Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivehistoOObedf CATALOGUE OF THE COLLECTION OF PICTURES AT WOBURN ABBEY PKINTED BY SPOTTISWOOUE ANU CO., NEW-STREET SQUARE LONUON * A DESCRIPTIVE AND HISTORICAL CATALOGUE OF THE COLLECTION OF PICTURES AT WOBURN ABBEY BY GEORGE SCHARF, C.B., F.SA. DIRECTOR, KEEPER, AND SECRETARY TO THE NATIONAL PORTRAIT GALLERY PRIVATELY PRINTED FOR HASTINGS NINTH DUKE OF BEDFORD, K.G. 1890 [Limited to 200 copies] THE GETTY CENTER LIBRARY Part I. P O R T R A I TS §alaloQue OF THE PICTURES AT WOBURN ABBEY. *q* The terms right andleh, in the following pages, invariably signify those of the Spec- tator ; excepting when applied to the hands of a person represented. The difference is then observed with especial care. G. S. i. Queen Jane Seymour. Holbein _ Third wife of Henry VIII. ; daughter of Sir John Seymour, of Wolf Hall ; 1 mother of Edward VI. Married May, 1536 ; died October, 1537. Half-length standing figure, turned towards the left, with her hands clasped below the waist. Richly jewelled dress, and gild ng on ornaments. Back- ground plain blue. The light in the picture admitted from the right-hand side. The black veil to her English-shaped hood forms a peak pointing to the right, and is passed behind her neck, to re-appear over her right shoulder. Painted probably in 1 537. The turn of the head and position of the fingers correspond with the figure in the family group executed by Holbein on the wall of the Privy Chamber at Whitehall, which figure, with certain variations of drer.s, had been copied in small by R. van Lcemput for King Charles II., and may still be seen in the royal collection at Hampton Court Palace. The original was burned in the fire at Whitehall, 1698. 1 An interesting account of " Wulfhall," Wiltshire, where Jane Seymour was married, and of the household expenses of the Seymours, was communicated to the Wilts Archa:o- logical Society in 1874 by the Rev. Canon Jackson. According to the Household Book, King Henry VIII. and his entire Court arrived at Wulfhall on Saturday, August 9, 1539, and stayed till the Tuesday following. These curious documents are in the posses- sion of the Marquess of Bath, at Longleat. B 2 Period of John, First Earl, to 1555. The picture was contributed to the Portrait Gallery of the Manchester Art Treasures Exhibition, 1857, No. 50 of the cata- logue. It is referred to in Dr. Woltmann's Life of Holbein, vol. ii. p. 284, note. There are repetitions in the Gallery at Vienna and at Knole Park. The latter, on a somewhat smaller scale, with altered proportions, was No. 125 of the National Portrait Exhibition at South Kensington in 1866. Another, belonging to the Duke of Northumberland, was No. 1 19 of the same Collection. The original drawing, sketched from the life by Holbein, is preserved in the Royal Collection at Windsor. The hands are combined in the same manner. No. 65 of Chamberlaine's " Imi- " tations of Holbein's Drawings," 181 2. Sir John Russell, afterwards Earl of Bedford, who was present at the marriage, observed of Queen Jane that the richer she was in clothes, the fairer she appeared, whereas the richer the former Queen, Ann Boleyn, was apparelled, the worse she looked. This is quoted by Dr. Birch from Lord Herbert's Life of King Henry VIII., edition 1649, p. 387. Engraved in a small circle by Hollar, and dated 1648. Engraved by Cooper in Lodge's Portraits, plate 9. Pennant, 4to, page 349. Wiffen, No. ccxvii. Panel. 39^ in. x 30^ in. 2. Charles Brandon, Duke of Suffolk, K.G., AND HIS THIRD WIFE, MARY TUDOR, QUEEN of France, and Sister to Henry VIII. Painter unknown. The Princess Mary, third daughter of Henry VII., was born 1498 ; first married to Louis XII. in 1514, and 2ndly to Charles Brandon, 1 5 1 5 ; died 1534. A tall square picture. Figures standing side by side, and seen to the waist. The Queen, wearing the French hood, holds in her right hand an em- blematic device composed of the winged Caduceus of Mercury rising from an artichoke surmounted by a cross-bar like an heraldic "label." Their left hands are joined. The Duke wears the collar of the Garter over his richly furred mantle. A curtain forms the background. No gilding on the picture. Purchased for £535 10s. by the Duke of Bedford at the Straw- berry Hill sale, in 1842. Horace Walpole thus describes the picture in his account of Strawberry Hill : " Charles Brandon, Duke of Suffolk, and Mary, " Queen of France. This picture was Lord Granville's. Kent " designed the frame. The picture had before been at the Earl " of Westmoreland's, at Apthorpe." John Carteret, Earl Granville, K.G., died 1763. Walpole, in writing to Geo. Montague, March 29, 1763, says " I have bought at Lord Granville's sale the original picture of " Charles Brandon and his queen." Lord Granville's house in Arlington Street had been sold by auction, March 1 8th, for £1 5,000. A similar picture is in the possession of the Earl of Yarborough. A third, with the introduction of a jester, as if uttering the lines below quoted, was in the collection of Mr. T. B. Brydgcs Barrett at Lee Priory in 18 17. No. 82 of the Priory Catalogue. A picture precisely similar to the last was contributed by Mrs. Branfell to the Portrait Exhibition at South Kensington in 1866, No. 76. Engraved by G. Vertue in 1 748, and forming one of his series of Historical Prints. The following lines are inscribed on Lord Yarborough's pic- ture and have been partially introduced, on a ribbon, appended to a lance among the bordering devices, round Vertue's engraving taken from it : — " Cloath of Gold doe not despise " Tho' thou art niatcht to cloath of Frize. " Cloath of Frize be not too bold, " Tho' thou are matcht to Cloath of Gold. " Brandon's trappings at his wedding tournament were half gold and half frize. — Percy's " Rcliqucs," ed. 1767, vol. hi., p. 168. Panel. 24^ in. x 2 1 £ in. 4 Period of John, First Earl, to 1555. 3. Charles Brandon, Duke of Suffolk, K.G. C. i486 1545- Painter unknoivn. Son of Sir William Brandon, who fell by the hand of King Richard at Bosworth Field. He became a favourite of Henry VIII., whom he attended at the Field of the Gloth of Gold, and by whom he was created Viscount L'Isle and Duke of Suffolk. He married, as his third wife, in 151 5, the King's sister Mary, widow of Louis XII. of France. Represented at a much more advanced age than in No. 2. Seated nearly facing the spectator, in a square-backed chair ; seen to the knees. Wearing a plain black cap. White beard, cropped short ; broad facing of fur to outer robe. Collar of the Order of the Garter. Dark glove on his right hand ; holding a bunch of pansies and pinks in the left. The light admitted from the right. The knobs on the chair are richly ornamented. Engraved by E. Scriven in Lodge's Portraits, plate \^,but showing less of the right hand than is seen in the picture. An old copy of this picture is at Longleat. Another, from the Manor House, Southwick, Northants, is in the National Portrait Gallery. Wiffen, No. cclxi. Panel. 34^ in. x 29^ in. 4. Prince Edward, afterwards King Edward After Holbein. Born 1537. Succeeded to the Throne 1547. Died 1553. Represented as if seen through a square narrow frame or stone window. Marked in black on the upper left-hand corner E. VI. R. Profile turned to the left ; the figure is seen to the elbow, holding in his left hand a single grey flower (a pink), black hat and white feather, gold sleeves, white fur to mantle. Blue background, with rich gilding on his outer garment. A similar picture to this is at Knole, holding a flower in his right hand. Another, in a much impaired condition, is in the National Portrait Gallery. The latter was purchased at Oxford. The original drawing for this head by Holbein is in the Royal "pofmnt &bbcg ©dialogue. 5 Collection at Windsor. No. 29 of Chamberlaine's " Imitations of " Holbein's Drawings." Canvas, \6\in. x 12^ in. 5. Thomas Wriothesley, first Earl of South- ampton, K.G. ^.1500-1550. p ain t e r unknown. Lord Chancellor, 1 544-7 ; created Earl of Southampton, 1 547. Ancestor of Rachel, Lady Russell (182). Rather smaller than life : to the waist. Head thrown back. Face seen in three-quarters to the left. Small plain black cap ; light yellow beard. Black mantle faced with ermine. Oval Badge of the Garter hanging in front by a gold chain. A shield of arms, with those of Wriothesley in the first quartering, enclosed within a garter, surmounted by an earl's coronet, is in the upper left-hand corner. A similar picture, well painted, then in the collection of the Duke of Quecnsbcrry, was engraved, 1794, by E. Harding, for Harding's " Biographical Mirror." A small portrait also appeared at the South Kensington Exhibition of Miniatures, 1865, No. 2093 of the catalogue, con- tributed by the Earl of Shaftesbury. Panel. 2l\in. x i6£ in. 6. John Russell, first Earl of Bedford, K.G. Died l 555- Holbein. Born before i486. Son of James Russell, Esq., of Kingston Russell. Was employed on several diplomatic missions abroad, and was present at the battle of Pavia, 1525. Created Baron Russell of Chcyneys 1539, and a K.G. the same year. Lord Keeper of the Privy Seal from 1543 to 1553. He was joint executor to King Henry VI I L Created Earl of Bedford, 1550. Married, 1526, Anne Sapcote, widow of Sir John Broughton and of Sir Richard Jerningham. A bust portrait. Face nearly in profile to the left. Black cap with flap covering the ear. White eyebrows, beard, and moustaches. Collar of the Garter lying over his black robe. The pendent jewel of the horseman is very small. The device is not encircled by the Garter. 6 Period of John, First Earl, to 1555. The original drawing for this portrait by Holbein is in the Royal Collection at Windsor Castle. No. 63 of Chamberlaine's " Imitations of Holbein's Drawings." The drawing is inscribed " J. Russell. L d- Privy Seal, with one " eye." Engraved by W. Ho//, in Lodge's Portraits, plate 26. Mentioned by Pennant, ^to, page 366. Wiffen, No. ccv. Oak panel. \\\ in. x \\\in. 7. THE SAME PERSON. Painter, unknown. Life size, half-length, seated full-face in a red square-backed chair, with gilt knobs, resting his elbows on the curved framework, formed in front like the classic sella curulis. Plain black cap. Long white double-pointed beard. Both hands seen, the left grasping a black sceptre or wand as Comptroller of the Household to Henry VIII. Collar of the Order of the Garter with badge suspended round neck. Inscribed: " A" - Dni. 1555." The light is admitted from the right side. A defect in his right eye is clearly perceptible. Red drapery spread over the knees. Engraved by Hoiibraken, p/ate 9 of Birclis " Lives of " Illustrious Persons!' Engraved by T. A. Dean, in Wiffen s "House of " Russell" vol. i. p. 372. Wiffen, No. ii. Panel. 2*j\in. x 2\\in. 8. THE SAME PERSON. Painter unknown. Very similar to the preceding, but with a still older countenance. He wears a black hat with cylindrical crown and a curiously curved brim. The back of the chair is scarlet, the top of the sceptre more elaborated, and no collar or indication of the Order of the Garter. Light admitted from the right-hand side. Timidly painted, as if by one accustomed only to miniature painting. Pennant, in his " Tour in Scotland," vol. ii. p. 321, speaks of a portrait of the first Earl of Bedford at Lumley Castle, " engraven among the illustrious heads," probably meaning to imply that the picture there is similar to the one in this collection. Oak panel. 6 in. x 5 in. £3of>tmt glbbee fafalogtte. 7 9. A Young Nobleman (unknown), K.G. Painter unknown. Bust picture, small size. The face turned in three-quarters towards the left ; dark eyes, beardless, pale complexion. Black hat, white feather, plain ruff, black dress, and mantle faced with grey ermine. The badge of the Order of the Garter suspended by a ribbon on his breast. Costume, time of Queen Elizabeth. Wiffen, No. xviii. Panel. i6£ in. x 12 in. 10. Edward Courtenay, twelfth Earl of Devonshire. 1526-1556. Called the White Rose of York. Painted in the style of Sir A. More, probably by Himself. Born about 1526. Son of Henry Courtenay, eleventh Earl of Devonshire, and Marquess of Exeter, who was beheaded in 1539. Imprisoned in the Tower from 1539 to 1553, when he was re- leased and restored to the Earldom of Devonshire by Queen Mary ; committed again to the Tower in 1 554 on suspicion of im- plication in Wyat's rebellion ; removed to Fotheringay, whence he received freedom through the intercession of Philip of Spain ; died at Padua 1556 Walpole, in his " Anecdotes of Painting," on the authority of Strype, introduces Courtenay as a proficient artist. A noble figure, with bare head and full brown hair, he size of life, seen more than half-length, turned somewhat to the left, rests his hands on the battlements of a wall between which he stands. His eyes are fixed on the spectator. Light forked beard, small ruff, plain black dress with white sleeves. The ruined tower of a circular castle is immediately behind him. Extremely well painted, and, if the work of an amateur, it is quite equal to the skilful works of Sir Nathaniel Bacon, half brother to Lord Verulam, at Gorhambury, who likewise devoted himself to the art as a recreation at a somewhat later period. The picture belongs to the school of Sir Antonio More. On the dark wall to the left, and in sloping letters according to the perspec- tive of the surface on which it is supposed to be written, is the following : — " En ptter, ac insons et ad hue juvenililms aunt's. " Annos bis septem careere elausus eram. " Me pater his tenuit Vine/is, Que ($\c)Jilia solvit, " Sors mea sie tandem verlitur a Superis." 8 Period of John, First Earl, to 1555. Inscribed below, in the right-hand corner, s See Pennant, 4to ed., page 349. Wiffen, No. cclxvi. Described by Walpole as at Woburn Abbey in 1762 ; and engraved for his " Anecdotes " by Chambars, and again for Dalla- way's reprint in 8vo, by W. H. Worthington. See Granger, vol. i., p. 190. A copy of this picture, taken by Walker, of Margaret Street, London, for the Earl of Devon, is now at Powderham Castle. In 181 2 Henry Bone exhibited an enamel from this por- trait at the Royal Academy, No. 408 of the catalogue. The following account, written in a comparatively modern hand, is on a paper pasted on the back of the picture : — " Edward Courtenay, third of that name, Earl of Devonshire " and Marquess of Exeter, son and heir to Henry, Marquess of " Exeter, was born about the year 1526; and when his father " was beheaded (he being then but twelve years old), lest he " should raise commotions by revenging his father's quarrel, was " committed to the Tower ; and there he continued as long as " King Henry lived. " King Edward VI. was crowned 20th February, I 546, and " the same day there was proclaimed a general pardon of all " manner of persons excepting six, one of whom was the Lord " Courtenay ; so that this young lord was then continued a " prisoner, and so remained all the days of King Edward VI. " But in the year 1553, August 3rd, Queen Mary went to the " Tower and set him at liberty, together with many others who " were there prisoners with him ; and the next day Edward " Courtenay was made Earl of Devon and Marquess of Exeter. " September 28th, the Queen made fifteen Knights of the " Bath : the first was the Earl of Devonshire ; and the Queen " not only advanced Lord Courtenay to those titles of honour, " but also to so much of his father's possessions as remained in " her hands. "gSobum «Il£>bcB Catalogue. 9 " During the sitting of the Parliament in the first year of the " Queen's reign, she was desired to marry, and three persons " were nominated to her, of different qualities, that she might " please herself in the choice of one. That is to say, the Earl " of Devonshire, Reginald Poole, a Cardinal of the Church of " Rome, and Philip, the eldest son of Charles the Emperor. The " Duke of Devon was much in the Queen's favour ; but he being " sounded afar off, had declined the matter, and made his " addresses with more than ordinary concern to the Lady Eliza- " beth. And Cardinal Poole being now grown pretty old, she " chose to marry Prince Philip, the Emperor's son. " In the beginning of January, the Emperor sent ovcrambas- " sadors to conclude the match, which was generally disliked, " and was the occasion of the rising of the Duke of Suffolk, Sir " Thomas Wiat, and Sir Peter Carew : but as Sir Peter Carew " was carrying on his design in the West, it was discovered. The " Earl of Devonshire and the Lady Elizabeth were suspected of " the plot, as if the rising in the West had been set on by the " Earl, with design, if it had succeeded, to have married the " Lady Elizabeth, and put her in the Queen's room. He was, " therefore, sent prisoner to the Tower on the I2th day of " February, 1554. And on the 25th of May following, he was " removed to Fodringham Castle, in Northamptonshire. " The next year, 1555, after he had lain almost a year in " prison, he was set at liberty, and came to Court, where, finding " he was to lie under perpetual distrust, and having obtained " leave of the Queen to travel, he passed the seas, crossed " France, and came into Italy ; and being at Padua he sickened, " and fourteen days after his sickness took him, he died, October " 4. 1556. " He was the twelfth and last Earl of Devonshire of that noble " family, second Marquess of Exeter, and fifteenth Baron of " Okehampton." Panel. 41 £ in. x 30 in. C TO Period of John, First Earl, to 1555. ii. Queen Mary I. 1516-1558. Sir Antonio More . Daughter of Henry VIII. and Catharine of Aragon. Succeeded to the Throne 1553; married Philip II. of Spain 1554. Half-length figure, the size of life, turned slightly towards the left, the hands joined in front of her waist, wearing a close fitting black dress, and high open collar, with fur at the elbows, yellow undersleeves worked with brown lines and puffed with white, and a French hood with small veil. No gilding on the picture. Rich dark plain blue background. Inscribed in capitals to the right of the head, as here copied : — AN 01,1 A F/?AJV C/Ag RteEKlMfA i£ TAT/5 SVE 4-2 A similar figure to this occurs in a picture at Althorp, repre- senting the Princess Mary seated by her father, with Somers, the jester, in attendance. Another picture of the Queen at Windsor Castle is very similar, but the hands are differently placed. Waagen (vol. iv., p. 336) says of this picture, "Very true and " careful." Wiffen, No. cclxviii. Panel. 27 in. x 21 in. 12. Queen Mary I. and her Husband, Philip II. of Spain. , . „ Lucas cte Heere. Philip, son of the Emperor Charles V., was born 1527. His first wife was Mary of Portugal. He married Mary of England 1 554 ; and finally quitted this country in 1555. He died 1598. Small, whole-length figures in a square, gloomy apartment, paved with roundels of red and green marble. Through a small square casement window, in the centre is seen a distant view of St. Paul's and the river Thames. A large cushion fills the sill of the window. On either side is a throne, or curule- shaped chair, with a square back and gilt balls, surmounted by a canopy of state embroidered with a crowned shield of arms. That to the left, facing the spectator, bears the coat of Spain, whilst the one to the right, seen side- ways, being placed against a different wall of the apartment, displays the arms of England, in a framework and wreath of fruits on gold ; but without any heraldic supporters. The Queen is seated, and turned somewhat to the left, holding a pink rose in her right hand, and her gloves in the left. Her eyes are fixed on the spectator. She wears a deep blue velvet dress, open in front, showing a wide- spread skirt of gold stuff, decorated with a brown scroll-pattern, having a long pendant cord of pearls and jewels hanging from her waist. Philip stands by the side of his chair, resting his right hand on one side of it, and holding a glove in the left. He wears a black cap, a short black dress and mantle, with close-fitting pale yellow sleeves and hose. The Garter, of a faded blue, is below his left knee, and a diminutive toison (Tor is suspended by a slender gold chain round his neck. Two very small dogs, with long ears and bead or bell-collars round their necks, crouch at the Queen's feet. The floor is destitute of carpets or foot- stools, and the thrones have no steps to raise them. The heads of the figures are comparatively large, and the legs of Philip are remarkably diminutive. The accessories are profusely gilded, but no gilding upon the jewellery. Inscribed in gold capitals on the dark wall in the centre, above the window : — A° 1668 ETANNlS RBQUO^ PHI , HFGlSrETATIS SWE 55. A spirited drawing, by Holbein, of this nobleman when young is in the Royal Collection, and one of the finest of the series. Engraved by Cooper. (Ketel, the artist of this picture, also painted portraits of Henry Fitzalan, Earl of Arundel, in the collections of the Duke of Norfolk and the Marquess of Bath.) Panel. 26 in. x 20\ in. 24. The same Person. c Ketel Half-length figure : seated. Hair and moustaches white. The face, older than the preceding, is seen in three-quarters towards the left. A jewelled black cap covers the ears. The ruff also is larger ; both hands are seen, and gloves held in the left. Embroidered or braided official robe, with hanging ^Sobunt Qbbcs §ataloquo. 19 sleeve, resting on arms of a green chair with square back. Collar of the Garter. The horse in the pendent jewel gallops to the left, the reverse way of the one in preceding picture. St. George here raises a sword. A portion of the Earl's right leg, covered with yellow hose, is here visible, but has been omitted in the engraving. Engraved by J. Jenkins for Lodge's Portraits, vol. iii.. plate 48. Pennant, 4to, page 365. Panel. 35 in. x 29 in. 25. Lady Elizabeth Fitz-Gerald, Countess op Lincoln, i 528-1 589. French artist of tlie School of Clouet. ^ d.j\s<-l . fc^- ^ Third wife of the preceding. The " Fair Geraldine " of Surrey's ^ . poetry- Daughter of Gerald Fitz-Gerald, ninth Earl of Kildarc. Their ancestors were supposed to have been descended from the Gcraldi of Florence (see Nott's edition of the Works of Surrey, page cxviii). Born at Maynooth Castle i 528 ; attended the Lady Man-, daughter of Henry VIII. Her mother was daughter to Thomas Grey, Marquess of Dorset, half brother to Elizabeth of York. Miss Aikin, in her " Life of Queen Elizabeth" (ed. 1819), vol. i.. p. 33, gives the following account: "Elizabeth Fitz-Gerald " coming to England, appears to have received her education at " Hunsdon Palace with the princesses Mary and Elizabeth, her " relations. Here she was seen by Henry Earl of Surrey, whose " chaste and elegant muse has handed her down to posterity as " the lovely Geraldine, the object of his fervent but fruitless " devotion. She was married first to Sir Anthony Brown (1543). " and afterwards (1552) became the wife of the Earl of Lincoln, " surviving by many years her noble and unfortunate admirer " (the Earl of Surrey)." She erected a sumptuous monument to the memory of her husband in St. George's Chapel, Windsor, where both their effigies may be seen. To the waist ; face seen in three-quarters turned towards the left ; small yellow lace ruff, fitting close to the cheek, light brown hair, close red cap, 20 Period of John, First Earl, to 1555. decorated with pearls. A cross suspended on the neck. Black dress, trimmed square, and ornamented with grey braids and white puffs. A youthful pleasing countenance. Plain dark background. The picture is French in character, and resembles some of the early portraits of Queen Elizabeth, especially one in the National Portrait Gallery, and also the profiles on the coinage. It was probably painted about the year 1560. Pennant, (4to, page 366,) observes, " her face, a proof how much " depends on fancy." Pennant, in his " Tour in Scotland," vol. ii., page 320, mentions a portrait of the Countess of Lincoln, dated 1560, at Lumley Castle, " in a singular dress of black and gold, " with a red and gold petticoat." He describes her as " ill " favoured," and adds, " Her portrait at Woburn represents her an " object worthy the pen of the amorous Surrey." Walpole in his "Anecdotes," edited by Dallaway and Wornum, page 157, inclines to attribute this portrait to Ketel rather than to De Heere. An interesting account of this lady has been printed at Dublin under the title of " A Brief Memoir of the Lady " Elizabeth Fitzgerald, known as the Fair Geraldine," by the Rev. James Graves, Hon. Sec. to the Royal Historical and Archaeo- logical Association of Ireland. 8vo, 1874. This picture is referred to by Dr. Nott, in his "Memoirs of the " Earl of Surrey," page cxxix, note, and he also states that an engraving from it was given in an edition of Tottel's " Songs and "Sonnets," published in 1814. Panel. 17 in. x 13 in. 26. Lady Anne Ayscough. „ . , Painter unknown. Eldest daughter of the first Earl of Lincoln (No. 23) by his second wife Ursula. Wife of Sir William Ayscough of Kelsey, Lincolnshire, knight. A small picture. Seen to the waist, face turned in three-quarters, and looking towards the left, wearing a curious white gauze cap over rich auburn hair. Gauze ruff, edged with lace, partly hiding the cheek, white dress, with gold studs and black pattern. Rope of pearls looped up on the breast by a large circular enamelled brooch of various colours. Back- ground pale blue. Inscribed in very small characters along the top of picture, close to the frame, A" dni 1577. ^Soburn Jlfrfceg Catalogue. 2 I Walpole, in his " Anecdotes," edited by Dallaway and Wor- num, page 157, note, inclines to attribute this, like the preceding picture, to Ketel. Pennant, 4to, p. 371. Oak panel. 13^ in. x io| in. 27. William, Prince of Orange, surnamed "the "Silent." 1533-1584. MirevMt . 1 Founder of the Dutch Republic ; born in Germany ; united with Counts Egmont and Horn, in strenuous opposition to the tyranny of Philip II. and his minister, Cardinal Granvelle ; he was as- sassinated at Delft by Balthasar Gerhard ; interred with almost regal honours at Delft. To the waist. Close-fitting skull cap, worn face, ruddy complexion, and grey close-cut beard ; seen in three-quarters to the right. Plain round ruff; black gown, embroidered with gold, and faced with brown fur. The white tassels of his ruff are crossed in a peculiar manner on the breast. A similar picture is engraved by Tanje. There is a portrait of William the Silent in the Royal Collection at Hampton Court, No. 923 of the catalogue. See also an engraving in the " Nasso- " vischen Oraignicn-boom," Plate I. Canvas. 2i\in. x iS^ in. 28. Francis Russell, second Earl of Bedford, K..G. 1527 '5 5* Painter unknozvn. Succeeded his father (No. 6) when twenty-seven years of age. Espoused the cause of the Princess Mary against the Lady Jane Grey; distinguished himself at the Battle of St. Quentin, 1557 ; was constituted Governor of Berwick-on-Twced and Warden of East Marches towards Scotland 1 564 ; elected K.G. the same year ; employed to negotiate for a marriage between Mary Queen 1 The inscription on his monument at Cheneys says : died July, 1585, in the 58th year of his age. 22 Period of Francis, Second Earl, to 1585. of Scots and Robert, Earl of Leicester ; stood proxy for Queen Elizabeth at the christening of James I., 1566. He was god- father to Sir Francis Drake. This Earl was a person of such great hospitality, that Queen Elizabeth used to say of him that he made all the beggars. Died at Bedford House, in the Strand. He married first, Margaret, widow of Sir John Gostwick, and daughter of Sir John St. John, of Bletshoe ; and secondly, Bridget, daughter of Lord Hussey of Sleford, widow of Sir Richard Morison, and Henry second Earl of Rutland. 1 Bridget, Countess of Bedford is buried under a stately monument at Watford in Hertfordshire. A small round picture in a circular frame. To the waist, face seen in three-quarters to the left. Brown, double-pointed beard, black cap, over grey flaps covering ears. Plain grey square-cut collar, black dress, mantle faced with broad white fur, over which lies the collar of Garter, without any pendent device. A mellow and very well finished picture. No gilding on it. Circular Panel. 1 foot diameter. Holbein drew the portrait of the second Earl when about twelve years of age, viewed in full face, wearing a cap. It is among the Holbein drawings at Windsor, No. 46 of Chamber- laine's " Imitations of Holbein's Drawings." 29. The same Person. f Z ucharo. A half-length figure, the size of life, in a cloak trimmed with white fur, turned in the same direction as the preceding ; but considerably older, and more dignified and portly in appearance. Eyebrows and moustache white ; forked beard of the same colour, leaving the chin round and bare. His square collar is edged with lace. Plain black cap. The collar of the Garter lies over the fur trimming of his cloak. A small pearl hangs from the device of St. George and the Dragon. St. George raises a sword in his right hand and grasps a lance with his left. A mellow picture, full of character. In good preservation. Engraved, the reverse way, by Houbraken, 1740, No. 19 of Birch's " Lives of Illustrious Persons!' Panel. 26 in. x l8i in. 1 See No. 76, page 55. 23oburrt Qbhcv QataloQiic. 23 30. Edward, Lord Russell. Painter unknozvn. Eldest son of Francis, second Earl of Bedford. Born 1 5 5 1 . But few particulars of his career are known. He married Jane Sibilla Morison, daughter of Sir Richard Morison and Bridget Lady Morison (who afterwards became his step-mother as Countess of Bedford, 1 ) and left no issue. He died before his father, but the date of his death is not recorded. His widow afterwards married Arthur, Lord Grey of Wilton. A half-length standing figure, the size of life ; youthful face, with a slight beard, in white silk dress, black cap and grey feather ; plain ruff, fitting close to cheek, with a black and gold mantle. Through a square window, to the left, is seen a garden, with a circular labyrinth, in which walks a man wearing a Spanish cloak. Under the window is written in white capitals, FATA . viam . invenient. Lord Russell grasps with his right hand four serpents, two of which hold a label in their teeth inscribed fides . homini . serpentibus. FRAVS. On the upper right-hand part of the picture is inscribed the date 1573. JE r sv/e 22. The date here given is against the probability of the picture being painted, as some have suggested, by Zucharo, who did not arrive in England till 1574. See Walpole's Letters to the Countess of Orrery, dated September 30, 1 791. Pennant, 4to, page 369, calls this a "small full length." Panel. 32 in. x 23 in. 31. Sir Francis Russell. 2 Died 1585. Painter unknown. Third son of the second (No. 28) and father of the third Earl of Bedford (No. 71). Served under the Earl of Sussex in his ex- pedition against the Scotch borderers in 1570, and greatly dis- tinguished himself at the storming of Edinburgh Castle in 1 573. He was slain in a Border fray, July 27, 1585, the day before his father's death, and was buried at Alnwick. 1 See No. 76, page 55. -John Russell, second son of the second Earl of Bedford, married Elizabeth Cooke, widow of Sir Thomas Hoby. John, Lord Russell was summoned by writ as Baron of Par- liament in his father's lifetime. He died in 1584, and was buried in Westminster Abbey. He is not represented in this collection. 24 Period of Francis, Second Earl, to 1585. He married Juliana, daughter of Sir John Forster, of Alnwick Abbey, Warden of the English Middle-Marches on the Border. She died before her husband. Companion picture to the preceding ; exhibiting, in like manner, the Italian style of allegory so prevalent at this peiiod. A youthful half-length figure, the size of life, standing to the left, smooth face, wearing black cap and black feathers, white silk dress, with small white ruff, and black mantle embroidered with gold. His right hand at his waist. Through a square window, to the left, a ship is seen sailing. On the opposite side, through a similar window, appears a woman seated in an open plain surrounded by serpents. Pennant, 4to ed., page 369, attempts a solution of the allegory. Panel. S3 in. x 23^ in. 32. Margaret Russell, Countess of Cumber- land. 1 560- 1 6 1 6. Painter unknown Sister of the preceding. Third daughter of the second Earl of Bedford. Born at Exeter. Married, 1577, to George Clifford, third Earl of Cumberland. Their daughter, Anne Clifford, oc- cupies a prominent place in the history of her time (see No. 157 in this collection). Buried at Appleby. A bust picture, the size of life ; face seen in three-quarters to the left. High black dress. Close-fitting yellow jewelled cap or caul on her head. Dark brown hair. Plain large ruff close to the cheek, and a square-cut gauze collar beneath it. Three rows of pearls suspended in front of her black dress ; rich ■ jewel pendent from her neck between the gauze collar. Pennant, 4to, page 373. There is a striking full-length portrait of this lady with her husband and two sons in the large family picture at Skipton Castle, the residence of Lord Hothfield. It was painted for her daughter, the Countess of Dorset, Pembroke, and Mont- gomery, as a memorial. There are long inscriptions, giving biographical records of the persons represented, on the surface of the picture. Part of that relating to the Countess of Cum- berland is as follows : — " Shee was of a great naturall wit and judgement, of a swete " disposition, truly religious and virtuous, and indowed with a ■pofhrnt &bhc-Q Catalogue. 25 " large share of those 4 moral virtues, Prudence. Justice, Fortitude, " and Temperance. The death of hir two sonnes did so much "afflict hir as that ever after the booke of Jobe was hir dayly " companion. Shee died in her castle of Bromeham, in Westmor- " land, in hir widowhood, 24th May, 1616." — Whitaker's " History " of Craven," Lond. 4to, 1805, page 241. A portrait, to the waist, of this lady, painted in 1585, when she was 25, is at Gorhambury, and bears a close resemblance to that in the large picture at Skipton Castle. It has been engraved by J. Caldwall for Pennant's " Journey from Chester to London," 4to, page 246. In the subsequent edition of 181 1 the plate was reduced in size and a false inscription added to it, stating that the original was at Woburn.- In a curious Memoir, written by her daughter Anne, Countess of Dorset and Pembroke, frequent reference is made tocher mother, whom she held in high veneration. (See No. 157.)* Her monument, with effigy, in Appleby Church, is engraved in Pennant's " Downing to Alston Moor," page 144. Her daughter erected an octagonal column, with sundials and armorial bearings on the upper part, on the high road, to mark the spot on which she took leave of her mother. It is known as " Anne Clifford's Column," and is engraved in Pennant's "Tour from Downing to Alston Moor," London, 4to, 1801, page 1 54. The inscription runs thus : — "This pillar was erected, anno 1656, by the Right Hon. Anne " Countesse Dowager of Pembroke, and sole Heir of the Right Honour- "able George Earl of Cumberland, &c. For a memorial of her last " parting in this place, with her good and pious Mother the Right " Honourable Margaret Countesse Dowager of Cumberland, The second " of April 1616, in memory whereof she hath left an annuity of £4 to he "distributed to the poor of the parish of Brougham every second day of " April for ever, upon the stone table placed hard by. Laus Deo ! " " That modest stone which Pembroke reared ; " Which still records, beyond the pencil's power, " The silent sorrows of a parting hour ; " Still to the musing pilgrim points the place " Her sainted spirit most delights to trace." Rogers, Pleasures of Memory, p. 34. E Period of Francis, Second Earl, to 1585. The inscription placed on the monument by her daughter in Appleby Church has the following lines : — " Who faith, love, mercy, noble constancy " To God, to virtue, to distress, to right, " Observd, express'd, shew'd, held religiously, " Hath here this monument. Thou see'st in sight " The cover of her earthly part ; but, Passenger, " Know, Heaven and Fame contain the best of her." Panel. 2o\ in. x 1 5 in, Anne Russell, afterwards Countess of Worcester. Died 1639. MarcGhuraedts. As a child. Grandchild of the second Earl of Bedford, and daughter of his second son, John, Lord Russell, who was buried in Westminster Abbey, 1584, and Elizabeth Cooke his wife, sister to Lady Bacon and Lady Burghley. See ante, No. 18. Married Henry, Lord Herbert, son of the Earl of Worcester, at Blackfriars, 1600. She was buried at Ragland. Lord Herbert succeeded his father in 1628, and, after his wife's death, was created Marquess of Worcester, 1642. A full-length figure, the size of life, turned towards the right, standing on a plain boarded floor, with a coral rattle in her right hand. Scarlet dress, with white sprig pattern on it, and a broad white muslin apron in front. Her square- cut lace collar is wired and fits close to the face : she also wears a muslin veil, partly covering the forehead. The feet are not seen. An extremely well painted picture. Queen Elizabeth was present at the wedding at Blackfriars and her arrival at Lady Russell's house, borne in a litter, previous to the ceremony, forms the subject of a curious historical painting preserved at Sherborne Castle. This has been engraved by Vertue and erroneously described by him as the Queen's visit to Hunsdon House. In that picture the figures are all full length, and in the gayest possible costumes. The bride appears conspicuous among the ladies following the royal litter. See an essay on the subject by the writer of this Catalogue in the Journal of the Archaeological Institute, vol. xxiii., p. 131. The ceremony is described by Wiffen in his " Memoirs of the House of Russell," vol. ii., p. 57. 27 Lady Russell, in the dedication of her translation from the French of a small religious work, printed 1605, addresses it as a New Year's gift to " her only daughter Anne Herbert, wife to the " Lord H. Herbert," with the following lines : — "IN ANNAM F I LI AM. " Ut veniens annus tibi plurima commodet, Anna, " Voce pia Mater, supplice mente, precor ; "Ut valeat pariterq; tuo cum conjuge Proles, " Officiis junctis, vita serena fluat. " Elizabetha Russella Dowager ; " which Ballard, in his " Memoirs of Learned Ladies," 4to, Oxford, 1752, page 199, thus renders : — "TO HER DAUGHTER ANNE. " That each new year new blessings Anne may bear, "Thy tender mother breathes her pious pray'r. "Blest be thy husband, blest thy offspring be, " And all thy days from ev'ry ill be free." It is remarkable that there is no portrait of her father, John, Lord Russell, in this collection. His effigy in peer's robes appears on the monument in Westminster Abbey. Panel. 30 in. x 28 in. 34. Sir Philip Sidney. 1554-1586. Probably painted by Zucharo. Eldest son of Sir Henry Sidney, of Penshurst. His mother was Lady Mary Dudley, sister of the Earl of Leicester. He was appointed Governor of Flushing in 1585, and died of his wounds received at the battle of Zutphen. His " Arcadia " was published after his death, in 1 590. Sir William Russell (No. 53), brother of the third Earl of Bedford, attended Sir Philip on the field of battle, who bequeathed to him, as his dear friend and comrade, his best gilt armour. Sir William succeeded Sidney as Governor of Flushing. For an account of the friendship existing between Sir William Russell and Sir Philip Sidney, see Wiffen's " Russell Memoirs," vol. ii., p. 3. 28 Period of Francis, Second Earl, to 1585. It is recorded that Sir Philip sat at Venice to Paul Veronese ; but the picture is no longer known to exist. 1 Half-length standing figure ; the size of life. Face turned in three-quarters towards the right. Large ruff, fitting close to the cheeks, black steel gorget. Body and sleeves of a pale yellow, or cream colour. Trunk hose black, corded with yellow. Right hand on hip. Silver hilt of sword in his left. Plain dark brown background. Inscribed in yellow capitals along the top of the picture, towards the left, (This is the age at which he died, and fixes the date of the picture 1856) ; and on the grey background in yellow letters, This portrait certainly represents Sidney at an earlier period of life than that indicated on the picture. We here see a beard- less young man, apparently not more than twenty ; whilst there exist in the Royal Collection at Windsor and at Cobham Hall authentic portraits of the hero, at a later age, with more developed features and strong indications of a beard. A similar picture to the Woburn portrait is at Penshurst ; but it is dated ten years earlier, " 1577, aet. 22." 2 It is quite possible that this picture has its origin in the portrait painted by Paul Veronese above mentioned. Sidney quitted Venice in the summer of 1574. In 1 8 1 2 Henry Bone, R.A., exhibited an enamel from this portrait at the Royal Academy, No. 402 of the catalogue. Engraved, without the inscriptions, and not the whole picture, by E. Scriven, in Lodge's " Portraits," vol. iii., pi. 49. A similar picture is at Longleat. Another portrait, engraved by Houbraken, in Birch's " Lives," pi. 88, belonged in 1743 to Sir Brownlow Sherrard, Bart. Fh \upvs "Sybme ws Pennant, 4to, page 350. See the " Life of Sir Philip Sidney," by Julius Lloyd, 1862, p. 34. - The Penshurst portrait was purchased many years ago, by the present Lord De Lisle of a dealer named White, in Brownlow Street, Holborn. 29 A picture closely resembling the one at Woburn is at Warwick Castle ; but the colour of the body and sleeves is black striped with yellow. The Chesterfield portrait, as quite a young man, is engraved in the " Herwologia," page 70. Oak panel. 44 in. x 32^ in. 35. Titian, accompanied by two other Painters. 1477-1576. Titian, or more properly Tiziano Vecellio, was born at Capo del Cadore ; studied, together with Giorgione, under the Bellini ; painted the Emperor Charles V. at Bologna in 1530, who created him a Count Palatine of the Empire and Knight of the Order of t£o 0w» St. Iago. Died at Venice of the plague, aged ninety-nine years. Half-length figures, the size of life. Titian, in the middle, looking up to the right, holds a paper with both hands on a table before him. He wears a black skull-cap, his dark mantle is faced with brown fur. The light is admitted from the right-hand side. His companions, one on each side of him, supposed by some to represent Paul Veronese and Tintoretto, but varying from their authentic portraits, look over his shoulders directly at the spectator. The figure to the right is mo like Morone, and the one on the left may be Tintoretto. Purchased by G. Hayter at Benjamin West's sale for the Duke of Bedford. Mr. Hayter related that Mr. West once said to him, " If I look at that picture before I go into my painting- " room, I feel almost ashamed to take up my palette." Gait states, in his "Life of West," London, 18 16, Part I., page 130, that West devoted much care and attention towards ascertaining the peculiar method adopted by Titian which so pre-eminently distinguished his painting, and particularly to obtain the secret of that " internal light " for which Titian was so celebrated. The principal figure is taken from the well-known portrait of Titian in the Gallery of Painters at Florence. See " Galleria di ' Firenze " (Ritratti, vol. i., tav. 13). A similar figure, with only one companion, is in the collection at Cobham Hall. The portrait of Titian was not unfrequently combined with 30 Period of Francis, Second Earl, to 1585. those of other artists in the same picture. Thus in the famous Marriage at Cana, by Paul Veronese, in the Louvre, the musicians grouped in the centre are all recognisable as the leading painters of his day. A curious picture belonging to the Earl of Yarborough, " Christ driving the Money-changers from the Temple," painted by II Greco, has also the bust portraits of Titian, Michel Angelo, Raphael, and Paul Veronese, introduced as half-length figures, in the foreground. Titian's own head, by himself, appears in combination with a very fine portrait of the Chancellor Franceschini at Windsor Castle. It is described in the catalogue of pictures belonging to King Charles I. in 1639. Wiffen, No. clxiv. Canvas. 32 in. x 32 in. 36. Male Portrait. Erroneously called Titian. A square picture. Face three-quarters to the left ; looking at the spectator. Dark hair and beard. Black dress, deep brown shadows. Canvas. 33 in. x 26 in. 37. Paul Veronese (Paolo Caliari). 1528- 1588. By his son, Carlo Caliari. Born at Verona. His father, Gabriele, a sculptor, first instructed him in the art. Resided principally at Venice, where he was regarded as the rival of Titian. A standing figure, the size of life, half-length, turned in profile to the right, with full grey hair and beard. In the front, on a table covered with a carpet, lie fragments of antique sculpture ; on one of these, a male head, the painter rests his right hand. The left holds a palette and brushes. He wears a long furred robe. A fine piece of landscape is seen to the extreme right, beyond the base of a column. His mahl-stick projects darkly against the pale sky. At his neck is a double eagle imperially crowned. Among the sculptures on the table is a cast of a large hand grasping a serpent, like that of Laocoon. An admirable picture. Dr. Waagen (vol. iv., page 336) says : " the noble features are admirably conceived. ' Canvas. 42 in. x 39 in 'poburtt $6E>eg § afcriocjue. 3i 38. Tintoretto (Jacopo Robusti). 15 12-1594. By himself. The son of a dyer. Born at Venice. Remarkable for the rapidity and vigour of his execution. His daughter was an excellent portrait painter. A youthful portrait, half-length, standing figure, in black dress, face turned in three-quarters, looking towards the right. His right hand is extended in the opposite direction, and his left resting on the hilt of his sword. A square doorway appears in perspective in the background to the right. A curtain to the left. Dr. Waagen (vol. iv., page 336) says, " The features of the face " appear much nobler than in the portrait which represents him " an aged man. Admirably coloured, and very carefully executed." Canvas. 43 in. x 38 in. 39. Robert Dudley, Earl of Leicester, K.G. '53^ 15 • Painter unknown. The well-known favourite of Queen Elizabeth, and rival of Walter Devcrcux, Earl of Essex, and Radcliffe, Earl of Sussex. Died at Cornbury. Small square picture, to the waist. Face three-quarters to the left, dark hair and grey eyes, ruddy complexion, dark beard and moustaches. 'White under-vest striped with gold Black cap with gilt band. Small square laced collar. Dark brown-furred mantle. Jewel of Garter, suspended by a blue ribbon, on breast. Naunton, in his " Fragmenta Regalia," page 99, thus describes him : " He was a very goodly person, tall, and singularly well- " featured . . . but towards his latter, and which with old men "was but a middle age, he grew high coloured." In Naunton's account of Radcliffe, Earl of Sussex, page 103, he quotes his dying words : " but beware of the gypsy (meaning Leicester), for he " will be too hard for you all." Panel. \6\ in. x \2\ in 32 Period of Francis, Second Earl, to 1585. 40. Ambrose Dudley, Earl of Warwick, K.G. *53* 1589* Painter unknown. Fourth son of John Dudley, Duke of Northumberland, and brother of Robert, Earl of Leicester, and Lord Guildford Dudley, the husband of Lady Jane Grey. He fought in the Spanish service at the battle of St. Quentin, and was subsequently taken into favour by Queen Elizabeth, who restored him in blood and raised him to the peerage in 1 56 1 . He conducted, with great bravery, the defence of Havre, in the interests of the Huguenots, and there, in 1 563, received a wound in the leg from a poisoned bullet which eventually caused his death. He married, as his third wife, Lady Anne Russell, eldest daughter of Francis, second Earl of Bedford, who survived him. He was buried at Warwick. A bust picture, face three-quarters to the left. Light yellow thick mous- taches and closely trimmed beard. Black cap, with jewel at the side and flap descending to the ears. White lace ruff, with short cords and tassels, fitting close to the chin. Yellow brown eyes fixed on spectator. Black dress faced with brown fur, over which is the collar of the Garter, having a small pendent group of the usual figures in pale yellow, in which the horse appears galloping to the left. Brilliant grass-green background. An effective and richly-toned picture. Oak panel. 15 in. x \o\ in. 41. Anne Russell, Countess of Warwick. Painter unknown. Third wife of the preceding. Eldest daughter of Francis, second Earl of Bedford. Died February 3, 1604. To the waist, face three-quarters to the left, wearing a black French hood with an arch of jewels over it. Black dress with white lace ruff close to the face. Large open black-worked collar and collar of jewels inside dress, below neck. Pendent jewelled chains hung in festoons, and attached to a large central jewelled device with three pearls below it. Frequent mention is made of this lady in the curious diary of her niece Anne Clifford, Countess of Pembroke and Montgomery ("No. 157)- See Seward's "Anecdotes," vol. iv., page 302; and Kippis's " Biographia Britannica," s. v. Clifford. Wiffen, No. iv. Panel. 21 in. x i6£ in. ^Sobitrn ^bbcy {Safctfogite. 33 42. The same Person. d . . , ~ Painter unknown. In later age. A half-length standing figure ; the size of life. Radiating tuff of grey lace, open at the neck. Black dress, black beads, the left hand resting on a green-coloured table. The black Chinese fan in her right hand is of the radiating form as in present use, and at that time must have been a great rarity. Inscribed at the top, towards left hand, iETATIS SV/E [age wanting]. A" l60O. Wiffen, No. v. Panel. 45 in. x 33 in. 43 The same Person. D . . , Painter unknown. Half-length ; the size of life. Figure turned towards the left. Black dress, puffed with white and gold tags, white sleeves covered with gauze, chain of pearls WN fashion. French hood, small ruff, worked with black and gold, holding in left hand part of an ornament attached to her waist. Pennant (4to, page 360), observes that the date is 1600. " She " is in her full age, and dressed in black and gold, with white " and striped sleeves." Walpole, in his " Anecdotes," whilst enumerating the works of Sir Antonio More, states that there was a portrait by him of this lady at Drayton House, the property of Lady Elizabeth Germaine. The picture is still there, and belongs to Mr. Stop- ford. Wiffen, No. ccxxx. Panel. 26 in. x 2o\ in. 44. Giles Bruges, third Lord Chandos. 1546- *593 Jerome Custodis, of Antwerp. Son of Edmund, second Lord Chandos, and Dorothy, fifth daughter of Edmund, Lord Braye (she died 1539). He married the daughter of Edward, Earl of Lincoln, and became father of Katherine, wife of Francis, fourth Earl of Bedford (95 and 64). To the waist, the size of life, in a white satin dress and black cloak striped with silver braid, a tall black hat w ith rising ornament at the side of it ; smooth F 34 Period of Francis, Second Earl, to 1585. cheeks, yellowish moustaches, and tuft on chin ; small falling square collar, fitting close to the face. No gilding on the picture. Background plain grey. Inscribed along the top to the right, in sharp black letters, To the left, on a line with the preceding, are fragmentary letters — 5* Pennant (4to, page 371) says : "set. 43, 1589." Engraved by James Stow from a drawing by G. P. Harding. PublisJied by Longmans, 181 5. A similar picture, but showing more of the figure (nearly to the knees, with hand on sword), is at Nuneham Courtenay, Oxfordshire. Wiffen, No. xiv. Panel. 29 in. x in 45, Frances Clinton, Lady Chandos. 1552-1623. Probably by Gheeraedts. Wife of the preceding. At the age of 37. Fifth daughter of Edward, first Earl of Lincoln (No. 23). She was mother of Katherine, Countess of Bedford (98), and Lady Kennedy (68). She died at Woburn, and is buried at Chenies. A half-length standing figure, looking at the spectator, in full black dress ornamented with butterflies and square devices, shaped like altars, in seed pearls. A very striking costume picture. She wears a large radiating lace ruff fitting close to the face. Her white cap is jewelled. Her cuffs also are adorned with gold lace and jewels. The great enamelled device on her right breast includes figures of Saint George and the Dragon and a nude female figure. On her left sleeve, hanging by three chains, is a square framework with figures at the base, apparently Orpheus playing the violin to animals, and Actceon attacked by his dogs. On her cuffs are shields with gilt balls as seen 35 on the arms of the Medici family. A green curtain is gathered up in festoons on the right side behind her. A white feather fan is in her right hand. She holds it downwards. Inscribed, but not in a contemporary hand, in the left upper corner — Frances, daughter of Edward Clinton Earl of Lincoln, and wife of Giles 3rd Lord Chandos. The first two lines are copied from the writing on No. 68. The rest is in completely modern characters. Lady Chandos addressed a letter to Dr. Mounford of Barnet, a physician in attendance upon the Lady Arabella Stuart, which is preserved among the Harleian MSS. Pennant, 4to, page 371. Wiffen, No. xv. Panel. 44 in. x 34^ in. 46. Unknown Portrait. Painter unknot. In black armour. Described by Pennant (4to, page 352), as " A " man, with his jacket grey, breeches red, short hair, and small " beard ; a stick in his hand." Inscribed, — ANN0£)NI,I5^Z . /£TATi>SVyEXXV//V . Half-length standing figure, the size of life, wearing a black gorget and plain square-cut collar, with open neck. Resting his right hand on a walking- cane, and with the left grasping a dagger. A black morion-shaped helmet lies on a green-covered table beside him to the left. His body-dress is grey, his breeches are red striped with yellow, and black armour covers his arms. The face, with aquiline nose and hair rising from his forehead, is very similar to the later portraits of Sir Philip Sidney. Panel. 36 in. x 29 in. 47. Count de Nassau-Uranien Nassau. Painter unknown. Probably John, senior Count of Nassau Dillcnburg, the son of William, senior Count of Nassau in German)-, and brother of 36 Period of Francis, Second Earl, to 1585. William the Silent (No. 27). Born 1535. Established Protestant- ism according to the tenets of Calvin in his dominions. Died 1606. A half-length figure, smaller than life, standing to the left, behind a stone parapet, on which he rests, his right hand holding a letter. He wears a black skull-cap, and a black official dress, braided with grey, with sleeves puffed at the shoulders, having pocket appendages to them. His ruff and ruffles are small and close-fitting. A grey-toned, but very impressive picture. Shield of arms suspended from a lion's head on the wall to the left. The letter in his hand is sealed with red wax, and inscribed with one word, Pennant (4to, page 353) describes the picture as follows : — "A " strange figure of a man, in black, half length, in a close black " cap, and a letter in his hand, directed to Pr. de Nassau." He wears an Elizabethan ruff. Wiffen, No. ccx. Panel. 2\\ in. x i6| in. 48. Sir Richard Bingham. 1528- 1598. Painter unknown. Of Bingham Melcombe, in the county of Dorset. Rendered various military services to Queen Elizabeth. Was Governor of Connaught in 1585, and Marshal of Ireland. Died at Dublin. 0 His monument is in Westminster Abbey. Half-length figure, smaller than life, the face turned in three-quarters to the right, with dark hair, bareheaded. Light admitted from the right side. Small white square collar, with six tassels on each side. In a suit of chain armour with gorget and crimson jacket tapering to the waist. Right hand on hip, and his left rests on pommel of the sword. Inscribed in left-hand corner, A.D. 1564 ^TATIS 36 SIR RICH D BYNGHAM. Wiffen, No. cclxiv. Canvas. 22 in. x 19 in 37 49. William Cecil, first Lord Burghley, K.G. 1528-1598. Attributed to Gheeraedts. The great Minister of Queen Elizabeth. Lord High Treasurer during a period of thirty years. His first wife was Mary Cheke. He married secondly, Mildred, daughter of Sir Anthony Cooke. His monumental effigy is on his tomb in St. Martin's Church, Stamford. Full-length figure, the size of life, seated to the left in a square-backed chair, wearing a high-crowned black hat and a long robe faced with brown fur ; holding a letter in his right hand, and the Treasurer's wand in his left. The collar of the Garter and a crimson robe lie on a green-covered table to the left. On one side of his hat is a cameo medallion of Queen Elizabeth, in profile to the left, with a spear or short sword passing behind it. The follow- ing inscription is under the shield of Cecil arms, encircled by Garter in the upper left-hand corner: — " S' r William Cecill Knight Baron of Burghley " Lord High Treasorer of England Knight of the most noble Order of the Carter, " and Master of her Ma'" Court of Wards and Lyueries." A yellow curtain to the right. This is a very unusual type among the numerous portraits of Lord Burghley. Beneath the carpet, in front, may be observed a strange face, as if carved in wood, lying on the ground. The most characteristic portraits of this great statesman are preserved at Hatfield House. Pennant, 4to, page 357. Wiffen, No. cclviii. Canvas. 82 in. x 505 in. 50. Robert Devereux, second Earl of Essex, K.G. 1567-1601. „ . . , ' Fainter unknown. The unfortunate favourite of Queen Elizabeth. Lord Deputy of Ireland. Beheaded in the Tower of London. Full-length life-sized figure, standing bareheaded in the open air, dressed entirely in white, wearing a large ruff and a steel gorget beneath it. The badge of the Garter hangs on his breast by a blue ribbon. The baton held in his right hand has inserted at the end of it the royal arms on a shield. His left hand, without any rings on the fingers,' grasps the hilt of his sword. The letters on the Garter round his left knee are red, with diamonds for stops between the words. A white paper, attached by sealing-wax to the ground, 1 Sir Henry Wotton, in his " Reliquiae,'' ed. 1685, p. 171, speaks of " the incomparable " fairness and fine shape of his hands." 38 Period of Francis, Second Earl, to 1585. inscribed with his name, is clearly of a date long subsequent to the picture. He wears black open shoes, without rosettes. To the left is a richly-wooded landscape, very well painted and bluish in tone, as seen in the works of Breughel. To the right, distant buildings amid rocks, and a seashore with dashing waves in front. Pennant (4to, page 356), quoting the " Reliquiae Wottonianae," says that " his beard was red, his hair black, his person strong " but without elegance, his gait ungraceful." This picture formed an important feature in the Portrait Gallery of the 1857 Manchester Exhibition, No. 19 of the catalogue. There are fine miniatures of this nobleman in the Royal collec- tion at Windsor, and at Knowsley, the residence of the Earl of Derby. Canvas. 84 in. x 50 in. 51. Queen Elizabeth. 1533- 1603. Marc Gheeraedts. An oblong picture, commemorating the defeat of the Spanish Armada of 1588; very remarkable for the treatment of the subject. A standing half-length figure, the size of life, wearing a large radiating ruff, fitting close to her face and rising high above the ears. The Queen's head is seen in three-quarters, turned towards the left. She rests her right hand on a terrestrial globe ; the land, in shape roughly resembling England and Scotland, extends from pole to pole. Ships are seen sailing on the seas, and lines corresponding with the Ecliptic and Equator are also observable en- compassing all. No geographical names are inscribed on it. The globe rests on a green covered table in the front left-hand corner. The Queen's dress is white satin jewelled, over which is an outer garment of black trimmed with large pearls, pink bows, and a jewel in each bow. Large pearls, placed two together, protrude from the edge of her light-brown hair. Pearls are placed beside her ears, but do not hang from them. Large and long pearls rise from the arches of the crown, where they join the circlet, which is on a table to the left. To the right is a square-backed chair. Brownish-green curtains in the background are raised showing two square windows, each containing a different view of the Fleet. The one to the left commands an extensive prospect of a calm sea, with a fleet sailing majestically on its surface. Two fire-ships, distinct from the rest, seem taking departure to the extreme left. On the opposite side, through the corresponding aperture, is a raging tempest, with great ships dashed against rocks by waves of enormous magnitude. There can be little doubt that these two scenes, thus placed in contrast, relate to the memorable dispersion of the Spanish Armada, in 1588. All the flags on the ships in the calm bear the red cross of St. George, thus ; whilst those on the distressed ships carry the cross of St. Andrew saltirewise, thus x . 39 Gheeraedts, the painter, arrived in England in 1580. Zucharo had quitted this country about 1578. Wiffen, No. eclix. Panel, consisting of three planks joined horizontally. 52^ in. x 41^ in. 52. Robert Cecil, eirst Earl of Salisbury, K.G. 1 563-1612. Marc Gheeraedts. Youngest son of Lord Burghley and his second wife, Mildred Cooke. Created Earl of Salisbury 1605. He married Elizabeth, /'Vt «ft^ologia, page 1 34, with the motto Nodo Firmo. The Countess of Bedford paid Nicholas Stone 1020/. for making a tomb for her father, mother, brother, and sister, and had it erected at Exton, 16 16. See Walpole's " Anecdotes," edited by Dallaway and Wornum, page 240. Wiffen, No. lv. Tall square panel. 19J in. x 15^ in. 58. Queen Anne of Denmark, Consort of JAMES I. 1574-1619. P.vanSomer. Daughter of Frederick II. King of Denmark and Sophia of Mecklenburgh. Married 1 589 at Upslo to James VI. of Scotland, afterwards King of England. Full-length, life-size figure, partly turned to the right, standing under an arch, through which, to the left, is seen a distant garden laid out in square grass plots. The Queen wears a stiff-standing collar, open at the neck, a scarlet bow, and a diamond cross on the front of her dress, which is white, decorated with peacocks' feathers and small sprigs. A scarlet scarf is fastened round her left arm. The fan in her right hand is composed of long scarlet and black feathers. A jewelled St. George and Dragon in an oval frame is attached to her left breast. The letter S. surmounted by a coronet, on her sleeve, has reference to her mother's name ; and in her hair is the figure 4 within the letter C, which refers to her brother Christian IV. of Denmark. To the right, below the cornice of the arch, is inscribed " La mia grandezza dal eccelso," and on the green table under her left hand is written in yellow letters, Functcimmtum Tneum * A black ring on her left hand is secured by small black strings, tied round her wrist in a bow. . She stands on a plain brown floor. — See Wiffen's " House of Russell," vol. i., page 495. Wiffen, No. i. Canvas. 84 in. x 50 in. 59. Catherine Howard, Countess of Salis- bury. Painter unknown. Youngest daughter of Thomas, first Earl of Suffolk. Married in 1608 to William Cecil, second Earl of Salisbury. Sister to the 43 infamous Countess of Essex, who was implicated in the murder of Sir Thomas Overbury ; and aunt to Anne, Countess of Bedford (173). Seen nearly to the waist, figure turned towards the left ; circular yellow and grey lace ruff, fitting close to the face. Her dress is cut round, and bordered with yellow lace. White sleeve embroidered with gay colours. A very well painted picture in characteristic costume of the period. Wiffen, No. ccliv. Panel. 2\\ in. x 16^ in. 60. Diana Drury, Viscountess Wimbledon. Cornelius Jonson van Ceulen. Daughter of Sir William Drury. Second wife of Sir Edward uJs&jl'I Cecil, created Viscount Wimbledon 1626. He was grandson of Lord Burghley, and third son of Thomas Cecil, first Earl of Exeter; born 1 571, and died at Wimbledon 1638. His third wife, Sophia Zouch, lived till 1691. To the waist, life size, within a grey oval spandril. Black and white dress, with pearls. The face is turned in three-quarters to the right. The coun- tenance very similar to that of Katherine Bruges, Countess of Bedford (see No. 98). An extremely well painted picture. Pennant, 4to, page 373. Wiffen, No. ccxxv. Canvas. 30 in. x 23^ in. 61. Thomas Cecil, second Lord Burghley and first Earl of Exeter, K.G. 1542-1622. Marc Glieeracdts. Son of William, first Lord Burghley. Knighted by Queen Elizabeth, whilst attending her during her memorable visit to Kenilworth. Served with his brother, Robert Cecil against the Spanish Armada, 1588. Created Earl of Exeter 1604. Buried in Westminster Abbey. His second wife was Frances Bruges, daughter of the fourth Lord Chandos and widow of Sir Thomas Smith, of Parson's Green (for her daughter, see No. 80). She was buried at Winchester. 44 Period of Francis, Second Earl, to 1585. Full-length standing figure, the size of life, dressed in black, wearing a high-crowned black hat, black cloak, large white circular ruff coming close up above the ears, and yellow gloves ; the right hand resting on a walking cane. A crimson curtain is suspended behind the figure ; a square-backed chair is seen to the right, and a Turkey carpet covers the floor. Sharp, penetrating eyes ; his beard is reduced to a mere white tuft on the chin. The badge of the Garter suspended by a blue ribbon on his breast. The words y pense, in square red stones, are legible on his blue Garter bordered with pearls. A similar picture, belonging to the Marquess of Exeter, has been engraved by R. Cooper, in Lodge's " Portraits," vol. iv., plate 74. Pennant (4to, page 362). Wiffen, No. cclxxii, states that the picture was painted in 161 2. Canvas. 84 in. x 50 in. 62. Leandro, third son of Jacopo da Ponte, known as " il bassano." 1555-1623. Painted by himself. The Cavaliere Leandro, born at Bassano, was an excellent portrait painter, and completed many of his elder brother Francesco's unfinished works. Venetian school. Bust ; face seen in three-quarters, turned towards the left. Long features, looking severely at the spectator ; bald head, with tuft on forehead, dark brown beard. Short white ruff fitting close to face and rich brown fur facing to cloak. Dr. Waagen (vol iv., page 336) says of this picture : " Leandro " Bassano. His own portrait. Powerfully painted in a strong red " tone." Wiffen, No. clxviii. Canvas. 27 in. x 21 in. 63. Sir Edward Gorges. Painter unknown. It is somewhat difficult to identify this personage, as there is no contemporaneous indication of the year to denote when the person represented had attained the age of thirty-seven To the waist, life size ; face three-quarters to left, youthful countenance, smooth cheeks, slight beard and moustache ; wearing an open plain square-cut collar showing the neck, a buff coat and sleeves, and a black steel gorget. A . J . *{ 45 large pearl is attached to his ear. Inscribed at the top, towards the left, AZtas 37 ; and in red letters, on the opposite side, " perdydos." On the back of the panel these words have been repeated in chalk, with the addition of the date, 1597. ON THE PICTURE. ON THE BACK OF THE PANEL. Wiffen states, page 194, that the painting bears the date 1597; but after a very careful inspection I failed to find anything beyond the chalk writing on the back. Pennant (4to, page 362), expresses uncertainty as to the person represented. It may possibly represent Edward, one of the sons of Sir William Gorges, knight, of Charlton Manor, Wraxall, and Winifred Budockshed, of St. Bude, Devon. His brother, Arthur Gorges, of Chelsea, was knighted in 1 597, the year written on the back of this panel. A letter, written by their mother after her husband's death in 1584, still extant among the Additional MSS. of the British Museum, dated from " my lodgings by Russell House " this vi of April" says, " / lye in an od corner of my Lady " Russell's." One or more portraits of members of the Gorges family might, through the Bruges, be expected to appear in this collection, owing to intermarriages with the Clintons. Elizabeth Clinton, daughter of Henry, second Earl of Lincoln, and niece of Frances Clinton Lady Chandos, married Sir Arthur Gorges, and their daughter Elizabeth Gorges married her cousin Theophilus, fourth Earl of Lincoln, who died 1667, without leaving children. Wiffen, No. eclxii. Panel. 21 in. x i6i in. 46 Period of Francis, Second Earl, to 1585. 64. Henry Wriothesley, third Earl of Southampton, K.G. 1573-1624. Mireveldt Grandson of the first Earl of Southampton (No. 5), and grand- father of Rachel, Lady Russell (182). For taking part in the rebellion of the Earl of Essex, he was attainted and imprisoned ; but was released by James L, and restored in blood and honours. He was the great friend and patron of Shakespeare. He married Elizabeth Vernon, of Hodnet, in Shropshire. Standing figure, the size of life, seen to the knees, turned slightly towards the right, looking at the spectator, and resting his right elbow on the square back of a green chair, the left hand being placed on the hip. Black cloak covering the left arm. Large round close-fitting lace ruff, jewel of the Garter hanging by a blue ribbon ; dark gloves on both hands. Black dress, with gold tags and laces round the waist. A finely-painted picture. Walpole, in his " Anecdotes of Painting," especially cites this picture as the production of Mireveldt. It was exhibited at the British Institution in 181 5, No. 103 of the catalogue. Engraved by R. W. Sievier for Lodge's "Portraits" No. 75. Described in Pennant (4to, page 367), who attributes the paint- ing of the picture to Solomon de Caus. Wiffen, No. ccxlviii. Canvas. 58 in. x 42^ in. An enamel from this picture was exhibited by H. Bone, R.A. at the Royal Academy, 18 14, No. 479 of catalogue. 65. Elizabeth Vernon, Countess of South- ampton. Cornelius Jonson van Ceulen. Wife of the preceding. Daughter of John Vernon, of Hodnet ; and niece of Walter Devereux, Earl of Essex. Bust picture, life size ; oval within a square. Face seen in three-quarters, turned towards the right, looking at spectator. Mary Queen of Scots' head- dress of white lace, and a wiie-spreading lawn ruff, with a second and more compact ruff fitting close under he chin. A miniature case or " picture-box " is attached to her left breast. The dress, crimson embroidered with silver. On the back of the picture there is the following inscription : — " Elisabeth Vernon, wife to my grandfather, Henry Earl of " Southampton." 47 Underneath this there is another inscription, as follows : — " The above is in the handwriting of Rachael Lady Russell, " widozv of Lord Russell that was beheaded ; and this portrait was "given me by my sister, Lady fuliana (?) Penn, at Stoke, fuly 10, " 1777, and by the Lady Charlotte Finch to Elizabeth Vernon, " Countess Harcourt, 1789." The picture was presented in 1832 to the Duke of Bedford by George Harcourt, Esq., M.P. for the County of Oxford. Rowland White, in the " Sidney Papers," mentions " the fair " Mrs. Vernon." Her picture, as a girl combing her hair, is at Boughton, in Northamptonshire, and another picture of her is at Welbeck. A very fine portrait of the same lady, attributed also to Jonson, is at Sherborne Castle, and was contributed by the Hon. G. Wingfield Digby to the Portrait Exhibition at South Kensington in 1866, No. 344 of the catalogue. Wiffen, No. ccxxiv. Panel. 24 in. x 20 in. 66. A Boy in long dress, called King James the First of England and Sixth of Scotland. 1566-1621;. _ . ^ Painter unknoivn. Small full-length, in long green petticoats, red shoes ; dark eyes, and black curly hair. He holds a large circular grey hat in his right hand : dark reddish brown background. A brown and white dog enters from the left. Entirely different from any authentic portrait of James I. in early life. Canvas. 49^ in. x 36^ in. 67. Sir John Kennedy, of Barn Elms. 1 i 614. Cornelius fonson van Ceiden. Husband of Elizabeth Bruges, sister to Katherine Countess of Bedford (No. 98). He was knighted by James I. in 1603. After having married this lady, it was reported that he had left 1 The Manor of Barnes or Barn-elms lies on the Surrey side of the Thames, near Putney. Sir Francis Walsingham made this his residence. See Lysons' "Environs of London," vol. i., page 8. 48 Period of Francis, Second Earl, to 1585. a wife behind him in Scotland, which embittered their subsequent domestic happiness. 1 Whole-length figure, the size of life, standing in an apartment, holding his hat in his left hand, and the other hand resting on his hip. He wears a wired-lace band or collar (Shakspeare-like), cut straight in front. His dress is black and gold, with a handsome Spanish cloak covering his left arm. Bright yellow shoes with rosettes of the same colour. On the wall of a distant chamber or gallery, to the right, is seen a picture partially covered with a pink curtain fastened by gold rings on a black rod, according to the fashion of those times. Enough of the curtain has been drawn to show that it is a lady's portrait. Her hand appears in front of a table, holding a fan with a blue string attached to it. Above this, and still as if painted on the picture, is inscribed The foreground is paved with black and red squares ; but the gallery beyond is matted. On the picture itself, on the base of a column, the date 1614 is repeated in large figures. The meaning of the conceit of the picture in the background has not yet been satisfactorily solved. 1 Sir John Kennedy appears to have been severely harassed by the extravagant habits of his wife. He was compelled to sue from time to time for protection from arrest for her debts, and he finally drove her from her home with circumstances of great brutality. The following extracts from a letter written 4th September, 1609, by Sir Arthur Gorges, of Chelsea, to Cecil Earl of Salisbury, then Lord Treasurer, and preserved in the Public Record Office, will afford some curious particulars: " This morning about ye breake of day " there came to my gates the Lady Kennedye in very wretched manner bare legged in hyr pet- " ticoate and an old cloake, and Mr night gear : in great fright and starved for cold. She " desyred houseroom and fyre of my wiffe hyr cosan in this extremitye being as she sayde " dryven out of hyr howse by S r Jo" Kennedy who with greate violence brake in nppon hyr " and shee stole awaye in this haste att a back doore, much terrafied with hys furye. Dr. " Paddy came with hyr, and hath left hyr with my wyffe." Sir Arthur Gorges married Lady Elizabeth Clinton, daughter of Henry, second Earl of Lincoln. His wife was therefore cousin to Katherine Countess of Bedford and Elizabeth Lady Kennedy. The residence of Sir Arthur Gorges, where Lady Kennedy found shelter, was in the western extremity of Chelsea, and known afterwards as " Stanley House." See Domestic State Papers, vi. 65, page 541 of Calendar ; Faulkner's " History of " Chelsea," 1829, vol. i., page ; " The Story of Lord Bacon's Life," by Hepworth Dixon, pages 302 and 434. JffcLtLS }6]^ 49 Pennant (4to, page 354) does not give any name to the person represented. He interprets the writing partly covered by the curtain as " iEtatis . 1614 . L e ? I." Wiffen, No. ccxl. Canvas. 78^ in. x 452 i n - 68. Elizabeth Bruges, afterwards Lady Ken- nedy. Aged 14. 1575-1617. Wife of the preceding. Daughter of Giles, third Lord Chandos (No. 44) ; granddaughter of the Earl of Lincoln (No. 23), and sister to Katherine, Countess of Bedford (No. 98). Standing figure of a girl, seen to the knees, with the face turned slightly towards the left, looking at the spectator, having her hands joined. Large wide-spreading lace ruff, open at the neck. Her black dress is richly patterned ; a singular pearl ornament is attached to her right sleeve, composed of a green frog mounted on the back of a long-tailed monster, whose body consists of a large oblong pearl, with a smaller pearl hanging from it in the centre. A jewel is likewise attached to the ruff near her right shoulder. On the side of her lace head-dress is a device in black stones composed of the letters In the left-hand upper corner of the picture is introduced a white bird perched on a sprig of bramble, pecking at the blossom. A white Maltese dog in the left-hand corner jumps up against her dress. Above, on the right-hand side, near the top, is inscribed, in yellow capitals, >etatis SV/E 14 . anno dni . 1589. Below this, in contemporary black letters, to the right of her ruff, is written Jerome Custodis, of Antwerp, July 1 589. Pennant, 4to, page 352. Wiffen, No. xvi. Panel. 36 in. x 27 in. H 50 Period of Edward, Third Earl, to 1627. 69. The same Person. Probably by Mflrc Gheeraedts _ Half-length standing figure, turned slightly towards the left, in a rich white satin dress, puffed sleeves, and ornamented with estoiles or stars, having wavy points, of seed pearls. Large lace ruff, open at the neck, pearl necklace. Long chain of pearls and red jewels (corals and rubies) hanging in front. Arched head-dress over dark brown hair. Red stone bracelets. Sprig of pansies in her right hand. Red curtain in background. Inscribed (but not in contemporary letters), " Lady Elizabeth Bryd^es, eldest daughter of Giles, third Lord Chandos." Not dated. Probably painted before her marriage to Sir John Kennedy. Panel. 44 in. x 34 in. •10. The same Person. u , 7 , , ,, „ } ' Probably by Marc Gheeraeats. Companion picture to No. 67. Full-length, life-sized figure, wearing a white dress embroidered with sprigs of brilliant colours ; the skirt being nearly concealed by a crimson velvet mantle or robe. Her standing collar, her lace head-dress, and a curious veil of purple gauze, stiffened with wire, are remarkable illustrations of the extravagance of fashion of this period. A similar peculiarity may be seen in miniatures of the Countess of Essex ; especially one in the Royal Collection. Green curtains are here arranged to form a background to the figure ; but drawn aside on the right to show a column on a tall pedestal, and exhibit a distant view of a trimly laid-out garden with a clipped hedge and gravel walks. A gentleman appears bowing to a lady of apparently high rank, who stands apart ; two ladies are in attendance upon her. The foreground is covered with a Persian carpet. An elaborately and carefully painted picture. Pennant (4to, page 355) says that this picture is "called Lucy " Countess of Bedford," but does not himself advance any reasons in support of it. The countenance is certainly entirely different from the known portraits of that lady. As Elizabeth Bruges, at the commencement of her career, was one of the maids of honour to Queen Elizabeth, the scene may commemorate some special interview which the Queen gave to one of her favourites. Such a group in an open garden appears in Gheeraedts' small full-length picture of Queen Elizabeth, belonging to the Duke of Portland. Wiffen, No. ccxlvii. Canvas. 79^ in. x 47 in. 5i 71. Edward Russell, third Earl of Bedford. *574 * ^ 7- Marc Gheeraedts, dated 16 16. Grandson of the second Earl, and son of Francis, Lord Russell (No. 31), who was killed in a Border fray, 1585. He succeeded his grandfather, the second carl, when ten years of age. Married Lucy, daughter of John, Lord Harington of Exton. Full-length, standing fignre, the size of life ; wearing a long embroidered gown, having his right hand concealed in a red scarf or sling, 1 and resting his left hand on a red-covered table with some small books lying on it. His face is seen in three-quarters turned towards the right. He wears a round lace ruff, fitting close to the face and rising to touch the rim of his high-crowned hat. A mole is observable on the lower part of his left cheek. A purple silk curtain hangs on the left side, and a pale red drapery is looped up so as to display a coat of arms above the table in the background ; a Persian carpet covers the floor. Dated on the background, over the table, A° 16J6. Wiffen, No. x. Canvas. 84 in. x 5 1 in. 72. The same Person. Marc Gheeraedts. Full-length figure the size of life, seated in a red square-backed chair, towards the left. He wears a large round ruff, and a high-crowned hat with a skull-cap beneath it. Here also the wart or mole is conspicuous on the cheek. His arm is likewise in a lilac sling, within which, concealing the hand, is a brown muff. His gown is brown, similar in character to the one in the pre- ceding picture, and he rests his left hand on the elbow of the chair. His legs are protected by peculiar gaiters. There is about the whole figure an expression of weakness. A pale purple curtain is gathered up in the left-hand corner. The floor is covered with a Turkey carpet. No footstool. Pennant, 4to, page 356. Wiffen, No. ccxxvi. Canvas. 84 in. x 5 1 in. 1 He was thrown from his horse whilst hunting in his own park, and so bruised against a tree that he was thought to be dead. See John Chamberlain's letter to Sir Dudley Carleton dated August, 1613. — Court and Times of James I., 1848, vol. i., page 260. 52 Period of Edward, Third Earl, to 1627. 73. Lucy Harington, Countess of Bedford. 15^2 162*7. Painter unknozvn. Wife of the preceding. Daughter of John, first Lord Harington of Exton. Married, December 1594. Being endowed, through the death of her brother (57), with considerable wealth, she unreservedly gratified her tastes in all the luxuries of external display, artistic culture, and in the encouragement of men of letters. To her Ben Jonson addressed the following beautiful epigram : — ON LUCY HARINGTON, COUNTESS OF BEDFORD. " This morning, timely rapt with holy fire, " I thought to form unto my zealous Muse " What kind of creature I could most desire " To honour, serve and love, as poets use. •' I meant to make her fair, and free, and wise " Of greatest blood, and yet more good than great ; " I meant the daystar should not brighter rise, " Nor lend like influence from his lucent seat. " I meant she should be courteous, facile, sweet, " Hating that solemn vice of greatness, pride ; t; I meant each softest virtue there should meet, " Fit in that softer bosom to reside. " Only a learned and a manly soul " I purposed her ; that should, with even powers, •' The rock, the spindle, and the sheers control " Of Destiny, and spin her own free hours. " Such when I meant to feign, and wish'd to see, " My Muse bade, ' Bedford write,' and that was she." Seen to below the waist, within an oval, face three-quarters to the right. Large radiating lace ruff, drooping in front, and rising high behind the ears, head-dress of lace and red feathers crowning her light brown hair. Dull red- coioured bows on shoulders. Purchased from Messrs. Colnaghi. The countenance more resembles the Countess of Somerset. Panel. 28 in. x 24 in. £3ofcttrn Jl&bep Catalogue. 53 74. The same Person. G. Honthorst. The size of life ; seen to the knees. A pensive figure, seated towards the left, resting her cheek on her right hand, and looking fixedly at the spectator. Her black dress is adorned with black jewellery. Large round ruff and cuffs, trimmed with bone-lace ; a handkerchief of white lace in her left hand. A ring on the third finger is attached by a black string to her right wrist. A rich, deep-toned, melancholy picture. A very fine repetition of this admirable portrait is in the possession of the Duke of Devonshire at Hardwick Hall. In that picture the background is ornamented with a diaper pattern composed of the Harington knots alternating with rosettes. Another example is at Combe Abbey, where Honthorst's abilities are seen to the greatest advantage. In the Combe Abbey picture the background is deep red, which relieves the sombre tone of the figure. Pennant( 4to, page 368) says that this picture exactly resembles one at Alloa. In Pennant's " Tour in Scotland," vol. ii., page 220, he mentions a full-lengtJi portrait "of the celebrated Lucy, " Countess of Bedford, in black, with a ruff, and a coronet on her " head. She sits with a pensive countenance, her face reclined " on her hand, and is without beauty, an elegant figure. Painted " by Cornelius Jansen in 1620, in the 38th year of her age." Engraved by W. Freeman in Lodge's Portraits, vol. v., No. 82. Full-length figure, the size of life, attired apparently in a fancy dress, and preparing to perform a dance. Her sleeves fit close to the arms, and are barred across with red and white rings ; her jacket white, with a flowered pattern ; the petticoat red, striped horizontally with yellow, and having grey square spots between the stripes. Her head-dress is composed of pearls, with black stones rising like the spikes of a coronet, whilst over her right ear a singular tuft or feather brush lises ungracefully. In her hands she holds the extremities of a large, white-striped gauze veil, which is bowed out with wire on each side of her figure. Her shoes are blue, with white patterns on them, large yellow rosettes, and red stockings. She wears a brown glove on the right hand ; the other is uncovered and devoid of rings. Wiffen, No. cexxxvii. Canvas. 48^ in. x 39^ in. 75. The same Person. Painter unknown. 54 Period of Edward, Third Earl, to 1627. There is a similarly fantastic portrait of the same lady at Welbeck ; she stands with one arm a-kimbo, and wears the same " brush " kind of feather at the side of her head-dress. This lady may be easily recognised in the Digby picture of Queen Elizabeth at Blackfriars on the occasion of Anne Russell's wedding in 1600. (Ante, No. 33.) Lucy, Countess of Bedford took a prominent part in a Court Masque, performed by the Queen and her ladies, written by Ben Jonson in 1604, and entitled the " Mask of Blackness." All the ladies had their faces and arms painted black to represent negroes. Lady Bedford sat alone with the Queen on a particular seat. Sir Dudley Carleton was a recording witness of this entertainment. There is a singular account of this lady, mentioning her illness, an affection of the eyes, in 1619, and of her overwhelming debts, in Chamberlaine's " Letters." — Court and Times of James I., vol. ii., pp. 180 and 195. Pennant (4to, page 353), after describing this picture, observes that " her vanity and extravagance met with no check under the " rule of her quiet spouse, Edward Earl of Bedford, whom she " survived only one year." Wiffen, No. ix. Canvas. 84 in. x 51 in. 76. Francis Manners, sixth Earl of Rut- land, K.G. 1 588- 1 632. Painted in 161 4. Attributed to Marc Gheeraedts. Succeeded his brother Roger (who had married a daughter of Sir Philip Sidney), June 161 2. In early life he had spent much of his time abroad, and had been honourably entertained at foreign courts. After attending King James in Scotland in 1616, he was made a knight of the Garter. In 1623 he had command of the fleet to bring Prince Charles and the Duke of Buckingham, his son-in-law, out of Spain. Standing figure, life-size, in front of a blue embroidered tent ; resting his left hand on a table, whereon are placed his helmet and baton. His gloved right hand, holding the companion glove, rests on his hip. White embroidered body, and close-fitting sleeves. Black gorget edged with scarlet, and a flat 55 wired-lace collar cut straight in front, fitting close to his cheek. Full scarlet trunks and leather leggings, or high boots, the one on his right leg being turned down so as to show his white knee. The badge of the Garter hangs round his neck by a blue ribbon. He stands on a Persian carpet. The picture is dated Ann" 1614, in yellow figures, on the dark opening of the tent above the helmet. A tree appears in the upper left-hand corner of the picture. It is observable that, although the Earl did not receive the honour of Garter knighthood till 1616, and the date of the picture is two years earlier, the badge of the Garter hangs conspicuously on his breast. At the same time there is no trace whatever of a garter over the yellow stocking at his left knee. It may be remembered that Bridget, the widow of Henry, second Earl of Rutland, grandfather to this Earl, became after- wards Countess of Bedford. She was daughter of John, Lord Hussey of Sleford, and married first to Sir Richard Morison, Kt, by whom she had a daughter, Jane Sibilla, married to Edward Lord Russell (No. 30). Bridget, Countess of Bedford acted as " Ladie Chief Mourner " at the funeral of Mary Queen of Scots, at Peterborough, 1st August, 1587. She is spoken of in a description of that pomp as "the old Countis of Bedford." All the ladies wore " Parris heads and barbes." See Nichols's Progresses of Queen Elizabeth, 2nd ed.,vol. ii., pages 215 and 216. Lady Bedford died 1 2th January, 1600, and was buried at Watford. Lucy Harington, wife of the third Earl, was married in 1 594. Wiffen, No. ccvi. Canvas. 84 in. x 50 in. 77. Henry Percy, ninth Earl of North- umberland, K.G. 1 564- 1 632. Attributed to Miercveldt. Served in early life under the Earl of Leicester in Holland, and CLm^>Tvl. i • ' ■ fitted out ships against the Spanish Invasion of 1588 ; received the Garter in 1593 ; lay during fifteen years, from the time of the Gunpowder Plot, a prisoner in the Tower of London, and then only obtained his release through the intervention of his son-in- law, James Hay, Earl of Carlisle, one of the King's favourites. He afterwards lived in retirement, and ended his days at Petworth. 56 Period of Edward, Third Earl, to 1627. Whole-length figure, life-size, in black dress, with close fitting sleeves and white lace cuffs, standing bareheaded, wearing a dark square-cut beard, looking at the spectator, and resting his right hand on a brown cane, whilst the left touches his sword-hilt. A black-plumed helmet on table to the right, and armour lies below on the left. He wears a black gorget. The George which hangs at his breast by a black ribbon is an elaborately rich jewel. A Turkey carpet covers the floor. His dark hair is curiously twisted round his right ear. Here also no garter appears on his left leg. A yellow embroidered curtain is gathered up in the left-hand corner. In Houbraken's series of engravings of Illustrious Heads, the one inscribed " Robert Car, Earl of Somerset," very much resembles this, both for the style of hair and for the peculiarities of the jewel of the Garter. The print has obviously been misnamed. A portrait of this nobleman when young formed one of the medallions in the borders of the Armada Tapestries which decorated the old House of Lords ; and his countenance, when furrowed by care, as he appeared in the Tower, has been preserved by Van Dyck in a fine portrait at Petworth House. See Lodge, vol. v., plate 88. Pennant, 4to, page 373. Wiffen, No. ccxi. Canvas. 78^ in. x 51 in. 78. Sir Josceline Percy. 1578-1631. Painter unknown. Seventh son of Henry Percy, eighth Earl of Northumberland, and brother of the preceding ; baptised, 20th November, 1578 ; asso- ciated with his brother Sir Charles in the Earl of Essex's insurrec- tion, for which he afterwards received the Queen's pardon. He was never married. The size of life, to the waist, within an oval. Face very youthful and turned in three-quarters towards the right. Black dress and blue scarf, tied in a knot on his right shoulder, and powdered with golden letters, Short brown pointed beard and moustaches ; full lace ruff, many folds deep, and showing part of the neck. A fine, clear, and highly-finished picture. Wiffen, No. cclxiii. Panel. 2 if in. x 17 in. 57 79. Richard Weston, first Earl of Port- land, K.G. 1577-1634. D.Mytens. Son of Sir Jerome Weston, of Roxwell, Essex. Was employed on diplomatic missions by James I., and in 1628 succeeded James Ley, Earl of Marlborough, as Lord High Treasurer ; created Earl of Portland 1633. An able administrator, but of a restless and dissatisfied disposition. Whole-length, standing figure, the size of life, attired in a suit of black. Face turned in three-quarters to the righ: ; holding the Treasurer's wand in his right hand ; large round ruff, long full black cloak, badge of Garter hanging by a blue ribbon. Both hands are gloved. On a red-covered table, to the right, lie his black hat and a letter inscribed From the circumstance of his being addressed as " Baron " Weston " the picture must have been painted between the years 1628 and 1633. There is also a full-length portrait of this nobleman in the Reception Room of the Treasury, Whitehall. His effigy in bronze is on his monument in Salisbury Cathedral. Most of the portraits have the stick in his left hand, and a letter in the right. Such is the case in those at The Grove (Lord Clarendon's), Kingston Hall (Mr. Bankes's), The Treasury, Whitehall, and Gorhambury (the Earl of Vc'rulam's). An engraving by Hollar, usually accepted as representing his son and successor, has been wrongly entitled " Hieronymus." He wears the order of the Garter, a distinction not conferred upon the son ; the face is identical, and can only represent the first Earl. I 58 Period of Edivard, Third Earl, to 1627. Dr. Waagen (vol. iv., page 331) says of this picture, "A " dignified individuality is here very truly conceived, and care- " fully executed in warm and powerful colouring." Wiffen, No. xlv. Canvas. 88 in. x 54^ in. 80. Margaret Smith, Wife of the Honour- able Thomas Carey ; afterwards Lady Herbert. Van Dyck. Cousin to Katherine Bruges, Countess of Bedford (98), and granddaughter to Lord Chandos (44). Daughter and heir of Sir Thomas Smith, of Parson's Green, Clerk of the Council to James I., and of Frances, daughter of William Bruges, fourth Lord Chandos ; married the Hon. Thomas Carey, son of Robert, Earl of Monmouth, one of the Grooms of the Bedchamber to King Charles I. ; he died 1649, and was buried in Westminster Abbey. Their daughter, Elizabeth, married John Mordaunt, created Lord Mordaunt of Avalon. Her mother, Frances Bruges, afterwards married Thomas, first Earl of Exeter, and lies buried with him in Westminster Abbey. Margaret Carey afterwards married Sir Edward Herbert, Attorney-General to King Charles I., and Lord Keeper to Charles II. during his exile. He died at Paris, 1657. An engraving, by Faithorne, of this lady's portrait is inscribed : " Margareta Smith, Vidua Thomce Carey et Uxor Edoardi " Herbert Equitis." This print is of very great rarity. There is a fine profile of her, on a large medallion, dated 1633, cztatis suce 25, by Warin. It is engraved in Pinkerton's " Medallic History," plate xxi., No. 1. Described also in "Medallic Illus- " trations," published by the Trustees of the British Museum, 1885, vol. i., p. 269. A standing figure, whole-length, turned towards the right. Face seen in three-quarters to the right, in white satin dress, open at the neck, drawing back a red curtain with the left hand, and holding her gown with the right. 59 The tall trunk of a tree and some rich foliage beyond a balustrade are seen behind to the left of the figure. The shaft of a stone column fills the back- ground between her head and the red curtain. A richly painted picture. WifTen (page 92), corrects Lord Orford's statement that this is the wife of the famous Edward, Lord Herbert of Cherbury. Dr. Waagen (vol. iv., page 334) dismisses this picture with the observation, " Full-length, life-size, but little attractive, and " too heavy and dull for the master." Smith, in his " Catalogue Raisonne of the Works of Van " Dyck," page 190, omits all notice of the Woburn picture. He specifies one engraved by P. van Gunst, from the whole-length formerly at Strawberry Hill, and purchased, in 1842, by Colonel Tynte, for 78/. 1 $s. A portrait of Lady Herbert was in the Grosvenor Gallery exhibition of the works of Van Dyck in 1887, No. 140 of catalogue. Wififen, No. cxxi. Canvas. 84^ in. x 50 in. Theodore Russell. 81. The same Person. fy^^fa^y { '1 A small copy of the upper part of No. 80. Panel. 1 5 in. x 1 2 in. toy* ^fx^ 82. John Snellinx. 1544-1638. Van Dyck A distinguished battle painter, born at Mechlin ; resided princi- pally at Brussels ; patronised by Ernest, Count Mansfeldt, and afterwards by the Archduke Albert and the Infanta Isabella. In his old age he settled at Antwerp. Bust picture, within a gilt oval, face turned in three-quarters to the left ; aged countenance, black skull-cap, large circular Dutch ruff rising high behind the head, black dress. He seems to Lend earnestly forward, looking at the spectator. Wiffen, No. clvi. Panel. 24 in. x 19! in. 6o Period of Edivard, Third Earl, to 1627. 83. John van den Wouwer, or Waverius, KNT. 1574-1635. VanDyck. An eminent scholar, and member of the State Council at Brus- sels ; after the death of the Archduke Albert he received the honour of knighthood at Madrid, and continued in the service of the Infanta Clara Eugenia till her decease in 1633. He was Director of Finance in the Spanish Netherlands. Bust picture, face three-quarters to the right, wearing a plain white collar and a gold chain. His right hand, holding a paper, projects from the spotted fur facing of his black mantle. Venerable countenance, calm and dignified. Engraved by Pontius, No. 29 of Van Dyck's " Centum " Icones." A very fine example of this portrait is at St. Petersburg. The picture formerly, in 1774, was in the Schoreel Collection. See Waagen's " Gemaldesammlung zu St. Petersburg " (Miinchen, 1864), p. 149. Engraved in outline by Sanders in the " Galerie " de l'Hermitage " (Labensky), part ii., plate 29. Painted in 1632. The Russian picture is a half-length, showing much more of the mantle. Canvas. 29 in. x 24 in. 84. Charles de Mallery. Van Dyck A designer and engraver, born at Antwerp about 1576, who wrought in the style of Wierix. The latest date on his prints is 1602, and he is believed to have died about 1630. Nearly half-length figure, very dark brown hair, in black dress, looking away to the left, his left hand raised to his breast, supporting a cloak. A broken column behind him to the right. A fine mellow picture. Engraved by Vorsterman, No. 89 of Van Dyck's " Centum " Icones." Fine repititions of this picture are in the Pinacothek at Munich, and at Knole. A portrait of the same person also belongs to Earl Cowper, K.G. Dr. Waagen (vol. iv., page 335) says : " This specimen of an " often repeated picture is somewhat heavy in tone of colour." Wiffen, No. cli. Canvas. 28 in. x 24 in. £3obitm gibbon (Ectfalogtte. 61 85. Portrait of a Cavalier. Van D ck Th:s portrait has never been satisfactorily identified. Whole-length figure ; life-size, in a highly embroidered black silk suit, with a Spanish cloak partly covering his left hand, grasping around black hat. His right hand, holding a letter, rests on a cane. Hair long and very red ; smooth cheeks, and slight moustaches ; the head is turned in three-quarters to the left, and the eyes are fixed on the spectator. His white lace collar falls down over his shoulders ; his black boots have yellow and blue bows, and spurs attached to them. He is not distinguished by any order or badges, and there is no super- scription traceable on the paper in his hand. A column on lofty base occupies the left extremity of the picture. This picture was formerly in the Orleans Collection, and was engraved by Viel, the reverse way, in the Orleans Gallery. See Smith's " Catalogue Raisonne of the Works of Van Dyck," page 94, No. 324, and also Buchanan's " Memoirs of Painting," vol. L, page 183, No. 5. Wiffen, No. exxvi. Canvas. 84 in. x 50 in. 86. ALBERTUS MlR^EUS. 1573-164.O. VanDyck The real name of this distinguished Churchman and author was Aubert Lemirc ; he was born at Brussels, became the intimate friend of Justus Lipsius, and under the influence of his uncle, the Bishop of Antwerp, qualified himself for Church preferment ; he was almoner and librarian to the Archduke Albert. In 1624 he succeeded Jean Delrio as Dean of the Cathedral of Antwerp, in which city he continued to pursue his learned literary researches. A noble figure, half-length, life-size, seated to the left in a high-backed chair, wearing a black official gown ; his face in three-quarters to the left looking fixedly on the spectator. The light is admitted from the right hand. He wears a plain white collar, his right hand grasps the wrist of the other hand, which holds a partially folded paper. His elbow rests on the straight arm of the deep yellow chair. On the grey table-cloth before him are papers, a sealed document, a stone bust, and a square clock with golden dial and steel domed top, beyond which are three plain round stone columns. His dress is perhaps rather grey than black, with academic braids and tufts upon it. Splendidly painted, in fine condition. 62 Period of Edward, Third Earl, to 1621 . Dr. Waagen (vol. iii., page 464) says of this portrait : " He " is already in advanced years, sitting in an arm-chair. Near " him is a table, on which are papers, a bust, and a table- clock. " This very animated portrait is engraved by Pontius." Of its technical merits he further observes (vol. iv.,page 334) : "Solidly " painted in a golden tone, at the period when he (Van Dyck) " sojourned in the Netherlands, after his return from Italy." It is especially described in Smith's " Catalogue Raisonne," page 152, No. 540. Engraved, figure only, in oval by Diamar, with the motto, " Futura prospice." This picture was exhibited at the British Institution, Pall Mall, in 18 19, No. 109 of the catalogue. Wiffen, No. cxxii. Canvas. 46 in. x 4O5 in. 87. Portrait, erroneously named Sir Anthony VAN DYCK. 1599 1641- Painter unknown. A bust portrait, life-size, with full dark hair, youthful face in three-quarters to the left, looking over his left shoulder at the spectator. The hair descends to the eyebrows. Very different from all authentic portraits of this great painter, and somewhat resembling those of Lievens. Purchased in 1 803 of Harris, a picture dealer. Dr. Waagen (vol. iv., page 336) says, "The features differ " entirely from his authentic portraits, but it is a good picture. " The great height allows of no judgment." Wiffen, No. clxix. Canvas. 28 in. x 23 in. 63 88. Portrait, erroneously named Sir Peter Paul Rubens. 1 577-1640. Painter unknown _ Bust portrait, life-size, within a dark oval border. Face, with long moustaches and hair, seen in three-quarters to the left, wearing a broad- brimnied round hat ; blue sky background. Light admitted from the right-hand side. The head has a decidedly German character, and reminds one somewhat of Albert Diirer. Dr. Waagen (vol. iv., page 335) observes: "The features so " unlike his (Rubens) that doubtless another person must here " be represented. Otherwise a fine picture, of clear colour." Wiffen, No. cxl. Canvas. 28 in. x 23 in. 89. Elizabeth Bindlose. Cornelius Jonson van Ceulen. Elizabeth West, daughter of Henry, fourth Lord De la Warr, and Isabella, daughter of Sir Thomas Edmunds, Treasurer of the Household to King Charles I. Married Francis Bindlose, Esq. To the waist, within oval ; face three-quarters to the right, and figure turned in same direction. Handsome white bone-lace over pink dress, double row of pearls round neck ; small standing bone-lace collar. Scarlet arch over her light hair, which falls long behind. Pretty, youthful face. A fine, clearly painted picture. Pennant 4to, (page 373) does not exactly accord with this in his description of the person represented. Wiffen, No. ccxxiii. Panel. 27 in. x 23 in. 90. Dorothy Savage, Viscountess Andover, afterwards countess of berkshire. 1 6 1 1 - 1 69 1 . Theodore Russell. Second daughter of Viscount Savage, and wife of Charles Howard, created Viscount Andover at the coronation of King Charles I. He did not succeed to the Earldom of Berkshire till 64 Period of Edward, Third Earl, to 1627. 1669, and enjoyed it only ten years. The lady survived till 1691 ; she was buried at Ewelme, in Oxfordshire, where the following inscription, on a mural tablet, is preserved in the chancel : — Beneath lietli enterred Dorothy, Countess of Barkshire, wife of Charles, Earl of Barkshire, and Daughter of the Earl of Rivers, whose beauty equalled, whose virtue excelled the greatness of her birth and quality. Ob. 6'°- Dec. A. D. 1 69 1. Anno sEtat. 8o mo . Her will is dated December 24, 1688 ; and was proved on December 9, 1691. See Hon. and Rev. Henry Alfred Napier's " Historical Notices 'of Swyncombe and Ewelme, co. Oxford," 4to, 1858, page 447. A small picture. To the waist, face turned to the right, looking at spec- tator ; in pale blue satin dress, brown gauze scarf over her left shoulder, red flowers at the back of her head; with dark brown hair, glossy, and in curls. Wiffen, No. ccxlix. Canvas. I 5 in. x 1 2 in. 91. Sir Edward Stradling, Bart. Died 1644. W. Dobson. Of St. Donat's, Glamorganshire ; son of Sir John Stradling, the first baronet. He was colonel of a regiment of foot on the king's side at the battle of Edgehill, where he was taken prisoner, and confined in Warwick Castle. Died at Oxford, and was buried in the chapel of Jesus College. To the waist ; a life-sized figure turned with the face to the right, looking at the spectator. Long yellow-brown hair, smooth cheeks and moustaches (called by Pennant, according to the old style, "whiskers"), and tuft or imperial on chin. Black satin cloak, falling white collar edged with lace. Boldly painted, and a fine specimen of Dobson's peculiar powers. Wiffen, No. cexxii. Canvas. 285 in. x 22^ in. ^5 92. Endymion Porter. 1587- 1649. W. Dobson. The name of Endymion Porter has been, and as it appears to me very satisfactorily, assigned to this portrait. Endymion Porter is described by Anthony a Wood as " a great man and beloved by " two kings: James I. for his admirable wit, and Charles I. for his " general learning, brave style, sweet temper, great experience, " travels and modern languages." He accompanied Prince Charles into Spain, and became one of the grooms of his Majesty's Bedchamber ; he was colonel of the 7th Regiment of Foot, and became especially obnoxious to the Parliament ; he died in London, and was buried in St. Martin's-in-the-Fields, August 21, 1649. See Carpenter's " Van Dyck," page 24. Life size, seen to the elbow, with face three-quarters to the left, and looking over his left shoulder towards the spectator. Long flowing silvery hair, full moustaches, in a plain black dress, with square white collar, the left hand raised to the breast. A finely painted picture. It has also been called the Grand Pensionary, John De Witt (162 5- 1 672), but the style of countenance does not bear out the suggestion. Brought from Cople House, Bedfordshire, in the year 1842. Canvas. 29^ in. x 24% in. r 93- Cavaliere Giuseppe Cesari d'Arpixo. 1 568- 1 640. Painted by himself. Of the Neapolitan School, and a clever superficial painter. Born at Arpino. Employed to paint in the Vatican ; Pope Clement VI 1 1, rewarded him with the knighthood of the Order of St. John Lateran. He died at Rome. Half-length, life-size, looking, with full turned face, at the spectator, wearing a high-crowned hat with broad round brim. Black dress ; wide spreading plain white square collar extending to shoulders. Sky background. Both hands are seen, the left next his sword hilt. The face, which is not unlike Bernini, corresponds with the authentic portrait of Cesari, in the Gallery of Painters at Florence. See " Galleria de Firenze " (Zannoni), vol. ii., tav. 95. K 66 Period of Francis, Fourth Earl, to 1641. Dr. Waagen (vol. iv., p. 336) says, " I have the features of " this painter too little before me to judge whether this picture, " which represents a stately individuality, of very warm colouring, " be really his portrait." Wiffen, No. clxxiv. Canvas. 44 in. x 36 in. 94. Michael Janson Miereveldt. 1568-1641. Painted by himself. One of the best portrait painters of his time. Born at Delft ; studied as an engraver under Wierix. He was patronised by I .the Nassau family, and declined a pressing invitation from Charles I. to visit England. The portrait of Henry, Earl of Vr. Southampton, in this collection (No. 64), is attributed to his hand He painted portraits of the King and Queen of Bohemia, He died at his native place. A bust portrait, life-size, face three-quarters to the right ; aged counten- ance, with pointed white beard ; hair on head brown ; large round Dutch ruff ; black dress. Powerful massing of light and shadow. Dr. Waagen (vol. iv., page 335) observes : " His own portrait, " true, warm, clear, and careful." The likeness corresponds with the fine engraving by Delff, No. 50 of the " Centum Icones." Wiffen, No. cxlvi. Panel. 26 J in. x 2i| in. 95. Francis Russell, second Baron Russell of Thornhaugh, and fourth Earl of Bedford, i 588 l - 1 64 1 . Cornelius Jonson van Ceulen. Son of William, first Baron Russell of Thornhaugh (No. 53), and Elizabeth Long, Lady Russell (No. 56), and grandson of Francis, 1 This date is derived from the inscription on the portrait No. 97. Collins and Lodge sought vainly for authorities. 67 second Earl of Bedford. Succeeded his cousin as fourth Earl of Bedford in 1627 ; married Katherine Bruges, eldest daughter of Giles, third Lord Chandos (No. 44). He is especially remembered as the promoter of that vast undertaking — the draining of the fens known as the Bedford Level. Died of the smallpox, May 9, 1641, the same day that the warrant for the execution of Strafford received the King's sign-manual. As a boy ; whole-length figure standing on a stone pavement, turned slightly towards the left, holding a hawk on his left wrist and a hood in the other hand. He wears a large round white ruff not fitting closely to the chin, a white vest and sleeves, lilac trunks, and pale grass-green leggings ; at his feet are two hounds coupled by a chain ; a square wooden stool, with a green cushion and fringe upon it, is close by him to the left. A shield of arms on each side of his head. Well and clearly painted. The open boyish countenance acquires a great interest when compared with the thoughtful face, furrowed by care, as painted in later times by Van Dyck (No. 97). Pennant, 4to, page 368. Wiffen, No. xii. Canvas. 50 in. x 30J in. 96. The same Person. r ,. , _ , * Cornea us Jonson van Ceulen. Whilst still very young ; bust portrait, life-size ; within an oval, veined like red marble. Face three-quarters to the left ; black dress, rising collar of white lace, open to show the neck. Observe a ring of black stone, with another attached to it, is passed through the lobe of his left ear. An extremely well-painted picture. Wiffen, No. xiii. Panel. 23 in. x 17^ in. 97. The same Person. 17 . 7/ Van Dyck. In after life, with long thin silky hair. Full-length standing figure, life- size, looking at the spectator ; attired in a complete suit of black, with a broad white plain collar fitting close to his chin and extending to the shoulders. The right hand is bare, and admirably painted ; the left arm, with elbow bent, is partly covered by his cloak. There is a severe simplicity and plainness about the costume. No jewellery or ornaments, not even a sword, are visible. A white-and-brown spaniel on the ground endeavours to attract his attention by raising one of its paws to touch his right leg. A rich yellow curtain hangs 68 Period of Francis, Fourth Earl, to 1641. on the right side, whilst, to the left, beyond a large plain shafted column, is an expanse of dull grey sky, with a few streaks of golden sunlight towards the horizon, indicating that the threatened storm would pass away. The folds of the curtain are led sweepingly behind the figure towards the dog, and thereby serve artistically both to render the massing more compact, and to enrich the general composition. At the lower part of the picture, towards the right, is a label or a repre- sentation of a piece of paper as if fastened with red wax at each corner, and inscribed — but how far contemporary is open to doubt — A superb picture, painted in a rich golden tone, although singularly subdued in general effect. Engraved, to the waist only, and the reverse way, by Vertue, in Birch's " Lives of Illustrious Persons," 1737. Engraved, the upper half only, by Cochran, in Lodge's Portraits, vol. v., No. 95. It is especially described in Smith's " Catalogue Raisonne of "the Works of Van Dyck," page 171, No. 591. He observes in conclusion : " This is a truly fine and interesting work of art." It was exhibited at the British Institution in Pall Mall in 1820. Dr. Waagen (vol. Hi., page 464) says of this picture : " By " far the finest picture by the master here. It is dated 1636, and " combines a remarkably noble conception with the deep warm " golden tone and the finished execution peculiar to Van Dyck " at that time." There is an oval engraving by Glover of this Earl, wearing a similar costume, which is extremely rare. It is placed on the same plate with a similar oval of his son, William, Lord Russell. An old copy, to the waist only, brought from Fleet House, Devon, is in the possession of Lord Arthur Russell, M.P. Walpole, in his " Anecdotes," mentions a small whole-length of this Earl, "set. 48. 1636," copied from Van Dyck by Van Leemput, at Penshurst. Pennant, 4to, page 358. Wiffen, No. cxviii. Canvas. 84^ in. x 50 in. ^3o£>urn &hbc& §ataloque. 69 98. Katherine Bruges, 1 Countess of Bed- Wife of the preceding. Daughter and co-heir of Giles Bruges, third Baron Chandos. A standing figure, full-length, the size of life, attired in the somewhat quaint costume of the beginning of the 17th century, turned slightly towards the right ; the eyes are fixed on the spectator. She wears a curious coronet- shaped head-dress, composed of white bone-lace ; her light brown hair hangs loose and flows freely over an open falling lace collar. She wraps a crimson robe or outer gown close round her figure, and holds both sides together in front. She stands on a richly-patterned carpet, whilst rich grass-green curtains are festooned on each side of the picture. There is a peculiar demureness in the expression of the figure. For her mother's portrait see ante, No. 45. Painted in 1634 by Cornelius Jonson van Ceulen. A standing figure, whole-length, life-size, attired in black, with a large white lace collar fitting close to her chin, and spreading down to her shoulders ; the square cutting of her dress on the bosom is filled with point lace, and her short sleeves are trimmed with the same material. She stands, with her figure slightly turned to the right, on a stone pavement, in front of a building containing a vacant niche. The balustrade of a terrace is visible in the distance, to the extreme left. Her hands are joined in front, and the left one ' It may be observed that many of the valuable portrait accessions to the collection at Woburn are attributable to the ancestry and family connections of this lady. Her father patronised a painter, Jerome de Custodis, of whose works, excepting one picture at Hampton Court Palace, we have no further knowledge. Through her grandfather, the first Earl of Lincoln, some rare and interesting historical portraits, including " The Fair Geraldine," were obtained. The portrait representations of the Cecil family, through Lady Cooke — mother alike of Lady Russell, Lady Burghley, and Lady Bacon — are mainly accounted for by ihe circumstance that Margaret Bruges, widow of Sir Thomas Smith, married the first Earl of Exeter (No. 61). The pencil of Van Dyck has recorded on these walls her daughter Margaret Smith (No. 80). FORD. Probably by Marc Gheeraedts. Pennant, 4to, page 356. Wiffcn, No. xi. Canvas. 84 in. x 5 1 in. 99. The same Person. jo Period of Francis, Fourth Far I, to 1641. holds a pink rose. The artist's name is inscribed in fine sharp characters on the wall, below the niche, very near to the pavement. cm, -vtcit^ j 63 An excellent and very characteristic example of the style of the painter at this period. It reminds me of the treatment of the portrait of Anne Clifford at Knole. Pennant, 4to, page 368. Wiffen, No. xlvi. Canvas. 84 in. x 50 in. 100. Francis Russell, second son of Francis, fourth Earl of Bedford. 161 9-164 i. Prhvitzer, dated 1627. Died in France a month before his father. He married Katherine, daughter of William, Lord Grey of Werke. At the age of eight. To the waist ; in an oval ; face three-quarters turned to the right. White falling band with narrow lace edging, cords and tassels, cherry-red bows and tags along belt. Inscribed in black across the upper spandrils — ^TATIS ANNO SWE I.6.Z7. 8 Wiffen, No. ccli. Oak panel. 26 in. x 20 in. 101. The same Person. ~ ^ „ . 6-. Honthorst. To the waist ; wearing blue steel armour. Face three-quarters turned to the left. Falling white band edged with broad white lace, broad blue scaif crossing breast-plate from his right shoulder. Dark brown background, Light admitted from the right hand. See also a picture at Weston Hall. 1 Wiffen, No. ccxxviii. Panel. 28A 1 See Miss Mary Boyle's Biographical Catalogue of the Earl of Bradford's pictures at Weston Hall. 8vo. Published by Elliot Stock, London, 1888. ■ptoburn Jlbbeg Catalogue. 7i 102. John Russell, third son of Francis, fourth Earl of Bedford. 1 620-1 681. Priwitzer, dated 1627. Was a Colonel in the Civil Wars for Charles I., and after the Restoration, in 1660, was made Colonel of the First Regiment of Foot Guards, which appointment he held till his decease in 1681. He was never married. Grammont exhibits him as a suitor to Miss Hamilton, as a great dancer, and prone to retain fashions in costume long after they had been generally discarded. As a child. In a green slashed dress similar in style to No. 101. Inscribed across the upper spandrils : — ATATIS /\n NO SV/E lG2 7 7 The name is added below, thus : — I HAN RV 5SElt Wiffen, No. cclii. Panel. 26 in. x 20 in. 103. The same Person. j. Hay is. To the waist ; face three-quarters turned to the left ; long pale brown hair, lie wears a plain falling band or collar, and a purple-grey sash crosses his steel cuirass, descending from the right shoulder. The sleeve is white, striped with gold. Dark curtain behind, and grey sky to extreme left. Light admitted from the right. A similar portrait, by Dobson, but turned the reverse way, is at Althorp. There is no scarf or sash crossing his breast-plate, and his collar is decorated with white lace and a large bow. A portrait, by Kneller, is at Weston Hall. Walpole, in his " Anecdotes," mentions a picture by Dobson at Chippenham in Cambridgeshire, formerly the seat of Edward Russell, Earl of Orford, representing in one piece Prince Rupert, Colonel John Russell, and Mr. William Murray, drinking. The 72 Period of Francis, Fourth Earl, to 1641. picture is at present at Ombersley, and the group is explained by Dallaway (Walpole's " Anecdotes," edited by Dallaway and Wornum), page 352, as follows: — "Colonel Russell having " thrown up his commission in disgust, Prince Rupert and " Colonel Murray persuade him to resume it." There is a fine repetition of this picture on the staircase at Combe Abbey, Warwickshire. Colonel Russell is seen in profile seated at a table, grasping a flask ; a dog is in the left-hand corner of the picture ; Murray dips his cockade into a glass of wine. Walpole, in his account of John Hayls, specifies this picture as the performance of that painter. He executed portraits of Pepys and his wife, and is frequently mentioned in the well- known Diary of that singular character. Wiffen, No. ccxxxi. Canvas. 29 in. x 24 in. 104. Edward Russell, fourth and youngest son of Francis, fourth Earl of Bed- ford. 1 625- 1 665 . Painter un known ; dated 1 62 7. Afterwards Colonel Russell. Married Penelope, widow of Sir William Brooke, K.B., and daughter and co-heir of Sir Moses Hill, of Hillsborough Castle, Ireland, ancestor of the Marquess of Downshire. Their son, Edward, became the celebrated Admiral Russell, Earl of Orford, who defeated De Tourville at La Hogue, in 1692. (See No. 209.) In a pedigree drawn up for the fourth Earl of Bedford in 1626, and still preserved among the family archives, the name of Edward Russell stands last on the list. He resided abroad during the period of the Commonwealth. He was interred at Chenies, October 19, 1665. As a child aged two years. A standing figure, whole length, life size, in a long white dress with laced cap and collar ; the face seen in three-quarters, turned to the left ; holding forth a bird in his right hand. He stands on a pavement of black and red squares ; a red curtain behind is raised, showing to the right a distant landscape, in which the church spire, backed by a round and richly wooded hill beyond the river, correspond with a known locality 73 where Edward Russell frequently resided, Tawstock, near Bishop's Storton, Barnstaple. It is now the property of Sir Bourchier Wrey, Bart. Inscribed in dull yellow capitals in the left-hand upper corner: — 5£T/\T IS $VM Z AMMO 1627 EDWARD KVSSELL. The letters are not formed with such complete care as generally distin- guishes pictures of this period, and have some of them been restored, but the inscription is of great value as affording the only precise indication of the date of his birth. The picture was purchased at Bath by Holloway, the print- seller, of Bedford Street, Covent Garden, for Woburn Abbey through the recommendation of the late Accountant-Gencral, Mr. William Russell. Canvas. \o^. The same Person. . r , , n „ 1 hcoaore Russell. In early youth. Face three-quarters turned to the right ; long flowing light hair, parted in the middle ; plain white falling collar with tassels. A scarlet sash, from his right shoulder under collar, crosses his steel breast-plate. See also a picture at Weston Hall. Wiffen, No. cel. Panel. 1 4^ in. x 1 2 in. 106. Lady Catherine Russell, afterwards Lady Brooke. Priwitzer, dated 1627. Eldest daughter of Francis, fourth Earl of Bedford ; born 1614 ; married 1628, Robert Grcville, second Lord Brooke, who was killed at Lichfield 1643. Died at an advanced age. As a girl, aged thirteen. To the waist ; within an oval ; face three-quarters to the right, looking at spectator. Large round muslin ruff, black dress over white bodice and sleeves. Black cross in front, from which a double string of pearls falls, and is festooned by a pink rosette on her left shoulder ; the string is continued in a festoon across the chest over her right shoulder on which L 74 Period of Francis, Fourth Earl, to 1641. there is no rosette. Pink girdle ; green leaves at the back of her head. Deli- cately painted in clear tones, in the manner of Cornelius Jonson. Inscribed, — /ETAT1S AN N O Wiffen, No. ccxliii. Panel. 26 in. x 19^ in. 107. THE SAME PERSON. Theodore Russell As a widow. Small-sized picture. To the waist ; with face nearly full, turned slightly to the right ; wearing a plain white mourning cap with lappets; black crape over all, and a dark veil on each side. A nosegay of flowers in front of her black dress. There is a similar picture to this at Kimbolton Castle. See the Portrait Gallery of the Manchester Exhibition, 1857, No 171. Wiffen, No. ccxliii. Panel 1 5 in. x 1 2 in. 108. Lady Anne Russell, afterwards Countess of Bristol. 161 5-1697. Prhvitzer, dated 1626. Second daughter of Francis, fourth Earl of Bedford. Married George Digby, second Earl of Bristol, 1 son of the celebrated ambassador to Spain during the time of the Spanish marriage, distinguished by his enmity to the Duke of Buckingham, the royal favourite. This lady resided in later years at Chelsea, in Buckingham, afterwards Beaufort, House, where John Evelyn saw Van Dyck's picture of her husband and her brother the Earl of Bedford. See Evelyn's Diary, 15th January, 1679. Asachild, aged twelve. To the waist ; quite similar to No. 106, and differ- ing only in the date. Inscribed, — ^TATIS ANNO swe i6z6 IZ Wiffen, No. ccxxxiv. Panel 26 in. x 20 in. 1 His portrait, together with that of her brother, Lord Russell, was painted by Van Dyck. See No. 171. 23ofntrn fceyj Catalogue. 75 109. The same Person. Theodore Russell. To the waist ; figure turned to the left, looking at spectator. Light ad- mitted from the right-hand side. Blue dress, cut Vandyckwise mm at the top, with white lining above it, and in same fashion below, to show orange lining or puffing to sleeve. Gauze scarf ribbed with gold stripes crosses her left sleeve. *„* For the third daughter, Lady Margaret, married successively to the Earl of Carlisle, Earl of Manchester, and Earl of Warw ick, see post, Nos. 133-135. no. Lady Diana Russell, afterwards Vis- countess Newport, and Countess of Bradford. 1622-1695. Pr iwitzer, dated 1627. Fourth daughter of Francis, fourth Earl of Bedford. Married 1642 to Sir Francis Newport, created Viscount Newport in 1675, and Earl of Bradford 1694. He died 1708. As a child, aged five. Within oval ; half-length figure in white, turned to the right ; wearing a white laced cap, and resting her right hand on a jackdaw which stands as if perched on the painted oval frame. String of red beads from shoulder to shoulder. Inscribed across the upper spandrils /ETATIS ANNO sv/E 16Z7 5 And across the lower spandrils DIANA KVSSEI^ It may be observed that the eyes in this picture arc grey, whilst in No. 1 12, representing the same lady in mature age, they are decidedly brown. There- is no indication of a mole on the cheek. Her portrait by Verelst is at Weston Hall. Wiffen, No. cexxxvi. Panel. 26 in. x 20 in. III. THE SAME PERSON. Theodore Russell. Seen nearly to the waist ; face three-quarters turned towards the left, Flaxen hair in ringlets, pearls intertwined at the back part of the head ; double pearls to ear-ring. White satin dress with blue and white puffs. Ilcr right hand is seen holding a pale yellow scarf. Wiffen, No. cexxxviii. Panel. 15 in. x 12 in. 76 Period of Francis, Fourth Earl, to 1641. 112. The same Person. Theodore Russell, after Sir P. Lely. A small picture. Seated figure to the left, seen to below the knees ; face three-quarters to the left, looking at the spectator. Light admitted from the right-hand side. Dress of rich satin, dull yellow in colour, full sleeves, and a rich purple mantle. Her left hand rests on her left knee, and the right hand is placed above it. Dark landscape background, with a marble fountain composed of a group of Cupid and Monster, water gushing from the jaws of the latter in the upper left-hand corner. The original of this picture is at The Grove, Lord Clarendon's, and is described by Lady Theresa Lewis in her Clarendon Gallery, No. 40, vol. iii. page 334. In the Catalogue of Sir Peter Lely's Pictures, No. 131, occurs a portrait attributed to Van Dyck and entitled " Countess of " Newport." Observe in this picture, as in other representations of the same lady elsewhere, a peculiar mole on her face above the corner of her mouth. A small picture of Lady Newport by Russell at Hampton Court Palace, but copied from a different original from this, ex- hibits the mole very distinctly. No. 1 89 of Law's Catalogue. Wiffen, No. xx. Panel. 15 in. x 12 in. 1 1 -3. The same Person. ^^-j* r- n r , u Copied jrom Sir P. Lely. Bust picture, life size, copied from the same picture at The Grove as the one previously referred to. In Ellis's "Original Letters" (Third Series, vol. iv., page 236) is a singular document addressed by her mother, the Countess of Bedford, to Sir Samuel Luke, dated " Wooburne Abbey," April 19th, 1645, requesting him to exert his influence with Sir Thomas Brereton, the Governor of Chester, for the relief of Lady Diana Newport, then besieged by the Parliamentary forces in her own house. Panel. 17 in. x 14 in. 77 114. The Cardinal-Infant Archduke, Don Fernando of Spain. 1 609-1 641. Brother of Philip IV., King of Spain ; Archbishop of Toledo ; Governor of the Netherlands, after victory of Nordlingen, 1634. A grand equestrian portrait, life size, mounted on a white charger gallop- ing to the right. The Archduke wears a broad-brimmed felt hat with large red feathers, and a broad spreading white lace-edged collar descending to his shoulders. His dress is yellow, with crimson lappets streaming backwards from his shoulders. He grasps a truncheon in his right hand. The trappings of the horse are red, and on the haunches is marked, as if branded, the device of a saltire cross engrailed, with the imperial crown above it. There are fine equestrian portraits of the " Gallant Cardinal " in the Gallery at Munich and at Windsor Castle. Van Dyck also painted him. Velazquez has represented the same personage in a sporting dress with astonishing individuality of character. The original picture is at Madrid. His portrait is also engraved by Lommelin in Van Dyck's " Centum Icones," plate 2. School of Rubens. Between the legs of the horse is seen a very rich landscape with the very low- horizon such as Van Dyck, the pupil of Rubens, adopted afterwards in his portraits of Charles I. Wiffen, No. lix. Canvas. 115 in. x 87 in. 78 Period of Francis, Fourth Earl, to 1641. 115. Martin Pepyn. 1574-1641. By Himself. An historical painter, born at Antwerp, contemporary of Rubens. He resided principally in Italy. Bust portrait, life size, within a gilt oval spandril. Head in three-quarters, turned to the right. Falling full-plaited ruff ; black dress. Aged countenance with brown grey beard. This portrait closely resembles the one engraved by Bolswert, No. 67 of Van Dyck's " Centum Icones." Wiffen, No. clix. Panel. 24 in. x 19 in. 116. Henry Danvers, Earl of Danby, K.G. I 573-l6 4 4- Miereveldt. Second son of Sir John Danvers of Dantsey, and Elizabeth, daughter of John Nevil, Lord Latimer ; served as a volunteer, under Prince Maurice, in the Netherlands ; appointed by the Earl of Essex Serjeant-major of the army in Ireland. After the death of his brother, who perished on the scaffold for his share in the insur- rection of Essex, he gained the favour of James L, who at once advanced him to the dignity of Lord Danvers, and he speedily became a Court favourite ; the Presidency of Munster was con- ferred on him ; on the accession of Charles I. he was called to the Privy Council, and in 1633 elected a Knight of the Garter. He died in retirement and unmarried at his seat, Cornbury Park, Oxfordshire. Whole-length, life size, standing bareheaded in front of an open tent, on which, to the right, in sloping characters, is inscribed, — Face in three-quarters, partly turned to the left, the eyes fixed on the spectator. His under dress is black, with a plain white falling collar appearing on each side of his square-cut beard. A crescent-shaped black patch will be ^Sobttrn Qbbc-Q gctf a locate. 79 noticed between his left eye and ear. A deep crimson embroidered robe crosses his body and seems to be supported by his left hand placed on the hip. The other hand rests on a gorget placed with a helmet on a table to the left. A second tent is observable in the background on the left. His portrait, as Earl of Danby, was contributed by Mr. Vernon Wentworth to the Portrait Exhibition at South Kensington in 1866, No. 633 of the catalogue. Pennant, 4to, page 370. Wiffen, No. ccxii. Canvas. 78 in. x 50 in 117. Thomas Howard, first Earl of Suffolk, K.G. 1 561-1626. y > van somer, 1608. Son of Thomas Howard, fourth Duke of Norfolk, by Margaret, daughter and heir of Thomas, Lord Audley of Walden ; com- manded one of the divisions of the fleet in Essex's expedition to Cadiz ; the Queen showed her favour by bestowing the Order of the Garter on him in 1597, and by nominating him Constable of the Tower of London. On the accession of King James in 1603 he was created Earl of Suffolk, and appointed Lord Chamberlain. Through his sagacity the gunpowder stored under the House of Lords was discovered in 1605 ; he became Lord High Treasurer in 1614, and was elected Chancellor of the University of Cambridge. His eldest daughter, Elizabeth, became the second wife of William Knollys, Earl of Banbury ; the second, Frances, married Robert Devereux, third Earl of Essex, and afterwards became the notorious Countess of Somerset ; whilst Catherine, the youngest, married William Cecil, second Earl of Salisbury. He was grandfather to Anne Carr, Countess of Bedford (173). Full-length standing figure, the size of life, in Peer's robes, wearing collar of the Garter, bare-headed, holding the wand of Lord Chamberlain in his left hand, the right resting on his hip. He wears an open white lace collar and red stones attached to his ear-rings. The (jarter is at his left knee over red stockings. His shoes are grey with large scarlet rosettes. A long mantle hangs from his shoulders. Face seen in three-quarters, turned to the right. His hat, with large plume of scarlet feathers in it, is on a green table to the right, and on the background, near it, with a jewelled band and ornament, 8o Period of Francis, Foitrth Earl, to 1641. is the date 1 608. The floor is covered with a Persian carpet. A solidly painted picture in good condition. Various opinions have been expressed as to the person whom this picture is intended to represent. Pennant (4to, page 371) styles him an Earl of Rutland, pro- bably Francis ; but this nobleman did not receive the Garter till 1616 and the picture was painted in 1608. Another suggestion, that it might be Robert Carr, Earl of Somerset, is entirely ne- gatived by the difference of the colour of the hair and the known personal appearance of Somerset in authentic representations. Somerset also did not become a Knight of the Garter till May, 1 6 1 1 . The face is very youthful ; but even at this period artists exercised the power, with advantage to themselves, of softening the ravages of time. Wiffen (page 45) proposes with every appearance of correct- ness the name which has here been adopted. The Earl of Suffolk's portrait was introduced among the representations of eminent commanders in the borders of the Armada Tapestries in the House of Lords, destroyed in 1834. He also appears in an oval engraving, wearing a hat, published by Woodburn, vol. ii., plate 1 16. See also the Collection of Portraits at Knole, in the Brown Gallery. His portrait, later in life, with strongly marked features, is engraved in Lodge, vol. iv., plate 80. Wiffen, No. Hi. Canvas. 84 in. x 52 in. 118. Katherine Knevit, Countess of Suffolk. Painter unknown. Wife of the preceding. Her first husband was Richard, son of Robert, second Lord Rich, who died before his father. She had the small-pox in 1619. This has been called the Countess of Somerset, and a portrait of her, as mother of Anne Countess of Bedford, who was born during her imprisonment in the Tower, might naturally be ex- pected to be found in the comprehensive collection at Woburn Abbey ; but from the dark colour of the eyes and a certain hard- 81 ness of expression, I conclude this picture to represent her mother the Countess of Suffolk, and this is confirmed by a fine whole length at Gorhambury, which is engraved, omitting some acces- sories, in Pennant's "Journey from Chester," 4to, page 228. A square picture. Figure life-size, to below the waist, turned towards the right ; face seen in three-quarters in same direction, and the eyes fixed on the spectator. Her left hand is placed in front of her girdle. Her falling ruff is spotted with black and fitted close to the cheek. An arch of white lace sur- mounts her hair, and from this depends a grey veil spotted also with black. Black balls attached to ear-rings, and black strings hang from her left ear. Black dress with white stripes, cut in the shape of a V in front. Yellow lace ruffle to sleeve. Background dark green. Engraved as Countess of Somerset, in a square form, 4to, by James Stow, from a drawing by G. P. Harding, done from the original at Woburn, published May, 18 14. A copy of this picture, painted by Lady Lucan in 1776, was sold in the Strawberry Hill collection. The following representations of the Countess of Somerset are very different from the picture under consideration : — A contemporary engraving ; fac-similcd by Richardson. A full-length portrait, which was in the Manchester Exhibi- tion Portrait Gallery, 1857, No. 24 of the catalogue, contributed by the Duke of Portland from Bulstrode. A fine circular miniature by Isaac Olivier, formerly in the Strawberry Hill collection, now belonging to the Earl of Derby Another miniature was in the 1865 Exhibition, contributed by Mr. Heywood Hawkins, No. 1 163 of the catalogue. Wiflen, No. eclxix. Canvas. 28^ in. x 23^ in. 119. Giovanni Lanfranco. i 581-1647. Painted by Himself. A celebrated painter ; a disciple of the Carracci ; born at Parma. His principal works are at Rome and Naples ; he was the con- stant rival of Domcnichino ; he died at Rome. Bust portrait, life-size, face seen in three-quarters turned towards the right, which side is enveloped in deep shadow. He wears a large, broad, square-cut, plain collar over a black cloak ; rugged face, looking at spectator ; solid dark brown hair covering the ears, hollow cheeks. Bl 82 Period of Francis, Fourth Earl, to 1641. Dr. Waagen (vol. iv., page 335) observes of this portrait : "Very " animatedly conceived, and of brown and powerful tone." Lanfranco's portrait by himself is among those of the painters at Florence. There he is quite bald-headed, the eyebrows rise more, and the moustaches are more turned up. He wears the same large, broad, plain collar. See " Galleria di Firenze," vol. ii. p. 173. Canvas. 25^ in. x 2o\ in. 120. King Charles I. 1 600-1649. After Van Dyck, 1636. Copied from the picture at Windsor Castle. Whole-length, life-size, standing figure, wearing a long purplish surcoat with hanging sleeves, and a long mantle of the same colour lined with ermine. His face, one of the most majestic of all Van Dyck's portraits of the unfor- tunate monarch, is seen in three-quarters turned towards the right. He wears a large, wide-spreading lace-edged collar, beneath which is the collar of the Garter with badge appended. His right hand, gloved, is placed on his hip ; the left hangs by his side, partially touching the hilt of his sword. Behind the figure is a large plain stone column. The crown and orb lie on a stone parapet to the right. A rich dark yellow curtain hangs to the left. He wears large yellow rosettes to his shoes. The ground he stands on is perfectly plain. This was the only picture saved from the fire at Cowdray House (September 24th, 1793), and was presented to the Duke of Bedford in 1833, by Wm. Stephen Poyntz, Esq., M.P. for Ash- burton. The original picture is signed Ant van Dyck Eques Pinxit, and below the crown — C.R. 1636. It is described in Smith's " Catalogue Raisonne of the Works " of Van Dyck," page 61, No. 210. Sir Robert Strange, who made an admirable engraving from this picture, was in possession of Van Dyck's original study for it. See Dennistoun's " Memoirs of Sir Robert Strange," vol. ii. pp. 54 and 138. Wiffen, No. cxx. Canvas. 84^ in. x 50 in. ■£3oIutrtt IlbfceB Qataloqne. 33 121. The same Person. Probably by Kneller, in imitation of Van Dyck. Whole length, life-size, standing figure, in robes of the Garter, standing towards the left, with his right hand extended, and holding his plumed hat in the left. Both the conception and the execution of this picture belong to a period long subsequent to Charles I. Wiffen, No. xliv. Canvas. 90 in. x 56^ in. 122. The same Person* Copied from Van Dyck by Anna Maria, Duchess of Bedford. Life-size, to the waist ; face three-quarters turned to the left, large star embroidered on the black cloak, blue ribbon, pearl attached to the ear-ring. Light admitted from the right-hand side. The original picture by Van Dyck was destroyed in the fire at Whitehall Palace. Fine repetitions still exist at Warwick Castle, and in the Gallery at Dresden. Canvas. 28 in. x 22 in. 123. Queen Henrietta Maria. 1609- 1669. Van Dyck. Daughter of Henri IV. of France and Marie de Mcdicis ; married 1625 to Charles I. King of Fngland ; died at Colcmbc, near Paris. A full-length standing figure, the size of life, with a red curtain behind on the left. The folds of her white satin gown, gathered up by her left hand, are admirably painted. " Attired in white satin with a blue ribbon, and bow at the " waist ; the bosom is adorned with rows of pearls, attached to a " diamond brooch, and hanging in clusters on the bodice; the " right hand, holding a sprig of roses, is placed in front, and the " left is extended to raise the skirt of the robe." 84 Period of Francis, Fourth Earl, to 1641. The above is taken from Smith's description of this picture in his " Catalogue Raisonne of the Works of Van Dyck," page 131, No. 479. He accepts it as a portrait of Henrietta Maria, and does not state that it came from the Calonne Collection. Dr. Waagen (vol. iv., page 334) expresses considerable doubt as to the correctness of the attribution. He says, " The features " differ so much from those of this well-known personage, that I " am inclined to consider it the portrait of another woman." In the Catalogue of the Calonne Sale, March, 1795, only two portraits of ladies by Van Dyck occur. They are full-lengths, Nos. 56 and 57 of the fourth day's sale ; but no name of any personage is attached to them. They had previously belonged to Sir Joshua Reynolds, and Calonne had paid him 500 guineas for the two pictures. They sold on this occasion respectively for 130 and 170 guineas. Wiffen, No. cxxiii. Canvas. 845 in. x 50 in. 124. The same Person. Copied from Van Dyck by Lady Caroline Stanhope. To the knees, life-size, standing figure in white satin with zig-zag lacing down the front of her white satin stomacher. The figure is turned to the left with the eyes fixed on the spectator. The right hand is about to lift some roses from the table, near which is placed the crown. Light admitted from the right-hand side. The original picture is at Windsor Castle. Canvas. 48 in. x 35 in. \2<. Adrian Pulido Pareja. „, 0 J Velazquez. Knight of Santiago, and Admiral of the Fleet of New Spain. Full-length, life-size, bareheaded, standing figure, turned towards the right. He wears a broad lace-edged falling collar, holds a truncheon in his gloved right hand, and his hat in the left. A white embroidered belt crosses his breast, which is decorated with the Cross of Santiago. The sash round his waist is red. Behind him is a dark red curtain. In the distance, to the 85 right, is represented a fleet at sea, and on the ground, in front, to the left, is introduced an oval shield bearing the following inscription : — ADRFAXT PVLIDOPAREJA Cap'itan general de- la J\rmcxc? cl jl°&clenue.ucu £ S p CUTLCL, 1660 The picture is graphically described in Stirling's " Annals of " the Artists of Spain," vol. ii. p. 622, in the following words : " The Admiral is depicted as. a swarthy man of singularly surly " aspect, with beetling brows and shaggy hair and moustachios ; " his dress is black, with white sleeves and collar, and the red " cross of Santiago on his breast ; and he stands hat and truncheon " in hand. Behind his head there is a red curtain, and in the " background a tall galleon under a cloud of canvas." Palomino relates (torn. iii. p. 492) the following story of this picture, both curious in itself and flattering to Velazquez. " The " Admiral's portrait being finished and set aside in an obscure "corner of the artist's painting-room, was taken by Philip IV. in "one of his morning lounges there, for the bold officer himself. " ' Still here ! ' cried the King, in some displeasure at finding the " Admiral, who ought to have been ploughing the main, still lurk- " ing about the palace, — ' having received your orders why are " you not gone ? ' No excuse being offered for the delay, the "royal disciplinarian discovered his mistake, and turning to " Velazquez, said, ' I assure you I was taken in.' " — Stirling's "Annals," vol. ii. p. 621. Velazquez himself died August 6, 1660, in his sixty-first year. Dr. Waagen (vol. iv. p. 333) observes : " The stern dignity of " the individual is very animatedly expressed. The execution " of the flesh tones in a deep brown tone is very spirited." 86 Period of Francis, Fourth Earl, to 1641. This picture was exhibited at the British Institution in 1846, No. 1 14 of the catalogue. At Longford Castle, near Salisbury, is a similar picture, but with a perfectly plain brown background. It is merely inscribed with the name ADRJAN PVLIDO PAREJA. In Stirling's " Annals," vol. ii. p. 622, the Longford picture is thus described : — " It represents a grave Castilian gentleman, " with a bronze weather-beaten face, and a head of thick black " hair ; his dress is of black velvet, with sleeves of flowered white " satin, and a broad falling collar of white lace ; he has a sword " girt to his side by a white belt ; and in his right hand he holds " a truncheon, and in the left a hat." Wiffen, page 87, associates this personage with the Spanish Armada of 1588. The picture itself was painted in 1660, and the person represented does not even look sixty years of age. Wiffen, No. cxv. Canvas. 78 in. x 42J in. 126. Rene Descartes. 1596- 1650. Philippe de Champaigne. Rene Descartes du Perron, the great philosopher, was born at La Haye, in Touraine, and at the age of twenty-one enlisted as a volunteer under the Prince of Orange. In 1637 he published his " Principles of Philosophy." Declining to accept an invitation from Charles I. to visit England, and residing successively in various countries, he finally settled at Stockholm, under the patronage of Queen Christina, and died there whilst engaged in projecting an Academy of Sciences. His body was afterwards removed to the Church of Ste. Genevieve in Paris. A somewhat youthful portrait ; half-length figure, life-size, wearing an ample black mantle, and a plain white square-cut collar. The face seen in three-quarters to the right, with eyes looking at the spectator. Long dark hair and small thin moustaches. The right hand alone is seen, raised to his breast. A celestial globe and distant mountains, with a moonlit sky, are on the extreme right. £3ofmrn &hbey §ataloQUc. 87 A fine portrait of Descartes, painted by Mignard in 1647, is at Castle Howard. The well-known picture by Hals in the Louvre is engraved by W. Holl in Charles Knight's Gallery of Portraits, vol. iv. page 189. Wiffen, No. clxxv. Canvas. 34 in. x 28 in. 127. Jan Both. 1610-1650. B y Himself . This eminent landscape painter was born at Utrecht. He studied under Bloemaert, but was influenced by the works of Claude. He was inseparably associated in the production of his pictures with his brother Andrew, and did not long survive him. To the waist, life-size. Face nearly full and somewhat to the right. Strong shadows on the countenance. Bareheaded, wearing a large fluted falling ruff and plain black dress. His left hand is seen wearing a brown glove. Wiffen, No. clxi. Canvas. 28 in. x 22 in. 128. Daniel Mytens and his Wife. 1590- 1656. Van Dyck. Born at the Hague. He succeeded Van Somer in England as the principal Court painter, and on the arrival of Van Dyck was ex- pressly retained by Charles I. in his service. Mytens was a portrait painter of distinguished ability. Some of his best works are at Knole, Hampton Court Palace, Hardwick, and VVentworth Wood House. His copies from the old masters were excellent, and his series after the cartoons of Raphael at Knole (formerly at Copt Hall) are very remarkable. His pictures bear date from 1623 to 1C34. Half-length, life-size figures, seated side by side. Mytens on the left-hand, wearing an ample black satin mantle and white collar, seated in a square-backed chair, turned towards the right, looking at the spectator, rests his right elbow on a stone slab. His wife, in black dress 88 Period of Francis, Fourth Earl, to 1641. with large falling ruff, looks cheerfully at him, her face being turned in three- quarters to the left, holding some red roses in her lap ; her left hand is raised, as if pointing. A rich crimson curtain partially conceals a plain stone column on the extreme right. A fine and powerfully painted picture, with a strength of colour and shadow partaking of the style of Van Dyck's fellow pupil Jordaens. Dr. Waagen only passingly mentions this fine work, vol. iii. page 464. The portrait of Mytens is very similar to the engrav- ing No. 63 of Van Dyck's " Centum Icones." The latter is copied in Walpole's "Anecdotes of Painting" by Bannerman, the reverse way, but in the subsequent edition by Dallaway and Wornum it has been more exactly copied by W. Raddon. This picture is described by Smith in his " Catalogue Rai- " sonne," No. 764, page 216. Wiffen, No. cxxxvii and cxxxix. Canvas. 59 i n - x 43? * n - 129. Philip Le Roy, Lord of Ravels. Van Dyck in 1630. At the age of thirty-four. An ardent patron of the Fine Arts ; son of the President of the Council of Finance of Brabant, and himself a member of the Board. He enjoyed the close confidence of Philip IV. of Spain. Half-length standing figure, life-size, bareheaded, dressed in black, wearing a large, broad falling white lace collar. He rests his right hand on the head of a dog looking up to him. The other hand is in his girdle. His face is seen in three-quarters, turned towards the left, and looking at the spectator. The side of the nose is in shadow. The head has been etched by Van Dyck himself (see Carpen- ter's " Van Dyck," page 103). The plate was afterwards con- verted into a highly-finished engraving, of an oval form, with the inscription " Philippus Baro Le Roy, S.R.I. Dominus de Ravels, " Brouchem, Oelegein et in fano S 11 Lamberti." The celebrated full-length portrait, the prototype of this pic- ture, was sold in the King of Holland's collection to the Marquess 89 of Hertford in 1850, and by him contributed to the Manchester Exhibition in 1857. It is now the property of Sir Richard Wallace, Bart, by whom it was exhibited at the Royal Academy, Burlington House, 1872, No. 134 of the catalogue, and 1888, No. 149 of the catalogue. The picture is signed " A. Van Dyck, aetatis suae 34, A. 1630." See also Smith's " Catalogue Raisonne of the Works of Van " Dyck," page 104, No. 369. Wiffen, No. cxli. Canvas. 42 in. x 38 in. 130. Peter de Jode, his Wife and Child. 1 606- 1 659. By Himself. Born at Antwerp. One of a family of engravers. His father, of the same name, executed many fine engravings after the great historical painters, but Peter the younger devoted himself es- pecially to reproducing the finest portraits by Van Dyck. His son, Arnold de Jode, followed the same profession, and visited England, but with moderate success. Half-length figures, the size of life. The wife sits in the centre, with her figure turned towards the right, looking back to her husband who leans over the back of a chair, gazing at the spectator. The little girl in flat hat and feathers, stands at her mother's knees, and looks towards the spectator. Both De Jode and his wife are dressed in black, and wear large, wide-spreading grey lace collars. A large lute is laid across the chair on which the artist leans. A powerfully painted picture with rich deep shadows. A similar figure to this of the painter, and also leaning on a chair, by Tho. Willeborts, called Bosschacrt, is engraved by P. de Jode himself in Cornelis de Bie's " Gulden Cabinet," part iii. page 511. Wiffen, No. exxx. Canvas. 59 in. x 42^ in. N 90 Period of Francis, Fourth Earl, to 1641. 131. Oliver Cromwell. 1599- 1658. Robert Walker. Born at Huntingdon. Died at Whitehall. Half-length standing figure, life-size, bareheaded, with grey hair ; the face seen in three-quarters turned towards the right ; the eyes looking in the same direction. He wears a black velvet dress, with brown fur at the wrists, a small, plain, square-cut collar, fitting close under the chin, and a broad gold- wrought belt and buckle on it, passing from the right shoulder towards the sword. His right hand hangs negligently, holding a brown stick, and the left is placed against his hip. In the background, to the right, is seen a general mounted on a white horse, addressing his troops. In this distant figure the costume seems somewhat of a later period than the Commonwealth. Behind the head of Cromwell is a large mass of dark brown rock. The introduction of a portrait of Cromwell into this collec- tion, independently of other considerations, would be sufficiently accounted for by the fact that two of his children married members of the Russell family. See notice of Wm. Russell of Chippenham, page 93 (No. 138). Canvas. 48^ in. x 38 \ in. 132. James Hay, second Earl of Carlisle. 1 609- 1 660. Robert Walker Son of the " extravagant " Earl of Carlisle, by Honora, daughter of Edward, Lord Denny. He married Margaret, third daughter of Francis the fourth Earl of Bedford, and died 1660, leaving no issue. Bust portrait, full face, wearing a buff coat and a broad pale crimson sash descending from the right shoulder. Long light brown hair parted in the middle. Plain white collar, tied with yellow cords. Youthful face, ruddy complexion, small moustaches, and double chin. An extremely well painted picture. There is at Hagley a fine full-length portrait of this nobleman by Van Dyck. It was exhibited at Manchester in 1857, and also at the 1 866 Portrait Exhibition at South Kensington. Another portrait, taken at a different period of life, belongs to the Earl of Home. Wiffen, No. ccxxi. Canvas. 2g\ in. x 24 in. ^3obum Qhheys gctfnlocjue. 9i 133. Lady Margaret Russell, afterwards Countess of Carlisle. 161 8-1 676. Priwitzer, dated 1627. Wife of the preceding. Third daughter of Francis, fourth Earl of Bedford ; she married secondly Edward Montagu, Earl of Man- chester, and thirdly Robert Rich, Earl of Warwick and Holland. As a child, aged nine years. To the waist ; within oval ; very similar to No. 106, but younger. Black and white dress, green leaves at the back of her light-coloured hair. A red tinted pearl pendant from a small square black stone hanging from a double row pearl necklace. Inscribed on upper gTey spandrils, partly on the right and partly on the left, ^ETATIS SVJE ANNO 9 I-6.Z7. Wiffen, No. ccxxxv. Panel. 26 in. x 20 in. 134. The same Person. ~. , „ „ Theodore Russell. A square picture. To the waist ; wearing a pale blue satin dress ; turned to the right, looking at the spectator. Double pearls are attached to each ear-ring. Small flowers of various colours form an arch over the top of the head ; a belt of gold and pearls extends from the left shoulder, and a row o pearls crosses the body. The light is admitted from the right-hand side. Wiffen, No. ccxxxix. Panel. 1 5 in. x 1 2 in. 135. The same Person ; with her Niece, Lady Diana Russell, second Daughter of William, fifth Earl of Bedford. After Van Dyck. Seated figure, to the left, life-size, and seen to below the knees. Her niece, a child, Lady Diana Russell, afterwards Lady Diana Verney (see post, Nos. 189 and 191), stands beside her, holding a thin gauze scarf with both her hands. The Countess places her right hand on the shoulder of the girl, who looks at the spectator with the most charming naivete, and rests her left on 92 Period of Francis, Fourth Earl, to 1641. the square elbow of the solidly constructed chair. Her red satin dress is richly adorned with jewels, one principal ornament or clasp being fastened not directly in front but towards her left shoulder. The face is seen in three- quarters towards the left, looking calmly at the spectator. The child has flaxen hair, and wears a white satin frock. This picture is probably the one referred to in a letter dated February nth, 1743, and still extant, addressed by H. Drake, of Hatfield, near Doncaster, to the Duke of Bedford, offering for sale " a picture of Margaret, daughter of Francis, Lord Russell " of Thornhew, with, in the same piece, Diana (a child), eldest " daughter to William Duke of Bedford, a half piece." The original, a very fine picture, is at Devonshire House. It is described by Smith in his " Catalogue Raisonne of the Works "of Van Dyck," page 161, No. 565. It has been engraved by P. Lombart in the series known as " Van Dyck's Countesses." The Duke of Devonshire's picture was exhibited at the Grosvenor Gallery, London, in 1887. Wiffen, No. xxii. Canvas. 48^ in. x 385 in. 136. The Princess Elizabeth, afterwards Queen of Bohemia. 1596-1662. Daughter of King James I. ; born in Scotland. Married 161 3 to Frederick, Elector Palatine, afterwards King of Bohemia. Mother of Prince Rupert and the Princess Sophia, Electress of Hanover. Resided at the Hague, and finally settled in England. As a child, full-length standing figure, in a long white dress, but hardly of the style of costume, especially in Scotland, suited to the period of her child- hood. She holds two birds in her right hand ; a monkey crouches at her feet on one side, and a dog lies on a cushion in the opposite comer. Two parrots on high standing perches are behind her. Her circular head-dress is composed of pearls. The floor is covered with matting. The long flowing hair is very light, and entirely at variance with all representations of "the Queen of " Hearts." More like Lady Arabella Stuart, whose hair was very light. A curious picture. Canvas. 61 in. x 37 in. "poburn &bbey: gafalogue. 93 137. The same Person. g Hmtkorst. Full-length standing figure, the size of life, turned towards the left, wearing a black dress over a red one, with high-standing white lace collar. She rests her right hand on a dark blue covered table. Face seen in three- quarters to the left, looking at spectator. A sprig-shaped diamond jewel is in her hair, and a black scarf tied round her left arm, with a small closed fan in her left hand. She stands on a rich Turkey carp.t ; blue satin curtains are suspended on each side. A well-painted and characteristic picture, very genuine as to likeness. Wiffen, No. li. Canvas. 84 in. x 50 in. 138. William Russell, Esq., of Chippenham in Cambridgeshire, afterwards Sir William Russell, Bart. Died 1654. Marc Gheeracdts in 1625. Son of William Russell, Esq., of Surrey. Created a baronet for his many years' service as Treasurer of the Navy.' His patent conferring this dignity bears date January 19, 1 630. He was buried at Chippenham, February 3, 1654. His first wife (Eliza- beth Cherry, see below) died in 1626. His second was Elizabeth, daughter of Tho. Gerard of Burwcll, in Cambridgeshire ; and his third, Elizabeth, daughter and co-heir of Michael Smallpage of Chichester. 2 Full-length, life-sized, standing figure in official robe, resting his right hand on a red covered table on which lie his black hat and some papers. He holds an embroidered glove in his left hand. His face is seen in three-quarters to the left ; grey thin hair and pointed beard. He wears a large falling ruff fitted close to the cheek. The matting on which he stands is painted with 1 In this office he was associated with Sir Henry Vane, junior, who, after the death of Sir William, discharged the duties alone. Collins's Peerage, ed. 1779, vol. v. p. 341. 2 Noble's " Memoirs of the House of Cromwell," ed. 1 787, vol. ii. p. 403. His granddaughter Elizabeth married Henry Cromwell, second son of Oliver Cromwell and Lord Lieutenant of Ireland {ibid. p. 409). Sir John Russell, the third baronet, married Frances, youngest daughter of the Protector Oliver, and widow of the Hon. Robert Rich, eldest son of Lord Rich {ibid. p. 412). 94 Period of Francis, Fourth Earl, to 1641. remarkable care. Both this and the companion picture, No. 139, are in ad mirable condition, and highly characteristic of the painter's manner. Dated at the upper left-hand corner. Wifien, No. liii. Canvas. 77 in. x 42 in. 139. Elizabeth Russell. Companion picture. Marc Gheeraedts in 1625. First wife of the preceding. Daughter of Sir Francis Cherry. Buried at Chippenham, October 14, 1626. Died without issue. 1 Full-length, life-sized figure, in a singularly rich and elaborately em- broidered costume. The lady stands by the side of a high backed chair, resting her left hand on a red cushion which is placed across the arms of the chair. On the cover of the small psalm-book lying upon the cushion is an oval panel containing a kneeling figure of David pliying the harp. Her head-dress con- sists of a band of gauze across the forehead, with a long black veil hanging down behind, and a large radiating ruff fitting close round the face. A gauze apron, partially concealing the patterns of her richly-embroidered gown, is very skil- fully painted. She wears long hanging sleeves to her outer dress, and holds a white glove in her right hand. The companion glove lies on the seat of the chair. The floor, as in the previous picture, is covered with matting. Inscribed in black upon the red rail of chair — On the back of the canvas, which had been relined at no very distant period, is inscribed in large letters in white chalk, Wiffen, No. liv. Canvas. 77 in. x 42 in. 1 Noble's "Memoirs of the House of Cromwell," vol. ii. p. 403. ^3ofmrn ^tfrfceg Catalogue. 95 140. Rembrandt van Ryn. 1606- 1669. By Himself. Born at Leyden, July 15, 1606. Was placed at the Latin school there with a view to his studying jurisprudence afterwards at the University, but his strong predilection for art induced him to enter the school of Jacob van Swanenburg, and after three years he studied under Pieter Lastman, at Amsterdam, and Jacob Pinas, at Haarlem. Having been successful in his art, he settled finally at Amsterdam, and in 1634 married Saskia Uilenburg, a lady of considerable fortune. She died in 1642. He married again, but of his second wife little is known. The ways of Rem- brandt appear to have been improvident. In 1656 he was publicly declared insolvent. His abilities in etching were equal to his skill as a painter, and his works, in their various states, have always commanded high prices. He died at Amsterdam, and was buried in the Westerkerk there, October 8th, 1669. When about thirty years of age. Life size, to below the waist. Face seen in three-quarters turned towards the right, looking at the spectator. Smoothly shaven cheeks, brown moustache. His forehead and eyes are in shadow from cap. He wears a dark brown fur cap, a standing fur collar, and double gold chain with a medal round his neck. The left hand is raised to support his brown cloak, which also has a broad fur trimming. Plain rich brown behind. An extremely fine Rembrandt, rich and mellow brown in tone. Purchased in 1748 for 19/. 8s. 6d.. Dr. Waagen (vol. iv. page 335) remarks of this picture : " His " own portrait in middle age. He holds one hand before his " breast. Warm and clear in colouring, and of very energetic " treatment." The picture is described in Smith's " Catalogue of the Works " of Rembrandt," p. 87, No. 214. Portraits of this great painter are very numerous. Wiffen, No. cxlvii. Canvas. 35 in. x 29 in. 96 Period of Francis, Fourth Farl, to 1641. 141. Frans Hals. 1584- 1666. By Himself. An eminent portrait painter, distinguished by his boldness and mastery in execution ; born at Mechlin ; a pupil of the learned artist and writer, Karel van Mander. Van Dyck visited him in his studio at Haarlem, and the two painters exchanged portraits. Bust picture, life size, within an oval stonework bordering with mould- ings ; face seen in three-quarters to the right, looking towards the spectator ; wearing a large round Dutch ruff and broad -brimmed black hat ; both hands are seen. The shadow from the figure is cast on the light brown background. The face is old, with grey beard and ruddy complexion. Dr. Waagen (vol. iv. p. 335) considers this picture as "highly " animated, and spiritedly sketched in a powerful tone." Etched by W. Unger, in his series of Frans Hals' works, in- scribed, JET. SVJE 50. AN°. 1635. Dr. William Bode of Berlin considered this to be the portrait of a nobleman, and not of Hals himself. See " Studien," 1883, p. 92. Wiffen, No. clii. Canvas. 33 in. x 26 in. T4.2. Guercino. 1 592- 1 666. By Himself. Giovanni Francesco Barbieri was born at Cento. The name Guercino was derived from his squinting. Studied at Bologna . and at Rome, and became one of the leading painters of the Bolognese School when established by the Caracci. He died at Bologna. A bust picture, life size ; the face seen in three-quarters turned to the left. His countenance shows him to have passed the prime of life, his long grey glossy hair is parted in the middle. He wears a plain square-cut white collar, 97 fitting closely to the chin. His dress is black and white. A square Dalelte and brushes are in his left hand. The deep-set eyes are in shade and have a touch of squint in them. The light is admitted from the right-hand side. Painted for Count Fava, of Bologna, by whose descendant it was presented, through Mr. (afterwards Sir George) Hayter, to the present collection. A similar picture is at Cobham Hall ; another, with a large painting on an easel before him, is in the Royal Collection at Windsor Castle. It has been engraved by Bartolozzi. Dr. Waagen (vol. iv. p. 336) notices this portrait as "already " advanced in years. True and powerfully coloured." Wiffen, No. clxvii. Canvas. 26 in. x 22 in. 143. Thomas Wriothesley, fourth Earl of Southampton, K.G. Died 1667. Sir Peter Lely. Father of Rachel, Lady Russell (182) ; son of Henry, third Earl, ^v^tuu '» ' ^ 1 • £""i< the friend of the Earl of Essex (64). A staunch supporter of f^*- fu. Born at Petheridge in Devon. He served at Edgehill on the side of the Parliament, and at Newbury for the King ; Com- mit Qfyvuy*. mander-in-Chief in Scotland, 1654 ; chief agent in the Restora- ' tion, 1660; commanded the fleet in 1666. Half-length standing figure, life-size, turned towards the left, raising a truncheon in his right hand, the other holding the sword. He wears the buff coat, a crimson sash round his waist, and the ribbon of the Garter crossing his breast, issuing from beneath his broad white square-cut collar. Part of an anchor is seen below his right hand. The light is admitted from the right- hand side. This picture was purchased by the mother of John, sixth Duke of Bedford. 1 A similar picture, formerly in the Royal ' A letter addressed by the Duke to Mr. Martin, the Librarian, dated W. A., August 28, 1828, states as follows : " My late mother purchased the portrait of Monk D. of Albemarle " in Picture Gallery as a work of Sir Peter Lely, and I have never seen any reason to question " it. —Bedford." Collection, is now in the gallery of Admirals at Greenwich Hos- pital. Another belongs to the Earl of Verulam at Gorhambury. A fourth, formerly in the possession of the Earl of Seaforth, is now in the National Portrait Gallery. Wiffen, No. ccxv. Canvas. 46 in. x 37^ in. 152. Edward Montagu, second Earl of Man- chester, KG. l602-l67l. c - n , T7 ' sir Peter Lely. Second husband of Margaret Russell, third daughter of Francis, fourth Earl of Bedford (she was his fifth wife). Known as Lord Kimbolton. He was associated with the five members whom Charles I. desired to seize. Commanded at Marston Moor, and assisted at the Restoration. He was, both before and after the civil war, Chancellor of the University of Cambridge. In April, 1660, he served as Speaker of the House of Peers, and at the Restoration was constituted Lord Chamberlain of the Household, which office he retained till his decease. Half-length standing figure, life-size, turned towards the left. His face is seen in three-quarters turned to the left, looking at the spectator, wearing a broad flat lace collar fitting close to the chin. He is attired in the robes and mantle of the Garter, holding the Chamberlain's wand in his right hand. His left supports his mantle. The gold key of office hangs at his girdle. An orange-coloured curtain is suspended to the left, and a stone column behind him to the right. The light is admitted from the right-hand side. A rich and characteristic specimen of the painter. The hands are remark- able for Lely's tone of colouring. Engraved by T. A. Dean in Lodge's" Portraits ," vol. viii. No. 143. Pennant, 4to, page 368. Wiffen, No. ccxli. Canvas. 48^ in. x 39 in. 104 Period of Francis, Fotirth Earl, to 1641. 153. Albert Cuyp. 1620-1691. Painted by Himself. Born at Dort ; he excelled equally in portrait and landscape painting, but his works in the latter class are by far the most numerous. He followed the trade of a brewer. His father, Jacob Gerritz Cuyp, had also exercised the pencil, and was one of the founders of the Academy at Dort. To the waist, life-size, wearing a high-crowned hlack hat and a bright scarlet cloak faced with gold ; face turned to left, looking at spectator, long light yellow hair, boy's face ; he rests his left elbow upon a balustrade, whilst the hand, covered with a glove, appears from under the cloak. The right hand is concealed. He wears long hair and a plain square white collar. The shadow on the face from the broad brim of his hat, lighted up by a reflected sunlight, is admirably expressed. A brilliantly painted picture, with intense power in the shadows. Or. Waagen (vol. iii. page 465) says of this picture : " Very " glowing and vigorous ; the magnificent dress, however, makes " it very doubtful, in my opinion, whether it be his own portrait." See Smith's "Catalogue of the Works of Cuyp," page 336, No 182. Wiffen, No. clxxii. Panel. 35 in. x 27 in. 154. Marguerite de Lorraine, Duchesse d'OrLEANS. 1 616-1672. Van D ck Princess of Lorraine ; daughter of Francis, Count of Vaudemont, and sister to Charles, third Duke of Lorraine ; married, 1632, to Gaston, third son of Henri IV. and Marie de Medicis, and brother of Louis XIII. Full-length standing figure, the size of life, represented advancing towards the right. Her face is seen in three-quarters, turned towards the right, and looking at the spectator. Her outer dress is black, with slashed sleeves and pink bows, opened in front to show a handsome under-skirt of white satin and silver. A high-standing lace collar leaves the neck very much uncovered. She holds a small yellow fan upwards in her left hand, the right hangs care- lessly down by her side. A full orange damask curtain occupies the entire background, and a rich Turkey carpet covers the floor. Formerly in the Orleans collection ; brought to England in 1792, and sold for 210 guineas. Engraved, the reverse way, in the Orleans Gallery, by Macret. Described in Smith's " Catalogue Raisonne" of the Works of Van " Dyck," page 1 59, No. 559, but under the erroneous name of Ormond, and mentioned also, whilst unknown, in the Orleans Collection earlier in same volume, page 94, No. 326. It appears in the detailed list of the Orleans Collection, published in Bu- chanan's " Memoirs of Painting," vol. i. page 183, as the Lady of an English Nobleman, No. 7. Her portrait is No. 5 of the series of the " Centum Icones." This very fine Van Dyck has been ac- cepted by Wiffen, page 96, as the daughter of Charles I., who was not born till after Van Dyck had been dead three years. Dr. Waagen (vol. viii. page 464) says, " of great elegance ; " and (vol. iv. page 334), "of great delicacy and transparency; but " doubtless another lady " (than the daughter of Charles I.) " as " dates prove that Van Dyck could not have painted her at this " age." Fine portraits of Henrietta, sister of this lady, attended by a black page-boy, also by Van Dyck, are in the collection at Munich, and at the Duke of Hamilton's. The latter picture, signed and dated 1634, was exhibited at the Royal Academy in 1873, No. 132 of the catalogue. Wiffen, No. exxv. Canvas. 84 in. x 50 in. 155. Gerard Douw. 1613-1674. Painter unknown . Born at Leyden ; the son of a glazier ; studied under Rembrandt, with whom, whether in style of painting or selection of subjects, he shows nothing in common. Bust portrait, life-size, youthful face, seen in three-quarters turned to the right, wearing a large round hat ; a well-painted head, boyish, with dark hair and rich deep brown shadows. Dress very dark. There are many portraits extant of Douw. One in the Bridgwater Collection is engraved as a frontispiece to Smith's P io6 Period of Francis, Fourth Earl, to 1641. " Catalogue Raisonne," vol. i., and described at page 34. Dr. Waagen (vol. iv. page 336) remarks of this picture, "both master " and sitter appear to me doubtful." Wiffen, No. clxxi. Canvas. 20\ in. x 18 in. 156. Christian 1 Bruce, Countess of Devon- shire. 1595 * 74' Theodore Russell. Wife of William, second Earl of Devonshire, and only daughter of Edward, Lord Bruce of Kinlosse, a favourite of James I., by whose influence the marriage had been arranged. She long survived her husband and children, and took a leading part in politics, and was regarded as a judicious patroness of litera- ture and philosophy. Hobbes of Malmesbury, who had been her husband's tutor, was retained in her establishment to continue the same services for her son. After a successful course of litiga- tion, King Charles said to her, " Madam, you have all my judges " at your disposal." A small picture ; to the waist, face seen in three-quarters, turned towards the right. White satin dress, plain and open at the neck, laced in front with a string of pearls ; long yellow hair, pearl necklace and earrings. Engraved, the reverse way, in stipple, by Scheneker, from a drawing taken by express permission for Lysons' " Environs of " London," vol. i. page 317. A large monument, erected by this Countess in All Saints' Church at Derby, " for her Lord, herself, and children," exhibits some of the most debased specimens of sculpture intended to honour the dead which I remember ever to have met with. Pennant, 4to, page 373. Wiffen, No. ccxlvi. Panel. 15 in. x 12 in. 1 So called from being born on Christmas Day. 1&obwcn Qbbe-Q QataloQite. 107 157. Anne Clifford, Countess of Dorset, Pembroke, and Montgomery. 1589-1675. Daughter of George Clifford, Earl of Cumberland, and Margaret Russell {ante, No. 32), daughter of Francis, second Earl of Bed- ford. Married first, Richard Sackville, third Earl of Dorset, in 1609; ar >d secondly, in 1630, Philip, fourth Earl of Pembroke. Her laconic reply to Sir Joseph Williamson, Secretary of State to King Charles II., during the period of an election, completely expresses her general disposition : " I have been bullied by an " usurper, I have been neglected by a court, but I will not be " dictated to by a subject : your man shan't stand." Represented in advanced life, aged sixty-four. To the waist, life-size, within an oval, face seen in three-quarters turned towards the right, wearing a black mourning dress cut square in front, with large grey gauze radiating ruff fitting close to the neck. Her head is covered with grey muslin, and a veil of black crape over it. Inscribed on the background, to the left — The remains of a signature, in the lower right-hand corner of the spandril, are faintly traceable. They indicate Gilbert Jackson, an artist, who ten years before had painted a portrait of Williams, Bishop of Lincoln, afterwards Arch- bishop of York, for the Library of St. John's College, Cambridge. An artist named Larkin was employed to paint her portrait in 1619 There are at Knole numerous portraits, from childhood to Gilbert Jackson, dated 1637. io8 Period of Francis, Fourth Earl, to 1641. middle life, of this distinguished character. The picture at Bolton Abbey is nearly of this period, and the inscription on the picture, " ^ETATIS SU^e, 60." The date that accompanies it is 1672, and, like the one given above, somewhat difficult to recon- cile with biographical statements. The Bolton Abbey picture is engraved by Mazell in Pennant's "Scotland," vol. ii. page 358. Her portrait at the age of eighty-one is also cited in the same work. Pennant, in his " Tour from Downing to Alston Moor," page 163, says that he was informed at Eden Hall that Anne Clifford, whose portrait at the age of eighty was there preserved, was in the habit of presenting a great houselock and her picture to all her friends in the neighbourhood. There is a medal of her in her old age, copied from the Bolton picture, with a figure of Religion embracing a cross on the reverse. (Pinkerton's " Medallic " History," plate xxxiv. No. 2.) The meaning of this allegorical figure will be better understood by a reference to the following extract from her own very curious Memoirs — " The marble pillars of Knowle in Kent, and Wilton in Wilt- " shire, were to me oftentimes but the gay harbours of anguish. " . . . . I gave myself wholly to retiredness as much as I could " in both these great families, and made good books and virtuous " thoughts my companions, which can never discern affliction, nor " be daunted when it unjustly happens ; and by a happy genius " I overcame all these troubles, the prayers of my blessed mother " helping me therein." In these Memoirs she frequently speaks of her mother and her aunt, the Countess of Warwick, with marked affection, and alludes occasionally to her father's estrangement from them. Many portions of the Memoirs have been transcribed in various works, but the complete work still remains to be published in a collective form. At the present time the genuine manuscript has disappeared. An account of this interesting record was published in " Notes and Queries," 1st series, vol. xii. page 2. Copious ex- tracts are given by Dr. Kippis in his " Biographia Britannica," vol. iii. page 640, s.v. Clifford. Seward's "Anecdotes," 8vo, 1804, vol. i. page 205, affords a different but more historical and gene- rally interesting portion of her experience, beginning at the death of Queen Elizabeth, when she was thirteen years of age. At ^Sofcuot Qbhev Catalogue. 109 this season, she says, " My father used to come some tymes to " us at Clerken well, but not often ; for he had at this tyme, as it " weare, whollie left my mother ; yet the house was kept still at " his charge." And still later : " At this tyme of the king's being " at Grafton, my mother was ther, but not heald as M rs of the " house, by reason of y e difference betweene my Lo : and hir, w ch " was growen to a great height. My father at this tyme followed " his sute to y e kinge about the border lands ; so that sometymes " my mother and he did meet by chaunce, wher ther counte- " nance did shew the dislik they had one of y e other ; yet •' he would speak to me in a slight fashion, and give me his " blessinge." There is still at Skipton Castle, the seat of Lord Hothfield, a curious large picture containing full-length portraits of her father and mother and two brothers standing in a library with pictures on the walls. On side-pieces or wings, as in an Italian altar-piece, are portraits of herself : on one side she appears as a girl of thirteen, and on the other in the garb of widowhood. It is in a perishing condition, but the historical inscriptions, beside the figures, are preserved in Whitaker's "History of the Deanery " of Craven," 4to, London, 1805. In her own Memoirs the " Countess gives the following description of her own person : — " The color of mine eyes were black like my father's, and the form " and aspect of them was quick and lively like my mother's. The " hair of my head was brown and very thick, and so long that it " reached to the calf of my legs when I stood upright ; with a " peak of hair on my forehead, and a dimple on my chin like my " father, full cheeks and round face like my mother, and an ex- " quisite shape of body resembling my father ; but now time and " age hath long since ended all those beauties which are to be " compared to the grass of the field. Isaiah xl. 67-8 ; 1 Peter i. " 24. For now when I caused these memorables of myself to be " written, I have passed the sixty-third year of my age." Dr. Donne said of her, in her younger years, that " she knew " well how to discourse of all things, from predestination to slea- " silk." One of the first things she built was a pillar in the highway, at the place where she and her mother last parted, and took their iio Period of Francis, Fourth Earl, to 1641. final farewell. She erected a monument to her tutor, Samuel Daniel, the poetical historian, and another to Spenser. For portraits of her mother and aunt, see Nos. 32, 41, 42 and 43. Wiffen, No. xlvii. Canvas. 29 in. x 34-^ in. 158. The Very Reverend Bruno Ryves, Dean of Windsor. 1596-1677. w.Dobson. Born in Dorsetshire ; educated at New College ; appointed Chaplain to King Charles I. ; after the Restoration he succeeded Dr. Christopher Wren as Dean of Windsor, and Registrar of the Order of the Garter. Author of " Mercurius Rusticus." To the waist, life-size ; face seen in three-quarters turned towards the left ; long dark brown hair descending upon a broad plain square-cut collar. Black dress and dark brown background. Smooth face with determined expression. Seems to stoop or to be somewhat high-shouldered. The light is admitted from the right-hand side. Wiffen, No. 1. Canvas. 29 in. x 24^ in. '1 159. Thomas Killigrew. ^0 l6l I-I682. William Sheppard, 1650. Court wit and dramatic writer. Second son of Sir Robert Killigrew ; page to Charles I. ; Resident for the King at Venice. After the Restoration he took office at Court, and became prin- cipally acceptable as a humourist. A half-length figure, life size, seated, towards the right, at a table on which he rests his left arm ; the right hand is turning over the page of a book lying before him. He wears a black cap, white satin dress with bluish drapery and long glossy hair. Seven of his now forgotten plays lie in a pil upon the table ; a red curtain hangs behind his head, to the right of which, as if hanging on the wall of his apartment, is an oval portrait of King Charles I. His dog, wearing a collar inscribed with his name, and bearing the double-headed spread eagle which are the family arms, peeps out from under the table, and looks up to him. The picture is signed in brown capitals on a central panel of the gilt arm of the chair. 'g&obuvn Jlfcbeg Catalogue. 1 1 1 A similar picture is in the possession of the Earl of Kimberley at Kimberley House, Wymondham. It is signed and dated 1650. On oval portrait of Charles I. in the background. CLARIC THE Pff/SONERS f . Titles on the THE Pf?/ MCfSSE e(, g cs of the THEPUGR.M SStiffi Pi NX1 T:\JFNC Signature on the chair. On collar of dog. The title EIKHN BA2IAIKH and the name of tho killigrevv on the collar do not appear in Faithorne's engraving. The open pages of the book before him are blank in the engraving. The writing on Lord Kimberley's picture appears to correspond precisely with that on the picture here described. A similar picture to this, formerly the property of Miss Killigrew, was No. 923 of the 1866 Portrait Exhibition. Another is at Tong Castle. A fine picture, by Van Dyck, of Killigrew as a youth, when page to Charles L, is at Chiswick, and a repetition of it is in the possession of the Duke of St. Albans. Killigrew and Carew appear together in one picture in the Van Dyck Gallery at Windsor Castle. The picture has been admirably engraved by Faithorne. See Granger, vol. v. page 189. Wiffen, No. cexvi. Canvas. 47 in. x 38^ in. ii2 Period of Francis, Fourth Earl, to 1641. 160. Jean Baptiste Colbert. 1619-1683. Philippe de Champagne. The great Minister; Comptroller-General of France, 1661 ; im- proved the finances, manufactures, commerce, and colonies by his system. Mazarin, when dying, bequeathed him to Louis XIV., and his twenty years' rule left his name equal in fame with that of his master. Bust picture, life-size, seen behind an oval framework of stone, in front of which the arm and left hand, pointing to the left, are represented as if pro- jecting. The hand casts a shadow upon the front of the oval framework. He wears long dark hair and a large wide-spreading laced collar extending to the shoulders. A finely painted picture. Dr. Waagen (vol. iv. page 335) pronounces this picture "true " and careful." Claude Le Fevre painted a portrait of Colbert as his diploma picture on entering the French Academy of Art, 3 1st March, 1663. Wiffen, No. cxliii. Canvas. 30 in. x 24 in. 161. Bartolome* Esteban Murillo. i 61 7-1 682. Painted by Himself. Born at Seville. On his arrival at Madrid Velazquez at once perceived his talent, and in due season recommended him to Philip IV., and his minister the Count Duke of Olivarez. In 1645 Murillo returned to Seville, where thirteen years later he established an Academy of Art. His wife was a lady of fortune of Pilas, and his house became the resort of people of taste and fashion. He died in consequence of a fall from a scaffold, whilst engaged on one of his paintings in the Church of the Capuchins at Cadiz. A bust picture, within a stone-coloured border, having spandrils only at the top. Life-size ; face seen in three-quarters turned to the right, looking at the spectator, wearing a square white-laced collar and black mantle. Very dark brown hair. The countenance corresponds with the known portraits at Petworth and Althorp. The portrait engraved in Stirling's " Spanish Painters," vol. ii. page 826, was taken from the picture in the Louvre, and is of the same type. A very fine and genuine Murillo. 113 Dr. Waagen (vol. iv. page 336) observes of this picture, " More yellowish in the flesh tones than the other portraits of the " master known to me. Otherwise of very promising appearance, " but hung too high for me to judge." Wiffen, No. cliv. Canvas. 26 in. x 21A in. 162. James, Duke of Monmouth, K.G. 1649- 1685. Mary Beale. Born at Rotterdam, an illegitimate son of King Charles II., by Lucy Walters ; first known at Court as Young Crofts ; created Duke of Monmouth and appointed Master of the Horse in 1665 ; defeated at the Battle of Sedgmoor, July 6, 1685, and beheaded on Tower Hill on the fifteenth of the same month. Bust portrait, life-size, enclosed within an oval border, enriched in imitation of sculptured stone work. Face seen in three-quarters turned towards the left ; dark brown flowing hair, small moustaches, brown mantle and yellow shoulder-straps, as in antique Roman armour. The light is admitted from the right-hand side. A richly-coloured picture. Wiffen, No. cexx. Canvas. 29 in. x 24^ in. 7c ^ c^-v 163. George Villiers, second Duke of Buck- ingham, K.G. 1627-1687. SirPeUrLebf , Born the year before the murder of his father, the first Duke, the well-known favourite of James I. and Charles I. Attended King Charles to Boscobel. Married, in 1657, Mary, daughter of Lord Fairfax. Became one of the most dissolute leaders at Court after the Restoration. In robes and collar of the Garter. To the waist, life-size. The body is seen In front, whilst the head is turned in three-quarters to the left ; the eyes looking at the spectator ; long yellow hair and small moustaches. The right elbow raised. Light admitted from the right-hand side. Dark brown back- ground. A richly painted picture. Canvas. 29 in. x 24 in. Q ii4 Period of Francis, Fourth Earl, to 1641. 164. Mary Fairfax, Duchess of Buckingham 1 63 6- 1 704. Attributed to R. Walker. Wife of the preceding, to whom she was married in 1657. Only daughter of Thomas, Lord Fairfax and Anne, daughter of Horace. Lord Vere. She has been described as follows : " a most virtuous " and pious lady, in a vicious court. If she had any of the " vanities, she had certainly none of the vices of it." She was not gifted with personal advantages, and it was further observed, " had she been the most beautiful and charming of her sex, the " being his wife would have been sufficient alone to have inspired " him with a dislike." She patiently bore with those faults in him which she could not remedy. She survived her husband many years, and lies interred with him in Westminster Abbey. Bust portrait, life-size, within an oval, face seen in three-quarters to the right, looking towards the spectator. Hair in long ringlets, falling upon her shoulders ; dark slate-coloured satin dress, crimson scarf over her left arm. No necklace. This picture accords with a fine oval miniature of this lady that was formerly in the collection at Strawberry Hill, engraved in Thane's " Historical Portraits ; " and also with a very remarkable picture belonging to Mr. Wykeham Martin at Leeds Castle, Kent. A miniature, with the head turned in an opposite direction, in a white and blue dress, is in the Royal Collection at Windsor. A small portrait of her by Theodore Russell is at Hampton Court. Wiffen, No. ccii. Canvas. 29 in. x 24 in. 16s. Tan Steen. 1636-1689. D . . „. ,, J ' Painted by Himself. Born at Leyden ; the son of a brewer ; he appears to have studied painting under Van Goyen, whose daughter he married. The debauchery and excesses with which he is charged were not lessened by his becoming a tavern keeper ; but the very large number of pictures which he produced, all of them finished with consummate care, sufficiently prove his skilful manipulation and untiring industry. ^Soburn QbhcQ {Ectfalocrue. "5 A large figure, apparently of reckless disposition, life-size, seen to the waist, wearing a grey cap and long hair ; the face is turned nearly in profile and looking upwards to the right. His dark brown hair hangs loosely and is neglected. His palette, on the left hand, and brushes and mahl-stick, are very conspicuously displayed. Dr. Waagen (vol. iv. page 336) pronounces this picture " Very animated, and of spirited handling." Wiffen, No. clx. Canvas. 29 in. x 2\\ in. 166. David Teniers. 1610-1690. Painted by Himself. Called " the Younger," to distinguish him from his father, who also was a painter of distinction, and the pupil of Rubens. Young Teniers, born at Antwerp, studied under his father. The Archduke Leopold, when Governor of the Low Countries, ap- pointed him his principal painter, and committed to his care his fine collection of pictures at Brussels. Teniers was twice married : his first wife was a daughter of Velvet Breughel. He died at Brussels. To the waist, life-size, wearing a black dress with plain square-cut collar and tassels fitting close under the chin. The side of the nose in shadow, fair complexion, very dark hair, pink cheeks. The face seen in three-quarters turned towards the left, and looking away in the same direction. Both hands are introduced, the left holding a pair of gloves. Plain brownish grey back- ground. An engraving of Teniers, by Pieter de Jode, in Cornelius dc Bie's "Gulden Cabinet," page 335, perfectly accords with this countenance. A good portrait of Teniers, wearing the key as custodian of the Archduke's Gallery, by Fruitiers, is engraved in the " Teniers Gallery." The original picture belongs to Earl Amherst, at Montreal in Kent. Dr. Waagen (vol. iv. page 335) recognises in this picture "a " successful imitation of Vandyck in conception, colouring, and " breadth of treatment." Compare a picture in the collection of Earl Spencer at Althorp and engravings in Weyerman, vol. ii. page 82, fig. 15, and Descamps, vol. ii. page 155. Wiffen, No. d. Canvas. 35 in. x 22 in. 1 1 6 Period of Francis, Fourth Earl, to 1641. 167. General Ludlow. 1620- 1693. Painter unknown. Edmund Ludlow at twenty-three years of age was made Colonel of a regiment, and soon after promoted to be Lieutenant-General; he commanded in Ireland with great distinction, and entered zealously into all the concerted measures of the republican party. He had, as he himself expresses it in his memoirs, " the honour " of being one of the late King's judges." He spent the last thirty-two years of his life in Switzerland. Within an oval painted border, life-size, seen to the waist, turned sideways ; face represented in three-quarters to the left, looking at the spectator over his left shoulder. Long dark curly hair, grey lace cravat. Steel armour. Light admitted from the right-hand side. His portrait, in earlier life, is engraved by Vandergucht in Clarendon's " History of the Rebellion." White also engraved his portrait as a frontispiece to his " Memoirs," 1698. 8vo. This picture was brought to Woburn Abbey from Cople House, Bedfordshire, in the year 1842. Canvas. 29 in. x 24 in. 168. Queen Mary II., Consort of King Wil- liam III. 1662—1604. t t r . y ~ W. Wissing. Daughter of King James II. by his first wife Anne Hyde, eldest daughter of Lord Chancellor Clarendon. Married to her cousin, the Prince of Orange, 1677. Ascended the throne of England, in joint right with her husband. Died at Kensington. Seated figure, life-size, seen to the knees, in blue satin dress and crimson ermined robe covering her left knee. The face is seen in three-quarters turned to the left. She raises her right hand to her breast. A large carnation rose lies on her mantle near to her left hand. Distant mansion with a low dome is seen beyond. Honeysuckle twining round a fluted pilaster composes the background on the opposite side. ' A similar picture is at Hampton Court, and another, some- what varied, at St. James's Palace. Canvas. 48 in. x 37 in. £3o6unt Jl&bep QcttaloQiie. 117 169. Sir Josiah Child, Bart. 1630- 1699. John Riley. Grandfather of Elizabeth Howland, Duchess of Bedford. Created a baronet, 1678. An eminent merchant, and author of a treatise upon Trade and Commerce. He married Anne, daughter of Edward Boat, and their daughter Elizabeth (196), became the wife of John Howland, Esq. (195). He was sometime Governor of the East India Company. His remains are interred at Wanstead under a sumptuous marble monument. A half-length figure, life-size, standing in a yellow-brown robe and long dark hair, resting his left elbow on a stone sculptured pedestal ; the right hand raised. The face is seen in three-quarters turned to the left. Light admitted from the right-hand side. Wiffen, No. exev. Canvas 49 in. x 39 in. 170. Sir William Russell, K.B., afterwards fifth Earl and first Duke of Bedford, K.G. 1613-1700. j, n . . , t , , ' John Prtwttsser, anted 1027. As a boy, aged eleven, attended by his Dwarf. Son of Francis, fourth Earl of Bedford, and Catherine Bruges, daughter of the third Lord Chandos. Educated at Magdalen College, Oxford. Married, in 1637, Lady Anne Carr, only child of the Earl of Somer- set and Frances Howard, the divorced Countess of Essex, impli- cated in the death of Sir Thomas Overbury. Under the influence of the Earl of Essex, William Russell, who had been created a Knight of the Bath at the early age of eleven, on the occasion of the coronation of Charles L, February 2, 1626, sat in the Long Parliament from November 1640. He served with distinction, when Earl of Bedford, at Edgehill, October 23, 1642, on the side of the Parliament, and supported the king at Newbury, September 20, 1643, from which period he favoured the Restoration, and carried St. Edward's sceptre at the coronation. In 1672 he was elected a Knight of the Garter, and on the accession of the Prince 1 1 8 Period of William, Fifth Earl and First Dtike, to 1 700. and Princess of Orange, was constituted Lord Lieutenant of the counties of Bedford and Cambridge. On May ii, 1694, he was, more especially as father to William, Lord Russell, the patriot, created Marquess of Tavistock and Duke of Bedford. As a boy entering his twelfth year. Full-length standing figure, attended by a dwarf, a diminutive but well-proportioned figure, aged thirty-two. The young nobleman stands upon a grey and brown pavement, attired in pink robes and a white falling ruff, holding his hat and feather in the right hand, and resting his left gloved hand on a sword. The medal or Badge of the Order of the Bath hangs round his neck. His face is seen in three-quarters turned towards the right. The dwarf stands nearer to the spectator, and his figure is turned in the opposite direction. He wears a short purple cloak, and holds a large round hat in his left hand. A dark green curtain is gathered up in the right-hand corner. Both figures look at the spectator. Inscribed on a pilaster to the left with his name and age, and under his feet, upon the pavement, is the name of the artist. Beneath the feet of the dwarf, in black characters, his age and date, as follows — Sift WILLIAM RVSSKL Exceedingly well painted, in fresh and clear tones, with a slight tendenc to lilac and a coldness in colours. Pennant, 4to, page 357. Wiffen, No. ccvii. Canvas. 85 in. x 505 in. 119 171. The same Person: with his brother-in- law George, Lord Digby, afterwards second Earl of Bristol. Copied by Knapton from Van Dyck. Both as young men. Digby was born at Madrid, 16 12 ; a fellow student with Russell at Oxford ; summoned to the House of Peers as Lord Digby ; succeeded to his father's earldom in 1653, and died 1677. Full-length standing figures, the size of life. Digby, in black, is seen almost in full face. Russell, in scarlet, with a full red drapery over his arm, looks back towards his friend, and his face is seen in three-quarters towards the left. Both wear very large wide-spreading lace collars. By the side of Bristol, on the ground, is a globe with various papers. At the feet of Russell a cuirass. The original picture, one of Van Dyck's most stately com- positions, is at Althorp. The heads are engraved respectively in Houbraken's plates, 56 and 57, and in Lodge, vol. viii. No. 153, and vol. ix. No. 175. Evelyn, in his Diary, January 15, 1679, records having seen this picture at the Countess of Bristol's house at Chelsea. Dr. Waagen says of the Althorp picture, vol. iii. page 458, " This masterly picture is not only one of the finest of all those " by Van Dyck at Althorp, but one of the best specimens of his " elegant class of works, representing persons of distinction." Of the copy at Woburn he observes (accepting the picture as a Van Dyck), vol. iv. page 334, " the flesh tones a decided brown. The " hands beautiful, but the treatment of the drapery very scenic." Pennant, 4to, page 359. Described in Smith's "Catalogue " Raisonne" of the Works of Van Dyck," page 143, No. 515. Wiffen, No. exxviii. and exxix. Another copy of this picture was exhibited by Lord Galway in the Van Dyck collection at the Grosvenor Gallery in 1887, No. 120 of the catalogue. Canvas. 98 in. x 68 in. There exists a very interesting oval engraving of this noble- man when young, with a profusion of hair, engraved by Glover ; it is placed on the same plate by the side of an oval of his father. See ante, No. 95, page 66. 1 20 Period of William, Fifth Earl and First Duke, to 1 700. 172. The same Person. 0 . ~ Jx „ „ ' Sir Godfrey Kneller. In advanced age, wearing the robes of the Order of the Garter. A full-length figure, life-size, standing, turned towards the left, and pointing with his right hand in the same direction. His left hand, holding a plumed hat, rests on his hip. He wears a white lace band tied round the right knee, and the Garter on the left. A showily painted picture with crude bold touches. The head, far better than the rest, appears to have been commenced by Sir Peter Lely, who died suddenly in 1680. There are various portraits of this nobleman in private collec- tions. One, a crayon by E. Lutterell, the property of Viscount Clifden, is well known by the engraving. Another is in the pos- session of Lord Arthur Russell, M.P., where he is represented in advanced life, wearing armour. Others of the Duke and his wife are at Warwick Castle. A full-length, with a dog at his feet, by Kneller, is now in the National Portrait Gallery. A well-painted half-length, in robes of the Garter, is in the Hall of the Scottish Corporation, Crane Court, Fleet Street. The Duke was a great benefactor to this institution, and the picture was presented to the Corporation by James Kynneir, Esq., the first Master, in 1694. The remarkable protraction of his life afforded to the first Duke opportunities of sitting to an extensive range of distinguished portrait painters. As a lad he sat to Van Dyck, in maturity to Lely, and in his decline to Kneller, without dwelling upon the less important artists, such as Priwitzer and Lutterell. Pennant, 4to, page 358. Wiffen, No. ccxiii. Canvas. 91 in. x 54 in. 173. Anne Carr, Countess of Bedford. 1620- 1 684- Painter unknown. Wife of the preceding ; married 1637. The only child of Robert Carr, Earl of Somerset, and Frances Howard, daughter of the Earl of Suffolk (No. 117). She did not live to share the ducal honours afterwards conferred on her husband, but she survived her son, Lord Russell, and was buried at Chenies. Rachel, Lady 39oburti Jlbfceg gafctlogue. 12 1 Russell, her daughter-in-law, attended the funeral to see the spot where her husband had been interred the year before. See her letter to Dr. Fitzwilliam, published by Wiffen in the Russell Memoirs, vol. ii. page 287. A life-size figure, seen to the waist, wearing a yellow dress, striped with silver, and trimmed with black bows. Her face is turned towards the right, and the very light hair, cut straight across the forehead, hangs like a fringe. Double pearls are attached to her ear-rings. Wiffen, No. xxviii. Canvas. 28^ in. x 23 in. 174. THE SAME PERSON. Theodore Russell. A small square well-painted picture. To the waist ; figure and face turned slightly to the left. Dark brown dress with white slashed sleeves, and a yellowish grey gauze scarf passing behind her neck over her shoulders. Pearl necklace, and large double pearls attached to the ear-rings. Wiffen, No. ccxlv. Panel. 1 5 in. x 1 2 in. 175. The same Person. S£rA Van Dyck Full-length standing figure, life-size, turned slightly to the right, wearing a rich white silk dress. She holds the skirt of her gown lightly with both hands. Her face is turned in three-quarters towards the right ; the eyes fixed on the spectator. The bow at her breast is pale blue, and in the girdle of the same colour are a few green leaves. The dress is cut square, leaving the neck open. A large brownish green curtain gives relief to the light side of her figure, a column and square window are liehind her to the left. She appears to be stepping off from a Persian carpet fringed with grey, on to a plai n boarded floor. A spaniel at her feet, looks up to her. A paje, delicate, and extremely beautiful picture. Dr. Waagen (vol. iii. page 464) estimates this picture as next in value to the portrait of the fourth Earl. He proceeds to remark, " Great beauty of feature is here united with the delicacy with " which Van Dyck conceived his female portraits, and with the " most careful execution." Another portrait of this lady, different in treatment and of great beauty, is at Althorp. There she is R 122 Period of William, Fifth Earl and First Duke, to 1700. represented in a pale crimson dress, half length, with the arms joined. Described in Smith's " Catalogue Raisonne of the Works of ' Van Dyck," page 139, No. 502. Wiffen, No. cxix. Canvas. 84^ in. x 50^ in. A standing figure, half-length, life-size, turned slightly towards the left, wearing a blue dress, and drawing a glove on her right hand. A curtain and stone vase, with a rose-tree on the extreme right, form the background. The original picture is at Petworth, and forms one of the series engraved by P. Lombart, and known as " Van Dyck's Countesses." The Petworth picture is engraved by J. Thomson in Lodge's "Portraits," vol. ix. No. 163, and has also been finely engraved by J. H. Robinson in more recent times. A small and finely executed copy of the head, by Russell, is in the Hampton Court Collection. Pennant (4to, page 358) dwells upon this picture as " a most " beautiful half-length," and entirely passes over the fine whole- length in white silk, No. 175. Dr. Waagen (vol. iv. page 334) remarks of this picture, " Far " less fine than the portrait in the dining-room. The forms are " empty." A copy from the Petworth picture, painted by T. Phillips, R.A., is in the possession of Lord Arthur Russell, M.P. 176. The same Person. Copied from Van Dyck. Wiffen, No. Ixxi. Canvas. 54 in. x 42 £ in. ^Sobitrn cTlfrfceg ^dialogue. 123 177. Francis, Lord Russell, eldest son of William, fifth Earl and first Duke of Bedford, K.G. 1638- 1679. Claude Lefevre. Died unmarried at the age of forty-one. An exaggeration of look and expression of No. 178. To the waist, life-size, seen within an oval, face turned in three-quarters towards the right ; long hair, large broad falling collar. Yellow dress with buttons in front, and white under- sleeves. Wiffen, No. lxxvii. Canvas. 28 in. x 22 in. 178. Hon. William Russell, afterwards Lord Russell, i 639- 1 683. Claude Leftvre The patriot. At the age of seventeen. Second son of William, fifth Earl and first Duke of Bedford. Married in 1667 Lady- Rachel Wriothesley, daughter of the Earl of Southampton, and widow of Lord Vaughan. Being accused of complicity in the Rye House Plot, he was condemned to death, and beheaded in Lincoln's Inn Fields, July 21, 1683. Companion picture to the preceding. A bust portrait, life-size ; within an oval. Face seen in three-quarters turned towards the left. Eyes looking :it spectator. Long yellow-brown flowing hair, broad white lace square cut collar, over blue steel armour. Light admitted from the right-hand side. Wiffen, No. lxxx. Canvas. 28 in. x 22\ in. 179. The same Person. sir Peter Lefy. A life-size figure, seen to below the knees, seated towards the left, wi the face turned in three-quarters to the left, looking at the spectator. Long hair, long lace cravat, dark brown drapery, with full white sleeves and strap on shoulder in imitation of the antique Roman costume. Dark trees and grey sky in background. His right arm rests on a stone parapet. Light ad- mitted from the right-hand side. 124 Period of William, Fifth Earl and First Duke, to 1700. A precisely similar picture to this, also by Lely, stated to be in the possession of the Earl of Upper Ossory, is engraved by Jenkins in Lodge's " Portraits," vol. ix. No. 161. There is a half-length seated portrait of Lord Russell at Hardwick Hall, the residence of the Duke of Devonshire. Another is at Weston Hall. Wiffen, No. cxcviii. Canvas. 48 in. x 28 in. 180. The same Person. tj John Riley. Bust portrait, life-size, within an oval. Face seen in three-quarters to the left, looking at spectator, long curling hair, long lace cravat, and brown drapery over shoulder. Light admitted from the right-hand side. Painted on twilled canvas with great care and refinement, mellow in tone, and a fine specimen of Riley's peculiar abilities. The head is very similar to that in the preceding picture. The lace cravat is more carefully knotted, the two ends not so formally separated, being par- tially concealed under the brown mantle. There is a fine engraving of this nobleman, after Kneller, by Vandrebanc. Mt 44. 1683. Engraved in line by James Fittler, in 18 19, as a Frontis- piece to Lord John Russell's " Life of William, Lord Russell!' 8vo. 2 vols. 1820. Canvas. 29 in. x 24 in. 181. The same Person. John Riley. A weak repetition of the preceding picture ; excepting that a small portion of the white sleeve appears next to the oval border. Wiffen, No. ccxviii. Canvas. 29 in. x 24 in. 182. Rachel Wriothesley, Lady Russell. 1636 I723- Sir G. Kneller. In advanced age, wearing deep mourning. Wife of the preced- ing ; second daughter of Thomas Wriothesley, Earl of South- ampton, Lord Treasurer, by his first wife Rachel Ruvigny (No. £3oburn JV6fceB gafctlogue. !25 145) ; married first, Francis, Lord Vaughan, and secondly, in 1669, William, second son of the fifth Earl of Bedford, afterwards Lord Russell, who was executed in 1683. A small full-length figure in deep mourning, facing the spectator, seated and eaning her cheek on her right hand ; the arm rests on a table covered with black cloth and a deep white fringe. She wears a black hood lined with white, over a plain white head-dress which is continued below round the face and meets close under the chin. A small black and white spaniel seated on her left knee. A black curtain suspended behind against a column, and dark trees with a lurid sky to the right. A small closed volume, apparently a prayer- book, lies on the table near her elbow. Hands very small and delicate. A similar widow's attire is worn by Elizabeth Howland, Duchess of Bedford, in the family picture by Jervas, see post, No. 199. The upper part of the figure has been engraved in oval by C. Knight, as a frontispiece to the " Letters of Lady Rachel "Russell," 8vo, London, 1809. There is a small oval engraving of the head taken from this picture, done in stipple, and published in i2mo, by Vernor and Hood, Poultry. An extremely beautiful enamelled miniature of this lady in mourning, by C. Boit, is preserved at Althorp. It was exhibited among the miniatures at South Kensington in 1865, No. 974 of the catalogue. For Rachel, Lady Russell dressed in yellow, see the series of enamels in the South drawing-room. Portraits of this lady, also in a widow's dress, but taken at an earlier period, are at Madresfield Court, Worcestershire, and the National Portrait Gallery. Another portrait, attributed to Vanderbank, is at Weston Hall. Pennant, 4to, page 348. Wiffen, No. ccxix. Canvas. 29 £ in. x 24 in. 183. Portrait of a Lady. Painter unknown. Half-length standing figure, life-size, the face seen in three-quarters to the left. Her light brown hair is arranged in ringlets. She wears a blue scarf over her brown dress, the sleeves of which are lined with white satin, and dips her right hand in the basin of a fountain, sculptured with a cupid, and an open- mouthed monster. Her eyes are pale grey. A recent purchase. Canvas. 126 Period of William, Fifth Earl and First Duke, to 1700. 184. Rachel and Katherine Russell, daugh- ters of William, Lord Russell. 1674- 1725. I 676- I 7 I I . Q Km H ery dated l686 Rachel, in 1688, married William, second Duke of Devonshire, and Katherine, in 1693, John, second Duke of Rutland. Whole-length figures, in a garden. Katherine, on the left, in a greenish- yellow dress, with blue drapery, is seated, and Rachel, standing beside her, in a pale lilac dress, seems to be making a wreath from flowers which her sister holds in a basket on her knee, whilst she looks towards the spectator. The flowers are finely painted, and attributed to Verelst. A large sculptured stone vase mounted on a pedestal, rises in th back- ground between the two figures. A stone fountain with Cupid vanquishing a lion is in the distance towards the right. Signed on a stone seat in the left-hand corner, the last letter indistinct, — Katherine, 9§ ; Rachel, \2\- Wiffen, No. clxxxvi. Canvas. 73 in. x 48 in. 185. The Rev. John Thornton. Attributed to R. Walker. Tutor to William, Lord Russell. He was, according to Bishop Kennet, although a nonconformist, chaplain to the Earl of Bed- ford, and eventually resided in the household of Rachel, Lady Russell. (Wiffen, vol. ii. p. 288.) Portrait to the waist, and the size of life, of a smooth-faced aged man, looking towards the spectator, wearing long brown hair, and small close-fitting round black cap. The head turned in three-quarters to the left. A plain square collar and black dress. Light admitted from the right hand. Wiffen, No. xlviii. Canvas. 30 in. x 24 in. "gBobuvn Jl&f>eg §ataloQite. 127 186. Lord Edward Russell, third son of William, fifth Earl and first Duke of Bedford. i6 4 3-i7H- John Riley. He married Frances, daughter of Sir Robert Williams, of Penrhyn. The old Countess of Dorset and Pembroke, in her diary, records his visit to her at Appleby Castle in 1669. He was her cousin and godson. In 1688 he joined the Prince of Orange at Exeter. He was chosen seven times to serve in Parliament for the County of Bedford. In 1700 he was constituted Lord Lieutenant of the County of Middlesex during the minority of his nephew, Wriothesley, Duke of Bedford. A seated figure, the size of life, seen to the knees, turned towards the left, very similar in arrangement to the portrait of his brother, William, Lord Russell (No. 180). He holds one end of his yellow mantle in his left hand, and rests the right on a ledge of rock. A column and dark sky form the background on the left. Light admitted from the right-hand side. A rich and finely painted picture. Wiffen, No. excix. Canvas. 49^ in. x 39^ in. 187. Lord Robert Russell, fourth Son of William, fifth Earl and first Duke of Bedford. a staphorst. Held the office of Clerk of the Pipe in 1689. Married his cousin Letitia, grand-daughter of the fourth Earl, and widow of Thomas Cheek, of Pirgo, in Essex. Resided at Penrhyn Castle. He served in seven Parliaments for Tavistock. His lady died January, 1723, without issue. Life-size portrait, seen to the waist. Face turned in three quarters to the right ; long hair parted in the middle ; smooth boyish countenance. Broad white lace flat collar and tassels. Buff-coloured coat, striped with silver. Embroidered belt crossing his breast. Signed in yellow letters — on the dark background. Inscribed on the back of the frame, W. Russell s Esq., Sept. 21, 1862. Canvas. 2 ft. x 2 ft. 5^ in. 128 Period of William, Fifth Earl and First Duke, to 1700. 1 88. Sir Greville Verney, K.B. i 648-1 668. John Hay Is. Son of Sir Greville Verney, of Compton Verney, Warwickshire, and Elizabeth, daughter of Thomas, Viscount Wenman. He married, August 29th, 1667, Lady Diana Russell, eldest daughter, of William, fifth Earl of Bedford. His wife inscribed a Latin epitaph upon his monument. A half-length standing figure, the size of life, turned to the left, in fanciful costume, resting his right hand on a mass of rock, and holding a yellow sword- hilt in his left. Very solid long yellow grey wig. Full white sleeves with blue epaulettes and mantle. Dark trees and yellow sky in background. A singular picture, with very deep shadows. Wiffen, No. xxiii. Canvas. 4g in. x 39 in. 189. Lady Anne and Lady Diana Russell, daughters of wllliam, fifth earl and first Duke of Bedford. Sir Peter Lely. Anne, the eldest daughter, died unmarried. Diana, who has already been described in Van Dyck's picture of the Countess of Carlisle {ante, No. 135) and appears as Lady Diana Verney (No. 191), was born 1652. She married first, in 1667, Sir Grevil Verney, and secondly in 1675, William, Lord Alington. She died 1 70 1. Lord Alington was appointed Constable of the Tower of London in 1680 and died 1684. (See Bray ley's " Tower " of London," vol. ii. p. 664.) Full-length standing figures, as children, in a garden. Lady Anne, dressed in pale red, holding a rose in her left hand, is in the act of taking some red cherries from an apron which her sister holds with both hands. Lady Diana wears a blue satin gown, with a purple scarf attached to the front of her dress. Her figure is turned towards the right. A black and white spaniel at her fee looks wistfully up to her. A stone sculpture of a boy and an eagle, part of a fountain, is seen among the tall trunks of trees to the left. A negro slave carrying a basket of roses stands on the extreme right. The skirts of the ladies' dresses are cut at the bottom in Van Dyck fashion, and the feet are concealed. The figures appear very short. 129 A showily and well-painted picture, exhibiting a remarkable combination of the two styles, of Van Dyck and Sir Peter Lely. Pennant (4to, page 352) relates the following incident, derived very possibly from the fanciful treatment of the painter ; for had such a misfortune really happened, it is the last way in which the calamity would have been recorded. " They had the misfortune " of being poisoned by eating some noxious berries which they "met with. Lady Anne died; Lady Diana survived, and is "again painted, in more advanced life, by Sir Peter Lely." Wiffen, in his " Russell Memoirs," vol. ii. p. 224, alludes to the same story. Wiffen, Nos. cxxx. and cxxxi. Canvas. 55 in. x 42 in. 190. Lady Anne Russell, eldest daughter of William, fifth Earl and first Duke of Bedford. Dates unknown. S. Verelst. As a child. A full-length standing figure, smaller than life, resting her left hand on a cockatoo, and holding forth the end of her blue mantle with the other. Her naked left foot appears from beneath her long yellow gown. Rich landscape to the left. A crimson curtain falls on the other side over a square stone pedestal. Crudely painted. Inscribed on a paper at the back, " Lady "Anne Russell." Wiffen, No. xxvi. Canvas. 49 in. x 39 in. 191. Lady Diana Vernf.y. i 652-1 701. John Hayls. Lady Diana Russell, second daughter of William, fifth Earl, and afterwards first Duke of Bedford, became the wife of Sir Grevil Verney, who died 1668. She married secondly William, Lord Alington, of Horseheath, in the county of Cambridge, Constable of the Tower of London ; he died 1684. (See Bray ley's " Tower " of London," vol. ii., p. 664.) S 130 Period of Wriothesley, Second D tike, to 1711. As a shepherdess, seated in a landscape, towards the left. Light admitted from the right-hand side. Life-size figure, seen to below the knees. Holding a crook in her left hand ; the right resting on some blue drapery in her lap. The folds of her rich yellow dress are well painted, evidently under the influ- ence of Lely. This picture is mentioned in Walpole's " Anecdotes," page 463, as the work of Hayls. This lady also appears as a girl in the picture of Margaret, Countess of Carlisle (ante, No. 135), and also as a child, with a coral and pack of cards, at Weston Hall. Wiffen, No. xxiv. Canvas. 49 in. x 39 in. 192. King William III. 1650-1702. W Wissing _ Son of William II., Prince of Orange and Mary, eldest daughter of Charles I. of England. Born at the Hague. Landed at Brix- ham in 1688. Defeated King James II. at the Battle of the Boyne, 1690. Died at Kensington Palace. To the knees, life-size, in armour, standing towards the right ; holding the baton downwards, in his right hand : the left resting on a helmet. White lace necktie, and pale blue scarf-like ribbon of the Garter, with oval badge pendent from it. The siege of a fortress is represented in the background to the right. A similar picture is at St. James's Palace. Canvas. 47 in. x 37 in. 193. Wriothesley Russell, second Duke of Bedford, K.G. 1680-1711. Sir Godfrey Kneller. Only son of William, Lord Russell, and grandson to the first Duke ; married, 1695, Elizabeth Howland, of Streatham, at which time, in consideration of her very great property, his grandfather was created Baron Howland. He succeeded to the Dukedom in 1700, and was elected a Knight of the Garter in 1703. His death resulted from an attack of the small-pox. This Duke, according to Pennant, page 352, built Covent Garden Church, and was known as the Good Duke. As a boy, aged s| years. A full-length standing figure, in lilac and green drapery over a blue cuirass imitating the antique Roman military costume. He 33ofmrn glbbcv Catalogue. rests his left arm on a red earthen vase with orange flowers growing out of it. His left leg is bare. Landscape seen beyond a balustrade to the left. A rich toned and finely painted picture ; a good specimen of the artist. Signed on the red vase — Jt tat'S Suoe. S /z There is a rare mezzotint engraving of this nobleman as a boy, by Beckett. Wiffen, No. xxv. Canvas. 49 in. x 39 in. 194. The same Person when Marquess of Tavistock : with Elizabeth Howland, Marchioness of Tavistock. 1682- 1724. Sir G. Kneller, dated 1695. At the ages of 15 and 13. Life-size figures, seen to below the knees. They both hold a bunch of flowers, and these were painted by Verelst. The girl in a blue gown is seated towards the left, and rests on her left hand. She places the flowers in his right hand ; he has a pink drapery round his yellowish-brown coat. Both persons look at the spectator ; a column is behind him. Inscribed " Wriothesly 2nd Duke and Elizabeth Howland, when young." Signed in the right-hand corner upon the stone seat, and dated the year of their marriage— A very fine enamel taken by C. Boit, two years later, from this picture, is in the London Collection. A portrait of this Duke, taken at the same age, in blue coat and flowing powdered wig, is in the possession of Lord Arthur Russell, M.P. It was sold in 1871 from the collection of Maddingley Hall, Cambridge. Wiffen, No. clxxxix. Canvas. 64 in. x 5 1 in. 132 Period of Wriothesley, Second Duke, to 1711. 195. John Howland, Esq., of Streatham. Died 1 686. John Riley. Father of Elizabeth, Duchess of Bedford (198) ; Lord of the Manor of Tooting-Bec, in Surrey. Married, 1681, Elizabeth, daughter of Sir Josiah Child, Bart, {ante, No. 169). A monument was erected to his memory by his daughter in Streatham Church. A life-size figure, seen to below the knees, wearing a long light-coloured wig, and seated towards the left. He supports the yellow drapery covering a blue robe, with his right hand. A distant castle appears in the background to the left. Light admitted from the right-hand side. Wiffen, No. cxciv. Canvas. 49 in. x 39 in. 196. Elizabeth Howland. 1659-1719.^^ Wife of the preceding. Daughter and heiress of Sir Josiah Child, Bart, and mother of Elizabeth, Duchess of Bedford. Born at Portsmouth. It was this lady who presented the celebrated Dr. Hoadly to the rectory of Streatham. He, when afterwards bishop, dedicated a volume of his sermons to her. A seated figure, the size of life, seen to below the knees, facing the spec- tator, in a slaty-grey dress and dark yellow-brown mantle. Her undergarment is white, looped up by a band of jewels. She raises her right hand to her breast. The landscape background is very dark. Painted in the style of Lely, exhibiting a youthful slender figure and animated countenance. Wiffen, No. cxcvi. Canvas. 49 in. x 39 in. 197. The same Person : with her daughter Elizabeth, afterwards Duchess of Bedford, AS A GlRL. J. Closterman. A large picture, with whole-length figures, the size of life. The mother stands facing the spectator, wearing a red dress and blue drapery. She rests her left hand on her daughter, who looks up towards the left, holding a marmozet in both her hands. The background consists of a balustrade and distant landscape ; the gate of a city to the right. A dark, heavy picture. The mature countenance of the mother retains the animated expression observed in No. 196. Wiffen, No. lxviii. Canvas. 89 in. x 55 in. ^Sofcurn Jlfcfceg Catalogue. 133 198. Elizabeth Howland, Duchess of Bed- ford. 1 682- 1 724. c . ~ „ ' ^ ozr Godfrey Kneller. Daughter of John Howland, of Streatham, and granddaughter of Sir Josiah Child, Bart. Married, 1695, to Wriothesley Russell, Marquess of Tavistock, afterwards second Duke of Bedford, K.G. A seated figure, facing the spectator, seen to below the knees. Dark landscape background. Her dress is grey. She holds the end of the blue drapery which falls from her right shoulder with both hands. A well-painted picture, and the attitude unusually free from affectation. It has been attributed to Wissing, but this lady was only five years old when Wissing died. Wiffen, No. xli. Canvas. 51 in. x 42^ in. 199. The same Person. As a widow with her four children. Painted about 171 3. A large long square-shaped family picture, containing five life-size figures ; all of them dressed in deep mourning. An oval portrait of the deceased duke hangs on a wall to the left. The duchess, lost in meditation, is seated on the extreme right, in a large blue square-backed chair, turned towards the left. Her eldest son, Wriothesley the third Duke, in a white patterned gown, stands at her knees. The daughter, Lady Rachel, afterwards Duchess of Bridgewater, holds the hand of the younger brother John, who became fourth Duke, sitting on a marble slab. Lady Elizabeth, afterwards Countess of Essex, stands apart under her father's portrait, pointing to some flowers. Her dress is white, striped with black, and patterned with grey. A small dog jumps up to her. Another dog is seated at the feet of the sorrowing Duchess. The children all wear white, striped and patterned with grey. The tone of the landscape seen through the arch is very blue. A vividly painted picture, with much freedom of execution and intensity of colour. An extremely favourable specimen of the abilities of the painter. The mourning head-dress of the Duchess is very similar to that worn by Rachel, Lady Russell, in No. 182. Pennant, 4to, page 352. Wiffen, No. eclxxiv. Canvas. 124 in. x 94 in. Charles Jervas. 134 Period of Wriothesley, Second Duke, to 1711. 200. Arnold Joost van Keppel, first Earl of Albemarle, K.G. c. 1671-1718. Sir Godfrey Kneller. Of Guelderland. Arnold Joost van Keppel, Lord of Voorst, accompanied the Prince of Orange to England in 1688, who, on his accession to the crown, as William III., created him Earl of Albemarle, and held him in his special favour. He was present at the battles of Ramillies and Oudenarde, and took part in the sieges of Lisle and Bouchain. Half-length standing figure, the size of life, in full armour, the helmet behind him, holding the truncheon in his right hand, and the left placed on the hip. His handsome, youthful face, seen in three-quarters, is turned to- wards the left, looking at the spectator. The blue ribbon of the Garter crosses his white breastplate. For his son's portrait see No. 225. Finely engraved in mezzotinto by John Smith. A repetition of this picture is at Panshanger, the seat of Earl Cowper, K.G. Wiffen, No. xxvii. Canvas. 49 in. x 39 in. 201. Isabella Gertrude Quirina vander Duin, Countess of Albemarle. c . „ ^ Sir G. Kneller. Wife of the preceding. Daughter of Adam vander Duin, Lord of St. Gravemoer, General of the forces of the States General, Married 1701. Died in 1741 at the Hague. Half-length seated figure, life-size, facing the spectator, holding a garland of flowers to the right. Rich blue dress. Dark red curtain behind the figure, sky to the right. A brilliant and admirable specimen of the artist. 33o£>urn tybbcg gafctloctue. 135 202. John Churchill, Duke of Marlborough, K.G. 1650-1722. Isaac Whood, dated 17 u. Son of Sir Winston Churchill ; created Duke of Marlborough on the accession of Queen Anne ; gained the victories of Blenheim, 1704, Ramillies, 1706, Oudenarde, 1708, and Malplaquet, 1709. The domain of Woodstock and the palace of Blenheim were conferred on him by the Queen and Parliament. Died at Windsor. Buried with great honours in Westminster Abbey, and finally, in 1733, removed to the family vault at Blenheim Palace. Whole-length, standing figure, the size of life, attired in the robes of the Garter, holding a plumed hat in his right hand and resting the other on a carved altar. The face is turned in three-quarters towards the right, the eyes looking in the same direction. On a pilaster to the right is sculptured a shield, with the face of the sun in the centre, and among the rays round it are the words " Pluribus Impar." The light is admitted from the right-hand side This picture is an excellent example of the artist's power of imitating the style of Kneller. It is signed on the base of the altar Wiffen, No. clxxxi. Canvas. qz\ in. x 56^ in. 203. Sarah Jennings, Duchess of Marl- borough. 1660-1744. Charles Jervas. ^ * Wife of the preceding ; daughter of Richard Jennings, of Sand- ridge. Became in early life attendant on the Princess Anne, over whom she subsequently obtained great influence. They main- tained a private correspondence under the names of Freeman and Morley. The Duchess was finally supplanted in the Queen's favour by her cousin, Mrs Masham. She had held the offices of Groom of the Stole, Mistress of the Robes, and Keeper of the Privy Purse. Her last interview with the Queen took place April 6, 1 7 10. She wrote a memoir of her own conduct. 136 Period of Wriothesley, Second Duke, to 1711. Seated figure the size of life, "in plain white satin dress, seen to below the knees, resting her cheek on her right hand, and the arm on a large mass of blue drapery. The face is seen in three-quarters turned towards the left ; the eyes being fixed on the spectator. Grey sky background. This well-painted and elegant picture is more like one of the four daughters of the Duchess than the Duchess herself. Prob- ably Elizabeth, Duchess of Bridgewater. As in most of the portraits painted when these ladies were young, there is no ap- pearance of necklace, head ornament, or jewellery of any kind. Wiffen, No. xl. Canvas. 49 in. x 39 in. 204. The same Person. c . ~ ^ ~ oir Godfrey Kneller. Whole-length, seated figure, the size of life, wearing a long white dress, with dark blue mantle partly covering her left arm, and having the gold key, symbol of her office of Mistress of the Robes, hanging at her side. This key was finally surrendered to the Queen, by the Duke's own hand, January 17, 1711. Signed in dark brown letters on the balustrade beyond the circular step — This picture is the same as a large and fine full-length at Petworth. Half-lengths, of the same type, are at Althorp and Nuneham Courtenay. Wiffen, No. clxxx. Canvas. 95 in. x 56 in. 205. Charles Spencer, third Earl of Sunder- land, K.G. 1674-1722. Isaac Whood Father of Diana Spencer, Duchess of Bedford. (See No. 237.) Envoy Plenipotentiary to Germany, on the death of the Emperor Leopold. Succeeded the Duke of Shrewsbury as Lord Lieutenant of Ireland, 17 14. First Commissioner of the Treasury, 17 1 8. A patron of science and learning ; and the founder of a 137 magnificent library, which was, until recently, preserved at Blen- heim Palace, under his name. Married Lady Anne, second daughter of John, Duke of Marlborough, who died April 17 16, leaving him four sons and two daughters. Charles, the third son, became second Duke of Marlborough in 1733, and died at Munster in 1758. Whole-length standing figure, the size of life, in the robes of the Garter. He rests his right hand on a richly carved table, upon which are placed his coronet, a gold key, and the plumed hat belonging to the Knights of the Garter. His figure is partly turned towards the right, and he extends his left hand as if pointing in the same direction. Columns and the walls of a garden, with balustrades, compose the background. A richly painted picture, with deep shadows. Wiffen, No. xlii. Canvas. 94 £ in. x 59 in. 206. The Hon. John Spencer. 1708-1746. Isaac Whood, dated 1737. The fourth son of Charles, third Earl of Sunderland (No. 205), by Lady Anne Churchill, second daughter of the Duke of Marl- borough. He married 1734, Lady Georgina, third daughter of John Carteret, Earl Granville. On the death of his grand- mother, the Duchess of Marlborough, he accepted the office of Ranger and Keeper of Windsor Park. He inherited from the Duchess a very large estate, and died at Wimbledon in Surrey. He was a universal favourite, and generally known as "Jack " Spencer." He was interred at Althorp. His son John, born in 1734, was the first Viscount and Earl Spencer. Half-length figure, life-size, facing the spectator, in deep yellow hussar uniform with silver braid and buttons, drawing a sword from a red hanger. Red cloak with brown fur over his right shoulder. White cravat, and light hair, cut very close. 7 3 /- Wiffen, No. exevii. Canvas. 43^ in. x 42 in. T 138 Period of Wriothesley, Second Duke, to 1111. 207. Lady Georgina Spencer. 17 16-1780. Isaac Whood, dated 1737. Wife of the preceding. Daughter of John Carteret, first Earl Granville. Married secondly, in 1750, William, second Earl Cowper Companion picture to the preceding. Half-length figure, facing the spec- tator, in white satin, lifting the ermine of her blue mantle with her right hand. A lilac or pink curtain is behind her figure, and falls over a table in the right- hand corner. Signed and dated — 208. Sir Godfrey Kneller, Bart. 1648- 1723. Born at Lubeck. Studied painting in the school of Rembrandt. In Italy he worked under Carlo Maratti and Bernini. Kneller arrived in London in 1674, and had immense success as a por- trait-painter. His self-esteem knew no bounds, and he was most unequal in the quality of his productions. King George I. created him a baronet, the only instance known in this country, before the present reign, of an artist being invested with hereditary distinction. He generally signed his pictures, and adopted at the latter period of his career " Eques et Baronetus." Seen to the elbow, within an oval ; youthful close-shaven face, seen in three-quarters, turned towards the left, looking at the spectator over his shoulder. Long flowing hair ; green dressing-gown. Light admitted from the right-hand side. Dr. Waagen (vol. iv. page 335) observes of this picture, "His " own portrait, still youthful, of animated conception, and care- " fully carried out in a clear colour." Spiritedly painted, with much breadth of treatment. Wiffen, No. cxciii. Canvas. 43 in. x 40 in. Painted by Himself. Wiffen, No. cxlv. Canvas. 28 in. x 24 in. ■§3o£>urn Qbhex) Catalogue. 139 209. Edward Russell, Earl of Orford. 1653- ^7^7 • Copied by W hood, from Thos. Gibson. Admiral. Grandson of the fourth Earl of Bedford, nephew to the first Duke, and son of Edward Russell and Penelope Hill, of Hillsborough Castle in Ireland. Very much the look of William, Lord Russell but the eyes more severe. Educated at Jesus College, Cambridge. Made Treasurer of the Navy in 1689. On May 19, 1692, he obtained the great victory at La Hogue, and received the thanks of Parliament in November following. He married his cousin, the Lady Margaret Russell, but left no issue. The earldom of Orford was conferred on him in 1697. He was constituted First Lord of the Admiralty, November, 1709. He died at his stately residence in Covent Garden, afterwards occupied by Lord Archer, November 26, 1727. Half-length figure, life-size, standing towards the left, and pointing with his right hand to a letter lying on the table, inscribed — He wears a red coat and blue drapery supported by his left hand, which rests on the hip. A pilaster occupies the background, to the right. Copied from a picture in the Naval Gallery at Greenwich, engraved by W. Holl in Locker's " Naval Gallery," 4to, 1832. There is a fine engraving from this picture, on a large scale, by G. Vertue, dated 17 10. Canvas. 49 in. x 39 in. T40 Period of Wriothesley, Third Duke, to 1732. 210. George Bvng, first Viscount Torrington, k.b. 1663-1733; with his son pattee, afterwards second vlscount torring- TON. 1 699 1 747* $iy Godfrey Kneller. Born at Wrotham, 1663. Entered the navy as " King's Letter " Boy " at the age of sixteen. Commanded the attacking squadron at the capture of Gibraltar, 1704. Commanded the fleet at the taking of Alicante in 1706. Admiral-in-chief at the victory over the Spanish fleet off Cape Passaro on the coast of Sicily, in 17 19. Raised to the Peerage as Viscount Torrington in 172 1. Was First Lord of the Admiralty at the time of his decease. A long, square picture, with life-size figures, seen to below the knees. Lord Torrington, in a crimson suit, is seated towards the right, holding a truncheon in his right hand. His son, a boy in a blue coat, with black hat under his arm, stands beside him. A ship in full sail at sea, to the right. A brilliantly coloured picture. Signed — " S? Godfrey Kneller pinx 17 18." Wiffen, No. lx. Canvas. 57 2 * n - x 4 2 i n - 211. Wriothesley Russell, third Duke of Bedford. 1708- 1732. T un , ' ,%J Isaac Whood. Eldest son of the second Duke, and Elizabeth Howland, of Streatham in Surrey. He married 1725, Lady Anne Egerton, daughter of Scroop, first Duke of Bridgewater, and Elizabeth Spencer, daughter of the Duke of Marlborough. His failing health compelled him to undertake a journey to Lisbon, but he died on the passage. Full-length standing figure, life-size, in coronation robes, holding the ducal coronet in his left hand and gloves in the right. His face is seen in three-quarters, looking away to the left. A dark curtain is suspended behind the figure. Wiffen, No. clxxxiii. Canvas. 95 in. x 55J in. ~g$obum Qbbe-Q QataloQtxe. 141 212. The same Person. Isaac Whood Reading a book. Represented as an oval picture, partially covered by a red curtain in the left-hand corner. A life-size figure, seen to the elbow. The Duke appears in profile, turned to the left, wearing a dark cap, intently reading a book which he holds in his left hand. His dressing-gown is of a deep green colour patterned with yellow. No hair is perceptible underneath the cap. His right hand rests on the crimson curtain in front of him. A quaintly conceived and well-executed picture. Wiffen, No. cxcii. Canvas. 48 in. x 38 in. 213. Anne Egerton, Duchess of Bedford. I 7°5~ I 7 62 -. i S aac Whood, dated 1735. Wife of the preceding. Daughter of Scroop, first Duke of Bridgewater, and granddaughter, on the mother's side, of Sarah, Duchess of Marlborough. She married secondly, in 1733, William, third Earl of Jersey. Half-length standing figure in coronation robes, holding her coronet in the left hand, which rests on a stone table, and the right raised to her breast. Signed — There are portraits of her by Kneller and Jervas at Blenheim and at Middleton Park. Wiffen, No. xxxiii. Canvas. 45 in. x 43 in. 214. The same Person. haac w/toodm In a gold oval frame. In a blue dress, with white sleeves and lace, and a blue mantle lined with ermine. Wiffen, No. xxxvii. Canvas. 29 in. x 24 in. 142 Period of Wriothesley, Third Duke, to 1732. 21 5. The same Person. Isaac Whood Full length, standing figure, the size of life, in coronation robes, resting her left hand on a coronet laid on an elaborately carved table to the right. Her face is seen in three-quarters, turned towards the left, looking at the spectator. Her ample white fur robes fall over the arms of a state chair to the left. Architectural background, and distant trees of formal shape, against the sky to the left. Her hair, which is trimmed somewhat close to the head, is grey. The costume is very characteristic of the taste of the period. Wiffen, No. clxxxiv. Canvas. 95 in. x 56^ in. (Companion picture to No. 208.) 216. The same Person. Isaac Whood Oval, within square gold frame. Bust picture, life size. Face seen in three-quarters turned towards the left. White satin dress, and ermined blue mantle covering her left shoulder. Wiffen, No. xxxvii. Canvas. 29 in. x 24 in. 217. THE SAME PERSON. Isaac Whood. Half-length standing figure, the size of life. A youthful portrait, as Rebecca at the Well. She rests her right hand on the circular mouth of a well, a pitcher is at her feet. In the distance, to the right, is an oriental scene, bounded by mountains, and the walls of a town ; camels appear, traversing a plain. The lady is attired in pale yellow satin, with blue drapery passing over her right arm. Her face is seen in three-quarters, turned towards the right. The picture is painted very much in the style of Jervas. A full length, somewhat similar in composition, is at Blen- heim. Wiffen, No. cxci. Canvas. 49 in. x 39 in. ^3ofctmt ^frfceg ^dialogue. 143 2l8. THE SAME PERSON. Charles Jervas. Half-length seated figure, life-size, in white satin, resting her head on her right hand, the left holding some rich blue drapery covering the knees. Her face, seen in three-quarters, is turned towards the left, and the eyes fixed on the spectator. Dark grey sky background. (This picture has much affinity in style to No. 201.) Wiffen, No. lxiv. Canvas. 49 in. x 32 in. 219. The same Person. rl , T ' Charles Jervas. Full-length figure, the size of life, walking and attended by a black servant, who holds a parasol behind her. The duchess wears a blue Polish dress over a grey satin skirt, and has a high standing feather rising from her turban. She points to the right with her left hand, and in the other holds a white pocket-handkerchief. The livery of the negro is red and yellow. The parasol, which does not at all shade the lady, is green. A castle, imbedded among rocks, appears to the right. Boldly painted, in strong bright colours. Wiffen, No. lxv. Canvas. 82 in. x 55 in. 220. John Kupetzki. 1667-1740. „ . ._. J Painted by Himself. A Bohemian painter ; son of a weaver ; accompanied a Swiss artist, named Claus, to Vienna, and afterwards studied in Venice. He became painter to the Emperor Joseph ; and is said to have been invited to England by George I. His powers were chiefly confined to portraiture, and his colouring has by some been compared to that of Rembrandt or Van Dyck. He painted a curious little picture of the Empress Maria Theresa on horse- back, now at Windsor Castle. He fled from the Holy Inquisition, and died at Nuremberg. A square picture seen to the elbow, the size of life. The artist appears bareheaded, with his face seen in three-quarters, turned to the right ; very dark hair, eyes, and beard. Features well modelled. Black dress and small white square collar. The right hand raised to his breast, pointed upwards. Coloured with subdued richness of tone rather in the manner of Van Dyck. T44 Period of Wriothesley, Third Duke, to 1732. Dr. Waagen (vol. iv. page 335) observes on this picture, "His " own portrait. True, powerful in tone, and careful." Wiffen, No. cxlii. Canvas. 30 in. x 24 in. 221. Frederick William, Viscount Villiers. Eldest son of William, third Earl of Jersey, and Lady Anne Egerton, widow of the Duke of Bedford (ante, No. 213). He died in his father's lifetime. The Prince of Wales, and Sarah, Duchess of Marlborough, were sponsors at his baptism. As a boy. Whole length figure, the size of life, standing by a brown dog, and holding a black string which is attached to the dog's collar. A small whip is in his right hand. He wears a grey coat and red waistcoat, and a collar with frill round the neck. To the right, in the distance, is a bust on a pedestal under an arch. These were painted by Wootton. Signed — 222. Caroline, Princess of Wales ; afterwards Queen of England. 1 682-1 737. E. Seeman. Daughter of John Frederic, Margrave of Brandenburg-Anspach. Married, 1705, George, Prince of Wales, who afterwards ascended the throne as George II. Their eldest son Frederick (see the following) was father of George III. Standing full-length figure, the size of life, turned towards the left, and looking at the spectator. She rests her right hand on the single-arched crown peculiar to the Prince and Princess of Wales, which is placed on a blue-covered table. With her left, she raises one portion of her rich crimson mantle. Her hair is grey and quite plain. Rich jewels are appended to the shoulder straps, and fastened down the front of her stomacher. The gown is embroidered with gold and silver. A square window is in the background to the left. A similar picture is at Chelsea Hospital. 1 734-1 742. Isaac Whood and John Wootton. Wiffen, No. lxvi. Canvas. 49 in. x 39 in. Canvas. 84 in. x 53^ in. ^3o£>um &bbeQ Catalogue. H5 223. Frederick, Prince of Wales, K.G. 1707- 1 75 1 • B. Dandridge, dated 1732. \ cXw^lu. - 'f • 1 ' & Eldest son of King George II. and Caroline of Brandenburg - Anspach. Father of George III. Married in 1736, Augusta, daughter of the Duke of Saxe-Gotha. A patron of art and literature. Full-length standing figure, the size of life, in long yellow vest, ermined mantle and collar of the Garter. His face is seen in three-quarters turned towards the left, looking at the spectator. He wears a small white wig and long lace cravat. His right hand rests on the arm of a state chair. The single-arched crown, peculiar to the Prince of Wales, is placed on a table beside him, to the right. Signed in bold brown letters on side of armchair — Canvas. 88 in. x 53 in. 224. John Leveson Gower, second Baron gower, afterwards earl gower. 1695-1754. J. B. van Loo. Raised to an earldom July 8, 1746, in recognition of his zealous services towards suppressing the rebellion of 1745. Father, by Lady Evelyn Pierrepoint, his first wife, of Gertrude, Duchess of Bedford (No. 239). He was Lord Privy Seal from July 1742 to December 1743, and again from December 1744 to 1745. A portly half-length figure, the size of life, standing towards the right, represented in his coronation robes. His left hand, holding a glove, is near the coronet, behind which descend the ample folds of a rich blue curtain. Well painted, with solid shadows and strong colours, more resembling the style of Dance. Engraved in mezzotinto by Faber ; but with the purse of the Privy Seal, instead of a baron's coronet. Wiffen, No. xxxii. Canvas. 49 in. x 39 in. U 146 Period of Wriothesley, Third Duke, to 1732. 225. William-Anne Keppel, second Earl of Albemarle, K.G. i 702-1 754. T Hudson Son of the first earl (200), and father of Elizabeth, Marchioness of Tavistock (No. 248), and of the famous Admiral Keppel. His names were derived from King William, his father's personal friend, and from Queen Anne, who stood godmother at his baptism, in person. He was one of the Lords of the Bed- chamber to the Prince of Wales, and in 1727 appointed aide-de- camp to the king. Held command at the battle of Dettingen, 1743, and was wounded at Fontenoy in 1745. After the battle of Culloden, where he rendered gallant service, he was constituted General and Commander-in-Chief of all the forces in Scotland. He received the honour of the Order of the Garter in 1750, and from that period resided as Ambassador and Plenipotentiary at Paris, where he died. A half-length figure, the size of life, standing towards the left, wearing a scarlet coat, gold facings and lace ruffles, with the ribbon and badge of the Garter. He rests his right arm on a stone pedestal, holding a black hat under his left arm. A golden key (as Groom of the Stole) is attached by a blue ribbon to his right side. A similar picture to this, but with the figure resting on a cannon, with the battle of Fontenoy raging in the distance, is engraved by Faber after Fournier, 1749. The picture belongs to General Count vander Duyn, who sent it to the Hague, and it was spoilt in restoration. Wiffen, No. xxx. Canvas. 49 in. x 39 in. 226. Anne Lennox, Countess of Albemarle. 1 703-1 789. Michael Dahl. Wife of the preceding. Married 1723. Daughter of Charles Lennox, first Duke of Richmond ; mother of Elizabeth, Mar- chioness of Tavistock. Appointed one of the Ladies of the Bedchamber to Queen Caroline, consort of George II. ^ofcurn dlbfcep §unt Qbhev gktfalogue. 157 A Monody, " The Vanity of Human Life," to the memory of the Marquess of Tavistock, commencing " Begone, delusions " vain," was published by Dodsley in 1767. Wiffen, No. lxxiii. Canvas. 49 in. x 39 in. 246. THE SAME PERSON. Sir Joshua Reynolds. In the dress of the Dunstable Hunt. Half-length, standing figure, life-size, seen almost to the knees, with a youth- ful face, looking towards the left, resting his righthand on a stick. White coat and blue collar and blue waistcoat, trimmed with silver lace. A black hat is under his left arm. Trees in the background. A fine rich picture, although somewhat cold in tone, with deep and solidly-massed shadows, in admirable preservation. Pennant, 4to, page 360. Wiffen, No. lxxvi. Canvas. 49 in. x 39 in. 247. The same Person. Painted at Rome by Povipeo Batoni, dated 1 762. In the uniform of the Bedfordshire Militia. Whole-length standing figure, the size of life, wearing a complete scarlet suit, with round silver buttons, black hat and white stockings. There is no white about his neck, but merely a black stock. He stands towards the left, looking at the spectator, resting his right hand on a tall walking-stick, and holding his hat in the left. In the background is the view of the Coliseum at Rome, with a seated statue of the goddess Roma holding forth a ball on the extreme left. Fragments of architectural sculpture lie on the ground. On one of these is written, as if incised — Yonv&O BATONJ PJNSE KQY\f\1j6z Wiffen, No. clxxxv. Canvas. 95 in, x 6$\ in. 158 Period of John, Fourth Duke, to 1771. 248. Elizabeth Keppel, Marchioness of Tavi- Wife of the preceding. Fifth daughter of William-Anne Keppel, second Earl of Albemarle (No. 225). Sister to Admiral Keppel, who was the particular friend and early patron of Sir Joshua Reynolds. One of the bridesmaids to Queen Charlotte, in 1761. Married to Francis, Marquess of Tavistock, 1764. Survived her husband but one year, and died of a decline at Lisbon. Represented in the dress which she wore as a bridesmaid at the marriage of Queen Charlotte, decorating the statue of Hymen with flowers, attended by a negress. Full-length figures, the size of life. The Marchioness raises with both hands a garland to decorate the statue on the right. Her face is seen almost in profile, looking down to the left. The negress, kneeling behind her, holds up another massive garland. A rich curtain, suspended from the branches of a tree behind the statue, affords a solid background for the principal figure. A tripod altar, with pale red flame, before the figure of Hymen, is on the extreme right-hand side in front, and the terminal statue holds a royal crown in one hand and a lighted torch in the other. The dress of the negress is spotted white, and open at the neck so as to display three rows of pearls and pearl earrings. The sky behind her is dazzlingly bright, and the folds of the long white satin dress are most cleverly arranged. ' Imcribed on the side of step beneath her foot — Cinge Tempora Floribus Suaveolentis Amaraci: Adsis, 0 Hymeruee Hymen ! Hymen o Hymencee ! From Catullus, on the marriage of Julia and Manlius, lxi. lines 7 and 8. On the lower step, in deep shade, are also traces of an obliterated inscription to the following effect — In Reynolds' book of sitters we find that Lady Elizabeth Keppel sat to him in September 1761, and a "negro," probably for the same picture, was several times employed in December of the same year. This picture was presented by William Charles fourth Earl of Albemarle (who died in 1 849) to the Duke of Bed- ford (see a letter from Lady Augusta Noel, dated March 17, 1884). Sir Joshua Reynolds, m 1761. 159 A singularly rich and highly decorative picture. The acces- sories were painted by Peter Toms. The following graphic description of the picture is derived from Leslie and Taylor's "Life ot Reynolds," vol. i. pages 195 and 202. " The picture is of the pearliest colour, warmed by wreaths of " clustering flowers. The sheen of satin and silver ribbons, the " sparkle of diamonds against the white neck and in the soft ' hair and rose-tipped ears of the beautiful bridesmaid, the dusky " upturned face of the negress, the crimson awning pendant ' from the tree that overhangs the statue, the reflected lights in F the bronze tripod, crowned with its flickering flame." Dr. Waagen (vol. iv. page 333) remarks in technical phrase- ology, that "The fine features of the lady are rendered with great " animation and refinement ; at the same time the colouring is " warm and transparent, and the effect of the whole enchanting." It has been effectively engraved in mezzotinto by Fisher, and on a smaller scale, by S. VV. Reynolds. Wiffen, No. cxvi. Canvas. 93 in x 57^ in. 249. THE SAME PERSON. Sir Joshua Reynolds. Half-length seated figure, the size of life. The face is seen completely in profile, turned to the right. Her hair is powdered, and she wears an ermine crimson pelisse over a white satin dress. The hands are nearly joined in her lap, and her left elbow rests on some rich grass-green drapery. A dark green curtain is suspended behind her to the left. Lady Tavistock appears in Sir Joshua's sitters' book for November 1766. See Leslie and Taylor, vol. i. page 267. A fine portrait of Lady Tavistock, by Sir Joshua, was ex- hibited by the Earl of Albemarle, from Quiddenham, at the Royal Academy, Burlington House, in 1873. It was No. 88 of the catalogue. Wiffen, No. lxxii. Canvas. 49 in. x 39 in. 160 Period of John, Fotirth Dttke, to 1771. 250. THE SAME PERSON. Sir Joshua Reynolds. A life-sized portrait, seen to the waist. The face is turned in profile to the left, and slightly drooping. Her dress is quilted blue silk, with bows of the same colour, covered by a black lace shawl ; her dark hair is set off by a small white lace cap and a blue knot in the centre over the forehead. A blue ribbon and white lace encircle her neck, and she wears handsome diamond earrings. The white lace of her sleeves is admirably painted, with remarkable freedom. The tall back of a crimson chair rises behind her to the right. The rest of the background is quite plain mellow grey. Wiffen, No. cxxxvi. Canvas. 29 in. x 24^ in. 251. Lady Caroline Keppel, afterwards Lady Caroline Adair, i 737-1769. Sir Joshua Reynolds. Elder sister of the Marchioness of Tavistock. Married, February 1759, to Robert Adair, Esq., an eminent surgeon, Inspector General of Hospitals. He died 1790. A monument was erected to their memory in Acton church. See Lysons' " Environs of " London," page 5. A square picture. To the waist, life-size, in a pink dress with bows of a slaty colour, and a dull blue drapery passing over her left shoulder. The figure turned somewhat to the right ; and the face, seen in three-quarters, looking away to the left. The hair is dark brown, of a natural colour ; a black velvet ribbon encircles her neck. The light is admitted from the right- hand side. Background plain dark grey. Wiffen, No. clxxix. Canvas. 29 in. x 24 in. 252. Mary Wrottesley. 1 740-1 769. T. Gainsborough, R.A. Eldest daughter of the Very Rev. Sir Richard Wrottesley, Bart, Dean of Windsor, and sister of Elizabeth, Duchess of Grafton, Maid-of-Honour to Queen Charlotte. Inscribed in upper left-hand corner : — "Miss Wrottisley:' ^Sofutrn Qbbe-Q giafctlogitc?. 161 To the waist, life-size, within an oval, face three-quarters to the right, white powdered hair. Blue dress, white sleeves, and blue bows. A blue ribbon round the neck, and black strings attached to it. Blue ornaments bordering the top of the head. This and the following picture are very- similar. Wiffen, No. xxxviii. Canvas. 29 in. x 24 in. 253. Elizabeth Wrottesley, Duchess oi Grafton. Died 1822. T _ GaimborougllJi ^ Niece to Gertrude, Duchess of Bedford. Second daughter of the Very Rev. Sir Richard Wrottesley, Bart, Dean of Windsor. Married, 1769,10 Augustus Henry Fitzroy, third Duke of Grafton. To the waist, within an oval, face seen in three-quarters turned to the right, the eyes looking at spectator, Blue dress with blue and white bows in front, blue and white ribbon in bows round the neck, close under the chin, and a black shawl over her arm. A similar picture is at Cornbury, in Oxfordshire. Wiffen, No. xxxv. Canvas. 29 in. x 24 in. 254. Oliver Goldsmith. 1728-1774. Sir Jos/ma Reynolds. Born at Pallas, in the county of Longford, Ireland. His poem (*1\a^»&c I )«T f. unt Z\hhcQ {Ectfafocjuc. 163 Presented by the King himself to John, Duke of Bedford, after concluding, as Minister Plenipotentiary, the Peace of Fontainebleau in 1763. This picture has been engraved. (See Villot's " Catalogue of " the Louvre," page 205.) Pennant, 4to, page 359. Wiffen, No. cxxxv. Canvas. 95^ in. x 72 in. 256. David Garrick. i 716-1779. Sir Joshua Reynolds, 1776. Born at Hereford. First appeared in London at the Goodman's Fields Theatre, as Richard III., October 19, 1741. Pope said of him to Lord Orrery, " That young man never had his equal as (lUm^Ujl. I '4 h Si "an actor, and never will have a rival." His most celebrated characters were the opposite ones of "Macbeth" and "Abel ^ 0O M^-e**. Drugger." He was also highly successful as a dramatist and writer of epigrams. Half-length figure, life-size, looking full at the spectator, in a dark reddish brown suit and white neckcloth. His thumbs are joined and the hands rest on a paper inscribed ' Prologue ' on the green table before him. The light is admitted from the right-hand side. The picture has been re-lined, and the canvas is quite plain at the back. A similar picture to this was painted by Sir Joshua for the Thrale Gallery, and sold also at the Streatham sale in May 1816, to Dr. C. Burney. It was exhibited at the Royal Academy in 1776. The picture was lent by Dr. Burney 's widow to the 1877 Winter Exhibition of Old Masters at Burlington House, No. 124 of the catalogue, and is still in the possession of the family. The Thrale picture was engraved in mczzotinto by Thomas Watson. It is thus described in Leslie and Taylor's " Life of " Reynolds," vol. ii., page I 50 : " Northcote used to praise Sir " Joshua's choice of characteristic attitudes, and this portrait of " Garrick is an excellent sample of that felicity. Sir Joshua had " known Garrick as a friend from his own first establishment as 164 Period of John, Fourth Duke, to 1771. " an independent painter in London. While a pupil of Hudson's, " he must often have seen him in the rapidly attained pre-eminence " of his prime, and now (in 1776) he was a diligent attendant at " those farewell performances for which dukes and duchesses, " cabinet ministers and privy councillors, were fain to beg seats " even in the upper boxes, while such men as Charles Fox and " Gibbon, Sheridan, Burke, and Sir Joshua Reynolds, held them- " selves favoured by places in the orchestra." There is an exact duplicate of this picture at Knole ; the second payment of 36/. 1 5^. for which, by the Duke of Dorset, is recorded in Sir Joshua's account-book, and dated June 1776. See Cotton's Lists. Wiffen, No. clxxvii. Canvas. 28 in. x 23 in. 257. Admiral the Hon. Augustus Keppel, after- wards Viscount Keppel. 1 727-1 786. Sir Joshua Reynolds. Second son of William-Anne Keppel, second Earl of Albemarle, and brother to Elizabeth, Marchioness of Tavistock (Nos. 225 and 248). Accompanied Commodore Anson to the South Seas. After a long course of distinguished service in various parts of the world, he obtained, in 1778, the rank of Admiral of the Blue. He was created Viscount Keppel, April 22, 1782, and appointed First Lord Commissioner of the Admiralty. Half-length standing figure, life-size, seen almost to the knees, nearly facing the spectator, in naval uniform, looking towards the right. His left hand is by the sword-hilt at his hip ; the right grasps the head of a stick. His black hat is carried under the left arm. The uniform consists of a blue coat and white and gold waistcoat. A distant sea, with a low horizon and stormy sky, appear to the left. There are as many as nine portraits of this gallant commander by the hand of Sir Joshua, and each of them different. Keppel was one of Reynolds' earliest and warmest friends. He gave the young painter a passage in his ship when on his way to study ^Sobttrrt Qbbe-Q Catalogue. 165 in Italy. In late life, after the court martial on his conduct at Portsmouth, he commissioned Sir Joshua to paint four portraits intended as gifts to those friends who had principally supported him and secured his acquittal. Two of these, presented respec- tively to Edmund Burke and Dunning, are now public property, and to be seen in the National Gallery and in the National Portrait Gallery. In Cotton's list of payments appear four half-lengths of Keppel, for which Keppcl himself paid 400/. February 1777. In his noble panegyric on Keppel, addressed by Edmund Burke to the Duke of Bedford, he makes reference to the first of these pictures, and says, " It was painted by an artist worthy of the " subject, the excellent friend of that excellent man from their " earliest youth, and a common friend of us both, with whom we " lived for many years without a moment of coldness, of peevish- " ness, of jealousy or jar, to the day of our final separation. " I ever looked on Lord Keppel as one of the greatest and best " men of his age, and I loved and cultivated him accordingly. " He was much in my heart, and I believe I was in his to the " very last beat. " It was at his trial at Portsmouth that he gave me this " picture." Engraved by H. T. Ryall in Lodge's " Portraits" vol. xi., No. 213. Wiffen, No. lxx. Canvas. 52^ in. x 45 in. 258. The Right Hon. Richard Rigby, M.P. for Tavistock, c. i 722-1 788. Copied by Ranelagli Barrett, from Eccardt. His father was a woollen draper in Paternoster Row, and made money by the South Sea Company. The son was noticed in early life by Frederick, Prince of Wales. The Duke of Bedford, when Lord Lieutenant of Ireland, appointed him secretary to the vice-regency, and he was afterwards constituted Master of the Rolls in Ireland. After the accession of George III. he was, in 1 66 Period of John, Fourth Duke, to 1771. 1768, nominated one of the Vice-Treasurers of Ireland ; but resigned it for a better appointment, namely, Paymaster of the Land Forces. This office he held from 1768 to 1782. Rigby 's most intimate friends, beyond the Russell family, were Lord Thurlow, the Marquis of Stafford, Lord Weymouth, and the Earl of Sandwich. He resided at Mistley Hall, near Manningtree, Essex, and died at Bath, April 8, 1788. A half-length portrait, life-size, the face seen in three-quarters turned towards the right looking at the spectator. Grey wig, white necktie, his shoulders covered with an ample blue mantle faced with spotted fur. On the back of the wooden straining frame is written in a small hand, with common ink, " Richard Rigby, Esq., of Mistley, in Essex, 1745." On the back of the original canvas itself is painted largely and boldly — A small oval engraving exists of Mr. Rigby with the title of " Bloomsbury Dick " under it, published at St. John's Gate, in 1774. The original portrait of Richard Rigby, by Eccardt, belonged to Horace Walpole, and was sold at the Strawberry Hill Sale in 1842 for the sum of 3/. 13J. 6d. to Mr. Rodd, a well- known dealer. Eccardt was a pupil of Vanloo and much patronised by Walpole. Many of his copies were at Strawberry Hill. The name " Berwick," inscribed on the back of the canvas, is not a regular artist's signature, but an off-hand memorandum, and appears to have been written in error for " Barrett." Ranelagh Barrett, who died in 1768, was a noted copyist, and much patronised by Sir Robert Walpole, the Duke of Devonshire, and Dr. Mead. He excelled in his imitations of Rubens. See Walpole's " Anecdotes." His friend, the Duke of Bedford, having died in 177 1, Mr. Rigby commissioned Sir Joshua to paint the picture of his youthful successor with his brothers and Miss Vernon, as St George and companions subduing the Dragon, which is now at Middleton Hall. These young people had a special interest both 167 to Rigby and Reynolds, as the children of their valued friend, the Marchioness of Tavistock. See Leslie and Taylor's " Life "of Sir Joshua," vol. ii., page 183. This picture was exhibited as " A Nobleman with his Brothers and a young Lady." A note on the same page of the work just quoted adds, " He meant " to leave it to the Duke of Bedford and told him to send for " it ; but, owing to some scruple of delicacy, it was not claimed, "and subsequently passed into the hands of Mr. Henry Drum- " mond, of Albury Park, who gave it to the Countess Dowager of " Jersey, whose husband's sister married Lord William Russell." Canvas. 28^ in. x 24^ in. 259. Sir Joshua Reynolds, P.R.A. i 723-1 792. Pa in fed by Himself. Born at Plympton, in Devonshire ; son of the Rev. Samuel Reynolds. Studied under Hudson, the fashionable portrait- painter in London. Accompanied Captain, afterwards Admiral, Kcppel to Gibraltar, Algiers, and Minorca, whence he proceeded to pursue his studies in Italy. On the foundation of the Royal Academy of Arts in 1768, Reynolds was nominated President, and received the honour of knighthood. He died unmarried, in Leicester Fields, and was interred in St. Paul's Cathedral. A good and well-preserved picture. A bust portrait, life-size, with brown- ish hair, formally dressed, in plain yellow-brown coat, with white cravat and frill. His face, bare-headed, is seen in three-quarters turned towards the right, looking at the spectator. The face here is comparatively youthful,* and he does not wear spectacles as seen in the later pictures. Two portraits of him with a similar countenance, but wearing the black hat and D.C.L. gown of Oxford, are in the possession of Viscount Clifden, and at Knole. The latter picture he himself presented to the Duke of Dorset in 1780. Dr. Waagen (vol. iv., page 336) remarks on this picture : " Of feebler character than those known to me, but too high for " an opinion." Blue and grey clouded sky background. The face and figure are quite in the left half of the picture. Wiflen, No. clxii. Canvas. 24 tn. x 18 in. 1 68 Period of Francis, Fifth Dttke, to 1802. 260. Unknown Portrait. r. Philip, dated mi. Portrait, to the waist, life-size, within an oval, of a youthful smooth- faced gentleman, wearing a rich blue-coloured coat, white buttons, and white lace necktie. His face is seen in three-quarters turned towards the right. His hair is of dark grey, not very full, and parted in the middle over the forehead. The picture is carefully signed on the background above his right shoulder. The painter of this picture appears to be Richard Philips, who was born about 1681, and died 1741. His son Charles was a very fashionable painter, and executed small whole-length figures which, like the elder Nollekens and even Hogarth, he grouped together and called " Conversation Pieces." Several of these are at Windsor. His small whole-length of Lady Betty Germaine is at Knole in the apartments still retaining her name. Charles Philips was born 1708, married 1738, and died 1747. Wiffen, No. xxxix. Canvas. 29 in. x 24 in. 261. Francis Russell, fifth Duke of Bed- ford. l765-l802. T ZT VI ' u J. Hoppner, K.A. Grandson of the fourth duke, and son of the Marquess of Tavistock, who was killed 1767, by an accident in the hunting field. His mother, Elizabeth Keppel, died abroad, of a decline, the following year. He succeeded to his full dignities in 1771, when only six years of age. Educated at Westminster and Cambridge, he spent the remainder of the time to complete his majority by travelling on the continent. His political career, which belongs to the history of the country, and his steady development of schemes for the agricultural and social improvement of his fellow creatures, were *g$ob\\m |lbbeg gctfafogue. cut short by an unexpected and sudden illness. He died un- married. The countenance of this Duke frequently occurs in Gillray's political caricatures. Full-length figure, life-size, standing in peer's robes, advancing to the right. The face is seen in three-quarters to the right, looking at the spectator. His left hand supports his robes, and the right grasps a roll of paper. A curtain and column, with writing-table, occupy the right portion of the background, and an open landscape, seen through an arch, fills the remainder. A somewhat similar picture is at Hampton Court, No. 355 of Law's catalogue. Engraved, half-length, by W. T. Mote in Lodge's " Portraits," vol. xii., No. 225. A fine full-length mezzotint engraving from this picture, by J. R. Smith, was published in 1799. The Duke, when twelve years of age, was painted by Sir Joshua Reynolds, in 1777, with his brothers, Lord John (after- wards the sixth Duke, and father of Earl Russell), and Lord William, and Miss Vernon, afterwards Mrs. Smith, as St. George and companions having slain the dragon. The latter picture has been engraved on a large scale by Valentine Green. Wiffen, No. cxvii. Canvas. 96 in. x 59 in. 262. The same Person. Painter unknown. A bust portrait. Face seen in three-quarters turned to the right. Canvas. 30 in. x 24 in. 263. WOBURN SHEEPSHEARING IN 1804. George Garrard, A.R.A. A large picture, comprising eighty-eight portraits of agricultural celebrities. The scene lies in the farmyard of YVoburn Park, showing the Exhibition Room on the left, and the range of stables and chaff- mill in front. z i jo Period of Francis, Fifth Duke, to 1802. The Duke of Bedford appears in the centre of the picture, mounted on his favourite Irish mare, receiving a specimen of broadcloth manufactured from his own merino wool. Behind him rises a lofty column decorated with sculpture supporting a classic galley with furled sails, and the word commerce inscribed beneath the vessel. The sculptured decorations of the column are twisted spirally as in the Trajan Column at Rome. On the side of the base of pedestal is clumsily written russel, and on the moulding above "Science." A distant view of Woburn and the surrounding hills is seen above the exhibition building, on the cornice of which is inscribed, "Erected by Francis, Dtike of Bedford, in 1801." To the right in the foreground is seated Sir Joseph Banks, with T. W. Coke, M.P., Arthur Young, and Sir John Sinclair, standing by him, observing two men engaged in sheep-shearing. Among the other portraits Samuel Whitbread, Esq., M.P. , Lord Somerville, Duke of Clarence, and Joseph Lancaster, are conspicuous. A large aquatint engraving was executed from this picture by the artist himself, and inscribed, " Engraved and published by " G. Garrard, A.R.A., 4, Queen's Buildings, Kniglitsbridge, May 31, " 1 81 1." The engraving deviates in several particulars from the original picture. In the picture the small belfry is wanting to the exhibition room, and the trees behind the central building are loftier and more dense. In the painting the distant group of standing figures to the left of the Duke of Clarence on horseback are more artistic. Red drapery and a red cap hung upon the sheep pens in front contribute a richness of effect and vary the forms. In the engraving, although not at all indicated in the painting, the artist has introduced in the left-hand corner a group of figures and specimens of sculpture, with two very prominent figures of Lord William and Lord John Russell standing in front. Their apparent ages would not at all be suitable to these noblemen in 1804, when the picture was first painted. The studies for these portraits, painted in oil colours upon paper, are preserved at Woburn Abbey In a volume containing many other studies from various persons afterwards combined in this picture by Mr. Garrard. Purchased at Mr. Garrard's sale in London, December 1870. Canvas. 78 in. x 52 in. "gSofcurrt Jlf>f>ep gctfctlogue. 171 264. Miss Sarah Siddons. 1 775-1 803. Sir Thomas Lawrence. Daughter of the celebrated tragic actress. A writer in the "Gentleman's Magazine " at the time of her decease, 31st March, records that " Her countenance possessed an animated sweetness of character, highly expressive of that intelligence, benevolence and candour which were the prevailing features of her mind." Her attachment to Sir Thomas Lawrence and the unhappy cir- cumstances of her death were communicated by Mrs. Arkwright to Mr. Greville. See his Memoirs, vol. iii., page 50. The size of life, seen to below the waist, within an oval. The face is turned full upon the spectator. Very dark brown hair and eyes, and red cheeks. Plain white dress, close short sleeves, short waist ; an orange-pink scarf tied crosswise round her neck and under her arms. The body inclines, as if advancing, towards the left. Dark blue sky background. Of this picture, Dr. Waagen (vol. iii., page 466) observes that it is "one of his (Sir Thomas's) finest works." Wiffen, No. lxxxi. Canvas. 28 in. x 23 in, 265. Peter Ludlow, M.P. ; afterwards Earl Ludlow, i 730-1 803. Sir Joslma Reynolds, 1755. After sitting as M.P. for Huntingdon, he was, at the age of twenty-five, created Baron Ludlow, of Ardsalla, county Meath, and in the year 1760 raised to an earldom. He was nominated Comptroller of His Majesty's Household. Married, in 1753 Frances, eldest daughter of Thomas, Earl of Scarborough. Full-length, standing figure, in white hussar or Hungarian costume, with round white hat and feather. The face is seen in three-quarters turned towards the left. The dress is white satin, embroidered with gold, and a short ermine- lined cloak over the left shoulder. He rests his right hand on the head of a magnificent dog seated beside him. The background is a wild and dark mountainous scene. Very finely painted, with intensely powerful and well, massed shadows. 172 Period of Francis, Fifth Duke, to 1802. The picture was painted in 1755, as appears by Sir Joshua's own entry in his sitters' book for February 1755. " Mr. Ludlow " and his dog." Mr. Cotton, in the preface to his work on Sir Joshua Reynolds, which is dated Nov. 1856, page viii., states that a whole-length of an officer and a large mastiff was lately purchased by the Duke of Bedford, and believed to be a work of Reynolds. Canvas. 93 in. x 57 i- n - 266. Murrough O'Brien, fifth Earl, and after- wards Marquess of Thomond, K.P. 1724 1808. Pompeo Batoni. Created Marquess in the peerage of Ireland, December 29, 1800. He married, as his second wife, 25th July, 1792, Mary Palmer, niece of Sir Joshua Reynolds. In October 1801 he was raised to the peerage of the United Kingdom, as Baron Thomond of Taplow. Half-length figure, life-size, in white satin hussar dress, with crimson cloak over the shoulders. His face is turned in three-quarters looking to the left. The right elbow raised. Hands not seen. This picture was brought from Cople House. Canvas. 29 in. x 24^ in. 267. John, second Earl of Upper Ossory, with his Brother and Sister, afterwards General the Hon. Richard Fitz Patrick and Lady Mary Fox. 1 745-1818. G. Knapton. Children of John Fitzpatrick, first Earl of Upper Ossory, in the peerage of Ireland. The second Earl was created a peer of Great Britain as Baron Upper Ossory, of Ampthill, 1794. He married, in 1769, Anne Liddell, the divorced Duchess of Grafton. His brother, Richard, was born 1749, and died 181 3. Their i73 sister, Lady Mary Fitzpatrick, married, in 1 766, Stephen Fox, afterwards second Lord Holland, and died 1778. Represented as children, full-length figures, life-size, playing in an open garden, with a summer-house and fountain in the background. Lady Mary, in a long pink frock, white apron, and frilled cap, supports her younger brother, dressed in a white frock and cap like a girl, standing in a fanciful gilt shell- shaped chariot, which the eldest boy is endeavouring to guide by a long red handle. The boy wears a grey suit and knee breeches. A spade and black hat lie on the ground in the right-hand corner. A coat of arms decorates the front of the car. Light admitted from the right-hand side. The action of the figures is spirited and original, and the picture may be regarded as one of the best specimens of Knapton's abilities. This picture was sent by the Dowager Lady Holland from Ampthill House to the Duke of Bedford. Ampthill Park, the seat of the Earl of Upper Ossory, was bequeathed by him to Lord and Lady Holland. Canvas. 72 in. x 59 in. 268. King George III. 1738- 1820. Allan Ravi say. Son of Frederick, Prince of Wales. Born at Norfolk House, St. James's Square. Succeeded his grandfather, 1760. Married Charlotte, daughter of Charles, Duke of Mecklenburg-Strclitz, 1761. Died at Windsor Castle. Tainted when young ; a full-length standing figure, in ermine robes and collar of the Garter over a yellow suit, resting his left hand on the ermine S moustaches. Inscribed round the lower part of pedestal : (33°- ) "riAOTTEIS: TA A' AAAA MH AOKEI2 HTNIENAI." INDEX TO PORTRAITS PACE Adair, Lady Caroline (Keppel) . . 160 Admiral, Lord, Edward, 1st Earl of Lincoln .18 Adrian Pulido Pareja, 1660, Capitan General ........ 85 Albemarle, Anne Lennox, Countess of ........ 146 — George Monck, 1st Duke of . . . . . . . . . 102 — Isabella Vander Duin, Countess of . . . . . . . .134 — Arnold Joost van Keppel, 1st Earl of 134 — William-Anne Keppel, 2nd Earl of ........ 146 Algernon Percy, I oth Earl of Northumberland . 101 Allington, Lord, Constable of the Tower . . . . . . . . .129 Althorp, Portrait of Penelope Lady Spencer at . . . . . 100 Ampthill Park 173 Ampthill Park, Monument and Encampment in . . . . . . . . 188 Andover, Dorothy Savage, Viscountess ........ 63 Anne Clifford, Countess of Pembroke and Montgomery . . . . . 107 Anne of Denmark, Queen. Full length ......... 42 Appleby Church, Monument of Countess of Cumberland in . . . . 25 Apthorpe, Brandon and Mary, picture from ........ 3 Arabella Stuart, Lady, probable portrait ......... 92 Armada, in portrait of Queen Elizabeth ......... 38 Ayscough, Lady Anne 20 Bacon, Sir Nicholas. Erroneously named picture 14 Banks, Sir Joseph, in Agricultural Group . . . . . . . . 170 Barn Elms. Residence of Sir John Kennedy ........ 47 Barozzi da Vignola . . . . . . . . . . . . 14 Bassano. By himself ............ 44 Bedford, Anna Maria Stanhope, Duchess of 185 — 186 — Anne Carr, Countess of . .120—122 — Anne Egerton, Duchess of 141 — 143 — Anne Sapcote, Countess of . .......... 5 — Bridget Hussey, Countess of 22, 55 — Diana Spencer, Duchess of 1 52— 1 53 — Edward, 3rd Earl of. Full lengths 51 — Elizabeth Howland, Duchess of 132 — 133 — Elizabeth Sackville-West, present Duchess of iSS — Francis Charles Hastings, present Duke of . . . . . . . .187 — Francis, 5th Duke of . . 168— 169 — Francis, 7th Duke of 183—184 200 Index to Portraits. PAGE Bedford, Francis, 2nd Earl of ......... 21 — 22 — Francis, 4th Earl of .......... 66— 6S — Georgiana Gordon, Duchess of . . . . . . . . . .177 — Gertrude Leveson Gower, Duchess cf ....... 153— 154 — John, 1st Earl of . . . . ... ... . . . 5—6 — John, 4th Duke of .......... 149 — 152 — John, 6th Duke of ........... 176—177 Ditto as a boy, in the picture of St. George and the Dragon (Reynolds) . . . 169 — Katherine Bruges, Countess of .......... 69 — Lucy Harington, Countess of. Full lengths ....... 52 — 54 — Margaret St. John, Countess of .......... 22 — William, 5th Earl and 1st Duke of . . . . . . . . 117 — 120 — William, 8th Duke of 186 — Wriothesley, 2nd Duke of ......... 130—131 — Wriothesley, 3rd Duke of ......... 140 — 141 Bedfordshire Militia, Dress of the . . . . . . . . 157 Bedfordshire Rifle Volunteer Corps, Dress of ....... 187 Bell-collars to dogs . . . . . . . . . . ..11 Berkshire, Dorothy Savage, Countess of . . . . ... . . .63 Bindlose, Elizabeth ............. 63 Bingham, Sir Richard. Dated 1564. Monument in Westminster Abbey ... 36 Blackfriars, Lord Herbert's Wedding at . . . . . . 26 Blenheim, Portrait of Anne Egerton, Duchess of Bedford, at ..... 141 — Picture of Marquess of Tavistock at . . . . . . . ..156 Bletshoe, Sir John St. John of, father of Margaret, Countess of Bedford ... 22 — John Lord St. John of . . . . . . . . . . . . 148 Bohemia, Elizabeth, Queen of ........ 92—93 Bone, Henry, R.A 175 Both, Jan. By himself 87 Bradford, Diana Russell, Countess of ........ 75—76 Brandon, Charles, Duke of Suffolk .......... 2—4 Bridesmaid, Dress worn as a, at the marriage of Queen Charlotte . . . . . 158 Bridesmaid to Queen Victoria, Badge of .188 Bridget, Lady Morison 23, 55 Bridgewater, probable portrait of Elizabeth, Duchess of . . . . . .136 Bristol, Anne Russell, Countess of 74—75 — George, Earl of . . . . . . . . ' . . ' . . .119 Brooke, Catherine Russell, Lady ......... 73—74 Brown, Sir Anthony, first husband of the Fair Geraldine 19 — Joseph, Engraver of Philip and Mary . . . . . . . 12 Bruce, Christian, Countess of Devonshire . ........ 106 Bruges, Elizabeth, Lady Kennedy 49—50 — Frances, Widow of Sir Thomas Smith and Countess of Exeter .... 43 — Giles, 3rd Lord Chandos ........... 33 Buckingham, George Villiers, 2nd Duke of . . . . . . . .113 — Mary Fairfax, Duchess of . . . . . . . . ..114 Bulwer, Sir Henry (Lord Dalling), picture given by . . . . . . .18 Burghley, William Cecil, Lord 37 — Anne Cooke, mother of Lady . . . . . . . . . .16 ■§3o6urn Jtfc&es Catalogue. 2 ® 1 PAGE Burke's panegyric on Admiral Keppel 165 Burney, Portrait of Garrick, purchased by Dr .163 Butler, Lady Evelyn 181 CALIARI, Paolo, Portrait of 30 Calonne Collection, Portrait of Henrietta Maria from the . . . . 84 Calvinistic tenets, introduced by John, Count of Nassau ...... 36 Canova . . . . . . . . . . . . . 174 Cardinal — Infant Fernando ... ........ 77 Carew, Margaret Smith, Lady .......... 58 — 59 Carlisle, James Hay, 2nd Earl of .......... 90 — Margaret Russell, Countess of . . . . . . . . . . 91 Caroline, Princess of Wales, afterwards Queen . . . . . . . .144 Cassiobury, Picture of Earl of Northumberland at ....... 101 Catullus, Quotation from . . . . . . . 1 58 Caus, Solomon de, Picture attributed to ......... 46 Cavalier. Full length ; unknown. By Van Dyck . . . . . . .61 Cecil, Robert, 1st Earl of Salisbury .......... 39 — Thomas, 1st Earl of Exeter .......... 43 — William, Lord Burghley ............ 37 Centum Icones of Van Dyck ........... 60 Chambars, Engraver ............. 8 Chancellor, Lord Chancellor Southampton ........ 5 — of University of Cambridge, Earl of Manchester ....... 103 — of Cambridge University, Earl of Suffolk ........ 79 Chandos, Frances Clinton, Lady .......... 34 — Giles Bruges, 3rd Lord ........... 33 Charles I., King 82—83 Charlotte, Queen. Full length. By Ramsay . . . . . . . .174 Cheek, Letitia, of Pirgo, in Essex . . . . . . . . 127 Cherry, Elizabeth, wife of William Russell, 1625 ....... 94 Child, Sir Josiah 117 Christian. Origin of the name (Christian Bruce) 106 Churchill, John, Duke of Marlborough ......... 135 Clarence, Duke of, in Agricultural Group . . . . . . . .170 Clifden, Viscount, portrait of 1st Duke of Bedford, belonging to 120 — Portrait of Sir J. Reynolds, belonging to 167 — Portrait of Lady Caroline Russell, belonging to . . . . . 155 Clifford, Anne, Countess of Dorset and Pembroke 107 — Family, Large picture of, at Skipton ... 24 "Cloth of Gold," &c 3 Colbert. By Philip de Champaigne . . . 112 Coliseum at Rome 157 Colonel John Russell . . . . . . . ..71 Comberworth, Arms on ring of Dean Wilson 15 Comptroller of the Household, Sir E. Rogers 17 Cooke, Anne, Lady ........... 16 Cople House .............. 65 — Portrait of General Ludlow from 116 D D 202 Index to Portraits. PAGE Cornbury, Earl of Danby died at .......... 78 — Robert Dudley died at ■ . . . . . . . . . > . 31 Courtenay, Edward, Earl of Devonshire ..... ... 7 Coventry, Maria Gunning, Countess of ........ 148 Cowper, Lady Georgina Carteret, Countess. . . . . . . 138 Cree, St. Catherine, Throckmorton Monument in Church of . . . .13 Cromwell, Oliver ............. 90 Cumberland, Margaret Russell, Countess of ........ 24 Cuyp, Albert. By himself . ........... 104 Danby, Henry Danvers, 1st Earl of . . . . . . . -78 Danvers, Henry, 1st Earl of Danby .......... 78 D'Arpino, Cesari. By himself .......... 65 Delrio, Jean, Dean of Antwerp Cathedral . . . . . . . 61 Descartes, Rene ............. 86 Devereux, Robert, 2nd Earl of Essex .......... 37 Devonshire, Christian Bruce, Countess of .... 106 — Edward Courtenay, Earl of ........... 7 — Rachel Russell, Duchess of . . . . . . . . . 1 26 Dilettanti Society, Portrait of John, 4th Duke, belonging to. . . . 150 Dorset, Anne Clifford, Countess of ......... 107 — Duke of, purchaser of a portrait of Garrick ........ 164 — Duke of, purchaser of a portrait of Goldsmith ....... 162 Douw, Gerard. By himself ........... 105 Drury, Diana, Viscountess Wimbledon ......... 43 Dudley, Robert, Earl of Leicester .......... 31 Dunstable Hunt, Dress of the . . . . . . . . . . 157 Dyck, Van, alleged portrait of . . . . . . . . 62 Edmunds, Sir Thomas, treasurer to Charles I. ....... 63 Edward VI 4 Egerton, Anne, Duchess of Bedford ........ 141 — 143 EiKuv Baitnt Qbhc-Q QataloQue. 2 °3 PACE Florence Gallery, Portrait of Sir A. More at 16 Forster, Sir J. , Father of Juliana, Mrs. Russell ........ 24 Frederick, Prince of Wales. By Dand ridge 145 Freeman, Elizabeth, Lady Luke ...... ... 102 " Fundamentum meum " ; motto .......... 42 Garrick. By Reynolds 163 George III. Full length. By Ramsay . . . . . . . . 173 Geraldine, The Fair . . . . . . . 19 Goldsmith, Oliver 161 Gordon, Georgiana, Duchess of Bedford . . . . . . . 177 Gorges, Sir Arthur ........... 45, 48 — Sir Edward .............. 44 Gorhambury, Picture at, of Countess of Suffolk ....... 81 Gower, Gertrude Leveson, Duchess of Bedford ...... 153 — 154 — John Leveson, afterwards Earl .......... 145 Grafton, Elizabeth Wrottesley, Duchess of . . . . . . . 161 Graves, Rev. James, Essay on the Fair Geraldine by ...... 20 Greco, il. Picture introducing Titian and others . . . . . 30 Guercino. By himself ............ 96 Gunning, Maria, Countess of Coventry ......... 148 Gunpowder Plot, suspected by Earl of Suffolk ........ 79 Hals, Frans. By himself 96 Harcourt, George, Esq., M.P., Donor of a picture ....... 47 Harington, John, 2nd Lord ...... .... 41 — Lucy, Countess of Bedford .......... 52 — 54 Harrington, Charles Stanhope, 3rd Earl of . . . . . . . 175 — Jane Fleming, Countess of . . . . . . . . . . 175 Hatfield House, Portraits of Burghley at ....... • . 37 Hay, James, 2nd Earl of Carlisle .......... 90 Hayter, Sir George. By himself . . . . , . . . 1S6 — Purchased picture of Titian .......... 29 Henri IV., of France, alleged portrait of . . . 13 Henrietta Maria, Queen 83- 84 Herbert, Margaret Smith, Lady .......... 58 — 59 — Lord, son of Earl of Worcester; married ........ 26 Heron's Feather. Historical . . . . . . . . . 188 Herwologia, Portrait of Sir N. Bacon . . . . . . . . 15 — Portrait of Sir Philip Sidney ........... 29 Hill, Penelope, wife of Edward Russell ......... 72 Hogarth, William, alleged portrait of . . . . . . . , . . 149 Holland, Mary Fitzpatrick, Lady . . . . . , , . . 173 Holmes, Anne Emily, Lady Alexander Russell . . . . . . 180 Hood. French and English head-dresses, time of Henry VIII. .... 1 Howard, Thomas, Earl of Suffolk .......... 79 Howland, Elizabeth, Duchess of Bedford ....... 132-133 Iludibras, Original of ............ 101 Hussey, Bridget, Countess of Bedford ......... 22 Hymen, Statue of, decorated with flowers , , . , 158 204 Index to Portraits. PAGE Jackson, The Rev. Canon. Essay on Wolf Hall I James I. of England, alleged portrait of ......... 47 Jeanne D'Albret, alleged portrait of ......... 13 Jennings, Sarah, Duchess of Marlborough . . . . . . . . . 135 Jersey, Anne Egerton, Countess of ........ 141 — 143 Jode, Peter de, and Wife and Child. By himself . . . . . . . 89 Jonson, Ben, Lines on the Countess of Bedford ....... 52 Josceline, Sir Percy ............. 56 Kennedy, Elizabeth Bruges, Lady 49 — 50 — Sir John .............. 47 Keppel, Admiral Viscount 164 — Lady Caroline. Married Mr. Adair . . . . . . . . .160 — Lady Elizabeth, Marchioness of Tavistock ...... 158 — 160 Key, Golden. Worn by Mistress of the Robes . . . . . . .136 Kildare, Gerald, Earl of. Father of the Fair Geraldine . . . . 19 Killigrew, Thomas. 1650 no Kimberley House, Portrait of Killigrew at . . . . . . . in Kneller. By himself 138 Knevit, Katherine, Countess of Suffolk ......... 80 Knole Park, Picture of Jane Seymour at ......... 2 Kupetzki, John. By himself . . . . . . . . . 143 Kynneir, Mr. James, Donor of portrait of 1st Duke . . . . . . .120 Lanfranco. By himself 81 Leemput, Remee van, copyist .......... I Lee Priory, Picture of Brandon and Mary at ........ 3 Leicester, Robert Dudley, Earl of . . . . . . . . . .31 — Throckmorton, died suddenly at his table . . . . . . . . 12 Leigh, Elizabeth, Countess of Southampton ........ 99 Le Mire, Aubert (Miraeus) 61 Lennox, Anne, Countess of Albemarle ......... 146 Le Roy, Philip, Lord of Ravels 88 L e, T, 1614, on a picture ............ 48 Lincoln, Edward Clinton, 1st Earl 01" Dated 1568 18 — Geraldine Fitzgerald, Countess of . . . . . . . . .19 — Theophilus, 4th Earl of 45 Lloyd, Julius, Life of Sir Philip Sidney 28 Long, Elizabeth, Lady Russell, mother of Francis, 4th Earl of Bedford . . . 41 Longford Castle, picture of Pareja 86 Louis XV. , by Van Loo 1 62 Ludlow, Edmund, General . . . . . . . . . . 116 — Peter, Earl 171 Luke, Elizabeth Freeman, Lady . . . . . . . . . .102 — Sir Samuel .............. 101 Lumley Castle, portrait of Earl of Bedford at ........ 6 — Picture of the Fair Geraldine at .......... 20 Lynedoch, Lord, in his 90th year . . . . 181 £3ofcurn Jlfrfceg §iwt gibbcg §ataloQixe. 2 °7 FAGE Russell, Lord Cosmo George 180 — Lady Diana, daughter of 1st Duke ........ 128 — 129 — Diana, Viscountess Newport ......... 75 — 76 — Diana, Lady Diana Verney . . . . . . . . • . 1 28 — 1 29 — Edward, Lord, eldest son of 2nd Earl of Bedford, dated 1573 .... 23 — Edward, son of Francis, 4th Earl ......... 72 — 73 — Lord Edward, son of 1st Duke .......... 127 — Edward, Earl of Orford 139 — Elizabeth Cherry, wife of William, 1625 ........ 94 — Elizabeth Long, Lady . . . . . . . . . . 41 — Sir Francis, 3rd son of 2nd Earl of Bedford 23 — Francis, 2nd son of Francis, 4th Earl ......... 7° — Francis, Lord, elder brother of William the Patriot 123 — Francis, Marquess of Tavistock ........ 156 — 157 — Lord George William . . . . . . . . . .178 — Colonel John . . . . . . . . . ..71 — John, Earl 178— 179 — John, Lord, no portrait of ........... 27 Monument in Westminster Abbey ......... 27 — Katherine, afterwards Duchess of Rutland . . . . . . . . 126 — Margaret, Countess of Carlisle .......... 91 — Margaret, Countess of Cumberland ......... 24 — Penelope .............. 7 2 — Lady Rachel Evelyn . . . . . ... . . . 181 — Rachel, afterwards Duchess of Devonshire . . . . . . . .126 — Rachel Wriothesley, Lady . . . . . . . . . 124 — Ladies Rachel and Katherine, daughters of 1st Duke . . . • . .126 — Lord Robert, son of 1st Duke . . . . . . . . 127 — William of Chippenham, full length, 1625 ........ 93 — William, Lord, the Patriot 123—124 — William, Lord, of Thornhaugh ......... 39—4' — Lord William, and Lord John, in Agricultural Group 170 Rutland, Francis Manners, 6th Earl of, full length ....... 54 — Katherine Russell, Duchess of . . . . . . . . 126 Ruvigny, Rachel de, Countess of Southampton. ....... 98 Ry ves, Very Rev. Bruno . . . . . . . . . . ..no St. John of Bletshoe, John, Lord 148 Salisbury, Catherine Howard, Countess of ........ 42 — Robert Cecil, 1st Earl of, full length • • 39 Sapcote, Anne, first Countess of Bedford ......... 5 Savage, Dorothy, Viscountess Andover ......... 63 Scottish Corporation, befriended by William, 1st Duke of Bedford .... 120 Seymour, Queen Jane ............ 1 Sheepshearing at Woburn Park . . . . . . . . . .169 Siddons, Miss Sarah . . . . . . . . . . . ..171 Sidney, Sir Philip, aged 32 ..... .... 27 Sinclair, Sir John, in Agricultural Group . . . . . . . 170 Skipton Castle, Picture of Clifford Family at -24 208 Index to Portraits. PAGE Smith, Margaret, Lady Carew . 58 — 59 Snellinx, John. By Van Dyck • . 59 Somerset, Countess of, various portraits of . 81 Southampton, Elizabeth Vernon, Countess of 46 — Elizabeth Leigh, Countess of . . . . . . . . . 99 — Herry Wriothesley, 3rd Earl of . . . .46 — Rachel de Ruvigny, Countess of . . . . . . . 98 — Thos. Wriothesley, 1st Earl of .......... 5 — Thomas Wriothesley, 4th Earl of, Treasure* ........ 97 Spencer, Diana, Duchess of Bedford 152 — 153 -- Lady Georgina ............. 138 — Hon. John. ............. 137 — Penelope Wriothesley, Lady ........... 100 SS, a Device on Costume . . . . . • . . . . . .56 Stamford, Monument of Lord Burghley at . . . . . . . 37 Stanhope, Anna Maria, Duchess of Bedford ....... 185 — 186 Staphorst, A., painter ............ 127 Steen, Jan. By himself . . . . . . . . . . . .114 Stradling, Sir Edward ............ 64 Strawberry Hill. Picture of Brandon and Mary ....... 3 Streatham, Portrait of Goldsmith from 161 Suffolk, Charles Brandon, Duke of ......... 2 — 4 — Katherine Knevit, Countess of .......... 80 — Thomas Howard, Earl of ........... 79 Sunderland, Charles Spencer, 3rd Earl of . . . . . . . 136 Surrey, Poems on the Fair Geraldine, by Henry, Earl of . . . . . .19 Sussex, Thomas Radcliffe, Earl of . . . . 17 Tavistock, Elizabeth Keppel, Marchioness of 158 — 160 — Francis, Marquess of ......... 156 — 157 — G. W. F. Sackville, Marquess of 189 — John, 4th Duke of Bedford, at .......... 149 Teniers, David. By himself . . . . . . . . . . .115 Thomond, Marquess of ........... 172 Thornton, Rev. John, tutor to Lord Russell . . . . . . . .126 Thrale, portrait of Goldsmith painted for . . . . . . . . 161 " Thresorier, Grand, d'Angleterre " . ......... 57 Throckmorton, Sir Nicholas . . . . . . . . . 12 Tintoretto, portrait of . . . . . . . . . . 31 Titian and two Painters ............ 29 Tower, Henry, Earl of Northumberland a prisoner in ...... 55 Treasurer, Thomas, Earl of Southampton, Lord High ...... 97 Unknown Cavalier, full length, from Orleans Gallery 61 — Lady standing by a fountain .......... 125 — male portrait, 1731. By R. Philips 168 — Man in black armour, dated 1592, age 28 ........ 35 — Venetian Youth with wreath .......... 18 — Young Nobleman, K.G. .......... 7 Upper Ossory, John, 2nd Earl of ......... 172 ^obnm glbheg giafalogue. 209 PACE Vander Duin, Isabella, Countess of Albemarle 134 Van Dyck, alleged portrait of ........... 62 Vaughan, Rachel Wriothesley, married first to Lord . . . . . .125 Verney, Diana Russell, Lady Diana ........ 128 — 129 — Sir Grevil, of Compton Verney . . . . . . . . . .128 Vernon, Elizabeth, Countess of Southampton . . . . . . 46 — Miss, in picture of St. George and the Dragon (Reynolds) ..... 169 Veronese, Paul, portrait of . . . . . . . . . . 30 Vesalius, alleged portrait of 12 Victoria, Queen . . . . . . . . .- . . . 187 Vignola, Architect, portrait of . . . 14 Villiers, Frederick William, Viscount 144 — George, 2nd Duke of Buckingham . . . . . . . . 113 Volunteer Rifle Corps, dress of 187 Vorsterman. Engraving of Mallery ......... 60 Wales, Caroline, Princess of 144 — Frederick, Prince of ........... 145 Walsingham, Sir Francis, resided at Barn Elms 47 Warwick, Ambrose Dudley, Earl of 32 — Anne Russell, Countess of 32—33 Watford, Monument to Bridget, Countess of Bedford, at 22 Waverius, John ............. 60 Wedding at Blackfriars ............ 26 Wellington, Arthur Wellesley, Duke of 178 Wenman, Elizabeth 128 West, Benjamin, possessed picture of Titian 29 — Elizabeth Bindlose, daughter of Lord de la Warr 63 Westminster Abbey, Monument to G. Villiers, Duke of Buckingham . . .114 Weston, Richard, 1st Earl of Portland 57 Weston Hall, portraits at .... 70,72,73.75.92,123,125,127,130,179 Whitbread, Samuel, in Agricultural Group 170 William the Silent of Orange 21 William III 130 Wilson, Dr. Thomas, Dean of Durham 14 Wimbledon, Diana Drury, Viscountess 43 — Edward Cecil, Viscount in 1626 43 Wimpole, Portrait of Edward VI. at 5 Windsor, Drawing of Jane Seymour at 2 — Drawing of 1st Earl of Bedford at 6 — Bruno Ryves, Dean of . . . . . • • . . . ..110 — Sir Richard Wrottesley, Dean of 160 Woburn, Sheepshearing in 1804 169 Worcester, Anne Russell, Countess of 26 " Wottonianae Reliquiae." Quoted in describing Essex 38 Wouwer, John van den ............ 60 Wreath of laurel, held by Venetian youth 18 Wriothesley, Penelope, Lady Spencer ... .... 100 — Rachel, Lady Russell 124 E E 2io Index to Portraits. PAGE Wriothesley, Thomas, 4th Earl of Southampton, Treasurer ..... 97 Wrottesley, Elizabeth, Duchess of Grafton 161 — Mary 160 — Sir Richard, Dean of Windsor . 160 Zannoni's " Galleria di Firenze " 65 Zutphen, Sir P. Sidney killed at, 1586 27 Part II. IMAGINARY SUBJECTS, LANDSCAPES, DRAWINGS, AND TAPESTRIES. ARRANGED UNDER THE NAMES OK THE ARTISTS ; INCLUDING BIOGRAPHICAL NOTICES AND A GENERAL INDEX. §ataloQixe OF THE PICTURES AT WOBURN ABBEY. \* The terms right and left signify those of the Spectator ; excepting when applied to the hands of a person represented. The difference is then observed with especial care. G. S. SIR WILLIAM ALLAN, R.A., P.R.S.A. 1782-1850. Born at Edinburgh, where, as well as afterwards in London, he was a fellow-student of Wilkie. He started for Russia in 1805, and, after a disastrous voyage, arrived at St. Petersburg, where he met with considerable success. On returning in 181 5 from a journey in Tartary and Turkey, he exhibited a picture in London of " Circassian Slaves," now in the possession of the Earl of Wemyss. He was elected A.R.A. in 1825. In 1830 he returned to the Con- tinent, and in 1834 visited Spain. In the following year he was elected Royal Academician, and in 1838 became President of the Royal Academy of Scotland, and succeeded Wilkie as Her Majesty's " Limner for Scotland." He received the honour of knighthood in 1842. He died at Edinburgh. One of his best pictures is Sir Walter Scott (the last portrait for which he sat) in his library at Abbotsford. It is now in the National Portrait Gallery. 2 1 4 Subject-pictures, Various. 332.* Death of the Regent Murray. He was shot, in riding through the High Street of the town of Linlithgow, on January 23, 1570, by James Hamilton of Both- welhaugh, and died within a few hours after. The scene is laid in the High Street. The Regent lies on the ground in the centre, supported by his attendants. An armed soldier points to the window whence the gun was fired. Women and children are crowding up some steep stone steps on the extreme right. Men with crowbars are already endeavouring to force open the door beneath the window on the extreme left. This picture was exhibited at the Royal Academy, Somerset House, in 1825, No. 8 of the catalogue. It was purchased for 800 guineas by the Duke of Bedford, and procured for the painter his election as an Associate of the Royal Academy. In a letter which the artist addressed to Philips, the portrait painter, and dated Nov. 10, 1824, he says, "I have disposed of the Regent Murray to the Duke of " Bedford." Signed below the dog in the left-hand corner. The following was the description printed by the artist in the Royal Academy Catalogue, No. 8 : — " Bothwellhaugh had owed his life to the Regent's clemency, but his estate had ' ' been bestowed upon one of the Regent's favourites, who turned out his wife " naked in a cold night into the fields, where before next morning she became " furiously mad, and from that moment he vowed to be revenged. He resolved " at last to wait at Linlithgow, through which the Regent was to pass. He took " his stand in a wooden gallery, and hung up a black cloth that he might not be ' ' observed ; the Regent proceeded along the street ; and the throng of people " obliging him to move slowly, gave the assassin time to take so true an aim, that " he shot him with a single bullet through the lower part of his belly, and killed " the horse of a gentleman who rode on his other side. His followers instantly " endeavoured to break into the house whence the blow had come, but before it ' 1 could be forced open Bothwellhaugh, who had had a fleet horse in readiness " behind, was already far beyond the reach of pursuit."— See Robertson's History of Scotland. It was exhibited in 1857 at the Manchester Art-Treasures Exhibition, No. 414 of the catalogue. Panel. 64 in. x 40 in. * See Errata on the last page. ^3ofcum Jlfcfcee Catalogue. 215 RICHARD PARKES BONINGTON. 1801-1828. Figure and landscape painter. Born near Nottingham. Went to Paris when 15, and studied in the Louvre, and under Baron Gros. In 1822 he visited Italy, and in 1826 exhibited two views on the French coast at the British Institution. Died of consumption in London. Buried at Pentonville Church. His pictures now command very high prices. 333. View on the Coast of Normandy. Low sea horizon, sandy coast. A girl seated with a child beside her, wearing a red hood. Fish strewn on the sand. Children with baskets. Bonington exhibited a picture, " A Scene on the French Coast," at the Royal Academy in 1827, No. 373 of the catalogue. Engraved on a small scale by Charles G. Lewis, and published by Hodgson, Boys, and Graves, 6 Pall Mall, 1835. Canvas. 38 in. x 25 in. JAN BOTH. 1610-1650. The eminent landscape painter ; born at Utrecht. He studied under Bloemart, but was influenced by the works of Claude. He was constantly associated in the production of his pictures with Andrew, his brother. 334. Landscape with Figures. Painted in the School of Both. 28 A in. x 22 in. Subject-pictures, Various. SIR AUGUSTUS WALL CALLCOTT, R.A. 1 779-1 844. Born at Kensington. Distinguished for the refinement and calmness of his landscape compositions. He was in his boyhood one of the choristers at Westminster Abbey, and encouraged in the pursuit of painting by Hoppner, who had himself first been a singer at the Chapel Royal. His best figure composition was "Raphael and the Fornarina," exhibited in 1837. In the same year he was knighted and appointed keeper of the Royal pictures. He died at Kensington. His brother was the distinguished musical composer. 335. View on the Scheldt, near Antwerp. "A large sea-piece, on the coast, numerous well-designed figures." — Dr. Waagen (vol. iii. page 466). "An admirable picture of his best time." — Ibid. (vol. iv. page 331). A broad expanse of calm water, with well-grouped sailing boats, and a distant view of a church, with a flat-headed tower, in the centre. Rays of sunlight descend from the left. A tall boat laden with passengers forms the principal feature of the picture to the right of the centre. The figures are painted with remarkable care, and exhibit admirable studies of national character. Conspicuous, in front, is a passage-boat rowed by a man in red, conveying three women, namely, an old woman and a girl, seen in profile, with provisions, and a woman in a green-lined hat with a baby. A dog is at the stern. The man is putting off his boat by a post rising from the water. The artist's name is inscribed, without a date, at this end of the boat, " A. W. CALLCOTT." Exhibited in 1857 at the Manchester Art Treasures Exhibition, No. 207 of the catalogue. Engraved on a small scale by Charles G. Lewis as " The Harbour, Ostend ;" published, 1835, by Hodgson, Boys, and Graves, 6 Pall Mall. Canvas. 78 in. x 54 i n - ANTONIO CANAL, called CANALETTO. 1 697- 1 768. Born at Venice. Originally, like his father Bernardo Canal, a scene- painter. Studied at Rome. Best known by his masterly and vivid delinea- tions of his native city. He made use of the camera obscura. In depicting the buildings and canal effects of Venice, he had been preceded by Luca "gSofutnt Rbbev (Sctfaloguo. 217 Carlevaris, born at Udine in 1665; but the works of the last named are more elaborate and laboriously finished, with an ashen grey atmosphere. The figures in Canaletto's pictures were sometimes painted by Tiepolo. Many of his Italian views are in the Royal Gallery at Windsor, having been procured direct from the artist's easel by the English Consul at Venice, Mr. Smith, a known connoisseur and collector of works of art. Canaletto came to England in 1746. His London views are highly prized. He painted a view of the interior of King's College Chapel, Cambridge. In the deanery at West- minster is a fine view by him of the west end of Westminster Abbey. He also painted Northumberland House and Windsor Castle. Canaletto died at Venice. Many of the following views of Venice have been spiritedly engraved by Antonio Visentini, in an oblong folio volume, consisting of 38 plates, divided into three parts. They were published at Venice in 1754. Visentini was born at Venice, 1688, and began by devoting himself to the study of architecture. He afterwards painted architectural subjects and views of Venice under Canaletto's own guidance, and finally produced these effective engravings, which exceed all other as transcripts of his master's peculiar style. He died at Venice, 1782, in his 94th year. VIEWS OF VENICE. The twenty-four views of Venice hereinafter described were painted for John, fourth Duke of Bedford, by Antonio Canaletto. When Bedford House, Bloomsbury Square, was pulled down in the year 1800, these pictures were removed to Woburn Abbey. With the exception of two, Nos. 345 and 357, they are of uniform dimensions. In all these views the skies are of an equal, soft, clear blue, occasionally with light fleecy clouds; but every scene is painted under the influence of a bright sunlight, producing deep shadows either to the right or to the left. Out of the twenty-four, only seven pictures have no water in the foreground. None exhibit either a sunset, moon- light, or evening effect. The water invariably partakes of a greenish blue tint. The figures, perhaps by Tiepolo, are very well painted, and with less of the round blotches of colour upon them than may be observed in many other of Canaletto's accredited works. The linear perspective is invariably accurate, although the obviously ruled lines in some parts of the buildings reminrl the spectator of the architectural delineations of David Roberts. F F 2l8 Venice. 336 Entrance to the Arsenal. The Arsenal of Venice was once the finest and largest in Europe ; it is celebrated by the verse of Dante as much as by the exploits of the fleets which were there constructed. The towers at the water entrance were erected in 1574. The building on the right is the oratory of the Madonna dell' Arsenale. The entrance gate on the left, of Corinthian architecture, was built in 1460 ; above the entablature is the winged lion of St. Mark in a compartment, surmounted by the statue o f St. Giustina. In front are eight marble statues on pedestals, representing Mars, Neptune, and other mythological deities ; also the colossal lions brought by the Doge Francesco Morosini from the Piraeus. In the arsenal is one of the earliest works of Canova — the monument of the last Venetian Admiral, Angelo Emo, who died in 1792. In this view two tall red towers are conspicuous ; a large black boat occupies the right- hand corner. The walls are red, and the architectural facade of the gate is of stone. Light is admitted from the left-hand side. The statue of St. Giustina by Girolamo Campagna, was erected to commemorate the battle of Lepanto fought in 1 57 1. The antique seated lion beside the gate was brought from the Piraeus in 1687 ; it gave the name of Porto Leone to the Athenian harbour. Lord Stanhope, in a learned essay explaining some runic inscriptions which were found upon the shoulders of this animal, showed that they commemorated a victory of Harold of Nor- way, surnamed the tall, over the Athenians in 1040. Harold himself was slain at Stamford Bridge, near York, in 1066. Morosini was Doge of Venice from 1688 to 1694. 337. View on the Grand Canal. From the Palazzo Cornaro del Canale Grande to the Palazzo Contarini. On the right is the palace of the Cornaro family, at the corner of the Rio di San Maurizio. This edifice was erected by Giorgio Cornaro, from the designs of Sansovino, and for situation, magnificence, and symmetry, is one of the finest in the city. The Campanile, on the opposite side of the canal, is that of the church of Santa Maria della Carita. The convent formerly attached to this church is now the Academy of Fine Arts. The most distant building on the left, in the centre, is the Palazzo Contarini, which appears in the foreground of another picture The Palazzo Cornaro is a grand square building of brown stone. The water is calm and transparent, with very few boats upon it. Light is admitted from the left-hand side. Canvas. 31 in. x i8j in. (No. 354). Canvas. 31 in. x 18^ in. ^Sobttrn gibbeg gafctlogitc. 338. The Palazzo Ducale, and Entrance of the plazzetta di san marco. To the left is the Zecca, or Mint, and adjoining it is the library of St. Mark, behind which rises the lofty campanile. The two magnificent granite columns at the entrance of the Piazzetta, each of a single block, were among the trophies brought to Venice by Domenico Michieli on his victorious return from Palestine in 1 125. On the summit of one is a statue of St. Theodore, the early patron of the city ; on the other is the winged lion of St. Mark. The Ducal Palace was originally built in the ninth century, but no part of the present architecture can claim an earlier date than the middle of the fourteenth century, when it was erected by the Doge Marino Faliero. The prison adjoining was built in 1589. The view is taken from the sea, and explains points of view in Nos. 347, 358 and 359. The Campanile appears over the Zecca and Library. The Orologio is just seen. The figures in the boats in the foreground are comparatively large and filled with working men. They are capitally painted and on a larger scale than in the other pictures. Light is admitted from the right-hand side. Canvas. 31^ in. x 18^ in. 339. Bridge of the Rialto. This bridge, until recently the only one which crossed the Grand Canal, was commenced in 1 588, from the designs of Da Tonte, and completed in three years. Pasquale Cicogna was then Doge of Venice, and his arms appear in the centre of the arch. The bridge is approached by steps, and upon it are two rows of shops, with a street between them ; there are also two other paths across it, one on each side between the shops and the parapet of the bridge. A variety of sculptures adorn the structure. Beyond the bridge, the building on the right is the Fondaco dei Tedeschi, that on the left the Palazzo Camerlinghi. The bridge is immersed in deep brown shadow. The light is admitted from the right- hand side. On one occasion, according to Lanzi, Canaletto painted for Count Algarotii, a view of the Grand Canal in which he substituted a design by Palladio for the Rialto instead of the one actually seen. It is said that he sometimes took capricious liberties with the disposition of the buildings. Canvas. 31^ in. x i8£ in. 340. View on the Grand Canal. From the Palazzo Bembo to that of Grimani Calerghi, now Ven- dramini. On the right is the Palazzo Bembo and the Riva di Basio. Behind the boat, moored on the left, is the entrance of the Canal Reggio, near the church of San 220 Geremia. In the distance, on the same side of the canal, in the centre of the picture, is the Palazzo Vend ram ini-Calerghi, which appears in the foreground of another picture (No. 355). Very deep blue sky. The water is calm. Men are rowing two females in a boat in the central foreground. Light is admitted from the right-hand side. This view is extremely well engraved by Visentini. (Tavola iv. of the second series.) Canvas. 3 1 \ in. x 1 %\ in. 341. View on the Grand Canal. From the Palazzo Balbi to the Bridge of the Rialto. The high building on the extreme left is the Palazzo Balbi, adjoining which, though scarcely seen, is the Palazzo Angarani ; the next is the palace of the Grimani family. Beyond are the palaces of the Tiepolo, Pisani, Barbarigo, Cappello, Grimani, and Bernardo families. The second house on the right is the Palazzo Contarini ; near it are the three adjoining palaces of the Mocenigo family. The house beyond with light on the side is the Palazzo Cornaro-Spinelli, which appears in the foreground of another picture (No. 351). More distant is the lofty Palazzo Grimani, now the post office. This view is the same as the larger picture, in which the Regatta is shown (No. 357). A pleasing, calm, and soft picture, with a slight ripple on the water. No passengers appear in the boats. A very finely painted blue sky, brightened with soft and free clouds. Light admitted from the right-hand side. Canvas. 31-5 in. x 18^ in. 342. The Scuolo di San Rocco. This magnificent edifice is the hall of one of the six scuole grandi, or great fraternities which were suppressed at the extinction of the Venetian government. It was erected at the commencement of the sixteenth century, and is remarkable for the beauty of the building, the interior decorations, and the pictures by Tinto- retto that it contains. The white campanile in the distance is that of the church of San Pantaleone. The six great fraternities of Venice are seen in the procession of Corpus Christi Day. The scene represents an open piazza in which people are walking. The spectator looks directly towards the building with large windows. The foreground of the picture consists of a pavement. Light is admitted from the right hand side. Engraved by Visentini. (Tavola v. of the third series. ) Canvas in. x i8£ in. 221 343. Campo di San Stefano. Looking to the South. This view is looking towards the Grand Canal, which is seen in the distance. On the right is the church of San Vitale. Among the various palaces are those of Pisani, Morosini, and Loredani. The church of San Stefano, situated at the other end of the square, but not seen, is a very large bui'ding, in the pointed style of architecture. It contains the monument of the warrior Doge, Francesco Morosini. A very beautiful and mellow-toned picture. A fountain or well appears on the left in the foreground. Light admitted from the right-hand side. This view, taken from a similar picture by Canaletto, has been admirably engraved by Visentini. (Tavola vii. of the third series. ) Canvas. 31^ in. x i8£ in. 344. View on the Canal Reggio. This canal branches from the Grand Canal near its western extremity, by the church of San Geremia, and is the way leading to Mestre on the mainland. The bridge (one of the largest in. Venice) was built from the design of Andrea Tirali ; it is approached on each side by steps. Behind the houses, on the left, is the church of San Giobbe, and near it is the oratory of the small hospital dedicated to the same saint. The principal feature of this picture is a large bridge of remarkable outline, exhibiting three arches, in bright sunlight. Figures are ascending the steep steps at the sides, in sun- shine. On the right is a lofty stone palace with a curved front, and a profusion of linen hanging on lines before it. An excellent and very powerfully painted picture. Light is ad- mitted from the left-hand side. Canvas. 31^ in. x l8£ in. 345. Embarkation of the Doge of Venice, for the Ceremony of the Marriage of the Adriatic. This ceremony, which was performed annually on Ascension Day for several suc- cessive centuries, was discontinued in 1797, when the ancient republic, which "had held the gorgeous East in fee," ceased to exist. The Bucentoto, the magnificent vessel used on this occasion, is such an assemblage of carving and gilding, that it looks like a mass of gold upon the water. On the stern is the throne of the Doge, and behind his seat is an opening, down which he throws the symbolic ring. All the dignitaries and nobles of Venice attended at this festival, when the Doge, accompanied by the senators, proceeded from the Piazzetta to the open sea, beyond the Lido, where the ceremon.v took place. 222 Venice. The Doge is proceeding towards the state vessel. In this large composition the church of Santa Maria della Salute is seen on the extreme left ; whilst the two columns of the Piazzetta, and the Bucentoro with a red flag, occupy the centre. The Campanile rises on the extreme right. The quays are crowded. The gilded canopy or umbrella of the Doge appears amongst the dense masses of people in front of the Palazzo Ducale, accompanied by eight blue furled flags. The light is admitted from the left-hand size. Canvas. 74 in. x 45 \ in. 346. The Church of Santa Maria Formosa. This church, of ancient foundation, was rebuilt towards the end of the seven- teenth century, from a design by Paolo Barbetta. The campanile was erected in 1682 from the design of the priest Francesco Zucconi. The two small bridges on the left cross the little canal, the Rio di Santa Maria Formosa. At a short distance from the church beyond the two bridges (and seen directly in front) is the beautiful palace of the Grimani family ; and among the various surrounding buildings is one by Santo Lombardo. A picture of extremely fine quality. The scene is laid in the Piazza, having a well or fountain in the centre. The church is an elegant building of white stone, with a cupola rising from red-coloured walls. The Campanile, to the right, is peculiar and graceful, panelled with white and adorned with a clock. The light is admitted from the left-hand side. The foreground is composed of flat paved stones. Compare the spirited engraving by Visentini (Tavola viii. of the third series), from the same point of view. Canvas. 31 in. x \Z\ in. 347. Piazza di San Marco. Looking towards the Church of San Geminiano. On the left part of the Loggetta, at the basement of the campanile beyond, are the Procuratie Nuove, forming one side of the square of San Marco, and on the opposite side are the Procuratie Vecchie. Under the arcades are numerous shops and coffee-houses. The church of San Geminiano has been destroyed, and a ball- room built on the site. In front of the church of San Marco are three lofty standards, on beautifully wrought bronze pedestals, upon which were displayed, in the days of Venetian glory, the flags of Cyprus, Candia, and the Morea, the de- pendencies of the republic. Two of them only are seen in this view. A clear and effective picture of the finest quality. The view is taken looking towards the stone facade of San Geminiano, which forms the central part of that side of the Piazza. The Campanile is on the extreme left, and two out of the three flagstaffs appear on the right. The horizon is placed low in the picture. The light is admitted from the left-hand side. The figures are introduced with great skill. Merchandise is exposed for sale in the open piazza beneath coloured tents and awnings. Compare the engraving by Visentini (Tavola xi. of the third series). Canvas. 31^ in. x 18^ in. 223 348. The Church of the Redentore. On the Giudecca. This church, from a design by Palladio, was erected by order of the Senate, after the dreadful pestilence of 1576. The facade, of Istrian marble, is of the Composite order ; it is approached by a noble flight of steps, and in niches on each side of the entrance are statues of St. Mark and St. Francis d'Assisi. To the right is the church of San Giacomo. The island of Giudecca is of a larger extent than the other islands by which Venice is surrounded. The church of the Redentore, with a low grey dome and a handsome facade, is directly facing the spectator. The line of the edge of the canal is parallel with the bottom line of the picture. San Giacomo, on the right, is a lofty church with a brown campanile and semicircular windows. A large black vessel is partially seen on the extreme left. A boat with a low yellow awning appears in front, in the centre of the foreground. Light is admitted from the right-hand side. Canvas. 31 in. x l8£ in. 349. Entrance of the Grand Canal, and Church of Santa Maria della Salute. On the left is the Dogana, built in 1682 from the design of Giuseppe Benoni ; on the summit of the tower is a globe, supported by kneeling figures, upon which is placed a statue of Fortune. The magnificent church of Santa Maria della Salute, the work of Baldassare Longhena, was erected on the cessation of the plague in 1630 ; the interior is rich in painting and sculpture, and the sacristy con- tains some of the most sublime works of Titian. In the distance are the church and campanile of Santa Maria della Carita. This view is taken looking up the canal to the right. The Dogana, with the revolving bronze figure of Fortune on a globe, projects on the extreme left. Two of the boats have white sails. The light is admitted from the left-hand side. Canvas. 31 in. x i8| in. 350. View on the Grand Canal. Opposite Santa Chiara to the Church of La Croce. This view is the approach to Venice from the west ; the high building on the right, which is only partly seen, is on the island of Santa Chiara, at the western extremity of the Grand Canal. The wall on the left encloses the grounds of the convent of Corpus Domini, beyond which is the church of La Croce, on the oppo- site side of the canal. 224 Venice. A comparatively gloomy subject, with the horizon placed low in the picture. A long dark-brown wall, in shadow, is on the left, and the upper part of La Croce in bright sunlight appears above it. Men with nets are at the base of a tower on the extreme right, and fishermen constitute a principal feature in the central foreground. The light is admitted from the left-hand side. Canvas. 31 in. x i8| in. 351. View on the Grand Canal. From the Palazzo Cornaro-Spinelli to the Bridge of the Rialto. On the right is the Palazzo Cornaro-Spinelli, designed by Vincenzo Scamozzi ; near it is the Palazzo Benzoni, and the high building beyond is the Palazzo Grimani, erected from the designs of Michele San Micheli : it is now the Post Office ; and adjoining it is the hotel of Leone Bianco. The first house on the left is a palace of the Grimani family ; the third is the Palazzo Bernardo. The high building beyond, surmounted by white pinnacles, is a palace of the Tiepolo family. A richly-coloured picture, with a tranquil effect. The horizon is placed low in the picture, and the light admitted from the right-hand side. Canvas. 31 in. x \Z\ in. 352. View on the Grand Canal. From the Palazzo Pesaro to the Palazzo Civrani. On the right is the Palazzo Pesaro, a noble structure of two orders of archi- tecture, on a superb rustic basement, from the designs of Baldassare Longhena ; the lofty building beyond is the Palazzo Cornaro della Regina, by Domenico Rossi, erected in 1724. The most distant building on this side of the canal is the end of the Fabbriche Nuove di Rialto, to the right of which is the Fish Market. Among the distant houses on the left is the Palazzo Civrani, beyond which may be seen part of the Fondaco dei Tedeschi. This picture is dark, and more richly coloured than many of the others, and the sky is diversified with bolder-shaped clouds. The water is of a deep tone. The Palazzo Pesaro with its arcades, pillars, balustrades, and boldly rusticated basement, produces an effect of severe grandeur in a classic mould similar to that of our Somerset House, among other public buildings in London. The light is admitted from the left-hand side. Canvas. 31 in. x 18^ in. 353. View on the Grand Canal. From the Church of La Croce to that of Santa Maria in Nazarette. On the right is the church of La Croce ; the cupola beyond is that of the church of San Simeone Piccolo. The wall on the left is part of the convent of I Corpus Domini ; beyond it is the Palazzo Leoni Cavazza, also the church of Santa Lucia 225 (the building with the two turrets), and the church of Santa Maria in Nazarette, commonly called I Scalzi, or the Church of the Barefooted Carmelites. The facade (one of the finest in the city) is from the design of Giuseppe Sardi. The distant campanile is that of San Geremia on the Canal Reggio. On the left is a bare wall ; the stone facade of the Scalzi is profusely decorated with columns and statues, and surmounted by a magnificent pediment. The end of La Croce (see also No. 350) presents a plain flat surface of red brick, with a circular window, and a large white cross over the doorway. In the foreground, in the centre, is a passage-boat conveying the figure of a portly church dignitary standing amidst bundles of goods. This is a very richly-coloured picture. The light is admitted from the right-hand side. A similar view to this has been engraved by Visentini. (Tavola ii. of the second scries. ) Canvas. 31 in. x i8i in. 354. View on the Grand Canal. From the Palazzo Contarini to the Palazzo Rezzonico. The highest building on the left is the Palazzo Contarini, erected from the design of Vincenzo Scamozzi ; it is situated near the Academy of Fine Arts, formerly the Convent della Carita. The most distant building is the Palazzo Rezzonico, which appears in the foreground of another picture. The two little bridges on the right cross the Rio di San Vitale, which here branches from the Grand Canal ; the tall house beyond, near the centre of the picture, surmounted by white pinnacles, is the Palazzo Giustiniani-Lolin, designed by Baldassare Longhena. The Palazzo Contarini, on the left, is a lofty square building with a square tower risin from the roof (see also No. 337). The light is admitted from the right-hand side. Canvas. 31 in. x i8£ in. 355. View on the Grand Canal. From the Palazzo Vendramini Calerghi to the Traghetto a San Felice. On the left is the Palazzo Vendramini Calerghi, with its garden adjoining ; the facade of this building, of Corinthian architecture, from the designs of Santo Lom- bardo, is one of the most beautiful in Venice. The next is the Palazzo Marccllo, and adjoining is the palace of the Erizzo family ; the red building next to it is the Palazzo Piovene ; the next, Emo. The very small tower in the distance is that of the church of Santa Sofia. The white house on the right, surmounted by a pinnacle, is the Palazzo Capovilla. The Palazzo Vendramini (see also No. 340) is of a rich dark brown stone, and has a low- plain wall on each side of it unlike any of the other palaces in Venice. The lights and shadows in this picture are very vivid. The water is green, and rippled on the surface. A long white boat appears on the extreme left. The light is admitted from the right-hand side. Canvas. 31 in. x l8£ in. G G 226 enice. 356 View on the Grand Canal. From the Palazzo Rezzonico to the Palazzo Balbi. The building on the left is the Palazzo Rezzonico, designed by Baldassare Lon- ghena, to which a third story has since been added by Giorgio Masari. Beyond are three palaces of the Giustiniani family, and the Palazzo Foscari. The campanile is that of the church of Santa Maria Gloriosa dei Frari ; and to the right of it is the Palazzo Balbi, which occupies the foreground of two other pictures. The large building on the right is the Palazzo Moro-Lini, erected from the designs of Sebas- tiano Mazzoni at the beginning of the seventeenth century ; beyond it, on the further side of the canal, is a palace of the Grimani family. The Palazzo Balbi, a dark square building with a red roof and pinnacles, occupies the centre of the picture. The Moro-Lini is a very long white building, having the appearance of a modern warehouse. The gondoliers wear white jackets and red caps ; all the figures are remarkably animated. A white awning, striped with red, covers a boat in front on the extreme left. An excellent picture ; with cool, transparent, and well massed shadows. The colours are rich and skilfully combined. The light is admitted from the left-hand side. 357. View on the Grand Canal. From the Palazzo Balbi to the Bridge of the Rialto, during a Regatta. This view is similar to the smaller picture (No. 341) already described, but it includes the whole of the Balbi Palace, which is only partly seen in the other. It was erected at the end of the sixteenth century, from the designs of Alessandro Vittoria, and it is said that during the building of it Niccolo Balbi lived in a boat, where he died. When a regatta takes place rich tapestries are hung from the windows, which are filled with spectators, and the canal is lined with gondolas and magnificent barques of fantastic forms, containing bands of musicians. A very animated scene, on a large scale, and brilliantly coloured. The Rialto is only partially seen in the far distance to the left. A highly-ornamented facade, with blue columns, occupies the left extremity of the picture. The Palazzo Balbi, next to it, is decorated with large red draperies hung out from the two floors above the central doorway. The boats are decorated with fanciful plumes. Many of the priests wear white masks. The foreground consists of a stone pavement. The light is admitted from the right-hand side. Engraved by Visentini. (Tavola xiii. of the first series.) A similar picture is in the collection bequeathed to the National Gallery by Mr. Wynn Ellis. Canvas. 3 1 in. x I 8tt in. Canvas. 74 in. x 45^ in. ^3o£>urn Jlbbep Qataloquc. 227 358. PlAZZETTA DI SAN MARCO. The Piazzetta is the state entrance to Venice from the sea ; on the right is the Palazzo Ducale, and on the left is the public library, the most elegant design of the architect, Sansovino. The campanile was erected in 1 1 54 on older foundations ; this stupendous tower, 330 feet high and 40 feet wide, is ascended by a series of inclined planes. From the gallery near the summit is a most extensive and magni- ficent prospect. This was the observatory of Galileo. At the base of the campanile, fronting the church of San Marco, is the Loggetta, a small but beautiful building by Sansovino. The Orologio, or Clock Tower, was built in 1496, over an archway, which forms one of the principal entrances into the Piazza di San Marco. The tower is surmounted by a bell and two colossal figures, which strike the hour. This view is taken from between the columns of St. Mark and St. Theodore (see No. 338), the spectator having his back to the sea, and facing the Orologio. The Campanile rises on the left, and the three flag-staffs are in the centre. Only the side of San Marco is seen. In this instance the full height of the Campanile is shown, for which purpose the horizon has been placed remarkably low down in the picture. The foreground consists of a stone pavement. Light is admitted from the right-hand side. Canvas. 3 1 in. x 1 8^ in. 359. Piazza, Campanile, and Church of San Marco. The Procuratie Vecchie, the buildings on the left, presenting an uninterrupted series of arches, form the north side of the Piazza di San Marco ; beyond is the Orologio, or Clock Tower. On the right is the facade of the Procuratie Nuove, designed by Sansovino, occupied in the time of the Republic by the Procuratori di San Marco— officers next in rank to the Doge. The church of San Marco, with its cupolas, slender pinnacles, and semicircular arches, has an appearance quite oriental. This remarkable structure, from the extreme richness of the materials used in its construction, has been styled " la chiesa dorata." Over the principal entrance are placed the four celebrated horses of Lysippus. In this picture the spectator looks from the site of the church of San Geminiano {ante, No. 347) directly towards the church of San Marco. The Orologio appears to the left. The ducal palace is seen beyond the Campanile, to the right of the centre. Here, again, the full height of the Campanile, which now appears as a detached building, is shown. The horizon is placed low down in the picture. The four bronze horses were brought from the Hippodrome at Constantinople in 1205. They are supposed to have stood on the arch of Nero at Rome. In 1797 they were removed to Paris, and were placed on the arch of the Carrousel. At the Peace in 181 5 these bronzes were restored to Venice. The foreground is composed of a stone pavement. Light is admitted from the right- hand side. A similar point of view has been engraved by Visentini. (Tavola xii. , third series.) Canvas. 3 1 in. x 18^ in. 228 Subject Pictures, Various. ANNIBALE CARACCI. i 560-1609 Son of a tailor. Born at Bologna j studied art with his elder brother, Agostino. His cousin Lodovico (perhaps the grandest and most powerful painter in this celebrated family) strengthened the taste and directed the pursuits of Annibale, who, on his arrival in Rome in 1600, was employed by Cardinal Odoardo Farnese to decorate the gallery of his celebrated palace. Annibale also devoted considerable attention to landscape. The backgrounds of his mythological pictures are frequently very fine. His picture of the three Maries, now at Castle Howard, is perhaps his most celebrated picture in England. 360. Christ appearing to Mary Magdalene in the Garden. St. John, chap. xx. ver. 14. The kneeling Magdalene, her face seen nearly in profile towards the left, in yellow dress, with red drapery over her left shoulder, gazes upwards at the Saviour, extending at the same time her left hand towards him. Our Lord, enveloped in blue drapery, holds a long staff with both hands. The background consists of a tree and distant mountains. Figures about three-fourths of life-size. This picture appears in Lord Tavistock's Catalogue, 1767. Dr. Waagen (vol. iv. page 333), pronounces this "A remarkable picture. The " expression of the Magdalene particularly true and noble ; the landscape back- " ground fine, and the keeping excellent." Canvas. 65 in. x 47^ in. GIOVANNI BENEDETTO CASTIGLIONE, called IL GRECHETTO. 1616-1670. Born at Genoa. Studied under Paggi and Andrea de Ferrari. He is said to have been influenced considerably by the works which Van Dyck left in his native place. He visited Rome, Florence, Parma and Venice. He painted history, portraits, landscapes, and animals. Pastoral landscapes seem to have been his special forte. His etchings are remarkable for their effective arrangement of light and shade. His brother Salvatore, and Francesco his son, painted similar subjects. He died at Mantua. 'gBobum glbbeg Qataioque. 229 361. Departure of the Israelites out of Egypt. Exodus chap. xii. ver. 38. " And a mixed multitude went up also with them ; and flocks and herds, even "very much cattle." Dr. Waagen (vol. iv. page 333) designates this as " A rich composition, but " much darkened." Canvas. 92 in. x 55! in. PHILIPPE DE CHAMPAIGN E. 1 602- 1 674. Flemish School. Born at Brussels. Pupil of Bouillon and afterwards studied under L'Allemand at Paris. Nicolas Poussin having seen his works, took great interest in Champaigne, and procured him opportunities of painting under Du Chesne in the Luxembourg. He returned to Brussels in 1627, but was summoned back to Paris by the Queen's command, and from that period executed a vast number of religious and historical pictures and portraits in churches, palaces, and public buildings. Cardinal Richelieu employed him. His pictures are all of a severe and somewhat academic character. He was appointed Professor and Rector of the Academy of Painting at its foundation in 1648. He died at Paris. 362. Saint Clara. Half-length figure, the size of life, with her face seen nearly in profile, looking towards the pix containing the Host, placed on a black covered table, to the left. She wears a black hood and white wimple. Her hands, admirably painted, are crossed on her breast. An expression of fervid piety pervades the features. Clara of Assisi was the founder of the Franciscan Order of Nuns, known as " Poor " Clares." She was contemporary with St. Francis and the Emperor Frederic. The church of Santa Chiara at Assisi is the chief church of her Order. She was canonised in 1256. See Mrs. Jameson's " Legends of the Monastic Orders," page 283. Her proper attribute is the Fix in allusion to the miraculous dispersion of the Saracens. Dimensions. 28^ in. x 30 in. Subject Pictures, Various. ARTHUR BEVAN COLLIER. (Living Artist.) 363. Landscape. Brentor, Dartmoor. Near Tavistock. Dated 187 1. Painted in oil, on canvas. WILLIAM COLLINS, R.A. 1 788-1 847. Born in London. His father was an Irish picture-dealer, and author of a " Life of Morland," Young Collins first exhibited at the Royal Academy in 1809. He was elected Associate in 1815, and full Member in 1820. His subjects were always homely and natural, and he has been designated as a truly English painter. In 1837 he visited Rome. From the period of his Italian tour he frequently produced subjects of his foreign experience, but to the last he professed to retain a preference for the scenery of his native country. 364. View near Hastings. Buying Fish on the Beach. Hazy Morning. A woman in a red cloak holding open a basket to receive a large fish which a man is about to put into it. A boy and girl complete the group. Cloudy sky, with pleasing effect of a gleam of sunlight, and dark shadows cast on the sand from the figures. Dr. Waagen (vol. iii. page 466) observes that the artist in this picture "success- " fully approaches the style of Callcott," and further pronounces it (vol. iv. page 331) " Of good keeping, animated figures, and careful treatment." This picture was exhibited at the Royal Academy in 1825, No. 48 of the cata- logue. The sum paid for it to the artist was 250 guineas. It was also exhibited at Manchester in 1857 at the Art Treasures Exhibition, No. 279 of the catalogue. Canvas. 43^ in. x 34 in. 231 ABRAHAM COOPER, R.A. 1787-1868. A distinguished animal and battle painter. Son of a tobacconist ; born in Red Lion Street, Holborn. He was in some capacity connected in his earlier days with the performances at Astley's Amphitheatre, and employed his leisure hours in sketching dogs and horses. Mr. Henry Meux became his first patron, and Cooper soon obtained employment from the Dukes of Grafton, Bedford, and Marlborough. His pictures were engraved in the Sporting Magazine. The "Battle of Waterloo," painted in 1816, obtained a premium of 150 guineas from the British Institution. He became a Royal Academician in 1820. His principal picture is the " Battle of Marston Moor." It was exhibited in 181 7. 365. The Battle of Zutphen, 1586. In this battle Sir William Russell, afterwards first Baron Russell of Thornhaugh (see ante, No. 53), bore a prominent part. He is here represented on a brown horse, having just struck down a standard-bearer, and engaged in defending himself against three assailants. A small oblong picture. The centre part of the group consists of dark colours. The assailants on each side are mounted on white horses. The action is very vigorous. " Sir William Russell with his cornet, charged so terribly, that after he had "broke his lance he with his curtleax so plaid his part that the enemy reported him " to be a devill and not a man, for where he saw 6 or 7 of the enemies together, "thither would hec, and so behaved himself with his curtelax, that he would separate " their friendship. Amongst the rest Sir Phil. Sidney so behaved himself, that it "was wonder to see, for hee charged the enemy thrise in one skirmish, and in the ' ' last charge he was shot through the thigh, to the great griefe of his Excellencie, " and the whole Campe Sir William Russell, coming to him, kissed his " hand, and sayd with teares : ' O noble Sir Philip, there was never man attained " ' hurt more honorably then yee have done, nor any served like unto you.'"— Stow's Chronicle of England, continued by Howes. Folio. Lond. 1 631, page 737. Engraved in line on a small scale by Chas. G. Lewis, w r ith the title " Sir William "Russell at the Battle of Zutphen," published 1835, by Hodgson, Boys and Graves, 6 Pall Mall ; also by H. Quilley, in mezzotint, 1835. Panel. 35 in. x 27 in. 232 Subject Pictures, Various. 366. Death of Sir Francis Russell in a Border Fray. July 27™, 1585. Third son of Francis, second Earl of Bedford (see ante, No. 31), and father of the third Earl. The fray originated in a Border meeting between Sir Francis Russell, Warden of the East Marches and Chamberlain of Berwick, Sir John Forster, Warden of the English Middle March, father-in-law to Russell, and Thomas Kerr, of Fairnihurst, the Scottish Warden. Ten years previously, June 7th, 1575, Sir Francis Russell had been severely wounded in the celebrated Raid of the Reidswire. — See Minstrelsy of the Scottish Border, Scott's Poems, 1830, vol. i. pages 161 and 177 ; Robertson's History of Scotland, vol. iii. page 26 ; Camden's History, folio, page 505, and Wiffen's Memoirs of the House of Russell, vol. i. pages 486 and 514. Sir Francis, the only fighting figure not in armour, appears mounted on a white horse, turned to the right. He has been wounded by two arrows, and is falling into the arms of a soldier who rushes up to receive him. A mounted warrior on the other side is drawing out the arrows. Banners with the royal arms and those of Russell are raised to the left. Those of Scotland are in the centre. On one of the papers lying on the ground is the signature of Elizabeth. Panel. 35^ in. x 27 \ in. ALBERT CUYP. 1620-1691. Born at Dort ; he excelled equally in portrait and landscape painting, but his works in the latter class are by far the most numerous. He followed the trade of a brewer. His father, Jacob Gerritz Cuyp, had also exercised the pencil, and was one of the founders of the Academy at Dort. 367. View of Nimeguen on the Rhine. A fortified town with towers, and castle walls, with pointed roofs under shelter to the right, rise to the right beyond the river, beneath a sunny sky, the principal light of which is towards the spectator's extreme left, where it is rendered still more brilliant by being contrasted with a very dark fishing-boat riding at anchor. A windmill on the sloping banks is seen in the middle distance. In the foreground, on this side of the river, on a level bank, are two cavaliers on white and brown horses. A shepherd boy and girl are watering cattle on the extreme right. See Smith's "Catalogue Raisonne of the Works of Cuyp," page 336, No. 181. Dr. Waagen (vol. iv. page 332) pronounces it " a large picture of his best time. "The mild prevailing light is of great transparency, and the reflection in the water " of marvellous truth." 233 This picture was exhibited in the Fine Art Treasures Exhibition, at Manchester, in 1857, No. 710 of the catalogue. According to Robinson's " Vitruvius Britannicus," fol., 1833, this picture was in the collection of the Right Hon. Richard Rigby. Signed in pale yellow letters under the grey horse — A. Cuyp. No date. Canvas. 66 in. x 42^ in. JOHN DEARMAN. Died about 1856. A pleasing painter of cattle and sheep. His landscapes partake of the combined merit of Nasmyth and Sidney Cooper. He lived at Shere near Guildford, and exhibited for a few years at the Royal Academy between 1842 and 1856, about which time he died. 368. Cattle. A small long square picture. An expanse of water and low shores towards the left, under a grey sky. A brown cow, in profile to the left, stands prominently forward. This picture has been attributed to Paul Potter. Panel. 25^ in. x 17 in. CARLO DOLCI. 1616-1686. Born at Florence. Painted principally Madonnas and Magdalens. His larger pictures and groups of figures are seldom to be met with. Some of his finest works in England are at Blenheim Palace and Cobham Hall. 369. A Female Violinist. This pleasing head of a girl with long hair and a gay-coloured headdress like a wreath, has been called St. Cecilia. She looks cheerfully at the spectator. Her face is seen in three-quarters turned towards the left. She holds a violin and a strip of music in her left hand, and the bow of the instrument is seen beyond. Dimensions. 17 in. x 13^ in. 11 11 234 Subject Pictures, Various. DUGHET. (See GASPAR POUSSIN, page 254.) SIR ANTHONY VAN DYCK. 1 599-1641. Bom March 22nd, 1599, at Antwerp, where his father was a merchant. His first instructor in art was Van Balen. He was the most distinguished pupil of Rubens ; and at an early age obtained a brilliant reputation as a portrait painter. Before his twentieth birthday he was admitted a Master of the Antwerp Corporation of Painters. By the advice of Rubens he visited Italy in 1623, and spent five years principally sojourning at Genoa, Rome, and Venice. His first visit to England, in 1630-31, was of short duration ; but in 1632 he returned, under an express invitation from King Charles I. who bestowed especial favours on him, and lodged him in the royal palace at Blackfriars. A pension of 200/. per annum for life was assigned to him, and in 1633 he received the honour of knighthood. He died at Blackfriars, December 9, 1641, and on the eleventh of the same month he was buried in the Cathedral of St. Paul, near to the tomb of John of Gaunt. Notwithstanding his expensive manner of living, he left property to the value of about 20,000/. He married Mary Ruthven, granddaughter of the Earl of Gowrie, and by her left an only child, a daughter ; she was baptised Justiniana on the same day that her father died, and became the wife of Sir John Stepney, of Prendergast, Baronet. 370. Salvator Mundi. I * f t . s. The infant Saviour, a nude figure, standing by the side of a globe, looks at the spectator, and raises his right hand in the act of benediction. A pale red drapery . passes over his right shoulder. His left hand grasps the small cross which is attached to the top of the globe. Smith, in his " Catalogue Raisonne of the Works of Van Dyck," page 115, No. 416, describes this picture. He remarks that it is "painted with peculiar delicacy ot " handling and sweetness of colour." In the engraving by Pontius from this composition, a serpent is introduced be- neath the feet of the Saviour. Dr. Waagen (vol. iv. page 334) gives, as his opinion of this picture, " The features " more pleasing than dignified, and the forms rather empty." Canvas. 23^ in x 183 in. 235 371. Daedalus and Icarus, Ovid, Met. viii. 3. Ovid, de Arte Am. lib. ii. 48. " Finitusque novae jam labor artis erat. " Tractabat ceramque puer pennasque renidens, " Nescius haec humeris anna parata suis." • ••••• " Dum monet, aptat opus puero monstratque moveri, " Erudit infirmas ut sua mater aves." Half-length figures, the size of life. Icarus raises his right arm, and the primitive artist is engaged in adjusting the wings by a belt across his chest. The contrast of the dark skin of the old man with that of his pupil is very skilfully rendered. The arm of Icarus casts a shadow across his face, and a crimson drapery at the side gives lustre to the skin. This picture occurs in the catalogue of Lord Tavistock's pictures, 1767. Canvas. 53 in. x 43 in. SIR CHARLES LOCK EASTLAKE, P.R.A. 1793-1865. Born at Plymouth ; son of a Solicitor to the Admiralty and Judge Advocate at Plymouth. Educated at Charterhouse. The sight of Haydon's first exhibited picture in 1807 prompted him to devote himself to painting, and he became a student at the Royal Academy under Fuseli in 1809. He was commissioned by his friend, Mr. Jeremiah Harman, to paint " The Raising " of Jairus' Daughter." Eastlake studied in Paris, and painted a portrait of Napoleon, whom he saw on board the Bellerophon in the harbour of his native city. In 1818 he visited Greece; he travelled afterwards in Italy with his friends Brockedon, Cockerell, and Barry, afterwards Sir Charles Barry. He first exhibited at the Royal Academy Italian subjects, principally buildings, in 1823. His picture of Isadas the Spartan was greatly admired in Italy. In 1830 he was elected Royal Academician, and returned to England. He became Secretary to the Commission for encouraging the Fine Arts, Keeper of the National Gallery, and afterwards Director. He was elected President of the Royal Academy in 1850. His literary contributions are held in deserved esteem. He died in Italy. Subject Pictures, Various. 372. Pilgrims Arriving in Sight of Rome. A group of pilgrims, having reached a turn in the road which gives them the first view of the holy city, are gazing upon the dome of St. Peter's, which appears beyond the Tiber, in the extreme left of the picture, bathed in the golden light of an evening sun. The winding path from which they have emerged lies buried in gloom, and is crowned with olive trees. The composition contains about twenty figures. Painted for the Duke of Bedford in 1827, and exhibited at the Royal Academy in the following year, No. 10 of the catalogue, wherein it is thus described : " Italian scene in the Anno Santo, pilgrims arriving in sight of " Rome and St. Peter's : evening." The development of the picture is narrated in Lady Eastlake's Memoir of Sir Charles, published in 1870, page 114, and the following extract belongs to the close of 1827. " The Duke of Bedford had expressed the desire to have a work by him ' relating " ' to the manners of the South.' Mr. Eastlake proposed ' Pilgrims arriving in "'sight of St. Peter's at Rome.' The Duke in answer remarked that he did not "perceive it to be a subject of great interest, though leaving him entirely free ; for- tunately the painter pursued his own idea. He writes of it to Mr. Harman : ' I " ' am considerably advanced with a small picture for the Duke of Bedford— subject, " ' Pilgrims arriving in sight of St. Peter's. It has cost me, as every picture does " 'now, much trouble — more than the result would indicate — perhaps so better. I " 'feel more than ever the importance of graceful arrangement, and never can come " ' up to my wishes on this point.' " The picture was subsequently five times repeated, and thus particularised at page 146 of the same volume : " 1st, executed for the Duke of Bedford ; 2nd, for Earl Grey; 3rd and 4th, for "the Marquis of Lansdowne ; 5th, for Mr. George Vivian; 6th, a bona fide copy "from Lord Grey's for the use of the engraver. These five pictures include two, in " every respect, distinct compositions ; the original of the one being that executed "for the Duke of Bedford, of the other, that belonging to Earl Grey. In the first "the Pilgrims are advancing from the left, in the second from the right, while the "replicas of each composition display varieties in colour, arrangement, and back- " ground, sufficient to constitute originality. So far, indeed, from these replicas "being repetitions, they afford remarkable examples of the impossibility in the true " painter to repeat himself." Dr. Waagen (vol. iii. page 466) writing in 1835, remarks of this picture : " It " appeared to me more devout in feeling, more warm in tone, and more careful "in the execution, than his last picture of a similar subject ; only the ground has "become dark." Exhibited in 1857 at Manchester, in the Art Treasures Exhibition, No. 330 of the catalogue. Canvas. 41 in. x 31 in. 237 ALEXANDER FRASER, A.R.S.A. 1786-1865. Born at Edinburgh. Assisted Sir David Wilkie, with whom he had been a fellow pupil in the outset of their career. His style was, nevertheless, independent. He made designs to illustrate Walter Scott's novels. His picture of " Crusoe reading the Bible to his man Friday," is favourably known. He died, after long illness, at Wood Green, Hornsey. He was a singularly modest and unobtrusive man. 373. Cobbler and Bird. Dated 1826. An old cobbler, in a red cap, seated at his work, looks up to the right and whistles to a bird in a cage in front of a large square window. Another figure is coming in at the door behind. Panel. 22\ in. x 16^ in. THOMAS GAINSBOROUGH, R.A. 1727-1788. Born at Sudbury, in Suffolk. His earliest attempts were in landscape, but he established himself in London as a portrait-painter before he was 16 years of age. His first instructors in figure-drawing were Gravelot and Frank Hayman. At that time he resided in Hatton Garden, and painted portraits on a small scale. Having, before he was 1 9 years old, married a young lady well connected, and with some fortune, he retired first to Ipswich and then to Bath, where he resided from 1758, and found himself in a large and increasing practice. He first sent to the Exhibition in London in the year 1 76 1 . Thirteen years later he took up his residence in Schomberg House, Pall Mall when he acquired such reputation as to be considered the rival of Reynolds in portrait, and of Wilson in landscape painting. The last occasion of his exhibiting any of his works at the Royal Academy was in 1784, when un- fortunately he took umbrage at the conduct of some members of the Council. He died in London, August 2nd, 1788, and was buried in Kew churchyard. His funeral was attended by Sir Joshua Reynolds, Sir William Chambers, Paul Sandby, Benjamin West, Bartolozzi, and Samuel, the brother of Francis Cotes. Gainsborough Dupont, his nephew, was chief mourner. Gainsborough was an ardent lover of music, the exercise of which on 2 3 8 Sztbject Pictures, Various. different instruments divided his time with that of the pencil. One of his daughters married Mr. Fischer, a musician. After his death, Sir Joshua read a discourse to the students at the Royal Academy, taking the " character of Gainsborough " for his subject. In this he touched feelingly on his character as a man, and pointed with just dis- crimination to his great excellence as an artist and the peculiarities of his execution. Jackson of Exeter observed of him, that " Gainsborough's profession was " painting, music was his amusement. Yet there were times when music " seemed to be his employment, and painting his diversion." He had, as Reynolds said, " a tear for pity, and a hand open as day to melting charity." 374. Landscape, with Figures and Horses. A boy and white and brown horses sheltering under a tree in the left-hand corner. Haymakers carting hay. The white square tower of a village church appears among the trees. There is a sultry effect of sunlight in the sky. Ducks are on a circular pond, in the extreme right-hand corner. This picture was exhibited at the British Institution in 1817, No. 148 of the catalogue. Canvas. 40^ in. x 37 in. 375. Landscape Trees and Cattle. A boy with faggots seated by a milkmaid at the foot of a withered oak tree. The white cow has overturned her milking stool. Ploughing is carried on in a sheltered field to the extreme left. Painted very much in the style of Morland, with broken forms. Of inferior quality to the preceding picture. This picture was exhibited at the British Institution in 1817, No. 134 of the catalogue. Canvas. 50 in. x 42 in. LUCA GIORDANO. 1632-1705. Born at Naples. Studied under Spagnoletto and Pietro da Cortona. In Venice he was much influenced by the works of Paul Veronese. From the ease and rapidity of his execution, Giordano received the nickname of " Luca Fa Presto." He displayed a wonderful mastery over all materials, and painted equally well in oil, fresco and tempera. He could imitate any other painter's style of working. In 1690 he executed many works in Spain for Charles II., especially at the Escurial. He died at Naples immensely rich, with the reputation of being the greatest painter of his age. His works, very uniform in quality, are everywhere to be met with. "poburn glbbe-g Catalogue. 239 376. The Infant Saviour contemplating the Instruments of the Passion. The infant Christ, turned towards the left, supported by the Virgin Mary and Joseph, gazes upon the massive wooden cross and other instruments of the Passion, C>»Ldl cJLaX^i\m.\ ' held by seven floating angels attired in white. The Holy Spirit, in the form of a dove, and the figure of the Almighty hovering above, complete the personification of the Trinity. A graceful picture, exhibiting all the qualities pertaining to the later period of Italian art. Pennant (4to, page 359) defines the subject as "The vision of our Saviour's "passion to admiring spectators." There is in the Louvre a duplicate of this picture, engraved in Filhol, tome ii. pi. 26, and by Levasseur in Tessier's Musee de Paris, 1839. Canvas. 60 in. x 49 in. GIOVANNI FRANCESCO BARBIERI, called GUERCINO. 1 592-1666. Born of humble parents at Cento. At first self-taught, then studied at <, t i t \ cX^Xj- v ' Bologna and Venice, and finally in Rome, where he became attached to the 1 a ,c \ & school of Caravaggio. The name Guercino was derived from his squinting. After the death of his patron, Pope Gregory XV., in 1623, he returned to his 1 if Zo native place, Cento, where he remained twenty years, and on the death of £p«-t>- Guido in 1642, removed to Bologna. The school of painting which he- established was in high repute. He died at Bologna, a Cavaliere, and in possession of considerable wealth. 377. Samson giving Honey to his Parents. Judges, chap. xiv. ver. 9. " And he took thereof in his hands, and went on eating, and came to his father "and mother, and he gave them, and they did eat ; but he told not them that ht " had taken the honey out of the carcase of the lion." Three half-length figures, the size of life. Samson, a graceful figure with long hair, is almost entirely in shade. His dark profile, to the left, is effectively set off against the sky background. The female figure to the extreme left is full of ex- pression. See Lord Tavistock's Catalogue, 1767, where this picture is attributed to M. A. Caravaggio. Canvas. 57 in. x S9a 240 Subject Pictures, Various. SIR GEORGE HAYTER. 1 792- 1 87 1. Son of Mr. Charles Hayter, author of a work on perspective, and teacher of drawing to the Princess Charlotte. Admitted a student at the Royal Academy, where he received two medals. Appointed portrait-painter to the Princess Charlotte. Visited Italy, where he resided some time in Rome, and returned to London in 181 9. He had considerable occupation in portrait painting, and went again to Italy in 1826. At Paris, in 1831, he painted the most eminent persons of the French Court, and on the accession of Queen Victoria in 1837, was appointed Historical Painter in Ordinary to Her Majesty. In 1842 he received the honour of knighthood. In 1818 he had been elected a member of the Academy of St. Luke, at Rome, and subsequently was re- ceived into the Academies of Parma, Bologna, Florence, and Venice. His principal work, "The Interior of the House of Commons," is now in the National Portrait Gallery. He died at his residence in Marylebone Road, London, January 18, 1871. 378. The Trial of William, Lord Russell, at the Old Bailey. Friday, July 13TH, 1683. Painted in 1825, for the Duke of Bedford. This picture was exhibited at the Royal Academy, Somerset House, in 1825, No. 127 of the catalogue, with the following quotation. " He was assisted during his trial by his wife Rachel, Lady Russell, and " attended by many of his friends. The two first witnesses (seated in the centre of " the picture) having been examined, Lord Howard of Escrick was sworn." Vide the " State Trials." The following list of the historical characters introduced in the picture, has been taken from an explanatory key published by the artist at 9, Stratford Place, March, 1834 : — 1. Windham. 2. Withins. 3. Levinge. 4. Sir F. Pemberton, Lord Chief Justice. 5. Sir Wm. Montague, Lord Chief Baron. V Judges. 6. Adams. 7. Jones. 8. Baron Street. 9. Sir Wm. Treby, Recorder. 10. Sir Robert Sawyer. \ 11. Sir H. Finch, Solicitor-General. I Counsel for the Crown. 12. Mr. Serjeant Jeffries. ) ^Soburn Jlbbep Catalogue. 241 Friends to, and witnesses for Lord Russell. 13. Ward. 14. Holt. \ Counsel for Lord Russell. 15. Pollexfen. 16. Mr. North, Sheriff of London. 17. Lord Howard of Escrick, Principal witness. 18. Shepherd, the Innkeeper. ) 19. Colonel Rumsey. J Ist and 2nd witness a S ainst Lord RusselK 20. Lady Rachel Russell. 21. William, Lord Russell. 22. Serjeant of the Tower. 23. Lord Russell's Gentleman. 24. Lord Cavendish. 25. Duke of Somerset. 26. Marquis of Halifax. 27. Mr. Howard. 28. Rev. Dr. Burnet. 29. Rev. Dr. Tillotson. 30. The Jury. During the progress of the picture, the artist obtained sittings from distinguished individuals and friends who consented to personate particular characters required for the scene. Some of the names of these sitters are traditionally preserved, and among them are Charles Young the tragedian, the figure with his thumb up ; Wiffen, the librarian, whose catalogue has been so frequently referred to in these pages, the man mending his pen ; Edmund Kean in Sir Giles Overreach, is the figure of Lord Howard (No. 17). Lady Wriothesley Russell sat for Lady Rachel Russell. The picture has been extremely well engraved in mezzotint by John Bromley, 1828. Dr. Waagen (vol. iv. page 332) observes of the picture during his later visit, "Well known by the admirable engraving, and not so able as that would lead us to " expect." The artist himself also executed an etching of the picture. Canvas. 83 in. x 54 in. 379. St. John in the Island of Patmos. The Evangelist, seated under a tree, rests his right elbow upon a very large roll of parchment. A tall square-shaped picture. Very academic in style. Panel. 40 in. x 30 in. 380. The Tribute Money. cJb*L+tj.\ i^.i.i A very large oblong picture, with half-length figures, the size of life. 'i Vv> 24? Subject Pictures, Various. MELCHIOR HONDECOETER. 1636-1695. The most distinguished of all painters of birds. Born at Utrecht. His father, Gysbrecht Hondecoeter, was also a skilful painter of domestic fowls; he died about 1654, after which the son Melchior was placed under the care of his uncle, Jan Baptist Weenix. The composition in his larger pictures is well arranged, and the colouring rich, powerful, and beautifully harmonised. His great-grandfather was Marquess of Westerloo. 381. Peacock, Fowls, and Rabbits. With distant architecture to the left. ^ / "J* i> i t*-* GEORGE JONES, R.A. 1 7 86- 1 869. Son of John Jones, the mezzotinto engraver. Entered the Royal Academy as a student in 1801, but during the Peninsular war he exchanged the pencil for the sword, and saw much active service till the termination of the war in 1 81 5, when he resumed his peaceful studies and worked with considerable success. In 1822 he was elected Associate of the Royal Academy, and became full Academician in 1824. He was appointed to succeed Hilton as Keeper of the Academy, and acted as President during the long illness of Sir Martin Archer Shee. He painted numerous battle subjects, more or less connected with the Duke of Wellington. His " Battle of Waterloo " was much commended by the Duke himself. His landscapes are effective and singularly powerful in colour. He published a slight memoir of his great friend, Sir Francis Chantrey, in 1849. He died in London in his 84th year. 382. View of Orleans. View from the market-place. The two great towers of the cathedral rise to the left. Picturesque old French houses. A group of people in the right-hand corner listening to a charlatan mounted on horseback and holding forth two bottles. A cumbrous diligence blocks up the narrowest part of the street and, in an artistic sense, makes a bold contrast by its dark mass against the bright light beyond. A £3o6urn Rbbey Qataloque. 243 tranquil scene with very clever general arrangement of effect, bright and cheerful in colour. Signed in the foreground — Panel. 35 in. x 2j\ in. GEORGE LAMBERT. Born about 1710. Died 1765. A clever landscape artist. Studied under Hassel and imitated Wootton, who had formed himself upon the Italian school. Lambert painted decorative subjects cleverly, and obtained celebrity as a scene-painter at Covent Garden Theatre. The Beefsteak Club was founded under his auspices in the painting room of the theatre, and the meetings were afterwards adjourned to the Shakspeare Tavern in the neighbourhood. Several of Lambert's pictures were spiritedly engraved by Vivares. 383. Landscape with Figures. Painted in imitation of Both. A grove of trees, with distant country beyond. A man and l>oy crossing a wooden bridge on the extreme left. A man and woman advancing towards a figure seated on the ground. 50 in.) x 42 in. 2" 4 -* 384. Landscape. Tall trees and temples to the left. A truncated pyramid in the central mid- distance. Canvas. 45 in. x 39 in 385. Landscape. Temple like that of the "Sibyl " at Tivoli, on the left ; a tall tree to the right, and a naked man and white ox in the front. Canvas. 45 in. x 39 in. 386. Landscape. River and waterfalls, with bridge on the left. Ruined columns on the opposite side. Canvas. 57^ in. x 47 £ in. 244 Subject Pictures, Various. 387. Landscape. Round temple in ruins. Church with tower and spire. Canvas. 53 in. x 47^ in. 388. Landscape. Circular temple and ruins on summit of a rock in the centre. Terminal figure under trees in front. Canvas. 48 in. x 39 in. 389. Landscape. A stream flowing under an arch on the left ; woman mounted on a horse crossing the bridge. Vase on pedestal amid a cluster of trees in the centre. Canvas. 48 in. x 39 in. 390. Landscape. A river scene. Two massive trees on a projecting bank in the centre. Church with a spire seen across the water to the left. The red roof of a house, to the right, is being repaired by tilers mounted on ladders. A clearly and pleasingly painted picture. Canvas. 41 in. x 37 in. 391. Landscape. Massive ruins, with a broken dome overgrown with trees, rise abruptly to the right, from a placid lake or river, upon which is a boat. Distant mountains appear beyond the water. Clear blue sky. The architecture is heavily painted. Canvas. 39^ in. x 38 in. GEORGE LANCE. 1 802- 1 864. A distinguished fruit-painter. Born at Little Easton, near Dunmow in Essex. Studied under B. R. Haydon, the historical painter. His first picture, exhibited at the Academy in 1828, was a subject of still-life, illustrating a couplet in " Hudibras." Many of his pictures are of extraordinary richness and beauty. His compositions were magnificent. He died at Sunnyside, near Birkenhead, June 18th. 245 392. Fruit and Flowers. In the centre, upon a white damask table-cloth, is a rich mass of grapes and peaches. Convolvulus flowers, and ripe strawberries falling from a pottle-basket. A large pineapple lies on a stone slab in the right-hand corner. ^/l \J\X~ tXt ' ^ Signed in fine brown letters J 1$ 2. 3 » iTs tyust Canvas. 41 in. x 28 in. 393. Fruit. Companion picture to the preceding. On the left, a stone vase with branch of vine-leaves issuing from it, and a bird's nest below. A large melon cut open, and apples and pears grouped on a table-cover of rich Utrecht velvet, form the principal mass of light on the opposite side. Canvas. 41 in. x 28 in. SIR EDWIN LANDSEER, R.A. 1802-1873. Born in Queen Anne Street, and one of a family of artists. His inherited talent was improved by the influence of B. R. Haydon, with whom for a while he studied. As a painter of deer, dogs, and certain classes of sporting sub- jects, he stands perfectly alone. His father, John Landseer, was an engraver of great talent, and possessed much antiquarian learning. The works of Edwin Landseer have been widely extended by means of his brother Thomas's engravings. On the decease of Sir Charles Eastlake in 1865, Sir Edwin Landseer was elected President of the Royal Academy, but declined the honour. 394. Deer in Coldbath Fields, Woburn Park. A long square picture. Deer in an open part of the park known as " Coldbath- " fields." Cluster of trees and a residence on the left. The farm chimney rises from a distant mass of trees in the centre. Dr. Waagen (vol. iv. page 332) observes of this picture, " Happily composed, "and the heads of the animals very animated, but the colouring cold, and the treat - " ment rather scenic." Canvas. 53^ in. x 29^ in. 246 Subject Pictures, Various. 395. The Hunting of Chevy Chase. " To drive the deere with hound and home " Erie Percy took his way ; " The chiefest harts in Chevy Chace " To kill and beare away." The deer is at bay, and has thrown several dogs. Earl Percy, on horseback, aims a javelin at it, and his son, on foot, is drawing a bow. An early work of the painter begun in 1825 and exhibited at the Royal Academy in the following year, No. 292 of the catalogue, which contains the verses given above. An animated composition, in which the influence of the bold conceptions of Rubens and Snyders, displayed in their pictures representing Wild-boar and Lion hunts preserved at Dresden and Munich, is very perceptible. The falconer on a dun horse to the left is very like Rubens himself. Both this figure and the head of the man blowing a horn are direct adaptations from that master. Dr. Waagen (vol. iii. page 466) characterises this work as "an early picture by " Sir Edwin Landseer, rather extravagant in the attitudes, and less true than his "pictures usually are." In his subsequent visit (vol. iv. page 332), he adds, "In " this large and rich picture I am inclined to recognise the influence of Rubens." Canvas. 66\ in. x 56 in. FREDERICK RICHARD LEE, R.A. 1 799- 1 879. Born at Barnstaple. Joined the army in early life, and served a cam- paign in the Netherlands. Entered the Royal Academy as a student in 1 818, and first exhibited there in 1824. Ten years later he was elected Associate, and in 1838 became a full Member. He exhibited six pictures at Burlington House in 1869. Many of his landscapes were in later times painted in conjunction with Sidney Cooper, the well-known cattle-painter. He retired as an honorary Academician in 187 1 and died at Vleesch Farm, Cape Colony, July, 1879. 396. Scene in Devonshire. Dense mass of trees, with a thatched cottage, and a cart laden with timber pass- ing through a stream. Canvas. 37^ in. x 25 \ in. ^Soburn ^I6fccg (SataloQuc. 2 47 397. Scene in Woburn Park. A long square picture. Cattle passing among magnificent oak-trees through a grassy dell, towards the left. A man in a smock-frock is seated on a cart drawn by a white pony. Slightly painted. Signed — F. R. Lee, R.A., 1839. The cattle are stated to have been painted by Sidney Cooper. Cattvas. 53 in. x 29 in. CHARLES ROBERT LESLIE, R.A. 1 794- 1 859. Born of American parents in Clerkenwell, and by them taken to the United States, where he was apprenticed to a bookseller. Having determined to follow the arts in preference, he returned to London and became a student of the Royal Academy. Washington Allston and President West also afforded him some special instruction. His "Sir Roger de Coverlcy going to Church," exhibited in 1819, the property of the Marquess of Lansdowne, established his reputation. " Sancho Panza and the Duchess," painted for Lord Egremont in 1823, shows all his humour, with a complete mastery of painting more than any subsequent work. He was elected Royal Academician in 1826. In iS.;cS he was appointed Professor of Painting at the Royal Academy. His "Life "of Constable" and the "Handbook for Young Painters" are excellent works. His " Autobiographical Recollections " are full of interest. The " Life of " Sir Joshua Reynolds," left incomplete at his death, and finished by Mr. Tom Taylor, is of very great value. He died in London. 398. The Crown offered to Lady Jam. Dudley, more generally know n as Lady Jane Grey. Lord Guilford Dudley, a handsome youthful figure, standing in the centre with his face in profile to the right, draws his wife to him by placing his left hand within her arm and pointing to- a large sealed parchment, held by a kneeling figure in pink dress. The crown and sceptre on a cushion lie at her feet. She rests her left hand on a Bible laid on a table, at which her mother is seated. The latter, an admirable figure, looks up appealingly and touches 248 Subject Pictures, Various. her daughter's wrist. Lady Jane looks calmly and seriously into her husband's face, and everything seems to depend upon him. A portrait of Edward VI. and shelves of books are in the background. Painted for the Duke of Bedford. Exhibited at the Royal Academy in 1827, No. 85 of the catalogue, in which it bore the following title, "Lady " Jane Grey prevailed on to accept the crown." The picture has been en- graved. See Leslie's Autobiographical Recollections, vol. ii. page 181. Dr. Waagen (vol. iv. page 332) thus criticised it : " The composition not " so fortunate as usual, and the colouring weak, but the heads refined and full " of expression." The following description was printed by the artist in the Royal Academy catalogue, No. 85 : — "The Duke of Suffolk, with much solemnity, explained to his daughter " the disposition the late King had made of his crown by letters patent ; the " clear sense the Privy Council had of her right ; and the consent of the " Magistrates and Citizens of London ; and in conclusion, himself and " Northumberland fell on their knees, and paid their homage to her as Queen " of England. The poor lady, somewhat astonished at their behaviour and " discourse, but in no respect moved by their reasons, or in the least elevated " by such unexpected honours, answered them, 'that the laws of the kingdom " ' and natural right standing for the king's sisters, she would beware of " ' burthening her weak conscience with a yoke which did belong to them, " ' that she understood the infamy of those who had permitted the violation " ' of right to gain a sceptre ; that it were to mock God and deride justice. " ' Besides,' said she, ' I am not so young, nor so little read in the guiles of " ' fortune as to suffer myself to be taken by them. . . . What she adored " ' but yesterday, is to day her pastime My liberty is better than the " ' chain you proffer me, with what precious stones soever it be adorned, or " ' of what gold soever framed. I will not exchange my peace for honourable " ' and precious jealousies, for magnificent and glorious fetters. And if you " ' love me in good earnest, you will rather wish me a secure and quiet " ' fortune, though mean, than an exalted condition, exposed to the wind, " ' and followed by some dismal fall.' " All the moving eloquence of this speech had no effect ; and the Lady Jane " was at length prevailed on, or rather compelled by the exhortations of her " father, the intercession of her mother, the artful persuasions of Northumber- " land, and, above all, the earnest desires of her husband whom she tenderly " loved, to comply with what was proposed to her." — Life of Lady Jane Grey. Very effectively engraved in mezzotint on a large plate. The picture was also engraved in woodcut, on a small scale, in the Art Journal for April, 1856, page 105, entitled, " Lady Jane Grey entreated to accept the crown." Canvas. 52 in. x 39^ in. 249 FREDERICK CHRISTIAN LEWIS. 1779-1856. A celebrated engraver. Born in London; studied at the Royal Academy. He engraved Girtin's views of Paris, and acquired special celebrity for the skill and fidelity with which he reproduced the finest drawings and sketches by the old masters. He was extensively employed by W. Y. Ottley and Sir Thomas Lawrence upon these subjects; but in his leisure moments he painted views of landscape scenery, and engraved some of his sketches of Devonshire rivers. He died at Enfield, December 18, 1856. 399. View on the Tamar, near Endsleigh, This eminent landscape painter was born in Liverpool, where he wa articled to a merchant, after receiving a commercial education at Rochdale. The passion for painting prevailed, and he resolved to devote himself to art. In London he zealously pursued his studies, and greatly improved his apprecia- tion of nature during a sojourn in North Wales. His first publicly exhibited picture, " The Morning after a Storm," appeared at the British Institution in 1821. He afterwards visited the Continent, and remained more than a year in Italy. He went to Greece, Sicily, and Calabria, and exhibited the studies which he had made there in 1842. He died 18th August, 1876, aged 85. 4OO. Endsleigh. Dated 1836. Brought from the Manor House, Tavistock, in 1867. Canvas 53 in. x 36 in. WILLIAM LINTON. 1 790- 1 876. K K Subject Pictures, Various. 401. Italy: A Poetical Landscape. This elaborate composition exhibits a romantic scene viewed under the in- fluence of a misty sunlight. The spectator is supposed to be looking down from a wooded height over a calm expanse of water, which is crossed in the distance by a bridge composed of numerous arches, and surrounded by lofty buildings. Temples and Italian towers, a column surmounted by a statue, and Italian stone-pine and cypress trees constitute the leading features of this very artificial scene. Signed n the central foreground, upon a mound on which two figures are prominent, — Canvas. 48 in. x 40 in. ANDREA LUCATELLI. 1660-1741. Son of Pietro Lucatelli, a scholar of Ciro Ferri; studied probably under his father. He was a landscape and architectural painter. His style resembles that of Orrizzonte. He painted in conjunction with Paolo Anesi at Rome. He was the principal Italian landscape-painter of his time, and excelled in his pictures of ruins. St. Peter's at Rome. Attributed to him. See Viviano,/^/, p. 265. DIRK, or THEODORE, MAES. 1656-1715. Born at Haarlem. Studied under Berchem and Hughtenberg. Visited England during the reign of William III. Painted the battle of the Boyne. 402. Girl with a Dove. A half-length figure, with her face seen in three-quarters turned towards the left, looking down ; full white sleeve and long dark hair. Deep brown and well -massed shadows. Dark plain background ; arched top. Canvas. 28 in. x I9i in. ^3o6urn Jlfcfceg Catalogue. CARLO MARATTI. 1625-1713. Called " Carlo delle Madonne." Born at Camurano, near Ancona. Studied under Andrea Sacchi. He devoted his attention especially to the works of Raphael, whose frescoes in the Vatican and in the Farnesina Palace at Rome he cleaned and restored with great care. He enjoyed an unrivalled reputation in his day. The name is written indifferently Maratti and Maratta. Died at Rome, 1 5th December, 1 7 1 3. 403. The Nativity. A square composition. Half-length figures, the size of life. The infant Saviour lying on a bed of straw with upturned countenance. The Virgin raises the linen with her right hand, and with the other presses the pillow. Groups of winged angels' heads are introduced. A naked angel hovers in the air scattering flowers, and another angel kneels in the attitude of prayer behind the pillow. There is no indication of glory round the heads of the principal figures. Dark grey sky background. Light admitted from the upper left-hand corner. Formerly in Woburn old Church. Canvas. 4 ft. \ in. x 3 ft. 4 in. BARTHOLOME ESTEBAN MURILLO. 1618-1682. Born at Seville. On his arrival at Madrid, Velazquez at once perceived his talent, and in due season recommended him to Philip IV., and his minister the Count Duke of Olivarez. In 1645 he returned to Seville, where thirteen years later he established an academy of art. His wife was a lady of fortune of Pilas, and his house became the resort of people of taste and fashion. He died in consequence of a fall from a scaffold, whilst engaged on one of his paintings in the Church of the Capuchins at Cadiz. 404. Cherubs scattering Flowers. A cheerful composition. Boy angels flying and hovering in the air are scattering flowers as they fall from a basket held by three cherubs in the upper left-hand corner of the picture. A red drapery connected with them tends to give force and solidity of colour to the composition. This is furthered by a yellow floating drapery on the opposite side and dark blue in the central mass 252 Subject Pictures, Various. of figures. The right-hand lower corner is very dark ; most of the angels have white wings and dark hair. Bought from Mr. Bagnols. Horace Walpole, whilst describing Murillo's paintings of the Immaculate Conception, says, " The Duke of Bedford has a " large picture like this, except that it wants the Virgin, by the same hand, " brought out of Spain by Mr. Bagnols, from whose collection the Prince of " Wales bought some very fine pictures." Lord OrforcFs Works, 4to, 1798, vol. ii. page 251. This picture appears in Pennant's account (4to, page 359) as " Angels " flying; a very graceful painting, by Morillio." In the 8vo edition, page 604, it is converted into " Sportive boy ; Angels flying, &c." In Stirling's " Catalogue of the Works of Murillo," at the end of his " Spanish Painters," vol. iii. page 416, No. 20, it appears under the title of " Cherubs scattering flowers." Dr. Waagen (vol. iii. page 465) describes the picture in the following erms. "A number of angels flying. A large picture without style in the " composition, but very pleasing for the warm and bright colouring." Canvas. 97 in. x 75 in. GILBERT STUART NEWTON, R.A. 1 794-1 83 5. Born at Halifax, in Nova Scotia, and studied under his uncle, Gilbert Stuart, at Boston. He came to England about 1820, and proceeded after- wards to Italy. He is said to have made Watteau his model. He painted a clever picture of Macheath for the Marquess of Lansdowne. There is a tinge of theatrical affectation about most of his compositions. He became a member of the Royal Academy, and was an attached friend to Washington Irving and Charles R. Leslie, R.A. Elected Associate of the Royal Academy, 1828, and R.A. in 1832. He died at Chelsea, August 3rd. 405. The Prince of Spain's Visit to Catalina. See " Gil Bias," vol. 3, Book 8, chap. xi. In the centre the lady is seated playing a guitar. A young man, the Prince of Spain, seated in a chair on the extreme right, is listening to her ; a duenna standing between them, observes the Prince through her fan with great earnestness. Two attendants stand in waiting to the left. A pair of castanets lie on the floor. Signed and dated on the side of wine-cooler — " The person behind Catalina is her aunt, and the others are the Count of '• Lemos and Gil Bias. Gil Bias is the bearer of rich presents which the ^3oburo gibber QataioQite. 253 " Prince makes to Catalina and her aunt; these have been purchased with " orrowed money, the Infant plainly confessing himself without a real." This picture was exhibited at the Royal Academy in 1827, No. 329 of the catalogue. Purchased by the Duke of Bedford for 500 guineas. It was ex- hibited in the Art-Treasures Exhibition at Manchester in 1857, No. 291 of the catalogue, and there described as " The Casket Scene." Engraved n the "Literary Souvenir" in 1831, and on a larger scale, in mezzotinto, by W. Giller, in " Gems of British Art," 1842, with descriptive etterpress by Henry Murray, Esq. Canvas. 53^ in. x 39^ in. HENRY J. PIDDING. 1 797- 1 864. A painter of humorous subjects. The son of a lottery office keeper on Cornhill. Pupil of Agilo, a genre painter. His last picture that made an impression on the public mind was the Interior of the Gaming-rooms at Homburg, in i860. He died at Greenwich, June, 1864. "The Battle of the Nile Re-fought " was engraved by himself, and met with great success. 406. Greenwich Pensioners Discussing the Battle of the Nile. I(e> C*L-» JhL^VH. Two old men, one with only one arm and the other with two wooden legs, at a rough board table in front of a cottage window, marking out the disposi- tion of the ships, during engagement, with broken bits of a tobacco pipe. A black servant behind and a boy with a pitchfork looking on. Within the house, seen through the window, are a young man and a girl. The extreme distance, to the right, exhibits a sea-shore in dull weather. Signed in the extreme right-hand corner — Panel. 20 in. x 17 in 254 Subject Pictures, Various. GASPAR POUSSIN. 1613-1675. His real family name was Dughet, of French origin. Born in Rome, and brother-in-law of Nicholas Poussin, who had married his sister. He is essentially a landscape-painter, and his scenery is generally adopted from the neighbourhood of Rome, Tivoli, and Frascati. After seeing the works of Claude Lorraine his style of painting became less heavy and sharply denned. He died at Rome, in 1675. Nicholas Poussin frequently added the figures to his landscapes. He has Italianised his name on some of his etchings by signing himself " Gasparo Duche." 407. Italian Landscape. The figures by Nicholas Poussin. A very grand composition, in square frame. Massive rocks, blended with rich foliage and a few buildings, rise diagonally across the picture towards the right. Near the centre, a square tower and pointed roof, with a dark wall, and a narrow opening in it, form a bold contrast against the cloudy sky. A piece of still water is in the shade below, and the figure of a man may be ob- served standing on a tongue of land projecting into it. In front of the water is a shepherd with his flock. Three nude figures conversing in the more immediate foreground are drawn, with great power. A noble cluster of broad- spreading trees occupy the left-hand extremity of the picture, forming a mass of intense darkness. Dr. Waagen (vol. iv. page 333) observes of this picture: — "A highly " poetical landscape, with luminous horizon, conception, and handling, incline " me to consider this a fine work by Gaspar Poussin." Canvas. 58 in. x 485 in. 408. Italian Landscape. This poetical composition is of extreme excellence, and exhibits in many points a refinement worthy of the painter's brother-in-law, Nicholas Poussin. The view is taken from a considerable elevation commanding an extensive bay of deep blue water, surrounded by precipitous rocks, and opening towards the left, where the level line of the sea is intercepted by some dark rich foliage. Vessels are at anchor on the calm water, and the sky at this part of the picture is of a delicate warm tone. A horseman galloping to the right, as if hunting, appears in the middle ground of the picture, and a more distant one is passing behind him in the opposite direction. The foreground is remarkable for its extremely rich and finely-painted vegetation. A rugged roadway, diversified with buildings, leads up to the massive walls of a castle which crowns the rocks on the extreme right. A single palm tree stands conspicuously against (he sky in this part of the picture. Some portions of this fine landscape indi- 255 cate the influence of Claude Lorraine, especially in the clear tender distance and the hazy blue mountains. Two nude figures with long staves are in front, to the left ; the one is an old man lying on his back, and the other, a younger J . r one, seems to be talking to him. A gourd flask is on the ground. This may possibly refer to Diogenes. Dr. Waagen (vol. iv. page 333) observes of this picture, " Pictures by this " master in which the sea is the principal subject are seldom met with. This " equally bears witness, however, to the grandeur of his mode of conception. " Unfortunately it has darkened in some parts." Canvas. 57 in. x 48 m. 409. Landscape. A poetical landscape, with solid trees bearing foliage very much in the style of Nicholas Poussin. The scene is traversed horizontally by a river, beyond which, and intersected by the stem of a tree in the foreground, is an ancient triumphal arch like that of Titus at Rome. Picturesque mountains break the horizon in the centre of the picture. Two figures, an old man seated on a bank quite in the foreground, as if asking alms of the younger, qualify the in- tense depth of the middle distance. A white dog crouches close to the old man. The deep blue sky is varied with clouds of a rich grey colour. The colours seem to have darkened by time. Dr. Waagen (vol. iv. page 332) considers this " composition in his most " elevated style," and also clearer in colour than the darkness in which he viewed it before had led him to believe. Canvas. 72 in. x 47 in. 410. Italian Landscape. A cluster of Italian buildings, among which may be observed the temple of Vesta and a pyramid like that of Caius Cestius in Rome, extends across the centre of the picture, beyond which is a broad expanse of water like the sea, bounded still further by plains and distant hills, one of which being snow- capped, resembles the well-known Soracte. On the extreme right, a craggy mountain rises above a fine solid mass of dark rich trees, and from beneath these water issues in repeated falls ; but subsides into a dead calm in deep shadow on the extreme right, whereon a boat with two figures in it is gliding. Two shepherds, one of them playing a flute, recline on a rocky bank in the foreground. The large tree occupying the extreme left corner displaying rich feathery foliage, partakes of the character of Claude Lorraine. The sky is unusually calm and clear, with only a few light clouds. A picture of great beauty, very mellow in tone. Dr. Waagen (vol. iv. page 332) considers this picture to be " a worthy " companion in every way to the preceding picture," No. 338. Canvas. 76 in. x 55 in. 256 Subject Pictures, Various. RAPHAEL SANZIO. 1 48 3- 1 520. Born at Urbino. Received his first instruction in art from his father, Giovanni Sanzio or Santi. Studied afterwards under Pietro Perugino. Visited Florence in 1504, arrived in Rome 1508, and commenced his famous series of fresco decorations in the Vatican under the successive patronage of the Popes Julius II. and Leo X. His last picture was the " Transfiguration." For the tapestries executed after his designs see post, page 281, and for copies in chalk, by Ricciolini, from frescoes in the Vatican, see page 257. 411. Avenging Angel. Copied by Sir Joshua Reynolds from Rapliael. In a circle. Study from the figure of the Angel in the fresco of the Expulsion of Heliodorus from the Temple at Jerusalem, painted by Raphael, in the Stanze of the Vatican. The face is in profile to the right. See post, No. 418, for the entire composition shown in Ricciolini's copy in red chalk. Compare a picture described as " Head after Raphael " in Lord Tavi- stock's catalogue, 1767. Canvas. Diameter 20 in. REMBRANDT. 1 606- 1 669. Born at Leyden, July 15, 1606. Was placed at the Latin school there with a view to his studying jurisprudence afterwards at the University, but his strong predilection for art induced him to enter the school of Jacob van Swanenburg, and after three years he studied under Pieter Lastman, at Amsterdam, and Jacob Pinas at Haarlem. Having been successful in his art, he settled finally at Amsterdam, and in 1634 married Saskia Uilenburg, a lady of considerable fortune. She died in 1642. He married again, but of his second wife little is known. The ways of Rembrandt appear to have been improvident. In 1656 he was publicly declared insolvent. His abilities in etching were equal to his skill as a painter, and his works, in their various states, have always commanded high prices. He died at Amsterdam, and was buried in the Westerkerk there, October 8th, 1669. 33o(utrn ^IbbcQ QataioQiie. 25/ 412. Joseph Interpreting the Baker's Dream. Genesis, chap. xl. verse 18. " And Joseph answered and said, This is the interpretation thereof: The " three baskets are three days." Half-length figures, smaller than life. The baker with naked breast and shoulder, is seated, bending energetically forward and looking with extreme anxiety in the face of the youthful Joseph, who, in expounding the fate of his unfortunate companion, extends his hands and partially inclines towards him. The face of Joseph, with long dark hair, like that of a woman, is seen in profile, turned towards the right. His dress is plain grey. The picture was purchased in 1748 for 57/. 15*. Dr. Waagen(voL iv. page 333) remarks of this picture : — "The heads are "very speaking and animated, the tone of the flesh clear, but subdued, and " the deep chiaroscuro of the whole of masterly rendering." Smith, in his " Catalogue Raisonne of the Works of Rembrandt," although not mentioning this picture, describes, at page 7, No. 18, a parallel compo- sition of "Joseph declaring his dream to his father." The picture there described contains many figures, but the attitudes of the two principal ones appear to be very much the same. An enamel from this picture by Bone is in the London collection in Eaton Square. Pennant, 4to, page 359. Canvas. 45^ in. x 41 \ in. 413. A Jewish Rabbi. A venerable old man, with a grey beard, wearing a dark flat cap, facing the spectator and seen to the waist, rests with both hands on the top of a stick before him. A double gold chain, wi'h some ornament attached to it, is suspended round his neck. Described in Smith's " Catalogue Raisonne of the Works of Rembrandt," page 118, No. 325. Dr. Waagen (vol. iii. page 465) says of this picture, "An old Rabbi with "a gold chain round his neck. Astonishing in the impasto, and of great " effect, but one of the coarser works of the master." Panel. 28 in. x 23 in. MICHELANGIOLO RICCIOLINI. A skilful copyist of the works of Raphael, who wrought from 1760 to 1763. The following drawings, in red chalk upon white paper, were, according to the Vitruvius Britannicus, edited by P. F. Robinson (1833), page 14, executed in Rome for the Marquess of Tavistock. L L Copies after Raphael. 414. Philosophy, or The School of Athens. Draivn in red clialk upon white paper. Copied from the fresco by Raphael, in the Stanza della Segnalura in the Vatican, 1760. Inscribed : Raphael ■ SANCT ■ vrbinas • pinxit in^dib ■ VATIC • MICHAEL ANGELUS RICCIOLINUS ROMAN ■ DELIN 1 A 1 MDC.C. 44 in. x 31 in. 415. Attila. Deterred by the threatening apparition of the Apostles Peter and Paul and the warnings of Pope Leo I., from his hostile enterprise against Rome. Draivn in red chalk, 1761. Copied from the fresco by Raphael, in the second Stanza of the Vatican. 44 in. x 31 in. 416. Theology; called "La Disfuta del " Sacramento." n , . „ , Draivn in red chalk, 1762. Copied from the fresco by Raphael, in the Stanza della Segnatura in the Vatican, 44 in. x 3 1 in. 417. Incendio del Borgo. The Conflagration miraculously extinguished by the Pope, by making the sign of the Cross. Drawn in red chalk, 1763. Copied from the fresco by Raphael, in the third Stanza of the Vatican. 44 in. x 31 in. 418. The Expulsion of Heliodorus from the Temple at Jerusalem. Drawn in red chalk, 1762. Copied from the fresco by Raphael, in the second Stanza of the Vatican. See the Head of the Avenging Angel copied by Sir Joshua Reynolds, ante, No. 41 1. 44 in. x 31 in. 259 419. Poetry, or the Parnassus. Drawn in red chalk, 1763. Copied from the fresco by Raphael, in the Stanza della Segnatura in the Vatican. 44 in. x 31 in. SALVATOR ROSA. 1615-1673. Born at Borgo di Renella, near Naples. Son of Vito Antonio Rosa, a land-surveyor, architect, and artist of moderate standing. Studied under Fracanzano, Spagnoletto, and Aniello Falcone, the latter a celebrated battle- painter. He also studied music profoundly, and several of his compositions still remain deservedly popular. His intercourse with banditti and his actual experience of a rough life, concealment in woods and caves, manifest them- selves in the majority of his works. Salvator was also a poet and satirist. His " Conspiracy of Catiline," in the Pitti Gallery, is his most important composition ; the " Belisarius," belonging to Lord Townshend, the most pathetic. Many of his large landscapes exhibit the influence of his con- temporary, Caspar Poussin, with figures possessing all the energy of his great instructor Spagnoletto. He is said to have taken part in the insurrection of Masaniello, and to have painted his portrait more than once. 420. Head of Diogenes. Study of a bearded man, life-size, to the breast, enveloped in a mantle covering also the head ; the face, seen nearly in profile, is turned towards the left. This picture is mentioned in Lady Morgan's " Life of Salvator Rosa," vol. ii. page 371. Dr. Waagen (vol iv. page 334) recognises in this bust picture, " great energy of forms and colour." Canvas. 27 in. x 29 in. PETER PAUL RUBENS. 1 5 77- 1 640. Born at Siegen, in Westphalia, June 29th, 1577, on the day of St. Peter and St. Paul. His father, John Rubens, had emigrated from Antwerp, and, soon after the son was born, settled at Cologne, where young Rubens, who 2 6o Subject Pictures, Various. was intended for the law, remained till his father's death in 1587. He studied art at Antwerp under Adam van Noort and Otto van Veen (Otto Venius), and in the spring of 1600 went to Italy and entered the service of Gonzaga, Duke of Mantua. At Rome and Venice he copied several pictures for the Duke. In 1605 he was sent on a mission to Philip III. of Spain, and there painted the portraits of the chief nobility. In 1608 he returned to Antwerp under the patronage of the Archduke Albert and Isabella, then Governors of the Netherlands, and married his first wife, Elizabeth, or Isabella, Brandt, in the following year. He visited Paris by the invitation of Marie de Medicis, and commenced the series of pictures commemorative of her marriage with Henri IV. and her subsequent Regency. In 1628 the Infanta Isabella, having become a widow, sent Rubens on a diplomatic mission to Philip IV. of Spain, and to Charles I. of England, by whom, in 1630, he was knighted. The King of Spain bestowed the same honour on him. In the same year he married, for the second time, a beautiful young lady of sixteen, named Helena Fourment, and died, possessed of immense wealth, at Antwerp, 30th May, 1640, and was buried with extraordinary pomp in the church of St. Jacques. 421. Abel Slain. Genesis, chap. iv. ver. 8. Abel dead, and covered partially with a brown fur, lie's on the ground, with his head, a white fillet binding the hair, towards the spectator. The whole figure is wonderfully foreshortened. A dog on the right hand side approaches him cautiously, and with an expression of anxiety. In the dis- tance, in the opposite direction, is seen a rude altar, with the wood on it still burning. Fine trees compose the rest of the background. Engraved in line by J. Heath. Plate 21 of Forster's " British Gallery of " Engravings," published in 1807. In the text to that work it is stated that " the picture has been some time in the possession of the Duke of Bedford at " Woburn, and is a very fine specimen of the Master. Prior to this it belonged " to Lord Melbourne." It is described in Smith's " Catalogue Raisonne of the Works of Rubens," page 270, No. 912. This picture was exhibited at the British Institution in Pall-Mall in 1819, No. 75 of the catalogue. Dr. Waagen (vol. iii. page 465) remarks : — "The beautiful gradation of " the tints in the exceedingly transparent and glowing flesh-tones is especially " to be admired." Canvas. 695 in. x 54 in. 5'i^"7o - "gSoburrt QbbcQ Qcitaloqiie. 261 422. The Tribute Money. a . , „ . ^ A copy from Rubens. ZM*k*\*k\. <«^>. Mark, chap. xii. v A composition of nine figures, half-length, the size of life. The Saviour stands at the extreme end of the picture, his face nearly in profile, turned towards the left, wearing a scarlet mantle over a grey dress, pointing upwards with his left hand. The Jews eagerly press forward and receive the divine mandate with astonishment and dismay. A brilliantly coloured picture. The original painting, formerly in the collection of the King of Holland, was contributed by Mr. Dingwall to the Art Treasures Exhibition at Man- 1 Chester in 1857, No. 536 of the catalogue. There is a repetition of it in the Louvre. Described in Smith's "Catalogue of the Works of Rubens," page 167, No. 577. Canvas. 58^ in. x 45 in. JOHN CHRISTIAN SCHETKY. 1 779- 1 874. A distinguished marine pa ; nterof an ancient Transylvanian descent. Was contemporary at the High School of Edinburgh with Sir Walter Scott, Lord Brougham, and Francis Horner. At the age of seventeen he practised scene- painting. In the year 1801 he walked from Paris to Rome. On his return from Italy, he settled at Oxford, and afterwards became Professor of Drawing successively at Sandhurst, Portsmouth, and Addiscombe. He was Marine Painter in Ordinary to Her Majesty. In 1848 he illustrated "A Cruise in "Scotch Waters on board the Duke of Rutland's Yacht, Resolution," with letterpress by Lord John Manners.* He drew with his left hand. Pied 29th January, 1874, aged 95. 423. The Battle of La Hogue. A long and very large picture full of excitement. The while smoke from the guns, which is very abundant, is all driven to the left. The foreground is very dark and heavy. * There is preserved in Woburn Abbey a letter addressed by J. C. Schetky to the Duke of Bedford, dated Belvoir Castle, 6th February, 1853, enclosing a copy of an old song, " written by one of the sailors of our fleet, just after the glorious Battle of La Hogue— " which I promised when I last had the honour of visiting your Grace at lindsleigh with " the Duke of Rutland." 262 Subject Pictures, Various. Signed in the right-hand corner. The following description of this picture is given by the artist : — " On the 19th of May, 1692, Le Compte de Tourville, emboldened by " Admiral Russell's delay in making the signal for battle, gallantly bore down ' ' through the combined English and Dutch Fleets —his own ship {Le Soleil " Royal) grappling with the Britannia, that of the British Commander-in- " Chief. However, so warm was the reception he met with, that after two " hours' severe fighting, he was fain to lower his boats and tow out of action, " the whole fleet doing the same— it having fallen calm. He was instantly " followed by the brave Russell, who continued his pursuit of the enemy " during the three succeeding days, either capturing or destroying twenty -one " sail of the line. This picture represents the battle at the moment when " victory was achieved, and the French were commencing their retreat. " On the extreme left, D 'Admirable (having struck) is being taken pos- ' ' session of by a large and long boat ; next large ship is Windsor Castle, " engaged on both sides with Le Conqnerant (84 guns) and La Magnifique " (76 guns). Next large ship is Britannia (100 guns). Admiral Russell also " engaged on both sides, having Soleil Royal (104 guns), Count Tourville, on " his larboard side, and Le Terrible (80 guns) on his starboard quarter. Next " to Soleil Royal is Le Neptune hove to, and Le Triomphant bearing down, " with the rest of the fleet, to support the Commander-in-Chief." Vide Admiral Russell's Letter. List of Ships LOST to Louis XIV. at La Hogue, 1692. S'lIPS. GUNS. SHIPS. GUNS. Soleil Royal (portrait) 104 Burnt. Magnifique . . . 76 Burnt. Dauphin Royal 104 Triomphant . . . 74 >) Hurricane .... IOO )> Aimable . . . 68 Ambitieux .... 96 1 > Serieux . . . . 62 ) > Admirable .... 90 ) > Glorieuse . . . . 60 > ) 86 } i Prince . . . . . 60 1 Sunk Conquerant 84 »» Sans Pareil . . . . 60 L in St. Philip .... 84 1 ) Inconstant . . . . 60J action. 84 » 1 St. Michael . . . 60 Burnt. Terrible .... 80 > > Trident • . . 56 Tonnant .... 76 This picture was originally painted with a view to the competitive Exhi- bition in Westminster Hall, 1847, for decorating the Houses of Parliament. The Duke of Bedford purchased it towards the close of the same year. See Miss Schetky's Life of her Father, 1877, pages 219-21. Canvas. \\ft. 6 in. x 80 in. 263 JOSEPH SEVERN. Died August 3, 1879, at Rome, where he had been long resident. 424. An Italian Vintage. .... t" c (I KUd^*""** A tall square-shaped picture. Naked children stand in a large circular vat 5 Tf*^* on the left, pressing out grapes. An olive tree, with the vine trained over its branches, rises in the centre of the picture, and two young men among the branches are gathering and throwing down the fruit to three girls beneath holding out their white aprons. A group of slumbering women and an old shepherd occupy the middle of the picture. A young lad, having slain a w ild boar, is about to rouse them by sounding a horn. Canvas. 49 in. x 40 in. FRANS SNYDERS. 1 579-1657. Born at Antwerp, and studied under Van Balen. Rubens frequently availed himself of his talent in depicting those animals and magnificent fruits which adorn his grandest compositions. Snyders painted large stag hunts, and received commissions from Philip III. of Spain and the Archduke Albert, whom he attended at Brussels. He painted frequently still life, and several enormous pictures of vegetable stalls, and larders stocked with fish and all kinds of game. His knowledge of the motion of the wilder animals may be said to be unrivalled. He died at Antwerp. 425. Still Life, Fruit, and Game. A large picture, with game, fruit, and vegetables on a table in front. *j C/y^ i ■£- Au,\, ■ Hares hang on the extreme left. In the background are small figures of Christ in the house of Martha and Mary. One sister is cooking at the fire, the other sits beside the Saviour with a large book on her knees. Canvas. 62 in. x 45 in. JACOB GEORGE STRUTT. Landscape-painter. Exhibited portraits at the Royal Academy in 1823. From 1824 to 1831, his works were exclusively forest scenery and painted with great care. He afterwards settled at Lausanne and in Italy. He drew and etched " Delicioe Sylvarum." His last exhibited work was an " Italian "Scene" in 1852. 264 Subject Pictures, Various. 426. Trees in Woburn Park. A picturesque decayed oak, brown in tone, painted evidently under the influence of Ruysdael, with very strong shadows. Canvas. 35^ in. x 26 in. GIOVANNI BATTISTA TIEPOLO. 1693-1769. Bom at Venice. Studied under Lazzarini and Piazzetta. His favourite model was Paul Veronese, and he became a clever fresco-painter, extensively employed in Germany and Spain, as well as in Italy. His colouring was gay, and his tones deficient in blending. He left two sons, Giovanni and Lorenzo. He frequently inserted figures in Venetian views by Canaletto. See ante, page 217. 427. The Continence of Scipio. Livy, lib. xxvi. cap. 50. A young man and a female kneeling before a youthful warrior, make offer- ing to him of vessels of gold, which are deposited on the ground. A lictor kneeling, with fasces and axe, is introduced on the left side. The background consists of an arch with the walls of a town, over which are seen a cupola and a lofty Italian tower. An old man behind the kneeling pair, expresses, by his gesture, surprise at the decision pronounced by the warrior. Female at- tendants stand on the extreme right. After the capture of New Carthage, a maritime city of Spain, b.c. 210, a female captive of extreme beauty was brought before Scipio Africanus. He forbore to take her to himself, and even restored her to her parents, and transferred the treasures which they had provided for her ransom to Allucius, a young prince to whom she was betrothed, as a dowry. Canvas. 47 in. x 42 in. CODAGORA VIVIANO. Excelled in painting the ruins and buildings of ancient Rome. He was also a landscape painter, and the figures in his pictures were mostly inserted by Domenico Garguoli. He flourished 1650. His works are very superior to those of his namesake, Ottavio Viviano, of Brescia. 230 burn &bbcv (Safctlocjue. 265 428. Rome. — View on the Tiber, with St. Peter's, and the Bridge and Castle of St. Angelo. Attributed, but erroneously, in recent times to Claude. The dome of St. Peter's rises majestically in the centre ; the arches of the bridge and the fortress form a dark mass against a soft sunset sky, and a few figures, introduced on the left side in the foreground, are also in deep shade. The latter do not accord in point of style with those generally seen in Claude's paintings. This picture is described in the 181 1 edition of Pennant, 8vo, page 603, as " View of old Rome by Claude ; " but in the original 4to edition of 1782, page 354, it is designated " The Castle of St. Angelo, by Lucatelli." It corresponds also with a picture that was formerly in the collection of Edward Harley, Earl of Oxford, and purchased at the sale of his collection, March 10, 1742, by the Duchess of Bedford, for ^27 15X. The picture and its companion are thus described in the original sale catalogue, page 10 : — "45. A view of the Coliseum at Rome, by Andrea Lucatelli. " 46. Do. of the Castle of St. Angelo, its companion." The first of these was purchased by a person named Markes for £18 I 5j. The second was sold for ,£27 15*., to the Duchess of Bedford (Gertrude Leveson Gower, mother of the Marquess of Tavistock). In the inventory of the pictures and effects of the Marquess of Tavistock, taken at his late residence in Bloomsbury, June 1767, we met with the follow- ing entry, page 67, " A view of Rome (by Viviano) with Castle of St. Angelo." There can be little doubt that this description refers to the same picture. The picture was exhibited by the Duke of Bedford at the British Institution, in 1819, as " The Castle of St. Angelo, by Claude," No. 45 of the catalogue. Smith includes this picture in his " Catalogue Raisonne' of the Works of " Claude," page 384, No. 423 ; but places it at the end of his list, and merely mentions it, as having been exhibited at the British Institution. He does not appear ever to have seen it. An examination of the details and condition of the buildings as seen in the picture will soon determine with accuracy the period when the view was originally taken. A tall square tower rising conspicuously from the left hand corner of the facade of St. Peter's, containing two stories, one over the other, was only 9 years in existence. It was intended as a campanile, and was commenced under Urban VIII. by Bernini in 1638. The foundation, begun by Carlo Maderno, having proved insecure, the entire fabric was removed during the following Pontificate (Innocent X.) in 1647.* The condition of the Bridge, exhibiting none of the statues which were * See Bonanni, " Templi Vaticani Historia," Rom. foL 1696, pages 151 and 152; Baldinucci, " Vita del Cavalier Bernino," ed. Milan, 1S12, vol. xiv. page 51 ; and Bunsen, " Beschreibung der Stadt Rom," vol. ii. page 147. M M 266 Subject Pictures, Various. erected on the parapet in 1688 by Clement IX., shows that the picture must have been painted before that time. There is no statue of St. Michael on the summit of the castle, but in its place a tall flagstaff, secured by ropes like the mast of a ship. The colossal statue was executed in bronze by a Flemish artist, Wenschefeld, for Pope Benedict XVI., 1740-1758. If the picture were painted by Lucatelli, it could only have been taken from some sketch by an earlier artist, as Lucatelli was a Roman, and worked in conjunction with Ricci and Pannini. He was born in 1660, and died 1741. Viviano (Codagora), on the contrary, was flourishing at the very period when Bernini's Campanile was in existence. He was a Neapolitan artist, brought up in Rome, and excelled in painting architectural ruins. From the style of his compositions, Viviano would almost seem to have been a pupil of Claude himself. He flourished in 1650. Claude was born in 1600, and died 1682. Dr. Waagen, on first seeing the picture in 1835, thus records his impres- sions (vol. iii. page 465). " This beautiful picture appeared to me in many " parts to deviate from Claude's style." During a subsequent visit, in 1856, he made these further observations (vol. iv. page 332). " By this more " favourable light I perceive that my former opinion of this large and fine " picture was unfounded. It offers an unusual combination of warmth, power, " and clearness of tone." Canvas. 72 in x 42^ in. JAMES WARD, R.A. 1769-1859. Born in Thames Street. Originally placed with J. R. Smith, the engraver. He practised engraving for some years, and was diverted to painting by seeing the works of Morland, his brother-in-law. In 1794 he was appointed painter IJ.£l and engraver to the Prince of Wales. He engraved Sir W. Beechey's large Review picture, now at Hampton Court. His little picture of the " Council " of Horses " is of a very high order in animal painting ; but the vast picture of an Alderney Bull, now in the National Gallery, is his most extensively known work. He died November 17, 1859, in his ninety-first year. 429. Figures and Horses. A village scene. White horse struggling to drag a beer cask up out of an ale-house cellar. Villagers dancing round a distant Maypole. London and St. Paul's in the extreme distance. Signed and dated Panel. 46 in. x 33 in. ^Sfofmrn Jlfcbeg ^dialogue. 267 JAN WEENIX. 1644-17 19. Son of Jan Baptist Weenix, a very distinguished painter, who had resided a considerable time in Rome, and whose pictures generally exhibit some Italian reminiscences in the background, either groups of statuary or architectural fragments, and masses of masonry. The younger Weenix, born at Amsterdam, lost his father at 16 years of age, and struck into the particular line of representing dead game, animals, fruit and flowers. In this class of imitation he never had an equal. His works are exceedingly numerous, and always to be met with in the market. On the other hand, the more refined compositions of his father's are much rarer, and eagerly purchased. 5^ CjvW^jLi t\ ■( ■ 0 430. Game. A dead hare hanging in the centre, surrounded by birds. Landscape back- ground ; the trunk of a tree on the right hand, and water to the left. Large dock-leaves in the corner. Very finely painted. Canvas. 46^ in. x 44 in. 431. Fruit. On a table, covered with a rich white cloth over a lower one of purple, are peaches, grapes, a peeled lemon, a dish of oysters, various vessels of plate, a flagon, and mother-of-pearl presentoir. The latter is overthrown. To the left, a green curtain above a square window. Canvas. 44^ in. x 42$ in. RICHARD WILSON, R.A. 1713-1782. Born in Montgomeryshire. Son of a clergyman. Studied in London under an obscure portrait-painter named Wright. His own career commenced with portrait-painting. On arriving in Italy in 1749, he was induced by Zuccarelli and Vernet to devote himself wholly to landscape. In this line he became one of the most original painters, and his " Niobe," exhibited at Spring Gardens in 1760, sufficed to establish his fame. He was one of the original members of the Royal Academy, and succeeded Hayman as their librarian. He retired in 1780 to his brother's in Wales, and died there. Some of his landscapes have been admirably engraved by Woollett. 268 Subject Pictures, Various. 432. View of Houghton House, Bedford- shire. A square mansion, with pointed towers at the angles, rises grandly above a rich mass of dark foliage to the left of centre. A glowing sunlight pervades the sky behind the graceful stems of a cluster of deep-toned trees to the right. A woman seated in the front is nursing a child, and a man in red stands be- side a white horse. The house was built by Mary Countess Dowager of Pembroke, and after- wards occupied by the Earl of Ailesbury. There is an engraving of this old mansion in the 4to edition of Pennant's " Chester to London," page 381. It is stated that Sir Philip Sydney wrote part of the " Arcadia " in a lodge belonging to this park. The house has since been pulled down excepting some of the ornamental parts, which form a picturesque ruin. See " Beauties of England and Wales," Beds, vol., page 66. This picture was exhibited at the Royal Academy in 1 77 1, No. 223 of the catalogue, in which it bears the following description : — " A view of " Houghton, the seat of the late Marquis of Tavistock, in Bedfordshire." Exhibited at the British Institution, 1817, No. 139 of the catalogue. Canvas. 49 in. x 39 in. JOHN WOOTTON. Died 1765. An eminent English figure, animal, and landscape painter. Scholar of John Wyck. He however formed himself on the style of classic Italian land- scape, and frequently imitated such masters as Claude Poussin and Salvator Rosa so skilfully as to mislead. His hunting-pieces at Althorp and Longleat are excellent. Some of his equestrian portraits are remarkably good. He generally signed his pictures with his name in full, as if incised into a stone wall or fragment lying on the ground. 433. Landscape. Canvas. 22 in. x i8| in. ^Soburn dlbfceg Catalogue. 269 UNKNOWN PAINTERS. 434. Head of a Young Lady. Life-sized figure, to the waist ; face seen in three-quarters turned towards the right, looking at the spectator. Rich yellow satin sleeve, with square-cut dress, so as to exhibit the neck. Blue sash round the waist, and large double pearls attached to her earring. Pearl necklace, with large pearl pendant. Landscape background. A well-painted picture. Canvas. 23 in. x 19 in. 435. Dutch Landscape. View across a plain, with mountains to the right. Yellow sky. Canvas. 58 in. x 40 in. 436. Dutch Landscape, with Figures in a Boat. A rough wooden bridge to the left, and a group of trees to the right. Panel. 28^ in. x 21 in. 437. Madonna and Child. Early German Schoo[ Half-length figure of the Virgin holding a pansy in her left hand, anil supporting the naked Christ on her right arm. The infant Saviour looks sportively away to the left, at a bird which he holds in his raised hand. The Virgin wears a red mantle and a gauze headdress. She looks towards the child with drooping eyes. The nimbus over her head is merely a pale line forming a circle seen in perspective. No nimbus is perceptible round the head of the child. A white vase with blue pattern containing tall flowers, lilies, the blue iris, and pansy, is in front to the right, and a metal dish containing plums and cherries is placed on a green table before her. The flower vase is inscribed round the shoulder — " SOLI VERTVS." Painted on pa?icl. RAPHAEL TAPESTRIES. TAPESTRIES. FROM THE CELEBRATED CARTOONS BY RAPHAEL. To complete the decoration of the Sistine Chapel, already enriched with the finest works of Michel Angelo and the most celebrated Florentine artists of an earlier period, Pope Leo X. determined to adorn the lowest part of the walls of the Presbytery with Tapestries, wrought in the costliest materials, re- presenting the Acts of the Apostles. To this end Raphael was commissioned to prepare coloured designs on a large scale, which were to be woven at Arras by Flemish workmen. In the execution of these designs, during 15 15 and 1 5 16, Raphael was assisted by Francesco Penni, Giovanni da Udine, and Giulio Romano. The copies in Tapestry were completed and first suspended in the Sistine Chapel on St. Stephen's Day, 15 19, to the great admiration of every one present. The Cartoons themselves, having served their immediate purpose, were allowed to remain in neglect at Arras, till King Charles I., at the suggestion of Rubens, purchased them to serve as patterns for a new manufactory of Tapestry which he was interested in encouraging at Mortlake. The demand for Tapestry as furniture for dwelling houses was very con- siderable, and the chief supply of it, at that period, was imported from Flanders. Sir Francis Crane established a manufacture of Tapestry, commonly called Hangings, at Mortlake, Surrey, and was extensively patronised by the Court. Francis Cleyn, of Rostock, a painter and skilful designer, appears to have worked with him. That Raphael's designs were also made use of in this establishment is shown by the following entry in Van der Doort's Catalogue of Pictures belonging to King Charles I., drawn up in 1639 : — " Pictures in store at Whitehall at this time (1639), in the passage room, " between the Banqueting house and the privy lodgings. " Raphael Urbin. " In a slit deal wooden case, some two cartoons of Raphael Urbin's for " hangings to be made by, and the other five are, by the Ring's appointment, " delivered to Mr. Franciscus Cleane, at Mortlack, to make hangings by." N N 274 Raphael Tapestries. These Cartoons, which for many years occupied a gallery built expressly for them by Sir Christopher Wren in Hampton Court Palace, are now pre- served in the South Kensington Museum. King Charles the First granted to Sir Francis Crane the sum of ,£2,000 yearly for ten years, "for the better " maintenance of the said worke of tapestries." * It is certain that numerous sets of Tapestries from these designs of Raphael were executed in England, and in all probability chiefly at Mortlake, under the supervision of Cleyn, who was a practical artist. They are generally surrounded by large and fanciful borders, composed of figures and arabesques, which seem to have been designed by Cleyn. There can be no doubt that the set to which these four Cartoons belong was wrought expressly for the Earl of Bedford, and prior to the year 1694, as the shield of arms is in every instance surmounted by an Earl's coronet. The devices of the borders are all alike. The Russell arms, crest, and motto invariably appear above in the centre, whilst below, in the middle, on a white tablet in an oblong oval red frame, is a quotation from Scripture, explaining the subject. The principal device of the pattern of the borders consists in a blue and white scroll, threaded with garlands of flowers. At each side a naked cupid, stand- ing on the end of the scroll, which starts from a square pedestal in the corner, reaches to gather flowers that are above him. The left-hand boy is seen in profile; the face of the opposite one is not shown, his wings are browner, and he turns his back to the spectator. In all cases, the coat of arms and motto, " Che sara, sara," are independent of the border, and hang partly below in front of the central compartment, so as to conceal the sky or other parts of the composition. The Earl's coronet is surmounted by a helmet with the crest (a goat) standing on it. The figures are all turned the reverse way of the original Cartoons, and correspond with the Tapestries executed for the Sistine Chapel. These are wrought in woollen threads; but the originals were woven with silk and gold and silver threads, which may still be seen in one of the galleries of the Vatican. They have been accurately engraved in Pistolesi's folio work " // Vaticatw" Roma, 1829, vol. vii. A duplicate set, wrought in equally rich materials, was presented by the Pope to King Henry VIII. of England, in recognition of his services at that time as " Defender of the Faith." That very fine series of Tapestries is now in the Public Museum at Berlin. A series of copies in oil colours by Daniel Mytens, taken probably from the original cartoons whilst they remained at Arras, is preserved at Knole. They are boldly painted, and may have been done to give King Charles I. an idea of their compositions before purchasing them. Mytens made many copies for the king, and even went abroad for that express purpose. These copies of the cartoons were brought from Copt Hall, Essex, by Charles, Earl of Dorset. * WalpoWs Anecdotes, edited by Dallaway and Wornum, page 236. 275 438. The Miraculous Draught of Fishes. Luke, chap. v. ver. 8. A square tapestry ; narrower than the rest ; the two sides have been cut off, so as to reduce the figure of the Saviour and remove altogether the figure of Zebedee. The face of Christ is in profile turned to the left. The buildings on the opposite shore are different from those in the original cartoon. They consist of large palaces and domes and a smoking chimney ; and also one small isolated group of figures on the shore. Two large birds hover in the air. The oval tablet below has the following inscription in black letters on a white ground : — LVC • CAP • s STVPENDA • PISCIVM • CAPTVRA CHRISTVS • PETRVM • ET ■ SOCIOS PISCATORES • CAPIT ■ Engraved by Ferretti in Pistolesi, vol. vii. tav. xi. Height, 10 ft. 4 in. ; width, 9 //. 3 in. ; borders at top and bottom, 17 in. ; at sides, 13^ in. The borders measure the same through- out the series. 439. The Healing of the Lame Man at the Beautiful Gate. Acts, chap. iii. ver. 6. This accords exactly with the cartoon, only tumed the reverse way. The profile of the lame man here is directed to the left. The tapestry has been injured in the border. The lower part has been pieced with fragments of some other tapestries. The central tablet below is imperfect towards the left. It stands thus : — ACT • CAP ■ 5 {sic) VS • MENDICANT!. • CLAVDO M • VACVAM • PORRIGIT T • SANATRIGEM. It may be observed that the colours of the central portion, between the columns, are most powerfully and vividly preserved. The kneeling beggar and woman and child are paler. The heads are excellent. See Pistolesi, vol. vii. tav. iii. On the external blue border, down the right side, which retains the original white fringe, may be detected an oblong white shield with a plain red cross (of St. George) upon it. This appears to be a distinctive mark of the manu- factory. It is to be found on similar borders in other sets of tapestry (from different designs) connected with initial letters as T • P • and B • B at Knole, and «'F • P • HATTON GARDEN "at Hardwick. Height, 10 ft. 4 in. ; width, 1 5 ft. 276 Raphael Tapestries. 440. The Death of Ananias. Acts, chap. v. ver. 5. In this composition Ananias falls with his head towards the left. The group of Apostles giving alms is on the right-hand side. The figure of Sapphira, seen in the original cartoon, is here omitted. There are also no figures ascending the steps. This tapestry has also the red cross on a white shield in the blue outer border. Inscribed below, in the centre — ACT • CAP • 5 ANANIAS • APOSTOLIS MENTITVS • MORTE PLECTITVR • SVBITANEA See Pistolesi, vol. vii. tav. xii. Height, 10 ft.; width, 14 ft. 7 in. 441. The Death of Sapphira. Acts, chap. v. ver. 10. This composition does not belong to the series of designs by Raphael ; but forms one of the present set of tapestries. The borders are the same, and the Russell arms occupy the same place above. The red cross on a white shield, the mark of fabric, may be observed on the external right-hand blue border. The figures are very numerous, and full of energy, and the entire scene and attitudes of the figures may be termed a paraphrase of Raphael's Ananias. The Apostles stand on a platform, one figure is emptying a bag of gold at their feet. The head of a man standing behind him has much resemblance to that of Rubens the painter. A group on the left of people receiving alms is inter- sected by the shaft of a column in front. A large white building is seen in the distance. The entire design seems to be adapted from some engraving or composition of the period of Raphael. It is a curious parody or imitation of the design of the Ananias. In like manner the Apostles stand raised on steps in the centre. Sapphira falls to the ground with her head towards the right. The body of Ananias is being carried out to the left. ACT ■ CAP • s • SAPPHIRA • CRIMINIS • CVM MARITO • CONSORS ■ FIT ETIAM • SVPPLICII • Height, 10 ft. ; width, 14 ft. 7 in. ^Jofcurn &bbe-& Catalogue. 772 442. Paul and Barnabas at Lystra. Acts, chap. xiv. ver. 13. This is the most faded and worn of the series. The cross on a shield is on the outer blue border on the right side, but it has been concealed by turning the edges back. ACT • CAP • 14 • PAVLVS • ET • BARNABAS ■ SACRIFICATVROS ■ SIBI • LYSTRENSES PROHiBENT (sic) See Pistolesi, vol. vii. tav. viii. Height, 10 ft. 4 in. ; width, 16 ft. " Christ delivering the Keys to Peter," and " Paul preaching at Athens," are not included in this series. Other sets of tapestries from Raphael's Cartoons, surrounded by orna- mental borders, are at Ford Abbey, Devonshire; Burghley House; Boughton House, the seat of the Duke of Buccleuch, including " The Death of Sap- "phira"; Petworth House; Chatsworth; and Arundel Castle. The last named, formerly at Worksop Manor, Nottinghamshire, are four in number, and are: "Paul and Barnabas at Lystra," "The Miraculous Draught," "The Death of " Ananias," and " Christ delivering the Keys to Peter." There is also a Tapestry of the " Elymas," in Chester Cathedral. At Boughton House is a second set, also bearing the Mortlake device in the corner, wrought with far greater precision and delicacy of drawing. In the centre of the top border of each is a shield bearing the Herbert or Powys arms. The threads employed in these decorations, and on glories round the heads of Saints, are gold and silver. At Longleat are three Tapestries, viz. : "Paul Preaching," "Paul before " Festus," and " The Miraculous Draught." They are said to have been made at Antwerp, and bought by "Tom of Ten Thousand," for his lady's drawing room, at an enormous price. ALPHABETICAL NAMES OF ARTISTS, WITH BRIEF BIOGRAPHICAL NOTICES, AND REFERENCE TO THEIR WORKS IN THIS COLLECTION. ALLAN, SIR WILLIAM, R.A. 1782-1850. Born at Edinburgh, where, as well as afterwards in London, he was a fellow-student of Wilkie. He started for Russia in 1805, and, after a disastrous voyage, arrived at St. Petersburg, where he met with considerable success. On returning in 1815 from a journey in Tartary and Turkey, he exhibited a picture in London of " Circassian Slaves," now in the possession of the Earl of Wemyss. In 1830 he returned to the Continent, and in 1834 visited Spain. In the following yearhewas elected Royal Academician, and in 1838 became President of the Royal Academy of Scotland, and succeeded Wilkie as Her Majesty's " Limner for Scotland." He received the honour of knighthood in 1842. He died at Edinburgh. One of his best pictures is Sir Walter Scott (the last portrait for which he sat) in his library at Abbotsford. It is now in the National Portrait Gallery. Death of the Regent Murray. Part 2. No. 332. ARPINO, CAVALIERE GIUSEPPE CESARI DI. 1568-1640. Of the Neapolitan School, and a superficial painter. Born at Rome. Employed to paint in the Vatican, for which Pope Clement VIII. rewarded him with the knighthood of the Order of St. John Lateran. He died at Rome. The name d'Arpino was given to him from his father's birth-place. His own Portrait. No. 93. 280 Biographical Notices of Artists. BARRETT, RANELAGH. Died 1768. A noted copyist. Patronised by Sir Robert Walpole, and em- ployed to copy pictures at Houghton and in the collections of the Duke of Devonshire and Doctor Mead. He excelled in copying Rubens. His pictures were sold by auction, December 1768. A copy by Barrett, after Kneller, of Lord Chancellor Somers is at Wimpole and engraved in Lodge's Portraits, plate 186, as the work of Kneller. The original picture is at Knole. Copy after Eccardt of the Right Hon. Richard Rigby, No. 258. BASSANO, LEANDRO DA PONTE. 1555-1623. The Cavaliere Leandro, born at Bassano, was an excellent portrait- painter, and completed many of his elder brother Francesco's un- finished works. Venetian School. Vignola. No. 16. His own Portrait. No. 62. BATONI, POMPEO. 1702-1787. Born at Lucca, he established himself at Rome, and, in addition to many religious and historical pictures on a large scale, produced an incredible number of portraits. He was in especial request among the English dilettanti who visited Italy. Many of his pictures are in this country, but he does not himself seem to have visited England. His works exhibit brilliancy and mellowness; but harmony, and an agree- able blending as a whole, are wanting. His drawing is vigorous and learned. His style seems to have been based on that of Carlo Maratti. Marquess of Tavistock. No. 247. Marquess of Thomond. No. 266. BEALE, MARY. 1632-1697. One of the best female portrait-painters during the 17th century. Daughter of a clergyman named Cradock, minister of Walton-upon- Thames; studied painting under Sir Peter Lely, and through his interest obtained many of the finest pictures by Van Dyck to copy from. She also copied the paintings and drawings by her master with great as- siduity. Her husband, Charles Beale, possessed the manor and estate of Walton in Buckinghamshire; he practised chemistry, and took great interest in the manufacture of colours. His pocket-books containing 281 notes of matters connected with art and artists, have proved of great value towards the history of painting at this period. They date from 1672 to 1681. Mrs. Beale died in Pall Mall, December 28, 1697, and was buried in St. James's Church. Her son Charles also practised painting. Duke of Monmouth. No. 162. BEDFORD, ANNA MARIA STANHOPE, DUCHESS OF. Charles I. {after Van Dyck). No. 122. BEECHEY, SIR WILLIAM, R.A. 1753-1839. Born at Burford, in Oxfordshire. Patronised by King George III. His great picture of a Review, containing portraits of the King and the Prince of Wales, is now in the Royal collection at Hampton Court. He was generally successful in his likenesses. The historical pictures which he attempted did not contribute to his fame. John, 6 th Duke of Bedford. No. 274. BERWICK. See BARRETT, RANELAGH. Right Hon. Richard Rigby. No. 258. BONINGTON, RICHARD PARKES. 1801-1828. Figure and landscape painter. Born near Nottingham. Went to Paris when 15, and studied in the Louvre, and under Baron Gros. In • 1822 he visited Italy, and in 1826 exhibited two views on the Trench Coast at the British Institution. Died of consumption in London. Buried at Pentonville Church. His pictures now command very high prices. Coast Scene. Part 2. No. 333. BOTH, JAN. 1610-1650. Eminent landscape-painter ; born at Utrecht. He studied under Bloemaert, but was influenced by the works of Claude. He was con- stantly associated in the production of his pictures with his brother Andrew, and did not long survive his death, which occurred at Venice, in returning from an entertainment. Jan Both died at Utrecht. His own Portrait. No. 127. Landscape (School). Part 2. No. 329. O O 282 Biographical Notices of Artists. BRONZING, ANGELO. 1502-1572. Of the Tuscan School. Born at Montecelli, near Florence. A pupil of Pontormo and admirer of Michel Angelo. An excellent portrait- painter. He was much employed by the Grand Duke Cosmo I. Died at Florence, 23rd November, 1572. The Queen of Navarre and Henri IV. (so catted). No. 15. BUCKNER, RICHARD. (Living Artist.) Elizabeth Sackville West, present Duchess of Bedford. No. 302. CALIARI, CARLO. 1570-1596. Son of the famous Paul Veronese. Born at Venice. He and his brothers Gabriele and Benedetto are known as the " Heirs " of Paul Veronese, and completed many of the pictures left unfinished by their father at his death. Portrait of Paul Veronese. No. 37. CALLCOTT, SIR AUGUSTUS WALL, R.A. 1779-1844. Born at Kensington. Distinguished for the refinement and calm- ness of his landscape compositions. He was in his boyhood one of the choristers at Westminster Abbey, and encouraged in the pursuit of paint- ing by Hoppner, who had himself first been a singer at the Chapel Royal. His best figure composition was " Raphael and the Fornarina," ex- hibited in 1837. In the same year he was knighted and appointed keeper of the Royal pictures. He died at Kensington. His brother was the distinguished musical composer. View on the Scheldt. Part 2. No. 335. CAMPBELL, THOMAS. 1790-1858. Sculptor. Born in Edinburgh. Studied at the Royal Academy, London. Visited Rome in 1818. Adopted the Classic style, and executed many busts of distinguished persons. Died in London. Anna Maria, Duchess of Bedford (Bust). No. 323. "§3ofutm Qbbe-Q (Safalogue. 283 CANAL, ANTONIO (CANALETTO). 1697-1768. Born at Venice. Originally a scene-painter. Studied at Rome. Best known by his masterly and vivid delineations of his native city. He made use of the camera obscura. In depicting the buildings and canal effects of Venice he had been preceded by Luca Carlevaris, born at Udine in 1665 ; but the works of the latter are more elaborate and laboriously finished, with an ashen grey atmosphere. The figures in Canaletto's pictures were sometimes painted by Tiepolo. Many of his Italian views are in the Royal Gallery at Windsor, having been procured direct from the artist's easel by the English Consul at Venice, Mr. Smith, a known connoisseur and collector of works of art. Canaletto came to England in 1746. His London views are highly prized. He painted a view of the interior of King's College Chapel, Cambridge. In the deanery at Westminster is a fine view of the west end of Westminster Abbey. He also painted Northumberland House and Windsor Castle. Views in Venice. Part 2. Nos. 336 to 359. CARACCI, ANNIBALE. 15601609. Son of a tailor. Born at Bologna. Studied art with his elder brother, Agostino. His cousin Lodovico (perhaps the grandest and most powerful painter in this celebrated family) strengthened the taste and directed the pursuits of Annibale, who, on his arrival in Rome in 1600, was employed by Cardinal Odoardo Farnese to decorate the gallery of his celebrated palace. Annibale also devoted considerable attention to landscape. The backgrounds of his mythological pictures are frequently very fine. His picture of the three Maries, now at Castle Howard, is perhaps his most celebrated picture in England. The ' Silentium " at Windsor Castle is well known through Bartolozzi's engraving. Aoli me tangere. Part 2. No. 360. CARPENTER, MARGARET SARAH. 1793- 1872. Born at Salisbury. Daughter of Captain Geddes. Married in 181 7 William Hookham Carpenter, son of an eminent bookseller, who after- wards became keeper of the prints and drawings in the British Museum. Her portraits, very numerous and equally varied are very excellent. Georgia na Duchess of Bedford. No. 277. Lady Rachel Evelyn Russell. No. 283. Biographical Notices of Artists. CASTIGLIONE, GIOVANNI BENEDETTO, called IL GRECHETTO. 1616-1670. Born at Genoa. Studied under Paggi and Andrea de Ferrari. He is said to have been influenced considerably by the works which Van Dyck left in his native place. He visited Rome, Florence, Parma, and Venice. He painted history, portraits, landscapes, and animals, Pas- toral landscapes seem to have been his special forte. His etchings are remarkable for their effective arrangement of light and shade. His brother Salvatore and Francesco his son, painted similar subjects. He died at Mantua. Departure of Israelites from Egypt. Part 2. No. 361. CAUS, SOLOMON DE. 1576-1630. A native of Normandy. Drawing master to Henry Prince of Wales. In 16 1 2 he published a book with plates on Perspective, and a work on Mechanics in 1628. Pennant attributes to this artist the portrait here cited. Walpole distinctly assigns it to Mireveldt. Henry, Earl of Southampton. No. 64. CHAMPAIGNE, PHILIPPE DE. 1602-1674. Flemish School. Born at Brussels. Pupil of Bouillon. He after- wards studied under L'Allemand . at Paris. Nicolas Poussin having seen his works, took great interest in Champagne, and procured him opportunities of painting under Du Chesne in the Luxembourg. He returned to Brussels in 1627, but was summoned back to Paris by the Queen's command, and from that period executed a vast number of religious and historical pictures and portraits in churches, palaces, and public buildings. Cardinal Richelieu employed him. His pictures are all of a severe and somewhat academic character. He was appointed Professor and Rector of the Academy of Painting at its foundation in 1648. He died at Paris. Descartes. No. 126. Colbert. No. 160. St. Clara. Part 2. No. 362. CLAUDE GELLEE. 1600-1682. Born in Lorraine. His parents were poor, and he was placed with a pastrycook. At Rome he engaged himself as a domestic servant to Agostino Tassi, a landscape-painter, and pupil of Paul Bril. Under such circumstances he acquired his first knowledge of art. Sandrart first taught Claude to paint from nature. He preserved sketches of all the pictures which he had parted with, and called the collection " Liber Veritatis." He was especially successful in aerial perspective, and in the management of light generally. The figures in his landscapes were frequently painted by F. Lauri, Courtois, and A. Both. He died at Rome, 1682, and was buried in the church of La Trinita de' Monti. The excellent Dictionary of Bryan, edited by Stanley, gives the biography under Lorraine ; but Villot's Catalogue of the Louvre, Nagler, and the English Catalogue of Italian Painters, 1855, edited by R. N. Wornum, adopt the heading Gellee. The National Gallery and Manchester Exhibition Catalogues prefer Claude as more extensively known. St. Peter's at Rome. Part 2. No. 428 CLOUET. See JANET. The fair Geraldine. No. 25. CLOSTERMAN, JOHN. 1656 1713. Born at Osnaburgh. Derived his first notions of art from his father, also a painter. Went to Paris in 1679, and worked under De Troy. In 1 68 1 he came to England and painted draperies for Riley. Closter- man appears to have been of a somewhat quarrelsome disposition, and lost the favour of the Duke of Somerset on the question of a picture by Guercino, after which the Duke sat to Dahl in preference. In November 1698, we find by letters from the Hon. Alexander Stanhope, that Closterman was at Madrid, painting that minister's por- trait "in Golilla," and afterwards painted the King and Queen of Spain. Alexander Stanhope's portrait, a full length, and admirably painted in the Spanish style, is still at Chevening. Closterman painted the Earl of Sunderland, Sir Charles Isham, and the Duke of Marlborough, his Duchess, and family. With her Grace the painter had so many bickerings, that the Duke remarked : " It has given me more trouble to " reconcile my wife and you, than to fight a battle." He married an extravagant woman who dissipated his fortune. He lived in Covent Garden and was buried there. Mrs. Howland and Daughter. No. 197. CODAGORA. See VIVIANO. St Peter's at Rome. Parti. No. 428. 2 86 Biographical Notices of Artists. COLLIER, ARTHUR BEVAN. Brentor. Part 2. No. 363. COLLINS, WILLIAM, R.A. 1788-1847. Born in London. His father was an Irish picture-dealer, and author of a " Life of Morland." Young Collins first exhibited at the Royal Academy in 1809. He was elected Associate in 181 5, and full member in 1820. His subjects were always homely and natural, and he has been designated as a truly English painter. In 1837 he visited Rome. From the period of his Italian tour he frequently produced subjects of his foreign experience, but to the last he professed to retain a preference for the scenery of his native country. Hastings Sands. Part 2. No. 364. COOPER, ABRAHAM, R.A. 1787-1868. A distinguished animal and battle painter. Son of a tobacconist; born in Red Lion Street, Holborn. He was in some capacity connected in his earlier days with the performances at Astley's Amphitheatre, and employed his leisure hours in sketching dogs and horses. Mr. Henry Meux became his first patron, and Cooper soon obtained employ- ment from the Dukes of Grafton, Bedford, and Marlborough. His designs were engraved in the Sporting Magazine. The " Battle of "Waterloo," painted in 1816, obtained a premium of 150 guineas from the British Institution. He became a Royal Academician in 1820. His principal picture is the " Battle of Marston Moor." It was exhibited in 1817. Battle of Zntf hen. Part 2. No. 365. Death of Sir Francis Russell. Part 2. No. 366. COOPER, SAMUEL. 1609 1672. The most distinguished painter of miniatures, and an English-born artist. He was instructed by Hoskins, who was also very eminent in that line of art. He painted Cromwell, Hobbes, General Monck, Charles II., the Earl of Shaftesbury, the Duke of Lennox and Richmond, Mary Fairfax, Duchess of Buckingham, the Duke of Monmouth, and, in succession, nearly all the leading personages of the Court. Pepys, in 1669, says of Cooper, in his Diary, " He is a most admirable " workman and good company." He was induced to visit France, where 33ofrurn Jlbbeg Catalogue. 287 he remained a long time, and painted portraits on a somewhat enlarged scale. He sojourned afterwards in Holland, and died in London, May 5, 1672. He was buried in St. Pancras Church. In Mr. Beale's diary, under this date, .Sunday, is entered, " Mr. Samuel Cooper, the most " famous limner of the world for a face, died." He was certainly the first among the miniaturists to adopt largeness of style and breadth of shadow. Alexander Pope, the poet, was his nephew. Thomas, £,th Earl of Southampton. Miniature. Part 2. No. 444. COSWAY, RICHARD, R.A. 1740-1821. A fashionable portrait-painter, collector, designer, and miniature painter. Born at Tiverton. Began the study of art under Hudson. Received a premium from the Society of Arts in 1775. Elected member of the Royal Academy in 1 7 7 1. He enjoyed the favour of the Prince of Wales, and all the beauties of that period sat to him. Buried in Marylebone Church. Anna Maria, Duchess of Bedford, as "Hebe." Part 2. No. 447. COTES, FRANCIS, R.A. 1726-1770. Son of an apothecary, resident in Cork Street, Burlington Gardens. A portrait-painter of great ability, both in oil colour, and crayons. He was a pupil of George Knapton, but threw more refinement into his work. His crayon drawings, life-size, are admirable, especially a "silentium " composition of Queen Charlotte, holding the Princess Royal asleep in her lap, now at Windsor Castle. The Duke of Northumber- land's picture of the same subject is dated 1767. He died at his house in Cavendish Square, July 20, 1770, and was buried at Richmond, in Surrey. John, 4th Duke of Bedford. No. 236. CRAYER, GASPAR DE. 1582-1669. An historical painter of great power. He was born at Antwerp, and instructed by Raphael Coxcie, of Brussels. His talent was recognised by the Archduke Ferdinand, who employed Crayer to paint his portrait for his brother, the King of Spain. The name of this artist stands high even when rated with those of Rubens and Van Dyck. He holds an independent position. Archduke Ferdinand. No. 114. 2 88 Biographical Notices of Artists. CUSTODIS, HIERONYMUS, OR JEROME, OF ANTWERP. A painter of whom nothing is known beyond the fact that he was a member of the Dutch church in Austin Friars, London, and died in 1592. His widow, born Catherina van Hersaele of Brussels, is recorded in the church register as having re-married Jan Jams of Antwerp, December 2 7> *593- There is one specimen of his work in the Royal Collection at Hampton Court Palace ; it is a portrait of Sir John Parker, a gentle- man pensioner to Queen Elizabeth, and dated like all the other known pictures, 1589. The rest are at Woburn Abbey. Giles Bruges, Lord Chandos. Dated July 8. No. 44. Elizabeth Bruges, Lady Kennedy. No. 68. CUYP, ALBERT. 1620-1691. Born at Dort ; he excelled equally in portrait and landscape painting, but his works in the latter class are by far the most numerous. He followed the trade of a brewer. His father, Jacob Gerritz Cuyp, had also exercised the pencil, and was one of the founders of the Academy at Dort. His own Portrait. No. 153. Nimeguen. Part 2. No. 367. DAHL, MICHAEL. 1656-1743. Born at Stockholm. Received his earliest instruction in art from Klocke. At 2 2 years of age he arrived in England with a merchant named Pouters. He soon after proceeded to Paris, and spent three years in Italy. At Rome he painted Queen Christina, his former sove- reign. In 1688 Dahl returned to England, where Kneller's reputation was fast rising. He painted the most distinguished Admirals for the King, and a series of Beauties, still preserved in a special room for them at Petworth. Both Queen Anne and Prince George of Denmark sat to him. He died October 20th, and was buried in St. James's Church. Anne, Countess of Albemarle. No. 226. DANDRIDGE, BARTHOLOMEW. Son of a house-painter. Had much occupation, and was very suc- cessful in taking a likeness. Walpole gives no further information about him. His pictures bear date 1732, 1737, and 1741. He was free and masterly in execution. A clever portrait by him of Hooke, the Roman Historian, is in the National Portrait Gallery. Frederick, Prince of Wales. No. 223. £3ofcurtt &bbeQ QaialoQvte. 289 DEARMAN, JOHN. Died about 1856. A pleasing painter of cattle and sheep. His landscapes partake of the combined merit of Nasmyth and Sidney Cooper. He lived at Shere, near Guildford. Exhibited for a few years at the Royal Academy between 1842 and 1856, about which time he died. Cattle. Part 2. No. 368. DEVONSHIRE, EDWARD COURTENAY, EARL OF. 1526-1556. Born about 1526. Released from the Tower and restored to the Earldom of Devonshire by Queen Mary, 1553. Committed again to the Tower on suspicion of implication in Wyatt's rebellion. Removed to Fotheringay, whence he received freedom through the intercession of Philip of Spain. Died at Padua. His own Portrait. No. 10. DOBSON, WILLIAM. i6io-i<46. An English-born artist. Born in the parish of St. Andrew, Holborn. Van Dyck happening to see one of his pictures in the window of a shop on Snow Hill, was induced to visit the painter. He relieved his necessities and afforded him the highest introductions, so that on the death of Van Dyck he became Serjeant Painter and attended the King to Oxford. Charles used to call him the "English Tintoret." He was, however, careless in his habits, and became hopelessly involved in debt. He died early, and was buried in St. Martin's, October 28, 1646. His picture of Colonel Russell, Prince Rupert, and Mr. Murray drinking wine, is mentioned in Walpole's "Anecdotes" (Dallaway and Wornum), page 35 2 • Sir Ed. Stradling. No. 91. Endymion Porter. No. 92. Bruno Ryves. No. 158. DOLCI, CARLO. 1616-1686. Born at Florence. Painted principally Madonnas and Magdalens. His larger pictures and groups of figures are seldom to be met with. Some of his finest works in England are at Blenheim Palace and Cobham Hall. A female Violinist. Part 2. No. 369. P P Biographical Notices of Artists. DUGHET. See POUSSIN, GASPAR. DYCK, SIR ANTHONY VAN. 1599-1641. Van Dyck was born March 22nd, 1599, at Antwerp, where his father was a merchant. His first instructor in art was Van Balen. He was the most distinguished pupil of Rubens ; and at an early age obtained a brilliant reputation as a portrait-painter. Before his twentieth birth- day he was admitted a Master of the Antwerp Corporation of Painters. By the advice of Rubens he visited Italy in 1623, and spent five years principally sojourning at Genoa, Rome, and Venice. His first visit to England, in 1620-21, was of short duration; but in 1632 he returned, under an express invitation from King Charles I., who bestowed especial favours on him, and lodged him in the royal palace at Blackfriars. A pension of 200/. per annum for life was assigned to him, and in 1632 he received the honour of knighthood. He died at Blackfriars, December 9, 1641, and on the eleventh of the same month he was buried in the Cathedral of St. Paul, near to the tomb of John of Gaunt. Notwith- standing his expensive manner of living, he left property to the value of about 20,000/. He married Mary Ruthven, granddaughter of the Earl of Gowrie, and by her left an only child, a daughter ; she was baptized Justiniana on the same day that her father died, and became the wife of Sir John Stepney, of Prendergast, Baronet. Lady Herbert. No. 80. Snettinx. No. 82. Vanden Wouwer. No. 83. Mallery. No. 84. Full-Je?igth Cavalier in blue. No. 85. Miraus, or Le Mire. No. 86. His own Portrait. No. 87. Francis, ^th Earl {whole length). No. 97. Charles I. {copy). No. 120. Lady {full-length), called Queen Henrietta Maria. No 123. My tens and Wife. No. 128. Chevalier Le Roy. No. 129. Countess of Carlisle and her Niece {a copy). No. 135. Rachel, Countess of Southampton {copy). No. 145. Frances, Countess of Southampton {copy). No. 146. Algernon, Earl of Northumberland {copy). No. 148 Marguerite de Lorraine. No. 154. Lord Digby and Sir Wm. Russell {copy). No. 1 7 1 Anne, Countess of Bedford. No. 175. 291 Anne, Countess of Bedford. No. 176. Infant Saviour. Part 2. No. 370. Daedalus. Part 2. No. 371. EASTLAKE, SIR CHARLES LOCK, P.R.A. 1793-1865. Born at Plymouth ; son of a Solicitor to the Admiralty and Judge Advocate at Plymouth. Educated at Charterhouse. The sight of Haydon's first exhibited picture in 1807 prompted him to devote himself to painting, and he became a student at the Royal Academy under Fuseli in 1809. He was commissioned by his friend, Mr. Jeremiah Harman, to paint "The Raising of Jairus' Daughter." Eastlake studied in Paris, and painted a portrait of Napoleon, whom he saw on board the Bcllerophon in the harbour of his native city. In 1818 he visited Greece, and was afterwards joined in Italy by his friends Brockedon, Cockerell, and Barry, afterwards Sir Charles. He first exhibited at the Royal Academy Italian subjects, principally buildings, in 1823. His picture of Isadas the Spartan was greatly admired in Italy. In 1830 he was elected Royal Academician and returned to England. He became Secretary to the Commission for encouraging the Fine Arts, Keeper of the National Gallery, and afterwards Director. He was elected President of the Royal Academy. His literary contributions are held in deserved esteem. He died in Italy. Pilgrims in Sight of Rome. Part 2. No. 372. ECCARDT, JOHN GILES. Died 1779. Portrait-painter and copyist. Born in Germany, studied under J. B. Vanloo. Was much patronised by Horace Walpole ; and many of his works were at Strawberry Hill. He died in obscurity at Chelsea. The Right Hon. Richard Rigby. No. 258. (Copy.) FANELLI, FRANCESCO. A Florentine sculptor. Many of his works are to be seen at Oxford and at Welbeck. The Duke of Newcastle patronised him. His bronze bust of Prince Charles is dated 1640, and inscribed " Fr : Fanellius "Florentinus, Sculptor, Magn. Brit, regis." He published two books of designs for architecture, fountains, and vases. King Charles I. Bust. No. 312. 292 Biographical Notices of Artists. FOWLER, WILLIAM. 1796-1872. Resided at Ramsgate. Died at Battersea, 4th December, 1872 in his 77th year. Queen Victoria. Nos. 298 and 299. FRANCIS, JOHN. 1780-1861. Sculptor. Born in Lincolnshire. Studied under Sir Francis Chantrey, and had many distinguished sitters. His bust of T. W. Coke was exhibited at the Royal Academy in 1820. His daughter, Mrs. Thornycroft, is a distinguished sculptor. Thomas Coke. Bust. No. 316. FRASER, ALEXANDER, A.R.S.A. 1786-1865. Born at Edinburgh. Assisted Sir David Wilkie, with whom he had been a fellow pupil in the outset of their career. His style was, never- theless, independent. He made designs to illustrate Walter Scott's novels. His picture of " Crusoe reading the Bible to his man Friday " is favourably known. He died after long illness, at Hornsey. He was a singularly modest and unobtrusive man. Cobbler. Part 2. No. 373. GAINSBOROUGH, THOMAS, R.A. 1727-1788. Born at Sudbury, in Suffolk. His earliest attempts were in land- scape, but he established himself in London as a portrait-painter before he was 16 years of age. His first instructors in figure-drawing were Gravelot and Frank Hayman. At that time he resided in Hatton Garden, and painted portraits on a small scale. Having married a young lady well connected, he retired first to Ipswich and then to Bath, where he resided from 1758, and found himself in a large and increasing practice. He first sent to the Exhibition in London in the year 1761 Thirteen years later he took up his residence in Schomberg House, Pall Mall, when he acquired such reputation as to be considered the rival of Reynolds in portrait, and of Wilson in landscape painting. The last occasion of his exhibiting any of his works at the Royal Academy was in 1784, when unfortunately he took umbrage at the conduct of some members of the Council. He died in London, August 2nd, 1788, £3ofmrn Jlfcbeg QataioQtxe. 293 and was buried in Kew Churchyard. His funeral was attended by Sir Joshua Reynolds, Sir William Chambers, Paul Sandby, Benjamin West, Bartolozzi, and Samuel, brother of Francis Cotes. Gainsborough Dupont was chief mourner. Gainsborough was an ardent lover of music, the exercise of which on different instruments divided his time with that of the pencil. One of his daughters married Mr. Fischer, a musician. After his death, Sir Joshua read a discourse to the students at the Royal Academy, taking the "character of Gainsborough" for his sub- ject. In this he touched feelingly on his character as a man, and pointed with just discrimination to his great excellence as an artist, and the peculiarities of his execution. Jackson of Exeter observed of him, that " Gainsborough's profession "was painting, music was his amusement. Yet there were times when " music seemed to be his employment, and painting his diversion.'' He had, as Reynolds said, " a tear for pity, and a hand open as day to " melting charity." John, 4th Duke of Bedford. Nos. 233 and 234. Caroline, Duchess of Marlborough. No. 243. Mary Wrottesley. No. 252. Elizabeth, Duchess of Grafton. No. 253. Landscapes. Part 2. Nos. 374 and 375. GARRARD, GEORGE, A.R.A. 1760-1826. Painter and modeller. Became a student of the Royal Academy in 1778, and was elected Associate in 1800. After the year 1804 he appears to have restricted himself to sculpture and modelling animals, as his subsequent contributions to the Royal Academy were invariably executed " in the round." His style was varied. He died October 8th, at Queen's Buildings, Brompton. Woburn Sheeps hearing, containing 88 portraits. No. 263. GELLEE, CLAUDE, called CLAUDE DE LORRAINE. 1600 1682. See CLAUDE. GHEERAEDTS, MARC. 1561-1635. Son of an artist. Born at Bruges. Was a skilful portrait and land- scape painter. He practised engraving and architecture. He arrived in England in 1580, two years after Zucharo had quitted it. He is 294 Biographical Notices of Artists. said to have remained here till his death in 1635. An excellent little portrait of Queen Elizabeth, signed by him M. G., is in the possession of the Duke of Portland, at Welbeck. His portrait of Camden, at Oxford, bears his name in full. In a return of Foreigners resident in London, taken 1593, his name appears thus : "Marks Garratt, House- " keeper, born in Bruges, Maudlyn his wife born in Antwerp, a Painter." Anne Russell as a child. No. 33. Frances, Lady Chandos. No. 45. Francis, 6th Earl of Rutland. No. 76. Katherine, Countess of Bedford. No. 98. William Russell of Chippenham. No. 138. Elizabeth Russell. No. 139. Anne, Countess of Warwick. No. 41. Do. No. 42. Lord Burghley. No. 49. Queen Elizabeth (Armada). No. 51. Sir Robert Cecil. No. 52. 1st Earl of Exeter. No. 61. Lady Kennedy. Nos. 69 and 70. Edward, 3rd Earl of Bedford. Nos. 71 and 72. GIBSON, THOMAS. 1680-1751. A portrait-painter, well skilled in drawing the figure. He resided for some time at Oxford. Flamsteed, the astronomer, and Vertue, the engraver, with many persons of note, sat to him. Several of his por- traits have been well engraved. Admiral Russell, Lord Orford. Copied by Whood. No. 209. GIORDANO. LUCA. 1632-1705. Born at Naples. Studied under Spagnoletto and Pietro da Cortona. In Venice he was much influenced by the works of Paul Veronese. From the ease and rapidity of his execution, Giordano received the nickname of " Luca Fa Presto." He displayed a wonderful mastery over all materials, and painted equally in oil, fresco and tempera. He could imitate any other painter's style of working. In 1690 he executed many works in Spain for Charles II., especially at the Escurial. He died at Naples immensely rich, with the reputation of being the greatest painter of his age. His works, very uniform in quality, are everywhere to be met with. A Vision of the instruments of the Passion. Fart 2, No. 376. ^3otmrn Jlfcfcep QataloQue. 295 GRANT, SIR FRANCIS, P.R.A. 1804-1878. Born in Perthshire; the brother of Gen. Sir Hope Grant, K.C.B. Originally intended for the Bar. His peculiar talent for sporting sub jects is best seen in his " Breakfast at Melton," exhibited in 1834; " The Melton Hunt," 1839 ; and " The Ascot Hunt." Elected Associate of the Royal Academy, and full Member in 1851. He was elected President, and knighted at Buckingham Palace, March 1866. A marked attention to the works of Velazquez seems to characterise all his works. His portraits are invariably vigorous in execution, large in style, with natural grace, and a freedom from restraint rarely to be found in modern productions. He died suddenly at Melton Mowbray. Earl Russell. No. 280. GUERCINO, GIOVANNI FRANCESCO BARBIERI ; called GUERCINO from his squinting. 1592-1666. Born of humble parents at Cento. At first self-taught, then studied at Bologna and Venice, and finally in Rome, where he became attached to the school of Caravaggio. After the death of his patron, Pope Gregory XV., in 1623, he returned to his native place, Cento, where he remained twenty years, and on the death of Guido in 1642, removed to Bologna. The school of painting which he established was in high repute. He died at Bologna, a Cavaliere, and in possession of con- siderable wealth. His own Portrait. No. 142. Samson. Part 2. No. 377. HALS, FRANS. 1584-1666. An eminent portrait-painter, distinguished by his boldness and mastery in execution ; born at Mechlin ; a pupil of the learned artist and writer, Karel van Mander. Van Dyck visited him in his studio at Haarlem and the two painters exchanged portraits. His own Portrait. No. 141. HAMILTON, GAVIN. 1730-1797. Descended from a good old Scotch family. Born in Lanark ; and went at an early age to Rome, where he spent the chief part of his life. He studied under Mazzuchi. He was in England about 1752, and painted portraits of the two beautiful sisters, the Duchess of Hamilton and the Countess of Coventry. His attention was principally devoted 296 Biographical Notices of Artists. to historical and poetical painting, and his works display all the for- mality and classic coldness which characterise the Italian productions of that period. His portraits were classic but carefully studied, and inferior only to those of Pompeo Batoni. His best pictures were com- positions from the Iliad. In 1773 he published a work of considerable value, called the " Schola Italica," consisting of a series of forty plates from the most famous pictures in Italy, engraved by Volpato, Cunego, and other eminent engravers. Hamilton also superintended excava- tions on the site of Hadrian's villa, at Tivoli, whence a large proportion of the sculptures in the Townley Collection of the British Museum were obtained. He died at his native place in 1797. Countess of Coventry. No. 229. Gertrude, Duchess of Bedford, and Lady Caroline, her daughter. No. 242. HARLOW, GEORGE HENRY. 1787-1819. A young painter of very great promise, born in London. His father, who died before he was born, was an East Indian merchant. Educated at Westminster. Studied painting under Sir Thomas Lawrence. He executed several historical pictures. His most popular work was the scene of the trial of Queen Catherine, from Shakspeare's Henry VIII., containing portraits of the Kemble family. This picture now belongs to Mr. Morrison at Basildon Park. He went to Italy to complete the groundwork of his studies, and being gifted with great rapidity of execution, completed a copy of Raphael's Transfiguration in eighteen days. He was elected a member of the Academy of St. Luke, and presented to the Pope by Canova. He died soon after his return to London in 1819, before he had completed his 32nd year. Henry Bone. No. 273. HAYLS, JOHN. Died 1679. A clever portrait-painter, a good copyist of Van Dyck and regarded by his contemporaries as a rival to Lely. He lived in Southampton Street, Bloomsbury, and was much employed by Pepys, who frequently mentions him in his Diary. The portrait for which Pepys himself sat is now in the National Portrait Gallery, "with strong shadows." Hayls died suddenly, and was buried in St. Martin's-in-the-Fields. Colonel Russell. No. 103. Sir Greville Verney. Ao. 188. Lady Diana Verney. No. 191. 297 HAYTER, SIR GEORGE. 1792-1871. Son of Mr. Charles Hayter, author of a work on perspective, and teacher of drawing to the Princess Charlotte. Admitted a student at the Royal Academy, where he received two medals. Appointed portrait-painter to the Princess Charlotte. Visited Italy and resided some time in Rome, and returned to London in 1819. He had con- siderable occupation in portrait-painting, and went again to Italy in 1826. At Paris, in 1831, he painted the most eminent persons of the French court, and on the accession of Queen Victoria, in 1837, was appointed Historical Painter in Ordinary to Her Majesty. In 1842 he received the honour of knighthood. In 181 8 he had been elected a member of the Academy of St. Luke, at Rome, and subsequently was received into the Academies of Parma, Bologna, Florence, and Venice. His principal work, " The Interior of the House of Commons," is now in the National Portrait Gallery. He died at his residence in Marylebone Road, London, January 18th, 1871. Canova. No. 270. John, 6th Duke of Bedford. No. 276. The Duke of Wellington and Lord William Russell. No. 278. Earl Russell. No. 279. Lord Alexander Russell. A T o. 282. Lord Cosmo Russell. No. 281. Rogers. No. 285. His own Portrait. No. 297. Trial of Lord Russell. Part 2. No. 378. St. John. Part 2. No. 379. Tribute Money. Part 2. No. 380. HEERE, LUCAS DE. 15 4-1584. Born of an artistic family at Ghent. His mother, Anne Smijters, was a miniature-painter. Lucas was at first employed by Frans Floris to make designs for tapestry and painted glass. He was sent to France, and made drawings for tapestry for the Queen and the Queen-mother. At Fontainebleau, Lucas studied the antique statues and refined his taste. At this time he married Fleanor Carboniers, and on returning to Ghent executed several historical pictures for churches. The date of his arrival in England is not known. He was employed, in 1570, to paint figures of various nations to decorate a gallery for Edward, Earl of Lincoln (see Nos. 23, 24, 25, and 26). His adopted motto Q Q 298 Biographical Notices of Artists. was, " Misfortunes teach you " — " Schade leer u." The monogram by which his pictures are known, is Queen Mary and Philip 2nd. No. 12. HENNING, JOHN. 1771-1851. Sculptor. Born at Paisley. Studied in Edinburgh. Chiefly known by his miniature reductions of the Elgin Marbles. Anna Maria, Duchess of Bedford. Bust. No. 322. HOGARTH, WILLIAM. 1697-1764. Born in St. Bartholomew's, London. Son of a schoolmaster from Westmorland, established in the Old Bailey. Apprenticed to Ellis Gamble, a silversmith in Cranborne Alley, and engraved arms and cyphers upon pieces of plate. His works and writings are universally known. He married in 1730 the daughter of Sir James Thornhill, M.P., the most admired historical painter of his day. In 1745 he produced the celebrated series of the " Marriage a. la Mode." The " Rake's Progress" was ten years earlier. In 1762 he quarrelled with Mr. Wilkes, and published a well-known caricature of him as a bear. He met with considerable success as a portrait-painter. Captain Coram at the Foundling Hospital, Garrick in the Royal Collection, and Lord Lovat in the National Portrait Gallery, would alone suffice to show his powers of stamping individuality and developing character. He died of a dropsy at his house in Leicester Fields. His own Portrait {alleged). No. 230. HOLBEIN. I495-I543- Johannes or Hans Holbein was born at Augsburg, 1495, where his father was a painter of considerable ability. He quitted Augsburg in 1 5 16 and proceeded to Switzerland, and after three years settled at Basle, where he decorated the Council-room of the Town Hall with frescoes, 1521-22. In 1526 he painted the famous picture of the Burgomaster Meier, and a fanciful portrait called " Lais Corinthiaca." Paucity of work and the prevalence of the plague seem to have driven him from Basle, and in the autumn of 1526 he arrived in London, "pofcurn JlfcBeg §ataloquc. 299 strengthened by recommendations from Erasmus, and took up his residence with Sir Thomas More at Chelsea. In 1529 he returned to Basle, where he was busily occupied till 1531, at the end of which year he appears to have been once more established in London, and principally occupied in painting portraits of his German friends con- nected with the Steel-yard, and he decorated their hall on the banks of the Thames with allegorical pictures, called " The Triumph of Riches " and " The Triumph of Poverty." His earliest portraits of Henry VIII. apparently belong to the year 1533. He painted Anne Boleyn, Jane Seymour, and the Princess Elizabeth. His fine cartoon drawing of Henry VIII. for the Privy Chamber at Whitehall belongs to 1537. The finished picture was destroyed by fire. In 1538, as the King's painter, he went abroad to Brussels, to take the portrait of the Duchess of Milan. In the same year, being solicited to that effect, he returned to Basle, but for a short time only. He executed a fine portrait of Prince Edward as a child with a rattle, and presented it to the King as a new year's gift in 1539, and in the following summer went to Cleves to paint the Duke's daughter Anne, whom Henry VIII. eventually married. Holbein died of the plague in London, 1543, four years before Henry VIII., and not in the year 1554, as was erroneously supposed to have been the case till the discovery of his will by Mr. Black in 1861. This important fact entirely sets aside the claims of many portraits of persons belonging to the subsequent period to be by his hand. Those of Edward VI. as King, and Mary as Queen, were completely removed beyond the pale. Queen Jane Seymour. No. 1. Edward, Prince of Wales. No. 4. \st Earl of Bedford. No. 6. HONDECOETER, MELCHIOR. 1636-1695. An eminent painter of wild fowl and poultry. Born at Utrecht. Instructed at first by his father, and afterwards studied under John Baptist Weenix. His great-grandfather is said to have been the Marquess of Westerloo. Peacock and animaa. Part 2. No. 381. HONTHORST, GERARD, known in Italian schools as "GHERARDO DELLE " NOTTI." 1592-1660. Born at Utrecht, and favourite painter to the Queen of Bohemia. He studied at Rome, and attained great mastery in drawing. His 300 Biographical Notices of Artists. shadows, from a special love of candle-light effects, are frequently dark and hard. His first instructor, Bloemart, infused into his spirit the bold forms of Rubens, which, although his colour was of a different and more opaque character, being rather grafted on Guercino, he never lost. Joachim Sandrart, his pupil, accompanied him to England, and had much occupation here as a copyist. He painted Charles I. and his family, and the Duke of Buckingham. Rubens admired his works. Honthorst died at the Hague. Lucy, Countess of Bedford. No. 74. Francis, 2nd son of the 4th Earl of Bedford. No. 101. Elizabeth, Queen of Bohemia. A T o. 137. HOPPNER, JOHN, R.A. 1759-1810. Born in London. Sang as one of the choristers of the Chapel Royal. Under the patronage of the Prince of Wales, he became a very fashion- able portrait-painter. He was elected Associate of the Royal Academy in 1793, and a full member in 1795. He contributed 166 works to the Academy exhibitions. Lawrence wrote thus of him after his death : " You will believe that I sincerely feel the loss of a brother artist from " whose works I have often gained instruction, and who has gone by " my side in the race these 18 years." Francis, §th Duke of Bedford. No. 261. John, 6th Duke of Bedford. No. 275. HUDSON, THOMAS. 1701-1779. A clever portrait-painter, but now principally remembered as the master of Sir Joshua Reynolds. Studied under Richardson, whose daughter he afterwards married. He painted two well-known portraits of Handel. His chief work is the large family picture of the second Duke of Marlborough at Blenheim. Another large picture, that of the Courtenay family, is at Powderham Castle. His portraits were accurate, and finished with scrupulous care. Both he and Whood excelled in painting white satin. William Anne, 2nd Earl of Albemarle. No. 225. John, 4th Duke of Bedford. Nos. 231 and 232. Diana, Duchess of Bedford. No. 237. Diana, Duchess of Bedford. Copied by Langdon. No. 238. Gertrude, Duchess of Bedford. No. 239. 301 JACKSON, GILBERT. This name, hitherto so difficult to guess, derives explanation from an entry in an Audit Book of St. John's College, Cambridge, dated 1627. "Paid to Mr. Gilbert Jackson for the Bishoppe of Lincoln's " picture for the Librarie X u ." Anne Clifford, Countess of Dorset and Pembroke. No. 157. JANET, FRANCOIS CLOUET, called also JEHANET. 1500-1572. Belonged to a family of artists forming the School of Clouet. He was born at Tours, and employed by Francois I. and his successors. He was to the French court what Holbein was to the English. Countess of Lincoln {The Fair Geraldine). No. 25. JERVAS, OR JARVIS, CHARLES. 1675-1739. Born in Ireland. Studied during one year under Sir Godfrey Kneller. Norris, keeper of the Royal pictures under King William and Queen Anne, allowed him to make copies from Raphael's cartoons and other pictures under his charge. Jervas proceeded to Paris and Italy, and in Rome applied himself seriously to drawing. He copied Carlo Maratti skilfully, and especially prided himself on his reproduc- tions of Titian. Walpole does not consider him to have been successful in catching a likeness. He signed his name Jervas. He was on terms of intimacy with Pope, and gave him instruction in the art of painting. Pope addressed verses to him, and he is mentioned by Gay in his con- gratulatory poem to Pope. "Thee Jervas hails, robust and debonair." His name frequently occurs in Swift's correspondence. Good portraits by him of Swift are at Knole, and in the National Portrait Gallery. At Knole, also, is his portrait of Addison. He translated Don Quixote. He re-visited Italy in 1738, and died shortly after his return. Duchess of Bedford and her Children. No. 199. Duchess of Marlborough. No. 203. Anne, Duchess of Bedford. A T os. 218 and 2 1 9. JODE, PETER DE. 1606-1659. Born at Antwerp. One of a family of engravers. His father, of the same name, executed many fine engravings after the great historical painters, but Peter the younger devoted himself especially to reproduce 302 Biographical Notices of Artists. the finest portraits by Van Dyck. His son, Arnold de Jode, followed the same profession, and visited England, but with moderate success. His own and Wife's Portrait. No. 1 30. JONES, GEORGE, R.A. 1786-1869. Son of John Jones, the mezzotinto engraver. Entered the Royal Academy as a student in 1801, but during the Peninsular war he quitted the pencil for the sword, and saw much active service till the termina- tion of the war in 1815, when he resumed his peaceful studies and work with considerable success. In 1822 he was elected Associate of the Royal Academy, and be- came full Academician in 1824. He was appointed to succeed Hilton as Keeper of the Academy, and acted as President during the long illness of Sir Martin Archer Shee. He painted numerous battle subjects, more or less connected with the Duke of Wellington. His " Battle of Waterloo " was much com- mended by the Duke himself. His landscapes are effective and singu- larly powerful in colour. He published a slight memoir of his great friend, Sir Francis Chantrey, in 1849. He died in London in his 84th year. Orleans. Part 2. No. 382. JONSON, CORNELIUS, VAN CEULEN. 1590-1665. A very excellent Flemish portrait-painter. His family apparently belonged to Keulenburg, a town on the Rhine, between Rotterdam and Arnheim. Under the name Cornelius Jonson van Keulen, Weyer- man gives the earliest account of him. His pictures vary in date from 1624 to 1660. He dwelt in the Blackfriars from the year 16 18, and afterwards near Barham Down, in Kent. In 1648, during the distractions of the Civil War, he obtained a Parliamentary licence to retire with all his property to his native country. He settled first at Midelburg, and finally at Amsterdam. His sister married Nicholas Russell, King's jeweller, and their eldest son, Theodore, became a painter, and ex- celled in making reduced and delicate copies from Van Dyck. A son of Theodore, named Anthony Russell, also a painter, imparted to Vertue many valuable artistic traditions, which rendered especial service to Walpole when compiling his " Anecdotes of Painting in " England." Lady Wimbledon. No. 60. 303 Countess of Southampton. No. 65. Sir John Kemiedy. No. 67. Sir Joceline Percy. No. 78. Lady Bindlose. No. 89. Francis, 4th Earl of Bedford, when a boy. No. 95. Do. head, as a young man. No. 96. Katherine Bruges, Countess of Bedford, whole length. No. 99. KETEL, CORNELIUS. 1548-1604. Born at Gouda, and studied under his uncle. Went for some years to France, and worked at Fontainebleau. He returned to his native place, and after six years embarked for England in 1573, one year before the arrival of Zucharo. He married a Dutch woman during his residence in this country, and through the patronage of Sir Christopher Hatton was much employed at Court. Ketel received 5/. for a " great " picture " of Frobisher, which is now in the University Gallery at Oxford. His picture of Hatton is still at Ditchley. His own portrait is at Hampton Court Palace. In 1581 he quitted England for Am- sterdam, where he executed several important works. He was a poet, and profoundly versed in the sister arts of architecture and modelling. He was still living in 1604. 1st Earl of Lincoln. Nos. 23 and 24. Countess of Lincoln (Fair Geraldine). No. 25. Lady Ayscough. No. 26. KNAPTON, GEORGE. 16981778. A matter-of-fact but skilful portrait-painter ; very apt to use heavy colours, and one of those whose compositions betray that formality and stiffness which debased the art immediately before the appearance of Sir Joshua Reynolds. His master, Richardson, taught him to paint the head well, and his chief delight lay in the study and collecting of drawings and engravings by old masters. He was appointed painter to the Society of Dilettanti, in whose rooms some of his best portraits may still be seen. On the death of Slaughter, George Knapton became surveyor and keeper of the King's pictures. He also had charge of the fine collection of pictures at Althorp. One of his chief merits is having been instructor to that excellent and too little known painter, Francis Cotes. The brothers of Knapton, John and Paul, were publishers, living in St. Paul's Churchyard, and, with the assistance of the painter, produced many illustrated works of 3urn |lfcf>eg §fd Son of the 4th Earl of Bedford. No. 102. 3i5 Lady Brooke. No. 106. Countess of Bristol. No. 108. Countess of Bradford. No. no. Countess of Carlisle. No. 113. Sir Wm. Russell, afterwards Duke of Bedford. No. 170. PROCTOR, G. Anna Maria, Duchess of Bedford. No. 290. PROSPERI, C, Sculptor. The Duke of Sussex. Bust (dated 1843). No. 317. RAMSAY, ALLAN. 1709-1784. Son of the author of the " Gentle Shepherd." Born at Edinburgh ; studied in Italy, where he was thoroughly well grounded in the prin- ciples of drawing ; returned to Edinburgh, and soon after settled in London. Through the influence of his countryman, Lord Bute, he was introduced to George, then Prince of Wales, who, on his accession to the throne, appointed him Court Painter, and he repeated numerous full-length portraits of that monarch and Queen Charlotte to the close of his career. He visited Rome four times. His works are distin- guished by propriety and a certain refinement of modelling. His attitudes are never extravagant, and all parts of his pictures are carefully finished. His colouring is powerful, but without that boldness or grasp of treatment which characterises the works of Sir Joshua Reynolds, his successor in office. He died soon after landing at Dover, from his last continental expedition. Somerville, the poet of the Chace, addressed some verses to him. Earl Gower. No. 224. King George III. No. 268. Queen Charlotte. No. 269. RAPHAEL SANZIO. 1483-1520. Born at Urbino. Received his earliest instruction in art from his father, Giovanni Sanzio or Santi. Studied afterwards under Pietro Perugino. Visited Florence in 1504 ; arrived in Rome 1508, and com- menced his famous series of fresco decorations in the Vatican under the successive patronage of the Popes Julius II. and Leo X. His last picture was the " Transfiguration." 316 Biographical Notices of Artists. For the tapestries executed after his designs see page 281, and for copies in chalk, by Ricciolini, from frescoes in the Vatican, see page 257- Avenging Angel, copied by Sir Joshua Reynolds. Part 2. No. 41 1. Frescoes in the Vatican, drawn in chalk, by Ricciolini. Part 2. Nos. 414 to 419. REMBRANDT. 1606-1669. Born at Leyden, July 15, 1606. Was placed at the Latin school there with a view to his studying jurisprudence afterwards at the Uni- versity, but his strong predilection for art induced him to enter the school of Jacob van Swanenburg, and after three years he studied under Pieter Lastman, at Amsterdam, and Jacob Pinas at Haarlem. Having been successful in his art, he settled finally at Amsterdam, and in 1634 married Saskia Uilenburg, a lady of considerable fortune. She died in 1642. He married again, but of his second wife little is known. The ways of Rembrandt appear to have been improvident. In 1656 he was publicly declared insolvent. His abilities in etching were equal to his skill as a painter, and his works, in their various states, have always commanded high prices. He died at Amsterdam, and was buried in the Westerkerk there, October 8, 1669. His own Portrait. No. 140. Joseph in Prison. Part 2. No. 412. A Rabbi. Part 2. No. 413. REYNOLDS, SIR JOSHUA, P.R.A. 1723-1792. Born at Plympton in Devonshire, July 16, 1723; the son of a clergyman and master of the grammar school there. Originally intended for the medical profession, but the sight of Richardson's Essay on Painting determined him to pursue art. In 1741 he was accordingly placed with Hudson, the most fashionable painter of the day. In 1 746 he established himself as a portrait-painter in St. Martin's Lane, and three years later sailed for the Mediterranean in the ship of his early patron, Captain, afterwards Lord Keppel. From Algiers he proceeded to Italy, where he studied in the principal cities, and returned home by way of Paris late in 1752. He became the intimate friend of Dr. Johnson and Burke. On the foundation of the Royal Academy in 1768, Reynolds was nominated President, and he received the honour of knighthood in the same year. From that period he annually, on the occasion of the distribution of prizes, delivered those discourses on art which to this day form the favourite manual of students in this 3i7 country. Between the opening of the first exhibition in 1769 and the year 1790, Sir Joshua exhibited no less than 244 pictures. He died unmarried at his residence in Leicester Fields, and was interred in St. Paul's Cathedral. Burke wrote of him, the day after his death, the following : — " Sir Joshua Reynolds was on very many ac- " counts one of the most memorable men of his time. He was the " first Englishman who added the praise of the elegant arts to the other " glories of his country. In taste, in grace, and facility ; in happy " invention, and in the richness and harmony of colouring, he was " equal to the greatest masters of the renowned ages." John, 4th Duke of Bedford. No. 235. Gertrude, Duchess of Bedford. Nos. 240 and 241. Caroline, Duchess of Marlborough. No. 244. Marquess of Tavistock. Nos. 245 and 246. Elizabeth, Marchioness of Tavistock. Nos. 248, 249, and 250. Lady Caroline Kef pel. No. 251. Goldsmith. No. 254. Garrick. No. 256. Admiral Kef pel. No. 257. His own Portrait. No. 259. Lord Ludlow. No. 265. Charles, Earl of Harrington. Copied by Stroehling. No. 271. Jane, Countess of Harrington. Copied by Powell. No. 272. RIBERA, JOSEF, called IL SPAGNOLETTO. Born in Spain at Xativa, near Valentia, January 12th, 1588. Pupil of Ribalta. Studied in Rome, and imitated the style of Michel Angelo da Caravaggio. At Parma he was much impressed by the works of Correggio. He finally settled at Naples, having married the daughter of a rich picture-dealer. In 1630 he was elected a member of the Academy of St. Luke at Rome, and in the same year entertained Velazquez at Naples. He etched a few plates. The exact place and date of his death are not known. RICCIOLINI, MICHELANGIOLO. 1654-1715. Copies in red chalk upon white paper of Raphael's Frescoes in the Vatican. Part 2. Nos. 414 to 419. RICHMOND, GEORGE, R.A. Born 1809. (Living Artist.) Francis Charles Hastings Russell, present Duke of Bedford. No. 300. 3i8 Biographical Notices of Artists. RILEY, JOHN. 1646-1691. After Dobson, our earliest native painter of distinction. Born in Bishopsgate. Received his earliest instruction from Fuller and Soest. Charles II., encouraged by a portrait which he had made of Chiffinch, sat to Riley, but said on seeing the picture, " If this is like me, od's fish I'm an ugly fellow." He was appointed Court-painter to William and Mary of Orange. He died at the age of 45, and was buried in St. Botolph's Church. His father had been Lancaster Herald, and was Record Keeper at the Tower of London. Riley's portraits are always painted with great care, and exhibit considerable perception of character. His picture of Lord Keeper North at Wroxton Abbey is remarkably fine. Sir Josiah Child. No. 169. William, Lord Russell. Nos. 180 and 181. Lord Edward Russell. No. 186. John Howland. No. 195. Elizabeth Howland. No. 196. ROBUSTI. See TINTORETTO. His own Portrait. No. 38. Vesalius (so called). No. 13. ROSA, SALVATOR. 1615-1673. Born at Borgo di Renella, near Naples. Son of Vito Antonio Rosa, a land-surveyor, architect, and artist of moderate standing. Studied under Fracanzano, Spagnoletto, and Aniello Falcone, the latter a cele- brated battle-painter. He also studied music profoundly, and several of his compositions are still deservedly popular. His intercourse with banditti and his actual experience of a rough life, concealment in woods and caves, manifest themselves in the majority of his works. Salvator was also a poet and satirist. His "Conspiracy of Catiline," in the Pitti Gallery, is an impassioned composition ; the " Belisarius," belong ing to Lord Townshend, the most pathetic. Many of his large land- scapes exhibit the influence of Gaspar Poussin, with figures possessing all the energy of his great instructor Spagnoletto. He is said to have taken part in the insurrection of Masaniello, and to have painted his portrait more than once. Diogenes. Part 2. No. 420. £3ofcurn |lf>f>eg gafcilogue. 3i9 RUBENS, PETER PAUL. 1577-1640. Born at Siegen, in Westphalia, June 29, 1577, on the day of St. Peter and St. Paul. His father, John Rubens, had emigrated from Antwerp, and, soon after the son was born, settled at Cologne, where young Rubens, who was intended for the law, remained till his father's death in 1587. He studied art at Antwerp under Adam van Noort and Otto van Veen (Otto-Venius), and in the spring of 1600 went to Italy and entered the service of Gonzaga, Duke of Mantua. At Rome and Venice he copied several pictures for the Duke. In 1605 he was sent on a mission to Philip III. of Spain, and there painted the por- traits of the chief nobility. In 1608 he returned to Antwerp under the patronage of the Archduke Albert and Isabella, then Governors of the Netherlands, and married his first wife, Elizabeth, or Isabella Brandt, in the following year. He visited Paris by the invitation of Marie de Medicis, and commenced the series of pictures commemora- tive of her marriage with Henry IV. and her subsequent Regency. In 1628 the Infanta Isabella, having become a widow, sent Rubens on a diplomatic mission to Philip IV. of Spain, and to Charles I. of England, by whom, in 1630, he was knighted. The King of Spain bestowed the same honour on him. In the same year he married, for the second time, a beautiful young lady of sixteen, named Helena Fourment, and died, possessed of immense wealth, at Antwerp, 30th May, 1640, and was buried with extraordinary pomp in the church of St. Jacques. His own Portrait {alleged). No. 88. Cardinal Archduke Ferdinand. No. 114. Death of Abel. Part 2. No. 421. Tribute Money {copy). Part 2. No. 422. RUSSELL, THEODORE. 1614. A celebrated copyist. Nephew of Cornelius Jonson van Ceulen, the eminent portrait-painter. His mother was sister to Cornelius, and married Nicholas Russell or Roussel of Bruges, goldsmith to King James and Charles the First. Theodore studied first with his uncle and afterwards in the studio of Van Dyck. He was an excellent copyist. Many of his pictures copied from Van Dyck are in the Royal Collection at Hampton Court Palace. His son, Anthony, mainly assisted Vertue in compiling materials for a history of painting in England. These notes were afterwards turned to account by Horace Walpole in his "Anecdotes." Lady Herbert. No. 81. Countess of Berkshire. No. 90. 320 Biographical Notices of Artists. Colonel Edward Russell. No. 105. Lady Brooke. No. 107. Countess of Bristol. No. 109. Countess of Bradford. Nos. 111 and 112. Countess of Carlisle. No. 134. Christian, Countess of Devonshire. No. 156. Anne, Countess of Bedford. No. 174. SCHETKY, JOHN CHRISTIAN. 1779-1874. A distinguished marine painter of an ancient Transylvanian descent. Was contemporary at the High School of Edinburgh with Sir Walter Scott, Lord Brougham, and Francis Horner. At the age of seventeen he practised scene-painting. In the year 1801 he walked from Paris to Rome. On his return from Italy he settled at Oxford, and afterwards became Professor of Drawing successively at Sandhurst, Portsmouth, and Addiscombe. He drew with his left hand. Died 29th January, 1874, aged 95. Battle of La Hogue. Part 2. No. 423. SEEMAN, ENOCH. 1694-1744. Born at Dantzig, and brought early by his father to London. He painted portraits with great success, and many of them were engraved. He died suddenly. Caroline, Princess of Wales. No. 222. SEVERN, JOSEPH. Died 1879. Studied at the Royal Academy, and first exhibited in 181 9, in which year he gained the gold medal. He resided during the greater part of his life in Rome, and died there. He is chiefly remembered as the friend of the poet Keats. Italian Vintage. Part 2. No. 424. SHEPPARD, WILLIAM. Known only through the writing on Faithome's contemporary engraving taken of this picture. He resided, during the reign of Charles II., near the Royal Exchange. He afterwards retired into Yorkshire and died there. T. Killigrew. No. 159. 321 SMITH, J. CATTERSON, P.R.H.A. 1807-1872. Born in England, and studied at the Royal Academy. He after wards settled in Ireland, first at Kerry and afterwards at Dublin, where he became President of the Royal Hibernian Academy. His portraits of Sir Walter Scott and Daniel O'Connell are well known. Died at Dublin 31st May, 1872. Francis, •jth Duke of Bedford. No. 288. Anna Maria, Duchess of Bedford. No. 293. SNYDERS, FRANS. 1579-1657. Born at Antwerp, and studied under Van Balen. Rubens fre- quently availed himself of his talent in depicting those animals and fruit which adorn his grandest compositions. Snyders painted large stag-hunts, and received commissions from Philip III. of Spain and the Archduke Albert, whom he attended at Brussels. He painted fre- quently still life, and several enormous pictures of vegetable stalls, and larders stocked with fish and all kinds of game. His knowledge of the motion of the wilder animals may be said to be unrivalled. He died at Antwerp. Still Life and Fruit. Part 2. No. 425. SOMER, PAUL VAN. 1576-1621. Born at Antwerp, and afterwards resided with his brother at Am sterdam. It is not known in what year he came to England, but, according to Walpole, was certainly here as early as 1606. A portrait of James I. by him is dated 16 15. He was buried at St. Martin's-in- the-Fields, London, January 5, 162 1. His portraits of the Earl and Countess of Arundel, at Arundel Castle, dated 161 8, are very good. Anne of Denmark. No. 58. Howard, Earl of Suffolk. No. 117. Penelope, Lady Spencer. No. 147. SPENCER, GERVASE. Died 1763. Miniature-painter. Enameller. T T 322 Biographical Notices of Artists. STANHOPE, LADY CAROLINE. 1791-1853. Daughter of Charles, 3rd Earl of Harrington. Sister to the Duchess of Bedford. Married E. A. Sanford, Esq. Queen Henrietta Maria {after Van Dyck). No. 124. STAPHORST, ABRAHAM. A painter of Dort, who flourished from 1650 to 1660. Houbraken (vol. ii. p. 344) describes him as a good portrait-painter. Nagler mentions portraits of saints by him in oil on parchment, heightened with gold, and dated 1656. His father, John, was a minister of the Gospel at Dort. Lord Robert Russell, 4th son of the first Duke. No. 187. STEEN, JAN. 1636-1689. Born at Leyden : the son of a brewer j he appears to have studied painting under Van Goyen, whose daughter he married. The debauchery and excesses with which he is charged were not lessened by his be- coming a tavern keeper ; but the very large number of pictures which he produced, and all of them finished with consummate care, suffi- ciently prove his skilful manipulation and untiring industry. His own Portrait. No. 165. STONE, FRANK, A.R.A. 1800-1859. Born at Manchester, son of a cotton-spinner. Arrived in London, 1831, and joined the Old Water Colour Society. In 1841 he painted in oil the Interview between Prince Charles and the Infanta of Spain, which was exhibited among the Art Union prizes of the same year. He was elected an Associate of the Royal Academy in 185 1. Francis, ph Duke of Bedford. No. 287. Anna Maria, Duchess of Bedford. No. 292. William, 8th Duke of Bedford. No. 295. STROEHLING, P. H. Said to have been a Calmuc by birth, and educated at the expense of the Emperor of Russia. After travelling in Italy he settled in ^3o£mrtt ^fcfceg Catalogue. 323 London, where, in 1804, he painted the Austrian Ambassador, Count Stahremberg. In 1806 he exhibited two female portraits, and con- tinued to exercise his art in London till 1824. He was patronised by- Lady Harrington, mother of Anna Maria, Duchess of. Bedford. Charles, $rd Earl of Harrington {after Reynolds). No. 271. STRUTT, JACOB GEORGE. Landscape-painter. Exhibited portraits at the Royal Academy in 1823. From 1824 to 1831 his works were exclusively forest scenery painted with great care. He afterwards settled at Lausanne and Italy. He drew and etched " Deliciae Sylvarum." His last exhibited work was an " Italian Scene " in 1852. Trees in Woburn Park. Part 2. No. 426. TAVISTOCK, ANNA MARIA, MARCHIONESS OF. 1783-1857. Daughter of Charles, 3rd Earl of Harrington ; afterward Duchess of Bedford. Charles 1st {after Van Dyck). No. 122 TENIERS, DAVID. 1610-1690. Called " the Younger," to distinguish him from his father, who also was a painter of distinction, and a pupil of Rubens. Young Teniers, born at Antwerp, studied under his father. The Archduke Leopold, when Governor of the Low Countries, appointed him his principal painter, and gave him the custody of his fine collections of pictures at Brussels. Teniers was twice married ; his first wife was a daughter of Velvet Breughel. He died at Brussels. His own Portrait. No. 166. TIEPOLO, GIOVANNI BATTISTA. 1693-1769. Born at Venice. Studied under Lazzarini and Piazzetta. His favourite model was Paul Veronese, and he became a clever fresco- painter, extensively employed in Germany and Spain, as well as in Italy. His colouring was gay, and his tones deficient in blending. He left two sons, Giovanni and Lorenza. The Continence of Scipio. Part 2. No. 427. 324 Biographical Notices of Artists. TINTORETTO, JACOPO ROBUSTI. 1512-1594. The son of a dyer. Born at Venice. Remarkable for the rapidity and vigour of his execution. His daughter was an excellent portrait- painter. Vesalius (so called). No. 13. His own Portrait. No. 38. TITIAN VECELLIO. 1477-1576. Born at Capo del Cadore. The most eminent of the Venetian School of Painting. Studied under Zuccatti, and Gentile and Giovanni Bellini. The Emperor Charles V. created him a Count Palatine, and Knight of the Order of St. Jago. His patent of nobility was dated at Barcelona, 1535. When at Rome, in 1546, painting a picture of Danae, Michael Angelo and Vasari visited him. At ninety years of age Titian still continued to paint, and died of the plague at Venice, 27th of August, 1576, having attained the great age of ninety-nine. His own Portrait. No. 35. TOMS, PETER, R.A. Died 1776. Assisted Sir Joshua Reynolds and most of the leading painters of the day in finishing the draperies and accessories to their portraits. He was one of the Poursuivants of the College of Arms. (See Noble's History, p. 442.) Died by his own hand. Marchioness of Tavistock. No 248. VAN DYCK. See DYCK. VAN LOO. See LOO. Louis XV. No. 255. VAN SOMER. See SOMER. Anne of Denmark. No. 58. Penelope, Lady Spencer. No. 146. Earl of Suffolk. No. 117. 325 VELAZQUEZ, DON DIEGO. 1599-1660. Born at Seville, and studied first under Herrera, whose daughter he married. In 1622 he visited Madrid, and became, through the in- fluence of the Count Duke Olivarez, Court painter to Philip IV. of Spain. He visited Rome and Naples in 1629, and on his return was established in the Royal palace, created Chamberlain and a Knight of the Order of St. Jago. In 1648 he painted a fine portrait of Pope Innocent X. One of the great merits of Velazquez was his discovery and encour- agement of the talents of Murillo. He was to this younger and striving artist what Van Dyck was to Dobson, excepting that Murillo amply repaid his patron by well-directed abilities, care, and assiduity. Velazquez died in consequence of over-exertion in performance of his official duties, arranging for the marriage conference at Irun. He was buried August 1660, in the church of St. Juan at Madrid. Adrian Parej a. No. 125. VERELST, SIMON. 1664-1710. A flower and portrait painter. Born at Antwerp. Visited England in the reign of Charles II., and was much patronised by the Duke of Buckingham. His works were at one time in great request, and, for a limited period, interfered greatly with the business of Sir Peter Lely. The rude manners of Verelst towards Lord Shaftesbury drove him away, and he sat to Greenhill instead. In 1680 Verelst accompanied Parmentier to Paris. His inordinate vanity merged into insanity, fpr he called himself the God of Flowers, and demanded to speak with the King of England on the ground that he was King of Painting. Many of his portraits were almost encumbered with flowers in wreaths and garlands. He was buried in St. Andrew's, Holborn. Prior wrote some complimentary lines on him, beginning — "When famed Verelst this little wonder drew." Lady Anne Russell. No. 190. VIVIANO CODAGORA. View on the Tiber, St. Peter's and Castel Sant' Angelo. Part 2. No. 428. 326 Biographical Notices of Artists. WALKER, ROBERT. Died 1658. The chief portrait-painter during the Commonwealth period, and principally engaged in depicting the warriors on the Parliamentary side. His portrait of Cromwell, with his son tying his scarf, is well known. He also painted Cromwell and Lambert together. His own portrait is in the Picture Gallery at Oxford ; another and similar one is in the Royal Collection at Hampton Court. He was allowed an apartment in Arundel House. Cromwell. No. 131. James, 2nd Earl of Carlisle. No. 132. Sir Samuel and Lady Luke. Nos. 149 and 150. Rev. John Thornton. No. 185. Duchess of Buckingham. No. 164. WARD, JAMES, R.A. 1769-1859. Born in Thames Street. Originally placed with J. R. Smith, the engraver. He practised engraving for some years, and was diverted to painting by seeing the works of Morland, his brother-in-law. In 1794 he was appointed painter and engraver to the Prince of Wales. He engraved Sir W. Beechey's large Review picture, now at Hampton Court. His little picture of the " Council of Horses " is of a very high order in animal painting ; but the vast picture of an Alderney Bull, now in the National Gallery, is his most extensively known work. He died November 17, 1859, in his ninety-first year. A Village Scene, with Horses. Part 2. No. 429. WEENIX, JAN. 1644-1719. Son of Jan Baptist Weenix, a very distinguished painter, who had resided a considerable time in Rome, and whose pictures generally exhibit some Italian reminiscences in the background, either groups of statuary, architectural fragments, and masses of masonry. The younger Weenix, born at Amsterdam, lost his father at 16 years of age, and struck into the particular line of representing dead game, animals, fruit and flowers. In this class of imitation he never had an equal. His works are exceedingly numerous, and not rare in the market. On £3ofcum gibber ©afatogue. 327 the other hand, the more refined compositions of his father's are much rarer, and eagerly purchased. Game. Part 2. No. 430. Fruit. Part. 2. No. 431. WELLS, HENRY TANWORTH, R.A. (Living Artist.) The Present Duke. No. 301. WESTMACOTT, RICHARD, JUN., R.A. 1799-1872. Sculptor. Born in London. Studied under his father, an eminent sculptor. Devoted much of his time to lecturing and writing upon Art. Died at Kensington. Nos. 319, 320, 324, 325, 326, 327, and 329. WHOOD, ISAAC. 1689-1752. A very clever and facile portrait-painter. His best works are to be seen at Woburn Abbey and Trinity Hall, Cambridge. He was patronised by the Duke of Bedford. His drawings in black-lead upon vellum were much esteemed, and he was remarkable for his humour and happy application of passages in Hudibras. In the latter part of his life, owing to a vexatious lawsuit, he was much reduced in circum- stances. He died in Bloomsbury Square. He painted Archbishop Wake at Lambeth Palace. Edwards, in his " Anecdotes," says that Whood is supposed to have died before the year 1770. Duke of Marlborough. No. 202. Charles, yd Earl of Sunderland. No. 205. Hon. John Spencer. No. 206. Lady Georgina Spencer. No. 207. Admiral Russell, Lord Orford {copy). No. 209. Wriothesley, yd Duke of Bedford. No. 211. Ditto, reading. No. 212. Anne, Duchess of Bedford. Nos. 213, 214, 215, 216, and 217. Viscount Villiers. No. 221. Charles, 2nd Duke of Marlborough. No. 228. WILSON, RICHARD, R.A. 17131782. Born in Montgomeryshire. Son of a clergyman. Studied in London under an obscure portrait-painter named Wright. His own 328 Biographical Notices of Artists. career commenced with portrait-painting. On arriving in Italy in 1 749, he was induced by Zuccarelli and Vernet to devote himself wholly to landscape. In this line he became one of the most original painters, and his "Niobe," exhibited at Spring Gardens in 1760, served to establish his fame. He was one of the original members of the Royal Academy, and succeeded Hayman as their librarian. He retired in 1780 to his brother's in Wales, and died there. Some of his landscapes have been admirably engraved by Woollett. Houghton House. Part 2. No. 432. WISSING, WILLIAM. 1656-1687. Born at Amsterdam, and educated under Dodaens, a Dutch historical painter. After working in France he came over to England, and assisted Sir Peter Lely. After his death he painted the Duke of Monmouth and all the Royal family, especially William III. and Queen Mary when Prince and Princess of Orange. He was a formidable rival to the then rapidly rising portrait-painter Sir Godfrey Kneller. He died at Burghley, the seat of Lord Exeter, at whose expense he was buried in St. Martin's Church, Stamford. Prior wrote a poem to the Countess of Devonshire on Wissing's last picture, which represented all her grandchildren. Mary, Princess of Orange. No. 168. William, Prince of Orange. No. 192. WOOTTON, JOHN. 1720-1765. An eminent English figure, animal, and landscape painter. Scholar of John Wyck. He however formed himself on the style of classic Italian landscape, and frequently imitated such masters as Claude, Poussin and Salvator Rosa so skilfully as to mislead. His hunting- pieces at Althorp and Longleat are excellent. Some of his equestrian portraits are remarkably good. He generally signed his pictures with his name in full, as if incised into a stone wall or fragment lying on the ground. William, Viscount Villiers. No. 221. Landscape. Part 2. No. 433. ZUCHARO, FEDERIGO. 1543-1609. Born at Sant' Angelo in Vado, in the Duchy of Urbino. Assisted his brother Taddeo Zucharo, who was a superior artist. Federigo 329 completed the decorations of the cupola of the Duomo at Florence to the satisfaction of his employer, the Grand Duke Francesco I. He worked with his brother in the Vatican and at Caprarola. Having in- curred the displeasure of the Pope's servants, he took refuge in Flanders and proceeded to England, with introductions through the Cardinal of Lorraine, uncle to Mary Queen of Scots. He arrived here in 1574, and painted a picture of Queen Elizabeth. He only remained four years in this country, and then returned to Italy. He was sum- moned to Madrid by Philip II., but failed in giving satisfaction. He was, however, dismissed with liberal compensation. At Rome he founded the well-known Academy of St. Luke, and bequeathed to it all his property. Young Venetian. No. 22. Second Earl of Bedford. No. 29. Sir Philip Sidney. No. 34. U U INDEX TO SUBJECTS IN PART II. PAGE Abel. By Rubens 260 Ailesbury, Earl of, occupied Houghton House 268 Allucius 264 Ananias. Tapestry ............. 276 Angelo, Castle of St., and St. Peter's at Rome. By Viviano ..... 265 Anno Santo Pilgrims 236 Arras, Tapestries wrought at .......... 273 Arsenal at Venice . . . . . . . . . . 218 Arundel Castle. Tapestries, after Raphael 277 Assisi, Church of St. Clara at .......... 229 Attila. After Raphael 258 Bagnols, Mr., Picture-dealer 252 Balbi Palace at Venice ........... 220, 226 Barbetta, Venetian architect ........... 222 Beautiful Gate. Tapestry ........... 275 Beefsteak Club, founded by Lambert 243 Bembo Palace at Venice . . . . . . . . . . . .219 Bernardo Palace at Venice ............ 224 Bernini, Architect of a Campanile to St. Peter's 265 Blackfriars, Death of Van Dyck at ......... 234 Bonanni's " History of St. Peter's at Rome " quoted . ...... 265 Borgo, Incendio del. After Raphael 258 Boughton House Tapestries, after Raphael 277 Brandt, Isabella, first wife of Rubens .......... 260 Brentor, Dartmoor, View of .......... 230 Bromley, Engraver of Hayter's " Lord Russell " . . . . . . . . 241 Bucentoro at Venice . . . . . . . . . . .221 Burghley House. Tapestries, after Raphael ... ... 277 Burnet, Dr 241 Campanile of San Marco at Venice 222, 227 Canal, Grande, at Venice. ......... 219, 223-226 Canova's Monument to Admiral Emo . . . . . . . . 218 Capovilla, Palazzo, at Venice ........... 225 332 Index to Subjects in Pictures. PAGE Carrousel, Horses on the Arch of, at Paris 227 Carthage, New, Capture of 264 Cartoons by Raphael ............ 273 Castle Howard, Annibale Caracci's picture at ....... . 228 Catalina, from " Gil Bias " ........... 252 Cattle. By Dearman ............. 233 Cavendish, Lord . . 241 Cecilia, St. By Carlo Dolci 233 Charles I. obtained Raphael's Cartoons . . ....... 273 Charlotte, Princess, of Wales, pupil of Mr. Hayter 240 Cherubs scattering Flowers. By Murillo . . . . . . . . .251 Chester Cathedral. Tapestry, after Raphael ........ 277 Chevy Chase. By Landseer ........... 246 Chiara, Santa, at Venice ............ 223 Cicogna, Pasquale, Doge of Venice . . . . . . . . . .219 Civrani, Palazzo, at Venice 224 Clara, St. By Philippe de Champaigne ......... 229 Cleyn, Francis, Designer of Tapestry .......... 273 Cobbler and Bird. By Fraser 237 Codagora (Viviano) ............. 264 Coldbath Fields in Woburn Park 245 Columns at Venice 219, 227 Commons, Interior of the House of. By Hayter ....... 240 Contarini Palace at Venice . . . . . . 218 Convolvulus Flowers. By Lance 245 Cooper, Sidney, assisted F. R. Lee 246 Copt Hall, in Essex 274 Cornaro Palace at Venice . . . .218, 224 Crane, Sir Francis, manufactured Tapestry 273 Croce, Santa, at Venice 224 Crown declined by Lady Jane Grey .......... 247 Crusoe and Friday. By Fraser 237 D /ED ALUS. By Van Dyck 235 Deer in Woburn Park. By Landseer 245 Devonshire, Scene in. By Lee 246 Diogenes, Head of. By Salvator Rosa 259 — in Landscape. By Poussin 255 Dispute of the Sacrament. After Raphael 258 Dorset, Charles, Earl of, and Raphael's Cartoons ........ 274 Dove, Girl with a. By Maes 250 Dream of the Baker interpreted by Joseph . 257 " Duche," Italianised form of the name Dughet 254 Dudley and Lady Jane Grey 247 Duenna in " Gil Bias." Picture by Newton 252 Ellis, Wynn. Picture of a Regatta 226 Emo, Angelo, the last Venetian Admiral . . . . . . . . .21 — Palazzo, at Venice 22 gSo&urn Jlbbes Catalogue. 333 PAGE Endsleigh. By F. C. Lewis 249 Erizzo, Palazzo, at Venice ........... 225 Escrick, Lord Howard of ........... 241 " Fa presto," name given to Luca Giordano 238 " Feed my Sheep." Tapestry, not at Woburn Abbey 277 Fish-buying at Hastings ............ 230 Flags of Venice, Cyprus, Candia, and Morea ........ 222 Flowers scattered by Angels . . . . . . . . . -251 Fondaco dei Tedeschi at Venice . . . . . . . . . . . 219 Ford Abbey. Tapestries, after Raphael . 277 Formosa, Church of Sta. Maria, at Venice ......... 222 Fornarina. Painted by Callcott . . . . . . . . . .216 Foscari, Palazzo, at Venice ............ 226 Fourment, Helena, wife of Rubens .......... 260 Fowls and Peacocks. By Hondecoeter ......... 242 Fruit and Flowers. By Lance . 245 Fruit. Painted by Weenix 267 Galileo's Observatory at Venice 227 Game. Painted by Weenix ........... 267 Geminiano, Church of San, at Venice, now destroyed 222, 227 Geremia, Church of San, at Venice ........ .219,221 " Gil Bias," Subject from. By Newton . . 252 Giobbe, Church of San, at Venice 221 Girl with a Dove. By Maes 250 Giudecca Island and Canal, at Venice .......... 223 Globe held by Infant Saviour ........... 234 Gowrie, Earl of 234 Greenwich Pensioners. By Pidding ......... 253 Grey, Eastlake's Picture for Lord 236 Grey, Lady Jane, refusing the Crown 247 Grimani Palace at Venice 220, 222, 224, 226 Gros, Baron, Instructor of Bonington 215 " Guercino," name given to Giovanni Francesco Barbieri 239 Hamilton, James, of Bothwelhaugh 214 Harman, Eastlake's Letter to Mr 236 Hastings Beach. Painted by Collins 230 Hayman, Instructor of Gainsborough ... 237 Heliodorus. After Raphael 258 Heliodorus, Avenging Angel from 256 Henry VIII. received a duplicate set of Raphael's Tapestries 274 Hippodrome at Constantinople 227 Hogue, La, Battle of. By Schetky 261 Honey, Samson giving, to his Parents 239 Horses, Bronze, at Venice 227 Houghton House, Bedfordshire. By Wilson 268 Howard of Escrick, Lord 241 334 Index to Subjects in Pictures. PAGE Icarus and Daedalus. By Van Dyck 235 Incendio del Borgo. After Raphael ......... 258 Israelites' Departure. By Castiglione .......... 229 Italy. Poetical composition, by Linton . 250 Jackson of Exeter's Observations on Gainsborough 238 Jeffries, Serjeant ............. 240 John, St., in Patmos. By Hayter . 241 Joseph interpreting the Baker's Dream ......... 257 Kean, Edmund .............. 241 Kew, Gainsborough buried at .......... 237 La Hogue, Battle of. By Schetky 261 Landscape. By Wootton ........... 268 — with Figures. In the school of Jan Both . . . . . . . . 215 Landscapes. By Gainsborough .......... 238 — Various. By Lambert ........... 243-244 — Italian. By Gaspar Poussin ......... 254-255 Lansdowne, Eastlake's Picture for Lord ......... 236 Lion of St. Mark, on Venetian Column ......... 219 Lions of the Arsenal at Venice . . . . . . . . . . . 218 Loggetta at Venice. ............ 222 Lombardo, Santo, Venetian architect .......... 222 Longhena, Venetian architect .......... 224, 226 Lcngleat. Tapestries, after Raphael .......... 277 Lucatelli, View of Rome ascribed to ......... 265 Lucia, Santa, Convent of, at Venice .......... 224 Lysippus, Bronze Horses of .......... 227 Lystra. Tapestry ............. 277 - Maderno, Carlo, builder of a Campanile ........ 265 Madonna and Child. German School .......... 269 Manchester, Pictures exhibited at, in 1857 .—Allan's " Death of Murray " . . . 214 Callcott's " View on the Scheldt " . . 216 -Collins' " Hastings Beach " . . , 230 Cuyp's "Nimeguen, on the Rhine" . 232 Eastlake's " Pilgrims " . . . . 236 Newton's " Scene from ' Gil Bias ' " . 252 Rubens' " Tribute Money " . . . 261 Marcello, Palazzo, at Venice 225 Marco, Basilica of San, at Venice 227 Maries, The Three, at Castle Howard ...... 228 Martha and Mary, with Christ in background ....... 263 Maypole in Village Scene by Ward ....... 2 66 Mazzoni, Sebastiano, Venetian architect ....... 226 Melon, by Lance 245 Michael, Statue of St., on the Castel Sant' Angelo 265 Michele San Micheli, architect of Grimani Palace . . . 2 24 lJ3ofmrn dlfcbep ^dialogue. 335 PACK Miraculous Draught. Tapestry . . . . . . . . . . . 275 Mocenigo Family of Venice ........... 220 Mocenigo Palaces at Venice ........... 220 Morgan, Lady, Life of Salvator Rosa . 259 Moro-Lini, Palazzo, at Venice ........... 226 Morosini Palace, at Venice . . . . . . . . . . .221 Mortlake, Tapestry manufacture established at . . . . . . . 273 Murray, Death of Regent. By Allan ......... 214 Mytens copied Raphael's Cartoons .......... 274 Napoleon. Painted by Eastlake 235 Nativity, The. By Carlo Maratti . . . . . . . . 251 New Carthage captured ............ 264 Nile, Battle of the, Refought. By Pidding. ........ 253 Nimeguen, on the Rhine. By Cuyp ......... 232 " Noli me tangere." By Caracci .......... 228 Normandy. Coast View by Bonington . . . . . . . .215 Orford, Edward Russell, Admiral, Earl of 262 Orleans, View of. By Jones ........... 242 Orologio, at Venice . . . . . . . . . . . -219, 227 Orrizonte, Landscapes by .......... 250 Palazzo Ducale, Venice 219, 222, 227 Palladio, Designer of Church of the Redentore ........ 223 Palladio's Design for the Rialto . . . . . . . . . 219 Pantaleone, Church of St. , at Venice . . . . . . . . • 220 Parnassus. After Raphael 259 Passion, Instruments of the ........... 239 Patmos, St. John in the Island of 241 Paul and Barnabas at Lystra. Tapestry 277 Paul preaching, not at Woburn Abbey . . . . . . . ..277 Paul's, Van Dyck buried in St. ......... 234 Peacock and Fowls. By Hondecoeter ......... 242 Pemberton, Lord Chief-Justice .......... 240 Penni, Francesco, assistant of Raphael 273 Percy, Earl, in Chevy-Chase 246 Pesaro, Palazzo, at Venice ............ 224 Petworth House. Tapestries, after Raphael ........ 277 Piazza di San Marco, Venice .......... 222, 227 Piazzetta di San Marco, Venice . . . . . . . .219, 222, 227 Pilgrims in sight of Rome. By Eastlake ......... 236 Pineapple. By Lance ............ 245 Piovene, Palazzo, at Venice ........... 225 Piraeus, called Porto Leone ........... 218 Pistolesi's Work on the Vatican 275, 276, 277 Pix held by Saint Clara ............ 229 Pollexfen ............... 241 Ponte, Da, Designer of the Rialto 219 336 Index to Subjects in Pictures. PAGE Presentoir of Mother of Pearl, and Eatables. By Weenix . . . . . 267 Prince of Spain's Visit to Catalina .......... 252 Procuratie Nuove, at Venice ........... 227 Quilley, Mezzotint engraver ........... 231 Rabbi, a Jewish. By Rembrandt .......... 257 Raphael and the Fornarina. By Callcott . . . . . . . .216 Redentore, Church of the, at Venice .......... 223 Regatta, at Venice, on the Grand Canal ......... 226 Reggio, Canal, at Venice ............ 219 " Render unto Caesar" ............ 241 Rezzonico, Palazzo, at Venice . . . . . . ... . . 225, 226 Rialto, at Venice 219, 224, 226 Richelieu employed Philippe de Champaigne ........ 229 Rocco, Scuolo di San, at Venice .......... 220 Rome, View of St. Peter's at, attributed to Lucatelli 265 and Castel Sant' Angelo. By Viviano . . . 265 Rubens advised Charles I. to secure the Cartoons ....... 273 Rubens, Influence of, upon Landseer ......... 246 Russell, Admiral, at La Hogue ........... 262 — Sir Francis, Death of, by Cooper ......... 232 — Sir William, at Zutphen . . . . . . . . . 231 — Lord, Trial of, in 1683. By Hayter ......... 240 — Lady Wriothesley . ... . . . . . . . . . . 241 Ruthven, Mary, wife of Van Dyck .......... 234 Salute, Santa Maria del, at Venice .......... 223 Samson and his Parents, by Guercino ......... 239 Sansovino designed the Procuratie Nuove at Venice ....... 227 Sapphira. Tapestry ............ 276 Saviour contemplating Instruments of the Passion ....... 239 — Infant, by Van Dyck ............ 234 Scamozzi, Vincenzo, architect ........... 224 School of Athens, after Raphael . . . . . . . . . .258 Scipio, Continence of. By Tiepolo .......... 264 Sidney at the Battle of Zutphen . . . . . . . . . .231 — Sir Philip, wrote " Arcadia " at Houghton ........ 268 Simeone Piccolo, Church of San, at Venice ........ 224 Sistine Chapel Decorations ............ 273 " Soli Vertus " on picture of Madonna and Child ....... 269 Soracte in Landscape. By Poussin .......... 255 Stefano Campo di San, at Venice . . . . . . . . . .221 Stephen's Day, St., Tapestries first shown on ....... 273 Stepney, Sir John, married Van Dyck's daughter ....... 234 Still life. By Snyders .......... . 263 Tamar, View on the. By F. C. Lewis ...... . . 249 Tapestries, after designs by Raphael ......... 273-277 3$oburn Jl&beg §ataloQue. 337 PAGE Tavistock's, Pictures in Lord, Catalogue, 1767 : — Caracci's " Noli me tangere " . 228 Guercino's " Sainson " . . . 239 — — Lucatelli or Viviano's "St. Peter's and the Castel Sant' Angelo " 265 Van Dyck's " Dxdalus and Icarus " 235 Theodore, St. on Venetian Column 219 Theologia, after Raphael . . . . . . . . . . . . 258 Tiepolo, Palazzo, at Venice ........... 224 Tillotson, Dr. .............. 241 Tirali, Andrea, Venetian architect . 221 " Tom of Ten Thousand. " Thynne 277 Tourville, Count ............. 262 Treby, Sir William, Recorder ........... 240 Trial of Will iam Lord Russell in 1683. By Hayter ....... 240 Tribute Money. By Hayter 241 — after Rubens 261 Trinity, The Holy, and Instruments of the Passion 239 Udine, Giovanni da, assistant of Raphael ........ 273 Vander Doom's Catalogue mentions Raphael's Cartoons 273 Vendramini-Calerghi Palace, at Venice 220, 225 Venice. Twenty-four Views by Canaletto 217-227 "Vintage, Italian. By Severn ........... 263 Violinist, Female, by Carlo Dolci 233 Vitale, Church of San, at Venice 221 Vittoria, Alessandro, Architect of the Balbi Palace 226 Vivares engraved Lambert's Pictures 243 Vivian, Mr. George, Eastlake's Picture for 236 Waterloo, Battle of. Painted by Jones 242 Wenschefeld, Sculptor of Statue of St. Michael 266 Westerloo, Marquess of 242 Wiffen, the Librarian. . . . . . . . . _ < . . 241 Woburn Park. Group of Trees. By Strutt 264 — Scene in, by Lee ............. 247 Wren, Sir Christopher, prepared a room for Cartoons 274 Young, Charles, the Tragedian . . . . 241 Zecca, or Mint, at Venice - 219 Zutphcn, Eattle of, 1586 231 X X Errata. The continuity of the numbers has accidentally been broken ; but picture is omitted. Numbers 144 and 331, on pages 98 and 214 are wanting. G. S. *' ■ ■ I ■