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A GUIDE 
 
 WOBURN : 
 
 PRINTED FOR S. DODD; 
 
 AND SOLD BY 
 
 LONGMAN, REES, ORME, BROWN, AND GREEN, LONDON. 
 
 1831 
 

 
THEIR GRACES 
 
 JOHN DUKE OF BEDFORD, K. G., 
 
 AND 
 
 GEORGIANA, DUCHESS OF BEDFORD; 
 
 little TOrrfc 
 
 IS MOST RESPECTFULLY DEDICATED, 
 BY 
 
 THEIR OBEDIENT SERVANT, 
 
 THE AUTHOR. 
 
ADVERTISEMENT. 
 
 A desire to meet the wishes and convenience of that 
 large body of the Public whom taste and curiosity is 
 annually leading, from distant parts of the kingdom, 
 to this beautiful and enriched Residence, has induced 
 the publication of the Second Part of the “ History of 
 Woburn” in a separate form. . . . The Author has 
 only to repeat his grateful acknowledgments to the 
 Noble owner for the ample facilities ( afforded him; 
 and to request the indulgence of the Reader towards 
 the humble, yet assiduous efforts, with which he 
 has availed himself of them. 
 
 July , 1831 . 
 

 
 
 
 
 
 
GUIDE TO WOBURN ABBEY. 
 
 &C. &C. 
 
 APPROACHES. 
 
 The principal entrance to Woburn Park, is on the London 
 side of the town, distant from it about a mile and a quarter. 
 It consists of a long elliptical sweep of stone wall, panelled, 
 with two very large square piers at the extremities, having 
 their lower part rusticated ; four insulated Roman Ionic 
 columns occupy the centre, raised on bases, above which is a 
 panel in relief, containing the arms and crest; below are 
 three arches, with iron gates, gilded. On the reverse, is this 
 inscription, — 
 
 HUNC • ADITUM * JANUAMQUE * 
 
 VILLiE * VOBURNIENSI * PRjEPONENDUM * 
 
 CURAVIT * IOANNES * BEDFORDIjE * DUX* 
 
 ANNO * MDCCCX. 
 
 From hence, a road winds through a handsomely wooded 
 part of the park, and crossing a new bridge of three small 
 arches over the basin, under which is a fall of water, arrives 
 at the west front of the Abbey. 
 
 The entrance from Woburn, at the bottom of Park street, is 
 through plain gates, between two stone piers, which though 
 unnoticed, are in reality, very fine ones : they are from the 
 
8 
 
 WOBURN ABBEY. 
 
 designs of the celebrated Earl of Burlington, and were brought 
 from Bedford-House, London, and have been engraved in 
 the Encyclopaedia Britannica. The mixture of plain and 
 rustic work resembles the designs of the walls of the amphi- 
 theatre of Pola in Istria.* 
 
 The road winds pleasingly through plantations, and on an 
 embankment between two fine pieces of water, and having 
 passed a Tuscan lodge, and ascended a hill, about the centre 
 of a very fine avenue of trees, which are double on each side, 
 turns to the right, and reaches the east front of the Abbey, the 
 imposing approach to which is faced by a neat octagonal 
 porter’s lodge : another road winds round at a short distance 
 to the west front. 
 
 The Abbey is a quadrangular building, inclosing a hollow 
 square. The west and principal front is 230 feet long, and 
 has a centre and two wings, with spacious intermediate build- 
 ings. The basement story throughout is rustic, above which 
 is a range of handsome windows with pediments, and Venetian 
 windows in the wings, which, as well as the centre, have a 
 third story, and the other parts, an attic, concealed by a 
 balustrade. In the centre are four large, three-quarter, Ro- 
 man Ionic columns, supporting a handsome pediment, in 
 which are carved the family arms. The reverse, has a pedi- 
 ment with four pilasters : the other interior faces are much 
 plainer. 
 
 The east front is plain, and lower, from the inequality of the 
 ground. In the centre is a projecting portico, with four chan- 
 nelled Doric columns, with a Roman entablature and balus- 
 trade. On the roof of this front, is a large and very handsome 
 cupola, consisting of a circular pier, pierced for a bell, and 
 surrounded by eight Grecian Ionic pillars : beneath, is an 
 
 See the Supplementary vol. of Stuart’s Athens. 1816, Chap. 1, 
 plate ix. 
 
A GUIDE TO 
 
 9 
 
 octagonal basement for the clock, which has two dials, and 
 communicates with nine others, in different parts of the 
 mansion. 
 
 From the neat vestibule, at the west entrance, we ascend to 
 a passage or corridor which pervades three sides of the court ; 
 the fourth being occupied by the picture gallery. On the 
 walls of this corridor, on the left, are six large framed 
 drawings of great merit, in red chalk, 3ft. Sin. by 2ft. 7in., by 
 Michael Angelo Ricciolini. Rome , 1761-2-3; reduced copies 
 of Raphael’s noble frescos in the four Camere di Raffaello , 
 or Halls of Raphael, in the Vatican. The titles are not in- 
 scribed, and not having seen the originals, we give them by 
 a comparison of the descriptions in Eustace, Burton, &c. &c. 
 
 1. The Incendio del Borgo. 
 
 2. Mount Parnassus, and the Muses, &c., Apollo playing 
 on the violin in place of the lyre. 
 
 3. The Punishment of Heliodorus. 
 
 4. The Interview of Leo and Attila. 
 
 5. The School of Athens. 
 
 6. The Debate on the Sacrament, or Theology. 
 
 In the south passage are a great number of models of 
 cattle, in glass cases ; and opposite the doors of the library is 
 a painted window, from a design by Westall, representing the 
 taking of the young prince Richard Duke of York, from his 
 mother, Queen Elizabeth, widow of Edward IV, in the sanc- 
 tuary at Westminster. 
 
 In the corridor, on the right, in glass cases, are several 
 Greek or Etruscan vases, principally a purchase of the late 
 Duke at Lord Cawdor’s sale, but a few of them bought by the 
 present, “of Giuseppe Micali, the learned editor of 1 L' Italia 
 avanti il dominio dei Romani .” The vases have a black ground, 
 and the red monochromatic painted figures so ably elucidated 
 by Dr. Clarke in his Travels. There are also four bronze vases, 
 several copies of ancient bronze statues and groups, and a 
 
 B 
 
10 
 
 WOBURN A.BBEW 
 
 few antiques, also several small vases, formed out of fragments 
 of antique marble and alabaster, found in the ruins of Pompeii, 
 and in the bed of the Saone, near Lyons. 
 
 Another glass case contains a variety of clever figures, 
 illustrating the costumes, sports, and manners, of Italy, Spain, 
 and Portugal. 
 
 The first apartment into which the visitor is conducted, is — 
 
 THE FRENCH STATE BED-ROOM. 
 
 This is a large and handsome apartment, lately restored 
 and ornamented. The walls are covered with French paper, 
 gilt, and the gilt ceiling is light and pleasing ; the bed has a 
 cornice and two fluted Corinthian pillars, in white and 
 gold ; the bed and window curtains are yellow satin damask ; 
 there are two cabinets, the tops of which are of Florence 
 mosaic. 
 
 PAINTINGS. 
 
 WEST SIDE. 
 
 The Marquis of Tavistock, Father of the present Duke, by 
 Sir Joshua Reynolds. 
 
 The Marchioness, by ditto. 
 
 SOUTH SIDE. 
 
 Anne, Countess of Bedford, by Sir Peter Lely ; we shall 
 have occasion to notice this interesting character hereafter. 
 She is here painted at a more advanced age, than elsewhere, 
 by Vandyke, but still retains her beauty : the drapery is blue; 
 it is styled by Pennant, “ a most beautiful half-length.” 
 
 The celebrated Admiral Keppel, by Sir Joshua Reynolds. 
 The portrait is a very fine one, ground dark, with the ocean at 
 a distance. 
 
A GUIDE TO 
 
 11 
 
 Over the chimney piece is a landscape, by Lambert , and 
 over the doors, two others, by the same artist.* 
 
 DRESSING ROOM. 
 
 1 6J ft. long, 15^ ft. broad, 14 high. 
 
 The hangings and drapery the same as the last. 
 
 PAINTINGS. 
 
 SOUTH SIDE. 
 
 J ohn, fourth Duke of Bedford, by Sir Joshua Reynolds. 
 
 His first Duchess, Diana, daughter of the Earl of Sun- 
 derland, by ditto. 
 
 Francis, and William, sons of Francis, fourth Earl of Bed- 
 ford, when young, both by Sir Peter Lely . 
 
 Over the chimney is a landscape, by Lambert , and over the 
 doors, two others^ forming a set of six, in these rooms, by the 
 same painter. 
 
 EAST SIDE. 
 
 Centre . — -Gertrude, second wife of John, fourth Duke of 
 Bedford, and daughter of Earl Gower, by Sir Joshua Reynolds . 
 
 Right. — Lady Caroline Russell, afterwards Duchess of 
 Marlborough, by the same. 
 
 * Lambert, who was instructed by Hassel, "and at first imitated 
 Wootton, was a very good master, in the Italian style, and followed 
 the manner of Gaspar (Poussin), but with more richness in his com- 
 positions. His trees were in a great taste, and grouped nobly. He 
 painted many admirable scenes for the play-house, where he had 
 room to display his genius ; and in concert with Scott, executed six 
 large pictures of their settlements, for the East India Company, 
 which are placed at their house, in Leadenhall street.” 
 
 Walpole’s Anecdotes. 
 
12 
 
 WOBURN ABBEY. 
 
 Left. — Francis, Marquis of Tavistock, by the same. Of 
 this lamented nobleman, Horace Walpole thus expresses him- 
 self. “ He died in consequence of a fall from his horse, as he 
 was hunting, — but not before such genuine honour, generosity, 
 and every amiable virtue had shone through the veil of 
 natural modesty, that no young man of quality, since the Earl 
 of Ossory, son of the Duke of Ormond, had inspired fonder 
 hopes, attracted higher esteem, or, died so universally la- 
 mented.” 
 
 WEST SIDE. 
 
 Centre . — Queen Elizabeth, half length, painted on panel, 
 and said to be by Zuccliero. Her dress is a black velvet 
 gown, encumbered with ornaments and embroidery of pearls 
 and jewels ; in her hair, which is a light yellow, are egg 
 pearls and a silver coronet; she has also a negligee of 
 pearls, and an immense ruff; one hand rests on a globe. 
 Behind, are two small representatives of the Spanish Ar- 
 mada— -one advancing, and the other dispersed by a tem- 
 pest. 
 
 Pennant observes of a portrait of her at Hatfield. — “ A 
 portrait extremely worth notice; not only because it is the 
 handsomest we have seen of her, but as it points out her turn 
 to allegory and apt devices. Her gown is close bodied ; on 
 her head is a coronet and rich egret, and a vast distended 
 gauze veil : her face is young, her hair yellow, falling in two 
 long tresses ; on her neck, a pearl necklace ; on her arms 
 bracelets. The lining of her robe is worked with eyes and 
 ears, and on her sleeve a serpent is embroidered with pearls 
 and rubies, holding a great ruby in its mouth : all to imply 
 vigilance and wisdom. In one hand is a rainbow, with the 
 flattering motto, ‘ Non sine sole IRIS.' ” 
 
 “ A pale Roman nose,” observes Horace Walpole, “ a head 
 of hair loaded with crowns and powdered with diamonds, a vast 
 ruff, a vaster fardingale, and a bushel of pearls, are the features 
 
A GUIDE TO 
 
 13 
 
 by which every one at once knows the pictures of Queen Eliza- 
 beth.” A few instances of her taste and habits may prove 
 entertaining ; and the indications of her personal vanity and 
 extravagance will not be thought to derogate from the policy 
 and ability of her government. 
 
 Paul Hentzner, a German traveller in England, thus de- 
 scribes her majesty passing to chapel, at the royal palace of 
 Greenwich : — “ Next came the queen, in the sixty-fifth year of 
 her age, as we were told, very majestic, her face oblong, fair, 
 but wrinkled; her eyes small, yet black and pleasant; her 
 nose a little hooked; her lips narrow and her teeth black, (a 
 defect the English seem subject to, from their too great use of 
 sugar) ; 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 ; her air was stately ; her 
 manner of speaking mild and obliging. That day she was 
 drest in white silk, bordered with pearls of the size of beans, 
 and over it a mantle of black silk, shot with silver threads ; 
 her train was very long, borne by a marchioness ; instead of a 
 chain, she had an oblong collar of gold and jewels : the ladies 
 of the court followed next to her, very handsome and well 
 shaped, and for the most part dressed in white.” 
 
 Her wardrobe consisted of “ more than two thousand gowns, 
 with all things answerable.” She was very fond of perfumed 
 necklaces, bracelets, and gloves. In the fifteenth year of her 
 reign, “ Edward V ere, Earl of Oxford, presented her with a 
 pair of perfumed gloves, trimmed with four tufts of rose- 
 coloured silk, in which she took such pleasure, that she was 
 always painted with those gloves on her hands; and their 
 scent was so exquisite, that it was ever after called the Earl 
 of Oxford’s perfume,” At new year’s day, 1589, she was 
 b 2 
 
14 
 
 WOBURN ABBEY. 
 
 presented by Sir Francis Drake with “ a fanne of feathers, 
 white and redd, the handle of golde, inamuled with a halfe 
 moone of mother of perles; within that a halfe moone gar- 
 nished with sparks of dyamonds, and a few seede perles on 
 the one side, having her majestie’s picture within it; and on 
 the back side a device with a crowe over it.”* 
 
 Hentzner, in describing the splendid furniture of Queen 
 
 * Elsewhere we have an account of all the new year’s gifts 
 offered to her majesty from all the peers, statesmen, &c., &c., down 
 to her household servants. Some gave money; the Archbishop of 
 Canterbury giving 40/. ; of York, 30/. ; most of the peers and 
 bishops 20/. or 10/.; the peers and peeresses, &c., gave “rich 
 gowns, petticoats, kirtles, silk stockings, cypress garters, sweet 
 bags, doublets, mantles, some embroidered with pearls, garnets, 
 &c., looking glasses, fans, bracelets, caskets studded with pre- 
 cious stones, jewels ornamented with sparks of diamonds in va- 
 rious devices, and other costly trinkets. Sir Gilbert Dethick, 
 Garter King of Arms, gave a book of the States in King William the 
 Conqueror’s time, and a book of the Arms of the Noblemen in 
 Henry the Fifth’s time. Absolon, the Master of the Savoy, a Bible 
 covered with cloth of gold, garnished with silver and gilt, and two 
 plates, with the royal arms ; Petruchio Ubaldino, a book covered 
 with vellum of Italian ; Lambarde, the antiquary, his Pandecta of 
 all the Bolls, &c., in the Tower of London ; the queen’s physician 
 presented her with a box of foreign sweetmeats ; another physician 
 with two pots, one of green ginger, the other of orange flowers ; 
 two other physicians gave each a pot of green ginger, and a pot of 
 the rinds of lemons ; her apothecaries, a box of lozenges, a box of 
 ginger candy, a box of green ginger, a box of orange candit, a pot 
 of conserves, a pot of wardyns condite, a box of wood with prunolyn, 
 and two boxes of manus christi, Mrs. Blanch, a pasty, a little box 
 of gold to put in cumphetts, and a little spoon of gold ; Mrs. Morgan 
 a box of cherryes and one of aberycocks, (apricots) ; her master 
 cook, a fayr marchpayne ; her serjeant of the pastry, a fayre pie of 
 quynces oringed, a box of peaches of Jenneway (Genoa), a great 
 pie of quynces and wardyns guilte; Putrino, an Italian, presented 
 her with two pictures ; Innocent Corey , with a box of lutestrings ; 
 Ambrose Lupo, with another box of lutestrings, and a glass of sweet 
 water ; Petro Lupo, Josepho Lupo , and Cccsar Carliardo, each with 
 a pair of sweet gloves ; a cutler, with a meat knyfe, with a fair haft 
 of bone, a conceit in it; Jeromy, with twenty-four drinking glasses ; 
 Jeromy Bassano, two drinking glasses ; Smyth, dustman, two bolles 
 of cambrick.” — Drake 9 s Shakspeare. 
 
A GUIDE TO 
 
 15 
 
 Elizabeth’s palaces, says, “ At Windsor, her majesty has two 
 bathing rooms, ceiled and wainscoted with glass at Hamp- 
 ton Court, “her closet in the chapel is most splendid, quite 
 transparent, having its window of crystal. We were led 
 into two chambers, called the presence, or chambers of 
 audience, which shone with tapestry of gold and silver, and 
 silk of different colours. Here is, besides, a small chapel 
 richly hung with tapestry, where the queen performs her 
 devotions. In her bed-chamber, the bed was covered with 
 very costly coverlids of silk : in one chamber were several 
 excessively rich tapestries, which are hung up when the 
 queen gives audience to foreign ambassadors ; there were 
 numbers of cushions ornamented with gold and silver, many 
 counterpanes and coverlids of beds lined with ermine ; in 
 short, all the walls of the palace shine with gold and silver. 
 Here is, besides, a certain cabinet, called Paradise, where 
 besides that every thing glitters so with silver, gold, and 
 jewels, as to dazzle ones eyes, there is a musical instrument 
 made all of glass, except the strings.” 
 
 Harrington, in his “Nugse Antiquse,” praises her for her 
 courteous attention to the comforts of the followers and ser- 
 vants of her court “ The stately palaces, goodly and many 
 chambers, fayr gallerys, large gardens, sweet walks, that 
 princes with magnificent cost do make (the twentyeth parte 
 of which they use not themselves), all shew that they desire 
 the ease, content, and pleasure of theyr followers as well as 
 themselves.” He afterwards praises her for having caused to 
 be substituted “ easye quilted and lyned forms and stools for 
 the lords and ladys to sit on,” for the former “ hard plank 
 forms and wainscot stools,” which he specifically describes as 
 having been very inconvenient. 
 
 Her majesty was very partial to and excelled in dancing, 
 which was one of the exercises she most delighted in in her 
 old age, as contributing to the impression of activity and 
 
16 
 
 WOBURN ABBEY. 
 
 juvenility she wished to produce, especially on strangers. 
 When Sir Roger Aston was in the habit of bringing letters to 
 her from James I. of Scotland, “lie did never come to deliver 
 any, but he was placed in the lobby, the hangings being lifted 
 up, where he might see the queene dancing to a little fiddle, 
 which was to no other end, than he should tell his master by 
 her youthful disposition, how likely he was to come to the 
 possession of the crown he so much thirsted after.” 
 
 The worst part of her character, in which she too faithfully 
 copied her father, Henry VIII., was in giving herself up to 
 angry and vindictive passions, to which was added a restless 
 and impetuous jealousy. 
 
 — Non acuta 
 
 Sic geminant Corybantes aera, 
 
 Tristes ut Irae ; quas neque Noricus 
 Deterret ensis, nec mare naufragum, 
 
 Nec ssevus ignis, nec tremendo 
 Jupiter ipse ruens tumultu. 
 
 By these combined causes fell her favourite Essex and her 
 own relation, the unfortunate Mary. In less dangerous cases 
 it was exercised in boxing her courtiers’ ears. Harrington 
 would not “ adventure her highnesse’ choller leste she should 
 collar him also and she used to belabour her ladies of 
 honour “ in such wise, as to make these fair maids often cry 
 and bewail in piteous sort.” That she had, however, some 
 redeeming qualities, not only in public but private life, is 
 known to all who are acquainted with the history of their 
 country ; and that she was a patroness of learning and 
 religion. The reader may, in conclusion, be interested by a 
 specimen of her majesty’s poetry, written in a sorrowful mood 
 of love, which is inscribed on a scroll in one of her portraits, 
 and the descriptive parts of which refer to some circumstances 
 of the painting. 
 
A GUIDE TO 
 
 17 
 
 DOLOR EST MEDICINA DOLOR!. 
 
 tc The restless swallow fits my restless mind, 
 
 In still renewing, still reviving wrongs ; 
 
 Her just complaints of cruelty unkind. 
 
 Is all the music that my life prolongs. 
 
 <( With pensive thoughts my weeping stag I crown, 
 
 Whose melancholy tears my cares express ; 
 
 His tears in silence, and my griefs unknown, 
 
 Are all the physic that my harms redress. 
 
 ** My only hope was in this goodly tree, 
 
 Which I did plant in love, bring up in care ; 
 
 But all in vain, for now too late I see 
 
 The shells be mine, the kernels others are : 
 
 My music may be plaints, my physic tears. 
 
 If this be all the fruits my love-tree bears.” 
 
 On the right , Chandos Brandon, Duke of Suffolk, by Hol- 
 bein, Mr. Lodge’s engraving is taken from this portrait. 
 
 “ Charles Brandon , Duke of Suffolk, son of Sir William 
 Brandon, standard-bearer to Henry VIII., slain at the battle 
 of Bosworth. His dress is black, with red sleeves, with the 
 collar of the Garter and the George. His beard is white; 
 his countenance bluff ; not unlike that of his master, Henry 
 VIII. Their qualities, happily for the favourite, were dif- 
 ferent; for the inscription with truth says, that he was 
 ‘gratiose with Henry VIII. ; void of despyte; most fortunate 
 to the end; never in displeasure with his kynge.’ He was 
 brought up with his master, and justly beloved by him for his 
 noble qualities, for his goodly person, courage, and conformity 
 of disposition (I suppose only) in all his exercises and pas- 
 times. He was a principal figure in every tilt and tourna- 
 ment. In his younger days (151.0) he appeared at West- 
 minster in the solemn justs, held in honour of Catherine of 
 Arragon, in the dress of a recluse, begging of her highness 
 
18 
 
 WOBURN ABBEY. 
 
 permission to run in her presence; which obtained, he in- 
 stantly flung off his weeds, and came out all armed. He 
 signalized himself at the justs at Tournay, in 1511, instituted 
 by Margaret, Princess of Castile, in compliment to his royal 
 master. The place was flagged with black marble, and the 
 horses of the knights shod with felt, to prevent them from 
 slipping. He here won the heart of the fair foundress of 
 the entertainment; but fortune reserved him for another 
 princess. 
 
 “ In 1514, he performed amazing deeds of arms at St. 
 Dennis, at the coronation of the youthful Mary, sister to 
 Henry, on her marriage with the aged and decrepid Louis 
 XII. The French, envious of his prowess, introduced into 
 the lists a gigantic German, in hopes of bringing the English 
 hero into disgrace. He treated the Almain so roughly that 
 the French interfered; but, in a second trial, Suffolk caught 
 him round the neck, and pummelled him so severely about 
 the head, that they were obliged to convey the fellow away 
 secretly; who had been surreptitiously introduced in disguise, 
 merely on account of his strength. 
 
 “ Mary, on the death of her royal consort, proposed to 
 Suffolk, and gave him only four days to consider of the offer. 
 This seems concerted to save her lover from the fury of 
 Henry, for daring to look up to a dowager of France, and, 
 what w r as more, his sister. His master fortunately favoured 
 the match. He continued beloved by the king to the end of 
 his life, after seeing the following knights and attendants on 
 the conjugal festivities, the Earl of Devonshire, Lord Leonard 
 Grey, Sir Nicholas Carew, and Anna Bullein, sent headless to 
 their graves. But Charles went off triumphant with his 
 royal spouse ; carried with him her jewels, to the amount 
 of 200,000 crowns ; the famous diamond le mirroir de Naples; 
 and secured her jointure of 60,000 crowns. He married 
 
A GUIDE TO 
 
 19 
 
 almost as many wives as his master, leaving his fourth to 
 survive him. He died universally lamented, in August, 1545, 
 and was buried magnificently, at the expence of his master ; 
 his loss being one of the few things that touched his hardened 
 heart.”— Pennant. 
 
 Left — Edward Clinton, Earl of Lincoln, by Cornelius Ke tel ; 
 the whimsical artist, who, not satisfied with equalling other 
 artists with the usual implements, first attempted to paint 
 with his fingers, and afterwards with his toes ! and found per- 
 sons foolish enough to admire the produce of his fantastic 
 extravagance. 
 
 Horace Walpole, in his Catalogue, observes, “ This Earl was 
 a brave and probably a very prudent man ; for besides being 
 Lord High Admiral for thirty years, in four most difficult 
 reigns, he was entrusted with various martial and ceremonial 
 commissions, for most of which he was amply rewarded, 
 without having performed any action of conspicuous eclat. 
 He seems to have laid himself open neither to enemies nor 
 reproach, and to have been content w r ith securing fortune 
 by his services, without risking it by over-rating his abilities.” 
 This portrait, with a memoir, is also contained in Mr. Lodge's 
 work. 
 
 NORTH DRAWING ROOM ; or, PRINT ROOM. 
 
 21 ft. 8 in. by 27 ft.; and 15 ft. 10 in. high. 
 
 This room is styled the print room, from a curious collec- 
 tion of rare prints kept in cabinets, of which there is a 
 Catalogue Baisonee : the furniture is of blue and gold-colour 
 silk damask. There are also some antique Japan cabinets, 
 and a chimney-piece of Carrara marble, finely sculptured. 
 The ceiling is very richly gilt, with palm and laurel leaves, 
 and has a massive foliated circle, in the centre. 
 
20 
 
 WOBURN ABBEY. 
 
 PAINTINGS. 
 
 NORTH SIDE. 
 
 Centre . — The Trial of Lord William Russell, by Hay ter. 
 When a painting has obtained so much notoriety and applause 
 as this has, it is unnecessary to enter into a detailed descrip- 
 tion. The effective distribution of the colours , is not the 
 least striking merit it possesses, which immediately attracts 
 and interests the most careless spectator. The glowing effect 
 of the light on the scarlet robes of the judges, is relieved by 
 the quiet green of the cloth on the table, and the blue of 
 Sergeant Jefferies’ ceremonial gown; and the chiar-obscuro 
 of the centre and back ground, sets off the white satin dra- 
 pery of Lady Russell, and the rich dresses of Lord Russell’s 
 friends, — brought forward on the left; of whom, the Earl 
 of Devonshire, is dressed in pink ; and the Earl of Somerset, 
 in yellow, with a brown cloak. An excellent engraving of 
 this painting has been published, and extensively circulated. 
 
 Right . — A Hunting Party, called Chevy Chase, by Land- 
 seer. The deer is at bay, and has thrown down several 
 dogs; Earl Percy, on horseback, is aiming a javelin at it; 
 and his son, on foot, is drawing a bow : a huntsman in blue is 
 blowing a mort. 7 ft. by 6 ft. (with the frame). 
 
 Poetical and romantic fancy has always bestowed on the 
 hunter’s life of old times, peculiar charms and interest : few 
 trifles on this subject that we have met with, have pleased us 
 better than this, by a modern Scotch Poet: 
 
 “ ’T is sweet to list on the evening hill 
 When the minstrel’s harp is ringing ; 
 
 ? T is sweet to list in the greenwood still 
 When mavis and merle are singing : 
 
 But sweeter to me is the bugle blast 
 When the hunter’s steed is neighing, 
 
 And dearer to me is the falcon cast 
 When the hounds are blythely baying. 
 
A GUIDE TO 
 
 21 
 
 ** My Allan’s kirtle is Lincoln green, 
 
 His bonnet is Kelso blue ; 
 
 His falcon is white, and his shaft is sheen, 
 
 And his bow of the good red yew : 
 
 And ever the stag in Ettrick wood, 
 
 And her’n at the Tiviot’s spring, 
 
 May rue when he slips the goss-hawk hood, 
 
 Or draws the gray-goose wing. 
 
 ** Full dear is the Lincoln green to me, 
 
 And sweet is the winding horn. 
 
 And well I love the greenwood tree, 
 
 Where the dew hangs bright at morn. 
 
 And merry to dwell by the forest side, 
 
 Where the dun deer bells at e’en. 
 
 And blyther to be the hunter’s bride, 
 
 Than a ladye in silken sheen. 
 
 Allan’s Bridal of Caolchairn , fyc. 
 
 Left .— The Death of the Regent Murray, by Allen . 7 ft, 
 
 by 5 ft. (with the frame). This event took place in the street 
 of Linlithgow, on the left of which appears the Town-house, 
 with a turret, and gallery crowded with spectators ; the assas- 
 sin took his aim from a small open window on the right, but 
 escaped on horseback: a ballad by Sir Walter Scott, in the 
 “ Border Minstrelsy,” is founded on this occurrence. Terrible 
 as the crime of murder is, when we recollect the worthless 
 and hypocritical character of Murray, and that he had seduced 
 the wife of the man who took away his life, we can afford 
 him no compassion. Many of the figures in this piece are 
 beautifully painted, particularly a female figure sitting on the 
 ground, thrown very boldly forward; and the colours are 
 bright and pleasing. 
 
 EAST SIDE. 
 
 Centre . — A Sea View, near Antwerp, by Callcott. 7\ ft. 
 by 5j ft. 
 
 Bight . — Miss Sarah Siddons, by Sir Thomas Laurence. 
 c 
 
A GUIDE TO 
 
 Her lamented death, the unhappy effect of his vacillation of 
 attachment, is recorded in his Memoirs ; and the consequent 
 sorrow of this amiable man, which continued through his 
 whole life. 
 
 Left. — Miss Howard, by her father, H. Howard , R. A., in 
 a Neapolitan costume of the sixteenth century; a green velvet 
 robe, with red slashed sleeves ; and a red hat. 
 
 SOUTH SIDE. 
 
 Centre. — Over the chimney-piece, a splendid Landscape 
 composition, by Linton , 1826. Wood and river scenery, with 
 a castle and town in the distance, a bridge in the centre ; the 
 whole has a very classical appearance. 
 
 Right. — View near Hastings, by Collins . Early Morning ; 
 a woman with a child, buying fish : very bright and pleasing. 
 
 Over it. — Trees in Woburn Park, by Strutt. 
 
 Left. — A Market Place in Orleans, near the Cathedral ; 
 shewing its fine west towers, each rising to an octagonal 
 story, crowned with statues ; in one corner is a man on horse- 
 back, selling nostrums to a group around him. 
 
 Over it. — A small Cattle piece, after Paul Potter . 
 
 Over the door . — The celebrated and beautiful Countess of 
 Coventry, with a Child, by Gavin Hamilton. 
 
 ANTE DRAWING ROOM. 
 
 22 ft. long; 19 ft. 10 in. broad; 15 ft. 10 in. high; drapery 
 blue and gold-colour silk damask. The ceiling is very hand- 
 some, and richly gilt. 
 
 PAINTINGS. 
 
 NORTH SIDE. 
 
 Right , over the door. — A Portrait of G. Hayter; aild a 
 View on the Coast of France, by Bonnington . 
 
 Centre. — Scene from Gil Bias. The wily Camilla and her 
 confidant, Raphael, and Gil Bias; called the “ Casket Scene.” 
 All the objects are distinctly and beautifully painted. Neivton. 
 
WOBURN ABBEY. 
 
 23 
 
 Left — The Crown offered to Lady Jane Grey. The com- 
 missioners are, the Duke of Suffolk, the Earl of Northum- 
 berland, the Earl of Bedford, the Archbishop of Canterbury, 
 and the Lord Chancellor, who are all kneeling, with the 
 declaration, and the crown. The interesting pair, Lady Jane 
 and her husband, are turning to each other in anxious con- 
 sultation ; and the Duchess of Suffolk, who is sitting with her 
 hand on her daughter’s arm, exhibits some degree of maternal 
 solicitude, with perhaps an equal share of ambition. Leslie. 
 
 EAST SIDE. 
 
 Right , above. — A Vintage, by Severn , painted at Rome, 
 and the scene and figures taken from nature, in that neigh- 
 bourhood. 
 
 Relow . — An excellent little painting, in the Dutch style— 
 A Cobler at work, whistling to his Bird. Alex. Fraser , 1826 . 
 
 Centre , over the chimney-piece. — The Virgin and her 
 Child, by Murillo .* The countenance is Andalusian, with 
 beautiful dark eyes and hair ; the drapery, in puce and blue, 
 has a subdued effect. From the collection of M. de Calonnes. 
 
 % “ The character of Murillo, as a painter, can scarcely be sepa- 
 rated from his character as a man : humility, kindness, benevolence, 
 were conspicuous in him ; and these are also seen in the choice of 
 his subjects. Undoubtedly, one of the greatest among the many 
 charms of Murillo, consists in the beauty of his invention ; his sub- 
 jects seldom fail to interest the benevolent feelings : we have affec- 
 tion in all its varieties — character under its many forms ; and even 
 in subjects purely divine, he contrives to throw over them a human 
 interest. Never was affection more touchingly delineated, than in 
 the picture of St. Felix, the Virgin, and Child, in the Capuchin 
 convent of Seville ; in which the virgin, after having put the infant 
 into the arms of the holy man, that he might bless him, stretches 
 out her own, that he may be restored to a mother’s embrace. Nor 
 were ever love and benevolence more beautifully blended, than in 
 the picture of “ Santa Isabella, Queen of Portugal, curing the sick 
 and wounded,” wherein the old woman watches, with a mother’s 
 anxiety, the cure of her wounded son. And where shall we find 
 charity, and its reward — the favour of Heaven — more impressively 
 displayed, or more powerfully conceived, than in the picture of 
 
24 
 
 A GUIDE TO 
 
 Left , above. — -St. John in the Isle of Patmos; resembling 
 the style of Salvator Rosa. G. Hayter. 
 
 Below . — Pilgrims at the turn of a Rock catching a first 
 View of Rome. The attitudes and expressions are very inter- 
 esting, the distance is said to be twenty-two miles : the dome 
 of the Basilica Vaticana, or St. Peter’s, appears very lofty in 
 the distance, and gilded by the sun ; and the narrow Tibur, 
 (here “blue”) glides through the Campagna below. East - 
 lake. Painted at Rome. 
 
 44 On the heights, above Baccano, the postilions stopped, 
 and pointing to a pinnacle that appeared between two hills, 
 exclaimed 4 Roma ! ’ — That pinnacle was the cross of St. 
 Peter’s. — The 4 Eternal City’ rose before us! ” — Eustace . 
 
 ‘ John of God this has always seemed to me, one of the happiest 
 illustrations of the genius of Murillo. ‘John of God’ is supposed 
 to have gone, as was his usual practice during the night, to seek and 
 succour objects of distress. The picture represents the Saint, car- 
 rying on his back a wretched being, whom he had found in his walk, 
 and bending under the weight of his burden ; but suddenly, feeling 
 himself relieved of a part of his load, he looks round, and sees, by 
 the miraculous light that encircles his heavenly visitant, that an 
 angel has descended, to assist him in his work of charity. 
 
 “Innumerable examples might be given from the works of Murillo, 
 of that peculiar charm which consists in investing spiritual subjects 
 with a human interest. Murillo never painted a virgin and child, 
 in which a mother’s human love, and the pride of a mother in her 
 human child, were not blended with the expression of divinity, and 
 with the loftier pride of having given birth to the Son of God. Nor 
 in any representation of scenes in the life of Christ, did Murillo 
 ever forget to unite the human with the divine character. In the 
 great painting, also, of ‘ Moses striking the Rock,’ in the Hospital 
 de la Caridad, there is a fine exemplification of the excellence of 
 which I have been speaking. This miracle is not made a mere dis- 
 play of power; Murillo has introduced into it many varieties of 
 human feeling — the anxiety of those who wait for the accomplish- 
 ment of the miracle — the burning impatience, and eager importuni- 
 ties of thirst, and its contrasted satisfaction. 
 
 “ This peculiar charm of Murillo, consisting in his choice of sub- 
 jects, has made him a painter for all men ; for all, at least, who 
 have human emotions to be excited, and human affections to be 
 touched. But this is only one excellence of Murillo, and standing 
 
WOBURN A.BBEY. 
 
 25 
 
 SOUTH SIDE. 
 
 Right . — An Exploit of Sir William Russell, at the battle of 
 Zutphen. Of his deportment in this action, we are told by 
 the old chronicler, Stowe, that “ he charged so terribty, that 
 after he had broken his launce, he so played his part with his 
 curtle-axe that the enemy reported him to be a devill and not 
 a man ; for where he saw six or seven of the enemy together, 
 thither would hee, and so behaved himself, with his curtle- 
 axe, that he would separate their friendship.” He is here 
 represented on horseback, having just struck down a standard- 
 bearer, and engaged with two other assailants, both of whom 
 the artist, in the indulgence of his usual “ hobby,” has 
 placed on white horses. Sir Philip Sidney, whose noble 
 death in that battle is known to all, from the impressions of 
 their childhood, was a great friend of his, as a memorial of 
 which regard, he left him his best gilt armour : and Sir Wil- 
 liam was appointed by the Queen to succeed him as Governor 
 of Flushing. Cooper , pinx. 
 
 apart from others, it might belong to any man of benevolence and 
 fine imagination, however indifferent a painter he might be. Mu- 
 rillo possesses, besides, that rare union of high qualities, some of 
 them pre-eminently his own, which has made him one of the first of 
 painters in the eye of the learned, and of all those who have loved 
 and studied this divine art. 
 
 “The most striking excellence in the conception of Murillo’s 
 figures is Nature, accompanied by Grace ; but never, as in some of 
 the Italian masters, grace running into affectation — and what is 
 there to desire more in the conception of a picture, than perfect 
 nature and perfect grace, without any alloy of affectation ? 
 
 “The landscapes of Murillo are at least curious. His proficiency 
 in this department was probably acquired in his early years, when 
 at the fair of Seville, he painted whatever his customers demanded. 
 
 “ ‘A Gipsy and a Spinster,’ also in the gallery of Madrid, are 
 specimens of that other class of pictures by which Murillo is known 
 to many who have not been in Spain. These pictures being smaller, 
 and not preserved by the jealousy of the convents, more easily find 
 their way into other countries ; accordingly, in this style, we find 
 some of the choicest morsels of Murillo in foreign galleries : in 
 Munich, in the Dulwich Gallery, and elsewhere .” — Spain in 1830. 
 
 c 2 
 
26 
 
 A GUIDE TO 
 
 Centre , above. — A combination of Rural objects, by Ward. 
 An ale-house, with horses drawing a butt out of a cellar ; 
 groups of cattle ; a village, and May-pole. 
 
 Below . — A Greenwich Pensioner, describing and illustrat- 
 ing a battle with broken pieces of tobacco-pipe, on a table, 
 and “shewing how fields were won ; ” an object which will 
 doubtless remind the spectator of the beautiful and feeling 
 description in Goldsmith’s a Deserted Village.” Henry Bid- 
 ding. 
 
 Left . — The Death of Sir Francis Russell, supposed to be by 
 treachery, in a Border-fray. Cooper. 
 
 Over the door.— Hogarth, by himself. 
 
 DRAWING ROOM. 
 
 34 ft. 7 in. long: 23 ft. 9 in. wide : 15 ft. 10 in. high. 
 
 The furniture blue and gold silk damask ; ceiling gilt ; a 
 vase of verde antico\ three beautiful Japan cabinets, with slabs 
 of white marble, and an elegant dwarf bookcase with red. 
 
 PAINTINGS. 
 
 NORTH SIDE. 
 
 Rome. — The iElian Bridge and Castle of St. Angelo, with 
 St. Peter’s and the Vatican in the distance. — Claude Lorraine. 
 
 As all general reflections or descriptions referring to an- 
 cient or modern Rome, are now so numerous and accessible, 
 it will be a greater novelty to introduce a lively account of the 
 annual Roman Festival at Easter, the Illumination of St. 
 Peter’s, and the Fireworks at St. Angelo; which may recal 
 a pleasing idea to those who have seen them, and amuse those 
 who have not. 
 
 “At Ave Maria we drove to the Piazza of St. Peter’s. The 
 lighting of the lanternoni , or large paper lanterns, each of which 
 looks like a globe of ethereal fire, had been going on for an 
 hour, and by the time we arrived there was nearly completed. 
 
WOBURN ABBEY. 
 
 27 
 
 As we passed the Ponte San Angelo, the appearance of this 
 magnificent Church, glowing in its own brightness — the 
 millions of lights, reflected in the calm waters of the Tiber, 
 and mingling with the last golden glow of evening, so as 
 to make the whole building seem covered with burnished gold, 
 had a most striking and magical effect. 
 
 “ Our progress was slow, being much impeded by the long 
 line of carriages before us ; but at length we arrived at the 
 Piazza of St. Peter’s, and took our station on the right of its 
 farther extremity; so as to lose the deformity of the dark 
 dingy Vatican Palace. The gathering shades of night ren- 
 dered the illuminations every moment more brilliant. The 
 whole of this immense church — its columns, capitals, cornices, 
 and pediments — the beautiful swell of the lofty dome, towering 
 into heaven, the ribs converging into one point at top, sur- 
 mounted by the lantern of the church, and crowned by the 
 cross, — all were designed in lines of fire; and the vast sweep 
 of the circling colonnade, in every rib, line, mould, cornice, 
 and column, were resplendent in the same beautiful light. 
 
 “ While we were gazing upon it, suddenly a bell chimed. 
 On the cross of fire, at the top, waved a light, as if wielded by 
 some celestial hand ; and instantly ten thousand globes and 
 stars of vivid fire seemed to roll spontaneously along the build- 
 ing as if by magic ; and self kindled, it blazed in a moment 
 into one dazzling flood of glory. Fancy herself, in her most 
 sportive mood, could scarcely have conceived so wonderful a 
 spectacle as the instantaneous illumination of this magnificent 
 fabric. The agents by whom it was effected were unseen,* and 
 it seemed the work of enchantment. 
 
 “ In the first instance, the illuminations had appeared to be 
 
 * This was effected by eighty individuals, disposed in different 
 parts of the building. The whole expense of this illumination and 
 fireworks, is said at Rome not to exceed 1000 crowns, or 250/.; 
 which seems to us almost incredible. 
 
28 
 
 A GUIDE TO 
 
 complete, and one could not dream that thousands and tens 
 of thousands of lamps were still to be illumined. Their vivid 
 blaze harmonised beautifully with the softer, milder light of 
 the lanternoni. The brilliant glow of the whole illumination 
 shed a rosy light upon the fountains, whose silver fall and 
 ever playing showers, accorded well with the magic of the 
 scene. 
 
 “ Viewed from theTrinita de’ Monti its effect was unspeak- 
 ably beautiful. It seemed to be an enchanted palace hung in 
 air, and called up by the wand of some invisible spirit. We 
 did not, however, drive to the Trinita de’ Monti, till after the 
 exhibition of the girandola , or great fireworks, from the 
 Castle of St. Angelo, which commenced by a tremendous ex- 
 plosion, that represented the raging eruption of a volcano. 
 Red sheets of fire seemed to blaze upwards into the glowing 
 heavens, and then to pour down their liquid streams upon the 
 earth. This was followed by an incessant and complicated 
 display of every varied device that imagination could figure, 
 one changing into another, and the beauty of the first effaced 
 by that of the last. Hundreds of immense wheels turned 
 round with a velocity that almost seemed as if demons were 
 whirling them, letting fall thousands of hissing dragons and 
 scorpions and fiery snakes ; whose long convulsions, darting 
 forward as far as the eye could reach in every direction, at 
 length vanished into air. Fountains and jets of fire threw up 
 their blazing cascades into the skies. The whole vault of 
 heaven shone with the vivid fires, and seemed to receive into 
 itself innumerable stars and suns ; which, shooting up into 
 brightness almost unsufferable — vanished — like earth-born 
 hopes. The reflection in the depth of the calm clear waters 
 of the Tiber was scarcely less beautiful than the spectacle 
 itself ; and the whole ended in a tremendous burst of fire, that 
 while it lasted almost seemed to threaten conflagration to the 
 world. 
 
WOBURN ABBEY. 
 
 29 
 
 “ But this great agent of destruction was here wholly in- 
 nocuous. Man, who walks the earth, ruling not only the 
 whole order of beings, but the very elements themselves, had 
 turned that seemingly uncontrollable power, which might 
 annihilate the very globe itself, into a plaything for his amuse- 
 ment ; and compelled it to assume every whimsical and fan- 
 tastic form that his fancy dictated. It alone of all things in 
 existence, reversing the order of nature, arises from earth 
 towards the skies; yet even this he has bowed to his will. 
 Wonderful as these fireworks were, — and let not that name 
 lead you to imagine they bore any resemblance to those puny 
 exhibitions of squibs and crackers, which are denominated 
 fireworks, in England, — wonderful as they were, the illumi- 
 nation of St. Peter’s far surpassed them. It is a spectacle 
 which, unlike other sights that are seen and forgotten, leaves 
 a strong and indelible impression upon the mind.” 
 
 EAST SIDE. 
 
 Right . — A Landscape, by Gaspar Poussin , of very sombre 
 appearance ; forest, lake, triumphal arch, and town in the 
 distance. 
 
 Centre . — Over the chimney-piece, which is of white and 
 Siena marble, with a small alto-rilievo of Venus and Cupid, 
 and two Grecian Ionic pillars, is a View of Houghton House, 
 in its perfect state, by Wilson (called “the English Claude”). 
 
 Left . — Another Landscape, not quite so dark as the other, 
 with town, and water in the distance, by Gaspar Poussin ; but 
 conjectured by some to be by Claude , in what is termed his 
 “ green” style. 
 
 SOUTH SIDE. 
 
 A large painting of Nimeguen on the Rhine, by Cuyp , 
 extremely light and beautiful, with very clear architecture. 
 
30 
 
 A GUIDE TO 
 
 MINIATURES. 
 
 On the north and south sides are twenty-eight enamelled 
 miniatures, by Henry Bone , R.A . , justly celebrated as the first 
 enamel painter in the world. They are mounted in crimson 
 velvet, with scroll-work gilt frames. These were executed by 
 order of the present noble owner, to form a complete series of 
 tbe Russell family ; and to “ transfer them from the perishable 
 material of oil paintings, to the more durable and brilliant 
 representations in enamel.” The same personage has also 
 written a “Catalogue Raisonne,” for the information and ex- 
 ample of his descendants. 
 
 THE MINIATURE PORTRAITS ARE 
 
 1 and 2.— Philip Archduke of Austria and Joanna his consort 
 (the patrons of the first Earl of Bedford) . 3.— J ohn Russell, first 
 Earl of Bedford. 4. — Francis, second Earl of Bedford. 5. — - 
 Sir Francis Russell. 6.— -William, Lord Russell (of Thorn - 
 liaugh). 7.— Elizabeth, Lady Russell, his wife. 8. — Edward, 
 third Earl of Bedford. 9. — Lucy, Countess of Bedford. 1 0. — 
 Francis, fourth Earl of Bedford. 11.— Katherine, Countess of 
 Bedford. 12.— William, first Duke and fifth Earl of Bedford. 
 13. — Anne, Countess of Bedford. 14. — William, Lord Russell. 
 15.— Rachael, Lady Russell. 16. — Wriothesly, second Duke. 
 17.- — Elizabeth, his wife. 18. — Wriothesly, third Duke. 
 19. — Anne, Duchess of Bedford, his wife. 20. — John, fourth 
 Duke. 21.— Diana, his first wife. 22. — Gertrude, his second 
 wife. 23. — Francis, Marquis of Tavistock, her son. 24.—- 
 Elizabeth, Marchioness of Tavistock, his wife. 25.— Francis, 
 fifth Duke of Bedford. Not included in the Catalogue. 26, 
 27, 28. — John, the present Duke; Georgiana Elizabeth, his 
 first wife, daughter of Lord Torrington ; and Georgiana, the 
 present Duchess, daughter of the Duke of Gordon. 
 
 These are elucidated either in our Sketch of the Family, or 
 notices of the larger portraits. 
 
WOBURN ABBEY. 
 
 31 
 
 SALOON. 
 
 This fine room is 35 ft. 11 in. long; 25 ft. 6 in. wide; 
 and 28 ft. high. The ceiling is coved and gilt, with sunk 
 medallions, and a cornice, and has a lofty and handsome 
 appearance ; the drapery and hangings are blue damask and 
 gold. On the south and north sides are two most splendid 
 chimney-pieces of white marble, having double Caryatides,* 
 in front, and in profile, and tlieir friezes sculptured with 
 two cornucopise in very bold relief, and a ram’s head in the 
 centre. 
 
 PAINTINGS. 
 
 NORTH SIDE. 
 
 On the right . — Over the door is a portrait, called the 
 Captain General of the Spanish Armada,” (the Duke de 
 Medina Sidonia) and named “ Adrian Paulido Pareja;” it is 
 attributed to Velasquez , but the date of this painter appears 
 rather too late. The figure and countenance are very fine ; 
 he is dressed in black and a red sash, with a truncheon in his 
 hand. 
 
 Centre. — Elizabeth, Marchioness of Tavistock, mother of 
 the present Duke ; by Sir Joshua Reynolds ; 7 ft. 9 in. by 
 4 ft. 9 in. ; in her dress of Bridesmaid to Queen Charlotte. 
 She is represented in a graceful allegorical attitude, crowning 
 
 * Female figures supporting an entablature in place of columns ; 
 when the figures are male, they are properly termed Perscc, and by 
 the Gieeks, Telamones and Atlantides ; and when they are placed 
 as separate objects, in pleasure grounds, &c. they are called 
 Termini , from the ancient Roman Deity of that name, who was 
 supposed to preside over boundaries. “ The portico of the Pandro- 
 seon (at Athens) was supported by six Caryatides, one of which is 
 in the British Museum. 5 ’ — Laurent. See also the fine plates of this 
 temple, in Stuart's Athens , Vol. II., Chap, ii., Plate ii. xvi. xvii. 
 nix. xx. Of this description also, were the colossal and majestic 
 figures of giants, or Titans, in the noble temple of Jupiter Olympius 
 at Agri^entum. — Vide Cockerell's Description. Frontisviece, and 
 Plates 111. and VI. 
 
A GUIDE TO 
 
 32 
 
 a bust of Hymen with flowers. A Black appears in the back 
 ground, who is a portrait of Sir Joshua Reynolds’ own black 
 page. 
 
 Left , above.— -Daedalus fastening the wings on Icarus. — 
 
 Vandyke. 
 
 “ Dum monet aptat opus puero, monstratque moveri, 
 
 Erudit infirmas, ut sua mater, aves ; 
 
 Jamque, volaturus, parvo dedit oscula nato, 
 
 Nec patriae lacrymas continuere genae.” — Ovid. 
 
 Below. — Christ in the Garden, appearing to Mary Magda- 
 len. A very pleasing and spirited painting. The drapery of 
 Christ is purple, that of Mary crimson and yellow, with 
 yellow braided hair : the colours are very bright, particularly 
 the ultramarine.* — Annibale Caracci . 
 
 EAST SIDE. 
 
 Right, above. — Angels flying, and strewing flowers, round a 
 sportive Boy. 8 ft. 1 in. by 6 ft. 3 in. — Murillo. 
 
 Below. — A Landscape, by Nicholas Poussin. 
 
 Centre , over the Corinthian portal opening into the Saloon. 
 
 - — The dead body of Abel, just slain ; by Rubens . The posi- 
 tion of the body is much admired by connoisseurs. 
 
 Left , above.— The Departure of the Israelites out of Egypt. 
 
 ■ — Castiglione . 
 
 Below. — A Landscape, with the sea and a rock in the dis- 
 tance.* — Nicholas Poussin. 
 
 SOUTH SIDE. 
 
 Right , above. — Sampson proposing the Riddle of the 
 Honeycomb to the Philistines. Judges xiv. 14. — Guercino. 
 
 * The Roman Hymn for Easter, which contains a supposed 
 address to her on her return, is lively and pleasing. “ Whence 
 comes! thou, Magdalen, full of joy and love? — From the sepulchre 
 
 of Christ, I have seen the living conqueror of death/’ 
 
 “ Unde venis, Magdalena, 
 
 Gaudii et amoris plena?” 
 
WOBURN ABBEY. 
 
 33 
 
 Below . — Joseph interpreting Pharaoh’s Baker’s Dream. — 
 Rembrandt . A celebrated painting, exhibiting much charac- 
 ter; the countenance of the Baker is perfectly oriental, and 
 his fixed attention is admirable. J oseph appears as a pleasing 
 young man, with a countenance indicating mixed intelligence 
 and goodness, and at the same time concern at the fatal pre- 
 diction he is delivering. 
 
 Centre . — Francis, late Duke of Bedford, in his full peer’s 
 robes; by Hoppner. 8 ft. by 4 ft. 11 in. A bold and com- 
 manding figure. 
 
 Left, over the door. — A Vision of Christ. Christ is sleep- 
 ing in his mother’s lap ; angels are shewn displaying the cross, 
 and the Almighty is represented above. — Luca Giordano . 
 
 On the west side are two Vases of Verde-Antico, on red 
 Campan marble slabs. 
 
 DINING ROOM. 
 
 34 ft. 7 in. long: 23 ft. 8 in. broad: 15 ft. 10 in. high. 
 
 The walls of this apartment are wainscoted, the drapery 
 red, with a gilt ceiling : the chimney-piece, of Carrara marble, 
 is finely carved with fruit and flowers. 
 
 The paintings are nine whole length portraits by Vandyke. 
 
 NORTH SIDE. 
 
 Right. — Francis Earl of Bedford, in black, with white collar 
 and ruffles, Mt. 48. This nobleman was the principal author 
 and promoter of that great national improvement, the draining 
 of the “ Bedford Level:” thus being the founder of additional 
 wealth to his country, and the benefits of a purer climate 
 and a lengthened existence to many individuals and genera- 
 tions : a similar work to which has honoured the memories of 
 Augustus, of Trajan, and of Pius VI. 
 
 “ Sterilisve diu pains aptaque remis 
 Vicinas urbes alit et grave sentit aratrum, 
 
 Seu cursura mutavit iniquum frugibus amnis 
 Doctus iter melius.” — Hor. 
 
34 
 
 A GUIDE TO 
 
 The portrait is an exceedingly bold and striking one, and the 
 hand is beautifully executed. It is engraved in Lodge’s Por- 
 traits. 
 
 Centre . — Anne, Countess of Bedford, in white, with blue 
 sash and breast-knot, (the very lovely and innocent daughter 
 of the guilty pair — the Earl of Somerset, and the Countess of 
 Essex,) — wife of William, Duke of Bedford. It is said that she 
 was ignorant of the crimes of her parents, till she accidentally 
 one day took up a pamphlet in which they were related, and 
 that overcome by her feelings, she fell down in a fit. That 
 she was of a totally different nature and conduct, the very 
 sight of her sweet countenance, will firmly impress on the 
 belief of every spectator. 
 
 “ Falseness cannot come from thee , for thou lookest 
 Modest as justice, and thou seemest a palace, 
 
 For the crowned truth to dwell in!” — Pericles. 
 
 It is fortunate that all noble visitors to the house are aware 
 that the original of this portrait no longer exists on earth, or 
 they might chance to make a similar mistake with King 
 Bedreddin Lolo in the Turkish Tales.* 
 
 Left .— The Earl of Haddington in his peer’s robes, from 
 the (Mean’s collection. Lord Orford was not able to identify 
 the individual peer of that title whom this portrait repre- 
 sented. 
 
 EAST SIDE. 
 
 Right . — Lady Herbert, wife of Lord Herbert of Cherbury, 
 an eccentric and celebrated nobleman, who has written, as it 
 is said, the first piece of autobiography in England, and 
 which was republished by Walpole. She was the daughter 
 
 * This monarch is said to have fallen in love with a picture, and 
 to have traversed various parts of the world to find the original; 
 and at length to have discovered that it was the portrait of a 
 princess, who had lived in the time of Solomon ! 
 
WOBURN ABBEY. 
 
 i35 
 
 of Sir William Herbert of St. Gillians. Her dress is white 
 satin, painted in bold relief. 
 
 Centre . — Albertus Miraeus, oxAubertMire , almoner and libra- 
 rian to Albert, Duke of Austria ; a learned writer in divinity, 
 antiquities, and biography; who died at Antwerp in 1640. 
 He is represented sitting, in a black tasselled gown ; with 
 a fine perspective of columns. From the collection of M. de 
 Calonnes.* 
 
 Left . — Said to be Henrietta, the beautiful, but somewhat 
 rash and imperious queen of Charles I. White satin dra- 
 pery, with blue sash and knot, a pearl necklace, and a rose in 
 her hand. From the same collection. 
 
 SOUTH SIDE. 
 
 Right . — Algernon Percy, Earl of Northumberland, Lord 
 High Admiral, in red velvet, with blue sash, and large boots, 
 (Cordovan) resting on an anchor. A sea-fight in the distance. 
 
 “ This generous peer stepped forward in the cause of 
 liberty, in the beginning of the troubles of Charles I., while 
 he held the post of Lord High Admiral : a post he was dis- 
 placed from by the popular party, hy reason of his modera- 
 tion, which they suspected would be a check to their unrea- 
 sonable views. He was constantly a mediating commissioner 
 in all treaties on the side of the parliament, in which he be- 
 haved to them with dignity, spirit, and integrity. He was 
 appointed governor of the king’s children while they were 
 separated from their parents, and behaved to them with 
 respect and affection. He joined in opposing the ordinance 
 for the trial of his master ; after whose death, he retired to 
 Pet worth, and took no part with the usurping powers. He 
 joined heartily in the Restoration ; but, like a true friend to 
 his country, wished for it on terms of security to the people, 
 
 * A noble French Minister, a refugee in England, whose wise 
 counsels, if followed, would have prevented the Revolution. 
 
36 
 
 A GUIDE TO 
 
 and advantage to the nation. He received from the restored 
 king, honours suited to his rank, and enjoyed them till his 
 death in 1668.” — Pennant . 
 
 Centre .— The Duchess of Orleans (or qy., Lady Ormond) 
 from the Orleans collection. A handsome face, and striking 
 dress, viz. a black velvet robe tied with red ribbons, a white 
 satin gown, and half-hanging ruff. 
 
 Left . — -The Earl of Newcastle, from the Orleans collection. 
 The countenance is unpleasing; the dress blue, embroidered 
 and slashed with white, large fringes at the knees, and blue 
 bows of ribbon in the boots.* 
 
 BREAKFAST ROOM. 
 
 22 ft. long: 21 ft. broad: 15 ft. 10 in. high. 
 
 Lately refitted, in a light and elegant style : ceiling gilt. 
 
 PAINTINGS. 
 
 NORTH SIDE. 
 
 Centre .— Sir William Russell, afterwards Earl and Duke of 
 Bedford, in red ; and Digby, Earl of Bristol, in black : a very 
 large painting, said to be a copy from Vandyke . 
 
 Right. — Lady Caroline Russell, afterwards Duchess of 
 Marlborough . — Sir Joshua Reynolds. 
 
 Left , below. — Lady Anne, and Lady Diana Russell, 
 
 * The boots in the time of Elizabeth and James I., we are 
 informed, were usually manufactured of russet cloth, or leather, 
 hanging loose and ruffled about the leg, with immense tops turned 
 down and fringed: also, “ that they were often made of cloth, fine 
 enough for any hand or ruff ; and so large, that the quantity used 
 would nearly make a shirt ; they were embroidered in gold and 
 silver, having on them figures of birds, animals, and antiques, in 
 various coloured silks : the needle-work of them alone would cost 
 from four to ten pounds.” — Dr. Drake » 
 
WOBURN ABBEY. 
 
 children; they both, in a ramble, met with some poisonous 
 berries, of which they partook, which caused the death of the 
 first ; but Lady Diana survived, and was afterwards Countess 
 of Newport. 
 
 Above . — -The hand and arm of the Avenging Angel, in the 
 punishment of Heliodorus. A spirited sketch by Sir Joshua 
 Reynolds , from Raphael’s fresco in the 2d Camera di Rafa- 
 ello at the Vatican. 
 
 EAST SIDE. 
 
 Centre . — -John Duke of Bedford, copied from Sir Joshua 
 Reynolds. 
 
 Right , ibelow. — An extremety fine Head of a Jewish 
 Rabbi, by Rembrandt. 
 
 Above.— Philip of Spain, and Queen Mary of England, by 
 Holbein. They are here represented, as Pennant observes, 
 “ in an awkward scene of courtship ; and from the deficiency 
 of perspective, their majesties’ chairs appear placed at the top 
 of a very inclined plane (like the Montagues Russes ), indi- 
 cating no small danger of their fC falling from their high 
 estate,” into much less dignified and convenient positions. 
 The walls are covered with cloth of gold, or gilt leather. 
 
 Left. — A’ small painting : Ruins. 
 
 SOUTH SIDE. 
 
 Centre . — A full-length of Louis XV., presented by him, to 
 John, Duke of Bedford, when ambassador. — Vanloo. The 
 drapery is very rich; a robe of purple velvet, lined with 
 ermine, and covered with gold fleurs-de-lis ; collar of St. 
 Michael ; a purple velvet hat, with ostrich feathers. 
 
 Left. — Two fine landscapes by Gainsborough : above, farm 
 scenery ; below, a rural scene, with a rustic courtship, swain 
 and milkmaid. 
 
 Right. — The Marchioness of Tavistock, mother £o the 
 present Duke. — Sir Joshua ^Reynolds. Blue drapery, with a 
 black lace shawl, and collar of velvet and pearls. She was 
 d 2 
 
38 
 
 A GUIDE TO 
 
 disconsolate for tlie death of her amiable husband, whose 
 miniature she always wore round her neck, and died with it 
 in her hand. We can conceive her as exemplifying the 
 description of Crabbe, whose heroine, after the death of her 
 lover, found pleasure only in acts of kindness to others : — 
 
 “ Such have the last ten years of Ellen been : 
 
 Her very last that sunken eye hath seen, 
 
 That half angelic being, still must fade. 
 
 Till all the angel in the mind be made. 
 
 And now the closing scene must shortly come ; 
 
 She cannot visit sorrow at her home ; 
 
 Yet still she feeds the hungry, still prepares 
 The usual softeners for the peasant’s cares ; 
 
 And though she prays not with the dying now. 
 
 She teaches them to die, and shows them how.” 
 
 On the pleasing anticipations of reunion in such instances, 
 which at some periods are interesting to all, no poetical 
 descriptions are more pleasing, than the Dream of Tancred, in 
 the xiith canto of Tasso, and Azim’s Vision of Zelica, at the 
 conclusion of the “ Veiled Prophet ” of Moore , one of his 
 purest and most touching passages. 
 
 THE VENETIAN DRAWING ROOM. 
 
 34 ft. 1 in. long, 22 ft. 6 in. broad, 16 ft. 10 in. high. 
 
 DRAPERY GREEN! 
 
 Contains the unusually fine collection of twenty-four views 
 in Venice, by Canaletti. Over the four doors are spirited 
 bassi rilievi, by Garrard. On the north side, Right , “The 
 Sick Lion and Fox.” La Fontaine. Left . — “The Council of 
 Horses.” — Gay. East side, Right. — “ The Bull and Mastiff.” 
 —Gay. Left. — “The Stag and the Vine.” La Fontaine. 
 In this room is some fine antique Sevres China. 
 
 The Canalettis are mostly of small size; but on the east 
 and west sides are two, about 7 ft. by 4 ft. each, which 
 
WOBURN ABBEY. 
 
 39 
 
 represent the Gran- Canale, or principal canal (which runs 
 through the city, and is 300 ft. wide), at the time of an 
 aquatic procession. The others contain different views of the 
 Piazza, Church, and Tower of St. Mark, (330 ft. high), the 
 Rialto, the Palaces and Halls, and all the principal features 
 of the “ Queen of the Adriatic.” Of whose ancient dignity and 
 power, as one of the noblest states in Christendom, the 
 Sovereign of the Grecian Isles, and the terror of the Otto- 
 mans, alike renowned for arts and arms, and of its modern 
 insignificance, the result of luxury and tyranny, no account 
 that we have met with, is more interesting, than that of 
 the judicious and excellent Eustace ; which we should be 
 glad to introduce at some length, were it not incompatible 
 with our limits. 
 
 SMALL READING ROOM; or, ANTE-LIBRARY. 
 
 19 ft. 10 in. by 15 ft. 2 in. ; and 17 ft. 1 in. high; with a 
 cove ceiling. 
 
 Over the doors are six panels, with bassi rilievi, by 
 Rysbach: Genii, &c., &c. The eye of the visitor will be de- 
 tained by the beautiful tints of the carpet in this room, which 
 is a gratifying specimen of native manufacture, and has been 
 lately executed at Axminster. 
 
 LIBRARY. 
 
 This fine and chastely neat apartment, including the addi- 
 tion at the east end, is 77 ft. long, 23 ft. 10 in. wide, and 
 16 ft. 8 in. high. The original room is divided into three 
 parts by screens, with fluted Corinthian columns. We cannot 
 pronounce with certainty on the number of volumes which it 
 contains, but believe it to be about 9000; and that 5000 others 
 are contained in different apartments of the Abbey. Amongst 
 
40 
 
 A GUIDE TO 
 
 these are almost all the standard works, English and Foreign ; 
 several rare and valuable publications ; and all the best modern 
 works, including the most costly ones on the Fine Arts. The 
 bindings are in general extremely rich. Over the bookcases 
 are portraits of distinguished artists, ancient and modern; 
 also of some eminent statesmen, philosophers, and poets ; but 
 those of the first class predominate. Those of Rubens, Murillo, 
 Titian, Rembrandt, Teniers, Jan Stein, Tintoretto, Kneller, 
 Frank Hals, and Kupetzi, were painted by themselves. The 
 painting of Diogenes is by Salvator Rosa. The portraits of 
 Wouvermans the younger, Daniel My tens and his Wife, Peter 
 de Jode the engraver, and Family, John Snellinch, Philip le 
 Roy, and Charles de Mallery, of Antwerp, were executed by 
 Vandyke . Colbert is painted by Jean Baptiste Champagne ; 
 Vesaleur by Titian; and Martyn Pepyn by himself. In the 
 east wing, formerly called the Etruscan Room, are Michael 
 Angelo; Paul Veronese and another; Both, by himself; Des 
 Cartes, by Philip de Champagne ; Cuyp, a very fine painting, 
 by himself; Gerard Dow; Vandyke; Sir Joshua Reynolds, 
 by himself; Garrick and Goldsmith, by Sir Joshua Reynolds; 
 Cavalier D’Arpino;* Asselyn ; Canova, by Hayter ; and 
 Samuel Rogers, by the same. In this wing are some can- 
 delabra and vases of alabaster, very finely executed, and a 
 beautiful chimney-piece of Carrara marble; the frieze of 
 which, designed and sculptured by Westmacott, represents the 
 “Progress of Navigation,” by an infant genius, in a series of 
 seven discoveries: — -1st. the water lily of the Nile; 2nd. the 
 
 * Giuseppe D’Arpino, born in 1560, was employed as a boy 
 under some painters in the Vatican ; when Gregory VII., noticing 
 his genius, generously allowed him a pension of a gold crown a day. 
 He was afterwards knighted, having attained considerable eminence 
 in his profession; and drew the designs for the Mosaic ornaments of 
 the dome of St. Peter’s. We should be glad to see Quintin Matsys 
 added to this group, whom 
 
 “ Connubialis amor de Mulcibre fecit Apellem.” 
 
WOBURN ABBEY. 
 
 41 
 
 nautilus shell ; 3rd. the sail ; 4th. the mast ; 5th. the compass 
 (an anachronism); 6th. the anchor; 7th. the plummet. The 
 cornice has Corinthian modillions ; on it stands a bust of 
 Napoleon Buonaparte, when first consul. 
 
 In the principal library is another fine chimney-piece of 
 Carrara marble, with a frieze decorated with flowers, and 
 oriental Caryatides; on which is a model Sarcophagus, of 
 Egyptian porphyry, and two small pillars of Lapis Lazuli. 
 Opposite to this, on the south side, is a very handsome French 
 time-piece, representing a chariot of bronze and gilding, drawn 
 by lions, and crowned by the four Seasons, with their proper 
 attributes : also two small copies of the Borghese and Medici 
 vases. 
 
 THE PICTURE GALLERY. 
 
 Ill ft. 9 in. long; 18 ft 1 in. wide; and 15 ft. 10 in. high. 
 Drapery, &c., red. 
 
 CONTAINS SEVENTY-ONE PORTRAITS. 
 
 “ Hie manus ob patriam pugnando vulnera passi : 
 
 Quique sacerdotes casti dum vita manebat : 
 
 Quique piivates, et Phcebo digna locuti : 
 
 Inventas aut qui vitam excoluere per artes : 
 
 Quique sui memores alios fecere merendo ”-—Vir. J£n. vi . 
 
 Here those who suffered for their country’s good ; 
 
 Or blameless priests before the altars stood. 
 
 In ages past : — here souls whose mighty thrill 
 Glad Phoebus welcomed on the Aonian hill : — 
 
 Who life with various arts ennobled then : — 
 
 And those whose bounty fills the hearts of men. — Ed. 
 
 “ A room,” observes Pennant, " unparalleled for its valuable 
 and instructive series of portraits ; their history would make a 
 volume. I can only pretend to point out some principal facts, 
 that the spectator who honours me with his company through 
 
42 
 
 A GUIDE TO 
 
 this illustrious assemblage, may not have to reproach me with 
 suffering him to depart wholly uninformed.” The biographical 
 notices which are here given from this author are increased 
 by a careful search after any observations on the same indi- 
 viduals, which occur in other portions of his works. 
 
 The Gallery is divided into three parts by screens, with 
 fluted Corinthian pillars. Commencing on the west side, 
 which is on the left hand of the visitor at his entrance, the 
 first portrait we meet with is 
 
 A half length of Lady Cooke, (see p. 77 of the First Part,) 
 in black velvet, with pearl necklace and rings. 
 
 William, Earl of Bedford, full length, by Sir Godfrey 
 Kneller , in robes of the garter; the colours very bright. (See 
 the First Part). 
 
 Henry Danvers, Earl of Danby, full length; black doublet, 
 with red velvet embroidered mantle. Engraved in Lodge’s 
 Portraits. 
 
 “ A full length of Henry Danvers, created Baron Dauntsey 
 by James I., and Earl of Danby by Charles I., by Vandyke. 
 His beard square and yellow; his jacket black; over that a 
 red mantle, furred and laced with gold. His rich armour lies 
 by him; near him is written ‘ Omnia prcecepid He was the 
 son of Sir John Danvers, of Dauntsey in Wiltshire, by Eliza- 
 beth, daughter and coheir of John Nevil, Lord Latimer. His 
 eldest brother, Sir Charles Danvers, lost his head for his con- 
 cern in Essex’s insurrection. James who, on all occasions, 
 testified his respect to that unhappy nobleman, countenanced 
 every family who suffered in his cause, accordingly had Dan- 
 vers restored in blood. Besides a peerage, he made him 
 governor of Guernsey for life. Charles promoted him to an 
 earldom, and created him knight of the garter. He passed 
 his life as a soldier, under Maurice, Prince of Orange, in the 
 Low Countries; under Henry IV. in France; and under the 
 Earl of Essex and Lord Montjoy, in Ireland. At length, in 
 
WOBURN ABBEY. 
 
 43 
 
 1644, died, as liis epitaph says, at his house of Cornbury Park, 
 Oxfordshire, full of honours, wounds (verified in the portrait, 
 by a great patch on his forehead), and days, in the seventy- 
 first year of his age. Besides his military glory, we may add 
 that of founding the physic garden of Chelsea, in 1632 ; pur- 
 chasing for that use the ground (once the Jews’ cemetery), and 
 inclosing it with a wall and beautiful gate, at the expence of 
 5000/.’ ’ — Pennan t. 
 
 Henry Percy, Earl of Northumberland, full length; black 
 quilted dress, with point lace collar and ruffles, very fine and 
 clear; by Cornelius Jansen. 
 
 Three portraits of Children, by Cornelius Jansen , 1627. 
 Francis and John, sons, and Catherine, daughter of Francis, 
 Earl of Bedford. The latter, thirteen years old, is a pleasing 
 picture ; dress white and black, with rose-coloured bows, and 
 a large ruff; hair yellow. 
 
 Henry, Earl of Southampton, three-quarter length, by Mire- 
 velt ; or, according to Pennant, Solomon de Cans. Horace 
 Walpole does not allude to the artist. The countenance is 
 very fine, with a strong light thrown on it. 
 
 “ A half length of Henry, Earl of Southampton, by Solomon 
 de Cans ; with short grey hair; in black, with points round 
 his waist, a flat ruff; leaning on a chair, with a mantle over 
 one arm. This nobleman was a friend to the Earl of Essex, 
 and through friendship, not disaffection, attended him in the 
 mad and desperate insurrection, which brought the favourite 
 to the block. The plea was admitted: he was condemned, 
 but reprieved ; and continued in the Tower till the accession of 
 James I.,. when he was instantly restored to his honours and 
 estate. By reason of his love to the Earl of Essex, he never 
 was on good terms with the minister, the Earl of Salisbury. 
 He was one that attended Mansfield’s army into the Nether- 
 lands, and died, in 1624, at Bergen-op-Zoom, of a fever, con- 
 tracted in this fatal expedition.” — Pennant. 
 
44 
 
 A GUIDE TO 
 
 Mr. Lodge’s engraving is taken from this portrait. This 
 nobleman was a munificent patron of Sliakspeare, to whom he 
 is said to have made at one time a present of 1000/. His 
 character is highly applauded, by persons of opposite parties. 
 Gervase Markham calls him the 
 
 Glorious laurel of the Muses’ hill. 
 
 Whose eye doth crown the most victorious pen ; 
 
 Bright lamp of virtue, in whose sacred skill 
 Lives all the bliss of ears -enchanting men. 
 
 * * * * * * 
 
 What man lives or breathes on England’s stage 
 That knew not brave Southampton, in whose sight 
 Most plac’d their day, and in his absence night ! 
 
 * * * * * * 
 
 And bestows a high eulogium on his private character. 
 
 No power, no strong persuasion could him draw 
 From that which he conceived as right and law. 
 
 # # # * * * 
 
 When shall we in this realm a father find 
 So truly sweet, or husband half so kind ? 
 
 A Lady, unknown, full length, standing, with a pleasing 
 countenance. Her dress is an embroidered satin gown, red 
 velvet mantle, ruff, and pearl coronet. 
 
 Thomas, Earl of Southampton, father of Lady William 
 Russell, half-length, sitting, by Sir Peter Lely ; (the original of 
 Lodge’s portrait); black velvet robe, with diamond star; 
 Lord Treasurer’s wand: the countenance expresses as much 
 virtue and benignity as can easily be conceived. 
 
 “ Thomas Wriothesley, Earl of Southampton, by My tens ; 
 a nobleman firmly attached to his royal master, and who 
 offered himself a victim for his prince’s life. The Earls of 
 Hertford and Lindsay joined in the generous petition to the 
 
WOBURN ABBEY. 
 
 45 
 
 Commons, on the condemnation of the King; alleging, that 
 they having been counsellors to his majesty, and concurring 
 in the advice of the several measures now imputed as crimes, 
 they alone were guilty in the eye of the law, and ought to 
 expiate the supposed offences of his majesty. He survived to 
 see the restoration of the royal family ; was rewarded with the 
 treasurer’s rod; and died a friend to his country, as well as 
 prince, on the 16th of May, 1667. His death, and the fall of 
 Chancellor Hyde, removed from the abandoned court every 
 check upon its profligate designs. It was so impatient to 
 remove him, as to wish to wrest the rod from his dying hands, 
 had not Hyde earnestly entreated the king to wait four or five 
 days, till his death must happen. He died of the stone. So 
 little credit had our surgeons at that time, that he sent to 
 Paris for one; but his end prevented the operation.” — Pen- 
 nant . 
 
 u It is remarkable that puritanic virulence never aspersed 
 Lord Southampton, either when he opposed its power, or rose 
 on its ruin ; that his virtues escaped both contagion and ridi- 
 cule, in a most profligate and satiric court; and that sincere 
 patriots believe, the gates were shut against the inroad of 
 prerogative, at the restoration of the man who was placed by 
 the king at the head of the treasury .” — Horace Walpole, 
 
 Under the last three are 
 
 Edward, fourth son of Francis, Earl of Bedford. 
 
 Dorothy, Countess of Berkshire, daughter of Earl Rivers : 
 a pleasing countenance; dress blue and pearls, and flowers in 
 her hair. 
 
 Catherine, Countess of Dorset: in white and pearls; very 
 fine flowing auburn hair. 
 
 Anne, Countess of Bedford (see pages 87, 206) : brown 
 silk and white, looped with pearls. 
 
 Over the door, leading to the saloon, is a bust of Charles I. 
 
 E 
 
46 
 
 A GUIDE TO 
 
 1 647 ; and under it is preserved an ivory staff, left by the 
 king after his last visit to Woburn Abbey. 
 
 The Earl of Manchester, half length ; said to be by Sir 
 Peter Lely ; in robes and collar of the garter, with a staff: — 
 u better known by his earlier title of Lord Kimbolton, one of 
 the five members demanded by King Charles I. After the 
 restoration, he was appointed Lord Chamberlain by King 
 Charles II. He married Lady Margaret Russell, daughter of 
 Francis Earl of Bedford.” — H. Walpole . 
 
 A Gentleman, unknown; whole length; in a black dress, 
 embroidered with gold, and gold bows in his shoes, point lace 
 collar and cuffs. The hand of a lady appears behind, drawing 
 a curtain, and part of her robe ; but tradition is silent as to the 
 story connected with the painting. 
 
 Lucy, Countess of Bedford, daughter of the Earl of Har- 
 rington ; by Gerard Honihorst : * in a sitting position, with her 
 head leaning on one hand; a pearl coronet in her hair, and 
 her wedding ring hangs from a bracelet : the effect is pleasing. 
 “ It is painted and finished with the greatest vivacity and 
 clearness.”—- Walpole's Anecdotes of Painting . 
 
 From the same source we collect, that the artist Honthorst 
 was the favourite painter of the interesting and unfortunate 
 Queen of Bohemia, whom, with her two daughters, he in- 
 structed in his art ; and one of the princesses, Louisa, made a 
 considerable proficiency. Bearing a good character, he had 
 at one time no less than twenty-eight pupils of rank ; each of 
 whom paid him 100 florins per annum. For some paintings 
 which he executed for Charles I. in the course of six months, 
 he received 3000 florins, a service of plate for twelve persons, 
 and a horse. 
 
 The character of Lucy, Countess of Bedford, as a striking 
 
 * The Italians not being able to endure the harsh enunciation of 
 this name,' gave him the appellation of Gherardo Dalle Notti . — Edo 
 
WOBURN ABBEY. 
 
 47 
 
 example of vanity and extravagance, in which light it has 
 been represented by her harsh censurers, has been lately in 
 some measure disproved by Lodge, who has at least shewn 
 that no decisive proof can be adduced of her possessing these 
 qualities. Walpole observes, that she was “the lavish pa- 
 troness of the less opulent wits of that age, and as her muni- 
 ficence was directed to more visionary views than that of the 
 Countess of Devonshire, the estate of her lord, who was a weak 
 man, was considerably impaired by her ostentation.” But it 
 is no where attempted to be established that she was not a 
 lady of distinguished talents and taste, as 'well as personal 
 charms, or in other words, that the eulogiums of her favourite 
 poets were untrue ; the most forward of whom were Samuel 
 Daniel, and Dr. Donne. She had also no family whom her 
 expenses could injure, and there are many species of extra- 
 vagance among the great, less defensible than even the lavish 
 patronage of literary characters. Her skill in horticulture was 
 highly commended by Sir William Temple, who calls her garden 
 at Moor Park, Herts., afterwards the residence of the Duke of 
 Monmouth, and subsequently of Lord Anson, “the most beau- 
 tiful and perfect in the figure and disposition that he had ever 
 seen.” Giacomo Castelvetri, the son of a learned Italian 
 critic and commentator on Aristotle, dedicated to her, “ Brieve 
 Racconto di tutte le radici, di tutte V herbe, e di tutte frutti, 
 che crudi o cotti, in Italia si mangiano.” 
 
 Under the three last are small paintings of the “ four 
 handsome daughters” of Francis, Earl of Bedford : the most 
 pleasing group in the gallery. 
 
 “ Indum sanguineo veluti violaverit ostro 
 Si quis ebur, vel mixta rubent ubi lilia multa 
 Alba rosa.”-— Vir. 
 
 Thus Indian ivory shews, 
 
 Which with the bordering paint of purple glows, 
 
 Or lilies damask’d by the neighbouring rose. — D ryden. 
 
48 
 
 A GUIDE TO 
 
 1. — Lady Catherine Brook. Black hood and white collar, 
 with flowers in her waist ; beautifully painted. 
 
 2. — Anne, Countess of Bristol. Blue. 
 
 3. — Margaret, Countess of Carlisle. Blue and pearls, with 
 flowers in her hair. One of those pleasing countenances on 
 which the eye reposes with a perfect confidence of sweetness 
 and gracefulness of mind in the original. 
 
 4. — Lady Diana Newport. White and blue, and hair 
 braided with pearls. 
 
 Three small and pleasing portraits of Children. Anne, 
 Margaret, and Diana Russell. Some of these paintings of 
 children, are by Priwitzer , but we are not able to identify 
 them. 
 
 Earl of Salisbury, youngest son of Lord Burleigh, whole 
 length. It is a curious circumstance, which we have been in- 
 formed of by Mr. Palmer, of the Rolls Office, that this lord 
 and his eider brother were created Earls in one day, but that 
 the patent of the former having been executed first, by the 
 space of an hour or two, he took precedence of his elder 
 brother, for the rest of his life. 
 
 “ His second son, Robert, Earl of Salisbury, is placed near 
 him, standing : a mean little deformed figure, possessed of his 
 father’s abilities, but mixed with deceit and treachery. His 
 services to his master and his country, will give him rank 
 amongst the greatest ministers : but his share in bringing the 
 great Raleigh to the scaffold ; and the dark part he acted, in 
 secretly precipitating the generous, unsuspecting Essex to his 
 ruin, will ever remain indelible blots on him as a man. His 
 dress is that of the Spanish nation (though he was averse to 
 its politics), a black jacket and cloak, which adds no grace to 
 his figure.” — Pennant . 
 
 Earl of Exeter. “ A man of courage and dignity, who 
 attained no renown and incurred no reproach. As he declined 
 
WOBURN ABBRY. 
 
 49 
 
 the earldom when first offered to him, from the incompetency 
 of his fortune, it shewed there was no ostentation in his vir- 
 tues.” — II. Walpole . 
 
 “ Thomas, Earl of Exeter, eldest son to the great Burleigh, is 
 painted a full length. — This nobleman was inferior in abilities 
 to his younger brother ; yet he was a man of spirit and parts. 
 He served as a volunteer at the siege of Edinburgh Castle, in 
 1573 ; distinguished himself in the wars in the Low Countries ; 
 and, with his brother, served on board the fleet which had the 
 honour of defeating the Spanish armada. He entered also 
 into the romantic gallantries of the reign of Queen Elizabeth, 
 and was a knight tilter in the tournaments performed for the 
 amusement of her illustrious lover the Duke of Anjou, in 
 1581. In the following reign he was employed as a man of 
 business, was created Earl of Exeter, and finished his course, 
 aged eighty, in February 1622. His pious foundations were 
 very considerable.”— Pennant. 
 
 The Earl of Essex, whole length ; white doublet with gorget, 
 and a George round his neck by a green ribbon : ocean in the 
 back ground. Zucchero. 
 
 “ A full length portrait of the well known unfortunate 
 Robert, Earl of Essex, in white. The queen’s passion for 
 Essex certainly was not founded on the beauty of his person. 
 His beard was red, his hair black, his person strong, but 
 without elegance, his gait ungraceful. But the queen was far 
 past the heyday of her blood; she was struck with his romantic 
 valour, with his seeming attachment to her person, and, I may 
 add, with the violence of his passions; for her majesty, like 
 the rest of her sex, probably 
 
 * Stoop’d to the forward and the bold.’ 
 
 “ At length his presumption increased with her favour ; her 
 fears overcame her affections, and after many struggles, she 
 
50 
 
 A GUIDE TO 
 
 consigned him to the scaffold; having thoroughly worked 
 himself out of her gracious conceit” — Pennant . 
 
 Sir Nicholas Throgmorton, half length, in black. “ He had 
 a narrow escape in the time of Queen Mary; being tried, and 
 narrowly acquitted, for a supposed concern in Wyatt’s insur- 
 rection. Was employed by Elizabeth in important embassies 
 to France and Scotland. His abilities were great: his spirit 
 was said to have bordered on turbulence : his death, therefore, 
 was esteemed rather fortunate. It happened in 1570, at the 
 table of Cecil ; not without suspicion of poison : an end in 
 those days more frequently attributed than it ought to be.” — 
 Pennant . 
 
 NORTH END. 
 
 Sir Philip Sidney, half length, by Sir Antonio More , in a 
 yellowish doublet, slashed, a mail gorget, and trunk breeches. 
 (The first portrait in the 8vo. edition of Lodge). An indi- 
 vidual sketch could tell scarcely anything which is not uni- 
 versally known of this eminent character. Greatly should we 
 rejoice if the single instance of the letter to Mr. Molineaux, 
 in which a violent degree of temporary ferocity is implied, 
 could be disproved ; but as no other instance is on record, we 
 hope this is the only one; for we cannot do otherwise than 
 esteem a character, the concluding scene of whose life could 
 only have been the act of one of the noblest spirits on earth. 
 
 Courteney, Earl of Devonshire : half length ; dress brown 
 with white sleeves ; a ruined tower in the back ground : Sir 
 Antonio More . This portrait is engraved as a fine early 
 specimen of art in Walpole’s x^necdotes; also in Lodge. 
 
 “A fine portrait, by Sir Antonio More , of Edward Courteney, 
 last Earl of Devonshire of his name, who, for his nearness in 
 blood to the crown, was imprisoned by the jealous Henry, 
 from the age of ten till about that of twenty-eight. His 
 daughter Mary set him at liberty, and wooed him to share 
 
WOBURN ABBEY. 
 
 51 
 
 the kingdom with her. He rejected her offer, from prefer- 
 ence to her sister Elizabeth ; for which, and some false sus- 
 picions of disaffection, he suffered another imprisonment with 
 Elizabeth ; but was soon released. He quitted the kingdom, 
 as prudence directed, and died at the age of thirty, at Padua, 
 
 “ He is represented as a handsome mail, with short brown 
 hair, and a yellow beard, a dark jacket with white sleeves, 
 and breeches : behind him is a ruined tower ; beneath him 
 this inscription, expressive of his misfortunes : 
 
 “En! puer, et insons, et adhuc juvenilibus annis, 
 
 Annos bis septem carcere clusus eram. 
 
 Me pater his tenuit vinclis, quae fiha solvit: 
 
 Sors mea sic tandem vertitur a superis.” 
 
 44 Fourteen long years in strict captivity. 
 
 Tyrant -condemn'd, I passed my early bloom, 
 
 'Till pity bade the generous daughter free 
 
 A guiltless captive, and reverse my doom. It, W.” * 
 
 Pennant • 
 
 Sir Nicholas Bacon, Lord Keeper, in black furred gown and 
 cap ; a fine hand holding a letter : half length, by Zucchero , 
 Engraved in Lodge. 
 
 “ A wise and worthy man, eclipsed in every thing but his 
 virtues, by that transcendant genius, the Chancellor, his son .’ 7 
 — H. Walpole . 
 
 “The elegance of his taste was apparent in his buildings, 
 which confirm the observation of Lloyd, that 4 his use of 
 learned artists was continual.’ To him we are indebted for 
 Redgrave, in Suffolk, and the seat in question (Gorliambury, 
 Herts.). Over the entrance to the Hall of Gorliambury, were 
 these plain verses : 
 
 * The Rev. Richard Williams, of Fron, Flintshire, a friend of 
 Pennant’s. 
 
52 
 
 A GUIDE TO 
 
 Ilaec cam perfecit Nicholaus tecta Baconus , 
 
 Elisabeth regni lustra fuere duo. 
 
 F actus eques magni custos fait ipse sigilli, 
 
 Gloria sit soli tota tributa Deo. 
 
 In both he adhered to his rational motto, Mediocria Firma , 
 He is said to have departed a little from it in the instance of 
 Redgrave, but not till after his royal mistress, who honoured 
 him with a visit there, told him, ‘ You have made your house 
 too little for your lordship.’ ‘No, madam,’ replied he, ‘but 
 your highness has made me too big for the house.’ But after 
 this, he added the wings. 
 
 “He was a person of a very corpulent habit, for which 
 reason Queen Elizabeth used to say, ‘ that her lord keeper’s 
 soul lodged well.’ To what I have given of him before, I 
 shall only add, that he caught his death by sleeping in his 
 chair with his window open. He awoke disordered, and, 
 reproving his servant for his negligence, was told, that he 
 feared to awake him. 'Then,’ replies the Keeper, ‘your 
 complaisance will cost me my life.’ He died in 1579.” — 
 Pennant . 
 
 Below these . — -The Countess of Somerset, in half-mourning, 
 with lappets, large ruff starched with yellow, and a silver 
 coronet on her head : the countenance is very handsome, 
 with a gentle expression ; the wrist and hand remarkably 
 beautiful. 
 
 The thousand times hacknied expression, “ Front! nulla 
 tides,” was never more strikingly verified, than in gazing on 
 the face of this “beautiful fiend,” where we can certainly 
 discover no traces of the treacherous adulteress, and the mur- 
 deress. 
 
 “The head of Frances, Countess of Somerset, dressed in 
 black striped with white, and her ruff and ruffles starched 
 with yellow. This fashion soon expired ; for her bawd and 
 
WOBURN ABBEY. 
 
 53 
 
 creature, Mrs. Turner, went to Tyburn in a yellow ruff, and 
 put the wearers out of conceit with it. I need not enlarge on 
 the well-known marriage and divorce of this lady from the 
 Earl of Essex. Her wickedness in procuring the death of 
 Overbury, who obstructed her union with Somerset — her 
 sudden fall, and confession of her guilt on her trial, need no 
 repetition. Her Earl avowed his innocency: he had been 
 more covert in his proceedings. Her passions were more 
 violent, her resentment greater, and, of course, her caution 
 less. They both obtained an unmerited pardon, or rather 
 reprieve, being confined in the Tower till the year 1622, and 
 then confined by the way of indulgence, in the house of Lord 
 Wallingford. The little delicacy which people of rank too 
 frequently shew, by countenancing the vices of their equals, 
 was conspicuous at this time. The Countess felt their pity, 
 and was visited even by the stern Anne Clifford. Somerset 
 lived with his lady, after their confinement, with the strongest 
 mutual hatred; the certain consequence of vicious associ- 
 ations. He died in the year 1645 : she died before him. In 
 her end may be read a fine lesson on the vengeance of Provi- 
 dence on the complicated wickedness of her life. It may be 
 held up as a mirror to posterity, persuasive to virtue, and 
 teach that heaven inflicted a finite punishment on the crimi- 
 nal, in mercy to her, and as a warning to future generations.” 
 — Pennant . 
 
 Mary, Queen of England, on copper, by Sir Antonio More . 
 The dress of this ugly queen is intended to have a very splen- 
 did effect. It is black, with furred sleeves; cloth of gold 
 fining, and immense embroidered cuff ; a kind of black cap, 
 with a pearl coronet, on her head; an immense egg pearl 
 hanging from her neck, and two brooches. 
 
 EAST SIDE. 
 
 Three small portraits. 
 
 1. Sir Edward Gorges. 
 
54 
 
 A GUIDE TO 
 
 2. Sir Joscelyn Percy. 
 
 3. Sir Richard Bingham, in a huff coat.* This picture has 
 a very modern effect, and the countenance bears a strong 
 resemblance to Prince Leopold. 
 
 Catherine, Countess of Bedford ; whole length. Black 
 dress, with point lace collar, and ruffles. A sprig of lilies 
 formed of pearls, in her bosom ; and a nosegay in her hand. 
 
 Lord Treasurer Burleigh, whole length, sitting in a loose 
 black furred gown, aud hat ; his rod in one hand, and a letter 
 in the other. A fine portrait. 
 
 “ Lord Treasurer Burleigh, the able statesman of Elizabeth; 
 a favourite, whom she chose, as she expressed it, not for his 
 bad legs, but for his good head. His maxims did not quite 
 agree with those of the ministers of later days ; for he held, 
 That nothing could be for the advantage of the prince , which 
 makes any way against his reputation ; wherefore he never 
 would suffer the rents of lands to be raised, nor the old 
 tenants to be put out. 
 
 “This great statesman is represented sitting: his coun- 
 tenance comely, his beard grey, his gown black and furred, 
 and adorned with a gold chain. His mistress lost this faith- 
 ful servant in 1598, aged seventy-seven. 
 
 “ His abilities as a statesman were inimitable ; his private 
 virtues, his honesty, temperance, moderation, industry, and 
 justice, not beyond the power of the great to copy ; his mag- 
 nificence was attended with hospitality; his annual deeds of 
 alms were to the amount of 500/. As his life was excellent, 
 so his death was happy ; dying in the fulness of years and of 
 glory, envied, as his greatest enemy declared, only because 
 his sun went down with so much lustre ; not clouded, as gene- 
 rally is the fate of great ministers.” — Pennant . 
 
 * “This species of defence was usually made of the skin of the 
 elk, and oftentimes of the stag, and was proof against a ball.”— 
 Pennant, 
 
WOBURN ABBEY. 
 
 55 
 
 Four small Portraits. 
 
 1. Unknown. A Lady. 
 
 2. “The fair Geraldine,” daughter of the Earl of Fitzgerald. 
 
 This celebrated dame, the object of the Earl of Surrey’s 
 
 real affection, as well as poetic celebration, does not appear 
 here in a very advantageous light ; arising, in some measure, 
 from the painting, which is one of the least deserving in the 
 Gallery, being executed on panel, and the colours having 
 become faded. Her dress is heavy, and encumbered with 
 ornaments. After having first accepted, and then rejected 
 the Earl, she, many years afterwards, when her charms had 
 passed their zenith, listened to the addresses of the older and 
 less accomplished, Clinton, Earl of Lincoln, (see p. 191). The 
 most pleasing of Surrey’s sonnets, is that in which, with simple 
 eloquence, he alludes to her early youth, and his first intro- 
 duction to her. The reader will also recollect Fitztravers’ 
 Song, and Agrippa’s Glass, in the “ Lay of the Last Minstrel,” 
 
 H. HOWARD, EARL OF SURREY. ABOUT 1540. 
 
 From Tuscane came my lady’s worthy race, 
 
 Fair Florence was sometime her ancient seat ; 
 
 The Western Isle,* whose pleasant shore doth face 
 Wild Camber’s cliffs, did give her lively heat. 
 
 Fostered she was, with milk of Irish breast : 
 
 Her sire, an earl ; her dame, of prince’s blood \ 
 
 From tender years, in Britain she doth rest, 
 
 With King’s child, f where she tasteth costly food. 
 
 Honsdon £ did first present her to mine eyn ; 
 
 Bright is her hue, and Geraldine she hight. 
 
 Hampton me taught to wish her first for mine. 
 
 And Windsor, alas ! doth chase me from her sight. 
 
 Her beauty of kind, § her virtue from above ; 
 
 Happy is he that can obtain her love ! 
 
 * Ireland. t Maid of Honour to the Princess Mary. 
 
 £ A palace in Herts, built by Henry VIII., for the education of 
 his daughters. § Belonging to her family. 
 
56 
 
 A GUIDE TO 
 
 3. Margaret, Countess of Cumberland. Black, with gold 
 comb, and feather, and strings of pearls : very graceful. En- 
 graved in the last edition of Pennant’s Tour. 
 
 4. Ambrose Dudley, Earl of Warwick. On his black upper 
 dress, are several small gold stars, which are also placed in 
 his hat. 
 
 “ Ambrose Dudley, Earl of Warwick, eldest surviving son 
 of Dudley, Duke of Northumberland. Condemned with his 
 father, but restored in blood : took to a military life ; was 
 appointed, by Queen Elizabeth, Master of the Ordnance, Earl 
 of Warwick, and elected Knight of the Garter; and had the 
 more substantial favour of a grant of the castle, manor, and 
 borough of Warwick, forfeited by his father. He died in 
 the year 1589, and lies beneath an elegant tomb in Warwick 
 church.’ ’ — Pennant . 
 
 On the south side of the screen are six small Portraits. 
 
 1. Colonel John Russell. 
 
 2. Edward Lord Russell. 
 
 3. Francis, second Earl of Bedford. Furred robe, collar 
 and George, and falling collar; black velvet bonnet. A very 
 fine portrait. 
 
 4. Francis Russell. 
 
 5. Sir Francis Russell, brother of Lord Edward, (No. 2). 
 The dress of both is exactly the same — a white hat, with 
 black and gold cloak, and black bonnet. In both pictures 
 serpents are introduced, which Lord Edward is grasping in 
 his hand, and has the motto appended: “ Fides homini , ser- 
 pentibus fraus.” In the back ground he is again represented 
 in a labyrinth, with the motto: “Fata mam invenient .” In 
 the back ground of the present picture, is a lady dressed in 
 crimson, sitting on the ground in a disconsolate attitude, sur- 
 rounded with objects doubtless emblematical of her story — 
 snakes, a* dragon, a crocodile, and a cock: at a distance is 
 the sea, with a ship in full sail. Some tale of unhappy love 
 
WOBURN ABBEY. 
 
 57 
 
 is inevitably connected with these portraits, in which the first, 
 it should seem, was the principal sufferer; but there is no 
 clue furnished from any source, which may unravel the affect- 
 ing and mysterious subject. Pennant has indeed asserted, 
 that these two youths are the originals of Castalio and Poly- 
 dore, in Otway’s loose and melancholy tragedy of “The 
 Orphan : ” but the present Duke has been successful in re- 
 futing this statement; as it appears that the Polydore of that 
 tale was Charles Brandon, Duke of Suffolk ; but without 
 some of Otway’s exaggerated features. 
 
 6. Anne, Countess of Warwick. 
 
 Lord William Russell, of Thornhaugh, Deputy of Ireland, 
 (see page 79), a tall figure, in a very full black quilted dress. 
 Whole length. 
 
 Edward, third Earl of Bedford; whole length, sitting in a 
 red arm chair. Dress black, with gold embroidery, his arm 
 in a sling : the husband of the celebrated Countess, Lucy Har- 
 rington. Weakness of mind is said to have been his charac- 
 teristic ; but he seems to have been good-tempered, and 
 proud of his distinguished lady. His character, and that of 
 Wriothesly, the third Duke, are the only two we have met 
 with in this long line of succession, which possess no themes of 
 praise or interest. 
 
 SIX SMALL PORTRAITS. 
 
 1. Lady Benlos, wife of Lord Delaware. Red and white 
 embroidered dress, with a red ribbon in her hair; rather 
 handsome. 
 
 2. Lady Wimbledon, wife of Sir Edward Cecil, third son of 
 the Earl of Exeter, who, for his services during thirty-five 
 years in the Netherlands, w 7 as created Lord Wimbledon. He 
 was thrice married. 
 
 3. Giles, Lord Chandos ; a sugar-loaf hat, with diamond 
 brooch and feather. 
 
 4. The Duke of Monmouth; the face fine and distinct. 
 
 F 
 
58 
 
 A GUIDE TO 
 
 5. James, Earl of Carlisle ; brown with red sash. 
 
 6. Sir Edward Stradling, of St. Donats, Glamorganshire. 
 This estate and castle now belong to the family of Drake, of 
 Amersham, Bucks. Black, with worked collar, and falling hair. 
 
 On the south side of the screen are three small portraits. 
 
 1. Lady Anne Ayscough, daughter of Henry Clinton, Earl 
 of Lincoln, and sister of Giles, Lord Chandos ; a small pretty 
 face, black and gold tippet, and high ruff. 
 
 2. Rogers, Controller of the Household to Queen Elizabeth, 
 set. 69. A key hanging from his neck. 
 
 3. The Count and Prince de Nassau; black and white 
 quilted dress, with conical black cap, a letter in his hand. 
 
 Sir William Ptussell, afterwards Duke of Bedford, in his 
 fourteenth year, in robes of the Bath; and a Dwarf, aged 
 thirty-two, in puce-coloured velvet mantle, and plumed hat, by 
 Priwitzer . — The only painting of his known to exist in 
 England : except the smaller ones, undermentioned. 
 
 “ J ohn Priwitzer w T as 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 Russell, 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 neat- 
 ness, and does not want freedom. Upon it is written 
 ‘ Johannes Priwitzer de Hungaria faciebat, 1627.’ I have 
 never met with any other mention of this name /’ — Walpole s 
 Anecdotes of Painting. 
 
 The Earl of Rutland, whole length. Close buff flowered 
 habit, black robe edged with red ; very large red embroidered 
 trunk hose. 
 
 THREE SMALL PORTRAITS. 
 
 1. Ambrose Dudley, Earl of Warwick. 
 
 2. Dudley, the notorious Earl of Leicester, and husband of 
 the fair and unhappy Amy Rohsart. 
 
 3. John, first Earl of Bedford, see page 73. A fine painting 
 
WOBURN ABBEY. 
 
 59 
 
 by Holbein , in good preservation. The countenance vene- 
 rable, with white hair and beard : black mantle, with George, 
 and black bonnet. Engraved in Lodge. 
 
 SOUTH end. 
 
 Queen Jane Seymour: half length, by Holbein , engraved 
 by Lodge. Relieved by an early and merciful death from the 
 probable inconstancy and cruelty of her unprincipled hus- 
 band; “ When beauty” observes Horace Walpole, “was the 
 sole recommendation to the throne, no wonder the tenure was 
 frail;” but when we find in a native of England, and one 
 living under the better principles of Christianity, a conduct 
 worse than that of the worst Turkish despot, we reasonably 
 hurl back the strongest reproach on his memory. The por- 
 trait is pleasing, and dress splendid : red, with sleeves tied, and 
 lined with white, gold net-work shawl, necklaces of precious 
 stones, and brooch. 
 
 Killegrew, called “ King Charles the Second’s jester,” sitting 
 at a table reading, in a white silk dressing gown. — Shephard . 
 
 Monk, the celebrated Duke of Albemarle, half length, by 
 Sir Peter Lely : brown with crimson sash, and a truncheon in 
 his hand. 
 
 Below these are 
 
 Lady Rachael Russell, small whole length, in her eightieth 
 year. 
 
 Lord William Russell, half length. In the corner of the 
 latter portrait the painter has introduced the words “ Cater a 
 Famce ” — “leave the rest to Fame;” which will in this place 
 serve as the best eulogium on both. 
 
 NORTH CORRIDOR. 
 
 Since the foregoing sheets have been struck off, his Grace 
 the Duke of Bedford has caused about fifty Portraits, partly 
 of his own family, and partly those of individuals belonging to 
 
60 
 
 A GUIDE TO 
 
 other noble families, and distinguished characters, to be re- 
 moved from a large store room, in which they have been for 
 some time preserved, and to be prepared for hanging in the 
 north corridor of the Abbey, and the grand staircase adjoin- 
 ing, thus forming in effect 
 
 A NEW PICTURE GALLERY: 
 
 And a very striking additional feature of interest to the 
 numerous and varied objects of entertainment and pleasure 
 which the house previously afforded. Many of the portraits 
 are of great merit, and fully equal in beauty to those in the 
 old gallery, and several of them are of large dimensions. 
 These paintings are now in London, undergoing the process 
 of retouching, framing, &c. ; but we have been allowed a hasty 
 survey of them, previous to their removal ; and now present 
 the reader with a brief account, in the order in which they 
 will in a short time be placed. 
 
 Commencing at the entrance of the north corridor, from the 
 east end, he will find the north side of the passage hung with 
 the portraits of members of the Bedford Family, or of those in 
 some degree connected with them, and disposed as nearly as 
 possible in chronological order. 
 
 1. John Russell, first Earl of Bedford ; Holbein, 1555 ; half 
 length, sitting in a red and gilt arm chair, in black, with black 
 collar and George ; his beard is long and white, and he holds a 
 staff in his hand. 
 
 2. Francis, second Earl of Bedford, in black, with white fur 
 tippet, collar and George : very small circular painting. 
 
 3. Anne, his daughter, wife of Ambrose Dudley, Earl of 
 Warwick; black and gold.-— Holbein. 
 
 4. William, Baron Russell of Thornhaugh, 1580. Mt. 47. 
 
 5. Elizabeth, his wife, daughter of Sir Richard Long, of 
 Shingay: a very fine painting: three-quarter length; very 
 handsome black dress, flowered and paned, with much gold 
 
WOBURN ABBEY. 
 
 61 
 
 ornament, lawn ruff and stomacher, fan of peacock’s feathers 
 and gold. 
 
 6. Edward, third Earl of Bedford : whole length ; dressed 
 in a puce-coloured robe, with embroidery, resembling the 
 noblemen’s robes at the Universities, and hat; his arm is in 
 a red sling, as in the Picture Gallery. 
 
 7. Lucy Harrington, his wife : whole length. This is the 
 portrait described by Pennant, and has by no means so pleas- 
 ing an effect as that by Honthorst , in the gallery. 
 
 8. Catherine Brydges, fourth Countess of Bedford : a very 
 interesting whole length, hy Marc Garrard. It has been con- 
 jectured to be a scenic costume, in one of the masques at 
 court. The face has a beautiful and amiable expression, with 
 loose and flowing hair, light brown, hanging below the 
 shoulders, and crowned with a silver coronet, and the whole 
 contour is very pleasing. The Countess is dressed in a flowered 
 yellow gown, over a petticoat of purple velvet and silver, and 
 has an ample crimson mantle, and pearl necklace and collar. 
 
 9. Francis, fourth Earl of Bedford : a whole length of a 
 pleasing boy, in a gay costume, with green trunk hose; a 
 hawk unhooded sits on his wrist, with a red creance , and two 
 dogs are coupled at his feet. The perspective is one of the 
 finest we have ever seen. 
 
 10. The same, in after life : half length, by Cornelius 
 Jansen. 
 
 11. A whole length of a child, with coral and bells. Anne, 
 daughter of John Lord Russell, eldest son of Francis, second 
 Earl of Bedford. 
 
 12. Francis, Lady Chandos, wife of Giles Lord Chandos, in 
 black and gold. 1589. JEt. 37. 
 
 13. Elizabeth, her daughter, in black with fleurs-de-lis, &c. 
 JEt. 14. 
 
 14. The same, rather older ; a very pretty face, with fine 
 dark eyes, light head dress and ruff, a white gown with pearl 
 
 f 2 
 
62 
 
 A GUIDE TO 
 
 sprigs, and a massive chain of rubies and pearls. Dated 15th 
 July, 1589. 
 
 These three half lengths, are by Jeronimo Custodis , of 
 Antwerp. 
 
 15. William, Lord Russell — the Patriot: a very fine head. 
 
 16. Lady Diana Russell, Countess of Newport : 1ft. 4in. 
 by 1ft. A small and elegant sitting figure, in romantic scenery. 
 
 17. Margaret Russell, Countess of Carlisle, in red, with her 
 daughter, sitting ; half length. 
 
 18. Sir Greville Verney, first husband to Lady Diana. 
 
 19. Lady Diana: half length; sitting, in brown and blue 
 mantle, with a shepherdess’s crook in her hand. 
 
 20. Wriothesly, second Duke of Bedford, when a child, in a 
 Roman dress. — Kneller . 
 
 21. Lady Elizabeth LXowland, his Duchess: half length, 
 sitting. — Kneller . 
 
 22. Rachael, daughter of William, Lord Russell : a fine 
 painting of a pleasing child, with a cockatoo. — Kneller . 
 
 23. Arnold Joorst Van Keppell, Earl of Albemarle, in 
 armour, with a truncheon, half length. — Kneller. 
 
 24. Countess of Albemarle, his wife, in blue, with a gar- 
 land of flowers ; a handsome half length. — Kneller. 
 
 25. William Anne Keppell, Earl of Albemarle, in red 
 and blue marine uniform ; half length. 
 
 26. The Countess of Albemarle, his lady, in white satin ; 
 half length. 
 
 27. Wriothesly, third Duke of Bedford, reading.— Isaae 
 Whood. 
 
 28. Anne, his Duchess, afterwards Countess of Jersey; 
 three-quarter length in brown, with blue mantle, (qy.) Dahl. 
 
 The south side of the corridor is also now ornamented with 
 fine portraits, principally whole lengths, from the same 
 source ; not, however, placed in any exact order of time, nor 
 entirely connected with the Bedford family. 
 
WOBURN ABBEY. 
 
 63 
 
 29. Wriothesly, second Duke of Bedford, and Elizabeth, 
 his wife, when young, with flowers ; three-quarter length, by 
 Kneller . 
 
 30. Mrs. Howland, and her daughter Elizabeth (the same 
 as the last), when a child, carrying a small monkey. The 
 face of the mother is intelligent and agreeable ; whole length, 
 (qy.) Dahl 
 
 31. Rachael and Catherine, daughters of William, Lord 
 Russell, children ; whole length. — Kneller . 
 
 32. Rachael, Countess of Southampton, mother of Lady 
 William Russell, in purple, sitting; a handsome and pleas- 
 ing countenance ; whole length, after Vandyke . 
 
 33. Charles I., whole length, in his coronation robes, after 
 Vandyke . 
 
 34. A noble whole length portrait of Richard Weston, 
 
 Earl of Portland, by Daniel Mytens . In black, with black 
 
 Spanish cloak, blue ribbon, and George, and wand : the face 
 is very clear. On a table is a letter directed “ A Mon- 
 seigneur, Monseigneur, le Baron Weston, Grand Thressorier 
 d’Angleterre.” 
 
 35. Duchess of Buckingham; small half length; the neg- 
 lected consort of the notorious Villiers 
 
 “ Ah vices, gilded by the rich and gay ! ” 
 
 The details of whose end, after his unprincipled career, in 
 poverty and remorse, afford one of the strongest examples of 
 moral retribution, which the annals of domestic biography 
 have ever presented. 
 
 36. Lady Herbert; (the same as in the dining room), 
 small half length, in white and gold 
 
 37. James Hay, Earl of Carlisle, (sometimes mistaken far 
 Car, Earl of Somerset), a fine whole length, by C. Jansen , or 
 Marc Garrard . He is dressed in robes of the Garter, with 
 red and bullion-striped trunk breeches, red cloth hose, and a 
 
64 
 
 A GUIDE TO 
 
 wand; in his ears are ruby ear-rings. His countenance is 
 fine, but melancholy. 
 
 38. A whole length of Elizabeth, Queen of Bohemia, 
 daughter of James I., by Gerard Hontliorst , (see the Picture 
 Gallery) ; a red flowered dress, and black robe, black and 
 white ruff, and large pearls. 
 
 39. Anne of Denmark, Queen of James I., by Cornelius 
 Jansen; whole length. This portrait has been erroneously 
 termed by Pennant, Queen Elizabeth. The countenance and 
 contour are fine, and the head-dress not unpleasing, with a 
 high ruff, and pearls ; her gown is of yellow brocade, and has 
 an immense hoop ; she has also red bows on her left arm, and 
 a red breast-knot, and a feather fan of red and black in her 
 right hand. 
 
 40. Lady Russell, wife of Sir William Russell, a distant 
 connexion of the present family, who, as we are informed, 
 filled the post of Treasurer to Charles I. ; whole length, by 
 Marc Garrard , 1625. This is a simply graceful, matron-like 
 portrait, in the prime of life, exhibiting much neatness and 
 proprete. The face is pleasing ; hands beautiful, on one of 
 which is a thumb-ring; and the dress not unbecoming. On a 
 table, covered with red, is a Prayer-book with painted lids. 
 
 41. Wriothesly, second Earl of Southampton, “ made 
 Knight of the Garter, in the last year of Henry VIII.;” 
 small half length. — Holbein . 
 
 42. Edward Clinton, Earl of Lincoln, (see the French 
 dressing room), 1568. JEt. 55. Black dress, with fur tippet 
 and George ; pearls in his bonnet. 
 
 43. Anne Russell, Countess of Warwick, in black, with 
 large ruff; three-quarter length. 1600. 
 
WOBURN ABBEY. 
 
 65 
 
 THE GRAND STAIR-CASE. 
 
 A neat and spacious geometrical one of stone, with an iron 
 railing ; is now embellished with portraits, imposing from the 
 size and merit of the paintings. 
 
 1. A very fine original portrait, by Rubens , of Ferdinand 
 II., elected Emperor of Germany in 1618 : dressed in brown 
 and crimson, with a crimson plume, and mounted on a white 
 charger. 7 ft. 2 in., by 9 ft. 7 in. 
 
 2. Byng, Lord Torrington, and Pattee Byng, his son ; 
 three-quarter length ; a view of the ocean in the back ground. 
 — Kneller . 
 
 3. Lady Diana Spencer, first wife of John, fourth Duke of 
 Bedford, sitting, in white satin; three-quarter length. 
 
 4. A large painting of the Duke of Wellington, standing 
 by a charger, and his aid-de-camp, Lord George William 
 Russell, riding up, behind.' — G. Hayter. 
 
 5. The celebrated Sarah Duchess of Marlborough, sitting, 
 in white satin and blue mantle. — Kneller. 
 
 6. A handsome full length of Anne Duchess of Bedford, 
 and afterwards Countess of Jersey, (No. 28) ; in a close dress 
 of purple velvet, trimmed with white fur, white satin petticoat, 
 white turban and eagle’s plume; a Black, in red livery, is 
 carrying an umbrella. Isaac Whood: a duplicate is in the 
 possession of the Earl of Clarendon. 
 
 In the south corridor are also the following Portraits, not 
 definitively placed. 
 
 John, Duke of Bedford, whole-length, in his peer’s robes, 
 by Isaac Whood , 1734. 
 
 Gertrude, Duchess of Bedford, his wife, in peeress’s robes, 
 whole length. 
 
 Elizabeth, Marchioness of Tavistock, a pleasing half-length 
 by Sir Joshua Reynolds ; rose-colour and blue, with black 
 velvet collar. 
 
66 
 
 A GUIDE TO 
 
 A whole length of John, the great Duke of Marlborough, 
 in his peer’s coronation robes. 
 
 Ditto, of his Duchess Sarah, sitting ; a stately figure. 
 Three-quarter length of Charles, Duke of Marlborough, by 
 Isaac Whood, 1735, in peer’s robes. 
 
 Ditto, of John Duke of Bedford, in a blue velvet coat. 
 
 Ditto, of John first Lord Gower, in peer’s robes. 
 
 THE GREAT HALL. 
 
 In the centre of the west front, is a fine and large room of 
 excellent proportions, which, though plain, has a handsome 
 appearance, the invariable result of neatness and symmetry. 
 The ceiling is supported by eight Roman Ionic pillars in 
 couples. In the centre of this apartment, is temporarily 
 placed, a beautiful tesselated or mosaic pavement, formed out 
 of the fragments of a much larger one, which were discovered 
 on the site of an ancient Roman villa, at the distance of about 
 a mile from Rome, and near the Porta Portese * in the year 
 
 * “ PORTA PORTESE f 
 
 ‘ 4 Essa fu da Urbano VIII. sostituta all’ antica porta Portuense, 
 allorche circondd il Trastevere di nuove mura. L’antica porta 
 che chiamavasi Portuense, perche conduceva al porto Romano, stava 
 50 passi piu indentro della citta ; ed era doppia, cioe a due transiti 
 detti Giani, come diverse altre antiche parti di Roma. Secondo 
 P iscrisione, che vi si leggeva, era stata fabbricata dagli Imperatori 
 Arcadio e Onorio, in occasione, che ristauravo le mura della citta.” 
 - — Vusi ; Itinerario istruttivo di Roma.” — p. 346. 
 
 THE PORTA PORTESE, 
 
 Was substituted by Urban VIII. for the ancient Porta Portuense, 
 when he surrounded the Trastevere (the quarter beyond the Tiber) 
 with new walls. The ancient gate, which was called Portuense, 
 because it led to the Roman Port, was fifty paces farther within the 
 city } and was double, that is, it had two passages, called Giani 
 (Jani), as in various other ancient parts of Rome. According to 
 the inscription, which was legible, it was built by the Emperors 
 Arcadius and Honorius, at the time when they restored the walls of 
 the city. 
 
 t This gate was also termed Vinaria and Navalis . — Burton. 
 
WOBURN ABBEY, 
 
 67 
 
 1823. Lord G. W. Russell, then resident at that city, pur- 
 chased the greater part of these remains (the other portion of 
 which had been purchased by Lord Kinnaird), and brought 
 them to Woburn Abbey. Large and complete, however, as 
 this portion appears, it bears a very small proportion to 
 the space the original pavement must have occupied in its 
 perfect state, which, according to a plan we have been 
 favoured with by his Grace, designed by Nicola Rocchegioni, 
 must have extended to about 40 Roman palms by 38, or 29 ft. 4 
 by 27 ft. 10. The portions of the pavement brought here 
 have been formed into a quadrangular space of 18 feet 8 
 inches, by 14 feet, by R. Westmacott, Esq. R. A., whose 
 great admiration of them has given a zest to the professional 
 skill and taste which he has developed in their arrangement. 
 
 The centre compartment, measuring 5 ft. by 2 ft. 4 inches, 
 is tilled with a pictorial group. The principal figures are a 
 Tiger chasing a Bull, both at full speed : between them foliage, 
 in the style termed intreccie , which was a favourite orna- 
 ment of the jambs of Corinthian arches, and sometimes of 
 the frieze : on this are seated two Partridges ; and below, a 
 Serpent is represented, erecting itself. Around this central 
 ornament, are arranged several borders of different breadths, 
 in scroll-work, ovals, cubes, in excellent perspective, foliage, 
 and a wide one of intersecting circles ; the outer one has . 
 black indented squares on a white ground : the variety of 
 colours, and minuteness of the whole, producing a tine effect, 
 which in the opinion of the late Sir Thomas Lawrence, and 
 other distinguished connoisseurs, equals that of any of the 
 mosaics in the Vatican or the Capitol. The east and west 
 extremities are decorated with two majestic heads, supposed 
 to be those of River Gods, from the sedges and lotus flowers 
 with which they are crowned ; the latter symbol also would 
 seem to refer their origin to the Nile. On each side of these, 
 are small objects indicative of domestic details; on the west 
 
68 
 
 A GUIDE TO 
 
 side, two Ducks , one alive, and the other trussed on a dish : 
 the opposite River God has on one side a hunch of sausages 
 (Lucanicse*) on a dish ; on the other side, a small draped head 
 of a Roman Lady. 
 
 EAST FRONT, STABLES, &C. 
 
 Opposite the east front, at a little distance, and on a gradual 
 elevation, are two courts of Stables, on the right and left hand ; 
 the west and south sides are open to view, and are in a very 
 good style of architecture, with a dome in the centre of the 
 west front, which though not large is of rather grand propor- 
 tions, and has an imposing effect on the general view. Between 
 these is a Ion g facade, containing the Riding-house, the Tennis 
 court, and a central building, on which is a neat cupola of 
 eight Ionic columns : the whole length is 238 feet. The lower 
 story is concealed by a stone wall in front, and the upper one 
 has a range of eighteen three-quarter Tuscan pillars, with 
 large square windows between each. 
 
 SOUTH FRONT, TERRACE. 
 
 The terrace on the south side of the mansion was formed 
 by the present Duke, and is a very pleasing appendage ; the 
 front is rusticated, to correspond with the basement story of 
 the Abbey, and has a false arched doorway : a similar wall 
 on the north side, preserves the uniformity of appearance. At 
 the extremities of the balustrades are the Sphinxes, removed 
 from the piers at the entrance of the Park from Woburn, whose 
 place is there supplied by lions. The terrace affords a pleasing 
 view of wood and water, and a prospect of the town of Woburn 
 with its new tower and lantern. The iron railing is gilt in 
 or-molu. At the other end of this front commences the covered 
 walk, which is about a third of a mile in length, and passes by 
 or through the Sculpture Gallery, Green-house, and Chinese 
 Dairy. 
 
 * So termed from their invention by the Lucanian soldiers. 
 

 

 A . C . Sfrr aJfolcL 
 
 THE SCULPTURE GAIXEKJT& (HUSEH 
 
MoLdcltj lct£o<j. J JVWli7i.y6v7L S £'r/z,7icL' . 
 
 0>U SE.’W'OBURE' ABBEY. 
 
 -1 
 

69 
 
 SCULPTURE GALLERY. 
 
 Before entering on this important branch of the objects of 
 interest which the Abbey possesses, we have to communicate 
 to the reader, the gratifying intelligence, that by the par- 
 ticular kindness of the Duke of Bedford, we are allowed to 
 make some extracts from a work of great value and rarity 
 on the “Woburn Abbey Marbles,” written by desire of his 
 Grace, and printed for his private distribution, abounding 
 with recondite archaeological and classical information. In 
 availing ourselves of this privilege, our only fear has been, 
 that of making too extensive inroads into the field of spoil 
 allowed us ; and we are equally sure that our readers will 
 think we have brought away too little. 
 
 As the above-mentioned work, however, which is illustrated 
 with plates, does not comprehend a complete description of 
 more than half the objects in the gallery, a great number of 
 which have been added since its publication, the reader must 
 receive a brief sketch of the remainder from a very inferior 
 hand. In the very few observations which the editor has 
 made on these, and also on those contained in the “Marbles,” 
 he has been far from the vanity of attempting any competition, 
 well knowing, that he who on any subject comes into com- 
 parison with another of much greater professional or scientific 
 information and experience, invariably 
 
 Ceratis ope Daedale& 
 nititur pennis, vitreo daturus 
 
 nomina ponto. Horace . 
 
 All passages abridged, or directly quoted from this work, 
 are marked by inverted commas (“) and with the letter ‘ M.' 
 
 A Catalogue Raisonne , has also been printed of 
 all the objects in the gallery, from which we have taken the 
 
 G 
 
70 
 
 A GUIDE TO 
 
 titles of each (which alone is a valuable source of information) 
 and also the numbers. Where several numbers are connected 
 with one object we have thrown them together, for the sake of 
 convenience. 
 
 SOUTH FRONT. 
 
 (nos. 216 to 228 ). 
 
 The extreme length of the southern elevation of the gallery, 
 including the wings, is about 204ft. The main building is 
 rather more than 140ft. in length; and has also a centre, and 
 two wings, separated internally by columns; the wings have 
 large arched windows, in a uniform and handsome style. In 
 the centre is a spacious Venetian window, with Ionic pillars, 
 and a pediment, in the tympanum of which is a hold alto- 
 rilievo of a Bacchic Bull, by Garrard; and below, inlaid in 
 the wall, are two small medallions, in basso-rilievo, by a 
 French artist, representing a sacrifice to Flora, and an offering 
 to Ceres : the roof of the centre is a flat dome. In front of 
 the west wing, or Temple of the Graces, is a group of Sportive 
 Infant Genii, by JVestmacott, who are represented dancing, 
 with wreaths of flowers, and three in the centre are playing 
 on the pipes, tabor, and lyre. Below, on each side, are statues 
 of Children carrying baskets of fruit and flowers. In front of 
 the east wing, or Temple of Liberty, is also a very fine alto- 
 rilievo, by JVestmacott , “illustrative of the progress of man, 
 from a state of nature to civilized life, social intercourse, and 
 natural liberty. — The first two Genii represent society in its 
 rudest elements, and most early stages — as consisting of hunt- 
 ing tribes and female shepherds ; — the gradual progress of 
 civilization, and the arts of social life, with the sciences and 
 comforts which spring out of them, are indicated by the Genii 
 of architecture, astronomy, agriculture, and navigation; and 
 the allegorical train is closed by the Genius of Liberty, abol- 
 
WOBURN A.BBEY. 
 
 71 
 
 ishing slavery, expelling tyranny, and establishing govern- 
 ment, founded on equal laws.” — M. Below are two juvenile 
 figures of Pain and Pleasure ; the former, with the accompani- 
 ments of the Parrot and Monkey, is very expressive. 
 
 The flower garden in front of the gallery, is prettily laid out 
 in serpentine beds, and adorned with vases, amongst which 
 are two fine casts of the Borghese and Medici vases, one 
 representing a dance of Nymphs and Satyrs, and the other, 
 the Sacrifice of Iphigenia. — - 
 
 “ When to Diana’s grove and flowery meads 
 We came, where stood th’ assembled host of Greece, 
 
 Leading thy daughter, straight in close array 
 Was form’d the hand of Argives : but the chief, 
 
 Imperial Agamemnon, when he saw 
 His daughter as a victim to the grove 
 Advancing, groan’d, and bursting into tears 
 Turn’d from the sight his head, before his eyes 
 Holding his robe. The virgin near him stood, 
 
 And thus address’d him, “ Father, I to thee 
 Am present : for my country, and for all 
 The land of Greece, I freely give myself 
 A victim : to the altar let them lead me, 
 
 Since such the oracle. If aught on me 
 Depends, be happy, and attain the prize 
 Of glorious conquest, and revisit safe 
 Your country : of the Grecians for this cause 
 Let no one touch me ; with intrepid spirit 
 Silent will I present my neck.” She spoke : 
 
 And all that heard, admir’d the noble soul 
 And virtue of the virgin. In the midst 
 Talthybius standing, such his charge, proclaim’d 
 Silence to all the host : and Calchas now, 
 
 The prophet, in the golden basket plac’d 
 
 Drawn from its sheath the sharp -edged sword, and bound 
 
 The sacred garlands round the virgin’s head, 
 
 The son of Peleus, holding in his hands 
 The basket and the laver, circled round 
 The altar of the goddess, and thus spoke : 
 
 “ Daughter of Jove, Diana, in the chace 
 Of savage beasts delighting, through the night 
 Who rollest thy resplendent orb, accept 
 This victim, which th’ associate troops of Greece, 
 
 And Agamemnon, our imperial chief, 
 
 Present to thee, the unpolluted blood 
 
 Now from this beauteous virgin’s neck to flow. 
 
72 
 
 A GUIDE TO 
 
 Grant that secure our fleets may plough the main, 
 
 And that our arms may lay the rampir’d walls 
 Of Troy in dust.” The sons of Atreus stood. 
 
 And all the host, fix’d on the ground their eyes. 
 
 The priest then took the sword, preferr’d his pray’r, 
 
 And with his eye mark’d where to give the blow. 
 
 My heart with grief sunk in me, on the earth 
 Mine eyes were cast ; when sudden to the view 
 A wonder ! for the stroke each clearly heard, 
 
 But where the virgin was, none knew : aloud 
 The priest exclaims, and all the host with shouts 
 Rifted the air, beholding from some God 
 A prodigy, which struck their wond’ring eyes, 
 
 Surpassing faith when seen : for on the ground 
 Panting, was laid an hind of largest bulk, 
 
 In form excelling ; with its spouting blood 
 Much was the altar of the goddess dew’d. 
 
 Calchas at this, think with what joy, exclaim’d, 
 
 “ Ye leaders of th’ united host of Greece, 
 
 See you this victim, by the goddess brought, 
 
 And at her altar laid, a mountain hind ? 
 
 This, rather than the virgin she accepts, 
 
 Not with the rich stream of her noble blood 
 To stain the altar ; this she hath receiv’d 
 Of her free grace, and gives a fav’ring gale 
 To swell our sails, and bear th’ invading war 
 To Ilium : therefore rouse, ye naval train, 
 
 Your courage ; to your ships ; for we this day, 
 
 Leaving the deep recesses of this shore, 
 
 Must pass th’ iEgaean sea.” 
 
 Euripides , Iphigenia in Aulis — Potter . 
 
 Here are also two large bronze casts, by Westmacott , of the 
 Fighting and the Dying Gladiator, placed on granite pedestals. 
 
 THE ANTE-ROOM. 
 
 (nos. 1 to 32). 
 
 Into which the visitor is conducted from the court at the 
 back of the east front, is a neat oblong apartment, about 23 ft. 
 by 9 ft. 6 in. ; the walls are suitably coloured, and the crimson 
 carpet sets off appropriately the noble object of Parian marble 
 which adorns the centre. Opposite the door is a marble bust, 
 by Garrard , of Holland, the architect of the gallery, and an- 
 
WOBURN ABBEY. 
 
 73 
 
 other by Chantrey , of Nollekens, whose sculpture occupies the 
 walls of the Temple at the east end. Under these, is a cast from 
 the right-hand of Canova, taken after his death ; also, two tables 
 which, within an edging of white marble, have a variety of 
 beautiful inlays. — One containing specimens of Devonshire 
 marbles, and the other, Italian and other marbles, and the 
 Pietre dure which were used in the edifices of ancient Rome. 
 On the walls are twenty-five engravings, from the most cele- 
 brated statues and groups of Canova, on which it is unneces- 
 sary to dwell. 
 
 In the centre, stands a beautiful antique Bacchic Vase, 
 found in the ruins of Hadrian’s villa, at Tivoli, near Rome. 
 Its height is 4 ft. 7 in., and its extreme width, 3 ft. 4 in. Un- 
 derneath the rim is a vine branch, encircling the whole, and 
 round the base, which has cabled fiutings, is a rich foliage which 
 appears similar to parsley leaves, and may perhaps be intended 
 for that plant, as it was a favourite one with Grecian sculp- 
 tors; or they may represent the Narthex, or Greek fennel, 
 consecrated to Bacchus, of which a further mention will occur 
 in the account of the Lanti vase. Several other ornaments 
 embellish this vase, amongst which is the echinated one of the 
 Ionic order ; and the two handles which are channelled, rise out 
 of bold scenic masks, which are very expressively sculptured. 
 “ The sculpture round its bowl, is in very high relief ; it repre- 
 sents eight Bacchic Genii, employed in the labours and fes- 
 tivities of the vintage : in the centre of the group is a wine 
 vat, in which one of the Genii is treading grapes, while two 
 others are furnishing a fresh supply : near them, is a fourth, 
 holding in his right hand a dead hare, and in his left, a torch ; 
 he is succeeded by a fifth (forming an opposite centre to the 
 group), who wears a chlamys ; his left hand is employed in 
 securing the mouth of a wine skin, which he is carrying on 
 his shoulder; and in his right, is a lagobolon , or crooked 
 bludgeon, used in destroying hares, which injure the young 
 G 2 
 
74 
 
 A GUIDE TO 
 
 vines: near him, stands a sixth Genius, also wearing a 
 chlamys, and crowned with vine brandies ; in one hand, he 
 holds a bunch of grapes, and in the other, a cup : at his feet 
 is the cista mystica , containing the Dionysiac serpent, and 
 other symbols, consecrated to Bacchus : and behind him is 
 a young panther, indicating the celebrated expedition of Bac- 
 chus into India. A Genius, in a playful dancing attitude, 
 follows: in his right hand, he brandishes a thyrsus; and in 
 his left, is a vase, from which he is filling the cup of his com- 
 panion. The last of this joyous group has also a chlamys over 
 his shoulders ; he holds a flute in his right hand, and carries a 
 basket full of grapes on his left arm.” — M. 
 
 THE PASSAGE LEADING TO THE GALLERY, 
 
 (32 to 43 ) 
 
 Which winds round the circular cell of the Temple of the 
 Graces, contains a reduced model in wood, of one of the 
 celebrated Doric Temples at Paestum, the ancient Posidonia, 
 the sera, and authors of which, are alike unknown ; also two 
 medallions in marble, of the emperors Vespasian and Hadrian, 
 and seven fragments of architectural sculpture, in rosso antico , 
 found at Hadrian’s villa. 
 
 ef This is among the marbles which are only known from the 
 ancient specimens, and of which there is no quarry now worked. It 
 seems to be the same with what Pliny calls Porphyrites , (Lib. 
 xxx vi. c. 11) ; for he is here treating of marbles, and as he men- 
 tions a variety of it, which from containing a few white spots, was 
 called Leptosephos , he cannot mean Porphyry, which is invariably 
 spotted, and not always red, as Pliny says of this. He tells us that 
 the quarries of it were in Egypt, and afforded blocks of almost any 
 size. Statues were made of it, and brought to Rome, in the time of 
 Claudius, but not much approved of, nor was the example followed. 
 — Burton’s Antiquities of Rome. 
 
WOBURN ABBEY. 
 
 75 
 
 THE GALLERY 
 
 Is internally 138 ft. long, 25 ft. broad, 22 ft. 7 in. high in 
 the wings, and about 30 in the centre. The latter is covered 
 with a flat dome, and is separated from the sides by eight 
 grand antique marble columns, each shaft consisting of one 
 piece, about 13 ft. 6 in. high, and crowned with a white 
 marble capital of the Composite order, very richly foliated — the 
 shafts and capitals were both found in excavations made at 
 Rome : of the columns “ two are of breccia Africana, two of 
 a variegated kind of alabaster, two of Cipollino marble, and 
 two of Bigio.” — M. The entablatures are also enriched; the tout 
 ensemble presenting two of the finest screens in Europe. On 
 the south side is the Apollo Belvidere, and opposite to it a 
 semicircular recess with a reticulated- ceiling, containing the 
 splendid Land vase. 
 
 The gallery is paved with white stone, apparently Purbeck ; 
 and has on each side an inlay of handsome Devonshire 
 marbles, about two feet wide, which take a circular sweep at 
 the centre and extremities. The walls, in appropriate keeping 
 with the objects of white marble, are of a pale pink hue, and 
 the ceiling is clouded in white and blue. 
 
 On entering* at the west end, the first object is 
 
 THE TEMPLE OF THE GRACES. 
 
 (43 TO 53). 
 
 Erected by the present Duke, in the year 1818, to receive 
 the splendid group by Canova. . . . The portal is a lofty 
 arch, within which is an entablature supported by two verde 
 antico columns brought from Rome, with white marble capitals 
 of the Grecian Ionic ; there is only an architrave of one broad 
 fascia, and a rich Ionic cymatium. Above is an eagle, the 
 bird of Jupiter, 
 
 “ ministrum fulminis alitem.” 
 
 grasping a thunderbolt, and holding a wreath of laurel in 
 
76 
 
 A GUIDE TO 
 
 his beak, of a grand size, and in white terra cotta f by Garrard ; 
 seeming to have 
 
 ct The pride and ample pinion 
 That the Theban eagle bear, 
 
 Sailing with supreme dominion 
 
 Through the azure deep of air.” — M. 
 
 On the architrave is an inscription by Samuel Rogers, Esq. 
 paraphrased from the xivth Olympic of Pindar. 
 
 APPROACH WITH REVERENCE, THERE ARE THOSE WITHIN 
 WHOSE DWELLING PLACE IS HEAVEN, DAUGHTERS OF JOVE J 
 FROM THEM FLOW ALL THE DECENCIES OF LTFE ; 
 
 WITHOUT THEM NOTHING PLEASES. VIRTUE’S SELF 
 ADMIRED NOT LOVED. AND THOSE ON WHOM THEY SMILE, 
 GREAT THOUGH THEY BE, AND BEAUTIFUL, AND WISE, 
 
 SHINE FORTH WITH DOUBLE LUSTRE. * 
 
 Within the arch, a vestibule with a semicircular sweep leads 
 to the folding doors of the temple, which, as well as those of 
 the opposite one, are of mahogany, from antique patterns. On 
 the right side, in a niche, is a statue of Lady Georgiana-E. 
 Russell when a child, by Thorwaldsen, and opposite to it one of 
 Lady Louisa-J. Russell, caressing a dove, by Chantrey ; the 
 latter in particular, is very generally admired. 
 
 The cel la of the temple is circular, and measures fifteen 
 feet in diameter, the walls are incrusted with yellow scagliola, 
 and the floor is paved in Mosaic, with variegated Devonshire 
 marbles, in circular ornaments, said to comprehend about 
 twelve hundred and seventy pieces. The dome ceiling is 
 interlaced, and has rich gilt flowered medallions, with a circular 
 light on the top : on the sides are two mensole , of verde antico, 
 and in the centre is placed the ruling group of the Three 
 Graces — Aglaia, Thalia, and Euphrosyne, on an antique circu- 
 lar altar. This was one of the portable altars, carved with 
 flowers and the heads of animals, &c. &c. : one of these, from 
 
 * We are reminded in this elegant paraphrase of a line in Lord 
 Lvttleton’s celebrated epitaph on his beloved Lucy. 
 
 “ Her mind was Virtue by the Graces drest.” 
 
WOBURN ABBEY. 
 
 77 
 
 Delos, is at present placed in the vestibule of the public library 
 at Cambridge ; a fine specimen, at the church of St. Andrea, 
 at Athens, is engraved at the end of the third chapter of 
 Stuart’s third volume ; and one, with the sacrificial flames, is 
 suitably introduced into Inwood’s fine plate of the restoration 
 of the Erectheion. 
 
 Of this celebrated group, the reader will expect some 
 description from us, and will no doubt, as often happens in 
 similar cases, find it come short, “ longo intervallo ,” of his own 
 impressions ; and we therefore prefer leaving him in a great 
 measure to the result of his own observation. If he visit the 
 temple in the spring, he may he pleasingly reminded of the 
 pictorial sketch of Anacreon : 
 
 I£e 7 rtcs- eapos (fiavevTO? 
 
 XaptTes podct (3 gvovcriv , — 
 
 Or that of Horace, 
 
 JunctaBque Nymphis gratis decentes 
 Alterna terram quatiunt pede : 
 
 For the gratification, however, of the critical and scientific 
 reader, we extract the following passage, professing ourselves 
 at the same time unable to appreciate the defect alluded to at 
 the conclusion, from which we do not see how any sculpture 
 representing forms similar to the human, can possibly he 
 wholly exempt. 
 
 “ Were it required to name a production of sculpture in 
 which the brightest enchantments of beauty are blended with 
 the more elevated charms of elegance and of dignity, few 
 works would present themselves to the mind before the Graces 
 of Canova. In the remains of the later and better eras of 
 Grecian taste, — for at an earlier period, as we learn from 
 Pausanias, they were clothed, — these divinities are repre- 
 sented without drapery; thus indicating the true source of 
 grace in the absence of art, and in the ingenuousness of 
 nature ; 
 
78 
 
 A GUIDE TO 
 
 Gratia cum Nymphis geminisque sororibus audet 
 Ducere nuda choros. 
 
 “ Superior to both these modes of antiquity, is the inven- 
 tion in this group. 1 The beauteous Sisters ’ are represented 
 entwined in a mutual embrace, and supporting each other 
 during a moment of repose ; while a long slender veil or scarf, 
 which may he supposed to have just been employed in guiding 
 their light steps through the mazes of the dance, is still folded 
 on their arms. This, falling in the most unstudied manner, 
 seems guided only by chance, yet the hand of modesty itself 
 could not better have arranged its folds. All the beauties and 
 the science are thus displayed ; and at the same time, as the 
 artist himself intended, it is inculcated that even Nature may 
 be improved by judicious ornaments in dress, demeanour, or 
 education. The grouping also is no less charming than new : 
 each, with reciprocal action the most tender and engaging, 
 contributes in maintaining the unity of the whole; and in 
 whatever point of view the spectator may be placed, the eye 
 is almost equally delighted. 
 
 “ Nor in this work is the execution less to be admired, either 
 on account of the difficulties to be overcome, or from the 
 intrinsic merits of the performance. By the interlacing of the 
 arms, and the proximity, yet disunion of the contours of the 
 limbs and of the torsi, trafori or perforations in the block the 
 most tedious and extensive were rendered necessary ; so that 
 admiration is excited how the internal parts of the group 
 could have been wrought. But a technicality thus arduous — 
 details thus laborious, have not affected the beauty or the 
 science of this noble production. The vital and elastic soft- 
 ness— = the flowing sweetness of the outlines — the exquisite 
 shape and delicacy of finish in the extremities — the harmoni- 
 ous variety of the salient and re-entering curves — -the correct- 
 ness and graceful choice of the forms, are scarcely excelled by 
 
WOBURN ABBEY. 
 
 79 
 
 the finest remains of antiquity, while the labours of modern 
 masters will rarely endure a comparison. 
 
 “ To this superiority in composition and in execution, the 
 expression may be deemed inferior. Not that the countenances 
 betray any deficiency of suavity or of feeling ; but there is not 
 in the air and character of the heads, that ideal loveliness 
 which seems the realized dream of rapt enthusiasm, glowing 
 with all the tenderness and vivacity of nature, yet never re- 
 calling her individual traits. The spectator acknowledges the 
 beauty of the features, and feels the gracious sentiments which 
 they respire, still he sees but images of mortal charms, — and 
 the lineaments appear to resemble those whose living influence 
 he has experienced. In a subject purely imaginative, a style 
 thus confined, in which a general idea, or abstract expression 
 of loveliness is not strongly perceptible, must be pronounced 
 defective, in as far as it assimilates to partial nature, however 
 captivating the examples imitated may be .” — M ernes Memoirs 
 of A. Canova, with a Critical Analysis of his Works. 
 
 A group of the Graces was first modelled by Canova, for 
 Prince Eugene, Viceroy of Italy, in the year 1814, and is now 
 in his palace, at Munich. The present one, ordered by the 
 Duke of Bedford, is what artists term a replica , with con- 
 siderable alterations and improvements, and is said to have 
 cost the sum of 3000 guineas. 
 
 In the “Marbles” is a very eloquent description of the 
 group, with a classical and historical analysis of their nature 
 and attributes, and the honours and reception afforded to 
 them by the ancients. 
 
 At the end also of this elaborate and splendid work, is a 
 separate Dissertation by Signor Ugo Foscolo, on the same 
 subject; on whose mind, the impression produced by the 
 sculpture, even in an unfinished state, was sufficiently strong 
 
 to elicit this ardent eulogium. “ A group which, if we had 
 
 no other idea of the Graces, would of itself be sufficient to 
 
80 
 
 A GUIDE TO 
 
 awaken the imagination and the heart, to those smiling visions 
 and tender sentiments, which the ancients intended to re- 
 present by their allegory of these Deities.” 
 
 This Dissertation is also rendered valuable, by an Italian 
 poetical paraphrase of an ancient “ Hymn to the Graces,” in 
 Greek, a manuscript of which was discovered by Foscolo, in 
 the library of the Monastery of St. Dionysius, in Zante. The 
 translator, at first, from the style and imagery, attributed it to 
 Phanocles ; but afterwards, from the introduction of names of 
 a subsequent date, and from observing a more artificial style 
 of composition, attributed it to a late age of Grecian poetry. — 
 The Italian poem is, however, rather founded on a subject 
 similar to that of these fragments, than an exact paraphrase 
 
 of them. “ The Graces,” it is said, “ interwove violets and 
 
 white roses, and twined them round a branch of cypress ; and 
 adding to the wreath, pearls (which had formed the crown of 
 Venus, when she arose from the depths of the ocean), they 
 presented the chaplet to their mother; and ever since, the 
 Greeks have continued the custom of singing hymns to the 
 Graces, under the shade of the cypress, and of offering on 
 their altar, a cup of milk, encircled with white roses, pearlg, 
 
 and violets.”- -“ Immoderate gaiety, and deep grief, are 
 
 unknown to the Graces : these deities, sometimes smiling with 
 a chastened joy, sometimes sighing with gentle compassion, 
 make man from time to time recollect, that he has been in- 
 trusted to the alternate care of Pleasure and Sorrow, as to 
 two guides, who are to support him with a straight and even 
 course through his allotted space of life : Pleasure gives him 
 strength and courage, to endure the chastening hand of Sor- 
 row, by whom he is to be taught the path of virtue and 
 glory.” “ Though the modest Graces may appear to com- 
 
 mon eyes, at the first glance, to be naked, yet are they invio- 
 lably protected from the gaze of licentious desire, and shielded 
 from the contagion of a sensual love, and from the tumultuous 
 
WOBURN ABBEY. 
 
 81 
 
 agitations of the passions, by a celestial veil with which they 
 are covered ; a veil, translucent as sun-beams, yet of ada- 
 mantine texture.” — M. Similar to this in sentiment, is the 
 address of an English poet, to the Venus de’ Medici:— 
 
 “ Venus, thou’rt lovely ; yet on other feet 
 W as pressed of old the kiss of guilty fire ; 
 
 Thy look is grace, too deeply, purely sweet, 
 
 To tell of passion that could change or tire ; 
 
 From those rich lips no fatal dreams respire. 
 
 There lives no evil splendour in that eye, 
 
 To light the torch on virtue’s funeral pyre,— 
 
 Queen of the soul’s bright tides, thy spell is modesty.” 
 
 Croly . 
 
 From this temple, we proceed in a direct lane up the gal- 
 lery, to the east end, or Temple of Liberty, proceeding with 
 the Catalogue on the left hand, and returning on the right. 
 
 In entering a collection enriched with the antiquities of 
 Athens, the spectator, either here, or at the British Museum, 
 will, perhaps, in vain try to raise his mind to that enthusiasm, 
 with which he would he irresistibly impressed by the first 
 glance of these objects on their native plains, and amidst the 
 scenes which they commemorate. The sorrowing Athena 
 does not here preside with native and sensible influence ; like 
 the afflicted Carthaginian princess, she roams forlorn in a 
 strange land : — 
 
 —Semper longam incomitata videtur 
 Ire viam, et Tyrios deserta quaerere terra. — Vir. 
 
 Yet all that can be done by art and munificence, is here 
 afforded, to convey such interesting associations to the spectator : 
 with the certain identity of the different objects, will be con- 
 nected the feeling of memory and veneration for their original 
 scenes and localities ; and he may, perhaps, experience some 
 slight portion of that deep feeling, so eloquently described by 
 an English traveller (Williams) on his first approach to Athens : 
 “ The anticipations with which we had set out on our 
 
 H 
 
82 
 
 A GUIDE TO 
 
 travels,— anticipations, which, at almost every step of our pro- 
 gress, have been more than realised, now rushed upon our 
 minds, deriving additional intenseness from the recollection of 
 what we had seen. Our memory naturally recalled the feel- 
 ings with which we had entered the Italian capital ; and the 
 gratification which we had received from the monuments of 
 ancient and modern art, which we had there contemplated : 
 and now, when we stood before that city, which was for ages 
 the light of the world ; where the unfettered energies of man 
 had achieved the noblest deeds recorded in history; where 
 genius, wisdom, and taste, had reached their highest per- 
 fection ; and from which, Rome herself was proud to borrow 
 all her illumination and refinement ; — admiration of the past 
 glory of Athens, and commiseration of her fall, — the remem- 
 brance of what she had been, contrasted with what she now is, 
 mingled in one overpowering emotion, which expressed itself 
 in the silence of tears.” 
 
 The following statues, groups, or sculptures, are generally 
 ancient, except those we have noticed as otherwise, or which 
 are discernible from the names and dates of their sculptors. 
 
 The first number in the Catalogue (the Nos. are placed on 
 each object), is 
 
 53. “ Bagnarola” (small Bath) “of Verde-Antico Marble 
 modern, on a yellow marble plinth. 
 
 54. “ Small Sculptured Cinerary Urn” (for ashes); it is of 
 a square form, and not much ornamented. 
 
 Three repetitions of these two numbers occur in other 
 parts of the gallery, which will be noticed in their proper 
 places. 
 
 55. “ Alto-rilievo of Penelope. (By Chantrey .)” 4 ft. 
 
 9 in., by 5 ft. 10 in. 
 
 “ And Pallas now, to raise the rivals’ fires. 
 
 With her own art Penelope inspires : 
 
 W r ho now can bend Ulysses’ bow, and wing 
 The well-aimed arrow through the distant ring. 
 
WOBURN ABBEY. 
 
 83 
 
 Shall end the strife, and win the imperial dame ; 
 
 But discord and black death await the game ! 
 
 The prudent queen the lofty stair ascends, 
 
 At distance due a virgin-train attends • 
 
 A brazen key she held, the handle turned, 
 
 With steel and polished elephant adorned : 
 
 Swift to the inmost room she bent her way, 
 
 Where, safe reposed, the royal treasures lay ; 
 
 There shone high heaped the laboured brass and ore, 
 And there the bow which great Ulysses bore ; 
 
 And there the quiver, where now guiltless slept 
 Those winged deaths that many a matron wept. 
 
 « * * * * * 
 
 She moves majestic through the wealthy room, 
 Where treasured garments cast a rich perfume ; 
 There from the column where aloft it hung, 
 Reached, in its splendid case, the bow unstrung ; 
 Across her knees she laid the well-known bow, 
 
 And pensive sate, and tears began to flow.” 
 
 Odyssey. 
 
 The countenance and figure of the anxious and interesting 
 queen, are very graceful and pleasing; the figures of the 
 attendants expressive and sympathising, and the arms and 
 ornaments elegantly sculptured. 
 
 56. “ Bust of Antoninus Pius, on a truncated column of 
 Bigio marble. Clothed in the Toga, the quiet and unassum- 
 ing costume of peace and the laws. It was purchased from 
 the collection of Sir Hervey Bruce, Bart.” — M, 
 
 57. “ Bust of Trajan, on a truncated column of Bigio 
 marble; wearing the Palu dam en turn.” — M. 
 
 58. “ Statue of Sylvia, (from the Aminta of Tasso), by 
 Baruzzi ;” Cincinnato Baruzzi, an Italian artist : this is 
 universally allowed to be a most beautiful specimen of 
 modern art. It represents a young lady admiring herself in 
 the water, adorning herself with flowers, and expressing the 
 triumphant, and rather conceited conviction of herself being 
 more beautiful than any of them : but she has the grace to 
 run away, when detected in her employment. Beneath is an 
 
84 
 
 A GUIDE TO 
 
 Inscription from the Aminta: Atto 11, Scena 2; of which we 
 have been favoured with this translation. 
 
 Where near the city lies a meadow sweet, 
 
 Whose verdant side the placid Arno laves; 
 
 As in a mirror, from its blest retreat, 
 
 An islet casts its shadow o’er the waves ; 
 
 There, Silvia found I, o’er the current bending. 
 
 Charmed by the beauties offered to her sight. 
 
 Amid her clustering tresses flow’ rets blending 
 And oft surveying with a young delight. 
 
 Her lovely brow with many hues she shaded, 
 
 Formed in a wreath which richest fragrance shed 
 Among the locks which fancifully braided 
 Bore the soft burthen on her virgin head; 
 
 And now a lily, now a rose, selected, 
 
 Was held to her fair neck or glowing cheek ; 
 
 Then in the stream she viewed her face reflected. 
 
 And conscious smiles her victory bespeak — 
 
 “ Mine is the fairer hue, the brighter bloom ; 
 
 Fade, fade, ye flow’rets, on the brow ye shade. 
 
 But not adorn — to wither be your doom, 
 
 Whilst I, victorious, view your beauties fade.” 
 
 As thus she spake, she turned and saw me viewing 
 With eyes attentive, her fantastic play ! 
 
 Blushing she rose — the verdant meadow strewing 
 With scattered flow’rets, as she fled away. 
 
 C. H.S. 
 
 59. “ Alto-rilievo of Ph^dra and Hippolytus, 9 ft. 3 in., 
 by 3 ft. 9 in. see the Hippolytus of Euripides. This seems 
 a very probable title to this ancient group ; but another is also 
 given in the “ Marbles : ” viz., that it represents Meleager, 
 turning away in anger from the request of his mother Althaea, 
 who had before wronged him. In the other half of the 
 Rilievo, are figures bearing clubs, two of whom are leading 
 horses, which, according to the second interpretation, would 
 seem to represent the invasion of Calydon by the Curetes, 
 which Meleager is entreated to oppose : or they may be 
 designed for the defenders of the city, awaiting his aid and 
 guidance. 
 
 60. “ Statue of Bacchus,” crowned with ivy :* five feet in 
 
 * This is the golden ivy, or hedera chrysocarpos of Pliny, and 
 the hedera pallens of Virgil. It was a Dionysiac plant ”—Dodwell’s 
 Greece . 
 
WOBURN ABBEY. 
 
 85 
 
 height:” brought from Italy, by the late Lord Ossory, and 
 presented by his heir, Lord Holland, to the Duke of Bedford. 
 
 “ Bacchus is here represented in the flower of youth, and in 
 an attitude of repose, leaning against the trunk of a tree, on 
 which he has thrown his nebris , or fawn’s skin ; and round it 
 are entwined the stem of a richly clustered vine, and a sacred 
 Dionysiac serpent. 
 
 “ The serpent is introduced here, (and in other sculptures it 
 is seen in the Cista Mystica , and in the hands of Bacchantes, 
 or coiling in their hair), as a symbol of the perpetual youth 
 attributed to this deity : as it is a property of the serpent to 
 cast its skin periodically ; and thus, apparently, to renew its 
 j u venile vigour. ’ ’ — M. 
 
 61. “ Mezzo-rilievo of Silenus and Fauns,” fifteen inches 
 square : the old fellow is as usual, represented inebriated and 
 assisted in his devious course by the friendly arms of his com- 
 panions. 
 
 — ■“ Ebrius ecce senex pando Silenus asello 
 Vix sedet ; et pressas continet arte jubas. 
 
 Dum sequitur Bacchas, Bacchae fugiuntque petuntque, 
 Quadrupedem ferula dum malus urget eques ; 
 
 In caput aunto cecidit delapsus asello, 
 
 Clamarunt Satyri, surge age, surge, pater.” 
 
 Ovid . 
 
 62. “ Copy of the Antique group of Silenus nursing Bac- 
 chus” at Florence : small. The countenance of Silenus here 
 represents a different mood, being fine, and even dignified. 
 
 63. “ Small Alto-rilievo in two compartments : in the upper 
 is Silenus reclining on an Ass ; in the lower is the Wolf suck- 
 ling Romulus and Remus.” 
 
 “ Venit ad expositos (mirum !) Lupa fceta gemellos 
 Quis credat pueris non nocuisse feraml 
 
 Constitit, et cauda teneris blanditur alumnis, 
 
 Et fingit lingua corpora bina sua. 
 
 Marte satos scires, timor abfuit ; ubera ducunt ; 
 
 Et sibi permissi laetis aluntur ope.” 
 
 Odd. 
 
 LI 2 
 
86 
 
 A GUIDE TO 
 
 64. “ Alto-rilievo of a Bacchanalian Procession/' Brought 
 by Lord Cawdor, from Sicily : it measures 6 ft. 9 in., by 2 ft. ; 
 the sculpture is much defaced. Bacchus is accompanied by 
 a nymph, perhaps Ariadne, and a Cupid is seated on one of 
 the Tigers, which draw the chariot, playing on a lyre. Silenus 
 is supported on an Ass, in a drunken attitude, by two Fauns, 
 and Bacchantes are beating the timbrels : — 
 
 — “ Sonuemnt cymbala toto 
 Littore, et attonita tympana pulsa manu.” 
 
 Ovid. 
 
 65. “ Sepulchral Mask." “ May, perhaps, have alluded to 
 the deceased person having suffered a violent death, by which 
 his features were so much bruised, as to require the face being 
 covered with a mask, in its passage to the cemetery: such 
 burials were called larvata funera. An ancient epitaph on two 
 young persons who had been crushed to death by the fall of 
 their house, on their wedding night, contains the following 
 lines : 
 
 CARI PARENTES NEC LVCTV NEC LACHRIMIS MISERA 
 AC LARVATA NOSTRA DEFLEATIS FVNERA.” M. 
 
 66. u Bust of an Infant.” 
 
 67. “ Bust of Nero, when a Child.” How improbable it 
 would seem, if unsupported by history, yet the characteristic 
 trait is not uninstructive, that this monster of cruelty, during 
 his youth, openly exhibited no ferocious inclinations, and even 
 at the commencement of his reign, when asked to sign a 
 warrant of execution, exclaimed, 6 How I wish I could not 
 write ! ’ 
 
 68. “Head of an Egyptian Deity,” in black stone or 
 marble. 
 
 69. “ Bust of Marcus Aurelius, on a truncated column of 
 Cipollino Marble;” “ wearing the paludamentum, hut not 
 clad in armour.” — -M. 
 
 “ The paludamentum or Chlamys , was the military cloak or 
 
WOBURN ABBEY. 
 
 87 
 
 robe of the General, of a scarlet colour, bordered with purple ; 
 sometimes worn also by the chief officers.’ ’ — Adam's Rom . An . 
 The marble of the shaft is striped with green. 
 
 70. 44 Terminal Bust, said to be Lycurgus,” from the cir- 
 cumstance of its having an eye knocked out. — Vide Plutarch . 
 
 71. “ Fragment of Arabesque intreccie," 
 
 72. 44 Alto-rilievo of a Symbolical Animal destroying a 
 Deer:” 4 ft. 5 in. by 3 ft. 5 in., purchased from the Aldo- 
 brandini collection at Rome. The animal is of the fabulous 
 Gryphon class, and has the body of a tyger, the wings of an 
 eagle, and a head somewhat like that of a bull. The sculpture 
 is very bold and natural, and is supposed in the 44 Marbles,” to 
 have probably formed a metope in the frieze of a temple 
 of Diana Agrotera. 
 
 73. “Alto-rilievo of Achilles, Briseis, Patroclus, and 
 the Heralds, by ThorwaldsenJ 5 the Danish sculptor, whose 
 studio at Rome, rivalled that of Canova : 6 ft. 3 in. by 2 ft. 
 10 in. This is the 
 
 M^j nv — - — — - — IltjXiadea) A^iAyw 
 
 On which the main events of the Iliad are suspended. The 
 figures are all appropriately expressive, and those of the 
 Heralds with their flowing robes, filleted hair, beards and 
 sceptres, very graceful. 
 
 74. 44 Reduced copy in Marble, of the Borghese Herma- 
 phrodite.” 
 
 75. 44 A Roman Amphora, found in Woburn Park,” it is of 
 the common red pottery. 
 
 76. 44 Table of red Egyptian Granite : ” modern. 
 
 77. 44 Bronze Faun, found at Pompeii.” Presented to the 
 Duke of Bedford, at the time and place of excavation, by 
 Caroline, Queen of Naples. The face has an irresistibly ludi- 
 crous expression, and would form a good companion to that 
 engraved in the 44 Ancient Sculpture” of the Dilettanti Society, 
 plate LIX. 
 
88 
 
 A GUIDE TO 
 
 78. “ Reduced copies in Bronze, of the Aldobrandini Cen- 
 taurs. 
 
 79. “ Fragment of a Roman Cinerary Urn, found in Wo- 
 burn Park merely the top. 
 
 80 . Very small “Fragment of a Statue of Diana Venatrix.’’ 
 
 81. “ Roman Cinerary Vase, found in Woburn Park.” 
 
 82. “ Alto-rilievo of Meleager and Atalanta, and the 
 Death of the Boar of Calydon ; ” 7 ft. 2 in. by 1 ft. 10 in. This 
 as well as most of the Alti-rilievi on the walls of the Sculp- 
 ture Gallery, formed the front of an ancient Sarcophagus. 
 The figures in this are much shortened, which gives it an air 
 of clumsiness, although some of the faces and positions are 
 very expressive. The city-gate of Calydon, from which the 
 venturous troop have just emerged, appears on the left hand ; 
 and towards the other end appears the Boar, of a monstrous 
 size, at bay, and about to receive his death wound from the 
 spear of Meleager. 
 
 83. “ Bust of Claudius.” 
 
 84. “ Veiled Roman Female Bust.” The countenance has 
 rather a majestic appearance, and the hair is prettily disposed. 
 
 85. “Bust of Hercules,” with a chaplet of poplar leaves: 
 the countenance is commanding. 
 
 86. “ Terminal Bust of Neptune ; ” these were mounted on 
 round or square shafts of columns, and used as external orna- 
 ments, or as land-marks to denote limits, hence they derive 
 their name from the deity Terminus. 
 
 87. Two small “Fragments of Architectural Ornamental 
 Sculpture.” 
 
 88. “ Bust of Septimus Severus, on a truncated column of 
 Cipollino marble.” The head alone is ancient : he is dressed in 
 armour, over which he wears the paludamentum buckled on 
 the left shoulder. 
 
 89. “ Alto-rilievo of Luna visiting Endymion.” “ This Alto- 
 rilievo is part of an ancient marble sarcophagus; which 
 
WOBURN ABBEY. 
 
 89 
 
 once probably held the remains of a person who had been 
 initiated into the mysteries of Ceres. The sculptor has intro- 
 duced a great number of mystical symbols, and mythological 
 personages; among whom Ceres and Triptolemus are con- 
 spicuous.” — M, The variety of crowded objects in this relief 
 renders it entertaining : but Luna, however characteristic her 
 face may be, is of so unattractive an appearance, that pro- 
 bably Endymion, if he knew the form which was to meet his 
 glance, would rather keep his eyes shut, “ and would not be 
 awaked.” This Alto-rilievo is 8 ft. by 3 ft. 10 in.* 
 
 90. “ Statue of Minerva ; ” brought from Italy, by the 
 late Marquis of Tavistock. The figure, which has a very 
 pleasing countenance, is 5 ft. 6 in. high, to the crest of the 
 helmet, and is armed with spear and shield, with the Gor- 
 gon’s head on her breastplate. 
 
 91. “ Unknown Head, in Mezzo Rilievo ; ” a beautiful 
 antique head, supposed to be that of a female; the hair is 
 filleted. 
 
 92. “Reduced copy of the ancient group of Pylades, 
 Orestes and Electra, in the Palace of St. Ildefonso.” 
 
 93. “ Cast from Canova’s Magdalen (in the Gallery of Som- 
 mariva at Paris) :” a cross of cane is placed in the hands of this 
 interesting figure, which distinguishes it from the lighter and 
 partly fictitious forms around it. The Marquis of Sommariva 
 had also a villa on the lake of Como, for which others of 
 Canova’s distinguished compositions were executed. 
 
 94. “Bust of Augustus, on a truncated column of Breccia 
 Africana ; ” a very beautiful variety of marble, veined with 
 red, green and black. The Emperor is represented young. 
 
 * The wheels of the chariot, which is neatly sculptured, have six 
 ornamented spokes, — “ the most common number of radii to wheels 
 seems to have been six. Some had eight, as the chariot of Minerva, 
 mentioned by Homer. Those represented on the sculpture of the 
 Parthenon, have four. There is a bronze wheel in the Royal 
 Library at Petris, which has five radii .” — DodweWs Greece . 
 
90 
 
 A GUIDE TO 
 
 95. “Bust of Marcus Aurelius, on a truncated column 
 of red marble.” ' 
 
 * A sitting figure of a Roman Empress, about 3 ft. high, of 
 good execution. 
 
 * Below, a sculptured votive Tablet, 1ft. 3 in. by 10 in. The 
 carving and the Greek inscription, are so much defaced, as to 
 render its development very difficult. The author having 
 sought the kind assistance of a friend in the neighbourhood, 
 who on all subjects of art and classical antiquity, is faciU 
 princeps , has received the following lucid observations on the 
 subject. 
 
 “ My notion about the defaced marble containing an in- 
 scription, is as follows : — that it has been a Tablet, or Ex voto 
 offering of some pious votary of Apollo or iEsculapius, and 
 contains representations of the two ears of the person who had 
 been cured ; of the plants used by the medical practitioner ; 
 and of two serpents symbolical of the God : among which are 
 inserted some Greek letters, forming something like 
 (AI)QTOY 0EPAITE1 (AN) f 
 MAPIAIA AII0AAAPHI2 
 EYXAP12THPI0N 
 
 i. e. “ Maridia Apollareis, (dedicates this) grateful offering, 
 for the cure of both her ears.” This I give only as a conjec- 
 tural reading ; if it had been for the cure of one ear, it would 
 probably have begun AI’ QT02 &c., the genitive of 0Y2, 
 but as the word appears to be AIQTOY, it may probably be 
 the genitive case of AIQT02, and mean “ of both ears.” 
 It is a rude work, the words clumsily divided ; and it has 
 been chiselled by some common stone-cutter, of the lower 
 ages.” 
 
 t The four letters in parentheses, are conjectural. 
 
WOBURN ABBEY. 
 
 91 
 
 96. “ Statue of Psyche : by Westmacott .” 
 
 Many of our readers know that Psyche in Greek, sig- 
 
 nifies “ the soul; ” and hence in connexion with this ideal nymph, 
 more than one mystical and philosophical allegory has been ad- 
 vanced, and associated with the feelings. The soul as having left 
 the body was from its lightness and aerial nature, typified also by 
 a butterfly ; in correspondence with this, the most beautiful and 
 lovely being represented before us, has spangled butterfly’s wings. 
 In the more sublime and ethereal sense, the allegory of Psyche has 
 been treated on and amplified by Plato ; but the romantic story now 
 received as the popular one, is found in the writings of Apuleius, a 
 native of Africa, and a Platonist, who settled at Rome, in the 
 second century ; who wrote a long romance, interspersed with 
 tales, similar to the Milesian Tales, then current, and other works, 
 of which an expurgated edition (of which there is much need) 
 was printed at Paris, in 2vols. 4to., In: Us: Del : in 1688. Ra- 
 phael was the first among the painters who applied this story to the 
 purposes of his art, and it has since become a favourite one with 
 both sculptors and painters. An English lady, Mrs. Tighe, has 
 also written a beautiful epic poem, on the tale of Psyche, replete with 
 excellent sentiments and pleasing descriptions. 
 
 The Tale in Apuleius, which occupies part of the 4th, 5th, and 
 6th books, is of a very similar cast to the oriental and fairy fictions, 
 which are known to so many in childhood : its great length, and the 
 multiplicity of other objects demanding our attention, compel us 
 to give a very concise epitome, with one or two brief extracts. 
 
 Psyche was the youngest of the three daughters of a certain King ; 
 and so extremely beautiful, that the admiration of her charms 
 turned the attention of the inhabitants of the vicinity from the wor- 
 ship of Venus, whose temples and sacrifices were neglected, and 
 the modest and unassuming Psyche, was followed with almost equal 
 honours. The angry Goddess, peculiarly jealous of her own hitherto 
 uncontested supremacy, called her son Cupid to her, and having- 
 pointed out to him her rival, entreated him in the most passionate 
 manner to revenge her wrongs. . . The two sisters of Psyche 
 
 had now become married to Kings, but she herself, in spite of her 
 superior attractions, remained without an offer. Her father distrust- 
 ing the anger of the Gods, consulted the oracle of Apollo Didymseus 
 at Miletus, from which he received this answer, in Latin verse : 
 
 “ Thy daughter on a lofty rock, array’d 
 In funeral nuptial garments, must be laid. 
 
 Expect no son-in-law of mortal race, 
 
 But cruel, fierce, with viper’s fell embrace : 
 
 On rapid wings who cleaves the ethereal height, 
 
 While fire and sword attend his conquering flight ; 
 
 Whom, trembling all the Gods above adore, 
 
 The deepest waters, and the Stygian shore.” — Ed. 
 
 The king and all the city were filled with consternation and 
 sorrow, yet dared not neglect the mandate of the oracle. Psyche 
 alone exhibited a heroic resignation, and expressed a conviction of 
 
92 
 
 A GUIDE TO 
 
 its being a punishment for her presumption in receiving honours 
 due only to Venus, or rather for their having permitted it. Having 
 been attired according to the injunction, and attended with a last 
 and magnificent pomp, she was conducted to the precipitous cliff of 
 a rock, and there abandoned to her fate ; her parents shutting them- 
 selves up in their palace, and resigning themselves to irrevocable 
 despair. 
 
 As she lay on the rock, the gentle breezes of a zephyr, gradually- 
 increasing, raised her up, and having carried her to an unknown 
 distance, deposited her on a flowery turf. Here she soon perceived 
 a Fairy Palace, the interior of which is eloquently described as 
 possessing objects most captivating to the senses. Unseen hands 
 presented her with every luxury, and the voices of invisible spirits 
 complimented and reassured her. She was then privately married 
 to a Being, who rendered himself invisible, always leaving her 
 before break of day, and to whom in a short time she became 
 attached, but who entreated her never to attempt seeing his face, 
 as on that would depend their separation. In this happy seclusion 
 she might have always remained, but for the envy and malice of 
 her wicked sisters. Moved by her prayers, her husband gave her 
 permission to invite them to see her, and allowed his servant, 
 the Zephyr, to convey them through the air, to her retreat. Here 
 she received them very hospitably, and made them carry away with 
 them magnificent gifts. But after repeated visits, these artful and 
 envious women contrived to excite in her mind distrust and fear 
 of her husband, reminding her of the oracle which had pronounced 
 that she should be married to a monster ; and at last persuaded her 
 to endeavour to discover his real nature, and even to kill him. Rash 
 and desperate, whilst he was sleeping, she took the lamp and a knife 
 and approached him, when she discovered the form and features of 
 the transcendant Cupid, and in the ecstasy and surprise, dropped 
 the oil from the lamp, on his neck, who immediately awoke, and in 
 flying away, pronounced to her, with deep sorrow, the destruction 
 of their intercourse. 
 
 Psyche, in her grief, threw herself into a river near the palace, 
 but the River-God, mindful of Cupid, bore her up, and carried 
 her to the shore, where she found the rustic God, Pan, who con- 
 soled her, and advised her, rather to seek by time and obedience, 
 to recover the favour of Cupid. After wandering some time, she 
 reached the capital of one of her sisters, to whom she related her 
 story ; and who, mad with ambition, immediately set out for the 
 same rock, which had been the commencement of their interview, 
 expecting that the Zephyr would carry her to Cupid ; but the 
 indignant God, to punish her treachery, sent a different wind, which 
 dashed her in pieces against the rocks. The same fate befel her 
 other sister. In the mean time, Venus, who was bathing on the 
 sea-shore, was informed by a sea-gull of the wound which her son 
 had received from the lamp, and the consequent injury which the 
 world sustained from the absence of his influence. The Goddess 
 then sought him out, and found him in her own palace, grievously 
 
WOBURN ABBEY. 
 
 93 
 
 wounded and still sorrowing for Psyche. After various wanderings 
 and adventures of the latter, she gave herself up to the power of 
 Venus, who inflicted on her the most cruel punishments ; and im- 
 posed on her several grievous and apparently impossible labours. 
 First, she caused an immense heap to be made, confusedly, of wheat, 
 barley, millet, poppy seeds, vetches, lentils and beans, and ordered 
 Psyche to separate them, and arrange them properly, before the 
 evening. Psyche gave herself up to despair. But a friendly ant 
 seeing her distress, and pitying it, knowing her to be the wife of 
 Cupid, and disliking the cruelty of Venus, assembled all her tribe, 
 and easily fulfilled Pysche’s task, by the appointed time. When 
 Venus saw it accomplished, she attributed it to the secret influence 
 of Cupid ; and having thrown to the hapless prisoner, a piece of 
 coarse bread, retired to prepare new trials for the next day. In the 
 morning, having shewn to Psyche a grove, on the banks of a river, 
 and a flock of sheep with fleeces of gold, which were feeding without 
 a shepherd, she ordered her, by some means, to bring a lock of wool 
 from one of them. Psyche set out with the intention of ending her 
 miseries in the flood of the neighbouring river ; but a Heed which 
 grew therein, moved by a supernatural breeze, thus addressed her ; 
 
 Psyche, harassed by so many sorrows, neither pollute my sacred 
 waters by thy most unhappy death, nor advance towards the dreaded 
 sheep on this bank ; for when they have imbibed the violent heat of 
 the sun, they are accustomed to be seized with a cruel fury, and to 
 rush to the destruction of men, with their sharp horns, their impene- 
 trable foreheads, and sometimes with their envenomed teeth ; but 
 until the heat of the sun is appeased after mid-day, and the sheep 
 are soothed by the breeze from the river, thou mayest conceal thyself 
 under that lofty plane which is nourished by the same source as 
 myself ; and as soon as the sheep are appeased, having shaken the 
 leaves of the neighbouring grove, thou wilt fiud the golden wool 
 which every where adheres to the branches/’ Thus the simple and 
 benevolent Reed taught the miserable Psyche, a method of safety. 
 
 Venus, again foiled, as she conceived, by the power of Cupid, 
 next gave Psyche a crystal vessel, and commanded her to bring it 
 filled from a stream of black hue, which fell from the summit of an 
 inaccessible rock into a valley, where it formed the sources of the 
 infernal rivers of Styx and Cocytus : the valley was also guarded by 
 sleepless dragons. “ But the sorrow of her innocent mind did not 
 escape the powerful eyes of the benign Providence ; ” and the 
 Eagle of Jupiter, descending, took the vase from her, and carrying 
 it to the top of the rock, returned it to her full of the desired water. 
 Psyche’s last, and most tremendous task, now awaited her from the 
 anger of the merciless Goddess. She placed in the hands of Psyche, 
 a casket, and commanded her to descend to the infernal Shades, and 
 having presented it to Proserpine, to request of her a portion of her 
 own beauty for Venus, even as much as would suffice for a day, 
 since she had so much impaired it by her attendance on the wounded 
 Cupid. Psyche, now completely desperate, wandered as far as a 
 lofty tower, which she ascended, and thought of ending her miseries 
 
94 
 
 A GUIDE TO 
 
 by casting herself down from it; but the Tower, like her former 
 friends endued with speech, admonished her that she would thus 
 indeed, descend to Tartarus, but would never return, and advised 
 her to go to Lacedaemon, near which city, at a cavern in the pro- 
 montory of Taenarus, was a descent to the Shades. It also informed 
 her of the necessary methods for arriving safely at Pluto’s palace, 
 and also for returning ; that she must take two cakes of barley made 
 with metheglin, as a sop to appease the ferocious Cerberus on her 
 passing him, and two small pieces of money for her double fare to 
 the boatman Charon : warning her also that the crafty Venus 
 would send several Spirits to deceive and attract her attention, under 
 the disguise of imploring pity and charity ; and that she must by no 
 means accept the honourable seat and banquet, which Proserpine 
 would offer her, but sit down on the ground, and ask for a piece of 
 coarse bread only ; and above all things, it warned her not to think cf 
 opening the casket. All these injunctions Psyche diligently observed, 
 and had reached the upper regions, when a rash curiosity seized her 
 of examining the casket, and if it contained beauty, of appropriat- 
 ing seme part of it to herself, as an additional attraction to Cupid. 
 
 It is at this point that she is represented in the beautiful statue 
 before us ; anxious curiosity, remorse and fear, combining in her 
 expression. — But when the mysterious casket was opened, “ within 
 was nothing, — no beauty, but an infernal and Stygian lethargy, 
 which, the instant the covering was removed, seized upon her : 
 the cloud of dense sleep was shed over all her limbs, and in that 
 very spot and path, held her immoveable, and she lay as if de- 
 prived of life. But Cupid, now healed from his wound, and im- 
 patient of the long absence of his Psyche, having escaped through 
 a very narrow window of the chamber in which he was confined ; with 
 wings refreshed from his rest, and flying much swifter than usual, 
 comes to his Psyche, and having dispelled the sleep, and placed it 
 again within the casket, awakes Psyche by a gentle touch of the 
 point of his arrow, and ‘ again’ he exclaims, ‘ unhappy, thou wert 
 perishing by a like curiosity ! But go now, and carefully fulfil my 
 mother’s mandate — the rest shall be my care.’” 
 
 Cupid now sought the assistance of Jupiter, who consented to unite 
 him finally to Psyche, and reconciled Venus to the measure, by con- 
 ferring on Psyche immortality, and by the consideration, that this 
 would restrain Cupid from his former wanderings. He then sent Mer- 
 cury to fetch the nymph, and “ stretching out to her a cup of ambro- 
 sia, ‘ taste this, Psyche,’ said he, ‘ and be immortal, nor shall Cupid 
 ever depart from this bond of yours, but these shall be ycur perpetual 
 nuptials : ’ and immediately an ample nuptial-feast was prepared. 
 The husband reclined on the highest couch, with Psyche leaning 
 on his breast, as did also Jupiter with Juno, and then the rest of 
 the Gods in order. His own rustic cup-bearer ministered the cup 
 to Jupiter, and Bacchus to all the rest. Vulcan prepared the ban- 
 quet : the Hours adorned every thing with roses, and other flowers : 
 the Graces scattered sweet unguents : the Muses sang with their 
 tuneful voices, and Apollo sang to his lyre : Venus gracefully 
 
WOBURN ABBEY. 
 
 95 
 
 danced to the measures of the sweet harmony, which was so ar- 
 ranged, that the Muses sang in chorus, a Satyr played on the flute, 
 and a follower of Pan sang to the pipe. Thus was Psyche duly 
 married to Cupid, and in time was born to them a son, who is called 
 Pleasure.” — Ed. 
 
 97. Alto-rilievo of Hector, Paris, and Helen; by West- 
 macott; 3 ft. 11 in. by 4 ft. 10 in.— Hector reproving Paris. 
 Iliad, book vi. The manner in which the Chief holds his 
 spear, expresses animation and strength, but scarcely, grace : 
 the sculptor had doubtless an eye to the recorded length of 
 this formidable weapon, which was ten cubits, or 15£ ft. Paris, 
 with an unstrung bow in his hand, expresses an ingenuous 
 sorrow ; and the countenance of Helen, who leans with dne 
 arm on his shoulder, is in a very appropriate style of beauty. 
 
 98. “ Sculptured Tazza : ” the handles entwined with ser- 
 pents, and the foliage wdthin, very finely executed. 
 
 99. “ Fragments of Architectural Sculpture.” 
 
 100. “ Basso-rilievo of a slave, working in a mine or 
 quarry : ” 2 ft. 8 in. by 1 ft. 7\ in. ; bold. 
 
 101. “ Alto-rilievo of Harpoc rates 2 ft. 2 in. by 1 ft. 4 in. 
 
 102. “ A Mithriac Tablet.” In the ‘ Marbles,’ is a learned 
 disquisition on the doubtful subject of this Mythological Basso- 
 rilievo, which has by some, been referred to the symbols of 
 initiation into the mysteries of the Persian Deity Mithras; 
 and by others has been considered simply a representation of 
 the ‘evil eye of fascination; ’ a baleful superstition, not wholly 
 unknown in more enlightened times and nations. But our 
 limits forbid our pursuing this recondite subject further. 
 
 103. “Basso-rilievo of Sappho.” 
 
 104. “Lanti Vase.” This large and magnificent vase, of 
 Parian marble, and of the finest Greek sculpture, was found 
 in separate fragments in excavations made on the ruins of 
 Hadrian’s villa, at Tivoli ; and was restored to its original form 
 and beauty for the family of Lanti, at Rome ; of whom it was 
 purchased, by Lord Cawdor, and with difficulty brought to 
 
96 
 
 A GUIDE TO 
 
 England, from the disinclination of the Papal government, to 
 the removal of rare objects of antiquity. And it was pur- 
 chased at his sale, by the late Francis, Duke of Bedford, for 
 the sum of 800 guineas. 
 
 The diameter of this noble vase, is 6 ft. 3 in., and its height, 
 exclusive of the plinth on which it stands, 6 ft. The circle 
 beneath the howl, has a bold Ionic moulding, as has also the 
 rim. Eight grotesque masks decorate the bowl, in extremely 
 bold relief, each connected with the Festivals of Bacchus, and 
 the vase has two magnificent handles, channelled throughout, 
 and ornamented with the NAP0HS, or ferula Grasca, 
 (Greek fennel), a plant dedicated to Bacchus . — From the 
 “ Marbles .” 
 
 T^e original use of these large vases, in Greece or Rome, 
 we find, was to contain lustral water, for the ceremonies of 
 Bacchus. But ablutions, and purifications by water, are as 
 old as the Jewish religion, and have been transferred to other 
 faiths in the east; and, as we well know, were copied by 
 Mahomet. The laver placed by Moses in the tabernacle con- 
 tained water for sprinkling ; and the immense laver, termed 
 < a sea 9 in the temple of Solomon, of molten brass, which 
 measured ten cubits, or eighteen feet in diameter, and five 
 cubits, or eight feet nine inches in height, whose brim was 
 carved like that of a cup, with lilies,* and which held 3000 
 
 * Apt as the comparison of the spotless and silvery whiteness of 
 the lily of the valley has always appeared to the robes of Solomon in 
 his full state, a still more striking turn has been given to it by the 
 late Sir J. E. Smith, President of the Linnaean Society, who asserts 
 that the lilies of Palestine are golden. 
 
 “ This is commonly supposed to apply either to the white lily, or 
 the tulip, neither of which is wild in Palestine. It is natural to 
 presume that the Divine Teacher, according to his usual custom, 
 called the attention of his hearers to some object at hand ; and as 
 the fields of the Levant are over- run with the amaryllis lutea, whose 
 golden liliaceous flowers, in autumn, afford one of the most brilliant 
 and gorgeous objects in nature, the expression of ‘ Solomon in all 
 his glory, not being arrayed like one of these/ is peculiarly appro- 
 priate.” Sir J. E. S .—Ed* 
 
WOBURN ABBEY. 
 
 97 
 
 baths, or about 22,500 English gallons, was for the ablution 
 of the priests. And ten smaller lavers, were constructed for the 
 washing of the sacrifices. We also read of “ vBpiat XiOivai” 
 (which were stone vases, and having been used to contain 
 water for washing the hands and wrists, had been set by 
 empty) at the social and conciliating miracle of our Blessed 
 Saviour at the marriage of Cana in Galilee ; each of which is 
 said to have held two or three “ Merpyiai,” a smaller Syrian 
 measure,* containing rather more than seven English pints. 
 
 “ Large as are the dimensions of this vase, it 
 
 may, however, have been used merely for mixing the wines at 
 the splendid banquets of the Emperor Hadrian ; as the name 
 Kparrjp , given to such vessels, is derived from K cpaw or 
 K pan) ‘to mix;’ and Athenseus, in his Deipnosophistm, men- 
 tions, that at a festive entertainment given by Ptolemy Phi- 
 lometor at Alexandria, the silver vase, or Crater , used for 
 preparing, and mixing the wines for the numerous guests, 
 contained 600 anaphoras (about 4500 gallons) ; and that it was 
 ornamented with figures in rilievo.” — >M. 
 
 105. Alto-rilievo of Hero and Leander. By Westmaeott. 
 4 ft. 6, by 5 ft. 8. Hero is descending a rugged staircase 
 beneath the tower of Sestos, to receive her venturous lover, 
 and her floating drapery, driven by the wind, envelopes him, 
 whilst the waves are still curling round his feet. The sculp- 
 ture is very beautiful. 
 
 106. “ Marble Sarcophagus;” 3 ft. 5, by 2 ft. 2, found in 
 a sepulchral chamber near the Via Appia , at Rome. At the 
 corners are rudely but very boldly sculptured, a lion destroy- 
 ing a bear. The flutings are twisted, or “ vermiculated,” and 
 
 * In our translation, the larger metretes of Attica has been adopted, 
 which answered to an amphora, and contained nine gallons, rather 
 more than an English 4 firkin but the Syrian one is now considered 
 as the proper reading. 
 
 i 2 
 
98 
 
 A GUIDE TO 
 
 diverge in opposite directions at the centre, where is an 
 Amphora or Cadus. The mouldings are of the Ionic order. 
 A similar example of twisted channelling, except that the 
 flutings run in the same direction throughout, is engraved in 
 the fourth volume of Stuart’s Antiquities, from the island 
 of Scopelo. Two inscriptions, to the memory of children 
 who were deposited in it, are carved on this Sarcophagus : 
 that on the top of the ridged covering is imperfect : 
 
 FAVSTINA. DEPOSITA. XIII. KAL. SEP. ..... 
 
 In front is — 
 
 EUSEBIE FILIAE 
 PA RENTES 
 CONTRA VOTVM ; 
 
 which exhibits a resemblance to a passage in that noble 
 aspiration of Cicero, put into the mouth of Cato, on the occa- 
 sion of the death of his son, “ Cujus a me corpus crematum 
 est; quod contra decuit ab illo meum,” and if they had the 
 same pleasing hope of reunion, the parents of Eusebia were 
 comparatively happy. 
 
 Many of the Greek and Roman inscriptions display but 
 faint and dreary anticipations of a futute state : yet was that 
 undying lamp never totally dim in any age or country, or 
 amongst any class of individuals ; and we consequently meet 
 with approaches to a much more cheering and brighter hope ; 
 on the enjoyment of which, in our own age, it is need- 
 less to speak. The three following epitaphs, from Bland’s 
 Greek Anthology, are amongst the most pleasing that have 
 come down to us : the last is inserted on account of the beauty 
 of the sentiment. ■ 
 
 When those whom love and blood endear, 
 
 Lie cold upon the funeral bier, 
 
 How fruitless are our tears of woe, 
 
 How vain the grief that bids them flow ! 
 
 Those friends lamented are nojt dead, 
 
 Though dark to us the road they £cead ; 
 
 All soon must follow to the shore, 
 
 Where they have only gone before : 
 
WOBURN ABBEY. 
 
 99 
 
 Shine but to-morrow’s sun, and we, 
 
 Compelled by equal destiny, 
 
 Shall in one common home embrace. 
 
 Where they have first prepared our place.— -Antiphanes. 
 
 Thou art not dead, my Rosa, tho’ no more 
 Inhabitant of this tempestuous shore. 
 
 Fled to the peaceful Islands of the Blest, 
 
 Where Youth and Love, for ever blooming rest, 
 
 Or joyful wandering o’er Elysian ground, 
 
 Among soft flowers, where not a thorn is found. 
 
 No winter freezes there, no summer fires. 
 
 No sickness weakens, and no labour tires ; 
 
 No longer poverty nor thirst oppress, 
 
 Nor envy of man’s boasted happiness ; 
 
 But spring for ever glows serenely bright, 
 
 And bliss immortal hails the heavenly light. — Uncertain. 
 
 Hail, universal Mother ! lightly rest 
 On that dead form, 
 
 Which when with life invested, ne’er oppress’d 
 Its fellow worm. — Meleager . 
 
 107. “ Colossal Sepulchral Mask.” 
 
 108. “ Statue of Cupid, (by Westmacott ;)” an elegant pro- 
 duct.ion of English talent. 
 
 109. “ Bust of Napoleon of the heroic size, in alabaster, 
 in his imperial robes. The model of this was sent from Paris 
 previous to his first abdication, by order of one of his minis- 
 ters, and was executed in Italy. The bust was purchased by 
 the Duke of Bedford in 1814.” — M. 
 
 110. “Bust of jElius Verus,” in armour, and with the 
 Paludamentum. This preenomen was given to Lucius Corn- 
 modus when he was adopted by Adrian, but he died soon after, 
 from the singular circumstance of drinking what he supposed 
 to be an antidote. 
 
 111. “ Alto-rilievo of the Hunting of the Boar of Calydon,” 
 7 ft. 4 in. by 3 ft. 1 in. Atalanta has just shot an arrow at 
 the monster, and her attitude is represented in a lively man- 
 ner ; Meleager is receiving him with a spear, “ that spear 
 which Pausanias tells us he saw in the temple of YhuQcu, 
 
100 
 
 A GUIDE TO 
 
 the. Goddess of Persuasion, at Sicyon.” — M. : behind stands a 
 warrior, brandishing a sword of such enormous size, that it 
 reminds us of Alexander’s Indian Expedition. Peleus, who 
 is on horseback, with a leopard’s-skin trapping, has ridden 
 close up to the hoar, and with one foot advanced on his back, 
 is piercing him with a sword. In the other extremity of the 
 relief, Atalanta is carrying the boar’s head, which had been 
 presented to her by Meleager ; but the restorer of the marble 
 has by mistake placed on her shoulders the head of a young 
 man with a diadem. 
 
 “Very great importance appears to have been attached to 
 the spoils of this terrific boar by the Tegaeans, the fellow coun- 
 trymen of Atalanta : its skin and its tusks were deposited in 
 the temple of Minerva Alea, at Tegaea: and after a lapse of 
 ages, Augustus thought it a sufficient punishment on the Te- 
 gaeans, for having sided with Marc Antony against him, to 
 deprive them of their statue of Minerva, and of those cele- 
 brated tusks, which he carried off to Rome; and Pausanias, 
 who flourished in the reign of Marcus Aurelius, informs us, 
 that one of the tusks was still to be seen there, in the Temple 
 of Bacchus, in Caesar’s Gardens.” — M. Or, as some say, two; 
 and that one of them was half an ell in length. 
 
 112. “ Copy in marble of Bernini’s David, by Delvaux 
 (with a sling, &c.). The energy of expression in this statue 
 of the Heaven-assisted man, is so very noble, that any descrip- 
 tion must fall short of its merits : and we must run all risk of 
 censure from the avowal of our opinion, that in its peculiar pro- 
 vince it is equal to many remaining monuments of ancient art. 
 
 113. “ Table of Grey Egyptian Granite;” modern. 
 
 114. “ Small Bust of a Faun ;” in antique bronze. 
 
 115. Very small “ Bust of Hadrian.” 
 
 116. “ Sepulchral Vase;” Eagles bearing wreaths, and 
 sepulchral masks beneath. 
 
 117. “ Torso of a small Statue.” 
 
WOBURN ABBEY. 
 
 101 
 
 118. “ Bust of an Infant.” 
 
 119. “ Torso of a small Statue;” all very small. 
 
 120. “ Bust of Clodius Albinus, on a truncated column 
 of Bigio marble;” in armour: over which is the paludamen- 
 tum, fastened with a fibula on the left shoulder. He was 
 Governor of Britain, where he was proclaimed Emperor by 
 his soldiers ; but, after a contest with Severus in Gaul, was 
 defeated, and put to death. He was remarkable for a vora- 
 cious appetite ; which was truly wonderful, if even the fourth 
 part of the following enumeration be true, of what he is said 
 to have consumed at a breakfast : — “ 500 figs, 100 peaches, 
 20 pounds of dry raisins, 10 melons, and 400 oysters!” — - 
 Lempriere . 
 
 121. “ Alto-rilievo of Ulysses discovering Achilles at 
 Scyros;” 6 ft. by 2 ft. 10 in. The story is slightly told by 
 Ulysses, when describing his own services to the Grecian army, 
 in his oration for the arms of Achilles . — Ovid Met . xiii., and 
 is more fully developed in the Achilleis of Statius. Achilles 
 having been by the prescient care of his mother Thetis, with- 
 drawn from those scenes of glory which were fraught with 
 danger to him, was concealed in female attire in the palace of 
 Lycomedes at Scyros, an island of the iEgean, and brought 
 up with the princesses, his daughters. Chalcas, the sooth- 
 sayer, having revealed to the Greeks, that they should be 
 unable to take Ilium without the assistance of Achilles, the 
 general council of chiefs deputed Ulysses and Diomed to insti- 
 tute a search for him, in the course of which they heard a 
 rumour of his retreat under the auspices of King Lycomedes, 
 and accordingly sailed for Scyros, accompanied by Agyrtes. 
 
 On their arrival they appeared disguised as merchants, and 
 were hospitably received by the King, who introduced them 
 into the apartment of his daughters, with whom was Achilles, 
 “ to see them perform a choric drama.” Ulysses had, with 
 great art, brought with him amongst the accustomed wares 
 
102 
 
 A GUIDE TO 
 
 and ornaments of his supposed trade, and of which he made 
 presents to the princesses, a shield, helmet, sword, and breast- 
 plate ; which he deposited on the ground, in sight of the dis- 
 guised young warrior. On a given signal, Agyrtes, who stood 
 without the doors, blew a trumpet, and made an alarm by 
 clashing several weapons together. This congenial sound had 
 such an effect on the imagination of Achilles, that he threw 
 down a Thyrsus, which he had held during the sports, instinc- 
 tively snatched up the shield and spear, and rushed onward to 
 attack the supposed invaders — thus betraying himself to the 
 Grecian emissaries. 
 
 This Alto-rilievo is one of the finest in the Collection, the 
 countenances and attitudes being alike pleasing and charac- 
 teristic, and the perspective superior. One of the daughters 
 of Lycomedes is playing on a lyre, and a second holds a flute, 
 which she ceases to play, in gazing on the hearing of Achilles. 
 Three others are performing a dance with a shawl drapery, 
 like the modern scarf dances, which we believe are still practised 
 in Greece. Achilles is in the attitude of starting forth, and 
 Deidamia, the eldest princess, his secretly betrothed wife, and 
 afterwards the mother of Pyrrhus or Neoptolemus, is grasping 
 his knees, as anxiously preventing his rushing into danger, 
 and looking hack in a suppliant manner to a venerable figure 
 in a fine attitude, who is supposed in the “ Marbles” to be her 
 father Lycomedes : in his hand a spear has been placed by a 
 modern restorer, but he is supposed to have originally held one 
 of the long and majestic sceptres of the Homeric age. Diomed 
 is unsheathing his sword, and Agyrtes is blowing a trumpet, 
 which, though it 
 
 “ Ambas buccas inflat,” 
 
 appears to be of a paltry size ; and a fine figure near him is 
 probably a mariner, and his assistant in making the successful 
 alarum . At the feet of Deidamia is allegorically placed a 
 
WOBURN ABBEY. 
 
 103 
 
 Cupid, and on the ground are strewed the rest of the arms, the 
 helmet, and breast-plate : the helmet has a vizor and a cone 
 embossed with a bold group; from the crest trails a length of 
 horse hair. 
 
 This story is once only slightly alluded to by Homer, in the 
 Nineteenth Book of the Iliad, where Achilles, in his acute 
 lamentation for the death of Patroclus, mentions the hopes he 
 had entertained that the son of Meenetius might have been a 
 protector to his son, in the event of his own death. 
 
 He t* o; ^icvpto fioi GV6Tpe(fieTcu (fiiXoq vio$ 
 
 E l 7 tov €Ti rye, Neo7rTo\ejiiog Ocoeidjjs* 
 
 1C. T, A. 
 
 “ What more, should Neoptolemus the brave 
 (My only offspring) sink into the grave i 
 If yet that offspring lives, (I distant far, 
 
 Of all neglectful, wage a hateful war), 
 
 I could not this, this cruel stroke attend; 
 
 Fate claim’d Achilles, but might spare his friend. 
 
 I hop’d Patroclus might survive, to rear 
 My tender orphan with a parent’s care, 
 
 From Scyros isle conduct him o’er the main, 
 
 And glad his eyes with his paternal reign, 
 
 The lofty palace and the large domain. 
 
 For Peleus breathes no more the vital a'r ; 
 
 Or drags a wretched life of age and care. 
 
 But till the news of my said fate invades 
 
 Flis hastening soul, and sinks him to the shades.” — Pope, 
 
 The character of Neoptolemus is introduced in connexion 
 with that of Philoctetes, in that most beautiful fiction of 
 modern times, little inferior to the most celebrated poems of 
 antiquity — which, the delight of childhood, may be remem- 
 bered and referred to with pleasure at any subsequent period — • 
 the Telemachus of the amiable and accomplished Fenelon. 
 
 “ This subject is often found sculptured on ancient sarco- 
 phagi ; and as it is treated in the same manner on them all, 
 the artists must have taken as their model some celebrated 
 
I 04 
 
 A GUIDE TO 
 
 picture of f Achilles at Scyros,’ possibly that of Polygnotus or 
 Anthemion, mentioned by Pausanias and Pliny.” * 
 
 “ This Alto-rilievo was purchased from the Aldobrandini 
 collection at Rome, in the year 1815, and it was not without 
 much difficulty that the Duke of Bedford obtained permission 
 from the Papal government to remove this and some other 
 ancient sculptures to England. 
 
 “ It has been engraved by Winckelman, as a vignette to the 
 preface of his Monumenti Antichi Inediti, Vol. I.” — M. 
 
 122. “ Alto-rilievo of Priam supplicating Achilles, by 
 TJiorwaldson ;f 6 ft. 6 in. by 2 ft. 10. All the countenances in 
 this sculpture exhibit a lively impression of deep grief or 
 generous sympathy, and the general effect is in the highest 
 degree graceful and interesting. “ Thorwaldson has ventured 
 ta deviate from the text of Homer, by introducing Trojan 
 attendants, carrying part of the costly ransom into the tent of 
 Achilles ; and he has rendered them conspicuously national by 
 their Phrygian bonnets and dress.” — M. The first of these 
 carries a splendid vase — 
 
 — heiras 7 repiicaWes, o oi Oprjices iropov ai/Speq 
 E £e<JL7jv eXGovri, /aery a KTepa$ 
 
 The other has apparently a shield richly radiated, but 
 which may represent the surface of one of the Tripods 
 
 * A fine painting on this subject has been discovered in the ruins 
 of Pompeii, as also one of the abduction of Briseis.- — Vide Gell's 
 Pompeiana . 
 
 t For an accurate knowledge of the beau ideal, or the perfection 
 of nature, whichever you please to call it, united with a discriminat- 
 ing eye for the beauties of the antique, yet still preserving originality, 
 Thorwaldson, especially in his basso-rilievos, is superior to Canova, 
 who sometimes appears to copy himself. In examining the works 
 of the former, the mind is led to ancient days of greatness, and 
 seems to catch a portion of that sacred light, which sprung from the 
 genius of Phidias, Praxiteles, and Cleomenes ; the latter, on the 
 other hand, presents to you the choicest views of nature, with less 
 acquired knowledge from ancient sources, and perhaps, with less 
 refinement of sentiment and delicacy.” — 1L W. Williams’ Travels in 
 Italy and Greece . 
 
WOBURN ABBEY. 
 
 105 
 
 “ Ah think, thou favour’d of the pow’rs divine ! 
 
 Think of thy father’s age, and pity mine ! 
 
 In me, that father’s rev ’rend image trace, 
 
 Those silver hairs, that venerable face ; 
 
 His trembling limbs, his helpless person, see ! 
 
 In all my equal, but in misery ! 
 
 Yet now, perhaps, some turn of human fate 
 Expels him, helpless, from his peaceful state ; 
 
 Think, from some pow’rful foe thou see’st him fly, 
 
 And beg protection with a feeble cry. 
 
 Yet still one comfort in his soul may rise ; 
 
 He hears his son still lives to glad his eyes ; 
 
 And hearing, still may hope a better day 
 May send him thee, to chase that foe away. 
 
 No comfort to my griefs, no hopes remain ; 
 
 The best, the bravest of my sons are slain ! 
 
 Yet what a race, ere Greece to Ilion came ! 
 
 The pledge of many a lov’d and loving dame : 
 
 Nineteen one mother bore ! — Dead, all are dead ! 
 
 How oft, alas ! has wretched Priam bled ? 
 
 Still one was left, their loss to recompense ; 
 
 His father’s hope, his country’s last defence. 
 
 Him too thy rage has slain ! beneath thy steel 
 Unhappy ! in his country’s cause he fell ! 
 
 “ For him thro’ hostile camps I bent my way, 
 
 For him thus prostrate at thy feet I lay ; 
 
 Large gifts proportioned to thy wrath I bear ; 
 
 Oh hear the wretched, and the Gods revere ! 
 
 “ Think of thy father, and this face behold ! 
 
 See him in me, as helpless and as old ! 
 
 Tho’ not so wretched : there he yields to me, 
 
 The first of men in sov’reign misery ! 
 
 Thus forc’d to kneel, thus grov’lling to embrace 
 The scourge and ruin of my realm and race : 
 
 Suppliant my children’s murd’rer to implore, 
 
 And kiss those hands yet reeking with their gore !”- — Iliad. 
 
 123. “ Lion, in marble (from the Antique) in white 
 marble; small. 
 
 124. “ Sketch, in Terra Cotta, of Hercules and the Nemean 
 Lion in red, very small, but bold; the head of Hercules and 
 one paw of the Lion have been restored. 
 
 125. “Small Terra Cotta of Jupiter, Neptune, and Pluto; 5 ’ 
 beneath are Tridents and a Thunder-bolt, and this inscription— 
 
 DlIS. PROPI. 
 
 M. IIerenni. vi. 
 
 VATIS. 
 
 K 
 
106 
 
 A GUIDE TO 
 
 126. “ Copy, in Marble, from the Bust of a Faun.” 
 
 127. “ A Pigeon, in Marble,” modern. 
 
 128. “ Torso of the Statue of a Boy:” tbe sockets of the 
 eyes have been originally tilled with gems, as in many other 
 statues of tbe best periods of Grecian art. 
 
 129. “ Small Draped Female Torso, in coloured marble;” 
 blue. 
 
 130. Very small “Terminal Bust of tbe Indian Bacchus.’’ 
 
 131. “ Bust of Paris,” in the Phrygian bonnet. “ Mseonia 
 Mitra.” 
 
 132. Very small “Female Bust.” 
 
 133. “ Small Sculptured Sepulchral Urn:” two chariots are 
 represented on it, with winged Genii, one of which is drawn by 
 panthers, and the other by stags. 
 
 134. “ Alabaster Vase.” 
 
 135. “ Small Statue of the Nile,” from the Antique. 
 
 136. “ Head of Jupiter Serapis (Terra Cotta).” 
 
 137. “ Deduced Copy of the Dying Gladiator (Terra Cotta).” 
 
 138. “ Alabaster Vase.” 
 
 139. “ Foot of a Statue,” brought from a vault in the Abbey 
 of Ardennes, near Caen, by Mr. Widen. 
 
 140. “Foot of a Colossal Statue of the Amazon Smyrna.” 
 
 141. “ Foot of a Small Statue.” 
 
 142. “Torso of a Small Statue.” 
 
 143. “ Unknown Bust.” 
 
 144. “ Torso of a Small Statue.” 
 
 145. “Bust of Diadumenianus, on a truncated column of 
 
 Bigio Marble.” • “ Purchased from the collection in the 
 
 Palazzo Rondanini at Rome.” This harmless and ill-fated 
 Csesar, who was proclaimed as such during the life-time of his 
 father Macrinus, enjoyed the dignity scarcely two months. 
 
 146. “ Triumphal Procession of Bacchus and Hercules,” 
 (Alto-rilievo) ; 7 ft. 8 in. by 3 ft. 5 in. This, which is one of 
 the most splendid and entertaining of the Rilievi, represents 
 
WOBURN ABBEY. 
 
 107 
 
 u a portion of one of those tumultuous processions,” opyiaf^ uov 
 oyXo<;, “ which took place in celebrating the orgies at the 
 festivals of Bacchus.” — M. From the same authority we learn 
 that several of the smaller objects introduced, intimate that 
 it was the sarcophagus of a person who had been initiated into 
 the Greater Mysteries of Bacchus : of whose adventures we are 
 here only concerned with the mythological and poetical por- 
 tion. 
 
 In this Procession, Bacchus appears in a triumphal chariot, 
 holding a thyrsus crowned with vine leaves and clusters of 
 grapes ; behind him stands a Nymph, and beside him hovers a 
 winged Victory, who is crowning him with a diadem : a little 
 further advanced is another Nymph, of very graceful appear- 
 ance, who holds a “ thumiaterion,” or vessel of incense. The 
 chariot is drawn by Tigers, led by a Satyr; 
 
 Indocili jugum 
 Collo trahentes. 
 
 On their backs sit two small Bacchic Genii, carrying harpes 
 or pruning hooks. Hercules appears at the front of the Pro- 
 cession in another chariot drawn by a Centaur, who is playing 
 on a lyre ; in one hand he holds his club, and in the other a 
 goblet ; round his shoulders is a knotted baldrick, “ probably 
 the celebrated zone which he bore away from Hippolyta, as a 
 trophy of his victory over the Amazons.” — M . The whole of 
 this Rilievo is in fact alive with expressive figures and emblems 
 of the Dionysiac celebrations. The Goat is introduced, ob- 
 noxious and devoted to Bacchus, from its inclination to crop 
 the tender branches of the young vines — 
 
 Non aliam ob culpam Baccho caper omnibus aris 
 Caeditur. Ov. Fast . 
 
 Several small Genii taming or riding tigers, a lion, panthers, 
 &c. ... In the centre of the group is an elephant, on whose 
 back are seated two figures in Eastern costume, with long and 
 
108 
 
 A GUIDE TO 
 
 curled locks, resembling some of the Persepolitan sculptures, 
 representing captives of Bacchus. 
 
 “ The style of the sculpture is evidently of a period when the 
 fine arts were declining; and there is little doubt that the figure 
 of Hercules was intended to be a portrait of the then reigning 
 emperor, Commodus ; to whose countenance it bears a strong 
 resemblance; and who was fond of thus exhibiting himself, 
 with the club, the lion’s skin, and other attributes of that 
 hero.” — M. 
 
 147. “ Torso of a Statue of Venus.” This most beautiful 
 relic of Grecian art is considered similar, in elegance of attitude 
 and contour, to the V enus of Cnidus ; and scarcely inferior in 
 beauty to that of the Medici.” — M. 
 
 148. “ Table of grey Egyptian Granite,” modern. 
 
 149. “Bust of Faustina the Younger.” 
 
 150. “Square Marble Sculptured Tazza,” very elegant. 
 
 151. “Bust of the Empress Sabina,” wearing the Tiara. 
 
 152. “Bust of Tiberius; the Chlamys of Oriental Alabas- 
 ter.”* The head alone is Antique, and was found in the bed 
 of the Tiber : the substance of which the marble is composed 
 has a very beautiful appearance, similar to stalactite. 
 
 153. “Apollo, Minerva, and the Muses,” (Alto-rilievo) ; 
 6 ft. by 3 ft. 4 in. “ This, though curious in details, is in its 
 execution by far the least pleasing of the Antique Groups; 
 and as we are surrounded by so many objects of interest and 
 beauty, we shall not dwell on it. They are here exhibited, 
 celebrating their victory in the musical contest over the Syrens, 
 each wearing a plume taken from the presumptuous enemy. 
 
 * The finest oriental alabaster was found at the city of Alabas- 
 trum, in the Thebais, from which the stone took its name, as we see 
 in Pliny. This was esteemed more than any other material for 
 preserving ointment; it is the \t0o$ a\a(3a(T7pi77jq of the Greeks, 
 and the lapis alabastrites of the Latins.” — Dodwell's Greece . 
 
WOBURN ABBEY. 
 
 109 
 
 In the ‘ Marbles/ is a lucid dissertation on this Group, with 
 interesting notice of the separate and collective attributes, 
 honours, and legendary histories of these romantic divinities. 
 
 “ The Greek Epitaph on the lower cornice, which is much 
 defaced, commemorates a person who had been (like Terence 
 and Epictetus) * raised from slavery to the rank of freed- 
 man ; perhaps (like them, also), as a reward for his literary 
 labours.” — M. 
 
 In descanting on the classical and allegorical representa- 
 tions of these ancient groups, which once formed the sides of 
 Sarcophagi, allusion is incidentally made in the “ Marbles” 
 to the probability of their having been chosen with some 
 reference to the character and tastes of the deceased; and 
 under the fancy that, in the Elysian Fields, they would be gra- 
 tified with the recurrence of those objects they had taken 
 pleasure in whilst living. Thus Virgil — 
 
 ‘ 4 Quae gratia currum, 
 Armorumque fuit vivis, quae cura nitentes 
 Pascere equos; eadem sequitur tellure repostos.” — 7En, vi. 
 
 154. “Bust of Julius Caesar ;” wearing a robe, with the 
 laticlove , buckled by a Caduceus. 
 
 The different substances of which the dresses of the Romans 
 were composed, were, in the early times of the Republic, very 
 simple ; but, towards its conclusion, luxury was introduced 
 
 * His epitaph is quoted by Dr. Johnson, in his Essay at the 
 end of the Idler, as a noble instance of heathen sentiment and 
 integrity. 
 
 AouXos Fi 7 rLKT)j 709 <y evofJLiqv , Kai gco/a? avairr^po^ 
 
 Kat TrevLTjV I poq, \cai AOclvcitols • 
 
 He has added a Latin poetical version, and we will venture an 
 English one : 
 
 “ A slave, deformed, I Epictetus trod 
 The earth, as Irus poor,-— yet lov’d of God.” 
 
110 
 
 A GUIDE TO 
 
 from their foreign conquests and allies, and in a century or 
 two after the commencement of the imperial government, 
 reached its acme. Silk was unknown till near the times of 
 the Caesars : two species of it are mentioned, Bombycina , and 
 Serica; the first produced by the silk-* worm, and the other said 
 to be the produce of a tree in the country of the Seres, in 
 India ; or at least imagined to be such by the Romans, who 
 were unacquainted, by personal observation, with silk-worms, 
 till the time of Justinian, when they were brought to Con- 
 stantinople by two monks. If the latter hypothesis be enter- 
 tained, we would venture to throw out a conjecture for the 
 consideration of the learned, whether it might not have been 
 the “ Silk Cotton Tree,” called Bombax Ceiba , and Lana de 
 Ceiba. Vests were not at first made of silk alone; but the 
 woven silk, brought from India, was unravelled, and mixed 
 with other substances : this was sometimes made so thin, as 
 to be quite transparent ; first so wrought in the Island of Cos, 
 and termed Vestlmenta Coa , which were characterised by the 
 satirists as “ woven wind;” these are compared, by writers, to 
 the modern crape or gauze, and the thicker stuffs, to cambric 
 or lawn. Cotton also was employed, termed byssus ; and very 
 fine linen from Egypt and Tyre, called sindon. The licentious 
 and cruel Emperor Heliogabalus, was the first in Rome who wore 
 a garment entirely composed of silk, as he w*as also the intro- 
 ducer of several other luxuries. About fifty years afterwards, 
 we find the prudent Emperor Aurelian refusing his wife a 
 robe of pure silk, on account of its extravagant price. What 
 this might have been, we have no certain means of knowing.* 
 
 * We are also unacquainted with the precise stuff alluded to in 
 the “Holy- day Makers” of Theocritus. 
 
 “ Gougo.— -Praxinoe, I vow that robe with clasps 
 
 Becomes you mightily. What might it cost 
 When in the piece 1 
 
WOBURN ABBEY. 
 
 Ill 
 
 In the reign of Tiberius, silk was prohibited to men, by a 
 decree of the senate, but, in process of time, it became very 
 common. 
 
 The colours used were various and splendid. Amongst 
 the ladies, however, the custom was for the matrons to wear 
 white alone, with deep borders of purple and gold : garments 
 of various colours being properly used only by the Libertine, 
 Many of the most dashing of the matrons, however, we are 
 informed, wore robes of different colours. The broad purple 
 hems were ornamented with thin ornaments of sheet-gold 
 (lamina ) sewed on, and with pearls. 
 
 The richest colour was the Tyrian purple; the most valued 
 of which resembled the hue of clotted blood, whence blood is 
 called by Homer, 7 rop(j)vpeo s*. Under Augustus, the dibapha , 
 or twice-dyed purple, came into vogue. 
 
 “ Te bis Afro 
 Murice tinctae 
 Vestiunt lanae.” 
 
 The wool dyed with which, according to Pliny, was sold at 
 more than 1000 Denarii, or 35 1. per lb. Two other varieties 
 of purple were, the violet ( violacea purpura Tarentina ) , and 
 the red ( rubra Tarentina ). Some garments were also spotted 
 or figured (scutulata); like a cobweb (rete scutulata) reticu- 
 lated ; striped ( virgata) ; needle- work or embroidery ( Phrygia 
 and Iona). Scarlet was also one of the favourite colours 
 ( coccinea ) ; grass-green ( galbana ) ; another fine purple ( con- 
 chyliata ), very precious ; violet, or wine-coloured ( amethystina ); 
 saffron, or yellow ( crocota ). 
 
 (< Praxinoe. Oh, Gorge! do not ask me ! — 
 
 More than two pounds of silver, and the making 
 Was near the death of me !” 
 
 Two pounds of silver, at Syracuse, in the time of Theocritus, 
 might have been equivalent to about 71 . sterling. 
 
112 
 
 A GUIDE TO 
 
 The shoes were always adapted to the form of the right and 
 left foot, as is the custom of the present day ; they were made 
 of the finest white leather, called aluta , from the circumstance 
 of alum being employed in preparing it. Sandals, which 
 had only a sole, and cross bands or ribbons, were also used. 
 We read of presses for folding and plaiting the richest gar* 
 ments (Prela); and these, which, though in a less degree 
 than in the East, formed some part of the riches of their pos- 
 sessors, were kept in elegant coffers ( Capsules and Arculce ), 
 u into which they were accustomed to put all sorts of per- 
 fumed woods and aromatic gums. Homer mentions ei/aara 
 Ovivema . Among the recipes of the physician Crito, which 
 Fabricius has preserved in his Bibliotheca Grezca, the icaTa7r- 
 \aafiaTa apuoficLTUca ifiajicov are expressly mentioned.” — 
 Adams' Roman Antiquities , and Bottiger . 
 
 THE TEMPLE OF LIBERTY, 
 
 (nos. 155 to 168 ), 
 
 Occupies the centre of the East end , and with its Athenian 
 tetra-style Portico offers an elegant termination to the long and 
 richly peopled vista, through which the eye is led to it, under 
 the stately columns of the central screens. 
 
 The classic banks of the Ilissus, whose very name is musi- 
 cal to the cultivated ear of taste, furnished the original of this 
 chastely and unaffectedly beautiful entrance, which has been 
 pronounced by an eminent architect to be, of all the Ionic re- 
 mains of antiquity, ts for simplicity and elegance of composi- 
 tion pre-eminent.” The Temple, of which the Portico formed 
 the Prostyle of one extremity, is now almost destroyed ; but 
 at the time Stuart visited Athens, had sufficient remains of 
 its different parts to enable him to demonstrate the plan, 
 elevation, and details . — 'See Vol. L Chapter II. Plates i. to vin. 
 
WOBURN ABBEY. 
 
 11 
 
 This Temple stood without the Gate of Diochares, and very 
 near the Fountain Evveaicpovvot;, or, “ of the nine pipes,” 
 called also from an old and pleasing romantic tale, Callirrhoe ; 
 and from the enduring qualities of the Pentelic marble of 
 which it was composed, for a long time preserved its architec- 
 tural ornaments unimpaired by time and weather. Several 
 centuries ago it was repaired by the Athenians, and converted 
 into a church, under the title of E Panagia epi ten Petran , or 
 “ the All-holy’s (St. Mary’s) on the Rock,” but in process of 
 time, these very additions perished, and the church having 
 become deserted, reverted to its original desolation. 
 
 Of the primary designation however of our original, we are 
 unable to afford any certain information. Spon, from Hesy- 
 chius and Eustachius, supposes it to have been dedicated to 
 Ceres A g voter a, and to have been used for the celebration of 
 the lesser Mysteries ; whilst Stuart inclines to believe that it 
 was erected to the honour of a noble Athenian, named Panops , 
 w r ho is mentioned in Plato’s Lysias, as having a temple, a 
 statue, and a fountain, on a spot apparently answering to the 
 present situation. 
 
 The Portico thus copied from the Athenian model, and 
 elevated on three steps, consists of four fluted Ionic 
 columns, of which the outer ones have the farthest volutes 
 turned angularly, and formed by the junction of two semi- 
 volutes ; a mode of construction intended to obviate the abrupt- 
 ness of the straight termination, and which is occasionally 
 found in other examples. See the fine view of the Erectheion 
 restored, by Inwood , (PL iii.). When Stuart saw the original 
 portico, the entablature was unornamented; but in his opinion, 
 there had formerly been carvings of the mouldings, and bassi- 
 rilievi on the frieze, which had perished. In compliance with 
 the suggestion of this respected authority, the entablature of 
 this temple has been decorated in a simply rich style, and the 
 
114 
 
 A GUIDE TO 
 
 pediment filled witli an emblematic group of figures. The 
 proportions of the entablature are slightly higher than those of 
 the original, and one small fillet has been added under the 
 cornice. The cymatium under the frieze is decorated with the 
 proper ornaments of this order, styled echinatcd; the frieze has 
 wreaths of laurel leaves and berries, in Alto-rilievo ; the soffits 
 of the pediment are also enriched, and the internal space, or 
 tympanum, filled with a beautiful allegorical Group, by Flax- 
 man. In the centre is seated the Goddess of Liberty, on 
 whose right is Peace reclining, caressing a lamb, and looking 
 back with complacency to this auxiliary and congenial Power ; 
 by her is a sleeping lion. On the right are Genii pouring out 
 fruits from a Cornucopia ; bales of merchandize ; and a sheaf 
 and plough ; the two small figures of the cat , as an emblem of 
 domestic quiet, sitting by Liberty, and the hare , nibbling at the 
 sheaf of corn, have a very lively effect. On the fascia of the 
 architrave is this inscription, written by the late Dr. Parr : — 
 
 HANC • £DEM • LIBERTATI * S A CRAM 
 ET * A * VIRO- PATRIA:* BONORVM • QVE • CIVIUM * A M A NTISSIMO 
 FRANCISCO - RVSSEL- BEDFORDIJE • DVCE • INCHOATAM 
 IOANNES • RVSSEL* II/ERES • EIVS 
 
 EX - VOLVNTATE • FRATRIS • MORIENTIS * PERFICIENDAM * CVRAVIT 
 ANNO • CHRISTI • CIO IOCCC III. 
 
 Within the portico, on each side, are small Busts of the 
 Elder and Younger Brutus, on brackets. The folding doors of 
 the Celia are of mahogany, richly carved from antique pat- 
 terns. The interior is a square of twelve feet : the walls are in- 
 crusted with yellow V erona marble : the ceiling is massively 
 gilt, and has a square compartment of ground glass in the 
 centre : under the walls are arranged “ two bronze tripods, 
 supporting tazze , of Oriental alabaster. They are copied from 
 antique portable altars, found at Pompeii, and which were 
 used for holding incense, and presenting offerings to an object 
 
WOBURN ABBEY. 
 
 115 
 
 of worship. There are also two rich tables, composed of spe- 
 cimens of Lapis Lazuli, Serpentine, Verde-Antico, Porphyry, 
 and other rare species of ancient marble, and Pietre Dure . 
 The door of the cell is inlaid with Nero Antico, Giallo Di 
 Verona, and White Statuary Marbles.” — M \ 
 
 The Busts of distinguished Public Characters are, however, 
 the most striking objects in the interior of this elegant apart- 
 ment. In the centre of the east side is the Bust of Mr. Fox ; 
 and around him those of Earl Grey, Lord Holland, Lord 
 Robert Spencer, the Earl of Lauderdale, General Fitzpatrick, 
 and Mr. Hare, ail by Nollehens : that of Charles James Fox is 
 raised on a pedestal, also of Carrara marble ; the others are 
 mounted on corbels of a fine dark marble. The character of 
 Mr. Fox is thus commemorated, in an eulogium by Georgiana, 
 Duchess of Devonshire, inscribed on the pedestal : — 
 
 “ Here, ’midst the friends he lov’d, the man behold. 
 
 In truth unshaken, and in virtue bold ; 
 
 Whose patriot zeal, and uncorrupted mind, 
 
 Dared to assert the freedom of mankind : 
 
 And, whilst extending desolation far, 
 
 Ambition spread the baneful flames of war, 
 
 Fearless of blame, and eloquent to save, 
 
 ’T was he — ’twas Fox, the warning counsel gave : 
 
 ’Midst jarring conflicts stemm’d the tide of blood, 
 
 And to the menac’d world a sea-mark stood ! 
 
 “ Oh ! had his voice in Mercy’s cause prevailed. 
 
 What grateful millions had the statesman hail'd ! 
 
 Whose wisdom bade the broils of nations cease. 
 
 And taught the world humanity and peace. 
 
 But though he failed, succeeding ages, here, 
 
 The vain yet pious efforts shall revere, 
 
 Boast in their annals his illustrious name, 
 
 Uphold his greatness, and confirm his fame.” 
 
 Georgiana , Duchess of Devonshire. 
 
 We imagine that the Bust of Earl Grey, will, at the present 
 time, be regarded in this temple with much pleasure and in- 
 terest by those who have been constant adherents to his poli- 
 
116 
 
 A GUIDE TO 
 
 tical principles ; and by all, with respect for his consistent and 
 honourable character, which is of no party. 
 
 In front of the Temple of Liberty stands an ancient Cande- 
 labrum of white marble (168), rather more than seven feet in 
 height. The base, which is triangular, has Cornucopise, rams’ 
 heads, &c. &c. The shaft is sculptured with foliage, thyrsi, 
 and birds, including 'the Stork, a favourite bird at Athens. 
 The capital is of no particular Order, but what is termed by 
 architects, a composed one, having a simple row 'of acanthus 
 leaves : a similar design, but with lotus leaves in addition, was 
 found by Stuart, at the Tower of the Winds, in Athens. 
 Another is engraved by Inwood , from the Temple of Victory, 
 at Athens, and a third by Donaldson , from the Monastery of 
 the Panagia, at Delphi; by whom we are informed that, as 
 varieties of the Corinthian style, they were common in Asia 
 Minor ; and, also, that similar ornaments of lotus leaves to 
 those of the base of this Candelabrum, are found in many of 
 these antiques, in the Vatican Museum, at Rome. On the 
 top is a shallow patera for oil. 
 
 SOUTH SIDE. 
 
 169. “ .Bust of Terentia, Wife of Cicero, on an Antique 
 Mensola;” i.e. Corbel, or Bracket. 
 
 170. “ Bust of Cicero.” 
 
 171. “Venus with the Shell. (Copy in marble).” — 
 “ A<l>POAITH a beautiful copy, and pleasing face. 
 
 172. Basso-rilievo of Nymphs nursing Bacchus;” 1 ft. 5, 
 by 1 ft. 3. 
 
 173. “ Statue of Ceres 2 ft. 9 in. ; brought from Italy by 
 the late Marquis of Tavistock, and pronounced to be “ a work 
 of the best period of Grecian Sculpture.” The upper part, 
 and the emblematical ears of corn and poppies, are modern . . . 
 The lines of Cowley on the Poppy, quoted in “ the Adven- 
 turer,” seem almost to solicit our insertion in this place : — 
 
WOBURN ABBEY. 
 
 113 
 
 Si quis invisum Cereri benignae, 
 
 Me putat germen, vehemenler errat ; 
 
 Ilia me in partem recipit libenter 
 
 Fertilis agri. 
 
 Meque frumentumque simul per omnes 
 Consulens mundo l)ea spargit oras * 
 
 “ Crescite, O ! 55 dixit, “ duo magna susten- 
 tacula vitae ! 
 
 “ Carpe, mortalis, mea dona/Iaetus, 
 
 Carpe, nec plantas alias require, 
 
 Sed satur panis, satur et soporis, 
 
 Caetera sperne.” 
 
 He widely errs who thinks 1 yield 
 Precedence in the well-clothed field, 
 
 Though mixed with wheat I grow ; 
 
 Indulgent Ceres knew my worth. 
 
 And to adorn the teeming earth, 
 
 She bade the Poppy blow. 
 
 Nor vainly gay the sight to please, 
 
 But blessed with power mankind to ease, 
 
 The Goddess saw me rise : 
 
 “ Thrive with the life- supporting grain/ 5 
 She cried, “the solace of the swain, 
 
 The cordial of his eyes. 
 
 “ Seize, happy mortal ! seize the good ; 
 
 My hand supplies thy sleep and food, 
 
 And makes thee truly blest : 
 
 With plenteous meals enjoy the day, 
 
 In slumbers pass the night away, 
 
 And leave to fate the rest.’ 5 — Ibid . 
 
 174. “Unknown Female Bust,” on an antique mensola. 
 
 175. “Bust of Antoninus Pius, on a truncated column of 
 grey Egyptian Granite.” 
 
 176. “Bust of Pan.” The countenance, inclined over the 
 left shoulder, is strongly defined, and the horns are bold. 
 
 177. “ Sculptured Votive Disk ;” 13 inches in diameter; on 
 one side is a fine head of the Egyptian Ammon. We are in- 
 formed in the “ Marbles,” that Disks (i. e. Quoits) of this kind 
 were sometimes kept in temples as a standard weight for those 
 in common use. 
 
 L 
 
114 
 
 A GUIDE TO 
 
 178. “ Bust of tlie Empress Matidia,” “ niece of the Em- 
 peror Trajan, wearing the imperial aftevhovyf or Tiara; the 
 hair rises in various tiers of curls before, according to the 
 description of Juvenal. 
 
 Tot premit ordinibus, tot adhuc compagibus altum 
 JEdificat caput : Andromachen a fronte videbis ; 
 
 Post minor est : aliam credas — 
 
 “ With curls on curls they build her head before, 
 
 And mount it with a formidable tower : 
 
 A giantess she seems ; but look behind, 
 
 And then she dwindles to the pigmy kind.” — Dry den* 
 
 179. “ Unknown Bearded Bust,” in a Toga. 
 
 180. “ Marble Votive Disk — Cupid reposing on a Doe.” 
 
 181. “Bust of one of the Daughters of Niobe;” the face 
 and neck are very elegant, and the attitude painfully true to 
 the story. Statues of Niobe and her Daughters stood in the 
 temple of Apollo Sosianus, at Rome, in the time of Pliny, and 
 were supposed to be the work either of Praxiteles or Scopas : 
 (Ancient Sculpture of the Dilettanti Society ) : the originals, as 
 is supposed, are in the Gallery of Florence, from one of which 
 we presume the present Bust to have been taken. 
 
 182 c Small “Torso of a Female Statue;” the drapery is 
 full, and appears to be of the Macedonian aera. 
 
 183. “ Cupid Asleep.” 
 
 184 . “Grotesque Composite Capital.” It has rather the 
 appearance of the clumsy Saxon or Norman pilaster capitals 
 than any thing of classic date : small figures are introduced in 
 place of volutes. f 
 
 185. “Bust of Marcus Aurelius, on a truncated Column 
 of grey Egyptian Granite,’’ as in No. 178. 
 
 * “ Female Bust,” with the hair in various tiers, on an 
 antique mensola. 
 
 t Several of the Lombardic and Venetian capitals of the middle 
 ages have a very similar appearance. 
 
WOBURN ABBEY. 
 
 115 
 
 186. “ Reduced Copy of the Farnese Flora.” This has 
 probably a more pleasing effect than the original, which is of 
 a colossal size, and was found in the ruins of the Baths of 
 Caracalla, on the Aventine Hill, in 1540, and was afterwards 
 partly restored with the addition of the flowers ; much grace 
 and sweetness characterise this small copy. 
 
 187. “ Salmacis and Hermaphroditus modern copy. 
 
 188. “Head of a Faun on an Antique Mensola.” The 
 locks have a very fine appearance. 
 
 189. “Colossal Bust of Canova, on a truncated Column of 
 Bigio Marble.” 
 
 Busts of Canova have been executed both in France and 
 England, the former of which are said to have a French air and 
 expression, by no means corresponding with the original. The 
 present Bust was, we believe, copied from one executed by the 
 sculptor himself, and is considered to give the most perfect 
 idea of his countenance. It was sent also as a present to the 
 Duke of Bedford by Canova himself, 
 
 This splendid artist and amiable man was born at Possagno, in 
 the Venetian province of Trevisiano, in the year 1757;* and his 
 family are said to have been stone-cutters in a humble walk, during 
 several generations. Having had the misfortune to lose his parents 
 before he was four years old, he was brought up by his grandfather 
 Pasino, who had attained some little eminence as a stone-cutter, 
 and his wife Catterina, the latter of whom he, with an excellent 
 feeling of duty and gratitude, when she was widowed, and he had 
 attained honour and dignity, removed to his own house, and nursed 
 her declining years with respectful tenderness. Through the gene- 
 rosity of his neighbour the Senator Falier, he was placed for two 
 years under Giuseppe Bernardi Torello, an eminent sculptor settled 
 in the neighbourhood, and then removed to Venice, where his 
 talents began to attract notice, and he was sent to Rome under the 
 patronage of the Venetian ambassador, and with the allowance of 
 300 ducats (60/.) per annum from the Senate for three years. On 
 the breaking out of the French revolution, he retired to Possagno, but 
 returned after a lapse of a year ; and from this period his talents 
 rapidly advanced in general fame to that height, on which they have 
 been deservingly placed by universal opinion. In his personal cha- 
 
 * This sketch has been abridged from the eloquent “ Memoirs of 
 Canova, by J. Memes, M.A.” 
 
116 
 
 A GUIDE TO 
 
 racter, the first point to be noticed is his patient assiduity and per- 
 severance ; he was mindful of those admonitions so often neglected 
 by others who wish to rise in their professions. 
 
 Qui cupit optatam cursu contingere metam 
 Multa tulit fecitque puer, sudavit et alsit. 
 
 Qui Pythia cantat 
 
 Tibicen, didicit prius extimuitque magistrum. — Hor. 
 
 The substance of which is nearly paraphrased by our own Milton : 
 
 “ Fame is the spur that the clear spirit doth raise 
 To scorn delights and live laborious days.” 
 
 We may next notice the independence of mind of that man who 
 refused to join in the spoliation of the arts in Italy, — who adhered 
 to his own Pontiff when a prisoner, — who, when in the employ of 
 Napoleon, honestly spoke his mind to him, both on the subject of 
 his despoilment of Italy, and of his political ambition and inquietude. 
 On the score of benevolence, the reader may be surprised to learn 
 that, when his gains were far less than they ultimately became, he 
 distributed a very large portion in charity at Venice and Possagno; 
 and that the whole of his pension (3000 crowns) from Home, as 
 Marquis of Ischia, was disposed of in acts of liberality, principally 
 to indigent artists. In his own art he was entirely free from every 
 species of ill-nature and envy, and was always ready to counsel 
 others, and communicate to them the methods by which he had 
 arrived at such a distinguished perception of the graceful and the 
 beautiful. The favourite object of the last four or five years of his 
 life, was the erection of a magnificent Church, at his native town of 
 Possagno, at his own expense ; for the grand Portico of which he 
 had designed several Scriptural subjects as metopes, — thus affording 
 another instance, if more were wanting, that the most beautiful and 
 sublime geniuses are not deficient in the appreciation and the rever- 
 ence of God. 
 
 In every part of his domestic life there was something pleasing 
 and generous in the character of Canova. An interesting account 
 is given of a rustic festival, at which he gave presents to the peasants, 
 to the amount of 400/. Two brief anecdotes will serve to conclude 
 and sum up this hasty sketch of a noble-minded man. It was 
 once observed, by the senator Falier, who had long been intimately 
 acquainted with him , — “ Che v’ ha che abbia mai inteso il Canova 
 dir male di che che sia V’ — “ Who is there that ever heard Canova 
 speak ill of any one whomsoever?” And when the news of his 
 decease was promulgated, the universal exclamation throughout 
 Italy was: “II buon Canova e morto ; ' “ the good Canova is 
 
 dead ! ” 
 
 190. “ Bacchus and Ampelus.” Modern copy. 
 
 191. “Torso of a Statue of Cupid, found in a sepulchral 
 chamber near the Via Appia.” — AT. 
 
WOBURN ABBEY. 
 
 117 
 
 192. “ Copy of the Apollo Belvedere (by Pacilli) ; ” of the 
 same size as the noble original. 
 
 193. “ Torso of a statue, on a Truncated Column, of grey 
 Egyptian Granite.” 
 
 194. “Torso of Apollo.” 
 
 In the centre stands a very handsome “ Ancient Tazza of 
 Breccia Africana : ” from the Villa Aldobrandini. It is capa- 
 cious, and the marble finely veined with green, white, and red. 
 Along the whole range of the Gallery are also placed “ sixteen 
 Carrara Marble Vases, of the form of the celebrated Medicean 
 Vase, and which formerly belonged to the Empress Josephine, 
 at Malmaison.” 
 
 Two duplicates of Nos. 53 and 54, are also placed on the 
 south side of the centre ; viz . two Bagnarole of V erde Antico, 
 on plinths of Siena, and two Cinerary Urns. That on the 
 right hand is the most ornamented in the Gallery. At the 
 corners are masks ; in the centre, above, two birds pecking at 
 a fruit-basket; and below, two Genii supporting a wreath. 
 The inscription is as follows 
 
 d • m • 
 
 VALERIAE * P* F* VALERIANAE* 
 
 V • AN • XI • M • VIIII • ,D * XXIIII * 
 
 P* VALERIVS * -CEREALIS * FI- 
 LIAE • PI1SSIMAE. 
 
 Which may be thus translated, as a specimen of the rest : 
 
 “ To the Deities of the Shades. 
 
 “ Publius Valerius Cerealis has caused this to be erected to 
 his most affectionate daughter, Valeria Valeriana, who lived 
 eleven years, nine months, and twenty-four days.” 
 
 On the Urn on the left hand is also this inscription. 
 d • m • s • 
 
 TREBELLI AE * MELPOMENE • PATRONAE 
 BE* ME * FECERVNT • TREBELLI A * AM- 
 PLIATA * ET • TREBELLIVS • ONESIMVS * ET 
 TREBEI.LIVS • RESTITVTVS. 
 
 Several epitaphs of very similar expression to these have 
 been discovered on the Via Latina , and are mentioned in Sir 
 R. C. Hoare’s Classical Tour in Italy and Sicily. 
 
 l 2 
 
118 
 
 A GUIDE TO 
 
 195. “ Unknown Female Bust, on the Antique Mensola.” 
 
 196. “Bust of Trajan, on a truncated Column of Breccia. 5 ' 
 
 197. “Bust of Geta, on a truncated Column of red Por- 
 phyry.” The countenance is mild and pleasing, indicative of 
 the excellent disposition of this lamented young Prince, who 
 was murdered by his infamous brother, Caracalla, in his 
 mother’s presence, in his twenty-third year. 
 
 198. “ Hercules supporting the World, and Cupid triumph- 
 ing over it 4 ft. 3 in. high : a beautiful copy from the antique : 
 the muscles are very prominent, and perhaps exaggerated. 
 
 199. “ Persius, on an antique Mensola.” The countenance 
 of this, the most estimable of the Roman Satirists, who died 
 at the early age of twenty-eight, is very prepossessing. 
 
 200. “ Vase of red Egyptian Granite, on a truncated Column 
 of grey Egyptian Granite; ” modern. 
 
 201. “Bust ofDoMiTiAN, on an antique Mensola.” 
 
 202. A Porphyry Vase, on a truncated Column of grey 
 Egyptian Granite;” modern. 
 
 203. “ Large Sculptured Marble Sarcophagus, brought from 
 the Ruins of Ephesus ;” 8 ft. Gin. by 4 ft. 3 in., and 3 ft. 11 in. 
 high. 
 
 These ancient sculptures, which are now replaced in their 
 proper form of a sarcophagus, had been at some period of the 
 middle ages sawn asunder by the Greeks or their Turkish 
 masters, and placed over one of the entrance gates of Aioso- 
 look, the modem Ephesus, where they were inlaid in the stone- 
 work, and formed a continuous group, with the addition of 
 another incongruous piece of sculpture, brought from some 
 other situation. They were here first noticed, as we believe 
 by the Count de Choiseul Gouffier, about the year 1780, who 
 has given an engraving of the group at the head of the intro- 
 duction to his first volume, and a general plate of the archway 
 at the end of the volume, with a description of it as it then 
 appeared. — Voyage Pittoresque de la Grece. Vol. I. PI. 121, 
 pp. 196, 197. 
 
WOBURN ABBEY. 
 
 no 
 
 ** Assez pres de la forteresse qui occupe le sommet du mont Pion, 
 on en voit un autre beaucoup plus petite, dans laquelle en entre par 
 une porte construite avec les fragmens antiques d’une porte tres 
 riche, ou d’un arc de triomphe, qui sans doute, avoit ete renverse. 
 Les habitans ont cberche a remplacer ces debris, et se sont bien 
 quelquefois trompe, comme on peut le voir ; mais malgr6 ces irre- 
 gularites, cet edifice ne laisse pas d’offrer un aspect piquant, et les 
 has reliefs dont la partie superieure est decor6e sont d’une belle exe- 
 cution. Dans celui du milieu on distingue Hector traine au char 
 d’Achille, que les Chretiens du pays, prennent pour un martyr, ce 
 qui leur a fait appeller ces ruines, la porte de la persecution. A cbte 
 sont des Bacchanales d’enfans jouants avec les grappes de raisins ; 
 le premier de ces dessins est grav6 plus en grand a la t&te de ce 
 volume.” 
 
 (t At a short distance from the fortress, which occupies the sum- 
 mit of Mount Pion, is another much smaller one, which is entered by 
 a gate, constructed with the ancient fragments of a very rich gate, or 
 triumphal arch, which had doubtless been overthrown. The inha- 
 bitants have attempted to replace these remains, and have evidently 
 made several mistakes, but, notwithstanding these irregularities, this 
 edifice continues to present a striking appearance, and the bas reliefs 
 which ornament the upper part, are finely executed. In the middle 
 one is seen Hector, tied to the chariot of Achilles, whom the Chris- 
 tians of the place take for a Martyr, which has induced them to give 
 these ruins the appellation of the Gate of Persecution . On one side 
 are infant Bacchanals playing with bunches of grapes : the first of 
 these designs is engraved in a larger size, at the beginning of this 
 volume.” 
 
 A detail of the mannner in which this sculpture was clandes- 
 tinely removed from its situation, and brought to England, occurs in 
 “ Williams’ Travels in Italy and Greece.”— Vol. II. 
 
 “ An ancient gate at Ephesus has been robbed a short time since of 
 its principal beauties. An English gentleman, who is here at pre- 
 sent, employed a Greek to take down the frieze, and was successful. 
 A noted chief, to shew his independence of the government, resisted 
 a firman of the Grand Signor, which was in favour of a certain 
 great collector. The English gentleman above mentioned, how- 
 ever, with whom we are acquainted, took a surer method to obtain 
 his object by engaging a wily Greek to apply to the chief himself ; 
 by this scheme he got what the firman of the Grand Signor could 
 not command. The frieze is supposed to be the work of Scopas, and 
 represents the Death of Hector ; one piece being cracked, was left 
 behind, the Greek supposing it, on that account, to be of little value. 
 The rogue displayed some ingenuity in taking down these marbles, 
 though at first he was somewhat in despair. By means of brush- 
 wood placed in an inclined manner to the top of the gate, he 
 mounted, and with some assistance the frieze was rolled down to the 
 ground without the smallest injury. These precious relics are now in 
 London, that great receptacle of the spoils of Greece. The reward 
 which the Greek got for all his trouble was a golden telescope !” 
 
120 
 
 A GUIDE TO 
 
 A mistake is, however, doubtless made, in supposing the 
 carving to be an original work of Scopas, to whose workman- 
 ship it must be very inferior, although it is possible that some 
 portion of it may have been copied from his designs : on the 
 able authority before mentioned, we refer it to the conclusion 
 of the second, or beginning of the third century. The adven- 
 turers who brought the fragments to this country, deposited 
 them at Mr. Christie’s auction-rooms, where they were pur- 
 chased by Sir G. O. P. Turner, of Battlesden, and at his sale 
 were bought by the Duke of Bedford. 
 
 Beginning at the east end, the first subject which offers 
 itself, is a man carrying the body of Patroclus to Achilles, 
 who is supported by a sympathising friend ; in the centre are 
 two figures, one of whom is apparently bearing a herald’s 
 sceptre. Next is seen Achilles, assisted by his warriors, bind- 
 ing the body of Hector to his chariot, in front of which is 
 Automedon, restraining the horses. The remaining half of 
 this side exhibits Priam leaning on a crooked staff, and grasp- 
 ing, in a suppliant manner, the hand of Achilles ; his figure 
 has a reverend appearance, and is one of the best in the 
 group. The south end, with its cornice, is more perfect, and 
 contains two figures, supposed to be those of Castor and 
 Pollux ; and, by some, imagined to be waiting to receive 
 Achilles in the Elysian Fields. On the south side is Ulysses, 
 leading Astyanax from his mother Andromache ; and in the 
 other half, a balance, in which Hector’s body is represented 
 as being weighed against a mass of gold or treasure : — a prac- 
 tice alluded to in the remaining verses of Lycophron. This 
 part of the group is, however, rather obscure, and it is not 
 absolutely certain whose body is intended to be represented. 
 
 204. “ Bust of Commodus; on an Antique Mensola.” 
 
 205. “ Granitello Vase; on a truncated column of Porto 
 Santo Marble;” a beautiful variety. 
 
 206. “ Copy in marble of the Crouching Venus.” 
 
WOBURN ABBEY. 
 
 121 
 
 * “A Bagnarola of Verde Antico, on a plinth of yellow 
 Siena f Marble; and a Cinerary Urn, on which is this in- 
 scription — 
 
 CALPVRNI. FELICITATI. CVRTILX- 
 VS. PATER. FILIAE . PIEN- 
 TISSIMAE. 
 
 207. “ Alto-rilievo, by Chantrey, of Hector, Andromache, 
 and Astyanax;’’ 4 ft. 7 by 5 ft. 8. Forming a beautiful 
 companion to the opposite ornamental group at the same end 
 of the Gallery, which thus presents two images of the best 
 feelings, and most generally interesting sentiments. 
 
 “Thus having spoke, th’ illustrious chief of Troy 
 Stretch’d his fond arms to clasp the lovely boy. 
 
 The babe clung crying to his nurse’s breast, 
 
 Scar’d at the dazzling helm, and nodding crest. 
 
 With secret pleasure each fond parent smil’d. 
 
 And Hector hasted to relieve his child. 
 
 The glitt’ring terrors from his brows unbound, 
 
 And plac’d the beaming helmet on the ground. 
 
 Then kiss’d the child, and lifting high in air, 
 
 Thus to the Gods preferr’d a father’s pray’r. 
 
 “ O thou, whose glory fills th’ aethereal throne ! 
 
 And all ye deathless pow’rs ! protect my son ! 
 
 Grant him, like me, to purchase just renown, 
 
 To guard the Trojans, to defend the crown. 
 
 Against his country’s foes the war to wage. 
 
 And rise the Hector of the future age ! 
 
 So when, triumphant from successive toils. 
 
 Of heroes slain he bears the reeking spoils, 
 
 Whole hosts may hail him with deserv’d acclaim, 
 
 And say, This chief transcends his father’s fame ! 
 
 While pleas’d amidst the gen’ral shouts of Troy, 
 
 His mother’s conscious heart o’erflows with joy.” 
 
 t The name of this city will always excite the idea of hospitality 
 in those who have read or heard of the beautiful inscription over its 
 gate, which is said to be not entirely undeserved : — 
 
 COR MAGIS TIBI SENA PANDIT. 
 
 “ Siena opens to thee her heart still more.” 
 
122 
 
 A GUIDE TO 
 
 THE PASSAGE, 
 
 AT THE EAST END OF THE SCULPTURE GALLERY, 
 
 Contains several small but interesting Terre Cotte, inlaid in 
 the walls. 
 
 211. “Minerva Salutifera — Mars — Juno — Mercury — 
 Jupiter — Venus:” “Terre Cotte, from the Barberini Can- 
 del abri.” 
 
 212. “Terre Cotte, from Pictures found at Herculaneum.” 
 A Bacchanalian Procession, the Rape of Europa, &c. &c. 
 
 213. “Ancient Terra Cotta of a Winged Victory sacrificing 
 a Bull.” 
 
 214. “Ancient Terra Cotta* of the Boy of Jassos riding 
 on a Dolphin in the Sea:” both of these are spirited and 
 clear. 
 
 215. “Small Terre Cotte from the Borghese, Portland, and 
 Medici Vases; from other Ancient Compositions, and from 
 the Nozze Aldobrandini.” f 
 
 IN ANOTHER PASSAGE, 
 
 AT A SHORT DISTANCE BEYOND IT. 
 
 229. “Two Cupids Fighting. (By Bernini).” 
 
 230. “ Bust of V ITELLIUS.” 
 
 231. “ Bust of Cato.” 
 
 232. “ Bust of Agrippa.” 
 
 233. “ Group of Genii, representing the Triumph of Cupid.” 
 
 * “ The following chemical analysis of the Grecian terra cotta, is 
 taken from Millin : — Silex, 53 ; Oxide of Iron, 24 ; Alum, 15 ; 
 Lime, 8.” — Dodwell’s Greece. 
 
 t A beautiful fresco painting of a Roman Marriage, found in the 
 Baths of Titus. 
 
123 
 
 THE PLEASURE GROUNDS, 
 
 Which were materially improved by the celebrated landscape 
 gardener, Repton , are very tasteful and pretty, without much 
 ornament; presenting, therefore, to the eye of the horticul- 
 turist, and the admirer of nature, a more pleasing beau ideal 
 of a garden, than those elaborate enclosures which are crowded 
 with sculpture and architectural elevations. A piece of water 
 which flows in front of the Sculpture Gallery, in a serpentine 
 direction, and of moderate width, adds much to the beauty 
 of the scene. On the banks of this, are more than one 
 Rosary of English and foreign plants ; and, though we have 
 not, perhaps, here the 
 
 “ Biferi rosaria Poesti,” 
 
 we are presented with lively and pleasing colours, sufficient to 
 satisfy the fancy : and the enthusiast could not easily find a 
 more pleasant place wherein 
 
 “To hear the lark begin his flight, 
 
 And singing startle the dull night ; 
 
 From his watch-tower in the skies, 
 
 Till the dappled dawn doth rise ; 
 
 Then to come, in spite of sorrow, 
 
 And at my window bid good morrow, 
 
 Through the sweet-briar or the vine, 
 
 Or the twisted’ eglantine.” 
 
 At the north-west angle is a fine Tulip Tree, and one of the 
 finest Cedars of Lebanon in England. Proceeding towards 
 this on the left hand, is a spacious artificial Bank, filled with 
 the choicest and most rare American plants, and opposite to 
 this a collection of Pines. The “ Young Lords’ Gardens” 
 are prettily laid out with appropriate commemorations. The 
 “ Willow Ground” contains a collection of two hundred dif- 
 ferent species of English Willows, plates of which have been 
 
124 
 
 A GUIDE TO 
 
 executed by order of the present Duke. Similar to this in 
 design, but on a more ornamented plan, is the “ Grass 
 Garden,” (Hortus Gramineus) which includes specimens of 
 about four hundred species of Grasses, which have been eluci- 
 dated in a work published by the late gardener, Mr. Sinclair. 
 
 THE GREEN-HOUSE, 
 
 Situated very near the Sculpture Gallery, is of an elliptical 
 form, eighty-five feet long, twenty-four broad, and twenty- 
 three high, and was designed by Sir Geoffrey Wyattville. 
 The glazed roof is supported by iron scroll-work, resting on 
 girders of the same material. It contains some very fine 
 Orange Trees, one of them a variegated one from the collec- 
 tion of the Empress Josephine, about seven feet high, also some 
 fine Camellas, one fifteen feet high,* and another ten feet in 
 diameter. Of rare plants it contains the “Banksia Speciosa,” 
 “ Rhododendron Arboreum,” “Dryandria Longifolia,” yellow 
 flowered, “ Digitalis Laciniata,” &c. & c. 
 
 Proceeding along the covered way, we find a passage, leading 
 to the smaller Conservatories, which is pleasingly ornamented 
 in fresco, with gay coloured flowers, and vases in bold per- 
 spective, and a landscape at the end, by Aglio . 
 
 THE SMALL GREEN-HOUSES, 
 
 In three divisions, with an elliptical sweep, extend, together, 
 to about the length of one hundred feet. The first contains 
 about thirty species of Camellas, and a collection of Cape of 
 Good Hope, and New Holland plants, including “ Enkianthus 
 
 * Some of the loftiest Camellas in England, nearly thirty feet 
 high, are in the Conservatories of Dr. Lee, of Colworth-House, in 
 this county. 
 
WOBURN ABBEY. 
 
 125 
 
 Quinqueflorus,” “Pimelia Decussata,” “ Lambertia Echinata,” 
 “ Chorizema Rhombea,” “ Styridium Laricifolium,” &c. &c. 
 The second Division contains nearly four hundred different 
 kinds of Geraniums. In the third Conservatory, is a collec- 
 tion of Exotics, some of which, from their height, and the 
 gay aspect of their flowers, present a beautiful appearance. 
 The “Passiflora Racemosa” is a lofty and beautiful creeper, 
 with pendant blossoms : the “Erythrana Cristogalla” is also 
 a very handsome flowering shrub. Amongst the others are 
 “the Dragon Tree,” “the Indian-rubber Tree,” (Ficus 
 Elastica ), “the Date Palm,” (Phoenix Dactylifera). The 
 smaller rare plants include the “ Bonapartea Juncea,’’ “ Ges- 
 neria Douglassia;” several Strelitzias, and the “Strelitzia 
 Regina;” “Astrapea Walichia,” and “Vellosa;” the 
 “ Pitcher Plant,” and “ Venus Fly-trap ;” and several raised 
 from seed sent by Dr. Walich, the Botanical Professor at 
 Calcutta. 
 
 THE HEATHERY 
 ( Hortus Ericeus), 
 
 Which is erected over the covered Piazza, is about one hun- 
 dred feet in length. On entering it, the expectations of the 
 visitor will probably be much exceeded ; the great variety of 
 colours, and the tallness of some of the stems, giving it rather 
 the appearance of a miniature shrubbery. He will also recol- 
 lect that the plants here collected for his gratification, have 
 waved over the plains of the most distant and interesting 
 countries — have flourished under Eastern skies, and on the 
 desert expanses of the long unknown Western Continent. 
 Amongst the more rare of these, par eminence , are the u Erica 
 Aurea,” “ Leenia,” “ Quadrangularis,” “Vernix Rubra,” 
 “ Eximia,” “ Imperialis,” &c. &c., and almost all those 
 included in the splendid work of Andrews: from whose 
 
 M 
 
126 
 
 A GUIDE TO 
 
 design also is the handsome oval window, in the small room, 
 at the east end, which is painted with the most lively and 
 pleasing varieties of Heaths. 
 
 THE CHINESE DAIRY, 
 
 Has a piece of water before it, and a painted portico. Inter- 
 nally it is of an octagonal form, with a lantern on the top, 
 and the windows are painted in the Chinese style. The 
 dressers and floor are of dove-colour and other marbles, and 
 the former filled with beautiful and valuable China : the entire 
 arrangements producing the effect of quiet elegance. 
 
 THE AVIARY, 
 
 Is at present more distinguished for the pleasantness and ap- 
 propriateness of its situation, with its tasteful rustic buildings, 
 sheltered paddock, and small basin, than for the number or 
 rarity of the objects which it contains. Several of the most 
 valuable foreign birds have died, from the difference of climate ; 
 and the rara avis , a Black Swan, was stolen some time since. 
 From the attention and cost, however, with which the other 
 parts of this domain are kept up, we have no doubt that this 
 collection will he increased, and rendered as complete as the 
 circumstances will allow. The most curious and handsome of 
 the land birds is the “ African Crown Crane,” a native of the 
 coast of Africa, and the Cape de Verd Islands, styled by 
 Pliny and Aldrovaftdus, “ the Balearic Crane.” There are 
 also Japan, Pied, and White Peacocks; a great number of 
 Gold, and Silver, French, Ring-necked, and Mule Pheasants; 
 a Macaw ; Canaries ; several different kinds of Doves, Pigeons, 
 and Bantams. Of Water-Fowl, there are here the Dun 
 Diver, Gold-eyed Duck, Pied Duck, Shel -Drake, Indian 
 Geese, Pheasant Teal, and various kinds of Widgeons. On 
 
WOBURN ABBEY. 
 
 127 
 
 the interesting and curious subject of the migrations of 
 aquatic birds, the genius and feeling of an American poet has 
 been so pleasingly exercised, that we feel confident it will be 
 deemed an appropriate enrichment to this chapter. 
 
 TO A WATER-FOWL. 
 
 Whither, ’midst falling dew, 
 
 While glow the heav’ns with the last steps of day 
 Far through their rosy depths dost thou pursue 
 Thy solitary way 1 
 
 Vainly the fowler’s eye 
 
 Might mark thy distant flight to do thee wrong. 
 
 As, darkly painted on the crimson sky, 
 
 Thy figure floats along. 
 
 Seek’st thou the plashy brink 
 Of weedy lake, or maze of river wide, 
 
 Or where the rocky billows rise and sink 
 On the chafed Ocean side ? 
 
 There is a Power, whose care 
 Teaches thy way along that pathless coast, — - 
 The desert and illimitable air, — 
 
 Lone wandering, but not lost. 
 
 All day thy wings have fanned, 
 
 At that far height, the cold, thin atmosphere, 
 
 Yet stoop not, weary, to the welcome land. 
 Though the dark night is near. 
 
 And soon that toil shall end ; 
 
 Soon shalt thou find a summer home, and rest, 
 
 And scream among thy fellows ; reeds shall bend 
 Soon o’er thy sheltered nest. 
 
 Thou’rt gone, — the’ abyss of heaven 
 Hath swallowed up thy form ; yet on my heart 
 Deeply hath sunk the lesson thou hast given, 
 
 And shall not soon depart. 
 
 He, who from zone to zone 
 Guides through the boundless sky thy certain flight, 
 
 In the long way that I must tread alone 
 Will lead my steps aright ! — Bryant . 
 
128 
 
 A GUIDE TO 
 
 THE NEW KITCHEN-GARDENS, 
 
 About a quarter of a mile N. W. of the Abbey, are consi- 
 dered to be as complete as any in England. The principal 
 garden, inclosed by brick walls, occupies about four acres, and 
 three acres are paled in around it, exclusive of a fruit and 
 herb garden in the neighbourhood, of six acres, which is said 
 to have been the original Kitchen Garden. The gardens, till 
 lately in use, were adjoining to the Park farm, in a pleasant 
 and sheltered situation, hut not in so convenient a spot for 
 access to the mansion. The Forcing Houses in the new gar- 
 den extend to the length of 300 feet, in three divisions, and 
 contain Peaches, Nectarines, Figs, Grapes, and Cherries. 
 They are warmed by hot water, which traverses the buildings 
 in iron pipes : and the fruit is generally ripened by the end of 
 April, or the beginning of May. There are also very exten- 
 sive frames and pits for Pines, Melons, &c., &c., &c. 
 
 About the middle of the Hot-houses is a small sitting apart- 
 ment for occasional use, neatly fitted up, with a painted ceil- 
 ing, and oak inlaid floor. Two remarkably beautiful Fruit- 
 pieces by G. Lance , ornament the walls, and a fine collection 
 of paintings of Fruit on China, is kept in two cabinets. The 
 chimney-piece is of green Irish Serpentine, from the estate of 
 Mr. Martin, celebrated in a noble, though by some neglected, 
 path of humanity. Mr. Forbes, the present Gardener, is, we 
 understand, about to publish a complete “ Hortus Woburn- 
 iensis.” 
 
 THE PARK. 
 
 “ Hie gelidi font.es, hie mollia prata, Lycori, 
 
 Hie nemus.” — — Vir. 
 
 “ Here, as of old, ’twas sung Diana stray’d, 
 
 Bath’d in the streams, or sought the cooling shade ; 
 Here, arm’d with silver hows, at early dawn, 
 
 Her buskin’d virgins traced the dewy lawn.” 
 
 Pope's Windsor Forest. 
 
WOBURN ABBEY. 
 
 129 
 
 Woburn Park is one of the largest in the British Empire, 
 measuring twelve miles in circumference, and containing 
 3,500 acres. The variety of the scenery is highly gratifying, 
 the ground in some places exhibiting the pleasing and level 
 appearance of the summer lawn, in other parts rising to hand- 
 some eminences, from whence the view is very fine over the 
 town of Woburn, and the steeples of the neighbouring vil- 
 lages ; and the trees in some parts disposed in regular avenues, 
 and in others having all the wild and secluded appearance of 
 a forest ; affording spots where the romantic wanderer might 
 appropriate to himself the song of the Forest of Ardennes. 
 
 “ Under the green-wood tree, 
 
 Who loves to lie, with me, 
 
 And tune his merry throat 
 Unto the sweet birds’ note, 
 
 Come hither, come hither, come hither ! 
 
 Here shall he see 
 No enemy, 
 
 But winter and rough weather/’ — Shakspeare . 
 
 Or he might adopt the more sonorous, but not less beautiful 
 address of the thoughtful Cowley. 
 
 “ Hail, old patrician trees, so great and good, 
 
 Hail, ye plebeian underwood ! 
 
 Where the poetic birds rejoice, 
 
 And for their quiet nests and plenteous food, 
 
 Pay with their grateful voice ! 
 
 “ Here let me, careless and unthoughtful lying, 
 
 Hear the soft winds above me flying, 
 
 With all their wanton boughs dispute, 
 
 And the more tuneful birds to both replying, 
 
 Nor be myself too mute.” 
 
 To particularise every favourite spot in these pleasant 
 scenes, would lead us far and long into the details, and into 
 the mixed pleasing and painful regions of memory and asso- 
 ciation. One enclosed portion carries the ideas back to the 
 customs and harmless delights of former centuries, bearing 
 the romantic title of “the May Gardens.’’ 
 m 2 
 
130 
 
 A GUIDE TO 
 
 THE DEER. 
 
 There are about fifteen hundred head of deer in this park, of 
 the red and fallow kinds, but principally the latter, adding 
 much to the picturesque appearance of the landscape, as well 
 as forming a valuable object of domestic property. As they 
 are never hunted, hut shot by the keepers when required for 
 use, they have become remarkably tame and confident, 
 allowing a near and leisurely survey.* Seats have been erected 
 on some of the trees, for the purpose of taking aim at them, 
 which is usually done with a rifle. 
 
 The custom of enclosing Parks, for the purpose of contain- 
 ing wild animals, which might by this means be hunted and 
 killed more easily, either with weapons or dogs, * is a very 
 ancient one in the East, as it is mentioned in Xenophon’s 
 Life of Cyrus, about 550 years B.C. The animals were then, 
 it should seem, caught, by some means, from the open plains 
 and forests, and then turned out into the park, which is there 
 called Tlapadeioos, Paradisus ; the animals alluded to in 
 Media, were the stag, the wild goat, the wild sheep, the 
 wild ass, and the panther or leopard. Tn England, they were 
 doubtless in use some time before the Norman Conquest. The 
 Doomsday Book, contains one entry only of a park in Bed- 
 fordshire, at Stotfold.— -“ibi e. parch, feraru. siluaticu.” In 
 an old song on the cuckoo, supposed to be of the early part of 
 the thirteenth century, and the oldest English song now 
 extant, mention is made of the deer going to harbour in the 
 fern ( vert ) at the beginning of the summer. The song in 
 modern orthography would stand as follows — 
 
 * “ We had never seen a park so full of deer as that of Woburn. 
 These handsome creatures are so tame as to come close under the 
 windows of the mansion.”— -MS. Journal of a Tour in England , by 
 the Archdukes John and Lewis of Austria . 1815. 
 
WOBURN ABBEY. 
 
 131 
 
 “ Summer is a coming in. 
 
 Loud sing, Cuckoo ! 
 
 Groweth seed and bloweth mead. 
 
 And springeth the wood now : 
 
 Sing Cuckoo l 
 Ewe bleateth after lamb ; 
 
 Loweth after calf, cow ; 
 
 Bullock starteth. 
 
 Buck verteth ; 
 
 Merry sing, Cuckoo ! 
 
 Cuckoo, Cuckoo. 
 
 Well sing’st thou, Cuckoo, 
 
 Nor cease thou never now !’* 
 
 We have however occasionally, many years since, seen the 
 deer toiled in this park, which affords some slight resemblance 
 to hunting. An amusing sketch of this species of hunting 
 which was especially contrived for the view and entertainment 
 of the spectators, is mentioned in that elaborate and enter- 
 taining work, u Dr. Drake’s Shakspeare and his Times.” 
 
 “ Hunting in enclosures, that is, in parks, chases, and forests, 
 where the game was enclosed with a fence-work of netting 
 stretched on posts driven into the ground, appears to have 
 been the custom of this country from the time of Edward the 
 Second to the middle of the seventeenth century. 
 
 “This style of hunting, indeed, exhibited great splendour and 
 pomp, and was certainly a very imposing spectacle ; but the 
 slaughter must have been easy and great, and the sport there- 
 fore proportionally less interesting. When the king, the great 
 barons, or dignified clergy, selected this mode of the diversion, 
 in which either bows or greyhounds were used, the masters of 
 the game and the park-keepers prepared all things essential 
 for the purpose ; and, if it were a royal hunt, the sheriff of the 
 county furnished stabling for the king’s horses, and carts for 
 the dead game. A number of temporary buildings, covered 
 with green boughs, to shade the company from the heat of the 
 sun or bad weather, were erected by the foresters in a proper 
 situation ; and on the morning of the day chosen for the sport, 
 the master of the game and his officers saw the greyhounds 
 
132 
 
 A GUIDE TO 
 
 duly placed, and a person appointed to announce by the 
 different intonations of his horn, the species of game turned 
 out, so that the company might be prepared for its reception 
 when it broke cover. 
 
 “ The enclosure being guarded by officers or retainers, 
 placed at equal distances, to prevent the multitude prematurely 
 rousing the game, the grand huntsman, as soon as the king, 
 nobility, or gentry had taken their respective stations, sounded 
 three long mootes or blasts with the horn, as a signal for 
 the uncoupling of the hart hounds, when the game being 
 driven by the manoeuvres of the huntsman, passed the lodges 
 where the company were waiting, and were either shot from 
 their bows, or individuals, starting from the groupe, pursued 
 the deer with greyhounds.” 
 
 The following is one of the earliest and least known com- 
 positions of Sir Walter Scott. — 
 
 “ Waken, lords and ladies gay ! 
 
 On the mountain dawns the day, 
 
 All the jolly chase is here. 
 
 With hawk, and horse, and hunting spear ; 
 
 Hounds are in their couples yelling, 
 
 Hawks are whistling, horns are knelling ; 
 
 Merrily, merrily, mingle they, 
 
 * Waken, lords and ladies gay ! * 
 
 “ Waken, lords and ladies gay, 
 
 The mist has left the mountain gray ; 
 
 Springlets in the dawn are streaming. 
 
 Diamonds on the brake are gleaming ; 
 
 And foresters have busy been, 
 
 To track the buck in thicket green ; — 
 
 Now we come to chaunt our lay, 
 
 ‘ W aken, lords and ladies gay ! 9 
 
 <( Waken, lords and ladies gay, 
 
 To the green-wood haste way ; 
 
 We can shew you where he lies, 
 
 Fleet of foot and tall of size ; 
 
 We can shew the marks he made. 
 
 When ’gainst the oak his antlers frayed ; — 
 
 You shall see him brought to bay * 
 
 ‘ Waken, lords and ladies gay ! 9 
 
WOBURN ABBEY. 
 
 133 
 
 “ Louder, louder, chaunt the lay, — 
 
 ‘ Waken, lords and ladies gay ! * 
 
 Tell them, youth and mirth and glee, 
 
 Run a course as well as we ; 
 
 Time, stern huntsman ! who can baulk, — 
 
 Staunch as hound, and fleet as hawk ; 
 
 Think of this, and rise with day, 
 
 Gentle lords and ladies gay ! ” 
 
 In Strutt's “ Queen Hoo Hall.” 
 
 WATER. 
 
 The different pieces of water in Woburn Park, are very 
 well disposed, and some of them of very handsome size. In 
 front of the Abbey is a large pool, called “ the Basin,” the 
 form of which corresponds with its appellation, hut w T ith a 
 return towards the south side ; on this bank are some very 
 noble beeches. Below this water, at easy distances, and on 
 a gradual descent, are several others, approaching towards 
 the one styled “New Drakelow,” on the other side of the 
 Farm yard, over which is a fanciful foot-bridge with small 
 cascades, leading out of a pleasant shrubbery. At the north 
 end of this and on the opposite side of the mound over which 
 the road is carried, is the fine water, called “ Old Drakelow,” 
 of an oblong shape, covering upwards of ten acres, haying 
 a small island, on which is erected a large and handsome 
 octagonal Chinese temple, of more pleasing architecture, and 
 colour, than these edifices usually are. The eastern bank is 
 crowned by the gradually rising and noble wood, called “ the 
 Evergreens,” two hundred acres in extent, and without ques- 
 tion, one of the most beautiful plantations in England; the 
 larger trees are principally dark firs, but it abounds with lofty 
 cedars of a grand size, and is thickly set with all the smaller 
 evergreens, flowering and aromatic shrubs. 
 
 “ — tegit arbutus herbam : 
 
 Ros maris, et laurus, nigraque myrtus, olent : 
 
 Nec densum foliis buxum, fiagilesque myricae, 
 
 Nec tenues cytisi, cultaque pinus abest.” — Ovid. 
 
134 
 
 A GUIDE TO 
 
 A noble riding winds round the base, and one or two 
 pleasing walks, in the nature of a terrace, are cut in the side 
 of the hill, where the spectator is protected from the sun by 
 the impenetrable shade of the lofty trees, and has a beautiful 
 view of the plantations and water below. Primroses, violets, 
 periwinkle and J erusalem star, are thickly strewm at the roots 
 of the trees. This magnificent wood is of modern formation, 
 having been an open rabbit-warren, prior to the year 1750. 
 
 These waters abound with fish, and present convenient and 
 pleasant opportunities for the quiet and rural diversion of 
 angling ; which has been the favourite one of so many esti- 
 mable as well as celebrated characters, that it possesses asso- 
 ciations not a little gratifying to the taste and fancy. The 
 follower of Isaac Walton, whilst thus engaged, may, perhaps, 
 be pleased by the following eulogistic stanzas, writtemby J ohn 
 Dennys, or Davors, 1613. 
 
 “ O let me rather on the pleasant brinke 
 Of Tyne or Trent possesse some dwelling place, 
 
 Where I may see my quill and corke downe sinke 
 With eager bite of Barbell, Bleike, or Dace : 
 
 And on the world and his Creatour thinke. 
 
 While they proud Thais’ painted sheet embrace, 
 
 And with the fume of strong tobacco’s smoke, 
 
 All quaffing round, are ready for to choke. 
 
 <e Let them that list these pastimes then pursue, 
 
 A nd on their pleasing fancies feed their fill ; 
 
 So I the fields and meadows green may view, 
 
 And by the rivers fresh may walke at will, 
 
 Among the dazies and the violets blew. 
 
 Red hyacinth, and yellow daffodil!, 
 
 Purple narcissus like the morning rayes, 
 
 Pale glanderglas, and azure culverkayes. 
 
 ei I count it better pleasure to behold 
 The goodly compass of the lofty skie, 
 
 And in the midst thereof like burning gold, 
 
 The flaming chariot of the world’s great eye ; 
 
 The watry clouds that in the air up-rold. 
 
 With sundry kinds of painted colours flie ; 
 
 A nd faire Aurora lif ting up her head, 
 
 All blushing rise from old Tithonus’ bed. 
 
WOBURN ABBEY. 
 
 135 
 
 “ The hills and mountains raised from the plains. 
 
 The plains extended levell with the ground, 
 
 The ground divided into sundry vains. 
 
 The vains enclos’d with running rivers round, 
 
 The rivers making way through nature’s chains. 
 
 With headlong course into the sea profound : 
 
 The surging sea beneath the vallies low. 
 
 The vallies sweet, and lakes that lovely flow. 
 
 “ The lofty woods, the forests wide and long. 
 
 Adorn’d with leaves and branches fresh and green. 
 
 In whose cool boughs the birds with chanting song 
 Do welcome with their quire the Summer’s Queen ; 
 
 The meadows fair where Flora’s guifts among. 
 
 Are intermixt the verdant grasse between, 
 
 The silver- skaled fish that softly swim 
 Within the brooks and crystal! watry brim. 
 
 i( All these and many more of his creation, 
 
 That made the Heavens, the Angler oft doth see. 
 
 And takes therein no little delectation 
 To thinke how strange and wonderfull they bee, 
 
 Framing thereof an inward contemplation, 
 
 To set his thoughts on other fancies free ; 
 
 And while he looks on these with joyfull eye. 
 
 His minde is wrapt above the starry skie.” 
 
 Or if he be in a mood of that feeling which so often u vincit 
 omnia,” he may amuse himself with this fantastic compli- 
 mentary address by Dr. Donne, which is an imitation of 
 Marlow’s “ Gentle Shepherd.” 
 
 (( Come live with me and be my love. 
 
 And we will some new pleasures prove. 
 
 Of golden sands and crystal brooks, 
 
 With silken lines and silver hooks. 
 
 “ There will the river whispering run, 
 
 Warm’d by thine eyes more than the sun; 
 
 And there th’ enamour’d fish will play, 
 
 Begging themselves they may betray. 
 
 * * * * 
 
 “ If thou to be so seen are loth, 
 
 By sun or moon thou dark’nest both ; 
 
 And if myself have leave to see, 
 
 I need not their light, having thee. 
 
 “ Let others freeze with angling reeds, 
 
 And cut their legs with shells and weeds ; ' 
 
 Or treacherously poor fish beset 
 With strangling snare or winding net. 
 
136 
 
 A GUIDE TO 
 
 ** Let coarse bold hands from slimy nest 
 The bedded fish in banks out-wrest , 
 Or curious traitors sleave silk flies. 
 Bewitch poor fishes’ wandering eyes. 
 
 “ For thee, thou need’st no such deceit. 
 For thou thyself art thine own bait ; * 
 That fish that is not catch ’d thereby, 
 Alas ! is wiser far than I ! ” 
 
 LODGES. 
 
 These, of which there are four or five, are neat and tasteful, 
 but have nothing remarkable in their appearance : the same 
 observation applies to the houses of the superintendents, keep- 
 ers, &c. In our account of Aspley Wood, in the First Part, we 
 omitted to mention that there is, at its north western angle, a 
 lofty and handsome building of this class, in the Gothic style, 
 of about the year 1500; adjoining which are a shrubbery, 
 maze, &c. For this ornamental erection the neighbourhood is 
 indebted to the taste of her Grace the Duchess of Bedford. 
 
 THE PARK FARM 
 
 Was planned, and in a great measure completed, by the late 
 Francis Duke of Bedford, and with all its appendages resem- 
 bles a small town, or might almost be taken for a national 
 establishment. Great part of the works were conducted by the 
 late ingenious and respected Mr. Salmon. At this spot the 
 celebrated annual “ Sheep Shearings” were formerly held, and 
 resorted to by distinguished patrons of agriculture, — sometimes 
 even from the Continent. The principal room, used on that 
 occasion, has a small ante-room, with beautiful paintings of 
 
 * How very convenient when worms are not at band ! “ Apropos 
 de Ver,” to all readers who do not call humanity “morbid sensi- 
 bility “ if you use one, kill it before you impale it.” 
 
HISTORY OP WOBURN* 
 
 137 
 
 sheep, &c. by Garrard . In the farm yard are spacious build- 
 ings, some of which have been lately rebuilt, for all the pur- 
 poses of agriculture on a large scale, as fatting houses, wool 
 chambers, piggeries, graneries, &c. &c. &c. A large steam 
 engine was erected about the commencement of the present 
 century, but has since been removed, and replaced by a water 
 wheel, 27 feet in diameter. There are also adjoining, smiths’ 
 shops, a capacious timber yard, &c. &c. &c. 
 
 THORNERY. 
 
 AUREA NUNC, OLIM SYLVESTRIBUS HORRIDA DUMIS. VIR. 
 
 This very pretty summer retreat was erected by the present 
 Duke, for the Duchess, about the year 1808, and it is decidedly 
 the prettiest object in the park ; standing in a wild and 
 romantic situation, and having a sheltered garden, in a very 
 rustic style, with lawns fitted with flowers and shrubs, and 
 secluded walks under the impending trees; also decorated 
 with a small fountain, and other simple ornaments. The 
 sitting room is a square, stone, rustic building, thatched, with 
 a raised roof and lantern. The walls internally are painted in 
 fresco, with flowers and trellis- work, by Aglio , with a covered 
 ceiling. The doors are slightly ornamented with stained glass; 
 and over the chimney-piece, which is of black marble, is a 
 very handsome circular window of the same material. The 
 rustic kitchen, at a short distance below, is lined with white 
 Dutch tiles, and has stained glass doors. 
 
 An evening fete, at the Thornery, with fireworks and illumi- 
 nations, which we once witnessed, was the most enchanting 
 scene we ever beheld. 
 
 Manning & Co,, Printers, London House Yard, St. Paul's. 
 

 

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