®ttii0ir$srfc, 'dattfjorrltij. DESCRIPTIVE CATALOGUE OF THE PICTURES AND OTHER WORKS OF ART AT OULTON PARK, CHESHIRE. 1864. FOR PRIVATE DISTRIBUTION. LONDON : SAUNTERS, OTLEY, AND CO., 66, BROOK STREET, W. DEDICATED TO THE FUTURE POSSESSORS OF OULTON. INTRODUCTION. OOKS printed for private distribution, and not de- signed for the general public or the critic's eye, do not necessarily require an introduction, either expla- natory, deprecatory, or apologetic ; nevertheless, the following pages partake so much of the character of the ephemeral productions y'clept sale catalogues, that I am induced to prefix a few introductory sentences in the hopes of saving this opusculum from the waste-paper-basket fate, to which the aforesaid publications are generally consigned. In preparing the following notes for publication I have been mainly actuated by the desire to record, for those who may succeed me, such information as I have been able to obtain with reference to the several objects of art and vertu now at Oulton. Had those who preceded me, (especially those to whose taste VI INTRODUCTION. and liberality many of the best works of art are due), been careful to record what they knew of these several objects, my task would have been less laborious and the results more com- plete. Some of these objects are well known to patrons and cultivators of the arts, from having been publicly exhibited or otherwise made known by engravings, photographs, or de- scriptive notices in the journals of the day or the publications of societies, — others are of little or no general value, although highly prized by the owner. I well remember the late Sir Robert Peel taking the House of Commons by surprise by the (apparently) simple question, "What is a pound?" Let me ask, "What is value?" The political economist, well read in Smith's Wealth of Nations and other works of that description, would no doubt reply that the value of a commodity is dependent solely upon the quantity of labour necessary for its production ; but if the said political economist were to attend some of the public sale rooms of the day, he would discover that this abstract definition of value is not applicable to works of art; for instance, he might see a rude sketch made, it may be, with a charred stick or a reversed pen, by Landseer or Etty, greedily purchased for more money than an elaborate carving in rock crystal or jade, which probably took the greater part of the INTRODUCTION. Vll Chinese workman's life to produce. We must, therefore, look to other elements influencing value than the expenditure of labour alone. Precious stones and precious metals, the raw materials entering largely into the composition of some works of art, have a fixed market value attached to them, and this value is proportionately enhanced by the taste and skill dis- played in using them, as well as by the labour employed in the workmanship ; pictures, statues, enamels, china, and the like, have a current value which can be approximately esti- mated by the collectors and connoisseurs of the day; but accidental circumstances occasionally complicate the question of value, sometimes the very reverse of those qualities which a priori one would assume to be the essential elements of value. Ugliness, imperfection, and other negative qualities, may, and often do, add immeasurably to the value of the objects in which they occur. A grinning gurgoyle, or a grotesque corbel, is far dearer to the archaeologist than the most elaborate production of the modern sculptor. Lord Taunton's un- finished picture by Michael Angelo, or an early stage of a recherch'ee print, is more prized by collectors than a finished work by the same hand. Some objects there are which, though insignificant in themselves, derive a reflected value from association with persons, places, or events. A leaf from Vlll INTRODUCTION. the Napoleon willow of St. Helena, or a scrap of bark from the Wellington oak at Waterloo, is more esteemed than a flower of the rarest exotic in the royal gardens at Kew ; a lock of hair of a celebrated personage or an esteemed friend is more cherished than the richest casket in which it might, perchance, be enshrined. Fancy, fashion, taste, and rivalry, all contribute to complicate this question of value, and, being uncertain and transitory in their influence, cause great fluc- tuations in the market prices of the day. The value, then, of works of art may be considered as either intrinsic, as in gold and jewels ; conventional, or the market price of works of acknowledged merit, such as pictures, sculpture, and the like; arbitrary, depending on the caprice of collectors or the fashion of the day; or extraneous, as in articles having no inherent good quality, but esteemed in rela- tion to other circumstances, persons, or events. Instances of all these categories will be found in the follow- ing catalogue, from works of high and recognised merit to articles so trivial as to be worthless save to the present possessor. Of these the greater part are what are designated heirlooms, under the popular but mistaken notion that chattels of personalty may be entailed from generation to generation in perpetuity. Objects of this description can be made heir- INTRODUCTION. IX looms legally only to this extent : they can be settled upon any existing person for life, and then to follow the limitations of the estate ; but the first person who comes into possession of the estate, after the death of the tenant for life, will be entitled to dispose of them at his pleasure. On the death of John Egerton in the year 1732, a list was taken of the heir looms at Oulton, which comprises all the pictures* and furniture. The names by which the several apart- ments were then known, are as follows : — The saloon ; the tapestry withdrawing-room ; the crimson damask withdrawing- room ; the japan withdrawing-room ; the yellow damask bed- chamber ; the crimson damask bed-chamber ; the blue mohair bed-chamber ; the blue cafoy dressing-room ; the green mohair bed-chamber ; the yellow callamanca bed-chamber ; the plaid room ; the striped callamanca dressing-room ; the red-and- white callamanca dressing-room ; the blue-and-white callicoe bed-chamber ; the oak parlour, the smoking-room, etc., etc. On the death of Philip Egerton in 1766, his brother John took most of the household goods and furniture at a valua- * " King Charles the First's picture as he sat at his Trial" is now in the possession of Mr. W. W. E. Wynne, M.P., at Peniarth, having probably been obtained through his ancestor, Mr. Puleston, who married a daughter of Doctor Egerton, second son of Sir Philip Egerton, Knight. X INTRODUCTION. tion, but the jewels and trinkets were divided into twelve lots, and distributed to his nephews and nieces under the will of Philip Egerton. Both these lists are now extant, the former headed Cf An account of household goods and furniture, china, linnen, plate, corn, cattle, etc., late belonging to Philip Eger- ton, Esq., deceased, and taken at the appraised value thereof respectively by his brother John Egerton, Esq." The latter, " The 12 Lots of Jewells & Trinketts, drawn 27 Oct., 1766." These and other documents of the last century, which have fortunately been preserved, have afforded me much assistance in tracing the history of some of the older articles enumerated in the following Catalogue ; but from the death of my grand- father in 1786, down to the year 1 8 15, very few records have been preserved which tend to throw any light upon the sources from which Pictures and other objects have been derived. P. de M. G. E. May 18, 1865. OIL PAINTINGS. i. THE ENTOMBMENT. Height^ ft Width 1 ft. 4 in.* By Michael Angelo Amerigi da Caravaggio, Born 1^60. Died 1609. — r" This picture was purchased at Florence, in 1822, by Sir John Grey Egerton. It is thus described in a memorandum in his own handwriting made at the time of the purchase: — ' * 7 Height 3 //. Width 4 //. A bull and a group of parti-coloured sheep. Some of this breed of sheep are still preserved at Tabley, the seat of Lord de Tabley. F 4 2 6o. SALOP. Height i //. \o\ in. Width 2 //. 5 in. By H. Calvert, 1840. A. favourite hunter the property of Sir Philip de Malpas Grey Egerton. This is a study made for insertion in the picture of portraits of the Cheshire hunt, painted by Mr. Calvert and now at Tatton Park. FAMILY PORTRAITS NOT IDENTIFIED * MRS. CONWAY. Probably the wife of Piers Conway, of Hendre in Flint- shire, whose daughter Catherine was wife of Sir Philip Egerton, Kt., of Oulton. MR. CHOLMONDELEY Thomas Cholmondeley, of Vale Royal, born in 1627, was High Sheriff of Cheshire in 1660 and 1661, and Member of * These portraits are enumerated in a list of the heirlooms at Oulton Park taken in 1732, but as no labels are extant the names cannot be correctly assigned to the respective pictures. 43 Parliament for the County in 1669. He died in 1702. His daughter Mary married John eldest son of Sir Philip Egerton, Kt., of Egerton and Oulton. MR. EGERTON. John Egerton, of Egerton and Oulton, eldest son of Sir Philip Egerton, Kt., was born in 1656 and died 1 73 1 . He married firstly Mary, daughter of Thomas Cholmondeley, of Vale Royal, secondly Elizabeth, daughter of Robert Viscount Cholmondeley, of Kells, and thirdly Catherine, daughter of William Upton, of Upton, Esq. He built the present man- sion of Oulton. MRS. EGERTON. Mary, daughter of Thomas Cholmondeley, of Vale Royal, first wife of John Egerton. MRS. EGERTON. Elizabeth, daughter of Robert Viscount Cholmondeley, second wife of John Egerton. LORD CHOLMONDELEY. Robert, created Viscount Cholmondeley, of Kells, in 1661 , father of the second Mrs. Egerton, died in 1681. 44 LADY CHOLMONDELEY. Elizabeth, daughter and co-heiress of George Cradock, of Caverswell Castle, Staffordshire, wife of Robert Viscount Cholmondeley, and mother of the second Mrs. Egerton. LORD HUGH CHOLMONDELEY. Hugh, eldest son of Robert, first Viscount Cholmondeley, of Kells, by Elizabeth, daughter of George Cradock. Having zealously forwarded the Revolution he was created, on the accession of William and Mary, by letters patent dated April 10, 1689, Lord Cholmondeley of Nantwich, and advanced on December 27, 1706, to the dignities of Viscount Malpas and Earl of Cholmondeley. He died in 1724. SIR THOMAS JEFFERYS. Sir Thomas Jefferys, of Acton, in the County of Denbigh, was elder brother of the notorious Judge Jefferys. Pennant in his " Tour in North Wales," thus mentions Acton, " This place was formerly the property of the Jefferys, a race that after running uncontaminated from a antient stock, had the disgrace of producing in the last century George Jefferys, Chancellor of England, a man of first-rate abilities in his profession, but of a heart subservient to the worst of actions." He then mentions a portrait of the Judge, and a fine full- length portrait of " His brother Sir Thomas, in a full wig and 45 long cloak, with the cross of some religious order." These portraits are now the property of Mr. Yorke, of Erthig, near Wrexham. I am indebted to W. W. E. Wynne, of Peniarth, Esq., M.P. for Merionethshire, for the following pedigree of the JefTerys family. Jeffrey ap Hugh. = Catherine, dau : of Rich d - ap Richard. John Jeffreys, Esq Justice of North Wales. Margaret, dau : of W m - Lloyd, of Halghton. * John Jeffreys, = Margt . dau: Edward. Charles, Marg t - Esq. of Sir Th : ob. wife of Ireland, Kt. 1628. JohnTre- of Bewsey, vor, son nea r Warrinton. & heir of Sir Edw: Trevor. * George Lord Jeffreys, Chancellor of England to James II. was 6. son of the above J. Jeffreys, Esqre. [N.B. — This note, and the underlined words above, are in a much later hand than the rest of the pedigree, which is in the autograph of Robert Vaughan, Esq., the Merionethshire antiquary, who died in 1667.]— In Hengwrt MS. No. 96.— W. H. E. W. SIR GRIFFITH JEFFERYS. Sir Griffith JefTerys was probably the eldest brother of Judge JefTerys, as he was in possession of the Acton Estate. Philip Egerton, eldest son of Doctor Egerton, who was second son of Sir Philip Egerton, married Elizabeth, daughter and co-heir of Sir Griffith JefTerys, of Acton. He came into possession of the Oulton estates on the death of his uncle John without issue in 173 1 . 4 6 MR. JEFFERYS. One of the same family. LORD PLYMOUTH. Probably Thomas Windsor Hickman, Earl of Plymouth, whose son, by his second marriage, Thomas, created Viscount Windsor and Lord Mountjoy, married Charlotte, widow of John 2nd Lord Jefferys. LADY PLYMOUTH. Ursula, daughter and co-heir of Sir Thomas Widrington, Kt., of Sherbourne Grange, second wife of Thomas Windsor Hickman, Earl of Plymouth. MR. HUGHES. John, eldest son of John Egerton, of Broxton, married Sarah, daughter of Mr. Hughes, of Halkin, Flintshire. MRS. HUGHES. Wife of the above. 47 FAMILY PORTRAITS IN WATER COLOURS. FAMILY GROUP. Height 3 //. Width 3 ft. 6h in. This picture contains full-length portraits, small size, of Philip Egerton, Mary his wife, and eight of their children, namely, John, Philip, William, Charles, Francis, Thomas, Elizabeth, and Mary. It was probably painted in the year 1777 or 1778. The scene represents Oakmere on Delamere Forest. MRS. EGERTON and HER SON ROWLAND. Height 2 //. 9 in. Width 1 //. 10 in. fcr l^a^ JU^c^Xs^ Mrs. Egerton was daughter of Sir Francis Haskins Eyles Styles, Bart., and wife of Philip Egerton, of Egerton and Oulton. She survived her husband 35 years, and died in 1 8 2 1 . Her son Rowland was born 1778, and through his marriage with Emma, daughter of James Croxton, of Norley- bank, niece of Sir Peter Warburton, of Arley, his eldest son Rowland Eyles inherited the Warburton estates, and took the name of Warburton. 4 8 MRS. BARNSTON, Height 2 9 in. Width i ft u in. Ann, daughter of John Egerton, of Broxton, and sister to Philip Egerton, of Egerton and Oulton, married the Rev. Roger Barnston, Prebend of Chester. MRS. ELIZABETH EGERTON. Oval, 2 ft. 9 in. high. Elizabeth, daughter of John Egerton, of Broxton, sister to the above. MRS. PULESTON. Oval, 2 ft. 9 in. high. Mary Egerton, sister to the above, married Philip Puleston, Esq. MINIATURES. KING CHARLES I. This portrait of Charles the Martyr is delicately painted on copper. It represents the King shortly before his execution, his hair and beard having been allowed to grow during his imprisonment. On the reverse is a portrait of Bishop Juxon, the King's faithful servant and attendant on the scaffold. This double miniature is enclosed in a case of gold for suspension 49 round the neck, with thick glass on either side. It was exhi- bited at Manchester in 1857, and in the Loan Collection at South Kensington in 1863, No. 2276 in the Catalogue. KING JAMES II. An oval miniature, painted in oil, and enclosed in a leather case. MRS. SIDDONS. An oval miniature, exquisitely painted on ivory by Thomas Harding. It is set in an elegant gold frame, with a loop for suspension round the neck. On the back is a lock of hair set in a circlet of pearls, with the initials S.S. in gold in the centre. This is surrounded by an ornamental blue border of rich effect. This gem was purchased in Chester in 1864. It must have belonged to one of the family of the great tragedian. MR. JACKSON. O11 Ivory. Thomas Scott Jackson, Esq., father of Maria, wife of Sir John Grey Egerton, Bart., and first husband of Lady Brough- ton, whose portrait by Romney has been already noticed. 5° SIR JOHN GREY EGERTON. On Ivory. By Jagger. This miniature was engraved at the request of his consti- tuents when Sir John represented the city of Chester in Parlia- ment, by W. Smith. GENERAL EGERTON. On Ivory. Lieu tenant-General Richard Egerton, C.B., Colonel of the 46th Regiment, ninth son of Philip Egerton, of Egerton and Oulton, was born in 1783. He served on the staff of Lord Hill in the Peninsular War, and was subsequently his aide-de- camp and private secretary during his tenure of office as Com- mander-in-Chief. He married Arabella, youngest daughter of Henry Tomkinson of Dorfold, and died in 1854. LADY GREY EGERTON. On Ivory. By Mrs. Robertson. Anna Elizabeth, second daughter of George John Lcgh of High Legh, and wife of Sir Philip de Malpas Grey Egerton. Painted in 1832. This miniature was engraved by W. H. Mote, and appeared in The Book of Beauty in 1836. 5' SUPPLEMENT TO THE PICTURES. 6 1. LADY EGERTON. An oval bust portrait of Catherine, daughter and sole heiress of Piers Conway, Esq., of Hendrie, in the county of Flint, and wife of Sir Philip Egerton, Knight. She died in 1706. The school in the Druids' Walk was built by this Lady Egerton. 62. PORTRAIT OF A LADY. Height 4 ft. 2 in. Width 3 //. 3 in. By Sir Godfrey Kneller, Born 1648. Died 1723. A three-quarters length portrait of a young lady in a green robe, seated. Her left elbow rests on a rustic slab, on which is the signature of the painter in black letters. This is one of the family portraits enumerated in the catalogue of 1732, and, judging from the style of the costume and the period of the painter, may probably be one of the wives of John Egerton, of Egerton and Oulton, eldest son of Sir Philip Egerton, Knight. See page 43. F 52 63. SIR JOHN GREY EGERTON. Height 2 ft. 7 Width 2ft. 2 A bust portrait of Sir John Grey Egerton in early life. See page 38. 64. EQUESTRIAN PORTRAIT. Height 3 //. Width 4 //. By T. Stringer. This is said to be a portrait of the Hon. John Smith Barry, fourth son of James, fourth Earl of Barrymore, by Anne, daughter of Arthur, third Earl of Donegal. The picture is inscribed on the left corner, "iEtat su : 73 — 1778." Mr. Barry died in 1784. He was for many years master of the Cheshire foxhounds, and it was during the period of his management that the celebrated match was made to run two of the Cheshire hounds, Bluecap and Wanton, against two of Mr. Meynel's pack, over Newmarket racecourse. The match (of which an engraving is extant) is thus described in Daniel's Rural Sports, vol. i. page 156: — "Upon the 30th of Sep- tember (1762) the drag was drawn from the rubbing house at Newmarket town end to the rubbing house at the starting post of the Beacon course ; the four hounds were then laid on the scent. Mr. Barry's Bluecap came in first, Wanton (very close to Bluecap) second. Mr. Meynell's Richmond was beat by upwards of an 100 yards, and the bitch never ran in at all. The ground was crossed in a few seconds more than 8 minutes. 53 Three score horses started with the hounds ; Cooper, Mr. Barry's huntsman, was the first up, but the mare that carried him was rode quite blind at the conclusion. There were only twelve horses up out of the sixty." The church of Great Budworth is seen in the background on the right of the pic- ture, and the mere and park of Marbury, the seat of Mr. Barry's brother, on the left. There is a fine full-length portrait of Mr. Barry, painted by Crank in 1773, in the dining room of the Tarporley Hunt at the Swan Inn, Tarporley ("shades of Sir Peter and Barry look down" — War bur ton's Hunting Songs) , and another by Cotes, in the possession of Lord de Tabley. On looking over some old accounts of the years 1777 and 1778,1 found the original bill for this picture, and so discovered the name of the artist. The portrait of my grandfather on a black horse (No. 47), and the Cattle Piece (No. 59), are in- cluded in the same bill. The following is a copy of the bill : — " 1777. For the portrait of a bull, with landscapes & appen- dages, £5 5s. 1778. For the portrait of a fine black hunter, on a canvas 5 ft. by 3,* ^5 5s. Portrait of a gentleman mounted on the same horse, £2 12s. 6d. Portraits of four dogs in the same piece, at gui., £2 2s.f For the portrait of a chestnut hunter (Moses) with backgd-, £$ 5s. Portrait of a gentleman mounted thereon, £2 12s. 6d. — £23 is. Received Twenty- five guineas in lieu of the above, with thanks, T. Stringer. —May 5, 1778." * The margins of the picture have been doubled back in order to fit it into the present frame. t There are two dogs in each picture. 1 54 This artist lived at Knutsford ; he seems to have been a landscape painter as well as a portrait painter, for I have another receipt dated May, 1774: — cc For horsehire and attendance twice at Oulton to take the view of the house and lawn, &c, and painting the same, £3 13s. 6d." This view of the house has been lost, but an engraving of the picture by D. Lerpiniere* exists, for which I have the bill of the original cost, £14. 1 as. in October, 1776, and a sub- sequent bill in March, 1778, for taking out, altering, and re- touching the copper-plate by C. Phillips.* These bills appear to have been paid on behalf of my grandfather by the celebrated Thomas Pennant, whose signature is attached to the receipts. Stringer was employed in the year 1767 to draw subjects for Josiah Wedgwood. In a letter to his friend and partner Bentley, in November of that year, he writes of Stringer : " He is goodnatured, modest, and ingenious, and has a ready hand at drawing" — Meteyards Life of Wedgwood^, vol. i. P- 493- * Mr. Carpenter, of the British Museum, has kindly furnished me with the following information respecting these artists. u Daniel Lerpiniere was an engraver of eminence, and studied under Vivares ; he engraved some large plates after Claude Lorrain, and also after Paton, the marine painter. C. Phillips he finds only as an engraver in mezzotint, who executed some portraits after Sir Joshua Reynolds." He also informs me that the engraver of the portrait of %.% Philip Egerton (No. 46, page 36) was Daniel Gardner, and that the portrait is described in Bromley's Catalogue of Engraved British Portraits. 55 z^X 65. MR. CHOLMONDELEY. ^Vs_^ m Oval. 2 //. 9 in. high. A full-length portrait, small size, in water colour, of Thomas Cholmondeley, of Valeroyal, Esq., grandfather of the present Lord Delamere. He was born in 1726, and died in 1779. He represented the county of Chester in Parliament in 1756. DRAWINGS. 66. THE DUKE OF WELLINGTON. Oval. Height 2 ft. 5 ///. Width 2 ft. By Sir Thomas Lawrence. Bom 1769. Died 1830. A life-size head, drawn in chalks. This is probably a sketch likeness for one of the artist's large pictures. It was pur- chased from Mr. Agnew, of Manchester. 67. JENNY LIND. Height /'//. Width 3? in. By Lady Marian Alforu. Two full-length sketches in water colours of the Swedish Nightingale in the character of Amina in La Sonnambula. Painted from recollection. 56 68. LADY GREY EGERTON. Height i ft. 6 in. Width I ft. By John Hayter. Portrait in crayons of Anna, Lady Grey Egerton, taken in 1840, and engraved by H. Hall for Heath's Book of Beauty in 1842. 69. DEAD GROUSE. Height 2 ft. 8 in. Width 2 //. A study of a dead grouse, painted in water colours from nature, by Miss Mary Corbett. 70. THE ACADEMY OF SCIENCE. By Sebastian Le Clerc. Bom 1637. Died 17 14. A most careful and elaborate etching in pen and Indian ink, in the form of a hemicycle. The print for which this appears to have been the study, or from which it has been copied, is described by Nagler in four different states : the first two being before the introduction of the skeleton of the stag. The different stages of this celebrated print by Le Clerc are described as follows in Le Blanc's Manuel de I' Amateur d'Es- tampes: — " No. 310. L'Academie des Sciences. — i ier etat, avant les manches du magicien ; 2 d , avec les manches ; 3 eme , avec la 57 lanterne suspendue a l'entree de l'edifice a colonnes ; 4 eme , avec les roues dentelees et les autres machines pres du piedes- tal des deux colonnes du peristyle; 5 eme , avec les deux hommes assis pres du mirroir ardent ; 6 cme , avec les armes royales non terminees ; 7 cme , un homme monte sur un echelle est occupe a sonder ; 8 eme , avec les dessins de fortification." This remarkable work was obtained in Rome by Mrs. Egerton, wife of Philip Egerton, of Egerton and Oulton, who bequeathed it to her daughter Lady Broughton. She left it by will to Rebecca, Lady Grey Egerton, who presented it to be kept at Oulton Park. I have found the bill for mounting and framing this drawing in 1765. It is as follows: " To a very rich Italian mould frame for a fan mount, carved, and gilt in burnished gold, with very rich trophy s of arts, music, &c, with plate glass, spring, and hinges. The whole compleate with a packing case, ^9 9s. od. Thos. Philipson, Nov., 1765." A FOLIO VOLUME, containing 89 elaborately finished water- colour drawings of heraldic, monumental, and other me- morials of the family of Imhof of Nuremberg. Many of the drawings are by an artist, G. von Bemmel, of the last century. These interesting drawings were purchased at the Imhof sale in Paris, in 1864. See Journal of the ArcJueo- logical Institute for 1864, p. 265. 5« A Folio VOLUME, containing 17 drawings, with a frontis- piece in water colours, copied by my daughter Cecely from the originals taken in the Crimea by the Hon. H. H. Clifford, of the Rifle Brigade, in 1855. SCULPTURE. A BUST of Sir John Grey Egerton, in Carrara marble, life size, by Bertolini, of Florence.* A BUST of Sir John Grey Egerton, in clay, small size, by T. Duckett. A Bust of Anna, Lady Grey Egerton, in Carrara marble, life size, by R. C. Lucas. A Bust of Philip le Belward Egerton when an infant, in wax, life size, by R. C. Lucas. A full-length Model of George IV. in his robes, small size, in clay, by Sir Francis Chantrey. This is the study for the statue on the staircase of Windsor Castle. It was presented to me in memoriam by Lady Chantrey. * A copy of this bust is placed over the memorial tablet to Sir John, in the north transept of Chester Cathedral. 59 Four Medallions, in wax, of William Alexander Anthony Archibald, eleventh Duke of Hamilton; Princess Marie Amelia Elizabeth Caroline of Baden, his wife; William Willoughby, third Earl of Enniskillen, and Edward Haw- kins, Esq. Modelled by R. C. Lucas. A Mantelpiece, in Carrara marble, by Bertolini, of Florence. The design is classical, composed of two female figures, draped (Caryatides), on circular plinths orna- mented with pendant wreaths, supporting the entablature. Behind the figures are pillaster jambs, on which rests a cross slab sculptured with bas-reliefs of cupids and wreaths of foliage. A Group, in clay, by Carmelo Dtstefano, of Catania. The subject represents a young peasant, who, having been captured by two brigands, is released by a female companion while the robbers sleep. This clever composition was pre- sented to Oulton by my son Rowland, of the Rifle Brigade. A Picture Frame, carved in oak, 4 ft. 6 in. high by 3 ft. 6 in. wide. It represents the branches, leaves, and acorns of the oak tree, in free relief. A GROUP, carved in soft wood, and gilt, 1 ft. 7 in. high, representing the Goddess Diana reclining, after the chase, on a dead stag, at the foot of a tree, the upper boughs of which bear three candles. Purchased from Nosotti in 1861. G Go A Statuette of St. Roche, carved in boxwood, with some slight touches of gilding in the drapery. He is attired in pilgrim's costume, and points to the plague spot on his thigh. Shaft of a Stag's Horn, carved, with the representation of a boar hunt. Modern German work. Presented to me by the Earl of Enniskillen. Carving of a Hindoo Deity, in rock crystal. Indian work. Presented to me by Mrs. Legh. A Chinese Ball, carved in ivory, containing twelve hollow spheres, one within the other, having their shells ornamented with pierced patterns. A Snuff Bottle, of carved ivory, in a shagreen case. The subject is a group of bacchanals carved in high relief. This is supposed to be a work of about the year 1680. It was exhibited in the Art Museum Exhibition in Manchester, 1857. A Knife Handle, carved in ivory. Representing a man and woman in rustic costume. Probably of German work- manship. A Model, in ivory, of the sword of state of Hugh Lupus, Earl of Chester (now in the British Museum), one third of the natural size, by R. C. Lucas. 6i A Box, of carved ivory, J inch in diameter, containing eleven other boxes, one within the other, and some dimi- nutive toys in the innermost one. An Oval Brooch. This is a most exquisite example of minute glyptic skill, representing a landscape composed of the portico of a temple and trees, with figures and a group of goats in the foreground. It is carved in some white substance resembling ivory. The more minute details of this remarkable specimen require examination with a high magnifying power, to appreciate the marvellous skill with which they have been elaborated. Exhibited at the Archaeo- logical Institute, April 7, 1865. A Set of Backgammon Men, in ivory and ebony, turned, and presented to me by the late George Brooke, Esq. A Set of Chess Men, carved in ivory, and presented to me by the late George Brooke, Esq. ENAMELS. A Chasse, OR RELIQUARY, of Limoges champleve enamel, of the 13th century, 5 inches long, by 4^- inches high. On the lower part of the front is represented the murder of Saint Thomas of Canterbury, a.d. 1170. Beckett stands at the altar of Saint Benedict, on which is a chalice, receiv- 62 ing the fatal blow from Tracy's sword. A second knight, with upraised arms, stands behind Tracy. In the larger reliquary of the same period, preserved at Hereford, the second figure is armed with an axe, thus identifying it as that of Fitzurse ; a third figure is also introduced with a drawn sword in his hand. On the upper compartment of the front is a representation of the entombment of the martyr. Two kneeling figures are depositing the body in the tomb by means of a long shroud, the ends passing over their shoulders, while a bishop with a crozier in his left hand is pronouncing the benediction. In the Hereford specimen three other figures are introduced in this scene two swinging thuribles, and the third holding a book. At each end of the chasse is the figure of a saint under an arch or canopy. The back is ornamented with a cross-hatched grisaille pattern in dark-coloured enamel. The figures are executed in gilt metal, engraved with faint lines denoting the folds of the drapery. The heads are formed of metallic studs, in high relief. The background is of dark blue enamel, with rosettes of various colours surrounded by borders of metal, somewhat resembling the cloisonne work- manship of an earlier period. This interesting relic was found some years ago, on cleaning out a pond at Iddinshaw Hall, near Tarporley, and had been converted by the farmer who found it, into a teacaddy for his wife. It was exhibited at Manchester in 1857, and in the loan collection at South Kensington in 1863, Catalogue No. 1077. 63 A FUNNEL-SHAPED Ewer, with handle and spout in painted Limoges enamel on a black ground. The body is divided into three portions by two raised horizontal ribs ; on the upper band are eight medallion heads of apostles, namely: St. Peter, St. John, St. Philip, and St. Paul, on one side ; and St. Andrew, St. James the elder, St. Thomas, and St. Jude, on the other. On the centre band are the figures of two winged angels supporting the sudarium of St. Veronica on a shield. The remainder of the ornamentation is composed of trophies of musical instruments, scrolls, and arabesques in cinque cento style. Although neither name nor date are discernible on this specimen, there is good reason to believe that it is a work of Leonard Limousin, since it corresponds intimately in size, form, colour, design, and execution with an ewer exhibited by Mr. Morland in the loan collection of South Kensington, which bears the initials " L. L," and the date 1537. Catalogue No. 1689. A two-handled Cup, in painted Limoges enamel. In the centre is a kneeling figure of St. Bruno, in the white vest- ments of the Carthusian order, of which he was the founder, holding a crucifix in his hands. The inner rim of the cup is divided into six compartments, decorated with busts and flowers. The outside is ornamented with scrolls in white and gold on a black ground, and on the underside is a landscape. This is probably a work of one of the Laudin family. It was exhibited in the loan collection at South Kensington in 1863. Catalogue No. 1876. 6 4 A GEORGE Jewel of the Order of the Garter, in gold and enamel, formerly worn by the Chevalier de St. George. This interesting Stewart relic was purchased at the sale of Cardinal York's effects in 1 8 1 6, as appears by the following certificate attached to it by a seal: — "Io sottoscritto certifico ed attesto che nell' eredita di Giacomo terzo Re si trovo il qui annesso ordine di St. Giorgio quale lui medesimo uso in sua vita con il medesimo Nastro o sia Fettucia nera con cui lo portava legato, e tuttocio io attesto mediante anche il mio giuramento in causa di vera scienza per essere stato io come Uditore della chiara memoria del Cardinale Duca di York, deputato alia vendita di sua eredita. In fede. Roma questo di io Lug°- 1 8 1 6. (Signed) Vincenzo avocato Lupi." The jewel is suspended from the black ribbon above alluded to ; it is of small size but of exquisite workmanship. It came into the possession of Major General Richard Egerton, of Eaton Banks, and was purchased by me in 1854. It was exhibited at South Kensington in 1864. Cover for a Missal, in gold and filagree or perforated work of leaf scrolls and flowers, filled in with green, white, and blue enamels. It is enriched with thirteen small oval painted enamels on gold, very minutely executed, five on either side and three on the back. On one side there is a representation of the Crucifixion in the centre, and heads of St. Jerome, St. Gregory, St. Ambrose, and St. Augustine, in the four angles ; on the other side the centre subject is the Resurrec- 65 tion, and the corners are occupied by the Four evangelists. Each of these medallions has a beautifully executed landscape on the under or concave surface. On the back of the cover St. Veronica, holding up the sudarium, is in the centre, with our Saviour, bearing the Cross above, and crowned with thorns below. This beautiful object is of Flemish work of the second half of the 17th century. It was exhibited at South Kensington in 1864, Catalogue No. 8182. Height inches. Width i\ inches. PORTRAIT. Miniature bust portrait of a gentleman, in enamel on copper. Oval, if in. by 1^ in. Exhibited in the loan collection of miniatures at South Kensington in 1865, Catalogue No. 619. POTTERY. A Majolica Bowl, 17I inches in diameter by 9 inches in depth. The decorations of this bowl are tasteful in design and bold in execution. It is painted inside and outside in blue and other colours on a strong yellow background. In the centre, inside, is a shield-shaped ornament, supported by two figures holding shields and spears, and surmounted by a mask. Beneath it is a rude representation of a fortified town, and above, the figure of a fawn holding up an oval frame containing, what appears to be, an onyx or some other 66 jewel, suspended between festoons of drapery. The re- mainder of the interior is ornamented with wreaths, masks, grotesques, and trophies. The outer circumference is divided into four compartments : in three of these a mask in blue occupies the centre, with grotesque figures holding swags and pendants of foliage on either side ; in the fourth is a female terminal figure, with a scroll on the plinth of the pedestal. On the bottom of the bowl is a potter's mark resembling a crescent in a circle, in black paint. A work probably of the close of the 16th century of the fabrique of Pesaro or Urbino. It was purchased in Italy by Sir John Grey Egerton in the early part of this century. Exhibited in the Arts Treasures Exhibition in Manchester in 1857. A Majolica Dish, 10 in. in diameter, of shallow tazza form, on a raised foot. The subject represented is Mercury lulling Argus to sleep. Io, cc the beauteous heifer," re- clines in the foreground, " In Io's place appears a lovely cow/' while the hundred-eyed sentinel is falling asleep, charmed by the "tuneful pipe" of Mercury : "While Hermes piped and sung and told his tale The keeper's winking eyes began to fail, And drowsy slumber on the lids to creep Till all the watchman was at length asleep." —Drydcu. Jupiter and Juno are standing on the left, and the back- ground represents the Arcadian valley with its classic streams. 67 A Majolica Dish, of similar form and dimensions. The subject represented on this plate is the myth of Apollo and Marsyas. On the right the two musicians are striving for the mastery, and on the left Apollo is preparing to execute his terrible revenge on his defeated antagonist. A Majolica Dish. The subject is Vulcan forging armour for Achilles. Venus and Cupid are looking on. These three specimens are remarkable for the depth and brilliancy of the colouring. They are evidently by the same hand, and probably about the year 1545 or between that and 1550. They were exhibited at the Arts Treasures Exhibi- tion at Manchester in 1857. A MAJOLICA DlSH, of fluted form. The painting represents the temptation of Adam : — " On my experience, Adam, freely taste, And fear of death deliver to the winds." — Par. Lost, b. 9, /. 988. This plate is in a very different style from the preceding three, and is remarkable for the truth of the drawing and the artistic treatment of the subject. It is probably of a later date, between 1555 and 1560. It was exhibited at the Arts Treasures Exhibition at Manchester in 1857. These four dishes were purchased in Italy by Sir John Grey Egerton ; they were mounted in massive circular frames of carved wood. H 68 ENGLISH PORCELAIN. A Centre-piece, of old Chelsea, 19 inches high, represent- ing Neptune enthroned on a pyramid of shells, corals, and seaweeds, beautifully modelled and coloured from nature. Above the circular plinth are six scallop shells arranged in two tiers for holding confections. This and the three following pieces were exhibited at Manchester in 1 857, on which occasion the figure of Neptune lost the left arm holding the trident. In a bill of Duesbury's, of Sept. 1773, the following entry occurs : — "A trident for Neptune gratis." Three Statuettes. Two negroes and a negress kneeling and holding scallop shells. These form part of the set to which the centre-piece belonged. A Circular Tureen, cover, and stand, of old Chelsea. The entire surface is studded over with small cup-shaped flowers, with a gilt star in the centre of each flower. The cover is surmounted by a bird on a sprig of leaves. Given to me by my mother Rebecca, Lady Grey Egerton. Mark: the Chelsea anchor in gold. Three Oviform Cups, of old Derby Chelsea (one having a cover), ornamented with longitudinal stripes of gold on a white ground, and borders in gold round the lips. On each cup arc two oval medallions, one containing a portrait, the other a landscape. The portraits are those of Philip Egerton, 6 9 Mary his wife, and their eldest son John, afterwards Sir John Grey Egerton. I have found the original bill of Mr. Duesbury for these cups, by which it appears there were four, all with covers. The following is the entry : — " Dec. 15, 1777. To 4 cups & covers, enamel d - with portraits in compartments & striped with gold, £6:6: o." The Chelsea works were removed to Derby in 1770, and yet these productions of 1777 bear the old Chelsea anchor surmounted by a crown in gold, without the " D," which was added at the time of the removal of the works. Two FIGURES, seated, of old Derby, 6^ in. high. A gentle- man holding a book, and a lady knotting. In Duesbury 's bill they are called vol. 27, p. 400-1, and in the Journal of the Archaeological In- stitute ', vol. 3, p. 9, and vol. 5, p. 342. It was exhibited at Manchester in 1857, and in the loan collection at South Kensington in 1864. The gold is valued at £29 5s. A GOLD ARMILLA, of similar workmanship, but of slighter proportions. One end of this had been abstracted, the re- mainder is valued at £1 1 7s. 6d. 77 These rare and interesting specimens of early gold work were found together in digging the foundation for a barn at Hampton, near Egerton Hall, in the parish of Malpas, in the county of Chester, in 1829. The date, 1831, given in the Archotologia, is incorrect. Two PALLSTAVES, of bronze, 6\ inches long. A Spear-head, of bronze, ioJ> inches long. A DOUBLE CHISEL, of bronze, 7f inches long. These were all found at Broxton in the county of Chester. A STATUETTE, in bronze, of a female gracefully draped, 8 inches high, found at Pompeii. A STATUETTE of Minerva, in bronze, 5 inches high, found at Pompeii. This and the preceding statuette were given to my father by Edward Davies Davenport, Esq. A STATUETTE, in bronze, of a male figure, 4 inches high, found at Pestum. A Weight, in bronze, representing the head of a fawn. On the back are the Greek letters A r, probably denoting the value of the weight. A Child's Rattle, in the form of a pig, in terra cotta. From the Basilica. 78 A Statuette of Pomona, in terra cotta, from Pompeii. Presented to my father by Edward Davies Davenport, Esq. A Roman Emperor. Profile head in white marble, 5 inches long, sculptured in alto relievo. Found at Nismes. A Roman Emperor. Profile head in giallo antico, 3 inches long, in alto relievo. Tesselated Pavement, from Spalatio in Dalmatia. Found and presented to me by Admiral F. Cotton. Fragment of egg-and-tongue frieze, from the temple of Vic- tory at Athens. Brought thence by my brother, Lieut. Arthur Egerton, R. N. FRAGMENT of an Ampulla, in oriental alabaster. A Handle and part of the body of an Amphora, dredged up in the river Tiber. An Urn and Cover, 2 feet high, of red Samian ware. Purchased by Sir John Grey Egerton in 1 8 1 9. A Handle of a large vessel, in burnt clay, with a superficial glaze; found in the Potter's Field in Delamere Forest. Pre- sented to me by the Rev. W. Darwin Fox. 79 WEAPONS, &c. A SWORD, with basket hilt of steel, and leathern scabbard. The blade is two-grooved, and has the name "Andrea Ferrara" engraved on both sides. A SWORD, with basket hilt of steel, rather lighter than the preceding. The blade is convex and double-edged. It has the Ferrara wolf engraved on it. A SWORD, with basket hilt of iron. The blade is concave, and bears the Ferrara wolf. A SCOTCH CLAYMORE, with basket hilt of steel. The scab- bards of this and the two preceding entries have been lost. A HIGHLAND DlRK, with knife and fork. This and the claymore formed part of a Highland costume, purchased from John Brown of Glasgow, in 1777, for my grandfather, the bill for which I have found. The claymore cost £2. 2s., the dirk £2. 8s. The whole dress amounted to £ 1 9. 6s. $d. A Sheik Scimetar, picked up on the battle field at Fero- zeshah. The scabbard is not original. Three Sheik Daggers. The handles are of jade; the sheaths are modern. 8o A MALAY KREISE. This is recorded as having been pur- chased from one of the chiefs of the Malays by Major T. H. Clubley. The Sword of the Russian commandant of Balaclava fort, surrendered to my son Philip, then a lieutenant in the Rifle Brigade, Sept. 2, 1854. The hilt, the sling studs, and the scabbard hoops are beautifully decorated in niello work. A Paper Weight, made of a hand grenade, mounted on a pedestal of Crimean limestone. A Paper Weight, made of a group of grape shot, similarly mounted. ORNAMENTAL FURNITURE. ^o^oo A Set of Tapestry, 10 ft. 9 in. high, of Flemish work- manship, representing the four seasons. This is valued in the appraised list of the furniture at Oulton, in 1732, at £100. It formerly decorated the walls of the room now called the drawing room, but formerly known as the tapes- try withdrawing room. A Set of old Japan, of the kind designated indented japan, 10 ft. high. The background is in black lacquer, and the 8i subjects are elaborately painted in brilliant colours and gold. The outlines and some of the details are sculptured, and the depressions thus formed are filled in with the coloured lacquer, a process somewhat allied to the champ levee work of the early enamels. On one side is represented the Emperor seated in his summer palace, with bands of musicians, dancers, and other entertainments going on in the fore- ground. On the other side are the apartments of the Empress, where she is surrounded by her ladies and female attendants. The remainder of the room is taken up with the representation of a forest, with birds, real and ideal, dis- porting themselves among the foliage. The border is made up of panels, containing the celestial dragon and other gro- tesque monsters round the bottom of the room, and groups of flowers and foliage round the top and sides. The whole of this rare and beautiful lacquer was valued in the catalogue of 1732 at £50. It then occupied a room called the Japan withdrawing room, now (I believe) the library. A CABINET, in old Japanese lacquer work, 2 ft. 10 in. high by 2 ft. i\ inches wide, on a stand. It is decorated with figures and other devices in gold lacquer on a black ground, and mounted with ornamental metal hinges and lock plate. The interior is fitted up with drawers of similar workman- ship. This is valued at ^9. 9s. in an inventory of the fur- niture at Oulton, taken on the death of Philip Egerton in 1766. 82 A CABINET, of old lacquer, i ft. 4J in. wide by 1 ft. \\ in. deep, and 9^ in. high. The subjects are painted in gold on a black background, enriched by the introduction of an inlay of mother of pearl. The front falls, with hinges below, shewing the interior fitted up with drawers beautifully de- corated with minute patterns in gold. This was bequeathed to Oulton by Lady Broughton, with the following memo- randum: cc This cabinet is to be sent to Oulton; it belonged to my mother, and was left to her on the death of a very old friend. — Eliza Broughton, January 17, 1851." A Cabinet, 3 ft. 5 in. high by 3 ft. 4 in. wide, on a stand. The panels of the folding doors contain highly finished miniatures of a mandarin, his wife and two children. The frames are carved in ebony, and surrounded by a vine-leaf pattern in gilding. On the sides of the cabinet are groups of flowers in vivid colours. The interior is fitted with a centre recess with a tesselated pavement in ivory and ebony, in the style of Schwanhard, flanked by mirrors and sur- rounded with drawers. The inner panels and the fronts of the drawers are decorated with paintings of gold and silver pheasants, and various other birds and insects, with trees, flowers, and foliage, and bordered by mouldings of ebony and tortoiseshell. This cabinet was purchased in London by Sir John Grey Egerton. A TABLE, in marqueterie, 3 ft. 6 in. long by 2 ft. 3 in. wide, 83 and 2 ft. 7 in. high, with a buhl border of white metal on a black ground. The ornaments are compositions of foliage and flowers, in shades of brown upon a dark ground. This table was purchased from Vache, Rue Jacob, in Paris, in 1825. It originally belonged to Madame de Sevigne. A CABINET Table, in marqueterie, 3 ft. 11 in. long by 2 ft. 4 in. wide, and 2 ft. 7 in. high, mounted in ormolu, with three drawers on either side, one drawer in the middle, and a cupboard in a knee-hole recess. The subjects are vases of flowers, surrounded by foliage and grotesque masks, executed in light coloured woods on a rich dark ground. A few birds and insects are introduced amongst the foliage. A Cabinet Table, in marqueterie, mounted with ormolu, 4 ft. 1 in. long, by 2 ft. 6 in. wide, and 2 ft. 7 in. high. This is of the same form as the preceding table, but the design is varied by the introduction of ivory in the inlay to represent jessamine and other white flowers. These cabinets were purchased at the same place as the table described above. A Table, in marqueterie, mounted with ormolu, 3 ft. 9 in. long by 2 ft. 3 in. wide, and 2 ft. 7 in. high. This table corresponds in design and workmanship with the last men- tioned cabinet, especially in the use of ivory inlay, but differs from it in the more elaborate character of the ormolu K mounting. It was purchased from Brisson, Faubourg St. Antoine, in Paris, in 1825. A Cabinet, in marqueterie, mounted in ormolu, 2 ft. 8 in. long by 1 ft. 6 in wide, and 2 ft. 6 in. high. The inlay is in tulip and other ornamental woods, on a green background, and represents flowers, scrolls, and trophies. The top slides back and discloses an escritoire, work box, and mirror, with drawers and sliding panels contrived with much ingenuity. The interior is of tulip wood, inlaid with bouquets of flowers in various coloured woods. This choice piece of furniture once belonged to the unfortunate Marie Antoinette. It was purchased of Vache in Paris in 1825. It was exhi- bited in the Arts Treasures Exhibition at Manchester in 1857. _ , A small Cabinet, in marqueterie, mounted in ormolu, 2 ft, Rd. Egerton, The Waterloo medal ; \ C.B The Albuera medal (Spanish) / The CafTre medal — Colonel Charles Du Pre Egerton ; The Sutlej medal — Captain John Francis Egerton ; The Baltic medal — Lieut. Frederick Arthur Egerton, R.N. A Silver Trowel, presented to me on the occasion of laying the foundation stone of the Birkenhead docks in 1844. A Medal struck to commemorate the opening of the docks at Birkenhead in 1847. Presented to me by the Com- missioners. A Gold Medal, the Coronation medal of Queen Victoria, in 1838. A Gold Medal, struck to commemorate the Restoration of King Charles the Second in 1660. 95 Exhibition Medal, presented to me by the Commissioners, as a Juryman in Class 34, 1862. A BANKSIAN Medal in gold, awarded by the Horticultural Society. A BANKSIAN Medal in silver, awarded by the Horticultural Society. A Silver Medal, large, awarded by the Horticultural Society. A KNIGHTIAN Medal, in silver, awarded by the Horticul- tural Society. These medals were obtained for exhibitions of fruit in 1837, 1838, 1839, anc * 1840. A Silver Medal awarded by the Royal Botanic Society for an exhibition of fruit in 1863. A Set of medallion heads in Sulphate of Barytes from the Baths of St. Filippo, near Radicofoni. Four BOXES of stained ivory, representing the four suits of cards and containing coloured counters, with French mottoes used in the game of Quadrille ? A Set of Chinese Chopsticks, contained in a tortoiseshell case. 9 6 A BUTTON of chrystal, with a red tassel, being the badge of a Chinese Mandarin's rank. An Armlet made of a pair of boar's tusks, mounted in silver (Indian.) Gold Earrings from a native Indian tribe. A COMB, in hard wood, used by the Koosyah tribe, in North Eastern India. Apparatus for carrying Pawn leaves and Betel nut, in silver. Two Sets of the same, in brass. These were taken by Lieut. Thomas Egerton, of the Indian army, when engaged against the Koosyah tribes in 1829. RED Coral, mounted with a gold handle. A Pebble, from the wells of Mabouk, polished by the drifting sand. Brought from thence and given to me by the Earl of Selkirk. An Onyx, from Kreutznacht, artificially coloured, given to me by Miss Mary Corbett. GUNFLINT, fused and vitrified in the fire at the Tower in 1841. 97 Cinder, resulting from the combustion of bank notes at the Bank of England. Relics of Sir John Franklin's expedition, brought home by Doctor Armstrong of the Enterprise, Captain MacClure, and given to me by the Earl of Enniskillen. A Pipe BOWL, cut out of an agate. Given to me by R. T. C. Fawcett at Christ Church College, Oxford, in 1827. A MOUTHPIECE for a Turkish pipe, composed of amber, and an enamelled agate. Bought at Vienna in 1828. A ClGAR HOLDER, cut out of a piece of semi-opal. A Pipe BOWL, formed of red clay, used by the North Ame- rican Indians. A TOBACCO POUCH, Japanese, made of human skin. CASTINGS in iron, comprising medallions of musical com- posers, a view of Bauman's Hohle, and a visiting card given to me by Herr Preen in 1829. Tiger's Whiskers. The trophies of a royal tiger killed singlehanded and on foot by my brother, John Egerton, of the Bengal Artillery in 1833. SKELETON of boa constrictor, made by my brother, Colonel Caledon Egerton, when serving with his regiment in Trinidad. 9 8 MANUSCRIPTS. A MlSSAL, being a book of hours and offices, with a calendar of the saints, on vellum, with twenty-six illuminated sub- jects, and initial letters and borders elaborately ornamented with flowers, foliage, and grotesque figures. The signs of the zodiac are represented on the margins of the calendar, together with the agricultural occupations characteristic of each month. A work of Flemish art of the 15th century. It is bound in red morocco leather, with ornamental silver clasps. A MlSSAL of smaller size, containing services and offices on vellum. The capital and initial letters only are illumi- nated, the borders being plain. A work of the same period as the preceding. A MlSSAL, containing choral services, on vellum, twent)-two inches long by sixteen inches wide. It contains several gigantic initial letters, richly illuminated, and extending the entire length of the page. The backgrounds are of bur- nished gold or rich colour, and the ornamentation is com- posed of acanthus leaves boldly drawn, and grouped with fruit, flowers, and fantastic fish. Each letter contains a subject, beautifully illuminated, with landscape background. An Italian work of the latter part of the 15th century. It was brought from Italy and given to my father by Edward Davies Davenport, Esq. The binding is formed of parts 99 of a cypress wood " Cassone," of Italian workmanship of, probably, the 16th century. A Leaf of a Pali manuscript on a slice of ivory, o| inches long by 3 inches broad, in Burmese character. A LEAF of a Pali manuscript on a leaf of the talipot palm in the Cingalese character. These eastern manuscripts were given to me by the Hon. Arthur Cole. A SMALL BOOK, 3I inches by 3, containing " A forme of confession grounded upon the antient catholique arid Apos- tolicke faith. Made and composed by the honorable ladie the Lady Bridget Egerton, a.d. 1636." The manuscript is written in a neat small hand, with red border lines to the pages. Lady Egerton was daughter of Arthur Lord Grey, of Wilton, K.G., and wife of Sir Rowland Egerton, the first baronet of that name. She died in 1648. Purchased in 1864. A FOLIO Manuscript, being " A commentarie of the servyces and chargies that my lord my father was employed in whyllst he lyved. For Lav. Holly ngs head " This docu- ment was written by Arthur Lord Grey, of Wilton, K.G., for th^ use of the chronicler. It is printed in the Transac- tions of the Camden Society for 1847. A Letter from Charles the first to Sir Rowland Egerton, Bart., asking for the loan of £2,000. This is printed in the same volume as the above, page 10. M IOO A Letter from George Fleetwood to his father, giving an account of the battle of Lutzen and the death of. Gustavus Adolphus. This is published in the first volume of the Camden Miscellany, in 1847. A Folio, containing an account of travels in Holland, the United Provinces, England, Scotland, and Ireland, by Sir William Brereton, Bart. This interesting manuscript, in ^ . the handwriting of the famous Parliamentary general, was given to me by Mr. Christopher Bentham, of Birkenhead. It was edited by Mr. Hawkins, keeper of the department of antiquities in the British Museum, for the Chetham Society, in 1 843-4, being the first publication by that society. Poems. A small volume of poetry in manuscript, entitled "Miscellanea," and dedicated to Sir Philip Egerton, Kt. The writer's Christian name was James, and his surname commenced with P. It was written about the year 1675. FOLIOS, containing a collection of franks of peers and mem- bers of Parliament. A QUARTO, containing letters on scientific subjects from Sir Humphrey Davy, Doctor Buckland, and other eminent men of science. A Journal of the CafTre War in 1846-8, kept by Lieut.- Col. Charles Du Pre Egerton, of the Rifle Brigade. F I N. I S. IOI ADDITIONS AND CORRECTIONS. Page ii, after line 1 i, insert " By George Mullings." ,, line 26, cancel to " Wilson/' in line 28, and sub- stitute " This picture is entered in the catalogue of the Society ^ of Painters of 1770 as ' A view of the Gothic Temple at (j^V) Marino, the seat of the Right Hon. the Earl of Charlemont, in Ireland, with the story of Diana and Actaeon.' I have a letter from the painter, dated July 27, 1770, alluding to this picture." Page 12, line 13, after " Born" insert " 1763." Page 13, line 17, after " Born" insert " 1794." Page 33, line 4, after " Born" insert "1781." After "Died" insert £C 1829." Page 35, line 12, for " Cheshire" read " Chester." Page 36, below line 9, insert " By Daniel Gardner." And in line 13, cancel from "picture" to " 1864," in line 19, and insert Nos. 2240, 617, 620, 618, 614, 615, 616." Page 53, note f, after " picture," insert " two having been erased from No. 47." Page 54, line 8,/flr " exists," read " was made." ,, note, line 7, omit " Sir." Page 55, cancel line 2, and substitute "Height 2 ft. 9 in. Width 1 ft. 11 in. By Daniel Gardner." Page 86, line "wide" read " high." IQ3 Page 91, line 1 1, add " Cat. No. 2447." „ line 14, ^// (_rtol)