i<ri 
 
AN ACCOUNT 
 
 OF ALL THE 
 
 PICTURES 
 
 EXHIBITED IN THE ROOMS OF THE 
 
 BRITISH INSTITUTION, 
 
 FROM 1813 TO 1823, 
 
 BELONGING TO THE 
 
 NOBILITY AND GENTRY OF ENGLAND : 
 
 WITH 
 
 REMARKS, CRITICAL AND EXPLANATORY. 
 
 HUC UNDIQUE TROIA GAZA 
 
 congeritur. Virg.Mn* n. 
 
 LONDON: 
 
 PRIESTLEY AND WEALE, 
 
 LIBltARY OF WORKS ON ART, HIGH-STREET, 
 BLOOMSBURY. 
 
 1824. 
 
LONDON: 
 
 WUNTEI) BY THOMAS DAVISON* WHITEFRIARS. 
 
 m 
 
INTRODUCTION. 
 
 This general catalogue, condensed from 
 those of the Exhibitions of the British In- 
 stitution, during the last ten years, was 
 occasioned by the following slight circum- 
 stance. 
 
 A difference in opinion originated, as to 
 whether a certain picture had been ever ex- 
 hibited ; or, if so, in what year ? As the 
 editor had preserved the whole series (a cir- 
 cumstance of rare occurrence, from the de- 
 structible nature of all catalogues), he ex- 
 amined them, and found the desideratum in 
 the last page of that last published. 
 
 b 2 
 
iv 
 
 Leisure, during winter evenings in the 
 country, recommended the amusement of at- 
 tempting the present arrangement, which he 
 has been informed would not be unacceptable, 
 even to amateurs, but well adapted to assist 
 those who might wish to become so. His 
 plan, therefore, has been to collect and sim- 
 plify the notices which are very widely dis- 
 jointed in the series of catalogues ; and to 
 bring under one view the schools, the masters 
 individually, and, as much as possible, the 
 periods in which they lived and flourished 
 together ; adding a few notes of elucidation, 
 but by no means aiming to obtrude in- 
 formation upon those who are already well 
 informed, but which are introduced merely as 
 a vehicle of popular intelligence. If several 
 of the more eminent painters are brought 
 nearer to unlearned eyes by the reflected 
 opinions of the best critics, either in prose or 
 
V 
 
 verse, by whom the merits of each have been 
 clearly discriminated, so that the admirer 
 should be instructed, more is not contem- 
 plated. Many, whose love of the arts exceeds 
 their knowledge of them, may be led to form 
 a definite and satisfactory idea of the masters, 
 whose most celebrated works this exhibition 
 (established under the auspices of the best 
 taste and the highest rank in this country) 
 has given them the utmost facility of in- 
 specting. Doubtless, the advancement and 
 perfecting of the arts was, and will continue 
 to be, its primary object ; and this compilation 
 has been made for the convenient reference 
 both of the professional artist and the vir- 
 tuoso. By recurring to such helps to a fleeting 
 memory, the desire of acquiring information 
 on subjects which engage the powers both of 
 our reason and our imagination, is gradually fed 
 and encouraged by opportunities such as these 
 
VI 
 
 are, and the result may be an acquaintance 
 with the history and principles of art, very 
 creditable to every gentlemen of liberal edu- 
 cation and good taste *. What consummate 
 specimens have been annually assembled under 
 a single roof ! The galleries of princes and 
 cardinals, on the Continent, greatly exceed 
 in point of number, but not in pure examples 
 of the most successful efforts of the graphic 
 art. 
 
 Sir Joshua Reynolds considered great 
 collections of pictures in the light of great 
 
 * " That part of the plan of the British Institution, 
 which offers to the student an opportunity, so much at 
 his ease, to profit by the works of the old masters, is 
 particularly entitled to commendation. It supplies a 
 want which has long been felt ; and were no other benefit 
 to be derived from that establishment, this advantage 
 alone is sufficient to make its permanence and promotion 
 of the greatest importance/' — Shee's 'Elements of Art, 
 p. 86, n. 8vo. 1809. 
 
VII 
 
 libraries ; with this difference in favour of the 
 the former- — that whilst they instruct they de- 
 corate. He once observed, in conversation, 
 that " fine paintings were walls hung round 
 with thoughts V No person could do more 
 from the funds of his own genius, — no person 
 ever endeavoured more to take advantage of 
 the labours of others. 
 
 Such well-arranged collections — in which 
 no works are admitted which are either uncer- 
 tain, altered, or disguised, and of which the 
 possessors give, without regard to rank, a free 
 inspection to all who really desire and pursue 
 instruction — become a school of art for the 
 nation at large. There, those who profess 
 painting, may found their judgment, and 
 settle their opinions ; those who admire it, 
 may form and regulate their taste ; and the 
 
 * Li poeti depingono con le parole— li pittori parlano 
 con Topere.— Axxnib. Caracci. 
 
viii 
 
 public collect sound observations, and pri- 
 marily receive correct ideas upon the general 
 subject. " The public examines and reasons 
 on the works of painters, and spectators in 
 time become judges # ." 
 
 The managers, in 1814, declared, " that 
 they received pictures with the names of the 
 masters attributed to them/' But it will not 
 be imagined, that, as they exercise a dis- 
 cretionary power of rejection, any individual 
 picture has been admitted without superior 
 intrinsic merit ; and, in no instance, those 
 which would be deemed to be derogatory of 
 the fame of any eminent master to whom they 
 have been attributed. This collection, there- 
 fore, annually exhibited, will be valued and 
 received under these paramount considera- 
 tions. 
 
 * Introduction to the account of the Houghton Col- 
 lection. — H. Walpole. 
 
-ix 
 
 The arts have a language of their own. 
 Many phrases and expressions occur in the 
 dissertations of the best foreign critics, to the 
 ardour and spirit of which the colder genius 
 of an idiomatic translation into English would 
 aspire in vain. We should, in numerous in- 
 stances, consult our dictionaries without the 
 least satisfaction. That knowledge which has 
 been called Vertu, is best acquired by con- 
 versation, and a constant examination of the 
 best works of the best masters ; and is formed 
 by comparison of one of them with an- 
 other, each predominant example having been 
 definitively stored in the memory. The 
 painter's eye, and the learned eye, have each 
 a distinct speculation j for the one dwells on 
 expressions in nature ; the other decides only 
 by principles accumulated by the memory 
 after long observation, and transmitted to us. 
 But the common or vulgar eye, is, in a great 
 
X 
 
 measure, independent on both, and is acted 
 upon merely by a gratifying sensation when 
 any beautiful picture is presented to view, 
 and has no fixed criterion to regulate the 
 judgment. True taste, indeed, may be in- 
 herent, and perhaps cannot be acquired with- 
 out the aid of genius. It will, notwith- 
 standing, be more improved and better di- 
 rected by this facility of inspecting the most 
 perfect specimens of every school of painting, 
 than by reading all that has been said or 
 taught upon the subject, were these oppor- 
 tunities totally withheld. And this single 
 consideration enhances our obligation to those 
 who have established the British Institu- 
 tion, which has afforded, year after year, 
 with great liberality, opportunities of instruc- 
 tion and delight. Much judgment, and a 
 sound perception of the extent of the use- 
 fulness of this institution to students and 
 
xi i 
 
 aspirants, has been shown in the annual 
 division of the fine pictures which are thus 
 offered to the inspection of the public. 
 
 It was sufficiently proved by the multi- 
 tudinous exposure of the grandest works in 
 the " Musee Napoleon, 5 ' at the Louvre, that 
 the admiration excited served only to increase 
 the difficulty of selection for the painter's 
 purpose, puzzled the eye, and distracted the 
 attention, which is necessary for the investi- 
 gation of any single piece of art*. These 
 yearly exhibitions, therefore, have an advan- 
 
 * (C The extraordinary assemblage of works of art de- 
 posited in the Louvre, at Paris, appears, in this respect, 
 on the first view, quite embarrassing. All is confusion 
 and astonishment j the eye is dazzled and bewildered, 
 wandering from side to side, from picture to picture, 
 like a glutton at a feast, anxious to devour every thing • 
 till the intellectual stomach, palled and oppressed by 
 variety, loses the pleasure of taste, and the powers of 
 digestion/' — Shee's Elements of Art, c. 8. n. 
 
xii 
 
 tage, as the pictures are sufficiently numerous 
 to afford variety without causing confusion, 
 and there are examples enough of any school 
 or master, in particular, to suggest to the in- 
 telligent observer an accurate idea of the pe- 
 culiarities or excellence of each. All ex- 
 aggerated praise will fade away, as false im- 
 pressions are examined by the sober estimate 
 of taste. 
 
 Another, and a still greater advantage, 
 which originates in the conduct of this plan, 
 arises from the confidence which may be re- 
 posed upon the genuineness of the pictures 
 exhibited ; although nothing is more certain 
 than that the excellence of the best masters 
 was gradually acquired, reached its acme, and 
 in certain instances fell below it. Pictures, 
 therefore, the work of the same hand, may 
 appear in the same exhibition, the merit of 
 which will not be found equal. 
 
xiii 
 
 Our national taste has been eminently im- 
 proved since the middle of the last century. 
 After the dispefsion of the collections formed 
 by Charles L, Villiers Duke of Buckingham, 
 and the Earl of Arundel, none remained 
 which could, in the most distant degree, com- 
 pete with those on the Continent. The 
 Houghton Collection, more celebrated than 
 any other, formed by Sir Robert Walpole's 
 contemporaries, was designated by his accom- 
 plished son as " the noblest school of painting 
 which this kingdom ever beheld." He re- 
 grets (multa gemens) that " it was removed 
 almost out of the sight of civilized Europe." 
 The acquisition of the Orleans Collection 
 has made us ample amends, reflecting infinite 
 credit on the spirit and taste of those noble- 
 men by whom it was successfully undertaken. 
 
 Within our own times, so great has been the 
 influx of Italian, Flemish, and Spanish pic- 
 
XIV 
 
 tures, especially as caused by the late dis- 
 tracted state of the Continent, that the col- 
 lections, at first so highly estimated, are de- 
 prived of much of their former celebrity. 
 Individual pictures, long praised as originals, 
 must now shrink into the minor fame of 
 " repetitions" by the masters themselves, or 
 copies by their best scholars, and hide their 
 " diminished heads' 9 before the originals 
 themselves, which, having been alienated from 
 foreign palaces, have found their way into this 
 kingdom. Formerly, artists in Italy made 
 the copying various styles of painting a most 
 lucrative employment, which our travelled 
 countrymen, in their ardour to make a col- 
 lection, were rather better qualified to en- 
 courage than to detect. 
 
 Lionardo da Vinci, Raffaelle, and M. An- 
 gelo, have suffered more than any of the less 
 celebrated masters, from the indiscriminate or 
 
XV 
 
 f 
 
 interested adaptation of their great names to 
 very inferior works of art. 
 
 In Italy, most of the great collections, not 
 those only belonging to the galleries of 
 princes, but those of individual noblemen, 
 were very strictly entailed; and, before the 
 late revolution, were rarely divorced from 
 their original station. Yet, for many years 
 previously, our auctions had been amply sup- 
 plied by importations ; few of which, in the 
 florid phraseology of an eminent auctioneer, 
 spoke "a plain unvarnished tale." 
 
 An increased pleasure and satisfaction will 
 be afforded us by the British Institution, 
 which presents to view an assemblage of pic- 
 tures, the genuineness of which is beyond 
 suspicion, and is submitted to our examina- 
 tion with every advantage both of time and 
 place ; and (more than all) which liberates us 
 from the fatigue and expense of a long, and 
 
xvi 
 
 perhaps a fruitless journey, to a palace, in one 
 of the most distant of the English counties, in 
 which they may have been deposited. 
 
 # In the present year, a hope long cherished 
 
 * List of the Pictures of the late J.J. Angerstein, Esq. 
 in Pali-Mall. 
 
 1. The Embarkation of the Queen of Sheba . Claude. 
 
 2. The Marriage of Rebecca . . . Claude. 
 
 3. Ganymede ...... Titian. 
 
 4. The Rape of the Sabines . . . Rubens. 
 
 5. The Emperor Theodosius expelled the 
 
 Church by St. Ambrose . . . Vandyck. 
 
 6. St. John in the Wilderness . . A. Caracci. 
 
 7. Susannah and the Elders . . Lud. Caracci. 
 
 8. A Bacchanalian Triumph . . N. Poussin. 
 
 9. Ermenia with the Shepherds . . Domenichino. 
 
 10. Philip the Fourth of Spain and his 
 
 Queen Velasquez. 
 
 11. Venus and Adonis .... Titian. 
 
 12. Landscape — "Morning" . . . Claude. 
 
 13. An Italian Seaport — a Evening" . . Claude. 
 
 14. The Raising of Lazarus 
 
 Seb. del Piombo. 
 
xvii 
 
 by those who delight in and pursue the arts, 
 has been realized. A national gallery will 
 
 15. 
 16. 
 17. 
 18. 
 19. 
 20. 
 21. 
 22. 
 23. 
 24. 
 25. 
 26. 
 27. 
 28. 
 29. 
 30/ 
 31. 
 32. 
 33. 
 34. 
 35. 
 36. 
 
 A Concert ..... 
 Pope Julius the Second 
 Christ on the Mount 
 Portrait of Govartius . 
 
 The Nativity 
 
 The Woman taken in Adultery 
 The Embarkation of St. Ursula 
 Abraham and Isaac .... 
 A Land Storm .... 
 A Landscape, with Cattle and Figures 
 Apollo and Silenus .... 
 Holy Family in a Landscape . 
 The Portrait of Rubens 
 Studies of Heads .... 
 Studies of Heads .... 
 
 ^The Marriage-a-la-mode 
 
 . Titian. 
 . Raphael. 
 
 Correggio. 
 Vandyck. 
 Rembrandt. 
 Rembrandt. 
 
 . Claude. 
 G. Poussin. 
 G. Poussin. 
 Cuyp. 
 
 A. Caracci. 
 
 . Rubens. 
 Vandyck. 
 
 Correggio. 
 
 Correggio. 
 
 Hogarth, 
 
 Portrait of Lord Heathfield . Sir J. Reynolds 
 
 c 
 
xviii 
 
 be now instituted ; and a commencement has 
 been made, under the royal auspices, seconded 
 
 37. The Village Holyday . . . Wilkie. 
 
 38. Portrait of the Painter . . . Hogarth. 
 
 It may be not uninteresting, in the history of pictures, 
 to notice the money paid for three of the most celebrated 
 collections known in this country. 
 
 1779. The Houghton, 232 pictures .€40,555 
 1798. The Orleans, 296 pictures . 43,500 
 1824. The Angerstein, 38 pictures . 57,000 
 
 In the Houghton, " The Consultation of the Doc- 
 tors," by Guido, was valued at 3,500/.; u Holy Fa- 
 mily," by Vandyck, 1,600/. ; " Magdalene at Christ's 
 Feet," by Rubens, 1,600/.; "Cook's Shop," by Teniers, 
 500/. Lord Orford (Letters, vol. iv. p. 182) greatly 
 disapproved of the amount of the valuation, and the 
 judgment with which they were valued. The Czarina 
 paid, however, only 36,000/. ; and, in disgust, retained 
 the pictures in their packages during her life. They 
 are now added to many other pictures, preserved in a 
 part of the imperial winter-palace at St. Petersburgh, 
 
xix 
 
 by the liberality of Parliament. If we may 
 foresee the future transcendent excellence of 
 the pictures, by the price at which they have 
 been acquired — and that none of inferior 
 merit and value will be admitted — we need 
 no longer visit the far-famed collections on 
 the continent, for the sole purpose of form- 
 ing or improving the national taste. 
 
 His late Majesty conferred a lasting ob- 
 ligation on the country, by having effectually 
 promoted an interest in works of art, by his 
 own patronage and example. 
 
 In early life, he was taught the principles 
 of architecture by Sir William Chambers, who 
 wrote an elementary book, originally com- 
 posed for his instruction ; as likewise Kirby's 
 
 called the Hermitage. Mr. Angerstein gave 4,500/. for 
 the Sebastiano del Piombo, and 1 ,600/. for the Emperor 
 Theodosius, by Vandyck. 
 
 c2 
 
XX 
 
 Treatise on Perspective, which was the first 
 popular treatise on that subject, published in 
 the English language. 
 
 At the commencement of his reign, he was 
 ambitious of forming a gallery of pictures, 
 such as had been collected by King Charles 
 the First, and likewise a magnificent library. 
 He laid his foundation of both these " im- 
 perial works, which are worthy kings/' in the 
 purchase of the books, pictures, and gems, 
 which had been collected, with great skill 
 and care, by Jos. Smith, Esq. our consul at 
 Venice # ; and Mr. D. his librarian, was sent 
 on the continent, with full powers to prose- 
 
 * " Dactyliotheca Smithiana/' Venetiis, 1767, 
 2 vols. 4to. Dedicated, " Giorgio III. M. Brit. Regi, 
 Triumphatori semper Augusto, Politiorum Artium 
 Amplificatori, Bono Reipublieae nato," &c. His Ma- 
 jesty was at the sole expense of this publication. The 
 Description, in Latin, is written by A. F. Gorius ; and 
 the one hundred Gems engraved by J.B. Pasquali. 
 
xxi 
 
 cute his royal intentions. In an early period 
 of this engagement, his Majesty's just suspi- 
 cions were excited, and soon confirmed by a 
 fact*. He abandoned, therefore, this part 
 
 * As I am enabled to state the true cause of the late 
 King's unfavourable opinion of the professed purchasers 
 and sellers of pictures, I am inclined to give it in a 
 note. While the librarian was abroad, he engaged Bar- 
 tolozzi, the celebrated engraver at Venice, to come to 
 England, for the express purpose of engraving certain 
 pictures for the king, and to be appointed the royal en- 
 graver. This very celebrated artist, after having ar- 
 rived in England several months, without having been 
 inquired for by his Majesty, began to feel himself greatly 
 disappointed. Early one morning, however, a message 
 was brought to him, which awakened his interest, and 
 animated his hopes. He was commanded to attend upon 
 the king at Buckingham House, who was waiting for 
 his arrival. He obeyed instantly. Upon entering the 
 apartment where the king was, he saw a very large pic- 
 ture extended flat upon the floor, without a frame, and 
 his Majesty using a wet sponge to examine it with more 
 advantage. Standing round were several gentlemen, 
 with the librarian, all interested in the sale of this pic- 
 
xxii 
 
 of his plan, and confined it to the accumula- 
 tion of works of literature, which, in the 
 course of a long reign, completed a library, 
 not to be surpassed by that of any other 
 sovereign in Europe. 
 
 ture, attributed to P. Veronese, and estimated at 1,500/. 
 The king, in fact, mistrusting his own judgment, asked 
 Mr. D. if he knew any artist who was conversant with 
 the works of P. Veronese ? Bartolozzi, who had so lately 
 left Venice, was mentioned, as fully competent ; Mr. D. 
 adding, that "he would call upon him to attend his 
 Majesty's pleasure on some early day/' " No," replied 
 his Majesty, promptly, " not so ; let him come imme- 
 diately, while you are all here and a page was de- 
 spatched to summon him. Upon Bartolozzi's appear- 
 ance, the king asked him if he knew the works of P. 
 Veronese, and if he thought that the picture on the 
 floor was an original ? Without returning a verbal 
 answer, with a gesture and significant shrug of the 
 shoulders, he in fact told the whole of his mind, and 
 left no doubt of his scepticism. The king immediately 
 ordered the picture to be rolled up; and he left the 
 room — in silence! 
 
xxiii 
 
 Those treasures of literature are now ren- 
 dered accessible, and are laid open to the 
 public, by the munificence of George the 
 Fourth. 
 
 That his royal father should have been 
 induced to forego his primary intention of 
 instituting a 1 ' Royal Gallery, 93 is a circum- 
 stance no longer to be regretted by all who 
 either love or value painting as an ornament 
 to the nation or a gratification to the public, 
 as that splendid design has been so happily 
 commenced by his present Majesty. 
 
 The foundation of the Royal Academy 
 was the origin of a British School of Paint- 
 ing; and the unremitted patronage and at- 
 tention by which it has been honoured, both 
 by our late and present sovereigns, has given 
 it permanency, and reflected glory on their 
 aera # . 
 
 * Sir Joshua Reynolds, in the conclusion of his in- 
 
xxiv 
 
 A circumstance, greatly increasing the 
 satisfaction which arises from the first view 
 of so many celebrated pictures as are sub- 
 mitted to the public inspection in the British 
 Gallery, is that of recognising them as the 
 originals, from which so many fine engravings 
 have been made ; and which gave us a kind 
 of previous acquaintance with them. 
 
 From the days of Marc Antonio, Rai- 
 mondi, and Augustine, of Venice, to our 
 own, 
 
 " Art has reflected images to art/' 
 
 in most numerous examples. The contents 
 
 augural lecture, as president of the Royal Academy, 
 (1769) expresses a hope "that this Institution may 
 answer the expectation of its royal founder j that the 
 present age may vie, in arts, with that of Leo the 
 Tenth ; and that the dignity of the dying art (to make 
 use of an expression of Pliny) may be revived, under 
 the reign of George the Third." — Sir </. Reynolds's 
 Works, vol. i. p. 20. 
 
XXV 
 
 of splendid galleries, the works of individual 
 masters in a series, their own etchings, en- 
 graved # imitations of their sketches and 
 drawings, and books of prints taken from 
 paintings in private collections, replenish and 
 adorn the libraries of every lover of the art, 
 whose taste has been allied to affluence. 
 
 No apprehension can be reasonably enter- 
 tained, that did the same liberal spirit, which 
 has induced the proprietors of unrivalled 
 works to submit them to public view, prompt 
 others to extend a similar and continued in- 
 dulgence, that these most rich stores of art 
 
 * 1 . Guercino's Designs, engraved by Francisco Bar- 
 tolozzi, imp. fol. 
 
 C Z. A Century of Prints, in imitation of Drawings, 
 published by Charles Rogers, F. R. S. and A. S. 2 vols, 
 imp. fol. 1778. 
 
 3. The Italian School of Design (containing 84 
 plates) ; being a Series of Facsimiles of Drawings by 
 the more eminent Painters and Sculptors of Italy, &c. 
 by W. Young Ottley, Esq. imp. fol. 1824. 
 
xxvi 
 
 could be soon exhausted. Whoever is at all 
 conversant with the English Collections 
 (for at Edinburgh an institution on the same 
 plan has been adopted) must remember 
 many of the more celebrated single pictures, 
 both of history and portrait, by the great 
 masters, the temporary removal of which has 
 not as yet been allowed, and are now seen 
 at least with a certain degree of difficulty, so 
 happily obviated by the British Institu- 
 tion. 
 
 As being " an elderly gentleman of the Old 
 School," I now respectfully take my leave; 
 yet not without a hope, that, should this 
 arrangement of the Catalogues deserve and 
 obtain any favour with the Public, I may be 
 enabled to present them with another De- 
 cennary. W* 
 
 May, 1824. 
 
INDEX 
 
 TO THE 
 
 NAMES OF PAINTERS. 
 
 SCHOOLS OF ITALY, SPAIN, AND FRANCE. 
 
 A. Page 
 
 Abbate, Niccolo dell . . . .62 
 
 Albano, Francesco . . . 66 
 
 B. 
 
 Buonaroti, M. Angelo . . . .56 
 
 Brunzino, Agnolo . . . .58 
 
 Berretini, Pietro da Cortona . . . ib. 
 
 Bassano, Giacomo da Ponte . . .74 
 
 Baroccio . . . . . .65 
 
 Borgognone . . . . ib. 
 
 Bartolomeo, Fra . . . . 100 
 
 Bellini, Giovanni . . . . .104 
 
 Bourdon, Sebastian . . 122 
 
 C. 
 
 Caracci, Ludovico . . . 66 
 
 , Annibale . . . .68 
 
 ■-, Augustino . . ,70 
 
XXviii SCHOOLS OF ITALY, SPAIN, AND FRANCE. 
 
 Page 
 
 Correggio, Antonio Allegri . ... 78 
 
 Cignani, Carlo . . . . .92 
 
 Caravaggio, Polidoro da . . . .98 
 Cano, Alonzo . . . . . 134 
 
 D. 
 
 Domenichino, Domenico Zampieri . . 72 
 
 Dolce, Carlo .... .90 
 
 F. 
 
 Ferrara, Antonio da . . .44 
 y Ludovico Mazzolini da . . .46 
 
 Fiesole, Giovanni Angelico Beato 
 
 . 61 
 
 Fontana, Lavinia .... 
 
 . 102 
 
 G. 
 
 
 Giorgione, Giorgio Barbarelli di Castelfranco 
 
 . 60 
 
 Guido Reni .... 
 
 . 76 
 
 Guercino da Cento .... 
 
 . 89 
 
 Giulio Romano .... 
 
 . 100 
 
 Garofalo Benvenuto .... 
 
 . 103 
 
 Gonzales, Bartol. 
 
 . 136 
 
 L. 
 
 
 Loraine, Claude 
 
 . 106 
 
 Le Brun, Charles . ... 
 
 . 122 
 
 M. 
 
 Moroni, Gior. Battista . . . .48 
 
 Medula, Schiavone . .... 62 
 
 Mola, Francesco . . . . .103 
 
SCHOOLS OF ITALY, SPAIN, AND FRANCE. Xxix 
 
 Page 
 
 Murillo, Bartol 126 
 
 Moralez, el Divino . . . .134 
 
 P. 
 
 Piombo, Sebastiano del . . .46 
 
 Procaccini, Giulio Cesare . . . .78 
 
 Parmigiano . . . . .82 
 
 Pordonone ...... 65 
 
 Porta, della Baccio . . . .100 
 
 Poussin, Nicholas . . . . .116 
 
 , Gaspar . . . . .120 
 
 R. 
 
 Raffaello da Urbino . . . .96 
 
 Rosa, Salvator . . . . 110 
 
 S. 
 
 Sarto, Andrea del .... 44 
 
 Schiavone, Andrea, called Medina . 63 
 
 Schidone, Bartelemi . . . .62 
 
 Sasso Ferrato . . . 91 
 
 Sacchi, Andrea . . . . .102 
 
 Sueur, Eustace le . . 122 
 
 Spagnoletto, Josep. . . . .137 
 
 T. 
 
 Tintoretto . . . . .82 
 
 V. 
 
 Vinci, Leonardo da . . .42 
 
 Vecelli, Tiziano . . . 52 
 
XXX FLEMISH AND DUTCH SCHOOLS. 
 
 
 Page 
 
 Venusti, Marcello 
 
 . 57 
 
 v dSdrij vjiurgii) . . 
 
 ih 
 
 * • IU. 
 
 Vecchia, Pietro . 
 
 . 74 
 
 Veronese, Paolo 
 
 . 87 
 
 Vago, Perino del . 
 
 . 100 
 
 V CillCL>, uUBCUil • • • 
 
 . 124 
 
 Velasquez, (W.) Diego . 
 
 . 130 
 
 W. 
 
 
 Watteau, Antoine 
 
 . 125 
 
 THE FLEMISH AND DUTCH SCHOOLS. 
 
 B. 
 
 
 Berghem, Nicholas 
 
 . 164 
 
 Bol, Ferdinand 
 
 . 180 
 
 Backhuysen, Ludolf 
 
 . 184 
 
 Both, John — Both, Andrew 
 
 . 208 
 
 Bartolomeo, Fra. . 
 
 . 212 
 
 C 
 
 
 Cuyp or Kuyp 
 
 . 166 
 
 Cabel, Adrian Vander 
 
 . 220 
 
 D. 
 
 Durer, Albert . . . .141 
 
 Diepenbeck, Abraham . . . 1 74 
 
 Due, Jan le . . . .176 
 
 Douw, Gerard . . . . .182 
 
FLEMISH AND DUTCH SCHOOLS. XXXi 
 
 E. Page 
 
 Elsheimer, Adam . . . .188 
 
 F. 
 
 Fyt, John . . . . .206 
 
 G. 
 
 Chisels . . . .210 
 
 H. 
 
 Holbein, Hans . . . .141 
 
 Harp, Van . . . . 1 78 
 
 Hannemann, Adrian . . . .178 
 
 Hals, Franc. . . . .188 
 Hobbima, Minderhout .... 206 
 
 Hooge, Peter de . . . .210 
 
 Heyden, Vander . . . .216 
 
 Heist, Bart. Vander . . ib. 
 
 J. 
 
 Jardyn, Karel du . . . . 1 70 
 
 Jordaens, Jacob . . . .158 
 
 K. 
 
 Koning, David de . . . .214 
 
 L. 
 
 Lung, Jan . . . .182 
 
 M. 
 
 Matsys, Quintin . . . .142 
 
 Merevelt, M. Jansen . .158 
 
XXXii FLEMISH AND DUTCH SCHOOLS. 
 
 Page 
 
 Maes, Arnold Van . . . . 1 80 
 
 Metzu, Gabriel . . . .184 
 
 Mieris, Francis • . . . 222 
 
 N. 
 
 Neer, Vander Arnold . • . . 1 90 
 
 Netscher, Gaspard — Netscher, Constantine . 218 
 Nain, Le ..... 223 
 
 O. 
 
 Ostade, Adrian — Ostade, Isaac . .187 
 
 P. 
 
 Potter, Paul - . . . . . 1 74 
 
 Pynaker, Adam . . . .177 
 
 Palamedes, Antony . . . .212 
 
 R. 
 
 Rubens, Sir P. P. . . .144 
 
 Rembrandt van Rhyn . . . .160 
 Ruysdaal, Jacob .... 240 
 
 S. 
 
 Snyders, Francis . . .158 
 
 Steyn, Jan . . . .172 
 
 Schalken, Godfrey . . . .204 
 
 T. 
 
 Terburgh, G. . . . .178 
 
 Teniers, David— Teniers, David . . 200 
 
 Tempesta, Cavaliere . . .214 
 
THE BRITISH SCHOOL. 
 
 V. 
 
 Vandyck, Sir A. 
 
 Vanderveld, Adrian — Vanderveld, Philip 
 Vos, Martin de 
 
 W. 
 
 Werf, Adrian Vander 
 Wouvermans, Philip 
 Wynants, John 
 Weeninx 
 Wytt, Jacob de 
 
 THE BRITISH SCHOOL. 
 B. 
 
 Brooking, .... 
 
 Barett, G. . 
 Bourgeois, Sir F. 
 
 Burnett .... 
 
 C. 
 
 Copley, J. S. 
 
 D. 
 
 Dance, Nathan .... 
 Dupont, T. G. 
 Dobson, W. 
 
 Dahl, M 
 
xxxiv 
 
 THE BRITISH SCHOOL. 
 
 G. Page 
 Gainsborough, T. . . 260. 310 
 
 Gilpin, Sawrey . . . . 286 
 
 Garrard, Marc ..... 306 
 
 H. 
 
 Hogarth, W. 248. 314 
 
 Hoppner, J. ..... 270.316 
 
 Hodges, W 277 
 
 Hamilton, Gavin . . . . 276 
 
 Hone, Nathan. . . . . .280 
 
 Hamilton, W. . . . 290 
 
 Holbein, H. . . . .304 
 
 Heere, DeL. . . . 306 
 
 Honthorst, G. . . . . ib. 
 
 Hanneman, A. . . . . 312 
 
 Hudson, W. . . . . .314 
 
 J. 
 
 Jansen, C. ..... 306 
 
 K< 
 
 Kneller, Sir G. . . 314 
 
 Lely, Sir P. . . . . .312 
 
 Loutherburgh, P. J, . . . 272 
 
 M. 
 
 Mortimer, J. H. . . . . . 272 
 
 Marlow, ..... 284 
 
 More, Sir A. . . . 306 
 
THE BRITISH SCHOOL. 
 
 XXXV 
 
 Page 
 
 Murray, W. . . . . . 314 
 
 Morland, G. . . . . .274 
 
 N. 
 
 Netscher, G. . . . • 312 
 
 O. 
 
 Opie, John . . . . 268 
 
 P. 
 
 Peters, W. . . . . . 280 
 
 Pourbus ...... 306 
 
 R. 
 
 Reynolds, Sir J. . , . 230 
 
 Romney, G. . . . . 279 
 
 Runceman, Alex. . ... 280 
 
 Rigaud, J. F. . : . . .290 
 
 Rubens, P. P, . . . . 308 
 
 Riley, J. . . . . .314 
 
 S. 
 
 Seymour, James . ... 278 
 
 Scott, Samuel * . . . . 286 
 
 Stubbs, G. . . . . . 290 
 
 Somer, Van ..... $06 
 
 Shephard . . . . . . 310 
 
 V. 
 
 Vandyck, A, . . . .308 
 
xxxvi 
 
 THE BRITISH SCHOOL. 
 
 W. Page 
 
 Wilson, R. . . . . 254 
 
 Webber, J. . . . .282 
 
 Wheatley, F. . . . . 288 
 
 West, Benjamin . . . . .294 
 
 Walker, R. . . . . 310 
 
 Wessing, W. . . . . ,312 
 
 Z. 
 
 Zoffanij, Johan . . . . 292 
 
 Zucchero, F. . . . 306 
 
 Zoest, G. . .\ . . ^312 
 
THE 
 
 PREFACES 
 
 TO 
 
 SEVERAL OF THE CATALOGUES, 
 
 AS FIRST PUBLISHED. 
 
PEEFACE 
 
 TO THE EXHIBITION IN THE YEAR 1813. 
 
 It is not for the purpose of opposing the 
 merits of the dead to those of the living, nor 
 merely to do honour to the memory of one 
 who has done so much honour, and conferred 
 so much benefit on the country, that this 
 public Exhibition of the Works of Sir Joshua 
 Reynolds has been undertaken. On the con- 
 trary, its chief object is to call attention ge- 
 nerally to British, in preference to foreign 
 Art, and to oppose the genuine excellence 
 of modern to the counterfeited semblance of 
 ancient productions, which too frequently 
 usurp its place ; and under the authority of 
 names deservedly venerable, absorb that wealth 
 
 B 2 
 
4 
 
 and patronage which ought to foster and pro- 
 tect the British school. 
 
 Not that we mean to enter into any com- 
 parative estimate of the different styles and 
 stages of painting, or into any critical exa- 
 mination of the general or particular merits 
 of the pictures thus submitted to public in- 
 spection ; but, nevertheless, let the artist, 
 while he contemplates the almost absolute 
 perfection in the management of the tool, 
 and employment of the material, which di- 
 stinguishes the best of them, seriously reflect 
 that such perfection was the result of long 
 and continued exertion, never discouraged 
 by failure, relaxed by success, nor diverted 
 by those allurements of society to which 
 highly polished manners and great intellec- 
 tual endowments necessarily expose their 
 possessor in a nation so polished and intelli- 
 gent as this. Let the lover and patron of 
 art, and the collector of pictures, also reflect 
 that it is employment only which can produce 
 such exertion ; and that if the artist who at- 
 
5 
 
 tained such excellence had not been sup- 
 ported in his progress to it, by being ade- 
 quately paid for works of very inferior merit, 
 he never could have reached it. We say ade- 
 quately paid, for he was not one of those 
 aspiring geniuses, those self-selected favour- 
 ites of nature, who imagine that professional 
 eminence is a spontaneous gift of heaven, or 
 an indefeasible inheritance of right, and will 
 not therefore degrade the native dignity of 
 their talents by undertaking any but import- 
 ant subjects, upon a large scale and at a high 
 price. On the contrary, he toiled patiently 
 for many years through all the initiatory 
 drudgery of the art, gained practice by un- 
 dertaking whatever was offered at the lowest 
 price by which he could subsist ; and by the 
 gradual and spontaneous impression made by 
 his gradual progress to excellence, not by any 
 premature pretensions to a capacity for it, 
 gradually raised himself in public estimation, 
 and obtained a rank in society which no artist 
 except Raphael, Rubens, and Vandyke 
 
6 
 
 had ever held. In raising himself, too, he 
 raised both the art and its professors, and 
 gave them a more elevated station than they 
 had ever before obtained in this country ; and 
 which it is gratifying to observe, that they are 
 likely to maintain and extend. 
 
 Let it however be again remembered, that 
 they can do neither the one nor the other 
 without employment, that critics in painting 
 cannot make painters, nor the most liberal 
 exhibition of the most perfect models for 
 imitation produce improvement, unless im- 
 provement be made profitable. But let it 
 also be observed, that neither profit nor prac- 
 tice will produce improvement, unless the 
 first be deservedly obtained, and the second 
 judiciously directed ; and to this end, an ex- 
 hibition, such as we now offer, may effectu- 
 ally conduce. 
 
 The finer pictures may teach the collector 
 what to value, and the artist what to follow, 
 in the only branches of the art in which ex- 
 amples can instruct ; since accurate drawing, 
 
7 
 
 or the knowledge of it, that is, the power of 
 representing, with fidelity and facility, the 
 variations of muscular bodies in action, or of 
 judging of such accuracy when produced, can 
 only be acquired by the study of nature, and 
 is therefore rarely possest by any but skilful 
 physiologists, who seldom hear the observa- 
 tions of mere judges of painting without a 
 smile. 
 
 The inferior pictures also may be of service, 
 by teaching the young practitioner, who com- 
 pares them with the best, not to despair ; and 
 the young or old collector to value the name 
 by the work, and not the work by the name, 
 since many of the genuine and authentic pro- 
 ductions of the greatest artists of Italy and 
 Flanders are as unworthy of the reputation 
 which they acquired by other works, as the 
 worst of these are of the reputation due to 
 the best. As matters, indeed, of mere hi- 
 storical or antiquarian curiosity, such pictures 
 may, in some instances, be justly valued : 
 but to hear their faults and defects extolled, 
 
8 
 
 and see them paid for as excellencies, is one 
 of the severe mortifications which every real 
 artist, much conversant with the traffic of 
 art, is doomed to experience. 
 
 Even the very few faded pictures may be 
 of some use, in teaching the artist what to 
 avoid, and the collector what to distrust. 
 These are not the only productions of the 
 kind, composed of materials incapable of re- 
 sisting the influence of time, and the vicis- 
 situdes of climate. The dingy tint which 
 debases so many of the highly priced works 
 of the old Italian painters is not imputable 
 to any other cause, though so often trans- 
 muted by the magic of their names into har- 
 monious warmth and mellow richness. It 
 has, indeed, been supposed, that the de- 
 struction and deterioration of their pictures 
 have not been so great, either in extent or 
 degree, as those of the artist whose works we 
 exhibit. Were we, however, to admit the 
 truth of this supposition, we should also have 
 to observe, that he had not only discoveries 
 
9 
 
 to make, but inveterate errors to surmount ; 
 not only a new road to form, as he proceeded, 
 but to form it over ground that had been 
 broken and intersected in every direction, by 
 the devious tracks of others. Hence his pro- 
 gress was not only slow and interrupted, but 
 necessarily insecure ; and his experiments not 
 only unguided by any safe theory, founded 
 in previons experience, but constantly mis- 
 guided by the false theories of others, founded 
 in bad practice, sanctioned by false taste, and 
 perverted fashion. The only objects of com- 
 parison which he could wish to rival or re- 
 semble were those of past ages, to whose 
 methods he was a stranger; and the recent 
 effects of which he could only separate from 
 the alterations of time, by the analogy of 
 repeated experiments, verified by long ob- 
 servation. His experiments, however, though 
 made with judgment, skill, and perseverance, 
 failed, in some instances, of success, through 
 want of sufficient regularity and attention in 
 observing and recording the results ; so that 
 
10 
 
 he might repeal with accuracy and certainty, 
 that which had procured the effect desired. 
 This he often regretted ; but nevertheless, 
 even in his failures, there may always be 
 traced a just intention, and true conception 
 of what the art should aim at ; and a com- 
 parison of the state in which he found it, 
 with that in which he left it, is alone suf- 
 ficient to entitle him to the respect and gra- 
 titude of its lovers and practitioners. 
 
 To those who have seen the works of the 
 immediate predecessors of this artist, and 
 view the splendid exhibition which is now 
 offered to the public, and, at the same time, 
 consider that these form only a part of the 
 superior productions of one individual, it may 
 be unnecessary to observe, that no painter 
 ever raised the art from so low a state of 
 degradation to so high a point of excellence, 
 or has left more splendid and instructive ex- 
 amples for the imitation of his successors. 
 
i 
 
 PREFACE 
 
 TO THE EXHIBITION IN THE YEAR 1814. 
 
 The Directors of the British Institution 
 have, in pursuance of the plan which they 
 originally proposed, adopted those measures 
 which appeared to them best calculated to 
 facilitate the improvement and lead to the 
 advantage of the British artist; with this 
 view they have set before him many examples 
 of painting of the Foreign School, which 
 appeared to them capable of affording in- 
 struction in the various branches of his art ; 
 but in offering specimens for his study, they 
 have not forgotten the works of the eminent 
 men which the British School has produced. 
 Those of Sir Josh u a Reynolds, displayed last 
 
12 
 
 year at the British Gallery, gratified every 
 lover of the art; they exhibited the most 
 brilliant glow of colouring, and the most fas- 
 cinating combination of fancy and of taste; 
 they proved that England is a soil in which 
 the polite arts will take root, flourish, and 
 arrive at a very high degree of perfection ; 
 if further proof were wanting, it would be 
 found in the varied productions of the masters 
 whose works are now exhibited. 
 
 Hogarth adopted a new line of art, purely 
 English ; his merits are known to the public 
 more from his prints than from his paintings : 
 both deserve our attention. His pictures 
 often display beautiful colouring, as well as 
 accurate drawing ; his subjects generally con- 
 vey useful lessons of morality, and are cal- 
 culated to improve the man as well as the 
 artist : and he teaches with effect, because 
 he delights while he instructs. It has been 
 said of him, that in his pictures he composed 
 comedies : his humour never fails to excite 
 mirth, and it is directed against the fit objects 
 
13 
 
 of ridicule or contempt. The powers of his 
 pencil were not perverted to the purposes of 
 personal attack ; the application of his satire 
 was general, and the end at which he aimed 
 was the reformation of folly or of vice. 
 
 Many of the works of Wilson will be con- 
 templated with delight — few artists have ex- 
 celled him in the tint of air, perhaps the most 
 difficult point of attainment for the landscape 
 painter : every object in his pictures keeps its 
 place, because each is seen through its pro- 
 per medium. This excellence alone gives a 
 charm to his pencil, and with judicious appli- 
 cation may be turned to the advantage of the 
 British artist. The merit of his works is 
 now justly appreciated ; and we may hope 
 that since the period of his decease, the love 
 and knowledge of the art have been so much 
 diffused through this country, that the exer- 
 tion of such talents may never again remain 
 unrewarded during the life of him who pos- 
 sesses them. 
 
14 
 
 The pictures of Gainsborough, as well as 
 those of Hogarth, were drawn entirely from 
 English nature. Among his portraits, some 
 will be found in this Exhibition to possess 
 considerable merit, but his fame will rest 
 chiefly upon his other works; in his fancy 
 pictures he was peculiarly happy. The cha- 
 racteristic air of his cottage children, the 
 truth and spirit with which his animals are 
 touched, his just representation of rustic 
 scenery, the force of his colouring, and the 
 skilful management of his light and shade, 
 give a most captivating effect to his works, 
 and place him indisputably upon the highest 
 eminence among this class of painters. 
 
 Zoffani has been thought to merit the at- 
 tention of the public on this occasion, by the 
 industry with which he has cultivated an 
 interesting branch of portrait painting ; he 
 may be called the historian of the stage of 
 Garrick. Those who remember that inimita- 
 ble actor will be grateful to Zoffani for the 
 
15 
 
 accuracy with which he has recorded all that 
 it was possible to catch of his exquisite but 
 evanescent art. These works will show the 
 young artist, that if so much may be done 
 by care, industry, and a resolute attention to 
 nature without any peculiar degree of taste 
 or power of imagination, how much may be 
 accomplished by the active exertion of minds 
 more bountifully gifted. 
 
 It is not proposed to point out particularly 
 the various beauties displayed in the works 
 of these eminent artists. It is sufficient to 
 touch upon the most prominent ; the painter 
 who studies them will discover many other 
 excellencies, which he may turn to his ad- 
 vantage : neither are the productions of these 
 masters selected as objects of servile imita- 
 tion, but as affording hints, and encouraging 
 attempts, which are likely to lead to improve- 
 ment. The present Exhibition, while it gra- 
 tifies the taste and feeling of the lover of the 
 art, may tend to excite animating reflections 
 in the mind of the artist — if at a time when 
 
16 
 
 the art received little comparative support, 
 such works were produced, a reasonable hope 
 may be entertained that we shall see produc- 
 tions of still higher attainment under more 
 encouraging circumstances. 
 
 The Directors flatter themselves that their 
 endeavours have not been unavailing, even in 
 the short period which has elapsed since the 
 commencement of this establishment. The 
 annual Exhibition of the present year evinced 
 considerable improvement among the junior 
 artists: they trust that improvement will be 
 progressive. It is the anxious wish of the 
 Directors to give publicity to the eminent 
 works of the British artists : to be justly ap- 
 preciated such works must be generally seen ; 
 their introduction into our public halls would be 
 highly desirable ; and the admission of proper 
 scriptural subjects into our churches would 
 surely, while it promoted the art, advance 
 the purposes of religion. The fame of the 
 deceased artist would thus be perpetuated, 
 and the living artist would be prompted to 
 his most strenuous exertions. 
 
PREFACE 
 
 TO THE EXHIBITION IN THE YEAR 1815. 
 
 To gratify the public taste, and to animate 
 the British artist to exertion, the Directors of 
 this Institution have, in former years, selected 
 some of the best productions of the British 
 school : they now, with the same view, offer 
 some of the most admired works of the Dutch 
 and Flemish schools to the inspection and 
 observation of the public ; and they take 
 this opportunity of acknowledging the readi- 
 ness and liberality with which the possessors 
 of these beautiful specimens of art have lent 
 them for the purposes of this Exhibition. 
 
 Whatever difference of opinion may exist 
 as to the best mode of directing the studies 
 
 c 
 
18 
 
 of youth, to the attainment of excellence, 
 all seem to agree that example is the most 
 animating principle which influences their 
 conduct. The Directors of the Institution, 
 therefore, in submitting this collection to the 
 public, do not present it merely for the pur- 
 pose of amusing the curious, or of delighting 
 the judicious ; they hope that such produc- 
 tions may excite in the British artist the 
 ardour of emulation. They offer them to 
 him, not that he may copy, but that he may 
 study them. They wish him to catch the 
 spirit rather than to trace the lines ; and to 
 set his mind, rather than his hands, to work 
 upon this occasion. 
 
 They are itilly aware how difficult is the 
 task of those who attempt to lay down pre- 
 cise rules for the guidance of the artist : they 
 know how uncertain are the steps by which 
 the human mind is led to the attainment of 
 knowledge of any kind, and that excellence 
 in the art of painting is not of easy acquire- 
 ment ; that very much depends upon the 
 
19 
 
 artist himself ; that skill is the recompense 
 of patience, of attention, and of labour, rather 
 than the work of instruction ; and that even 
 the greatest facilities which can be given may 
 produce carelessness and neglect, while diffi- 
 culties and obstructions may excite industry, 
 and lead to the attainment of perfection : 
 but though they do not attempt to prescribe 
 rules, they may guard against errors. To a 
 superficial observer, many of the great works 
 before us may seem the result of genius with- 
 out the aid of study. No opinion can be 
 more fallacious, and to the artist no mistake 
 more fatal. Genius and fancy, it is true, 
 give the magical charm to the productions 
 of art ; but those who think that genius and 
 fancy will supply the place of care, of atten- 
 tion, and of industry, mistake the course they 
 have to pursue. They try by a short road 
 to arrive at perfection, and never approach it ; 
 while those who travel diligently, and toil on 
 the way, will probably arrive successfully at 
 the end of their journey. Rubens would not 
 
 c 2 
 
20 
 
 have produced the works before us without 
 genius ; but he did not throw aside rule and 
 authority until he had established himself 
 upon their basis ; nor until he had, by prac- 
 tice and experience, obtained the just claim 
 to pursue, unrestrained, his brilliant and suc- 
 cessful career. 
 
 In presenting this collection to the public, it 
 is to the works of Rubens, of Vandyke, and 
 of Rembrandt, that the Directors desire par- 
 ticularly to call the general attention. Each 
 of these masters has his peculiar merit, and 
 from each may be derived abundant sources 
 both of study and delight. The genius of 
 Rubens was universal. He excelled in hi- 
 story, allegory, portrait, animals, and land- 
 scapes : he seems to have had more variety 
 and more playfulness in his pencil than any 
 other artist. If sometimes he appears careless, 
 it is never the effect of ignorance ; he knew 
 that what he gained in correctness he might 
 lose in freedom ; and that freedom constituted 
 one of the most fascinating charms of art. 
 
21 
 
 The picture of the Bacchanalians is an ex- 
 ample of his vivid and luxurious colouring ; 
 but brilliant as it is, it is still harmonious. 
 And Moses raising the Brazen Serpent, and 
 the allegory of Peace and War, are proofs 
 that he could equally adapt deeper shadows 
 and more sober tints, when they were better 
 suited to his purpose. For richness of co- 
 louring, grandeur of design, and facility both 
 of invention and execution, no painter ever 
 surpassed him. 
 
 Although Vandyke was not endowed with 
 the same fertility of genius which character- 
 ized his master ; although he does not seem 
 to have had the same confidence in himself, 
 or to have dared to make the same bold and 
 extraordinary attempts, yet he possessed more 
 delicacy of taste, and his portraits are superior 
 to those of Rubens. That of Charles I. in 
 this Exhibition shows how much delicacy of 
 execution may be combined with breadth and 
 with dignity. No painter knew better how 
 to appreciate these qualities than Sir Joshua 
 
22 
 
 Reynolds, and he pronounced this to be the 
 finest equestrian portrait which had ever been 
 produced. 
 
 As the splendid style of Rubens was well 
 calculated for the representation of battles, 
 of triumphal processions, and of all subjects of 
 showy magnificence, so the manner of Rem- 
 brandt was equally well adapted to give in- 
 terest and effect to scenes of more solemn 
 grandeur. He has perhaps, above all other 
 masters, the merit of originality. In others 
 we can trace the road by which they travelled ; 
 but Rembrandt struck out a path of his own, 
 which conducted him to a very high degree 
 of perfection in his art. In the skilful ma- 
 nagement of light and shadow, on which so 
 much of the sentiment of a picture depends, 
 he is surpassed by none ; and if, as has been 
 observed, the expression of his characters is 
 sometimes mean, it is always appropriate. In 
 the practical part of his art, no painter under- 
 stood better the management of the back- 
 ground of his picture ; he could render it 
 
23 
 
 broad and quiet without barrenness, rich and 
 active without disturbance, and he always 
 made it most advantageously conducive to the 
 general purposes of his work. The Wise 
 Men's Offering, and Anslo and his Wife, are 
 among the finest of his works ; these, and the 
 other productions of this master, which the 
 Directors have selected, will be universally 
 admired, as a most captivating display of 
 strength, richness, solidity, and truth. 
 
 In addition to the works of these illustrious 
 artists, the Directors have endeavoured to 
 obtain specimens of the other most celebrated 
 masters of the Dutch and Flemish schools. 
 Among them Cuyp stands pre-eminent : the 
 brilliant daylight of his pictures enlivens every 
 collection in which they are found. Gerard 
 Dow, Metzu, F. Mieris, Perburgh, Pot- 
 ter, A. Ostade, Teniers, J. Steen, Berg- 
 hem, Both, and Vandervelde, display ge- 
 nerally the most faithful and exact imitation 
 of nature. They all show what assiduity may 
 accomplish, and some of them unite with care 
 
24 
 
 and industry several of the higher qualities of 
 the art. 
 
 The Directors trust that this magnificent 
 display will be productive of much advantage. 
 To show what may be attained, is likely to 
 lead to the endeavour to attain it. Great 
 examples are the true promoters of emula- 
 tion, the surest conductors to excellence. 
 Who can doubt that the genius of a Wel- 
 lington will create future heroes to achieve 
 the most brilliant exploits for the glory of our 
 country? Let us hope that the genius of 
 Rubens may produce artists to record them. 
 
ADVERTISEMENT 
 
 TO THE EXHIBITION OF 1816. 
 
 The Directors have exerted themselves to 
 form an exhibition of the Italian and Spanish 
 schools of painting, which cannot fail to be 
 highly gratifying to the lovers of the art, and 
 well deserving the attention of the public. 
 They have ascribed each picture to the master 
 under whose name it is sent in by the pro- 
 prietor. 
 
PREFACE 
 
 TO THE EXHIBITION IN 1820. 
 
 To show the comparative degrees of excel- 
 lence to which the art of painting has arrived 
 in this country at different periods, and to 
 exhibit the portraits of many of the most 
 eminent men who have flourished amongst 
 us, cannot fail to be interesting to the artist, 
 the historian, and the public at large. 
 
 We never read of the actions of any distin- 
 guished individual without feeling a desire to 
 see a resemblance of his person ; we often 
 imagine that we can trace the character of the 
 man in the expression of his countenance ; 
 and we retain a more correct recollection of 
 
28 
 
 his actions by keepihg in our minds a lively 
 impression of his general appearance. 
 
 In submitting this collection to the in- 
 spection of the public, we do not profess to 
 exhibit the portraits of all the eminent men 
 who have distinguished themselves in the an- 
 nals of British history : of some of them nei- 
 ther the art of painting nor of sculpture has 
 handed down to us any resemblance ; and of 
 others we have been obliged to admit that 
 which is rather the received representation, 
 than the well authenticated portrait. The 
 principles we have kept in view, in making 
 our selection, have been, first, the celebrity 
 of the individual who is represented ; and, 
 secondly, the excellence of the painting itself. 
 We have thus, in some instances, admitted 
 the portrait of an eminent person where there 
 is little merit in the performance ; and, in 
 others, we have admitted a well painted por- 
 trait where there was comparatively little 
 celebrity belonging to the individual it repre- 
 sents. 
 
29 
 
 Our object in forming the collection has 
 been to interest, rather than to instruct. We 
 attempt to guide the artist no further than 
 to offer for his observation, from time to time, 
 specimens from which we think he may de- 
 rive improvement ; the rest depends upon 
 himself : as little do we enter into the exa- 
 mination of questions connected with the cul- 
 tivation of the arts, which have been often 
 discussed, and perhaps never satisfactorily de- 
 cided. Whether a School of Painting is more 
 likely to create imitators than to assist extra- 
 ordinary talents ; whether the facilities which 
 it affords are of material advantage to the 
 artist ; whether real genius will not more 
 probably lead to excellence by following its 
 own course; and whether it will not sur- 
 mount all difficulties, and show itself still 
 more transcendent, because it has had to con- 
 tend with them, — are questions we do not 
 attempt to solve. Our purpose is to extend 
 to a wider circle the love and admiration, 
 and patronage of the arts: if we succeed in 
 
30 
 
 this attempt, we advance the cause we have 
 undertaken. 
 
 His Majesty, the illustrious patron of our 
 Institution, whose gracious assistance in fur- 
 thering our general objects is so strongly 
 exemplified in the present Exhibition, has 
 done more to promote the arts than any so- 
 vereign in Europe. In the encouragement 
 which he has held out, munificence and taste 
 have been equally displayed. His example 
 will not only be admired, but followed. But 
 we have also among us many other liberal 
 promoters of the arts. In foreign countries, 
 where the sovereign is almost the only patron, 
 a work which he has noticed finds at once a 
 thousand imitators. Imitation is the conse- 
 quence of such limited encouragement; the 
 exertion of talent, in the particular line in 
 which each individual excels, is the result of 
 general and extensive patronage. With us 
 every artist may pursue his own course ; for 
 every man of genius and of talent will find 
 his admirer and his patron. 
 
31 
 
 To increase the number of such admirers 
 is the great object of the British Institution ; 
 we hope our endeavours have not been ex- 
 erted in vain. No person of liberal and en- 
 lightened mind can doubt the use and the 
 importance of encouraging the cultivation of 
 the arts: they are connected not only with 
 the comforts and amusements of polished 
 society, but with the general interests of the 
 nation ; and we entertain the hope, that the 
 same energy of mind which characterizes our 
 countrymen, and which raised the glory of 
 our arms to its highest elevation in the late 
 war, may carry the improvement of our arts 
 to the same degree of pre-eminence during 
 the interval of peace. 
 
PREFACE 
 
 TO THE EXHIBITION IN 1823. 
 
 Ten years have elapsed since we offered to 
 public inspection the paintings of Sir Joshua 
 Reynolds; and if at intervals of the same 
 period we were to present an exhibition of 
 his works, we are convinced it would prove 
 most useful to the painter, and gratifying to 
 the public. 
 
 Taste and fashion seldom, perhaps, go hand 
 in hand ; but they never were more at vari- 
 ance than when Sir Joshua was in the full 
 exercise of his powers. Female dress was 
 never more unfavourable to the painter's art 
 than at that period, and yet female beauty 
 was never represented with more fascinating 
 
 D 
 
34 
 
 charms than by his pencil. The truth is, 
 that he was one of the greatest masters of 
 grace and elegance that ever lived : "he 
 touched nothing which he did not adorn 
 and his works prove to us, how much more 
 depends upon the artist's skill in treating his 
 subject, than upon the subject itself, His 
 practice we have before us ; his theory will 
 be found in those excellent discourses which 
 he delivered at the Royal Academy, — which 
 can never be "read by the lover of the arts 
 without interest, by the scholar without de- 
 light, or the painter without instruction. 
 Some of us remember the kindness of his 
 heart, and the complacency of his character : 
 these dispositions led him, in the practice of 
 his art, generally to select subjects which be- 
 long to the gentler feelings and the kindlier 
 affections of our nature : but the examples 
 here presented to us fully show, that the most 
 forcible expression of the strongest passions 
 was not above his reach. 
 
 We are proud of our countryman ; we rank 
 
85 
 
 him among the most eminent painters the art 
 has produced ; we honour his name ; and we 
 hope others may be led into the same path, 
 and may be excited by his success to similar 
 exertions. 
 
 The liberality of the possessors of ancient 
 pictures has enabled us also to exhibit to the 
 public some distinguished works of the Italian, 
 Spanish, Dutch, and Flemish schools. The 
 disposition which has been thus evinced by 
 the proprietors of these works to enrich our 
 Gallery is highly gratifying to us ; but it is 
 to his Majesty's most gracious kindness and 
 condescension that we are particularly in- 
 debted upon this, and upon all former occa- 
 sions, for permitting us to select, both from 
 the royal palaces and from his own beautiful 
 private collection, some of the works which 
 have most added to the brilliancy of our 
 Exhibition. 
 
 d 2 
 
EXHIBITION OF PAINTINGS 
 
 IN THE 
 
 BRITISH INSTITUTION, 
 
 DURING THE LAST TEN YEARS, FROM 
 1813 TO 1823. 
 
 In the 
 Year 
 
 1813. BY SIR JOSHUA REYNOLDS. 
 
 1814. BY HOGARTH, WILSON/ GAINSBOROUGH, AND 
 
 ZOFFANIJ. 
 
 1815. BY RUBENS, REMBRANDT^ VANDYKE, AND OTHER 
 
 ARTISTS OF THE FLEMISH AND DUTCH 
 SCHOOLS. 
 
 1816. BY PAINTERS OF THE ITALIAN AND SPANISH 
 
 SCHOOLS. 
 
 1817. BY DECEASED BRITISH ARTISTS. 
 
 1818. BY PAINTERS OF THE ITALIAN, SPANISH, FLE- 
 
 MISH, DUTCH, AND FRENCH SCHOOLS. 
 
 1819. BY THE SAME. 
 
 1820. PORTRAITS REPRESENTING DISTINGUISHED 
 
 PERSONS IN THE HISTORY AND LITERATURE 
 OF THE UNITED KINGDOM. 
 
38 
 
 1821. BY PAINTERS OF THE ITALIAN, SPANISH, FLE- 
 
 MISH, AND DUTCH SCHOOLS. 
 
 1822. BY THE SAME. 
 
 j 823. BY SIR JOSHUA REYNOLDS, WITH A SELECTION 
 FROM THE ITALIAN, SPANISH, FLEMISH, 
 AND DUTCH SCHOOLS. 
 
THE SCHOOLS OF PAINTING 
 
 IN ITALY. 
 
 Che farsi un buon pittore, brama e desia, 
 
 II disegno di Roma abbia in mano; 
 
 La massa coir ombra Veneziano, 
 
 E il degno colorir di Lombardia ; 
 
 Di Michel AngioV la terribil via, 
 
 II vero natural di Tiziano, 
 
 Di Corregio lo stil puro e sovrano, 
 
 E di un Raffael la vera simmitria, &c. 
 
 Sonetto di Aug, Caracci. 
 
 " Each heavenly piece unwearied we compare, 
 
 Match Raphael's grace with thy loved Guido's air, 
 Caraccis strength, Correggws softer line, 
 Paulo's free stroke, and Titian's warmth divine/' 
 
 Popes Epistle to Jervas. 
 
THE FLORENTINE SCHOOL 
 
 OF THE SECOND iERA. 
 
 <e Et vous de nos secrets sublimes interpretes ! 
 Artistes ,eloquens, coloristes poetes ! 
 Horn ere le Correge, Albane Anacreon, 
 Virgile Raphael, Michel- Ange Milton; 
 Apprenez aux mortels empresses sur vos traces 
 Le pouvoir du genie, et les charmes des graces.' * 
 
 Watelet, UArt de Peindre. 
 
 " Hinc viget ille tuis Raphael divine ! figuris 
 Spiritus, hinc dulcis gratia Guido tuis. 
 Annibal hinc, audaxque manu Bonarota gigantum 
 Corpora, et expressit grandia membra Deum." 
 
 Anonym. 
 
42 
 
 LIONARDO DA VINCI. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 Virgin, Child, and Angels 
 Christ disputing with the Doctors 
 
 1816 
 
 3 
 
 Head of our Saviour 
 
 
 12 
 21 
 
 22 
 
 Heads of nine of the Apostles 
 Virgin with the infant Jesus 
 Salvator Mundi with a globe in 
 his hand 
 
 1818 
 
 23 
 
 A boy showing a trick 
 Flora 
 
 1821 
 1823 
 
 24 
 
 The Mona Lisa sitting in a chair; 
 back-ground, a landscape, with 
 a bridge 
 
 
 * Marriette (in his Lett. Pittor. T. 2. p. 175) reports this picture 
 to have been in the collection of Francis I., who gave for it 4000 
 crowns. In Vasari's time, it was in the collection at Fontainbleau : 
 it was afterwards removed to Versailles. V Espici'z. Catalogue rai- 
 sonnee des Tableaux du Roy. T. I. p. 13. Lionardo wrote treatises 
 upon Painting and Mechanics. The best edition was published by 
 Raffaelle du Fresne, Fol. Paris, 1651 ; translated by J. F. Rigaud, 
 with a life by J. S. Hawkins , 8vo. 1802. Twelve volumes of Tracts 
 and Designs, MSS. were preserved in the Ambrosian Library. A 
 
43 
 
 N. 1443. M. 1520. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 A. Baring, Esq. 
 Lord Northwick 
 
 Sir T. Baring, Bart. 
 
 Ditto 
 Earl of Suffolk 
 
 J. Philip Miles, Esq. 
 
 W. Beckford, Esq. 
 Sir T. Baring, Bart. 
 
 Sir Ab. Hume, Bart. 
 
 From the Escurial. 
 
 From the Aldobrandini pa- 
 lace, Rome. 
 
 Cartoon for the great picture of 
 the Last Supper at Milan. 
 
 Studies for the same. 
 
 See a Catalogue of his collec- 
 tion, with etchings, folio, 
 1822. 
 
 In the supplement to Delia 
 Valle's first edit, of Vasari, 
 this picture is said to have 
 been painted for the Duke 
 de St. Simon. 
 
 She was the wife of Francesco 
 Giocondo: her portrait is 
 said to have employed Lio- 
 nardo during four years. 
 There is another at Flo- 
 
 TPT1PP T, Sin 71 nVlOPWPC ee Tl 
 
 i tiii^c* a^cLUZjL UUocl Vco, xJ 
 
 tanto celebre ritratto di 
 Mona Lisa, lavoro de quat- 
 tro anni, e non dato mai per 
 finito*." It is not known 
 how this portrait was 
 brought to England. It 
 was given to Sir J.Reynolds 
 by the late Duke of Leeds. 
 
 large volume of his Drawings, preserved by Pompeio Leone, which 
 belonged to King Charles L, is now in his Majesty's collection, 
 fac similes from which have been published by J. Chamberlain, 
 Esq. imp. fol. The best criticisms upon his works are those of Mar- 
 riette and Bottari. Drawings in his Majesty's Library, by Holbein, 
 L\ da Vinci, and the three Caracci, have been engraven and 
 strictly imitated under the care of F. Bartolozzi, and published in 
 three volumes, imp. folio, by J. Chamberlaine, Esq. 
 
44 
 
 ANTONIO 
 
 N. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Christ rejected 
 
 1818 
 
 
 
 ANDREA 
 
 
 N. 1488. 
 
 1 
 
 2 
 
 Holy Family 
 The same subject 
 
 1816 
 
 3 
 
 Portrait of the Countess de Mattei 
 
 
 4 
 5 
 6 
 
 7 
 8 
 
 Head of a Boy 
 
 A Man's Portrait 
 
 Portrait of the Gardener of the 
 Grand Duke of Florence 
 
 Virgin, infant Jesus, and St. John 
 
 Ditto, with St. John, St. Eliza- 
 beth, and St. Catherine 
 
 1819 
 1821 
 
45 
 
 DA FERRARA. 
 
 M. 1500. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Mrs Morland 
 
 
 DEL SARTO. 
 M. 1530. 
 
 A. Champernowne 
 Rev. W. H. Carr 
 
 Earl Grosvenor 
 
 Earl of Aberdeen 
 Earl Cowper 
 
 From the Aldobrandini Pa- 
 lace. 
 
 See a Catalogue of the Pic- 
 tures at Grosvenor House, 
 London, with Etchings from 
 the whole Collection, by J. 
 Young, folio, 1820. 
 
 His Majesty 
 G. W. Taylor, Esq. 
 
 His Majesty 
 
 This collection has been dis- 
 persed by auction, 1823. 
 
46 
 
 LUDOVICO MAZZOLINI 
 N. 1420. 
 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 
 
 1 
 
 2 
 
 Warriors on Horseback 
 
 Holy Family, with St. Francis 
 
 1818 
 1823 
 
 
 SEBASTIANO 
 
 
 N. 1485. 
 
 
 1 
 
 Holy Family, with St. Francis ; 
 the composition and drawing by 
 M. Angelo 
 
 1816 
 
 
 2 
 3 
 
 4 
 5 
 6 
 7 
 
 Portrait of Lorenzo de Medici 
 Cardinal de Medici and Sebastiano 
 
 del Piombo 
 Dead Christ, with the Maries 
 Portrait of a Man 
 Ditto of a Spanish Lady 
 The Crucifixion ; drawing by M. 
 
 Angelo 
 
 1819 
 
 1820 
 1822 
 

 47 
 
 DA FERRARA. 
 
 
 M. 1530. 
 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 His Majesty 
 
 T> 117" T T 
 
 Kev. W. H. Carr 
 
 
 DEL PIOMBO. 
 M. 1547. 
 
 Sir T. Baring, Bart. 
 
 Earl of Aberdeen 
 Rev. W. H. Carr 
 
 Sir H. Wellesley 
 Marquis of Lansdowne 
 His Majesty 
 
 Ph. J. Miles, Esq. 
 
 From the collection of the Se- 
 nator Cambiagio, at Genoa 
 
48 
 
 GIOVANNI BATTISTA 
 N. 1528. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The School Master. 
 
 1818 
 
49 
 
 MORONI. 
 M. 1578. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Marquis of Stafford 
 
 
 E 
 
THE VENETIAN SCHOOL, 
 THE BOLOGNESE SCHOOL, 
 
 AND 
 
 THE LOMBARD SCHOOL. 
 
 " Mox ubi judicium emensis adoleverit annis, 
 Singula, qua3 celebrant prima? exemplaria classis, 
 Romania Veneti, Parmenses, atque Bononi, 
 Partibus in cunctis pedetentim, atque ordine recto, 
 Ut monitum supra est, vos expendisse juvabit 
 
 Du Fresnoy, v. 515. 
 
 " As years advance, to modern masters come, 
 Gaze on their glories in majestic Rome ; 
 Admire the proud productions of their skill, 
 Which Venice, Parma, and Bologna fill ; 
 And, rightly led by our preceptive lore, 
 Their style, their colouring, part by part, explore/' 
 
 Mason. 
 
 " On the revival of painting in Italy, Michel Agnuolo 
 and RafFaelle in composition and design, Titian and Cor- 
 reggio in colouring and light and shade, unrestricted 
 to the practice, and unoppressed by the reputation of 
 their predecessors, arose to a degree of excellence in 
 which they have been never once equalled, because they 
 have been always imitated. " 
 
 Shee, Elem. of Art, n. 
 E 2 
 
52 
 
 TITIAN VECELLI, 
 N. 1477. 
 
 " Nature's aerial tints and fleeting dyes, 
 Old Titian first embodied to the eyes, 
 And taught the tree to spread its light array 
 In mimic colours, and on canvas play." 
 
 The Landscape, by R. P. Knight. 
 
 No. 
 
 2 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 30 
 
 Subject. 
 
 Bacchus and Ariadne 
 Europa 
 
 Christ tempted 
 Marriage of St. Catherine 
 The same 
 
 Titian's daughter with a Casket 
 
 Virgin and Child 
 
 A Man drinking 
 
 Adonis going to the Chase 
 
 Man with a Hawk on his fist 
 
 Year of 
 Exhibition. 
 
 1816 
 
 1818 
 
53 
 
 DA CADORE. 
 M. 1576. 
 
 " amicitiamque, gradusque, dolosque colorum, 
 
 Compagemque ita disposuit Titianus, ut inde 
 Divus sit dictus." 
 
 Du Fresnoy, de arte graphica,v. 532. 
 
 " Aureo Titiani radio, qui per totam tabulam gliscens, earn vere 
 suam denunciat." Anon. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Thomas Hamlet, Esq. 
 
 Earl of Darnley 
 T. Hope, Esq. 
 B. West, Esq. 
 Lord Dundas 
 Lady Lucas 
 Marquis of Lansdowne 
 Sir A. Hume 
 Earl of Darnley 
 Earl of Carlisle 
 
 From the AldobrandiniPalace, 
 Rome. 
 
 From the Orleans Gallery. 
 
 From the same. This col- 
 lection was made by 
 Philip, Duke of Orleans, 
 Regent of France during 
 the minority of Louis XV. 
 who placed it in the 
 Palais Royale, and added 
 to it the pictures which 
 belonged to Chnstma,queen 
 of Sweden, and Cardinal 
 Richelieu. Engravings 
 from this collection were 
 published in 1786. The 
 whole were sold by the last 
 possessor, in 1792. In the 
 next year the Flemish and 
 Dutch pictures were sold by 
 auction, in London. The 
 Italian part, having been 
 mortgaged to Walquier, 
 of Brussels, and La Borde, 
 bankers, were jointly pur- 
 chased by the late Duke of 
 Bridgewater, the Earl of 
 
54 
 
 No. 
 
 Subject. 
 
 Year ot 
 Exhibition. 
 
 1 1 
 
 TTIip Cnrnarn Familv 
 
 
 12 
 
 A A/fan holding* a Hawk 
 
 1819 
 
 13 
 
 Venus and Cupid 
 
 
 14 
 
 Ecce Homo 
 
 
 15 
 
 Diana and Actseon (a sketch) 
 
 
 16 
 
 Perseus and Andromeda 
 
 
 17 
 
 Portrait of a Man 
 
 
 18 
 
 His own Portrait 
 
 
 19 
 
 Portrait 
 
 1821 
 
 20 
 
 Do. of the Emperor Vitellius 
 
 
 21 
 
 Landscape with Nymphs bathing 
 
 1822 
 
 22 
 
 A Pnvtrait 
 
 
 23 
 
 Dogs 
 
 
 24 
 
 The Emperor Otho 
 
 
 25 
 
 A Venetian Family 
 
 
 26 
 
 The Emperor Caligula 
 
 1823 
 
 27 
 
 Landscape with Figures landing 
 
 
 
 from a Vessel 
 
 
 28 
 
 Landscape with Figures 
 
 
 29 
 
 The Emperor Charles the Fifth 
 
 
55 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 D. of Northumberland 
 
 Sir T. Baring 
 A. Champernowne, Esq. 
 G. J. Cholmondely, Esq. 
 Sir A. Hume, Bart. 
 Earl of Yarmouth 
 His Majesty 
 Earl of Carlisle 
 H. Banks, jun. Esq. 
 
 G. J. Cholmondely, Esq. 
 Rt. Hon. Sir C. Long, 
 G. C. B. 
 Duke of Bedford 
 Sir A. Hume, Bart. 
 G. J. Cholmondely, Esq. 
 Sir A. Hume, Bart. 
 Sir Henry Wellesley 
 
 The same 
 Lionel Harvey, Esq. 
 
 Carlisle, and Lord Gower, 
 (now Marquis of Stafford) 
 in 1798, for 43,500/. There 
 were 276 pictures. Every 
 true virtuoso will rejoice in 
 this event, as compensat- 
 ing the loss of the Hough- 
 ton Collection. 
 Luigi Cornaro, a senator of 
 Venice, ob. 1566, set. 98, 
 celebrated for his popular 
 treatise on abstinence and 
 long life. 
 
 An unfinished picture. 
 
56 
 
 M. ANGELO, 
 
 N. 1474. M. 1564. 
 
 " Quidquid erat formae, scivit Bonarota potenter." 
 
 Du Fresnoy, v. 522. 
 
 " See Angelo, with energy divine, 
 Seize on the summit of correct design." Mason. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 
 Dead Christ, with the Virgin and 
 
 Angels 
 The Crucifixion 
 
 Dead Christ, with the Virgin Mary 
 
 3818 
 
 1823 
 
57 
 
 and MARCELLO VENUSTI. 
 N. 1515. M. 1576. 
 
 " Nunc etiam impavidis surgens ad sidera pennis, 
 Terrense nil faecis habens, flammantia mundi 
 Mcenia transgreditur." Marsy, de arte pingendi. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Prince Regent 
 Ph. J. Miles, Esq. 
 Sir H. Wellesley 
 
 " I reflect, not without va- 
 nity, that these discourses 
 bear testimony of my ad- 
 miration of that truly di- 
 vine man, and I should de- 
 sire that the last words that 
 I should pronounce in this 
 Academy, and from this 
 place, might be the name 
 of M. Angelo." — Sir J. 
 Reynolds's LastDiscourse. 
 — Life of M. Angel o, by 
 R. Duppa, Esq. LL.B. 
 
 His great characteristic was 
 that "difficult facility," 
 scarcely attained by any 
 other artist. 
 
 u All small or large oil pic- 
 tures shown as his are co- 
 pies from his designs, or 
 cartoons, by Marcello Ve- 
 nusti, Giacopo da Pan- 
 tormo, Battista Franco, and 
 Sebastian, of Venice." 
 Fuseli's Second Lecture. 
 
58 
 
 AGNOLO 
 
 n. mii. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 A Man's Head 
 
 1819 
 
 PIETRO BERETTINI 
 N. 1596. 
 
 1 
 
 St. Jerome 
 
 1816 
 
 GIORGIO 
 N. 1512. 
 
 1 
 
 St. Luke, writing the Gospel 
 
 1823 
 
59 
 
 BRONZINO. 
 M. 1580. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. Watson Taylor 
 
 " He excelled in portraits, 
 and painted those of the 
 most celebrated personages 
 of his time, the poets Dante, 
 Boccaccio, and Petrarcha." 
 — Bryan. 
 
 DA CORTONA. 
 M. 1669. 
 
 Sir T. Baring, Bart. 
 
 From the Ricardi Palace, at 
 Florence. 
 
 VASARI. 
 M. 1574. 
 
 Sir T. Baring, Bart. 
 
 The author of the first col- 
 lection of the Lives of the 
 Painters, 4to. 2 vols. 1550 ; 
 and, in 1571, 3 vols, with 
 portraits cut in wood. The 
 best edition is that of Giov. 
 Bottari, Roma, 1 759, 3 vols. 
 4to. 
 
60 
 
 GIOVANNI ANGELICO, 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Assumption of the Virgin 
 
 1816 
 
 GIORGIO BARBARELLI DI 
 N. 1478. 
 
 1 
 
 2 
 3 
 
 Small Portrait in Armour, W. L. 
 Portrait of a Lady and her Son 
 Portrait of Gaston dp T^oi"?c 
 
 1816 
 1 HI 8 
 
 4 
 5 
 6 
 7 
 
 Portrait of Aretino 
 Portrait of Gaston de Foix 
 Portrait of Raffaello 
 A Concert 
 
 1819 
 1822 
 
61 
 
 BEATO DA FIESOLE. 
 M. 1455. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Rev. J. Sanford 
 
 
 CASTEL-FRANCO-GIORGIONE. 
 M. 1511. 
 
 B. West, Esq. 
 R. P. Knight, Esq. 
 Earl of Carlisle 
 
 G. Watson Taylor 
 Earl of Mulgrave 
 G. J. Choi m on del y, Esq 
 Earl of Yarmouth 
 
 From the Orleans Gallery. 
 Of this portrait there are 
 several repetitions. One in 
 the French king's collection 
 exhibits a singular "con- 
 cetto." Gaston is repre- 
 sented as sitting in a room, 
 which is surrounded by 
 looking - glasses, each of 
 which reflects his figure. 
 
 Gaston de Foix, Due de Ne- 
 mours, was the nephew of 
 Louis XII. He greatly sig- 
 nalised himself in the Italian 
 wars, and was slain at the 
 battle of Ravenna, in 1512, 
 at the early age of twenty- 
 four years. 
 
62 
 
 ANDREA SCHIAVONE, 
 N. 1522. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 The Departure of Briseis 
 Solomon and the Queen of Sheba 
 
 1821 
 1822 
 
 
 
 NICCOLO 
 
 
 N. 1512. 
 
 i 
 
 Orpheus and Eurydice, in a Land- 
 scape 
 
 1823 
 
 
 BARTELEMI SCHIDONE, 
 
 
 N. 1560. 
 
 1 
 
 2 
 
 The Transfiguration 
 Head of a Boy 
 
 1822 
 1823 
 
63 
 
 called MEDULA. 
 M. 1582. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 His Majesty 
 J. Filer, Esq. 
 
 
 DELL ABATE. 
 M. 1571. 
 
 Mr. Yates 
 
 He was distinguished for his 
 happy imitations of Raffaelle 
 and Correggio. His fresco 
 paintings in the palace of 
 Fontainbleau are much ad- 
 mired/' 
 
 Et meme, en imitant, tou- 
 jours original." — Boileau 
 Lanzi ranks him among the 
 most successful proficients 
 in the school of Raffaelle. 
 
 or SCHEDONE. 
 M. 1616. 
 
 His Majesty 
 W. Wells, Esq. 
 
 The pictures of Schidone 
 are equally valuable for 
 their beauty and extreme 
 rarity." — Bryan. 
 
64- 
 
 GIOVANNI ANTONIO 
 N. 1484. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Woman taken in Adultery- 
 
 1818 
 
 FEDERIGO 
 
 N. 1528. 
 
 1 
 
 2 
 
 Madonna del Gatto 
 Christ calling St. Peter 
 
 1821 
 1823 
 
 GIACOMO CORTESE— 
 N. 1621. 
 
 1 
 
 2 
 
 A Battle 
 
 The same Subject 
 
 1821 
 1822 
 
65 
 
 LICINO IL PORDENONE. 
 M. 1540. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Marquis of Stafford 
 
 The Collection of Paintings 
 at Cleveland-House, many 
 of which are published in 
 the " British Galleries" of 
 Foster and Tomkins. 
 
 BAROCCIO. 
 M. 1612. 
 
 j His Majesty 
 Lord Garvagh 
 
 
 BORGOGNONI. 
 M. 1676. 
 
 Rev. J. San ford 
 W. Stanley, Esq. 
 
 " In beholding his pictures, 
 we seem to hear the shouts 
 of war, the neighing of the 
 horses, and the cries of the 
 wounded."— Lanzi. 
 
 V 
 
66 
 
 FRANCISCO ALBANI, 
 N. 1578. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 3 
 4 
 5 
 6 
 
 Christ in the Garden 
 Holy Family, with Angels pre- 
 senting Fruit to the Infant 
 The same subject 
 The Baths of Diana 
 Apollo recalled to Heaven 
 The Birth of Adonis 
 
 1816 
 
 1821 
 1822 
 
 1821 
 1823 
 
 LUDOVICO 
 N. 1555. 
 
 The Nativity 
 
 St. Francis with the Angel 
 Lot and his Daughters 
 Sybilla Lybica 
 Lot and his Daughters 
 Christ's Agony in the Garden 
 The Entombing of Christ 
 The Virgin with the infant Christ 
 and Angels 
 
 1816 
 1818 
 
 1819 
 
67 
 
 or ALBANO. 
 M. 1660. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 John Knight, Esq. 
 
 Sir J. Murray, Bart. 
 
 Earl Spencer 
 Earl of Yarmouth 
 Earl of Darnley 
 W. G. Coesvelt, Esq. 
 
 Albano is styled the " Ana- 
 creon of Painting." — Lanzi. 
 
 CARACCI. 
 M. 1619. 
 
 Sir T. Baring, Bart. 
 R. P. Knight, Esq. 
 Earl of Mulgrave 
 W. Beckford, Esq. 
 Earl of Mulgrave 
 Marquis of Lansdowne 
 Sir T. Baring, Bart. 
 
 Marquis of Lansdowne 
 
 Malvasia characterises the 
 style of L. Caracci, " una 
 grandezza che mai piu" 
 
 His etchings from his own de- 
 signs are in a most free and 
 masterly style. 
 Bryan's Diet, of Painters. 
 
 F 2 
 
68 
 
 ANNIBALE 
 N. 15 GO. 
 
 quos Hannibal sedulus omnes 
 
 In propriam mentem atque modum, miru arte coegit." 
 
 Du Fresnoy. 
 
 No. 
 
 Subject. 
 
 Year of 
 
 Exhibition. 
 
 i 
 1 
 
 L IJt; 1 1 luiupil 01 vJcMRXccl 
 
 1 ft 1 
 loJ u 
 
 2 
 
 The Reposo 
 
 
 3 
 
 Landscape, with the Flight into 
 
 
 
 Egypt 
 
 
 4 
 
 Do. with Nymphs and Satyrs 
 
 
 5 
 
 Toilet of Venus 
 
 
 6 
 
 Christ and St. Peter 
 
 
 7 
 
 Magdalene 
 
 
 8 
 
 Holy Family 
 
 
 9 
 
 Magdalene 
 
 
 10 
 
 Holy Family 
 
 
 li 
 
 St. James 
 
 1818 
 
 12 
 
 Infant Christ, with Angels 
 
 
 13 
 
 The Coronation of the Virgin 
 
 1819 
 
 14 
 
 St. John 
 
 
 15 
 
 Christ and Woman of Samaria 
 
 
 16 
 
 Virgin with the infant Christ 
 
 
69 
 
 CARACCI. 
 M. 1609. 
 
 * From all their toils combined with happy toil, 
 Did Annibal compose his wondrous style ; 
 O'er the fair fraud so close a veil is thrown, 
 That every borrow'd grace becomes his own." — Mason, 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 T. W. Coke, Esq. 
 Marquis of Stafford 
 Earl of Suffolk 
 
 Sir T. Baring 
 Earl of Darnley 
 T. Hamlet, Esq. 
 
 Sir M. M. Sykes, Bart. 
 
 Earl of Suffolk 
 R. P. Knight, Esq. 
 
 Earl of Suffolk 
 
 Mrs. Morland 
 G. Hibbert, Esq. 
 
 A. Day, Esq. 
 
 Sir J. Murray 
 G. Watson Taylor 
 
 Sir T. Baring 
 
 A Fresco. 
 
 From the Giustiniani Palace, 
 Rome. 
 
 From the Orleans Gallery. 
 
 From the Aldobrandini Pa- 
 lace, Rome. 
 
 From the Borghese Palace, 
 Rome. 
 
 From the Orleans Collection. 
 From the Aldobrandini Pa 
 lace. 
 
 The most celebrated picture 
 by Annibal Caracci was in 
 the Orleans Collection, now 
 in that of the Earl of Car- 
 lisle. It represents our Sa- 
 viour taken down from the 
 Cross, extended in the lap 
 of the Virgin, who is faint- 
 ing. Mary Magdelene de- 
 ploring the death of her 
 Divine Master, and another 
 of the Holy Women suc- 
 couring the Mother of 
 Christ/' — Bryan. 
 
70 
 
 AUGUSTINO 
 N. 1558. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Landscape with figures 
 
 1816 
 
71 
 
 CARACCI. 
 M. 1602. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 T. W. Coke, Esq. 
 
 Augustino Caracci, as an en- 
 graver, may be reckoned 
 among the more celebrated 
 artists in Italy : his works 
 are numerous. 
 
 Francesco Caracci was the 
 younger brother of Augus- 
 tino and Annibale, and An- 
 tonio, called from his de- 
 formity, 11 Gobbo, was the 
 natural son of Augustino. 
 These were the individuals 
 who formed that celebrated 
 family of Painters. * 
 
 * The father of Ludovico Caracci was a butcher, ( era macelajo ) 
 and of Annibale and Augustino, a tailor. Annibale resolved to mor- 
 tify the pride of Ludovico, who despised him on account of his fre- 
 quently reminding him of their low origin. He therefore privately 
 painted the portraits of the Caracci, as large as life, in a butcher's 
 shop, and showed his picture for the first time to Ludovico, when in 
 company with Cardinal Farnese. It is now in the Guise Collection, 
 at Christ Church College, Oxford. Annibale is the butcher weighing 
 the meat, which a soldier ( Ludovico ) is purchasing. Augustino 
 stands near them. Antonio is lifting down a carcass which conceals 
 his deformity, and the old woman represents their mother. General 
 Guise is said to have given 1100/. for this picture, which was pur- 
 chased for him at Venice. 
 
72 
 
 DOMENICO ZAMPIERI— 
 N. 1581. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Landscape with Moses in the 
 
 
 
 Burning Bush 
 
 1816 
 
 2 
 
 Ditto with lobit and the Angel 
 
 
 3 
 
 Landscape with Diana and Nymphs 
 
 
 4 
 
 St. John writing the Revelation 
 
 
 5 
 
 Magdalene 
 
 1818 
 
 6 
 
 The finding of Moses 
 
 
 7 
 
 St. Jerome with the Angel 
 
 
 Q 
 
 o 
 
 T,and<?panp with thp findinf of 
 
 J_iCtlJ vlOV^d/IJv^ Willi IUC 11 JL1V11 U£_ V.'l 
 
 
 
 Moses 
 
 
 9 
 
 Landscape, the Reposo 
 
 1819 
 
 10 
 
 St. Cecilia 
 
 1821 
 
 11 
 
 St. Catherine 
 
 
 12 
 
 St. Agnes 
 
 
 13 
 
 St. Jerome with the Angels 
 
 
73 
 
 DOMENICHINO. 
 M. 164J. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Viscount Anson 
 
 Ditto 
 G. Byng, Esq. 
 
 Philip Miles, Esq. 
 Sir S. Clarke 
 Sir T. Baring 
 
 Rev. W. H. Carr 
 
 4 Domenichino- is considered 
 as being the most perfect 
 of the school of the Caracci. 
 Algarotti even prefers him 
 to those great masters, and 
 N. Poussin placed him next 
 to RafFaello." — Bryan. 
 
 From the Giustiniani Palace, 
 
 Rome. 
 From the same. 
 
 From the same. 
 
 From the Aldobrandini Palace. 
 
 Sir T. Baring 
 Mrs. Morland 
 W. Wells, Esq. 
 His Majesty, 
 The same 
 G. W. Taylor, Esq. 
 
74 
 
 PIETRO 
 N. 1605. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The wounded Soldier 
 
 1821 
 
 
 GIACOMO DA 
 
 
 N. 1510. 
 
 1 
 
 Portrait of the Doge Cignani, and 
 his Family 
 
 1816 
 
 2 
 3 
 
 Presentation in the Temple 
 Head of Tasso 
 
 
 4 
 5 
 6 
 
 St. John writing the Revelations 
 The Circumcision 
 Christ healing the Sick 
 
 18J6 
 1822 
 
 
75 
 
 VECCHIA. 
 M. 1678. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Mulgrave. 
 
 
 PONTE BASSANO. 
 M. 1592. 
 
 Earl of Mulgrave 
 
 Marquis of Stafford 
 Sir Ab. Hume, Bart. 
 
 E. Powys 
 Ph. J. Miles, Esq. 
 Ditto 
 
 The Doge, here represented, 
 was Pasquale Cicogna, who 
 died in 1595. 
 From the Orleans Gallery. 
 u Bassano was greatly ad- 
 mired as a portrait painter, 
 in which he followed the 
 style of Titian and Tinto- 
 retto, and painted several 
 of the most celebrated per- 
 sonages of his time; among 
 whom were Sebastiano Ve- 
 nerio, Doge of Venice, Ari- 
 osto, Tasso, and others." — 
 Bryan. 
 
76 
 
 GUIDO 
 N. 15?5. 
 
 44 Ilium quicquid agat, quoquo vestigia vertat 
 Componit furtim, subsequiturque Decor." — Tibullus. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 St. Peter 
 
 1816 
 
 2 
 
 Ecce Homo ! 
 
 
 3 
 
 St. John preaching in the Wilder- 
 
 
 
 ness 
 
 
 4 
 
 St. Jerome with the Angel 
 
 
 5 
 
 Ecce Homo 
 
 
 6 
 
 Judas betraying Christ 
 
 
 7 
 
 Salvator Mundi 
 
 1818 
 
 Q 
 o 
 
 St Anollonia 
 
 
 Q 
 
 Assumption of the Virgin 
 
 
 1 
 
 x yj 
 
 En torn bin*? of our Saviour 
 
 MlA 11 U\slll hJ 111 CL YJM. UUl k/lli luUl 
 
 
 11 
 
 Magdalene 
 
 
 12 
 
 Head of Christ 
 
 
 13 
 
 Liberality and Modesty 
 
 
 14 
 
 A Sibyl 
 
 1819 
 
 15 
 
 Daughter of Herodias 
 
 
 16 
 
 Portrait of Cardinal Ubaldino 
 
 1821 
 
 17 
 
 The Virgin and Child 
 
 1822 
 
 18 
 
 Magdalene 
 
 
 19 
 
 St. John 
 
 1821 
 
77 
 
 RENI 
 
 M. 1642. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Rev. W. H. Carr 
 
 Sir T. Baring 
 Dulwich College 
 
 G. Graves, Esq. 
 B. West, Esq. 
 Earl of Darnley 
 T. Hope, Esq. 
 G. W. Taylor, Esq. 
 Ditto 
 Sir S. Clarke 
 
 Ditto 
 Earl Spencer 
 
 Ditto 
 W. Wells, Esq. 
 Earl of Darnley 
 
 Dr. Somerville 
 Earl Spencer 
 Sir S. Clarke 
 
 Earl Grosvenor 
 
 From the Barbarini Palace, 
 Rome. 
 
 This collection was formed by 
 Noel Des Enfans, Esq. who 
 purchased pictures for Sta- 
 nislaus, king of Poland. At 
 his death, he bequeathed 
 them to Sir Francis Bour- 
 geois, who left them, with 
 a large sum, to build a gal- 
 lery at Dulwich College, 
 which was opened for pub- 
 lic inspection, in 1814. 
 
 From the Orleans Collection. 
 
 From the Cathedral of Gre- 
 nada. 
 
 From the Orleans Collection. 
 From the same. 
 
 From the Colonna Gallery, 
 Rome. 
 
78 
 
 GIULIO CESARE 
 N. 1548. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Virgin and Child, with Joseph and 
 Angels 
 
 1822 
 
 ANTONIO ALLEGRI, 
 N. 1494. 
 
 " Clarior ante alios Corregius extitit, ampla 
 Luce superfusa, certim coeuntibus umbris 
 Pingendique modo grandi, et tractando colore 
 Corpora." Du Fresnoy, v. 519. 
 
 1 
 
 2 
 
 3 
 
 Study of Heads 
 Virgin and Child 
 St. John 
 
 1816 
 1818 
 1819 
 
79 
 
 PROCACCINI. 
 M. 1626. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 M. M. Zacchary, Esq. 
 
 CORREGGIO. 
 M. 1534. 
 
 " Bright beyond all the rest, Correggio flings 
 His ample lights, and round them gently brings 
 The mingling shade. In all his works we view 
 Grandeur of style, and chastity of hue." Mason. 
 
 Sir T. Baring 
 Earl of Carlisle 
 Earl of Carlisle 
 
 " Memorie concernenti la Vita 
 e le Opere di Antonio AL 
 legri, denominato II Cor- 
 reggio/' by Mengs, which 
 gives the most able account 
 of this artist. 
 
 Luigi Pungileone, " Memorie 
 Istoriche di Antonio Allegri, 
 detto il Corregio," 3 torn. 
 8vo. 1817-21. Parma. 
 
 Sketches of the Lives of Cor- 
 reggio and Parmegiano, 8 vo . 
 1823.— "We cannot close 
 our observations on his 
 powers of expression with- 
 out adverting to a beauty 
 which he possessed exclu 
 sively, or at least shared only 
 with Lionardo da Vinci; 
 
80 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 4 
 
 A Head, Fresco 
 
 1821 
 
 5 
 6 
 
 Portrait of Baccio Bandinelli 
 The Mule and Muleteer 
 
 
 7 
 
 The Cupola at Parma (a study or 
 first thought) inscribed " ANT. 
 AL. pinxit in Modena, 1522/' 
 
 1823 
 
81 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Mulgrave 
 
 His Majesty 
 Marquis of Stafford 
 
 Richard Ford, Esq. 
 
 namely, the lovely and ex- 
 quisite smile which plays 
 on his female countenances, 
 and which has been distin- 
 guished by the epithet of 
 Correggiesque, or grace of 
 Correggio. This trait, as 
 difficult to describe as to 
 imitate, has been happily 
 indicated by Dante, 
 ' Delia bocca il disiato riso.' " 
 Inferno, 
 
 " I puttine del Correggio spi- 
 rano, vivono e ridono, con 
 una grazia e verita, che bi- 
 sogna con essi ridere e ral- 
 legrarsi." — Letter a de An- 
 
 NIBALE CarRACCI. BoT- 
 
 tari Raccolta, t. i. p. 87. 
 A fragment from the old pa- 
 lace at Parma, purchased 
 by Dr. Patoun when the 
 walls were taken down, in 
 1763. 
 
 From the Orleans Collection. 
 — This picture is supposed 
 to have been once used as a 
 sign for an inn, though on 
 
 iirriQ^' otif nnvif rr to n r» L'lirkiTf 1"» 
 Wlldl/ dUlIIUrl Ly 1» UUhllUVVIJ. 
 
 G 
 
82 
 
 GIACOMO ROBUSTI 
 N. 1512. 
 
 " II furioso Tintoretto, 
 Fulmine di penello." 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 V'i'Vf»4"i«Qi 4" at 1-4 o 4" ri ^» i* foYVk tao nA 1 1 o 
 
 ruri/r<iiL ui it dxnei v^ciiiipctiitjiia 
 
 1 Q 1 
 
 2 
 
 St. George 
 
 1822 
 
 3 
 
 Vulcan, Venus, and Cupid 
 
 
 4 
 
 Portrait of a Venetian Nobleman 
 
 1821 
 
 5 
 
 Head of a Venetian Senator 
 
 
83 
 
 TINTORETTO. 
 M. 1594. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 His Majesty 
 
 Rev. W. H. Can- 
 Lord Eardley 
 Sir A. Hume, Bart. 
 His Majesty 
 
 Thomas Campanella, a Do- 
 minican of great learning, 
 celebrated for his work en- 
 titled " Atheismus Tri- 
 umphatus." fol. 1631 — 
 Died in 1639. 
 
 Tintoretto inscribed upon the 
 walls of his painting-room, 
 for a constant memento, 
 " 11 disegno di Michel 
 Angelo, e*l colorito di Ti- 
 ziano." 
 
84 
 
 FRANCESCO MAZZUOLI 
 N. 1504. 
 
 " Soft as Catullus sweet Correggio play'd 
 
 With all the magic charms of light and shade ; 
 
 Though Parma claim it for her rival son, 
 
 The praise of sweetest grace by pencil won." Hayley. 
 
 No. 
 
 2 
 3 
 4 
 5 
 6 
 7 
 
 Subject. 
 
 Portrait of Maria Raffalino 
 
 Holy Family, with St. Elizabeth 
 Marriage of St. Catherine 
 Vision of St. Jerome 
 Portrait of a Greek Bishop 
 Do. of a man in a black dress 
 Do. of a young man 
 
 Year of 
 Exhibition. 
 
 1816 
 
 1818 
 1819 
 
 1822 
 
85 
 
 PARMIG1ANO. 
 M. 1540. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 R. P. Knight, Esq. 
 
 Sir T. Baring, Bart. 
 Mrs. Morland 
 G. Watson Taylor 
 His Majesty 
 Do. 
 Do. 
 
 It was said at Rome, that 
 the soul of Raffaello had 
 passed into the body of 
 Parmigiano. Vasari. 
 
 From the Borghese Palace. 
 
 Lately purchased at his sale 
 by the Rev. W. H. Carr, 
 at the price of 3050 gui- 
 neas. Life of Parmi- 
 giano, 8vo.1823, p. 254, n. 
 
 It was painted for the Raf- 
 falino family, and pur- 
 chased from them, by the 
 late Marquis of Abercorn. 
 
86 
 
 PAOLO CAGLIARI 
 N. 1530. 
 
 No. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 6 
 7 
 8 
 9 
 
 10 
 
 Subject. 
 
 The Shepherds' Offering 
 Our Saviour with his Disciples at 
 Emaus 
 
 An Allegory, the Painter between 
 
 Virtue and Vice 
 An Allegory,, the Painter between 
 
 Wisdom and Strength 
 An Allegory 
 The Rape of Europa 
 A Woman playing on a Lute 
 The Communion of St. Nicholas 
 The Woman taken in Adultery 
 A Cardinal giving his Benediction 
 to a Priest 
 
 Year of 
 Exhibition. 
 
 1816 
 
 1818 
 
 1821 
 1822 
 1823 
 
87 
 
 VERONESE. 
 M. 1588. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Aberdeen 
 
 Marquis of Stafford 
 
 T. Hope, Esq. 
 
 T. Hope, Esq. 
 Earl of Darnley 
 Rev. W. H. Can- 
 Lord Radstock 
 The British Institution 
 W. Smith, Esq. 
 
 Dulwich College 
 
 From the Crozat Collection. 
 
 From the Orleans Gallery. 
 
 From the Orleans Gallery. 
 From the Orleans Gallery. 
 From the Orleans Gallery. 
 
 Purchased by them. 
 
88 
 
 GIOVANNI FRANCESCO BARBIERT, 
 
 N. 1590. 
 
 No. 
 
 Subject. 
 
 Y ear or 
 Exhibition. 
 
 1 
 
 Dead Christ with Angels 
 
 1816 
 
 2 
 
 The Incredulity of St. Thomas 
 
 1818 
 
 3 
 
 Christ betrayed 
 
 
 4 
 
 A Sibyl 
 
 1819 
 
 5 
 
 Head of St. Peter 
 
 
 6 
 
 St. Sebastian 
 
 1822 
 
 7 
 
 The Tribute Money 
 
 
 8 
 
 Mother and Child 
 
 
 9 
 
 Portrait of himself, with a picture 
 
 
 
 of Cupid and a Dog, on the 
 
 
 
 Easel 
 
 1821 
 
 10 
 
 The Assumption of the Virgin 
 
 1823 
 
89 
 
 GUERCINO, DA CENTO. 
 M. 166G. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Rev. W. H. Carr 
 T. Hope, Esq. 
 
 T. Hope, Esq. 
 
 Earl of Darnley 
 
 Earl of Darnley 
 Earl Spencer 
 Earl Spencer 
 
 S. Rogers, Esq. 
 
 His Majesty 
 Marquis of Abercorn 
 
 From the Borghese Palace, 
 Rome. 
 
 From the Aldobrandini Palace, 
 Rome. 
 
 Malvasia gives a list of his 
 works, from which we col- 
 lect that he painted 106 
 altar-pieces for churches, 
 144 large historical pic- 
 tures, besides his works 
 in fresco, his numerous 
 Madonnas, portraits and 
 landscapes in private col- 
 lections. He lived 76 years. 
 
90 
 
 CARLO DOLCI, or 
 N. 1616. 
 
 No. 
 
 I Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Charity 
 
 1816 
 
 2 
 
 Christ bearing his Cross 
 
 
 3 
 4 
 5 
 6 
 7 
 8 
 
 The Shepherds' Offering 
 A Magdalene 
 
 St. John writing his Revelations 
 St. Matthew writing the Gospel 
 Virgin and Child 
 Herod ias' Daughter with the Head 
 of St. John the Baptist 
 
 1821 
 1822 
 
 GIAMBATT1STA SALVI 
 N. J 605. 
 
 1 
 
 The Last Supper 
 
 3 823 
 
91 
 
 CARLINO DELLE MADONNINE. 
 M. 1686. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Rev. I. Sanford 
 
 Sir T. Baring, Bart. 
 
 Earl Cowper 
 His Majesty 
 Sir S. Clarke, Bart. 
 The same 
 W. Smith, Esq. 
 
 His Majesty 
 
 (< The works of Carlo Dolci 
 are not so much admired 
 for particular beauty of cha- 
 racter as for a soft and 
 tranquil expression of de- 
 votion in the patient suf- 
 fering of Christ, the plaint- 
 ive sorrow of the Mater 
 Dolorosa, or the compunc- 
 tion of a Saint in penitence." 
 — Bryan. 
 
 From the Riccardi palace, 
 Florence. 
 
 IL SASSOFERRATO. 
 M. 1685. 
 
 Duke of Bedford 
 

 92 
 
 CARLO 
 N. 1628. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Magdalene with Angels 
 
 1822 
 
93 
 
 CIGNANI. 
 M. 1719. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir Ab. Hume, Bart. 
 
 1 
 
 Lanzi considers the cupola at 
 Forli, which occupied him 
 for nearly twenty years, as 
 the grandest picturesque 
 effort of the eighteenth cen- 
 tury. 
 
* 
 
THE ROMAN SCHOOL 
 
 OF THE SECOND ^SRA. 
 
 " I caratteri distintivi sono — un gusto formato sull' 
 antico ; un disegno esatissimo ; un espressione erudito ; 
 un estro imaginoso, abellito da tutto cio che una calda 
 fantasia puo inventare di piu nobile e di piu patetico." 
 — Prunetti, Saggio Pitlorico. 
 
 The distinguishing characteristics of the Roman 
 School are, — a taste formed upon the study of the an- 
 tique 5 a perfect exactness of design - } a learned expres- 
 sion ; the efforts of an ardent and vigorous conception, 
 embellished by all that a warm imagination can invent 
 of what is most sublime and pathetic. 
 
96 
 
 RAFFAELLO 
 N. 1482. 
 
 — u Invenit Raphael miracula, suramo 
 
 Ducta modo, Veneresque habuit quas nemo deinceps." 
 
 Du Fresnoy. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 
 The Miraculous Draught of Fishes 
 
 Paul preaching at Athens 
 
 Elymas the Sorcerer 
 
 The Beautiful Gate of the Temple 
 
 The giving of the Keys to St. Peter 
 
 The Sacrifice at Lystra 
 
 The Death of Ananias 
 
 1816 
 1818 
 
 8 
 9 
 
 St. Catharine 
 
 Cardinal Bernardo Bibbiena 
 
 1816 
 
 10 
 
 Virgin, Child, and St. John 
 
 
 11 
 12 
 
 Virgin, Child, and St. John 
 Virgin and Infant 
 
 
97 
 
 DA URBINO. 
 M. 1520, 
 
 " See Raffaelle there, his forms celestial trace, 
 Unrivalled sovereign of the realms of grace." 
 
 Mason. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 His Majesty 
 The same 
 The same 
 The same 
 The same 
 The same 
 The same 
 
 Lord Northwick 
 R. P. Knight, Esq. 
 
 Sir T. Baring, Bart. 
 
 E. Bourke, Esq. 
 Earl Cowper 
 
 These seven Cartoons (there 
 were originally twelve) were 
 purchased in Holland by 
 Rubens, for King Charles I 
 At the dispersion of the 
 Royal Collection, Cromwell 
 detained them. They were 
 then in the old palace of 
 Whitehall. William III 
 removed them to Hampton 
 Court. The late King first 
 had them placed in the 
 Queen's Palace, Bucking- 
 ham-house ; then taken to 
 Windsor ; and lastly, to 
 their former gallery at 
 Hampton Court. 
 From the Aldobrandini Palace 
 Bernardo Divizio, Cardinal di 
 Bibbiena, who offered his 
 niece in marriage to Raf- 
 faelle, which honour he re- 
 fused. — Duppa's Life of 
 Raffaelle, 8vo. 1816. 
 From the Escurial, and the 
 Collection of Sir R. Strange 
 
98 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 13 
 
 The Vision of Ezekiel 
 
 
 14 
 15 
 16 
 
 Virgin and Infant 
 
 Virgin and Infant, with St. John 
 
 The Vision of St. Helena 
 
 1819 
 
 COPIES 
 
 From the four celebrated Pictures by Raffaelle in the King of 
 Spain's Collection. 
 
 1 
 
 2 
 3 
 4 
 
 Virgin and Child, with St. Jerome 
 Christ bearing his Cross 
 Holy Family 
 The Salutation 
 
 1821 
 
 POLIDORO CALDARO- 
 N. 1492. 
 
 1 |Cupid with Swans 
 Cupid drawing a Net 
 
 1821 
 
99 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir T. Baring, Bart. 
 
 Ph. Miles, Esq. 
 Lord Garvagh 
 Earl of Yarmouth 
 
 From the Orleans Collection : 
 a duplicate of the origi- 
 nal, supposed to have been 
 painted in 1520, in the 
 Pitti Palace, at Florence. 
 
 The outline of Rafiaelle, finish- 
 ed by P. Veronese. 
 
 Duke of Wellington 
 
 Madonna della Pesce. 
 
 Called 11 Spasimo. 
 Called La Perla. 
 
 DA CARAVAGGIO. 
 M. 1543. 
 
 His Majesty 
 His Majesty 
 
 
 ii 2 
 
100 
 
 BACCIO DELLA PORTA— 
 N. 1469. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Virgin and Child with Angels 
 
 1816 
 
 GIULIO PIPPI— 
 N. 1492. 
 
 ] 
 
 Virgin and Child 
 
 1816 
 
 PERINO DEL VAGA— 
 N. 1500. 
 
 1 
 
 2 
 
 Virgin and Child with St. John 
 Holy Family with St* John and 
 his Mother 
 
 1816 
 1822 
 
101 
 
 FRA BARTOLOMEO DI SAN MARCO. 
 M. 1517. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl Powys 
 
 
 ROMANO. 
 M. 1546. 
 
 Sir T. Baring, Bart. 
 
 From the Collection of the Se- 
 nator Cambiagio at Genoa. 
 
 PIETRO BUONACORSI. 
 M. 1547. 
 
 J. Rawlings, Esq. 
 Sir Thomas Neave, Bart. 
 
 He is ranked by Vasari as the 
 greatest designer after M 
 Angelo, and the partiality 
 of his biographer does not 
 hesitate to pronounce him 
 to have been the most di- 
 stinguished of the disciples 
 of RafFaelle. — Bryan. 
 
102 
 
 LAVINIA 
 N. 1552. 
 
 No. 
 
 Subject 
 
 Year of 
 Exhibition. 
 
 1 
 
 St. Sebastian and St. Cecilia 
 
 1816 
 
 ANDREA 
 N. 1594. 
 
 ] 
 
 Christ bearing his Cross with St. 
 Veronica 
 
 182J 
 
 BENVENUTO 
 N. 1481. 
 
 1 
 
 2 
 3 
 
 Holy Family 
 
 Vision of St. Augustine 
 
 Virgin and Child 
 
 1816 
 1818 
 1822 
 
103 
 
 FONTANA. 
 
 M. 1602. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Rev. I. Sanford 
 
 
 SACCHI. 
 M. 1668. 
 
 S. Rogers, Esq. 
 
 TISI IL GAROFALO. 
 M. 1519. 
 
 G. Cholmondeley, Esq. 
 Rev. W. H. Carr 
 Earl of Dartmouth 
 
 From theCorsini Palace^Rorne. 
 
104 
 
 GIOVANNI 
 N. 1422. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Virgin, with infant Christ, St. 
 Catherine, St. John, and Joseph 
 
 1821 
 
 
 PIETRO FRANCESCO 
 
 
 N. 1609. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 
 The Angel appearing to Hagar in 
 
 the Desert 
 Landscape, a Reposo 
 Landscape 
 St. John preaching 
 The Angel appearing to Hagar 
 Holy Family in a Landscape 
 St. Francis in a Landscape 
 
 1816 
 
 * 1818 
 1819 
 1822 
 
105 
 
 BELLINI. 
 M. 1512. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir A. Hume, Bart. 
 
 
 MOLA. 
 
 M. 1665. 
 
 Sir A. Hume, Bart. 
 Right Hon. C. Long 
 Ridley Colborne, Esq. 
 Rev. W. H. Carr, Esq. 
 Earl of Suffolk 
 
 S. Rogers 
 Lord Holland 
 
 From the Orleans Gallery. 
 
106 
 
 CLAUDE GELEE 
 
 N. 1600. 
 
 Where Claude extends his prospect wide 
 O'er Rome's Campania to the Tyrrhene tide, 
 Where towers and temples, mould'ring to decay, 
 In pearly air, appear to die away, 
 And the soft distance, melting from the eye, 
 Dissolves its forms into the azure sky." Landscape. 
 
 No. 
 
 Subject. 
 
 Year of 
 
 Exhibition. 
 
 1 
 
 David encamped at the cave of 
 
 
 
 Adulam 
 
 1816 
 
 2 
 
 A Sea-port 
 
 
 3 
 
 Landscape, with historical Figures 
 Do. with a procession and sacrifice 
 
 
 4 
 
 Landscape, with Figures 
 
 
 5 
 
 Ditto 
 
 1818 
 
 6 
 
 Ditto 
 
 
 7 
 
 The Landing of iEneas 
 
 
 8 
 
 The Worshipping the Molten Calf 
 
 
 9 
 
 The Enchanted Castle 
 
 1819 
 
 10 
 
 The Castle of St. Angelo 
 
 
 11 
 
 Sea-port 
 
 
 12 
 
 Campagna of R/)me 
 
 
 13 
 
 Landscape, with Figures 
 
 
 14 
 
 Sea-port, with Buildings and Fi- 
 gures 
 
 
 15 
 
 Landscape, with Cattle fording a 
 River 
 
 
 15 
 
 Ditto, with the Figure of Claude 
 
 
 
 drawing in the foreground 
 
 1821 
 
 17 
 
 Ditto, with a Ferry-boat 
 
 
LORAINE. 
 M. 1682. 
 
 107 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 From the Ghigi Palace, Rome. 
 
 From theAltieri Palace, Rome. 
 
 " England has long possessed 
 many of his most perfect 
 works ; and since the ac- 
 quisition of his celebrated 
 pictures, formerly in the 
 Altieri Palace *, at Rome 
 and in the collection of 
 the Duke de Bouillon, at 
 Paris, it may be con- 
 fidently asserted, that we 
 possess more of his capital 
 Works than the rest of 
 Europe/' — Bryan. 
 From the collection of Sir 
 
 Joshua Reynolds. 
 Claude, with a just regard to 
 his fame, determined on 
 
 * In 1798, when the French were in possession of Rome, these 
 two pictures were procured by Mr. Fagan, for 500/. English, and re- 
 sold to Mr. Beckford for 5000/. which money Fagan lost by the 
 failure of his banker, at Rome. He sold them to Mr. Hart Davis, 
 of Bristol, by whom they were transferred to the present proprietor. 
 
 Rev. W. H. Can- 
 Sir W. W. Wynne, Bart 
 Earl of Egremont 
 Ph. J. Miles, Esq. 
 Sir G. Beaumont, Bart. 
 W. Smith, Esq. 
 Earl of Carlisle 
 Ph. J. Miles, Esq. 
 Earl Grosvenor 
 W. Wells, Esq. 
 Duke of Bedford 
 His Majesty 
 
 Ditto 
 Sir E. Harvey 
 
 Sir T. Baring, Bart, 
 
 Rt. Hon. C. Long 
 
 His Majesty 
 Sir T. Baring, Bart. 
 
108 
 
 No. 
 
 18 
 19 
 
 20 
 21 
 22 
 
 23 
 24 
 25 
 
 Subject. 
 
 Landscape (circular) 
 Landscape, with Mercury and Bat- 
 tus 
 
 Do. with Io and the Woodman 
 
 Ditto, Story of Narcissus 
 
 View near Rome, with part of the 
 
 Colisaeum 
 A Landscape 
 A Sea-port 
 
 Landscape, with Figures 
 
 Year of 
 Exhibition. 
 
 1821 
 
 1822 
 1823 
 
109 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Marquis of Abercorn 
 
 W. Wells, Esq. 
 C. H. Tracy, Esq. 
 Sir G. Beaumont, Bart. 
 
 Earl of Coventry 
 W. J. Denison, Esq. 
 Sir R. Wigram 
 Earl of Egremont 
 
 plan, which should make 
 his drawings so many au- 
 thentic warrants of his 
 genuine pictures. Upon 
 the back of his several 
 designs, he notes their true 
 history, as to the persons 
 and places they were paint- 
 ed for. He is said to have 
 composed no less than six 
 of these books ; "Libri di 
 verita." One, "Liber Ve- 
 ritatis," was procured by 
 William, the first Duke of 
 Devonshire, who died in 
 1707. Two volumes, con- 
 taining 200 fac-similes, en- 
 graved in aquatinta, by 
 Earlom, were published in 
 1777. 
 
 In 1823, another volume, or 
 collection, was discovered 
 in Spain, and brought into 
 England. It has found a 
 liberal purchaser in R. P. 
 Knight, Esq. for £ 1,600. 
 
 " With regard to aerial land- 
 scape, Claude excelled all 
 masters. We are at a loss 
 whether most to admire 
 the simplicity, or the effect 
 of his distances." — Gilpin. 
 
110 
 
 SALVATOR 
 N. lGio. 
 
 " Which savage Rosa dash'd, or learned Poussin drew." 
 
 u Where great Salvator's mountains rise, 
 
 And hide their craggy summits in the skies, 
 While tow'ring clouds in whirling eddies roll, 
 And bursting thunders seem to shake the pole." 
 
 Landscape. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 Landscape, with Tobit and the 
 
 Angel 
 The Death of Regulus 
 
 1816 
 
 3 
 
 4 
 5 
 6 
 7 
 8 
 9 
 
 Landscape , with Mercury and 
 Battus 
 
 Jason charming the Dragon 
 Glaucus and Scylla 
 Mercury and the Woodman 
 Roman Augurs 
 Pythagoras 
 
 Mountainous Landscape and River 
 
 1818 
 1819 
 
 10 
 
 Rocky Scene, with Boats and 
 Figures 
 
 
 11 
 12 
 13 
 14 
 
 Pythagoras in the Cave 
 Banditti in a Landscape 
 A Battle-piece 
 Head of a Poet 
 
 1822 
 
Ill 
 
 ROSA. 
 
 M. 1G73. 
 
 " The wildness of Salvator opposes a powerful contrast to the classic 
 regularity of Poussin." Ft; sell 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 B. West, Esq. 
 Earl of Darnley 
 
 Lady Lucas 
 
 Sir A. Hume, Bart. 
 Earl of Derby 
 Earl of Darnley 
 T. Hope, Esq. 
 
 Earl of Ashburnham 
 
 H. La Bouchere 
 J. Filer, Esq. 
 SirW.W. Wynne, Bart. 
 
 From the Col on n a Palace, 
 Rome. 
 
 From the Ghigi Palace, Rome. 
 
 Ovid Met. 1. 2. v. 686. 
 Met. 1. 7. v. 155. 
 Met. 1. 13. v. 905. 
 
 Met. 1. 15. 
 
 The Life and Times of Sal- 
 vator Rosa. 2 vols. 8vo. 
 1824. 
 
 " Claude and Salvator receiv- 
 ed, or might have received, 
 their ideas from the same 
 archetypes ; they were both 
 Italian painters, but Claude 
 studied in the Campagna 
 of Rome, Salvator among 
 the mountains of Calabria." 
 — Gilpin. 
 
112 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 15 
 
 Head of a Warrior 
 
 
 16 
 
 Landscape with Cattle and Figures 
 
 1821 
 
 17 
 
 View on the Coast of Italy, with 
 
 
 
 Shipping 
 
 
113 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir W. W. Wynne, Bart. 
 Rev. J, Sanford 
 
 Ditto 
 
 " The chestnut-tree of Cala- 
 bria is consecrated by adorn- 
 ing the fore-grounds of Sal- 
 vator Rosa." — Gilpin. 
 
 I 
 
THE FRENCH 
 
 AND 
 
 SPANISH SCHOOLS OF PAINTING. 
 
 The sage Poussin, with purest fancy fraught, 
 Pourtray'd the classic scene, as fancy taught ; 
 But nature, jealous of her sacred right, 
 And piqued that his idolatry should slight 
 Her glowing graces, and her living air, 
 To worship marble with a fonder care, 
 Denied his pencil in its mimic strife 
 The bloom of beauty, and the warmth of life/' 
 
 Hayley. 
 
 I 2 
 
116 
 
 NICHOLAS 
 
 N. 1594. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Triumph of David 
 
 1816 
 
 2 
 3 
 
 The Plague at Athens 
 Landscape, with Bacchanals 
 
 
 4 
 5 
 6 
 7 
 
 Theseus lifting up the Stone 
 Landscape, with Figures 
 Cephalus and Aurora 
 Landscape, with Figures 
 
 
 8 
 9 
 
 10 
 11 
 
 12 
 13 
 
 Death of Trancred 
 
 Dance of Bacchanals 
 
 The Nursing of Jupiter 
 
 Moses trampling on the Crown of 
 
 Pharaoh 
 The Ecstasy of St. Paul 
 The Woman taken in Adultery 
 
 1818 
 1819 
 
117 
 
 POUSSIN. 
 M. 1665. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Dulwich College 
 
 T. Jones, Esq. 
 J. Knight, Esq. 
 
 Ditto 
 
 Sir W. W. Wynne, Bart. 
 
 J. Knight, Esq. 
 Sir G. Beaumont, Bart. 
 
 Earl Powlett 
 T. Hamlet, Esq. 
 Dulwich College 
 
 Memoirs of the Life of Ni- 
 cholas Poussin, by M. Gra 
 ham, 8vo. 1 820. One com- 
 partment in the Stafford 
 Gallery contains eight Pic- 
 tures from the Orleans Col- 
 lection, which immortalise 
 the name of Nicholas Pous- 
 sin. There are the Seven 
 Sacraments, and repeti- 
 tions of them likewise at 
 Belvoir Castle. 
 
 From the Colonna Palace, 
 Rome. 
 
 Ovid Met. 1. 7. v. 695. 
 
 N. Poussin is allowed to have 
 been an admirable artist 
 and the immense price 
 which his pictures produce 
 in every part of Europe, is 
 an incontestable proof of 
 his established merit.- 
 
 PlLKlNGTON. 
 
 William Smith, Esq. 
 W. R. Cart wright, Esq. 
 
 r< No works of any modern 
 
118 
 
 No. 
 
 14 
 15 
 16 
 17 
 
 18 
 
 Subject. 
 
 Landscape with a Satyr and Nymph 
 Orion 
 Landscape 
 Landscape, with a Fall of Water, 
 
 and Sportsmen 
 Landscape 
 
 Year of 
 Exhibition. 
 
 1819 
 1822 
 
119 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 F. Freeling, Esq. 
 Rev. J. Sanford 
 S. Rogers, Esq. 
 
 Earl of Mulgrave 
 Marquis of Bute 
 
 artist have so much of the 
 air of antique painting as 
 those of N. Poussin. His 
 best performances have a re- 
 markable dryness of man- 
 ner, which though by no 
 means to be recommended 
 for imitation , yet seems per- 
 fectly correspondent with 
 that ancient simplicity that 
 distinguishes his style. 
 Poussin, in the latter part 
 of his life, changed from 
 his dry manner to one much 
 softer and richer, where 
 there is a greater union be- 
 tween the figures and the 
 ground, as in the Seven Sa- 
 craments/' — Sir Joshua 
 Reynolds. 
 
120 
 
 CASPAR DUGHET 
 N. 1613. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 ] 
 
 Landscape 
 
 1816 
 
 2 
 
 Landscape, Storm, with Dido and 
 
 .ZEneas 
 
 
 3 
 
 Landscape 
 
 
 4 
 
 Landscape 
 
 
 5 
 
 Landscape, with Figures 
 
 
 
 Landscape, with Figures 
 
 
 7 
 
 Q 
 o 
 
 Lanfwpanp with Fiffiirp< 
 
 Landscape 
 
 LarmsppTiP witli Tm o*n rps 
 
 J^JttLl V4. OV^tV L/V>, Willi A IciUlCiJ 
 
 1818 
 
 Q 
 
 T janncipaiip witli a Rivpp 
 
 -Litlll vl o*_tt. UC j VVllill di JLI-1VC1 
 
 1819 
 
 " 10 
 
 Landscape, and a Waterfall 
 
 
 11 
 
 Jonas 
 
 
 12 
 
 Landscape 
 
 1821 
 
 13 
 
 Landscape, with Figures 
 
 
 14 
 
 Landscape, with Figures 
 Landscape, with Figures 
 
 
 15 
 
 
 16 
 
 View of Rome from Tivoli 
 
 1822 
 
 17 
 
 Landscape, with a Waterfall 
 
 
 18 
 
 The Cascade at Tivoli 
 
 
 19 
 
 The Cascatella at Tivoli 
 
 
 20 
 
 Landscape 
 
 
 21 
 
 1 
 
 Landscape, with a View of the 
 Grotta Ferrata, near Rome 
 
 
121 
 
 POUSSIN. 
 M. 167. r ). 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. W, Taylor, Esq. 
 Rev. W. H. Carr 
 
 Ph. J. Miles, Esq. 
 
 Oldfield Bowles, Esq. 
 
 B. West, Esq. 
 Right Hon. C. Long 
 Duke of Bedford 
 Duke of Bedford 
 Earl of Coventry 
 His Majesty 
 His Majesty 
 His Majesty 
 His Majesty 
 G. J. Cholmondeley, Esq. 
 Rev. W. H. Carr 
 Rev. W. H.Carr 
 M. Zachary, Esq. 
 Earl of Dartmouth 
 Ph. J. Miles, Esq. 
 Ph. J. Miles, Esq. 
 G. Townley, Esq. 
 
 W. G. Coesvelt, Esq. 
 
 From the Falconieri Palace. 
 
 From the Colonna Palace, 
 Rome. 
 
 From the Colonna Palace, 
 Rome, 
 
 ic Every thing in his works 
 breathes elegance or gran- 
 deur. Such are the ad- 
 mirable landscapes by Gas- 
 par, formerly in the Colonna 
 Palace at Rome, several of 
 which have been brought to 
 England." — Bryan. 
 
 From the Corsini Palace, 
 Rome. 
 
 I 
 

 1 0C) 
 
 EUSTACE 
 N. 1617. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 Theseus lifting the Stone 
 
 A 1 J 11* T»l * * 
 
 Alexander and his Physician 
 
 1818 
 
 
 SEBASTIAN 
 
 
 
 N. 1616. 
 
 ] 
 
 The Return of the Ark 
 
 1819 
 
 
 
 CHARLES 
 
 
 
 N. 1619. 
 
 1 
 
 Battle of the Centaurs 
 
 3 822 
 
123 
 
 LE SUEUR. 
 M. 1655. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir T. Baring, Bart. 
 Countess de Grey 
 
 
 BOURDON. 
 M. 1671. 
 
 Sir G. Beaumont 
 
 Formerly in the collection of 
 Sir Joshua Reynolds. 
 
 LE BRUN. 
 M. 1690. 
 
 Earl of Darnley 
 
 

 124 
 
 ANTOINE 
 N. 168 ; 4. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 A Masquerade Scene 
 
 A Scene from a French play 
 
 1818 
 
 
 
 JOSEPH 
 
 
 
 N. 1712. 
 
 1 
 
 A View on a River, with Figures 
 
 1821 
 
125 
 
 WATTEAU. 
 M. 1721. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Prince Regent 
 The same 
 
 
 VERNET. 
 M. 1786. 
 
 C. H. Tracy, Esq. 
 
126 
 
 BARTOLOMEO 
 N. 1613. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 J 
 
 The Marriage at Cana 
 
 1816 
 
 2 
 
 The Flower Girl 
 
 
 3 
 
 Reposo 
 
 
 4 
 
 Virgin and Child with Angels 
 
 
 5 
 
 The Good Shepherd* 
 
 
 6 
 
 St. John with the Lamb 
 
 
 7 
 
 Portrait of Fosco Neevis 
 
 1818 
 
 8 
 
 Assumption of the Virgin 
 
 
 9 
 
 The Infant Christ appearing to 
 
 
 
 St. Anthony 
 
 1819 
 
 10 
 
 St. Thomas de Villa Nueva distri- 
 
 
 
 buting his garments to the 
 
 
 
 Poor. 
 
 
 * The " Pastor Bonus" which was bought of Major the engraver, 
 by the late Duchess of Bridgewater, in 1 773, for 400 guineas, and 
 at the sale of her collection, in 1778, was sold for 590 guineas, was 
 copied from this picture by Gremoux, a French painter. 
 
127 
 
 ESTEVAN MURILLO. 
 M. 1685. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. Hibbert, Esq. 
 Dulwich College 
 G. Byng, Esq. 
 Dulwich College 
 Sir S. Clarke 
 Sir S. Clarke 
 G. Watson Taylor 
 
 Sir T. Baring, Bart. 
 W. R. Cartwright, Esq 
 
 Alex. Baring, Esq. 
 
 Few painters have a juster 
 claim to originality of style 
 than Murillo* It is di 
 stinguished by a close and 
 lively imitation of nature. 
 His forms have a national 
 peculiarity of air, habili 
 men t, and countenance. His 
 style may be said to hold a 
 middle rank, between the 
 unpolished natural ity of the 
 Flemish, and the graceful 
 and elegant taste of the 
 Italian school." — Bryan. 
 From the Couvent des Carmes 
 de Chausses, Colle d? Alcala 
 
 This is a first thought for the 
 celebrated Fresco, in the 
 Convent of Capuchins, at 
 Seville. 
 
 * " I have seen several portraits by Murillo ; they are in general 
 a simple representation of nature, according to truth, without any of 
 those ingenious aids and devices by which modern artists, especially 
 those of England, embellish their characters, and bestow employment 
 and importance upon the idle and insignificant.' 9 — 
 
 Cumberland on Spanish Painters, V. II. p. 127- 
 
 In the collection of the late Sir Laurence Dundas, which was dis- 
 persed by auction in 1704, was the only known portrait of this great 
 artist painted by himself. It was in a circle surrounded by, and en- 
 riched with, the insignia of his profession, and the following inscrip- 
 tion : u Bartolomaeus Murillo seipsum depingens pro filiorum votis 
 ac precibus explendis." It was purchased for 100 guineas. 
 
128 
 
 No. 
 
 II 
 
 12 
 13 
 14 
 
 15 
 16 
 17 
 18 
 19 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 27 
 28 
 29 
 30 
 31 
 32 
 
 33 
 34 
 
 Subject. 
 
 A Holy Family 
 The Shepherds' Offering 
 Assumption of the Virgin 
 Joseph presenting the infant Jesus 
 
 to the Virgin 
 St. Francis with the infant Jesus 
 St. Francis at his devotions 
 St. Francis in ecstasy 
 The Flight into Egypt 
 The Reposo 
 The Holy Family 
 Joseph with the infant Jesus 
 Tobit with the Angel 
 Abraham and Isaac 
 The Assumption of the Virgin 
 A dead Christ 
 A Beggar Boy 
 A Magdalene 
 A Boy with Lemons 
 A group of Angels 
 Virgin and Child 
 A Raree Showman 
 Monks relieving the Poor at the 
 
 door of a Convent 
 Virgin and infant Saviour 
 Holy Family and Angels 
 
 Year of 
 Exhibition. 
 
 1819 
 
 1821 
 
 1822 
 
 1823 
 
129 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Admiral E. Harvey 
 A. Champernowne, Esq. 
 T. Hamlet, Esq. 
 Sir Henry Wellesley 
 
 Hon. H. Clive 
 M. Zacchary, Esq. 
 J. Perkins, Esq. 
 Lord Eardley 
 Philip J. Miles, Esq. 
 Lord Holland 
 S. Rogers, Esq 
 W. Cart wright, Esq. 
 W. Cartwright, Esq. 
 Sir T. Baring, Bart. 
 
 N. Ogle, Esq. 
 M. Zacchary, Esq. 
 W. Cartwright, Esq. 
 Earl of Roseberry 
 Duke of Bedford 
 Duke of Bedford 
 T. Sloane Stanley, Esq. 
 
 W. Wells, Esq. 
 Colonel Hugh Baillie 
 Lionel Harvey, Esq. 
 
 Painted on Stone. 
 
130 
 
 DON DIEGO VELASQUEZ 
 N. 1594. 
 
 " Sono Diego Velasquez, Ribera e Morillo— ma quanta differenza 
 fra loro ! Che intelligenza et verita nel chiaroscuro non si osserva in 
 Velasquez. Come intese bene Teffetto, che fa l'aria interposta fra 
 gli oggette, per farli comparere distanti gli uni dagli altri !" — Mengs. 
 
 No. 
 
 4 
 
 5 
 
 Subject. 
 
 Figures in a Landscape 
 
 Figures on Horseback in a Land- 
 scape 
 
 Portrait of a Cardinal 
 
 Conspirators in a Landscape 
 Portrait of Adrian Pulido Pareja, 
 Captain-General of the Spanish 
 Armada 
 The Prince of the Asturias 
 The Prince of Asturias on Horse- 
 back, attended by the Duke 
 D'Olivarez 
 A Boar Hunt 
 
 Year of 
 Exhibition. 
 
 1816 
 
 1818 
 
 1819 
 
131 
 
 DE SILVA. 
 M. 1660. 
 
 " There are (in the Spanish School) Diego Velasquez, Ribera and 
 Morillo. But how great the difference between them ! What intel- 
 ligence and truth of chiaro-scuro are observable in the works of Ve- 
 lasquez I How well did he understand effect, and the art of inter- 
 posing the air between his figures, so as to create a distance, one from 
 another !" 
 
 In the Possession of 
 E. Bourke, Esq. 
 
 Ditto 
 H. Banks, Esq. 
 
 Countess de Grey 
 
 Duke of Bedford 
 Sir G. Warrender, Bart. 
 
 Earl Grosvenor 
 Sir H. Wellesley, K. B. 
 
 Miscellaneous Observations. 
 
 Cumberland, in his Anecdotes 
 of Painting in Spain, has 
 given a very interesting 
 account of Velasquez. — V. 
 2. p. 1—58. 
 
 By this master, the Portrait 
 of Pope Innocent Pamfili 
 (Doria) now in the Doria 
 Palace in Rome, is perhaps 
 the finest Portrait that was 
 ever painted, for character, 
 colour, and magical execu- 
 tion. Reminiscences of 
 
 Rome, MS. by R. Duppa, 
 Esq. There is another of 
 great celebrity at Chiswick. 
 
132 
 
 No. 
 
 9 
 
 10 
 
 11 
 
 12 
 
 14 
 15 
 
 16 
 17 
 
 Subject. 
 
 A Drummer 
 
 Don Balthazar Carlos, son of 
 
 Philip IV. of Spain 
 Portrait of an Ecclesiastic 
 A Group in a Landscape, with the 
 Portraits of Quevedo, Solis, and 
 other Spanish Painters 
 Equestrian Portrait of Philip IV 
 
 of Spain 
 A Spanish Sportsman 
 An original Sketch 
 
 Equestrian Portrait of Don 
 
 thazar, son of Philip IV. 
 Philip IV. of Spain 
 
 Bal- 
 
 Year of 
 Exhibition. 
 
 1819 
 
 1821 
 
 1822 
 
 1823 
 
133 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Honourable H. Give 
 
 
 Cox, Esq. 
 
 H. Banks, Jun. Esq. 
 
 
 Hon. Sir H. Wellesley 
 
 
 Ph. J. Miles, Esq. 
 Hon. Sir H. Wellesley 
 W. J. Banks, Esq. 
 
 Of the great Picture, painted 
 in 1656, of the Infanta 
 Margareta Maria, after- 
 wards Empress, with her 
 suite of Attendants. ' 
 
 Dulwich College 
 Lionel Harvey, Esq. 
 
 
134 
 
 ALONZO 
 N. 1600. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Sleeping Child 
 
 1816 
 
 MORALEZ 
 N. 1509. 
 
 1 
 
 1 
 
 2 
 
 Christ bearing his Cross 
 Christ bound to the Column 
 
 1819 
 1823 
 
135 
 
 CANO. 
 
 M. 1676. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Henry Banks, Esq. 
 
 " Alonzo Cano is said to have 
 been the Michael Angelo 
 of Spain, and to have ex- 
 celled equally in painting, 
 sculpture, and architec- 
 ture." Cumberland's 
 
 Lives of Spanish Painters, 
 vol. ii. p. 72. 
 
 EL DIVINO, 
 M. 1590. 
 
 Sir T. Baring, Bart. 
 W. J. Banks, Esq. 
 
 Cumberland, vol. i. p. 74. — 
 From the Calonne collection. 
 The same subject is an altar- 
 piece exquisitely beautiful, 
 at Magdalen College, Ox- 
 ford, which has been en- 
 graved by J. R. Sherwin. 
 
136 
 
 BARTOLOME 
 N. 1552. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 A Family -piece, representing 
 Monsieur Verbeist, the Lady 
 Cortez, and their Children 
 
 1822 
 
 JOSEF DE RIBERA, 
 N. 1589. 
 
 1 
 
 Head of a Saint 
 
 1822 
 
137 
 
 GONZALES. 
 M. 1611. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Lord Radstock 
 
 Cumberland, vol. i. p. 153. 
 
 IL SPAGNOLETTO. 
 M. 1656. 
 
 Earl of Mulgrave 
 
 For a very interesting ac- 
 count of this artist, see 
 Cumberland, vol. i. p. 
 197—217. 
 
THE FLEMISH 
 
 AND 
 
 DUTCH SCHOOLS OF PAINTING. 
 
 " Next Rubens came, and cateh'd, in colours bright, 
 The flickering flashes of celestial light ; 
 Dipp'd his bold pencil in the rainbow's dye, 
 And fixd the transient radiance of the sky." 
 
 " Where Rembrandt through some darkened room 
 
 Spreads his soft tints, and animates the gloom." 
 
 " The ivied cottage of Ostade, 
 
 Water toe's copse, or RysdaeVs low cascade." 
 
 Landscape , by R. P. Knight, Esq. 
 
 " Let not the pedantry of taste despise 
 The humbler beauties of Batavian skies ; 
 Though painting there no epic wreath requires, 
 Nor feels — nor feigns to feel — poetic fires 5 
 Content on boors and burgomasters still, 
 At wakes or weddings to display her skill. 
 Though fancy, too, each towering flight deterr'd, 
 Degenerates there, a tame domestic bird — 
 Yet truth is there, and nature, while we trace 
 Her coarser character, and common face, 
 Avows her image mask'd on every part, 
 And, by her sanction, consecrates the art." 
 
 Shee's Elements of Art y c. iii. v. 345. 
 

 140 
 
 ALBERT 
 
 
 N. 1471. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 A Man's Portrait 
 
 1822 
 
 
 
 HANS 
 
 
 N. 1498. 
 
 1 
 
 Portrait of Frobenius,, Printer to 
 Erasmus 
 
 1839 
 
 2 
 3 
 
 Portrait of a Man 
 Portrait of Erasmus 
 
 1822 
 
141 
 
 DURER. 
 M. 1528. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 His Majesty 
 
 
 HOLBEIN. 
 M. 1554. 
 
 His Majesty 
 
 Earl of Egremont 
 His Majesty 
 
 A present from Villiers, Duke 
 of Buckingham, to King 
 Charles I. 
 
 This is one of several authen- 
 ticated repetitions. But the 
 original picture (in small), 
 sent by Erasmus to Sir T. 
 More, to introduce Holbein 
 to the royal favour, is now 
 at Greystoke Castle, Cum- 
 berland, having been in the 
 collection of T. Earl of 
 Arundel. 
 
142 
 
 QUINTIN 
 N. 1460. 
 
 No. 
 
 Subject. 
 
 Year of 
 
 Exhibition. 
 
 1 
 
 The Misers 
 
 1822 
 
 2 
 
 The unjust Steward 
 
 
 I 
 
 Portrait of a Man 
 
 MARTIN 
 N. 1520. 
 
 1819 
 
us 
 
 MATSYS. 
 M. 1529. 
 
 In the Possession of 
 
 Miscellaneous Observations, 
 
 His Majesty 
 Lord Eardley 
 
 
 DE VOS. 
 M. 1604. 
 
 Marquis of Stafford 
 
144 
 
 SIR PETER 
 N. 1577. 
 
 No. 
 
 Subject. 
 
 "\ r Cctr of 
 Exhibition. 
 
 1 
 
 An Allegory 
 
 1815 
 
 2 
 
 Landscape, sunset 
 
 
 3 
 
 A triumphal Procession 
 
 
 4 
 
 The Doctors of the Church 
 
 
 5 
 
 Ihe Brazen Serpent 
 
 
 6 
 
 Landscape, Harvest-scene, with a 
 
 
 
 Rainbow 
 
 
 7 
 
 Landscape 
 
 
 8 
 
 Candlelight 
 
 
 9 
 
 Earth and Water, an Allegory of 
 
 
 
 Plenty 
 
 
 10 
 
 Small Landscape 
 
 
 11 
 
 Bacchanalians 
 
 
 12 
 
 The Watering-place 
 
 
 13 
 
 Landscape 
 
 
 14 
 
 Moonlight 
 
 
 15 
 
 The Elevation of the Cross 
 
 
 16 
 
 An Allegory of War and Peace 
 
 
 17 
 
 Conversion of St. Paul 
 
 
 18 
 
 G. Villiers, Duke of Buckingham, 
 
 
 
 on Horseback, with allegorical 
 
 
 
 Figures 
 
 
 " One may justly call him 4 The Popular Painter.' He wanted 
 that majesty and grace which confine the works of the greatest masters 
 to the fewest admirers." — H. Walpole. 
 
 " Rubens is not one of those regular and timid composers who 
 escape censure and deserve no praise. He produces no faultless 
 monsters; his works abound with defects as well as beauties, and 
 are liable, by their daring eccentricities, to provoke much criticism. 
 But they have, nevertheless, that peculiar property, always the com- 
 
145 
 
 PAUL RUBENS. % 
 M. 1640. 
 
 In the Possession of 
 
 M iscellan eou s Observation s . 
 
 A. Champernowne, Esq. 
 Right Hon. C. Long 
 
 Earl of Darnlev 
 Sir W. W. Wynne, Bart 
 
 J. Graves, Esq. 
 
 A. Champernowne, Esq. 
 Sir G. Beaumont, Bart 
 C. Duncombe, Esq. 
 
 Earl of Mulgrave 
 Lady Stuart 
 Duke of Marlborough 
 Duchess Dowager of 
 Buccleugh 
 Marquis Camden 
 Earl of Mulgrave 
 Jer. Harm an, Esq. 
 Marquis of Stafford 
 R. Hart Davis, Esq. 
 
 Earl of Jersey 
 
 panion of true genius,— that which seizes on the spectator, commands 
 attention, and enforces admiration in spite of all their faults." — Ofie's 
 
 Fourth Lecture, 
 
 u The works of Rubens (at Blenheim) are in greater excellence 
 and profusion than in any other collection in England." " Rubens' 
 Family consists of three figures as large as life. I should not scruple 
 my suffrage in ranking this as the first family picture in England." — 
 Gilpin. 
 
146 
 
 No. 
 
 Subject. 
 
 Year of - 
 Exhibition. 
 
 19 
 
 Portrait of Archduke Albert 
 
 1815 
 
 20 
 
 St Amand rpppivinp' St Tlavo into 
 
 
 
 n 1 C A n riP ir 
 III© AUUCy 
 
 
 91 
 — 1 
 
 A 'I'TinTYiTiri 
 ii JLlltlllJUll 
 
 
 22 
 
 Landscape, sunset 
 
 
 23 
 
 A Procpssion 
 
 
 24 
 
 T>and scaup with Cat tip and Tm- 
 
 -1— illll VI OV-t I 1 f\- y >f 1 VH v/Ul i I\, 111111 X 1 
 
 
 
 gures 
 
 
 
 A ecu wi'i'kf'inn of f"hp \A lTcrni 
 /jloSIAIJI UL1U11 Ul Lllc v 11 gul 
 
 1 818 
 
 
 T*r»i*i"i«Qi4- rkf Tnnmnc T^J1T*1 nf Arnti- 
 JLUrtlOilL Ul X UUIUdOj Xidl 1 Ul ill Ull- 
 
 
 
 del 
 
 
 27 
 
 Woman taken in Adultery 
 
 
 28 
 
 Raising the Cross 
 
 
 29 
 
 Study of Blacks' Heads 
 
 
 30 
 
 Markpt-nponlp 
 
 
 O 1 
 
 Rn^tlp riT a/I q Yovifi lie 
 lJcltllc Ul lYXdAcll LI US 
 
 
 32 
 
 A I^ionpss 
 
 
 
 XTXdl jvc L UCUUIC 
 
 
 
 T .aii/icpiiiiP in o Sltfirm 
 X~i(tl JM>l>a IH 111 d OLUllll 
 
 IRiO 
 
 lOl j 
 
 
 Lid 11 U fiKjCL I fl_- 
 
 
 t>0 
 
 TIip Dpatli rvf Ahpl 
 X lit; XycaLU Ul AUcl 
 
 
 Of 
 
 I onricpsiTip vi/if'ri \i o i* lvo f" _ i^p n 11 1 p 
 X-rfdllUoL/dUCj VV 11/11 1~X dl lvcL~UCU JJlc 
 
 
 38 
 
 A Farmyard, with Cattle and 
 
 
 
 r imiv^G T nfl T*.ttpp4' r\r Si 11 five 
 X IgUlcoi X lie XuUtrL>l/ Ul OllUVV 
 
 
 39 
 
 View of the Escurial 
 
 
 40 
 
 Dido and iEneas 
 
 
 41 
 
 The Roman Charity 
 
 
 42 
 
 Thp Arphdiikp Alhprt nn FTnr^p- 
 
 X 1IO jT V 1 \j 11 1,1 1A IV V> I11UL1 t </ll IlUluC 
 
 1821 
 
 
 back 
 
 
 43 
 
 The Discovery of Calisto 
 
 '•' • • I 
 
 
 44 
 
 The Triumph of Henry IV. 
 
 
147 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Upper Ossory 
 
 Rev. W. H. Can- 
 Ear 1 of Liverpool 
 Sir W. W. Wynne 
 A. Champernowne, Esq. 
 
 Lord G. Cavendish 
 Prince Regent 
 
 Earl of Warwick 
 J. P. Miles, Esq. 
 J. T. Butt, Esq. 
 
 Earl of Derby 
 Alex. Baring, Esq. 
 Viscount Ranelagh 
 G. Watson Taylor 
 A. Baring, Esq. 
 T. Hope, Esq. 
 
 Earl of Carlisle 
 Duke of Bedford 
 His Majesty 
 
 His Majesty 
 Rev. Edw. Balme 
 G. Hibbert, Esq. 
 G. Watson Taylor 
 
 His Majesty 
 
 Earl of Derby 
 
 G. W. Taylor, Esq. 
 
 " Pinxit et quae pingi non 
 possunt, tonitrua, fulgetra, 
 fulguraque." — Pliny. 
 
 A Sketch. JEneid, 1. nr. 
 
 View of Antwerp in the back- 
 ground. 
 Met. 1. ii. v. 400, taken from 
 Titian in the Stafford Gal- 
 lery. 
 
 A Study for the large Pic- 
 ture. 
 
 l 2 
 
148 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 45 
 46 
 
 47 
 48 
 
 49 
 
 50 
 51 
 
 Om 
 
 Head of a Child 
 
 A Larder, with Figures and dead 
 
 Game 
 Peace and War 
 
 Archduke Ferdinand of Austria 
 commanding at the Battle of 
 
 IVnvfl 1 1 n ctpti 
 
 Thomyris, Queen of the Massa- 
 geta3, ordering the Head of 
 Cyrus to be dipped in blood 
 A Study of Lions' Heads 
 Diana returning from the Chase 
 
 Pnvti*ait fii Arpliriiikp AlHpi*f 
 
 X I'll! till \JL XXI IrllViUDLC XllUCX I 
 
 1821 
 1822 
 
 53 
 54 
 
 St. Martin dividing his Cloak 
 The Infant Cardinal Ferdinand of 
 Austria 
 
 
 55 
 56 
 57 
 58 
 59 
 60 
 
 Portrait of Titian's Mistress 
 i Equestrian Portrait of Philip IV. 
 Martyrdom of St. Stephen 
 |The Salutation 
 
 Hippolytus thrown from his Car 
 Juno transferring the Eyes of 
 
 AririiQ to flip Pparnpl^'s HTnil 
 
 XXXgHk? 117 HIT X \ZCl\^\/\.'ll- C X (111 
 
 1823 
 
 61 
 
 The Meeting of the three Ferdi- 
 nands under the Walls of Nord- 
 lingen 
 
 
149 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 
 
 Duchess of Dorset 
 Marquis of Bute 
 
 An Allegory. 
 
 His Majesty 
 
 
 Earl of Darnley 
 Duke of Bedford 
 Sir S. Clarke, Bart. 
 Earl Spencer 
 
 His Majesty 
 Earl Spencer 
 
 W. Car tw right, Esq. 
 His Majesty 
 H. R. H. Prince Leopold 
 Sir Ab. Hume, Bart. 
 Duke of Bedford 
 
 Herodotus, h i. c. 214. 
 
 Archduke of Austria, Go- 
 vernor of the Low Countries, 
 ob. 1621. 
 
 In 1598 he renounced the 
 " Purple/' and married 
 Elizabeth, daughter of Phi- 
 lip II. of Spain, with whom 
 he had the Low Countries 
 in dower. 
 
 1. Oent, hsq- 
 
 Met. 1. l. v. /ZU. CiXcipit 
 hos; volucrisque Saturnia 
 pennis 
 
 " Collocat, et gemmis caudam 
 stellantibus implet." 
 
 Sir Ab. Hume, Bart. 
 
 A Sketch. 
 
150 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 62 
 63 
 
 64 
 
 Landscape, with Figures 
 
 St. Francis, with the infant Saviour 
 
 and St. John 
 The Chariot of Apollo 
 
 1823 
 
151 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir G. Beaumont, Bart. 
 
 Sir Alex. Crichton 
 Earl of Mulgrave 
 
 A Design for a Ceiling. Met. 
 1. ii. v. 105. 
 
152 
 
 SIR ANTHONY 
 N. 1599. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 Equestrian Portrait of King Charles 
 the First 
 
 2 jLady and Child 
 
 3 Portrait of Gaspar Gevartius 
 
 Portrait of the Abbe Scalier 
 Portraits of Lords Bernard, and 
 
 Esme Stuart 
 Horses of Achilles 
 Portrait of the Duchess of Savoy 
 St. Sebastian 
 
 Portrait of George, Marquis of 
 Huntley 
 
 10 
 
 11 
 
 12 
 
 13 
 
 Lady Shirley 
 
 Algernon, Earl of Northumberland 
 and the Lady Ann Cecil, his 
 wife 
 
 Portrait of William Bradford, Earl 
 of Newport, and George, Lord 
 Goring 
 
 Portrait of Mrs. Kirke, bed-cham- 
 ber woman to Henrietta Maria 
 
 1815 
 
153 
 
 VANDYCK. 
 M. 1641. 
 
 In the Possession of 
 
 Duke of Marlborough 
 Sir Ab. Hume, Bart. 
 J. J. Angerstein, Esq. 
 
 Sir T. Baring, Bart. 
 
 Earl of Darnley 
 Right Hon C. Long 
 Earl of Aberdeen 
 Earl of Mul grave 
 
 Duke of Bedford 
 
 Earl of Egremont 
 
 Earl of Egremont 
 
 Earl of Egremont 
 Baroness Lucas 
 
 Miscellaneous Observations. 
 
 An eminent scholar and critic, 
 born at Antwerp, in 1593 
 From the Calonne Col- 
 lection. 
 
 Sons of Esme, Duke of Len- 
 nox. Lord Bernard was 
 created Earl of Lichfield 
 in 1 644 ; slain at the battle 
 of Towton, near Chester, 
 1645. — Clarendon. 
 
 Teresia, wife of Sir Robert 
 Shirley, ambassador to the 
 court of Persia. She is 
 represented in an oriental 
 costume 
 Lord Orford (Anecdotes of 
 Painting) speaks of the 
 finestof Vandyck's portraits, 
 particularly the Clarendon 
 and Pembroke Collections. 
 (< It is at Lord Pembroke's, 
 at Wilton, that Vandycl 
 is upon his throne." But 
 it is no less singular, that 
 no mention is made by him 
 of the (( Beauties" at Pet 
 worth. 
 
154 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition 
 
 1 A 
 
 14 
 
 JLUILId.ll/ Ul XX 11 He j \^UunLc&o UJ 
 
 
 
 Bedford 
 
 LOIw 
 
 10 
 
 1 lid A oonnrnf iaii fix Trio V lvrpin 
 A lie XX.O»UIIl UIJUII Ul LIIc V IliMIJ 
 
 
 1 
 
 1 Ijprliilnc Qtjri ipaviic 
 UfKWGLl. 11 © clllil Itcll US 
 
 
 1 7 
 
 Pnvfvnif t\f r-Tpni*i7 Pprp\r Purl ni 
 
 X Ul LI ClI L Ul X AL 11 1 y A CI C y , X>dl 1 UJ 
 
 
 
 ^^nvtliiiTn hprlji lirl 
 i^i ui in mil uci iHiiiu 
 
 
 1 ft 
 1 o 
 
 xllUIIld© V V ell LVVU1 til , Xitll 1 UI ull al" 
 
 
 
 TVii»fi oYiri rite \a/iMaf<>i<ir Siv 1 
 IUILI, ctllU. Ill© Occl CLcll V Oil A. 
 
 
 
 Ml otrn it* nvi n cv 
 iv j dy 11 VV al Hi «i 
 
 
 1 
 
 VV llllcllll V llllcl o, JbUlU * locUUIll 
 
 
 
 VjTdnulSOil 
 
 
 20 
 
 Rachel, Countess of Southampton 
 
 
 21 
 
 Bishop of Trieste 
 
 1818 
 
 22 
 
 His own Portrait in the character 
 
 
 
 of Paris 
 
 
 
 K/»l'f l'Olt JIT 1 rlMVlflC TNn HI |"L'f 111 lilt? 
 
 XUlLldlL Ul v,<IldIlL!> lIlc_riJ&l 111 III© 
 
 
 
 robes 
 
 
 9 i 
 ~4 
 
 Piirfi"-nt nf u IVTun 
 
 L UI LldlL Ul d IVXdll 
 
 
 25 
 
 Portrait of Albertus Miraeus 
 
 
 L ( ) 
 
 T4pMrl nf T£in<v C 1 Vim rip's flip T^ir^t 
 
 llCdU Ul IVlllil V_/lIdllCo X 1 I o I • 
 
 
 
 HTlip fnll-fVipp flip t hrpp-niin r tpr 
 
 X 11C lull Jolt, lilt lliltl/*UUtu LCI 
 
 
 
 face, and the profile, in one pic- 
 
 
 
 ture 
 
 1821 
 
 27 
 
 Charles the Second, Mi. 11, with 
 
 
 
 the Princesses Elizabeth, Mary, 
 
 
 
 and Ann, who is supporting the 
 
 
 
 infant James the Second 
 
 
 1 
 
155 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Duke of Bedford 
 T. Hope, Esq. 
 J. Knight, Esq. 
 
 Met. 1. S. v. 202. 
 
 Earl of Egremont 
 
 
 Earl Fitzwilliam 
 
 
 Duke of Grafton 
 Baroness Lucas 
 Sir A. Hume, Bart. 
 
 
 Earl of Yarmouth 
 
 
 His Majesty 
 W. R. Cartwright, Esq. 
 Duke of Bedford 
 
 Whole length. 
 
 Aubert le Mire was almoner 
 and librarian to Albert, 
 Archduke of Austria. He 
 died at Antwerp, in \ 64i). 
 
 VV. Wells, Esq. 
 
 This picture was sent to Rome, 
 as a model for Bernini . 
 
 " Charles, to late times, to be 
 
 transmitted fair, 
 Assigned his figure to Bernini's 
 
 care." — Pope. 
 
 His Majesty 
 
 It is asserted that the original 
 picture and bust were de- 
 stroyed in the lire at White- 
 hall Palace, in 1697. The 
 
156 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 
 tienry juoru xeicy^ oi /iinwicK, 
 
 
 
 second son of the Earl of North- 
 
 
 
 uiiiuci idiniy ou. s. p. looy 
 
 1 QQ i 
 
 on 
 
 Portrait of a Prince of Carignan 
 
 
 30 
 
 Portrait of Prince Charles,, James 
 
 
 
 Duke of York., and the Princess 
 
 
 
 Mary, children of Charles the 
 
 
 
 First 
 
 
 31 
 
 Portrait of the Marquis of Spinola 
 
 
 OL 
 
 i or trait oi JMrs. r orter 
 
 
 33 
 
 Portrait of Le Clerc 
 
 
 34 
 
 Simon de Vos 
 
 1822 
 
 35 
 
 The Wife of Simon de Vos 
 
 
 36 
 
 A Study of a Horse 
 
 
 37 
 
 Charity 
 
 1823 
 
157 
 
 « 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Egremont 
 His Majesty 
 
 His Majesty 
 Lord Radstock 
 
 Earl of Egremont 
 
 Sir A. Hume, Bart. 
 
 G. Watson Taylor, Esq. 
 G. Watson Taylor, Esq. 
 Sir A. Hume, Bart. 
 Earl of Lonsdale 
 
 print was taken from a copy 
 by Lely. — Granger. 
 
 Thomas de Savoye, Prince de 
 Carignan, Generalissimo of 
 the armies of Savoy, France, 
 and Italy, ob. 1650. 
 
 General of the Spanish forces 
 in the Low Countries, 1630. 
 
 Wife of Endymion Porter, 
 Gentleman of the Bed- 
 chamber to King Charles 
 the First. 
 
 From the Balbi Palace, at 
 Genoa. 
 
 Born at Antwerp, in 1603. 
 He was a painter of talent, 
 and excelled in History, 
 Portraits, and Hunting. 
 
158 
 
 MICHEL JANSEN 
 N. 1568. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Portrait of Henry Wriothesley, 
 Earl of Southampton 
 
 1815 
 
 FRANCIS 
 N. 1579. 
 
 1 
 
 Study of Dogs' Heads 
 
 1818 
 
 2 
 
 A Lion attacking a Wild Boar 
 
 1819 
 
 3 
 
 A Boar Hunt 
 
 
 4 
 
 A Horse devoured by Wolves 
 
 
 5 
 
 Fighting Cocks 
 
 
 6 
 
 The Lion and the Mouse 
 
 1821 
 
 7 
 
 Fruit, Dead Birds, and a Cat 
 
 
 
 
 JACOB 
 
 
 N. 1594. 
 
 1 
 
 A Woman, with a Parrot 
 
 1815 
 
 2 
 
 A Lawyer, with his Clients 
 
 1823 
 
159 
 
 MIREVELT. 
 M. 1641. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Duke of Bedford 
 
 " He was invited to England 
 by Charles the First, but 
 did not come. He was a 
 most able imitator of Cor- 
 nelius Jansen and Van- 
 dyck." — Deschamps. 
 
 SNYDERS. 
 M. 1657. 
 
 Sir A. Hume, Bart. 
 
 Hon. H. Clive 
 Duke of Wellington 
 Ditto 
 Hon. H. Clive 
 R. Frankland, Esq. 
 Jer. Harman, Esq. 
 
 JORDAENS. 
 M. 1678. 
 
 Earl of Darnley 
 
 W. Smith, Esq. 
 
 His colouring is scarcely in- 
 ferior to that of his master, 
 Rubens. 
 
160 
 
 REMBRANDT 
 N. 1606, 
 
 " Through the room, 
 Taught light to counterfeit a gloom." — Landscape. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 i 
 
 A i-rivl lr»rVlrinfp tVatii q v\7i n rl rkxir 
 / v. vJll 1 lUOivlIlsi liUlll cl VV 1I1U.UW 
 
 1 ft 1 *i 
 
 2 
 
 T ,Q n n cpq no 
 
 
 Q 
 O 
 
 XjcHiuscciptj^ witii i ouit (iiiu. tne 
 
 
 
 A 11 CPO 1 
 
 
 A 
 
 *i 
 
 rxll vy 111 VV UuldQ ledulllg 
 
 
 
 jrorixdix oi d ividiij witii d ndvvK 
 
 
 O 
 
 riedu oi d nduui 
 
 
 7 
 
 Portrdit of Himself 
 
 
 Q 
 
 o 
 
 A lie In QTifi hie lA/ifipi 
 
 
 9 
 
 The Wise Men's Offering 
 
 
 1 
 
 T-ToqiI n f ori Olrl Man 
 
 nedu oi dii wiu ividn 
 
 
 i L 
 
 jnedQ oi d xidoui 
 
 
 1 9 
 
 jnedu oi d vjiii 
 
 
 1 ^ 
 
 lo 
 
 jTortrdii/ oi d j_idti y , witii d ± an 
 
 
 14 
 
 The Windmill 
 
 
 15 
 
 The Tribute-Money 
 
 
 16 
 
 Portrdit of Peter Cornelius Van- 
 
 
 
 hooft* 
 
 
 17 
 
 The Cradle 
 
 
 18 
 
 Adoration of the Shepherds 
 
 
 19 
 
 Portrait of Marshal Turenne, on 
 
 
 
 Horseback 
 
 
 20 
 
 The Jew Bride 
 
 1818 
 
 21 
 
 An Old Woman 
 
 
 22 
 
 The Good Samaritan 
 
 
 * Vanhooft was a celebrated Flemish Historian and Poet. He 
 has been compared by his countrymen to Homer and Tacitus. His 
 histories of " The Low Countries, and of Henry IV." are held in 
 high estimation. He died in 1647. 
 
161 
 
 VAN RHYN. 
 M. 1674. 
 
 " It is better to say nothing, than little, on the wide range of Ru- 
 bens, and the miracles of Rembrandt." — Fuseli's Last Lucture. 
 
 In the Possession of 
 
 Dulwich College 
 J. Knight, Esq. 
 
 Rev. W. H. Carr. 
 Duch.Dow.of Buccleugh 
 Earl Grosvenor 
 G. Hayter, Esq. 
 Earl of Ilchester 
 Earl of Ashburnham 
 The Prince Regent 
 Ridley Colborne, Esq. 
 Sir G. Beaumont, Bart. 
 Rev. W. H. Carr 
 Earl Grosvenor 
 W. Smith, Esq. 
 Sir S. Clarke 
 
 Sir A. Hume, Bart. 
 R. P. Knight, Esq. 
 J. J. Angerstein, Esq. 
 
 Earl Cowper 
 Earl of Mulgrave 
 Lord C. Townshend 
 Earl of Yarmouth 
 
 Miscellaneous Observations. 
 
 €t Rembrandt pursued his art 
 with incredible industry 
 during thewhole course of his 
 life. His genuine pictures 
 are very numerous. His 
 etchings are no less esteem- 
 ed. The best collection of 
 them ever made in Eng- 
 land, was that by Arthur 
 Pond, which was sold after 
 his death, in 1760, for 
 £544 12s, 6d.; but the 
 largest was that of Mon- 
 sieur Amadee de Burgy, 
 at the Hague, which was 
 publicly sold in 1755, and 
 contained 257 Portraits, 
 161 Histories, 155 Figures, 
 85 Landscapes, consisting 
 in the whole of 655 Prints, 
 
 with their variations." 
 
 Rogers. 
 
 Daulby's Catalogue of the 
 Works of Rembrandt. 
 
 M 
 
162 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 Lo 
 
 1 — 1 HO/1 d~kr O \ A / o T. t* 1 1 » 
 
 n.t3du oi d vv arrioi 
 
 1 Dl Q 
 
 J o I o 
 
 
 jncdu. oi d vtiii 
 
 
 
 1 — IdqH r\T o T/aviT KQnm 
 ncdu Ul cL JcVV XVdUUl 
 
 
 
 riedu. or dn vy i ti vvomdn 
 
 
 27 
 
 Bloody Gdrment brought to Jacob 
 
 
 28 
 
 Christ in the Storm 
 
 
 29 
 
 The Sacrifice of Gideon 
 
 1819 
 
 30 
 
 Portraits of a Ship-Builder and his 
 
 
 
 Wife 
 
 
 31 
 
 Standard-bearer, being a Portrait 
 
 
 
 of Himself 
 
 
 32 
 
 Portrait of his Wife 
 
 
 33 
 
 
 
 UT 
 
 Belshazzar s Feast 
 
 loZ l 
 
 35 
 
 i oi trait oi trie \_/Oiiiietduie doui non 
 
 
 36 
 
 FTpad of a Fpmalp known a** Ppm- 
 
 
 
 urduut o vuuk 
 
 
 Of 
 
 ri.edu or udvux 
 
 
 oo 
 
 Ldndscdpe, with Cattle and Figures 
 
 
 Oif 
 
 T-Toarl nf an Olrl TVTan 
 
 inedu oi an uiu ividn 
 
 
 40 
 
 Portrdit of a Lady 
 
 
 41 
 
 Portrait of a Female 
 
 1822 
 
 42 
 
 Landscape 
 
 
 43 
 
 Portrait of a Man 
 
 
 44 
 
 His own Portrait 
 
 
 45 
 
 The same 
 
 
 46 
 
 The Crucifixion 
 
 1823 
 
 47 
 
 A Man's Head 
 
 
163 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. Hibbert, Esq. 
 The same 
 Earl of Derby 
 Sir A. Hume, Bart. 
 Earl of Derby 
 H. Hope, Esq. 
 Sir A. Lech mere, Bart. 
 
 Prince Regent 
 
 Sir S. Clarke 
 Ditto 
 
 W. R. Cartwright, Esq. 
 Earl of Derby 
 Lord Radstock 
 
 Ditto 
 Earl Howe 
 Lord Radstock 
 Sir M. W. Ridley, Bart. 
 Earl of Egremont 
 
 His Majesty 
 Sir A. Hume, Bart. 
 G. J.Cholmondeley, Esq. 
 His Majesty 
 Lord Eardley 
 Sir G. Beaumont, Bart. 
 R H. the Duke of York 
 
 " She was a prettyPeasantGirl, 
 whom he married for love 
 in early life. He delighted 
 to paint her Portrait ; and 
 she was his only model 
 whenever he attempted to 
 give his idea of female 
 beauty." — Rogers. 
 
 Painted from a Sketch be- 
 longing to the Montmo- 
 rency Family. 
 
 M 2 
 
164 
 
 NICHOLAS 
 N. 1614. 
 
 No. 
 
 Subject. 
 
 5 
 6 
 
 7 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 
 Cattle at a Fountain 
 Landscape, Evening, with Peasants 
 
 travelling 
 Mountainous Landscape, with Cat 
 
 tie and Figures 
 View near Rome, with Cattle and 
 
 Figures 
 Mountainous Landscape 
 Mountainous Landscape, with \ 
 
 Waterfall and Figures 
 Landscape, with Cattle and Figures 
 Landscape, with Cattle and Figures 
 Landscape, with Cattle 
 Landscape, with Cattle 
 Banditti attacking a Caravan 
 Landscape, with Cattle and Figures 
 Cattle and Figures passing a River 
 Cattle and Figures passing a River 
 Landscape, with Cattle and Figures 
 Landscape, with Ruins 
 Ruins of an Aqueduct 
 Landscape and Figures 
 
165 
 
 BERGHEM. 
 
 M. 1683. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Dulwich College 
 
 
 W. Smith, Esq. 
 
 
 Viscount Palmerston 
 
 
 Prince Regent 
 Prince Regent 
 
 
 G. Hibbert, Esq. 
 Duke of Bedford 
 W. Wells, Esq. 
 G. Hibbert, Esq. 
 Sir H. Smyth, Bart. 
 Earl of Derby 
 M. Zachary, Esq. 
 Ridley Colborne, Esq. 
 Ridley Colborne, Esq. 
 Marquis of Bute 
 Sir S. Clarke, Bart. 
 Sir S. Clarke, Bart. 
 Lord Braybroke 
 
 
166 
 
 JACOB GERRITZE 
 N. 1606. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 6 
 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 
 18 
 19 
 20 
 21 
 
 22 
 23 
 24 
 25 
 
 Fishing under the Ice 
 Small Landscape, with Cattle and 
 Figures 
 
 Small Landscape , with Cattle and 
 Figures 
 
 Cattle, with Travellers and Shep- 
 herds 
 View of Dort 
 Landscape, with Figures and Cattle 
 
 passing a Bridge 
 Landscape, Evening, with Travel- 
 lers 
 
 Landscape, with Figures 
 River View, with Passage-boats 
 River View, with a Raft 
 View of Dort 
 Landscape and Cattle 
 View on a River, with Cattle 
 View of Nimeguen 
 Cattle-piece 
 
 Cavalry Horse, with an Officer 
 Landscape, with Figures going to 
 
 Market 
 View on a River in Holland 
 A Herdsman, with Cattle 
 A River View, with a Passage-boat 
 Cattle in a Landscape 
 Mountainous Landscape 
 A River View, with Cattle 
 Group of Cattle 
 Group of Cattle 
 
 1815 
 
 1818 
 
 1819 
 
167 
 
 CUYP, or KUYP. 
 M. 1664. 
 
 In the Possession of 
 
 Duke of Bedford 
 
 Eari of Carlisle 
 
 Earl of Carlisle 
 
 Earl of Carlisle 
 Sir Ab. Hume,, Bart. 
 
 J. Knight, Esq. 
 
 W. Smith, Esq. 
 Earl of Ashburnham 
 Earl of Carlisle 
 Lady Stuart 
 Lady Stuart 
 C. Oldfield Bowles, Esq 
 Marquis of Bute 
 Duke of Bedford 
 Marquis of Bute 
 Duke of Wellington 
 
 G. Hibbert, Esq. 
 Duke of Bedford 
 Marquis of Bute 
 Prince Regent 
 Jer. Harman, Esq. 
 
 Marquis of Bute 
 Viscount Ranelagh 
 
 W. Wells, Esq. 
 G. W. Taylor, Esq. 
 
 Miscellaneous Observations. 
 
 ( His pictures frequently re 
 present the borders of the 
 Maes river, with shepherds 
 and herdsmen attending 
 their cattle. These sub 
 jects he has treated with 
 an enchanting simplicity, 
 that may be truly said to 
 be peculiar to him. No 
 painter has surpassed him 
 in the purity of his aerial 
 tints." — Bryan. 
 
 The finest pictures of Ciiyp 
 are in England, and in the 
 greatest number. 
 
168 
 
 No. 
 
 26 
 27 
 28 
 29 
 
 30 
 
 31 
 
 32 
 33 
 34 
 35 
 36 
 
 37 
 38 
 39 
 40 
 
 Subject. 
 
 Group of Cattle in a Landscape 
 A River, with Boats 
 River View, with a Castle 
 Cattle and Figures on the Banks 
 
 of a River 
 Interior of a Smith's Shop, with a 
 
 Man eating Muscles 
 Landscape, with a gray Horse, and 
 
 an Encampment in the back 
 
 ground 
 
 Landscape, with Cattle and Figures 
 Landscape, with Horses and Figures 
 Landscape,with Horses and Figures 
 Sea View by Moonlight 
 A Shepherd, with Cattle on the 
 
 Banks of a River 
 Small Landscape 
 Sheep in a Landscape 
 Landscape, with Cattle 
 Cattle on the Banks of a River 
 
169 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Ashburnham 
 Right Hon. R. Peel 
 
 
 Rob. Stone, Esq. 
 
 
 C. H. Tracy, Esq. 
 
 
 His Majesty 
 Jos. Burchard, Esq. 
 Earl of Carlisle 
 Earl of Carlisle 
 C. H. Tracy, Esq. 
 
 
 C. H. Tracy, Esq. 
 Sir Ab. Hume, Bart. 
 Colonel Hugh Baillie 
 Thomas Tomkinson, Esq. 
 Earl Howe 
 
 
170 
 
 KAREL 
 N. 1640. 
 
 No. 
 
 Subject. 
 
 Ye&r of 
 Exhibition. 
 
 1 
 
 Landscape, and Cattle 
 
 1818 
 
 2 
 
 Landscape, and Cattle 
 
 1819 
 
 3 
 
 Landscape, with Cattle passing a 
 
 
 
 river 
 
 1821 
 
 4 
 
 Cattle and Meadows 
 
 
 5 
 
 Landscape, with Figures and Cattle 
 
 
 6 
 
 Landscape, with Figures and Cattle 
 
 
 7 
 
 Landscape, with Cattle passing a 
 
 
 
 river 
 
 1822 
 
 8 
 
 An interior, with Figures at Cards 
 
 
 9 
 
 Figures and Cattle 
 
 1823 
 
171 
 
 DU JARDYN. 
 M. 1678. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir Simon Clarke,, Bart. 
 H. P. Hope, Esq, 
 
 Jos. Burchard, Esq. 
 Jos. Burchard, Esq. 
 
 W. Wells, Esq. 
 
 W. Wells, Esq. 
 
 C. H. Tracy, Esq. 
 W. Wells, Esq. 
 Sir Claude Scott, Bart. 
 
 Paul Potter, Albert Kiiyp, 
 and Karel du Jardyn, were 
 those of the Flemish School 
 who approached nearest to 
 each other in point of ex- 
 cellence. 
 
172 ' 
 
 JAN 
 N. 1636. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 A Woman opening Oysters 
 
 1816 
 
 2 
 
 The Schoolmaster 
 
 
 S 
 
 The Village Politicians 
 
 
 4 
 
 A sick Lady 
 
 1818 
 
 5 
 
 Group of Villagers with fighting 
 
 
 
 Cocks 
 
 
 6 
 
 The Schoolmaster 
 
 
 7 
 
 A Flemish Entertainment 
 
 
 8 
 
 A Flemish Feast 
 
 
 9 
 
 A Merry-making 
 
 
 10 
 
 Exterior, with Figures 
 
 1819 
 
 11 
 
 Portraits of the Painter and his 
 
 
 
 Family. The Effects of Intem- 
 
 
 
 perance 
 
 
 12 
 
 The Music-master 
 
 
 J3 
 
 A Dutch Fair 
 
 
 14 
 
 The Schoolmaster 
 
 
 15 
 
 A Dutch Marriage 
 
 
 16 
 
 The Effects of Intemperance 
 
 1822 
 
 17 
 
 A Merry-making 
 
 
 18 
 
 A Merry-making 
 
 
 19 
 
 The Prodigal Son 
 
 
 20 
 
 A Lady at her Harpsichord 
 
 1823 
 
173 
 
 STEEN. 
 
 M. 1689. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. Hope, Esq. 
 Marquis Camden 
 Hon. A. Phipps 
 Duke of Wellington 
 
 Marquis of Bute 
 G. Cholmondeley, Esq. 
 H. Hope, Esq. 
 Earl of Lonsdale 
 H. Hope, Esq. 
 Sir S. Clarke, Bart. 
 
 G. Watson Taylor, Esq. 
 
 A. Baring, Esq. 
 Earl of Mulgrave 
 
 A. Baring, Esq. 
 
 Earl of Carlisle 
 Duke of Wellington 
 Duke of Wellington 
 Duke of Wellington 
 G. W. Taylor, Esq. 
 
 Rt. H. Rob. Peel 
 
 The figure with the red cap, 
 is the portrait of F. Mieris, 
 the painter. " Perhaps no 
 painter of his country has 
 equalled him in the air of 
 truth and nature which he 
 gave to the expression and 
 character of his figures. 
 The works of Jan Steen 
 were at first little known 
 or valued, excepting in 
 Holland. But now they 
 are generally held in high 
 estimation, and admitted 
 into the choicest collec- 
 tions." — Bryan. 
 
174 
 
 ABRAHAM VAN 
 N. 1607. 
 
 No. 
 
 Subject. 
 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Consecration of a 
 
 Bishop 
 
 1823 
 
 
 PAUL 
 N. 1625. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 
 Landscape, with a Woman milking 
 
 a Cow in the Foreground 
 Cattle in a Landscape 
 Landscape in a Storm 
 A Stable, with Horses 
 Cattle in a Landscape 
 Sportsmen at the Door of an Inn 
 A Farm-house 
 Cattle, with a Cow drinking 
 Cattle in a Landscape 
 
 1815 
 
 1818 
 1819 
 
 1821 
 1822 
 
175 
 
 DIEPENBECK. 
 M. 1675. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. W. Taylor, Esq. 
 
 
 POTTER. 
 M. 1654. 
 
 The Prince Regent 
 Duke of Bedford 
 H. Hope, Esq. 
 H. Hope, Esq. 
 G. W. Taylor, Esq. 
 
 Prince Regent 
 Jer. Harman, Esq. 
 Lord Radstock 
 W. Wells, Esq. 
 
 " Ce savant peintre fut du 
 petit nombre de ces homines 
 dont les impressions na 
 turelles ne puivent jamais 
 etre gatees par celles d'au- 
 trui. La nature fut son 
 guide, son seul et unique 
 maitre." 
 
 De Saint-Germain 
 
 
 

 176 
 
 JAN LE 
 N. 1636. 
 
 No. 
 
 
 Year of 
 Exhibition. 
 
 1 
 
 A musical Party 
 
 1822 
 
 ADAM 
 N. 1621. 
 
 1 
 
 Landscape, with Cattle and Fi- 
 
 
 
 gures 
 
 
 1821 
 
 2 
 
 View on a River 
 
 
 1822 
 
 3 
 
 Sportsmen in a Landscape 
 
 
 4 
 
 Landscape, with Cattle and Fi- 
 
 
 
 gures 
 
 
 1823 
 
 ADRIAN VANDER 
 N. 1659. 
 
 1 
 
 A Magdalene in a Landscape 
 
 1815 
 
 2 
 
 The Incredulity of St. Thomas 
 
 1818 
 
 3 
 
 Christ and Woman at the Well 
 
 1821 
 
 4 
 
 His own Portrait 
 
 1822 
 
 
 
 
177 
 
 DUC. 
 M. 1670. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Duke of Wellington 
 
 He was an able pupil of Paul 
 Potter 
 
 PYNAKER. 
 M. 1673. 
 
 Marquis of Bute 
 Marquis of Lansdowne 
 C. H. Tracy, Esq. 
 
 J. S. Wortley , Esq. 
 
 WERF, CHEVALIER. 
 M. 1722. 
 
 H. Hope, Esq. 
 H. Hope, Esq. 
 Earl of Derby 
 G. W. Taylor, Esq. 
 
 His pictures are most highly 
 valued on the Continent. 
 Some of them have been 
 sold for 8000 and 12,000 
 livres, (500/.)" — Guide des 
 Amateurs de Tableaux. 
 
 N 
 
178 
 
 N. 1608. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 3 
 
 A Lady reading a Letter 
 The same subject 
 The Music-master 
 
 1815 
 1819 
 
 VAN 
 
 1 
 
 A Dutch Servant-girl 
 
 1819 
 
 1 
 
 His own Portrait 
 
 ADRIAN 
 N. 1611. 
 
 1821 
 
179 
 
 TERBURGH. 
 M. 1681. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Prince Regent 
 G. Hibbert, Esq. 
 Alexander Baring, Esq. 
 
 
 HARP. 
 
 Earl of Mulgrave 
 
 ( Although the works of this 
 estimable painter are so ge- 
 nerally known and admired, 
 he has escaped the notice 
 of every writer on art.'* — 
 Bryan. 
 
 HANNEMAN. 
 M. 1680. 
 
 G. W. Taylor, Esq. 
 
 u He was a native of theHague, 
 and a very successful imi- 
 tator of the works of Van- 
 dyck. He remained in Eng- 
 land sixteen years." — H. 
 
 Walpqle. 
 
 N 2 
 
180 
 
 FERDINAND 
 N. 1611. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Portrait of a Youth 
 
 1821 
 
 
 ARNOLD VAN MAES, 
 
 
 N. 1620. 
 
 1 
 
 2 
 3 
 4 
 
 A Woman scraping Carrots 
 A Woman listening 
 The same subject 
 A Woman selling Milk 
 
 1821 
 1822 
 
181 
 
 BOL. 
 
 M. 1681. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Carlisle 
 
 Some of his best portraits may 
 be mistaken for those of 
 Rembrandt. 
 
 or MAAS. 
 M. 16— 
 
 Right Hon. Sir C. Long 
 Duke of Wellington 
 
 His Majesty 
 Duke of Wellington 
 
182 
 
 No. 
 
 Subject. 
 
 GERARD 
 N. 1613. 
 
 Year of 
 Exhibition. 
 
 A Woman with a Rabbit 
 
 A Poulterer's Shop 
 
 A Saint at his Devotions 
 
 A Lady playing on a Virginal 
 
 1815 
 1818 
 1819 
 1821 
 
 JAN VAN BOCKHERST, 
 N. 1610. 
 
 1 
 
 Portraits of the Painter and his 
 
 
 
 Wife 
 
 1822 
 
 PLATZER. 
 
 1 
 
 Death of Cleopatra 
 
 1819 
 
 2 
 
 Defeat of Marc Antony 
 
 
183 
 
 DOUW. 
 
 M. 1674. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. P. Hope, Esq. 
 W. Beckford, Esq. 
 Alexander Baring, Esq. 
 W. Wells, Esq. 
 
 In the Electoral Gallery at 
 DusseldorfF (now removed 
 to Munich), is an apart- 
 ment solely dedicated to re- 
 ceive the works of Gerard 
 Douw. 
 
 Eckel Gallerie Electo- 
 rale de Dusseldorff, 
 Fol. 1778. In the Musee 
 Napoleon there were seven- 
 teen pictures by this master, 
 and among them that of 
 the "Dropsical Woman/* 
 so much admired. 
 
 LANG JAN. 
 M. 1678. 
 
 Viscount Sydney 
 
 Duke of Wellington 
 Duke of Wellington 
 
184 
 
 LUDOLF 
 N. 1631. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Men of War 
 
 1813 
 
 2 
 
 The Embarkation of Van Tromp 
 
 1821 
 
 3 
 
 A brisk Gale 
 
 
 4 
 
 A Sea Storm 
 
 
 GABRIEL 
 
 N. 1615. 
 
 A Man writing a Letter 1815 
 A Lady reading a Letter 
 The Corset rouge 
 The Corset bleu 
 
 A Lady at her Toilette 1818 
 A Woman with Oysters 1819 
 A Man playing on a Violoncello 1821 
 The Jealous Husband 1822 
 A Gentleman and Lady in Con- 
 versation 1 823 
 
185 
 
 -BACKHUYSEN. 
 M. 1709. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Lady Stuart 
 Duke of Wellington 
 Peter Rainier, Esq. 
 C. H. Tracy, Esq. 
 
 " Aucun peintre n'a sur- 
 passe Backhuysen, dans 
 la limpidite de I'eau, sa 
 transparence, et son agita- 
 tion, ni rendu avec pinceau 
 plus flou, le ton et Tespace 
 des zones aeriennes." — De 
 Saint Germain. 
 
 METZU. 
 M. 1658. 
 
 H. P. Hope, Esq. 
 Ditto 
 Sir S. Clarke, Bart. 
 
 G. Hibbert, Esq. 
 William Smith, Esq. 
 
 Rev. W. Long 
 
 H. P. Hope, Esq. 
 His Majesty 
 
 Rt. Hon. R. Peel 
 
 Terburgh and Metzu most 
 successfully imitated the 
 manner of Gerard Douw, 
 and Mieris. Their works 
 have been not unfrequently 
 taken forthoseof each other. 
 
186 
 
 ADRIAN VAN OSTADE. 
 N. 1610. M. 1685. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 Interior, with Men smoking 
 
 2 ! Interior, domestic Scene 
 
 3 jVillage Ball 
 
 4 An Interior 
 
 5 An Interior 
 
 6 i Boors regaling 
 
 7 Exterior of a Cottage 
 
 8 A Merry-making 
 
 9 A Merry-making 
 
 1 Card-players 
 
 1 1 A Dutch School 
 
 12 | A Dutch Boor reading 
 
 13 Interior of a Dutch Farm-house 
 
 14 Dutch Courtship 
 
 15 I An Inn-door 
 
 16 Figures at Bowls 
 
 ISAAC OSTADE. 
 
 17 A Traveller at a Cottage-door 
 
 18 'A Female sewing 
 
 19 Sportsmen and Figures at an 
 
 Tnn- door 
 
 20 The Chemist in his Laboratory 
 
 21 The Schoolmaster 
 
 22 Boors at Backgammon 
 
 23 A Physician in his Study 
 
 24 An Interior, with Figures 
 
 25 A Cottage Scene, with Figures 
 
 smoking 
 
 26 Merry-making, an Exterior 
 
 27 Interior, with Figures dancing 
 
 1815 
 
 1818 
 
 1819 
 
 1821 
 
 1822 
 
 1823 
 
187 
 
 ISAAC VAN OSTADE. 
 N. 1617. M. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 J. Graves, Esq. 
 Prince Regent 
 J. Dent, Esq. 
 Jer. Harman, Esq. i 
 J. F. Tuffen, Esq. 
 Sir A. Hume, Bart. 
 
 H. Hope, Esq. 
 Lord C. Townshend 
 Duke of Wellington 
 Ridley Col borne, Esq. 
 J. T. Ball, Esq. 
 
 F. Freeling, Esq. 
 Alex. Baring, Esq. 
 
 W. Wells, Esq. 
 Alex. Baring, Esq. 
 
 G. Hibbert, Esq. 
 
 W. Wells, Esq. 
 Earl Howe 
 
 C. H. Tracy, Esq. 
 Joseph Burchard, Esq. 
 Marquis of Bute 
 Marquis of Bute 
 C. H. Tracy, Esq. 
 C. H. Tracy, Esq. 
 
 Thomas Pares, Esq. 
 T. Tomkisson, Esq. 
 Earl of Lonsdale 
 
 Figures by Du Sart. 
 

 1 QO 
 
 loo 
 
 FRANC 
 N. 1584. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 Van Goyen the Painter, with his 
 
 Wife and Child 
 A Man playing on a Violin 
 
 1823 
 
 
 
 ADAM 
 
 
 
 N. 1584. 
 
 1 
 
 Tobit with the Angel 
 
 1819 
 
189 
 
 HALS. 
 M. 1666. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. W. Taylor, Esq. 
 Lord Braybroke 
 
 Hals has been considered as 
 the rival of Vandyck, in 
 his portraits, and with a 
 just pretension. 
 
 ELSHEIMER. 
 M. 1626. 
 
 G. W. Taylor, Esq. 
 
 " Elsheimer established him- 
 self at Rome, where he was 
 imprisoned for debt, and 
 died in consequence of vexa- 
 tion. His pictures pro- 
 duced high prices after his 
 death." — Bryan. 
 
190 
 
 ARNOLD 
 N. 1619. 
 
 No. 
 
 Subject. 
 
 Year of 
 
 HjvVi i hi ti on . 
 
 J— i Al 11 kJ J. LIXJ 1 1 • 
 
 1 
 
 View on a River in Holland 
 
 1818 
 
 2 
 
 Moonlight 
 
 
 3 
 
 An Effect of Sunshine 
 
 
 4 
 
 Moonlight 
 
 
 5 
 
 Frost-piece, with Skaiting 
 
 1819 
 
 6 
 
 Landscape, with a View of the 
 
 
 
 House of the Painter 
 
 1821 
 
 7 
 
 Frost-piece 
 
 
 8 
 
 Moonlight 
 
 
 9 
 
 Moonlight 
 
 
 10 
 
 Landscape, Figures by Cuyp 
 
 
 11 
 
 Frost-piece 
 
 
191 
 
 VANDER NEER. 
 M. 1683. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Hon. Gen. Phipps 
 Ridley Colborne, Esq. 
 
 Hon. Aug. Phipps 
 Ridley Colborne, Esq. 
 Marquis of Bute 
 
 Sir Claude Scott, Bart. 
 W.Wells, Esq. 
 Jos. Burchard, Esq. 
 Lord Radstock 
 The same 
 The same 
 
 
192 
 
 PHILIP 
 N. 1620. 
 
 No. 
 
 1 
 
 2 
 
 4 
 5 
 6 
 
 8 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 17 
 
 18 
 
 19 
 20 
 
 21 
 
 Subject. 
 
 A Horse Fair 
 Landscape, with Horses and Fi- 
 gures 
 
 Landscape, with Horses and Fi- 
 gures, and a Farrier's Shop 
 A Battle 
 Landscape, with Cattle and Horses 
 A hawking Party 
 
 Sea-shore, with Horses and Fi- 
 gures 
 
 Landscape, with Figures hawking 
 Sea-shore, with Boats 
 Stable, with Horses and Figures 
 Stable, with Horses and Figures 
 A March, with Baggage Waggons 
 A Horse Fair 
 A hawking Party 
 La Blanchisseuse 
 
 The Door of an Alehouse, with 
 Figures going a hawking 
 
 View on the Banks of a River, with 
 Travellers 
 
 Sea-shore, with Horses and Fi- 
 gures 
 
 A gray Horse drinking 
 A Camp-scene, with Horses and 
 
 Figures 
 Landscape, with Figures 
 
193 
 
 WOUVERMANS. 
 M. 1668. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. Hibbert, Esq. 
 
 H. P. Hope, Esq. 
 
 Earl of Harrington 
 Lord Dundas 
 Dulwich College 
 C. Duncombe, Esq. 
 
 Lord C. Town sh end 
 
 Prince Regent 
 G. W. Taylor, Esq. 
 W. Smith, Esq. 
 G. J. Cholmondeley, Esq 
 Alex. Baring, Esq. 
 Prince Regent 
 H. Hope, Esq. 
 A. Baring, Esq. 
 
 Sir H. Smyth, Bart. 
 
 Duke of Bedford 
 
 C. H. Tracy, Esq. 
 Earl Howe 
 
 ct His touch, though firm, is 
 exquisite ; and though his 
 pictures have the appear 
 ance of the most precious 
 finishing, he must have 
 painted with extraordinary 
 facility, as few artists have 
 left behind them such 
 number, or such a variety, 
 of interesting productions 
 — Bryant. 
 From the King of Spain's 
 Collection. This is said to 
 have been the last picture 
 painted by the master. 
 Figures by Wynants. 
 
 Right Hon. R. Peel 
 Viscount Curzon 
 
194 
 
 No. 
 
 22 
 
 23 
 24 
 25 
 26 
 
 27 
 28 
 29 
 
 Subject. 
 
 An Inn-door, with Horses and 
 
 Figures 
 A Road Scene, with Figures 
 A Landscape, with Figures 
 A Landscape, with Travellers 
 A Farrier's Shop, with Horses and 
 
 Figures 
 A Party going to the Chase 
 March of an Army 
 Banks of a River, with Horses and 
 Figures 
 
 Year of 
 Exhibition. 
 
 1822 
 
 1823 
 
195 
 
 In the Possession of 
 
 Miscellaneous Obserrations. 
 
 Ridley Colborne, Esq. 
 Countess de Grey 
 Countess de Grey 
 Right Hon. R. Peel 
 
 Earl of Lonsdale 
 Earl of Liverpool 
 Earl of Liverpool 
 
 Earl of Lonsdale 
 
 
196 
 
 WILLIAM VANDERVELDE, 
 N. 1610. M. 1693. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 2 
 3 
 4 
 
 5 
 6 
 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 17 
 18 
 19 
 
 20 
 21 
 
 22 
 23 
 24 
 25 
 
 27 
 
 A Gale, with a Yacht firing a Sa- 
 lute 
 
 Ships at Anchor 
 A brisk Gale, with Men of War 
 Dutch Coast, Man of War under 
 
 sail 
 A Sea-piece 
 
 A Sea Calm, with Boats 
 Cattle and Figures in a Landscape 
 Sea-piece 
 Sea-piece 
 Sea-piece 
 Sea-piece 
 A Sea Calm 
 A Sea Calm 
 The Hay-field 
 A Sea Calm 
 
 Landscape, with Figures 
 
 A Sea Calm 
 Landscape, with Cattle 
 Landscape, with Figures 
 
 Landscape, with Cattle and Figures 
 Sea Shore, with Fishing-boats 
 Castle of Lazenenburg 
 Landscape, with Cattle and Figures 
 Mercury and Battus 
 View, with Men of War on the 
 
 Coast of Holland 
 A Sea Storm 
 A Sea Shore 
 
 1815 
 
 1818 
 
 1819 
 
 1821 
 
 1822 
 
197 
 
 ADRIAN VANDERVELDE. 
 N. 1639. M. 1672. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Jerem. Harman, Esq. 
 Lady Stuart 
 W. Smith, Esq. 
 
 Lady Stuart 
 John Knight, Esq. 
 Lord C. Townshend 
 Sir S. Clarke 
 H. Hope, Esq. 
 Duchess of Buccleugh 
 Duchess of Buccleugh 
 H. Hope, Esq. 
 Prince Regent 
 A. Baring, Esq. 
 A. Baring, Esq. 
 Sir Edm. Harvey 
 G. W. Taylor, Esq. 
 
 G. W. Taylor, Esq. 
 Earl of Coventry 
 C. H. Tracy, Esq. 
 
 Earl of Egremont 
 Viscount Curzon 
 Lord Radstock 
 Jos. Burchard, Esq. 
 Sir Claude Scott, Bart. 
 
 W. Wells, Esq. 
 Marquis Cholmondeley 
 His Majesty 
 
 The palm is not less dis- 
 puted with Raffaelle for hi 
 story, than with Vander- 
 velde for sea-pieces/' — H 
 Walpole. 
 
 Figures by Vandervelde,Land 
 scape by Ruysdael. 
 
 With Ruysdael. 
 Figures by Wynants, Land- 
 scape by Hobbima. 
 
 With Vander Hey den. 
 A. Vander velde, jun. 
 
198 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 28 
 
 A brisk Gale 
 
 
 29 
 
 A Sea Storm 
 
 30 
 
 A Calm, with Men of War at 
 
 
 
 Anchor 
 
 1823 
 
 31 
 
 Cattle and Figures 
 
 
 32 
 
 A Gale on the Coast of Holland 
 
 
 33 
 
 A Gale on the Coast of Holland, 
 
 
 
 with a Man of War in the di- 
 
 
 
 stance 
 
 
199 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Lord Radstock 
 G. J. Cholmondeley, Esq. 
 
 Jos. Burchard, Esq. 
 Jos. Burchard, Esq. 
 Right Hon. Rob. Peel 
 
 A. Holdsworth, Esq. 
 
 A. Vandervelde, jun. 
 
c 200 
 
 DAVID TENIERS (the old). 
 N. 1582. M. 1649. 
 
 No. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 
 Subject. 
 
 Dutch Boors smoking 
 A Village Feast 
 A Village Feast 
 A Village Feast 
 The Incantation 
 Temptation of St. Anthony 
 Figures Dancing 
 A Village Feast 
 A Merry-making 
 
 Corps de Garde 
 Backgammon Players 
 Dutch Boors 
 The Bonnet rouge 
 A Lady, with a black Servant 
 Village Feast 
 A musical Party 
 A Flemish Wake 
 The Connoisseur 
 A Dutch Peasant in a Landscape 
 A Flemish Chimney-sweeper 
 A small Landscape 
 A Card Party 
 The Misers 
 A Corps de Garde 
 Interior of a Guard-room 
 Interior of the Emperor Leopold's 
 Gallery 
 
 Year of 
 Exhibition. 
 
 1815 
 
 1818 
 
 1819 
 
 3821 
 
201 
 
 DAVID TENIERS (the young). 
 N. 1610. M. 1694. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Jos. Harman, Esq. 
 Earl of Ashburnham 
 Duke of Bedford 
 P. Metcalfe, Esq. 
 Marquis of Thomond 
 
 P. Metcalfe, Esq. 
 Lord De Dunstanville 
 Duke of Wellington 
 Prince Regent 
 
 H. Hope, Esq. 
 H. Hope, Esq. 
 Right Hon. C. Long 
 Lord C. Townshend 
 
 Earl of Mulgrave 
 G. Watson Taylor, Esq. 
 Right Hon. C. Long 
 Rob. Walpole, Esq. 
 Lord C. Townshend 
 
 F. F reeling, Esq. 
 
 F. Freeling, Esq. 
 
 Earl of Mulgrave 
 
 Marquis of Bute 
 Right Hon. C. Long 
 Earl of Ashburnham 
 Earl of Ashburnham 
 
 Lord Eardlev 
 
 Painted on the lid of his harp- 
 sichord, which was an im- 
 perfect instrument. He ob- 
 served, that though he could 
 not make it a good, he had 
 made it a valuable one. 
 
 A Pasticcio. 
 
202 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 27 
 
 A Village Feast 
 
 1821 
 
 to 
 
 The five Senses — Seeing, Tasting. 
 
 
 Hearing, Feeling, Smelling 
 
 
 33 
 
 A Flemish Courtship 
 
 
 34 
 to 
 
 38 
 
 The four Seasons 
 
 
 Landscape, Cottage, and Figures 
 
 
 39 
 
 Landscape, with Figures 
 
 
 40 
 
 Landscape^ with Figures 
 
 
 41 
 
 A Merry-making 
 
 
 42 
 
 Playing at Bowls 
 
 
 43 
 
 Farm-house and Merry-making 
 
 1822 
 
 44 
 
 Interior, with Figures at Cards 
 
 
 45 
 
 Interior of a Gallery., with Pictures 
 
 
 46 
 
 His own Portrait 
 
 
 47 
 
 Portrait of his Wife 
 
 
 48 
 
 The Plundering of a Farm-house 
 
 
 49 
 
 Landscape, with Cattle and Figures 
 
 
 50 
 
 Boors smoking 
 
 1823 
 
 51 
 
 Boors smoking 
 
 
 52 
 
 Boors at Cards 
 
 
 53 
 
 The Vintage 
 
 
 54 
 
 Interior of a Farm-house 
 
 
 55 
 
 j 
 
 A Village Feast 
 
 
203 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Alex. Baring, Esq. 
 
 C. H. Tracy, Esq. 
 
 Right Hon. R. Peel 
 
 G. Watson Taylor, Esq. 
 
 G. Townley, Esq. 
 G. W. Taylor, Esq. 
 G. W. Taylor, Esq. 
 
 His Majesty 
 Earl of Ashburnham 
 C. H. Tracy, Esq. 
 W. Wells, Esq. 
 Lord Eardley 
 Earl of Coventry 
 Earl of Coventry 
 Marquis of Bute 
 Earl of Coventry 
 R. H. Duke of York 
 M. Zacchary, Esq. 
 Earl of Lonsdale 
 Viscount Melbourne 
 R. H. theVice-Chancellor 
 Earl of Lonsdale 
 
 

 
 JOHN 
 N. 1600. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 
 Landscape, with Figures 
 Landscape, with Figures 
 Landscape, with Cattle 
 
 1822 
 
 
 GODFREY 
 
 
 
 N. 1643. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 4 
 
 A Girl threading a Needle 
 A Candlelight 
 A Musical Party 
 Moliere 
 
 1818 
 
 1822 
 1823 
 
205 
 
 WYNANTS. 
 
 M. 1670. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Egremont 
 Earl of Egremont 
 Rt. Hon. R. Peel 
 
 
 SCHALKEN. 
 M. 1706. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Yarmouth 
 Lord C. Townshend 
 
 C. H. Tracy, Esq. 
 G. W. Taylor, Esq. 
 
 " To give the most natural 
 effect to his candlelight 
 pieces, he is said to have 
 adopted the following sy- 
 stem : he placed the object 
 he intended to paint, and 
 a candle, in a dark room ; 
 and looking through a small 
 aperture, painted by day- 
 light what he saw in the 
 dark chamber/' — Bryan. 
 

 206 
 
 JOHN 
 N. 1650. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Dead Birds 
 
 1821 
 
 MINDERHOUT 
 N. 1611. 
 
 1 
 
 A Water-Mill 
 
 1815 
 
 2 
 
 A Forest Scene 
 
 
 3 
 
 Landscape, with Figures 
 
 1818 
 
 4 
 
 Landscape, with a Water-Mill 
 
 
 5 
 
 Landscape 
 
 
 6 
 
 Forest Scenery, with Cattle and 
 
 
 
 Figures 
 
 1819 
 
 7 
 
 A Landscape 
 
 
 8 
 
 Forest Scenery 
 
 1821 
 
 9 
 
 Landscape 
 
 1822 
 
 10 
 
 Road Scene, with Figures, by Lin- 
 gelback 
 
 
 11 
 
 Landscape, with Cattle and Fi- 
 gures, by Vandervelde 
 
 
207 
 
 FYT. 
 M. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G. W. Taylor, Esq. 
 
 
 HOBBIMA. 
 M. 1662. 
 
 Viscount Palmerston 
 John Dent, Esq. 
 G. W. Taylor, Esq. 
 
 W. Smith, Esq. 
 C. Duncumbe, Esq. 
 
 Marquis of Bute 
 W. Wells, Esq. 
 C. H. Tracy, Esq. 
 Earl Howe 
 
 Lord Radstock 
 
 The pictures of Hobbima 
 were for a long time un- 
 noticed and neglected, while 
 those of Breughel and Sa- 
 vary were bought at high 
 prices ; but such has been 
 the improvement in our 
 taste, that they are now 
 among the most coveted 
 and highly esteemed pro- 
 ductions of the Dutch 
 school." — Bryan. 
 
 Earl of Egremont 
 
208 
 
 JOHN AND 
 N. 1610. M. 1650. 
 
 No. 
 
 Subject. 
 
 x ear oi 
 Exhibition • 
 
 1 
 
 View of the Lake of Bolseno, with 
 
 
 
 a Waterfall 
 
 1815 
 
 2 
 
 View of the Lake of Bolseno, with 
 
 
 
 a Waterfall and Landscape * 
 
 
 3 
 
 Landscape 
 
 
 4 
 
 Landscape 
 
 
 5 
 
 Landscape in Italy 
 
 
 6 
 
 Landscape, with Philip baptizing 
 
 
 
 the Eunuch 
 
 1818 
 
 7 
 
 Landscape, with Figures 
 
 
 8 
 
 Landscape, with Figures 
 
 
 9 
 
 Landscape, with Figures 
 
 1819 
 
 10 
 
 View in Italy 
 
 1821 
 
 11 
 
 View in Italy, with Figures 
 
 
 12 
 
 View in Italy, with Figures tra- 
 
 
 
 velling 
 
 1822 
 
 13 
 
 Landscape, and Figures 
 
 
 14 
 
 Landscape, with Travellers 
 
 1823 
 
 15 
 
 Landscape, with Sportsmen 
 
 
 * This picture came out of the collection of Sir L. Dundas, in 
 1794, when it was sold for 504/. It was originally purchased of the 
 Clifford family, of Amsterdam, for whom it was painted. 
 
209 
 
 ANDREW BOTH. 
 N. M. 1645. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Mrs. Arnold 
 
 Lord Dundas 
 Lady Stuart 
 Lady Stuart 
 Duke of Bedford 
 
 Prince Regent 
 Lord De Dunstanville 
 Lord De Dunstanville 
 Bishop of Durham 
 M. Zacchary, Esq. 
 Mrs. E. Coxe 
 
 A. Baring, Esq. 
 T. Tompkinson, Esq. 
 Jos. Burchard, Esq. 
 Earl Harcourt 
 
 " The works of these excellent 
 artists had reached a di- 
 stinction even in Italy that 
 secured to them both for- 
 tune and fame, when an ac- 
 cident cut asunder the tie 
 by which they were united, 
 and deprived the world of 
 the combination of their 
 powers. While they re- 
 sided at Venice, returning 
 home from an entertain- 
 ment, Andrew unfortunate- 
 ly fell into one of the ca- 
 nals, and was drowned." — 
 Bryan. 
 
 p 
 
210 
 
 PETER DE 
 N. 1643. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Inside of a Church 
 
 1815 
 
 2 
 
 An Interior 
 
 
 3 
 
 A Conversation 
 
 1818 
 
 4 
 
 An Interior, with Figures smoking 
 
 1821 
 
 5 
 
 A Musical Party 
 
 1822 
 
 6 
 
 A Lady at her Toilet 
 
 
 ARY DE 
 N. 1641. 
 
 1 
 
 A Soldier 
 
 1819 
 
 2 
 
 Portrait of a Man 
 
 
 1 
 
 Dead Birds 
 
 GHISELS. 
 
 1813 
 
HOOGE. 
 
 211 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Mulgrave 
 Earl of Mulgrave 
 H. P. Hope, Esq. 
 Marquis of Bute 
 Duke of Wellington 
 Duke of Wellington 
 
 
 VOYS. 
 M. . 
 
 Earl of Carlisle 
 Marquis of Stafford 
 
 The pictures of this master 
 are extremely scarce, as, 
 with great talents, he 
 painted very few."— Bryan. 
 
 H. P. Hope, Esq. 
 
212 
 
 JOHN BAPTIST 
 N. 1621. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 ] 
 
 2 
 3 
 
 A Dead Stag 
 A Dead Hare 
 Dead Game 
 
 1815 
 1821 
 
 
 ANTHONY PALAMEDES 
 
 
 N. 1604. 
 
 1 
 
 A Musical Party 
 
 1818 
 
 BARTHOLOMEW BRUNBERG, 
 N. 1620. 
 
 1 
 
 Virgin and Child, with Angels 
 
 1816 
 
213 
 
 WEENINT. 
 
 
 M. 1660. 
 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. Hope, Esq. 
 
 
 Ditto 
 
 
 Philip J. Miles, Esq. 
 
 
 (STAEVERTS,) 
 M. 1680. 
 
 Earl of Yarmouth 
 
 called FRA. BARTOLOMEO. 
 M. 1660. 
 
 Earl Powis 
 
 " There is an elevated style 
 in the arrangement of his 
 works, and he seems to 
 have exhaled the taste of 
 Italy with the atmosphere 
 he breathed. There is no- 
 thing of the characteristic 
 vulgarity of his country/* 
 — Bryan. 
 
214 
 
 PETER MOLYN 
 N. 1637. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Burning of the Fleet in the 
 River Medway 
 
 1821 
 
 
 DAVID DE KONING, 
 
 
 N, 1636. 
 
 1 
 
 2 
 
 View in Holland 
 View in North Holland 
 
 1819 
 1821 
 
 
 
 JACOB 
 
 
 N. 1695. 
 
 1 
 
 2 
 3 
 
 Interior of a Church 
 Ditto 
 Ditto 
 
 1818 
 1821 
 1822 
 
215 
 
 CAVALIERE TEMPESTA. 
 M. 1701. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Duke of Wellington 
 
 
 or KONENCfc. 
 
 M. 1687. 
 
 G. Cholmpndeley, Esq. 
 
 
 Earl Grosvenor 
 
 
 DE WITT. 
 M. 174 
 
 Duchess of Buccleugh 
 Hon. Gen. Phipps 
 R. H. the Duke of York 
 
21t) 
 
 JOHN VANDER 
 N. 1637. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 View of a Town in Holland 
 
 1815 
 
 2 
 
 View of a Town in Holland 
 
 1818 
 
 3 
 
 View of a Town in Holland 
 
 1821 
 
 4 
 
 View of the Castle of Lazenbourg 
 
 
 5 
 
 View in Holland 
 
 1822 
 
 BARTHOLOMEW 
 N. 1613. 
 
 1 
 
 The Arrest of the Pensionary De 
 
 
 
 Witt 
 
 1819 
 
 2 
 
 Portraits 
 
 1823 
 
217 
 
 HEYDEN. 
 M. 1712. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. P. Hope,, Esq. 
 Duke of Wellington 
 
 Earl of Coventry 
 Lord Radstock 
 Duke of Wellington 
 
 Figures by Vandervelde. 
 
 VANDER HELST. 
 M. 1670. 
 
 H. Hope, Esq. 
 J. Stuart Wortley, Esq. 
 
 The Vandyck of Holland. 
 
218 
 
 CONSTANTINE 
 N. 1670. 
 
 No. 
 
 Subject. 
 
 
 Year of 
 Exhibition. 
 
 1 
 
 Girl making Lace 
 
 
 1818 
 
 GASPARD 
 N. 1639. 
 
 1 
 
 A Lady at her Toilet 
 
 1819 
 
219 
 
 NETSCHER. 
 M. 1722. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Yarmouth 
 
 
 NETSCHER. 
 M. 1684. 
 
 Duke of Wellington 
 
 He particularly excelled in 
 painting white silk satin, 
 ermine, &c. which are re- 
 presented with a fidelity 
 approaching to illusion/' — 
 Bryan. 
 
220 
 
 JACOB 
 N. 1636. 
 
 " Nature here 
 Has with her living colours formed a scene 
 Which Ruysdaal best might rival. " — Mason. 
 
 No. 
 
 Subject. 
 
 Year of 
 
 Kxhihitinn 
 
 -Li AlllLrlLlv/11 . 
 
 1 
 
 The Castle of Bentheim 
 
 1815 
 
 2 
 
 A View in Holland 
 
 1818 
 
 3 
 
 A small Landscape 
 Ditto 
 
 
 4 
 
 
 5 
 
 Ditto 
 
 
 6 
 
 Ditto 
 
 
 7 
 
 View on the Coast of Scheveling 
 
 1819 
 
 o 
 
 <5 
 
 Landscape, with Wood-cutters 
 
 
 9 
 
 Landscape, with Cattle and Figures 
 
 
 10 
 
 Landscape, with a Waterfall 
 
 
 11 
 
 Landscape, and Waterfall 
 Ruysdaal's Gate 
 
 1821 
 
 12 
 
 
 13 
 
 Woody Landscape, with Buildings 
 
 
 14 
 
 A Lime-kiln 
 
 
 15 
 
 River View, with a Figure fishing 
 
 1822 
 
 16 
 
 Landscape, with a Mill 
 
 
 17 
 
 A Waterfall 
 
 
 18 
 
 Ditto 
 
 
 19 
 
 A small Landscape 
 
 
 ADRIAN VANDER 
 N. 1631. 
 
 1 
 
 Calm, with Boats and Figures 
 
 1821 
 
 2 
 
 View on the Dutch Coast 
 
 
 3 
 
 A Sea Piece 
 
 1822 
 
 4 
 
 Sea View, with Boats and Figures 
 
 
221 
 
 RUYSDAAL, 
 M. 1681. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 W. Smith, Esq. 
 G.J. Cholmondeley, Esq. 
 F. Freeling, Esq. 
 G. W ( Taylor, Esq. 
 The same 
 The same 
 Earl of Carlisle 
 G. W. Taylor, Esq. 
 Earl of Mulgrave 
 Marquis of Bath 
 G. W. Taylor, Esq. 
 Lord Radstock 
 P. Ranier, Esq. 
 Earl Howe 
 G. W. Tracy, Esq. 
 
 His Majesty 
 J. W. Russel, Esq. 
 Sir R. Wigram, Bart. 
 F. Freeling, Esq. 
 
 With A. Vandervelde 
 
 
 CABEL. 
 
 M. 1695. 
 
 His Royal Highness the 
 
 
 Duke of York 
 
 
 J. Sarjent, Esq. 
 
 
 Duke of Bedford 
 
 
 Lord Dundas 
 
 
222 
 
 LE 
 
 
 OUUJcCi. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 
 The young Gamblers 
 
 Italian Peasants 
 
 The same Subject, a Family 
 
 1818 
 1819 
 1822 
 
 
 
 FRANCIS 
 
 
 
 N. 1689. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 
 A Man's Head 
 
 A Man eating Shrimps 
 
 Portrait of a Lady 
 
 An old Woman reading 
 
 Interior, with a Soldier drinking 
 
 Portrait of Himself 
 
 1815 
 
 1818 
 1819 
 
223 
 
 NAIN. 
 
 In the Possession of 
 
 lVTi«!/*pnjinpfiii<s OVicprvntifmc 
 
 Prince Regent 
 Earl of Carlisle 
 Earl of Egremont 
 
 He was a pupil of Michel 
 Angelo Caravaggio, whose 
 manner he imbibed, with a 
 richness of colour peculiar 
 to himself. 
 
 MIERIS. 
 M. 17—. 
 
 Lord De Dunstanville 
 
 H. Hope, Esq. 
 Lord De Dunstanville 
 
 W. Smith, Esq. 
 Duke of Wellington 
 W. Wells, Esq. 
 

 
 
 ADRIAN 
 N. 1608. 
 
 No. 
 
 Subject. 
 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 4 
 
 Landscape, with Figures at Bowls 
 
 Boors smoking 
 
 A Dutch Surgeon 
 
 The Wise Man's Offering 
 
 1818 
 
 1819 
 1822 
 
 WILLIAM 
 N. 1662. 
 
 1 
 
 2 
 
 A Fisherman, and a Woman with 
 
 Poultry 
 The Showman 
 
 1815 
 
225 
 
 BRAUWER. 
 M. 1640. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 G, Hibberr, Esq. 
 Duke of Wellington 
 W. Wells, Esq. 
 Sir H. Wellesley 
 
 He was a pupil of Franc Hals, 
 and was much encouraged 
 by Rubens. 
 
 MIERIS. 
 M. 1747. 
 
 J. Dent, Esq. 
 J. F. Tuffen, Esq. 
 
 
 0. 
 
226 
 
 JOHN VAN 
 N. 1682. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Flowers in a Vase 
 
 1815 
 
 2 
 
 Fruit 
 
 
 3 
 
 Fruit 
 
 
 4 
 
 Flowers 
 
 
 5 
 
 Flowers 
 
 1818 
 
 6 
 
 Fruit 
 
 
 SIMON 
 
 1 
 
 A Sea-shore, with Boats 
 
 1819 
 
2€7 
 
 HUYSOM. 
 M. 1749. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. P. Hope, Esq. 
 
 H. P. Hope, Esq. 
 J. Thompson, Esq. 
 J. Thompson, Esq. 
 G. W. Taylor, Esq. 
 G. W. Taylor, Esq. 
 
 
 DE VLIEGER. 
 
 G. W. Taylor, Esq. 
 
THE 
 
 BRITISH SCHOOL OF PAINTING. 
 
 €e Da Vinci thus the light of Science sought, 
 And art reviving kindled as he wrought ; 
 Thus Buonaroti rear'd his lofty name, 
 And great Urbino brightened into fame ; 
 Rubens, array'd in learning's lustre, shone, 
 And triumphed on his allegoric throne. 
 Thus graced with all that liberal studies yield, 
 To form the powers of Genius for the field, 
 Accomplish'd Reynolds claims the Muse's praise, 
 And shines in illustration of her lays. 
 O ! proudly gifted 'mongst the graphic train, 
 With equal skill to practise and explain ; 
 With all the traits of truth and taste to charm, 
 Pure from the pen, as from the pencil warm ; 
 To grasp once more the wreath of ancient days, 
 And to the Painter's add the Scholar's praise !" 
 
 Siiee's Elements of Art, c. iv. v. 208. 
 
 " I am no prophet, nor yet the son of a prophet; but 
 in considering the necessary concatenations of causes 
 and effects, and in judging by some few visible links in 
 the chain, I feel assured, that if ever the true taste of 
 the Ancients revives in full vigour and purity, it will 
 be, in England." 
 
 Richardson's Theory of Painting, 8vo. 1719. 
 
230 
 
 SIR JOSHUA 
 First President of the 
 N. 1723. 
 These Pictures were exhibited 
 
 u SUCCEDET FAMA VINUSQUE PER ORA FERETUR." 
 
 PORTRAITS. 
 
 Names. 
 
 His Majesty George III. 
 Mrs. Siddons, as the Tragic Muse 
 Lord Richard Cavendish 
 The late Earl Camden 
 The Hon. Mrs. Stanhope 
 A Chinese Boy 
 
 Dr. Thomas Newton, bishop of 
 Bristol 
 
 The late Sir William Chambers 
 Lady Melbourne and Child 
 Viscountess St. Asaph and her Son 
 Miss Price 
 Lady Boringdon 
 Master Bunbury 
 Lady Lucas, and Lady Grantham 
 The Marchioness of Tavistock 
 Mrs. Baldwyn 
 The late Lady Carysfort 
 The late Marquis of Lansdowne, 
 Lord Ash burton, and Colonel 
 Barre 
 
 Garrick, between Tragedy and 
 
 Comedy 
 Lady Carnarvon and Son 
 The Countess of Harcourt 
 
231 
 
 REYNOLDS, 
 Royal Academy. 
 M. 1792. 
 
 in 1813 and 1823. 
 
 PORTRAITS. 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Royal Academy 
 Win. Smith, Esq. 
 Duke of Devonshire 
 Marquis Camden 
 Marchioness of Thorn ond 
 
 Duke of Dorset 
 Archbishop of Canter 
 bury 
 Royal Academy 
 Viscount Melbourne 
 Earl of Ashburnham 
 Mrs. Price 
 Lord Boringdon 
 Col. Bunbury 
 Lady Lucas 
 Duke of Bedford 
 Richard Westall, Esq. 
 Earl of Carysfort 
 
 Sir T. Baring, Bart. 
 
 J. T. Angerstein, Esq. 
 Earl of Carnarvon 
 Earl of Harcourt 
 
 From the Calonne Collection. 
 The best accounts of his pic 
 tures, with the names of 
 the original purchasers, and 
 the prices paid for them, 
 are given in Malone's Life 
 of Sir Joshua Reynolds, v. 
 i, p. 62 — 70; and North- 
 cote's, v. ii. p. 355. More 
 than 300 prints have been 
 taken from his works by 
 different engravers. The 
 complete Works of Sir J. 
 Reynolds, engraved by W. 
 S. Reynolds, fol. 1820.— 
 Life of Sir J. Reynolds, 
 
 BY J. NORTHCOTE, R. A. 
 
 2 vols. 8vo. 
 
 Not included in the sale of 
 the Angerstein Collection, 
 in 1824. 
 
232 
 
 No. 
 
 22 
 23 
 24 
 
 25 
 26 
 27 
 28 
 
 29 
 
 30 
 31 
 
 32 
 
 33 
 
 34 
 35 
 
 36 
 37 
 38 
 39 
 40 
 41 
 42 
 43 
 44 
 
 45 
 46 
 47 
 
 Names. 
 
 Lady G. Cavendisli 
 Captain Hamilton 
 Miss Bowles, afterwards Mrs. Pal- 
 mer 
 
 Mrs. Hartley and Child 
 
 The Duke of Orleans 
 
 Miss F. Cholmondeley 
 
 Mrs. Mary Hale in a Character, 
 
 from the Allegro 
 Lord Sidney and Col. Ackland, in 
 
 a landscape, as archers 
 Duchess of Gloucester and Child 
 Mrs. Long 
 
 Sir Joshua Reynolds and Mr. 
 
 Jervis, who painted the window 
 Master J. Crewe, in the Cha- 
 racter of Henry VIII. 
 Sir Joshua Reynolds 
 The Duke of Gloucester 
 
 Samuel Dyer, Esq. 
 Lady Harrington 
 Lady Hamilton 
 Mr/Tomkins 
 A Gentleman 
 Mrs. Rainsforth 
 Earl of Moira 
 Mr. Chauncy 
 
 Lord Henry, and Lady Charlotte 
 
 Spencer 
 The Prince Regent 
 Lady C. Spencer 
 The Honourable Peniston Lambe 
 and Brothers, sons of Lord Mel 
 bourne 
 
 Date. 
 
 1783 
 
 1798 
 1773 
 1785 
 
 1789 
 1761 
 
 1785 
 
 1776 
 1780 
 
 1773 
 
 1791 
 
 1789 
 
 1791 
 
233 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Lord G. Cavendish 
 Marquis of Abercorn 
 
 C. O. Bowles, Esq. 
 
 Earl of Carysfort 
 The Prince Regent 
 G. J.Cholmondeley,Esq. 
 
 Earl of Hare wood 
 
 Earl of Carnarvon 
 Lady Waldegrave 
 Right Hon. C. Long 
 
 Marchioness of Thomond 
 
 Lord Crewe 
 Royal Academy 
 Princess Sophia of Glou 
 cester 
 
 Sir Ridley Colborne, Bt. 
 Countess of Harrington 
 Marchioness of Thomond 
 Thomas Tomkins, Esq 
 
 Lord Dundas 
 Marchioness of Thomond 
 The Duke of York 
 Cartar, Esq. 
 
 Duke of Marlborough 
 Viscount Melbourne 
 Lord Charles Spencer 
 
 Viscount Melbourne 
 
 1823. 
 
 Sir Joshua painted his own 
 portrait in different atti- 
 tudes and dresses, and at 
 different periods of his life, 
 thirteen times ; all of which 
 portraits are extant. — Ma- 
 lone's life of Sir J. Rey- 
 nolds, p. 77. 
 
 But Northcote says that 
 " they were so numerous 
 as to bid defiance to enu- 
 meration." These are all 
 from his own pencil, with 
 the exception of one by C. 
 G. Stuart, an American, 
 one by Zoffanij, and a third 
 by Breda, a Swedish paint 
 er. — Life of Sir J. Rev 
 nolds, v. ii. p. 355, 8vo. 
 
 1823. 
 
€34 
 
 No. 
 
 Names. 
 
 Date. 
 
 48 
 
 Lail Ffr*HPP Stprnp 
 
 1768 
 
 4Q 
 
 1 ifivrl T-onnpv 
 
 1781 
 
 50 
 
 The late Mrs. Sheridan, as St. 
 Cppilia 
 
 ■ 
 
 51 
 
 The Princess Sophia of Glou- 
 cester 
 
 
 52 
 
 Mrs. Abingdon 
 
 
 53 
 
 Samiipl Whitlrrpad T^^n 
 
 ►OCL111 Lid T T 1111/UlCllU, UoU • 
 
 
 54 
 
 Karl of Carlislp 
 
 
 55 
 
 Lord Rodney 
 
 1789 
 
 of u 
 
 Lanv T^paiimont" 
 
 uau y uuciuiiiviit 
 
 
 57 
 
 Sir Ctpot*p , p T^paiimont 
 
 j 1 1 \_«cui sic ucciuxijuut 
 
 
 58 
 
 JLJ-tX J.T_Lct ICol V V^UCCll V/lICtl 1UI/IC 
 
 1781 
 
 59 
 
 Lord Viscount Keppel 
 
 1759 
 
 
 Sill* A V»Tfl li a TTI rTllTTlP 
 
 KJ11 X X. Ml fll J til 11 llulllv 
 
 
 61 
 
 Lady Amelia Hume 
 
 
 62 
 
 Philip Yorke, second Earl of Hard- 
 wick 
 
 
 63 
 
 lYTr<? T-Tartlpv a«» a lYTadonna 
 
 iTiiiji iicii i icy , do ti lUiuii.Muiu 
 
 
 64 
 
 The late Mr. VVhitbread 
 
 
 65 
 
 T^v dliarlps "Riirnpv spti 
 
 
 66 
 
 Mr. Baretti 
 
 
 67 
 
 Count La Linnp 
 
 
 
 Ladif Ann Fitznatripk 
 
 
 69 
 
 Lord T^orinfrdon and his Sisrpr 
 
 JL~J\JM.\JL JlJ\J± XXX CI VXA/XX CXI I H. 1XXO lul VI 
 
 1781 
 
 70 
 
 Frederic, Duke of York 
 
 1789 
 
 71 
 
 Marquis of Granby 
 
 1760 
 
 72 
 
 A Lady and Child 
 
 
 73 
 
 Lady Gertrude Fitzpatrick 
 
 1782 
 
 74 
 
 Francis, Marquis of Tavistock 
 
 1767 
 
 75 
 
 Lord Amherst 
 
 1762 
 
 76 
 
 Samuel Johnson 
 
 
 77 
 
 Oliver Goldsmith 
 
 
 78 
 
 Kitty Fisher, as Cleopatra 
 
 1759 
 
 79 
 
 Sir Charles Davers 
 
 
235 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Earl of Ossory 
 Marchioness of Thomond 
 
 1823, 
 
 Rt. Hon. R. B. Sheridan 
 
 The Duke of Gloster 
 
 Lord Boringdon 
 S. Whitbread, Esq. 
 
 Earl of Carlisle 
 The Prince Regent 
 Sir G. Beaumont, Bart. 
 Ditto 
 Royal Academy 
 Prince Regent 
 Sir Ab. Hume, Bart. 
 Ditto 
 
 Earl of Hardwick 
 Earl Grosvenor 
 S. Whitbread, Esq. 
 Mrs. Piozzi 
 Ditto 
 Prince Regent 
 Earl of Ossory 
 Lord Boringdon 
 Prince Regent 
 
 Ditto 
 Mr. Bucknall 
 Earl of Ossory 
 Duke of Marlborough 
 Lord Amherst 
 Mrs. Piozzi 
 Ditto 
 Lord Boringdon 
 Ditto 
 
236 
 
 No. 
 
 Names. 
 
 Date. 
 
 80 
 
 Admiral Boscawen 
 
 1757 
 
 81 
 
 Omai, a native of Ulietta 
 
 1776 
 
 82 
 
 Viscount Morpeth 
 
 1787 
 
 
 A Ladv and Child 
 
 
 84 
 
 Lord Dunmore 
 
 
 85 
 
 Rt. Hon. W. Wyndham 
 
 1788 
 
 uu 
 
 A Black Sprvant of Sir .Joshua 
 
 -i l X-JXtX-ClV LJ X VC4fl.lv wl K^ll U U 1 1 V 4 1 1 
 
 Rpvnftld^ 
 
 11C y 11 V7JL V-l o 
 
 
 87 
 88 
 
 Portrait of Himself when young 
 Lady Bagot 
 
 
 80 
 
 The Primate Robinson 
 
 
 
 TVTvq frWYm in n Turkish drp<s<s 
 
 It 11 o« VJ> W yllj 111 ( t X Ul tvliSll \JL1 Coo 
 
 
 
 JlVXI o» X W1SS 
 
 
 
 Tnp TliiPiiPQG nf ni'iinftwiPK 
 
 A UC -L/HUIJCoo Ul Lf I U li o W ICIY 
 
 
 
 I hp Onnni'PQQ nf TMifttnTi C!nnntp<!«i 
 
 X UC V> VJUll ICOo Ul XJUotUll^ VUUUl/Coc 
 
 
 nT WalilpOTflvp ;i n( T n/jir rTrs._ 
 ui t V dii-iciix d v c j ctuix x^ciuy iiu* 
 
 ratio Seymour, daughters of 
 James, Earl of Waldegrave 
 
 
 
 Trip T")nphp<«<5 r»f* (t1 rnipp^tpr 
 
 JL X1C X-/ ULllLoo Ul VJlUUCLotCl 
 
 
 95 
 
 The late Duke of Orleans 
 
 
 qr 
 yo 
 
 Portrait nf "Himcipl'f 
 
 X \ rl 11 (11 L Ul XXlllloCll 
 
 
 
 Opripral Tai'lpton 
 
 V>* LX\^X CLX JL CXX LVj tvll 
 
 
 Q8 
 
 Miss Owatkin 
 
 XTXXOO VVCLLXVXXI 
 
 - 
 
 QQ 
 
 "Eliza hpth Onn ntpss Harcoiirt with 
 
 JL-JX LZjCL MC I'll y V_y ' } LI 11 L-C oo X XCXX CL/ Hi %J y >» xvil 
 
 thp latp and tirpspnt Earls oar- 
 
 tllv XCVL/C CXtXXtX U-l v»;v 11 L IJtl i Xo *. XM.X 
 
 court 
 
 
 i no 
 
 lYTrs TVTnntafni 
 
 I'll o» XTXVJll LClii H. 
 
 
 101 
 
 The Duke of Hamilton 
 
 
 1 09 
 
 Wpvi'pji T-Tii citi n ctgi h,«in 
 
 TTclliCll XXClotllJgoj X_ioLj^* 
 
 
 103 
 
 The late G. Colman, Esq. 
 
 
 104 
 
 Mrs. Robinson 
 
 
 105 
 
 W. Beckford, Esq. 
 
 
 106 
 
 Head of a Black 
 
 
 107 
 
 The first Portrait of Himself 
 
 
 108 
 
 The last Do. 
 
 
237 
 
 Proprietors when exhibited. Miscellaneous Observations. 
 
 Viscount Falmouth 
 J. W. Steers, Esq. 
 Earl of Carlisle 
 Marchioness of Thomond 
 Ditto 
 
 Cholmondeley, Esq. 
 
 SirG. Beaumont, Bart. 1823. 
 Marchioness of Thomond 
 
 Lord Bagot 
 Christ Ch. Coll. Oxon. 
 Mrs. Gwyn 
 Mr. Reynolds 
 H. R. H. Prince Leopold 
 
 Earl of Waldegrave Painted for the late Lord Or 
 
 Earl Harcourt ford 
 Sir T. Baring, Bart. 
 Sir T. Lawrence 
 J. Fielder, Esq. 
 E. L. Gwatkin, Esq. 
 
 Earl Harcourt 
 M. Montagu, Esq. 
 W. Beckford, Esq. 
 G. W. Taylor, Esq. 
 
 General Phipps 
 W. Beckford, Esq. 
 Sir G. Deaumont, Bart. 
 E. L. Gwatkin, Esq. 
 Ditto 
 
238 
 
 No. 
 
 109 
 110 
 111 
 112 
 113 
 114 
 
 115 
 116 
 
 117 
 118 
 119 
 120 
 
 121 
 122 
 123 
 124 
 125 
 126 
 127 
 128 
 129 
 130 
 131 
 132 
 133 
 134 
 135 
 136 
 
 Names. 
 
 The late Lady C. Pelham Clinton 
 The Countess of Bute 
 John, Earl of Bute 
 Dr. Markham, archbishop of York 
 Countess of Harewood, and Child 
 Shepherds, portraits of Sir Joshua 
 and Mr.Jarvis, who stained the 
 west window at New College, 
 Oxon 
 Lady Hamilton 
 
 Miss Lister, sister of Lord Rib 
 
 blesdale 
 Portrait 
 
 Madame Scheindelin 
 Female Portrait 
 
 Hon. Miss Tollemache, in the 
 
 Character of Miranda 
 Thais 
 
 Colonel Dow 
 Captain Colman 
 James Macpherson, Esq. 
 Dr. Samuel Johnson 
 Of Himself 
 Oliver Goldsmith 
 Lady Louisa Manners 
 Lady Jane Halliday 
 Edmund Burke 
 W. Burke, Esq. 
 Francis Ashton, Esq. 
 Joseph Sharpe, Esq. 
 Children with a Dog 
 Lady Smith and Children 
 Mrs. Abington 
 
 Date. 
 
 1823 
 
 1782 
 
239 
 
 Proprietors when exhibited. 
 
 Viscount Folkstone 
 Ditto 
 Marquis of Bute 
 Christ Ch. Coll. Oxon. 
 Earl of Harewood 
 
 Marchioness of Thomond 
 Earl of Lauderdale 
 
 T. L. Parker,, Esq. 
 Mrs. Lawrence 
 Duchess of Dorset 
 
 Earl of Dysart 
 Ditto 
 Earl of Egremont 
 
 H. Bone, Esq. 
 Earl of Egremont 
 Duchess of Dorset 
 Ditto 
 Ditto 
 Ditto 
 Earl of Dysart 
 R. Sharpe, Esq. 
 General Cuppage 
 T. J. Mathias, Esq. 
 
 Earl of Egremont 
 Sir H. Smith, Bart. 
 Duchess of Dorset 
 
 Miscellaneous Observations. 
 
 Exhibited in 1817. 
 
 Author of the History of Hin- 
 dostan. 
 
 Painted for Mr. Thrale. 
 
 Painted for Mr. Thrale. 
 
240 
 
 HISTORICAL 
 Exhibited 
 
 No. 
 
 Subject. 
 
 Date. 
 
 Death of Cardinal Beaufort 
 The Death of Dido 
 
 Count Ugolino and his Children in 
 
 the Dungeon 
 Infant Samuel 
 King Lear 
 
 Cymon and Iphigenia 
 St. John, a Design for the West 
 
 Window of the Chapel in New 
 
 Col. Oxford 
 St. John in the Wilderness 
 A Study for Ugolino 
 Virgin and Child 
 
 1781 
 
 1773 
 1783 
 1783 
 1797 
 
 1779 
 1784 
 1772 
 1791 
 
211 
 
 SUBJECTS, 
 in 1813. 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Earl of Eg rem on t 
 Marchioness of Thomond 
 
 Duke of Dorset 
 
 Right Hon. Chas. Long 
 Marchioness of Thomond 
 
 ^The same 
 
 Sir G. Beaumont 
 Earl ofEgremont 
 
 1823. 2d Exhibition. 
 From the Shakspeare Gal- 
 lery. 
 
 Dante. Inferno, canto xxxiii. 
 
 Exhibited again in 1823. 
 From the Shakspeare Gallery. 
 Not stained in glass. 
 
242 
 
 OTHER 
 Exhibited 
 
 No. 
 
 Subject. 
 
 Date. 
 
 1 
 
 Piping Boy 
 
 
 2 
 
 Sleeping Girl 
 
 
 3 
 
 Hov with Cfihh;} crp-npfti 
 
 1790 
 
 4 
 
 Thp Fnrtiinp-tpllpv 
 
 a ii x V/i nine umci 
 
 1784 
 
 *j 
 
 f^VnlnVpn in flip Wnnn 
 
 WllllvtlvJll 111 1/11C T T LM/H 
 
 1 772 
 
 6 
 
 Girl with Grapes 
 
 
 7 
 
 8 
 
 The Captive 
 
 An old Man's Head 
 
 
 g 
 
 W»niT«i find dinid 
 
 1785 
 
 10 
 
 Tnfjirii' Tnviitpir* 
 
 1774 
 
 11 
 
 A Girl leaning on a Pedestal 
 
 1785 
 
 12 
 
 A Girl drawing 
 
 
 13 
 
 Itit*I nun K'lti'Pii 
 
 villi CX11 VI 1V1 ttCH 
 
 1787 
 
 14 
 
 Studious Boy 
 
 1784 
 
 15 
 
 n nninpff p 
 
 Xl/V^M111C/ ULCv 
 
 1787 
 
 16 
 
 Study of a Child 
 
 
 
 iTn nin Jinn PqvpIip i IVTiqq frvpvillp 
 
 LI 111 VI Clll LI J. oVLvllC ^ *-"»EM9 
 
 
 
 finrl Iipv T^rntlipp l 
 
 Cl 11 LA 11C1 JJIUIUCI J 
 
 1 78Q 
 
 18 
 
 Puck, from Midsummer Nights 
 
 
 
 Dream 
 
 1789 
 
 19 
 
 Shepherd and Shepherdesses 
 
 1780 
 
 20 
 
 Temperance 
 
 1780 
 
 21 
 
 Fortitude 
 
 1782 
 
 22 
 
 Charity 
 
 1781 
 
 23 
 
 Faith 
 
 1782 
 
 24 
 
 Hope 
 
 1783 
 
 25 
 
 Justice 
 
 1782 
 
 26 
 
 Prudence 
 
 1782 
 
 27 
 
 Shepherd's Boy 
 
 1780 
 
 28 
 
 Young Shepherdess in a Land- 
 scape 
 
 
243 
 
 SUBJECTS, 
 in 1813. 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Marchioness of Thomond 
 Samuel Rogers, Esq. 
 Duke of Dorset 
 Duke of Dorset 
 Viscount Palmerston 
 Earl of Upper Ossory 
 Rev. W. Long 
 H. Edridge, Esq. 
 
 Earl of Ossory 
 Duke of Rutland 
 Viscount Palmerston 
 Marchioness of Thomond 
 The same 
 Philip Metcalfe, Esq. 
 
 Earl of Lonsdale 
 Richard Westall, Esq 
 
 Samuel Rogers, Esq. 
 
 Samuel Rogers, Esq. 
 Marchioness of Thomond 
 
 The same 
 
 1823. 
 1823. 
 1823. 
 
 A Study. 
 
 Bequeathed by Sir J. R. 
 
 1823. 
 
 From the Shakspeare Gal 
 lery. 
 
 Sold by auction, 1822. 
 
 u 2 
 
244 
 
 No. 
 
 29 
 30 
 
 31 
 
 32 
 33 
 
 34 
 35 
 36 
 37 
 38 
 39 
 40 
 41 
 
 42 
 
 43 
 44 
 45 
 46 
 47 
 48 
 49 
 
 Subject. 
 
 Nymph and Boy 
 Nymph and Cupid, commonly 
 
 called <c a Snake in the Grass 
 Laughing Girl 
 Theory of Painting 
 Venus chiding Cupid for keeping 
 
 Accounts 
 Old Man's Head, a Study 
 A Sleeping Child 
 The infant Academy 
 St. Agnes 
 Fortune-teller 
 A Child asleep 
 Innocence 
 Angels' heads, a Study from the 
 
 Daughter of Lord W. Gordon 
 View of Sir Joshua's House t 
 Richmond 
 
 Cupid as a Link-boy 
 Mercury as a Pickpocket 
 A Girl with a Muff 
 A Girl sketching 
 Laughing Girl 
 Sleeping Child, a Sketch 
 Lesbia lamenting the Death of her 
 favourite Sparrow 
 
 Date. 
 
 1787 
 1785 
 1775 
 
 1783 
 1772 
 1784 
 1782 
 1788 
 
 1787 
 
 1788 
 
245 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 J. J. Angerstein, Esq. 
 
 Lord Carysfort 
 Earl of Lonsdale 
 J. Hughes, Esq. 
 
 Sir Thos. Bernard, Bart 
 Marchioness of Thomond 
 Earl of AyJesford 
 Viscount Palmerston 
 R. P. Knight, Esq. 
 Marchioness of Thomond 
 Sir Abr. Hume, Bart. 
 Jer. Harman, Esq. 
 
 Lord W. Gordon 
 Marchioness of Thomond 
 
 Duchess of Dorset 
 Duchess of Dorset 
 Marquis of Lansdowne 
 Henry Rogers, Esq. 
 
 Earl of Lonsdale 
 Sir A. Hume, Bart. 
 
 Mrs. Gwyn 
 
 For the window at New Col- 
 lege, Oxford.. Stained by 
 Jervais. Sold in 1821. 
 The principal purchaser was 
 the Earl of Normantown 
 The central picture of the 
 Nativity was burned at 
 Bel voir Castle in 1816 
 The Duke of Rutland had 
 given for it 16*00 guineas * 
 
 1823. This is said to have 
 been one of the three Laud- 
 scapes painted by him. 
 
 Exhibited in 1817. 
 
 Subject from Catullus. 
 
 ■ wc Reynolds, 'tis thine from the broad window's height 
 To add new lustre to religious light ; 
 Not of its pomp to strip the ancient shrine, 
 liut bid that pomp with purer radiance shine : 
 With arts unknown before to reconcile 
 The willing Graces to the Gothic pile. 1 ' — T. Win ion. 
 
246 
 
 No. 
 
 50 
 51 
 
 52 
 53 
 54 
 55 
 56 
 57 
 
 Subject. 
 The dead Robin 
 
 Robinetta (Honourable Mrs. Tolle 
 
 mache) 
 Holy Family 
 Calling of Samuel 
 The Student 
 The Shepherd's Boy 
 The Minstrel 
 
 The Snake in the Grass, or Love 
 untying the Zone of Beauty 
 
 THE BUST OF SIR JOSHUA REYNOLDS, P. R. A. 
 
 BY JOHN BACON, JUN. R. R. 
 
 Inscription on the Plinth : 
 JOSHUA REYNOLDS, 
 
 PICTORI SUI SjECULI FACILE PRINCIPI, 
 ET SPLENDORE ET COMMISSURIS COLORUM, 
 ALTERNIS VICIBUS LUMINIS ET UMBRI, 
 SESE MUTUO EXCITANTIUM, 
 VIX ULLI VETERUM SECUNDO. 
 QUI, CUM SUMMA ARTIS GLORIA MODESTE UTERETUR, 
 ET MORUM SUAVITATE, ET VIT^E ELEGANTIA, 
 
 PERINDE COMMENDARETUR; 
 ARTEM ETIAM IPSAM, PER ORBEM TERRARUM, 
 LANGUENTEM ET PROPE INTERMORTUAM, 
 EXEMPLIS EGREGIE VENUSTIS SUSCITAVIT, 
 PRiECEPTlS EXQUISITE CONSCRIPTIS ILLUSTRAVIT, 
 AT QUE EMENDATIOREM ET EXPOLITIOREM, 
 POSTERIS EXERCENDAM TRADIDIT ; 
 LAUDUM EJUS FAUTORES ET AMICI 
 HANC EFFIGIEM POSUERUNT. 
 1813. 
 
247 
 
 Proprietors when exhibited. 
 
 Miscellaneous Observations. 
 
 Ph. Metcalfe, Esq. 
 
 Sir H. Smith, Bart. 
 Earl of Egremont 
 
 Duchess of Dorset 
 Earl of Warwick 
 J. Sullivan, Esq. 
 Earl of Dysart 
 
 D. Stuart, Esq. 
 
 A repetition. 
 Painted in Italy. 
 A repetition. 
 
 A repetition. 
 
 The same inscription, with the date of his death, 
 March 3, 1 792, is inscribed on the pedestal of his statue, 
 by Flaxman, in the cathedral church of St. Paul. 
 
 It was written, as the prefaces reprinted in this 
 volume likewise were, by the late Richard Payne 
 Knight, Esq. 
 
 He was a gentleman who dedicated his life and his 
 ample fortune to the acquirement and critical history 
 of art, and the literature of the ancients. 
 
 His princely bequest of Greek bronzes and coins of 
 unrivalled excellence, drawings and designs by the 
 early masters, and particularly one of the Libri Veri- 
 tatis of Claude Loraine (purchased very lately), to the 
 British Museum, will merit and receive a grateful 
 tribute of praise from every man of taste. 
 
248 
 
 WILLIAM 
 
 N. 1697. 
 
 " If catching the manners and follies of an age, 4 living as they 
 rise if general satire on vices and ridicules, familiarised by strokes 
 of nature, and heightened by art, and the whole animated by proper 
 and just expressions of the passions — be comedy, — Hogarth composed 
 comedies as much as Moliere. In his c Marriage a-la-Mode,' there 
 is even an intrigue carried on through the whole piece. He is more 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 4 
 
 5 
 6 
 7 
 
 8 
 
 Rake's Progress 
 Rake's Progress 
 Rake's Progress 
 Rakp's Proorpss 
 
 Xl/ClXYVs O X X VJi^l too 
 
 Rake's Progress 
 Rake's Progress 
 Rake's Progress 
 Rake's Progress 
 
 1814 
 
 9 
 
 10 
 1 1 
 
 12 
 13 
 
 14 
 
 A Scene from the Beggar's Opera 
 The Politician 
 
 FalstafF reviewing his Recruits 
 The Family of R. R. Graham, Esq. 
 Orator Henley christening a Child, 
 
 a Sketch 
 A Boy and Kite 
 
 
 15 
 
 The Pool of Bethesda, a Sketch 
 
 
 16 
 
 A Study for the Second Picture of 
 the Harlot's Progress 
 
 
 17 
 
 A Committee of the House of 
 Commons examining the War- 
 den and Turnkeys of the Fleet 
 
 
2i9 
 
 HOGARTH. 
 M. 1764. 
 
 true to character than Congreve : each person is distinct from the rest, 
 acts in his sphere, and cannot be confounded with any other of the 
 dramatis personam Hogarth had no model to follow and improve 
 upon ; he created his art, and used colours instead of language." — 
 H. Walpole. 
 
 In the Possession of 
 
 In 1745, sold by auction 
 for 184/. 16s. Pur- 
 chased by Colonel Ful- 
 larton, at Mr. Beck- 
 ford' s sale, for 850 
 guineas; and by J. 
 Soane, Esq. the pre- 
 sent possessor, for 570 
 guineas. 
 
 T. W. Steers, Esq. 
 Peter Coxe, Esq. 
 Mrs. Garrick 
 R. R. Graham, Esq. 
 R. P. Knight, Esq. 
 
 Earl Grosvenor 
 
 Sir G. Beaumont, Bart. 
 
 Miscellaneous Observations, 
 
 The fourth chapter of the 
 fourth volume of Walpole's 
 Anecdotes is entirely dedi- 
 cated to a very sprightly 
 sketch of the life of Ho- 
 garth, with the first au- 
 thentic list of his works. 
 
 Mr. J. Ireland published a very 
 entertaining book, entitled 
 " Hogarth Illustrated," in 
 1 792 ; but the most splendid 
 publication of his life and 
 works, in 2 vols. 4to. is that 
 of (the veteran in litera- 
 ture) Mr. John Nichols. 
 
 Complete facsimiles of his 
 engravings have been pub- 
 lished by W. Cooke. 
 
 For the great picture in St. 
 Bartholomew's Hospital. 
 
 The six pictures of the Har- 
 lot's Progress were burned 
 at Mr. Beckford's, Fonthill, 
 in 1755. 
 
250 
 
 No. 
 
 18 
 19 
 
 20 
 
 21 
 
 22 
 
 23 
 24 
 25 
 26 
 27 
 28 
 29 
 30 
 31 
 32 
 33 
 34 
 35 
 
 36 
 37 
 38 
 
 39 
 40 
 41 
 42, 43 
 
 Subject. 
 
 Prison, on a Charge of Cruelty 
 
 towards the Prisoners 
 View of Bethlem Hospital 
 Portrait of Hogarth with the Pug 
 
 Dog 
 
 Hogarth painting the Figure of 
 
 Comedy 
 The Coffee-house Politicians 
 Portraits of Mr. and Mrs. Gar- 
 rick 
 
 The Distressed Poet 
 Portrait of Mrs. Hoadley 
 Portrait of Lady Byron 
 Portrait of J. Thornhill 
 The Lady's Last Stake 
 Marriage a- la- Mode 
 
 • The same 
 
 Portrait of Capt. Coram 
 
 Portrait of Dr. Benjamin Hoadley, 
 Bishop of Winchester 
 
 The Gate of Calais 
 
 Portrait of Sarah Malcolm 
 
 Portrait of Miss Fen ton, after- 
 wards Duchess of Bolton 
 
 The Wanstead Assembly 
 
 Portrait of Mr. Porter 
 
 Taste in high life 
 
 The Election Dinner — Canvassing 
 for Votes 
 
 Year of 
 Exhibition. 
 
 1814 
 
251 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Carlisle 
 Mr. Jones 
 
 
 J. J. Angerstein, Esq. 
 
 
 Marquis Camden 
 T. Daniel, Esq. 
 
 
 Mrs. Garrick 
 Earl Grosvenor 
 Archdeacon D'Oyley 
 Earl of IVTiilp*ravp 
 Dr. Lu scorn be 
 Earl of Charlemont 
 J. Angerstein, Esq. 
 
 
 } 
 
 ^>The same 
 
 S 
 
 
 Foundling Hospital 
 
 
 Archdeacon D'Oyley 
 Earl of Charlemont 
 Earl of Mulgrave 
 
 
 George Watson, Esq. 
 W. L. Wellesley, Esq. 
 Marquis of Stafford 
 J. Birch, Esq. 
 
 
 Mrs. Garrick * | 
 
 * The four pictures which are called " the Election" were sold at 
 Mrs. Garrick's auction, in 1824, for 1732/. to Mr. Soane, who al- 
 ready possesses the Rake's Progress. At the eamc time, a portrait 
 of Garrick, seated at his writing-table, for 74/. JO*. 
 
252 
 
 No. 
 
 44, 45 
 
 46 
 47 
 48 
 49 
 
 50 
 51 
 
 52 
 53 
 54 
 
 55 
 56 
 
 57 
 
 58 
 
 59 
 
 Subject. 
 
 Polling the Votes, and Chairing 
 
 the Members 
 Sigismonda 
 Morning 
 Noon 
 
 A Scene in the Conquest of 
 
 Mexico 
 Evening 
 Night 
 
 Portrait of Miss Rich 
 Portrait of Himself 
 The Family of Sir Andrew Foun- 
 taine 
 
 Studies of his Servants 
 A Fishing Party — Family Por- 
 traits 
 
 A Musical Party — Portraits of Mr. 
 
 Matthias's Family 
 Small whole-length of Broughton, 
 
 the Prize-fighter 
 The March to Finchlev 
 
 Year of 
 Exhibition. 
 
 1814 
 
 1817 
 
253 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Mrs. Garrick 
 J. H. Anderdon, Esq. 
 Sir W. Heathcote, Bart. 
 Lord Gwydir 
 
 Originally painted for Lord 
 Grosvenor. 
 
 Earl of Ossory 
 Lord Gwydir 
 Sir W. Heathcote, Bart. 
 J. Hey wood, Esq. 
 
 
 G. Watson Taylor, Esq, 
 A. Fountaine, Esq. 
 W. Collins, Esq. 
 
 
 T. J. Mathias, Esq. 
 
 
 T. J. Mathias, Esq. 
 
 
 Marquis Camden 
 Foundling Hospital 
 
 Given by himself. 
 
254 
 
 RICHARD 
 N. 1714. 
 
 LANDSCAPES 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 
 10 
 
 11 
 
 12 
 13 
 14 
 
 15 
 16 
 17 
 
 18 
 19 
 
 20 
 21 
 
 22 
 
 23 
 
 A View from Moor Park, Hert- 
 fordshire 
 A View from Moor Park, Hert 
 
 fordshire 
 A Landscape, with Figures fishing 
 Apollo and the Seasons 
 The Villa of Mecsenas, near Tivoli 
 Cicero at his Villa 
 A View of Dover 
 A woody Scene 
 
 Landscape, with Figures bathing 
 A View near Llangollen, North 
 
 Wales 
 Cicero at his Villa 
 A View near Ancona 
 Landscape 
 View on the Strada Nomentana, 
 
 in Italy- 
 View on the River Dee 
 Adrian's Villa at Rome 
 A View of Oakhampton Castle, 
 
 Devon 
 A View in Italy 
 View of Part of the Ruins of Me- 
 
 caenas's Villa 
 The Temple of Bacchus, near Rome 
 A Landscape 
 
 The Bridge at Llangollen, with 
 
 Castle Dinas Bran 
 Ruins on the Coast of Baioc 
 
 1814 
 
I 
 
 255 
 
 WILSON. 
 M. 1/82. 
 
 AND VIEWS. 
 
 In the Possession of 
 
 Lord Dundas 
 
 Lord Dundas 
 Earl of Egremont 
 W. Leader, Esq. 
 W. Leader, Esq. 
 W. Fitzhugh, Esq. 
 Mrs. White 
 Sir W. W. Wynn, Bart. 
 Mr. Coppin 
 
 Sir W. W. Wynn, Bart. 
 J. Hawkins, Esq. 
 J. Hawkins, Esq. 
 Lady Ford 
 
 Lady Ford 
 Earl Grosvenor 
 J. Farrington, Esq. 
 
 Hon. Richard Howard 
 Marquis of Abercorn 
 
 J. Farrington, Esq. 
 J. Ewer, Esq. 
 Sir W\ W. Wynn, Bart. 
 
 Sir W. W. Wynn, Bart. 
 John Trower, Esq. 
 
 Miscellaneous Observations. 
 
 Wilson frequently repeated 
 the same subject or view. 
 If the Niobe, which he 
 painted only once, be ex 
 cepted, there are few of his 
 landscapes which he has not 
 painted over four, or even 
 five times, and that too 
 without much variation. 
 
 Edwards' Lives of 
 
 Painters. 
 " Studies and Designs, by 
 Richard Wilson, done at 
 Rome, in the Year 1752." 
 4to. Oxford, 1811. 
 " He has sometimes been con 
 sidered as an imitator of 
 Claude, but neither his 
 composition nor expression 
 justify that notion : his style 
 is truly his own, formed on 
 an accurate observation of 
 nature, and a study of the 
 best models of his art ; the 
 pictures of those art ists who 
 most accurately represent 
 the grandeur and sublimity 
 of nature; not those of 
 Claude alone, but those of 
 Salvator Rosa, and mo 
 
256 
 
 No. 
 24 
 
 25 
 26 
 27 
 28 
 
 29 
 30 
 31 
 32 
 
 33 
 
 34 
 35 
 36 
 37 
 38 
 39 
 40 
 41 
 42 
 43 
 44 
 45 
 46 
 
 Subject. 
 
 The Temple of Venus,, on the Coast 
 
 of Baise 
 Landscape — a Cavern Scene 
 A Landscape 
 A View near Rome 
 Celadon and Amelia 
 
 Year of 
 Exhibition. 
 
 1814 
 
 Mecsenas* Villa at Tivoli 
 
 An Evening Scene 
 
 Landscape, with Figures bathing 
 
 Landscape 
 
 A View in Italy 
 
 An Italian Scene 
 
 Small Landscape 
 
 Cicero at his Villa 
 
 Mecaenas' Villa 
 
 Niobe 
 
 Landscape 
 
 The Hermitage 
 
 Landscape 
 
 Small Landscape 
 
 Lake of Nemi 
 
 Small Landscape 
 
 View at Wilton 
 
 View on the Tiber, near Rome 
 
2.57 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 R. Colborne, Esq. 
 
 Lady Ford 
 J. Hawkins, Esq. 
 J. Hawkins, Esq. 
 W. Smith, Esq. 
 
 Sir G. Beaumont, Bart. 
 Mr. Coppin 
 W. Leader, Esq. 
 Hon. A. Phipps 
 Lady Ford 
 
 Rev. Dr. Marlow 
 T. Daniell, Esq. 
 Sir W. W. Wynne, Bart, 
 
 Miss Booth 
 Sir G. Beaumont, Bart. 
 Sir R. C. Hoare, Bart. 
 Earl of Egremont 
 Mrs. Pitcairn 
 Lady Ford 
 The same 
 The same 
 Earl of Pembroke 
 Earl of Dartmouth 
 
 especially of Gaspar Pous- 
 
 Engraved by W. Woollet, in 
 whose excellent prints from 
 the pictures of our inimita- 
 ble Wilson, he appears to 
 have impressed on the cop- 
 per the very mind and feel 
 ing of that classic painter. 3 
 — Bryan. 
 
 cc Forty etchings, from some 
 of the finest paintings and 
 original drawings of R.Wil- 
 son, in the collection of Lady 
 Ford ; by Captain T. Hast- 
 ings/' 4to. 1820. 
 
258 
 
 No. 
 
 ollUJcLl. 
 
 Year of 
 Exhibition. 
 
 Al 
 
 47 
 
 Landscape 
 Hadrian s Villa 
 
 1814 
 
 A Q 
 
 4o 
 
 
 a n 
 
 View of Rosamonds Pond, St. 
 James's Park 
 
 
 OU 
 
 View or Wilton House 
 
 
 K 1 
 1 
 
 \ 7 • -.-TO* TT- £ XT' 
 
 View ol Sion House from Kew 
 Gardens 
 
 
 
 Solitude 
 
 
 oo 
 
 Solitude 
 
 
 K A 
 
 Landscape 
 
 
 
 View near Rome 
 
 
 00 
 
 A Ti 1 • O 
 
 An Italian Scene 
 
 
 57 
 
 A View near Rome 
 
 
 oo 
 
 AT J 
 
 A Landscape 
 
 
 K n 
 
 59 
 
 A Landscape, with figures fishing 
 
 
 OU 
 
 A View on the Coast of Baise 
 
 
 1 
 
 A Landscape 
 
 
 0^ 
 
 View of Wilton House 
 
 
 OO 
 
 TV /TV 1 1 A j 1 a 
 
 Meleager and Atalanta 
 
 
 04 
 
 View of Wilton House 
 
 
 t 
 00 
 
 View of Rome 
 
 
 00 
 
 View of the Bridge Rimini 
 
 
 67 
 
 T J 
 
 Landscape 
 
 
 68 
 
 o n t j „ 
 
 Small Landscape 
 
 
 69 
 
 Niobe 
 
 
 70 
 
 O 11 T J 
 
 Small Landscape 
 
 
 71 
 
 View on the liber 
 
 
 72 
 
 Landscape and Figures 
 
 
 73 
 
 A View at Milbank 
 
 
 74 
 
 View on the River Thames 
 
 
 75 
 
 Part of the Ruins of Mecsenas' 
 Villa 
 
 
 76 
 
 View of Croome, Worcestershire 
 
 
 77 
 
 Phaeton 
 
 
 78 
 
 View on the Coast of Baise 
 
 
259 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Thomas Lawrence,, Esq. 
 Viscount Palmers ton 
 
 W. Bragge, Esq. 
 Earl of Pembroke 
 
 W. Leader, Esq. 
 J. Todhunter, Esq. 
 
 Roberts, Esq. 
 
 Samuel Rogers, Esq. 
 
 Lady Douglas 
 M. Zacchary, Esq. 
 Marquis Camden 
 Lady Ford 
 J. Todhunter, Esq. 
 
 Lady Douglas 
 Viscount Palmerston 
 Earl of Pembroke 
 S. Rogers, Esq. 
 Earl of Pembroke 
 Earl of Dartmouth 
 W. Leader, Esq. 
 Sir M. W. Ridley, Bart. 
 
 J. Knight, Esq. 
 The Duke of Gloucester 
 J. W. Steers, Esq. 
 Mrs. White 
 S. Squire, Esq. 
 M. Zacchary, Esq. 
 Lady Ford 
 
 Hughes, Esq. 
 
 Earl of Coventry 
 
 Earl Cowper 
 S. Peploe, Esq. 
 
 Painted and exhibited in 1 700. 
 
 s 2 
 
260 
 
 THOMAS 
 N. 1/27. 
 
 " His pieces so with the live objects strive, 
 That both or pictures seem, or both alive. 
 Nature herself, amazed, does doubting stand, 
 Which is her own, and which the painter's hand." 
 
 Cowley. 
 
 PORTRAITS. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Prince Regent 
 
 1815 
 
 2 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 
 10 
 11 
 
 12 
 J3 
 
 Lady de Dunstanville 
 Portrait of a Youth 
 Lord George Sack vi lie 
 Dr. Schomberg 
 H. Thornton, Esq. 
 Thomas Sheridan, Esq. 
 His own Portrait 
 David Garrick, Esq. 
 James Quin, Esq. 
 The late Mrs. Sheridan and Mrs. 
 Tickell 
 
 Portraits of his two Daughters 
 Miss Linley and her Brother 
 
 - 
 
 1817 
 
 14 
 15 
 16 
 
 Sir H. Bate Dudley, Bart. 
 J. Henderson, Esq. 
 The late Mr. Christie 
 
 
 17 
 
 The Conaro Family, a Copy from 
 the Picture by Titian, at North- 
 umberland House 
 
 
261 
 
 GAINSBOROUGH. 
 M. 1788. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Lord Dun das 
 
 Lord de Dunstanville 
 Earl Grosvenor 
 Duke of Dorset 
 Mrs. Schomberg 
 Marine Society 
 Rt. Hon. R. B. Sheridan 
 Royal Academy 
 General B. Wallis 
 J. Wiltshire, Esq. 
 
 Rt. Hon. R. B. Sheridan 
 Gainsborough 
 Duchess of Dorset 
 
 Sir H. B. Dudley, Bart. 
 Mrs. Henderson 
 J. Christie, Esq. 
 
 " Sketch of the Life of T. 
 Gainsborough, R.A. by 
 Ph. Thicknesse, 1788." 
 
 S. Rogers, Esq. 
 
 Daughters of Mr. Linley. 
 
 Mr. T. Linley and Mrs. She- 
 ridan. 
 
 Of Gainsborough, Sir J. 
 Reynolds said, that he could 
 copy Vandyck so exquisite- 
 ly, that at a certain distance 
 he could not distinguish 
 the copy from the original, 
 or the difference between 
 them." — North cote, vol. 
 ii. p. 238. 
 
26^ 
 
 LANDSCAPES, 
 
 No. 
 
 18 
 19 
 20 
 21 
 
 22 
 23 
 
 24 
 25 
 26 
 27 
 28 
 
 29 
 30 
 31 
 32 
 
 33 
 34 
 35 
 36 
 
 37 
 38 
 39 
 
 40 
 
 41 
 
 42 
 43 
 44 
 
 Subject. 
 
 Landscape, with Gipsies 
 Cottage Children 
 Family at a Cottage Door 
 Small Landscape 
 A Woody Scene in his early manner 
 The Departure of Hagar and Ish 
 mael 
 
 Small upright Landscape 
 
 Small Landscape 
 
 The Country Waggon 
 
 An upright Landscape, with Cattle 
 
 Sportsmen in a Landscape, in imi 
 
 tation of Teniers 
 A Woody Scene in his early manner 
 Girl going to the Well 
 Fighting-dogs 
 
 A Landscape, with Cattle and Fi 
 
 gures — Evening 
 Woodman loading an Ass 
 Landscape in his early manner 
 Copy from Velasquez 
 Group of Cattle in a warm Land 
 
 scape 
 A Landscape 
 View near Sudbury 
 Sea-shore, with Fishermen putting 
 
 off a Boat 
 Landscape, with Cottage and Fi- 
 gures 
 
 A Fox hunted by Greyhounds, a 
 Sketch 
 
 A Fresh Breeze — selling Fish 
 Cart passing the Brook 
 Going to Market 
 
 Year of 
 Exhibition. 
 
 1814 
 
263 
 
 WITH OTHER SUBJECTS. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. Phillips, Esq. 
 Earl of Carnarvon 
 Sir John Leicester, Bart. 
 S. Rogers, Esq. 
 The same 
 
 Sir W. W. Wynn, Bart. 
 W. Alexander, Esq. 
 S. Rogers, Esq* 
 J. Ewer, Esq. 
 J. Crosdell, Esq. 
 
 W. Smith, Esq. 
 D. P. Watts, Esq. 
 Lord de Dunstanvalle 
 Earl of Dysart 
 
 Rt. Hon. Charles Long 
 Hugh Hoare, Esq. 
 H. Powell, Esq. 
 Lord de Dunstanville 
 
 Marquis of Lansdowne 
 
 Ld.Ch. Baron Thompson 
 
 Sir J. F /Leicester, Bart. 
 
 Earl of Dysart 
 
 Samuel Whitbread, Esq. 
 Earl Grosvenor 
 Earl of Dysart 
 Sir R. C. Hoare, Bart. 
 
264 
 
 No. 
 
 45 
 46 
 
 47 
 
 48 
 49 
 
 50 
 51 
 
 52 
 
 53 
 
 54 
 55 
 56 
 57 
 
 58 
 59 
 60 
 61 
 
 62 
 63 
 64 
 65 
 66 
 67 
 68 
 
 Subject. 
 
 The Harvest Waggon 
 The Woodman, a small duplicate 
 of the Picture burnt at Exton 
 Park, belonging to the Earl of 
 Gainsborough 
 Scene on a Common, with Cattle 
 
 and Figures 
 Landscape View in Suffolk 
 Waggon and Horses passing the 
 
 Brook 
 Return from Milking 
 Landscape and Cattle 
 Cattle on the Banks of a River, 
 
 with Boats and Figures 
 Romantic Landscape, with Sheep 
 at a Fountain 
 
 Girl and Pigs 
 Fox Dogs 
 
 Landscape, with a Waterfall 
 The Cottage- door, with Children 
 
 at Play 
 Shepherd Boys 
 
 A Country Cart passing a Brook 
 A Cottage Girl 
 
 Landscape, with Cattle going to 
 
 Water 
 Cattle at a Fountain 
 An Evening Scene 
 Morning 
 Horses Watering 
 Girl with Milk 
 Banks of a River, with Cattle 
 Asses in a Landscape, an early 
 Picture 
 
 Year of 
 Exhibition. 
 
 1814 
 
263 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 J. Wiltshire, Esq. 
 
 Archdeacon Markham 
 
 P. W. Baker, Esq. 
 John Heywood, Esq. 
 
 J. Ewer, Esq. 
 Rt. Hon. R. B. Sheridan 
 Joseph Smith, Esq. 
 
 Right Hon. Chas. Long 
 
 Royal Academy 
 
 Earl of Carlisle 
 J. Crosdill, Esq. 
 W. N. Hewet, Esq. 
 
 Earl of Mulgrave 
 Duke of Newcastle 
 G. Gostling, Esq. 
 Rt. Hon. R. B. Sheridan 
 
 J. Wiltshire, Esq. 
 Earl of Egremont 
 John Heywood, Esq. 
 Earl Carysfort 
 Earl of Lonsdale 
 S. Rogers, Esq. 
 S. Rogers, Esq. 
 
 Sir S. C. Jervoise, Bart 
 
 Purchased by Sir Joshua Rey- 
 nolds for 100 guineas, and 
 sold by him to Monsieur de 
 Calonne, for 300 guineas. 
 
26G 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 £Q 
 
 oy 
 
 T ,J1 n n cpa r»o wrltn f^Q+flo 
 L*tUlll>( til H , Willi V til lit 
 
 1 ft 1 7 
 
 70 
 
 A Road-side, with Figures, an 
 
 cell 1 y X 1CI>U.1U 
 
 
 / l 
 
 JUaiitl&UaUc, Willi IVlctI Jxc L-UcUpiC 
 
 
 7* 
 
 Landscape, with Cattle 
 
 
 7<* 
 
 T innncpunp 
 
 i-JclULloL/d [Jt, 
 
 
 /4 
 
 Landscape, with rustic Figures 
 
 
 75 
 / «J 
 
 -L< rtlliloL- 1 1 1 » C ^ W 11/11 1 IgUICO 
 
 
 7fi 
 
 j-^diitidUctut;, witii noi oco aim 
 mi voc 
 
 
 77 
 
 Landscape 
 
 
 / o 
 
 JTcllloll-ClcIlv Ul J_>1 dtllUI U, » Villa 
 
 
 7Q 
 
 T .atin Gf»n tip 
 
 
 OA 
 
 oU 
 
 View on the Strada Nomentana 
 
 
 Ol 
 
 T .Vk w n sion v\(y 
 
 
 ft9 
 
 JL^diitiaCciUU 
 
 
 ft<* 
 
 JUdllUoUajJU 
 
 
 
 JrX. OIU1 111, Willi UdlltllliLl 
 
 
 85 
 
 Small Landscape 
 
 
 86 
 
 Landscape 
 
 
 87 
 
 Niobe 
 
 
 88 
 
 Small Landscape 
 
 
 89 
 
 Landscape 
 
 
 90 
 
 Landscape, with Waterfall 
 
 
 91 
 
 Landscape 
 
 
 92 
 
 View of the Lake of Albano 
 
 
In the Possession of 
 
 Miscellaneous Observations. 
 
 G. Gostling, Esq. 
 
 G. Townley, Esq. 
 A. Davison,, Esq. 
 Sir G. Warrender, Bart. 
 G. Gostling, Esq. 
 Sir T. Neave, Bart. 
 Duke of Bedford 
 
 Duke of Bedford 
 M. M. Zacchary, Esq. 
 J. Wiltshire, Esq. 
 J. W. Steers, Esq. 
 S. Peploe, Esq. 
 Lady Ford 
 Earl of Egremont 
 Lady Ford 
 Sir A. Hume, Bart. 
 
 T. Stokes, Esq. 
 B. West, Esq. P.R.A. 
 
 Colonel Udney 
 B. West, Esq. P.R.A. 
 M. M. Zacchary, Esq. 
 Dulwich College 
 Duke of Bedford 
 John Duval, Esq. 
 
268 
 
 JOHN 
 N. 1761. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 i 
 
 JL 
 
 .Tiinitli attirino* npr<5p!i 
 
 
 9 
 
 Pnvtrait nf hie TVl^'frm!* 
 
 X UI II till \JL Illo J.UUIIH.I 
 
 
 Q 
 O 
 
 A 
 *± 
 
 o 
 
 i rip r^lnnpiTiPTTt' 
 
 X L1C XJlUIJCIilC-Il 1/ 
 
 A f^nttaofP frirl 
 
 XX VUllcleC VJ11 1 
 
 Tnp Prp^pntaf inn in flip T'pmi'klA 
 
 X IIC X 1 COCll 1/dl/lUli 111 1/1IC 1 CUJUlC 
 
 
 6 
 
 Lavinia 
 
 
 7 
 
 Portrait of Dr. Woodhouse 
 
 
 8 
 
 A Girl 
 
 
 9 
 
 Himself 
 
 
 10 
 
 Murder of David Rizzio 
 
 
 11 
 
 Portrait of Mrs. Stewardson 
 
 
 12 
 
 Lady Smith in the character of a 
 
 Gipsy 
 A Fortune-teller 
 
 
 13 
 
 
 14 
 
 Card Players 
 
 
 15 
 
 Elizabeth Grey interceding with 
 K. Edward IV. for her Children 
 
 
269 
 
 OPIE, R.A. 
 M. 1807. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Egremont 
 
 Mrs. Opie 
 N. Ridley Colborne, Esq. 
 Mrs. Lawrence 
 Sir T. Bernard, Bart. 
 
 Robert Burrowes, Esq. 
 Robert Woodhouse, Esq. 
 H. Thompson, Esq. 
 Ditto 
 The Lord Mayor 
 T. Stewardson, Esq. 
 
 Earl of Coventry 
 Marquis Cholmondeley 
 W. Owen, Esq. 
 
 Sir T. Baring, Bart. 
 
 Lectures on Painting, deliver- 
 ed at the Royal Academy, 
 by J. Opie, R.A. Professor, 
 with Memoirs of his Life, 
 4to. 1809. 
 
 " This picture, with the death 
 of Rizzio, mentioned below, 
 are particularized among 
 his best efforts of art." — 
 Bryan. 
 
JOHN 
 
 N. 17— 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 
 Portrait of Lady Char. Duncombe 
 
 Countess of Mulgrave 
 
 The late Lady Rancliffe 
 
 Girl at a Cottage- door 
 
 Portrait 
 
 Himself 
 
 Viscount Normanby when a Child 
 
 
 JOSEPH WRIGHT, 
 N. 1734. 
 
 A Smith's Shop 
 
 An Academy 
 
 Portrait of Himself 
 
 Landscape — View in Italy 
 
 An Eruption of Mount Vesuvius * 
 
 The same Subject 
 
 The Iron Forge 
 
 The Alchemist 
 
 * " And when the fierce Vesuvius burns no more, 
 May his red deluge down thy canvas pour." 
 
 Hayley. 
 
271 
 
 HOPPNER. 
 M. 1815. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Bishop of Oxford 
 Earl of Mulgrave 
 Lady Rancliffe 
 W. Whitbread, Esq. 
 G. J. Cholmondeley, Esq. 
 Royal Academy 
 Earl of Mulgrave 
 
 
 called WRIGHT of DERBY. 
 M. 1797. 
 
 Viscount Milbourne 
 
 Ditto 
 John Smith , Esq. 
 Late Chief B. Thompson 
 Viscount Palmerston 
 
 James Cade, Esq. 
 Viscount Palmerston 
 T. Wilson, Esq. 
 
 In 1785 he made an exhi- 
 bition of his own works, 
 consisting of twenty-four 
 pictures, of which the prin 
 cipal represented the de 
 struction of the floating 
 batteries before Gibraltar 
 — Bryan. 
 
272 
 
 JOHN HAMILTON 
 N. 1739. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 3 
 4 
 5 
 
 The Death of Orpheus 
 
 Sir Artegal, the Iron Man, from 
 
 Spenser 
 Vortigern and Rowena 
 The Battle of Agin court 
 A Bacchanalian Dance 
 
 
 PHILIP JAMES 
 N. 1734. 
 
 1 
 
 The Fire of London 
 
 
 2 
 
 A Sutler's Booth 
 
 
 3 
 
 Lord Howe's Victory, June 1st, 
 
 
 
 J 794 
 
 
 4 
 
 A Sea Storm 
 
 
 5 
 
 The Siege of Valenciennes 
 
 
273 
 
 MORTIMER. 
 M. 1779. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 J. W. Steers, Esq. 
 
 
 Sir T. Bernard, Bart. 
 
 
 Mrs. Mortimer 
 
 1 These are considered as his 
 
 Ditto 
 
 J superior works. 
 
 J. W. Steers, Esq. 
 
 
 DE LOUTHERBURGH. 
 M. 1812. 
 
 Sir T. Baring, Bart. 
 Mrs. de Loutherburgh 
 
 Mrs. Prethernon 
 Viscount Palmerston , 
 Mrs. Prethernon 
 
 As an artist, he exhibits an 
 uncommon example of the 
 possession of faculties op- 
 posed to each other. In 
 his landscapes, and indeed 
 in his performances, in ge- 
 neral, he is not less remark- 
 able for the most admirable 
 dexterity of hand, and the 
 most captivating facility of 
 pencil, than for a seductive, 
 though a meretriciousgaudi- 
 ness in his colouring, which 
 is too frequently in oppo- 
 sition to the chaste and so- 
 ber tinting of nature." 
 
 Bryan. 
 
 T 
 
274 
 
 GEORGE 
 N. 1764. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 The Inside of a Stable 
 
 
 2 
 
 The same subject 
 
 
 3 
 
 Pigs 
 
 
275 
 
 MORLAND. 
 M. 1804. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 A. Davison, Esq. 
 Sir H. Bate Dudley, Bart. 
 A. Davison, Esq. 
 
 Authentic Memoirs of G. 
 Morland, by F. W. Blag- 
 don, 4to. 1806. 
 
 Life of G. Morland, by Dawe. 
 
 " A white horse was a favour- 
 ite object with him, as it 
 must be with every painter, 
 from its affording a mass of 
 light, with a more desirable 
 opportunity for the display 
 of colouring, owing to the 
 variety of yellow and other 
 tints with which it is di- 
 versified. Indeed an old 
 white horse of this descrip- 
 tion is one of the most pic- 
 turesque objects to be met 
 with in rustic scenery. But 
 the pig was his favourite 
 animal, and that which he 
 introduced most frequently 
 and with great success. His 
 touch was well adapted to 
 the representation of its 
 bristly hide, and he seldom 
 fails faithfully to depict the 
 character of the animal. 
 The innocence of the sheep 
 he has successfully por- 
 trayed." — Bryan. 
 
 A collection of Morland's 
 Pictures, consisting of 47 
 of his genuine works, were 
 sold by auction in 1807. 
 
 T 2 
 
276 
 
 WILLIAM 
 N. 1754. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 3 
 
 View taken in the Bay of Oate- 
 petra, on the Island of Otaheite 
 
 The War-boats of the Island of 
 Otaheite, and the Society Isles, 
 
 • . 1 "XT' f* a /> i 1 
 
 with a View or a part of the 
 Harbour of Ohameno, in the 
 Island of Ubreten 
 The Welsh Bridge, at Shrewsbury 
 
 
 4 
 
 The Forest of Arden 
 
 
 GAVIN 
 N. 17—. 
 
 1 
 
 Portrait of Maria, Countess of Co- 
 ventry 
 
 
 2 
 3 
 
 Juno 
 
 Agrippina bearing the Ashes of 
 Germanicus 
 
 
277 
 
 HODGES. 
 M. 1 797. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 First Ld. of the A dmiral ty 
 
 
 The same 
 J. W. Steers, Esq. 
 Sir C. Burrell, Bart. 
 
 The cattle and figures by 
 Romney and S. Gilpin. 
 From the Shakspeare Gallery. 
 
 HAMILTON. 
 M. 1798. 
 
 Duke of Bedford 
 Earl of Upper Ossory 
 
 Ditto 
 
 The most celebrated beauty 
 of the Court of George II. 
 ob. 1760. 
 
 He resided for the greater 
 part of his life at Rome, 
 where he published his in- 
 teresting work, " Schola 
 Italica Picturae," for the 
 purpose of demonstrating 
 the progress of the art, 
 from the time of Leonardo 
 da Vinci, to the School of 
 the Caracci. 
 
278 
 
 GEORGE 
 N. 1734. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 St. Cecilia 
 
 Infant Shakspeare, nursed by Tra- 
 gedy and Comedy 
 
 
 
 NATHANIEL 
 
 
 N. 17—. 
 
 1 
 
 2 
 
 3 
 
 Orpheus 
 
 Garrick in the character of Richard 
 the Third 
 
 Charles Earl Camden, Lord Chan- 
 cellor 
 
 
 JAMES 
 N. 1702. 
 
 1 The Stag at bay, containing Por- 
 traits of King George the Se- 
 cond, Princess Amelia, &c. 
 
279 
 
 ROMNEY. 
 M. 1802. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Mrs. Lawrence 
 F. Newbury, Esq. 
 
 Life of G. Romney, by Hay- 
 ley, 4to. 1809. 
 
 DANCE. 
 
 M. 18— 
 
 Sir W. W. Wynne, Bart. 
 
 
 Sir W. W. Wynne, Bart. 
 
 
 Marquis Camden 
 
 
 SEYMOUR. 
 M. 1752. 
 
 M. W. Barnes, Esq, 
 
 He is greatly commended by 
 Lord Orford.— Anecd. of 
 Painting, vol. iv. p. 133. 
 8vo. 
 
280 
 
 NATHANIEL 
 N. 1730. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exliibition. 
 
 1 
 
 2 
 
 Himself 
 
 The Piping Boy 
 
 
 
 
 REV. W. 
 
 
 N. 17 — . 
 
 1 
 
 2 
 
 Scene from u Much ado about No- 
 thing/' act iii. sc. 1. 
 
 Scene from " The Merry Wives of 
 Windsor/' act iii. sc. 3. 
 
 
 ALEXANDER 
 N. 17— 
 
 1 
 
 The Death of Dido 
 

 281 
 
 HONE. 
 M. 1784. 
 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 H. Hone, Esq. 
 J. Heywood, Esq. 
 
 
 PETERS. 
 M. 17—. 
 
 
 RUNCEMAN. 
 M. 1780. 
 
 D. Stewart, Esq. 
 
282 
 
 JOHN SINGLETON 
 N. 17— 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 The Death of the Earl of Chat- 
 ham 
 
 The Tribute-Money 
 
 
 JOHN 
 
 N. 1752. 
 
 1 
 
 A View in Nootka Sound 
 
 
 2 
 
 View of Macao, near the river 
 Canton, China 
 
 
 
 N. 1720. 
 
 1 
 
 2 
 
 A Sea Piece 
 The same subject 
 
 
 
283 
 
 COPLEY. 
 M. 17- 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 A. Davison, Esq. 
 Royal Academy 
 
 WEBBER. 
 M. 1793. 
 
 Late Chief Baron Thomp- 
 son 
 
 First Lord of the Admi- 
 ralty 
 
 He attended Captain Cooke 
 in his last voyage to the 
 South Seas, and was after- 
 wards patronized by the 
 Lords of the Admiralty. 
 
 BROOKING. 
 M. 1759. 
 
 Oldfield Bowles, Esq. 
 The same 
 
284 
 
 GEORGE 
 N. 1728. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Landscape, Cattle by S. Gilpin 
 
 
 2 
 
 A Scene in Powerscourt, near 
 
 
 
 Dublin 
 
 
 3 
 
 Landscape, Figures by Cipriani 
 
 
 1 
 
 A View in Florence 
 
 N. 1752. 
 
285 
 
 BARETT. 
 M. 1784. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 B. West, Esq. 
 
 Joseph Barett, Esq. 
 W. Smith, Esq. 
 
 " The landscapes of this esti- 
 mable artist are to be found 
 in the collections of the no- 
 bility, but his chief works 
 in the possession of the 
 dukes of Portland and Buc- 
 cleugh ; and the Great Room 
 at Norbury Park, Surrey, 
 painted for the late Mr. 
 Lock,is a performance which 
 will ever rank among the 
 most celebrated productions 
 of art." — Bryan. 
 
 MARLOW. 
 M. 17—. 
 
 Hon. A. Phipps 
 
286 
 
 SAWREY 
 N. 17—. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 2 
 
 Gulliver, with the Horses 
 The same subject 
 
 
 
 
 N. 
 
 SAMUEL 
 17—. 
 
 1 
 
 2 
 
 London Bridge with the Houses 
 
 upon it 
 The Tower of London 
 
 
287 
 
 GILPIN. 
 M. 17—. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir G. Beaumont, Bart. 
 Duke of Bedford 
 
 
 SCOTT. 
 
 M. 1772. 
 
 Earl of Upper Ossory 
 Lord Braybroke 
 
 u He was not only the first 
 painter of his own age, but 
 one whose works will charm 
 every age. If he was se- 
 cond only to Vandervelde 
 in sea-pieces, he excelled 
 him in variety, and often 
 introduced buildings into 
 his pictures with consum- 
 mate skill. His views of 
 London Bridge, &c. were 
 equal to his marine." — 
 Lord Orford. 
 

 288 
 
 At (J (J 
 
 
 SIR F. 
 
 
 
 N. 17—. 
 
 No. 
 
 Subject. 
 
 
 Year of 
 Exhibition. 
 
 1 
 
 Landscape, with a Cart and Horses 
 
 
 N. 17—. 
 
 FRANCIS 
 N. 1747. 
 
 1 
 
 Catherine and Petruchio, from 
 « The Taming of the Shrew" 
 
289 
 
 BOURGEOIS. 
 M. 1 7—. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Sir T. Bernard, Bart. 
 
 
 BURNETT. 
 M. 17—. 
 
 Countess of Coventry 
 
 
 Sir T. Bernard, Bart. 
 
 
 WHEATLEY. 
 M. 1801. 
 
 Thomas Pares, Esq. 
 
290 
 
 GEORGE 
 N. 1724. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Brood Mares in a Landscape 
 
 
 JOHN FRANCIS 
 N. 17—. 
 
 1 Samson and Dalilah 
 
 1 
 
 Moses receiving the Law 
 
 WILLIAM 
 N. 1750. 
 
291 
 
 STUBBS. 
 M. 1806. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 
 
 RIGAUD. 
 M. 1807. 
 
 Royal Academy 
 
 HAMILTON. 
 M. 1801. 
 
 u 2 
 
292 
 
 T. GAINSBOROUGH 
 N. 1766. 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 1 
 
 Lord Frederick Campbell 
 
 
 JOHAN 
 N. 1732. 
 
 1 
 
 The Tribune of the 
 Gallery 
 
 Florentine 
 
 
 2 
 3 
 
 4 
 
 5 
 
 6 
 
 Portrait of Mr. Cuffs 
 
 Garrick, in the character of Abel 
 Drugger, with Palmer and Bur- 
 ton, as Subtle and Face, in the 
 Alchemist 
 
 Macklin, in the character of Shy- 
 lock 
 
 Garrick, in the character of Sir 
 John Brute, in the Provoked 
 Wife, with Parsons, Moody, &c. 
 as Watchmen 
 
 Foote and Weston, in the charac- 
 ters of Dr. Last and the Presi- 
 dent, in the farce of the Devil 
 upon two Sticks 
 
 
293 
 
 DUPONT. 
 M. 1797. 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Duke of Argyll 
 
 
 ZOFFANIJ. 
 M. . 
 
 Her Majesty 
 Charlotte) 
 
 (Queen 
 
 His Majesty 
 
 Earl of Carlisle 
 Sir G. Beaumont, Bart. 
 
 Earl of Mulgrave 
 
 An etched outline given in 
 the Catalogue. 
 
 Zoffanij came to England 
 about the year 1782, and 
 this was the first picture he 
 painted after his arrival. 
 Sir Joshua Reynolds gave 
 him the price which he de- 
 manded for it." — North- 
 cote. 
 
 Earl of Carlisle 
 
294 
 
 N. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 7 
 
 8 
 
 Foote and Jacob, in the characters 
 of Major Sturgeon and Sir Ja- 
 cob Jallop, in the farce of the 
 
 Garrick, Bransby, and Aicken, as 
 Lord Chalkstone, iEsop, &c. in 
 the farce of Lethe 
 
 
 9 
 
 Parsons, Bransby, and Watkyns, 
 in the characters of the Old 
 Man, iEsop, and the Servant, in 
 the farce of Lethe 
 
 
 10 
 
 The Royal Academy 
 
 
 THE BRITISH 
 BENJAMIN WEST, 
 N. 1738. 
 
 Our Saviour healing the Sick in 
 the Temple 
 
€95 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 XJal 1 UI \ja,l Hole 
 
 
 Sir G. Beaumont, Bart. 
 
 
 Sir G. Beaumont, Bart. 
 
 
 His Majesty 
 
 An etched outline given in 
 
 the Catalogue. 
 
 SCHOOL.- Part II. 
 President of the Royal Academy. 
 M. 1820. 
 
 The British Institution 
 
 The engraving from this pic- 
 ture has been published. It 
 is one of the most celebrated 
 works of Mr. C. Heath, of 
 the dimensions of twenty- 
 eight inches and a half by 
 eighteen inches and a half. 
 
29G 
 
 A BUST 
 
 OF THE LATE BENJAMIN WEST, ESQ. 
 BY JOS. NOLLEKENS, R. A. 
 
 EXHIBITED IN 1822. 
 
297 
 
 PORTRAITS, 
 
 REPRESENTING DISTINGUISHED PERSONS 
 
 IN THE 
 
 HISTORY AND LITERATURE OF THE UNITED 
 KINGDOM. 
 
 EXHIBITED IN 1820. 
 
 HIC, MANUS OB PATRIAM PUGNANDO VULNERA FASSI, 
 QUIQUE SACERDOTES CASTI, DUM VITA MANEBAT, 
 QUIQUE PII VATES, ET PHCEBO DIGNA LOCUTi; 
 INVENTAS AUT QUI VITAM EXCOLUERE PER ARTES, 
 QUIQUE SUI MEMORES ALIOS FECERE MERENDO." 
 
 VlRGIL. 
 
298 
 
 AUTHENTIC 
 BY PAINTERS 
 
 No. 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 15 
 
 16 
 17 
 18 
 
 19 
 
 Subject. 
 
 King Henry the Fifth, ob. 1422 
 Henry the Sixth, 1461, ob. 1472 
 Edward the Fourth, 1483 
 Richard the Third, 1485 
 Henry the Seventh, 1509 
 Edward the Sixth, 1 553 
 Jane Shore 
 
 Henry Plantagenet, Duke of Lan- 
 caster 
 
 Charles Brandon, Duke of Suffolk, 
 and Mary, his Wife, Dowager 
 of France 
 
 Henry Hastings, Earl of Hunt 
 ingdon 
 
 Edw. Courtenay, Earl of Devon- 
 shire 
 
 Philip the Second, and Queen 
 Mary 
 
 John Howard, first Duke of Nor- 
 folk 
 
 Katherine, his Duchess 
 Matthew Parker, Archbishop of 
 
 Canterbury 
 Shakspeare 
 
 Lord Treasurer Burleigh 
 G. Abbot, Archbishop of Canter- 
 bury 
 
 Thomas Wriothesley, Earl of 
 Southampton 
 
 Year of 
 Exhibition. 
 
 1820 
 
299 
 
 PORTRAITS, 
 UNKNOWN. 
 
 In the Possession of 
 
 His Majesty 
 The same 
 The same 
 The same 
 The same 
 Sir J. Murray, Bart. 
 Eton College 
 
 Earl of Essex 
 
 Lord Bagot 
 
 Duke of Bedford 
 
 Duke of Bedford 
 
 Earl of Carlisle 
 Earl of Carlisle 
 Archbishop of Canter- 
 bury 
 
 J. W. Croker, Esq. 
 Earl of Yarmouth 
 Archbishop of Canter- 
 bury 
 
 Duke of Bedford 
 
 Miscellaneous Observations. 
 
 /These five royal portraits 
 V are preserved in the pa- 
 \ lace at Kensington. 
 
 Afterwards King Henry the 
 Fourth, ob. 1413. 
 
 Ob. 1 545 . — Daughter of King 
 Henry the Seventh, and 
 Queen Dowager of Louis 
 the Eleventh, King of 
 France, ob. 1533. 
 
 Ob. 1545. 
 
 Slain at the battle of Bos- 
 worth, 1485. 
 
 Ob. 1575. 
 Ob. 1614. 
 Ob. 1598. 
 
 Ob. 1633. 
 
 Ob. 1667. 
 
 Ob. 1526. 
 
 Ob. 1553. 
 
 Ob. 1558—1595. 
 
300 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 90 
 
 TnVin TVTilfrm 
 
 cJUIIIl 1VA11LU11 
 
 1 890 
 
 9 1 
 
 lA/olf fll' 1 Iflll'fll'flnV TT O *• 1 t\T OOAV 
 
 VV dltcl lycVcIcUXj AJdn OI ILSScX 
 
 
 99 
 
 1 n Am Q C O l/'ITl 1 1 £» I fkv/n Knn|r 
 
 A UUllldS OdlylYVlllc, JuUlU i_> U.LK— 
 
 
 
 hurst 
 
 
 
 Sir A^/alfpt* A ctnri 
 on vv diici Asiun 
 
 
 94 
 
 innvYinc Ti rrprf nn T Arn Th 1 Ipcinprp 
 A UUllldo A_i£icl LUil, X_iUI tl X-jllv/dlllcl C 
 
 
 
 \^7i Ilium Pamnpn 
 W i ill a ill v^dlllUcli 
 
 
 9fi 
 
 w u 
 
 X IdUUlo AJdUUil 
 
 
 27 
 
 Major- General Massey f 
 
 
 28 
 
 Major- General Browne 7 
 
 
 9Q 
 
 1 toti 1 I'nnp 1 \7" 1 
 vJcIlcIdl v/UUclt/Y M 
 
 
 
 Sir T Clntwnrthv f 
 
 
 31 
 
 Sir Harbottle Grimstone 
 
 
 32 
 
 Edward Montague, Earl of Sand- 
 
 
 
 wich 
 
 
 33 
 
 John Locke 
 
 
 o4 
 
 Th line A r-n Wl f \ 1 H,cn 
 
 iLiidS /xsniiiuic, Hibu. 
 
 
 
 Sir W Tpmnlp 
 on vv * j. emuie 
 
 
 oo 
 
 JLSddC JJdrrUVV, xJ,.xJ» 
 
 
 37 
 
 William Harvey, M. D. 
 
 
 oo 
 
 ^lii* T-^Piril f^lrjinvilp 
 
 Oil XJtJVll VJlldllVJLlC 
 
 
 39 
 
 Sir John Granvile 
 
 
 40 
 
 Jonathan Swift, Dean of St. Pa- 
 
 
 
 trick's 
 
 
 A 1 
 41 
 
 vjiioert ournei) xm&huu ui odi uni 
 
 
 42 
 
 Henry St. John, Viscount Boling- 
 
 
 
 broke 
 
 
 43 
 
 James, Duke of Cambridge, second 
 
 
 
 son of King James the Second 
 
 
301 
 
 In the Possession of 
 
 Miscellaneous Observations. 
 
 Earl of Onslow 
 Lord Bagot 
 
 Duchess of Dorset 
 Lord Bagot 
 
 Earl of Bridgewater 
 Marquis Camden 
 Earl of Verulam 
 
 C. T. Towers, Esq. 
 
 Earl of Verulam 
 
 His Majesty 
 Christ Church College, 
 Oxon. 
 
 D. S. Dugdale, Esq. 
 Viscount Palmerston 
 Trinity College, Cam- 
 bridge 
 
 Sir W. W.Wynne, Bart. 
 Marquis of Stafford 
 
 Marquis of Stafford 
 
 Earl of Besborough 
 Bishop of Sarum 
 
 Lord Bagot 
 
 His Majesty 
 
 Ob. 1674. 
 Ob. 1572. 
 
 Ob. 1608. 
 
 Ambassador from Queen Eli- 
 zabeth to the Emperor 
 Charles the Fifth. 
 Ob. 1617. 
 Ob. 1623. 
 Ob. 1626. 
 
 These officers were confined 
 in the Round Tower of 
 Windsor Castle in 1648. 
 
 Ob. 1683. 
 
 Ob. 1672. 
 
 Ob. 1704. 
 Ob. 1692. 
 Ob. 1699. 
 
 Ob. 1677. 
 Ob. 1657. 
 
 Slain at the battle of Lands- 
 down, 1643. 
 Afterwards Earl of Bath. 
 
 Ob. 1745. 
 Ob. 1715. 
 
 Ob. 1751. 
 
 He died in 1667, aged four 
 years, having been invested 
 with the Garter by his 
 uncle King Charles, in 
 1 666. — Sandford. 
 
302 
 
 No. 
 
 Subject. 
 
 Year of 
 Exhibition. 
 
 44 
 
 Daniel Finch, Earl of Notting- 
 ham 
 Queen Anne 
 
 William, Duke of Gloucester, her 
 Son 
 
 Queen Caroline, Consort of George 
 
 the Second 
 William, Duke of Cumberland 
 
 
 45 
 46 
 
 47 
 
 48 
 
 
303 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 Earl of Verulam 
 
 His Majesty 
 
 His Majesty 
 
 His Majesty 
 His Majesty 
 
 Lord High Chancellor, ob. 
 
 1730. 
 Ob. 1702. 
 
 Ob. 1700, set. 11. 
 
 Ob. 1757. 
 Ob. 1764. 
 
 I 
 
304 
 
 PAINTERS 
 
 No. 
 
 3 
 4 
 
 6 
 
 / 
 
 8 
 
 9 
 
 10 
 
 11 
 12 
 
 13 
 
 Subject. 
 
 Prince Arthur with the Princesses 
 
 Margaret and Mary, Children 
 
 of Henry VII. 
 Dr. T. Li nacre, founder of the 
 
 College of Physicians 
 Sir Thomas More 
 Thomas Howard, third Duke of 
 
 Norfolk 
 
 Henry Howard, Earl of Surrey 
 
 Ambrose Dudley, Earl of War 
 
 wick 
 Sir H. Guildford 
 
 King Henry VIII. with Jane 
 Seymour, their Son Prince Ed 
 ward, and his half-sisters Mary 
 and Elizabeth 
 William War ham, Archbishop of 
 
 Canterbury 
 W. Somers, Jester of King Henry 
 
 VIII. 
 Erasmus 
 
 King Henry VII. and Elizabeth 
 his Queen, and King Henry 
 VIII. with Jane Seymour his 
 Queen 
 
 Thomas Cranmer, Archbishop of 
 Canterbury 
 
 John deMa- 
 buse 
 
 Hans Hol- 
 bein 
 Ditto 
 
 Ditto 
 Ditto 
 
 Ditto 
 
 Ditto 
 
 Ditto 
 
 Ditto 
 Ditto 
 
 Rente Van 
 Limput, 
 copied 
 from Hol- 
 bein 
 Gerberius 
 Fleccius 
 
305 
 
 AUTHENTICATED. 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 His Majesty 
 
 The same 
 Sir T. Baring, Bart. 
 
 Duke of Norfolk 
 His Majesty 
 
 Marquis of Salisbury 
 His Majesty 
 
 Ob. 1501. 
 1530. 
 
 Beheaded 1535. 
 Ob. 1554. 
 
 Small whole length at Wind- 
 sor, said to have been 
 painted during his con 
 finement in the Castle. Be- 
 headed 1547. 
 
 Ob. 1589. 
 
 Fhe Society of Antiqua- 
 ries 
 
 Archbishop of Canter- 
 bury 
 
 His Majesty 
 The same 
 
 The same 
 
 The British Museum 
 
 1532. 
 
 Of which there are at least 
 four repetitions now in 
 England. 
 
 The original Picture was 
 burned in the lire at th 
 Palace of Whitehall, in 
 1697- 
 
 Burned 1556. 
 
 X 
 
306 
 
 No. 
 
 Subject. 
 
 
 1 A 
 
 AXC111 V -LiUMl XJOiI. lilts y , Clllll IHc 
 
 / ti nrt c rl t> 
 L-iCtLLl-S Uo 
 
 
 nrntlifn* ^.Iiqt'ioc Stnor't 
 Ul I'LlIci v^lidl left OLudl l 
 
 1-4 r> p ,v ii 
 
 11 Cc/f; 
 
 
 r?nrw*i*t TinriloTr rOtJT»l c\x T oiPocfDi* 
 ilUUtl L -L/UAllcy, EjcLIL Ul ruclCcolcl 
 
 ll'l/l'Y'S* |J/»V_ 
 
 IrlU/C WU / ~ 
 
 
 T(XT(l 
 
 16 
 
 William Herbert, Earl of Pembroke 
 
 Gerard Hon- 
 
 
 
 thorst 
 
 1 7 
 
 Sir i I -ri*PGriJJTVi 
 oil a. • vJi coiidin 
 
 Of/ jrl UL flu it ij 
 
 
 
 Mov 6 
 
 1 ft 
 
 Robert Devereux, Earl of Essex 
 
 1 I LLC. Z> 11 Is 
 
 
 
 tnei o 
 
 1 
 
 v^ueeii riiizdueiii 
 
 Tii+f r» 
 l^lLLO 
 
 
 ividry v^ueeii or ocotb 
 
 «/^ ctnet 
 
 21 
 
 Charles Howard, Earl of Notting- 
 
 
 
 ham 
 
 Z/ClCCrieTO 
 
 22 
 
 Sir Richard Wynne 
 
 Cornelius 
 
 
 J arisen 
 
 9^ 
 
 At) 
 
 Sit* hnroarn C^awr* T ni*n C ni*»f 
 Oil JUju YV ell VI \jv)i\.\j , jLiUl 11 \_/Illcl 
 
 
 
 Tnctipp 
 
 cl UoLlCC 
 
 Ditto 
 
 24 
 
 Count de Gondomar 
 
 Ditto 
 
 95 
 
 Sir W WfllW 
 
 OH TT . TV clllci 
 
 Ditto 
 
 
 Sir T^rpnpiQ TlrPKP 
 
 r MIT nil <? 
 
 27 
 
 George Villiers, Duke of Bucking- 
 
 
 
 ham, and his Family 
 
 Honthorst 
 
 28 
 
 Elizabeth, Queen of Bohemia 
 
 P. /^rc 
 
 
 
 mer 
 
 29 
 
 Sir Nathaniel Bacon 
 
 Himself 
 
 30 
 
 The Family of Sir Balthasar Ger- 
 
 Sir P. P. 
 
 
 bier 
 
 Rubens 
 
307 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 His Majesty 
 
 Ob. 1567. 
 Ob. 1576. 
 
 Marquis of Salisbury 
 
 Ob. 1588. 
 
 Lord Bayning 
 
 Ob. 1630, 
 
 G. W. Taylor, Esq. 
 
 Ob. 1759. 
 
 Duke of Bedford 
 Marquis of Salisbury 
 His Majesty 
 
 Beheaded 1601. 
 
 Painted at Paris, when Dow- 
 ager of Francis the Second. 
 
 The Countess De Grey 
 
 Ob. 1624. 
 
 Sir W. W. Wynne, Bart. 
 
 Ob. 1649. 
 
 J. Penn, Esq. 
 Marquis of Salisbury 
 
 C. T. Towers, Esq. 
 Dowager Marchioness of 
 Lansdowne 
 
 Ob. 1634. 
 
 Ambassador from Spain in 
 
 the reign of James I. 
 Ob. 1596. 
 
 Assassinated 1628. 
 
 His Majesty 
 
 Ob. 1662. 
 
 The same 
 Earl of Verulam 
 
 
 His Majesty 
 
 Lord Orford (Anecdotes of 
 Painting, v. 2. p. 103. 8vo.) 
 attributes this picture to 
 Vandyck, and says that it 
 was purchased for Frederick 
 Prince of Wales. 
 
 x 2 
 
308 
 
 No. 
 
 Subject. 
 
 
 «j i 
 
 I-Ti m^plf 
 
 L -I U UoV,! 1 
 
 Sir P. P. 
 
 
 
 XKlvUV Ho 
 
 32 
 
 Landscape, witli Charles I. in the 
 
 
 
 Clldl dl_»l/d UI OU VJcUl litJ 
 
 Ditto 
 
 33 
 
 Hplpna Porman 
 
 Ditto 
 
 
 I .oflir Anno 1 qt» I Aiinfocc nf Isnfl 
 l^dll y Xillllt; \-/dI , v/UUIllcoo Ul JJcll- 
 
 Sir Anthnnn 
 
 KJl 1 £i III IVXJIli U 
 
 
 ford 
 
 1/ n ndur.k 
 
 
 Liduy Xyuioi/iiy oviniey, ^uuiJicob 
 
 
 
 at .^11 n fipvl q nH 
 
 Ditto 
 
 36 
 
 Lady Dorothy Percy, Countess of 
 
 Ditto 
 
 
 Leicester 
 
 0/ 
 
 Liduy jL/ucy irercy, V/Oumess or 
 
 Ditto 
 
 
 Carlisle 
 
 38 
 
 Lady Elizabeth Cecil, Countess 
 
 
 
 rvf 1 )pvon<5riirp 
 
 \JL A'CVUllollIlC 
 
 Ditto 
 
 
 Kfiiiacfi'iQn l^/Mt^- ~%*r\ 1 4- f\+ 1 norloc 1 
 JJitl UcMI Idll x UI lldll Ul V^Ildl lt;o 1. 
 
 Ditto 
 
 40 
 
 Thomas Howard, Earl of Arundel 
 
 Ditto 
 
 41 
 
 Sir Anthony Vandyck 
 
 Ditto 
 
 42 
 
 Ouppn FTpnripfta TVTaria 
 
 Ditto 
 
 A1 
 
 iviiig j diiies viie .r itm) 
 
 JJlttO 
 
 44 
 
 James Stanley, Earl of Derby 
 
 Ditto 
 
 45 
 
 Sir T. Wentworth, afterwards Ear 
 
 
 
 of Strafford 
 
 Ditto 
 
 46 
 
 Princes Rupert and Maurice 
 
 Ditto 
 
 47 
 
 William Laud, Archbishop of Can- 
 
 
 
 terbury 
 
 Ditto 
 
3J9 
 
 Proprietors. 
 
 Miscellaneous Observations, 
 
 His Majesty 
 
 
 The same 
 The same 
 
 
 Earl of Egremont 
 
 
 The same 
 
 
 The same 
 
 
 The same 
 
 
 The same 
 His Majesty 
 Marquis of Stafford 
 
 His Majesty 
 The same 
 The same 
 
 Earl of Clarendon 
 
 Originally painted as a pre- 
 sent to George Villiers, 
 Duke of Buckingham, after- 
 wards in the Orleans Col- 
 lection, ob. 1646. 
 
 This portrait has always been 
 said to have been painted 
 by Vandyck, which is dis- 
 proved by dates. It is 
 more probably by Van 
 Somer, ob. 1 65 1 . 
 
 Sir J. G. Egerton, Bart. 
 Lord Bayning 
 
 Beheaded, 1641. 
 Ob. 1682. 
 
 Archb. of Canterbury 
 
 Beheaded,, 1645. 
 
310 
 
 No. 
 
 Subject. 
 
 
 AR 
 
 W^ilKam Tnvnn A vphViiQVifvn 
 
 ti Ullcim J UAUIJj H/Il UlollULf Ul 
 
 KJli url/ll flu ft (J 
 
 
 Canterbury 
 
 Vandyck 
 
 AO 
 
 X I (lULlo XLlAOotl, XJclLl Ul UCvliUlvl 
 
 Ditto 
 
 50 
 
 Thorn aSj Earl of Strafford 
 
 Ditto 
 
 
 Annp fTIi ■ffnrn' r^miiTfpQcs nf Dnvspf 
 
 xIlUIIC VyllllUlU, V>ULlll ICISiS Ul 1/U1 3Ct 
 
 Ditto 
 
 52 
 
 Frances Howard, Duchess of Rich- 
 
 
 
 mond 
 
 Ditto 
 
 53 
 
 Lords George and Francis Villiers, 
 
 
 
 onnc at i tOai* rro 1 lnlrn r\T K£ n /~i It - cj 
 oUIlo UI vJcOlge J.-'U.KtJ Ol JJUCKo 
 
 x/ittu 
 
 On! 
 
 Sit* TCptipIty! Oio*V»ir o nrl Vpnp'fia 
 
 kjll JACHtlJH JL/l££Uy , dllUL V CllCLlCt 
 
 
 
 .**.^"Q n loir I oriTT Til n«V»Tr 
 
 Oldlllcy^ JLidiXy Ulgfjy 
 
 Di'ttn 
 
 .L/ll/l/U 
 
 55 
 
 TniP'o .Totips 
 
 
 
 Algernon Percy, Earl of Nor- 
 
 
 
 thumberland 
 
 Ditto 
 
 56 
 
 Charles I. with Queen Henrietta, 
 
 
 
 Qnri txxm at fno TffiTrQl fri 1 1 ri ron 
 dlltl LWU Ul tlJc JLVUVcU. ^/Illltll ell 
 
 Ditto 
 
 XJl LIU 
 
 57 
 
 Thomas Killigrew and Thomas 
 
 
 
 Carew 
 
 Ditto 
 
 58 
 
 Sir G. Jeffreys, Lord High 
 
 
 
 Chanppllor 
 
 Ditto 
 
 59 
 
 Venetia Lady Digby 
 
 Ditto 
 
 60 
 
 John Thurloe 
 
 /F. Dobson 
 
 61 
 
 Sir Charles Lucas 
 
 Ditto 
 
 62 
 
 Himself 
 
 Ditto 
 
 63 
 
 Oliver Cromwell 
 
 Robert 
 
 
 
 Walker 
 
 64 
 
 John Evelyn 
 
 Ditto 
 
311 
 
 Proprietors. 
 
 Bishop of London 
 Duke of Bedford 
 Earl of Egremont 
 His Majesty 
 
 His Majesty 
 
 The same 
 
 The same 
 The same 
 
 Earl cf Darnley 
 
 Earl of Essex 
 
 His Majesty 
 
 The same 
 
 Miscellaneous Observations. 
 
 The same 
 Greenhill Russel, Esq. 
 Lord Braybroke 
 
 G. W. Taylor, Esq. 
 
 O. Cromwell, Esq. 
 G. W. Taylor, Esq. 
 
 Ob. 1663. 
 Ob. 1585. 
 
 Ob. 1676. 
 
 Ob. 1639. 
 
 Afterwards Duke of Buck- 
 ingham, ob. 1687. Lord 
 Francis slain 1648, set. 19. 
 
 Windsor Castle. 
 iOb. 1652. 
 
 ! 
 I 
 
 ;Ob. 1668. 
 
 Walpoles Anecd.v.2. p. 161. 
 8vo. Both these were gen- 
 tlemen of the Privy Cham- 
 ber to Charles II., both 
 eminent for their wit, as 
 poets and dramatic writers 
 Killigrew, ob. 1 682. 
 Ob. 1689. 
 Ob. 1668. 
 
 Exhibited in 1817- Ob 
 1649. 
 
 Ob 1658. 
 Totally unlike two portraits 
 
312 
 
 No. 
 
 65 
 66 
 
 67 
 
 68 
 69 
 
 70 
 71 
 
 72 
 
 73 
 
 74 
 75 
 76 
 
 77 
 
 78 
 
 79 
 80 
 
 Subject. 
 
 Richard Cromwell 
 Henry Cromwell, second son of 
 
 Oliver Cromwell 
 G. Monk, Duke of Albemarle 
 
 James, Duke of Monmouth 
 Frances Stewart, Duchess of Rich 
 mond 
 
 John Wilmot, Earl of Rochester 
 James Butler, Duke of Ormond 
 Three children of King Charles 
 the First, James, Duke of York, 
 Princess Elizabeth, and Henry, 
 Duke of Gloucester 
 The Duke of York 
 
 Edward Hyde, Earl of Clarendon 
 T. Killigrew 
 
 William Lord Russel, eldest son of 
 the Earl of Bedford 
 
 The Marquis of Hamilton 
 
 King Charles the Second 
 
 Queen Mary II. 
 
 King William the Third 
 
 Robert Wal- 
 ker 
 Ditto 
 Sir Peter 
 Lely 
 Ditto 
 
 Ditto 
 
 Ditto 
 Ditto 
 
 Ditto 
 Ditto 
 
 Ditto 
 
 Shephard 
 Gerard 
 Soest, 
 called 
 Zoust 
 AdrianHan- 
 
 neman 
 William 
 Wessing 
 Ditto 
 GasparNest- 
 scher 
 
313 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 G. Green hill Russel, Esq. 
 The same 
 
 of him, now preserved at 
 his seat, Wootton, Surrey; 
 engraved in his Diary. 2 
 vols, quarto, 1820. Ob. 
 1706, a3t. 86. 
 
 His Majesty 
 Duchess of Buccleugh 
 
 Ob. 1670. 
 Beheaded 1685. 
 
 His Majesty 
 
 Sir J. B. Burgess 
 The Marquis of Ormond 
 
 Represented in a man's dress. 
 
 See Mem. de Grammont. 
 
 4to. Walpoles Edition. 
 Ob. 1680. 
 Ob. 1688. 
 
 Earl of Egremont 
 His Majesty 
 
 Earl of Clarendon 
 G. W. Taylor, Esq. 
 
 Afterwards James the Second. 
 Ob. 1674. 
 
 When Ambassador at Venice. 
 
 Duke of Bedford 
 
 Beheaded 1683. 
 
 His Majesty 
 
 Ob. 1625. 
 
 The same 
 The same 
 
 
 G. Watson Taylor, Esq. 
 
 
314 
 
 No. 
 
 81 
 
 82 
 83 
 84 
 
 85 
 8G 
 87 
 
 88 
 
 89 
 90 
 91 
 
 92 
 93 
 94 
 95 
 
 96 
 97 
 98 
 99 
 100 
 
 101 
 102 
 
 Subject. 
 
 Francis North, Lord Keeper 
 Henry Compton, Bishop of London 
 Sir William Dugdale 
 Sir Richard Steele 
 
 John Dryden 
 Sir Robert Walpole 
 Joseph Addison 
 Admiral Sir C. Wager 
 
 Sir G. Rooke 
 Admiral Benbow 
 Charles Lord Mordaunt 
 
 Sir Isaac Newton 
 King George the Second 
 Frederick, Prince of Wales 
 Charles Edward Stuart, usually 
 
 styled the Pretender 
 Lord Somers, High Chancellor 
 Richard Bentley, D. D. 
 Philip, Lord Hardwick 
 George, Lord Anson 
 Captain Thomas Coram 
 
 Charles James Fox, when young 
 The Marquis of Lansdowne, first 
 
 J. Riley 
 
 Ditto 
 Bougseler 
 Sir Godfrey 
 
 Kneller * 
 
 Ditto 
 
 Ditto 
 
 Ditto 
 
 Ditto 
 
 Ditto 
 Ditto 
 
 Michael 
 Dahl 
 f¥. Murray 
 Pine 
 Ramsay 
 
 Ditto 
 Hudson 
 Ditto 
 W t Hoare 
 Ditto 
 IV. Hogarth 
 
 Sir Joshua 
 Reynolds 
 
 * M Such are thy pictures, Kneller ! such thy skill, 
 That Nature seems obedient to thy will ; 
 Comes out, and meets thy pencil in this draught, 
 Lives there, and wants but words to speak her thought.** 
 
 Dryden. 
 
/ 
 
 315 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 Earl of Guildford 
 Lord Arden 
 D. S. Dugdale, Esq. 
 
 Ob. 1675. 
 Ob. 1686. 
 
 W t Baker, Esq. 
 The same 
 The same 
 The same 
 His Majesty 
 
 The same 
 The same 
 
 Ob. 1729. 
 Ob. 1701. 
 Ob. 1746. 
 Ob. 1719. 
 
 One of the set of Admirals at 
 Windsor, ob. 1743. 
 Ditto 
 Ditto 
 
 Earl of Liverpool 
 Trinity Coll. Cambridge 
 Lord Bray broke 
 His Majesty 
 
 Ob. 1727. 
 
 Sir W.W.Wynne, Bart. 
 
 Earl of Hard wick 
 Trinity Coll. Cambridge 
 
 Earl of Hardwick 
 The same 
 
 Ob. 1788. 
 Ob. 1716. 
 Ob. 1742. 
 Ob. 1764. 
 Ob. 1762. 
 
 Who principally contributed 
 to the establishment of the 
 Foundling Hospital, ob. 
 1751, set. 83. 
 
 Lord Holland 
 
 Ob. 1807. 
 
316 
 
 No. 
 
 103 
 
 104 
 105 
 106 
 107 
 
 108 
 109 
 
 110 
 111 
 
 112 
 
 113 
 114 
 
 115 
 116 
 
 Subject. 
 
 Lord of the Treasury, Lord 
 Ashburton, Chancellor of the 
 Duchy of Lancaster, and Co- 
 lonel Barre, paymaster of the 
 Forces, 1782 
 
 Edmund Burke 
 
 Right Hon. W. Wyndham 
 Henry Fox, the first Lord Holland 
 Lord Rodney 
 William Markham, Archbishop of 
 York 
 
 Right Hon. Charles James Fox 
 Edward, Duke of York, second 
 
 brother of his late Majesty 
 Dr. Samuel Johnson 
 Frederic, Lord North, afterwards 
 
 Earl of Guildford 
 King George the Third 
 
 Queen Charlotte 
 Admiral Viscount Nelson 
 
 Right Hon. William Pitt 
 King Charles the First demanding 
 the five members of Parliament J, 
 
 Sir Joshua 
 Reynolds 
 Ditto 
 
 Ditto 
 Ditto 
 Ditto 
 
 Ditto 
 Ditto 
 
 Ditto 
 Ditto 
 
 T. Gains- 
 borough 
 Ditto 
 John Hopp- 
 ner 
 Ditto 
 
 Singleton 
 Copley 
 
317 
 
 Proprietors. 
 
 Miscellaneous Observations. 
 
 oir ± . Daring, x>arr» 
 
 
 R. Sharpe, Esq. 
 
 One of the set painted for 
 
 
 Mr. Thrale, ob. 1719. 
 
 T Ct nnl mnnrlplfkv TT.cn 
 
 Lord Holland 
 
 OK 1 77 A 
 
 nib lviajesiy 
 
 \JQ. 1 / 
 
 Christ Ch. Coll. Oxon. 
 
 
 Lord Crewe 
 
 
 His Majesty 
 
 Ob. 1767. 
 
 G. Watson Taylor, Esq. 
 
 Painted for Mr. Thrale, ob. 
 
 1784. 
 
 N. Dance* 
 
 
 His Majesty 
 
 
 The same 
 The same 
 
 Ob. 1807. 
 
 The Attorney-General 
 (his son) 
 
 On the fourth of January, 
 1641, the king went to the 
 House of Commons, and 
 placing himself in the chair, 
 asked the speaker (W. Len- 
 thal), to point out to him 
 
 * Afterwards Sir Nathaniel Holland, Bart. ob. 1792. 
 
318 
 
 the following members, who had been accused of high 
 treason, viz. Denzil Hollis, Sir Arthur Hazlerigge, 
 John Pym, John Hampden, and William Strode. The 
 speaker falling on his knees, replied, u May it please 
 your Majesty, I have neither eyes to see, nor tongue 
 to speak, in this place, but as the House is pleased to 
 direct me, whose servant I am." 
 This picture is composed from the most authentic por- 
 traits of the characters introduced, which are now 
 remaining. 
 
319 
 
 EXHIBITED IN 1822. 
 
 1. The Norfolk Shield. 
 
 This shield was given (according to a long received but 
 lately controverted tradition), by Cosmo, second Grand 
 Duke of Tuscany, to Henry, earl of Surrey, as a reward 
 of his prowess after a tournament. It is composed of 
 wood, with leather strained over it, of a hemispherical 
 form. It is painted in chiaroscuro, the shadows much 
 heightened with gold. The exterior subject is Curtius 
 leaping into the gulf ; and the inside is divided into two 
 compartments, by means of the loops through which the 
 arm was introduced ; the one representing Porsenna at 
 the altar ; the other, Codes at the Sublician bridge. It 
 is now preserved among the archives at Norfolk-house. 
 Dr. Nott (in his introduction to his edition of Lord 
 Surrey's Poems, p. 40, 4to. 1815), labours to prove, 
 that this shield did not belong to Lord Surrey, but was 
 merely a curiosity acquired by the celebrated collector, 
 Thomas, Earl of Arundel, who had it introduced into 
 the family picture by Fruitiers, which was engraved 
 by Vertue. His Grace the Duke of Norfolk has a 
 drawing taken from it, by Vertue, to which (and not on 
 the shield) is affixed the name of Johannes Stradanus, 
 who lived some years after Lord Surrey. Giulio Ro- 
 
320 
 
 mano is known to have painted shields in a similar 
 manner, and Dr. Nott has adduced no argument which 
 would disprove it to have been the work of the last- 
 mentioned master. 
 
 2. A Bust of King Charles the First. — Ex- 
 hibited in 1821. 
 
 This bust was executed by M. Rhysbrack, and com- 
 posed like that of Bernini (destroyed at Whitehall in 
 1697), from a picture exhibiting the face in three 
 points of view. It was done for the late G. Aug. 
 Selwyn, Esq. M. P. for Gloucester, to be placed in a 
 gallery at Matson-House, the seat of his family, in 
 which the king resided, during many days, when that 
 city was besieged, in August, 1 643. Mr. Selwyn be- 
 queathed it to Mademoiselle Fagnani, (now Marchioness 
 of Hertford), and it is in the possession of the Marquis. 
 
 3. A Bust of Oliver Ckomwell. — Exhibited in 
 1821. 
 
 Lord Orford (Anecdotes, vol. 2. p. 247> 8vo.) says, 
 that c< Edward Pierce, a sculptor of great merit, for 
 the time in which he practised, made a bust of Crom- 
 well, which was sold at an auction in 1724/' This may 
 probably be the same which is now preserved in the 
 Collection of the Marquis of Lansdowne. 
 
 THE END. 
 
 PRINTED BY THOMAS DAVTSON, WH 1TEFRI ARS, LONDON. 
 
GETTY CENTER LIBRARY 
 
 mm