personal estate 3 of the late king, queen, and 
 prince should be inventoried, appraised, and sold, except 
 such parcels of them as should be thought fit to be reserved 
 for the use of the state ; and it was referred to the council 
 of state to consider and direct what parcels of the goods 
 and personal estates aforesaid were fit to be reserved for 
 the use of the state. Certain commissioners were at the 
 same time appointed to inventory, secure and appraise the 
 said goods ; and others, not members of the house, were 
 appointed to make sale of the said estates to the best value. 
 The receipts were to go towards satisfying the debts and 
 servants of the king, queen, and prince, provided such 
 servants had not been delinquents ; the rest to be applied 
 to public uses ; the first thirty thousand pounds to be 
 appropriated to the navy. This vote, in which they seem 
 to have acted honestly, not allowing their own members to 
 
 1 Ludlow prevented the sale of Hampton-court, for which he was blamed by- 
 some of his friends. — V. Biogr. Brit. vol. v. p. 3024. 
 
 2 March 23, 1648. 
 
 3 Somerset-house had a narrow escape during that lust of destruction, of which 
 an account is preserved in a very scarce tract, entitled, An Essay on the wonders 
 of God in the harmony of the times that preceded Christ, and how they met in him; 
 written in French by John aVEspagne, minister of the gospel, [who died in 1650,] 
 and now published in English by his executor, Henry Broivne, London, 1662, octavo. 
 In the preface the editor tells us, " that the author preached at the French church 
 in Durham-house, where his sermons were followed by many of the nobility and 
 gentry. That demolished, he says, it pleased God to touch the hearts of the 
 nobility to procure us an order of the House of Peers to exercise our devotions at 
 Somerset-house chapel, which was the cause, not only of driving away the Ana- 
 baptists, Quakers, and other sects, that had got in there, but also hindered the 
 pulling down of Somerset-house, there having been twice an order from the late 
 usurped powers for selling the said house ; but we prevailed so that we still got 
 order to exempt the chapel from being sold, which broke the design of those that 
 had bought the said house, who thought for their improvement to have made a 
 street from the garden thro' the ground the chapel stands on, and so up the back 
 yard to the great street of the Strand by pulling down the said chapel. 
 
PAINTERS IN THE REIGN OF CHARLES I. 285 
 
 be concerned in the sale, was the cause that the collection 
 fell into a variety of low hands, and were dispersed among 
 the painters and officers of the late king's household, where 
 many of them remained on sale with low prices affixed. 
 The principal pieces were rated more highly, and some of 
 them were even sold above their valuation. 
 
 Ireton, on the 2d June, 1648, reported the act for 
 sale, and mention is made of some proposition of Captain 
 Myldmay concerning the pictures and statues to be re- 
 ferred to the council of state. This proposal, it seems, had 
 been accepted, butwasrevoked. Probably this person might 
 be an agent of Cromwell to prevent the dispersion. Crom- 
 well had greater matters to attend to; the sale proceeded. 
 Two years afterwards, viz. in October and November, 1650, 
 the journals speak of sums of money received from the 
 sale of the king s goods, and of various applications of the 
 money towards discharge of his debts. From that time I 
 find no farther mention of the collection in the records. 
 
 With regard to the jewels, the Parliament immediately 
 after the king's death ordered the crown and sceptres, &c. 
 to be locked up. The queen had already sold several jewels 
 abroad to raise money and buy arms. Some had been sold 
 in foreign countries early in the king's reign, particularly 
 what was called the inestimable collar of rubies j 1 it had 
 belonged to Henry VIIL, and appears on his pictures and 
 on a medal of him in Evelyn. His George, diamond, and 
 seals, which Charles at his execution destined to his suc- 
 cessor, the Parliament voted should not be so delivered. A 
 
 1 There is a long warrant in Ryrner directing the delivery of this collar, there 
 termed the great collar of ballast rubies, and sundry other valuable jewels, to the 
 Duke of Buckingham and Earl of Holland, to be disposed of by them beyond the 
 seas, according to private orders which they had received from his majesty. The 
 whole piece is curious, and mentions the danger there might be to the keepers of 
 those jewels to let them go out of their hands., as they were of great value, and 
 had long contynued as it were in a continual discent for many years togeather 
 with the crowne of England. {Fosdera, vol. xviii. p. 236.) In Thoresby's Museum 
 was Sir Sackville Crow's book of accounts from the year 1622 to 1628, containing 
 the receipts and disbursements of the private purse of the Duke of Buckingham 
 in his voyages into Spain and France ; with the charge of his embassage into the 
 Low Countries ; with the moneys received upon the pawning the king's and his 
 grace's jewels, &c. ( V. Due. Leod. p. 523.) That Museum is dispersed : but part 
 of it being sold by auction in March, 1764, I purchased the MS. in question, and 
 
 shall hereafter perhaps print it, with some other curious papers. Miscellaneous 
 
 Antiquities, 4to. Strawberry-hill, 1772. Two numbers only were printed. — D, 
 
286 PAINTERS IN THE REIGN OF CHARLES I. 
 
 pearl 1 which he always wove in his ear, as may be seen in 
 his portrait on horseback by Vandyck, was taken out after 
 his death, and is in the collection of the Duchess of Port- 
 land, attested by the hand- writing of his daughter the 
 Princess of Orange, and was given to the Earl of Portland 
 by King William. 2 
 
 A catalogue of the pictures, statues, goods, tapestries 
 and jewels, 3 with the several prices at which they were 
 valued and sold, was discovered some years ago in Moor- 
 fields, and fell into the hands of the late Sir John Stanley, 
 
 1 This drop -pearl is particularly represented in a portrait of Charles the First 
 dismounted from his horse, which is held by the Marquis of Hamilton, in the 
 Louvre, engraved by Sir R. Strange.— D. 
 
 2 Tavernier (book iv. chap. xvii. ) mentions having a diamond on which were en- 
 graved the arms of Charles I.* The Sophy of Persia and his court were extremely 
 surprised at the art of engraving so hard a jewel ; but, says Tavernier, I did not 
 dare to own to whom it belonged, remembering what had formerly happened to 
 the Chevalier de Reville on the subject of that king. The story, as he had related 
 it before, in book ii. chap. x. was, that Reville having told the Sophy that he had 
 commanded a company of guards in the service of Charles, and being asked why 
 he came into Persia, replied, that it was to dissipate the chagrin he felt on his 
 master being put to death, and that since that time he could not endure to live in 
 Christendom. The sophy fell into a rage, and asked Reville how it was possible, 
 if he was captain of the king's guards, that he and all his men should not have 
 shed the last drop of their blood in defence of their prince ? Reville was thrown 
 into prison and remained there twenty-two days, and escaped at last by the inter- 
 cession of the sophy's eunuchs. Had all Charles's soldiers been as loyal as the 
 Persian monarch thought it their duty to be, we might now have the glory of 
 being as faithful slaves as the Asiatics. 
 
 3 See an inventory of plate and jewels belonging to Charles I. Archceol. vol. xv. 
 p. 271. 
 
 "Inventory of pictures, medals, agates, kc. sold by order of the council, from 
 1649 to 1652," MSS. Harl. 4894. — D. 
 
 * [The following warrant (which discovers a name unknown to Walpole — 
 Francis Walwyn) appears to refer to this diamond : — 
 
 Privy-seal Books of the Office of the Clerk of the Pells, in the Public Record Office, 
 
 No. 11, p. 142. 
 
 Francis Walwyn. Charles by the grace of God King of England Scotland France 
 and Ireland, Defender of the Faith, &c. To the Tr er and 
 Undert er of O r Excheq r for the time being greeting. Wee do 
 hereby will and comand you out of O r treasure remaining in 
 the Receipt of O r Exchecq r forthwith to pay or cause to be 
 Two hundred three- paid unto Francis Walwyn or his assignes the some of two 
 score and seaven hundred threescore and seven pounds for engraving pollishing 
 pounds. Dyamond boart, and divers other materials for the Cutting 
 
 and finishing of O r Armes in a Dyamond w th the Ires of the 
 name of O r deerest Consort the Queenc on each side. And 
 these O r Ires shall be yo r sufficient warr 1 & discharg in this 
 16° January, behalfe. Given under O r privy Seale at O r Pallace of Westm r 
 
 1628[-9.] the sixteenth day of January in the fourth yeare of O r Raigne. 
 
 Jo. Packer. 
 
 (W. H. Carpenter. Pictorial Notices of Vandyck and his Cotewjjoraries.) — W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 287 
 
 who permitted Mr. Vice-chamberlain Cook, Mr. Fairfax, 
 and Mr. Kent, to take copies, from one of which Vertue 
 obtained a transcript. The particulars are too numerous 
 to insert here. The total of the contracts amounted to 
 118,080Z. 10s. 2d. Thirty-one pages at the beginning 
 relating to the plate and jewels were wanting, and other 
 pages here and there were missing. Large quantities were 
 undoubtedly secreted and embezzled, and part remained 
 unsold by the accession of Cromwell, who lived both at 
 Whitehall and Hampton-court. All other furniture from 
 all the king's palaces was brought up and exposed to sale ; 
 there are specified particularly Denmark or Somerset- 
 house, Greenwich, 1 Whitehall, Nonsuch, Oatlands, Wind- 
 sor, Wimbledon-house, St. James's, Hampton-court, Rich- 
 mond, Theobald's ; Ludlow, Carisbrook, and Kenilworth 
 Castles ; Be wd ley-house, Holdenby-house, Eoyston, New- 
 market, and Woodstock manor-house. One may easily 
 imagine that such a collection of pictures, with the remains 
 of jewels and plate, and the furniture of nineteen palaces, 
 ought to have amounted to a far greater sum than an 
 hundred and eighteen thousand pounds. 2 
 
 The sale continued to August 9, 1653. The prices were 
 
 1 Among the pictures from Greenwich is mentioned one piece of writing by 
 Holbein, sold for ten pounds. I know not what this writing was. 
 
 2 R. Symonds says, the committee of Somerset-house prized the king's goods 
 and movables with the pictures at 200,000Z., notwithstanding the queen had 
 carried away and himself caused to be conveyed away abundance of jewels ; and 
 for this he cites Beauchamp, clerk to the committee. 
 
 Abstract of the Sale of the Pictures, Jkc. in the several Palaces belonging to King 
 
 Charles the First : — 
 
 £ s. d. 
 
 Wimbledon and Greenwich 1,709 19 0 
 
 Whitehall 2,291 10 0 
 
 Oatlands (81 pictures) 733 18 0 
 
 Nonsuch (33 ditto) 282 0 0 
 
 Somerset-house, with those at Whitehall and St. j 1A nKO A 
 
 James' (447 ditto j 10 ' 05 " 11 0 
 
 Hampton-court (332 ditto) 4,675 16 0 
 
 St. James' (Sculpture) 290 0 0 
 
 Somerset-house in the Gallery (120 pieces) . . . 2,387 3 0 
 
 In the gardens (20 ditto) 1,165 14 0 
 
 At Greenwich (230 ditto) 13,780 13 6 
 
 At St. James' (20 ditto) 656 0 0 
 
 Total value £38,025 4 6 
 
 A reasonable doubt will arise whether the tapestry and other splendid furniture 
 jf these palaces were not included in this valuation. — D. 
 
288 PAINTERS IN THE REIGN OF CHARLES I. 
 
 fixed ; but if more was offered, the highest bidder pur- 
 chased. This happened in some instances, not in many. 
 Part of the goods were sold by inch of candle. The 
 buyers, called contractors, signed a writing for the several 
 sums. 1 If they disliked the bargain, they were at liberty 
 to be discharged from the agreement on paying one-fourth 
 of the sum stipulated. Among the purchasers of statues 
 and pictures were several painters, as Decritz, Wright, 
 Baptist Van Leemput, Sir Balthazar Gerbier, &c. The 
 prices of the most remarkable lots were as follows : — The 
 cartoons of Baphael, 300/., bought by his highness (Crom- 
 well). The royal family (now in the gallery at Kensing- 
 ton) 150Z. The king on horseback (in the same place), 
 200/. The triumphs of Julius Csesar, by Andrea Man- 
 tegna (now at Hampton-court), 1,000/. Twelve Caesars, 
 Titian, 1,200/. The muses, by Tintoret (at Kensington), 
 valued at 80/., sold for 100/. Alexander VI. and Caesar 
 Borgia, by Titian, 100/. Triumph of Vespasian and Titus, 
 by Julio Romano (at Paris), 150/. The great piece of 
 the Nativity, by Julio Romano, 500/. It seems the act 
 for destroying what they called superstitious pieces was 
 not well observed. Two pieces of tapestry, of the Five 
 Senses, by Sir Francis Crane, 270/. Mention is made of 
 two sets more ancient, of the landing of Henry VII. and 
 the marriage of Prince Arthur. 2 From Windsor, a picture 
 of Edward III., with a green curtain before it 4/. Mary, 
 Christ, and many angels dancing, by Vandyck, valued only 
 at 40/. This is the picture at Houghton, for which my 
 father gave 800/. ; it was twice sold before for 1,000/. 
 whence I conclude there was some knavery in the valua- 
 tion of it. Sleeping Venus by Correggio, 1,000/. Mary, 
 Child, and St. Jerome, by Parmegiano, 150/. The Venus 
 del Pardo, by Titian, valued at 500/., sold for 600/. Mar- 
 
 2 It appears upon examination of the last-mentioned inventory, that the chief 
 contractors were Decritz, Laniere, and Van Lemput, painters ; Mr. Bass, Jackson, 
 Colonel Webb, and Mr. Harrison and Emery. Colonel Hutcheson, so justly cele- 
 brated by his Memoirs lately published, was a frequent purchaser, in 1652. 
 
 This latter piece is extant at an abandoned house of the late Lord Anson's, 
 now a popish seminary, at Standon, near Puckeridge, Hertfordshire. The work is 
 coarse, and the figures do not seem to have been portraits, but the habits are of 
 time. In one comer Henry VII. and Ferdinand are conferring amicably on a 
 joint throne. 
 
PAINTERS IN THE HEIGN OF CHARLES I. 289 
 
 quis del Guasto haranguing his soldiers, by Titian, 25 0?. 
 Venus dressing by the Graces, Guido (atKensington), 200?. 
 Herodias with the head of St. John, by Titian, 150?. (with 
 his highness.) The little Madonna and Christ, by Eaphael, 
 8001. St. George, by Eaphael, 150Z. Marquis of Mantua, 
 by Raphael, 200?. Frobenius and Erasmus, by Holbein, 
 200?. Our Lady, Christ, and others, by Old Palma, 2001 
 A man in black, by Holbein, 120/!. St. John, by Leonardo 
 da Vinci, 140?. Duke of Bucks and his brother, by Van- 
 dyck (now at Kensington), valued at 30?. sold for 50l. 
 This is one of the finest pieces of that master. A Satyr 
 flayed, by Correggio, 1,000?. Mercury teaching Cupid to 
 read, Venus standing by, by Correggio, 800?. The king's 
 head, by Bernini, 800?. A statue of Tiberius, larger than 
 life, 500?. The gladiator, in brass (now at Houghton), 
 300?. Christ washing the feet of his disciples, 300?. 
 
 Among the contractors appears Mr. J ohn Leigh, who, on 
 August, 1, 1649, buys goods for the use of Lieutenant- 
 general Cromwell to the value of 109?. 5s.; and on the 
 15th are sold to the Eight Hon. the Lady Cromwell, goods 
 to the amount of 200?. more. But no sooner was Crom- 
 well in possession of the sole power, than he not only pre- 
 vented any further sale, but even detained from the purcha- 
 sers much of what they had contracted for. This appears 
 by a petition, 1 addressed, after the Protector's death, to 
 the council of state, by Major Edward Bass, Emanuel 
 de Critz, William Latham, and Henry Willet, in behalf' 
 of themselves and divers others, in which they represent, 
 
 " That in the year 1651, the petitioners did buy of the 
 contractors for the sale of the late king s goods, the several 
 parcels there undernamed, and did accordingly make satis- 
 faction unto the treasurer for the same, But for as much 
 as the said goods are in Whitehall, and some part thereof 
 in Mr. Kinnersley's custody in keeping, the petitioners do 
 humbly desire their honours' order, whereby they may 
 receive the said goods, they having been great sufferers 
 by the late General Cromwell's detaining thereof; and 
 the petitioners," &c. 
 
 1 Copied by Vertue from a paper in possession of Mr. Martin. 
 VOL. I. XJ 
 
290 PAINTERS IN THE REIGN OF CHARLES L 
 
 The goods specified are hangings and statues in the 
 garden at Whitehall. It is very remarkable that in this 
 piece they style the Protector the late General Cromwell. 
 
 Whence Charles had his statues we learn from Peach- 
 am : " The King also," says he, " ever since his coming 
 to the crown hath amply testified a royal liking of ancient 
 statues, by causing a whole army of old foreign emperors, 
 captains and senators, all at once to land on his coasts, to 
 come and do him homage, and attend him in his palaces 
 of St. James's and Somerset-house. A great part of these 
 belonged to the late Duke of Mantua ; and some of the 
 old Greek marble bases, columns, and altars were brought 
 from the ruins of Apollo's temple at Delos, by that noble 
 and absolutely compleat gentleman, Sir Kenelm Digby, 
 Knight." 1 
 
 Some of the most capital pictures were purchased by 
 the King of Spain, which arriving there while the am- 
 bassadors of Charles II. were at that court, they were 
 desired, by an odd kind of delicacy, to withdraw, they 
 supposing that this dismission was owing to an account 
 received at the same time of Cromwell's victory over the 
 Marquis of Argyle. " But," says Lord Clarendon, 2 " they 
 knew afterwards that the true cause of this impatience to 
 get rid of them was that their minister in England, ha ving 
 purchased many of the king's pictures and rich furniture, 
 had sent them to the Groyne ; from whence they were 
 expected to arrive about that time at Madrid ; which they 
 thought could not decently be brought to the palace 
 while the ambassadors remained at the court." 
 
 After the Kestoration, endeavours were used to reas- 
 semble the spoils. A commission was issued out to ex- 
 amine Hugh Peters, concerning the disposal of the pic- 
 tures, jewels, &c. that had belonged to the royal family, 
 but without effect, by the obstinacy or ignorance of 
 Peters, who would not, or could not give the desired 
 satisfaction. 3 Some of the pictures had been purchased 
 
 1 Complete Gentleman, 107. This account, which Peacham has given in the 
 
 quaint language of his time, then much admired, is confirmed by Vanderdoort's 
 catalogue, printed by Bathoe, 4to. 1757. — D. 
 
 2 In his Life, p. 119, £61. edit. 3 See General Dictionary, vol. ii. p. 384. 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 291 
 
 by General Keyntz, 1 a Dutch collector, after whose death 
 they were bought of his widow, by the states, and pre- 
 sented to Charles II. One only picture, (the king on 
 horseback) by Vandyck, was recovered by a process at law, 
 from Eemee, or Eemigius Van Leemput, a painter then 
 in England, who had bought it at the sale. 2 
 
 Notwithstanding the havoc that had been made, it is 
 plain from the catalogue of the collection of James II. 
 that the crown still possessed a great number of valuable 
 pictures, 3 but the fire of Whitehall destroyed almost all 
 that the rage of civil war had spared. Some valuable 
 pieces, indeed, were carried to Lisbon from Somerset- 
 house, by the Queen Dowager, when she returned to 
 Portugal. The then Lord Chamberlain, it is said, put a 
 stop to their embarkation, till mollified by the present of 
 one of them that he admired. 
 
 The royal library escaped better. This was founded by 
 James I. It contained the collection belonging to the 
 crown, among which were several fine editions on vellum, 
 sent as presents from abroad, on the restoration of learning, 
 to Henry VII., Henry VIII., and Queen Elizabeth ; the 
 library of the Lord Lumley, purchased by James, for Prince 
 Henry ; the collection of Casaubon, bought of his widow, 
 and some curious MSS., brought from Constantinople by 
 Sir Thomas Eoe. These books have been given to the 
 British Museum by his late majesty. To this library, 
 Prince Henry had added a large number of coins, medals, 
 cameos and intaglios, the Dactyliotheca of Gorlseus. Mr. 
 Young, librarian to Charles I. 4 was removed by the coun- 
 
 1 They are engraved in Reyntz's gallery. 
 
 2 The late Mr. Brand, Secretary to the Society of Antiquaries, had " W. Hawley's 
 catalogue of King Charles I.'s pictures, statues, bronzes, plate, &c. dispersed during 
 the civil wars, but recovered for King Charles II." It was disposed of at his 
 sale. — D. 
 
 3 FromPepys'smost characteristic memoirs, it is evident that the dispersed royal 
 collection had been recovered to a much greater extent than has been generally 
 imagined. " 1662 I walked up and down the gallery (at Whitehall) spending my 
 time" upon the pictures." "1666 — To Whitehall, the King's closet, where was 
 such variety of pictures and other things of rarity and value, that I was properly 
 confounded, and enjoyed no pleasure in the sight of them ; which is the only time 
 in my life, that I was ever so at a loss for pleasure, in the greatest plenty of objects 
 to give it me."— Page 300. — D. 
 
 4 "In this library," says Perinchief, 4 'was kept a collection of his, of the excellent 
 sayings of authors, written by his own hand, and in his youth, presented to his 
 father, King James." — Life of King Oharles, p. 219. 
 
 U 2 
 
292 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 cil of state, in 1649, at which time an account of the books 
 and coins was taken. Of the latter, there were 1,200, of 
 which 400 only remained at the Kestoration. Among 
 the Duke of Ormond's letters, is one dated April 2, 1649, 
 where he says , " All the rarities in the King's library at 
 St. James's are vanished." Yet it is evident many re- 
 mained, for in June, 1659, a vote passed, "that the Lord 
 Whitlocke be desired and authorized to take upon him 
 the care and custody of the library at James-house, and 
 of all the books, manuscripts and medals that are in or 
 belonging to the said library, that the same be safely kept 
 and preserved, and to recover all such as have been em- 
 bezzled or taken out of the same." Charles II. after his 
 return ordered Ashmole 1 to draw up an account of the 
 medals that were left, and placed them in the closet of 
 Henry VIII. at Whitehall, where they were lost at the fire. 
 
 What further relates to Charles I. as protector of the 
 arts will be found in the subsequent pages, under the 
 articles of the different professors whom he countenanced. 
 If this chapter has not been thought tedious and too cir- 
 cumstantial, the readers who excuse it will not perhaps 
 be sorry if I add a little more to it on that other patron 
 of genus, the Earl of Arundel. 
 
 Thomas Howard, Earl of Arundel, 2 is sufficiently known 
 
 1 Memoirs of Elias Ashmole, prefixed to his Berkshire, pp. 10, 24. 
 
 2 There is a short view of his life in Sir Edward Walker's Historical Discourses, 
 and some cnrious particulars in Lilly's Observations on the Life and Death of 
 King Charles. As the book is not in everybody's hands, one anecdote may be 
 worth transcribing. The king taking the part of a priest, who pretended that his 
 majesty had a right to a rectory which the Earl challenged as his, Arundel said to 
 Charles, "Sir, this rectory was an appendant to a manour of mine, until my 
 grandfather unfortunately lost both his life and seventeen lordships more, for the 
 love he bore to your grandmother." — On the Life and Death of King Charles I., 
 p. 224. 
 
 I have found another anecdote of this earl, that I have met with nowhere else. In 
 the life of Aretine, in Les Vies des Hommes & des Femmes illustres oVItalie, 'par 
 vne Societe degens de lettres, Paris, 1768, vol. i. p. 388, it is said, that Aretine, 
 having dedicated the second volume of his letters to James I. , and receiving no 
 reward, solicited one for five years. Hearing at last, that the Earl of Arundel 
 had orders to give him 500 crowns, and not receiving them, he accused the Earl 
 publicly of having sunk them for his own use. The earl ordered his servants to 
 beat Aretine, which they did severely. The corrected libeller, published that the 
 earl had no hand in the beating him, went to him, begged the money, and received 
 it. The peer's resentment and the satirist's mercenary servility, are both very 
 credible. 
 
 Aretine was born in 1492, and died in 1557. How then could this story be 
 referred either to King James or Lord Arundel ? — D. 
 
ra©EKAg IE A MIL 
 
 .lea/rStz &$sme> '£%m£fa 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 293 
 
 in his public character, by that admirable portrait drawn of 
 him by Lord Clarendon. 1 Living much within himself, but 
 in all the state of the ancient nobility, his chief amusement 
 was his collection, the very ruins of which are ornaments 
 now to several principal cabinets. He was the first who 
 professedly began to collect in this country, and led the 
 way to Prince Henry, King Charles, and the Duke of Buck- 
 ingham. "I cannot/' says Peacham, 2 "but with much reve- 
 rence mention the every way Eight Honourable Thomas 
 Howard, Lord High Marshal of England, as great for his 
 noble patronage of arts and ancient learning, as for his high 
 birth and place ; to whose liberal charges and magnificence 3 
 this angle of the world oweth the first sight of Greek and 
 Eoman statues, with whose admired presence he began to 
 honour the gardens and galleries of Arundel-house about 
 twenty years ago/ and hath ever since continued to trans- 
 plant old Greece into England/' The person chiefly 
 employed by the earl in these researches was Mr. Petty. 5 
 It appears from Sir Thomas Eoe's letters, who had a 
 commission of the like nature from the Duke of Bucking- 
 
 1 Lord Clarendon's character of this justly celebrated nobleman may be 
 4 6 admirable " as a biographial sketch, but it is not founded in fact, which alone 
 can make biography valuable. When Mr. Hyde, he had severely and coarsely 
 reprehended Lord Arundel for his conduct as Earl Marshal, and what he continued 
 to think of that nobleman afterwards is given without reserve, in the Memoirs of 
 Himself, p. 37. The great historian affirms, that notwithstanding the dignity of 
 Lord Arundel's appearance, "he was disposed to levity and delights, which were 
 indeed very despicable and childish / / / and these were the uncandid sentiments 
 with which that profound lawyer and statesman has jaundiced his pages, respect- 
 ing the arts, and their patron. Posterity has decided otherwise ; and has hailed 
 him, ' The father of vehtu in England !'" He was, says Evelyn (Sculptura) 
 the great Maecenas of all politer arts, and the boundless amasser of antiquities. — D. 
 
 2 Complete Gentleman, p. 107. 
 
 3 In one of R,. Symondes's pocket-books in the Museum is a character not quite 
 so favourable of the earl. " Mai," says he, "rirnuner6 persona. Eramolto generoso 
 e libero a forastieri par guadagnare fama, ed in quella cosa spendea liberamente." 
 There are also the following hints : * * Old Earl efece rubare pezzo di quel quadro 
 di Yeronese a Padova, but it was spoiled, says Mr Jer. Lanier. Last Earl Thomas, 
 molto lodato di Jer. Lanier per uom honestissimo et civile ed intendentissimo : 
 per patto furono d'accordo d'andarein Italia quest'anno 1654, per comprare disegni 
 e quadri." This Thomas must be the person who was restored to the title of Duke 
 
 of Norfolk, by Charles II. and died at Padua in 1678. The first date should be 
 
 1634. — D. 
 
 4 This was printed in 1634. 
 
 5 William Petty, M.A., was the uncle of the famous Sir William Petty, the 
 founder of the Lansdowne family. He was chaplain to the Earl of Arundel, and 
 was beneficed in the Isle of Wight. Many interesting notices respecting his 
 voyage in the Levant occur in Sir T. Roe's Negociations, folio, pp. 334, 444, 495, 
 and 270. — D. 
 
294 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 ham, 1 that no man was ever better qualified for such an 
 employment than Mr. Petty. " He encounters/' says Sir 
 Thomas, 2 " all accidents with unwearied patience, eats with 
 Greeks on th eir work-days, lies with fishermen on planks, i s all 
 thingsthatmay obtain his ends." Mr. Petty returning with 
 his collection from Samos, narrowly escaped with his life in a 
 great storm, but lost all his curiosities, and was imprisoned 
 for a spy, but obtaining his liberty, pursued his researches. 
 
 Many curious pieces of painting and antiquities, especially 
 medals, the earl bought of Henry Vanderborcht, a painter 
 of Brussels, who lived at Frankendal, and whose son Henry, 
 Lord Arundel finding at Frankfort, sent to Mr. Petty, 
 then collecting for him in Italy, and afterwards kept in 
 in his service as long as he lived. Vanderborcht, the 
 younger, was both painter and graver ; he drew many of 
 the Arundelian curiosities, and etched several things both 
 in that and the royal collection. A book of his drawings 
 from the former, containing 567 pieces, is observed at 
 Paris, and is described in the Catalogue of I'Orangerie, 
 p. 19 9. 3 After the death of the earl, the younger Henry 
 entered into the service of the Prince of Wales, afterwards 
 Charles II. and lived in esteem in London for a consider- 
 able time, but returned to Antwerp and died there. 4 There 
 are prints by Hollar of both father and son ; the former 
 done from a painting of the latter. 
 
 The earl was not a mere selfish virtuoso ; he was bounti- 
 ful to men of talents, retaining some in his service, and 
 liberal to all. 5 He was one of the first who discovered 
 the genius of Inigo Jones, 6 and was himself, says Lilly, 7 
 
 1 "Neither am I," says the Duke, " so fond of antiquity as you rightly conjec- 
 ture, to court it in a deformed or misshapen stone." Page 534. 
 
 2 Page 495. See the particulars of several purchases made by Sir Thomas and 
 Mr. Petty, in various letters in that collection. They are worth reading. 
 
 3 Vanderborcht 's drawings, from subjects in the Arundelian collection, are 
 dated from 1631 to 1638. — L>. 
 
 4 See English School, p. 467. There is a print by Hollar, of Elias Allen, from 
 a painting of Vanderborcht. 
 
 5 The famous Oughtred was taken into Arundel-house to instruct the earl's son, 
 Sir William Howard, in mathematics; but it seems was disappointed of prefer- 
 ment.— See Biog. Brit vol. v. pp. 3280, 3283, 3284. Lord Arundel presented 
 
 him to the rectory of Albury, in Surrey, where he died. — D. 
 
 6 Some carved seats by Inigo were purchased from Tart-hall, and placed in a 
 temple at Chiswick by Lord Burlington. 
 
 7 Observations on the Life of King Charles, p. 51. 
 
PAINTERS IN THE REIGN OF CHARLES I. 295 
 
 the first who " brought over the way of building with 
 brick in the city, greatly to the safety of the city and 
 preservation of the wood of this nation/' Norgate, whom 
 I have mentioned, partook of his favours. On his em- 
 bassy to Vienna, 1 he found Hollar at Prague, and brought 
 him over, where the latter engraved a great number of 
 plates from pictures, drawings and curiosities in the 
 Arundelian Collection. There is a set of small prints by 
 Hollar, views of Albury, the earl's seat in Surrey. " Lord 
 Arundel thought/ 72 says Evelyn, "that one who could 
 not design a little, would never make an honest man." 
 A foolish observation enough, and which if he had not 
 left better proofs, would give one as little opinion of the 
 judgment of the speaker, as it does of that of the relator. 
 The earl seems to have had in his service another pain- 
 ter, one Harrison, now only known to us by a chronolo- 
 
 1 An account of this embassy was drawn up and published by Crowne, who 
 attended the earl. 
 
 A true relation, &c. of the Travels of Thomas, Earl of Arundel, Embassador 
 extraordinary to Ferdinand II. Emperour of Germany, A.D. 1636. By W. 
 Crowne, Gent. 12mo. 1637. Extremely rare. — D. 
 
 2 Sctlptura, p. 103. 
 
 Mr. Evelyn must have been very young when he heard Lord Arundel give this 
 unphilosophical opinion ; and it is, as Mr. Walpole observes, no proof of the 
 narrator's wisdom, that he should have told it when lie was so much older. When 
 Shakspeare says, 
 
 * The man that has not music in his soul 
 Is fit for treason," &c. 
 
 it was only a poetical flight to express his own enthusiastic pleasure derived from 
 sweet sounds. It is well-known that Dr. Johnson, Mr. Fox, Mr. Burke, and 
 Mr. Pitt, were almost totally insensible of their effect. Is an inference adverse to 
 their moral feeling to be drawn from that fact ? 
 
 Lord Arundel left England, in February 1641-2 ; and it does not appear from 
 any remaining document that he took with him more of his collection than the 
 most portable articles. In the Howard Anecdotes, published in 1769, the particulars 
 of the sale at Stafford-house are given, which will amply prove, under circum- 
 stances of depreciation, the value of the Arundel Collection in its entire state ; 
 when it is ascertained, that the share removed from Arundel to Stafford-house, did 
 not include one half of the original collection, either in point of number or 
 curiosity. — D. 
 
 £ s. d. 
 
 Pictures 812 18 0 
 
 £ s. d. 
 
 £ s. d. 
 
 Medals...- 50 10 6 
 
 Cabinets & China 1256 19 0 
 
 ^Platf 0the1 ' } 462 1 0 
 Several other lots 738 13 4 
 
 Jewels and \ OAKy . ^ _ A 
 Curiosities ... } 2457 7 10 
 Old Lots of Plate 170 6 7 
 Household Fur-) 19 0 
 niture J 768 ld 2 
 
296 PAINTERS IN THE REIGN OF CHARLES I. 
 
 gic diary, in which he records particulars relating to old 
 Parr, whom Lord Arundel had a curiosity to see. 1 
 
 At the beginning of the troubles, the earl transported 
 himself and his collection to Antwerp, and dying not long 
 after at Padua, he divided his personal estate between his 
 sons, Henry, Lord Maltravers, and Sir William Howard, 
 Viscount Strafford. Of what came to the eldest branch, 
 since Dukes of Norfolk, the most valuable part fell into the 
 hands of the Duchess, who was divorced ; the statues she 
 sold 2 to the last Earl of Pomfret's father, which have been - 
 lately given by the Countess Dowager to the University of 
 Oxford, which had before been enriched with those curious 
 
 1 See Peck's collection of divers curious historical pieces, subjoined to his Lives 
 of Cromwell and Milton. The earl sent Parr, who was then blind, to King Charles. 
 The king said to him, " You have lived longer than other men; what have you 
 done more than other men ?" He replied, ' ' I did penance when I was an hundred 
 years old." 
 
 2 The Duchess it is said wanted money, and sold them for 300 1. 
 
 The editor is enabled, from peculiar circumstances, to throw some light on 
 Walpole's information, which is generally referred to, whenever mention is made 
 of the Arundel Collection. Lord Arundel began to collect statues and pictures 
 about 1615, and arranged them in the great galleries of Amndel-house. The 
 following disposition was made of the marbles, the statues, and busts in the gallery ; 
 the inscribed marbles and bas-reliefs were inserted into the walls ol the garden ; 
 and the inferior and mutilated statues decorated a summer garden, which the earl 
 had made at Lambeth. We find in the catalogues, that the Arundel Collection, 
 when entire, contained 37 statues, 128 busts, and 850 inscribed marbles, exclusively 
 of sarcophagi, altars, and fragments, and the gems above mentioned. The statues 
 and inscribed marbles may still be inspected at Oxford, and the busts principally 
 at Wilton. It had been the original intention of Lord Arundel, that his great 
 collection should be deposited in Arundel-castle, Sussex, and Arundel-house in the 
 Strand, and there to be preserved, as heir-looms, as expressed in the preamble of 
 an Act of Settlement, which he procured in 1628. But, as it appears, he altered 
 his plan, and made a division beeween his two sons. The complete dispersion 
 was thus effected. In 1685, Henry, Duke of Norfolk, was separated from his 
 duchess, (afterwards divorced and remarried to Sir John Germaine,) when she 
 possessed herself of the cabinets and celebrated gems. In the same year, the 
 Gazette gives notice of the sale of " a collection of paintings, limnings, and drawings, 
 made by Thomas, Earl of Arundel, at the house of Mr. Walton, in Holborn, 
 Lincoln's Inn-Fields, the sale to last for ten mornings and three evenings which 
 will give us a competent idea of its extent. Yet some part was retained, for in 
 1691, the Gazette advertises, "the collection possessed by Henry, Duke of Norfolk, 
 and no other pictures." The family portraits were retained. 
 
 Concerning the Stafford moiety, an account has been given. Many portraits 
 and other curiosities, which had belonged to Alathea, Countess of Arundel, were 
 bequeathed by her, to her fourth son, Charles Howard, Esq. of Greystoke-castle, 
 Cumberland. In Evelyn's Diary, " 1682. Went to the Duke of Norfolk, to ask 
 whether he would part with any of his cartoons of Raphael and the great masters ; 
 he told me if he might sell them altogether, he would ; but that the late Sir Peter 
 Lely, uur famous painter, had gotten some of his best. The person who desired 
 me to treat for them was Vander Does, grandson to that great scholar, and friend 
 of Joseph Scaliger," vol. i. p. 519.— D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 297 
 
 records called the Arundelian Marbles ; the cameos and 
 intaglios, the Duchess of Norfolk bequeathed to her second 
 husband, Sir John G-ermayne. They are 1 now in the 
 possession of his widow, Lady Elizabeth Germayne. 2 
 Among them is that inimitable cameo, the marriage of 
 Cupid and Psyche, which I should not scruple to pronounce 
 the finest remain of antique sculpture in that kind. The 
 coins and medals came into possession of Thomas, Earl of 
 Winchelsea, and in 1696, were sold by his executors to Mr. 
 Thomas Hall. Arundel-house was pulled down in 1678. 
 The remainder of the collection was preserved at Tart- 
 hall, 3 without the gate of St. James's Park, near Bucking- 
 ham-house. Those curiosities too were sold by auction in 
 1720, 4 and the house itself has been lately demolished. 
 At that sale Dr. Meade bought the head of Homer, 5 after 
 whose death it was purchased by the present Earl of Exeter, 
 and by him presented to the British Museum. It is be- 
 lieved to have been brought from Constantinople, and to 
 have been the head of the very statue in the imperial palace 
 described by Cedrenus. The rest of the figure was melted 
 in the fire. The Earl of Arundel had tried to procure the 
 obelisk, since erected in the Piazza Navona at Rome ; and 
 he offered the value of 7,0 001. in money or land to the 
 Duke of Buckingham, for a capital picture of Titian, 6 called 
 
 1 Part of this collection were the antique gems published by Apollina at Rome, 
 1627, and afterwards by Licetus of Genoa. 
 
 2 Since the first edition of this book, Lady E. Germayne has given them to Lord 
 Charles Spencer, on his marriage with her great niece Miss Beauclerc, and he to 
 his brother, the Duke of Marlborough. 
 
 In 1783, the late duke printed for private distribution only, two volumes 
 folio, " Gemmarum Antiquarum delectus exprcestantioribus desumptus, in dactylo- 
 thecd Ducis Marlburiensis." Of the first volume, the exposition was written in 
 Latin, by Jacob Bryant, and translated into French, by Dr. Maty. The second by 
 Dr. Cole, translated by Dutens, sold for 861. in 1798. The gems were drawn by 
 Cipriani, and engraved by Bartolozzi, and are ranked among the best works of 
 either artist. — D. 
 
 3 The vulgar name of Stafford-house. — D. 
 
 4 Mr. West has the printed catalogue (which was miserably drawn up) with the 
 prices. The sale produced 6,5351. 
 
 5 It is engraved in a print from Yandyck, of the earl and countess, in which 
 the earl, who has a globe near him, is pointing to Madagascar, where he had 
 thoughts of making a settlement. 
 
 Marbles of the British Museum, P. I. plate 39. The learned editor observes, 
 that the features generally given to Homer are not to be recognized in this head. 
 It is rather a fragment of a statue of Pindar. — D. 
 
 6 The Ecce Homo was afterwards in the collection at Prague ; query, if now at 
 Vienna ? There is a copy at Northumberland-house. — D. 
 
298 PAINTERS IN THE REIGN OF CHARLES I. 
 
 the Ecce Homo, in which were introduced the portraits of 
 the Pope, Charles V., and Solyman the Magnificent. 
 
 The earl has been painted by Eubens and Vandyck. 
 The present Duke of Argyle has a fine head of him by 
 the former. By the lattSr he was drawn in armour with 
 his grandson, Cardinal Howard. The earl had designed 
 too, to have a large picture, like that at Wilton, of himself 
 and family. Vandyck actually made the design, but by 
 the intervention of the troubles it was executed only in 
 small by Ph. Frutiers at Antwerp, from whence Vertue 
 engraved a plate. The earl and countess are sitting 
 under a state ;* before them are their children ; one holds 
 a shield 2 presented by the great Duke of Tuscany to the 
 famous Earl of Surrey at a tournament, and two others 
 bring the helmet and sword of James IV., taken at the 
 victory of Flodden-field, by the Earl of Surrey's father, 
 Thomas, Duke of Norfolk. Portraits of both those noble- 
 men are represented as hanging up near the canopy. 
 
 I will conclude this article and chapter with mention- 
 ing that Franciscus Junius, 3 was taken by the Earl of 
 
 1 This singularly curious picture does not exceed the size of the engraving above- 
 mentioned, of which Vertue made a private plate for Edward, Duke of Norfolk. 
 It is now in one of the apartments at Norfolk-house, and is worthy of the master. 
 Frutiers was very eminent for his copies in small, which he finished very delicately. 
 It is much to his credit that he was so employed by Eubens. The editor has seen a 
 similar copy of the picture by Vandyck, at Norfolk-house, of the Earl of Arundel in 
 armour, with his grandson, Philip Howard, as a boy, who was afterwards cardinal. — D. 
 
 2 This shield is now in the possession of his Grace the Duke of Norfolk. 
 
 Exhibited in the Gallery of the British Institution in 1822. — D. 
 
 3 See his article in the General Dictionary. 
 
 [Franciscus de Jong, the younger, latinized into " Franciscus Junius," was 
 the son of Franciscus de Jong, sometime professor of Theology at Leyden : he was 
 born at Heidelberg in 1589, and died at Windsor in 1678. He was the author of 
 the Etymologicum Anglicanum, first published in 1743. — W.] 
 
 [Junius was a man of singular learning, and particularly eminent for his knowledge 
 of the ancient Teutonic languages. Of his erudite work, De Picturd Veterum, 
 the first edition in 4to. appeared in 1636, printed abroad. In the picture by Van- 
 dyck, (mentioned p. 297, note) Junius is introduced as standing behind Lord 
 Arundel, and pointing to the books in the library, as if persuading his patron to 
 abandon this favourite project of retiring to the Island of Madagascar and there 
 establishing an English settlement. This portrait was omitted in the engraving by 
 Vosterman. Among the Lettere sulla Pittura, t. iv. p. 9, is one from Vandyck to 
 F. Junius, acknowledging the receipt of his book, De Picturd Veterum, with many 
 commendations. This letter is dated, Londra, 14 Augusto, 1646.* Junius is one 
 of the Centum Icones, and the original sketch, in oil, in chiaroscuro, is now in 
 the Bodleian Library, Oxford. — D.] 
 
 * [This letter, written in Dutch, is dated August 14, 1636, and is inserted, 
 together with one partly Latin and partly Dutch, from Rubens, on the same subject, 
 
PAINTERS IN THE REIGN OF CHARLES I. 299 
 
 Arundel for his librarian, and lived in his family thirty- 
 years. The earl had purchased part of the library of the 
 Kings of Hungary from Pirkeymerus ; Henry, Duke of 
 Norfolk, by persuasion of Mr. Evelyn, bestowed it on the 
 Eoyal Society. 1 
 
 REMARKS. 
 
 Supplementary anecdotes occur with respect to the three great collections 
 of paintings made in this country during the early part of the seventeenth 
 century, which may be better placed under these general remarks, than to 
 extend the notes, which certain readers may consider as too much lengthened. 
 
 King Charles I. inherited the small collection of Italian and Flemish 
 pictures which had been made by Henry VIII. ; but through the succeeding 
 reigns, although portraits were greatly added to it, it remained with scarcely 
 a single accession of any other kind. 
 
 The precise year in which the Duke of Mantua's pictures were brought into 
 England does not oc jur ; 2 but after their acquirement (certainly in the early 
 part of his reign) the increase was constantly carried on by purchases and 
 presents. 
 
 1 See London and the Environs, vol. v. p. 291. 
 
 Evelyn's Diary, p. 388, 1667. " With Mr. H. Howard of Norfolk (afterward 
 Duke) of whom I obtained the gift of his Arundel marbles for the University of 
 Oxford, those celebrated and famous inscriptions, Greek and Latine,* gathered with 
 so much cost and industry from Greece by his most illustrious grandfather, the 
 magnificent Earl of Arundel, my noble friend, whilst he lived. When I saw these 
 precious monuments miserably neglected and scattered up and downe about the 
 garden and other parts of Arundel-house, and how exceedingly the corrosive air of 
 London had impaired them, I procured him to bestow them, &c." 
 
 Although the political character of Lord Arundel may be deemed irrelevant to 
 the subjects of the present inquiry, yet as it has been alluded to, upon Lord 
 Clarendon's uncandid judgment, the real cause of the first mentioned great noble- 
 man's leaving England, at the very instant of incipient rebellion, should be fairly 
 understood. In 1641, he presented a petition to Charles I. to restore to him his 
 ancient honours, signed by sixteen peers. This request was evaded. In the next 
 year, he attended the Princess Mary and her husband, the young Prince of Orange, 
 as Lord High Steward, with a determination never to return. Foreseeing the 
 calamitous events which had then begun to take place, and which involved the 
 ruin of the king and the nobility, he became a voluntary exile, having received 
 continual affronts from the ministers of Charles I. under the specious semblance of 
 favours to be conferred. He retired therefore from councils, the calamitous effects 
 of which he had sufficient sagacity long to foresee, and by which he would not 
 condescend to be governed. — D. 
 
 2 [They appear to have been negociated for by Daniel Nyz, first in 1630. See 
 Carpenter's Pictorial Notices, &c. London, 1844. — W.] 
 
 dated August 1, of the following year, in the edition of the Pictura Veterum, pub- 
 lished by Graevius at Eotterdam, fol. 1694, to which is added a Gatalogus Artifi- 
 cum, or Dictionary of Artists, by far the more useful portion of the work. There 
 is a translation into English of the Pictura Veterum, by Junius himself. — W. 
 
 * [An account of these marbles and their inscriptions was published by Selden — 
 Marmora Arundeliana, sive saxa gro3ce incisa, &c. Publicavit et Commentariolos 
 adjecit Joannes Seldenus, J. C. 4to, London, 1628. — W. 
 
300 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 The taste of that sovereign in appreciating the several pictures, and the 
 delight which he received from the long inspection of them, are allowed with- 
 out contradiction. His esteem of living masters, whom he patronised, was no 
 less remarkable, as we are told by Vanderdoort, that " in the king's breakfast 
 chamber, the heads of Rubens, Mytens, and Vandyck, each by themselves, 
 were placed there, by the king's own appointment." 
 
 George Villiers, Duke of Buckingham, acquired his taste for a collec- 
 tion of pictures, as an appendage to magnificence, during his embassy into 
 Spain ; and finding that Rubens had already made one, from whose name 
 alone it would derive celebrity, he did not suffer the price to prevent the ac- 
 quisition. But it had other claims, for it contained by Titian 19 ; Bassan 21 ; 
 P. Veronese 13 ; Palma 8 ; Tintoretto 17 ; L. da Yinci 3 ; Raphael 3 ; and 
 by Rubens himself 13. This negotiation took place in 1625 ; and the pic- 
 tures were deposited in York-house. The greater part of them, previously to 
 the sequestration of the estate by Parliament in 1649, had been sent over 
 to Antwerp by a Mr. Trayleman, an old steward of the family, to be sold for 
 the maintenance of the second duke, then young, and in exile. Most of these 
 were purchased by the Archduke Leopold, for the collection at Prague, now 
 removed to Vienna. 1 
 
 In the Earl of Arundel's collection, it does not appear that there were 
 pictures which could support any just comparison with the two collections 
 just mentioned, either in point of value or number. The superiority of the 
 Arundel Collection was in statues, inscribed marbles, and gems. Of the 
 pictures, those by Holbein were more numerous and excellent than in any 
 other repository, and the same observation is made of his drawings by Leon- 
 ardo da Vinci. Among the archives at Norfolk-house, no catalogue of the 
 collection in its entire state had been seen by Vertue, nor has been since dis- 
 covered. The galleries and cabinet-rooms in Arundel-house, so furnished, 
 were not only the delight of the nobleman who formed them, but were by his 
 liberality the resort of virtuosi, as the cradle of infant taste, in this kingdom, 
 where it has since attained to so full a stature. Here he was visited by 
 royalty itself, and we learn, that he had (like a lineal descendant from him, 
 the late Charles Townley, Esq., whose collection of marbles is now a national 
 boast) a great pleasure in exhibiting and explaining his curiosities to intelli- 
 gent inspectors, which Sandrart particularly acknowledges, p. 241. In Allen's 
 Diary , preserved at Dulwich College, is a note, " April 17, 1618, 1 was at 
 Arundel House, where my lord showed me all his statues and pictures that 
 came from Italy." In Birch's collection of letters (vol. iii. p. 254. MSS. 4178, 
 Cat. Ascough) ER. to Sir T. Puckering, Jan. 1636-37 — "Tuesday last week, 
 their majesties came to Somerset House to lodge there, and on Wednesday, 
 the king went to Arundel House to see those rarityes my Lord Marshal 
 had brought out of Germany." In forming their collections they had had 
 frequent intercourse by exchange. Vanderdoort mentions " an Ecce Homo " 
 which the king had of my Lord Marshal, and he of Mr. Inigo Jones, the 
 king's surveyor, by Cantarini. " Christ in the Garden, brought from Germany 
 by my Lord Arundel, and given to the King," with several other instances. 
 
 Rubens and Vandyck introduced into England a new era of painting. 
 Their scholars and imitators were both numerous and excellent ; and contri- 
 buted to establish a new style of portrait-painting, with so great success that 
 the more laborious and highly-finished manner of Vansomer and Jansens was 
 soon superseded. 
 
 Sculpture had not advanced in any decided degree in the early part of the 
 reign of Charles I. ; at least before the arrival of Le Soeur and Fanelli. We 
 
 See Bathoe's Catalogue, and Sandrart. 
 
PAINTERS IN THE REIGN OF CHARLES I. 301 
 
 were beginning to form some acquaintance with the models of ancient art, 
 both Greek and Roman, and to obtain some knowledge of it from the acquire- 
 ment of valuable specimens, collected by the king from the Duke of Mantua, 
 the Duke of Buckingham from Rubens, and chiefly by Lord Arundel, by his 
 several agents and unbounded expense. Nicholas Stone was bred in the Dutch 
 school, which is sufficiently evident ; but gave his sons the advantage of some 
 years study in Italy, and that too in the school of Bernini. Yet there are no 
 proofs that it was followed by correspondent improvement. In monumental 
 effigies, the cumbent posture was sometimes abandoned. Military men are 
 represented as sitting on circular altars, which may be seen in Westminster- 
 abbey. The sitting figure of the great Lord Verulam, at St. Albans, is worthy 
 remark. Both the design and inscription were the suggestion of Sir Henry 
 Wootton— " Sic sedebat." 
 
 Little can be added to former remarks concerning the state of Architecture 
 during the preceding reign, for previously to the auspicious innovation estab- 
 lished by the skill and practice of Inigo J ones, the variations are scarcely to 
 be discriminated. 
 
 The discrimination, indeed, between the houses he designed, when he was 
 first employed as an architect, and after he had formed his taste upon Italian 
 models, is sufficiently obvious, and shall be discussed in its place. 
 
 It should be observed, that we had in England houses on the Palladian 
 model before the Banqueting-house at Whitehall was erected, which was 
 therefore not the earliest, but the most excellent example. 
 
 Walpole should have said that Baberham in Cambridgeshire was the first 
 specimen of the pure Italian style, built by Sir H. Palavicini. Little Shelford, 
 which he quotes, was built in imitation of it by his son, Tobias Palavicini. 
 At Stoke Bruerne Sir F. Crane erected a spacious villa, still remaining, very 
 nearly resembling the plan of those which are frequent in the neighbourhood 
 of Rome and Florence. — D. 
 
302 
 
 CHAPTER X. 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 SIR PETER PAUL RUBENS. 
 
 (1577—1641.) 
 
 One cannot write the life of Rubens without transcribing 
 twenty authors. The most common books expatiate on a 
 painter whose works are so numerous and so well known. 
 His pictures were equally adapted to please the ignorant 
 and the connoisseurs. Familiar subjects, familiar histories, 
 treated with great lustre and fulness of colouring, a rich- 
 ness of nature and propriety of draperies, recommend 
 themselves at first sight to the eyes of the vulgar The just 
 boldness of his drawing, the wonderful chiaroscuro dif- 
 fused throughout his pictures, and not loaded like Rem- 
 brandt's to force out one peculiar spot of light, the variety 
 of his carnations, the fidelity to the customs and manners 
 of the times he was representing, and attention to every 
 part of his compositions, without enforcing trifles too 
 much, or too much neglecting them, all this union of happy 
 excellences endear the works of Rubens to the best judges; 
 he is perhaps the single artist who attracts the suffrages of 
 every rank. One may justly call him the popular painter ; 
 he wanted that majesty and grace which confine the works 
 of the greatest masters to the fewest admirers. I shall be 
 but brief on the circumstances of his life ; he stayed but 
 little here, in which light only he belongs to this treatise. 1 
 
 1 [Eubens was born on the day of Saints Peter and Paul, June 29, at Cologne ; 
 his father was of a distinguished family of Antwerp, but had left it on account of 
 the religious troubles of the time. Eubens, however, after his father's death in 1587, 
 returned with his mother to Antwerp, and instead of following the law, the pro- 
 fession of his father, he became a painter. After studying four years with Van 
 Veen, he went in 1600 to Italy, where he entered the service of Vincenzio Gonzaga, 
 
IM JPETiBB FAUX MIENS 
 
PAINTERS IN THE REIGN OP CHARLES L 303 
 
 His father 1 was doctor of laws and senator of Antwerp, 
 which he quitted on the troubles of that country, and 
 retired with his family to Cologne, where, on the feast of 
 St. Peter and Paul, his wife was delivered of Eubens, in 
 1577. Great care was taken of his education ; he learned 
 and spoke Latin in perfection. When Antwerp was re- 
 duced by the arms of Philip, Eubens the father returned 
 to his native country. The son was grown up, and was 
 well made. The Countess of Lalain took him for her page, 
 but he had too elevated a disposition to throw away his 
 talents on so dissipated a way of life. He quitted that 
 service, and his father being dead, his mother consented 
 to let him pursue his passion for painting. Toby Verhaegt, 
 a landscape painter, and Adam Van Oort, were his first 
 masters, and then Otho Venius, under whom he imbibed 
 (one of his least merits) a taste for allegory. The per- 
 plexed and silly emblems of Venius are well known. 
 Eubens, with nobler simplicity, is perhaps less just in his. 
 One may call some of his pictures a toleration of all reli- 
 gions. In one of the compartments of the Luxemburg 
 gallery, a cardinal introduces Mercury to Mary de' Medici, 
 
 Duke of Mantua ; he spent also a considerable time at Venice and at Eome. In 
 1605, he was sent on a mission by the Duke of Mantua to Philip III. of Spain ; he 
 revisited Italy, and finally returned to Antwerp, shortly after the death of his 
 mother in 1608. He was appointed court painter to Albert and Isabella in 1609, 
 and in 1610, married his first wife Isabella Brants ; she died in 1626. In 1620, 
 Rubens was invited to Paris by Maria de' Medici, and he there made the sketches 
 of his celebrated Luxemburg series of pictures commemorating the marriage of 
 that princess with Henry IV. of France ; the pictures, twenty-one in number, and 
 now in the Louvre, were completed in 1625 ; most of the original sketches are at 
 Munich. In 1628, he was sent again to Spain, on a diplomatic mission to Philip 
 IV. by the Infanta Isabella, the widow of the Archduke Albert. In 1629 he came 
 on a similar mission to Charles I. of England, and he was here knighted by 
 Charles, Feb. 21, 1630 ; he returned the same year to Antwerp, and there married 
 his second wife, Helena Forment, a beautiful girl in her sixteenth year only. 
 Eubens died at Antwerp on the 30th of May, 1640. His widow, who had borne 
 him five children, was afterwards married to Baron J. B. Broechoven, a Flemish 
 nobleman in the Spanish service in the Netherlands. Consult J. F. M. Michel, 
 Histoire de la Vie de P. P. Euhens, &c. ; Bruxelles, 1771. Historische Levens- 
 beschrijving van P. P. Rubens Bidder, &c., by Victor C. van Grimbergen, 1774, 
 reprinted at Antwerp and Eotterdam in 1840. "Waagen, Heben den Maler Petrus 
 Paulus Eubens, inEaumer's Historische Taschenbuch, Berlin, 1833, translated into 
 English by Mr. E. E. Noel. Peter Paxil Rubens, his Life and Genius, edited by 
 Mrs. Jameson, London, 1840. Eathgaber, Annalen der Niederlandischen Malerei, 
 <C?c, Gotha, 1839. Lettres Inedites de P. P. Rubens, publiees par Emile Gachet, 
 Bruxelles, 1840.— W.] 
 
 1 This extract is chiefly made from Felibien, vol. iii. p. 404, from Descamps, 
 p. 297, &iLd.JSandrart. 
 
304 PAINTERS IN THE REIGN OF CHARLES L 
 
 and Hymen supports her train at the sacrament of mar- 
 riage, before an altar on which are the images of God the 
 Father and Christ. 1 At the age of twenty -three Rubens 
 set out for Italy, and entered into the service of Vincent 
 Gonzaga, Duke of Mantua. One day while he was at that 
 court, and was painting the story of Turnus and Aeneas, 
 intending to warm his imagination by the rapture of 
 poetry, he repeated with energy those lines of Virgil : 2 
 
 " Ille etiam patriis agmen ciet," &c. 
 
 The duke, who overheard him and entered the chamber, 
 was surprised to find the mind of his painter cultivated 
 with a variety of graceful literature. Rubens was named 
 envoy to Spain, and carried magnificent presents to the 
 favourite Duke of Lerma ; exerting at that court his poli- 
 tical and elegant talents with a dignity and propriety 
 that raised the latter without debasing the former. He 
 conversed little with the painters of that country, except 
 Velasquez, with whom he continued a correspondence of 
 letters. 
 
 The fame of the young painter reached Don John of 
 Braganza, afterwards King of Portugal, who invited him 
 to Villa Viciosa. Rubens set out with such a train that 
 the Duke apprehended the expense of entertaining so 
 pompous a visitor, and wrote to stop his journey, accom- 
 panying the excuse with a present of fifty pistoles. The 
 painter refused the present, said he had not proposed to 
 paint, but to pass a week at Villa Viciosa, and had brought 
 a thousand pistoles that he intended to spend there. 
 
 Returned to Mantua, the Duke sent him to Rome to 
 copy the works of the great masters. There he studied 
 them, not what they had studied, the ancients ; Rubens 
 was too careless of the antique as Poussin copied it too 
 servilely. The former seemed never to have seen a statue, 
 the latter nothing else. The reputation of Titian and Paul 
 Veronese drew Rubens to Venice ; there he was in his 
 
 1 See more on this subject at the end of Mr. Spence's Polyrnetis. 
 
 2 No wonder his emulation was raised at Mantua, where the works of Homer 
 were treated by Raphael and Julio Romano. 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 305 
 
 element, in the empire of colours. There he learned to 
 imitate nature ; at Eome he had missed the art of improv- 
 ing on it, If he has not the simplicity of Titian, he has 
 far more than Paul Veronese. The buildings with which 
 he has enriched the backgrounds of his compositions do 
 not yield to those of the latter ; his landscapes are at least 
 equal to those of the former. Seldom as he practised it, 
 Eubens was never greater than in landscape ; a the tumble 
 of his rocks and trees, the deep shadows in his glades and 
 glooms, the watery sunshine, and dewy verdure, show a 
 variety of genius, which are not to be found in the in- 
 imitable but uniform glow of Claude Lorrain. 
 
 Rubens was much worse employed at Genoa., where he 
 drew most of their palaces, and caused them to be engraved 
 in two volumes. 2 How could a genius like his overlook 
 the ruins of Rome, the designs of Raphael and Michael 
 Angelo, and. the restorers of ancient architecture at Venice, 
 and waste his time on the very moderate beauties that he 
 found at Genoa, where their greatest art lay in crowding 
 magnificence into a narrow and almost useless situation ? 
 where most of their palaces can only be seen from a sedan 
 chair. 
 
 His mother's illness drew him back to Antwerp, where 
 the Archduke Albert detained him, and where he married 
 his first wife, Elizabeth Brants. He built a palace, and 
 
 1 In Nor gate? s MS. it is remarked — 6 ' Landscape is an art so new in England, and 
 so lately come ashore, as all the language within our four seas cannot find it a 
 name, but a borrowed one, and that from a people that are no great lenders, but 
 upon good security — the Dutch. For to say the truthe, the art is theirs, and the 
 best ; that, wherewithall Sir P. P. Rubens was soe delighted, in his latter time, as 
 he quitted all his other practice in picture and story, whereby he got a vast estate 
 (150,000 crowns,) to studie this, wherof he hath left the worlde the best that are 
 to be seene, some wherof were at York-house, but now unhappily transplanted. 
 The principal wherof was an Aurora ; indeed a rare piece as done by the life, as 
 hee himself told me." — " Un poco adjutata." 
 
 " The English eye, judging only from the atmosphere to which it is accustomed, 
 will consider the landscapes of Rubens and Claude scarcely within nature. Rubens 
 painted in Flanders, where the sun permeating dense yellow clouds, has the force 
 of fire in its rays, and the sky is murky and grey. He has only represented his 
 own horizon. Claude, with his silvery mists and fixed azure skies, is no less true 
 to nature in the south of Italy. But both these effects are unusual with us, and 
 we have concluded accordingly." (Price on Landscape, vol. i.) Is not this criti- 
 cism respecting Claude Lorrain as applicable to Titian, in the very few land- 
 scapes that are known to be of his hand ? — D. 
 
 2 Palazzi antichi e moderni di Genoa raccolti e disegnati da P. P, Rubens, 
 Antwerp, 1622, 1652, et 1708. Fol. 189 plates, in two parts. — D. 
 
 VOL. I. X 
 
306 PAINTERS IN THE REIGN OF CHARLES I. 
 
 painted it within and without. His cabinet or rotunda 
 was enriched with antique vases, statues, medals and 
 pictures. The Duke of Buckingham saw and coveted it. 
 Le Blond, whom I have mentioned in the life of Holbein, 
 negotiated the bargain, to which Rubens consented with 
 regret. The favourite, who was bent on the purchase, 
 gave, it is said, ten thousand pounds for what had not cost 
 above a thousand. 
 
 In Flanders he executed many great works, which created 
 him as many enemies. They affected to ascribe to the 
 scholars whom he had formed, or been forced to take to 
 assist him, as Jordaens, Van Uden, Snyder, and Wildens, 
 the merits of the master ; but the greater the talents of the 
 assistants, the higher the genius of the master. Do able 
 painters work under an indifferent one ? Abraham Janssens 
 challenged Rubens to a trial of their art ; Rubens replied, 
 he would engage with him when Janssens had proved 
 himself worthy to be his competitor. A more friendly offer 
 was rejected by him with equal wit. A chemist tendered 
 him a share of his laboratory and of his hopes of the philo- 
 sopher s stone. Rubens carried the visionary into his 
 painting-room, and told him his offer was dated twenty 
 years too late ; "for so long it is," said he, "since I found 
 the art of making gold with my pallet and pencils." 1 
 
 From Antwerp he was called to Paris by Mary de' 
 Medici, and painted the ostensible history of her life in the 
 Luxemburg. 2 A peculiar honour, as that princess was an 
 Italian. It is even said that he gave her some lessons in 
 drawing. If the prodigious number of large pieces painted 
 by Rubens were not testimonies of the abundance and facility 
 of his genius, this gallery alone, completed in three years, 
 would demonstrate it. 8 As soon as it was finished, he 
 
 1 The alchemist who applied to Rubens was one Brondel, an unsuccessful 
 painter. Graham. — D. 
 
 2 It is said that she designed he should fill another gallery with the story of 
 Henry IV., her husband, and that he had begun several of the compartments, but 
 the troubles of that princess prevented the execution. — Abrege de la Vie des Pein- 
 tres, vol. ii. p. 141. 
 
 3 These pictures and their subjects are accurately described by Felibien and 
 
 Michel, Vie de Rubens, 125-141. — D. [Rubens painted only the original 
 
 sketches ; the large pictures were executed chiefly by his scholars, and occupied 
 nearly five years. — W. ] 
 
PAINTERS IN THE REIGN OF CHARLES t 307 
 
 returned to Antwerp, where his various talents were so 
 conspicuous, that he was pitched upon to negotiate a treaty 
 of peace between Spain and England. The Infanta Isabella 
 sent him to Madrid for instructions, where he ingratiated 
 himself so much with the Conde-Duc D'Olivarez, that be- 
 sides many valuable presents, he had abrevet for himself and 
 his son of Secretary of the Privy Council, and was dismissed 
 with a secret commission to King Charles, as I have men- 
 tioned before, in which he had the honour of succeeding. 
 
 Neither Charles nor Eubens overlooked in the ambassador 
 the talents of the painter. The king engaged him to paint 
 the ceiling of the Banqueting-house. 1 The design is the 
 apotheosis of King James, for whom, when once deified, 
 there seems to have been no farther thought of erecting a 
 monument. The original sketch for the middle compart- 
 ment is preserved at Houghton. It had belonged to Sir 
 Godfrey Kneller, who often studied it, as is evident by 
 Sir Godfrey's original sketch, at Houghton too, for the 
 great equestrian picture of King William at Hampton- 
 court ; though in the larger piece he seems to have forgot 
 that he ever had studied the former design. Sir Godfrey 
 had heard that Jordaens assisted Rubens in the execution; 
 if true, some of the compartments must have been painted 
 in Holland, and sent over hither ; for I do not find that 
 Jordaens was ever in England. Eubens received 3,000Z. 
 
 1 Rubens exhibited to the king several sketches painted by his own hand, from 
 which the great work of the ceiling was to be completed. Of these sketches, some 
 account will be given. He did not finish the pictures now seen at Whitehall, in 
 England, but at Antwerp, as those of the Luxembourg had formerly been ; where 
 his celebrated pupil, Jordaens, lent him great assistance. It is likewise asserted, 
 that Rubens anticipated that the whole performance would be more closely in- 
 spected when on the ground, and therefore finished it more accurately than so 
 great a height would have required. Michel says of these pictures, " lis repre- 
 senterent par allegorie les Actions Heroiques de Jacques I. Roy d'Angleterre ! " 
 From the destructive effect of the atmosphere of our metropolis they had suffered 
 such detriment that, in 1687, James II. ordered a complete restoration. This was 
 effected by Parry Walton, whose demand of 212Z. was considered by Sir Christopher 
 Wren, Surveyor-general, " as very modest and reasonable. " (Privy Council Book.) 
 The late king employed Cipriani for the same purpose, who received a remunera- 
 tion of 2,000Z. (Pennant) ; and since that time they have been refreshed by 
 Rigaud. There was a curious controversy, which is well known, between High- 
 more and Kirby, professors of perspective, relating to the architecture introduced 
 by Rubens, to whom the first-mentioned critic does not allow perfect science.' — D. 
 
 [The sketch of this centre compartment of the ceiling is now in the National 
 Gallery.— W.] 
 
 x 2 
 
308 PAINTERS IN THE REIGN OF CHARLES I. 
 
 for his work. 1 The building itself cost 17,000/. What 
 had it been, if completed ! Vandyck was to have painted 
 the sides with the history of the Order of the Garter. Inigo 
 Jones, Rubens, and Vandyck ! Europe could not have 
 shown a nobler chamber. Kent, in the late reign, repaired 
 the painting on the ceiling. 2 
 
 1 [The State Paper Office still contains the original documents respecting these 
 pictures, which were not completed and sent to England until 1635. — See Carpen- 
 ter's Pictorial Notices, &c. — W.] 
 
 2 Works of Rubens, known to have been executed in England : — 
 
 HISTORICAL. 
 
 The designs for the ceiling of the Banqueting-house, Whitehall, which were 
 presented to Charles I. in 1629. The centre part was in the Houghton Collection, 
 now removed to St. Petersburg. Two others were purchased by Sir Joshua 
 Reynolds in Flanders, and disposed of at his sale, 1795. They are completely 
 finished studies. Two more, the one the Queen of Sheba before Solomon, and the 
 other Esther and Ahasuerus, brought from France by Monsieur Calonne, were sold 
 at his sale in 1795. The Life of Achilles, in eight small sketches, which were sold 
 at Dr. Mead's sale, in 1755, for 106?. 
 
 A similar sketch of Apollo, in the character of Plenty. Calonne. 
 
 Six sketches in oil, of the History of Achilles, designed for tapestry, to be made 
 at Sir F. Crane's manufactory at Mortlake, for York-house. Two of them, the 
 Discovery of Achilles and the death of Patroclus, were sold at the same sale. 
 
 A sketch of Boys, for one of the compartments of the ceiling at Whitehall, was 
 in Calonne's Collection, and produced at his sale 220Z. And two larger sketches 
 for the same. 
 
 The great emblematical picture, representing Peace and War, and containing 
 nine figures ;* and the St. George, with likenesses of Charles and his queen, pre- 
 sented by himself. 
 
 The Assumption of the Yirgin, for the Earl of Arundel. (Michel.) Now at Wilton. 
 
 PORTRAITS. 
 
 A family picture of Thomas, Earl of Arundel, and the Lady Alathea, his 
 countess. This picture, one of the finest painted by Rubens, with respect both to 
 its design and colouring, merits a minute description. Under a portico supported 
 by twisted columns, such as are seen in Raphael's cartoons, hangs a rich curtain, 
 upon which the arms are embroidered ; upon the floor is a Turkey carpet. A land- 
 scape with a large mansion is seen behind the columns. The countess sits in a 
 chair of state, and presents her full figure, her left hand on the elbow of the chair, 
 and the other laid on the head of a large white greyhound, which stands before 
 her. She wears black satin, with a laced ruff, gold bracelets, and pearl necklace. 
 Her hair light, and decked with pearls and plumes. The Earl stands behind his 
 lady, resting his left hand upon the back of the chair ; his head is uncovered, with 
 short hair, inclining to grey. He has whiskers, and a pointed beard ; his vest is 
 olive- coloured embroidered, with a brown mantle doubled with crimson, and a ruff 
 on his neck. Before them stands a little boy (his grandson Philip Howard), 
 dressed in crimson velvet, with gold lace. A dwarf is placed behind the dog, and 
 has one hand laid on its back, and the other is extended to the curtain. 
 
 This singularly fine picture was sold from the Arundel Collection, taken to 
 Dusseldorff, and removed to Munich. — Chretien de Meckel, Gallerie de Dusseldorf, 
 n. 243. 
 
 George Yilliers, Duke of Buckingham, Osterly, Middlesex. Strawberry-hill, f 
 
 Ludowic 
 
 * [Now in the National Gallery, but there is no evidence of its having been 
 ■painted in England. — W.] 
 
 + [Sold at the sale of 1842, for 22 guineas.— W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 309 
 
 During his residence here, Eubens painted for the 
 king a St. George, 1 four feet high, and seven feet wide. 
 His majesty was represented in the saint, the queen in 
 Cleodelinde ; each figure, one foot and a half high ; at a 
 distance a view of Eichmond and the Thames. In another 
 picture, the benefits of Peace and miseries of War. 2 . 
 
 Theodore Eogiers 3 modelled for the king a silver ewer, 
 designed by Eubens, with the Judgment of Paris. There 
 is a print from this vase by James Neffs. 
 
 This great painter was knighted at Whitehall, Feb. 21, 
 1630, and the king gave him in addition to his arms, on 
 a dexter canton, gules, a lion passant, or. 
 
 A large print from his picture of the Descent from the 
 Cross, engraved by Vosterman, in 1620, is thus dedicated : 
 Illustrissimo, excellentissimo et prudentissimo domino, 
 domino Dudleio Carleton equiti, magnae Britannia regis 
 ad confoederatos in Belgio ordines legato, pictorise artis 
 egregio 4 admiratori P. P. Eubens, gratitudinis et benevo- 
 lentiae ergo, nuncupat, dedicat. 
 
 Ludowic Stewart, Duke of Richmond. Easton Neston, Northamptonshire. 
 Vandyck, (a head. ) Althorp. 
 
 Sir Theodore Turquet Mayerne, the physician. Cleveland-house, from the 
 Arundel Collection. 
 
 William Fielding, Earl of Denbigh (attributed likewise to Vandyck). Hamilton- 
 house, Scotland. 
 
 George Villiers, Duke of Buckingham, on horseback, with allegorical figures. 
 The Grove. 
 
 Thomas, Earl of Arundel, (w.l.) Ditto. 
 The same, (h.l.) Warwick- castle. 
 
 The same, (a head. ) Lord Frederick Campbell. Another different at Castle- 
 howard, and a repetition. Mr. Bone. 
 
 Philip Howard, (his grandson,) when a boy; afterwards Cardinal Howard; 
 Wimbledon. Eubens' son ; Longford-castle. — D. 
 
 1 In a letter in the Museum, dated March 6, 1630, it is said, " My Lord Carlisle 
 hath twice in one week most magnificently feasted the Spanish Embassador and 
 Mons. Rubens also, the agent who prepared the way for his coming : who in honour 
 of our nation hath drawn with his pencil the history of St. George, wherein (if it 
 be possible) he hath exceeded himself ; but the picture he hath sent home into 
 Flanders to remain as a monument of his abode and employment here. " This, 
 I suppose, was a repetition of the picture he drew for the king. One of them is now 
 in the collection of the Earl of Lincoln. Duke of Newcastle, Clumber. — D. 
 
 2 See King Charles's Catalogue, p. 86. 
 
 3 There is a head of Eogiers among the artists drawn by Vandyck. 
 
 4 There is a print of Sir Dudley Carleton, by W. Delff, from a painting of 
 Mirevelt, thus inscribed : Illust. excell. ac prudent, domino Dn. Dudleyo Carleton 
 equiti, magna} Britannia^ regis apud confoederatarum provinciarum in Belgio 
 ordines legato, &c. pictorise, artis non solum admiratori, sed etiam insigniter perito. 
 
 Sculptor dedicat. [See a correspondence between Eubens and Sir Dudley 
 
 Carleton, in Carpenter's Pictorial Notices, &c. 1844. — W,] 
 
310 
 
 PAINTERS IN THE REIGN OF CHARLES t 
 
 We have in England several capital works of Eubens. 1 
 Villiers, Duke of Buckingham, had thirteen, and Sir Peter 
 
 1 The vicissitudes by which the public and private collections on the Continent 
 were visited, in the course of the French Revolution, have very greatly increased 
 our wealth in the works of Rubens.* 
 
 What we previously possessed shall be enumerated ; and what has been lately 
 acquired. Omissions may occur, but not of any picture the editor has seen, or 
 had otherwise any knowledge of ; and he must be allowed to repeat, that his 
 silence respecting any picture must rather be attributed to his ignorance of the 
 picture itself, than to any adverse opinion as to its pretensions. 
 
 In the Orleans Collection, twelve pictures by Rubens, and in the Calonne, 
 fourteen, were brought into England. 
 
 Since the establishment of the British Institution, sixty-four pictures, by him, 
 
 have been exhibited, from 1813 to 1823. 
 1824. 
 
 IN THE ROYAL COLLECTION. 
 
 St. Martin dividing his Cloak. 
 Assumption of the Virgin. 
 Landscape, with Cattle and Figures. 
 Ditto, effect of Snow. 
 Pan and Syrinx. 
 Archduke Albert, (equestrian.) 
 irchduke Ferdinand of Austria, ditto. 
 Philip IV. of Spain, (equestrian,) an 
 
 Angel crowning him with Laurel. 
 Rubens, (h. I. ) with a Hat. 
 Elizabeth Brants, his first Wife. 
 Landscape, with the Chateau de Laaken. 
 St. George, with figures, and a view of 
 
 Richmond in the background. 
 
 AT BLENHEIM. 
 
 Mary de' Medici. 
 Holy Family. 
 
 Rubens' Family, his Wife Elizabeth 
 Brants, with his son Albert in lead- 
 ing strings. 
 
 Catherine de' Medici. 
 
 Holy Family. 
 
 Offering of the Magi, (another in the 
 
 Lansdowne Collection.) 
 Angel and Lot. 
 Flight into Egypt. 
 A Sketch. 
 A Head. 
 
 The Graces, draped. 
 Venus and Adonis. 
 Silenus, Mgle, and Satyrs. 
 The Roman Charity. 
 Andromeda, (a sketch. ) 
 
 GROSVENOR-HOUSE, LONDON. 
 
 Meeting of Abraham and Melchisedec, 
 from Loeches. 
 
 Account of the British Institution, 8vo. 
 
 Fathers of the Church, from Loeches. 
 Israelites gathering Manna. 
 The Evangelists. 
 
 Rubens and his Wife Elizabeth Brants. 
 Ixion. 
 
 Two Angels. 
 Sara and Hagar. 
 Wise Men's Offering. 
 
 CLEVELAND-HOUSE, LONDON. 
 
 Mercury and Hebe. 
 
 HAMILTON-HOUSE, SCOTLAND. 
 
 Daniel in the Lion's Den. 
 
 J. P. MILES, ESQ. (NEAR BRISTOL,) 
 
 Conversion of St. Paul. 
 Holy Family. 
 
 Woman taken in Adultery. 
 
 WILTON-HOUSE, WILTSHIRE. 
 
 The Assumption of the Virgin. (Lord 
 
 Arundel's. ) 
 A Landscape. 
 
 Four Children, Our Saviour, St. John. 
 An Angel and an Infant Girl. 
 
 CORSHAM-HOUSE, (MR. METHUEN.) 
 
 A Satyr squeezing Grapes, with a Tiger 
 
 and Leopard, (a sketch. ) 
 Descent from the Cross. 
 Rubens and his first Wife ; with Horses, 
 
 Dogs, and Wolves, &c. by Snyders. 
 David and Abigail. 
 Portrait of a Man. 
 
 MISCELLANEOUS. 
 
 Diana attended by Nymphs. Sir Simon 
 Clarke. 
 
 Large Landscape, purchased of Watson 
 Taylor, Esq. Lord Orford. [Rubens' 
 
 * [These vicissitudes of collections make also such lists as the following of only 
 temporary or historical utility. Pictures are constantly changing owners ; and as 
 it is not part of the scheme of this work to give complete catalogues of the works 
 of the several masters noticed, Mr. Dallaway's list, except as regards the National 
 Gallery, remains in its original state. — W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 311 
 
 Lely, five. 1 The Duchess of Marlborough gave any price 
 for his pictures. They 2 are the first ornaments of Blen- 
 heim, but have suffered by neglect. At Wilton are two : 
 one, the Assumption of the Virgin, painted for the Earl 
 of Arundel, while Eubens was in England, and with which 
 he was so pleased himself, that he afterwards made a large 
 picture from it for a convent at Antwerp. The other 
 contains four children, Christ, an Angel, St. John, and a 
 girl, representing the Church. This picture, which is far 
 superior to the foregoing, and very fine, is said in the 
 
 Rubens' second Wife, when pregnant, Rape of the Sabines. National Gallery, 
 in a fruit-shop ; a monkey climbing Tigers in a Landscape. Sir Joshua 
 overturns a basket of peaches. Gib- Reynolds. 
 
 side, Durham. Lord Strathmore. Landscape, (from the Doria- palace.) 
 A Poulterer's shop, himself and Wife, Sir G. Beaumont. Given by him to 
 
 game, and a greyhound, by Snyders. the National Gallery. 
 
 Gibside, Durham. Lord Strathmore. Ditto, called the Rainbow. National 
 Duke of Alva, (equestrian.) Sir L. Gallery. 
 
 Dundas. Judgment of Paris. Ditto. 
 
 Landscape, with the waggoner. Nune- Thomyris. Cobham-hall. Earl of 
 
 ham. (Houghton Collection.) Darnley. 
 Rubens, with his first Wife and a Child, Continence of Scipio. Lord Berwick. 
 
 in a market of fruit, herbs, and Death of Adonis (painted for the family 
 
 flowers. Luton. Marquis of Bute. of Brants, at the Hague.) Bryan's 
 
 A Laughing Boy. Ditto. Collection. 
 
 One of his Scholars. Ditto. Holy Family, from the Imperial Gallery, 
 
 Rubens' Mother. Dulwich Gallery. Vienna. Bryan's Collection. 
 
 Stag Hunting, himself and others ; St. Bavon, from the Carrega-palace, 
 
 Animals by Snyders. Companion to Genoa. National Gallery. 
 
 that at Corsham. Luton. Rubens' Family. Late Walsh Porter, Esq. 
 
 Medusa, (from Sir P. Lely's Collection.) Elevation of the Brazen Serpent. Na- 
 
 Christ Church, Oxford. tional Gallery. 
 
 The Apotheosis of William III. Prince The Chapeau de Paille. A portrait of 
 
 of Orange, 139 feet in length. A Stair- Madlle. Lundens, greatly admired by 
 
 case. Osterly, Middlesex. Rubens. She died young. Right 
 
 Holy Family, with St. George. National Hon. Sir R. Peel, Bart. 
 
 Gallery. * Helena Forment. T. B. Owen, Esq. 
 
 The two last mentioned were purchased of the Van Havre family, connected 
 with that of Rubens, by private contract. (Buchanan.) Other landscapes and 
 allegorical sketches of great merit are enumerated in the catalogues of the British 
 Institution. 
 
 By the transfer of pictures, consequent upon the French Revolution, twenty- 
 four of the finest works of Rubens have been deposited in English collections, of 
 which the most prominent examples are mentioned in the foregoing notice of 
 them. — D. 
 
 - See their Catalogues, by Bathoe. 
 
 2 There are fifteen pieces by this master, [at Blenheim ;] the best are, his own 
 portrait with his Wife and Child, the Offering of the Magi, and the Roman Charity. 
 
 Mr. Gilpin has made a different selection : Andromeda, Silenus, Holy Family, 
 
 and Lot. — D. 
 
 * [For an account of the works by Rubens in the National Collection, see the 
 new Catalogue of the National Gallery, by the present editor of this work, pub- 
 lished by authority.— W.] 
 
312 PAINTERS IN THE REIGN OF CHARLES I. 
 
 catalogue to be allowed to be the best picture in England, 
 of Rubens : an hyperbole indeed. 1 At the Earl of Pomfret's, 
 at Easton, was a portrait of Ludowic, Duke of Eichmond 
 and Lennox. At Houghton, is that masterly piece, Mary 
 Magdalen anointing the feet of Christ ; and a large cartoon 
 of Meleager and Atalanta. There, too, are three pieces in 
 three different styles, in each of which he excelled — a land- 
 scape, 2 and satyrs, and lions. Animals, especially of the 
 savage kind, he painted beyond any master that ever lived. 
 In his satyrs, though highly coloured and with character- 
 istic countenances, he wanted poetic imagination. They 
 do not seem a separate species, but a compound of the 
 human and animal, in which each part is kept too distinct. 
 His female satyrs are scarce more indelicate than his 
 women ; one would think that, like Swift, he did not in- 
 tend that Yahoos should be too discriminate from human 
 nature ; though what the satirist drew from spleen, flowed 
 in the painter from an honest love of flesh and blood. 
 There are, besides, in Lord Orford's collection the sketches 
 for the Cardinal Infant's entry into Antwerp ; the Family 
 of Eubens, by his scholar Jordaens ; and his second wife, 
 Helena Forment, a celebrated whole-length by Vandyck. 
 
 The fine picture of St. Martin, the late Prince of Wales, 
 bought of Mr. Bagnol, who brought it from Spain. It is 
 remarkable, that in this piece Rubens has borrowed the 
 head of an old man from the cripple in one of the cartoons, 
 of which I have said he gave information to King Charles, 
 who purchased them. At Lord Spencer s, at Wimbleton, 
 is a fine portrait of Cardinal Howard, [when a boy.] At 
 Burleigh is an ebony cabinet, the front and sides of which 
 are painted by Eubens ; at one end are his three wives, 
 highly coloured. 3 
 
 1 See Kennedy's Account of Wilton, pp. 76, 79. 
 
 2 This picture is well known by the print, a cart overturning in a rocky country, 
 by moonlight. The Earl of Harcourt has a duplicate of this picture, at his seat of 
 Nuneham, in Oxfordshire, where are scenes worthy of the bold pencil of Rubens, 
 or to be subjects for the tranquil sunshines of Claude Lorrain. The noblest and 
 largest landscape of Rubens is in the royal collection. It exhibits an almost bird's- 
 eye view of an extensive country with such masterly clearness and intelligence, 
 as to contain in itself alone a school for painters of landscape. 
 
 3 It is a vulgar error that Rubens had three wives ; which corrects itself, if it be 
 recollected that H. Forment, his second wife, survived him. — D. 
 
PAINTERS EST THE REIGN OF CHARLES I. 
 
 313 
 
 I do not find how long Rubens stayed in England, pro- 
 bably not above a year. He died of the gout, in his own 
 country, in 1640. A catalogue of his works may be seen 
 in Descamps. 1 
 
 Mr. Maurice Johnson of Spalding in Lincolnshire, a 
 great antiquary, produced to the Society of Antiquaries 
 some years ago a MS. containing discourses and observa- 
 tions on human bodies, and on the statues and paintings of 
 the ancients and moderns, written partly in Latin, partly in 
 Italian, and some notes in Dutch, and illustrated with 
 several drawings, as heads, attitudes, proportions, &c, 
 habits of Greeks and Romans, various instruments, utensils, 
 armour, and head-dresses from coins and statues, and 
 comparisons of Raphael, Michael Angelo, and others. It 
 was an octavo pocketbook, and appeared to be an exact 
 copy of Rubens' Album, which he used in his travels ; the 
 drawings, and even handwriting and different inks, being 
 exactly imitated. This Book was brought from Brussels 
 by Captain Johnson, Mr. Johnson's son, and had one leaf 
 of the original in it, with a sketch of the head of the Farne- 
 sian Hercules. The original itself is at Paris, where they 
 intended to publish it. 2 An account of it is given in the 
 Catalogue Raisonne de Monsieur Quintin de UQrangerie, 
 par Frederic Gersaint, 1744. Albert Rubens, 8 son of Sir 
 
 1 See also a list of the works of Rubens, in Le Compte's Cabinet de Singularity 
 d' Architecture, Peinture, &c. vol. i. p. 251. There are forty-six pieces painted by 
 him in the Elector Palatine's gallery, at Dusseldorp ; one of them, the Last Judg- 
 ment, is 20 feet high, and 15 wide. [Removed to Munich, where there are 
 
 now collected in the Pinacothek, ninety-five pictures by Rubens. The dimensions 
 of the Last Judgment are not quite so large as given by Walpole. It is about 
 18 by 13 J. Approximately complete lists of Rubens' works are given in several 
 of the biographical works noticed above, and in Nagler's Neues Allgemeines 
 KiLnstler Lexicon. — W.] 
 
 2 The work of Rubens has never been printed. Gersaint says, referring to the 
 work, " Nous en avons la preuve, par un MS. de sa main, qui possede actuellement 
 M. Huquier, graveur et marchand des estampes ; et qu'il propose de donnor, quelque 
 jour, au public. Ce MS. porte pour titre, 'De Figuris Humanis.' II est accom- 
 pagne d' environ un cinquantaine de feuilles desisnees, et remplies chacunes des 
 differentes tetes et attitudes varies qui out rapport au discours de ce MS. ce qui 
 fait voir les pieces, et les soins que prenoit Rubens pour etudier les divers caracteres 
 et les divers effets des mouvemens des hommes." — D. 
 
 3 Rubens committed the education of his son Albert to his most intimate friend, 
 the Civilian Gevaerts, with the following liberal injunction : Albertulum meum 
 vobis commendo, non ut ilium oratorio, sed in musseo vestro colloces." The por- 
 trait so admirably painted by Vandyck, (now in the National Gallery) is not that 
 of Gevartius, but of Vander Gcist " artis pictoria? amator " — a point which a com- 
 parison of the two heads in the Centum Icones will tend to confirm. — D. 
 
314 
 
 PAINTERS IN THE REIGN OF CHARLES I. 
 
 Peter Paul, was a learned man and medallist, ; he published 
 the Due d'Arseot's Medals, with a commentary, and a 
 treatise De Re Vestiarid et de lato Clavo. V. Biblioth. 
 choisie de Colomies, p. 96. 1 
 
 1 Rubens was interred in a small chapel of the collegiate church of St. James, at 
 Antwerp, which he had appropriated and ornamented with a painting of himself, 
 as St. George, accompanied by his wives and children. His epitaph, written by 
 Gevaerts, was by some strange neglect not placed upon his tomb before the year 
 1755. "Hoc monumentum a clarissimo Gevartio olim P. P. Rubens consecratum, 
 a posteris hue usque neglectum Rubenia stirpe masculina jam inde extinctd poni 
 curavit Bapt. Van Parys, ex matre et avia nepos." Neither of his sons left male issue. 
 
 Sir Joshua Reynolds, during his tour in Flanders, directed his attention chiefly 
 to the magnificent pictures which Rubens had left in his native country ; and 
 in his fifth Discourse before the Academy, confined himself to a criticism upon 
 the genius and style of that celebrated master ( Works, vol. ii. p. 120.) In the first 
 mentioned, we have able opinions concerning his animals, portraits and andscapes, 
 (voLii. p. 422 — 427, ) and those subjoined upon his large historical picture^ ire equally 
 novel and excellent. "It is only in large compositions that his powers seem to 
 have room to expand themselves. They really increase, in proportion to the size 
 of the canvas upon which they are to be displayed. His superiority is not seen in 
 easel pictures, nor even in detached parts of his greater works, which are seldom 
 eminently beautiful. It does not lie in an attitude, nor in any peculiar expression ; 
 but in the general effect — in the genius which pervades and animates the whole. 
 The incorrectness of Rubens in regard to his outline oftener proceeded from haste 
 and carelessness, than from inability. There are in his great works, to which he 
 seems to have paid a more particular attention, naked figures as emim * *or their 
 drawing as their colouring." (424) "Rubens is a remarkable instance KA the same 
 mind being seen in all the various parts of art. He possessed the true power of 
 imitating. With a painter's eye, he saw at once the predominant feature, by which 
 every object is known and distinguished ; and as soon as seen, it was executed with 
 a facility that is astonishing. He was, perhaps, the greatest master in the mecha- 
 nical part of the art, the best workman with his tools, that ever managed a pencil." 
 
 ' ' Rubens was remarkable for vigour of mind, general knowledge, and classical 
 pursuit. Of the mixed composition of allegoric and historic fact, he has in one 
 respect given a very admirable specimen, in his Judgment of Paris : the allegorie 
 expedient of the Fury, who is bursting through the clouds, leads the mind into all 
 the terrible consequences of the decision ; and nothing can better show what should, 
 and what should not be done, upon these occasions where allegory is blended with 
 history. It is surprising that Rubens did not improve by the works of the Carracci, 
 already in the Farnese Gallery." — Barry's Works, vol. i. p. 467. 
 
 ' ' At Venice, Rubens soon compounded, from the splendour of Paul Veronese and 
 the glow of Tintoretto, that florid system of mannered magnificence, which is the 
 element of his art and the principle of his school." — FuseKs Led. p. 98. 
 
 * ' In comparing Rubens with Titian, it has been observed that the latter mingled 
 his tints as they are in nature ; that is, in such a manner as makes it impossible to 
 discover where they begin, or terminate. Rubens' method, on the contrary, was 
 to lay his colours in their places, one by the side of the other, and afterwards very 
 slightly to mix them with a touch of the pencil." — ,(Opie's Led. vol. iv. p. 164.) He 
 has elsewhere observed, that "the celebrated 4 Taking Down from the Cross, ' rivets 
 the attention of the spectator on the body by placing it on a white clr th. The 
 circumstance of such a spread of white linen, opposed and united to f esh (which 
 gives a peculiarity never to be forgotten), no man less daring than Rubens would 
 have attempted, and no man less consummate as a colourist could hav executed 
 with success. Rubens rarely insulates his principal figure : with him, ^ is gene- 
 rally like the key-stone of an arch ; and, if not white itself, is commonly borne 
 up by a mass of white, and another of red, which lift it forward full upon the 
 spectators, as if coming out of the picture." 
 
 His life as a painter lasted in its full vigour to his sixty-first year, in possession 
 
i one 
 
 rc 
 
 b 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 315 
 
 ABRAHAM DIEPENBECK, 
 
 (1607— 1675,) 1 
 
 among the various scholars of Kubens, was one of the few 
 that came to England, where he was much employed by 
 "William Cavendish, Duke of Newcastle, whose managed 
 horses he drew from the life, from whence were engraved the 
 cuts that adorn that peer's book of horsemanship. Several 
 of the original pictures still remain in the hall at Welbeck. 
 Diepenbeck drew views of the duke's seats in Nottingham- 
 shire and Derbyshire, 2 and portraits of the duke, duchess, 
 and his children, and gave designs for several plates prefixed 
 to the works of both their graces. " Diepenbeck/' says 
 De Piles, " was born at Boisleduc, and in his youth was 
 much employed in painting upon glass, 3 and entering after- 
 
 of all his faculties ; and he had begun to exhibit his pictures when only twenty 
 years of age. He conversed freely with those who came to see him, admitted them 
 to his study, but never quitted his easel. That he was well versed in the Latin 
 language is evident, as he held a correspondence in it. Several of his letters are 
 preserved in the Lettere sulla Pittura, torn. iv. pp, 110, 115, 117, which last, to 
 Peiresc, concerning a cameo, is most curious. These afford a more satisfactory 
 proof than his treatise De Imitatione Grcecarum Statuarum Schediasma, printed 
 by De Piles in his Cours de la Peinture. Du Bos, Reflexions Critiques, t. ii. p. 81. 
 Rubens is said to have been assisted by his learned friend Gevaerts. It is known 
 that he usually sketched his first thoughts in oil, from which he rarely deviated in 
 his large pictures. 
 
 Soon after his decease, his collection of pictures was disposed of, principally to 
 the King of Spain. By the authentic catalogue printed by Michel, it appears that 
 there were twenty copied by himself from Titian ; ninety-three of his own work ; 
 and forty-eight by Italian masters, mostly by Titian. There were one hundred by 
 Flemish and Dutch masters, six historical by Vandyck, &c, and a repetition of 
 the heads of the Earl of Arundel and Duke of Buckingham by himself. The 
 whole collection produced 280,000 florins " argent de Brabant." His widow, from 
 scruples, concealed some of the pictures, with a design to burn them, but after- 
 wards sold them to the Duke de Richelieu, with the exception of the ' ' Bath of 
 Diana," for which she demanded 3,000 Spanish crowns, which she received. 
 Charles I. purchased the ' ' Three Graces." 
 
 Bouquet and Bassan published, in 1767, at Paris, a Collection of Prints engraved 
 from Rubens, amounting to 1285. Le Comte's catalogue is very defective. Many 
 remain in private collections, which had not been hitherto engraved. His 
 favourite engravers were Soutman for history, and Bolswert for landscape, whom 
 he employed and superintended. — D. 
 
 1 [As the fellow-pupil of Vandyck with Rubens, and having attained some dis- 
 tinction before he entered the school of that great master, it is hardly possible that 
 Diepenbeck was born so late as 1607, the year given by Descamps ; he was also 
 director of the Academy of Antwerp from 1641. — W.] 
 
 2 Welbeck and Bolsover. — D. 
 
 3 Sandrartsays he excelled all the other painters on glass. — —The windows 
 designed and executed by him which are most admired, are some in the cathedral 
 and other churches at Antwerp and Brussels. — D. 
 
316 PAINTERS IN THE REIGN OF CHARLES I. 
 
 wards into the school of Kubens, became one of his best 
 disciples." Several prints were made from his works, par- 
 ticularly those he designed for a book called The Temple 
 of the Muses? engraved by Bloemart and Matham in 1663, 2 
 and his portraits of Lessius and Bellarmine by Bolsvert/ 
 and of Sir Hugh Cartwright, 1656, by Vosterman. 
 
 SIR ANTONY VANDYCK, 
 
 (1599—1641,) 
 
 whose works are so frequent in England that the generality 
 of our people can scarce avoid thinking him their country- 
 man, was born at Antwerp in 1598/ the only son of a 
 merchant, and of a mother who was admired for painting 
 flowers in small, and for her needleworks in silk. Vandyck 
 was first placed with Van Balen, who had studied at Kome, 
 and painted figures both in large and small ; but the fame 
 of Rubens drew away to a nobler school the young conge- 
 nial artist. The progress of the disciple speedily raised 
 him to the glory of assisting in the works from which he 
 learned. Fame, that always supposes jealousy is felt where 
 there are grounds for it, attributes to Rubens an envy of 
 which his liberal nature, I believe, was incapable, and makes 
 him advise Vandyck to apply himself chiefly to portraits. 
 I shall show that jealousy, at least emulation, is rather to 
 be ascribed to the scholar than to the master. If Rubens 
 gave the advice in question, he gave it with reason ; not 
 maliciously. Vandyck had a peculiar genius for portraits ; 
 
 1 " The poetic conception of Diepenbeck may be estimated from the Temple des 
 Muses, par Mons. de Marolles, re-edited, but not improved, by Picart. The fancy 
 of Diepenbeck, though not so exuberant, excelled, in sublimity, the imagination 
 of Pubens : his Bellerophon, Dioscuri, Hippolitus, Ixion, Sisyphus, fear no com- 
 petitor, among the productions of his master." (Fuseli.) The Consecration of a 
 Bishop was exhibited in 1823, in the British Institution. — D. 
 
 2 Sandrart. See a farther account of Diepenbeck in the Abrege de la Vie des 
 plus fameux Peintres, vol. ii. p. 198. At Cashiobury is the story of Dido and 
 iEneas by him. Sir P. Walpole had another, but smaller. 
 
 3 V. Evelyn's Sculptura, p. 73. 
 
 4 [March 22, 1599. He was the son of Franciscus Yandyck and Maria Kupers, 
 Immerzeel. Levcns en Werken der Hollandsehe Kunstscliilders, &c. Amsterdam 
 1842.— W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 317 
 
 his draperies 1 are finished with a minuteness of truth not 
 demanded in historic compositions ; 2 besides, his invention 
 was cold and tame, nor does he anywhere seem to have 
 had much idea of the passions, and their expression : por- 
 traits require none. If Rubens had been jealous of Van- 
 dyck, 3 would he, as all their biographers agree he did, per- 
 suade him to visit Italy, whence himself had drawn his 
 greatest lights ? Addison did not advise Pope to translate 
 Homer,but assisted Tickell in a rival translation. Vandyck, 
 after making presents to Rubens of two or three histories, 
 and the famous portrait of the latter s wife, set out for Italy, 
 and made his first residence at Genoa. 4 From thence he 
 went to Venice, which one may call the metropolis of the 
 Flemish painters, who seem so naturally addicted to colour- 
 ing, that even in Italy they see only with Flemish eyes. 
 Vandyck imbibed so deeply the tints of Titian, that he is 
 allowed to approach nearer to the carnations of that master 
 even than Rubens. Sir Antony had more delicacy than the 
 latter; but, like him, never reached the grace and dignity of 
 the antique. He seldom even arrived at beauty. His 
 madonnas are homely ; his ladies so little flattered, that one 
 
 1 His satins, of which he was fond, particularly white and blue, are remarkably 
 finished ; his backgrounds heavy, and have great sameness. 
 
 2 " Vandyck, more elegant, more refined, to graces which Rubens disdained to 
 court, joined that exquisite taste, which, in following the general principle of his 
 master, moderated and adapted its application to his own pursuit. His sphere 
 was portrait ; and the imitation of Titiano insured him the second place in that." 
 {Fuseli, Lect. ii.) In the Louvre Gallery is a picture of Clelia and her companions 
 passing the Tiber. — D. 
 
 3 Mr. Gilpin, when criticising the collection at Houghton (now at St. Peters- 
 burg), observes of the Helena Forment, " When we see such a portrait as this, by 
 Vandyck, and in the same collection, one of his historical pieces (the Holy 
 Family) which falls greatly below excellence, there is room for candour to believe, 
 that Rubens might have had other motives than those of envy and jealousy (which 
 are the motives commonly ascribed) for advising his favourite pupil to apply him- 
 self to portrait-painting rather than to history. The advice appears to have been 
 very judicious. Vandyck does not seem to have had much invention, nor to have 
 excelled in composition. I do not remember that his composition pleased me, in 
 any picture, (if we may judge from prints,) in which he had many figures to manage. 
 The family picture at Wilton, though in his own way, is very deficient in this 
 respect." Avery able discrimination of the merits of Vandyck, as a portrait 
 painter, may be seen in Strange's Catalogue of Engravings, pp. 140, 141. Dar- 
 genville is the first author who suggested this jealousy of Kubens — summd 
 injuria. — D. 
 
 4 [He set out for Italy in 1621, having lived with Rubens four years. He 
 spent about five years in Italy, dividing his time between Genoa, Venice, and 
 Rome. He paid also a visit to Palermo, and returned to Antwerp in 1626. — W.] 
 
318 PAINTERS IN THE REIGN OF CHARLES I. 
 
 is surprised he had so much custom. He has left us to 
 wonder that the famous Countess of Carlisle could be 
 thought so charming • and had not Waller been a better 
 painter, Sacharissa would make little impression now. 
 One excellence he had, 1 which no portrait-painter ever at- 
 tained except Sir Godfrey Kneller • the hands are often 
 the finest part of his pictures. 
 
 He went to Eome and lived splendidly, avoiding the low 
 conversation of his countrymen, and distinguished by the 
 appellation of the Pittore Cavalieresco. It was at Eome he 
 drew that capital portrait of Cardinal Bentivoglio, who 
 having been Nuncio in Flanders, had a partiality for their 
 artists; and as he celebrated their history with his pen, was, 
 in return, almost immortalized by one of their best pencils. 
 
 Vandyck, while at Eome, received an invitation to 
 Palermo, and went thither. There he painted Prince 
 Philibert of Savoy, the viceroy, and a paintress of some 
 name, Sophonisba Anguisciola, 2 then at the age of ninety- 
 
 1 Le Compte gives a similar opinion, rather heightened. " V. peignoit les 
 mains d'une delicatesse achevee, d une proportion tres correcte et d'une chair si 
 vraisemblable, qu'il faut etre aveugle, pour ne les pas croire reelles." 
 
 " E la Candida man spesso si vede, 
 Lunghetta alquanto, e di larghetta angusta, 
 Dove ne nodo appar, ne vena eccede." 
 
 Orlando Furioso, c. vii. — D. 
 
 2 At the Lord Spencer's at Wimbledon is a good portrait of Sophonisba Anguis- 
 ciola, playing on a harpsichord, painted by herself, and an old woman attending 
 her ; on the picture is written, " Jussu Patris." Lord Ashburnham has a small 
 head of her in a round. 
 
 Sofonisba Angussola (Lanzi) claims to be considered as the first of female 
 painters, if for portrait only. In the JEdes Althorpiance, a very interesting and 
 full account of her is given, as extracted from several biographers. Her portrait 
 at Althorp, done in the early part of her life, and copied for the JEdes, is an ad- 
 mirable specimen of her talents. There is another at Nuneham. Her letter to 
 Pope Pius IV. and his answer, upon receiving a portrait by her of the Queen of 
 Spain in 1561, are both given (by Vasari, and are reprinted) in the Lettcre sulla 
 Pittura, t. v. p. 293. Surely he must be esteemed for the politeness of his style in 
 addressing a young lady, " Voi ne ringraziamo, certificandovi, che lo terremo frale 
 nostre cose piii care ; commendando questa vostra vertu, la quale ancora, che sia 
 meravigliosa, intendiamo pero ch' ell' e la piii piccola, tra molte, che sono in voi." 
 As she advanced to extreme longevity, she delighted to establish a kind of 
 academy in her own house, to which all the eminent painters resorted. Vandyck 
 profited so much by his conversation with her on the principles and practice of 
 portrait, that he acknowledged himself to have learned more from her than from 
 all the schools he had frequented when in Italy. — Lanzi, t. iv. p. 147. — D. 
 
 [If this lady died in the year commonly supposed, 1620, she could not have been 
 painted by Vandyck, who did not go to Italy until the following year ; and if Van- 
 dyck painted her at all, it must have been at Genoa, where she continued to reside 
 after her second marriage, with Orazio Lomellino . Sofonisba is supposed to have 
 been born at Cremona, in 1533, and having attained great celebrity as a portrait- 
 
PAINTERS IN THE REIGN OF CHARLES I. 319 
 
 one. But the plague soon drove him from Sicily ; he 
 returned to Genoa, where he had gained the highest repu- 
 tation, and where he has left many considerable works. 
 
 He went back to Antwerp, and practised both history 
 and portrait. Of the former kind were many applauded 
 altar-pieces ; in the latter were particularly the heads of 
 his cotemporary artists. He drew them in chiaro'scuro 
 on small panels, thirty-five of which are in the collection 
 of the Countess of Cardigan at Whitehall. Admirable is 
 the variety of attitudes and airs of heads j 1 but in those 
 pieces he meant to surpass as well as record. The whole 
 collection has been thrice published ; the first edition, by 
 Vanden Enden, contains fourscore plates ; the second, by 
 Giles Hendrix, one hundred ; the last, by Verdussen, who 
 effaced the names and letters of the original engravers. 
 Some of the plates were etched by Vandyck himself. I say 
 nothing of the numbers of prints for his other w T orks. 
 
 Hearing of the favour King Charles showed to the arts, 
 Vandyck came to England, and lodged with his friend 
 Geldorp, a painter, hoping to be introduced to the king ; it 
 is extraordinary he was not. He went away chagrined ; 
 but his majesty soon learning what a treasure had been 
 within his reach, ordered Sir Kenelm Digby, who had sat 
 to Vandyck, to invite him over. He came and was lodged 
 among the king's artists 2 at Biackfriars, which Felibien, 
 according to the dignity of ignorance which the French 
 
 painter, was invited in 1559 by Philip II. to Spain. Here, after distinguishing 
 her in various ways, the monarch presented her with a husband in the person of 
 Don Fabrizzio di Moncada, with whom she retired to Palermo, from the Customs 
 of which place she was granted a pension of 1,000 crowns per annum. If Van- 
 dyck painted her in her ninety-second year, she must have survived the year 1620, 
 and was probably still living in 1625, when Vandyck is known to have been 
 again in Genoa. She was blind the latter years of her life. See Vasari, Vite de 7 
 Pittori, &c. ; Soprani, Vite de* Pittori Genovesi, &e. ; and Cean Bermudez, 
 Diccionario Historico, &c. — W.] 
 
 2 These were sketched 6 ' en grisaille " for the Centum Iconcs, and were, some of 
 them, those portraits, the heads only of which, with slight outlines of the draperies, 
 are known to have been etched by Vandyck himself. Lely became possessed of 
 them, with many of his master's works. At his sale, in 1689, they were bought 
 by Kalph, afterwards Duke of Montagu, for 1151. and are probably now in the 
 collection of the Duchess Dowager of Buccleugh. — D. 
 
 2 The convent of the Black Friars was adjoining to the king's palace of " Bride- 
 well." After the suppression, many large houses were built out of its materials, 
 upon its site, fronting the Thames. By this circumstance they were rendered 
 particularly convenient for the residence of the more eminent painters. The 
 
320 PAINTERS IN THE REIGN OF CHARLES I. 
 
 affect, calls E Hotel de Blaifore. 1 Thither the king went 
 often by water, and viewed his performances with singular 
 delight, frequently sitting to him himself, and bespeaking 
 pictures of the queen, his children, and his courtiers ; and 
 conferring the honour of knighthood 2 on him at St. James's, 
 July 5, 1632. This was soon attended by the grant of an 
 annuity of 200Z. a-year for life. The patent is preserved 
 in the rolls, and dated 1633, in which he is styled painter 
 to his majesty. I have already mentioned the jealousy of 
 Mytens on this occasion. 
 
 Of the various portraits by Vandyck of King Charles, the 
 principal are, a whole length in the coronation robes, at 
 Hampton-court ; 8 the head has been engraved by Vertue, 
 among the kings of England. 4 Another, in armour, on a 
 dun horse, at Blenheim. 5 A whole length, in armour, 
 at Houghton. Another, a large piece, at the Duke of 
 Grafton's, in which the king (a most graceful figure), in 
 white satin, with his hat on, is just descended from his 
 horse ; at a distance, a view of the Isle of Wight. 6 The 
 
 nobility and higher orders, in the seventeenth century, had scarcely any inter- 
 course with the city, excepting in their barges by water — D. 
 
 1 Vol. iii. p. 445. 
 
 2 The French author of the Lives of the Painters says he was created Knight of 
 the Bath : a mistake. (Abrege, vol. ii. p. 170.) Another mistake is his supposing 
 that Vandyck was only to give designs for tapestries in the Banqueting-house, p. 171. 
 
 [Vandyck appears to have made his first visit to England in or before February, 
 1621. This is shown by a document printed in Mr. Carpenter's Memoir of Van- 
 dyck, in his Pictorial Notices, &c, 1844 ; and in this document Vandyck is styled 
 " Anthonie van Dyck Gent his Ma tie3 Servaunt," from which it would appear that 
 he had been introduced to King James, though not to Prince Charles. He left 
 England at the end of that same month, on leave for eight months, under promise 
 therefore of his return. — W.] 
 
 3 [Now at Windsor, where, in the Vandyck Koom, there are also the following 
 twenty-two pictures by this painter : — Charles I. , his queen, the Prince Charles, 
 and the Princess Mary ; Charles I. in armour, on horseback, with St. Antoine, 
 chevalier d'epernon ; Charles I., in three different views ; Henrietta Maria, queen 
 of Charles I., and youngest daughter of Henry IV. of France ; three others by the 
 same ; Charles II. as a boy ; the five children of Charles I. ; three ditto ; the Duke 
 of Berg ; Thomas Killigrew and Thomas Carew ; George Villiers, second Duke of 
 Buckingham ; the Prince of Carignano ; Sir Kenelm Digby ; Vandyck himself ; 
 the portrait of a gentleman ; the Duchess of Kichmond ; Lady Digby ; Madame 
 de St. Croix ; the Countess of Carlisle ; and the Countess of Dorset. — W.] 
 
 4 In the same palace are the whole lengths of James I., his queen, the queen of 
 Bohemia, and Prince Henry, copied by Vandyck from painters of the preceding 
 reign. Prince Henry is in armour, in which Vandyck excelled, has an amiable 
 countenance, and is a fine picture. 
 
 5 This was in the royal collection, was sold in the civil war, and was bought by 
 the Duke of Marlborough from Munich. 
 
 6 A repetition of this picture is in the collection of the Louvre Gallery, with the 
 Marquis of Hamilton as equerry. — D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 321 
 
 king, 1 in armour, on a white horse, Mons. de St. Antoine, 2 
 his equerry, holding his helmet. The head of the latter is 
 fine ; the king's is probably not an original. This and the 
 following are at each end of the gallery at Kensington. 
 The king and queen sitting, Prince Charles, very young, 
 standing at his knee ; the Duke of York, an infant on hers. 3 
 At Turin is another whole length of the king, 4 in a large 
 piece of architecture. At Somerset-house, the king and 
 queen, half lengths, holding a crown of laurel between 
 them. At Windsor is a beautiful half length of the queen, 
 in white. Many portraits of her pretend to be by 
 Vandyck, but none are so lovely as this. 5 He two or three 
 times drew Prince Charles in armour, standing. At 
 Kensington, in one piece, are Prince Charles, Prince James, 
 and the Princess Mary ; lately engraved by Strange. In 
 the same place is one of his finest works : George Villiers, 
 the second Duke of Buckingham, and Lord Francis, his 
 brother, when children. Nothing can exceed the nature, 
 lustre, and delicacy of this sweet picture. At Houghton 
 are two young daughters of the Lord Wharton, admirable 
 too, but rather inferior to the foregoing. In Lord Orford's 
 collection are several principal works of this master. 6 The 
 Holy Family, with a dance of angels : it belonged to King 
 Charles, is a capital picture, but has its faults. Inigo J ones, 
 a head ; Rubens' wife, in black satin ; Henry Danvers, 
 Earl of Danby, whole length, in the robes of the garter ; 
 
 1 This is the picture that was recovered from Rem6e. 
 
 2 He had been a chief equerry to Prince Henry, and led a mourning horse at his 
 funeral. — See Birch's Life of that prince, Append. 527. 
 
 3 This picture has been heightened, to make it match its opposite. 
 
 4 The same subject, originally in the Orleans Gallery, and when brought to 
 England, in 1798, purchased by Charles, third Duke of Richmond, for 1,100Z. and 
 is now at Goodwood. ' ' The expression is more cheerful than in any portrait I 
 have ever seen of the king ; the right hand is much too small, and badly painted, 
 which is quite conclusive that Vandyck did not paint that part of the picture. " — 
 Ditppa's Observations on the Continent, p. 178. — v. 
 
 5 In 1636, Charles I. had a medal struck of himself and queen; motto, "Justitia 
 et Pax Osculatse sunt." West's Collection, — D. 
 
 5 See a particular description of these pictures in the JEdes Walpoliance. 
 
 The ^Edes Walpolianoe was the first catalogue raisonne of a collection of pictures, 
 in 1743, 4to. The Houghton collection, more celebrated than any other made by 
 Sir Robert Walpole's contemporaries, was designated by his accomplished son as 
 "the noblest school of painting which this kingdom ever beheld." He regrets 
 "that it was removed almost out of the sight of civilized Europe." It was valued 
 at 40, 555Z., but the Empress Catherine paid only 36,000Z., and, in disgust, retained 
 the pictures in their packages during her life. They are now added to many 
 others, preserved in a part of the imperial winter palace at Petersburg, called 
 "the Hermitage."— D. 
 
 VOL. I. Y 
 
322 PAINTERS IN THE REIGN OP CHARLES II 
 
 and a half length of Sir Thomas Chaloner, governor of 
 Prince Henry. Besides these, my father bought of the last 
 duke the whole collection of the Wharton family. There 
 were twelve whole lengths, the two girls, six half lengths, 
 and two more by Sir Peter Lely ; he paid an hundred 
 pounds each for the whole lengths and the double picture, 
 and fifty pounds each for the half lengths. Most of them 
 were carried to Houghton ; but some not suiting the 
 places, were brought back, and sold for a trifle after the 
 death of my father. Those that remain are, King Charles, 
 the queen, very indifferent, Sir Thomas Wharton. Of the 
 half lengths, Laud, a celebrated but not very fine picture ; 
 Sir Christopher Wandesford, Lady Wharton, Mrs. Whar- 
 ton, Mrs. Wenman, and the Lelys. 1 
 
 At Cornbury, the seat of the Earls of Clarendon, in 
 Oxfordshire 2 , was a noble collection of portraits of the 
 principal persons in the reign of King Charles, many of 
 which were drawn by Vandyck. The collection has since 
 
 1 The rest were, Lady Wharton, in white ; Lady Chesterfield, ditto ; Countess of 
 Worcester, in blue , Lady Rich, in black, very handsome, on whose death Waller 
 wrote a poem ; and Lord Wharton, both bought by Lord Hardwicke ; Mrs. Smith, 
 in blue, a homely woman, but a fine picture, now mine ; Lady Carlisle, bought 
 by Mr. West ; Arthur Goodwin, father of Lady Wharton, one of the best, given by 
 my father to the late Duke of Devonshire ; and two portraits of Prince Eupert ; 
 whole and half lengths ; both very poor performances. Some of the whole lengths 
 were engraved by Van Gunst. 
 
 ' z Lord Clarendon made a large collection of portraits by Vandyck, and the 
 anecdotes of the times, according to Granger, say, that Lenthal, Speaker of the 
 Parliament, was fain to make his peace with the restoration government, by con- 
 tributing many pictures to him. His partiality to the representation of the men 
 with whom he had been conversant was " a distinct feeling for of the art he has 
 spoken with contempt. Evelyn (Diary two vols. 4to., lately edited by W. Bray, 
 Esq. ) was patronized by Lord Clarendon. " 1668, went to dine at Clarendon-house, 
 now bravely furnished with pictures of most of our ancient wits, poets, &c." In a 
 note (p. 397) Mr. Bray says, " When Lord Clarendon's design of making this col- 
 lection was known, everybody who had any of the portraits, or could purchase 
 them at any price, strove to make their court by presenting them. By these 
 means he got many Vandycks, Lelys, &c." 
 
 Lord Chancellor Bacon is designated "the greatest, wisest, meanest, of man- 
 kind," because he received a golden cup, to propitiate his sentence. Lord Chan- 
 cellor Clarendon furnished the apartments of his splendid palace with whole lengths 
 by Vandyck, sent as presents likewise. Yet he is " Clarum et venerabile nomen." 
 So just is the balance used by posterity in estimating the characters of great men ! 
 Kichardson observes, ' ' Let a man read a character in my Lord Clarendon (and 
 certainly there never was a better painter in that kind), and he will find it im- 
 proved by seeing a picture of the same person by Vandyck. 5 ' This singularly fine 
 collection descended to Henry, Earl of Clarendon, who dying in 1753, left it to be 
 divided between his three co-heirs — 
 
 1. Lady Catherine, Duchess of Queensberry. At Amesbury, Wilts. 
 
 2. Lady Jane, Countess of Essex. At the Grove, Herts. 
 
 3. Lady Mary, Admiral John Forbes. Dispersed Whose share amounted to 
 thirty- eight pictures. — MS 8. Musgrave. — D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 323 
 
 been divided between the Duchess of Queensberry, Lady 
 Hyde, and Lady Mary Forbes, the heiresses of the family. 
 Several others of his works are at the Earl of Denbigh's, 
 and at Lord Spencer's at Althorp. Among the latter, a 
 celebrated double whole length of the first Duke of Bedford 
 and the famous Lord Digby, afterwards Earl of Bristol. 
 The whole figure of the latter is good, and both the heads 
 fine ; the body of Bedford is flat, nor is this one of his 
 capital works. Here too, is a good picture of Daedalus 
 and Icarus ; half lengths ; a fine surly impatience in the 
 young man, and his body well coloured. The Duke of 
 Devonshire has some good pictures by him ; at Chiswick 
 is the well known Belisarius, 1 though very doubtful if by 
 the hand of Vandyck. . The expressive figure of the young 
 soldier redeems this picture from the condemnation it 
 would deserve by the principal figure being so mean and 
 inconsiderable. The duke has Vandyck's travelling pocket- 
 book, in which are several sketches, particularly from 
 Titian, and of Sophonisba Anguisciola, mentioned above. 
 
 At Holkham, is a large equestrian picture of a Count 
 D'Aremberg ; both the rider and horse are in his best 
 manner, and at Earl Cowpers, a large piece of John, 
 Count of Nassau, and his family, lately engraved by Baron. 
 
 Mr. Skinner, with the collection of the late Mr. Thomas 
 "Walker, has a fine little picture of the Lady Venetia 
 Digby, wife of Sir Kenelm ; though only a model for the 
 large one at Windsor, 2 it is exquisitely finished. She is 
 represented as treading on Envy and Malice, and is un- 
 hurt by a serpent that twines round her arm. This gal- 
 lant compliment is a little explained in the new life of 
 Lord Clarendon, who mentions Sir Kenelm's marriage 
 with a lady, 3 " though of an extraordinary beauty, of as 
 
 1 Lord Burlington gave l,O00Z. for this picture, at Paris, and had another, of 
 Luca Jordano, into the bargain. 
 
 2 She is there represented with a dove, and a serpent which is harmless, as 
 emblems of her innocence. Calumny, with two faces, lies bound on the ground 
 behind her. — D. 
 
 3 There is an elegy and epitaph on this lady in Randolph's Poems, p. 28, in 
 which her beauty is exceedingly commended. She was daughter and co-heiress of 
 Sir Edward Stanley, grandson of Edward, Earl of Derby, by the Lady Lucy Percy, 
 daughter of Thomas, Earl of Northumberland. Lady Yenetia was found dead in 
 her bed. Sir Kenelm erected for her a monument of black marble, with her bust 
 in copper gilt, and a lofty epitaph, in Christchurch without Newgate : but it was 
 
 Y 2 
 
324 PAINTERS IN THE EEIGN OP CHARLES I. 
 
 extraordinary fame." Mr. Walker's collection was chiefly 
 chosen for him by a set of virtuosi called Vandycks, or the 
 club of St. Luke ; and it is plain, from the pictures they 
 recommended, that they understood what they professed. 
 There was another large piece of Sir Kenelm, his lady and 
 two children, in the collection of the Earl of Oxford : and 
 a fine half length of Sir Kenelm alone is at Kensington. 
 Vandyck painted, too, for the king, a twelfth Eoman 
 Emperor, to complete the set of Titian, in the room of one 
 which was spoiled, and left at Mantua. They cost the king 
 100Z. apiece, and after his death were bought by the 
 Spanish Ambassador, the first purchaser of those effects. 
 As the king's collection was embezzled or taken by his 
 servants for their arrears, that minister laid out 500Z. in 
 those purchases with Harrison, the king's embroiderer by 
 Somerset-house ; and of Murray, his tailor, he bought a 
 half figure of a Venus. 1 The Flemings gave any price for 
 
 destroyed in the fire of London. (Lodge's Peerage of Ireland, vol. iv. p. 89.) There 
 are two copper busts of the Lady Venetia extant at Mr. Wright's, at Gothurst in 
 Buckinghamshire, with several portraits of the family of Digby. The house 
 
 belonged to Sir Kenelm, and was purchased by Sir Nathan Wright. The bust 
 
 which was placed upon the sarcophagus, is said to have been extant, and seen by 
 Mr. Pennant. — Journey to London. 
 
 Kandolph {Poems, 1640, 8vo), wrote an elegy on the decease of Venetia Digby, 
 in which the singularity and beauty of his apostrophe to death has been much 
 admired. Aubrey (vol. ii. pp. 323 — 330) gives a very curious sketch of Sir Kenelm's 
 character, from reports current in his day. "As for that great action of his at 
 Scanderoon, Sir J. Stradling, of Glamorganshire, was then his Vice-Admiral, in 
 whose house is an excellent picture of him, as he was at that time : by him is 
 drawn an armillary sphere broken ; and underneath is writt : 1 Impavidum ferient.' 
 At Abbemarlys Mr. Jones has a portrait of Lady Yenetia Digby, Lady Corn- 
 wallys brought it there. Her husband had been Sir Kenelm's executor." At 
 Gothurst is a portrait of Sir K. Digby. Above him, on a tablet, is represented a 
 lady in a supplicating posture, with a lute in one hand and a purse in the other. 
 He stands by her, with his hand on his breast, and near him a motto, * ' His majora. " 
 It is said to refer to an adventure during his travels. These romantic designs, 
 exemplified by painting, are among the numerous evidences of a singularly consti- 
 tuted mind, always under the influence of vanity in the extreme, and the ambition 
 of doing and saying every thing "better than well." 
 
 In the Bodleian Gallery, at Oxford, is a portrait of him, in the plainest habit, 
 taken during his retirement to Gresham College, unon the death of his wife, in 
 1635. — D. 
 
 1 These and many other notices are taken from the pocket-books of Richard 
 Symonds, of Black- Notley, in Essex, gent., who was born at Okehampton, and was 
 in the army of King Charles during the civil war, writing memoirs of battles, 
 actions, motions, and promotions of officers from time to time in small pocket- 
 books ; and through the several counties he passed, memorandums of churches, 
 monuments, painted windows, arms, inscriptions, &c. till January 1, 1648, when 
 he left London, and travelled, first to Paris, and then to Rome and Venice, (always 
 continuing his memoirs,) where he stayed till his return to England in 1652. 
 Eight or ten of these books were in the Harleian Library, two in that of Dr. Meade, 
 
PAINTERS IN THE REIGN OP CHARLES I. 325 
 
 the Works of Vandyck from that collection. Sir Peter 
 Lely, as may be seen in his catalogue, had several capital 
 ones. 
 
 But it is at the Earl of Pembroke's, at Wilton, 1 that 
 
 and two or three in the herald's office, where is the pedigree of his family with his 
 picture, (probably,) in red wax from a seal engraved by T. Simon, his namesake, 
 but no relation. 
 
 1 This picture, so highly celebrated as to be considered as Yandyck's grand 
 work, deserves a fuller investigation, with respect to its original history and design, 
 and some contradictory criticisms which it has occasioned. 
 
 As Mr. Gilpin has been esteemed among the best of modern authorities, his 
 opinion will be seen in a large transcript, that it may be fairly examined. " Of 
 the excellence of the family picture at Wilton we are told many stories : that it is 
 Yandyck's masterpiece ; that it is celebrated throughout Europe ; and that it 
 might have been covered with gold, as a price to obtain it. This latter is a com- 
 pliment which I have often heard paid, in great houses, to favourite pictures ; and 
 as the King of France is supposed to be the richest man in Europe, he is generally 
 introduced on these occasions as the bidder. I have examined this picture with 
 great attention, and reluctantly own that I cannot bring myself to admire it, either 
 in the whole, or in its parts. Yandyck's portrait of Charles I. over a chimney at 
 Hampton-court, which consists only of a single figure, I should prefer to this, 
 though it consists of thirteen. Yandyck seldom appears to advantage, when he 
 has several figures to manage. His master, Rubens, early saw this, and desired 
 him to relinquish history and apply to portrait. He did ; but here he is again 
 engaged in history ; that is, he has a number of figures, at full length, to manage 
 in one piece, which extends twenty feet by twelve. The composition of such a 
 work required more skill than he possessed. 
 
 * * In the first place, there is no attempt at design. Some little family scene should 
 have been introduced, which might have drawn the figures into one action. Thus 
 Titian represents the Cornaro family* joining in an act of devotion. Without 
 something of this kind, the figures had better have been painted in separate pictures. 
 
 " Composition, too, is wanting as well as design. The figures are ill-grouped, and 
 produce no whole. The colouring, too, is glaring. If from the general view of 
 the picture we proceed to particulars, I fear our criticisms must be equally severe. 
 Never painter, it must be owned, had that happy art which Yandyck possessed of 
 turning earths and minerals into flesh and blood. Never painter had that happy 
 art of composing a single figure with the chaste simplicity of nature, and without 
 affectation of any kind ; and some of the figures in this picture are, no doubt, com- 
 posed in this style, particularly the Earls of Pembroke and Carnarvon. But the 
 figures in general, when considered apart, are far from capital. Some of the 
 attitudes are forced ; you look in vain for Yandyck's wonted simplicity. But what 
 most disgusts us is a want of harmony ; but here this rule is so far from being 
 observed, that even allowing the variation of different complexions, the faces of all, 
 though of one country, belong to different climates. A yellow-faced boy particularly, 
 among the front figures has a complexion which nothing but a jaundice or an 
 Indian sun could have given him. For the rest, some of the carnations are very 
 beautiful, particularly the hands of the Countess of Pembroke. 
 
 " All this censure, however, must not be laid to the charge of Yandyck. His 
 pencil could never have been guilty of such violence against nature. I have been 
 assured [by the late Lord Or ford) that about a dozen years ago this picture was 
 retouched by a painter, I think, of the name of Brompton.f I saw it before that 
 
 * Yandyck is said to have studied this picture most assiduously, as it was then 
 in the possession of his first patron, Algernon, Earl of Northumberland. — D. 
 
 t The editor has been informed that this is not the only very fine picture, now 
 in England, which has suffered from the vanity and want of skill of this professed 
 "cleaner." — D. 
 
326 PAINTERS IN THE REIGN OF CHARLES I. 
 
 Vandyck is on his throne. The great salon is entirely 
 furnished by his hand. There is that principal picture oi 
 Earl Philip and his family, which, though damaged, would 
 serve alone as a school of this master. Yet, with great 
 admiration of him, I cannot but observe how short he falls 
 of his model Titian. What heads, both of age and youth, 
 are in the family of Cornaro, at Northumberland-house ! 
 How happily is the disposition of a religious act chosen 
 to throw expression into a group of portraits ! It is said, 
 that the Earl of Pembroke had obtained leave to have a 
 piece of the whole royal family by the same hand, as a 
 companion to his own. 
 
 At Leicester-house is a double portrait, bought by the 
 late Prince of Wales, of Mr. Bagnols.. It represents two 
 of the wits of that time, T. Carew, 1 of the privy-chamber 
 
 time, and some years after, and as far as my memory serves it was altered much 
 for the worse. This may account for most of the faults that may be found with 
 the carnations." — Western Tour, vol. i. p, 113. 
 
 We will now attend to the contrasted sentiments of a respectable connoisseur, 
 Mr. Charles Rogers. 
 
 " To this painter, (Vandyck,) England is indebted for probably the first and most 
 magnificent historic-portraiture in the world, that of the Pembroke family at 
 Wilton. If the delicacy of the penciling be attended to, it will, I doubt not, bear 
 the strictest comparison with the Coronation of Mary de' Medicis, in the Luxem- 
 burg Gallery, by Rubens. This picture consists of ten whole lengths, of the size 
 of life (besides three young ladies who died in their infancy, and are represented 
 as angels in the clouds) which he has made historical, by expressing in it a cir- 
 cumstance, at that time very interesting to all concerned. 
 
 * 4 Earl Philip having caused his family to be assembled together, informs them 
 with great emotion in his countenance, of the absolute necessity for his eldest son, 
 Charles, Lord Herbert, to go into the army of the Grand Duke (of Tuscany, ) there 
 to acquire military honour and experience, notwithstanding his having just married 
 Mary, daughter of George, Duke of Buckingham. Lord Herbert receives the injunc- 
 tion with the gallant ardour of a youthful hero ; but the young bride hears it with 
 more passionate emotion, to conceal which she turns her face from the company ; 
 and by this expedient, affords the spectator an opportunity of admiring her most 
 beautiful countenance, now heightened by her affectionate endeavour to conceal hex- 
 tears." (Rogers's Collection, vol. ii. p. 213. Engraved by Baron, 1740.) Aubrey 
 says, that Vandyck received for this picture five hundred Jacobus, 5251. sterling. 
 The Countess of Pembroke was Anne Clifford, daughter of George, Earl of Cum- 
 berland, the earl's second wife. Robert Dormer, Earl of Carnarvon, the husband 
 of Lady Anna Sophia Herbert, and the bride and bridegroom, as above-mentioned. 
 Charles, Lord Herbert, was married at Christmas, 1634 ; went to Florence, and 
 died there of the small-pox, in January, 1635-6. (Collins's Peerage.) The first 
 sketch or design of this picture is in the possession of the Earl of Carnarvon, at 
 High Clere, Wilts. — D. 
 
 1 Thomas Carew, gentleman of the privy-chamber, and sewer in ordinary to 
 Charles I. A fourth edition of his poems, songs, and sonnets, with a masque, 8vo, 
 was printed in 1670. " He had the ease without the pedantry of Waller." — See 
 Ellis's Specimens of the Early English Poets. Gensura Literaria, vol. ii. and ix. 
 
 Thomas (not Henry) Killegrew, was page of honour to Charles I. and gentleman 
 
PAINTERS IN THE EEIGN OF CHARLES I. 
 
 327 
 
 to Charles I., and a poet, and Henry Killegrew. They had 
 a remarkable dispute before Mrs. Cecilia Crofts, sister of 
 the Lord Crofts, to which Vertue supposed this picture 
 alluded, as in a play called The Wanderer was a song 
 against jealousy, written on the same occasion. I have 
 another very fine double portrait by him of the celebrated 
 Countess of Carlisle and her sister, the Countess of Lei- 
 cester, which came from Penshurst ; and I bought, too, after 
 the death of Eichardson the painter, the picture of the 
 Countess of Exeter, which he has described so largely in 
 one of his treatises. 
 
 I have reserved to the last, 1 the mention of the finest 
 picture, in my opinion, of this master. It is of the Earl of 
 Strafford and his secretary, at the Marquis of Eocking- 
 ham's, at Wentworth-house, in Yorkshire. 2 I can forgive 
 him any insipid portraits of perhaps insipid people, when 
 he showed himself capable of conceiving and transmitting 
 the idea of the greatest man of the age. There is another 
 of these pictures at Blenheim, but infinitely inferior. 
 
 In the cathedral of Gloucester, are two cumbent figures 
 of an alderman and his wife, evidently wrought from a 
 design of Vandyck. It is great pity the sculptor is not 
 known, 3 so successfully has he executed the manner of the 
 painter. The figures, even in that tasteless attitude, are easy 
 and graceful, and the draperies have a peculiar freedom. 4 
 
 of the bed-chamber to his son, to whose pleasures he was necessary, but who 
 enjoyed, in return, the unbounded licence of saying any sarcasm he pleased before 
 his royal master, by whom, in 1651, during his exile, he had been appointed his 
 resident at Venice. He wrote several comedies in the taste of the times. Pepys 
 (in the curious diary lately published) gives us the following characteristic traits 
 of his character : — " Tom Killegrew hath a fee out of the wardrobe for cap and 
 bells, under the title of king's foole or jester ; and may revile and jeere any body, 
 the greatest person without offence, by the privelege of this place." 1667. He 
 once said to Lord Wharton, * ' You would not swear at that rate, if you thought 
 that you were doing God honour !" — D. 
 
 1 I have here, as in the case of Holbein, mentioned only the capital pieces, or 
 those which being in great collections, are most easy of access. I do not pretend 
 to enumerate all that are or are called of this master. 
 
 2 This picture was exhibited in the British Institution, 1815, when a very 
 different opinion was entertained of its merit ; that is, in its present state. There 
 is a sketch for this picture at Dalkeith, a repetition at Blenheim, £«nd a copy by 
 Buckthorne, at Wentworth Castle. — D. 
 
 3 There is reason to suppose that the artist was Francesco Fanelli. — D. 
 
 4 Sanderson, a quaint writer, uses a phrase which, though affected, is expressive ; 
 he says, " Vandyck was the first painter who e'er put ladies' dress into a careless 
 romance." — Graphice, p. 39. 
 
328 PAINTERS IN THE REIGN OP CHARLES I. 
 
 Vandyck had iOL for a half, and 60Z. for a whole length. : 
 a more rational proportion than that of our present paint- 
 ers who receive an equal price for the most insignificant 
 part of the picture. 
 
 Since the former edition of this work I have been fa- 
 voured by Edm 0 Malone, Esq., with the following notes of 
 some of Vandyck's prices, from an office-book that be- 
 longed to the Lord Chamberlain, Philip, Earl of Pembroke : 
 
 " July 15, 1632. A warrant for a privy seale of 280?. 
 to be payed unto Sir Antony Vandyke, for diverse pic- 
 tures by him made for his Majestye, viz. for the picture of 
 his Majestie, another of Monsieur the French King's bro- 
 ther, and another of the Ambassadress, at length, at 251. 
 a piece — one of the Queene's Majestie, another of the 
 Prince of Orange, another of the Princess of Orange, and 
 another of their son, at half length, 2 01. a piece. For one 
 great piece of his Majestie, the Queene and their children, 
 1 001. One of the Emperor Vitellius, 201. And for mend- 
 ing the picture of the Emperor Gralba, 51. : amounting in 
 all to 280/." 
 
 From the same book — " Forty pounds paid to Sir An- 
 tony Vandyke for the picture of the Queene presented to 
 Lord Strafford Oct. 12, 1663." 
 
 He was indefatigable, 1 and keeping a great table, often 
 
 1 This is evident by the number of his works, for though he was not above 
 forty-two when he died, they are not exceeded by those of Rubens. 
 
 PORTRAITS AND FAMILY-PIECES BY VANDYCK, MOST OF WHICH ARE NOT 
 NOTICED IN THE FORMER EDITIONS OF THIS WORK. 
 
 " Illos nobilitans quos esset dignatus posteris tradere." — Pliny. 
 
 In attempting a task which Walpole has declined, by offering a supplementary 
 list of Vandyck' s genuine portraits, or of many at least which have long had the 
 general reputation of being so, the Editor will neither spare industry nor caution. 
 For, to make such a selection under the guidance of his own judgment, will, he is 
 well aware, render him obvious to the observation ofQuintilian "nequisquam 
 queretur, omissos forte aliquos, quos ipse valdeprobet and in this dilemma, he 
 has chosen the plan which will give the most information. 
 
 Walpole has mentioned and criticised twenty-four of Yandyck's principal family- 
 pieces and portraits, confined to his royal patron and his court. Of the nobility, 
 his great encouragers were Thomas, Earl of Arundel, Henry and Algernon, Earls 
 of Northumberland, William and Philip, Earls of Pembroke, the two Kichs, Earls 
 of Warwick and Holland, James, Duke of Hamilton, the two Westons, Earls of 
 Portland, with Philip, Lord Wharton, and his original friend, Sir Kenelm Digby. 
 
 It should seem as if it had been usual with these admirers of Yandyck to engage 
 him in repetitions of individual portraits, which they presented to each other, and 
 frequently by intermarriages, or by testamentary bequest. As they occur in the 
 
PAINTERS IN THE REIGN OF CHARLES I. 329 
 
 detained the persons who sat to him, to dinner, for an 
 opportunity of studying their countenances and of retouch- 
 several different collections, a near equality may be observed in those which have 
 claims to originality ; and that there is some little circumstance only in the 
 accompaniments by which the variation is made. 
 
 As a more convenient arrangement, the Editor has printed the entire lists of 
 those works of Vandyck, for the greater number and excellence of which the several 
 palaces of our nobility are celebrated, in a series ; with the subsequent addition of 
 many which occur miscellaneously, in other collections. 
 
 FORMERLY AT HOUGHTON. 
 
 (Sold in 1780, by George, Earl of Or ford, 
 
 to the late Empress of fiicssia. ) 
 King Charles I. in armour, (w.l.) 
 Henrietta Maria of France, {w.l.) 
 Archbishop Laud, (t.q.l.) 
 Philip, Lord Wharton ; the same. 
 Sir Charles Wandsford, (t.q.l.) sitting. 
 Lady Wharton ; sitting. 
 Jane, daughter of Lord Wenman, (the 
 
 hands particularly fine. ) 
 Sir Thomas Chaloner, (t.q.l.) 
 Inigo Jones, (a head. ) 
 Lord Wharton's two daughters. 
 Henry Dan vers, Earl of Danby, (w.l.) 
 
 in his Garter robes. 
 Sir Thomas Wharton, (w. I. ) 
 
 These were the first of the Wharton 
 Collection purchased by Sir Eobert 
 Walpole, who afterwards procured 
 the whole of them. Seep. 321. 
 
 AT STRAWBERRY-HILL. 
 
 (H. Earl of Orford, now the Earl 
 Waldegrane. ) 
 Frances Brydges, Countess of Exeter. 
 
 [Sold at the Strawberry-hill sale, 
 
 in 1842, for 17 guineas. — W.] 
 Lady Dorothy Percy, Countess of Lei- 
 cester, and her sister Lucy, Countess 
 
 of Carlisle; in one picture. [Sold 
 
 for 220 guineas. — W.] 
 Margaret Leman as Judith, with a 
 
 sword ; Vandyck's mistress. [Sold 
 
 for 75 guineas. — W.] 
 Margaret Carey, from the Wharton Col- 
 lection. [Sold for 75 guineas. — W.] 
 
 Those of the Scotch nobility who re- 
 sided at the English Court during 
 the reigns of James and Charles I., 
 embellished their palaces in Scot- 
 land with works of Yandyck. The 
 Eichs, Earls of Warwick and Hol- 
 land, were his patrons ; and the 
 greater part of their collection de- 
 volved by heirship to the Earl of 
 Breadalbane, who had married Mary, 
 daughter of Henry Rich, Earl of 
 Holland, and is now at Taymouth. 
 
 AT BLENHEIM. 
 
 (Duke of Marlborough. ) 
 Queen Henrietta Maria. 
 King Charles I. on horseback, his helmet 
 
 supported by Sir T. Morton. 
 Ditto, (h.l.) 
 
 G. Villiers, Duke of Buckingham. 
 
 Mary, Duchess of Buckingham, with 
 her children. 
 
 Catherine Hastings, Countess of Ches- 
 terfield. 
 
 Mary, Duchess of Richmond, with a 
 
 female dwarf presenting her gloves. 
 Ditto, (h.l.) 
 
 Thomas Wentworth, Earl of Strafford, 
 and Sir T. Mayn waring, his secretary. 
 
 AT ALTHORP. 
 
 (Earl Spencer.) 
 Rubens, (w.l.) with a gold chain and 
 collar. 
 
 Penelope Wriothesley, second Lady 
 
 Spencer, (w.l.) 
 Dorothy Percy, Countess of Leicester. 
 Anne Carr, Countess of Bedford. 
 Que en Henrietta, (w. I. ) 
 Dorothy Sydney, Countess of Sunderland. 
 William Cavendish, Duke of Newcastle, 
 
 (w.l.) 
 
 Rachel, Countess of Southampton 
 
 Lady Elizabeth Thimbleby, and Cathe- 
 rine, Countess Rivers. 
 
 George Digby, second Earl of Bristol and 
 William. Earl of Bedford, when young. 
 They were brothers-in-law, (w.l.) 
 
 Anne Villiers, Countess Morton. 
 
 Yenetia, wife of Sir Kenelm Digby; 
 taken after her death. 
 
 Margaret Leman (Tandy ck's mistress). 
 
 AT GORHAMBURY. 
 
 (Earl of Verulam. ) 
 Archbishop Abbot. 
 R. Weston, Earl of Portland. 
 G. Calvert, Lord Baltimore. 
 T. Wriothesley, Earl of Southampton. 
 Philip, Earl of Pembroke. 
 T. Wentworth, Earl of Cleveland. 
 
 Algernon 
 
330 PAINTERS IN THE REIGN OF CHARLES I. 
 
 ing their pictures again in the afternoon. Sir Peter Lely 
 told Mrs. Beale, that Laniere assured him he had sat seven 
 
 Algernon Percy, Earl of Northumber- 
 land, with his lady and child. 
 
 AT STOWE. 
 
 (Duke of Buckingham. ) 
 Sir R. Levison, K.B. 
 Mary Curzon, Countess of Dorset. 
 T. Wriothesley, Earl of Southampton. 
 W. Herbert, Earl of Pembroke. 
 Marquis de Vieuville, ambassador from 
 
 France, slain in the first battle of 
 
 Newbury, 1643. 
 Charles I. 
 
 Queen Henrietta Maria. 
 
 AT THE GROVE. 
 
 (Earl of Clarendon.) 
 George Hay, Earl of Kinnoul, (w.l.) in 
 armour. 
 
 William Seymour, Marquis of Hertford, 
 
 (w. I. ) in armour. 
 Francis, Lord Cottington ; in black. 
 Frances, Countess of Clarendon. 
 Sir Thomas Ailesbury, her father. 
 Lady Ailesbury. 
 
 William Villiers, Viscount Grandison. 
 
 James Stuart, Duke of Richmond, 
 (w.l.) in black. 
 
 Thomas, Earl of Arundel, (w.l.) 
 
 William, Earl of Pembroke, (w. I. ) 
 
 Philip, another Earl of Pembroke, (w. I. ) 
 
 Lady D. Aubigny. 
 
 Count du Bourg, (Jwad, ) in armour. 
 
 J ames Stanley, Earl of Derby, with his 
 countess and child, (w.l.) 
 
 Sir John Mennys, or Minns, in a crim- 
 son dress. 
 
 Lord Goring, (head, ) in armour. 
 
 Mrs. Kirke, bedchamber woman to 
 Henrietta Maria. 
 
 NORFOLK-HOUSE, WORKSOP MANOR. 
 
 ( Duke of Norfolk. ) 
 Thomas, Earl of Arundel, in armour to 
 
 the knees ; with his grandson, Philip 
 
 Howard, who holds a scroll of paper. 
 
 E., Earl of Arundel, and the Lady 
 Alathea, sitting. He points with 
 his baton to a globe, marked Mada- 
 gascar, where he was at that time 
 intent upon forming a settlement. 
 At Knole, there is a repetition of 
 this picture in which Francis 
 Junius, his librarian, is introduced 
 as pointing to the books. 
 Henry Frederick, Earl of Arundel, in 
 
 armour to the knees. 
 
 Lady Elizabeth Stuart, his countess. 
 The copy by Fruitriers of Yandyck's 
 design for a great family picture 
 like that of Lord Pembroke, &c. 
 at Wilton. 
 
 AT PETWORTH. 
 
 (Earl of Egremont. ) 
 
 Henry Percy, Earl of Northumberland, 
 sitting in a pensive posture, and lean- 
 ing upon a table ; upon which are a 
 diagram describing the principle of 
 the lever, and a horologe. 
 
 Dorothy Percy, Countess of Leicester. 
 
 Lucy Percy, Countess of Carlisle. 
 
 Algernon Percy, with Lady Ann Cecil, 
 his first wife, and their daughter ; 
 sitting. 
 
 William Seymour, Marquis of Hertford. 
 
 Queen Henrietta with the dwarf Jeffrey 
 Hudson, copied by Jervas from an 
 original since destroyed by fire. 
 
 King Charles I. (equestrian) a sketch. 
 
 Thomas Wentworth, Earl of Strafford, 
 in armour, (h.l.) 
 
 Sir Eobert Shirley ) In Persian 
 
 His lady Elizab. Shirley \ costume. 
 
 George Goring, Earl of Norwich, and 
 George, Lord Goring his son, a boy 
 tying on his sash, with Mountjoy 
 Blount, Earl of Newport, standing 
 near him, (large h.l.) 
 
 Lady Anne Cavendish, Baroness Rich. 
 
 Dorothy Sidney, Countess of Sunderland, 
 
 Elizabeth Cecil, Countess of Devonshire. 
 
 Mrs. Porter, maid of honour to Queen 
 Henrietta, daughter of Endymion 
 Porter. 
 
 Henry, Lord Percy, of Alnwick. 
 
 WILTON HOUSE. 
 
 (Earl of Pembroke. ) 
 
 DukeD'Epernon (equestrian.) 
 
 Mrs. Killigrew. ) Attendants upon 
 
 Mrs. Morton. ) Queen Henrietta. 
 
 Francis, Earl of Bedford, and Catherine 
 Brydges, his countess. 
 
 The Herbert family, (w.l.) ten figures ; 
 two of them sitting. 
 
 King Charles I. (h.l.) 
 
 Queen Henrietta (h.l.) 
 
 Three children of Charles I. 
 
 William, Earl of Pembroke, (w. I. ) 
 
 Susan Vere, first wife of Philip, Earl of 
 Pembroke, (w.l.) 
 
 Mary, Duchess of Richmond, first mar- 
 ried to Charles, Lord Herbert, (w. I. ) 
 with Mrs. Gibson, the dwarf. 
 
 James. 
 
PAINTERS IN THE REIGN OF CHARLES I. 331 
 
 entire days to him, morning and evening, and that not- 
 withstanding Vandyck would not once let him look at the 
 
 James, Duke of Richmond, (w. I. ) 
 Countess of Castlehaven, {h. I.) 
 Philip, Earl of Pembroke, (h. I) 
 Prince Rupert, when young, (h. I.) 
 
 ROYAL COLLECTION. 
 
 Mary, Duchess of Richmond, daughter of 
 G. Yilliers, Duke of Buckingham, (w. I. ) 
 
 Madame de St. Croix, (w. I.) 
 
 Gaston de France, 1634, (w. I.) 
 
 Vandyck, seipse pinxit, (h. I. ) 
 
 Charles I. in his robes of state (small w. I. ) 
 
 Count Mansfeld, set. 48, 1624, (w. I) 
 
 Charles and Henrietta, in the same pic- 
 ture, holding a chaplet of laurel. 
 
 Sir Kenelm Digby, with a sphere, (h. I.) 
 
 Katherine, Duchess of Richmond, (w. I.) 
 
 Charles II. when a boy. 
 
 James, Duke of York, ditto. 
 
 Margaret Leman, (Yandyck's mistress.) 
 
 PORTRAITS IN GROUPS. 
 
 Sir Kenelm Digby, Yenetia his lady, and 
 
 two children. Sherbourn, Dorsetshire. 
 Charles I., Queen Henrietta, and two 
 
 children. Chiswlck. 
 The same subject. Prince Charles, a 
 
 young boy, standing. Duke of York, 
 
 an infant on the queen's lap. From 
 
 the Orleans Collection. Goodwood. 
 The three children of T. Wentworth, 
 
 Earl of Strafford. Wentworth-castle. 
 Oliver St. John, Earl of Bolingbroke, 
 
 with his countess and four daughters. 
 
 Saltram, Devonshire. 
 G. Yilliers, Duke of Buckingham, his 
 
 duchess, and two of their children. 
 
 Royal Collection. 
 Five of the children of Charles I. 
 
 inscribed, Regis Magnce Britannia 
 
 proles. 
 
 Princ : Carolus, nat. 29 May, 1630. 
 
 Jac. D. Ebor. — 14 Oct. 1633. 
 
 Princpsa. Maria — 4 Nov. 1631. 
 
 Eliza — 28 Dec. 1635. 
 
 Anna, — 17 May, 1637. 
 
 Ant. Vandyck, Eg. fecit, 1637. 
 
 Purchased by his late Majesty, of the 
 Earl of Portmore, Royal Collection. 
 James Duke of Richmond, his duchess, 
 
 and Mrs. Gibson the dwarf. 
 Yosterman the engraver, Rubens, and 
 
 two other artists, painted by Yandyck 
 
 when eighteen years old, 1618. In 
 Sir J. Reynolds's Collection. 
 
 EQUESTRIAN PORTRAITS. 
 
 Due D'Aremburg. In the background 
 troops marching to the siege of a town. 
 
 Duke de Moncada, on a grey horse ; 
 brought to England from Rome, in 
 1749. 
 
 Duke of Alva. "Wentworth-castle. 
 Rubens, on horseback ; painted before 
 
 Yandyck went into Italy. Sold in 
 
 England in 1780. 
 Charles I., with the Duke D'Epernon: 
 
 a repetition ; given by him to the 
 
 eminent loyalist, Sir John Byron. 
 
 From the Newstead Collection. Sir J. 
 
 Borlase Warren, Stapleford, Notts. 
 
 DOUBLE PORTRAITS, WHOLE LENGTHS. 
 
 Lord John and Lord Bernard Stuart, 
 sons of Esme, Duke of Richmond. 
 Cobham, Kent. Wrest. 
 
 Duchess D'Aremburg and her son. Cav. 
 Vandyck,^- 1634. In Calonne's Col- 
 lection, sold in England. 
 
 Charles I. with Charles II., a child, 
 standing at his knee. Ditchley. 
 
 DOUBLE PORTRAITS, HALF LENGTHS. 
 
 Algernon, Earl of Northumberland, Anne 
 
 Cecil, his countess, and his eldest 
 
 daughter. Hatfield. 
 Robert Dormer, Earl of Carnarvon, and 
 
 his countess. Longleat. 
 Thomas Killigrew and Thomas Carew. 
 
 Royal Collection.* 
 
 T. Carew is known and admired as a 
 poet. Poems, by T. Carew, Esq., 
 one of the Gentlemen of the Privy 
 Chamber, and Sewer in Ordinary to 
 the King. 8vo. 1640. 
 Rubens, with two artists. ( Angerstein. ) 
 National Gallery. 
 
 PORTRAITS, WHOLE LENGTH, OR OF 
 LESS PROPORTION. 
 
 George Yilliers, Duke of Bucks, (w. I. ) 
 Amesbury. 
 
 Robert Rich, Earl of Warwick. Gor- 
 hambury. Holkham. 
 
 T. Wentworth, Earl of Strafford, stand- 
 ing wifh his hand upon a dog. Went- 
 worth-house. 
 
 Charles I. (sm.) Angerstein. 
 
 Archduke 
 
 * This double portrait is already noticed by Walpole, who has mentioned the 
 occasion of it. Cecilia Croftes was afterwards married to Thomas Killigrew. 
 
332 PAINTERS IN THE REIGN OF CHARLES I. 
 
 picture till lie was content with it himself. This was 
 the portrait that determined the king to invite him to 
 England a second time. 1 
 
 Archduke Albert of Austria, on a white 
 
 horse. Sir D. Dundas. 
 Arthur Godwyn. ) Devonshire - house. 
 Jane Godwyn. > From the Wharton 
 Lady Wharton. ) Collection. 
 Maurice, Prince of Orange. Osmanton, 
 
 Derbyshire. 
 Duchess of Braganza. Ditto. 
 Charles I., standing against a pillar. 
 
 Cashiobury. 
 Princes Rupert and Maurice. Lord 
 
 Bayning. 
 
 Charles Louis, Prince Palatine, Om- 
 
 bresley, Worcestershire. 
 Yandyck. Carlton-house. 
 Vandyck, his arm held up, and his hand 
 
 declined ; painted by himself, when 
 
 young. Euston. 
 Charles Lewis, Prince Palatine, (sm.) 
 
 Corsham. 
 
 James, first Duke of Hamilton. Hamil- 
 ton-palace. Gorhambury. 
 
 George Gordon, second Marquis of Hunt- 
 ley. Montagu-house. 
 
 James Graham, first Marquis of Mon- 
 trose. Buchanan-house. 
 
 Frances Howard, Duchess of Richmond. 
 Longleat. 
 
 James Stanley, seventh Earl of Derby, 
 Knowsley. 
 
 Algernon Percy, Earl of Northumber- 
 land. Cashiobury. 
 
 Lucius Casey, second Yiscount Falkland. 
 Wardour-castle. 
 
 James Stuart, Duke of Richmond. Pens- 
 hurst. Ham-house. 
 
 Montagu Bertie, Earl of Lindsey. Cor- 
 sham. 
 
 Patrick, Lord Chaworth. Belvoir. 
 H. Danvers, Earl of Danby. Hamilton- 
 palace. 
 
 William Cavendish, Duke of Newcastle. 
 Welbeck. 
 
 T. Wriothesly, Earl of Southampton. 
 Bulstrode. 
 
 Rachel de Roubigney, Countess of South- 
 ampton. Wimpole. 
 
 ra, n ,^ t ) From the King of 
 
 Uiailes 1. ( f g in , g Collection> 
 
 Queen Henrietta. } L * rd Radstock . 
 
 Sir John Suckling (the poet), leaning 
 against a rock, and contemplating a 
 book. Lady Southcote. 
 Maurice, Prince Palatine. Euston. 
 Katherine, Lady Stanhope. 
 For anecdotes of her, see Strafford 
 Papers, vol. ii. p. 73, and Collinses 
 Peerage, Brydges edition, vol. iii. 
 p. 424. 
 
 Sir William Howard, K. B. , when young, 
 afterwards Yiscount Stafford. Luton. 
 
 William Cavendish, Duke of Newcastle. 
 Holyrood-house. 
 
 Frances, Duchess of Richmond, ob. 1633. 
 Duff-house. 
 
 James, Duke of Hamilton, (in a blue 
 cloak.) The same. 
 
 Henry Rich, Earl of Holland. Taymouth. 
 
 Robert Rich, Earl of Warwick. The 
 same. Wimpole. 
 
 James, Duke of Richmond, (w. I.) in 
 black, with the Garter. Castle-How- 
 ard. 
 
 Patrick, Yiscount Chaworth. Belvoir- 
 castle. 
 
 PORTRAITS, HALF LENGTH. 
 
 Francis Russel, fourth Earl of Bedford. 
 Woburn Abbey : 
 
 Thomas, Earl of Strafford. Osterley. 
 Snyders. Castle-Howard. 
 
 Yandyck. Sir Joshua Reynolds, Os- 
 terley,* 
 
 Thomas, Earl of Arundel. Cleveland- 
 house. Sitting, in black, with the 
 
 order of the Garter. This picture 
 
 was in the Orleans Collection, and 
 purchased by the present Marquis of 
 Stafford. 
 
 Colonel John Russel. Ombresley. 
 
 Dorothy Sydney, Countess of Sunder- 
 land, presented by herself to Waller. 
 Beaconsfield. 
 
 Mary Ruthven, Yandyck'swife. Hagley. 
 
 John 
 
 1 It is at the seat of the Lord Chancellor Henley, at the Grange, in Hampshire. 
 Purchased by Lord Grosvenor, 1797.— D. 
 
 * The editor has lately seen a three-quarter portrait of Yandyck, which, more 
 than any other, exhibits him as he really appeared. It is in the Louvre Gallery. 
 The head is slightly turned ; complexion light ; eyes grey ; hair chestnut-brown ; 
 whiskers red. Plain collar, and a vest of green velvet. His person slender. — D. 
 
PAINTERS IN THE REIGN OP CHARLES L 333 
 
 In the summer lie lived at Eltham, in Kent ; in an old 
 house there, said to have been his. Vertue saw several 
 sketches of stories from Ovid, in two colours, ascribed to 
 him. 
 
 At the Duke of Grafton's is a fine half length of Van- 
 dyck, 1 by himself, when young, holding up his arm, the 
 hand declined. There is a print of it, and of two others 
 of him, older j one looking over his shoulder, the other 
 with a sunflower. 2 At Hampton- court, in the apartment 
 
 John, Lord Bellasyse, of Worlaby. New- Lucas Vosterman, the engraver, playing 
 
 borough-hall, Yorkshire. on the flute. The same. 
 
 Elizabeth Vernon, Countess of South- Vandyck. Marquis of Hertford. 
 
 ampton. Wrest. Bulstrode. His head, with the arm elevated, and 
 
 Thomas Killigrew, in a fur cap, with open collar. Jeremiah Harman, 
 
 his favourite mastiff. Chiswick. Esq. a Bank Director. (Engraved 
 
 Edward Sackville, Earl of Dorset, Knole. for this work. 
 
 Robert Bertie, Earl of Lindsey. Grims- Queen Henrietta Maria, (head) ) Carlton- 
 
 thorpe. The same, (profile.) ) house. 
 
 William Laud, Archbishop of Canter- These were painted in order to be sent 
 
 bury. Lambeth. to Bernini to make her bust, in 
 
 Inigo Jones (head). Osterley. marble, from them. 
 
 The widow of Archduke Albert. Sir J. 
 
 Reynolds. 
 
 Those who take delight in portraits, especially from Vandyck, have been lately 
 gratified by the spirit of identity with which a selection from the originals, noticed 
 in these volumes, has been transferred to highly-finished engravings. A series of 
 one hundred and fifty Portraits of Illustrious Personages of Great Britain, with 
 Biographical and Historical Memoirs, by Edmund Lodge, Esq. , Norroy King at 
 Arms, in folio and imperial octavo, is now before the public ; and they are beyond 
 competition, in the satisfaction they afford to every lover of the art, and to the 
 historical critic, in the authentic biography by which they are accompanied. The 
 engraved portraits from Vandyck and Lely, in Dr. Dibdin's JEdes Althorpiance, 
 may advance their claim to merit of the same kind. — D. 
 
 1 I have a fine sketch of the face only, by himself. * 
 
 2 A very fine head of Vandyck was in Sir J. Reynolds's Catalogue. In the 
 Introduction, written by Burke, it is observed : " It must be a particular gratifi- 
 cation to possess a portrait of a great and inimitable artist, when the value which 
 the resemblance gives it is so much increased by the admirable manner in v;hich 
 it is executed." Lanzi truly and elegantly exclaims, " I suoi ritratti vivi e par- 
 lanti !" Those of his pictures which are ascertained by affixed dates, or otherwise, 
 during the first few years of his residence, are manifestly superior to others 
 finished when his fame and employment had so greatly increased. 
 
 The eyes are heightened by his pencil to a degree of intellectual animation 
 which is both rare and admirable. The mind is brought into the countenance, 
 which produces an effect of dignified character in his portraits of men, and an 
 exquisite and peculiar grace in those of the ladies ; and we become almost assured, 
 after contemplating them for some time, that the personages so depicted were a 
 superior race of beings. Their costume, which, from modern disuse, may be con- 
 sidered as theatrical, may perhaps call in the imagination. 
 
 To those of our readers who practise the art of portrait-painting, no apology may 
 be required for offering to them an idea of Vandyck' s peculiar method. It was the 
 
 * [Sold at the Strawberry-hill sale for four guineas. — W.] 
 
334 PAINTERS IN THE REIGN OP CHARLES I. 
 
 below, is his mistress, Margaret Lemon/ highly finished. 
 There is a print of the same person by Hollar, but not from 
 this picture. 2 In the pocket-book of R. Symonds that I 
 have mentioned, he says, " It was much wondered at that 
 he (Vandyck) should openly keep a mistress of his (Mrs. 
 Lemon) in the house, and yet suffer Porter to keep her 
 company." This was Endymion Porter, of the bedchamber 
 to King Charles, of whom and his family 3 there was a 
 large piece by Vandyck, at Buckingham-house. 4 
 
 He was much addicted to his pleasures and expense ; I 
 have mentioned how well he lived. He was fond of music, 
 and generous to musicians. His luxurious and sedentary 
 life brought on the gout, and hurt his fortune. He sought 
 
 result of a confidential conversation held with Monsieur Jabac, a celebrated con- 
 noisseur, with whom Vandyck was intimate at Paris, and there is no reason to doubt 
 its authenticity. Of their intimacy, a sufficient proof is that he thrice drew 
 Monsieur Jabac's portrait — con amove. Jabac was observing to him how little 
 time he bestowed on his portraits : Vandyck answered, " That, at first, he worked 
 hard, and took a great deal of pains to acquire a reputation, and with a swift .hand, 
 against the time that he should work for his kitchen." His general habit was 
 this : — He appointed both the day and hour for the person's sitting, and worked not 
 above one hour on any portrait, either in rubbing in or finishing ; so that as soon 
 as his clock informed him that his hour was past, he rose up and made a bow to the 
 sitter, to signify that he had finished ; and then he appointed another hour, on some 
 other day ; whereupon his servant appeared with a fresh palette and pencils, whilst 
 he was receiving another sitter, whose hour had been appointed. By this method 
 he commanded expedition. After having lightly dead-coloured the face, he put 
 the sitter into some attitude which he had before contrived ; and on grey paper, 
 with white and black crayons, he sketched the attitude and drapery, which he 
 designed in a grand manner and exquisite taste. After this he gave the drawing 
 to the skilful people he had about him, to paint after the sitter's own clothes, 
 which, at Vandyck's request, were sent to him for that purpose. When his assist- 
 ants had copied these draperies, he went over that part of the picture again ; and 
 thus, by a shortened process, he displayed all that art and truth which we, at this 
 day, admire in them. He kept persons in his house, of both sexes, from whom he 
 painted the hands ; and he cultivated a friendship with the ladies who had the 
 most beautiful, to allow him to copy them. He was thus enabled to delineate 
 them with a surprising delicacy and admirable colouring. {De Piles. ) He very 
 frequently used a brown colour, composed of prepared peach stones, as a glazing 
 for the hair, &c. He had not remitted his practice of painting till a few days 
 before his death. — D. 
 
 1 I have another head of her, freely painted, which was in the collection of 
 Sheffield, Duke of Buckingham. From the minutes of the Antiquarian Society, 
 I find that in 1723 they were informed that at Mr. Isaac Ewer's, in Lincoln's-inn- 
 fields, was a copy, by Vanderbank, of Thurloe's portrait, painted by Mr. Churchill's 
 pupil, mistress to Vandyck. This person, I suppose, was Mrs. Carlisle, mentioned 
 hereafter ; but of Churchill I have seen no other account. 
 
 2 Sir Peter Lely had this picture from Vandyck. — D. 
 
 3 Himself, wife, and three boys. Bought for the late king, at the sale of the 
 Duchess of Bucks, for 63 It had been Lely's. — D. 
 
 4 See a list of Vandyck's works in Le Compte's Cabinet des Singularites $ Archi- 
 tecture, Peinture, &c. vol. i. p. 282. Many are in the gallery at Dusseldorf. 
 
PAINTERS IN THE REIGN OP CHARLES I. 335 
 
 to repair it, not like his master, by the laboratory of his 
 painting-room, but by that real folly, the pursuit of the 
 philosopher s stone, in which perhaps he was encouraged by 
 the example or advice of his friend, Sir Kenelm Digby. 
 Towards the end of his life the king bestowed on him for a 
 wife, Mary, the daughter of the unfortunate Lord Gowry, 1 
 which if meant as a signal honour, might be calculated too 
 to depress the disgraced family by connecting them with the 
 blood of a painter. It is certain that the alliance does not 
 seem to have attached Vandyck more strongly to the king; 
 whether he had any disgusts infused into him by his new 
 wife, or whether ambitious, as I have hinted, of vying with 
 the glory of his master in the Luxemburgh, Sir Antony, 
 soon after his marriage, set out for Paris, in hopes of 
 being employed there in some public work. He was dis- 
 appointed 2 — their own Poussin was then deservedly the 
 favourite at that court. 8 Vandyck returned to England, and 
 in the same humour of executing some public work, and 
 that in competition with his master. He proposed to the 
 king, by Sir Kenelm Digby, to paint the walls of the Ban- 
 queting-house, of which the ceiling was already adorned by 
 Rubens, with the history and procession of the Order of the 
 Garter. The proposal struckt he king's taste ; and by a 
 small sketch 4 in chiaroscuro for the procession, in which, 
 though very faint, some portraits are distinguishable, it 
 looks as if it had been accepted, though some say it was 
 
 1 In Sanderson's Graphice is Lady Vandyck's portrait, with a bombastic eulogy 
 of her extraordinary beauty, written by Flatman. 
 
 Two singular errors respecting this lady have hitherto gained credit ; the first, 
 that she was descended from King Henry VII. , and the other, that she was the 
 daughter of John Ruthven, Earl of Gowrie, who was killed 1600. Dr. Robertson 
 (Hist, of Scotland, p. 470) refutes the first statement, by the authority of Craw- 
 furd's Scotch Peerage, p. 329 ; and it appears that Maria Ruthven was the daugh- 
 ter of Patrick Ruthven, a physician, the fifth son of John, first Earl of Gowrie, 
 beheaded in 1584, who, after the death of his two brothers, in a second conspiracy, 
 was confined in the Tower of London, upon suspicion of treason, and not released 
 before 1619. His infant daughter was placed in Queen Henrietta's court, for her 
 education and maintenance, previously to her being bestowed in marriage upon 
 Vandyck. — Douglas's Scotch Peerage, vol. i. p. 665. — D. 
 
 2 He was not totally unemployed there. Sir Richard Lyttelton has two small 
 pictures in chiaroscuro, evidently designed for altar-pieces, and representing Anne 
 of Austria and some monkish saint. 
 
 3 [Poussin visited Paris in 1640, after an absence of sixteen years ; and he left it 
 again in 1642.— W.] 
 
 4 Now at the Lord Chancellor Henley's, at the Grange, in Hampshire. 
 
336 PAINTERS IN THE REIGN OF CHARLES h 
 
 rejected, on the extravagant price demanded by Vandyck. 
 I would not specify the sum, it is so improbable, if I did 
 not find it repeated in Fenton's Notes on "Waller. It was 
 fourscore thousand pounds! 1 The civil war prevented 
 farther thoughts of it, as the death of Vandyck would have 
 interrupted the execution, at least the completion of it. He 
 died in Blackfriars, December 9, 1641, and was buried on 
 the 11th, in St. Paul's, near the tomb of John of Gaunt. 2 
 By Maria Euthven his wife, he left one daughter married 
 to Mr. Stepney, a gentleman who rode in the horse-guards 
 on their first establishment by Charles II. Their grand- 
 son, Mr. Stepney, was envoy to several courts, and is known 
 by his poems, 3 published in the collection of the works of 
 our minor poets. Sir John Stepney, another descendant, 
 died on the road from Bath to Wales in 1 1 748. Lady 
 Vandyck, the widow, was married again to Eichard Pryse, 
 son of Sir John Pryse, of Newton- Aberbecham, in Mont- 
 gomeryshire, knight. Eichard, who was created a baronet, 
 August 9, 1641, was first married to Hesther, daughter of 
 Sir Hugh Middleton ; by Vandy ck's widow he had no issue. 4 
 
 1 Graham says, "fourscore thousand pounds," but the original mistake was 
 from misprinting the numbers by the addition of a cypher. When Rubens was 
 paid 3,000?. for the whole ceiling, can it be believed that Vandyck would have 
 proposed to the king a sum so enormous as 80,000Z. ! — for the four sides of the room 
 of audience at Whitehall ? The intended subjects of these, of which slight sketches 
 in oil, chiaroscuro, were shown to the king, were : — 1. The Institution of the 
 Order. 2. Procession of Knights in their Robes. 3. Ceremony of the Installa- 
 tion. 4. The Grand Feast. Of these, one at least, the Procession, was in the 
 royal collection, and afterwards in that of Sir P. Lely. At the sale of Lord Nor- 
 thington's pictures, in 1787, Sir Joshua Reynolds gave 64 guineas for it. It has 
 been engraved. 
 
 The celebrated Sir William Temple had many very fine portraits by Vandyck, at 
 Shene, in Surrey. — Evelyn's Diary, vol. ii. p. 277. 
 
 Sir Joshua Reynolds said of Gainsborough, that he copied Vandyck so exqui- 
 sitely, that at a certain distance he could not distinguish the copy from the origi- 
 nal nor the difference between them. — Northcote, vol. ii. 238. — D. 
 
 2 He had been followed to his place of sepulchre by Reynolds, Barry, and West. 
 When the last was interred, it was reported that Vandyck's coffin plate was dug 
 up. This could not be true, as he was buried at the north side of the choir, near 
 the tomb of John of Gaunt. {DugdaWs St. Paul's) He is said to have had a splen- 
 did funeral, but no certificate of it is found among the MSS. of the Herald's Col- 
 lege. This entry occurs in the register of St. Anne's, Blackfriars : " 1641. Dec. 
 9th, Justiniana, daughter of Sir Anthony Vandyck and his lady, baptised." On 
 which day her father died. — D. 
 
 3 Mr. Stepney, the poet, was descended from a brother of Sir John Stepney, the 
 first baronet, and not from the third, who married Anna Justina, Vandyck's daugh- 
 ter, who was only six months old at her father's death. The late male representative 
 of Vandyck was Sir Thomas Stepney, Bart, of Pendergast, Pembrokeshire, — D. 
 
 4 Vertue ascertained these matches by books in the College of Arms. 
 
PAINTERS IN THE REIGN OF CHARLES I. 337 
 
 Besides his legitimate child, Vandyck had a natural 
 daughter called Maria Teresa, to whom, as appears by his 
 will in Doctors'-commons, 1 he left 4,0 00Z. then in the hands 
 of his sister Susannah Vandyck, in a convent at Antwerp, 
 whom he appoints trustee for that daughter. To his sister 
 Isabella, he bequeathes 250 guilders yearly ; and in case 
 his daughter Maria Teresa die unmarried, he entails 4,000Z. 
 on another sister, married to Mr. Derick, and her children. 
 To his wife Mary, and his new-born daughter Justiniana, 
 he gives all his [pictures,] goods, effects, and moneys, 
 due to him in England, from King Charles, the nobility 
 and all other persons whatever, to be equally divided be- 
 tween them. His executors are his wife, Mr. Aurelius 
 de Maghan, and Katherine Cowley, to which Katherine 
 he leaves the care of his daughter to be brought up, 
 allowing ten pounds per annum, till she is eighteen 
 years of age. Other legacies he gives to his executors and 
 trustees for their trouble, and three pounds each to the 
 poor of St. Pauls and St. Anne's, Blackfriars, and to each 
 of his servants male and female. 
 
 The war prevented the punctual execution of his will, 
 the probate of which was not made till 1663, when the 
 heirs and executors from abroad and at home assembled to 
 settle the accounts and recover what debts they could, 
 but with little effect. In 1668, and 1703, the heirs, with 
 Mr. Carbonnel, who had married the daughter of Vandyek's 
 [natural] daughter, made farther inspections into his affairs 
 and demands of his creditors, but what was the issue does 
 not appear. 
 
 Lady Lempster, mother of the last Earl of Pomfret, 
 who was at Eome with her lord, wrote a life of Vandyck, 
 with some description of his works. 2 
 
 Sir Kenelm Digby, in his Discourses, compares Vandyck 
 and Hoskins, and says the latter pleased the most, by paint- 
 ing in little. 
 
 Waller has addressed a poem to Vandyck, beginning, 
 Rare artisan. Lord Halifax, another on his portrait of 
 
 1 Dated Dec. 1, 1641. Proved 1663. Evelyn, p. 151. — D. 
 
 2 Probably a translation only, and never printed. — D. 
 
 VOL. I. Z 
 
338 PAINTERS IN THE KEIGN OF CHARLES X. 
 
 Lady Sunderland, printed in the third volume of State 
 Poems ; and Cowley' wrote an elegy on his death. 
 Among the scholars 1 of Vandyck, was 2 
 
 DAVID BECK, 
 
 (1621—1656,) 
 
 born at Arnheim, in 1621 ; he was in favour with Charles 
 I., and taught the Prince and the Dukes of York and Glou- 
 cester to draw. Descamps says that Becks facility in 
 composition was so great, that Charles I. said to him, 
 " Faith ! Beck, I believe you could paint riding post. " 3 
 
 1 The French author of the Abreg6 says that Gerard Seghers came hither after 
 the deaths of Rubens and Vandyck, and softened his manner here. This is all the 
 trace I find of his being in England. (Vol. ii. p. 162.) At Kensington is an 
 indifferent piece of flowers by him, but I do not know that it was painted here. 
 
 2 John de Reyn, a scholar of Vandyck, is said by Descamps to have lived with 
 his master in England till the death of the latter, after which he was in France 
 and settled at Dunkirk. If De Reyn's works are little known, adds his 
 biographer, it is owing to their approaching so nearly to his master's as to be con- 
 founded with them. Vol. ii. p. 189. 
 
 A concise account of Vandyck' s scholars may not be irrelevant. Upon his 
 second arrival in England, he attached to himself two artists, who were his country- 
 men, whose taste he modelled to his own, and whose great ability he cultivated 
 to so high a degree, that their works could with difficulty be discriminated from 
 those by his own hand. They remained in his school during his residence in 
 England. Doubtless their remuneration was most liberal, because, knowing 
 their own strength, they consented to renounce individually their claims to pic- 
 tures, and they suffered their fame to merge in that of their justly-celebrated master. 
 
 1. David Beck was the first of these. Jan de Reyne perhaps excelled him. 
 He did not quit his master till his death, and his timidity or diffidence is said to 
 have been so great, that he was content to remain unknown, and unnoticed, in 
 the studio of Vandyck. It is beyond doubt, that the repetitions of noble por- 
 traits, always hitherto attributed to his master, who adopted them by a partial 
 finishing, were by his hand ; and of his capacity, the testimony of Descamps is 
 decisive. 11 Ses ouvrages sont presque toujours pris pour ceux de son maitre. 
 Personne ne l'a approche de plus pres, et personne ne l'a mieux egale en merite. 
 C'est la meme fonte de couleur ; la meme touche ; la meme delicatesse. Son 
 dessein est aussi correct, ses mains sont dessinees d'une purete singuliere ; il avoit 
 un tres grand maniere." 
 
 After his return into Flanders, he painted principally for churches, but his 
 portraits were equally admired, and then claimed as his own. 
 
 Henry Stone, and William Dobson, our countrymen, practised in Vandyck's 
 school, and acquired much of their excellence there. The former was a laborious, 
 and perhaps a tame imitator, but the vivid genius of the last mentioned was 
 inspired by that of his master, and his style formed by his art and practice. 
 
 Of Hanneman, it must be observed that he was rather a copyist, than a 
 disciple. He relinquished the harder manner of his first master My tens, and 
 adopted that of Vandyck with such felicity, that among his numerous copyists, he 
 was eminently the superior. 
 
 Remee Van Lemput was another successful imitator, and as such had frequent 
 employment. — D. 
 
 3 Vol. ii. p. 315. 
 
PAINTERS IN THE REIGN OF CHARLES t 339 
 
 He afterwards went to France, Denmark and Sweden, 
 and died 1 in 1656. 2 
 
 GEOEGIE GELDOBP, 
 
 of Antwerp, a countryman and friend of Vandyck in 
 whose house that painter lodged at his first arrival, 3 had 
 been settled here some time before. He could not draw 
 himself, but painted on sketches made by others, and was 
 in repute even by this artificial practice ; 4 though Vertue 
 was told by Mr. Eose, that it was not his most lucrative 
 employment, his house being reckoned convenient for the 
 intrigues of people of fashion. He first lived in Drury- 
 
 1 [At the Hague ; he was a native of Delft. Immerzeel, Levtns en Werken> 
 &c.— W.] 
 
 2 David Beck increased both his wealth and reputation, after he quitted 
 England, under the patronage of the Queen of Sweden, who commissioned him to 
 visit the several courts of Europe, and to paint the sovereigns for her gallery. 
 Portraits by him are said to be in their palaces, but in no catalogue of those of 
 Charles I. does his name appear. He boasted that he had received, as presents 
 from them, nine golden chains with medals. — D. 
 
 3 There is a well-received tradition, that Vandyck, soon after his arrival in 1632, 
 found a patron in the high-minded Henry, Earl of Northumberland, just then 
 released from the Tower, whose portrait he drew ; and that he was resident at 
 Petworth during the six months in which he painted the four lovely portraits of 
 that noble family. — D. 
 
 4 This must not be supposed to include his portraits, for which he certainly 
 would have had no custom, if the persons had been obliged to sit to two different 
 men. A painter may execute a head, though he cannot compass a whole figure. 
 A print, by Voerst, of James Stewart, Duke of Lenox, with " Geo. Geldorp, pinx." 
 is indubitable proof that the latter painted portraits. 
 
 z 2 
 
340 PAINTERS IN THE REIGN OF CHARLES I. 
 
 lane, in a large house and garden, rented from the crown, 
 at 301. per annum, and afterwards in 1653, in Archer- 
 street. He had been concerned in keeping the kings pic- 
 tures ; and when Sir Peter Lely first came over, he worked 
 for Geldorp, who lived till after the Restoration, and was 
 buried at Westminster. One of the apprentices of Geldorp 
 was 
 
 ISAAC SAILMAKER, 
 
 who was employed by Cromwell to take a view of the fleet 
 before Mardyke. A print of the confederate fleet under 
 Sir George Rooke, engaging the French, commanded by 
 the Comte de Toulouse, was engraved in 1714, from a 
 design of Sailmaker, who lived to the age of eighty-eight, 
 and died June 28, 1721. 
 
 BRADSHAW 
 
 was another painter in the reign of Charles I. whom I only 
 mention with other obsolete names to lead inquirers to 
 farther discoveries. All I find of him is a note from one 
 of the pocket books of R. Symonds above mentioned, who 
 says, " Pierce in Bishopsgate-street told me that Bradshaw 
 is the only man that doth understand perspective of all 
 the painters in London " l 
 
 1 Instead of these insignificant names should he inserted that of Jan Lievens, 
 of Leyden. He came to London in 1630, then in his 24th year, and remained there 
 for three more ; which is a certain degree of proof that he did not want encourage- 
 ment. Indeed, he was so well introduced and patronized at court, that he painted 
 portraits of the king, queen, prince of Wales, and certain of the nohility. Afterwards 
 he settled at Antwerp, probably for the advantage he might acquire in the school of 
 Rubens ; and, in 1640, was employed by the Prince of Orange, for two large his- 
 torical subjects, in emulation of that school. He is eminent for his etchings of 
 heads and small historical subjects. Another Dutch painter, Henry Pot, who was 
 contemporary with Lievens, is said by Descamps (t. i. p. 41) to have painted the 
 English royal family and several of the nobility. The Greffier Fagel, at the 
 Hague, had a small whole-length of Charles I. in black, with a crown and sceptre 
 lying on a table, 1632 ; likewise of Charles and Henrietta, with a child sitting on 
 a table. Another artist (a foreigner bearing an English name) John Thomas, 
 travelled through Italy with Diepenbeck, and is said to have accompanied him into 
 England, and to have assisted him, under the patronage of the Duke of Newcastle. 
 
 Gerard Terburg, who is not mentioned in the former editions of this work, 
 according to Descamps, (vol. ii. p. 125,) after having passed some time in Spain, 
 came to London.* His arrival there was scarcely known, when, notwithstanding 
 
 * [Houbraken notices his visit to England. — W.] 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 341 
 
 B. VAN BASSEN, 
 
 of Antwerp, was a very neat painter of architecture. In 
 the private apartment below stairs at Kensington are two 
 pictures by him ; in one are represented Charles I. and his 
 queen at dinner ; in the other the King and Queen of 
 Bohemia, distinguished by their initial letters R E. 1 The 
 Duchess of Portland has a magnificent cabinet of ebony, 2 
 bought by her father the Earl of Oxford, from the Arun- 
 delian collection at Tart-hall. On each of the drawers is a 
 small history by Poelenburg, and pieces of architecture in 
 the manner of Steenwyck, by this Van Bassen, who must 
 not be confounded with the Italian Bassans, nor with the 
 Bassanos, who were musicians to Charles, and of which 
 name their was also a herald-painter. The first Bassano, 
 who came hither in the reign of Queen Elizabeth, and was 
 related to the Italian painters of that name, settled in 
 Essex, and purchased an estate, which was sold in 1714 
 by the male descendant. In the mansion was a portrait 
 of the musician, holding a bass-viol. It is now at Narford, 
 in Norfolk, the seat of the late Sir Andrew Fountain. 
 
 his very high demands, crowds came to him to obtain their likeness. The exact 
 period of his coming and departure is not stated, his stay, in all probability, not 
 having exceeded a year or two. Descamps' account may be somewhat exaggerated. 
 At Great Tew, Oxfordshire, was a portrait, (w. I.) of Lucius Carey, Viscount Falk- 
 land, by Jacob De Valke. — Aubrey. 
 
 A painter of considerable merit, unnoticed by Walpole, and even by his country- 
 man Descamps, was David Vinkenboom. He excelled in landscape, combined 
 with buildings and figures. There are two most curious views by him of the 
 palaces (no longer extant) of Richmond and Theobald's, in the Fitzwilliam collec- 
 tion, at Cambridge. Vinkenboom was born in 1578, and was probably in England 
 
 in the early part of the reign of Charles I., and but for a short time. — D. [He 
 
 died at Amsterdam in 1629. — W.] 
 
 1 1. Frederic, Elector Palatine, and the Princess Elizabeth, (sister of Charles I.) 
 his bride, at their wedding-dinner. 
 
 2. Charles I. and Queen Henrietta, dining in public. The gentleman carver, 
 whilst performing his office, is attacked by the queen's monkey.* 
 
 In Mr. Gulstone's sale, in 1790, was a biographical account of those foreigners 
 who, from one circumstance in their lives, are entitled to a place in the English 
 school, from the earliest period to the end of George the Second's reign. Six 
 volumes folio. — D. 
 
 2 Lord Oxford paid 310Z for it. 
 
 * [These pictures are now at Hampton-court ; the former is dated 1635. — W.] 
 
342 
 
 PAINTERS m THE REIGN OF CHARLES I. 
 
 CORNELIUS POELENBUKGr, 
 
 (1586—1666,) 1 
 
 the sweet painter of little landscapes and figures, was born 
 at Utrecht, in 1586, and educated under Bloemart, whom 
 he soon quitted to travel in Italy, as he abandoned, say our 
 books, the manner of Elsheimer to study Raphael ; but it 
 is impossible to say where they find Raphael in Poelenburg. 
 The latter formed a style entirely new, and though prefer- 
 able to the Flemish, unlike any Italian, except in having 
 adorned his landscapes with ruins. There is a varnished 
 smoothness and finishing in his pictures that makes them 
 always pleasing, though simple and too nearly resembling 
 one another. The Roman cardinals were charmed with 
 the neatness of his works ; so was the great duke, but 
 could not retain him. He returned to Utrecht and pleased 
 Rubens, who had several of his performances. King 
 Charles invited him to London, where he lived in Archer- 
 street, next door to Geldorp, and generally painted the 
 figures in Steenwyck's perspectives. There is a very 
 curious picture at Earl Poulet's, at Hinton St. George, 
 representing an inside view of Theobald's, with figures of 
 the king, queen, and the tw r o Earls of Pembroke and 
 Montgomery, William and Philip, 2 This piece is probably 
 of Steenwyck, and the figures, 3 which are copied from 
 Vandyck, either of Poelenburg or Van Bassen. 
 
 The works of Poelenburg are very scarce ; 4 his scholar, 
 John de Lis of Breda, imitated his manner so exactly, that 
 his pieces are often taken for the hand of his master. The 
 best picture in England of the latter is at the Viscount 
 
 1 [See Van Eynden en Vander Willigen, Geschiedenis der Vaderlandsche Schil- 
 derkumt, vol. i. — W.] 
 
 2 With Richard Gibson the dwarf. — D. 
 
 3 In King Charles's catalogue are mentioned the portraits of his majesty, and of 
 the children of the KiDg of Bohemia, by Poelenburg ; and in King James's are 
 eight pieces by him. A landscape by Poelenburg at Sir P. Lely's sale pro- 
 duced 79Z. At Mr. Watson Taylor's, 1824, his portrait in small, 26 guineas. 
 
 He was much employed by Charles I. in purchasing pictures on the Continent. — f 
 Lettere sulla Pittura, t. iv. p. 303. — D. 
 
 4 There are sixteen mentioned in the catalogue of James II. 
 
PAINTERS IN THE REIGN OF CHARLES I. 343 
 
 Midleton's. I have his own and his wife's portrait by him 
 in small ovals on copper; they were my father's. The wife 
 is stiff and Dutch : his own is inimitable. Though worked 
 up to the tender smoothness of enamel, it has the greatest 
 freedom of pencil, the happiest delivery of nature. 1 
 
 Charles could not prevail on Poelenburg to fix here. 
 He returned to Utrecht and died there in 1660, at the 
 age of seventy-four. 
 
 HENEY STEENWYCK, [The Younger,] 
 
 was son 2 of the famous painter of architecture, and learned 
 that manner of his father. I find no particulars of the 
 time of his arrival here, or when he died. It is certain he 
 worked for King Charles. 3 The ground to the portrait of 
 that prince, in the royal palace at Turin, I believe, was 
 
 1 [Bought at the Strawberry-hill sale, by Newman Smith, Esq., for 21 guineas. 
 A landscape also by Poelenburg was sold at the same sale for SI. 18s. 6d The 
 figures illustrating the story of the Judgment of Paris in a landscape by Both, in 
 the National Gallery, are by this painter. — W.] 
 
 2 Descamps has proved that it is a mistake to call the son Nicholas, as Sandrart 
 and others have done. —See p. 384. 
 
 8 In King James's catalogue are recorded ten of his works. 
 
344 PAINTERS IN THE REIGN OF CHARLES I. 
 
 painted by him. 1 In a MS. catalogue of King Charles's 
 collection is mentioned a perspective by Steenwyck, with 
 the king and queen, in little, by Belcamp. In the same 
 catalogue is recorded a little book of perspectives by Steen- 
 wyck, which, on the sale of the kings goods sold for no 
 more than two pounds ten shillings. Steenwyck's name 
 and the date, 1629, are on the picture of Frobenius, at 
 Kensington, which he altered for King Charles. It is the 
 portrait of the son that is among the heads of painters by 
 Vandyck. His son Nicholas was in England also, painted 
 for King Charles, and probably died here. 2 
 
 JOHN TOERENTIUS, 
 
 (1589—1640,) 
 
 of Amsterdam, is known to have been here, not by his 
 works, but on the authority of Schrevelius, in his history of 
 Arlem, from whom Descamps took his account. Torrentius, 
 says the latter, painted admirably in small, but his subjects 
 were not calculated to procure him many avowed admirers. 
 He painted from the lectures of Petronius and Aretine, had 
 the confidence to dogmatize on the same subjects, and 
 practised at least what he preached. To profligacy he 
 added impiety, until the magistrates thought proper to put 
 a stop to his boldness. He underwent the question, and 
 was condemned to an imprisonment of twenty years ; but 
 obtained his liberty by the intercession of some men of 
 quality, and particularly of the English ambassador. What 
 the name of the latter was we are not told. 3 Torrentius 
 
 1 In France are the portraits of Charles and his queen by him, about afoot high, 
 in one piece, with a front of a royal palace in the background. Descamps says 
 this picture is more carefully laboured than any work of Vandyck, and equal to the 
 most valuable of Mieris, p. 385. I believe the fine piece of architecture at 
 Houghton is by the hand of Steenwyck, the father. By the son, was a capital 
 picture of St. Peter in prison, which at Streater's sale in 1711, sold for It 
 was afterwards in Dr. Meade's collection, who sold it to the late Prince of Wales. 
 
 2 [Hendrik van Steenwyck the younger also died in London, but neither the 
 year of his birth nor death is known. His widow settled in Amsterdam, and 
 maintained herself by painting architectural pictures. Steenwyck himself used to 
 paint the architecture in the backgrounds of Yandyck's portraits. — Immerzeel, 
 Levens en Werken, &c. — W.] 
 
 3 A very extraordinary autograph letter of Charles, addressed to the Prince of 
 Orange, is in the possession of Mr. R. Triphook, which proves that it was the king 
 
WE.WortlwLgtc-Ti. sculp. 
 
 jr© jBcsr IT © fell sr ^tetdt s . 
 
PAINTERS IN THE REIGN OF CHARLES I. 345 
 
 came over to England, but giving more scandal than satis- 
 faction, he returned to Amsterdam, and remained there 
 concealed till his death, in 1640, aged fifty-one.^ King 
 Charles had two pieces of his hand : one representing two 
 glasses of Ehenish ; the other, a naked man. 1 
 
 $. KEIEINOX, 
 
 (1590— 1646,) 2 
 
 called here Caring, was employed by King Charles to draw 
 views ; his works are mentioned in the royal catalogue, 
 particularly prospects of his majesty's houses in Scotland. 
 In a sale of pictures in March 1745, was a landscape by 
 him freely and brightly touched, with his name written on 
 it as above, 3 and a few small figures added by Poelenburg. 
 
 himself who interceded for Torrentius. It indicates most strongly his affection for 
 the arts, since he pleads not for the man, but for the painter, the rarity and excel- 
 lencc of whose works are alone dwelt upon by his majesty. — D 
 
 [A copy of this letter is printed in Carpenter's Pictorial Notices, and is as 
 follows : — 
 
 ATT PRINCE D'ORANGE. 
 
 Mon Cousin, — Ayans entendu qu'un nomme Torentius, peintre de profession, 
 aurois depuis quelques annees tenu prison a Harlem par sentence de la Justice de 
 dela pour quelque profanation ou scandale par lui commis contre l'honneur de la 
 Religion creoyez que nous ne deserions pas le favoriser contre la teneur du ladit 
 sentence pour abreger le terme ou mitiguer la rigueur de la dit punition laquelle 
 nous croyons luy avoir este justement imposee pour si enorme crime, toutaffois la 
 reputation qu'il a d'exceller en la faculte de son art, laquelle ce seroit dommage de 
 laisser perdre ou de perir en la prison nous a meu par le plaisir que nous prenons 
 en la rarete de ses ceuvrages de vous prier come nousfaisons affettueussement ayans 
 la pouvoir de son enlargessement en votre main, de lui vouloir en notre faveur 
 ottoyer son pardon et nous l'envoyer par de?a ou nous aurons soing de le bien 
 contenir dans les borns du debvoir et de la reverence qu'il doit a la religion pour 
 1' employer pres de nous en l'exercise de c'est Art. Ce que nous nous prometions 
 d'obtenir tant plus facilement de vous, puisque la longueur de la prison et les 
 autres chastiments qu'il a soufferts a cette occasion doivent avoir deja aucunement 
 satisfait a la justice pour l'expiation de son forfait. Et ce sera une Courtoisie que 
 nous tiendrons a obligation particuliere en votre endroit pour la recognoistre et 
 nous en revanger en autre chose dont nous vous pourrons gratifier. 
 
 Et sur ce nous demeurons, Mon Cousin, &c. 
 A notre Palais de Westminster, le de May, 1630. 
 
 The ambassador noticed by Walpole in the text, was Sir Dudley Carleton, who 
 presented to Charles I. the two works by this painter which are mentioned in the 
 catalogue of the king's pictures.— W.] 
 
 1 Y. Catalogue, pp. 158, 162. 
 
 2 [Immerzeel calls this painter Jacob Kierings : he was a native of Utrecht, 
 and died at Amsterdam. — W.] 
 
 3 The French author of the Abrigd calls him Alexander, which must be a mistake. 
 He says he acquired his reputation by what should have destroyed it. As he could 
 
346 PAINTERS IN THE REIGN OF CHARLES I. 
 
 In Dagar's sale were three drawings with a pen and washed, 
 by Keirinex ; one of them had a view of the Parliament- 
 house and Westminster stairs to the water, dated 1625. 
 
 JOHN PEIWITZER 
 
 was too good a painter to remain so long unknown. At 
 Woburn, besides some young heads of the family, is a 
 whole-length of Sir William Kussel, a youth, and Knight 
 of the Bath, in the robes of the order, with a dwarf 
 aged thirty-two. It is painted with great brightness and 
 neatness, and does not want freedom. Upon it is written 
 Johannes Priwitzerus de Hungaria faciebat, 1627. I have 
 never met with any other mention of this name. 
 
 GEOEGE JAMESON E, 1 
 
 (1586—1644,) 
 
 was theVandyck of Scotland, to which title he had a double 
 pretension, not only having surpassed his countrymen as a 
 portrait-painter, but from his works being sometimes attri- 
 buted to Sir Antony, who was his fellow-scholar; both 
 having studied under Eubens, at Antwerp. 2 
 
 Jamesone was the son of Andrew Jamesone, an archi- 
 tect, and was born at Aberdeen in 1586. At what age he 
 went abroad, or how long he continued there, is not 
 known. After his return, he applied with indefatigable 
 industry to portrait in oil, though he sometimes practised 
 
 not paint figures, Poelenburg generally added them for him. I have the view of 
 a seat in a park by him, freely painted, not to say, very carelessly. It has King 
 Charles's mark behind it. 
 
 1 The materials of this article were communicated by Mr. John Jamisone, wine- 
 merchant in Leith, who has another portrait of this painter by himself, 12 inches 
 by 10. 
 
 2 In the anecdotes of Jamisone it is asserted, that he returned from his studies 
 under Rubens, and established himself as a painter of portraits at Edinburgh, 
 about the year 1628, where he practised his art until his death in 1644. He was 
 one of the more esteemed of Rubens's scholars, and painted in the broad, thin, 
 transparent manner. Many of his portraits, chiefly heads and half-lengths, are 
 preserved at Taymouth : {principally,) Lord Marr's ; Lord Buchan's ; and Stuart's 
 at Grand tully. He had much of Vandyck's second manner. Lord Findlater at 
 Cullen, has his portrait by himself, as sitting in his painting room, in which are 
 introduced such of his pictures as he most approved. — D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 347 
 
 in miniature, and in history and landscape too. His largest 
 portraits 1 were generally somewhat less than life. His ex- 
 cellence is said to consist in delicacy and softness, with a 
 clear and beautiful colouring, his shades not charged, but 
 helped by varnish, with little appearance of the pencil. 
 There is a print of him, his wife, Isabella Tosh, and young 
 son, painted by himself, in 1623, engraved by Alexander 
 Jamesone, his descendant, in 1728, and now in the pos- 
 session of Mr. John Alexander, limner at Edinburgh, his 
 great-grandson, with several other portraits of the family, 
 painted by George ; particularly another of himself in his 
 school, with sketches both of history and landscape, and 
 with portraits of Charles L, his queen, Jamesone s wife, 
 and four others of his works from the life. 
 
 When King Charles visited Scotland, in 1633, the 
 magistrates of Edinburgh, knowing his majesty's taste, 
 employed Jamesone to make drawings of the Scottish mon- 
 archs, with which the king was so much pleased, that 
 inquiring for the painter, he sat to him, and rewarded him 
 with a diamond ring from his own finger. 2 
 
 It is observable that Jamesone always drew himself 
 
 1 His earliest works are chiefly on board, afterwards on a fine linen cloth, 
 smoothly primed with a proper tone to help the harmony of his shadows. His 
 best works were from 1630 to his death. 
 
 2 A taste for portrait-painting originated in Scotland during the reigns of James 
 V. and his unfortunate daughter, from the increased intercourse of that nation 
 with France and England. The names of artists previously to Jamesone are not 
 recorded with any certainty. Alexander was his scholar, and who had married 
 his daughter, and may be considered as his successor. 
 
 Scougal (the elder) was a pupil of Lely, and painted many of the Scottish ladies, 
 in his style. 
 
 Be Witt was engaged by James, Duke of York, to ornament the gallery of 
 Holyrood-house with 119 portraits, of which nineteen were to be whole-lengths. 
 
 Scougal, jun. was the only painter of merit who practised in Scotland, for many 
 years after the Revolution. 
 
 Nicholas Hude was employed by the Duke of Queensberry, at Drumlanrigg, and 
 copied Rubens. 
 
 Sir John Baptist Medina, of Brussels, settled in Scotland and painted many 
 good portraits, in Surgeon's-hall, Edinburgh. Ob. 1702. 
 
 William Aikman, copied Kneller, with great success. Ob. 1731. 
 
 Richard Wait, a scholar of the younger Scougal and Kneller, was much encou- 
 raged. Ob. 1732. 
 
 John Alexander, a lineal descendant from Jamisone, was educated in Italy, and 
 upon his return to Scotland, in 1720, painted several historical pictures at Gordon- 
 castle. He delighted to copy (or invent) portraits of Mary Queen of Scots. 
 
 Jamisone may be, therefore, justly styled the father and founder of painting in 
 Scotland.— D. 
 
348 PAINTERS IN THE REIGN OP CHARLES I. 
 
 with his hat on, either in imitation of his master Rubens, 
 or on having been indulged in that liberty by the king 
 when he sat to him. 1 
 
 Though most of the considerable families in Scotland 
 are possessed of works by this master, the greatest collec- 
 tion of them is at Tay mouth, the seat of the Earl of 
 Breadalbane ; Sir Colin Campbell of Glenorchy, his lord- 
 ship's ancestor, having been the chief and earliest patron 
 of Jameson e, who had attended that gentleman on his 
 travels. From a MS. on vellum, containing the genealogy 
 of the house of Glenorchy, begun in 1598, are taken the 
 following extracts, written in 1635, page 52 : — 
 
 " Item, the said Sir Coline Campbell (8th Laird of Glenorchy) gave unto 
 George Jamesone, painter in Edinburgh, for King Eobert and King David 
 Bruysses, Kings of Scotland, and Charles 1st King of Great Brittane France 
 and Ireland, and his Majesties Quein, and for nine more of the Queins of 
 Scotland their portraits, quhilks are set up in the hall of Ballock [now Tay- 
 mouth] the sum of tua hundreth thrie scor punds." 
 
 " Mair the said Sir Coline gave to the said George Jamesone for the Knight 
 of Lockow's Lady, and the first Countess of Argylle, and six of the Ladys of 
 Glenurquay their portraits, and the said Sir Coline his own portrait, quhilks 
 are set up in the Chalmer of Deass of Ballock, an hundred four scoire punds." 
 
 Memorandum. In the same year, 1635, the said 
 George Jamesone painted a large genealogical tree of the 
 family of Glenorchy, eight feet long and five broad, con- 
 taining in miniature the portraits of Sir Duncan Campbell 
 of Luckow, of Archibald Campbell his eldest son, first 
 Earl of Argyle, and of Sir Coline Campbell his second son, 
 first Laird of Glenorchy, together with the portraits of 
 eight successive knights, Lairds of Glenorchy, with the 
 branches of their intermarriages, and of those of their sons 
 and daughters, beautifully illuminated. At the bottom of 
 which tree the following words are painted on a scroll : 
 " The genealogie of the Hous of Glenurquhie, whereof is 
 descendit sundrie nobill and worthie houses, 1635, jame- 
 sone faciebat." 
 
 Besides the foregoing, Lord Breadalbane has at Tay- 
 mouth, by the same hand, eleven portraits of lords and 
 
 1 In this practice Jamisone was, with greater probability, merely an imitator of 
 Annibale Carracci, Guido, Frank Hals, and his master Rubens. The picture here 
 engraved, in which he is so well represented, holding his pallet, with his wife and 
 child, is now at Cullen-house. — D. 
 
PAINTERS IN THE REIGN OF CHARLES I. 349 
 
 ladies of the first families in Scotland, painted in 1636 and 
 1637. 
 
 From the extract above, it appears that Jamesone re- 
 ceived no more for each of those heads than twenty pounds 
 Scots, or one pound thirteen shillings and four pence Eng- 
 lish. Yet it is proved by their public records that he died 
 possessed of an easy fortune, which he left to his three 
 daughters, two of whom were honourably married. One 
 of them, named Mary, distinguished herself by admirable 
 needlework, a piece of which used to be exhibited on 
 festivals in the Church of St. Nicholas, at Aberdeen. Her 
 descendant, Mr. Thomson, of Portlethen, has an original 
 picture of her father by himself. Three small portraits of 
 the house of Haddington are in the possession of Thomas 
 Hamilton, Esq. of Fala. 
 
 Many of Jamesone's works are in both colleges of Aber- 
 deen. The Sibyls there, it is said, he drew from living 
 beauties of that city. Mr. Baird of Auchmedden, in 
 Aberdeenshire, has in one piece three young ladies, cousins, 
 of the houses of Argyle, Errol, and Kinnoul : their ages, 
 six, seven, and eight, as marked on the side of the picture. 
 The same gentleman has a small whole-length of William, 
 Earl of Pembroke, by some ascribed to Vandyck. At 
 Mr. Lindsay's of Wormeston, in Fife, is a double half- 
 length of two boys of that family playing with a dog : 
 their ages five and three, 1636. 
 
 There is a perspective view of Edinburgh by Jamesone, 
 with a Neptune on the foreground. 
 
 Having finished a fine whole-length of Charles I. he 
 expected the magistrates of Aberdeen would purchase it 
 for their hall, but they offering him too inconsiderable 
 a price, he sold it to a gentleman in the north of 
 England. 1 
 
 Jamesone had many scholars, particularly Michael 
 Wright, mentioned in the third volume 2 of these Anec- 
 dotes. His own portrait is in the Florentine Chamber 
 of Painters. 
 
 1 See an account of his other works in Pennant's Tour in Scotland, 8vo, 1772. 
 
 2 [Of the original edition. — W.] 
 
350 PAINTERS IN THE REIGN OF CHARLES h 
 
 Though Jamesone is little known in England, his char- 
 acter, as well as his works, were greatly esteemed in his 
 own country. Arthur Johnston, the poet, addressed to him 
 an elegant epigram on the picture of the Marchioness of 
 Huntley, which may be seen in the works of that author 
 printed at Middleburgh in 1642. 1 The portrait itself is 
 extant in the collection of the Duke of G-ordon : and in 
 the Newton College of Aberdeen is the picture of Dr. 
 Johnson himself by the same hand. A Latin elegy, com- 
 posed by David Wedderburn, was printed on his death, 
 which happened in 1646, at Edinburgh, where he was in- 
 terred in the churchyard of the Gray-friars, but without 
 any monument. 
 
 By his will, written with his own hand in July 1641, 
 and breathing a spirit of much piety and benevolence, he 
 provides kindly for his wife and children, and leaves 
 many legacies to his relations and friends, particularly to 
 Lord Eothes the king s picture from head to foot, and 
 Mary with Martha in one piece : to William Murray he 
 gives the medals in his coffer, makes a handsome provision 
 for his natural daughter, and bestows liberally on the poor. 
 That he should be in a condition to do all this seems 
 extraordinary, his prices having been so moderate ; for, 
 enumerating the debts due to him, he charges Lady 
 Haddington for a whole-length of her husband, and Lady 
 Seton's of the same dimensions, frames and all, but three 
 hundred marks ; and Lord Maxwell, for his own picture 
 and his lady's, to their knees, one hundred marks ; both 
 sums of Scots money. 
 
 Mr. Jamesone 2 has likewise a memorandum written and 
 signed by this painter, mentioning a MS. in his possession, 
 " containing two hundred leaves of parchment of excellent 
 write adorned with diverse history s of our Saviour 
 curiously limned/' which he values at 200 1 sterling, a very 
 large sum at that time ! What is become of that curious 
 book is not known. 3 
 
 1 Epigrammata Arthuri Johnstoni, Aberdeen, 1632. — D. 
 
 2 So the name is now written, not Jamesone. 
 
 3 A painter whose portraits nearly equal those of Vandyck, and who, as 
 
PAINTERS IN THE REIGN OF CHARLES I. 
 
 351 
 
 Jamisone, had acquired the style of the school of Rubens, is omitted by Walpole. 
 This very eminent artist was 
 
 JAMES GANDY, 
 
 Born 1619. Died 1689. 
 
 Pilkington observes * 'that the cause of his being so totally unknown was his 
 having been brought into Ireland by the old Duke of Ormond, and retained in his 
 service. And, as Ireland was, at that time, in a very unsettled condition, the 
 merit and memory of this master would have been entirely unnoticed, if some of 
 his performances, which are still extant, had not preserved him from oblivion. 
 There are at this time, in Ireland, many portraits painted by him of noblemen 
 and rich persons, which are very little inferior to Vandyck, either for expression, 
 colouring, or dignity of character ; and several of his copies after Vandyck, which 
 were in the Ormond collection at Kilkenny, were sold for original paintings by 
 him." (Page 236, 1st Edition.) He had a son, William Gandy, settled as a painter, 
 at Exeter, of great talent and eccentric genius, who died in poverty. — D. 
 
 B UP LEIGH HOUSE. 
 
 END OF VOL I. 
 
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1375 — Anecdotes of Painting in England, with some account of the principal artists, with 
 additions by James Dallaway, and Vertue's catalogue of engravers who have been born or resided 
 in England, new edn., revised with additional notes by R. N. Wornum, 3 vols., London, 1876, 83 
 plates with 81 Musts, in the text, demy 8vo, cloth backstrips faded £15-00 
 
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