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 of tlje Pictures in tU 
 
 J^opal OLoUection 
 
 at 
 
 ampton ^ourt 
 
 2tn 2tcoount of t^a ^tatx (Koome ; 
 
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 George TBell ano ^on0, gorfe Street, 
 
CHISWICK PRESS -.-C. WHITTINGHAM AND CO., TOOKS COURT, 
 CHAN'CERY LANE. 
 
 i. . '•:tty '^E^iiyi 
 
mtt. 
 
 JhE State Apartments are open to the Public every day in the 
 week, except Fridays, throughout the year ; the hours being from 
 lo in the morning until 6 in the evening, from the ist of April 
 to the 30th of September, both days inclusive ; and from 10 till 4 
 during the winter months. They are closed on Christmas Day. 
 N.B. — They are open on Sundays^ but not till 2 o'clock. 
 Every picture in the Hampton Court collection has two numbers attached 
 to it — one a consecutive number, which is indicated by a label according 
 as the pictures are for the time being arranged; the other a permanent 
 registered number, which is painted on the picture itself, and which 
 corresponds with that in the royal inventory. In the following catalogue 
 the current number is prefixed to the title of the picture, while the registered 
 one comes after it, and is printed in italic numerals enclosed in brackets. 
 
 Umbrellas and sticks have to be given up at the foot of the King's Great 
 Staircase. 
 
 Visitors are required, for the general convenience, to pass from room to 
 room in one direction only. 
 
 The last train back to town on week days is the 10.55, Sundays 
 the 10.15. 
 
 Visitors are earnestly requested to inform the author of any errors they 
 detect in this catalogue, or of any suggestions they have to make. 
 
Han of tf)e State i^looms. 
 
vtfatt. 
 
 HE following Catalogue of the Pictures in the Royal Col- 
 lection at Hampton Court Palace, was originally intended 
 to form part of a complete guide to the whole Palace, with 
 its historical reminiscences, and to all the works of art and 
 objects of interest which it contains. It has been found 
 advisable, however, chiefly on account of the size to which it has grown, 
 to issue the catalogue first, leaving the other part to be published sub- 
 sequently. 
 
 The want of a catalogue, such as that of the National Gallery, and those 
 of most great public collections on the Continent, which should trace the 
 history of the pictures, discriminate between the valuable and worthless, 
 verify their claims to authenticity, and assign them to their real painters, 
 has long been felt by visitors to Hampton Court, and has often been the 
 subject of complaint in the public press. 
 
 This want the author has endeavoured to, in some degree, supply ; and 
 with this object, researches have been made among the old inventories of 
 Henry VHL, Charles L, the Commonwealth, James II., Queen Anne, &c., 
 and in the State Papers and other records, which have resulted in the 
 identification of most of the pictures, and in fixing the time when they 
 
viii 
 
 Preface. 
 
 came into the Royal Collection, and the names of the artists to whom they 
 were originally ascribed. Every picture, also, has been subjected to a 
 careful scrutiny, which has given further aid in their identification, by the 
 frequent finding of Charles I.'s brand, old labels, and other marks, and 
 has often determined the true artists by the discovery of their signatures. 
 
 For the assigning of the pictures to their most probable painters, all the 
 old standard authorities, such as Vasari, Ridolfi, Lanzi, Descamps, Bal- 
 kema, Michiels, Passavant, Waagen, Kugler, Walpole, Mrs. Jameson, and 
 StirHng Maxwell, &c., have been consulted ; but preference has, of course, 
 always been given to the decisions of the critics of the modern and more 
 scientific school — to the admirable treatises on Italian Painting by Messrs. 
 Crowe and Cavalcaselle, and the special works on individual painters by 
 Mr. C. C. Black, Mr. Wornum, Dr. Woltmann, Dr. Meyer, and Mrs. 
 Heaton, &c. Besides this, the author has enjoyed the privilege of using, 
 in the revision of his proof sheets, the Royal Catalogue, specially compiled 
 for Her Majesty the Queen by Mr. Redgrave, R.A., late Surveyor of the 
 Crown Pictures, and has thus been frequently enabled to add further con- 
 firmation to conclusions otherwise arrived at, to correct divers errors, and 
 to give several interesting facts which had escaped his notice. 
 
 The author has also to acknowledge a special obligation to Mrs. 
 Jameson's Handbook to the Public Galleries, a work which — though of 
 much assistance in compiling these pages — has long been useless as a guide 
 to the pictures, on account of the extensive re-arrangements, removals, and 
 additions that have taken place at Hampton Court since it was published 
 in 1842, and which is now to a large extent out of date, on account of the 
 great advances made in recent years in the science of artistic criticism. 
 
 As a result of these researches, it is believed that something like a 
 hundred errors in the current catalogue — some of them touching the most 
 valued works in the gallery-^have been corrected ; and that about twenty 
 historical portraits, which are wrongly named, the misnomers in some 
 cases dating from the time of Charles I., have had their true names 
 suggested ; while some ten others, hitherto unnamed, have been, by the 
 light of the investigations of M. Niel, Mr. Scharf, Mr. Franks, Lord Ronald 
 
Preface. 
 
 Gower, and others, in combination with the testimony of the old records, 
 once more, after the lapse of centuries, acknowledged under their true 
 titles. 
 
 In order to afford a permanent record of the Royal Collection, every 
 picture has been described more or less in detail, according to its value, 
 and the dimensions of upwards of 950 given ; but in doing this it has not 
 been thought necessary, except in the case of interesting works, to attempt 
 the elaborate analyses of every piece so ably performed by Mr. Redgrave 
 in the Royal Catalogue. With a view to illustrate the historical pictures 
 in which Hampton Court is so remarkably rich, especially of the times 
 of the Tudors and Stuarts, biographical notes and extracts from old writers 
 have been added. Occasional notices are also given of the less-known 
 painters, and especially of the several rare, but interesting, minor artists, 
 whose only accessible works in England are to be found in this collection. 
 
 For convenience of reference, two alphabetical indices have been 
 appended to the catalogue : one of the 250 painters whose works form the 
 collection, with their dates, schools, and the numbers of their pictures in 
 the catalogue; the other of the 200 historical portraits. A third index, 
 giving consecutively the inventory numbers painted on each picture, with 
 their corresponding current numbers in this catalogue, will ensure the 
 identification of any picture, in the event of a re-arrangement taking 
 place. 
 
 To assist hurried visitors in their inspection of the 1,000 pictures here, 
 the more important ones are distinguished by prominent type. This, how- 
 ever, is not always to be taken as indicating artistic merit, for attention is 
 thus directed to many pictures which are worthless as works of art, but 
 interesting archaeologically. 
 
 The author wishes to express here his hearty thanks for the ready 
 assistance given him by all the officials connected with the Palace, and for 
 the ample facilities afforded him on every side in his endeavour to render 
 this book accurate and useful to the public. 
 
 In conclusion, he would earnestly request all those who are interested 
 in art or historical antiquities, and to whom truth, even in the smallest 
 
X 
 
 Preface, 
 
 details, is dear, to point out to him any such errors as they detect in this 
 book, so that, with their cooperation, it may some day become not 
 altogether unworthy of the historic gallery of Hampton Court. 
 
Introduction, 
 
 I ^ntptOtt (j^dUtt has always been renowned as one of the 
 chief treasure-houses of art belonging to the English 
 Crown. Even in Wolsey's time, before he surrendered 
 it to Henry VIII., the splendid treasures collected here 
 excited the admiration of the foreigners whom he enter- 
 tained so sumptuously. There were then, it is true, no 
 paintings in the Palace, if we except an "ymage of the 
 crosse paynted on a borde," and one or two altar-pieces 
 in the chapel; but the beautiful stained glass that filled the mulHoned 
 windows, the exquisitely chased plate that loaded the carved oaken tables, 
 the elaborately wrought lamps that hung amidst the delicate tracery of the 
 Tudor roof, glittering with gold leaf, and especially the rich tapestries of 
 silk and gold, the choicest products of the looms of Arras, Brussels, 
 and Bruges, that shone resplendent in every room, are sufficient to testify 
 to the artistic taste of the great Cardinal. 
 
 The scarcity of pictures was due to tapestries being then regarded as the 
 chief decoration of the walls of houses, and to their being valued, doubtless 
 on account of the enormous cost of their production, far above the works 
 even of the greatest masters. Thus it is well known that Raphael's cartoons, 
 after the tapestries had been worked from them, were considered to have 
 served the purpose for which they were executed, and were allowed to 
 remain uncared for, in a lumber room in Flanders, till Charles I. had the 
 
xii 
 
 Introduction. 
 
 good sense to buy them. And this estimate seems to have been maintained 
 even after that time, for during the Commonwealth, though the cartoons were 
 valued only at £^ioo, and many other magnificent pictures on a similar 
 scale, the ten pieces of tapestries of the " Story of Abraham," after the 
 designs of Bernard van Orley, which are now hung in the Great Hall, were 
 estimated to be worth nearly ;^9,ooo. 
 
 By 1531, however, we find that Henry VHI. had collected a few paint- 
 ings in this palace, though evidently of no great value, being mostly deco- 
 rative works by the second-rate Italian artists whom he had fixed at his 
 court. Thus in his library he had five " tables " (that is, pictures on wood) : 
 one, "How Adam dylffed in the grownde;" another, "How Adam was 
 droven owght of Paradice another of the " Buryenge of our Lord," &c., 
 all by Antony Tote, better known as Toto del Nunciato, who received 
 6j-. Zd. for each piece. About the same time Henry, who was emulous of 
 the patronage bestowed on the arts by Francis I., and who had endeavoured 
 to induce Raphael, Primaticcio, and other masters to visit England, was so 
 fortunate as to secure Holbein as his painter. It is not within the scope 
 of these cursory remarks to touch on anything that does not relate directly 
 to the pictures at Hampton Court ; we shall, therefore, not reiterate here 
 the oft-told tale of the great master's coming to England, and of the rela- 
 tions between the King and his painter, but turn at once to the pictures 
 attributed to him in this gallery. 
 
 First among these we should notice a very fine portrait of Henry VIII., 
 which, though, according to the best criticism, not by Holbein, yet is in 
 no degree unworthy of his pencil. It was apparently painted about 1536, 
 when the King was about forty-six, and represents him holding a scroll, 
 with the text from St. Mark, " Go ye into the world and preach the Gospel 
 to every creature," an allusion to the authorization of Coverdale's transla- 
 tion of the Bible. The painter was probably either an Italian or a French- 
 man, perhaps Girolamo da Treviso, and possibly Janet, to whom it is attri- 
 buted in Charles I.'s catalogue. 
 
 Of the remaining twenty pictures or so to which Holbein's name is 
 affixed, not more than six can, on the most Hberal estimate, be regarded as 
 having any claim to being works of his, while this number Dr. Woltmann 
 would reduce even so low as two. Those which are almost univer- 
 sally considered genuine are the portraits of " Lady Vaux " and " John 
 Reskymer," two fine specimens of Holbein's earUer period in England, for 
 which the original drawings are now at Windsor. Next in importance to 
 these are the interesting companion portraits of Erasmus and his printer, 
 Frobenius, which date from the Bale period, though some critics refuse to 
 
Introduction, 
 
 xiii 
 
 acknowledge them as anything better than good old copies. They can 
 unquestionably be traced back to the possession of the first Duke of 
 Buckingham, for whom they were bought at Bale in 1625, and there is 
 good reason for believing that they are the identical ones that Holbein is 
 known to have painted for Erasmus. When they came into Buckingham's 
 possession they were hinged together like a diptych, and in this form they 
 remained, till they got separated by being sold singly by the Common- 
 wealth. The other Erasmus here, attributed to Holbein, is a copy by 
 Cornelius Visscher, after Quentin Matsys. 
 
 Besides these portraits, there is a fine picture of " Mary Magdalen at our 
 Lord's Sepulchre," which, if it be a genuine work of Holbein's, as many 
 good judges believe, is of great interest, from being an almost unique 
 specimen in England of a subject-piece by the great master. A neat little 
 landscape of eight inches diameter, which is also ascribed to him, is more 
 probably by Patinir or H. Bles. 
 
 Of the other pictures attributed to Holbein, the so-called " Will Somers," 
 Henry VIII.'s jester, is not him at all, but is a work of the seventeenth cen- 
 tury, probably by the Spanish painter Labrador, to whom it is assigned in 
 the Commonwealth inventory ; while the so-called " Portrait of Holbein by 
 himself" is a portrait of a Knight of the Golden Fleece, by Hans Baldung, 
 whose signature is inscribed. 
 
 It will be convenient to notice here a small and very interesting picture 
 on panel of a man and his wife, inscribed with their ages and the date 15 12. 
 Within the last hundred years or so these portraits have received the title, 
 " Father and Mother of Holbein, by Holbein," probably without any 
 warrant at all, and certainly without any from tradition ; for when the panel 
 was bought in Germany by Sir Harry Vane and presented to Charles I., 
 neither the names of the persons nor the painter were known. It is recog- 
 nized, however, by all the most competent critics — Waagen, Wornum, and 
 Woltmann — as, if not a work of the elder Holbein, at any rate a good 
 specimen of the early Swabian school. 
 
 In reviewing the more striking pictures of the reign of Henry VIII. at 
 Hampton Court, we should not neglect to mention those curious historical 
 subjects, such as " The Meeting of Henry VIII. and the Emperor Maxi- 
 milian," *'The Battle of the Spurs/' and "The Field of the Cloth of Gold." 
 They do not, certainly, exhibit any very high degree of art, and their 
 attribution to Holbein is an error too evident to require refutation, but the 
 cleverness with which they portray the events, and the insight which they 
 give us into the costumes and manners of those days, render them espe- 
 cially interesting to antiquarians ; while their pervading spirit of vigorous 
 
xiv 
 
 Introduction, 
 
 action, impulsive generosity, and proud patriotism, invest them with an 
 enduring charm for all those who contrast with regret that age of chivalry 
 and pageantry, with the succeeding period of atrabilious Puritanism, which 
 stamped out so much of the joyousness and heartiness, so much of the 
 poetic grace and beauty of old EngUsh Ufe. 
 
 When Henry VIII. died, an elaborate inventory was compiled of all his 
 goods, including his works of art in all the royal palaces. The book, which 
 consists of two large folio volumes, is now in the British Museum, and in 
 it we find a Hst of some twenty pictures placed at Hampton Court. Of 
 these we can identify one or two as still remaining here, thus : — " A table 
 containing a woman embracing a man, she having a dagger in her hand," 
 is probably the " Lucretia and Tarquin," No. 235 in the following catalogue, 
 attributed to Paris Bordone ; the " Table of the passhon of Criste, having 
 two leevys, for an awter," i.e. an altar triptych, is perhaps the one ascribed 
 to Lucas van Leyden, No. 106, one of the finest specimens of the early 
 Netherlandish schools in the Palace ; and the " Table of the Busshopp of 
 Rome, and the four Evangelists casting stones upon him," is doubtless No. 
 787, with which it exactly corresponds in description. 
 
 But by far the greater number and the most valuable were collected at 
 Whitehall, where there were nearly 200 pieces of various sorts. For the 
 full list of them, those interested in the subject may refer to Mr. 
 Wornum's Holbein, and Mr. Scharf 's article on the Royal Galleries in Old 
 London ; but among them several should be noticed here as being among 
 the most interesting pictures hanging on the walls of Hampton Court 
 Palace. For instance, the " Table of Adam and Eve " is doubtless the very 
 fine work of Mabuse now in the Prince of Wales' Presence Chamber, and 
 described in Charles I.'s catalogue as an old Whitehall piece. By the same 
 master, also, we have a curious picture of three children, which, misnamed 
 by Vertue in his printed edition of Charles's catalogue as the children of 
 Henry VII., has been shown by Mr. Scharf to be identical with the " Thre 
 childrene of the Kinge of Denmarke " in Henry's inventory. While, like- 
 wise of the Flemish school, but considerably earlier in point of time, is the 
 little Table with the picture of the lady Margaret the Duches of Savoy e," 
 Charles V.'s aunt, which is still to be seen here on a screen opposite. We may 
 notice also here an old Flemish portrait ascribed to Van Eyck, but no doubt 
 really of the school of Memling. 
 
 Of the portraits of contemporary sovereigns, of which Henry VIII. had a 
 pretty complete set, more are preserved at Windsor Castle than at Hampton 
 Court ; but there was A table of the Frenche Kynge, having a doublet of 
 
Introduction, 
 
 XV 
 
 crymeson coloure and a gowne garnyshed with knottes made like peerls," 
 which we may perhaps recognize in the Httle half-length on panel of 
 Francis I., No. 598 in this catalogue; while "The table of the Frenche 
 Kynge, the Quene his wiife and the foole standinge behynde him," is evi- 
 dently identical with the curious picture which for at least 250 years has 
 lain under the erroneous designation of " Francis I. and his mistress." 
 
 The short reign of Edward VL, which was in every way unfavourable to 
 the production of works of art, is not represented at Hampton Court by a 
 single picture — unless, indeed, we except the famous group of the " Family 
 of Henry VIII.," in which the young Edward figures by his father's side, a 
 picture which was probably not painted till this reign, and which is evi- 
 dently a made-up piece. In recent times it has been ascribed to Holbein, 
 though this was not the case in olden days, and there are cogent reasons 
 for believing that it cannot be by him ; for, artistic criticism apart, the 
 inexorable logic of dates shows almost conclusively that Holbein, who, as 
 we now know, died in 1543, could not have drawn Edward VI. at the age 
 he is here represented. But it is nevertheless a good picture, and deservedly 
 regarded as one of the chief treasures of the Palace. Perhaps the artist was 
 Guillim Stretes, to whom also the portrait of the Earl of Surrey may be with 
 much probabiHty assigned. 
 
 The accession of Mary Tudor to the throne was an event as little 
 auspicious for the arts as had been that of her brother. The record of 
 additions made to the Royal Collection in her reign is almost a blank ; and 
 at Hampton Court we can scarcely point to a single picture of interest 
 belonging to this period. We have, however, a small half-length portrait of 
 her husband, Philip II., which is noteworthy as having been painted about 
 the time of their marriage, and as perhaps being the identical one that he 
 sent to her when they were engaged. It is a good picture, and is attributed 
 to Sir Antonio More, whom Philip brought with him to England, and to 
 whom he extended a liberal patronage. 
 
 Queen Elizabeth was far too practical a woman to have set any particular 
 value on works of mere artistic genius, and far too parsimonious to have 
 lavished any considerable sums on art or artists, even if she had possessed 
 the taste for them. She was careful, however, to secure the services of 
 several good portrait-painters, who had endless employment in representing 
 the bejewelled Queen in every variety of fantastic attire, and accompanied 
 with every flattering allegorical emblem. At the beginning of her reign, we 
 find that her subjects, in their loyal eagerness to get likenesses of her, 
 multiplied some that did not give her Majesty satisfaction, so that an order 
 
xvi Introduction. 
 
 was issued by the Privy Council that no one should presume to portray her 
 features except " a certain special cunning painter." By this was meant 
 either Lucas da Heere or Zucchero. But previous to that, in 1563, Da 
 Heere had painted the curious picture in which the goddesses Venus, 
 Pallas, and Juno, are fleeing before the dazzling beauty, wisdom, and 
 majesty of the Virgin Queen. Her age was then thirty-six ; and it supplies 
 us with one of the most pleasing portraits of her extant. She is stepping 
 from the throne-room, looking every inch a queen, with the diadem of 
 England on her brow, and her sceptre in one hand and the orb of 
 empire in the other. Her magnificent dress, too, though overlaid with 
 pearls and other jewels is in far better taste than was the case m later years. 
 
 Another fanciful picture of her here, of a somewhat later date, is the one 
 in which she is represented in a forest, in a fantastic robe, with her hands 
 on a stag, while on the trees are inscribed several enigmatical mottoes, and 
 by her side is a tablet with some quaint verses. We have also two half- 
 lencrth portraits of her in the gigantic ruff and extravagant headdress, both 
 covered with jewels, which she wore in the latter part of her reign. One 
 of these is the latest known portrait of her, and represents her in her old 
 age when, as Hentzer tells us, " her face was oblong, fair, but wrinkled ; 
 her' eyes small, yet black and pleasant ; her nose a little hooked, her hps 
 thin, and her teeth black." . . 
 
 At Hampton Court are preserved also some not very interesting portraits 
 of the statesmen of her reign, of Walsingham, Leicester, Sir Nicholas Bacon, 
 and Charles Howard, Earl of Nottingham, the hero of the Armada. ^ 
 
 As belonging to this reign we ought perhaps not to omit to mention the 
 portrait of Cornelius Ketel, by himself— a rare painter, who was in England 
 for a few years, and who, when he returned to Flanders, took to painting 
 with his fingers and feet ; and the portrait of Lazarus Spinola, by Key, 
 which is interesting as being by an artist of whom it is generally supposed 
 that no specimen exists in any public gallery. . . , • „ • 
 
 It will be appropriate also to notice here the two portraits in this collection 
 of Elizabeth's rival, Mary Queen of Scots ; one of no great value, being only 
 a copy or adaptation made from an older picture for Charles I., but the 
 other, of the very highest interest, being a work of Frangois Clouet (Janet), 
 and a favourite picture of Charles L, who kept it among his choicest 
 treasures in the Cabinet Room. It was painted when the beautiful queen 
 was in mourning for Francis II., in her "grand deiiil blanc, avec lequel il 
 la faisait trbs beau voir, car la blancheur de son visage contendoit avec la 
 blancheur de son voile k qui I'emporteroit;" the pallor of her face to which 
 Brantome here makes allusion, being particularly strikmg. The history 
 
Introduction. 
 
 xvii 
 
 of this little picture is to be traced in the old records, and its authenticity 
 is further confirmed by the existence of the original drawing in the Biblio- 
 theque Sainte Genevieve. Close to her hangs the picture of her youthful 
 husband, when dauphin, which is one of the finest works of Francois Clouet 
 extant ; and it is interesting to see them here close to each other as they 
 hung in Ronsard's Chamber, when, after the untimely death of Francis, 
 the gentle and disconsolate Queen left the sunny clime and the chivalrous 
 court of France for, the inhospitable shore and the sour Calvinism of her 
 own unsympathetic subjects. 
 
 With the accession of the House of Stuart to the throne of England, a 
 new and splendid prospect dawned for the fine arts. Not that we can 
 credit James I. with being much of a collector or a connoisseur, but it was 
 in his reign, and at his court, that that taste for artistic treasures, and that 
 enthusiasm for the beautiful, which the Italians happily designate as the 
 " virtue " par excellence^ first showed decided symptoms of arising in this 
 country. 
 
 The first to set the fashion was Thomas Howard, Earl of Arundel, " the 
 father of vertu in England " as he has been called, who sent his agents all 
 over Greece and Italy, to collect the paintings and sculptures with which he 
 stocked the famous gallery of Arundel House. Prince Henry followed his 
 example, and his small but choice cabinet, several pictures from which are 
 still to be found here, with his cypher behind them, formed the nucleus of 
 his brother's great collection. The magnificent Buckingham also directed 
 his versatile talents to cultivating the prevailing taste, and outdid all the 
 rest by purchasing, for the then very considerable sum of 0,000, 
 Rubens' gallery, which included, besides many of his own works, nearly a 
 hundred masterpieces of Italian art. 
 
 But there were PhiHstines even in those days, to whom the arts were, if 
 not abominations of Satan, at any rate "useless" trivialities. Gerbier, in a 
 letter to the duke, observes of them : — " Let enemies and people ignorant 
 of paintings say what they will, they cannot deny that pictures are noble 
 ornaments, a delightful amusement, and histories that one may read without 
 fatigue. I wish I could only live a century, if they were sold, to be able 
 to laugh at those facetious folk who say it is money cast away for baubles 
 and shadows : I know they will be pictures still, when those ignorants will 
 be less than shadows." 
 
 Meanwhile King James confined himself to patronizing a few portrait- 
 painters such as Vansomer, Mytens, and Jansen, who are well represented 
 at Hampton Court. By Vansomer there are two portraits of the King, 
 
 b 
 
xviii 
 
 Introduction. 
 
 one in a black dress, with his suit of armour discarded on the ground, the 
 other in his state robes with the Banqueting House at Whitehall in the 
 background ; and two also of his queen, Anne of Denmark, in one of 
 which she appears in her fantastical hunting costume — a green cut-velvet 
 skirt, trimmed with red bows, a large lace collar, and a sugar-loaf hat of 
 grey felt with a big red feather, placed on the top of a headdress of frizzled 
 yellow hair. By Mytens there are a great many pictures here, among 
 which the visitor should notice the fine half-length of himself, which 
 Charles I. placed in his own breakfast room at Whitehall, and which in 
 recent years has been erroneously ascribed to Vander Heist; also the 
 admirable portraits of the Marquis of Hamilton and the Duke of Rich- 
 mond, James I.'s favourites; that of the heroic Count Mansfeldt, whose 
 depredations in the Thirty Years' War were the terror of the CathoHcs ; and 
 that of the chivalrous Christian of Brunswick, the champion of Elizabeth 
 Stuart, in whose cause he lost his left arm. By Jansen we have a fine half- 
 length of the Duke of Buckingham; and, perhaps, the full-length of the 
 Queen of Bohemia, No. 765, may be also ascribed to him. 
 
 Charles I.'s romantic journey to Spain, barren as it was in a political 
 point of view, had at any rate this one good result, that it confirmed and 
 improved his artistic taste ; and it was while Philip IV. was showing him 
 over the splendid galleries of the Alcazar and the Escurial, resplendent 
 with some of the most glorious works of genius that the world has ever 
 beheld, that he first became imbued with the noble design of forming a 
 collection which should be worthy of his historic kingdom. He soon 
 had an opportunity of putting his project into execution, for while he was 
 at Madrid the gallery of a Spanish grandee was sold by auction, and Charles 
 made several purchases ; and though he did not return to England with 
 the wife whom he had gone in quest of, he brought back instead, as pre- 
 sents from the Spanish king, several magnificent pictures, among which 
 was Titian's famous " Venus del Pardo," now in the Louvre, and doubtless 
 also the portrait of Philip III. by Pantoja de la Cruz, now in the Prince of 
 Wales' Drawing Room. The portraits of Philip IV. and his Queen, by 
 Velasquez, also in the Hampton Court gallery, were sent to him at a later 
 period. In commemoration of his trip to Spain, Charles ordered Parcelles 
 to paint the large picture of the Enghsh fleet leaving St. Andero's harbour, 
 which hangs in the Queen's Presence Chamber. It is an interesting and 
 well painted sea-piece, representing the ships just under way, the "Prince," 
 on board of which were Charles and Buckingham, in the van, with all their 
 sails beUied by the breeze, and their streamers flying. 
 
Introduction. 
 
 xix 
 
 Soon after Charles's return from Spain, his accession to the throne gave 
 him full scope for indulging in his artistic predilections. ^* We have never 
 had a Prince in England," it has been truly observed, "whose genius and 
 taste were more elevated and exact. He saw the arts in a very enlarged 
 point of view. The amusements of his court were a model of elegance to 
 all Europe; and his cabinets were the receptacles only of what was 
 exquisite in sculpture and painting." His taste being once known, every 
 one who wished to please him knew they could not do so more effectively 
 than by offering him precious works of art. In this manner the royal 
 collection received many valuable additions from ambassadors and others 
 travelling abroad, and from foreign states; while the liberality and con- 
 sideration with which he treated artists made them eager to place their 
 services at his disposal. As Walpole says, Charles loved, understood, 
 and patronized the arts. Not having the fortune to find genius in painting 
 among his own subjects, he called over some of the ablest masters of other 
 nations — a commendable partiality to foreigners, as it tended to enrich and 
 instruct his own country." 
 
 Of these, of course, the names of Rubens and Vandyck first suggest 
 themselves. But Hampton Court is, alas! almost destitute in works of 
 their pencils, the only picture by Rubens in the collection being a " Diana 
 and her Nymphs reposing after the chase," in which Snyders painted the 
 animals and still-life. It was originally painted for the Duke of Bucking- 
 ham, and passed to the royal collection after his death. By Vandyck we 
 have a portrait of his mistress, Mrs. Lemon, who lived with him at his 
 house at Blackfriars, where the King, his courtiers, and the wits of the town, 
 among them especially Mr. Endymion Porter — the man of fashion, and 
 connoisseur and patron of art and literature, who was the particular aver- 
 sion of the canting faction, — came down in their barges to converse with the 
 great artist and taste of his prodigal hospitality. There are also by him a 
 few sketches for portraits and an unfinished picture of "Cupid and Psyche," 
 said to be the last he was engaged on. The large equestrian portrait 
 of Charles I., of which there is a duplicate at Windsor, is certainly from his 
 studio, but whether entirely by him, or partly by his pupils, is disputed. 
 
 The minor artists who enjoyed the King's patronage were very numerous. 
 Among those whose works still remain at Hampton Court, we should notice 
 particularly Gerard Honthorst, who spent a few months in England by 
 Charles's particular request. His picture of Buckingham and his family. 
 No. 58 in the catalogue, painted just before the duke's assassination by 
 Felton, and that of Elizabeth Stuart, the "Queen of Hearts," whose 
 favourite painter he was, are among his best efforts, if they are not his 
 
XX 
 
 Introduction, 
 
 masterpieces, in portraiture. The enormous canvas, representing "The 
 King and Queen of Bohemia in the clouds, with the Duke of Buckingham 
 coming to present to the King the seven liberal sciences under the persons 
 of their children," which covers the whole of one side of the Queen's Great 
 Staircase, is not so successful. Of those effects of candlelight for which 
 he was chiefly celebrated abroad, and which earned him the appellation of 
 "Gerardo dalle Notti," there are two fair specimens in the Prince of 
 Wales' Presence Chamber. 
 
 Horatio Gentileschi was another foreign painter who came to England 
 in this reign ; and the favour he received from Charles may serve as an 
 instance of the patronage extended to artists by that munificent monarch. 
 He not only gave him a pension of ;£"ioo a year (equivalent to ;^i,ooo 
 now-a-days), and a present of £^00 for the expenses of his journey, but 
 furnished him a house ''from top to toe" at a cost of over ^4,000, and 
 paid him large sums for his paintings besides. His "Joseph and Potiphar's 
 Wife " was one of the pictures he painted for the King. His daughter 
 Artemisia, who excelled him in portraits, was treated with equal con- 
 sideration. The visitor will not fail to observe the spirited portrait of her- 
 self at her easel, painted for Charles I. 
 
 It will be unnecessary to notice in detail all the other foreign artists who 
 enjoyed the royal patronage. We may instance, however, some eight pieces 
 by Poelemberg, " the sweet painter of little landscapes and figures," and one 
 in particular of the children of the King and Queen of Bohemia, " as if 
 they came from hunting," painted at Rhenan, their hunting-box near the 
 Hague; five or six architectural interiors by St^enwyck; two little land- 
 scapes by Wouters; several copies and adaptations by Van Belchamp; 
 and the curious picture of Charles and his queen Henrietta Maria, andj 
 their little son Prince Charles, and the similar one of his sister Elizabeth f 
 dining in public, by Van Bassen, as pictures not to be passed over in a 
 survey of the royal gallery at Hampton Court. 
 
 But Charles, while thus generous to alien artists, was never backward in 
 recognizing native talent when forthcoming. William Dobson, the excellent 
 imitator and protege of Vandyck, who with characteristic generosity recom-, 
 mended him to the King, and whom he succeeded in the office of serjeant- i 
 painter to his majesty, had an ample patronage extended to him. His 
 portrait with his wife's, by his own hand, is over the door in the Public 
 Dining Room. Another of King Charles's English painters was Francis; 
 Barlow, whose signature may be found on two pieces of birds and fishi 
 hitherto ascribed to Bogdane. And Peter Oliver, the miniature-painter, is 
 a third native artist who is also represented here, not indeed by any ol 
 
Introduction, 
 
 xxl 
 
 his own exquisite miniatures, but in an admirable portrait of him by 
 Hanneman, another of the King's painters, and an imitator of Vandyck. 
 
 Of the painters who flourished abroad during Charles's reign, but whom 
 he did not succeed in attracting to England, there are in this collection 
 some interesting specimens, of which a few are noteworthy on account of 
 their rarity in England. Thus of Labrador, the Spanish painter of still-life, 
 we have two or three pieces, though they have been heretofore incorrectly 
 assigned to other painters ; of the Jesuit Seghers there are two flower-pieces 
 of great merit ; of " Velvet " Breughel and of Paul Brill, several delicate 
 little landscapes ; of De Heem, some good still-life pieces ; of Roelandt 
 Savery, two characteristic little landscapes; of Mirevelt, among others, a 
 charming portrait of "Prince Rupert as a boy and of Snyders, a vigorous 
 ^'Hunt of the Wild Boar," "Dead Game and Fruit," "Dogs on the 
 Scent," &c. 
 
 It was not only, however, by favouring contemporary painters that King 
 Charles showed his love for the fine arts : he was bent above all on gathering 
 together a series of the works of the great Italian masters, which, besides 
 shedding a lustre on his reign, should serve to direct the style and refine the 
 taste of the artistic spirit, then nascent among the denizens of his beclouded 
 kingdom. With this object, he not only made several minor purchases, but 
 became at one bold stroke the proud possessor of one of the finest collec- 
 tions of paintings in the wofld. This was the acquisition, in 1628, of the 
 magnificent gallery of the Dukes of Mantua. The history of that transaction 
 is now so well known, by the publication, in Sainsbury's Original Papers, of 
 the letters of Daniel Nys, the King's agent in Italy, who negotiated the pur- 
 chase, that a brief reference to it will suffice. Nys, it seems, first suggested the 
 sale to the Duke, who was involved in war and in want of money; and knowing 
 that he could count on the King's regarding the contract with no niggardly 
 commercial eye, made such an ofler that the Duke at once closed with it. 
 The exact amount agreed on has not been ascertained, but we may gather 
 from Nys's letters that it cannot have been much less than ;^8o,ooo — the 
 enormous (considering the relative value of money), but still inadequate 
 sum, usually stated to have been paid. In this estimate we should probably 
 include Mantegna's "Triumph" and the marbles, which formed the subject of 
 a separate purchase afterwards for £,^0,^00. (See page 256, where a detailed 
 account of that acquisition is given.) Great was the astonishment and in- 
 dignation of all the Princes of Europe, when they heard of what had been 
 done, and how the invaluable treasures, which might have been theirs, were 
 being shipped to England. And so clamorous did the people of Mantua 
 become, that the young Duke Vincenzio, who had in the meanwhile sue- 
 
XXll 
 
 Introduction. 
 
 ceeded to the ducal throne, would gladly have bought them back again at 
 any price. 
 
 To refer in detail to what were the contents of that celebrated gallery 
 would be foreign to the scope of these remarks ; but this will be a conve- 
 nient place to give a brief survey of the Italian pictures at Hampton Court, 
 which were nearly all Mantua pieces, and which are the few that were saved 
 from the depredations of the Roundheads. First among these, the pictures 
 of the Venetian school, in which this collection is particularly rich, claim 
 our attention. The series appropriately begins with the "Supposed Portrait 
 of Giovanni Bellini," which if not by himself, as is sometimes doubted, is at 
 any rate a fine and interesting specimen of one of his immediate followers. 
 Giorgione's name is one which frequently occurs on the labels at Hampton 
 Court ; two being entitled, "Portrait of Giorgione, by himself," of which one 
 can be identified as the same "dark painted man's head in a black cap, done 
 by Giorgione, said to be his own picture "in Charles I.'s catalogue, though con- 
 sidered by the most trustworthy connoisseurs as scarcely equal to his powers. 
 The same may be said of the "Shepherd with a pipe," and the "Venetian 
 Gentleman," No. 158. While referring to Giorgione, we should note a 
 charming "Shepherds' offering," sometimes said to be by him, but possibly by 
 his imitator Cariani. Another exceedingly fine work, the portrait of a man 
 with long black beard and hair, No. 114, though formerly attributed to Gior- 
 gione, and engraved long ago as a Titian, is presumably by Lorenzo Lotto. 
 By that great master, at any rate, is the magnificent portrait of Andrea Odoni, 
 for full two centuries believed to be Baccio Bandinelli, by Correggio. Dr. 
 Waagen was the first to throw doubts both on the painter and the person 
 represented, and his opinion, after being endorsed by Messrs. Crowe and 
 Cavalcaselle, was proved to demonstration to be correct, a few years ago, by 
 the discovery of the signature, "Laurentius Lotus. 1527." 
 
 In the same room are three very fine portraits by Titian : one called, but 
 quite gratuitously, " Titian's Uncle ; " another of a man in armour with his 
 page, equally without warrant dubbed " The Marquis del Quasto ; " and the 
 third of a man with his fingers between the leaves of a book, known about 
 fifty years ago as " Aretine," engraved two hundred and thirty years ago as 
 " Boccaccio," and now called, but probably erroneously, " Alessandro de' 
 Medici." — The portrait. No. 113, absurdly called "St. Ignatius Loyola," 
 also attributed to Titian, is doubtless by Tintoretto, to whom it was unhesi- 
 tatingly assigned by Waagen — a judgment curiously confirmed by Charles : 
 I.'s catalogue. Next to that hangs the beautiful " Holy Family with Tobit f 
 and the Angel," which can be identified as the Titian mentioned by Ridolfi % 
 as being, when he wrote, in the possession of Van Reynst. The small full- | 
 
Introduction. 
 
 xxiii 
 
 length figure of Lucretia, No. 75, though it is placed too high for a good 
 view, should not be passed over. Of the remaining ten pictures or so that 
 bear Titian's name, a few are noticeable as good works of his followers. 
 
 Hampton Court also possesses some fair specimens of other Venetian 
 painters of this period : such as the two large pieces by Bonifazio, " The 
 Woman of Samaria," and " The Shepherds' Offering," which, though they 
 had been assigned to Palma Vecchio, since James II. 's time, have recently 
 been restored to the painter, whose name they originally bore. By 
 Palma himself we have an exquisite Httle " Holy Family " with St. Catherine 
 and St John presenting a lamb. No. 115, in the King's Audience 
 Chamber, which had likewise been misappropriated during the last two 
 hundred years to another painter, Titian; though in Charles's catalogue 
 it is found under the name of the earlier master, to whom modern criticism 
 emphatically assigns it. Another " Holy Family " bearing his name, a 
 replica of one at Madrid, is not so deserving of praise. To that scarce, 
 and valuable master, Pordenone, three admirable portraits are ascribed, 
 "A man with a red girdle," "A Knight," and a "Venetian Senator," of 
 which the first two are almost universally held to be genuine, and the third 
 usually so. The two interesting groups, one of " A Lady playing on the 
 Virginals," and the other the so-called " Family of Pordenone," though for 
 upwards of two hundred and fifty years ascribed to him, are now believed 
 to be works of his kinsman and imitator, Bernardino Licinio. 
 
 The Veneto-Brescian school is represented by two characteristic works 
 of Savoldo, until lately catalogued under Giorgione's name : one a warrior 
 in armour, sometimes called " Gaston de Foix," of which there is a replica 
 in the Louvre; and the other, hanging close to it, a " Holy Family," signed 
 and dated by the artist, of which there is a counterpart in the Turin 
 Museum. 
 
 Besides these, there are several pictures by Schiavone, which need not be 
 particularized, and a fine " Portrait of an Italian lawyer," by Paris Bordone. 
 While by the later Venetian masters, this gallery can boast of — besides 
 minor works^two splendid masterpieces of Tintoretto, the "Nine Muses in 
 Olympus," and " Esther before Ahasuerus ; " and an excellent portrait of 
 " A Knight of Malta," by the same hand. Specimens of Paul Veronese are 
 few and uninteresting. Pictures by the Bassanos of course abound here, as 
 in every collection. We may select for observation, from upwards of twenty 
 others, the portrait of Giacopo, by himself, that of " A Sculptor," signed by 
 Leandro, and The Deluge," " The Glorification of a Saint," and " Christ 
 in the House of the Pharisee," probably by Giacopo, the father. Another 
 picture. No. 163, hitherto ascribed to Palma, is beHeved to be also by him, 
 
XXIV 
 
 Introduction, 
 
 and is especially interesting as a very fine example of his earlier style. 
 Coming later still, we have several very large scriptural subjects by 
 Sebastian Ricci, which are his best works, and show how successful were 
 his imitations of Paul Veronese. 
 
 The other ItaHan schools are, in comparison, represented but slightly at 
 Hampton Court. Of the school of Lionardo da Vinci are the " Infant 
 Jesus and St. John," and Flora " in William III.'s Presence Chamber ; 
 while to Luini are assigned, with much probability, the very pleasing " St. 
 Catherine," No. 259, and the "Salome with the Head of John the Baptist," 
 No. 241. 
 
 Whether the "Venus and Cupid," No. 300, in Queen Anne's Bedroom, is the 
 original executed by Pontormo, after the design furnished him by Michael 
 Angelo, is disputed ; though it was authenticated, and bought as such by 
 Queen Caroline, for;^i,ooo. And whether the name of Andrea del Sarto can 
 be correctly assigned to the fine " Portrait of a Lady," No. 70, and to the 
 " Holy Family," No. 282, is equally doubtful. The genuineness of the 
 charming "St. Catherine," No. 281, attributed to Correggio, is likev/ise 
 suspected. But the two fine portraits of ladies, Nos. 174 and 306, are 
 probably authentic works of Parmigiano. By Francia we have the beautiful 
 
 St. John Baptizing Christ," which is one of his finest works in England. 
 It is curious to observe that this picture was discovered about forty years 
 ago in the Palace lumber-room, where it perhaps had remained unrevealed 
 since it came into Charles I.'s possession ; at any rate, there is no record of 
 it during the intervening period. 
 
 The name of Raphael, which had been so long connected with Hampton 
 Court, no longer occurs in the catalogue : if we except the " Supposed 
 Portrait of Raphael " which some critics believe to be a genuine portrait 
 of him, by himself; others of him, but nothy himself; others not of him, but 
 by him ; others neither ^him, nor by him. But of his pupil, Giulio Romano, 
 there are several works, among which are a copy after Raphael's " Madonna 
 della Querela ; " several mythological pieces, with unequal claims to authen- 
 ticity ; the " Burning of Rome by Nero," the cartoon for which is in the 
 Louvre ; and a " Fortune," and a " Mermaid with her young." They must 
 have been executed at Mantua, whence, about eighty years after his death, 
 they came into King Charles's possession, with the tradition of being his 
 authentic works. Of that valuable Ferrarese master, Dosso Dossi, two 
 specimens will be found in the Second Presence Chamber, an injured, but 
 admirable, half-length portrait of a man ; and a " Holy Family." 
 
 Such are a few specimens, whence an inadequate idea may be formed of 
 that splendid collection of masterpieces, which shone on the walls of King 
 
Introduction. 
 
 XXV 
 
 Charles's palaces at Whitehall, St James's, Somerset House, Greenwich, 
 Nonsuch, Wimbledon, Oatlands, and Hampton Court. 
 
 Scarcely, however, had they been arranged and catalogued, when the 
 head of the royal virtuoso rolled on the scaffold at Whitehall. 
 
 Having thus got rid of the monarchy, the Roundheads next set to work 
 to dispose of the royal treasures. An inventory was accordingly made 
 by order of the Parliament, with the appraisement of every possession of 
 the murdered Sovereign ; not only the matchless paintings and sculptures, 
 the costly tapestries and superb jewels, but even the furniture, the curtains 
 from the windows, and the coverlets off the beds were to be included in the 
 sale. Everything that had belonged to the late Charles Stuart, or recalled 
 the splendours of his Court ; everything that bore the impress of art, or be- 
 tokened the influence of refinement, was to be brought to the hammer to 
 gratify the spite of the coarse and sour fanatics. To them the paintings of 
 Raphael and Titian, the marbles of the antique world, and the tapestries of 
 Flanders ; the glorious gothic cathedrals, the baronial castles, and Tudor 
 manor-houses were but works of worldly luxury and superstitious profane- 
 ness. And being totally destitute of that philosophic tolerance, which 
 enables people to admire sesthetically what is repugnant to their religious 
 and moral prejudices, they hastened to sweep it all away. 
 
 Besides selling Charles's gallery, they gave orders that Hampton Court 
 should be pulled down, and the ground sold in lots by auction ; and we 
 hear of a man being hired at half-a-crown a day to break the painted glass 
 in church windows ! Similar zeal was displayed here, for we find a news- 
 paper of the time recording, with evident glee, how "the superstitious images 
 that were in the glass windows in the chapel " of this palace '* were de- 
 molished according to the ordinance of Parliament, and order given for 
 the new glazing them with plain glass," — an order which, in spite of High 
 Church revivals, remains scrupulously obeyed to this day. Another order, 
 of a like nature, that " all such pictures as have the representation of the 
 Second Person of the Trinity, or of the Virgin Mary upon them shall be 
 burnt " was afterwards cancelled, in order that they might be sold to 
 Popish Sovereigns — the cupidity that invariably attends upon hypocrisy, 
 thus interposing to save to the world some of the noblest creations of 
 human genius. 
 
 The sale lasted on and off from 1648 to 1653, the pictures realizing alto- 
 gether ;^38,ooo, those at Hampton Court, which were 382 in number, 
 going for ;£4,675 i6^. Among these last are to be reckoned Mantegna's 
 "Triumph of Julius C^sar," which, though valued at ;^i,ooo, was saved 
 
XXVI 
 
 Introduction. 
 
 by the interposition of Cromwell. Several minor pieces also, though nomi- 
 nally sold to officers and servants of the household, to defray their wages, 
 never left the walls of the palace, and have remained here ever since. 
 
 Thus was dispersed a collection which was perhaps the finest in the 
 world. The chief purchasers were the Sovereigns of Europe; and the 
 English tourist may now behold its spoils scattered through the galleries of 
 the Louvre, of the Belvedere, of Dresden, and Madrid. A few pictures 
 afterwards made their way back to the Royal collection, and several have, 
 after many vicissitudes, found a permanent resting-place in the National Gal- 
 lery ; but the great bulk of those masterpieces left these shores never to return. 
 
 While such were the dispositions of those in power, it is not surprising 
 that an artist should hardly dare to show his head. But as the disorders 
 of the civil war became composed, and the Protector gathered round him 
 something like a Court, a few portrait-painters found employment among 
 the Parliamentary leaders, who, though they abominated art in general, 
 were not free from the vanity of wishing to see themselves on canvas. 
 Chief among these painters was Robert Walker, well known especially for 
 his admirable likenesses of Cromwell. A very good portrait of himself is 
 in the Public Dining Room. Lely, so successful afterwards in another line, 
 also drew a portrait of Cromwell. 
 
 With the return of the Stuarts (in illustration of which event the visitor 
 may observe the curious Dutch painting of Charles II. embarking from 
 Holland), the prospects of art showed some sensible improvement. But 
 the times were not favourable for any decided revival. The traditions of 
 the followers of Vandyck, from whom a genuine English school seemed at 
 one time about to arise, had been lost in the gloom of Puritanism ; and the 
 incipient native taste for the refined and the beautiful, which the unhappy 
 Charles had laboured so assiduously to foster, had fled with the exiled 
 cavaliers, who, when they returned to their native land, brought back instead 
 the vulgar extravagances and meretricious trivialities of the French style. 
 Nevertheless, some efforts were made by Charles II. to gather together the 
 scattered remnants of his father's artistic treasures. For this purpose com- 
 missioners were appointed, who succeeded in recovering by purchase or 
 compulsion a few good pictures, though most of the best had gone far 
 beyond their reach. At the same time, the States of Holland paid the 
 restored monarch a graceful compliment, by purchasing and presenting him 
 the collection of a Dutch virtuoso, Van Reynst, who had been a large 
 purchaser at Charles I.'s sale. Several of the finest pictures now at Hampton 
 Court formed part of the " Dutch Gift " as it was called. 
 
Introduction, 
 
 xxvii 
 
 But in truth the merry monarch and his courtiers cared little for the fine 
 arts, except as far as they would minister to their frivolous and Hcentious 
 fancies. Their aspirations were confined to securing a painter who should 
 faithfully portray the society in which they lived. Such a painter they 
 found in Lely, who readily turned from drawing the harsh features of the 
 sturdy Commonwealth men and depicting the warts on Cromwell's nose, to 
 the more congenial occupation of transferring to glowing canvas the 
 sensuous contours, and the languorous expressions of the frail but beautiful 
 nymphs of that voluptuous Court. One of his first performances in that 
 line, was the painting of his famous series of " Beauties," whom we can now 
 see altogether here, as they must often have been assembled in old days in 
 the Presence Chamber. The imperious Lady Castlemaine, with her dis- 
 dainful lips, her dark flashing eyes, her rich black hair ; the transcendently 
 beautiful Miss Stewart, with her figure of ineffable grace, and her face of 
 entrancing loveliness ; Mrs. Hyde, with her half-closed eyes melting in a 
 dreamy tenderness; Lady Falmouth, with her cheeks purpling with the 
 blushes that suffused her lovely face at the slightest word. Here, too, we 
 can see the famous Mrs. Middle ton, the great " professional beauty " of 
 those days, whose picture was painted over and over again by all the 
 fashionable artists, whose engraved portraits, in every attitude and under 
 every guise, were sold all over the town ; who was followed by a crowd 
 whenever she walked in the park, who drew every eye upon her when she 
 went to the play, and who even created a flutter of excitement when 
 she came to church, as honest Pepys faithfully records. Here also are the 
 two Miss Brookes — " toutes deux faites pour donner de Tamour et pour en 
 prendre " — one afterwards Lady Whitmore, and the other the unfortunate 
 Lady Denham ; and above all we can gaze on Lely's masterpiece of por- 
 traiture, the picture of the matchless Comtesse de Grammont, " La Belle 
 Hamilton," whose delicately-moulded features, beautiful neck, dear little 
 mouth, and brilliantly-expressive eyes will be celebrated through all time in 
 the charming pages of De Grammont. 
 
 Besides one or two more portraits by Lely, among which should be ob- 
 served that of Anne Hyde, Duchess of York, there are a few beauties by 
 other painters : the Duchess of Portsmouth, with " her childish simple baby 
 face," as Evelyn observes, by Varelst, and the modest and gentle Mrs. 
 Knott, that " soft, believing, inexperienced maid," Miss Lawson, and the 
 beautiful Duchess of Somerset, by Wissing. The visitor will also take par- 
 ticular notice of the splendid portrait of Lady Byron, as St. Catherine, 
 which, though sometimes supposed to be by Huysman, can now be proved 
 to be by Lely. 
 
xxviii 
 
 Introduction. 
 
 As also belonging to this reign, the interesting picture of Lacy the actor 
 in three characters, by Michael Wright, whose masterpiece it is accounted 
 to be, should be mentioned ; while of the other painters patronized at 
 Court, two excellent pieces of still-life by Roestraten, and a good landscape 
 by Jan Looten should not be passed over. As to Danckers, Genaro, 
 Varelst, Edema, Griffiere, &c., Hampton Court rejoices in only too many 
 of their insipid works. 
 
 Charles II., at the same time, made several second-rate additions to the 
 Royal Collection, chiefly of contemporary Dutch artists. To him we owe, 
 among many others, the interesting specimen, No. 66 in the catalogue, of that 
 little-known painter Jacob de Bray ; also the portraits of a " Jewish Rabbi " 
 and " A Lady," by Rembrandt ; an admirable sketch of Frans Hals ; a 
 characteristic piece of " Musicians," by Peter de Hooge ; several small 
 pictures by Teniers; a good landscape by Wynants, and two charming 
 ones by Swanevelt : flowers by those rare painters Maria van Oosterwyck 
 and Withoos ; poultry by Hondecoeter ; still life by De Heem and Kalf, 
 and game by Van Aelst and Weeninx ; and a few mediocre pieces by Wou- 
 verman, SHngelandt, &c. 
 
 James II. 's short and turbulent reign was almost entirely barren of 
 artistic results. When Duke of York, he had, in his capacity as Lord High 
 Admiral, employed Lely to paint a series of portraits of admirals ; and the 
 great marine painters, the two Vandeveldes, executed for him several pictures 
 of " Sea-Fights " in celebration of English victories over the Dutch. But 
 except for these, which were added to the Royal Collection when he as- 
 cended the throne, and which may still be seen in these rooms, we can 
 scarcely point to a single work of art of any merit acquired by him. The 
 sea-pieces, however, are interesting ; especially a series of five, apparently 
 representing the various stages of the battle of Solebay, with the burning of 
 the Dutch fleet by night. These, and a few similar pictures, were probably 
 drawn by the elder Vandevelde, who attended the engagements in person, 
 but " put into colours " by his son, the greater artist of the two. 
 
 The portrait of his second wife, Marie Beatrix d'Este, by Kneller, in 
 William III.'s Presence Chamber, has an interest as having been painted at 
 the time of the marriage of his daughter to the Prince of Orange, in com- 
 pliment to whom she is represented with an orange tree. There are also 
 two other portraits in the same room of the Prince and Princess of Orange, 
 which are noteworthy as probably those painted by Wissing expressly 
 for the King, and sent over from Holland. 
 
 But these family amenities were soon to be disturbed ; and the next 
 
Int7'oduction, 
 
 xxix 
 
 event celebrated in this gallery is the coming of William of Orange to take 
 possession of his father-in-law's throne. In one picture we see him taking 
 leave of the Dutch States, affectionately embracing one of his friends, while 
 stretching far away into the horizon is the fleet with which he is about to 
 set sail, and close by the boat with the famous red flag, inscribed with the 
 words : " Protestant Religion and Liberty." A companion-piece shows his 
 landing at Torbay. 
 
 The contributions of William III. to the Hampton Court Collection are 
 pretty well summed up in the name of Kneller. One of his first com- 
 missions was to paint the " Beauties of Hampton Court," a series which, 
 though executed in imitation of Lely's, falls far below it in interest and 
 value. They were originally hung in " The Beauty Room," used by King 
 William as a private dining room, and now the Ball Room of the residents 
 in the Palace. They were moved about sixty years ago to their present 
 position in the Presence Chamber, under which head they are noticed in 
 detail at page lo. 
 
 Kneller likewise painted for the King the large allegorical picture of his 
 landing in England in 1697 after the peace of Ryswick, welcomed by Nep- 
 tune, Peace, and Plenty, and trampling on the emblems of war. Another 
 of his performances is that of Peter the Great, painted about the same time, 
 when he was on a visit to England. It is one of the best portraits of the 
 Czar, with " his stately form, intellectual forehead, piercing black eyes, and 
 Tartar nose and mouth." The portraits of Locke and Newton, which are 
 among his masterpieces, if such a word can be applied to any of his works, 
 claim the visitor's notice. 
 
 Of John Riley, according to Walpole, " one of the best native painters 
 that has flourished in England, whose talents while living were obscured by 
 the fame rather than by the merit of Kneller, and depressed since by being 
 confounded with Lely," we have a good specimen in the portrait of Mrs. 
 Elliott, No. 372. 
 
 The portrait of Robert Boyle, No. 843 in this collection, is almost a soli- 
 tary specimen of Frederick Kerseboom, an indifferent German artist, who 
 was in England in this reign. 
 
 Among the many other minor painters, we should not omit to mention 
 the names of Rousseau, who painted many decorative pieces for William 
 III.'s new state apartments at Hampton Court, and Baptiste, the great 
 flower-painter, of whom more than twenty pieces are collected here. 
 
 If the preceding reigns had not been favourable to painting, what shall 
 we say of those of Queen Anne, George I., and George II., when art 
 
XXX 
 
 Introduction. 
 
 touched the lowest depths of degradation ? An idea of the taste of that 
 time may be formed by glancing a moment at some of the flaring and 
 hideous canvasses in the back rooms of the apartments, that seem hung up 
 as warnings of all that a picture ought not to be. Of real interest there is 
 scarcely anything belonging to this period. We may mention, however, 
 the portrait, No. 521, of George I. by Kneller, as the one that inspired 
 Addison to write his glowing eulogium on the painter ; and " The Family 
 of Frederick Prince of Wales," by Knapton, as having some historical 
 value. 
 
 An excellent little sea-piece by that good marine painter, Monamy ; The 
 Colosseum," by Canaletti; and two pretty little Watteau-like pictures, 
 inscribed by an unknown painter called Longhi, should not be passed over 
 in a survey of the art of this epoch. 
 
 The influence exerted by George III. on art was of a very ambiguous 
 kind. He seems to have been sincerely anxious to further its cause, and 
 to encourage and reward merit when he thought he perceived it ; but he 
 was totally incapable of distinguishing the good from the worthless. Thus 
 it was, that while he lavished a most generous patronage on Benjamin West, 
 Gainsborough and Reynolds were almost ignored. His contributions to the 
 collection here are therefore more numerous than edifying. For an account 
 of West and his vapid and uninteresting paintings, both portraits and historical 
 subjects, which are now placed altogether in Queen Anne's Drawing Room, 
 the reader is referred to page 100. Another of his favourite painters was 
 Sir William Beechey, whose masterpiece, such as it is, of the King with the 
 Prince of Wales and the Duke of York reviewing the Tenth Hussars, is 
 now here. 
 
 To George III. we are also indebted, among others, for a fair portrait 
 of Lord Hutchinson, by Philips, and a very good one of Gentz, the famous 
 Austrian publicist, and several " Sea-Fights " by Paton, Pocock, and the 
 two Serres. Gainsborough was occasionally employed at Court to paint 
 portraits. Of those he executed for the King we have two of Hurd, Bishop 
 of Worcester, in the PubHc Dining Room. But his best works here are 
 the two admirable portraits in the same room of Fisher the Composer and 
 of Colonel St. Leger, which rank among his masterpieces. In the first 
 we see all the thought and soul of the man of genius ; in the other, the 
 supercilious inanity of the languid dandy. 
 
 With the death of George III., the list of additions made to the Hampton 
 Court collection may be said to close ; for though many pictures have been 
 
Introduction. 
 
 xxxi 
 
 temoved here since that event, they had all been acquired by the Crown at 
 a date anterior to the accession of George IV. 
 
 At that time the pictures were pretty much as they had been left by 
 William III., who had about 200 pieces in these rooms; and they had 
 remained undisturbed since the Court finally left Hampton Court in 1763, 
 on the accession of George III. The public were then admitted in batches, 
 and walked round the rooms attended by the housekeeper, who pointed 
 out the pictures with a long stick, calling out, at the same time, the roll of 
 names in a loud voice, to the awe-stricken visitors. They seem to have 
 been pretty equally divided between Raphael, Giorgione, Titian, and 
 Holbein. 
 
 But in the reign of William IV. considerable changes were made, and a 
 great many pictures from Kensington Palace, Carlton House, Buckingham 
 House, and Windsor Castle, some of them of great beauty and interest, but 
 many of them little better than rubbish, were sent to swell the contents of 
 Wren's Palace. At first, scarcely any attempt was made to arrange or classify 
 them, so that when Her Gracious Majesty the Queen, in the first years of 
 Her reign, gave orders for the free admittance of all Her subjects, without 
 any restriction, to Hampton Court, the thirty-two rooms of the state apart- 
 ments exhibited a strange heterogeneous conglomeration of a thousand 
 pictures of every value, of every period, and of every school, hung up any- 
 how and anywhere, just as they came. 
 
 Since then, it need not be said, vast improvements have been made ; 
 and though fault is still found with the way the pictures are hung, some- 
 thing like a systematic arrangement has been adopted, and partially carried 
 out. Much, however, still confessedly remains to be done, and there is 
 every reason to anticipate that this will not be long delayed. At the same 
 time, it is necessary to remember that the rooms in which the pictures are 
 now crowded — for they are many too many for the space available — were 
 never built as picture-galleries ; and it would be a task of the very greatest 
 difiiculty, even for the most skilled in such matters, to arrange every picture 
 according to its period and school, and yet so that each might be seen in 
 a sufficient light. As it is, however, it is not to be denied that many 
 pictures of great beauty are commonly passed over on account of the ob- 
 scurity in which they are hung ; and visitors, who are fortunate enough to 
 come at those rare times when a strong sunlight illumines the principal 
 galleries, often express their surprise at finding the pictures so superior to 
 what they appear, when viewed under the normal conditions of our climate. 
 
 Nevertheless, taking all things into consideration, there are few places of 
 
xxxii 
 
 Introdtcction. 
 
 historic interest, and certainly none within reach of the Londoner, which 
 can be seen with such ease and freedom as Hampton Court. It labours, 
 it is true, under the disadvantage attaching to every public gallery, that its 
 treasures have to be inspected in a crowd, and at the very moment we 
 would fain forget the sights and sounds of this nineteenth century with all 
 its works and pomps, musing awhile on the poetic past amid the glorious 
 creations of the Italian masters, the fascinating productions of the Dutch 
 and Flemish painters, and the quaint representations of the thrilling events 
 of old English history, or communing in spirit with the sturdy warriors, 
 high-minded statesmen, and beautiful and interesting women of the days 
 gone by, our ears are assailed by some snobbish allusion of Mrs. Ponsonby 
 de Tomkyns, some utterly intense criticism of Maudle and Postlethwaite, 
 or some vulgar witticism of 'Arry or 'Arriet. 
 
 But if those to whom the voice of the cockney is not the most melodious 
 of music, and who come here not for the sake of " doing " the place, but 
 to really enjoy it, would arrive in the morning, before the midday trains 
 have disgorged their crowds of heedless sightseers, they will be able to view 
 the Palace under every circumstance of advantage. They will then be able 
 to see the best pictures under more light than they have at any other time 
 of the day ; and they may wander undisturbed through rooms quite still and 
 nearly empty. 
 
 It is only at such times as these that we can fully appreciate the solemn 
 charm, which invests these grand historic galleries, for two centuries un- 
 altered, and for 120 years untenanted, save by the pictures of departed 
 heroes, who look down from the walls. 
 
 But at other times, when the Palace is thronged with spectators, and we 
 are led to think of the ten milHon visitors who have passed through the 
 state rooms, since they were open to the public, other feelings will arise ; 
 and uppermost among these will be one of gratitude to Queen Victoria, by 
 whose considerate generosity all Her people are freely admitted to the 
 beautiful Home of Her ancestors at Hampton Court. 
 
ireat 
 
 ltairca0e» 
 
 I HIS staircase, which is the principal approach to William III.'s 
 State Rooms, was designed by Sir Christopher Wren, and 
 finished about the year 1700. Its decoration — so meretriciously 
 
 magnificent — is a good specimen of that gaudy French taste 
 
 which was first imported into England by Charles II. and his courtiers, 
 and finally triumphed in the reign of William and Mary over our less pre- 
 tentious, but purer and more picturesque, native style. It is 43 feet long, 
 by 35 feet wide, and about 40 feet high. 
 
 Cje i^aitltiltfl of the walls and ceiHng was executed by Verrio, who 
 at first refused to serve William of Orange at all, on account of his politics 
 and religion, but at length condescended to work for him here ; though he 
 painted this staircase "as ill," says Walpole, ^'as if he had spoilt it out of 
 principle." Perhaps the King thought so too, for we find Verrio complain- 
 ing to Queen Anne that, though he had promised him ;£'i,8oo for this 
 ceiling and one in the little bedchamber, he had only received £()oo, and 
 that he was reduced to great extremity. 
 
 But Verrio, though always most handsomely paid for what he did, 
 receiving from Charles II. as much as £^,000 for his painting at Windsor 
 alone, seems to have been usually hard up. On one occasion in the 
 Presence Chamber at this Palace, when he could not approach the King, 
 he called out loudly to him for more money. Charles smiled, and said he 
 had but lately ordered him ;£"i,ooo. "Yes, Sir," repHed he, "but that 
 was soon paid away, and I have no gold left." " At that rate," said the 
 King, " you would spend more than I do to maintain my family." " True." 
 answered Verrio, " but does your majesty keep an open table as I do? " 
 
 B 
 
2 
 
 Catalogue of Pictures, 
 
 His performances were in his day held in very high estimation. Evelyn 
 thought " his design and colouring and exuberance of invention are com- 
 parable to the greatest old master, or what they do in France ; " while 
 others grew so enthusiastic that they gave vent to their feelings in verse : — 
 
 . . . *' Great Verrio's hand hath drawn 
 The Gods in dwelHngs brighter than their own." 
 
 His fame, however, was short-lived, and Pope's couplet : — 
 
 " On painted ceilings you devoutly stare, 
 
 Where sprawl the saints of Verrio and Laguerre, " 
 
 has given the cue to all criticism since. 
 
 This staircase displays in a startling degree the tasteless exuberance of 
 his pencil : Gods and Goddesses, Nymphs and Satyrs, Muses and Baccha- 
 nalians, Virtues and Attributes, Zephyrs and Cupids, ^neas and the twelve 
 Caesars, Julian the Apostate with Mercury as his secretary, Juno and her 
 peacock, Romulus and the wolf, Ganymede and the eagle, Hercules with 
 his club, all jostle one another in amazing confusion, in inconceivable atti- 
 tudes and wonderful attire, floating on clouds, sailing between columns, and 
 reclining beneath canopies of rainbows, flowers, and Zephyrs' heads. 
 
 W^Z Kortf) SHall is on the left as you enter, Just above the wainscot, 
 in the middle, is Flora and opposite her a Nymph or Fortune, with a 
 cornucopia ; behind them are Cupids and Iris, and a table with large 
 brass plates, vases, fruits, and flowers ; and on both sides are River Gods and 
 Nymphs, seated on reeds, and pouring water from their urns. Above them, 
 poised on clouds, is Ceres, attended by Cupids, with a wheatsheaf in her 
 left hand, and pointing to loaves of bread with her right ; above her is the 
 god Pan with his unequal reeds ; and still further up, on the cornice, are 
 Apollo and the Nine Muses, playing on various musical instruments. 
 
 Cf)e (fl!ei(ing represents the Banquet of the Gods. Jupiter and Juno are 
 seated at table, attended by Ganymede riding on the eagle, and by Nymphs 
 who hand nectar and ambrosia ; behind them are Juno's peacock and one 
 of the Parcae ; while above them are an arc with the signs of the Zodiac, 
 Cupids scattering flowers. Fame blowing her trumpet, and Zephyrs' heads 
 breathing soft airs. Below are the other Gods and Goddesses banqueting : 
 to the left Venus and Mars, to the right Neptune, and the rest in the centre. 
 
 Clje iSaSt SSEall, which is opposite the entrance, is painted in continua- 
 tion of the subject on the ceiling. Just below the cornice, to the left, is 
 Bacchus with his left hand on the head of Silenus, mounted on an ass, and 
 pushing him down. Above, in the centre, is Diana reclining on her crescent. 
 Below is a marble table supported on two-headed eagles, with wings dis- 
 
Hampton Court Palace, 
 
 3 
 
 played, themselves resting on clouds. Below is Hercules, with his club, 
 and also a winged figure of Peace, with an olive branch ; near her is ^neas, 
 standing. He is pointing to the middle, where are seen the twelve Caesars, 
 amidst whom is the soothsayer Spurina. Above them is Romulus, with the 
 wolf, while to the right the Genius of Rome hovers over them. 
 
 W^t ScitttS, ^l^all shows a man (Julian the Apostate?), seated at a 
 table, and turning round to Mercury. This composition is engraved by 
 Gravelot in Apelles Britannicus. Close to the door into the Guard Chamber, 
 on the left-hand side, is the signature : "ANT . VERRIO . FEC." 
 
 The lower part of the walls is formed into panels, painted in monochrome 
 with emblems and trophies of war. Over the door is a bust of Venus. 
 
Urn's Wttatti ^bamber* 
 
 I HIS room, one of the finest of the suite, being 6oi feet long, 
 37i feet broad, and 30 feet high, is curiously decorated with 
 old arms; they were so arranged by a common gunsmith, 
 named Harris, for William HI. Harris had decorated the Guard 
 Chambers at the Tower and Windsor in this fashion, and Sir Christopher 
 Wren, in his estimate laid before William IH., suggested a like arrange- 
 ment here. The author of "Apelles Britannicus," 1740, says that Harris 
 received a pension from the Crown for his ingenuity. The arms are nearly 
 3,000 in number. Facing the door are three trophies of five drums, each 
 fixed between the upper circular windows of the half-story and the lower 
 windows. The lower part of the other walls are panelled with oak to about 
 15 feet high ; the upper part is divided into sixteen compartments, flanked 
 by oak pilasters. In these compartments are trophies of muskets, pistols, 
 pikes and bayonets, ingeniously arranged in stars, chequer-work, circles, and 
 ovals ; in the centre of some is Medusa's head, of others Jupiter's thunder, 
 and other devices. Over the fireplace are William's arms, cypher, and 
 crown, all carved in walnut wood ; opposite the fireplace are eighteen hal- 
 berts for the Yeomen of the Guard, who used to sit here in old days. 
 
 The panel door, to the left of the fireplace, opens into a small room 
 called by Wren The Smoaking Roome." The door in the opposite corner 
 leads on to the " Beauty Staircase," which itself goes upwards to the top 
 story, and downwards to the " Beauty Passage," and " Beauty Room." 
 
 The two fine totOUSflt'iron SCteettS recently placed here belonged to 
 a series of twelve which were formerly in the gardens ; one still remains in 
 its original position, the rest are now at the Bethnal Green and South Ken- 
 sington Museums. They are considered to be among the choicest speci- 
 mens of English wrought-iron extant. It seems a pity, however, that they 
 
6 
 
 Catalogue of Pictures. 
 
 were ever moved from where William III. had placed them ; the two 
 before us, though exquisitely beautiful in themselves, are out of place here, 
 and disfigure the room. 
 
 From the windows here the visitor has a charming view of the Privy- 
 Garden, with its old-fashioned yews ; its tropical plants, the remnants of 
 Queen Mary's collection ; its terraces and banks ; and particularly Queen 
 Mary's Bower. To the right is seen the old Pond Garden and the Ban- 
 quetting House. 
 
 I Bringing in Prisoners and Wounded {if) Rugendas. 
 
 This and Nos. 2, 3, 4, 8, 12, 19, and 23 represent scenes from Marlborough's 
 campaigns in the Netherlands. Waagen considered them " very well composed, 
 but of a decorative character of execution." They were removed here from the 
 Guard-room at Windsor. Rugendas was a native of Augsburg ; he died in 1 742. 
 Military events formed his particular study. Each picture is 3 feet 9 inches high 
 
 by 6 feet 4 inches wide. 
 
 2 Foraging Party going out {16) Rugendas. 
 
 3 Entry into a Town after a Battle {14) Rugendas. 
 
 4 Besieging a Town (zj) Rugendas. 
 
 5 Admiral Lord Anson (zp) Bockman. 
 
 Anson was a victorious Admiral in the reign of George II. His greatest exploit 
 was the capture in 1743 of the Spanish Galleon Manilla," which had on board a 
 cargo valued at ;i^3 13,000. 
 
 This portrait is by Bockman, by profession a mezzotint engraver, who was in 
 England about 1745. Other pictures in this room bearing his name are copies from 
 the originals painted by Kneller for James II., and by Dahl, a Swedish painter, for 
 William III. They were formerly here, but in 1835 were presented to Greenwich 
 Hospital by William IV. 
 
 6 Admiral Sir Thomas Dilks {g) Bockman. 
 
 This is the hero of a brilliant action in Cancalli Bay in 1703, when a small 
 English squadron attacked a fleet of forty-three French merchantmen with three 
 men-of-war, and captured them all. 
 
 7 Sir John Lawson {1052) Sir P. Lely. 
 
 Three-quarters length, turned to the left ; his left arm resting on the muzzle of a 
 gun, his right holding a truncheon. He wears a buff coat with silver embroidery 
 and a cuirass. He has long hair. On canvas, 4 feet 2 inches high by 3 feet 
 4 inches wide. 
 
 He rose from the lowest station to the command of a ship, and served under the 
 Commonwealth. He co-operated with Monk in the Restoration, and afterwards 
 served under the Duke of York. He was killed in an engagement with the Dutch 
 in 1665. 
 
 This portrait was probably painted for the Duke of York. See No. 1 1. 
 
Hampton Court Palace. 
 
 7 
 
 B Halt of an Army (J) Rugendas. 
 
 9 The Colosseum at Rome (75) ....... Canaletto. 
 
 The Colosseum is on the left, and the arch of Constantine, the church of St. 
 Giovanni et Paulo, and the aquaduct to the Palace of Nero on the right. Mr. 
 Hare tells me this is a made-up picture, as these buildings are really all widely- 
 separated. In the foreground are figures. On canvas, 3 feet 7 inches high by 
 9 feet 5 inches wide. 
 
 Waagen attributed this picture to Bernardo Canal, called Bellotti, the nephew, 
 student, and imitator of the more celebrated and greater painter, Antonio Canal, 
 called Canaletto. But on a stone to the left of the canvas is the inscription :— 
 *'ANT. CANAL. F. MDCCXLiii." His visit to England, where his works were 
 already well-known and much admired, took place three years after the date on 
 this picture. 
 
 10 Admiral John Benbow (z2) Bockman. 
 
 He was given the command of a ship by James, Duke of York, for his bravery. 
 In 1702, when in command of the West India squadron, he sustained, almost alone, 
 the fire of the whole French fleet under Du Casse ; his cowardly officers, two of 
 whom were afterwards tried by court-martial and shot, having basely deserted him. 
 He died at Jamaica very soon afterwards from a wound received in the action. 
 
 a I Edward Montagu, Earl of Sandwich {1063) .... Sir P. Lely. 
 
 Half-length, turned to the left ; his left hand on a cannon, his right holding a 
 baton. He is in armour, and has long curly hair. His face beardless, but with a 
 slight moustache. Behind him is a rock, in the left distance ships. An earl's 
 coronet is painted above on the right. On canvas, 4 ft. 2 in. high, by 3 ft. 4 in. wide. 
 
 He was in the Parliamentary service, both by sea and land, at a very early age. 
 At the Restoration he conveyed the King to England. He had a principal share in 
 the great victory over the Dutch in June, 1665, and afterwards behaved with great 
 bravery at the battle of Southwold Bay, on the 28th of May, 1672. After he had 
 rescued the whole fleet, his ship took fire ; and leaping overboard, he was drowned. 
 
 Pepys writes, under date i8th of April, 1666 : — **To Mr. Lely's, the painter's j 
 and there saw the heads, some finished, and all begun, of the flaggmen in the late 
 great fight with the Duke of York against the Dutch. The Duke of York hath 
 them to hang in his chamber, and very finely they are done indeed .... there 
 will be my Lord Sandwich's. I was very well satisfied with this sight." This is 
 the picture referred to, and we find it among a set of ten other admirals in 
 James II. 's catalogue. No. 1,200 : The Earl of Sandwich, half-length ; Sir Peter 
 Lely." There are a great many portraits of him at Hinchingbrook. {See Miss 
 Boyle's interesting book on the portraits there, for a biographical sketch of this 
 hero.) 
 
 12 Soldiers attacking a Foraging Party {2) Rugendas. 
 
 13 Admiral Edward Russell, Earl of Orford (27) . . Sir G. Kneller. 
 
 Half-length, to the right ; in blue. His left hand is on his hip, his right has a 
 baton. 
 
 This is the famous admiral in the reign of William and Mary, who gained the 
 victory of La Hogue against the French fleet under Tourville. {See No. 908.) 
 This portrait is one of the series of admirals painted for William III. 
 
8 
 
 Catalogue of Pictures. 
 
 14 Admiral Sir G. Byng, Viscount Torrington (7) .... Bockman. 
 
 The celebrated admiral of the reigns of Queen Anne and George I. He was. 
 especially distinguished for his services against the Pretender, and for his great vic- 
 tory over the Spanish off Sicily in 1718. His son was the famous Admiral Byng, 
 who, Voltaire said, was shot "pour encourager les autres." 
 
 15 Admiral Sir John Gradin (c?) Bockman. 
 
 Served in the reign of Queen Anne, and was dismissed for over-caution. 
 
 16 William III., when Prince of Orange {864) . . . Sir G. Kneller. 
 
 {Removed^ 
 
 17 Admiral Beaumont (7) Bockman. 
 
 He perished on the Goodwin Sands in the great storm such as of late o'er pale 
 Britannia passed," in 1 703. 
 
 18 Admiral Sir John Jennings (77) Bockman, 
 
 Knighted by Queen Anne in 1704, died in 1743, and is buried in Westminster 
 Abbey. 
 
 19 A Wedding in Camp ( j) Rugendas. 
 
 20 Queen Elizabeth's Giant Porter (^) .... F. Zucchero? 
 
 He is dressed in a white quilted vest with a black waistcoat over it, large balloon, 
 breeches, and black stockings and shoes. He has a cap with a feather and a small 
 ruff. His left hand is on his hip, his right on a long rapier. On canvas, 9 ft. 
 5 in. high, by 5 ft. 6 in. wide. 
 
 This portrait is life-size, his height being %\ feet, and his hand 17 inches long. 
 It is well painted, but ill drawn. ^^Attno 1580" is on the canvas, in the upper right- 
 hand corner. 
 
 It is probably the famous porter who kept the gate at "the Princely Pleasures 
 of the Court of Kenilworth," and whom good Master Laneham mentions as 
 "tall of person, big of limb, and stern of countenance ; wrapt also all in silk, with 
 a club and keys ;" who at the sight of "the rare beautie and princely countenance 
 
 of her majesty yielded himself." 
 
 21 Admiral Sir Stafford Fairboume {18) Bockman. 
 
 Lived in the reigns of William III. and Anne. 
 
 22 Admiral George Churchill {10) Bockman. 
 
 A brother of the Duke of Marlborough's. He died in 1 708. 
 
 23 Raising Earthworks against a City {6) Rugendas. 
 
 24 Admiral Viscount Keith {86s) Phillips. 
 
 Half-length, in robes, turned to the left. His right hand holds up his cloak, his- 
 left is seen underneath. His hair is grey. 
 
 He commanded the fleet which, in 1795, captured the Cape of Good Hope, and 
 performed other brilliant services. He died in 1823. 
 
m 
 
 lACING the entrance to this room hangs the (^Tanopg of State, 
 under which was formerly the Chair of State. Here the king 
 gave audience to ambassadors and statesmen. The canopy is of 
 crimson damask; at the back the arms of WiJHam III. and his 
 motto, " Je main tien dray," are embroidered in silver, and round the va- 
 lance are the crown and the cypher WJ?, and the rose, harp, fleur-de-lys, 
 and thistle, likewise crowned. The furniture formerly here was also of 
 crimson damask, and richly embroidered with the symbols of royalty. The 
 room is lofty, being thirty feet high, and embracing in its height the half- 
 story. The Ceiling, which is vaulted, and probably intended to be painted, 
 rises in a sort of dome from the carved oak cornice ; this peculiarity has a 
 very pleasant effect, and adds much to the apparent height of the room. 
 Its length is forty-four feet, and its width thirty-three feet six inches. 
 
 The catblTtg is by Grinling Gibbons, who was specially employed by 
 William III. to decorate his new Palace. In the Treasury Papers there are 
 several entries on account of work done by him here. Nothing can exceed 
 the lightness and delicacy of the festoons of flowers and fruit in lime- wood 
 over the fireplace and doors in this and other rooms. 
 
 Some old Tapestries which hung on these walls have long been re- 
 moved. Between the four large windows are three old-fashioned looking- 
 glasses in gilt frames, with bevelled edges. These and the stools are per- 
 haps part of the original furniture of the room; the gilt stands in the corner are 
 later, having the monogram G.R. on their tops. A fine silver cfjaulJ^liet 
 hangs from the centre of the ceiling; it has the harp, thistle, &c., on it, and 
 probably was hung here in William III.'s time. The mantlepiece, with the 
 two pieces of Oriental ware on the high shelf — part of Queen Mary's col- 
 lection, — should be noticed. The fire-back is of cast iron, and shows the 
 royal arms and I. R. 1687 on it; most of the other fire-backs in the State 
 
lO 
 
 Catalogue of Pictures. 
 
 Apartments are also of James II.'s reign, and were presumably intended for 
 the old Palace. The brass-work on the lock of the entrance-door is orna- 
 mented with a crown and the cypher W.R. In the thickness of the walls 
 in the doorways here and further on, there are old cupboards and closets ; 
 the doors between the rooms throughout the suite have been removed for 
 the convenience of the public. 
 
 'tllfie liamptDix OCourt tBeautie^. 
 
 In this room are now placed the well-known collection of the Beauties of 
 the Court of William and Mary, painted by Sir Godfrey Kneller, and called 
 the " Hampton Court Beauties." This name was given them from their 
 being placed in this Palace by Queen Mary, and also in order to distinguish 
 them from Lely's Beauties of Charles II.'s Court, formerly at Windsor, and 
 thence called " The Windsor Beauties," but which are now hung here in 
 ^'The King's Bed Chamber." {See Nos. 185-207.) 
 
 Of the beauties of Hampton Court, Horace Walpole remarks, in his 
 
 Anecdotes of Painting," that " the thought was the Queen's during one of 
 the King's absences ; and contributed much to render her unpopular, as I 
 have heard from the authority of the old Countess of Carlisle, who remem- 
 bered the event. She added that the famous Lady Dorchester advised the 
 Queen against it, saying : * Madam, if the King was to ask for the portraits 
 of all the wits in his court, would not the rest think he called them fools.' " 
 
 The Queen, however, would not be dissuaded ; she apparently wished to 
 emulate the enterprise of the Duchess of York, for whom Lely painted his 
 ■series of" Beauties ;" and Kneller, on his part, entered thoroughly into the 
 spirit of the idea, and did his best to rival his predecessor. But his produc- 
 tions, it must be confessed, cannot compare mth their models, either as 
 works of art or objects of interest. They are heavy in style, they have 
 much sameness in their designs ; and the originals could boast of none of 
 those romantic adventures or piquant and scandalous anecdotes which 
 have immortalized the " Beauties " of the Merry Monarch. Kneller was 
 knighted, however, for his performance, and received besides a medal and 
 a chain worth £,z^o. Lord Lansdowne, the poet, concludes his " Pro- 
 gress of Beauty " by the following reference to them : — 
 
 •* Oh ! Kneller ! like thy pictures were my song, 
 Clear like thy paint, and like thy pencil strong ; 
 The matchless beauties should recorded be 
 Immortal in my verse, as in thy gallery.'* 
 
 The "Hampton Court Beauties" formerly hung in a room directly under 
 
Hampton Court Palace. 
 
 II 
 
 the King's Guard Chamber, called " The Beauty Room " (the Queen being 
 over the fireplace), where William III. used sometimes to dine. Since the 
 rearrangement of the pictures about forty years ago, they have been here. 
 An anecdote connected with them is told by Horace Walpole in a letter to 
 Sir Horace Mann, dated August 31st, 1751 : — "As you talk of our beauties, 
 I shall tell you a new story of the Gunnings. They went the other day to 
 see Hampton Court ; as they were going into the Beauty-room, another 
 company arrived ; the housekeeper said, * This way, ladies ; here are the 
 Beauties.' The Gunnings flew into a passion, and asked her what she 
 meant ; that they came to see the palace, not to be showed as a sight them- 
 selves." 
 
 They were originally twelve in number, as appears from the set- of plates 
 engraved in mezzotint by John Faber, junior {see J. C. Smith's Brit. 
 Mezzotint Portraits) ; but only eight now remain here, the missing ones 
 being: Dodington, Duchess of Manchester; Sarah, Duchess of Marl- 
 borough ; Jane, Countess of Clarendon ; and the Queen, whose full-length, 
 painted by Kneller for this series, has long been replaced by Wissing's 
 half-length, No. 27. The portraits are each 7 feet 8 inches high, but vary 
 in width, some being 4 feet 8 inches, the others 3 feet 8 inches wide, 
 according to the panels in which they were originally placed. They repre- 
 sent the ladies standing, nearly all looking to the front, and attired in con- 
 ventional drapery, without the preposterous headdresses of the time, but 
 the hair so disposed and elevated as not to shock too much the prejudices 
 of fashion. The backgrounds are landscapes and gardens, with pillars and 
 balustrades. The numbers are 26, 30, 33, 37, 40, 46, 50, 53. 
 
 It is a pity these pictures are so high up that they are scarcely visible. 
 
 25 Ruins and Landscape (21) Rousseau. 
 
 This and Nos. 67, 68, 81, and 105, are pieces painted expressly for the decoration 
 of panels in these apartments, by order of William III. Rousseau painted archi- 
 tecture and landscape solely. Having been banished, by the revocation of the 
 Edict of Nantes, from France, where he had achieved a considerable reputation, 
 he came to England. He was employed by the Duke of Montague to decorate 
 Montague House, now the British Museum. He died in 1693. 
 
 26 Lady Diana de Vere, Duchess of St. Albans (22). Kneller. 
 
 Dressed in a russet-coloured skirt, with a yellow mantle falling from her arms on 
 to the ground. Her left arm rests on a vase, in which is an orange-tree. The vase 
 
12 
 
 Catalogue of Pictures, 
 
 is perhaps one of the leaden ones which can be seen in the Privy Garden from the 
 windows here. This picture, as well as the rest of the series, was probably painted 
 at Hampton Court ; it is one of the best. 
 
 Lady Di was the only child and heiress of Aubrey de Vere, 20th and last 
 Earl of Oxford. Being immensely rich, Charles II. betrothed her when quite a 
 child to his natural son by Nell Gwynne, Charles Beauclerc, Duke of St. Albans, 
 the ancestor of the present Duke. She married him in 1694 ; but this picture must 
 have been taken before that time. Halifax wrote the following verses in her praise 
 for the toasting-glasses of the Kit-Cat Club in 1703 : — 
 
 ** The line of Vere, so long renowned in arms, 
 
 Concludes with lustre in St. Albans charms. 
 
 Her conquering eyes have made their race complete ; 
 
 They rose in valour, and in beauty set. 
 
 In after years she became first Lady of the Bedchamber and Mistress of the Robes 
 to Queen Caroline ; she died in 1741. 
 
 27 Queen Mary, when Princess of Orange {23) . . W. Wissing. 
 
 ( Withdrawn^ 
 
 Seated, nearly full length. She is dressed in blue in the costume of a lady of the 
 time, and with a crimson mantle edged with ermine. Her left hand rests on a 
 table, over which her mantle falls. Engraved by Johan Verkolje. 
 
 This picture is signed on the left-hand side, and is the original of many replicas 
 or copies at St. James's Palace, at Burley-on-the-Hill, Woburn, The Grove, &c. 
 It was painted for James II., who sent Wissing over to the Hague for the purpose. 
 His popularity as a portrait-painter was great, and was partly due no doubt to his 
 making such flattering likenesses. * * When any lady came to sit to him whose 
 complexion was any ways pale, he would commonly take her by the hand and 
 dance her about the room till she became wanner." 
 
 28 Cupids, with Boat and Swans {24) . . . . . P. da Caravaggio. 
 
 This and Nos. 32, 45, 99, 156, and 277a, are six pieces which belonged to 
 Charles I. They are spiritedly conceived and lightly executed in a sort of chiar- 
 oscuro, and were probably intended for a frieze. On wood, i ft. high, by 5 ft. 
 wide. 
 
 Behind each is Charles I.'s cypher — C.R. crowned — and a slip of paper record- 
 ing that they were bought in 1637 with Frosley's Italian collection. They appear 
 in his catalogue at various pages. They were sold at the Commonwealth for ^ 140, 
 and re-appear in James II. 's catalogue. 
 
 29 William III. landing at Margate, 1697 {^5) • Sir G. Kneller. 
 
 This large allegorical picture is 18 feet by 15. The King is represented in 
 armour on a white horse, trampling on the emblems of war, by which lies a 
 flaming torch. Above are Mercury and Peace in a cloud supporting the King's 
 helmet, decorated with a laurel wreath, while a Cupid holds a scroll. Neptune, 
 with attendants, welcomes him to British ground. In front, Plenty, with her cor- 
 nucopia, offers a branch of olives, and Flora presents flowers. In the distance are 
 some ships, whose sails are swelled with the east wind. The hair of the figure of 
 Plenty is ingeniously ruffled, and blown in the same direction. Signed on the left : 
 ** Godfrey Kneller^ Eques., Faciebat, 1701." 
 
Hampton Court Palace. 
 
 13 
 
 This is the picture of which Pope speaks with a touch of satire in the lines : — 
 
 "And great Nassau, to Kneller's hand decreed. 
 To fix him graceful on the bounding steed." 
 
 It was at one time much admired. George Bickham, in his Delicue Britannkce, 
 published in 1742, speaks of it as "one of his master-pieces, and a glorious proof 
 of his extraordinary genius. The drawing is good, and the colouring beautiful ; the 
 light and shadows are disposed in the most artful manner : each figure is beautifully 
 bold, and the invention truly noble." It is now considered a poor performance, 
 and Mrs. Jameson, in her Royal Galleries, criticizes it thus ; " The horse is 
 wooden, the limbs of the principal figure feeble and effeminate, the colouring cold 
 and tawdry, and William, with his wig and truncheon, looks almost as wooden as his 
 horse." Horace Walpole, too, thought it tame and poor, but adds, " the original 
 sketch of it was struck out with a spirit and fire equal to Rubens. The hero 
 and the horse are in the heat of battle." It was in fact imitated from Rubens' own 
 original sketch for the centre compartment of the ceiling of the Banqueting House 
 at Whitehall, which was in Kneller's possession. Both these sketches are now at 
 St. Petersburg, where they went with the rest of the Houghton collection. Mrs. 
 Barry and another actress sat for the two emblematic figures in the foreground. 
 
 There is an engraving of it by Baron, from which we ascertain that the inscrip- 
 tion on the scroll, now illegible, was : — " pacatvmqve regit patriis virtvtibvs 
 ORBEM ;" and that the picture was painted, as we might suspect from the emblems, 
 the scroll, and the date, not to celebrate the King's landing at Torbay in 1688, as 
 is usually said, but at Margate in 1697, after the Peace of Ryswick. 
 
 0 Lady Mary Bentinck, Countess of Essex (26) . Sir G. Kneller. 
 
 She stands on a terrace ; faces to the right, and points with her right hand. In 
 the background, pillars and the sea with ships. 
 
 The worst of the series. The attitude seems to have been suggested by Lely's 
 Duchess of Richmond. The drapery is yellow and slate colour. 
 
 She was the eldest daughter of William, Earl of Portland, William III.'s 
 favourite, and married Algernon Capel, Earl of Essex, in 1692. The following 
 two sets of verses were written by Garth in her honour for the toasting-glasses of 
 the Kit-Cat Club in 1703 :— 
 
 The bravest hero, and the brightest dame 
 From Belgia's happy clime Britannia drew : 
 One pregnant cloud we find does often frame 
 The awful thunder and the gentle dew." 
 
 "To Essex fill the sprightly wine. 
 The health's engaging and divine ; 
 Let purest odours scent the air. 
 And wreaths of roses bind our hair : 
 In her chaste lips these blushing lie, 
 And these her gentle sighs supply." 
 
 She afterwards married Sir Conyers D'Arcy, and died in 1726. 
 
14 
 
 Catalogue of Pictures, 
 
 31 William III., when Prince of Orange (//p) Unnamed, 
 
 ( Withdrawn.) 
 
 In armour, three-quarters. In the background is a black servant, apparently the 
 same as the one whose bust is in the "Queen's Private Chamber," further on. 
 This picture vi^as in James II. 's collection. 
 
 32 Cupids with a Boat {28). [See No. 28] . . , P. da Caravaggio. 
 
 33 Carey Fraser, Countess of Peterborough Sir G. Kneller. 
 
 In blue, with flowing crimson drapery ; her left hand rests on the pediment 
 of a statue of Minerva, her right holds her scarf. 
 
 She was a daughter of Sir Alexander Fraser, and became the first wife of the 
 great Lord Peterborough. She died in 1709. 
 
 34 Christian VII. of Denmark (p/^) Dance. 
 
 A head, in an oval, turned to the right ; dressed in a red uniform trimmed with 
 gold ; on his breast a blue ribbon. His hair is powdered and brushed back. 
 
 This was formerly unnamed, but the mezzotint engraving after it by Fisher 
 shows it to have been painted by Dance ; doubtless when the King was over here 
 in 1767 for his marriage to Princess Matilda. He was then eighteen years old. 
 
 Their domestic life was not happy. In politics he distinguished himself by 
 granting liberty of the press to his subjects ; in reward for which Voltaire addressed 
 the famous lines to him, in which he tells him : '* Je me jette a tes pieds au nom du 
 genre humain." 
 
 He afterwards went out of his mind, and died in 1808. 
 
 35 An Old Man's Head {sg4) B. Denner. 
 
 36 An Old Woman's Head (5^5) . B. Denner. 
 
 Balthazar Denner was a very poor artist of Hamburg, patronized by George I. 
 *' His fame rose very high," says Walpole, "on his eSiibiting the head of an old 
 woman that he brought over with him, about sixteen inches high, and thirteen 
 wide, in which the grain of the skin, the hairs, the down, the glassy humour of the 
 eyes, were represented with the most exact minuteness. " This is the one. Com- 
 pare his *' Youth and Age," Nos. 55 and 56. 
 
 37 Lady Margaret Cecil, Countess of Ranelagh {33) . Kneller. 
 
 In white satin, lifting her skirt with her left hand; the drapery resembles **no 
 silk or stuff the world ever saw." Her right hand is extended. 
 
 She was a daughter of James, 4th Earl of Salisbury, and married, first. Lord 
 Stowel ; and at his death, secondly, at the age of nineteen, Richard Jones, Earl of 
 Ranelagh, then about sixty, but " frisky and juvenile, curly and gay." Fielding, 
 in Tom Jones^ compares Sophy Western to this picture of Lady Ranelagh. 
 There is another one of her at Hatfield. Lord Lansdowne, the poet, mentions 
 her in his Progress of Beauty thus : — 
 
 ** Fain would my muse to Cecil bend her sight, 
 But turns astonished from the dazzling light, 
 Nor dares attempt to climb the steepy height," 
 
Hampton Court Palace, 
 
 15 
 
 38 William III. Embarking from Holland {34) . . . Unnamed, 
 
 He started, first of all, in October, but was driven back by a storm. Macaulay 
 is wrong in saying that *' though suffering from sea-sickness he refused to go on 
 shore ; " for Mary's letters, published last year, prove that they met again at 
 Helvoetsluys on the loth of November. "Cette second separation," she writes, 
 *'m'etoit plus penible encore que la premiere, et lorsqu'il me quitta, c'etait come 
 si Ton m'eut arrache le coeur." The next morning she attended the service in the 
 church. " Lorsqu'elle fat finie, je montay a la tour pour voire, mais bien qu'il y 
 avoit 315 degres de hauteur on ne put voire toutefois que les mats. A une heure 
 le prince s'embarqua a Helvoetsluys avec un vent aussi favorable qu'on pouvoit 
 desirer. " 
 
 " He went," says Macaulay, "on board a frigate called *The Brill.' His flag was 
 immediately hoisted. It displayed the arms of Nassau quartered with those of 
 England. The motto, embroidered in letters three feet long, was happily chosen. 
 The house of Orange had long used the elliptical device, ' I will maintain. ' The 
 ellipsis was now filled up with words of high import, ' The liberties of England and 
 the Protestant religion. ' " 
 
 In the foreground of this picture the Prince of Orange is taking leave of the 
 deputies of the States, before entering the boat which is to convey him to his ship. 
 In the boat is the famous red flag, and the words : PROT. RELIGION AND 
 LIBERTY can be made out. The background shows the fleet ready to sail, on 
 board of which were 14,000 men. Above, on a scroll, is the inscription in Dutch : 
 " Vertreck van S. K. H. Prins van Oranien na 
 Englandt met een Float van 500 Scheepen 
 Am, 1688. d. ii. November.^'' 
 
 This highly curious Dutch painting and its companion, No. 51, have been 
 attributed to Romaine de Hooge, a Dutch engraver. They were bought for the 
 Royal collection, as the labels notify, in 1840. Canvas, 4 ft. 8 in. high, by 7| ft. 
 wide. 
 
 39 Figures in Landscapes, Sketches (^jr, 36) Schiavone. 
 
 There are several pieces here similar to these two. They belonged to James II., 
 and are in his catalogue. No. 1060-6 : — "61ong narrow pieces, by Andrea Schiavone." 
 On canvas, laid down on wood, 3 ft. 6 in. long, by 8 in. high. 
 
 40 Miss Pitt, afterwards Mrs. Scroop (j/) . . Sir G. Kneller. 
 
 In yellow, with a grey mantle or drapery. She is holding her right hand in the 
 water which gushes from a fountain ; her left holds back her dress. Signed : 
 Kneller, pinx^. 1694." 
 
 Nothing is known of this beauty ; but she is supposed to have been one of Queen 
 Mary's maids of honour, and the greatest beauty in the Court. She is mentioned 
 by Lansdowne. 
 
 41 Duke of Gloucester, Son of Queen Anne (p^^) .... Kneller. 
 
 (Withdrawn.) 
 
 He was born in this palace on the 24th of July, 1689, and baptized in the 
 chapel with great pomp and rejoicing. William III. and the accomplished Dorset 
 stood sponsors ; and the King announced at the font that he was to be called 
 William. He died in July, 1700. 
 
i6 
 
 Catalogue of Pictures. 
 
 42 Head of St. Jerome (jp) Lanfranco. 
 
 He has a long white beard, is looking up, and his right hand is on his breast. 
 On canvas, 2 ft. 2 in. high, by i ft. 8 in. wide. 
 
 43 Old Man in a red garment reading with spectacles " {40) Catalani. 
 
 So described in the catalogue of the Royal collection made by William Chiffinch 
 for James II., No. 132. On canvas, 2 ft. high, by i ft. 2 in. wide. 
 
 44 James, 2nd Marquis of Hamilton (^z) Mytens. 
 
 A very striking portrait, full length, holding the white wand of his office— the 
 Lord- Stewardship of the Household to James I. He is dressed in the Spanish 
 fashion, in brown, with a ruff and leather boots. On his breast are the insignia of 
 the Garter, of which Order he was made a knight by James I., and installed in 
 July, 1623. His hat is in his left hand, the staff in his right. The background is 
 a curtain, and a landscape on the right. On canvas, 7 ft. 4 in. high, by 4 ft. 7 in. 
 wide. In the lower right-hand corner is a label with this inscription : — *' yacobus 
 Marchis HatniltonicB, ^tatis suce Ano. Dm. 1622." 
 
 He was a great favourite of the King's, and at an early age made a gentleman of 
 the Privy Chamber; and about 161 5 Lord Steward. His death took place sud- 
 denly at Whitehall on the 3rd of March, 1625, in the presence of the King. *' He 
 was suspected of being poisoned," says Wilson, "the symptoms being very pre- 
 sumptuous, his head and body swelling to an excessive greatness, the body being 
 all over full of blisters, with variety of colours. The hair of his head and beard 
 came off without being touched, and brought the skin with them." His son was 
 afterwards Steward of the Honour of Hampton Court. 
 
 This picture belonged to James I. A paper entitled: — A note of all such 
 pictures as your highnes (hath) at this present, done by severall famous masters owne 
 handes by the life,''^ — to which the date October, 1624, is assigned, was found not 
 long ago in the Record Office. This is No. 13 of that catalogue. We find it again 
 in Charles I. 's catalogue, and it was sold by the Commonwealth to a Mr. Grinder 
 for £20. In each of these old catalogues it is stated to be by Mytens. The engraved 
 full-length by Martin, 1623, described by Grainger, is not from this picture ; but 
 the duplicate of this at Hamilton Palace is engraved in Lodge's Portraits. 
 
 45 Cupids with a Boat {42). [See No. 28.] . . . P. de Caravaggio. 
 
 46 Lady Isabella Bennet, Duchess of Grafton {43) . Kneller. 
 
 Dressed in dark blue relieved with yellow drapery. Her left hand is dipping a 
 shell into a fountain. Her face is handsome, her expression haughty and imperious. 
 
 She was the only child and heiress of Henry Bennet, Earl of Arlington, and 
 became Baroness Thetford and Countess of Arlington in her own right. Charles II. , 
 who, as far as his bastard offspring were concerned, seems to have had a keen eye 
 to the main chance, betrothed her, when only five years old, to his son by Lady 
 Castlemaine, Henry Fitz-Roy, Duke of Grafton, aged eleven years. He was killed 
 at the siege of Cork in 1690, and she afterwards married Sir Thomas Hanmer, and 
 died in 1722. 
 
 47 Margaret Lemon, Vandyck's Mistress (/j) . . . Vandyck. 
 
 Half-length, turned slightly to the left ; she is in loose crimson drapeiy, held up 
 to her bosom by both her hands. Round her throat is a necklace of pearls. Her 
 hair is curled on her forehead. On canvas, 3 ft. high, by 2 ft. in. wide. 
 
Hampton Court Palace. 
 
 17 
 
 This picture belonged to Charles I., and was sold by the Commonwealth in 
 1649 to a Mr. Jasper for £1^. It afterwards appears in James II.'s catalogue. 
 No. 498. There are one or two engravings from portraits of her, but none from 
 this one. 
 
 Mrs. Lemon was certainly the most beautiful and celebrated, though far from 
 being the only, mistress of Vandyck. The great artist in fact loved beauty in every 
 form, and found the seduction of female charms altogether irresistible. She lived 
 with him at his house at Blackfriars, which became the fashionable resort of all the 
 wits and dandies of the town. Among them was the well-known Mr. Endymion 
 Porter, Gentleman of the Bedchamber to Charles I.— whom he had accompanied 
 in his visit to Spain, — and an amateur of learning and the arts. "It was much 
 wondered at," says R. Symonds {see Walpole), " that Vandyck should openly keep 
 a mistress of his, Mrs. Lemon, in the house, and yet suffer Porter to keep her 
 company." His profuseness and the magnificence of his establishment indeed 
 nearly accomplished his ruin. On one occasion the King, who often went down 
 in his barge to visit him, and would spend hours in his company, inquired : — 
 " And you. Sir Knight, know you what it is to want three or four thousand pounds? '* 
 "Yes, Sire," replied the painter, "he who keeps his house open for his friends, and 
 his purse for his mistresses, will soon find a vacuum in his coffers." 
 
 When Vandyck married, Margaret Lemon is said to have been so enraged, that 
 she took a knife and endeavoured to cut the wrist of his right hand, but not suc- 
 ceeding in her attempt, retired in disgust to the continent. {See Walpole's Anecdotes 
 of Painting, C^x^entex''?, Pictorial Notices of Vandyck, ^yst^X-z^x^ Artist Biographiesy 
 and Head's Biography of Vandyck. ) 
 
 48 Head of St. Peter {138) Lanfranco. 
 
 49 Head of Judas Lanfranco. 
 
 50 Lady Mary Compton, Countess of Dorset {47) . Kneller. 
 
 In an orange-coloured dress with a blue mantle with ermine thrown negligently 
 round her. Her right arm rests on a pedestal, her left points downwards. 
 
 She was the daughter of James, 3rd Earl of Northampton, and became in 1685 
 the second wife of the celebrated poet and wit. Lord Dorset. When the Princess 
 Anne deserted her father, she was entertained on the night of her flight by Lady 
 Dorset at their house in Epping Forest. She died in August, 1691. 
 
 51 Landing of William III. at Brixham, Torbay (^cP) . unnamed. 
 
 Compare the companion picture to this. No. 37. 
 
 He landed on the 5th of November, 1688 ; the scroll on this picture says 5th of 
 February, 1689, which is certainly an error. Every incident of the landing de- 
 tailed by Macaulay is depicted here : we see the fragment of rock on to which he 
 stepped, and which is still preserved by the reverential townsmen of Brixham ; the 
 horses for which he called on landing are being brought forward, and his flac; 
 is seen floating from the castle. On the scroll above is the following inscription ; — 
 
 Jhro Konjng Hohojt Prjntz von Oranjen 
 Angelanget jn Engelandt, Ano, idSgu 
 die 5 Fehruarij. 
 
 On canvas, 4 ft. 7 in. high, by 'j\ ft. wide. 
 
 C 
 
i8 
 
 Catalogue of Pictures, 
 
 52 Landscapes, with figures {4g, 50) [See No. 39] . . . . Schiavone. 
 
 She is represented as a shepherdess, in red, with a crook in her right hand and a 
 lamb by her side. Her left hand holds up her dress. 
 
 Unfortunately, it is not certain who was the possessor of this sweet little face ; 
 and, as there were no less than six Lady Middleton's, one a countess, and the others 
 baronets' wives, it is difficult to identify her. Noble, Bromley, and Mr. Chaloner 
 Smith are agreed in distinguishing her from Mrs. Jane Middleton, and the Countess 
 of Middleton, who was a Jacobiie ; but Mr. Smith suggests {see Mezzotint Por- 
 traits) that she was Anne Trevor, who married Alan Brodrick, created Viscount 
 Middleton in 17 10 ; " she was thus Lady Middleton when the print was engraved, 
 but Miss Trevor when the picture was painted." But does not Mr. Smith overlook 
 the fact that the print is inscribed " The Hon^^'''' not *' The Hon'»'« Lady Middle- 
 ton ? " which indicates that her husband was not a peer, but that either he was the 
 son or she was the daughter of a peer ? Others think it is Elizabeth, daughter of Sir 
 T. Wilbraham, who married Sir T. Middleton of Chirk Castle. 
 
 54 Portrait of a Lady, unknown (($'(?i5) unnamed. 
 
 In an oval. Refnoved. 
 
 See note to Nos. 35 and 36. In Waagen's opinion these are not genuine, but 
 proceed rather from Denner's **dry and spiritless imitator, Seiboldt." 
 
 57 Peter the Great, Czar of Russia {60) Kneller. 
 
 Full-length, in armour, with a truncheon in his left hand, and his right hand on 
 his hip. From his shoulders hangs a mantle lined with ermine and embroidered 
 with the double eagle. To the left is a table, on which is the crown imperial. 
 The background, which shows some ships, is said to be signed by W. Vandeveldey 
 but no trace of this exists. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. There 
 is also an inscription, of which I can only make out the words: — Petrus Alex- 
 .ander Magnus Domimts Casar 6^ Magnus Dux Mojcouice. . . . Eques, Pinxit 
 1698." Engraved by Smith. 
 
 This picture was painted for William III. during Peter the Great's visit to 
 England, in the early part of 1698, and probably in the house in Norfolk Street, 
 where he took up his residence and lived in close seclusion. It is considered one 
 of the best portraits of the Czar extant, and well portrays "his stately form, his 
 intellectual forehead, his piercing black eyes, and his Tartar nose and mouth. " His 
 age was then twenty-six years. He naturally excited the greatest curiosity, and 
 became the principal topic of conversation. Every one was full of stories of him ; 
 " of the immense quantities of meat which he devoured, the pints of brandy which, 
 he drank, the fool who jabbered at his feet, the monkey which grinned at the back 
 of his chair," and last, but not least, of his filthy habits. When he went to stay at 
 Evelyn's house, Sayes Court, at Deptford, in order to more conveniently indulge 
 in his favourite pursuit of shipbuilding, Evelyn's servant writes to him : — *' There 
 is a house full of people, and right nasty. The Czar lies next your Library, and 
 dines in the parlour next your study. He dines at ten o'clock and six at night, is 
 
 53 Lady Middleton (^j) 
 
 Kneller. 
 
 55 Youth {366) 
 
 56 Age {367) . 
 
 B. Denner. 
 
 B. Denner. 
 
Hampton Court Palace, 
 
 19 
 
 very seldom home a whole day, very often in the King's Yard or by water, dressed 
 in several dresses." Evelyn himself afterwards remarked "how miserably the 
 Czar had left his house, after three months making it his Court." 
 
 58 Family of Villiers, Duke of Buckingham (241) . Honthorst. 
 
 One of this master's best pictures, and curious as having been painted just before 
 Buckingham's assassination ; Honthorst having arrived in England after the 5th 
 of April, 1628, and the Duke falling a victim to Felton's dagger on the 23rd of 
 August in the same year. It was during those four months that Buckingham's 
 unpopularity reached its highest pitch : he was continually exposed to insult from 
 the populace, and London was placarded with a paper inquiring : — "Who rules 
 the Kingdom?— The King. Who rules the King? — The Duke. Who rules the 
 Duke ? — The Devil ! " He himself was filled with forebodings of his approaching 
 end. He begged Laud to ** put his Majesty in mind to be good to my poor wife 
 and children," and remarked that, "against popular fury a shirt of mail will 
 avail nothing. " 
 
 The Duke is in the middle, seated, and holding the hand of his wife. Lady 
 Katherine Manvers, heiress of Francis, Earl of Rutland. He was accused by her 
 father of seducing her ; but the fact that Lord Rutland nevertheless opposed his 
 marrying her suggests it was false. She afterwards eloped with him ; and they 
 seem to have been much attached to each other. In front of them is their 
 daughter Mary, afterwards Countess of Pembroke and Duchess of Richmond, 
 who was then about seven years old. 
 
 On the extreme left is the Duke's sister, the Countess of Denbigh, who at this 
 time is said to have had supernatural warning of the Duke's impending fate. 
 
 His mother, created Countess of Buckingham in 1618, in a gigantic ruff, is on 
 his left, seated. This is the lady who, acquiring great influence at court by the rise 
 of her son and her own intriguing spirit, was accused with him of poisoning James I. 
 She was the perpetrator of the well-knovm trick played on him of dressing up a pig 
 as a baby and introducing it with a mock bishop to the king, to be baptized ! On 
 either side of her are Buckingham's elder brothers : John, created in 161 9 Baron 
 Villiers of Stoke and Viscount Purbeck, and Christopher, created in 1623 Baron 
 Daventry and Earl of Anglesea. 
 
 The child in front, held by a lady kneeling, is the second and infant Duke of 
 Buckingham, who, when this picture was painted, was only about a year old, having 
 been born on January 30th, 1627. In the background is a portrait, probably of 
 Sir George Villiers, the Duke's father, whose ghost, according to the story, 
 appeared to an old retainer of the family to give warning of his son's danger. 
 
 Small half-length figures. On canvas, 5 ft. 10 in. high, by 8 ft. wide. It is en- 
 graved in Jesse's Meinoirs of the Stuarts. Though not in Charles I. 's catalogue, it 
 was probably painted for him. Petitot, the famous miniature-painter, executed in 
 1640 a head in enamel from the Duke's picture here ; it is now in the Duke of 
 Devonshire's collection. Walpole mentions a similar one belonging to the Duchess 
 of Portsmouth of his day. 
 
 59 Portrait of the Duke of Wirtemburg {^08) Mytens. 
 
 Full-length, standing, facing in front. In his right hand, which is on his hip, 
 he holds his hat ; his left is by his side. He is simply dressed entirely in black. 
 His head is rather bald. He stands on a floor laid with flag-stones ; the background 
 
20 
 
 Catalogue of Pictures. 
 
 is plain. On canvas, 7 ft. 4 in. high, by 3 ft. 8 in. wide. In the lower left-hand 
 corner a white label is painted, on which the word Wittenberg can be made out. 
 
 There is some doubt which Duke of Wirtemburg this represents. Granger, 
 writing in 1775, '^^^ ^o'i'^ authorities, have considered it to be Frederick, the Duke of 
 Wirtemburg, who was in England in 1592, and was invested with the Order of the 
 Garter at Wirtemburg in 1603. But Mr. Rye is of opinion that it "more resembles 
 the portrait of the Duke's eldest son, John Frederick, who succeeded him, and 
 that would better agree with the time of the execution of the picture," which is 
 attributed to Mytens. The Duke of Saxe- Weimar mentions that he saw a portrait 
 of the Duke of Wirtemburg at Somerset House when he was in England in 1613, 
 which is probably this one. If it is Duke John Frederick, very likely it was 
 brought over to England by his brother Prince Lewis Frederick when he visited 
 England in 16 10. Pictures in this collection, dated as early as 1608, are attributed 
 to Mytens, though perhaps erroneously, as he was then only eighteen years old. 
 {See Rye's England as seen by Foreigners, ) 
 
 60 Head of a Man, in a Black Cap {116) Giorgione ? 
 
 Turned to the left ; his face seen in three-quarter view, looking over his shoulder. 
 In his left hand, which is held up, is a glove. Canvas, i ft. 6 in. high, by i ft. lo in. 
 wide. ** A Man in a Hatt," by Georgeone, was sold at the sale of Charles I.'s 
 goods, on the 30th October, 1649, to Colonel Webb for ;^io. 
 
 61 Portrait of a Woman with Flowers (Z27) L. da Vinci? 
 
 Described in Charles I.'s catalogue : — "A picture painted upon a board, being a 
 smiling woman with a few flowers in her left hand, in a wood coloured gilded frame, 
 half so big as the life : bought by the King, said to be of Lionardo da Vinci or his 
 school." She also has a wreath of flowers in her hair ; her dress is a thin light brown 
 vest, and a striped scarf over her right shoulder. On wood, 2 ft. high, by i ft. 
 3 in. wide. 
 
 This cannot be considered a genuine Lionardo da Vinci j if a copy, as it is some- 
 times called, is the original extant ? 
 
 62 Charles II. taking leave of the Dutch States (<5/) . unnamed. 
 
 Above are two angels holding a small portrait of the King, and on either side of 
 it are scrolls with this inscription :—*'vertrek carl stuarts ii nach en- 
 GELANDT Anno 1660, DEN z Juntj.'''' 
 
 Over the church, on the left, is another scroll with " Schevelingen " on it. 
 The figure near the barge, with his hat off, bowing, appears to be the King : the 
 lady is probably his aunt, Elizabeth of Bohemia. The details are worth noticing : 
 the firing of salutes by the fleet and soldiers, the deputations from the States to bid 
 him farewell, the coaches and retinues of the Committees of the Lords and Com- 
 mons, of the City of London and of the clergy, and of private individuals anxious 
 to show their loyalty. 
 
 * ' The King had been very few days at the Hague, when he heard that the 
 English fleet was in sight of Scheveling, and shortly after, an officer from 
 Admiral Montague {see No. 11) was sent to the King to present his duty to him. . 
 . . After eight or ten days spent at the Hague in triumphs and festivities, which 
 could not have been more splendid if all the monarchs of Europe had met there, 
 and which were concluded with several rich presents made to his majesty, the King 
 took his leave of the States, with all the professions of amity their civility deserved, 
 
Hampton Court Palace. 
 
 21 
 
 and embarked himself on the * Prince,' which had been before called the 'Pro- 
 tector, ' but had been new christened the day before, as many others had been, in 
 the presence and by the order of his royal highness the admiral. Upon the four- 
 and-twentieth day of May, the fleet set sail, and in one continued thunder of can- 
 non, arrived near Dover." — Clarendon. 
 
 Pepys, also, who was on board, gives a detailed account of the whole affair — 
 **of the infinite shooting off of guns, of the King's farewell to his aunt, of his 
 getting into the boat, and of the Royal Company dining on board in a coach, which 
 was a blessed sight to see." 
 
 This picture was bought in 1845 for the Royal Collection here. There was a 
 picture in James II.'s collection. No. 313, called "The History of King Charles 
 the Second's taking shipping at Scheveling in Holland," perhaps No. 334. 
 
 63 Portrait of a Man in Black, with a Tablet (46) . . . L. da Vjnci? 
 
 Fine, but not by the master. Part of his shirt shows near his throat ; he wears 
 a black cap. Painted on a dark blue ground. The tablet is inscribed with the 
 motto : "CARPENDO CARPERis IPSE." On wood, I ft. II in. high, by i ft. 4 in. wide. 
 
 64 Infant Christ caressing St. John (jpz) . . . L. da Vinci? 
 
 It is described in Charles I.'s catalogue thus : — '* No. 26. A piece of two naked 
 children embracing one another, signifying Christ and St. John in the desert : said 
 to be done by Parmentius, changed by the King with my Lord Steward Pembroke, 
 deceased, for a Judith, (which said two children the King had amongst the Mantua 
 collection of pictures ;) a copy which Sir James Palmer had given him. Painted 
 upon the right light." The background is brown rocks, and a bluish green land- 
 scape, with distant mountains. On wood, 2 ft. high, by i ft. 6 in. wide. 
 
 This fine picture is reckoned by some to be a replica, by others an early and 
 good copy by some Netherlandish artist. 
 
 65 Marie Beatrix of Modena, Queen of James II. {4^4) Kneller. 
 
 Full length, in an orange-coloured dress, with green drapery. Her right hand is 
 on a large vase in which is an orange-tree. The elbow of her left arm leans on a 
 pedestal, while her hand holds up the drapery over her shoulder. On canvas, 7 ft. 
 high, by 4 ft. 4 in. wide. 
 
 This picture was probably painted about the time of her stepdaughter's marriage 
 with the Prince of Orange in 1677, her costume and the orange-tree being ap- 
 parently introduced in compliment to that alliance. She was then nineteen, having 
 been married in 1673, at the age of fifteen, to the Duke of York, who was forty ! 
 Her sylph-like shape and exquisite beauty, and particularly her lustrous black eyes, 
 were then the theme of every poet : — 
 
 ' ' Those charming eyes, which shine to reconcile 
 To harmony and peace our stubborn isle," 
 wrote Lord Lansdowne, in an epistle in celebration of the marriage ; and again : — 
 *' Those radiant eyes whose irresistless flame 
 Strike envy dumb, and keep sedition tame. " 
 
 "Envy" and "sedition," however, in after years, when perhaps their brilliancy 
 was dulled, paid little heed to them. To her stepdaughter, the Princess Anne, 
 she was especially obnoxious : *"Tis enough to turn one's stomach," wrote the 
 Princess, "to hear what things of flattery are said to her, and to see how mightily 
 she is satisfied with it." 
 
Catalogue of Pictures, 
 
 This portrait was probably found here by Queen Mary after her father's flight, and 
 was banished to Eushey House. William IV. found it there and sent it back here. 
 It is attributed to Kneller. "Vat de devil ! de Prince of Wales de son of de 
 brickbat ouman?" said he, when the Pretender was said to be a spurious child; 
 "it is von lie ; his fader and moder have sat to me about thirty-six times a-piece, 
 and I know every line and bit of their faces. " 
 
 The mezzotint by Blooteling is not from this portrait, as has been said, but from 
 one by Lely, in which she faces to the right. (See John Chaloner Smith's British 
 Mezzotinto Portraits. ) 
 
 Jacob de Brag and his Family representing the Banquet of 
 
 Cleopatra (j-p) By himself. 
 
 The painter as Antony, and his wife as Cleopatra, are sitting side by side at a 
 table covered with a white cloth. He is looking at her, and she, seen in profile, in 
 a red dress with gold braid, is taking the pearl earring from her left ear with her 
 right hand. On her head is a small crown with gems. In her left hand she holds 
 a glass of vinegar. Behind are two women ; in the background a black servant y 
 to the left three men standing with pikes ; and in front five children, with bowls, 
 a mortar and pestle, and a dish. Altogether twelve half-length life-size figures. 
 Canvas, 5 ft. 6 in. high, by 5 ft. 4 in. wide. 
 
 This picture was No. 769 of James II. 's catalogue: — "The history of Mark 
 Antony and Cleopatra. By John Thebray." In recent times it has been attributed 
 to Solomon, the father of Jacob de Brag, but probably enoneously. He was an 
 inferior artist to his son, to whom Waagen assigned this work, remarking that he 
 here appears as " a careful follower of Rembrandt. The conception is vivid, the 
 colouring warm and transparent, and the execution careful." The children in the 
 foreground are especially life-like. 
 
 This is, perhaps, a solitary example in England of this very rare painter, who 
 flourished about the time of Charles II. He died in 1664. Pilkington says he was 
 living in 1 680, but he appears to confuse him with his son, a painter of still-life. 
 (See "Descamps;" and Balkema's Peintres Flamands.) 
 
 Architectural Subject (^2). [See No. 25.] Rousseau. 
 
leconti l^resence l^'ftamfterv 
 
 |LTHOUGH thus named now, this in William IIL's time was 
 spoken of as "The Privy Chamber," as is evident from Wren's 
 estimate for its decoration, and the report of the Board of 
 Works on his charges for the same. The vdndow stools were to 
 have been marble, but the expense was thought too great, and oak was 
 substituted. Between the three windows are two old looking-glasses fixed 
 in panels; their borders of ornamental glass are worthy of notice. 
 
 The carbingS in limewood — over the doorways, round the panel pictures, 
 and Van Somer's Christian IV., King of Denmark, which has hung in its 
 present position for about 200 years — are, like those in the last room, by 
 Gibbons. The ceiling, the oak panelling, and the fire-place with its cast- 
 iron back, dated /. 1687, are also similar to those already noticed. The 
 hangings were " very ancient tapestry, but rich, the lights being all gold, 
 and the shadows silk ; the subject of those on the left, Hercules and the 
 Hydra, and those on the right, Midas with his ass's ears , " where these were 
 removed to, or when, is not known. 
 
 Of the two matflle taiUlS, the second is of William IH.'s time, the other 
 is later. From the carved ceiling hangs a gilt chandelier of twelve branches. 
 On a door, which leads into the lobby to the King's or Cartoon Gallery, is 
 a lock with decorative brass-work, cupids holding the crown over the letters 
 W. M, jR. arranged in a monogram. This room's dimensions are : — length 
 33^ feet, width 30^: feet, and height 30 feet. 
 
24 
 
 Catalogue of Pictures, 
 
 68 Ruins in a Landscape (<5j). [See No. 25.] Rousseau. 
 
 69 Esther fainting before Ahasuerus {160) .... Tintoretto. 
 
 On the left the king, behind whom is a man in armour, is anxiously descending 
 the steps of his throne. Esther, in front, is being held up by a woman and a man. 
 Several others are crowding round. On the steps near the king is a boy with a 
 cat. Altogether, about twenty life-size figures, with a few in the distance. On 
 canvas, 6 ft. 9 in. high, by 8 ft, 9 in. wide. 
 
 It was acquired by Charles I., probably after 1639, as we do not find it in his 
 catalogue. In 1642 Ridolfi, in his Life of Tintoretto, says that the gallery of 
 the King of England contains many pictures by him, *• collected at great expense by 
 that magnanimous Prince." When the inventory of the "late King's goods" was 
 taken by the Commonwealth, " The Story of Queen Hester, by Tintorett," was at 
 St. James's, and sold, i8th of June, 1650, to Mr. Smith for £\20. At the Resto- 
 ration it was found in the custody of Emanuel de Critz, son of the late Serjeant 
 Painter, and was restored to the Royal Collection (7th Report of Historical Com- 
 mission, p. 90). In 1 712 this, and others of the queen's pictures, four of which 
 are now here, were engraved by Gridelin ; this one in reverse. 
 
 Of this work Waagen remarks that it is "one of the most admirable specimens 
 of this unequal master. The very dramatic mode of conception is particularly cha- 
 racteristic of his fiery spirit. The heads are full of meaning ; the colouring of that 
 depth, transparency, and glow peculiar to him alone, and painted in a solid body, 
 as spirited as it is careful." The original sketch is at Madrid. 
 
 70 Portrait of a Lady in a Green Dress {141) . S. del Piombo? 
 
 Though not by the master, this is generally considered a very excellent and life- 
 like portrait. It belonged to Charles I. Behind is his brand — C.R., and a crown 
 above, and in his catalogue it is entered, p. 129 : — *' The picture of a certain woman, 
 painted upon a board, in green apparel, said to be done by Bartolomeo del Piombo ; 
 so big as the life, painted upon a board, half a figure." It was also in James 11. 's 
 catalogue : — ** A woman's head in a green garment, her hands one upon the other, 
 with an embroidered cap." It is a full face. Her dress, which is up to the throat, 
 is trimmed and slashed with white. In her left hand are her gloves. Her cap is 
 green, embroidered with gold. On wood, 2 ft. 6 in. high, by 2 ft. 2 in. wide. 
 
 It has been ascribed by some to Andrea del Sarto, an ascription which is con- 
 firmed by an entry in the Commonwealth inventory of King Charles's pictures : — 
 "A woman in green by Andrea del Sarto, sold to Mr. Bass, December 19th, 1651, 
 for £\ooy 
 
 71 A Lady Playing on the Virginals {636) . Bernardino Licinio. 
 
 Three half-length figures, life-size. The lady seated at the instrument is in a 
 deep orange-coloured dress ; she is turning, as she plays, towards a man in a striped 
 cap who is looking over her right shoulder. He is apparently going to sing to her 
 accompaniment. An old lady is seen in profile on the right, listening. On can- 
 vas, 2 ft. 8 in. high, by 3 ft. 3 in. wide. 
 
 This was in Charles I. 's collection, though the description of it in his catalogue, 
 p. 133, is rather misleading: — "The picture of 'Pardenone,' painted by himself, 
 after the life, playing on a lute." It came into his possession with the rest of the 
 Mantua Collection in 1628. In an inventory taken at Mantua in 1627 of the pictures 
 
Hampton Court Palace. 
 
 25 
 
 belonging to the Duke it is entered, "A Lady tuning a lute, three portraits, in half 
 length," but attributed to P. Bordone. (D'Arco, Notizie, ii., p. 160.) 
 
 In James II.'s catalogue it is called inaccurately, " A picture by Pordenone, his 
 wife, and daughter, playing on the Virginals." 
 
 The authority of Messrs. Crowe and Cavalcaselle, confirming that of Dr. Waagen, 
 has now decided that this and No. 104 are not works of Pordenone's, but of his 
 kinsman and imitator Bernardino Licinio, who is frequently confounded with him, 
 though far behind him in every branch of his art. He was born about 1 500, and 
 his latest pictures are dated 1541 : one of his earliest ones, dated 1524, is No. 104 
 opposite. Bernardino excelled chiefly in portraits, and he was fond of groups like 
 these : a father with his wife and family gathered round a table ; people, at a mu- 
 sical instrument, playing and singing together ; a painter with his pupils. 
 
 The critics just cited regard this as " fair in arrangement and lively in movement ; 
 though injured by abrasion, the colour is pleasant, and shows less uniform ruddi- 
 ness than usual." — {Hist, of Painting in North Italy, ii., 294.) 
 
 72 Portrait of a Sculptor {dy) Leandro Bassano. 
 
 Half-length, in black with slashed sleeves ; short black hair and a pointed beard. 
 In his left hand he holds a statuette. On canvas, 3 ft. 9 in. high, by 2 ft. 2 in. 
 wide. Waagen attributed it to Giacomo Bassano ; iDut Leander Bassanus is in- 
 scribed in the upper right-hand comer. It is one of the best portraits in the 
 collection. 
 
 73 Diana and Actaeon {136) Giorgione 1 
 
 This belonged to Charles I. It is described in his catalogue, page 131, as "A 
 piece, being Actseon, containing in a troop upon the first ground some twelve 
 figures, where Diana and her nymphs are washing ; and in a landscape some four- 
 teen little entire figures more afar off. Bought by the king of Mr. Endymion 
 Porter. Done by Giorgione." On canvas, 3 ft. 2 in. high, by 6 ft. wide. Actseon, 
 who is dressed in red in Venetian costume, is standing with outstretched arms, 
 his head just turned into a stag's. Three of the nymphs are nude ; eight others 
 behind are playing on musical instruments ; and to the left are two, standing. The 
 figures in the distance are riding and hunting. 
 
 Of this Mr. Thome remarks : Certainly not by Giorgione ; if Venetian at all, it 
 is by a much later painter." Others, however, attribute it to Bonifazio ; and 
 Waagen to Palma Vecchio. 
 
 74 Portrait of a Gentleman {Sgy) unnamed. 
 
 Half-length, nearly full-face, with a beard, looking off to the right ; in a black cap 
 and dress, trimmed with white at the neck and wrists. He holds up his right hand, 
 and his left under it. On canvas, 2 ft. 4 in. high, by 2 ft. wide. 
 
 75 The Death of Lucretia {410) Titian. 
 
 This was in Charles I.'s collection, and purchased by him with the rest of the 
 Mantuan Collection. It is entered in his catalogue, page 2 : — "A standing Lu- 
 cretia, holding with her left hand a red veil over her face, and a dagger in her other 
 hand, to stab herself. An entire figure half so big as the life. A Mantua piece, 
 done by Titian." She is nude ; the drapery floats about her head and shoulders. 
 In the background a landscape. On canvas, 3 ft. 2 in. high, by 2 ft. 2 in. wide. These 
 dimensions are the same as those given in Charles's catalogue ; it is undoubtedly 
 the same piece, and seems to be identical with a picture mentioned in the Inven- 
 
26 
 
 Catalogue of Pictures, 
 
 tario della Galleria di quadri, e di altri oggetti d'arte della Corte dei Duca 
 di Maniova, comptlato aW anno 1627," printed in D'Arco's Notizie, ii., p. 165. 
 " Uno quadro con dipinta Lucretia Romana ignuda, opera di Titiano.^^ It was 
 afterwards valued by the Commonwealth at £200, and sold for that sum to a Mr. 
 Baggley on the 23rd of October, 165 1, but reappears in King James's catalogue, 
 480 : — "A Lucretia with a red mantle small to the life, by Titian." 
 
 Nevertheless, Messrs. Crowe and Cavalcaselle will not allow it to be genuine. 
 "It has none of the grace or tone of Titian's creations. The coarse herculean 
 form and a flush of brown tinting, point to a Venetian disciple of the master." — 
 {Life and Times of Titian.) Lord Malmesbury has a copy of it. 
 
 76 A Magdalen, or Mater Dolorosa {log) after Titian. 
 
 Half-length, looking to the left ; hands clasped. In a white coif. On wood, 
 2 ft. 6 in. high, by 2 ft. wide. In the upper right-hand corner is painted : — 
 "la sconsolata." 
 
 77 The Nine Muses in Olympus {164) Tintoretto. 
 
 The figures are life-size. They are represented in the clouds, most of them with 
 musical instruments ; the sun in the distance. On the left is one, seated, with a 
 guitar ; near her another (Clio?) recumbent ; above them another, floating in the 
 air. In the middle Urania (?) recumbent, with a chart. Behind her another, 
 playing a spinet. The figure of the Muse on the right, turning her back is, as Mrs. 
 Jameson truly observes, "in a style of grandeur, which proves that when Tintoretto 
 wrote on the wall of his studio : * II desegno di Michel Angelo — il colorito di 
 Tiziano,' he did sometimes aim in earnest at this combination of excellence, and 
 not unsuccessfully." In the lower left-hand corner is inscribed: — "lACOMO TEN- 
 TORETO EN VENETIA," On canvas, 6 ft. 8 in. high, by lo ft. 6 in. wide. It was 
 engraved by Gribelin for Queen Anne in 1712. 
 
 This picture is universally considered one of his masterpieces. It is doubtless 
 identical with the same subject, which formed one of the four mythological pictures, 
 painted, according to Ridolfi, writing in 1642 (See Vita di Giacopo Robusti^ 
 page 67), for the Emperor Rodolph IL — (See No. 630). This must, therefore, be a 
 work of the master's later time, for he died at the age of eighty, in 1594, and the 
 date of Rodolph's accession is 1576. The description, however, given by Ridolfi 
 does not entirely accord with this, for he speaks of the Muses as " playing various 
 instruments in a garden.'''' The four others appear to be lost ; but this passed into 
 Charles I.'s collection, and we find from the inventory made by order of the Com- 
 monwealth after his death, that it was then at Greenwich, was valued by the Com- 
 missioners for the sale of the king's goods 2X£%o^ and was sold May 2 1st, 165 1, to 
 Mr. Widmore for;^ioo. It was afterwards restored to the Royal Collection, and 
 appears in James II. 's catalogue, No. 763 : — "A large piece being the Nine Muses. 
 By Tintoret." 
 
 78 A Dominican Monk ? {772) Giacopo Bassano. 
 
 Slightly bald ; beard grizzled ; in a black habit, apparently ecclesiastical. He 
 looks off to the left. On canvas, 2\ ft. high, by 2 ft. wide. 
 
 79 A Holy Family {632) Palma Vecchio. 
 
 The Infant Jesus on the right, on the Madonna's knee, is stretching forward to 
 receive a wreath of roses tendered him by St. Bridget, and seems doubtful whether 
 he shall take it or not. A man in armour, with a banner, is seen on the left behind ; 
 
Hampton Court Palace. 
 
 27 
 
 he is supposed to be either St. Hulfus, the husband of St. Bridget, or a portrait of 
 the donor. Half-lengths. On wood, 2 ft. 6 in. high, by 3 ft. 11 in. wide. 
 
 That this belonged to Charles I. is evident from his cypher at the back of the 
 panel ; and it is probably identical with the picture in the Commonwealth inven- 
 tory : — "Mary, Christ, a bishop and St. Catherine; by old Palma," sold to Mr. 
 Harrison, October 23rd, 165 1, iox £^0. 
 
 This is a replica, with some variations in the movements of the Infant Jesus, of a 
 panel in the Madrid Museum, which Messrs. Crowe and Cavalcaselle believe to be 
 a work of Titian's Palmesque period. They consider this replica a " careful but 
 feeble work with some Titianesque character and light rosy tones, paler than the 
 original." There is the same subject at Blenheim. '* The female with the flowers- 
 is the same lovely girl that Palma painted in the panel called ' Violante,' in the 
 Belvedere at Vienna." — {Titian, i., 11 1; zxA Painting in North Italy, ii., 153.) 
 
 Portrait of a Gentleman {883) Dosso Dossi. 
 
 Half-length, facing in front. He is dressed in a dark bluish robe, with a black 
 cap. His right hand is on his breast ; in his left are some papers ; his fingers have 
 rings. Behind him is a green curtain. On canvas, 2 ft. 8 in. high, by i ft. 1 1 in,, 
 wide. 
 
 This is much damaged, but is probably a genuine work of this very rare and 
 valuable master of the Ferrarese School. (See No. 97.) 
 
 Ruins in a Landscape {82) [see No. 25] .... Rousseau. 
 Philip IV. of Spain {83) Velasquez ? 
 
 Full-length, in armour of steel and gold. He is turned to the right and his face 
 is seen in a three-quarters view. In his right hand he holds a truncheon, his left 
 is on his sword. Round his neck is the Order of the Golden Fleece. He wears high 
 leather boots, spurred ; and round his shoulders is a red scarf. On a table to his 
 right are his crown and helmet, and a lion crouches at his feet behind him. A red 
 curtain forms the background on the left ; and a landscape on the right. On canvas, 
 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 Philip IV., who strongly resembled our own Charles I. in his inaptitude for poli- 
 tics and his love of art, resembles him also in the multitude and variety of his por- 
 traits, so that "his pale Flemish complexion, his fair hair, heavy lip, and sleepy grey 
 eyes, his long curled moustachios, dark dress and collar of the Golden Fleece," are 
 almost as familiar to us as " the melancholy brow, pointed beard and jewelled star " 
 of Charles I. And not content with ordinary attitudes, he even insisted on Velasquez, 
 painting him at his prayers ! There are other points of superficial resemblance which, 
 as their portraits hang side by side in this room, may be here noticed. 
 
 They each married a daughter of Henri IV. ; they each patronized Rubens ; they 
 each were on terms of the closest friendship with one of the greatest masters of portrai- 
 ture, Vandyck, and Velasquez ; and as Charles I. bought the incomparable artistic trea- 
 sure of the Duke of Mantua in his distress, so did Philip IV., after the execution of 
 Charles, became one of the largest purchasers at the dispersal of that priceless collec- 
 tion which he had first been incited to form when viewing, on his romantic visit with 
 Buckingham to Madrid, the magnificent galleries of the Kings of Spain. 
 
 It is doubtful whether this portrait, and its companion, No. 90, are genuine works- 
 of Velasquez. Dr. Waagen thought they did not agree with the authentic works of 
 that master known to him, " but show a far greater affinity to Rubens." Rubens, as is- 
 
2% 
 
 Catalogue of Pic hires. 
 
 well known, was sent by the Archduchess Isabella (see No. 343), in August, 1628, 
 on a mission to her nephew the King of Spain to urge peace with England ; and he 
 certainly painted portraits of the royal family during his stay of eight months in 
 that country (see Stirling's Annals of Artists in Spain, p. 546). But Philip IV., 
 who had succeeded to the throne in 1621, was then only twenty-three years of age, 
 and his wife only twenty-six, whereas in these portraits they both appear consider- 
 ably older. The same reasoning would apply even if Rubens' alleged second visit in 
 1630 were not held to be satisfactorily disproved (see Stirling, p. 551). On the 
 other hand, Sir Stirling Maxwell, who enumerates and describes no less than twenty- 
 three portraits of Philip and nearly as many of his queen, Elizabeth, by Velasquez, 
 altogether ignores these. They are, however, in Velasquez' style ; and M. Louis 
 Viardot thinks that they come at any rate from his studio (see Musees d^Angk' 
 terre). But they do not appear to be copies or replicas of any known originals. 
 
 As to when they came into the Royal Collection there is nothing to show except 
 that "The now King of Spain, at length" and "The now Queen of Spain, at 
 length" were sold by the Commonwealth, October 29th, 1651, the two for _;^40, 
 to Mr. Jackson. 
 
 '83 A Man in Armour {386) Correggio? 
 
 Full-face, half-length. Thus described in Charles I.'s catalogue, p. 142 : — "A 
 defaced gentleman's picture, without a beard, band, or ruff, in armour, holding a 
 long truncheon in his left hand. Done upon a rotten cloth pasted upon a new 
 board. A Mantua piece." On canvas pasted on wood, 3 ft. i in. high, by 2 ft. 
 4 in. wide. On the back of the panel is Charles I.'s cypher, " C.R." and the crown 
 above, and also a small piece of paper on which is written, "From Mantua, 1628." 
 
 -84 Portrait of a Venetian Senator {jsS) Pordenone? 
 
 Half-length, full-face ; his body turned towards the right. He wears a black 
 robe trimmed with grey fur. His right hand is at his side j in his left he holds a 
 paper. On canvas, 3 ft. 4 in. high, by 2 ft. 8 in. wide. 
 
 ,85 Charles I. on Horseback {Sy) Vandyck. 
 
 "The Monarch is seen in nearly a front view, with his head uncovered, and his 
 dark hair flowing on a rich lace frill, which encircles the neck, and forms a fine 
 relief to the brilliant suit of armour in which he is clad ; his right hand grasps a 
 baton poised on the housings of the saddle ; the beautiful grey charger on which he 
 is mounted is viewed in a foreshortened position, advancing from under a lofty 
 archway." By his left side, on the right of the picture, stands M. St. Antoine, his 
 equerry, who holds his helmet and looks up at him. On canvas, II ft. 8 in. high, 
 by 8 ft. 6 in. wide. 
 
 There appear to have been two pictures sold by the Commonwealth of " King 
 Charles on Horseback by Vandyck ; " one at this Palace, 22nd November, 1649, 
 to Mr. Boulton for ; and another at Somerset House, 21st June, 1650, to 
 Sir Balthazar Gerbier for ;^200. Walpole says that the one which was at Kensing- 
 ton when he wrote, was the picture recovered at the Restoration from Remee van 
 Leemput the painter, and Mrs. Jameson says he had bought the one now at Windsor 
 for £200, and "at the Restoration demanded 1,500 guineas for it, but it was 
 recovered by a legal process and removed to Kensington Palace. " Perhaps Remee 
 had got it from Gerbier. The one which was sold for £\(i was probably a replica, 
 but it is not clear which of the two this is. In James II. 's catalogue only one is men- 
 
Hampton Cou7^t Palace. 
 
 29 
 
 tioned : — "King Charles the first on horseback ; Mons" St. Antwaine by him ; bf 
 Vandyck " — which was then at Hampton Court. 
 
 The picture before us (which is 5 inches higher and broader than the one at Windsor) 
 is at any rate a very fine replica, and by some is believed to be the original. There 
 are other replicas, or copies by Vandyck's scholars, at Warwick Castle and at Lam- 
 port Hall, Northamptonshire; the original study for it is at Petworth. It was 
 engraved by P. Lambart in Charles's lifetime, but the plate was afterwards 
 altered, and Cromwell's head inserted in place of the King's ; it has also been 
 engraved by B. Baron. 
 
 This picture is supposed to have been painted by Vandyck, very soon after his 
 arrival in England for the second time, in April, 1631 ; on July 5th of the following 
 year he was knighted, and invested with the title of "principal paynter in ordinary 
 to their Majesties." 
 
 M. St. Antoine— "St. Anthony the rider" as he was called— was sent over to 
 England by Henry IV. of France to Prince Henry as riding-master or equerry, 
 with a present of six magnificent horses. Charles I. afterwards took him into his 
 service in that capacity. Mr. Rye has shown that he has no claims to the dignities 
 of "Chevalier d'Epernon" and "Duke d'Espernon," which Walpole, Dellaway, 
 &c., have conferred on him. {England as seen by Foreigners, p. 253). 
 
 16 Madonna and Child (726) unnamed. 
 
 On canvas, l ft. 8 in. high, by I ft. 5 in. wide. 
 
 17 Diana and Actseon (pp) ..... after Titian by Paul Veronese? 
 
 Diana is seated on the right, and a negress behind her is drawing some drapery 
 over her. A nymph, nude, is standing by a small round basin. Actseon is coming 
 in on the left. On canvas, 2 ft. 6 in. high, by i ft. 10 in. wide. 
 
 This is a small copy, with same varieties, of the Madrid copy of the famous Actseon 
 in the Ellesmere collection ; and a similar copy belongs to Lord Yarborough. 
 Another is at Prague, attributed to Paul Veronese, and this one is probably by the 
 same master ; and seems identical with the "Actseon and Diana, with some little 
 entire figures, being the sixteenth piece of twenty-three pieces, which the King 
 bought of Frosley. Done by Paul Veronese," in Charles I.'s catalogue, p. 147. 
 The dimensions, at any rate, of that piece are exactly the same as those given 
 above. 
 
 58 Tobit and the Angel ; in a small Landscape (p/) . . . Schiavone. 
 
 He has the fish in his left hand, and is prostrating himself before the angel. On 
 canvas, i ft. 10 in. high, by 2 ft. 6 in. wide. 
 
 This must have belonged to Charles I. ; for at the Restoration "A piece of 
 Tobit, by Andrea Chavone," which had belonged to the late king, was found in 
 the possession of John Cade, who had bought it for;^3 10s. In James II.'s cata- 
 logue it is No. 966 : — "A small piece, being Tobias and the Angel." 
 
 " Genuine, but very mannered." — (Waagen.) 
 
 59 Worshipping the Host {gg6) Bassano. 
 
 A bishop holds the monstrance and is attended by two priests ; soldiers and others 
 are prostrating themselves. On canvas, i ft. 75 in. high, by i ft. 4 in. wide. 
 
 )0 Elizabeth de Bourbon, Queen of Philip IV. (p7) . Velasquez? 
 
 Full-length ; standing on a Turkey carpet which covers a sort of stone platform. 
 
30 
 
 Catalogue of Pictures, 
 
 She is richly dressed in brown embroidered with silver, with a large ruff, her hair 
 puffed out. Her skirt is distended with the hoop which was the fashion of the 
 time. In her left hand is a closed fan ; her right rests on a chair. In front of her 
 is a little dog barking. In the background to the right is seen a landscape. On 
 canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 This portrait was evidently painted towards the close of her life, as she died in 
 1644, at the age of forty-two. What is said by Stirling of another portrait of her, 
 may be remarked also of this : — " Her cheeks whisper that the pencil and rouge- 
 pot, the bane of Castilian beauty, were not banished from her toilet, but the arti- 
 ficial roses have been planted by the dextrous hand of a Frenchwoman, and merely 
 heighten the lustre of her large black eyes." — {Annals, p. 632.) Ladies, in 
 fact, seem to have been even fonder of "enamelling " in those days than now, for 
 they did not confine their embellishments to their faces only, but went so far as to 
 paint their hands, ears, shoulders and necks. 
 
 With regard to the painter of this picture, see note to No. 82. 
 
 91 Portrait of a Knight of Malta (^j-p) Tintoretto. 
 
 Half-length, turned towards the left, face seen in a three-quarters view. He 
 wears a black dress, cloak and cap. On his breast and left arm is the cross of 
 Malta. His hands have leather gloves and are in front of him. On canvas, 3 ft. 
 5 in. high, by 2 ft. 8 in. wide. Painted in an oval. 
 
 "A cavaher by Tintoret, done in an oval" was sold by the Commonwealth to 
 Mr. Harrison, October 23rd, 1651, for ^^^IS; and "A picture of a Knight of 
 Jerusalem," valued at £10, which had belonged to Charles I., was found at the 
 Restoration in the possession of Edmund Harrison. In James It.'s catalogue it 
 appears as " One of the Knights of Malta, in an oval black fi-ame." 
 
 92 Portrait of a Man with a Red Girdle (jo) . . Pordenone. 
 
 Half-length, looking to the left, his face seen in a three quarters view. His left 
 hand is on his breast. He is dressed in black, except the red girdle round his 
 waist. His cap is a little on one side. He has long hair and a beard. On the 
 left a bit of landscape is seen. On canvas, 2 ft. 1 1 in. high, by 2 ft. 5 in. wide. 
 
 A picture which corresponds to this is in Charles I.'s catalogue, page 140, and 
 called "A Mantua piece." In James II. 's catalogue, No. 515, it is attributed to 
 Giorgione. 
 
 "Much injured, but still in Pordenone's manner." — (Crowe and Cavalcaselle.) 
 "Animated, in a warm golden tone." — (Waagen.) 
 
 93 The Vision of St. Francis (95) Carlo Maratti. 
 
 The Madonna seated in clouds, and attended by angels, has appeared to him in a 
 vision. He holds the Infant Jesus in his arms, and bends over him reverentially. 
 
 94 Head of an Old Man {378) Bassano. 
 
 He is seen to the elbows and wears a furred coat, and small plaited linen rufif. 
 Perhaps this is a portrait of Bassano ; and the one in James II. 's catalogue, No. 
 125 : — " Bassan's picture, in a ruff and fur gown, done by himself." 
 
 95 The Good Samaritan {563) Bassano. 
 
 The Samaritan is bandaging the leg of the man, who lies on his back. Behind 
 them is a donkey, and to the right a man praying, and a dog looking at them. On 
 
Hampton Court Palace. 
 
 31 
 
 canvas, 2 ft. i in. high, by 2 ft. 9 in. wide. Behind is a label : — Bassan ap- 
 pointed by his Maf^ fory' Cabinett-Roome at St. James's. Thys 18 daye of Mayt 
 1 630.** 
 
 The following entry in the inventory of Charles I.'s effects doubtless refers to 
 this picture : — "Hampton Court. The Samaritane, by Old Bassanoe. Sold to 
 Mr. Turbridge, 30th April, 1650, for ;i^22." It is afterwards found in James II. 's 
 catalogue. No. 121. This subject was often repeated by Bassano. 
 
 j6 Portrait of a Venetian Gentleman {416) Tintoretto. 
 
 Bust, in black, with a small collar. He has black hair, moustache, and beard. 
 
 57 A Holy Family {151) Dosso Dossi. 
 
 This was in Charles I.'s collection and is described in his catalogue, page 138, 
 as : — "A great piece of Our Lady and Christ playing with a Cock in his arms ; 
 Joseph and another saint standing by, in a landscape. A Mantua piece. Done 
 by Dosso." And it is doubtless identical with a picture entered in the catalogue of 
 the Duke of Mantua's pictures made in 1627 : " Uno quadro grande con la 
 Madonna, il puttino che scherza con un gallo, et SS. Pietro et Paolo" — which was 
 valued at 360 lire. We find it also in the Commonvi^ealth inventory, folio 203 : — 
 * * Mary, Christ and Joseph with a cock in it ; by Persee " {i. e. Dossi), valued at -^80, 
 and sold to Wm. Proctor, November 7th, 1649, for ^100 — and in James II. 's. 
 No. 166 : — " A Madonna with Elizabeth and Joseph, Zachariah and a white cock. 
 By Dosso." The Blessed Virgin, who is seated and pointing to Jesus, is richly 
 attired in a crimson robe, with a blue mantle embroidered with gold ; round her 
 head is the nimbus. St. Elizabeth is seated on the ground adoring the Holy 
 Child, who holds the white cock under His right arm. St. Joseph with his arms 
 folded, and Zachariah on the left, contemplate the Virgin and Child. On canvas 
 pasted on wood, 5 ft. 6 in. high, by 5 ft. 7 in. wide. 
 
 In Waagen's opinion this is too feeble in drawing for Dosso Dossi ; he attributed 
 it to his brother Giovanni Battista Dossi, who was more successful in landscapes 
 than in figures. 
 
 ^8 Christian IV. King of Denmark (zoo) .... Van Somer. 
 
 A striking full-length portrait ; turned to the right. He is in a sort of buff 
 jacket with high leather boots, and a down-falling ruff. His right hand rests on 
 his hip, his left leans on a stick. He wears the Order of the Golden Fleece, In 
 the background to the left is a distant view of the Tower of London. 
 
 This portrait was probably painted when Christian IV. was on a visit to England 
 in 1606. On that occasion, as also on his subsequent visit in 1614, he was enter- 
 tained by the King, and the Queen his sister, with the greatest magnificence. 
 Running at the tilt, bear-baiting, hunting, tennis, plays and masques, and a hundred 
 other amusements welcomed him. He visited also this Palace, where he dined, 
 and "hunted and killed deare with great pleasures, and surely the King of 
 Denmarke was very much delighted with the gallantnesse of these Royal Pallaces of 
 his Majestic." James, who was himself not averse to a little joviality, thought the 
 visit of his brother-in-law, who was a boisterous jolly fellow, a good pretext for a 
 regular "fling." A letter-writer of the time remarks : — *'I think the Dane hath 
 strongly wrought on our good English Nobles ; for those whom I could never get 
 to taste good English liquor, now follow the fashion and wallow in beastly de- 
 lights. The ladies abandon their sobriety, and are seen to roll about in intoxi- 
 
32 
 
 Catalogue of Pictures, 
 
 cation." Before his departure James presented him with a sword and belt worth 
 upwards of;i^i7,ooo ; and his whole suite received presents on a similar scale. 
 
 There are several replicas of this picture, but this one is probably identical 
 with that described in the inventory of Charles I.'s goods as: — "The King of 
 Denmark, at length ; " and sold by the Commonwealth at Hampton Court to Mr. 
 Jackson for £20. 
 
 99 Cupids and Satyrs {loi) P. da Caravaggio. 
 
 This belonged to Charles I. On the back of the panel are his cypher and an 
 inscription, identical with those on other similar pieces before noticed. (See No. 
 32,) On wood, I ft. high, by 4 ft. long. 
 
 100 Jacob, Rachel, and Leah {102) G. Cagnacci. 
 
 He is seated, with a skin over his legs ; they are standing on both sides looking 
 at and speaking to him. Another figure with sheep is behind. On canvas, 5 ft. 
 high, by 6 ft. wide. 
 
 101 A Shepherd with a Pipe {jST) Giorgione ? 
 
 This was in Charles I. 's collection ; it is thus described in his catalogue, page 
 127 : — ** A Shepherd without a beard, with long hanging hair, holding a pipe in 
 his right hand, being some part in his white shirt, at his left side some drapery so 
 big as the life, to the shoulders. Done by Giorgione. Bought by the King." 
 
 It is also No. 540 of James H.'s catalogue : — " A piece being a man's picture 
 to the waist, with a pipe in his hand," and there called a Giorgione. On canvas, 
 I ft. II in. high, by I ft. 8 in. wide. 
 
 Of this subject, there are frequent repetitions ; at Bowood, Lord Lansdowne's, in 
 the National Gallery at Edinburgh, &c. ; besides others abroad. Messrs. Crowe 
 and Cavalcaselle observe that, "though no one of the extant replicas can be 
 admitted as genuine Georgiones, they may have all been derived from an original 
 that has been lost." This particular one has been so repainted as to scarcely look 
 the same. If not by Giorgione, it was perhaps by Delia Vecchia, whose imitations 
 of him were wonderful. 
 
 102 An Italian Knight (^p) Pordenone? 
 
 Half-length in black ; his left hand on the hilt of his sword, his gloves in his 
 right hand. Full face ; reddish hair and beard. On his breast is a gold Maltese 
 cross, with the Crucifixion in enamel. Painted on a dark green ground. On 
 canvas, 2 ft. 11 in. high, by 2 ft. 5 in. wide. 
 
 Pronounced "not genuine " by Messrs. Crowe and Cavalcaselle. 
 
 103 Head of Giorgione ? {128) by himself t 
 
 This is the first picture in Charles I.'s catalogue : — "No. I. Imprimis. A dark 
 painted man's head in a black cap and a cloak without hands or ruff. Done by 
 Giorgione ; said to be his own picture, being pasted upon a new board set in a 
 black frame. Painted on the right light. Bought by the king when he was 
 Prince." It is painted on a blue ground. On canvas pasted on wood, i ft. %\ in. 
 high, by i ft. 33 in. wide. The back of the wood is branded with Charles's cypher, 
 C. R. and the crown. 
 
 Messrs. Crowe and Cavalcaselle do not think this genuine ; they add that there 
 are so many repaints as to make an opinion hazardous. 
 
Hampton Court Palace, 
 
 33 
 
 104 Family of Pordenone ? {132) .... Bernardino Licinio. 
 
 Ten half-length figures, life-size, assembled round a table covered with a parti- 
 coloured cloth, and on it a dish with fruit. To the left is an elderly man in black, 
 next to him, in the centre, a lady apparently his wife, in a white bodice, with 
 crimson skirt and sleeves. Behind here is another woman in a green dress 
 embroidered with gold, and a white and gold headdress. Behind are seen the 
 heads of three girls. Sitting at the table are three children ; and one little girl in 
 a white and green dress, with long flaxen hair standing in front. In the upper left- 
 hand corner is the date, MDXXIIII. On canvas, 4 ft. high, by 5 ft. 8 in. wide. 
 
 This came from Mantua when Charles I. bought the Duke's collection ; and it is 
 doubtless, therefore, the picture catalogued in a Mantuan inventory of 1627, as : — 
 ** Uno quadro de asse con un padre con otto figli opera del Pordenone." (See 
 D'Arco's Notizie.) It was not catalogued by Vanderdoort, but from the 
 Inventory of the King's goods, taken after his death, we find that it was valued at 
 _^8o, and stated to be in 1649 at St. James's, with " His Highness," i.e. Cromwell. 
 
 Though long attributed to Giovanni Antonio Licinio, called Pordenone, this is 
 decidedly by his scholar and kinsman (some call him his brother) Bernardino 
 Licinio (see notes to No. 71), and is one of his earlier works. As to what family 
 is represented, there is no clue. There is the same composition, with slight varia- 
 tions, in the Borghese Palace at Rome (See Waagen's Art Treasures, ii., 359, 
 and Kate Thompson's Public Galleries of Europe, pp. 65, 246, 392). 
 
 The surface has been injured by old cleaning and repainting, " but shows marks 
 of a bold free touch and a more effective treatment than the one at Rome. The 
 models of Bernardino are not merely those of Pordenone ; they are also Palmesque 
 and Giorgionesque, and this accounts for the error of collectors, who confound his 
 works with those of Pordenone. His flesh is usually of a dull red, and a raw and 
 shiny evenness in surface. The types are conventional and common, the faces cold 
 and unexpressive, the drawing incorrect, the hands, feet and articulations coarse. 
 The figures are heavy and fleshy." — (Crowe and Cavalcaselle's History of Fainting 
 in North Italy, ii., 292). 
 
 105 Architectural Subject {lofj [See No. 25] Rousseau. 
 
 D 
 
3Y Sir Christopher Wren this was called " The Drawing Roome," 
 and he proposed its being fitted up with some variety, as having 
 the best furniture in it." Audiences were then given in the Pre- 
 sence Chamber. It has had its present name, however, since 
 about 1720, and the canopy of red damask suspended from the wall shows 
 that the Georges at any rate held state receptions here. 
 
 The caibingg are some of Gibbons' best work, especially those round 
 the Queen of Bohemia, which recall Evelyn's remark of " there being 
 nothing in nature, nothing so tender and delicate as his flowers and festoons, 
 and yet the work very strong." The quantity he executed here shows that 
 " His Majesty surveyor Mr. Wren, who faithfully promised to employ him" 
 kept his word ; and we find from the old bills that he was well paid. 
 
 The ceiling would have been painted but for the death of William III., 
 which put a stop to most of the works here. From its centre is suspended 
 an elaborate chandeHer covered with cut-glass, arranged in pendants, roses 
 and small festoons. Between the windows, and of the same height as them, 
 are two pier-glasses, whose borders, though somewhat injured, are in good 
 taste. The fireback is curious; it is a rude representation of the Sacrifice 
 of Isaac. The walls were originally designed for tapestry ; two pieces of 
 " The Storye of Abraham," which are now in the Great Hall, hung here at 
 one time. 
 
 The length of this room is 39I feet, its width 33^ feet, and its height 
 30 feet. 
 
Hampton Court Palace. 35 
 
 106 A Triptych — The Passion {710) . . . Lucas van Leyden ? 
 
 Centre Compartment — The Crucifixion. 
 
 Christ is on the Cross, between the two thieves. On the left of the picture is a 
 soldier with a spear piercing His side ; he is assisted by a Pharisee in an ermine cope ; 
 to the right is the centurion on horseback, and in front is Our Lady fainting and 
 supported by St. John. Mary Magdalene is at the foot of the Cross, clasping it ; 
 several other figures of men and women surround it. 
 
 Left Wing — Christ falling under the Cross. 
 
 A soldier is standing over Him, with his hand raised, to strike Him ; and a 
 Pharisee is also advancing for the same purpose. Behind is a group of soldiers 
 and others following, and in the distance the tower of a gateway oi castle, and an 
 unfinished tower of a cathedral (? Cologne). 
 
 Reverse of the Left Wing — Ecce Homo. 
 
 Christ is seen in a three-quarters length, facing the spectator, and standing 
 behind a stone parapet or ledge ; between His hands is the reed. On the left is a 
 dusky-complexioned man, in a yellow robe with a turban, pointing to Our Saviour, 
 above whom is a tablet inscribed : — *' * ECCE >J< HOMO ' " 
 
 Right Wing — The Resurrection. 
 
 Christ, with red drapery about Him, is rising above a square tomb ; He holds a 
 banner in His left hand, with a red cross. The soldiers are asleep, but other figures 
 are gazing at Him. 
 
 Reverse of the Right Wing — Mater Dolorosa. 
 
 Our Lady with her hands clasped, and with a white hood, is seen in a half-length 
 facing a little to the left ; behind her is St. John looking in the same direction. In 
 the background is seen Gothic architecture, a gateway, and a church. 
 
 Painted on wood ; the centre piece 4 ft. high, by 2 ft. 9| in. wide ; the wings, 
 4 ft. high, by i ft. wide. 
 
 107 Holy Family with Four Angels {108^ Parmigiano? 
 
 The Child is on His Mother's knee ; she is in an olive-coloured dress, with 
 a bright green mantle. On the left are four angels looking at Him. 
 
 " This is, I think, the same or nearly the same composition engraved by Egid. 
 Rousselet, and in Boydell's set by Philips." (Jameson's Royal Galleries.) 
 
 108 Portrait of a Man (^j) Tintoretto. 
 
 To the elbows, nearly full face ; looking to the left, short brown hair and beard. 
 He wears a dark fiir mantle. On canvas. 
 
 109 Portrait of a Man, in Armour (^^) Titian 1 
 
 Half-length, looking to the left, with short brown hair and beard. He appears 
 to wear a brown doublet with grey sleeves, though some call it armour. On his 
 head is a small black cap. His left hand grasps his sword, which is belted to his 
 waist ; his right hand points downwards. Painted on a brown ground. On 
 canvas, 3 ft. high, by 2 ft. 7 in. wide. In the right-hand corner is an almost 
 obliterated seal. 
 
 Of this Messrs. Crowe and Cavalcaselle remark that it is of the Venetian School, 
 but not by Titian. "The treatment points to a follower of the schools of 
 Tintoretto and Bassano." (See Life and Times of Titian, ii., 463.) 
 
36 
 
 Catalogue of Pictures. 
 
 110 Mary Magdalen anointing the Feet of Christ {112) S. Ricci. 
 
 The scene represents the house of Simon — a fine Italian building— with a portico 
 under which a long table is arranged. On the left is Christ seated, with Magdalen 
 at His feet and Simon standing by His side. Sitting and looking at them are some 
 eight men besides servants, attendants, and a leper on the extreme right. On 
 canvas, lo ft. 9 in. high, by 20 ft. 9 in. wide. 
 
 This and other scriptural subjects in these rooms were painted by Sebastian Ricci 
 after 1726, the date of his return from England to Venice. It has been said that 
 they were executed for Queen Anne, in this country ; but that this is an error is 
 evident from the life of him, with a description of his works, published at Venice 
 in 1749; at which time they were in the possession of Mr. Joseph Smith, the 
 British consul at Venice. He was assisted in the architecture by his nephew, 
 Marco, who died in 1 730. They were engraved by John Michael Liotard while 
 in Smith's possession. (See Descrizione de' quadri da S. Ricci.) 
 
 They are unusually good examples of S. Ricci's manner, and show how completely 
 he succeeded in his imitations of Paul Veronese, which indeed were sometimes so 
 successful as to be sold for original works of the master and deceive, if possible, 
 even the critics. La Fosse, the painter, when he found he had been imposed 
 upon, retaliated with the sarcasm: — "Take my advice, paint nothing but Paul 
 Veroneses, and no more Riccis." 
 
 111 Portrait of Titian {12^ after Titian. 
 
 A head ; looking upwards to the right. He wears a black and grey cap. On 
 paper laid on canvas, I ft. 5^ in. high, by I ft. \\ in. wide. Similar to the engraving 
 by Agostino Carracci. 
 
 112 Madonna and Child, with Tobit and the Angel (465) Titian. 
 
 She is sitting, turned slightly to the left, on a bank near a rosebush in full bloom, 
 and is plucking some of the blossoms with her right hand, and holds others in her 
 left. The Infant Jesus lies half on her lap and half by her side, on a white cloth 
 over her blue mantle. He holds up a rose in His right hand, and His left is on her 
 lap, touching her right hand. Tobit with his fish in his left hand, and his dog, is 
 in the distance to the right ; the angel by his side. On wood, 2 ft. 9 in. high, by 
 3 ft. II in. wide. 
 
 This exactly corresponds with a picture described by Ridolfi in his Maraviglie 
 (vol. i., p. 262, ed. 1835), and stated by him to be at the time he wrote, 1643, 
 in the collection of the Dutch virtuoso. Van Reynst. He characterizes it as : — 
 "Una delle singolari fatiche di Tiziano." While in Reynst's possession it 
 was engraved for him by Cornelius Visscher, with many others of his pictures, 
 several of which he had bought at the dispersal of Charles I,'s collection. It must 
 afterwards have formed part of the "Dutch gift" to Charles II. (see Introd.), as it 
 appears in the catalogue made at his death for James II., as : — " No. 431. The best 
 Madonna with Tobit and the Angel. By Titian." Messrs. Crowe and Caval- 
 caselle's criticism on it is as follows : — "The panel is injured, and the head of the 
 Virgin retouched, but the drawing is less clever and appropriate, the execution less 
 skilful than Titian's, and we can scarcely err in assuming that the author is Santo 
 Zago, a pupil of Titian." {Life and Times of Titian, ii., 464.) 
 
 113 Portrait of St. Ignatius Loyola, but? {111} . Tintoretto? 
 
 Three-quarters length, turned to the left ; in a close-fitting black velvet 
 doublet. He is bareheaded, and his hair, which curls over his forehead, is 
 
Hampton Court Palace. 
 
 37 
 
 black ; his beard and moustache are of a lighter colour. His right arm leans on a 
 table, his left is by his side ; both his hands are gloved. On the table is written : 
 "an. XXV. 1545." Painted on a dark ground. On canvas, 3 ft. 5 in. high, by 2 
 ft. 10 in. wide. 
 
 This is evidently the picture in Charles I.'s catalogue, page 172, described 
 as : — ** A man's picture, as big as the life, to the knees, in a black cap and habit, and 
 a little rufif, his left hand at his side, the other hand leaning on a table ; which 
 the Lord Cottington has delivered to the king, which is yet unpaid for. Done 
 of Tintoretto's best work, taken for Titian." The opinion therefore of Waagen 
 that this is a good portrait by Tintoretto is thus curiously confirmed. Messrs. 
 Crowe and Cavalcaselle think it should be assigned to a disciple of Paris Bor- 
 done. " The attitude is Titianesque, but the treatment is feeble, and the sur- 
 face much damaged by time and retouching." 
 
 Why this has been called Ignatius Loyola no one knows, or is ever likely to 
 know. It bears no sort of resemblance to the authentic portraits of the saint, 
 and besides, in 1 545, when this purports to have been painted, he was fifty-four 
 years of age and not twenty-five ! The error probably originated in nothing 
 better than the dishonest attempt of some mendaciously reckless person to give 
 an unknown portrait an interesting name, on inadequate grounds. 
 
 114 Portrait of a Gentleman {486) Lorenzo Lotto. 
 
 A bust ; face seen in front, bareheaded, with long black hair and beard. He 
 wears a black dress, cut square at the breast, and showing a white quilted shirt. 
 On canvas, l ft. 9 in. high, by i ft. 3^ in. wide. 
 
 This fine portrait was formerly attributed to Giorgione, and, in order to make it 
 more interesting, was gratuitously called a portrait of himself. It is now 
 generally believed to be by Lotto ; or perhaps by Cariani. Both these masters 
 are those who amongst the Bergamasques "most frequently produced pictures 
 subsequently honoured with the name of Giorgione." (See Crowe and Caval- 
 caselle's History of Painting in North Italy, ii., 159.) 
 
 It has been engraved as Titian, by Vostermann. 
 
 115 Madonna and Child, adored by Saints {706) Palma Vecchio. 
 
 The Madonna is seated on the left, and extends the Infant Jesus to the saints ; 
 He turns round to her with an expression of mingled fear and confidence. St. 
 John is kneeling on his right knee, and holds a lamb and his cross between his 
 arm. In the centre, kneeling and looking at him is St. Catherine. In the 
 background to the left are some columns ; to the right a landscape with a tower. 
 On wood, I ft. 1 1 in. high, by 2 ft. 7 in. wide. 
 
 This beautiful little picture was at one time attributed to Titian ; but all the best 
 critics now assign it to Palma Vecchio. This opinion is confirmed by an entry in the 
 catalogue of Charles I.'s pictures, page 37, which evidently relates to the panel 
 before us : — "Done by old Palma, being our lady, and Christ upon her lap, St. 
 Catherine and St. John kneeling, presenting a lamb ; little entire figures, painted 
 upon a board, and set upon a new board. Painted upon the wrong light," i.e. 
 the light coming from the left of the persons represented. We find it also in the 
 Commonwealth inventory :- — " Our Lady, Christ and others, by old Palma, ap- 
 praised at £200, and sold to Mr. Jasper, March 22nd, 1649, for ;^225." It first 
 received the name of Titian in James II. 's catalogue, No. 502. Unfortunately it 
 
Catalogue of Pictures, 
 
 has been much injured by repainting and varnish. It is the only genuine work of 
 Pal ma's in this collection. It was exhibited at Burlington House in 1872. The 
 surface is heavily daubed with repaints and varnish. 
 
 116 Supposed portrait of Titian's Uncle {114) .... Titian. 
 
 Half-length, turned to the right, in black. He stands by a table on which is a golden 
 apple held in his left hand ; a book, between the leaves of which are the fingers 
 of his right hand, is also on the table. He is bareheaded ; his hair and beard 
 are brown, and close clipped. In the background on the left is a statuette of 
 Apollo on a pedestal or bracket ; on the right is a landscape very beautifully 
 painted, with mountains seen through an opening. On canvas, 3 ft. 9 in. high, by 
 3 ft. 2 in. wide. 
 
 **Most of this picture is repainted, but fragments of it, and particularly the 
 landscape, display the hand of Titian about his middle period. The person 
 represented is about fifty years old, but on what ground he is called Titian's 
 uncle it is impossible to say." (Crowe and Cavalcaselle's Life and Times of 
 Titian, ii., 429.) It received this name between the years 1842 and 1854. 
 
 "This is probably a portrait of Partenio, a poet and friend of Titian, who wrote 
 many verses on his pictures. He also wrote a poem on * The Loves of Leucippe 
 and Acofante,' and hence perhaps the emblems." (Note in the Royal Catalogue.) 
 
 117 Portrait of Giovanni Bellini, Titian's master (277) by himself t 
 
 A bust, less than life, nearly a full face, looking to the left. He has light bushy 
 yellow hair, and a small black skull cap. An Italian town is seen in the distance. 
 On a red marble ledge below is painted a cartello, on which is inscribed " Joannef 
 Bellinuf." On wood, i ft. 5 in. high, by i ft. in. wide. 
 
 No work of Bellini's is mentioned in Charles I.'s catalogue ; and there is nothing 
 to show how or when this portrait was acquired. In the short list of portraits, how- 
 ever, compiled for James I., there was : — ** A Venetian Senator donne by Joan 
 Tibulini " which may possibly be this. 
 
 There are so many supposed portraits of Giovanni Bellini, most of which are at- 
 tributed to himself, and all of which are more or less dissimilar in character and 
 features, that it has puzzled the critics to decide which is genuine. The one in the 
 Capitol at Rome, to which Messrs. Crowe and Cavalcaselle give the preference, and 
 describe as ** a bust of a beardless man in a long yellow wig, with a sharp glance 
 from the black pupil of his eye, low angular brow, a round-balled nose, and a sar- 
 castic mouth," may perhaps be the original of this one. In their criticism of it 
 they remark: — "At Hampton Court the features are pinched and stern, but the 
 treatment seems hardly equal to that of Giovanni," but they justly add that "it is 
 vain to pretend to a correct opinion when a panel has received so much injury. " 
 (See History of Painting in North Italy, i., 182 and 188.) Dr. Waagen thought it 
 recalled the style of his scholar Cima da Conegliano. 
 
 118 Madonna and Child, with the Donors {466) ... P. Bordone? 
 
 On the left is a man in a dark dress in a devotional attitude, with his hands crossed 
 on his breast. The Holy Infant is turning towards him, and extending His right 
 hand. On the right is a lady, richly dressed in a crimson bodice and slashed 
 sleeves, &c., with pearls round her neck, and elaborately curled and plaited hair. 
 Behind is a green curtain ; and in the distance a landscape. On canvas, i ft. 8 in. 
 high, by 3 ft. 9 in. wide. 
 
 " By a poor follower of Paris Bordone." — (Crowe and Cavalcaselle.) 
 
Hampton Court Palace, 
 
 39 
 
 119 A Venetian Gentleman {8g6) L. Bassano. 
 
 Three-quarters length, in black, looking towards the left. His gloves in his left 
 hand, his right hand on a box on a table. He is bareheaded, and has dark hair, 
 whiskers and beard. 
 
 120 Head of an Old Man {S4) Il Bassano. 
 
 Bust ; turned towards the left, nearly full face. His hair and beard are grey. He 
 wears a crimson dress trimmed with fur. On canvas, 2 ft. high, by i ft. 8 in. wide. 
 
 121 Christ healing the Sick {iig) S. Ricci. 
 
 Christ is bidding the leper, who is on the right, reclining on a mattress, to take up 
 his bed and walk. On the left are several sick. In front is the Pool of Bethesda ; 
 in the background a church. On canvas, 10 ft. 9 in. high, by 9 ft. 10 in. wide. See 
 No. no. 
 
 122 The Marquis del Guasto ? and his Page {g64) . . Titian. 
 
 He is seen to the knees, in armour, with his face inclined slightly to the right. 
 His head is bare, his hair brown, and his face, which is very handsome, clean-shaven. 
 His right hand rests on a table, on which is his helmet. His left, holding a letter, 
 leans on the arm of his servant or page, who is just seen in profile on the spectator's 
 right, fixing' the armour on his left shoulder. The page has a beard, and wears a 
 striped yellow and red dress. On canvas, 4 ft. 4 in. high, by 3 ft. i in. wide. 
 
 In Charles I.'s collection there were several portraits, originals and copies, of the 
 Marquis del Guasto, by Titian, whose patron and friend he was. But the descriptions of 
 them do not at all correspond with this. There is, however, in his catalogue, page 147: — 
 *' A picture of a man, where his page is putting on his armour, fitting it at his right 
 shoulder, the page being in a white and red habit. Brought from Germany by my 
 Lord Marshal to give to the King from Colonel Lasley," — which, in spite of trifling 
 discrepancies and the fact that no painter's name is given, is very likely meant for 
 this ; particularly as it reappears in James I I.'s catalogue. No. 41, still unnamed : — 
 ** A man's picture to the waist, with his page putting on his armour." It was pro • 
 baHy labelled " The Marquis del Guasto," by some artistic housekeeper, who had 
 heard of ihe name in connection with Titian's. 
 
 Messrs. Crowe and Cavalcaselle remark that "it is hard to say on what grounds 
 this captain is called Marquis of Guasto. Drawing, modelling, and colours are lost 
 in abrasions, and the surfaces are so injured that Titian's handling is hardly to be re- 
 cognized, yet fragments, such as the profile and hand of the 'page,' are worthy of 
 Titian, who is probably the painter of the picture. As regards the person repre- 
 sented, it is worthy of remark that the features are not unlike those of the Duke of 
 Alva, as painted by Antonio Moro in a picture at Windsor Castle ; not unlike those 
 of a portrait erroneously ascribed to Titian, but called the * Duke of Alva,' in the 
 collection of the Duke of Buccleuch at Dalkeith. We should be better able to judge 
 if we had a clue to Titian's original portrait of Alva, or even to the copy of the ori- 
 ginal executed by Rubens (See Sainsbury's Papers^ 237)." {Life and Times of 
 Titian.) 
 
 123 Landscape with Figures {610) Schiavone. 
 
 124 Venus, Mars and Cupid (70<$*d) .... iSb^^?^/ P. Bordone? 
 
 A nude Venus in the foreground on the left, reclines on crimson drapery. Mars 
 with his right foot on his helmet, sits under a tree opposite, and is contemplating 
 
40 
 
 Catalogue of PidiLres, 
 
 her. A Cupid standing by, offers him a basket of fruit. In the distance are some 
 figures hunting. On canvas, pasted on wood, 2 ft. 7^ in. high, by 2 ft. 6 in. wide. 
 
 The back of the oak panel is branded with Charles I.'s cypher — "C.R." and the 
 crown. " A Venus, with Mars and Cupid, naked, by Paris Borden," was sold by 
 the Commonwealth for ;^I0. The drapery on the female is added. 
 
 This is certainly not a genuine Giorgione. It has been much repainted, but 
 from such parts as remain untouched, Messrs. Crowe and Cavalcaselle judge it to 
 be by a follower of Paris Bordone. (See Painting in North Italy ^ ii., i68.) 
 
 125 Head of a Man in a black Cap {4$) Giorgione? 
 
 Full face, looking to the right ; with a beard and long brown hair, which falls 
 over his shoulder. He wears a black cap, and a dress of black stuff, which is open 
 in front, and shows a white shirt up to the throat. On canvas, i ft. 1 1 in. high, 
 by I ft. 6^ in. wide. 
 
 This is not by Giorgione. "There are many repaints which conceal the original 
 handling, and make an opinion hazardous." (Crowe and Cavalcaselle's 
 in North Italy, ii., 169.) 
 
 126 Jacob's Journey (570) Il Bassano. 
 
 A small composition of cattle, horses, sheep, goats, &c. ; with a few figures, one 
 on the right examining the marks on some sheep. On canvas, i ft. 8 in. high, by 
 2 ft. 2 in. wide. 
 
 127 The Wise Men's Offerings {S5^) Veronese. 
 
 This, which appears to be a study for a large picture, represents a king in a rich 
 cope, tendering an offering to the Holy Child, seated on His mother's knee. St. 
 Joseph, who is behind them, rests his hand on a staff, and his head on his right 
 hand. To the left are attendants in oriental dress, and a youth on horseback with 
 a banner. On canvas, 2 ft. high, by 3 ft. wide. 
 
 128 Elizabeth, Queen of Bohemia, daughter of James I. Full- 
 
 length, with a fan of feathers {12^) .... Honthorst. 
 
 An admirable and highly interesting picture. In the left hand corner is this in- 
 scription: — "Intra Fortvn.*; Sortem, Extra Imperivm." It originally belonged 
 to Sir Henry Wotton, who left it by his will, dated October ist, 1637, to the Prince 
 of Wales, afterwards Charles II., in the following terms : — I leave to th» most 
 hopeful Prince the picture of the elected and crozvned Queen of Bohemia, his aunt, of 
 clear and resplendent virtues through the clouds of her fortune. Behind it, pasted 
 on the canvas, is a small piece of paper on which the following is written in a hand- 
 writing of the time : — 
 
 Januari] 2 1 anno 1 6 39. 
 
 This Picture was gi-ven 
 
 to Prince Charles by S<' 
 Henry fVootons laji will 
 for a Legacy. 
 
 It was at Hampton Court in Cromwell's time, and was sold to a Mr. Bass for ;^I0. 
 At the Restoration Charles II. either bought or took it back. 
 
 She was married in 161 3 in the Banqueting House at Whitehall, to the Elector 
 Palatine, Frederick V. The festivities on the occasion were of the greatest splen- 
 dour, and cost ;^ioo,ooo. A picture in this collection, No. 643, is supposed to 
 
Hampton Court Palace, 
 
 41 
 
 represent the equally sumptuous wedding feast on their arrival at Heidelberg. Their 
 fatal acceptance afterwards of the Crown of Bohemia, and the miseiy into which 
 it led them belong to general history. The dignity and fortitude of Elizabeth, 
 amidst the most overwhelming misfortunes, roused the deepest enthusiasm in all 
 generous minds. By the army that fought for her she was affectionately called 
 "The Queen of Hearts." Her relative Christian, Duke of Brunswick (see No. 
 330), became her sworn champion, and always wore her glove in his helmet. And 
 the chivalrous spirit of Sir Henry Wotton also was moved to a noble sympathy 
 with her distress. His charming verses to her seem an indispensable adjunct to 
 this note :— 
 
 ** You meaner beauties of the night, 
 That poorly satisfy our eyes 
 
 More by your number than your light, 
 You common people of the skies, 
 What are you when the sun shall rise ? 
 
 ** You curious chanters of the wood, 
 That warble forth dame Nature's lays. 
 
 Thinking your voices understood 
 
 By your weak accents, what's your praise 
 When Philomel her voice shall raise ? 
 
 " You violets, that first appear, 
 By your pure purple mantles known. 
 
 Like the proud virgins of the year. 
 As if the spring were all your own. 
 What are you when the rose is blown ? 
 
 " So, when my mistress shall be seen, 
 In form and beauty of her mind 
 
 By virtue first, then choice, a Queen, 
 Tell me if she were not designed 
 Th' eclipse and glory of her kind?" 
 
 Honthorst was the Queen's favourite artist ; and he not only painted her several 
 times, but had the honour of instructing her and her daughter the Princess Sophia 
 in the use of the brush. The Princess Sophia, scarcely anyone needs to be told, was 
 the mother of George I., and the direct ancestress of the Queen. This picture was 
 engraved by F. Briin in 1627. 
 
 1^9 Departure of Briseis (72^) Schiavone. 
 
 Canvas pasted on wood, 8 in. high, by 5 ft. 8 in. wide. (See No. 39.) 
 
 130 Head of a Young Woman {505) unnamed. 
 
 In a brown square-cut bodice with green sleeves. A white band on her head. 
 The back of the panel, which is very old, has Charles I. 's cypher on it. On wood, 
 1 ft. 6 in. high, by i ft. i^in. wide. 
 
 This has been ascribed to Bellini. 
 
 131 The Woman taken in Adultery {130) S. Ricci. 
 
 The scene is a church, with a pulpit. Christ is writing with His finger on the 
 ground ; the Pharisees surrounding Him are looking on ; the woman stands by with 
 her hands bound. On canvas, 10 ft. g in. high, bypft. lo in, wide. (See No. 1 10.) 
 
 132 David and Goliath (243) School <?/ Schiavone. 
 
 No. 79 of James II. 's catalogue, and described as : — "A little landscape, where 
 David has killed Goliath. After the manner of Paul Veronese." He is sitting on 
 the decapitated body of the giant, and some horsemen are riding away. On wood, 
 I ft. high, by 2 ft. 3 in. wide. 
 
 Apparently by a feeble disciple of the school of Schiavone (Crowe and Caval- 
 caselle). 
 
42 
 
 Catalogue of Pictures, 
 
 1 33 Mystic Marriage of St. Catherine (<5jc?) Titian ? 
 
 The saint is on the right, seen in profile, in a crimson dress, with a green mantle ; 
 the Infant Jesus, who is held by His mother, is putting the ring on her finger. Be- 
 hind is St. John holding a scroll with " Ecce Agnus Dei." On canvas, 2 ft. 4 in. 
 high, by 3^ ft. wide. 
 
 This is not by Titian ; there is a copy of it in the Fitz-William Museum at Cam- 
 bridge. 
 
 134 Jacob Stealing the Blessing {614) Schiavone 
 
 On canvas pasted on wood, 7 in. high, by 3 ft. 6 in. wide. (See No. 39.) 
 
 135 The Shepherd's Offering {469) Cariani ? 
 
 The Madonna, with the Infant on her knee, is sitting on the ground to the left. 
 In front of them are two shepherds kneeling, and a shepherd boy is close by, playing 
 an instrument. Behind are three angels singing, and St. Joseph. In the distance 
 are some figures with a horse and sheep ; and further off a landscape with a promon- 
 tory and a town. On wood, 3 ft. 1 1 in. high, by 2 ft. 5 in. wide. 
 
 The back of the panel is branded with Charles I.'s cypher, C.R. and the crown ; 
 and a piece of paper is pasted on it with the words : — From Mantua^ 1628." 
 
 This picture, of which the surface has unfortunately been rubbed and stippled over, 
 has been ascribed to Giorgione ; but, in the opinion of Messrs. Crowe and Caval- 
 caselle, the treatment suggests rather his scholar and imitator, Cariani. (See 
 Painting in North Italy ^ ii., 159.) 
 
 136 Portrait of Giacomo da Ponte (II Bassano) {gyi) by himself. 
 
 Nearly full-length ; turned three-quarters to the left, and standing by a table on 
 which are his pencils. He holds one in his right hand ; his left is by his side hold- 
 ing a handkerchief. He is dressed in black with a collar edged with lace. He 
 has a small dark beard. On canvas, 4 ft. high, by 3 ft. i in. wide. 
 
 This is probably a genuine portrait of one of the Bassanos. It has generally been 
 called Giacomo the father, though it appears rather to resemble his son Leandro 
 (see Nos. 72 and 120). As all his four sons were painters, and closely imitated 
 his style and copied his works, it is now almost impossible for even the acutest 
 critics always to discriminate between them. Their family name was " Da 
 Ponte," which has been superseded by that of ** Bassano," their native town. Old 
 Giacomo at first studied under Bonifazio, but his master grew so jealous of him that 
 he never got a chance of seeing him colour his pictures, except through the key- 
 hole ! When he returned to Bassano, he devoted himself to reproducing with great 
 accuracy the rustic scenery, and the animals and objects of still-life, which he found in 
 the neighbourhood. He thus became the founder of "genre" painting in Italy, 
 sometime previous to its development in the Netherlands. He was a friend of Tinto- 
 retto's, and one day when they had been dining together, and had discussed the merits 
 of the great masters, Tintoretto exclaimed : — "Look here, Jacopo, if you had my 
 drawing, and I had your colouring, the devil take it if Titian, Raphael, and the 
 rest could hold a candle before us ! " (See notes to Nos. 142, 160, 163.) 
 
 137 Christ and the Woman of Samaria (509) . . . Bonifazio. 
 
 Our Lord is seated on the left of the well with His right hand up. The woman is 
 standing on the other side, looking at Him, and has her two hands on a pitcher which 
 rests on the stone ledge of the wt 11. Two boys are playing close by. In the land- 
 
Hampton Court Palace. 
 
 43 
 
 scape behind are many figures ; some four or five to the left, and others further off tO' 
 the right. On canvas, 5 ft. 5 in. high, by 8 ft. 2 in. wide. 
 
 Although this is not to be found in Charles I.'s catalogue, it was doubtless in his 
 collection, as a picture called "Christ by the well and the Samaritan woman by 
 Boneffatinis, " was sold by order of the Commonwealth among others of the late 
 King's" pictures to Colonel Webb, Oct. 29th, 1649, for ^50 (see Inventory, fol. 
 237). At the Restoration, '*A very large piece of the woman of Samaria and 
 Christ, by Bonifacio " was found in the possession of John Cade, at the sign of the 
 Globe in Comhill, for which he had paid ^50 ** when he took his house and shop."^^ 
 (*jth, 1879, Report of the Historical Commission.') In James II. 's catalogue. No. 
 159, it was attributed to Palma Vecchio, and has gone under that name until recently. 
 
 Waagen assigned it without hesitation to Bonifazio, adding that "it is of slight 
 execution and injured by overcleaning. " Messrs. Crowe and Cavalcaselle {Painting 
 in North Italy, ii., 486) remark that it *' represents the Palmesque as we see it in 
 Rocco Marcone or Schiavone." Compare No. 146. 
 
 138 A Warrior in Armour, called Gaston de Foix (74?) Savoldo. 
 
 He is half recumbent in a gloomy chamber ; turned to the right, and looking 
 upwards. Behind are mirrors in which his form is reflected. His right arm rests; 
 on a ledge in front, his left points to the mirror. On canvas, 2 ft. 11 in. high, by 
 2 ft. 8 in. wide. 
 
 This picture was in Charles I. 's collection, and was sold by order of the Common- 
 wealth, 2ist March, 1650, to a Mr. Wright for ^^4, under the title of "Gaston the 
 Foxes." It is a replica, though poorer in execution than the original, of a portrait 
 in the Louvre signed by Saroldo, but long catalogued, as was also formerly this one, 
 under the name of Giorgione, and erroneously called "Gaston de Foix." (See next 
 picture.) 
 
 The learned authors of the History of Painting in North Italy (vol. ii., 490), 
 remark h propos of this replica, that it "shows that Savoldo was an eager supporter 
 of the doctrine held by the painters of his time," — namely, that painting is prefer- 
 able to sculpture as a means of exhibiting nature in its utmost variety, because a 
 given form can be reproduced, in numberless varieties on one canvas, by a judicious 
 use of reflecting surfaces, while marble cannot realize the idea of life by colour — and 
 that he was fond of repeating what he considered the proof of his opinion. 
 
 139 Holy Family, with two Donors {631) Savoldo. 
 
 The Madonna is in the middle, with hands joined, behind a cradle or cushion on 
 which is the Infant Jesus. On the left is a man, one of the donors, in a large furred 
 cloak, with thick brown hair and beard, lifting a dark-coloured cloth from 
 the waking Infant. On the other side is a woman, the other donor, in a browa 
 dress, with an embroidered cap and rings on her finger. Her hands are joined iiif 
 prayer. Half-length figures, life-size. On canvas, 3 ft. 4 in. high, by 4 ft. 65 in. 
 wide. 
 
 This Holy Family was long attributed to Pordenone. It is, however, a most 
 characteristic example of Savoldo, an excellent artist in his way, but one who has 
 been persistently ignored, and whose works are usually assigned to other painters. 
 He was a native of Brescia, and studied the works of Titian ; but there is always a dis- 
 tinct style in his works, which is peculiarly his own. He was held in high esteem, 
 by his contemporaries, and especially Aretino, Titian's friend. " His colouring is, 
 on the whole, colder than that of his contemporaries of the Veneto-Brescian schools,. 
 
44 
 
 Catalogue of Pictures, 
 
 and his flesh tints are adust and sombre, especially in his male figures ; nor are 
 his draperies generally brilliant in colour." [Cat. Nat. Gall.) He died at a 
 considerable age in 1590. 
 
 His signature is found in the upper right-hand corner of this canvas : — Savoldus 
 da Brescia faciebat 1527." There is a counterpart of it in the Turin Museum, 
 with the difference, among others, that the woman is replaced by St. Francis. 
 (See Crowe and Cavalcaselle's Painting in North Italy, ii., 427.) 
 
 140 Small half-length Portrait of a Gentleman (^c?^) .... ? 
 
 Full front in black, with a bridle bit in his hands ; black cap, and a reddish beard 
 divided in the middle. On wood, i ft. 2 in. high, by i ft. 95 in. wide. 
 
 It is hardly necessary to invoke the authority of Messrs. Crowe and Cavalcaselle 
 in order to refute the very inappropriate attribution of this picture to Perugino. 
 
 ** A *bit ' was the device of Benedetti Artasani Podesta of Padua at the time of 
 the Treaty of Cambray." See Mrs. Palliser's Historic Devices, p. 27. [Royal Cata- 
 logue. ) 
 
 141 Susannah and the Elders {S^g) P. Veronese. 
 
 A small dark canvas piece of three figures. 
 
 142 Jacob's Journey {10 j) Il Bassano. 
 
 This is "The picture where Abraham, with his family, is travelling ; some twelve 
 little entire figures, and some cattle. Done by Bassano in his first manner," which 
 belonged to Charles I. On canvas, 4 ft. 2 in. high, by 6 ft. wide. It was at 
 Hampton Court in 1650, and was sold by order of the Commonwealth to Mr. Wil« 
 more for ;^5. From him it must have come into the possession of Van Reynst, 
 the Dutch collector, who was so large a purchaser at the sale of Charles I.'s works 
 of art, as it was engraved for him. Afterwards, when the Dutch States purchased 
 his collection to present to Charles II., it came back again to England, for we 
 find it again in James II. 's catalogue, No. 241 : — "The Children of Israel journey- 
 ing, by Giacomo Bassano." 
 
 143 Mars, Venus, and Cupid {S73) Paul Veronese. 
 
 In James II. 's catalogue, No. 334 : — ** Mars and Venus, Cupid holding a glass. 
 By Paul Veronese. " The goddess is seated on a stool with her back turned, and 
 is adjusting her hair. Mars is seen in the background. On canvas, 2 ft. high, by 
 I ft. 9^ in. wide. It had been sold by the Commonwealth to a Mr. Jasper 
 for/ii. 
 
 144 A Concert {554) Lorenzo Lotto? 
 
 Four half-length, life-size figures, standing. In the middle is a woman in crim- 
 son with a white cloak, holding a piece of music. Behind her is a man looking 
 over her right shoulder. On the right is an oldish man with a grey cap, holding a 
 scroll of music in his left hand. A boy just seen to the shoulders is behind. On 
 canvas, 2 ft. 5 in. high, by 3 ft. 3 in. wide. 
 
 This, which Messrs. Crowe and Cavalcaselle characterize as "an empty low-toned 
 picture, dulled by re-touches and varnishes, " was formerly attributed to Bellini ; but 
 it is probably a work of Lotto's declining years, or possibly of Previtali's, also a 
 disciple of the great master. In James II. 's catalogue it is entered, No. 859 
 ** A piece with four figures to the waist, singing ; by Giorgione." 
 
Hampton Court Palace, 
 
 45 
 
 145 St. Catherine, with three other figures, at the Altar P. Veronese. 
 
 So described in James II. 's catalogue, No. 383. She is kneeling, with her 
 right hand on her bosom ; behind her stands another woman in a crimson mantle 
 holding a palm. A priest in a dark green cope and yellow stole is standing by and 
 inclines towards her ; in his right hand he holds a palm branch, in his left a crown. 
 In the left corner of the foreground an acolyte holds a large taper in his left hand, 
 in his right an asperges brush, and looks over his shoulder at a spaniel close by. 
 On canvas, 2 ft. high, by 2 ft. 4^ in. wide. 
 
 ** Genuine, but of no great value." — {WaagenJ) 
 
 146 The Shepherds' Offerings {140) Bonifazio. 
 
 The Madonna is sitting on the left beneath some columns, with the Infant Jesus 
 on her lap. She holds in her right hand a small green book, which she is reading. 
 Behind them is an angel encouraging a boy with an offering of a fish, probably 
 meant for Tobias, to come forward. St. Joseph with a crutch sits on a stone to the 
 right, and near him a shepherd is approaching with a lamb in his arms. On the 
 left are St. Roche and St. Elizabeth sitting with the young Baptist in her arms, and 
 another saint. On canvas, 5 ft. 5 in. high, by 8 ft. 2 in. wide. 
 
 This picture was in James II. 's catalogue, where it was ascribed to old Palma. 
 It was engraved by Gribelin in 17 12 for Queen Anne, under that name. 
 
 "Of resolute handhng, but having only surface colour." — (Crowe and Cavalca- 
 selle.) Compare No. 137. 
 
 147 An Old Man's Head {134) L. Bassano. 
 
 "A little piece being an old man's head" — doubtless this one — was No. 147 in 
 James II. 's catalogue. A full face, red nose, and wiry grey hair. On canvas pasted 
 on wood, I ft. 3 in. high, by i ft. in. wide. 
 
 148 Portrait of Andrea Odoni (72) Lorenzo Lotto. 
 
 Half-length, standing beside a table on which he rests his left arm ; his left 
 hand is on his breast. In his right, which is extended, he holds a small statuette. 
 Antique torsos and statues are behind him and about the room. Coins and a book, 
 and other articles de vertu are on the table. He wears an ample fur pelisse whicli 
 just shows his shirt, and a gold chain with a cross round his neck. His hair and 
 beard are brown and thick. On canvas, 3 ft. 4J in. high, by 3 ft. 10 in. wide. 
 
 This magnificent portrait has for centuries been erroneously attributed to Cor- 
 reggio, and denominated Baccio Bandinelli the sculptor. Dr. Waagen was the 
 first to designate Lorenzo Lotto as the true painter, and his opinion, which was 
 emphatically endorsed by Messrs. Crowe and Cavalcaselle, has recently been con- 
 firmed by the discovery in the lower left-hand corner of the signature : — "Laurentius 
 Lotus, 1527," — brought to light by judicious cleaning. 
 
 It was in this year, 1527, that Lotto, who had hitherto resided chiefly at Bergamo, 
 took refuge, when the wars of Clement VII. with the generals of Charles V. broke 
 out, at Venice. There he became acquainted with Titian, Aretino, and other 
 artists and connoisseurs ; and among them with Andrea Odoni, "a rich and en- 
 thusiastic admirer of contemporary art in the North," who had just inherited a 
 valuable collection of antiquities from Francesco Zio, which he is here depicted as 
 contemplating. That this is so, is proved by Aretino's letters, and the Notizie 
 of the Anonimo, who, in describing the works of art preserved in the house of 
 "Messer Andrea degli Odoni, a Venezia," expressly mentions "the portrait of 
 
Catalogue of Pictures, 
 
 himself, in oil, half-length, who is looking at fragments of ancient marble, which 
 was by the hand of Lorenzo Lotto." (Morelli's edition, p. 62.) Vasari also 
 mentions that there were many pictures of Lotto's in the great palaces at Venice, 
 and among them he specially noticed " one by Lorenzo in the house of Andrea 
 Odoni, which is very beautiful." (See vol. ix.) 
 
 " It was a pardonable error to call the portrait by the name of Correggio, the 
 master to whom Lotto in his middle period was most related, and yet attentive ex- 
 amination ought to have shown that it could not have been by Correggio. There 
 is hardly a masterpiece of this time more deserving of praise than this half-length, 
 for warm and fluid touch, for transparency of colour, and freedom of handling. It 
 has the qualities of softness and brilliance, combined with excessive subtlety in 
 modelling and tenderness of transitions." — (Crowe and Cavalcaselle.) 
 
 In 1653 this picture was in the possession of the Dutch collector, Van Reynst, 
 for whom it was engraved by Cornelius Visscher. Whether it was one of the many 
 works of art which that virtuoso bought at Charles I.'s sale, is not clear ; but that 
 it formed part of the Dutch Gift " to Charles II. is evident from its appearing 
 in James II.'s catalogue, No. 162 : — "Giorgione's picture, with several statues by 
 him." 
 
 149 Portrait of Alessandro de' Medici ? {68) Titian. 
 
 Half-length, his face turned to the left, and seen in a three-quarters view. His 
 hair, which is parted in the middle and brushed behind the ear, is long and black ; 
 his chin beardless, but a slight moustache fringes the upper lip. He wears a dark 
 brown cloak or pelisse, trimmed with fur, and beneath a black dress which is cut 
 square at the throat, and shows a white frilled shirt. He rests his right arm on a 
 table or parapet in front of him, and holds his forefinger between the leaves of a 
 small red book. On canvas, 2 ft. in. high, by 2 ft. 4^ in. wide. 
 
 The name Alessandro de' Medici seems to have been given to this very fine 
 portrait without warrant, and in comparatively recent times. Two centuries and 
 a half ago it was called " A Portrait of Boccaccio," and engraved as such by Peter 
 de Jode and A. Bonnenfant, and also by C. Visscher in 1653, when it belonged to , 
 Van Reynst. But this, as the erudite authors of TAe Life and Times of Titian 
 remark, "hardly helps us to identify the person portrayed. The modelling of the 
 head is lost in retouches, and the forehead and temples especially so. For this 
 reason it is impossible to decide whether the picture is by Titian or not, or to 
 determine to which of his disciples it can be assigned." 
 
 E50 Madonna and Child {147) Parmigiano? 
 
 Described in Charles I.'s catalogue, page 95 : — "The Picture of our Lady and 
 Christ lying along before her, with his left arm leaning upon a globe of the world, 
 and with his right arm taking up a rose. A Mantua piece, said to be done by 
 Parmensius." Her left hand is across the Child, her right is on her bosom. On 
 canvas, 3 ft. 10 in. high, by 3 ft. wide ; its apparent size is, however, bigger, 
 as it has been enlarged to fit the frame. It was sold by the Commonwealth for 
 
 This is a copy, or perhaps a replica, of the well-known " Madonna della Rosa" 
 in the Dresden Gallery, 
 
 .46 
 
|N this room there is no feature which has not been noticed in the 
 descriptions already given. It was finished in the summer of 
 1699, and used by WilHam III. as a private sitting-room. Two 
 pieces of tapestry in continuation of " The Storye of Abraham," 
 then hung between the panels. 
 Its dime;"Jsions are, length 30I feet, width 2o| feet, height 30 feet. 
 It may be observed here that Wren suggested that " the boards of all 
 these Roomes (being allready provided very good and drie) should be layd 
 after the best manner, without nayles and with battens under the joyntes;" 
 the narrow nailed boards have been laid down recently. 
 
 151 David with the Head of Goliath {1^0) . . . Dominico Feti. 
 
 He is sitting, facing to the left, and holding in his left hand the head of the 
 giant ; in his right hand is a gigantic sword. He wears a white dress, a red cap, 
 and buskins striped with red. 
 
 This picture was originally in the collection of Gonzaga, Duke of Mantua, who 
 patronized Feti, and to whom he was appointed principal painter. We find it 
 catalogued in the inventory of the Duke's pictures, taken in 1627, as "Uno 
 ritratto di David e la testa de Golia." (See D'Arco's Notizie.) Soon after his 
 death in 1624, the Duke entered into those negotiations with Charles I., which 
 eventually resulted in the King purchasing the famous Mantuan gallery. The 
 Duke himself died in 1627 \ and in the reign of his son Vincenzo, in spite of the 
 clamour of the people of iSiantua, the priceless treasures were shipped for England. 
 
Catalogue of Pictures. 
 
 (See Sainsbury's Ori^nal Papers concerning Rubens.') This, with the "Twelve 
 Saints " (see No. 509), was among them. When it arrived, it was placed in this 
 palace, and was afterwards sold here by order of the Commonwealth, January 
 i6th, 165 1, to Mr. Houghton, for £20. (See Inventory of the late Kin^s 
 goods.) At the Restoration, "A large piece of Butchery, byFettee," — doubtless 
 this — was found by the Commissioners, and restored to the Royal Collection. (See 
 1th, 1879, Report of Historical Commission.) 
 
 In an artistic point of view it is only noteworthy, as Mr. Thorne remarks, as a good 
 example of a master whose works are not common in our galleries. There is a 
 duplicate, of which this is probably the original, at Dresden, which was engraved 
 by Camerata about 1751* 
 
 152 Christ before Pilate, a study {728) Tintoretto. 
 
 Christ, Pilate, and his attendants stand on a raised platform, up some steps. 
 Below are a crowd looking on. In the background are some white stone buildings. 
 No. 743 of James I.'s collection was: — "Our Saviour brought before Pilate, by 
 Tintoret." 
 
 153 Boaz and Ruth (572) Il Bassano 
 
 This is "A piece of Bassan, oxen drawing a cart loaded with corn," in James 
 II. 's catalogue, No. 316. In the right-hand corner are two women and a boy with 
 copper pans, &c. Behind are some men reaping corn, a shed with men in front, 
 and a landscape. On canvas, pasted on wood, 3 ft. 10 in. high, by 5 ft. 6 in. 
 wide. 
 
 154 The Expulsion of Heresy (7^5) .... Palma Giovine ? 
 
 On the right are three churchmen ; one in a handsome cope, another in a dark 
 cloak, and a third, whose face only is seen. Above them is an angel, with a sword 
 extended over the heretics ; one of whom grasps a scroll of paper. The bare back 
 is all that is seen of another ; while between them is the head of an old grey bearded 
 man. Figures half-length. On canvas, 3 ft. 3 in. high, by 4 ft. 5 in. wide. 
 
 In Charles I.'s catalogue, page 135, it is called : — "A picture where Virtue with 
 a sword is separating the vices from three churchmen. Painted on a board. Done 
 by young Palma. Bought of Nathaniel Garret. " Since then it has been transferred 
 to canvas. In the inventory of the King's pictures, made by order of the Common- 
 wealth, page 96, it is entered, '* An angel driving Ignorance before him. By 
 Palmer. Valued it £20. Sold to Captain Stone, October 23rd, 1649, for that 
 sum." At the Restoration, John Stone produced it to the committee appointed to 
 recover Charles I.'s works of art. 
 
 It is wrongly attributed to Paul Veronese. Waagen assigned it without hesita- 
 tion to Tintoretto, adding, "solidly executed in his warm, deep tones ;" but it has 
 been objected that no such picture is mentioned by Ridolfi. 
 
 The three churchmen are evidently portraits : the one in the rich cope being in- 
 tended in Mr. Scharf s opinion for Cardinal Granvelle, minister of Philip II. The 
 picture has an allegorical meaning, which it is now difficult to divine ; though it 
 probably relates to the religious wars in the Low Countries. 
 
 155 Lodovick Stuart, Duke of Richmond and Lennox (jjj) 
 
 Mytens* 
 
 Painted for James L, and entered in Charles I.'s catalogue thus : — "The Picture , 
 of the late deceased Duke of Richmond, at length, in a tawny suit. Done by Dan 
 
Hampton Court Palace, 
 
 49 
 
 My tens." In his right hand he holds the white wand of his office, the Lord 
 Stewardship of the Household, to which he was appointed on November ist, 1615 ; 
 his left hand is on his hip. His shoes are decked with large rosettes, he wears 
 the George and Ribbon of the Order of the Garter, and on his head a small white 
 skull cap. On the table is a duke's coronet. On canvas, 7 ft. 3 in. high, by 4 
 ft. 6 in. wide. In the lower right-hand corner of the picture is painted : — 
 LvDovicvs Stvart Dvx. 
 RICHMONDI^ ET LENOCI^ 
 
 1623. ^TATIS LIX. 
 D. MYTENS. fee. 
 
 As he was created Duke of Richmond on May 17th, 1623, and died on February 
 1 2th, following, this picture must have been painted between these dates. It has 
 been for some years attributed to Vansomer, but the facts — that it is entered in 
 Charles I. 's catalogue in the terms given above, that it is signed by Mytens, that 
 ** The Duke of Richmond at length, by Mytens," appears in the Commonwealth 
 inventory, page 148, and that Vansomer, as the register of St. Martin's-in-the- 
 Fields shows, died in January, 1621, — demonstrated conclusively that this is an 
 error. It probably arose from the replica at Petworth being incorrectly engraved 
 in Lodge's Portraits as a Vansomer. 
 
 The Duke's death occurred very suddenly on the morning Parliament was to 
 open, his body being found by his wife dead in his bed when the king, who, "as 
 it were, wanted one of his limbs to support the grandeur of majesty," sent her to 
 find him. 
 
 156 Goat and Cupid {156) Caravaggio. 
 
 This, which is on wood, I ft.- high, by 3 ft. 10 in. wide, is one of six similar 
 pieces in Charles I.'s collection. (See note to No. 32.) Behind is the King's 
 cypher, C. R. and the crown, and a slip of paper with the following note in Van- 
 derdort's handwriting: — "Joen Wary the 4tli, 1637. Was bought by the King 
 of Mr. Freisley's collection of 27 Italian pictures, of which this is No. 9. Done 
 by Polidore." 
 
 157 Glorification of a Saint (757) ....... Il Bassano. 
 
 St. Catherine on the right, with her palm and wheel, is bowing down \ opposite 
 is a man pointing to her, and in the centre, on a pedestal, is a boy, perhaps Our 
 Saviour, with a palm-branch in his right hand, and his left on a box. Above 
 are angels holding a wreath. Figures less than life. On canvas, 6 ft. high, by 
 3 ft. 7 in. wide. 
 
 This is a bright well-coloured picture, and one of the best of Bassano's works 
 in these galleries. 
 
 158 A Venetian represented as a Saint (^05) . . Giorgione ? 
 
 Full-length, entirely in black, standing near a column, with his left foot on its 
 base ; in his left hand, which he rests on the pillar, he holds a palm-leaf and a 
 wreath ; his right hand is on his hip. Round his head, which is bare, is a nimbus. 
 On the ground near his right foot is a quiver. On canvas, 6 ft. 3 in. high, by 3 ft. 
 8 in. wide. 
 
 On the column was formerly inscribed : — "GIORGIO barbarelli a. d. mdii. 
 ET SV/E XX. " This Messrs. Crowe and Cavalcaselle (see Fainting in North Italy ^ 
 ii., 169) pronounced a forgery, and added of the portrait that "the hand is that 
 E 
 
50 
 
 Catalogue of Pictures, 
 
 of a follower of the school of Titian." However this may be, in the meanwhile it 
 has been cleaned and very badly varnished ; while the inscription has been 
 " restored " altogether away ! A careful search by several experienced critics has 
 failed to show any trace of it. 
 
 159 Christ at the Pool of Bethesda {1087) Bassano. 
 
 This is the large piece where Christ is curing the maimed, by Bassan," No. 
 875 in James II. 's catalogue. Christ, with other figures, is on the right ; in the 
 middle is a man lifting one of the sick off a horse ; on the left and behind are many 
 invalids lying about, or being carried. The background is a portico, and in front are 
 seen the steps to the pool. Figures less than life. On canvas. 
 
 160 The Deluge {471) . Il Bassano. 
 
 On the left is a house from which people are hurrying ; in the centre the water 
 is seen advancing ; and all around is a confusion of men, women, children, animals, 
 pots, pans, boxes, &c. On canvas, 6 ft. 5 in. high, by 8 ft. 6 in. wide. 
 
 The history of this picture is curious. We find it first in the catalogue of the 
 Duke of Mantua's collection, compiled in 1627, and there called : '* Uno quadrodi- 
 pinto di mano di Bassano con il diluvio," and valued at ninety lire. (See page 159 of 
 D'Arco's Notizie.) In 1628 it passed into Charles I.'s collection with the rest of 
 the Mantuan pictures ; and was placed at St. James's, where it was sold, 21st May, 
 1650, by order of the Commonwealth, under the title of " A great piece of the Deluge, 
 by Bassan," to Mr. Emmery, for £60 ; at the Restoration it was found in his posses- 
 sion, and he stated to the committee appointed to recover the King's pictures, that it 
 and others had been " received in part payment of a great debt due to him for work 
 and materials in repairing his late majesty's houses." (See 'Jth (1879) Report of 
 Historical Commission, p. 88.) It afterwards appears in James II.'s catalogue. No. 
 160, as : — " A large piece of Noah's flood, by Bassan." 
 
 Sanderson in his Graphite, page 74, writing about 1656, makes this apt remark 
 on it :— " The naturall Bassano, an old and excellent master ; yet so affected to 
 Pots and Dripping-panes, to blew cotes and Doggs, that his History of the Deluge 
 sometimes in the gallery at St. Jame's by Whitehall, seemes to be rather a disordered 
 and confused kitchin, than Noah's floud." 
 
 161 Mary Magdalene (552) after TiTik-a. 
 
 This is perhaps the picture entered at page 102 of Charles I.'s catalogue, as : — 
 *' A Mary Magdalene, with folded hands, turning her head towards the right 
 shoulder ; half a figure, so big as the life, in an old all over gilded frame. Done 
 by Titian." Her long hair falls over her shoulders and between her arms ; her left 
 hand is on her bosom, her right holds up her dress. On canvas, 4 ft. high, by 3 ft. 
 3 in. wide. 
 
 It was formerly smaller in size ; but the strange taste of the last century disfigured 
 it by adding canvas all round to make it fit its frame, and act as a pendant to 
 Spagnoletto's "St. John." 
 
 It is an old copy of the Magdalen in the Pitti Palace at Florence, which was 
 painted for Francesco Maria, Duke of Urbino, in 1 53 1 ; and which itself was a 
 replica made at his request by Titian from the original, painted for Davalos del 
 Vasto. Messrs. Crowe and Cavalcaselle allow that this may be a copy out of 
 Titian's studio. 
 
Hampton Court Palace. 
 
 51 
 
 162 Madonna and Child with St. John {iif) C. Cignani. 
 
 She is seen at half-length ; the children at full-length, facing each other. (For 
 Carlo Cignani, see Cartoons in Henry VIII. 's Presence Chamber.) 
 
 163 The Shepherd's Offering {467) Il Bassano. 
 
 The Madonna is seated under some broken columns on the left ; and is lifting a 
 veil to show the Infant Jesus, who is on her knees. Behind her is St. Joseph 
 sitting on the ground, and resting his head on his left hand, and looking up at her. 
 Behind him are a donkey and a cow's head. In front of the mother and child are three 
 shepherds ; one on his knees holding a sheep, another taking off his hat and bend- 
 ing forward, and another advancing behind him with his hat on. In the distance 
 is a landscape with a town. On canvas, 4 ft. 6 in. high, by 7 ft. i in. wide. 
 
 This, which has hitherto been ascribed to Palma Giovine, is now considered on 
 the authority of Messrs. Crowe and Cavalcaselle to be a very fine specimen of II 
 Bassano. They refer, among others, to *' The Adoration of the Magi " at Burleigh 
 House, to ' ' The Epiphany " in the National Gallery of Scotland, and to this and 
 a similar subject in the Ambrosiana at Milan, as showing how he adopted Porde- 
 none's manner. "By looking at these pieces in succession, we see the gradual 
 expansion of Jacopo da Ponte's style before he entered into the later and better 
 known phase of his art." — {Painting in North Italy, ii., 291, 486.) 
 
 It seems to accord with " The Birth of Christ, whereby four shepherds, and an 
 ox, and an ass, in a landscape " in Charles I.'s catalogue, page 139, and attributed 
 to * ' old Tintoret, " which was one of Frosley's Italian collection of pictures. 
 
 164 Venus Recumbent {sOg) after Titian. 
 
 She is lying at full-length on a couch covered with white drapery ; her left leg 
 crossed over her right. Her left arm rests on a cushion, whilst her hand plays with 
 some flowers. Behind is a green curtain. In the background are two women, one 
 in green standing up, the other in white on her knees looking into a trunk. 
 
 It is in James II. 's catalogue, No. 754 : — *'A naked Venus, with a woman 
 looking into a trunk." On canvas, 3 ft. 6 in. high, by 5 ft. 4 in. wide. 
 
 This is a good old Venetian copy of the subject so often repeated by Titian, of 
 which there are specimens, with variations, at Florence, Darmstadt, and elsewhere. 
 The picture before us is after the Darmstadt original, but differs from it in not 
 having the little dog near the couch. It is ascribed by Miss Thompson, in her ex- 
 cellent book The Public Galleries of Europe , to Padovanino. (See also Crowe and 
 Cavalcaselle's Titian, i., 389.) 
 
 165 The Annunciation {f8) P. Veronese. 
 
 ( Withdrawn?) 
 
 166 St. John with a Lamb Spagnoletto? 
 
 This is probably No. 909 of James II.'s catalogue : — *'St. John naked to the 
 waist, with one hand upon a lamb." His right hand is on the lamb. Nearly full- 
 length. He looks a little to the left. On canvas, 4 ft. high, by 3 ft. 3 in. wide. 
 
 "Hampton Court," says M. Viardot, "a de Spagnoletto un tres beau Saint Jean, 
 sottement place trop haut." {Musees de V Europe.) 
 
 167 The Madonna teaching Our Lord to read (123) . . . C. Cignani. 
 
 He is standing, seen at full-length, with a book ; she, seen at half-length, looks 
 over his right shoulder and touches the book. 
 
52 
 
 Catalogue of Pictures, 
 
 1 68 Wise Men's Offering (j^z) . . . after P. Veronese C. Caguarj, 
 
 The Madonna and Child are on the left ; behind them St. Joseph leans on the 
 base of some columns, and near him is a man with dogs, and a cow. In front of 
 them are two kings in rich mantles, prostrating themselves, and another advancing 
 with a gift. They each have an attendant youth, and in the background are men 
 on horseback, with some camels. Altogether seventeen figures less than life. On 
 canvas, 5 ft. 9 in. high, by 8 ft. wide. 
 
 This was engraved by Gribehn in 17 12 under the name of Paul Veronese. It is, 
 however, a copy by his son Carletto Cagliari — one of his most promising pupils, who 
 unfortunately died in 1 596 at the age . of twenty-six — of a portion of the original 
 now in the National Gallery. 
 
 169 Christ in the House of the Pharisee (75) . . . Il Bassano. 
 
 In the middle is a table, at which Christ, His right hand raised, is seated with 
 the Pharisee ; attendants and others are around. Altogether eleven figures, a little 
 less than life. On canvas, 5 ft. 6 in. high, by 7 ft. 8 in. wide. 
 
 "Very dignified in composition and expression for this master ; and warm, clear, 
 and harmonious in colouring." — {Waagen.) 
 
 170 Woman of Samaria (7^) S. Ricci. 
 
 ( Withdrawn.) 
 
 171 Madonna and Child (^75) Tintoretto. 
 
 She is in the clouds, standing on the crescent moon, and holding up the Infant 
 Jesus in her left arm. They both look down towards the earth. On canvas, 2 ft. 
 1 1 in. high, by 2 ft. 6 in. vidde. 
 
 Mary and the Child in the clouds by a Venetian hand " was sold, 23rd October, 
 1651, to Captain Stone, for;^5. See No. 448 for an enlarged copy. 
 
 172 The Annunciation {701) Il Bassano. 
 
 She is on the right beneath some columns, kneeling at a prie-dieu, on which is a 
 book ; the angel kneeling on clouds is entering on the left. On canvas, 2 ft. 6 in. 
 high, by 2 ft. wide. 
 
 173 A Gentleman and a Lady with a flute (77j) .... Giorgione? 
 
 Half-length, life-size figures. He, who is somewhat in the background, and in 
 armour, has long, reddish hair and beard, and holds his gloves in his left hand. 
 She holds the fingers of both hands on the stops of the flute. On canvas, 3 ft. 2 in. 
 high, by 2 ft. 10 in. wide. 
 
 **A soldier in armour with his wench; done by Georgione," was sold by the 
 Commonwealth for ^^lO. In James II.'s catalogue it is entered. No. 295, as : — 
 ** A man in armour to the waist, and a woman with a pipe in her hand." 
 
 "This is a modern imitation after the manner of Honthorst." — (Crowe and Caval- 
 caselle's Fainting in North Italy, ii., 168. And see note to No. 383.) 
 
 174 An Italian Lady with an Orrery and Dog {ssj) Parmigiano? 
 
 Half-length, seated in an armchair, in an olive-green dress, with black braid. In 
 her left hand she holds a book. Beside her on a stand is an orrery, and on her lap 
 a little dog. She wears a cap embroidered with gold and silver. Behind is a 
 green curtain. On canvas, 3 ft. 4 in. high, by 2 ft. 7 in. wide. 
 
 This was considered by Waagen to be a good picture by the master ; other 
 
Hampton Court Palace. 
 
 53 
 
 critics doubt its authenticity. Pinti thinks it has many qualities of Raphael's 
 last manner in portraiture " {Royal Catalogue) ; and it has been suggested that it is 
 **the portrait of a female in a green dress, by Rafifaello," referred to in a letter of 
 Daniel Nys, Charles I.'s agent in Italy, who sent it to England to the king. We 
 cannot, however, trace it in Charles I.'s catalogue; but it appears in James II. 's 
 catalogue, No. 154: — "A Dutch Woman, half-length, with a globe by her, and 
 a book in one hand," without any painter's name. It may, therefore, have 
 originally formed part of Van Reynst's collection, and come to England with the 
 "Dutch Gift." 
 
 Duke Francesco Maria of Urbino adopted as the device upon his money the 
 sphere with the earth in the middle, and the niotto : — *' Ponderibus librata suis " — 
 ** poised by its own weight." (See Mrs. Palliser's Historic Devices.) 
 
 175 The Judgment of Midas {470) Schiavone. 
 
 On the left Apollo is playing on a violin, near him is Marsyas with his flute 
 on the ground. Midas, who has been punished with ass's ears for having preferred 
 the music of his pipes to Apollo's divine strain, is seated in front, his back turned, 
 and looking up at the god. On the right, Minerva, whose flute Marsyas had 
 picked up, is sitting under a tree, with a man by her. On canvas, 5 ft. 6 in. high, 
 by 6 ft. 6 in. wide. 
 
 This was in James II. 's catalogue, No. 764. It was engraved for Queen Anne by 
 Gribelin in 1712. 
 
 176 The Assumption of the Blessed Virgin (J7S) Bassano. 
 
 "A piece being the Ascension of our Lady. By Bassan " was No. 542 of 
 James II. 's catalogue — doubtless this one. Our Lady is in the sky surrounded by 
 illuminated clouds ; below is a crowd of spectators looking up. 
 
 177 St. Roch curing the Plague {64s) Tintoretto? 
 
 The saint is in the middle healing one of those stricken with the plague ; around 
 are others lying down, or being brought forward to be cured. Altogether, some 
 twelve small figures. On canvas. 
 
 178 Marriage of St. Catherine (p^) . ; Paul Veronese. 
 
 The Infant Jesus is on His mother's knee, and held by St. Catherine. In front, 
 St. John is coming forward, with a ring. Behind, on the left, is St. Joseph looking 
 over them ; and on the right in the background two angels are playing musical in- 
 struments. The Madonna has a closed book in her left hand. On canvas, 5 ft. 
 high, by 6 ft. 7 in. wide. 
 
 179 The Woman of Faith {13s) S. Ricci. 
 
 Christ in the centre, turned towards the left, is looking round at the woman, who 
 is on her knees, touching the hem of His garment. Around are some six men 
 looking on. Figures less than life. 
 
 180 Portrait of a Venetian Gentleman (^jc^*) L. Bassano. 
 
 Half-length, in black ; his hands in front of him, clasped, and holding his gloves. 
 He wears a black cap, and a small collar. He has a small trimmed beard, and is 
 seen nearly full face, looking slightly to the left. On canvas, 3 ft. high, by 2 ft. 
 I in. wide. 
 
54 
 
 Catalogue of Pictures, 
 
 He appears about fifty years of age. "Has had the background painted over 
 an inscription which seems to read thus : E. P. H. BOLOGNATVS TARVSSIVS 
 CATHARINE ^MILIAR • PATER." {Royal Catalogue.) j 
 
 181 St. George and Princess Cleodolinda {g74} .... Tintoretto. 
 
 The saint in armour has just dismounted, and is bowing to the rescued princess, 
 who rests on the body of the dragon ; standing by is a bishop in a mitre and with 
 his crozier. On canvas, 2 ft. 5 in. high, by I ft. lo in. wide. This is perhaps a 
 sketch for a large picture. 
 
 182 Portrait of an Italian Lawyer (52) P. Bordone? 
 
 This is No. 292 of James II. 's catalogue : — ** A man's picture to the waist, with 
 a parchment writing. By Paris Bordone." In front of him is a green table, or 
 ledge, on which he leans. In the corner of the parchment which he holds in both 
 hands, is a seal, and beside him a table and a letter. He wears a black habit 
 trimmed with light brown fur, and a black cap. He has a small beard and mous- 
 tache, and brown hair. The seal represents the Madonna and Child, with the 
 legend : — Sanctus Andreas.'''' On canvas, 3 ft. high, by 2 ft. 9 in. wide. 
 
 183 St. William taking off his Armour {^8) . . . Giorgione ? 
 
 Half-length, facing to the right, looking upwards. He stands in front of a 
 table on which he rests his right hand ; his left hand is on his helmet, which is 
 placed on the table. Round his head is a nimbus. On canvas pasted on wood, 
 2 ft. 9 in. high, by 2 ft. 5 in. wide. 
 
 This belonged to Charles I., for **C.R." with a crown above, is branded on 
 the wood behind ; and it is probably, therefore, '* The picture of Charles Audax, 
 the last Duke of Burgundy, in a black armour, with his right hand on part of a 
 table, the other hand upon his head-piece ; half a figure, so big as the life ; said to 
 be by Michael Coxie " — in his catalogue, page 103 ; and perhaps the " Ffellow in 
 Armour, by Giorgione," which was sold by the Commonwealth at Hampton Court 
 on the i8th November, 1651, to Mr. Dercitz, for £20. In James II. 's catalogue, 
 No. 1042, it is called "A man to the waist in armour." 
 
 Though not by Giorgione, it is a good picture by one of his followers. (See 
 Waagen's Art Treasures^ ii., 355.) Some ascribe it to Dosso Dossi. 
 
 183'' Judith with the Head of Holophernes (<?jo) .... C. Allori? 
 
 Half-length, looking up to the right, and holding the head in her left hand ; her 
 sword in her right hand is turned downwards. A woman on her left is looking at 
 her. On canvas. In James II. 's catalogue, No. 783. 
 
liiUm iiVs 
 
 mm. 
 
 |IR CHRISTOPHER WREN specially designed the decoration 
 of this room, as appears from the original estimate in his own 
 handwriting, preserved in the Record Office. Its dimensions 
 
 are 33 feet 9 inches long, by 23 feet 7 inches broad; and its 
 
 height is 30 feet, and includes the half-story. 
 
 The veiling, which is one of Verrio's best efforts, and is appropriately 
 painted with designs emblematic of Sleep, shows, in one part, Endymion 
 reposing in the lap of Morpheus, while Diana, in her crescent, admires him 
 as he slumbers; and, in the other part, a fine figure of Somnus with his 
 attendants. The border has four small landscapes, and boys with baskets, 
 intermixed with poppies. 
 
 The ttti is not William III.'s, but the state bed of Queen Charlotte, 
 George III.'s Queen. The embroidery, on lilac satin, is said to have been 
 worked by the Clergy Orphan School, and is an exceedingly fine specimen 
 of English needlework. WiUiam III.'s bed, which used to be here, is 
 now in a room further on, called the Private Dining-Room. Near the 
 bed is an oUs (locfet made by the celebrated Daniel Quare, which goes 
 for one year ; it is still in good repair, but no longer wound up. It has 
 been in this room in its present position nearly 200 years. On its face are 
 two small dials, which tell the day of the month, &c. In the corners of 
 this room are also two old barometers, one made by Tompion. 
 ^ Between the windows is a fine piet^filaSS, which dates from William's 
 time ; it is ornamented with a border of cut blue glass, and the edges are 
 bevelled. In the centre is the monogram W.R. surmounted by the crown, 
 
56 
 
 Catalogue of Pictures, 
 
 in blue and white glass. Over the fireplace is a similar looking-glass, and 
 some oak shelves, with pieces of Queen Mary's collection of china. 
 The catbtngS are more elaborate than in the other rooms, especially the 
 fine border of fruits, flowers, and birds, by the hand of Gibbons. 
 
 The walls were formerly hung with tapestry, representing the history of 
 Joshua; and there were eight silver sconces chased with the "Judgment of 
 Solomon " on them. The fireplace with its old cast-iron fire-back, the oak 
 mantelpiece and shelves, and the Gibbons carving, deserve notice. 
 
 !Oeautie0 of OCtiaclesf uV0 CCourt. 
 
 But the chief attraction of this room is the famous collection of pictures, 
 by Sir Peter Lely, of Charles II.'s beauties, formerly known as the " Windsor 
 Beauties," because they hung in the Queen's bedchamber at Windsor Castle, 
 whence they were removed early in this century to this room. 
 
 No more appropriate place could have been selected. It is a real delight 
 to sit in the window-sill here, before the tramping crowds have invaded the 
 quiet, and contemplate these charming portraits with Pepys's Diary or 
 Grammont's Memoirs in one's hand; or, better still, Mrs. Jameson's 
 Beauties of Charles II. One can imagine one's self for a moment trans- 
 ported into that mixed society of frail, but lovely and interesting women — 
 "the professional beauties" of the time. "La Duchesse d'York," says 
 Hamilton in his Mhnoires de Grammont^ " voulut avoir les portraits des 
 plus belies personnes de la Cour. Lely les peignit ; il emploia tout son art 
 dans I'execution. II ne pouvait travailler a de plus beaux sujets. Chaque 
 portrait parut etre un chef-d'oeuvre." 
 
 It must be confessed that he has succeeded in giving that voluptuous ex- 
 pression of blended drowsiness and sweetness, and that air of tender lan- 
 guishment which are so much in harmony with the characters of these 
 beautiful and charming creatures. Their "night-gowns fastened with a 
 single pin," and the " sleepy eye that spoke the melting soul," would have 
 sufiiciently told us their history if the memoir writers had failed to supply it. 
 
 The original set of " Beauties " painted by Lely were, as we find from 
 James II.'s catalogue, eleven in number, their names being: — "The 
 Duchess of Cleveland, The Duchess of Richmond, Mrs. Middleton, Lady 
 Northumberland, Lady Sunderland, Lady Falmouth, Lady Denham, Lady 
 Denham's sister. Lady Rochester, Lady Grammont, and Madame de Or- 
 leans." All these can be now identified in this room, except Lady Falmouth 
 and Madame d'Orleans, one of whom, probably Madame d'Orleans, ap- 
 
Hampton Court Palace, 
 
 57 
 
 pears to be missing altogether ; while Lady Falmouth can most likely be 
 recognized in the picture, No. 203, long called The Countess of Ossory," 
 and more recently " The Duchess of Somerset." 
 
 Some confusion has been caused by the including, about 150 years ago, 
 among the " Beauties," of several pictures which did not originally belong 
 to the series, such as No. 185, Lady Bellasys, and two portraits, Nos. 191 
 and 200, by Wissing, which, though signed by him, are attributed to Varelst, 
 and which, though evidently painted in imitation of Lely, are very inferior 
 to him ; and in more recent times, still further confusion has been caused by 
 the intrusion into this originally select society, of several ladies who have no 
 claim to belong to it : such as Miss Jane Kelleway as Diana, wrongly called 
 "Princess Mary;" a lady, probably Marie Beatrix D'Este, wrongly called 
 " Nell Gwynne ; " and the Duchess of Portsmouth, wrongly attributed to 
 Gascar. The last two were brought from Buckingham Palace in 1830, and 
 the portrait of Anne Hyde, Duchess of York, which did not belong to the 
 original series, was brought from Windsor about the same time. 
 
 With regard to the style of Lely's " Beauties," all of them are represented 
 in three-quarters lengths, in landscapes, or, as Walpole expresses it, 
 "traihng fringes and embroidery through meadows and purling streams." 
 Their draperies are disposed with a sort of graceful neghgence, which, 
 though affected, is not unpleasing; and the free exposure of their busts 
 gave the painter full scope for depicting that delicate softness of the flesh 
 in which he chiefly excelled. Their sleeves are short, and turned up with 
 white above the elbows. They are bareheaded, with their hair arranged 
 in httle coquettish curls on the forehead, and sometimes ornamented with 
 pearls. As each picture conforms to this type, it is not surprising that they 
 are all too much alike ; a fault, perhaps, inevitable in painting a series of 
 this sort. The ten genuine beauties are 4 ft. i in. high, by 3 ft. 4 in. wide. 
 
 184 Flower-piece, Lilies and Poppies, in panel over the door {i6g) Baptiste. 
 
 This is one of many similar pieces in these rooms, painted for William III. by- 
 John Baptiste Monnoyer, "one of the greatest masters who has appeared for paint- 
 ing flowers." (See George II. 's Private Chamber.) 
 
 185 Lady Bellasys (z/o) Lely. 
 
 The lady is represented in the character of St. Catherine, seated, and turned 
 to the left. Her left hand rests on the wheel, and holds a palm ; her right hand 
 
Catalogue of Pichcres, 
 
 seems to veil with the folds of her crimson mantle an already amply revealed bosom. 
 From above, and somewhat in the background, are two cherubim descending to 
 crown her with a wreath of myrtle, and she turns her large dark eyes towards them 
 with "an expression of rapturous devotion." Her rich black hair falls in ringlets 
 from a coronet of gems on her shoulders and neck. Below on the right is an open 
 book. On canvas, 5 ft. 2^ in. high, by 4 ft. 2^ in. wide. Engraved by Wright. 
 
 On a critical examination of the features, * ' we are obliged to allow the absence of 
 beauty ; the contour of the face is not perfect, and the nose and mouth are rather 
 irregular in form ; but then, as a certain French Cardinal said of his mistress, ' c'est 
 au moins la plus belle irregularite du monde;' and the eyes and the brow are 
 splendid." 
 
 There has been much dispute, during the last 130 years or so, as to whom this 
 picture, which is the most striking in this room, really represents : — "At Windsor 
 it was traditionally known as Elinor, Lady Byron ; but, on the authority of Horace 
 Walpole, Granger, and Sir William Musgrave, all three well versed in the 
 biography of our peerage, as well as in the pictorial and domestic antiquities, it is 
 generally supposed to represent Susan Anne, the widow of Sir Henry Bellasys, and 
 mistress of the Duke of York." This opinion is confirmed by the recent discovery, 
 in an old manuscript catalogue at Windsor, of the following entry: — "Lady 
 Bellasis, in the manner of St. Catherine; by Lely " — then "hanging in Mr. Chif- 
 finch, his lodgings. " Besides, if the picture is of Lady Byron, it would have been 
 painted by Huysman or Lely, abroad, or after the Restoration — both improbable 
 circumstances. Lady Byron was Charles II. 's seventeenth mistress when in exile, 
 and extorted from him at that time 15, 000 : she was at the Restoration given up 
 for Lady Castlemaine, and died two years after. No portrait of her is mentioned 
 in James II. 's catalogue. 
 
 On the death of Anne Hyde, the Duke wished to marry Lady Bellasys, but was 
 dissuaded from doing so by the King, who told him, " at his age it was intolerable 
 that he should think to play the fool again. " She afterwards married a gentleman 
 of the name of Fortrey, whom she survived, dying in 17 13. 
 
 Walpole attributed this portrait decidedly to Huysman. (See Mrs. Jameson's 
 Beauties of the Court of Charles II. — a delightful book, with very fine engravings of 
 these pictures, and full of amusing and piquant anecdotes.) 
 
 [ane Kellewayas Diana, Princess Mary (777) Lely. 
 
 A charming picture of a girl when about twelve years old. 
 
 Three-quarters length, turned to the left, but facing nearly full in front. She 
 holds a bow in her left hand, and is stretching the string with her right, in which 
 she has an arrow, with the point directed downwards. Her dress is light blue 
 with a yellow underskirt, and a purplish scarf floats behind over her shoulder. 
 She has a necklace of pearls ; and on her head, in front, a silver crescent. Her 
 hair, which is curled, is very light. Behind her is a dog's head ; and in the back- 
 ground a landscape. On canvas, 3 ft. 1 1 in. high, by 3 ft. 2 in. wide. 
 
 That this picture is not Princess Mary, as it has been called for the last 
 hundred years or so, is evident from the contemporary mezzotint engraving after 
 it by A. Browne, which is inscribed : — Madam Jane Kelleway, P. Lely Equts 
 Finxit,'* and therefore dates from 1680 to 1683 (see J. Chaloner Smith's Brit. 
 Mezzotint Portraits, i., 106, 113); and besides, bears no resemblance to other 
 likenesses of her at this time. There is nothing whereby we might fix the period 
 when it received its spurious title. Most likely it was bought about the time of 
 
Hampton Court Palace. 
 
 59 
 
 George II. ; at any rate it is not in the older catalogues, under either its false or 
 genuine name. 
 
 187 Dorothy Sidney, first Countess of Sunderland {605) . A. Russell. 
 
 The celebrated *' Sacharissa" of Waller; this name is painted on the picture. 
 It is a bad copy from a portrait by Vandyck. 
 
 188 The second Lord and Lady Clarendon {608) . Copy by A. Russell. 
 
 The original of this, by Sir P. Lely, is at ** The Grove." (See Lady Theresa 
 Lewis's Clarendon Gallery.') 
 
 189 Copies of Ladies' Portraits, by Vandyck and Lely (i'/2-iyg) A. Russell. 
 
 These are eight small very indifferent copies, heads only, by a painter who lived 
 in George II. 's reign. They are painted on oak, those after Vandyck being 
 15^ in. high, by 12^ in. wide, or io|- in. high, by 12J in. wide ; those after Lely 
 gin. high, by 7 in. wide. They have hitherto been described as " unknown, 
 but most of the originals are in great English houses, and they might easily be 
 identified. Some names, mostly from suggestions in the Royal Catalogue, are 
 annexed below to each registered number : — 
 
 Penelope Naughton, Countess of Pembroke. Vandyck {i72> 
 
 Mrs. Jane Middleton. Lely, at Althorp. [See No. 199.] . 1 • . , (173) 
 
 Anne Villiers, Countess of Morton, died 1646. Vandyck (174) 
 
 Barbara, Duchess of Cleveland. [See No. 205.] Lely. ..... (i75> 
 
 Diana Russell, Countess of Bradford, 1622-1695 (176) 
 
 Anne Carr, Countess of Bedford ? But "Miss Jennings" is written behind. (177) 
 
 Mary Fairfax, Duchess of Buckingham . . (178) 
 
 Mary, daughter of James II. ? .............. (179) 
 
 190 Anne Hyde, Duchess of York {186) Lely* 
 
 Full-length, seated, turned to the left, but looking in front. Her right elbow 
 rests on the arm of the chair, her hand playing with her hair ; her left is on her 
 lap. She is dressed in rich amber-coloured satin. The background is a purple 
 curtain, and a column. On canvas, 6 ft. 8 in. high, by 4 ft. 2 in. wide. 
 
 This is apparently the picture of which Pepys speaks in the following extract from 
 his Diary : — "I walked to Lilly's, the painter, where I saw among other rare 
 things, the Dutchess of York, her whole body sitting in state in a chair in white 
 satin." We find it in Jamer>II.'s catalogue. No. 1071 : — "The first Duchess of 
 York ; by Lely " — among " His Majesty's pictures, that were not the late King's, 
 at Windsor Castle," where it remained till about fifty years ago, when it was moved 
 here. There is a somewhat similar picture at " The Grove." 
 
 She was the daughter of the great Earl of Clarendon, and was privately married 
 at Brussels, in 1659, to the Duke of York, who acknowledged the marriage in spite 
 of much opposition. The strange way he made the announcement is told with, 
 his usual vivacity by Hamilton, who tells us that she put forward her hand to be 
 kissed "avec autant de majeste que si de sa vie, elle n'eut fait autre chose." 
 Elsewhere he says : — "Cette Princess avoit I'air grand, la taille assez belle, peu de 
 beaute, mais beaucoup d'esprit. . . . un air de grandeur dans toutes ses manieres, 
 la faisait considerer comme nee dans un rang qui la mettoit si pres du trone." It 
 was she who first began this collection of * ' Beauties " by commanding Lely to paint 
 for her the most lovely women of the day. 
 
Catalogue of Pictures. 
 
 191 Mrs. Knott [181) Wissing. 
 
 Seated, looking in front. Her left elbow rests on a pedestal, her left hand 
 holding her veil ; her right hand holds a book on her lap. On canvas, 4 ft. i in. 
 high, by 3 ft. 3 in. wide. Engraved by Thompson. 
 
 This portrait is attributed to Varelst ; but in the lower right-hand corner is the 
 signature : — " W^^ Wissing fecit ^''^ and in Queen Anne's Kensington catalogue was: 
 "Mrs. Knott at half-length, by Wissing." It is evidently a companion-piece to 
 No. 198, "The Duchess of Somerset," and No. 200, " Mrs. Lawson," and per- 
 haps No. 196. These portraits are all of the same style, and in dress and taste 
 later, and more decorous than Lely's "Beauties," in imitation of which they seem 
 to have been painted, possibly during his lifetime, and at any rate soon after his 
 death, when Wissing succeeded to his position of the " Ladies' Painter," and at- 
 tained much popularity by his flattering likenesses. " When any lady came to sit 
 to him whose complexion was any ways pale, he would commonly take her by the 
 hand and dance her about the room till she became warmer, by which means he 
 heightened her natural beauty." 
 
 She is supposed to have been one of the few virtuous ladies of Charles's court, 
 and the book in her hand, the vase of flowers on the table, the village church in the 
 distance, and the modesty of her attire — a crimson tunic and a white veil — suggest 
 at least that she was a person of domestic tastes, and assumed a virtue if she had 
 it not. She was a Stanley, of Kent, and married a Mr. Knott. 
 
 192 William, Duke of Gloucester {38^) Kneller. 
 
 Full-length, walking into the picture ; his face turned round to the spectator. 
 He is pointing, with his left hand, to the background, and has a stick over his 
 right shoulder. A dog lies on the ground, and looks up at him. He is bare- 
 headed, and dressed in blue and yellow drapery. 
 
 This picture is labelled "Lely but if it be a portrait of William, Duke of 
 Gloucester, Queen Anne's son, as it was formerly supposed to be (and as it pro- 
 bably is, to judge from the costume, &c.), and not Henry, Charles I.'s son, it must 
 be by Kneller, and not Lely, who was dead eight years before the young duke was 
 born. Mrs. Jameson says it is engraved by J. Smith, but this appears to be aa 
 error, though there is a mezzotint by him somewhat similar to it. 
 
 193 Copies of Ladies' Portraits, by Vandyck and Lely {183-187) A. Russell. 
 
 (Similar to No. 189.) 
 
 Lucy Percy, Countess of Carlisle. Vandyck, at Petworth? (183) 
 
 Lady's head, covered with pearls, to the right. Vandyck (184) 
 
 Countess of Northumberland ? Lely (185) 
 
 Lady Venetia Digby. Vandyck (186) 
 
 Portrait of Lady. Vandyck (187) 
 
 194 Duchess of Portsmouth, as Flora {i88) .... Varelst. 
 
 She is here represented as Flora, seated, facing full in front. She rests her right 
 arm on a crimson pillow, her left holds up a wreath of flowers. She wears an 
 amber-coloured dress, with a green mantle and drapery. Her hair is long and 
 curled. There are flowers on her bosom and in her hair. In the background is a 
 curtain. 
 
 Louise Renee de Penencovet de Queroualle came from a good family of im- 
 poverished means, and had been maid of honour to Charles's sister, the Duchess 
 
Hampton Court Palace, 
 
 6 1 
 
 of Orleans. On her death, by the joint intrigue of the French King and the Duke 
 of Buckingham, she was sent over to England to become the mistress of Charles II., 
 with the double object of binding him to the disgraceful French alliance, and of 
 displacing Barbara, Duchess of Cleveland, an enemy of the Duke's. Soon after 
 her arrival Evelyn notes in his Diary : — "I now saw that famous beauty, the new 
 French Maid of Honour, but in my opinion she is of a childish, simple and baby 
 face." She duly succeeded to the position of "maitresse en titre," and in 1672 
 had a son by Charles, who was created Duke of Richmond, and is the ancestor 
 of the present house of Lennox. She was made a duchess both by Charles and 
 Louis XIV., acquired immense influence over the King, and lived in more than 
 regal splendour at Whitehall. " Following his Majesty this morning through the 
 gallery," writes Evelyn, "I went with the few, who attended him, into the 
 Duchess of Portsmouth's dressing-room within her bedchamber, where she was in 
 her morning loose garment, her maids combing her, newly out of her bed, his 
 Majesty and the gallants standing about her ; but that which engaged my curiosity 
 was the rich and splendid furniture of this woman's apartment, now twice or thrice 
 pulled down and rebuilt to satisfy her prodigality and expensive pleasures." The 
 memoirs and diaries of the day are full of scandal and anecdote about "Madam 
 Carwell," as she was called. She survived the King many years, dying in France 
 in 1734, at the age of 88. 
 
 This portrait is wrongly ascribed to Gascar, a painter whom the Duchess brought 
 with her from France, and patronized. It is really by Varelst, being found in 
 James II. 's catalogue. No. 272 : — "The Duchess of Portsmouth, half-length, in a 
 red garment, by Simon Verelst," and in the Kensington catalogue of 1778 : — "The 
 Duchess of Portsmouth, with a garland of flowers in her left hand, by Varelst." 
 
 Simon Varelst was a Dutch painter of flowers, who came to England in Charles 
 II. 's reign, and when here took to painting portraits, which he crowded so with 
 flowers — as he has this one — that the King is said to have taken one for a flower- 
 piece ! He was most inordinately vain, and called himself ' ' The King of Painting, " 
 and " The God of Flowers." 
 
 195 Frances Stewart, Duchess of Richmond (i8g) . . Lely. 
 
 Turned to the right, but looking in front. She has a bow in her left hand, and 
 is slightly lifting and holding back her dress, which is of straw-coloured satin, with 
 the other. Engraved in mezzotint by Watson and by Freeman. 
 
 This picture, which is, perhaps, the most charming of the whole series, seems to 
 be referred to by Pepys, where he says : — "To Whitehall ; where staying in one of 
 the galleries, there comes out of the chayre-roome Mrs. Stewart, in a most lovely 
 form, with her hair all about her ears, having her picture taking there. There was 
 the King and twenty more, I think, standing by all the while, and a lovely creature 
 she in the dress seemed to be." At another time he says : — " Mrs. Stewart, with 
 her sweet eye, little Roman nose, and excellent taille, is now the greatest beauty, 
 I ever saw, I think, in my life." 
 
 She was the daughter of Captain Walter Stewart, son of Lord Blantyre, and, by 
 all accounts, the most lovely woman of the Court. Everyone, from the king down- 
 wards, was passionately in love with her, including Hamilton, the author of 
 Grammonf s Memoirs. She managed to play them all with great dexterity, even 
 Charles himself, who never ceased to solicit her favour ; and it is certain that, if 
 the Queen had been so obliging as to die, he would immediately have married her. 
 At last, however, being betrayed into certain imprudences with the Duke of Rich- 
 
62 
 
 Catalogue of Pictures, 
 
 mond, and afterwards marrying him, she lost her influence at Court. She died in 
 1702, and, leaving legacies to her cats, suggested Pope's line, "Die and endow a 
 college or a cat." 
 
 Of the consummate loveliness of Miss Stewart there seems to have been but one 
 opinion. Her features were faultless and regular, her complexion dazzling, her hair 
 fair and luxuriant. Her figure, which rose above the common height, was well- 
 proportioned, though slender ; she danced, walked, dressed, with perfect elegance, 
 and sat her horse with peculiar grace." To her Parisian education she owed that 
 "air de parure," which excited Hamilton's admiration as being so truly French. 
 Of her childish disposition, which perhaps added to her charms, numerous 
 anecdotes are related ; and " she was never known to speak ill of any one." 
 
 Miss Steward's beauty has been perpetuated in a more enduring, or, at any rate, 
 more popular, monument, than Lely's canvas or the rhapsodies of her lovers ; for 
 she sat, by express direction of the king, for the emblematic figure of Britannia on 
 our pennies — " on the reverse our Beauty's pride." 
 
 196 Marie d'Este ? misnamed Nell Gwynne {igo) Lely ? 
 
 Seated, facing in front, her left hand held to her bosom, her right on the head of 
 a lamb. Her dress is yellow, with an ermine-lined cloak over it. Her hair is 
 dark. In the background to the right is a column, and, to the left, Windsor 
 Castle. 
 
 This picture has, since it came here, about fifty years ago, from Buckingham 
 Palace, been misnamed *' Nell Gwynne." It is certainly not her, to whom it bears 
 no sort of resemblance, her face being round, while this lady's is long ; her hair 
 being light auburn, while this lady's is very dark. Nor is it even pretty. Besides, 
 it is more than improbable that Nell Gwynne should have been painted with an 
 ermine cloak, and with Windsor Castle in the background. Only one picture of her is 
 mentioned in James II. 's catalogue : — "Mrs. Gwynne naked, with a Cupid; by 
 Lely. " It is extraordinary that anyone should have had the audacity to label a 
 picture with such a glaring falsehood, and that such an outrageous calumny on 
 the beauty of " pretty little Nelly," should have been tolerated so long. 
 
 It is attributed to Lely ; but the dress is of a later fashion than in most of his 
 portraits, and the style resembles Wissing's rather than his. From the regal em- 
 blems it must represent some royal personage, probably Marie Beatrix d'Este, 
 queen of James II. The face is very like another portrait of her here (see No. 65) ; 
 and the colour of her hair is similar, and even the same curl falls on her left 
 shoulder ; it also resembles the engraved portraits of her. Perhaps, therefore, it 
 is : — "The Queen's picture, at half length ; by Wissing," No. 1090 in James II. 's 
 catalogue. 
 
 197 Henrietta Boyle, Countess of Rochester {igi) . . Lely. 
 
 Turned to the left, facing nearly in front. Her left elbow is on a pedestal, her 
 left hand holding a grey scarf ; her right hand is plucking a rose. She is attired 
 in a pale blue dress. Engraved by Watson and by Thompson. 
 
 She was the youngest daughter of Richard, Earl of Cork and Burlington, and 
 married, in 1663, Lawrence Hyde, second son of Lord Chancellor Clarendon, who 
 afterwards became Earl of Rochester. She was a gentle, ladylike woman, and 
 mixed but little in the intrigues of the Court. She is to be distinguished from the 
 wife of the witty Lord Rochester. There is a head from this picture, by Lely, at 
 the Grove. 
 
Hampton Court Palace. 
 
 63 
 
 " Elle etoit d'une taille mediocre ; elle avoit la peau d'une blancheur eblouissante ; 
 les mains jolies, et le pied surprenant, en Angleterre meme. Une longue habitude 
 avoit tellement attendri ses regards, que ses yeux s'ouvroient qu'a la Chinoise ; et 
 quand elle lorgnoit, on eut dit qu'elle faisoit quelque chose de plus." — [Memoires de 
 Grammoni.) 
 
 Seated, facing in front. She is dressed in a crimson bodice, and has a brownish 
 veil. Her right arm rests on a flower-vase, her left is on her lap. Her features 
 and the expression of her face are delicate and beautiful. In the background is a 
 country house. Engraved by Scriven ? 
 
 This picture is evidently by Wissing, being exactly in the style of Nos. 191 and 
 200. 
 
 When at Windsor, it was traditionally known as ** The Duchess of Somerset," 
 and is so labelled now. Mrs. Jameson thought it was " Emile de Nassau, Countess 
 of Ossory ; " but she must have been over forty at the time, about 1683, at which 
 this picture, to judge from costume, style, &:c., was painted, while the lady repre- 
 sented does not appear to be more than twenty-five. It might, however, possibly 
 be Anne, Lady Ossory, daughter of Lawrence Hyde, who died at the age of eighteen ; 
 but it is far more likely that the tradition is correct, and that it is a Duchess of 
 Somerset. If so, it would be Elizabeth Percy, who married "the proud Duke," 
 **the beautiful Duchess," whom Lely was painting when he died suddenly in 
 1680. 
 
 Standing, directed to the left, but turned round to the front. She is carrying in 
 her two hands, on her left side, a basket of com and fruit. Her dress, which is 
 sufiiciently ** decolletee,"is of pale amber turned up with white satin. Her hair is 
 fair ; her age about twenty. Engraved by Watson and Wright. 
 
 Mrs. Jane Middleton was the daughter of Sir Roger Needham, and became, 
 after her marriage, one of the most renowned beauties of the day. Wherever she 
 went she was the centre of observation and admiration, whether in the Park, at 
 Court, at balls, or at the play; and Pepys even confesses his "great delight 
 to have the fair Mrs. Middleton at our church, who is indeed a very beautiful 
 lady." 
 
 De Grammont was one of her admirers and made desperate love to her. " La 
 Middleton," says Hamilton, "fut la premiere qu'il attaqua. C'etoit une des plus 
 belles femmes de la ville, peu comme encore a la cour ; assez coquette pour ne 
 rebuter personne ; assez magnifique pour vouloir aller de pair avec celles qui 
 I'etoient le plus ; mais trop mal avec la fortune pour pouvoir en soutenir la depense. " 
 " Elle etaifbien faite, blonde et blanche, et avoit dans les manieres et le discours 
 quelque chose de precieuse et d'affecte. L'indolente langueur dont elle se paroit, 
 n' etoit pas du gout de tout le monde. On s'endormoit aux sentimens de delicatesse 
 qu'elle vouloit expliquer sans les comprendre." At one time he showered presents 
 on her ; but "II s'appergut que la belle prenait volontiers, mais qu'elle ne donnait 
 que peu, " so he left her to her numerous other lovers, who were more easily grati- 
 fied, or more fortunate. 
 
 Of Mr. Middleton no notice was ever taken, nor any mention made ; he is 
 Jcnown to us only as "the great beauty's husband." In the days of her mature age 
 
 198 Duchess of Somerset {1^2) 
 
 Wissing. 
 
 199 Mrs. Middleton {igj) 
 
 Lely. 
 
64 
 
 Catalogue of Pictures, 
 
 and charms she devoted herself to gambling. She died between 1685 and 1690, 
 and was lamented by St. Evremond in a graceful little epitaph, beginning : — 
 
 This picture is engraved in mezzotint, with the incorrect title, ** Lady Middleton." 
 
 She is seated, facing in front ; her left hand is on her lap. Her dress is red 
 satin, fastened with a jewelled clasp, and a brownish skirt underneath. A brown 
 veil falls from her head on to her shoulders. Background, a country residence. 
 
 This picture is ascribed to Varelst, but is really by Wissing, whose signature is in 
 the lower left-hand corner. Engraved by Holl. Compare No. 191 and 198. 
 
 This is probably a daughter of Sir John Lawson of Brough ; and if so, she is the 
 lady who was introduced to court by her aunt the Duchess of Richmond, to become 
 Charles's mistress, and supplant the ascendency of the Duchess of Portsmouth. 
 Her considerate relative so far succeeded in her design as to make her the object 
 of his admiration and attention ; but the young lady seems to have offered a con- 
 siderable and unusual resistance to his advances ; or at any rate if she succumbed, 
 it does not seem to have brought her much influence. There are some contempo- 
 rary verses in which she is addressed as "a soft, believing, inexperienced maid,'* 
 and warned of her danger from the king's admiration. 
 
 The title "Mrs," is, according to its modern significance, a misnomer when 
 applied to this lady, as at any rate she was never married ; unmarried ladies were 
 in those days designated as "Mistress so-and-so ;" the modern appellation, "a 
 Miss," implying then what we now designate as "a Mistress." 
 
 201 Frances Brooke, afterwards Lady Whitmore {igf) . Lely. 
 
 Seated, facing in front ; her head on one side. She leans her left arm on a 
 rock, her hand holding up her slate-coloured drapery to her breast ; her right 
 hand is on a rock by her side. 
 
 This picture is traditionally known as "Lady Whitmore," Lady Denham's 
 sister, under which title it was engraved in mezzotint about one hundred years ago 
 by Thomas Watson ; and it is to be traced in James II. 's catalogue. No. 1 118, 
 among the original Beauties: — "Lady Denham's Sister." Nevertheless, it was 
 called by Mrs. Jameson, "Anne, Countess of Southesk," on the authority of an 
 old duplicate, although she admitted that "the whole picture strangely belies the 
 character of the Countess." 
 
 This Miss Brooke was the younger of the two daughters of Sir William Brooke, 
 who were nieces of Digby, Earl of Bristol. When they were respectively sixteen 
 and seventeen years old, their uncle, who was anxious to ingratiate himself with 
 Charles, introduced them at Court to captivate that amorous monarch. With this 
 object in view, he used to give little supper parties, at which his young and beau- 
 tiful nieces, — "qui etoient toutes deux faites pour donner de I'amour et pour en 
 prendre " — were sedulously brought under the notice of the king. " Le luxe et la 
 delicatesse regnoient dans ces repas nocturnes, qui font I'enchainement des autres 
 voluptes : " and all was in good train, when the affair was discovered, and at once 
 
 " Ici git Middleton, illustre entres les belles. 
 Qui de notre commerce a fait les agremens. 
 
 Elle avait des vertus pour les amis fideles, 
 Et des charmes pour les amants." 
 
 200 Mrs. Lawson (ig^) 
 
 Wissing. 
 
Hampton Cotcrt Palace. 
 
 65 
 
 put a stop to, by Lady Castlemaine. After this we hear no more of the younger 
 Miss Brooke, who eventually married Sir Thomas Whitmore, K.B., ancestor of 
 the Whitmores of Shropshire. 
 
 202 Elizabeth, Countess of Northumberland {ig6) . . Lely. 
 
 Standing, turned to the left, looking to the front. Her left hand hangs by her 
 side, and holds back her purplish robe ; her right is held up, pointing to the 
 background of woodland scene with waterfalls. Engraved by Watson and by 
 Deane. 
 
 Lady Elizabeth Wriothesley was the youngest daughter of Thomas, fourth Earl 
 of Southampton, the Lord Treasurer, and sister of Lady Russell. She was married 
 in 1662 at the age of fifteen, to Joscelin, Lord Percy, aged eighteen. He died in 
 1670, and she next married, in 1673, Ralph, Lord Montague, afterwards Earl and 
 Duke of Montague, who had made love to her with admirable patience and perse- 
 verance, though for a long time there appeared " quelque chose de travers dans 
 I'esprit de la nymphe." After her marriage she kept her title of Countess of 
 Northumberland. 
 
 203 Countess of Falmouth, misnamed Countess of Ossory {igf) Lely. 
 
 Three-quarters length, standing, facing in front. She leans her right arm on a 
 pedestal, while her right hand holds up her blue dress, which is also supported by 
 a string of pearls, across from her right shoulder and under her left arm. In her 
 left hand she holds a wand. 
 
 Her loose blue drapery, we are told, on the authority of a lady (Mrs. Jameson), 
 *• is so arranged that, on the least movement, it must inevitably fall from the lovely 
 form it conceals. The bust is much exposed, but nothing can exceed the delicacy 
 of the tints and pencillings in the neck and bosom, and the sweet and tender maimer 
 in which the whole picture is executed." The painter seems, too, in this picture, to 
 have almost attained the very ideal of that soft, dreamy, languorous expression of 
 the eyes which he always aimed at. 
 
 Unfortunately there has been some mistake about the identity of this picture. 
 About a hundred years ago it was engraved in mezzotint by T. Watson as "The 
 Countess of Ossory," a name with which it is still labelled ; though Mrs. Jameson 
 believed this to be an error, and called it "The Duchess of Somerset." Itis probably, 
 however, neither one nor the other of these ladies. There was no Duchess of 
 Somerset whose age would tally with that of the lady represented in this picture, 
 and the period when it was painted ; nor does it resemble the engravings after other 
 portraits of Lady Ossory ; nor was either lady in the original set of " Beauties," of 
 which this is decidedly one. 
 
 There can be little doubt that it is really the portrait of Elizabeth Bagot, Lady Fal- 
 mouth, who is the only one of Lely's "Beauties " not identified in this room (except 
 Madame d'Orleans, who seems to be missing altogether). That this is so will 
 appear still more probable, if we refer to the description of her in the Mimoires 
 de Grammont : — 
 
 ** EUe avoit ce teint rembruni, qui plait tant, quand il plait. II plaisait beau- 
 coup en Angleterre, par ce qu'il y etoit rare. Elle rougissait de tout, sans rien 
 faire dont elle eut a rougir." The complexion of the lady before us is certainly the 
 darkest in this room ; and the painter has very happily indicated her tendency 
 to blush by the incipient crimson, which seems about to suffuse her neck and 
 cheeks. 
 
 F 
 
66 
 
 Catalogue of Pictures. 
 
 Elizabeth Bagot was the daughter of Colonel Hervey Bagot, third son of Sir 
 Hervey Bagot, Bart., an ancestor of the present Lord Bagot. Her marriage with 
 her first husband, Lord Falmouth, took place about 1663, soon after this picture 
 of her was painted. He was killed in the great naval victory of June, 1665 ; and 
 she afterwards married the celebrated Lord Dorset, and died in 1685. 
 
 204 Elizabeth Brooke, Lady Denham {ig8) Lely. 
 
 She is sitting, turned to the front, facing slightly to the right, but her eyes are 
 directed to the left. She has a basket of flowers in her lap. Her dress is a deep 
 yellow satin. 
 
 She was the eldest daughter of Sir William Brooke, and niece of Digby, Earl of 
 Bristol, who, as we have seen, introduced her and her sister at court to captivate 
 Charles. The Duke of York, however, took to her instead, and this not serving 
 the aim of her relations, she was married off at eighteen to old Sir John Denham 
 the poet, a widower of seventy-nine, and described as "ancient and limping." 
 This state of things brought the Duke of York again to the fore, and Lady Denham 
 not only compliantly admitted him as her lover, but had the somewhat unusual 
 effrontery to insist upon being publicly avowed by him as his mistress. This James 
 complied with, and he was about to compel his duchess to appoint her one of her 
 ladies of the bedchamber, when she suddenly fell ill and died a month or two after- 
 . wards. She was supposed, but on inadequate grounds, to have been poisoned by 
 " ce vieux scelerat Denham." 
 
 205 Barbara, Duchess of Cleveland, as Minerva (^igg) . Lely. 
 
 Standing, turned to the left, looking in front. Her left hand grasps a spear ; her 
 right is on a shield, on which is Medusa's head. She wears a golden helmet with 
 red and white plumes, and a stone-coloured dress with a light blue scarf. The back- 
 ground is a sky. 
 
 The daughter and heiress of William Villiers, Viscount Grandison, the most 
 profligate of this profligate lot. She married at eighteen Roger Palmer, who was 
 a loyal adherent of the Stuarts, and, when in Holland, they came across the merry 
 monarch, who rewarded Mr. Palmer's loyalty by seducing his wife. At the restora- 
 tion the liaison continued, and Palmer, for his compatibility — about which, however, 
 he had little choice — was rewarded by being made Earl of Castlemaine. When 
 Catherine of Braganza came to England, she had firmly resolved not to receive 
 Lady Castlemaine. No sooner, however, did Charles and his new queen come to 
 this palace to spend their honeymoon, than Lady Castlemaine established herself 
 here also, and within two days of her arrival forced herself into the queen's pre- 
 sence. Her majesty was so overcome at this indignity, that she burst into tears, 
 and was carried fainting from the room. Afterwards she was constrained to make . 
 her one of her ladies of the bedchamber, and treat her with the greatest : 
 deference. 
 
 Her history and the dishonour she brought on Charles by her powerful influence, 
 are too well known to need recapitulation. Pepys's Diary is full of anecdotes 
 about her ; and in the following extract he appears to refer to this picture : — '* I 
 went to Mr. Lilly's, the great painter, and here, among other pictures, saw the ? 
 so-much-desired-by-me picture of my Lady Castlemaine, which is a most blessed 
 picture." She died old and neglected, but not impoverished, in 1709. Her 
 imperious and arrogant character is well expressed in this picture, where she is re- 
 
Hampton Court Palace. 
 
 presented under the character of Pallas. * ' The face is perfectly beautiful ; the rich 
 red lips are curled with arrogance and womanish disdain ; and the eyes look from 
 under their drooping lips with a certain fierceness of expression." 
 
 206 Anne, Countess of Sunderland {200) Lely. 
 
 Seated ; figure turned slightly to the right, her face to the left, but her eyes to the 
 front. Her left arm leans on a pedestal, her right is on her lap. She is dressed in 
 yellow, with crimson drapery. 
 
 She was the youngest daughter of George Digby, Earl of Bristol ; and married 
 in 1663, at the age of twenty-one, Robert Spencer, Earl of Sunderland, the well- 
 known politician of that time, and was at Court, but appears to have preserved her 
 character less sullied than was usual at that time. The Princess, afterwards Queen 
 Anne, however, writes the following remarks on her : — " Lady Sunderland plays the 
 hypocrite more than ever ; for she is at church half an hour before other people 
 come, and half an hour after eveiybody is gone, at her private devotions. She runs 
 from church to church after the famousest preachers, and keeps such a clatter with 
 her devotion, that it really turns one's stomach. Sure there never was a couple so 
 well matched as she and her good husband ; for as she is the greatest jade that ever 
 was, so is he the subtillest workingest villain that is on the face of the earth." 
 
 She is seen, however, in her true light in Evelyn's Diary, who had the 
 highest admiration for her high character, her good heart, and her refined 
 tastes. 
 
 207 Miss Hamilton, Countess de Grammont {201) . . Lely. 
 
 Seated ; turned towards the left, but facing in front. She is represented as St. 
 Catherine ; dressed in red, holding a small palm branch in her left hand ; her right 
 holds a scarf of gold brocade to her bosom. Her complexion is fair ; her hair light 
 chestnut. In the background on the left is a pillar and St. Catherine's wheel. 
 Engraved by Watson and by Thompson. 
 
 This picture is the finest and most interesting of the whole series, and we are told 
 in Grammont's Memoires that Lely bestowed all his art on it, and confessed he 
 had taken a special delight in painting it. It is the only one which bears his signa- 
 ture : "P. L." in the upper right-hand corner. At Court it made a great sensation, 
 and the Duke of York, who had before paid assiduous attention to Miss Hamil- 
 ton, "en eut a la regarder, et se mit a lorgner tout de nouveaux I'original" — much 
 to the alarm of Le Chevalier de Grammont, who had just made her acquaintance, 
 and was already her ardent lover. His charming account of her at this time exactly 
 corresponds with the impression conveyed by this picture : — 
 
 *'I1 la vit done pour la premiere fois de pres, et s'appercut qu'il n'avait rien vu 
 dans la cour avant ce moment. II I'entreteint ; elle lui parla. Tant qu'elle dansa, 
 ses yeux fiirent sur elle, et des ce moment, plus de ressentiment contre la Midleton. 
 Elle etait dans cet heureux age, ou les charmes du beau sexe commence a s'epanoiiir. 
 Elle avoit la plus belle taille, la plus belle gorge, et les plus beau bras du monde. 
 Elle etoit grande et gracieuse jusques dans le moindre de ses mouvemens. C'etoit 
 I'original, que toutes les femmes copioient pour le gout de habits, et I'air de la 
 coefifure. Elle avoit le front ouvert, blanc et uni : les cheveux bien plantes, et 
 dociles pour cet arrangement naturel, qui coute tant a trouver. Une certaine frai- 
 cheur, que les couleurs empruntees ne sauroient imiter, formoit son teint. Ses yeux 
 n'etoient pas grands : mais ils etoient vifs, et les regards signifioient tout ce quelle 
 vouloit. Sa bouche etoit pleine d'agremens, et le tour de son visage etoit parfait* 
 
Catalogue of Pictures. 
 
 Un petit nez delicat et retrousse n'etoit pas le moindre ornement d'un visage tout 
 aimable. Enfin, a son air, a son port, a toutes les graces repandues sur sa personne 
 entiere, le Chevalier de Grammont ne douta point qu'il n'y eut de quoi former des 
 prejuges avantageux sur tout le reste. 
 
 *' Son esprit etoit a peu pres comme sa figure. Ce n'etoit point par ces vivacites 
 importunes, dont les saillies ne font qu'etourdir, quelle cherchoit a briller dans la 
 conversation. Elle evitoit encore plus cette lenteur affectee dans le discours, dont 
 la pesanteur assoupit : mais sans se presser de parler, elle disoit ce qu'il falloit, et 
 pas davantage. Elle avoit tout le discernement imaginable pour le solide et le faux 
 brillant ; et sans se parer a tout propos des lumieres de son esprit, elle etoit reservee, 
 mais tres juste dans ses decisions. Ses sentimens etoient pleins de noblesse ; fiers 
 a outrance, quand il en etoit question. " 
 
 Nevertheless De Grammont seems to have been of so volatile a nature, that he 
 was leaving England hastily, without performing his engagements to Miss Hamilton, 
 when he was pursued and met by her two brothers in an inn at Dover. " Chevalier 
 de Grammont," cried they aloud, ** n'avez vous rien oublie a Londres? " *' Pardonnez 
 moi, messieurs," replied he, " j'ai oublie d'epouser votre soeur." He accordingly 
 returned, and about December, 1663, **pour le prix d'une Constance qu'il n'avoit 
 jamais connue auparavant, et qu'il n'a jamais pratiquee depuis, il se vit en fin 
 possesseur de Mademoiselle d'Hamilton." They appear to have left England about 
 1664. In France, where she resided the rest of her life, she was appointed " Dame 
 du Palais ; " but she was not popular, at least with the ladies, who designate her as 
 '* affected and haughty," "plus agreable qu'aimable," and " Anglaise insupport- 
 able." 
 
 Flower-piece, in panel {202) 
 
 Baptiste. 
 
|ROBABLY this room was not quite finished till Queen Anne's 
 time, as the ornamental brass-work on the door bears the initials 
 A. R. The half-story begins above this room, which accounts 
 for its being only 20^ feet high. Its length is about 24 feet ; 
 its width i4|- feet. 
 
 Veiling. This, which is another of Verrio's, represents Mars reposing 
 in the lap of Venus, while Cupids steal his shield, armour, spear, sword, 
 and helmet, and entwine his arms and legs with wreaths of roses. The 
 border is decorated with orange trees in ornamental pots or vases, with 
 jasmine and other trees, and with parrots and other birds. In a memorial 
 addressed by Verrio, on the 28th July, 1702, to the Lord High Treasurer, he 
 says that he had contracted with his late Majesty William III. to paint this 
 room, which he calls "the little bed-chamber," at a rate certain; that 
 he had only been paid a small part of what was due to him for this and 
 other work ; that he was still owed a sum of ;^i,i9o, and that "his necessi- 
 ties were very pressing for money, and without speedy assistance he was 
 like to be reduced to great extremity." He was given £600. 
 
 The flock-paper is modern ; till the beginning of this century the walls 
 were hung with straw-coloured Indian damask, and the chairs and stools, 
 &c., were covered with the same material. The ttmtX "fiteplace, — with 
 its marble chimney-piece, its antique cast-iron fire-back, showing Neptune 
 and attendant nymphs (date about 1702), and the curious oak mantel- 
 piece, with diminishing shelves rising one above another, and decorated 
 with lime-wood carving, — is characteristic of old times. Here are placed 
 some more pieces of Queen Mary's china. The barometer in the corner 
 was considered a curiosity even in 1741. 
 
70 
 
 Catalogue of Pictures, 
 
 210 Men in Armour, fighting with Bears {741) . Giacomo Bassano. 
 
 Four or five figures less than life, with daggers ; the bears on their hind legs. 
 On the left is a lioness reclining. 
 
 211 The Continence of Scipio {236) S. Ricck 
 
 He is seated under some columns, with his soldiers round him ; the girl is on 
 her knees in front of him. Figures less than life. 
 
 " A showy decorative picture, worth looking at as marking the fashion of a day 
 gone by." — (Thome's Environs of London.') 
 
 212 Robbers in a Cave dividing their Spoil {6y6) . . S. Rosa. 
 
 Eight small figures ; some on horseback, others rifling boxes, others casting lots 1 
 on a drum. On canvas, 4 ft. 5 in. high, by 5 ft. 4 in. wide. 
 
 This is a good picture in the favourite style of the master, who was fond of wild, 
 desolate scenes, such as gloomy defiles, rocky precipices, lonely mountains. Into 
 these he introduced the robbers and banditti with whom he is said to have been 
 associated in his youth. 
 
 213 A Holy Family {6g6) Perugino? 
 
 St. John is presenting a cup ; St. Joseph and St. Elizabeth stand by. On wood, 
 2 ft. high, by 2 ft. 6 in. wide. 
 
 214 A Holy Family {66) Francesco Vanni. 
 
 St. Joseph stands by ; St. John sits in front. Two angels adoring, and the Holy 
 Ghost descending in the form of a dove. 
 
 "Although Vanni appears to have generally adopted the style of Baroccio for 
 his model, his design is usually more correct, his touch more animated and facile. 
 .... The airs of his heads are dignified and expressive, and his colouring is- 
 tender and harmonious. He died in 1610." — (Bryan's Dut. of Painters.') \ 
 
 215 Nymphs and Cupids sporting in Clouds (57/) Chiarl 
 
 Giuseppe Chiari was a scholar of Carlo Maratti. The visitor will probably not ' 
 care to hear any more of him, when he has inspected the specimens of his art in this. [ 
 room. On canvas, 3 ft. 10 in. high, by 3 ft. 10 in. wide. 
 
 216 Cupid Shaving his Bow {511) after Parmigiano. 
 
 This copy was in James II. 's collection. No. 757. The original is in the Belve- 
 dere at Vienna. The copy in the Orleans Gallery was bought by the Duke of 
 Bridgwater in 1792 for ;^7oo ; it is now in the possession of Lord Ellesmere. It 
 has been frequently engraved. 
 
 217 Christ in the House of Martha and Mary {684) . Giacomo Bassano. 
 
 Christ is entering with his disciples on the left ; on the right is a fireplace, 
 in front of which is Martha on her knees attending to the dinner. Rows of pots, 
 and pans are ranged over the chimney-piece and dresser, and various kitchen uten- 
 sils are about the room. In the background is a landscape. On canvas, 2 ft. 
 II in. high, by 3 ft. 10 in. wide. 
 
 218 Judas betraying Christ {5^4) Pordenone? 
 
 On canvas, 2 ft. 3 in. high, by 2 ft. 9^ in. wide. Pronounced "not genuine'" 
 by Messrs. Crowe and Cavalcaselle. 
 
Hampton Court Palace. 7 1 
 
 219 Salome with the Head of John the Baptist (^5/2) . . . unnamed. 
 
 This appears to be : — "The picture of Herodias with St. John's head in a platter, 
 looking towards her left shoulder to another old woman standing by, with her 
 hand on her breast : a Mantua piece." She is turned to the right ; her arms and 
 bosom are bare. On canvas, 3 ft. 2 in. high, by 2 ft. 9^ in. wide. 
 
 220 Two Nymphs Kissing {s6i) [See No. 215] Chiari. 
 
 221 Head of Christ, in a small oval {214) unnamed. 
 
 222 Head of the Madonna, in a small oval (216) unnamed. 
 
 223 The Tribute Money {702) P. Veronese ? 
 
 Ten small figures. Certainly not by the master. 
 
 224 The Marriage of Joseph and Mary {s74) Girolamo da Treviso? 
 
 A curious little picture, carefully painted, of three figures ; the centre one in a 
 mitre performing the ceremony. In the background is an altar, with Hebrew de- 
 vices and signs ; and also several figures. On wood, 2 ft. 2 in. high, by 2 ft. 10 in. 
 wide. 
 
 This, which had been long unnamed, is now attributed, though I do not knovr 
 on whose authority or on what grounds, to Girolamo da Treviso. No signature is 
 to be detected, but if it is really by him, it is of considerable interest, for he was one of 
 the painters invited to England, and patronized by Henry VIII. ; and his works be- 
 sides are exceedingly scarce. He was the son and pupil of Piermaria Pennacchi, and 
 was born in 1497 at Trevigi. He became an imitator of Raphael. It is not certain 
 when he came to England ; probably about 1530. Henry gave him a salary, and 
 employed him as architect and engineer. He was killed by a cannon-ball in 1544 
 near Boulogne, while engaged in some siege works. The only authenticated example 
 of him in England is in the National Gallery. (See Wornum's Holbein, page 273; 
 and The Catalogue of the National Gallery. See also Delia way's notes to Walpole's 
 Anecdotes, and Mr. Scharf's paper on Holbein's Contemporaries in Archceologia, 
 xxxix., 54.) 
 
 There appears no picture corresponding to this in Henry VIII. 's catalogue, nor 
 in Charles I.'s. Besides, being on panel, it should have his brand behind — CR, 
 with a crown above ; but there is no trace of anything of the sort. But it is pro- 
 bably the "Small Piece of the Marriage of Joseph and Mary, Italian" — found at 
 the Restoration, in the custody of Emmanuel de Critz ; and afterwards in James 
 II.'s catalogue. No. 963 : — "A Bishop marrying a man and woman." 
 
 225 "A piece with a Doe, a Stork, and a Brass Pan in it" {246) . Kalf. 
 
 So described in James II.'s catalogue, No. 800. 
 
 William Kalf was a Dutch painter of still-life, who excelled especially in composi- 
 tions like the above, where the kitchen utensils of a boor's establishment are ren- 
 dered with surprising truth. There is a similar piece in the Louvre. He flourished 
 at Amsterdam in the middle of the seventeenth century, and died there in 1673. 
 
ling's 
 
 Intmg 
 
 imtt 
 
 jPPOSITE the windows in this little room is a door in the wain- 
 scot, leading to a private staircase, at the bottom of which is a 
 private way into the garden, so that the King could go out 
 unobserved. The bannisters are formed of most beautifully 
 «vrought iron, unequalled for delicate workmanship in England. 
 
 The looking-glass over the chimney-piece is so arranged as to afford a 
 view in vista of all the rooms on the south side of the state apartments. 
 The hangings were formerly of pea-green damask. This room is 24 feet 
 long by 1 7 feet broad. 
 
 225^ Flowers in a Brass Vase — a panel-piece {222) . . James Bogdani. 
 
 This and similar still-life pieces by this artist were painted expressly for the 
 panels in these rooms, by order of Queen Anne. He came over to this country in 
 her reign, and lived here between forty and fifty years, known at first only by the 
 name of " The Hungarian." Other specimens of his pencil, such as birds, poultry, 
 &c., will be found further on (see No. 455, &c.). 
 
 228 Artemisia Gentileschi at her Easel, painting (ypi) By herself. 
 
 Half-length, seen in profile to the left, with her paint-brush in her right hand, 
 her easel in front of her. She has long black hair. Below is the signature : "A. G.F." 
 On canvas, 3 ft. 2 in. high, by 2 ft. 5 in. wide. 
 
 This is a fine and spirited portrait of a very remarkable woman. She was the 
 daughter of Orazio Gentileschi, a celebrated Italian painter, who was invited to 
 
Ha^npton Court Palace. 
 
 England by Charles I., and whose whole family was patronized by him. (See 
 next picture. ) This portrait was probably painted by her expressly for the King ; 
 for we find it in the inventory of his goods made by order of the Commonwealth : " A 
 Picture of Painting, by Arthemesia. Sold to Mr. Jackson 28th Nov. 165 1 for £10.'^ 
 She came over to England with her father, but did not remain long ; though 
 while here "she drew some of the Royal Family and many of the nobility." Mr. 
 Thorne remarks, that " probably many portraits in great English houses, attributed 
 to more eminent names, are from her pencil." Indeed she excelled her father in 
 portraiture. Nor was her popularity confined to England. Lanzi speaks of her as 
 "famed throughout Europe," and her master, Guido, held her in high esteem. 
 She passed most of her life at Naples, where, if we are to believe the gossips, she 
 was "as celebrated for her amours as her painting." She certainly does not seem 
 to have cared much about her husband, for we find her asking in one of her letters 
 with the most perfect indifference, whether he is still alive or dead ! She died in 
 1642. There is another portrait of her by herself at Althorp. (See Walpole's 
 Anecdotes, and Sainsbury's Original Papers relating to Rubens and his Con- 
 temporaries, p. 310, and authorities there quoted.) 
 
 227 A Sibyl {218) Orazio Gentileschi. 
 
 Half-length ; holding in front of her a tablet, on which are some mystical caba- 
 listic symbols. Her face, which is in profile to the right, is upturned, as if seeking 
 inspiration. Her left hand holds the edge of the tablet. On canvas, i ft. 11 in. 
 high, by 2 ft. 2\ in. wide. 
 
 This picture was in Charles I.'s collection, for we find his cypher painted at 
 the back of the canvas, and it is doubtless the "Woman's Head by Gentilescoe, 
 sold to Mr. Houghton, i6th Jan. 1651 for ;^6," by order of the Commonwealth. 
 And it appears in James II. 's catalogue, No. 276 : — "A woman to the waist, 
 holding a table with characters. By Gentileschi." Mr. Thorne would therefore 
 appear to be right in attributing it to Orazio the father, instead of to Artemisia his 
 daughter, as has been usually done. 
 
 He was a native of Pisa and a disciple of his half-brother, Aurelio Lomi. The 
 very considerable reputation he had earned abroad, induced Charles I. to invite 
 him to London in 1626, and treat him with the greatest liberality. He gave him 
 an annuity of ;^ioo a year (equal to at least £600 in these days), bore the whole 
 expense of the education and travelling of his sons in Italy, employed him in paint- 
 ing ceilings at Greenwich, paid very large sums for his pictures, and furnished 
 him a house from top to toe at a cost of more than £\ooo ! 
 
 vSuch favours naturally excited envy. ' Gerbier, a rival artist, had to draw up a 
 paper of " the sums of monies Gentilesco hath received : " he did so in a ludicrously 
 bitter tone. Some of the items are : " Got for to buy collars, being a new plot to 
 put upon the King— ;^i5o ! . . . Afore the Duke went to Re, the Duke told me 
 that Gentiles ' squised out of his purs ' — £^oo ! . . . After the son came back again 
 from Italy, made believe he had been robbed at sea and got another sum ! " (See 
 authorities cited above.) There were many of his pictures in the royal collection 
 in Charles I.'s time : the two here are all that now remain, the others being dis- 
 persed. He died in London in 1647, aged eighty -four. 
 
 228 Colossal Head of a Warrior {2 if) Guercino. 
 
 He has a helmet on, and looks to the right. He rests his head on his left hand. 
 On canvas pasted on wood, 2 ft. 9 in. high, by 2 ft. 3 in. wide. 
 
74 
 
 Catalogue of Pictures. 
 
 This is in Guercino's first and least known manner, which " seems to be an 
 imitation of Caravaggio, full of deep shades and strong lights ; flesh of a yellow 
 tinge, and a general colour that was far from being harmonious." (Pilkington's 
 Diet.) See also No. 231. 
 
 229 Joseph and Potiphar's Wife {165) . . Orazio Gentileschi. 
 
 She is stretching across a couch, and holds his coat in her hand ; he is lifting a 
 red curtain, and going out of a door on the right, his head turned round. The 
 costumes are of the painter's own time. On canvas, 6 ft. 9 in. high, by 8 ft. 6 in. 
 wide. 
 
 This was painted for Charles I. At the Revolution it was sold for ^50 ; at the 
 Restoration it was found in the possession of Thomas Osborne, and it appears in 
 James IL's catalogue, No. 161, as "A large piece of Joseph and his Mistress." 
 
 It is well painted, but has suffered from over-cleaning, which gives it a hard and 
 patchy appearance. The style of the artist and his school being realistic in its 
 tendency, the accessories are in the taste of the time of Charles I. This picture 
 has been denounced as of immoral tendency, because ' ' the licentious pencil of the 
 artist " is supposed to aim rather at exciting us to wonder and laugh at, than to 
 "admire the noble virtue of the youth." 
 
 230 Venus and Youth at a Brook {646) unnamed. 
 
 She is on the left, under a tree, watching the boy getting into the water. On 
 wood, I ft. Sin. high, by 2ft. i|in. wide. 
 
 231 Portrait of Guercino holding his palette .... By himself. 
 
 Bust, in brown, with a large collar. In his right hand he holds his palette, in ids 
 left his brushes. On canvas, 2 ft. \ in. high, by i ft. 8 in. wide. 
 
 This was brought here from Frogmore in 1829. There is a similar picture 
 at Cobham Hall. 
 
 The real name of this painter was Giovanni Francesco Barbieri, the appellation 
 Guercino, by which he is now known, having been given to him on account of his 
 having lost the sight of his right eye. He died in 1666. 
 
 232 St. Roch curing the Plague (/p/) unnamed. 
 
 Some twelve small figures. St. Roch in front of a table, healing a man. On 
 canvas, i ft. 7 in. high, by 2 ft. I5 in. wide. 
 
 He is the patron saint of people smitten with the plague, and is supposed to have 
 been endowed with miraculous powers of healing. He has always been a favourite 
 subject with artists. 
 
 233 Head of a Young Man {861) C. Cignani. 
 
 Bust, with red drapery, looking to the right. (For Carlo Cignani, see Cartoons in 
 Henry VIII. 's Presence Chamber.) 
 
 234 Cleopatra dying from the bite of an Asp {g8i) . . . L. Caracci ? 
 
 She is seen to the knees, reclining against a cushion and nude, with green drapery. 
 Her right arm is by her side, the asp is coiled round her left arm, which is bent to 
 support her head. A girl on the left is looking at her. Figures less than life. On 
 wood, 3 ft. I in. high, by 2 ft. 4 in. wide. 
 
 Charles I.'s cypher is behind ; and it was in James II. 's catalogue, No. 940. 
 
Hampton Court Palace. 
 
 75 
 
 235 Lucretia with the dagger, and Tarquin {105) ... P. Bordone. 
 
 His head is just seen in the gloom behind over her right shoulder ; and he has 
 hold of her left arm. She is holding the dagger in her right, with the point directed 
 to her bosom. She is in a white night-dress, over which is green drapery winding 
 round her sleeve and waist. On wood, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 This may possibly be the picture in the Long Gallery at Hampton Court in 
 Henry VIII.'s time, and described in his catalogue as, "A table containing a man 
 embracing a woman, she having a dagger in her hand ; with a curtain of green and 
 yellow sarcenet." And it corresponds in dimensions with the "Lucretia done by 
 Titian, having a dagger in her right hand, and a man's face behind, being Tarquin ; 
 half a figure so big as the life ; done upon a board " — in Charles I. 's catalogue, 
 which was sold by the Commonwealth to Remee van Leemput for;^75. 
 
 This is a smeared old copy, sometimes ascribed to Paris Bordone, of a very fine 
 picture by Palma Vecchio in the Belvedere at Vienna. Another copy of the same 
 by Varottari is in the Ufftzi. (Crowe and Cavalcaselle's Painting in North Italy, 
 ii., 475- ) 
 
 236 Augustus consulting the Sibyl (55) .... Pietro da Cortona. 
 
 A large composition of some eleven life-size figures. On the right is Augustus in 
 a red toga, gazing with astonishment at the representation of the Madonna and Child 
 in the clouds, to which the Sibyl, who stands in the middle in grey, is pointing. 
 On the left is an altar with a sacrifice, and a youth kneeling vidth a casket in 
 his hand, and several other figures around. Beneath a colonnade behind Augustus 
 are two men reading either the Sibylline Books, or perhaps Virgil's Eclogue to 
 Pollio. On canvas, 8 ft. 10 in. high, by 8 ft. 8 in. wide. 
 
 The alleged prophecy by the Sibyl of the advent of Christ is supposed to be re- 
 ferred to in Virgil's Eclogue to Pollio, where he announces the return of the golden, 
 age. The prophetic references in the Sibylline Books to the coming of Christ 
 are now known to have been forgeries by the early Christians. (See a most inte- 
 resting article on the Sibylline works in the Grand Dictionnaire du XIX. Siecle, 
 of P. Larousse.) 
 
 Pietro Berretini da Cortona was chiefly employed at Rome and Florence, in the 
 middle of the seventeenth century in decorating palaces, particularly the Barbarini and 
 Pitti. His canvas pieces have the defects incidental to that sort of work : a want of 
 correctness in design, and a flashy showyness in colouring. 
 
 537 Moses Striking the Rock {38^ Salvator Rosa. 
 
 A small landscape representing Moses on the right striking a massive rock. On 
 the left are many females with vases. On canvas, i ft. 8 in. high, by 2 ft. 3 in. 
 wide. 
 
 38 Martyrdom of St. Bartholomew {426) . after Spagnoletto, L. Nottery? 
 ' This is a small copy of the famous picture in the Museum at Madrid. The saint 
 
 is tied to a tree, while his executioner is skinning him with an expression of 
 eagerness and zeal, for which the religious enthusiasts of the Spanish Inquisition 
 must have furnished the type to Spagnoletto. On wood, i ft. 11 in. high, by i ft. 
 4^ in. wide. 
 
 The original was engraved by Spagnoletto himself. Of Nottery, who according^ 
 to the label was the copyist, I can find no mention anywhere. But it appears from 
 an old catalogue that he executed this copy in 1630. 
 
Catalogue of Pictures, 
 
 Salvator Rosa. 
 
 A few figures in the foreground, one of which carries a pitcher on her head. In 
 the background a piece of water and a castle. On canvas, i ft. 7 in. high, by 2 ft, 
 I in. wide. 
 
 The picture cleaner and " restorer" has been at work on this canvas. 
 
 This was in Charles I.'s catalogue, page 138 : — "The picture of a woman in 
 yellow hair, and white habit, wide white sleeves, holding her right hand to her 
 left sleeves ; half a figure, so big as the life. Given to the King by Sir Henry Fan- 
 church. Said to be done by old Palma." She looks to the left. Below is painted a 
 wooden ledge, on which is an inscription or date in antique characters. On wood, 
 2 ft. 5 in. high, by i ft. 10 in. wide. 
 
 241 Salome with the Head of John the Baptist (2^8) . Luini? 
 
 This was in Charles I.'s catalogue, as his brand, C.R., with the crown above, is 
 found on the back of this panel, which is fully an inch thick. She is seen on the 
 right, in full-length, less than life. Her left hand is in front of her, holding up 
 her gown, her right points to a basin, which stands on a table, and over which the 
 executioner is holding John the Baptist's head. Her dress is red, with green 
 drapery, and grey sleeves. The executioner, who is a little in the background on 
 the left, is seen only to the waist behind the table ; he holds the head by the hair 
 in his left hand, and is looking at Herodias' daughter. Behind them is seen the 
 head of her mother. The table is marble, on supporters representing sphinxes ; 
 the green cloth over it is turned up at the cover, and shows a yellow lining. On 
 wood, 4 ft. 2 in. high, by 2 ft. 4^ in. wide. 
 
 This is a replica, with, however, some variations not noticed by Messrs. Crowe 
 and Cavalcaselle, of an original, by Bernardino Luini, formerly in the Orleans 
 Gallery, and some years ago in the possession of Mr. George in Paris. There is 
 also another repetition in the Belvedere at Vienna. Of this one the critics just 
 mentioned observe that it is " more empty in flesh and feebler in execution than 
 the original." Clements, in his Leaders of the Renaissance, agrees with them in 
 assigning it to Luini. Waagen at first remarked that it had ' ' in conception and 
 tone much of the manner of Boltraffio ; " but afterwards, *' it is now so placed that 
 the hard work of an inferior scholar is fully evident." 
 
 242 Head, a Sibyl {133) C. Cignani. 
 
 Bust, in yellow drapery, her left hand on her breast, a turban on her head, 
 looking to the left. 
 
 243 A Peacock, Cocks, and Hens {343) J. Bogdani. 
 
 The peacock stands on a pedestal. (See No. 225*.) Signed on the right. 
 
 244 Triumph of Spring over Winter (225) S. Ricci 
 
 She is attended by Cupids, crowned with flowers, and rising on clouds 
 Winter, represented as a dead old man, lies below. 
 
 245 Mystic Marriage of St. Catherine. A copy (jpo) . after Correggic 
 
 The Infant Jesus, seated on His mother's knee, is placing the ring on St. Catherine' 
 finger. A saint behind her, and a landscape in the distance. Half-length figures 
 On canvas, 3 ft. 2\ in. high, by 4 ft. wide. 
 
 240 A Sibyl? {403) . 
 
 P. BORDONE? 
 
Hampton Court Palace. 
 
 This is doubtless "The Picture of Our Lady and Christ and St. Catherine, half 
 figures, so big as the life ; a landscape by it, where the martyring of St, Bastian, 
 is painted in little entire figures, half so big as the life" — in Charles I.'s catalogue, 
 page 109, and there stated to have been "given to the King by the deceased 
 Duke of Buckingham. Said to be done by Correggio, and by some esteemed a 
 very good old copy." It was sold by the Commonwealth for £2^', and is in 
 James II. 's catalogue, No. 171. 
 
 The original, which was painted about 15 17, is in the Louvre. It was engraved 
 for the Musee Napoleon, in 1 8 14. There are replicas at Naples and St. 
 Petersburg. (See Meyer's Correggio.) 
 
 46 Flower-piece— Lilies, &c. — in a Brass Vase {2^2) . . J. Bogdanl 
 
Sueen m 
 
 jUEEN MARY'S closet is not a very appropriate designation of 
 this room ; for, as it was not floored till four or five years after 
 her death, she could never have been in it at all. It seems to 
 
 have got this name from having been formerly hung with 
 
 needlework executed by her ; the chairs and screens also being described 
 as "the work of the same pious hand," and "extremely neat, and the 
 flowers very well shadowed." They were all removed some years ago. 
 
 Artistic needlework, indeed, seems to have been the chief occupation by 
 which Mary beguiled the weary hours of her husband's long absences, 
 varied with the interest of her choice collection of exotics and her orange 
 trees, — the remnant of which can be seen from the windows here, — and her 
 curious specimens of china, which are seen in every room. In an old 
 building called " The Water Gallery," which stood on the brink of the 
 river, but was taken down after her death, she formed a retreat which 
 would do credit to any " aesthetic" lady of the present day. The decora- 
 tion of her rooms was superintended by Sir Christopher Wren. It included 
 ceilings painted by Verrio; richly carved doorways and cornices, with 
 delicate festoons of fruits and flowers in limewood, by GrinHng Gibbons ; 
 oak dados, hangings of fine needlework, and corner fireplaces, with 
 diminishing shelves above, on which were ranged her most valued specimens 
 of blue china. Here she spent most of her time, surrounded by those 
 beautiful maids of honour whose features she made Kneller transmit to 
 us (see " King's Presence Chamber ") ; sometimes plying her needle on the 
 fragile balcony of beautiful wrought iron, which overhung the then un- 
 cockneyfied Thames, and watching the barges sail to and fro ; sometimes 
 superintending the laying out of the new gardens ; and sometimes sitting 
 
I 
 
 Hampton Court Palace. 79 
 
 at work beneath the shade of the curious intertwined trees still known by 
 the name of " Queen Mary's Bower." 
 
 The pleasant views this room affords into the public and private gardens, 
 and its large windows to the south and east, which admit whatever sunlight 
 there may be, make it the most charming of the suite, and admirably 
 adapted for a sitting-room, to which use Queen Anne probably put it. 
 
 The fireback represents the Madonna and Child. Between the windows 
 is a fine old looking-glass with a blue cut-glass border. The room's 
 dimensions are: length 26 feet, width \2\ feet, and height 18^ feet. 
 
 247 Two Females sacrificing to a Statue {,244) G. Romano. 
 
 In Charles I.'s catalogue, page lOO, it is described : — **A high and narrow 
 piece, in a white carved and gilded frame, being a sacrifice ; some four entire 
 little figures, and a goat lying to be sacrificed. A Mantua piece, done by Julio 
 Romano," and in James XL's collection, No. 237 : — "A Sacrifice to Jupiter." A 
 border of black painted wood has been very inappropriately added all round to 
 make it fit an oak panel frame. 
 
 The figure in the foreground holds a knife ; the one behind is near the altar, and 
 holds his right hand outstretched towards the statue of the god, which is on a 
 pedestal. A little boy is near the goat holding a basin. The back of the panel is 
 branded with Charles I.'s cypher, C.R. and a crown. On wood, 4 ft. high, by 
 2 ft. 2 in. wide. It was sold by the Commonwealth for ;^44. 
 
 " Genuine and spirited. " — (Waagen.) 
 
 248 Charity {203) C. Cignani. 
 
 j She is seated, clasping three children who are clinging to her for protection. 
 
 I Figures life-size. On canvas. 
 
 249 Madonna and Child (77) Bronzino? 
 
 The Madonna is in scarlet, seated. In her right hand she holds a book which 
 rests on the ground ; her left holds the Infant, who leans on her knees. In the 
 background to the right are a few small figures. On wood, 4 ft. high, by 3 ft. 
 4 in, wide. 
 
 Bronzino was a pupil of Pontormo's, and became court painter to the Medici. 
 
 250 Holy Family, St. Catherine and St. Joseph {idf) . Luca Cambiaso. 
 
 The Madonna is seated, the Infant Jesus, who is on her lap, grasps a palm which 
 St. Catherine holds over Him in her right hand ; her left hand is on the hilt 
 of a sword. St. John rests his head on the Blessed Virgin's knee, and holds in his 
 left hand a small cross and a scroll with : ecce agnvs del" St. Joseph on the left 
 contemplates them. Figures life-size, and nearly full-length. 
 
8o 
 
 Catalogue of Pictures. 
 
 This picture has been attributed to Parmigiano, but the slipping of the canvas in 
 the frame has quite lately revealed the name '* Luca Cambiasi," who was doubtless 
 the artist. In Charles I. 's collection there were several Holy Families by him, but 
 none of the descriptions exactly correspond with this one. His surname is some- 
 times given as Cangiagio, and he is also known by the familiar designation Luchetto 
 da Genova. 
 
 His paintings, which are not much known in England now, were held in high 
 esteem in Italy, where he was largely employed in decorating churches, and Philip 
 II. also invited him to Spain to paint in the Escurial. He died there in 1585. 
 
 251 The Madonna della Querela" {24'f) after Raphael, G. Romano. 
 
 The Madonna is sitting under an oak, and holding up her Child in her right arm. 
 St. Joseph leans on an antique fragment, and looks over her shoulder. The Infant 
 Jesus and St. John are on a cradle. St. John holding a scroll with " ecce . AGNUS . 
 DEI." On canvas, 4 ft. 4 in. high, by 3 ft. 5 in. wide. 
 
 This is an early and very good copy, attributed to Giulio Romano, of Raphael's 
 famous picture now at Madrid, which is said to have belonged to Charles I. There 
 is also a repetition of it at the Pitti Palace at Florence, marked as a copy by Giulio 
 Romano. It is sometimes called ** The Madonna della Lucertola" on account of a 
 lizard which is introduced into the Pitti version, but not found in others. 
 
 It was designed by Raphael about 15 17, but the execution, even of the original, is 
 generally attributed to G. Romano. Variations by Raphael's scholars, in which the 
 infants hold the scroll aloft, are frequently met with. 
 
 252 Thetis presenting Achilles to Cheiron the Centaur {211) A. Balestra. 
 
 Three-quarters life-size. Cheiron has the infant in his arms, Thetis in white 
 drapery is looking up at him. 
 
 Antonio Balestra painted very indifferently, somewhat in the style of Carlo Maratti, 
 His pictures here are specimens of the sort of art patronized by the early Georges. 
 
 253 The Roman Daughter and her Father (//j) unnamed. 
 
 He is in prison, sitting in front of the stocks, with his bare back towards the spec- 
 tator, and a piece of red cloth about his loins, and his hands tied behind him. She 
 is suckling him, and thus saves him from starvation ; her right hand rests on his bald 
 head. 
 
 254 St. John the Baptist in the Desert ^7^^ . . . . Lionello Spada. 
 
 Full length, reclining, looking upwards and pointing with his left hand to a cross ; 
 beside him, in his right hand, he holds the scroll with *' ecce AGNUS del*' 
 
 This is a very bad example of an able Bolognese master who, as Kiigler succinctly 
 puts it, "happily combined the more dignified conception of the Caracci with thci 
 vigour and truth of Caravaggio." His most accessible masterpiece for Englishmen! 
 is in the Louvre. 
 
 255 Vulcan giving Thetis Armour for Achilles (2of) . . A. Balestra.; 
 
 Life-size ; three-quarters length. She holds the helmet ; he is giving her the shiddj 
 and sword. Cupids hover round. 
 
 256 Madonna and Child {g62) C. Cignani. 
 
 He is standing on a table, and holding a rose near her face ; she supports Him. i 
 
Hampton Court Palace. 
 
 8i 
 
 257 A Roman Emperor on Horseback {i68) G. Romano. 
 
 His head bare, his mantle arranged so as to form a background to the horse's 
 head. On wood, 2 ft. lo in. high, by i ft. 8 in. wide. Behind is branded " C. R." 
 and the crown, showing that it belonged to Charles I. and was one of the ** eleven 
 Caesars," sketches, which he bought with the Mantuan collection. At the Common- 
 wealth they were valued at i, loo, and sold for that sum. Only this and No. 290 
 now remain in the Royal Collection. 
 
 ;5 8 A Female with Flowers, called "Flora" (<?j'd) .... unnamed. 
 Half-length, less than life, seated. 
 
 i59 Saint Catherine with a Palm and Wheel {412) . B. Luini. 
 
 Half-length, life-size. She wears a crimson mantle, and a dark green dress, 
 cut square, with a small linen frill. Her arms are crossed. In her left hand she 
 holds the palm-branch, and her right rests on the wheel. Long, reddish-brown 
 hair. On wood, i ft. 10^ in. high, by i ft. 7 in. wide. 
 
 A picture similar to this is at Berkeley Castle. 
 
 60 Old Woman warming her Hands with Charcoal (^13) . G. Nogari. 
 
 A head ; the pan of charcoal is on the table. 
 
 Giuseppe Nogari was a painter of the debased Venetian school, and a pupil of 
 Balestra's — a bad scholar of a poor artist. As a portrait painter, however, he 
 shows some power and truth. (See No. 263.) 
 
 61 Madonna and Child unnamed. 
 
 Figures less than life. She is seated, kissing the Child. On canvas, 2 ft. 2 in. 
 high, by 2 ft. 8 in. wide. 
 
 62 Madonna and Child, with St. John (707) V. Malo. 
 
 The Madonna is reclining, while the Infant Jesus lies by her side, and St. John, 
 with his hands joined, and holding a cross and scrip, stands by in contemplation. 
 Background : pillars, and a dark landscape. Figures less than life. On canvas, 
 3 ft. high, by 2 ft. 9 in. wide. 
 
 Vincent Malo was at first a disciple of Rubens, but afterwards went to Italy, and 
 ; painted landscapes and altar-pieces. 
 
 63 Portrait of a Man {611) Nogari. 
 
 A bust. He wears a grey doublet, and a scarlet coat and a black cap ; his 
 right hand on his breast. 
 
 64 The Infant Christ attended by Angels {21 j) . . Carlo Maratti. 
 
 He lies on straw, covered with white and green drapery ; the cherubs are adoring 
 and kissing Him. On canvas, 2 ft. high, by 2 ft. 4 in wide. 
 
 65 Madonna and Child and St. Joseph (260) V. Malo. 
 
 She is sitting under a tree, and holds St. John in her arms ; the Infant Jesus 
 i stands by with outstretched and imploring arms. In the distance are a castle, an 
 
 aqueduct, and mountains. The Madonna's expression of smiling amusement, and 
 I the air of discomfort of the infant St. John are very cleverly portrayed. On canvas, 
 
 3 ft. I in. high, by 2 ft. 4 in. wide. 
 
 G 
 
82 
 
 Catalogue of Pictures, 
 
 266 Chiron teaching Achilles the Use of the Bow {86s) . G. Romano, 
 
 Achilles is pressing towards the Centaur, and receives a boar's hide and a bow and 
 arrows. Thetis is behind him, prostrate with grief. In the centre on the ground 
 is the figure of a man. Figures less than life. On wood, 4 ft. 2 in. high, by 
 2 ft. 9 in. wide. 
 
 This belonged to Charles I., as his cypher — " C.R." with a crown — is branded on 
 the back of the panel. There is also a small piece of paper on which is written, 
 *' From Mantua.''' It seems, therefore, to be the picture described, in his catalogue, 
 page 142 : — "A Piece of Lantyr, to whom is presented, by a young man, a dead 
 wild boar, and Envy lying on the ground with some other figures. A Mantua- 
 piece, done by Julio Romano. " 
 
 267 Sophonisba preparing to take Poison {417) , . Gaetano? 
 
 Half-length, in a black dress with a crimson cloak and yellow puckered sleeves. 
 In her left hand she holds a golden cup or chalice, and has lifted the lid off with 
 her right. Behind her hangs a green curtain. On wood, 2 ft. 3 in. high, by i ft. 
 8 in. wide. 
 
 This picture was in Charles I.'s collection, for his cypher — " C.R." and the crown 
 — is branded on the back of the panel. It was No. 243 of James II. 's catalogue, 
 where it is called "The picture of Sophonisba, or Fair Rosamund, with a cup in her 
 hand.** It is probably intended to represent Sophonisba taking the poison sent her 
 by her husband Massinissa, to spare her the humiliation of being surrendered 
 to Scipio. 
 
 It has usually been attributed to Scipione Pulzone, called Gaetano. He was 
 much celebrated as a portrait-painter at Rome towards the end of the sixteenth 
 century, and the name which some have given him of " The Vandyck of the Ro- 
 man School," expresses the excellencies of his style. In Waagen's opinion, however, 
 it is by Jan Mostaert, a Fleming, who was court painter to Margaret of Austria, 
 Governess of the Low Countries (not Margaret of Anjou, as is absurdly said in the 
 English translation of the Art Treasures). He was a native of Haarlem, where 
 he died in 1556. Very few of his works are extant ; there are some at Antwerp. 
 A portrait, which bears a striking resemblance in style and in feature to this, is 
 in the Brussels Museum, though the artist's name is not given. 
 
lURING Queen Anne's reign this room, which is one of the finest 
 of the suite, being 8i feet long, by 25 feet broad, and having 
 I seven large windows, was hung with Mantegna's " Triumph," 
 i now in the " Communication Gallery." A book called " Magna 
 Britannia,'' written in the reign of Queen Anne, speaks of it as decorated 
 with " the triumphal entry of a Roman Emperor, very curious, with a good 
 collection of porcelains, and other curiosities of the late Queen Mary." 
 
 Cf)0 IBtlit WSIRdiXt still remains here ; and the amateur of blue-and- white 
 jars and bowls will observe some very interesting specimens, made especially 
 for William and Mary, and mostly bearing the Royal arms, with the cypher 
 W.M.R. and the Nassau motto, main-tien-dray, and the rose, harp, thistle, 
 &c. The finest are the great flower-vases standing about four feet high, and 
 composed of some eight different parts, placed one above another, and 
 tapering upwards. They bear efligies of William III. and various devices. 
 There are also some old teapots, which remind us how in the palace, and 
 doubtless in this room, 
 
 ** Thou great Anna, whom three realms obey, 
 Doth sometimes counsel take and sometimes tea." 
 
 (Ejimncg'PieC^. This is particularly handsome, being of dark grey marble, 
 with a bust of Venus on the top, two doves billing beneath her, and two 
 Cupids on the sides ; in the centre is a looking-glass, ornamented with brass 
 work. The fireback shows James II.'s arms and his initials, I. R. 1687 : 
 it was a strange piece of economy on William of Orange's part to make 
 jse of his dethroned father-in-law's arms for the fireplaces in his new 
 palace. 
 
 \ 
 
84 Catalogue of Pictures, 
 
 These are a series of seven pieces of tapestry from the celebrated designs 
 of Charles Le Brun, illustrative of the Life of Alexander. Very little is 
 known of their history beyond the fact that they were bought by General 
 Cadogan, in Flanders, for a very small sum, in George I.'s reign, and set up 
 here by order of the king. Some clue to their workmanship has been 
 
 ,1 
 
 afforded by last year's (1880) Exhibition of Ancient Industrial Art, at 
 Brussels, in which there were several pieces similar to these, some signed 
 Jean-Fran9ois, and others Pierre, Van den Hecke. These names belong, it 
 seems, to the old Brussels manufactory, where the hangings in this room 
 may have been worked. 
 
 Many sets, however, were executed at the Gobelin manufactory, under the 
 
Hampton Court Palace. 
 
 85 
 
 personal supervision of Le Brun from his own cartoon, during his tenure of 
 the directorship till his death in 1690. But in any case, the workmen 
 were Flemings. Le Brun's own paintings from the same designs, which 
 were very finely engraved by Gerard Audran, are well known. 
 
 The seven pieces here are only a part of the whole series ; and besides 
 not being arranged in chronological order, they have been cut to suit the 
 size of the walls. Their now faded condition, which gives but a faint idea 
 of their pristine splendour, is due to the glare of sunlight, which for 120 
 years has streamed, unchecked by blind or curtain, through the seven large 
 sash-windows; the two end pieces, not being exposed to the direct rays, 
 have not suffered so much. For a short period they were covered up and 
 the walls hung with pictures, but were restored to public view in 1865. 
 
 Nos. I and 7 are ft. ; Nos. 2 and 6, 22^ ft. \ and Nos. 3 and 5, 12^ ft. 
 wide j and these six pieces are 13:2: ft. high. No. 4 is 9!- ft. high, by 7 ft. 
 wide. 
 
 1. Alexander's Triumphal Entry into Babylon. 
 
 He is being drawn in a magnificent chariot by an elephant with rich trappings ; 
 he holds a sceptre in his right hand. Censers of incense are being swung by 
 attendants ; and braziers of spices are burning along the roadside. Attendants 
 follow the King, bearing presents of gold vases, &c. Behind are seen the buildings 
 of the city. He entered Babylon in 331 B.C., after the battle of Arbela and the 
 flight of IDarius, and was received by the inhabitants as a deliverer. 
 
 2. The Last Fight of Porus, King of India. 
 
 Porus is on his elephant in the centre of the picture, hurling a javelin with his 
 right hand ; in front of him, seated on the elephant's head, is the driver. The 
 elephant has seized a horse with its trunk. All around are Greeks flinging darts, 
 and one on horseback sticking a spear into the beast's hide. On both sides and 
 behind are various incidents of the contest, which was fought in 326 B.C., after 
 Alexander had forced a passage across the Hydaspes. 
 
 3. Alexander and his Horse Bucephalus. 
 
 Alexander, after turning the horse, has just dismounted, and is being embraced 
 by his father Philip, who on this occasion exclaimed that "Europe would be too 
 small for such a spirit." Greek soldiers are seen in the background and to the 
 left ; and in front is Bucephalus held by an equerry. 
 
 4. Alexander and Diogenes. 
 
 Diogenes, the Cynic philosopher, is on the left, sitting in front of his tub, and 
 with his left hand directing Alexander to remove himself from between him and the 
 sun. Three or four soldiers are in attendance on the King ; Corinth is seen in the 
 distance. Engraved for the ** Apelles Britannicus " by Mosley and Gravlot. 
 
 5. Alexander meeting the Chaldean Prophets as he enters Babylon. 
 
 Alexander is on horseback, speaking to the Chaldean prophets, who stand by 
 
86 
 
 Catalogtie of Pictures, 
 
 his side on the right, and are endeavouring to dissuade him from entering Babylon 
 a second time, where it was foretold he should die. 
 
 6. The Battle of the Granicus. 
 
 Alexander is in the middle, on horseback, with his sword held up, about to strike 
 Spithridates, the Ionian Satrap ; behind the King, coming to his assistance with a 
 battle-axe, is Clytus, who saves his life. To the left are the Greeks plunging across 
 the stream^ and clinging to their swimming horses. To the right are the Persians, 
 fighting with the Greeks. The date of the battle is 334 B.C. 
 
 7. Alexander Entering the Tent of Darius' Wife. 
 
 Alexander, after the battle of Isaus, is entering, accompanied by Hephsestion, the 
 tent of Sisigambis, the wife of Darius. She at first took Hephsestion for the 
 King, and prostrated herself before him to kiss his feet. Behind are the daughters 
 and other relations of the King, imploring mercy. This composition was engraved 
 by Gribelin. 
 
 268 Landscape with four small Figures {251) . . . Adrian Hennin. 
 
 A woman and a little boy passing on a road near some sheep and two women. 
 Mountainous scenery in the distance. 
 
 He was one of the last artists who came to England in the reign of Charles II. 
 He painted landscapes in the style of Gaspar Poussin. 
 
 269 Twelve Classical Subjects, Decorative Pieces {440-451) . S. Ricci. 
 
 These twelve indifferent pieces are attributed to Sebastian Ricci, who probably 
 painted them for Queen Anne to decorate Kensington Palace, whence they were 
 removed about fifty years ago. They are 5 ft. 4 in. high, but vary in width, some 
 
 2 ft. , others 2 ft. 9 in. wide. I 
 
 Endymion sleeping under a tree (440) 
 
 Syrinx fleeing from Pan into bullrushes (441) 
 
 Mars armed as a Roman soldier (442) 
 
 Venus, semi-nude, seated on clouds (443) 
 
 Apollo gazing with astonishment at Daphne (444) 
 
 Daphne being turned into a laurel (44S! 
 
 Bacchus, seated, with his thyrsus and cup (446; 
 
 Diana, seated in clouds, pointing to Endymion (447 
 
 Juno with her crown, sceptre, and regal mantle {448 
 
 Mercury flying with the caduceus (449 
 
 Pan pursuing Syrinx (45° 
 
 Cybele seated in clouds, and pointing downwards (451 
 
 270 A Boy playing with Puppies {248) B. Castiglione 
 
 He holds two in his arms, and the bitch is jumping up at him. Hens in a coop 
 and dead ducks hanging above. 
 
 This painter is generally known by his Christian name, Benedetti, sometimes als 
 by the nickname Grechetti. He was patronized by Gonzago, Duke of Mantua 
 who treated him with great liberality, and gave him apartments in the Ducc 
 Palace. This is a favourable example of the sort of pictures in which he excelled 
 
mm 
 
 inne's 
 
 UEEN ANNE'S bed, with its stools, &c., to match, appropriately 
 furnishes this room. The hangings of the bed are of fine silk 
 velvet, worked with an elaborate pattern of architectural designs 
 and conventional vases and flowers, in orange and crimson on a 
 jwhite ground. The material has suffered much with age, but, when closely 
 linspected, it discloses a workmanship of great delicacy. It is said to have 
 come from Spitalfields. In George I.'s reign, this room was occupied by the 
 Princess Caroline, wife of the Prince of Wales. 
 
 CJe (^teiliUQ was painted for her by Sir James Thornhill, who had 
 succeeded Verrio and Laguerre as a decorator of palaces and public 
 buildings. It was by Halifax's influence that he was employed. "The 
 Duke of Shrewsbury, Lord Chamberlain," says Horace Walpole, " intended 
 it should be executed by Sebastian Ricci ; but the Earl, then First Com- 
 missioner of the Treasury, preferring his own countryman, told the Duke 
 that if Ricci painted it he would not pay him." The design shows Aurora 
 rising out of the ocean in her golden chariot, drawn by four white horses, 
 and attended by Cupids ; below are Night and Sleep. In the ^OtttiC^ are 
 the following portraits : — George I. with the crown, over the bed ; Princess 
 Caroline, over the fire-place ; George II., as Prince of Wales, opposite his 
 wife ; and Frederick, Prince of Wales, as a boy, over the windows. 
 
 The chandeUer is silver, elaborately decorated with glass balls. Near 
 the bed are two large blue bowls, which probably belonged to Queen Mary. 
 The cast-iron fire-back has a rude representation of the Worship of the 
 Brazen Serpent. The size of this room is 30 by 25^ feet ; its height is 
 30 feet. 
 
88 
 
 Catalogue of Pictures 
 
 271 St. Peter; so called {433) • . 
 
 Half-length, in red ; his left hand on his bre'ast bdd head and grey S!"'"'' 
 
 272 Head of an Old Man {4J2) . 
 
 chW' " ^^^^l«g-^--~"A fa't man's* he'ad,' baid, withaXbt 
 
 Full-length, standing; m a dark green skirt of cut velvet, and a tight- waiste(' 
 bodice^f the same, trimmed with lace and red ribbons. -The corfaJe of th 
 gown IS very low cut, but the bosom is covered with a transparent chemisette ' 
 At the end of her stomacher is a small scarlet rosette. She wearralso aTusseV 
 
 ' t °' '"^ 1^ ''^''^ ^ ^^"^^^1 ^^Srey felt with a red pS 
 Her gloves are of buff leather. Her right hand is on heV hip ; her left 
 
 SrouSplrr'ef '^^^ flagstonesit j 
 
 tn^nntlf''' k'^."^^'*"^' as far as the portrait of the queen is concerned, is similail 
 frn^?. f ^y Vansomer m the Queen's Audience Chamber, was probably copied 
 Nr3;6'fLl1t&^^^^ " ^^"^ ^^-'^ (Se.| 
 
 Her face bears that expression of pert inanity and self-satisfaction, only tool 
 consonant with her character; while her fantastic dress reminds us of her love oil 
 display. This fault, however, we ought perhaps to be eager to condone, when it 
 is remembered that we owe to it those beautiful and romantic masques, that were 
 performed in the great halls of this and other palaces, with such magnificence! 
 during her reign, and for which Daniel and Ben Jonson wrote all their sweetest! 
 Quarkch pSmyT''^' ^^^^ ^ ^'^""^^ Majque at Hampton Court, 1604. B.j 
 
 274 Venus embracing Adonis {307^ G. Chiari ! 
 
 She is seated with her back to the spectator, her arms thrown 'around him, and' 
 kissing him. Three cupids around them. Figures, life-size. 
 
 275 St. Francis and the Infant Jesus (275) Guido? 
 
 Saint Francis, who is seen in a half-length, is facing to the left, and holds the 
 intant Saviour in his arms ; supporting His feet with his left hand, and holding his 
 right arm round His waist. The Infant has a small cross in His right hand, while 
 His left rests on the saint's head, who is contemplating Him with a beautiful 
 expression of love and devotion. On canvas, 3 ft. 3 in. high, by 2 ft. 7 in. wide. 
 
 This IS a charming picture, but scarcely equal to Guido. The foreshortening of 
 the Infant Jesus s right leg is incorrect. 
 
 276 Holy Family with St. James {142) Correggio? 
 
 The Infant Jesus is seated on His mother's knee, and is looking towards the 
 samt, who IS seen in profile on the right, his left hand on his breast, which is bare. 
 St. Joseph s head is just seen in the background on the right. The background is 
 rocks, with some foliage. Figures a little less than life. On wood, 2 ft. x in. high, 
 by I ft. 10 in. wide. ^ ^ ' 
 
 This picture belonged to Charles I., as his brand— C.R. and the crown— is on | 
 the back. It is one of those, however, which were not catalogued. It is, I sup- 
 
Hampton Court Palace, 89 
 
 pose, "The Virgin, our Saviour, St. Joseph, and St. James, by Correggio, " which 
 is No. 682 of James II. 's catalogue; and which had been sold by the Common- 
 wealth for ;^58. 
 
 277 St. Sebastian {logf) Francia? 
 
 A nude figure, less than life, more than half-length. His hands are tied behind 
 his back with a rope, of which the ends are seen on the left. His head, which is 
 very fine, is encircled with a nimbus ; ricli locks of auburn hair fall on his shoulders. 
 A red cloth is tied round his loins ; an arrow has pierced his stomach, and another 
 his left arm. On wood, 2 ft. high, by i ft. 6^ in. wide. 
 
 This panel was in Charles I.'s collection, as his brand — C.R. and the crown 
 — which is found behind, proves. In his catalogue there were several St. 
 Sebastians " similar to this, but the descriptions of none of them exactly tally with 
 the one before us. 
 
 278 Offerings of the Magi {162) L. Giordano. 
 
 In the foreground are two figures in gold and ermine copes ; one kneeling, the 
 other, next to him, standing, and behind them a negro. The Madonna on the left 
 is holding up the Child for their adoration. St. Joseph and other figures are be- 
 hind, and angels above. On canvas, 8 ft. 2 in. high, by 6 ft. 2 in. wide. 
 
 279 Venus and Cupid (j'/p) F. Pourbus? 
 
 The goddess, nude, is seated ; on her right shoulder she holds Cupid, who is 
 kissing her. On canvas, 5 ft. 8 in. high, by 3 ft. 6 in. wide. 
 
 " A naked Venus, at length, a cupid above," attributed to young Palma, was 
 sold by the Commonwealth for ^16; and is found also in James II. 's collection. 
 
 280 Burning of Rome by Nero (^^48) G. Romano. 
 
 On the left is a building in the Renaissance style, with figures looking out between 
 the columns at the scene below. In the background on the right Rome is seen on 
 fire. In the foreground are a crowd of fugitives, whose horror and confusion is 
 well portrayed ; some sitting down weeping, others carrying off their children. On 
 wood, 4 ft. high, by 3 ft. 6 in. wide. 
 
 This picture is described in Charles I.'s catalogue, page 137, as : — ** A piece where 
 Rome is set on fire, where the people are flying with pack and sack ; containing 
 upon the first ground some seventeen figures, besides the little ones in the landscape 
 afar off. A Mantua piece, said to be done by Julio Romano." On the back of 
 the panel is the king's brand, and a small piece of paper with From Mantua^ 
 1 631" on it. It is No. 69 in James II. 's catalogue. 
 
 The execution of this panel is perhaps the work of one of his scholars. The fine 
 original cartoon in colours is now at the Louvre. (Compare Nos. 286, 291, &c., 
 and see notes thereto. ) 
 
 281 Saint Catherine reading (jp^) Correggio. 
 
 Half-length, life-size. Her left arm rests on her wheel, and in her left hand, 
 which hangs down, she has a palm-branch. In her right hand she holds a small red 
 book, on which her eyes are cast. On canvas, 2 ft. i in. high, by i ft. 8 in. wide. 
 
 This was probably in Charles I.'s collection, though the first entry relating to it 
 is No. 89 in James II. 's catalogue : — "St. Catherine with a book in her hand, by 
 Correggio." Daniel Nys, however, Charles's agent in Italy for purchasing works 
 
90 
 
 Catalogue of Pictures, 
 
 of art, mentions in a letter to Endymion Porter, dated Venice, 27th Apiil, 1628, 
 that he was "in treaty at Rome to procure the picture of St. Catherine of 
 Correggio." (See Sainsbury's Original Papers, p. 325.) 
 
 282 Madonna and Infant Jesus (i3g) A. del Sarto? 
 
 Figures less than life. She is seen in a half-length, facing in front, with a slight 
 inclination to the left. Her left hand supports His back, her right is turning the 
 Child's face towards her own. She wears a turban-like headdress. On wood, 
 I ft. 10 in. high, by i ft. 5 in. wide. 
 
 Perhaps this is the " Mary and Child by Andrew del Sarto," valued by the 
 Commonwealth at £/ip, and sold to Mr. Rhemy van Leemput, 3rd December, 
 1649, for ;i^5o. (See Commonwealth Inventory, fol. 212.) 
 
 It is a replica, or perhaps only an old copy, of an original in the Baring Col- 
 lection, which, though ascribed to Andrea del Sarto, Messrs. Crowe and Caval- 
 caselle do not think equal to his powers j but attribute to Puligo, a pupil of his. 
 Another repetition is at Alnwick. 
 
 283 Princess Hedwig, Daughter of the Duke of Brunswick (461) Mytens? 
 
 Full-length, turned slightly to the left. She is dressed in a white silk farthingale 
 and bodice, with a large lace ruff. Her left arm is resting on her farthingale, her 
 right touching the corner of a table. Her hair, which is red, is piled up on her 
 head in a conical shape, and decked at the top with a flower. She has a small 
 necklace, long chains of pearls hanging in front, and on her left breast a fine 
 jewelled ornament. She stands on a marble floor. On canvas, 8 ft. 3 in. high, 
 by 2 ft. 10 in. wide. 
 
 There has long been much doubt as to who this lady is; but the name '^Hedwig, 
 1609" (erroneously taken by some for the artist's name) inscribed over her head, and 
 the label below on the right, inscribed ^^Jilia Brunswickensis," prove she must be 
 Hedwig, daughter of Henry, Duke of Brunswick, and Elizabeth, his wife. (See 
 Nos. 335 and 350). She was born in 1595, married in 15 19 Ulric, Duke of 
 Pomerania, and died in 1650. She was therefore fourteen when this portrait I 
 was painted. Similar portraits of her two sisters, Elizabeth and Dorothea, are j 
 now at Windsor. They appear in James II. 's catalogue as " Three Duchesses of | 
 Brunswick, at length, in white farthingales." 
 
 .284 Head of a Man {7g6) Schiavone. 
 
 Bust ; turned to the right. He wears a plain light brown dress, and has long ! 
 brown hair. On canvas, i ft. 9 in. high, by i ft. 4 in. wide. 
 
 285 The Apostles Peter, James and John {S26) M. A. Caravaggio. 
 
 Three half-length life-size figures, turned towards the right. They are in loose 
 drapery, and all bareheaded. St. Peter, on the left, carries some fish in his right 
 hand, and extends his left towards St. James, who is a little in advance of him, and 
 is turning round. St. John's head is seen between them. On canvas, 5 ft. 4 in. 
 high, by 5 ft. 6 in. wide. 
 
 This b'jing among the Greenwich pictures, is not found in Charles I. 's catalogue, 
 which only included those at Whitehall and St. James's. 
 
 In the Commonwealth inventory, however, page 228, we find an entry of " Three 
 fishermen, by Michael Angelo Caravaggio," valued at £^0, and sold for that sum 
 to Mr. Decrittz, 8th November, 1651. In the printed copy in the British Museum 
 of James II. 's catalogue — where it is entered, No. 70, ''A piece, being three 
 
Hampton Court Palace, 9^ 
 
 Apostles, one having a fish, by Michael Angelo (Caravaggio) ; ''-there is this 
 note in Horace Walpole's handwriting:-'* It is now over a door at Windsor, and 
 is one of the finest pictures the king has." 
 
 Birth of Apollo and Diana {115) G. Romano. 
 
 The scene represents an island, on which is a tent under some trees, with a woman 
 Ivins in it ; another woman is lifting the drapery from her, and another peeping 
 at her round the corner of the tent. In front are two nymphs : one dipping a 
 child into the water, and the other, on the left, holding a c oth Behind the 
 tent on the right, a woman is stealing away with a child, while she casts furtive 
 looks behind. On wood, 3 ft. 7 in. high, by 4 ft. 8 in wide. tt,,,„i^. 
 It is described in Charles I.'s catalogue as :-"A piece of the birth of Hercules, 
 where the mother is brought to bed, and a tent ; whereby attending some four 
 nymphs, about washing the child, containing seven entire little figures. Painted 
 upon a board. A Mantua piece done by Julio Romano.'' In the Commonwealth 
 inventory it is entered as Nymphs being at the birth of Hercules by Julio 
 RomanoV' valued at £xoo, and sold, 7th of May, 1650, to Mr Lmchbragh for 
 /114 it reappears in James 11. 's catalogue. No. 67, as A landscape with 
 seven figures, and the birth of a child. By Julio Romano. 
 
 The title "Birth of Hercules," can scarcely be the right designation of this 
 picture; while "Birth of Jupiter and Juno," which has been given it m later 
 times, and under which Gribelin engraved it for Queen ^nne m 1712, seems 
 equal y inappropriate. Its correct one is, probaWy, "The Birth of Apollo and 
 Diana." Such, at least, is the name given by Diana Ghisi (Mantuana) to the 
 plate engraved by her at Mantua about 1580, from the original cartoon, (bee 
 Bartsch's /"^m/r^ Craz'^wr, XV., 449.) , .j, . i.^ fT,^ fxi 
 
 The accounts of Apollo's birth vary ; the one selected here seems to be the fol- 
 lowine -.—"Apollo, the son of Zeus and Leto, was born in the island of Deios, 
 together with his sister Artemis; and the circumstances of his birth there are 
 detailed in the Homeric hymn on Apollo, and in that of Callimachus on Delos. 
 Hera in her jealousy pursued Leto from land to land, and isle to isle, and eridea- 
 voured to prevent her finding a resting-place where to give birth. At last, how- 
 ever, she arrived in Delos, where she was kindly received, and after nine days 
 labour, she gave birth to Apollo under a palm or an olive tree at the foot of 
 Mount Cynthus. She was assisted by all the goddesses, except Hera and 
 Eileithyi4 but the latter, too, hastened to lend her aid, as soon as she heard 
 what was taking place." Classical Dictionapf.) . . „ . , 
 
 This is one of a set of twelve similar mythological pieces, originally in the col- 
 lection of Ferdinand, Duke of Mantua, as we learn from an inventory of his, dated 
 1627, in which is the following entry :— " Dodeci quadri depmtovi favola opere 
 de Giuho Romano." [D'Arco, ii.) Probably all of them came to England with 
 the Mantuan collection; though Nos. 266, 291, 293, 302-and perhaps 287 
 and ^ot;— are all that now remain of the set in the Royal Collection. Behind each 
 is a Charles's cypher, and an old label inscribed :— " From Mantua. There are 
 engravings from some of the others ; whilst a further piece is now in the Belvedere 
 at Vienna, and another in the National Gallery. 1 r^r ^ 
 
 Thev were, doubtless, originally painted for Frederigo Gonzago, Duke of Mantua, 
 GiuUo Romano's great patron, for whom he executed so many mythological 
 works in the ducal city." They are apparently works of his later tmre, when the 
 influence on his style of his master, Raphael, who had died m 1520, had begun 
 
92 
 
 Catalogue of Pictures, 
 
 to wane. (See No. 280.) In Waagen's opinion, " they belong to him only by 
 invention; the coarse slight execution is the work of his scholars." Others, 
 however, consider them fine genuine works. 
 
 This beautiful design is thus described in Charles I.'s catalogue, page 151 : — "A 
 naked Fortune, standing upon a round globe, holding a fortune sail ; whereby 
 at her feet are two young mermaids in the water, with wings, each of them 
 having oars ; an intire figure not half so big as the life ; without a frame, upon a 
 board. A Mantua piece." The painter's name is not given. The figure is 
 standing on a shell, not a globe, and her attendants are tritons rather than 
 mermaids. With her right hand she holds aloft some red drapery, and with her 
 left holds it down, so that it forms a sail and is filled with the wind coming 
 from the left. Her face is turned in the same direction, and her auburn hair 
 fanned back by the breeze. On wood, 3 ft. i in. high, by i ft. 8 in. wide. 
 
 On the back of the panel is Charles I.'s brand — C.R. croAMied — and a slip of 
 paper inscribed : — ^^From Mantua^ No. 14." Mrs. Jameson's conjecture, therefore, 
 that it was one of the Mantuan pictures is correct ; and we find it in the Duke's 
 catalogue, ascribed to G. Romano. It was sold by the Commonwealth to Mr. 
 Decrittz, the loth of November, 1651, for £20. {Inventory^ fol. 228.) 
 
 288 & 292 History of Cupid and Psyche {4';2-483) . Giordano. 
 
 These are a series of twelve small pieces representing the beautifiil mythical 
 story of the "Loves of Cupid and Psyche," painted on copper, backed up by 
 wood, I ft- lofin. high, by 2 ft. 33- in. wide. They are of very slight merit, though 
 George III. purchased them of Sir Gregory Page for ;^i,ooo. The registered 
 numbers of the pictures do not accord with the order of the incidents in the story, 
 and several of the labels are wrong, but the subjects, arranged in their proper 
 sequence, are as follow : — 
 The Parents of Psyche Consulting the Oracle respecting her .... (482) 
 Psyche, as the Oracle commanded, is Exposed on the Rock .... (483) 
 Psyche, Asleep on the Rock, is Borne by a Zephyr to the Abode of Bliss (473) 
 
 Psyche is Attended by Nymphs in the Abode of Bliss (476) 
 
 Psyche's jealous Sisters persuade her to mistrust her Lover (480) 
 
 Psyche discovers the Person of her Lover (475) 
 
 Psyche awakens Cupid with her Lamp (477) 
 
 Cupid, notwithstanding her Entreaties, flies from her (472) 
 
 Venus, borne on the Waves, seeks out her Son (481) 
 
 Psyche, in search of Cupid, consults Ceres and Juno (474) 
 
 Cupid awakens Psyche from her supernatural Sleep (478) 
 
 The Marriage of Cupid and Psyche (479) 
 
 Christ brought before Pilate (522) Schiavone. 
 
 Pilate is seen, in profile, seated on the right with a basin on his knees ; his wife 
 is before him to his left, pouring the water over his hands. Christ, with his hands 
 tied, is standing in firont of him. On the right, behind him, are two soldiers. On 
 canvas, 4 ft. 5 in. high, by 5 ft. i in. wide. 
 
 This is No. 743 in James II. 's catalogue. 
 
 287 Fortune {203) 
 
 G. Romano. 
 
Hampton Court Palace, 
 
 93 
 
 190 A Roman Emperor on Horseback {i4g) . . . Giulio Romano. 
 
 For the history of this piece see note to No. 257. 
 
 He is seen facing the spectator, his horse turned to the right. In his left hand 
 he holds a truncheon ; his right is on his hip. Round his shoulders is thrown a 
 green toga. On wood, 2 ft. lo in. high, by I ft. 1\ in. wide. 
 
 [91 The Nursing of Jupiter {no) Giulio Romano. 
 
 See note to No. 286, and also Nos. 293 and 302. 
 
 The scene represents the Island of Crete, where Rhea was brought to bed of 
 Zeus secretly, to save him from his father, Cronos, who devoured all his children 
 as soon as they were born. While his mother went away, to give Cronos a stone 
 wrapped up in a cloth instead of his child, the infant was nursed by the Curetes 
 and the nymphs Adrastia and Ida. They fed him with the milk of the goat 
 Amalthea, and the bees of the mountains provided him with honey. This is the 
 subject represented here. He is seen lying on a nymph's lap, suckled by the goat, 
 whose leg is grasped by another nymph, and whose head is held down by a 
 shepherd. On the right is seated another woman, who holds a small basin in her 
 right hand, and is turning round looking over her left shoulder, and touching a stone 
 fountain with her left hand. On the left is another shepherd with cattle, and in 
 the distance a town. On wood, 3 ft. 7 in. high, by 4 ft. 8 in. wide. 
 
 This picture is to be found in Charles I.'s catalogue, page 133, under the title of 
 ** A child sucking of a goat. Done by Julio Romano," and in James II.'s, " The 
 birth of Jupiter, sucking of a goat ; " but in the meanwhile it had been sold by the 
 Commonwealth, the 24th of May, 1650, to Mr. Milbonne for 100. A copy, re- 
 
 cently hung up, is in the Queen's Presence Chamber. 
 
 292 The History of Cupid and Psyche {4^8-483) . . . L. Giordano 
 
 [See No. 288.] 
 
 293 Jupiter and Europa {6^) G. Romano. 
 
 See note to No. 286, and see also Nos. 291 and 302. 
 
 Europa lies on the back of the bull, which bears her off. Close by are her 
 sisters, one falling back in anguish, the other kneeling with outstretched arms. 
 On wood, 3 ft. 3 in. high, by 4 ft. 2 in. wide. " Europa on ye bull. Done by Julio 
 Romano" — was sold by the Commonwealth, 23rd Oct., 1651, to Mr. Decrittz for 
 ;^20. (See Invent., p. 197.) It is in James II.'s catalogue, No. 54. 
 * ' A genuine but feeble effort. " — ( Waagen. ) 
 
 !94 Portrait of a Gentleman {118) Nogari ? 
 
 Bust ; head seen in profile. On canvas, i ft. 6 in. high, by I ft. ^ in. wide. 
 
 This is certainly not by Titian. The learned authors or the Life and Times of 
 Titian, remark that it is in the style of a later Venetian, such as Sebastian Ricci. 
 Perhaps it is by Nogari. Compare a portrait head by him, No. 263. 
 
 295 Portrait of a Lady (555) School of Y^mciK. 
 
 Half-length ; her body turned towards the left, but her face and eyes are directed 
 downwards to the right. Her right hand is seen folded over her left arm. She 
 wears a red bodice, with green sleeves j and has a string of large black beads round 
 her neck, and small ones across her forehead. Her hair is red. On wood, i ft. 
 6 in. high, by i ft. 2 in. wide. 
 
94 
 
 Catalogue of Pictures. 
 
 This picture, which is of the school of Francia and Lorenzo Costa, "recalls 
 Boateri," say Messrs. Crowe and Cavalcaselle, "though beneath him in execution." 
 This rare Bolognese painter is only known by a single picture, a Holy Family, in 
 the Pitti at Florence. {SeeJItst. of Painting in Italy ^ iii., 251, axidi North Italy, i., 577.) 
 
 296 Portrait of a Gentleman {1084) unnamed. 
 
 Bust ; turned towards the left, face inclined to the front. He wears a black 
 dress with red sleeves. He is bareheaded, and his hair is black. On wood, i ft. 
 6 in. high, by i ft. 5 in. wide. 
 
 Messrs. Crowe and Cavalcaselle are inclined to attribute this portrait to Ridolfi. 
 
 297 Ganymede carried to Heaven by Jupiter {560) . after Michael Angela. 
 
 Jupiter, in the form of an eagle flying, is carrying the boy off to heaven, grasping 
 his legs in his talons, and twining his beak and neck over his right shoulder. 
 Ganymede's arms rest carelessly on his wings. Beneath them is a dog looking up 
 and barking. In the background is a landscape with a river and ruins of Roman 
 architecture. On wood, 6 ft. 3 in. high, by 3 ft. 9 in. wide. 
 
 This was not in Charles I.'s catalogue, although it is in one of his frames, which, 
 by the way, it does not fit. Perhaps it formed part of the '* Dutch Gift " presented 
 to Charles II. 
 
 It is after the well-known design of Michael Angelo, from which there are 
 so many paintings. Dr. Waagen believed it to be " the skilful work of some Nether- 
 landish artist, in many respects recalling Bernard van Orlay." There are other 
 copies at St. Petersburg, Berlin, Paris, Vienna, &c. (See also Duppa's Life of 
 Michael Angelo.) 
 
 298 Madonna and Child {774) unnamed. 
 
 She is seen in a three-quarters view, seated ; facing to the right. The Infant 
 Jesus is sitting on her lap, holding a small cross and scrip in His right hand. His 
 face is turned round towards hers. On wood, 2 ft. 8^ in. high, by 2 ft. 3 in. wide. 
 
 The C. R. and crown, branded at the back of this panel, show it belonged to 
 Charles I. It has been recently cleaned, when it was found to have been entirely 
 repainted, and a figure of St. Joseph added. " There is little doubt it is a Julio 
 Romano. " — i^Royal Catalogue. ) 
 
 299 Judith with the Head of Holofernes {1106) . . . after C, Allori. 
 
 This is a copy, doubtless by one of his scholars, of the famous picture in the Pitti 
 Palace at Florence ; of which there is a good replica at St. Petersburg, and copies 
 at Vienna, Dulwich, and elsewhere. The original when at Paris was finely en- 
 graved by Gandolfi, for the Musee Napoleon. 
 
 Judith is se^ in a three-quarters length, turned to the left, Holofernes' head 
 in her left hand, her sword in her right. In the lower right-hand corner of this 
 copy, on a ledge, on which is a green cushion, is this inscription : — 
 
 Hoc Cristofani AUorii 
 Bronzinii opere pictura 
 Hactenus invicta pene 
 Uincitur Anno, 161 3. 
 
 An anecdote is told of the original, that Allori, vexed at the coldness of his mis- 
 tress, Mazzefirra, painted her portrait for the Judith, and the head of Holofernes 
 
I 
 
 Hampton Court Palace, 95 
 
 from himself. The calmness and severe beauty of Judith's countenance, and the 
 absence of any harsh or violent expression, is considered to be the great excellence 
 of this composition. 
 
 ;00 Venus and Cupid {463) . . . after M. Angela by Pontormo. 
 
 The goddess is reclining on the ground on blue drapery, her left leg outstretched, 
 her right doubled up. Cupid winged, is bending over and kissing her ; his left arm 
 being under her chin and his right turned back, holding an arrow. To the left is 
 a table, on which are hung two masks and a bow, and on which stands a vase of 
 flowers. Venus must be at least 7 ft. 6 in. in height. On wood, 4 ft. 3 in. high, 
 by 6 ft. 5 in. wide. 
 
 This grandly beautiful, though hardly attractive composition, which Varchi com- 
 pares to the Venus of Praxiteles, was designed by Michael Angelo. The sketch 
 was given by him to "his friend Bartolomeo Bettini, and was afterwards lent by 
 him to Pontormo, . . . who contrary to agreement sold it. This unhandsome con- 
 duct is said by Vasari to have exceedingly vexed Michael Angelo and to have 
 created a coolness between him and Pontormo. The original study now forms 
 part of the old Farnesan collection in the Naples Museum, and appears by its 
 style to be contemporary with the paintings of the vault of the Sistine chapel. As 
 for the picture which was executed by Pontormo, according to the editors of 
 Vasari it was discovered in 1858 in a lumber-room at Florence, and is now hung 
 in the President's Hall of the Academy of that city." (C. G. Black's Michael 
 Angelo^ p. 160, ed. 1875.) 
 
 It is far from certain, however, which is the original picture by Pontormo. 
 Some say he painted two ; while his scholar Bronzino certainly executed one or 
 two, and other scholars several more. It would be useless for anyone who has 
 not had the opportunity of comparing the many which are now honoured with 
 Pontormo's name, to attempt to decide on their respective claims. In the absence, 
 however, of critical evidence to the contrary, we may fairly give the preference to the 
 work before us ; and the fact that for certainly 150 years it has been regarded as a 
 genuine work of the master's, should not be without weight. 
 
 **It was brought to England in 1734, and exhibited at 'Essex House, Essex 
 Street, Strand ; ' subsequently it was advertised to be disposed of by a raffle, the 
 tickets ten guineas each. This raffle apparently did not take place ; Queen 
 Caroline was just at that time intent on collecting fine pictures, and the * Venus 
 and Cupid, ' after being for some time the talk of the town, was purchased in the 
 name of the King for ;^iooo." The engraved tickets to the exhibition contained 
 an elaborate description, and an attestation of its genuineness signed by three con- 
 noisseurs, and at the bottom of the ticket an etching from the picture. (See Mrs. 
 Jameson's Royal Galleries.) Duppa engraved it in his Life of Michael Angelo ^ 
 1806, and states there that it had come from the collection of the Bettini family. 
 
 JOl Judith with the Head of Holofernes (7 . . . Guido. 
 
 The figures are life-size, but Judith is upwards of six feet six ! She faces full 
 in front ; in her left hand holding the head of Holofernes, part of whose body is seen, 
 and in her right holding her sword with the point resting on the ground. She wears 
 a blue robe, white sleeves, and a yellow mantle falling on her knees ; her face is up- 
 turned. On canvas, 7 ft. 2 in. high, by 4 ft. 10 in. wide. 
 
 Some critics question the authenticity of this picture, but in Waagen's opinion 
 it is genuine, though much darkened in the shadows for the master. 
 
96 Catalogue of Pictures, 
 
 302 Jupiter and Juno taking possession of Heaven (//j) . G. Romano? 
 
 See note to No. 286 ; and see also Nos. 291 and 293. 
 
 Jupiter and Juno are hand-in-hand, the god turning round towards the goddess, and 
 she extending her left hand towards the pathway of cloud, up which they are about 
 to walk towards a throne in mid-air. Two attendant angels, with vases in their 
 hands, are standing on the steps to meet them. In the distance on the left is a 
 landscape. On wood, 3 ft. 6 in. high, by 4 ft. 6 in. wide. Engraved by Bonasoni. 
 
 It was sold by the Commonwealth, under the title, "Two coming from Jupiter's 
 Throne," to Mr. Jerome, May 14th, 1650, for;^44. And in James II.'s catalogue it 
 appears No. 56, as : "A picture with four figures in it, two coming from Jupiter's 
 seat. By Julio Romano." 
 
 303 Head of a Magdalen {2ig) after Sasso Ferrato. 
 
 In a blue hood, with her hands clasped in front. On canvas, i ft. 6| in. high, 
 by I ft. 2\ in. wide. 
 
 304 A Female Saint with a Cross {233) School of Francia. 
 
 Half-length, directed to the left, but her face seen nearly in full. The cross is 
 over her right shoulder. She wears a dark green bodice with red drapery ; and 
 over her head a brown hood. On canvas (transferred from wood), i ft. 8 in. high, 
 by I ft. 6 in. wide. Behmd is the following note : — '* Transferred from panel to 
 canvas by Morrill. The panel was so destroyed by worms, it was not possible to 
 preserve the brand of King Charles the First, which was at the back July 29th, 
 1865. Nothing could be better done, as not the least injury was done to the picture 
 by the process. C. Buttery." 
 
 In the inventory of Charles I. 's pictures sold by the Commonwealth is : — "A young 
 Saint carrying a cross," sold to Mr. Harrison, October 30th, 1651, for ;i^5 (folio 
 301). It was then at Hampton Court (which accounts for its not being in Charles 
 I.'s catalogue), and it was here still when James II.'s catalogue was compiled in 
 1685, where it appears as No. 964: — **A woman saint, to the waist, bearing a 
 cross," without any painter's name. 
 
 It is certainly not by Perugino, to whom it is attributed ; it is not even of the 
 Umbrian school at all, but rather the work of a Bolognese artist. Messrs Crowe 
 and Cavalcaselle consider that it brings to mind the manner of Giovan Maria 
 Chiodarolo, a follower of Francia and Costa ; an ascription, however, which must be 
 very speculative, as only one work by him is known, and that is doubtful. 
 
 305 A Mermaid and her Young {1122) G. Romano. 
 
 Described in Charles I.'s catalogue: "A certain piece of a mermaid with seven 
 breasts, where is sucking many young mermaids, in a blue gilded frame. A 
 Mantua piece, done by Julio Romano." Her arms are extended over them; 
 behind her floats some dark green drapery. They all have long fish-like tails, 
 which flap in the green waves. On wood, 3 ft. I in. high, by 3 ft. 3 in. wide. 
 
 From the Commonwealth inventory of his goods, page 198, we find that it was 
 sold to Col. Webb for;^8 ; and it is No. 180 in James II.'s catalogue. On the 
 back is Charles I.'s cypher, and a paper label inscribed "From Mantua." It is 
 probably identical with the "quadro dipintovi la Galatea con diversi monstri 
 marine, opera di Giulio Romano," in the old catalogue of the Duke of Mantua's 
 pictures, dated 1627, and still preserved at Mantua (see D'Arco's Notizia, ii., 158). 
 
 It was brought to light from the lumber-room here about thirty years ago. 
 
Hampton Court Palace, 
 
 97 
 
 106 Portrait of an Italian Lady {76) Parmegiano. 
 
 Half-length, seated ; face seen in full. She wears a curious and elaborately 
 embroidered dress of interlaced black braid, on a light red ground, and a large 
 turban-like headdress. Her left hand is on her lap. On the left an angel's head is 
 seen. In the background on the right is a view of an interior, with a doorway, 
 the curtain in front of which is being lifted by a woman in a green dress to admit 
 a lady. She seems to be a visitor, and is veiled ; another woman, apparently an 
 attendant, follows. On wood, 3 ft. 9 in- high, by 3 ft. wide. 
 
 This formed part of the "Dutch Gift" to Charles II., for it was in Van 
 Reynst's collection in 1653, when engraved by Cornelius Visscher. It may be the 
 " Italian Dutchesse at half-length, by Raphael," No. 833 of James II. 's catalogue. 
 
 107 St. John baptising Christ {456) F. Francia. 
 
 Christ, with his hands joined, is standing on the water. St. John, who is kneeling 
 on the bank, to the left, has a saucer in his right hand, and a staff with a cross at 
 the end of it, in his left. Behind him are two disciples. In the background are 
 four figures, meant for angels, two attired as monks. A golden light illumines the 
 water where St. John's staff touches it. Above in irradiated clouds is the Holy 
 Ghost in the form of a dove. On a stone in the lower left-hand corner is inscribed : 
 "Francia. Avrifex. Bonon." On wood, 5 ft. 3 in. high, by 4 ft. wide. 
 
 This beautiful picture, the finest specimen in England of this great master, must 
 have been acquired by Charles I. with the Mantuan collection ; for in an old Italian 
 inventory of the Duke's works of art, dated 1627, we find it catalogued thus : 
 "Uno quadro sopra asse con N.S. battezzato da S. Giovanni, di mano del 
 Franza." 
 
 Between that date and about thirty years ago, when it was discovered in a lumber- 
 room in this palace, there is no record of it ; and it is likely enough that, in the turmoil 
 of the Civil Wars, which followed so soon after the Mantuan collection arrived, 
 it had never been hung up. 
 
 There is a replica at Dresden, also signed, with some variety in the placing of 
 the angels and the landscape, and dated 1509. Waagen, therefore, was wrong 
 in his remark that "the conception of the forms and very warm tone indicate his 
 earlier time." It is, on the contrary, a picture of his later time, when his style 
 had undergone its last purification under the influence of Raphael, due certainly 
 to a study of his works, and probably to a personal acquaintance with him. That 
 they corresponded on affectionate terms we know from their letters ; and there is. 
 every reason to suppose that the sensational story of Francia's death being caused 
 by grief at seeing himself excelled by his young pupil, is a fabrication of some 
 anecdote-monger. He had, in fact, attained the Biblical limit when he died, in 
 1518. 
 
 Francia, like most artists of the Renaissance, did not confine himself to painting, 
 he worked also as a jeweller, and indeed assumed the name of Francia from 
 his master in that trade, instead of his own surname Raibolini. He further 
 testified his respect for technical art by often signing his pictures Aurifex, gold- 
 smith, as he has done on this ; while on his jewellery he inscribed himself Pictor, 
 painter. " In reference to Signor Panizzi's pamphlet, to show that Francia founded 
 the beautiful types of the printer Aldus, it may be remarked how closely the letters 
 in the inscription agree in form with the types of the Polipholo " (Mr. Redgrave 
 in the Royal Catalogue). 
 
 H 
 
98 
 
 Catalogue of Pictures, 
 
 There is a small predella, with the same subject, belonging to Lord Taunton at 
 Stoke, **but the hand of an assistant is seen in the execution " {^Painting in North 
 Italy, i., 573). 
 
 308 James I. {455) Vansomer. 
 
 Full-length, turned to the right, his left leg forward. He wears black trunk- 
 hose, doublet, and stockings, and a small ruff ; and has brown hair turned back 
 from the forehead, sandy-coloured moustachios and beard ; and a blue ribbon, to 
 which is suspended the George. This he holds in his right hand ; his left being 
 on the corner of a table, to the right, on which are the crown and sceptre and! 
 orb ; on the ground to the left lie a breastplate and other armour. The back- 
 ground and floor are red. In the lower right-hand comer is an inscription, partlji 
 invisible from being covered by the frame : — ^'■Jacobus D. G. Magn^ce Britannia] 
 franc et Hiber{nice Rex? ) 1615 ?" On canvas, 7 ft. 9 in. high, by 4 ft. 6 in. wide 
 
 This is *' The picture of King James VI. in a black suit, at length. Done bj 
 Paul Vansomer," in Charles I.'s catalogue, page 87. It was afterwards sold bj 
 the Commonwealth for £20 ; and restored to the Royal Collection at the Resto 
 ration, having been found by the commissioners appointed to recover the king'.' 
 goods (see Historical Commission, ^jth Report, 1879). A replica, said to be datec 
 1618, is in the possession of Lord Craven ; and another of a portion of it — thf 
 head and shoulders — at The Grove, Lord Clarendon's (see Lady Theresa Lewis'j 
 Clarendon Gallery, iii., 290). 
 
 The date on the inscription is not clear ; Walpole and Dellaway gave it as 1613, 
 but it is more like 1615, and may be 1618. If it was painted in 1615, the King'; 
 holding the ** George " in his hand is doubtless an allusion to the grand installatior 
 of several Knights of the Garter which took place in the month of May of tha 
 year. 
 
mm mnms 
 
 3EING the central room of the East Front, this is one of the finest 
 of the suite; it is 41 feet long, 35 feet wide, and 30 feet high. 
 As it was not decorated till the reign of Queen Anne, for whom 
 Verrio executed the painting on the ceiling, the visitor can judge 
 of the real taste of that age, which was nothing better than a poor imitation 
 of the bastard-classic of Louis XIV., as distinguished from the so-called 
 "Queen Anne Style," which never had any existence at all, except an 
 imaginary one in the brains of modern china-maniacs. 
 
 ^^illttg. This represents Anne in the character of Justice, with scales 
 in one hand, and a sword in the other; her dress is purple, lined with 
 ermine. Over her head a crown is held by Neptune and Britannia ; while 
 surrounding her, and floating in the clouds, are various allegorical figures 
 representing Peace, Plenty, &c. " On the sides of this room," we are told, 
 in 1 741, " are more paintings of Verrio, representing the British Fleet, and 
 Prince George of Denmark pointing to it ; and the four parts of the world, 
 shown by four figures ; but these were thought so indifferent that they are 
 now concealed and covered over with hangings of green damask." A flock 
 paper now replaces the old hanging ; but the painted walls behind them 
 remain as they were. All the gilt furniture, tables, stools, and stands, in 
 this room is Georgian : the cypher G. R. being carved on most of the 
 pieces. 
 
 Queen Anne, who resided occasionally at Hampton Court, used to give 
 levees in this room, and Swift mentions his attending one here. 
 
 Cf)e Uieto from the windows here is very strikingly beautiful. It shows 
 the whole of the Public or Great Fountain Garden, and a large portion of 
 
lOO 
 
 Catalogue of Pictures » 
 
 the House Park (sometimes erroneously called the Home Park, in imitation 
 of the one at Windsor) ; and the middle window is the centre point towards 
 which all the lines of the walks and avenues converge. The Gardens were laid 
 out in their present form by William III. ; but Charles II. had begun the 
 alterations, and in his time the Long Canal was dug, and the great avenues 
 planted. The Long Canal is about three-quarters of a mile long, and the 
 side diverging avenues about the same length ; the vista of one is closed 
 by the picturesque old tower of Kingston Church, the vista of the other by 
 those revolting brickwork abortions, the Surbiton waterworks. 
 
 This room is now exclusively hung with the paintings of West, all of 
 which were executed for George III., who greatly admired them, and 
 extended to him a most liberal patronage. He was equally in favour with 
 the public, who lauded his performances to the skies, and with his fellow- 
 artists, who made him President of the Royal Academy. We now hardly 
 know which to wonder at most — an obscure lad in the wilds of Pennsylvania, 
 who took his earliest lessons in painting from a tribe of Cherokees, accom- 
 plishing what he did ; or the English fetish, Public Opinion, having been 
 so deluded as to regard his efforts as masterpieces of Art. The deprecia- 
 tion which has overtaken him may be judged when we hear that an 
 " Annunciation," for which ;^8oo was originally paid, was knocked down 
 in 1840 for ;^io ! 
 
 309 Duke of Cambridge, and Princesses Charlotte and Augusta(^(?7) . West. 
 
 The Duke, in a maroon-coloured suit, is standing on the right. Princess Char- 
 lotte is sitting on a stool, with her sister on her lap. In the background are a 
 curtain, a column, and Kew Gardens with the Pagoda. Signed, and dated 1778' 
 
 Princess Charlotte, the Queen's eldest daughter, afterwards Queen of Wirtem- 
 burg, was born on September 29th, 1 766 ; and Princess Augusta, on November 8th, 
 1768. For the others, see next picture. It is doubtful whether the names are 
 correct. 
 
 310 Dukes of Cumberland, Sussex, and Cambridge, and the Princesses 
 
 Augusta-Sophia, Elizabeth, and Mary {488) West. 
 
 The Duke of Cumberland is on the left, standing ; the Duke of Sussex is lying 
 down near his sister Elizabeth, who holds on her lap the infant Princess Mary (?). 
 
Hampton Court Palace, 
 
 lOI 
 
 Kneeling by them is the Duke of Cambridge, and behind is the Princess Augusta 
 Sophia. Signed, and dated 1776. 
 
 Prince Ernest Augustus, afterwards Duke of Cumberland and King of Hanover, 
 and grandfather of Her Royal Highness Princess Frederica, was born June 5th, 
 1771 ; Prince Augustus Frederick, Duke of Sussex, on January 27th, 1773; and 
 Prince Adolphus Frederick, Duke of Cambridge, on February 24th, 1774. 
 Princess Augusta- Sophia was born on November 8th, 1768 ; Princess Elizabeth, 
 on May 22nd, 1770 ; and Princess Mary, on April 25th, 1776. 
 
 The Princesses have long been wrongly called, Charlotte, Augusta, and Sophia ; 
 the correct names, as given above, are derived from the contemporary mezzotint by 
 V. Green ; besides, when this picture was painted, the Princess Sophia was not 
 born. 
 
 311 The Death of the Chevalier Bayard {48g) .... West. 
 
 The Chevalier is on the left, leaning with his back against a tree, and holding up 
 and gazing at the hilt of his sword. In front of him stands the Constable de 
 Bourbon, behind whom is the army, On canvas, 7 ft. 3 in. high, by 5 ft. 10 in. 
 wide. 
 
 Being mortally wounded in endeavouring to cover the retreat of the army, the 
 Knight, ' sans peur et sans reproche,' desired to be placed with his back against a 
 tree, his face to the enemy ; then holding up his sword, which was in the form of a 
 cross, he kissed it, in sign of his dying in the faith of Christ. The Constable de 
 Bourbon, his adversary, melting into tears. Bayard turned to him, and said, * Pity 
 not me, but yourself, who are fighting against your king and your country ; ' and 
 having uttered these words he expired, April 30th, 1524." 
 
 This is one of West's best pictures. It was painted in 1771 for George III. as a 
 companion piece to "The Death of Wolfe, "and "The Death of Epaminondas." 
 The artist proposed the subject as " serving to illustrate the heroism and peculiari- 
 ties of the Middle Ages." Price, ;^320. {Life of West.) Engraved in mezzotint 
 by Valentine Green. 
 
 1 312 Hannibal Swearing never to make Peace with Rome (^po) . . West. 
 
 1 In the centre is a bull being sacrificed on an altar, and Hamilcar is holding his 
 
 little son Hannibal, who takes the oath of eternal hatred to Rome. On the left 
 are many women j on the right several priests. On canvas, 7 ft. 4 in, high, by 
 10 ft. wide. 
 
 j This picture, for which West received ;^420, was painted as a companion piece 
 
 to The Regulus," in 1769. 
 
 313 Armenius' Wife brought Captive to Germanicus (^pj") . . . West. 
 
 Germanicus is on the left, seated. In front of him Segestes, whom he had 
 liberated from his son-in-law, Armenius, is addressing him, and bringing him his 
 daughter Thusnelda, who sympathized with her patriotic husband. Behind is the 
 Roman camp. On canvas, 3 ft. 4 in. high, by 4 ft. 4 in. wide. 
 
 Painted in 1772, as a companion piece to No. 315. "The King was much 
 pleased with the idea, a notion being entertained by some antiquaries that the 
 Hanoverian family are the descendants of the daughter ; and West communicated 
 a little of the lineaments of the living to the images of the dead." 
 
 314 St. Peter Denying Christ {4gi) West. 
 
 Christ is on the right, with His hands bound, facing St. Peter, who is on the left. 
 
102 
 
 Catalogue of Pictures. 
 
 The damsel is between them, looking at our Lord, and pointing to St. Peter. Half- 
 length, life-size figures. 4 ft. square. 
 
 * ' A picture which His Majesty honoured me by accepting. " (West's Memoranda.) 
 
 315 Cyrus liberating the Family of Astyages {4gg) West. 
 
 Cyrus is on the left, seated. In front is a young man, Tigranes, in distress at 
 seeing his father captive, leaning against a grey horse ; and to the right, Astyages, 
 who is advancing towards Cyrus. His family is behind in a chariot. A companion 
 piece to No. 313. 
 
 After Cyrus had taken Astyages (whom some call his grandfather) prisoner, he 
 treated him with great kindness, and liberated his family. Engraved by J, Tittler. 
 
 316 Queen Charlotte and the Princess Royal (4g2) West. 
 
 The Queen is sitting on a sofa, with embroidery on her lap. The Princess stands 
 on the right, by her side, and holds the embroidery. Dated 1776. 5 ft. 5 in. high, 
 by 6 ft. 8 in. wide. 
 
 317 The Death of Epaminondas West. 
 
 Epaminondas, wounded, and naked, is seated on the right. By his side is a 
 surgeon extracting the javelin from his right side. He was wounded in 362 B.C., 
 at the battle of Mantinea ; and waited, till he was assured that his shield was safe, 
 and the victory with his countrymen, before he would draw out the javelin which 
 had pierced him, on doing which he immediately expired. 
 
 "Mr. West suggested that the death of Epaminondas would, as a classic sub- 
 ject, and with Grecian circumstances, make a suitable contrast with the Death of 
 Wolfe. The King received the idea with avidity." {Life of West.) Painted in 
 1771 J price, ;^3i5. Engraved by Valentine Green and P. Bernard. 
 
 318 George III., aged 40; Lords Amherst and Lothian behind (4Q4) • West. 
 
 He is standing, facing to the right, in full regimentals. He holds a scroll of 
 paper in his hands in front of him. Behind him is his crown and sceptre ; and in 
 the background the two peers, and a view of Coxheath Camp. 
 
 It appears from West's own memoranda that this picture was painted before 
 1779, consequently the King cannot have been more than forty, and not forty-twa 
 as is stated. 
 
 "I wonder," observed the Duke of Sussex, while passing through the apart- 
 ments at Hampton Court, "in which of these rooms it was that George the Second 
 struck my father. The blow so disgusted him with the place that he never after- 
 wards could be induced to think of it as a residence." (Jesse's Memoirs.) 
 
 319 St. George and the Dragon {4g6) West. 
 
 The saint is riding on his charger into a cavern, and plunges his spear into the 
 dragon, whose claw is on the Princess. 6| ft. high, by 7 ft. 2 in. wide. 
 
 This is one of several pieces, illustrative of the History of the Order of the 
 Garter, painted for Windsor Castle. West received £(>t,o for this one. 
 
 320 The Death of General Wolfe (497) West. 
 
 Wolfe lies in the centre, to the right, supported by three officers. In front of 
 him is a wounded officer, standing, supported by others, to hear his dying in- 
 junctions. At his feet is an Indian warrior in his war-paint, gazing at him to see 
 
Hampton Court Palace, 
 
 103 
 
 how an English chief will die. On the extreme left is a messenger running, and 
 on the left ships with soldiers disembarking. On canvas, 5 ft. high, by 8 ft. 
 wide. 
 
 Wolfe was killed on the 13th September, 1758, in the moment of victory before 
 Quebec. "The fall of Wolfe was noble indeed. He received a wound in the 
 head, but covered it from his soldiers with his handkerchief. A second ball struck 
 him in the belly, but that too he dissembled. A third hitting him in the breast, 
 he sank under the anguish, and was carried behind the ranks. Yet, fast as life 
 ebbed out, his whole anxiety centred on the fortune of the day. He begged to be 
 borne nearer to the action, but his sight being dimmed by the approach of death, he 
 entreated to be told what they who supported him saw : he was answered, that the 
 enemy gave ground. He eagerly repeated the question, heard the enemy was 
 totally routed, cried * I am satisfied,' and expired." (Walpole's Memoirs.) 
 
 "In this picture, which was painted in 1 771, West introduced the sensible in- 
 novation of dressing the characters in their proper costume ; previous to that time 
 it was the common practice with painters to dress their figures in historical compo- 
 sitions of any kind, in the Greek or Roman costume. Sir Joshua Reynolds was 
 one of those who were averse to the innovation, but when the picture was finished, 
 he changed his opinion. After a careful examination of the picture, he observed 
 to the Archbishop of York, who was with him at the time, * West has conquered ; 
 he has treated his subject as it ought to be treated ; I retract my objections. I 
 foresee that this picture will not only become one of the most popular, but will 
 occasion a revolution in the art.' When West related this to the King, he said, 
 * I wish I had known all this before, for the objection has been the means of Lord 
 Grosvenor getting the picture, but you shall make a copy for me.' " 
 
 This is the copy ordered by George IH., for which the painter received £^1^. 
 The original is at Grosvenor House, and has been finely engraved by Woollett. 
 There are several other repetitions of it. 
 
 321 Queen Charlotte, aged 36, with her thirteen children {4g8) . West. 
 
 Standing ; dressed in white, her hair powdered and piled up high. The thirteen 
 children are seen in the distance to the left. 
 
 322 Prince ofWales (George IV.), and Duke of York {306) . . West. 
 
 The Prince is on the left, in yellow satin, his right hand on his hip, his left on 
 his brother's shoulder, who leans against a table. They are both in the robes of 
 the Garter. 
 
 The Prince of Wales was bom on August 12th, 1762 ; Frederick, Duke of York, 
 on August 1 6th, 1763. This picture represents them when they were about fifteen 
 and fourteen years old. 
 
 Soon afterwards the Duke of York proceeded to Prussia for the purpose of being 
 educated as a soldier. 
 
 323 The Final Departure of Regulus from Rome (soi) .... West. 
 
 Regulus is in the centre going away, surrounded by groups, who implore him to 
 remain. On the left is his wife, fainting. Engraved by Valentine Green, as are 
 also Nos. 311, 312, and 314. 
 
 This was the first picture painted by West for George III. ; and the subject was 
 suggested at their first interview, by the King himself, who sent for a copy of 
 Livy, and read out to the painter the passage where the event is related. The 
 
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 Catalogue of Pictures » 
 
 King took great interest in the progress of the work, and it was in his conferences 
 with West, while it was being painted, that the institution of the Royal Academy 
 was first resolved on. The Academy was established on the loth of December, 
 1768; and at the first exhibition, which opened on April 26th, 1769, "the 
 Regulus " was one of the works most admired. 
 
 It is certainly one of his best efforts. He was paid £^^20 for it. 
 
 324 Duke of Clarence (William IV.), and Duke of Kent {502) . West. 
 
 The Duke of Clarence is on the left, dressed in a blue coat with a white vest ; 
 he has his right hand on a globe, his left is on his hip. The Duke of Kent is in 
 red turned full to the front, but looking at his brother j his right hand is on his 
 brother's left hand, his left is pointing upwards. 
 
 Prince William Henry, Duke of Clarence, afterwards William IV., was bom 
 August 2 1st, 1765. Prince Edward, Duke of Kent, father of her present 
 Most Gracious Majesty, was born November 2nd, 1767. This picture was painted 
 when they were about thirteen and eleven years. In 1780, the Duke of Clarence 
 went to sea as a midshipman. West received 250 guineas for the picture. 
 
 325 Apotheosis of the Infant Princes Octavius and Alfred {503) . West. 
 
 Alfred, the younger of the two, is seated on clouds, with his hands outstretched 
 to his brother, who is being conducted up to him by an angel. 
 
 Prince Octavius was born on February 23rd, 1779, and Prince Alfred on Sep- 
 tember 22nd, 1780. Alfred died on August 20th, 1782. ** I am very sorry for 
 Alfred," said the King, "but had it been Octavius I should have died too." 
 
 Octavius followed his brother to the grave on May 2nd, 1783. For this picture 
 West received ^315. Engraved by Sir Robert Strange. 
 
|N the wall hangs an old Canopy of State of red damask, of the 
 time of Queen Anne, who no doubt often sat under it. The 
 walls were formerly hung with tapestry. The tf^UVLtitlitX is very 
 handsome ; the design being horses and lions of silver holding 
 up nozzles, also of silver, the whole being ornamented with fine cut glass. 
 The fire-back represents the Rape of Europa. 
 
 326 Ann, Wife of Frederick Ulric, Duke of Brunswick (so6) . Mytens. 
 
 Full-length, in black, by a table, on which she leans her right hand, with a lace 
 pocket-handkerchief ; her left hand by her side. Her dress is trimmed with gold 
 braid, and ornamented with a heavy gold chain in front. Round her throat is a 
 large circular ruff. A headdress of red rosettes. 
 
 This is probably Ann Sophia of Brandenburg, who married in 16 . , ? Frederick 
 Ulric, son and successor of Henry Julius, Duke of Brunswick (see No. 335). Mrs. 
 Jameson interchanges this portrait with No. 350. 
 
 This and several other portraits, such as Nos. 283, 327, and 350, have been 
 attributed to Mytens, but they seem hardly worthy of that by no means indifferent 
 artist. 
 
 327 Don Guzman? . Mytens? 
 
 Full-length, turned towards the right with his right hand on a table, his left on 
 his sword ; his dress, which is entirely black, is close fitting. He wears a very 
 large circular ruff. 
 
io6 
 
 Catalogue of Pictures. 
 
 It does not appear from the Calendars of State Papers, Nichols' Progresses^ and 
 similar works, that any "Don Guzman" was in England during the reigns of 
 James I. or Charles I., from which period this portrait is supposed — though per- 
 haps incorrectly — to date. Nor does there appear to be any Don Guzman particu- 
 larly celebrated in history. Charles I., however, in his visit to Spain with the 
 Duice of Buckingham, in 1623, met two gentlemen of that name — Don Caspar and 
 Don Alaro de Guzman — and he may have brought the portrait back with him. 
 His catalogue throws no light on the subject, nor does James II. 's, if we except 
 the entry No. 3 : — "A man's picture at length, being a Spaniard in a black habit," 
 without a painter's name. It has been called " Don Guzman " at any rate since 
 the beginning of this century, and in Pyne's History of Royal Residences, 1818, he 
 is described as Spanish Ambassador to the English Court." 
 
 If this name and designation be correct, it may be a portrait of Don Didacus ' 
 Diego de Salva de Guzman, dean of Toledo, Spanish Ambassador to Queen Eliza- i 
 beth, from 1564 to 1568, described as "a comely tall priest, about fifty years of 
 age, and a grave and courteous man," who was perpetually writing to Spain about 
 the state of Ireland, which was then in a very turbulent state. In 1 567 Elizabeth 
 sent as her ambassador to Spain, John Mann, dean of Gloucester, saying that "as 
 her brother of Spain had sent her a Goose Man, she sent him a Man Goosed — 
 {Calendars of State Papers, Foreign Series, and Progresses of Queen Elizabeth.) 
 
 328 Tobit's Father restored to sight {781^ M. de Vos. | 
 
 Four figures, about half life-size. He sits in a chair, with face upturned. The ' 
 angel is anointing his eyes. His son and his wife are looking on. In the back- 
 ground some small figures ; in the foreground is the dog. On canvas, 3 ft. 6 in. 
 high, by 5 ft. 6 in. wide. 
 
 This is a very inferior example of a Flemish artist little knovm in England. His 
 best works are at Antwerp. 
 
 329 Battle of the Forty {122) Pieter Snayers. i 
 
 There are exactly forty horsemen, who are distinguished by their scarves ; twenty 
 wearing red ones round their waists, and twenty with green ones on their left arms. 
 The adherents of each party are looking on at a distance, and on two bits of 
 rising ground are two heralds on horseback. The background shows a town. On 
 wood, 2 ft. 8 in. high, by 45 ft. wide. 
 
 In the History of Royal Residences (18 19) this is stated to represent a contest in 
 the Spanish Netherlands between two rival commanders, which took place about 
 1 62 1, before Bois-le-Duc, but no such contest appears to be recorded in history. 
 A question was asked many years ago in Notes and Queries as to the occasion 
 referred to, but no answer was ever given. 
 
 This is a good example of Snayers' style, who painted chiefly battle-pieces, "in 
 which he displays not only great animation, but what is rare in such scenes, great 
 distinctness." In 1626 he was appointed Court painter to the Archduke Albert, at 
 Brussels. 
 
 330 Christian, Duke of Brunswick (^57) . . . . . Mytens. 
 
 Full-length, facing in front, inclined to the right. His right hand is leaning on 
 a stick. He lost his left arm while fighting in the field, but his artificial one of silver is 
 in a sling of embroidered silk. Over his buff leathern doublet he wears a cuirass. 
 His hose are red, embroidered with gold, and tied round the leg above the knee ; 
 
Hampton Court Palace, 
 
 107 
 
 330 Christian, Duke of Brunswick — continued. 
 
 his boots buff leather, and spurred ; his collar of lace, six inches broad, and 
 turned down ; hair, long and flowing over his forehead ; and his face beard- 
 less, with a small moustache. On the scarf are the letters E. B. H. in a cypher ; 
 that is, the initials of Elizabeth of Bohemia, and his own Halberstadt, of which he 
 was bishop. The background is a landscape. In the lower right-hand corner is 
 painted an imitation label stuck with red sealing-wax, inscribed : — " Christianus Dei 
 gratia Dux Brunswickensis et Lunenbergensis ^tatis sucb 26, A.D. 1624." On 
 canvas, 7 ft. 4 in. high, by 4 ft. 6 in. wide. 
 
 Christian, the famous champion of his beautiful but unfortunate cousin, Elizabeth, 
 Queen of Bohemia, was the second son of Henry Julius, Duke of Brunswick, by 
 his wife Elizabeth, sister of Anne of Denmark (see Nos. 335, 346, and 350). He 
 was born in 1599, and seems to have been appointed in his youth to the Protestant 
 bishopric of Halberstadt. When the king and queen of Bohemia were forced to 
 fly from Prague in 1620, he at once adopted their cause with all the chivalry and 
 ardour of his enthusiastic temperament. He always wore her glove in his helmet, 
 took the motto : — Fur Got und fur Sie,^^ and swore he would never surrender 
 the contest till she was restored to her kingdom. While fighting in her behalf at 
 the battle of Fleuras, in 1622, he was wounded in the left arm, and gangrene 
 setting in, he had it cut off", without flinching, in the presence of the whole army, 
 to the sound of drums and trumpets ! He afterwards had a silver one made, and 
 it can be seen in this portrait slung in a rich scarf, embroidered with his initials 
 and those of his cousin. In 1624 he came, like his companion in arms, 
 Mansfeldt (see No. 405), to England. 
 
 Of this visit. Chamberlain, in a letter to Sir Dudley Carleton, from London, 
 8th January, 1625, gives the following account : — **The Duke of Brunswick went 
 hence on New-year's day, after he had tarried a just week, and performed many 
 visits to almost all our great lords and ladies, as the Lord of Canterbury, the Lord 
 Keeper, and the rest, not omitting Mrs. Bruce, nor the stage at Blackfriars. The 
 Duchess of Richmond admitted him with a proviso, that he must not offer to 
 kiss her ; but what was wanting in herself was supplied in her attendants and fol- 
 lowers, who were all kissed over twice in less than a quarter of an hour. " . . . . 
 *' He cannot complain of his entertainment, which was every way complete, very 
 good and gracious words from the King, with the honour of the Garter, and a pen- 
 sion of ;^2000 a year. The Prince {i.e. Charles I.) lodged him in his own lodgings, 
 and at parting gave him ^3000 in gold, besides other presents." On his return 
 to the continent he again entered with ardour into the struggle, but died in 1626 
 at Wolfenbiittel. (See Nichols' Progresses of James /., iii., 1026, where this duke 
 is confused with his brother, Frederick Ulric ; and see also Rye's England as 
 seen by Foreigners, Coxe's House of Austria, ii., 791-807, Strickland's English 
 Princesses, vol. viii., and Court and Times of James I., ii., 487-489.) 
 
 This picture must have been painted during his visit to England. In Charles 
 I.'s catalogue it is stated to be in the "Bear Gallery," at Whitehall, and is 
 entered at page 85, thus : — " The King's cousin, the Duke of Brunswick, also called 
 the Bishop of Halberstadt, at length," the dimensions corresponding to those 
 above, but no artist's name is given. 
 
 By the inventory of the King's goods, however, taken by order of the Common- 
 wealth, we find that a picture called "The Duke of Brunswick, at length, by 
 Mittens, valued at;^20," was in the "Bear Gallery," Whitehall, and was "sold 
 
io8 
 
 Catalogue of Pictures, 
 
 830 Christian, Duke of Brunswick — continued. 
 
 to Mr. Harrison, as appraised, y« 23''' Oct'. 165 1 " {Harl. MSS., 4898, fol. 149)1 
 and it was found in his possession at the restoration (see Report of Historical Coni 
 mission, 1879, p. 88). In James II. 's time it was in this palace, and is entered i 
 his catalogue, No. 889, as " The Duke of Brunswick, at length " simply. 
 
 By Granger, who saw it here in 1771, it was attributed to Van Somer, who diei 
 in 162 1 ; while for the last fifty years or so it has been attributed to Honthorst 
 who certainly was not in England before 1628, and in 1624 had probably not k: 
 Italy (see notes to Nos, 383). It is far more likely that the Commonwealth Ir 
 ventory is correct in assigning it to Mytens ; for besides the facts that he was paintin. 
 in England in this very year, 1624 (see No. 405) ; that the canvas is of the same size a 
 that usually employed by him for similar portraits ; and that it exhibits one of hi 
 peculiarities, — a white painted label with the age, name, and date — we have a simi 
 larity in style between this and unquestioned works of his that is unmistakabl 
 (compare especially No. 44). Further confusion has been caused by a crack i: 
 the paint, making the *' 2 " of the date look like a "6." 
 
 331 Meeting of Henry VIII. and the Emperor Maximilian 1 
 
 {^24) unnameu 
 
 This is a highly curious contemporary picture representing several incidents i 
 the siege of Terouenne, undertaken by the joint armies of Henry VIII. and th 
 Emperor Maximilian. In the foreground, the first meeting of the sovereign 
 which took place on the 9th of August, 15 13, on the east side of Terouenne, i 
 shown. On the right is Henry VIII. in gold armour and visor, with a large whitj 
 plume, on a horse richly caparisoned, with trappings, emblazoned with the armj 
 of England. On the left is the Emperor — described by an eye-witness as * * of middl : 
 height, with open and manly countenance, pallid complexion, a snub nose, and 
 grey beard ;" — in similar gorgeous apparel, his horse's trappings emblazoned wit' 
 the Imperial eagle. Behind them are their attendants. Over Henry is a table 
 inscribed: — " hericvs octavvs rex anglI/E." Over the Emperor:— "IM 
 
 PERATOR MAXIMILIAN." 
 
 In the centre the two monarchs are riding side by side ; while to the right am 
 left are their respective armies and tents. 
 
 Behind is seen the grand tournament in honour of the meeting, and parkd 
 cannon, waggons, &c. In the background to the right is a church, by which i 
 painted its name, "tervane," i.e., Terouenne, which capitulated on Augus 
 22nd ; to the left is the picturesque mediaeval town of Tournay, over which i 
 painted "Tornay," which capitulated to Henry VIII. on the 24th September (se. 
 notes to No. 339), with its towers, battlements, pointed roofs, and spires. Oi 
 wood, 3 ft. 3 in. high, by 6 ft. 8 in. wide. 
 
 There is hardly an event in history of which there are so many concurren 
 accounts, with such ample details, as the meeting here represented, and the sieges c 
 the towns before which the monarchs are encamped. In the British Museun 
 records are preserved relating to every incident : plansof the towns and of the sieg 
 works, bills for the ammunition, tents, &c., lists of the prisoners, and the origina 
 capitulation of Tournay, 
 
 Henry VIII. arrived before Terouenne on the 2nd of August, and on the I4tn 
 writes one who was present, he dined with the Emperor, *' who showed sue) 
 cordiality that one might suppose them father and son." "The next day th 
 
Hampton Court Palace. 
 
 109 
 
 Emperor came to the King on the east side of the town, and was entertained in a 
 goodly tent, with a rich gallery all of cloth of gold, set up with a cupboard in the 
 richest manner, and so continued till the i6th of August." 
 
 The day after the surrender of Terouenne, — the fortifications of which are 
 described by a Mr. Taylor who was present, and kept a minute diary of every 
 occurrence, as extraordinary, — Henry VIII. and the Emperor made their triumphal 
 entry. In the town there was nothing to note, says Taylor, except the cathedral 
 (of which the spire is shown in this picture) ; it was the only building spared in the 
 demolition that followed. 
 
 Of Tournay, which surrendered on 24th of September, Taylor says: — *' I refrain 
 from describing this magnificent city with its river Schalde, which Csesar mentions 
 by the same name ; its bridges, water-mills, and splendid buildings ; no one can 
 conceive its beauty who has not seen it. " It was early on Sunday morning, the 25th, 
 that Henry entered the town. The sun was shining brightly, and it must have been 
 a splendid sight to see the youthful monarch, then the finest man in the whole army, 
 riding at the head of his troops through the grand old Gothic town, the sun- 
 light glistening on his golden helmet and cloth-of-gold trappings, and playing on 
 the spears of the sturdy men-at-arms. All the houses by which they passed were 
 hung with costly tapestries ; the great bells were rung ; and the burgesses, in their 
 civic attire, came to welcome the King with magnificent gifts, attended by the 
 townspeople carrying torches and sounding a triumphal march. Thus they pro- 
 ceeded up to the market-place, where he was greeted by the populace with enthu- 
 siastic vociferations of *' Vive le Roi ; " then, all sounds being hushed, he passed 
 into the cathedral to render, in a grand high mass, his thanksgivings to Almighty 
 God. 
 
 Although this and similar pictures in this room, such as "The Field of the 
 Cloth of Gold," &c., have been attributed to Holbein, it is scarcely necessary to 
 say that they have no sort of claim to be considered works of his. Their artistic 
 merit is of the slightest, though their execution shows considerable mechanical 
 skill. They were doubtless painted by some of those artists whose names are to be 
 found in the old records, such as "John Browne de London, payntor ;" "Andrew 
 Wright Serjeant Payntor to the Kynges grace;" and the "Italian payntors 
 Vincent Volpe and Elhs Carmyan." The last two, indeed, are particularly men- 
 tioned in 1527 as receiving 2.0s. a week salary, and as at that time engaged in 
 decorations for one of Henry VIII. 's grand festivities, for which one "Master 
 Hans" (conjectured to be Holbein) "painted the plate of Tirwan {i.e. Terouenne) 
 which standeth at the back side of the great rock " at the end of the chamber. 
 This work, for which "Master Hans" received what would be equivalent to ;^5a 
 now-a-days, excited the greatest admiration among the spectators. The original 
 sketch is in the British Museum, and we gather that it was very similar in style to 
 this picture. (See Brewer's State Papers, and Arckcsologia, xxxix., pp. 25, 26, 
 &c.) In the old catalogues, in which these pictures can be traced, no artists* 
 names are given. 
 
 2 Daughter of Frederick II. of Denmark (61^) .... unnamed. 
 Full-length, facing to the front, with an inclination to the left. She wears a 
 large farthingale of white material, powdered with small black spots, and a bodice 
 and stomacher of the same. She has a white hat with three feathers, white 
 sleeves with red ribbon, but no ruff. Her arms rest on her farthingale ; to her left 
 is a red table. 
 
110 
 
 Catalogue of Pictures. 
 
 Though this is entered in James II. 's catalogue merely as "A Lady's picture a 
 length, in white with a little hat," there is little doubt, from the dress, period 
 features, and style, that it is correctly labelled as one of the daughters o 
 Frederick II. of Denmark, perhaps Anne of Denmark herself. 
 
 333 Christ curing the Sick {6g8) B. van Orle\ 
 
 A sick man, with his hands joined, is kneeling in front of Christ, whose lef 
 hand is placed on his head, and the forefinger of His right hand on his eye. Be 
 hind our Lord, who is on the left, are some of His disciples and others ; and c 
 the right several sick men on the ground, and one apparently possessed with th 
 devil ; others are looking on. In the distance is a view of a town. Altogethe 
 some fifteen figures less than life. On canvas, 3 ft. high, by 3 ft. 9 in. wide. 
 
 On the top of the crutch, held by the sick man, is a monogram of the letter 
 **B. V. O." ; but the date appended — 1577 — is 36 years after the supposed deat; 
 of Van Orley. Perhaps what appear to be sevens are meant for ones ; or th 
 monogram may be that of his pupil, Michael van Coxeyen. 
 
 334 Embarking from Schevening {63s) Palamedes 
 
 On the right is seen the sea with a few ships ; on the shore, which is considerabl 
 below the point of view of the spectator, is a large concourse of people with waggonj 
 &c. On some rising ground on the left, are groups watching the scene below ; i 
 the foreground a man turning away with a not very intelligible gesture. In th 
 corner the church of Schevening is seen. (Compare No. 62. ) On canvas, 3 fi 
 I in. high, by 4 ft. loin. wide. 
 
 The particular occasion represented here is not known. 
 
 There were two painters of the name of Palamedes, brothers ; one of whom, Paul 
 died in 1638, and the other, Anthony, in 1680. Their real name was Stevers 0 
 Staeverts, and they were sons of a sculptor and setter of stones in the servic 
 of James I. of England. This is probably by Paul, who, though he died first 
 was the younger of the two, and by far the greater artist. 
 
 335 Henry JuUus, Duke of Brunswick {635) Mytens 
 
 Full-length, turned slightly to the right. He wears a black doublet open at th 
 throat, with a large turned-down collar, edged with lace. His hose are short am 
 full, and also black ; and he has black stockings and white shoes. His righ 
 hand is on his hip, his left on the hilt of his sword. A dog stands a little behini 
 him, and looks up at him. Behind on the left is a table, on which is perche 
 a monkey. Dark yellow curtains hang above. On a label in the lower left 
 hand corner is inscribed: — "Henry Julius D. G. Dux Brunswickensis. Anc 
 1608." 
 
 This portrait and the companion one of his Duchess, No. 350, were both i 
 James I.'s collection, for they are particularly mentioned in the Duke of Saxe 
 Weimar's journal of his visit to England in 16 13. The Duchess being sister of Ann 
 of Denmark, an interchange of portraits naturally took place, and these two war 
 probably brought over by the Duke's son, Frederick Ulric, when he visited thi 
 country in 1610 ; he probably brought at the same time that of his own sister, Nc 
 283. The two courts in fact were on very intimate terms (see notes to Nos. 28 
 and 330), and it is curious to note that in the very year this picture was painted, Duk 
 Henry Juhus, who was fond of the drama, and had himself written a play calle 
 *' Susanna," was entertaining English strolling players at Frankfort. One of them 
 
Hampton Court Palace, 
 
 III 
 
 Sackville, a Dorsetshire man, whose fortunes have been followed by the Shake- 
 speare critics, had made such large profits at court, that he excelled every one in his 
 display of jewellery in the autumn fair of the same year (see Rye's England as seen 
 by Foreigners). 
 
 This portrait appears in James II. 's catalogue, No. ii, " Henry Julius, of Bruns- 
 wick, at length, with a dog." 
 
 336 Edward, eleventh Lord Zouch ( Jo/) Mytens. 
 
 Full-length, seated ; resting his left hand on a table, and his right on his stick. 
 His dress is very magnificent : a doublet of white silk thickly laid with gold braid, 
 trunk hose of the same ; a black velvet cloak, embroidered with gold, and lined 
 with fur, hanging from his shoulders ; long open sleeves, a large lace ruff, stockings 
 of white silk, and shoes with big gold rosettes. His hair is grey, his beard short 
 and square cut. His face exhibits an expression of benevolent satisfaction with his 
 fine clothes. 
 
 Lord Zouch succeeded his father as eleventh Baron Zouch as early as 1569, 
 when only thirteen. He seems to have been a man of some considerable impor- 
 tance in Elizabeth's reign, and was one of the peers who sat on the trial of Mary 
 Queen of Scots. In 1601, the Queen appointed him Lord President of Wales ; 
 while holding that office in the reign of James I., a sharp contest arose between him 
 and Lord Chief Justice Coke on the privileges of their respective courts. In 161 5, 
 he was made Constable of Dover Castle and Lord Warden of the Cinque Ports. 
 A magnificent house at Bramshill, Hampshire, was built by him. He died in 
 1625, in his seventieth year, and leaving no issue, the title became extinct. 
 
 337 Embarkation of Henry VIII. from Dover, on 31st of May, 
 
 1520, to meet Francis I. at the Field of the Cloth of 
 
 QiO\6i{5iS) V. VoLPE? 
 
 The view in this old contemporary picture is taken from the south-west of Dover 
 Harbour, extending across the harbour eastward to the Castle, so that the town of 
 Dover is left in the bay to the north. The ship, the Henri Grace-de-Dieu," or 
 *' Great Harry," which was built expressly for the King, is represented as just sailing 
 out of the harbour, having her sails set. She has four masts ; her sails and pennants 
 are of cloth-of-gold damasked, and the royal standard of England is flying on each 
 of the four quarters of the forecastle. The quarters, sides, and stern are all deco- 
 rated with shields and coats-of-arms. On the main deck stands the King, richly 
 attired in crimson, with a cloak of cloth-of-gold. 
 
 Following this, and to the right of it, are other similar ships, filled with yeomen 
 of the guard with their partizans, men beating drums and playing fifes, and holding 
 flags. In the offing are a number of ships under way, and in the distance is seen 
 the coast of France. Between the ships are a lot of small boats filled with spectators 
 and others, one man being sea-sick. In the foreground on the right are two circular 
 forts, communicating with each other by a terrace, with cannons firing a salute, and 
 spectators, billmen, officers, and a person of distinction dressed in green and yellow 
 with a black coat — probably Sir Edward Poynings, Constable of Dover Castle, and 
 Lord Warden of the Cinque Ports. On the hill opposite is seen Dover Castle. 
 
 The number of those who embarked with King Henry on this occasion was very 
 large, including, besides the great nobles and their followers, 4,334 men with 1,637 
 horses. Cardinal Wolsey's retinue alone consisted of 12 chaplains, 50 gentlemen, 
 238 servants, and 150 horses. 
 
112 
 
 Catalogue of Pictures, 
 
 The "Henri Grace-de-Dieu " was christened, or, as the old writers more 
 appropriately said, hallowed^ on June 19th, 15 14, the ceremony being witnessed by 
 the Queen and all the Court, the Pope's and the Emperor's ambassadors, several 
 bishops, and a crowd of nobles. "They were most honourably received," writes 
 an ambassador, "and conducted by the King through the ship, which has no equal 
 in bulk, and has an incredible array of guns." The bills for its decoration are still 
 extant in the Record Office, and the cost of every flag, streamer, and badge can be 
 ascertained. One Vincent Volpe, an Italian, painted the streamers, and John 
 Brown, the King's painter, did the rest. Her tonnage was 1,500. (See Archao- 
 logia, vii., pp. 1 79-200, where a minute account of this picture is given, and many > 
 other curious facts. See also Brewer's State Papers, i., 828, passim. In the 1 
 Pepysian library there is a contemporary drawing of the * ' Great Harry," and an j 
 inventory of her whole furniture.) | 
 
 This picture is probably the work of an artist named Vincent Volpe, who was , 
 in the service of Henry VIII. (see note to No. 331), and who in 1514 and in 1520 
 is mentioned as painting the "streamers," flags, badges, &c., of the "Great 
 Harry " (see State Papers, passim). It appears also (see Archceologia, xxxix., p. 28) 
 that he painted for the King "plats" or " descriptions," that is, bird's-eye views, 
 such as the pictures in this room are. 
 
 338 Sea-Piece — The Bay of St. Lucar ? {g68) .... Jan Parcelles. ! 
 
 The sea is partially illumined by moonlight. In the background is a promontory j 
 on which is a citadel. On the left is the shore with rocks and trees. Shipping is 
 seen in the bay. On canvas, 4 ft. high, by 7 ft. 4 in. wide. 
 
 This is a characteristic piece of Parcelles, a Dutch marine painter, who particu- 
 larly affected half-lights. He and his contemporaries, De Vlieger and Remigius, 
 who flourished at the beginning of the seventeenth century, were in close affinity to ! 
 the great landscape-painters of the same epoch, frequently representing coast scenery. 
 They were the predecessors, or more correctly the precursors, of the better known 
 Van de Veldes. 
 
 The four pictures by Parcelles here, are almost the only examples of him in 
 England. (See No. 876.) There was "a large sea-piece of the St. Lucar, by 
 Percellis," in Charles I. 's collection, which was sold for ^ 10 by the Commonwealth, 
 but which reappears in James II. 's catalogue, No. 38. 
 
 839 The Battle of the Spurs, 1513 {517) ? 
 
 This curious picture is a sort of companion-piece to No. 331 ; and like it has 
 been ascribed to Holbein. It represents the defeat of the French before the walls 
 of Terouenne on the i6th August, on which occasion they made more use of their 
 spurs than their weapons. In the lower left-hand corner is an old inscription : 
 " Battaile of Spurs.'''' Painted on wood, 4 ft, 4 in. high, by 8 ft. 6 in. wide. It 
 is found in all the old catalogues, and was sold at the Commonwealth for £%, but 
 it was never ascribed to Holbein till comparatively recent times. Of the battle no 
 better account could be given than an extract from a letter, written on the spot by 
 an eye-witness. (See State Papers, Henry VIII., i., p. 664.) 
 
 "On the i6th of August, the King removed his field to Gyngat, a mile from 
 thence {i.e. Terouenne) ; and in the morning early, before his setting forth, the 
 King's grace had knowledge of a great companie of Frenchmen of armyes and 
 others coming towardes the said city of Terouenne, for the victualling thereof ; whose 
 subttle intended purpose the King perceiving, liJte the most valiant prince under 
 
Hampton Court Palace, 113 
 
 heaven, advanced himself with his own army on foot, and his spears against his 
 said enemies, and them encountered and followed from the morning unto night, 
 until that his grace had followed them unto a place called Bomy, being six miles and 
 more from his " leger " (? lager), and there with his spears set upon his said enemies, 
 I them being unto the King's party six to one. How be it, thanked bee God and 
 Saint George ! they were so manly and valiantly encountered, and so hardly set 
 upon with archers on horseback and the King's said spears, that they none of them 
 durst abide, but fled and rode their way ; at what time the Emperor was under 
 the King's standard." 
 
 He then enumerates the prisoners taken, among whom was *' Captain Bayard, 
 captain of a loo spears." They took besides many standards, and "twenty one 
 persons all in cloth of gold and velvet . . . and it is said that there was slain of 
 the Frenchmen above 3000, and as for the King's grace, lost he at that time not 
 above three men. The chase of the same bickering endured four miles above ; 
 and so, that done, being very near night, the King's highness with his said army 
 returned again unto Gyngatt, where he continued until the 20th day of August, and 
 sr removed unto the south side of Terouenne. " 
 
 Maximilian, to whom the victory was in no small measure due, by his cutting 
 off the retreat of the French, urged Henry to advance on their camp, which, had 
 he not refused to do, the enemy would have been annihilated. 
 
 In this picture the English are shown on the left charging the French ; the 
 figure in the centre in a gold helmet, with his vizor up, fighting valiantly, is pro- 
 bably meant for Henry VIII., and the man in front of him, uncovered, and asking 
 for quarter, is evidently some one of distinction, and possibly the Chevalier 
 Bayard. In the middle distance is the town Terouenne, with its name inscribed 
 over it in old characters : — " Terwaen ; " its moat, fortifications and houses being 
 distinctly portrayed, while in the centre of all rises the stately spire of its beautiful 
 cathedral. (See No. 331.) 
 
 In front of the town is an old castle, round which the English are encamped, 
 with their tents of white and green (the Tudor colours), amongst which the King's 
 pavilion of cloth of gold can be distinguished. On the extreme right is another 
 old castle, round which is grouped another camp, presumably the Emperor's ; and 
 further off that of the French, towards which they are shown as fleeing. 
 
 The details of the fight : the trappings, accoutrements and arms of the com- 
 batants, are highly curious, and worthy of careful notice by amateurs of ancient 
 armour. The horses are very well drawn ; and the gestures, attitudes, and ex- 
 pressions of the combatants all proclaim the hand of a master. 
 
 140 Henry VIII. and his Family (5^0) . . . School of Yloi^mi-^. 
 
 In the centre, seated on his throne, is the King, with his right hand on the 
 shoulder of his son Edward VI., who is standing, facing in front, and appears 
 about nine years old. On the right, that is on the King's left, is seated his 
 queen, Catherine Parr. Further to the right is Princess Elizabeth, standing turned 
 towards the centre. She is identified by the jewel she wears, in which is the 
 letter A, the initial of her mother. On the other side is the Princess Mary with a 
 jewel representing a cross ; she also faces towards the centre of the picture. 
 Behind her, in the doorway, is a woman, attired in white and red, believed to be 
 "Jane the Fool;" while in the corresponding doorway on the right side is Will 
 Somers, Henry VIII. 's jester, with a monkey on his back. Above the King is a 
 very magnificent canopy of richly- embroidered work, supported by a sort of 
 I 
 
Catalogue of Pictures. 
 
 colonnade, of which the columns are painted with the richest Renaissance arabesqu( 
 work, thickly laid with gold. In the background, through the doorways to thf 
 right and left, is seen a garden and part of a red brick building. The appearanc( 
 of the garden exactly accords with the old bills for the laying out of the gardens i: 
 this Palace in Tudor days ; the flower-beds being all fenced with low railings o 
 wood, painted white and green, and ornamented at intervals with tall posts oi 
 which are the heraldic **Kynge's Beastes." The red brick building does not 
 however, appear to be Hampton Court. The costumes of the King and hi 
 family are very rich, and the gold leaf with which they were laid is still bright an< 
 untarnished. On canvas, 5 ft. 6 in. high, by 1 1 ft. 6 in. wide. 
 
 Henry's legs, of which he was very proud, are well displayed in this picture 
 The Venetian ambassador relates how the King one day drew him aside into ai; 
 arbour, and said to him, **Talk with me awhile ! The King of France, is he a 
 tall as I am ? " I told him there was little difference. He continued, " Is he a 
 stout ? " I said he was not ; and he then inquired, '* What sort of legs has he ? 
 I replied, "Spare." Whereupon he turned aside the part of his doublet an^ 
 slapping his thigh with his hand, said, * ' Look here ! I have also a good calf to show. 
 
 Although this picture has for many years been ascribed to Holbein, there ar 
 several reasons for supposing that it is not a genuine work of the master. In thi 
 first place the age of Prince Edward, as represented in this picture, would point t' 
 about the year 1 547, which is four years after the now-known date of Holbein' ' 
 death. In the next place, though a work of very considerable merit, especially iij 
 the skill with which the background and the rich architectural accessories an 
 executed, yet in the figures themselves we scarcely trace the life and truth 0 
 Holbein's pencil ; to say nothing of the fact that the ages of the two princesse 
 appear about the same, while in fact there was a difference of sixteen years betweei 
 them. In addition to this we find that in Charles I. 's time it was not ascribed ti 
 Holbein, for it is entered in his catalogue, page 118, without any artist's name 
 thus : — Item, a long piece painted with gold, where King Henry VIII. sits witl 
 his Queen, and his son Prince Edward, on the right side, and his two daughter j 
 Queen Mary and Queen Elizabeth standing at each side, and a fool at the lelj 
 side, in the door, with a jackanapes on his shoulder, and on the other side 
 waiting woman. Little entire figures, a Whitehall Piece ; " nor in the Commor 
 wealth, where it is valued at ;^I5, is it assigned to any painter. (See Wornum 
 Holbein; Archceologia, xl., 80; and Times, ]a.n. 22nd, 1880.) 
 
 It seems, in fact, from the inconsistencies in the ages, that it is a picture mad 
 up after the death of the King, as Mr. Wornum suggests, from various origins 
 materials. If this is so, it was probably painted for Edward VI., as neither Mar 
 nor Elizabeth would have cared to have introduced the other in a picture of thi 
 sort. Perhaps it is a work of Guillim Stretes, a Dutchman, who was painter t 
 King Edward, and in receipt of the then large salary of ^^62 a year. (See No. 345. 
 In confirmation of this it may be noticed that the features of the Queen are belieyc' 
 by some to resemble those of Jane Seymour rather than of Catherine Parr ; whik 
 if the picture was painted from life, the Queen could not be meant for Edwar 
 VI. 's mother, as she died in this Palace a few days after her son's birth. 
 
 The Princesses have the wrong names attached to them. Princess Mary bein 
 labelled "Princess Elizabeth" and vice versd. The woman on the left, also, : 
 not, as she is described, " Will Somers' wife," for he never had one, but is probabl 
 "Jane the Fool." 
 
Hampton Court Palace. 115 
 
 41 Sir John Gage {320) unnamed. 
 
 Full-length, with the white staff of his office — the Controllership of the House- 
 hold to Queen Mary — in his right hand ; his left on the hilt of his sword. His dress 
 is that of a Knight of the Garter, with a crimson doublet, a hat with a white feather, 
 and silk stockings, &c. 
 
 He appears standing on a tower ; over the parapet tv/o contending forces are seen. 
 A flag with the arms of England acts as a background to his head. We find it in 
 Charles I.'s catalogue : — "Sir John Gage, at length, in the Garter Robes with a white 
 staff." 
 
 In the left-hand corner is the following : — 
 
 Messire Iean Gage De Fvrle Cheval 
 
 De L'Ordre De La Iartiere Dv Conseil 
 
 D'EsTAT D'henry 8e Edoard 6^ Et Marie 
 
 Rois D'Angleterre Et De Levr Conseil 
 
 SvpREME De Gverre Lievtenant General 
 
 AvEC Charles Dvc De SvFFolke De L'arm^e Dvd-Dit 
 
 Roy Henry av Siege Et Prinse De Bologne En France 
 
 CONESTABLE DE LA TOUR DE LoNDRES. 
 
 This inscription is an epitome of Sir John's career. He was born in 1479 and 
 married the daughter and co-heir of Thomas, Earl Rivers, Lady Penelope D'Arcy, 
 through whom the Hengrave estate came into the family. He owed his advance- 
 ment chiefly to the favour of Henry VIII., whom he had accompanied soon after his 
 accession to the sieges of Tournay and Terouenne. Afterwards, on the fall of Crom- 
 well, he was made Comptroller of the Household, Chancellor of the Duchy of Lan- 
 caster, and a Elnight of the Garter ; and, in 1540, Lieutenant or Constable of the 
 Tower. From this office he was removed by Lady Jane Grey's party, but rein- 
 stated by Mary. He attended Lady Jane Grey to the scaffold, and received the 
 Princess Elizabeth at the steps of the Traitor's Gate. (See Bell's Chapel of the 
 Tower and Lord De Ros' Memorials of the Tower.') 
 
 He died the 28th April, 1557, and was buried at West Firle. By his will he left 
 the Collar of the Order of the Garter and his blue mantle to Eton College to be sold for 
 the poor. A drawing by Holbein for a picture of Sir John Gage is to be found among 
 the " heads" in Her Majesty's collection. 
 
 (For further particulars of him, see page 228 of Gage's History of Hengrave, in 
 which a repetition of this portrait, at Hengrave Hall, is engraved. ) 
 
 This picture is in a very bad state ; very dirty, and shockingly varnished ; the 
 inscription almost illegible, at the end of it are some letters which may be the signa- 
 ture of the artist. 
 
 t2 Meeting of Henry VIII. and Francis I. at the Field of the 
 Cloth of Gold in 1520 {520) — - ? 
 
 In this curious contemporary painting we find every incident of the famous in- 
 terview between the two sovereigns depicted with the most minute and elaborate 
 historical accuracy. It is needless to say that it has no pretensions at all to being 
 a work of Holbein's, to whom it is ascribed ; although it is very cleverly painted, 
 and contains many good motives. Most likely it was executed by some artist 
 whom Henry VIII. took with him for the purpose, and who made it up from 
 sketches taken on the spot. In addition to the names mentioned in the notes to 
 
ii6 
 
 Catalogue of Pichtres, 
 
 342 The Field of the Cloth of QoXA— continued. 
 
 Nos. 331 and 337, as painters of this sort of picture, it is worth noting that "Johr 
 Crust and his servants, payntors, were paid in 1515 12 the day for 13 days foi 
 drawing the town of Bullon and the ground about the same." It is now on can 
 vas, though formerly no doubt on wood, 5 ft. 6 in. high, by 13 ft. 3 in. wide. 
 
 A very large engraving of it was executed by Basire, and a small outhne of it is 
 prefixed to Mr. Murray's edition of Mrs. Markham's England. 
 
 For the purpose of describing this intricate painting, it will be convenient tc 
 divide it into two parts. 
 
 Left-hand side of the Picture. 
 
 On this side is shovm the arrival of the English cavalcade, which, having landec 
 at Calais on the 31st of May, removed to Guisnes on June 4th. It is just passim 
 through the old town, of which we see the church, and the gabled houses crowdec 
 with the townspeople, the market-place with the shambles, on the top of whicl; 
 spectators are mounted, and the town guard drawn up in line. Close by is the ok 
 castle of Guisnes, which, though described by the commissioners as "dismantled 
 and its keep too ruinous to mend," is for the nonce mounted with great gunsl 
 which are thundering salutes to the King. The startled swans which for year 1 
 had been undisturbed in its weedy moat, are seen flying in terror at the sound 
 More to the left the procession is passing across a temporary bridge over the ditcl 
 round the town, part of the walls of the town being also seen. 
 
 In the foreground is the chief part of the procession, prominent in which is Kin^ 
 Henry himself, who, as the chronicler, an eye-witness of the scene, tells us 
 ** showed himself some deal forward in beauty and personage, the most goodlies 
 Prince that ever reigned over the realm of England : his Grace was apparelled ii 
 a garment of cloth of silver of damask ribbed with cloth of gold, so thick a 
 might be, the garment was large and pleated very thick. The courser, which hi 
 grace rode on, was trapped in a marvellous vesture of a new-devised fashion, th 
 trapper was of fine gold in bullion, curiously wrought, pounced and set with ar 
 tique work of Romayne figures." 
 
 By the side of the King is Wolsey, in violet-coloured velvet, riding a mule, an 
 attended by pages who carry his cardinal's hat, &c. In front of the King is th 
 Marquis of Dorset with the sword of state ; while behind come many other officei 
 of state, among whom can be identified: — Charles Brandon, Duke of SuffoU 
 wearing the Garter, the Earl of Essex, and Fisher, Bishop of Rochester, &< 
 These are followed by regiments of pikemen. The advanced part of the processio 
 is composed of the King's bill-men and various officers on horseback j and Wolsey 
 chaplains, &c., who are all passing into the castle. 
 
 Right-hand side of the Picture. 
 
 In the middle background is seen the plain of Ardres, studded with 2,800 tent 
 amidst which is Henry VIII.'s, all of cloth of gold, with two flags. Beyond 
 that of Francis I.. "Amidst golden balls, and quaint defices glittering in tl 
 sun, rose a gilt figure of St. Michael, conspicuous for his blue mantle, powderf 
 with golden fleurs-de-lys, and crowning a regal pavilion of vast dimensions, su] 
 ported by a single mast. Inside, the roof of the pavilion represented the Cano{ 
 of Heaven, ornamented with stars and figures of the zodiac." Here the fir 
 interview of the two chivalric monarchs took place, and we see them inside it 
 
Hampton Court Palace, 
 
 117 
 
 542 The Field of the Cloth of QioXd.— continued. 
 
 this picture, affectionately embracing one another, whilst, without, their two horses 
 are being led away, and their retinues are grouped around. 
 
 The scene is thus described by the old chronicler : — " Then blew the trumpets, 
 sackbutts, clarions, and all other minstrelsy on both sides, and the King de- 
 scended down towards the bottom of the valley of Ardres, in sight of the nations, 
 and on horseback met and embraced the two Kings each other ; then the two 
 Kings alighted, and after embraced with benign and courteous manner each other, 
 with sweet and goodly words of greeting ; and after few words, these two noble 
 Kings went together into the tent of cloth of gold that there was set on the 
 groond for such purpose, thus arm-in-arm went the French King Francis the First 
 of France, and Henry the Eighth King of England and France, together passing 
 with communication." 
 
 More in the foreground is the famous palace, which was an exact square of 328 
 feet, but of which, being seen in a foreshortened position, we can form but a very 
 inadequate idea from this picture. "On the castle green," says Mr. Brewer, 
 *' within the limits of a few weeks, and in the face of great difficulties, the English 
 artist of that day contrived a summer palace, more like a vision of romance, the 
 creation of some fairy dream, than the dull every-day reality of clay -born brick and 
 mortar. No ' palace of art ' in these beclouded climates of the West ever so truly 
 deserved its name ; the imagination of the age prepared to realize these visions of 
 •enchanted bowers and ancient pageantry on which it had fed so long in the fictions 
 and romances of the Middle Ages. " 
 
 Outside the palace gate on the green sward stand the two gold fountains ; one 
 " intrayled with anticke works, the old god of wine called Bacchus birlyng the 
 wine, which by the conduits in the erthe ran to all people plenteously with red, 
 white, and claret wine, over whose head was written in letters of Romayn in gold : 
 * Faicte bonne chere qui vouldra. ' " The French chronicler adds that there were 
 large silver cups for any one to drink, "qui estoit chose singuliere," and that the 
 English and French toasted each other, "et disoient ces parol les : Bons amys, 
 Francoys et Angloys, en les repetant plusieurs foys en beuvant lung a laultre de bon 
 couraige. " We see some of the results of this good cheer depicted in this picture 
 to the right ; while more to the left is "a piller, which was of ancient Romayne 
 work, borne with four lions of gold . . . and on the summit of the said piller stood 
 ^n image of the blynde God, Cupid, with his bowe and arrowes of love, by hys 
 seeming, to stryke the yonge people to love. " 
 
 In other parts are shown other incidents of the meeting ; thus, to the right are 
 shovra the lists, half-way between Guisnes and Ardres, with the galleries of the 
 kings and queens, and the great perron or tree of nobility, the trunk made of 
 cloth of gold, and the leaves of silver and Venetian gold, on which the shields of 
 all the combatants were suspended. 
 
 Lower down are the kitchens, where no less than 200 cooks were employed, 
 while more towards the foreground is a tent with people dining in it. In the upper 
 left corner is a dragon, probably meant for the artificial salamander which we are 
 told by the French chronicler suddenly appeared in the sky, while the cardinal, 
 -attended by bishops as deacons, was singing the grand high mass, " De Trinitate." 
 Beyond is the old town of Ardres, where 10,000 persons had collected in its 
 ruined houses to be present at the great festivities ; and around is the camp of 
 JFrancis's followers. 
 
Catalogue of Pictures. 
 
 342 The Field of the Cloth of QiO\di—co?itinued. \ 
 
 But to attempt only to indicate the multiplicity of detail in this curious picture ! 
 would take pages ; so I must content myself with referring those interested in his- 
 torical antiquities to Mr. Brewer's introduction to vol. iii. of the State Papen 
 (Henry VIII.), where he gives an admirable description of the whole scene; tc 
 ArchcEologia, iii., pp. 185-230, where this picture is minutely described ; and to 
 Hall's Chronicle, and the accounts of the English and French eye-witnesses, 
 printed among the State Papers, from all of which the reader will see how faithfuDy 
 the famous meeting is represented here. 
 
 343 Portrait of Isabella Clara Eugenia, Infanta of Spain, and 
 
 Archduchess of Austria (525) . F. Pourbus the younger? 
 
 Full-length, in a magnificent white silk dress, elaborately embroidered with gold 
 and colours. In her left hand she holds a lace handkerchief ; the tips of the fingers 
 of her right hand touch the head of a child, or a dwarf. She wears a large circular 
 lace ruff, and hand ruffles. Her headdress is red, decked with pearls, and rises . 
 into a sort of peak, where it is tied with a bow. The dwarf is in black, with a lofty i 
 headdress and a lace ruff. There is a red chair to the right, and a dark yellow 
 curtain above. 
 
 She was the daughter of Philip II. of Spain, by his wife Elizabeth of Valois, and 
 was bom in 1 566. Her father, who was devotedly fond of her (describing her on his 
 deathbed as **le mirior et la lumierede ses yeux")^ endeavoured to bring about amar-( 
 riage between her and the Dauphin. During the long negotiations for that alliance, 
 which was very unpopular in France, especially with the Huguenots, she was the sub-[ 
 ject of much satire both on account of her age, though only about thirty, and heii 
 swarthy complexion. Beneath the caricature portrait of her in the famous " Satire 
 Menippee," some verses were written, beginning : — 
 
 ** Pourtant si je suis brunette 
 Amy n'en prenez emoy." 
 
 The match never came off; and she was married instead to her cousin the 
 Cardinal Archduke Albert of Austria, Governor of the Low Countries, which were 
 Isabella's dower. Being filled with the family hatred of liberty, she at once entered 
 with zest into the persecution and oppression of her new subjects. She was present 
 in person at the famous siege of Ostend in 1601, and was so vexed at its gallant re- 
 sistance, that she swore never to change her linen till the town was reduced. It is 
 not stated at what precise period this vow was made, but as the siege lasted three 
 years, three months, and three days, it is not surprising that her underclothing eventu- 
 ally attained that sort of tawny hue that has ever since been known as "couleui 
 Isabelle." After the death of her husband in 1621, she was deprived of the 
 sovereignty of the Netherlands by Philip IV., when she retired to a convent, and 
 died in 1633. 
 
 This portrait must have been painted about the time of the French negotia- 
 tions ; and it must be confessed that the absence of beauty from her countenance, 
 which both in feature and expression strongly resembles her father's, and her dark 
 complexion somewhat justify the sarcasms referred to above. " Her face," it has 
 been observed, "appears to better advantage when invested with the dignity ol 
 matronly years " on the canvas of Vandyck and Rubens. 
 
 It was formerly unnamed, though at one time absurdly called Catherine ol 
 
Hampton Court Palace. 
 
 119 
 
 Arragon ; its present name, first suggested by Mrs. Jameson, and confirmed by 
 Dr. Waagen, is undoubtedly correct, as numerous old prints of her, especially with 
 the headdress and ruff she wears here, prove. At Brussels there is a replica of this, 
 with the difference that her right hand is on a chair. The official catalogue does not 
 give the name of the painter, and this one also was formerly unnamed. But it is 
 now ascribed, on the authority of Dr. Waagen, to F. Pourbus the younger. 
 
 It belonged, with a companion portrait of the Archduke, to James I. , as we 
 learn from the Duke of Saxe- Weimar's diary in 1613 ; and it is probably the picture 
 mentioned in a letter of Lady Arabella Stuart's, dated about 1606 : — Count Arimberg 
 was here within these few days, and presented to the Queene the Arch- Duke and 
 the Infanta's pictures, most excellently drawn." Being afterwards placed in this 
 palace, it is not in Charles I. 's catalogue ; but we find that it was valued by the 
 Commonwealth at ^20, but not sold. (See Inventory, folio 1235.) 
 Eleonora, widow of Francis I., in her weeds (^/<5) . . . unnamed. 
 
 Three-quarters length, facing in front, but turned slightly towards the left. She 
 is represented in the dress of " La Reine Blanche," worn by the widows of French 
 kings, with a small white cap projecting over her forehead. In front, hanging from her 
 chin, is a sort of white apron. Her hands are in front of her, half enveloped in 
 large loose sleeves, and apparently holding up her gown. On wood, 3 ft. 8 in. 
 high, by 3 ft. i in. wide. 
 
 This picture has been called "A Lady unknown," for upwards of 200 years. 
 But Mr. Scharf has suggested that it is a portrait of Eleanor, wife of Francis I. and 
 sister of the Emperor Charles V., and that it is identical with the picture in Charles 
 I.'s catalogue, wrongly described there as : — "The widow of King Christian II. of 
 Denmark. She was sister to the Emperor Charles V. In a widow's habit, in a 
 black and part gilded frame, as big as the life, half a figure." (Page 109 of the 
 printed catalogue, corrected by the original manuscript.) That it cannot be the 
 wife of Christian II. is certain, as she never was a widow, her husband surviving her 
 thirty-four years. "This remarkable picture is confirmed by a medal of Leonora 
 in her widow's habit, engraved by Heraeus, pi. xxv.. No. 10. " {Archceologia, xlii.) ; 
 and, we may add, by an old engraving inscribed with the monogram F.H., that of 
 Frederick van Hulsen, a German artist established in France at the end of the i6th 
 century. (See Niel, 
 
 In addition to this, we notice here the same coloured eyes and hair which are 
 found in two other portraits of her in this collection, and particularly that thick- 
 ness of lip and prominence of chin which are such distinctive marks in the phy- 
 siognomy of all members of the House of Austria. Apropos of this, Brantdme 
 relates that Queen Eleanor in passing by Dijon visited the tombs of her ancestors 
 the Dukes of Burgundy, and was anxious to have them opened : — " EUe y en vit 
 aucuns si bien conserves et entiers, quelle y reconnut plusieurs formes, et entre 
 autres la bouche de leur visage. Sur quoi elle s'ecria soudain : * Ah ! je pensois que 
 nous tinsions nos bouches de ceux d'Autriche ; mais, a ce que je vois, nous les tenons 
 de Marie de Bourgogne nostre ayeule, et austres dues de Bourgogne nos ayeuls. Si 
 je vois jamais I'empereur mon frere, je le lui dirai, encore le lui manderai-je.' " 
 
 As Francis I. died in 1547, this portrait must have been painted not long after 
 that date, and at any rate before 1558, the year of her own death. She spent that 
 interval with her brother Charles V., being present at his solemn abdication, and 
 then accompanying him to Spain to try and enliven the dreariness of his convent 
 seclusion. There is nothing to show where or by whom it was painted. 
 
I20 Catalogue of Picttires. I 
 
 345 Thomas Howard, Earl of Surrey (j7^) .... Stretes? , 
 
 Full-length, turned to the front, face inclined to the right ; his right hand on his 
 hip, his left on the hilt of his sword. His dress is entirely red, except his white 
 shirt, which is seen at the breast and sleeves, and is embroidered with black 
 moresque ; his cap is also red, and has a jewel and a white feather ; his red shoes 1 
 are ornamented with studs of gold. The scabbard of his sword is likewise red, and | 
 worked with gold thread ; his dagger, which is on his right side, is richly chased, 
 and from it hangs a large tassel ; round his neck is a gold chain ; his face is close 
 shaven. He stands on an eminence, the background being a low-lying landscape 
 and a sky. On wood, 6 ft. 3 in. high, by 3 ft. 6 in. wide. 
 
 Waagen thought " this too weak in the drawing and too poor in the landscape 
 for Holbein," and his judgment is generally acquiesced in by the critics. It is, 
 nevertheless, a very fine portrait, perhaps the work of Guillim Stretes, from whom 
 we find that Edward VI. in 1551, bought "a picture of the late Earl of Surrey 
 attainted, which by the Council's commandment had been fetched from the said 
 Guillim's house." It is curious, however, that we cannot trace this picture with 
 any certainty in the old catalogues, at any rate not under Surrey's name. 
 
 Surrey, who was the eldest son of Thomas, third Duke of Norfolk, by his second 
 wife, Elizabeth, daughter of Edward Stafford, Duke of Buckingham, is supposed, 
 according to the best modern authorities, to have been born about 15 16. He was 
 brought up at Windsor with Henry FitzRoy, Duke of Richmond, natural son of Henry 
 VIII., who afterwards became Surrey's brother-in-law. Every one has heard how 
 in his youth he is supposed to have overrun most of the countries of Europe, main- 
 taining in tilt and tournament, against all gainsayers, the superiority of the charms 
 of his " fair Geraldine ; " though most people now know that the whole thing is a 
 romance, and that if the very existence even of the lady is not doubtful, at any rate 
 she who can lay best claim to the title, Lady Geraldine Fitzgerald, was but ten years 
 old when the famous sonnet was written, and younger still when the poet was 
 married. (See especially Professor Morley's works.) However this may be, Surrey 
 tells us of the lady, whoever she was, that : — 
 
 *' Hampton me taught to wish her first for mine." 
 
 Surrey when a young man had other occupations, besides writing love sonnets ; 
 one of these was shooting with his cross-bow, in the dead of night, at the windows 
 of the citizens of London. When brought up before the Lord Mayor on this 
 charge, and also for eating meat in Lent, he excused himself by saying he had done 
 so, in hopes that the citizens, thinking them supernatural visitations, might amend 
 their corrupt and licentious manners. His marriage took place in I535j wife 
 being Lady Frances Vere, daughter of John, Earl of Oxford. Surrey was made a 
 Knight of the Garter in 1542, and in the following year received, with his father and 
 Cranmer, the French Ambassador in the Great Hall in this Palace. 
 
 In 1548 he was executed, by order of Henry VIII., on the charge of quartering 
 the Royal arms of England with his own. 
 
 346 Anne of Denmark, Queen of James I. {y8d) . . Vansomer. 
 
 This is "The late Queenes picture by Paule Vanzomer," entered in the list of 
 portraits belonging to James I., and compiled for him about 1623. In Charles I.'s 
 catalogue, page 88, it is called: — "The picture of Queen Anne in her hunting 
 habit, with a horse and a Black -moor, and some five little dogs, in a landskip, where 
 
Hampton Court Palace, 
 
 121 
 
 the house of Oatlands is painted. Done at length." On canvas, 8 ft. 7 in. high, by 
 6 ft. II in. wide. 
 
 (See No. 273 for a description of the costume and other particulars.) 
 
 She holds two of the dogs in a leash, and one of them is jumping up to her. 
 Round their necks are little ornamental collars on which are embroidered in gold 
 the Queen's initials : — "^.7?." On her right is a negro groom in red, with rosettes in 
 his shoes, holding a fat sorrel hunter with a long cream-coloured mane. The side- 
 saddle is of crimson velvet with high pummels ; the housings red, edged with gold. 
 The red-brick buildings in the background to the right are, as Charles I.'s catalogue 
 proves, the house at Oatlands, not Theobalds, as is usually said, and certainly not 
 Hampton Court, as Miss Strickland endeavours to prove. In the left-hand comer 
 Vansomer has imitated a slip of paper stuck on with two red wafers or wax, with 
 this inscription : — 
 
 Anna D. G. Magna Brittanm 
 Francice. et Hibernice Regina 
 Aetaiis sucb 43 Anno, 
 Dm. 161 7. 
 
 At the top of the picture is a scroll inscribed: — "LA MiA grandezza dal 
 ECCELSO," and in the lower left-hand corner on a stone is the signature, *' P. Van- 
 somer. A° 1617." 
 
 The Queen's love of sport, after her own way, was almost as great as her delight 
 in masques. She used to go out with a cross-bow and shoot at the deer from a stand ; 
 though her only recorded exploit is killing the King's favourite dog. Ben Jonson 
 flatteringly called her *' The Huntress Queen." 
 
 This portrait must have been painted in the autumn of 1617, when she made a 
 long stay at Oatlands for her health, which was then beginning to decline. In the 
 autumn of 1618, having become much worse, she moved to Hampton Court ; and 
 the King used to come down three times a week to see her. But she grew rapidly 
 weaker, and on the night of the 2nd of March, 1619, as the old clock struck four, she 
 passed away. Ever since then, it is said, the clock always stops whenever a death 
 occurs in the palace ; and those curious in such coincidences being able to cite seve- 
 ral undoubted cases of its occurrence within the last few years, the superstition has 
 somewhat revived. 
 
 347 Sea-piece, a Shipwreck with moonlight {6gy') . . . Parcelles ? 
 
 The moonlight gleams through the clouds to the left, and lights fitfully the crests 
 of the waves and a two-masted ship and others. To the right is the shore with 
 buildings. The sea is strewn with broken spars and pieces of wreck. On wood, 
 I ft. 4 in. high, by 4 ft. 6 in. long. 
 
 On the back of this panel is branded Charles I.'s cypher, C.R. crowned ; also the 
 cypher of his brother, Henry, Prince of Wales, an H. crowned, and a slip of paper 
 inscribed ''Left by Prince Henry. This picture cannot therefore be by Parcelles, to 
 whom it is attributed, for Parcelles was only fourteen years old when Prince Henry 
 died. Perhaps it is by old Vroome, his master. (See No. 876.) 
 
 348 William " the Silent," Prince of Orange . . . Mirevelt? 
 
 Half-length, turned to the right, in a black coat trimmed in front with broad brown 
 fur, and laced with gold braid. His doublet is unbuttoned in front, and shows a pink 
 
122 
 
 Catalogue of Pictures. 
 
 vest. His hands are in his pockets in front, and he wears a small circular black cap. 
 Above is the following comparatively modern inscription : — 
 
 " William of Nassaw^ Prince of Orange the great assertor ofy Belgick LiBertys^ 
 slain in the year 1584. And Great- Grandfather to William Henry the Glorious 
 Instrument in Delivering England, Scotland and Ireland from Popery and Arbi- 
 trary power. 
 
 This picture, which was formerly unnamed, is now attributed to Mirevelt ; and 
 prints from it, or a similar portrait, by Tange and Houbraaken bear the lettering 
 
 Mirevelt pinxit." But according to all authorities this painter was born in 1568, so 
 that he was only sixteen when William of Nassau was assassinated. It seems there- 
 fore impossible that he should have painted his portrait ; particularly as the accu- 
 racy of the date of his birth is confirmed by the facts that he did not rise into notice 
 till about 1620 and that he died in 1641. Nevertheless, a similar portrait at Am- 
 sterdam is attributed to him. There is also, however, a print by Tange after a 
 portrait rather like this, painted by Van de Venne. 
 
 "In person," says Motley, "Orange was above the middle height, perfectly 
 well made, and sinewy, but rather spare than stout. His eyes, hair, beard, and 
 complexion were brown. His head was small, symmetrically shaped, combining 
 the alertness and compactness of the soldier with the capacious brow furrowed 
 prematurely with the horizontal lines of thought, denoting the statesman and the 
 sage." 
 
 349 Queen Elizabeth in a fanciful dress {2gg) , . . Zucchero? 
 
 Full-length, facing in front. She wears a long loose dress of thin white material, 
 embroidered all over with flowers and birds, and edged with lace, a high conical 
 headdress, and shoes of blue and white, embroidered with gold, and trimmed with 
 blue braid. She is standing in a forest ; on her right is a stag with a garland of 
 flowers round its neck, on which the queen's right hand is placed. On wood, 
 7 ft. high, by 4 ft. 6 in. wide. On a tree by her are inscribed the following mottos 
 or verses : — " Iniujii iujia querela ; " beneath that : — Mea Jic miki,''^ and still lower : — 
 ** Dolor eft medectna ed tori (? dolor'i)^ At the bottom of the picture on the other side 
 is a scroll, or rather tablet, on which are the following verses : — 
 
 The reftles fivalloiv fits my reftles m 'lndey 
 
 Jn Jiill revi'vinge, ftill renewinge ivronges ; 
 
 Her juft complain tes of cruelty unkinde 
 
 Are all the muftque that my life prolonges. 
 
 With penfinje thoughtes my iveepinge ftagg I cronuney 
 
 Whoje melancholy tears my cares exprejje ,• 
 
 Her teares in jylence, and my fighes unknoivncy 
 
 Are all the phyficke that my harmes redrejj'e. 
 
 My onely hope ivas in this goodly tree^ 
 
 Which I did plant in lo-ve, bringe up in care } 
 
 But all in -vaincy for noiv to late I JeCy 
 
 The Jhales be mincy the kernels others are. 
 
 My muftque may be plaintesy my phyfique teareSy 
 
 If this be all the fruite my love-tree beares. 
 This curious picture, with its fantastical design, enigmatical mottoes, and quaint 
 verses, doubtless had some allegorical meaning which we are now unable to inter- 
 
Hampton Court Palace, 
 
 123, 
 
 pret. The romantic turn in Elizabeth's character, which so strangely co-existed 
 with the greatest practical wisdom, made her particularly fond of mystical portraits 
 of this sort ; a taste which was fostered by the spirit of the age in which she lived 
 — the age of Euphues and the Faerie Queene. 
 
 She is here represented as a comparatively young woman ; and if it was painted 
 by Zucchero, as has generally been supposed, it probably dates from 1575, the 
 year after his arrival in England, when the queen was forty-two. A sketch for a 
 portrait of her in similar taste to this, with emblematic devices, signed and dated 
 1575, is still extant. (See Charles Rogers' Imitations of Original Drawings, i. ; 
 and see note to No. 615. ) It has been suggested, however, that the portrait before 
 us is more probably by Lucas de Heere, who certainly painted numerous allegorical 
 portraits (see No. 635), and whose earlier arrival in England accords more with 
 the juvenile appearance of the "Virgin Queen." It is a question very difficult tO' 
 determine, especially as none of the old catalogues throw any light on the subject. 
 
 Elizabeth's vanity is so well known that no one will be surprised to learn that 
 in 1563 she issued a proclamation, reciting that as "hitherto none hath sufficiently 
 expressed the natural representation of her Majesty's person, favour, and grace, 
 but for the most part also erred therein," therefore no one should take her portrait 
 except "a special cunninge paynter." " Cunning," in the modern sense of the 
 word, the painters certainly were ; for they always represented her in front, and 
 not in profile, which would have shown her hooked nose. (See Rogers, ubi supra. ) 
 
 The strange Persian-looking costume she wears here, exemplifies her extraordi- 
 nary love of variety in dress. She told Sir James Melville that she had "clothes 
 of every sort ; which," he adds, " every day so long as I was at court, she changed. 
 One day she had the English weed, another the French, and another the Italian, 
 and so forth." At her death, according to Hume, no less than 3,000 robes of all 
 sorts were found in her wardrobe ! (See Archcsologia ; Nichols' Progresses, iii., 500 j 
 Antiquarian Repertory. ) 
 
 Her general appearance in this picture calls to mind Sir Richard Baker's, 
 account of her : — " She was of stature indifferent tall, slender and straight; fair of 
 complexion j her hair inclining to pale yellow, her forehead large and fair ; her 
 eyes lively and sweet, but short-sighted ; her nose somewhat rising in the midst ; 
 the whole compass of her countenance somewhat long, yet of admirable beauty. 
 — [Chronicle, p. 420.) 
 
 The verses on the scroll have been attributed, absurdly enough, to Spenser. 
 They are probably, as Walpole suggested, by the queen herself, who, like everyone 
 in those days, dabbled in poetry ; and besides, they resemble in style her authenti- 
 cated compositions. (See Royal and Noble Authors.) 
 
 35,0 Elizabeth of Denmark, Duchess of Brunswick (j*^/) . . Mytens. 
 
 Full-length, in a black dress, with a lace collar open at the throat. In her right 
 hand she has her gloves, while the forefinger of her left touches a table on which 
 is a marmozet, the same as in the companion portrait of her husband. No. 335 in 
 this room. Thisis, nodoubt. No. lo of James II. 's catalogue : — "Duchess of Bruns- 
 wick with a monkey by her." 
 
 She was the eldest sister of Anne of Denmark, queen of James I. , whom she 
 herself was originally to have married j but her father, Frederick II., though at first 
 willing to bestow " quhilk of his twa doghters suld be most comelie, and the best 
 for his princelie contentment," took offence at James being, as he thought, " over 
 slack in his wooing," and married her instead to the Duke of Brunswick. 
 
jEORGE II., the last of our sovereigns who lived at Hampton 
 Court, used occasionally to dine in pubHc in this room, whence 
 it received its present name, though in the previous reigns it 
 
 was called "The Music Room." "After dinner the King 
 
 always took off his clothes, and reposed himself for an hour in bed, of ajti 
 afternoon. In order to accommodate himself to this habit, Mr. Pitt, when, 
 as Secretary of State, he was sometimes necessitated to transact business 
 with the King during the time he lay down, always knelt on a cushion by 
 the bedside." His bed is still preserved in this Palace in The Private 
 Dining Room. 
 
 The decoration of the room — the white marble doorways, the plain 
 painted panelling with distempered walls above, the classic cornice, and 
 the large and heavy chimney-piece of massive white marble with King 
 George's arms in the pediment — dates from about 1740. The two looking- 
 glasses between the windows belong to an earlier period. This room is 
 51 feet long, 31 feet wide, and 30 feet high. 
 
 351 Portraits of two Gentlemen (Sj4 and gog) . . William Dobson. j 
 
 Three-quarters length, life-size. The one on the right is in white satin, with a ' 
 light green cape, his right hand on his collar, his left on his thigh ; the one on the 
 left is in green, with yellow drapery held up by his right hand, his left hand is on 
 the hilt of his sword. They are so alike they must be brothers. A similar picture | 
 is said to be at Cobham Hall. 
 
Hampton Court Palace. 
 
 125 
 
 352 Portrait of Dr. Fischer, the Musician {747) . Gainsborough. 
 
 Full-length, standing, resting on his right leg, with his left crossed over it, and 
 leaning on a pianoforte. He is turned to the right, his face seen almost in a com- 
 plete profile, his eyes upturned as if seeking inspiration. His right arm rests on 
 the top of the piano, and in his hand, which is on a manuscript, he has a pen ; hi& 
 left arm also rests on the piano, his left hand being just seen under his right arm. 
 He is dressed in a suit of crimson velvet, with knee breeches, white stockings, shoes 
 and buckles, and a small wig. In front of him are an open music-book and an 
 oboe ; behind him, an armchair, on which is a violin. On the piano is the maker's 
 name on a tablet : — '■^ Mertin Londini fecit." On canvas, 7 ft. 7 in. high, by 5 ft. 
 wide. 
 
 This admirable portrait was probably painted during Gainsborough's residence at 
 Bath, about the years 1767-8, at which time Fischer the hautboy-player was on 
 terms of close friendship with him, and a frequent visitor at his house. On one occa- 
 sion at this period, the musician, who was fond of displaying his horsemanship, 
 was thrown while riding across Salisbury Plain, by coming into collision with a 
 heavily-laden waggon. In reply to his account of the accident, Gainsborough sent 
 him a caricature sketch of it, with the lines underneath :— 
 
 ** A runaway horse, you here may see 
 
 A warning sent, my friend, to thee : 
 
 Better it is to shun the wheel 
 
 Than ride a blood to look genteel." 
 
 Their friendship, however, was afterwards somewhat chilled by Fischer's be- 
 coming privately engaged to be married to his daughter, and particularly when the 
 union did not turn out a happy one, and they were separated soon after. 
 
 Fischer had a very proper professional pride. One night he consented somewhat 
 reluctantly to come to a supper after the opera, but only on being strenuously 
 assured that he was asked not professionally, but for the gratification of his society. 
 Scarcely, however, had he been five minutes in the house when his host asked 
 him : — "I hope, Mr. Fischer, you have brought your hautboy in your pocket." 
 " No, my Lord," said Fischer, " my hautboy never sups," and he turned on his heel 
 ■ and left the house, and nothing could ever induce him to enter it again. 
 
 This picture is particularly interesting as being very characteristic of Gains- 
 ■ borough's tastes, of whom it was said, ' ' there were times when music seemed to be 
 his employment, and painting his diversion. " As for musical instruments, he had 
 a perfect passion for them, and many stories are told of the curious efforts he made 
 to secure any fine ones he saw. And here on the canvas before us, ''with what 
 gusto does the hautboy appear to be painted, with what care the violin ! Fischer's 
 drapery is slight and sketchy, but the cremona is refulgent in its polish ! " And no 
 less excellent are the refinement of the features, the thoughtfulness in the eye, the 
 expression even in the smile, and " how happily has the painter caught the mind, 
 the music breathing in his face ! " Altogether it is one of his most masterly por- 
 traits. (Fulcher's Life of Gainsborough.) It is said to have been presented to 
 George IV. by Mrs. Fischer. 
 
 353 Portrait of Colonel St. Leger (/jj) .... Gainsborough. 
 
 Full-length, standing, resting on his left leg, his right crossed in front of it, and 
 leaning his right elbow on a broken stump of a tree. His face is seen in nearly a 
 full profile to the right. In his left hand, which is by his side, he holds his cocked 
 
126 
 
 Catalogue of Pictures, 
 
 hat ; in his right are the reins of his horse, which is behind him. He is dressed in 
 uniform— a red coat, white breeches, jack boots, a black stock, &c. His hair is 
 powdered and tied behind. Trees and sky form the background. On canvas, 7 ft. 
 7 in. high, by 5 ft. wide. 
 
 This picture, which is one of Gainsborough's masterpieces, was exhibited with the 
 portrait of the Prince of Wales, George IV., whose intimate friend Jack St. Leger 
 was, at the Royal Academy in 1782. A critic of the time, who put forth his 
 comments on the exhibition in the form of an Ode to the Academicians, thus refers 
 to it :— 
 
 * ' As for poor St. Leger and Prince, 
 
 Had I their places I should wince 
 Thus to be gibbetted for weeks on high 
 
 Just like your felons after death 
 
 On Bagshot, or on Hounslow Heath, 
 That force from travellers the pitying sigh." 
 
 It was engraved in mezzotint by G. Dupont in 1783, and more recently, it is said, 
 by Graves. 
 
 354 George III. Reviewing the Tenth {168) . Sir W. Beechey. 
 
 The King is in front on a white horse, whose head is turned to the left. He is in 
 full regimentals, with a cocked hat. Just behind him is the Prince of Wales, in 
 the uniform of the loth, holding up his sword and giving the word of command. 
 To the left of the King is the Duke of York, with Generals Goldsworthy and Sir 
 David Dundas ; Sir William Fawcett is standing in front of them. The King is 
 turning round to speak to them, and points with his right hand to the cavalry 
 charge in the left distance. On canvas, 13 ft. 8 in. high, by 165 ft. wide. 
 
 The loth Light Dragoons (now the loth Hussars) were frequently reviewed by 
 George III. in company with the Prince of Wales, who entered the army as 
 brevet-colonel, Nov. 19th, 1782, and after whom the regiment was called **The 
 Prince of Wales's Own," on Michaelmas Day, 1783. In 1793 he was appointed 
 colonel-commandant of the corps, and succeeded as colonel on July i8th, 1796. 
 The review commemorated here took place not long after that date, for the picture 
 is mentioned in a biographical sketch of Sir William Beechey in The London 
 Monthly Mirror for July, 1798, where we are told that the King rewarded him for 
 it with the honour of knighthood. The names of the officers were derived from an 
 account of a review which took place in 1799, and which this picture was formerly 
 supposed to represent ; it is therefore doubtful whether they are quite correct. (See 
 Notes and Queries. ) 
 
 This picture is regarded as Beechey's masterpiece, and was very much admired 
 at the time. But "although a clever and showy group of portraits, it has little of 
 real nature, and is full of the painter's artifices. Thus the King's white horse 
 forms the principal light, and comes off the Prince of Wales' dark horse, and so on ; 
 the light and shadow of all the heads being the light and shadow of the studio, and 
 not of the field." — (Redgrave's Century of Painters.) The King had several copies 
 taken of it ; in one, which he gave to Lord Sidmouth, the figure of the Prince was 
 omitted by the King's own desire, a curious proof of his dislike of his son. When 
 the Prince became King he hinted that it should be restored, but this was evaded. 
 Benjamin Smith engraved the portrait of George III. from this picture. 
 
Hampton Court Palace. 
 
 127 
 
 355 Portrait of Francis, 5th Duke of Bedford {g6i) ... J. Hoppner. 
 
 Full-length, turned to the left, looking to the front. He is dressed in a peer's 
 full robes. His left hand is on his hip, his right holds a scroll of paper. He is 
 bareheaded, face close-shaven, and his hair short. Behind him is a red curtain, 
 and in the distance on the left a statue of Hercules. On canvas, 8 ft. 3 in. high, 
 by 5 ft. 2 in. wide. 
 
 Behind is written: — "Received, 7th April, 1810, from Mrs. Hoppner." The 
 duke, who was born in 1765, died on March 2nd, 1802. 
 
 356 George IV. when Prince of Wales (^36) . after Hoppner^ by W. Owen. 
 
 In an old inventory is the following entry relating to it : — " Received 22 Jan. 
 1823, from Mr. Owen, an unfinished portrait of H. M. George IV. when young as 
 Prince of Wales, robed ; after a picture painted by Mr. Hoppner in H. M.'s pos- 
 session. This portrait is not finished, Mr. Owen not being in sufficient health to 
 allow him to finish it." The original is at St. James's Palace. 
 
 Owen was appointed, in 1810, "principal portrait-painter to the Prince of Wales," 
 but this was about the only commission George IV. ever gave him. He died in 
 February, 1825. 
 
 357 Portrait of Sir Robert Walpole (^20) unnamed. 
 
 ( Withdrawn^ 
 
 358 Francis Hastings, Earl of Moira {gsd) Hoppner. 
 
 Full-length, figure slightly to the right, but the face turned round to the left. 
 Dressed in uniform, with the Ribbon and Star of the Garter. His right hand holds 
 a scroll of paper by his side ; his left rests on a document on a table. Background, 
 a green curtain, and sky on the right. On canvas, 7 ft. 10 in. high, by 4 ft. 10 in. 
 wide. 
 
 Behind is painted " R. A. 1794," the year of Hoppner's election, and " The Star 
 and Garter added 18 12," in June of which year Lord Moira, after failing to form 
 a ministry, accepted the Garter, "but," says Lord Spencer in a letter to Lord 
 Buckingham, "whether as a calm to his honour or his understanding, it is not for 
 me to say." This picture was received from Hoppner's widow, in June, 18 10, a 
 few months after his death. 
 
 359 Mrs. Jordan, the Actress, as the Comic Muse {g66) . . Hoppner. 
 
 The Comic Muse is fleeing from a Satyr, and is seeking protection of a female 
 figure, supposed to represent Innocence, who holds her with her left arm, and warns 
 off the Satyr with her right hand. The Muse is clad in white, spangled with stars, 
 and holds a mask in her left hand. On canvas, 7 ft. 10 in. high, by 4 ft. 10 in. 
 wide. 
 
 This picture was painted early in Hoppner's career, probably about 1782. It 
 does him but little credit, the action being as disagreeable as the design and 
 colouring. He afterwards (in 1791) painted the same actress in the character of 
 Hippolyta. 
 
 Dorothea Bland, who took the name of Mrs. Jordan, was born at Waterford in 
 1762, and first appeared on the stage in Dublin. Afterwards, she came out at 
 Drury Lane in the " Country Girl," and at once became one of the most popular 
 actresses of the day. Among many other characters her "Lady Teazle" was 
 particularly admired. At one time she was a mistress of the Duke of Claren.ce. 
 
128 
 
 Catalogue of Pictures, 
 
 She was still acting in 1806, but she died in Paris in July, 18 16, in misery and 
 destitution, having left England for the purpose of avoiding her creditors, her 
 debts having been incurred by giving bills to relieve her relations. 
 
 360 The Shah Zumeen, King of Oude, receiving Tribute {gsi) . Home. 
 
 He is seated, cross-legged, on a throne, raised above six steps ; he is dressed in 
 blue vi^ith an ermine cloak, and a tall crown. In front is a vassal bowing, and the 
 bags of money are on the throne. Native attendants stand by. On canvas, 8 ft. 
 high, by 5 ft. 2 in. wide. Behind is written : — " Presented by Sir Everard Home, 
 Bart., 7th March, 1828." 
 
 Robert Home, the brother of Sir Everard, was a portrait and subject painter, 
 who went to India about the year 1790. He first settled at Lucknow, and was 
 appointed painter to the King of Oude. From him and other royal sitters he re- 
 ceived very large sums of money. 
 
 361 The Family of Frederick, Prince of Wales (^c>p) . . . Knapton. 
 
 The Princess of Wales is in the centre, seated, dressed in white satin, holding 
 on her lap the infant Princess Matilda, her posthumous daughter, who was born on 
 July nth, 175 1, and who afterwards became Queen of Denmark. (See No. 34.) 
 Behind her, to the left, standing and dressed in blue brocade, is the Princess 
 Augusta, her eldest daughter, who afterwards became Duchess of Brunswick. 
 (For her portrait by A. Kauffmann, see No. 502.) On the upper step of the throne, 
 to the left, is seated Prince George William Frederic (George III.), who had 
 been created Prince of Wales and a Knight of the Garter on April 25th, 1751, 
 in lavender colour and silver, wearing the Garter and blue ribbon, in the act of 
 explaining to his brother Prince Edward- Augustus, Duke of York, who is dressed 
 in scarlet and gold, a plan of the fortifications of Portsmouth, which is spread out 
 on their knees. Also seated on the steps of the throne are Prince William Henr>', 
 Duke of Gloucester, and Prince Henry Frederick, Duke of Cumberland, who is 
 rigging a small model of a yacht, to which his brother is hoisting a miniature royal 
 standard. Prince Frederick, an infant, in a scarlet frock, is playing with a dog. 
 
 To the right is Princess Elizabeth (who died in 1 759) playing a guitar, and near 
 her is Princess Louisa listening. In the background is a full-length portrait of 
 Frederick, Prince of Wales, who died on March 28th, 1751. In front are several 
 articles, among which is a plan of Kew Palace. Signed in the lower left-hand 
 corner : — ' * Knapton, feci: 1 7 5 1 . " 
 
 After the death of her husband, the Princess of Wales was appointed guardian 
 of her children, and brought them up with great care ; perhaps, indeed, with too 
 much care, as she would not allow them to associate with other children of 
 their own age, for ** they were so ill-educated and so vicious, that they frightened 
 her ; and she was sure their bad example would contaminate her children." "To 
 tell you the honest truth," wrote the King of Hanover in 1845, "it was a very 
 unfortunate thing for my father, that he was kept, as it were, aloof not only from 
 his brothers, but almost from all young men of his own age." 
 
 George Knapton was a pupil of Richardson's ; this is his best or at any ratej 
 most pretentious work. 
 
 362 Nabob Walajah of Arcot (755) G. Willison. 
 
 Full-length, standing, facing in front. His left hand grasps the hilt of his sword 
 of which the point rests on the ground ; his right is in his belt.. He is dressed in £ 
 
Hampton Court Palace. 
 
 129 
 
 long white tunic. He has a jewelled belt round his waist ; strings of jewels round 
 his neck ; a white beard ; and a turban on his head. Background : a column, a 
 balustrade, and landscape. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 George Willison was a native of Scotland. He became a portrait-painter, but 
 finding little field in England for his very meagre talent, he went to the East 
 Indies, where he painted the natives, and acquired a fortune oi £\^,<y:tO. He died 
 in 1797. (Redgrave's Diet, of Artists.) 
 
 363 Portrait of Friedrich von Gentz {g^d) .... Lawrence. 
 
 Bust ; face turned to the right. He wears a brown coat ; and has several orders 
 on his bosom. His face is shaven, but he has ample hair. On canvas, 2 ft. 6 in. 
 high, by 2 ft. wide. 
 
 This portrait of the great political writer was painted, it is said, by order of 
 George IV., and no doubt when he was in England in 1815 after the Congress of 
 Vienna, to which he was principal secretary. He had, however, visited this 
 country many years previous to that date, when he was honourably received by 
 Pitt, who showed his appreciation of his services in the cause of the liberties of 
 Europe against the tyranny of Jacobinism and the despotism of Napoleon, by 
 giving him a pension. 
 
 Gentz was the first to conceive the idea of the unity of Germany, and in his 
 work entitled Fragments of a History of Political Equilibriicm of Europe, pub- 
 lished im 1805, he gave the original impulse to that grand national movement that 
 found its consummation at Sedan. "Disunited," said he, " we have been trampled 
 upon ; united, we shall rise up again. But in order that the political forms of 
 Germany should be one, there must be a single national will." And then he appeals 
 to all the inhabitants of Germany, to all Germans dispersed over the globe, to lift 
 up their hearts, and direct all their energies, towards this one supreme object. He 
 warns them not to look for immediate success ; but, cries he, with prophetic en- 
 thusiasm, "it is impossible but that some hero should at last step forth, some 
 saviour who shall come to give us back our imprescriptible and eternal rights, and 
 replace Germany and the whole of Europe on its old foundations." He died in 1832. 
 ^64 Portrait of Richard Brinsley Sheridan {8gi) unnamed. 
 
 Bust ; face turned slightly to the right. He has a blue coat and a yellow waist- 
 coat. His face is close-shaven. On canvas, 2 ft. high, by i ft. 8 in. wide. 
 
 ' ' Whatever Sheridan has done, or chosen to do, has been par excellence always 
 the best of its kind. He has written the best comedy, the best farce, and the 
 best address (" Monologue on Garrick"), and, to crown all, delivered the very best 
 oration (the famous Begum speech) ever conceived or heard in this country. " — Byron. 
 
 J65 Portrait of Robert Walker, the Painter (^c?/) . by himself. 
 
 To the elbows, turned to the left. In his right hand he holds a drawing. He has 
 long hair and a small moustache. His coat is dark blue. On canvas, 2 ft. 6 in. 
 high, by 2 ft. wide. 
 
 Walker was a painter of portraits during the Commonwealth, and is principally 
 known for his very admirable one of Cromwell, and other Roundheads. He was 
 almost the only artist who flourished at that period, and till then appears to have 
 been little regarded. He died just before the Restoration. Although a contempo- 
 rary of Vandyck's, his style is quite his own. 
 
 There is a good print after this picture by Peter Lambart. Walpole and his 
 editors call it "after one at Oxford," but say it is altered. 
 
 K 
 
Catalogue of Pictures. 
 
 366 A Rabbi {266) after Rej7ibrandt^ by Gainsborough, j ! 
 
 Bust, to the right. He wears a dark dress, and cap with flaps ; his beard is long, j 
 On canvas, 2 ft. 6 in. high, by 2 ft. I in. wide. ' 1 
 
 This was in Gainsborough's possession at his death, and was exhibited at Schom- ( 
 berg House, 1789. 
 
 367 Portrait of Hurd, Bishop ofWorcester (<$'($'p) . . Gainsborough.'' 
 
 Bust, turned to the left, facing and looking in front. Dressed in a bishop's 
 canonicals, with a small, but full, curly wig. Painted in an oval. On canvas, 2 ft. , 
 6 in. high, by 2 ft. i in. wide. 
 
 Compare No. 371. 
 
 368 Portrait of John Hely, Lord Hutchinson {872) . T. Phillips, R.A. 
 
 Three-quarters length, seated, turned to the left, and looking downwards. His 
 left leg is crossed over his right, and in his left hand he holds a map of Egypt ; hij 
 right holds an eyeglass on his breast. He is in his uniform. In front of him on f 
 table are writing materials. On canvas, 4 ft. high, by 3^ ft. wide. j 
 
 John Hely was born in 1757, and in 1774 went into the army. In the expeditioi 
 to Egypt in 1801 he was appointed second in command to Sir Ralph Abercrombie | ■, 
 on whose death the chief command devolved on Hely, then a major-general] 
 For his admirable conduct of the campaign, in which he drove the French froDf 
 Egypt, he received the thanks of both Houses, and was raised to the peerage ii 
 1 81 3. In 1823 he succeeded his brother to the earldom of Donoughmore. H 
 died in 1832. 
 
 369 John Lacy, the Actor, in three Characters (<5V7) M. WRiom 1 
 
 Three full-length figures. On the right he is represented as Parson Scruple i 
 the "Cheats," in black, with a black cap, his hands wearing white gloves, An ) 
 folded in front of him ; he looks towards the left. On the left he is in the charactf i 1 
 of " Sandy," in the " Taming of the Shrew," and is dressed in a tartan cloak. I| ^ 
 the centre, more in the foreground, he appears as Monsieur De Vice in the " Counti 
 Captain," dressed as a gallant, with a long flaxen wig. On canvas, 7 ft. 4 in. higl 
 by 8 ft. wide. 
 
 In the lower left-hand comer is the signature : — Michael Wright Pinxit 1 675' 
 and in the lower right-hand corner, but on an added piece of canvas, and therefo ' 
 probably not contemporary, is the inscription: — John Lacy, one of His Maf 
 Cojuedians, representing Parson Scruple in the ' Cheats,' Sandy in the ' Tamh | 
 of the Shrew,'' and Monsieicr De Vice in the * Country Captaine.' " In James II. 
 catalogue. No. 804, is : — "A large piece, being Lacy the Comedian, in three difiere 
 characters." 
 
 Michael Wright was a successful portrait-painter in Charles II. 's reign. On Ju 
 1 8th, 1662, Pepys, after visiting Lely's studio, went on to Wright's : — "But, Lon 
 the difference between their two works ! " Evelyn, however, speaks of him as 
 "famous painter," and on Oct. 3rd the same year, says : — " Visited Mr. Wrigl 
 a Scotsman, who had lived long at Rome, and was esteemed a good painter.^ T 
 pictures of the Judges at Guildhall are of his hand .... But his best in i 
 opinion is Lacy, the famous Roscius or comedian, whom he painted in three dresj 
 — as a Gallant, a Presbyterian Minister, and a Scotch Highlander in his plaid. Ii 
 in his Majesty's dining-room at Windsor." ' 
 
 It will be noticed that there is a discrepancy between the date on the picture a 
 
Hampton Court Palace. 
 
 the entry in Evelyn's Diary. Perhaps Evelyn added the note about the picture 
 afterwards, or the date on the canvas may be a forgery ; but the costume of the 
 gallant is rather that of 1675 than 1662. 
 
 ** The Country Captain " w^as a comedy by the Duke of Newcastle, 1649. ''The 
 " Cheats" was by Wilson, and was first acted in 1662. " Sawney the Scot," or 
 ** The Taming of the Shrew," was Lacy's own play. Of this last one, Pepys writes, 
 under date April 9th, 1667 : — "To the King's house, and there saw 'The Taming 
 of the Shrew,' which hath some very good pieces in it, but generally is but a mean 
 play, and the best part, ' Sawny,' done by Lacy." A few days after this, Lacy got 
 into a scrape with the King, "who was mighty angry at the liberty taken by Lacy's 
 part to abuse him to his face," in a play called " The Change of Crowns," and he 
 was interdicted from acting. The good-natured Merry Monarch, however, soon got 
 over his wrath. 
 
 570 A Man's Portrait {32) W. Dobson. 
 
 Bust ; to the left, looking in front. He wears a purplish dress, with a large 
 turned-down collar. He has long hair, and a moustache. On canvas, 2 ft. 3 in. 
 high, by i ft. 8 in. wide. 
 
 i}71 Richard Hurd, Bishop of Worcester {887) . Gainsborough. 
 
 Bust, to the right, looking to the front. His left hand is on his breast, holding 
 his gown. Dressed in canonicals, with a bushy wig. On canvas, 2 ft. 6 in, high, 
 by 2 ft. I in. wide. 
 
 He was the son of a farmer at Congreve, Staffordshire, and was born in 1720. 
 He was appointed preceptor to the Prince of Wales and the Duke of York, and 
 was nominated Bishop of Worcester in 1781 ; but declined the primacy offered by 
 George IIL, with whom he was a great favourite. He wrote many moral and 
 rehgious works, long since relegated to the limbo of insipid mediocrities. Engraved 
 by Holl in 1774? 
 
 i72 Portrait of Mrs. Elliott {58) John Riley. 
 
 Half-length, seated ; turned to the left, but facing in front. She is dressed in 
 black ; her right hand rests on the arm of the chair ; she holds a handkerchief on 
 her lap in her left. 
 
 This was in Queen Anne's catalogue. No. 331 : — "Mrs. Elliott at half-length." 
 It is a good specimen of a portrait-painter who flourished in the time of Charles II. 
 and James II., and whose talents have hardly had justice done them. 
 
 Mrs. Elliott was the wife of Mr. ElKott, Gentleman of the Bedchamber to 
 Charles II., and sister to Secretary Craggs. 
 
 73 Portrait of Spencer Perceval {8g6) Joseph. 
 
 Half-length, turned to the left. In his left hand he holds a paper. He wears a 
 blue coat and a white waistcoat. His face is shaven, his hair grey, and his head 
 bald in front. On canvas, 2\ ft. high, by 2 ft. wide. 
 
 Behind is written : — " Received from Mrs. Joseph, i8th June, 18 14." 
 
 This is a posthumous likeness, taken from a mask after death, but considered by 
 all who knew him to be a faithful resemblance. When Queen Charlotte went to 
 see it, and the curtain which covered it was withdrawn, she was so struck with its 
 truth, that she binrst into tears. Many copies with slight variations were executed ; 
 one of them is now in the National Portrait Gallery. It is engraved in mezzotint 
 
132 
 
 Catalogue of Pictures. 
 
 by Turner. It is a fair specimen of George Francis Joseph, an indifferent artist^ 
 who was elected an associate of the Royal Academy after painting this portrait. 
 He died in 1846. 
 
 Perceval, who became Prime Minister in October, 1809, was assassinated in the 
 lobby of the House of Commons by Bellingham, on May iith, 1812. The official 
 documents he holds in his hand remind us that his state papers were not at all to the | 
 taste of the Prince Regent, who remarked, '* that it was a great misfortune to Mr. ; 
 Perceval to write in a style which would disgrace a respectable washerwoman." • 
 
 374 Brownlow North, Bishop of Winchester (888) . . . offer Dance. | f 
 
 Bust, nearly a full face, slightly inclined to the right. He is seated in a purple ! 1 
 
 covered chair, in the robes of a Chancellor of the Garter, with the chain of the ) 1 
 
 order on his breast. On canvas, 2 ft. 8 in. high, by 2 ft. 2 in. wide. I 
 
 He was a half-brother of Lord North, the Prime Minister; was born in 1741 ; 1 1 
 
 and was successively appointed Bishop of Lichfield and Coventry, Worcester and I 
 
 Winchester, and died in 1820. I 
 
 375 Mary Granville, Mrs. Delany (^44) Opie. I 
 
 Bust, turned to the left. She is dressed in a black silk dress, trimmed with lace, I 
 and having a hood over her white widow's cap. Round her neck is a locket. On I 
 canvas, 2 ft. 6 in. high. ■ 
 
 This portrait represents her as a very old woman, and was probably painted not ■ 
 many years before her death, in 1788, at the age of eighty-eight. She was the 1 1 
 eldest daughter of Bernard Granville, grandson of Sir Bevil Granville, the Royalist 11 
 leader, and was bom in 1700. She was educated under the care of her uncle, ■ 
 Lord Lansdowne, and married in 171 7 Alexander Pendarves. She was intimate I ■ 
 with Swift, through whom she became acquainted with her second husband. Dr. ■ 
 Delany. After his death she spent most of her time with her friend, the DuchesslH 
 of Portland, and when she died, George IIL, who, with the Queen, became very l I 
 intimate with the old lady, gave her a pension and a house at Windsor. She! I 
 occupied her declining years in copying flowers in paper, and executed as many as; ■ 
 980. She died in 1788. Her autobiography was published in 1861 ; it contains ail ■ 
 great many reminiscences of the court and family of George IIL j fl 
 
 376 Dobson the Painter and his Wife (8/0) . ... by ^^'^JwH 
 
 Half-length, life-size, both seated. He is in a black silk or satin dress, 
 slashed sleeves ; his back is half turned to the spectator, but he looks ovjsr hifi^B 
 
 shoulder and shows a three-quarters face, with cavalier-like long dark hair. She i; ■ 
 in white silk or satin ; her right hand on her lap, and holding some roses, her left or 
 
 her breast. She wears a necklace. The background is rocks. On canvas, 4 ft 4 
 I in. by 4 ft. 9 in. wide. 
 
 William Dobson was a protege and the most successful imitator of Vandyck, whon 
 
 he succeeded in the office of Serjeant-Painter to the King. He accompanied Charle a 
 
 to Oxford, and painted his portrait there, but his fortunes declined with those of hi | 
 
 royal patron, and he died in 1646 at the early age of thirty-six. It is said tha J 
 
 Dobson adopted the very prudent plan of obliging persons who sat to him to pa; ■ 
 
 half the price down before he began ! " Dobson etait d'une moyenne taille, il avoi ■ 
 
 un esprit vif, et une conversation amusante qui lui donnoient entree dans les meilleure ■ 
 
 compagnies." I 
 
Hampton Court Palace, 
 
 133 
 
 The following lines in Elsum's Epigrams of Painting, quoted by Walpole, would 
 seem to refer to this picture : — 
 
 ** Perceiving somebody behind his chair, 
 He turns about with a becoming air : 
 His head is raised, and looking o'er his shoulder 
 So round and strong, you never saw a bolder. 
 Here you see nature th'roughly understood ; 
 A portrait not like paint but flesh and blood : 
 And not to praise Dobson below his merit, 
 This flesh and blood is quicken'd by a spirit. " 
 
 There are one or two replicas of this ; one, I believe, at Oxford. Dobson was 
 married twice. 
 
innce of lliales' Imvtmtc l^tjamber,! 
 
 I HIS and the two rooms that follow formed part of the apartments! 
 allotted to Frederick, Prince of Wales, when he lived here, by 
 his father George II. He also had the use of the floor under- i 
 neath, and behind this room is a magnificent staircase, withi 
 balusters of most beautiful ironwork, still called "The Prince of Wales' 
 Staircase." 
 
 It was from this Palace and from these very rooms, that the Prince, om 
 the night of the 31st of July, 1737, secretly conveyed the Princess of Walesi 
 to London, just at the hour she was about to become a mother, in spite of; 
 her entreaties, so that his father should not be present at the birth, as he 
 had arranged. The quarrel between the father and son, to which this con- 
 duct led, is well known. 
 
 The decoration of these rooms is plain ; the fireplaces, which are of dark; 
 grey and green marble and massive in shape, date from the time of George I. 
 or George II. This room is 26 feet long by 22 feet wide. 
 
 377 Count Gondomar, Spanish Ambassador (557) . MYTENSi 
 
 Full-length in black. From his shoulders hangs a cloak on which is embroiderec 
 the badge of some order. The chain and cross of the same hang on his breast. Hii 
 left hand is on the hilt of his sword. His hat is on a table behind him. 
 
Hampton Court Palace. 
 
 135 
 
 Don Didacus Diego Sarmientode Acuna, " Spain's ambassador old ^sop Gon- 
 domar," as he is called by Ben Jonson, succeeded Velasco at the Court of St. James's 
 in 1613. He was the greatest diplomatist of the age, and rapidly acquired great 
 influence over King James. It was by his cunning advice that Raleigh was forced 
 to disclose the whole plan of the expedition to Guiana, and it was by his persistence 
 that he was afterwards brought to the scaffold. 
 
 He first deluded the King with the idea of the Spanish alliance, and also 
 suggested the match between the Infanta and Prince Charles, and planned the 
 famous visit to Spain. There never was, in fact, as has been truly said, " a man 
 with so much art as Gondomar, with so little appearance of it." For political 
 purposes he became all things to all men ; and he was as much a man of the world 
 and a wit, as a statesman. " He spoke Latin with King James, drank with the King 
 of Denmark, and assured the Earl of Bristol, when he was ambassador at Madrid, 
 that he was an Englishman in his heart. He was also very gallant with the ladies, to 
 whom he frequently made presents. " 
 
 Of his "witty prankes and merrie jestes " a great many are recorded by the old 
 writers, who complain of his arrogance, and that these " proper conceits " "set him 
 up so high on his tiptoes." *' At the departure of one of his agents into Spain, he 
 facetiously bade him commend him to the sun, for he had seen none here for a long 
 while." Wilson also records that he had "as free access to the King as any courtier 
 of them all (Buckingham excepted), and that the King took delight to talk with 
 him ; for he was full of conceits, and would speak Latin falsely on purpose in his 
 merry fits to please the King, telling the King plainly : ' he spake Latin like 
 a pedant, but I speak it like a gentleman.' " 
 
 Gondomar was not loved by the populace, especially the London ''buys " as he 
 called them, who used to pelt him with stones and call him nicknames. He hated 
 them cordially in return, remarking that in England " the flour (meaning the aristo- 
 cracy) was very choice and fine, but the brand (the common people) was very 
 coarse." (See Nichol's Progresses of James I. and Rye's England as seen by 
 Foreigners. ) 
 
 This portrait must have been painted before 1622, in which year, in the month of 
 May, the Count left England. If it be by Mytens, to whom it is attributed, and in 
 whose style it undoubtedly is, it would show that he was in England a year or so 
 earlier than has been generally supposed. Walpole is wrong in saying he was never 
 formally appointed King's painter till Charles I.'s reign (see Sainsbury's Original 
 Papers, p. 355-7). A portrait of Gondomar was exhibited in the National Portrait 
 Gallery in 1866; it was inscribed with the date 1621, and his age, 54. The one 
 here, according to Granger, was inscribed, when he saw it in 1771, with "a wrong 
 name by some modern painter or picture cleaner. " He mentions another portrait 
 of Gondomar at Hatfield. 
 
 "A piece of Gundamore, done by Blenberghe," which belonged to Charles L, 
 was sold by the Commonwealth for £'j. It re-appears in James II. 's catalogue, 
 with the same title, but without the artist's name. 
 
 378 The Repentant Thief on the Cross {6g6) .... P. del Vaga. 
 
 379 The Unrepentant Thief on the Cross {6gi^ ... P. del Vaga. 
 
 These two pieces were in Charles I. 's catalogue, page 137 : — "A piece of the good 
 thief upon the cross, who was crucified with Christ, half so big as the life, in a 
 carved all over gilded frame, bought by the King out of Italy. The fellow piece of 
 
136 
 
 Catalogite of PictiLves. 
 
 the aforesaid good thief upon the cross, crucified with Christ, being the bad thief, 
 half so big as the life," &c. On the back of each is branded Charles I.'s cypher, 
 CR. and the crown. On wood, 4 ft. high, by 2 ft. 9 in. wide. 
 
 Mrs. Jameson, writing in 1842, remarks that these two pictures are attributed to 
 P. del Vaga, but that in the old catalogue no painter's name is given. By the 
 Commonwealth inventory, however, we find that when they were sold on 23rd Oct. 
 1 65 1 to Captain Stone for j^40, they were attributed to Perin del Vaga. (See folio 
 207.) For a portrait of this master, see No. 821. 
 
 380 Nymphs and Satyrs and Cupids {402) . Nicholas Poussin. 
 
 A nymph or Venus is reclining in the foreground asleep, her right arm thrown 
 gracefully round her head. A satyr, who is lifting her drapery, and another close 
 by, are being attacked by a cupid with his bow. In the background to the left are 
 a nymph and a man ; while on all sides in the air, and on the ground, cupids are 
 sporting, and one is slumbering close to the nymph. 
 
 On canvas, 4 ft. 8 in. high, by 5 ft. 7 in. wide. 
 
 This belonged to James II., and was entered in his catalogue in these terms : — 
 ** No. 766 : A Venus sleeping, a satyr, with several Cupids, by Perscene." It 
 is a specimen of this master's earlier style, when his colouring was brighter and more 
 transparent than in his better known works. 
 
 381 Head of an old Jewish Rabbi {421^ .... Rembrandt. 
 
 In an oval, seen to the elbow ; turned towards the right. A black cloak hangs 
 over his shoulders ; on his breast is a large order or badge of wrought silver ; and 
 on his head a black velvet skull-cap with tassels and gold ornaments. On wood, 
 2 ft. 5 in. high, by 2 ft. i in. wide. 
 
 Some critics have doubted whether this fine picture is really by the master ; but 
 when the light is favourable his signature : — ^''Rembrandt, 1636," which certainly 
 looks genuine, can be seen near his right shoulder, three inches from the tassel of 
 his cap. 
 
 382 Portrait of a Jewish Lady {432') Rembrandt. 
 
 Half-length, full-face ; her hands in her furred sleeves in front of her. On her 
 head is a small brown cap ; in her ears large pearl earrings ; on her breast a jewelled 
 broach. On canvas, 2 ft. 7 in. high, by 2 ft. i in. wide. 
 
 Though some critics disparage this picture. Dr. Waagen considered it genuine, 
 though unusually heavy in tone for the master. 
 
 383 Joseph and Mary by Lamplight (^2) G. Honthorst. 
 
 They are seen at a table. She is pouring oil from a jug into a lamp, which she 
 holds in such a position that the light falls full on her face, but is shaded from 
 the spectator by the piece of wood which Joseph is cutting ; carpenter's tools lie 
 on the table. Figures life-size. On canvas, 3 ft. 3 in. high, by 4 ft. 9 in. wide. 
 Compare No. 393. 
 
 This picture and No. 393 are examples of those eff"ects of candlelight in which 
 Honthorst especially excelled, and which, during his stay in Italy, previous to his 
 coming to England, earned him a very considerable reputation. Abroad he is still 
 known as " Gherardo dalle notti ; " his excellent portraits, for which he is chiefly 
 valued in England, being scarcely known. (See notes to Nos. 58, 128, 330, and 810, 
 for notices of him as a portrait-painter.) 
 
Hampton Comd Palace, 
 
 137 
 
 384 A Skirmish on a Bridge {848) 
 
 BORGOGNONE. 
 
 The bridge is of a single arch, and spans a rapid stream falling over rocks. A 
 company of horsemen are charging over from the left, and meet a body of foot soldiers 
 on the other side. On the left a church is seen in the distance, and on the right is 
 a large tree. On canvas, i ft. 7f in. high, by 2 ft. 7f in. wide. 
 
 This is perhaps the "Battle on a bridge, by Bochard," sold by the Common- 
 wealth, 2ist May, 1650, to Mr. Wright, for £\2. {Inventory, p. 313.) 
 
 Two full-length nude figures, both facing in front. Adam is on the left leaning 
 against a tree ; the forefinger of his right hand is held to his lips, his left arm 
 is round Eve's shoulders, his fingers pressing her left arm. Her right hand is 
 placed on his left shoulder, her left arm being by her side, holding a stalk with a leaf 
 and the fruit — resembling an apple — of the forbidden tree. Her right leg is crossed over 
 her left. Adam's hair is short, and curled in thick tight curls over his head ; Eve's is 
 long and falls in ' ' tresses unconfined " below her waist and round her right hip. Their 
 faces are turned to each other. On a horizontal branch above them is the serpent, 
 his body coiled round a tree behind Eve, and his head thrust between theirs. In 
 the distance is a landscape with rocks, water, and trees, and in the middle a Gothic 
 fountain with two figures apparently intended for Adam and Eve. On wood, 5 ft. 
 5 in. high, by 3 ft. 7 in. wide. 
 
 This is one of the most interesting pictures in the collection. It originally 
 belonged to Henry VIII., appearing in his catalogue, No. 128, as : — "A table with 
 the picture of Adam and Eve." We next find it noticed in King Charles I.'s cata- 
 logue, page 90, among the pictures in "Adam and Eve's Stairs Room," thus : 
 ^'Imprimis, without the door, at the head of the said Adam and Eve stairs, a 
 defaced old picture at length, being Adam and Eve, entire figures, being little less 
 than life, painted upon a board, in an old defaced gilded frame. An old defaced. 
 Whitehall piece, painted by Maubugius." Soon afterwards it must have been 
 moved to Hampton Court, for it appears in the inventory of pictures here taken 
 by the commissioners appointed by the Commonwealth, and was valued by them 
 at ^50 los., and sold May 17th, 1650, to Mr. Marriotte, the housekeeper, for 
 that sum. In Charles II. 's time it was again removed to Whitehall, and gave the 
 name to the famous "Adam and Eve" gallery. It is No. 45 of James II. 's catalogue. 
 
 It is, says Waagen, "one of Mabuse's latest pictures after his visit to Italy," in 
 which "he appears as a careful but mannered imitator of the Italian School." He 
 was the first of the Flemings whose style was seriously modified by a journey to that 
 country, and "transferred to Flanders the habit, then peculiar to the Italians, of 
 painting nudities." He died in 1532 — not 1562, as is usually stated. Probably 
 also the notion hitherto current of his having visited England in Henry VII. 's 
 reign is incorrect ; at any rate the grounds on which it was formerly chiefly founded 
 have now been shown to be fallacious. (See note to No. 595-) 
 
 According to a manuscript note of Walpole's in Charles I.'s catalogue, a similar 
 picture to this, formerly in the collection of one Papenbrock in Holland, was at the 
 Grange, Hampshire ; perhaps it is identical with the original repetition now at 
 Berlin. (See Waagen's Art Treasures; Cxowe^s Handbook of Flemish, ^'c, Schools ; 
 Charles I.'s catalogue, MSS. notes in copy in British Museum.) 
 
 Holy Family with Saints {68g) unnamed. 
 
 The Blessed Virgin is seated in the middle, facing in front. On her knees is the 
 
 385 Adam and Eve {580) 
 
 Mabuse. 
 
Catalogue of Picttires, 
 
 Infant Jesus, who is turning His head up to a saint bending over Him, and handing 
 her something (? the ring to St. Catherine), On the left are two male figures, one 
 kneeling, the other behind, his head only being seen. On the right is another man, 
 with a beard ; and two boys in front, one of whom catches hold of the Infant Jesus's 
 left arm. On canvas, 3 ft. 9 in. high, by 5 ft. 7 in. wide. 
 
 387 Samson and Delilah {952) Vandyck. 
 
 This is a copy or replica of a picture now in the Belvedere at Vienna. 
 
 *' The artist has chosen the moment when the treacherous signal has been given, 
 and the Philistines are rushing upon Samson, who, waking from his slumber, has 
 hastily arisen from the lap of Delilah, and, stooping with one knee on the ground, 
 is struggling in the hands of his enemies. Delilah, attired in a white vest and red 
 mantle, is still reclining on the couch, at the head of which is an elderly woman." 
 On canvas, 3 ft. 11 in. high, by 6 ft. 6 in. wide, which is smaller than the 
 original. \ 
 
 The original study, a fine drawing in chalks, was sold in 1 783 to a Mr. Lempereur. > 
 (Smith's Catalogue Raisonne ; which also see for further particulars as to en- 
 gravings, &c.) There is a similar picture by Rubens. 
 
 388 Portrait of a Knight of the Garter {586) Mirevelt. 
 
 Half-length, turned to the right, in armour, with a broad pendent ruff edged with 
 point lace ; on his breast hangs the " George " and Ribbon of the Order. His 
 head is bare, his hair brown, his eyes blue, and he wears a small moustache. On 
 wood, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 This portrait is unnamed, but there are certain facts which suggest that it may 
 be Christian, Duke of Brunswick. A comparison with his full-length portrait 
 by Mytens, No. 330, in the Queen's Audience Chamber, will show that there is 
 a decided general likeness in the faces, and, in addition to this, the ruffs, the 
 moustache, the colour of the hair, and the armour, are all similar. It is also to be 
 noticed that the person represented in this picture is turned to the right, like the 
 Duke of Brunswick, so as to show the right shoulder and arm only, the Duke having 
 lost his left in battle. 
 
 Besides, we find that Charles I. had " The picture of the Duke of Brunswick, 
 also called the Bishop of Herborstadt, painted to the shoulders, upon a board. 
 Done by Michael Jehnson Mirevelt." If this supposition be correct, it would have 
 been painted in the beginning of 1625, when he was at the Hague, just after his 
 visit to England, where he had received the Garter from James I. (See No. 330.) 
 
 389 Portrait of an Old Man, a Scholar {28 f) Q. Matsys? 
 
 Half-length, turned to the left. He is entirely in black, with a large black hat 
 or cap. He is holding a large book with clasps between his hands, his left on the 
 side, his right on the top of it. Behind on a shelf are two other books open, with 
 writing seen, but whether in Roman or Greek characters is not clear. On canvas 
 (transferred from wood), 2 ft. 5 in. high, by i ft. 1 1 in. wide. 
 
 This is very likely the Head to the waist, done by old Quintin," in James I.'s 
 list of portraits. 
 
 390 Pack of Hounds on the Scent {464) Snyders. 
 
 Six hounds party- and liver-coloured, with long hair, are ranging over a rocky 
 bank. One in the centre is smelling a stone. To the right is a hare sitting in her 
 form. On canvas, 5 ft. i in. high, by 6 ft. 8 in. wide. 
 
Hampton Court Palace. 
 
 139 
 
 Snyders was the great painter of animal life in his time, and his peculiar ex- 
 cellence is the Rubens-like spirit and grandeur he infused into his compositions. 
 Indeed, he frequently worked in combination with the great master, doing the 
 animals and still-life, while Rubens did the figures. One of their joint productions 
 is in this collection, No. 612 (see also No. 704). 
 
 391 Destruction of Pharaoh and his Host (70) . . . Hans Jordaens. 
 
 In the foreground on the right is seen Aaron ? in a gold robe, with a turban, and 
 four men round him with silver candlesticks, gold jugs and dishes, &c. He is 
 turning round to some one on the extreme right, and pointing to the sea. On the 
 left is a woman seated, with two children clinging in affright to her ; behind her 
 another woman with two other children. In the background Pharaoh and his 
 horsemen, with their chariots and banners, are being overwhelmed by the rising 
 waves. Behind, on an eminence, is Moses, waving his rod over the waters, and 
 calling them to their bed ; he is accompanied by two women, one with a guitar. 
 On canvas, 7 ft. 2 in. high, by 4 ft. 11 in. wide. 
 
 "As the catalogue does not give the Christian name of this rare painter, most of 
 its readers will have supposed that the well-known painter Jacob Jordaens is here 
 intended, with whom, however, Hans had nothing in common. The Berlin 
 Museum possesses almost the same composition, on a small scale, inscribed, 
 *H Jordaens, 1625.'" — (IVaag-en.) If this is correct, the date of his birth given 
 in Pilkington, 16 16, must be wrong. 
 
 392 Madame la Marechale de Chatillon (s^S) unnamed. 
 
 Full-length, standing, turned to the left. Her right hand is on the back of a 
 chair, her left by her side. She wears a large black velvet 'cloak, showing in 
 front a red skirt, embroidered with gold, with full slashed sleeves, across which the 
 cloak is buckled. She has lace hand-ruffles, and an open lace collar-ruff, which 
 lies flat and shows her throat and bust. On canvas, 6 ft. 3^ in. high, by 5 ft. 2 in. 
 wide. 
 
 This picture is inscribed in the lower left-hand corner : — '* Madame la Marechale 
 de Chastillon.'^ The costume is of the time of Charles I., and it is doubtless the 
 picture called "Md"^^ Shatillion" sold by the Commonwealth, Dec. 19th, 1651. 
 We trace it in James II. 's catalogue, No. 873, under the title : — "A French Lady 
 at length, with her hand upon a chair." 
 
 I presume this lady to be Anne de Polignac, daughter of Gabriel, Seigneur de 
 St. Germain, and of Anne de Valzergues, who married on the 13th August, 1615, 
 Gaspard de Coligni, called Marechal de Chatillon, who was the grandson of the 
 famous Admiral Coligni, and fought in several campaigns, and who died in 1646. 
 (See Moreri's Diet. Hist., iii., 807.) There was another Madame de Chatillon, the 
 wife of the above lady's son, who acquired much notoriety by being Conde's 
 mistress, and by the influence she exerted on the politics of the day; but her 
 husband, who died in 1649, does not appear to have been a marshal, and her age 
 would not accord with the costume in this picture. (See Martin, and Sismondi.) 
 
 393 Singing by Candlelight {240) ........ Honthorst. 
 
 Four half-length, life-size figures, standing round a table ; they all hold music 
 sheets in their hands. An oldish man to the right is giving the time with his right 
 hand. Facing him is a girl in a blue square-cut dress, and further to the right a 
 young man in a striped dress. These three are behind the table ; a boy, whose 
 
Catalogue of Pictures. 
 
 back is turned, shades the light from the spectator. On canvas, 3 ft. 3 in. high, 
 by 5 ft. 7 in. wide. 
 
 This picture was formerly at Windsor. Dellaway in his notes to Walpole's 
 Anecdotes, says it was Honthorst's presentation picture to Charles I., but gives no 
 authority for his statement. Compare No. 383, and see notes thereto. 
 
 394 Calumny — An Allegory (77) F. Zucchero. 
 
 On the left is seated Credulity, with ass's ears, facing to the right, and stretch- 
 ing out his right hand. Two figures, representing Suspicion and Ignorance (?), 
 are whispering in his ears. A figure (of Justice?) stands behind him and holds 
 him back. Below, to the left, is a strong man fettered, struggling to free himself, 
 and a dragon-like reptile with coloured wings. In the centre, in front of Calumny, 
 is a man with a dragon tail, apparently accusing a man with his head crowned 
 with leaves (Bacchus?), and a naked woman holding a dove to her breast (Venus? 
 or a personification of Truth). Mercury is leading these two away to the right. 
 Through an opening on the right is seen a cornfield, and a man reaping. 
 
 The canvas is painted with a border, with subjects en grisaille, showing in 
 each corner Medusa's head ; and below, in the centre, Venus drawn by doves, and 
 above a tablet with the inscription: — "in pavidvm ferivnt." Painted in 
 tempera, on canvas, 4 ft. 8 in. high, by 7 fL 8 in. wide. 
 
 Of this curious picture the following account is given : — " Gregory XIII., who 
 had succeeded to the Papal throne in 1572, engaged Federigo Zucchero to paint 
 the vault of the Capella Paolina. Whilst he was thus employed in the Vatican, 
 having some difference with the officers of his Holiness, he painted an emblematical 
 subject of ' Calumny,' in which he represented the portraits of the individuals who 
 had offended him, decorated with ears of Midas, and exhibited the picture over the 
 portico of the church of St. Luke, on the festival of that saint. Finding that this 
 imprudent sally of his resentment had excited the displeasure of the Pope, he 
 determined to fly from Rome." (Bryan's Diet.) He soon afterwards came to 
 England. 
 
 Zucchero has here followed very much the description of the picture by Apelles, 
 given in Lucian, of which so many painters, such as Botticelli, Raphael, &c., have 
 given versions. (See Jameson's Public Galleries.) It seems to have originally 1 
 been in the possession of the Duke Orsini di Bracciano ; and perhaps found its | 
 way to England with the Duke of Mantua's collection, as "a large piece by F. | 
 Zucchero" was in his possession in 1627. It is engraved by Cornelius Cort and | 
 by Luca Bertelli, with a Greek inscription. 
 
 395 Unas signed. 
 
 396 Charles II., King of Spain, aged 4 {548). . . . Carreno. 
 
 Full-length, life-size, facing to the front. He is attired in the full paraphernalia 
 of royalty — a white silk doublet, with the Order of the Golden Fleece on his breast, 
 a rich mantle, and a large black hat with a feather. His right hand is on his hip, 
 his left holds a sceptre. Over his broad collar falls his auburn hair. A lion 
 crouches by his right side, that is, on the left of the picture ; and behind him, to 
 the right, is a table, on which is the crown on a cushion. Below, in large letters, 
 is inscribed : — 
 
 *'D. CARLOS II REI d'eSPAGNANA. E^. IIII. AnOS A^. 1665." 
 
 Charles II. was born on the 9th of Nov., 1661, and proclaimed king on the 
 
Hampton Court Palace. 
 
 141 
 
 15th of Oct., 1665. This portrait, therefore, must have been painted within the 
 last six weeks of 1665. It has been attributed to Murillo, but most unwarrantably, 
 for he had left Madrid in 1645, never to return there, and was at this time at 
 Seville ; while the King never met Murillo, never went to Seville at all, and 
 most undoubtedly could not have been there in the first few months of his reign. 
 
 There can be little doubt that it is by Carrerio, who was residing at Madrid at this 
 time, and probably in the Palace. He had been appointed to some place about 
 the court through the influence of Velasquez, and was made one of the royal 
 painters before the death of Charles' father, Philip IV. At Madrid there are two 
 portraits by him of King Charles in his boyhood, and all the most distinguished 
 personages of the early part of his reign were portrayed by him. On the death of 
 Herrera-Barnuevo in 1671, he was advanced to the dignity of painter-in-ordinary 
 and deputy-aposentador to the young King, with whom he became a great 
 favourite, and who would not allow any artist to paint his sallow complexion 
 without Carreno's permission. 
 
 *' He was painting his Majesty's portrait one day, in the presence of the Queen- 
 Mother, when the royal sitter asked him to which of the knightly orders he 
 belonged. *To none,' replied the artist, 'but the order of your Majesty's 
 servants. ' * Why is this ? ' said Charles. The admiral of Castile, who was standing 
 by, promptly replied that he should have a cross immediately, and on leaving the royal 
 presence, sent Carreno a rich badge of Santiago, assuring him that what the King 
 had said entitled him to wear it." He died at Madrid in 1689. 
 
 This picture belonged to our King Charles II. ; and it is No. 1233 of James II. 's 
 catalogue : — " The King of Spain, when he was a child." It is a fair specimen of 
 Carreno's skill. *'He drew correctly, and coloured in a style which recalls the 
 soft and harmonious tints of Vandyck. His portraits are easy and life-like. Those 
 of Charles II. as a child have something to please the eye in the pale pensive 
 features and long fair hair ; the projection of the lower jaw, so remarkable in after 
 life, is scarcely discernible, and there is something pitiful and touching in the 
 sadness of the countenance, contrasted with the gala suit he wears." — (Stirling's 
 Artists in Spain, p. 1000 ; and see Viardot's Musees d" Angleterre.) 
 
 397 A Spanish Boy playing on a Guitar (57) ? 
 
 Half-length, seated, facing in front. He is in the picturesque costume of the 
 Spanish peasantry, and holds the guitar on his knees. On canvas. 
 
 The labels attribute this and No. 398 to Murillo. It is not surprising that *' the 
 intelligent foreigner" stands amazed, and asks, "Comment n'a-t-on pas senti 
 quelque honte a le charger des monstruosites revoltantes qui portent son nom ? " 
 — (M. Viardot.) 
 
 398 A Boy paring Fruit {437') ? 
 
 Half-length, looking downwards. He wears a white shirt, open in front, with 
 the sleeves tucked up. The light comes from his right, and throws part of his 
 head, and the left side of his face, into deep shadow. On canvas. 
 
 This was No. 538 of James II. 's catalogue : — "A piece being a boy in his shirt, 
 paring fruit ; " and there attributed to Michael Angelo, i.e. Caravaggio. 
 
 399 An Old Woman blowing Charcoal (jz) ? 
 
 A bust, facing slightly to the left. She holds a lighted coal, or something simi- 
 lar, near her face, which is strongly illuminated. The rest of the picture is very 
 dark. On wood, i ft. 1 1 in. high, by i ft. 6 in. wide. 
 
142 
 
 Catalogue of Pictures. 
 
 This picture is ascribed to Holbein, but unquestionably erroneously. At the 
 back of the panel is branded an '* H," surmounted with a crown, which probably 
 indicates that it belonged to Henry, Prince of Wales (see note to next picture). 
 
 400 Henry, Prince of Wales, and Robert Devereux, third Earl 
 of Essex, Hunting {32 f) ? 
 
 The Prince is standing on the right, and is seen in a full view. He is just drawing 
 out his sword from its scabbard to cut the throat of a stag after hunting. To the 
 left, on one knee, with his hat on the ground, is Robert Devereux, Earl of Essex, 
 afterwards the Parliamentarian general. He holds the stag by the antlers. Both of 
 them are dressed in green hunting suits, the Prince's dress being trimmed with gold. 
 He wears the jewel of the Garter round his neck, a green hat and feather repre- 
 senting a knight's barred helmet. Behind him is a horse, a groom, and a dog. In 
 the background is a wooded landscape, and in the distance on the top of a hill a 
 house and a church. On canvas, 6 ft. 3 in. high, by 5 ft. 4 in. wide. 
 
 Above the Prince is hung a shield with his arms, on a tree, and above his com- 
 panion another shield with the bearings : Argent in a fesse gules in chief three tor- 
 teaux. These are the arms of the Devereuxes, and not those of Sir John Harring- 
 ton, who has usually been supposed to be represented in this picture ; but whose 
 arms were a fret in a field sable. There is however, or was, a picture at Wroxton 
 exactly similar to this, except that the arms on the tree are those of Sir John Har- 
 rington. Both these young men were close friends and associates of the young 
 Prince, and it is therefore not surprising that two pictures should have been painted. 
 
 The original is probably the one at Wroxton, which is dated 1603, in which year, 
 on the 23rd of April, the King and Prince were entertained by Sir John Harrington 
 (the father) at Burley-on-the-Hill, and afterwards on their way to Burleigh by Stam- 
 ford, " had most excellent sport with Sir John's best hounds with good mouthes 
 following the game, the King taking great leisure & pleasure in the same." The 
 background bears a close resemblance to the Vale of Catmos with Burley-on-Hill 
 in the distance. The Prince was installed a Knight of the Garter on July 2nd, at 
 Windsor. 
 
 It is related of the young Lord Essex and the Prince, that they were playing 
 tennis one day, and falling out about the score, the Prince so far lost his temper as 
 to call Essex the son of a traitor ; upon which his high-spirited companion took up 
 his racket and hit the Prince across the head. 
 
 This interesting picture exhibits the young Prince engaged in one of his favourite 
 occupations ; for though he delighted in books, pictures and works of art, and in 
 music and dancing, yet as he himself says, he was " fondest of arms, and horses, 
 and sports." "He was out hunting one day, when the stag happened to cross a 
 road while a butcher and his dog were passing. The dog killed the stag, but the 
 carcase was too heavy for the butcher to carry off, as he wished to do. The hunts- 
 men coming up endeavoured to incense the Prince against the man. Henry, ho\V- 
 ever, merely observed that it was not the butcher's fault, but the dog's. "If your 
 father had been here," said they, "he would have sworn so that no man could 
 have endured it." " Away ! " retorted Hemy, "all the pleasure in the world is not 
 worth an oath." 
 
 His pictures and articles-de-vertu, "which were many and rare," formed the 
 nucleus of his brother Charles's famous collection ; there are many pieces in these 
 rooms, which belonged to him, and still have his cypher at the backs. (See No. 
 347, &c.) 
 
Hampton Cottrt Palace. 
 
 143 
 
 The appearance of this accomplished and hopeful young Prince is thus described : 
 " He was of a comely, tall, middle stature, about 5 ft. 8 in. high, of a strong, straight, 
 well-made body, with somewhat broad shoulders, and a small waist, of an amiable 
 majestic countenance, his hair of an auburn colour, long-faced and broad forehead, 
 a piercing grave eye, a most gracious smile, M'ith a terrible frown." 
 
 The attribution of this picture to Da Heere is an absurdity ; he was dead twenty 
 years before it was painted. It is engraved in the Biographical Mirror by 
 Harding, and in James I.'s Frogressses. 
 
 401 Assembly of the Gods (p^p) B. Spranger. 
 
 They are seated at a table feasting, Jupiter and Juno being on the right at the top 
 of the table. Ganymede with a goblet is close by. Venus is seen in the centre 
 clasped by Vulcan, and turning round to kiss Mars. Pluto is seen on the left ; 
 Fame above. They are all enveloped in clouds, in which are cupids flying and 
 scattering flowers. On copper, diameter, 2 ft. 
 
 This was in James II. 's catalogue. No. 347 : — *' A round piece in an eight square 
 gold frame, the Gods and Goddesses feasting." The frame is old and unusually 
 good. 
 
 This is almost a solitary example of this painter in England ; but there are 
 quantities of his works at Vienna, where he resided a long time, as the favourite 
 painter of Rudolph II. The years of his birth and death are both unknown, but 
 those critics who insist on having a date at all hazards bring him into the world in 
 1564, and dismiss him in 1625. 
 
 402 Christ falling beneath the Weight of the Cross {734) • Garibaldo. 
 
 Our Lord is prostrate and turning towards His Mother kneeling and weeping 
 behind Him. The soldiers are dragging Him up and urging Him forward. On 
 copper, 2 ft. 3 in. high, by 2 ft. wide. 
 
 This picture has for many years been attributed to Van Harp, but it is signed in 
 the lower right corner : — " Marc Antonio Garibaldo fecit.'''' 
 
 403 Study for a Boar's Head {426) Snyders. 
 
 Full life-size ; seen in a profile turned to the left, with open mouth and tusks 
 shown. On canvas, 2 ft. 4 in. high, by 2 ft. lo in. wide. 
 
 This is No. 932 of James II. 's catalogue : — " A piece being a boar's head." It 
 is signed below in the right-hand corner : — Snyders fecit" See note to No. 
 704. 
 
 404 A Quakers' Meeting. A Woman Preaching {406) , E. Hemskerck. 
 
 This represents a room, in the centre of which is a woman standing on a tub, 
 apparently addressing the meeting, consisting of some twenty-four men and women 
 seated on benches, and standing around. The woman on the tub has her hands, 
 which have long gloves, clasped on her breast, her eyes are rolling, and her tongue 
 is thrust out. On wood, i ft. 10 in. high, by 2 ft. 8 in. wide. 
 
 The painter of this picture, Egbert Hemskirk the younger, is to be distinguished 
 from the elder, of the same name, who painted somewhat in the same style, and from 
 Martin Hemskirk, a very much earlier and greater artist. (See No. 587.) He was 
 a native of Haarlem and a scholar of De Grebber, but came to England in Charles 
 II. 's time, " where he painted pieces of humour, that is, drunken scenes, quakers' 
 meetings, wakes, &c. He was patronized by Lord Rochester, and died in London, 
 1704." 
 
144 
 
 Catalogue of Pictures, 
 
 405 Ernest, Count Mansfeldt \Sgd) Mytens. 
 
 Full-length, in armour, over a crimson and white dress slightly showing, turned 
 toward the right. He has high white boots, spurred ; across his right shoulder is 
 a red scarf, and he has a broad lace collar. His left hand is on the hilt of his sword, 
 his right one holds a baton. He has a small greyish peaked beard and moustache. 
 Behind him, to the left, is a table with a crimson cover ; on it his helmet with 
 feathers. The cover, with a richly embroidered border, lies partly on the floor, and 
 his left foot is on it. In the lower left-hand corner a label is painted, with this 
 inscription: — '■^ Ernestus Princeps et Comes Mansfeldice, Marchio Castelnovi et 
 Bontigliere, Baron Heldrungen Generalise ^'c. ^tatis 1624." 
 
 On canvas, 7 ft. 4 in. high, by 4 ft. 6 in. wide. 
 
 We find this in Charles I.'s catalogue, page 85 : — '■'Item the picture of Count 
 Mansfield at length. Done by Dan Mytens ; " and again in James II. 's : — ** Count 
 Mansfield at length, in armour, done by Mytens." 
 
 Ernest, Count Mansfeldt, one of the greatest generals on the Protestant side in 
 the Thirty Years' War, was a natural son of Count Peter Ernest, and was born in 
 1585. Being of a romantic temperament, he adopted with ardour the cause of 
 Elizabeth of Bohemia, and, in conjunction with Christian, Duke of Brunswick 
 (see No. 330), won many brilliant victories. 
 
 This fine portrait of him was doubtless painted when he visited England in April, 
 1624, just before his second incursion into Germany. He was, of course, an object 
 of great interest here. "Notwithstanding," says a diary writer of the day, "the 
 Spanish Ambassador's protesting against him as an infamous man that had long 
 wasted the Empire by his spoils and robberies, yet he was graciously received, and 
 royally entertained by the King and Prince, being lodged at St. James's, in the very 
 chamber and bed, which had been provided for the Infante Maria of Spain, had the 
 treaty of the Spanish match succeeded ; and on Friday the 23rd, being St. George's 
 Day, he was made Knight of the Garter at Whitehall." He left about the 30th of 
 April, "carrying with him all manner of contentment and many presents, as a 
 jewel of ;!^4,ooo from the King, a ring with a diamond of ^^2,500 from the Prince, 
 besides others." (See Progresses of yames I., iii., 971.) After being defeated at 
 Dessau by Wallenstein, and further adventures, he was taken suddenly ill at a small 
 village in Bosnia on the 20th November, 1626. Feeling that the hand of death 
 was upon him, he ordered his soldier-servants to dress him in his uniform, and, 
 placing his helmet on his head and grasping his sword in his hand, died standing 
 in this heroic attitude, supported by them. 
 
 The visitor can compare this picture with the account given of him by Motley 
 {Life 0/ Barneveld, ii., 31), as "fair-haired, prematurely wrinkled, battered, and 
 hideous of visage, with a hare-lip and a hump-back ; slovenly of dress, and always 
 wearing an old grey hat without a band to it." 
 
Ivinct of 
 
 loom* 
 
 |N an old plan this is called "The Dressing Room." It is exactly 
 in the north-east angle of Wren's Palace, and is 24 feet square. 
 There is nothing to notice in the decoration. From the two 
 windows that look to the north, part of the old Tudor Palace 
 is seen, unfortunately much disfigured, but nevertheless picturesque. Below 
 is a charming little garden, enclosed between the buildings and the wall of 
 the Public Garden. In the middle of it is an old catalpa tree, planted 
 about a hundred years ago by the mother of the great Duke of Wellington, 
 Lady Mornington, who had the suite of apartments underneath these. 
 
 406 Philip III., King of Spain (pjp) Pantoja. 
 
 Full-length, standing ; turned to the right, face seen nearly in full. His left 
 hand is on the hilt of his sword, his right grasps a truncheon. He wears a suit of 
 steel armour elaborately worked with gold ornament ; his stockings, which are seen 
 above the knee, are white, as also are his shoes. Behind on the left is a table, 
 with a table-cover edged with red and gold, on which is a crown. On the right is 
 a dark landscape. On canvas, 6 ft. 5 in. high, by 4 ft. ii in. wide. Signed 
 below : — ' * Pantoja De la >^ Valladolit Regice Majestatis Philip. Pictor faciebat. 
 1605." 
 
 This picture was in Charles I.'s collection, and probably brought by him from 
 Spain. It appears in the Commonwealth inventory of his goods, folio 656, and was 
 sold to a Mr. Houghton, 23rd October, 165 1. 
 
 L 
 
146 
 
 Catalogtie of Pictures. 
 
 Juan Pantoja de la Cruz was born at Madrid in 1551, and studied in the school 
 of Alonso Sanchez Coello, the first of the great portrait-painters of Spain. He 
 soon became sufficiently distinguished to obtain the posts of painter to the King 
 and Queen and gentleman of the chamber, which he retained on the accession of 
 Philip III. In 1603 he executed two large compositions, which are now at 
 Madrid, introducing the Queen and other members of the royal family ; but no 
 original portrait of the King exists in the Royal Gallery, nor are they at all nume- 
 rous elsewhere ; this portrait therefore has a special value. Having been painted 
 in 1605, the King's age is here twenty-five. There is a similar portrait at Cobham 
 Hall. 
 
 *' The countenance of Philip III.," says Sir William Stirling Maxwell, "bears a 
 considerable resemblance in feature to his father's ; in early youth it may have been 
 pleasing (the visitor can here judge for himself), but the lips want firmness, and 
 the eyes intelligence. That constitutional melancholy, inherited viath the Spanish 
 crowns through the blood of Juana, which drove Charles to San Yuste, and his son 
 to the Escurial, and may be read in their pale stern faces, is equally visible in the 
 owlish physiognomy of their less intellectual descendant." 
 
 Philip III. possessed some hereditary feeling for art, though too indolent to sub- 
 stantially promote its cause ; of bad pictures he sagaciously remarked that '* as 
 they please some people as much as good ones, it was a pity to destroy them." 
 
 407 Portrait of Louis XIII. of France (5(?7) . . . . Belcamp. 
 
 Full-length, turned slightly to the left. His left hand is by his side with his scab- 
 bard between his fingers ; his right leans on his stick. He is dressed in striped 
 scarlet, has leather boots and gloves, and a large lace collar ; and wears a blue sash 
 across his breast, and a white sword-belt over his right shoulder. In front of him 
 is a dog. His hair is long, and he has a small moustache. Near his right foot is 
 inscribed '■''Lewis y® 13^^" On canvas, 6 ft. 6 in. high, by 3 ft. 10 in. wide. 
 
 This is a copy, probably after an original by Philippe de Champaigne, executed for 
 Charles I. by a Dutch artist named Jan Van Belcamp, who spent most of his life 
 in England and was much employed by the King on such works. Charles mentions 
 a copy by him of his eldest daughter's picture in the letter which he left in his room, 
 when he fled from this Palace. Belcamp was afterwards one of the trustees for the 
 sale of the King's works of art. 
 
 We find it mentioned in James II. 's catalogue, No. 874 : — " Lewis the Thirteenth 
 of France, at length, in a red garment, by Belcom." Engraved by Th. Cookson? 
 
 This portrait, which represents the King when about twenty-six years of age, is 
 thoroughly indicative of his feeble, emasculated nature. "Louis XIII. maladif at 
 melancolique, insignifiant et nul, nature seche, incomplete et pauvre, n'avait rien 
 de Henri IV., rien de son energie physique et intellectuelle ; il avait la physionomie, 
 le temperament et les gouts d'un prince italien de la decadence." Notwithstanding, 
 however, his efieminate character, he was entirely devoid of any sensitive feeUng. 
 For instance, when his former favourite Cinq-Mars had been condemned to death, 
 he took out his watch at the hour appointed for the execution, and remarked with 
 malicious coolness : *' Je crois que mon cher ami fait a present une vilaine mine." 
 
 408 Louis XIV. on Horseback {833) Charles le Brun? 
 
 He is shown the size of life, on a cream-coloured charger, rising on its hind legs, 
 and turned to the left. His dress is an embroidered coat, with jack boots and 
 scarlet breeches. In his right hand he holds a baton. On his head is a black 
 
Hampton Court Palace. 
 
 H7 
 
 laced hat ; he has long flowing hair and curls. In the distance under the horse's 
 forelegs an attack of cavalry is seen. On canvas, 8 ft. 3 in. high, by 6 ft. 2 in. 
 wide. 
 
 This has been attributed to Van der Meulen (see No. 414), but there is a similar 
 picture at Versailles by Charles le Brun (see The Queen's Gallery) of which this is 
 perhaps a replica. 
 
 409 The Massacre of the Innocents {ms) Mignard. 
 
 The scene is an open place with a temple to the right. The Roman soldiers are 
 snatching the children from their mothers, and slaying them with swords. In the 
 centre is one holding a babe aloft and plunging his sword into it, while its mother 
 seizes him by the throat j to the left another is chasing a woman and her child up 
 some steps. On canvas, 3 ft. 3 in. high, by 4 ft. 7 in. wide. 
 
 Mignard, sumamed *'The Roman," from his long residence at Rome, was a 
 Frenchman by birth, and eventually returned to his native country by the invitation 
 of Louis XIV. While he was painting that monarch's portrait for the tenth time, 
 he was asked by him * ' Whether he didn't find him growing older ? " * ' Sire, " replied 
 the painter, *' I perceive the traces of many more campaigns in your majesty's 
 face. " 
 
 410 Marianne, Duchess of Bourbon (pc^j) unnamed. 
 
 Half-length, facing in front ; her hands not seen. Her hair is dark, and dressed 
 high, with a blue ribbon fastened over with a red jewel, and carried to the front. 
 Her dress is yellow brocade with red drapery. On canvas, 2 ft. 5 in. high, by 2 ft. 
 wide. 
 
 Behind is wr-itten in ink : — Marianne, de. bourbon, fille. de. Monsieur, le. prince, 
 de. Conty. famme. de. Monsieur, le. due. de. bourbon.^^ 
 
 She married, in 1 713, Louis Henri de Bourbon, brother of Mademoiselle de 
 Clermont (see No. 417), and died in 1720. 
 
 There is a portrait of her husband at Paris, by Drouais (see No. 429), who is very 
 possibly the painter of this portrait, and also No. 417. 
 
 Bust, facing in front, inclined to the right. She is in a black dress, with a lace 
 collar and a thin ruff of gauze. Her cap is black, and a small flap cohies down to 
 the middle of her forehead. She has a pearl necklace and earrings, and a string 
 of silver beads. On her breast is a large black enamelled cross with three pearls. 
 Her hair is white and frizzled. On canvas, 2 ft. high, by i ft. 7J in. wide. 
 
 This is "The old Queen Mother of France, a cross with three pearls at her 
 breast" in James XL's catalogue. No. 329. It is a companion piece to that of 
 her husband, No. 418, and was e^/idently painted when she was in mourning after 
 his assassination in May, 1 6 10, to which she was suspected of being privy. She 
 was then thirty-six. *' Grande, grosse, avec des yeux raids et fixes, elle n'avait 
 rien de caressant dans les manieres, aucune gaiete dans I'esprit ; elle n'avait point 
 de gout pour le roi ; elle ne se proposait point de I'amuser ou de lui plaire ; son 
 humeur etait acariatre et obstinee ; toute son education avait ete espagnole, et dans 
 I'epoux, qui lui paraissait vieux et desagreable, elle soup9onnait encore I'heretique 
 relaps. " 
 
 In 1641, after she was banished by her son, she took refuge in England. Lilly 
 the astrologer gives, in August of that year, the following account of her : — *'I 
 
 411 Marie de' Medici 
 
 F. POURBUS. 
 
Catalogue of Pictures. 
 
 beheld the old Queen Mother of France, departing from London ; a sad spectacle 
 of mortality it was, and produced tears from my eyes, and from many beholders, 
 to see an aged, lean, decrepit, poor Queen, ready for her grave, necessitated to 
 depart from hence, having no place of residence in the world left her. " She died a 
 few months after. 
 
 412 Christ's Agony in the Garden (133) after N. Poussin. 
 
 This night-piece is a companion to No. 419, and is the "piece painted upon 
 marble of Christ in the Garden, a copy," No. 474 in James II. 's catalogue. Christ 
 is represented in prayer to the left, on an elevated spot ; and above Him, in the 
 heavens, which are illuminated, appear angels bearing a cross. His disciples are 
 in the foreground asleep. On the left is seen the moon. On stone, i ft. 9^ in. 
 high, by i ft. 10 in. wide. 
 
 413 Louis XVI. in his Robes {516) Greuze. 
 
 Full-length, standing, facing to the left. His left hand holds his hat by his side, 
 his right leans on his sceptre. He is attired in the royal robes of France, a purple 
 mantle embroidered with fleurs-de-lys, and an ermine tippet, &c. He has a small 
 wig ; his face is shaven. Behind him is his throne, with a figure of Justice. On 
 canvas, 9 ft. high, by 6 ft. 5 in. wide. 
 
 This is in the original presentation frame, decorated with fleurs-de-lys. 
 
 414 Prince Eugene on Horseback {621^ ... A. Van der Meulen. 
 
 He and his horse, which is white, are both turned to the left. He wears a rich 
 buff suit, and has a red bow and white feathers in his hat. On wood, i ft. 4J in. 
 high, by i ft. 2 in. wide. 
 
 Francis Van der Meulen, though of Flemish origin, and a pupil of Peter 
 Suager's, in whose style he painted battle pieces, is generally considered in theory 
 to belong to the French school, as he spent the greater part of his life in France. 
 There he not only prostituted his talents to glorifying Le Grand Monarque " and 
 his exploits, but even sunk so low as to perpetuate on canvas his foreign master's- 
 triumphs over his native land. 
 
 415 A Dead Christ {418) N. Poussin.. 
 
 The Blessed Virgin is standing over Him, with outstretched arms ; Mary Magda- 
 lene is kissing His feet, and three other figures are around. On canvas, i ft. 4I in. 
 high, by i ft. i in. wide. 
 
 416 A Gentleman on Horseback {622) .... A. Van der Meulen. 
 
 The man and horse, which is bay, are coming out of the picture. The horseman 
 is in a green coat lined with purple, and wears a large hat. On canvas pasted on 
 wood, I ft. 4^ in. high, by i ft. 2 in. wide. 
 
 417 Mademoiselle de Clermont {984) unnamed. 
 
 Half-length, facing in front, hands not seen. She is dressed in a white dress,. . 
 with a garland of flowers across it from under her left arm to her right shoulder. 
 Behind her she has a blue scarf. Her hair is powdered and done high up. On. 
 canvas, 2 ft. 5 in. high, by 2 ft. wide. 
 
 Behind is written : — ^' Marianne . de . bourbon . nommeo . Mademoiselle . de , 
 Clermont." 
 
 She was bom in Paris in October, 1697, and was the daughter of Louis, the third 
 Duke of Bourbon, and his wife Louise Fraiijoise de Bourbon, Mademoiselle de Nantes^ 
 
Hampton Court Palace, 
 
 149 
 
 a natural daughter of Louis XIV. In 1725 she was appointed " Surintendante de la 
 Maison de la Reine." The story of her and her lover, M. de Melun, and his tragic 
 end, forms the basis of Madame de Genlis' charming little novel, Mademoiselle de 
 Clermont. 
 
 418 Henry IV. of France {gss) F. Pourbus. 
 
 Bust, facing in front, eyes directed to the right. He is in a rich black dress, 
 with a ribbon on his breast to which is attached some order not seen in the picture. 
 He wears a small ruff. He has grey hair, and a short grey moustache and beard 
 which is trimmed close. On canvas, 2 ft. high, by i ft. 7^^ in. wide. Signed, in 
 the upper right-hand corner, *'F. P. Faciebat, 1610." 
 
 This portrait must have been painted just before May 14th, 1610, on which day 
 he was assassinated by Ravaillac in the Rue de la Ferronnerie at Paris ; there are 
 two or three others in the Louvre by the same painter. 
 
 419 The Angel appearing to the Shepherds {154) • . after N. Poussin. 
 
 This is a companion night-piece to No. 412, and is in James II. 's catalogue. It 
 represents a landscape with some five figures, illumined by a light in the heavens, 
 accompanying the messenger of good tidings. On the left is a hut with a fire in it. 
 On black marble, i ft. 9 J in. high, by i ft. 10 in. wide. 
 
 420 Sophia, Queen of Frederick II. of Denmark {gSd) . . . unnamed. 
 
 Full-length, standing turned to the left. Her left hand holds her gloves in front 
 of her, her right rests on a table. She is in a black dress trimmed with grey, and 
 has an all-round ruff ; on her head is a plain white cap, flattened at the top. Rouad 
 her neck is a rich chain hanging on her bosom. On canvas, 6 ft. 4J in. high, by 
 5 ft. 3 in. wide. 
 
 "The Queen Mother of Denmark "was sold by the Commonwealth to Mr. 
 Murray, 23rd Oct., 1651, for ;^29, and the "Queen of Denmark at length, wife of 
 Frederick II., King of Denmark," was No. 25 in James II. 's catalogue. 
 
 She was a daughter of the Duke of Mecklenburg, and was born in 1557. On the 
 death of her husband, in 1589, she was appointed Regent. She was the mother of 
 Anne of Denmark. 
 
 421 A Landscape with Ruins {6^5) after Claude. 
 
 To the right are two ruined pillars, at the base of which is a man seated playing 
 the flute. Other figures and boats are close by the wharf wall, on which the pillai-s 
 stand, near a river. The sun is setting to the right. On canvas, 2 ft. 7 in. high^ 
 by 3 ft. 5^ in. wide. 
 
 422 Portrait of Louis XV. when young Rigaud. 
 
 Half-length, turned to the left ; his left hand is in his sash, his right holds a 
 marshal's baton. His dress is a fawn-coloured doublet with a cuirass, a blue sash, 
 and a blue mantle embroidered with fleurs-de-lys over it. Short hair, beardless 
 face. On canvas, 3 ft. high, by 2 ft. 5 in. wide. 
 
 This portrait was painted by Rigaud, as the contemporary mezzotint engraving 
 by J. Simon proves, and not, as has been said, by Mignard, who had been dead 
 thirty years. He is considered one of the best French portrait-painters. Louis XV. 
 conferred several favours on him, and decorated him with the Order of St. Michael, 
 in 1 727, soon after this portrait was painted. This distinction was given, as he said, 
 "tant en consideration de la reputation acquise dans son art, que pour avoir peint 
 la famille royale jusqu'a la quatrieme generation." 
 
Catalogue of Pictures, 
 
 423 A Sea Port {466) after Claude, 
 
 To the right, Roman architecture, by which figures are embarking. To the left, 
 a castle in the water and the sun setting behind it. On canvas, 3 ft. 2 in. high, by 
 4 ft. 2 in. wide. 
 
 This is a bad copy of an original in Lord Yarborough's collection. {Royal 
 Catalogue). 
 
 424 Stanislaus, King of Poland {8g^) Lampi. 
 
 Bust, turned slightly to the left. He is dressed in a purple velvet coat, across 
 which is a light blue sash, and on the left side of his breast a star. He wears a 
 small wig and pigtail j his face is shaven. On canvas, 2 ft. 4 in. high, by i ft. io| 
 in. wide. 
 
 Behind in ink is written : — '* Cavalieri Lampi de Vienna." 
 
 In an old inventory, dated 18 19, is this entry : — " Half-length portrait of the 
 King of Poland, purple velvet coat, &c., painted by Lampi, member of the 
 Academy of Vienna. Bought of Colnaghi for £21." 
 
 Stanislaus-Augustus Poniatowski was proclaimed King of Poland on the 7th 
 of September, 1 764, having owed his election to his lover the Empress Catherine. 
 It was during his reign that the infamous partition of Poland was perpetrated, to 
 which he lent a passive assistance. He died in 1 798. 
 
 425 The Emperor Paul of Russia (<5'p<^) ? 
 
 Bust, turned to the left, eyes looking at the spectator. He is in a green uniform 
 with red facing ; and on his breast three stars and a blue ribbon across from his 
 right shoulder to his left. His hair is curled and powdered. On canvas, 2 ft. 4 in. 
 high, by i ft. loj in. wide. 
 
 Behind the picture is inscribed : — Kopal T. Ep. K. E. (?) 1799" and " Cata' 
 logue No. 545, Emperor Paul of Russia.'''' 
 
 This portrait represents the emperor in the forty-fifth year of his age, three years 
 after his accession, and two years before his assassination. 
 
 426 Portrait of a Lady {g45) Richardson? 
 
 Half-length, turned to the right. Her dress is white, but almost entirely covered 
 by a large blue coat lined with white, which hangs as a hood from her head, and 
 is fastened at her bosom. Her age appears to be about forty. On canvas, 2 ft. 
 6 in. high, by 2 ft. i in. wide. In an old catalogue it is ascribed to Richardson. 
 
 427 Christian IV. of Denmark riding (50^) unnamed. 
 
 He is on a black horse with rich housing and gold stirrups ; riding towards the 
 right, but facing in front. His right hand is on his hip, his left holds the reins. 
 He wears a rich doublet embroidered in gold, with a broad collar, a black hat with 
 a large white feather. In the distance is a landscape and sportsmen. On wood, 
 2 ft. 4 in. high, by i ft. 10^ in. wide. (See No. 98.) 
 
 428 Louis XIV., when young {3g6) Mignard? 
 
 Three-quarters length, facing in front. His left hand hangs by his side, his 
 right is on his hip. He is clad in armour, over which is a purplish robe, lined 
 with yellow. He has a long brown wig. On canvas, 5 ft. nigh, by 3 ft. 7 in. 
 wide. 
 
 If this is really by Mignard, it must, on account of the age of the king, be one 
 t»f the first pictures he painted in 1658, on his introduction to the French Court. 
 
Hampton Court Palace, 
 
 429 Madame de Pompadour [g86) Drouais. 
 
 Half-length, seated, turned to the left. She wears a dress of figured brocade, 
 worked with coloured flowers and foliage on a white ground, and trimmed with 
 striped ribbons ; her sleeves are short and edged with lace. On her head is a sort 
 of mob cap, or headdress, of lace, tied under the chin with a striped ribbon ; her 
 hair is short and powdered. In front of her is a frame of embroidery called tambour- 
 work, which she is working, her right hand being above, and her left under the 
 canvas. The background is grey, with a red curtain to the right. Painted in an 
 oval. On canvas, 2 ft. 7^ in. high, by 2 ft. wide. 
 
 This picture has been attributed, but quite unwarrantably, to Greuze, who does 
 not appear to have painted Louis XV.'s mistress at all, and certainly could not have 
 done so when she was as young as she is here represented. It is in fact a i-eplica 
 (or perhaps only a copy) of a portrait by Drouais, of which a great many repetitions 
 are extant, and of which the original — a full-length — is now at Mentmore, Lord 
 Rosebery's. The Mentmore picture was purchased for ;!^i,ooo. 
 
 Drouais was an indifferent artist whose name would long have passed into 
 oblivion, had he not painted princes and princesses. Diderot drew this just esti- 
 mate of his works : — " Tous les visages de cet homme-la ne sont que le rouge 
 vermilion le plus precieux, artistement couche sur la craie la plus fine et la plus 
 blanche. ... II n'y en a pas une de laide, et pas une qui ne deplut sur la toile. Ce 
 n'est pas de la chair; car, ou est la vie, I'onctueux, le transparent, les tons, les 
 degradations, les nuances ? " And Larousse endorses this view with the following 
 remarks: — "Toutes ces peintures, habilement traitees d'ailleurs comme metier, 
 n'ont rien de saillant, aucune puissance, aucune originalite. Les tetes sont banales, 
 ternes, sans physionomie. L'allure est gauche et penible. Les personnages sont 
 fort mal habilles, bien que les draperies soient executees en trompe-l'oeil et avec 
 magnificence." 
 
 Madame de Pompadour is here represented at about the age of thirty-five, a 
 period when, having lost the influence of a lover over the debauched and fickle 
 Louis XV., she endeavoured to retain her power by ministering to his pleasures and 
 vices. Her appearance completely tallies with the account given of her: — "EUe 
 etait assez grande, bien faite, les cheveux chatain clair, tres-beaux, avec une peau 
 d'une grande finesse et d'une blancheur eclatante. Mais elle avait un genre de 
 beaute qui se fane vite ; ses chairs molles s'infiltraient, s'enflammaient aisement ; 
 elle avait des langueurs et des paleurs maladives. " 
 
 The tambour-work at which she is engaged was one of her favourite occupations ; 
 and it is pleasant to remember, with the revoltant record of her infamous career, 
 that she created that style in decoration, furniture, dress, literature, and even art, 
 which is known by the name of Louis XV., a style which, wanting as it is in the 
 pure simplicity and grace of mediaevalism, and stamped though it be with the 
 character of its meretricious inventor, is yet always pleasing from a certain refine- 
 ment and artificial beauty. 
 
430 Madonna and Child Paul Veronese? 
 
 Small life-size, seated. The Infant Jesus is standing on His mother's knee ; He j 
 hold the drapery at her bosom with His left hand, and extends His right. On canvas, 
 3 ft. 8 in. high, by 2 ft. iijin. wide. 
 
 431 Madonna and Child (7^(5) Vandyck. i 
 
 The original is at Buckingham Palace. The Child lies on His mother's knee, and j 
 looks up at her. Figures life-size. On canvas. Engraved by Snyers. 
 
 432 Landscape — a Lake and distant Mountains . . Van Diest. 
 
 A few boats are plying on the water ; to the right is a road with figures. On 
 canvas, 3 ft. 3 in. high, by 5 ft. 2 in. wide. I 
 
 Adrian Van Diest was a Dutch painter who came over to England in Charles H.'s ' 
 reign. Unfortunately for his reputation, he is generally known by his worst pic- 
 tures; his better ones, "as if ashamed of their brethren, have changed their names." 
 The several landscapes by him in this collection are among his best. 
 
 433 Landscape — a Rocky Valley and Waterfall {646) . . . Ibbetson. 
 
 A range of trees crosses the middle foreground ; and there is a road with a shed 
 by it. On canvas, i ft. 10 in. high, by i ft. 5 in. wide. 
 
 Julius Caesar Ibbetson (not Ibbotson) was a bad landscape-painter, who flourished i 
 in George III.'s reign. 1 
 
 434 Landscape ; with a River and Bridge (66j) .... P. Hackert. ) 
 
 To the left is a tree ; in the foreground some figures and sheep ; in the distance 1 
 
 a river with a bridge of several arches across it. On canvas. Signed in the lower < 
 
 left-hand corner : — " Z'. (?) HackertsT Perhaps Johann Gottlieb Hackert is the artist : 
 meant. (See Redgrave's Diet.) 
 
 435 Holy Family {745) after Dosso Dossi. 
 
 A good copy of No. 97, varied in size and proportion. 
 
Hampton Court Palace. 
 
 153 
 
 436 The Flight into Egypt {558) .... after Bassano by Teniers. 
 
 An ass on which is a child led by a woman with a torch ; two men walk 
 beside \ they are passing from right to left. On canvas, 2 ft. high, by 2 ft. 6 in. 
 wide. 
 
 437 Copy of Titian's Ecce Homo " {6g4) ? 
 
 This is an old but feeble copy of the original now at Madrid. In the centre 
 is Christ stripped, and bound, seen to the waist, with the reed thrust between His 
 arms ; to the right Pilate, in red, with a cap bound with fur ; to the left a young man 
 who receives the purple robe from our Lord's shoulder with his left hand, and with 
 his right holds the cord that binds His hands. On canvas, 3 ft. 3 in. high, by 3 ft. 
 wide. 
 
 In the original there is another figure of a soldier on the left, which is wanting 
 here. A similar picture to this, catalogued as by Francesco Vecelli, is in the Dresden 
 Museum. (Crowe and Cavalcaselle's TV/zd;;?.) 
 
 438 Jupiter and Europa {716) after Paul Veronese. 
 
 Europa is mounting the bull, who is crowned with flowers ; two nymphs by. On 
 canvas. 
 
 439 The River Liddel, with Rocks {64^) Ibbetson. 
 
 To the left in the foreground is a r»ck jutting over the rushing river, and a man 
 is standing on it. In the centre some men are crossing the stream. Companion to 
 No. 433. 
 
 440 St. John the Baptist {yo8^ ........ after Correggio. 
 
 This is the *' picture of St. John, standing at length, a copy," No. 164 in James 
 II. 's catalogue ; the original, which is now at Windsor, was also in his collection. 
 There are some alterations in the design. He is partially clad in a garment of 
 camel's hair, and has purple drapery. 
 
 441 Copy of Titian's "Venus qui se mire" {121) ? 
 
 Venus is seated unrobed, turned to the front ; but her face is seen almost in pro- 
 file, looking into the glass held on the right by Cupid, and Cupid is seen full length, 
 standing, looking round at the spectator. The goddess has crimson drapery trimmed 
 with fur on her lap ; her left hand is on her breast. On wood (oak), 3 ft. 6 in. by 
 2 ft. 10 in. 
 
 This belonged to Charles I., as his cypher is branded behind ; and it is in James 
 II. 's catalogue. No. 209 : — *' A large piece being Diana and Cupid, by Titian." 
 The original, which was formerly in the Orleans Gallery, is now at Cobham Hall ; 
 and there is a replica belonging to Lord Ashburton. 
 
 442 Mockery of Christ crowned with Thorns {637) after Rubens or Vandyck. 
 
 Christ is in the centre, clad in a purple robe, with His hands on His lap. Two 
 soldiers behind force the crown of thorns on His head. To the left is a man thrust- 
 ing his tongue in his face, and a boy blowing a hom in front of hira. On wood, i ft. 
 1\ in. high, by i ft. in. wide. 
 
 443 Christ in the House with Martha and Mary {562) . after Bassano, 
 
 This is the same composition as No. 217 ; but larger in size, being 3 ft. 10 in. 
 highj by 5 ft. 5 in. wide. 
 
154 
 
 Catalogue of Pictures, 
 
 444 Copy of Titian's "Cornaro Family" (^163) by Henry ("Old") Stone. 
 
 This is a good copy (smaller than the original, which is now at Alnwick in the 
 Duke of Noithumberland's collection), made probably for Charles I., by Henry 
 Stone. The entry relating to it in James II. 's catalogue, No. 930, is as follows : — 
 "Three Senators going to the altar ; a copy after Titian, from the Duke of Somer- 
 set's original ; by Stone." It represents four generations : the head of the family 
 is kneeling before the altar, on which are a cross, two candles and a vase, adoring 
 the Host ; his sons, grandsons, and great-grandsons surround him. The original 
 was engraved by Baron. 
 
 *' Old Stone," as he was called to distinguish him from his younger brother John, 
 was the son of Nicholas Stone, a statuary much employed in the reign of Charles I. 
 The whole family, in fact, distinguished themselves in that line, and Henry the son, 
 who travelled a good deal in Italy, became besides an excellent copyist of the Italian 
 masters. He probably made this copy when the original was in the possession of 
 Vandyck, at the sale of whose effects it was bought by the ancestor of its present 
 owner. 
 
 445 Nautch Girls' Dance before an Indian Prince {408) . . unnamed. 
 
 He is seated on the right, looking at five girls on the left dancing and playing. 
 Around him are attendants, and one holds an umbrella over him. On canvas, i ft. 
 8 in. high, by 2 ft. i in. wide. 
 
 446 A Woman's Head {iog6) after Titian. 
 
 Bust, to the right. Her hair, which is fair, is bound behind ; white drapery is 
 over her shoulders. On wood, i ft. 3^ in. high, by i ft. \ in. wide. 
 
 447 Queen Thomyris receiving the Head of Cyrus (255) 
 
 after Rubens by T. Russell. 
 
 She is enthroned on the left ; the head is held by a man over a brazen vessel in 
 front of her ; many figures around. On wood. 
 
 448 Madonna and Child (705) after Tintoretto. 
 
 In James II. 's catalogue, No. 348 : — " A Madonna looking on a book, the Virgin 
 in a red and blue garment." She is seated on clouds with the crescent moon beneath, 
 and holds the Infant in her left arm. 
 
 449 Venus and Cupid {131) after Titian. 
 
 Venus seated, holds her chemisette to her bosom with her right hand, her left 
 rests on a stone plinth. She is turned to the left, but faces to the right. Cupid 
 stands on the plinth. On canvas, 3 ft. 3I in. high, by 3 ft. wide. 
 
 450 A Country Woman carrying Holly {648) VVheatley. 
 
 She is walking to the left ; looking in front. Her right hand holds the holly- 
 bush on her head; her left holds her apron; she has a straw bonnet and a 
 red cloak. A lamb is in front of her. On canvas, 2 ft. high, by i ft. 4 in. wide. 
 
 Francis Wheatley, R.A., was the well-known painter of the popular " Cries of 
 London. " 
 
 451 Madonna and Child {765) after Vandyck. 
 
 The Infant is standing on His mother's knee, to the right ; He looks off to the 
 
Hampton Cotirt Palace. 
 
 155 
 
 right, and her face is upturned. On canvas, 4 ft. 9 in. high, by 3 ft. 5 in. 
 wide. 
 
 This is a copy or perhaps a replica of a picture at Dulwich ; there are others at 
 Bridgwater House, and at Blenheim. Engraved by Pontius. 
 
 Full-length ; in a rich dress, with Order of the Garter ; his left hand on his sword, 
 his right in his bosom. 
 
 453 George Villiers, Second Duke of Buckingham, and his brother, Lord 
 
 Francis {24s) Co^y after the Vandyck at Windsor. 
 
 This copy is inscribed in the upper right-hand corner, " Copy^d by William 
 Hannemann. " Waagen, by some error, stated it to be signed by Knupfer. 
 
 The Duke, afterwards the famous wit of Charles II. 's Court, is in front, with fair 
 hair, and in crimson satin ; at the age of twelve. The other, with brown hair, in red 
 satin, is Lord Francis, about eleven years old, having been a posthumous child. 
 Though killed at the age of nineteen, he was remarkable for his accomplishments,, 
 extraordinary beauty, and courage. During the Civil War in 1648, he and his brother 
 raised a small force, not far from this Palace, in defence of their King ; it was, how- 
 ever, at once cut to pieces. " The Lord Francis having his horse slain under him, got 
 to an oak tree in the highway, about two miles from Kingston, where he stood with 
 his back against it defending himself, scorning to ask quarter, and they barbarously 
 refusing to give it, till with nine wounds in his beautiful face and body, he was slain t 
 the oak tree is his monument, and has the first two letters of his name, F. V., cut in 
 it to this day." — Clarendon. The original was engraved by MacArdell. 
 
 454 Faith with a Chalice and Host {671) .... Guercino ? 
 
 Half-length, in a blue robe with yellow sleeves, a crimson scarf, and a white 
 turban. She holds the chalice in her right hand, and points to it with her left. Her 
 eyes are fixed on the Host, which is miraculously suspended over the chalice. On 
 canvas, 3 ft. if in. high, by 2 ft. 6^ in. wide. 
 
 This seems to be * ' The picture of Faith in a white (?) habit with a communion, 
 cup in one hand, and the other arm holding a cross, being the thirteenth piece of the 
 twenty-three Italian collection of pieces, which the King bought of Frosley. Done 
 by Paul Veronese," — in Charles I.'s catalogue, page 136. Waagen thought it a 
 genuine picture by Guercino, but this is doubtful. 
 
 452 George II. (j-pc?) 
 
 after Pine. 
 
mem's 
 
 feapel 
 
 DOMED ceiling, with a glazed octagonal cupola, is the chief 
 feature of this room, which probably received its present name 
 in the time of George II., whose queen, Caroline, was accus- 
 
 tomed to have prayers read by her chaplain in a room 
 
 adjoining her private chamber while she was dressing. Her toilet was 
 probably performed in the little room next to this, called the Queen's 
 Bathing Closet. A recumbent Venus used to hang over the fireplace in 
 the chapel, and her chaplain once made bold to observe : " A very pretty 
 altar-piece is here. Madam ! " 
 
 The visitor, in order to reach this room, has to return through the Prince 
 of Wales' Apartment and the Public Dining Room, and pass through a 
 dark ante-room. 
 
 455 Foreign Birds {677-680) Bogdane. 
 
 These four pieces were painted by Bogdane for Queen Anne ; see No. 225*. 
 They are on canvas, and mostly 2 ft. 6 in. high, by 3 ft. wide. They represent a 
 cockatoo, and red and green parrots {677) ; red and green parrots and parroquets 
 {678) ; foreign poultry, ducks, &c. (679) ; and pigeons, quails, bullfinches, &c. 
 {680). 
 
 455^ Water-Fowl and Birds {681-2) F. Barlowe. 
 
 A duck standing by a pool ; bulrushes behind {681). Water-fowl, and a king- 
 fisher plunging into a stream {682). 
 
 These two pieces are catalogued under Bogdane's name ; but they are really by 
 
Hampton Court Palace. 
 
 157 
 
 Francis Barlowe, whose signature is on each of them in the lower right-hand corner. 
 He was an English painter of birds and fish, &c, who Avas born in 1626, and died'' 
 in 1702. He had considerable feeling for nature, and designed with great truth, 
 but failed in his colouring. His works are much superior to Bogdane's. 
 ^56 The Raising of Lazarus {68f) B. van Orley> 
 
 Composition of nineteen figures. On the right, Christ with uplifted hand ; on 
 the left, Lazarus supported by three men ; in the centre, two women, one on her 
 knees, the other with clasped hands. Others in the background. On wood, 2 ft. 
 1 1 in. high, by 2 ft. 5 in, wide. 
 
 This piece, under the title of "Christ raising Lazarus out of the ground," was 
 sold to Mr. Hunt and Mr. Bass by the Commonwealth for £1, March 1st, 1652 
 (Folio 227). 
 
 ^57 Flower Piece — Lilies, Roses, in a vase (224) .... Baptiste. 
 
 On canvas, 4 ft. 1 1 in. high, by 4 ft. 9^ in. wide. 
 ^58 Christ Healing the Sick {688) Verrio. 
 
 A long piece showing a large classic building in the colonnade. In the centre is- 
 Christ in a blue mantle ; round him are the sick on the steps and between the: 
 pillars. On canvas, 3 ft. 5 in. high, by 6 ft. 1 1 in. wide. 
 
 It was painted for Charles 11. , and is entered in the catalogue of the Royal 
 Collection made in 1685, for James IL, No. 458 : — " Our Saviour curing the lame 
 and blind; — by Verio." The original sketch is at Buckingham Palace. {.Royal 
 Catalogue, \ 
 
 ^59 Flowers, in a wreath round a statuette {228) .... Baptiste. 
 
 Everlastings, poppies, tulips, hyacinths, &c. 
 
 ,60 A Holy Family {6(^2) Bassano ? 
 
 St. John offers a basket of flowers to the Infant Jesus, seated on His mother's 
 knee ; to the right, St. Catherine ; to the left, St. Joseph in orange and blue. On. 
 canvas, 2 ft. 8 in. high, by 4 ft. 2 in. wide. 
 
 In James II. 's catalogue, No. 360, attributed to Titian. 
 
 •,6i Pharaoh in Bed Sleeping {6g3) Van Harp. 
 
 He rests his head on his right hand ; his crown and sceptre are by him ; in the 
 foreground is a white dog. On wood, 2 ft. i\ in. high, by 2 ft. i in. wide. 
 
 162 Birds — A Cassiowary, Parrots, &c. (^83) Bogdane. 
 
 And other foreign birds. Signed on a stone on which the birds sit, ^^Js. BogdanV 
 
 163 Ducks and Geese, in a Farm-Yard {2og) . Hondecoeter. 
 
 In the centre, a little to the right, is a large grey-and-white goose ; a gander lies 
 in front ; and she is surrounded by her brood. In the background is a farmhouse. 
 A mallard duck flies in the air. On canvas, 4 ft. 2 in. high, by 5 ft. i\ in. wide. 
 
 This is a fair specimen of Melchior de Hondecoeter, who was a student of 
 Weenix (see No. 718), and who, in representing poultry, peacocks, pigeons, &c., 
 alive, and surrounded with the accessories of bird-life, has never been surpassed, 
 
 164 Dead Game, with Fruit {7g8) Snyders. 
 
 A peacock, a pheasant, grouse, woodcocks, &c. ; snipe lie on a red table to the 
 right ; to the left are melons and a basket of grapes ; on the wall hangs a brace of 
 fowls. On canvas, 3 ft. 9 in. high, by 5 ft. wide. 
 
Catalogue of Pictures, 
 
 This is probably the " Piece of Fruite and Birds by F. Snyders, which was sold 
 to Col. Hutchinson, 9th October, 1649, for ^Cio." 
 
 It was in the market-place of Antwerp, his native city, that Snyders studied 
 those objects of still-life — fruit, vegetables, dead game, poultiy, fish — to which he 
 confined his earlier efforts in painting. His talents were very soon so highly 
 thought of, that Rubens himself frequently engaged him to execute the still-life in 
 his own pictures, and even painted the figures in Snyders' market -scenes. At this 
 period, in 161 7, when he was about thirty-six, his capabilities were believed to be 
 limited to "representing beasts, but especially birds, altogether dead, and wholly 
 without any action of any kind." (See note to No. 612, and also No. 704.) 
 
 465 St. Peter in Prison (6^s) Steenwyck. 
 
 Four or five sleeping figures in a crypt, dimly lighted by a lamp against a pillar. 
 On canvas, 2 ft. high, by 3 ft. wide. (See No. 670.) 
 
 466 Joseph brought before Pharaoh (/op) unnamed. 
 
 The King is seated on his throne on the left, surrounded by his court ; Joseph, 
 bound, in front of him. In the background Venetian architecture. (See No. 470.) 
 
 467 Still-Life — Sausages, Bread, &c. . . . . Labrador? 
 
 The sausages and bread are on a plate ; there are besides a straw-covered flask, 
 a wine glass, and an earthenware jar. These articles all stand on a table ; there is a 
 green curtain behind. On canvas, 2 ft. 1 1 in. high, by 2 ft. 3 in. wide. 
 
 In James II. 's catalogue. No. 491 : — ** Still-life, being a Flask with Lemons and 
 Bread " — where it is attributed to Michael Angelo, that is, presumably, Michael 
 Angelo Campidoglio. (See No. 539). 
 
 This is now attributed to De Heem (see No. 469), but it is doubtless the piece, 
 with the dimensions of which it corresponds, in Charles I.'s catalogue, page 153 : — 
 *' Upon a cloth, upon a stone table a wicker wine bottle, and a speckled white 
 earthen wine pot, and a wine glass, and a white earthen dish by, wherein some 
 sausages de Bolonia, a napkin, a loaf of bread by, and some greens ; which the 
 King did change with the Lord Marquis, giving him a piece of grapes for the 
 same ; done by Labrador." 
 
 Labrador was a Spanish painter of still-life, and fruit and flowers, who flourished 
 at the end of the sixteenth century. This and No. 539 are probably unique 
 specimens of his art in England — at least accessible to the public. 
 
 468 Dead Game and Implements of Sport {368) . Van Aelst. 
 
 On a stone slab lie a dead partridge, and a hunting-horn, a belt, a knife, and 
 a green velvet game-bag. Above hang a partridge and several small birds. On 
 canvas, 3 ft. 5 in. high, by 3 ft. wide. 
 
 No. 508 of James II.'s catalogue : — "A large piece of still-life, being fowls by 
 Van Aelst." 
 
 William van Aelst was one of that school of painters of still-life, flowers, &c., 
 who flourished in Holland in the middle and end of the seventeenth century. "The 
 pictures by him representing dead birds are, as respects picturesque arrangement, 
 finely balanced harmony of cool but transparent colour, perfect nature in every 
 detail, and delicate and soft treatment, admirable specimens of the perfection of the 
 Dutch School." — (Kugler's Dutch and Flemish Schools.) For a fruit piece by him 
 see No. 538. 
 
Hampton Court Palace. 
 
 159 
 
 469 Still-Life—A Lemon, Apples, &c. {240) . . J. D. de Heem. 
 
 The lemon and its pealings lie on a plate ; there are also a glass vase, a silver 
 mounted mother-of-pearl cup, an oyster shell, and a napkin, all of which are on a 
 table covered with a green cloth. On wood, 3 ft. 8 in. high, by 3 ft. 9 in. wide. 
 The painter's signature : — ** J. De Heem. f. " is on the edge of the table. 
 
 This piece belonged to James II., and is No. 88 of his catalogue :— " A piece of 
 still-life, a mother-of-pearl cup in it. By Deheem." This master is very little 
 known in England, but in Holland his works are as appreciated as they are nume- 
 rous. He is the most distinguished master of that great school of painters of fruits, 
 flowers, &c., which includes the names of Kalf, Mignon, Ruysch, and Van Huysum. 
 " The works of his earlier time," says Dr. Waagen, " are distinguished by a golden 
 tone of such depth, juiciness, and clearness, as sometimes to approach Rembrandt." 
 In tastefulness of arrangement, in drawing, in colouring, in truth to nature, he is 
 unequalled ; and in rendering the transparency of glass, the lustre of silver and other 
 accessories, he almost attains to delusion. 
 
 470 Joseph's departure from Jacob {704) unnamed. 
 
 To the left Jacob is sending away Joseph ; in the distance is Joseph and his 
 brethren. Formed into an oval out of an upright picture. On wood, 4 ft. 2\ in. 
 high, by 2 ft. 7 in. wide. 
 
 ** A Flemish copy ofa Venetian picture probably by Tintoretto." — (Mr, Redgrave 
 in the Royal Catalogue.) 
 
lueen'0 
 
 latbm 
 
 BUEEN ANNE and Queen Caroline used this as a bath-room ; and 
 in the wall is still the tall recessed marble bath with a tap, where 
 the queens used to wash. The door leads to the Queen's 
 Drawing Room and Bed Chamber. Over the corner fireplace is 
 another old-fashioned oak chimney-piece, on the shelves of which are some 
 remnants of Queen Mary's and Queen Anne's collections of china. 
 
 471 Children playing with a Goat (yii) J. Amiconi. 
 
 A naked boy is in the centre, pulling a goat by the horns with his right hand ; to 
 the left is another boy clinging to the goat ; others behind. On canvas, 3 ft. 8 in. 
 high, by 3 ft. 6 in. wide. 
 
 472 An Italian Market {712) Bamboccio. 
 
 To the right a woman is selling fruit — melons, pumpkins, &c. ; several figures 
 are near her, and others behind. In the background to the left a classic ruin, and 
 to the right a hill and buildings. On canvas, 3 ft. i in. high, by 4 ft, 4 in. wide. 
 
 Peter de Laer, the painter of this and similar pictures in this closet, is said by 
 some to have received his nickname of ** Bamboccio" from his deformity of body; 
 by others from painting such subjects as that of the picture before us, namely, fairs, 
 rural festivities, &c., which the Itahans call *' Bambocciate." 
 
 473 A Painter in his Studio {227) G. F. Cepper. 
 
 He is at his easel, painting an old woman with a crutch ; he turns round and faces 
 the spectator. Behind him is an old woman grinding colours ; a girl looks round 
 the corner of the easel, and two boys are drawing on the right. On canvas, 4 ft. 
 2 in. high, by 5 ft, 5 in. wide. 
 
Ha7np ton Court Palace, i6i 
 
 This and the three similar rather cleverly painted pieces in this closet, are in- 
 scribed on the canvas, in the left-hand comer : — ** Gia'"" francesco Cipper, 
 1736." The last part of the name is not distinct, and it may be Cippz^ or Cippa. 
 In any case, however, no such painter is mentioned in any ordinary dictionaries of 
 painters, and both the name and subjects have much puzzled the critics. By some 
 they are pronounced of the *' Neapolitan school ; " others call them Dutch subjects, 
 and the painter is variously called in the catalogues Chippu, Cepper, Cippa, &c. 
 Recent cleaning has revealed the date. 
 
 474 St. Paul {714) unnamed. 
 
 Half-length, standing ; turned to the right. In front of him is an open book, 
 written in black letter, and apparently part of the eleventh chapter of the Epistle to 
 the Ephesians. The forefinger of his left hand points to the centre of the page ; his 
 right grasps the hilt of a long sword. He is dressed in a bluish-green mantle with 
 a crimson scarf over his right shoulder. He has dark hair and a beard. On 
 canvas, 3 ft. I in. high, by 2 ft. 7| in. wide. 
 
 No. 187 of James XL's catalogue : — "A picture of a man to the waist, with a 
 sword in one hand, a book in the other." 
 
 475 Italian Peasants (775) Bamboccio. 
 
 Two men are in the centre playing music, to the right a man dancing ; to the 
 left are peasants. In the background to the right, a ruin, to the left a landscape. 
 (See No. 472.) 
 
 476 Cupid and Psyche {717) Lazzarini. 
 
 On the left is Cupid sleeping ; Psyche bends over him on the right, holding a 
 lamp. 
 
 477 George II. when Prince of Wales {718) . after Kneller by Schackleton. 
 
 Seated, in the robes of the Garter. (Compare No. 522.) 
 
 478 Judith and Holofernes (/zp) . . . after F. Veronese dy TEmERS, 
 
 Holofernes' body lies in a tent on the right ; Judith has the head in her hand, 
 and is about to put it into the bag held by an attendant. Other figures to the left. 
 On wood, I ft. 7 in. high, by 2 ft. 3 in. wide. 
 
 479 Two Men's Heads facing each other (720) Tiepolo. 
 
 480 Two Youth's Heads facing in front (721) „ 
 
 481 Head of Christ and an Old Man {722) „ 
 
 482 Head of Christ and a Young Man {72J) „ 
 
 483 An Old Man's Head facing to the right (724) .... „ 
 
 These five pictures are studies; each is on canvas, i ft. 6 in. high, by i ft. 10 in. 
 wide. *' From Consul Smith's collection."— (i?ty/a/ Catalogue.) 
 
 484 Acts of Mercy {727) after A. Caracci, 
 
 To the right is a saint on a platform distributing alms. Below is a crowd of 
 people, many beggars and sick. 
 
 M 
 
l62 
 
 Catalogue of Pictures, 
 
 485 Italian Peasant Regaling (72^) 
 
 G. F. Cepper. 
 
 To the left a young woman is bringing in eggs, &c. ; in the centre is a woman 
 seated, with a child on her lap, by a table, on which is a pumpkin. Another 
 woman is behind her. (See No. 473.) 
 
 In the centre is a young woman, with her hands clasped in front of her, seated 
 near a table at which are on the right two young men playing cards, and a man 
 smoking with a jar in front of him. To the left is a man playing music. (See No. 
 473-) 
 
 A man in a three-cornered hat is seated on the left ; he holds a stick in his right 
 hand, his left holds a mug which a man behind is about to fill. In the centre is a 
 woman playing a hurdy-gurdy, and beyond a man and woman drinking. In front 
 is a child with cherries and an owl. (See No. 473.) 
 
 Boys playing with a Lamb {62(^ Amiconi. 
 
 In the centre three boys are putting garlands round a lamb ; to the right a cupid 
 is playing to them on a pipe. On canvas, 3 ft. 8 in. high, by 4 ft. 2 in. wide. 
 
 486 Italians Regaling (22^) 
 
 G. F. Cepper. 
 
 487 Italian Peasants Feasting {736) 
 
 G. F. Cepper. 
 
mmatt 
 
 mtm 
 
 mm. 
 
 {HIS, as well as several rooms that follow, were last occupied, 
 from 1795 to 1813, by the Stadtholder, to whom George III. 
 gave an apartment here when he was driven from the Nether- 
 
 lands by the Revolution. In the previous reigns it had been 
 
 ■used as a private dining room by the Royal Family. When the Prime 
 Minister, Sir Robert Walpole, was invited, he had to stand behind the 
 Queen's chair and hand the first dish. 
 
 In this room are now three old State Beds : the one on the left, of 
 crimson damask, being William III.'s; that on the right, of crimson velvet, 
 Queen Mary's ; and the small one in the middle, that used by George II. 
 when he lived in this Palace. There are also some old-fashioned chairs 
 and boxes, and a few bits of china. 
 
 From the windows here a good view is afforded of the Fountain Court, 
 one of the principal features in Wren's Palace. 
 
 489 Landscape — A Garden with Statues Danckers. 
 
 In the middle a statue of Plenty ; to the right one of a sphinx, on the pedestal 
 of which is the signature, — " y. H. Bankers. 1677,^^ inscription: — '* dies 
 
 MAAIEVS." Behind is an alley of cedars and a palace. On canvas, 5 ft. 2 in. 
 high, by 3^ ft. wide. 
 
 Henry Bankers was a painter much employed by Charles II. Pepys writes in 
 
1 64 
 
 Catalogue of Pictures. 
 
 1669 : — ** Called at Danckers', the great landscape painter, and he took measure 
 of my panels in my dining room, wherein to place the four I intend to have, the 
 four houses of the King — Whitehall, Hampton Court, Greenwich, and Windsor.'* 
 He returned to Holland at the time of the Popish plot. 
 
 Full-length, standing, turned to the left, the face seen in front. He is in armour, 
 with red hose, and a purple mantle with ermine tippet and lining. His left hand 
 rests on a crown which is on the table by his side, his right holds a truncheon. 
 He wears a large wig. Ships are seen in the background. Engraved by J. Smith. 
 
 This portrait, which is one of Kneller's worst, was painted in 1703, when Charles 
 was in England on a visit to Queen Anne, who was supporting his claims to the 
 throne of Spain against the Duke d'Angou. He landed here on Christmas Day, 
 and went at once to Windsor, where he was entertained by the queen with great 
 hospitality and kindness, which he acknowledged by paying compliments to the 
 ladies and presenting the Duchess of Marlborough with a magnificent ring. For 
 painting this portrait Kneller was made a knight by the Emperor Leopold. Charles 
 was proclaimed Emperor of Germany in 171 1. 
 
 491 Stoning of St. Stephen (tjc?) Rottenhammer? 
 
 The saint is kneeling in a vestment, with outstretched arms and face turned up 
 to heaven. Behind are men stoning him. On canvas, 6 ft. high, by 5 ft. wide. 
 In James II. 's collection. No. 839. 
 
 492 Christ in the House of Martha and Mary {737) .... unnamed. 
 
 He is seated to the right ; Mary kneeling at His feet. 
 
 493 Landscape (/jz) Lucatelli. 
 
 Two shepherds on a hillock to the left, beyond a waterfall, and in the distance 
 a town on the summit of a hill. On canvas, 3 ft. high, by 4 ft. 9 in. wide. 
 
 494 Landscape with Ruins (/Jp) unnajued. 
 
 Shepherds, cattle, sheep, goats, and cottages are in the foreground. 
 
 495 Venus and Cupid {740) Pontormo? 
 
 Venus lies, nude, on white drapery, with her head to the right ; her left hand 
 holds Cupid's bow, who is endeavouring to take it back. Cupid is winged, and 
 has a belt round his waist. Two doves, two roses, and an apple are in the lower 
 right-hand corner. On wood, 5 ft. 2 in. high, by 7 ft. 3 in. wide. 
 
 This is a similar but very inferior composition to No. 300, and is certainly not 
 by Pontormo, to whom it is attributed. It was in James II.'s collection. No. 996 
 "A large Venus, with Cupid, and two doves by her." 
 
 496 A Japan Peacock {543) Bogdane. 
 
 A lake scene behind. On canvas, 9 ft. high, by 2\ ft. wide. 
 
 497 View on the Thames near Whitehall {742) unnamed. 
 
 Showing also the buildings of old Scotland Yard, and the garden of Richmond 
 House. 
 
 Kneller, 
 
Hampton Court Palace, 165 
 
 498 Landscape— Cattle at a Fountain {735) H. Roos. 
 
 On the left is an arched fountain, with a statue on the top, and a basin below. 
 A cow is drinking from it, others are lying down. On canvas, 2 ft. 3 in. high, by 
 2 ft. wide. 
 
 499 Ruins, with a Vase {744) Griffier. 
 
 In the centre is a pedestal, surrounded by water, surmounted by a vase. Two 
 figures are stepping out of the water. To the left is an escutcheon carved in stone, 
 and surmounted by a death's head. To the right are an arched cave and a river. 
 
 John Griffier was a Dutch painter, who came to England after the Fire of London. 
 He was particularly fond of painting river scenery, and he spent a great part of his 
 time in a barge on the Thames. 
 
 500 A Magdalen (7^j) Palma Giovine ? 
 
 Seated, turned to the right ; her legs, arms, and breast bare. She leans her 
 head on a skull, and is reading an open book lying in front of her. On canvas, 6 ft. 
 high, by 5 ft. wide. 
 
 501 Princess Isabella, Daughter of James II. {748) Lely. 
 
 Seated, turned to the right, but facing in front. Nude, except a white cloth 
 fringed with gold ; a wreath of flowers on her head. Her two hands are on the 
 head of a lamb to the right. On canvas, 3 ft. high, by 2 ft. *j\ in. wide. 
 
 Hitherto unnamed, but there is an engraving in mezzotint after it, by Alexander 
 Browne, which sometimes has the inscription : — ** The Lady Izabella. P. Lelly Eques 
 pinxit " — though more commonly without it, as it was erased from the plate after her 
 death in March, 1680. She was the daughter of James and Mary of Modena, and 
 was born 28th August, 1676. (J. C. Smith's British Mezzotint Portraits, i., 1 1 3.) 
 
 502 Duchess of Brunswick, Sister of George III. {603) . A. Kauffman. 
 
 Full-length, turned to the right. She holds a child in her arms on an altar in 
 front of her. She is dressed in white with an orange-coloured mantle, lined with 
 light blue ; she wears sandals. On canvas, 8 ft. 1 1 in. high, by 5 ft. 1 1 in. wide. 
 
 On the left at the foot of the column is the signature : — ' 'Angelica Pinx : A°. 1767. " 
 To the left, on a vase, the inscription : — 
 
 Carol. ILLE de Bruns. PHn. Hered. 
 
 A. MDCCLX M. Jill, apud Enisdorff VICTORIA. 
 
 et A. MDCCLXiv M. Jan. apud Lond. amore. Coron. 
 
 Augusta, the eldest daughter of Frederick, Prince of Wales, was bom on the 
 31st of July, I737> and was married to the Duke of Brunswick on the 17th of 
 January, 1764. By him she became the mother, among other children, of 
 Caroline, Princess of Wales, and of Duke William Frederick, "Brunswick's fated 
 chieftain," who fell at Quatre-Bras. In 1767, when this portrait was painted, she 
 was in England on a visit. 
 
 The child in her arms must be her eldest son Charles George Augustus, who 
 was born 8th February, 1766, and died in 1806. 
 
 503 Landscape — Men Fishing in a Stream {750) .... Van Diest. 
 
 To the left tall trees ; the men stand on large stones in the centre of the stream. 
 On canvas, 5 ft. high, by 3 ft. wide. 
 
Catalogue of Pictures, 
 
 504 Landscape — A Stream and Weir (75/) G. Edema. 
 
 To the right and left are lofty trees ; in the foreground two figures, and in the 
 distance a town. On canvas, 6 ft. high, by 3 ft. wide. 
 
 Gerard Edema is mentioned by Walpole as a scholar of Everdingen (see No. 
 698), who came to England in 1670. 
 
 505 Landscape — A Stream and a Bridge {752) .... Danckers. 
 
 Some figures are on the shore, and others in a boat beneath some trees to the 
 right. Beyond the bridge are Italian buildings. (See No. 489.) 
 
Twelve Saints {753-764) D. Feti. 
 
 These pictures belonged to Charles I., whose cypher is stencilled behind them, and 
 who acquired some of them, at any rate, from Mantua ; for we find in the Duke of 
 Mantua's catalogue of 1627 this entry : — "7 quadri, depintivi santi et sante diversi, 
 opere del Feti," valued at 4.20 liras. (For Feti, see No. 151.) Among the pictures 
 sold at Whitehall by the Commonwealth were : — "A Saint with a Lillie ; another 
 
 in White ; A S* writing with a penn ; A with a white napkin ; A S' in a red 
 Garment all by Ffettee. Sold to Mf Decrittz y« 23''"^ Oct. 165 1 for ;^36." Seven 
 more were sold the same day at Hampton Court to Mr. Jackson for ^42. They 
 afterwards occur in James II. 's catalogue. No. 843, &c. On canvas, 2 ft. 10 in. 
 high, by 2 ft. 6 in. wide. 
 
 Some of them are to be recognized in the descriptions in Charles I.'s catalogue, 
 p. 143, &c., thus : — 
 
 "The picture of an old grey-bearded Capucin Fryar holding with both his hands 
 a staff, in his grey Capucin habit, a Mantua piece done by Fetti." {753) 
 
 ** A middle-aged, side-faced saint, with a long brown beard, writing with a pen 
 in a book in a light yellow and green habit." {7S5) 
 
 "Another old Fryar, side-faced, with a long grey beard, looking upwards, 
 holding in his left hand a white lily branch, whereon are two a little blowed open, 
 and six buds." (7^7) 
 
 " A Saint in a white habit holding both his hands on his breast." {758) 
 
 Senators of Venice in the Senate-House {64) Fialetti. 
 
 This picture, though poor as a work of art, is historically curious. It was 
 brought by Sir Henry Wotton from Venice, where he was ambassador, on and off, 
 from 1604 to 1625 ; and he bequeathed it together with the pictures of the "Four 
 Doges," No. 526, to Charles I. His will refers to them thus : — " And first to my 
 most dear sovereign and master, of incomparable goodness (in whose gracious 
 opinion I have ever had some portion, as far as the interest of a plain honest man), 
 I leave four pictures at large of those Dukes of Venice in whose time I was there 
 employed, with their names written on the back, which hang in my great ordinary 
 
i68 
 
 Catalogue of Pictures, 
 
 (lining room, done after life by Edoardo Fialetti. Likewise a table of the Venetian 
 College, where ambassadors had their audiences ; hanging over the mantel of the 
 chimney in the said room, done by the same hand, -which containeth a draught in 
 little, well resembling the famous Duke Leonardo Donato, in a time which needed 
 a wise and constant man." 
 
 At the upper end of the chamber is a dais, in the centre of which is seated the 
 Doge ; on his right is a secretary in black. On each side are three councillors in 
 red, and seven in black. On the side seats are others. In the body of the hall 
 are some persons entering. On canvas, 5 ft. 8 in. high, by 8 ft. 7 in. wide. 
 
 At the Commonwealth this picture was sold to a Mr. Delamere, 28th July, 1650, 
 for ;^io. It is afterwards in James II. 's catalogue, No. 1018. 
 
 508 View of Windsor Castle {76 f) tinnamed. 
 
 St. George's Chapel is seen on the left ; a sailing boat is on the river. Perhaps 
 the "Landscape of Windsor Castle j by Dankers," No. 297 in James II.'s cata- 
 logue. 
 
 509 St. Peter in Prison {768) Steenwyck? 
 
 Dirty and indistinguishable. Similar to No. 670. ft. high, by 4 ft. wide. 
 
N this room is another marble bath or basin, which was probably 
 used by Queen Anne, when she resided here, as the door in 
 the wahiscot leads into her bedroom. The corner fireplace, the 
 finely carved cornice, and the old china, are worthy of notice. 
 
 510 Greek and Ottoman Architecture (7^p) Ghisolfi. 
 
 In the foreground to the right is a range of buildings stretching away to the 
 distance, consisting of a doorway with a portico of two Corinthian columns support- 
 ing a semicircular pediment ; beyond is an arched open hall, and behind, a dome 
 of two minarets. To the left is a spacious area paved with black and white marble, 
 where are seated two Greeks, and a Turk is passing by them. On canvas, 3 ft. 8 in. 
 high, by 4 ft. 3 in. wide. 
 
 5 1 1 Portrait of a Lady (927) unnamed. 
 
 Half-length, turned to the left ; facing in front. In her left hand she holds a 
 hunting horn ; her right is by her side. She is in a flame-coloured dress trimmed 
 with blue, and has a band round her waist. 
 
 512 Queen of Prussia {gof) Anton Graff? 
 
 Seated in an high-backed armchair covered with blue velvet ; she is turned to 
 the left, but faces in front. Her right hand rests on a table beside her, and points 
 to a book ; her left hangs by her side. She is dressed in black trimmed with ermine, 
 and her head is covered with a black lace veil. Her hair is white. On canvas, 
 4 ft. 7 in. high, by 3 ft. 3 in. wide. 
 
170 
 
 Catalogue of Pictures. 
 
 This is attributed in the Royal Catalogue to Graff, a German painter who 
 flourished at the end of the last century. 
 
 Is this Sophia Dorothea, sister of George II., who married, in 1706, WilHaml., 
 King of Prussia, and who died in 1757 ? 
 
 513 Frederick the Great (555) Antoine Pesne. 
 
 Full-length, standing, turned to the left, but facing round to the front. His left 
 hand points to a battle in the distance ; his right holds a marshal's truncheon. He 
 is in armour, over which is a crimson ermine-lined mantle ; he has a small close- 
 curled wig ; his helmet is on the ground in front of him. On canvas, 8 ft. 7 in. 
 high, by 5 ft. 7 in. wide. For another portrait of him see No. 868. 
 
 "To this admirable painter {i.e. Pesne) I am inclined to attribute the portrait of 
 Frederick the Great. The king, who is still in youthful years, is pointing to a 
 battlefield in the background, probably in allusion to the Silesian war. A picture 
 of considerable merit." — {Waagen.) This praise was probably inspired rather by 
 the great critic's patriotism than by his judgment. By most connoisseurs the 
 painter is now remembered only in the following couplet by Frederick the 
 Great :— 
 
 ** Quel spectacle etonnant vient de frapper mes yeux, 
 Cher Pesne, ton pinceau t'egale au rang des Dieux," 
 
 which Voltaire interpreted thus : — ** Le roi ne regardant jamais le peintre, ce 
 dernier etait pour lui invisible comme Dieu." Pesne was in England in 1724. 
 
 514 The three Daughters of George II. {625) Maingaud. 
 
 Three half-length, Hfe-size figures. The eldest, Anne, born in 1709, is on the 
 right, facing to the front, her right hand holding a rose to her bosom. The second, 
 Amelia Sophia Eleonora, born in 171 1, is to the left behind, looking at her youngest 
 sister, and with her right hand round her shoulder, pointing. The youngest, 
 Elizabeth Carolina, born in 17 13, is seen nearly in profile to the left, looking at the 
 spectator ; she has a wreath of flowers on her left shoulder. 
 
 Of the Princess Anne it is said that "she was vain without cause, imperious 
 without being dignified, and ambitious without the means of gratifying the passion." 
 When a mere child she told her mother she wished she had no brothers that she 
 might succeed to the throne, and when reproved she answered, "I would die 
 to-morrow to be queen to-day." To satisfy her ambition she married, in 1734, the 
 Prince of Orange, a repulsively hideous man, having declared she would do so 
 even if he were a baboon. *' Well, then," said the King, " there is baboon enough 
 for you." 
 
 Her sister Amelia, on the contrary, was never married. She occupied herself 
 entirely in her youth with painting, in her old age with play, and in her middle 
 age with gossip. "Princess Emily," writes Walpole, "remains in London, 
 saying «V?7 things: for example, the second time she saw Madame de Mirepoix, 
 she cried out, * Ah ! Madame, vous n'avez pas tant de rouge aujourd'hui : la 
 premiere fois que vous etes venue ici, vous aviez une quantite horrible. ' " 
 
 Elizabeth, their amiable sister, who devoted herself entirely to works of charity, 
 led a retired life, marred by ill-health, and embittered by an unfortunate attach- 
 ment to "that mere white curd of ass's milk," Lord Hervey. (Jesse's Memoirs of 
 the Court,) 
 
Hampton Court Palace. 
 
 515 Duke of Gloucester (7/(5') Lely?' 
 
 Seated on a red cushion, facing in front. Dressed in white, with a white feather 
 on his head. His two hands are held to the left towards a flying bird, which he 
 retains by a string. Background, a crimson curtain to the left, a landscape to the 
 right. On canvas, 4 ft. high, by 3 ft. 3 in. wide. 
 
 This is, perhaps, "The Duke of Gloucester, by Lely " — No. 1109 in James II. 's 
 catalogue, but it is not quite certain that it represents him at all. If it does, it of 
 course belongs to Lely's earlier time, and must have been painted while the young 
 prince was in the custody of the Countess of Leicester at Penshurst. It is far more 
 likely a portrait by Kneller of William, Duke of Gloucester, son of Queen Anne^ 
 (See Nos. 41 and 830.) 
 
 516 The Last Supper (77^) Bassano.. 
 
 Indistinguishable. On canvas, 2 ft. by 3 ft. 
 
 517 Two Daughters of George II. {giT) Maingaud. 
 
 Full-length figures. The eldest is to the left, standing, her right arm clasping 
 a stem of tree, round which twines a vine ; her left hand giving a rose to her 
 younger sister ; she is dressed in white. Her sister is kneeling to the right, facing; 
 in front, and takes the rose with her left hand ; her right rests on a lictor's fasces. 
 On canvas, 4 ft. 6 in. high, by 3 ft. 7 in. wide, (Compare No. 514.) 
 
 518 Frederick, Prince of Wales {6ig) Vanloo.- 
 
 Full-length, face turned to the right. His right hand is extended, his left holds 
 back his crimson and ermine cloak. His dress is blue with rich gold lace. He 
 has a short wig. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 Vanloo came to England in 1737, and this portrait was probably painted about twa 
 years after. He became a very popular artist, and made a great deal of money, 
 for, as his French biographer observes : — L'Angleterre est le pays oil il se fait le' 
 plus de portraits et oil ils sont mieux payes." Engraved by Baron. 
 
 This picture, therefore, dates from the time when the Prince was about thirty- 
 one years of age, and had been expelled from St. James's Palace, and was in. 
 declared enmity with his father. His insignificant character, which excited con- 
 tempt rather than dislike, is very happily satirized in the famous epitaph : — 
 
 * Here lies Fred, 
 Who was alive and is dead j 
 Had it been his father, 
 I had much rather ; 
 Had it been his brother. 
 Still better than another ; 
 Had it been his sister. 
 
 No one would have missed her ; 
 Had it been the whole generation, 
 Still better for the nation j 
 But since 'tis only Fred, 
 Who was alive and is dead. 
 There's no more to be said." 
 
 519 View of the Arno at Florence by Day {6^3) ...... Patch. 
 
 _ The river is crossed by a five-arched bridge, and covered with boats ; on botb 
 sides are quays. 
 
 520 View of the Arno at Florence by Night {642) . . . . . Patch. 
 
 The river is crossed by a three-arched bridge, at the end of which is a bonfire. 
 The moon is shining, and there are lamplights. In the distance on the right is the- 
 Duomo and Giotto's Tower seen over the housetops. 
 
172 
 
 Catalogue of PictiLves. 
 
 These have been usually called views of Rome, and attributed to Fabier. They 
 are both on canvas, 2 ft. 10 in. high, by 3 ft. 9 in. wide. On a boat in the centre 
 foreground of No. 519 is the signature, "Patch, 1763." Thomas Patch was an 
 English engraver and painter who went to Italy with Sir Joshua Reynolds. 
 
 521 Portrait of George I. {782) Kneller. 
 
 Seated, facing in front. He is in the robes of the Order of the Garter. His left 
 hand on the arm of the chair, his right on a table, whereon are a crown and a plumed 
 helmet. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 George I. was the tenth sovereign who sat to Kneller, and for this portrait, which 
 was painted soon after his accession, the king made him a baronet. Addison refers 
 to it in his **Lines to Sir Godfrey Kneller on his picture of the King," beginning : — 
 
 " Kneller, with silence and surprise 
 
 "We see Britannia's monarch rise, 
 
 A godlike form, by thee displayed 
 
 In all the force of light and shade ; 
 
 And, awed by thy delusive hand, 
 
 As in the Presence Chamber stand." 
 
 522 George IL, when Prince of Wales (7c?j) Kneller. 
 
 Standing, facing in front ; his left hand on his sword, his right on his hip. He 
 is in the full robes of the Garter, with ermine cloak, powdered wig, &c. On a 
 pedestal behind him is a crown. Signed in the lower left-hand corner, *' G. Kneller. 
 Baronetis and dated 17 16. 
 
 Kneller was made a baronet in 171 5, and died in 1723 at the age of seventy-five. 
 This picture represents George II. at the age of thirty-three, and before his quarrel 
 with his father. 
 
 523 Caroline, Queen of George II. {784) Zeeman? 
 
 Full-length, standing, figure to the left, face a little to the right. Her left hand 
 holds up her cloak, her right is on a table, on which is a crown and sceptre. She 
 wears a blue velvet dress trimmed with broad gold braid, and a white satin skirt, 
 richly worked with gold and jewels. Her hair is short and powdered. On canvas, 
 7 ft. 9 in. high, by 4 ft. 9 in. wide. 
 
 This was formerly attributed to Kneller, but it cannot be by him, as she is repre- 
 sented as queen, while Kneller died four years before her accession. (Compare 
 No. 834.) Caroline was forty-five when her husband became king. 
 
 ** Her levees," says Coxes, "were a strange picture of the motley character and 
 manners of a queen and a learned woman. She received company while she was 
 at her toilette ; prayers and sometimes a sermon were read ; learned men and 
 divines were intermixed with courtiers and ladies of the household ; the conversation 
 turned on metaphysical subjects, blended with repartees, sallies of mirth, and the 
 tittle-tattle of a drawing-room." 
 
 524 A Labyrinth and Pleasure Garden {787^ . . Tintoretto. 
 
 In the centre of the maze is a table, at which four ladies are seated ; four atten- 
 dants standing by. In the right foreground are four more ladies seated in a bower. 
 On the left is a band playing. Behind are various sports and other incidents. In 
 the background to the right is a palace. On canvas, 4 ft. 10 in. high, by 6 ft. 7 in. 
 wide. 
 
Hampton Court Palace. 1 73 
 
 This has always been traditionally attributed to Tintoretto, and it is probably the 
 same "Labyrinth by Tintoretto" which was put on board "The Charity" at 
 Venice, on April 25th, 161 5, and consigned to the Earl of Somerset. (See Sains- 
 bury's Original Papers concerning Rubens, p. 274. ) There is nothing to fix the 
 exact date when it came into the Royal Collection, but that it belonged to Charles 
 I. is evident from its being in one of his old firames, and it is doubtless the Large 
 piece being a maze with a great many figures," which was No. 47 in James II. 's 
 catalogue, but without the painter's name. 
 
 525 Landscape — A Palace and Garden (790) Danckers» 
 
 A circular flight of steps with a stone balustrade leads up to the palace on the 
 left J a woman is coming down them. In the distance is a domed building. 
 
IVER the fireplace is some exceedingly beautiful carving by- 
 Gibbons ; and all round the room is a richly carved oak cornice 
 of the acanthus-leaf pattern. There are some very dilapidated 
 old chairs, but of fine workmanship, of the time of Queen Mary. 
 Ci)e marble tUSt of a negro, which stands on a pedestal in this room, 
 is believed, and probably correctly, to be William III.'s favourite servant, 
 who frequently appears in portraits with the King (see No. 31). The face 
 and neck are of black marble ; while his dress, and the dog's collar round 
 his neck with a bell, are of grey and white. 
 
 Cf)e CapeSttg represents the Battle of Solebay, which was fought on 
 May 28th, 1672, between the English and French fleets under the Duke 
 of York and the Comte d'Etrees, against the Dutch fleet under De Ruyter. 
 The Dutch fleet, it will be remembered, consisting of 91 men-of-war, 54 
 fireships, and 23 tenders, attacked the combined fleet, composed of 100 
 English and 40 French men-of-war, when at anchor in Southwold Bay, or 
 Solebay, on the coast of Sussex. 
 
 In the first piece of tapestry, on the left, we see the two fleets drawn up 
 in the form of a crescent just off the sea-shore, and a few Dutch ships 
 coming forward on the right. The second piece shows the English fleet 
 under sail. There were originally, no doubt, several other pieces, giving 
 the combat itself, in which the heroic Lord Sandwich (see his portrait, 
 No. 11) lost his life. Both sides claimed the victory. Each piece is 
 12 feet high by 24 feet long, and has a fantastic border of tritons, dog 
 fish, &c. 
 
Hampton Court Palace. 
 
 175 
 
 526 Four Doges of Venice (jgi-2g4) Fialetti. 
 
 See note to No. 507. 
 
 These four portraits are each three-quarter lengths, and represent the Doges in 
 their robes, lined with ermine and having ermine tippets, and with Doges' caps. 
 On canvas, 5 ft. 4 in. high, by 4 ft. wide. 
 
 The names of three of them are uncertain, as the inscriptions, which were on the 
 backs in Charles I.'s time, were not to be found when the pictures \i^ere repaired by- 
 Buttery in 1878, as they had been relined and enlarged. 
 
 ? Marino Grimani, Doge from 1595 to 1605 {79 A 
 
 In a yellowish-brown robe, turned to the left. His left hand is raised, and holds a 
 sealed paper ; his right, with a gold ring on the forefinger, is pointing down. He 
 has a grey beard and moustache. 
 
 ? Giovanni Bembo, Doge from 1615 to 1618 {792) 
 
 In a crimson brown robe. He has a grey clipped beard. Turned to the right ; 
 same action with his hands as the preceding. 
 
 Leonardo Donato, Doge from 1605 to 161 2 {793) 
 
 In a yellow brocaded robe ; his right hand by his side. He has a moustache, 
 and a grey beard under his chin. Painted in the upper left-hand corner : — 
 "LEONARDO DONATO DOGE DI VENETIA." 
 
 ? Antonio Memmo, Doge from i6i2toi6i5 {794) 
 
 In a crimson brown robe, with a lace skirt underneath. His glove is in his right 
 hand ; his left is raised. 
 
 527 Caroline, Queen of George II. (JQS) Zeeman? 
 
 Bust J profile to the right. Her hair is drawn off her forehead, curled and 
 powdered. She is in a blue dress with ermine. Oval. 
 
 The queen is here older than she is represented in Nos. 523 or 834. 
 
 628 A Turkey Carpet with Fruit and Flowers {231) . Maltese. 
 
 The carpet, which is very heavy, is partly on a table, partly on the floor ; also 
 on the table is a chased gilt jug, and another is below. The fruits are apples, figs, 
 grapes, &c. On canvas, 3 ft. high, by 4 ft. 3 in. wide. 
 
 This is a characteristic specimen of an artist whose works are rare, and of whom 
 little is known, beyond the fact that he lived at the end of the seventeenth century, 
 and that he was called Francesco Maltese from the place of his birth. *' He is by 
 no means an indifferent painter. His pictures represent the objects faithfully ; his 
 handling is large and vigorous, his colour bold and striking ; he excelled in painting 
 carpets and musical instruments." — (Bryan.) 
 
 529 Venus and Adonis (36/) B. Gennari. 
 
 A similar composition to the well-known Titian's at Dulwich and the National 
 Gallery. Venus, nude, rests on a bank to the left ; Adonis is running away from her; 
 Cupid in front of him. On copper, i ft. i in. high, by i ft. 9 in. wide. 
 
 Benedetto Gennari was one of Charles II. 's painters. This and several similar 
 pieces by him are enumerated in James II. 's catalogue. 
 
 530 Madonna and Child (s^s) Bassano? 
 
 Perhaps No. 642 of James II. 's pictures : — "A small piece, being the birth of 
 Christ, with St. Joseph ; by Bassan." 10 in. by 8 in. 
 
176 Catalogue of Pichcres, 
 
 531 A Dutch Barrack Room (577) C. Troost. 
 
 Soldiers are sitting, smoking, and looking at military maps on the walls. Qn 
 canvas, i ft. high, by i ft. 5 in. wide. 
 
 Cornelius Troost, a painter more valued by his countrymen than appreciated 
 here (see Bryan's Dict.\ faithfully portrayed the life of his time. He died in 
 1750. 
 
 I 
 
eorge iVs mmoatt iMftamhtt. 
 
 SHEN George II. occupied this room, it was hung with red 
 damask, which must have harmonized well with the rich deep- 
 toned oak of the carved cornice and of the old-fashioned corner 
 fireplace. It is now hung almost exclusively with flower-pieces, 
 mostly by Baptiste. 
 
 532 Four Flower-Pieces {ygg-802) Baptiste. 
 
 A gilt vase with tulips, chrysanthemums, sunflowers, hyacinths, and a branch of 
 
 an orange tree . K799) 
 
 A gilt vase with roses, stocks, peonies, honeysuckle, poppies, &c. , , {800) 
 
 A group of tulips, cornflowers, carnations, roses, &c {801) 
 
 A green glass vase with hyacinths, poppies, honeysuckle, &c. .... 
 On canvas, of various sizes. 
 
 533 Fruit with a Monkey and Cockatoo (Soj) Bogdane ? 
 
 In the centre is a basket with fruit, on a white cloth ; the monkey, with a 
 black and white mane, is taking some apricots out of it. The cockatoo is 
 above. 
 
 534 Three Fruit and Flower-Pieces {804-806) Baptiste. 
 
 A group of grapes, melons, figs, and roses, in the centre ; white poppies with a 
 green parroquet and a monkey, dressed as an old woman, stealing grapes, on the 
 right ; and iris-like flowers with a monkey, dressed as a man, on the left . {So/f) 
 N 
 
178 
 
 Catalogue of Pictures. 
 
 Lilies, poppies, damask roses, &c., growing (^^>5') 
 
 In the centre, grapes, peaches. &c. ; on the right, roses and a parrot ; on the left, 
 a parrot, and a dog barking at a fox cariying off a drake {806') 
 
 535 Flowers — Vases of Tulips and Roses {807^ 808) . . M. di Fiori. 
 
 On the pedestal at the foot of the vase are grapes and oranges .... {.Soy) 
 
 On the pedestal is a gold vase, and oranges by it {808) 
 
 Mario di Fiori was a flower-painter who lived in Rome at the end of the seven- 
 teenth century. 
 
 536 Fruit and Flowers {8oq) M. A. Campidoglio. 
 
 A group of grapes, pomegranates, and a cut melon ; above are a white flower and 
 convolvuluses ; below an apple, &c. On canvas, 3 ft. 4 in. high, by i\ ft. wide. 
 
 This is doubtless the " Italian piece of fruit with grapes and flowers," No. 
 947 in James II. 's catalogue, and perhaps the "piece of fruits " sold by the Com- 
 monwealth for ;^44, and there attributed to Labrador. 
 
 537 Flower and Fruit-Pieces {810,811) Baptiste. 
 
 An upset basket, on which is a squirrel, with grapes, peaches, &c., in the centre ; 
 on the right a spaniel barking, and crown imperials {810) 
 
 An upset basket with a bird perched on the rim, and plums, grapes, peaches, 
 &c. ; on the right is a monkey in a red coat, stealing the fruit {811) 
 
 538 Fruit-Pieces— Grapes, Peaches, &c. (<?Z2) . . Van Aelst. 
 
 A group of white grapes, peaches, walnuts, &c., on a table. A white butterfly, 
 a snail, and a bluebottle, are on the fruit. On canvas, 2 ft. high, by i ft. 7 in. 
 wide. 
 
 This is attributed to Van Aelst, whose name is appended to it in Queen Anne's 
 catalogue. No. 203. 
 
 539 Fruit-Piece, Apples, &c., in a Dish (8ij) . . . Labrador. 
 
 This has long been attributed to Campidoglio ; but it is evidently *' The Picture 
 of several sorts of Fruits, in a white earthenware vessel ; grapes, apples, chestnuts, 
 and the like. Painted on the right light. Done by the Spanish Labrador, given 
 to the King by my Lord Cottington, " in Charles I.'s catalogue, page 4. It was after- 
 wards sold by the Commonwealth for ; but is found in James II. 's and William 
 1 1 I.'s catalogues, attributed to the same painter. On canvas, 2 ft. 9 in. high, by 
 2 ft. 4 in. wide ; which are the dimensions given in King Charles's catalogue. 
 
 See No. 467 for another picture by this rare painter. 
 
 540 A Gold Vase of Flowers, with Birds {814) Bogdane. 
 
 The vase holds a red liliaceous plant. Below are grapes, and apples on which 
 two birds are perched. 
 
 541 Four Flower and Fruit-Pieces {815-818) Baptiste. 
 
 A vase on a stone slab, with poppies, hyacinths, &c. {8is) 
 
 A vase with lilies, poppies, &c., and below peaches, plums, &c. . . . {816) 
 
 A vase with tulips, poppies, daffodils, &c. .......... {8ii) 
 
 A group of poppies, jonquils, &c ••••••• \8i8) 
 
 542 Unassigned. 
 
 543 Unassigned. 
 
Hampton Court Palace. 
 
 179 
 
 544 Grapes in an Earthenware Bowl {823). . . Campidoglio? 
 
 The grapes are black and white, and have many leaves. On the table to the 
 right are two figs. On canvas, 2 ft. high, by 2 ft. 7 in. wide. 
 
 Behind is a label inscribed: — "Extract from Mrs. Delayny's will : — 'I desire 
 the grapes, painted by M. Angelo Carravaggio may be, after my decease, presented 
 to the King, as a small offering of the gratitude that I felt to my last moments of his 
 Majesty's unbounded condescending goodness and munificence at the time of my 
 deepest distress — Mary Delayny.' " (See No. 375 for her portrait.) 
 
 This is now ascribed to Campidoglio, but it is perhaps by Labrador (see No. 
 539), and is very likely the ** Piece of grapes in a red pot by Labrador " which had 
 belonged to Charles, and was sold after his execution for £10. 
 
 545 Flower-Piece, with a Child (S24) Baptiste. 
 
 To the right is a vase of roses, tulips, &c. ; and apples and grapes by it. The 
 child is on the left, with naked bosom and white drapery, holding up some convol- 
 vuluses in her right hand. On canvas, 4^ ft. high, by 3 ft. 9 in. wide. 
 
 546 Unassigned. 
 
 547 Two Flower-Pieces {826, 82f) Baptists. 
 
 A green glass vase with chrysanthemums, poppies, honeysuckles, &c. . {826) 
 A gold vase with roses, tulips, &c., and melons, grapes, plums, &c., below {82^) 
 
 548 4 Stable with Cattle, Sheep and Figures {601) .... unnamed. 
 
 To the right is a woman with two children ; behind her a peasant. On copper, 
 I ft. 4 in. high, by i ft. 2 in. wide. 
 
 549 Blind Man's Buff {666) Pietro Longhi. 
 
 In the centre are two ladies, one a young girl, in light dresses ; they are both 
 facing in front, and looking at the blindfolded man ; the elder holds up her dress 
 so as to screen another lady behind her to the right. She who is dressed in blue is 
 half kneeling by them, and looking, with her right hand to her chin, at the blind- 
 folded man. He is walking to the right, and has his two hands outstretched. 
 Behind him is another man creeping away smiling, with his right forefinger held 
 to his lip. On wood, 2 ft. high, by i ft. 7 in. wide. 
 
 Signed behind : — ^^Pieiris LonghV^ 
 
 550 A Stable with Cattle, Sheep and Figures (sgg) .... unnamed. 
 
 A woman on the right with two children is offering some food to a peasant 
 behind. Companion to No. 548. 
 
 551 Attending the Sick {66g) . Pietro Longhi. 
 
 In the centre is a young man in bed, facing in front, looking at a young lady in 
 a dressing-gown, who is sitting by his side. She holds a cup in her left hand. 
 To the left are two servants, one bringing in a tray, another carrying away cups, 
 and turning round and smiling at him. Pictures of Venus and Adonis hang on the 
 walls, which are green. Figures about ten inches high. On wood, 2 ft. high, by 
 I ft. 7 in. wide. 
 
 Signed behind with the painter's brush : — Pietris Longhi, 1^44^ 
 
i8o 
 
 Catalogue of Pictures, 
 
 552 Still-Life— A Lute and a Music Book {y8j) . Roestraten. 
 
 On a table covered with a red cloth are the above articles, also a bow, and cups 
 of wrought silver. On canvas, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 This was in James II. 's catalogue, No. 857 : — "A piece with a lute in it, and 
 several pieces of plate ; by Roestraten. " (See note to No. 744. ) 
 
 553 ^oys with Flowers {828^ 82g) S. Ricci. 
 
 These are two indifferent decorative pieces. In one the boy clasps a vase of 
 flowers, in another he holds a basket on his head. On canvas, 3 ft. 3 in. high, by 
 2 ft. wide. 
 
554 Robert Darcy, Earl of Holderness {8ji) ...... unnamed, 
 
 Full-lei^th, facing in front ; in peer's robes ; bareheaded ; his left hand in his 
 bek, his right holding his coronet by his side. 
 
 Holderness was dismissed from office by George III. in 1761, when he appointed 
 Lord Bute to succeed him. 
 
 555 An Encampment {8^2) Van der Meulen. 
 
 On the left are the houses of a village ; beyond, in the centre, is a camp ; and in 
 the background a fortified town, in which is seen a fine cathedral and other lofty 
 buildings. In the foreground, to the right, is a trooper leading a heavily laden 
 horse. On canvas, 5 ft. high, by 8 ft. 4 in. wide. 
 
 556 Judgment of Paris (8jj) L. Caracci? 
 
 In James II. 's catalogue. No. 17, was :— " A large piece of the Judgment of Paris 
 by Ludovico Carrachi. 
 
 557 Portrait of a Gentleman — Waller, the Poet ? (c^jj*) . . . unnamed. 
 
 Bust, to the right, looking in front. He wears a blue coat, a white tie, and a 
 large wig. He is shaven, and appears about sixty years of age. 
 
|IR CHRISTOPHER WREN built this room expressly for the 
 reception of Raphael's cartoons, which formerly hung here, till 
 their removal in 1865, by command of Her Majesty the Queen, 
 to the South Kensington Museum. It must be confessed that 
 Wren was far from successful in his design, for the room afforded scarcely 
 a single condition favourable to their inspection. They were hung on the 
 upper part of the wall, above the wainscot, and so high, that their lower 
 edge was but a few inches below the top of the windows ; and the upper 
 windows, which might easily have been pierced, and would thus have 
 admitted double the light, were, most unaccountably, never made at all : 
 the spaces on the outside being painted with frescoes by Laguerre, and, on 
 the inside, covered with a heavy oak cornice. 
 
 Wren's proposals for the decoration were as follows : — " The Gallery to 
 be fitted for the Cartoons, with wains-cote on the windowe side, and below 
 the Pictures, and between them, to preserve them from the walls, and with 
 a marble chimney, and marble soyles in the windowes, and other things 
 proper to complete the same." 
 
 The ci^itnmg^ptece is a fine bas-relief, in white marble, of Venus, drawn 
 in her chariot by Cupids. Between the windows, and the large spaces for 
 the cartoons, there are oak pilasters with beautifully carved capitals. The 
 doorways are also finely carved. 
 
 In old days the Privy Council used to sit in this Gallery, whence it is 
 sometimes called The Great Council Chamber. It is 117 feet long, 24 feet 
 wide, and 30 feet high ; it extends along the whole of one side of the 
 Fountain Court, and has twelve windows. At present it is much disfigured 
 by four tall green-painted screens on which the pictures are hung. 
 
Hampto7i Court Palace. 
 
 183 
 
 558 Margaret Tudor, Queen of Scotland (j-zp) . Copy by Mytens. 
 
 Full-length, turned to the left. She is attired in the early Tudor costume, with 
 a square-cut bodice, a large black furred cloak, and a red skirt, bodice, and sleeves. 
 Her arms are folded in front of her, and on her left a marmoset is perched. She 
 stands on a Turkey carpet. In the background on the right are a dark curtain and a 
 column ; while, on the left, a landscape is seen over a balustrade. On canvas, 7 ft. 
 10 in. high, by 4 ft. 7 in. wide. In the lower right corner is painted an imitation 
 label inscribed: — Margarita vxor jfacobi quartz Regis Scotorum ; filia Henrici 
 Septimi Anglorum Regis, ^tatis Sucb 26." 
 
 This is "The picture of the said King James IV. 's Queen, who was eldest 
 daughter to King Henry Vllth of England, done after an ancient piece, at length, 
 by Dan Mytens," in Charles I.'s catalogue, page 87, which was sold by the 
 Commonwealth for £20 to Margaret Thompson, Nov. 8th, 1650 (Inventory, 
 page 148), but reappears in James II. 's catalogue. No. 16. The original cannot 
 be traced, though it is mentioned in Charles I.'s catalogue; but a picture of 
 similar character is now at Queen's College, Oxford. (See Old London, p. 294.) 
 
 As the Queen's age is given here as twenty-six, the original must have been 
 painted in 15 15, the year of her visit to England, when she was received with much 
 distinction by her brother Henry VIII. ; and evidently before her face was dis- 
 figured by the small-pox in 1522. In marrying her to James IV. in 1502, her 
 father is supposed to have had in view that union of the two crowns which did, in 
 fact, at last take place, 100 years after, through their grandson, James VI. 
 
 When her first husband was killed at Flodden, Margaret married, with unbecoming 
 haste, Archibald Douglas, Earl of Angus, a handsome but beardless boy. The 
 issue of this union was Margaret Douglas (see next picture). In the meanwhile, 
 however, having the family failing of ' ' being highly amorous, but totally insensible 
 to the delicacies of the tender passion," she entered into very improper relations 
 with the Earl of Albany ; but speedily transferred her affections to Henry Stuart, 
 a young man of twenty, whom she married after obtaining a divorce from Angus. 
 Her efforts to be released from Stuart, when she got tired of him, were frustrated by 
 her son. She died in 1541. 
 
 559 Margaret Douglas, Countess of Lennox {513) • • • ? 
 
 Full-length, turned to the left. She wears a black dress edged with white fur, 
 and a small ruff. Her cap is a close flat one, such as was worn by widows. In 
 her right hand she holds her gloves ; her left rests on the comer of a table. She 
 stands on a very bright-coloured carpet, and to the right, jumping up to her, is a 
 little spaniel. On the table to her right is a curious clock representing a temple 
 with a dome supported on columns, on the top of which is a dog supporting a shield 
 of arms, which, by its rotation, shows the hours on a dial. On canvas, 7 ft. 8 in. 
 high, by 4 ft. 6 in. wide. 
 
 In the upper left-hand comer is painted : — 
 
 THE LADY MARGARET HIR GRACE 
 LATE WIFE TO MATHEW ERLLE 
 OF LENNOX REGENT OF SCOTLANDE 
 AND MOTHER TO HENRY KINGE 
 OF SCOTLAND. 
 
 This has been attributed to Holbein, who had been in his grave thirty years when 
 
 j^tatis 55. 
 
 A^ Dm. 1572. 
 
Catalogue of Pictures, 
 
 it was painted 1 It is possibly a copy by Mytens from an original miniature by 
 Milliard, which belonged to Charles I., and the description of which in his catalogue, 
 page 43, seems to agree with this ; though it is there said to be dated 1575. At 
 any rate, it is No. 16 of James II. 's catalogue, without any artist's name. In the 
 Lenoir collection at Stafford House there is a chalk drawing of Margaret Tudor 
 attributed to Clouet, which is similar to this. (See the autolithograph by Lord 
 Ronald Gower.) 
 
 Margaret Douglas was the daughter of the Earl of Angus and Margaret Tudor 
 (see No. 558), and was thus a niece of Henry VIII., at whose court she mostly 
 resided in her youth ; on one occasion he gave her 13^. dd. *' to disport herself 
 with at Christmas." "When Jane Seymour died, she attended the funeral proces- 
 sion from this Palace to Windsor, and afterwards, in Catherine Howard's time, she 
 had lodgings given her here, near the Queen's. But her fondness for flirting moved 
 the displeasure of her uncle Henry, who directed Cranmer " to call apart my Lady 
 Margaret Douglas, and declare to her how indiscreetly she hath demeaned herself, 
 first with the Lord Thomas, and secondly with Charles Howard, in which part ye 
 shall with discretion charge her with over-much lightness, and finally give her 
 advice to beware the third time, and wholly apply herself to please the King's 
 Majesty." 
 
 She seems to have obeyed his injunctions, for we find her as one of the brides- 
 maids at Katharine Parr's wedding in the chapel here. In 1543 she married the 
 Earl of Lennox, by whom she became mother of Lord Darnley, and thus is an 
 ancestress of the present royal line. When Edward VL came to the throne she 
 tried to get apartments here ; they were refused, but the King lent her £20^ 
 instead. 
 
 This portrait, being dated 1 572, represents her in mourning for her husband, who 
 was assassinated in Sept. 1571. The inscription, however, is wrong in giving her 
 age as fifty-five; for being born in 15 15, she must have been at least fifty-seven. 
 She was then residing with her son Charles at Hackney, near London, and was at 
 that period on good terms with Queen Elizabeth, to whom she occasionally acted 
 as lady-in-waiting. But soon after she fell under the Queen's displeasure by marry- 
 ing her second son, Charles (see No. 639) to Elizabeth Cavendish, for which she 
 was sent to the Tower, as she had formerly been for marrying her son, Lord Darnley, 
 to Mary Queen of Scots. She was thus, as she herself complained, thrice thrown 
 into prison, "not for matters of treason, but for love matters " — the first occasion 
 being when Henry VIII. sent her to the Tower because Thomas Howard fell in 
 love with her ! She died at Hackney in 1578, and left in her will a great many 
 clocks, of which she was very fond, one of them of curious workmanship being 
 shown in this picture. (See Miss Strickland's Lives, vol. ii.) 
 
 560 Mary Queen of Scots {667) Copy by Mytens. 
 
 Full-length, facing in front, turned slightly to the right. Her left hand is on a 
 table covered with a red cloth, on which is a book. Between the fingers of her 
 right hand is a rosary, which " has been added apparently after the completion or 
 first design of the figure, as the hand is not in the action of holding " (note in the 
 Royal Catalogue). She wears a rich black dress, with a long white gauze veil or cloak 
 hanging from her shoulders to the ground ; and also the well-known Marie- Stuart 
 widow's cap, a small collar-ruffle, a large ruff, and also lace wings. Round her neck 
 is a small cross. On canvas, 7 ft. 4 in. high, by 4 ft. 6 in. wide. 
 
Hampton Court Palace. 185 
 
 In the lower right-hand corner is an imitated card, in the manner of Mytens, 
 inscribed : — 
 
 MARIA 
 D G 
 
 scoti^ 
 
 PIISSIMA REGINA 
 FRANCIS DOTARIA 
 ANNO 
 
 iETATIS REGNIQ« 
 38 
 1580. 
 
 This is ** The picture of Queen Mary of Scotland, being King James VI.'s mother, 
 at length ; done by Dan Mytens, " in Charles I.'s catalogue, page 87, which was sold 
 by the Commonwealth (see Inventory, p. 148) to Mr. Grinder, 23rd Oct., 165 1, for 
 £zo ; and which is No. 15 in James II.'s catalogue : — *' Mary Queen of Scotland at 
 length, by Mytens." These entries set at rest the question, frequently debated, 
 whether this portrait is by Zucchero, to whom it has long been attributed ; but they 
 do not resolve the far more difficult one, whether any portrait of the Queen pur- 
 porting to date after the time of her imprisonment can be considered genuine, 
 bellaway thought not ; yet the inscription on this picture shows clearly that Charles I. 
 had a portrait of her, which was then believed to have been painted about 1580. 
 And the original, from which this was copied, though turned the reverse way, p.nd 
 which still bears Charles I.'s cypher behind it, is now in the National Portrait 
 Gallery. It has the same inscription as this picture, but the age and date are 
 different, being 36, and 1578; and it is signed "jP. Oudry.^ It gives, however, 
 but a mean idea of the beauty of the divine Queen. Engraved by Boitard ? 
 
 Altogether the prodigious number and variety of portraits of Mary Queen of Scots 
 is one of the most curious and embarrassing things in the whole history of portrai- 
 ture. As a French critic observes, there is not a single great house in England, 
 not a single collection, which does not boast of its " true and original portrait " of 
 the unfortunate Queen. "Tantdt c'est une blonde qu'on vous montre, tant6t une 
 brune ; ici un nez grec, long et etroit ; la court, parfois meme retrousse : dans tel 
 portrait la face est ronde et ramassee, dans tel autre elle est longue et ovale." (See 
 Niel's Portraits des Personnages Illustres ; Gaedeke's Maria Stuart, in which yet 
 another portrait is brought forward, which in its turn has been condemned as 
 spurious; and Feuillet de Conches' Causeries d'un CuHeux, vol. iv., where the 
 whole question is exhaustively discussed. See also note to 631.) 
 
 For an account of this beautiful Queen, the reader will doubtless prefer to turn 
 to the sympathetic verse of the chivalrous Frenchman, than listen to the detestable 
 libels of her surly maligners. Ronsard, who knew her well, gives this account of 
 her : — 
 
 ** Au milieu du print emps entre les lys nasquit 
 Son corps, qui de blancheur les lys mesme vainquit ; 
 Et les roses, qui sont du sang d' Adonis teinctes, 
 Furent par ses couleurs de leur vermeil despeinctes. 
 Amour de ses beaux traicts lui composa les yeux, 
 Et les graces, qui sont les trois filles des cieux, 
 De leurs dons les plus beaux cette princesse ornerent, 
 Et pour mieux la servir les cieux abondonnerent.' 
 
i86 
 
 Catalogue of Pictures. 
 
 561 Eleanor of Spain, wife of Francis I. (j/p) . Jean Clouet? 
 
 Three-quarters length, facing nearly in front. She wears a black dress very 
 richly embroidered, with slashed sleeves, braided with silver tissue, and very 
 full in the arm, but closely tied at the cuffs, and trimmed with lace. A furred 
 cloak is fastened to her shoulders by clasps jewelled with rubies. Round her neck 
 is a superb necklace, and on her bosom a row of pearls. She wears a black cap, 
 or headdress, studded with jewels. Her hair, which is of a pale reddish brown, 
 is plaited, and falls over the ears on either side. In her hands, which are folded 
 in front, she holds a letter, with this address : — la piantisima y muy poderosa 
 sinora la Reyna my sinora." On wood, 2 ft. 2 in. high, by i ft. ii in. wide. 
 
 Although we cannot trace this picture as being in the Royal Collection previous 
 to Charles II. 's reign, we find that an almost identical one — except that the queen 
 holds an orange instead of a letter — is mentioned both in the catalogue of 
 Henry VIII., compiled in 1542, and in that of Charles I. That portrait was sold 
 by the Commonwealth, and this one, which is probably a replica of it, was pre- 
 sumably bought to replace it. At that time, however, it was believed to be 
 Francis I.'s mistress (compare No. 566), and was therefore described in James II. 's 
 catalogue. No. 77, as : — " The Duchess of Valentynois, to the waist, with a letter, 
 by Jennet," a misnomer which clung to it till Horace Walpole pointed out the 
 mistake. A portrait exactly similar, though on a smaller scale, was formerly in 
 Mr. Bernal's collection, and was sold in 1855 to the Due d'Aumale for ;^225. 
 There are also other ones extant j and an original drawing, supposed to be by 
 Janet, at Castle Howard. 
 
 This admirable portrait must certainly have been painted before 1 547, in which 
 year Francis I. died ; and it is probable that it was painted before 1542, the year 
 when Heniy VIII. 's catalogue was compiled. That a much earlier date, however, 
 than this cannot be assigned to it is evident from the apparent age of the queen. 
 (Compare No. 566.) It has been attributed to Janet— a name which was formerly 
 given indiscriminately to two painters, Jean Clouet, and Fran9ois, his son — till 
 M. de Laborde distinguished between them. (See his delightful book La Renais- 
 sance des Arts a la Cour de France.') Waagen was probably right in calling it a 
 work of the elder Clouet, a better painter than his son, though not so well known, 
 as scarcely more than four or five authentic pictures by him aife extant. For, 
 besides the fact that it exhibits all the delicacy and feeling charactei-istic of him, the 
 supposition is confirmed by dates, Jean Clouet, the father, being the favourite 
 painter of Francis I., and Fran9ois not succeeding to his position at court as painter- 
 in-ordinary and gentleman of the Privy Chamber, till his father's death in 154$. 
 (See note to 631.) 
 
 In M. Niel's book {Fersonnages Illustres, tom. i.) there is a facsimile of a 
 drawing in the Louvre for a portrait of this queen, which bears a remarkable 
 resemblance to the painting before us, and his remarks with regard to it may be 
 quoted as being equally applicable here : — "Cette image ne reflete pas la jeune 
 fille celebree par Hubert Thomas, mais bien la reine a la maigreur nerveuse, a la 
 paleur maladive et melancolique. Les cheveux sont d'un blond ardent, circon- 
 stance qui derive d'une mode du temps, plus peut-etre que de la realite elle meme. 
 La levre inferieure et le menton presentent cette epaisseur et cette preeminence 
 particulieres aux princes et aux princesses de la maison d'Autriche." The inscrip- 
 tion on the letter she holds in her hand alludes to the emperor's habit of addressing 
 his letters to her after her marriage : — ''A Madame ma meilleure sceur.^' (See Fapiers 
 d'etat du Cardinal Granveile.) For other portraits ol her, see Nos. 344 and 566. 
 
Hampton Court Palace. 
 
 187 
 
 562 Lady of the Time of Henry VIII. (jcj) .... L. Cornelisz. 
 
 This was in Charles I.'s catalogue, among the "Twenty-three little heads, 
 most of them painted without hands upon board, much less than life," page 115 1 
 
 Item. The fourth, a lady's picture, in a golden cloth dressing, with red sleeves, 
 putting a ring to her left-hand finger. A Whitehall piece. " Her bodice is square 
 cut and quilted. She has a thick necklace, and a cameo at her breast. On wood, 
 I ft. 2 in. high, by 9^ in. wide. 
 
 It has been called, as well as three similar pieces close by, ** A Lady of the 
 Court of Henry VIII. ; " but it is probably some foreign queen (see Nos. 564 
 and 565), the name of whom had been lost by Charles I.'s time. It is perhaps 
 one of the " Three Italian Ladies pictures, after the life," sold for £2, by order of 
 the Commonwealth. 
 
 It is only recently that these little heads, probably copies executed for Henry 
 VIII. from life-size originals, have been attributed to Lucas Cornelisz. He was a 
 Dutch painter who came to England in Henry's reign ; and as he is known to have 
 painted a series of small copies of the Constables of Queenborough Castle, which 
 were, and I suppose still are, at Penshurst, he may likely enough have executed 
 these. 
 
 563 Portrait of Henry VIII., a.d. 1536 {313) . Holbein or Janet? 
 
 This is an exceedingly fine picture, and considered one of the best portraits of 
 Henry. He is seen in a half-length, with his head — but not his eyes — turned 
 slightly to the right. He has reddish hair, a small thin beard and moustache. His 
 eyeballs are dark black-grey. He wears a vest or doublet, cut square across the 
 chest, crossed with strings of pearls, and slashed with rows of white puffs. Over 
 this is a sable-furred jerkin, and underneath is his white shirt, which is brought 
 high up the neck, and terminates in a small frill. He also wears a black cap with. 
 a medallion, on which are Our Lady and the Infant Jesus, in colours, and a white 
 jewelled feather falling to the left. In front of him is a table or ledge, with a 
 crimson cushion, on which he leans his right hand ; in his left he holds the end 
 of a white scroll, inscribed : — 
 
 MARCI-16. Ite in Mudvm Vniversv et predicate 
 
 EVANGELIVM OMNI CREATVR^." 
 
 The background is a rich green. The surface is rubbed, especially about the eyes 
 and mouth, the mouth badly, and the lights gone from the eyes. On wood, 2 ft,. 
 4 in. high, by i ft. 10 in. wide. 
 
 On the back of the panel is branded Charles I. 's cypher — C. R. and the crown — 
 and there is also a slip of paper on which is inscribed in a handwriting of the 
 time, " Changed with my Lord Arundel^ 1624." In Charles's catalogue, compiled 
 in 1639, page 119, it appears as : — " King Henry VIII. when he was young, with 
 a white scroll of parchment in his hand ; the picture being to the shoulders ; half 
 a figure so big as the life, in a carved gilded frame. A vVhitehall piece, said to- 
 be done by Jennet or Sotto Cleve." At the Commonwealth " King Henry y* 8'** 
 by Gennett was sold to Baggeley y* 23"' Oct. 1651 for ^25. " (See hiveniory, foL 
 506.) It may also be the "Table with the picture of King Henry VIII., then 
 being young," in Edward VI. 's catalogue ; but if so, it is ditficult to divine how it 
 should have come into the possession of Lord Arundel. 
 
 The most various opinions have been expressed as to the painter of this picture^ 
 " Undoubtedly a very fine work of Holbein's, " says one critic. " Oeriainiy not by 
 
Catalogue of Pictures. 
 
 him," says another, but "unquestionably by Janet." ** Clearly not by him," re- 
 plies a third, but by " Sotto Cleeve." " Not at all," cry others, " By Toto, by 
 Luca Penni, by Girolamo da Treviso," &c. Dates, style, tone, drawing — every- 
 thing is invoked to establish the most opposite theories. " Non nostrum inter vos 
 tantas componere lites." But it may be observed that the authorities whose 
 opinions are entitled to most weight — Dr. Waagen, Mr. Wornum, and Dr. Wolt- 
 mann — are all agreed that it is not by Holbein ; though Wornum is inclined to 
 attribute it to an Italian hand, perhaps Girolamo da Treviso, and Woltmann to a 
 Frenchman. 
 
 "With regard to the date of this portrait, some are of opinion that Henry was 
 about thirty-eight — certainly not more than forty — when it was painted, which 
 gives us the year 1529 ; and on this they ground a further argument against its 
 being by Holbein (though Holbein was in England by the beginning of 1527). 
 Two of the critics, however, just referred to, Mr. Wornum and Dr. Woltmann, 
 assign it to the period between 1532 and 1537; and there are two facts which 
 strikingly confirm their views, and make it highly probable that the correct date is 
 1536. For in 1535 on "the 8th of May the King commanded all about his court to 
 poll their heads ; and to give them example he caused his own head to be polled, 
 and from thenceforth his beard to be knotted and no more shaven." (Stowe's 
 Annals.) His hair and beard are treated in this fashion here ; previously it had 
 been cut straight across the forehead, and hung down lower than the ears all round 
 the head, and the face was shaven. Besides, in the year following, 1536, Henry 
 ordered Miles Coverdale's English version of the whole Bible, of which the printing 
 was finished on the 4th of October, 1535, and which was dedicated to the King, to 
 be laid in the choir of every church, " for every man that will to look and read 
 therein ; and shall discourage no man from reading any part of the Bible, but rather 
 comfort, exhort, and admonish every man to read the same. " To this, the text 
 which Henry holds in this portrait evidently refers ; and the frontispiece of the work, 
 in which the King is shown holding in each hand a book, inscribed "The Word 
 of God," and saying, "Take this and teach," with similar texts, confirms this 
 view. (See Archceologia^ xxxix., 250; Wornum's Holbein, pp. 34, 268; Mr. Scharfs 
 paper in Old London, pp. 292, 335 ; Dr. Woltmann's Holbein ; notes to the 
 Catalogue of the National Portrait Exhibition ^ 1861, and Froude's History of 
 England, iii., 76.) 
 
 564 Elizabeth of Austria, Queen of Denmark (2p<5) . . L. Cornelisz? 
 
 This has been hitherto called " A Lady of Henry VIII. 's Court," but we find it 
 in Charles I.'s catalogue, page 115: — Item. The ninth being Elizabeth the 
 Austrian, Queen of Bavaria, in a golden cloath habit, holding her two hands one 
 over another." 
 
 The word "Bavaria," as Mr. Scharf has pointed out, must be an error of the 
 cataloguer, for "Denmark," as there was no kingdom of Bavaria till very modem 
 days. This picture may, therefore, be the one of " Elizabethe of Austry, Queen 
 of Denmark, with a curtain," in Henry VIII. 's catalogue. (See No. 562.) 
 
 565 Lady of the Time of Henry VIII. .... L. Cornelisz? 
 
 This is perhaps " the Eighth, being the Countess of Collona, in a red habit, with 
 two hands," in Charles I.'s catalogue, page 115. Her left hand, on which there 
 are rings, is held up ; the fingers of her right are turned downwards, the tips touch- 
 ing a table in front of her. She has a heavy necklace, and a string of pearls. 
 
 1 88 
 
Hampton Court Palace, 
 
 566 Francis I. and his wife Eleanor of Spain (j/p) . . Janet? 
 
 Half-length, life-size figures. The Queen is on the right, turned slightly to the 
 left ; in her left hand she holds an artichoke, from which rises a caduceus, with 
 little bells at the top; her right hand is grasped by the King. He is turned 
 towards her, but looking in front ; his right arm is not seen, his left hand holds- 
 hers. He wears a furred robe with slashed sleeves, and on his head a black cap- 
 with a white feather, and a medallion with the initial " L" (the first letter of her 
 name,^ Leonora) ; while she has a black cap with a feather, and a medallion with 
 his initial, an "F." Her dress is embroidered and her sleeves puffed. Behind 
 her is a small figure of a fool dressed in green with his forefinger held up. Oa 
 wood, 2 ft. 4 in. high, by l ft. lo in. wide. 
 
 This curious picture has for at least 230 years been wrongly named ; the lady 
 being called **The Duchess of Valentinois, Francis I.'s mistress," while, in fact, 
 she is Eleanor of Austria, his wife. The earliest record of it under its erroneous 
 title is in the Commonwealth inventory, folio 506: — "Francis of France and ye 
 Duchess of Valentynois, sold to M'. Baggeley, Oct. 1651, for £^0.'" At the 
 Restoration ** Francis ye i* of France and the Duchess of Valentinois, by Gennet, 
 valued at ;^50 " was found at Hampton Court {Hist. Commission. ']th Rep. ) ; and 
 it was afterwards in James II. 's catalogue. No. 928, " Francis of France and his. 
 mistress, half-length." On wood, 2ft. 4 in. high, by i ft. loin. wide. 
 
 Unfortunately it does not appear in Charles I.'s catalogue at all, though it cer- 
 tainly was in his collection, as his cypher branded behind proves. But there can 
 be little doubt that it is identical with the picture described in Henry VIII. 's^ 
 catalogue, compiled in 1542, " The Frenche Kynge, the Queene his wiffe, and the 
 Foole standinge behynde him," a suggestion confirmed by the undoubted likenesses^ 
 to other unquestioned portraits. In any case the lady could not be meant for the 
 Duchess of Valentinois (Diane de Poictiers), for she never was Francis I. 's mistress 
 at all. (See Niel's Portraits.) 
 
 It was evidently painted at the time of their marriage, which was finally solem- 
 nized at Paris in March, 153 1. The alliance being regarded as an earnest for the 
 maintenance of the Treaty of Cambrai between Francis I. and Charles V. was very 
 popular in France. And to this the caduceus — the winged staff of Mercury and the 
 emblem of Peace — which the Queen holds in her hand, evidently refers. This fact 
 gives it a peculiar interest, particularly as it has been hitherto supposed that no- 
 likeness of her at so early an age was in existence. We see her here as she appeared 
 to her contemporaries : — 
 
 ** Ainsi que le soliel vient a chacer {sic) I'orage 
 Dout le pays d'autour est presque submerge ; 
 Cest astre ainsi voyant ce royaume afflige, 
 Vint d'Espagne, et le mit hors de peine et servage. ** 
 
 The meaning of the artichoke and the little bells on the caduceus, and also the 
 gesture of the fool in the background, is not equally clear. M. de Laborde, who 
 saw the picture some thirty years ago, and who was of course ignorant that the lady 
 was meant for the queen, communicated to M. Niel a curious and mystical expla- 
 nation of it, which, besides being too gross for quotation here, is certainly incorrect. 
 Some light may be thrown on the question by noting the fact that exactly the same 
 device is seen in an old panel picture, engraved by Vertue, of Charles Brandon, 
 Duke of Suffolk, and his wife Mary, widow of Louis XII. of France, probably 
 
190 
 
 Catalogue of Piditres. 
 
 painted about the time of their marriage, in 15 16, where they are represented in an 
 attitude almost identical with that of Francis and Eleonora in this picture ; and 
 also a similar one mentioned by Dellaway as belonging to Sir E. Bridges, where 
 the fool is introduced whispering monitory verses in his ear. 
 
 Lord Bath has a picture at Longleat exactly similar to this, which is perhaps the 
 repetition or copy formerly in Charles I.'s collection, valued at £(3, and found at 
 the Restoration in the custody of Arthur Samwell. 
 
 Since writing the above I have come across a letter of Mary Tudor, Louis XIL's 
 widow, dated 1530, and addressed to Francis I., which, taken with the above 
 remarks, seems to indicate the painter of this picture : — Monseigneur mon bons 
 fils, le present porteur maistre Ambroise, peyntre de tres reverendissime legat de 
 France archevesque de Sens, comme suis advertye, bien congnoissez, ayant eu 
 voulonte de venir par de 9a devers le roi, mon tres cher et tres honore frere et 
 moy, a son arrivee a fait de grans presens tant a luy que a moy, passans en 
 singularite plus que ne sauroye estimer, mesmement en choses concernans le fait 
 de son art, au tres grand contentement de mon dit seigneur et frere et moy, a raison 
 de quoy, monseigneur mon beau filz, non seullement pour le bon sens et savoir qui 
 par approbacion, a este congneue estre de plus grande experience que nul qui fut 
 jamais par de 9a, mais aussi de bon voulloir et affection qu'il a eu de me venir 
 visiter et faire chose qui grandement a este a ma resjouissante, je vous frie tant 
 affectueusement que faire puis, pour et en faveur de moy, avoir le dit Ambroise en 
 vostre singuliere recommandation en toutes ses affaires dont il a necessairement 
 besoing, cognoissant qui est un homme qu'on ne doit oublyer, vu ceque dit est, luy 
 donnant par vous a congnoistre que a ma requeste ceste rescription luy a ete 
 prouffitable. Ce faisant, me feret tres singulier plaisir ainsi que le benoist fils de 
 Dieu S9ait, qui, monseigneur mon bons filz, vous ait et maintiengne en sa tres saincte 
 et tres digne garde avec longue vie. Escript a Londres le xiiie lour joing I'an 
 mil v'^xxx. Vostre bonne mere, Marie." 
 
 567 Lady of the Time of Henry VIII. (jo^) .... L. Cornelisz. 
 
 In Charles I.'s catalogue, page 11/^:— Item. The third a Lady's picture, 
 being in a red cloth habit, laying her two hands upon a table, with white furred 
 ermine sleeves." She has a yellow cap and a necklace. (See No. 562.) 
 
 568 James II., when young Honthorst. 
 
 ( Withdrawn?) 
 
 569 Christian, Duke of Brunswick, in his youth .... 
 
 Full-length, turned to the right, facing in front. His right hand is on his hip, 
 his left rests on the hilt of his sword. He wears a doublet and full breeches of a 
 thick white glossy material, laced with narrow perpendicular lines of gold thread. 
 Over his shoulder is a dark cloak, trimmed with broad gold braid. He has 
 stockings of white silk, red bows at the end of his trunk hose, black shoes with 
 small red rosettes, and a collar-ruff open at the throat. Behind him, on the left, is 
 a table, with a red cloth, on which is a black cap with jewels. Above is a green 
 curtain. He stands on a floor of plain flagstones. On canvas, 6 ft. in. high, 
 by 3 ft. 4 in. wide. 
 
 This has hitherto been unnamed, but in the upper left-hand corner is the 
 inscription :—" 1609;" it is therefore doubtless a portrait of 
 
 Christian, the son of Henry, Duke of Brunswick (No. 335), and the chivalrous 
 
Hampton Court Palace, 
 
 191 
 
 supporter of the cause of his unfortunate cousin, Charles I.'s sister, Elizabeth, 
 Queen of Bohemia. It is a companion picture to that of his sister (No. 283), and 
 is doubtless by the same painter. Compare also Nos. 332 and 59, which are both 
 in the same style. For an account of Christian himself, see the portrait of him by 
 Mytens, dated 1624, No. 330. 
 
 570 The Sleeping Shepherd {ii2g) Gennaro. 
 
 This was formerly unnamed, but it is no doubt the "Large piece, being a 
 Shepherd and Shepherdess ; by Gennaro," No. 309 in James II. 's catalogue ; and 
 afterwards in William III.'s, and in Queen Anne's, No. 254: — *'A Shepherd 
 sleeping, tw^j women stealing his flute j by Gennaro." 
 
 He lies with his head to the right. 
 
 571 William III. when young {252) Hanneman. 
 
 Full-length, turned to the left, facing in front. His right hand is resting on a 
 baton which is itself resting on the base of a column by his side ; his left is on his 
 sword. He is attired in armour, with butf boots, &c. , and a blue scarf round his 
 left arm. In the background are rocks and trees, and a column on the left, on the 
 abacus of which is the signature : — " Adr. Hanneman, f. Ano. 1664." On canvas, 
 6 ft. 3 in. high, by 3 ft. 4 in. wide. 
 
 William of Orange was fourteen years of age when this portrait was painted, and 
 had already given signs of those great qualities which afterwards distinguished him. 
 *'He found himself," says Macaulay, "when first his mind began to open, the 
 chief of a great but depressed and disheartened party, and the heir to vast and indefi- 
 nite pretensions, which excited the dread and aversion of the oligarchy, then 
 supreme in the United Provinces. " He had, in fact, been deprived of his hereditary 
 rank and office of Stadtholder by the influence of Cromwell ; but his prospects 
 greatly improved with the restoration of the Stuarts. 
 
 Hanneman was the favourite painter of his mother, the Princess of Orange. (See 
 notes to Nos. 766 and 777') 
 
 572 Countess of Derby {343) L. da Heere? 
 
 Half-length, facing in front. She is dressed entirely in black, with a large black 
 lace ruff behind her head. Her hair is red and frizzled. On wood, 3 ft. 3 in. high, 
 by 2 ft. 10 in. wide. 
 
 In the upper right-hand corner of this picture is painted : — * ' Countes of Darby; " 
 but the inscription is not very old ; and it is doubtful whether it represents a Lady 
 Derby at all. It is not unlike some of the portraits of Queen Elizabeth. 
 
 573 Portrait of Sir George Carew {344) J 
 
 Half-length, facing in front. His right hand is holding his gloves, his left is in 
 his belt. He wears a white slashed doublet, a large black furred cloak, with a 
 tippet of whitish fur ; his hat is on one side, and he has a small collar ruff. His 
 beard is short ; he has a chain on his breast. Above is inscribed : — "ANO. DnI. IS^S* 
 ^TAT sv^. 54." ■ On wood, 3 ft. 3 in. high, by 2 ft. 6 in. wide. 
 
 Sir George Carew, the eldest brother of Sir Peter (see No. 615), was a soldier 
 and sailor in the reign of Henry VIII., and in 1545 commanded the Mary- Rose, 
 one of the largest ships in the King's great armament against the French. Henry 
 had dined on board on the day of the action, but the ship was afterwards sunk t)n the 
 first onslaught of the French, and all on board were lost. There must conse- 
 
192 
 
 Catalogue of Pictures, 
 
 quently be either some error in the date in the inscription, or else it cannot be a 
 portrait of Sir George Carew. 
 
 There is a drawing of him among the Holbein heads, and this portrait has been 
 attributed to the master, but without warrant. 
 
 574 Portrait of a Man with a Paper in his hand {go6) . . Giorgione? 
 
 Half-length, looking to the right, but turned to the front. His left hand is 
 raised to his coat, his right holds a paper. His coat is dark, under it is a white 
 frilled shirt. On wood, i ft. 9 in. high, by i ft. 5 in. wide. 
 
 •* A young fellow holding a paper in his hand, by Giorgione," was sold 23rd 
 October, 165 1, for ;^30, and reappears in James II. 's cataloguefl^No. 506. 
 
 575 Portrait of a Gentleman (pjj) unnamed. 
 
 Bust, looking in fi-ont. He is in his plain white shirt, with a dark cloak over 
 his left arm. He wears earrings. On wood, 2 ft. high, by ft. wide. 
 
 576 Venus mourning over Adonis' Body {148) . . . B. Van Orley. 
 
 His body lies on the ground, with the feet towards the spectator. On the 
 left are two nymphs, weeping, one standing a little behind, the other kneeling at 
 his feet. On the right is Venus, with an armlet and tiara, also weeping over him ; 
 a dog is by her side. The background is a wooded landscape, with a boar-hunt in 
 the distance. On wood, 3 ft. high, by 2 ft. 6 in. wide. 
 
 This is probably the piece in the Commonwealth inventory, Venus bewailing 
 Adonis," which was sold to Mr. Lampitt for £(i loj-,, January 7th, 1651. A dupli- 
 cate is in the possession of Mr. Wm. Donald Napier. 
 
 577 Portrait of Edward III. {gi5) imnamed. 
 
 Bust, looking to the right. He has a long white beard, and long hair over his 
 shoulders. He wears an ermine tippet over a gold-edged robe. In front is painted 
 
 ED WARD vs III." On wood, I ft. 6 in. high, by 10 in. wide. 
 
 "There is a duplicate of this at Windsor let into a panel in the little corridor" 
 {Royal Catalogm). It is probably a copy made about the close of the fifteenth 
 century from a portrait in some illuminated manuscript, such as those in the 
 magnificent copy of Froissart in the British Museum, or some fresco in a church, 
 such as that which was discovered in 1800 on the wall of St. Stephen's, West- 
 minster, but which has since been destroyed. There is said to be another in 
 distemper in the Royal Chapel at Windsor. 
 
 578 Holy Family with SS. Andrew and Michael {146) Schoreel. 
 
 The Blessed Virgin is seated in the middle, beneath a rich canopy in the Renais- 
 sance taste, with the Infant Jesus on her lap. Her left hand supports Him, and in 
 her right she holds an apple. On the right stands St. Andrew, looking at them, 
 holding in his right hand an open book, and under his left arm his cross. On the 
 left is St. Michael in armour, and with wings, holding a shield in his left hand, 
 and grasping in his right a spear, with which he transfixes Satan, on whom he 
 tramples. In the background on either side is a landscape, in which is a town on 
 the left. On wood, 2 ft. 4 in. high, by 5 ft. wide. 
 
 This was in Charles I.'s collection, and it has his cypher behind. It was sold 
 by the Commonwealth for £\o. 
 
 It was formerly ascribed to Mabuse ; "but, judging from the only well-attested 
 
Hampton Court Palace, 
 
 193 
 
 picture by Jan Schoreel in the town-hall at Utrecht, decidedly by this painter, who 
 was a pupil of Mabuse. His great reputation in his own time, and the rarity of 
 his works, render this work very remarkable." — {Waagen). 
 
 579 St. Jerome with a Lion by him (pd^j) . . . J. van Hemmessen ? 
 
 He is seated, turned slightly to the left. On his knees he holds an open book, 
 in which he is writing. A lion crouches by his feet on the left. He is bald-headed, 
 and has a coarse beard. In the foreground on the right are some figs. Behind 
 are rocks and a landscape. On wood, 3 ft. 3 in. square. 
 
 Behind is Charles I.'s cypher, and it is perhaps the picture of St. Jerome entered 
 in his catalogue, page 156, though the description given there does not quite agree. 
 We trace it in the Commonwealth inventory : — " St. Jerome, done by Quentin, sold 
 to Mr. King, 28th May, 1650, for £^0^ A similar piece, by Quentin (Matsys), 
 is described in the Duke of Mantua's catalogue of 1627 ; so this, perhaps, formed 
 part of the Mantuan collection. We find it again in James II. 's catalogue, No. 
 822 : — *' St. Jerome sitting with a lion by him ; by Quentin Matsys." 
 
 It is now assigned to Hemmessen, a pupil of Q. Matsys. There is a similar 
 picture at Vienna. 
 
 580 The Last Supper {8q) Palma Giovine. 
 
 Christ is seated in the centre of a long table, on which are four candles. St. 
 John is on His left side with his head on His bosom. On wood, i ft. 5 in. high, by 
 3 ft. 2 in. wide. 
 
 This is the " Little piece of young Palma, being the Lord's Supper, little entire 
 figures. Brought by the Lord Marquis of Hamilton out of Germany, and given to 
 the King " in Charles I. 's catalogue, page 7. " The Last Supper by Palma," was 
 sold 2 1 St May, 1650, to Mr. Emmery for ;i^i2. 
 
 581 Turkish Warrior on Horseback (jp^) . . Mazzolino da Ferrara. 
 
 The principal figure is on a white horse; he has a brazen helmet with white 
 plumes ; behind him is another with a large white turban. In front are a man with 
 a red shield and a sword, and a boy. On wood, 10 in. square. 
 
 In James II.'s catalogue. No. 370 : — "A small piece; figures on horseback, one 
 with a white turban." "A genuine picture." — {Waagen.) 
 
 582 La Belle Gabrielle, Mistress of Henri IV. {go8^. . ? 
 
 Bust, facing in front. She wears a black dress trimmed with lace, and a high 
 stand-up ruff. Her hair is powdered, or of a very light colour, and frizzled. She 
 has a string of pearls round her neck. The inscription above, "La belle Ga- 
 brielle," is not more than 150 years old. On canvas, i ft. 9 in. high, by i ft. 
 2 in. wide. 
 
 This picture, though probably only a copy, or at best a replica from some original 
 in France, seems to be a fair likeness, judging from the coloured engraving in Niel's 
 Portraits des Personnages Frangais, &c. (See vol. i., where her "iconography" 
 is discussed in detail, and several anecdotes given ; and see Pierre Colan's Belie 
 Gabrielle, and the numerous memoirs of her. See also Lord Ronald Gower's 
 autolithograph from the portrait in the collection at Stafford House. ) 
 
 Gabrielle d'Estrees, Marq^uise de Monceaux, Duchesse de Beaufort, the famous 
 mistress of Henri IV., was the daughter of Antoine, Marquis d'Estrees, and was 
 born in 1571. It was in 1591 that she was first introduced to the King, who at 
 once fell passionately in love with her, and not only overwhelmed her with presents, 
 O 
 
194 
 
 Catalogue of Pictures. 
 
 titles, and favours of all sorts, but treated her also with as much respect as kindness 
 and affection ; his attachment was indeed very different from ordinary ones of this 
 nature ; his letters to her, which are among the most charming in the French 
 language, breathing the deepest and the tenderest love. An extract from one of them 
 may be cited here, as it refers to a picture of her : — * ' Je vous ecris, mes cheres amours, 
 des pieds de votre peinture, que j 'adore seulement pour ce qu'elle est faite pour 
 vous, non qu'elle vous ressemble. J'en puis etre juge competant, vous ayant 
 peinte en votre perfection dans mon ame : dans mon ame, dans mon cceur, dans 
 mes yeux. " 
 
 Sainte Beuve's summary of her charms (Causerzes du Lundi, viii.) may be com- 
 pared with the portrait before us : — " Elle etait blanche et blonde, avait les cheveux 
 blonds et d'or fin, releves en masse ou mi-crepes par les bords, le front beau, 
 Ventr'oeil (comme on disait alors) large et noble, le nez droit et regulier, la bouche 
 petite, souriante et pourprine, la physionomie engageante et tendre, un charme 
 repandu sur les contours. Ses yeux etaient de couleur bleue et d'un mouvement 
 prompt, doux et clairs. D'un esprit gentil et gracieux, elle avait surtout un naturel 
 parfait, rien de savant ; le seul livre qu'on ait trouve dans sa bibliotheque etait son 
 livre d'heures." 
 
 La Belle Gabrielle is supposed to have even inspired Henri IV. to write charming 
 poetry, such as the famous lines beginning : — " Charmante Gabrielle, perce de mille 
 dards," though modern criticism denies his claim to them. His project of making 
 her queen of France, which was so vehemently opposed by Sully, was abruptly 
 terminated by her sudden death in 1 599. 
 
 583 Portrait of a Gentleman Unknown {gi2) unnamed. 
 
 Bust, looking in front. He has a dark dress with a large linen collar, and a dark 
 beard and hair. On canvas, i ft. high, by ft. wide. 
 
 584 Portrait of a Gentleman Unknown {485) unnamed. 
 
 Head, turned slightly to the left. His dress is a rich crimson, with a small 
 collar-ruff and a black cap. Round his neck is a gold chain. On canvas, i ft. 
 9 in. high, by i ft. 5 in. wide. 
 
 Perhaps this is the Emperor Rudolph, see No. 630. 
 
 585 Elizabeth Woodville, Wife of Edward IV. (jc>o) . . . . unnamed. 
 
 To the waist, showing both her hands in front of her, with a ring on the right 
 little finger. She wears a dark dress, a small gold cap with a thin veil behind, and 
 a necklace with an ornament of a red rose in front. Her hair is short. On wood, 
 I ft. 3 in. high, by 9J in. wide. 
 
 On an old scrap of paper, at the back of this panel, is a half-obliterated inscrip- 
 tion : — ^''Elizabeth ? Erdw . . di III. (?)." It is doubtless, therefore, 
 
 the "Whitehall piece, the sixteenth, in a black and gold habit, with a golden 
 dressing on her head, being Princess Elizabetha Regina Edwardi" in Charles I.'s 
 catalogue, page 117. It may be an original portrait of her, or perhaps only a copy 
 after a manuscript or a fresco (see note to No. 577). There is another portrait of 
 her in the Ashmolean Museum ; and a similar one to this at Windsor. 
 
 586 Children Playing with a Lamb {2sg) F. Floris. 
 
 The lamb is on the ground near a tree ; one of the children is St. John, with a 
 cross. In the background a landscape, with people walking along a road, and a 
 ^ chateau. On wood, 2 ft. 3 in. high, by 2 ft. 9 in. wide. 
 
Hampton Court Palace. 
 
 195 
 
 A picture of " Three naked boys, playing with a lamb," was sold by the Com- 
 monwealth to Mr. Wright, 2 1st of May, 1650, for ;^io \os. It reappears in James 
 II. 's catalogue. No. 935. 
 
 Floris was a Dutch imitator of the Italian style. 
 
 587 Death and the Last Judgment (7J7) . . . M. Hemskerk. 
 
 On the left is represented a man on his death-bed, in a tent beneath some trees ; 
 he is surrounded by figures of Faith, Hope, and Charity, and a priest is adminis- 
 tering the last sacraments. At the foot of the bed are a pilgrim's staff, hat, and 
 shoes. In the other part of the picture opposite to him is shown the Resurrection 
 and Last Judgment — the central foreground being occupied with the dead in 
 their cere-garments rising from their tombs, while to the right hand Christ appears 
 in the clouds. He is attended by St. John on his left hand, and the Blessed Virgin 
 on his right ; while preceding them is "a female figure of Fame, not an Angel," 
 sounding a serpent-like trumpet. Beneath is the mouth of Hell, a monster's head 
 with gaping jaws ; a devil with a pitchfork standing in the front of the lower jaw 
 between the tusks. Into it a crowned figure, representing Earthly Pomp, is 
 being drawn by a troup of demons. In the centre distance are a blaze of empty 
 yellow light and a rainbow, and a lake on which is Charon and his boat, with nume- 
 rous souls. On wood, 2 ft. 4 in. high, by 5 ft. 2 in. wide. 
 
 This picture is far from being badly designed, some of the figures being exceed- 
 ingly well drawn, and their expressions of fear, joy, hope, and despair admirably 
 portrayed. But the grotesque element that pervades it renders it amusing rather 
 than impressive. "The Last Judgment " was a favourite subject with the earlier 
 painters, especially of the Teutonic schools, who turned instinctively to a topic which 
 gave such scope for the fantastic. The treatment here, however, ''displays a 
 studious departure from the established arrangement of the older artists. " This is 
 due to the painter, Martin Van Veen (called Hemskerk from the place of his 
 birth), having learnt the Italian taste from his master Schoreel, and afterwards 
 carrying it out, subsequent to his visit to Rome, in its most repelling form. It is 
 probable that the panel before us was executed after he had seen Michael Angelo's 
 famous fresco in the Sistine Chapel. (See Handbook of Dutch, ^c. Schools, 237 ; 
 and Mr. Scharfs interesting paper on ** Representations of the Last Judgment," in 
 Archceologia, xxxvi., 370, illustrated by numerous outline sketches.) 
 
 The first mention of this piece is in James II.'s catalogue. No. 973 : — "The 
 Resurrection, a large piece, by Hemskirk." It is signed in the left-hand corner : — 
 
 "iWartgnus Vm l^cemfftercfe Inbentor." In an old catalogue (1818) it is 
 
 stated to have been painted for a pupil of his, Jacob Raswaert. 
 
 588 The Judgment of Paris . Lucas Cranach. 
 
 Paris, represented as a fat boor in rich armour ornamented with red, is seated on 
 the left, and looking up at the goddesses. Behind him is an elderly man in a grey 
 beard, bending over him. On wood, i ft. 8 in. high, by i ft. i\ in. wide. 
 
 It was in James II.'s catalogue, No. 976, and attributed to Hemskerk. 
 
 589 Portrait of a Young Man (275) .... Albrecht Durer. 
 
 This is the *' red-faced man's picture, without a beard ; in a long reddish hanging ; 
 in a black cap, and with a black habit lined with white fur ; a little of his white 
 shirt and red waistcoat seen ; painted upon board ; done by Albert Durer " in 
 Charles I.'s catalogue, page 157 ; and the " man's head, red hair and a black cap. 
 
196 
 
 Catalogue of Pictures, 
 
 with a fur gown, by Albert Durer " in James II. 's, No. 637. It is a little less 
 than life. At the top, but hidden by the frame, is his monogram, A. D., and the 
 date 1506. On wood, i ft. ^in. high, by 10^ in. wide. 
 
 "A young man's head by Albert Durer" was sold by the Commonwealth to 
 Mr. Grinder, October 23rd, 165 1, for ;^6o. 
 
 In 1506 Albrecht Diirer journeyed into Upper Italy, and resided some time at 
 Venice. It was probably there that he painted the panel before us. In the 
 Belvedere is a similar portrait of a young man with high colour, dated 1507. 
 Waagen pronounced this ** spiritedly and nobly conceived, and of masterly execution 
 in his brownish and occasionally somewhat heavy tones." 
 
 590 Head of a Man in an oval {2^6) School of Memling. 
 
 A head, less than life, of pallid complexion, with long bushy light-brown hair. 
 His habit, of which very little is seen, is black, the collar tied in front with three 
 laces. From it hangs some ornament with very minute pearls. His face is ugly 
 and oblong. On wood, i ft. \ in. high, by 11 in. wide. 
 
 This picture was formerly catalogued as a work of Sir A. More's, but it is 
 undoubtedly from the hand of a very early Flemish painter of the school of 
 Memling, the great master of Bruges. (See Crowe and Cavalcaselle's Early 
 Flemish Painters, p. 295.) There is a very similar portrait, and evidently of the 
 same man, at Stafford House, which in Lord Ronald Gower's Lenoir Collection is 
 attributed to Van Eyck, but which is more probably by a follower of Memling. 
 (See Crowe and Cavalcaselle, ubi supra, p. 128.) There are good grounds for 
 believing it to be a portrait of Apthony, the Bastard of Burgundy, brother of 
 Philip the Good, who was invested with the Order of the Golden Fleece in 1456 : 
 the ornament on his breast may be that order. 
 
 591 Elizabeth, wife of Lord Vaux, the Poet {337) . . Holbein. 
 
 Small bust, nearly full-face. She is in black with ermine over her sleeves, and 
 wears a diamond-shaped hood turned up with yellow and edged with pearls. Her 
 hands are crossed in front of her, and in her right she holds a gillyflower or pink. 
 A fine black chain is thrown over her neck. On her breast is a gold and enamel 
 broach, with a cameo of the Madonna enthroned. On wood, i ft. 3 in. high, by 
 1 15^ in. wide. 
 
 The original drawing by Holbein for this picture is at Windsor ; the imitation of 
 it by Bartolozzi will be found among the well-known * ' Holbein Heads. " There 
 is a duplicate belonging to the Emperor of Austria at Prague. 
 
 This is unanimously pronounced a fine and genuine work of Holbein's. The 
 head has been repainted, and to this we must, in the opinion of Mr. Wornum and 
 Dr. Woltmann, attribute its faded condition, though Dr. Waagen thought it due 
 to the master's attempt ' ' to give the refinements of modelling in grey half tones. " 
 It is a picture of his later time, probably about 1537, when Lady Vaux was about 
 thirty-two. (Wornum's Holbein, p. 411, and Woltmann's, p. 400.) It did not 
 belong to Charles I., but is probably identical with *' The picture of Madame de 
 Vaux, by Holbein," which was among the Duke of Buckingham's pictures sent to 
 be sold at Antwerp, whence it presumably returned with "the Dutch Gift," for we 
 find it in James II.'s catalogue. No. 410, described as ** One of King Henry VIII.'s 
 Queens, holding a gillyflower." 
 
 Lady Vaux was the only child and heiress of Sir Thomas Cheney of Ditton in 
 Cambridgeshire and Irtlingburgh in Northamptonshire, by his wife Anne, daughter 
 
Hampton Court Palace. 
 
 197 
 
 of Sir William Par. She married Thomas, second Lord Vaux, of Harrowden, the 
 poet of Henry VIII. 's reign, who was five years her junior, having been born in 
 15 10. There is a drawing for a portrait of him by Holbein at Windsor. 
 
 592 Portrait of a French Nobleman? Janet? 
 
 Half-length, less than life ; facing to the right. He wears a brown coat, a 
 black doublet, a white shirt embroidered in black, and a black cap. In his 
 left hand he holds a small book bound in brown leather, with black strings, and in- 
 scribed "PETRARCA." In his right hand, which is gloved, he holds his left-hand 
 glove. He has thick brown hair and a short close beard. On wood, I ft. 3 in. 
 high, by i ft. i in. wide. On the back is a slip of paper, with the inscription, but 
 not very ancient : — " Portrait of a French Nobleman, by Jennet." 
 
 This does not appear to have belonged to Charles I. ; but we find it in James II.'s 
 catalogue, No. 634 : — " A man's picture in a black cap, with a book in one hand, 
 a glove in the other, by Jennet." It is certainly not by Holbein, to whom it is now 
 attributed. 
 
 593 Portrait of a Young Man {108 Hans Baldung. 
 
 Half-length ; less than life. His hair and beard are dark brown. He wears a 
 dark doublet sable-lined, and a furred gown ; his shirt showing between. He has 
 a black cap on which is a medal, and round his neck is a gold chain with a cross ; 
 a sword is by his side. In his left hand is a glove, and he has a ring on his fore- 
 finger, with yellow devices on a blue shield. On panel, i ft. 4 in. high, by i ft. i in. 
 wide. 
 
 In the right-hand corner is a signature, H. and B. with a small g on the cross-bar 
 of the H. This is the monogram of Hans Baldung, commonly called Grien. It is 
 dated A.d. 1539, and is probably an authentic work of his, painted while he held 
 the office of painter to the bishop of Strasburg, between the years 1533 and 1552, 
 when he died. He had at that time a great reputation as a portrait painter, and 
 is well known as the artist of the altar-piece at Freiburg in Bresgau. Of course it has 
 been attributed to Holbein, and even so early as the time of James II., for it is No. 
 302 of his catalogue. In recent times, like many other portraits going without 
 names, it has been labelled a " portrait of Holbein." It is perhaps needless to say 
 it bears no resemblance to him at all. It has been injured and retouched. (See 
 Wornum's Holbein, pp. 34, 212, and Dr. Woltmann in the Fortnightly Review, 
 Sept., 1866.) 
 
 694 Erasmus writing {331) . by Cornelius Vischer? after Q_. Matsys? 
 
 Small half-length, turned to the right, but both his eyes seen. It is not certain 
 whether he is supposed to be sitting or standing. In front of him is a desk, on 
 which lies a book, in which he is writing. His right hand, the forefinger of which 
 has a ring, holds the pen ; his left hand is not seen. The background represents 
 
 ' a sort of shelved recess or bookcase, with six books in it : on the edges of the 
 leaves of the topmost book are the letters hor— for Horace ; on one beneath, 
 NOVVM TESTAMENT ; on another, A0YKIAN02 (Lucian) ; and on a fourth, 
 HIERONVMVS (Jerome). Hanging on a nail from one of the shelves is a pair 
 of scissors. On parchment ? backed up with oak, i ft. 8 in. high, by i ft. 6 in. 
 wide. 
 
 Mr. Wornum considered this picture a fine genuine Holbein, and added that "the 
 lines and touches of the original drawing are still visible beneath the brown film which 
 
198 
 
 Catalogue of Pictures. 
 
 covers all ; there seems to be even distinct pen hatchings among the shadows, and 
 the whole gives the impression of a varnished drawing on paper, or rather parch- 
 ment, being merely strengthened by an oak backing." 
 
 But a note in the Royal Catalogue states that "Mr. Lewis Hyman, assistant 
 keeper of the Bibliotheque Royale at Brussels, writes that it is a copy of the 
 portrait painted for Sir T. More by Q. Matsys." And it is also suggested that it 
 is identical with the picture in Charles I.'s catalogue, page 5, described as : — 
 *' Some schollar without a beard, in a black habit and a black cap, looking down- 
 wards upon a letter which he holds in both hands, being side-faced, less than life ; 
 which was sent to the King by his Majesty's sister, by Mr. Chancellor, Sir Henry 
 Vane, Lord Ambassador from the King to the King of Sweden, painted upon the 
 right light, I ft. 7 by I ft. 55. Done by Cornelius Vischer." That it was in 
 Charles's collection is certain from the back of the panel being branded with his 
 cypher — C.R. and the crown. 
 
 A very similar picture, where the philosopher is turned to the left, is now in 
 the Louvre ; it formerly belonged to Charles I., but he exchanged it with Louis 
 XIII. for a Leonardo da Vinci. And another more closely resembling this is at 
 Longford Castle, Lord Radnor's, which is attributed to Quentin Matsys, and 
 indeed believed to be the original one which the artist painted for Sir Thomas 
 More. (See Womum, pp. 145-148.) 
 
 595 Three Children of Christian II. of Denmark (jop) . Mabuse. 
 
 Three children, much less than life, seen at half-length, at a table. The one in 
 the middle has a hat on ; the child to his right, who is younger, is without a hat, 
 and wears a square cut dress and a string of beads round its neck ; the one on his 
 left, who is younger still, wears a hood. They all have their hands on the table, 
 on which are some apples. On wood, i ft. 2 in. high, by i ft. 6 in. wide. 
 
 This curious picture has been supposed, until recently, to represent the three 
 children of Henry VII., namely. Prince Arthur, Prince Henry, and Princess 
 Margaret, and was so engraved by Vertue in 1748, and is still so labelled. But 
 since Mr. Scharfs interesting paper read before the Society of Antiquaries in 
 i860, and printed xn Arch(Eologia, vol. xxxix., page 245, there can be no doubt that 
 they are really the three children of Christian II., King of Denmark, who spent, 
 with his wife, a niece of Catherine of Arragon's, about three weeks in England in 
 1523- 
 
 Ihe grounds for this belief are, shortly, that the costume is rather that of the 
 time of Henry VIII. than Henry VII., and apparently not earlier than 1525 ; that 
 the physiognomies are quite unlike those which we are accustomed to find in 
 portraits of English royal children of that period ; and that the eyes of all these 
 children are brown, while Henry VIII. 's were blue. It is found, too, that their 
 ages would exactly correspond ; the eldest being John, who was bom in 15 18, and 
 the youngest being Christina, afterwards Duchess of Milan, a beautiful woman, 
 who, when Henry VIII. wanted to marry her, begged to decline the offer, 
 remarking that she only had one head. Her full-length portrait by Holbein is 
 now on exhibition at the National Gallery, lent by the Duke of Norfolk. 
 
 The panel is, in fact, doubtless identical with the picture entered in Henry VIII. 's 
 catalogue, compiled in 1542, as : — "A table with the pictures of the three children 
 of the King of Denmark ; with a curtain of white and yellow scarcanet, paned 
 together." And it is unquestionably the same as the one entered in Charles I.'s 
 catalogue, thus : — '■'Item. Another picture, wherein two men children and one 
 
 I 
 
Hampton Cotirt Palace. 
 
 199 
 
 woman child, playing with some apples in their hands, by a green table ; little 
 half-figures upon a board in a wooden frame. A Whitehall piece thought to be 
 of Jennet. " 
 
 The mistake probably had its origin in the carelessness of Vertue, who, in the 
 printed copy of Charles I.'s catalogue, altered the word " apples " into *' oranges," 
 substituted " curiously painted byMabusius" for "thought to be of Jennet," and 
 gratuitously stated that they were the children of Henry VII. An inscription 
 behind this panel, stating them to be Henry VII. 's children, and with the word 
 ^' Mabuze," is comparatively recent. The earliest instance of its being ascribed to 
 Mabuse is in the Commonwealth inventory, among the pictures at St. James's, 
 where it is entered as *' Three children in one piece by Mabusee, sold to Mr. Grinder 
 for;^io, 23'^dOct. 1651." 
 
 There are several replicas or copies of this picture, one of which is at Wilton 
 (Lord Pembroke's), another at Sudely Castle, and others which belong to Lord 
 Radnor, and Lord Methuen. The inscriptions on them were perhaps copied 
 from the one behind this picture. (See the whole question exhaustively stated in 
 Mr. Scharfs paper as above; and in Mr. Wornum's Holbein, p. 85.) 
 
 596 Martyrdom of St. Sebastian (^JJ") .... Lucas van Leyden. 
 
 One of three pieces by this master in Charles I.'s collection, pages 11 and 16, 
 and entered : — *' A piece where Saint Sebastian stands tyed to a stump of a tree to 
 be shot at. Done by Lucas van Leyden ; bought by the King of Sir James 
 Palmer." The saint is on the left, his body pierced with arrows, and some four 
 or five soldiers are shooting at him with bows and arrows. On wood, i ft. 8 in. 
 high, by i ft. 2j in. wide. 
 
 597 Erasmus, with his hands on a book {324) . . . Holbein. 
 
 Companion piece to No. 603. 
 
 Half-length, less than life, turned slightly to the right ; his face being seen 
 nearly in full. He wears a black coat, trimmed with fur, and a black cap. The hands, 
 which are admirably drawn, are both resting on a closed red book, which lies on 
 a desk or table in front of him. Some other books with clasps are on the right. 
 The mouth with its sharp sarcastic expression is exquisitely modelled, and the 
 small piercing eyes well portrayed. The background was originally plain, but 
 was altered by Steenwyck (see No. 603), and now represents a Gothic church. 
 On parchment? backed up with wood? i ft. 9| in. high, by i ft. i in. wide. 
 
 For the history of this picture, see note to No. 603, the companion portrait of 
 Frobenius, to which it was originally hinged so as to form a sort of book. 
 
 According to Mr. Wornum, "it was Holbein's custom occasionally to attach his 
 crayon or body-colour drawings — whether on paper, parchment, or vellum — to 
 panels, and finish them in a rough way as pictures, the heads and hands perhaps 
 being the only parts thoroughly elaborated ; the parchment covering acting as the 
 priming of the panel. Of course such drawings, however masterly they may 
 originally have been, would lose immensely by accumulations of dirt and varnish." 
 He supposes this, and Nos. 603 and 610, to be drawings treated in this manner. 
 
 598 Francis I. of France {33d) Jean Clouet? 
 
 Half-length, turned towards the right, seen only to the shoulders. On wood, i ft. 
 3 in. high, by i ft. ^ in. wide. This is doubtless : — "The table with the picture 
 of the French Kyng, having a doublet of crimson colour and a gown garnished 
 
200 Catalogue of PicHcres. 
 
 with knots made like pearls ; " in Henry VIII. 's collection in 1542, and entered 
 in the catalogue made for Edward VI. in 1649, as : — ** A table with the picture of 
 Francis the French King." In both cases it immediately precedes that of his 
 wife, Queen Eleanor, to which it was a companion -portrait (see note to No. 561), 
 as, in fact, it is afterwards stated to be in Charles I.'s catalogue, page 109 : — ** The 
 fellow-piece being the picture of Francis, King of France, painted upon a board, a 
 green ground, in a black cap anda white feather ; so big as the life, to the shoulders, — 
 done likewise by Jennet, a Frenchman ; " and on the back of the panel is Charles I.'s 
 brand. It was afterwards sold by the Commonwealth to Colonel Webb, 30th of 
 October, 1649, for;^io, but reappears in James II. 's catalogue, No. 573: — "King 
 Francis the First of France to the waist. " 
 
 From the date of Henry VIII. 's catalogue given above, we can fix approximately 
 the time when this was painted ; and that being determined, it is pretty certain that 
 if it be the work of one of the Clouets (Janet), it must be by the father Jean (see 
 note to No. 561). It is probably, however, not an original at all, though very likely 
 a copy out of his studio — particularly as an exactly similar portrait, though larger 
 in size and finer, is now in Lord Dudley's collection, and another inferior repetition 
 at the Louvre. (See Niel's Portraits, where he exhaustively discusses all the portraits 
 of Francis I., though his arguments are unfortunately vitiated by his ignorance at 
 that time of the existence of two Janets. Compare M. de Laborde's Renaissance 
 des Arts, pages 13-24, and passim.) 
 
 The incidents of Francis I.'s life are so familiar to everyone that no reference 
 need be made to them here. But the visitor may like to compare this portrait 
 with the account given of him by an old French chronicler. '* II estoit d'une taille 
 belle, bien proportionne de membres ; portant en son seul visage la majeste qui 
 resplendissoit en ses faits, dits, gestes et comportemens. Son front estoit eleve, 
 portant marq[ue de generosite, le nez long, grand (d'ou par le commun populaire il 
 a este appele le roy au grand nez), dresse toutes-fois selon le juste compartiment de 
 son visage ; ses jeux estoient clairs et flamboyans : sa teste si bien faite que par la 
 figure d'icelle on ne pouvoit juger de lui autre chose q'une grande maturite et 
 sagesse de roy." 
 
 The old English chronicler. Hall, also describes him, at the Field of the Cloth 
 of Gold (see No. 342), as " A goodly Prince, stately of countenance, merry of 
 cheer, brown-coloured, great eyes, high-nosed, big-lipped, fair-breasted and 
 shouldered, small legs and long feet." 
 
 599 Mary Magdalen at our Lord's Sepulchre {383) . Holbein? 
 
 On the right is the sepulchre, in which, through an opening, are seen two angels 
 sitting by the tomb. They are illumined by a sort of supernatural glow, which 
 contrasts with the morning twilight outside. In front is Mary, with a marble cup 
 of spikenard in her left hand ; her right being extended towards our Saviour, who is 
 shrinking back. Behind are a woman and an oldish man, hastening away. In the 
 background the morn is seen just breaking, and Calvary with the crosses in the 
 left distance. The air of startled eagerness of Mary Magdalene is exceedingly well 
 portrayed. On wood, 2 ft. 6 in. high, by 3 ft. 2 in. wide. 
 
 This is probably the "Table with the picture of our Lord appearing to Mary 
 Magdalen," in Henry VIII. 's catalogue, which we find again in James II. 's. No. 
 520 : — Our Saviour appearing to Mary Magdalen in the Garden." It is attributed 
 to Holbein, and, in the opinion of many good judges, correctly so. It is therefore 
 of considerable interest, as being one of the very few "historical" works of his extant. 
 
Hampton Court Palace, 
 
 201 
 
 Unfortunately it has suffered a good deal of damage, but ** we see the most dis- 
 tinct traces of the master's hand in the embroidery of the dress of the Magdalen, 
 and in the marble cup." — (Tom Taylor in The Times, January loth, 1880.) 
 
 ** Dr. Albert Zahn, who came over here with the pictures the Queen lent to the 
 Dresden Exhibition, examined the picture with me most carefully. He regretted 
 much that it had not been sent, and is certain that it is a fine Hans of the Basle 
 period." — (Mr. Redgrave in the Royal Catalogue.) Dr. Woltmann, however, 
 attributed it to Bartholomew Bruyn, a Cologne painter. — {^Fortnightly Review, 
 1866.) 
 
 600 St. Christopher and other Saints {612) L. Cranach ? 
 
 In the centre is St. Christopher, with our Lord on his back. On the left are 
 three bishops with emblems ; and on the right three more, one being St. Hubert, 
 with the stag's head. To the right are also three female and four male saints. 
 On wood, I ft. 2 in. high, by 2 ft. lo in. wide. 
 
 Charles L's cypher is preserved on a scrap of old paper behind, and there is also 
 an indistinct word: — ^' Aid . egraf?" "A piece of St. Christopher with many 
 figures " was sold by the Commonwealth for £2^. 
 
 601 Henry VIII. and Jane Seymour ; Henry VII. and Eliza- 
 
 beth Woodville {308) . . after Holbein, by R. van Leemput. 
 
 This is a very precious little copy, executed by Remee van Leemput in 1667, by 
 order of Charles II., after Holbein's famous fresco at Whitehall. Charles, we are 
 told by Patin, who was in England about 1670, had the copy taken "pour eu 
 estendre la posterite s'il faut ainsi dire, et n'abondonner pas une si belle chose a la 
 fortune des temps." It was lucky he had the foresight to do so, for the original, 
 which was Holbein's finest work, was destroyed by the fire at Whitehall in 1698. 
 Walpole says Remee was paid ;i^i50 for this copy. 
 
 Henry VIII. is on the left, standing with his legs apart, and the whole breadth 
 of his shoulders displayed in a front view. Behind him, more to the middle, and 
 on a step above, is Henry VII., whose wife, Elizabeth, is opposite him, on the 
 other side of a pedestal in the centre of the picture. Below her is Queen Jane 
 Seymour, whose portrait here is the most authentic extant. They stand on a rich 
 carpet, and the background is a magnificent piece of Renaissance decoration, with 
 pilasters, niches, and frieze. It is painted on canvas, 3 ft. high, by 3 ft. 3 in. wide. 
 Engraved by Vertue. 
 
 In the centre of the picture is a pedestal, with the following Latin inscription \— 
 
 Si jvvat herovm claras vidisse figvras 
 
 SPECTA has MAIORES NVLLA TABELLA TVLIT 
 CERTAMEN MAGNVM LIS QVESTIO MAGNA PATERNE 
 
 FILIVS AN VINGAT VICIT VTERQVE QVIDEM 
 ISTE SVOS HOSTES PATRI^EQVE INCENDIA S^PE 
 
 SVSTVLIT ET PACEM CIVIBVS VSQVE DEBIT. 
 
 FiLIVS AD MAIORA QVIDEM PROGNATVS AB ARTS 
 SVBMOVET INDIGNOS SVBSTITVITQVE PROBOS 
 
 CERTE VIRTVTI PAPARVM AVDACIA CESSIT 
 HENRICO OCTAVO SCEPTRA GERENTE MANV 
 
 REDDITA RELIGIO EST ISTO REGNANTE DEIQVE 
 DOGMATA CEPERVNT ESSE IN HONORE SVO 
 
202 
 
 Catalogue of Pictures, 
 
 PrOTOTYPVM MAGNITVDINIS ipso OPERE TECTORIO fecit HOLBENIVS IVBENTE 
 HENRICO VIII. 
 
 And a little below on a plinth is inscribed : — 
 
 ECTYPVM A REMIGIO VAN LEEMPVT BREVIORA TABELLA DESCRIBI VOLVIT 
 CAROLVS II. M.B.F.E.H.R. A** DNI. M.DCLXVIII. 
 
 Along the cornice are written the names: — henricvs viii rex henricvs 
 
 VII. REX. ELIZABETHA. R. lANA SEYMOVR R. 
 
 The place of the pedestal in the original fresco was occupied either by a window 
 or a fireplace : it is doubtful which. Holbein's cartoon for the left side is still pre- 
 served at Hardwick, the Duke of Devonshire's. 
 
 The original, in which Henry VHI. was so life-like, and stood "so majestic in 
 his splendour that the spectator felt abashed, annihilated, in his presence," formed 
 the prototype of many portraits of the King, such as those at Petworth, Mr. Danby 
 Seymour's, Lord Yarborough's, and elsewhere. (See on this point, and also for 
 full discussions and criticisms, and everything relating to the subject, Wornum's 
 Holbein, pp. 303-309, and Woltmann's Holbein and his Time, pp. 392-397.) 
 
 602 Joseph, bound, brought before Pharaoh {236) Lucas van Leyden. 
 
 This is the '* Piece where Joseph, in a white habit, his hands tied, and brought 
 before a judge, done by Lucas Van Leyden, bought of Sir James Palmer," in 
 Charles I.'s catalogue, page 10. His cypher, C.R., is behind. In James II. 's 
 catalogue it is No. 1028 : — ** A man bound, before a judge." On wood, i ft. 8 in. 
 high, by i ft. 3|- in. wide. 
 
 603 Portrait of Froben, Erasmus' printer {323) . . Holbein. 
 
 Companion piece to No. 597. 
 
 Half-length, less than life ; seen in profile, turned to the left. He wears a loose 
 brown cloak, trimmed with fur at the neck ; his hands are wrapped in the folds of 
 his sleeves in front of him. His head is bare. On a table in front are a box for 
 printers' types and a small ink dab. The background represents a room with a 
 window ; the part immediately behind his head being a marine green. It has 
 been worked up however by Steenwyck, and spoilt. On a ledge below is inscribed : 
 
 loNNES Frobenivs Typ. PHolbein. p." On wood, i ft. 9I in. high, by i ft. 
 I in. wide. (The original height was i ft. 5^ in. On the piece of wood added by 
 Steenwyck is Charles I.'s brand.) 
 
 This, and its companion, No. 597, were painted by Holbein while at Basle be- 
 tween 1521, the year of his arrival, and 1525. Erasmus had come to Basle about 
 1 513 for the express purpose of having his works printed by Frobenius, who was 
 renowned for the excellence of his work and his trustworthy character. Here he 
 lived in the great printer's house for some years on terms of close friendship. 
 When Holbein arrived, he was immediately employed by Frobenius in designing 
 ornamental blocks for his books, and it was thus that he made acquaintance with 
 Erasmus. Mr. Womum believes that these two portraits are those given to 
 Frobenius by Erasmus. Frobenius died suddenly in 1527 from serious injuries to 
 his head by a fall on the pavement. Erasmus, who was in great distress at his 
 death, seems to have secured these portraits, and treasured them as a remembrance 
 of their friendship. He had them hinged together in the manner of a diptych, so as 
 to close like a book, and so arranged that when open the two friends were facing 
 
Hampton Court Palace. 
 
 203 
 
 603 Portrait of Froben, Erasmus' printer — continued. 
 
 each other. Erasmus himself died in 1536 at the age of sixty-nine ; and after that 
 these portraits remained at Basle. 
 
 About the year 1625, however, Michael Le Blond, a celebrated collector of 
 works of art, who frequently did commissions for the Duke of Buckingham (see 
 Wornum and Sainsbury's Original Papers^ passim)^ bought them in that town for 
 100 golden ducats. From him they passed into the possession of the duke, who 
 gave them to Charles I., as we learn from the following note inscribed in a hand- 
 writing of the time on a bit of paper at the back of this panel : — ** This picture of 
 Frobonus was delivered to his Mt by Duke of Buckingham (before he went to the) 
 Isle of Ree " (the five words in brackets now illegible ; but see "Walpole's Anecdotes^ 
 page 76). They afterwards appear in his catalogue, pages 12 and 13, as : — "The 
 picture of Frobonius, with his printing tools by him, being Erasmus of Rotterdam's 
 printer and landlord at Basil. Done by Holbein ; " and " The picture of Erasmus 
 of Rotterdam, in a high black frame ; done by Holben, fellow to the aforesaid 
 piece of Frobenius, painted upon the right light." 
 
 After the King's execution, they were sold separately by order of the Common- 
 wealth, and fetched larger prices than almost any other pictures. The entry re- 
 lating to them is : — "Pictures at St. James's, 66 and 67. Frobenus and Erasmus 
 in two pictures by Holbin, valued at ;^200; Erasmus sold y*^ May 1650 to 
 Mr Milburne for /lOO. Frobenus sold to Col' Hutchinson, y« 24^*1 May 1650 for 
 ;;^loo." {^Harl. MSS., 4898.) At the Restoration they were returned to the Rcyal 
 Collection, and Patin saw them in 1672 hinged together as formerly. 
 
 Waagen thought they were not genuine works of the master, but rather excellent 
 old copies, and he cited the fact that the backgrounds are by Steenwyck in confir- 
 mation of this view, and added that his name and the date 1629 are on the 
 Erasmus. But careful search on both panels now fails to reveal anything of 
 the sort. Besides, in 1629 they were in Charles I.'s possession, and his catalogue 
 and the other entries relating to them show conclusively they were not considered 
 copies then. The fact is, the backgrounds were "altered " as Walpole correctly 
 has it, for King Charles ; four inches of wood having been added, also, at the top of the 
 original panels, perhaps to make them fit some old frames, — a practice only too 
 frequent in old days (see notes to Nos. 161 and 247). This necessitated the re- 
 painting of the backgrounds, " which, instead of some simple foil to the heads, as 
 Holbein commonly supplies us with, now consist of cold minutely elaborated 
 Gothic pillars and arches." A reference to the dates given above will show that 
 Mr. Wornum is wrong in saying the backgrounds may have been added when the 
 pictures were in Le Blond's possession. 
 
 It is certainly the fact that neither portrait can be looked upon as a first-class 
 example of the painter's works, even of the early period in Holbein's career at 
 which they were painted ; and being perhaps only drawings on parchment roughly 
 finished as pictures (see note to No. 597), we do not find in them many of the ex- 
 cellences that stamp his more mature productions. " Under all circumstances, 
 however," as the same authority justly observes, " they are very precious, both on 
 account of their subjects, and of their painter ; and they might be to some advantage 
 relieved of their additions, encased together in one frame, and for old association's 
 sake, be for evermore inseparable." 
 
 "Froben's countenance," says Dr. Woltmann, "is thoroughly ugly. That 
 which, nevertheless, makes the beardless man with his scanty hair, his large round 
 
204 
 
 Catalogue of Pictures, 
 
 603 Portrait of Froben, Erasmus' printer — continued. 
 
 forehead and broad mouth, attractive and pleasing, is the trait of kindliness which 
 is so preeminent in his countenance. The character which Erasmus sketches of 
 him is tenderly beautiful. So simple and sincere was his nature, that he could not 
 have dissembled, had he wished. To show kindness to everyone was his greatest 
 delight, and even if the unworthy received his benefits he was glad." (See Wor- 
 num's Life and Works of Holbein^ pp. 133- 1 52, and Woltmann's Life and Times 
 of Holbein, pp. 176-190, to which works I must refer the amateur for a full de- 
 scription and discussion of all the portraits of Erasmus and Froben.) 
 
 604 ? Mary, sister of Anne Boleyn {338) ? 
 
 In an oval ; seen to the shoulders, turned to the left. She wears a black body 
 edged with red braid, and having ermine sleeves. Her headdress is angular-shaped, 
 and is surmounted with a peak, and has a black veil. On her breast is a small 
 cameo. On wood, i ft. 3^ in. high, by i ft. f in. wide. 
 
 This lady, now called a **Lady unknown," was at one time supposed to be 
 Anne Boleyn. Mr. Scharf, however, believes it is Mary, sister of Anne Boleyn. 
 His authority is an " inscription on an old copy preserved at Warwick Castle, 
 where it serves as a companion picture to the well-known Anne Boleyn portrait 
 engraved in Lodge." 
 
 605 The Battle of Pavia, February 24th, 1525 {328) . . ? 
 
 This picture, though of very slight value as a work of art, is historically curious, 
 as giving a contemporary representation of the famous battle. 
 
 It originally belonged to Henry VIII., in whose catalogue it is found, No. 141: 
 **A table with the siege of Pavia." It was afterwards in the collection of 
 Henry, Prince of Wales (see No. 400), for his cypher, H.P. crowned, is branded 
 behind ; and at his death it passed into the possession of Charles I., whose 
 cyphers as Prince of Wales and as King are also found behind. As to the artist 
 of this picture, which is absurdly ascribed to Holbein, see notes to Nos. 331, 337, 
 and 342. On wood, i ft. 8 in. high, by 2 ft. i in. wide. 
 
 In the foreground of the picture is shown the battle between the French, who 
 are on the left, under the command of Francis I., and the Imperialists, on the right, 
 under Lannoy, Charles V.'s Vice of Naples, and the Constable de Bourbon. 
 The colours of each side are seen borne aloft, and on the right can be distinguished 
 the Imperial eagle and the Papal tiara and cross keys. The combatants on both 
 sides are wielding gigantic lances, and the ground is strewn with dead and 
 wounded. 
 
 In the thick of the fight to the left is a figure, hardly pressed, and defending 
 himself valiantly. This is probably intended for Francis I., who, as the old 
 chronicle in verse tells us : — 
 
 "Courant, cercant, tra9ant en victoire formee 
 Le roy Fran9ois, puysant ; fust prins la main armee 
 Non point a fer de lance, car a piet s'estoit mis, 
 Mais cargiet par vaillance d'aulcuns ses enemis. " 
 
 And the King himself describes, in a versified letter, how : — 
 ** Autour de moy eu regardant ne veys 
 Que peu de gens des miens . . . 
 
Hampton Court Palace, 
 
 205 
 
 Et la je fus longuement combatu, 
 Et mon cheval mort soubz moy abatu . . . 
 Las ! que diray ? cela ne veulx nier, 
 Vaincu je fuz et rendu prisonnier." 
 In the middle distance, just behind a dense mass of spears, is a skirmish of 
 horsemen ; and the French artillery, which did terrible execution that day under 
 the command of the famous Gaillon de Genouillac, cannonading the Imperialists. 
 
 In the background to the left, on an eminence, is a fine house, doubtless meant 
 for the castle and park of Mirabel, where the French rear-guard, under the Due 
 d'Alen^on, was posted. This was the first position attacked by the Imperialists ; 
 and it was Francis's impetuosity in going to the assistance of his brother-in-law 
 there that led to the defeat. 
 
 In the centre of the background is the town of Pavia, before which the French 
 are encamped. 
 
 606 Portrait of Henry VIII. Holbein? 
 
 Three-quarters length, less than life-size ; his face seen in full. In front of him 
 is a table with a red cloth, on which his hands are placed, with his gloves in his 
 right hand. He has rings on the middle and little fingers of both hands. He wears 
 a gold embroidered doublet, slashed and puffed with white, and a black jewelled 
 cap, with a white feather. On wood, i ft. 6 in. high, by i ft. 3 in. wide. 
 
 This is not by Holbein. Sotto Cleeve has been suggested as probably the artist. 
 It was in James II. 's catalogue. No. 866: — "King Henry VIII. at half-lengih, 
 with gloves in his right hand," then at Hampton Court. 
 
 607 Holy Family Mabuse? 
 
 The Blessed Virgin is seated with her hands joined ; she is seen in full-faced view, 
 and is dressed in a bluish green vest, with a red mantle. In front the Infant Jesus 
 is sucking at her right breast, and holds the white drapery with His left hand. On 
 the right is an open landscape with a monastic building. On wood, i ft. 6 in. high, 
 by I ft. 4 in. wide. 
 
 Charles I.'s cypher is behind this picture. 
 
 608 The Father and Mother of Holbein, so called {336) Holbein ? 
 
 Small half-lengths, facing each other, with their hands before them, in simple 
 bourgeois costume ; she in a brown dress trimmed with black braid, and plain white 
 cap, he in black with a fur cape and cap. They are sitting by a window, through 
 which is seen a landscape with a chateau, a Swiss cottage, a church, and some 
 people passing over a bridge. On the window-ledge near the man is his age, 52, 
 and near the woman hers, 35. In the shadow underneath is the date, 15 12. On 
 wood, I ft. in. high, by 2 ft. \\ in. wide. 
 
 This picture belonged to Charles I. ; it has the C. R. and crown branded on the 
 panel behind, and in his catalogue it is entered :— " A picture in a black frame of a 
 German in a furred cap and habit, together with his wife, in one piece, dressed with 
 muslin about her head, in a landskip, half figures less than the life, painted upon 
 the right light. Brought out of Germany by Sir Henry Vane, Treasurer of the 
 Household, and given to the King. Done by some good German painter ; " and it 
 appears in James II.'s catalogue. No. 120 :— *' An old man in a furred cap and 
 gown, and his wife." 
 
 It will be seen, therefore, that there is no genuine tradition of this being a picture 
 
206 
 
 Catalogue of Pictures. 
 
 of the father and mother of Holbein, by himself. "Besides, the beardless and 
 somewhat pedantic looking man," says Dr. Woltmann, "does not bear the slightest 
 similarity with the authentic portraits of Hans Holbein the father, and the treatment 
 does not accord with the works of Holbein the son " . . . " Nevertheless," adds the 
 same learned critic, " the assumption seems to us by no means so utterly removed 
 from the truth, and at any rate the right family appears to be hit upon. The 
 painting is certainly a work of the Swabian school, and possesses a decided similarity 
 with the works of the elder Holbein, in the simple life-like conception, the thin 
 bright colouring, the whitish lights, and the somewhat feeble hands, which do not 
 correspond with the excellent heads* The distance, with its village and mountains, 
 with a castle near the water, with swans and a bridge, entirely accords with the 
 landscape of the Basilica of St. Paul," now in the Augsburg Gallery. — {Works of 
 Holbein, p. 58.) 
 
 "Dr. Zahn told me that a lady in Dresden had a finer example of this picture, 
 and did not call it a Holbein." — (Mr. Redgrave in the Royal Catalogue.) 
 
 609 Head of Lazarus Spinola (pc?p) William Key. 
 
 Facing in front, turned to the right. He is in black, with a small frilled close 
 collar ; his hair is short and reddish. Across the top is written : — " AN. dni. 1566. 
 ^TATis. 22." On wood, I ft. 6 in. high, by i ft. i in. wide. 
 
 This is "The picture of Lazarus Spindalo, uncle to the late deceased Spindalo, 
 Governor in the Low Countries, being only a head so big as the life ; bought by 
 the King when Prince. Done by Will. Key : " in Charles I. 's catalogue, page 6, 
 At the back of the panel is the usual brand — " C.R." and the crown. We find it 
 again entered among James II. 's pictures: — "Lazarus Spinola's Head by 
 Caius ; " and on a paper label pasted behind, in a handwriting of about that time, 
 is written : — "Lazarus Spinola, Uncle to Spinola, Governor in the Low Countries. 
 By Key." 
 
 Key was a Flemish artist, who enjoyed a great reputation in his time, being se- 
 lected to paint, among many others, a portrait of Alva. It is said that during one 
 of the Duke's sittings, he heard him and the judges plotting the murder of Egmont 
 and Horn, which had such an effect on him, that on his return home he fell ill, and 
 died on the very day of their execution, 5th July, 1568. Others say he died at the 
 sight of the Duke of Alva's countenance. 
 
 The editors of Kiigler's Handbook say they can assign no picture with certainty 
 to him. They probably overlooked this portrait, not being aware of the proofs given 
 above of its authenticity. 
 
 610 John Reskemeer of Cornwall {32 Holbein. 
 
 Seen in nearly a complete profile, turned to the left. In Charles I.'s catalogue, 
 page 8, it is thus described ; — "A side-faced gentleman out of Cornwall, in his 
 black cap, painted with a long peaked beard, holding both his hands before him ; 
 some parts of a landskip. Being less than life, upon a defaced cracked board, 
 painted upon the wrong light. Done by Holbein, given to the King by the de- 
 ceased Sir Rob. Killegrew, Vice-Chamberlain to the Queen's Majesty." Both his 
 hands, which are admirably drawn, are seen, the left touching the end of his beard, 
 which, like his hair, is red. He wears a dark mantle. "The background is 
 green, of a bluish tone, and is varied by sprigs of vine-leaf very skilfully put in. " 
 Behind is Charles I. 's cipher. On wood (or possibly, according to Mr. Womum, 
 on paper or parchment attached to oak), i ft. (>\ in. high, by i ft. in. wide. 
 
Hampton Court Palace. 
 
 207 
 
 The original drawing for this is still at Windsor among the famous Holbein 
 Heads," and is inscribed : — Reskemeer, a Cornish Genty It is reckoned one of 
 the earliest of the master's portraits in this country, 1527 being suggested as its date. 
 
 John Reskemeer, Reskimeer, Rekymar, Reshemer, Reskemyr, as his name is 
 variously spelt, was the son of William Reskemeer, ''fourteenth in descent from the 
 first of that name who settled in Cornwall," and Elizabeth, daughter of Sir John 
 Arundel, of Telverne. By his wife Catherine, daughter of John Trethurff, he had 
 several children, his son William succeeding him. He seems to have been dis- 
 tinguished only by his great possessions in Cornwall, of which county he was 
 High Sheriff in 1557. His seat was Marthyn or Murthyn, one of the eight parks 
 in that county in 1602. A Mr. Reskemar is mentioned in 1527 in the State 
 Papers as belonging to Wolsey's household, and a reference to John Reskymer, 
 son and heir of John Reskymer, will be found in vol. v. of the State Papers. 
 (Henry VIII.) 
 
 St. Jerome {401) after Albrecht Durer. 
 
 This is a small painting after the well-known print by Albrecht Diirer. The saint 
 is seated at a table writing. Behind him, on the wall, hangs a cardinal's red hat, 
 and from the ceiling a pumpkin. In front, on the floor, are a lion and a white dog. 
 On wood, 10^ in. high, by 8 in. wide. 
 
 A picture similar to this is mentioned in Charles I.'s catalogue, and attributed 
 to Lucas van Leyden. 
 
 Diana and her Nymphs reposing (^25) Rubens and Snyders. 
 
 "Diana and two Nymphs, naked, are reposing upon a bank after the fatigues 
 of the chase. The goddess reclines on her back against a tree, and one of the 
 nymphs is recumbent by her side ; the remaining one is more retired on the left ; 
 a broad drapery suspended across the retired scene, serving for a shelter, is raised 
 by the intruding satyrs, who are gazing with avidity upon the sleeping beauties. 
 The implements of the chase, and a great variety of game, are distributed about 
 the foreground." On canvas, 7 ft. high, by 10 ft. i in. wide. 
 
 This picture originally belonged to the Duke of Buckingham, as a quotation in 
 the next paragraph proves, and must have been bought at his death by Charles L, 
 as it does not appear in the catalogue of the second, duke. A "Diana on her 
 back, by Rubens," was sold by the Commonwealth to a Mr. Harrison for ;^io, 
 doubtless this piece. And we trace it again in James II. 's catalogue, No. 60 : — " By 
 Rubens — A large piece, three nymphs sleeping, two satyrs, the landscape of Sny- 
 ders, with dead game." 
 
 It must have been painted about 161 6, when Rubens frequently employed Sny- 
 ders to paint the still-life in his pictures. At this period it was thought (see letter 
 of Tobie Matthew to Sir D. Carleton, dated Louvaine, February, 161 7, printed in 
 Sainsbury's Original Papers^^ that "in the expressing of beasts all alive, or in act 
 either of escape or resistance, Snyders doth come infinitely short of Rubens, and 
 Rubens saith he should take it in ill part, if I should compare Snyders with him 
 in that point. The talent of Snyders is to represent beasts, but especially birds 
 altogether dead, and wholly without any action." He adds that the piece in 
 which Snyders had had a hand, and which they "liked so well, was a gruppo of 
 dead Birds, in a picture of Diana, and certain other naked Nymphs " — this one (see 
 notes to Nos. 464 and 704). It is engraved by Earlom. Rubens frequently 
 repeated the subject. 
 
208 
 
 Catalogue of Pictures, 
 
 613 Sir Francis Walsingham (2^(9) unnamed. 
 
 To the elbows, full-face ; in black, with a brown collar, and over it a ruff. A 
 small black skull-cap, black hair, smooth and closely cut beard. Above is inscribed : 
 "S^ Francis Walsingham." On wood, i ft. 10 in. high, by i ft. 6 in. wide. 
 
 The physiognomy of this portrait thoroughly accords with his subtlety of intel- 
 lect, and the craftiness of his politics, in which his methods were rather such as we 
 should look for in a Russian detective than an English minister. How he discovered 
 Philip II. 's intentions with regard to the Spanish Armada is well known. He 
 bribed a Venetian priest to induce a gentleman of the Pope's bedchamber to take 
 the key of his Holiness's cabinet from his pocket while he slept, transcribe 
 the king's letter, and put it back. From this, discovering that Philip intended to 
 raise money for equipping his fleet by drawing bills on Genoa, he contrived 
 to get them protested, and thus delayed the sailing of the expedition for a whole 
 year. 
 
 The same portrait — except that he holds in his left hand a letter with the direction 
 "Walsingham" — is engraved in Lodge's Portraits, as being then (1824) in the collec- 
 tion of the Duke of Dorset. 
 
 614 Robert Dudley, Earl of Leicester {28g) unnamed. 
 
 Bust, turned to the left. He wears a mauve doublet, decked with gold braid and 
 jewelled clasps, a furred mantle, a lace collar, and a black cap. His hair and 
 beard, which is short and forked, are grey. On wood, i ft. 11 in. high, by i ft. 
 6 in. wide. 
 
 This appears to be a repetition from the whole-length original at Hatfield, which 
 must have been painted after 1587, the date of his appointment to the Lord 
 Stewardship of the Household ; for he holds in that picture the white wand in his 
 hand. 
 
 615 Portrait of Sir Peter Carew (270) unnamed. 
 
 Half-length, turned to the left. He wears a sort of loose white leathern doublet, 
 with long perpendicular slits. His cap is black with a white feather. His hair is 
 dark, his beard forked. On wood, i ft. 10 in. high, by I ft. 6 in. wide. Across the 
 top is inscribed : — 
 
 " S'^ Peter Carew Knight s*" Sonne to S^ Willam Carew bvried at 
 Waterford in Ierland. an. 1575." 
 
 For a notice of him, see the introduction to the Carew State Papers. He was 
 a brother of Sir George; see No. 573. 
 
 616 Queen Elizabeth, with a fan (^pij) Zucchero? 
 
 Bust, facing to the left. Her hands are folded in front of her, the right over the 
 left, of which only two fingers are seen. In the right, between the thumb and fore- 
 finger, she holds a fan of white and yellow feathers, which is directed upwards, the 
 handle being jewelled. She wears a black bodice, with white sleeves, embroidered 
 with a black pattern of conventional roses, pinks, acorns, &c. Round her neck is a 
 highly wrought quilled lace ruff ; and she has hand-ruffles. Her headdress of 
 white silk, richly embossed with pearls, rubies, and other jewels, forms a sort of 
 tiara above ; while from it depends behind a gauze veil worked with gold thread and 
 pearls. On her breast are three necklaces of pearls. Her hair is arranged in small 
 crimped curls round her forehead. On wood, i ft. 10 in. high, by i ft. 6 in. wide. 
 
Hampton Cottrt Palace. 
 
 209 
 
 This portrait has generally been ascribed to Zucchero, and doubtless correctly, as 
 it is almost exactly similar to an original drawing by him of the Queen, dated 1575, 
 and still preserved. (See Rogers' Collection of Original Drawings for a facsimile.) 
 
 It recalls what Melville, the ambassador of Mary Queen of Scots, tells us, how 
 Elizabeth delighted to show her golden-coloured hair, which was more reddish than 
 yellow, and curled in appearance naturally. She desired to know of me what colour 
 of hair was reputed best ; and whether my Queen's hair or her's was best ; and which 
 of them two was fairest ? I answered the fairness of them both was not their worst 
 fault. But she was earnest with me to declare which of them I judged fairest. I 
 said she was the fairest Queen in England, and mine the fairest in Scotland. Yet 
 she appeared earnest. I answered they were both the fairest ladies in their 
 countries — that her Majesty was whiter, but my Queen was very lovely. She 
 enquired which of them was of highest stature. I said my Queen. Then saith she, 
 she is too high, for I myself am neither too high nor too low." — {Memoirs^ p. 98.) 
 
 She was scarcely less vain of her hands, which we are told were small, and the 
 fingers very long : this is no doubt the reason her hand is so prominent in this por- 
 trait and No. 619, though it is in both cases wretchedly painted. " In audiences 
 she would pull off her glove, above a hundred times, to show her hands, which were 
 very fine and white." 
 
 Of fans she had a large collection ; and we find that in 1574 Leicester gave her, 
 as a New Year's gift, "a fan of white feathers, set in a handle of gold, garnished 
 on one side with two very fair emeralds, and fully garnished with diamonds and 
 rubies," — which may be the one she holds here. 
 
 617 Mary of Lorraine, Mother of Mary Queen of Scots ? 
 
 Three-quarters length, inclined slightly to the left. Her hands are in front of 
 her, her right holding a small red book, her left touching a jewelled St. Andrew's 
 cross that hangs on her breast. Her dress is black, but slashed with white at the 
 shoulders, and trimmed with quilled ruffles at the neck and wrists. She wears a 
 black bonnet lined with white. She has rings on the third and forefinger of hei 
 right hand. On wood, 3 ft. 4 in. high, by 2 ft. 6 in. wide, which is more than 
 its original size, a large piece of wood having been added to it. Behind is a label 
 stating: — "This picture was found at St. James' Palace, Jan. 1852, in a room 
 occupied by the late Honble. Mrs. Lee (? Leigh), and by direction of H. M. 
 Board of Works was cleaned and restored, with instructions for its being placed in 
 the Public Rooms at Hampton Court Palace. July, 1852. J. M. Cox." 
 
 The entry in Charles I.'s catalogue, page 167 : — "//m, more in the said room, 
 the King of Scotland, King James V.'s wife, mother to Queen Mary of Scotland," 
 doubtless relates to this. It was valued by the Commonwealth at £2 \os., and 
 sold to Mr. Morrise, 1 2th November, 1649, for;,^3. {Inventory, p. 201.) 
 
 On the front of the picture to the left is painted :— "Maria de Loraine par la 
 GRACE deDiev Royne des Cosse Fille de Clavde Dvc deGvisse." Under- 
 neath are her arms, and below the date, 161 1. The arms appear old; but the 
 inscription and date must be more recent. It is difficult to know what the date 
 refers to, as the Queen died in 1 560, at the age of forty-five. 
 
 The portrait, which has unfortunately been retouched, was no doubt painted 
 not long after the death of her second husband, James V., who died on December 
 13th, 1542. On the 7th of the same month she had given birth at Linlithgow to 
 Mary Queen of Scots. 
 
 P 
 
2IO 
 
 Catalogue of Pictures. 
 
 618 Portrait of George Fermor (277) unnamed. 
 
 _To the elbows, facing in front, eyes to the right. He wears a black silk doublet 
 with a quilled ruff. His hair and beard are of reddish brown, and close cut ; his 
 eyes grey. On the right is inscribed : — ^'Mtathjua, 40," and on the left is his 
 crest — a cock's head in a marquis's coronet. On wood, i ft. \o\ in. high, by i ft. 
 8 in. wide. 
 
 The crest is that of the Fermor family, and, according to Mrs. Jameson, this is 
 probably a portrait of George Fermor, who was knighted by Queen Elizabeth in 
 1586. He was the grandson of Richard Fermor, whose life was saved by Will 
 Somers. 
 
 619 Portrait of Queen Elizabeth (^/j) M. Gerrard. 
 
 Bust ; only the right hand seen, facing slightly to the right. Her dress is white, 
 embroidered and studded with jewels. She wears a small close ruff, and a thick 
 collar of gold braid with pearls underneath, and an elaborate headdress of red silk 
 trimmed with pearls, with a thick veil hanging behind. Round her neck is the 
 blue ribbon of the Garter, and she holds the "George" in her left hand. The 
 background is whitish. On wood, 2 ft. high, by I ft. 5 in. wide. 
 
 It has been said that this was the last portrait taken of her, w^hich is very likely 
 the case, as she is represented as a very old woman. Hentzer, who saw her in 
 1598 in her 66th year, thus describes her : — " Very majestic, her face oblong, fair, 
 but wrinkled ; her eyes small, yet black and pleasant ; her nose a little hooked, 
 her lips thin, and her teeth black. She had in her ears two pearls, with very rich 
 drops ; she wore false hair, and that red ; upon her head she had a small crown. 
 Her bosom was uncovered, as all English ladies have it till they marry ; and she 
 had on a necklace of exceeding fine jewels ; her hands were small, her fingers 
 long, and her stature neither tall nor low." 
 
 Mark Gerrard, to whom this is attributed, remained in England long after 
 Elizabeth's death. 
 
 620 Charles Howard, Earl of Nottingham {286) unnamed. 
 
 To the elbows, turned slightly to the left. He wears a furred cloak, a quilted 
 pinkish doublet, a collar and ruff of lace, and a black skull cap. His hair is grey, 
 his beard pointed. Above is inscribed : — " Earle of Nottingham." On wood, 
 I ft. io|^ in. high, by i ft. lo^ in. wide. 
 
 This is the famous hero who commanded the English fleet in 1588 against the 
 Spanish Armada, and who, as Lord High Admiral, afterwards performed many 
 other brilliant actions. He died in 1624, at the age of eighty -eight ; and this 
 portrait appears to have been painted not very long before that. 
 
 621 Portrait of Judge Croke (2^7) unnamed. 
 
 To the elbows, turned to the right. He is in his robes, and wearing an ermine 
 cape, a large quilled ruff, and a dark cap. Above is inscribed : — " Ivdge Crooke." 
 On canvas, i ft. 10 in. high, by i ft. 5^ in. wide. 
 
 This, or a very similar portrait, was engraved as frontispieces to the volumes of 
 his son-in-law's. Sir Harbottle Grimstone's, edition of his "Law Reports" — the 
 well-known ' ' Cro. Eliz. , Cro. Jac. and Cro. Car. " of the Law books — that in the first 
 part (1659) by Robert Vaughan, that in the second by Roland White, with very 
 slight variations. 
 
 Croke was Speaker of the House of Commons in 1601, and afterwards became a 
 
Hampton Court Palace. 2 1 1 
 
 Justice of the Common Pleas, and subsequently of the King's Bench. He was one 
 of the four judges who pronounced against the legality of ship-money. He died 
 in 1642 at the age of eighty-two. 
 
 Isabella Clara Eugenia, daughter of Philip II. {347) . Sir A. More. 
 
 To the elbows, facing in front, but inclined to the left. She wears an elaborate 
 dress, embroidered with gold and silver thread, and a quilled ruff, edged with fine 
 lace. On her breast is a chain of bunches of imitation pearls in silver. In her 
 black velvet headdress is a red feather. Her hair is fair, her eyebrows and eyes 
 brown. On canvas, 2 ft. 7 in. high, by 2 ft. I in. wide. 
 
 For her portrait when grown up, see No. 343. 
 Margaret, Archduchess of Austria (^2g8) ....... ? 
 
 Nearly half-length, turned slightly to the left. The fingers of both her hands 
 rest on a green ledge in front of her. Her dress is dark green, with reddish fur on 
 the sleeves at the wrists. She has a curious white hood, with a large band of 
 linen in front, plaited like a fan, and drawn over her eyebrows ; this headdress is 
 drawn tight under her throat. Painted on a greenish ground. On wood, i ft. 2 in. 
 high, by 10 in. wide. rrr. • 
 
 This is entered in Charles I.'s catalogue, page 115, thus :— " Item the fifth in a 
 white nun's dressing habit, said to be the Emperor Charles V.'s aunt, sister to 
 his father, who was a nun," and in James H.'s:— "A woman's picture with her 
 veil pleated on her breast, both hands before her." In the Commonwealth 
 inventory, folio 154, there is "a picture done by the life by Anthony More, In a 
 white dressing," and also "another of the same being the Duchess of Savoy,"— 
 one of which must be the picture before us. It is probably identical also with 
 "The table with the picture of the Lady Margaret, the Duchess of Savoy," in 
 Henry VIII. 's catalogue. 
 
 Her age appears about thirty, which would give us about the date 1508 as the 
 period when this picture was painted. She had then just been appointed by her 
 father, the Emperor Maximilian, Governess of the Netherlands. She died at 
 Brussels in 1530. Charles I.'s catalogue is in error in calling her a nun : her 
 white habit is perhaps a mourning costume for her second husband, Philibert le 
 Beau, Duke of Savoy, who died in 1 504, or for her only brother, Phdippe le Bel, 
 the father of Charles V., who died in 1506. Some verses of hers on her own 
 mourning, and other curious particulars, will be found in Serna-Santander s 
 Bibliotheque de Bourgogne. The artist is evidently some early Flemish painter. 
 Portrait of a Gentleman (j/z) unnamed. 
 
 Life-size, seen to the shoulders ; turned to the right. He wears a furred cloak, 
 a greyish vest, trimmed with gold braid, and a collar edged with a small ruff. 
 Bareheaded, brown hair, beard, and moustache. On wood, i ft. 7 in. high, by 
 I ft. 2 in. wide. 
 
 On the back of the panel is Charles I.'s cypher. He appears about fifty years 
 of age. 
 
 Portrait of a Young Lady {305) Sir A. More. 
 
 A head, turned to the left. She wears a slashed and embroidered dress, with a 
 high collar, and above, a rather large ruff". Her black headdress is ornamented 
 with beads and jewels. Light brown eyes and hair. On canvas, I ft. ^\ in. high, 
 by I ft. I in. wide. 
 
 Apparently the sister of No. 644. 
 
212 
 
 Catalogue of Pictures, 
 
 626 Cupids Dancing {661^ Wouters. 
 
 On the left are some eleven cupids holding hands and dancing ; on the right, 
 four others, three seated, one playing a flute, another a tambourine, another a 
 drum, and another eating grapes. The background on the left is trees, on the 
 right a distant landscape. On wood, i ft. 2\ in. high, by i ft. Il in. wide. 
 
 627 Charles I. and his Queen dining in Public (2(^4) Van Bassen. 
 
 This curious picture represents the King seated at a table, to the left, close by a 
 fine chimney-piece ; on his left is the Queen, and at the end of the table Prince 
 Charles. They are being served by gentlemen-in-waiting with dishes, more of 
 which are being brought in from the door opposite them by attendants. In the 
 right corner is a sideboard, and wine cooling in brass bowls on the floor. Several 
 dogs are running about. At the end of the hall is a raised and recessed dais, 
 where spectators are looking on through some columns. The decoration of the 
 hall is in the classic taste, and is very fine and elaborate. On the walls hang 
 several pictures. On wood, 2 ft. I in. high, by 3 ft. I in. wide. 
 
 Though this doubtless belonged to Charles L, it is not found catalogued among 
 his pictures, but in James II. 's catalogue we find No. 937 : — "A large piece, 
 where King Charles the First and Queen, and the Prince are at dinner." It is 
 dated over the door, on the right, 1637. Engraved in Jesse's Memoirs of the 
 Stuarts. (Compare No. 645.) 
 
 This picture is valuable for the architecture and decoration, and as exhibiting 
 the manners of the time, and the prevalent custom in that age of royalty dining in 
 public. "There were daily at Charles I.'s Court, 86 tables, well furnished each 
 meal ; whereof the King's table had 28 dishes ; the Queen's 24 ; 4 other tables, 
 16 dishes each, and so on. In all about 500 dishes each meal, with bread, beer, 
 wine, and all things necessary. There was spent yearly in the King's house, of 
 gross meat, 1500 oxen ; 7000 sheep, 1200 calves ; 300 porkers, 400 young beefs ; 
 6800 lambs, 300 flitches of bacon ; and 26 boars. Also 140 dozen geese, 250 dozen 
 of capons ; 470 dozen of hens ; 750 dozen of pullets, 1470 dozen of chickens ; for 
 bread 364,000 bushels of wheat ; and for drink 600 tuns of wine and 1700 tuns of 
 beer ; together with fish and fowl, fruit and spice, proportionately." ^Present state 
 of London^ 1681.) 
 
 628 Elizabeth, daughter of the Archduke Charles (^(^'z) . . . ? 
 
 (See companion picture of her sister, No. 636.) 
 
 Bust, facing slightly to the left. She wears a white and gold embroidered dress, 
 with a close ruff". Her hair is of a light brown colour. On canvas, pasted on wood, 
 I ft. 4^ in. high, by i ft. i in. wide. Formed into an oval, round which is painted: — 
 
 "ELIZABETA, ^TATIS SV^ I, MENCIS 5, I578." 
 
 This picture and its companion have been most ridiculously labelled "Queen 
 Ehzabeth" and " Queen Mary," and attributed to Holbein, who had been dead 
 thirty-five years when they were painted ! The inscriptions leave no doubt that 
 they are the daughters of the Archduke Charles. This one died in her infancy, 
 in January, 1586. (See Mr. Scharf in Archceologia.) 
 
 629 Portrait of a Flemish Gentleman (2g2) . . . Gonzales Coques. 
 
 (Companion-piece to No. 637.) 
 
 Three-quarters length, seated, turned to the right, face seen nearly in full. His 
 left hand is on a red table covered with a red cloth, on which are some books ; his 
 
Hampton Court Palace. 
 
 213 
 
 right hangs by his side. He wears a black robe edged with brown fur, and long 
 full sleeves. His hair is long and black, and falls on his shoulders ; he has a 
 moustache and an imperiale. Background, a wall and green curtains. On copper, 
 I ft. high, by Z\ in. wide. The corners are cut off, so that its shape is an irregular 
 octagon. 
 
 630 Head of Rudolph II., Emperor of Germany {S^3) • • • unnamed. 
 
 This seems to be the picture entered in Charles I.'s catalogue, page 39, thus : 
 Item. Another limned picture, done upon the right light, of the Emperor 
 Rudolphus the second, painted upon parchment being transparent to be seen on 
 both sides, holding against the sky ; given to the King by his Majesty's apothecary, 
 Mr. John Wolfrumler. Done by Frosley, the Emperor Rudolphe's limner." His 
 dress is black ; he wears a small ruff, a black cap with a small feather, and he has 
 brown hair, and a small beard. On parchment, stretched on wood, 7 inches in 
 diameter. 
 
 Rudolphe'''' is written behind. "Rodolphus the Emperor" was sold by the 
 Commonwealth to Mr. Harrison, 23rd October, 165 1, for 
 
 Vanderdort, who had the care of Charles I. 's pictures, and compiled his catalogue, 
 had formerly been in the Emperor's service, and it was probably by his suggestion 
 that the King bought "Mr. Frosley' s Italian collection of pictures," which is 
 frequently mentioned in his catalogue, and of which pieces are now in this 
 Palace. 
 
 Rudolph was a great virtuoso ; and when he ascended the imperial throne "he 
 took up his residence at Prague, and there devoted himself exclusively to the 
 pastimes of collecting works of art, studying astrology and alchemy, and persecuting 
 the Protestants. When his subjects at last grew tired of him, and dethroned him, 
 and many of his beautiful pictures were dispersed, he put his head out of the 
 window, and cried out : * ' Prague, ungrateful city ! by me you have been exalted, 
 and now you reject your benefactor. May the vengeance of heaven blast you and 
 all Bohemia ! " He died in 1612. 
 
 Less than life, seen to the elbows, facing in front, but turned towards the right ; 
 her eyes, which are hazel, being directed a little to the left {i.e.^ her own right 
 shoulder), but looking at the spectator. Her dress is entirely white, being that of 
 **La Reine Blanche," but through its gauzy texture her black bodice and the soft 
 carnation of her skin can be seen. Her cap is also white, and from it a white veil 
 hangs behind, and is seen on her right shoulder. The cap is flattened at the top, 
 and comes just over the forehead, where the frilled lining projects a little ; but at 
 both sides at the ears it is curved outwards ; her hair, which is frizzled in little 
 curls, and of a decidedly reddish colour, filling the space between it and her face, 
 and covering her ears. Her dress is fastened close up to her throat, and hangs in 
 front, so as to completely cover the bust. Painted on a plain dark back- 
 ground. On wood, I ft. high, by 9 in. wide. Behind is branded Charles I.'s 
 cypher when prince — CP. crowned — twice repeated, and also his cypher when 
 king. There is also a small slip of paper, with an inscription half obliterated : — 
 *' of Janet. Queen Mary of Scotlande, appointed by his Ma- 
 jesty for the Cabinett-roome 1631." 
 
 This is therefore one of the two pictures in Charles I.'s catalogue, page 155, de- 
 scribed thus : — "A defaced picture of Queen Mary of Scotland, in her white moum- 
 
 631 Mary Queen of Scots {317) 
 
 Janet. 
 
214 
 
 Catalogue of Pictures, 
 
 631 Mary Queen of Scots — co7itiniied. 
 
 ing habit ; given to the King by the Lord Marquis of Hamilton, i ft. by 9 in. ; " 
 and ' ' Another like unto the aforesaid piece, more curiously done, of Queen Mary 
 of Scotland, in her white mourning habit, in a black ebony frame ; given to the 
 King by the Lord Denby. Said to be done by Jennet " (same dimensions). It is 
 probably the second of these, as its being placed in the Cabinet Room shows it was 
 thought most valuable. From the Commonwealth inventory we find (folio 484) 
 that '* The Queen of Scotts, by Gennett," was sold to Mr. Wright, 21st May, 1650, 
 iox £\o loj-., but it reappears in James IL's catalogue, No. 408 : — " Mary Queen 
 of Scots, to the waist, by Jennet." 
 
 That this is a genuine portrait of Mary Queen of Scots there cannot be the 
 slightest doubt, the original drawing, with which it accords in the very smallest 
 particulars, being now in the " Bibliotheque Sainte-Genevieve,"and one of the two 
 portraits chosen by M. Niel among hundreds of others as affording the most trust- 
 worthy likeness of her (see the text to his Portraits des Personnages Illustres, tom. i., 
 where a facsimile of it is given). The artist was doubtless Janet (Fran9ois Clouet), 
 and in Waagen's opinion it is a fine original work. Unfortunately, M. de Laborde 
 could •* neither confirm nor contest" his judgment, as his visit here had taken 
 place long before his researches. Though it does not come up to our ideal of 
 the Queen, it is nevertheless one of the most agreeable of the many portraits 
 extant of her. 
 
 There are replicas or copies at Castle Howard (Lord Carlisle's), and another 
 (where ?) formerly in the collection of Dr. Wellesley at Oxford. (As to the ques- 
 tion of the genuine portraits of Mary, see especially M. Feuillet de Conches' 
 Causeries (Tun Ctirietix, iv., pp. 406-460, and Gaedeke's Mana Stuart ^ Heidel- 
 berg, 1879. See also note to No. 560.) 
 
 Mary's first husband, Francis IL (see next picture), died, it will be remembered, 
 on the 5th December, 1560, leaving her a widow at the age of eighteen, *'au bel 
 avril de ses plus beaux ans." This was the first and bitterest grief in the unhappy 
 life of this cruelly persecuted woman. For many weeks she was so overcome that 
 she shut herself up and would see no one, and it was during those first gloomy days 
 of her mourning that she composed the touching verses Brantdme has preserved to 
 us, and among which are these two stanzas : — 
 
 The pallor of her face, to which she here makes allusion, is seen plainly enough 
 in this picture ; and Brantcme mentions how at that time her grief showed itself 
 
 par sa pasle teint ; car des lors qu'elle fut veufve je ne I'ay jamais veu changer en 
 un plus colore." He remarks also on her "grand deiiil blanc, avec lequel il la 
 faisoit tres beau voir ; car la blancheur de son visage contendoit avec la blancheur 
 de son voile, a qui I'emporteroit : mais enfin I'artifice de son voile perdoit, et la 
 neige de son beau visage effa9oit I'autre. " 
 
 Ronsard also addressed "cette Deesse en habit d'un mortel" in an exquisite 
 
 J'ai au coeur et a I'oeil 
 Un portrait et image. 
 Qui figure mon deiiil 
 Et mon pasle visage, 
 De violettes teint, 
 
 Soit en bois ou en Free 
 Soit pour I'aube du jour, 
 Ou soit pour la vespree. 
 
 Si en quelque sejour 
 
 Qui est I'amoureux tient. . . 
 
 Sans cesse mon coeur sent 
 Le regret d'un absent. . . 
 
Hampton Court Palace. 
 
 215 
 
 631 Mary Queen of Scots — continued. 
 
 poem, entitled Fantaisie. In it he refers to a picture, similar to this, which he 
 kept in his study opposite one of her youthful husband. 
 
 " Un crespe long, subtil, et delie 
 Ply-contre-ply retors et replie, 
 Habit de dueil, vous sert de couverture 
 Depuis le chef jusque a la ceinture, 
 Qui s'enfle ainsi qu'un voile, quand le vent 
 Soufle la barque, et la single en avant. 
 De tel habit vous estiez accustree 
 Partant, helas ! de la belle contree 
 Dont aviez eu le Sceptre dans la main, 
 Lors que pensive, et baignant vostre sein 
 Du beau crystal de vos larmes roulees 
 Triste marchiez par les longues allees." 
 
 And further on he speaks of her eyes : — 
 
 "Dous, beaux, courtois, plaisans, delicieux, 
 
 Un peu brunet, oil la delicatesse 
 
 Rit, non aux verds qui sont pleins de rudesse. " 
 
 For some months she remained in retirement, till in August, 1561, she left "la 
 belle France " for ever. Her departure is thus pathetically narrated by Brantome 
 in his charmingly naive old French : — "La galere estant sortie du port et s'estant 
 esleve un petit vent frais, on commen9a a faire voile. . . . Elle, sans songer a 
 autre action, s'appuie les deux bras sur la poupe de la galere du coste du timon et 
 se mist a fondre en grosse larmes, jestant tousjours ses beaux yeux sur le port et 
 le lieu d'ou elle estoit partie, pronon9ant tousjours ces tristes paroles : * Adieu, 
 France ! adieu, France ! ' " 
 
 In four days she reached the land of fogs, and cant, and Calvinism. 
 
 632 Francis II. of France when Dauphin {316) . . . Janet. 
 
 Less than life, seen to the elbows ; turned towards the right, but the face seen 
 nearly in full. He wears a black doublet, laced with gold braid in front ; and with 
 lappets at the shoulders. His collar is high up his neck, and trimmed with a small 
 wavy-pleated frill. His cap, which is a little on one side to his left, is ornamented 
 with gold buttons and pearls, while a white feather hangs over his right ear. His 
 eyes are brown, his nose somewhat aquiline, and his cheeks very fat. Painted on 
 a dark olive-green ground. On wood, i ft. high, by 9 in. wide. 
 
 That this was in Charles I.'s collection we may conclude from the fact of "A 
 Francis the Ilnd, King of France by Gennett, valued at;^'40," which had belonged 
 to him being found at the Restoration in the possession of a certain John Cade, who 
 had to give it up. {Hist. Commissioners' Report, 1879.) But it is not traceable 
 in Charles I.'s own catalogue ; though we do find " a hmning of Janet's doing " of 
 the Dauphin, of which the description accords with this, and which, with its 
 companion miniature of Mary Queen of Scots, is still preserved at Windsor. The 
 critics — Waagen, Niel, Feuillet de Conches, Mrs. Mark Pattison, Gaedeke, &c. — 
 are all unanimous in pronouncing this a fine, and indeed one of the finest, original 
 works of Frangois Clouet (Janet). 
 
2l6 
 
 Catalogue of Pictures. 
 
 632 Francis II. of France when Dauphin — continued. 
 
 It represents Francis when Dauphin, about the age of fourteen, and is there- 
 fore intermediate between the two drawings in the Bibliotheque Nationale" at 
 Paris, reproduced in Niel's Portraits. The characteristics of the earlier of the 
 two, ' ' cette face bouffie par la scrofule, ce crane encore tendre et aplati, sous lequel 
 se developpent deux joues demesurement elargies par les infiltrations de la 
 lymphe," are seen here in diminished intensity indeed, but still salient enough. 
 
 His short career was in fact little else than one long illness. " Sa sante delicate, 
 sa complexion malsaine I'obligeaient de se derober aux jeux et aux occupations de 
 son age ; il se mouchait et crachait sans cesse ; la fievre le consumait ; son visage 
 blafard annoncait assez la maladie qui le possedait." This dreary existence was 
 lightened indeed for a brief space by the love of his angelic Queen, * ' qui brillait 
 comme une perle exquise au sein de la petite cour ; " but this happiness, which 
 would have more than compensated for all his misery, and which, as a French 
 writer remarks, has blended an ineffaceable glory with his name — was terminated 
 by his death on the 5th of December, 1560, at the age of eighteen, after a reign of 
 eighteen months, and a married life of two years and a half ! 
 
 Ronsard, as we have seen (note to last picture), had portraits of Mary and 
 Francis which he placed opposite each other ; and in the charming poem to the 
 Queen, already cited, he thus mentions the one of her husband : — 
 
 Droit au devant de vostre portraiture 
 J'ai mis d'un Roy I'excellente peinture 
 Bien jeune d'ans, qui jamais n'eut le coeur 
 Ny I'oeil blesse d'amoureuse langeur : 
 Et toutefois a luy voir le visage, 
 Chacun diroit qu'il aime vostre Image, 
 Et qu'allume des rais de vostre jour, 
 II se consume et s'escoule d'amour 
 En sa peinture, et que son pourtrait mesme 
 Comme amoureux en devient froid et blesme . . . 
 En son pourtrait vous diriez qu'il souspire, 
 Et que muet ne vous ose rien dire . . . 
 
 Mais hors des dents la voix ne peut passer, 
 Le mort tableau luy oste la parole, 
 Et la peinture en larmes toute molle 
 En devient palle, et retient la couleur 
 De I'amoureux tout palle de douleur, 
 Qui se tourmente, et par souspirs desire 
 Estre entendu, et ni le peut dire." 
 
 It should be observed that Mrs. Mark Pattison refuses to acknowledge this 
 portrait as one of Fran9ois II. (see Renaissance of Art in France, i., 336), chiefly 
 on the ground that "the meagre profile which slants across the coins of rran9ois 
 suffices to show that this energetic boy, with the strong arched nose, is not the 
 Dauphin Fran9ois." But a reference to the drawings in M. Niel's book, and the 
 miniature at Windsor, and especially to the autolithographs in Lord Ronald 
 Gower's Three Hundred French Portraits, will show that this argument will not 
 avail. Indeed, one of the crayons reproduced by Lord Ronald, which is inscribed, 
 
Hampton Court Palace. 
 
 217 
 
 632 Francis II. of France when Dauphin — continued. 
 
 in a contemporary handwriting, possibly by Janet himself, "Z^ feu roy fran^ois 
 estant dauphin,''^ may not improbably be the original drawing for this very portrait. 
 
 It should be noticed, also, that though the verses quoted in this note are believed 
 to relate to Francis, and are not inappropriate to him, yet the context suggests 
 that the portrait was one of his brother Charles IX. 
 
 633 Philip II. of Spain (297) Sir Antonio More? 
 
 Half-length, less than life ; turned to the left. He wears a dark doublet edged 
 with white fur, puffed out at the elbows, and ornamented with bunches of pearls. 
 He has close tight cuffs at the wrists, and a small collar-ruff. His right hand rests 
 on the corner of a table covered with a red cloth, his left grasps the jewelled hilt 
 of his sword. He is bareheaded ; his hair light brown, and his short beard and 
 moustache of a lighter shade still. Round his neck is a chain. On wood, 2 ft. \\ in. 
 high, by i ft. 6^ in. wide. 
 
 Charles I.'s catalogue mentions this portrait at page 119, thus : — "The picture 
 of King Philip II., when he was young, in a black cassock lined with white fur, 
 with two hands, half-figure so big as the life, in a wooden frame. A Whitehall 
 piece." By the Commonwealth it was sold, ist March, 1652, to Mr. Hunt for;,^4 ; 
 but reappears in James II. 's catalogue. No. 33 : — "King Philip of Spain to the 
 waist, hand upon a sword. " 
 
 The term " A Whitehall piece," applied to this picture, means that it belonged to 
 the old royal collection previous to the accession of James I., and we may therefore 
 assume that it belonged to Queen Mary. From the old catalogues being silent as 
 to the painter, there appears to have been no tradition on this point. Subsequent 
 to James II. 's time it was assigned to Janet, but is now, with more probability, 
 attributed to Sir Antonio More, It represents Philip about the age of twenty-seven, 
 the time of his marriage with Mary. 
 
 634 A Startling Introduction {3^8) Henry Pot. 
 
 On the left is a lady in a black robe and yellow satin skirt, curtseying with a sad 
 expression to a gentleman who is standing in front of a chimney-piece, having ap- 
 parently come down the chimney. His hands are held up with an air of astonish- 
 ment. His hat lies behind him ; but his sword and cloak are on a chair behind the 
 lady. Behind her also are two dogs, one a greyhound, which seems to be snarling 
 at the intruder. In the background between them is a table covered with a rich 
 table-cloth. On the chimney-piece is a coat of arms carved in stone, and the mono- 
 gram HP. On wood, 2 ft. high, by 2 ft. 6 in. wide. 
 
 This belonged to Charles I., for we find his cypher branded at the back of the 
 panel ; but it is not found in his catalogue. It is probably, however, the picture 
 called "A souldier making a strange posture to a Dutch lady, by Bott," which 
 was sold by the Commonwealth to Mr. Treasurer Jones, Nov. 2nd, 1649, iox £1. 
 (See Inventory^ p. 205.) 
 
 Both the subject of this picture, and its painter, have given rise to much perplexing 
 diversity of opinion. Some have called it " a rehearsal," or a *' scene in a play," 
 adding — to make it more interesting — that the actor is Charles I ; while others call 
 it "a strange introduction." No explanation, however, yet suggested seems 
 satisfactory ; but the following is worth noticing : — "I was told by Lady Emily 
 Ponsonby that at Lady Newburgh's, at Slindon in Sussex, there is a similar 
 
2l8 
 
 Catalogue of Pictures. 
 
 picture, and that the tradition is that it represents an Earl of Derwentwater, who 
 made nine offers of marriage to a former Lady Newburgh, and being rejected and 
 denied her presence, descended the chimney to make a tenth, when he was 
 accepted." — (Mr. Redgrave, late Surveyor of Her Majesty's pictures, in the Royal 
 Catalogue.) 
 
 As to the painter, some have attributed it to Poelemberg, others to Palamedes, 
 others to Peter de Codde, while in Waagen's opinion it is by Mytens. But the 
 real artist is most likely Henry Pot, whose initials are inscribed in a monogram on 
 the chimney-piece, and whose name is further suggested by the misnomer BotV* 
 in the Commonwealth inventory. This supposition is confirmed by the fact that 
 Pot, who was born at Haerlem in 1600, was known to Charles I., and painted his 
 and his queen's portraits. He was probably in England some few years. (See 
 Descamp's Peintres Flaniands, Hollandais, 6^v. ) 
 
 635 Allegorical Picture of Queen Elizabeth {301) . L. da Heere. 
 
 The Queen appears on the left-hand side, emerging from a palace. In her left 
 hand she holds the orb of empire, and in her right a sceptre; on her head is the 
 royal crown. She wears a dark dress, covered with jewels, the underskirt in front 
 being a sort of diaper-work of pearls. Behind her are two ladies-in-waiting, hold- 
 ing her train. In front of her are the three goddesses, represented as thunderstruck at 
 the sight of her ; Juno, who lets fall her sceptre, and one of her shoes ; Minerva 
 armed, who holds a flag in her hand, and is gazing with astonishment at the Queen ; 
 and Venus, unrobed, who drops her roses, and to whom Cupid, having thrown 
 away his bow and arrows, clings for protection. The ceiling of the palace from 
 which the Queen comes is richly decorated with Tudor roses and other badges, and 
 the motto : Dieu et nion Droit. " In the background is a view of Windsor Castle. 
 On the stone to the right, about two and a half inches from the bottom, are the date 
 1569 and the painter's monogram, " H. F." On wood, 2 ft. I in. high, by 2 ft. 
 9 in. wide. 
 
 On the frame, which is evidently the original one, is the inscription : — 
 
 ** Jtmo patens sceptris et mentis acumine Pallas ; 
 Et rosea Veneris fulget in ore decus ; 
 A dfuit Elizabeth, Juno perculsa refugit ; 
 Obstupuit Pallas erubuitque Venus : " 
 
 probably by the painter himself, who dabbled in verse. 
 
 This interesting picture is found in Charles I.'s collection, and was sold under 
 the title : — "A piece of Queen Elizabeth, Venus, Juno, and Pallas" to Mr. Hunt 
 and Mr. Bass, 1st March, 1652, for;^2. " Venus and Pallas, and Queen Elizabeth 
 coming in ; by De Cheere," i.e. Da Heere, was in James II. 's catalogue. No. 934' 
 Although it is signed with Da Heere's monogram, and is traditionally known as his 
 work, Mr. Tom Taylor (see Times, May ist, 1866) attributed it to Girolamo da 
 Treviso, who had been dead twenty-four years (see No. 224), adopting the pecuhar, 
 but scarcely just method of criticism, that it was too well painted to be by Da Heere. 
 
 It was doubtless painted about October or November, by order of the Queen 
 herself, to whom it is as flattering in the allegory as it is in the likeness, when the 
 court was at Windsor, whence it moved to Hampton Court for Christmas. 
 Elizabeth was then thirty-six, and had been on the throne twelve years. It was 
 the time of the rising in the North under the Duke of Norfolk. 
 
Hampton Court Palace. 
 
 219 
 
 636 Mary Christierna, daughter of the Archduke Charles {282) . ? 
 
 (See companion picture, No. 628.) 
 
 Bust, facing in front, eyes directed to the left. She wears a light red dress, with 
 yellowish sleeves, embroidered with gold ; a small linen ruff ; and a headdress 
 trimmed with pearls. Her hair is of a fine flaxen colour. On canvas, pasted on 
 wood, I ft. 4i in. high, by I ft. I in. wide. Formed into an oval, round which is 
 painted: — " maria cristierna ^tatis sv^ 3 mensis 6 1578." 
 
 This was formerly called a portrait of Queen Mary, but it is evident from the 
 inscription that it is Mary Christierna, or Christina, daughter of the Archduke 
 Charles of Austria. As she was born on the loth of November, 1574, this must 
 have been painted in the month of May, 1578. She afterwards married in August, 
 I595> Sigismund Batthori, Prince of Transylvania, and died without issue in 
 April, 1 62 1. 
 
 637 Portrait of a Flemish Gentleman (27^) . . . Gonzales Coques. 
 
 (Companion piece to No. 629.) 
 
 Three-quarters length, turned to the right ; seated. His left hand holds his 
 gloves, his right is on his hip, supporting his cloak. He is dressed in black, and has 
 a broad collar over his coat. He has long hair, but his face is shaven. Above is 
 a green curtain. His age seems about thirty. On copper, i ft. high, by 8 in. wide. 
 
 638 A Dying Saint — A Sketch (jpp) Vandyck. 
 
 An old man lies dying on a couch, which is represented across the picture, the 
 head on the left. Round him are gathered some six monks in their habits, two of 
 them kneeling at his feet, the others kissing his hands. On wood, 1 1 in. high, by 
 9J in. wide. 
 
 This is a fine sketch en grisaille. Behind is the signature : — van Dyk.''"' 
 
 639 Lord Darnley and his brother, Charles Stuart {318) 
 
 L. DA Heere. 
 
 They are standing side by side, both facing in front ; Darnley is on the right, rest- 
 ing his right hand on his brother's right shoulder, and holding a pair of gloves and 
 a white embroidered handkerchief in his left hand. He is dressed in a close fitting 
 dress, and has a watch hanging from his neck. His brother, who scarcely comes up 
 to his waist, is in a long black skirted dress, down to his feet ; he holds his cap in 
 his left hand, and rests his right on his hip. They stand on a raised dais in a long 
 gallery or hall, with windows in semi-classic style on the right. Behind them to 
 the right is a table with a green cloth, on the cross rail of which is Da Heere's 
 monogram. On wood, i ft. 3 in. high, by 2 ft. i in. wide. 
 
 At the top is inscribed : — " Thes be the sones of the Right honerables 
 
 THERLE OF LeNOXE AND THE LADY MaRGARET's GRACE CoUNTESS OF 
 
 Lenox and Angwyse. Henry Steward Lord Darnley & Douglas 
 ^TATis 17. Charles Stewarde his brother .etatis 5." On the front part 
 of the dais is the date, 1563. 
 
 This interesting picture belonged to Charles I., from whose collection it was 
 sold at the Commonwealth : — "The Lord Darnley with his brother at length in 
 little, sold to Mr. Murray as appraised, 23rd Oct., 165 1, iox£^''' (Inventory, folio 
 142.) He also had a larger, similar picture, which was formerly here, but was 
 sent by command of the Queen to Holyrood. This one is the original and the best. 
 The head of Darnley was engraved by Vertue from this picture. 
 
2 20 
 
 Catalogue of Pictures. 
 
 The inscribed date is contemporary, and perhaps the inscription also ; as Darnley 
 was eighteen on December 7th, 1563, the picture was probably painted before that 
 month. He and his parents were then in London, whence he set out in the spring 
 of 1565 to join his father at the court of Mary Queen of Scots. His brother Charles 
 married, in 1574, Elizabeth Cavendish, by whom he had a daughter, the ill-fated 
 Lady Arabella, and died in 1577. 
 
 640 Christina, Duchess of Tuscany ? {302) Sir A. More ? 
 
 Life-size, seen to the shoulders ; face turned slightly to the right. She wears a 
 brown dress, cut square in front, and underneath a bodice of a brighter shade, em- 
 broidered with gold braid worked in wavy lines, edged with a small collar ruff, 
 and open at the throat. Her hair, eyes, and eyebrows are brown. On wood, i ft. 
 3 in. high, by ii in. wide. Charles I.'s cypher — C.R. crowned — is at the 
 back of this panel, and it is probably " The Grand Duchess of Tuscany, bom out 
 of the house of Lorraine, wife to Ferdinand Grand Duke of Florence. A White- 
 hall piece," entered at page no of his catalogue. It has often been called a por- 
 trait of Queen Mary from its supposed, but not very decided likeness to her. 
 
 641 Portrait of a Gentleman (5c5V) Sir A. More? 
 
 Small half-length, turned to the right. His right hand rests on a seat, his left 
 is on his hip. He wears a close-fitting black doublet, with a small collar ruff of 
 the time of Philip and Mary or soon after. His hair is reddish and close-cropped ; 
 he has a short beard and moustache. On wood, i ft. 3i in. high, by ii| in. wide. 
 
 642 Catherine, Daughter of Philip II. of Spain? {345) . Sir A. More? 
 
 Seen to the elbows, facing in front, turned slightly to the left. She is gorgeously 
 attired in a dress embroidered with gold and silver, and wears a large quilled ruff 
 of fine lace. Her headdress is trimmed with red flowers and pearls and a white 
 feather. On her breast near her heart hangs a curious jewelled ornament, repre- 
 senting Cupid drawing his bow. Her hair, eyebrows, and eyes are dark iDrown ; 
 her lips and cheeks apparently rouged. On canvas, 2 ft. 6 in. high, by 2 ft. 
 wide. 
 
 643 Children of the King and Queen of Bohemia {311^ . Poelemberg. 
 
 This is described in Charles L's catalogue, page 124, as : — "The picture of the 
 Queen of Bohemia's children, painted in a landscape, as if they came from hunting, 
 being little entire figures. Done by Polemburch, painted in Holland. " 
 
 They stand all seven in a row, and are attired in most unsportsmanlike, semi- 
 classical costume ; with bare legs, arms, and shoulders, and bareheaded. To the 
 right are stags, hares, and other game, and hounds, spurs, arrows, &c. ; in the 
 background on a hill a ruined castle. The eldest is Prince Frederick, who is seen 
 standing on the right, in profile, and holding a boar's head ; he was drowned at the 
 age of fifteen in Haarlem meer. Next to him is Prince Charles Lewis, with the 
 very scantiest amount of drapery, grasping a spear in his right hand ; he afterwards 
 became Elector Palatine. Behind him, with his hand on his shoulder, stands Rupert 
 (compare No. 762). Next in blue, seated, is the Princess Elizabeth, holding her 
 sister Louisa, who died Abbess of Maubuisson, by the hand. Close by, with a hawk 
 on his right hand, is Prince Maurice, the youngest but one, who was lost while cruising 
 in the South Seas in 1653. And lastly, seated on a branch of a tree, in red, a little 
 to the front, holding a bird on her right forefinger, and with her left on her bosom, 
 is the youngest, Princess Sophia, the ancestress of our present most gracious 
 
Hampton Court Palace. 
 
 221 
 
 sovereign. The picture was doubtless painted at their hunting seat at Rhenen, 
 near Utrecht. On canvas, i ft. 3^ in. high, by 2 ft. 2 in. wide. 
 
 "The Queen of Bohemia's children, in a landscape, by Polemberg," was sold, 
 1 8th Nov., 1651, to Mr. Decritz, for;^25. 
 
 644 Portrait of a Young Lady {306) Sir A. More. 
 
 Bust, turned to the left. She wears a dark close-fitting dress, with a quilled 
 ruff of rich lace, close up her throat. Her headdress is richly ornamented with 
 pearls and other jewels. On canvas, i ft. 4^ in. high, by i ft. i in. wide. 
 
 She appears to be the sister of No. 625. 
 
 645 The King and Queen of Bohemia dining in Public {2^2) Van Bassen. 
 
 This is substantially the same picture as No. 627, excepting some slight 
 variations. On the wall, over the entrance to the raised alcove at the end of the 
 hall, are the letters E. and F. crowned, the initials of the king and queen. 
 
 A curious incident, for which there was historic warrant, is introduced into this 
 picture. As the gentleman carver is carving a dish opposite their majesties, he is 
 attacked' by the queen's favourite monkey, which springs upon his breast, and 
 makes him present a most ludicrous appearance. This mishap actually occurred 
 at Prague on the first occasion that the queen, to allay the jealousies of her new 
 subjects, employed only Bohemians to wait upon her. The man was so frightened, 
 that he gave a yell and fled from the room. 
 
 B. Van Bassen was " a very neat painter of architecture " employed by Charles I. 
 These are the only pictures by him in the royal collection. 
 
 646 Exterior of a House with Figures {662) . . . . G. Dow. 
 
 A figure in purple robes, with a turban on his head, dressed like one of the 
 priests painted by Rembrandt, whose pupil Gerard Dow was, is directing a young 
 man's attention to the statue of a warrior placed near a door. Behind is an old 
 woman looking at them. On wood, i ft. 5 in. high, by i ft. 2.\ in. wide. 
 
 Signed in the lower left-hand corner, " G. DoVy" in a monogram. 
 
 647 Landscape with Cattle {386) Adrian Vandevelde. 
 
 In the centre is a red cow, on the right another, on the left a third, lying down, 
 and a sheep beside it. On a hill behind, a man lies asleep under a sort of tent. 
 On canvas, 2 ft. high, by i ft. 10 in. wide. 
 
 Adrian Vandevelde was a pupil of Wynant's, and painted very different 
 subjects to his brother "William Vandevelde the younger. His style has much 
 affinity with Paul Potter's. 
 
 648 Perspective Piece — Christ with Martha and Mary {283) J. D. de Vries. 
 
 This is described in Charles L's catalogue: — "A prospective piece, done by 
 Hans de Uries, the figures thereon done by Blocklandt, where Christ is sitting 
 with Mary, and three figures more, sitting by a green table." They are on the 
 left, Mary at Christ's feet, while to the right is an opening to a kitchen where is 
 seen Martha attending her household duties. In the background to the right is an 
 open gallery or cloister. On the sill of the archway is the signature : — " Hans (in a 
 , monogram) Vries, 1566." On wood, 2 ft. 10 in. high, by 3 ft. 9 in. wide. Be- 
 hind are the cyphers of Henry Prince of Wales, and Charles I. 
 
 Jan Fredeman de Vries (who is to be distinguished from De Vries, a landscape 
 painter in the seventeenth century) was one of the earliest perspective and archi- 
 
222 
 
 Catalogue of Pictures. 
 
 tectural painters of the Netherlands. He chiefly studied classical design, which 
 accounts for the splendid but inappropriate decoration of this interior, where the 
 figures are, as they were indeed meant to be, subordinate. There is a very similar 
 picture by his scholar, Steenwyck, in the Louvre. 
 
 Anthony de Montfort Blocklandt was an able scholar of Frans Floris. 
 
 649 Garland of Roses, &c., round a Frame {42^) . D. Seghers. 
 
 Hyacinths, orange blossoms, and jasmine are also inserted. They are arranged 
 round a frame which is usually painted with a Saint's head (compare No. 658). 
 
 On copper, 2 ft. 10 in. high, by 2 ft. wide. Signed in the lower left-hand corner, 
 **Z). Seghers, Soc. Jes^ 
 
 The signature here decides that the orthography of this artist's name is not Zegers 
 or Zeghers, as some have written it, nor Segers, as it is spelt by the Antwerp Museum 
 Catalogue, which contains the best account of him. He is the greatest master of 
 flower-painting of the Flemish school, and in his day his works were eagerly sought 
 after by all the monarchs of Europe. This is perhaps "The troop of Province 
 roses, Done by the Jesuit Pater Seager, in Antwerp, bought by the King of Mr. 
 Endymion Porter " — in Charles I.'s catalogue, page 7. "A festoon with roses 
 by the Jesuit," valued by the Commonwealth at ;^30, was sold for ;^33, 23rd March, 
 1649. The Antwerp Museum recently gave ;i^i40 for a piece similar to this. (See 
 note to No. 658.) 
 
 650 Adam and Eve caressing, Satan behind {io8q) . A. Van de Werf. 
 
 They are beneath trees in the Garden of Eden ; she seems shrinking from his 
 caresses. Satan behind on the right glares at them. On canvas, i ft. 7 in. high, 
 by I ft. 2j in. wide. 
 
 Of Van de Werf s naked figures Sir Joshua Reynolds remarks that *' they appear 
 to be of a much harder substance than flesh, though his outline is far from cutting." 
 He attributes this to the " want of transparency in his colouring, from his admitting 
 little or no reflexion of light." 
 
 651 Landscape, with a Rainbow {41s) Wouters. 
 
 In the foreground are some sheep, and behind them a man in a red coat plough- 
 ing, with two oxen and a horse. In the background on the left the sun is setting 
 in a stormy sky. On wood, i ft. 2^ in. high, by i ft. 6 in. wide. 
 
 Behind is Charles I.'s brand — C.R. and the crown ; and we find in the Com- 
 monwealth inventory (foHo 165) that : — '* A landscape of one, ploughing, by 
 Wouters," was sold, 19th Jan., 1650, to Mr. Houghton, for ;^io. In James II. 's 
 catalogue. No. 150, it reappears : — "A Landscape with a man at plough in it," 
 again attributed to Wouters. In recent times it has been attributed to Rubens, 
 but it is certainly not worthy of him, and the old catalogues are doubtless correct 
 in assigning it to Wouters, a second-rate scholar of his. 
 
 652 A Perspective piece — A Garden (S41) Steenwyck. 
 
 In James II. 's catalogue. No. 656 : — "A small round piece of perspective with 
 a fountain. By Steenwick." In the foreground are several figures, one playing a 
 guitar. In the distance are an arcade and classic columns. On copper, 4f in. 
 diameter. (Compare No. 655.) 
 
 653 The History of Argus (686) F. Floris. 
 
 Argus is seated on the left, his forehead filled with eyes, almost all of which are 
 closed, having been lulled to sleep by Mercury, who is sitting by his side, playing 
 
Hampton Court Palace. 
 
 223 
 
 his pipe. Above is shown Jupiter in the clouds sending Mercury down. In the 
 centre foreground lo is shown transformed into a cow, while more to the right 
 Mercury is seen stealing away with the head of Argus. Beyond, in the far distance, 
 Juno is putting the eyes in the tail of the peacock. Other incidents of the myth 
 are shown in various parts. On wood, 3 ft. high, by 2 ft. wide. 
 
 This belonged to Charles I. , as his brand is at the back of the panel. 
 
 654 Venus, Adonis, and Cupid {668) after Rubens. 
 
 She is sitting under a tree, with crimson drapery over her knees ; he is caressing 
 her. Cupid is in front of them. A dog, a horn, and various hunting implements 
 of chase are by. On wood, 2 ft. \ \ in. high, by i ft. 7 in. wide. 
 
 "A clever sketch of the time of Rubens, probably by Van Harp" (Mr. Red- 
 grave in the Royal Catalogue) ; or "Adonis and Venus, a copy by Cross," No. 484, 
 in James II. 's catalogue. 
 
 655 Architecture — The Angel delivering St. Peter {6^5) . Steenwyck. 
 
 They are in a large vaulted chamber, the Angel leading St. Peter up the steps in 
 front. On a pillar near them is a lighted lamp, and one in the distance. On 
 copper, in. diameter. This is ascribed, as well as No. 652, to Steenwyck the 
 elder. It is the "small round piece of perspective and St. Peter in prison by 
 Steenwyck," No. 655 of James II. 's catalogue. 
 
 656 Perspective piece — The Woman taken in Adultery {433) . P. Neefs. 
 
 The figures by old Franks. 
 
 The scene represents a fine Gothic cathedral ; the arches of the nave semicircular, 
 those of the aisles pointed. In the centre, Christ, who faces to the left, is stooping 
 down to write on the pavement ; the woman is in front of him, and he is sur- 
 rounded by a group of apostles and pharisees. On the left a man is entering, 
 carrying a basket in both his hands. On wood, i ft. 4 in. high, by i ft. 9 in, 
 wide. The back of the panel is branded with Charles I.'s cypher. It is perhaps 
 the "Large piece, of Perspective, where the woman taken in adultery is brought 
 before Our Saviour; by Stanwyck," in James II. 's catalogue, No. 683. 
 
 657 Windsor Castle {644) Verdussen. 
 
 The castle is on the right, the terrace finishing at Winchester Tower. The town 
 at the foot of the hill is seen on the left, also an old footbridge. In the foreground 
 is a gamekeeper with two dogs. On canvas, 2 ft. 8 in. high, by 3 ft. 6 in. wide. 
 
 The only artist of this name I can find anywhere mentioned is John Peter, " an 
 excellent painter of subjects in which animals formed the principal objects," who 
 flourished from 1743 to 1763. 
 
 (658 Garland of Roses round the Madonna {424) . D. Seghers. 
 
 The roses are red and yellow, and on them are a bee, a white butterfly, and a 
 tiger moth. In the centre is a head of the Madonna painted en grisaille on a car- 
 touche. On wood, 2 ft. 9 in. high, by i ft. 9 in. wide. Signed in the lower left- 
 hand comer : — '■^Daniel Seghers, Soc. Jesv. 165 i." 
 
 Compare No. 649. Seghers is said to have cultivated the flowers he painted at 
 the Jesuit's house at Antwerp, where he lived. "In painting red roses he em- 
 ployed colours which have remained unchanged, while the roses of every other 
 flower-painter have either turned violet or faded altogether." Cornelius Schut 
 usually did the heads for Seghers' festoons. 
 
224 
 
 Catalogue of Pictures, 
 
 659 Magdalen praying by Candlelight {422) . . Godfrey Schalcken. 
 
 She is seen in a half-length, facing to the left, seated at a table, with her eyes 
 upturned to a crucifix. In her left hand she holds a skull. The candle is in front 
 of her on the table. On canvas, i ft. 9 in. high, by i ft. 5|- in. wide. 
 
 660 Lot and his Daughters— A Night-Piece (jys) • • • Schalcken. 
 
 One sister is seen in front on the right, the light which comes from the left 
 shining full on her bare bosom. In her left hand she holds a vase of wine. Lot 
 also has a cup of wine. On canvas, i ft. 5 in. high, by i ft. in. wide. En- 
 graved in mezzotint by Smith. 
 
 Schalcken was a pupil of Gerard Dow's, but he imitated his careful finish only 
 in night pieces. Everything and everybody he painted was by candlelight. 
 When he came to England he drew a portrait of William III., making him hold 
 the candle till the tallow ran down his fingers. " He was a great master," says 
 Walpole, " if tricks in an art, or the mob could decide on merit ; a very confined 
 genius when rendering a single effect of light was all his excellence. " 
 
 661 A Hermit in a Cave — A Night-Piece (364) J. P. Van Slingelandt. 
 
 His hands are clasped in devotion, the moonlight shining on his face. In front 
 of him are a large book, a skull, and an hour-glass. On wood, i ft. in. high, 
 by II in. wide. 
 
 Slingelandt was an imitator of G. Dow, and as far as mere execution of detail is 
 concerned, may be considered to have surpassed him. He is said to have spent 
 three years over his masterpiece at the Louvre, and would devote weeks to 
 finishing a bit of lace. This is all that can be said in favour of him, yet hundreds 
 of pounds are given for his works. 
 
 A group of some twenty figures on a hill, singing, playing, talking, and flirting. 
 In the background are a farmhouse and a landscape. On canvas, 3 ft. 6 in. high, 
 by 2 ft. 6 in. wide. 
 
 There were several artists of the name of Molenaer, probably relations, who 
 flourished between 1625 and 1660, and who painted somewhat in the same style. 
 This is probably the work of Jan Mieuse Molenaer. 
 
 ::upid and Psyche (206) Vandyck. 
 
 He, with a bow in his hand, and his quiver dropped by his side, is advancing 
 towards her, who lies on the ground sleeping. Near her right hand is " the casket 
 of beauty " which Venus had ordered her to fetch from the palace of Proserpine, 
 Psyche opened the box out of curiosity and was overcome by an infernal sleeps 
 from which Cupid awakened her. In the background are a large tree and a land- 
 scape. On canvas. 
 
 In James II. 's catalogue, No. 159 : — " A large piece of Cupid and Psyche, with 
 a landscape. By Vandyck." It is said to be the last picture painted by Vandyck, 
 and certainly looks unfinished. It is found in the Commonwealth inventory :— 
 ** A piece of Psyche by Vandyck j sold for ;^iio." 
 
 To the elbows, facing in front. In his hands he holds a slip of paper. He 
 wears a furred cloak, with red sleeves. Reddish brown hair, but none on his face. 
 Painted on a green ground. On wood, 2 ft. high, by i ft. 9 in. wide. 
 
 662 A Dutch Merrymaking {636) 
 
 Molenaer. 
 
 664 Portrait of Holbein ? {322) 
 
Hampton Court Palace, 
 
 225 
 
 It is a question whether this is Holbein, or by him. It corresponds in size with 
 " The picture of the painter, called Sotto Cleeve, said to be his own picture, done 
 by himself, in a black cap and furred gown, painted upon a greenish ground, upon 
 a board ; bought by the King," in Charles I.'s catalogue, page 153. 
 
 Waagen thought it a genuine " Holbein by himself," and assigned it to his middle 
 period, remarking that it is admirably modelled, and decidedly one of the best of 
 his portraits by himself. But neither Mr. Wornum nor Dr. Woltmann in any 
 way endorse this opinion. It bears, however, no small resemblance to the sketch 
 at Basle, though older. 
 
 665 Head of Maximilian, Archduke of Austria {52g) .... unnamed. 
 
 A high black hat, furred coat, and short rutf. His whiskers and beard, which 
 are grey, are cut short. On the canvas is painted : — " maximilianvs arch, avstr." 
 I ft. 10 in. high, I ft. 6 in. wide. 
 
 No. 957 in James II. 's catalogue : — *' Maximilian to the waist, black cap and 
 ruff." It is doubtless a copy from some larger picture, and is probably Maxi- 
 milian, third son of the Emperor Maximilian II., who was born in 1558, and who 
 was elected to, but afterwards deprived of, the throne of Poland. He died in 
 161 1. {See Coxe^s Jlouse 0/ Austria.) 
 
 666 Face at a Window, misnamed Will Somers {S2p) . Holbein? 
 
 Bust ; face seen in full, grinning through a lattice-window. He wears a black 
 cap and dress. Both his hands are seen, and he is tapping on the glass with his 
 right. On wood, 2 ft. 4 in. high, by 2 ft. wide. The history of this picture illus- 
 trates the way in which false names are given to portraits. The first record of it 
 is in the Commonwealth inventory, where it is entered as being at Oatlands, and 
 sold to Mr. Houghton, i6th of January, 1651, for ;^3, under the title: — "One 
 looking through a casement, " without any artist's name. We next find it in 
 James II. 's catalogue. No. 137 : — "The picture of a fool in a black cap, looking 
 through a window," attributed to Holbein ; and from that the step was natural to 
 call it ** Will Somers." It bears in fact no resemblance to the authentic portrait 
 of him. (See No. 340.) 
 
 Nor is it by Holbein; on the contrary, it is believed to be a work of the seven- 
 teenth century. Behind is Charles I. 's brand, and also Prince Henry's. Engraved 
 as Somers by R. Clamp. (Woltmann's Holbein, page 303, and in the Fortnightly 
 Review. ) 
 
 667 Portrait of Sir Nicholas Bacon {268) unnamed. 
 
 Bust, turned to the left, but eyes directed to the right. He wears a black dress, 
 a large quilled ruff, and a black sugar-loaf hat. He has a grey forked beard. On 
 wood, 2 ft. \o\ in. high, by i ft. 5| in. wide. Across the top is inscribed : — 
 "Nicholas Bacon." , „ . . . 
 
 Sir Nicholas Bacon was born in 15 10, and went to the Bar in 1537. At once 
 on Elizabeth's accession he was appointed Lord Keeper, an advancement which 
 he probably owed to the friendship of Cecil ; and the Queen always reposed the 
 greatest trust in him, regarding him, according to Camden, " as the very oracle of 
 the law." Towards the close of his life — the period when this portrait was painted 
 — he grew very fat. To this he alludes in a letter to Elizabeth, excusing himself 
 for writing instead of coming to her, saying, " not of an unwillinge harte and myiide 
 but of an unhable and unwieldie bodie, is the onely cause." He knew also how to 
 Q 
 
226 
 
 Catalogue of Pictures. 
 
 combine flattery with a jest on his own corpulence. No, madame," said he, 
 when the Queen was visiting him and observed that his house was too small for 
 him, ** my house is not too small for me, but your Majesty has made me too large 
 for my house." 
 
 His illustrious son says of him that "he was a plain man, direct and constant, 
 without all finesse and doubleness, and one that was of a mind that a man in his 
 private proceedings, and in the proceedings of state, should rest on the soundness 
 and strength of his own courses, and not upon practice to circumvent others." 
 
 It should be observed that this picture bears little resemblance to other portraits 
 of Sir Nicholas (compare especially the one in the National Portrait Gallery) ; 
 but resembles rather those of Lord Chancellor EUesmere. 
 
 668 Head of boy, unknown {528) unnamed. 
 
 Bust, to the left, but the face turned round to the front. He wears a brown coat 
 showing a bit of white shirt at the throat, and a dark cap. He has long reddish 
 hair. On wood, i ft. 7| in. high, by I ft. 3 in. wide. 
 
 In James II. 's catalogue. No. 417, this is attributed to Rubens. Behind is 
 written in ink, " Anthony Laffeur^' (?). 
 
 669 Musicians (dfp) Peter de Hoogh. 
 
 A lady is sitting in the centre playing on a lute, behind her is a man playing on 
 a violin, and to the right is another lady with a lute, her back turned to the spectator. 
 These figures are inside a room. On the left is an open door near which is a 
 hound in shadow. Outside is a man seated in the sun. Signed in the lower left- 
 hand comer, ** P, D. Hoogh, 1647," or 1667. On canvas, i ft. 8^ in. high, by i ft. 
 II in. wide. 
 
 670 Architectural Night-Piece — St. Peter in Prison (700) . Steenwyck. 
 
 St. Peter is in front kneeling to the angels ; behind them is a candle on a step, 
 and soldiers are sleeping in various parts of the prison, which is a large stone 
 vaulted chamber. On wood, 2 ft. high, by 2 ft. 3 in. wide. 
 
 There were several similar " Night-pieces " of St. Peter in prison, by Henry 
 Steenwyck the younger, in Charles I.'s collection, most of which are now here. 
 (See Nos. 683, 737, &c.) He was a painter in the service of the King, who much 
 admired his works. R. Symonds records in his diary that Poelemberg did the small 
 figures for Steen\^7ck's perspectives. (See MSS. notes in B. M. copy of the 
 Kensington catalogue.) 
 
 671 Soldiers on the March (^zj) Borgognone. 
 
 A trumpeter is sounding his trumpet to call the troops together. They are 
 marching along a pass over the mountains, which rise on the right with rocks and 
 waterfalls. On canvas, i ft. 3I in. high, by i ft. i in. wide. 
 
 672 Cattle in a Landscape {786) M. Carr^. 
 
 Two red oxen stand under a tree in the centre ; besides them are sheep, an ass, 
 and a goat ; behind, a woman seated in the shadow of a barn, and cattle watering 
 to the right. On canvas, 3 ft. high, by 3 ft. 10 in. wide. 
 
 Michael Carre was a pupil of Berghem's, and is said to have resided in 
 England. 
 
 673 Christ Blessing little Children {362) Huens ? 
 
 Our Lord is standing at the door of the Temple to the right, surrounded by His 
 
Hampton Court Palace. 
 
 227 
 
 disciples, and a group of mothers and children. On the left a disciple is directing 
 others to Christ. The background is a classic building with Roman arches. On 
 copper, 5 in. high, by 7 in. wide. 
 
 674 "A Landscape-piece of a Den of Lions" (J7^) . . . R. Savery. 
 
 So entered in Charles I.'s catalogue, which adds, page 155, that it was " sent to 
 the King by his nephew, the Prince Elector, and done by Savery." The lions are 
 lying in a tangled mass of underwood ; above, in the trees, are several parrots and 
 other birds. Behind is the King's cypher and a label inscribed : — " This Picture 
 sent to the King by Prince Charles, Elector Palatine. Done by Rowland Savery.'' 
 And it is signed in front in the lower right-hand corner : — "Roelant savery. 
 1622." 
 
 There are, besides, the following entries :— " A Piece of Lyons done by Savarrio. 
 Sold to Mr. Wright, 7th June, 1650, for ^10 iOJ."--in the Commonwealth inven- 
 tory (folio 486); and "A landscape mth several lions and fowls by Rowland 
 Savery," among James II.'s pictures. No. 517. 
 
 For this painter, see No. 695. 
 
 675 Still-Life— A Fruit-piece (pj^) De Heem. 
 
 The articles are on a table, and consist of a white cloth, a tart in a silver plate, 
 a nautilus shell with grapes, a peeled lemon, and apricots. On wood, i ft. 10 in. 
 high, by 2 ft. 7 in. wide. 
 
 676 Whole-length portrait of a man— A sketch (^234) . F. Hals. 
 
 Facing in front, his left hand on his hip, his right holding a stick. He wears a 
 drab suit, a large broad-brimmed yellow hat, and gaiters and shoes of the same 
 colour. The background is a red curtain ; behind, on the left, are seen two figures. 
 On canvas, 2 ft. high, by i ft. 7 in. wide. 
 
 An admirable sketch. 
 
 677 Landscape, with Ruins, Goats, and Sheep {643) . • Paul Brill. 
 
 In the foreground to the left are some shepherds tending goats ; to the right 
 women drawing water ; in the background ruins and a castle. On canvas, 2 ft. 
 8 in. high, by 3 ft. 6 in. wide. 
 
 Paul Brill, who was born at Antwerp in 1556, holds an important position in the 
 history of landscape-painting. " He was the first to introduce a certain unity of 
 light in his pictures, attaining thereby a far finer general effect than those who had 
 preceded him." Waagen observes that he exercised a considerable and beneficial 
 influence over Rubens, Annibale Caracci, and Claude Lorraine. 
 
 678 Landscape, with Cattle {^83^ . . Herman Van Swanevelt. 
 
 In the foreground to the left is a goatherd with goats ; in the centre cattle, and 
 in the right distance water, at the brink of which are more cattle. On canvas, 
 I ft. 8 in. high, by 2 ft. wide. 
 
 This landscape and Nos. 694, 727, are considered to be among the best works of 
 this Dutch scholar of Claude's. Few artists have surpassed him in the suavity and 
 tenderness of his tints, or the delicate 'degradation' of his aerial perspective." 
 — (Bryan's Z>zVA) 
 
 679 Landscape with the Gate of a Town {81^ . . . Jan Breughel. 
 
 In the centre is a gateway leading to a village, from which a woman and a man 
 on horseback are coming. On the left in the foreground a man is kissing a woman 
 
228 
 
 Catalogue of Pictures, 
 
 and in the distance a chateau. In the right distance a village with figures. On 
 copper, 5| in. high, by 7| in. wide. 
 
 Jan Breughel was the second son of Peter Breughel the elder. He is commonly 
 called "Velvet" Breughel, on account of the exquisite softness and finish of his 
 work, to distinguish him from his father, "Peasant" Breughel, and his elder 
 brother, " Hell " Breughel. (See note to No. 748.) Jan principally painted land- 
 scapes with animals and flowers ; there are several specimens of his work here. 
 
 680 The Judgment of Paris {86) Rottenhammer. 
 
 Paris is seated under a tree, and is giving the apple to Venus. Minerva is stand- 
 ing with her back to the spectator, removing her drapery. On the left, behind the 
 tree, Juno advances. A river god and water nymph are seen in the left foreground. 
 In the left distance are the chariot-horses of the sun ; and other gods in the right 
 distance. On wood, 11^ in. high, by 10^ in. wide. 
 
 681 Soldiers in a Landscape {434) Borgognone. 
 
 Five or six soldiers in cuirasses stand on a rock which rises up on the right. 
 One of them in a hat with feathers is directing their attention to something in the 
 distance. On canvas, I ft. 3 in. high, by i ft. i in. wide. 
 
 682 A Laughing Boy (j^<5) F. Hals? 
 
 A head, turned to the right, the face thrown upwards, the eyes directed down- 
 wards ; he is laughing and showing his teeth. He wears a brown dress with a 
 broad lace-edged collar tied with red strings. His hat is a large black one, with a 
 white feather and broad brim turned up. On wood, i ft. 7 in. high, by i ft. 3 in. 
 wide. 
 
 This is perhaps the " Young Man's picture laughing, by young Quentin," entered 
 in the Commonwealth inventory, folio 486, as sold to Mr. Wright, 22nd March, 
 1650, for £(3. 
 
 683 Perspective Night-piece — St. Peter in Prison {405). . Steenwyck. 
 
 He and the sleeping guards are lying in a vaulted cloister on a stone pavement ; 
 a lamp hangs from the groining. It corresponds with the " Perspective piece of 
 the Imprisonment of St. Peter, where three watchmen, whereof one lying along, 
 and two others also sitting asleep, painted on the wrong light. Done by Steenwyck," 
 in Charles I.'s catalogue, page 15. At the back of the panel is his cypher. On 
 wood, I ft. Sin. high, by 2 ft. 2 in. wide. (Compare Nos. 465, 670, 737, &c.) 
 
 684 Flowers, Weeds, and Insects {82^) . . . . M. Withoos. 
 
 Brambles, thistles, a lily and a rose ; also on the right shepherd's purse, and on 
 the left a hedgehog, and various insects. On canvas, 3 ft. 'j\ in. high, by 3 ft. 
 4f in. wide. Signed below near a wheat-ear : — M. Withoos. Mirsuoort (?) A". 
 1665." 
 
 Charles II. must have acquired this picture, for it is designated in James II. 's 
 catalogue. No. 768 : — "a piece with thistles and flowers, a hedgehog in it, by 
 Withoos." 
 
 This very rare painter, of whom Waagen and other editors of Kugler's Hand- 
 book remark that they are unable " to quote a specimen of his art in any public 
 gallery," was a scholar of Otto Marseus van Schriek, and belonged to a small group 
 of Dutch painters who flourished in the latter half of the seventeenth century, and 
 who "took pleasure in representing all kinds of plants upon a dark background, 
 
Hampton Court Palace. 
 
 229 
 
 with butterflies and other insects about them, and below, between mushrooms and 
 other such undergrowth, snakes, and lizards, and toads and frogs, sometimes 
 fighting with each other." His works met with great favour, and very large prices 
 were given for them. Of the truth and precision of his pencil this, and two other 
 pieces here, Nos. 692 and 702, are sufficient evidence. They seem to be almost 
 unique examples of him in England. 
 
 685 Landscape, with Figures {236) . . . Bartholomew Breenberg. 
 
 Open scenery with a few trees, and half-a-dozen male and female figures playing 
 at Blind-man's Buff. In the distance is a river. On wood, i ft. 2 in. high, by 
 I ft. 9 J in wide. 
 
 This has long been ascribed to Paul Brill, but at the back of the panel are Charles 
 I.'s cypher and a torn slip of paper with an inscription in a handwriting of that 
 time, on which are the letters B art, 0 w." half obliterated. It is probably, there- 
 fore, the " Landscape of Bartholomew," sold by the Commonwealth to Mr. Jasper, 
 22nd Nov. 1649, for (No. 1122), which appears in James II. 's catalogue, No. 
 398 : — "A landscape with small figures, by Bartolomeo." 
 
 Breenberg at first studied under Poelemberg, but afterwards went to Italy and 
 adopted the style of that country. The landscape before us is in his earlier Dutch 
 style. 
 
 686 Satyr and Nymph, dancing (pp/) Poelemberg. 
 
 On the right is a satyr apparently asleep, and a nymph is looking at him ; on the 
 left is another satyr with a nymph ; and in the centre others dancing. The back- 
 ground is rocks and a hilly landscape. On wood, i ft. 3|- in. high, by 2 ft. i in. 
 wide. Behind is painted : — 
 
 ^' Huic poelenburgo vix par est Magnus Apelles 
 picta docet vafys multa tabella modis." 
 
 Although the works of Poelemberg — *'the sweet painter of little landscapes and 
 figures " — are stated to be *' very scarce," there are a considerable number in this 
 collection (see Index), most of which he must have painted for Charles I. during his 
 residence in England. 
 
 687 Battle-Piece — Troopers Plundering (^07) . Wouvermans. 
 
 To the right are an officer on a white horse and a woman kneeling to him in sup- 
 plication. Other horsemen are seen behind, to the left, plundering ; on the right 
 is a village. On wood, i ft. 6 in. high, by 2 ft. 2| in. wide. Behind is the inscrip- 
 tion : — "VAN PHLS WAVWRMAN." 
 
 This picture is No. 1078 of James II. 's and No. 222 of William III.'s Hampton 
 Court catalogue. 
 
 688 The Elements— Water (pj) . Breughel and Rottenhammer. 
 
 In the centre, somewhat to the left, at the foot of some trees, is seated a nymph 
 or goddess in loose red drapery, holding in her right arm a cornucopia filled with 
 water plants, corals, and sea weeds ; with her left hand she pours out water from a 
 large shell. To the right a river-god is also pouring out a stream from an urn ; and 
 into the pool formed thereby, various kinds of fish are leaping ; around are also 
 aquatic fowls and plants. 
 
 This is one of a series of four pieces representing the four elements. (See Nos. 
 703, 721, 739.) They are each on wood, i ft. 6| in. high, by 2 ft. 7^ in. wide ; and 
 
230 
 
 Catalogue of Pictures. 
 
 behind each are Charles I.'s cypher — CR. crowned, and slips of paper inscribed 
 in a handwriting of the time : — ^'■Bought by the King for Oatlandes House Gallery.'''' 
 
 In James II. 's catalogue, No. 240, they are called : — "A set of the Four 
 Seasons, " — an erroneous title, which they have borne till recently. Their correct 
 designation is that under which they appear in the Commonwealth inventory : — 
 '*The Four Elements appraised at ^15, and sold, i8th Nov. 1651, to Mr. 
 Decritz and others," the last part of the entry, however, being erased, and the 
 words "Reserved for his Highness' service" substituted. 
 
 The landscapes were painted by Jan, called " Velvet " Breughel, and exhibit the 
 delicacy and softness for which he was distinguished. The figures, which are about 
 six inches high, and the birds, fish, and other animals are ascribed to Rotten- 
 hammer. 
 
 The exquisite finish of every little detail, especially in the scales, fins, and eyes of 
 the diminutive fish, and in the scrupulous rendering of every little leaf and seed of 
 the fruit, is something quite marvellous. As now placed they can scarcely be 
 appreciated. 
 
 689 Portrait of a Gentleman, unknown {logS) uniiamed. 
 
 He is seen to the elbows ; facing to the front, but turned slightly to the right. 
 His dark dress has gold buttons in front ; and on his breast is the collar and lamb 
 of the Golden Fleece. He wears a large quilled Spanish ruff, and a small black 
 bejewelled cap. His hair is light, his eyes blue, and he has a small, tumed-up 
 moustache, and peaked beard. On canvas, i ft. 9I in. high, by i ft. i in. wide. 
 
 This is an unknown portrait. Across the top is an obliterated inscription, 
 
 in which seem to occur the letters : — " dav ano sthc . . . 
 
 — which may afford a clue to the person represented. 
 
 690 Stacking a Hayrick (jc?/) Wouvermans. 
 
 To the left are a tumble-down cottage and a woman sitting by the door with two 
 children. To the right a man on a hay-cart is stacking a hay-rick, on which stand 
 two men ; two horses are close by. On wood, i ft. 3 in. high, by i ft. wide. 
 Signed in the lower right-hand corner with the painter's usual monogram. 
 
 No. 1083 in James II. 's catalogue was : — "A cottage with horses and a hay cart, 
 by Wouvermans," — doubtless this piece. 
 
 691 Flowers — Roses, &c., in a Vase {8ig) . M. van Oosterwyck. 
 
 The vase, which is of glass, and in which are carnations, roses, &c., stands on a 
 marble table ; and a small shell is close by. Along the edge of the table in the 
 left-hand corner is inscribed : — "Maria van Oosterwyck, 1689." On wood, 
 I ft. 6^ in. high, by i ft. 2\ in. wide. 
 
 This and No. 700 are good specimens of Maria van Oosterwyck, a lady painter 
 and a scholar of De Heem's. "In my opinion she does not occupy that place in 
 the history of the art of her time which she deserves, which may be partly owing 
 to the rarity of her pictures, especially in public galleries. For although her 
 flower-pieces are weak in arrangement and often gaudy in the combination of 
 colour, yet she represents her flowers with the utmost truth of drawing, and with a 
 depth, brilliancy, and juiciness of local colouring unattained by any other flower 
 painter. " — ( Waagen,) 
 
H amp 1 071 Court Palace. 
 
 231 
 
 692 Flowers and Insects {821) M. Withoos. 
 
 The flowers are blue convolvuluses on which are several white butterflies ; and 
 below a small green snake. On canvas, i ft. 6f in. high, by i ft. 3^ in. wide. Signed 
 just above the highest green leaf : — "J/. Withoos.''^ 
 
 This is a thoroughly characteristic specimen of this rare painter (see note to 
 No. 684). 
 
 693 Nymphs in a Landscape, bathing (^27) Dietrich. 
 
 On the left is a fountain sculptured with bacchanalian figures ; several nymphs 
 are bathing in the pool of water flowing from it ; other figures behind. On canvas, 
 I ft. in. high, by i ft. ii^ in. wide. 
 
 Dietrich was a German artist who flourished in the middle of the eighteenth cen- 
 tury, and imitated various styles ; this being after the manner of Poelemberg. 
 
 694 Landscape — Venus presenting Cupid to Diana {i2g) . Swanevelt. 
 
 In the centre foreground is a large tree beneath which is a group of Diana and 
 her nymphs, to whom Venus, with her son Cupid, is coming. Trees on the left, 
 and a hilly landscape in the right distance. On canvas, 3 ft. z\ in. high, by 4 ft. 
 4^ in. wide. 
 
 (See note to No. 678.) 
 
 695 Landscape— A Waterfall (775) R. Savery. 
 
 On the right are rocks with the water dashing over them ; to the left trees, and 
 figures approaching the pool below. On wood, 2 ft. i in. high, by 3 ft. 2\ in. wide. 
 
 Roelandt Savery was much employed by the Emperor Rodolph, who sent him 
 into the Tyrol to study the wild scenery which he loved to sketch, 
 
 696 A Penitent received into the Church (J57) Baroccio. 
 
 In the middle is an altar, and on the steps thereof a naked figure is kneeling to 
 a monk attired in a black habit. On canvas, 2 ft. high, by i ft. in. wide. 
 
 697 Destruction of the Children of Niobe (557) . . . Rottenhammer. 
 
 Below are the children grouped to the right and left, and in the centre, one rush- 
 ing forward. In the clouds above are Apollo and Diana shooting. Painted in an 
 oval. On canvas painted on wood, i ft. 3f in. high, by i ft. 8f in. wide. 
 
 In James II. 's catalogue, No. 529 : — *' The story of Niobe's children shot out of 
 the clouds. Rothenhamer. " 
 
 698 Landscape— Rocks and a Lake {^66) .... Everdingen. 
 
 The sky is cloudy and dark, the scenery fine and grand ; with rocky mountains 
 to the right. On the lake is a little boat with three figures in it, and not far ofl" a 
 house. On wood, i ft. high, by i ft. 4 in. wide. 
 
 We find this among James II. 's pictures, No. 411 : — "A landscape very neat, by 
 Everdingen." 
 
 This landscape is a fairly characteristic specimen of a Dutch master of whom 
 there are but few examples in England. He painted in the style of Savery and Jan 
 van Goyen, and was fond of depicting the sublime in nature — rushing torrents, 
 tempestuous skies, lofty mountain peaks, dark sheets of water. 
 
 699 Judith with Holofernes' Head {88) . after P. Veronese hy Teniers. 
 
 To the right is Holofernes' headless body lying on a couch. In the centre 
 Judith gives the head to her maid. Behind are figures and a pavilion. On canvas, 
 I ft. 5 in. high, by 2 ft. Made. 
 
Catalogue of Pictures, 
 
 700 Flowers and Insects {820) ....... M. van Oosterwyck. 
 
 The flowers, which are white and red roses, nasturtiums, &c., are in a glass vase 
 standing on a table. On wood, i ft. 6 in. high, by i ft. 2\ in. wide. On the edge 
 of the table : — "Maria van Oosterwyck, Anno 1686." 
 
 701 The Conversion of St. Paul {go) .V. Malo. 
 
 A spirited composition of twelve figures. Amidst the dark clouds Christ appears 
 as an irradiating light on the group ; horses and men all exhibit the greatest affright 
 and confusion ; St. Paul, who with his horse has fallen to the ground, is being held 
 up by two attendants. On copper, i ft. 6 in. high, by 2 ft. 2 in. wide. Signed in 
 the left corner : — VINCENT MALO inven." 
 
 There was a "little Whitehall piece of the Conversion of St. Paul" in Charles 
 I. 's catalogue, page 121; which was sold by the Commonwealth, 23rd October, 
 1 65 1, to Mr. Houghton for £\. Vincent Malo was a disciple of Rubens. 
 
 702 Still-Life — Flowers in a Glass Vase {822) M. Withoos. 
 
 The flowers are roses, marigolds, nasturtiums, &c. On the table also are a skull, 
 an enamelled watch with a gold chain, and an old book with vellum binding and 
 tattered leaves. On canvas, i ft. 6 in. high, by i ft. 3^ in. wide. Signed in the lower 
 right-hand corner: — M. Withoos,^'' the f. M. and W. in a monogram. (See 
 No. 692.) 
 
 703 One of the Elements — Air {86^ . Breughel and Rottenhammer. 
 
 To the left is a nymph, in loose red drapery spangled with stars, floating on a 
 cloud, and holding a bunch of feathers in her right hand ; in her left she has a 
 sphere. She is attended by three Cupids. On the ground and in the air are eagles, 
 peacocks, and all kinds of birds. The chariot of the sun is seen in the heavens. 
 (See note to No. 688.) 
 
 704 A Wild Boar Hunt (pj-p) Snyders. 
 
 To the right near a tree is the boar, attacked by a pack of hounds. One 
 mounted on its back has hold of its right ear ; another is seizing its left ear ; others 
 its hind legs ; while to the left are two others on their backs, spotted with gore and 
 half killed ; the heads of others are seen coming up. On canvas, 6 ft. 9 in. high, 
 by II ft. 6 in. wide. 
 
 This was in James II.'s catalogue, No, 802 ; — *'The hunting of wild boars by 
 Snyders. " There are similar pictures at Vienna and in the Louvre. 
 
 It is a fine specimen of those spirited compositions of lion, stag, and boar hunts, 
 to which Snyders devoted his matured genius, and for which he became so greatly 
 celebrated. In his earlier time, as we have seen {vide note to No. 612), he was 
 not thought capable of any great excellence in this line ; but afterwards even 
 Rubens greatly admired them, and condescended to paint the figures in them. In 
 his treatment he stands alone : — " He represents the actual hunting of wild animals 
 by dogs ; he seizes upon the actual struggle for life and death, as the main interest 
 to which other incidents should be subordinate. Fire gleams in the eyes, and life 
 and energy in every limb of the animals. The painter was familiar with the boar, 
 which was hunted and occasionally brought to market from the forests of Flanders 
 and Brabant." (See The Magazine of Art, where this composition is engraved.) 
 
 705 Portrait of the Count of Hoogstraaten (868) unnamed. 
 
 To the elbows, turned to the left. He is in armour of steel, ornamented with 
 
Hampton Court Palace. 
 
 233 
 
 elaborately wrought breast-work, and wears a small ruff. He is bareheaded, and 
 has red curly hair and a short beard. Round his neck hangs the lamb of the 
 Order of the Golden Fleece. His right hand is just seen. On wood, i ft. 11 in. 
 high, by i ft. 85 in. wide. Across the top is inscribed : — " Le Conte de Hoogh- 
 STRAT. " 
 
 Anthony de Lalaing, Count of Hoogstraaten, was one of the chief leaders in the 
 revolt of the Netherlands against the Spanish. In 1568 he was cited before the 
 Blood-Council, and in the same year was killed in battle. He was a firm friend 
 of the Prince of Orange, and a brave, high-spirited man. 
 
 This portrait and companion ones of the leaders in the war of Dutch Independence, 
 Nos. 706 and 713, were probably brought over to England by William III. ; for 
 we do not find them in James II. 's catalogue, and the names are inscribed, in a 
 handwriting of that time, on slips of papers behind. There are a series of portraits 
 of these heroes at Amsterdam, from which perhaps the panels before us are replicas 
 or old copies. 
 
 706 Portrait of Maurice, Count of Nassau {^866) unnamed. 
 
 Bust, facing to the right. He is in armour of steel ornamented with rich brass- 
 work, and wears a small ruff. Over his shoulders is a red scarf. He has light 
 hair and a short trimmed beard. On canvas, i ft. 1 1 in. high, by I ft. 8| in. wide. 
 Across the top is painted : — " Mavrice Conte de Nassav." 
 
 Motley gives the following account of Prince Maurice at the age of forty- two, in 
 1609, when he was in the full flower of his strength and his fame. " He was of a 
 noble and martial presence. The face, although unquestionably handsome, ohered 
 a sharp contrast within itself : the upper half all intellect, the lower quite sensual. 
 Fair hair growing thin, but hardly tinged with grey, a bright, cheerful, and 
 thoughtful forehead, large hazel eyes within a singularly large orbit of brow ; a 
 straight, thin, slightly aquiline, well-cut nose — such features were at open 
 variance with the broad, thick-lipped, sensual mouth, the heavy pendent jowl, the 
 sparse beard on the glistening cheek, and the moleskin-like moustache and chin 
 tuft. Still, upon the whole, it was a face and figure which gave the world 
 assurance of a man and a commander of men." — {Life and Death of Barneveld, i., 
 29.) 
 
 707 George Villiers, first Duke of Buckingham {588) C. Janssen. 
 
 Half-length, facing in front, but inclined to the right. He is dressed in the full 
 robes of the Garter, with the collar and "George," a crimson cloak lined with 
 white silk, a broad turned-down lace ruff of three tiers. He has long chestnut 
 hair, and a peaked beard and moustache. On canvas, 2 ft. 6 in. high, by 2 ft. 
 I in. wide. Behind is a label with the date 18 16, and a note " From Lord Stowell.'" 
 
 This appears to be a replica of part of the full-length at the Grove. 
 
 James I., who, as Clarendon said, "of all wise men living, was the most 
 delighted and taken with handsome persons and fine clothes," gave his favourite 
 the Garter in July, i6i6, not long after he had first been introduced to him. 
 It was doubted at the time "that he had not sufficient livelihood to maintain the 
 dignity of the place," but the King soon supplied the deficiency by grants of land 
 and pensions and offices ; and Villiers, who loved magnificence in dress as much 
 as his master, took care to please his eye by his splendid costumes. 
 
 "It was common with him," says an old writer, "at an ordinary dancing, to 
 have his clothes trimmed with great diamond buttons, and to have diamond hat- 
 
234 
 
 Catalogue of Pictures, 
 
 bands, cockades, and earrings ; to be yoked with great and manifold ropes and 
 knots of pearl ; in short, to be manacled, fettered, and imprisoned in jewels ; 
 insomuch, that at his going over to Paris, in 1625, he had twenty-seven suits of 
 clothes made, the richest that embroidery, lace, silk, velvet, gold, and gems could 
 contribute : one of which was a white uncut velvet, set all over, both suit and 
 cloak, with diamonds valued at fourscore thousand pounds, besides a great 
 feather, stuck all over with diamonds." 
 
 Of his extraordinary beauty, which won him the favour of two kings, we have 
 numerous testimonies : — "He had a very lovely complexion ; he was the hand- 
 somest bodied man in England ; his limbs so well compacted, and his conversation 
 so pleasing, and of so sweet a disposition." A diarist also notes : — "I saw every 
 thing in him full of delicacie and handsome features ; yea his hands and face 
 seemed to me especiallie effeminate and curious." 
 
 708 Portrait of a Man unknown {^14) unnamed. 
 
 Bust ; face seen in full, turned slightly to the right. He wears a simple black 
 dress, with a plain turned-down broad linen collar, apparently of the time of the 
 Commonwealth. On canvas. 
 
 709 Supposed Portrait of Shakespeare (-^/p) unnamed. 
 
 Half-length ; face directed slightly to the left. He wears a dark-green coat, 
 trimmed with gold braid ; the sleeves open all down the arms, the buttons and 
 loops being unhooked, except at the elbows. Round his waist is a belt for his 
 sword, the hilt of which he grasps in his left hand ; in his right he holds a dagger. 
 His hose are crimson. He has a lace ruff, hand ruffles, long brown hair, a small 
 moustache and a peaked beard. From his left ear, which is pierced, hang black 
 strings. Above is inscribed: — '* u^tat. sua. 34." On wood, 2 ft. 5 in. high, by 
 2 ft. wide. 
 
 Except for the supposed resemblance of this picture to the authentic portraits of 
 Shakespeare, for which reason it was bought by William IV., I believe there is no 
 ground for its bearing the name it does. Certainly, it is rather a truculent version 
 of the ** gentle Bard of Avon." 
 
 710 Supposed Portrait of Raphael {278) by himself. 
 
 Head, life-size, turned to the right, but the eyes looking to the front. He is 
 dressed in a simple black dress, showing a large portion of his white shirt beneath. 
 On his head is a plain black cap. He has long brown hair falling over his 
 shoulders ; his eyes are also brown. In the right distance is seen the tomb of 
 Cecilia Metella. On the two buttons in the front of his coat is inscribed, round 
 one: — "Raphael," round the other "sanzio." On wood, i ft. 4I in. high, by 
 I ft. 4I in. wide. 
 
 There is some doubt with regard to the history of this picture, as it is stated in 
 the Royal Catalogue that it was given to George III. by Lord Stowell ; but this is 
 doubtful. It is more probably Raphael's picture in a black habit and black cap, 
 done by himself" in James II. 's catalogue. No. 123, which seems identical with 
 the Man with a black cap by Raphael," sold by the Commonwealth to Mr. 
 Hook and others for £10 {Harl. MSS. 4898, No. 1 1 70), and which had therefore 
 belonged to Charles I. 
 
 Almost every possible opinion has been expressed by critics as to this magnifi- 
 cent picture. Some consider it a genuine portrait of Raphael by himself; others 
 
Hampton Court Palace. 
 
 235 
 
 a portrait of Raphael, but not by himself ; others not a portrait of Raphael, but by 
 him ; others neither a portrait ^him nor by him. 
 
 In Passavant's opinion it is "painted quite in the Perugino manner," and 
 he thought it probably a portrait of one of Raphael's fellow-students. {Toury 
 1838.) Those skilled in ** iconography" should have little difficulty in determin- 
 ing, at any rate, whether it is a portrait of Raphael or not, as there are plenty of 
 authentic ones of him. It is perhaps superfluous to remark that the beautiful 
 head in the Louvre, which was long called a portrait of him, and frequently 
 engraved as such, is now considered to be an ideal portrait of a young man ; and 
 by Messrs. Crowe and Cavalcaselle not even believed to be by him. 
 
 711 Sir Theodore Mayerne, Physician to James I., Charles I., and 
 
 Charles II. (^264) after Rubens ? 
 
 Bust, turned to the left, eyes directed to the front. He is dressed in black, with 
 a round black skull-cap, and a white collar. He has a thick snowy white beard. 
 On canvas, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 This head seems to be a copy after the half-length now belonging to the Royal 
 College of Physicians, in which the doctor holds a skull in his left hand. There is 
 another portrait of him by Rubens, which is traced in the master's own inventory, 
 and which was formerly at Cleveland House. It was engraved by Faber and W. 
 Elder. 
 
 Sir Theodore Turquet de Mayerne was a native of Geneva, of a noble French 
 family, a Huguenot, whose father had fled to that city. He was originally physician 
 to Henri IV., but on the assassination of that monarch he came to England. Here 
 he attended Prince Henry in his last illness, and, being appointed principal phy- 
 sician to James I., was knighted in 1624. '* His skill in chemistry far exceeded that 
 of any of his contemporaries, and he was the first who had the boldness to apply the 
 mineral specifics which form the basis of the modern pharmacopoeia. But his 
 application of chemistry to the composition of pigments, which he liberally com- 
 municated to the painters who enjoyed the royal patronage, to Rubens, Vandyck, 
 and Petitot, tended most essentially to the promotion of the art, and its eventual 
 perfection. From his experiments were discovered the principal colours to be 
 used for enamelling, and the means of vitrifying them." — (Dellaway's notes to 
 Walpole.) 
 
 712 Sir Theobald Gorges {28^) unnamed. 
 
 Bust, turned a little to the left. He wears a black dress with silver tinsel and 
 buttons, and a small plain collar. He has long brown hair and earrings. On the 
 left is a coat-of-arms, only partially seen. On the right is a scroll with the motto : 
 " Virtutis prcEmiii non fortunce Eliviosinar On wood, i ft. I of in. high, by i ft. 
 5iin. wide. 
 
 Theobald Gorges was knighted on the 27th of June, 1616. I suppose the name 
 is correct, but the picture is not unlike George Clifford; Earl Cumberland. 
 
 713 Portrait of the Count of Brederode {86 f) unnamed. 
 
 Bust, facing in front. He wears steel armour, ornamented with fine brass-work, 
 and a small white frilled collar or ruff turned over the gorget. He has reddish 
 hair, beard, and moustache. Round his neck is a long chain. On wood, i ft. I r 
 in. high, by i ft. 8^ in. wide. Behind, on a scrap of paper, is an old obliterated 
 inscription : — Br . d . ro . . 
 
Catalogue of Pictures, 
 
 This is Henri, Comte de Brederode — "the bold, debaudied Brederode, with hand- 
 some, reckless face and turbulent demeanour," — as Motley says ; and '* a madman 
 if there ever were one," as a contemporary expresses himself. He was one of the 
 first to sign the famous "Compromise," and was the individual chosen to present 
 the " Request " to the Duchess of Parma, Governess of the Low Countries, which 
 was the beginning of the revolt against the Spanish Dominion. 
 
 714 Portrait of the Due D'Aumale {86g) unnamed. 
 
 To the elbows, facing in front. He is in steel armour, ornamented with gold, 
 with a plain collar over the gorget. His hair is grey, but his moustache and thin 
 beard are brown. On wood, i ft. 10 in. high, by i ft. 8^ in. wide. Across the 
 top is painted : — " Le Dvc Davmale." 
 
 I presume this to be Claude II. de Lorraine, Due D'Aumale, who took such a 
 glorious part in the defence of Metz when besieged by Charles V. in 1552, but who 
 sullied his fame by advocating the massacre of St. Bartholomew, and the murder 
 of Coligny. He was killed at the siege of La Rochelle. 
 
 715 Dutch Boors regaling (jpj') Egbert Hemskirk. 
 
 Four figures seated round a table, playing cards and drinking with large tankards. 
 One is seated on a tub ; four other figures are in the room. Above, from an arched 
 opening, a man is receiving a bottle ; another by him is smoking. On wood, i ft. 
 I in. high, by 11 in. wide. Signed : — H. 1681 ?" 
 
 716 Head of a Youth (j/^) utinamed. 
 
 Turned to the left, face seen in three-quarters, turning round at the spectator. 
 He wears a brown dress, with a folded linen ruff. His hair is short and light 
 brown. On canvas, i ft. 7 in. high, by i ft. 2 in. wide. 
 
 717 Still-Life — Oranges, Oysters, Grapes (^2(5') Cuyp? 
 
 The objects, which consist of a whole and half orange and peelings, two bunches 
 of grapes, some open oysters and shells, a glass and plums in a plate, and a large 
 red wine-glass, and a glass flagon, are all on a table covered with a cloth. On 
 wood, I ft. 9 in. high, by I ft. 4 in. wide. 
 
 This is ascribed to Cuyp, by whom is meant, I suppose, Jacob Gerritsz Cuyp, the 
 father of the great landscape painter ; but it seems rather in the style of De Heem. 
 (See Nos. 469 and 675.) Perhaps it is the "piece with a Rhenish wine-glass 
 by De heim," sold by the Commonwealth, 7th May, 1650, in this Palace, to Mr. 
 Leemput for (inventory, folio 305.) 
 
 718 Dead Game and Flowers {374) Jan Weenix. 
 
 To the right are lying a partridge and a pigeon. Behind are a belt with a large 
 brass buckle and a small brass pan hanging from a tree, by which are convolvuluses 
 and other flowers. On canvas, i ft. 10 in. high, by i ft. 7§ in. wdde. Signed in 
 the lower right-hand corner : — J. Weenix f. 16? 8." 
 
 The signature indicates that this is a work of Jan, the son and scholar of Jan 
 Baptist Weenix, the painter of landscapes and animals. He eventually excelled 
 his father in the second of these lines, and, in fact, in sporting subjects of this sort 
 — dead horses, pheasants, partridges, swans, with hunting implements, &c., as ac- 
 cessories — is regarded as the greatest master that the Dutch, or indeed any other 
 school, ever produced. 
 
Hampton Court Palace. 
 
 237 
 
 719 Nymphs in a Landscape, Bathing {430) Poelemberg. 
 
 In front are five semi-nude female figures, three of them seated ; behind, some 
 six others are bathing. The background is a mountainous landscape and a clear 
 sky. On wood, l ft. I in. high, by i ft. in. wide. 
 
 This was in James II. 's collection, No. 1072, and William III.'s, No. 220. 
 
 720 A Landscape {567) Cornelius Huysman. 
 
 In front are two figures at the edge of a brook, which flows past a mill or farm 
 behind on the left. On the right are some trees and a roadway. On canvas, ii^ in. 
 high, by 9^ in. wide. 
 
 721 One of the Elements — Fire {g4) . Breughel ^z;?^ Rottenhammer. 
 
 To the left are four nymphs, the principal one in loose red drapery, seated, and 
 holding a cornucopia and an apple ; she is attended by the others, one holding 
 aloft an armillary sphere, another a lighted torch, and the third pouring water from 
 a jar into a stream. In the foreground to the left are cooking utensils, fruits, and 
 vegetables, and a monkey handling some roots ; to the right various fish, ducks and 
 other aquatic fowl plunging into the water. Background, trees and a landscape. 
 (See note to No. 688.) 
 
 722 A Small Landscape (J42) P. F. Ferg. 
 
 A man on horseback, who . is in the centre on the piece, is coming along a road, 
 and speaking to two women and a child. On the right is a tomb, on the le^t a 
 tree. On copper, 35^ in. high, by 45 in. wide. 
 
 Ferg was an imitator of the style of Breughel, who came over to England about 
 1 720. His works, especially his diminutive ones on copper, such as this, were 
 much admired, and still fetch high prices. He died in the streets of London from 
 want and exposure in 1740. 
 
 723 The Discovery of Callisto by Diana (j^o) .... Poelemberg? 
 
 On the left is Callisto, who is seized by two nymphs ; on the right is Diana with 
 attendant nymphs. On copper, 8 in. high, by 8 in. wide. 
 
 In Charles I.'s catalogue, page 165, was : — *' A little landscape piece of Poelem- 
 berg, being where Diana is haling Calista by the hair, where four other nymphs 
 are looking on, being very little entire figures, 8 in. by 8 in." — evidently this. In 
 James II. 's catalogue it is attributed to Rottenhammer, and his name is written in 
 a handwriting of the time on the back of the copper, behind the wood. In more 
 recent times it has been ascribed to Breughel. 
 
 724 Nymphs and Satyrs Poelemberg. 
 
 On the right a nymph is reclining, and a satyr sitting by her is offering her wine, 
 while another pours it out for him. Behind them are other nymphs and satyrs 
 playing on pipes and sporting. In the middle is another nymph with her back 
 turned, dancing ; on the left another borne on the backs of two satyrs. On wood, 
 6^ in. high, by 9f in. wide. 
 
 725 Saint Francis praying (^jd) Teniers. 
 
 The saint is represented in his habit in a cavern. He kneels in front of a piece 
 of rock, on which is a skull, which he is touching with his left hand ; his right is on 
 his breast. His eyes are upturned. The background is rocks with foliage, and a 
 
Catalogue of Pictures, 
 
 sky with clouds is seen through the opening of the cave. On canvas, 1 1 ^ in. high, 
 by o\ in. wide. On the rock beneath, and about an inch to the left of the skull, is 
 his signature : — **D. Teniers." 
 
 This is probably a copy from some Neapolitan or Spanish picture. 
 
 726 Jonah under the Gourd {6^6) M. Heemskirk. 
 
 The prophet is seated on the left, looking to the right, beneath the gourd which 
 grows behind and over him ; he is under the side arch of a bridge, which spans a 
 river. In the background further up the river are another similar bridge and the 
 faint outline of Nineveh. On wood, i ft. 4 in. high, by 2 ft. 9 in. wide. Inscribed 
 on the pillar of the arch in the centre of the picture : — ** 1561 iHartgnbS 17an 
 
 l^eemfltercft ^jfnbentor." 
 
 In James II. 's collection, No. 206 : — "A Landscape with ruins. The Story of 
 Jonah, by Hemskirk." 
 
 727 Venus and Cupid escaping from Diana {132) . . . Swaneveldt. 
 
 Diana and her nymphs are slumbering under some trees on the right, while 
 Venus with Cupid in her arms, followed by another child, is in the centre foreground 
 flying away from them towards the left. A mountain and woods in the background. 
 On canvas, 3 ft. 2 in. high, by 4 ft. 5^ in. wide. 
 
 728 A Sea Port and Ruins {126) . . . . O. Viviani and Jan Miel. 
 
 The entrance to the port is through a ruined triumphal arch in the Roman style. 
 In the centre foreground a man is shoeing a horse, and travellers are looking on. 
 To the right is an ass tethered. To the left people with boats are going off to a 
 round tower at the end of the mole. Shipping is seen in the offing. On 
 canvas, 2 ft. 8 in. high, by 4 ft. 2 in. wide. 
 
 Ottavio Viviani was a painter of architecture who flourished about the middle of 
 the seventeenth century; he is to be distinguished from Codagora Viviani, an inferior 
 artist who painted similar subjects. The figures are ascribed to Jan Miel, a 
 Flemish painter who settled in Italy and adopted the style of Bamboccio (see 
 No. 472) ; compare No. 829. 
 
 729 A Saint's Head {4og) G. Dow? 
 
 Less than life, turned to the left. He wears a brownish coat, and has black 
 hair and a grey beard ; his head is encircled with the aureola. On canvas, i ft. 6 in. 
 high, by i ft. 3 in. wide. 
 
 730 Sketch for the Portrait of Madame de Cante Croix {423) . Vandyck. 
 
 Full-length, standing ; turned to the left, the face to the front. Her left hand 
 hangs by her side, the right holds an apple against her bosom. Her dress is all 
 black with rich lace cuffs, and open at the bosom. Her hair is curled in front, and 
 short behind. She wears a necklace of pearls. Behind her is a red curtain, and a 
 landscape to the left. On wood, i ft. 3 in. high, by i ft. wide. 
 
 This is the original sketch for the beautiful picture at Windsor of Beatrice de 
 Cusance, Princess de Cante Croix, The name St. Croix usually given is erroneous. 
 (For an account of the original and the engravings, &c., see Smith's Catalogtie 
 Raisonne, i., 379, and iii., 67 ; see also Lady Theresa Lewis's Clarendon Gallery ^ 
 iii-, 395-) 
 
 238 
 
Hampton Court Palace. 
 
 239 
 
 731 Dead Game {365) 
 
 Weeninx. 
 
 Two dead partridges lie on the ground. Behind and somewhat above them are 
 two cases, tassels, and other articles ; on the ground in front an old-fashioned 
 powder-flask. Background : trees, and a landscape on the right. On canvas, I ft. 
 10 in. high, by i ft. 7| in. wide. 
 
 732 Grapes {414) Varelst. 
 
 A stalk with leaves and two bunches of white grapes and a white butterfly. On 
 canvas, i ft. 6 in. high, by i ft. 2 in. wide. 
 
 This was in James II.'s catalogue Two bunches of grapes with a white 
 butterfly by Varelst." (For this painter, see note to No. 191.) 
 
 733 A Witch with Cupids {332) A. Elzheimer. 
 
 Described in Charles I.'s catalogue, page 215 A little piece, whereon is 
 painted a witch riding upon a black ram-goat in the air, with a distaff in her hand ; 
 four little cupids in several actions ; said to be done by Elshamer, before he went to 
 Italy, from a print of Albert Durer. Painted upon the right light. Given to the 
 King by Sir Arthur Hopton." It was sold by the Commonwealth under the title 
 "The Fates of Elzheimer, four boys"— to Mr. Jasper, 22 November, 1649, for 
 ;!^5. {^Inventory, No. 1031.) On wood, 5 J in. high, by 4 in. wide. 
 
 734 Landscape, with Goatherds {358) P. Brill. 
 
 To the right are a shepherd with a herd of goats, and a woman with a distaff, 
 under some trees. In the distance is a country, and in the foreground another 
 shepherd bringing in a stray goat. On wood, 4J in. high, by 5 J in. wide. 
 
 On the back of this panel is a monogram composed of the letters H. P. M. , 
 surmounted by an earl's coronet ; this probably belonged, therefore, to Henry, 
 Earl of Pembroke and Montgomery. It is doubtless the "small landscape with 
 goats, by Paul Brill" in William III.'s Kensington catalogue, No. 107. 
 
 735 Nymphs and Satyrs dancing (361) Poelemberg. 
 
 To the left is a naked woman holding a tambourine over her head and dancing, 
 and in the background a group of satyrs carrying another nymph ; on the right are 
 other nymphs and satyrs reclining, and a satyr climbing a tree and throwing fruit to 
 those below. On wood, 6^ in. high, by 9f in. wide. 
 
 In James II.'s collection, No. 497. 
 
 736 An old Woman with a Book, asleep {41^) . . . G. Dow. 
 
 She is seated in an armchair, facing to the left ; her elbows are on the arms of 
 the chair ; the book lies open upon her knees. Her left hand is on the arm of the 
 chair ; her right, with her spectacles, touches the book. Near her are an earthen- 
 ware pot and two dogs. The open page shows an illustration and a large initial 
 
 In James II.'s catalogue : — "No. 532. By Dowe. An old woman asleep with 
 a book in her lap. " 
 
 737 Night-Piece — The Angel delivering St. Peter (jpj) . Steenwyck. 
 
 In the centre is the angel awakening St. Peter ; the guards, asleep, lie in various 
 parts of the spacious vaulted chamber, which is lit by a hanging lamp. On wood, 
 I ft. high, by i ft. 3^ in. wide. (See No. 670.) 
 
240 
 
 Catalogue of Pictures, 
 
 738 " Lot and his two daughters " (^jz) Poelemberg. 
 
 So entered in James II. 's catalogue, No. 1074. One daughter is sitting by her 
 father, the other stands by holding up a rose. The background is rocky scenery. 
 On wood, I ft. I in. high, by i ft. in. wide. 
 
 739 One of the Elements — Earth {85) . Breughel and Rottenhammer. 
 
 In the centre is seated a nymph in loose crimson drapery ; she is attended by two 
 cupids and two bacchanalians who offer her fruit. In the foreground are all sorts 
 of flowers, fruits and vegetables, with two guinea-pigs nibbling at some beans, two 
 monkeys handling turnips and carrots, and also rabbits, squirrels, and a goat. In 
 the background are figures engaged in country pursuits, and a town in a valley with 
 a church spire. (See note to No. 688.) 
 
 740 Interior of a Hall, with figures {g73) Van Deelen. 
 
 It represents a large hall in the Roman style ; at the end is a doorway, with a view 
 into a garden. Near a column a king and queen are standing, and three persons 
 are kneeling to them, presenting merchandise. On wood, 2 ft. high, by 2 ft. 6 in. 
 wide. 
 
 In Charles I.'s collection, for his cypher is branded behind. Dirk Van Deelen 
 was a pupil of Frank Hals. His subjects were alternately interiors and exteriors of 
 buildings in the antique taste. 
 
 741 Interior of a Farm — Loading a Donkey {360) . . Teniers. 
 
 The farmer, standing in front of the door to the left, is asking a woman, who is 
 stooping over a tub getting vegetables, to load the donkey. A boy holds up a 
 basket on one side. In the background are cows ; in the foreground jars, vegetables, 
 and poultry. Between a duck and a hen is a stone on which is the signature: — " D. 
 Teniers. f." 
 
 742 Louis XIV. Crowned by Victory {585) . . . Van der Meulen. 
 
 He is attired as a Roman General, and holds a sceptre in his right hand : above 
 in the clouds is a figure of Victory, or Fame, who holds a wreath of laurel over his 
 head. His horse is cream-coloured. Painted in an oval. On copper, 8 in. high, 
 by 7 in. wide. 
 
 In the old catalogues it was attributed to Mignard. 
 
 743 Landscape — A Shepherd and Ruins {406) .... Poelemberg. 
 
 The shepherd has something in his hand, which he is examining ; a cow in the 
 centre background is straying away ; two others are in front. On a slip of paper, 
 behind, "by Polemberg." On wood, 9J in. high, by 7 in. wide. 
 
 This is a companion piece to No. 723, as it is stated to be in Charles I.'s catalogue, 
 page 166:— ** The other fellow-piece of the said Poelembourg in a landscape 
 wherein are painted some old ruins, whereby some herdkeepers of goats, sheep and 
 kine, bought by the king." 
 
 744 Still-Life— A Book, Silver Vase, and Watch {g82) 
 
 ROESTRATEN. 
 
 These articles, and also several medals and coins, are on a table. The elaborate 
 work of the silver vase is wonderfully rendered ; the watch is a silver one, enamelled. 
 The book, over which hangs a gold chain, is open ; the title-page shows a 
 
Hampton Court Palace. 
 
 241 
 
 print of a lunatic, and above the title Detnocritus dc Ijisanis.''' Below are the 
 lines : — 
 
 " Homo a Nativitate morbus est, 
 Totus Mundus disperiens vanitas." 
 
 On the edge of the table is the signature :— Rocfirate.'' On canvas, 2 ft. 6 in. 
 high, by 2 ft. I in. wide. 
 
 Peter Roestraten was a native of Haarlem, and a student of Frank Hals, whose 
 daughter he married. He came over to England in Charles II. 's reign, and painted 
 excellent still-life pieces. Sir Peter Lely is said by Walpole to have been very kind to 
 him, and to have introduced him to the King ; but he adds that, " it does not appear 
 that he was encouraged at court, nothing of his hand appearing in the palaces or 
 royal catalogues,"— a statement repeated in all recent books in the face of this 
 admirable signed work, and another by him, also here, No. 552 ; and Kugler's 
 editors persist in saying there is no work of his in any public gallery ! There is a 
 similar piece to the one before us at Belvoir Castle. 
 
 Roestraten hurt his hip at the Fire of London, and went lame for the rest of his 
 life. " Graham says, that having promised to shov/ a whole-length by Francis Hals 
 to a friend, and the latter growing impatient, he called his wife, who was his master's 
 daughter, and said, ' There is a whole-length by Hals.' " 
 
 745 Sea-Piece— a drawing in black and white " {1082) . Vandevelde. 
 
 Thus described in James II. 's catalogue, No. 390. The royal arms of England 
 are on the stern of one of the vessels. In the offing are several little boats. Signed 
 in the lower left-hand corner :— " W. v. Velde, f 1682." On canvas, 8^ in. high, by 
 12J in. wide. (See the companion sketch, No. 754.) 
 
 746 Landscape, with Peasants and a Horseman {383) 
 
 J. Wynants. 
 
 A man and woman, with baskets, &C.5 are seated by the roadside on the left. A 
 man on horseback, who appears to be taking aim at a bird, and who is attended by 
 a gamekeeper on foot, is coming along the road, which winds round a sandy bank. 
 On the top of the bank is a tree ; at its base lies a withered trunk. In the back- 
 ground are a flat country and a watery sky. Signed below : — ' ' J. Wynants. 1669." 
 On canvas, i ft. 3 in. high, by i ft. 7 in. wide. 
 
 In this small work of this admirable master we have an "open country," a 
 "sandy bank," a "winding road," and a " withered tree," all of which are given 
 as indications of his second period. 
 
 The figures in his landscapes were often added by other artists, such as P. Wou- 
 vermans, Adrian Vandevelde, and others, who were his scholars : those in this 
 piece have been attributed to Lingelbach, who most frequently assisted Wynants in 
 this way. His works are highly prized, as much as ;^500 having been given for 
 compositions smaller and inferior to this. 
 
 747 A Battle-Piece {660) Parrocel. 
 
 A soldier on a white horse is riding across the picture from left to right ; opposed 
 to him is a knight in armour, with a red cloak. Other horsemen are fighting 
 behind. On canvas, i ft. 8 in. high, by i ft. l\ in. wide. 
 
 Parrocel was a famous painter of battle-pieces patronized by Louis XIV. 
 R 
 
242 
 
 Catalogue of Pictures. 
 
 748 Massacre of the Innocents (p^o) . P. (the younger) Breughel. 
 
 Described in Charles I.'s catalogue, page 141 : — "A piece of the Slaying of the 
 Innocents ; said to be of the old Brugell, the soldiers being all in Boor's habits. 
 A Mantua-piece. " The scene is a Dutch village with the snow lying thick on the 
 ground and the roofs of the houses. To the left is a woman kneeling to, and 
 imploring mercy of a soldier ; to the right another running away from a soldier with 
 a knife, and clasping her baby in her arms. Various similar incidents are shown, 
 such as soldiers battering in doors, &c. On wood, 2 ft. 3 in. high, by 3 ft. 3 in. 
 wide. 
 
 As this was a " Mantua-piece " it is evidently the identical quadro con il mar- 
 tirio di Innocenti, opera di Brugel " — in the Duke of Mantua's catalogue, compiled 
 in 1627, and still preserved. (See D'Arco's Notizie, p. 166.) Behind it is King 
 Charles's cypher. It appears in the Commonwealth inventory also as: — "An 
 old Winter-piece of Herod killing of Children in Bethlehem, by Brugell, sold to Mr. 
 Mallery, Dec. nth, 1649, for 55-. " — and in James II. 's catalogue. No. 204, 
 as : — "A winter piece, frost and snow, killing the children in Herod's tfme, by 
 Breughel." 
 
 There is a composition similar to this, though larger, in the Brussels Museum, 
 by Peter Breughel the elder. This is probably a copy from the original by his 
 son, P. Breughel the younger, commonly called "Hell" Breughel: Waagen 
 assigned it decidedly to him. 
 
 749 Interior of a Church {g35) Steenwyck. 
 
 In the centre a priest is advancing from an altar, above which is a statue. On 
 the left two figures are lighting another into the vault, with burning torches. On 
 canvas, 2 ft. 8 in. high, by 3 ft. 7 in. wide. 
 
 "An inside of a church by Steenwyck ; the figures by Poelemberg — very fine " 
 is mentioned by Symonds in his Diary as having belonged to Charles I. It is 
 probably the "perspective of Steenwyck," valued at £2^ by the Commonwealth, and 
 found at the Restoration in the custody of Arthur Sam well {^th Report of Hist. 
 Commission, 1879). 
 
 750 The Woman Taken in Adultery Dietricy. 
 
 Christ is in the centre, pointing with His right hand to the woman who kneels in 
 front of Him, and turning round to a group of Pharisees behind Him. Behind her 
 are other figures and an altar. On canvas, 2 ft. 4 in. high, by 2 ft. 9 in. wide. 
 
 751 Small Landscape— in a circle {388) Holbein ? 
 
 Just beyond the immediate foreground is a brook, over which is a small wooden 
 bridge leading out of a grove of trees to a cottage or farmhouse. On the bridge is 
 a woman driving a cow and an ass. A tall tree is in the centre, and behind it a 
 hedge which a labourer is clipping. In the distance is a bluish landscape. On 
 wood, 9f in. high, by 8f in. wide ; diameter of the circle, 8 in. 
 
 In Charles I.'s collection, though not in his catalogue, for his cypher — C.R. and 
 the crown above — is branded at the back. 
 
 "A delicate picture by one of the older Netherlandish painters, commonly 
 termed a Holbein." — (Waagen.) "Evidently the work of Henri de Bles." — 
 (Woltmann in The Fortnightly Review^ 1 866.) 
 
 Henri de Bles, a Fleming, in his treatment of landscape was a follower of 
 
Hampton Court Palace, 
 
 243 
 
 Joachim Patenier, and his pieces exhibit extreme neatness and finish. He is 
 supposed to have died about 1 550. His pictures are said to be always authenticated 
 by an owl, which he always introduced, but which is not found here. 
 
 752 "Woman Milking a Goat, with several other figures" {435) . Berchem. 
 
 So entered in James II.'s catalogue, No. 944. Behind the woman are another 
 goat and a sheep ; and a farm in the background. On wood, 7 in. high, by 9^ in. 
 wide. 
 
 753 Fantastic Representation of Hell (p^z) J. Bos. 
 
 This are one of those indescribably grotesque medleys of devils and damned, in 
 which certain painters of the Dutch School delighted. In the centre is a large head 
 with open jaws, emblematic of Satan or Hell, into which all sorts of forms are 
 passing. To the left are seen the Gates of Hell, which Christ is breaking open. 
 In various corners are nondescript figures — half bestial, half human — seizing the 
 damned and plunging them into fires and boiling cauldrons, or hanging them on 
 gallows. Various incidents, apparently indicative of the vices, are shown in one 
 group of demons playing cards. All round are hung detached arms, legs, heads, 
 and bits of flesh. On wood, 2 ft. 8 in. high, by 2 ft. wide. 
 
 Behind are Charles I.'s cypher and a small slip of paper with this note : — ** 1636. 
 This picture painted by Jeronimus Boss was given to the King by the Earle of 
 Arundell, Earle Marshalle^ and Embassador to the Emperor abroad J''' Two pic- 
 tures by Bosch that had belonged to the King, were sold by the Commonwealth ; 
 one, "A dream of Jeronimo Bosse," to Mr. Haughton, 22nd October, 1651, for 
 £(i'y and another, *' Christ going into Limbo," to Mr. Wright, 21st May, 1650, 
 for ;^io \os. The entry, No. 273 in James II.'s catalogue, no doubt relates to 
 this : — '* A piece of conjuring with several deformed figures in it." 
 
 Of Hieronymus van Aeken, or Jerome Bosch as he is usually called, from his 
 native town, Herzogen-Busch (Bois-le-Duc), scarcely anything is known. Having 
 been born in 1450 (though some say 1460 or 1470), he is one of the earliest painters 
 in the Netherlands, and his taste is entirely un- Italianized. He may be regarded 
 as the founder of the school of painters of incantations and grotesque scenes of 
 devilry, to which "Hell" Breughel belonged. (See No. 748.) His " Temptations 
 of St. Anthony," at Antwerp, and his *' Last Judgment," at Berlin, are his master- 
 pieces in this line. But that he was not incapable of more refined work, is evident 
 from his picture at Madrid, and in the Due d'Aremberg's Gallery at Brussels. In 
 England, specimens of Bosch are very rare. 
 
 754 A Sea-Piece, Man-of-War — a Sketch {1081) . . W. Vandevelde. 
 
 On the left is a large man-of-war, with her guns out. Signed in the lower left- 
 hand corner : — v. Velde.^^ (See No. 745.) 
 
 755 Sea-Piece — A Calm {1083) W. Vandevelde. 
 
 On the left is a large man-of-war, with boats approaching. Other vessels to the 
 right and behind. Signed in the right-hand corner with the painter's monogram. 
 On canvas, i ft. in. high, by i ft. 7 in. wide. 
 
 756 David with Goliath's Head {238) Vandyck. 
 
 David is standing, looking over to the left. His left hand points to some flaming 
 tents or cottages, his right is placed on the head of Goliath, which rests on a leopard's 
 skin on a rock. He wears purplish drapery about his loins. On canvas, 2 ft. 5 in. 
 high, by 2 ft. I in. wide. 
 
244 
 
 Catalogue of Pictures. 
 
 757 Sir John Leman, Lord Mayor in 1616 {go4) ? 
 
 Three-quarters length, standing facing to the front. His right hand rests on the 
 arm of a chair, his left holds to his waist a pair of gloves with richly worked tops. 
 He is in his scarlet robes, with a dress trimmed with brown fur underneath, and an 
 all-round ruff. He has a short grey beard and hair. Round his neck hangs a gold 
 chain. In the upper left-hand corner his coat-of-arms is painted : — Azure, a fess 
 between three dolphins embowed. Argent. The helmet of a squire, and above, his 
 crest — a lemon tree. Over that is written "Anno Domini, 1616 ; " and beneath his 
 arms, "^tatis sv^ 71." On canvas, 4 ft. i in. high, by 3 ft. 6 in. wide. 
 
 No painter's name was formerly given to this picture ; but it is now ascribed to 
 F. Zucchero, though it cannot possibly be by him, he having left England some 
 thirty-five years or more before 1616, and dying in that very year in Ancona. 
 
 This portrait, of which there is a replica at Christ Church Hospital, Newgate 
 Street, must have been painted in the latter months of 161 6; for on the 29th of 
 October, in that year, John Leman of Gillingham, in Norfolk, was sworn in Lord 
 Mayor of the City of London. The pageant on that occasion is perpetuated in a 
 very rare tract entitled: — " Chrysananaleia, The Golden Fishing; an Honour of 
 Fishmongers ; applauding the advancement of Mr. John Leman, Alderman, to the 
 dignitie of Lord Mayor of London, taking his oath in the same authority at West- 
 minster on Tuesday, being the 29th day of October, 161 6. Performed in hearty 
 love to him, at the charges of his worthy brethren the Ancient and Right Worshipfull 
 company of Fishmongers. Devised and written by A[nthony] M[undy], Citizen 
 and Draper of London." (See Nichols's Progresses.) 
 
 Among the many sights and devices of the show, was * * a singular embleme, 
 corresponding with the creast and cognizance of the Lord Mayor, and bearing an 
 especiall morality beside ; a Leman-tree in full and ample forme, richly laden with 
 the fruit and flowers it beareth." Nichols adds in a note: — "From HeylyrCs 
 Help, by W.Wright, we find that Sir John Leman's arms were : Azure, a fess between 
 three dolphins embowed. Argent. That his crest was a lemon tree is fresh in- 
 formation," but we find it on this canvas. Another prominent episode was a person 
 representing Sir William Walworth, who always makes, or should make, his 
 appearance when a Fishmonger is sworn Lord Mayor. A few days after, on the 
 4th of November, he and the aldermen in their scarlet robes, attended at Whitehall 
 for the creation of Charles I. as Prince of Wales. 
 
 On Saturday the 9th he entertained the Knights of the Bath, newly made in 
 honour of His Highness's creation, with a supper and a play at Drapers' Hall. But 
 *' some of them were so rude and unruly, and carried themselves so insolently divers 
 ways, but specially in putting Citizens' wives to the squeak : so far forth, that one 
 of the sheriffs broke open a door upon Sir Edward Sackville, which gave such 
 scandal that they went away without the banquet, though it was ready and prepared 
 for them." 
 
 Such uproarious festivities quite upset old Leman, who had to take to his bed. 
 He was well enough, however, to be knighted at Whitehall on March 9th, 161 7. 
 He lived at Amboise, in Huntingdonshire, which he bought of Sir Oliver Cromwell, 
 affirming it the "cheapest land he ever bought, and yet the dearest Sir Oliver ever 
 sold." 
 
 758 A Child Firing a Cannon {,382) 
 ( Withdrawn}} 
 
 unnamed. 
 
Hampton Court Palace, 
 
 245 
 
 759 Portrait of James Stuart the Pretender {664) . . B. Luti. 
 
 Half-length ; facing in front, inclined to the right : his right hand only is seen. 
 He is in the robes of the Order of the Garter, of which the jewel hangs on his breast, 
 and has a long full-bottomed wig, a lace cravat and cuffs. On his left is a table on 
 which is the royal crown of England. The background is grey, with a red curtain. 
 On canvas, 3 ft. 3 in. high, by 2 ft. 6 in. wide. 
 
 The canvas is new. Behind was formerly this inscription: — James son of 
 James II. ; by the Cavaliere Benedetto Luti, from the Cardinal of York's collection at 
 Frascati." (Note in the Royal Catalogue.) This picture and No. 839 were 
 bequeathed to George IH. by Cardinal York, the old Pretender's son, and the last 
 of the Stuarts, who died in 1807. 
 
 It was no doubt painted at Rome, some time between the year 17 18, when 
 Prince James accepted the asylum in the Eternal City offered him by the Pope, 
 and the year 1724, when Luti died there. In 1720 he was married to the Princess 
 Sobieski, and at the end of the same year the young Pretender was born. 
 
 The Pretender's countenance has that heavy, sodden appearance, and that weak 
 dejected look, which were due partly to his inert character, partly to his mis- 
 fortunes, and not less to the debauched and indolent life he led. His person, 
 indeed, was never impressive ; and even an adherent, writing of the events at 
 Perth in 1 715, admits : — "I must not conceal, that when we saw the man, whom 
 they called our King, we found ourselves not at all animated by his presence, and 
 if he was disappointed in us, we were tenfold more so in him. We saw nothing in 
 him that looked like spirit. He never appeared with cheerfulness and vigour to 
 animate us. Our men began to despise him ; some asked him if he could speak." 
 
 Gray the poet gives a similar account of him some years after :— " He is a thin, 
 ill-made man, extremely tall and awkward, of a most unpromising countenance, a 
 good deal resembling King James II., and has extremely the air and look of an 
 idiot, particularly when he laughs or prays ; the first he does not do often, the 
 latter continually." Horace Walpole observed that " enthusiasm and disappoint- 
 ment have stamped a solemnity on his person, which rather creates pity than 
 respect." 
 
 760 Danae {1130) after Titian by Gennaro ? 
 
 Full-length, life-size ; recumbent, her head to the left. Her arms are out- 
 stretched to receive the shower of gold. Four cupids sport around and catch the 
 coins, and behind is an old woman with outstretched apron. On canvas, 5 ft. high, 
 by 6 ft. II in. wide. 
 
 This is perhaps the "Danse in a golden shower, a copy" which was sold by the 
 Commonwealth for;!^io; or the "Danae with a golden shower by Gennaro," 
 No. 253 of Queen Anne's Kensington catalogue. 
 
 761 Portrait unnamed ; James I. when young ? {goo) . unnamed. 
 
 Half-length, facing in front. His right hand is in his doublet, his left on his 
 waist. He is dressed in a white silk doublet, slashed and braided with gold ; and 
 over that a brown cloak, also trimmed with gold. He has a large all-round quilled 
 ruff, and a black cap with a jewelled band round it. On canvas, 2 ft. 10 in. high, by 
 I ft. 10^ in. wide. 
 
 "When lined by Buttery in 1877, it was found to have been cut down. On the 
 
 right of the head, above, was ' ex Scotorum ' j evidently part of an 
 
 inscription."— (Mr. Redgrave in the Royal Catalogue.) 
 
246 
 
 Catalogue of Pictures. 
 
 The costume determines that it must be King James, and not Lord Darnley ; 
 and the colour of the hair and the physiognomy confirm this. It is perhaps " King 
 James to the waist," No. 939 in James II. 's catalogue. Compare the still younger 
 portrait in the National Portrait Gallery. 
 
 762 Prince Rupert when a boy (j/o) ...... Mirevelt. 
 
 Full-length ; facing to the front, but inclined a little to the left, with his right foot 
 forward. He is dressed in yellow silk trunk hose and doublet, braided and slashed 
 with silver and trimmed at the waist with red bows. He has yellow stockings tied 
 with small red sashes and bows below the knees, white shoes with large rosettes, 
 a turned-down lace ruff, and linen cuffs edged with lace. His left hand is by his 
 side, his right on the corner of a table covered with a green cloth, on which is a 
 large hat with a red feather. He is bareheaded, his hair is light. He stands on a 
 turkey carpet, and behind him hangs a blue curtain. His height is about 3 ft. 6 in. 
 
 Prince Rupert, the third son of Elizabeth, daughter of James I., and the Elector 
 Palatine, was born at Prague on the 19th of December, 16 19, about a month after 
 his mother had been crowned Queen of Bohemia. He was scarcely one year old 
 when his parents had to fly from their newly acquired kingdom, and wander with 
 their children from place to place till they settled at the Hague. There the early 
 years of Prince Rupert were passed, amidst the misfortunes and anxieties that 
 harassed "The Queen of Hearts ; " and there this portrait, in which he appears as 
 a boy of five or six years old, must have been painted, about 1624. He was then a 
 lively, intelligent boy, delighting in all sorts of sport and martial exercises, full of 
 fun and mischief, and yet a universal favourite. Even at this early age could be 
 seen the germs of those high qualities which he afterwards displayed, that inquiring 
 scientific spirit to which we owe mezzotint engraving, * ' Rupert's drops," and many 
 other scientific discoveries, and that generous impetuosity which will make his name 
 ring for ever in history like the echo of a romance. 
 
 To England he was already devotedly attached. " Ah ! " said he, when out 
 hunting one day in Bushey Park at Hampton Court, during his first visit to Charles I. 
 in 1632, '* I wish I could break my neck, for then I should at least leave my bones 
 in England." Fifty years afterwards the second part of his wish was fulfilled, and 
 he now lies by the side of his mother in Henry VII. 's chapel. 
 
 This picture has been attributed to Mytens, but I suspect erroneously. For in 
 Charles I.'s catalogue, page 10, is this entry : — ** The picture at length of the Prince 
 Elector's brother. Prince Rupert, in his minority in a yellow habit and blue curtain, 
 so big as the life upon a straining frame. Done by Michael Johnson Mirevelt." 
 Besides, Mytens could have had no opportunity of meeting Prince Rupert at so 
 early an age, as he was settled in England when the Prince was at the Hague. 
 
 But Mirevelt, on the contrary, did visit that city about the time in question, 
 and had already in 1621 painted the Prince's elder brother (see Sainsbury's Original 
 Papers concerning Rubens^ p. 291), and to judge from Charles I.'s catalogue, painted 
 most of his other brothers as well. In James II.'s catalogue it is merely entered. 
 No. 1005, as : — "Prince Rupert, when he was a child," without any painter's 
 name. 
 
 763 James in his Robes — Whitehall behind {514) . Vansomer. 
 
 Full-length, standing ; facing in front. He wears royal robes of crimson, lined 
 with ermine. In his right hand he holds the sceptre, in his left the orb ; on his 
 head is the crown ; on his breast the collar and jewel of the Garter, and by his side 
 
Hampton Court Palace. 
 
 247 
 
 a sword, attached by a pearl-studded belt. His hair and beard are short and thin. 
 He stands on a rich carpet. On canvas, 7 ft. 4 in. high, by 4 ft. 10 in. wide. 
 
 Through a lattice window on the left is seen the Banqueting House at Whitehall, 
 which was begun in 1619, and finished in 1622. As Vansomer died on January 
 5th, 1 62 1, this portrait must have been painted before the building was complete. 
 Inigo Jones's Banqueting House, it is well known, formed only the central portion 
 of one wing of a projected gigantic palace which, if completed, would have been 
 the largest and finest in the world. "Little did James think that he was raising a 
 pile from which his son was to step from the throne to the scaffold. " 
 
 764 Anne of Denmark, Queen of James I. {sgi) . . Vansomer. 
 
 Full-length, standing, facing in front. Her left hand rests on a table covered 
 with a red cloth, and has a bracelet of rubies and diamonds ; her right, which holds 
 a feather fan, rests on her farthingale, and has a bracelet of five rows of pearls. 
 Her dress is white, figured with flowers, with a tight bodice, having a bow at the 
 bosom, and an immense farthingale. Her hair is dressed off the face, raised up 
 rather high, and powdered with jewels ; she has pearl earrings and necklace. Be- 
 hind her head is a stand-up ruff, on which, on one side, is the letter S crowned (for 
 Scotland), on the other the letter E crowned (for England), and behind the letters, 
 apparently, F. H. S. also crowned, ( ? for France, Hibernia, and ? ), and from each, 
 a pearl hangs down. In the background is seen the west fa9ade of St. Paul's, 
 built by Inigo Jones. She stands on a floor of white marble. On canvas, 7 ft. 
 71 in. high, by 4 ft. 10 in. wide. 
 
 *' Queen Anne, at length ; with a prospective by Vansomer," was sold by the 
 Commonwealth for ;^I5. 
 
 The farthingale which the Queen wears reminds us that in spite of the King's 
 edict against them, and the order that no one would be admitted to masques in 
 one, fashion and the example of the Queen triumphed. 
 
 In the National Portrait Gallery is a head similar to this, in which the jewels on 
 her stand-up ruff seem to be : — S for Sophia of Mecklenburg, her mother ; C. with 
 a 4 Avithin the curve, doubtless denoting Christian IV. of Denmark, her brother; 
 and behind the sacred monogram I. H. S. The symbols are perhaps the same here. 
 
 765 Elizabeth, Queen of Bohemia {6^6) . Honthorst or Jansen. 
 
 Full-length, standing, facing to the left. Her right hand rests on the back of a 
 chair, her left is by her side and holds a green feather fan. Her dress is red em- 
 broidered with silver, with a high waist ; her bodice is small and cut low, showing 
 the bosom ; it is trimmed with three rows of pearls at the top. Round her neck is 
 a large turned-down ruff ; and she has hand-ruffles. Her hair is dressed off the 
 forehead, decked with pearls and surmounted with a small crown. From her neck 
 hangs a black cross crowned. From her left earring hangs a plaited lock of dark 
 hair, hanging on the shoulder ; her ov^ti being light. Her left arm has a scarf of 
 black stuff gathered into a large rosette below the shoulder. On canvas, 6 ft, high, 
 by 4 ft. 2 in. wide. On the right-hand side is inscribed : — " Elizabeth wife to 
 
 FREDERICK PRINCE PALATINE KING OF BOHEMIA." 
 
 This portrait is attributed to Deryke, an artist born ten years after it was painted ! 
 This ridiculous mistake arose from part of the above inscription having become indis- 
 tinct, so that the latter part of the word FRE-DERICK, was taken for the painter's name. 
 
 The lock of hair and the mourning band relate either to her champion. Christian, 
 Duke of Brunswick, who died in 1626, or to her husband, who died in 1632. 
 
248 
 
 Catalogue of Pictures, 
 
 766 Portrait of Peter Oliver, Miniature Painter {104) . Hanneman. 
 
 Half-length, turned to the right, facing in front. He wears a large loose cloak, 
 a little of his white collar showing, and his right hand enveloped in the folds and 
 held across his breast, the forefinger extended. His hair, which is long and bushy, 
 and his beard are brown. On canvas, 3 ft. 6 in. high, by i ft. 10 in. wide. 
 
 "A picture of Peter Oliver, done by the life," was in James II. 's catalogue. 
 No. 107. 
 
 This is the portrait engraved in "Walpole's Anecdotes, and there said to be from a 
 picture by Vandyck, though it is not stated where the original is. Walpole himself 
 mentions only a portrait of P. Oliver by Hanneman, then at Kensington, which is 
 the one before us. As Hanneman was the most successful of all the imitators of 
 Vandyck, and particularly in the airs of his heads, the engraver perhaps drew his 
 plate from this picture, and attributed it by mistake to the great master. In any 
 case, it is an admirable portrait, and would do honour even to him. 
 
 Of Hanneman little of interest is known. He was one of the many Flemish 
 painters who were attracted to England by Charles I. 's patronage of the arts ; 
 during his stay of sixteen years here he painted many portraits ; afterwards he drew 
 one of Charles II. when in exile in Holland. 
 
 Peter Oliver was the eldest son of Isaac Oliver, the great miniature painter in 
 Queen Elizabeth's reign, whose fame and skill he rivalled in those of James I. and 
 Charles I. After his death, which occurred not long before the Restoration, his 
 widow, though loath to part with his works, consented, from a fine feeling of 
 loyalty, to sell them to Charles II., telling him to name his own price ; venturing 
 afterwards, however, to express her indignation at their being all given away to his 
 mistresses, the salary, which the poor woman had been promised by way of payment, 
 was cruelly stopped. 
 
 767 Portrait of Cornelius Ketel the Painter {354) . ... by himself. 
 
 Bust, to the left, but his head turned round and facing in front. He wears a 
 dark coat, and plain white collar. His hair is brown, and he has a small beard and 
 moustache. On wood, i ft. 3|- in. high, by i ft. 6 in. wide. 
 
 This is called " Ketel, by himself," but there does not appear to be any tradition 
 warranting this name ; it is certainly, however, like authentic portraits of him. 
 
 Ketel was in England from 1573 to 1581, during which time he did many por- 
 traits, and was employed by Queen Elizabeth to paint the ' ' strange Island man and 
 woman," brought to England by Sir Martin Frobisher. At one time he adopted 
 the fanciful notion of painting with his fingers, beginning with his own portrait ; 
 and afterwards undertook to paint with his feet, an antic which the public, who 
 thought "the more a painter was a mountebank the greater was his merit," 
 vehemently applauded. 
 
 768 Henry Gary, I St Lord Falkland (5(5'^) .... ^/^r C. Jansen. 
 
 In an oval ; seen to the shoulders ; turned slightly to the right, but face seen 
 nearly in full. He wears a dark coat with a broad lace collar. His long brown 
 hair falls on his shoulders. On canvas, 2 ft. 7 in. high, by 2 ft. i in. wide. 
 
 This is the father of Lucius Cary, the great Lord Falkland. He was the only 
 son of Sir Edward, Master of the Jewel-house to James I., and was united in that 
 office with his father. He was knighted by the Earl of Essex in Ireland in 1599 ; 
 was M.P. for Hertfordshire from 1602 to 1620, when he was created a Scotch 
 
Hampton Court Palace, 
 
 249 
 
 peer. From 1622 to 1629 he was Lord Deputy of Ireland, and in 1633 he died of 
 breaking his leg on a stand in Theobald's Park. He is described as "a most 
 accomplished gentleman and a complete courtier." (See Nichol's Progresses for 
 references.) 
 
 769 James I. ; from the Picture at Ham House (pg^) . . . F. Read. 
 
 Seated ; in his robes ; turned to the right. His arms rest on the chair ; to the 
 right is a table on which is his hat. Above, to the left, a coat-of-arms and the 
 motto " Beate Pacem." On paper? i ft. 2\ in. high, by 9f in. wide. 
 
 There is a similar picture in the National Portrait Gallery. 
 
 770 Portrait of Mytens the Painter {106) . .... by himself. 
 
 Half-length, turned to the left. He wears a black coat and a fine lace ruff. His 
 hair is brown, and he has a small moustache and peaked beard. Painted on a gi-ey 
 ground. On wood, 2 ft. 4 in. high, by i ft. 1 1 in. wide. 
 
 This has been known for many years as *' A Portrait of a Dutch Gentleman, 
 by Van der Heist " ; but there are several reasons for believing this to be an 
 erroneous designation. In the first place, though Charles I.'s cypher is branded at 
 the back of the panel, showing that it was in his collection, yet neither in his cata- 
 logue (1639), nor in the Commonwealth inventory of his goods taken ten years 
 after, is any work of this painter mentioned ; nor even in James II. 's catalogue. 
 Nor, again, is it likely King Charles should have possessed, in 1639, a work of a 
 painter who was then very young, and quite unknown. Besides, as has been fre 
 quently pointed out, this portrait, though fine, is too feeble for the master. 
 
 A search, however, among the old catalogues at once enables us to suggest its 
 correct title. In Charles I.'s catalogue, page 126, is the entry : — " Done by Daniel 
 Mytens. Above the door, the picture of Mr. Mytens, done by himself, to the 
 shoulders ; done on the right light " {i.e. the light from the spectator's left). No 
 measurements are given in Bathoe's printed edition ; but the original Ashmolean 
 manuscript has the dimensions, 2 ft. 6 by 2 ft. 3, erased, and 2 ft. 4, by i ft. 11, 
 subjoined, the exact size of the panel before us (note in the Royal Catalogue). 
 Then we find that *' Myten's picture by himself," was sold at the Commonwealth to 
 Mr. Hunt and Mr. Bass, ist March, 1651, for £6; and it reappears in Queen 
 Anne's Kensington catalogue, No. 267 : — " Mytens's, a painter's head, in black 
 with a ruff. " At that palace it seems to have remained till Walpole's time, who 
 particularly mentions '* Mytens's own head " as being there. The tradition of its 
 true name must have been lost, if not before, at any rate when the Kensington pic- 
 tures were moved to Hampton Court in William IV. 's reign. 
 
 There are a great many specimens in this palace of Mytens' skill as a portrait- 
 painter ; and some of them, especially Nos. 44, 330, and 405, are so excellent that 
 we are not surprised to hear his works have been often taken for Vandyck's. Last 
 year the Antwerp Museum gave £\,cxyo for a charming portrait of a lady by him. 
 He appears to have been in England even as early as 1618, and was patronized both 
 by James I. and Charles I. King James gave him a pension of ;^5o a year for 
 life (worth what;^SOo a year would be now-a-days), " for his better encouragement 
 in the art and skill of picture drawing." Charles I. added ;^20 more, and paid him 
 large sums besides, giving him 125 for executing a copy of Titian's great Venus. 
 When Vandyck arrived and was appointed the King's principal painter, Mytens 
 *'in disgust asked his Majesty's leave to retire to his own country ; but the King 
 learning the cause of his dissatisfaction treated him with much kindness, and told 
 
250 
 
 Catalogue of Pictures, 
 
 him that he could find sufficient employment both for him and Vandyck." He 
 seems to have been equally kindly treated by his great rival, who afterwards 
 painted his portrait among the great artists of his country. A comparison between 
 the print after that portrait and the panel before us strongly confirms the notion 
 that this is the original *' Mytens, by himself." He was still in England in 1633, 
 for he drew two pictures of the King in that year ; though Walpole limited his stay 
 to 1630. (See Carpenter's Notices of Vandyck and his Contemporaries^ p. 41, and 
 Sainsbury's Original Papers concerning Rubens, p. 356-8. ) 
 
 771 Head of a Bishop (-2^2) Parmegiano? 
 
 Profile to the right. He has a long white beard and hair, and on his head a 
 jewelled mitre. Part of his cope is seen on his right shoulder. On paper? pasted 
 on wood, I ft. 6i in. high, by i ft. f in. wide. 
 
 Probably the "Bishop with a white mitre," sold by the Commonwealth to Mr. 
 Bass and others, 17th December, 1&51, for;^2 {Harl. MSS. No. 903). 
 
li!)e iSms's ISobbp* 
 
 HIS is a small, dark room, with a door on the left into the 
 King's Second Presence Chamber, with another opposite, into 
 "The Eating Room," and with a third into the next gallery. 
 
 772 Lot and his Daughters (c^Vj) ^/^^^ Guido. 
 
 A copy of the picture now in the National Gallery. 
 
 773 Joseph and the Chief Butler and Baker .... unnamed. 
 
 Joseph, in a yellow and blue robe, sits on the left, facing to the right, his legs 
 crossed ; the butler and baker are lying before him. On wood, 2 ft. i in. high, by 
 3 ft. 4f in. wide, formed into an oval. 
 
 774 Prometheus Chained to the Rock {536) . . . Palma Giovine? 
 
 Prometheus lies with his head to the left, his arms chained to the rock. The 
 vulture is perched on him, and devouring his entrails. On canvas, 6 ft. high, by 
 5 ft. I in. wide. 
 
 This belonged to Charles I. , appearing in the Commonwealth inventory of his 
 goods as : — " Prometheus chained to the rock, by young Palma " — sold to Mr. 
 Bass and others, 17th December, 1651, for In James II. 's catalogue it is 
 
 No. 786 : — " Prometheus with the vulture tearing him," again attributed to the 
 master. 
 
 775 Portrait of George II. when young? {g26) unnamed. 
 
 Three-quarters length, turned to the right, in armour. His right hand on his 
 hip, his left on a helmet ; the ribbon of the Garter over his left shoulder, and the 
 *' George " on his right side. Rocks to the left, sky to the right. 
 
252 
 
 Catalogue of Pictures. 
 
 'J'] 6 Full-length Portrait of Edward IV. (S23) Belchamp. 
 
 Full-length, in a long red robe edged with fur ; turned to the left, and seen in 
 profile ; the face shaven. He wears a black cap with a medallion, and has yellow 
 shoes or slippers and red stockings. The forefinger of his left hand, which is 
 partly enveloped in the folds of his cloak, is extended, the sleeve hanging by his 
 side ; his right hand is held up in front of his breast. Above, to the right, is a red 
 curtain ; below is some sculpture. Behind him is a table with the crown, sceptre, 
 and globe of empire. In the background on the left is a view of a garden with a vase 
 of flowers. His height is about 6 ft. 6 in. On canvas, 8 ft. 8 in. high, by 6 ft. wide. 
 
 This is a picture made up for Charles I. by his copyist Belchamp, probably 
 from some ancient original, perhaps in distemper on the walls of a church, or in an 
 illuminated manuscript. It appears in the Commonwealth inventory, entitled : — 
 " King Edward at length appraised at;i^i5," but not sold ; and in James II. 's cata- 
 logue, No. 868 : — "At Hampton Court, King Edward, at length, in a gown and 
 black cap, side-faced, by Belcom." 
 
 Walpole, Granger, and their editors are all wrong in saying that the engraving 
 in Rymers' Fxdem, which is placed unnamed at Henry IV. 's reign, though 
 believed to be a likeness of Edward IV., is from this picture ; for the king is there 
 shown in a half-length, full face view, with his hands in front of him. It is per- 
 haps, however, from the old panel portrait now at Windsor. 
 
 Other portraits of this king are (or were) on panel, at Queen's College, Cambridge, 
 at Hatfield, and at Donnington ; in distemper at the Chapel Royal, Windsor ; in a 
 manuscript in the Library at Lambeth ; and in stained glass at Canterbury and 
 Little Malvern Priory. It would be interesting to know whether the original from 
 which this adaptation was made, is extant. The face is apparently the only part 
 that Belchamp borrowed, the rest of the picture, and especially the background, being 
 in the taste of the copyist's own time. 
 
 777 Mary, Sister of Charles II., Princess of Orange {g2g) . Hanneman. 
 
 Half-length, facing in front, turned slightly to the left. She wears a white dress, 
 over which is a mantle of feathers, from under her right arm across to her left 
 shoulder, where it is buckled. On her head is a turban with pearls and a red 
 feather. She rests her left arm on a stand, aud holds in her two hands a thin 
 switch. She has long curls. On canvas, 3 ft. 11 in. high, by 3 ft. 3 in. wide. 
 
 This portrait has been long unnamed, but it is doubtless identical with : — " The 
 Princess of Orange in a feathered mantle, half-length, by Hanneman," No. 94 of 
 James II. 's catalogue; that is, Charles II.'s sister, whose favourite painter 
 Hanneman was. She was bom in 1631, and was married to the Prince of Orange 
 at ten years old. From 1642 till the Restoration she lived at the Hague ; and it was 
 there this portrait must have been painted, and evidently after the death of her hus- 
 band, which occurred when she was only nineteen. She herself died after the 
 Restoration at Whitehall on Christmas Eve, 1660, of small-pox. * ' Her tender love 
 and zeal to the King in his afflictions," says Walker, " deserve to be written in 
 brass, and graven with the point of a diamond." 
 
 778 The Apostles at the Tomb (S47) "^an Orley? 
 
 The tomb is in the centre. St. John is on the right, kneeling ; the others to the 
 left. On the plinth of the tomb is painted :— " Jacob vs nabelvs ^re proprivs." 
 On canvas, 5 ft. 3 in. high, by 5 ft. 6 in. wide. 
 
 In James II.'s catalogue, No. 744: — "The Resurrection of Our Saviour, two 
 figures standing by the Sepulchre. " 
 
Hampton Court Palace. 
 
 253 
 
 779 Dans Scotus writing (550) Spagnoletto? 
 
 Seated, turned to the right, but his head looking over his right shoulder at a book 
 behind him on the left, from which he is transcribing. On the table in front of him 
 are sheets of paper and writing materials. On canvas, 5 ft. 6 in. high, by 5 ft. 4in. wide. 
 
 " A piece being Scotus writing " was in James II. 's catalogue. No. 784. 
 
 This represents the theologian either writing his defence of the Immaculate Con- 
 ception, or his translation of the Scriptures ; of which task the legend says that he 
 swore never to eat till he had finished it, and that he died of hunger at the last 
 chapter ; and he looks emaciated enough here. The contests between his adherents, 
 the " Scotists," and those of St. Thomas Aquinas, the "Thomists," was one of the 
 acutest in the Middle Ages. But at the Reformation he was consigned to oblivion ; 
 and Henry VIII., who would have nothing to do with his books, ordered his 
 Commissioners to the Universities to "utterly banish him for ever, with all his blind 
 glosses ; " and they had the satisfaction of reporting, that at their second visit, all 
 the quadrangles were full of leaves of" Dunce." 
 
 780 View of a House and Garden at Cleves {846) . . . Oldenburg. 
 
 In the centre foreground is a fountain, and leading from it a small avenue of 
 trees up to a house. A man comes down it towards the fountain ; a man with a 
 dog and gun and a woman are on the right, and further to the right, another figure. 
 To the left is a man with dogs. 
 
 This is one of the " Five large landscapes, with several houses of Prince Maurice 
 in them, by Oldenburg," Nos. 787-791 in James II. 's catalogue ; this one being 
 specifically referred to in Queen Anne's Kensington catalogue. No. 184: — "A 
 Prospect of Cleves, with a fountain ; by Oldenburgh." Another is close by, No. 785 ; 
 the other three are at Windsor. On canvas, 7 ft. 2 in. high, by 6 ft. 4 in. wide. 
 
 781 A Magdalen {84g) Sir P. Lely. 
 
 This is merely one of Lely's beauties," who happens to be in a cave, and is 
 examining with curiosity a crucifix and death's head. She wears the usual loose 
 satin drapery, and her left hand holds it up, with the air of veiling, a glowing 
 bosom, which in effect is allowed to be only too much revealed. On canvas, 6 ft. 
 high, by 4 ft. wide. 
 
 In James II. 's catalogue, No. 1215 : — *' A Magdalen, half-length, by Lely." 
 
 782 Sea-piece — A Battle by Moonlight {8^6) Parcelles. 
 
 To the left the moon breaks through the clouds and illumines two men-of-war seen 
 firing into one another on either side ; also two smaller vessels with lights at stem 
 and stern, and boats, &c. On wood, i ft. 4^ in. high, by 4 ft. I in. wide. 
 
 783 A Woman with a Helmet {8^1) Pordenone ? 
 
 Half-length, the head turned to the right. In her hands she holds a helmet to 
 the left of the picture ; on her head is a twisted green scarf, and over her forehead 
 a frontlet on which the letters "P. R." are evident. On canvas, 3 ft. high, by 
 2 ft. 6 in. wide. 
 
 Pronounced '*not genuine" by Messrs. Crowe and Cavalcaselle. We can trace 
 it in the Commonwealth inventory, entitled : — "A sybil with a head-piece in her 
 hand," sold to Mr. Decritz, and others, November, 1651, for;^6. It was recovered 
 from Decritz at the Restoration (see *jth Rep. Hist. Com.), and is found among 
 James II. 's pictures. No. 216: — "A woman's picture in a red garment with a 
 helmet." 
 
254 
 
 Catalogue of Pictures, 
 
 784 Interview of Henry V. with Princess Katharine of France {832) . Kent. 
 
 They meet in the centre, he in armour and the robes of the Garter, she in blue. 
 Armed men grouped around ; tents behind. On canvas, 2 ft. 6 in. high, by 2 ft. 
 wide. Signed in lower right-hand comer : — ^^W^, Kent pinxK" 
 
 The visitor can judge of Kent's capacity for painting from this and its companion 
 piece, No. 788, and in architecture from the grotesque bastard Gothic, with which 
 he has disfigured the " Clock Court " of this palace. Yet, in his day he was a 
 much admired '* aesthetic," whose ''oracle was so much consulted by all who 
 affected taste, that nothing was thought complete without his assistance. He was 
 not only consulted for furniture, as frames of pictures, glasses, tables, chairs, &c., 
 but for plate, for a barge, for a cradle. And so impetuous was fashion, that two 
 great ladies prevailed on him to make designs for their birthday gowns. The one 
 he dressed in a petticoat decorated with columns of the five orders ; the other, like 
 a bronze, in a copper-coloured satin, with ornaments of gold." History repeats 
 itself — with a slight variety. 
 
 785 Palace of Prince Maurice of Nassau, at Cleves {S^s) • Oldenburg. 
 
 In the centre distance is an old palace, with high pitched roofs ; to the right of 
 it the spires and gables of a town. Beyond are seen a winding river and a fer-off 
 horizon. In the foreground is a road, on which is a sportsman with dogs. On 
 canvas, 7 ft. 2 in. high, by 10 ft. 11 in. wide. 
 
 (See No. 780.) 
 
 786 Judith with the Head of Holofernes {8s 4) Guido ? 
 
 Judith is coming out of the tent, and holds it back with her left hand ; in her 
 right is the head. The old woman is behind on the left. On canvas, 6 ft. 3 in. 
 high, by 6 ft. \ in. wide. It was in James II. 's catalogue. No. 785, and ascribed 
 to Guido. 
 
 787 The Destruction of Popery by the Evangelists (8^8) . . unnamed. 
 
 On the ground lies an aged pope in his robes, wearing the tiara ; near him are 
 parchments and papal bulls, and two heads labelled, "ypocrysia" "avara." 
 The four evangelists are standing over and stoning him. On the left is one carrying a 
 huge rock on his right shoulder, labelled, " ioannes ; " next is one with a stone 
 labelled, " matthea, " held over his head, about to be dashed down ; next is a figure 
 with a stone held to his waist in his left hand, and another held above his head in 
 his right hand, labelled, *' lvca ; " and on the right is St. Mark, Painted in 
 monochrome. On wood, 2 ft. 11 in. high, by 2 ft. 3 in. wide. 
 
 This is called in the recent catalogues : — " The Destruction of Property by the 
 Evangelists " ! It belonged to Charles I. , as his cypher is behind ; and it is in the 
 Commonwealth inventory. No. 304 : — ** Four Evangelists, being of Queen Anne's 
 {i.e. the King's mother) pictures," sold to Mr. Clarke, April 26th, 1650, for £2. 
 *' A piece being four men stoning another, black and white," is among James II.'s 
 pictures. No. 978. 
 
 788 Marriage of Henry V. and the Princess Katharine {8^7) . . Kent. 
 
 They stand in the centre, in Westminster Abbey ; he, in blue, is putting the 
 ring on her finger, who is in white. To the left is a bishop, and around priests, 
 attendants, soldiers, spectators, &c. Signed and dated 1725. (See No. 784.) 
 
Hampton Court Palace. 
 
 255 
 
 789 Diana {343) 
 
 after Titian. 
 
 Half-length j her right hand on the head of a hound, her left holding an unstrung 
 bow. 
 
 She is in a yellow dress with blue drapery, and is shown reclining. On the left, 
 near her feet, are two dogs. Her right hand is extended, her left holds an arrow, 
 near which is a quiver. On the quiver is an indistinct inscription : — Simon Vovet, 
 F. PARIS" and something else, which may be a date, and is perhaps 1641, the 
 date of his death. On canvas, 3 ft. 5 in. high, by 4 ft. 10 in. high. 
 
 Vouet was a French painter of eminence in the reign of Louis XIII. He decorated 
 several palaces at Paris, and is best known by his altar-piece at St. Eustache. 
 
 Lucretia (862) unnamed. 
 
 Half-length, facing slightly to the right, plunging the dagger in her right breast. 
 Her left hand holds her drapery up to her waist. A plaited lock of her hair falls 
 on her breast. 
 
 Suggested by Mr. Redgrave, in the Royal Catalogue, to be a copy of the time of 
 Kneller. 
 
 790 Diana {866) 
 
 Simon Vouet. 
 
|T various times this has been called " The Gallery of Admirals," 
 "The Portrait Gallery," and "The Mantegna Gallery." Its 
 original name, given it by Sir Christopher Wren, was the Com- 
 munication Gallery, on account of its connecting the king's and 
 the queen's apartments. It forms the west side of the Fountain Court, 
 and is 104 feet long, by 14 feet wide. 
 
 'tXtiumplj of XuUu0 OCae^ac. 
 
 BY ANDREA MANTEGNA. 
 
 In this room are now appropriately arranged the famous nine pictures 
 of " The Triumph of Julius Caesar," Mantegna's greatest and richest work, 
 the glory of Hampton Court, and one of the most precious artistic treasures 
 of the English Crown. 
 
 They were originally begun about the year 1485 by Mantegna, for his patron 
 Lodovico Gonzaga, Duke of Mantua, who had already conferred several 
 favours on him, and who, in February, 1492, when the "Triumph" was 
 completed, further rewarded him with a fresh grant of land. For Mantegna, 
 it was evidently his most absorbing work, and between the dates above given, 
 except for a short stay at Rome, he applied himself with the greatest 
 energy and assiduity to this magnificent creation — "the most important 
 example," as Waagen has observed, " of that enthusiasm for the grandeur 
 of the ancient Roman world, which prevailed in Italy in the fifteenth and 
 sixteenth centuries, and which this master worthily represented." 
 
Hampton Court Palace. 
 
 257 
 
 Mantegna's " Triumph " — continued. 
 
 " By the enthusiastic study of the Greek sculptures in the studio of his 
 master, Squarcione, Mantegna had formed his eye for a refined and definite 
 conception of nature in form and action, and endeavoured in this triumphal 
 procession, with remarkable success, to reconcile the laws of ancient sculpture 
 with those of painting, and the diversity of nature. Notwithstanding a 
 certain severity in the forms, there is great variety and animation in them, — 
 elevated, noble, powerful, robust, and even common figures and heads, are 
 intermingled with such delicate, slender, and youthful characters, as are 
 rare, in such measure, even in later masters. The movements, though duly 
 restrained, have much freedom and animation, and the variety and beauty 
 in the positions of the hands are extremely admirable. The small folds of 
 Greek sculpture predominate in the drapery, yet it is treated with taste, and, 
 far from exhibiting any stiffness or appearance of imitation, has something 
 animated. As regards the colouring, as is proved by the parts not painted 
 over, these pictures must have produced an effect like that of the antique 
 paintings : the general appearance was light, the draperies especially con- 
 sisting of light gleaming materials, of variegated hues ; for instance, yellowish 
 with violet shadows, greenish or pale blue, with white lights ; the background 
 has throughout a light horizon. In the execution we do not know whether 
 most to admire the inexpressibly rich and elegant details, or the light and 
 intelligent touch of the brush." — {Art Treasures, ii.) 
 
 Messrs. Crowe and Cavalcaselle, too, criticize them in an equally laudatory 
 strain : — "His treatment was the reverse of that which marked the frescoes 
 of Padua, more akin to that of the portraits in the Castle of Mantua ; he no 
 longer drew with a black incisive line, nor modelled with inky shadow ; his 
 contour is tenuous and fine, and remarkable for a graceful and easy flow ; 
 his clear lights, shaded with grey, are blended with extraordinary delicacy ; 
 his colours are bright and variegated, yet thin and spare, and of such gauzy 
 substance that they show the twill throughout. In the countless articles of 
 common use in ancient times, in the statues, shields, helms, and breast- 
 plates, forming the peculiar feature of these pictures, we think we see 
 Mantegna copying the treasures of the rich collection which Lorenzo de' 
 Medici and Francisco Gonzaga admired and envied, and exhausting the 
 catalogue of antiquities discovered throughout Italy. His horses, kine, and 
 elephants are natural, his costumes accurate, to a surprising degree. He 
 was the only artist of this period, not excepting the Florentines, who was 
 pure and accurate in the attempt to reproduce the resemblances of bygone 
 times. . . . With a stern reaHsm, which was his virtue, he multipHed 
 illustrations of the classic age in a severe and chastened style, balancing his 
 
258 Catalogue of Pictures. 
 
 Mantegna's " Triumph " — continued. 
 composition with the known economy of the Greek relief, preserving the 
 dignity of sculptural movement and gait, and the grave masks of the classic 
 statuaries, modifying them, though but slightly, with the newer accent of 
 Donatello." — {History of Painting in North Italy, i., 404, &c.) 
 
 Unfortunately they are now very dilapidated, having been coarsely 
 painted over, it is said by Laguerre, in the time of William III., the colours 
 being faded, and the surface injured by injudicious cleaning. 
 
 The purpose for which these pictures were originally intended has been 
 sometimes misconceived. They are not properly called cartoons at all, that 
 is, they were not designed as models for frescoes or tapestries, but were 
 painted in tempera on twilled linen, with the object of being stretched on 
 frames, and affixed to the wall as a frieze. In this manner they are 
 believed to have originally decorated a gallery or hall in the Duke's Palace 
 of St. Sebastian at Mantua, and to have formed a continuous procession 
 along one side, eighty-one feet long, as they now do here. It was doubtless 
 thought that in this way they would be better preserved, and besides, be 
 movable. Indeed, as early as 150 1, we learn from a letter of Sigismund 
 Cantelmo to the Duke of Ferrara, that a theatre, which had been tempo- 
 rarily fitted up in the Ducal Castle at Mantua, as the interior of a classical 
 dwelling-house, for the performance of Latin plays, was decorated with six 
 pieces of Mantegna's " Triumph." Between each picture were flat pilasters, 
 faced with arabesque reliefs, with simulated capitals, evidently the same as 
 those which appear in the old engravings as separating each picture, and a 
 specimen of which can be seen in the seventh picture. 
 
 From that period they remained at Mantua till the year 1628, when 
 Daniel Nys, Charles I.'s agent in Italy, took advantage of the Duke's being 
 involved in war and in want of money, to treat for their purchase : for they 
 had been reserved when the rest of the Mantuan collection had gone to 
 England. " The best informed persons," writes Nys to Lord Dorchester, 
 " told me that I had left the most beautiful behind, and that, not having 
 the ' Triumph of Julius Caesar,' I had nothing at all. This touched me to 
 the core ; I did not dare say anything for fear his majesty knowing it might 
 feel aggrieved, and I, in part, dissembled with Sig. Lanier, who, before his 
 departure, had treated for the marbles and statues of the Duke, with some 
 pictures which had been discovered in certain secret chambers. They de- 
 manded for these pictures 10,000 half-doubloons of Spain, and for the 
 statues, 50,000 half-doubloons, but it did not appear to Sig. Lanier or to 
 myself that we could give ;^io,ooo sterling. So the matter rested." 
 
 But in the meanwhile the Queen- Mother of France is in treaty for them ; 
 
Hampton Court Palace. 
 
 259 
 
 Mantegna's " Triumph " — continued. 
 
 and when Nys hears of this, he agrees, without waiting for the King's direc- 
 tions, to pay ;£"io,5oo for the marbles and the pictures that remained, and 
 especially for "The Triumph" of Mantegna, ''a thing," as he writes, "rare 
 and unique, and its value beyond estimation." " But Nys gets himself into 
 trouble ; he thinks to do his majesty a great service, he has taken neither 
 percentage nor brokerage, and he is sure he shall attain both honour and 
 thanks by his contract, for no other Prince in Europe possesses such works 
 of like rarity and beauty. He draws upon Burlamachi, the Rothschild of 
 King Charles I.'s day, for the amount which he has already paid ; Burla- 
 machi will not accept his bills, the money not being provided for by the 
 King j disputes arise, and litigation is spoken of ; the English ambassador 
 is referred to, and Nys sends an agent into England to represent the truth 
 of the business. After considerable delay, all the works of art are sent to 
 England," — the marbles going by sea, the pictures by land. (See Sains- 
 bury's Original Papers, pp. 321-330.) 
 
 These pictures are found in the catalogue compiled for the Duke of 
 Mantua, in 1627, thus:— "9 quadri grandi dipintivi il trionfo di Cesare di 
 mano del Mantegna stimati scuti 150 limo 1. 8100." They do not, how- 
 ever, figure in Charles I.'s catalogue, as they were placed, on their arrival, 
 at Hampton Court, and there was no catalogue made for the King of his 
 pictures here. It has been frequently stated that they were sold by the 
 Commonwealth for £\,qoo. This is inaccurate. They were valued at 
 ^1,000 in Sept., 1 65 1 (see Inventory of Hampton Court Pictures), but not 
 sold, the Council of State ordering that " before the pictures at Hampton 
 Court, of the 'Triumphs of Caesar' be sold, the Council to be in- 
 formed what is bid for them" (see State Papers). They are afterwards 
 noted as : — "Reserved for His Highness' use," i.e., Cromwell, who, to his 
 honour be it remembered, also rescued Raphael's cartoons. On August 
 29th, 1653, the Council of State resolved that they should "be sent to Sir 
 Gilbert Pickering, for him to take copies of them ; " and on Sept. 8th, an 
 order came down " To the Keeper of the Wardrobe at Hampton Court, to 
 deliver to Sir Gilb. Pickering the pictures called ' The Triumph of Caesar,' 
 to be used for taking copies of, and then restored." At the Restoration 
 they appear in Thomas Beauchamp's Inventory of the Goods of the late 
 King reserved by order of the Council of ^ State. Since then they have 
 remained here; and, after having been judiciously arranged by William III. 
 in the Queen's Gallery, and then inappropriately removed by George I., 
 to make way for Le Brun's tapestries, to the Public Dining Room, they 
 were finally hung about fifty years ago in this gallery, which, allowing of their 
 
26o 
 
 Catalogue of Pictures, 
 
 Mantegna's Triumph " — continued. 
 
 being placed in a continuous line, is admirably adapted for their recep- 
 tion. 
 
 Each picture is nine feet square, so that the whole series is eighty-one feet 
 long. It has been found prudent to cover them with glass, though it some- 
 what interferes with their being seen. Some varieties in the points of sight 
 are accounted for by the pilasters by which they were divided. 
 
 There are reduced copies at the Belvedere, and small copies on copper 
 at Schleissheim. As to engravings, the most famous are the very rare 
 woodcuts in chiaroscuro executed by Andrea Andreani in 1599, which 
 Goethe criticized with such enthusiasm in his well-known essay. There is 
 a set in the British Museum. Mantegna himself also appears to have 
 etched plates of part, if not the whole ; the fifth, sixth, and seventh compart- 
 ments being still extant. Mrs. Jameson adds that they were also engraved 
 about 1 7 1 2 by C. Huyberts for Samuel Clarke's edition of Caesar's Commen- 
 taries. They were engraved also, not long ago, for The Architect. 
 
 First Picture. This represents the beginning of the Procession, and 
 shows, first, the trumpeters sounding a triumphal march on their long 
 trumpets, to which are appended tablets inscribed "s. p. q. r."; next, 
 Roman soldiers bearing aloft smoking censers on long poles, a bust of 
 Roma Victrix, and pictured representations of the conquered cities. Though 
 this has been almost entirely repainted, yet the banner beneath the Roma 
 Victrix, part of the yellow drapery of the trumpeter nearest the spectator, 
 the buskin of the next figure to the right, the gold body-piece of the 
 Ethiopian, and part of the skirt and sleeve of the standing figure on the 
 extreme right, should be noticed as being in part preserved. 
 
 Second Picture. On the left is a magnificent triumphal car, the 
 wheel and ornamental work remaining comparatively intact, on which stands 
 a large statue of a man holding a long staff under his left arm. Behind 
 come men on horseback drawing other cars, in which are statues of the 
 gods and goddesses taken from the temples; and by their side walks a 
 man carrying a beautiful bust of Cybele. His blue jacket and red scabbard 
 are uninjured. Following these are a great quantity of captured arms, 
 breastplates, spears, shields, &c., and a tablet with the inscription:— "Imp. 
 Julio Caesari ob Galliam devict. militari potentia triumphus devic- 
 
Hampton Court Palace. 
 
 261 
 
 Mantegna's Triumph " — continued. 
 
 Tus iNviDiA SPRETA SUPERATA." In the background is seen Roman 
 architecture. 
 
 Third Picture. In this we have similar cars bearing like trophies to 
 those in the last picture, and also four men carrying aloft, on stretchers, 
 costly vases and urns filled with coin. The shield in the left-hand trophy, 
 with a fight of centaurs, satyrs, and others about a female, and the orna- 
 ments of a shield in the centre of the picture, are designated by connois- 
 seurs as the only parts of this picture not painted over. 
 
 Fourth Picture. Other men follow bearing similar spoils, accom- 
 panied by one who carries a large vase in his arms; next come oxen 
 decorated with wreaths for sacrifice, by which, in the foreground, is a figure 
 of a handsome boy, with fair flowing hair, he having his right hand on one 
 of the bullocks, and his head is turned round to the front. The grace 
 and beauty of this head is very striking, the outlines having fortunately 
 been preserved, though the lights on the cheek, hair, and neck, have been 
 retouched. Just behind come more trumpeters, their instruments labelled : 
 "s. p. Q. R. ivLivs Caesar" and "ivlio c^sari. d. p. p. p." 
 
 Fifth Picture. On the left is the head of a musician, whose trumpet 
 is seen in the foregoing picture. Next comes another bullock led by a 
 woman, who turns her head round to the front. Behind come four 
 elephants, richly caparisoned, with baskets of fruit and flowers on their 
 heads, and flaming candelabra of incense on their backs ; boys driving them, 
 and attending to the candelabra, are also mounted on their backs. This 
 is one of the best preserved pictures of the set. In some places the 
 over-painting has fallen off", and discloses the original colouring ; this being 
 especially the case with the heads of the elephants, and the Indian sheep. 
 Rubens' free copy of this, made when he was at Mantua in 1606, is now 
 in the National Gallery. 
 
 Sixth Picture. Here we have more vases and precious vessels, 
 carried on stretchers by four men. The hair of the first facing to the left, 
 and his yellow hose, and bits of his head, are intact. These are followed 
 by men bending under the weight of large trophies, carried on long poles ; 
 the head of one of the men, groaning under his burden, and also the trophy 
 he carries, are uninjured. Behind are seen a viaduct and a column. 
 
 Seventh Picture. Next follow the captives : men walking with their 
 hands tied in front of them, their countenances expressing a noble dis- 
 regard of the jeers of the populace, women of equally dignified demeanour, 
 carrying their babies, or leading their daughters by the hand. On the 
 right are some of the crowd mocking the captives with grotesque and 
 
262 
 
 Catalogue of Pictures, 
 
 Mantegna's "Triumph" — continued, 
 
 insulting gestures. Behind are the windows of a prison, with heads peep- 
 ing through the gratings ; further in the background, to the right, a large 
 building where spectators are seated. The pilaster of the prison is similar 
 in design to those that formerly separated the pictures. 
 
 ** Here," says Goethe, *' we must deem the painter worthy of all praise, in that he has 
 introduced no warrior or leader, no hero of the adverse army : their arms, indeed, have 
 we seen carried by fathers of families, venerable councillors and magistrates, aged or 
 portly citizens, these only are led in triumph ; and thus the whole story is told : the 
 former lie low in death, the last still live to suffer." 
 
 Eighth Picture. The musicians and singers who always accompanied 
 a Roman triumph, follow: first, a youth playing on a lyre; then two 
 blowing trumpets ; and next a youth with a tambourine. Behind them 
 march more Roman soldiers, bearing eagles and other emblems on long 
 staffs. 
 
 Ninth Picture. Lastly comes Julius Caesar himself in a magnificent 
 triumphal car, bearing in his left hand a long palm branch, and in his right 
 a sceptre. Behind him stands a winged figure of Victory crowning him with 
 a wreath of laurel. In front a man holds aloft a medallion with the 
 device: — "veni, vidi, vici"j behind are men bearing braziers of incense, 
 and all around boys holding branches of laurel. The beautiful arabesque 
 work of the car, which is in tolerable preservation, is worthy of notice. 
 In the distance is shown a triumphal arch. On the hind-quarters of the 
 horse is Mantegna's monogram, though it has probably been renewed. 
 
 792 William III. when a Boy {546) unnamed. 
 
 Full-length, facing in front. His right hand is on his hip ; his left holds a staff, 
 which he rests on a table, on which is his helmet. He is bareheaded, long hair 
 falls on his shoulders. On canvas. (Compare No. 571.) 
 
 793 Supposed Portrait of Jane Shore {goi) unnamed. 
 
 Three-quarters length, facing to the left. Her hands are crossed in front of her. 
 Her dress is crimson, overlaid with black. She also wears a dark mantle, and a 
 veiy large quilled ruff, a black hat, and pearls in her headdress. On wood, 3 ft. 
 3 in. high, by 2 ft. 6 in. wide. 
 
 Above is painted : — " baker's wife, mistress to a king ; " but this inscrip^ 
 tion is comparatively modem. In any case, it cannot, of course, be a genuine 
 
Hampton Court Palace. 
 
 263 
 
 portrait of Edward IV. 's mistress, as the style and dress are of the latter part of 
 Queen Elizabeth's reign. But it may possibly be a made-up picture from some 
 ancient original. Perhaps the "Jane Shore " sold by the Commonwealth for £2, 
 23rd of December, 165 1, was this panel. A similar one, though smaller, is at 
 Eton, probably a copy from this. 
 
 794 Portrait of an old Man with a large beard {703) .... unnamed. 
 
 Half-length, seated ; facing in front. His right hand on the ai-m of the chair, his 
 left, which is gloved, holding a spear over his shoulder. His hair and beard, 
 which is long, are white. On canvas, 3 ft. 8 in. high, by 3 ft. ^ in. wide. 
 
 795 William, Duke of Cumberland (7c?p) Zeeman? 
 
 Small full-length ; turned to the right. His right hand points in that direction, 
 his left is on his breast. He wears a red coat, leather boots to the knees, and a 
 long wig. On canvas. 
 
 This has usually been called " Frederick, Prince of Wales ; " the name above is 
 suggested in the Royal Catalogue. He was his brother. 
 
 796 Portrait of a Lady, Unknown {g28) unnamed. 
 
 Three-quarters length ; dressed in a long rich bodice, embroidered with gold 
 and colours. Her left hand on the back of a chair ; her right by her side. Canvas. 
 
 797 Triumph of Julius Csesar {873-881) Mantegna. 
 
 (See above ^ 
 
 798 Sir Jeffrey Hudson the Dwarf {8g2) Mytens. 
 
 Full-length, standing, facing in front. He is dressed in red, and his hat, of the 
 same colour, lies on the ground at his feet. His right hand is by his side, his left 
 is on his waist. His hair is fair ; his height, 2 ft. 10^ in. In the lower left-hand 
 corner is a label, with the words '* Godfridus Hudson Nanus " and a date, indistinct 
 but probably 1630. On canvas, 7 ft. high, by 4 ft. 9 in. wide. 
 
 In Charles I.'s catalogue, page 90, is found: — "The picture of Jeffrey the 
 Queen's dwarf, in a landskip, at length. Done by Dan Mytens ; and the landskip 
 by Cornelius Janssen and in the Commonwealth inventoiy, folio 147 : — Geoffrey 
 Nanus at length in a landscape ; done by Mittens. Sold to Mr. Grinder for ^10." 
 
 " He was born at Oakham in Rutland in 1619, and about the age of seven or 
 eight, being then but eighteen inches high, was retained in the service of the Duke 
 of Buckingham, who resided at Burley-on-the-Hill. Soon after the marriage of 
 Charles I., the King and Queen being entertained at Burley, little Jeffrey was 
 served up to table in a cold pie, and presented by the Duchess to the Queen, who 
 kept him as her dwarf. From seven years of age till thirty he never grew taller ; 
 but after thirty he shot up to three feet nine inches, and there fixed." *' A poem, 
 called Jeffreidos was written by Davenant on a battle between him and a 
 turkey-cock j he was celebrated in a diminutive little book called The Newe Veares 
 Gift ; and employed by the Queen on a mission to France. Jeflfrey, thus made of 
 consequence, grew to think himself really so. He had borne with little temper 
 the teasing of the courtiers and domestics, and had many squabbles with the 
 King's gigantic porter. At last, being provoked by Mr. Crofts, a young gentleman 
 of family, a challenge ensued, and Mr. Crofts, coming to the rendezvous armed 
 only with a squirt, the little creature was so enraged that a real duel ensued, and 
 the appointment being on horseback, with pistols, to put them more on a level, 
 
264 
 
 Catalogue of Pictures, 
 
 Jeffrey, with the first fire, shot his antagonist dead." He was afterwards taken 
 prisoner by a Turkish rover, sold as a slave into Barbary, made a captain in the 
 King's army, and imprisoned on account of the Popish plot. He died in prison 
 at the age of 63. (See note in Walpole's Anecdotes. See also Peveril of the Peak, 
 in which Scott introduced him so effectively.) 
 
 There is said to be a repetition of this at Holyrood ; there was also a portrait of 
 him at Wentworth Castle ; and he figures in the picture of the Queen and her 
 family by Vandyck at Petworth. At Burley-on-the-Hill is a supposititious picture 
 of him, which is probably Lord Francis Villiers. 
 
 799 Portrait of a Gentleman Kneller? 
 
 ( Withdrawn.) 
 
 800 Portrait of a Lady (p^/) unnamed. 
 
 Half-length, seated ; a red rose in her right hand ; her left arm on a pedestal. 
 On canvas. 
 
 801 Portrait of a Lady {g22) imnained. 
 
 Three-quarters length, standing ; turned to the right. She is dressed in a long 
 loose red dress, with open sleeves, showing a white undersleeve. Her right hand 
 is by her side, her left rests on a spaniel, which stands on a table by her. She 
 wears a high ruff open in front, and a pearl necklace. On canvas, 3 ft. 8^ in. high, 
 by 3 ft. 4 in. wide. 
 
 Apparently in James H.'s catalogue. No. 456 : — "A woman's head ? in red with 
 a shock dog." 
 
 802 Portrait of a Lady {gig) unnamed. 
 
 ( Withdrawn.) 
 
 803 Sir John Parker {288) Jeronimo Custodis. 
 
 Half-length ; slightly to the left. His right hand is raised, holding up a drawn 
 sword, his left is on his hip. He is in armour, and wears a collar-rufif ; he is bare- 
 headed, rather bald, and has a moustache and small peaked beard. On wood, 
 2 ft. 7 in. high, by 2 ft. in. wide. 
 
 On the right-hand side is a coat-of-arms, with a crest of a dog on a cap of main- 
 tenance, and beneath : — " Anno Dni. 1589." On the left-hand side is the motto : 
 "Pro Fide et Patria." Signed in the upper left-hand comer : — ^^JeTonimo 
 Custodis. Antverpien. Fecit. 10" Augujiy.^^ Nothing is known of this bad painter. 
 
 804 Supposed Portrait of Fair Rosamond (pj/) unnamed. 
 
 Half-length ; nearly a profile to the left. In a yellowish dress, with a collar-ruff 
 of the period of Philip and Mary ; the bodice is edged with ermine and black 
 braid. Her hair is fair, and she wears a gauze covering over it, and has pearl 
 earrings. On canvas, 2 ft. 6\ in. high, by 2 ft. in. wide. 
 
 This cannot be considered even an adaptation, much less a copy, of any original 
 portrait of Henry II. 's mistress. "It might as well have been called 'Helen of 
 Greece.' " 
 
 805 Portrait of an Italian Gentleman {goj) . . . . G. Penz. 
 
 Described in King Charles I. 's catalogue, page 135 : — '■'Item. A young man's pic- 
 ture without a beard, sitting in a black habit with red sleeves ; in his right hand 
 holding some white stitched gloves, 1 1 = 1 1 = 1 1 = 1 1 = (?) and his left hand 
 
Hampton Court Palace. 
 
 265 
 
 being upon his knee. Done by George Spence of Nuremberg, bought by the King 
 when Prince, of Nicasius Russel." On canvas, 3 ft. 2 in. high, by 2 ft. 10^ in. 
 wide. 
 
 In the upper left-hand corner is painted a piece of crumpled white paper, on 
 which is the signature G. P. (in a monogram) and the number 48. 
 
 Of George ( ? Gregory) Pensz (or Penz), who was at first an excellent portrait- 
 painter, after the manner of Albrecht Diirer, though he afterwards spoilt his style by 
 Italianizing it, there are very few examples in England, his best known work being, 
 perhaps, his copy of a portrait of Erasmus by Holbein, at Windsor. 
 
 806 Portrait of George I. {924) unnamed. 
 
 ( Withdrawn^ 
 
 807 Portrait of a Man in Armour (p^2) unnamed. 
 
 Three-quarters length, facing in front. His left hand is on the hilt of his sword, 
 his right on his helmet. He wears a steel gorget over a black dress, and a ruff 
 close up to his ears. His hair is grey and scanty ; he has a small white moustache 
 and peaked beard. Inscribed above : — "A'^. Domin. 161'/. ^tatis Suce, 12.^^ On 
 wood, 2 ft. 6^ in. high, by 2 ft. J in. wide. 
 
 808 Portrait of a Gentleman {8gg) ? 
 
 Three-quarters length, turned to the front, but facing to the right. His left hand 
 is on his hip, his right hangs down and holds a glove. He is dressed in a dark 
 doublet, with slashed crimson sleeves, and a small collar ruff. His hair is close cut, 
 and he has a short trimmed beard and moustache. On canvas, 3 ft. high, by 2 ft. 
 2^ in. wide. 
 
 In the upper right-hand corner are his arms, with a helmet and a crest represent- 
 ing a black boy with a long pigtail. Under the shield is painted: — "^tatis sv^ 
 L. Anno Dni. 1-5-6-3? " and a monogram composed of the letters H. B. 
 
 "An animatedly composed and admirably executed work of a warm tone." — 
 ( Waagen.) Perhaps it is by Hans Baldung (see No. 593). 
 
 809 Portrait of a Young Lady, aged 13, dated 1594 {gsS) . . unnatned. 
 
 ( Withdrawn.^ 
 
mxtm. 
 
 BICK and Kent share between them the very doubtful honour of 
 having besmeared the ceiHng and walls of this staircase with 
 paint : the walls being covered with scroll-work and a few 
 unmeaning figures en grisaille^ and the ceiling representing, or 
 rather simulating, a dome. The ironwork, however, of the staircase is fine, 
 and worth noticing. The staircase is 52 feet long, by 30 wide. 
 
 On the visitor's right, as he comes from the Communication Gallery, is 
 a door into the Queen's Guard Chamber, the next room in the suite. 
 
 W^Z JgaUtttetr ©allerg. — This old mysterious gallery, the door of 
 which is on the right as you go down the staircase, has its name from 
 being supposed to be haunted by the shrieking ghost of Queen Katharine 
 Howard. It was here, at any rate, that she escaped from her own chamber, 
 when confined there before being sent to the Tower, and ran along to seek 
 an interview with Henry VIII., who was hearing mass in the royal closet 
 in the chapel. Just, however, as she reached the door, the guards seized 
 her and carried her back; and her ruthless husband, in spite of her 
 piercing screams, which were heard almost all over the palace, continued 
 his devotions unmoved. And in this gallery, it is said, a female form, 
 dressed in white, has been seen, coming towards the door of the royal pew, 
 and, just as she reaches it, has been observed to hurry back with disordered 
 garments, and a ghastly look of despair, uttering at the same time the most 
 unearthly shrieks, till she passes through the door at the end of the gallery. 
 The gallery is now the lumber room for old pictures, and, as the staircase 
 is locked up at night, the voice of the shrieking queen is but rarely heard. 
 On the west wall is the following large picture : — 
 
Hampton Court Palace, 
 
 267 
 
 810 King and Queen of Bohemia (pj^) Honthorst. 
 
 This picture was painted for Charles I., and is entered in his catalogue, page 
 167 : — "A very large piece, which was painted by Honthorst ; in the said piece is 
 painted the King and Queen of Bohemia in the Clouds, and the Duke of Bucking- 
 ham coming to present to the King the seven Liberal Sciences under the persons of 
 their children. " The king is on the left, the duke in the centre as Mercury. On 
 canvas, 15 ft. high, by 22 ft. wide. 
 
 It was begun soon after Honthorst's arrival at Utrecht from England in December, 
 1628, as we learn from a letter of his to Dudley Carleton, in which he speaks of 
 painting '* Her Majesty and all her children for the King of England, and such has 
 been the good pleasure of her Majesty that I shall take it in hand at once, and as 
 soon as her Majesty has recovered from her confinement, when she will sit to have 
 her portrait done specially and only for the King of England, agreeable to his 
 Majesty's wish." By the 22nd of May, 1630, *' the great picter " was finished, and 
 sent to England under the charge of his brother ; and he asks that the " long tyme 
 and extraordinary charges he had had in the making off this peece," should be taken 
 into consideration, **for he had lately attended many voyages att the Haghe for to 
 take the pictures off the King, Queen and princes." It appears that he was paid 
 £2\o for it, besides a service of plate for twelve persons and a beautiful horse. 
 (See Carpenter's Pictorial Notices^ p. 181 -184, and Sainsbury's Original Papers, 
 p. 290 and 295.) 
 
 The papers above cited prove conclusively that Walpole was wrong in sayiag 
 that it is an emblematic picture of Charles I. and his Queen. 
 
ueen's HuarU Hftamber. 
 
 (HIS room was probably not finished till the reign of George II., 
 the decoration being in the style of that period. The chimney- 
 piece, of which the sides represent Gog and Magog, is of white 
 
 marble, and the doorways are of the same. The proportions of 
 
 the room are now much disfigured by tall green screens. Its dimensions 
 are 58 feet long, by 34 feet wide. 
 
Hampton Court Palace, 
 
 269 
 
 811 Triumph of Bacchus ; Nymphs (pjj) .... Giro Ferri. 
 
 A large composition of some fifteen life-size figures with several cupids. In the 
 centre, Bacchus, with the cestus in his right hand, is turning towards Venus and an 
 attendant on the left. Behind are nymphs dancing, and playing on flutes and pipes 
 and other musical instruments. On the right is a bacchanalian, borne on the 
 shoulders of two men. On canvas, 10 ft. high, by 21 ft. wide. 
 
 A very characteristic picture by this mannered scholar of Pietro da Cortona. 
 
 812 Frederick, Prince of Wales, at a Party {606) . Vanderbank? 
 
 The Prince is at the head of the table, round which eight ladies and gentlemen 
 are seated. He is pouring wine into a glass. Some thirteen persons, attendants, and 
 a clergyman, are also in the room. Most of them are probably portraits. Altogether 
 twenty-three small figures. On canvas, 3 ft. high, by 2 ft. 10 in. wide. 
 
 An old catalogue attributes it to M. Laroon ; and another adds that it is a "fete 
 in honour of the marriage of the Duke of Wharton." 
 
 John Vanderbank was said by Vertue to be an Englishman, and "to have 
 attained his skill without any assistance from study abroad." He was patronized 
 by George I. and George II. 
 
 813 Portrait of C. F. Abel, the Musician (^38) Robineau. 
 
 Half-length ; seated at a piano or spinet, turned towards the right, but his face 
 looking behind him, over his shoulder to the left. He is dressed in a red coat and 
 has a small wig. On canvas, 2 ft. i in. high, by i ft. 8 in. wide. Signed on tlie 
 left-hand side : — " C. Robineau 1780." 
 
 Charles Frederick Abel was a pupil of Bach's, and at one time belonged to the 
 royal band at Dresden. He came to England about 1765, and was appointed 
 master of Queen Charlotte's band. Although he wrote music, he was more 
 celebrated for his playing than his compositions. Abel was a very passionate man, 
 and much addicted to the bottle, — peculiarities which the visitor would suspect him 
 of, from his flushed face and red nose. He died in 1787, after being three days in 
 a sort of drunken torpor. 
 
 Robineau was a portrait-painter who practised in Paris and London. 
 
 814 Landscape, with a Lake and Mountain {64^) .... Van Diest. 
 
 On the lake a boat ; in the distance a castle ; to the left a road with two figures. 
 (See No. 432.) 
 
 815 Portrait of Giulio Romano, a Copy (p^/) unnamed. 
 
 Seen to the elbows ; turned to the left ; in black, bareheaded, with a small black 
 beard. Canvas. 
 
 816 Portrait of Michael Angelo, a Copy (pdd) . ..... unnamed. 
 
 Seen to the elbows ; turned to the right ; in black, bareheaded, with a greyish 
 beard. Canvas. 
 
 817 Jacob Fleeing from Laban (c$V) Filippo Lauri. 
 
 Jacob is in the centre on horseback, turning round to Laban, who stands by him 
 expostulating. Behind him are four women riding with children in their arms, 
 and around a flock of sheep. Down a declivity on the right, some husbandmen on 
 horseback are guiding flocks and herds. On canvas, 3 ft. 3 in. high, by 4 ft. 6 in. 
 wide. 
 
 "A careful picture, and unusually warm and transparent for him." — {Waagen.) 
 
Catalogue of Pictures. 
 
 818 Portrait of a Child (j/p) G. C. Milani. 
 
 Full-length ; in a white silk frock, standing on a black and white marble floor. 
 In its right hand is a gold rattle, with a coral mouthpiece. On its head a white cap 
 with feathers. Its face is round and fat. On the left is a green curtain. On 
 canvas, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 Of this picture Waagen remarked : — "To Giulio Cesare Milani, a little known but 
 able painter, I am inclined to attribute the very animated portrait of a child, to 
 which no master's name is here given." Since then his judgment has been con- 
 firmed by the discovery of the signature "C. M., 1634?" in the upper right-hand 
 corner. 
 
 819 Portrait of Tintoretto, a Copy (p/o) unnmned. 
 
 Seen to the elbows ; full-face, with a thick grizzled beard. 
 
 820 Hungarians at the Tomb of Ovid (jp/) ... J. H. Schoonfeld. 
 
 A man is seated on the left, sketching ; two others are looking over him ; another 
 is in the centre, with his back turned, and in the background is a turbaned man on 
 horseback. On canvas, 2 ft. 10 in. high, by 3 ft. 5 in. wide. 
 
 In James II. 's catalogue, No. 910, it is called *' Ruins, with five Turks taking a 
 description of it." 
 
 821 Portrait of P. del Vaga, a Copy {g6s) unnamed. 
 
 Half-length, looking to the right ; in black, with a small white collar ; a black 
 beard. 
 
 822 A Circular Temple, with Figures {66s) unnamed. 
 
 In the centre is a gigantic snake with upreared crest ; to the right are a man's 
 body lying dead and a man and a woman looking at it. Between the columns of 
 the temple are the prostrate forms of two other men. 
 
 823 Portrait of a Lady in a Ruff (pj"^) unnamed. 
 
 Bust, facing to the right. She wears a yellowish-brown dress embroidered in 
 colours, a very large ruff edged with black beads, and a chain of large beads in 
 front. On canvas, 2 ft. 9 in. high, by i ft. 9 in. wide. (Compare No. 644.) 
 
 824 Portrait of John Locke (p^/) Kneller. 
 
 Half-length, standing ; turned to the right, but facing in front. He rests his 
 left hand on a table, on which are an inkstand and a pen ; his right hand in front of 
 him. He wears a plain black coat, with part of his shirt showing ; and he is 
 without his wig, and shows his long white hair. 
 
 This is one of Kneller's best portraits. It was evidently painted in the philoso- 
 pher's later years, for he looks here on the point of dying of the asthma to which he 
 succumbed in 1704. *' Pray," said Locke in a letter to Collins, "get Sir Godfrey 
 to write on the back of my picture ' John Locke ; ' it is necessary to be done, or 
 else the pictures of private persons are lost in two or three generations." 
 
 825 The Assumption of the Blessed Virgin {411) .... Snellinx. 
 
 This is described in Charles I.'s catalogue, page 153 :— "The ascension of Our 
 Lady, whereby the Apostles, standing by the grave, looking upwards with won- 
 dering ; St. Peter, kneeling with a golden key, and a turnkey ; painted upon 
 
Hampton Court Palace, 
 
 271 
 
 copper. Brought from Germany by my Lord Hamilton, and done by Snellinx " — 
 and in James II.'s, No. 327, as : — ** The assumption of our Lady, several apostles 
 about the tomb. By Flamingo." On copper, 2 ft. high, by i ft. 5 in. wide. 
 
 This picture has been attributed for many years to Denis Calvart ; but it can 
 hardly be doubted that Charles I.'s catalogue is correct in assigning it to Hans 
 Snellinx, a Flemish artist, who resided chiefly at Antwerp, was battle-painter to 
 Arch-Duke and Duchess Albert and Isabella, and was highly esteemed by Vandyck, 
 who painted his portrait among the distinguished artists of his time, and etched 
 the plate of it himself, and who was still living while the king's catalogue was being 
 compiled. 
 
 826 Frederick, Prince of Wales {8g3) Vanloo? 
 
 Bust, turned to the left, facing in front. He wears a blue sash over his coat. 
 On canvas. 
 (Compare No. 518.) 
 
 827 Landscape — Ferry-Boat and Fishermen (<5jj) . . . Van Diest. 
 
 To the left is a lake or river with the ferry-boat carrying cattle across ; two 
 fishermen by the water-side are drawing up a net. Beyond are a mountain, a 
 village, &c. 
 
 828 Portrait of George II. {624^ Zeeman. 
 
 In an oval, seen to the shoulders. In the robes of the Order of the Garter, with 
 the collar and George, a lace tie, and a full-bottomed wig. 
 
 829 Ruined Temple with Peasants {54g) . . . Viviani and Jan Miel. 
 
 This is similar to No. 728, which see. In the foreground, amid tombs and broken 
 pillars, are : in the centre a picnic party, to the left peasants with fruit, &c., and 
 dogs, and to the right a man sketching. Behind the pillar on the left a bit of land- 
 scape is seen. 
 
 830 William, Duke of Gloucester, son of Queen Anne {885) , Kneller. 
 
 Bust ; in an oval turned to the left, face seen in full. He is in armour, and has 
 a blue ermine-lined cape. On canvas, 2| ft. high, by 2 ft. wide. 
 
 The young duke, though of feeble constitution, was not deficient in martial 
 spirit. When but a boy of six years old, he came to meet his uncle William of 
 Orange, who had just returned from a campaign, with a little musket on his 
 shoulder, and presented arms, saying, '* I am learning my drill, that I may help 
 you beat the French." The king was so pleased that he made him a knight of 
 the Garter a few days after. 
 
 831 Portrait of General Spalken . tmnamed. 
 
 Three-quarters in length. Bareheaded, with grey hair. His right arm rests on a 
 table, on which is his cocked hat ; his left is in his belt. He wears a general's 
 uniform, a red coat with blue facings, a long white waistcoat with brass buttons, 
 and white breeches. 
 
 I can find nothing about Spalken. 
 
 832 Portrait of Haydn the Composer {g20) unnamed. 
 
 Half-length, seated ; turned and facing to the right. He wears a dark red coat, 
 a lace tie, and a small ring. His left hand is on a book or manuscript on a table 
 in front of him ; his right, which holds a pen, also rests on the table. 
 
272 
 
 Catalogue 0/ Pictures, 
 
 This portrait was doubtless painted when the musician was in England for the 
 second time in 1793, and when he was at the height of his reputation. The king, 
 for whom it was painted, was very enthusiastic about him, and tried to induce 
 him to remain in this country ; and the English public, although they slept through 
 his symphonies, paid him enormous sums. 
 
 833 Unassigned. 
 
 834 Caroline, Queen of George II. {62 j) Zeeman. 
 
 In an oval, seen to the elbows ; facing in front. In a blue and white bodice 
 with jewels, and jcM^els in her small headdress. (See No. 523.) 
 
 835 A Child with his hands on a Lamb {21^) Kneller. 
 
 Nude ; seated. The lamb is on his right, and he holds a cross and scrip. 
 This is called " St. John ; " it is probably meant, however, for William, Duke 
 of Gloucester, son of Queen Anne, as there is a mezzotint after it with his name. 
 
 836 A Shepherd {204) John Collins ? 
 
 Life-size, seated on a rock under a tree ; turned to the right, but facing in front, 
 looking over his right shoulder. He is playing on a pipe ; on the ground is his 
 crook. 
 
 837 Landscape {210) John Loten. 
 
 A man with a dog is coming along a road which leads into a dark wood in the 
 left background, towards a woman sitting by the roadside. In the background to 
 the right is a church. 
 
 A good specimen of the style of a Dutch painter, who lived in England in 
 Charles II. 's time, and painted "chiefly glades, dark oaken groves, land storms," 
 &c. 
 
 838 A Shepherdess {220) John Collins ? 
 
 Seated on a rock by a tree, facing in front. She is playing with a spaniel that is 
 jumping up to her on her right. 
 
 839 Pope Benedict XIV. {628) P. Battonl 
 
 Half-length, turned to the right. He is in his robes, a red cape with a cloth of 
 gold stole, a white amice, and a red biretta. In his left hand is a paper ; his right 
 is held up, as if blessing. On canvas, 3 ft. high, by 2 ft. 5 in. wide. 
 
 Pompeo Battoni was a very popular artist in his time, but less on account of his 
 own intrinsic merit than because he lived at a period when the arts had fallen to 
 a very low ebb in Italy. This picture was bequeathed to George III. by the last 
 of the §tuarts, Cardinal York, who was a great friend of the Pope's, and of whom 
 there is a portrait by the same painter in the National Portrait Gallery. There is 
 a somewhat similar one at Stafford House, attributed to Subleyras. 
 
 Benedict XIV., whose family name was Prosper Lambertini, was born in i675f 
 and elected pope in 1740. His enlightened policy, his patronage of art and 
 learning, his humane spirit, and his unaffected piety, won him the respect of every 
 one, even of Voltaire, with whom he used to correspond. Walpole affixed the 
 following inscription to his picture at Strawberry Hill: — ** Beloved by Papists, 
 esteemed by Protestants, a priest without insolence or interestedness, a prince 
 without favourites, a pope without nepotism, an author without vanity ; — in short, 
 a man whom neither wit nor power could spoil." 
 
Hampton Court Palace. 
 
 273 
 
 840 Landscape {212) Edema. 
 
 841 Sacrificing a Calf (6^8) De Gelder. 
 
 On wood, 2 ft. high, by 2 ft. 4 in. wide. 
 
 842 Frederick II. of Prussia {(^78) unnamed. 
 
 Half-length, turned to the left, facing in front ; his hands not seen. He wears 
 a small wig, a dark blue coat, and on his breast is the star of an order, with 
 the eagle displayed. 
 
 843 Portrait of Robert Boyle the Philosopher {56) . . . Kerseboom. 
 
 Nearly full-length, seated in a big armchair ; turned to the right, but facing in 
 front. He leans his right arm on the chair ; his left is turning over the leaves of a 
 book on a table in front of him. He wears a large full-bottomed wig. This 
 picture has been engraved several times. 
 
 Boyle, the famous chemist and experimental philosopher, was the seventh son of 
 the first Lord Cork, and from him received a fortune of ;^3,ooo a year, which he 
 devoted in a great measure to scientific research and the promotion of the Chris- 
 tian religion. He was never married, being of opinion that " a man must have 
 very low and narrow thoughts of happiness or misery who can expect either from a 
 woman's conduct." For his life, see his Philaretus. 
 
 Frederic Kerseboom was a native of Germany, who worked at Paris and Rome 
 under Le Brun and Poussin. He was in England during William III. 's reign, and 
 painted a few indifferent portraits. 
 
 844 A Landscape: The Devil Sowing Tares {468). . Lucas Vanuden. 
 
 Three peasants are shown on the left, slumbering near their plough ; on the 
 right Satan, with horns, tail, and cloven feet, is scattering seed with his right hand, 
 and turning round and looking at the peasants as he does so. On the left is a 
 wood, and in the right distance a village tower. 
 
 845 George, Prince of Denmark {88^) ......... Dahl. 
 
 ( Withdrawn^ 
 
 846 Sir Isaac Newton (g^T) . • • Kneller. 
 
 Three-quarters length ; turned to the left, facing in front. His right arm is by 
 his side, his left leans on a table, on which are a globe and a book. He wears a 
 dark, loose robe, and a large wig. On the left is inscribed : — *'/. Newton Esqrc 
 
 There is a similar portrait to this at Petworth, which is engraved in Lodge. 
 Newton was at this time member of the Convention Parliament, for the University 
 of Cambridge. 
 
 847 Landscape with a River and Castle {633) Van Diest. 
 
 Similar to No. 814. 
 
 848 Charles XII. of Sweden (gyf) unnamed. 
 
 Bust. He wears a blue coat, and a black choker ; grey hair, beardless 
 face. A vinretched daub. 
 
 849 Christ at the Well {645) after Correggio. 
 
 Christ is sitting under a tree on a stone. His left hand is on His breast, His 
 T 
 
274 
 
 Catalogue of Pictures. 
 
 right pointing towards the Samaritan woman. She stands on the left in front of 
 him ; her left hand pointing to the well, her right holding a can with a chain. On 
 wood, 2 ft. 3^ in. high, by i ft. ii. wide. 
 
 850 Triumph ofBacchus,Venus, and Ariadne (p7p)^7//^r6^z^/^^<^7RoMANELLi. 
 
 On the left is seated Venus, to whom Ariadne is presenting Bacchus. Behind 
 him are nymphs and bacchanalians, dancing, drinking, and playing on musical 
 instruments. Above are cupids. In the background is the sea. On canvas, 10 ft. 
 high, by 21 ft. wide. 
 
 This copy by Guido's pupil is interesting on account of the original having been 
 lost at sea, in transport from Italy to England. 
 
 851 The Tribute Money {363) Dietrich. 
 
 The Pharisee holds a coin in his right hand, and is interrogating Christ, who 
 points upwards with His left hand. Some fourteen small figures grouped around. 
 On canvas. (See No. 750.) 
 
 852 Portrait of Sir Peter Lely {882) by himself. 
 
 To the elbows ; turned to the right. He wears a dark coat and a long full- 
 bottomed dark wig. On canvas, 2 ft. 6 in. high, by 2 ft. i in. wide. 
 
 853 Christ and the Woman of Samaria {634) Bonifacio? 
 
 Christ is on the left-hand side of the well, speaking to the woman, who is on the 
 right, holding a bucket on the stone brink. Behind on the left are four of His 
 disciples. In the background a landscape, and a castle. Behind are inscribed : 
 *' Safnaritana Di Bonifacio ; " and a large foreign seal, with the motto, " LoyaV 
 On canvas, 3 ft. 4 in. high, by 3 ft. 3 in. wide. 
 
 This is perhaps the "Piece of Our Saviour and the Samaritan woman at the 
 well, three little entire figures and two in the landscape afar off. Bought by the 
 King. Done by De Moro, a Venetian painter." 
 
 854 Portrait of a Young Man, Unknown {g43) unnamed. 
 
 Three-quarters length, directed to the right. His right hand is on his hip ; his 
 left, which is gloved, is by his side, and holds his other glove. He is entirely in 
 black, with a medium sized ruff of three tiers of folded linen, and plain turned-back 
 hand-ruffles. His hair is close cut, curly and reddish. On wood, 2 ft. 7 in. high, 
 by 2 ft. wide. 
 
 On the left is inscribed : — ^'^tatis Sues 17. A" Don. 1617 " ; and, on the right, in a 
 scroll : — *'GENVS ET GENIUS." These inscriptions are contemporary, but above 
 them are more recent repetitions of them. Genealogists have surely enough mate- 
 rial here to identify the man represented. 
 
 855 Portrait of a Child {gs4) G. C. Milani ? 
 
 Full-length, facing in front, in a rich red silk dress. In her left hand she holds a 
 wreath of flowers, and in her right she has a coral which is attached to a gold 
 chain hanging round her neck. She wears a black cap, which is cut in a peak in 
 the middle of her forehead, and curved back on each side, so that it forms the out- 
 lines of a heart round her head. Round her neck is a small white collar. She 
 stands on a floor of black and white marble. Painted on a dark background. On 
 canvas, 2 ft. 6 in. , by 2 ft. i in. high. 
 
 This is evidently a companion portrait to No. 818, perhaps of her sister, and pro- 
 bably by the same painter. 
 
Hampton Court Palace. 
 
 275 
 
 856 Roman Architecture with Figures {544) ? 
 
 To the right is a large building with a colonnade and landing stairs ; to the left 
 is the sea with a boat near the steps, and a vessel further off. Towards the boat a 
 man, simply attired and unarmed, is being conducted by Roman soldiers, who are 
 astonished and confounded at several of the guards prostrating themselves before 
 him. On canvas, 3 ft. i in. high, by 7 ft. 2 in. wide. 
 
 857 Portrait of Holbein? a Copy (p(5p) unnamed. 
 
 Bust, turned to the left. He wears a black doublet with brown sleeves, trimmed 
 with lace. 
 
 858 Portrait of a Man with a Watch {go2) . Peter van Aelst ? 
 
 Half-length, seen in a full front view. In his right hand he holds his gloves, in 
 his left an open watch, of which the face is turned towards the spectator. His 
 dress, which is of about the time of Philip and Mary, is black, with a small white 
 frill at the collar, and a black cap. He has a small red moustache and beard. He 
 stands at the base of a white pillar. On wood, 2 ft. 8 in. high, by 2 ft. wide. 
 
 A good portrait, attributed by Waagen to Peter Van Aelst. On the pillar, 
 about level with the man's neck, are traces of an inscription almost illegible, but of 
 M^hich sufficient remains to afford perhaps a clue to the person or the painter. 
 
 859 The Rape of the Sabines (404) RoTTENHAMMrLR ? 
 
 The men are in the costume of Roman soldiers, several of them on horseback, 
 and seizing the Sabine women, who are represented with little drapery. The back 
 ground is a colonnade enclosing a sort of circus. On canvas, 2 ft. 5 in. high, by 
 3 ft. 3 in. wide. 
 
 In Charles I.'s catalogue, page 147 : — "The piece of the Rape of the Sabine 
 Women, with many little entire figures ; said to be done out of the school ol 
 Raphael." 
 
 860 Portrait of a Lady in White (Sg^) unnamed. 
 
 Half-length, turned to the left. Her right hand is in front on her waist ; her left 
 being by her side, is not seen. Her dress is of a thin white material, with black 
 ribbons. She wears a fine collar of lace, and a white tippet and cap edged with lace, 
 a pearl necklace and black earrings ; her hair is reddish. 
 
 861 Ruins and Figures {636) Domenichino. 
 
 This seems to represent the Apostles baptizing ; an old man kneels in front of 
 them, and others are looking on. Behind are columns of a ruined temple, and 
 in the distance other buildings. On canvas, 2 ft. i in. high, by 2 ft. 4 in. 
 wide. 
 
 862 Portrait of Sir Peter Lely (p/^) himself. 
 
 Bust, turned to the left, seen nearly in a full face. He wears a dark cloak, with 
 a lace tie at the throat. On canvas, 2 ft. 6 in. high, by 2 ft. 2 in. wide. 
 
 863 Venus and Satyr {ggo) Albano. 
 
 On the left is a faun playing on a pipe ; behind is a cupid with a bow and 
 arrow pointed at her. On wood, 8 in. high, by I ft. wide. 
 Sold for ;^io by the Commonwealth. 
 
276 
 
 Catalogue of Pictures. 
 
 864 " A China Dish with Heart-Cherries " {987) . . . Daniel Nys ? 
 
 Thus described in James II.'s catalogue, No. 899, and attributed to Daniel 
 Nysse, whose name is written on an old scrap of paper behind, where is also 
 found Charles I.'s brand. On wood, II in. high, by I ft. 3 in. wide. 
 
 There is no other evidence of Nys having been an artist ; but he is well known 
 as Charles I.'s principal agent in Italy for procuring works of art, where he nego- 
 tiated on his own responsibility the purchase of the famous Mantuan Gallery. 
 
 Our Lady is on the left ; St. Joseph on the right, on an ass. On canvas, pasted 
 on wood, 9 in. high, by i ft. wide. 
 
 865 A Holy Family {g88) 
 
 F. Lauri. 
 
lueen'S Hrescnce ^l)amber> 
 
 3ETWEEN this and the former room is a small lobby, behind 
 which is a secret staircase in the thickness of the wall, up to the 
 top storey. The style of decoration of this room is also that of 
 George 11. , in whose reign Queen Caroline held her drawing 
 rooms here. It is 50 feet long, by 34 feet wide. 
 
 m 
 
 866 Rear- Admiral Sir Charles Knowles's Squadron attacking Port Louis in 
 
 St. Domingo (? Hispaniola), March 8th, 1748 (pp^) . R. Paton? 
 
 To the left is an English vessel, the "Cornwall," firing at a fort in the centre of 
 the picture. More to the left is a small ship burning ; on the right are other vessels 
 attacking the fort. 
 
 The fire-ship of the enemy was towed clear of the squadron by the boats, and 
 left to burn and blow up at a distance from the fleet. The fort surrendered in the 
 evening, and was blown up. The English lost seventy men. 
 
 867 Rear-Admiral Sir Charles Knowles's Action with a Spanish Squadron 
 
 off the Havannah, October I St, 1748 (zo<92) . . . R. Paton? 
 
 In the background is the battle-line of the enemy, under Vice- Admiral Reggio, 
 against which the British fleet is bearing. The action began at two o'clock. Al- 
 though defeated, nearly all the Spaniards got into port ; they lost eighty-six men. 
 Knowles was tried by court-martial when he came home for not pursuing the 
 enemy with more vigour, and was reprimanded. 
 
278 
 
 Catalogue of Pictures. 
 
 868 Frederick the Great (^z/) unnamed. 
 
 Bust ; turned to the left, looking in front. He wears a blue coat, and has a star 
 on his breast, and a cocked hat. (See No. 513.) 
 
 869 St. John in the Wilderness {6^2) Huens. 
 
 He is in the middle of the picture preaching ; several listeners are near. On 
 copper, I ft. high, by I ft. 4 in. wide. 
 
 870 A Battle-Piece {651) Huens. 
 
 A Roman soldier on the left is falling on his own sword ; his horse is rushing 
 away. In the distance is a skirmish. 
 
 871 The Shepherds' Offering {gg4) T. Zucchero. 
 
 This is the "Piece being the birth of our Saviour, the Shepherds coming to 
 worship, and several angels above, by Taddeo Zucchero." — No. 560 in James II. 's 
 catalogue. The Blessed Virgin kneels in front of the Infant, who lies in a crib in 
 the centre. On copper, i ft. 4 in. high, by i ft. wide. 
 
 872 Portrait of a Gentleman {gii) unnamed. 
 
 873 View of Native Village in the West Indies (ppz) . . . F. Post. 
 
 Representing a village with natives, some of whom are dancing or playing on 
 musical instruments, others carrying fruits, &c. 
 
 Francis Post was a Dutch painter, who accompanied Prince Maurice in his voyage 
 to the West Indies, and when there, painted several views. 
 
 874 Italian Peasants (ppj) M. A. Battaglia. 
 
 On the left, outside an inn, are two men and a woman seated ; and a woman is 
 serving them with wine. Other figures behind. On canvas, I ft. 3 in. high, by 
 I ft. 8 in. wide. 
 
 One of those pieces which Michael Angelo Cerquozzi, called Battaglia, painted 
 in imitation of Bamboccio. 
 
 875 George III. Reviewing the Fleet at Portsmouth {/^ Pieces) D. Serres. 
 
 In the centre is a large man-of-war, the "Barfleur ; " near it the "Worcester" 
 firing a salute, and beyond a line of men-of-war, the " Royal Oak " and "Lennox " 
 being distinguishable on the right. 4 ft. 10 in. high, by 7 ft. wide . . {loii) 
 
 A large man-of-war in the centre ; smaller craft on each side .... \1012) 
 
 In the centre is a large three-masted vessel, with the Union Jack flying, and the 
 royal party on board. Many others are behind K^ois) 
 
 To the right is a large line-of-battle ship firing a salute. Several yachts with 
 officers and spectators on board are seen 
 
 These four pieces were painted by Dominic Serres, a native of Gascony, who, 
 after running away from home, becoming a sailor, and then master of a trading 
 vessel, and being captured by an English frigate, settled in England and took to 
 painting marine pieces to earn a living. He was one of the original members of 
 the Royal Academy, and frequently exhibited. He is to be distinguished from his 
 son, J. T. Serres (see No. 892). 
 
 876 Charles I., when Prince of Wales, leaving St. Andero, in 
 
 Spain, in 1623 {1036) Parcelles? 
 
 In Charles I.'s catalogue, page 93, is entered: — **The Picture of St. Andero's 
 Haven, in Spain, where the King took shipping when he came from thence, in a 
 
Hampton Court Palace. 
 
 black and gilded frame, bought by the King, in which piece, containing some four 
 greater ships and some nine lesser ships. Done by Persellis," which is supposed 
 to be this picture. The dimensions given, however, 4 ft. 7 in. high, by 7 ft. 4 in. 
 wide, do not agree with those of the canvas before us, which are 4 ft. 10 in. high, 
 by 10 ft. 3 in. wide. Perhaps this is another piece, for we find in the Common- 
 wealth inventory that " A sea-piece of the King's Ships bringing the Prince out of 
 Spain, done by Young Vroom,'' was sold from the King's Gallery at Oatlands, 
 23rd October, 1651, for ;^I5, to Captain Stone and others {Harl. MSS.). And 
 it is to be identified with No. 1025 in James II. 's : — A sea-piece of King Charles 
 I. coming from Spain ; by Vroome," among the Hampton Court pictures. 
 
 There is no other record of Young Vroom, though his existence was conjectured 
 by Walpole, on account of Henry Cornelius Vroom, the designer of the Armada 
 tapestries, being called in James II. 's catalogue, "Old" Vroom. Possibly the 
 name "Young" Vroom was given to Jan Parcelles, who was a pupil of H. C. 
 Vroom's (see No. 347) ; in which case the picture in King Charles's catalogue 
 would be identified with the Oatlands picture and this one. (See, however, 
 No. 907.) 
 
 It was on Friday, lothof September, 1623, that Prince Charles and Buckingham, 
 attended by their suite and a crowd of Spanish grandees, reached St. Andero, where 
 an EngHsh fleet of eight men-of-war and two pinnaces was waiting to carry them 
 home. They went on board "The Prince " the same afternoon, and Charles gave 
 the Spaniards a magnificent entertainment. Waller, in some lines he wrote on the 
 Prince's narrow escape from drowning the same evening, on returning to shore, thus 
 describes it : — 
 
 "Now had his Highness bid farewell to Spain 
 
 And reached the sphere of his own power the Main ; 
 
 With British bounty in his ship he feasts 
 
 Th' Hesperian princes, his amazed guests, 
 
 To find that watery wilderness exceed 
 
 The entertainment of their great Madrid. 
 
 Healths to both Kings, attended with the roar 
 
 Of cannons, echoed from th' affrighted shore. " 
 "Next day," says a chronicler of the time, who vividly describes the danger to 
 which the Prince was exposed, the darkness of the night, the fury of the winds and 
 waves, " the artillery, of the rain, lightning and thunder," and his rescue by "The 
 Defiance," "he went on board his ship, a little before evening, with a full resolu- 
 tion to make the compasse of those wooden walls the Prince of England's court, 
 and in that sea-chamber of Presence ever to dwell without any remove until it 
 should please God to send a prosperous winde, fit to carry him into England." 
 This happened on the 28th of September, "with much joy, elevation of voices, 
 thundering of drums and trumpets, and that excellent musical tumult of mariners 
 nimbly running up and downe to sett forward so Royall a businesse. Anchors now 
 are weighed, all the linnen bravery of swelling sails courting the winds to speed them 
 in their journie ; Spanish people stand upon the shore, our Prince and English 
 noblemen upon the decks, taking leaves one of another in dumbe showes, with 
 lookes, hands and hatts." 
 
 This is the moment chosen by the painter. The vessels are just under way, in line, 
 with their sails bellied by the breeze, their colours flying, and their names inscribed 
 on the foremasts. First, on the right, leading the squadron, is the flag-ship, " The 
 
280 
 
 Catalogue of Pictures, 
 
 Prince," 1, 200 tons and fifty-five guns, on board of which are Charles and Bucking- 
 ham, the Admiral the Earl of Rutland, and the Captain Sir Henry Mainwaring. 
 Next is " The Defiance," the ship which rescued Charles from the storm. Captain 
 Sir Sackville Trevor, 700 tons, forty guns. Then came "The Saint Andrew," 
 Lord Morley, Vice- Admiral, 898 tons, forty-two guns, and "The Bonaventure," 
 and two others. Behind are other smaller vessels ; and beyond are seen the town 
 and harbour of St. Andero and its bay. 
 
 877 Close of the Action, November 4th, 1805, Sir R. Strachan's Victory 
 
 {lojy) N. PococK. 
 
 On the left are three French vessels, ? The Formidable, Scipion, Mont Blanc, or 
 Duguay Trouin, two of them utterly dismantled ; to the right is the English fleet. 
 
 The engagement took place off Ferrol, about a fortnight after Trafalgar, the 
 French ships being under the command of Rear- Admiral Dumanoir, who had 
 escaped from that battle. 
 
 878 Commencement of Sir Robert Calder's Action, July 22nd, 1805 
 
 {lojS) . . N. PococK. 
 
 A small English ship is engaging two French vessels on the left. 
 
 On the 19th of July, Calder had received despatches from Nelson stating that the 
 combined Franco-Spanish fleet was on its return from the West Indies, and he 
 cruised about off Cape Finisterre in the hope of intercepting it. Though both sides 
 lost heavily, the action had no very decided result. The small English ship is 
 probably the Hero, the van-ship of the British, which began the attack. 
 
 Nicholas Pocock, like D. Serres, acquired his knowledge of the sea in the navy, 
 which he gave up to adopt marine painting as a profession. 
 
 879 British Vessel Engaged with Three Spaniards {lojgi) . W. Vandevelde. 
 
 A British man-of-war is in the centre between three small Spanish ships, and in 
 full action with them. On canvas, 4 ft. i in. high, by 5 ft. 10 in. wide. 
 
 This and the next picture are two of ' ' Eleven Sea«Fights, by Vandevelde " 
 now in this room, which were in James II.'s catalogue, and which were painted 
 expressly for him. Many of them are doubtless by William Vandevelde the 
 younger, who, according to Charles II.'s warrant allowing him and his father ;^ioo 
 a year each, ' ' put the draughts of * the elder ' into colours. " Several of them are 
 among the most excellent specimens of *'the greatest man that has appeared in this 
 branch of painting ; " and besides have great interest as historical works, the painter 
 having usually attended the engagements which he afterwards depicted. Most of 
 them are signed. 
 
 880 Close of the same Action {1040) W. Vandevelde. 
 
 The broadside of the man-of-war is seen ; it is receiving the surrender of one of 
 the Spaniards, which is lowering its flag ; in the left distance are the other two 
 Spanish vessels sinking. 
 
 881 Destruction of a Dutch Fleet at Schelling, and Burning of Banderis by 
 
 Admiral Sir R. Holmes, August 8th, 1666 {1041) . Vandevelde. 
 
 On the right is a line of fire-ships, burning vessels, driven on shore by a fleet of 
 small vessels, which has entered the mouth of the river Vlie for the purpose of 
 landing. On canvas, 4 ft. high, by 6 ft. wide. 
 
Hampton Court Palace, 
 
 28r 
 
 This engagement took place after the great victory won by Prince Rupert and 
 the Duke of Albemarle over De Ruyter. The fleet of Dutch merchantmen was 
 1 60 in number. The English landed and burnt the town, with a loss of only six men. 
 
 882 Sea Fight of August i ith, 1673, Prince Rupert commanding the French 
 
 and English Fleets against the Dutch {1042). . . Vandevelde. 
 
 The Dutch are shown on the left, the combined fleet on the right. At the first 
 onset the French sailed away, and left Sir E. Spragge to bear the brunt of the 
 fight. Tromp came up, and singling out Spragge's ship, the "Royal Prince," a 
 severe contest took place, which lasted three hours. At the end, the " Royal Prince " 
 was so disabled that Spragge had to change his flag to another vessel, in doing 
 which, however, he was drowned. The Dutch said of this battle that the French 
 had hired the English to fight for them, and that they only looked on to see that 
 they earned their wages. 
 
 883 View on the Thames— Old Fleet Ditch (104J) . . . James. 
 
 The mouth of the Fleet Ditch is in the centre of the picture, crossed by a stone 
 foot-bridge of a single arch. On both sides of it are large buildings. 
 
 884 View on the Thames — Old London Bridge and Fishmongers' 
 
 Hall {1044) James. 
 
 The view is taken eastward ; and right across the picture is the old bridge, with 
 the houses built on it. On the left are Fishmongers' Hall and the column on Fish 
 Street Hill. 
 
 These are two of a series of views of Old London from the Thames, by William 
 James, an imitator and probably a pupil of Canaletti's, though he resembles him in 
 little except his mechanical precision. His works, however, are interesting to the 
 antiquarian, as they are almost photographic in their accuracy. 
 
 885 View on the Thames— The Savoy {104s) Scott ? 
 
 The view is the same as No. 923. In an old inventory there is an entry relating 
 to it : — " Rec^. March 1819. View of the Savoy, with old Somerset House, on 
 the banks of the Thames, painted by Scott, the English Canaletti. Bought of 
 Colnaghi, ^£26^." Samuel Scott, the marine painter, is the artist referred to. He 
 is only worthy of remembrance as a jovial companion of Hogarth's. 
 
 886 A Sea-piece (1046) D. Serres. 
 
 A large vessel is seen broadside, and in front an officer's gig ; other vessels are 
 behind. Signed in lower right-hand corner, *'D. Serres, 1789." 
 
 887 A River Scene in Holland {104/) S. Ruysdael. 
 
 To the left is a low-lying bank, with huts and cottages ; in the centre are boats 
 and fishing- smacks ; and in the distance a low landscape. On wood, i ft. 6 in. 
 high, by 2 ft. 3 in. wide. 
 
 Solomon Ruysdael usually painted scenes such as this. He was the brother of 
 Jacob, the great Dutch landscape painter, and is believed to have been the master 
 of Hobbema. 
 
 888 Action between English and Dutch Vessels {loso) 
 
 W. Vandevelde the elder. 
 In the foreground are two vessels, one an English, and the other a Dutch vessel, 
 engaging each other ; behind are two more ; and on the left other vessels in action. 
 
282 
 
 Catalogue of Pictures, 
 
 On canvas, 4 ft. high, by 5 ft. 10 in. wide. Signed on the back of the canvas, ** W. 
 V. Velde, de oude,f. 1683." De oude is Dutch for the elder. The date of the en- 
 gagement cannot be ascertained. 
 
 889 The Royal Yacht which brought Queen Charlotte to England in 1761, 
 
 to be married to George III., in a storm {looi) . . . Wright. 
 
 The Royal Yacht is in the centre of the picture, attended by a convoy of twelve 
 vessels. It had been re-named "The Royal Charlotte," and was newly ornamented 
 with a profusion of carving and gilding for the occasion. They embarked at Stade 
 on the 24th of August, and landed at Harwich on September 6th. 
 
 Richard Wright was a painter of marine subjects. 
 
 890 Unassigned. 
 
 891 A Man-of- War engaged with two Vessels (zczj) . . . Monamy? 
 
 A man-of-war is on the left engaged with two of the enemy's vessels ; behind 
 are others shown in action. (See No. 915.) 
 
 892 Battle of Camperdown — Lord Duncan's Victory {10^3) J. T. Serres. 
 
 The English fleet is ranged in three lines about to begin the action by breaking 
 the line of the enemy ranged beyond them. The enemy have already opened fire. 
 On canvas, 3 ft. high, by 4 ft. wide. Signed, "J. T. Serres, 1793." 
 
 John Thomas Serres was the son of Dominic Serres, who brought him up as a 
 marine painter. In the year in which this picture was painted he succeeded, on his 
 father's death, to the office of marine painter to the King, and one of his duties in 
 this post was to make sketches of the harbours on the enemy's coast. He married 
 the soi-disant Princess Olive of Cumberland, who lost him his appointment, and 
 brought him to misery, destitution, imprisonment, and madness. (Redgrave's 
 Diet, of Artists.) 
 
 893 Sea-Piece — The British Fleet {loif) Elliot. 
 
 In front are some eight large vessels, some with the yards manned, others with 
 their sails partly set ; other ships are seen behind. 
 
 On the frame in front is written : — '* To the Ho-nP^'. W*^. Pitt this view of the 
 British Fleet, which secured to England the uninterrupted navigation of the Southern 
 Ocean is dedicated.'^'' William Elliot was a bad marine painter in the style of 
 Serres. 
 
 894 Action between the "Arethusa" and ''Belle Poule" {673) . unnamed. 
 
 The "Arethusa," with its stern to the spectator, is to the left ; ** La Belle Poule " is 
 on the right. They are discharging heavy broadsides at each other. The moon is 
 seen in the distance between them. 
 
 The action took place on the 17th of July, 1778, off the Lizard, and lasted two 
 hours at close quarters without intermission. The ' * Belle Poule " got away, though 
 the English had got the best of the fight. 
 
 895 
 
 A Small Sea-Piece (jjp) Swaine. 
 
 On the left is a one-masted, on the right a three-masted vessel. 6 in. high, by 
 8 in. wide. Francis Swaine was a bad marine painter, who died in 1783. 
 
Hampton Court Palace, 
 
 896 The Vessel in which Charles II. Escaped to France after 
 
 the Battle of Worcester {381) . W. Vandevelde the elder. 
 
 On the left is a schooner under sail, towing after her a small boat ; she carries the 
 English flag. On the right is a large two-masted English vessel. On canvas, 2 ft. 
 I in. high, by 2.\ ft. wide. 
 
 This is the ''Little sea-piece, with a bark in it, that carried the King to France; 
 by Vandevelde," No. 349 in James II.'s catalogue ; and "A sea-piece, with a vessel 
 that carried King Charles to Holland; by Vandevelde," in Queen Anne's catalogue. 
 
 After the battle of Worcester, Charles, after many hairbreadth escapes, at length 
 arrived, on the 15th of October, 1651, at "The George Inn," at Brighton, since 
 known as *' King Charles's Head." After having had supper, he and his com- 
 panions went to bed, but got up at two o'clock and went on board a small vessel 
 which had been engaged for them. "When the skipper saw him he was a little 
 daunted, for he presently knew him, having seen him divers times before ; but 
 having somewhat collected himself, he said, since he had undertaken so good a 
 work, he was resolved to venture hanging rather than not perform it. " They cleared 
 out of port at eight in the morning, and after coasting for some hours to remove 
 suspicion, stood directly towards the coast of France, where they disembarked on 
 October i6th. 
 
 During the voyage the King sat principally on the deck ; and it is related that one 
 of the sailors, ignorant of his rank, kept pufhng tobacco-smoke in the King's face, 
 and when told to desist, retorted, " A cat may look at a king." 
 
 897 A River Scene {340) Swaine. 
 
 On the right is seen the bank with an old village church ; to the left is a lugger ; 
 and in the centre a small boat in which two men are drawing up a net. 
 
 898 The Day after the Battle of Trafalgar {lo^f) Huggins. 
 
 It represents the storm which separated the squadron the day after the battle. 
 On the right is a dismantled vessel rolling over ; on the left is the "Victory." On 
 canvas, 8 ft. high, by 10 ft. wide. 
 
 899 Battle of Trafalgar — Close of the Action (zcj'c?) . . . . Huggins. 
 
 In the centre is a large vessel ( ? the " Victory ") with rigging much shot away and 
 torn. Others are seen behind in action. 
 
 These are two of three pictures, painted for William IV. ; the third is now at St. 
 James's Palace. {Royal Catalogue. ) In this room there are some relics of the mast 
 of the " Victory." Any note on Trafalgar would be superfluous. 
 
 900 A Sea Fight {1061) Vandevelde. 
 
 In the centre foreground are two English vessels firing at a Dutch vessel more to 
 the left. Dutch vessels are firing behind. On canvas, 4 ft. 3 in. high, by 6 ft. 
 wide. In the lower left-hand corner is a plan of the action. 
 
 901 Sea Fight — A Man-of-War attacked by Boats {226) . . Monamy. 
 
 The vessel is surrounded by boats, and is responding to their musketry by a fierce 
 cannonade. 3 ft. 4 in. high, by 4 ft. 2 in. wide. 
 
 902 Sea Fight in a Harbour — The Attack {io6s) . Vandevelde. 
 
 On the right is the British fleet ranged in a semicircle attacking the Dutch in 
 harbour. Hills form the background. Signed on the back. 
 This is one of a series of five pieces by Vandevelde. 
 
284 
 
 Catalogue of Pictures, 
 
 903 Equipment of the English Fleet in 1790 (zojj) .... Elliot. 
 
 Three full-rigged men-of-war and others partially rigged are in front ; beyond is a 
 port. In front is a label : — "7b the Earl of Chatham this view of the expeditious 
 equipnent of the British Fleet in ijgo is dedicated." 
 
 904 Battle of Camperdown — Close of the Action {1064) . J. T. Serres. 
 
 In the centre is a British flag-ship, shown at the end of a long line of vessels. 
 On the right is one of the enemy on fire, to which boats are hastening. On the 
 left is a ship with the name " wassanaer." 
 
 905 His Majesty's Yacht inTortsmouth Harbour {103^) . J. T. Serres. 
 
 She has twenty-six guns, and lies across the picture ; other craft are to the right 
 and left. Behind is seen Portsmouth. Signed T. Serres, 1820." 
 
 906 Two Dutch River Scenes (7C><5p, zo/o) .... J. D. Schalck? 
 
 On the bank to the left are trees, and a church and windmills. In the right 
 foreground is a fishing boat with a man gathering up tackle. 
 
 A village is seen on the left bank, amid trees ; fishing boats are on the river. 
 Each on wood, i ft. 7 in. high, by 2 ft. 7 in. wide. 
 
 907 Commencement of an Action between two Fleets {loyi) Parcelles. 
 
 On the left is a line of ships in action ; and on the right another line of ships ; a 
 vessel passes up the centre between them. A vessel is sinking on the right. 
 
 908 Destruction of the French Vessels " Soleil Royal," " Admirable," and 
 
 *' Conquerant," by fire-ships and boats under the command of Vice- 
 Admirals Delaval and Rooke in Cherbourg Harbour at the close of 
 the Battle of La Hogue, May 23rd, 1692 {loyj') . . unnamed. 
 In the centre are two large vessels burning, with fire-ships alongside of them. 
 On the right two others are also burning ; on the left are some English ships. 
 
 908* Destruction of Seven French Vessels the day after the Battle of La 
 
 In the centre to the right is a ship just blown up ; the sea around is strewn with 
 burning floating pieces ; other ships further off are also on fire. On canvas, 3 ft. 
 3 in. high, by 4 ft. 9 in. wide. 
 
 909 Sea Fight in a Harbour — Sunset {1074) . . . Vandevelde. 
 
 On the right is the action enveloped in the smoke of cannon and burning ships ; 
 the fort is firing ; the sun is setting behind the hills. Signed behind : — *' William 
 Van de Velde Ao 167 j. " 
 
 As peace with Holland was signed in February, 1674, the battle represented in 
 this picture, which is one of a series of five pieces apparently all relating to the 
 same, is perhaps that fought at Solebay on May 28th, 1672, which Vandevelde 
 attended in a small boat by order of the Duke of York. (See George II.'s Private 
 Chamber. ) 
 
 910 Sea Fight in a Harbour — Midday {loys) • • Vandevelde. 
 
 On the right is the English fleet in action with a fort and some of the Dutch 
 vessels ; two ships are burning. 
 
 Hogue {1072) 
 
 unnamed. 
 
Hampton Court Palace. 285 
 
 911 Sea Fight in a Harbour— Night {1076) . . . Vandevelde. 
 
 All the ships but one are on fire ; several boats are coming to their assistance. 
 The fort is still firing. The moon is rising on the right. 
 
 912 Sea Fight in a Harbour — The Morning (loyy) . Vandevelde. 
 
 In the centre are six large men-of-war drawn up in line of battle in the form of a 
 crescent, and firing at another fleet. A fort is on the right opening fire ; the 
 enemy's fleet is in the back to the left. Signed behind with the painter's brush : — 
 
 mikm Van de Veld. A. i6js'' 
 
 913 Sea Piece {1078) Brooking. 
 
 On the right is an English frigate bearing away ; on the left one coming in. A 
 fair specimen of this good marine painter. 
 
 914 View on the Thames — Greenwich Hospital {loyg) . . . James. 
 
 The view is taken eastward, and shows Greenwich Hospital on the left, and the 
 church to the right. 
 
 915 A Small Sea- Piece {1080) ........ P. Monamy. 
 
 In the centre, towards the left, is an English man-of-war firing a salute ; other 
 smaller craft are to the right and left, i ft. 8 in. high, by 2 ft. 1 1 in. wide. 
 
 This is an excellent specimen of Peter Monamy, an imitator, and probably pupil, 
 of the Vandeveldes. Though much cracked, it is beautifully painted, " showing a 
 fine quality of texture, with great precision of touch ; the calm plane of the ocean 
 level receding into the extreme distance, without that set scenic effect of passing 
 cloud-shadows, which even the best masters have used to obtain the appearance of 
 recession and distance ; this work well deserves notice, and might puzzle the best 
 painters of such subjects to rival." — (Redgrave's Century of Painters.) 
 
 916 Unassigned. 
 
 917 Unassigned. 
 
 918 The Thames from the Hill above Greenwich {1016) . Danckers. 
 
 To the left is the observatory rising high up. Below is Greenvdch and the 
 Hospital, and the river winding round the " Isle of Dogs," and London seen in the 
 distance. Though hitherto unnamed, this is doubtless: — "The Landscape of 
 Greenwich, the prospect to London; by Danckers," in James II. 's catalogue, 
 No. 195. {Royal Catalogue.) 
 
 919 View of the Horse Guards from St. James's Park {1022) . . James. 
 
 The buildings of the Horse Guards are seen on the right, and in the centre dis- 
 tance, Westminster. 
 
 920 View on the Thames — The Tower of London {1024) . . unnamed. 
 
 The river is seen in front, and behind the whole of the buildings of the Tower. 
 
 921 View on the Thames — Old Somerset House and Temple Gardens 
 
 {1023) James. 
 
 The north bank of the Thames is seen, looking eastward, from about the position 
 of the middle of the present Waterloo bridge. On the extreme left is old Somerset 
 House, with its landing-stairs, next comes the Temple, and in the distance St< 
 Paul's. Behind are seen the spires of St. Mary-le-Strand, St. Clement Danes, St. 
 Bride's, Fleet Street, &c. On canvas, 2 ft. high, by 3 ft. 8 in. wide. 
 
286 
 
 Catalogue of Pictures, 
 
 922 View on the Thames — Temple Gardens {1026) .... unnamed. 
 
 In the foreground are many boats and barges ; on the stern of a barge in the 
 right-hand corner of the picture is :— " 17 A. R. 03." (Anna Regina, 1703?) 
 
 923 View on the Thames — The Savoy, the Temple, &c. (1031) . James. 
 
 On the left is the old Savoy Palace with its curious chequered brickwork ; more 
 in the middle old Somerset House, the Temple, &c. On the right is seen a portion 
 of the south bank of the Thames. 
 
 924 A Man-of-War going out to Sea {103^) unnamed. 
 
 She is crossing the picture to the left, following another going into the picture. 
 
 925 View on the Thames — The Adelphi, Whitehall, and Westminster 
 
 {1032) James. 
 
 The view is of the north bank looking westward, and shows, on the right, Inigo 
 Jones' water-gate ; next the octagonal tower of the waterworks, then Whitehall, 
 and beyond, Westminster Abbey and the old bridge. 
 
 926-933 Cartoons in Henry VIII. 's Presence Chamber . Carlo Cignani. 
 
 934 The Dockyard at Deptford (1000) R. Paton. 
 
 Greenwich is seen in the background ; the dock buildings on the right ; and on 
 the left various ships, one firing a salute. 
 
 This and the four following pieces of dockyards were painted by Paton about a 
 hundred years ago. They are each on canvas, 3 ft. 4 in. high, by 4 ft. 10 in. wide. 
 
 935 The Dockyard at Portsmouth (1031) R. Paton. 
 
 On the left is a large vessel about to be launched ; the dock buildings are behind. 
 
 936 The Dockyard at Sheerness (1055) Paton. 
 
 The dock is on the left, terminated by a fort in the centre of the picture. On the 
 left are a large man-of-war and a disabled ship towed by a barque. 
 
 937 The Dockyard at Chatham {1062) R. Paton. 
 
 The dock is on rising ground to the right ; on the left is seen the Medway. 
 Various ships are on the river. 
 
 938 The Dockyard at Woolwich {1066) R. Paton. 
 
 Woolwich church is seen in the centre background ; the dock buildings are on 
 the right. 
 
 939 Cupid lying Asleep {iiof) unnamed. 
 
 This picture has been recently restored and hung up within the last three 
 months. We recognize it in Charles I. 's catalogue among ' * The utterly ruined 
 and spoiled pieces, of quicksilver defaced, which came from Mantua, in store at 
 Whitehall in the passage-room between the Banquetting house and privy lodgings," 
 page 168, and described as : — "A cupid with wings, upon a board, sitting asleep, 
 leaning upon his left hand." By his side are his quiver and an arrow. The back- 
 ground is very dark. On canvas, transferred from wood, 3 ft. high, by 4 ft. 2 in. 
 wide. 
 
 " I think this is a repetition of a picture belonging to Mr. Evelyn of Wotton, 
 and there called a Guido." — {Royal Catalogue.) 
 
Hampton Court Palace. 
 
 287 
 
 940 A Woman struggling {1123) 
 
 unnamed. 
 
 In the centre is a woman attempting to escape from a man, who is seen on the 
 right with his back turned. He is attired in a buff jerkin, with a sword by his 
 side, red sleeves, steel corset, and a large hat with feathers. His right hand 
 holds a large key or thumb-screw behind his back ; his left has hold of the 
 woman round the waist. Another man is on the left side, apparently protecting 
 her. On canvas, 4 ft. 8 in. high, by 6 ft. wide. 
 
 What is the subject of this picture ? It has been recently restored. 
 
 941 Psyche on the Rock {1127) . = . Polidore da Caravaggio. 
 
 Psyche is chained to the rock on the left ; above her is a figure hovering in 
 the air. Two crowned figures, probably her father and mother, who exposed her 
 on the rock, are being rowed in a boat to shore, and turn round to look at her. 
 On the right on the bank are two male figures awaiting their landing ; one of them 
 holding a horse. On canvas, transferred from wood, 2 ft. 10 in. high, by 5 ft. 4 in. 
 wide. 
 
 This picture was found in the stores not long ago, and has been restored and 
 hung up within the last few months. On the back was Charles I. 's brand, and it 
 is, no doubt, therefore, the " other piece of Polidore containing some eight figures, 
 wherein one lying along bringing a horse down a hill to the shore ; being the 
 eleventh piece of the number 23 Italian-collection pieces which the King bought of 
 Frosley. Done by Polidore, being the ninth and last piece of the said Polidore, 
 done in fresco," in Charles I.'s catalogue. At the Commonwealth the same piece, 
 * ' The story of Psyche in it, being fresco, " was sold to Mr. Jackson for ^^40. 
 
 942 The Birth of Jupiter {11 14) 
 A bad copy of No. 291. 
 
 aftej' G. Romano. 
 
mpUMital Eist of laintOT, mi) tfieir Bates, Scfjools, 
 antr OTatalogue numbers of tf)m pictures in t^z 
 J^ampton OTourt OTonection. 
 
 77^^ Numbers of Copies and doubtful Pictures are put between brackets. 
 
 LB ANO, Francesco Albani, 1578— 1666. Bolognese School. 863. 
 Allori, Cristofano, 1577— 1621. Florentine. (183*), (299). 
 Amiconi, Giacomo, 1675 — 1758. Venetian. 471, 488. 
 Angelo, Michael Buonarroti, 1475— 1564. Florejttine. {297.) 
 
 Baldung, Hans (called Grien), 1470 — 1545. German. 593, (808). 
 Balestra, Antonio, 1666 — 1740. Roman. 252, 255. 
 Bamboccio, Peter Van Laer, 1613 — 1675. Dutch. 472, 475. 
 
 Baptiste, John Monnoyer, 1635 — 1699. French. 184, 208, 457, 459, 532, 534, 537, 541, 
 547. 
 
 Baroccio, Federigo, 1528 — 16 12. Roman. 696. 
 
 Bassano, Giacomo da Ponte (called II), 1510— 1592. Venetian. 78, 94, 95, 120, 126, 
 
 136, 142, 153, 157, 159, 160, 172, 176, 180, 210, 217, 443, 460, 516, 530. 
 Bassano, Leandro da Ponte (called Leandro), 1555 — 1623. Venetian. 72, 147, 180. 
 Battaglia, Michael Angelo Cerquozzi da, 1600 — 1660. Roman. 874. 
 Battoni, Pompeo, 1708 — 1787. Roman. 839. 
 Beechey, Sir William, R.A., 1753 — 1839. English. 354. 
 Belchamp, Jan van, d. 1653. Butch. 407, 776. 
 Bellini, Giovanni, 1426 — 15 17. Venetian. 117, (144). 
 Beltraffio, Giovanni Antonio, 1467 — 1516. Lombard. (241.) 
 Berghem, or Berchem, Nicholas, 1620 — 1683. Dutch. 752. 
 Bles, Henri de, 1480 — 1550. Flemish. (751.) 
 Blocklandt, Anthony de Montfort, 1532 — 1583. Dutch. 648. 
 Boateri. Bolognese. (295. ) 
 
 Bockman, George, flourished 1745. English. 5, 6, 10, 14, 15, 17, 18, 21, 22. 
 Bogdane, James, d. 1720. 225% 243, 246, 455, 463% 496, 533, 540. 
 
 U 
 
290 
 
 Index of Painters. 
 
 Bonifazio, 1494— 1563. Venetian. (73), 137, 146. 
 
 Bordone, Paris, 1500 — 1571. Venetian. 118, 124, 182, 235, (240). 
 
 Bos, or Bosche, Jerom van Aeken, 1460 — 15 16. Flemish. 753. 
 
 Bourgognone, Jacques Courtois Bourguignon, 1621 — 1676. French. 384, 671, 681. 
 
 Bray, Jacob de, 1597— 1664. Dutch. 66. 
 
 Breenberg, Bartholomew, about 1620 — 1663. Dutch. 685. 
 
 Breughel, John (called Velvet Breughel), 1568— 1625. Flemish. 679, 688, 721, 730, 
 
 Breughel, Peter the younger, d. 1638. Flemish. 748. 
 Bril, Paul, 1556— 1627. Flemish. 677, 685, 734. 
 Brooking, 1720— 1759. English. 913. 
 
 Cagliari, Carletto, 1570 — 1596. Venetian. 168. 
 Cagnacci, Guido, 1600— 1680. Bolognese. 100. 
 Calvart, Denis, 1555— 1619. Bolognese. 825. 
 Cambiaso, or Congiagio, Lucas, 1527— 1585. 250. 
 Campidoglio, M. A., 1610— 1670. Roman. 536, (544). 
 Canaletti, Antonio, 1697 — 1768. Venetian. 9. 
 Caracci, Annibale, 1560 — 1609. Bolognese. (484.) 
 Caracci, Lodovico, 1555 — 1619. Bolognese. 234. 
 
 Caravaggio, C. da, Michael Angelo, 1569— 1609. Roman. (253), 285, (544). 
 
 Cariani, bom 1510? Venetian. (114), (135), (295). 
 
 Carre, Michael, 1666— 1728. Dutch. 672. 
 
 Carreno, de Miranda, 1600 — 1689. Spanish. 396. 
 
 Castiglione, Grechetto, 16 16 — 1670. Venetian. 270. 
 
 Catalani, Antonio, 1560— 1630. 43. 
 
 Cepper, G. F., flourished about 1736. Neapolitan? 473, 485, 486, 487. 
 Chiari, Giuseppe, 1664 — 1727. Roman. 215, 218, 220, 274. 
 Chiodarola, Giovan Maria. Bolognese. (304.) 
 
 Cignani, Carlo, 1628— 17 19. Bolognese. 162, 167, 233, 242, 248, 256, 926-933- 
 Claude (Claude Gelee), Lorraine de, 1600— 1682. French. (421), 423. 
 Collins, Charles or John, flourished about 1744. English. 836, 838. 
 Coques, Gonzales, 1614 — 1684. Flemish. 62<), 637. 
 Comeliz, Lucas, 1493— 1552. Dutch. 562, 564, 565, 567, 623. 
 
 Correggio, Antonio Allegri, 1494?— 1534. Parmese. (83), (276), 281, (245), (276), 
 
 (440), (849). . „ 
 
 Cortona, Pietro Beretini da, 1596— 1669. Roman. 236. 
 Costa, Lorenzo, 1460— 1530. Bolognese. (295.) 
 Cranach, Lucas, 1472— 1553. German. 588, 600. 
 Custodis, Jeronimo, flourished about 1580. Flemish. 803. 
 Cuyp, or Kuyp, Jacob Gerritz, 1575—1667. Dutch. 717. 
 
 ^ Dahl, Michael, 1656— 1743. English. 845. 
 
 ^ Dance, afterwards Sir Nathaniel Holland, 1734— 181 1. English. 34, 374. 
 Daniel, William, R.A., 1837. English. 920. 
 Dankers, or Danckert, Henry, 1630. Dutch. 489, 505, 508, 525. 
 Del Vaga Pierino, 150a— 1527. Roman. 378,379- 
 Denner, Balthasar, 1685—1747. German. 35, 36, 55, 56. 
 
Index of Painters, 
 
 291 
 
 Dietrici, Christian William Ernest, 1712 — 1774. German. 693, 750, 851. 
 — Dobson, William, 1610 — 1646. English. 351, 376. 
 Domenichino, 1581 — 1641. Bolognese. 861. 
 Dossi, Dosso, 1480 — 1560. Ferrarese. 80, 97. 
 Douw, Gerard, 1613— 1674. Dutch. 646, 729, 736. 
 Durer, Albert, 1471— 1528. German. 589, (611). 
 
 Edema, Gerard, 1652 — 1700. Dutch. 504, 840. 
 
 Elliot, William, about the middle of the 17th century. English. 893, 903. 
 Elzheimer, Adam, 1574 — 1620. German. 733. 
 Everdingen, Aldert van, 1621-1675. Dutch. 698. 
 
 Ferg, Paul, 1689— 1738. German. 722. 
 
 Ferrara, Mazolini da, 1481 — 1530. Ferrarese. 581. 
 
 Ferri Giro, 1634—1689. Roman. 811. 
 
 Fetti, Domenico, 1589 — 1624. Roman. 151, 506. 
 
 Fialetti Edoardo, 1573— 1638. Venetian. 507,526. 
 
 Fiori, Mario di, 1603 — 1673. 535. 
 
 Floris, Francis, 1520 — 1570. Flemish. 586, 653. 
 
 Francia Francesco (RaiboHni), 1450 — 1 522. Bolognese. 307. 
 
 —Gainsborough, Thomas, 1726 — 1788. English. 352, 353, 366, 367, 371. 
 Garibaldo. (402. ) 
 
 Garrard, or Guerard, or Gerhardus, Mark, 1561 — 1635. Flemish. 619. 
 
 Gelder, Aart, De, 1645 — 1727- Dutch. 841. 
 
 Gennari, Benedetto, 1663 — 1715. Bolognese. 529, 570. 
 
 Gentileschi, Artemisia, 1590 — 1642. Florentine. 226. 
 
 Gentileschi, Orazio Lomi, 1565 — 1647. Florentine. 227, 229. 
 
 Ghisolfi, Giovanni, 1623 — 1683. 510. 
 
 Giordano, Luca, 1625 — 1705. Neapolitan. 278, 288, 292. 
 
 Giorgione, Giorgio Barbarelli, 1477 — 1511. Venetian. (60), (73), (loi), (103), (158), 
 (183). 
 
 Girolamo da Treviso, 1497— 1544. Venetian. (224,) 
 Graff, Anton, 1736 — 1803. German. 512. 
 Greuze, Jean Baptiste, 1726 — 1805. French. 413. 
 Griffiere, John, 1656 — 1720. Dutch. 499. 
 
 Guercino, Giovanni Francesco Barbieri, 1592 — 1666. Bolognese. 228, 231, 454. 
 Guido, Reni, 1574— 1642. Bolognese, 275, 301, (772), 786. 
 
 Hackerts, Jacob Philip, 1 737 — 1807. German. 434. 
 Hals, Frank, 1584— 1666. Flemish. 676, 682. 
 
 Hanneman, Adrian (miscalled John), 161 1— 1680. Dutch. 571,766,777. 
 Heem, John David de, 1600— 1674. Dutch. 467, 469, 675. 
 Heere, Lucas de, 1534— 1584. Flemish. 349, 572, 635, 639. 
 Hemmessen, John van, living in 1550. Flemish. 579. 
 Hemskerck, Egbert, the younger, 1645 — 1704. Dutch. 404, 715. 
 Hemskerck, Martin Van Veen, 1498— 1574. Dutch. 587, 726. 
 
292 
 
 Index of Painters, 
 
 Henin, Adrian, d, 17 10. 268. 
 
 Holbein, Hans, the elder, d. 1524. German. 608. 
 
 Holbein, Hans, the younger, 1498 — 1543. German. (340), (345), (563), 591, (594), 
 
 597. 599, (601), 603, (606), (610), (664), (751). 
 Home, Robert, flourished about 1820. 360. 
 Hondekoeter, Melchior, 1636 — 1695. Dutch. 463. 
 Honthorst, Gerard, 1592 — 1660. Dutch. 58, 128, 383, 393, 468, 810. 
 Hoogh, Peter de, d. about 1660. Dutch. 669. 
 -Hoppner, John, 1759— 1810. English, 355, 358, 359. 
 Huens, flourished about 1620. 673, 869, 870. 
 Huggins, William John, d. 1845. English. 894, 899. 
 Huysman, Cornelius, 1648 — 1728. Flemish. 720^ 
 
 Ibbetson, Julius Ciesar, 17 59- 181 7. English. 433, 439. 
 
 James, William, flourished about 1766. English. 883, 884, 914, 919, 921, 923, 925. 
 -Janet (Jean and Fran9ois Clouet). French. 561, 598, 631, 632. 
 Jansen, Cornelius, 1590— 1665. Dutch. 707, (765), (768). 
 Jordaens, Hans, 1594 — 1678. Fle7nish. 391. 
 Joseph, George Francis, A. R. A., 1764 — 1846. English. 373. 
 
 Kalf, William, 1630— 1693. Dutch. 225. 
 Kauffman, Angelica, 1742 — 1807. Gerinan. 502. 
 Kay, or Key, William, 1520— 1568. Dutch. 609. 
 Kent, William, 1685— 1748. English. 784, 788. 
 Kersbroom, Frederic. 1623 — 1690. German. 843. 
 Ketel, Cornelius, 1548 — 1602. Flemish. 767. 
 Knapton, George, 1698 — 1788. English. 361. 
 
 Kneller, Sir Godfrey, 1648— 1723. English. 13, 16, 26, 29, 30, 33, 37, 40, 41, 46, 50, 
 53. 57. 65, 477, 490, 521. 522, 824, 830, 835, 846. 
 
 Lampi, Cavaliere. German. 424. 
 
 Lanfranco, Giovanni, 1580— 1647. Bolognese. 42, 48, 49. 
 Lauri, Filippo, 1623— 1694. Roman. 815, 817. 
 Lawrence, Sir Thomas, 1769— 1829. English. 363. 
 Lazzarini, Gregorio, 1654— 1720. Venetian. 476. 
 Lebrun, Charles, 1619— 1690. French. (408.) 
 
 Lely, Sir Peter, 1617— 1680. Germayi. 7, 11, 185, 186, 190, 192, 195, 197, 199, 201, 
 
 202, 203, 204, 205, 206, 207, 501, 515, 781, 852. 
 Leyden (Lucas Jacobs, called) Lucas van, 1494— 1533. Dutch. 106, 596, 602. 
 Licinio, Bernardino, flourished about 1530. Venetian. 71, 104. 
 Lingelbach, Jan, 1625— 1687. German. (746.) 
 Longhi, flourished about 1744. 549, 551. 
 Loten, John, 1620— 1680. Dutch. 837. 
 Lotto, Lorenzo, 1508 — 1554. Venetian. 1 14, 144, 148. 
 Lucatelli, Pietro, 1660— 17 17. Ro?nan. 493. 
 Luini, Bernardino, about 1455— 1530- Lombard. 241, 259. 
 Luti, Benedetto, 1666— 1724. Florentine. 759. 
 
Index of Painters. 
 
 293 
 
 Mabuse (or Malbeugius), Jan de, about 1532— 1562. Flemish. 385, 595, 607. 
 
 Maingaud, lived about 1721. French. 514, 517. 
 
 Malo, Vincenzio, 1625 — 1670. Flemish. 701. 
 
 Maltese, flourished about 1670. 528, 
 
 Mantegna, Andrea, 143 1 — 1506. Padtian. 797. 
 
 Maratti (or Maratta), Carlo, 1625 — 171 3. Roman. 93, 264. 
 
 Matsys (or Messis), Quintin, 1460— 1529, Flemish. 389, (594). 
 
 Memling, School of. Flemish. 590. 
 
 Miel, Jan, 1599— 1664. Flemish. 728. 
 
 Mierevelt, Michael Jansen, 1568— 1641. Dutch. 348,388. 
 
 Mignard, Pierre, 1610— 1695. French. 409, 428. 
 
 Milani, Giulio Cesare, 1621 — 1678. Bolognese. 818, 855. 
 
 Mola, Pietro Francesco, 1609 — 1665. 262, 265. 
 
 Molinear, Jan Miense, flourished about 1640. Dutch. 662. 
 
 Monamy, Peter, 1670 — 1749. English. 891, 901, 905. 
 
 More, Sir Antonio, 1512 — 1581. Flemish. 622, 625, 633, 640, 641, 642, 644. 
 Mytens, Daniel, flourished about 1630. Flemish. 44, 59, 155, 326, 327, 330, 335, 336, 
 35o» 377, 405, 770, 798. 
 
 Neefs (or Niefifs), Peter, 1570— 1651. Flemish. 656. 
 Nes, Daniel, or John Van, 1600 — 1650. Dutch. 864. 
 Nogari, Giuseppe, 1700 — 1763. Venetian. 260. 
 Nottery, L. 238. 
 
 Oldenburg, flourished about 1650. German. 780, 785. 
 Oliver, Isaac, 1556—1617. English. 573, 575. 
 - Opie, John, R.A,, 1761 — 1807. English. 375. 
 Orlay, Bernard Van, 1490 — 1560. Roman. 333, 576. 
 Owen, William, R.A., 1766— 1825. English. 356. 
 
 Palamedes, Paul, d. 1638. Dutch. 334. 
 
 Palma, Jacopo, II Giovine, the Young, 1544 — 1628. Venetian. 154, 163, 500, 580, 774. 
 Palma, Old. (79), 115. 
 
 Parcelles, John, 1597— 1641. Dutch? 338, (347), 782, (876), 907. 
 Pantoja, Juan della Cruz, 1560— 1610. Spanish. 406. 
 
 Parmegiano, Francesco Mazzuoli, 1503— 1540. Par}nese. (107), 150, (216), 306, 771. 
 
 Parrocel, Joseph, 1648 — 1704. French. 747. 
 
 Patch, Thomas, 17. ..—1772. English. 519, 520. 
 
 Paton, Richard, 1721—1791. English. 931, 955, 957, 969, 971. 
 
 Pens (or Penstz), Gregory (but called George), 1500— 1556. German. 805. 
 
 Penigino, Pietro Vannucci, 1440— 1524. Roman. 140, 213, 295, 304. 
 
 Pesne, Antonio. German. 513. 
 
 Phillips, Thomas, R.A. English. 24, 368. 
 
 Pine, R. H. English. (452.) 
 
 Piombo, Sebastian del, 1485— 1547. Venetian. (70.) 
 Pocock, Nicholas, 1741— 1821. English. 877, 878. 
 
 Poelemberg, Cornelius, 1586— 1666. 643, 686, 719, 723, 724, 735, 738, 743. 
 Polidoro, Caldara (called Da Caravaggio), 1495— 1543- Roman. 28, 45, 99, 156, 277*. 
 
294 
 
 Index of Painters, 
 
 Pontormo, Jacopo Carrucci da, 1494 — 1556. Florentine. 300, (495). 
 Pordenone, Giovanni Antonio Licini da, 1483— 1537. Venetian. (84), 92, (102), (218), 
 (783). 
 
 Post, or Poost, Francis, 1620 — 1680. Dutch. 873. 
 Pot, Henry, 1600 — 1656. Dutch. 634. 
 
 Pourbus, Francis, the younger, 1570 — 1622. Flemish. 279, 343, 411, 418. 
 Poussin, Nicolas, 1594 — 1665. Roman. 380, (412), (419), 415. 
 Preirtali, d. 1528. Venetian. (144.) 
 Pulzone, Scipio (called Gaetano), 1550— 1588. 267. 
 
 Raffaelle, Sanzio, or di Santi di Urbino, 1483 — 1520. Roman. 710. 
 Read, Frederick? English. (769.) 
 
 Rembrandt, Paul (called Van Rhyn), 1606— 1674. Dutch. 381, 382. 
 Remee, Van Lemput, d. 1678. 601. 
 
 Ricci, Sebastian, 1662 — 1734. Milanese, no, 121, 131, 170, 179, 21 1, 244, 269, 553. 
 
 Richardson. English. (426.) 
 
 Rigaud, Hyacinthe, 1659— 1743. French. 428. 
 
 Riley, John, 1646— 169 1. English. 372. 
 
 Robineau, C., d. 1787. French. 813. 
 
 Roestraeten, Peter, 1627— 1698. Dutch. 552, 744. 
 
 Romanelli, Giovanni Francesco, 161 7 — 1662. Bolognese. 850. 
 
 Romano, Giulio, or Giulio Pippi, 1492— 1546. Roman. 247, 251, 257, (266), 280, 
 
 286, 287, (290), (291), 293, (302), (305). 
 Roos, John Melchior, 1659 — 1731. 495. 
 Rosa, Salvator, 1614— 1673. Neapolitan. 212, (237), (239). 
 Rothenhamer, John, 1564— 1623. German. 491, 688, 697, 703, 859. 
 Rousseau, Jacques, 1630? — 1694. French. 25, 67, 68, 81, 105. 
 Rubens, Peter Paul, 1577— 1640. Flemish. 441, 442, (612), 651, (711). 
 Rugendas, George Philip, 1668 — 1742. German. 1-4, 8, 12, 19, 23. 
 -Russell, John, 1744— 1806. English, 187, 188, 189, 193. 
 Russell, Theodore, b. 1 6 14. 447. 
 Ruysdael, Solomon, 1636— 1670. Dutch. 887. 
 
 Santo Zazo, pupil of Titian. Venetian. (ll2.) 
 
 Sarto, Andrea Del (Vanucchi), 1488— 1530. Florentine. (70), (282). 
 Sassoferrato, Giovanni Battista Salvi, 1605— 1685. (303.) 
 Savery, Roelandt, 1576 — 1639. Flemish. 674,693. 
 Savoldo, Giovanni Girolamo, 1480 — 1550. Brescian. 138, 139. 
 Schalcken, Godfrey, 1643— 1706. Dutch. 659, 660. 
 
 Schiavone, Andrea Medola, or Medula da Sebenico, 1522 — 1582. Venetian. 39, 52, 
 
 88, 123, 129, 134, 175, 284, 289. 
 Schoonfeld, John Henry, 161 9 — 1689. German. 820. 
 Schoreel, Hans, 1495— 1562. Dutch. 578. 
 Scott, Samuel. English. 885. 
 Seghers, Daniel, 1590— 1660. Flemish. 649, 658. 
 Serres, Dominic, R.A., 1722— 1793. English. 875, 886. 
 Serres, John Thomas, 1759— 1825. English. 892, 904, 905. 
 Snayers, Peter, 1593— 1670. Flemish. 329. 
 
Index of Painters. 295 
 
 Snellinx, Jan, flourished about 1630. 825. 
 
 Snyders, Francis, 1579— 1657. Flemish. 390, 403, 464, (612), 704. 
 Spada, Lionello, 1576— 1622. Bolognese. 254. 
 
 Spagnoletto, Rosa Ribera, 1589— 1656. Neapolitan. 166, {239), 779. 
 Sprangher, Bartholomew, 1546— 1623. Flemish. 401. 
 
 Steenwyck, Henry, the younger, b. 1589. Flemish. 465, 652, 655, 670, 683, 737, 749. 
 
 Stone, Henry, d. 1653. English. 444. 
 
 Swaine, Francis, d. 1782. English. 895, 897. 
 
 Swaneveldt, Herman, 1620—1690. Flemish. 678, 694, 727. 
 
 Teniers, David, the younger, 1610— 1694. Flemish. 436, 478, 699, 725, 741. 
 Tiepolo, Giovanni Battista, 1697 — 1770. Venetian. 479, 480, 481, 482, 483. 
 Tintoretto, Jacopo Robusti, 1512 — 1594. Venetian. 69, 77, 91, 96, 108, 113, 152, 
 177, 181, (448). 524. 
 
 Titian, Tiziano Vicellio, 1477— 1576. Venetian. 75, (76), (87), {109), (in), 112, 
 
 116, 122, (133), 149, (161), (164). 
 Troost, Cornelius, 1697 — 1750. 574. 
 
 Vaga, P. del. 378, 379. 
 
 Van Aelst, William, 1603— 1658. Dutch. 468, 538, 858. 
 Van Bassen. Dutch, 627, 645. 
 
 Van Belchamp, John, 1625— 1653. Dutch. 407, 776. 
 Van Dalen, Cornelius, 1620 — 1680. Dutch. 740. 
 
 Van Diest, Adrian, 1655 — 1704. Dutch. 432, 434, 503, 814, 827, 847. 
 Van Everdingen, Aldert, 1621— 1675. Dutch. 698. 
 Van Harp, 1604 — 1677. Flemish. 402, 461. 
 Van Hemmessen. 579. 
 Van Leyden, L. 596. 
 
 Van Loo, John Baptist, 1684 — 1746. French. 518. 
 
 Van Orlay, Bernard, 1490 — 1560. Flemish. 333, 456, 576, 778. 
 
 Van Osterwyck, Maria, 1630 — 1693. Dutch. 542, 691, 700. 
 
 Van Slingelandt, Peter, 1640 — 1691. Dutch. 661. 
 
 Van Uden, Lucas, 1595 — 1660. Flemish. 844. 
 
 Vanderbanck, John, 1649--1739. English. 812. 
 
 Vander Meulen, Antony Francis, 1634 — 1690. Flemish. 414, 416, 555, 742. 
 Vandevelde, Adrian, 1639 — 1672. Dutch. 647. 
 
 Vandevelde, William, the younger? 1633— 1707. Dutch. 745, 754, 755, 879-8S2, 
 
 888, 896, 900, 902, 909-912. 
 Vanderwerf, 1659— 1722. Dutch. 650. 
 
 Vandyck, Sir Anthony, 1598—1641. Flemish. 47, 85, 387, (431), (451), 638, 663, 
 730, 756. 
 
 Vanni, Francesco, 1563 — 1610, Roman. 214. 
 
 Vansomer, Paul, 1576— 1621. Flemish. 98, 273, 308, 346, 763, 764. 
 Vecchia, Delia. Venetian. (loi.) 
 
 Velasquez de Silva, Don Diego, 1599 — 1660. Spanish. 82, 90. 
 Verdussen. Dutch. 657. 
 
 Verelst, or Varelst, Simon, 1664— 17 10. Flemish. 191, 194, 732. 
 
296 
 
 Index of Painters. 
 
 Veronese, Paul Cagliari, 1528— 1588. Veronese. 127, 141, 143, 145, (154), 165, 178, 
 
 223, {430), (438), (478?). 
 Verrio, Antonio, 1634 — 1707. 458. 
 
 Vinci, Lionardo da, 1452 — 1519. Florentine. (61), (63), (64). 
 Viviani, Ottavio, 1599— 1674. 728, 829. 
 
 Volpe, Vincent, flourished in the reign of Henry VIII. (337), (342). 
 Vos, Martin de, 1531 — 1604. Flemish. 328. 
 Vouet, Simon, 1581— 1641. French. 790. 
 Vriese, Hans de, 1527 — 1588. Flemish. 648. 
 Vroom, Henry Cornelius. (876.) 
 
 ^Walker, Robert, d. 1660. English. 365. 
 Weenix, Jan, 1644— 17 19. Dutch. 718, 731. 
 West, Benjamin, P.R.A., 1738— 1820. English. 309-325. 
 Willison, George, d. 1795. English. 362. 
 -•Wissing, William, 1656—1687. Dutch. 27, 191, 198, 200. 
 Withoos, Matthew, 1627— 1703. Dutch. 684, 692, 702. 
 Wouters, Francis, 1614 — 1659. Flemish. 626, 651. 
 Wouverman, Philip, 1620 — 1668. Dutch. 689, 690. 
 
 — Wright, Michael, 1700. English. 369. 
 
 - Wright, Richard, 1735— 1775- English. 889. 
 Wynants, John, 1600— 1677. Dutch. 746. 
 
 Zeeman, Enoch, d. 1744. Dutch. 828, 834. 
 Zucchero, Federigo, 1543— 1609. Roman. 20, 394, (560). 
 ^..Zucchero, Taddeo, 1529— 1566. Roman. 871. 
 
tiSitx to imistovitai l^ortratts. 
 
 |BEL, C. F., the composer 813 
 
 Alva, Duke d'? . . . 122 
 
 Anson, Admiral Lord . 5 
 
 Arcot, Nabob Walaj ah of 362 
 
 Aumale, Due d' . . . 714 
 
 Bacon, Sir Nicholas 667 
 
 Bagot, Elizabeth, Countess of Fal- 
 mouth 203 
 
 Bassano, II 136 
 
 Beaumont, Admiral 17 
 
 Bedford, Francis, Duke of . . . 355 
 
 Bellini, Giovanni 117 
 
 Benbow, John, Admiral .... 10 
 
 Benedict XIV., Pope 839 
 
 Bohemia, King and Queen of : 
 
 Allegorical Family Picture of . 810 
 
 dining in public 645 
 
 their Children 643 
 
 Elizabeth, Queen of . . . . 127 
 
 as Princess 765 
 
 Boleyn, Mary, sister of Anne . . . 604 
 
 Bourbon, Marianne, Duchess of . . 410 
 
 Boyle, Robert, the philosopher . . 843 
 
 Bray, Family of Jacob de . . . . 66 
 
 Brederode, Count of 7^3 
 
 Brunswick, Ann Sophia, Duchess of 326 
 Brunswick, Christian, Duke of . 330, 569 
 
 Brunswick, Duchess of 502 
 
 Brunswick, Elizabeth of Denmark, 
 
 Duchess of 35° 
 
 Brunswick, Flora, Princess of. . . 283 
 
 Brunswick, Hedwig, Princess of . . 283 
 
 Brunswick, Henry Julius, Duke of . 335 
 
 Buckingham, Geo. Villiers, i st Duke of 7^7 
 
 with his Family 586 
 
 with his brother Francis . . . 453 
 
 Byng, Admiral Sir G 14 
 
 Byron, Lady 185 
 
 Cambridge, Duke of 496 
 
 Cante-Croix, Madame 730 
 
 Carew, Sir George 573 
 
 Carew, Sir Peter 615 
 
 Caroline, Queen of George II. . 527, 834 
 
 Charles 1 85 
 
 Charles I. and his Queen dining in 
 
 public 627 
 
 Charles II. leaving Holland, 1660 . 62 
 
 Charles II. of Spain 396 
 
 Charles XII. of Sweden 848 
 
 Charles V., Aunt of 395 
 
 Charles VI., Emperor 490 
 
 Charlotte, Queen 316, 321 
 
 Chastillon, Madame de 392 
 
 Christian II., King of Denmark, three 
 
 Children of 595 
 
 Christian VII. of Denmark ... 34 
 
 Christian IV., King of Denmark . 98, 427 
 
 Christian, Duke of Brunswick . . . 330 
 Christina, Duchess of Tuscany, Queen 
 
 of Philip IV 640 
 
 Churchill, Admiral Sir George . . 22 
 
 Clarence, Duke of (William IV.). . 324 
 
 Clarendon, second Lord and Lady . 599 
 
 Clermont, Mademoiselle de . . . 417 
 
 Cleveland, Barbara, Duchess of . . 205 
 
 Clifford, Fair Rosamond ? .... 804 
 
298 
 
 Index to Historical Portraits, 
 
 Cornaro, The Family 444 
 
 Croke, Judge 621 
 
 Cumberland, Duke of . . . 309, 310 
 
 Darnley, Lord, and his brother, 
 
 Charles Stuart 639 
 
 Delany, Mrs 375 
 
 Denham, Lady 204 
 
 Denmark, Ann of. . . . 273, 346, 764 
 
 Denmark, George, Prince of . . . 845 
 
 Derby, Alice Spencer, Countess of . 572 
 
 Dilks, Admiral Sir Thomas ... 6 
 
 Dobson the painter and his Wife . . 376 
 
 Donate, Leonardo, Doge of Venice . 526 
 
 in the Senate House .... 507 
 
 Dorset, Countess of 50' 
 
 Edward III 577 
 
 Edward IV 776 
 
 Eleanora of Spain, wife of Francis I. 
 
 of France 561, 566 
 
 Elizabeth, daughter of the Archduke 
 
 Charles of Austria 628 
 
 Elizabeth, Queen of England . . . 616 
 
 when Princess 340 
 
 in a fancy dress 349 
 
 as Venus 635 
 
 her last portrait 619 
 
 Elizabeth of Austria 564 
 
 Elizabeth Woodville 585 
 
 Elliott, Mrs 372 
 
 Erasmus 594, 597 
 
 Essex, Mary Bentinck, Countess of . 30 
 
 Essex, Robert Devereux, Earl of . 400 
 
 Eugene, Prince 414 
 
 Fairbume, Admiral Sir Stafford . . 21 
 
 Falkland, Lord 768 
 
 Falmouth, Elizabeth, Countess of . 203 
 
 Fawcett, Sir William 354 
 
 Fisher, the composer 352 
 
 Francis I. of France 598 
 
 Francis I. and his Queen .... 566 
 Francis I. at **The Field of the Cloth 
 
 of Gold " 342 
 
 Francis II. of France 632 
 
 Frederick the Great . . .513, 842, 868 
 
 Frederick, Prince of Wales . . . 518 
 
 when young 826 
 
 Frederick, Prince of Wales, at an 
 
 entertainment 812 
 
 Family of 361 
 
 Frederick II. of Denmark, Queen of 420 
 
 Daughter of 332 
 
 Frobenius, Erasmus's printer . . . 603 
 
 Gabrielle, La Belle 582 
 
 Gage, Sir John 341 
 
 Gentileschi, Artemisia 226 
 
 Gentz, Friedrich von 363 
 
 George, Prince of Denmark . . . 845 
 
 George 1 521, 806 
 
 George II 477, 522, 527, 828 
 
 Caroline, Queen of. . . 523, 834 
 
 and her Son 
 
 Daughters of. . . . . 514, 517 
 
 George III. as a boy 361 
 
 aged 42 318 
 
 reviewing the Tenth .... 354 
 
 his family 309, 310, 321 
 
 George IV 324, 356 
 
 Giant Porter, Queen Elizabeth's . . 20 
 
 Giorgione 925 
 
 Gloucester, Henry, Duke of, son of 
 
 Charles II 192, 515 
 
 Gloucester, William, Duke of, son of 
 
 Queen Anne 41, 830 
 
 Goldsworthy, General 354 
 
 Gondamor, Count 377 
 
 Gorges, Sir Theobald 912 
 
 Gradin, Sir J 15 
 
 Grafton, first Duchess of ... . 46 
 Grammont, Countess de .... 207 
 Guasto, The Marquis del ? . . . . 122 
 
 Guercino 231 
 
 Guzman, Don 327 
 
 G Wynne, Nell? 196 
 
 Hamilton, James, first Marquis of . 44 
 
 Harrington, second Lord ? . . . . 400 
 
 Haydn, the composer 832 
 
 Henry IV. of France 418 
 
 Henry VII. and his Queen. . . . 601 
 
 Henry VIII. when young .... 563 
 
 older 606 
 
 with Jane Seymour 601 
 
 and his Family 340 
 
 meeting the Emperor Maximilian 3 3 1 
 
Index to Historical Portraits, 299 
 
 Henry VIII. embarking at Dover . 337 
 at "The Field of the Cloth of 
 
 Gold" 342 
 
 Henry, Prince of Wales 400 
 
 Holbein 593, 857 
 
 Holbein's Father and Mother ? . . 608 
 
 Holderness, Lord 554 
 
 Hoogstraaten, Count of 705 
 
 Howard, Henry, Earl of Surrey . . 345 
 
 Hudson, Sir Jeffery, the dwarf . . 798 
 
 Hutchinson, Lord ...... 368 
 
 Hyde, Anne, Duchess of York . . 190 
 
 Isabella, Archduchess of Austria . 
 
 343 
 
 James 1 308, 763, 769 
 
 James I., Queen of . . .273, 346, 764 
 
 James II. as a boy 568 
 
 Jennings, Admiral Sir John ... 18 
 
 Jordan, Mrs., as the Comic Muse . 359 
 
 Keith, Admiral Lord 24 
 
 Kellaway, Miss Jane 186 
 
 Kent, Duke of 324 
 
 Ketel, Cornelius 767 
 
 Knott, Mrs 191 
 
 Lacy, John, the actor 369 
 
 Lawson, Miss 200 
 
 Lawson, Admiral Sir John .... 7 
 
 Leicester, Robert, Earl of ... . 614 
 
 Lely, Sir Peter 852, 862 
 
 Lemon, Alderman 757 
 
 Lemon, Margaret, Vandyck's mistress 47 
 
 Lennox, Margaret, Countess of . . 559 
 
 Locke, John 824 
 
 Loyola, Ignatius? 113 
 
 Louis XIII 407 
 
 Louis XIV. when young .... 428 
 
 on horseback .... 408, 742 
 
 Louis XV. when young 422 
 
 Louis XVI 413 
 
 Mansfeldt, Ernest, Count of . . . 405 
 
 Margaret, Archduchess of Austria . 623 
 
 Margaret, Queen of Scotland . . . 550 
 Mary Christiana, daughter of the 
 
 Archduke Charles of Austria - . 636 
 
 Mary of Lorraine, Queen of Scotland 617 
 
 Mary Tudor, Queen of England . . 340 
 
 when young 640 
 
 Mary, Queen of Scots . . . 566, 631 
 
 Mary d'Este, Queen of James II. . 65 
 
 Mary, Queen of William III. . . . 27 
 
 when Princess 186 
 
 Maximilian, Archduke of Austria . 665 
 Maximilian, Emperor, meeting Henry 
 
 VIII 331 
 
 Mayeme, Sir Theodore 711 
 
 Michael Angelo 816 
 
 Middleton, Lady 53 
 
 Middleton, Mrs 199 
 
 Medici, dei Alessandro ? . . . . 149 
 
 Medicis, Marie de' 411 
 
 Moira, Earl of 358 
 
 Montague, Edward, Earl of Sandwich 1 1 
 
 Mytens, Dan, the painter .... 770 
 
 Nassau, Maurice, Count of . . . 706 
 
 Nassau, William of 348 
 
 Newton, Sir Isaac 846 
 
 North, Bishop of Winchester . . , 374 
 
 Northumberland, Countess of. . . 202 
 
 Nottingham, Thomas Howard, Earl of 620 
 
 Oliver, Peter? 766 
 
 Orange, Mary, sister of Charles II., 
 
 Princess of 777 
 
 Ossory, Countess of? 203 
 
 Oude, King of 360 
 
 Parker, Sir John 803 
 
 Paul, Emperor of Russia .... 425 
 
 Percival, Spencer. , 373 
 
 Peter the Great 57 
 
 Peterborough, Countess of ... . 33 
 
 Philip II. of Spain 633 
 
 Philip III. of Spain 406 
 
 Philip I v. . of Spain 82 
 
 Pitt, Miss 40 
 
 Poland, Stanislaus, King of . . . 424 
 
 Pompadour, Madame de . . . . 429 
 
 Pordenone, G., and his Family ? . . 104 
 
 Porter, Queen Elizabeth's gigantic . 20 
 
 Portsmouth, Duchess of .... 194 
 
 Prussia, Queen of 512 
 
 Raffaelle 710 
 
300 
 
 Index to Historical Portraits, 
 
 Ranelagh, Countess of 37 
 
 Reskemeer, John 610 
 
 Richmond, Frances, Duchess of . . 195 
 
 Richmond and Lennox, Duke of . . 155 
 
 Rochester, Countess of 197 
 
 Rodolphus II., Emperor .... 630 
 
 Romano, Giulio 815 
 
 Rupert, Prince, when a boy . . , 762 
 
 Russell, Admiral 13 
 
 Russia, Peter the Great, Czar of . . 57 
 
 Paul, Czar of 425 
 
 Sandwich, Edward Montague, Earl of 11 
 
 Schachner of Austria ..... 808 
 
 Shakespeare ? 709 
 
 Sheridan, Richard Brinsley . . . 364 
 
 Shore, Jane? 793 
 
 Somerset, Duchess of 198 
 
 Somers, Will, Henry VI XL's Jester 
 
 340, 666 ? 
 
 Spalken, General 831 
 
 Spindalo, Lazarus 609 
 
 St. Albans, Duchess of 26 
 
 St. Leger, Colonel 353 
 
 Stanislaus, King of Poland .... 424 
 
 Stuart, James 759 
 
 Sunderland, Anne Spencer, Countess 
 
 of 187, 206 
 
 Surrey, Earl of? 345 
 
 Sussex, Duke of, as a boy .... 309 
 
 Tintoretto 819 
 
 Titian 1 1 1 
 
 Titian's Uncle ? u6 
 
 Vaga, Perin del 821 
 
 Vaux, Lady 591 
 
 Venice, Doges of 526 
 
 Wales, Prince of, see Frederick. 
 
 George, Prince of 354 
 
 Henry, Prince of 400 
 
 Walker, Robert 365 
 
 Walpole, Sir Robert 357 
 
 Walsingham, Sir Francis . . . . 613 
 
 Whitmore, Lady 201 
 
 William the Silent (of Nassau) . . 348 
 
 William III., as a boy 571 
 
 when Prince of Orange ... 16 
 
 embarking from Holland ... 38 
 landing at Torbay .... 29, 5 1 
 
 allegorical picture of ... . 29 
 
 in armour, when King ... 31 
 William, Duke of Gloucester, son of 
 
 Queen Anne 41 
 
 Winchester, North, Bishop of . . 374 
 
 Wirtemberg, Duke of 59 
 
 Wolfe, Death of General .... 320 
 
 Woodville, Elizabeth 585 
 
 Worcester, Hurd, Bishop of . 367, 371 
 
 York, Anne Hyde, Duchess of . . 190 
 
 Frederic, Duke of 322 
 
 Zouch, Edward, 14th Lord . . . . 336 
 
tUstx of ffllumbers. 
 
 MB. — The consecutive italic numerals in the tables below represent 
 the registered inventory number painted on each picture; the numerals 
 opposite denote the corresponding current number in the catalogue. 
 
 
 17 
 
 32 
 
 370 
 
 ^3 
 
 68 
 
 94 
 
 721 
 
 125 
 
 128 
 
 
 T Cfl 
 150 
 
 tRt 
 I67 
 
 
 2 
 
 1 2 
 
 33 
 
 37 
 
 04 
 
 507 
 
 
 93 
 
 126 
 
 129 
 
 ^57 
 
 157 
 
 tRR 
 loo 
 
 194 
 
 J 
 
 
 34 
 
 
 
 293 
 
 % 
 
 gu 
 
 
 
 61 
 
 
 04 
 
 i8g 
 
 T n c 
 ^95 
 
 4 
 
 20 
 
 35 1 
 
 • 39 
 
 uu 
 
 214 
 
 97 
 
 88 
 
 128 
 
 103 
 
 160 
 
 91 
 
 igo 
 
 196 
 
 5 
 
 g 
 
 30 ) 
 
 OJ 
 
 72 
 
 nR 
 g6 
 
 231 
 
 I2g 
 
 694 
 
 09 
 
 igi 
 
 197 
 
 ^ 
 
 
 0'7 
 
 37 
 
 40 
 
 68 
 
 149 
 
 99 
 
 07 
 
 
 131 
 
 161 
 
 168 
 
 ig2 
 
 198 
 
 7 
 
 14 
 
 3^ 
 
 1^3 
 
 Op 
 
 102 
 
 100 
 
 95 
 
 ^31 
 
 449 
 
 162 
 
 275 
 
 193 
 
 199 
 
 Q 
 O 
 
 15 
 
 39 
 
 42 
 
 70 
 
 391 
 
 lOI 
 
 99 
 
 132 
 
 727 
 
 103 
 
 444 
 
 ig4 
 
 200 
 
 9 
 
 0 
 
 40 
 
 43 
 
 7^ 
 
 394 
 
 102 
 
 100 
 
 133 
 
 242 
 
 1 04 
 
 77 
 
 
 201 
 
 lO 
 
 22 
 
 41 
 
 44 
 
 72 
 
 140 
 
 103 
 
 142 
 
 134 
 
 147 
 
 
 229 
 
 igo 
 
 202 
 
 J I 
 
 10 
 
 42 
 
 45 
 
 73 
 
 47 
 
 104 
 
 776 
 
 135 
 
 179 
 
 lUU 
 
 554 
 
 ig7 
 
 203 
 
 12 
 
 10 
 
 43 
 
 40 
 
 74 
 
 T 1% 
 
 13^ 
 
 105 
 
 235 
 
 136 
 
 73 
 
 lOJ 
 
 250 
 
 ig8 
 
 
 ^3 
 
 4 
 
 44 
 
 109 
 
 
 169 
 
 106 
 
 770 
 
 137 
 
 
 168 
 
 257 
 
 igg 
 
 205 
 
 ^4 
 
 3 
 
 45 
 
 125 
 
 7d 
 yu 
 
 300 
 
 10 J 
 
 ^^5 
 
 tqR 
 
 40 
 
 i6g 
 
 184 
 
 
 
 ^5 
 
 9 
 
 40 
 
 "3 
 
 77 
 
 249 
 
 108 
 
 107 
 
 
 282 
 
 
 
 201 
 
 207 
 
 lU 
 
 ^ 
 
 47 
 
 50 
 
 
 
 log 
 
 70 
 
 140 
 
 146 
 
 171 
 
 186 
 
 202 
 
 208 
 
 ^7 
 
 I 
 
 4d 
 
 51 
 
 79 
 
 226 
 
 110 
 
 291 
 
 141 
 
 70 
 
 172 
 
 189 
 
 203 
 
 
 i8 
 
 
 
 > 52 
 
 80 
 
 679 
 
 III 
 
 113 
 
 142 
 
 276 
 
 173 
 
 
 203 
 
 287 
 
 19 
 
 5 
 
 5o\ 
 
 81 
 
 680 
 
 112 
 
 no 
 
 143 
 
 49 
 
 174 
 
 
 204 
 
 836 
 
 20 
 
 
 51 
 
 53 
 
 82 
 
 81 
 
 113 
 
 302 
 
 144 
 
 170 
 
 175 
 
 
 20s 
 
 248 
 
 21 
 
 25 
 
 52 
 
 182 
 
 83 
 
 82 
 
 114 
 
 116 
 
 145 
 
 154 
 
 176 
 
 
 206 
 
 663 
 
 22 
 
 26 
 
 53 
 
 108 
 
 84 
 
 817 
 
 115 
 
 286 
 
 146 
 
 578 
 
 177 
 
 
 207 
 
 255 
 
 23 
 
 27 
 
 54 
 
 120 
 
 85 
 
 739 
 
 116 
 
 60 
 
 147 
 
 150 
 
 178 
 
 96 
 
 208 
 
 
 24 
 
 28 
 
 55 
 
 236 
 
 86 
 
 703 
 
 117 
 
 162 
 
 148 
 
 576 
 
 179 
 
 
 2og 
 
 463 
 
 25 
 
 29 
 
 56 
 
 843 
 
 87 
 
 85 
 
 118 
 
 294 
 
 149 
 
 290 
 
 180 
 
 190 
 
 210 
 
 837 
 
 26 
 
 30 
 
 57 
 
 397 
 
 88 
 
 699 
 
 iig 
 
 121 
 
 150 
 
 151 
 
 181 
 
 191 
 
 211 
 
 252 
 
 27 
 
 13 
 
 58 
 
 372 
 
 89 
 
 580 
 
 120 
 
 728 
 
 151 
 
 97 
 
 182 
 
 
 212 
 
 840 
 
 28 
 
 32 
 
 
 66 
 
 go 
 
 701 
 
 121 
 
 441 
 
 152 
 
 104 
 
 183 
 
 193 
 
 213 
 
 264 
 
 29 
 
 33 
 
 60 
 
 57 
 
 91 
 
 90 
 
 122 
 
 329 
 
 153 
 
 412 
 
 184 
 185 
 
 
 214 
 
 221 
 
 30 
 
 92 
 
 61 
 
 62 
 
 92 
 
 383 
 
 123 
 
 167 
 
 154 
 
 419 
 
 
 215 
 
 83s 
 
 31 
 
 399 
 
 62 
 
 67 
 
 93 
 
 688 
 
 124 
 
 III 
 
 155 
 
 362 
 
 186 
 
 
 216 
 
 222 
 
302 
 
 Index of Numbers, 
 
 217 
 
 228 
 
 254 
 
 
 292 
 
 629 
 
 330 
 
 218 
 
 227 
 
 255 
 
 447 
 
 293 
 
 616 
 
 331 
 
 2ig 
 
 303 
 
 256 
 
 685 
 
 294 
 
 624 
 
 332 
 
 220 
 
 838 
 
 257 
 
 lOI 
 
 295 
 
 769 
 
 333 
 
 221 
 
 
 258 
 
 241 
 
 2g6 
 
 564 
 
 334 
 
 222 
 
 225 
 
 259 
 
 586 
 
 297 
 
 565 
 
 335 
 
 223 
 
 486 
 
 260 
 
 265 
 
 2g8 
 
 623 
 
 33^ 
 
 224 
 
 457 
 
 261 
 
 
 299 
 
 349 
 
 337 
 
 22s 
 
 244 
 
 262 
 
 
 300 
 
 585 
 
 33S 
 
 226 
 
 901 
 
 263 
 
 
 301 
 
 635 
 
 339 
 
 227 
 
 473 
 
 264 
 
 711 
 
 302 
 
 640 
 
 340 
 
 228 
 
 459 
 
 265 
 
 
 303 
 
 562 
 
 341 
 
 22g 
 
 243 
 
 266 
 
 366 
 
 304 
 
 567 
 
 342 
 
 230 
 
 301 
 
 267 
 
 621 
 
 30s 
 
 625 
 
 343 
 
 231 
 
 528 
 
 268 
 
 667 
 
 306 
 
 644 
 
 344 
 
 232 
 
 246 
 
 26g 
 
 
 307 
 
 336 
 
 345 
 
 233 
 
 304 
 
 270 
 
 615 
 
 308 
 
 601 
 
 346 
 
 234 
 
 667 
 
 271 
 
 618 
 
 309 
 
 595 
 
 347 
 
 235 
 
 596 
 
 272 
 
 645 
 
 310 
 
 
 348 
 
 236 
 
 602 
 
 273 
 
 619 
 
 311 
 
 643 
 
 349 
 
 237 
 
 
 274 
 
 637 
 
 312 
 
 
 350 
 
 238 
 
 756 
 
 275 
 
 589 
 
 313 
 
 563 
 
 351 
 
 239 
 
 467 
 
 276 
 
 590 
 
 314 
 
 345 
 
 352 
 
 240 
 
 469 
 
 277 
 
 117 
 
 315 
 
 617 
 
 353 
 
 241 
 
 58 
 
 278 
 
 710 
 
 316 
 
 632 
 
 354 
 
 242 
 
 771 
 
 279 
 
 709 
 
 3^7 
 
 631 
 
 355 
 
 243 
 
 132 
 
 280 
 
 
 31S 
 
 639 
 
 35^ 
 
 244 
 
 247 
 
 281 
 
 628 
 
 319 
 
 561 
 
 357 
 
 245 
 
 271 
 
 282 
 
 636 
 
 320 
 
 341 
 
 358 
 
 246 
 
 453 
 
 283 
 
 648 
 
 321 
 
 566 
 
 359 
 
 225 
 
 284 
 
 
 322 
 
 664 
 
 360 
 
 247 
 
 251 
 
 285 
 
 389 
 
 323 
 
 603 
 
 361 
 
 248 
 
 270 
 
 286 
 
 620 
 
 324 
 
 597 
 
 362 
 
 249 
 
 393 
 
 287 
 
 712 
 
 325 
 
 610 
 
 363 
 
 250 
 
 211 
 
 288 
 
 803 
 
 326 
 
 606 
 
 3^4 
 
 251 
 
 268 
 
 28g 
 
 614 
 
 327 
 
 400 
 
 365 
 
 252 
 
 571 
 
 2go 
 
 613 
 
 328 
 
 605 
 
 366 
 
 253 
 
 
 2gi 
 
 633 
 
 329 
 
 666 
 
 367 
 
 59^368 
 
 468 
 
 406 
 
 404 
 
 444 
 
 
 594 
 
 wo 
 
 741 
 
 407 
 
 689 
 
 445 
 
 
 592 
 
 370 
 
 762 
 
 408 
 
 445 
 
 446 
 
 
 155 
 
 371 
 
 624 
 
 409 
 
 729 
 
 447 
 
 
 
 372 
 
 716 
 
 410 
 
 75 
 
 448 
 
 
 608 
 
 373 
 
 750 
 
 411 
 
 825 
 
 449 
 
 
 374 
 
 718 
 
 412 
 
 259 
 
 450 
 
 
 591 
 
 375 
 
 660 
 
 413 
 
 671 
 
 451 
 
 
 604 
 
 376 
 
 674 
 
 414 
 
 732 
 
 452 
 
 
 895 
 
 377 
 
 56 
 
 415 
 
 651 
 
 453 
 
 272 
 
 897 
 
 378 
 
 94 
 
 416 
 
 96 
 
 454 
 
 
 652 
 
 370 
 
 818 
 
 417 
 
 267 
 
 455 
 
 308 
 
 722 
 
 ^80 
 
 83 
 
 418 
 
 415 
 
 45^ 
 
 307 
 
 572 
 
 381 
 
 896 
 
 4ig 
 
 736 
 
 457 
 
 330 
 
 573 
 
 382 
 
 758 
 
 420 
 
 238 
 
 458 
 
 277 
 
 642 
 
 383 
 
 599 
 
 421 
 
 381 
 
 459 
 
 273 
 
 682 
 
 384 
 
 237 
 
 422 
 
 659 
 
 460 
 
 423 
 
 622 
 
 385 
 
 746 
 
 423 
 
 730 
 
 461 
 
 283 
 
 
 386 
 
 647 
 
 424 
 
 658 
 
 462 
 
 275 
 
 
 387 
 
 690 
 
 425 
 
 612 
 
 463 
 
 300 
 
 
 388 
 
 751 
 
 426 
 
 403 
 
 464 
 
 390 
 
 655 
 
 389 
 
 192 
 
 427 
 
 693 
 
 465 
 
 112 
 
 733 
 
 3go 
 
 245 
 
 428 
 
 717 
 
 466 
 
 118 
 
 568 
 
 oy 
 
 64 
 
 42g 
 
 649 
 
 467 
 
 163 
 
 767 
 
 392 
 
 281 
 
 430 
 
 719 
 
 468 
 
 844 
 
 295 
 
 393 
 
 737 
 
 431 
 
 738 
 
 469 
 
 135 
 
 569 
 
 394 
 
 581 
 
 432 
 
 382 
 
 470 
 
 175 
 
 696 
 
 395 
 
 715 
 
 433 
 
 656 
 
 471 
 
 160 
 
 734 
 
 39^ 
 
 428 
 
 434 
 
 681 
 
 472 
 
 288 
 
 724 
 
 397 
 
 820 
 
 435 
 
 752 
 
 473 
 
 
 723 
 
 398 
 
 634 
 
 43^ 
 
 725 
 
 474 
 
 
 735 
 
 399 
 
 638 
 
 437 
 
 398 
 
 475 
 
 
 673 
 
 400 
 
 743 
 
 438 
 
 180 
 
 476 
 
 
 851 
 
 401 
 
 611 
 
 439 
 
 
 477 
 
 288 
 
 661 
 
 402 
 
 380 
 
 440 
 
 269 
 
 478 
 
 292 
 
 731 
 
 403 
 
 240 
 
 441 
 
 
 479 
 
 
 55 
 
 404 
 
 859 
 
 442 
 
 
 480 
 481 
 
 
 529 
 
 405 
 
 683 
 
 443 
 
 
 
Index of Numbers. 
 
 303 
 
 462 
 
 
 S20 
 
 342 
 
 n 
 
 55S 
 
 436 59^ 
 
 
 
 521 
 
 335 
 
 559 
 
 166 
 
 597 
 
 484 
 
 65 
 
 522 
 
 289 
 
 
 297 J'P'i? 
 
 4^5 
 
 584 
 
 523 
 
 776 
 
 501 
 
 220 
 
 599 
 
 ^ OA 
 400 
 
 114 
 
 524 
 
 331 
 
 502 
 
 443 
 
 600 
 
 487 
 
 309 
 
 525 
 
 343 
 
 ^A ^ 
 503 
 
 95 
 
 601 
 
 480 
 
 310 
 
 526 
 
 285 
 
 504 
 
 218 
 
 602 
 
 48g 
 
 311 
 
 527 
 
 350 
 
 505 
 
 530 
 
 603 
 
 4go 
 
 312 
 
 528 
 
 OOo 
 
 500 
 
 698 
 
 604 
 
 4gi 
 
 314 
 
 529 
 
 005 
 
 5^7 
 
 720 
 
 60s 
 
 4g2 
 
 310 
 
 530 
 
 774 
 
 
 
 606 
 
 493 
 
 317 
 
 531 
 
 
 „x ^ 
 509 
 
 164 
 
 607 
 
 494 
 
 318 
 
 532 
 
 
 570 
 
 126 
 
 608 
 
 495 
 
 313 
 
 533 
 
 
 571 
 
 215 
 
 609 
 
 4g6 
 
 319 
 
 534 
 
 
 572 
 
 153 
 
 610 
 
 497 
 
 320 
 
 535 
 
 
 573 
 
 143 
 
 611 
 
 4g8 
 
 321 
 
 530 
 
 
 574 
 
 224 
 
 612 
 
 499 
 
 315 
 
 537 
 
 
 575 
 
 176 
 
 613 
 
 500 
 
 322 
 
 53S 
 
 
 _^x 
 
 570 
 
 
 614 
 
 501 
 
 323 
 
 539 
 
 
 577 
 
 531 
 
 615 
 
 502 
 
 324 
 
 540 
 
 
 578 
 
 
 616 
 
 503 
 
 325 
 
 541 
 
 
 579 
 
 279 
 
 617 
 
 504 
 
 427 
 
 542 
 
 
 ^80 
 
 385 
 
 618 
 
 505 
 
 130 
 
 543 
 
 496 
 
 5^1 
 
 407 
 
 619 
 
 
 326 
 
 544 
 
 856 
 
 
 140 
 
 620 
 
 
 274 
 
 545 
 
 
 5<^3 
 
 630 
 
 
 508 
 
 59 
 
 540 
 
 
 
 641 
 
 622 
 
 509 
 
 137 
 
 547 
 
 77» 
 
 
 742 
 
 623 
 
 
 340 
 
 540 
 
 396 
 
 
 768 
 
 624 
 
 
 216 
 
 549 
 
 029 
 
 
 365 
 
 62s 
 
 
 
 550 
 
 779 
 
 
 707 
 
 020 
 
 513 
 
 559 
 
 551 
 
 377 
 
 - p^ 
 
 388 
 
 627 
 
 514 
 
 763 
 
 552 
 
 lOI 
 
 
 405 
 
 628 
 
 5^5 
 
 337 
 
 553 
 
 174 
 
 
 764 
 
 62g 
 
 516 
 
 413 
 
 554 
 
 144 
 
 
 430 
 
 630 
 
 517 
 
 339 
 
 555 
 
 513 
 
 5PJ 
 
 327 
 
 631 
 
 51S 
 
 
 556 
 
 127 
 
 
 35 
 
 632 
 
 519 
 
 558 
 
 557 
 
 697 
 
 5^5 
 
 36 
 
 633 
 
 
 X ^ . 
 634 
 
 432 
 
 x_ ^ 
 
 072 
 
 219 
 
 710 
 
 106 
 
 
 X ^ - 
 
 635 
 
 334 
 
 A^^ 
 673 
 
 894 
 
 711 
 
 471 
 
 452 
 
 A^A 
 636 
 
 662 
 
 x_ . 
 
 674 
 
 
 712 
 
 472 
 
 550 
 
 637 
 
 827 
 
 675 
 
 
 713 
 
 253 
 
 
 A ^0 
 638 
 
 133 
 
 676 
 
 726 
 
 714 
 
 474 
 
 548 
 
 X „ ^ 
 639 
 
 
 677 
 
 455 
 
 715 
 
 475 
 
 
 640 
 
 230 
 
 678 
 
 
 716 
 
 438 
 
 502 
 
 X . ^ 
 
 041 
 
 177 
 
 679 
 
 
 717 
 
 476 
 
 
 X ^_ 
 
 042 
 
 520 
 
 680 
 
 
 718 
 
 477 
 
 187 
 
 X 
 
 643 
 
 677 
 
 AO^ 
 081 
 
 
 719 
 
 478 
 
 012 
 
 X > ^ 
 
 644 
 
 657 
 
 A 0^ 
 082 
 
 
 720 
 
 
 X , - 
 
 849 
 
 683 
 
 463 
 
 720 
 
 479 
 
 188 
 
 
 432 
 
 684 
 
 217 
 
 721 
 
 481 
 
 361 
 
 X , ». 
 
 814 
 
 AO ^ 
 683 
 
 465 
 
 722 
 
 482 
 
 123 
 
 A ^0 
 048 
 
 450 
 
 A OA 
 080 
 
 653 
 
 723 
 
 479 
 
 263 
 
 
 439 
 
 A Om. 
 
 087 
 
 456 
 
 724 
 
 482 
 
 600 
 
 X 
 
 765 
 
 688 
 
 458 
 
 725 
 
 480 
 
 260 
 
 X ^ 
 
 870 
 
 A 0^ 
 
 o8g 
 
 386 
 
 720 
 
 86 
 
 134 
 
 X _ ^ 
 
 05-2 
 
 869 
 
 x^^ 
 
 ogo 
 
 378 
 
 727 
 
 484 
 
 332 
 
 X _ ^ 
 
 519 
 
 6gi 
 
 379 
 
 728 
 
 152 
 
 
 X - > 
 
 853 
 
 6g2 
 
 460 
 
 729 
 
 485 
 
 868 
 
 X _ _ 
 
 421 
 
 X ^ ^ 
 
 693 
 
 461 
 
 730 
 
 487 
 
 
 X -X 
 
 05-0 
 
 861 
 
 694 
 
 437 
 
 731 
 
 493 
 
 518 
 
 X 
 
 442 
 
 6g5 
 
 
 732 
 
 489 
 
 357 
 
 A^O 
 
 658 
 
 840 
 
 A^A 
 
 ogo 
 
 213 
 
 733 
 
 353 
 
 414 
 
 659 
 
 009 
 
 6g7 
 
 347 
 
 734 
 
 402 
 
 410 
 
 AAr\ 
 
 747 
 
 ogo 
 
 333 
 
 735 
 
 495 
 
 834 
 
 A A -w 
 001 
 
 020 
 
 6gg 
 
 
 736 
 
 356 
 
 828 
 
 AA^ 
 002 
 
 646 
 
 700 
 
 070 
 
 737 
 
 492 
 
 514 
 
 AA^ 
 663 
 
 434 
 
 701 
 
 172 
 
 ^ _ p 
 73<^ 
 
 491 
 
 
 AAj 
 004 
 
 759 
 
 702 
 
 223 
 
 739 
 
 494 
 
 
 AAp- 
 
 00s 
 
 <522 
 
 703 
 
 794 
 
 740 
 
 495 
 
 839 
 
 AAA 
 
 000 
 
 549 
 
 704 
 
 470 
 
 741 
 
 210 
 
 488 
 
 uuy 
 
 
 705 
 
 440 
 
 J42 
 
 497 
 
 76 
 
 668 
 
 654 
 
 706 
 
 115 
 
 743 
 
 500 
 
 139 
 
 66g 
 
 551 
 
 707 
 
 262 
 
 744 
 
 499 
 
 79 
 
 670 
 
 212 
 
 708 
 
 440 
 
 745 
 
 435 
 
 847 
 
 671 
 
 454 
 
 7og 
 
 466 
 
 746 
 
 254 
 
304 
 
 Index of Numbers. 
 
 747 352 
 
 748 501 
 74g 261 
 750 503 
 75^ 504 
 75^ 505 
 753 \ 
 754 
 755 
 75^ 
 757 
 75S 
 
 759 
 760 
 761 
 762 
 763 I 
 764} 
 
 765 451 
 
 766 431 
 
 767 508 
 
 768 509 
 
 769 510 
 770 
 
 771 490 
 
 773 173 
 
 77^ 298 
 
 775 695 
 
 776 516 
 777 
 
 77^ 515 
 
 77P 31 
 
 7^^? 346 
 
 781 328 
 
 7<^^ 521 
 
 7^J 522 
 
 784 523 
 
 7^?^ 
 
 552 
 
 82s 
 
 544 
 
 861 
 
 233 
 
 899 
 
 808 
 
 935 
 
 749 
 
 
 672 
 
 824 
 
 545 
 
 862 
 
 791 
 
 goo 
 
 761 
 
 93<^ 
 
 363 
 
 787 
 
 524 
 
 82s 
 
 684 
 
 863 
 
 266 
 
 goi 
 
 793 
 
 937 
 
 804 
 
 788 
 
 145 
 
 826 
 
 1 547 
 
 864 
 
 16 
 
 go2 
 
 858 
 
 938 
 
 813 
 
 78Q 
 
 795 
 
 827 
 
 86s 
 
 24 
 
 903 
 
 805 
 
 939 
 
 406 
 
 790 
 
 525 
 
 828 
 
 1 553 
 
 866 
 
 706 
 
 904 
 
 757 
 
 940 
 
 748 
 
 791 \ 
 
 
 82Q 
 
 867 
 
 713 
 
 905 
 
 158 
 
 941 
 
 753 
 
 792 
 
 
 830 
 
 183* 
 
 868 
 86g 
 
 705 
 
 go6 
 
 574 
 
 942 
 
 807 
 
 793 
 
 831 
 
 554 
 
 714 
 
 907 
 
 512 
 
 943 
 
 854 
 
 794 J 
 
 
 832 
 
 555 
 
 870 
 
 376 
 
 go8 
 
 582 
 
 944 
 
 375 
 
 795 
 
 527 
 
 833 
 
 556 
 
 871 
 
 
 gog 
 
 
 945 
 
 426 
 
 796 
 
 284 
 
 834 
 
 351 
 
 872 
 
 368 
 
 gio 
 
 831 
 
 946 
 
 41 
 
 797 
 
 232 
 
 835 
 
 557 
 
 873 
 
 ' 707 
 j>79/ 
 
 gii 
 
 872 
 
 947 
 948 
 
 824 
 
 798 
 
 464 
 
 836 
 
 
 874, 
 875] 
 
 gi2 
 
 583 
 
 280 
 
 799 ' 
 
 
 837 
 
 
 
 9^3 
 
 
 949 
 
 401 
 
 800 
 
 *532 
 
 838 
 
 
 876 
 
 
 
 575 
 
 950 
 
 358 
 
 801 
 
 839 
 
 
 877 
 
 
 gi4 
 
 708 
 
 951 
 
 360 
 
 802 , 
 
 
 840 
 
 
 878 
 
 791 
 
 
 577 
 
 952 
 
 387 
 
 804 
 
 533 
 
 841 
 842 
 
 
 879 
 880 
 
 
 gi6 
 gi7 
 
 344 
 517 
 
 953 
 954 
 
 411 
 855 
 
 80s 
 
 '534 
 
 843 
 
 772 
 
 881 . 
 
 
 gi8 
 
 799 
 
 955 
 
 418 
 
 806 ^ 
 
 844 
 
 773 
 
 882 
 
 852 
 
 gig 
 
 802 
 
 95^ 
 
 823 
 
 807 \ 
 
 JO J 
 
 845 
 
 
 883 
 
 80 
 
 g2o 
 
 832 
 
 957 
 
 846 
 
 808 J 
 
 846 
 
 780 
 
 884 
 
 845 
 
 g2i 
 
 800 
 
 958 
 
 809 
 
 80Q 
 
 536 
 
 847 
 
 369 
 
 88s 
 
 830 
 
 g22 
 
 801 
 
 959 
 
 704 
 
 810 
 
 ■ K'il 
 jot 
 
 848 
 
 384 
 
 886 
 
 54 
 
 923 
 
 348 
 
 g6o 
 
 359 
 
 811 ^ 
 
 849 
 
 781 
 
 887 
 
 371 
 
 924 
 
 806 
 
 g6i 
 
 355 
 
 812 
 
 538 
 
 850 
 
 782 
 
 888 
 
 374 
 
 925 
 
 422 
 
 g62 
 
 256 
 
 813 
 
 539 
 
 851 
 
 783 
 
 88g 
 
 367 
 
 g26 
 
 777 
 
 9^3 
 
 579 
 
 814 
 
 540 
 
 852 
 
 784 
 
 8go 
 
 373 
 
 
 775 
 
 g64 
 
 122 
 
 815 ' 
 
 
 853 
 
 408 
 
 8gi 
 
 364 
 
 927 
 
 511 
 
 9^5 
 
 821 
 
 816 
 
 54 
 
 854 
 
 
 8g2 
 
 798 
 
 g28 
 
 796 
 
 g66 
 
 816 
 
 817 
 
 855 
 
 785 
 
 893 
 
 826 
 
 929 
 
 
 g67 
 
 815 
 
 olo 
 
 
 
 258 
 
 894 
 
 425 
 
 930 
 
 
 gOa 
 
 338 
 
 8ig 
 
 691 
 
 857 
 
 788 
 
 8g5 
 
 424 
 
 931 
 
 
 g6g 
 
 857 
 
 820 
 
 700 
 
 858 
 
 787 
 
 8g6 
 
 119 
 
 932 
 
 810 
 
 970 
 
 819 
 
 821 
 
 692 
 
 859 
 
 141 
 
 897 
 
 74 
 
 933 
 
 811 
 
 971 
 
 136 
 
 822 
 
 702 
 
 860 
 
 790 
 
 8g8 
 
 960 
 
 934 
 
 675 
 
 972 
 
 862 
 
 999 
 1000 
 
 1001 889 
 
 1002 867 
 1003 
 1004 
 loos 
 1006 
 1007 
 1008 
 loog 
 
Index of Numbers. 
 
 305 
 
 lOIO 
 
 
 I02Q 
 
 
 1048 
 
 
 1067 
 
 
 1086 
 
 124 
 
 IIO3 
 
 
 1123 
 
 10 11^ 
 
 
 lOJO 
 
 
 io4g 
 
 
 1068 
 
 
 1087 159 
 
 IIOO 
 
 299 
 
 1124 
 
 IOI2 
 
 875 
 
 lOJI 
 
 923 
 
 1030 
 
 QQQ 
 000 
 
 io6g\ 
 
 906 
 
 1088 
 
 
 II07 
 
 
 1123 
 
 
 1032 
 
 925 
 
 1031 
 
 
 1070^ 
 
 io8g 
 
 650 
 
 II08 
 
 
 1120 
 
 lOI^ ^ 
 
 
 1033 
 
 963 
 
 1032 
 
 7 
 
 1 07 1 907 
 
 logo 
 
 
 nog 
 
 
 1127 
 
 lois 
 
 
 1034 
 
 924 
 
 1053 
 
 092 
 
 I072\ 
 
 908 
 
 logi 
 
 
 1 1 10 
 
 
 1 1 28 
 
 1016 
 
 9I0 
 
 1035 
 
 905 
 
 1034 
 
 
 1073^ 
 
 
 iog2 
 
 
 nil 
 
 
 ii2g 
 
 loiy 
 
 
 1036 
 
 oy 0 
 
 1035 
 
 
 1074 
 
 909 
 
 iog3 
 
 
 1 1 12 
 
 
 1 130 760 
 
 1018 
 
 
 1037 
 
 
 1036 
 
 
 1075 
 
 910 
 
 iog4 
 
 
 1113 
 
 
 1131 
 
 lOIQ 
 
 
 1036 
 
 
 1037 
 
 090 
 
 1076 
 
 911 
 
 iog3 
 
 
 1 1 14 
 
 
 1132 
 
 1020 
 
 
 1039 
 
 879 
 
 1038 
 
 899 
 
 1077 
 
 912 
 
 iog6 
 
 446 
 
 
 409 
 
 1133 
 
 I02I 
 
 
 104.0 
 
 OOO 
 
 1039 
 
 
 1078 
 
 913 
 
 iog7 
 
 277 
 
 II 16 
 
 
 1134 
 
 1022 
 
 919 
 
 I04I 
 
 ool 
 
 1060 
 
 
 1079 
 
 914 
 
 iog8 
 
 689 
 
 1 117 
 
 
 1135 
 
 1023 
 
 921 
 
 1042 
 
 Q 0 ^ 
 002 
 
 1061 
 
 900 
 
 1080 
 
 915 
 
 logg 
 
 
 1 118 
 
 
 1136 
 
 
 
 1043 
 
 003 
 
 
 
 1081 
 
 754 
 
 IIOO 
 
 
 
 
 ^^37 
 
 I02S 
 
 
 1044 
 
 884 
 
 1063 
 
 IT 
 
 1082 
 
 745 
 
 IIOI 
 
 
 1120 
 
 
 1138 
 
 1026 
 
 922 
 
 1045 
 
 885 
 
 1064 
 
 904 
 
 1083 
 
 755 
 
 II02 
 
 
 1121 
 
 570 
 
 1139 
 
 io2y 
 
 
 1046 
 
 886 
 
 1063 
 
 902 
 
 1084 
 
 296 
 
 IIO3 
 
 
 1122 
 
 305 
 
 1140 
 
 1028 
 
 
 1047 
 
 887 
 
 1066 
 
 
 1083 
 
 593 
 
 IIO4 
 
 239 
 
 
 
 
 X 
 
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