CATALOGUE 
 
 OF THE 
 
 PAINTINGS AND DRAWINGS 
 
 AT 
 
 STOURHEAD, 
 Co. WILTS. 
 
 AND A 
 
 DESCRlFnON OF THE MANSION ; 
 
 WITH 
 
 AN ACCOUNT OF THE MUSEUM OF 
 
 in 
 
 SIR RICHARD COLT HOARE, BART. 
 
CATALOGUE 
 
 or THE 
 
 PAINTINGS AND DRAWINGS 
 
 AT 
 
 STOURHEAD, 
 Co. WILTS." 
 
 AND A 
 
 DESCRIPTION OF THE MANSION; 
 
 WITH 
 
 AN ACCOUNT OF THE MUSEUM OF 
 
 BY 
 
 SIR RICHARD COLT HOARE, BART. 
 
 FEINTED FOR PRIVATE USE. 
 
 LONDON: 
 
 PRINTED BY JOHN BOWYER NICHOLS AND SON, 
 
 25, PARLIAMENT STREET. 
 1840. 
 
FUNIiRAL URN. 
 
 iHuseum Wiltunense: 
 
 BRITISEI ANTIQUITIES 
 
 IN THE MUSEUM AT STOURHEAD. 
 DESCRIBED BY SIR R. C. HOARE, BART. 
 
 In our endeavours to trace the manners and customs of ancient 
 nations, we can only judge by their relics still remaining ; and, for- 
 tunately, there have been sufficient of these left in my own county 
 to illustrate, in a great measure, the history of our ancient Britons. 
 
 Twenty years of my younger days were pleasantly employed in 
 the investigation of the early inhabitants of our island, and I hope 
 most satisfactorily ; for they have led me from the places of their 
 first settlements to the sites of their final interments * ; the former 
 having been ascertained by the remains dug up by our spade ; the 
 latter by the tumuli and their contents. 
 
 These relics have been lately arranged, and carefully preserved in 
 glass cases for the inspection of those persons whose curiosity may 
 induce them to investigate the history of old times. 
 
 * These have been minutely described in my *' History of Ancient Wilts.'' 
 
 A 2 
 
4 
 
 BRITISH ANTIQUITIES 
 
 The recesses on the left side of this apartment contain, Sepul- 
 chral Urns ; which may be divided into three classes. 
 
 1. The funeral urn, of a large size, containing the burnt bones 
 and ashes of the dead, placed sometimes upright, and at other 
 times reversed, with its top downwards. (See Cut in pre- 
 ceding page.) 
 
 2. The drinking cup, of smaller dimensions, and more ornamental^ 
 supposed to have contained a viaticuin for the deceased ; a cus- 
 tom still prevailing in India, &c. 
 
 3. The incense cup, of a very small size, varying in its pattern 
 and richly ornamented, supposed to have contained fragrant 
 oils, &c. to burn over the ashes of the dead ; an ancient custom 
 commemorated by Homer. N. B. Many of these vessels are 
 perforated for the sake of suspension. 
 
 Not one of these numerous urns found in our county appears to 
 have been turned with the lathe, and the ornaments on them seem to 
 have been rudely scratched by pointed instruments of bone, many of 
 which are contained in this Museum. 
 
 These articles are arranged in cases according to the general idea I 
 have been enabled to form of their respective antiquity. 
 
 First Class. — Instruments made of stone and flint, before the use 
 of metals was known. 
 
 Second Class. — Articles of stone, bone, and flint. 
 
 Third Class. — Instruments of fine brass, consisting of spears, dag- 
 gers, celts, &c. 
 
 Fourth Class. — Articles of gold and amber, with a great variety of 
 beads. 
 
 I might also add a fifth class, under the style of iheferrea cetas. 
 
 Nam prius seris erat, quam ferri cognitus usus." 
 
 But these articles, consisting of spears, knives, and umbos of 
 shields, are so corroded by time, that they are not worthy of a sepa- 
 rate case. 
 
 Case No. I. 
 
 The first compartment in this case contains two very large celts ; 
 the blackest was found in Knook Castle, near Heytesbury. (See 
 "Ancient South Wilts," page 85, plate ix.) The other came from 
 
IN THE MUSEUM AT STOURHEAD. 
 
 5 
 
 South America. In these articles we may trace the similarity be- 
 tween rude nations. 
 
 The second compartment contains axes and hammers of stone, 
 which I consider to have been coeval with the stone celts, and all of 
 which have been found within our Wiltshire barrows. 
 
 The third compartment is allotted to celts of flint. Much has 
 been written about these rude instruments, and the uses to which 
 they were applied ; which has been obtained in a most satisfactory 
 manner by one of them in this case, which, together with several 
 others, was discovered in cutting a canal at Bossington, near Stock- 
 bridge, CO. Hants, where, in the same place, was found the trunk of 
 a tree partly excavated into a canoe, with several of these celts lying 
 near it. 
 
 Thus does this discovery proclaim the use to which these celts 
 were applied, viz. " that of chipping or cutting, at a period when the 
 use of harder materials was unknown." 
 
 All the other celts were discovered in our Wiltshire barrows. 
 
 The fourth compartment in this case contains celts, brought from 
 South America, and other foreign parts ; by which we see that the 
 same instruments were in use amongst other nations as well amongst 
 the Britons. 
 
 Case No. 2. 
 
 This case is allotted solely to articles of brass, which bear strong 
 marks of importation from some civilized nation ; for such is the 
 excellence of their workmanship that they never could have been 
 fabricated by the Britons. 
 
 The handle of one of these spears, which is engraved in « An- 
 tient South Wilts," plate xxvii. p. 204, rivals or exceeds the work- 
 manship of any French or English artist, and can be best explained 
 by a reference to the plate. In it we perceive the favourite zigzag, or 
 Vandyck pattern, which so frequently occurs in the British urns. 
 
 Another of these brazen articles differs from the generality of 
 those we have found, being gilt, and rounded at the top, whereas 
 others are generally pointed. This was discovered in a tumulus 
 near Woodyates Inn, aad was accompanied by four beautiful arrow- 
 heads of flint, and two articles of jet resembling puUies. (See " An- 
 tiont South Wilts," plat« xxxiv. p. 239.) 
 
6 
 
 BRITISH ANTIQUITIES 
 
 The opening this tumulus on the bleak downs was attended by 
 such singular circumstances that they deserve to be recorded. 
 
 In the midst of our operations a very violent storm of thunder 
 and lightning passed over our heads, and threatened us with such 
 destruction, by the lightning being attracted by our implements of 
 iron, that we hastened to our inn amidst the rain as speedily as pos- 
 sible. My old friend Richard Fenton, and our Wiltshire poet, Wil- 
 liam Lisle Bowles, were present ; the latter returned home, and the 
 next morning sent us the following very beautiful and spirited poem, 
 alluding to the events of the preceding day : 
 
 ** Let me, let me sleep again ! " 
 Thus, methought, in feeble strain, 
 Plain'd from its disturbed bed 
 The spirit of the mighty dead. 
 " O'er my moulder' d ashes cold 
 Many a century slow hath roll'd ; 
 Many a race hath disappear'd 
 Since my giant form I rear'd ; 
 Since my fiinted arrow flew ; 
 Since my battle-horn I blew ; 
 Since my brazen dagger's pride 
 Glitter' d on my warlike side. 
 Which, transported o'er the wave, 
 Kings of distant ocean gave. 
 Ne'er hath glared the eye of day, 
 My death-bed secrets to betray, 
 Since, with mutter' d Celtic rhyme, 
 The white-hair'd Druid bard sublime, 
 Mid the stillness of the night, 
 Wak'd the sad and solemn rite, 
 The rite of death, and o'er my bones 
 Were piled the monumental stones," 
 
 Passing near the hallow'd ground. 
 The Roman gazed upon the mound, 
 And murmur'd with a secret sigh, • 
 * There in dust the mighty lie 1' 
 Ev'n while his heart with conquest glow'd, 
 While the high-raised flinty road * 
 Echoed to the prancing hoof. 
 And golden eagles flam'd aloof. 
 And flashing to the orient light 
 His banner'd legions glitter'd bright, 
 The victor of the world confess'd 
 A dark awe shivering at his breast. 
 
 '* Shall the sons of distant days, 
 TJnpunish'd on my relics gaze? 
 Hark 1 Hesus rushes from on high, 
 Vindictive thunder rocks the sky. 
 See Taranis descends to save 
 His hero's violated grave. 
 And shakes, beneath the lightning's glare, 
 The sulphur from his blazing hair. 
 Hence 1 yet though my grave you spoil, 
 Dark oblivion mocks your toil : 
 Deep the clouds of ages roll, 
 History drops her mould' ring scroll, 
 And never shall reveal the name 
 Of him who scorns her transient fame." 
 
 * This tumulus is situated close to the fine Roman causeway which traverses 
 the Downs. 
 
IN THE MUSEUM AT STOURHEAD. 
 
 7 
 
 Another of these brazen articles deserves attention. See " Antient 
 South Wilts," plate xxiii. p. 185, where it is engraved, with a wooden 
 handle added to the brass rivets, as it was found at Brigmilston ; it had 
 been protected by a scabbard lined with cloth, the web of which was 
 still to be distinguished. 
 
 By the great care with which these instruments were protected, 
 and many of them being also richly gilt, I consider them to have 
 been articles of ornament and dress, rather than of utility ; and we 
 may owe their beautiful tints and preservation to the dry and chalky 
 soil in which they had been deposited. 
 
 In the small compartment of the case, No. 3, are three brass celts 
 of diflferent sizes, which were evidently fixed in a handle. I think 
 these instruments were the most ancient of those bearing the gene- 
 ral name of celts. 
 
 Case Nc. 3. 
 
 1 
 
 3 
 
 5 
 
 2 
 
 4 
 
 6 
 
 The compartments Nos. 1 and 2, contain articles of brass. 
 No. 3, an instrument of brass, the use of which I cannot con- 
 jecture. 
 
 No. 4, a very fine spear-head of flint, &c. 
 
 No. 5, several small brass pins, mth which the cloth containing the 
 ashes of the deceased were enveloped before they were deposited in 
 the sepulchral urn, &c. 
 
 No. 6, has several articles of stone ; seemingly whet-stones. 
 
a- BRITISH ANTIQUITIES 
 
 Case No. 4. 
 
 I 
 
 2 
 
 5 
 
 6 
 
 9 
 
 10 
 
 11 
 
 12 
 
 3 
 
 4 
 
 7 
 
 8 
 
 13 
 
 14 
 
 13 
 
 16 
 
 17 
 
 18 
 
 A 
 
 B 
 
 19 
 
 20 
 
 
 This case is appropriated to the smallest and richest ornaments 
 which have been discovered in our British barrows. 
 
 The divisions Nos. 1, 2, 3, contain amber beads, and in No. 3 are 
 frag-ments of an article made of amber, in frequent use amongst the 
 Britons, and as the different plates of amber were perforated, and 
 strung together, they were probably suspended as ornaments over the 
 breast. One of these, found in a barrow at Kingston Deverill, is 
 engraved in my " History of Ancient South Wilts," plate iii. p. 46. 
 
 Division 4, contains rings and circular articles made of some 
 black substance like coal. 
 
 5, 6, 7, 8, contain necklaces of jet, amber, imperfect vitrification, 
 &c. : 9 and 10, contains also beads of various forms and substances, 
 as do also 11, 12, 13, 14, 13, 16. 
 
 17 and 18 contain also articles of gold found in the Upton and 
 Bush barrows. 
 
 19, articles of jet. 
 
 20, in this compartment are the beautiful arrow-heads of flint 
 found in a barrow at Everley ; and in another at Woodyates, co. 
 Dorset. See " Antient South Wilts," plates xxii. xxxiv. pp. 183, 239. 
 
 Each of these requires our notice, though we seldom meet with 
 much occasion to dwell long upon the contents of a tumulus. But 
 the one at Everley speaks so well for itself, and so feelingly, that I 
 cannot resist describing it. 
 
 The first object that attracted our attention was the skeleton of 
 a small dog, deposited about three feet from the surface, and at the 
 depth of eight feet ten inches we reached the floor of the barrow, 
 where we found an interment of burned bones, piled up in a small 
 heap which was surrounded by a circular wreath of horns of the 
 red deer, within which, and amidst the ashes, were five beautiful 
 arrow-heads cut out of flint, and a small red pebble. Thus we 
 clearly see the profession of the Briton here interred. In the flint 
 arrows we recognize his fatal implements of destruction ; in the. 
 
IN THE MUSEUM AT STOURHEAD. 
 
 9 
 
 stags' horns, we see the victims of his skill as a hunter ; and the 
 bones of the dog deposited in the same grave, and above those of his 
 master, commemorate his faithful attendant in the chace, and per- 
 haps his unfortunate victim in death.* 
 
 Can the language either of history or poetry-, speak more forcibly 
 to our feelings than these mute and inanimate memorials of the 
 British hunter ? and may not the lines of Pope be here applied 
 with equal truth to the Briton as to the Indian ? 
 
 ** Lo the poor Briton, whose untutor'd mind 
 Sees God in clouds, and hears him in the wind ; 
 His soul proud science never taught to stray 
 Far as the solar walk, or milky way ; 
 Yet simple Nature to his hope hath giv'n 
 Behind the cloud-capt hill an humble heav'n. 
 To BE, contents his natural desire, 
 He asks no angel's wing, no seraph's fire, 
 But thinks, admitted to that equal sky. 
 His faithful dog shall bear him company." 
 
 But there is one bead in No. 10 that requires our notice, for I 
 think it is one of Glain neidyr, of the Britons, and the only one I 
 have heard of. This word is derived from glain, what is pure and 
 holy ; and neidyr, a snake. It is made of an imperfect vitrification, 
 and has two circular lines of sky blue and white, which seem to re- 
 present a serpent entwined round a centre, which is perforated. See 
 " Antient South Wilts," plate xiv. p. 118. 
 
 A. contains a large plate of gold in the form of a lozenge, found 
 at Normanton near Ambresbury, in a tumulus called Bush Barrow. 
 See " Antient South Wilts," Plate xxvi. p. 203. 
 
 B. contains three articles of gold : 
 
 1. An oblong plate of very pure and thin gold, richly orna- 
 mented, found in a barrow at Upton Lovell. See " An- 
 tient South Wilts," Plate x. p. 98. 
 
 2. A small article in the form of a horn. See " Antient 
 South Wilts," Plate xxv. p. 201. 
 
 3. Another ornament of gold, the use of which I cannot ascer- 
 tain with any degree of certainty. See " Antient South 
 Wilts," Plate xxvii. p. 204. 
 
 * We learn from Caesar, that amongst our neighbours, the Gauls, the 
 same mode of interment prevailed, " Omnia, quae vivis cordi fuisse arbitrantur, 
 in ignem inferunt, etiam animalia." And the excellence of the British dogs 
 for hunting was «rell known in early days, as " Canes ad venandum aptissimi." 
 
10 BRITISH ANTIQUITIES 
 
 Case No. 5. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 No. 1, contains atrticles of brass, the use of which I cannot 
 define. 
 
 No. 2, articles of bone, and a free stone with a groove cut in it 
 for sharpening the numerous pins of bone which are so frequently 
 found in the barrows ; and I strongly suspect that these instru- 
 ments were employed in scratching the rude ornaments on the sepul- 
 chral and other urns. 
 
 No. 3, is confined to articles of bone. 
 
 No. 4, flint and bone ; where we see some of the former prepared 
 for arrows and darts ; here are also some neat little tweezers of 
 bone. 
 
 In No. 5, is a very perfect armilla, a knife of bone, and a very 
 small celt of brass with its handle of bone still rem.aining. 
 
 In No. 6, are several pins of bone perforated, and sharply pointed. 
 
 Having at page 728 noticed two tumuli distinguished by the names 
 of Upton and Bush Barrows, I shall now give some account of our 
 process in opening them, and of the articles found within them. 
 
 GOLDEN BARROW AT UPTON LOVELL. 
 
 This tumulus was opened in the year 1803, and proved the 
 richest we had ever yet found ; so rich that we named it the 
 " Golden Barrow.'' It contained an interment of burned human 
 bones placed within a cist, and with it an oblong plate of very thin 
 gold, richly wrought, and perforated at the four corners, most proba- 
 bly for suspension, as an ornament over the breast ; another article 
 in form of a cone, decorated with circles and zigzags, and fitted 
 closely to a piece of dark wood like ebony ; also thirteen gold beads 
 in the form of a drum, and perforated for the purpose of stringing ; 
 besides these were two articles of gold resembling small boxes, with 
 a top in form of a cone. 
 
 Also many other articles, amber, &c. and a cup budded over with 
 small knobs, which we have called the bunch of grapes cup. {See 
 Cut in opposite page.) 
 
 These articles are engraved in " Antient South Wiltshire," plates 
 X, xi. pages 99. 
 
IN THE MUSEUM AT STOURHEAD. 
 
 11 
 
 BUSH BARROW. 
 
 The large plate of gold in the second compartment of the lower 
 division, was discovered in a tumulus, styled by Dr. Stukeley, Bush 
 Barrow, though he does not appear to have opened it. Its con- 
 tents were so superior to any we had hitherto found, that it re- 
 quires a particular notice. 
 
 Mr. Cunnington proved unsuccessful in his first investigation of 
 it, as were some neighbouring farmers, who tried their skill also. 
 But Mr. Cunnington, as if foreseeing the curious contents of this 
 tumulus, attacked it again in September 1808, and he was amply 
 repaid for his perseverance and former disappointment. 
 
 Near the shoulders of a skeleton was deposited a fine brass 
 celt. See " Antient South Wilts," (plate xxvi. page 11), and near the 
 right arm was a large dagger of brass, and a spear-head or lance 
 of the same material, thirteen inches long, and the largest we have 
 yet found, though not so neatly moulded as many others ; these were 
 accompanied by a curious article of gold, (in the adjoining division,) 
 and which I imagine had originally belonged to a brazen dagger in 
 the same barrow, for a description of which I must refer to " Antient 
 South Wilts," plate xxvii. where all these articles are faithfully 
 engraved ; and though the wood-work of the handle crumbled to 
 dust shortly after it was brought to light, yet sufficient of the beau- 
 tiful pattern was left to enable us to make a drawing of it. 
 
 Over the breast of the skeleton was that large plate of fine gold 
 engraved in plate xxvi. and so thin that it was fixed to a piece of 
 wood, over the edges of which the gold was lapped, and being perfo- 
 rated at top and bottom, it appears to have been worn over the 
 breast as an ornament ; many other inferior articles were found in 
 this barrow, and amongst them another small one of gold in form of 
 a lozenge. Plate xxvii. No. 5. See Antient South Wilts, p. 204. 
 
 r»RA.PE cur. 
 
 / 
 
Set 
 
 13 
 
 CATALOGUE 
 
 or THE 
 
 PAINTINGS AND DRAWINGS AT STOURHEAD; 
 
 WITH A 
 
 DESCRIPTION OF THE MANSION. 
 By Sir RICHARD COLT HOARE, Bart. 
 
 \_Extracted from his History of Modern Wilts.'] 
 
 " Catalogues of this sort are deservedly grown into esteem : while a Collec- 
 tion remains entire, the use of the Catalogue is obvious ; when dispersed, it 
 often serves to authenticate a picture, adds to its imaginary value, and bestows 
 a sort of history on it. It were to be wished that the practice of composing 
 catalogues of conspicuous collections was universal." 
 
 Walpole. 
 
 The Mansion-house at Stourhead was erected by Henry Hoare, 
 Esq. shortly after he became the purchaser of the estate at Stourton 
 in the year 1720. It occupies the same site in point of aspect as the 
 old baronial castle, but is placed rather more towards the south-east, 
 and on more elevated ground. Its plan and design were given by 
 Colin Campbell, the most celebrated architect of that period : and it 
 is engraved in his work, published under the title of " Vitruvius 
 Britannicus." It is built of a mellow-coloured stone, and its archi- 
 tecture is Italian, presenting a portico of demi-columns with com- 
 posite capitals * : it formed nearly a solid square, being originally 70 
 feet in front by 77 feet in depth. At a subsequent period the room 
 designed in the original plan for a chapel of 30 square, was length- 
 ened to the proportion of 45 to 30, and converted into a beautiful 
 saloon, and some little addition was made to an apartment adjoining 
 it on the north. These alterations took place during the life-time of 
 Henry, the son of Henry the first settler at Stourhead. 
 
 * Since the death of Sir R. C. Hoare a stately portico has been added to the 
 south or principal front. This was part of the original design by Colin Camp- 
 bell, and has greatly increased the beauty of the Mansion. Other very mate- 
 rial restorations have been with great activity carried on, particularly the re- 
 building of the lofty Obelisk of stone, dedicated to the memory of Henry Hoare, 
 Esq. These improvements have been effected by Sir Hugh Hoare, in a very 
 short space of time, under the superintendence of Charles Parker, Esq. F.S.A. 
 Architect. J. B. Nichols. 
 
14 
 
 PAINTINGS AND DRAWINGS. 
 
 The next possessor of Stourhead was Richard CoU, Hoare, the 
 only son of Richard Hoare (by Anne daughter of the aforesaid 
 Henry), to whom his grandfather resigned, during his life-time, the 
 whole of his landed property in the counties of Wilts, Dorset, and 
 Somerset. 
 
 Finding that in this apparently handsome mansion-house there was 
 not sufficient room, either for his collection of paintings, or library of 
 books, he made in the year 1800 a considerable addition to the man- 
 sion, by adding two wings, by which the front was extended to above 
 200 feet. The same style of architecture is faithfully kept up ; and 
 at this time, though after the short lapse of twenty years, the walls of 
 the new buildings have so completely acquired the tints of the old, 
 that the interval between 1720 and 1820 cannot be distinguished. 
 
 Let us now introduce ourselves into the interior of this mansion, 
 and by a handsome well-proportioned hall, being an exact cube of 30 
 feet. Its walls are chiefly covered with family portraits, a very ap- 
 propriate decoration for the first entrance into a house, as well as for 
 the pannels of a dining-room. They remind us of the genealogy of 
 our families, and recall to our minds the hospitality, &c. of its former 
 inhabitants, and on the first entrance of the friend, or stranger, seem 
 to greet them with a salve, or welcome.* 
 
 ENTRANCE HALL.— Cube of 30 feet. 
 
 As the portraits, from their sizes, cannot be conveniently placed 
 in chronological order, the description of them cannot be so regular 
 as I could wish. 
 
 The first personage here represented on canvas, and to whom the 
 present family owes its chief opulence, is 
 
 Sir Richard Hoare, who was knighted, and filled the high station 
 of Lord Mayor of the City of London in the year 1713. He also 
 represented the same City in Parliament in the years 1710 — 1713. 
 Ob. 1718. (Engraved.) 
 
 Henry Hoare, his third son, is placed on his right hand, and is 
 represented leaning on a pedestal with the plan of his intended man- 
 sion-house at Stourhead in his right hand. Ob. 1724. (E?2graved.) 
 
 Henry Hoare, his eldest son, comes next in succession : he is 
 represented in the figure of a handsome young man, mounted on a 
 grey horse. To the right and left of him are the portraits of his 
 two wives : the first (on one side), Anne, eldest daughter of Samuel 
 Lord Masham, holding a bunch of flowers in her hand ; and on the 
 opposite side, Susan, daughter and coheiress of Stephen Colt, Esq. 
 feeding a parrot. The portrait of Henry Hoare, Esq. is painted by 
 Dahl ; the horse by Wotton. Ob. 1785. 
 
 * I have seen this motto over an antique house amidst the ruins of Pompeii, 
 near Naples. 
 
PAINTINGS AND DRAWINGS. 
 
 15 
 
 Sir Richard Hoare, second son of the first named Henry^ and 
 brother of the last, conies next in chronological order. He was 
 Lord Mayor of London in the memorable years of 1745 and 1746, 
 and was knighted in the former of these years. Ob. 1754. (^En- 
 graved.) 
 
 Adjoining the portrait of Sir Richard is that of his second wife, 
 Elizabeth Rust. 
 
 We must now return to the children of Henry Hoare. But first 
 it may be necessary to mention a fine portrait of Jane, daughter of 
 Sir William Benson, Knt. wife of the first Henry, and mother of 
 the second Henry Hoare. Adjoining this portrait is one of her 
 brother, William Benson, Esquire. Henry Hoare, at his death, left 
 no issue male or female living. His eldest daughter is here repre- 
 sented in a Spanish hat with feathers. This is Susannah, the ofiFspring 
 of his second marriage with Susannah Colt. She married, first, 
 Charles Boyle, Viscount Dungarvan ; and, secondly, Thomas Lord 
 Bruce, who was created Earl of Ailesbury. Ob. 1783. 
 
 Anne, the second daughter of Henry Hoare, married her first 
 cousin, Richard, eldest son of Sir Richard Hoare before mentioned. 
 
 Richard, the first Baronet (eldest son of Sir Richard, by his 
 first marriage, and Anne his wife. Copied from the originals in 
 crayons, by S. Woodforde, R.A. 
 
 Richard Colt Hoare succeeded to the baronetage with which 
 his father. Sir Richard, was honoured in the year 1786 ; and is 
 here represented on a whole-length canvas, with his son Henry, 
 by S. Woodforde, R.A. 
 
 Adjoining this painting is a half-length portrait of Hester, eldest 
 daughter of William Henry Lord Lyttelton, wife of Sir Richard 
 Colt Hoare, Bart, and mother of the last-mentioned Henry. Copied 
 and enlarged from a drawing by S. Woodforde, R.A. 
 
 A Portrait of Henry Hoare, Esq. only son of Sir R. C. Hoare, 
 Bart. By Mrs. Carpenter. 
 
 [Over the door leading to the Picture Gallery has been recently 
 added a Portrait of Sir Hugh Hoare, Bart, by Prince Hoare.] 
 
 Here ends the list of family portraits which are at present intro- 
 duced into this hall ; but space is left for the nati natorum, and for 
 the future possessors of this mansion. 
 
 I shall now enumerate a few good examples, on a small scale, and 
 chiefly of the modern School of Painting. 
 
 On each side of the fire-place are two Subjects of Cattle. By 
 James Ward, R.A.— R. C. H.* 
 
 On the West side is a Fish Market and a Vegetable Market. By 
 Angells, 1727.— R. C. H. 
 
 * As a guide to posterity, I have marked with initials those paintings which 
 were collected by Henry Hoare, as well as those which have been since added 
 by his successor, Sir Richard Colt Hoare. 
 
16 
 
 PAINTINGS AND DRAWINGS. 
 
 A Tartar and a Cossack, in their national dress and costume. By 
 Atkinson — R. C. H. 
 
 On one side of this table is a small Landscape. By Hobbima. — 
 R. C. H. 
 
 A Scene in Italy. By Filippo Hackert. — R. C. H. 
 
 On the other side a Landscape (Sketch). By Thomas Barker, of 
 ^^^^7 Bath.— R. C. H. 
 
 View of a Mill near Corwen, North Wales. Bv A. W. Calcott, 
 R.A.— .R. C. H. 
 
 • On the East side are the following small pictures by EngHsh 
 Artists : 
 
 The Broken Pitcher. The Bird's Nest. By Witherington. — 
 ^^'J R. C. H. 
 
 y^^'^ A Colour-grinder's Shop. By Bone. — R. C. H. 
 i^ifij Horses in a Stable. By Pond. — R. C. H. 
 ^i,Lu/^ The Cottage-door. By Collins.— R. C. H. 
 
 Scrub, an old Shooting Pony, with two Spaniels. By A, Coo- 
 7 per, R.A.— R. C. H. 
 l^Zlj ^ ^^^w of Eton by Moonlight. By Hofland.— R. C. H. 
 
 MUSICK ROOM.— 30 feet by 20. 
 
 This apartment is principally occupied by a pleasing selection of 
 fancy paintings, by modern Artists of the British School, and such 
 as both now and hereafter will do credit to them. 
 
 The Western side of the room presents a large Historical Land- 
 scape, executed in the style of the old Italian Masters, in which the 
 Story of Diana and Acteon is introduced. The Landscape is by A. 
 W. Calcott, R.A. ; the Figures by W. Owen, R.A.— R. C. H. 
 
 On one side of this painting is a young female talking with her 
 fingers ; from which the picture has gained the title of " The Dumb 
 Alphabet." By J. Northcote, R.A. (Engraved.) — R. C. H. 
 
 Underneath it is the Portrait of a Girl deploring the Loss of a 
 A favourite Pheasant. By H. Thompson, R.A. — R. C. H. ' ■ C 
 
 On the other side of the large landscape is the Portrait of a Girl 
 .'^-ly caressing a Dove. By John Rising, deceased. — R. C. H. ' 
 
 Beneath it is a Child holding a Goldfinch. By S. Woodforde, 
 R.A. deceased.— R. C. H. 
 
 Over the door is a Scene in the East Indies. By Thomas 
 Daniell, R.A.— R. C. H. 
 
 On the North or chimney-side of this room are the following 
 paintings : 
 
 A Peasant-girl with a Lamb in a Storm ; half-length canvas. By 
 Samuel Woodforde, R.A.— R. C. H. 
 
PAINTINGS AND DRAWINGS. 
 
 17 
 
 A Portrait of Anne, only daughter of Henry Hoare ; bftlf-length. 
 By W. Owen, R.A.— R. C. H. 
 
 A Portrait of Henry Hoare, when young. Bv Sir Joshua Rey- 
 nolds, P.R.A.— R. C. H. < . v> IvU, " ■ ' '■■ 
 
 Beneath the above is a very spirited painting, " The Car of Cu- 
 thullin, from Ossian." By A. Cooper, R.A.— R. C. H. 
 Inside of a Stable, with Sheep. By Morland. — R. C. H. 
 Cattle, its companion. By Cuyp. — H. H. 
 
 The Tomb of Cuius Cestius at Rome. By Pietro Bianchi 
 
 R, C. H. 
 
 Interior of the Church of St. Peter at Rome (over the chimney). 
 By Paolo Panini.— H. H. 
 
 A Sketch for a Ceiling at Venice. By Paolo Veronese. — R. C. H. 
 
 On the South side of this room is a mixture of old and modern 
 pictures. 
 
 Over the door is a very fine copy of the celebrated Madona della 
 Sedia, of Raphael. By Prince Hoare, Esq. — H. H. 
 
 Our Saviour healing the Blind. By Sebastian Ricci. — H. H. 
 Indian Costume. By T. Daniell, R.A.— R. C. H. 
 Head of a Child. By Hans Holbein.— R. C. H. 
 
 Portrait of the Cenci, after Guido. N.B. Few pictures have been 
 so often copied as the one here cited. The character of the young 
 woman and singularity of her dress excite attention. According to 
 current report, she is represented in the dress she wore on the day 
 of her execution for having murdered her father, who had made an 
 attempt upon her honour. — R. C. H. 
 
 St. Pietro Martyre. A reduced and very spirited copy, by Fran- 
 cesco Mola, of the chef-d'oeuvre of Titian.* This fine painting ori- 
 ginally decorated the walls of the church of St. Giovanni and Paolo 
 at Venice ; whence it was removed to Paris, by order of the modern 
 Verresy and afterwards returned to its native soil. As some account 
 of this subject may prove interesting, I shall subjoin the following 
 extract from Ridolfi's " Lives of the Venetian Painters." 
 
 " St. Peter the Martyr is here represented returning to the Con 
 vent at Como, of which he was a member, after having visited Milan, 
 and preached there, with great vehemence and efficacy, against he- 
 resy. He was way-laid at the entrance of a thick wood by a ruffian, 
 and mortally wounded. He is represented fallen on the ground, and 
 in the agonies of death, writing, with his fingers dipped in his own 
 blood, these words, ' I believe in Almighty God.' Fear and horror 
 seize his companion, who, wounded also in the head, endeavours to 
 escape. Above, a gleam of light issues from the clouds, from which 
 two angels descend, offering to the Holy Martyr the palm of triumph, 
 ])repared for him in heaven." — R. C. H. 
 
 * The repeated reparations, added to the long journeys which this celebrated 
 painting has experienced, have caused it much real damage, and rendered this 
 fine copy much more valuable. 
 
18 
 
 PAINTINGS AND DRAWINGS. 
 
 Two Peasant-children (from the Collection of IMr. Knight, pur- 
 chased in 1819). By Gainsboroiigh. N.B. There is an engraving 
 of this painting by Tomkyns, for Macklin's English Portraits, in 
 which these two peasant-children are named Hobbinol and Ganda- 
 retta, from Soraerville's poem. — R. C. H. 
 
 A Boy and Girl, the one pointing, the other looking, at a white 
 owl concealed in a hollow tree. By W. Hilton, R.A .R. C. H. 
 
 A Land and Sea Storm. By F. Nicholson. Good examples of 
 the power of water-colours. — R. C. H. 
 
 On the East or window-side of this room are the following paint- 
 ings : 
 
 A Landscape. By Lucatelli. — H. H. 
 
 Two Landscapes. By Horizonte. — R. C. H. 
 
 ^ Rocks and Water, by Pietro da Cortona, in the style of Salvator 
 Rosa.— R. C. H. 
 
 A Landscape, with buildings and cattle. — H. H. 
 
 A Landscape on paper. Supposed by Gasper Poussin. — R. C. H, 
 
 DINING ROOM.— 25 feet by 20. 
 
 In this apartment we are gratified with the sight of some very fine 
 specimens of painting in crayons, a style now quite unfashionable. 
 Excepting two portraits of Richard, son of Sir Richard Ploare and 
 Anne his wife, by Coates, the remainder are executed by William 
 Hoare, of Bath, Esq. and Mary his daughter. 
 
 Amongst these, a large painting, after the original by Rubens at 
 Wilton-house, representing four Boys playing with a Sheep, deserves 
 particular attention, from the beauty of its colouring, its perfect pre- 
 servation, and masterly execution. After Rubens. On each side of it 
 are two fancy subjects of Nymphs, by William Hoare, Esq. — H. H. 
 
 Beneath them, on the side-board, is a large and rich piece of gilt 
 plate, admirably modelled, representing the story of Cyrus and Queen 
 Tomaris. 
 
 Over the chimney is a half-length portrait of Frances- Anne, second 
 wife of the last Sir Richard Hoare, Bart. By Angelica KaufFman. 
 On the right and left are portraits in crayons of his first wife, Anne, 
 and of himself, by Coates. Over the adjoining door is the figure of 
 a Sleeping Nymph, beautifully designed, and coloured in crayons, by 
 William Hoare, Esquire. — H. H. 
 
 On the side opposite to the chimney is a good copy (of the same 
 size as the original), of a Charity by Schidoni, which was formerly 
 (and perhaps restored) in the Royal Palace at Capo di Monte, near 
 Naples.— R. C. H. 
 
 On the sides of the above are four drawings in bistre, by Rouby, 
 taken from the original pictures in Italy ; viz. the Sibylla Persica, 
 after Guercino ; Saint Cecilia, after Domenichino ; and two Cupids, 
 after Schidoni.— R. C. H. 
 
PAINTINGS AND DRAWINGS. 
 
 19 
 
 Besides the above, this apartment contains two small pictures by 
 Angelica Kauffman ; the one representing Penelope and Euriclea, 
 the other a Grecian Lady at a Tambour table. There are also four 
 small high-finished subjects by La Grene, a French artist. — R. C. H. 
 
 SOUTH APARTMENT.— 20 feet by 20. 
 
 Except in one example this room is devoted entirely to a fine col- 
 lection of drawings in bistre, made by Sir Richard Colt Hoare, dur- 
 ing his travels in Italy, between the years 1785 and 1790. They 
 were selected with the intention of forming a series of studies from 
 the works of the most distinguished foreign artists. From the 
 novelty of the style in which they are executed, the extraordinary 
 softness and delicacy of their finishing, and the wonderful eficct pro- 
 duced merely from one color (for the paper forms the white), this 
 series of drawings becomes highly valuable, and worthy of the con- 
 noisseur's notice. The first artist who struck out this new method 
 of drawing was Seidelmann, who resided at Dresden, but occasionally 
 visited Rome, where an English artist, James Rouby, adopted his 
 style, and became in some instances his superior, by giving, in a more 
 forcible manner, the style of the master whose works he copied. 
 
 Over the doors of this apartment are two imitations of sculpture, 
 both from original antiques at Florence : I. the head of Alexander ; 
 2. the Bust of Niobe. 
 
 On the West side of this apartment are the follo\\ing : 1. Head of 
 Democritus the crying Philosopher, from the original, by Salvator 
 Rosa, in the picture gallery at Stourhead. 
 
 A Boy playing with tablets, from a painting of the same size by 
 Leonardo da Vinci, formerly in the posseession of Lady Betty Ger- 
 main, afterwards in that of Sir William Hamilton at Naples (where 
 this copy was made), and now in the collection of William Beckford, 
 Esquire. 
 
 Beneath it is a wonderful drawing, by Seidelmann, of Rembrandt's 
 mother weighing money, from an original in the Elector of Saxony's 
 gallery at Dresden. 
 
 Sketch from an Apollo by Paolo Veronese, in the collection of Sir 
 Richard Colt Hoare, Bart, at Stourhead. 
 
 A Boy plapng on a Guitar, from the original by Fra' Vanni, a 
 Florentine artist. 
 
 A P.'Iother feeding her Child, from the original at Dresden by 
 Baroccio ; copied by Seidelmann. 
 
 Over the chimney-piece is an old copy in oils, from the original 
 by Correggio, known by the name of the School of Cupid. This 
 picture, originally in the Orleans gallery, was sold in London with 
 the others that formed that celebrated collection. 
 
 East side. Two Studies of Cupids after Annibale Caracci at Capo 
 di Monte, Naples. 
 
 An Emblematical figure of Poetry crowned with laurel, from a 
 
 B 2 
 
20 
 
 PAINTINGS AND DRAWINGS. 
 
 original of the same size by Carlo Dolce in the Corsini palace at 
 Florence. 
 
 Two Laughing Boys ; master unknown. 
 
 St. Mark, from the chef-d'oeuvre of Fra' Bartolomeo, formerly (and 
 I hope now) in the Palazzo Pitti at Florence. 
 
 The Head of Medusa, from a painting of the same size by Leo- 
 nardo da Vinci, in the Ducal Gallery at Florence. N.B. The labour 
 of this drawing was immense : three whole months having been em- 
 ployed by Rouby in bringing it to a termination. 
 
 A Madonna and Child, from the original by Carlo Cignani. 
 
 North side. Study of a Head after Raphael, in the Vatican at 
 Rome. 
 
 A School-girl with her Pater Noster, copied at Naples from a pic- 
 ture of the same size by Schidoni. 
 
 Sketch from a picture in fresco by Correggio, representing a 
 Female pressing to her breast a Child. 
 
 A Penitent Magdalen, after Guercino, at Naples. 
 
 Besides the above, there are several spirited original compositions 
 in bistre, by Rysbrach the sculptor. 
 
 In a small room within this last apartment is a collection of draw- 
 ings in water-colours, by Cosens, Smith, Payne, Pocock, &c. ; a 
 view of the leaning Tower at Pisa ; and a spirited drawing by Cana- 
 letti, of the river Thames on a Lord Mayor's day. 
 
 The rooms which I have hitherto described are a part of the original 
 Mansion-house. The two next which come under consideration, 
 form one of the two wings that were added by Sir Richard Colt 
 Hoare in the year 1800. One of them is chiefly occupied by books ; 
 but the few vacant spaces of wall are enlivened by paintings. In 
 the ante-room leading to the library are four drawings in bistre, by 
 Rouby ; St. Michael and St. Sebastian, after Guido Reni ; and two 
 Studies from the School of Athens, by Raphael. 
 
 THE LIBRARY— 45 feet by 25. 
 
 We now enter a very spacious apartment, containing a valuable 
 assemblage of books, especially of a classical, antiquarian, and topo- 
 graphical nature. The ceiling is semicircular in its form : and the 
 Southern end is decorated with a very large window of painted glass 
 by Egginton, which represents divers groupes from Raphael's cele- 
 brated School of Athens. The opposite compartment of the ceiling 
 is filled by another subject after Raphael, representing Apollo and 
 the Muses in Parnassus, and the figures of Fortitude and Temper- 
 ance. This latter painting is ably executed by S. Woodforde, R. A. 
 
 Over the chimney is a very fine and well-preserved portrait of 
 Petrus Landi, Doge of Venice in the year 1538. He is repre- 
 sented at a very advanced age, habited in the ducal dress, in a 
 walking attitude, holding a packet in his right hand. This portrait 
 
PAINTINGS AND DRAWINGS. 
 
 21 
 
 is thus mentioned by Ridolfi in his " Lives of the Venetian 
 Painters : " " Molti furono i prencipi da hit ritratti — Pietro 
 I.ando in atto di passeggio." I. p. 174.* Around him are ten 
 views of the most remarkable buildings at Venice, in each of which 
 some annual festival is represented. These are executed in the 
 most masterly style by Canaletti, and were purchased at Venice, in 
 the year 1787, by Sir Richard Colt Hoare. 
 
 This series of di'awings, which represent the functions of the 
 Doge of Venice, have been engraved, and were published by Louis 
 Furlanetto. They consisted of twelve in number, but of which I 
 only possess ten, and were purchased by mere accident, having 
 found them carelessly dispersed in the portfolio of a bookseller at 
 Venice. 
 
 No. I. Represents the Doge when he first appears before the 
 public in the Church of Saint Mark, immediately after his election. 
 
 No. 2. This shews the mode of carry ing the Doge and his near- 
 est relations on men's shoulders, in a chair called the Pozzo, round 
 the Place of St. Mark, during which procession the Doge and his 
 companions are engaged in throwing money to the populace. 
 
 No. 3. Represents the Coronation of the Doge, which takes 
 place on the magnificent staircase named La Scala dei Giganti, in 
 the court of the Ducal Palace. 
 
 No. 4. In this plate the Doge, holding the Corno in his hand, 
 returns his thanks to the council for the honours of his election. 
 
 No. 5. The fifth plate represents the ceremony which was annu- 
 ally celebrated on Ascension Day, when the Doge, attended by his 
 noble Venetians, went on board the Bucentaur to the Lido, to make 
 his espousals with the sea. 
 
 No. 6. Represents the Landing of the Doge at the Lido, in 
 order to proceed to the church of St. Nicholas, after the perform- 
 ance of the marriage ceremony. 
 
 No. 7. This plate records the Public Feasts which take place 
 (according to verj- ancient custom) in the place of St. Mark on 
 Holy Thursday, in the presence of the Doge and his Seignor}-. 
 
 No. 8. Here we see the solemn Procession which is performed 
 in St. Mark's Place, on the day of the Fete de Dieu. 
 
 No. 9. This drawing represents the Doge going to the Church 
 of St. Zachary on Easter Day, when he displays, before the religious 
 inhabitants of the monastery, the Horn with which the Doges are 
 crowned. 
 
 No. 10. We here see the Doge, accompanied by his Nobles in 
 their rich vessels called Peatoni, proceeding on their visit to the 
 Church of Notre Dame de la Sante, &c.f 
 
 * See his portrait engraved amongst the Duces Veneti, by Leo Matina. 
 Venetiis, 1659. 
 
 t Since the cession of the Venetian territory to the Emperor of Austria, 
 rhese imposing spectacles, which attracted the attention of all foreigners, have 
 been abolished ; and tlie noble Venetian, comparing the former with the present 
 state of the country, may justly exclaim, Fuimus I 
 
22 
 
 PAINTINGS AND DRAWINGS. 
 
 In two niches over the doors are the busts of Milton, when young 
 and old, executed in marble by Rysbrach. 
 
 CABINET ROOM— 30 feet by 20. 
 
 We now proceed across the Entrance-hall, to an apartment called 
 the Cabinet Room, from the circumstance of its containing a very 
 splendid Cabinet, embellished with precious stones, marbles, agates, 
 &c. of every description. It formerly belonged to Pope Pius Sextus 
 \ ^ , the Fifth, whose portrait, as well as those of his family, Peretti, 
 ' / are beautifully moulded in wax, and placed in medallions round the 
 ' base of this exquisite piece of workmanship. It was purchased by 
 Henry Hoare, Esq. in Italy, who added the base, on which are 
 designed several of the buildings erected by that Pope at Rome, and 
 a bas-relief of his portrait. 
 
 This room is devoted exclusively to Landscapes, of which it 
 contains a very pleasing variety. 
 
 Over the chimney is a painting, representing a Male and Female 
 Peasant, with some Colliers, going to Market at break of day. By 
 Gainsborough. — PI. H. k c v ' 
 
 Beneath it are two small Landscapes by Momper. — R. C. H. 
 And a View of Florence by Marlow. — H. H. 
 
 On the sides are a Sea-port and Moonlight. By Vernet.. — H. H. 
 
 The Lake of Nemi, with the Story of Diana and her Nymphs. By 
 Wilson.— H. H. 
 
 The Lake of Avernus, with the Story of j^^neas and the Sibyl. 
 By Joseph Mallard William Turner, R.A.— R. C. H. 
 
 This classical subject was painted from a correct sketch taken by 
 Sir Richard Colt Hoare when in Italy, and represents the lake of 
 Avernus in the fore ground, with the temple on its banks ; above is 
 the Monte nuovo, which was thrown up by volcanic force in one 
 night. In the next distances are the Lucrine lake ; beyond it the 
 castle of Baise, and the lofty promontory of Misenum, with the island 
 of Capri at the extremity of the horizon. 
 
 South side. — A View of the Mole at Naples, with Mount Vesu- 
 vius. By Marlow.— H. H. 
 
 A Storm, with the Story of Jonas and the Whale, copied from a 
 ■ celebrated painting by Nicolo Poussin. By Taverner. — H. H. 
 
 A Landscape, by Claude Lorraine. Engra\ed by Vivares. — H. H. 
 
 (^47" Landscape, by Gasper Poussin, formerly in the collection of Sir 
 
 ' ' Luke Schaub.— H. H. 
 
 A Landscape, by Nicolo Poussin, in his early brown manner. — 
 R. C. H. 
 
 Two large Landscapes, copied by Lucatelli from the originals of 
 Icj^A'^ Claude Lorraine, in the Pamphili Palace at Rome. — H. H. 
 
PAINTINGS AND DRAWINGS. 
 
 23 
 
 Two Landscapes, with cattle and figures. By Bout and Baudoin. 
 ^R. C. H. 
 
 A Landscape. By D. Teniers. — R. C. H. 
 
 A Landscape. By Wilson. This small and simple composition has 
 excited the general attention of artists and connoisseurs, from its 
 very excellent colouring. It was painted in Italy, and presented by 
 Wilson to his friend Zuccarelli. This painting pleased me so much 
 at first sight, that I used my utmost endeavours to procure it, but I 
 failed in my repeated applications. At the decease of Zuccarelli, 
 1 became the purchaser of this little jewel. — R. C. H. 
 
 Beneath it is another painting, which merits our attention ; a 
 Moon-light Scene, in which some gypsies are reposing by a fire- 
 side. By Rembrandt. It is engraved by R. Earlom. — H. H. 
 
 Over the door is a Landscape. By C. W. Bampfylde, Esq. — H. H., 
 
 Amphitheatre at Rome. By Gaspero d'Occhiali. — R. C. H. 
 
 Inside View of a Church. By H. V. Stein.— H. H. 
 
 Diana and her Nymphs. By Zuccarelli. A very highly-finished 
 picture, and painted, by order of Henry Hoare, Esq. to fit a frame ' 
 of rich carved work by the celebrated Gibbon. — H. H. 
 
 East side. — Two spirited sketches, of an upright form ; the one of 
 a tree, under which a friar is praying, by Francesco Mola ; the other, ^ 
 a scene of rocks and water, by Rosa di Tivoli. — R. C. H. / 
 
 Two small Landscapes, with figures and buildings. By Bartolo- 
 meo. Bought at the Orleans sale. — R. C. H. 
 
 Two small Views at Venice. By Canaletti. Remarkably good, 
 and highly finished. — H. H. 
 
 ANTE-ROOM TO THE PICTURE GALLERY. 
 
 Over the doors are two paintings, got dark from age, by Cara- 
 vaggio ; the one representing Card-players and a Fortune-teller ; the 
 other the Servant-maid denying St. Peter. — R. C. H. 
 
 A View of St. Mark's Place at Venice. By Canaletti.— H. H. 
 
 A Field of Battle. A very spirited performance. By Borgog- 
 none. — H. H. 
 
 The Daughter of Herodias. By Carlo Dolce. A most capti- 
 vating picture. — H. H. 
 
 Above this painting is a richly-coloured Study, by Paolo Veronese ; 
 and a Boy holding a (Greyhound. — R. C. H. 
 
 Portrait of a Cardinal. By Domenichino. Painted in a very 
 broad and masterly manner. — R. C. H. 
 
 A Holy Family. By Palma, Giovane. — R. C. H. 
 
 The Marriage in Canaan ; a reduced copy from the original by 
 Paolo Veronese. By Sebastian Ricci. — H. H. 
 
24 
 
 PAINTINGS AND DRAWINGS. 
 
 PICTURE GALLERY— 45 feet by 25. 
 
 This spacious room, which forms the extremity of the Northern 
 wing, was built by Sir Richard Colt Hoare, for the purpose of con- 
 taining a selection of his best paintings, which before had been 
 dispersed and injudiciously associated in different apartments, and 
 not seen to the best advantage. The walls are thickly covered with 
 pictures, many of which are of a superior class, and will be now 
 enumerated, beginning from the left, as you enter this apartment. 
 
 South side. — The Triumph of Bacchus, from the original subject 
 painted by Annibale Caracci, for a ceiling in the Farnese Palace at 
 Rome. This ihie old copy is said to have been executed by Dome- 
 nichino. — IT. H. 
 
 A Holy Family. By Fra' Bartolomeo di S. Marco. The paint- 
 ings of this master, who was friar of a convent at Florence, and 
 contemporary vnth. Raphael, are very scarce, even in Italy. This 
 picture has been well engra^'2d for the British Gallery. — R. C. H. 
 
 The Rape of the Sabines. By Nicolo Poussin. This picture 
 has been engraved by Andran ; and, from the correctness of its 
 design, and strength of colouring, may be justly considered as one of 
 the finest efforts of this great master's pencil. Poussin painted two 
 pictures on this subject ; the one for the Duchesse d'Aiguillon, from 
 whose possession it came into that of Monsieur de la Ravoir, and 
 was afterwards removed to the Royal Collection at Paris. The 
 other, painted for Cardinal Aluigi Omodei, was purchased by Henry 
 Hoare, Esq. and now holds a high rank in the collection at Stour- 
 head.— H. H. 
 
 In the lower range are the following pictures of a small size ; 
 
 The Genius of History. By Sebastian Conca. — H. H. 
 
 . ^ . Head of St. Francis, a sketch on paper. By Guido ; very fine. — 
 R. C. H. 
 
 y ^ y^^^S Shepherd, on paper also. By Guercino. — R. C. H. 
 A Head. Venetian School. — R. C. H. 
 A Peasant's Head. By Titian,— R. C. H. 
 ? «, 7 St. John and Lamb. By Schidoni. — R. C. H. 
 A Madona. By Carlo Dolce.— H. H. 
 
 West side. — The principal picture in the centre of this compart- 
 ment is a large allegorical painting by Carlo Maratti. It represents 
 the introduction of the Marchese Pallavicini to the Painter, and is 
 thus more minutely described by Bellori, in his Life of that Painter : 
 " I^ece una quadro molto grande al Marchese Pallavicini nel 
 quale rappresentollo in piedi in ahito eroico, ed incontro se stesso 
 finse a sedere, che il ritraea in pittura, avendo appresso le tre 
 grazie, douzelle hellissime, che pare gli assistano, per infondere 
 nelle opere di lui la venusta e la leggiadria ; dono, che con lo 
 
PAINTINGS AND DRAWINGS. 
 
 25 
 
 studio non pud acquistarsi. In tanto la Gloria spiega le ali in 
 ariay e corona di alloro il Marchese, a cui si fa avanti it Genio 
 che gli addita con la destra, un monfe scosceso in lontananza, su 
 la cima del quale vedesi il Tempio della Virtu : e questo dipinto 
 fit reputato un parto de piu insigni del sua pennello" 
 
 In a late book of travels, published by Monsieur Millin, I learn 
 that there is a fine drawing of the aforesaid painting by Carlo 
 Maratti, in a palace at Genoa, done in chalk of two colours ; and he 
 recites the verses that are written on the shield of Minerva in 
 the back ground : 
 
 " Viddi, Signor, che della gloria al tempio 
 
 Ti toglieva il bel genio, e viddi poi 
 Scriver colei, che dell' oblio fa scempio 
 
 Sullo scudo di Pallas i pregi tuoi : 
 Viddi, che a far si altrvi d'onore esempio 
 
 Correa la fama, e offrati i lauri suoi, 
 Dalle grazie assistito io tutto ho espresso 
 
 Su i lini, e in te spero eternar me stesso.^' 
 
 This picture has been engraved by Carlo Faucci at Florence. 
 
 On the left side of the above-described painting are the following 
 subjects : 
 
 Democritus, the crying Philosopher. By Salvator Rosa. — R. C. H. ^ 
 Sketch of an Apollo. Py Paolo Veronese. — R. C. H. 
 Portrait of a Girl in the character of St. Agnes. By Titian. 
 — R. C. H. 
 
 A Madona and Child. By Carlo Cignani. — H. H. 
 
 The Judgment of Hercules. By Nicolo Poussin. Engraved by 
 Strange. — H. H. 
 
 In the lower range are the following : 
 
 A Holy Family, after Raphael ; a very fine old copy. — H. H. 
 
 A curious old painting, by Pacchiarotto ; highly finished, and 
 representing the introduction of a young Carthusian to St. Teresa. 
 This artist was a native of Siena, and lived about the year 1520. 
 Several of his works still exist in that city, both in oil and in fresco. 
 I lis memoirs are written in the third volume of the " Letter e 
 Senesi," and the following account of this little picture, which he 
 painted in the Carthusian convent : " In essa Certosa il Pacchia- 
 rotto depinse una Madonnina con S. Pietro, che la presenta S. 
 JSruno, e S. Catarina con due hei puttini" Lettere Senesi, 
 torn. III. p. 323. 
 
 Tobit and the Angel. By Francesco Mola — H. H. 
 
 David and Goliah. By the same. — H. H. 
 
 The Marriage of St. Catharine. A beautifully highly-finished 
 picture, by Baroccio. — H. H. 
 
 We now come to the central compartment of this room, in which 
 is a very large painting by Lodivico Cardi, alias Cigoli. He was a dis- 
 
26 
 
 PAINTINGS AND DRAWINGS. 
 
 ciple of Alessandro Allori, and flourished between 1559 and 1613. 
 This fine painting, purchased by Sir Richard Colt Hoare at Florence, 
 in the year 1790, was painted for the noble family of Albizzi, and 
 decorated an altar in their chapel at the church of S. Pietro Mag- 
 giore. It represents the Adoration of the Magi, in a very full and 
 richly-coloured composition. It is thus recorded by Cinelli, in his 
 JBellezze di Firenze : " Cappella degli Albizzi, ove e di mano 
 del Cigoli un Adorazione de Magi hellissima : Esprimono 
 graziosamente, i Re la loro devozione e riverenza, ed uno di loro 
 had con hella attitudine, un piede al bambino Giesu. Porge 
 un paggio con bellissimo scorto ad uno de' Re doni per offerire d 
 Giesii con somma leggiadria, e grazia, ed e vago oltre ogni 
 credere un bracco die dd una parte si posa a segno che inganno 
 Vocchio. E Jiyialmente, questa in ogni sua parte pregiahile, et e 
 delle piu famose opere, che escissero dalV eruditissima mano de si 
 sovrano maestro, ove sammira la morbi cV^zza, e tenerezza della 
 testa del Santo Re cK adora il vedentoreT Cinelli, Bellezze de 
 Firenze, p. 355. 
 
 Baldinucci, in his Life of the same Painter, thus records this 
 painting : " E' anche opera del suo dottissimo pennello la tavola 
 deir Adorazione dei Magi, posta alV altare della Cappella degli 
 Albizzi in S. Pier Maggiore. Questa al certo non ha parte in 
 se che bellissima non sia, sono vi arie di teste stupende, ricchezza 
 e nobilitd ; e maraviglioso nel suo genere il ritratto d'un Cane, 
 della hellissima, e grande razza dPnghilterra, a cui per parer 
 vivo, altro non manca, che il moto^ Tom. IX, p, 62. 
 
 On the right hand side of the chimney is a Madona and Child. 
 By Palma vecchio. — H. H. 
 
 A Holy Family, after Raphael ; the original painting (of which, 
 owing to the beauty of the subject, many copies have been made), 
 formed, m the year 1786, a part of the royal collection at Capo di 
 Monte.— H. H. 
 
 The central compartment of this side is filled by a large picture by 
 Raphael Mengs. It v/as painted at Rome in the year 1760, by order 
 * of Henry Hoare, Esq. and intended as a companion to the before- 
 mentioned picture by Carlo Maratti. The artist seems to have taken 
 his subject from " the Life of Mark Anthony," by Plutarch, where 
 the situation of Cleopatra is thus described : " a few days after the 
 death of Mark Anthony, Caesar made Cleopatra a visit of condolence. 
 She was then in an undress, and lying negligently on a couch, but 
 when the Conqueror entered the apartment, though she had nothing 
 on but a single robe, she arose hastily, and threw herself at his feet ; 
 her hair dishevelled, her voice trembling, her eyes sunk ; in short, 
 her person gave you the image of her mind ; yet, in this deplorable 
 condition, there were some remains of that grace, that spirit and viva- 
 city, which had so peculiarly animated her former charms ; and still 
 some gleams of her native elegance might be seen to wander over her 
 melancholy countenance." See two letters on the subject of this 
 painting, the one from Raphael Mengs in 1761, the other from 
 Henry Hoare, Esq. in answer, published in the " Annals of the Fine 
 Arts," in 1818, page 494.— H. H. 
 
PAINTINGS AND DRAWINGS. 
 
 27 
 
 Portrait of the Emperor Charles the Fifth. By Rubens, from an 
 original by Titian. — R. C. H. 
 
 Saint Catharine. By Lovino, one of the most distinguished scho- 
 lars of Leonardo da Vinci. — R. C. H. 
 
 Head of an old Woman. I doubt, if by Murillo, or Velasques. — 
 R. C. H. ' . 
 
 In the lower range are the following : 
 
 Saint John in the Wilderness, a sketch on paper by Titian. N. B. I ^ 
 
 This appears to have been the first design for the picture painted by iv*.Ltr/ 
 
 Titian, in the Church of Santa Maria Maggiore, at Venice, where he vw.. U 
 
 has altered the figure of Saint John, by placing it in an upright t^- 
 
 instead of a sitting posture ; the situation of the Lamb remains the ' --'Ka": 
 same. — R. C. H. 
 
 A very spirited design for an Altar-piece. By Espagnoletto. — ( c] q n 
 
 R. C. H. ' ' 
 
 The Temptation of Saint Anthony. By Teniers. — H. H. 
 
 The Flight into Egypt. By Carlo Maratti.— H. H. ( ^ £in 
 
 A Holy Family. By Guido Reni, in his dark manner. — H. H. 
 
 North side. — Noah sacrificing, and its companion. By Imperiali. *'^^7 
 — H. H. * ' 
 
 La Madona degli fiori. By Guercino, in his finest manner. It 
 represents the Madona in a sitting attitude, with the hamhino on her 
 lap, taking some flowers out of a vase. This fine painting was pur- 
 chased by Sir Richard Colt Hoare at Bologna. — R. C. H. 
 
 I now come to the most impressive painting in the whole collection, 
 representing the Prophet Elijah restoring the Dead Child to Life. 
 It was painted by Rembrandt, and has been well engraved in mezzo- 
 tinto, by Earlom. No verbal description can be adequate to its me- 
 rits.— H. H. 
 
 An Altar-piece, representing the Madona and Child seated on a 
 throne, with Saint John the Baptist, and Saint Ambrogio, standing. 
 By Andrea del Sarto. This fine painthig was purchased at Florence 
 by Sir Richard Colt Hoare, in the year 1790 ; it is painted on a 
 thick panel, and is thus recorded by Vasari, in the " Life of Andrea 
 del Sarto." " Prese non molto dopo, a fare agli uomini della com- 
 pagnia di Santa Maria della Neve, dietro alle monache di S. 
 Amhrogio, in una, tavolina, tre figure, la nostra Donna, S. Gio, 
 Battista, e SanC Ambrogio ; la quaV opera Jinita fu col tempo 
 posta in su V altar e di detta Compagnia." Vasar i, tom. II. p. 2 19, 
 — R. C. H. 
 
 In the lower range are the following small pictures : 
 
 An Old Man's Head (Simeon), on paper. By Schidoni.— R. C. H. 
 
 Two Boys' Heads. Master unknown R. C. H. N'lA 
 
 A representation of Hope, &c. By Carlo Maratti. — R. C. H. ; a-^ 
 
 The Annunciatian. By Albano — R. C. H. j"^^- 
 
 7 
 
28 
 
 PAINTINGS AND DRAWINGS. 
 
 A Holy Family, painted on vellum. By Leonardo da Vinci ; 
 bought by Sir Richard Colt Hoare at Rome, in the year 1790, out 
 of the Barbarini Palace. I have in my possession several etchings 
 on paper, in which the artist had tried the different positions of the 
 figures which were introduced into this composition. — R. C. H. 
 
 The Marriage of Canaan ; with Mary Magdalen washing the feet 
 of our Saviour. A very fine and highly-finished sketch on paper, by 
 Paolo Veronese. This is probably the first design for the large paint- 
 ing he executed for the family of Durazzo at Genoa. It was very 
 usual for painters, in old as in modern times, to try the effect of 
 their historical compositions on a small scale, before they executed 
 them en grand. — R. C. H. 
 
 A Holy Family. By Schidoni.— R. C. H. 
 
 East or window side. — The first compartment is filled up by a 
 Madona, accompanied by Angels ; an old copy after Andrea del 
 Sarto— R. C. H. 
 
 A classical subjecto By La Grene, a French artist. — H. H. 
 
 A Group, selected from the Rape of the Sabines, of N. Poussin. 
 By S. Woodforde, R.A.— R. C. H. 
 
 In the next panel is an enlarged copy from the small picture by 
 Correggio, when in the palace at Capo di Monte, near Naples. By 
 Cavallucci. — R. C. H. , 
 
 On the opposite panel is a copy from a Charity at Rome, by 
 Luca Cambiasi, in the Giustiani P,alace. By Cavallucci. — R. C. H. 
 
 In the next panel is a Holy Family. By Trevisani. — R. C. H. 
 
 A classical subject. By La Grene. — H. H. 
 
 A Group, from Nicolo Poussin's Rape of the Sabines. By S. 
 Woodforde, R.A.— R. C. H. 
 
 I now return to the two middle compartments of this side of the 
 room, which are decorated by two whole-length subjects, painted by 
 H. Thompson, R.A. They represent Distress by Sea, and Distress 
 by Land ; in the former a young mariner is seen sitting upon an in- 
 sulated rock, benumbed with cold, and abandoned to despair ; above 
 his head hovers a kite, an emblem of his approaching fate. The fol- 
 lowing appropriate lines are written on a tablet, beneath the picture, 
 as describing the piteous situation of the " Shipwrecked Mariner : " 
 
 " Sad on a juttiiig eminence he sits, 
 And views the main that ever toils below ; 
 Still fondly forming in the distant verge, 
 Ships dim discover'd dropping from the clouds. 
 At evening, to the setting sun he turns 
 A mournful eye, and down his dying heart 
 Sinks helpless." Thomson's Seasons. 
 
 In the other subject, viz. Distress by Land, the artist has repre- 
 sented a lovely young female, overtaken by a storm of thunder, light- 
 ning, and rain, upon the bleak and desert plains of Salisbury ; the 
 British Circle of Stones at Stonehenge indicates the scene ; her hair, 
 hat, and cloak are agitated by the wind : she presses closer to her 
 
PAINTINGS AND DRAWINGS. 
 
 29 
 
 breast her infant child, and a boy of a more advanced age is seen 
 sheltering himself under her cloak. 
 
 On a tablet are the following descriptive lines : 
 
 " how sinks her soul I 
 
 What black cle?pair ! what horror fills her heart ! 
 Far flora the tract, and blest abode of man ; 
 While round her night resistless closes fast, 
 And every tempest, howling o'er her head, 
 Renders the savage wilderness more wild." 
 
 Thomson's Seasons. 
 
 These are two admirable specimens of the modern school of paint- 
 ing : they speak to the e^/es, as to good colouring and composition, 
 and to the feeling heai^t, as to the expressions and distressful situa- 
 tions of the unhappy sufferers. They honourably maintain their 
 ground amongst their elder associates. 
 
 THE STAIR-CASE. 
 
 In the hall and stair-case, there is not much worthy of remark : 
 the walls being allotted to pictures of the second class. In the 
 former are some clever bas-reliefs, by Rysbrach ; a painting by 
 Leandro Bassan ; interior of the Pantheon at Stourhead, by Wood- 
 forde ; a copy of Saint Peter, after Guido ; a portrait of Old Parr ; 
 and a pretty Lanscape in the style of Cuyp, by Calcott, representing 
 the subject of a Mill, near Llangollen, in North Wales. Besides the 
 above, are two portraits of Richard Fenton, of Pembrokeshire, Esq. 
 and Mr. William Cunnington, a celebrated Antiquary, of Heytes- 
 I i^il ^ bury, in Wiltshire, both executed by Samuel Woodforde, R. A. 
 
 On the South side of the stair-case by which you ascend, is a view 
 of the Lake of Bracciano, near Rome. By Moore. — R. C. H. 
 
 A View in Flanders. The Landscape by ; the Figures 
 
 by D. Teniers.— H. H. 
 
 A View at Tivoli. By Horizonte.— R. C. H. 
 
 A Landscape, with a white horse, &c. By Momper. — R. C. H. 
 
 A Landscape. By C. W. Bampfylde, Esq. — H. H. 
 
 On the West side, fronting the ascent, are the following : 
 
 A large upright Landscape. By Wotton. — H. H. 
 
 A Storm at Sea (good). By Vernet. — R. C. H. 
 
 The Lake of Albano, and a View of the Campagna at Rome. By 
 Gregorio Fidanza. — R. C. H. 
 
 A Landscape, with porcupine hunting, and a View on the Sea 
 Coast (good), but master unknown. — R. C. H. 
 
 A Landscape. Italian School ; and marked in my old catalogue, 
 by Domenichino. — H. H. 
 
 The Castle of Saint Angelo, at Rome. By Salvator Rosa. — H. H. 
 
 North side. — The Convent of Saint Cosimato. By Carlo La- 
 bruzzi. — R. C. H. 
 
30 
 
 PAINTINGS AND DRAWINGS. 
 
 The Bay and City of Naples, with a Regatta. By Pietro Antoni- 
 ani.— H. H. 
 
 Architecture and Ruins. Master unknown. — H. H. 
 A Landscape. By Wotton. — H. H. 
 A Landscape. By Wotton. — H. H. 
 
 East side. — A large Landscape, and the chef d'ceuvve of this ama- 
 teur artist, C. W. Bampfylde, Esq. — H. H. 
 
 A Storm at Sea. By C. W. Bampfylde, Esq.— H. H. 
 
 Two upright Landscapes. By Lucatelli. — H. H. 
 
 A Landscape. By Wotton. — H. H, 
 
 THE SALOON— 45 feet by 30. 
 
 By the original plan of the house in Campbell's " Vitruvius Bri- 
 tannicus," I find this room was originally a cube of 30 feet, and des- 
 tined for a Chapel. It was afterwards lengthened by my predecessor, 
 Henry Hoare, Esq. who has evinced a superior degree of taste in its 
 embellishments ; for regard has been paid to just proportions in 
 every appendage subordinate to the general proportions of length, 
 breadth, and height, which are also true, being 45 by 30. The 
 doors, chimney-piece, cornice, and even paintings, are all proportion- 
 ate, and accord with the size of the room. Except in one instance, 
 the pictures are all copies, but selected with great taste as to their 
 subjects, and executed by the best artists who resided in England and 
 at Rome. 
 
 On one side of the door-way is an allegorical picture after Paolo 
 Veronese, representing Wisdom as the companion of Hercules. 
 ■ c • The original belonged to the Orleans Gallery, and was sold in Lon- 
 don.— H. H. 
 
 On the opposite side of the door, is the subject of the daughter of 
 \ « Herodias, with the Head of Saint John in a charger, after a picture 
 ' by Guido Reni at Rome ; and copied by the celebrated Pompeo 
 Battoni.— H. H. 
 
 The Death of Dido, after a painting by Guercino, in the Spada 
 Palace at Rome. — H. H. 
 
 The Rape of Helen, after a painting by Guido Reni, in the same 
 palace. — H. H. 
 
 A very fine copy of the Family of King Charles the First, after 
 ' ' , Vandyke. By old Wyck.— H. H. 
 
 Venus attired by the Graces, from the original picture by Guido 
 Reni, in the Royal Collection at Buckingham-house. Engraved by 
 Strange. — H. H. 
 
 Perseus and Andromeda, after an unfinished picture by Guido 
 Reni, in the Rospigliosi Palace at Rome. — H. H. 
 
 The Judgment of Midas, a very large painting, possessing a con- 
 siderable degree of merit. By Sebastian Bourdon. — H. H. 
 
PAINTINGS AND DRAWINGS. 
 
 31 
 
 COLUMN ROOM. 
 
 Having taken a complete view of the different Paintings in oil- 
 colours which decorate the Mansion-house at Stourhead, I shall now 
 advert to a class of Art which, though from convenience of size and 
 pleasurable effect, is favourably received by the public, yet cannot be 
 considered as worthy of being included in the higher class of paint- 
 ing. I allude to Designs in Water-Colours, which have made, with- 
 in these few years past, a most astonishing progress, and in many 
 instances may be said to have attained the acme of perfection ; for I 
 question if the series of Architectural Drawings of Salisbury, in this 
 apartment, executed by J. M. W. Turner, Esq. R.A. will ever 
 be surpassed. 
 
 This rapid improvement in Water-Colour Drawing has taken place 
 within my own memory ; for, during my younger days, Paul Sandby 
 was the monarch of the plain, and esteemed the best artist in this line. 
 The next marked improvement in colouring was recognised in the 
 Drawings of Mr. John Smith, now living, and to whom, as an in- 
 structor, I owe the little I know of Drawing : but the advance- 
 ment from drawing to painting in water-colours did not take place 
 till after the introduction into England of the Drawings of Louis du 
 Cros, a Swiss artist, who settled at Rome ; his works proved the 
 force as well as consequence that could be given to the unsubstan- 
 tial body of water-colours, and to him I attribute the first knowledge 
 and power of water-colours. Hence have sprung a numerous succes- 
 sion of Artists in this line ; a Turner, a Glover, a Nicholson, Rei- 
 nagle, De Wint, Nash, cum multis aliis. 
 
 During a long residence in Italy I had frequent occasion to observe 
 the system and mark the progress of this ingenious Artist ; and with 
 regret I found that his superior merit began to create him enemies, 
 who endeavoured to lessen the merit of his works, by questioning 
 their durability. On this occasion I must, in justice, stand forth his 
 advocate ; for I have in my own collection eleven of his large Draw- 
 ings, which are now as brilliant as they were thirty years ago. With 
 protection from light and damp, the durability of water-colours can- 
 not be questioned. 
 
 The gradual progress which Du Cros made in strength of colour- 
 ing may be very visibly traced in the fine specimens of his taste and 
 execution which this apartment presents. The first drawing repre- 
 sents a View of the Lake of Thrasymene, where the Romans, under 
 the Consul Flaminius, experienced so signal a defeat from the Cartha- 
 ginian General, Hannibal. The time of day is early morn, which 
 gives the subject a grey and apparently faded tint. 
 
 No. 2. The next is a View of Tivoli. 
 
 No. 3. The Tomb of Munatius Plancus, on the road between 
 Rome and Tivoli. 
 
 No. 4. A View at Civita Castellana. 
 
 These four were the earliest of his drawings which entered my 
 
32 
 
 PAINTINGS AND DRAWINGS. 
 
 collection ; and the increase of strength is visible progressively from 
 the first to the last number. 
 
 No. 5. Next the door in the upper range is a Souterrain View of 
 Mecaenas's Villa at Tivoli; and (No. 6) beneath is an interior View 
 of the Colysseum or Amphitheatre at Rome. 
 
 No. 7 is a View of the magnificent Bridge built by the Emperor 
 Augustus at Narni ; and (No. 8) beneath it is a Scene on the River 
 which flows down to Terni from the celebrated Waterfall. 
 
 No. 9. In the next compartment is another View on the same 
 River, with a grove of luxuriant ilex trees. Beneath it is the Arch 
 of Constantine at Rome, which may be considered as one of the most 
 laborious as well as one of the most happy efforts that were ever made 
 in water-colours. 
 
 Another chef d'ceuvre of Du Cros' pencil remains to be described : 
 it represents the stupendous Fall of the River Velino into the Nar, 
 in that point of view in which it seldom is, but always ought to be 
 seen, viz. en face, from the opposite banks of the river ; whereas the 
 Cicerone of the country (unless a hint is given to the contrary) 
 generally conducts the stranger to the summer-house on the eminence, 
 from whence he looks down upon the foaming gulf. The views are 
 so totally distinct in their nature, that the cataract should be seen 
 from each point. One of the great excellences of this Artist was 
 the just and natural delineation of water, particularly where spray 
 and vapour were expressed ; and in this subject he has succeeded 
 most admirably, and without any of the borrowed assistance of white 
 paint. 
 
 From the foreign I shall now proceed to the native Artist, and 
 solicit the attention of the Amateur to a series of eight exterior and 
 interior Views of Salisbury Cathedral, which were executed by Mr. 
 Turner in a style of excellence which, referring to his first line of 
 study in architecture and water-colours, will not even now disgrace 
 him as a Royal Academician, and a very distinguished Painter in 
 oils. 
 
 There are a few other Drawings in this room which ought not to 
 be passed over in silence ; especially a copy (half the size of the ori- 
 ginal) from a very fine picture by Loutherbourg in the collection of 
 Sir John Leicester, Bart. The scene represents that most dreadful 
 of all natural events, an Avalanche, or fall of snow amidst the moun- 
 tains of Switzerland, and so pathetically described by our Poet 
 Thomson : 
 
 " Oft rushing sudden from the loaded cliffs 
 Mountains of snow their gathering terrors roll ; 
 From steep to steep, loud thundering, down they come ; 
 A wintery waste, in dire commotion all. 
 And herds and flocks, and travellers and swains, 
 And sometimes whole brigades of marching troops, 
 Or hamlets sleeping m the dead of night. 
 Are deep beneath the smothering ruin whelm'd." 
 
 This drawing redounds to the credit of the worthy veteran, Mr. F. 
 Nicholson. 
 
PAINTINGS AND DRAWINGS. J 2 
 
 Adjoining this picture is a very spirited drawing, in bistre, of the 
 Scene between Macbeth and the Witches, on the Heath, by Zucca- 
 reUi, of whom Sir Richard Colt Hoare purchased it at Florence. 
 Also a very highly finished drawing of the Bay of Naples, with 
 Mount Vesuvius, by Moonlight, by Don Tito Lusieri. 
 
 On entering the next apartment, which contains a numerous collec- 
 tion of Drawings in bistre, the eye is arrested by those in the central 
 compartment over the chimney ; the most conspicuous of which is the 
 Angel driving Heliodorus from the Temple, after Raphael's fresco 
 painting in the Vatican at Rome. 
 
 I have always admired this figure as the finest and most impressive 
 that ever was suggested by the imagination, or executed by the hand 
 of man. It may be considered as the chef-d'oeuvre of the divine 
 Raphael. It is the most valuable drawing in this series ; and its out- 
 line was traced in my own presence, by Seidelman, at Rome. 
 
 Beneath this drawing hangs the Portrait of Raphael, copied, of 
 the same size, from the celebrated original in the Altoviti Palace at 
 Florence. 
 
 On each side of the Avenging Angel are two subjects, representing 
 Christ tied to the cross, and St. Sebastian pierced by an arrow 
 through the neck. These two drawings will elicit a few remarks, 
 and command a momentary attention. The figure of Christ is from 
 a fresco on the walls of a convent at Siena, by Jacopi Razzo, detto il 
 Sodoma, who died in the year 1534 ; and no feeling or religious 
 mind can consider this representation of our Saviour without strong 
 sensations of pity and admiration. Dignity of character and resigna- 
 tion are most happily expressed in this fine model ; and the Deus, 
 ecce Deus, proclaims through every feature the meek and omnipotent 
 Saviour of Mankind. 
 
 The same painter, Sodoma, has been very successful in his delinea- 
 tion of St. Sebastian, and has varied the expression which has gene- 
 rally been given to that Saint, by making him appear sensible of the 
 pain occasioned by the arrow with which his neck has been pierced. 
 I have frequently, and almost generally, observed a very different 
 expression given to this Saint whilst under the pressure of bodily 
 suff'ering : as, for example, in the drawing before mentioned, in the 
 Ante-room to the Library, after Guido Reni, the figure, though trans- 
 fixed through the body, expresses no sensation of pain, but lifts up 
 its eyes to heaven in pious resignation. 
 
 On the North side of this room are two Angels or Cupids reading 
 Musick : part of a composition by Raphael, in the Palazzo Pitti at 
 Florence. 
 
 Over the door is a study of the other Avenging Angel, from the 
 subject of Heliodorus, but very inferior, in every respect, to the 
 former. 
 
 On the side of it is a representation of the Three Fates, after a 
 painting (of the same size) in the Palazzo Pitti at Florence, by 
 Michael Angelo. 
 
 c 
 
U PAINTINGS AND DRAWINGS. 
 
 East side upper range.-^A subject from the Incendio del horgo 
 by Raphael. 
 
 Another from the Heliodorus of Raphael. 
 
 Two subjects from the Dispute of the Sacrament, by the same. 
 
 Over the door is the representation of Night, after a painting by 
 Guercino, in the Ludovici Palace at Rome. 
 
 In the next panel are the following : 
 
 Sable Night and gay Aurora, after two paintings by Annibale 
 Caracci, in the Palace of Capo di Monte at Naples. 
 
 The Angel delivering St. Peter from Prison, after Raphael. 
 
 Mount Parnassus, after Raphael. 
 
 Sappho, after the same. 
 
 Danae, from the celebrated painting by Titian, at Capo di Monte. 
 
 South side. — A Groupe of Heads, after a painting by Parmeggi- 
 ano, in the Giustiniani Palace at Rome. 
 
 A Charity, from the much-admired fresco by Andrea del Sarto, in 
 the Campagnia dello Scalzo at Florence. 
 
 In this same apartment are several very spirited historical designs 
 in bistre, by Rysbrach ; and some Landscapes by Philip Hackert and 
 others. 
 
 j. B. NICHOLS AND SON, PRINTERS, 25, PARLIAMENT STREEt. 
 
)