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CATALOGUE OF 
 PAINTINGS 
 
 IN THE COLLECTION OF 
 
 MR. AND MRS. CHARLES P. TAFT 
 
 AT CINCINNATI, OHIO 
 
 BY 
 
 MAURICE W. BROCKWELL 
 
 NEW YORK CITY 
 PRIVATELY PRINTED 
 1920 
 
LIST OF PLATES 
 
 The Residence of Mr. and Mrs. Charles P. Taft 
 
 IN Pike Street, Cincinnati 
 
 In Summer Frontispiece 
 
 The Same House, in Winter . . . facing page xiv 
 
PREFACE 
 
 HOW many people — not being conscientious reviewers 
 — have ever read a Catalogue of Paintings, whether 
 the collection was situated in their native place or 
 not? In any event, this catalogue raisonne seems to be the 
 first to be written on a Cincinnati collection and printed on 
 this scale. 
 
 More than a quarter of our pictures had already been con- 
 summated by December 28, 1788 — or 2246 years later than 
 the historic episode in the life of the patrician agriculturist 
 L. Quinctius Cincinnatus himself — when "the settlement of 
 Cincinnati was formed, with a population of ten families 
 besides twenty-four unmarried men." The men and women 
 who had assembled in such circumstances, or who came out 
 later, to people the Middle West must have possessed hope 
 and resolution to a remarkable degree and their children been 
 ardent and practical. Its people being imbued with such char- 
 acteristics, "the late humble village of Cincinnati" had by 
 October 18, 1838, founded its Academy of Fine Arts. A local 
 directory of that period recorded the population as 23,261 
 and ventured to prophesy that the city would come to be re- 
 garded as "one of the points where art is one day to rear 
 proud trophies and to speak with a new power to the sense of 
 the beautiful." The editor was quite aware that "it would 
 require great individual wealth to form an art collection." 
 We do not wonder that "the Queen City" had to wait more 
 than half a century longer for one of its citizens to deposit, 
 within its walls, a collection of oil paintings of the aesthetic 
 excellence and historical importance that will concern us in 
 these pages. 
 
PREFACE 
 
 Although we are in this book concerned exclusively with 
 paintings, we may recall that Mr. and Mrs. Taft began to 
 acquire ceramics, rock-crystals, and other objets d'art before 
 entering the picture field. They had, in fact, published Mr. 
 John Getz's "Catalogue of Chinese Porcelains" through The 
 De Vinne Press in 1904. However, the present writer will 
 not have the presumption to criticize — for they are outside his 
 range — the treasures of decorative applied or industrial art, 
 obviously of the first order throughout, that the house con- 
 tains. Yet, en passant, we cannot overlook the inestimable 
 quality, among the Limoges enamels, of the "Portrait of the 
 Due de Guise" by Leonard Limosin, which successively be- 
 longed to Baron Achille Seilliere and M. Maurice Kann, and 
 was acclaimed in France as having few superiors even in the 
 Louvre. Still more brief must be our reference to the fine 
 terra-cotta reliefs, covered with enamel, of the "Madonna and 
 Child" by Luca della Robbia. They are, in fact, among the 
 singularly few examples of Italian art-manifestation that the 
 collection contains, although so rich in examples of post- 
 Italian art. 
 
 Having beautified their house with such works of fine 
 craftsmanship — and they seem to be innumerable — Mr. and 
 Mrs. Taft avowedly sought to make their home replete, but 
 not overcrowded, with representative and, above all, well pre- 
 served pictures. These, they aimed, should exemplify the art 
 of Holland in the full range of its renaissance, and manifest 
 the late eighteenth and early nineteenth century school of Eng- 
 lish portraiture and landscape painting. (It is still ridicu- 
 lously dubbed the "Early English School.") Their selection, 
 they felt, could in logical continuation illustrate the full scope 
 of the Barbizon School in the second and third quarters of the 
 last century. Later, and in a sense by chance, there came to 
 be added a few Spanish pictures, and to these followed even 
 in quite recent days a few American canvases. The collection 
 in embryo dates back to about 1902, when Mr. and Mrs. Taft, 
 during a visit to New York, took the first step towards 
 
PREFACE 
 
 acquiring their present possessions. "Having stepped out late 
 one afternoon to buy old art on the Avenue," as it was once suc- 
 cinctly expressed to the present writer, they chose ten pictures 
 forthwith and bore them off in triumph, and with set purpose, 
 to their dignified and peaceful home in Cincinnati. They had, 
 indeed, exhausted the supply in the galleries they visited, so far 
 as it affected their objective. We must, however, admit that 
 a full measure of good luck attended their earliest transaction 
 in this field. Luck, of course, is a decisive factor in all human 
 existence. "If the nose of Cleopatra had been a little larger," 
 Pascal says, "the history of the whole world would have been 
 different." Fortunately, Mr. Scott and Mr. Fowles had 
 grasped the situation ah initio, and took steps accordingly. 
 
 Seventeen years ago the era of high prices was only just 
 beginning, and it was still possible for Americans who would 
 practise patience, and place trust in those engaged in the actual 
 chasse, to acquire admirable paintings by the Old Masters. 
 Also in those days the contents of the leading private collec- 
 tions of England — whence most of these paintings were to 
 issue — had not yet been enregimente sous iin numero by differ- 
 ent English critics or run to earth by the ubiquitous German. 
 The days of the "tuppenny box" of book-lovers are gone, and 
 the professionals "work over" the heaps pertinaciously. The 
 store of art-treasure in England is still vast, and the outbreak 
 of war has greatly retarded — if, indeed, it has not terminated — 
 the exportation from England of really covetable works. 
 Two citizens of Cincinnati are, therefore, to be congratulated 
 on beginning their operations in time. By 191 1 their undertak- 
 ing had been carried through, with catholicity of taste. Dur- 
 ing that summer the majority of these paintings were lent to 
 the Cincinnati Museum Association. "There has never been 
 a year in the history of the Association," as the thirty-first An- 
 nual Report states, "when the picture galleries have contained 
 so many important exhibits. First among them was the col- 
 lection of Mr. and Mrs. Charles P. Taft, lent to the Museum 
 for the period from May until October, occupying the largest 
 
 Cxi] 
 
PREFACE 
 
 of our galleries with seventy-one canvases of remarkable inter- 
 est. It rarely happens in this country that so important a pri- 
 vate collection is lent for public view for so long a period, and 
 the opportunity for studying at leisure the great masters was 
 enjoyed by many of the people of Cincinnati, who will long 
 remember this rare occasion." 
 
 While Cincinnati was so favoured, New York had no cause 
 for complaint. For on several occasions, notably in 1909 and 
 again in 19 13 and 19 14, a few of the canvases were generously 
 "exhibited, on loan, in New York" — as we shall repeatedly 
 point out in the following pages — at the galleries of Messrs. 
 Scott and Fowles. 
 
 During the Great War, concluded by a just peace, only two 
 purchases were made and they in peculiar circumstances. It is, 
 moreover, noteworthy that the canvases were American and 
 from the hand of a Cincinnati artist. Strangely enough, the 
 more important of them (No. 77) had been painted in Munich 
 many years ago, and sold there for twelve dollars. But Du- 
 veneck's unfinished sketch of "A Young Girl" was painted at 
 a later period, when he was somewhat influenced by French 
 methods, as Mr. Taft has pointed out. It was so recently ac- 
 quired that it is not catalogued in these pages. 
 
 It is not to be wondered at that one Englishman, whose dual 
 experience of pictures is not easy to surpass, should hold that 
 this ''is the most level and the best presented collection in the 
 country, a beautiful collection of things lived with, and not in 
 a gallery. An excellent and careful choice was made." 
 
 Subsequently another English traveller, Sir Frederick Smith, 
 now Lord Chancellor Birkenhead, published through the New 
 York Sun (April 20, 191 8) an account of his "American 
 Visit," in which, in Chapter V, he writes: "Mr. Taft invited 
 us to his house, where, as he modestly put it, he had 'a few 
 things he would like us to see.' On the way to his house he 
 showed us the much discussed Lincoln statue. We then went 
 to Mr. Taft's house, an old-fashioned, low, charming house, 
 which had evidently once been situated in the suburbs of the 
 
PREFACE 
 
 town but was now dwarfed on each side by immense factories : 
 the kind of house, and I should think Cincinnati the kind of 
 town (physically, of course, not morally), which Winston 
 Churchill wrote of in 'The Inside of the Cup.' In front of 
 the house the vigilance of our host had kept a fine open space. 
 We were very little prepared for the treasures of art which it 
 contained. I do not think that I have ever seen in one private 
 house a collection of masterpieces with which I was so much 
 delighted. I would gladly have spent hours amid these en- 
 chanting surroundings." 
 
 Access to these treasures has always been accorded without 
 stint to those genuinely interested in art history, and the house 
 has frequently been thrown open to members attending any 
 convention in this city. In the writer's own experience the 
 number of persons who pass through its portals, on certain 
 days at least, and manage in a brief hour to give the house 
 and its contents un coup d'ceil, is quite remarkable. To all it 
 is apparent that there are no Olympian poses in this frame 
 house — only kindliness and good humour. 
 
 Several pictures here meet again after a lapse of time. 
 There being no Italian paintings, there are no separate parts 
 from altarpieces dismembered in Europe. Also, none is 
 painted in tempera. But we have a finely chosen selection of 
 superb Turner water-colours. The rest are in oil. There are 
 no "primitives." We shall find a remarkably large proportion 
 of portraits, there being twenty-six in all. But, to our surprise, 
 not one calls for a knowledge of heraldry. We have studied 
 these treasures from almost every angle, except the commercial. 
 It is peculiar that so many collectors pretend to "have no use 
 for" the kind of data we have assembled: so frequently it is 
 within their reach, if outside their ken. The inevitable result is 
 that traditions regarding the pictures die out, especially in this 
 new soil, and a mass of heterogeneous information passes into 
 oblivion. Littera scripta manet. 
 
 It is to be hoped that this catalogue will prove consonant with 
 such an environment. It is essentially meant for the pleasure. 
 
PREFACE 
 
 and the use, of Mr. and Mrs. Taft's immediate circle. It 
 is, therefore, of a format that can be easily handled, in contra- 
 distinction to the bulky tomes that some collectors affection. 
 For those and other reasons, it contains no reproductions. 
 But we can judge of the external appearance of the house dur- 
 ing both Summer {Frontispiece ) and Winter {facing this page). 
 Who would think from these plates that the house is situated 
 almost in the centre of the city, and but a short distance from 
 the right bank of the Ohio River in its gradual bend? 
 
 It is fitting that we place on record the visit, on October 22, 
 1919, of their Majesties the King and Queen of the Belgians 
 to the home of Mr. and Mrs. Taft. For on that day Cincin- 
 nati devoted itself whole-heartedly to the solemnity of so rare 
 an occasion. 
 
 We have endeavoured to lay stress on the external facts 
 regarding the pictures, and each has its own romantic history. 
 We touch on, rather than deal with, historical events and their 
 immediate consequences. If in places we have been discursive, 
 it has been to aid those who are not familiar with, or have not 
 ready access to, the immense literature on the subject in hand. 
 The book, as originally projected, has been extended consid- 
 erably as the work advanced, but is, we hope, not thereby un- 
 balanced. In places it now has an encyclopaedic significance in 
 some special relation. After all, the detail is referred to a 
 great end — the pleasure of those who may want to know more 
 about these pictures. Accuracy has been aimed at, but so 
 vast are the issues involved that it may be unattainable. One 
 may console oneself with the reflection: nemo mortalium om- 
 nibus horis sapit. 
 
 M. W. B. 
 
 New York, 
 August, 19 1 9. 
 
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INTRODUCTION 
 
 (a^ The Portraits and Figure Pieces 
 
 LTHOUGH the strength of the collection lies in its 
 /-A Dutch, English and French pictures, it also includes, as 
 we shall see, a few Spanish and American. But the 
 earliest work of all belongs, in its solitary grandeur, to the 
 Flemish School. This "Portrait of Paolina Adorno, Marchesa 
 di Brignole Sale" (No. 14), was painted by Van Dyck about 
 1625 ; and for half a century after that date the Middle West 
 was terra incognita to the whites. By its inherently decorative 
 qualities and Old-World charm, by the scale upon which it is 
 fashioned and the position in which it hangs in the Green 
 Room, it dominates its environment in a house that is essen- 
 tially one that is lived in. Was there ever so great a contrast 
 between the styles of the late Flemish and the nineteenth- 
 century French schools as is here presented by the "Paolina" 
 on the end wall and Millet's "La Maternite" (No. 12) by the 
 window? The one exemplifies the courtly grandeur and full- 
 chorded bombast of Spanish civilization in a colonial setting 
 in Italy; the other portrays the infinite tenderness of a peasant 
 woman, dressed in the coarse brown homespun of her kind, 
 and looking down upon the small bundle of humanity in her 
 arms. 
 
 Passing to the Dutchmen of the seventeenth century, we 
 encounter the "Portrait of Michielsz de Wael" (No. 17), by 
 Frans Hals. His flushed cheeks and rosy nose tell a tale that 
 is more easy to read as the years advance, when he comes to 
 
INTRODUCTION 
 
 be included among the same artist's "Officers of the St. 
 George's Shooting Company" of 1639. ^^t how dignified is 
 his bearing here and how brave-looking his figure, while his 
 lemon-coloured gloves give a note of distinction to this bon 
 viveur of Haarlem. More universal in their appeal, and more 
 subtle in their colour scheme, are Hals's companion portraits 
 of "The Young Man" (No. 27) and "The Young Woman of 
 Haarlem" (No. 28). They were painted at the very finest 
 moment of his career, before his art showed any incipient sign 
 of gradually diminishing power. It is the unanimous opinion 
 of those critics who have seen them — they were never shown 
 in Europe — that they are without a rival in any national 
 museum or private collection. 
 
 Why is it, one may ask, that, of all the great painters, Rem- 
 brandt is the one who appeals most strongly and insistently to 
 the American collector? The reason may be sought in the 
 fact that his pictures are numerous; his art touches many 
 people more closely than that of any one of the greatest of 
 the Old Masters — some eight or ten of them deserve to be 
 ranked in the forefront — and we know so much about his life 
 that we can realize how he met, with equanimity, the smiles 
 and frowns of fickle Fortune. Moreover, he was not satisfied 
 unless he clothed in an enduring form not only his own life 
 and his own feelings, but the world that revolved about him. 
 Strangely enough, his "Young Man rising from his Chair" 
 (No. 13), of 1633, used to pass in 1865, in the hotel of the 
 Comte de Pourtales-Gorgier, in Paris, as a "Bourguemestre," 
 and had as an immediate companion Hals's "Laughing Cav- 
 alier" of 1624, which is now one of the ornaments of the 
 Wallace Collection in London. The latter was then described 
 as "peut-etre un militaire." 
 
 Technically, even finer than his "Young Man rising" (No. 
 13) is Rembrandt's broadly treated and pathetic "Elderly 
 Woman" (No. 15), painted some nine years later, when he 
 was grief-stricken by the death of his beloved wife, Saskia. 
 The date of our canvas has never until now been correctly 
 
INTRODUCTION 
 
 rendered as 1642, a year which witnessed the execution of his 
 famous "Night Watch" at Amsterdam. 
 
 The accomplished "small master" Terborch portrays, with 
 searching fidelity, the domestic life of middle-class Hollanders, 
 as we see in his "Sleeping Soldier" (No. 11). But no less 
 closely observed is Steen's "The Sick Lady" (No. 10), or 
 rather "The Love-Sick Lady." She, doubtless, yearns for the 
 attentions of some such gay Jonkheer as Michielsz de Wael, 
 whose portrait we have already touched upon. How mundane 
 is the outlook on life of the protagonist in Adriaen van Os- 
 tade's "Interior of a Carpenter's Shop" (No. 18), even 
 though the eye may feast on the multitudinous detail afforded 
 by the dress of the carpenter, the tub, jug, chair, dog, baskets 
 and boards, the window and the wall, the rafters — and the 
 smoked hams! What an antithesis there is between Van 
 Ostade's "Old Toper" (No. 53) — whose counterpart may 
 perhaps be met with on the banks of the Ohio — and the pala- 
 tial existence, the courtly costume, the airs and graces of the 
 cherished "Paolina" (No. 14), in her portrait d'apparat! It 
 would be idle to claim for Bol's "The Artist" (No. 9), repre- 
 sentative of that painter's best period as it undoubtedly is, 
 any of the highly spiritualized emotion that we find in the 
 works of his master, Rembrandt. And to the latter, as we 
 may readily imagine, this young clean-shaven man's portrait 
 was assigned a century ago. 
 
 When we remember the intensity of expression seen in the 
 great Amsterdam master's works, the consummate technical 
 equipment of his contemporary "small masters," and the sig- 
 nificance of their men and women in their dramatic moments, 
 we are apt to become ultra-critical and find an initial diflliculty 
 in esteeming, at their full worth, some of the pictures by the 
 men in the modern School of The Hague. It is perhaps the 
 Old-World setting, the glamour of a bygone age, that marks 
 the hiatus. Times and customs may change, but human nature 
 remains. By 1870 Josef Israels paints peasants with much 
 
INTRODUCTION 
 
 sympathy for their innermost thoughts. Of this we may judge 
 from his small 'Tick-a-back" (No. 65), and, with much more 
 conviction, from his "Sewing-School at Katwijk" (No. 68). 
 The latter work was formerly in the collection of J. Staats 
 Forbes. So numerous were his modern Dutch and French 
 pictures that after his death they had to be stored in the pri- 
 vate offices of a relative, who was the General Manager of 
 the London and Brighton Railway and who had to place 
 them literally in heaps and rows in the London terminal! 
 There is, however, little justification for calling Israels "the 
 Dutch Millet." For Israels was brought up and passed his 
 whole life in comfortable surroundings: Millet felt the pinch 
 of poverty and had numerous disappointments almost up to 
 the very end. The "Sewing-School" is so well known that no 
 wonder Mr. Taft coveted it from the moment it was exhibited 
 at the Guildhall in 1903; and within a few years he had the 
 good fortune to claim it as his own. 
 
 There is an every-day simplicity about the "Boy with a 
 Hoop" (No. 64), which stands to the credit of Matthew 
 Maris. His manner of life, unlike his painting, was mysteri- 
 ous, and his seclusion in advancing years gave birth to many ru- 
 mours of abject poverty. Such stories, nevertheless, were sheer 
 invention and the circulation of them had, in great degree, been 
 encouraged by the painter himself for his own self-protection 
 and greater privacy. With Jacob Maris we deal below. 
 
 From the art of Holland to that of England is but a short 
 step : only a century intervenes in the pictures that are ranked 
 highest. The art of England prior to the Reformation was 
 world-famous, as is attested by illuminated manuscripts and 
 other surviving forms of artistic expression. But its widest 
 appeal to-day is made by its dignified portraits — above all, of 
 beautiful ladies — of the late eighteenth century. Considera- 
 tions of style and biography, in the absence of signatures and 
 dates from the canvases, enable us to date exactly the English 
 portraits in this collection. Thus to 1776 we can assign the 
 
 1: XVIII] 
 
INTRODUCTION 
 
 *'Mrs. Weyland and her Eldest Son" (No. 34) by Reynolds, 
 whose individual search for human happiness lay in not being 
 annoyed by trifles and in his ability to withdraw his mind, like 
 a true philosopher, from disagreeable matters and focus it on 
 the subject in hand. Such qualities make for the spiritual con- 
 tent, dignity and balance that characterize the portraits of the 
 Royal Academy's first President and all great limners — to use 
 a term of the period. The portrait of the lady before us was 
 apparently begun in 1774, and at the end of that year the child 
 was born, the consequence being that the canvas was not com- 
 pleted until two years later. It was one of thirteen sent in by 
 Reynolds to the annual exhibition in 1776. 
 
 Later, we may assume, came that of the unfortunate but 
 not impeccable "Mary Robinson" (No. 35), — we speak of 
 the lady herself, and not of her portrait, — who, perhaps to 
 our surprise, was born in America. It is fitting, therefore, 
 that her features should have been committed to canvas in 
 England for our contemplation in this country. Another re- 
 markable thing about the picture before us is that it hung for 
 many years previous to 1906 in the same house at Rochetts, 
 Brentwood, Essex, and in close company with Jan Steen's "Sick 
 Lady" (No. 10). But there was this difference in the life of 
 the two ladies just mentioned : the maitresse en litre of George, 
 Prince of Wales, enjoyed, if only for a brief period, the 
 worldly pleasures that she fancied essential to her existence, 
 while the one in Steen's creation, for all we know, went down 
 to the grave unblemished in her honour, even though, in her 
 case, "of no avail was medicine." 
 
 Brilliant as a technician, but not, we imagine, as a philoso- 
 pher, was Reynolds's rival, Gainsborough. His portrait of 
 "Maria, Duchess of Gloucester" (No. 21), in high powdered 
 tete and all the paraphernalia of court attire, was exhibited in 
 1779, and was to remain in one of the royal collections until 
 the sale of the Duke of Cambridge's pictures in 1904. Con- 
 summate is the mastery with which are rendered the externals 
 as well as "the form and pressure of the mind" of this great 
 
INTRODUCTION 
 
 lady, who, in the opinion of her near relative, Horace Walpole, 
 was "the first match in England," and who "had not a fault 
 in her face and person." That the canvas is to-day of kit-cat 
 measurement is probably a chance, and we discuss elsewhere 
 in what circumstances this "whole-length" came to represent 
 "the handsomest woman in England" resting her left arm 
 upon a pedestal. 
 
 Much later — indeed, almost at the end of his active career 
 — came Gainsborough's "Tomkinson Boys" (No. i), with the 
 boy William seated on a bank and his cousin Edward standing 
 by his side. Until 1889 this delightful double portrait had 
 not been heard of since 1784, when it had been withdrawn 
 from the Academy together with seven other portraits. How 
 refreshing it is to look into the happy faces of the Tomkinson 
 boys, after closely analyzing the vicious features of Maria 
 Luisa (No. 6), who lurks in a corner of the same room! 
 
 Romney's "Portrait of Mrs. Johnson" (No. 24), in a 
 white dress and large blue hat, was, we take it, painted in 
 1786, the year of her marriage and the finest moment of 
 Romney's art. From the lakes of Cumberland and West- 
 moreland, the original home of "the man in Cavendish 
 Square," we quite naturally pass to the Scottish painter, Rae- 
 burn. We are enchanted by the simplicity and lighting of two 
 of the family portraits of the Erasers. "Edward Satchwell 
 Eraser" (No. 59) is here painted in 1803, at the age 
 of seventeen. The "Portrait of Miss Jane Fraser-Tytler" 
 (No. 56), in low-cut white dress, well hangs as the companion 
 to the boy, who is in a green and blue tartan coat and white 
 waistcoat. But they are no longer found in the company of 
 their relations, as they were until 1897. 
 
 There are three examples of Hoppner. That of "Mrs. 
 Gwyn" (No. 25), so well known as "the Jessamy Bride," 
 remained in the possession of the family until 1889, after 
 which it belonged to Henry Marquand. Like "Little Comedy" 
 and their brother, known from Goldsmith's familiar jingle as 
 "the Captain in lace," she played a prominent part in the 
 
INTRODUCTION 
 
 private life of Reynolds. Mrs. Gwyn lived to be eighty-seven 
 years of age. But a shorter and a less eventful career was 
 that of "Miss Agnes Coussmaker" (No. 22), whom Hoppner 
 painted in 1788, or six years earlier than "Mrs. Parkyns, 
 afterwards Lady Rancliffe" (No. 36). 
 
 Although there are many exceptions to the rule, the average 
 female portrait in oils by Lawrence has either an underlying 
 Greuze-like quality of meretriciousness or a cloying superfi- 
 ciality. It is, therefore, with some satisfaction that we here 
 find Lawrence represented only by a delicate pencil drawing of 
 "The Ladies Maryborough" (No. 58). Lawrence launched, 
 though quite unconsciously, a movement that was to have evil 
 consequences in the domain of portrait painting. Indeed, if we 
 momentarily pass over the landscapes of Turner and Con- 
 stable, which we shall treat of in due course, we come down 
 rather precipitately to the year 1905 and the somewhat facti- 
 tious title, "A World of Their Own" (No. 76), given by 
 Alma-Tadema. We can't imagine Rembrandt, Hals, Van 
 Dyck or Gainsborough placing a chronogram or inventory 
 mark on one of their works, as Alma-Tadema invariably did. 
 
 A note of tragedy is sounded by the "Portrait of Charles 
 Frederick Fowles" (No. 81 ), by the well known contemporary 
 English painter, Harrington Mann; for his death in the prime 
 of life on the high seas was such as not only to arouse the 
 sympathy of Mr. and Mrs. Taft, but to lead them, out of 
 regard for his valuable assistance in forming the collection, to 
 have a posthumous, memorial portrait of him painted to 
 hang among their other pictures. Beyond a doubt, the whole 
 collection is powdered by the impress of his personality. 
 
 In what must be a rapid survey of the French School we 
 may deal in this place with the figure subjects, as distinct from 
 landscapes; they come from the hands of Decamps, Isabey, 
 Millet, Meissonier and Monticelli. Already we have enthu- 
 siastically discussed Millet's masterpiece (No. 12) in the 
 Green Room. We have in it — a picture entirely unknown in 
 
INTRODUCTION 
 
 Europe — gazed upon a dark wall with a crucifix dimly outlined 
 upon it, and seen the idea of the cross repeated in the attitude 
 of the infant, whose arms are outstretched to make a cross 
 with its body. How different is that canvas, in which we may 
 judge of the sheer humanity evinced by this aging painter of 
 the poetry of toil, from his vigorous ^'Mother and Child" 
 (No. 52) in the Drawing-room! Decamps' "Le Frondeur" 
 (No. 29), while in the Secretan Collection, hung within strik- 
 ing distance of the wonderful "Landscape" (No. 20) by Hob- 
 bema, which again to-day is separated from it by a few feet 
 only. "The auctioneer may knock down these magnificent 
 works," it was justly held in 1889, "but he cannot dispel the 
 remembrance of this radiant ensemble of art formed by M. 
 Secretan." Isabey is perhaps best known for his marine sub- 
 jects and historical genre, but is here represented by a scene 
 in a French church entitled "The Sacrament" (No. 31). The 
 figures in Meissonier's "Bons Amis" (No. 75) show compo- 
 sure in a rather prosaic environment, but there is nothing sub- 
 dued or sedate about the "Fete Champetre" (No. 5) by Mon- 
 ticelli, who, temperamental as he was, delighted to "sport with 
 Amaryllis in the shade." 
 
 If we wend our way to Spain, not in the days of its almost 
 mediaeval magnificence and stern etiquette, but during the ill- 
 fated reign of "Maria Luisa" (No. 6), we find Goya, with 
 the sobriety and the self-application of the Court Painter, 
 making in 1779 what is pretty certainly the original study, 
 fully finished, for the figure in the large "Family Group of 
 Carlos IV." Extraordinary, as we shall see, is the contrast 
 in character, pose, jewelry, and the texture of mere habili- 
 ments between this latter-day Queen of Spain and the dignified 
 "Maria Walpole" (No. 21), who in England disputed the 
 prize of beauty with the lovely, if not very intellectual, Misses 
 Gunning. What, we wonder, would have been the considered 
 opinion of Maria, Duchess of Gloucester, Miss Coussmaker, 
 Mrs. Johnson, Mrs. Gwyn, and the Young Woman of Haarlem 
 
INTRODUCTION 
 
 regarding the inordinately proud, overbearing and licentious 
 Maria Luisa? A queen, forsooth, in name alone. We feel 
 sure that the five ladies would have made the Italian-Span- 
 ish Regent conscious of her own inferiority. How ill at 
 ease also would the pampered "Costillares" (No. 23) have 
 felt if actually placed in life, as here in art, in the presence of 
 such stately dames ! Although Goya often scamped his work, 
 there is no such shortcoming in his portrait of "The Toreador." 
 In this strange personality the painter would be deeply inter- 
 ested, seeing that he had himself joined a ciiadrilla of bull- 
 fighters and in their company travelled from town to town to 
 earn his passage money to Italy. 
 
 The virility, restlessness, and occasional buffoonery of Goya 
 give the go-by to Fortuny's inert and self-satisfied "Arab 
 Guard" (No. 61). From him we pass to his brother-in-law, 
 Raimundo de Madrazo, who was probably at the highest 
 point of his professional activity when, in 1902, he gave us 
 the companion portraits of "Mr. Taft" (No. 74) and "Mrs. 
 Taft" (No. 73). He, moreover, has preserved to us, but 
 working withal under difficulties, something of the facial ap- 
 pearance of "Mr. Sinton" (No. 42) and "Mrs. Sinton" (No. 
 43). If in the "Courtyard in Toledo" (No. 80) by Ricardo, 
 a brother of Raimundo de Madrazo, we breathe something of 
 the atmosphere we may still inhale in one of the oldest cities 
 of western Europe, dowered as it is with successive civiliza- 
 tions, we find in Sorolla an essentially modern standpoint. As 
 "the painter of sunlight" he has set down on canvas, evidently 
 with much self-satisfaction and resulting success, the features 
 as well as the character of "Former President Taft" (No. 33 ) . 
 
 Mr. and Mrs. Taft may be congratulated on having had 
 the foresight to include both modern and ancient examples of 
 the painter's art, and that not merely from the hand of for- 
 eigners, but in a limited degree by American, and even local, 
 artists. We can thus range from the Twenty-seventh Presi- 
 dent of the United States to "George Washington" (No. 83). 
 
 [ XXIII] 
 
INTRODUCTION 
 
 It is both fortunate and fitting that these two different types of 
 mankind should meet our gaze within these walls. Again, it 
 is matter for satisfaction that he who was "first in the hearts 
 of his countrymen" should here be limned by Charles Willson 
 Peale, whose portraits are always real and whose likenesses 
 are always true. Yet, paradoxical as it may sound, his best 
 known pictures are his poorest. Born in 1741 and going in 
 December, 1767 — the eve of the foundation of the Royal 
 Academy — to London to work in the studio of West, Peale 
 would meet several of the great English painters. He may 
 even have seen some of Reynolds's sitters trip up his stair- 
 case in Leicester Fields, wearing their furbelows and fancy 
 farthingales. Peale, the exact contemporary of Goya, on one 
 occasion painted Washington "in a room so small and poorly 
 lighted that, standing by the window, he was forced to ask the 
 distinguished model to sit on the bed." But our portrait is no 
 "bedroom" picture. Nor does it show the broad blue ribbon 
 which Washington prescribed for himself in July, 1775, to 
 designate the Commander-in-chief. 
 
 The latest, if not the last, artist to have a work included in 
 the house in Pike Street was born across the Ohio from Cin- 
 cinnati. Seeing that Frank Duveneck was so long instructor 
 to the Art Academy of Cincinnati, and that Mr. Taft is the 
 President of the adjoining Museum, we may appositely recall 
 that Mr. David Sinton (No. 42) gave a sum of money 
 towards the erection of a separate building for the Art Acad- 
 emy. It is pleasant to reflect that Duveneck's "Cobbler's Ap- 
 prentice" (No. 77 ) was purchased by Mr. and Mrs. Taft a few 
 months before the artist's death. Subsequently it gave them 
 pleasure to acquire his sketch of a "Young Girl" also. 
 
 {b) The Landscapes 
 
 The modern tendency is to pay excessive attention to the sub- 
 ject of a picture, at the expense of its aesthetic treatment. In 
 the brief summary that we can give to the outstanding features 
 
 [xxiv:! 
 
 ■4 
 
INTRODUCTION 
 
 of this collection, it has seemed desirable to the present writer 
 to review (a) the Portraits and Figure Subjects together, but 
 to keep (b) the Landscapes apart. These we will link up in 
 their separate, but dependent, schools and groups. The word 
 "school," for our purpose, denotes all the painters of a given 
 country, without regard to any subdivision of style or indi- 
 vidual characteristics. We shall not forget that the illusive 
 atmospheric effect in landscape is wholly due to the law of 
 simultaneous contrast of colour. Moreover, the most search- 
 ing and most perfect pair of eyes in the world can see but a 
 fraction of the colours that we know to exist in nature. Per- 
 haps for some such reason landscape painting did not make its 
 appearance until very late in Christian art, and is the youngest 
 of all the arts. To this day water-colour painting in England 
 is unsurpassed. The true landscape painter has always had 
 recourse to the Old Masters for study, but not for imitation. 
 For mere copying is unintelligent, and the sign of the small- 
 minded person. The geographical and geological conditions 
 of each country find a reflex in its art. 
 
 The "Landscape with Figures" (No. 40) by A. van der 
 Neer serves to recall the fact that Holland is largely a country 
 redeemed from its ever-threatening enemy, the sea ; so that the 
 dark waters and low banks of his canal scenes indicate, to the 
 eye of him who would see, the soft, slimy soil of the Nether- 
 lands, washed gradually away towards the sea. To Jacob van 
 Ruisdael we turn for a penetrating interpretation of landscape 
 and a scrupulous consultation of nature. In his "View on a 
 High Road" (No. 78) we see him inspired by the melancholy 
 aspects of scenery and the ruins that he found ready to his 
 hand, perhaps near Brederode or along the Overveen dunes. 
 
 If the active forces of nature govern all forms and colour- 
 harmonies, we shall naturally look to Hobbema's "Landscape 
 with Cattle and Figures" (No. 20), one of the main treasures 
 of this collection, to bear out our contention. In it the Cus- 
 toms Inspector and Painter, in a day when landscape painting 
 
INTRODUCTION 
 
 was ill remunerated, marked out the most trifling details by 
 his incisive, if nervous, touch. He yet managed to impart 
 quality to the diversity of form and the delicate shades which 
 the distance lends to the gradually receding planes. Truly he 
 has given us, without hesitation and without fatigue, "un mag- 
 nifique paysage," as it was justly held to be while in the Secre- 
 tan Collection. This canvas has had a strange amount of 
 travelling, having been first in Holland, later in Italy, subse- 
 quently to France, and to England before finding its home on 
 the banks of the Ohio. While in the possession of M. Secre- 
 tan, it had as a near neighbour Decamps' "The Slinger" 
 (No. 29). To some it may seem a subject for comment that, 
 in so representative an assembly of modern landscapes, they do 
 not find any example of the art of "Old" Crome. For they 
 may recall his memorable utterance: "Hobbema, my dear 
 Hobbema, how I have loved you!" Again, we may recall the 
 absence of any work by Richard Wilson, who, according to 
 Constable, was "one of those appointed to show the world the 
 hidden stores and beauties of nature." 
 
 Although we cannot in these rooms scan one of those easel- 
 paintings of pastoral life that have led some to describe Gains- 
 borough — somewhat extravagantly, we must admit — as "the 
 father of landscape painting," he had from his earliest days 
 experimented with his materials in the open air in his efforts 
 to convey to canvas the mood exerted in him by nature. In- 
 deed, on one of his earliest pictorial excursions a lady, soon to 
 be his wife, entered unexpectedly upon the scene and was at 
 once admitted into the landscape and the feelings of the artist. 
 Affected at first by the methods of Wynants and other Dutch 
 exemplars, he gradually got away from the formative influ- 
 ences of Holland, until, near the end, he sweeps his brush 
 across the canvas with a minimum of effort. With a hand as 
 light as the sweep of a cloud and as swift as the dart of a sun- 
 beam, he practised the maniere hachee, of which we may judge 
 in the setting of the "Tomkinson Boys" (No. i). The back- 
 ground is mellow, elevating and sparkling; it acts not merely 
 
 [xxvi;] 
 
INTRODUCTION 
 
 as a foil to the figures of the boys, but as an indication of their 
 own budding existence and future freedom. Fixity of tenure and 
 the preservation of tradition, which pervade the nobleman's 
 enclosed park in England, here dominate the calm, the reserve, 
 the dignity of these two well-bred boys. All is atune. 
 
 How different from the standpoint of Gainsborough is that 
 of Turner, when we contemplate his oil painting of "The 
 Trout Stream" (No. 26), of 1807 ! The lad who had begun 
 as an architectural, and even topographical, draughtsman had 
 now been practising in oil less than a decade. How much 
 more intimate is the mood of his drawing of "Chamonix" 
 (No. 89), of the same year! Yet before achieving such suc- 
 cess, he had tested the tinted drawings of his predecessors and 
 had travelled considerably. It was only five years since he had 
 gone on his first foreign tour and been elected a Royal Acade- 
 mician. Ever studying the works of his devanciers in all 
 periods and in all mediums, and become Professor of Perspec- 
 tive to the Academy, he delighted to record the fact, in 1809, 
 on his water-colour of "The Lake of Brienz" (No. 87). Ever 
 communing with nature and working prodigiously, he shows us 
 something of this added power in his "Folkestone" of 1823. 
 With his dream visions enhanced by foreign travel, he two 
 years later reveals for us "Old London Bridge" (No. 7), not 
 noting it down as it was in fact, but as it uncovered itself to 
 his poetic eye. It carries the workaday figures of a humdrum 
 existence, but they are all resplendent in their prismatic attire. 
 The vast proportion of those of all nations who have paced 
 across London Bridge have not always imagined it, with 
 Turner, a place of kaleidoscopic, indeterminate uneventful- 
 ness, but the prosaic scene of bustle, business and dispeace. 
 Now we see him affect the vignette in his small but precious 
 water-colour of "The Lake of Nemi" (No. 93 ) , of which, with 
 its classical setting and deep blue waters, he delighted, like 
 Corot and others, to record a fleeting memory. Another vign- 
 ette, a sheer stenographic transcript of a diversified scene — as 
 is always the case on a frontier — is his drawing of "Johnnie 
 
 C XXVII 3 
 
INTRODUCTION 
 
 Armstrong's Tower" (No. 86), of 1 830-1 832; it was long 
 prized by Munro, of Novar. The work also of a tourist, but 
 of one imbued with deep poetic insight, as distinct from the 
 ordinary visibility of the average traveller, is his "Jedburgh 
 Abbey" (No. 90), that we may allocate to 1831. Those who 
 have visited the actual site may, confronted with this water- 
 colour, find a difficulty in recognizing the scene. But the 
 Muse leads our painter onward and upward, and where could 
 he find, whether designedly or by chance, a subject more per- 
 fectly suited to his pictorial purposes than the fantastic "St. 
 Michael's Mount" (No. 94) , of 1 830-1 835 ? It was in fact one 
 of Munro's treasures at Novar, where also once hung Reynolds's 
 "Mary Robinson" (No. 35). Remarkable, is it not, that 
 associates in former collections seem to hang together and, 
 banishing all limitations of time and space, reassemble them- 
 selves within these hospitable walls ! 
 
 But what are we to say of the "Rape of Europa" of 1836? 
 The fate of the lady was abhorrent and the legend sufficiently 
 unmanageable for your average professional, who, in his 
 caution, would pass the incident by untouched. Not so Turner. 
 He lavishes the whole shimmer of his aquamarine and rose- 
 tinted firmament on the unfolding of the myth, to evolve there- 
 from one of his finest creations. This is high praise, indeed, 
 even from one who may have spent years of reverent study 
 and abasement before his countless works in the English na- 
 tional collections. Is it by chance that the colour of the blue 
 hawthorn jar, placed on a table beneath the picture, seems to 
 soar upward and pass through the commingling red and salmon 
 tones of Europa's embodiment into the azure blue beyond? 
 As we shall see for ourselves, the colour scheme in the "Eu- 
 ropa" is the echo of that in the drawing of "Thun" (No. 88). 
 
 Turner had by now studied "everybody" from Titian to 
 Poussin, from Van Goyen to Richard Wilson. From strength 
 to strength he proceeds, even though his physical self was 
 beginning to show signs of the frailty of human existence and 
 the end of human toil. It is now that we may look upon his 
 
 C XXVIII ;] 
 
INTRODUCTION 
 
 ^'Thun." The brevity of the title of this poem of 1842 is 
 significant. How inspiring this scene was to him, with its 
 clear-cut terrace dotted with gay costumes, its magnificent 
 distance across the resounding plain, its vanishing mists and 
 mountain range, its all-embracing, eternal clouds ! This great 
 beyond, with its unapproachable purity and transcendent lam- 
 bency, as if by some divine ordinance, entrances us. And was 
 not this the last work acquired by Mr. and Mrs. Taft from Mr. 
 Fowles, whose end was set in tragedy and gloom? We may 
 well recall that Turner was affected by the death of Wilkie as 
 some have been by that of Mr. Fowles. They were both con- 
 sumed by the sea, and Turner's "Peace: Burial of Wilkie," as 
 well as this drawing of '^Thun," belong to the same year — 
 1842. In each of these works there is a cortege of harmonies 
 in light, line and colour — that strange magic of art. Such were 
 Turner's mediums for expressing his "Fallacies of Hope." 
 
 Our comments on the three oils and nine water-colours by 
 Turner are made in the strict chronological order of their 
 appearance. But there remains one more, "The Great Whale" 
 (No. 95). It is strange that we here have a bustling scene of 
 spectators on the shore, with rocks ahead in the distance and 
 a city dimly seen in the bay beyond. Still this concerted 
 energy, this human struggle is of no avail: the sea will swallow 
 up its victim. And this is the last in the "hang" of our 
 pictures. 
 
 We find ourselves once more on terra firma, when we com- 
 ment on the very different point of view of Constable. Con- 
 stable's gift to England, to France and to the United States 
 was a means to transmit his true, unalloyed love of the 
 dewy freshness of nature. Herein he defied the studio rulings 
 of "the brown school." Of course, his persistent attempts to 
 convert his contemporaries to the wisdom of painting the fleet- 
 ing effects of cloud and sunshine, and so opposing the pseudo- 
 aesthetics of his elders, penalized his efforts for many years. 
 His "Hay W^ain" (now by chance, and not as the result of 
 
 [XXIX] 
 
INTRODUCTION 
 
 concerted national aim, in the English National Gallery) is 
 signed and dated 1821. To exactly that moment belongs our 
 "Dedham Mill" (No. 41). It was by the exhibition of the 
 "Hay Wain" in Paris, in 1824, that the new age of landscape 
 painting was ushered in. For that canvas is to-day universally 
 accepted as the point de depart of the Barbizon School. The 
 sun in our small canvas, together with the mill, the trees and 
 the sky, is reflected in the clear water of our pellucid stream. 
 We have here the real atmosphere of agricultural life in rural 
 England a century ago. Yes, and you may go to-day to East 
 Bergholt and Dedham, and you may recognize the individual 
 aspects of the scenery, the mill, the church tower, the lock, the 
 corn-field — all published by Constable to the world — but you 
 will find in the end that he was no advocate of topographical 
 exactitude in painting. He has in his canvases placed his data 
 in any order he fancied, or he has omitted them altogether. 
 Such is your natural painter. There is another strange reunion 
 here, for the Constable (No. 41 ) and the "Michielsz de Wael" 
 (No. 17) were once in the Sanderson Collection. 
 
 The history of French landscape painting owes its origin, 
 doubtless, to such giants as Pol de Limborch, the Van Eycks 
 and Fouquet. We have not the space to follow it down 
 through Italian influences, the complete harmonies of Poussin, 
 or the effectful falsehoods of Claude. In our self-denial, and 
 without seeking "to gild the pale stream with heavenly al- 
 chemy," we may pass over the earlier centuries. For our 
 purposes Decamps was a nineteenth-century pioneer. We have 
 already noted his success — usually met with in simple subjects 
 and small canvases — in "The Slinger" (No. 29). Corot's 
 development was gradual, but he found something to learn 
 wherever he went, and he strayed far afield. In his "Soir" 
 (No. 16) we have a romantic sylvan scene wherein nymphs 
 dance before decorating a terminal figure of Pan. Already 
 he had, in 1 855-1 860, mastered the problems of technique and 
 learned to envelop his figures with light. Perhaps ten years 
 
 [xxx] 
 
INTRODUCTION 
 
 later came his "At Ville d'Avray" (No. 37) and "The Brook" 
 (No. 39) ; they here hang as a pair, as they once did in the 
 A. de St. Albin Collection. Between 1865 and 1870 he must 
 have committed to canvas his exquisite "Souvenir de Riva" 
 (No. 38), a scene in the Italian Tyrol which is remarkable for 
 its fine treatment of sky and the subtle rendering of evening 
 light. To the same moment must belong the "Environs de 
 Paris" (No. 44) ; in it we look down from the misty heights 
 of Ville d'Avray — his home in late years and so his own special 
 territory — on to the distant, wide-spreading valley of the sinu- 
 ous and unfolding Seine. All Corot's canvases are conspicu- 
 ous for rhythm and symmetry of arrangement. Truly his 
 talent was in harmony with his character. 
 
 To the novice the blend of colour in Diaz's "Oriental Chil- 
 dren" (No. 49) may occasion some surprise, but he was not 
 of French stock. In his "Early Autumn: Forest of Fontaine- 
 bleau" (No. 51), of 1870, the peasant women are gaily 
 dressed, in spite of their humble task of stick-gathering, and 
 give the desired note to the large oak trees which close in the 
 glade. This affords us another instance of pictures coming 
 together again after an interval; for it and Corot's "Le Soir" 
 (No. 16), painted a decade or so earlier, were once together 
 in the Coats Collection. The experiences of a critic among 
 pictures are, indeed, varied. 
 
 At least one leading American writer has admitted that 
 "there could hardly have been a Barbizon School, had it not 
 been for the iconoclasts on the other side of the English Chan- 
 nel"; and when we approach the art of Dupre, we are con- 
 scious of. this Barbizon painter's having been influenced by 
 Constable and resident for a time in England. Although apt 
 to indulge in needless ruggedness, he here sets out his two 
 signed canvases of "I^andscape with Cattle" (No. 48 and No. 
 54) with grandeur and poetry. 
 
 Daubigny, "the poet of the river," delighted especially in 
 jotting down his observations of the Oise — which the defiling 
 Huns have crossed and had finally to recross in recent times — 
 
INTRODUCTION 
 
 with its little islands and tall poplar trees. His fine "River 
 Scene" (No. 50), of 1861, was years ago in the famous 
 Alexander Young Collection. His "Evening on the Oise" 
 (No. 46), two years later in date, is one of the largest land- 
 scapes in the Drawing-room, and his "Evening Solitude" (No. 
 60), one of the smallest. All show that he possessed a fully 
 developed sense of both the picturesque and the pictorial. 
 
 Rousseau, who felt more solitary in the city than in the 
 country, loved to paint the gloomy solitude of the gorges of 
 Apremont, about half-way between Fontainebleau and Barbi- 
 zon; and two such scenes (No. 62 and No. 57) are here. His 
 gentle disposition is well brought out by his "La Mare a Dag- 
 nan" (No. 3), a late work. One who has studied his art in 
 numerous examples will realize that he never dated his pic- 
 tures; and, as he often retouched them at different periods, it 
 is difficult to date them precisely. This one was, in fact, in- 
 cluded in the sale held shortly after his death, and the cata- 
 logue rightly tells us that it is "presque termine." Fortunately 
 he had not laboured long on this work, and so impaired his 
 own spontaneity and freshness. At times he did that, and, 
 becoming tired, showed himself incapable of sound judgment. 
 
 It was the American artist William Morris Hunt who first 
 drew the attention of Quincy A. Shaw, of Boston, to the high 
 claims of Millet to the wide-spread recognition which France 
 long disdained to accord her illustrious but retiring son. Hunt 
 also maintained that it was he who "gave Millet the first hun- 
 dred-dollar bill he ever owned." But with Millet, in regard 
 to landscape, we have no special concern in Pike Street; we 
 have already dealt with his two figure-pieces. 
 
 The art of Troyon is realistic in its essence, and imparts a 
 brilliancy to any gallery. It is as an animal painter that he 
 shone with particular effect, while, being a rapid executant, he 
 painted a medium-sized picture in a single day. Thus, unlike 
 some of his countrymen, he died in affluence. From his large 
 "Vaches a I'Abreuvoir" (No. 45) it is obvious that he knew 
 how to render cattle in, and of, his landscape. Not all animal 
 
 XXXII ] 
 
INTRODUCTION 
 
 painters have had that gift. All these men were born before 
 1820, and so lead in the "School of 1830." 
 
 There remain Ziem, who painted the popular aspects of 
 Venice (No. 30 and No. 32), and Cazin, who visited the 
 United States. But Cazin's "Landscape" (No. 72) was not 
 painted here. We shall here look in vain for Pissaro, Sisley, 
 Manet and others who worked on the principle that light is 
 essentially prismatic. The discovery is sound in principle, but 
 difficult of aesthetic realization. And do the Luminarists, to 
 the satisfaction of the ordinary cultivated eye, render the 
 effect of nature by the aid of dots, dashes and cross-hatched 
 strokes of pure colour? 
 
 Coming nearer to our own day, we can see how natural it 
 was that English and Scottish collectors taught Holland, after 
 its two hundred years of decadence, the worth of her modern 
 men. Thus, by way of the Norwich School (not represented in 
 this collection) , the example of Constable, and the genius of the 
 men of Barbizon we reach The Hague. Jacob Maris's earliest 
 attempts were neat, — and "neat" is a terrible word in regard 
 to painting! But by the time he settled in Paris, the school of 
 Barbizon was beginning to meet with recognition. Did not 
 Millet at last possess a house of his own, and was not Rousseau 
 a friend to both him and Maris? Having developed his sense 
 of colour and his feeling for design, Jacob Maris has given us 
 a "Dutch Town" (No. 66) and a "View of a Dutch Town" 
 (No. 69). In his fine "Rotterdam" (No. 82) our eye, after 
 surveying the typically Dutch scene, returns to the man in the 
 rowboat and the flickering light on the water. How true was 
 his favourite utterance: "I think in my material"! Willem 
 Maris, like his brothers, provides us with powerful harmonies 
 of colour in his "Cattle in the Meadows" (No. 67), and a 
 certain brightness is everywhere apparent in his "Ducks" 
 (No. 2). With Matthew's "Boy with a Hoop" (No. 64) we 
 have dealt above. 
 
 A native of Haarlem who had settled at The Hague, 
 
 C XXXIII ;] 
 
INTRODUCTION 
 
 Mauve had a great admiration for Millet, who, however, had 
 a deeper soul. But he maintained to the end of his delicate 
 life that, but for the influence of Jacob Maris, he would have 
 remained a mere machine. In his "Cattle Grazing" (No. 4) 
 the varied hues of the farmer's rough attire are in tune with 
 his occupation and natural setting. His talent was lyrical, and 
 he loved the tender gray haze that hangs over the fields on 
 still days, as in his "Changing Pasture" (No. 70) . A personal 
 interpretation of life and nature betokens Weissenbruch's 
 "Gray Day in Holland" (No. 71), the only dated modern 
 Dutch landscape in this collection. He loved to indicate the 
 volume of sluggish water in a canal, and like Constable rev- 
 elled in "top-coat weather." Rain never kept him in the house. 
 
 "Within these wooden walls" we shall not find a varied 
 selection of American landscape paintings. Farny's "Hill 
 behind the School-house" (No. 91 ) may be a fairly early work 
 in this medium. His "Apaches are Out!" (No. 92), of 1890, 
 recalls that facilities were afforded him, by those engaged on 
 military expeditions, to study the Indian at closer quarters than 
 would otherwise have been politic. A certain originality and 
 drollery, and a strange contrast of civilizations are afforded by 
 the "Song of the Talking Wire" (No. 79), of 1904. 
 
 The beginnings of art trace back to Giotto (1266-1337) 
 in Italy, and it is remarkable that the last of our landscapes 
 should prove to be a "View of the Ponte Vecchio, Florence" 
 (No. 85), by that many-sided artist Chase. Do we not now 
 realize that the face of nature and the environment of man de- 
 termine the characteristics of any national school of painting? 
 
 C XXXIV 3 
 
* 
 
 EXPLANATORY REMARKS 
 
 In the description of the pictures the terms right and left are 
 used in reference to the right and left of the spectator, unless 
 the context obviously implies the contrary. 
 
 The surface measurements are given in inches as well as in 
 metres, the height preceding the width or length. 
 
THE RED ROOM 
 
THOMAS GAINSBOROUGH, R.A. 
 
 English School; I'j2j-lj88 
 
 AINSBOROUGH was one of a large family, of which 
 
 at least two members showed marked ability in me- 
 
 chanics. He was, traditionally at least, "a confirmed 
 painter at the age of twelve." Having studied in London, he 
 settled at Ipswich about 1741. His first substantial success was 
 achieved at Bath, where between 1760 and 1774 he enjoyed 
 a great vogue. Nominated by George III, one of the original 
 Thirty-six Academicians on the foundation of the Royal Acad- 
 emy in 1768, he exhibited there almost yearly until 1783, when 
 he had a misunderstanding with those members who were re- 
 sponsible for the hanging of his pictures. In consequence, he in 
 that year contributed for the last time. Like his contempo- 
 raries, he very rarely placed his name or his initials on his can- 
 vases. Some have extravagantly claimed him as "the father 
 of modern landscape art." Still, in his least conventional 
 mood, he was the herald of the modern conception of land- 
 scape painting. He never left England. 
 
 No. I The Portraits of William Tomkinson (after- 
 wards Wettenhall) and his Cousin, Edward 
 Tomkinson {''The Tomkinson Boys''), 
 
 Two full-length figures, in a landscape. In the foreground, 
 and rather to the right, William is seated on a bank; on it he 
 has placed his black hat by his side. He has dark dishevelled 
 hair, which falls upon his shoulders and over his forehead. 
 Turned three quarters to the left, he gazes at some distant 
 
 [3 ] 
 
THE RED ROOM 
 
 object. He wears a red tail-coat with gold buttons, white vest 
 and lace collar, black knee-breeches, white stockings, and black 
 shoes with steel buckles. In his right hand, which rests on his 
 leg, he lightly holds a book that is kept half open by his fore- 
 finger. In his left hand he grasps a thin, roughly cut stick. His 
 right foot is crossed over the left. 
 
 More in the centre of the composition, and a little further 
 back, stands his cousin Edward, who has long fair hair and 
 blue eyes. He wears a dark blue swallow-tail coat with red 
 collar, white vest, light yellow breeches, white stockings and 
 black shoes with buckles. His right arm rests on his hip, and 
 he holds his black cap against his side. He rests his left arm 
 on the shoulder of his cousin. The background is formed of 
 trees which are in full foliage, and characteristically feathery 
 in the Gainsborough manner. The ground rises slightly on the 
 right; in the left distance is open country. 
 
 Canvas, 82 inches by 585^ inches. (2.08 x 1.48) 
 
 Painted in 1784. 
 
 William Tomkinson, afterwards Wettenhall^ of Hankelow, here repre- 
 sented, was born at Manchester, October 19, 1772. He was the elder 
 son of Edward Tomkinson of Bostock, and subsequently of Hankelow, 
 who was born at Nantwich, September 21, 1743, and who, by devise of 
 the will of Nathaniel Wettenhall (born 1701), assumed the name of 
 Wettenhall in 1798. That Edward Tomkinson inherited the estates of 
 
 1 The name was variously spelt at different times. Thus we read in 43 
 Henry III and in 25 Henry VI of John de Wetenhale, while we find John de 
 Wetnale in 10 Henry V. It is said to have been anciently Wetnall. The arms 
 of Wettenhall of Hankelow were: Vert, a cross engrailed Ermine. Crest: an 
 Antelope's head Argent; attired Gules, issuing from a ducal coronet of the 
 Second. 
 
 The family pedigree, from the records of the College of Heralds, is given 
 at length in Ormerod's "History of the County Palatine and City of Chester," 
 1882, Vol. Ill, p. 480. See also Ormerod: "Cheshire," 1819, Vol. II, p. 106. 
 And see James Hall: "History of Nantwich," 1883, pp. 461-466. 
 
 The Wettenhalls of Rutlandshire in the XVI century traced back to John 
 Wettenhall of Nantwich in Comchester, 23 Henry VI. The pedigree is given in 
 the Harleian Society's publication: "County of Rutland," 1870, Vol. Ill, p. 28. 
 
 For the families of Wetnall of Coppenhall, vulgo Copnall, Wetnall of Chol- 
 moston, alias Chomston, as well as Wetnall of Nantwich, see Harleian So- 
 ciety's publication: "Visitation of Cheshire," 1882, Vol. XVIII, pp. 244-246. 
 
 1:4] 
 
THE RED ROOM 
 
 Bostock from his cousin William Tomkinson ( 1 723-1 770) The father 
 of the said Edward Tomkinson (and so the grandfather of the boy 
 William Tomkinson, here painted) was James Tomkinson (1711- 
 
 The wife of the said Edward Tomkinson (and the mother of William 
 Tomkinson, the dark boy in the picture) was Sarah, daughter and heiress 
 of James Marsden; she was born in August, 1753, married January 7, 
 1772, and died February 16, 1776, and was buried at Davenham. She 
 had a younger son, w^ho was born in 1773 but died the year following. 
 
 William Tomkinson, the boy seated on the right in the present group, 
 married Frances, daughter of John Nesham, of Houghton-le-Spring, 
 County Durham, on November 4, 1797; by her he had five sons: Wil- 
 liam, William Marsden, Edward, John and James; and four daughters: 
 Sarah, Frances, Caroline and Catherine. His uncle Henry (1741- 
 1822), of Dorfold, had by his wife Anne, daughter and heiress of John 
 Darlington, of Aston, Esq., four sons and three daughters. The eldest 
 
 2 On the south side of the chancel of Davenham Church is a large pyramidal 
 mural monument to him, erected in 1771. 
 
 3 This James Tomkinson, the first of the family to settle in Nantwich, was 
 an eminent attorney and solicitor. By his extensive practice and parsimonious 
 habits he amassed a large fortune, and in 1754 purchased the Dorfold estate 
 and went to reside at the Hall. His clerk was Lloyd Kenyon, afterwards first 
 Lord Kenyon, chief justice of the Court of King's Bench. "While Mr. Kenyon 
 was a clerk," says W. Beamont in his "Notes on some English Judges," "it was 
 the custom for attorneys who had to attend the Assizes to ride to the assize town 
 on horseback. The city of Chester, where the courts always sat, was twenty 
 or more miles from Nantwich; and once, as Mr. Tomkinson and his clerk were 
 riding side by side, Mr. Kenyon asked his master to tell him what was the most 
 important thing in law. 'Oh, yes,' replied the master, 'I will tell you what of 
 all things in law is the most important to be attended to; but it must be on the 
 condition that you pay for the dinner we are to have on our way at Bar Hill 
 to-day.' Supposing that this mean condition would be acceded to, Mr. Tom- 
 kinson told his clerk that, of all things in law to be most attended to, evidence 
 was the chief. They arrived at Bar Hill, and after dinner, when the land- 
 lord's bill came in, Mr. Tomkinson tossed it over to Mr. Kenyon, saying that 
 it was his concern; but he affected surprise, and handed it back again; upon 
 which Mr. Tomkinson reminded him of the condition he had made on the way. 
 The clerk said that if there was any such condition his master must give evi- 
 dence, which, as the party in a cause could not give evidence, was a complete 
 estoppel; and thus the master was caught by his own device." 
 
 Of Mr. Tomkinson it might be said that, though he was very rich, crescit 
 amor nummi, quantum ipsa pecunia crescit. Other stories of the hoarding pro- 
 pensities of this grasping lawyer were still in circulation there twenty years 
 ago. (See James Hall: "History of Nantwich," 1883, p. 461.) 
 
 It was he whose portrait by Gainsborough was shown at Burlington House 
 in 1892 (No. 24). 
 
 1794).= 
 
THE RED ROOM 
 
 of these sons was Edward, the fair boy standing in this painting, who 
 was born in January and baptized March 8, 1773, and died unmarried 
 in 1 819, aged 46; he was buried at Acton; the fourth son, William, was 
 the father of James Tomkinson, M.P. (born 1840), who in 1906 wrote 
 the letter to the late Mr. Lockett Agnew that we reproduce (page 10) ; 
 the second son, the Rev. James, of Dorfold Hall, had by his wife Julia 
 (a daughter of John Nesham, Esq., of Houghton-le-Spring, County 
 Durham) one son and two daughters. The Rev. James Tomkinson's 
 son, Henry James, died unmarried; but his elder daughter and heiress, 
 Anne, married Wilbraham Spencer Tollemache, of Dorfold (1807- 
 1890), younger brother of the first Lord Tollemache, on June 25, 1844; 
 she was buried at Acton, April 25, 1871, leaving issue Henry James 
 Tollemache (born 1846), formerly M.P. for West Cheshire, another 
 son and two daughters. 
 
 This Henry James Tollemache concerns us closely, for it was he who 
 lent this picture to the Royal Academy Exhibition in 1889, as we shall 
 see (page 8). He, doubtless, inherited this double portrait (of his 
 grand-uncle Edward Tomkinson, and the latter's cousin William Tom- 
 kinson, or Wettenhall) from his father, Wilbraham Spencer Tollemache, 
 who probably had it from his father-in-law, James Tomkinson, who was 
 (as we have seen) the eldest of the three younger brothers of Edward, 
 the fair boy in our canvas. 
 
 Passing from family history to the internal evidence of style, we see 
 that beyond question this picture is a very late work by Gainsborough, 
 and therefore one painted by him in the plenitude of his power. Con- 
 siderable interest thus attaches to the passage that we quote from the 
 master's latest biographer : 
 
 "Unfortunately no contemporary Journal gives a complete list of 
 Gainsborough's intended contributions to the Royal Academy for 
 1784, but the titles of eight of them are to be seen on a sheet of paper 
 yellowed with age in the possession of the Royal Academy. At the 
 top is written in the painter's hand: 'Portraits by T. Gainsborough; 
 the frames sent.' Then follow, in the order named, rough pen and 
 ink sketches of the portraits of the three eldest Princesses, Lady 
 Buckinghamshire, Lord Buckinghamshire, Lord Rodney, Lord Raw- 
 don, 'two boys with a dog— Master Tomkinsons,' and Lord Hood. 
 Finally Gainsborough sketches what he describes as a 'family picture, 
 Mr. Bailey,' which is the well-known group of 'The Baillie Family' 
 
 Z 6 2 
 
THE RED ROOM 
 
 now in the National Gallery. He writes below the sketches: 'N.B. 
 The frame of the Princesses cannot be sent but with the picture, as 
 their Majesties are to have a private view of the picture at Buck- 
 ingham House before it is sent to the Royal Academy.' The sketches 
 of the Buckinghamshires, Lord Rodney, Lord Rawdon, and the Tom- 
 kinson boys are ticked at the side in red, and in the same ink 'come' 
 is written on the sheet to indicate that these particular works or their 
 frames had been received at the Academy. 
 
 "There was every prospect of a brilliant display of Gainsborough's 
 work at the Exhibition, but it was destroyed all at once by a notifica- 
 tion in the Morning Herald, of April 22nd, that the artist had been 
 obliged to withdraw his pictures because the Council would not hang 
 one of them in a particular light, although he had left to their dis- 
 cretion the placing of all his other works." ^ 
 
 We read that, in May, 1786, Gainsborough "was at this time engaged 
 upon a beautiful landscape in the foreground of which the trio of pigs 
 that are so highly celebrated by the Connoisseurs are introduced, together 
 with the little girl and several other rustic figures." The picture was 
 bought a few weeks later by Mr. J. Tollemache, who was the owner of 
 Gainsborough's "Two Shepherd's Boys with Dogs Fighting," exhibited 
 at the Academy of 1783.^ 
 
 "^W. T. Whitley: "Thomas Gainsborough," 1915, pp. 212-213. William B. 
 Boulton: "Thomas Gainsborough," 1907, p. 268, also refers to this incident in 
 1784, and mentions "The Tomkinson Boys" among the canvases so prepared 
 for exhibition. 
 
 5 We shall avoid confusion of various pictures by Gainsborough, if we realize 
 that there were three that in any way concern us now: 
 
 {a) That exhibited at the Royal Academy in 1783 (No. 35) under the title of 
 "Two Shepherd's Boys with Dogs Fighting." After being engraved by G. Du- 
 pont, it was destroyed by fire at Exton (Fulcher, pp. 190 and 240). The late Sir 
 Walter Armstrong in his excellent and authoritative monograph on "Gains- 
 borough," 1898, p. 203, compresses that title into "Two Boys with a Dog." For 
 some reason that is not clear Sir Walter states that the picture then exhibited 
 portrays "The Masters Tomkinson." He does not in so many words maintain 
 that it is to be identified with the one that formerly belonged to Mr. Ludwig 
 Neumann, and is now in the collection of Mr. and Mrs. Taft. Yet he would 
 seem, so far as one may iqfer from his list, to have been under some false im- 
 pression. For neither "The Masters Tomkinson" (or "The Tomkinson Boys"), 
 now hanging before our eyes, nor any other putative portrait group of them, 
 was exhibited at the Academy during the artist's lifetime. And no other picture 
 possesses the same title. 
 
 {b) The canvas withdrawn before the Exhibition of 1784, and now at Cincin- 
 nati. This Sir Walter "lists" separately, and naturally describes as "Henry 
 
 1: 7 : 
 
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 This Mr. Tollemache, doubtless, would be a member of the Cheshire 
 family of that name, in whose possession the present canvas was for- 
 merly, as we have seen. In any event, it was Mr. Henry J. Tollemache 
 who lent it to the Old Masters Exhibition at Burlington House in 1889. 
 It was then catalogued (No. 142) as "Henry and Edward Tomkinson," 
 who were, moreover, described as the sons of James Tomkinson of Bos- 
 tock. As we now realize, no credence is to be placed in such an identifi- 
 cation. The Academy cataloguer confused our Edward Tomkinson 
 (born 1773) with his father Edward (born 1743), and wrongly de- 
 scribed the other boy, actually William, as Henry who had indeed been 
 born as early as 1741.^ A mere mistake in the names might be pardoned, 
 if it did not affect the style and period of the work in question. And 
 errors in identification are far from unknown at Burlington House. 
 But a moment's glance at the canvas shows it to be exceedingly late in 
 the great master's oeuvre. It cannot, therefore, represent two boys of the 
 Tomkinson family circa 1753, but just thirty years later.*^ 
 
 We must remember that, on the occasion of its exhibition at Burling- 
 ton House in 1889, this canvas was an entirely unknown work. That it 
 was also highly esteemed is shown by the following quotation from the 
 daily press: 
 
 "In spite of the entire absence of Italian, Spanish, and early Ger- 
 man pictures, the present Exhibition at Burlington House, which 
 opens to the public this morning, is one of astonishing excellence. . . . 
 There has seldom been a richer display of the art of Romney, and 
 
 Isic] and Edward Tomkinson," the title officially (but incorrectly) conferred 
 on it by the Academy's cataloguer in 1889. 
 
 {c) The above-mentioned "Landscape with a Little Girl and other Rustic 
 Figures and Pigs," upon which Gainsborough was engaged in 1786. It cannot 
 now be identified. Is it among the "lost" pictures by this artist? 
 
 We may regret that Mr. Whitley, op. cit., p. 262, did not recognize and try 
 to solve the problem that now confronts us. Not, of course, that it in any real 
 sense affects our canvas as being an absolutely autograph and very late work 
 by Gainsborough. 
 
 6 That Henry Tomkinson was, in fact, the father of the fair boy, Edward, 
 here painted, and the uncle of the dark boy, William, seated in our com- 
 position. 
 
 7 The error was revived, although in a different way, when, in 1892, Mr. 
 Henry J. Tollemache exhibited at the Royal Academy the portrait by Gains- 
 borough (No. 24) said to represent "James Tomkinson" (1711-1794), the father 
 of the boys, as described in the earlier Exhibition. This official but mislead- 
 ing identification may be noted in Armstrong's "Gainsborough," page 203. 
 James Tomlinson was, in fact, the grandfather of the boy William here repre- 
 sented. 
 
 1: 8 3 
 
THE RED ROOM 
 
 the two Gainsborough landscapes, his full-length Duke of Gloucester, 
 and his portrait of the two young boys, Henry [sic] and Edward 
 Tomkinson (No. 142), are of the highest value and interest. This 
 last is indeed a charming work, and Gainsborough seldom painted 
 a more delightful picture than that of the elder ^ boy in his blue coat, 
 standing facing the spectator with his hat in his hand. In all the 
 familiar qualities of Gainsborough's art this picture stands out as 
 one of very great interest : the colour is delightful and the landscape 
 exquisite."^ 
 
 Long after the close of that Exhibition the picture passed into the collec- 
 tion of Mr. Ludwig Neumann, in London, and still later it was acquired 
 by Messrs. Thomas Agnew and Sons, at whose galleries it was shown in 
 November, 1906 (No. 11), under the title of "Edward and William 
 Tomkinson." In the Times, November 8, 1906, we read: 
 
 "The Exhibition held by Messrs. Agnew for the benefit of the 
 Artists' General Benevolent Institution is always one of the most 
 interesting of the year. ... It is filled with fine things, nearly all 
 of them unknown to the present generation. ... It is amusing to 
 contrast 'William and George Brummell' (No. 7), by Reynolds, with 
 another group of boys by Sir Joshua's great rival Gainsborough that 
 hangs close by — 'Henry and Edward Tomkinson,' Cheshire lads of a 
 family still prominent in that county. Sir Joshua's children are little 
 more than babies, but these two lads have come to years of dis- 
 cretion, and are as dignified as the 'Balbi Children' (by Van Dyck) 
 opposite. Gainsborough has made of them one of his most charming 
 compositions and one of his loveliest eifects of colour, the contrast 
 between the blue coat of the boy standing and the red of his brother 
 making, with the landscape, a delightful effect of harmony and grace. 
 The picture is as yet little known, but it is quite worthy to rank 
 among the great Gainsboroughs of the world." 
 
 Further testimony at that period was provided by Sir Claude Phillips, 
 who on November 12, 1906, wrote in the London Daily Telegraph: 
 
 "Gainsborough is much more liberally represented than his rival. 
 A great portrait-piece from his brush is the 'Henry [j/c] and Edward 
 Tomkinson,' formerly in the collection of Mr. L. Neumann of 
 
 8 He was, in fact, the younger. 
 ® The Times, London, January 7, 1889. 
 1® Each was, in fact, only in his twelfth year. 
 
 c 9 n 
 
THE RED ROOM 
 
 Grosvenor Square. If this master was far less sympathetic than 
 Reynolds in his portrayal of children, he was simpler and more down- 
 right, except, indeed, when he grouped them into those simpering, 
 rouged, charming and impossible little cottagers with whom he stocks 
 his landscapes. Here the full splendour of his brush is displayed." 
 
 The opportunity was thus provided for Mr. James Tomkinson, to whom 
 we have already made reference (page 6), to examine and comment on 
 this portrait of two of his ancestors. In consequence he wrote to the 
 late Mr. Lockett Agnew as follows : 
 
 "This morning I have been looking at the beautiful Gainsborough 
 portrait of my kinsman (No. ii) and herein send you the correct 
 identity of the boys. The fair boy as described in the catalogue 
 (copied from that of an exhibition of Old Masters some 30 years 
 ago) would be my grandfather, whereas he really was my father's 
 eldest brother. 
 
 ''It is obvious, I think, that a boy born in 1741, and 14 in I755> 
 would fix a date too early for Gainsborough to have painted him at 
 28— as he (Gainsborough) would be in 1755- 
 
 ''Taking 1773 as the date of the boy's birth— and putting them at 
 14— the date is fixed at 1787 for the portrait, one year before Gains- 
 borough's death. . . . 
 
 "They were Edward Tomkinson and William Tomkinson (after- 
 wards Wettenhall) , cousins, grandsons of James Tomkinson of Dor- 
 fold, born 1773 [sic], 
 
 "The fair boy is Edward, eldest son of Henry Tomkinson of Dor- 
 fold. The dark one (sitting) is William, eldest son of Edward 
 Tomkinson (afterwards Wettenhall). As Gainsborough died in 
 1788, and the boys are apparently 14 years old, the portrait must 
 have been one of his last productions." 
 
 As a statement of general fact the above is a valuable contribution to our 
 knowledge and a just criticism of the picture. But in certain details it 
 is demonstrably incorrect in the light of our recent research. Thus 
 William was born, as we have seen, on October 19, 1772, and not in 
 1773, and Edward in January, 1773. The picture was certainly finished 
 by April, 1784, when the boys would be eleven years and five months 
 and eleven years and two months respectively. 
 
 Strangely enough, the news of the purchase by Mr. and Mrs. Charles 
 P. Taft of this portrait group drew from another relation of these 
 
THE RED ROOM 
 
 "Tomkinson Boys" a letter of some moment. For Edward Philip Tom- 
 kinson ( 1 850-1 91 8) wrote, from Los Angeles some years ago, to Mr. Taft 
 that it was from Dorfold, near Nantwich, that Mr. Henry Tollemache 
 had sold the picture. He added also that the fair boy, Edward Tom- 
 kinson, was "my father's eldest brother and consequently my uncle."^^ 
 "It seems," he added, "a long span of years between an uncle and a 
 nephew, but my father was the youngest son of that family, and I am 
 the youngest son of our family. Added to this, my father did not marry 
 until in his 47th year, and I as the youngest son was born when he had 
 arrived at the ripe age of sixty." 
 
 This view entirely bears out our rather lengthy contention as to the 
 identity of these "Masters Tomkinson." 
 
 Exhibited, on loan, in New York, November, 1909, No. 8. 
 New York Times, November 21, 1909. 
 Burlington Magazine, 1 9 10, Vol. XVI, p. 368. 
 
 Putnam's Magazine, 1 9 10, Vol. VII, p. 528, in an article by Miss E. L. 
 Gary, where it is reproduced under the title of "The Tompkinson \_sic^ 
 Boys" : 
 
 "Gainsborough is also represented with a portrait of the 'Tom- 
 kinson Boys,' lads of twelve or fourteen, in quaint coats and breeches, 
 placed in a landscape by the side of two trees. It is more perfunctory 
 than the gentle 'Maria Walpole' [No. 21 in this collection], but is 
 not without a good deal of quiet charm. They are, however, not to 
 be considered for a moment with the lad Edward Satchwell Eraser 
 whom Sir Henry Raeburn has limned, a manly young Scotchman." 
 
 "Among these choicer examples of the world's masters must rank the 
 two pictures, by Gainsborough and Romney [^i.e.. The "Tomkinson 
 Boys" and the "Mrs. Johnson"]. The former was hung at the 
 Royal Academy in 1784, but was not exhibited; Gainsborough with- 
 drawing the eight portraits which he sent in that year before they 
 were placed on view, owing to the refusal of the Committee to hang 
 one of them— the portrait group of the 'Princess Royal, Princess 
 
 11 This Mr. Edward P. Tomkinson (1850-1918) was the fifth son of Lieuten- 
 ant-Colonel William Tomkinson (1790-1872), who was the third brother of 
 the boy Edward portrayed in this canvas. I am indebted to Mrs. Edward P. 
 Tomkinson for a kind letter on the subject. 
 
THE RED ROOM 
 
 Augusta and Princess Elizabeth' — at the height he wished. From 
 this time onwards the artist ceased to contribute to any of the Acad- 
 emy's exhibitions. This work is a splendid example of Gainsborough's 
 later period; it was formerly in the possession of Mr. Ludwig 
 
 Neumann. ^^^^ Connoisseur, 1913, Vol. XXXVI, p. 51. 
 
 The excellent reproductions in colour of this and other pictures in the 
 collection of Mr. and Mrs. Charles P. Taft by the Ladies' Home Jour- 
 nal gave rise to the following criticism in its columns in May, 191 7, 
 p. 14: 
 
 "This delightful picture, which is ranked by some critics as the 
 finest of Gainsborough's canvases, brings together much that he loved 
 best to paint— landscape and beautiful childhood. The picture also 
 shows the qualities for which the English school of portrait painting 
 was most famous — fine colour, decorative arrangement and a refined 
 and agreeable humanity — traits which made, and still make, such pic- 
 tures particularly beautiful and companionable ornaments in a dig- 
 nified home.'* 
 
 Lately the present writer has summarized the facts regarding this picture 
 as follows: 
 
 "It is remarkable how sensational were some of the incidents in the 
 closing years of Gainsborough, and how the interest evoked by the 
 portraits he painted at the very end of his career not only still sub- 
 sists but is ever on the increase. That his 'feathery' manner charac- 
 terizes his later works is fully admitted. We recall the words of Sir 
 Joshua Reynolds in the Discourse he delivered late in 1788, when the 
 world had 'lately lost Mr. Gainsborough.' 'All those odd scratches 
 and marks observable in his pictures,' the President said, 'by a kind 
 of magic, at a certain distance, assume form and all the parts seem 
 to drop into their proper places.' This remark applies admirably to 
 the 'Masters Tomkinson,' in the collection of Mr. and Mrs. Charles 
 P. Taft at Cincinnati. 
 
 "However opinions may vary to-day as to the usefulness of the 
 Royal Academy, its foundation in the third quarter of the eighteenth 
 century was inevitable. The Academy's 'Instrument,' by which it 
 was founded as a society 'for promoting the arts of design,' has from 
 the outset met with criticism ; it has even been dubbed 'the most un- 
 constitutional parchment in existence.' Gainsborough's attitude was 
 
THE RED ROOM 
 
 at times antagonistic, and generations of critics have claimed that the 
 chief object of the originators of the Academy was 'not to promote 
 the arts of design but to promote themselves.' But from the time that 
 its members began, in 1870, to organize loan exhibitions of paintings 
 by the Old Masters it has been increasingly evident that they have 
 thereby contributed vastly to the world's knowledge and appreciation 
 of the history of painting. Not, of course, that exact scholarship 
 and penetrating research have always characterized the official cata- 
 logues of such exhibitions. Indeed, the present picture suffices to 
 show the justice of this contention. For when our portrait group 
 was lent to the Exhibition of 1889, it was an entirely unknown work, 
 not having been previously exhibited, engraved or even cited by any 
 art-writer. It was then catalogued (No. 142) as 'Henry and Ed- 
 ward Tomkinson, sons of James Tomkinson, of Bostock.' As we 
 now realize, no credence is to be placed in such an identification. The 
 Academy's cataloguer confused the Edward Tomkinson in our pic- 
 ture—he was born in 1773— with his father, also Edward, born in 
 1743. He also wrongly described the other boy, actually William, 
 as Henry, who had been born as early as 1741. A mere error in 
 nomenclature would, perhaps, be due to the carelessness or the lack 
 of knowledge of one or other of the descendants who provided the 
 information at the time of the exhibition. Such error were pardon- 
 able if it did not conflict with the stylistic considerations of the work 
 in question. But a momentary glance at the canvas would have 
 revealed that it was painted at the very end of the artist's career, and 
 not circa 1753. To tally with the statement in the catalogue and the 
 obvious childhood of the boys represented, it would have had to come 
 from the hand of Gainsborough thirty-five years before he died. In 
 point of fact, it was undertaken and achieved only four years before 
 his end came. . . . 
 
 "The magnificently painted and wonderfully preserved work be- 
 fore us belongs to the same period as the large 'Baillie Family,' now 
 in the National Gallery, and the superb 'Count Rumford,' which, 
 under the title of 'Gainsborough's American Sitter,' was published in 
 Art in America in December, 191 7. Painted in 1784, it antedates 
 the world-famous 'Market Cart' of 1786, now in the National 
 Gallery. . . . 
 
 "It will not be gainsaid that Gainsborough has here produced 
 a masterpiece, both in technical accomplishment and in the striking 
 
 in-} 
 
THE RED ROOM 
 
 characterization of two lads, who are not only sympathetic but each 
 of whom is in his twelfth year." 
 M. W. Brockwell: "Gainsborough's Portrait of the Tomkinson Boys" 
 in Art in America^ April, 1919, Vol. VII, pp. 116-121. 
 
 WILLEM MARIS 
 
 Dutch School;. 184J-IQIO 
 
 BORN at The Hague in 1843, W^illem was to die the 
 least famous of the three brothers Maris. He early 
 showed a talent for drawing, and by the age of twelve 
 was encouraged by his brothers James and Matthew (born re- 
 spectively six and four years earlier than he) to go out into the 
 open country and draw domestic animals. By his brothers his 
 path was smoothed in a way that they themselves did not ex- 
 perience. He first exhibited in 1864. In 1876 he went to 
 Norway. Yet apparently he never painted its scenery. Per- 
 haps his aims were not as exalted as were those of his brothers. 
 In any event, he never approached them as an inventor of pic- 
 torial designs. He also had less emotion and love of experi- 
 ment than they. On the other hand, he is probably the best 
 appreciated of the three in his native Holland by his own 
 people. He preferred to dally with the meeker varieties of 
 green landscape, grass and rushes than to fight with the pow- 
 erful tones of the horses hauling a canal boat, or ploughing a 
 heavy field, or a bold mass of great windmill strong and mighty 
 against a cloudy sky. Again, the very fact that he is the third 
 of the name, in the same generation, militates against his per- 
 sonal success in the highest walks of art. The charm of his 
 works lies in their rendering of the joy of sunshine in landscape 
 painting, and in the quiet happiness of a summer afternoon. 
 With others of his contemporaries, he abhorred the "brown 
 sauce" which, they thought, characterized an earlier period of 
 Dutch painting. 
 
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 No. 2 Ducks. 
 
 A near view of the edge of a pond, bordered by water lilies 
 and green grass. From the right, a duck, followed by her 
 young, is entering the water. Rather more to the left, but still 
 in the centre of the composition, a drake and two ducks are 
 preening themselves. 
 
 Wood, S}4 inches by lO^ inches. (0.21 xo.26) 
 
 Reproduced in D. Croal Thomson's "Brothers Maris," published by 
 the Studio, 1907, plate W. 5. 
 
 That this is a representative work by Willem Maris may be shown by 
 other pictures by him which are, however, differently composed and 
 which vary in size. Of these we may mention the large "Ducks," from 
 the Alexander Young Collection, reproduced in the International Studio, 
 1 906-1 907, Vol. XXX, p. 300. Allied in spirit, although differently 
 composed, is "The Family" (Croal Thomson, plate W. 9.). Ducks are 
 found again in this artist's "Under the Willow Trees" (reproduced in 
 Max Rooses: "Dutch Painters of the XIX Century," 1901, Vol. II, 
 p. 100), and are again met with in "Ducks among the Reeds" (Max 
 Rooses, Vol. II, p. 107). Mr. J. C. J. Drucker exhibited a "Pond 
 with Ducks" (9 inches X20>^ inches) by Willem Maris at the Guild- 
 hall, London, in 1903 (No. 67). Again, the National Gallery possesses 
 (No. 2875) a "Ducks." There is also a water-colour of the subject 
 in the collection of Mr. H. G. Tersteeg. 
 
 Such works as "The Young Brood," "The Edge of the Water," "A 
 Quiet Corner," and "The Interloper"— all exhibited at the French Gal- 
 lery, London, in 191 1— show the same beautiful study of ducklings by 
 the water-side in vivid sunlight with a background of rich foliage. 
 
THE RED ROOM 
 
 PIERRE ETIENNE THEODORE ROUSSEAU 
 
 ROM his early years he was a student of nature and 
 
 resolved to become a landscape painter. He was, in fact, 
 
 to be one of the first exponents of the "romantic" as 
 opposed to the "classic" landscape. In spite of early encour- 
 agement, when everything promised well, he for thirteen suc- 
 cessive years found his pictures excluded from the Salon. Thus 
 he earned the sobriquet of "le grand refuse." In time he 
 settled in the Forest of Fontainebleau, becoming the real head 
 of the Barbizon School. Conscientious artist as he was, his 
 love of accurate detail did not lead him to lose sight of syn- 
 thetic representation. This is the more remarkable in his case, 
 as he loved the trees in the forest as if they were individuals, 
 and possessed of individual character and distinguishing tem- 
 perament. Thus he did not render them as mere masses of 
 stems and foliage, but may be said to have painted their "por- 
 traits." In this respect, as in others, his art was in some degree 
 influenced by that of his senior, John Constable. Moreover, 
 each had to fight his way to public recognition and eventual 
 fame through innumerable obstacles and difliculties. 
 
 Although the brother in art, and the companion, of Jean 
 Frangois Millet, he does not carry us away, as the latter does, 
 into the sorrowing epochs of rustic life to reveal their savage 
 grandeur or gloomy solemnity. Nor does he, like the lyrical 
 Corot, transport the beholder into the lands of twilight. But, 
 impregnated with naturalism and the glowing sunset sky, he 
 renders trees in their exact relationship to animals and man, 
 to earth and sky. 
 
 Always appreciated more highly in foreign lands than in 
 France, his works have long been duly esteemed in this country. 
 This failure to win acceptance in his own land shortened the 
 
 French School; i8i2-i86j 
 
 1:16:1 
 
THE RED ROOM 
 
 "dream" — for it has been well said that it is ridiculous to call 
 his, a life — of the unfortunate Rousseau. Thus in 1867 la 
 grande harmonie followed, with awful suddenness, upon the 
 tragedy of his disappointments and anxieties. 
 
 No. 3 La Mare A Dagnan, sur le Plateau de Belle- 
 Croix. 
 
 Broken ground in front, with a small pond in the middle 
 distance. Behind the pond is a large oak tree; other trees 
 extend to the left and right of the composition. Cloudy sky. 
 
 Canvas, 25 inches by 40 inches. (0.63 x 1.02) 
 
 The cipher *'TH. R.," in red, is in the right bottom corner. 
 
 Included in the Rousseau sale held at the Hotel Drouot, Paris, some 
 months after the artist's death. It was then described (No. 37) as being 
 of 1 858-1 860. The measurement (0.63x1.03) agrees exactly. The 
 same sale also included the "Mare sur le Plateau de Belle-Croix," which 
 (0.65 X 1.04) was described as an "ebauche a I'huile avec indications au 
 pastel," of 1857. It ^1^0 contained a ''fusain rehausse de blanc, sur 
 toile," of 1865, of the 'Tlateau de Belle-Croix." 
 
 As Sensier (''Souvenirs sur Th. Rousseau," 1872, p. 178) tells us: 
 "c'est dans ces jours de fin d'automne que, I'esprit pousse au noir, Rous- 
 seau se mit a reprendre pour la centieme fois une etude du Plateau de 
 Bellecroix." The setting of a pool of water in a wide landscape backed 
 by trees— as in the present work — had a peculiar fascination for Rous- 
 seau; of this we judge by plates 25-32 in Gensel's "Millet and Rous- 
 seau," in the Kiinstler Monographien series, to go no farther afield. 
 
 ANTON MAUVE 
 Dutch School; 18 38-1 888 
 
 JUST as every portrait painter sees in different terms the 
 character and the appearance of the sitter he will portray, 
 so every artist has his especial taste in the selection he 
 makes of the landscape that he prefers to interpret. The dis- 
 position of Mauve led him to stray among, and so in time to 
 
THE RED ROOM 
 
 paint, soft mossy downs, green fields and country lanes sparsely 
 covered with tufts of grass. In such a pearly gray setting do 
 Mauve's cattle graze, while his sense of humanity in such an 
 environment at times demanded the introduction of a clumsy 
 farm hand or a bony labourer. In his low-lying Dutch lands, 
 of soft gray lanes with birch trees, silvery leaves and pearly 
 aspect, there is a spiritual tenderness. At Kranenburg near 
 Dekkershuin in the neighbourhood of Loosduinen, not far from 
 The Hague, he found ready to hand the subject matter he most 
 cherished. Such a setting evoked a mood akin to the attacks of 
 melancholia from which this tranquil, sensitive painter of pas- 
 toral and partially isolated landscapes suffered at intervals. 
 
 He had not the depth of colour, nor the rich palette, nor the 
 rhythmic sense of line that mark the art of the Maris brothers. 
 Nor was his artistic soul struck by the splendour of colour, the 
 massive windmills or other objective adjuncts that are sprinkled 
 about in the canvases of so many of his Dutch contemporaries. 
 Being neither deeply philosophical nor brilliantly imaginative, 
 he worked as a lyrical artist. Tender and subjective, but never 
 dramatic, he gives us the childlike gladness and the purely 
 peaceful moods of nature of which he was so close an observer. 
 In 1883 he finally settled at Laren, where he was to die in the 
 prime of life. Poetical rather than picturesque, he sets before 
 us an amazing technical facility and a modernity that was all 
 his own. 
 
 No. 4 Cattle Grazing {''Cattle in the Meadows, Hol- 
 land''). 
 
 Three black and white milking cows are standing in a field 
 which is bounded on the right by a rough wooden railing. The 
 farmer, wearing brown clothes with blue sleeves and sabots, 
 stands on the right. Summer sky. 
 
 Canvas, 13 inches by 27>< inches. (0.33x0.69) 
 Signed: "A Mauve," in the right bottom corner. 
 
 [183 
 
THE RED ROOM 
 
 ADOLPHE MONTICELLI 
 
 French School; i8 24-1886 
 
 AINTER of genre, landscape and portraiture, he is best 
 
 known for his concerts champetres, such as the work be- 
 
 fore us. His family was of remote Italian origin, but 
 he was born at Marseilles. Extremely eccentric as a man and 
 as an artist, he played with colour as a musician plays with 
 chords. Capricious and fascinating, and possessing a brilliant 
 future, he found himself penniless at the outbreak of the 
 Franco-German War. Some have contended that with him 
 ''the picture ends and the Persian carpet begins" ; and it must 
 be admitted that his most characteristic pictures make but small 
 appeal to the spirit or the intellect of those who behold them. 
 But he was a true romanticist and improvisateiir, and once the 
 fundamental structure of the picture was completed, it was, in 
 his eyes, finished. The joy for such an artist lies in the creat- 
 ing, as does that of the collectionneur enrage lie in la chasse of 
 the object desired. To such a painter the quality of a dress 
 or its fabric would be of as little moment as the form beneath 
 it, but it would be all sufficing to introduce a strong note of 
 gold, red, green or brown, all fused as if by magic. Such a 
 man might well claim: "I paint for thirty years from now." 
 Careless alike of the opinions of the public or the press, it is 
 characteristic of him that, when asked one day why he never 
 exhibited at the Salon, he should reply: "What Salon?" His 
 art, as emotion, exhibits the strength as well as the weakness 
 inherent in man. Handsome and luxurious, a hon viveur with 
 prodigious appetites, ^nd affecting impossible clothing, he sold 
 his pictures and spent his money, while absinthe hastened his 
 end. But it were best to dwell on the amorphous mass of vivid 
 hues that distinguishes his canvases. For what concern have 
 we with his private life? 
 
 1:19] 
 
THE RED ROOM 
 
 eleven years of age, and he six years her senior. "Son caractere altier," 
 we read, "se fit jour de bonne heure." 
 
 The character of Maria Luisa was an extraordinary mixture of good 
 and bad. She was a woman of remarkable will, and might have been of 
 invaluable service to her adopted country had she exercised her gifts with 
 more regard for the rules which control human conduct. But her vices 
 were stronger than her virtues. Her pride was overbearing, and she 
 exacted every deference due, as she thought, to a princess of such exalted 
 rank. At Parma, no sooner was she betrothed to the Prince of the 
 Asturias than she compelled her own family to give her precedence. The 
 vexed question led to interminable quarrels with her brother. 
 
 "I will teach you to respect me," she cried, ''for one day I shall be 
 Queen of Spain, and you can never be more than Duke of Parma." 
 
 The boy retaliated by slapping her face. *'At least I can boast that I 
 have struck the Queen of Spain," was his not unnatural retort. 
 
 She arrived in Madrid to undergo a severe educational course to fit 
 her for her duties. This girl, who had barely left the nursery, found her- 
 self the first lady of the Court. Carlos III had long been a widower, and 
 the entreaties of his ministers to enter the marriage state for a second 
 time were useless. Against the rocks of his obstinacy dashed the self-will 
 of his daughter-in-law from Parma. In the two characters there was 
 not a single point of common sympathy. . . . Carlos III was a martinet 
 for order and precision. Maria Luisa's pleasure-loving temperament was 
 not to be checked by any salutary regulation. She lived in an atmosphere 
 of opposition and protest. At the age of fifteen she threw off the strict 
 supervision the King had ordained, and walked in the streets of the 
 capital unguarded and unattended. In asking for liberty, she encouraged 
 license. When she ascended the throne, she was already responsible in 
 no small degree for the steady deterioration of the morals of the Court 
 she ruled. 
 
 There is no need to enter into the story of her relations with Manuel 
 Godoy, the handsome young lieutenant of the royal guards, who, under 
 her patronage, became the most important man in the realm. The scan- 
 dal was public throughout Spain, and only one person remained in ignor- 
 ance. Carlos IV was either very stupid or most contemptible. His own 
 people judged him, and decided that the monarch was a fool rather than 
 a rogue. Goya's portraits confirm this decision.^ 
 
 It is related, however, that "au lieu d'un amant docile a ses volontes, 
 
 1 Stokes: "Goya," 1914, pp. i73-i75- 
 
 IT"] 
 
THE RED ROOM 
 
 elle trouva un maitre, et les relations intimes qu'elle ne cessa d'entretenir 
 avec lui devinrent pour elle une cause incessante d'humiliations et d'amers 
 regrets. L'orgueil, I'ingratitude, et surtout les infidelites du favori la 
 porterent souvent a des scenes de violence qui produisaient des ruptures 
 momentanees suivies d'un prompt raccommodement. Jamais la reine 
 n'eut la force de briser sa creature." ^ 
 
 Crowned in 1789, she remained the Queen of Carlos IV until the 
 revolution of 1808. They then fled to France, their son Ferdinand VII 
 being placed on the throne. She predeceased her husband, in Rome, in 
 1 8 19, by a few days. 
 
 When this portrait was painted, in 1799, the Queen was forty-five 
 years of age. Fresh and free in handling, it was almost certainly the 
 original study for the figure in the large 'Tamily Group of Carlos IV," 
 on which Goya worked in 1 799-1 800. In our picture she is repre- 
 sented in the same attitude, and wears the same court costume and ample 
 array of jewels as in the large "Familia de Carlos IV" of the Prado, 
 This portrait long remained in the Royal Palace of San Telmo, at 
 Seville, where it seems to have been No. 63 in the Catalogue (Yriarte: 
 *'Goya," 1867, p. 146). About a quarter of a century ago it was sold, 
 together with three other portraits by Goya, by the Infante Don Antonio, 
 uncle of the present King of Spain, to his sister the Comtesse de Paris. 
 From that lady it passed into the collection of M. Denys Cochin, at 53 
 rue Babylone, Paris, where it remained until its purchase by its present 
 owners. 
 
 It is clearly identifiable with the "Toile ovale [sic]. Figure en buste 
 de grandeur naturelle: 0.82x0.66," formerly in the Palace of San 
 Telmo, which P. Lafond describes ("Goya," p. 119, No. 29) as the 
 companion to the portrait of the King. It is also as an oval, or at least 
 framed as such, that Calvert reproduces it in his "Goya" (1908, plate 
 155) and lists it as one of the nineteen portraits of the Queen known to 
 him. One of them, formerly in the possession of the Due de Rivas but 
 now in the H. O. Havemeyer Collection in New York, represents her 
 "full face, a turban on her head, with heavy ear and finger rings, and a 
 fan in her right hand." Our portrait is again reproduced as an oval 
 canvas in Dertel's "Goya" {Kilnstler Monographien Series, 1907, p. 60). 
 Fourteen portraits of the Queen are listed by Von Loga, and twelve 
 by Stokes. A. de Beruete ("Goya," 19 16, Vol. I, p. 169) strangely 
 
 2 "Biogr. Generale," i86o, Vol. XXXIII, p. 668. 
 
THE RED ROOM 
 
 refers to the present portrait as if it were still in the San Telmo Palace, 
 at Seville. 
 
 In this portrait we note that the eyes are cold and deep-set in the 
 sockets, the chin hard, the lips compressed like a vise. Although master- 
 ful in expression, the face is full of intelligence and dignity. There is 
 a look of jealousy and mistrust, but that need not surprise us, as there 
 was little difference between the freedom of the gitanas, in the lowest 
 quarters of the town, and the behaviour of men and women who, "laden 
 with official distinctions and honour, tried to kill time in the palaces of 
 the capital." The Queen is no enigma, no jemme incomprise, no "un- 
 charted sea," like her rival the Duchess of Alba, but is one who will 
 command and be obeyed. In any other period of Spanish life she would 
 have been an impossible figure; but, as the product of her own time, she 
 needs no excuse. Her very defects have contributed to this highly artistic 
 achievement at the hands of Goya. 
 
 JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 English School; iyy^-i8^i 
 
 BORN in humble circumstances on St. George's Day in 
 ^ London, he entered the Royal Academy Schools at the 
 age of fourteen, and in the following year exhibited for 
 the first time. During his self-apprenticeship, he was per- 
 mitted by Dr. Monro to make copies for instructional pur- 
 poses of drawings in his collection. For a time he practised 
 as an itinerant topographical draughtsman, and by a process 
 of self-evolution alongside of Thomas Girtin (i 775-1 802) 
 and J. R. Cozens, came to develop a free landscape art in wa- 
 ter-colour. It was not until later that he turned his attention 
 to the oil medium, and gradually perfected his style by consult- 
 ing the methods and improving upon the manner of Claude, 
 Cuyp, Van de Velde, Rubens, Titian and other landscape and 
 marine painters. Not only did he study more or less succes- 
 sively the works of those artists, but he even "looked at" a few 
 of his contemporaries. Elected Associate of the Academy in 
 
 1:243 
 
THE RED ROOM 
 
 1799 and a full Royal Academician in 1802, he was in 1807 
 elected Professor of Perspective. Those duties he took up re- 
 luctantly, but being ever arduous he applied himself with zeal 
 to the work he had undertaken. 
 
 In 1802 he made his first tour on the Continent, and five 
 years later he embarked upon the "Liber Studiorum"; al- 
 though a magnificent monument to his genius, it failed in other 
 respects after dragging on until 18 19. In that year he first 
 visited Italy, where he found, especially in Venice, material ex- 
 actly suited to his requirements. 
 
 On his water-colour drawing of "The Lake of Brienz" in 
 this collection (No. 87) he took pride in inscribing "R.A." and 
 "P.P." after his name and the date of 1809. When he resigned 
 those duties in 1837, he had long ceased to lecture as Professor 
 of Perspective. He had a strange reverence for the trappings 
 and mummery of the academic world, its diplomas and privi- 
 leges, and to the end his ambition was to write himself down 
 as President of the Royal Academy. 
 
 While paying homage to nature he transposed it, and per- 
 haps on that account he had a strong objection to part with any 
 of his sketches or other hurried memoranda. He, in fact, 
 deemed it unfair that the public should either see or possess 
 any but his finished pictures. As topographical draughtsman, 
 painter of the sublime, painter of the sea, and interpreter of 
 both the simplicity and gorgeous aspects of nature, he demands 
 our sustained study. In the closing years of his life, however, 
 his works betoken both mental and physical decay. He died 
 unmarried, under an assumed name, at a house on the banks of 
 the river Thames at Chelsea in 1851. Like other great mas- 
 ters, such as Leonardo da Vinci and Rembrandt, he toiled in- 
 cessantly to find out his facts and to acquire information of a 
 varied kind, not for its own sake but that he might advance his 
 art by a sounder application of the laws involved in his study of 
 nature. His will and the codicils were set aside by an Order 
 of the Court of Chancery. Thus the British nation, without 
 observing the intentions of the testator and the very explicit 
 
 L^s2 
 
THE RED ROOM 
 
 conditions he laid down, obtained the pictures that place him in 
 the forefront of the world's creative artists of no matter what 
 age. In addition to numerous oil pictures, the nation thus be- 
 came possessed of drawings, sketches, memoranda and "pieces 
 of paper" upon which he had worked, which amount in the 
 aggregate to 20,098. The justice of Ruskin's dictum still 
 stands: "The nation buried Turner with threefold honour: 
 Turner's body in St. Paul's Cathedral, his pictures at Charing 
 Cross, and his purposes in Chancery." 
 
 The events of Turner's life, his unending travels, his 
 ceaseless labours, his strange personal appearance, his eccen- 
 tricities, and even the cut and shape of his trousers, have oc- 
 cupied the attention of numerous biographers and analysts. 
 Consequently we can to-day with difficulty judge of Turner the 
 artist, as distinct from Turner the mortal. The critics of other 
 times, such as Thornbury and Hamerton, had the temerity to 
 pronounce as morose, slatternly and self-indulgent the one man 
 who saw nature in relation and subjection to the human soul. 
 Such an one did not lose time "mooning about like a modern 
 artist," looking for unexpected beauties: he was satisfied to 
 reproduce nature in its finest essence from the material, how- 
 ever unpromising it would have appeared to some, that he 
 chanced to encounter. It is obvious that the names of Turner 
 and Ruskin will ever be inseparably connected: the subject is 
 large and complex. Turner could not have been born an 
 American, as there is no twilight here that might have inspired 
 him. 
 
 No. 7 Old London Bridge ( ''The Port of London'') . 
 
 A busy scene, looking up stream. Fishing boats, containing 
 numerous figures in resplendent attire, approach the quay ad- 
 joining Billingsgate Fish Market. Some of the fishermen have 
 already unloaded their catch on to the steps in the right fore- 
 ground. In the left foreground is a large buoy inscribed: "Port 
 of London, 1825" (the last two figures are not very easy 
 
THE RED ROOM 
 
 to decipher). We look across the then clear waters of the 
 river to Old London Bridge, which occupies the middle dis- 
 tance, with its central span larger than the others. In the left 
 distance, and on the right bank of the river above bridge, the 
 tower of St. Saviour's, Southwark, is dimly seen. 
 
 Canvas, 39^ inches by 50 inches. (i.oox 1.27) 
 
 Painted in 1825. 
 
 Formerly in the collection of John Heugh, of Holmewood, and sold at 
 Christie's, April 24, 1874 (No. 186), when it was said to have been 
 "painted about 1830." 
 
 Subsequently in the collection of H. W. F. Bolckow, of Marton Hall, 
 Middlesborough, and lent by him to the Royal Academy in 1885 (No. 
 194). It was commented upon in the Athenaum, January 10, 1885, 
 page 56, as follows: 
 
 "Mr. Bolckow's 'Old London Bridge' (No. 194) is a lovely study 
 of colour and light by Turner; but, as usual, one must not venture 
 to test its fidelity to the view it represents." 
 
 Included in the sale of the Bolckow Collection at Christie's, May 5, 
 1888 (No. 68). It drew forth the following comment in the Times of 
 May 2, 1888: 
 
 "No collection of modern pictures in the north of England is more 
 celebrated than that formed by the late Mr. Bolckow, the well- 
 known Middlesborough ironmaster. His name and that of his part- 
 ner, Mr. Vaughan, are associated with the transformation of Cleve- 
 land from a pastoral into a mining region; and their firm naturally 
 took the first fruits of the wealth which, thirty or forty years ago, 
 began to come into existence through the energy of themselves and 
 brother capitalists. Mr. Bolckow, following the example of the 
 cotton lords of Lancashire, spent much of his wealth upon fine pic- 
 tures, and in a short time the Marton Hall Gallery became famous. 
 For some reason it has been decided by his heirs and executors to 
 sell the collection, and the pictures are now on view at Messrs. 
 Christie's. . . . Speaking first of the pictures, we may mention those 
 of most striking excellence. Turner's Xondon Bridge,' though not 
 a picture of the first importance, is an interesting example. . . ." 
 
THE RED ROOM 
 
 The same newspaper five days later described how 
 
 "The great sale of the season — the collection of modern pictures 
 formed by the late Mr. Bolckow, M.P. — came off on Saturday with 
 success in high prices and with such enthusiastic interest on the part 
 of the public who follow these events of the fine art world, as quite 
 came up to the expectations created by the exhibition during the week 
 of so many pictures of first-rate importance. The ante-room was 
 filled an hour before the time by a crowd of ladies and gentlemen 
 eager for the opening of the door of the large salesroom." 
 
 Sir Walter Armstrong in his "Turner," 1902, page 224, refers in this 
 connection to a drawing in the Jones Bequest to the Victoria and Albert 
 Museum which, he claims, is of "circa 1825." That drawing is stated in 
 the official catalogue of that Museum, 1908, page 361 (No. 522, 1882), 
 under the title of "The Port of London" (11^ inches by 17^ inches), 
 to be "signed, and dated 1824." It was engraved by E. Goodall. 
 
 Sir Walter, writing privately on the subject of this painting some years 
 ago, justly described it as "a well known, very fine and characteristic 
 picture of Turner's middle and best period" and "one which any collector 
 might be proud to own." 
 
 Art Journal, 1888, page 342. 
 
 Redford: "Art Sales," 1888, Vol. I, page 453. 
 
 R. Thompson: "Chronicles of Old London Bridge," 1827. 
 
 JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 English School; 
 
 No. 8 The Rape of Europa. 
 
 Europa and the Bull are but dimly seen in the middle dis- 
 tance to the right, as they enter the blue waves that beat upon 
 the shore. In the centre foreground is a small group of Eu- 
 ropa's relatives in no uncertain manner lamenting her fate. To 
 the left is the rocky shore seen in a shimmer of roseate hues. 
 
 Canvas, 35>^ inches by 47^ inches. (0.90 x 1.20) 
 
 Painted about 1836. 
 
THE RED ROOM 
 
 The beauty of Europa, daughter of Agenor, King of Phoe- 
 nicia, was so remarkable that it won the love of Jupiter, who 
 first saw her gathering spring buds near Sidon. In order to 
 possess her, he changed himself into a white bull and appeared 
 in that disguise on the shores of the sea where she was strolling 
 with her companions. Europa, attracted by the beauty and 
 gentleness of the animal, ventured to mount upon his back, 
 whereupon he plunged into the sea with his lovely prize and 
 swam to the Isle of Crete, where she bore him Minos and two 
 other sons. Agenor commanded his son Cadmus to go in 
 search of Europa, his sister, and not to return without her. 
 
 Formerly in the collection of Walter R. Cassels, by whom it was ex- 
 hibited at the Guildhall, 1899, No. 25. 
 
 The Art Journal, 1899, page 129, dealing with "The Turner Exhibi- 
 tion at the Guildhall," stated : 
 
 "The National Gallery in its fine assemblage of oil paintings which 
 Turner bequeathed to the nation, placed together in the Turner room, 
 exhibits, as every one knows, an expression of Turner's art ranging 
 very nearly over the whole term of his practice; but the collection at 
 the Guildhall, while also doing this, is of pictures which the painter 
 sold. These were sold in many cases to eager patrons, who bought 
 them for their beauty and truth, at prices scarcely a twentieth of 
 what would now be realised for them." 
 
 When sold at Christie's, June 30, 1906 (No. 63), as the "property of a 
 
 gentleman," the catalogue stated that 
 
 "The whole expanse is flooded with golden sunlight. From the 
 right blue waters are seen advancing in gentle waves; to the left a 
 rocky shore is faintly indicated, and the distant cliffs are just per- 
 ceptible. Europa and the Bull are seen some distance away to the 
 right, while Europa's sorrowing relatives are in the centre of the 
 picture. Though comparatively near the spectator, the figures can 
 only just be discerned in the dazzle of light that surrounds them." 
 
 The Times of July 2 held that 
 
 "The sale was in several ways remarkable. . . . The highest price, 
 and the most striking advance in market value, of the sale was for the 
 
THE RED ROOM 
 
 picture by J. M. W. Turner, 'The Rape of Europa,' 355^ inches by 
 47>^ inches, said to have been 'painted about 1836'; nothing is 
 known of its early history ; it first appeared at Christie's in a sale in 
 1 87 1, the then owner's name is given by Redford as Trater' (but 
 the compiler of the Guildhall Exhibition Catalogue, 1899, states 
 that it was formerly in the collection of Mr. Thomas Agnew) ; it 
 was then purchased by Mr. W. R. Cassels for 295 guineas, and was 
 exhibited by him at the Guildhall in 1899. On Saturday bidding 
 started at 1000 guineas." 
 
 We read in the Athenaum of July 7, 1906, that 
 
 "The sensation of the day was Turner's picture with the title 'The 
 Rape of Europa.' ... It is said to have been 'painted about 1836,' 
 but it is probably later than that." 
 
 The critic of the Cojinoisseur, Vol. XV, 1906, page 262, wrote that 
 
 "The late sale of the month, the 30th, was also the most important, 
 and will rank as one of the principal picture dispersals of the season. 
 . . . The most important picture in the sale formed one of five lots, 
 'the property of a gentleman' {i.e., Mr. Walter R. Cassels), a fine 
 example of J. M. W. Turner's late manner, 'The Rape of Europa,' 
 35^ inches by 47^ inches, painted about 1836, or probably later, 
 the whole expanse flooded with golden sunlight; . . . this picture 
 was purchased by Mr. Cassels at Christie's in 1871 for 295 guineas." 
 
 The Art Journal, page 245, and the Acadeiny, August 25, also referred 
 to the sale of this important work. 
 
 Sir Walter Armstrong: "Turner," 1902, page 221. 
 
 The splendour here is Turner's own, and serves to show that 
 he was always "projecting his imagination outwards and set- 
 ting it objective tasks," as Armstrong phrases it. Here he 
 challenges nature rather than the other artists whose works he 
 had sought to outmatch. In few pictures does Turner ap- 
 proach the manner of Titian so unmistakably as in this subject 
 and its treatment, but not, of course, in composition. 
 
 Titian's "Rape of Europa," after passing out of the collec- 
 tion of the Due d'Orleans and being exhibited publicly in Lon- 
 don in 1798-99, passed through the collection of Lord Berwick 
 
 [30] 
 
THE RED ROOM 
 
 into that of the Earl of Darnley. The last named lent it to the 
 British Institution in 1816, No. 29, and to the Manchester Ex- 
 hibition in 1857, No. 259. Turner, doubtless, had oppor- 
 tunities of seeing it before painting this canvas about 1836. 
 We know that Titian's work belongs to his finest period, for it 
 dates from 1 562. On April 26 of that year Titian wrote from 
 Venice to Philip II the following characteristic letter : 
 
 '*Most Serene and Catholic King: With the help of the di- 
 vine Providence I have at last finished the two pictures already 
 commanded for your Catholic Majesty. One is the 'Christ 
 praying in the Garden,' the other the 'Poesy of Europe car- 
 ried by the Bull,' both of which I send. 
 
 Devoted humble servant 
 
 TiTIANO." 
 
 That the picture passed out of the Darnley Collection in 
 1896 into that of Mrs. J. L. Gardner at Fenway Court, Bos- 
 ton, is a matter of common knowledge. It is to-day the finest 
 example of the art of Titian on this continent. That it was 
 highly appreciated by that sound critic Rubens, is known by his 
 copy in the Madrid Gallery (No. 1 693 ) . 
 
 It may, perhaps, be as well to note that in it Europa lies at 
 full length in a daring attitude on the back of the Bull, which 
 advances through the water towards the right. She is fol- 
 lowed by Cupid, who is carried by a dolphin. Europa's right 
 arm is raised and throws her face into shadow, as she holds on 
 anxiously to the horn of the Bull. Amoretti brandish bows 
 and arrows in the air. Everywhere is blue-green sea, and in 
 the distance is the green shore from which the companions of 
 the captive gaze after her in their lamentations. 
 
 But perhaps in the -whole range of Turner's adaptation of 
 Titianesque themes to his poetic purposes none is more obvious 
 — when it has once been recognized — than the interdependence 
 of the circular painting of "Bacchus and Ariadne," of 1840, 
 the property of the London National Gallery (No. 525), on 
 
THE RED ROOM 
 
 that by Titian at Trafalgar Square (No. 35). The fact that 
 Turner's late, and not too well preserved, picture has long been 
 on loan to the Glasgow Gallery has perhaps militated against 
 the observation of any critic that the two principal characters 
 were adopted from the great Venetian's poesia. Here Turner 
 has had almost as noble a Titian original before him, but the 
 outcome of his study is seen to be far finer in the present bou- 
 quet of colour and majesty of line than in the rather later work 
 at Glasgow. Turner is well nigh at the apogee of his power 
 in our canvas, which antedates the "Fighting Temeraire" by 
 about three years. 
 
 HE son of a doctor, and born at Dordrecht, he went 
 
 while quite a child with his parents to Amsterdam, which 
 
 was to be his home for the remainder of his life. At an 
 early age he studied under Rembrandt, becoming his best and 
 most deeply influenced pupil. By 1642 he painted, signed and 
 dated the "Portrait of an Old Lady" now in the Berlin Gallery. 
 As the years advanced, he threw off the direct influence of his 
 master and, exaggerating his peculiarities without retaining his 
 superb chiaroscuro effects, became a mere imitator. Although 
 the pupil caught the tricks of costume and fancy of the master, 
 his earthy endeavours lacked the inward fire of his spirit. 
 Moreover, the commercial instinct which beset him led to his 
 working over-hastily and to his failing to complete many of 
 his commissions. A large proportion of his pictures are signed 
 and dated. But those that came from his easel, during the last 
 two decades of his life, are less highly esteemed than the pro- 
 ductions of his early manhood. 
 
 FERDINAND BOL 
 
 Dutch School; 1616-1680 
 
THE RED ROOM 
 
 No. 9 Portrait of the Artist. 
 
 Bust length, turned three quarters to the left. A young 
 man, clean-shaven, with clear-cut features. In reddish-brown 
 coat, with white linen collar, a black cloak fastened with a thin 
 gold chain, and a black cap edged with pearls and having a 
 large feather in it. 
 
 Canvas, 22^^ inches by i8^ inches. (0.57x0.46) 
 
 L. H. Cust in the Burlington Magazine, March, 191 5, Vol. XXVI, 
 p. 256, refers to this picture as "the interesting portrait of Ferdinand 
 Bol by himself," and reproduces it side by side with "the inferior version 
 in the Brunswick Gallery."^ The latter is reproduced in the Klassiker 
 der Kunst volume on "Rembrandt," 1904 edition, p. 70, as a "Portrait 
 of Rembrandt, by himself, of 1633"; and in the 1909 edition, p. 34, with 
 the same attribution and identification, as being of 1631. 
 
 A. Bredius, writing on "Drei friihe Werke von Ferdinand Bol" in 
 Kunstcronik, August 21, 1914, pp. 610-613, reproduces the Cincinnati 
 painting as "an early self-portrait by Bol," while claiming that the one 
 at Brunswick is an "early self-portrait of Bol by or after that artist." 
 ( It should be noted that in our portrait the artist wears a reddish-brown 
 coat, and his hands are not seen. In that in the Brunswick Gallery (No. 
 239) he has a coat of vivid blue and a brown cloak, and his right hand 
 is raised to grasp the hilt of a sword. )2 . .^.-i 
 
 Hofstede de Groot: "Smith's Catalogue Raisonne," 1916, Vol. IX, 
 p. 161, No. 263, states that he "has lately convinced himself that the 
 Brunswick picture is not by Rembrandt, but an early work of Govert 
 Flinck in the style of the 'Study of a Head' in the collection of Count 
 Stecki. It was etched as being by Philips Konig [jfc]."^ 
 
 lA misleading statement in the American Art Nezvs, January 9, 1915, gave 
 rise to Gust's article. The "Young Samson" is reproduced in Sedelmeyer's 
 "Twelfth 100 Paintings," No. 23. 
 
 2 It is not to be confused with Bol's "Portrait of a Man" at Brunswick 
 (1.29 X 1.06), No. 245 in the 1900 Catalogue, and signed by Bol and dated 
 1658. As Bol was forty-two years of age then, it cannot represent him. 
 
 3 H. de Groot under that entry refers to this portrait; but the whole point 
 of his remarks is lost, as he has in a cross-reference inadvertently added to the 
 confusion by mistaking this portrait, by Bol, for Rembrandt's "Portrait of a 
 Young Man rising from his Chair," No. 13 in the Cincinnati Collection and 
 No. 736 in the "Catalogue Raisonne." 
 
 D33 
 
THE RED ROOM 
 
 We may add that the Dresden Gallery contains a portrait by Bol of 
 a "Young Man wearing his Hat" (No. 1606 in the 1912 Catalogue), 
 in which he is seen at bust length, but turned to the right. The possi- 
 bility of its representing ''The Artist Himself," as the catalogue falter- 
 ingly claims, is an extremely remote one. 
 
 In the Beurnonville sale, May, 1881, were the portrait of Bol by 
 himself and the companion picture of his wife. They were later in the 
 Hainauer Collection. He is therein represented in a yellow robe, brown 
 mantle and black velvet cap, and holding his palette in his left hand. 
 
 Other portraits of our artist from his own hand are at Dordrecht 
 (signed and dated 1646) ; in the Amsterdam Museum; and in the 
 Albertina at Vienna. In the portrait of him, holding a medal, in the 
 Van Home Collection, Montreal, he is two or three years younger. 
 
 It may be noted en passant that the present portrait was at one time 
 regarded as the work of Rembrandt. But it was bought and regarded 
 as a Bol by Messrs. Scott and Fowles, from whom it was acquired by 
 Mr. and Mrs. Charles P. Taft. Sometime later it was seen, together 
 with the rest of the collection, at Cincinnati, by Dr. von Bode, who 
 accepted the ascription to Bol and placed the portrait very high in the 
 oeuvre of that artist. 
 
 D43 
 
THE GREEN ROOM 
 
 1 
 
JAN STEEN 
 Dutch School; i626f-i6'/g 
 
 AT the moment when Rembrandt was painting his first pic- 
 /-^ ture at Leyden, Jan Steen must have been lying in his 
 cradle in the same town. Whether he was a pupil of 
 Nicholas Knupfer at Utrecht as well as of Adriaen van Ostade 
 at Haarlem, and of Jan van Goyen, whose daughter Marga- 
 retha he married as his first wife, does not concern us so nearly 
 as the fact that he was one of the most versatile and technically 
 proficient of the Dutch painters. There is nothing incongruous 
 in his having painted quacks and alchemists, domestic scenes 
 and rustic festivals, seeing that he leased a brewery and kept 
 a tavern at Delft and Haarlem. Thus it is the life of the 
 people rather than representations of cultured society that 
 occupied his time and gave play to his sense of humour; and 
 in that respect he is to be distinguished from Metsu and Ter- 
 borch. Vivacious and prolific, he is to be ranked among the 
 very greatest genre painters of his century, his admiration for 
 the devotees of Bacchus and Venus being alike marked in his 
 skilful composition and inventive gifts. 
 
 No. 10 The Sick Lady {''La Malade Imaginaire'') . 
 
 Three small full-length figures. A beautiful woman, about 
 twenty-five years of age, is seated on a chair in the centre, her 
 left foot resting on a stool. She wears a low-cut scarlet dress, 
 a gray-blue silk bodice edged with fur, and a large white apron. 
 She leans her head, enveloped in a white kerchief, against a 
 pillow which is placed on a large book on a table; the table is 
 behind the lady's back and has a dark red cloth on it; against 
 the side of it stands a warming-pan. The lady extends her right 
 
 1:37: 
 
THE GREEN ROOM 
 
 hand to the physician that he may feel her pulse. He is dressed 
 in brown, wears a black cloak and hat, and holds gloves in 
 his left hand. In the left background is the large four-poster 
 bed with dark blue hangings. Near the bed, and on the far 
 side of the young woman, stands a middle-aged woman who, 
 clad in brown, is explaining the case to the physician. On the 
 wall in the right background hang a picture and a mandolin; 
 in the picture, which is contained in a gold frame, are repre- 
 sented "Venus and Adonis" seated on a bank under a tree. In 
 the right foreground is an earthenware vessel containing char- 
 coal. In the left foreground is an open book, inscribed: 
 
 "Daer baet geen medisyn 
 Want het is minnepyn." 
 
 (Of no avail is medicine 
 Since it is love-sickness.) 
 
 Wood, 17 inches by 14^^ inches. (0.43x0.36) 
 
 Signed in the right bottom corner: "J. Steen" (the J and S interlaced). 
 
 Formerly in the collection of Mr. W. Theobald under the title of 'The 
 Sick Lady," and included in his sale at Christie's, May 10, 185 1. 
 
 Subsequently in the collection of Octavius E. Coope, at Rochetts, near 
 Brentwood, Essex, and sold at Christie's, May 6, 1910, No. 71. 
 
 Exhibited, on loan, in New York, 1914, No. 7. 
 
 Smith: "Catalogue Raisonne," 1842, Supp., p. 478, No. 13, where it is 
 claimed that the picture of ''Venus and Adonis" is "an allusion to the 
 malady of the lady." 
 
 Art Journal, 185 1, P- 174- 
 
 Van Westrheene: "Jan Steen," 1856, p. 131, No. 141, and there said to 
 have been "bought by W. Theobald in 1842." 
 
 Hofstede de Groot: "Catalogue Raisonne," 1908, Vol. I, No. 175, 
 p. 58, shows that Jan Steen painted some forty pictures, all difEerently- 
 composed, of the "Physician's Visit" or "Here Avails no Medicine." 
 Eight of such compositions are reproduced in Gowans and Gray: "The 
 
THE GREEN ROOM 
 
 Masterpieces of Jan Steen." Of those the nearest to our picture is that 
 in the Hermitage, Petrograd, No. 896 (H. de Groot, No. 139). It is 
 eight inches higher and six inches wider than ours, and a candlestick, two 
 books and a cup are on the table in the left foreground. In the Sick 
 Lady" in the collection of the Duke of Wellington (Catalogue, 1901, 
 Vol. I, p. 39, No. 89) the lady is seated in an arm-chair in the centre 
 of the composition; on the far wall, above the tent-shaped bed, hangs a 
 picture of ''Venus and Adonis," also in a gold frame, and there is a 
 painting of a ''Mulatto," apparently by F. Hals. 
 
 In the John G. Johnson Collection, bequeathed to the city of Philadel- 
 phia, is a "Doctor's Visit" by Steen (No. 510) ; it has six figures and is 
 quite differently composed; it came from the Levy and Mieville Col- 
 lections. 
 
 Illustrated in New York Evening Post, February 28, 1914; and in the 
 New York Tribune and the New York Herald, March i, 1914. 
 
 HIS creator of the "conversation-piece," and one of 
 
 the greatest of the Dutch "small masters," entrances us 
 
 JL by the fine decorum, the carefully tended appointments 
 and the cultured, if at times rather prosaic, pursuits of his 
 sitters and their environment. Moreover, he works most hap- 
 pily in representing scenes on a small scale with the faultless 
 drawing and sensitive perception that are required in the art 
 of the highly accomplished miniaturist. Travelling extensively 
 in England and in Spain, at a moment that the grit and long 
 drawn out resistance of his countrymen to the Spanish yoke were 
 insuring their deliverance from oppression, some of his achieve- 
 ments deserve to be ranked not merely as technical triumphs 
 but as historical documents. Moreover, his life seems to have 
 been passed in easy circumstances, a fact that contrasts forcibly 
 
 GERARD TERBORCH 
 
 Dutch School; 161J-16S1 
 
 D9 3 
 
THE GREEN ROOM 
 
 with the unhappy experiences of Rembrandt, Hals, Hobbema 
 and others of his compatriots. 
 
 No. 1 1 The Sleeping Soldier. 
 
 The officer, wearing a steel cuirass over his buff coat with 
 gold lace on the sleeves, is fast asleep in the chair. His arms 
 are folded and his legs crossed. He has on heavy top-boots 
 and a sword hangs at his side. On the floor to the right lies his 
 high-crowned hat with its red and white plumes. His lips are 
 being tickled with a feather by a woman, who wears a white 
 satin dress with a brown corsage and bodice. On the left 
 stands a richly dressed trumpeter in a blue tabard with gray 
 sleeves. In the right foreground are a large gold ewer and a 
 dish on a table ; in the left, a bed with dark green hangings. 
 
 Canvas, 25^ inches by 21 inches. (0.64x0.53) 
 
 In the collection of Johan van Tongeren, lawyer at The Hague, and sold 
 March 24, 1692 (No. 57), as "Een Slaependen Officier van Terburgt" 
 [sicl. (See Gerard Hoet: "Catalogus van Schilderyen," 1752, Vol. I, 
 p. 13.) 
 
 In the Hoet Collection, Amsterdam, and sold October 8, 1700 (No. 3), 
 under the title of "Een Slapende Veld-overste met een Trompetter, etc., 
 van Gerard Ter Burgh." (See Hoet: "Catalogus," Vol. I, p. 59-) 
 
 In the Adriaen van Hoek Collection, Amsterdam, sold April 7, 1706 
 (No. 34). 
 
 In the Lormier Collection at The Hague, December, 1754 (No. 294). 
 (See Descamps: "La Vie des Peintres," Vol. II, p. 129: *'chez M. 
 Lormier un Officier qui dort, une femme le reveille pour le faire parler 
 a un Trompette.") 
 
 In the W. Lormier Collection, The Hague, July 4, 1763. 
 
 In the J. C. Pruijssenaar Collection, Amsterdam, December 27, 1814 
 (No. 73). 
 
 In the W. Brown Collection, London, 1830. 
 
 In the collection of Viscount Midleton, at Peper Harow, near Go- 
 dalming, Surrey, and sold at Christie's, July 31, 1851. 
 
 n4oi 
 
THE GREEN ROOM 
 
 In the collection of Mr. Henry Harvey, London, 1868. 
 In the collection of Mr. William Harvey, 1895. 
 Exhibited at Leeds, 1868, No. 652. 
 Exhibited at the Guildhall, London, 1895, No. iii. 
 Engraved in reverse by W. Chevalier. 
 
 Smith: "Catalogue Raisonne," 1833, pt. 4, p. 117, No. 3, as ''The 
 Drowsy Soldier"; and p. 131, No. 43, as "The Sleeping Soldier." 
 
 Redford: "Art Sales," 1888, Vol. I, pp. 146 and 464, and Vol. II, 
 p. 333. 
 
 "Almost the principal interest attaches to those which come from two 
 relatively unknown collections in the north of England, those of 
 Mr. E. A. Leatham and Mr. William Harvey, of Leeds. In these 
 days, when incessant exhibitions have brought almost everything to 
 light, the amateur has quite a rare emotion when he stumbles across 
 first-rate Dutch pictures that have not been shown before; and such, 
 if we mistake not, are Mr. Leatham's 'Church Interior' and . . . 
 Mr. Harvey's 'Sleeping Soldier' by Terburg." 
 
 Burlington Magazine, 19 10, Vol. XVI, p. 368. 
 
 Hofstede de Groot: "Catalogue Raisonne," 191 3, Vol. V, No. 77, p. 31, 
 where it is erroneously stated that "there is to the left a table with 
 straw-covered bottles and candlestick." 
 
 HE son of a peasant and born at Gruchy, a hamlet of 
 
 Greville near Cherbourg, he naturally paints the peas- 
 
 ant's unceasing struggle with the forces of nature. His 
 career naturally splits up into three divisions, that of his early 
 rudimentary education in his native village, the period of 
 twelve years when he practised his art training in Paris, and 
 the last twenty-six years of his life, spent in the small village 
 
 Times, London, April 22, 1895. 
 
 JEAN FRANCOIS MILLET 
 
 French School; iSl^-lSjS 
 
THE GREEN ROOM 
 
 of Barbizon on the edge of the Forest of Fontainebleau. As 
 early as 1 840 one of the two pictures that he sent in to the Salon 
 was accepted and hung, but passed almost unnoticed. This aca- 
 demic recognition was, however, to herald no popular acclama- 
 tion in the two decades that followed. His first real success was 
 not forthcoming until the Exhibition of 1867, when a number 
 of his best canvases were seen together. He had consistently 
 declined the patronage of the fashionable, or the vulgar, that 
 he might remain true to his own exalted ideals of the peasant 
 gaining his livelihood from the soil. Yet this singleness of 
 mind did not save him from the charge that his pictures were 
 painted "as a plea against the misery of the people,'* and were 
 to be condemned for their "propagandist tendencies." In 
 point of fact, having painted a number of nude studies in his 
 early life, he devoted his brush at Barbizon to creating that 
 profoundly moving record of outdoor labour that ranks him 
 among the world's great masters. For, as he advanced, he 
 learnt to impart to scenes of humble, but never trivial, occu- 
 pation the monumental grandeur which his subject matter in- 
 spired. He was nevertheless regarded with envy and malice 
 by academicians who were fully conscious of the fact that his 
 rise meant their fall in public estimation. This antagonism was 
 all but effective down to the day of his death, which proved 
 the occasion for some to simulate their grief at his tomb. Yet 
 Alexandre Dumas, pere, had termed him a "good, kindly, com- 
 passionate, religious and honest man." To-day he is perhaps 
 more generally understood than any other painter. 
 
 If in his art he devoted himself to the pleasant and ever 
 varying subjects which he felt afforded him his true vocation, 
 his domestic life was no less admirable. His first wife had 
 passed away in very early life, but his second was a source of 
 secret strength to her husband from the outset, being always 
 ready to leave her own domestic work to sit to him as a model 
 for his peasant women. Attentive to his need, sharing his 
 anxieties and sorrows, she lingered on to die at Suresnes as late 
 as 1894. 
 
 1:423 
 
THE GREEN ROOM 
 
 No biographer of Millet fails to remind us that his 
 "Angelus" was sold in the Secretan sale in Paris in 1889 for 
 553,000 francs to an American purchaser. It was bequeathed 
 some twenty years later to the Louvre by M. Chauchard. 
 
 "I never studied systematically," wrote Millet, *'and I never 
 followed programmes." On the contrary, he was wise enough 
 to follow his own line, profess his own philosophy in art and 
 produce with his heart, his eyes and his mind. As the result, 
 the humanity of his art is sincere. It is characteristic of the 
 man that, when he felt his end near, he exclaimed: "C^est dom- 
 mage. J'aurais pu travailler encore." 
 
 No. 12 La Maternite. 
 
 Three-quarter-length figure of a young peasant woman re- 
 clining in a chair, and seen in full front. She wears a yellow- 
 brown bodice of coarse material, a brownish-gray skirt and a 
 close-fitting yellow cap. She inclines her head towards the left 
 and looks at some distant object, as she holds her sleeping 
 child, who is clad in greenish-yellow swaddling-clothes and a 
 white cap. Dark landscape background, with green leaves 
 above to the left. 
 
 Canvas, 45 inches by 35^ inches. (1.14x0.90) 
 Painted in 1 872-1 873. 
 
 Signed, in red, in the right bottom corner. 
 
 Included in the sale of the artist's effects. May 10, 1875 (No. 46), as 
 "Jeune mere bergant son enfant dans ses bras. Figures de grandeur 
 naturelle." It was then bought for 5800 francs by Tillot. 
 
 Subsequently it came into the possession of Mr. George W. Burnett, 
 in whose house in London it was seen by Mr. Taft and the late Mr. 
 Fowles. It then hung on an easel in the billiard-room. Mr. Burnett 
 had, he said on July 9, 1903, every intention of bequeathing it to the 
 National Gallery, London. However, he had reason to change his 
 mind, and an arrangement was made for the purchase by Mr. Fowles of 
 this canvas, together with Corot's "Environs de Paris" (now No. 44 in 
 
 1:43: 
 
THE GREEN ROOM 
 
 this collection) and some ten other pictures. Those ten paintings were 
 subsequently dispersed. 
 
 "En 1872 et en 1873 Millet s'occupa d'achever quelques-unes des pein- 
 tures qu'il avait commencees a Cherbourg. II travaillait a plusieurs 
 tableaux a la fois. Sans parler des paysages promis a M. Hartmann 
 et toujours attendus, et de la 'jeune mere bergant son enfant dans ses 
 bras' (figures de grandeur naturelle), il peignait le Trieure de Vau- 
 ville' pour FAmericain M. Shaw^ et bien d'autres tableaux encore." 
 Alfred Sensier: "La Vie de J. F. Millet," 1881, p. 349. 
 
 On December 31, 1872, he wrote: "My eyes are very painful. . . . I 
 work very little, which distresses me. My Triory' [painted for Mr. 
 Shaw, as just mentioned] is in the same state as when you saw it. . . . 
 Here goes the year 1872 where all the years have gone." A charming 
 way of saying, "Eheu! Anni fugaces." 
 
 On the subject of M. Hartmann, for whom this picture was painted, 
 we may quote at some length from D. Croal Thomson's "The Barbizon 
 School," 1890, p. 164: 
 
 "The brightest spot by far in Rousseau's connection with his fellow 
 artists is his wonderful friendship for Millet. For Diaz, Rousseau 
 had an affectionate regard more as between master and pupil, but for 
 Millet he had the esteem of a man and an equal. Rousseau, being a 
 strong-minded man, had a powerful influence over Millet and all 
 for his good. He constantly encouraged him and was in many ways 
 a real friend. He worked very hard to obtain for him such glimpses 
 of momentary good fortune as he enjoyed. He would even sell 
 Millet's drawings and pictures for him in Paris, and he always intro- 
 duced his own patrons to Millet. M. Hartmann, of Alsace ( !) , who 
 was the chief patron of the Barbizon painters in later years, was pre- 
 sented by Rousseau to Millet at the village [of Barbizon] ; and Hart- 
 mann was a good financial friend to both. Amidst their difficulties 
 in younger life. Millet and Rousseau had been compelled to make 
 some awkward engagements with bills which, failing to be paid in 
 due course, recalled them to real life, and troubled them in solemn 
 earnest. M. Hartmann frequently interfered. He often stopped ac- 
 tions on the bills; he bought them up from their unrelenting cred- 
 itors; and then, little by little, brought back again calmness into the 
 life of the two friends. It was in Millet's arms that Rousseau died." 
 1 Lately added to the Boston Museum of Fine Arts. ' 
 
THE GREEN ROOM 
 
 D. Croal Thomson, who reproduces this picture in his book at p. 240, 
 adds, two pages further on : 
 
 "In 1868, M. F. Hartmann, of Munster in Alsace, gave Millet 
 several important commissions, and in September the artist made a 
 journey to Alsace to see his patron, as well as for the benefit of his 
 health. On his return, he came round by Switzerland, visiting Basle, 
 its cathedral, and its museum with the works of Hans Holbein; also 
 Lucerne, Berne and Zurich. Rousseau had introduced Hartmann to 
 Millet at Barbizon, and Hartmann frequently acted as the good 
 
 genius of the two artists in saving them from relentless creditors." 
 Soullie: '7. F. Millet," 1900, p. 60. 
 
 ''Among the other pictures on which he was engaged, were his 'Woman 
 sewing by Candlelight,' his Teasant Woman feeding Turkeys,' and 
 his 'Young Mother nursing her Child,' sometimes called 'La Ma- 
 ternite,' a life-size picture for which his daughter, Madame Hey- 
 mann, sat to him." 
 
 M. Heymann, Millet's son-in-law, possessed several of Millet's most 
 interesting drawings. 
 
 It is not necessary to put forward any view as to the genesis and 
 elaboration of the elements in this composition. But they seem to be 
 contained, not as here rendered, in the crayon study of "The Mother and 
 Child" formerly in the possession of E. van Wisselingh. It is repro- 
 duced, plate M. 24, in Arsene Alexandre's "Millet," published by the 
 International Studio in 1 903. 
 
 EMBRANDT HARMENSZ VAN RIJN, whose art 
 
 "is not for an age but for all time," was born, as his 
 
 ^ name shows, on the banks of the Rhine — or rather the 
 Maas — at Leyden. It suited Ruskin to state that ''Rem- 
 brandt's aim was to paint the foulest things — by rushlight." 
 
 Julia Cartwright: "J. F. Millet," 1902, p. 332. 
 
 REMBRANDT 
 Dutch School; i6o6-i66g 
 
 11451 
 
THE GREEN ROOM 
 
 But a more reasoned view would show him as a many-sided and 
 profoundly creative genius, who had the resourcefulness to 
 raise the most commonplace motives to a higher plane of sen- 
 timent and pathos, reflection and wide vision. A just appre- 
 ciation may be formed from the hundred examples of his art, 
 originating in 1626 and extending down to within a few months 
 of his death, that are now in this country. In his earliest years 
 members of his own family served him as a model, and he 
 portrayed them in various characters. Until 1634 he had to 
 compete with his prosperous and somewhat objective rival, 
 Thomas de Keyser, but from such professional trammels and 
 irksome restrictions he managed to free himself at the moment 
 of his marriage to the wealthy Saskia. Become independent 
 of exacting patrons, he painted with more insight, treating a 
 variety of subjects and handling his chiaroscuro with ever- 
 deepening mystery of effect. Before long the influence of do- 
 mestic bereavement was reflected in his choice of subject, for 
 he gave himself up to grave and penetrating themes to rid 
 himself of the mental anguish through which he passed. In 
 time his manner of life offended the susceptibilities of the ultra- 
 moral section of the inhabitants of Amsterdam. Before long 
 he was declared a bankrupt and his most treasured possessions 
 dispersed. Yet his art continued to mature year by year, and 
 so little unnerved was he by mere worldly afflictions that he 
 continued to produce masterpieces which show the stupendous 
 power of his genius. Subjective and many-sided, he did not 
 lose himself in the infinite. Nor did he paint, as did so many of 
 his contemporaries, merely what his eye saw. Nothing could 
 cloud the spiritual beauty, the simplicity and the luminosity of 
 his achievement; and so, as a painter of religious subjects, he 
 brought the Bible story into human life. Thus passed away 
 "the son of Herman, the son of Gerrit, the son of Roelof," 
 owning nothing but the clothes he was actually wearing and the 
 paint-brushes he used up to the very end. This mystic painter 
 and etcher was the most profound and soul-searching master in 
 a century which produced Hals and Velazquez, Rubens and 
 
THE GREEN ROOM 
 
 Van Dyck. He is thus a precursor of modern art in its finest 
 and widest expression. 
 
 No. 13 Portrait of a Young Man rising from his Chair. 
 
 Three-quarter-length figure of a young man in black-figured 
 robe, with a girdle having four black bows and fastened with 
 tags, a flat lace collar and cuffs, and large black hat. He holds 
 his glove in his right hand, as he rises from the chair which, 
 upholstered in dark red, is dimly seen in the left background. 
 The palm of his left hand is shown and the fingers are ex- 
 tended. Dark gray background. 
 
 Canvas, 50 inches by 40 inches. (i-27 x i.oi) 
 
 Signed and dated low down on the right below the left hand: **Rem- 
 brandt, F 1633." 
 
 Formerly in the collection of Lord Ashburnham, and sold July 20, 1850. 
 
 Subsequently in the Pourtales-Gorgier Collection, Paris, March 27, 
 1865, No. 181, as "Portrait d'un bourguemestre," and stated to have 
 been bought from Farrer, the London picture-dealer. 
 
 In the collection of Comte E. de Pourtales, by whom it was lent to the 
 Rembrandt Exhibition at Amsterdam, 1898 (No. 24). 
 
 Exhibited on loan in New York, November, 1909, No. 4, and in 1914, 
 No. 4. This portrait is claimed to be the pendant to that of "The 
 Young Lady with a Fan" (Bode, No. lOi), circa 1633, which was 
 shown at Burlington House in 1898 (No. 55). 
 
 Smith: "Catalogue Raisonne," 1836, pt. 7, p. 120, No. 332, as "A Gen- 
 tleman of about thirty-two years of age." 
 
 Vossmaer: "Rembrandt: La Vie et ses CEuvres," 1877, p. 500. 
 
 Bode: "Complete Work of Rembrandt," 1897, Vol. II, p. 80, No. 100, 
 
 refers to this picture : 
 
 "The big portrait of a 'Young Man' of the Pourtales Collection 
 is, no doubt, one of the most important and most attractive portraits 
 painted by Rembrandt at his earlier time in Amsterdam. The mar- 
 vellous state makes it still more important." 
 
 1:473 
 
THE GREEN ROOM 
 
 Dutuit, No. 224. 
 
 Klassiker der Kunst: "Rembrandt," 1909, p. 96. 
 
 Valentiner: "Art of the Low Countries," 19 14, p. 244. 
 
 The Times, December 31, 1898, referring to the Rembrandt Exhibition 
 held at Burlington House in the first months of 1899, says: 
 
 "We are flying in the face of chronology in here calling attention 
 to another picture, which occupies one of the corners in this Great 
 Room, but it may be grouped with the others as a novelty to London ; 
 for we are not sure whether Lord Leconfield has ever before allowed 
 it to leave Petworth. This is the Tortrait of a Lady' (No. 55), a 
 three-quarter figure, dated 1635, the picture which Dr. Bode has 
 with great probability claimed as the companion to the 'Young Man' 
 in the Pourtales Collection in Paris. It is a pity that, as the Comte 
 de Pourtales lent his picture to Amsterdam, it could not also have 
 been borrowed by the Academy. In that case we could have seen the 
 lady and gentleman side by side, and undone for a moment the 
 divorce wrought by chance and the auction room. Whatever may 
 be the facts as to their relationship, the lady is one of the few beauties 
 ever painted by Rembrandt ; she is, in fact, probably the most comely 
 creature in the whole range of Dutch art, and, though the composi- 
 tion of the figure and the attitude are a little stiff, as is usual with 
 the master's works of this early date, the painting of the details, and 
 especially of the lace collar, shows that he had already arrived at a 
 technical mastery far beyond any of his contemporaries, including the 
 great De Keyser, to whom his art owed so much." 
 
 "Here is a Rembrandt, for example, in an earlier manner full of the re- 
 finement of considerable detail, showing a young man rising from his 
 chair. He is in somber black and extends one hand in a natural atti- 
 tude, and he is full of humanity. Indeed, humanity is the key-note 
 of the figures here. You are convinced at a glance that you are look- 
 ing at the personages themselves all through this exhibition, particu- 
 larly in the case of this young man by Rembrandt." 
 
 International Studio, 1910, Vol. XXXIX, pp. Ixxi, plate 73. 
 
 Putnam's Magazine, February, 19 10, p. 526. 
 
 Burlington Magazine, 1910, Vol. XVI, p. 364. 
 
 Connoisseur, 191 3, Vol. XXXVI, p. 261. 
 
 C483 
 
THE GREEN ROOM 
 
 Reproduced in the New York Herald, March 1,1914. It is there 
 
 referred to as follows: 
 
 *'As a caller enters the Exhibition at the Scott and Fowles Gal- 
 leries a very affable 'Young Man' will rise from his chair to greet 
 him, extend his hand and smile a welcome and then start to step 
 down from the gilt enclosure about him. He can go no further, but 
 it requires no stretch of the imagination to see him descend from the 
 canvas where Rembrandt put him and walk up to the visitor. Who 
 he is, the delvers into the past have not ascertained. He lives and 
 breathes; his face, with its rounded chin, seems to have no contact 
 with the canvas, and his hands are enveloped in air. This is one of 
 the most attractive portraits that Rembrandt ever painted. It was 
 formerly in the Pourtales Collection and is in a marvellous state of 
 preservation. Its signature by the artist has the date of 1633." 
 
 Hofstede de Groot: "Catalogue Raisonne," 1916, Vol. VI, No. 736. 
 
 'AN DYCK, having been apprenticed to Hendrik van 
 
 Balen at the age of ten, worked in the studio of Rubens 
 
 ▼ from 1 61 5 to 1620. It is not always realized that, at this 
 early moment in his career, the pupil was so precocious that he 
 may be said to have been from time to time the instructor of his 
 master, who was, in fact, twenty-two years his senior. So much 
 so that the works of the pupil at this early period are at times 
 to be distinguished from those of Rubens only by their flesh 
 tints, the drawing of the hands, the gray shadows, the pose of 
 the figures and other technical peculiarities. His first journey 
 to England in 1 620-1 621 was brief; for, being unappreciated, 
 he left in disgust. Fortunately he soon left Antwerp for Italy, 
 visiting in succession Rome, Florence, Bologna, Venice and 
 Mantua. After studying the works of the great Italian 
 masters in those cities, he settled in Genoa in 1624. There 
 he had the good fortune, as well for his contemporaries as 
 
 SIR ANTHONY VAN DYCK 
 
 Flemish School; i^gg-1641 
 
 1:493 
 
THE GREEN ROOM 
 
 for the student of to-day, to exercise his gift of portraiture. 
 In such a setting those portraits had a reality which they are 
 apt to lose when hung under disadvantageous conditions. In the 
 vast expanse of a Genoese palazzo they have the dignified air, 
 the easy and almost effortless appearance of instantaneous 
 creation. The glamour and aroma of their presence only 
 heighten the gift of the great portrait painter, and show his 
 wisdom in adapting the scale of his canvases to the environment 
 they were to maintain for two or three centuries ; for until the 
 early nineteenth century many of such paintings still hung in 
 their original homes in Genoa, as reference to the "Guida" of 
 Ratti will show. 
 
 Back in Antwerp in 1628, and in England again four years 
 later, he became Portrait Painter in Ordinary to their Majesties. 
 Who knows not something of the long series of masterpieces 
 painted for Charles I? Windsor Castle and the private col- 
 lections of England contain the imposing portraits of well-bred 
 sitters eminently suited to decorate and, as it were, to people 
 sumptuous palaces. There is no straining after effect, no cold 
 calculation to impress the spectator. Although they wear gor- 
 geous apparel, the full range of their mentality is not impaired. 
 It remained for his followers and imitators, in their profes- 
 sional business, to paint the lack-lustre eye and the cheek of 
 cream that betoken the court beauties of Charles II's reign. 
 The aristocratic distinction which is the hall-mark of his Geno- 
 ese portraiture is seen again in his treatment of religious sub- 
 jects, and in many of such works we recall the invention and 
 golden warmth of Titian. If his portraits lack the analytical 
 veracity of the Swiss-born Holbein, and are less profound and 
 penetrative than those by Rembrandt, they were occasioned by 
 different national requirements and, especially when they pos- 
 sess more dignity than those of Rubens, are more characteristic 
 of an age of courtly bearing. Perhaps it is the entire lack of 
 such an atmospherq, in these democratic times, that has again 
 earned for these relics of the past the just appreciation which 
 they did not always call forth in the eighteenth century. It is. 
 
THE GREEN ROOM 
 
 of course, necessary to distinguish such works from the factory- 
 like output of the studio and the commercial activity of the 
 pseudo-replica monger. The master himself was one of the 
 great technicians, and his method is an abiding inspiration to 
 modest artists, who, however, can do little more than stand 
 mute in contemplation. 
 
 No. 14 Portrait of Paolina Adorno, Marchesa di 
 Brignole Sale. 
 
 Full-length, more than life-size portrait of a young lady of 
 noble birth, in an ample, rich, brown-black dress, which is 
 trimmed with several rows of golden brown embroidery, with 
 full lace ruff or collar and cuffs. In her right hand, which has 
 a diamond ring on the index finger, she holds her fan, while 
 her left falls by her side and touches a little brown dog that is 
 sitting on a red cushion on a red-upholstered arm-chair. She 
 wears a large rope of pearls, and pearls are in her hair, in 
 which, near her left ear, is a red rose. An architectural setting, 
 with a column on the left and a dark red curtain hanging 
 high up. 
 
 Canvas, 88 inches by 58 inches. (2.23 x 1.47) 
 
 Paolina (or Paola) Adorno was the only child born to Giambattista 
 Adorno by his first wife, Paola di Giacomo Spinola. She married the 
 Marchese Anton Giulio, son of Gianfrancesco Brignole Sale, a Doge 
 of Genoa and Ambassador to Philip IV of Spain. Anton Giulio was 
 "Marchese e poeta" and his equestrian portrait of Van Dyck (2.86 
 X 1.98), in the Palazzo Rosso^ at Genoa, was painted about 1621-23. 
 The Adorni were, however, merchants; they had branch houses at 
 Bruges and in Spain. The ladies of the Brignole Sale family were es- 
 sentially benefactresses. 
 
 1 The Palazzo Rosso was formerly the property of the Brignole Sale family; 
 it to-day contains the Galleria Brignole Sale Deferrari. It is now No. 18 in 
 the Via Garibaldi, and therefore near the Palazzo Bianco, No. 13 in the same 
 street, which also was once in the possession of the Brignole Sale family. Near 
 by is No. 10, the Palazzo Adorno. Thus this portrait calls forth historic mem- 
 ories of Genoa and its illustrious patrician families. 
 
THE GREEN ROOM 
 
 Giambattista Adorno, the father of the lady here represented, was 
 Senator-Governor in 1621 and in 1632. In 1626 he was Senator-Proc- 
 urator. By his second wife, Violante di Cesare Longhi-Giustiniani, he 
 had four sons and two daughters: (i) Giambattista; (2) Agostino; 
 (3) Michele; (4) Filippo, who married Anna di Luca Longhi-Gius- 
 tiniani; (5) Francesca, who married Niccolo di Antonio Spinola; and 
 (6) Emilia, who married Giambattista di Gianantonio Raggio.^ 
 
 Giambattista, the eldest of these sons, married Caterina di Cesare 
 Durazzo, by whom he had two sons and two daughters ; of these children 
 only one, Agostino, was married. It seems probable that this branch of 
 the family inherited the portrait before us. 
 
 Giambattista's wife, Caterina, was also painted by Van Dyck; the 
 portrait of her, as the Marchesa Durazzo, hangs in the Royal Palace at 
 Genoa. In it she is represented with her right hand on the edge of a 
 fountain, and holding a fan in her left. She is, moreover, therein dressed 
 almost exactly as is Paolina Adorno in our portrait. She was painted 
 also by Van Dyck with two of her children in the picture now in the 
 Palazzo Durazzo, Genoa (Klassiker der Kunst, p. 180). 
 
 Paolina Adorno was more than once painted by Van Dyck. The por- 
 trait of her in the Palazzo Rosso (No. 14), measuring 9 feet 5 inches 
 by 6 feet 6 inches, was, according to Ratti, in the Brignole Sale Gallery 
 in 1780. It is reputed to have been painted in one night, after a ball at 
 the Casa Doria at which Van Dyck had conceived a sudden and violent 
 passion for the "bella Genovese." It was restored in 1902.^ The com- 
 panion portrait of her husband also hangs in the "Red Palace," and is 
 No. 5 in its Catalogue. 
 
 Another portrait of Paolina, in a diiferent dress and differently posed 
 as she moves to the left, was in the collection of the late Duke of Aber- 
 corn at Hampton House. It was exhibited at the Grafton Galleries in 
 1909-1910, No. 58. 
 
 Included in the same exhibition for a brief period in 1909 (No. 55) 
 was the portrait group, now in the gallery of Mr. Joseph E. Widener, 
 at Elkins Park, Philadelphia, of Paolina together with her son. The 
 Catalogue of the Widener Collection, 1913, No. 53, states that "it has 
 been questioned whether the picture represents Paola [or Paolina] 
 
 2 The pedigree of the Adorno di Genova family is given by Litta : "Famiglie 
 Celebri Italiane," pt. 120 (usually bound up in Vol. I) ; Tavola III concerns 
 us most. 
 
 3 See "Connoisseur," May, 1903, Vol. VI, p. 30. 
 
THE GREEN ROOM 
 
 Adorno or another member of the Brignole Sale family. ... It seems 
 that this picture is also a portrait of her. She wears the same jewelry, 
 the chain and the headdress." 
 
 Parenthetically we may observe that the Christian name of our young 
 lady is given by Litta and by most writers as Paola. Yet modern Ital- 
 ian writers prefer to describe her as Paolina, and this seems the more 
 correct form. Possibly she was known in her own home as a child by 
 the diminutive form, Paolina, to distinguish her from her mother, when 
 she was not referred to as, say, Signorinetta. 
 
 This portrait remained for over two hundred and fifty years in the 
 possession of the Brignole Sale family, for whom it was originally 
 painted, or in that of their descendants who inherited the Brignole family 
 palace. It passed, together with that palace and other pictures, to the 
 Durazzo family and was subsequently acquired from the Marchese 
 Flavio Durazzo, of Genoa. The facts are briefly set out in a letter 
 written in 1905 by C. Fairfax Murray and now in the possession of 
 Mr. and Mrs. Charles P. Taft. It reads thus: 
 
 "The Marquis Durazzo purchased from the Brignole family the 
 palace in Via Garibaldi, Genoa, where hung the two portraits by 
 Van Dyck, that lately purchased and a Portrait of a Gentleman 
 belonging to Baron Franchetti at Venice, now on the Index. 
 
 "On the death of the Marquis the pictures became the property 
 of the Marquis Flavio and the Marquis Marcello Durazzo respec- 
 tively. 
 
 "The Marquis Marcello sold his, the male portrait, some years 
 since, to Baron Franchetti.^ The Marquis Flavio kept the lady till 
 this spring." 
 
 In view of the provenance of the canvas before us and the facts already 
 cited, we may reasonably claim that the identification of the young lady 
 is established. It was entirely unknown until its reproduction in colour 
 in the Ladies' Home Journal, May, 191 7, p. 5, where stress was laid on 
 the fact that: 
 
 "The unusual height of the figure is characteristic of this period, 
 lending a queenly dignity of bearing. A small dog is introduced, 
 only to be overwhelmed and obliterated by the majestic presence of 
 
 4 That is apparently the "Young Man" exhibited by Baron Franchetti at 
 Antwerp in 1899, and mentioned in Gust's "Van Dyck," 1900, p. 241. It is 
 illustrated in Klassiker der Kunst: "Van Dyck," p. 178. 
 
 1:533 
 
THE GREEN ROOM 
 
 its mistress. The golden tone and rich black also mark the period 
 and bear witness to Van Dyck's recent study of the great Venetian 
 master, Titian." 
 
 The contrast between the ample proportions of Paolina and her diminu- 
 tive dog is seen again in the "Portrait of the Wife of Philippe le Roy" 
 in the Wallace Collection (No. 79), which is dated 1631 and belongs to 
 the second Flemish period of the artist. In the latter the lady naturally 
 wears a double lace frill which covers her neck and shoulders, as marking 
 the difference of country and fashion. 
 
 This is reproduced by Valentiner: "Art of the Low Countries," 19 14, 
 p. 239, as "A Lady of Rank," of the Genoese period, 1 621-1626. He 
 adds (p. 208) : 
 
 "When Van Dyck painted the Genoese ladies with their children, 
 he used the doll-like little ones simply as facts to augment the ex- 
 pression of grandeur and of superior intelligence in their elders, some- 
 what as he put beside a great lady— for example, in a picture owned 
 by Mr. Taft — a playful little dog whose graceful, heedless gambols 
 emphasize by contrast her dignified placidity. In his portrait of 
 Paola Adorno, belonging to Mr. Widener, he uses the boy with his 
 splendid red and yellow velvet dress as a colour contrast to the deep 
 black of the satin gown." 
 
 REMBRANDT 
 
 Dutch School; i6o6-i66g 
 
 No. 1 5 Portrait of an Elderly Woman. 
 
 Bust length, nearly life size; portrait in dark brown dress 
 and hood, with a white kerchief. A black fur-trimmed cloak 
 fastened with two gold clasps, over a dark gray under-dress. 
 Gold earrings. Dark neutral background. 
 
 Canvas, 25 inches by 20 inches. (0.63 x 0.50) 
 
 Signed, low down on the left: "Rembrandt, f. 1642." 
 Formerly in the collection of Sir Hugh Lane. 
 
 C54n 
 
THE GREEN ROOM 
 
 Exhibited at the Guildhall, London, 1903, No. 135. It was then rated 
 high by connoisseurs, but the critic of one London periodical. May 30, 
 1903, had the temerity to urge that: "The Tortrait of an Old Lady' 
 (No. 135) may surely be excluded as altogether unworthy"! 
 
 Exhibited, on loan, in New York, 19 14, No. 6. 
 
 Bode: ''Complete Work of Rembrandt," 1906, Vol. VIII, No. 584, 
 p. 38, reproduces this picture as a representative work, but incorrectly 
 states in the text that it is ''dated 1652," an error that has been copied 
 by several other writers without question. There is, however, no doubt 
 that the date on it is 1642. 
 
 "This bold painting bears a date which appears to be 1652. Rem- 
 brandt's mother died in 1640, so that the traditional title of the picture 
 cannot be correct. It used to be the common habit to call any portrait 
 of an old woman by Rembrandt his mother. ... As Rembrandt ad- 
 vanced in years he grew more and more sensitive to the beauty of old 
 age. Moreover, his power of rendering that beauty correspondingly 
 developed. The loose and free touch that came to him with mature 
 years was better adapted to treat such figures as the one before us than 
 the smooth and unlined countenances of youth. His power of attract- 
 ing sympathy for age grew from his own enlarged sympathy. The sor- 
 rows of the world seem to have impressed him as they impressed Goethe, 
 and he sympathised without revolt. The world has rightly felt that 
 Rembrandt's later work is larger and nobler than that of his years of 
 prosperity and fashionable employment." 
 
 Sir Martin Conway: "Great Masters," 1903. 
 
 Klassiker der Kunst: "Rembrandt," 1909, p. 349. 
 
 Valentiner: "Art in the Low Countries," 19 14, p. 247, as of 1652 [f/c]. 
 
 Hofstede de Groot: "Catalogue Raisonne," 191 6, Vol. VI, No. 496, 
 p. 251, as "dated 1652" [sic']. 
 
 This broadly painted and most expressive portrait can, without doubt, 
 be assigned, even unsupported by the date of 1642, to the earlier period. 
 A careful examination of the technique supports that view. The year 
 in which it would thus be painted marks the turning-point in the Dutch 
 master's career ; for it saw the completion of his great work, the so-called 
 "Night Watch," at Amsterdam. The somewhat melancholy mood of 
 
THE GREEN ROOM 
 
 the sitter may perhaps reflect the grief of the artist at the death, in that 
 year, of his beloved wife Saskia. One cannot help feeling also that this 
 canvas was painted in the seclusion of the home. Indeed, the portrait 
 recalls somewhat vividly the pathetic portrayals which the young master 
 painted of his "Mother," of which instances are preserved at Windsor 
 and at Wilton, near Salisbury. They, however, belong to the much 
 earlier date of 1 629-1 631. 
 
 Reproduced in the New York Herald, March i, 1914. 
 
 ERHAPS few would expect to read that Corot was the 
 
 son of a coiffeur and a modiste. Yet such was his par- 
 
 entage. He had become a pupil of Nature in her mys- 
 terious and elusive moods before he entered the studio of the 
 academic painter Michallon and, afterwards, that of Bertin. 
 Following in the footsteps of French XVII century landscape 
 painters, he in 1825 arrived in Italy on the first of his three 
 journeys to that country. His early works mark a sense of 
 obvious topography, but reveal him as enamoured of atmo- 
 sphere. Rendered with some precision as are his early works, 
 he was in his mature style to develop a lyrical feeling based 
 on the classical traditions taught by Michallon; this feeling 
 was allied with his own impressions, received direct from 
 nature. To this end he had sauntered along the banks of lake 
 and river, and made the acquaintance of individual trees and 
 shrubs. He had thus exercised his judgment in the selection 
 of pictorial motives, and rejected the chance appearance of 
 mere topography. He had been thus led to freedom of vis- 
 ion and airy looseness of touch, and the paint on his later can- 
 vases justifies their description as "colour music." Although 
 decorated after the Salon of 1846, his European fame dates 
 only from the last period of his career. By then he realized that 
 the ancients were wise in peopling lake and forest with nymph 
 
 JEAN BAPTISTE CAMILLE COROT 
 French School; ijg6-i8j ^ 
 
 1:563 
 
THE GREEN ROOM 
 
 and dryad. Half unconsciously he had to paint the tender 
 poetry of dawn and dusk with the shimmer of vibrating atmos- 
 phere, while all was based on a truly classic sense of style. 
 And all this time his power of penetration was blended with a 
 true bonhomie. Thus le hon papa Corot gave us charming 
 little figure-pieces and countless landscapes rendered with a 
 mastery of tone-values. From the remarks of the genial and 
 robust master of the arhre penche we may quote his comment 
 on Rosa Bonheur: "No, I don't like that woman in man's 
 clothes ! Why can't she paint and remain a woman?" Equally 
 sententious was his dictum that "Leonardo da Vinci is the 
 inventor of the modern landscape." And of that fact there is 
 no doubt, unless in a different sense we hark back to Giotto as 
 "the beginner." 
 
 No. 1 6 Le Soir {''La Fete de Pan''). 
 
 A romantic sylvan landscape, with tall feathery trees on 
 rising ground in the left middle distance. At the foot of the 
 knoll two nymphs are dancing, while two others of their num- 
 ber and a child stand near. They bear garlands and are about 
 to decorate a terminal figure of Pan, god of pastures, forests 
 and flocks. The rays of the setting sun are seen along the val- 
 ley on the right, and the sky, tinted with the rosy light of early 
 evening, is reflected in a pool in the foreground. The whole 
 scene is rendered with delicacy of touch, freedom and breadth 
 of treatment. 
 
 Canvas, 36 inches by 43 inches. (0.99 x i.io) 
 
 Signed in the left bottom corner: "COROT." 
 
 Said to have been in an Irish collection about 1871. 
 
 In the collection of Baron E. M. de Beurnonville, and sold April 29, 
 1880 (No. i), under the title of "Le Soir." Engraved in eau forte by 
 Buhot for that catalogue; the description in the sale catalogue begins: 
 "Le soleil a disparu, le ciel est encore tout inonde de lumiere." 
 
 ns7] 
 
THE GREEN ROOM 
 
 In the Defoer Collection, Paris, but not included in the sale catalogue 
 of May 22, 1886. 
 
 In the Crabbe Collection, Brussels, and lent to the Exposition Centen- 
 nale de I'Art Frangais, Paris, 1889, No. 184, as "Le Soir." Included in 
 the sale catalogue of that collection, June, 1890, No. 2, under the title 
 of "La Fete de Pan." 
 
 Lent by Archibald Coats, of Paisley, Scotland, to the Corot Centenary 
 Exhibition, held in the Galliera Palace, Paris, 1895, No. 41. 
 
 It is not to be confused with the picture "Souvenir de Mortefontaine" ( ? ) , 
 of about the same measurement, in the Coats Collection, put up at 
 auction at Christie's, July 3, 19 14, No. 10 1 (Robaut, No. 2191). 
 
 Robaut: "L'CEuvre de Corot," 1905, Vol. IV, p. 287, No. 11 11, as 
 "La Fete de Pan," painted about 1 855-1 860. 
 
 "The Corot has always been considered as one of the finest and most 
 representative examples of the great French painter, and came on 
 the market through the dispersal of the Crabbe Collection in Brus- 
 sels about fifteen years ago. It then went to the Coats Collection, 
 of Paisley, from which it was obtained by private sale." 
 
 HE exact circumstances of his birth are unknown, but 
 
 he was born about 1580, and apparently at Antwerp, 
 
 his parents having temporarily removed to that city 
 from Haarlem. In any event, from his childhood he made 
 *'the City of the Tulip" his permanent place of residence. He 
 may have been a pupil of Cornells Cornelissen, of Hendrik 
 Goltzius, or even of Karel van Mander, the Dutch Vasari. 
 The earliest surviving works of this great "master of the 
 brush" comprise his small sketchy portraits of children with 
 
 New York Herald, March 24, 1904. 
 
 Mireur: "Dictionnaire des Ventes," Vol. II, p. 263. 
 
 FRANS HALS 
 Dutch School; i5So?-i666 
 
 1:583 
 
THE GREEN ROOM 
 
 tousled hair, and rommel-pot players of rather forbidding ex- 
 terior. It is remarkable that no extant work can be dated ear- 
 lier than 1 6 10, when he had passed his thirtieth year. But by 
 1616 his art must have come to be highly esteemed locally, as 
 he was in that year commissioned to paint his "Banquet of the 
 Officers of the St. Joris Shooting Guild," which is still one of 
 the municipal glories of Haarlem. On February 20, 161 6, he 
 was summoned to appear before the Burgomaster of Haar- 
 lem, who reprimanded him for his irregular habits and his 
 cruelty to his first wife, Annette Hermans. She died some 
 months later, and the following year he married Lisbeth Rey- 
 niers, by whom he had six sons; they were all painters, but 
 only of mediocre attainments. Improvident, impetuous and at 
 times irresponsible, he doubtless was. Yet it is clear that he 
 could not have been in early manhood the wine-bibbing sot 
 that some have misrepresented him as being. For his magnifi- 
 cent achievements of later years, attested by numerous can- 
 vases, belie the haphazard comments of unveracious chroni- 
 clers. Like many of his contemporaries, and among them 
 Rembrandt, his junior by twenty-six years, Hals found it diffi- 
 cult to attract art patrons; so that in 1654 he had to appear 
 before a public notary, at the instance of a baker who sued 
 him for debt. In such circumstances he came to lack the inner 
 moral support and self-dependence which in earlier years had 
 sustained him. In 1664 he was granted poor relief by the mu- 
 nicipality of Haarlem; two years later an allowance of fifty 
 florins a quarter was made to him, and on his death his widow 
 was allowed fourteen sous a week. Thus came to his end, in 
 a pauper's grave, one of the elect number of accomplished 
 portrait painters, and one who had achieved the labours of 
 at least half a century. In spite of his fluctuating circum- 
 stances, his art did not wane, although the fashions of his fickle 
 patrons had changed. 
 
 No one has ever surpassed Hals as a technician within the 
 self-imposed limits of his art, which is full of ease and assur- 
 ance and remarkable for a magical touch. With the exception 
 
 1591 
 
THE GREEN ROOM 
 
 of a dozen canvases, he limited himself to portraiture, and in 
 his hands it is frankly human and self-revealing. A compari- 
 son of his art with Rembrandt's is natural. Rembrandt was 
 more versatile, and excelled Hals in the romanticism of his 
 light effects, in the wider range of his spiritual vision, and in 
 the aesthetic unity of his well-balanced compositions. On the 
 other hand, Hals's fully-loaded brush, which enabled him to 
 improvise a chromatic scale of suitable intensity, denotes that 
 he adhered to his own conceptions, untouched by intercourse 
 with other painters. Hals's forceful characterization and 
 frank realism transformed the likeness of his sitters into great 
 art. The humour of this lusty realist was inexhaustible, and 
 served him as the key-note of all expression. Yet until 1865 
 his art was practically forgotten; nor did it receive the meas- 
 ure of respect due it for at least another forty years. 
 
 No. 17 Portrait of Michielsz de Wael. 
 
 Three-quarter-length, life size, in black dress, with lace cuffs 
 and loose-falling ruff, and wearing a large black hat. His 
 lemon-coloured gloves are held in the right hand, which falls 
 by his side; his left hand is placed against his hip. He has a 
 moustache, a short beard and a ruddy complexion. Yellow- 
 ish brown background. 
 
 Canvas, 47 inches by 38 inches. ' (1.19x0.96) 
 
 Formerly in the collection of Arthur Sanderson, in Edinburgh. 
 
 "The portrait of Michael de Wael is studiously sober in colour, and, 
 unlike the gallant and merry captains and soldiers of the Haarlem 
 guards whom he painted with such gusto, has a pensive cast. 
 De Wael is standing, seen to the knees, in a black silk dress trimmed 
 with velvet, with plain deep ruff-like collar, and a round-brimmed 
 hat. His right arm, with long white cuff, hangs at his side, the 
 hand holding a glove; the left is akimbo. His cheeks, rather dry 
 and red, have high bones and are bare; but he wears a moustache, 
 an imperial, and a short pointed beard. On the whole, the face is 
 
 [603 
 
THE GREEN ROOM 
 
 rather hard, but manly and agreeable withal — a face noticeable in a 
 crowd, and to be trusted. This picture must be reckoned amongst 
 Mr. Sanderson's most covetable possessions." 
 
 Art Journal, 1897, PP- 271-3. 
 
 When exhibited at Burlington House, 1902, No. loi, it drew forth con- 
 siderable praise. 
 
 "Near it is a later picture by the same hand [Hals], belonging to Mr. 
 Arthur Sanderson. This Tortrait of Michael de Waal,' a very fine 
 picture,— it lately attracted much attention at Glasgow,— is of the 
 middle period of the master, and, though tfie character and attitude 
 have less than usual of that splendid swagger which is the true note 
 of Hals, it is in all technical respects a highly characteristic work 
 
 ^^^* The Times J London, January 21, 1902. 
 
 "He is in his most characteristic mood in the Tortrait of Michael de 
 Waal' (No. loi, Mr. Arthur Sanderson), superb in the desinvolture 
 of the design, in the certainty in which it is thrown on the canvas; 
 but as to the head— that of a viveur, by his looks of Hals's own type, 
 superficial and not a little coarse." 
 
 Sir Claude Phillips in the Daily Telegraph, January 24, 1902. 
 
 "To lovers of admirable technical accomplishment, one of the most dis- 
 tinguished works in the Exhibition is beyond doubt the 'Portrait of 
 Michael de Wael,' by Frans Hals, a splendid exercise in direct 
 brush-work which is at the same time vigorous in statement and 
 
 refined in execution." ^ _ , . . 
 
 Magazine of Art, 1902, p. 224. 
 
 "Among the works of Dutch and Flemish painters at the Exhibition, 
 those of Frans Hals are among the most striking. It is not often 
 that Hals reveals himself in so sympathetic a vein as in the Tortrait 
 of Michael de Wael' (No. loi) and 'The Portrait of a Lady' (No. 
 133). . . . The Tortrait of Michael de Wael' comes a trifle nearer 
 to Hals's ordinary manner, but it is none the less unusually quiet and 
 reserved. The man, 'with his hand hanging listlessly at his side and 
 his features relaxed, is seen in a moment of absorption, unconscious 
 of his surroundings or his effect on others. The momentary mood is 
 seized with as great a certainty and as fully realized as the franker, 
 more obvious moods which Hals usually affected. The placing of 
 
 ceo 
 
THE GREEN ROOM 
 
 the admirably planned design is, even for Hals, remarkably felicitous. 
 
 So, too, is the restricted colour-scheme and the brick-red flesh and 
 
 greenish-black dress." . , _. , ^ 
 
 Atnenceum, London, March i, 1902. 
 
 G. S. Davies: 'T. Hals," 1902, p. 65, claims that 
 
 *'the somewhat rowdy-looking person who sits sixth from the left in 
 front of the table (in the group of 1627), and who turns his glass 
 upside down after emptying it, is the same man as he who stands 
 fifth and in the lower row of the 1639 *St. George's Group,' grasping 
 a baton in his left hand. In the earlier group he has often been mis- 
 taken for Frans Hals himself, who, however, had, it is needless to 
 say, no place in these groups. The man is Michielsz de Waal— a 
 separate portrait of the same man, the property of Mr. A. Sanderson, 
 appeared in the Winter Exhibition of the Old Masters, January, 
 1902— who, when the later group was painted, was fiscal of the 
 Guild. The twelve intervening years of marching and feasting have 
 left marks which Hals has not forgotten to record." 
 
 E. W. Moes: ^^Iconographia Batava'' 1905, Vol. II, p. 566, where it is 
 noted also that Jan de Wael, who died in 1663, was Burgomaster of 
 Haarlem. 
 
 E. W. Moes: "F. Hals," 1909, p. 104, No. 83. 
 
 Exhibited, on loan, in New York, November, 1909, No. i. 
 
 Hofstede de Groot: "Catalogue Raisonne," 1910, Vol. Ill, p. 72, No. 
 242, deals with this picture. Apparently it is the companion portrait to 
 that of his wife, Cornelia van Baersdorp, but the latter of these paint- 
 ings has not been seen, or at least identified, since it was No. 153 in the 
 sale held at Utrecht, Holland, June 27, 1825, when two hundred florins 
 were paid for the pair ! 
 
 "The second Hals [exhibited in 1909, as above] was a standing portrait, 
 something more than half length, of that Michielsz de Wael, of 
 Haarlem, who sits sixth from the left in front of the table, reversing 
 his empty glass, in the reunion of the Officers of St. Joris Shooting 
 Guild, 1627, and who stands fifth from the left in the lower row, 
 holding a baton, in the similar group of the same guild, 1639. In 
 Mr. Taft's picture something of the weariness that follows these 
 banquetings may be discerned in the countenance, and possibly also 
 
THE GREEN ROOM 
 
 something more of refinement. The colour is fresh and just, very 
 beautiful, and the supple, alert movement of the figure is most ad- 
 mirably rendered. Burlington Magazine, 1910, Vol. X, p. 386. 
 
 "There are three examples of the painter's painter, Frans Hals, prince 
 of craftsmen, and perhaps the most notable is the portrait of 
 Michielsz de Wael, of three-quarter length, of florid countenance, a 
 fresh, crisp canvas, almost as perfect as when it left the artist's studio. 
 The head is a marvel, and there is a right hand that is the last vrord [ !] 
 in brilliancy of execution. One notes in the portraits of these men 
 the splendid management of the blacks, the brilliancy and snap ob- 
 tained in the manipulation of the sombre tones of a costume that 
 offered apparently little for the enthusiasm of the painter." 
 
 International Studio, 19 10, Vol. XXXIX, p. Ixxiv. 
 
 Exhibited, on loan, in New York, 19 14, No. i. 
 
 W. von Bode (tr. M. W. Brockwell) : "Frans Hals," 1914, Vol. H, 
 No. 168, plate 102. 
 
 Entire unanimity among the critics, as to the identity of this distin- 
 guished-looking young man, has not yet been reached. Nor do we know 
 exactly when the portrait was painted. It is now contained in a plain 
 but quite suitable frame, but we are told that formerly there was "on 
 the bottom of the frame a coat of arms bearing a bird facing right on 
 clouds. On the top of the frame is the monogram comprised of the let- 
 ters C H R and G." This is vague enough in all conscience, and the 
 knowledge of heraldry displayed is not very convincing. 
 
 But there is common ground for discussion, as Michielsz de Wael— 
 and it may well be he who is here portrayed — figures in two portrait 
 groups painted by Hals in 1627 and 1639, and now in the Town Mu- 
 seum at Haarlem. The former represents the "Banquet of the Officers 
 of St. George's Shooting Company" (St. Jorisdoelen) . Six men are 
 seated and five others stand round a table. Each figure bears a number 
 corresponding to the list of names below on the frame. The names in- 
 clude (i) Aernout Druyvesteyn, Colonel, and (2) Michielsz de Wael. 
 The figures are ranged in order from left to right; of those seated the 
 fourth from the left is Michielsz de Wael. He is bare-headed and has 
 a moustache. (Bode, plate 61, 68 inches x 90 inches; H. de Groot, No. 
 432.) 
 
 [63] 
 
THE GREEN ROOM 
 
 The latter represents the "Officers and Under-Officers of the St. 
 George's Shooting Company." In the open air nineteen persons are 
 assembled, mainly in two rows. They are numbered and named: (i) 
 Johan Loo, Colonel; (2) Michielsz de Wael, Treasurer, who is in the 
 lower row and fifth from the left; he wears a broad-brimmed hat, fine 
 linen collar and cuffs trimmed with lace, and a sash; a baton is in his 
 extended left hand; he is turned three quarters to the left. (Bode, plate 
 112, 80% inches by 164 inches; H. de Groot, No. 435.) 
 
 Everyone will, perhaps, not recognize the identity between the historical 
 figure in these portrait groups and our sitter. But those who admire 
 consummate technical accomplishment and direct brush-work will admit 
 that the present example is vigorous in statement and refined in execution. 
 
 ADRIAEN VAN OSTADE 
 
 Dutch School; 1610-168^ 
 
 IN Adriaen van Ostade we meet with a pupil of Frans Hals, 
 but one influenced perhaps by Rembrandt and Brouwer; a 
 native of Haarlem, he was a prolific painter of ability and 
 charm. Although a little matter-of-fact at times, his paintings, 
 drawings and etchings are to-day highly prized, and deserv- 
 edly so. The brother and master of Isaac van Ostade, he 
 spent the whole of his life in his native town painting an end- 
 less variety of scenes from family life and daily occupation, 
 which he rendered in carefully blended tones, even though 
 there is a certain repetition in the types. Still, thus is he the 
 product of his country and his period, and a technician of rare 
 distinction. 
 
 No. 18 Interior of a Carpenter's Shop. 
 
 The carpenter, in blue coat with red sleeves, and a blue cap, 
 stands by the window in the right background; he rests a large 
 piece of wood against the window sill. On the left, and nearer 
 to the front, are two men and a boy. One of them is seated 
 
 1:64:] 
 
THE GREEN ROOM 
 
 on an upturned tub, and is poking the dying embers in the 
 hearth; another man is holding an earthenware jug in his right 
 hand, as he offers the glass in his left to the child who leans 
 against the chair; near the chair is a dog. Smoked hams hang 
 from the rafters near the fireplace; baskets and boards are by 
 the window and near the wall on the right. 
 
 Canvas, 13 inches by 15 inches. (0.33 xo.38) 
 
 Engraved as '*La Maison du Menuisier" in the D'Orsay Collection. 
 Included in the Bire Collection, sale Heris of Brussels, Paris, March 25, 
 1841, No. 48. 
 
 Apparently the picture described by Hofstede de Groot: "Catalogue 
 Raisonne," igio, Vol. Ill, p. 263, No. 404/, as "The Joiner's Shop." 
 It is therein stated incidentally that "another man mends his shoe." In 
 a poor photograph of the painting, or before it was properly cleaned, he 
 may have appeared to be so engaged. He is, in fact, poking the embers. 
 
 Dr. W. von Bode wrote, in 1905, to Lockett Agnew thus: 
 
 "The Adriaen van Ostade 'Interior of a Cabaret' which you 
 showed me last month is certainly one of the finest pictures by the 
 master that I have seen for sale for years. It is fine in composition, 
 full of life, beautiful in colour and chiaroscuro and well preserved. 
 I prefer these smaller pictures to the rich compositions of the artist, 
 which are generally too crowded." 
 
 FRANS HALS 
 Dutch School; 1580?-! 666 
 
 No. 19 The Laughing Boy. 
 
 A small bust length of a boy with long reddish-brown hair, 
 rosy face, and large mouth with some of the front teeth miss- 
 ing. He looks out at the spectator over his left shoulder, 
 but his body is turned to the left. He wears a green coat. In 
 his raised right hand he holds a whistle, or flute, in front of 
 
 1:651 
 
THE GREEN ROOM 
 
 another child, whose face is less well seen in the left back- 
 ground. 
 
 Canvas, in a clearly marked oval on a small rectangular ground, 13^ 
 inches by 12^ inches. (0.33 xo.32) 
 
 Bode (tr. M. W. Brockwell) : "F. Hals," 1914, Vol. I, No. 28, plate 
 
 12C. 
 
 Possibly to be identified with the picture described at length by De 
 Groot: "Catalogue Raisonne," 19 10, Vol. Ill, p. 36, No. 132, as "Head 
 of a Laughing Boy with a Flute." That picture is described as being a 
 panel — the present one is a canvas — and signed with the monogram. It 
 is said to have been exhibited at Diisseldorf, 1886, No. 134, and to have 
 been included in the Neven sale, Cologne, March 17, 1879, No. 85, and 
 at the Niesewand ( !) sale in London, June 9, 1886, No. 52. It seems 
 impossible to verify these facts "on this side." 
 
 1:66:1 
 
THE ENTRANCE HALL 
 
MEINDERT HOBBEMA 
 
 Dutch School; idsS-iyoQ 
 
 F the artistic origin of Hobbema's achievement we 
 
 know little, but he is said to have been a pupil of Jacob 
 
 ^^--^ van Ruisdael. That he had thought out a character- 
 istically Dutch manner of his own, before he came under the 
 influence of Ruisdael, will not be denied. And we know that, as 
 friends, they went into the country together on sketching tours. 
 Ruisdael painted everything in the range of landscape : but not 
 so Hobbema. The latter does not, like Avercamp, give us 
 winter scenes; like Van der Neer, moonlit canals; like Ever- 
 dingen, mountain torrents ; like Ruisdael, rocky or hilly land- 
 scapes with storm effects. Trees to Hobbema are individual 
 objects to be scattered as accessories about the middle distance, 
 and not to be looked upon as integral features of a wood. He 
 did not go into the open, and paint directly on his panel the 
 actual appearance of a scene that he chanced to see with an 
 ever changing natural aspect, as did Jacob van Ruisdael. But 
 he worked as an eclectic, representing the composite landscape, 
 of his own formation and invention, with a poetic charm and a 
 sense of realism that have established his fame in our time. 
 Individual in his outlook on nature, he prefers to set before us 
 a scene of engaging naturalism. Thus a carefully executed, 
 and often shady, foreground may include a rutty road near a 
 clump of trees, a pool of stagnant water, or a tiny peaceful 
 stream. Pieter de Hooch by subtle gradation of light, al- 
 though differently controlled, and in another sphere of Dutch 
 painting, treated his human figures as decorative adjuncts in 
 a passage or another room at the back: Hobbema contrived 
 with conspicuous success, as his scene recedes into the middle 
 
THE ENTRANCE HALL 
 
 distance, to make the light pierce through a screen of trees and 
 foliage and cast long shadows across the open glades. In 
 the environment that Hobbema devises we do not at first see 
 the red-tiled cottage, the wooden hut with a half door, the 
 church spire, the green water-mill or the castle in partial ruin; 
 yet all may be there, in a Guelderland landscape seen by the 
 strong light of an afternoon sun and invested with an atmo- 
 sphere of contentment and peace ; the whole is rendered with 
 a loving sense of detail. This detail obscures the accessories 
 in a deliberately composed scene, which had no existence in 
 fact. 
 
 Yet so strange was the economic condition of Holland in 
 the closing decades of the seventeenth century, and so scanty 
 was art patronage, that Hobbema, to support himself, was 
 obliged to abandon the professional activities of a painter for 
 those of a municipal gauger of wine and foreign liquids which, 
 in Haarlem, had to be measured according to their capacity. 
 Although his aesthetic activities in early manhood were of 
 short duration, he has left us a fair number of paintings, but 
 his own figures are ill drawn. He died in poverty, in the same 
 street that Rembrandt had died in forty years previously. His 
 pictures had a great influence on the art of ''Old" Crome, the 
 landscape painter in the Norwich School, who died in 1821. 
 
 No. 20 A Landscape with Cattle and Figures {^^Les 
 Moulins''). 
 
 The left of the composition is dominated by lofty trees, 
 which surround and overshadow a sedgy pool by the roadside. 
 On the far side of the pool, and in the shade, is a man with 
 two cows, one of which is drinking. Near them are a goat, a 
 dog and several sheep. On the extreme right a herdsman, 
 blowing his horn, drives an ox down the road, and is about to 
 pass a boy who walks towards him. At the roadside on the 
 right sits a woman, and a man lying on the ground rests his 
 head on her lap. In the distance to the right we see two 
 
 1:703 
 
THE ENTRANCE HALL 
 
 water-mills, in front of which is a large mill-dam. Beyond them 
 and more to the left are houses, and one or two small figures 
 seen in the sunlit meadows. 
 
 The figures were painted in by Adriaen van de Velde. 
 
 Canvas, 37 inches by 50 inches. ^0.93 x 1.27) 
 
 Signed: "M. Hobbema." 
 
 Said to have been more than one hundred years ago in the collection of 
 "an English nobleman." Subsequently it passed into the collection of the 
 Countess of Holderness, which contained "some good pictures of the 
 Dutch School." After the death of the Countess, "who succeeded to some 
 of the best from the Greffier Fagel Collection in Holland," the pictures 
 were dispersed in 1802, this one being then sold to "Hanbury Tracy." 
 
 Exhibited at the British Gallery, 1821, No. 129; and 1832, No. 56, by 
 C. Hanbury Tracy. 
 
 In the collection of Charles Hanbury Tracy, 1835. 
 
 In the San Donato Collection, sold at Florence, Italy, in March, 1880, 
 No. 1 103, and referred to in the Catalogue as a "magnifique paysage, Tun 
 des plus precieux chefs d'oeuvre d' Hobbema. Signe: M. Hobbema en 
 toutes lettres, a droite sur le chemin; 0.96 x 1.28." 
 
 In the Secretan Collection, and included in the sale at Christie's, July 
 13, 1889, No. 6. 
 
 Subsequently in the collection of Samuel Cunliffe-Lister, at Swinton 
 Park. 
 
 Exhibited, on loan, in New York, November, 1909, No. 5 ; and again in 
 1914, No. 5. 
 
 Smith: "Catalogue Raisonne," 1835, pt. 6, p. 117, No. 10, where it is 
 stated that "the figures in this capital picture are by Adriaen van de 
 Velde." 
 
 New edition of Smith, 191 2, Vol. IV, p. 389, No. 106. 
 Redford: "Art Sales," 1888, Vol. I, p. 89. 
 
 "Hobbema's works were little thought of during his lifetime, or even 
 during the succeeding generation. No mention is made of his name 
 in any sale catalogue until 1735, twenty-six years after his death, 
 
 n70 
 
THE ENTRANCE HALL 
 
 when two landscapes by him were sold for 70 and 40 florins. . . . 
 During the 19th century they have changed hands at as high a price 
 as £8,820, the sum realized at the sale of the San Donato Collection 
 in 1880, by a 'Landscape' with cattle and figures by Adriaen van de 
 Velde." (F. Cundall: "Landscape Painters of Holland," 1891, p. 
 158.) That reference, of course, applies to the present picture. 
 
 "A landscape by Hobbema takes your attention. It is a sketch of coun- 
 try with figures and cattle, somewhat composed as were the land- 
 scapes of the day, less convincing in a color way than are the por- 
 traits, less possible of nature as we look at it in these times; yet this 
 is a masterpiece pure and simple. One speculates as to what were^ 
 its color aspects when it left the easel of the painter. Somehow one is 
 inclined to believe that it must have been more free from browns, 
 that there were tenderer grays not now in evidence. Yet with ob- 
 vious lackings, it makes up in other directions, for here is landscape 
 construction of a high order. Hobbema knew his tree forms, his 
 earth, his distance, the lay of the land, and he sends the eye away 
 back; you feel the stability of it all." 
 
 International Studio/' 1910, Vol. XXXIX, p. Ixxiv. 
 
 Adriaen van de Velde (i 636-1 672) was in the habit of painting the 
 figures into landscapes by Hobbema and several other Dutch painters. 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 English School; ij2J-ij88 
 
 No. 21 Portrait of Maria Walpole, Duchess of 
 Gloucester. 
 
 Nearly three-quarter length, the head turned slightly to the 
 right; in a gold-tinted dress with pearl ornaments, leaning her 
 head upon her left hand; her left arm rests upon a pedestal 
 that is hardly seen;^ her hair is dressed high and powdered. 
 
 1 So unusual a feature in a canvas of this size seems to denote that this was 
 originally, as recorded, a whole length. The left arm leaning on a pedestal, 
 but in a different pose, is found again in the famous life-size portrait of "The 
 Hon. Mrs. Graham" at Edinburgh. 
 
 1:72: 
 
THE ENTRANCE HALL 
 
 Canvas, 35^ inches by 27 y2 inches. (0.90 x 0.69) 
 
 Painted about 1779. 
 
 The second natural daughter of the Hon. Sir Edward Walpole, K.B.,^ 
 and Dorothy Clements, spinster, said to have been a milliner's appren- 
 tice at Durham and, as it would appear, subsequently at Bath. Maria 
 was baptized,^ July 10, 1736, at St. James's, Westminster. By his Maj- 
 esty's warrant to the Deputy Earl Marshal, she was to have "the same 
 Preeminency and Precedency as the Daughter of an Earl of Great 
 Britain."^ Her marriage on May 15, I759>^ to the Right Hon. James, 
 second Earl of Waldegrave, K.G., was largely brought about by her 
 uncle, Horace Walpole. These are Walpole's words: 
 
 "I have married, that is, I am marrying my niece, Maria, my 
 brother's second daughter, to Lord Waldegrave. What say you? 
 A month ago I was told he liked her— does he? I jumbled them to- 
 gether and he has already proposed. For character and credit he is 
 the first match in England— for beauty, I think she is. She has not 
 a fault in her face and person, and the detail is charming. A warm 
 complexion tending to brown, fine eyes, brown hair, fine teeth, and 
 infinite wit and vivacity."^ 
 
 2 Sir Edward Walpole was the second son of Sir Robert Walpole, who was 
 subsequently first Earl of Orford. Sir Edward died unmarried. He had three 
 natural daughters: 
 
 (1) Louisa (called also Laura in Burke's "Peerage," 1915, p. 1545, note), 
 who, September 13, 1758, married the Hon. and Rev. Frederick Keppel, son of 
 the second Earl of Albemarle. He was born 1728 ; consecrated Bishop of Exeter 
 1762; died 1777. She d.s.p., July 27, 1813. 
 
 (2) Maria, who here concerns us. 
 
 (3) Charlotte, who, October 2, 1770, became the first wife of Lionel, fifth 
 Earl of Dysart. She d.s.p., September 5, 1789. He was born 1734; died 1799. 
 L, Cust: "Royal Collection of Paintings, Buckingham Palace," wrongly calls him 
 the fourth Earl. See also "Complete Peerage," by G. E. C, edited by Hon. 
 Vicary Gibbs, 1916, Vol. IV, p. 565. Mrs. Barry's "Journal" (Vol. I, p. 190) 
 suggests she was a very lovable woman of high character: 
 
 "Adieu, sweet shade, complete was thy career." 
 
 3 G. E. C: "Complete Peerage," 1892, Vol. IV, p. 46. 
 
 4 Gentleman's Magazine, February, 1742, Vol. XII, p. 108. 
 
 5 Burke's "Peerage," 191 5, p. 1545, note, gives the date wrongly as May 17,, 
 but correctly at p. 2016. 
 
 6 "Letters of Horace Walpole," edited by Peter Cunningham, 1861, Vol. III^ 
 p. 218; in a letter, dated from "Arlington Street, April 11, 1859," to Sir Horace 
 Mann. 
 
THE ENTRANCE HALL 
 
 Again, Walpole writes : 
 
 "The second daughter [of my brother] is beauty itself! Her 
 face, bloom, eyes, hair, teeth and person are all perfect. You may 
 imagine how charming she is, when her only fault, if one must find 
 one, is that her face is rather too round. She has a great deal of 
 wit and vivacity, with perfect modesty. I must tell you, too, of their 
 brother."^ 
 
 And again: 
 
 ''Well! Maria was married yesterday. Don't we manage well? 
 The original day was not once put off; lawyers and milliners were 
 all ready canonically. It was as sensible a wedding as ever was. 
 There was neither form nor indecency, both which generally meet 
 on such occasions. They were married at my brother's in Pall Mall, 
 just before dinner, by Mr. Keppel ; the company, my brother, his son, 
 Mrs. Keppel, and Charlotte, Lady Elizabeth Keppel, Lady Betty 
 Waldegrave, and I. We dined there. The Earl and new Countess 
 got into the post-chaise at eight o'clock, and went to Navestock [Lord 
 Waldegrave's seat near Brentwood, Essex] alone, where they stay 
 till Saturday night; on Sunday she is to be presented. . . . Maria 
 was in a white and silver nightgown ( ! ) , with a hat very much pulled 
 over her face ; what one could see of it was handsomer than ever ; a 
 cold maiden blush gave her the sweetest delicacy in the world. I 
 had like to have demolished the solemnity of the ceremony by laugh- 
 ing — when Mr. Keppel read the words 'Bless thy servant and thy 
 handmaid/ it struck me how ridiculous it would have been, had Miss 
 Drax been the handmaid, as she was to have been. . . . 
 
 An informing, if scandalous, account is that given in the Town and 
 
 Country Magazine: 
 
 "Our hero, whom we shall call Dorimont, was born to the most 
 exalted rank in life, with an understanding equal to the station he was 
 to move in. His education, while it was polite and classical, was 
 also moral and religious ; and his tender years testified the most prom- 
 ising fruits of such a tuition. The improvement of his person, as he 
 advanced towards maturity, seemed to keep pace with that of his 
 
 Letter from Strawberry Hill, September 9, 1758, to Sir Horace Mann. See 
 Mrs. P. Toynbee: "Letters of Horace Walpole," 1903, Vol. IV, p. 186. 
 
 sWalpole's letter from Arlington Street, May 16, 1759, to George Montagu. 
 See Toynbee, Vol. IV, pp. 265-6. 
 
 [743 
 
THE ENTRANCE HALL 
 
 intellectual faculties, and a peculiar florid complexion, with an ex- 
 pressive open countenance, and fine light hair, could not fail recom- 
 mending him to the attention of the ladies. 
 
 "Maria, the lady who makes a joint part of this history, and 
 whose beautiful face we have endeavoured to give the reader a lively 
 idea of in the subjoined plate, has been for several years a reigning 
 toast. Yet time seems to have laid no hold on her charms, but allows 
 her all the juvenile exertion of her powers to please and captivate. 
 Added to a fine figure, she unites all the beauties of the mind, and is 
 peculiarly happy in that persuasive eloquence that so few of us mor- 
 tal men can resist. 
 
 "The world has derived this lady's pedigree from Mrs. C ts, 
 
 who resided at Bath, and is said to have kept a milliner's shop there; 
 she is still more universally known to be the natural daughter of a 
 K — t of the B — ; and the following anecdote is transmitted to us 
 
 of the source of this connexion. Sir E , being one evening in 
 
 more than common spirits, . . . 
 
 "Mrs. C continued her connexion with her lover, leaving 
 
 Bath, and living in a very splendid manner, in one of the politest 
 streets in this metropolis. She also produced two other daughters, 
 who are both married. . . . 
 
 "It were needless to say, that Maria's education was suited to the 
 rank of life in which she has ever figured; and the advantages she 
 derived from it were entirely noticed by every man of taste and dis- 
 cernment who was happy enough to be in her company. . . . 
 
 "L W was at this time paying his addresses to a young 
 
 lady whom the world had been so ill-natured as to suppose guilty of a 
 faux pas; when meeting with Maria, he was suddenly struck with her 
 charms, and yielded a voluntary captive to the connubial chain."^ 
 
 Maria evidently disputed the prize of beauty^^ with the celebrated 
 
 Misses Gunning; for in a letter of June 23, 1759, Horace Walpole 
 
 ^ Toivn and Country Magazine, January, 1769, pp. 13-14. The barely sup- 
 pressed references indicate: Mrs. Clements, Knight of the Bath, Sir Edward 
 Walpole, and Lord Waldegrave. 
 
 While on the subject o^ beauty, as recorded by Walpole, we may with ad- 
 vantage quote a letter from him to the Countess of Ossory, dated February, 
 1772, in regard to Georgiana, wife of William, fifth Duke of Devonshire. 
 Georgiana (born 1757; died 1806) was, of course, twenty-one years younger 
 than Maria Walpole. He writes: 
 
 "Last night I was at a ball at the Lady's Club. It was all goddesses, 
 instead of being a resurrection of dancing matrons, as usual. The Duchess 
 
 D53 
 
THE ENTRANCE HALL 
 
 relates that "my Lady Coventry and my niece Walpole have been mobbed 
 in the Park."ii 
 
 Maria's first husband was born March 14, 1715 (New Style) , and suc- 
 ceeded in 1 741. He was the intimate friend and adviser of George II. 
 Between 1752 and 1756 he tried to give his royal pupil, the Prince of 
 Wales, afterwards George III, "notions of common things," instructing 
 him "by conversation rather than by books." Moreover, he always stood 
 his friend with the King. But he regarded his task as "the most painful 
 servitude." For five days, in June, 1757, he was Premier. Although 
 described in 1751 as "totally surrendered to his pleasures," he was at the 
 time of his marriage said to be "as old again as she, and of no agreeable 
 figure, but for character and credit the finest match in England." Lord 
 Stewart of Cornwall, Lord Warden of the Stannaries, and one of the 
 tellers of the Exchequer, a Knight of the Garter, one of the Privy Coun- 
 cil, he died April 8, 1763,^^ of small-pox, through which he had been 
 heroically nursed by his devoted wife. 
 
 of Devonshire [who was then eighteen years of age] eifaces all without 
 being a beauty, but her youth, figure, flowing good nature, sense, and lively 
 modesty and modest familiarity make her a phenomenon." 
 Walpole, writing on May 29, 1783, refers to the Duchess of Devonshire as 
 being "The Empress of fashion, but no beauty at all. She was a very fine 
 woman, with all the freshness of youth and health, but now verges to coarse- 
 ness." She was then in her twenty-eighth year. Maria was, at the moment 
 that this portrait was painted, in her forty-third year. 
 
 This was Maria, Countess of Coventry (1733-1760), who, with her sister 
 Elizabeth (1734-1790), was famous for her beauty of face and figure. On their 
 appearance in London in the summer of 175 1, these sisters Gunning, though 
 quite young, were pronounced to be "the handsomest women alive." Of the two,, 
 Maria was the more lovely. Walpole, however, says that singly they were 
 surpassed by others, but "it was extraordinary that two sisters should be so 
 beautiful." Yet they were lacking in sense, and in knowledge of the world. 
 Maria in 1752 married George William, sixth Earl of Coventry. Elizabeth 
 Gunning in 1752 surreptitiously married James, sixth Duke of Hamilton, "using 
 the ring of the bed-curtain" as her wedding-ring. He died six years later. 
 When, in 1759, she married John, fifth Duke of Argyll, her beauty was said 
 to be still unimpaired and her behaviour modest. "Even when far advanced 
 in life, and with very decayed health," she was remarkably beautiful and 
 "seemed composed of a finer clay than the rest of her sex." She died of con- 
 sumption. During her last illness her personal appearance was, "as ever, her 
 chief care." People were never tired of running after her, and "one Sunday 
 evening in June, 1759, she was mobbed in Hyde Park. The King ordered that, 
 to prevent this for the future, she should have a guard; and on the next Sun- 
 day she made herself ridiculous by walking in the Park from 8 till 10 p.m., 
 with two sergeants of the Guards in front with their halberds, and twelve 
 soldiers following her." /). ^ y^ig xH and XXHI. 
 
 12 Gentleman's Magazine, Vol. XXXH, p. 201. 
 
THE ENTRANCE HALL 
 
 He had no male issue, but left three daughters, the ladies Laura, 
 Maria and Horatia Waldegrave. Than these three beautiful ladies 
 Sir Joshua never had more delightful sitters, and in none of his pictures 
 has he done more justice to beauty than in the very fine half-length 
 portrait group of them that belonged to Horace Walpole in 1782.^^ 
 
 Maria, now Dowager Countess of Waldegrave, had since the death of 
 Lady Coventry been ''allowed the handsomest woman in England." 
 After the death of her first husband, on April 8, 1763,^* she was sought 
 in marriage by the Duke of Portland. But on September 6, 1766, she 
 married, secondly and privately. His Royal Highness William Henry, 
 Duke of Gloucester and Edinburgh. He was born November 14, 1743, 
 and so was seven years her junior. The rite was solemnized by her 
 
 13 That group passed in time to Mrs. Thwaites, by whom it was exhibited 
 at the Guildhall, London, in 1890. It was last seen at Agnew's in 1899. Their 
 bright faces, white dresses and powdered tetes, as they sit round a work-table, 
 are known to all. Lady Elizabeth Laura (1760-1816), represented in the centre, 
 in 1782 married her cousin George, fourth Earl Waldegrave. Lady Charlotte 
 Maria (1761-1808), on the left, in 1784 married George, fourth Duke of Graf- 
 ton. Lady Anna Horatia (1762-1801), on the right, in 1786 married Admiral 
 Lord Hugh Seymour. Strangely enough, when sitting to Sir Joshua, Lady Maria 
 was lamenting the sudden death of her fiance, the young Duke of Ancaster, 
 and Lady Laura was suffering under a disappointment at the hands of Lord 
 Caermarthen, son of the Duke of Leeds. Walpole wanted Reynolds to draw 
 them as "the Graces adorning a bust of the Duchess as the Magna Mater," but 
 his ideas were not adopted by the painter, who presented them as embroidering 
 and winding silk. (See Graves and Cronin, Vol. HI, p. 1017.) 
 
 It is perhaps worth noting, par parenthese, that Ozias Humphrey made a 
 portrait of Lady Horatia, a fact which was much insisted upon in 1917 in the 
 lawsuit of Huntington ik LcAvis and Simmons, before the English High Court 
 of Justice. 
 
 14 We may here again quote with advantage from the Tozvn and Country 
 Magazine, January, 1769, p. 14: 
 
 "Upon the demise of L d W , she was the youngest and most beauti- 
 ful dowager in England; and consequently more than ever the envy of the 
 ladies and admiration of the men; the first said her charms had become 
 more formidable by her title; and the men all conceived that the arms 
 of such a C ss communicated raptures in despite of the bar of heraldry. 
 
 "Dorimont had at this time just attained the state of manhood, and was 
 among the foremost of her admirers. His rank, his person and his abilities 
 claimed him respect and applause, not only from ladies of the highest 
 birth, but also from the, most shining toasts in the Kingdom. His heart was 
 as yet unattached, and a complete stranger to the pleasing pains of love; 
 this conquest was destined for Maria. . . . 
 
 "Dorimont, we find, was no bad prophet . . . 
 
 "Here we must leave them, and indulge the reader in his own conjectures 
 concerning the real situation of their connexion, as Dorimont and Maria 
 are still incessant companions and professed lovers." 
 
 mi 
 
THE ENTRANCE HALL 
 
 chaplain at her house in Pall Mall. The secret was kept, although the 
 Court had its suspicions, until after the passing of the Royal Marriage 
 Act. Her connection with the Duke of Gloucester, brother of George 
 III, had caused serious trouble at Court,^^ and the Royal Marriage Act, 
 to prevent unions of this kind, had been passed only after much opposi- 
 tion in the spring of 1772. Their marriage was not notified to the King 
 until September 16, 1772; and had the act been retrospective, it would 
 have rendered their union illegal. 
 
 In this case, unlike that of George, Prince of Wales (afterwards 
 George IV) and Mrs. Fitzherbert, or of the Duke of Cumberland and 
 Mrs. Horton (who "had eyelashes a yard long"), the royal lover was 
 faithful to the end — or almost so. He gave up everything for the sake of 
 his bride, although his late amour with Lady Almeria Carpenter, lady of 
 the Duchess's bed-chamber, rather stained his record. The King ban- 
 ished him from Court on account of his secret marriage, but an inquiry 
 proved the validity of the marriage. The Duke and Duchess spent much 
 time abroad, chiefly in Italy, and their eldest daughter. Princess Sophia 
 Matilda, was born May 28, 1773.^''' Provision for the issue of the 
 
 Walpole wrote to the Countess of Ossory, "from Berkeley Square, June 
 16, at night": 
 
 "Ignorance was the cause of my not mentioning the reconciliation of the 
 King and his brothers. I knew nothing of it but common report till Tues- 
 day last, when Miss Keppel told me in a postscript that the Duke of 
 Gloucester had asked an audience and been graciously received. On Thurs- 
 day the Duchess herself sent me word of it, and desired me to come to 
 town. I came to-day, and have been with her this evening; and when I 
 came away just now, which was past eleven, the Duke was not come back 
 from Kew, where he had been to pass the evening with the Prince of 
 Wales. Not a word has passed between the brothers about the Duchess. 
 But you may understand that the two Dukes have different ideas, for the 
 Duke of Cumberland was at the drawing-room yesterday without his 
 Duchess, and the Duke of Gloucester was not." See Toynbee, Vol. VII, 
 p. 403, letter 1937. 
 
 In this connection, see our remarks (p. 129) on the Prince's treatment of 
 Mary Robinson, painted by Reynolds, in this collection. 
 
 17 In a letter of January 24, 1775, Walpole writes of the very serious illness 
 of the Duke, who, however, was to survive another thirty years. His words 
 
 ^^^* "I am very sorry to tell you the Duke of Gloucester is dying. About 
 three weeks ago the physicians said it was absolutely necessary for him 
 to go abroad immediately. He now cannot go, and probably will not live 
 many days, as he has had two shivering fits, and the physicians give the 
 Duchess no hopes. Her affliction and courage are not to be described: 
 they take their turns as she is in the room with him or not. His are still 
 greater. His heart is broken, and yet his firmness and coolness amazing. I 
 pity her beyond measure." 
 
 1:783 
 
THE ENTRANCE HALL 
 
 marriage was eventually made in 1788, and two years later Maria's 
 husband was restored to royal favour. Yet reasons of state and court eti- 
 quette seem to have restrained the impulse of the King's feelings regard- 
 ing "the distinguished object" of the Duke of Gloucester's choice. 
 
 On August 25, 1805, Maria's second husband died at Gloucester 
 House, Grosvenor Street, from "great decay of the liver." A polite 
 scholar and an accomplished gentleman, we are told, he was distinguished 
 "more by equanimity than splendid or showy talents." 
 
 In due course, on August 23, 1807, Maria herself passed away, the 
 immediate occasion of her death being "an effusion of water in the cav- 
 ity of her chest." In the Gentleman s Magazine of the following month 
 we read that "the fortitude with which the Duchess bore many afflictions, 
 the dignified forbearance she exhibited to her unmerited enemies, and 
 the extensive charities she dispensed towards the wretched, are personal 
 honours that should be spoken of in lieu of those of descent, and which 
 are of a nature that probably have placed her spirit in a situation of pre- 
 eminence in Heaven, and which ought not to pass on earth." 
 
 From Brompton, where she died at the age of seventy-one, her remains 
 were removed to Windsor, "the proceedings being suitable to her rank, 
 without any unnecessary parade or ostentation." As the procession did 
 not reach Windsor until half past eight o'clock, the funeral took place in 
 St. George's Chapel on August 31, 1807. 
 
 By her second husband she left one son, William Frederick, and two 
 
 daughters. He was born in Rome, January 15, 1776, and succeeded as 
 
 the second Duke of Gloucester, but d. s. p., November 30, 1834, when his 
 
 honours became extinct.^^ The elder of the daughters, Sophia Matilda, 
 
 IS "During the time that Benjamin West was engaged in the series of great 
 pictures for Windsor Castle, he enjoyed, as I have already mentioned, an easy 
 and confidential intercourse with the King, and I ought, perhaps, to have stated 
 earlier that, when he was chosen President of the Royal Academy, the late 
 Duke of Gloucester called on him, and mentioned that his Majesty was desirous 
 to know if the honour of knighthood would be acceptable. Mr. West immedi- 
 ately replied that no man had a greater respect for political honours and 
 distinctions than himself, but that he really thought he had already earned by 
 his pencil more eminence than could be conferred on him by rank. *The chief 
 value,' said he, *of titles are [jic] that they serve to preserve in families a 
 respect for those principles by which such distinctions were originally obtained. 
 But simple knighthood, to a man who is at least already as well known as he 
 could ever hope to be from that honour, is not a legitimate object of ambition. 
 To myself, then, your Royal Highness must perceive, the title could add no 
 dignity; and as it would perish with myself, it could add none to my family. 
 But were I possessed of a fortune, independent of my profession, sufficient to 
 enable my posterity to maintain the rank, I think that with my hereditary 
 
 1191 
 
THE ENTRANCE HALL 
 
 born in 1773, died in 1844; the younger, Caroline Augusta, born 1774, 
 lived only until 1775. 
 
 Maria's importance as a subordinate character in English history may 
 be summed up in the fact that she was a sister-in-law of George III, 
 aunt of George IV, and grand-aunt of Queen Victoria. She was also 
 a sister-in-law of Henry Frederick, Duke of Cumberland. 
 
 Again we may quote from Walpole. He says that Maria was "very 
 pious, charitable, sincere, frank and friendly, but warm and resentful; 
 her sense strong; her wit ready and very pointed." Admirable! 
 
 This is, doubtless, the picture mentioned by Fulcher, in his "Life of 
 Gainsborough," 1856 (p. 184), as being by that artist and then in the 
 collection of the Duchess of Gloucester. It is noted, however, that he 
 there describes it as a "w. 1.," or whole length. 
 
 It was exhibited at the Royal Academy, 1779, No. 98, under the title 
 of "Her Royal Highness the Dutchess [sic] of Gloucester." Walpole, 
 in his notes on that occasion, records that it was "very good and like" 
 (Graves: "Royal Academy Exhibitors," Vol. Ill, p. 192). 
 
 Apparently our portrait had never been published in any way — sub- 
 sequent to its mention by Fulcher, of course — until, in 1903, Lord Ron- 
 ald Sutherland Gower reproduced it in his monograph on "Gains- 
 borough." But there he, in error, lettered the plate (page 81) as "Anne 
 Lutterell [sic], Duchess of Cumberland." 
 
 It was included in the sale of the collection of the Duke of Cambridge 
 at Christie's, June 11, 1904, No. 85, and was sold to Agnew."^^ 
 
 descent, and the station I occupy among artists, a more permanent title than that 
 of knighthood might become a desirable object. As it is, however, that cannot 
 be, and I have been thus explicit with your Royal Highness that no misconcep- 
 tion may exist on the subject.' The Duke was not only pleased with the answer, 
 but took Mr. West cordially by both the hands, and said: 'You have justified the 
 opinion which the King has of you, and his Majesty will be delighted with 
 your answer' ; and when Mr. West next saw the King his reception was un- 
 usually warm and friendly." 
 
 John Gait: "Life of Benjamin West," 1820, part 2, pp. 189-190. 
 
 19 A portrait of the Duchess of Cumberland, by Romney, is in the collection 
 of Judge Elbert H. Gary. 
 
 20 It had not been included in "The Catalogue of those highly celebrated 
 and matchless chef d'ceuvres [sic^ of the Italian and English Schools . . . the 
 genuine property of the late Royal Highness the Duke of Gloucester, Deceased, 
 and removed from his mansion in Upper Grosvenor Street, which will be sold 
 by Mr. Christie at his Great Room, Pall Mall, on Saturday, 17 May, 1806, at 
 12 o'clock." 
 
 C80] 
 
THE ENTRANCE HALL 
 
 The Times, London, June 9, 1904, announcing the sale, stated: 
 
 "The Duke of Cambridge's pictures, which are now hung on 
 Christie's walls, form the largest collection of portraits of the reign- 
 ing house that has ever been offered for sale. Apparently all were 
 inherited, for none is of later date than about the year 1840. All, 
 in fact, represent George III and his family, with their husbands 
 and wives. By far the finest is Gainsborough's 'Maria Walpole, 
 Countess of Waldegrave and Duchess of Gloucester,' Horace Wal- 
 pole's beautiful niece. . . . 
 
 "The picture is of kit-cat size; the lady, with a high powdered 
 tete, sits, leaning on her left hand and looking upwards. Her dress 
 is of a golden tint, with pearl ornaments, all painted with the most 
 consummate mastery." 
 
 The Times, June 13, 1904, recording the sale, says: 
 
 "The honours of the day distinctly fell to Gainsborough, whose 
 beautiful portrait of Maria Walpole, to which reference was made 
 in the Times of Thursday, has established a record price for this 
 artist's pictures at auction. . . . Bidding was started on Saturday 
 at 5000 guineas, and in rather more than half a dozen bids reached 
 12,100 guineas, at which it was knocked down to Messrs. Agnew & 
 Sons. The price, therefore, quite eclipses the 10,100 guineas paid 
 in 1876 for the famous stolen Duchess of Devonshire, which re- 
 mained the record price for a Gainsborough until Saturday. . . . 
 It is of interest to point out that the late Duke of Cambridge in- 
 herited nearly all his art-treasures, as well as Gloucester House, 
 from his aunt, the second and last Duchess of Gloucester, who died 
 in 1857." 
 
 Exhibited at Messrs. Agnew's Galleries, London, 1904, No. 9. On 
 that occasion it again drew forth laudatory comments in the press. The 
 Times, November 8, 1904, mentions that: 
 
 "This is the portrait of the Duchess of Gloucester which was the 
 gem of the Duke of Cambridge's sale last season, and which was the 
 object of such an heroic combat in the auction- room. . . ." 
 
 Sir Claude Phillips in the Daily Telegraph, November 21, 1904, says: 
 "The important Gainsborough: 'Maria Walpole, Duchess of 
 Gloucester,' is here — the picture which at the sale of the late Duke 
 of Cambridge's Collection fetched what it is the fashion to call a 
 
THE ENTRANCE HALL 
 
 record price. The canvas has been successfully cleaned since it was 
 at Christie's; yet, as we think, not without some abatement of its 
 peculiar accent and charm,— at any rate, as regards the rich, sombre 
 brown-gold costume. The head is in handling of incomparable mas- 
 tery, and the portrait as a whole has a piquancy which can measure 
 itself on at least equal terms with the most perfect loveliness. Ex- 
 perience of life has made the lady not stale, but only more womanly 
 and attractive ; there is a reflection as well as a fire in the handsome 
 eyes, still bright and eager as only the eyes of Gainsborough's women 
 are." 
 
 The Guardian, November 30, 1904, wrote that: 
 
 *'It represents the proud beauty at the age of thirty-five [she was 
 in fact forty-two], and is painted in Gainsborough's finest manner, 
 with superb distinction as well as rare finish and delicacy." 
 
 "The Majestic, which arrived yesterday, brought two paintings val- 
 ued at $60,000 each. One was a Gainsborough, 'The Duchess of 
 Gloucester,' and the other was a canvas said to be by Andrea del 
 Sarto : 
 
 'The Holy Family,' said to be dated 1450. 
 
 "Under a special ruling of the Custom House, the paintings were 
 allowed to be taken to the Metropolitan Museum of Art. The gov- 
 ernment officials were afraid to take the risk of having the paintings 
 taken to the Public Stores for appraisement. The Gainsborough is 
 packed in a case almost four feet by five. There is a frame for the 
 latter in another case. 
 
 "Mr. said that the Del Sarto was intended for the Metropoli- 
 tan Museum of Art, subject to approval; the other, he said, would 
 probably be disposed of by private sale." 
 
 The New York Tribune, January 13, 1905. 
 
 (The placing of such a date as 1450 on any canvas by Andrea del Sarto 
 would have been somewhat of a feat, seeing that he was not born until 
 i486! In any event, no picture by that artist is to-day in the Metropoli- 
 tan Museum.) 
 
 Exhibited, on loan, in New York, November, 1909, No. 7. 
 Burlington Magazine, 19 10, Vol. XVI, p. 368. 
 
 "The Gainsborough portrait of the Duchess of Gloucester— high-bred, 
 distingue, a woman of fashion, a beauty in her rich dress, new 
 
THE ENTRANCE HALL 
 
 patrician air. She wears a great head-dress, is gowned appropriately, 
 the canvas is brushed in with authority, and one is certain of the 
 likeness." 
 
 International Studio, igio, Vol. XXXIX, p. Ixxiv. 
 Putnanis Magazine, February, 1910, Vol. VII, p. 525. 
 
 There is good ground for the belief, according to Whitley ("Gains- 
 borough," p. 96), that Gainsborough painted a portrait of Maria, 
 Duchess of Gloucester, which he thought exceptionally good and which 
 he sent in to the Royal Academy in 1772. ''We hear," says the Public 
 Advertiser of May 4, 1772, 
 
 ''that the gentlemen upon the Committee for managing the Royal 
 Academy have been guilty of a scandalous meanness to a capital artist 
 by secreting a whole-length picture of an English Countess for fear 
 their Majesties should see it; and this only upon a full conviction 
 that it was the best finished picture sent in this year to the Exhibi- 
 tion. The same artist has been affronted in this manner several times 
 before, from which they may depend upon his implacable resent- 
 ment, and will hear from him in a manner that will very much dis- 
 please them." 
 
 Her marriage to the Duke not then being known, the reference to Maria 
 as "an English Countess" is obvious. It was only a short time before the 
 opening of the Royal Academy in that year that the Royal Marriage Bill 
 had become law. Quite naturally. Sir Joshua Reynolds, as President, 
 and knowing the King's angry feeling towards Maria, would be anxious 
 to avoid, so early in the Academy's history, offending its founder and 
 patron. He thus, no doubt, felt it advisable to keep the portrait — if 
 hers it was — out of that year's Exhibition. Curiously enough, it was 
 the treatment by the Academy of a portrait of the Duchess's daughter. 
 Lady Horatia, that embittered Gainsborough in 1783, and led up to 
 the circumstances which, a year later, brought about the final rupture. 
 
 In 1775 it is recorded, in the Morning Chronicle, that "the Duke and 
 Duchess of Gloucester ^re often going to a famous painter's in Pall 
 Mall [where, of course, Gainsborough then lived] ; and it is reported 
 that he is now doing both their pictures, which are intended to be pre- 
 sented to a Great Lady" (Whitley: "Gainsborough," p. 116). 
 
 1:83] 
 
THE ENTRANCE HALL 
 
 It is in such circumstances, therefore, that we have gradually passed 
 to a consideration of the present portrait at the Royal Academy in 1779. 
 The writer in the St. James's Chronicle, in that year, found fault with 
 the expression of the face in the portrait of the Duchess. He thought 
 the portrait finely drawn, and a striking likeness, but felt that Gains- 
 borough was less happy in his attitudes than Sir Joshua. He added that 
 "the Duchess had been so much in public that the artist should have 
 been very attentive to the expression of her countenance, which is never 
 that of contemplation, but always of a placid good nature." 
 
 Engraved by J. B. Pratt. 
 
 The portraits of her, by different artists, show the keen eyes, arched 
 mouth, slightly Roman nose, and rich hair growing low on the forehead, 
 sometimes turned back beneath a coiffure. Reynolds painted her fre- 
 quently from 1759 onwards. Such a portrait, for which £21 was paid, 
 was exhibited at the Society of Artists in 1 761— seven years before the 
 Royal Academy was founded. It is, like others, in the collection of 
 Earl Waldegrave. Another represents her, with her daughter by her 
 first marriage, Lady Elizabeth Laura, in the Musee at Chantilly. She 
 is in the catalogue described as "belle d'une beaute presque impersonnelle 
 a force de calme et de serenite. . . . Les traits de la jeune femme sont 
 d'une regularite parfaite. La couleur de toute cette peinture est d'une 
 harmonic douce, chaude et pour ainsi dire caressante . . . partout vi- 
 brante, discrete." 
 
 In another portrait by Sir Joshua she is in mourning, and wears a 
 black veil over her head. A whole-length of her, also by him, was found 
 in a hay-loft at Navestock, where it probably had been placed when the 
 old Hall was pulled down. A whole-length portrait of her by the Presi- 
 dent was shown at the Royal Academy in 1774, No. 214; she had sat 
 for it in 1771, but now the finishing touches had been put to the por- 
 trait, intended, no longer with any mystery, for the Duke. 
 
 "The Duchess of Gloucester carried her honours with great dignity 
 and self-respect, and earned the esteem of her royal relations. . . . 
 The beautiful Countess Waldegrave was one of Sir Joshua Rey- 
 nolds's favourite sitters. She sat to him in 1759, after her mar- 
 riage, for the full-length portrait in peeress's robes which belongs 
 to the present Earl Waldegrave, and again in 1761 and 1762 for 
 the well-known portrait in a turban, and for the Madonna-like 
 group with her child, which was bequeathed by Frances, Countess 
 
THE ENTRANCE HALL 
 
 Waldegrave, to the Due d'Aumale, and is now in the Conde Col- 
 lection at Chantilly. She sat again to Reynolds in 1764, as a widow 
 in mourning for her husband, and more than once again during her 
 widowhood. She sat to him in October, 1767, when really Duchess 
 of Gloucester, for a portrait to be given to her father, Sir Edward 
 Walpole. 
 
 "After the marriage had been revealed to the world, the Duchess 
 of Gloucester sat to Reynolds, in 1771, for the full-length seated por- 
 trait now at Buckingham Palace. This was exhibited at the Royal 
 Academy in 1774 [and at the Grafton Galleries, 1909-10. See 
 Graves, Vol. Ill, p. 363]. This portrait descended to her daughter, 
 H.R.H. Princess Sophia Matilda of Gloucester, who at her death in 
 November, 1844, bequeathed the portrait to H.R.H. Prince Albert,, 
 the late Prince Consort. 
 
 ''The Duchess of Gloucester sat for the last time to Reynolds 
 in 1779 for a group of herself and her daughter, Princess Sophia 
 Matilda." 
 
 L. Cust: "The Royal Collection of Paintings," Vol. I, 1905.2^ ! 
 
 Prince Frederick of Hesse lent to the Exhibition held in Berlin in 1908 
 (No. 81) a portrait of "Maria, Duchess of Gloucester," by Reynolds. 
 Fairfax Murray exhibited at Paris in 1909 (No. 41), among the "Cent 
 Portraits," a portrait of her, also by Sir Joshua.^^ 
 
 Of his lovely sitter Sir Joshua always spoke in terms of the highest 
 praise. In quite modern times a lock of delicate golden-brown hair, 
 with a ticket bearing the name of "Maria, Countess of Waldegrave," 
 was found in Sir Joshua's pocket-book. 
 
 Included in the Duke of Cambridge's sale, in 1904, were also portraits 
 of Maria by Sir Joshua, Beechey, and Hoppner. The first of these, in 
 a white muslin dress embroidered with gold, and a white turban, fetched 
 1400 guineas; the second, painted late in life and in a black and white 
 dress and black head-dress, reached 60 guineas; and the last, in a black 
 dress and seated at a table, 420 guineas. 
 
 As early as 1774 the London Magazine contained an engraved portrait 
 of "Maria, Dutchess \_sic~\ of Gloucester," whose face was held to be 
 one of those which "throw unrivalled lustre round the drawing room of 
 
 21 Cust has overlooked the present portrait, presumably of 1779. 
 22Graves: "Century of Loan Exhibitions," 1913, pp. 1089-90. 
 
THE ENTRANCE HALL 
 
 the British Court." It was apparently the picture (No. 109) in the 
 Duke of Cambridge's sale. Below the following lines are inscribed : 
 "In beauty's rank 'twas Glo'ster's part to please, 
 A form so witching blending grace with ease, 
 The pow'rs of love beheld the crown of charms, 
 And judg'd her worthy e'en of royal arms." 
 
 La Belle Assemble, 1806, Vol. I, pt. 2, p. 445, contains Hopwood's en- 
 graving of her after Reynolds. 
 
 In Cunningham's edition of ''Walpole's Letters," 1866, Vol. Ill, p. 
 170, is seen S. Bull's engraving of her portrait, which was in 1857 still 
 at Strawberry Hill. 
 
 Miniature portraits of her were also painted by Ozias Humphrey and 
 Richard Cosway. 
 
 The introduction of a parapet or, indeed, of any kind of architectural 
 setting in a portrait of kit-cat^s size is most unusual. The left arm rest- 
 ing on the parapet, and the large scale on which the head is here painted, 
 confirm our view that our canvas was originally, as Fulcher claims, a 
 whole-length. This canvas to-day is almost exactly kit-cat size. It may 
 well have been cut down to meet the requirements of hanging. Half 
 a century ago such a practice was not unknown, especially in the English 
 royal collections.^"* We need not attach any importance to a fact which 
 we have recently discovered that, in the sale of Mrs. Gainsborough's 
 possessions on April 10, 1797, there was a "Duchess of Gloucester," a 
 kit-cat, by (or attributed to) Gainsborough. It was No. 27 in the 
 catalogue. As it was sold to "Duval" for £2 lOs.j we need not seriously 
 discuss it. 
 
 23 A kit-cat, strictly speaking, is a canvas for a portrait less than a half- 
 length, but including the hands, and measuring 36 inches by 28 inches. It is 
 so called from the portraits of the members of the club at Barn Elms, who seem 
 to have originally met in the pie-house kept in Shire Lane, London, by one 
 Kit {i.e., Christopher) Cat. Those portraits are now in the Baker Collection 
 at Bayfordbury, near Hertford. 
 
 24 It will be remembered that the lower portion of the canvas of Gains- 
 borough's "Eldest Princesses" was very unceremoniously cut away in the early 
 part of the nineteenth century. 
 
THE ENTRANCE HALL 
 
 JOHN HOPPNER, R.A. 
 
 English School; iy^8-i8io 
 
 BORN in London of German parentage, and in strange 
 circumstances, he in 1775 entered the Royal Academy 
 Schools. Five years later he exhibited for the first time, 
 his initial success being gained with a pretty fancy portrait of 
 Phoebe Wright, a member of a Quaker family. Only twice 
 thereafter did he fail to exhibit, viz., in 1801, when he broke 
 his arm, and in 1808, when he was ill and his life was near- 
 ing its end. From the outset he was a remarkable portrait 
 painter, having early developed his art under the influence of 
 Reynolds; in his later time he was regarded as "the most dar- 
 ing plagiarist of Reynolds," and so came to "divide" the town 
 with Lawrence, who was his more or less friendly rival. It 
 was, perhaps, fortunate for both that Raeburn continued to 
 work in his native Scotland. Yet Hoppner painted with tech- 
 nical skill and an admixture of sensuous charm; nor did his 
 manner undergo the changes that enable us to date the un- 
 signed works of his great predecessors, Reynolds and Gains- 
 borough. By the end of the century, while still retaining his 
 vogue, he allowed carelessness and a certain degree of shallow- 
 ness to outweigh the qualities of his best period. Consequently, 
 by the middle of the nineteenth century, collectors were not al- 
 ways willing to recognize the merits of his artistic productions. 
 Although he went on many a sketching tour, he is to-day en- 
 tirely unknown as a landscape painter. By no means the 
 compeer of Reynolds, his best portraits are remarkable for 
 their faithful likeness, their daintiness and a certain charm. 
 His was a caustic tongue, and Samuel Rogers tells us that he 
 had an "awful temper." His death, following on years of un- 
 happiness, left Lawrence an undisputed field. 
 
 1:873 
 
THE ENTRANCE HALL 
 
 No. 22 Portrait of Miss Agnes Coussmaker. 
 
 Half-length figure, standing in a landscape and turned to 
 the left, as she looks out at the spectator. In a low-cut white 
 dress, with light blue sash. Her fair, curly hair, bound with a 
 blue ribbon, covers her ears and falls upon her shoulders. 
 Landscape background to the left, with lowering sky. 
 
 Canvas, 29 inches by 24^ inches. (0.73 xo.62) 
 
 Painted in 1788. 
 
 Agnes Katherine Coussmaker was the third daughter of John Couss- 
 maker, of Westwood, Normandy, Guildford, Surrey, by his wife, Eliza- 
 beth, daughter of William Newman, of Baconthorpe, Norfolk. She was 
 born in 1768, and married Rev. W. K. Heath, of Inkborough, Worces- 
 ter. She died in 1824. 
 
 The Coussmaker family were descended from Jacques de Coussmaker 
 {circa 1520), of West Flanders. John, one of his descendants (born 
 circa 1667), came to England during the reign of William III and 
 bought Westwood. (M. F. Tweedie.) 
 
 Exhibited at Messrs. Agnew's Galleries, London, 1905, No. 16. 
 
 Exhibited on loan in New York, November, 1909, No. 9, and in Febru- 
 ary, 1913, No. I. 
 
 Engraved in mezzotint by Norman Hirst, 1906, 17^ inches by 14)^ 
 inches. 
 
 McKay and W. Roberts: "John Hoppner," 1909, pp. 58 and 332. 
 
 It is perhaps worth noting that Colonel George Coussmaker (born 
 1759; married 1790) sat to Sir Joshua Reynolds in 1782; his portrait 
 (Graves and Cronin: "Works of Reynolds," No. 199) was lent by Lord 
 de Clifford to the British Institution in 1813; it also appeared at Bur- 
 lington House in 1875, No. 159. 
 
 Burlington Magazine, 1910, Vol. XVI, p. 368. 
 
 "John Hoppner signs [sic'] the half-length of Miss Coussmaker, a can- 
 vas painted in 1788, brilliant in its way, characteristic of the time, 
 a characterful presentation of the femininity of the day." 
 
 International Studio, 1910, Vol. XXXIX, p. Ixxiv. 
 
 There is, by the way, no known instance of Hoppner's signing a picture. 
 
 1:883 
 
THE ENTRANCE HALL 
 
 FRANCISCO GOYA 
 
 Spanish School; 1246-1828 
 No. 23 Portrait of the Toreador, Joaquin Rodriguez 
 
 COSTILLARES. 
 
 Bust length, turned slightly towards the right. In the fanci- 
 ful green and gold doublet of his profession lined with black, 
 red vest, white scarf and blue cap. Dark background. 
 
 Canvas, 20 inches by i6j^ inches. (0.50x0.41) 
 
 Formerly in the collection of the Conde de Asalto at Madrid, and pur- 
 chased from the collection of Senor Enrique Puncet, whose wife was a 
 niece of the late Senor Beruete. 
 
 Exhibited at the National Exhibition of Portraits, Madrid, No. 677. 
 Mentioned by Von Loga: "Goya," 1903, p. 194, No. 200; by Stokes: 
 "Goya," p. 330, under No. 79; and by A. de Beruete, "Goya," 1916, p. 
 175, No. 144- 
 
 Another portrait of Costillares by Goya is in the Lazaro Galdeano Col- 
 lection. Another, in that of Senor Jose Lazaro, is reproduced by 
 Calvert: "Goya," 1908, p. 133, No. 106, plate 39; and by Stokes, p. 
 238. A small one (11 inches x 8^^ inches) was in the D. Placido Zu- 
 loaga Collection, and subsequently in that of M. Ivan Stchoukine in 
 Paris. 
 
 Goya is known to have joined a cuadrilla of bull-fighters, and to have 
 made his way from town to town and so reached an Andalusian port, 
 where he embarked for Italy in his student days. He studied the de- 
 tails of the toreador's life, the elegance of the banderilleros, the knightly 
 movement of the picadores, and the calm deliberation of the espada. 
 As a prominent supporter of the bull-ring, Goya counted among his 
 friends, and painted the portraits of, both Costillares and Jose Romero. 
 Moreover, he has left us thirty-three etchings of his Tauromachia. 
 
 Costillares, whose real name was Joaquin Rodriguez, is said to have 
 introduced a new style of bull-fighting, for it was he who first "made 
 
 1:89: 
 
THE ENTRANCE HALL 
 
 the attempt to go at the bull with a sword, instead of waiting for the 
 charge of the animal." 
 
 "In 1789 gossip reported that the two Duchesses [of Alba and Osuna] 
 disputed the patronage of Costillares and Romero, the most cele- 
 brated bull-fighters of Spain. Their despicable dissoluteness, writes 
 one historian, was of public notoriety. High and low, at court 
 and in the town, all spoke of the affair. It was the theme of daily 
 conversation. The episodes, the bursts of passion and generosity 
 of each rival, were related with full details. But no one was 
 shocked at the immorality, the insolence, and the scandal of this 
 struggle. . . When Goya succeeded, as in the Toreador Costil- 
 lares, and other portraits ready to mind, he ranks with the great 
 masters of his craft." 
 
 Stokes: 'Trancisco Goya," 1914, pp. 187 and 235. 
 
 GEORGE ROMNEY 
 English School; 1^^4-1802 
 
 BORN near Dalton-in-Furness and so far removed from 
 close contact with artists, his earliest endeavours were 
 in every way humble. Thus, we are told, he painted 
 for a local post-office window a hand holding a letter. Even 
 when he set himself seriously to study painting, he had seen 
 no gallery of pictures. Nor did he learn much more than the 
 rudiments of his art under the direction of Steel, to whom he 
 was apprenticed. Careful and conscientious, he developed his 
 manner, and by 1762 saw the necessity of migrating to Lon- 
 don, where he was to spend nearly the whole of the next forty 
 years away from his wife and family. A trip to Paris in 1764, 
 and a tour in Italy in 1 773-1 775, determined his style. When 
 he settled in 1776 in Cavendish Square, his hopes ran high and 
 his fees were moderate. Thus a year later he gave six hun- 
 dred sittings. From April, 1782, "The Divine Emma," after- 
 wards Lady Hamilton, began to sit to him for another of the 
 
THE ENTRANCE HALL 
 
 forty-five pictures of her that survive. He practised his art 
 honestly and loved it fervently, so that in his painting-room he 
 seemed to have the highest enjoyment of life. Hayley, by 
 flattery, gained much influence over Romney, who, never hav- 
 ing consented to exhibit at the Royal Academy, was not eligible 
 for membership. And it must be admitted that, following on 
 the secession of Gainsborough from the annual exhibitions, 
 the canvases of Romney, who made concessions to the artistic 
 conventions of his age and ever aimed at the grand style, 
 would have attracted the town. Possibly his refusal to exhibit 
 hastened public oblivion of his art; for fifty years after his 
 death art-writers and the public alike had little praise to be- 
 stow on his work. But on the inauguration of the exhibitions 
 of Old Masters at Burlington House in 1870, he came into his 
 own, as, indeed, did Raeburn. Since then his reputation has 
 increased so extraordinarily that his name is to-day uttered, 
 by some with extravagant praise. He dearly loved to impart 
 to his sitters an apparently classical aspect, sometimes by the 
 use of a wide facial angle, deep-sunk eyes and an ennobled 
 brow. His design, having been learnt in Italy, was ample 
 and graceful, and at its best may be termed grand. But at the 
 very end of his career his composition was, at times, character- 
 ized by a recipe-like shallowness, allied with a mask-like con- 
 tour. In one respect, however, he surpasses the great Rey- 
 nolds, strange as this may seem to many: his pictures, being 
 painted in pure, liquid colour with sound technique — and not 
 experimentally with bitumen, lamp-black and wax, as were so 
 many of Reynolds's works — are to-day exceptionally well pre- 
 served. Yet, with this technical foresight Romney is not al- 
 ways credited. 
 
 No. 24 Portrait of Mrs. John Johnson. 
 
 Half length, turned towards the left. In a white dress with 
 blue sash, and a large blue hat with blue ribbons. Her hair 
 is powdered and falls over her ears and upon her shoulders. 
 Her hands are clasped on her lap. Sky background. 
 
 1:90 
 
THE ENTRANCE HALL 
 
 Canvas, 29 inches by 24^/2 inches. (0.73 xo.62) 
 
 Probably painted in 1786. 
 
 Mrs. Elizabeth Johnson, nee Ponsonby, of Walton House (now Castle- 
 steads), near Brompton, Cumberland, married John Johnson, Novem- 
 ber 30, 1786. She died January 15, 1792. They had two sons and 
 two daughters. The elder son, William Ponsonby (born 1789; died 
 1865), had a son George John (born 18 16; died 1896), whose son 
 Frederick Ponsonby (born 1843) seems to have sold this picture. In 
 any event, it was acquired from the Johnson family by the late Charles 
 J. Wertheimer, who at the same time received the original receipt for 
 ''twenty guineas paid for the portrait, and eight shillings, the cost of 
 the packing-case" that originally contained it. 
 
 The entries in Romney's diaries under the name of Johnson are very 
 numerous. But the sittings for this picture seem to have been given in 
 1786. A portrait of Mr. Johnson was also painted by Romney, and, 
 we believe, still hangs in the same collection. This pair of portraits was 
 evidently painted while Mr. and Mrs. Johnson were in residence in 
 "Bloomsbury Square, four doors from Hart Street." 
 
 Included in the Exhibition of Old English Masters, held in the Royal 
 Academy, Berlin, 1908, No. 82. 
 
 Exhibited, on loan, in New York, February, 191 3, No. 4. 
 
 Ward and Roberts: "G. Romney," 1904, Vol. II, p. 85, and there re- 
 produced. 
 
 "The portrait of Mrs. Johnson, nee Mary [^fc] Ponsonby, of Walton 
 House, near Brompton, Cumberland, was painted by Romney in 
 1786, the year of the lady's marriage, and shows the artist in one 
 of his more strenuous moods. The picture is painted with rapid 
 and assured technique, and the beautiful subject is expressed with 
 wonderful assurance and force." 
 
 The Connoisseur, 1913, Vol. XXXVI, pp. 13 (plate) and 47. 
 
 The whole technical achievement of this picture accords with the prac- 
 tice of Romney in the period 1 782-1 788, and, to be more precise, accords 
 with that of the year 1786. Thus the portrait of "Elizabeth, Lady 
 Forbes," successively in the collections of Sir Duncan Hay and Lord 
 
 19^1 
 
THE ENTRANCE HALL 
 
 Michelham and shown at the Grafton Galleries, 191 1, No. 41, repre- 
 sents her in a large black velvet hat heavily flounced and trimmed with 
 gauze; the left elbow there rests on the arm-chair. It was painted in 
 1786. Between 1783 and 1788 Romney also painted the "Lady Ara- 
 bella Ward," now in the Widener Collection. {Art in America, August, 
 1 9 19.) In each of these three canvases are similarities of style, and in 
 each we note the placing of the broad-brimmed hat very high on the 
 canvas. 
 
 JOHN HOPPNER, R.A. 
 
 English School; ly ^8-18 10 
 No. 25 Portrait of Mrs. Gwyn {''The J ess amy Bride'^). 
 
 Half length, standing and turned three-quarters to the left. 
 In a low-cut white dress, with blue sash; a white mob cap, with 
 a blue bow, is tied with a thin black cord below the chin. A 
 black-spotted fichu falls loosely across her arms and round the 
 waist. She has a ruddy complexion and brown eyes, and fair 
 hair falls over her ears. Sky background. 
 
 Canvas, 29 inches by 24^ inches. (0.73 xo.62) 
 
 This portrait remained in the possession of the Gwyn family from the 
 moment that it was painted until sold at Christie's, June 29, 1889 (No. 
 30), by direction of Miss Gwyn. 
 
 Subsequently it passed into the collection of Henry G. Marquand, 
 and on June 23, 1903 (No. 36), was included in the sale in New York 
 of his pictures. The entry in the Marquand sale catalogue reads thus : 
 "The charming spontaneity of the pose, as, seated back to us, she 
 turns her shapely head to glance over her left shoulder, is in Hoppner's 
 happiest manner. So, too, is the rendering of the face, rosy with 
 youthful charm, mingling nobility and sweetness, yet, for all its pretty 
 artifice, very spirited and life-like. The corsage, edged with a ruflJle, 
 is cut low enough to reveal completely the graceful sweep of the 
 neck, which is encircled with a narrow black ribbon. The gown is 
 of white material, and a black lace scarf surrounds the waist and 
 
 [93] 
 
THE ENTRANCE HALL 
 
 lies over the arms. The fair head, powdered a la mode, is sur- 
 mounted by a mob cap, to the simple folds of which a touch of 
 piquancy is added by a bow of peacock blue. The portrait is a 
 choice example of the artist, representing the facile elegance of his 
 best works, the vivacious tenderness of his style, and his skill in im- 
 parting a quality of picturesqueness to the canvas." 
 Miss Mary Horneck, afterwards Mrs. Gwyn, was born perhaps as 
 early as 1753- She was one of the three children, probably the second 
 child and elder daughter, of Captain Kane William Horneck, of the 
 Royal Engineers. He was painted by Sir Joshua in 1748, and during 
 the following year married Hannah Mangles (i 727-1 803), known as 
 "the Plymouth beauty." He was lieutenant-colonel in the army of 
 Sicily— whatever that may signify— and seems to have died in 1755, 
 leaving Burke guardian to his children. Evidently he left his widow 
 in comfortable circumstances. For she, within a few years, brought 
 from Devonshire to London her three children, Charles, Mary and 
 Catherine, who were later to be known to Goldsmith— and to posterity 
 —as "the Captain in lace," "the Jessamy Bride," and "Little Comedy," 
 respectively. 
 
 This removal of the family recalls the fact that Reynolds had made 
 
 the same journey from Devonshire to the metropolis as early as 1752. 
 
 Mrs. Horneck, who sat to Sir Joshua in September, 1758, died in 1803. 
 
 For the Gentleman s Magazine (Vol. LXXni(I), p. 292) records in 
 
 the "Obituary" under March 12th: "At General Gwyn's, in the King's 
 
 Mews, Mrs. Horneck, mother of General Horneck and Mrs. Gwyn." 
 
 She was buried at Weybridge parish church, to which we shall have need 
 
 to refer later. We know of the admiration of Mrs. Horneck for the 
 
 novel "Evelina,"— or "A Young Lady's Entrance into the World," as 
 
 it came to be called. Indeed, Fanny Burney relates how, on a Saturday 
 
 in January, 1779, she was at a gathering at Sir Joshua's in Leicester 
 
 Fields, and "by a change of seats" found herself next to Mrs. Horneck, 
 
 who inquired: "I suppose. Miss Burney, I must not speak of 'Evelina' 
 
 to you?" Mrs. Horneck, as we read, was one of those who "prevailed 
 
 with Sir Joshua to read 'Evelina,'— and when he once began it he left 
 
 it neither for sleep nor food, for, to own the truth, he took to it yet more 
 
 passionately than all the rest of us.''^ Not only was "all Bath mad after 
 
 it," but Dr. Johnson approved of it. 
 
 1 C. Hill: "The House in St. Martin's Street: being Chronicles of the Burney 
 Family," 1907, p. 138. 
 
 1:943 
 
THE ENTRANCE HALL 
 
 Mrs. Horneck is momentarily of more importance to us as the mother 
 of Mary and Catherine — who had together sat to Sir Joshua in 1764, 
 1765 and 1766, when they were but children — than for herself. The 
 original, and unfinished, study, of 1766, for the heads of these charming 
 sisters was sold at Christie's in 1907 out of the Bunbury Collection, 
 while the finished version of the same year is still in the possession of 
 Lord Normanton at Somerley. It was in 1767, as we have seen, that 
 Sir Joshua painted the portrait of Mary, who is the subject of our can- 
 vas. In 1766 Oliver Goldsmith not only wrote the "Vicar of Wake- 
 field," but sat to Reynolds. But it was not until three years later, 
 according to Foster, that the Hornecks became acquainted with the au- 
 thor of the "Deserted Village," which was, by the way, dedicated to Sir 
 Joshua, then the new President of the Royal Academy. It was a propos 
 of a dinner, given about the same time by Dr. Baker, in honour of the 
 Hornecks that the two girls sent Goldsmith a rhyming invitation to be 
 present. Goldsmith, who appears to have been invited at the last mo- 
 ment, replied in the now familiar jingle: 
 
 "Your mandate I got, 
 You may all go to pot. 
 Had your senses been right 
 You'd have sent before night ; 
 As I hope to be saved, 
 I put off being shaved ; 
 For I could not make bold 
 W^hile the matter was cold, 
 To meddle in suds. 
 Or to put on my duds; 
 So tell Horneck and Nesbitt 
 And Baker and his bit. 
 And Kauffman beside, 
 And the Jessamy Bride, 
 And the rest of the crew, 
 The Reynoldses too. 
 Little Comedy's face. 
 And the Captain in lace — 
 (By-the-bye, you may tell him 
 I have something to sell him) — 
 Tell each other to rue 
 
 [:9si 
 
THE ENTRANCE HALL 
 
 You Devonshire crew 
 For sending so late 
 To one of my state. 
 But 'tis Reynolds's way 
 From Wisdom to stray 
 And Angelica's whim 
 To be frolick like him; 
 
 But, alas ! your good worships, how could they be wiser, 
 When both have been spoiled in to-day's Advertiser^ 
 
 We may also recall the melodious verse of Austin Dobson 
 "ON A PICTURE BY HOPPNER 
 {Mrs. Gwyn — Goldsmith's ^Jessamy Bride') 
 
 And you went once with myrtle crowned ! 
 
 You once were she, for whom 
 Poor Goldsmith's gentle genius found 
 
 That name of jasmine-bloom! 
 
 How strange it seems ! You whom he loved. 
 
 You who were breathing, vital. 
 Not feigned in books, for us have proved 
 Scarce but a fragrant title. 
 
 You lived and died. Or when or how, 
 
 Who asks ? This age of ours 
 But marks your grass-grown headstone now 
 
 By Goldsmith's jasmine flowers." 
 
 Northcote has recorded that on the day, in 1774, of the death of Oliver 
 
 Goldsmith, Reynolds did not touch a pencil — "a circumstance the 
 
 most extraordinary for him, who passed no day without a line/' And 
 
 before the body of Goldsmith was buried "in the dark and dreary little 
 
 churchyard of the Temple," "the Jessamy Bride" and her sister, "Little 
 
 Comedy," turned from their family sorrows and scandals to pay a last 
 
 tribute of affection to the poet. The sisters had his coffin reopened and 
 
 a lock cut from his head. We learn that Mrs. Gwyn kept it till she died, 
 
 seventy years later.^ 
 
 2 See Leslie and Tom Taylor: "Life and Times of Reynolds," 1865, Vol. II, 
 p. 71; and W. Hazlitt: "The Round Table," in "Northcote's Eleventh Con- 
 versation," 1903, p. 339. 
 
 [961 
 
THE ENTRANCE HALL 
 
 About 1776 "the Jessamy Bride" became engaged to Colonel Gwyn, 
 a distinguished, but impecunious, soldier whom she was to marry some 
 three years later. He was then in the i6th Dragoons, and subsequently 
 in the 20th, in the 3rd, and, eventually, in the 15th Dragoons. Fanny 
 Burney met Mrs. Horneck and her elder daughter, the subject of our 
 portrait, at Sir Joshua's in 1779. She tells us: 
 
 "Mrs. Horneck, as I found in the course of the evening, is an 
 exceedingly sensible, well-bred woman. Her daughter is very beauti- 
 ful, but was low-spirited and silent during the whole visit. She 
 was, indeed, very unhappy, as Miss Palmer has informed me, upon 
 account of some ill news she had lately heard of the affairs of a 
 gentleman to whom she is shortly to be married." 
 
 It seems that the Gwyns together encountered much unequal fortune, 
 until the King appointed him an equerry. Fanny Burney,^ when refer- 
 ring to his entering upon his post at Court, records that "Colonel Gwyn 
 is reckoned a remarkably handsome man, and he is husband of the beauti- 
 ful eldest daughter of Mrs. Horneck." She relates also that, on her 
 leaving Court in 1791, he bade her farewell. 
 
 Writing from Weymouth on July 16, 1789, Fa^nny Burney says: 
 
 "This morning ... I strolled upon the sands with Mrs. Gwyn. 
 We overtook a lady, of a very majestic port and demeanour, who 
 solemnly returned Mrs. Gwyn's salutation and then addressed her- 
 self to me with similar gravity. I saw a face I knew, and of very 
 common beauty ; but did not immediately recall it was Mrs. Siddons. 
 She is coming here, she says, solely for her health; she has spent 
 some days with Mrs. Gwyn at General Harcourt's. Her husband 
 was with her, and a sweet child." 
 
 Fanny Burney, become Madame d'Arblay, felt the charm of Mrs. 
 Gwyn, for in 1788 she describes her as being "as beautiful as the first 
 day I saw her; and all gentleness and softness." And she writes of her 
 in 1789 as "soft and pleasing, and still as beautiful as an angel." 
 
 In the second decade of the nineteenth century, General and Mrs. 
 Gwyn lived much at Wyd^ial. Their names crop up occasionally in the 
 "Life" of Sir Charles James Bunbury. Thus, we read: "My father's 
 old aunt, Mrs. Gwyn, was, of course, a regular visitor at our house at 
 
 ^ The manuscripts of Fanny Burney were destroyed by fire at Camilla Lacey, 
 near Dorking, in April, 1919. 
 
 t9T2 
 
THE ENTRANCE HALL 
 
 Mildenhall," in Suffolk. Sir Charles, writing in 1836 to his father (p. 
 83), says: "Mrs. Gwyn, who is certainly a good deal better than she was 
 three weeks ago, desires her best love to you, and is particularly anxious 
 that you should send her a drawing of Hanmer, the best likeness that 
 you can make." Again, he writes in 1837, from Batt's Hotel, to his 
 mother: "I am sorry to hear from Mrs. Fox that my father has been 
 ill again and that you have put off coming to town. Mrs. Gwyn is 
 sadly vexed at it, for she had been calculating too confidently on his 
 coming, and I do believe that the sight of him would do more than any- 
 thing to make her well again. She is looking very weak and very much 
 pulled down, and is terribly nervous about herself." 
 
 Thomas Moore in his ''Memoirs," 1853, Vol. VI, p. 115, mentions 
 that he 
 
 "dined with Sir Henry Bunbury. A fine old lady there, his aunt, 
 Mrs. Gwynne [sici, who was one of the two pretty girls relative 
 to whom the story of Goldsmith's petty jealousy is told; all, she 
 assured me, a misrepresentation. Goldsmith merely said playfully 
 to their mother, on some one having come to speak to him, 'You see, 
 I have my admirers, too.' Such is the truth of history and biography. 
 Talked a good deal with her (into her trumpet) about Sir Joshua, 
 Burke, etc."* 
 
 James Northcote also gives us a glimpse of Mrs. Gwyn in old age. For 
 Hazlitt in his "Conversations of James Northcote, R.A.," 1830, p. 94, 
 tells us that that painter complained of being far from well. 
 
 "He was here interrupted by the entrance of the beautiful Mrs. G , 
 
 beautiful even in years. She said she had brought him a book to 
 look at. She could not stop, for she had a lady waiting for her be- 
 low, but she would call in some morning and have a long chat. 
 After she was gone, I remarked how handsome she still was; and 
 he said, 'I don't know why she is so kind as to come, except that I 
 am the last link in the chain that connects her with all those she 
 most esteemed when she was young — Johnson, Reynolds, Goldsmith 
 — and remind her of the most delightful period of her life.' I said, 
 'Not only so, but you remember what she was at twenty; and you 
 thus bring back to her the triumphs of her youth— that pride of 
 beauty which must be the more fondly cherished as it has no external 
 
 4 This reminds us of the fact that Sir Joshua also, during the last years of 
 his life, used an ear-trumpet. 
 
 1:983 
 
THE ENTRANCE HALL 
 
 vouchers, and lives chiefly in the bosom of its once lovely possessor/ 
 In her, however, the Graces had triumphed over time. She was one 
 of Ninon de I'Enclos' people, of the list of the Immortals. I could 
 almost fancy the shade of Goldsmith in the room, looking round 
 with complacency. *Yes,' said Northcote, 'that is what Sir Joshua 
 used to mention as the severest test of beauty — it was not then skin- 
 deep only. She had gone through all the stages, and had lent a 
 grace to each. There are beauties that are old in a year. Take away 
 the bloom and freshness of youth, and there is no trace of what they 
 were. This beauty is not founded in first principles. Good temper 
 is one of the great preservers of the features.' I observed it was the 
 same in the mind as in the body. There were persons of premature 
 ability who soon ran to seed, and others who made no figure till they 
 were advanced in life. I had known several who were very clever 
 at seventeen or eighteen, but who had turned out nothing after- 
 wards." 
 
 General Gwyn, who figures in some of the humorous satires of Peter 
 Pindar, was mentioned in the Gazette as late as April 25, 1808; having 
 been Inspector of Cavalry, and eventually Governor of Sheerness, he 
 died, January 13, 1821. 
 
 Mrs. Gwyn, who had been a Woman of the Bed-chamber to Queen 
 Charlotte, died in Portman Square, January 14, 1840, at the age of 
 eighty-seven. All that was mortal of her was laid in the same vault at 
 Weybridge which had, since 1799, contained the body of "Little 
 Comedy," and in which four years later had been placed the remains of 
 their mother, Mrs. Horneck. 
 
 By some, Catherine Horneck's birth has been placed as far back as 
 1750, which would make her older than her sister Mary. In 1771 
 Catherine married Henry William Bunbury, the artist and carica- 
 turist, who was at one time an Honorary Exhibitor at the Royal Acad- 
 emy. Bunbury, who previous to his marriage had travelled on the 
 Continent, repeatedly introduced the cheery face of his wife into his 
 fancy subjects. But when his wife died on July 8, 1799, "at General 
 Gwyn's residence at Egham Hill,"^ he retired to Keswick to reside there 
 until his own end came in 181 1. According to the tablet at Weybridge, 
 Catherine was forty-five years of age at the time of her death ; she would 
 thus be born in 1754, and so be a year younger than Mrs. Gwyn. Mrs. 
 
 ^ See Gentleman's Magazine, 1799, p. 629. 
 
 [:99 3 
 
THE ENTRANCE HALL 
 
 Bunbury, who stood godmother to Hoppner's daughter Helen, had two 
 sons. The elder, Charles John, was born in 1772 and at the age of eight 
 or nine was painted by Sir Joshua Reynolds ; his features are thus pre- 
 served to us in the famous portrait of "Master Bunbury. He had 
 been the friend of the poet Southey at Westminster, and died in 1798. 
 Mrs. Bunbury's younger son, Henry Edward, was Sir Joshua Reynolds's 
 godchild, and became aide-de-camp to his uncle. General Gwyn, and 
 succeeded as seventh Baronet to the Bunbury family estates."^ 
 
 The brother of Mrs. Gwyn and Mrs. Bunbury, Captain Charles 
 Horneck, was "the Captain in lace" of Goldsmith's jingle, as we have 
 already seen. In 1773 he married a daughter of the Earl of Albemarle, 
 but within less than a year she eloped with Captain Scawen, one of her 
 husband's brother officers. This unpleasant incident provided the editor 
 of the Town and Country Magazine with subject matter.^ 
 
 Another portrait of Mrs. Gwyn by Hoppner, sold, like this, out of the 
 Gwyn Collection (No. 29) on June 29, 1889, is now in the collection 
 of Lord Glenconner, at Queen Anne's Gate, London. It was exhibited 
 at the Royal Academy (No. 165) in 1790, together with Hoppner's 
 "Mrs. Bunbury" ("Little Comedy") (No. 190), and both were in 
 1 79 1 engraved in mezzotint by J. Young. That of "Mrs. Gwyn" was 
 shown at South Kensington (No. 569) in 1867, by Mr. Robert Gwyn. 
 It appeared again at Burlington House in 1891 (No. 15), when it was 
 lent by Sir Charles Tennant, father of Lord Glenconner; and was at 
 Agnew's Galleries, 1895 (No. 6). On that occasion it was referred to 
 in the Art Journal, 1896, p. 63, as "one of the most adequate illustrations 
 possible of an artist who was on occasion well worthy of the place he held 
 among the more prominent portraitists of the last century." The same 
 
 6 It was sold out of the collection of Sir Henry Bunbury, at Christie's, July 
 5, 1907. For the Bunbury pictures at Mildenhall, see Edmund Farrer: "Por- 
 traits in Suffolk House," 1908, p. 263. 
 
 The sixth Baronet, Sir Thomas Charles Bunbury (the elder brother of 
 Henry William Bunbury, the caricaturist), was a constant attendant at the race 
 meetings at Newmarket, the family property being situate at Barton, some ten 
 miles away. His name is still preserved in the name of the Bunbury Mile at 
 Newmarket. His wife, Lady Sarah Bunbury, was painted by Sir Joshua, this 
 portrait being now in a private collection in Chicago; she is represented as 
 "sacrificing to the Graces." Yet, according to Mrs. Thrale, "she never did sacri- 
 fice to the Graces. She used to play cricket and eat beefsteaks on the Steyne at 
 Brighthelmstone." 
 
 8 It appears as one of the "Histories of the Tete a Tete," under the title of 
 "The Submissive Duellist and Mrs. H . . . . ck," 1774, Vol. VI. See also Notes 
 and Queries, loth Series, Vol. IV, p. 343. 
 
THE ENTRANCE HALL 
 
 portrait drew from Henri Bouchot, in an article on "La Femme Ang- 
 laise et ses Peintres," published in Revue de VArt ancien et moderne, 
 Vol. XI, April, 1902, p. 168 (plate on p. 239), the remark that "Mrs. 
 Gwyn est en penseuse, en melancolique, sous un ombrage epais ; elle reve, 
 et elle est charmante. . . . Mrs. Gwyn a la un peu plus de quarante 
 ans, etant nee en 1753; elle mourra tres tard, en 1840, apportant a la 
 reine Victoria comme un parfum de rose dessechee dans un livre,— le 
 livre d'Olivier Goldsmith." 
 
 While we have in mind J. Young's mezzotint after Hoppner's "Mrs. 
 Bunbury," turned to the right and wearing a cap (O'Donoghue: "En- 
 graved British Portraits in the British Museum," Vol. I, p. 285), we 
 may point out the superficial resemblances between it and the present 
 canvas; in this one, however, Mrs. Gwyn is turned to the left.^ 
 
 Mrs. Gwyn was also painted in 1767, while still Miss Mary Horneck, 
 by Sir Joshua Reynolds ; in that portrait she is represented "in a Persian 
 dress with turban" and "sitting as if in a Turkish mosque." That can- 
 vas was lent to the Royal Academy in 1891 (No. 134) by Sir Edward 
 Bunbury, but some twenty years ago was sold to Mr. William Waldorf 
 Astor, the late Lord Astor. The story goes that Sir Joshua became so en- 
 amoured of his subject, while engaged upon the portrait, that he fell on 
 his knees and solicited Mary Horneck's hand in marriage. In any event, 
 Sir Joshua retained that picture in his possession until his death, when 
 he bequeathed it to his sitter. ("To Mrs. Gwyn, her own portrait with 
 a turban."— Leslie and Tom Taylor: "Life and Times of Sir Joshua 
 Reynolds," Vol. II, p. 636.) It is well known from the engravings by 
 R. Dunkarton and C. Tomkins. Sir Henry Bunbury has left it on rec- 
 ord that the subject of our picture was "near-sighted, but her eyes were 
 strong and prominent." Indeed, H. P. K. Skipton in the Connoisseur 
 (Vol. XXVIII, September, 1910, p. 6), when criticizing the Bunbury- 
 Astor portrait by Reynolds, mentioned above, claims that "one of the 
 faults in it is that the painter, in endeavouring to give the effect of near- 
 sightedness, has produced an appearance of weakness in the eyes." 
 
 Another portrait of her may be that assigned to Sir Joshua and de- 
 scribed as "Mrs. Gwynne" \^sic\ in the Drummond Collection at Mont- 
 real." 
 
 9 See also McKay and Roberts: "Hoppner," p. 34; the Sale Catalogue of 
 Christie's July 5, 1907 (No. 107) ; and the Connoisseur, Vol. XXVIII, 1910, p. 9. 
 
 10 It was No. 59 in the "Catalogue of Paintings from the Collection of the 
 late Sir George Drummond, exhibited at the Art Association, Montreal, 
 January-March, 1918." It was sold at Christie's June 27, 1919, No. 200. 
 
THE ENTRANCE HALL 
 
 In 1 780 the sisters Horneck were portrayed as "The Merry Wives of 
 Windsor" by Daniel Gardner, the picture being engraved by W. Dick- 
 inson under the title of "Mrs. Gwynne [ski and Mrs. Bunbury." 
 
 JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
 No. 26 The Trout Stream {''The Dee at Corwen 
 Bridge''). 
 
 In the foreground, at the bend in the stream, are fishermen. 
 On the left two men are sitting on the ground near an anchor. 
 More to the right are three men fishing, as they wade. In the 
 middle distance on the right are cattle, and beyond is a long 
 five-arched bridge. In a field in the left middle distance are 
 men and women making hay; behind them a mountain, capped 
 with mist, frowns down on them. A great cloud is rolling 
 away to the left and flooding the open country with light. 
 
 Canvas, 36 inches by 48 inches. (0.91 x 1.21) 
 
 Painted about 1807. 
 
 Exhibited at Manchester in 1857, No. 621, as "Landscape," being lent 
 by the Earl of Essex. 
 
 In the collection of the Earl of Essex, at Cassiobury Park, and by him 
 exhibited at the Royal Academy, 1878, No. 134. Included in the sale 
 at Christie's, July 22, 1893, No. 46. 
 
 In the collection of Abel Buckley, who lent it to the Royal Academy's 
 Exhibition, 1895, No. 8. 
 
 It was then most favourably criticized in the press, notably in the Times, 
 January 5, 1895, as "a marvellous work of the great artist's early-middle 
 period." 
 
 In the Acade?ny, February 2, 1895, Sir Claude Phillips wrote: 
 
 "A finer or more representative series of oil paintings by Turner 
 has not often been seen on the walls of Burlington House. Hardly 
 
THE ENTRANCE HALL 
 
 any nobler example of the earlier, the more reticent manner exists 
 than 'The Trout Stream' (Mr. Abel Buckley). In this wonderful 
 study of stormy sky and light, fitfully illuminating, through wreaths 
 of cloud and mist, an English landscape, no violence is done to na- 
 ture; but, on the contrary, one of the strangest and most moving 
 aspects is revealed with as much truth as poetic insight." 
 
 We read in the Athenaum, January 26, 1895 : 
 
 The fine Turners are superior in merit and charm to those that 
 usually appear in Burlington House. In the lovely 'Trout Stream' 
 (No. 8) the painting of the pebbly shore, the clouds and delightful 
 atmosphere is quite in Turner's best manner." 
 
 Exhibited at the Guildhall, 1899, No. 12. 
 
 We find that the Times, April 10, 1899, deals enthusiastically with 
 "The Exhibition at the Guildhall," and says incidentally of the present 
 canvas : 
 
 "Nowhere outside the National Gallery can the marvellous art 
 of Turner be studied so well as in this collection at the Guildhall. 
 We might even say that in one respect the loan exhibition is the 
 more complete, for the drawings shown here are finer and more 
 various than the sketches at Trafalgar Square. ... Of the inland 
 pictures of this period 'The Trout Stream' (1807), from Cassiobury, 
 is one of the most entirely satisfactory; for once Turner has here 
 taken pains with his figures, so that the anglers are perfect in action 
 and strike no discordant note, as his figures so often do." 
 
 "Turner, although a little scattered on the walls, was seen to consider- 
 able advantage in the great pictures from his hand. Lord Strath- 
 cona's much exhibited 'Mercury and Argus' was, however, placed 
 in a blaze of light which revealed the delicate state of the picture, 
 and the whole honours of the great London landscapist were borne, 
 and that easily, by Mr. Abel Buckley's wonderful 'Trout Stream,' 
 which we reproduce. This canvas, full of grace and delicacy, with 
 floating clouds over the mountains, rich golden colour of the sand 
 in the foreground, and every gradation of light and air between, 
 is one of the very finest of Turner's earlier works. It simply blazed 
 
THE ENTRANCE HALL 
 
 out in Glasgow, even if the hangers had placed it in an uncongenial 
 surrounding." 
 
 D. Croal Thomson : "The International Exhibition at Glasgow," 
 in the Art Journal, 1901, p. 296. 
 
 In the Athen^um, April 15, 1899, we read: 
 
 "Except the National Gallery, no public exhibition open at the 
 present moment can be compared with the magnificent collection of 
 Turners which is now to be seen at the Guildhall. . . . Halcyon 
 weather and a glowing atmosphere mark 'The Trout Stream' (No. 
 12), of 1807, which belonged to the Cassiobury Collection, and is 
 now Mr. A. Buckley's property." 
 
 Exhibited at Glasgow, 1901, No. 98. 
 
 Sir Walter Armstrong, "Turner," 1902, p. 233. 
 
 A. Graves: "Century of Loan Exhibitions," 1914, Vol. Ill, p. 1351. 
 
 FRANS HALS 
 
 ^ Dutch School; i^8of-i666 
 
 No. 27 Portrait of a Young Man holding his Hat to 
 HIS Side {''The Young Man of Haarlem''). 
 
 Three-quarter length, turned three quarters to the right, and 
 looking at the spectator. He wears a black doublet with but- 
 tons and breeches which show the wrinkles, a flat white linen 
 collar fastened with a thin cord terminating in white tassels, 
 and a white shirt with plain cuffs. His long hair is parted in 
 the middle and falls upon his shoulders, hiding his ears. His 
 right hand is doubled and pressed against his waist, with the 
 arm akimbo. His left, with the fingers separated, is laid flat 
 on his black, wide-brimmed hat that is pressed to his side. He 
 is seated in a chair of which the top of the back to the right is 
 studded with brass nails. He is about twenty-five years of age. 
 Neutral background. 
 
 1:104: 
 
THE ENTRANCE HALL 
 
 Canvas, 4i>4 inches by 315^ inches. (1.05 xo.80) 
 
 Painted about 1645. 
 
 Formerly in the collection of Lord Talbot of Malahide, Malahide 
 Castle, near Dublin, Ireland, in whose collection it had been for at least 
 half a century. 
 
 Exhibited, on loan, in New York, November, 1909, No. 2, and in I9I4j 
 No. 2. 
 
 Dr. W. von Bode, writing from Berlin, August 8, 1908, on the sub- 
 ject of this and the companion picture (No. 28), says: 
 
 "I have to thank you for the great pleasure you made me by show- 
 ing me the two marvellous portraits by Frans Hals. There are only 
 very few pictures by the master of such high quality and so wonder- 
 ful preservation. 
 
 "The husband who holds his hand on his hat is a masterpiece 
 as to the broad execution and the fine tone of colours. His charm- 
 ing young wife, who folds her hands in a peculiar way, is so fasci- 
 nating by her smile and kind expression, and so excellent as well in 
 design as in colours, that I know very few female portraits equal to 
 this." 
 
 **The exhibition of Messrs. Scott and Fowles, selected from the collec- 
 tion of Mr. and Mrs. Charles P. Taft, of Cincinnati, was notable for 
 its three admirable examples of Frans Hals and one of Rembrandt's 
 earliest Amsterdam period — an important supplement even of the 
 Metropolitan's overwhelming display. The portraits by Hals were, 
 in fact, though small in number, more uniform in value as repre- 
 sentative works. That good fortune which sometimes presides over 
 the collection of paintings has here brought together what might be 
 described as an epitome of the master's best in sentiment and in 
 technique. Of the three sitters, two men and a woman, all good 
 types, the men are a trifle the more interesting, as is apt to be the 
 case in portraiture.' In 'The Young Man of Haarlem' the famous 
 bravura of brush-work lends itself to something like delicacy and 
 charm; the sitter's dark eyes look at the spectator meditatively; 
 his long hair, parted in the middle, falls on the white linen collar ; 
 the right hand is doubled on the hip, and with the left he presses a 
 
THE ENTRANCE HALL 
 
 broad-leaved black hat against his black doublet. Nothing is known 
 of the name of the sitter, nor is the date recorded." 
 
 William Walton in the Burlington Magazine, 19 lO, Vol. XVI, 
 p. 368 (plate). 
 
 "Surely New York has been fortunate, thus far this winter, in having 
 remarkable shows of pictures by the princes of art, beginning with 
 the sumptuous feast set before the public by the Hudson-Fulton Art 
 Commission, at the Metropolitan Museum of Art. Before these 
 wonderful canvases were removed, came a collection of ten paint- 
 ings, generously loaned by Mr. and Mrs. Charles P. Taft, of Cin- 
 cinnati, collectors of great note. . . . The ten pictures that New 
 York enjoyed were loaned to the galleries of Scott and Fowles, and 
 were entirely the work of the older masters of the Dutch and early 
 English schools; and very well they went together, these painters 
 of the Low Countries and the Georgian artists, for the Gains- 
 boroughs, the Raeburns and dear old Sir Joshua Reynolds held 
 their own in the stately company of Rembrandt, Hals and Hob- 
 bema. . . . Yet another Hals is of a 'Young Man holding his Hat 
 to his Side.' ... A pale face has this youth, yet full of sentiment; 
 it is an almost instantaneous snap-shot of the original, yet it is 
 limned with delicious suavity, with certainty and with rare distinc- 
 tion." 
 
 Arthur Hoeber: ''Some Pictures from the Collection of Mr. and 
 Mrs. Charles P. Taft," in the International Studio, 19 10, 
 Vol. XXXIX, p. Ixxi. 
 
 Miss Elisabeth L. Cary, in an article on "Some Masters of Portraiture," 
 in Putnam's Magazine, February, 19 10, Vol. VII, p. 525, refers to this 
 and the companion portraiture as "dominating their surroundings with 
 the cheerful insolence of consummate achievement." 
 
 The Connoisseur, June, 191 3, PP- 99 and 120. 
 
 W. von Bode (tr. M. W. Brockwell) : "Frans Hals," I9i4> Catalogue 
 No. 253, plate 162. 
 
 Until 1908, this and the accompanying work were entirely unknown. It 
 is now common knowledge that Mr. A. H. Buttery, the picture restorer 
 to the National Gallery, London, was in that year, in the ordinary 
 course of his profession, summoned to Malahide Castle, some twelve 
 
 nice 3 
 
THE ENTRANCE HALL 
 
 miles from Dublin, to inspect several paintings. His surprise, then, may 
 be imagined, when he suddenly came upon the "Family Group," now in 
 the National Gallery (No. 2285), as well as the present pair of por- 
 traits. Although covered with a certain amount of surface dirt, their 
 authenticity was instantly obvious to the trained eye. He reported his 
 trouvaille to Sir Charles Holroyd, then Director of the National Gal- 
 lery, but no public funds were at the moment available for the purchase. 
 However, the Chancellor of the Exchequer, after a visit to the gallery 
 in Trafalgar Square, undertook in the special circumstances to furnish 
 the sum of £7500 and, if necessary, to pay off the balance by annual 
 sums of £5000 (that being the minimum amount annually voted to the 
 National Gallery by Parliament for the purchase of pictures), to ac- 
 quire the ''Family Group" for a total cost of £25,000.^ This and the 
 companion portrait being thus released for private sale, they were 
 brought to this country. It should be added that the pedigree of all 
 these three canvases was entirely unknown to the owner, in whose col- 
 lection they passed under the loose attribution to Frank [jfc] Hall [sic] 
 or Frank HoU ! The former, although to-day confusing, would perhaps 
 be the obvious anglicization of the name of the great Dutch portrait 
 painter, Frans Hals. That the name was in the eighteenth century fre- 
 quently rendered "Frank Hall" can be established by reference to old 
 sale records. Thus, in the sale catalogue of Monsieur Desenfans, which 
 sale took place in London on April 8, 1786, were included: 
 
 "No. 20. Frank Hall. A Head, i ft. 5 by i ft. 3, on cloth pasted on 
 pannel. 
 
 "No. 21. Ditto. A Head, its companion, i ft. 5 by i ft. 3, on cloth 
 pasted on pannel." 
 
 Again, in "iEdes Walpolianae," 1747, p. 46, we read of "Francis 
 Halls." 
 
 Surely, only a blunder without a parallel in the whole range of art his- 
 tory could have caused the pair of portraits to be attributed to the fash- 
 ionable, late Victorian portrait painter, Frank HoU, R.A., who exhibited 
 eighty-seven pictures at the Royal Academy between 1864 and i888. 
 Yet such has been the rumour. 
 
 1 That sum exceeded any paid, up to that time, for a single picture in the 
 National Gallery, with the exception of Raphael's "Ansidei Madonna," pur- 
 chased in 1885. 
 
 Cloy] 
 
THE ENTRANCE HALL 
 
 FRANS HALS 
 
 Dutch School; is8of-i666 
 
 No. 28 Portrait of a Young Woman with one Arm 
 OVER THE Back of a Chair {''The Young Woman 
 of Haarlem'') . 
 
 Three-quarter length, turned three quarters to the left, and 
 looking at the spectator. In a dark gray and black silk skirt 
 richly embroidered with gold down the front, the black coat 
 trimmed with bands of gold and an ample black over-mantle 
 with full sleeves, wide lace cuffs, and large flat collar fastened 
 with a bow of silk. She wears also a small black silk cap 
 that ends in a peak on her forehead and covers her ears, in 
 which are gold pendent earrings. A small gold chain encircles 
 this black cap. Her hair is done in a knot at the back of her 
 head. Gold bracelets; two small rings on the index finger of 
 the right hand, and one on the small finger of the left. The 
 right hand clasps the left wrist; the left holds a fan which is 
 closed. She is seated sideways in a blue upholstered chair, 
 with her right arm hanging over the back of it. She is about 
 twenty-five years of age. Neutral background. 
 
 Canvas, 41 j4 inches by 31^ inches. (i-05 xo.8o) 
 
 The companion portrait to No. 27, and having the same provenance. 
 Exhibited, on loan, in New York, November, 1909, No. 3, and in 1914? 
 No. 3. 
 
 "A much more lively personage than these two gentlemen [No. 17 and 
 No. 27 in this collection] was presented in the portrait of a 'Young 
 Woman of Haarlem,' attired in her best, but taken in an intimate 
 and informal moment which best expressed her, and with whose 
 individuality it is clear that the painter was in close sympathy. The 
 sitter is quite unknown." 
 
 William Walton in the Burlington Magazine, 19 10, Vol. XVI, 
 p. 368 (plate). 
 
 [loS:] 
 
THE ENTRANCE HALL 
 
 "Yet a third example [by Frans Hals] is of a woman with one arm 
 over the back of a chair. There is no beauty of femininity here, yet 
 plenty of distinction; little grace in the more or less formality of 
 the times, yet charm of breeding, and always the painting is dis- 
 tinguished, always the painter seems to have said the last word." 
 Arthur Hoeber in the International Studio, 1910, Vol. XXXIX, 
 p. Ixxiv. 
 
 "In the [Hals] Woman's Portrait in particular the veracity of the 
 painter's vision and the certainty of his touch appear, together with 
 a delicacy of treatment . . . The head is solidly constructed, the 
 idiosyncrasies are closely observed and deftly indicated as in all im- 
 portant works by Hals, but the handling of the paint is the notable 
 thing, the flow of the brush-work in its final veiling of the solid 
 under-painting, as vivacious as the ripple of water over a rocky 
 ground, giving that suggestion of the unremitting movement of life 
 without which no painting, however beautiful, can be other than 
 nature morte. ... It is remarkable both for its quality and for the 
 wonderful preservation of its colours, which are exceptionally fine 
 in tone." 
 
 Miss E. L. Gary in Putnam's Magazine , February, 19 10, Vol. 
 VII, pp. 525 and 527 (plate). 
 
 The Connoisseur, 191 3, Vol. XXXVI, pp. 173 (plate) and 188. 
 
 W. von Bode (tr. M. W. Brockwell) : "Frans Hals," 1914, Catalogue 
 No. 254, plate 163. 
 
 Considerations of style prompt a reference to Hals's beringed "Young 
 Woman" of ample form, and also turned to the left, in the Berlin Gal- 
 lery, No. 801 (H. de Groot, No. 367; Bode, I, p. 105, plate 56). 
 
 Again, the "Young Lady" in Carl von Hollitscher's Collection at Ber- 
 lin (H. de Groot, No. 370; Bode, I, p. 129, plate 73) wears such a lace 
 collar and holds her fan in both hands. The closed fan, the peaked 
 black cap with a gold band set round with pearls, the broad lace collar 
 and bracelets are to be- found in the "Woman" of the Marquand Be- 
 quest to the Metropolitan Museum (No. H 16—3; H. de Groot, No. 
 387; Bode, II, p. 175, plate 107). 
 
 Anyone who is conversant with the features of each of the old ladies 
 in Hals's "Regentessen, or Lady Governors, of the Hospice for the 
 
THE ENTRANCE HALL 
 
 Aged at Haarlem," of 1664 (H. de Groot, No. 438; Bode, II, p. 286, 
 plate 188), may see a rather striking resemblance (making all allowance 
 for a disparity in the ages) between our Young Woman" and "Adriana 
 Bredenhof," who is seated in the right foreground. Judging by the 
 style, the present canvas may have been painted about 1645, and por- 
 trays a "Young Woman" of about twenty-five years of age. Born, 
 therefore, about 1620, our sitter would have been only about forty-four 
 years of age at the moment that the Haarlem group was completed. 
 The ingenious might suggest that Adriana Bredenhof (Moes: "Icono- 
 graphia Batava," No. 1076) there represented — and we know no 
 biographical fact regarding her — may well have been the mother of the 
 "Young Lady" now in Pike Street. 
 
THE RIGHT CORRIDOR 
 
ALEXANDRE GABRIEL DECAMPS 
 
 French School; 1803-1860 
 
 HAVING run wild among peasants in childhood, De- 
 camps developed a certain aloofness and contracted 
 an aversion from the ordinary habits of polite so- 
 ciety. A member of the Romantic School, he travelled in the 
 south of France, Switzerland, Italy and the Levant. It was in 
 the East that he found subjects most suited to his genius, and he 
 is to be classed among the leading French Oriental painters. 
 He succeeded especially in the representation of wild scenery 
 and in the mastery of light and shade. // est toujours midi 
 dans son ceuvre. He died from a fall from his horse at Fon- 
 tainebleau. 
 
 No. 29 The Man with the Sling {^'Le Frondeur'') . . 
 
 Amid the ruins of some ancient temple are three figures. 
 Beside the drum of a fallen column, in the right foreground, 
 a woman and her little boy are crouching in silence; above 
 them are luxuriant plants which their goats are nibbling. On 
 rising ground in the centre is a young man in white trousers 
 and dark red sleeveless coat, with a pouch slung from his left 
 shoulder. Holding a sling, he strains his eyes across the 
 ravine, on the far side of which is an eagle perched on a tower- 
 ing mass of masonry. He is about to take aim at the bird. 
 
 Canvas, 26 inches by inches. (0.63x0.80) 
 
 Signed "Decamps," high up in the centre on the plinth of the column, 
 behind the young man. 
 
 Formerly in the Van Praet Collection, Brussels. 
 
THE RIGHT CORRIDOR 
 
 In the collection of E. Secretan, and included in his sale in Paris, July i , 
 1889, No. 12. 
 
 In the collection of F. L. Ames, Boston. 
 
 In the collection of H. S. Henry, Philadelphia. No. 9 in the "Catalogue 
 de Luxe of Twenty-one Masterpieces," sold in New York, February 4, 
 1910. 
 
 Included in the Exposition de Cent Chefs-d'oeuvre, Paris, 1883. 
 Mireur: "Dictionnaire des Ventes d'Art," 1902, Vol. II, p. 408. 
 Benezit: "Dictionnaire," 191 3, Vol. II, p. 46. 
 
 FELIX FRANCOIS GEORGES PHILIBERT 
 
 ZIEM 
 
 French School; 1821-igii 
 
 THE son of a Croatian soldier made prisoner at Monte- 
 reau in 18 14 who afterwards settled in France, Ziem 
 was educated at Dijon, but set out for Rome at the 
 early age of eighteen. He visited Venice and Constantinople, 
 and as early as 1849 exhibited pictures of those cities. This 
 seems to have determined his selection of marine and archi- 
 tectural subjects, more especially in Venice. 
 
 No. 30 The Piazza of San Marco, Venice, in Time of 
 Flood. 
 
 The foreground is part of the Piazza of San Marco, seen 
 during a period of flood and in the early evening. From all 
 sides advance gondolas containing figures in gay attire; all 
 seem to be making their way hurriedly towards the main portal 
 of the cathedral, as if this were a rare and quite unexpected 
 occurrence. Some thirty yards away we see the Campanile ; the 
 fagade of the church is directly before us; the red flag-staffs 
 
THE RIGHT CORRIDOR 
 
 are bedraggled in the rain; the domes of San Marco are ob- 
 served in the mist. On the left and the right are the three- 
 storied Procuratie Vecchie and Procuratie Nuove. 
 
 Canvas, 37 inches by 27 inches. (0.93 xo.68) 
 
 Signed in the left bottom corner. 
 
 Fournier: 'Telix Ziem," 1897, P- 84, refers to a "Place Saint Marc a 
 Venise, pendant Tinondation," as having been included in the Everard 
 sale in 1873. It v^ould thus be the picture shown by Mireur: ''Ventes 
 de Tableaux," 1912, Vol. VII, p. 587, as having then been sold for 
 7100 francs in London. 
 
 Fournier, p. 46, states that Ziem exhibited, at the Paris Salon, in 1857, 
 No. 2713, a picture with a similar title. 
 
 The Metropolitan Museum possesses a picture of this subject by Ziem. 
 It is 32 inches by 26 inches. 
 
 Larousse: "Grand Dictionnaire," Vol. XV, p. 1484, article on "Ziem." 
 
 EUGENE LOUIS GABRIEL ISABEY 
 French School; 1804-1886 
 
 SON and pupil of Jean Baptiste Isabey, the miniature 
 painter and lithographer, he early freed himself of the 
 classical spirit of his father. In 1830 he accompanied a 
 French expedition to Algiers as its marine draughtsman. 
 Thenceforward he is to be regarded as one of the "men of 
 1830," and a painter of romantic genre, landscape and marine 
 subjects both in oil and water-colour. 
 
 No. 3 1 The Sacrament. 
 
 Priests, wearing vestments, and laymen are kneeling or 
 standing, beneath silver candelabra, on the steps before the 
 altar in a small church in Venice ( ?) ; above the altar hangs a 
 
THE RIGHT CORRIDOR 
 
 crucifix. On the screen to the right below and in front of the 
 arch are seven lighted candles, and against the wall near by 
 hangs a processional banner. At the foot of the steps, and to 
 the right, stands a priest; still more to the right, and in the 
 pews, are three women. In the left foreground stand two 
 men; a woman with two children is seated, and two other 
 figures kneel by the pew on the left. 
 
 Canvas, 32 inches by 25 inches. (0.81 x 0.64) 
 
 Signed ''Isabey, '72," on the lower edge of the pew, in the left bottom 
 corner. 
 
 In view of this being a rather rare subject for a painter, we may note 
 that Isabey's "Baptism in the Church at Treport" is in the Louvre. 
 
 FELIX FRANCOIS GEORGES PHILIBERT 
 
 ZIEM 
 
 French School; 1821-igil 
 No. 32 The Entrance to the Grand Canal, Venice. 
 
 A group of sailors, and civilians in gaudy attire, are seated 
 in the left foreground; beyond them are two sailing vessels 
 seen in a feast of colour and moored to the quay, the one 
 towards the left and the other towards the right. A large 
 vessel, with her stern to us, is at anchor in the canal. In the 
 middle distance to the right stand three men who seem to be 
 discussing the shipping near at hand. Beyond in the distance 
 we discern the Campanile and the Church of Santa Maria della 
 Salute. 
 
 Canvas, 28>^ inches by 20>^ inches. (0.72 x 0.52) 
 
 Signed "Ziem," in the left bottom corner. 
 
 The elements of this composition almost correspond with the "Entree 
 du Grand Canal a Venise" described by Fournier: *'Ziem," 1897, P- 86, 
 
THE RIGHT CORRIDOR 
 
 as having been included in the sale of the Defoer Collection, Paris, May 
 22, 1886. But the latter was larger (1.08 x 1.62) than the present one. 
 
 JOAQUIN SOROLLA Y BASTIDA 
 
 Spanish School; Contemporary 
 
 BORN in 1863 at Valencia, and a pupil of the San Carlos 
 , Academy in that city, he paints portraiture and genre. 
 He achieves mastery over effects of light and air, and 
 shows great adroitness as a draughtsman. 
 
 No. 33 Portrait of Former President William How- 
 ard T a ft. 
 
 Three-quarter length, seated in an arm-chair, the body 
 turned rather to the right, the eyes to the front. In gray 
 morning-suit and red neck-tie. The right arm rests on the 
 chair; in the left hand is a bundle of state papers. A white 
 curtain hangs on the right. 
 
 Canvas, 59 inches by 40^ inches. (i.49 x 1.02) 
 
 Inscribed at the top on the right: ''J. Sorolla P. 
 
 1909, Washington, 
 White House." 
 
 William Howard Taft is the second son of Judge Alphonso Taft by 
 his second wife, Louisa Mary Torrey (i 827-1 907). He was born at 
 Cincinnati, September 15, 1857. He is a half-brother of Mr. Charles 
 Phelps Taft. (For genealogical data regarding the Taft family, see 
 picture No. 74.) 
 
 Mrs. Louisa Mary Taft was sixth in descent from Captain William 
 Torrey, who was baptized at Combe St. Nicholas, Somerset, England, 
 December 21, 1608, and in 1640 emigrated to this country. 
 
 First Civil Governor of the Philippines, appointed July 4, 190 1, 
 he in 1904 entered office as Secretary of War, succeeding Hon. Elihu 
 Root. He was elected, November 3, 1908, twenty-seventh President of 
 
THE RIGHT CORRIDOR 
 
 the United States for the term March 4, 1909-19 13, over William 
 Jennings Bryan, the Democratic candidate. His record is too well 
 known to require comment here. 
 
 Munsell: "Index to American Genealogies," 1900, p. 303. 
 
 Mabel T. R. Washburn: "The Ancestry of William Howard Taft," 
 1908. 
 
 "As a portrait painter SoroUa is, one may be sure, a master of the like- 
 ness. You are impressed by the firmness with which he models a 
 head, the nimbleness with which he passes swiftly over the features, 
 and, above all, the vitality with which he invests his sitter. . . . He 
 uses his pigments not sensitively, not with a loving feeling for them. 
 . . . His pictures, especially when seen in large numbers, have an 
 almost blinding effect. They do not beguile, they dazzle. . . . 
 Their immediate, momentary appeal is irresistible." 
 
 Royal Cortissoz: "Art and Common Sense," 1913, p. 316. 
 
THE DINING-ROOM 
 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 English School; ijz^-ijgz 
 
 SIR JOSHUA REYNOLDS, whose Christian name was 
 by a clerical error entered in the baptismal register as 
 Joseph — an error corrected by a supplementary entry, 
 after he had earned fame — was a Devonian by birth. The 
 infinite variety with which he was to portray the men and 
 women of his day, and thus to soar in popular esteem above all 
 his rivals, was strangely forecast in his childhood. Indeed, 
 the earliest of his extant portraits was painted "from a draw- 
 ing taken in church on the artist's thumb-nail," and without 
 delay "coloured" with the common paint of a shipwright on a 
 canvas that had formed part of a boat-sail ! How early in 
 Sir Joshua's career this took place is shown by the fact that 
 the officiating clergyman, thus portrayed, died in 1736. Al- 
 though he worked for a time in the studio of Hudson in Lon- 
 don, the really formative influence of his whole career was to 
 be afforded by a chance voyage to Italy. From his residence 
 of three years in that country was to result untold benefit to 
 the artists and art-collectors of England. Thus by 1760 the 
 genius of Reynolds was to burst with enlightenment in London 
 on a none too cultured age. The distinction, grace and suavity 
 of his female portraits were soon to impress the heau monde, 
 while, as we now see, his male portraits show a dramatic in- 
 stinct and a grasp of character that were unparalleled in their 
 century. At least a' century earlier a move had been made to 
 found, under royal patronage, an institution for the better 
 cultivation of the arts. But nothing had been done. Even 
 to-day many have misgivings as to the usefulness, for the na- 
 tion as opposed to the successful artist, of such an institution. 
 
THE DINING-ROOM 
 
 However, the Royal Academy was founded in 1768, and Sir 
 Joshua Reynolds became its first President. So various was the 
 art of Reynolds that he not only preached the emulation of the 
 Old Masters, but actually practised it himself. He had a fine 
 sense of design and pictorial balance within his self-imposed 
 limits, and having taken his colour from the Venetians, his 
 chiaroscuro from Rembrandt, and his composition, as he 
 averred, from the Bolognese, he, in the opinion of some, came 
 to excel Gainsborough. Gainsborough was, however, the 
 greater master of the brush. We must regret that his scientific 
 curiosity, as to the qualities of pigment, led him to sacrifice 
 many a painting on the altar of experimental investigation. 
 Unfortunately for posterity, many of his canvases have de- 
 teriorated, owing to his use of pigments and chemical admix- 
 tures which may have heightened the effect of his works for a 
 brief period, but which have in too many instances brought 
 about their eventual disintegration. It is our good fortune 
 that his enormous vogue led him to devote his energies almost 
 exclusively to portraiture ; and in consequence we seem to be on 
 intimate terms with the whole world of fashion and intellect of 
 his day. His productivity was enormous, and amounted to as 
 many as one hundred and fifty pictures in a single year. 
 
 No. 34 Portrait of Mrs. John Weyland and her 
 Eldest Son. 
 
 Full-length figures. Mrs. Weyland is turned to the left; 
 apparently she is seated on a stool, with a red curtain hanging 
 above her head to the right. She wears a full, white dress 
 edged with gold lace, and a gold-toned sash with a yellowish 
 blue bow at her breast. A kerchief of the same hue is on 
 her head; the hair is dressed high, with a curl falling upon 
 her left shoulder. By her right side she holds her little son, 
 who is kneeling and seems to be about two years of age; he is 
 nude but for a loose white drapery, and has fair hair; his right 
 hand is raised in the direction of an open casement, through 
 
THE DINING-ROOM 
 
 which is a peep of undulating landscape. In the left fore- 
 ground lies a bull-dog. 
 
 Canvas, 55 inches by 44 inches. ( 1.39 x i.i i ) 
 
 Painted in 1776, when the child was less than two years of age. 
 
 We possess a vast amount of biographical data of the Weyland family 
 of Woodrising, Norfolk. The Weylands, whose name implies "wet 
 lands," are a branch of the family which temp. Edward I, held large 
 possessions together with the manors of Wigenhalls, Oxburgh, Gar- 
 boldisham and Shipden in the County of Norfolk. Sir Herbert de 
 Weyland in the reign of Henry III left three sons. The eldest of these. 
 Sir Thomas de Weyland, was still living in 1286, but d. s. p. He gave 
 to Ralph, Prior of Wodebridge( !), in Suffolk, a piece of meadowland, a 
 mill and two shillings rent, for the souls of his near relatives; and 
 the Prior on his part covenanted to find a canon to pray for them in 
 his conventual church. Sir William de Weyland was his second son, 
 and John de Weyland his third. This Sir William de Weyland was 
 the father of Sir Richard, Sir Nicholas and Sir Thomas. The last of 
 these was Lord Chief Justice of England, but was forced to abjure the 
 realm, 17 Edward I (1290), when his estates were confiscated to the 
 Crown on the plea of not duly administering justice in his exalted 
 function. 
 
 In 3 Edward I, Nicholas de Weyland, second brother of the said 
 unjust Judge, was found to be lord of the manor and to hold his land 
 of Robert Burnel, and he of Odingsels, the capital lord. This Nicholas 
 de Weyland married Julian, daughter and heir of the said Robert, 
 and had the manor of Garboldisham in Norfolk, of £10 per annum, 
 given him by Robert Burnel. The lord had a lete, a toll, and other 
 privileges belonging to that lordship, as part of the barony of Limesi. 
 On the 20th day of January, in 12 Edward I, he had a confirmation 
 of the weekly mercate and fair there, and on the 12th day of May, 
 in 13 Edward I, he had a grant of another fair for two days, on the 
 vigil and the day of the Assumption; also for eight days every year 
 on the vigil, day and morrow after the Annunciation of the Blessed 
 Virgin and for the five days following, and a grant of free-warren "in 
 all his demeans." In the 15th year of the said King, Sir Nicholas de 
 Weyland, Knt., had these following privileges of this lordship allowed 
 in Eyre : view of frank-pledge, assize of bread and beer, gallows, pillory. 
 
THE DINING-ROOM 
 
 tumbrell, weyf and stray, the aforesaid three fairs in the year and the 
 weekly mercate; "all which bespeak the town of Garboldisham to have 
 been in that age a place of consequence, capable of great reception." 
 
 The Weylands were subsequently related to the Tudenhams and the 
 Bedingfields. 
 
 Passing from those picturesque days to the XVIII century, we find 
 Mark Weyland was "an eminent merchant in London," and, four 
 months before his death on April 7, 1742, he was chosen one of the 
 twenty-four Directors of the Bank of England.^ 
 
 His eldest son, John — the grandfather of the little boy here portrayed 
 — was baptized in March, 17 13/14; he died October i, 1767, being 
 buried at Woodrising. As early as 1748 he was chosen a Director of 
 the Bank of England, and he is described as still being one at his death.^ 
 By his wife Ann, daughter of William Sheldon, whom he married in 
 1 741, he had a son John and four daughters. 
 
 This son and heir, John, of Woodrising, County Norfolk, was born 
 March 24, 1744; he married, December 31, 1772, Elizabeth Joanna^ — 
 the lady in this picture— daughter and co-heir of John Nourse,* of 
 Woodeaton, County Oxon, by Elizabeth his wife, daughter of Paul 
 Jodrell of Lewknor, County Oxon. By this marriage the Woodeaton 
 
 1 Gentleman's Magazine, 1742, Vol. XII, p. 215. 
 
 2 Gentleman's Magazine, Vol. XVIII, p. 185; Vol. XIX, p. 184; and Vol. 
 XXXVII, p. 524- 
 
 3 Her Christian name is mistakenly rendered "Johanna" in Burke's "Landed 
 Gentry," 19 14, p. 2001. 
 
 4 A John Nourse was the grandfather, and another man of the same name 
 was the father, of Richard Nourse, who died in 1673 in his seventy-third year. 
 Richard's son, also John, who died in 1708 at the age of eighty, married twice. 
 In the church at Woodeaton are a number of Nourse family memorials. Among 
 the earliest of them is a fair black marble tablet to the memory of his first wife, 
 Anna, "the late dear wife of John Nourse, Heir apparent of Richard Nourse, 
 of Woodeaton. . . . She was a blessed and joyfull mother of two sonns att one 
 birth, and of sixe severall daughters, being many years married to her now sor- 
 rowful Husband, who in performance of her desier hath here buried her body 
 between Richard, their eldest son, and their sixth daughter, at whose birth she 
 died in childbed the 30th day of August, in the 35th yeare of her age, 1669." 
 This John Nourse died, in his eightieth year, in 1708, being survived by his 
 second wife, Martha, who died three years later. 
 
 It is difficult to determine the relationship of the above to Francis Nourse, 
 High Sheriff of Oxfordshire in 1719, but he may have been the twin brother of 
 the above Richard. Another John Nourse was High Sheriff in 1741 and died 
 in 1774. See Harleian Society's Publications: "Visitations of Oxfordshire," Vol. 
 V, p. 283; and J. M. Davenport: "Lords Lieutenant and High Sheriffs of Ox- 
 fordshire," 1868, pp. 56 and 58. 
 
THE DINING-ROOM 
 
 estates came to the Wey lands. John Weyland was High Sheriff for 
 Oxfordshire in 1777.^ He died, July 24, 1825, leaving by his wife, who 
 died February 8, 1822, John^ (here portrayed together with his mother) 
 as well as two other sons and six daughters. 
 
 John Weyland the third, born December 4, 1774, and seen in this 
 canvas at less than two years of age, married, March 12, 1799, Eliza- 
 beth, daughter and heir of Whilshed Keene of Richmond, M.P. for 
 Montgomery, which lady died April 30, 1845.''^ John died, long before 
 his wife, at a date unknown, but without issue. His second brother, 
 Mark, died young. His third brother, Richard, was born in 1780, and 
 was a Major in the i6th Light Dragoons, with which regiment he served 
 in the Peninsular War and at Waterloo. These three brothers had 
 as sisters, Joanna, Elizabeth, Sophia, Marianne, Frances Appollonia, 
 Emma, Catherine, and Cecily Letitia. 
 
 In 1825 Major Weyland had succeeded to the Woodrising and 
 Woodeaton estates, and incidentally to this portrait group. 
 
 On the Major's death in 1864, the family estates and this their best 
 family portrait passed to his eldest son, John Weyland the fourth (1821- 
 1902). He in turn had two sons. The elder, John the fifth, was born 
 in 1855 and died in 1882, thus predeceasing his father by twenty years. 
 
 In 1902, therefore, the family possessions were inherited by the 
 younger brother of John Weyland the fifth. Captain Mark Ulick Wey- 
 ' land (born i860). Captain Weyland in 1903 sold this remarkable 
 portrait group privately. Ten years later, having, sold Woodeaton 
 House, Oxon, he disposed of a certain number of family portraits, to- 
 gether with a quantity of porcelain and furniture, by public auction at 
 Christie's. The sale took place on December 17, 1913, when portraits 
 of members of the Weyland and Nourse families by A. Carpentier, 
 Mary Beale, Sir George Hayter, Sir Godfrey Kneller, J. N. Sartorius, 
 Samuel Lane, and Sir Nathaniel Dance, R.A., were dispersed. 
 
 A letter, dated June 25, 1904, from a firm of London picture dealers, 
 
 ^ Gentleman's Magazine, Vol. XLVII, p. 95 ; Davenport, p. 58. 
 
 6 His portrait, seated in an arm-chair and in a blue coat, was painted by 
 Samuel Lane. It was sold at Christie's, December 19, 1913, No. 19. It was 
 engraved by C. Turner. (§ee O'Donoghue: "Engraved Portraits in the British 
 Museum," Vol. IV, p. 451.) Another portrait of John Weyland the second, by 
 Sir Nathaniel Dance, R.A., represents him in a scarlet tail-coat and holding 
 his hat and stick. 
 
 Gentleman's Magazine, 1799, Vol. LXIX, p. 251, gives full details regarding 
 the marriage. The bride's father's name, Whilshed Keene, is inaccurately 
 transcribed as "Whitstead Keene" by Burke. 
 
THE DINING-ROOM 
 
 and now in the possession of Mr. and Mrs. Taft, shows that they bought 
 this portrait^ during the previous year direct from the family. It had 
 until then never left the house from the time it was painted. 
 
 Exhibited, on loan, in New York, November, 1909, No. 6. 
 
 F. Blomefield: "An Essay towards a Topographical History of the 
 County of Norfolk," 1805, Vol. VI, pp. 171-73. 
 
 E. Foss: "Judges of England," 1851, Vol. Ill, p. 171. 
 
 Leslie and Tom Taylor: "Life and Times of Sir Joshua Reynolds," 
 1865, Vol. II, pp. 172 and 174. 
 
 Graves and Cronin: "Works of Reynolds," 1899, Vol. Ill, No. 1048. 
 Marshall: "Genealogist's Guide," 1903, p. 832. 
 Burlington Magazine, 1 9 10, Vol. XVI, p. 368. 
 
 "A pleasing composition, rendered in Sir Joshua's usual manner, with 
 the directness and certainty that characterized him throughout his 
 career, painted with convincingness and distinction, and full of the 
 character of the epoch." 
 
 International Studio j 19 10, Vol. XXXIX, p. Ixxiv. 
 
 The Connoisseur, 1913, Vol. XXXVI, p. 153 (plate). 
 
 "The removal of our canvas from England was not noticed in the 
 public press at the time. And its existence was known to very few 
 people, owing to its never having been exhibited there or engraved. 
 Although many of Sir Joshua's pocket-books have been preserved, 
 those for 1774 and 1775 as well as that for 1776— the year in which 
 this picture was painted — are missing. There was, in fact, only 
 one record that could have been traced by the industrious research 
 worker, and that is so brief that it would mean little or nothing to 
 anyone who had not both seen the canvas, and ascertained its pedigree, 
 
 8 It is a somewhat remarkable fact that, while gathering together biographical 
 data regarding this picture, the present writer should have come across, in 
 New York, a portrait of the husband painted by Sir N. Dance, R.A. He is 
 there represented in a red tail-coat, with white lace cravat, standing, and lean- 
 ing his left arm against a parapet; his hat is in his left hand, and his right 
 rests on a stick. It was formerly in the possession of Captain Weyland of 
 Woodeaton. 
 
 O'Donoghue: "Engraved British Portraits in the British Museum," 1914, Vol. 
 IV, p. 451, describes a mezzotint by C. Turner after a portrait by S. Lane 
 (Whitman, 605). 
 
THE DINING-ROOM 
 
 in the family that had owned it from the moment it was painted 
 down to the year 1903. In the absence of some of Joshua's pocket- 
 books, we can still have recourse to his price book, and there we 
 find, under the year 1776, the entry: 'Mrs. Weyland. March (part 
 payment) £105.' In many cases such payments were made to Sir 
 Joshua by the husband of the lady portrayed. Nor does it follow 
 that in the present case the lady's being an heiress varied the arrange- 
 ment by which the picture was paid for. Rather is it to be regarded 
 as conclusive that, whoever attended to the merely monetary side of 
 the question, the matter concerned a female portrait, and that it is 
 the one before us. It measures 55 inches by 44 inches. This can- 
 vas is thus a trifle larger than the usual stock size for such works. 
 
 "The little boy would appear to some to be more than two years 
 of age, but he was barely that when this portrait was painted. In 
 the absence of Sir Joshua's pocket-book for 1774 we have to fall 
 back on his price book, and it is possible to piece together a list of 
 his sitters for that year. It includes 'Miss Nourse.' The lady be- 
 fore us, nee Nourse, had nearly two years earlier become Mrs. Wey- 
 land, but Reynolds's entries were made only for himself. If, as seems 
 likely, the entry referred in Sir Joshua's mind to the lady in this 
 picture, her portrait would have been begun before the child was 
 born at the end of 1774. There would be obvious reasons for the 
 rather unusual pose, while the completion of the canvas with the 
 addition of the child two years later would lend added interest to it. 
 
 "Reynolds, perhaps unconsciously, followed many of the Italians 
 who painted and sculpted the Infant Child as symbolically over-large, 
 and so in mere portraiture he was apt to over-state the age of a 
 child. It is in fact a distinguishing characteristic of the whole of the 
 English School of his day.^ . . . The bull-dog is treated somewhat 
 generically, and subordinated to the general design. It contrasts 
 with the dogs often included in other works by Sir Joshua Reynolds, 
 and he even 'featured' dogs in pictures of children. Of such 
 treatment the 'Miss Bowles,' in the Wallace Collection, is the popu- 
 lar exemplar. . . . Hung in the house for which it had been painted 
 and well cared for four generations, it is to-day in an unusually fine 
 state of preservation. One is attracted by the facture and will ob- 
 serve, but not perhaps at first glance, the pentimenti in the painting 
 
 ® We see this again in the "Tomkinson Boys" by Gainsborough, No. i in this 
 collection. 
 
THE DINING-ROOM 
 
 of the lady's left hand, which is in fact the aesthetic as well as the * 
 actual centre of the well-knit composition. Sir Joshua evidently 
 intended at first to represent the hand as grasping the gauzy drapery. 
 But as he worked on and saw his scheme unfold, he changed his 
 mind. To-day we can follow his altered brush-work in the thumb 
 and forefinger. Indeed it is such details that, taken together with 
 the whole work, establish it as absolutely autograph. One does not, 
 of course, wonder that it is not signed; for there was no special 
 reason why it should be, and Sir Joshua's signature is found not 
 more than half a dozen times. 
 
 "It belongs to the early moment of our artist's period of full ma- 
 turity. By 1774 Reynolds had been President of the Royal Academy 
 six years. In that year he exhibited thirteen canvases at the Acad- 
 emy and among them were the 'Three Ladies adorning a Term of 
 Hymen' (now in the National Gallery, London), one of his many 
 portraits of his favourite sitter, Maria Walpole, Duchess of Glouces- 
 ter, and one of her daughter, the Princess Sophia. Among the twelve 
 shown by him in 1775 were such outstanding examples as the 'Count- 
 ess of Harrington,' the 'Countess of Dysart,' the 'Lady Cockburn 
 with her three Children' (now at Trafalgar Square) , the 'Duchess of 
 Gordon,' 'Miss Mary Horneck' and 'Mrs. Sheridan;' 
 
 "In 1776, the year in which this picture was painted, the President 
 sent in thirteen canvases for the exhibition. In the catalogue for 
 that year we note the names of the 'Duchess of Devonshire' and 
 'Master Crewe' as well as the 'Samuel' which (together with nine- 
 teen other works by Sir Joshua) was burnt at Belvoir in 18 16. To 
 the same exhibition went also the 'Master Herbert as the Infant 
 Bacchus,' which 'was engraved with leopards, but when cleaned 
 lions appeared!' Walpole described the 'Lord Temple' of the same 
 year as 'the finest portrait Reynolds ever painted.' Indeed, these 
 well-wrought portraits of outstanding historical characters not only 
 marked the moment of great artistic achievement, but have in our 
 own time, when exhibited as works by the Old Masters, held their 
 own for distinction and familiar setting. As early as 1776 he had 
 not been unfortunate enough to use perishable materials, in his ef- 
 fort to solve the problems bound up in the secrets of the Italian Old 
 Masters. A decade later, however, he often, out of scientific curi- 
 osity, employed chemical admixtures that have brought about the 
 ruin of such enterprises. We here see Reynolds in one of his great 
 
THE DINING-ROOM 
 
 triumphs as a painter of innocent, ingenuous childhood and of the 
 beauty and gracefulness of womanhood." 
 
 M. W. Brockwell: "Sir Joshua Reynolds's Portrait of Mrs. 
 Weyland and her Eldest Son," in Art in America, February, 
 19 19, Vol. VII, pp. 63-69. 
 
 SIR JOSHUA REYNOLDS, P.R.A. 
 
 English School; I'jz^-ijgz 
 
 No. 35 Portrait of Mrs. Mary Robinson. 
 
 Bust, seen en face. Low-cut black dress with white fichu 
 over the shoulders ; large black hat with black bows and white 
 feathers; small black velvet neck-band; powdered hair. Red 
 curtain background, with a glimpse of blue sky on the left. 
 
 Canvas, 29^ inches by 24^ inches. (0.74x0.67) 
 
 Mary Darby was born, in America, on November 27, 1758. Her father, 
 the captain of a Bristol whaler and at one time a prosperous trader with 
 America, was of Irish descent ; he was born in America, and died in Bris- 
 tol in 1787. It is perhaps worth noting that Mary claimed to be related, 
 on her father's side, to Benjamin Franklin. She showed precocious abil- 
 ity as a reciter, and when only thirteen received offers of marriage. At 
 the age of fifteen she was introduced to Garrick, by whom she was pre- 
 pared to play the part of Cordelia to his Lear. But on April 12, 1774, 
 she was married to Thomas Robinson, an articled clerk to a lawyer, 
 and this dramatic engagement fell through. Unfortunately, her hus- 
 band's birth was a mystery and his morals strange, while her own views 
 of money and honour were no less peculiar. Consequently, when she 
 was barely seventeen, their distressing vicissitudes had landed them both 
 in prison for debt. There she wrote verses which were, in fact, pub- 
 lished in 1775. On her Release she met Sheridan and renewed her ac- 
 quaintance with Garrick, so that on December 10, 1776, when she had 
 just turned eighteen, she appeared on the stage at Drury Lane as Juliet 
 with such success that she took the town by storm. Afterwards she 
 appeared as Imogen and Ophelia; and in December, 1779, as Perdita in 
 
 1:1293 
 
THE DINING-ROOM 
 
 *'The Winter's Tale" she attracted the admiration of George, Prince of 
 Wales (afterwards George IV). At the early age of eighteen the 
 Prince had taken his first plunge— and there were to be many— into the 
 romance of love-making, and Mary Robinson became the object of his 
 attentions for a brief period. She was by no means the sweet little in- 
 nocent, poetical thing that some of her modern admirers have pictured 
 her. Indeed, according to one "diurnal print" of the period, "she con- 
 trived at last so to basilisk a certain heir-apparent that his fixed attention 
 to the beautiful object became generally noticed." She may have af- 
 fected coyness, but she was really stimulating the ardour of her pur- 
 suer, who was, in fact, four years her junior. It will not be forgotten 
 that the scandalous Town and Country Magazine had linked her name 
 with Lord Maiden's, under the title of "Memoirs of the Doating Lover 
 and the Dramatic Enchantress," a year earlier than it thought fit to 
 treat of the "Memoirs of the illustrious Heir and the fair Ophelia."^ 
 The Prince and Mary styled themselves Florizel and Perdita. Before 
 long he induced her to leave the stage, and gave her his portrait set with 
 diamonds, on one side of which was inscribed the legend : "Je ne change 
 qu'en mourant," and on the other: "unalterable to my Perdita through 
 life." Thus in May, 1780, she abandoned her dramatic career and re- 
 ceived from him a bond "of a most solemn and binding character" for 
 £20,000. During this period, when she had lapsed into the primrose 
 paths of dalliance, we hear little of Mr. Thomas Robinson. Princes 
 do not sigh long, and in three years' time Mrs. Mary Robinson was de- 
 serted by her very unchivalrous and un-Shakespearean Prince Florizel. 
 Payment of the bond was refused to the "charming queen of curds and 
 cream of /The Winter's Tale.' " Still, in 1783, her friends obtained for 
 her from the Prince a pension of £500 a year — not a very brilliant com- 
 pensation for the theatrical career she had renounced, together with 
 other expectations, for his sake. She had, according to her own account, 
 loved her Florizel with a real fondness which had perhaps been accom- 
 panied by "the delicate wantonness of a Perdita." At any rate, she had 
 revelled in the luxury of her brief reign before finding herself aban- 
 donnata, bruised and wounded in her affections. We are told that 
 she used to drive a light blue carriage ("an absurd chariot") with "a 
 basket of flowers so artfully painted in the centre of each panel that, 
 
 1 See the "Histories of the Tete a Tete" in Toiun and Country Magazine, 
 1780, Vol. XII, pp. 233-236; and 1781, Vol. XIII, pp. 9-11. And see Notes and 
 Queries, loth Series, Vol. IV. 
 
THE DINING-ROOM 
 
 as she drove along, it was mistaken for a coronet." Her mock coronet 
 was not of flowers, but it faded just as fast. Nor was her fame as an 
 actress great enough to turn the scale in her favour, although she had 
 played certain parts with a winning gracefulness. 
 
 It is said that at Brighthelmstone (as Brighton was then called) our 
 belle delaisee saw rather more than she wished of the ascendancy of 
 Mrs. Fitzherbert over her own former lover, the Prince of Wales, who 
 continued to pass his life in the grossest profligacy and was as false as 
 he was licentious. Mrs. Maria Anne Fitzherbert (1756-1837) mar- 
 ried him in 1785 in spite of the Royal Marriage Act, and was perhaps 
 the only woman to whom the Prince was ever sincerely attached. 
 
 To return to our Florizel's cast-off and much commiserated mistress: 
 she formed a close intimacy extending over many years with Colonel 
 Tarleton, an officer in the English Army in America. In her later years 
 she devoted herself to literature; while, five years after Florizel's mar- 
 riage in 1795 to his Cousin Caroline of Brunswick, ''the once celebrated 
 Perdita passed away on December 26, 1800, at her cottage at Engle- 
 field Green." She had been several months in a declining state of 
 health, which worldly troubles had greatly aggravated. She was interred 
 ''in a private manner; the mourning coach with two gentlemen, and 
 her own carriage only attending."^ Such was the end of this "actress, 
 authoress and royal mistress, of Irish descent," who was a woman of 
 singular beauty but vain, ostentatious and fond of exhibiting herself, 
 and, in spite of her portraits, wanting in refinement. She requested to 
 be buried at Old Windsor, and so within a short distance of the castle, 
 "for a particular reason." She was just over forty-two years of age.-^ 
 By some she has been styled the English Sappho.* In connection with a 
 portrait of her by Reynolds we may recall that Mrs. Robinson's Muse, 
 according to a newspaper of February 29, 1792, paid the following, 
 elegant tribute to the fame of Sir Joshua Reynolds : 
 
 "Reynolds, 'twas thine with magic skill to trace 
 
 The perfect semblance of exterior grace. 
 
 Thy hand, by nature guided, mark'd the line 
 
 That stamps perfection on the form divine. 
 
 2 Gentleinan's Magazine, 1800, p. 1300. 
 
 3 The tombstone gives the age incorrectly as forty-three. 
 
 * Such an ambiguous title she might have disputed with Lavinia Felton, Peg 
 Woffington, George Anne Bellamy, Frances Abington, Sophia Baddeley, "Becky" 
 Wells, Dora Jordan, Nellie O'Brien and Kitty Fisher, et al. The last two 
 were never on the stage. 
 
 1:1313 
 
THE DINING-ROOM 
 
 'Twas thine to tint the lip with rosy die, 
 To paint the softness of the melting eye; 
 With auburn curls, luxuriantly displayed. 
 The ivory shoulders polish'd fall to shade; i 
 To deck the well-turn'd arm with matchless grace ; 
 To mark the dimpl'd smile on beauty's face. 
 The task was thine, with cunning hand to throw 
 The veil transparent on the breast of snow; 
 The Statesman's thought, the infant's cherub mien, 
 The Poet's fire, the Matron's eye serene ; 
 Alike with animated lustre shine. 
 Beneath thy polish'd pencil's touch divine. 
 As Britain's Genius gloried in thy Art, 
 Ador'd thy Virtues and rever'd thy Heart ; 
 Nations unborn shall celebrate thy name; 
 And stamp thy mem'ry on the page of Fame!" 
 
 Formerly in the collection of the Marchioness of Thomond, 1821. 
 In the collection of Lord Wharncliffe, circa 1835. 
 
 In the collection of John Smith, author of the "Catalogue Raisonne," 
 1841. 
 
 In the collection of H. A. J. Munro, of Novar, by whom it was ex- 
 hibited at the British Institution, 1852, No. 167. Included in the sale 
 of that collection in i860. 
 
 Waagen, after visiting the Munro Collection, refers to this portrait as 
 being "of great reality, the colouring true and transparent." ("Art 
 Treasures," 1854, Vol. II, p. 140.) 
 
 In the collection of Mrs. Octavius E. Coope, at Rochetts, near Brent- 
 wood, Essex, and by her lent to the Grosvenor Gallery, 1888, No. 81. 
 Included in the sale of that collection at Christie's, May 6, 19 10, No. 
 54, as "Portrait of Mrs. Mary Robinson as Perdita." 
 
 Leslie and T. Taylor: "Reynolds," 1865, Vol. II, pp. 179 and 346. 
 
 Graves and Cronin: "Reynolds," 1899, p. 832. 
 
 Magazine of Art, 1900, Vol. XXIV, p. 515 ; Vol. XXV, pp. 34 and 304. 
 Connoisseur, 1 902, Vol. IV, p. 260. 
 Art Journal May, 1904, p. 145. 
 
 1:1323 
 
THE DINING-ROOM 
 
 J. Fyvie: "Comedy Queens of the Georgian Era," 1906, p. 274. 
 "A. L. A. Portrait Index," 1906, p. 1239. 
 
 Wallace Collection, London, ''Catalogue of Pictures," 1913, p. 209. 
 
 Portraits of Mrs. Mary Robinson^ were painted not only by Reynolds 
 but also by Gainsborough, Romney, Hoppner, Lawrence, J. Downman, 
 Ozias Humphry, R. Cosway, George Dance, J. K. Sherwin, J. Cranke, 
 Charles Bestland and J. Roberts. 
 
 The chroniclers of the day raved of her wonderful beauty, while not- 
 ing that she lacked refinement. Yet Reynolds and Gainsborough gave 
 her an air of refinement, without rendering her as a raving beauty. It 
 is in the Wallace Collection, London, that we can best form our own 
 views on the subject, as there are there the portraits of her as Perdita 
 by Reynolds and Gainsborough, while Romney represents her with her 
 hands in a muff. In Gainsborough's large canvas she is seated on a 
 bank, a white Pomeranian dog at her side ; she is exquisitely attired in a 
 diaphanous white dress, most delicately heightened with passages of faint 
 blue. She holds a miniature in her left hand, and it is intended to throw 
 doubts on the constancy of the Prince's love; and she derives a little 
 belated consolation from the beauty and elegance of her grief. One 
 cannot help remembering that the Prince, become George IV, died with 
 Mrs. Fitzherbert's portrait round his neck. However, according to Cole- 
 ridge, "constancy lives in realms above." 
 
 JOHN HOPPNER, R.A. 
 
 English School; ly^S-iSio 
 
 No. 36 Portrait of Mrs. Parkyns, afterwards Lady 
 Rancliffe. 
 
 Nearly full-length figure, standing before a bank on which 
 is a tree seen in full autumn foliage ; her body is directed to the 
 left, but she is looking out at the spectator. In a low-cut white 
 
 5 She is not to be confused with Mary Robinson, "the Beauty of Buttermere," 
 who was enticed into marriage with John Hatfield, the swindler, and died in 
 1837. 
 
THE DINING-ROOM 
 
 dress, with brownish-green sash; a long, thin black lace shawl 
 hangs across her shoulders and falls down in front. She wears 
 a dark green cap and a coral necklace. In her left hand she 
 holds a glove; her right is not seen. Landscape background 
 with an undulating park, and in the distance to the left a tower 
 on rising ground.^ 
 
 Canvas, 50 inches by 40 inches. (i-27 x i.oi) 
 
 Painted in 1794. 
 
 A lengthy biographical note on Mrs. Parkyns will be found in the 
 ^'Obituary of Remarkable Persons" published in the Gentleman s Maga- 
 zine, Vol. LXVII[I], 1797, p. 85. It reads thus: 
 
 "In Portland Place, in her 31st year, Elizabeth-Anne, Lady Ran- 
 cliffe, wife of the Right Honourable Thomas Boothby, Lord Ran- 
 cliffe in Ireland, so created in 1795; F.R.S.; a vice-president of the 
 Society for encouraging Arts and Manufactures; representative in 
 the last and present Parliament for the borough of Leicester ;2 eld- 
 est son of Sir Thomas Parkins [^sic~\ of Bunny-park, Co. Notting- 
 ham, baronet, by his first wife, Jane, sole daughter and heiress of 
 Thomas Parkins [Wc], son of Sampson; and grandson of the late 
 Sir Thomas P. bart., the noted wrestler, and author of a treatise 
 on that manly and athletic science, published about 1732, with a 
 print of the author, who died in March, 1741.^ 
 
 "In his lifetime he erected a monument, in which he is represented 
 in a wrestling posture, with an elegant Latin epigram by Dr. 
 Freind, of Westminster School, a copy of which, with a translation, 
 and a history of this monument in Bunny-church, may be seen in 
 
 1 It may well be that this tower was specially introduced here with reference 
 to Mrs. Parkyns's father, Sir William James, having commenced the erection 
 of "a triangular tower." 
 
 2 The husband of the lady here represented was born July 24, 1755; he was 
 member of Parliament for Stockbridge, 1784-1790, as well as for Leicester, 
 1790-1800; created Baron Rancliffe in the Irish Peerage, October 3, 1795; he 
 died November 17, 1800. 
 
 A stipple engraving by W. Leney after a portrait of him by an unknown artist 
 was published by C. Cawthorn in 1796. See O'Donoghue: "Engraved British 
 Portraits in the British Museum," 19 12, Vol. Ill, p. 542. 
 
 In 1794, when this portrait was painted, the subject of it would be known as 
 Mrs. Parkyns. 
 
 3 A striking portrait of him was painted by Van der Bank, and is now in 
 ' the United States. 
 
THE DINING-ROOM 
 
 Vol. VII, p. 182 [of the Gentleman s Magazine']. The present 
 baronet was married to his third wife, Miss Boultbee of Leicester, 
 on the first of September last. (See Vol. LXVI, p. 789.) 
 
 "Lady Rancliffe [the subject of the present portrait] was daugh- 
 ter and sole heiress of Sir William James, of Park Farm Place, 
 in Eltham, Kent, Baronet (so created, July 25, 1778), and was by 
 his third Lady, Miss Goddard (cousin of the late General Goddard, 
 who is living in Upper Wimpole Street). Lady Rancliffe was 
 married December 16, 1783, from her father's house in Gerrard 
 Street, at the parish church of St. Anne, Soho ; on which memorable 
 day died her father. Sir William, who had for some time been in- 
 disposed. (See Vol. LIII, pp. 1064, 1066.) Lady Rancliffe was 
 married at eighteen ; has been the mother of nine children in thirteen 
 years, six of which \_sic] , one son and five daughters, are now living. 
 With every elegance of person, youth, riches, dignity and mental 
 accomplishments in the highest degree refined and cultivated; 
 matched to a husband whose worth is equalled only by his benevo- 
 lence; nothing seemed to have been wanting to complete the happi- 
 ness of the charming woman whose loss we now deplore. Yet she 
 was one more instance of the ill-placed partiality of relations, who, 
 in the moment of parental delusion, defeat the happiness of a fa- 
 vourite child by throwing too princely a fortune in the capricious 
 lap of a giddy female. Her remains were removed, on the 28th, 
 with great funeral pomp, attended by a numerous train of weeping 
 friends of high respectability, in seven mourning coaches followed by 
 nine private carriages, from Portland-Place to Eltham; and there 
 deposited in a vault in the church-yard, over which the following 
 inscription has for some years been placed: 
 
 "for the reception of 
 her nearest and dearest relations, 
 
 ANNE, 
 
 RELICT OF SIR WILLIAM JAMES, BART. 
 LATE OF PARK FARM PLACE 
 IN THIS PARISH, 
 DIRECTED THIS VAULT 
 TO BE CONSTRUCTED." 
 
 Mrs. Parkyns's father was, as Commodore James, "commander-in- 
 chief of the Marine Force in India, being then at Bombay, and sailed 
 
THE DINING-ROOM * 
 
 on 22 March in the Protector of 44 guns, with the Swallow of 16 
 guns, and the Viper and Triumph, bomb vessels."^ 
 
 It is recorded that : 
 
 "Park Farm Place, in Eltham, Kent, the former residence of Mrs. 
 Parkyns's father. Sir William James, was begun by him and finished 
 by his widow soon after his death, a triangular tower, about 45 
 feet high, with turrets, in memory of a fort called Severndroog, 
 in Angria, on the coast of Malabar near Bombay, taken by him 
 when Commodore James. (See Vol. XXVII, p. 113; Vol. XXXI, 
 p. 151.) This observatory or pharos^ commands most rich and ex- 
 tensive views over the western parts of Kent and Essex, with a very 
 fine prospect of the river Thames. ... It is built from a design by 
 Mr. Jupp; and consists of three floors; . . . this building was 
 erected in 1784." 
 
 It was stated above that Mrs. Parkyns was married "on December 16, 
 1783, from her father's house in Gerrard Street, at the parish church of 
 St. Anne, Soho." Confirmation of this is found in the Gentleman s Maga- 
 zine, 1783, part 2, Vol. LIII, where, among the marriages, we read: 
 
 "December 16, 1783, Thomas B. Parkyns, Esq., one of the Equer- 
 ries to the Duke of Cumberland, to Miss James, daughter of Sir 
 William James, Bart., of Gerrard Street, Soho." 
 
 In the same magazine, p. 1 066, we read the obituary notice of Mrs. 
 
 Parkyns's father, under date of December 16, 1783: 
 
 "Suddenly, after attending the marriage of his daughter at St. 
 Anne's, Soho, Sir William James, Bart., one of the Directors of 
 the East India Company and of Greenwich Hospital, an elder 
 brother and deput5^-master of the Trinity-house, M.P. for West 
 Loo in CornwaU, and F.R.S." 
 
 Sir N. W. Wraxall tells us that : 
 
 "Sir William James was seized with an Indisposition, while sit- 
 ting in the House of Commons, during the progress of the East 
 India Bill, which compelled him instantly to return home; he recov- 
 ered in a certain degree from the attack, though he never afterwards 
 quitted his own house. His death took place instantaneously, during 
 
 4 Gentleman's Magazine, Vol. XXXI, p. 151. 
 
 5 We have above (page 134) suggested that this may have given rise to the 
 inclusion of the tower in the landscape background of this portrait. 
 
 [:i36: 
 
THE DINING-ROOM 
 
 the performance of the ceremony of his only daughter's marriage 
 with the late Lord Ranclilfe, then Mr. Boothby Parkyns."^ 
 
 Another authority, which is usually most reliable, affirms that she was 
 married "on December 24, 1783, at her father's house in Gerrard Street, 
 St. Anne's, Soho, by Special License."^ The same authority declares 
 that Mrs. Parkyns's mother was Anne, daughter of Edmund Goddard 
 of Hartham, County Wilts; and that the subject of our portrait "died 
 in Portland Place, Marylebone, on the i8th and was buried on the 28th 
 January, 1797, at Eltham." 
 
 Among other children, Mrs. Parkyns was the mother of George 
 Augustus Henry Anne, second Baron and fourth Baronet, who was 
 born June 10, 1785; succeeded 1800; married in 1807; died in 1850. 
 The peerage became extinct, but the baronetcy devolved upon his cousin. 
 
 Mrs. Parkyns was in all probability godmother to Henry Parkyns 
 Hoppner, the son born to our artist in 1795, the year following the ex- 
 hibition of the present work at the Royal Academy.^ 
 
 Exhibited at the Royal Academy, 1794, No. 155, as the "Portrait of a 
 Lady." Its identity is established by reference to Pasquin, who, in his 
 "Liberal Critique on the Present Exhibition," 1794, p. 31, refers to it 
 as "this very charming picture of Mrs. Parkyns," and adds that "it 
 does much credit to the artist." 
 
 Exhibited at the British Institution, 1817, No. 43, as "Portrait of Lady 
 RanclifEe." 
 
 For nearly a century this picture remained in the collection at Bunny 
 Park, near Nottingham, but its existence was known to few people 
 until it was included in the sale held on February 24, 1 9 10, on the 
 premises, when it was No. 900 in the catalogue. The Times the fol- 
 lowing day described "The Bunny Hall Sale. High Price for a Hopp- 
 ner": 
 
 "The sale of the contents of Bunny Hall, near Nottingham, by 
 order of Sir R. W. Levinge, was continued yesterday. . . . The 
 
 6 "Historical Memoirs of His Own Time," 1836, Vol. IV, p. 559. 
 
 7 "The G. E. C. Peerage," 1895, Vol. VI, p. 323. 
 
 8 See McKay and W. Roberts: "John Hoppner," 1909, p. 127. This boy is 
 perhaps that in the centre of the artist's "Children Bathing," catalogued in 
 the collection of the late Mr. P. A. B. Widener as the "Portrait Group of the 
 Hoppner Children." He entered the navy and twice accompanied Parry in his 
 effort to effect the Northwest Passage. He died December 22, 1833, aged 
 thirty-eight. 
 
 1:1373 
 
THE DINING-ROOM 
 
 chief feature yesterday consisted of the family portraits, and at 
 the head of these came the famous portrait by John Hoppner of the 
 Hon. Mrs. Parkyns, afterwards first Lady RanclifiEe. . . . She died 
 in January, 1797, three years after Hoppner had painted her por- 
 trait. This portrait was exhibited at the Royal Academy of 1794, 
 and at the British Institution of 181 7 ; and since the latter date it has 
 only been known through the small but inadequate engraving by 
 C. Wilkin published in 1795. . . . Hoppner's price for painting 
 this portrait, which even so venomous a critic as Anthony Pasquin 
 described as a Very charming picture,' would have been about 80 
 guineas. Various tempting oifers are known to have been made to 
 the last resident at Bunny Hall to sell the portrait, but without 
 avail. 
 
 "All the principal London picture dealers'were represented at the 
 sale yesterday, and an opening bid of 2000 guineas was made by Mr. 
 Hazell Vicars, whose chief rival was Mr. Charles Wertheimer up 
 to 7500 guineas, when Messrs. P. and D. Colnaghi entered into 
 the contest; bidding then advanced in 100 guinea stages until it 
 reached 8800 guineas, at which the picture fell to Mr. Wertheimer, 
 with Messrs. Colnaghi & Co. as underbidders. This is, if not a 
 'record,' probably one of the highest prices ever paid for a picture at 
 a country sale, although it still falls considerably below the price 
 paid for a Hoppner by Mr. Wertheimer when he bought the Tady 
 Louisa Manners' a few years ago." 
 
 In the portrait of Mrs. Parkyns (48 inches by 38 inches) which is now 
 in the collection of Mr. Willys at Toledo, Ohio, the lady is seen in a 
 wrap rather lighter than the lace cape shown in our painting. More- 
 over, in the former it flows back under the lady's arm, while in this it 
 falls by her left side. In the former her dress is fuller at the waist ; in it 
 also the trees have not the same high lights, and the peep of distant 
 landscape seen through them in the middle distance is different. In each 
 the lady shows her left, but not her right hand ; also in the background 
 of each we find the same rather peculiar-looking castle. In this canvas, 
 which is a trifle the larger, she has not quite so high a colour in the 
 cheeks. 
 
 This portrait was engraved by C. Wilkin, about 12^ inches by 10 
 inches, June 20, 1795; two examples (one printed in colours) are in the 
 
THE DINING-ROOM 
 
 British Museum Print Room (O'Donoghue: "Engraved British Por- 
 traits in the British Museum," 1912, Vol. Ill, p. 542). 
 
 Engraved also in line and stipple for the English Illustrated Magazine, 
 October, 1888, p. 29. 
 
 Reproduced in Whitman's "Print Collector's Handbook," p. 74. 
 
 Graves: "Royal Academy Exhibitors," 1906, Vol. IV, p. 154. 
 
 McKay and Roberts: "John Hoppner, R.A.," 1909, pp. 198-9, 337; 
 and Supp., 1914, p. 41. 
 
 Exhibited, on loan, in New York, February, 1913, No. 8. 
 
 On that occasion it drew forth the following comment in a New York 
 newspaper : 
 
 "A Hoppner of the very finest quality is on exhibition at the Scott 
 and Fowles Galleries. It is the portrait of Mrs. Parkyns, a fair, 
 blue-eyed, healthy-looking woman of Kent, not unlike Rubens's wife, 
 Helen Fourmont, but more refined. The portrait is a three-quarter 
 length. From beneath a green turban, decorated with a green 
 feather, falls a profusion of fair curls over Mrs. Parkyns's shoulders. 
 She wears a simple white dress with a green band around the waist 
 to match the turban ; a single row of coral beads is around the neck, 
 and a black lace cape falls from the shoulders. She stands under a 
 tree, and the landscape is of greater beauty than any we remember 
 ever having seen in a Hoppner picture, such a landscape as Gains- 
 borough might have painted. The colouring of the whole picture 
 is rich, and the mellowness it has gained since it was painted has not 
 grown dark anywhere. The flesh tones are as brilliant as they 
 were when the canvas left Hoppner's easel. There is no sign of the 
 painting having been touched by any other brush than his, yet we 
 know that it must have been painted at least one hundred and four- 
 teen years ago, for the sitter, whose husband had become the first 
 Baron Rancliffe — a title now extinct — died in 1797. One of her 
 daughters became the wife of Charles X of France's minister, the 
 Prince de Polignac, who nearly lost his head on the fall of his mas- 
 ter, but got off with a sentence of perpetual imprisonment, which 
 six years later was commuted to exile." 
 
 The Connoisseur, June, 191 3, pp. 120 and 124 (plate). 
 
 [139] 
 
THE DINING-ROOM 
 
 The portraits by Hoppner of Mr. and Mrs. Parkyns, both of which 
 hung in the house at Bunny until the sale in 1910, were copied by Mr. 
 R. S. Spanton for Sir Horace Rumbold, late Ambassador at Vienna, a 
 grandson of Lord and Lady Rancliffe. Mr. Spanton states that these 
 portraits are "in perfect condition, on the old strainers, not relined, de- 
 liciously cracked from being altered and painted upon a little too quickly." 
 
 Another portrait of Mrs. Parkyns, wearing a pink dress in a landscape, 
 I2j4 inches by 9^ inches, was formerly in the collection of Madame 
 de Falbe at Luton Hoo, Beds. It was sold May 19, 1900 (No. 28). 
 It was probably done for the purpose of C. Wilkin's engraving. 
 
 JEAN BAPTISTE CAMILLE COROT 
 
 French School; I'jg6-i8j^ 
 
 No. 37 At Ville d'Avray. 
 
 Three children are standing at the side of a wide path which 
 is bordered by tall feathery trees. A brown-roofed shed is 
 under the trees on the right. In the distance, to the left, are 
 tall gray houses. Blue sky with clouds. 
 
 Canvas: 21 inches by 14^ inches. (0.53x0.36) 
 Signed in the bottom left corner. 
 Painted about 1 860-1 870. 
 
 Formerly in the A. de St. Albin Collection, Paris. 
 
 Robaut: "Corot," 1905, Vol. Ill, p. 232, No. 1977, under the title of 
 "Paysans arretes sur le bord d'un chemin boise en vue d'un village." 
 
 1:140: 
 
THE DINING-ROOM 
 
 JEAN BAPTISTE CAMILLE COROT 
 
 French School; I'jgd-iSj^ 
 
 No. 38 "Souvenir de Riva: Evening Glow." 
 
 In the foreground is a small stony brook, the turgid waters 
 of which pass through rushes into a wide stream which, in the 
 middle distance, runs across the composition. A large tree is 
 on the bank on the right. A man is pushing towards the left 
 a punt containing another figure. Gray hills seen in the dis- 
 tance on the far side of the river. 
 
 Canvas: 24^^ inches by 36 inches. (0.62 xo.91) 
 
 Signed in the right bottom corner. 
 Painted 1 865-1 870. 
 
 Formerly in the collection of Alexander Young, from whom it was pur- 
 chased privately. 
 
 "Another important composition has two renderings in the [Alex- 
 ander Young] collection, called respectively 'Souvenir de Riva: 
 Evening Glow' and 'The Fisherman.' The former is rich in colour 
 and the thick mass of trees is admirable. It was one of Corot's 
 favourite maxims that trees should look as if the birds could fly 
 through them, and even his heaviest masses of foliage give that im- 
 pression. The painting of the sky, with its delicate hues of pale 
 gold, is exquisite, as is the distant scene bathed in the evening light." 
 E. G. Halton: ''The Collection of Alexander Young," in the 
 International Studio, 1906-07, Vol. XXX, pp. 9-10, where 
 this picture is reproduced. 
 
 Robaut: "Corot," 1905, Vol. Ill, p. 196, No. 1805, as "Bateliers abor- 
 dant sous un gros bosquet d'arbres: Le Matin. (Souvenir de Riva)." 
 
 Riva is in the Italian Tyrol. Plates 357-360 in Robaut's work show 
 how Corot in time suppressed, or altered, numerous details derived from 
 a study made on the spot. Thus a small chapel, which actually stood 
 
THE DINING-ROOM 
 
 in the right middle distance, was suppressed and a group of trees sub- 
 stituted for it. In the same way the left foreground was varied so as 
 to present a character much less local in appearance. These changes in 
 vision and handling were spread over the period 1 834-1 860. 
 
 In certain respects this composition recalls the "Evening Glow" (which 
 has also a small tree in the middle distance instead of, as here, on the 
 right), that was in the Alexander Young sale, July i, 19 10, No. 150, 
 13 inches by 21^4 inches. 
 
 JEAN BAPTISTE CAMILLE COROT 
 
 French School; Ijg6-i8j^ 
 
 No. 39 The Brook (''L^ Ridsseaii'), 
 
 A young woman in brown skirt, blue-gray bodice and pink 
 cap is kneeling and gathering faggots, in the centre fore- 
 ground, on the grass at the side of a brook. Further back, to 
 the left, are tall trees. The stream runs back towards brown- 
 roofed buildings. Trees are also on the bank on the right. 
 
 Canvas, 21^ inches by 15 inches. (0.54x0.38) 
 
 Signed in the bottom right corner. 
 
 Painted about 1 865-1 870. 
 
 Exhibited at the Ecole des Beaux-Arts, Paris, 1875, No. 82, from the 
 collection of Dr. Gambey, under the title of "Femme au bord d'un 
 Ruisseau." 
 
 Exhibited at the Durand-Ruel Galleries, Paris, 1878, No. 83. 
 
 Exhibited by A. de St. Albin, in the "Exposition de Cent Chefs-d'oeuvre 
 des Collections Parisiennes," at the Galerie Georges Petit, Paris, June- 
 July, 1883, No. 6, under the title of "Le Ruisseau." 
 
 Robaut: "Corot," 1905, Vol. Ill, p. 66, No. 1443, as "Un Ruisseau 
 sous les arbres avec une maison au fond." There stated to have belonged 
 to "Dr. Cambay" \_sic\, and said to have been painted near Beauvais. 
 
THE DINING-ROOM 
 
 It is there stated that "this study has been copied several times. One of 
 such copies, among others, was made by Devillers. It measures 0.45 x 
 0.29 (17^ inches by 11^ inches) and bears on the left the signature 
 of Corot." 
 
 Engraved by R. Paul Huet for Albert's Wolff's book on "Cent Chefs- 
 d'oeuvre des Collections Parisiennes," p. 50. 
 
 This picture, v^rhich is to all intents and purposes the companion to No. 
 37, has been called "The Pool." But the title now used seems prefer- 
 able. 
 
 Judging by Corot's "Environs de Beauvais: Un chemin sous les arbres 
 au Printemps" (Robaut, No. 1374), which passed by bequest from the 
 Warnier Collection to the Rheims Museum, this is a view of the same 
 stream, and the village is that of Marissel. 
 
 AERT VAN DER NEER 
 
 Dutch School; idos-idy'/ 
 
 HAVING removed to Amsterdam in 1638, he seems to 
 have soon afterwards taken up landscape painting 
 professionally, as his earliest dated work belongs to 
 the year 1639. His best pictures, however, were painted some 
 twenty years later. Unable to obtain a living by his brush, he 
 eked out an uncertain livelihood by keeping an ale house. But 
 his efforts even in this double role did not prevent his being 
 declared a bankrupt in 1662. To contemplate a number of 
 his pictures in succession would be tedious, but at his best he 
 is an artist of great sincerity who varied with masterly inven- 
 tion the elements of his moonlight or winter landscapes, many 
 of which he signed with a double monogram. 
 
 No. 40 A Landscape with Figures. 
 
 A man, with a stick in his left hand and a bundle on his back 
 and accompanied by his dog, is walking towards the right 
 
THE DINING-ROOM 
 
 across the foreground in the direction of another man who, 
 wearing a red coat, is sitting under a tree at the foot of which 
 lies the trunk of a fallen tree. In the middle distance are cows, 
 and three men with a dog. Further away, and more to the 
 left, are other cows standing and drinking in a pool of water. 
 Beyond are trees. In the distance a town, with church towers, 
 is set at the foot of a range of hills. Cloud cumuli, with birds 
 in the blue sky. 
 
 Canvas, 29 inches by 40 inches. (0.73 x i.oi) 
 
 Signed with the artist's well-known monogram in the right foreground. 
 
 JOHN CONSTABLE, R.A. 
 English School; Ijj6-i8s7 
 
 THE early acquaintance of Constable, the son of a 
 miller, with the village plumber and glazier led to 
 their sketching together in the rural scenery amid 
 which they were born. Subsequently Constable wrote to his 
 friend that his art, being almost entirely limited to the study 
 and representation of natural landscape, "flatters nobody by 
 imitation, courts nobody by smoothness, tickles nobody by its 
 petiteness, is without fal-de-lal and fiddle-de-dee ^ "How, 
 then," he asks, "can I hope to be popular?" In 1802, when 
 he exhibited at the Royal Academy for the first time, he claimed 
 that there was "room enough for a natural painter." This is 
 indeed the key-note to the whole-hearted endeavour of the 
 painter, who would, and eventually did, abolish the pseudo- 
 artistic dictums of "the brown school," in accordance with 
 whose conventions the tints seen in nature had to be treated 
 in "the brown tones of an old Cremona fiddle." A painter 
 against the wishes of his practical and matter-of-fact father, he 
 was long at odds with the world, and the Academy frequently 
 rejected the pictures he sent in. Yet he continued to study the 
 
 1:1443 
 
THE DINING-ROOM 
 
 methods of Claude and the Dutch landscape painters as well as 
 the standpoint of Wilson, Gainsborough and Girtin. He was, 
 moreover, the exact contemporary of Turner. In time he won 
 his way to recognition, and in 1819 was elected an Associate of 
 the Royal Academy, having by then succeeded in rendering the 
 truthful and impressive charm of the cultivated scenery of 
 England. Nevertheless, he fully realized that he had not yet 
 become "a popular painter," and worldly success had not so 
 far been attained. His real merit and the recognition denied 
 him in England were, however, before long to become known 
 to the French, who in the Salon of 1824 were to honour his art 
 and his pictures. Thenceforward he worked with greater as- 
 surance until, having withstood the conventions of his earlier 
 years, he came to be considered "the most genuine painter of 
 English cultivated scenery, leaving untouched its mountains 
 and lakes." 
 
 No. 41 Dedham Mill. 
 
 The stream, sparkling in the sun, and reflecting the clouds 
 and the trees together with the mill on the left bank, runs down 
 towards the middle distance, where it bends to the right. The 
 miller stands by a pair of black farm horses near the mill, be- 
 yond which are seen the sails of a small boat. From the right 
 foreground a rutty cart track runs towards the cattle which 
 stand on the near bank; two barges containing figures are in 
 front of other buildings on the opposite bank, on which is a 
 large wagon with horses. Cloud cumuli in the sky, with birds. 
 
 Canvas, 23 inches by 34 inches. (0.58 x 0.86) 
 
 Signed "J. Constable," in the right bottom corner. 
 
 Painted about 1820. ' 
 
 Formerly in the possession of the family of the artist. 
 
 In the possession of James Orrock, by whom it was exhibited at the 
 Grosvenor Gallery, 1888, No. 279. 
 
 1:1453 
 
THE DINING-ROOM 
 
 Exhibited at the "Exposition de Cent Chefs-d'oeuvre," in the Georges 
 Petit Gallery, Paris, 1892, and illustrated (p. 44) in the catalogue. 
 
 "The beautiful pictures of 'Dedham Mill' (Collection Sanderson) and 
 'The Hay Wain' (Collection Cheramy) by Constable made us 
 realize the furore they had caused and almost made us believe that 
 we w^ere actually looking upon two such scenes, luminously painted, 
 with the water and pasture of this historic country stretching out to 
 the horizon. 
 
 "The genius of Constable, like that of all great artists, is one of 
 precision and sentiment. There could be nothing finer, more care- 
 fully analyzed, or more scrupulously exact than this calm and pic- 
 turesque scene of 'Dedham Mill,' where part of the childhood of 
 the artist was passed. The slow running water, between low lying 
 banks, and in it reflected the almost motionless shadows of the flat- 
 boats lying in the water and the houses along the side; the wooden 
 cottages of a brown and reddish tint; the green poplars, the greyish 
 willows; here and there a few cows grazing under a slightly misty 
 sky ... it is a truly English scene. 
 
 "It was in England that Constable, with the fidelity of a Hob- 
 bema — in fact, almost of a Van der Heyden — reproduced his fa- 
 vourite country scenes. It gives one the impression that it is a place 
 that is particularly dear to the artist and in which he has endeavoured 
 to reproduce every little detail." 
 
 "Catalogue of the Cent Chefs-d'oeuvre Exhibition" (trans.), 
 1892, p. 13. 
 
 Mentioned, in an article on the Exhibition, in the Gazette des Beaux- 
 Arts, July, 1892, p. 48, in the following terms: 
 
 "Trois tableaux intitules 'Valley Farm,' 'Deadham \_stc'] Mill,' 
 deux sites cher a I'artiste, et 'The Haywain' nous montrent a I'Ex- 
 position de la rue de Seze toute la . robuste et agreste ampleur du 
 talent de Constable." 
 
 In the collection of Arthur Sanderson, of Edinburgh. 
 
 "We reproduce an early example of Constable, which is the freshest and 
 most thoroughly characteristic of Mr. Sanderson's examples of this 1 
 master. None who ever lived could have painted this picture ex- 
 cept Constable, and he could only have done so in the fresh inspira- 
 tion of his new manner; when, after having served what may be 
 
 [:i46 3 
 
THE DINING-ROOM 
 
 called his apprenticeship to Hobbema and Ruisdael, he struck out a 
 bold line for himself, discarding absolutely all traditional methods 
 of composition and technique, and determined to paint Nature 
 just as he saw her with colours that matched as nearly as possible 
 her own; determining also to paint those effects which pleased him 
 most, the noon sunlight and the shower, or the soft glitter of dew 
 on the grass at morn, although he could find no examples in earlier 
 Art to guide him. It was in such a frame of mind that he produced 
 this sparkling landscape with its deep blue sky peeping through masses 
 of curd-white cumulus, this faithful portrait of his father's mill at 
 Dedham, with its poplars and other trees accurately drawn against 
 the sky, with its barges and boats and river, and scarce less familiar 
 figures, just as he had often seen them on a bright morning in his 
 youth." 
 
 Cosmo Monkhouse: "A Northern Home," in the Art Journal, 
 1897, p. 80, where the picture is reproduced. 
 
 In the collection of Romer Williams, of Newnham Hall, Daventry. 
 
 Constable, in early manhood, painted many scenes from, rather than of, 
 his native village. A ''Dedham Mill, Essex," by him, dated 1820, is 
 in the Victoria and Albert Museum, London, No. 34.^ This canvas 
 seems to belong to the same period. It is earlier than "Dedham Lock" 
 or "The Leaping Horse," of 1825, in the Diploma Gallery of the Royal 
 Academy. 
 
 A "Dedham Mill, Essex," 28 inches by 36 inches (and so larger than 
 this one), is mentioned by C. J. Holmes: "Constable" (p. 244), under 
 the date of 1819. 
 
 This is not to be confused with the "Lock with Figures and Cattle, a 
 Windmill to the Left," 21 inches by 31 inches, by Constable, which also 
 was once in the Arthur Sanderson Collection, but was included in the 
 sale at Knight, Frank and Rutley's, London, June 16, 191 1 (No. 624). 
 
 1 See A. B. Chamberlain: "Constable," in Bell's Series, 1903, p. 51. 
 
 en?: 
 
THE DRAWING-ROOM 
 
JEAN BAPTISTE CAMILLE COROT 
 French School; i'/g6-i8j^ 
 
 No. 44 Les Environs de Paris {''Les Hauteurs de Ville 
 d'Avray''). 
 
 An open space with trees on the right, on high ground; 
 looking down the valley of the Seine from Ville d'Avray. In 
 the foreground towards the left a man is hoeing, and two 
 women are standing near. Cattle under the trees on the right. 
 Cloudy sky. 
 
 Canvas, 19^ inches by 383^ inches. 
 Signed in the left bottom corner. 
 Painted 1 865-1 870. 
 
 (0.49x0.97) 
 
 In the Luquet Collection. Included in the sale at the Hotel Drouot, 
 Paris, September 10, 1875, when it was acquired by M. Chailloux. 
 
 In the Fraissinet Collection, and included in the sale. May, 1880. 
 
 Subsequently in the collection, in London, of George W. Burnett, in 
 whose house it was seen by Mr. Taft and the late Mr. Fowles. An 
 arrangement was then made for the purchase by Mr. Fowles of this 
 canvas, together with J. F. Millet's *'La Maternite" (now No. 12 in this 
 collection), as well as some ten other pictures that were subsequently 
 dispersed. 
 
 Robaut: "Corot," 1905, Vol. Ill, p. 86, No. 1499, under the title of 
 "Les Hauteurs de Ville d'Avray." It is there stated that "il existe une 
 copie de ce tableau par Devillers, qui porte la signature de Corot." 
 
THE DRAWING-ROOM 
 
 CONSTANT TROYON 
 
 French School; i8i 0-186 S 
 
 TROYON entered the porcelain factory at Sevres in 
 1 8 17, but in his wanderings in search of landscape 
 motives he met Roqueplan, who gave him valuable 
 advice. He came to the realization of his potential self in 
 communion with Rousseau and Dupre, souls kindred to his 
 own. Having begun his career as a landscape painter pure 
 and simple, and visited Belgium and Holland, he developed 
 an unsuspected capacity for cattle painting. In this he com- 
 bined breadth of technique, harmony of composition and an 
 intuitive seizure of nature. He was no great age when a 
 shadow fell on his easel, and death turned a remarkable career 
 into a renowned memory. 
 
 No. 45 Vaches a l'Abreuvoir. 
 
 Marshy ground with cattle standing in a pool of water in 
 the foreground; reeds growing on the left. A cow and a goat 
 are near the bank on the right. On the far side of the bank 
 are brown-tiled houses standing under poplar trees. More 
 cattle are in the middle distance to the left. A range of hills 
 in the distance. Cloudy sky. 
 
 Canvas, 30 inches by 43 inches. (o-?^ x 1.09) 
 
 Signed "C. Troyon" in the left bottom corner. 
 
 From the collection of A. T. Stewart, sold in New York, March 25, 
 1887, No. 180. 
 
 Dumesnil: "Troyon," 1888, p. "Ji, shows that this artist painted several 
 pictures of this nature and subject which he entitled "L'Abreuvoir." 
 They differ in composition and size. Some of them have been engraved 
 by Veyrassat, E. Leroux, J. Laurens, and others. 
 
 ^54:1 
 
THE DRAWING-ROOM 
 
 CHARLES FRANCOIS DAUBIGNY 
 
 French School; iSiy-iSyS 
 
 FROM his earliest years Daubigny was a man who suf- 
 ficed for himself, possessing in a peculiar sense his own 
 standpoint and individual equation. This he combined 
 with a passion for industry, extraordinary geniality and a love 
 of outdoor activity. Together with Mignan, he set out on foot 
 for the epic soil of Italy, sac au dos, giietre au pied, le baton a 
 la main. They walked home again. Then Daubigny obtained 
 employment in the studio of Granet, who worked such havoc 
 as restorer of the Old Masters in the Louvre. Yet Daubigny 
 became imbued with an absolute respect for nature and a pro- 
 found feeling for local tone. He ever returned to the green 
 banks of the Oise, to which he was indebted for his finest 
 triumphs. He built himself a "celebrated ark of a boat," and 
 rowed or towed his peripatetic studio as he drifted down 
 stream. Through long exposure on his Bottin, he contracted 
 a disease which hastened his end. 
 
 No. 46 Evening on the Oise {''Bords de FOise, pres de 
 la Bonneville'^) . 
 
 The river Oise flows placidly under a sunlit sky from the 
 centre towards the right. On the edge of the stream, by the 
 distant and well-wooded bank on the right, may be discerned 
 a herdsman with cattle, while more towards the centre are two 
 barges. Cattle browse among the verdure on the bank in the 
 left foreground, and higher up on the left is a man with an 
 ass. Beyond are tall trees. 
 
 Canvas, 38^ inches by 77^ inches. (0.97 x 1.95) 
 
 Signed, and dated 1863, in the left bottom corner. 
 
THE DRAWING-ROOM 
 
 This picture is said to have been formerly in the collection of Louisa, 
 Lady Ashburton. 
 
 One is, therefore, inclined to identify it with the **Bords de TOise, 
 pres de la Bonneville," referred to but not described by Henriet: "Dau- 
 bigny," 1878, p. 179, as having been exhibited at the Salon of 1866, 
 No. 497. It is catalogued by Henriet thus : 
 "Appartient a lady Hasburton [jfc]. 
 
 "Grave a Teau-forte par M. Martial dans le Salon de 1866; 
 Cadart, Editeur. 
 
 "Ce tableau, envoye a Tissue du Salon a I'exposition de Bruxelles, 
 a valu a Daubigny la croix de Chevalier de I'Ordre de Leopold." 
 
 GABRIEL ALEXANDRE DECAMPS 
 
 French School; 1803-1860 
 
 No. 47 Albanians {''The Ballad''). 
 
 A man in Oriental attire is seated, with his right leg crossed 
 over his left knee, and with his mandolin in the centre on a 
 step. Lower, and to the right, is his companion, who, pipe in 
 hand, seems to be singing. Architectural setting, with lower- 
 ing sky at sunset. 
 
 Canvas, 9j4 inches by iij^ inches. (0.24x0.29) 
 
 Signed to the left in full, and dated 1849. 
 
 In the collection of M. Collot, and sold May 28, 1852. 
 
 Exhibited at the Salon, Paris, 1850, under the title of "Albanais se 
 reposant sur des ruines." 
 
 In the collection of the Baroness Nathaniel de Rothschild. 
 Lithographed by C. Nanteuil for the "Galerie de M. Collot." 
 Moreau; "Decamps," 1869, pp. 123 and 161. 
 
 Charles Clement: "Decamps," in the Artistes Celebres Series, p. 80. 
 
THE DRAWING-ROOM 
 
 JULES DUPRE 
 French School; i8i2-i88g 
 
 ALTHOUGH the son of a porcelain manufacturer, 
 /-\ Dupre was eventually to be regarded by some as the 
 ^ "father" of the so-called Barbizon School. Yet in 
 1 83 1, when he first exhibited at the Salon, Barbizon was an 
 obscure hamlet, its few inhabitants poor wood-cutters and the 
 humble tillers of a meagre soil. From an early age he was im- 
 pressed by certain pictures by Jacob van Ruisdael and Hob- 
 bema, and he worked in a generation of landscape painters 
 which immediately followed Huet and Michallon. From 1835 
 to 1839 he was in England, where he expressed an unbounded 
 admiration for the art of Constable, who was then nearing his 
 end. Dupre's mind was placid and contemplative: thus he 
 came to invest his pictures of low-lying plains, stagnant pools, 
 pastoral scenes, pleasant waterways and the real air with true 
 poetic feeling. Essentially a man of peace, his animals dwell 
 in sun-bathed pastures. Having no party spirit, he did not 
 bother to interest himself in the Salon between 1852 and 1867. 
 To him nature was only a pretext; art, passing through a tem- 
 perament, was his goal. Probably less is known of him than of 
 any other member of the School of 1830. 
 
 No. 48 Landscape, with Cattle Drinking. 
 
 Cattle are standing at the edge of a winding stream, the 
 waters of which flow past the right bank, on which are tall 
 trees. Blue sky with distant clouds. 
 
 Canvas, 18 inches by 14^ inches. (0.45 xo.37) 
 
 Signed at the left bottom corner. 
 
 1:1571 
 
THE DRAWING-ROOM 
 
 N. V. DIAZ DE LA PENA 
 
 French School; i8o8-i8y6 
 
 NARCISSE VIRGILE DIAZ DE LA PENA, the son 
 of a Spanish refugee, painted in a porcelain manufac- 
 tory in his childhood. Although largely self-taught, 
 he was influenced by Delacroix in figure-painting and by Rous- 
 seau in landscape. He also studied the works of Correggio and 
 Prud'hon. Thus equipped, he became a fashionable painter 
 in early manhood, and, as time went on, a prominent member 
 of the Barbizon School. His colour is enchanting and poetic; 
 his art is not simple nature, but the poem of a day dream. 
 Even if he was unable to model a figure on a large scale and 
 some of his flowers at times puzzled experienced horticultur- 
 ists, he found in nature the setting for his Correggiesque god- 
 desses and half-Oriental phantasies. His best pictures being 
 the pure offspring of an impulse, he has been well described 
 as "le peintre officiel des sites de la foret de Fontainebleau." A 
 viper bit him when a child, and he had to have his right leg 
 amputated. 
 
 No. 49 Oriental Children. 
 
 A group of five children in clothes of brilliant hue, with a 
 little girl seated by a stool in the foreground; two of their num- 
 ber stand behind. A boy in red is withdrawing into the back- 
 ground of trees on the right. 
 
 Canvas, 14 inches by 10^ inches. (0.35 xo.27) 
 
 1:158] 
 
THE DRAWING-ROOM 
 
 CHARLES FRANCOIS DAUBIGNY 
 
 French School; iSiy-iSyS 
 
 No. 50 A River Scene (near Bonnieres). 
 
 The river occupies the whole of the foreground, and row- 
 boats are made fast to the bank on the left. A ferry-boat con- 
 taining cattle is being worked across to the right bank, on 
 which is a village; near a clump of trees is a church. A range 
 of hills in the distance. Cloudy, sunlit sky seen towards sunset. 
 
 Canvas, 22 inches by 36 inches. (0.55 x 0.91) 
 
 Signed in the left bottom corner, and dated 1861. 
 
 Formerly in the collection of Alexander Young, London. 
 
 It might not be difficult in Europe to identify the scene here rendered 
 with obvious veracity. From this and numerous other canvases we know 
 that the banks of the Seine and the Oise had a great fascination for 
 Daubigny, who, drifting in his boat Le Bottin, there found excellent 
 material to hand and did much of his finest work. Pictures of Verneuil, 
 Andresy, Bonneville and Auvers are well known, but the title of this 
 has not been preserved. 
 
 The date, 1861, and certain other facts incline us to identify this 
 canvas with that mentioned by Henriet: "Daubigny," 1878, p. 174, 
 under the title of "Village pres Bonnieres." It was so exhibited at the 
 Salon, 1 86 1, No. 793, and seems to have appeared at the Exposition 
 Universelle, 1867, No. 193, as "Vue prise en Picardie." It was en- 
 graved for the Monde Illustre, July 26, 1862. According to Henriet, 
 another and very similar picture, belonging at one time to M. G. 
 Claudon, was lithographed by E. Vernier under the title of "Le Village 
 de Glouton, pres Bonnieres." 
 
 A rather similar French village, situated, like this, on a high bank on 
 the right of the composition, was painted by Daubigny in 1864 and 
 passed into the Humphrey Roberts Collection. In it a girl drives geese 
 up the steep bank. It was sold at Christie's, May 21, 1908, No. 134, 
 
THE DRAWING-ROOM 
 
 as "A Village with a Church on the Bank of a River," 13^ inches by 
 21 inches. It was reproduced in the catalogue. It is seen again in the 
 Magazine of Art, 1896, p. 120, as "A Village on the Oise," and is there 
 held to be "probably Auvers-sur-Oise, near Pontoise, where Rajon, the 
 famous etcher, lived and died, and near the church before us was buried." 
 
 N. V. DIAZ DE LA PENA • 
 French School; i8o8-i8y6 
 
 No. 51 Early Autumn: Forest of Fontainebleau. 
 
 A glade in the forest, seen between two large, half-withered 
 oak-trees. A young woman in a blue skirt, white bodice and 
 pink cap is stripping the leaves off the lower branches of the 
 tree on the left. Another woman, wearing a red skirt and 
 carrying a bundle of faggots on her shoulders, approaches 
 from the middle distance. Fleecy clouds in the blue autumn 
 sky. 
 
 Canvas, 32^ inches by 43 inches. (0.82 x 1.09) 
 
 Signed and dated 1870, in the left foreground. 
 
 Formerly in the collection of Archibald Coats, at Paisley, Scotland, 
 from whom it was bought, privately, long before the sale at Christie's in 
 July, 1 91 4. 
 
 JEAN FRANCOIS MILLET 
 
 French School; iSi^-iSy^ 
 
 No. 52 Mother and Child. 
 
 A young woman, in a black skirt, blue stockings and a red 
 cap, a yellow shawl round her shoulders, is walking away from 
 the spectator down a rough path with a high bank on the left. 
 Under her right arm she unceremoniously carries a child, 
 whose face is not seen but who clearly resents the affront. 
 
 1:160:1 
 
THE DRAWING-ROOM 
 
 Canvas, 15^ inches by 12^ inches. (0.39x0.31) 
 
 The only picture of this subject that can be identified from among those 
 detailed by L. SouUie: "Jean Frangois Millet," 1900, p. 67, is a 
 "Femme portant son enfant." It was in the V. Claude sale, 1853, No. 
 58. There is no copy of the catalogue of that sale available for us to 
 decide as to the provenance of this painting. 
 
 ADRIAEN VAN OSTADE 
 Dutch School; 1610-1685 
 
 No. 53 An Old Toper. 
 
 A peasant, in black clothes and a soft black hat, is seated at 
 a rough wooden table. In his left hand is a glass; with his 
 right he points to the clay pipe, metal jug and earthenware 
 bowl on the table. Neutral background. 
 
 Wood, 8^ inches by 7 inches. (0.21 xo.17) 
 
 Signed in lower left corner, and dated 1651. 
 
 In the GoU van Frankenstein Collection, Amsterdam, July i, 1833, 
 No. 59. 
 
 In the Baron de Varange's Collection, Paris, May 26, 1852, No. 31. 
 
 In the Pereire Collection, Paris, March 6, 1872, No. 144. 
 
 In the DemidofE Collection, San Donato, Florence, March 15, 1880, 
 No. 1045. 
 
 In the Yerkes Collection, Chicago, No. 35, and in the edition de luxe of 
 the sale catalogue of that collection. No. 68. Sold, New York, April 8, 
 1910, No. 158. 
 
 Smith: "Catalogue Raisonne," Supp., 1842, Vol. IX, p. 81, No. 6. 
 
 C. Blanc: "Tresor de la Curiosite," 1857, Vol. II, p. 536. 
 
 Hofstede de Groot: "Catalogue Raisonne," 1910, Vol. Ill, p. 184, No. 
 144. 
 
THE DRAWING-ROOM 
 
 JULES DUPRE 
 
 French School; i8i2-i88g 
 
 No. 54 Landscape with Cattle {''La Mare''). 
 
 In the immediate foreground is the bank of a reed-grown 
 pool, on the far side of which are cattle drinking. Further 
 away are other cattle at pasture, with trees on each side. | 
 Sunny sky. 
 
 Canvas, i6^ inches by 22% inches. (0.41 xo.56) 
 
 Signed in the left bottom corner. 
 
 CONSTANT TROYON 
 
 French School; 181 0-1865 
 
 No. 55 French Coast Scene. 
 
 A small two-masted sailing boat, with its sails lowered, is 
 aground on the sea-shore seen in the right foreground. A 
 man, in a blue shirt, has just loaded his ox-cart and is helping 
 into it from the boat a man dressed in red. In deeper water 
 to the left another man, in a white shirt, is about to draw up 
 his ox-cart alongside and load it. In the distance to the left 
 is another sailing vessel. 
 
 Canvas, 17^^ inches by 14% inches. (0.44x0.36) 
 Signed in the left bottom corner. 
 
 Allied in subject and style to Troyon's "Plage de Trouville." 
 
THE DRAWING-ROOM 
 
 SIR HENRY RAEBURN, R.A. 
 
 Scottish School; 1^^6-1823 
 
 N orphan at the age of six, apprenticed to a jeweller ten 
 
 years later, and commissioned to make portrait minia- 
 
 ^ tures soon afterwards, Raeburn did not venture to 
 paint in oil until he was twenty years of age. A decade later 
 his technique was advanced by residence in the Eternal City. 
 Thenceforward his art developed surely, but shows no marked 
 periods, except that his powers continued to mature to the 
 end, the squareness of his touch being replaced gradually 
 by an easier breadth of treatment. A portrait painter solely, 
 he reduced pictorial problems to their simplest forms, while 
 evincing great dexterity in the laying of the planes. It cannot be 
 claimed that he possessed the beauty of design, the splendour 
 of colour, or the compelling dignity of Reynolds. Nor have 
 his unconscious sitters the spirituelle qualities or the pensive 
 fascination of Gainsborough. Yet in technical dexterity, sound 
 mediums and breadth of style he certainly was not their in- 
 ferior. Like them, however, he was conscious of an inability 
 to compose large groups of figures with the conviction that 
 characterized the art of the great Italians. Being by birth and 
 throughout his career a Scotsman, he saw to it that "his pencil 
 never kept him from his place in church on Sunday." 
 
 No. 56 Portrait of Miss Jane Fraser-Tytler. 
 
 Bust length. In full face, the body turned slightly to the 
 left. In low-cut white dress, most of which is covered by a 
 dark red cloak that is trimmed with fur across the shoulders. 
 She has dark curly hair. Neutral background. 
 
 Canvas, 29 inches by 24^^ inches. (0.74 x 0.62) 
 
THE DRAWING-ROOM 
 
 Jane Fraser-Tytler was apparently the third and youngest daughter of 
 Alexander Fraser-Tytler, Lord Woodhouselee. She married, September 
 4> 1823, James Baillie Fraser, thirteenth in succession as head of the 
 Frasers of Reelick (i 783-1 856), an accomplished writer of fiction and 
 travels in the East. Lord Woodhouselee, Senator of the College of Justice 
 of the Court of Session, Edinburgh, had in 1776 married Anne Fraser, 
 second in succession of the Frasers of Aldhourie, who was heir of entail 
 of her father. Lord Woodhouselee, having then become possessed of 
 the lands of Balnain and Aldhourie, assumed the name of Fraser as a 
 prefix to his own. His portrait, painted in 1804 by Raeburn, was ex- 
 hibited at Edinburgh apparently in 1877, and appeared at Christie's in 
 1897 (No. 32). It was subsequently sold at auction in New York, 
 March 9, 1900 (No. 48). Mrs. James Baillie Fraser {nee Jane Fraser- 
 Tytler), who, on January 23, 1856, had succeeded her husband as four- 
 teenth of Reelick, died October 23, 1861. 
 
 This picture originally formed part of the collection of Fraser family 
 portraits by Raeburn. It was No. 33 in the sale at Christie's, July lO, 
 1897. 
 
 Exhibited, on loan, in New York, November, 1909, No. 11. 
 Armstrong: "Raeburn," 1901, p. 102. 
 Burlington Magazine, 19 10, Vol. XVI, p. 368. 
 Putnarns Magazine, February, 1910, Vol. VII, p. 525. 
 J. Greig: "Raeburn," 191 1, p. 45. 
 Companion picture to No. 59. 
 
 THEODORE ROUSSEAU 
 
 French School; 1812-1867 
 
 No. 57 Evening: Fontainebleau. 
 
 A pool in the foreground; on the far side of it are figures 
 and a cow near trees. A low horizon on the right. An autumn 
 landscape, seen towards sunset. 
 
 1:164: 
 
THE DRAWING-ROOM 
 
 Canvas, 14^ inches by 17^ inches. 
 Signed in the right bottom corner. 
 
 (0.36x0.45) 
 
 SIR THOMAS LAWRENCE, P.R.A. 
 
 English School; ijdg-iS^o 
 
 ROM the very outset Lawrence was self-taught and 
 
 showed marvellous precocity, for at the early age of five 
 
 he made chalk portraits of his father's friends! By 
 1786 he sought to work in an oil medium; he was technically 
 so successful that, on the death of Reynolds in 1792, he was ap- 
 pointed Painter in Ordinary to the King. Making rapid prog- 
 ress, he was, by the time of Hoppner's death in 18 10, without 
 any serious rival in portraiture both in official circles and in 
 general esteem. It must be remembered that, in spite of the 
 popular qualities of his art, his best pictures belong to the years 
 of his early maturity, and that his male portraits of that time 
 especially call for encomiums. With a few exceptions, his later 
 works, and particularly his portraits of ladies, are characterized 
 by flashy superficiality, want of sincerity and of dignity, staring 
 colour contrasts, theatrical distributions of light and shade, 
 and a careless gaudiness that is apt to degenerate into spurious 
 elegance. Such criticism of Lawrence the painter is justified; 
 Lawrence the draughtsman is entitled to very high esteem. 
 He may be said to have thought in pencil what he expressed in 
 oil. His activities with crayon and pencil find an echo in his 
 choice of the magnificent collection that he formed of draw- 
 ings by the Old Masters. It is not altogether surprising that 
 to him was due an increase in the size of frames at annual 
 exhibitions, and that he substituted richly decorated frames for 
 the narrow, unpretentious and more desirable ones of an 
 earlier period. 
 
THE DRAWING-ROOM 
 
 No. 58 The Ladies Maryborough {''The Three Lovely 
 Sisters''). 
 
 Portrait group of three figures seen to the bust and in full 
 face ; in long-sleeved dresses ; the hair in short curls. 
 
 A delicate pencil drawing, the eyes, cheeks and mouth in coloured chalk. 
 On paper or board, 6^ inches by 9 inches (0.16x0.22), octagonal, 
 the corners cut away. 
 
 The drawing is framed so as to show the original letter of October 15, 
 1875, affixed to the back: 
 
 "53 Charlotte Street 
 Portland Place, W. 
 
 Oct. 15, 1875. 
 
 My dear Sir: 
 
 I have seen the Drawing of the three Misses Bagot [sic~\, which 
 in my opinion is by Sir Thomas Lawrence, P.R.A. 
 
 Yours faithfully 
 
 (Signed) Chas. G. Lewis. 
 
 John Hardcastle, Esq. 
 7 North Bank 
 N. W." 
 
 The three Ladies Maryborough were daughters of William Wellesley, 
 who was born May 20, 1763, and in 1778 changed his name to Wel- 
 lesley-Pole. On May 17, 1784, he married Katharine Elizabeth, eldest 
 daughter of Admiral the Hon. John Forbes. He was Chancellor of 
 the Exchequer, 1811-12, and Master of the Mint, 1815-23. He was 
 created Baron Maryborough, July 17, 1821 ; Master of the Buckhounds, 
 1828-30; and Postmaster-General, 1834-35. On the death of the 
 Marquess of Wellesley, a brother, in 1842, he succeeded to the earldom 
 of Mornington. He was one of five brothers, four of whom were peers. 
 He died in 1845. By his wife (who died October 23, 1851, aged 91) 
 he had issue : ( i ) William, who succeeded as fourth Earl of Morning- 
 ton; and the three ladies here represented; (2) Mary Charlotte Anne, 
 who, July 22, 1806, married the Right Hon. Sir Charles Bagot (who 
 died 1843); she died February 2, 1845; (3) Emily Harriet, who, 
 in 1 81 4, married Field Marshal the first Baron Raglan (born 1788; 
 died 1855) ; she died March 6, 1881 ; (4) Priscilla Anne, who, June 26, 
 
 1:1663 
 
THE Drawing-room 
 
 1811, married John Burghersh, who afterwards succeeded as eleventh 
 Earl of Westmoreland (born 1784; died 1859) l she died February 18, 
 1879. 
 
 Included in an Exhibition of Sixty Drawings by Sir Thomas Lawrence, 
 held at the Edward Gallery, London, 1913, No. 41, and reproduced as 
 the frontispiece to the catalogue by C. R. Grundy, together with the 
 following comment: 
 
 ''This highly wrought and fascinating example of Lawrence's 
 work, when in the height of his power, is a version of the well-known 
 work executed for the Duke of Wellington, and may probably be 
 regarded as an amended version. For in the Duke's drawing the 
 three Ladies were shown in full length, and their figures, as often 
 the case with Lawrence, are not nearly so finely executed as the 
 heads. The three ladies were nieces of the Duke, being daughters 
 of his elder [sici brother. Lord Maryborough." 
 
 Exhibited, on loan, in New York, November, 191 3, No. 41. 
 
 In the catalogue of the engraved works of Sir Thomas Lawrence, in- 
 cluded in Lord Ronald Gower's ''Sir Thomas Lawrence," 1900, p. 107, 
 it is stated that "the Duke of Wellington's drawing was bought by the 
 first Duke of Wellington from the artist for £4.0; it is at Apsley House." 
 
 The Duke of Wellington lent to the Burlington House Exhibition, in 
 1904, No. 149, the drawing in his collection, which was then catalogued 
 as "Three small full lengths seated, grouped together. . . . Black and 
 red chalk. iS}^ inches by 14^ inches." 
 
 Sir Walter Armstrong: "Sir Thomas Lawrence," 191 3, p. 186, cata- 
 logues the Apsley House drawing as "The Daughters of the third Earl 
 of Mornington : The Three Lovely Sisters," Priscilla Anne, Lady Bur- 
 ghersh (afterwards Countess of Westmoreland), Lady Mary Wellesley 
 (afterwards Lady Bagot), and Lady Harriet (afterwards Lady Rag- 
 lan). He states that the drawing was included in Cooke's Exhibition 
 at Soho Square, 1 822; and describes it as "Black and red chalk. White 
 dresses, girdled under tjie breast. Long sleeves, full at the shoulders 
 and wrists. The hair in short curls over the head and forehead. The 
 centre girl holds her sandalled foot in her left hand. Engraved by J. 
 Thomson, 1827." 
 
 The Apsley House drawing is reproduced in the Art Journal, 1902, p. 2. 
 
THE DRAWING-ROOM 
 
 SIR HENRY RAEBURN, R.A. 
 
 Scottish School; 1^^6-182^ 
 
 No. 59 Portrait of Edward Satchwell Eraser. 
 
 Bust length, in full face, but turned very slightly towards the 
 right. In green and blue tartan coat, white waistcoat and 
 stock. He has a healthy youthful complexion and his hair falls 
 on his forehead and over his ears. Neutral background. 
 
 Canvas, 29j^ inches by 24^ inches. (0.74x0.62) 
 
 Painted in 1803, when seventeen years of age. 
 
 Many would assume that the Fraser family was of Scottish origin. 
 Yet it was not Celtic, but Norman. We first recognize the Frisels or 
 Frasers in the array of those adventurers who accompanied William the 
 Conqueror to England. The clan in ancient times was styled Frisel or 
 Fresal or Fraser. The first of these names had its origin in the French 
 word fraise, or "strawberry." Indeed, the armorial bearings of Lord 
 Lovat, head of the principal family of the Frasers, still preserve the three 
 cinquefoils argent, or fraiseSj together with the motto "Je suis pret." 
 In ancient records the clan was settled in the Lothians, in the east of 
 Scotland. The first name of Fraser in written records is that of Gil- 
 bert de Fraser, as witness to a charter of Cospatrick to the monks of 
 Coldstream in 1190. From East Lothian, their earliest resting-place 
 in Scotland, they diverged into Tweeddale in the XII and XIII cen- 
 turies, and subsequently into the shires of Inverness — ^which will spe- 
 cially concern us — and Aberdeen. A line of Frasers owned Oliver 
 Castle, County Peebles, in the XIII and XIV centuries; the last of 
 them, Sir Simon Fraser, was executed by order of Edward I in 1 306. 
 Two years later Sir Andrew Fraser died, and was reputed "of good 
 memory." His eldest son, Sir Simon Fraser, in 1308 joined Robert 
 Bruce at the battle which that immortal hero fought with the Earl of 
 Buchan at Inverurie, but he was himself slain at the battle of Halidon 
 Hill in 1333. From this ancient strain of the Frasers derive more than 
 a score of cadet families of Fraser. 
 
THE DRAWING-ROOM 
 
 Here, however, we have to deal only with the Frasers of Reelick (at 
 times ill-spelt Reelig), the Frasers of Balnain and the Frasers of Ald- 
 hourie, with whom they intermarried. We may note that Hugh or 
 Hutcheon Ban Fraser, a natural-born son of Thomas, fourth Lord Lovat 
 — who had ten children by his two wives — was the progenitor of the 
 Frasers of Reelick and Moniack. 
 
 The first eleven successive heads of the family of Fraser of Reelick 
 were thus : Hugh or Hutcheon Ban Fraser, I ; Thomas, H ; Thomas, 
 HI ; Alexander IV, V, VI and VII ; James VIII ; Alexander IX and X ; 
 and James XI. 
 
 This last-named James built the new house at Easter Moniack, the 
 family residence in which this and other family portraits by Raeburn 
 were in time to hang. He resided for seventeen years in India. He mar- 
 ried Mary, only daughter of Edward Satchwell, of Satchwell, in War- 
 wickshire. Having had one son and three daughters, he died, aged 
 forty- two, on June 21, 1754, at Moniack. 
 
 Edward Satchwell Fraser, XII of Reelick, born at Easter Moniack 
 on April 22, 1751, married on September 11, 1782, Jane, third daughter 
 of William Fraser (i 703-1 775), IV of Balnain. His wife lived until 
 December 20, 1847, dying at the age of 98. He died in 1835, having 
 had issue: 
 
 1. James Baillie Fraser, his son and successor as XIII of Reelick, 
 was born at Edinburgh, June 11, 1783. In early life he went to the 
 West Indies ; but leaving soon afterwards, he proceeded to the East. 
 He became a partner in a well known mercantile house in Calcutta. 
 But his talents lay more in the direction of the fine arts and adven- 
 ture than of commerce. Having travelled extensively, he returned 
 home in 1822. On September 4, 1823, he married Jane Fraser- 
 Tytler, whose portrait by Raeburn is in this collection (No. 56). 
 On the death of James Baillie Fraser at Easter Moniack, January 
 23, 1856, aged 72, the male representation of the family became ex- 
 tinct. He left the estate of Reelick in life rent to his widow, with 
 remainder to his sister, Jane Anne Catherine Fraser. 
 
 2. William Fraser, born at Easter Moniack, April 6, 1784. He 
 was a distinguished member of the Bengal Civil Service, and was 
 on the Bengal Establishment, serving with very great distinction 
 as Chief Commissioner of Revenue and Circuit at Delhi. He was 
 assassinated there, March 25, 1835, by a native trooper at the 
 
THE DRAWING-ROOM , 
 
 instigation of the Nawab of Ferozepore. An extraordinary number 
 of incidents of a sensational character formed the evidence which re- 
 sulted in the capital punishment of his murderers. He had been 
 painted in April, 1801, at the age of sixteen, by Raeburn; the portrait 
 is now in a private collection in New York. In the grounds of 
 Easter Moniack, the family seat in Inverness-shire, there still stands 
 under the shadow of a wide-spreading cedar of Lebanon a small 
 cenotaph sacred to the memory of him and three of his brothers. 
 
 3. Edward Satchwell Eraser (or Edward Satchwell Eraser, Jr., as 
 he should perhaps be called) was born at Easter Moniack, April 26, 
 1786. He was painted by Raeburn in 1803, at the age of seventeen, 
 in the portrait now before us. He served in the Honourable East 
 India Company's Service, and died in St. Helena, April 25, 1813. 
 
 4. Alexander Charles Eraser, of the East Indian Civil Service, was 
 born at Inverness, April 10, 1789, and died at Delhi, June 4, 18 16. 
 He also was painted by Raeburn, sitting in 1803, at the age of 
 fourteen. 
 
 5. George John Eraser, born May 13, 1800, was an officer in the 
 Honourable East India Company's service. Marrying in 1832, he 
 died in India, in 1842, without issue. Raeburn painted him in 1815, 
 at the age of fifteen. 
 
 6. Mary Eraser, died young and unmarried in September, 1806. 
 
 7. Jane Catherine Eraser, died in 1797, when only three years old. 
 
 8. Jane Anne Catherine Eraser, born April 25, I797j was painted 
 at the age of nineteen, in 1816, by Raeburn. That portrait passed 
 in time from the William Beattie Collection into that of the late 
 Maurice Kann in Paris, and later into that of Mr. John Willys of 
 Toledo, Ohio. In her twentieth year she married, June 10, 18 16, 
 Philip Affleck Eraser, IX of Culduthel, one of the greatest sports- 
 men and keenest anglers of the day, and for many years Convener 
 of the Northern Meeting. He died September 4, 1862, having had 
 seven sons and six daughters. As the only surviving child of Ed- 
 ward Satchwell Eraser, XII of Reelick, she succeeded to the Reelick 
 estates in 1861, but gave them over in 1879 to Philip Affleck Eraser, 
 XVI of Reelick and XI of Culduthel, who was born in 1845. She 
 survived until May, 1881. In 1897 Philip Affleck Eraser removed 
 the nine Eraser portraits by Raeburn from the family seat at Easter 
 
 1:170: 
 
THE DRAWING-ROOM 
 
 Moniack, and sold them at Christie's on July lO, 1897. This por- 
 trait was No. 27 in that memorable sale. 
 
 Exhibited, on loan, in New York, November, 1909, No. 10. 
 
 Armstrong: "Raeburn," 1901, p. 102. 
 
 Burlington Magazine, 1910, Vol. XVI, p. 368. 
 
 Arthur Hoeber, in the International Studio, 1 9 10, Vol. XXXIX, p. 
 
 Ixxiv, writes as follows: 
 
 "Raeburn painted a manly young Scotchman \_sic\ in a green 
 plaid, of wonderful sturdiness, a fine type of Anglo-Saxon breeding. 
 You shall look long before you will find a more entirely satisfying 
 example of the art of Raeburn, and looking at it you will under- 
 stand the enthusiasm of Robert Louis Stevenson for his countryman. 
 
 "At his best, Raeburn was quite unsurpassed for straight por- 
 traiture by any of his contemporaries, and this is in his best vein, 
 brushed in with rare authority, in a straightforward manner, in 
 admirable color, once more the veritable human document. 'Each 
 of his portraits,' says Stevenson, 'is not only a piece of history, but a 
 piece of biography into the bargain. He was a born painter of por- 
 traits. He looked people shrewdly between the eyes, surprised their 
 manners in their faces, and possessed himself of what was essential 
 in their character.' " 
 
 Putnanis Magazine, February, 1910, Vol. VH, p. 525. 
 
 J. Greig: "Raeburn," 191 1, p. 45. 
 
 Connoisseur, 1913, Vol. XXXVI, pp. 163 and 188, as "Edward Sack- 
 ville \_sic^ Eraser." 
 
 Companion picture to No. 56. 
 
 i:i7in 
 
 V- 
 
THE DRAWING-ROOM 
 
 CHARLES FRANgOIS DAUBIGNY 
 
 French School; iSiy-iSyS 
 
 No. 60 Evening Solitude {''The Poor), 
 
 A lake in which rushes grow extends across the whole fore- 
 ground. Ducks are swimming across towards the bank on the 
 left, which, like that on the right, is well wooded. The water 
 flows into the middle distance. Birds in the sunny sky. 
 
 Canvas, 9 inches by 15^ inches. (0.22x0.40) 
 
 Signed and dated 1867, in the right bottom corner. 
 
 Formerly in the collection of Georges Lutz, and included in the sale 
 held at the Georges Petit Galleries, Paris, May 26-27, 1902 (No. 44), 
 under the title of "L'Etang" (0.23 xo.40). 
 
 MARIANO J. M. B. FORTUNY 
 
 Spanish School; iSjS-iSy^ 
 
 MARIANO JOSE MARIE BERNARDO FOR- 
 TUNY Y CARBO was the son of a cabinet-maker 
 and early became an orphan. He was painter, lithog- 
 rapher, etcher, engraver and in his genre the head of a school 
 before his death at the early age of thirty-six. Robust, gay, 
 light-hearted and vivacious, he stands for all that is technically 
 brilliant in the modern art of painting, having himself created 
 the ficole de la Main and so fathered the whole brood of the 
 virtuosi — Zamacois, Madrazo, Rico, and Boldini. Impec- 
 cable draughtsmanship and dazzling colour resulted with him 
 in paintings which glitter without being artificial. "Whatever 
 sparkled attracted him: he was a moth, a Zoroastrian." His 
 
THE DRAWING-ROOM 
 
 pictures are still-life pieces in which a man is a man and a vase 
 is a vase, and one is as good as the other. 
 
 No. 6 1 An Arab Guard. 
 
 Small full-length figure of a rather inert Arab, dressed in 
 white and seated on a step with his legs crossed. Bare-headed, 
 but bearded, he is smoking his hookah held in the left hand, 
 which rests on an oven by his side. A vase and a circular bowl 
 are on the oven. With his right hand he grasps his gun, the 
 butt end of which rests on his thigh. In the left foreground 
 are brown and red draperies. Dark background. 
 
 Canvas, 22j4 inches by i8>^ inches. (0.56x0.46) 
 
 Signed, and dated 1863, in the right bottom corner. 
 
 Formerly in the collection of Mrs. Bloomfield Moore, of Great Stan- 
 hope Street, Mayfair, London, and sold at Christie's, May 5, 1900, 
 No. 18. , 4 
 
 Perhaps this picture is to be identified with that mentioned in Davillier : 
 "Fortuny," 1875, p. 147; and so formerly in the d'Artez Collection at 
 Barcelona. 
 
 THEODORE ROUSSEAU 
 
 French School; 1812-1867 
 
 No. 62 FONTAINEBLEAU. 
 
 A rugged part of the Forest of Fontainebleau, with scanty 
 vegetation in the foreground. In the middle distance are trees, 
 and beyond may perhaps be discerned the Gorges d'Apremont. 
 The sky overhead is cloudy, but the distant landscape is bathed 
 in sunlight. 
 
 Canvas, loj^ inches by 19^^ inches. (0.26x0.50) 
 Signed in the left foreground. 
 
 1:173: 
 
THE DRAWING-ROOM 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 English School; I'jzj-i'jSS 
 
 No. 63 Portrait (supposed) of the Artist. 
 
 Very small bust portrait, turned slightly to the left. In a 
 blue coat, lemon-yellow vest, and lace cravat; the hair curly 
 and powdered. 
 
 Painted in a feigned oval on a rectangular panel ; 6 inches by 4^ inches. 
 (0.15x0.11). 
 
 In a letter of October 20, 1903, from Stephen Gooden and now in the 
 possession of Mr. and Mrs. Taft, this very small panel is stated to have 
 come from the collection of Francis Bentham, of Suffolk; it is there 
 said also to be "in Gainsborough's late manner, having been painted at 
 Schomberg House, Pall Mall," and to represent the great English por- 
 trait painter. 
 
 MATTHEW MARIS 
 
 Dutch School; 18^9-19 17 
 
 MATTHEW, or Matthijs or "Thijs," Maris, the sec- 
 ond of the three brothers, was provided with "pen- 
 cils and paper" while a mere child by his father, and 
 so had every encouragement to become a painter of renown. 
 Going with his elder brother, Jacob, to Antwerp in 1855, he 
 became a pupil of Nicaise de Keyser, with Alma-Tadema as 
 a fellow student. Travelling as far afield as Germany and 
 Switzerland in 186 1, he became a resident of Paris from 1869 
 to 1 87 1. Having enrolled himself in the Municipal Guard in 
 1870, he suffered severely in the besieged city. Before long he 
 returned to his native land, where he revealed great precocity 
 
 1:1741 
 
THE DRAWING-ROOM 
 
 in his art, without, however, earning recognition as a painter 
 of promise. In 1872 he removed to London, where he was 
 to spend the remaining forty-five years of a life passed in ob- 
 scurity. He was content to remain almost alone in the world, 
 because he could thus keep his own dreams and his own im- 
 agination to himself. Even when his work had become highly 
 esteemed and his pictures were sought after, he declined to 
 accept lucrative commissions. 
 
 His eldest brother has described how Matthew would work 
 at the most exquisite things until he could easily finish a given 
 picture in a single day. Then he would "upset the whole work 
 and utterly refuse to be convinced of its excellence." 
 
 His canvases ranged principally around themes of artless 
 incidents, such as, of themselves, any child can understand; 
 but it was his method to express these ideas, conveyed in a 
 period of charm and attractiveness, with full artistic quality of 
 pencil and brush. Never did he waver in the complete con- 
 secration of his life to his art, sacrificing all to it, setting aside 
 all consideration of personal comfort and personal gain, and 
 accepting as it came to him each phase and circumstance of the 
 life that such an attitude entails. A recluse from the world, 
 yet living within ear-shot of the noisy traffic of London, he 
 was a "self-bound prisoner to his liberty" but "free as in a 
 hermitage." As Mrs. van Wisselingh, widow of his great 
 friend and his executrix, says, "Thijs was always ten years old 
 and full of wit and fun, so gay at times, singing when working, 
 sometimes singing whole operas, always a magic person, a sage 
 and profound." 
 
 He painted "everything." 
 
 No. 64 The Boy with a Hoop. 
 
 Small full-length figure of a boy in a puce-coloured jacket 
 with a belt, black knickerbockers, white stockings and red 
 shoes. Standing before a yellow-toned wall, he holds a hoop 
 in his right hand and a hoop-stick in his left. 
 
.THE DRAWING-ROOM 
 
 Canvas, 17^ inches by inches. (0.45x0.29) 
 
 Inscribed on the right, half way down the canvas: "M. M. '63." 
 
 Exhibited at the French Galleries, London, 1909, and illustrated in the 
 catalogue (No. 4). 
 
 The Connoisseur, 191 7, Vol. XLIX, p. 108. 
 
 D. Croal Thomson: "Matthew Maris," 191 7, plate 34. 
 
 JOSEF ISRAELS 
 
 Dutch School; 182/f-igii 
 
 IT was thought in his early life that this son of a stock- 
 broker was destined for the rabbinate, but while still a 
 boy he was placed under Jan Kruseman. His first artis- 
 tic inclinations and earliest essays in painting were consecrated 
 to portraiture, and thus in time he was led to that deep, 
 inward expression which gives to his late paintings the stamp 
 of mastery. It was not until middle life that he succeeded in 
 finding himself. For it was during a visit for the benefit of 
 his health to the little fishing village of Zandvoort, near Haar- 
 lem, that he began to study the daily routine of fisher folk, 
 their miseries and their joys, and the hidden beauties of their 
 humble life. Gradually the tightness apparent in his earlier 
 pictures gave way to freer handling; he threw off an inclination 
 to confuse pathos and sentimentality, the seriousness of life 
 and its lachrymose aspects, until he became one of the most 
 conspicuous figures of modern continental art. Working by 
 intuition, laboriously and with his ultimate goal ever in view, 
 he attained his aim by means of his devotion. After eighty- 
 seven years, how else could his life have ended, seeing that in 
 his conceptions of humble life he saw beauty in all its phases? 
 And so he lived to receive the recognition which, for so many 
 Dutch artists, was posthumous. 
 
THE DRAWING-ROOM 
 
 No. 65 Pick-a-back. 
 
 Small full-length figure of an old fisherman; he wears clogs, 
 and is holding a little child on his back as he walks away from 
 the waves that beat upon the sea-shore. A fishing-smack in 
 the offing on the left. 
 
 Canvas, ii^ inches by S}i inches. (0.29x0.20) 
 Signed in the right foreground. 
 Athenaunij August 19, 191 1, p. 222. 
 
 JACOB MARIS 
 Dutch School; iS^J-iSgg 
 
 JACOB, or James, or "J^^P" Maris was born at The 
 Hague, his father being a humble printer. The family 
 seems to have been of Bohemian or Austrian extraction 
 and to have spelt the name Maresch or Maresq; in later days 
 Marris was the spelling, until Maris became the accepted 
 form. It has not often happened that one family has pro- 
 duced three sons who were to be artists of such high rank, and 
 who, from their childhood, so instinctively perceived the road 
 that lay before them that they were already painters at an age 
 when most lads are still at school. Generally speaking, Jacob 
 was to express himself with some degree of hesitancy at first, 
 but by so doing he was to prepare himself for a more lofty 
 flight. He was to learn something also from his younger 
 brother Matthew, who, in time, was to turn his dreams into 
 revelations with the reality of his memories. Willem, on his 
 part, was to become enamoured of sunlight and the verdure 
 of landscape. 
 
 A pupil at the age of twelve in the Art School of The 
 Hague, Jacob three years later became a student under Huib 
 
THE DRAWING-ROOM 
 
 van Hove, with whom he moved to Antwerp in 1853. Later 
 he became a pupil of Hebert, visiting Fontainebleau and Paris 
 as early as 1866, the influence of the Barbizon School not 
 being betrayed in his works as much as one might, perhaps, 
 have supposed. His sensitive feeling for colour, his fine design 
 and the gravity of his conceptions place him among the finest 
 landscape and genre painters of his century. From 1870 on- 
 wards the nature and essence of the lowlands of Holland 
 were revealed to him. His best works show a steady equi- 
 librium in balancing tall, unwieldy windmills, low-lying towns, 
 sluggish canals and smooth beaches. For such elements in his 
 compositions are the very soul of Dutch landscape in glorious 
 equipoise. It may be recalled that it was the collector H. G. 
 Tersteeg who interested James Staats Forbes, and indirectly 
 such other English collectors as Alexander Young, in Jacob 
 Maris's pictures. 
 
 No. 66 The Quay: A Dutch Town. 
 
 The view is taken from the bank of the canal that is seen in 
 the right foreground. Barges are moored to the wharf. On 
 the quay, more to the left, are barrels, a man with a brown 
 and gray horse, and, still further away, two men with a horse 
 and cart. A water-mill and the brown-tiled roofs of many 
 houses are to be seen in the left middle distance. In the dis- 
 tance on the right, on the far bank of the canal, are numer- 
 ous other buildings and a water-mill. Sunny sky with cloud 
 cumuli. 
 
 Canvas, 32 inches by 49 inches. (0.8 1 x 1.24) 
 
 Signed in the left bottom corner. 
 
 The choice of the subject, and the exact position in which the artist has 
 set his easel before this Dutch town, are in every way typical. Yet 
 we may point out that alike in general plan, and apparently a view of 
 
THE DRAWING-ROOM 
 
 the same town, is that shown in D. Croal Thomson's "The Brothers 
 Maris" in the summer number of the Studio, 1907 (Illustration J. 10). 
 Another "Dutch Town" by our artist was lent by J. C. J. Drucker to 
 the Guildhall Exhibition, London, 1903, No. 100 (36^ inches by 66^^ 
 inches). 
 
 WILLEM MARIS 
 
 Dutch School; 184^-igio 
 
 No. 67 Cattle in the Meadows. 
 
 In the left foreground a cow is standing at the edge of a 
 pool and drinking. Further back, and more to the right, are 
 two other cows. Gray sky. 
 
 Canvas, 33^ inches by 49 inches. (0.82 x 1.24) 
 
 Signed in the right bottom corner. 
 
 This is in subject and treatment a typical work. Another "In the 
 Meadows" by this artist, but in water-colour, is in the collection of H. 
 G. Tersteeg. 
 
 *'I never paint cows, only effects of light," said Willem Maris. Rather 
 should he have said that he used light to reveal the external character 
 of objects in nature, while painting the characters not only of animals, 
 but of fields and trees and water. 
 
 JOSEF ISRAELS 
 Dutch School; 1824-igii 
 
 No. 68 The Sewing-School at Katwijk. 
 
 An interior, humbly furnished and lit from the window on 
 the right; a muslin curtain hangs before the lower part of it, 
 and two pots of flowers are on the window-sill inside. An old 
 
THE DRAWING-ROOM 
 
 woman, cutting out material, is seated on the far side of a 
 plain wooden table by the window. Opposite her, in the 
 extreme right foreground, a girl with her sewing sits with her 
 back to us; on the floor, by her left side, is her work-basket 
 and near by is a cat asleep on the stone floor. The sewing 
 class or school is grouped in the left half of the composition, 
 seven young girls of varying ages being ranged in two rows ; 
 the three in the front row have footstools; one of them is 
 threading her needle, while the others are sewing busily; all 
 wear a blue skirt, apron or shawl. In the background* to the 
 left is a wardrobe, and more to the right is a door. High on 
 the wall between hang a pair of family portraits, one being on 
 either side of a larger picture or mirror. 
 
 Canvas, 44 inches by 57j4 inches. ' (i.ii x 1.46) 
 
 Signed in full in the right foreground; painted in 188 1. 
 
 Formerly in the collection of J. Staats Forbes and by him lent to the 
 Guildhall Exhibition, London, 1903, No. 86. On that occasion it drew 
 forth much favourable comment in the press. 
 
 "Other widely known works from the hand of this hard-working mas- 
 ter are the 'Interior of the Orphanage at Katwijk,' of 1869, and 
 'The Sewing-School' at the same institution, of 1881, both wonder- 
 ful examples of his power of rendering children." 
 
 Mrs. A. Bell: "Representative Painters of the XIX Century," 
 1899, p. 179. 
 
 JACOB MARIS 
 
 Dutch School; iS^J-iSgg 
 
 No. 69 A View of a Dutch Town. 
 
 The turgid waters of a canal in Holland cross the fore- 
 ground, and by the quays are moored sailing-vessels and barges. 
 On each bank are houses with brown-tiled, high-pitched 
 
 [ISO] 
 
THE DRAWING-ROOM 
 
 roofs. Other buildings in the middle distance ; a church tower 
 beyond. 
 
 Canvas, 15%. inches by 23^ inches. (0.38x0.59) 
 Signed in the right bottom corner. 
 
 \ 
 
 ANTON MAUVE 
 
 Dutch School; 1838-1888 
 
 No. 70 Changing Pasture. 
 
 Along a rough and sandy track, edged by scanty pasture and 
 a few scrubby bushes, an old shepherd is leading his flock. 
 His back is turned towards us, and his staff held before him. 
 He is seen on the left, as he makes his way to the richer pas- 
 ture that lies on the far side of the ground which rises before us. 
 
 Canvas, 32 inches by 48 inches. (0.81 x 1.23) 
 
 Signed in the left bottom corner. 
 
 We can indicate the present whereabouts of a certain number of pic- 
 tures by Mauve that are closely related to this one in subject, presen- 
 tation and technique. In the Elkins Collection at Philadelphia is a 
 ''Return of the Flock," in which the shepherd also leads his sheep. 
 Akin is the "Spring" in the Metropolitan Museum, New York, although 
 the sheep are grazing and not moving onw^ards. In the "Autumn," of 
 the same Museum, the shepherd follows his flock. Near to these in 
 style is also the "On the Heath" of the J. C. J. Drucker Collection 
 (reproduced by Max Rooses: "Dutch Painters of the XIX Century," 
 1900, Vol. Ill, p. 7). In "On the Heath" (reproduced in the Maga- 
 zine of Art, 1896, p. 75) the flock-master is again seen leading the way 
 along a rough track. The "Flock Returning" of the Alexander Young 
 Collection is reproduced in the Art Journal, 1894, P- I05> in which, at 
 page 102, is illustrated also a "Near Laren": in that neighbourhood this 
 canvas was almost certainly painted. Mauve finally settled there in 
 1883. Other such works may be studied in the collections of Mrs. 
 John W. Simpson, Mrs. H. O. Havemeyer, Mrs. H. P. Whitney and 
 
 [ISO 
 
THE DRAWING-ROOM 
 
 Mr. T. F. Ryan, and in the galleries of the Art Association, Montreal 
 
 This typical example is reproduced in the Ladies' Home Journal for 
 March, 1917, p. 15, and criticized at p. 45. 
 
 F vigorous physique, his graphic and forcible manner 
 
 played a predominant part both in his conversation 
 
 ^^-^ and in his pictures, which give a plain, spontaneous 
 effect. A passionate fisherman, he caught the atmospheric 
 influence of the marsh-lands and dykes, and even in the worst 
 weather he might still be found working out of doors. He 
 was in his element on days when the sky was stormy and the 
 sun would fitfully break through the clouds. "Nature is my 
 teacher," he would say. "You must see Nature in all her 
 moods." Much of his time was spent near Noorden. His 
 water-colours are among the finest in modern Dutch art. 
 
 No. 71 A Gray Day in Holland. 
 
 The immediate foreground is given up to the slow-moving 
 waters of a canal, on which a barge slowly travels. Houses 
 are on the far bank, both in the left middle distance and further 
 away to the right. 
 
 Canvas, 27^^ inches by 39^ inches. (0.69 x i.oo) 
 
 Signed, and dated " '99" in the left bottom corner. 
 
 (No. 576). 
 
 JAN HENDRIK WEISSENBRUCH 
 
 Dutch School; 1824-igos 
 
THE DRAWING-ROOM 
 
 JEAN CHARLES CAZIN 
 French School; 1841-igoi 
 
 A MASSIVE head, an impressive face and the eyes of a 
 poet indicated the simplicity, eloquence and sincerity 
 ' of the man and his art, which embraced oil, water- 
 colour, pastel and gouache, together with sculpture, wax mod- 
 elling and ceramics. He did not favour a rough impasto or 
 the violence of a palette-knife, but he was sympathetically 
 emotional in his rendering of the effects of light. 
 
 No. 72 Landscape. 
 
 A canal seen at sunset. Barges, loaded with wooden boards, 
 are in the right foreground. Further down stream are sailing 
 vessels, with a water-mill on the bank beyond. In the right 
 middle distance is a house, in which the lights are already lit. 
 A damp evening. 
 
 Wood, 8% inches by 10 inches. (0.20x0.25) 
 Signed in the left foreground. 
 
 RAIMUNDO DE MADRAZO 
 
 Spanish School; Contemporary 
 
 No. 73 Portrait of Mrs. Charles Phelps Taft. 
 
 Three-quarter length; seated in an arm-chair upon which a 
 blue drapery is spread. The body turned slightly to the left, 
 looking to the front. In a low-cut white dress, the sleeves 
 trimmed with lace. A long pearl necklace, part of which is 
 held lightly in the right hand; a pearl pendent from a narrow 
 
THE DRAWING-ROOM 
 
 black velvet band, passed around the neck. Roses at the breast. 
 Landscape setting, with the trunk of a tree on the right. 
 
 Canvas, 48 inches by 37^ inches. ( 1.2 1 x 0.95) 
 
 Signed, and dated igo2. 
 
 Mrs. Anna Taft, daughter of David Sinton, married Mr. Charles 
 Phelps Taft, December 4, 1873. 
 
 The features of Mrs. Taft's father and mother are portrayed in can- 
 vases (No. 42 and No. 43), from the hand of the same artist, in this col- 
 lection. 
 
 RAIMUNDO DE MADRAZO 
 
 Spanish School; Contemporary 
 No. 74 Portrait of Mr. Charles Phelps Taft. 
 
 Three-quarter length, turned slightly to the right; seen en 
 face. Seated in a green-upholstered arm-chair, with his right 
 arm resting on it, the left arm by his side. In black morning 
 dress, red and black neck-tie. Dark background. 
 
 Canvas, 48 inches by 37^ inches. (1.21 xo.95) 
 
 Signed, and dated 1902, on the left side of the chair. 
 
 The Taft family is of English origin. Robert Taft, who came to this 
 country about 1670, was a housewright and "the twenty-ninth settler in 
 the town of Mendon [since called Uxbridge], Mass." He died in 
 1725, his wife Sarah surviving him a year. They had some two hun- 
 dred grandchildren. 
 
 Passing over their son Captain Joseph, their grandson Captain Peter, 
 and their great-grandson Aaron, we come to their great-great-grandson 
 Judge Peter Rawson, who, born 1785, removed to Cincinnati in 1841. 
 
 Judge Peter Rawson, by his wife, Sylvia Howard, was the father of 
 Judge Alphonso and died at Cincinnati in 1867. 
 
 Alphonso (1810-1891) married twice; by his first wife, Fanny, 
 daughter of Judge Charles Phelps, whom he married in 1841, he had 
 three sons who d.s.p., as well as Charles Phelps (the subject of this 
 
THE DRAWING-ROOM 
 
 portrait), born December 21, 1843, and Peter Rawson, who died 1888. 
 She died 1851. 
 
 Alphonso married secondly, December 26, 1853, Louisa Mary Torrey, 
 daughter of Samuel Davenport Torrey, by whom he had Samuel Daven- 
 port, who d.s.p.; William Howard (whose portrait by Sorolla is No. 
 33 in this collection), born 1857; Henry Waters, born 1859; Horace 
 Dutton, born 1861; and Fanny Louisa, born 1865. Mrs. Alphonso 
 Taft died 1907. 
 
 Judge Alphonso Taft, after the resignation of General Belknap in 
 March, 1876, was made Secretary of War, which office he held until 
 the May following. He then became Attorney-General under Presi- 
 dent U. S. Grant. President Arthur appointed him successively United 
 States Minister Plenipotentiary to the Court of Austria and two years 
 later to Russia. 
 
 An important event in the life of Alphonso Taft was the prepara- 
 tion, and delivery, of an historical address in 1874 Uxbridge, Mass., 
 before a reunion of the descendants of Robert Taft. 
 
 Munsell: ''Index to American Genealogies," 1900, p. 303. 
 
 Mabel T. R. Washburn: ''The Ancestry of William Howard Taft," 
 1908. 
 
 "The Taft Family News," 1910. 
 
 JEAN LOUIS ERNEST MEISSONIER 
 French School; i8i^-i8gi 
 
 MEISSONIER began life in a garret on half a franc 
 a day. A man of eminent sincerity and simple char- 
 acter, a deeply earnest and conscientious worker, he 
 was unsurpassed in the elaborate finish of all the minutiae of 
 his subjects, which were at times somewhat trivial. With some 
 exceptions, his pictures have no thrilling story to tell, but the 
 minute accuracy, the finished drawing, the variety of char- 
 acter in his men, his animals and his accessories produce an 
 absolute verisimilitude of detail, and than these "there are no 
 
THE DRAWING-ROOM 
 
 more sparkling pictures in the world." Although the subject 
 selected is not always very thrilling and may not be conceived 
 as an organic whole, he does not confound the literary with the 
 picturesque. If he does not invariably show himself capable 
 of artistic subordination and sacrifice of the unessential, and 
 reveals to us nothing of the epic vastness, the indefinable but 
 none the less resfl atmosphere which enwraps the compositions 
 of the greatest of the Old Masters, he never condescends 
 to mere tricks of execution. All things considered, it is re- 
 markable that the contemporary, soul-moving works of the 
 Barbizon School should have made absolutely no impression on 
 this great painter of historic genre. Classicists, Romanticists, 
 Symbolists, Impressionists — all were nothing to him. He had 
 chosen his life-task for himself, and when necessary he would 
 have a military costume copied by a tailor with une exactitude 
 Chinoise, that thereby he might render it in terms of paint. In 
 spite of the professional success he attained and the adulation 
 he received, he was ever a severe critic of his own work. 
 Only very rarely did he paint a woman: men alone were his 
 inspiration. Like Andrea del Sarto, according to Browning's 
 estimate, he was a faultless painter. 
 
 No. 75 Les Bons Amis. 
 
 Three cavaliers are seated in the centre round a table and 
 smoking clay pipes ; the one on the left is dressed in red, the 
 one on the right in black, and the third, seated between them 
 at the far side of the table, in yellowish attire. On the table 
 are glasses and a flagon. By the wall, near the door, in the 
 left distance, is a sideboard with bottles on it; a picture hangs 
 on the wall above it. The wall on the right is panelled. A 
 tricorne hat is on a chair, against which stands a walking-stick. 
 
 Canvas, 9 inches by 10 inches. (0.22x0.25) 
 
 Signed, and dated 1867. 
 
 This example is illustrative of the artist's best period; it has been en- 
 graved by Blanchard and etched by Jules Jacquet. 
 
THE DRAWING-ROOM 
 
 Greard: "Meissonier," 1897, p. 417, gives details of his "Les Trois 
 Amis," which is undated, measures only by inches, and figured 
 in the Thiery Collection. His "Les Bons Fumeurs," painted in 1857, ^ 
 panel measuring 4^ inches by 5 inches, is akin in style. 
 
 Mrs. A. Bell: ''Representative Painters of the XIX Century," 1899, 
 p. 97. 
 
THE LEFT CORRIDOR 
 
SIR LAURENCE ALMA-TADEMA, R.A., O.M. 
 
 English School; i8s6-igi2 
 
 OF Dutch parentage, marrying first an Italian woman 
 and secondly an English, he became a naturalized 
 Englishman, with the consequent change of his first 
 name, Lourens, to Laurence. An exponent of the life, but not 
 the passions, of antiquity, he painted with high technical skill 
 the material things of the ancients. Marble exerted a strange 
 fascination upon him, and the setting of some of his subjects 
 was at times more impressive than the subjects themselves. In 
 such compositions everything is treated as an ohjet de luxe, 
 while he accords himself the liberty of anachronism. His 
 imagination was admittedly constructive, but not of the kind 
 to carry him or us into the higher realms of poetic insight. 
 It is not surprising that he designed, with marked success, the 
 stage scenery and costumes for many classical and theatrical 
 productions. A painter of repose, he loved flowers and music. 
 His painting was illusive rather than emotional. His wife, 
 who predeceased him, was also a painter. 
 
 No. 76 A World of Their Own. 
 
 A young man and a young woman, in classical attire, are 
 lying at full length on the ground; beyond is the sea; a drapery 
 is spread before them, and a staff, surmounted by an ivory 
 figure of an undraped woman, lies near them. Flowers are 
 growing in the field beyond; trees in the left distance. 
 
 Canvas, 5 inches by iqJ^^ inches. (0.12x0.49) 
 
 Signed and enumerated : "L. Alma-Tadema. Op. CCCLXXVIII." 
 
 As the artist listed and numbered each of his productions, the number 
 378 would show that it was painted about 1905. 
 
 ni90 
 
THE LEFT CORRIDOR 
 
 FRANK DUVENECK 
 
 American School; i8^8-igig 
 
 RANK DUVENECK was born in Covington, Ken- 
 
 tucky, across the Ohio River from Cincinnati. He had 
 
 -J^ painted, modelled and carved before going, in 1870, to 
 Munich and entering the Royal Academy. However, "this 
 blond, vigorous, and single-hearted young giant with an eye 
 like a hawk, fresh from a new world and conscious of his 
 own power," by 1873 returned to America and went at once 
 to Chicago. Again he went to Europe, and in 1877 he painted 
 in Munich "The Cobbler's Apprentice." The Duveneck Col- 
 lection in the Cincinnati Museum comprises about one hundred 
 paintings, besides sculpture and etchings, and gives a complete 
 account of his personality. His style, simple and direct, is 
 without technical tricks for effect, without persuasive story 
 subjects. Of literary association or of dogma there is none. 
 The world for him was not history, not imagination; for his 
 compelling interest was absorbed in the normal aspect of man 
 and nature. 
 
 No. 77 The Cobbler's Apprentice. 
 
 Three-quarter-length figure of a boy, turned three quarters 
 to the right. He holds against his right side a large basket, 
 while he puffs out of his mouth the smoke of a cigar held in 
 his left hand. 
 
 Canvas, 38 J/2 inches by 26^ inches. (0.97 x 0.67) 
 
 Art and Decoration, 191 1, Vol. I, pp. 382-384, "Duveneck: a Teacher 
 of Artists." 
 
 Art and Progress, September, 1915, Vol. VI, pp. 386-394, "Duveneck: 
 Artist and Teacher." 
 
 1:192:1 
 
THE LEFT CORRIDOR 
 
 "This striking life-size canvas, in subject so like 'The Whistling Boy,' 
 is yet entirely different. Aside from the fact that the little model 
 for the earlier work had black hair, while this one's is red, the dif- 
 ference in technique is self-evident. While in 'The Whistling Boy* 
 young Duveneck centred all of his attention upon the head, con- 
 veying planes and texture with remarkable care and feeling, this can- 
 vas is a more broad statement, all parts of it being boldly and swiftly 
 expressed. Certain passages in it make one think of Manet, yet 
 Duveneck had never seen any of the French master's works at that 
 time. The canvas, painted in Munich, was originally sold there 
 ... to Mr. von Hessling, the American Vice-Consul ; was for a 
 time owned by Mr. Josef Stransky, and is now in the collection of 
 Mr. Charles P. Taft. In May of that same year (1877), Duveneck 
 and Chase left for Venice, Duveneck stopping in Innsbruck, where 
 he painted the portrait of Susan B. Anthony." 
 
 W. Heermann: "F. Duveneck," 1918, p. 52. 
 
 American Art News, August 17, 191 8; January 11, 19 19. 
 
 JACOB VAN RUISDAEL 
 
 Dutch School; 16289-1682 
 
 THE early works of this foremost landscape painter in 
 the school of Haarlem are simple in motive and care- 
 ful in elaboration, while the shadows are opaque. 
 After settling at Amsterdam, he set himself to render scenes 
 with distant views and winter pictures. At the same time a 
 study of the works of Everdingen, who had explored parts of 
 Norway, led him to render the grand effects of water falling 
 in torrent. A man of solitary habits of life and somewhat of 
 a mystic, he does not invariably reach the same high level of 
 achievement. But as a painter of atmosphere and sky, and in 
 the management of light and shade, he is entitled to rank as 
 one of the most profound and poetical landscape artists of his 
 century. His influence was exerted on Hobbema, and survived 
 to inspire many later artists. 
 
 1:1933 
 
THE LEFT CORRIDOR 
 
 No. 78 A View on a High Road. 
 
 A woman, with a basket on her arm and leading a child by 
 the hand, is walking towards a pool by the roadside; in its 
 water their figures and some of the houses near by are re- 
 flected. A quantity of hewn stones and logs lie on the ground, 
 at the foot of a flight of steps that leads up to a house in the 
 right foreground. Adjoining this, and in the centre of the 
 composition, is another timbered house that has an external 
 porch. More to the left, and back from the roadside, is a 
 castle standing on higher ground. Other buildings and a 
 windmill in the distance. A tall tree in the left foreground. 
 
 Canvas, 22 inches by 26 inches. (0.55 xo.66) 
 
 Signed in full on the left. 
 
 In the collection of General Verdier, 18 16. 
 
 In the collection of the Right Hon. Alexander Baring, 1835; and sub- 
 sequently in that of the Earl of Ashburton. 
 
 Exhibited, on loan, in New York, 191 4, No. 8. 
 
 Smith: "Catalogue Raisonne," 1835, Vol. VI, p. 48, No. 154, says 
 that "this excellently painted picture has become a little too dark." 
 
 Hofstede de Groot: "Smith's Catalogue Raisonne," 1912, Vol. IV, 
 p. 254, No. 811. 
 
 HENRY F. FARNY 
 
 American School; i8^y-igi6 
 
 BORN at Ribeauville in Alsace, he in time became a pupil 
 of Munkacsy in Diisseldorf and of Wilhelm von Diez, 
 one of Duveneck^s masters, in Munich. He worked 
 long as an illustrator for Harper's, but later became known 
 for his paintings of Indians and Western life. 
 
 [194] 
 
THE LEFT CORRIDOR 
 
 No. 79 The Song of the Talking Wire. 
 
 A winter landscape. An Indian, seen in full face and wear- 
 ing the garb and long robe of his tribe, is leaning against a 
 telegraph pole in the foreground. Further back, on the right, 
 stand his two horses, from the saddle of one of which is slung 
 the carcass of a deer. Half embedded in the snow, to the left, 
 are the decaying skull and horns of an ox. Cloudy sky. 
 
 Canvas, 2iJ^ by 39>^ inches. (0.54X i.oo) 
 
 Signed, and dated 1904, in the right bottom corner. 
 
 1:195: 
 
THE BACK CORRIDOR 
 
RICARDO DE MADRAZO 
 
 Spanish School; Contemporary 
 
 RICARDO DE MADRAZO is the younger son of Fed- 
 erico, and so the brother of Raimundo de Madrazo, 
 ^ whose art may be studied in this collection. 
 
 No. 80 A Courtyard in Toledo. 
 
 A scene in a patio, or inner courtyard, of a house in Toledo, 
 Spain, where the influence of the Orient is unmistakable. In 
 the right foreground is a fountain set round with a border of 
 tiles, on which pots of flowers are set. A profusion of flowers 
 in the centre. Two doves on the ground near an arm-chair, 
 above which hangs a bird-cage. A serving-maid, with a tray, 
 is passing down a corridor in the background. A man of high 
 rank is looking through the reja, or iron grating, of a window 
 on the right. 
 
 Canvas, 19 inches by 23^ inches. (0.48x0.59) 
 
 Signed and dated, in the left bottom corner: ''Ricardo de Madrazo, 
 Toledo, 191 1." 
 
 HARRINGTON MANN 
 English School; Contemporary 
 
 HARRINGTON MANN, born at Glasgow in 1864 
 received his art education there, in London and in 
 Paris. He fii-st attracted attention by carefully elab- 
 orated renderings of scenes in Yorkshire fishing villages, and 
 by realistic studies of Italian peasants. He is now best known 
 as a painter of portraits, which are designed in simple masses 
 
THE BACK CORRIDOR 
 
 and drawn with remarkable facility and a fine dashing bra- 
 vura. He has worked eight winters in this country. Exhibi- 
 tions of his works were held in the Albright Art Gallery, 
 Buffalo, in March, 19 14, and at the St. Louis Art Gallery in 
 April, 19 16. 
 
 No. 81 Portrait of Charles Frederick Fowles. 
 
 Bust length, turned to the left. In black morning coat. The 
 black beard turning gray. Dark background. 
 
 Canvas, 29 inches by 24^ inches. (0.73 xo.62) 
 
 Signed, and dated 191 5, in the left bottom corner. 
 
 Charles Frederick Fowles Avas born November 15, 1867, in Hereford- 
 shire; he was the son of Edward and Emily Susan Fowles. He came 
 to this country about 1 899. 
 
 He perished, together with his wife, on the Cunard steamship Lusitania, 
 May, 1915. 
 
 "The Lusitania sails undisturbed by German warning. Off with her 
 passenger list of 1388 undiminished. No bookings cancelled." 
 
 New York Times J May 2, 1915. 
 
 "Never since that April day, three years ago, when word came that the 
 Titanic had gone down, has Washington been so stirred as it is 
 to-night over the sinking of the Lusitania/' 
 
 New York Times, May 8, 1915. 
 
 J. L. Caw: ''Scottish Painting," 1908, p. 431. 
 
 New York Times, June 27, 19 19. 
 
 The clearness of Mr. Fowles's vision in realizing the aim of Mr. and 
 Mrs. Taft to form so important and well selected a collection, and the 
 friendship that resulted from his devotion to the task, need not be 
 insisted upon here : it is apparent to the merest tyro who may pay a visit 
 to the house in Pike Street. The circumstances under which, when his 
 work was done, Mr. Fowles met a tragic death caused Mr. and Mrs. 
 Taft to secure a portrait of him. It is unfortunate that the canvas 
 before us is a posthumous one. 
 
 [200;] 
 
THE BACK CORRIDOR 
 
 Mr. Harrington Mann had known Mr. Fowles only slightly; and 
 immediately he was invited by Mr. Taft to convey to canvas his per- 
 sonal impressions, he was faced by a difficulty: for only an old and 
 retouched photograph was available to guide the artist. More clearly 
 to visualize the man, if that were possible, the expedient was tried of 
 asking a mutual friend, of somewhat similar build and appearance, to 
 pose for the picture. Of the successful issue of the undertaking, those 
 who knew Mr. Fowles intimately are in the best position to judge. 
 Others can only remark with praise on the high technical accomplish- 
 ment. 
 
 No. 82 Rotterdam. 
 
 The waters of the canal in the foreground; sailing-vessels 
 and barges moored to the quay on the right. In mid-stream a 
 man is rowing his boat towards an arched bridge in the back- 
 ground. In the distance are the roofs of houses which cluster 
 round a church with a massive tower. Trees on the right. 
 Birds in the cloudy sky. 
 
 Canvas, 37 inches by 43 inches. (0.93 x 1.09) 
 
 Signed in the right bottom corner. 
 
 American School; ij^i-iSz^j 
 O Charles Willson Peale, the Doyen of American 
 
 Painters, was accorded the distinguished honour of 
 
 painting Washington from life more often than any 
 one of his contemporaries. He began in May, 1772, with the 
 Virginia Colonel, and ended in September, 1795, with the first 
 President of the United States. Peale's position as a portrait 
 
 JACOB MARIS 
 
 Dutch School; iS^j-iSgg 
 
 CHARLES WILLSON PEALE 
 
 [2013 
 
THE BACK CORRIDOR 
 
 painter is very much underestimated on account of the multi- 
 tude of inferior heads which he put into frames for his museum 
 gallery, and by which he is chiefly known. His portraits are 
 real, if they are somewhat hard, and his likenesses are always 
 true. Peak's nephew, Charles Peale Polk, was an industrious 
 manufacturer of Washington portraits. 
 
 No. 83 Portrait of George Washington. 
 
 Bust length, turned three quarters to the left. In black 
 morning dress, white stock and cravat; clean shaven; gray 
 hair. Dark background. 
 
 Canvas, 29^^ inches by 24^ inches. (0.74x0.67) 
 
 Purchased at the sale of the effects of Colonel John Custis Wilson, of 
 Somerset County, Eastern Shore of Maryland (who married Miss Eliza- 
 beth Tilghman, daughter of Colonel Peregrine Tilghman), by General 
 Tench Tilghman when a cadet at the United States Military Academy 
 at West Point, in 1830, and while home on furlough. 
 
 Inherited in 1874 by Oswald Tilghman, son of General Tench Tilgh- 
 man. 
 
 Miss Mary Jane Wilson, granddaughter of the painter, in 1898 wrote 
 and quoted from the painter's diary: 
 
 "I sold Mr. Wilson a portrait of Washington, half length, in a 
 
 black velvet coat, with a dimple in the cheek from an abscess caused 
 
 by a decayed tooth." 
 
 She pointed out at the same time that a number of similar ones were 
 painted, and that she could not, therefore, tell whether this was "the 
 original." 
 
 So far as one may trust one's memory, this portrait is almost exactly 
 like that (No. B 299) owned by the New York Historical Society, 
 which, as the records of the Society show, was painted in 1795 and was 
 bought at the sale of the Peale Gallery in Philadelphia about 1828. 
 Perhaps there is some diiference in the rendering of the dimple in the 
 two canvases. In the New York one the corners of the canvas, as 
 framed, seem to be rounded. Yet the Cincinnati version is certainly 
 
THE BACK CORRIDOR 
 
 not a copy of the other. Photographs of the two pictures are not avail- 
 able for our comparison. 
 
 Miss Elizabeth Bryant Johnston in her book on "Original Portraits of 
 Washington," 1882, records (p. 14) some of the above facts. 
 
 Charles H. Hart: "Catalogue of Engraved Portraits of G. Washing- 
 ton," 1904, p. 33. 
 
 Charles H. Hart: "Peale's Original Whole-length Portrait of Wash- 
 ington," 1897. 
 
MRS. TAFT'S SITTING-ROOM 
 
i 
 
 t 
 
 JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
 No. 84 Folkestone. 
 
 Looking eastward from the Lees, with Sandgate behind. 
 In the left foreground smugglers are busy burying kegs of gin 
 at the top of the cliff. Beyond, the cliffs recede. In the middle 
 distance are houses clustering round the church tower. Under 
 the cliffs is a busy scene with much shipping in the harbour. 
 The blue sea bathes the feet of the white chalk cliffs, as they 
 jut out into the distance. 
 
 Like all the works by this artist hung in this room, this is in water- 
 colour, 6 inches by gj4 inches. (0.15 xo.24) 
 
 Painted in 1823. 
 
 Formerly in the collection of Ruskin, who gave it to Sir J. Simeon. It 
 was subsequently purchased from the family of the latter. 
 
 Engraved, in 1825, by R. Wallis for the South Coast Series. 
 
 Details of engravings of this subject by R. Wallis and by T. Lupton are 
 given by H. G. Rawlinson: "Engraved Work of Turner," 1908, Vol. I, 
 p. 66; and Vol. II, p. 384. 
 
 Sir Walter Armstrong: "Turner," 1902, p. 254, mentions this as well 
 as two other water-colours of this subject by Turner: 
 
 {a) "Folkestone: Twilight, Smugglers fishing up Gin." Signed 
 and dated 1824. From the Nettlefold, Hollins, Leech and Hip- 
 pisley Collections. Engraved by T. Lupton. 
 
 (b) "Folkestone." Circa 1829-1831. From the E. F. White 
 and Humphrey Roberts Collections. Engraved by J. Horsburgh: 
 "England and Wales," 1831. 
 
 Exhibited at the Royal Academy, 1887, No. 66. 
 
 1:207: 
 
MRS. TAFT'S SITTING-ROOM 
 
 WILLIAM MERRITT CHASE, N.A. 
 
 American School; iS^g-igiO 
 
 INDIANA was the home State of the enlightened student 
 who, regarded as a "radical" artist at a time when Amer- 
 ica hungered for art but did not know its meaning, early 
 went to study in Munich. There he had as his fellow student 
 Frank Duveneck, whose portrait he painted. Returned from 
 Munich in 1877, Chase kept on repeating to the end: "Wake 
 up, America !" He was, therefore, regarded by many as a "stu- 
 dent adventurer" whose "foreign ideas" should be resisted! 
 Instead of residing in Europe, where Whistler had nicknamed 
 him "the Colonel," he preferred to serve his country at home. 
 Eventually he received in Europe and at home the usual hon- 
 ours of his profession. That profession he regarded as "the 
 greatest in the world"; and by invitation, in 1908, he painted 
 his own portrait for the gallery of distinguished artists in the 
 Uffizi at Florence. Although he painted everything, he is by 
 many best known for his representations of shiny, slippery fish 
 and still life. He frankly admitted that he had "at one time 
 made the error of thinking that critics were a mistake." Later 
 he realized that "one can enjoy a dish without knowing how 
 to cook it." Perhaps his influence on the art of America was 
 more potent through his teaching than through his painting. 
 In any event, he ever advocated the beauty of the painted 
 canvas, and his ideal was that of work well done. 
 
 No. 85 The Ponte Vecchio, Florence. 
 
 A view of the bridge, looking down stream from the left 
 bank. The arcade of the Uffizi is barely seen in the extreme 
 right foreground. 
 
 Canvas, 8>4 inches by 12 inches. (0.20x0.30) 
 Acquired in 1908. 
 
MRS. TAFT'S SITTING-ROOM 
 
 J. M. W. TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
 No. 86 Johnnie Armstrong's Tower, Gilnockie. 
 
 A wide view looking across the river Esk, with the bridge 
 in the foreground and a coach passing over it towards the left. 
 Beyond, the border tower stands on the shoulder of a prom- 
 ontory that looks down upon the stream. 
 
 Water-colour (vignette), io% inches by 8 inches. (0.27x0.20) 
 Painted about 1 830-1 832. 
 
 Formerly in the collection of Munro, of Novar, and in that of Lady 
 Ashburton. 
 
 Exhibited at Messrs. Moon, Boys and Graves' Gallery in 1833. 
 
 Engraved (3% inches by 4 inches) by E. Goodall for Scott's ^'Min- 
 strelsy of the Scottish Border." 
 
 W. G. Rawlinson: "The Engraved Work of Turner," 1913, Vol. II, 
 p. 278, No. 496. 
 
 'The water-colour drawings belonging to the collection of the late 
 Mr. H. A. J. Munro, of Novar, which are to be sold to-morrow by 
 Messrs. Christie, Manson, and Woods, form an exhibition of 
 Turner's works in water-colour, particularly of his vignette draw- 
 ings, which is specially interesting. There are twenty-one of the 
 larger drawings, all good examples of his earlier and middle styles, 
 the rest of the fifty-five forming the sale being nearly all vignettes. 
 Such a display of Turner's fine imaginative faculty, and his amazing 
 power of concentrating beauty of form and colour, and giving the 
 essence of a scene in the small space of a vignette, has rarely, if 
 ever, been seen before. The well-known engravings from these, it 
 is true, render their beauties with admirable effect, so far as black 
 and white can go in interpreting Turner's visions of light and colour, 
 but they are, after all, but like paste copies of these brilliant gems. 
 
MRS. TAFT'S SITTING-ROOM 
 
 In this case the drawings happen to be in a remarkably pure and fine 
 condition, from having been kept in the portfolio from the time they 
 were painted. There are, besides, sixteen engraved drawings of the 
 England and W ales series, the vignettes to Sir Walter Scott's works, 
 those for Milton's poetical works. . . ." 
 
 The Times, London, June i, 1877, quoted by Redford: "Art 
 Sales," 1888, Vol. I, p. 262. 
 
 *'The Turner drawings and vignettes of the Novar Collection, so called 
 from the name of the late Mr. Munro's seat in Scotland, more than 
 realized the anticipations formed during the exhibition of them, and 
 the sale on Saturday proved to be the most spirited and interesting 
 one of the season. The large room was very full, and the biddings 
 came quick from every side, so many being anxious to possess at least 
 one of the magic little vignettes ; but the race for all the great prizes 
 was between Mr. Agnew, Mr. Wallis, Mr. Vokins, and the agent 
 of a lady of distinction [Lady Ashburton], who proved to be a 
 rather formidable competitor, and did, in fact, carry off the 'Johnnie 
 Armstrong's Tower' vignette, the charming little drawing of 'Win- 
 chelsea' and 'The Rhigi,' at prices which seemed quite to astonish 
 the trade. Nothing like such prices have been obtained before for 
 vignette drawings, which made this collection so remarkable. It was 
 said before the sale that probably the best would bring from two to 
 three hundred guineas, but the first one put up went for over two 
 hundred, and the next, which was 'Johnnie Armstrong's Tower,* 
 went for £399. ... Mr. Woods, in opening the sale, reminded 
 his audience that the late Mr. Munro was the intimate friend and 
 executor of Turner, and one of the few ever admitted to see him at 
 work in his studios. He purchased these drawings many years ago 
 and kept them carefully in portfolios, which accounted for the per- 
 fect state in w^hich they were preserved." 
 
 The Times, London, June 4, 1877, quoted by Redford, I, 263. 
 
 Armstrong: "Turner," 1902, p. 259. 
 
MRS. TAFT'S SITTING-ROOM 
 
 J. M. W. TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
 No. 87 The Lake of Brienz: Ringgenberg Castle. 
 
 Many figures in gay attire are aboard the ferry-boats which, 
 in the left foreground, are crossing the lake towards the left. 
 In the left distance are mountains. A chalet in the right dis- 
 tance, with a ruined castle on the heights above. 
 
 Water-colour, 10^ inches by 15^ inches. (0.27x0.43) 
 
 Signed and dated in the right bottom corner: "J. M.W.Turner, R.A. 
 P.P. 1809." 
 
 In the possession of Messrs. Agnew about 1850, and subsequently in 
 that of T. S. Kennedy, of Park Hill, Wetherby, Yorks, who sold it at 
 Christie's, May 18, 1895, No. 92. 
 
 Armstrong: 'Turner," 1902, p. 244, where it is said that the colours 
 are ''predominant green and gold, broadly treated." 
 
 This is a form of signature used with considerable pride by Turner 
 between 1807 and 1837, the period in which he was Professor of Per- 
 spective (which the "P.P." signifies) to the Royal Academy. 
 
 The oil painting of "Grouse Shooting" in the Wallace Collection, Lon- 
 don (No. 664), is fully signed, like the present water-colour. 
 
 A letter from Walter Fawkes in 18 19 to the painter, and addressed 
 "To J. M. W. Turner, Esq., R.A., P.P.," is quoted at length in the 
 Magazine of Art, 1 887, Vol. X, p. 298. 
 
 Turner painted another water-colour of "The Lake of Brienz: Moon- 
 light," circa 1805-10, which he signed: "J. M. W. Turner, R.A." In 
 it the "full moon is rising among misty clouds over mountains at the head 
 of a calm lake. The towers of Ringgenberg to the left," according to 
 Sir Walter Armstrong's short description. It was exhibited at Mr. 
 Walter Fawkes' house in Grosvenor Place, London, 18 19. Lent from 
 
 ^ 
 
MRS. TAFT'S SITTING-ROOM 
 
 the collection of F. H. Fawkes, of Farnley, to the Grafton Galleries, 
 London, 191 1, No. 210. 
 
 J. M. W. TURNER, R.A. 
 
 English School; I'/y^-iS^i 
 
 No. 88 Thun. 
 
 Women and children in bright costumes are seated on a 
 terrace which, towards the right, looks down upon the town 
 below. In the distance, across the plain, are other buildings, 
 and on the far side of the misty lake the high, rocky mountains 
 disappear among the clouds. 
 
 Water-colour, 14% inches by 21^ inches. (0.41x0.54) 
 Painted about 1842. 
 
 Formerly in the collection of General Rawdon; subsequently in that of 
 William Quilter, of Norwood, London, who exhibited it at Leeds, 
 1868, No. 2064; at the Old Water Colour Society, 1870, No. 227; at 
 the Loan Exhibition in 1871 ; and at the Royal Academy in 1873, No. 
 377. It was put up at auction in his sale at Christie's, April 9, 1875, 
 No. 227, and bought in. 
 
 In the Quilter sale at Christie's, May 18, 1889, No. 97. 
 
 In the collection of Joseph Ruston, of Monks Manor, Lincoln ; but not 
 in his sale in May, 1898, or June 21, 19 12. 
 
 Redford: "Art Sales," 1888, Vol. II, p. 180. 
 
 Armstrong: "Turner," 1902, p. 280, mentions this magnificent and late 
 drawing, pointing out that there is "much yellow" in it. He "lists" 
 seven other water-colours of the same subject and authorship: 
 
 {a) In the National Gallery of Scotland. "The white town is 
 reflected in the calm river. Blue mountains to the right. Gray 
 cloudy sky. Red pen outlines." 
 
 {b) Formerly in the John Edward Taylor Collection, London. 
 Exhibited at the Guildhall, 1899 (No. 139), 9 inches by ii^^ 
 
 [212] 
 
MRS. TAFT'S SITTING-ROOM 
 
 inches. . . . Painted about 1838. "Highly finished sketch. Deli- 
 cate mist." Sold at Christie's, July 5, 191 2, No. 71. 
 
 (c) Formerly in the collection of Ruskin. Probably 1802. "A 
 thunder-storm over the lake. Niessen in the centre, heavy and dark. 
 Stockhorn in light in the distance." 
 
 (d) In the F. H. Fawkes Collection at Farnley. Liber No. 3. 
 "Stormy Lake. Figures w^ith carts and bales on the shore to the 
 right in the sunshine. Lightning from black cloud in centre sky over 
 mountains." Exhibited at the Royal Academy, 1906, No. 207. 
 
 (e) In the collection of Miss Julia Swinburne. Signed: "J. M. 
 W. Turner, R. A., 1809." Exhibited at the Royal Academy, 1887, 
 No. 47. 
 
 Apparently there must be added to the above drawings of "Thun" that 
 illustrated in Sedelmeyer's "Catalogue" of 1895, No. 98. It is therein 
 described as "an early work," measuring 27^ inches by 35^ inches, 
 and as having been "bought from Mrs. Dalton, widow of a friend of 
 Turner's. Mr. Dalton held it direct from Turner." It was included 
 in the sale of the Ortgies Gallery in New York, April 14, 1898 (No. 8). 
 It also was in the Sedelmeyer sale in Paris, May 16-18, 1907, No. 161 
 (0.70 X 0.90). 
 
 Graves: "Century of Loan Exhibitions," 1914, Vol. Ill, pp. 1335 and 
 
 This is the last picture bought from Mr. Fowles by Mr. Taft. 
 
 No. 89 Chamonix: Mer de Gl^vce, and Source of the 
 Arveyron. 
 
 A goatherd, with his flock, is near the lightning-struck and 
 withered larches on a rocky ledge. The river flows through 
 the valley on the left below. Blue sky on the left, with a storm 
 approaching over the snow-clad mountains on the right. 
 
 1347. 
 
 J. M. W. TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
MRS. TAFT'S SITTING-ROOM 
 
 Water-colour, lO^ inches by I3j4 inches. (0.27x0.34) 
 
 Painted, about 1807, for Mr. Fawkes, of Farnley, an intimate friend 
 of the artist. 
 
 Included in the sale of a number of Turner drawings from the Fawkes 
 Collection held at Christie's, June 27, 1890, No. 47, as the "Valley of 
 Chamouni" (iij4 inches by 13^ inches). (Armstrong, No. 7.) 
 "Goats feeding by shattered pines in the foreground, behind which a 
 long line of glacier creeps down from the right to the left. Wind- 
 swept cumulus clouds." Humphrey Roberts Collection, but not in the 
 sale of May, 1908. 
 
 Armstrong, pp. 245-246, also lists the following Turner drawings of 
 Chamonix and its immediate vicinity: 
 
 (a) Chamonix. Circa 1793. Ex Herbert Horne Collection. 
 
 (b) Glacier des Bossons. 1802. From the Ruskin and Sir Hich- 
 man Bacon Collections. 
 
 (c) Glacier des Bossons. 1805-18 10. From the Levy and 
 Greenwood Collections. 
 
 (d) Mer de Glace and Source of the Arveyron. 1803. From 
 the Fawkes Collection. (27 inches by 40 inches.) The valley far 
 below on the left ; a snake in the centre foreground. 
 
 (e) Chamonix: looking down the Valley. 1805-18 10. Signed 
 J. M. W. Turner, R.A., 1809 (the last figure uncertain). (11 
 inches by 15^ inches.) 
 
 (/) Chamonix: Blair's Hut on the Montanvert and Mer de 
 Glace. Circa 1805-1809. (11 inches by 15 inches.) F. H. 
 Fawkes. 
 
 (ff) Chamonix: Source of the Arveyron. 1805-18 10. Signed 
 "J. M. W. Turner, R.A." Farnley Collection and sale, June 27, 
 1890, No. 49. (11 inches by 15^^ inches.) Turner House, Pen- 
 arth. Liber Studiorunij No. 60. 
 
 Possibly to be identified with one or other of the "Mer de Glace, 
 Chamouni," exhibited at Leeds, 1839, No. 60 and No. 65. (See Bell: 
 "Exhibited Works of Turner," pp. 1 70-1 71.) 
 
 "When Turner went to the Continent for the first time, he visited 
 Chamouni, and being full of ardent power and youth, was able to 
 record at first with exultation, and afterwards with awe and 
 
 [2143 
 
MRS. TAFT'S SITTING-ROOM 
 
 exultation, the impressions he received from the solemn, desolate and 
 majestic beauty of the valley. No one has adequately painted this 
 terrible loveliness, and it was only genius like Turner's that could 
 understand or partly succeed in expressing the lonely life, the 
 destroying force that dv^^elt in the upper valleys of the Alps; only 
 youth that could have enough audacity not to be daunted by their 
 vastness, and enough ardour not to be overwhelmed by their primae- 
 val strength and terror. ... He never drew the higher Alps so well 
 again. Nor was he often in the mood to care to draw them. They 
 were too inhuman for him, and when he painted Nature wholly for 
 her own sake, he preferred the Highland glen or the Yorkshire 
 glade to the Mer de Glace or the summit of the St. Bernard. . . . 
 Indeed, his imagination saw through fact into the heart of the 
 universe." 
 
 Stopford Brooke: "Notes on the Liber Studiorum/^ 1885, pp. 
 202-205. 
 
 J. M. W. TURNER, R.A. 
 
 English School; lyy^-lS^l 
 No. 90 Jedburgh Abbey. 
 
 The river in the immediate foreground, with women drying 
 clothes on the bank on the right. The river winds in the dis- 
 tance to the right as it passes the white houses on the further 
 bank, with the abbey towering above. Blue sky. 
 
 Water-colour, 3^ inches by 5^ inches. (0.08x0.13) 
 
 Painted in 1831. 
 
 In the Quilter Collection. 
 
 In the collection of John J^eetham, at Oakfields, Weybridge, and sold at 
 Christie's, May 27, 1895, No. iii. 
 
 Exhibited at Moon, Boys and Graves' Gallery in 1833. 
 
 Exhibited at Agnew's Galleries, February, 1904. 
 
MRS. TAFT'S SITTING-ROOM 
 
 Engraved by R. Brandard, 1833, for Scott's "Minstrelsy of the Scottish 
 Border." 
 
 The Ti?neSj London, February 13, 1904. 
 The Athenaunij February 20, 1904. 
 Armstrong: "Turner," p. 259. 
 
 W. G. Rawlinson: "Engraved Work of Turner," 191 3, Vol. II, p. 278. 
 
 HENRY F. FARNY 
 American School; i8^J-igi6 
 
 No. 91 The Hill behind the School-house. 
 
 A high road in winter with boys sledding down from the 
 school-house, and other buildings at a bend in the road in the 
 distance, towards the foreground. 
 
 Canvas, 16 inches by 27 inches. (0.40x0.68) 
 Signed in the right bottom corner. 
 
 HENRY F. FARNY 
 American School; i8^J-igi6 
 
 No. 92 "The Apaches are Out !" 
 
 An Indian, in tribal attire, rides his horse towards the front. 
 He is followed down a defile by other mounted Indians, each 
 of whom has his gun. High rocks tower above them in the 
 background. 
 
 Canvas, 20j^ inches by 13 inches. (0.52x0.33) 
 Signed, and dated 1890 in the right bottom corner. 
 
MRS. TAFT'S SITTING-ROOM 
 
 J. M. W. TURNER, R.A. 
 
 English School; I'/j^-iS^i 
 No. 93 The Lake of Nemi. 
 
 Peasant women, wearing gay costumes, are grouped in vari- 
 ous postures in the foreground near classical ruins. A tall 
 stone-pine is on the right, on the high bank that overlooks the 
 deep blue round lake, in the clear waters of which the scene 
 is reflected. 
 
 Water-colour (a large vignette), 9^ inches by 6^ inches. 
 
 (0.24 X 0.17) 
 
 Painted about 1830. 
 
 Formerly in the collection of Edward Fordham, and sold at Christie's 
 in 1904. 
 
 Engraved by E. Goodall. 
 
 W. G. Rawlinson: "Engraved Work of Turner," Vol. II, p. 325. 
 
 Mentioned in Armstrong: 'Turner," 1902, p. 267, where it is shown 
 
 that four other renderings of "Lake Nemi" or "The Lake of Nemi" are 
 
 recorded. They are: 
 
 {a) Formerly in the Ruskin, Dillon (1869), B. G. Windus 
 (1878) and C. Morland Agnew Collections. Exhibited at the 
 
 , Guildhall, 1899, No. iii. Circa 1818. (5>^ inches by 8^ inches.) 
 Engraved by J. Pj^e and Middiman for Hakewill's "Picture Tour 
 of Italy." Thornbury: "Turner," Vol. II, p. 358. "Looking 
 down over the calm crater lake with reflections; wide view over the 
 Campagna beyond. Goats gambolling." Illustrated in "The Water- 
 Colours of Turner," published by the International Studio, 1909, 
 plate II. Bell: "Exhibited Works of Turner," p. 167. 
 
 {b) Formerly in the Ruskin, Windus, J. E. Fordham and Sir 
 John Fowler Collections. Exhibited at the Burlington Club, 1871, 
 No. 116, and at the Royal Academy, 1889, No. 21, as "painted about 
 1842." Sold at Christie's, May 6, 1898, No. 29, as of 1842. (13^ 
 
 1:2173 
 
MRS. TAFT'S SITTING-ROOM 
 
 inches by 20ji inches.) Signed "J. W. T.," and on William Cooke's 
 engraving: "J. M. W. T. 1840." "Crater lake surrounded by 
 wooded hills, a tower in evening light on the hill to the right. 
 Figures on the right, two peasant women sitting by sculptured stones. 
 On the left, by a lake, a girl with goats. Sunset with haze on the 
 mountains." Engraved by R. Wallis, 1842. 
 
 (c) In the collection of Mrs. Williams. Circa iS 40. (14 inches 
 by 21 inches.) Unfinished. "Deep blue circular lake in the centre. 
 Half moon in late evening sky above. Cattle and trees in front 
 slightly indicated." 
 
 (d) Formerly in the J. Heugh Collection, sold in 1874, and in 
 the Knowles Collection. (16^ inches by 22 inches.) 
 
 Corot painted a "Souvenir du lac de Nemi," formerly in the Breysse 
 Collection, and shown in the Exposition de I'CEuvre de Corot, 1875, 
 No. 52. 
 
 J. M. W. TURNER, R.A. 
 
 English School; lyy^-iS^i 
 
 No. 94 St. Michael's Mount. 
 
 A ship breaking up in the trough of the storm-swept sea in 
 the right foreground, with sailors hanging on to the rigging 
 and to the crow's nest. Church high on a rock above the 
 stormy sea. Lycidas drowning in front. A fantastic creation. 
 
 Water-colour (a vignette), 7j^ inches by 53>2 inches. (0.19x0.13) 
 
 Painted circa 1 830-1 835. 
 
 Formerly in the collection of Munro, of Novar, and sold at Christie's, 
 1877. 
 
 In the collection of George Gurney, who exhibited it at the Royal 
 Academy in 1892, No. 59, as "St. Michael's Mount (Lycidas)." 
 
 Exhibited at Agnew's Galleries in February, 1904. 
 
 Engraved by W. Miller for Milton's "Poems." 
 
 Rawlinson: "Engraved Work of Turner," Vol. II, p. 314. 
 
MRS. TAFT'S SITTING-ROOM 
 
 Armstrong: ''Turner," 1902, p. 226, gives details of this drawing and 
 of the three following: 
 
 (a) Circa 1812. Formerly in the Heugh Collection. "In gleam 
 of light against dark squally sky. Hauling up boat on the left." 
 Engraved by W. B. Cook, 181 4, for South Coast Series. Bell: 
 ''Exhibited Works of Turner," p. 164. 
 
 (b) Formerly in the collection of Sir Donald Currie. (Circa 9 
 inches by 12 inches.) '""Uniformly dark sky. Figures on sand in the 
 foreground. Little colour. Sketch." 
 
 (c) Circa 1836. Formerly in the Craven Collection, and in the 
 Leyland Collection, sold at Christie's in 1872. (12 inches by 17% 
 inches.) "Breaking up wreckage, and loading on pack-horses. Hail 
 squall to the right." Engraved by S. Fisher, 1838, in "England and 
 Wales." 
 
 To these should be added another drawing, in which "the Mount does 
 not appear," in the National Gallery. Rawlinson: "Engraved Work 
 of Turner," Vol. H, p. 387. 
 
 Armstrong: "Turner," p. 228, and C. F. Bell: "Exhibited Works of 
 Turner," p. 125, give details of the oil painting of this subject in the 
 Sheepshanks Collection of the Victoria and Albert Museum, Catalogue 
 of 1908, No. 209. It was exhibited at the Royal Academy in 1834, No. 
 317. In it "the Mount is lighted up by a gleam of sunshine and seen 
 across a stretch of wet sand; to the right, the sea with many fishing- 
 boats; to the left, large sailing-vessels drawn up on shore; in the fore- 
 ground to the left, a buoy. Stormy sky. (Canvas, 23 inches by 30 
 inches.)" It was engraved by W. Miller and J. Cousen, according to 
 Rawlinson: "Engraved Work of Turner," Vol. II, p. 354. 
 
 J. M. W. TURNER, R.A. 
 
 English School; 
 
 No. 95 The Great' Whale. 
 
 A throng of people are on the sea-shore, busily engaged 
 in attempting, with the aid of ropes and a windlass, to capture 
 a whale, the tail of which is already forced up in the air. A 
 
 [219] 
 
MRS. TAFT'S SITTING-ROOM 
 
 crowd of spectators on the shore, and numerous persons in 
 boats. Rocks in the right distance. A city dimly seen on the 
 bay beyond. Blue sky. 
 
 3}i inches by 5^ inches. (0.09x0.13) 
 
 We have not traced the pedigree of this water-colour, but it recalls that 
 of "The Stranded Whale" (4 inches by 5^ inches), sold out of the 
 collection of John Feetham, of Oakfields, Wej^bridge, at Christie's, 
 May 27, 1895, No. 112. 
 
 Turner painted three oil pictures of "The Whalers." (See Armstrong: 
 "Turner," p. 236, and Bell, p. 152.) This water-colour is wholly dis- 
 similar from Turner's oil painting of "The Whale Ship," formerly in 
 the Leyland and Seymour-Haden Collections, and purchased in 1896, 
 through the Wolfe Fund, for the Metropolitan Museum. 
 
LIST OF PAINTERS 
 
 FLEMISH SCHOOL 
 
 Sir A. van Dyck 1599-1641 
 
 Number 14 
 DUTCH SCHOOL 
 
 Frans Hals i58o?-i666 
 
 Numbers 17, 19, 27, 28 
 
 A. van der Neer 1 603-1 677 
 
 Number 40 
 
 Rembrandt 1 606-1 669 
 
 Numbers 13, 15 
 
 Adriaen van Ostade 1610-1685 
 
 Numbers i8, 53 
 
 Ferdinand Bol 1 616-1680 
 
 Number 9 
 
 Gerard Terborch 1617-1681 
 
 Number ii 
 
 Jan Steen 1626?-! 679 
 
 Number lo 
 
 Jacob van Ruisdael i628?-i682 
 
 Number 78 
 
 Meindert Hobbema 163 8-1709 
 
 Number 20 
 
 Josef Israels 1824-1911 
 
 Numbers 65, 68 
 
 J. H. Weissenbruch 18 24-1 903 
 
 Number 71 
 
 Jacob Maris 1837-1899 
 
 Numbers 66, 69, 82 
 
 Anton Mauve 1 838-1 888 
 
 Numbers 4, 70 
 
• LIST OF PAINTERS 
 Matthew Maris 1 839-1917 
 
 Number 64 
 
 Willem Maris 1 843-1910 
 
 Numbers 2, 67 
 ENGLISH SCHOOL 
 
 Sir J. Reynolds, P.R.A 1 723-1 792 
 
 Numbers 34, 35 
 
 T. Gainsborough, R.A 1 727-1 788 
 
 Numbers i, 21, 63 
 
 George Romney 1 734-1 802 
 
 Number 24 
 
 Sir H. Raeburn, R.A 1756-1823 
 
 Numbers 56, 59 
 
 J. Hoppner, R.A 1 758-1810 
 
 Numbers 22, 25, 36 
 
 Sir T. Lawrence, P.R.A 1 769-1 830 
 
 Number 58 
 
 J. M. W. Turner, R.A 1775-1851 
 
 Numbers 7, 8, 26, 84, 86, 87, 88, 89, 90, 93, 94, 95 
 
 J. Constable, R.A 1776-1837 
 
 Number 41 
 
 Sir Laurence Alma-Tadema, R.A., O.M. . . . 1836-19 12 
 
 Number 76 
 
 Harrington Mann Contemporary 
 
 Number 81 
 FRENCH SCHOOL 
 
 J. B. C. Corot 1796-1875 
 
 Numbers 16, 37, 38, 39, 44 
 
 A. G. Decamps 1 803-1 860 
 
 Numbers 29, 47 
 
 E. L. G. Isabey 1804-1886 
 
 Number 31 
 
 N. V. Diaz de la Pena 1 808-1 876 
 
 Numbers 49, 51 
 
 Troyon , 1810-1865 
 
 Numbers 45, 55 
 
 J. Dupre 1812-1889 
 
 Numbers 48, 54 
 r 222 1 
 
LIST OF PAINTERS 
 
 P. E. T. Rousseau 1812-1867 
 
 Numbers 3, 57, 62 
 
 J. F. Millet . 1 8 14-1875 
 
 Numbers 12, 52 
 
 J. L. E. Meissonier 1815-1891 
 
 Number 75 
 
 C. F. Daubigny 1 8 17-1878 
 
 Numbers 46, 50, 60 
 
 F. F. G. P. Ziem 1821-1911 
 
 Numbers 30, 32 
 
 A. Monticelli 1824-18 86 
 
 Number 5 
 
 J. C. Cazin . . . 1841-1901 
 
 Number 7a 
 SPANISH SCHOOL 
 
 F. Goya 1746-1828 
 
 Numbers 6, 23 
 
 M. Fortuny y Carbo 1 838-1 874 
 
 Number 6i 
 
 Raimundo de Madrazo Contemporary 
 
 Numbers 42, 43, 73, 74 
 
 Ricardo de Madrazo Contemporary 
 
 Number 80 
 
 Joaquin Sorolla y Bastida Contemporary 
 
 Number 33 
 
 AMERICAN SCHOOL 
 
 Charles Willson Peale 1741-1827 
 
 Number 83 
 
 Henry F. Farny 1847-19 16 
 
 Numbers 79, 91, 92 
 
 Frank Duveneck 1 848-1919 
 
 Number 77 
 
 W. M. Chase, N.A. 1849-1916 
 
 Number 85 
 
I 
 
INDEX 
 
 Abington, Frances, 131 
 Actresses, XVIII Century, 131 
 Adorno family, 51 
 Agnew, Lockett, 6, 65 
 Alba, Duchess of, 24, 90 
 Albemarle, Second Earl of, 73 
 America, Mrs. Mary Robinson, 
 
 born in, 129 
 Andrea del Sarto, 82, 186 
 Apremont, Gorges d', xxxii 
 Argyll, Elizabeth, Duchess of, 76 
 Art in America, 13, 14, 129 
 
 Baddeley, Sophia, 131 
 
 Barbizon, x, xxx, xxxi, xxxii, xxxiii, 16, 
 
 42, 44, 157, 186 
 Beechey, 85 
 
 Bellamy, George Anne, 131 
 Belle Croix, Le Plateau de, 17 
 Birkenhead, Lord Chancellor, xii 
 Bonheur, Rosa, 57 
 Bottin, Le, 155, 159 
 Bredenhof, Adriana, 110 
 Brederode, xxv 
 Brighthelmstone, 100, 131 
 Brignole Sale, 51 
 Bunbury, Charles John, 100 
 Bunbury, Henry William, 99, 100 
 Bunbury, Lady Sarah, 100 
 Bunbury Mile, The, 100 
 Bunbury, Mrs. Henry William. See 
 
 Horneck, Miss Catherine' 
 Bunbury, Sir Charles James, 97, 98 
 Bunbury, Sir Henry, loi 
 Bunbury, Sir Thomas Charles, 100 
 Burney, Fanny, 94, 97 
 Buttery, A. H., 106 
 
 Carlos IV, Court of, 21, 22, 23 
 Caroline of Brunswick, 131 
 Carpenter, Lady Almeria, 78 
 Cat, Christopher ("Kit"), 86 
 Charles I, 50 
 Charles X of France, 139 
 Chinese Porcelains, x 
 Christie's, Sales at: 
 
 April 10, 1797, 86 
 
 May 17, 1806, 80 
 
 May 10, 1851, 38 
 
 July 31, 1851, 40 ** 
 
 April 24, 1874, 27 
 
 April 9, 1875, 212 
 
 May 5, 1888, 27 
 
 June 2, 1888, 209 
 
 May 18, 1889, 212 
 
 June 29, 1889, 93 
 
 July 13, 1889, 71 
 
 June 27, 1890, 214 
 
 July 22, 1893, 102 
 
 May 18, 1895, 211 
 
 May 27, 1895, 215, 220 
 
 July 10, 1897, 164 
 
 May 6, 1898, 217 
 
 May 5, 1900, 173 
 
 June II, 1904, 80, 85 
 
 June 30, 1906, 29 
 
 May 21, 1908, 159 
 
 May 6, 1910, 38, 132 
 
 June 21, 1912, 212 
 
 July 5, 1912, 213 
 
 July 3, 1914, 58 
 Cincinnati, ix, xi, xii, xiii, 192 
 Cincinnati Art Academy, xxiv, 148 
 Cincinnatus, L. Quinctius, ix 
 Claude, xxx 
 
 1:225: 
 
INDEX 
 
 Clements, Dorothy, 73, 75 
 Cleopatra, xi 
 Collections, Private: 
 
 Abercorn, Duke of, 52 
 
 Agnew, C. Morland, 217 
 
 Agnew, Thomas, 30 
 
 Ames, F. L., 114 
 
 Asalto, Conde de, 89 
 
 Ashburnham, Lord, 47 
 
 Ashburton, Earl of, 194 
 
 Ashburton, Lady, 209, 210 
 
 Astor, Lord, loi 
 
 Bacon, Sir Hickman, 214 
 
 Baring, Alexander, 194 
 
 Beattie, William, 170 
 
 Belvoir, 128 
 
 Bentham, Francis, 174 
 
 Berwick, Lord, 30 
 
 Beurnonville, 34, 57 
 
 Bire, 65 
 
 Bolckow, 27 
 
 Breysse, 218 
 
 Brignole Sale, 53 
 
 Brown, W., 40 
 
 Buckingham Palace, 85 
 
 Buckley, Abel, 102, 103 
 
 Bunbury, 95, 100 
 
 Bunbury, Sir Edward, loi 
 
 Bunny Hall, 137, 138, 140 
 
 Burnett, George W., 43, 153 
 
 Cambridge, Duke of, xix, 80, 85 
 
 Cassels, W. R., 29, 30 
 
 Charles I, 50 
 
 Cheramy, 146 
 
 Claude, v., 161 
 
 Claudon, G., 159 
 
 Coats, Archibald, xxxi, 58, 160 
 
 Cochin, Denys, 23 
 
 Collot, 156 
 
 Conde, 84, 85 
 
 Constable, 145 
 
 Coope, O. E., xix, 38, 132 
 
 Crabbe, 58 
 
 Craven, 219 
 
 Cunliffe-Lister, 71 
 
 Currie, Sir Donald, 219 
 
 Dalton, Mrs., 213 
 
 Collections, Private, continued 
 Darnley, Earl of, 31 
 D'Artez, 173 
 De Falbe, Madame, 140 
 Defoer, 58, 117 
 Demidoff, San Donato, 71, 72, 
 De St. Albin, xxx, 140, 142 
 De Varange, i6i 
 Dillon, 217 
 Dorfold, II 
 D'Orleans, Due, 30 
 D'Orsay, 65 
 
 Drucker, J. C. J., 15, 179, 181 
 Drummond, loi 
 Elkins, 181 
 
 Essex, Earl of, 102, 103 
 
 Exton, 7 
 
 Farnley, 212 
 
 Fawkes, F. H., 212, 213 
 
 Fawkes, Walter, 211, 214 
 
 Feetham, 215 
 
 Forbes, J. Staats, xviii, 180 
 Fordham, Edward, 217, 220 
 Fowler, Sir John, 217 
 Fraissinet, 153 
 Galdeano, Lazaro, 89 
 Gardner, Mrs. J. L., 31 
 Gary, Judge E. H., 80 
 Glenconner, Lord, 100 
 Goll van Frankenstein, 161 
 Greenwood, 214 
 Greffier, Fagel, 71 
 Gurney, George, 218 
 Gwyn, 93, 100 
 Hainauer, 34 
 
 Hamilton, Emma, Lady, 90 
 H anbury Tracy, 71 
 Hartmann, 44, 45 
 Harvey, Henry, 41 
 Harvey, William, 41 
 Havemeyer, H. O., 23, 181 
 Henry, H. S., 114 
 Hesse, Prince Frederick of, 85 
 Heugh, John, 27, 218, 219 
 Hippisley, 207 
 Hoet, Gerard, 40 
 Holderness, Countess of, 71 
 
INDEX 
 
 Collections, Private, continued 
 Hollins, 207 
 Horne, Herbert, 214 
 Johnson, John, 92 
 Johnson, John G., 39 
 Kann, Maurice, x, 170 
 Kennedy, T. S., 211 
 Kimball, Chicago, 100 
 Lane, Sir Hugh, 54 
 Levinge, Sir R. W., 137, 138, 140 
 Levy, 39, 214 
 Leyland, 219, 220 
 Lormier, W., 40 
 Luquet, 153 
 Lutz, Georges, 172 
 Marquand, Henry G., 93 
 Marton Hall, 27 
 Michelham, Lord, 92 
 Midleton, Lord, 40 
 Mieville, 39 
 
 Moore, Mrs. Bloomfield, 173 
 Munro, H. A. J., of Novar, xxvii, 
 
 xxviii, 132, 209, 210, 218 
 Murray, C. Fairfax, 53 
 Nettlefold, 207 
 Neumann, Ludwig, 9 
 Neven, 66 
 Niesewand, 66 
 Normanton, Lord, 95 
 Orrock, James, 145 
 Ortgies, 213 
 Peale, 202 
 
 Pembroke, Earl of, 56 
 Pereire, 161 
 
 Pourtales-Gorgier, xvi, 47, 48 
 Pruijssenaar, 40 
 Puncet, Senor Enriquet, 89 
 Quilter, William, 212, 215 
 Rawdon, General, 212 
 Roberts, Humphrey, 159, 207, 214 
 Romer Williams, 147 
 Rothschild, Baroness N. de,' 156 
 Ruskin, John, 207, 213, 214, 217 
 Ruston, Joseph, 212 
 Sanderson, Arthur, xxx, 60, 62, 146, 
 147 
 
 San Donato, 71, 72, 161 
 
 Collections, Private, continued 
 San Telmo, 23 
 
 Secretan, xxii, xxvi, 43, 71, 114 
 Sedelmeyer, 213 
 Seilliere, Baron Achille, x 
 Seymour Haden, 220 
 Simeon, Sir J., 207 
 Simpson, John W., 181 
 Smith, John, 132 
 Stchoukine, Ivan, 89 
 Stecki, 33 
 
 Stewart, A. T., 154 
 Stransky, Josef, 193 
 Swinburne, Julia, 213 
 Talbot of Malahide, Lord, 105, 106, 
 107 
 
 Taylor, J. E., 212 
 Tennant, Sir Charles, 100 
 Tersteeg, H. G., 15, 179 
 Theobald, W., 38 
 Thiery, 187 
 
 Thomond, Marchioness of, 132 
 
 Thwaites, Mrs., 77 
 
 Tilghman, Oswald, 202 
 
 Tilghman, General Tench, 202 
 
 Tollemache, Henry James, 6 
 
 Van Hoek, Adriaen, 40 
 
 Van Horne, 34 
 
 Van Praet, 113 
 
 Van Tongeren, Johan, 40 
 
 Van Wisselingh, E., 45 
 
 Verdier, 194 
 
 Von Hessling, 193 
 
 Von Hollitscher, 109 
 
 Warnier, 143 
 
 Wellington, Duke of, 39, 167 
 Wertheimer, C. J., 92, 138 
 Wharncliffe, Lord, 132 
 White, E. F., 207 
 Whitney, Mrs. H. P., 181 
 Widener, Joseph E., 52, 54, 93 
 Widener, P. A. B., 137 
 Williams, Mrs., 218 
 Willys, J. N., 138, 170 
 Wilson, Colonel J. C, 202 
 Windus, B. G., 217 
 Yerkes, 161 
 
 [227] 
 
INDEX 
 
 Collections, Private, continued 
 Young, Alexander, xxxi, 15, 141, 
 
 159, i8i 
 Zuloaga, D. Placido, 89 
 Cologne, Sale at, 66 
 Combe St. Nicholas, 117 
 Constable, John, xxxi, xxxiii, xxxiv, 
 
 16, 157 
 Corot, 16 
 
 Corwen Bridge, 102 
 Cosway, Richard, 86, 133 
 Coventry, Maria, Countess of, 76, 77 
 Crome, John, 70 
 
 Cumberland, Anne, Duchess of, 78, 80 
 Cumberland, Henry Frederick, 
 Duke of, 78, 80, 136 
 
 Dance, Sir Nathaniel, 125, 136 
 D'Arblay, Madame, 94, 97 
 De Keyser, Thomas, 46, 48 
 Devillers, 143, 153 
 
 Devonshire, Georgiana, Duchess of, 
 
 75, 76, 81, 128 
 Dobson, Austin, 96 
 Dorimont, 74, 77 
 Dupre, Jules, 154 
 
 Duveneck, F., xii, xxiv, 192, 194, 208 
 Dysart, Charlotte, Countess of, 73, 
 74, 128 
 
 East India Company, Honourable, 
 
 136, 170 
 Europa, Legend of, 29 
 Exhibitions : 
 
 Agnew's Galleries, 1899, 77 
 
 Feb., 1904, 218 
 
 1904, 81, 215 
 
 1905, 88 
 
 1906, 9, 10 
 
 Amsterdam, 1898, 47 
 
 Antwerp, 1899, 53 
 
 Berlin, 1908, 85, 92 
 
 British Institution, 1813, 88 
 
 1817, 137, 138 
 
 1852, 132 
 
 Brussels, 156 
 
 Burlington Club, 1871, 217 
 
 Exhibitions, continued 
 
 Cooke's, Soho Square, 1822, 167 
 Corot Centenary, 1895, 58 
 Corot, CEuvre de, 1875, 218 
 Diisseldorf, i886, 66 
 Edinburgh, 1877, 164 
 Fawkes's House, 1819, 211 
 French Galleries, 1909, 176 
 
 1911, 15 
 
 Glasgow, 1901, 104 
 
 Grafton Galleries, 1909-1910, 52 
 
 1911, 93 
 
 Grosvenor Gallery, 1888, 132, 145 
 Guildhall, 1895, 41 
 
 1899, 29, 103, 212, 217 
 
 1900, 77 
 
 1903, 15, 55, 179, 180 
 
 Hudson-Fulton, 1909, 106 
 Lawrence Drawings, 1913, 167 
 Leeds, 1839, 214 
 1868, 41, 212 
 
 Loan, Exhibited on, in New York, 
 II, 38, 47, 55, 63, 71, 82, 88, 92, 
 105, 108, 126, 139, 164, 171, 194 
 Loan Exhibition, London, 1871, 212 
 Loan Exhibition, New York, Jan., 
 1915, 89 
 
 Loan Exhibitions at Burlington 
 
 House, 13 
 Manchester, 1857, 102 
 Montreal, loi 
 
 Moon, Boys and Graves, 1833, 215 
 National Exhibition of Portraits, 
 
 Madrid, 89 
 Paris, Cent Chefs d'CEuvre, 114 
 Paris, Durand Ruel Galleries, 1878, 
 
 142 
 
 Paris, Ecole des Beaux Arts, 1875, 
 142 
 
 Paris Exhibition, 1867, 159 
 Paris, Exposition de Cent Portraits, 
 1909, 85 
 
 Paris, Georges Petit Galleries, 
 1883, 142 
 
 1892, 146 
 
 Salon, 145 
 
 1850, 156 
 
 8^ 
 
INDEX 
 
 Exhibitions, continued 
 
 1857, 115 
 
 1861, 159 
 
 1866, 156 
 
 Royal Academy, 1772, 83 
 
 1775, 128 
 
 1776, 128 
 
 1779, 80, 84 
 
 1783, 7, 83 
 
 1784, 6, 7, II 
 
 1790, 100 
 
 1794, 137, 138 
 
 1802, 144 
 
 1834, 219 
 
 1870, 13, 91 
 
 1873, 212 
 
 1875, 88 
 
 1878, 102 
 
 1885, 27 
 
 1887, 207, 213 
 
 1889, 6, 8, 217 
 
 1891, 100, lOI 
 
 1892, 218 
 
 1895, 102, 103 
 
 1898, 47, 48 
 
 1902, 61 
 
 1904, 67 
 
 1906, 213 
 
 Scott and Fowles Galleries, 11, 38, 
 47, 55, 63, 71, 82, 88, 92, 105, 108, 
 126, 139, 164, 171, 194 
 Society of Artists, 1761, 84 
 South Kensington, 1867, 100 
 Water Colour Society, Old, 1870, 
 212 
 
 Exton, Fire at, 7 
 
 "Fallacies of Hope," xxix 
 Felton, Lavinia, 131 
 Fire at Belvoir, 128 
 Fire at Exton, 7 ' 
 Fisher, Kitty, 131 
 Fitzherbert, Mrs., 78, 131, 133 
 Florizel, Prince, 130, 131 
 Fontainebleau, Forest of, xxxii, 158, 
 164 
 
 Fowles, Charles Frederick, xi, xxix, 
 
 200, 201, 213 
 Franklin, Benjamin, 129 
 Eraser, Edward Satchwell, 11 
 Eraser family, 164, i68 
 Fraser-Tytler family, 164 
 
 Gainsborough, xxi, 122, 127, 133, 163 
 Galleries, Public: 
 
 Amsterdam, xvii, 34, 55 
 
 Berlin, 32, 109 
 
 Brunswick, 33 
 
 Buffalo, 200 
 
 Chantilly, 84, 85 
 
 Cincinnati, xi, 148 
 
 Dordrecht, 34 
 
 Edinburgh, 72, 212 
 
 Florence, Uffizi, 208 
 
 Haarlem, xvi, 59, 62, 109 
 
 London: 
 
 National Gallery, xxix, 13, 31, 43, 
 
 104, io6, 107, 128 
 Victoria and Albert Museum, 28, 
 
 147, 219 
 
 Wallace Collection, xvi, 54, 127, 
 133, 211 
 Madrid, 23, 31 
 New York: 
 
 Historical Society, 202 
 Metropolitan Museum, 82, 105, 
 106, 109, 115, i8i, 220 
 Paris, Louvre, x, xxx, 116, 155 
 Petrograd, Hermitage, 39 
 Rheims, 143 
 St. Louis, 200 
 Vienna, Albertina, 34 
 Garrick, David, 129 
 Genoa, 49, 51, 52, 54 
 George II, 76 
 George III, 78, 80, 81 
 George, Prince of Wales, afterwards 
 
 George II, 76 
 George, Prince of Wales, afterwards 
 George IV, xix, 78, 80, 130, 131, 
 133 
 
 Giotto, xxxiv, 57 
 
1^ 
 
 INDEX 
 
 Gloucester, William Frederick, Duke 
 of, 79 
 
 Gloucester and Edinburgh, William 
 Henry, Duke of, 77, 78, 79 
 
 Godoy, Manuel, 23 
 
 Goldsmith, Oliver, xx, 95, 96, 98, 99, 
 100, lOI 
 
 Gooden, Stephen, 174 
 
 Graham, Hon. Mrs., 72 
 
 Gunning, The Sisters, 76 
 
 Gwyn, Colonel, 97, 99 
 
 Halls, Francis, 107 
 
 Halls, Frank, 107 
 
 Hals, Frans, xxi, 40, 46, 107 
 
 Hamilton, Elizabeth, Duchess of, 76 
 
 Heymann, Madame, 45 
 
 Hobbema, 46, 106, 147, 157, 193 
 
 Holl, R.A., Frank, 107 
 
 Hooch, Pieter de, 69 
 
 Hoppner, Helen, 100 
 
 Hoppner, Henry Parkyns, 137 
 
 Hoppner, John, 85, 165 
 
 Horneck, Captain Charles ("The Cap- 
 tain in Lace"), 94, 95, 96, 100 
 
 Horneck, Captain Kane William, 94 
 
 Horneck, Miss Catherine ("Little Com- 
 edy"), 94, 95, 96, 99. 102 
 
 Horneck, Miss Mary ("The Jessamy 
 Bride"), 93, 94, 95, 96, 97, 99, 102, 
 128 
 
 Horneck, Mrs., 94, 95, 96, 97, 99, loi 
 Horton, Mrs. See Cumberland, 
 
 Duchess of 
 Humphrey, Ozias, 77, 86 
 Hunt, William Morris, xxxii 
 Hyde Park, 76 
 
 James, Sir William, 134, 135, 136 
 Jessamy Bride, The. See Horneck, 
 
 Miss Mary 
 Johnson, Dr., 94, 98 
 Jordan, Dora, 131 
 
 Kauffman, Angelica, 95, 96 
 Keppel, Frederick, afterwards Bishop 
 of Exeter, 73, 74 
 
 Kit-cat, 81, 86 
 Kranenburg, 18 
 
 Laren, 18 
 
 Lawrence, 87 
 
 Leicester Fields, xxiv 
 
 "Liber Studiorum," 25 
 
 Limoges Enamels, x 
 
 Limosin, Leonard, x 
 
 Little Comedy. See Horneck, Miss 
 Catherine 
 
 London and Brighton Railway Com- 
 pany, xviii 
 
 Luca della Robbia, x 
 
 Luminarists, xxxiii 
 
 Liisitania, The, 200 
 
 Madrazo, 172 
 Manet, xxxiii, 193 
 
 Mangles, Hannah. See Mrs. Horneck 
 Maria Luisa, Queen, 20, 24 
 Maris brothers, the, 18 
 Maris family, the, 177 
 Maris, Jacob, 174 
 Maryborough, Lord, 166, 167 
 Millet, J. F., xxxii, xxxiii, 16 
 Moore, Thomas, 98 
 
 Ninon de I'Enclos, 99 
 Noble, Thomas S., 148 
 Northcote, James, 96, 98, 99 
 Norwich School, xxxiii, 70 
 Nourse family, 124, 125 
 
 O'Brien, Nellie, 131 
 
 Ohio River, xiv, xxiv 
 
 Oise, River, xxxi, 155, 156, 159, i6c 
 
 Osuna, Duchess of, 90 
 
 Overveen Dunes, xxv 
 
 Painters represented in this Collection: 
 Alma-Tadema, Sir L.: "A World of 
 
 their Own" (No. 76), xxi, 174, 191 
 Bol, F.: "Portrait of the Artist" (No. 
 
 9), xvii, 32 
 Cazin, J. C: "A Landscape" (No. 
 
 72), xxxii, 183 
 
INDEX 
 
 Painters, continued 
 
 Chase, W. M.: "The Ponte Vecchio, 
 
 Florence" (No. 85), xxxiv, 208 
 Constable, J., R.A.: "Dedham Mill" 
 
 (No. 41), xxix, 144 
 Corot, J. B. C: "The Brook" (No. 
 
 39), XXX, 142 
 Corot, J. B. C: "Les Environs de 
 
 Paris" (No. 44), xxxi, 153 
 Corot, J. B. C: "Le Soir" (No. 16), 
 
 XXX, xxxi, 56 
 Corot, J. B. C: "Souvenir de Riva : 
 
 Evening Glow" (No. 38), xxi, 141 
 Corot, J. B. C: "At Ville d'Avray" 
 
 (No. 37), XXX, xxxi, 140 
 Daubigny, C. F. : "Evening on the 
 
 Oise" (No. 46), xxxi 
 Daubigny, C. F. : "Evening Solitude" 
 
 (No. 60), xxxii, 172 
 Daubigny, C. F. : "A River Scene" 
 
 (No. 50), xxxi, 159 
 Decamps, G. A.: "Albanians" (No. 
 
 47), 156 
 
 Decamps, G. A.: "The Man with 
 the Sling" (No. 29), xxii, xxvi, 
 xxx, 113 
 
 Diaz, N. v.: "Early Autumn: Forest 
 of Fontainebleau" (No. 51), xxxi, 
 160 
 
 Diaz, N. v.: "Oriental Children" 
 (No. 49), xxxi, 158 
 
 Dupre, Jules: "Landscape, with 
 Cattle" (No. 54), xxxi, 162 
 
 Dupre, Jules: "Landscape, with Cat- 
 tle Drinking" (No. 48), xxxi, 15 
 
 Duveneck, F.: "The Cobbler's Ap- 
 prentice" (No. 77), xxiv, 192 
 
 Farny, H. F. : "The Apaches are 
 Out!" (No. 92), xxxiv, 2i6 
 
 Farny, H. F.: "The Hill Behind the 
 School House" (No. 91 ), xxxiv, 216 
 
 Farny, H. F.: "The Song of the 
 Talking Wire" (No. 79), xxxiv, 
 194 
 
 Fortuny, M. J. M. B.: "An Arab 
 
 Guard" (No. 61), xxiii, 172 
 Gainsborough, T., R.A. : "Portrait 
 
 [23 
 
 Painters, continued 
 
 (supposed) of the Artist" (No. 
 63), 174 
 
 Gainsborough, T., R.A. : "Portrait of 
 Maria Walpole, Duchess of 
 Gloucester" (No. 21), xix, xxii, 
 72 
 
 Gainsborough, T., R.A. : "Portraits 
 of William and Edward Tomkin- 
 son" (No. i), XX, xxvi, 3 
 
 Goya, F. : "Portrait of Queen Maria 
 Luisa" (No. 6), xx, xxii, 20 
 
 Goya, F.: "Portrait of the Toreador 
 Joaquin Rodriguez Costillares" 
 (No. 23), xxiii, 89 
 
 Hals, F.: "Portrait of a Young Man 
 holding his Hat to his Side" (No. 
 27), xvi, 104 
 
 Hals, F.: "Portrait of a Young Wo- 
 man with one Arm over the Back 
 of a Chair" (No. 28), xvi, xxii, 
 108 
 
 Hals, F.: "Portrait of Michielsz de 
 Wael" (No. 17), xv, xvii, xxx, 58 
 
 Hals, F.: "The Laughing Boy" (No. 
 19), 65 
 
 Hobbema, M.: "A Landscape with 
 Cattle" (No. 20), xxii, xxv, xxvi, 
 69 
 
 Hoppner, J., R.A.: "Portrait of Miss 
 
 Agnes Coussmaker" (No. 22), 
 
 xxi, xxii, 87 
 Hoppner, J., R.A.: "Portrait of Mrs. 
 
 Gwyn" (No. 25), xxii, 93 
 Hoppner, J., R.A.: "Portrait of Mrs. 
 
 Parkyns" (No. 36), xxi, 133 
 Isabey, E. L. G.: "The Sacrament" 
 
 (No. 31), xxii, 115 
 Israels, J.: "Pick-a-back" (No. 65), 
 
 xviii, 176 
 Israels, J.: "The Sewing School at 
 
 Katwijk" (No. 68), xviii, 179 
 Lawrence, Sir T., P.R.A.: "The 
 
 Ladies Maryborough" (No. 58), 
 
 xxi, 165 
 
 Madrazo, Raimundo de: "Portrait 
 
 1 
 
INDEX 
 
 Painters, continued 
 
 of Mr. Charles Phelps Taft" (No. 
 
 74), xxiii, 184 
 Madrazo, Raimundo de: "Portrait 
 
 of Mrs. Charles Phelps Taft" 
 
 (No. 73), xxiii, 183 
 Madrazo, Raimundo de: "Portrait 
 
 of Mr. David Sinton" (No. 42), 
 
 xxiii, xxiv, 148 
 Madrazo, Raimundo de: "Portrait 
 
 of Mrs. David Sinton" (No. 43), 
 
 xxiii, 149 
 Madrazo, Ricardo de: "A Courtyard 
 
 in Toledo" (No. 80), xxiii, 199 
 Mann, Harrington: "Portrait of 
 
 Charles Frederick Fowles" (No. 
 
 81) , xxi, 199 
 
 Maris, Jacob: "Rotterdam" (No. 
 
 82) , xxxiii, 201 
 
 Maris, Jacob : "The Quay of a Dutch 
 
 Town" (No. 66), xxxiii, 177 
 Maris, Jacob : "A View of a Dutch 
 
 Town" (No. 69), xxxiii, 180 
 Maris, Matthew: "The Boy with a 
 
 Hoop" (No. 64), xviii, xxxiii, 174 
 Maris, Willem: "Cattle in the 
 
 Meadows" (No. 67), xxxiii, 179 
 Maris, Willem: "Ducks" (No. 2), 
 
 xxxiii, 14 
 Mauve, Anton: "Cattle Grazing" 
 
 (No. 4), xxxiv, 17 
 Mauve, Anton: "Changing Pasture" 
 
 (No. 70), xxxiv, i8i 
 Meissonier, J. L. E. : "Les Bons 
 
 Amis" (No. 75), xxii, 185 
 Millet, J. F.: "La Maternite" (No. 
 
 12), XV, xviii, xxi, 41 
 Millet, J. F.: "Mother and Child" 
 
 (No. 52), xxii, 160 
 Monticelli, Adolphe: "Fete Cham- 
 
 petre" (No. 5), xxii, 19 
 Peale, Charles Willson: "Portrait 
 
 of George Washington" (No. 83), 
 
 xxvii, 201 
 Raeburn, Sir H., R.A.: "Portrait of 
 
 Edward Satchwell Fraser" (No. 
 
 59), XX, 168 
 
 Painters, continued 
 
 Raeburn, Sir H., R.A.: "Portrait of 
 
 Miss Jane Fraser-Tytler" (No. 
 
 56), XX, 163 
 Rembrandt: "Portrait of a Young 
 
 Man rising from his Chair'' (No. 
 
 13), xvi, 45 
 Rembrandt: "Portrait of an Elderly 
 
 Woman" (No. 15), xvi, 54 
 Reynolds, Sir J., P.R.A.: "Portrait 
 
 of Mrs. Weyland and her eldest 
 
 Son" (No. 34), xix, 122 
 Reynolds, Sir J., P.R.A.: "Portrait 
 
 of Mrs. Mary Robinson" (No. 35), 
 
 xix, xxviii, 129 
 Romney, G. : "Portrait of Mrs. John 
 
 Johnson" (No. 24), xx, xxii, 90 
 Rousseau, P. E. T. : "Evening: Fon- 
 
 tainebleau" (No. 57), xxxii, 164 
 Rousseau, P. E. T. : "Fontainebleau" 
 
 (No. 62), xxxii, 173 
 Rousseau, P. E. T.: "La Mare a 
 
 Dagnan" (No. 3), xxxii, 16 
 Sorolla, J.: "Portrait of Former 
 
 President William Howard Taft" 
 
 (No. 33), xxiii, 117 
 Steen, Jan: "The Sick Lady" (No. 
 
 10), xvii, xix, 37 
 Terborch, G. : "The Sleeping Sol- 
 dier" (No. n), xvii, 39 
 Troyon, C. : "French Coast Scene" 
 
 (No. 55), xxxii, 162 
 Troyon, C. : "Vaches a I'Abreuvoir" 
 
 (No. 45), xxxii, 154 
 Turner, J. M. W., R.A. : "Chamonix" 
 
 (No. 89), xxvii, 213 
 Turner, J. M. W., R.A.: "Folke- 
 stone" (No. 84), xxvii, 207 
 Turner, J. M. W., R.A. : "The Great 
 
 Whale" (No. 95), xxix, 219 
 Turner, J. M. W., R.A.: "Jedburgh 
 
 Abbey" (No. 90), xxviii, 215 
 Turner, J. M. W., R.A.: "Johnnie 
 
 Armstrong's Tower" (No. 86), 
 
 xxvii, 209 
 Turner, J. M. W., R.A.: "The Lake 
 
 of Brienz" (No. 87), xxvii, 211 
 
 1:232:] 
 
INDEX 
 
 Painters, continued 
 
 Turner, J. M. W., R.A.: "The Lake 
 of Nemi" (No. 93), xxvii, 217 
 
 Turner, J. M. W., R.A. : "Old Lon- 
 don Bridge" (No. 7), xxvii, 26 
 
 Turner, J. M. W., R.A. : "The Rape 
 of Europa" (No. 8), xxviii, 28 
 
 Turner, J. M. W., R.A.: "St. 
 Michael's Mount" (No. 94), xxviii, 
 
 2l8 
 
 Turner, J. M. W., R.A. : "Thun" 
 
 (No. 88), xxviii, 212 
 Turner, J. M. W., R.A. : "The Trout 
 
 Stream" (No. 26), xxvii, 102 
 Van Dyck, Sir A.: "Portrait of Pao- 
 
 lina, Marchesa di Brignole Sale" 
 
 (No. 14), XV, xvii, 49 
 Van Ostade, Adriaen: "Interior of 
 
 a Carpenter's Shop" (No. 18), 
 
 xvii, 64 
 
 Van Ostade, Adriaen: "The Old 
 
 Toper" (No. 53), xvii, 161 
 Van Ruisdael, Jacob; "View on a 
 
 High Road" (No. 78), xxv, 193 
 Van der Neer, A.: "Landscape with 
 
 Figures" (No. 40), xxv, 143 
 Weissenbruch, J. H.: "A Gray Day 
 in Holland" (No. 71), xxxiv, 182 
 Ziem, F. F. G.: "The Entrance to 
 the Grand Canal, Venice" (No. 
 32), xxxii, 116 
 Ziem, F. F. G.: "The Piazza of San 
 Marco, Venice, in Time of Flood" 
 (No. 30), xxxii, 114 
 Parkyns family, 134 
 Pasquin, 137 
 Perdita, 129, 130 
 Phelps family, 184 
 Philip n, 31 
 Polk, Charles Peale, 202 
 Port of London, 26 
 Portland, Duke of, 77 
 Portraits in this Collection: 
 
 Adorno, Paolina, Marchesa di Brig- 
 nole Sale (No. 14), 51 
 Bol, Ferdinand (No. 9), 33 
 
 Portraits, continued 
 
 Costillares, Joaquin Rodriguez, the 
 
 Toreador (No. 23), 89 
 Coussmaker, Miss Agnes (No. 22), 
 88 
 
 Fowles, Charles Frederick (No. 81), 
 200 
 
 Fraser, Edward Satchwell (No. 59), 
 168 
 
 Fraser-Tytler, Jane (No. 56), 163 
 Gloucester, Maria Walpole, Duchess 
 
 of (No. 21), II, 72, 128 
 Gwyn, Mrs. (No. 25), 93 
 Johnson, Mrs. John (No. 24), 91 
 Maria Luisa, Queen (No. 6), 21 
 Maryborough, The Ladies (No. 58), 
 
 166 
 
 Michielsz de Wael (No. 17), 60 
 Parkyns, Mrs. (No. 36), 133 
 Robinson, Mrs. Mary (No. 35), 129 
 Sinton, Mr. David (No. 42), 148 
 Sinton, Mrs. David (No. 43), 149 
 Taft, Mr. Charles Phelps (No. 74), 
 184 
 
 Taft, Mrs. Charles Phelps (No. 73), 
 183 
 
 Taft, Former President William 
 
 Howard (No. 33), 117 
 Tomkinson, William, and his Cousin 
 Edward Tomkinson (No. i), 3, 127 
 Toreador, Joaquin Rodriguez Cos- 
 tillares, The (No. 23), 89 
 Washington, George (No. 83), 202 
 Weyland, Mrs. John, and her Eldest 
 
 Son (No. 34), 122 
 Unidentified: 
 
 Elderly Woman, An (No. 5), 54 
 Laughing Boy, The (No. 19), 65 
 Young Man holding his Hat to 
 
 his Side, A (No. 27), 104 
 Young Man rising from his Chair, 
 
 A (No. 13), 47 
 Young Woman, with one Arm 
 over the Back of a Chair, A 
 (No. 28), 108 
 Poussin, N., xxviii, xxx 
 Princesses, The Three Eldest, 6, 11, 86 
 
 1:2333 
 
INDEX 
 
 Professor of Perspective, Turner as, 
 25, 211 
 
 Raeburn, 11, 87, 91 
 
 Rancliife, Lady. See Parkyns, Mrs. 
 
 Rancliffe, Lord, 134, 137 
 
 Raphael's "Ansidei Madonna," 107 
 
 Rembrandt, xvii, xxi, 20, 21, 25, 32, 33, 
 
 37, 40, 59, 60, 64, 70, 105, 106, 122 
 Reynolds, xxiv, 78, 83, 84, 85, 87, 88, 
 
 93, 94, 95, 98, 100, loi, 106, 163, 
 
 165 
 
 Robinson, Mrs. Mary, 78 
 
 Robinson, Mary, "The Belle of Butter- 
 mere," 133 
 
 Robinson, Thomas, 129 
 
 Romero, bull-fighter, 90 
 
 Rousseau, P. E. T., xxxvii, 17, 44, 45, 
 154 
 
 Royal Academy: 
 
 Catalogue of Old Masters Exhibi- 
 tions, 128 
 
 Diploma Gallery, 147 
 
 Exhibitions. See under Exhibitions. 
 
 Foundation Members of the, xxiv, 3, 
 84, 122 
 
 Instrument, 12 
 
 President of the, xix, 79 
 
 Professorship of Perspective, xxvii 
 
 Schools, 24, 87 
 Royal Marriage Act, 78, 83, 131 
 Rubens, 46, 49, 50 
 Rumford, Count, 13 
 Ruskin, 26, 45 
 
 Scawen, Captain, 100 
 
 Scott and Fowles, xi, xii 
 
 Sensier, 17, 44 
 
 Shaw, Quincy A., xxxi, 44 
 
 Sheridan, 129 
 
 Sinton, Mr. David, 148 
 
 Sinton, Mrs. David, 149 
 
 Smith, Sir Frederick, xii 
 
 Sophia Matilda, Princess, 78, 79, 85 
 
 Southey, The Poet, 100 
 
 Stevenson, R. L., 171 
 
 Taft, Mr. Charles Phelps, x, xi, xiv, 
 xxi, xxiii, xxix, 117, 184, 200, 2oi 
 
 Taft, Mrs. Charles Phelps, x, xi, xiv, 
 xxi, xxiii, xxix, 148, 149, 183 
 
 Taft family. The, 184 
 
 Taft, Judge Alphonso, 117, 184, 185 
 
 Taft, Robert, 185 
 
 Taft, William Howard, xxiii, 117, 185 
 
 Tarleton, Colonel, 131 
 
 Tete a Tete, Histories of the, 100, 130 
 
 Thrale, Mrs., 100 
 
 Titanic, The, 200 
 
 Titian, xxviii, 24, 30, 31, 32, 54 
 
 Titles (other than Portraits) : 
 
 Albanians, 156 
 
 Angelus, The, 43 
 
 "Apaches are Out! The," 216 
 
 Arab Guard, 173 
 
 Arveyron, The Source of the, 213 
 
 Ballad, The, 156 
 
 Blair's Hut, 214 
 
 Bonnieres, River Scene near, 159 
 Bons Amis, Les, 186 
 Boy with a Hoop, The, 175 
 Brook, The, 142 
 
 Carpenter's Shop, Interior of a, 64 
 
 Cattle Drinking, 157 
 
 Cattle Grazing, 18 
 
 Cattle in the Meadows, 179 
 
 Chamonix, 213 
 
 Changing Pasture, 181 
 
 Coast Scene, French, 162 
 
 Cobbler's Apprentice, 192 
 
 Corwen Bridge, The Dee at, 102 
 
 Courtyard in Toledo, 199 
 
 Dee at Corwen Bridge, The, 102 
 
 Ducks, 15 
 
 Dutch Town, View of a, 180 
 
 Early Autumn: Forest of Fontaine- 
 
 bleau, 160 
 Environs de Paris, Les, 153 
 Europa, The Rape of, 28 
 Evening: Fontainebleau, 164 
 Evening Glow: Souvenir de Riva, 
 
 141 
 
 Evening Solitude, 172 
 Fete Champetre, 20 
 
INDEX 
 
 Titles, continued 
 Fete de Pan, La, 57 
 Fighting Temeraire, The, 33 
 Florence, The Ponte Vecchio, 208 
 Folkestone, 207 
 Fontainebleau, 173 
 Fontainebleau : Evening, 164 
 Forest of Fontainebleau, The, 160 
 French Coast Scene, A, 162 
 Frondeur, Le, 113 
 Gray Day in Holland, A, 182 
 Great Whale, The, 219 
 Hill Behind the School House, 216 
 Interior of a Carpenter's Shop, 64 
 Jedburgh Abbey, 215 
 Johnnie Armstrong's Tower, 209 
 Lake of Brienz, The, 25, 211 
 Lake of Nemi, The, 217 
 Landscape, 183 
 Landscape, with Cattle, 162 
 Landscape, with Cattle and Figures, 
 70 
 
 Landscape, with Cattle Drinking, 
 157 
 
 Landscape, with Figures, 143 
 
 Love-sick Lady, The, 37 
 
 Man with the Sling, The, 113 
 
 Mare a Dagnan, La, 17, 162 
 
 Maternite, La, 43, 153 
 
 Mer de Glace, 213 
 
 Mother and Child, 160 
 
 Moulins, Les, 70 
 
 Old London Bridge, 26 
 
 Old Toper, An, 161 
 
 Oriental Children, 158 
 
 Pan, La Fete de, 57 
 
 Piazza of San Marco, Venice, 114 
 
 Pick-a-Back, 177 
 
 Ponte Vecchio, Florence, The, 208 
 
 Pool, The, 172 
 
 Port of London, 77 
 
 Quay of a Dutch Town, The, 178 
 
 Rape of Europa, 28 
 
 Ringgenberg Castle, 211 
 
 River Scene near Bonnieres, 159 
 
 Rotterdam, 201 
 
 St. Michael's Mount, 218 
 
 Titles, continued 
 
 Sewing School at Katwijk, 179 
 Sick Lady, The, 37 
 Sisters, The Three Lovely, 166 
 Sleeping Soldier, The, 40 
 Soir, Le, 57 
 
 Soldier, The Sleeping, 40 
 Song of the Talking Wire, The, 195 
 Source of the Arveyron, The, 213 
 Souvenir de Riva: Evening Glow, 
 141 
 
 Three Lovely Sisters, The, 166 
 
 Thun, 212, 213 
 
 Toledo, A Courtyard in, 199 
 
 Trout Stream, The, 102 
 
 Vaches a I'Abreuvoir, 154 
 
 Venice in Time of Flood, 114 
 
 View of a Dutch Town, A, 180 
 
 View on a High Road, A, 194 
 
 Ville d'Avray, At, 140 
 
 Ville d'Avray, Les Hauteurs de, 153 
 
 Whale, The Great, 219 
 
 Whalers, The, 220 
 
 World of their Own, 191 
 Tollemache, Henry J., 8 
 Tollemache, Lord, 6 
 Tomkinson, Edward, 3 
 Tomkinson, Edward P., 11 
 Tomkinson, James, 5, 6, 10 
 Torrey family. The, 185 
 Tonvn and Country Magazine, 75, 77, 
 100, 130 
 
 Utrecht, Sale at, 62 
 
 Van Baersdorp, Cornelia, 62 
 
 Van Dyck, Sir A., xxi 
 
 Van Eycks, The, xxx 
 
 Van Goyen, xxviii 
 
 Van Ostade, Adriaen, 37 
 
 Van Ruisdael, Jacob, 69, 147, 157 
 
 Van Wisselingh, Mrs., 175 
 
 Van de Velde, Adriaen, 71, 73 
 
 Van der Bank, 134 
 
 Velazquez, 20, 46 
 
 Victoria, Queen, 80, loi 
 
INDEX 
 
 Waldegrave, James, Second Earl of, 
 
 73, 74, 75, 76 
 Waldegrave, Maria, Countess of. See 
 
 Gloucester, Duchess of 
 Waldegrave, The Ladies, 77 
 Walpole, Hon. Sir Edward, 73, 75 
 Walpole, Horace, xx, 73, 74, 76, 77, 
 
 78, 80 
 
 Walpole, Sir Robert, 73 
 Washington, George, 201, 202 
 Washington, The White House, 117 
 Wellesley, Marquess of, 166 
 Wells, Becky, 131 
 West, Benjamin, xxiv, 79 
 Wettenhall, Nathaniel, 4 
 
 Wettenhall, William, 4 
 Weybridge, 99 
 Whistler, 208 
 Wilson, Mary Jane, 202 
 Wilson, Richard, xxviii 
 Windsor, 79 
 Windsor, Old, 131 
 Woffington, Peg, 131 
 Woodeaton, Oxon, 124, 125 
 Woodhouselee, Lord, 164 
 Woodrising, Norfolk, 123, 124, 
 Wynants, xxvi 
 
 Zandvoort, 176 
 
Finished Printing 
 February, 1920 
 
 ^^Here taketh the Maker e of this Book 
 his Leve.''^ 
 
GETTY RESEARCH INSTITUTE