)^\(jC^aXjU Uv— 
 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/belvoircastleporOObelv 
 
Beluutr 
 
 Fa rf rails IF 
 
 ? M 
 
 1891 . 
 
NO. 
 
 1 King James I. Son of Mary Queen of Scots and Henry Lord Darnley. Born June 19, 15 66. 
 
 Crowned at Westminster July 25, 1603. Stopped at Belvoir Castle on his way to London, and 
 was received by Roger Manners, 5th Earl, April 22, 1603. Died 1625. Full-length, life-size. 
 
 2 King Charles I. Son of James I. and Anne of Denmark, daughter of Frederick II. Born 
 
 Nov. 19, 1600 ; succeeded his father March 27, 1625. Married Princess Henrietta Maria of 
 France. Was entertained at Belvoir Castle in 1634 by George Manners, 7th Earl of Rutland. 
 Beheaded Jan. 30, 1649. Full-length life-size. 
 
 3 Queen Mary II. Daughter of King James II. and Anne Hyde daughter of Lord Chancellor 
 
 Clarendon. Married to William Henry Prince of Orange her cousin, and after the Revolution 
 of 1688, proclaimed in 1689 with her husband, King and Queen of England as WILLIAM and 
 Mary. She died 1694. Full-length, life-size. 
 
 A* These portraits of King James I., King Charles I. and Queen Mary II., were rescued with others from the fire in 1816 but little 
 injured, though without the frames. They were relined, repaired and framed, by direction of John 7th Duke of Rutland, and 
 placed here in 1890. 
 
 4 QUEEN Anne. Daughter of James II. Born 1665. Reigned 1702-1714. Created the Marquisate 
 
 of Granby and Dukedom of Rutland in 1703. Full-length, life-size. 
 
 5 Prince George of Denmark. Husband of Queen Anne. Died 1708. Full-length, life-size. 
 
 6 The Prince of Lippe Buckbourg. 1759. Standing three-quarter length. I Companions in 
 
 7 Prince Ferdinand of Brunswick. 1759. Standing three-quarter length. arms ofthe Mar- 
 
 quis of Granby. 
 
 8 The Hereditary Prince of Brunswick. 1759. Standing three-quarter length. J 
 
 &t\ L 4- 
 
2 
 
 NO. 
 
 9 The Duke of Buckingham. George Villiers, ist Duke. By Daniel Mytens. Life-size. 
 Standing whole length. Wearing the garter as K.G. He married Catherine Manners, 
 daughter of Francis, 6th Earl of Rutland. He was assassinated by Felton in 1628. Buried in 
 Westminster Abbey. 
 
 This portrait was rescued from the fire in 1816, and was repaired and framed by direction of John, 7th Duke of Rutland, and 
 placed here in 1890. 
 
 (Eight Full-length, life-size portraits by J. van der Eyden, an assistant to Sir P. Lely, who settled in 
 Northamptonshire and was employed by the Earls of Rutland. He died 1695.) 
 
 10 Thomas Manners, ist Earl of Rutland, 1526, son of George Lord Ros. Created Knight of 
 
 the Garter by Henry VIII., April 23, 1526, and Earl of Rutland, June 18, 1526, a title never 
 before conferred on any but of the Blood Royal. He commenced to rebuild Belvoir Castle 
 after its ruin by Lord Hastings. He removed the ancient monuments of the Albini and Ros 
 families from the Priory at Belvoir to Bottesford Church, and some from Croxton Abbey. Died 
 Sept. 20, 1543. 
 
 11 Henry Manners, 2nd Earl, 1543, eldest son of ist Earl, distinguished for Military Services; 
 
 Knight of the Garter by Queen Elizabeth, 1559; President of H.M.’s Council in the North; 
 Completed the rebuilding of Belvoir Castle ; transferred the family monuments from suppressed 
 convents to Bottesford Church. Died Sept. 17, 1563. 
 
 12 Edward Manners, 3rd Earl, 1563, when only 20 years of age, and ward of Queen Elizabeth. 
 
 Was Colonel of foot under Earl of Sussex in the force against the Northern revolt. K.G. 1585. 
 Camden records he was “ a profound lawyer and a man accomplished with all polite learning.” 
 Died April 14, 1587, aged 38. 
 
 13 John Manners, 4th Earl, 1587, brother of preceding Earl. Served in the Irish wars, Lord 
 
 Lieutenant of Notts. Died Feb. 24, 1588. 
 
 14 Roger Manners, 5th Earl in 1587-8, brother of preceding Earl, and when only 1 1 years old ; was 
 
 M.A. of Cambridge, 1598. “An eminent traveller, and a good soldier.” — (Wood, Fasti Oxon . ) 
 The friend of the Earl of Essex, and Earl of Southampton, and implicated in the attempt of 
 Essex, Feb. 1601 ; consequently imprisoned in the Tower by Queen Elizabeth, and eventually 
 released on paying a fine of £10, 000. Received King James I. on his way to London, April 22 
 1603, at Belvoir, when Ben Jonson’s Masque, “The Metamorphosed Gipsies,” was performed. 
 K.B. at the Coronation of King James. Ambassador Extraordinary to invest the King of 
 Denmark with the Order of the Garter. Married the only daughter of the famous Sir Philip 
 Sidney. Died June 26, 1612, aged 36, his countess surviving only a little over two months, 
 leaving no children. 
 
 15 FRANCIS Manners, 6th Earl in 1612 when 18 years old, brother of preceding Earl; K.B. 1603-4, 
 
 K.G. 1616. Admiral of the Fleet to escort Charles Prince of Wales from Spain. In 1625 one of 
 the supporters to King Charles at the funeral of James I. His daughter Catherine was the 
 wife of George Villiers, Duke of Buckingham. ( See No. 33, Regent’s Gallery.) 
 
 16 George manners, 7th Earl, 1632, brother of preceding Earl. Fought under the Earl of Essex in 
 
 Ireland and was knighted by him, 1599. Entertained King Charles I. at Belvoir, 1634. Died 
 March 29, 1641, without issue. {See No. 56, Library.) 
 
3 
 
 17 John Manners, 8th Earl, 1641, cousin of preceding Earl, and grandson of John Manners of 
 
 Haddon, thus uniting the two lines of the Manners family. Died at Haddon Hall, 1679: The 
 present Duke of Rutland (A.D. 1890) is directly descended from John Manners of Haddon, and 
 Dorothy Vernon. The title of the eldest son of the present Marquis of Granby is Lord Manners 
 of Haddon (1890). The 8th Earl was one of the twenty-two peers who in 1642-3 declined to 
 attend the King (Charles I.), and Belvoir Castle was then taken by the Royalists. King Charles 
 slept there, 1645. It was afterwards taken and destroyed by the Parliamentarian army by order 
 of Council of State, 1649. The Earl then resided at Haddon. He rebuilt the Castle at Belvoir. 
 A fine miniature of him by S. Cooper is in Case 9, Elizabeth Saloon. 
 
 18 John Manners, Marquis of Granby, who became 2nd Duke of Rutland. He died in 1721. 
 
 19 Patricius, Viscount Chaworth. Half-length, by Sir Peter Lely. 
 
 20 Lady Chaworth. Sister of 1st Duke. Half-length, by Sir Peter Lely. 
 
 21 The Marquis of Granby. {See No. 67, Dining-Room.) 
 
 22 A General Officer and K.G. Supposed to be the Duke of Cumberland, under whom Lord 
 
 Granby served. 
 
 23 Lord Robert Manners Sutton, M.P., son of the 2nd Duke. Master of the King’s hounds, 
 
 1754, and Colonel of the Royal Foresters. Standing three-quarter length. By Thomas 
 Gainsborough, r.A. In a black dress slashed with white, holding a broad hat and feather, 
 landscape seen at the side. 
 
 24 The 5th Duke. Full-length, life-size, in uniform of the Leicester Yeomanry ; in a landscape ; head 
 
 bare ; holding his busby. By John Hoppner, R.A. {See No. 54, Library.) 
 
 25 Duchess of Beaufort. By Sir Joshua Reynolds, P.R.A. In a pale blue dress edged with ^ 
 
 ermine. Half length, life-size. 
 
 26 Duke OF Beaufort, Brother of Mary Isabella, Duchess of Rutland. By Sir Joshua Reynolds. 
 
 27 Duchess of Somerset, wife of Charles, 6th Duke of Somerset. Seated ; to knees ; life-size. 
 
 By -W. Hogarth. {See also a pastel by Hamilton in New Library, and miniature in Elizabeth 
 Saloon.) 
 
 28 Marchioness of Granby, wife of the famous Marquis, daughter of Charles, 6th Duke of Somerset. ’ 
 
 By Hogarth. 
 
 29 Duke of Rutland, ist Duke. Small. Standing; to knees; head uncovered ; wearing breast- 
 
 plate and holding baton. Died 1711. By Sir Godfrey Kneller. 
 
 30 Duchess of Rutland, ist Duchess. Small. Holding flowers. {See also No. 69.) By Sir 
 
 Godfrey Kneller. 
 
 31 Duke of Rutland. 4TH Duke. Life size to waist. {See No. 53, Library.) 
 
 32 Marshal Broglio. In court dress. Half-length ; life-size. 
 
 33 Duchess OF Buckingham. Life-size to waist; full face. In mourning, with falling lace collar, wear- 
 
 ing at her bosom a miniature of her husband the Duke. She was Catherine Manners, only 
 daughter and heiress of Francis, 6th Earl of Rutland, married to George Villiers, 1st Duke 
 of Buckingham, and mother of George, 2nd Duke. The Duke was assassinated by Felton in 
 1628. She afterwards married Lord Antrim. By VANDYCK. 
 
 B 2 
 
4 
 
 34 DUCHESS OF Rutland; Mary Isabella, wife of the 4th Duke, 1779, called “the beautiful Duchess.” 
 
 Daughter of Charles Noel Somerset, 4th Duke of Beaufort. (See No. 59.) Full-length, life- 
 size. Standing. In a white dress edged with ermine, white turban and feather ; in a landscape. 
 By Sir Joshua Reynolds. Engraved by Valentine Green. 
 
 35 The Marquis of Granby. Small. 
 
 36 The 4TH Duchess OF Rutland when a child. Bust-size. By Robert Smirke, R.A. 
 
 37 Duchess OF Rutland, wife of 1st Duke. By Sir G. Kneller. Small three-quarter length, 
 
 standing. In a landscape. On copper. 
 
 38 Countess of Northumberland. Bust-size, small. On panel. 
 
 39 A Lady. A daughter of 1st Duke of Rutland. Small bust-size. On panel. 
 
 40 Countess OF Rutland, Isabella, wife of 3rd Earl. Daughter of Sir Thomas Holcroft. Standing. 
 
 Full-length, life-size. In a red dress with lace collar and cuffs. By F. Zucchero, who painted 
 in England 1574. Died at Ancona 1609. Called also Zuccaro, and was brother of Taddeo 
 Zuccaro. 
 
 41 King George IV. When Prince Regent was entertained at Belvoir by the Duke from Jan. 2nd, 
 
 1814 to Jan. 7, inclusive. (Small.) 
 
 42 Lord ROOS. Became 2nd Duke of Rutland. Small. Seated, in fancy dress as a boy, with a dog ; 
 
 in a landscape. 
 
 43 Lady Gower. Daughter of 1st Duke of Rutland. Small. With a dog, in a landscape. 
 
 44 Lord George Manners. Son of 5th Duke. As Colonel of The Royal Horse-Guards Blue. By 
 
 Sir F. Grant, P.R.A. Life-size, standing three-quarter length. Married Lady Adeliza Fitzalan 
 Howard, daughter of the 13th Duke of Norfolk. Died 1874. 
 
 45 Duchess OF Rutland, wife of the 5th Duke. Full-length, life-size, holding a straw hat with 
 
 feathers. Standing in the garden which she laid out. By John Hoppner, R.A. 
 
 46 Lord Thomas Manners. Son of 1st Duke, in a blue laced dress and cocked hat, with a dog and 
 
 gun. Life-size. Landscape at the side. ' 
 
 47 Lady Frances Villiers. Granddaughter of 6th Earl of Rutland, and niece of George, 1st Duke 
 
 of Buckingham. Small. Bust-size, on panel. 
 
 48 A Lady, with fair hair, in blue dress with pearl necklace. A daughter of 1st Duke. Small. 
 
 49 Duchess OF Rutland, wife of the 1st Duke. By Kneller. Seated. Life-size to knees. 
 
 50 A Lady. Supposed to be Mary Queen of Scots. 
 
 51 Duchess of Beaufort. Baroness Bottetourt. Wife of Charles Noel, 4th Duke of Beaufort. 
 
 Mother of the 4th Duchess of Rutland. Bust, life-size. 
 
 52 Lady Tyrconnel, wife of George, Earl of Tyrconnel. She was Frances, eldest daughter of 
 
 Marquis of Granby. Married July 9th, 1772. Divorced by Act of Parliament in 1 777. After- 
 wards (1777) married to Hon. Philip Leslie, son of Lord Newark. In rich white satin with 
 plumed head-dress, her hand to her cheek, looking out of the picture to her right. Life-size. 
 Seated, to knees, in a landscape. With red curtain at side. By Sir Joshua Reynolds. 
 
5 
 
 53 Charles, 4 TH Duke of Rutland. In red coat edged with sable and white cravat. Bust-size, 
 
 in an oval. By Sir Joshua Reynolds. ( See Nos. 58 & 73.) 1 
 
 54 John Henry, 5 TH Duke, son of preceding. Seated, whole length, in his library. By Sir Francis 
 
 Grant, P.R.A. Rebuilt Belvoir Castle 1801-1816, and completed the building after the fire on 
 Oct. 26, 1816. Entertained Queen Victoria and the Prince Consort at Belvoir, 1843. Died 
 1857. Called ‘The Good Duke.’ This portrait was presented by his tenantry. 
 
 55 Charles Cecil John, 6 th Duke, 1857, son of preceding. Standing, bust-size, in black dress. 
 
 By Sir F. Grant, P.R.A. Entertained the Prince and Princess of Wales at Belvoir Castle, 1863. 
 and at luncheon at Haddon Hall in 1872. Excellent artist and amateur of the Fine Arts. 
 Never married. Died 1888. 
 
 56 George, 7 TH Earl of Rutland. Full-length, life-size, in black dress, with broad lace collar 
 
 and cuffs. Standing, bare-headed. By Va.nd. y T kr {See No. 16). 
 
 57 Procession of the Order of the Garter. By Vandyck. A sketch in brown touched with 
 
 white. Designed for the walls of the Banqueting House, Whitehall. Size, 11x51^. 
 
 58 Charles, 4 TH Duke of Rutland. Life-size, standing, to knees, in a landscape. By Rev. W. M. 
 
 Peters, A.R.A. This Artist was Rector of Knipton, and w r as elected associate of the Royal 
 Academy about 1770. 
 
 59 Duchess of Rutland, Mary Isabella, wife of 4th Duke. By Rev. W. M. Peters, A.R.A. Life- 
 
 size, standing, in a landscape. In a white dress ; holding a garland of flowers. On oak panel. 
 
 60 FRANCES, Countess of Rutland, wife of 8th Earl, daughter of Lord Montague of Boughton. Standing, 
 
 full length, life-size. 
 
 61 Frances, Countess of Exeter, wife of John Cecil, Earl of Exeter, daughter of the 8th Earl of 
 
 Rutland. Standing, full length, life-size. 
 
 *** These two portraits were saved from the fire in 1816, and were relined, repaired and framed by direction of John, 7th Duke 
 of Rutland in 1890, and placed here. 
 
 62 Lord MANSFIELD. Seated, in Peer’s robes, in his library. Smaller than life. By R. Marten. L A Asvvl iw \ 
 
 63 The Death of Lord Robert Manners. By T. Stothard, R.A. 20x28. Youngest son of the 
 
 famous Marquis of Granby and his wife, who was Lady Frances Seymour, daughter of 
 Charles, Duke of Somerset. He was born Feb. 5, 1758, and was educated at Eton School; 
 
 Captain of The Resolution under Admiral Rodney, and commanded H.M. ship in nine 
 actions before the last memorable one off Dominica, April 12, 1782, when in breaking the 
 French line of battle, fighting two ships, he was severely wounded in both legs and had 
 one arm broken. He suffered amputation, but died of locked jaw on the 23rd April and was 
 buried at sea. A monument to him is in Westminster Abbey, decreed by Parliament to him, 
 with Captain Blair, of H.M.S. Anson , and Captain Bayne, of H.M.S. Alfred. Sculptured by 
 Nollekens. Some fine lines were written by Crabbe on the death of Lord Robert Manners. 
 
 “Honours for thee thy country shall prepare, 
 
 Thee in their hearts, the good, the brave, shall bear; 
 
 To deeds like thine shall noblest chiefs aspire, 
 
 The muse shall mourn thee, and the world admire. 
 
 In future times, when smit with glory’s charms 
 The untry’d youth first quits a father’s arms; 
 
 ‘ Oh be like him ’ — the weeping sire shall say, 
 
 ‘ Like Manners walk, who walk’d in honour’s way.’ ” 
 
 The Village, by the Rev. George Crabbe, LL.B., 1807.— Book I., p. 27 
 
6 
 
 NO. 
 
 64 The Nativity. By Bassano (Jacopo da Ponte, painted 1530 — 1592. Venetian School). Canvas, 
 
 on wood. 24 x 18. 
 
 65 View of London from the Thames when Frozen over. By W. Marlow. Signed and 
 
 dated 1776. tyt . ce. 
 
 66 Landscape with Figures. By Gaspar Poussin. (Painted 1630 — 1675, French School.) 54x78. 
 
 67 Charles I.on Horseback in a Landscape. By Henry Stone, called “ Old Stone.” 52x41. 
 
 68 Landscape with Statues and Figures. By James Rousseau. (Painted 1650—1693) 50x40. 
 
 69 Landscape with Figures. By J. Rousseau. Companion picture to 68. 
 
 70 The Dog “Turk.” By G. Stubbs, A.R.A. See also the picture by Sir Joshua Reynolds in the 
 
 Picture Gallery. Cdvp 4^ -£ 40 
 
 71 River View with Castle and Bridge. 52x41. 
 
 73 Charles Manners, 4TH Duke of Rutland. In his robes as Lord-Lieutenant of Ireland, 
 
 holding Wand of Office. Died 1787, when Lord-Lieutenant of Ireland, at Dublin, aged 34. 
 P'ull-length ; life-size. By Sir Joshua Reynolds. Following the example of his grandfather, the 
 3rd Duke, who was a great patron of the fine arts, he added many fine pictures to the 
 collection, guided by the advice of his friend Sir Joshua Reynolds, one of the most important 
 of which was the magnificent portrait of Henry VIII. by Holbein, purchased by him in 1787. 
 His fine taste and his influence in promoting the fine arts are mentioned by Nichols in The 
 History of Leicestershire: “To his fostering hand the arts are indebted for their flourishing 
 state in this country. By an early and warm attachment to men whose works have formed 
 that style of painting which has created an English school, he did equal honour to himself, to 
 his country, and to the age in which he lived.” ( See Notes, p. 10, and Nos. 58 and 53). 
 
 74 The Marquis OF Granby. Leaning on a mortar; landscape and battle-scene in background. Full 
 
 length ; life-size. By Sir Joshua Reynolds. Commanded the British troops in Germany, 1760 ; 
 made Master-General of Ordnance 1763, and Commander-in-Chief 1766. Died 1770. 
 
 75 The Duke of Rutland. The First Duke. By Sir Godfrey Kneller ; half-length; life-size. 
 
 76 Ti-ie Duchess of Rutland. The First Duchess. Half-length; life-size. By Kneller. 
 
 77 The Earl of Exeter. Half-length ; life-size. 
 
 78 Countess of Exeter. „ „ Sister of the 1st Duke of Rutland. 
 
 79 The 5TH Duke, in his Coronation Robes. Full-length ; life-size. By John Sanders. 
 
 80 The 5TH Duchess, holding a Crayon as if Sketching, Companion portrait. By John Sanders. 
 
 81 A Statue of the Duchess of Rutland. The 5th Duchess. By Matthew Wyatt. 
 
7 
 
 THE COLLECTION OF MINIATURES, arranged in sunk panels round the walls, contains some ex- 
 ceedingly fine examples of the famous English artists of the Sixteenth and Seventeenth Centuries, 
 and by R. COSWAY, R.A., of the Eighteenth Century ; also some beautiful enamel and other 
 paintings by the foreign artists of the Seventeenth and Eighteenth Centuries, J. PETITOT, C. F. 
 ZlNCKE, and J. E. LlOTARD, who came to England, by whom there are some fine works. 
 These were chiefly collected by the 3rd and 4th Dukes of Rutland. They have now been arranged 
 in chronological order by Violet Marchioness of Granby. 
 
 The panels, the glasses of which are removable, are sixteen in number, commencing on the right 
 hand of the entrance door. The following may be pointed out as especially noticeable. 
 
 No. of Panel. 
 
 I. — Sir Walter Raleigh. Oval. 3 x 2\. In armour inlaid with gold, and sash. His hair 
 grey and curly. Inscribed Ait. 68. Anno. 1618. This would be the year of his execution. 
 In a compartment below the portrait, the sea-fight at Guiana is represented. In gold 
 engraved and enamelled case with the letters W at top and E. R. interlaced at bottom 
 below a heart in the middle with crosses at the corners. The initial E is that of his 
 wife who was Elizabeth Throgmorton, and for whom this was no doubt painted. 
 
 Portrait of the Son OF Sir Walter Raleigh. By the same artist, and bears the same 
 date, when he was in his 24th year, having been killed in the battle on the banks of 
 the Orinoco river, as is represented in the compartment below. This is in a plain case 
 of ormolu, 3 x 2 \. 
 
 Edward VI. 
 
 William Herbert, Earl of Pembroke. By P. Oliver (Died 1660, ^Et. 59). 
 
 Lady Frances Cecil, Countess of Cumberland. By J. Hoskins (Died 1664). 
 
 . Charles, Prince of Wales. — Ait. 14. Oval. 3 x 2 \. Wearing the George. Inscribed all 
 round in gold letters. The plume, crown, crescent and stars on the curtain. 
 
 Duchess of Somerset, with her Infant Son. Round. 2 in. diam. 
 
 II.— Robert Dudley, Earl of Leicester. Round. 2 in. Queen Elizabeth. Hair loose and 
 light brown ; ruff, and white dress, black velvet cap with aigrette in front. Oval. 2 x 
 
 Henry Percy, Earl of Northumberland. 1585. By J. Hoskins. 
 
 A Portrait of a Man. — Two Portraits of Ladies. 
 
 HI. — Richard Wiseman, Sergeant-Surgeon to Charles II. 1660. By S. Cooper. Oval. 3 x 2§ 
 
 John, ist Duke of Rutland. By John Hoskins, Jun r - signed J. H. 
 
 Lady Grace Manners. In a black cap tied under the chin. By S. Cooper. Oval. 2 x if 
 
 John, 8th Earl of Rutland. 1656. By S. Cooper. In Oval locket, gilt. 2^x2. 
 
 Frances, 8th Countess of Rutland. 
 
 John, 8th Earl of Rutland. Dated 1656. By J. Hoskins (Died 1664). 
 
 A Gentleman in a red wig, with sharp features. Signed J. H. 1652. Another. By the 
 Same. 
 
 VII.— Duchesse de la Valiere ; Enamel. By Petitot. Oval. 2xif. Gabriella d’Etrees ; 
 Enamel. By Petitot. Oval. i|xi£. LOUIS XIV. By Petitot (Died 1691, Ait. 84). 
 
 X. — Edward, Duke of Somerset. 1560. 
 
 XII.— Lord William Russell (beheaded 1683), and his wife Lady Rachel Russell. By 
 Samuel Cooper (Died 1672, Ait. 63). 
 
 The Duchess of Somerset, Enamel. By Zincke (Died 1767, ^Et. 83). 
 
 John, Marquis of Granby. By Liotard (Died 1779, Ait. 77). 
 
 The Dowager Duchess of Rutland. 1782. By R. Cosway, R.A. 
 
NO. 
 
 81 Janetta, Duchess OF Rutland, daughter of Thomas Hughan, Esq. of Airds, N.B. Second wife 
 
 of John, 7th Duke of Rutland. By Archibald Stuart-Wortley. 
 
 82 John, 7TH Duke of Rutland. 1888. Brother of the 6th Duke. By H. Herkomer, R.A. 
 
 Standing, full-length, life-size, in the uniform of blue, goldlaced,worn only by Cabinet Ministers. 
 First Commissioner of Works, with a seat in the Cabinet, in 1852, 1858, and 1866. Postmaster- 
 General 1874 to 1880, and from 1885-1886. Chancellor of the Duchy of Lancaster 1886 to 
 present time. G.C.B. 1880. K.G. 1891. 
 
 83 Lady John Manners. Wife of Lord John Manners, afterwards (1888) 7th Duke of Rutland. 
 
 She was daughter of Col. Marlay, C.B. and mother of Henry Marquis of Granby. She died in 
 1854. In white dress, in a landscape, with a little dog. Full-length, life-size. By R. Buckner. 
 
 84 Katharine, Countess of Rutland. Third wife of 9th Earl, 1683. Daughter of Baptist Noel 
 
 Viscount Campden. Mother of the 2nd Duke of Rutland. 
 
 85 John, 9TH Earl, 1679. The First Duke. Created Marquis of Granby and Duke of Rutland 
 
 by Queen Anne 1703. Died 1710-11. 
 
 86 Diana. Second wife of John, Lord Roos, 9th Earl. 1672. She was the widow of Sir Seymour 
 
 Shirley and was daughter of Robert Bruce, Earl of Aylesbury. 
 
 87 John, 2nd Duke of Rutland, 1711. Died 1721. Full-length, life-size. 
 
 88 Catherine. Wife of the 2nd Duke of Rutland. Seated, half-length. By Sir G. Kneller. She was 
 
 daughter of William Lord Russell, who was beheaded July 21, 1683. 
 
 89 John, 3RD Duke. 1721. K.G. 1722. Born 1696. Died 1779. Full-length, life-size. By C. Jervas. 
 
 90 Charles Cecil John, 6th Duke, K.G. In uniform as Lord-Lieutenant of Leicestershire, and in 
 
 the robes of the Garter. Full-length, life-size. By Sir F. Grant, P.R.A. 
 
 91 LUCY. 2nd wife of the 2nd Duke of Rutland. She was daughter of Lord Sherrard and sister of 
 
 the 1st Earl of Harborough. 
 
 92 Lord Robert Manners. Captain of H.M.S. Resolution. 1782. By Sir Joshua Reynolds. 
 
 (See No. 63) Engraved. 
 
 93 John Henry, 5TH Duke of Rutland. In a landscape, with a dog. By J. Hoppner, R.A. 
 
 Full-length, life-size. Died 1857. 
 
 94 Diana, 9TH Countess OF Rutland. Life-size, seated in a landscape as a shepherdess, 
 
 holding a crook, and with two lambs. By Sir G? Knelter. (See No. 86.) K uA> ' 
 
 95 Mrs. Bridget Noel. 
 
 96 ^llliam, Duke of Gloucester, son of Queen Anne and Prince George. As a boy in Garter 
 
 robes. Died 1700, aged eleven. 
 
 97 Duchess OF Rutland. Wife of 3rd Duke. She was Bridget Sutton, daughter of Lord Lexington. 
 
 97 * Charles Cecil John, 6th Duke of Rutland. By Sir F. Grant, P.R.A. Standing, life-size 
 to knees, in black coat, with landscape background. 
 
 98 John Manners, Lord Roos, eldest son of the Marquis of Granby. A boy with a fawn, in landscape. 
 
 Inscribed “ B. 1751. Died 1760, aged 9 years.” ^ 
 
 99 Two Children with a Jay in a Cage. By Rev. M. W. Peters, A.R. A. (5^58-59, New Library.) 
 
9 
 
 NO. ! 
 
 100 The Death of the Stag. By Angelica Kauffman, R.A. 26x36. 
 
 101 Earl of Northampton. By Sir G. Kneller. 
 
 102 The Discovery of the Patriarchs’ Money in their Sacks. 36x48. By Jan Breughel. 
 
 103 Sea-Piece. By W. Marlow. Oval. 40x54. 
 
 104 ,, ,, „ Oval. 40x54. 
 
 105 The Presentation of Samuel to Eli. By Sir B. West, P.R.A. (Born 1738. Diedi82o.) 20x26. 
 
 P. LeJL^ 
 
 106 James, Earl OF Anglesea, life-size. By Sir Gr^KneHer. He married Elizabeth Manners, sister • 
 
 of the 1st Duke of Rutland. So * 4-0 
 
 107 The Saviour Disputing in the Temple. By Sir B. West, P.R.A. 20x26. 
 
 108 T heT^her Iian: ' By J. H. Mortimer, R.A. (Born 1739, Died 1779.) 16x20. Co - A - 4 -^- $~ Q q w . 
 
 109 King John Signing Magna Charta. By J. H. Mortimer, R.A. 20x26. CrvV 4-^ 
 
 The Altar Piece is a beautiful picture of the Holy Family by Murillo. The Madonna with the 
 Infant Saviour on her knees, the little St. John with a rustic cross and scroll of Ecce Agnus Dei 
 and a lamb at his feet ; St. Joseph standing behind. The background is a fine landscape with 
 distant mountains and a church. It is painted on canvas 66 inches high by 42^ wide, and is in 
 an excellent state of preservation. (See ‘ Notes on the Pictures,’ p. 18). 
 
 «L IC*ju. M. 
 
 kb. 
 
 Ua> feilV 
 
 hr ! , fi 
 
 The walls are hung with tapestries after the famous cartoons of Raphael, similar in style and date to 
 two others which are hung in the corridor adjoining the Library, and were probably executed in 
 the reign of Charles I. at Mortlake. The three smaller pieces differ considerably from the 
 original designs. 
 
 c 
 
10 
 
 To the preceding historical and biographical account of the portraits may be added the 
 subjoined notes by Mr. Redford upon the pictures in the Picture Gallery, which he has, by 
 direction of John, 7th Duke of Rutland, recently rearranged and numbered so as to facilitate 
 reference. 
 
 The history of the collection claims attention before discussing the pictures ; and 
 especially as it is associated with the proudest days of English art when Sir Joshua 
 Reynolds was in his glory. This great artist was often the guest of Belvoir as the friend of 
 Charles, 4th Duke of Rutland, whose portrait he painted and that of his beautiful Duchess. 
 Sir Joshua was the Duke’s adviser in the collection of pictures by the old masters which had 
 been begun by his ancestor the 8th Earl, and was continued by his grandfather, the 3rd Duke. 
 The collection of drawings by the old masters was also formed under the guidance of Sir Joshua. 
 It must have been in the early years of the last century that John, 3rd Duke, began to collect 
 with the view of forming a gallery, as it was in the year 1750 that he built “ a picture room,” 
 and made other important improvements in the castle, besides building the “ hunting seat ” at 
 Croxton. (See History of Belvoir Castle, &c., by the Rev. Irvin Eller.) He would then be in his 
 fifty-fourth year, and no doubt a man of exceptional good health and vigour of mind, for he lived 
 to be eighty-three, surviving his son, the famous soldier Marquis, by seven years. He was fond of 
 country life and was a good amateur artist ; and such was his love of art that it is related of him 
 “ that he was glad to buy a good small picture at an auction, and would carry it home himself 
 saying, ‘A man did not deserve a good picture who would not carry it home.’ ” (See Nichol’s 
 History of Leicestershire , and note 2, p. 23.) When Charles, the 4th Duke, succeeded as 
 the eldest son of the famous Marquis, he was a young married man of twenty-five. He at once 
 showed his interest in the collection and soon became enthusiastic in his taste for the fine arts, 
 giving important commissions to Sir Joshua Reynolds, and purchasing his great work The 
 Nativity at the large price of £1200 (see note 3, p. 23), a picture eighteen feet high with 
 many figures, being the original design carried out in the stained glass window of the chapel 
 in New College, Oxford. This important and valuable picture, and no less than eighteen other 
 works of Sir Joshua Reynolds, were unfortunately destroyed in the lamentable fire at the 
 castle on October 26, 1816. (See note 4, p. 23.) 
 
 The collection at this time must have consisted of between two and three hundred pictures, 
 as in the copy of the record drawn up by the Duke John Henry, dated March 10, 1817, 
 deposited in the foundation stone of the Centre Tower, it is stated that “more than one half of 
 the collection of pictures were saved,” and the list of those destroyed names 104. Although the 
 loss was so serious and so irreparable to art, there is some consolation in the preservation of 
 such very interesting and important pictures as the HOLBEIN Portrait of Henry VIII. ; the 
 little gem by Gerard Dou ; The Sacraments by POUSSIN ; the three pictures by MURILLO ; 
 the two lovely Landscapes by GAINSBOROUGH ; and the beautiful portrait piece of The 
 Rutland Children by Sir JOSHUA; all of which were acquired by Charles, 4th Duke, besides 
 many others now in the Gallery. Indeed it is to his fine taste and liberal encouragement of 
 art during the brief period of his distinguished career, that the collection owes its chief treasures. 
 The art associations of Belvoir were very happily maintained by his son the 5th Duke, whose 
 portrait was painted by another President of the Royal Academy, Sir Francis Grant, who 
 was a frequent guest at Belvoir as the intimate friend of the late Duke, who was himself a 
 most accomplished amateur and painted some excellent landscapes. In his warm appreciation 
 of the artistic gifts and amiable social qualities of Sir F. Grant, the Duke engaged him to 
 paint the portraits of himself, and of Colonel Lord George Manners, besides several very 
 interesting pictures of sporting subjects in which he was so eminent a master. Of these should be 
 mentioned the portrait piece of The Duke on his Favourite Shooting Pony, with the head keeper. 
 The Belvoir Pack, every hound a portrait, painted in 1837. A small picture of The Melton 
 Breakfast (see note 5). These have an appropriate place on the walls of the family dining 
 room, where there are also some good pictures of favourite horses, and two fine works of 
 George Stubbs, R.A., A Landscape with the dogs ‘ Turk ’ and ‘ Crab ’ ; and A Lion Devouring- 
 a Stag. \ 
 
 C*kV l" lu 4- - fo 
 
The pictures are very beautifully seen in the morning light, when the sun shines brightly 
 through the high lunette windows, spreading the most brilliant effect of colour throughout the 
 gallery. 
 
 The first picture which attracts attention on entering is the 
 
 1 PARMIGIANO. Virgin and Child. His proper name was Francesca Maria Mazzola, the son of a painter 
 at Parma, after which place he was called. Venus Nursing Cupid (No. 5) shows his early 
 training in the style which he afterwards modified under the influence of Correggio, the 
 greatest master of the Parma School, whom he weakly imitated. He died at the early age of 
 thirty-seven ; soon after Correggio, who died in 1 5 34, aged forty. 
 
 3 Albano. Diana Stealing the Bow of Cupid. A more academic painter, who studied at Bologna in 
 
 the school of the Caracci, and so devoted himself to subjects of Greek and Roman mythology 
 that he has been called “ the Anacreon of painting.” He painted a great number of pictures. 
 He died 1660, aged 82, and painted to the last. 
 
 10 Spagnoletto (Josef Ribera, a Spaniard). Martyrdom of St. Andrew. This large picture 
 asserts the power of the painter and at the same time the extravagance of his style in 
 attempting to be forcible and striking, though at the loss of all beauty of form and composition. 
 This may be compared for its pictorial treatment with No. 18, The Gipsy Fortune-teller and 
 Soldiers , the work of M. A. CARAVAGGIO, an artist who was a chief of the Naturalisti and 
 Tenebrosi, opposed to the academic, both in choice of subject and technical accomplishment, 
 and so called because they took the realistic entirely as their study, and painted in effects 
 of strong light and shade. Thus Ribera adopted the style of Caravaggio, who is not to be 
 confounded with Polidoro da Caravaggio who was also born at Caravaggio, but nearly a 
 century earlier. Of the style of the Tenebrosi we have a good example in a picture by 
 GUERCINO, David with the Head of Goliath, which is hung in the lower corridor. The figure is 
 life-size, in a rather strained attitude, but well drawn and painted in good colour, in the strong 
 light and shade adopted by the school. Guercino (G. F. Barbieri called ‘ Guercino ’ from his 
 squinting), painted some important pictures — The Burial of St. Petronilla in the gallery of the 
 Capitol, Rome ; and the Aurora a large fresco on the ceiling of the Villa Ludovisi, Rome, 
 both of which are engraved. He died in 1666. 
 
 4 NICOLAS Poussin. The Sacraments. No. 4. Ordination. 5. Baptism. 31. Confirmation. 
 
 42. Matrimony. 46. Extreme Unction. 105. The Holy Eucharist. 116. Baptism. 
 
 These capital works of the great classical painter of the French school are mentioned 
 as important pictures in the collection of the Duke of Rutland, in Bryan’s Diction- 
 ary of Painters, 1858, and in Smith’s Catalogue Raisonne, 1829—1842. Dr. Waagen, who 
 visited the Gallery in 1854-5, remarks upon them in his Treasures of Art, “The pictures of 
 the Seven Sacraments by N. Poussin are well known to have been executed for the Chevalier 
 del Pozzo at an earlier period than those executed for M. de Chantelou now in the Bridgewater 
 Gallery. The comparison of these two series with each other is of the utmost interest to the 
 connoisseur. I must preface these remarks by at once owning that I give the preference most 
 decidedly to the series in Belvoir Castle. It is true that the compositions of those are less rich 
 and less conformable to the rules of art, but they have something more unaffected — a greater 
 warmth of feeling, slenderer proportions of figures, and, in point of the colouring, which is 
 executed with a delicate feeling for harmony in broken tones, preserved throughout with great 
 transparency. They belong to the finest works of the master. Those in the Bridgewater 
 Gallery have too many cold reflections, are somewhat theatrical in single motives, and in 
 consequence of the bole ground becoming apparent have entirely lost all keeping and turned 
 quite dark.” In 1798 the Duke of Bridgewater bought that set from the Orleans Collection for 
 £4,900, or £7 00 each picture. 
 
12 
 
 This series was painted at Rome about 1630, when Poussin would be between thirty and 
 forty years of age. He died in 1665 in his seventy-second year. He was a great admirer of the 
 antique statues in Rome and formed his style from those models of classic beauty. More 
 especially was he influenced by the famous ancient painting with large figures representing the 
 Marriage of Pelens and Thetis , which was long in the Aldobrandini Palace, hence called 
 the Nozze Aldobrandini , and was purchased in 1818 to be removed to the Vatican. Poussin 
 made a full-size copy of this, which has long been preserved in the collection of the Palazzo 
 Doria, Rome. His feeling for landscape was imbued with the same methodic arrangement of 
 the natural forms to suit the subject and composition of pictures which were often taken from 
 the Greek Mythology. As a colourist he seems never to have had any native instinct, nor 
 did he care to paint in ‘ fine colour,’ and though he went to Venice and admired the great 
 masterpieces of that school, he says, in one of his letters, that he feared the fascinations of 
 colour and must flee from them. He studied in the school of Domenichino at Rome, but 
 never followed the style of that master. These pictures were purchased by Charles, 4th Duke 
 of Rutland, in 1786, from the Borrapudale Palace, Rome, through the advice of Sir Joshua 
 Reynolds, P.R.A. for .£3,000. The picture of the Baptism of Christ was presented by King 
 Geo. IV. to John Henry, 5 th Duke. 
 
 8 PORTRAIT OF CHARLES I. By Edward Bower. This is an especially interesting portrait of the 
 King, as it represents him with the hair and beard gone gray, and with a careworn expression 
 of countenance different from the melancholy look which it is said he always had, and which, as 
 some writers suggested, seemed as if indicating a presentiment of the sad death he eventually 
 suffered. It is in every respect a good portrait, and has additional artistic interest from being 
 the work of an artist who is little known. It may have been painted either when the King 
 was taken and kept closely guarded at his own house, Holmby in Northamptonshire, or when 
 afterwards at Hampton Court, but more probably during the time he was a prisoner in Hurst 
 Castle, near Newport, Isle of Wight. At the meeting of the Commissioners sent to treat with 
 the King at Newport, September 18, 1648, it is related : “ The King’s appearance — careworn , 
 
 but not dejected by his captivity, during which his hair had turned gray — moved compassion, 
 as much as his ability in the discussions commanded admiration.” He was beheaded 
 January 30, 1649. 
 
 EDWARD Bower is named in the Dictionary of Painters, but without any further account of him than 
 that he lived in the time of CHARLES I., and that he painted portraits of John Pym who moved 
 the impeachment of the Earl of Strafford, of General Fairfax, and Lord John Fairfax. 
 Engravings of the Fairfax portraits are to be seen in the rare complete collection of the works of 
 Wenceslaus Hollar in the Library of Belvoir Castle. The portrait of Charles I. by Bower in 
 All Souls’ College differs from this one. 
 
 12 and 23 . Claude. Landscapes. These little pictures are excellent examples of those small 
 upright landscapes which this great master of classical poetic landscape seems to have had 
 ‘special pleasure in painting, though it is true that they are not so commonly met with as his 
 large pictures of an oblong form. But though small they display the same grandeur and fine 
 feeling for harmonious composition, so characteristic of his greatest pictures. It is this 
 ordonnance which, together with a truthful rendering of the natural landscape, distinguishes 
 Claude. And thus it is that his landscapes possess that mysterious something beyond mere 
 objective beauty, however true in resemblance, which the magic touch of art confers. Sir 
 Joshua Reynolds said of him : “ Claude was convinced that taking nature as he found it seldom 
 produced beauty. His pictures are a composition of the various drafts he had made from 
 beautiful scenes.” These pictures, which are of his best time, may be compared with two of 
 similar dimensions in the National Gallery — The Annunciation (No. 61, N. G.), with the 
 Angel and Virgin in the foreground, or, as some think, the Angel appearing to Hagar — a very 
 beautiful work, which was included by the master in his Liber Veritatis. The other (No. 58, N. G.) 
 is a woody landscape, a close scene, with a goat-herd playing his pipe, and his goats about him. 
 
 Other interesting pictures by Claude in the gallery are : — No. 45, A Sunset, with figures of Apollo 
 and the Sibyl, the subject of which is intended to represent the gift of prophecy from Apollo,, 
 to whom this attribute was given in the mythology of the ancient Greeks ; No. 70, in which 
 his favourite introduction of ancient ruins of temples and castles is noticeable, as in the celebrated 
 picture, called The Enchanted Castle, in the collection of Lord Wantage ; No. 96, The Flight into 
 Egypt, another of his small highly-finished pictures. The figures in Claude’s pictures were 
 seldom painted by himself, and he engaged Filippo Lauri, Jean Courtois, and Andries Both to 
 
13 
 
 paint them for him. Dr. Waagen remarks upon these: No. 12, upright landscape, with tree 
 
 in the foreground ; small. “ Of singular power and freshness of green, bespeaking his 
 earlier time, and admirably preserved.” No. 23 (The Companion picture). “Of great charm 
 of delicacy and transparency.” 
 
 Claudp; Gellee, or Gillee, was of a very poor family, and as a youth was so disinclined to learn to read 
 and write that he was apprenticed to a baker and pastry-cook of Lorraine, and went to Rome 
 in company with some cooks, where he was engaged by the landscape painter Tassi as his cook 
 and domestic servant. But from cooking and grinding colours for his master he soon, with his 
 natural ability, made such good use of the opportunity of observing the work of his master 
 that he learnt to paint himself, and became the pupil of Tassi and assisted him in his works. 
 This has been lately proved by the discovery of a document dated 1617 by M. Muntz, with 
 other facts as related in the valuable work of Mrs. Mark Pattison — Claude Lorrain, Sa Vieet Ses 
 CEuvres, Paris 1884. The book of sketches of his great pictures which he made and dated with 
 the titles to form a true record of his works, and which accordingly he called Liber Veritatis y 
 has long been preserved in the collection of the Duke of. Devonshire at Chatsworth, containing 
 200 drawings in bistre touched with white. This collection was sold by Claude’s nephew for 
 200 scudi (^42 icw.) to a Frenchman, who offered it to King Louis who declined to purchase it, 
 and it was afterwards bought by the late Duke of Devonshire. The drawings of this Liber 
 have all been engraved in mezzotint by R. Earlom, and were published in London in 1777. 
 
 13 Jan Steen. Saying Grace Before Meat. Panel; height, 39 inches; width, 33 inches. This is 
 remarkable as a serious work of a master who chose humorous and often rather riotous and coarse 
 subjects taken from the company he associated with in the taverns and painted to the life, often 
 with a satirical pencil, and frequently introducing his own portrait as a fiddler, or looking on at the 
 scene with an expression of grim enjoyment on his face. In this admirably painted picture 
 of a well-to-do farmer’s family, there is much sweet pathos in the mother teaching the little fellow 
 to say grace, while the father sits by with a look half reverent, half amused. The pretty servant- 
 maid, so intent upon her duties of the table, is a figure quite graceful, and painted with all the finest 
 technical ability of the painter, who rivalled Teniers in the crispness of his touch and the 
 brilliancy of his colouring. Dr. Waagen says of this : “ Of the highest excellence as regards 
 
 the feeling of the subject, the clear colouring, the fine effect, and the admirable treatment.” 
 
 17 Sir Joshua Reynolds. Portraits of the Marquis of Granby and his Elder Sister { who became 
 LADY E. Norman) when children, with their favourite dogs “ Turk ” and “ Crab,” in a landscape. 
 In this beautiful picture, so rich and brilliant in colour, our great portrait painter has been most 
 happy in the pictorial treatment of the portraits of these pretty children and their dogs, making 
 it quite a subject of interest. The boy-marquis seems to have had his temper roused by some 
 threat of his elder sister to punish his dog, and he is protecting his pet with one hand while 
 he tries to prevent his sister with the other, and she looks out of the picture with her large dark 
 eyes as though she were appealing against the supposition that she could be so cruel. The 
 children are painted with all that fine perception of child-nature and graceful naturalness of 
 which Sir Joshua was such a master, and with that air of distinction which he always gave to 
 his portraits. The dogs are capitally painted, “Turk” being almost as good as in the picture 
 of him by the famous G. Stubbs (No. 70, New Library). The landscape completes the picture 
 in the splendid colouring which harmonizes so well with the figures. The young Lady Elizabeth 
 appears to be about seven years old ; and as she was born in 1776 this picture was possibly 
 painted about 1783. 
 
 It has been erroneously stated that this picture was amongst those so unfortunately burnt 
 in the great fire of 1816, when no less than nineteen pictures by Sir Joshua Reynolds were lost. 
 There is no picture answering the description of this in the list of those which were burnt. 
 
 19 G. POUSSIN. (Gaspard Dughet, called after Poussin, who taught him, and married his sister.) 
 
 Landscape. Of this Dr. Waagen remarks : — “ A small, marvellously beautiful landscape, of 
 the rarest freshness of colour and sustained solidity of execution.” 
 
 Other good examples of Gaspard are No. 60, No. 89, No. 92 ; and in the New Library, No. 66,. 
 a large landscape with figures, in the grand heroic style that distinguishes his pictures, though 
 like many of them this has lost its original brightness from the chemical action of the red 
 ground on which he painted. Gaspard Dughet was a tremendous worker. There are twelve 
 enormous canvases in the Colonna Palace painted in tempera, and many more in the same 
 style and method in the Doria Palace, together with twenty-five huge oil paintings. He was 
 born of French parents at Rome and died there in 1675, aged sixty-two. 
 
14 
 
 26 BASSANO (JACOPO DA Ponte), who got his art name like so many of the Italians from his native 
 
 place, is well seen in this of The Angel appearing to the Shepherds, which shows his feeling for 
 the rich colouring of the Venetian school, taught him first by his father who was a pupil of 
 Bellini, and afterwards by Bonifazio, whose works he studied and copied as he did those of 
 Titian. Another interesting picture by him is No. 64 in the New Library — The Nativity, 
 of which Dr. Waagen says: — “An excellent picture, admirably executed in his rare silvery 
 tone.” This was perhaps a study for one of his principal works, in the Church of Sante Maria 
 delle Grazie at Bassano, where he died in 1592, aged eighty-two. His four sons were all 
 painters and they painted many of the pictures bearing the generic name of Bassano. 
 
 27 Teniers. Dutch Proverbs. — On canvas ; height, 51 inches ; width, 82 inches. 
 
 This picture is of much larger size than the painter generally adopted, and is remarkable 
 for the subject, in which no less than twenty- four familiar proverbs are very graphically and 
 humorously told. To discover the different proverbs will afford much amusement, but it 
 would be depriving the picture of half its interest if these were named here. The figure in 
 the foreground throwing his money into the river as bait to the fish, one of which is seen 
 swallowing in preference to the gold a smaller fish than himself, represents “ fools and their 
 money are soon parted It has been said that this young man is a portrait of the painter’s son, 
 who perhaps deserved this rebuke for his extravagance. The signature “ David Teniers,” is to 
 be seen near the cow in the well. This picture was purchased for £ 1,600, a high price at that 
 time. No. 75, The Quack Doctor — panel 9 in. by in. ; is a fine example of the master’s 
 delicate touch and silvery colour. 
 
 28 Andrea del Sarto. (A. D’Agnolo or Vannucchi called del Sarto as the son of a tailor.) 
 
 This is a very good example of this distinguished painter of Florence at the best time of 
 Italian pictorial art, when Raphael and Michelangelo were engaged upon their great works 
 in the Vatican. It is painted on thick wood, the figures the size of life, and has gone 
 down in tone somewhat, but the design is preserved and a good deal of the fine colouring. 
 We may see in this picture of The Madonna with the Infant Saviour and St. John, that 
 Andrea del Sarto, though first taught by Pier di Cosimo, a stiff and mannered painter of the 
 old school, was deeply impressed by seeing the famous designs of Michelangelo and of 
 Leonardo da Vinci which those greatest artists of the time were commissioned to execute 
 for the decoration of the great hall in the Palazzo Vecchio, Florence, and which were exhibited 
 in 1506, when Andrea would have been a young man of twenty. 
 
 What these celebrated works on such a grand scale were can now only be conjectured from 
 the small original drawings for some of the figures of Michelangelo’s Cartoon which are to be 
 seen in the Museums, the subject of which was ‘ the surprise of the Pisan soldiers while bathing 
 in the Arno by the Florentine army.’ Leonardo painted The Battle of Anghiari ; the 
 principal group of which was copied with some variations by Rubens in all his splendid colour. 
 This picture of four horsemen fighting for a standard was afterwards engraved by Edelinck. 
 
 But Andrea made his reputation by some important frescoes in the Annunziata Convent in 
 Florence, and formed a style of his own imbued with more of the naturalistic feeling than is 
 seen in the works of the very great masters, his contemporaries. His smaller pictures are 
 characterised by the sweet naturalness of expression of his Madonnas, for which his wife was 
 generally the model. It was for her sake, when he had gone at the invitation of Francis I., to 
 paint at Fontainebleau along with Leonardo da Vinci and other artists, he was induced to 
 return to Florence. But here his career was cut short by his death by the plague in 1531, when 
 he was only forty years of age. So that he survived Leonardo who died in France in 1519 at 
 sixty-seven years old ; and Raphael his junior who died at thirty-seven in 1520 ; while 
 Michelangelo after having painted the ceiling of the Sistine Chapel, and completed his great 
 fresco picture of The Last Judgment when he was a veteran of sixty-six, lived on for twenty- 
 three years, dying within a fortnight of being eighty-nine. It is interesting to remember 
 another instance of longevity in Titian, who possessed a greater tenacity of life and vigour than 
 his Florentine contemporary, continuing to paint with amazing energy, till he may be said 
 to have died with the brush in his hand, when carried off by the plague on the verge of his 
 hundredth year in 1576. 
 
 35 RUBENS. Hercules and Antceus. — On panel ; height, 254 - inches ; width, 19 ^ inches. 
 
 This is one of the finest of the many magnificent studies for large pictures which the great 
 master of the Flemish school painted. In none has he surpassed this in the tremendous vigour 
 with which the violent action of a deadly struggle between two men of giant mould is 
 
IS 
 
 represented. The complete artistic knowledge of the figure and the action of the muscles 
 under the most furious exertion, as displayed in this small picture, tell us what a master Rubens 
 was. Well indeed has he been styled an “ emperor in painting.” In the dashing mastery of 
 this picture, we may see how these wrestling giants were thrown upon the canvas as if struck 
 with life at the will of the painter’s own giant hand. The myth here so admirably represented, 
 relates that this antagonist of Hercules, was the son of Poseidon (Neptune) and Ge (Terra, 
 the Earth) and a mighty wrestler of Libya, who was invincible so long as he stood upon his 
 mother earth. All strangers who came to his territory were compelled to wrestle with him, 
 and he conquered them, building a house dedicated to Poseidon with their skulls. Hercules 
 knew the secret of his power, and in the struggle he lifts Antaeus off his feet and is crushing 
 the life out of him in his grip. Such is the love of mankind for mystery and legend, that this 
 ancient myth has long been remembered by a hill in the shape of a man stretched out at full 
 length, near the town of Tingis in Mauretania, which was called “ The tomb of Antaeus.” 
 
 38 The Birth of Ericthonius. Height, i6| inches ; width, 20 inches ; on canvas. 
 
 This is another fine sketchy picture, brilliant in the colouring as the master always is. The ' - , 
 story is, that this Ericthonius was the son of Hephaestus (Vulcan) and Atthis (from whom 
 Attica derived the name) entrusted to the care of Agraulos, Pandrosos and Herse the daughters 
 of Kekrops, by Athena (Minerva), and concealed in a chest which they were forbidden to open. 
 
 They disobeyed, being curious, and opening the chest saw the child, either in the form of a 
 serpent or with serpents in place of legs. They were then seized with madness and threw 
 themselves from the rock of the Acropolis into the sea. 
 
 Ill Holy Family. A beautiful sketch. — On Panel ; height, 21 inches ; width, 19 inches. 
 
 106 The Crowning of Saint Catherine. The Saint receiving the martyr’s crown of victory from the Infant 
 Saviour. A large gallery picture, with figures the size of life. Canvas ; height, 102 inches ; 
 width, 84 inches. 
 
 This important picture, although to a great extent painted by the able assistants of Rubens 
 under his direction, is his design, and well represents the grand style of the painter in his 
 religious subjects. The heads evidently show that the master was careful to give his own 
 finishing expressive touches to the work ; and the figure of the Saint was no doubt studied from ^ ^/C lLr 
 the wife of Rubens, Helena P'orman. This picture cost .£1,200. ( , (.00 
 
 Dr. Waagen remarks : — Coronation of S. Catherine by the Virgin and Child, SS. Christina, and 
 Margaret on one side, and four “ angels of singular beauty.” “ This is in every respect 
 one of Rubens’ most attractive chefs d'ceuvre. The colouring especially is of the most 
 singular warmth and transparency ; the execution as careful as it is spirited.” 
 
 Dr. Waagen remarks of a picture since then removed from the gallery to the corridor : — “A shepherd 
 caressing a seated woman — a frequently recurring picture : the finest example is in the gallery 
 at Munich. As powerful as it is transparent in colour.” 
 
 41 THOMAS Gainsborough, R.A. Landscape , late Sunset, with Horses at a Pond. 
 
 Few such landscapes as these by our great painter of English rural scenery are to be seen. 
 
 In none has he been more happy in the expression of the beautiful serenity of pastoral 
 landscape, or in the fine treatment of the subject technically, in the harmony of the forms 
 and the rich colouring of the picture. The landscape (82) with fine trees filling the fore- , 
 ground, glowing with rich colour from the evening sky, over the quiet meadows in the vale, ft >' < M 
 
 and the distant hills, suggests so much more than meets the eye. It has all the pictorial / 
 beauty of truthful resemblance to nature ; but as we admire this, there comes over us the ^ 0 S 
 perception of that mysterious something added to nature by the touch of art, which is so 
 charming. So it is that the sentiment of a landscape, beautiful and pathetic as this is, 
 appeals to us as vividly almost as it does in the expression of some lovely countenance. 
 
 In this way, indeed, the natural landscape is said to respond to and echo the feelings of 
 the heart in silent sympathy. And thus the painter, none wdth greater charm than 
 Gainsborough, fulfils the trust of his genius. Of all the painters of rustic landscape, in 
 which the English artists have been the explorers and leaders of the world in art, 
 Gainsborough inspires us with that old love of the country which Horace, ages before 
 landscape-painting was thought of, expressed in his glowing exclamation, “ O rus, quando 
 te aspiciam ! ” A note in the handwriting of Duke Charles says : “ These two landscapes 
 were bought for £160.” The value of them now would be at least twenty times this sum. 
 
 
 
H 
 
 6 
 
 Lyt{. (L ! <*t> fkT 
 
 72 The Woodcutter's Home. An upright landscape. Size — height, 57I inches ; width, 4 7| inches: 
 
 82 Landscape with Figures and Cattle ; upright ; height, 58^ inches ; width, 47-i inches. 
 
 54 NETSCHER. — The Duet — Dr. Waagen attributes to Terburg. “This beautiful picture agrees in 
 essential respects in composition with one in the Louvre, but is far superior as regards 
 singular warmth and lightness, the execution of the gay carpet and the incomparably finer 
 execution — ” It is not a carpet but a table-cover ; the ground is bare boards. One young 
 lady is seated singing, while the other stands playing the accompaniment on the guitar. The 
 boy is bringing in a glass of beer on a waiter. Charmingly natural in treatment, delicately 
 touched, and in fine condition. Signed by Netscher on the chair. On canvas ; 18 in. by 15^ in. 
 
 56 Albert Durer (?) The Last Supper. — On wood ; height, 53^ inches ; width, 65 inches. 
 
 This picture has been the subject of much discussion ever since it came into the collection 
 of Belvoir Castle, when it was purchased by John Henry, 5th Duke, some time 
 before 1841 as a work of Albert Durer. It has since been attributed both to Albert 
 Durer and Lucas Van Leyden. But to neither of these masters can it be satisfactorily given, as 
 the technical points of the work are not characteristic of either of those painters, more 
 particularly in being painted with a more free and dashing method with a full brush, or what is 
 called a full impasto , and in strongly contrasted colouring. Dr. Waagen’S criticism is 
 “ A Last Supper here, most erroneously entitled a joint work of Albert Durer and L. Van 
 Leyden, is decidedly a work of the old Spanish school under the influence of the Netherlandish 
 school, especially as regards the landscape, which is treated in the style of Jan Mostaert. It 
 is realistic in the characters, exaggeratedly dramatic in the motives, careful in execution, and 
 hard and gaudy in the colouring.” Then it will be observed that in the feeling shown in 
 the expression of the countenances of the disciples, there is an effort to display intense 
 earnestness, and action bordering upon exaggeration, which are not to be found in the 
 works of either Diirer or Lucas Van Leyden, while the “motives” of the figures are in 
 the same spirit of strong action. These points are especially prominent in the attitude 
 of the Judas, who starts from his stool, which is partly lifted off the floor as he grasps it with the 
 hand clutching the bag concealed behind him. It is also noticeable in the other figure on the 
 nearer side of the table, and again in the figure of a servant coming from the further part of 
 the interior. The painter shows this desire to enforce his meaning, in a different manner by 
 putting an inscription on the border of the garment of Judas, of which may be made out parts 
 of a sentence in tl)e letters UDEX, and further from them VR. The circular bas-reliefs 
 on the wall have inscriptions also, the one representing David killing Goliath, the other 
 Samson slaying the Philistines. The intention in thus employing accessories with written 
 sentences would not belong to the style of the painters above named. As a composition 
 the picture evinces the influence of the great Italian masters and of the famous Cenacolo of 
 Leonardo da Vinci at Milan more especially, in representing the figure of our Lord in the 
 centre of the table, with an open window behind showing a beautiful landscape. Yet the pic- 
 ture displays much originality and independence in placing two figures at the side of the table 
 nearest the spectator ; and in a figure at the end of the table, who looks away as if in con- 
 templation, at the words “ One of you shall betray Me.” This figure has a full, fat face and 
 reddish hair, and leans his head upon his hand, while his dress differs from the rest of the 
 disciples, for he has a red cloth tunic and a blue cloak, and he wears shoes, all the others having 
 bare feet. He bears some resemblance to Martin Luther, whose religious opinions upon the 
 Eucharist were exciting so much attention at the time this picture was painted. The 
 differences in the dress, and the contemplative look of the head directed away from the table, 
 indicate some intention to distinguish this disciple. One of the most striking figures is that 
 of the disciple at the end of the table opposite to the one just referred to. The features are not 
 seen, as the head is turned away showing the closely-cut red hair, and a sort of pilgrim’s hat 
 cast off upon his shoulders and held by a ribbon round the neck. He wears leather leggings 
 which are much ornamented, as is the chair on which he is seated. The Judas is a well-drawn 
 figure, singularly energetic in the action, the muscles of the arm and hand strongly brought out, 
 while the countenance is hard and villainous. Near to him are two dogs fighting. It may be 
 noticed that, unlike other pictures of the subject, the apartment is not simply a chamber but part 
 of a large and rather stately hall, with an arched passage at the side leading into a distant chamber 
 where a woman is seated at work. This is decidedly in Flemish taste. Turning our attention 
 to the open window, the shutters of which are shown at each side, we observe that here the 
 painter has made a feature of great beauty and interest in his representation of the entry of Jesus 
 
17 
 
 Christ into Jerusalem riding upon the ass surrounded with a multitude, the gate of the city seen at 
 one side, and on the other the palm trees, in the branches of one of which may be noticed 
 Zaccheus, who climbed up to get a better view and was addressed by Jesus in the well-known 
 words. The painting of this scene and the landscape beyond is most remarkable for the 
 perfect rendering of every detail on such a very small scale. Our great landscape painter 
 Turner, when at Belvoir, particularly noticed the beauty of the landscape in this picture, 
 and it was constantly admired by the Duke of Rutland, father of the present Duke, 
 who took great delight in pointing out its great excellence with the remark that it was, 
 he thought, by another hand, and not by Albert Diirer who painted the figures. However 
 this may be, it is certainly most interesting both for the landscape at this early period 
 of art and for the figures so minutely painted. We are enabled to fix this period by the 
 date which is in very small figures upon the ornamental gilt metal work filling the upper 
 part of the window — “Anno 1527,” but without any sort of signature. This date had 
 escaped notice until quite recently when the picture was taken down in the rehanging 
 of the gallery in 1889. It is a discovery of interest, as it affords reliable evidence as 
 to the authorship df the picture. Albert Diirer died in 1528; Lucas Van Leyden in 1533. 
 There is no picture of the Last Supper by either of these painters, although the subject was 
 engraved by both masters, but the composition in these does not agree with the picture before us 
 in this collection. But there is an engraving which closely agrees with our picture, ; this is by 
 Henry Goltzius, signed and dated 1585, which would be only fifty-eight years after the date of 
 the picture. This engraving, which is in the gallery, may be compared with the picture. Now, 
 in the list of the engravings by Goltzius, who engraved several plates from pictures by the Italian 
 masters, this engraving is stated by Nagler in his Kunstler- Lexicon to be from a picture by 
 Paolo Veronese. That this must be erroneous will be admitted by all who are acquainted with 
 the works of that Venetian painter; besides this, there is the date upon the picture, 1527, 
 proving that it was painted in the year before Paolo Veronese was born. 
 
 It is next to be observed that the style and manner of painting in this picture 
 resemble the works of the Flemish school of the early 16th century, especially seen in the 
 pictures by Bernard Van Orley. Now, this painter was certainly the most eminent artist of 
 the Flemish school of his time, and he had taken the greatest pains to gain every advantage 
 in the study of his art when a young man, by going to Rome at the time when Raphael was 
 painting his great works for Julius II., and it is related that he was actually taught in the 
 school under Raphael. (Van Orley was born in 1491 and died in 1542.) It is stated that he was 
 engaged by Raphael to superintend the execution of his famous cartoons in tapestry at 
 Arras. ( Histoire de la Peinture Flamande et Hollandaise, by A. Michiels.) He painted altar- 
 pieces for churches at . Brussels, and important pictures of the Last Judgment and the 
 Seven Acts of Mercy in the cathedral at Antwerp, besides many others. Having stated these 
 particulars of this painter, it will be interesting to know that there is in the large and important 
 collection belonging to Sir Francis Cook at Richmond, Surrey, a small replica of this picture of 
 The Last Supper , of about one-third the size, which is considered to be the work of Bernard 
 Van Orley. This, however, is painted with much less care in the drawing of the heads, and is 
 altogetherof inferior quality compared with the picture in the Belvoir Gallery, but it suggests the 
 mutual authorship of both by having the date “ 1531” in the very same part of the picture, being 
 painted therefore four years after the large work and not by the hand of any copyist, who would 
 have put the same date 1527 upon his work which he found on the original. 
 
 It remains to be said that a German critic, who visited Sir F. Cook’s collection recently, 
 pronounced the picture to be by one Peter Koeck, a pupil of Van Orley, who like him studied 
 in Italy, returning to Brussels where he painted pictures for the churches, and was appointed 
 painter to the Emperor Charles V., in whose service he died in 1550. 
 
 57 (New Library.) VANDYCK. The Procession of the Order of the Garter. A sketch in oils, in umber 
 touched with white. 1 1 in. by 5 1 ■}. 
 
 Horace Walpole says: “What had the Banqueting House been if completed ! Vandyck was 
 to have painted the sides with the history and procession of the Order of the Garter.” The 
 ceiling of the Banqueting House is decorated with paintings on canvas by Rubens, representing 
 the apotheosis of James L, which were painted at Antwerp on commission from Charles I., in 
 1635, and sent to London. 
 
 VANDYCK himself proposed, through his friend Sir Kenelm Digby, who named it to the King, to 
 paint the walls of the Banqueting House with these subjects for the sum of £8,000. But in 
 consequence of the political troubles the commission was never given. Vandyck, who had been 
 
 D 
 
i~4.f tv- 
 
 W. 
 
 K L 
 
 x8 
 
 knighted by the King, died soon after in his forty-third year in 1641, and was buried in Old 
 St. Paul’s near the tomb of John of Gaunt. Although his style of living was so luxurious and 
 expensive he left property of about £ 20,000, which came to his daughter by his wife Maria 
 Ruthven, grandaughter of the Ruthven Earl of Gowrie. This daughter married a merchant 
 named Stepney, father of George Stepney the poet who was born in 1663. 
 
 61 MURILLO. The Madonna and Child , with St. Anne, angels and cherubs. ^ ^ ■ ■ ° 
 
 This picture and the companion picture, No 93, The Adoration of the Magi , , though no { &Jb 1 5 
 doubt painted under the eye and according to the design of the famous Spanish master, were * . : q \.b 
 
 chiefly the work of his assistants, the heads being more or less painted by his own hand. This 
 will be observed on comparing them with the fine Altar-piece in the chapel, which is altogether 
 a much finer example, and entirely the work of the master, and it has fortunately been so well 
 v li preserved both from the injuries of time and the more destructive attacks of the picture 
 
 restorer. Both these pictures (61 and 93) have lost something of their beauty from over 
 ■■■ : cleaning done many years ago, as well as from the repainting which always becomes necessary 
 
 when the restorer discovers what mischief he has done. The figures in both are about life-size. 
 
 
 The Holy Family in a Landscape. Altar-piece in the Chapel. The Madonna is very beautiful 
 in expression as she leans over the sacred children with her arms around them as 
 they caress each other, the little St. John having his rustic cross and scroll and the lamb lying 
 at his feet, while St. Joseph standing behind regards them with deep devotion in his fine 
 countenance. The picture is full of that sweet naturalness, and fine sense of pictorial beauty, 
 which, without any attempt at the lofty academic, characterize the style of Murillo, particularly 
 in these smaller easel pictures. Had he taken the advice of his friend Velazquez the great 
 portrait painter, and gone to Rome, he would probably have lost the originality and native 
 artistic feeling which make his works more universally admired perhaps than those of any of 
 the old masters. 
 
 Murillo often painted landscapes, and in this picture it is especially beautiful and in fine 
 keeping with the subject, with the sombre foliage hanging above the group, the church seen in 
 the peaceful valley, and the solemn mountains beyond. The figures are about life-size, the 
 picture measuring, height, 66 inches ; width, 42 J. Dr. Waagen remarks : — “ The picture in the 
 Chapel I consider one of the finest by the master in all England. The expression of the heads 
 has an elevation that Murillo seldom attained in such perfection : that of the Infant Saviour is as 
 if he were transfigured. At the same time, what is most rare, the execution, is carried out in 
 a warm reddish tone with equal solidity in every part.” 
 
 The three pictures above noticed were purchased by Charles, 4th Duke of Rutland, from 
 Lord Harrington, as is recorded in a note-book in his handwriting. But the exact sum paid is 
 not stated, although it is stated that they were valued by Sir Joshua Reynolds, Mr. Cipriani, 
 R.A., and Mr. R. Cosway, R.A., at ,£1,800. In The History of Belvoir Castle, by the Rev. 
 Irwin Eller, 1841, the sum of £700 is named for each of the pictures by Murillo in the gallery. 
 
 It may be remarked, as a curious illustration of the general popular liking for the pictures 
 of Murillo, that from two of his most celebrated pictures the principal figure was once 
 cut out and stolen. The first instance was when the picture of The Glorification of the 
 Virgin was taken as spoil of war by Marshal Soult from the altar of a church in Seville, from 
 which the figure of the Virgin and Child had previously been cut out by the sword of one of 
 his soldiers. The next occurred within the last fifteen years, when from the picture in Seville 
 Cathedral of The Infant Saviour appearing to St. Anthony the figure of St. Anthony was cut out 
 and stolen. This was carried to New York by the thief, who was soon detected in trying to 
 sell it, and was eventually recovered and has been restored to the picture. The Soult picture 
 remained for many years with the figures of the Virgin and Child supplied by a French artist from 
 the engraving, and was always known as La Vierge Coupee. At the sale of the Soult collection 
 in 1852 at Paris, this picture was bought by Sir Charles Eastlake for the late Lord Overstone, 
 who happened to have purchased the missing part of the picture from a collection in England 
 many years previously, and who was thus enabled to restore it to the picture now in the 
 collection of Lord Wantage at Lockinge House, Berks. 
 
 65 BAROCCIO. Holy Family. This is one of the many very pleasing pictures of this painter to which 
 Sir Joshua Reynolds applied the criticism “that his figures looked as if they fed on roses.” 
 His admiration for the beauty of Raphael, and his feeling for the sweet grace find colour of 
 Correggio led him in vain to try a style uniting the excellences of those great masters. He 
 
9 
 
 died at Urbino, his birthplace, in 1612, aged eighty-four. With this picture by Baroccio 
 may be noticed the little Carlo Dolci — 84, St. Francis , and 85, Holy Family , by Schidone. 
 
 69 Albert Durer. Portrait of a man seated at a table. Life size, the face turned three quarters 
 
 to his right. On wood ; height, 33 inches ; width, 24 inches. ^ f - ' 0 
 
 Pictures by this famous master of the German School are so rare in private collections and 
 even in the great public galleries, that this fine portrait possesses very great interest both as a 
 work of art, and as it bears the well-known monogram of the painter and the date 1520 seen 
 in the upper part of the panel in the spandril of a painted arch. The portrait is evidently 
 that of some distinguished and learned person, probably a student also of works of art, as he 
 holds in his hand a richly ornamented object of gold, which from having a tassel may be an 
 official seal. The order, also of gold, suspended by a heavy gold chain from the neck, denotes 
 his importance, as does also the black cap with a badge, and the rich dress in which the collar 
 of the under garment is finely embroidered with gold. As Albert Durer died in 1528 this 
 portrait must have been painted when he was in his 49th year. It is in very perfect condition, 
 and has all the appearance of being an authentic work of the master, in the idiosyncrasy of 
 the portrait and the highly finished work in the details of the painting. Dr. Waagen 
 remarks of this Portrait of a man in a broad-brimmed hat with an order round his neck — “ Of 
 very animated conception and light yellow flesh-tones. An admirably executed work of his 
 earlier time.” 
 
 77 Holbein. Portrait of King Henry VIII. Full length, life-size, standing, full face. 
 
 On canvas. Height, 84!- inches ; width, 565- inches. In a gray doublet embroidered 
 • or woven with gold, slashed, with puffs of white fine linen and lace at the sleeves and body, 
 fastened with jewelled buttons. Surcoat of crimson velvet and gold embroidered, trimmed 
 with sable fur. A large gold chain or collar, from the shoulder over the surcoat, mounted 
 with jewels set in gold and enamel. A gold chain round the neck with letter H, with a 
 pendant circular gold case without any device. White hose, with the Garter on the left 
 leg. The shoes of soft white leather, slashed, showing the stocking, with thick brown soles. 
 
 The figure, broad shouldered and stout ; the legs widely apart, and firmly placed on the 
 ground. The attitude very dignified and self-possessed ; the right hand holding white gloves 
 and the left the gold chain of the dagger. The cap is of black velvet embroidered with 
 gold and silver, with white feather. The face is fat with a double chin, the complexion 
 clear and fresh, with some redness in the cheeks. Very slight shadow by the nose. The eyes 
 are brownish gray. The mouth small, with the lips firmly closed. The beard is light brown, 
 cut close on the cheeks, and growing thinly on the chin ; the moustache small and not hiding 
 the mouth. The hair of the head is cut close and not gray. The whole of the dress and 
 ornaments is most elaborately painted and gilt, and in excellent effect of light and colour, 
 being in an absolutely perfect state of preservation. The background of the picture is an 
 interior of a grand tapestried chamber, the floor of which is ornamented with wood inlaid 
 work, and partly covered with a rich-coloured Turkey carpet upon which the king stands. 
 
 The lighting of the picture is high and from the front, thus casting little shadow from the 
 prominent features. 
 
 This superb portrait of the king whose reign of nearly thirty-eight years is so memorable 
 in English History for important events in matters of religion and politics, may be considered 
 the best of all the existing full length portraits. 
 
 Of the others of this type, one is in the collection of Lord Leconfield at Petworth, another 
 belonged to the late Mr. Danby Seymour, a third is in Trinity College, Cambridge. All these 
 are considered to be taken from the picture painted by Holbein for the king, of Henry with 
 his father Henry VII., his mother Elizabeth of York, and his Queen Jane Seymour ; and which 
 was in the Palace of Whitehall destroyed by fire in January, 1698. Part of the cartoon Holbein 
 painted in Indian ink heightened with white, life-size figures of King Henry VII. and Henry 
 VIII. standing together, has long been in the collection of the Duke of Devonshire at Chatsworth, 
 and was recently seen in the Tudor Exhibition in London, is regarded as that from which 
 the picture was painted. In this the head of Henry VIII. is seen turned to three-quarters : 
 the only authentic portrait in three-quarter attitude of the head, is a small one less than 
 life-size, in Lord Spencer’s collection at Althorp. The date of this cartoon is given as 
 1536— 7. A small copy of the whole picture was fortunately made thirty years before the fire, 
 by order of Charles II., which is preserved in the Hampton Court Palace collection, painted by 
 Van Leemput, and engraved by G. Vertue. 
 
 D 2 
 
20 
 
 In the Tudor Exhibition (1890) there were no less than 14 life-size portraits of Henry 
 VIII., all but one in full face ; but of these only one was a whole length figure standing. 
 This was the portrait belonging to Trinity College, Cambridge, which resembles the portrait 
 in this gallery, but is very inferior to it in every respect. It was this Trinity College portrait 
 that Horace Walpole mentions in his Anecdotes of Painting, and says, “it has ‘ HE fecit’ upon 
 it and was probably a copy by Lucas de Heere.” But what is more interesting to us in 
 considering the picture before us is that Walpole goes on to mention another whole length 
 picture of Henry VIII. which was at Lord Torrington’s at Whitehall. Now this was no 
 doubt our picture, for we know by a memorandum in the handwriting of the Duke of Rutland 
 
 y that it was purchased by him at the sale of Lord Torrington’s pictures. Although he does 
 not state it was at Whitehall, nor does he give the date, he states the price he paid for 
 the portrait of Henry VIII. by Holbein at Lord Torrington’s sale, to be 201 guineas. 
 This memorandum is confirmed and the date of the purchase is supplied by referring to 
 the History of Art Sales (Redford, 1888), under the head of Holbein’s works. The sale 
 is there recorded in the year 1787, of a Portrait of Henry VIII., whole length, £21 1, the 
 name of the vendor not stated, but the buyer is “Miller.” The price recorded here is 
 precisely that named in the memorandum, and this alone would suffice to identify the 
 picture. 
 
 As to pronouncing positively who was the painter of this fine picture it would be difficult, 
 since, besides Holbein, there was Luke Hornebolt who was engaged as painter by Henry VIII., 
 contemporary with Holbein, and who died in 1544 the year after Holbein died. Other 
 eminent portrait painters of the time were Joannes Corvus or Jan Rave of Bruges, who came 
 to England 1512—1544; Guillim Streets, who painted the portrait of Edward VI.; Lucas de 
 Heere, who painted fine portraits of Queen Mary and Queen Elizabeth, and who may have 
 been in England before that time ; and Sir Antonio More, who was sent to England by the 
 Emperor Charles V. to paint Queen Mary, and remained to paint many portraits, notably the 
 fine one of Sir Thomas Gresham in Mercers’ Hall, London, and another of him in the National 
 Portrait Gallery. 
 
 Dr. Waagen says of this Portrait of Henry VIII. — “ Although painted on canvas this picture is of 
 such truth, delicacy, and transparency, that I consider it an original.” 
 
 78 Gerard DOU. The Birdcage. Panel, arched top, height, 9J inches, width, 6 inches. 
 
 This is an exceedingly beautiful example of the master who surpasses all the painters 'of the 
 Dutch School in the wonderful delicacy of his painting and the harmonious colouring of his 
 pictures. These are generally small figure subjects of a domestic character, with interiors in 
 which the various objects of furniture and ornament are minutely finished, as in this picture, 
 - r L 1 while the rich transparent tone of the painting of the apartment adds much to the beauty of 
 
 • U ~ the little picture. The subject has been described simply as a boy and girl looking at birds 
 
 in a cage ; but it has much more meaning than this. The boy is looking up at the bird in 
 the cage with an expression of boyish delight at having caught the bird with the bird-limed 
 reed or twig he holds in his hand, while his companion, who may be his sister but who looks old 
 enough to be his mother, lays her hand gently on his shoulder and seems to be interceding 
 for the poor little prisoner to be let fly again. But the face of the young birdcatcher, though 
 he is touched for a moment by the appeal, tells us he will not part with his prize, and is more 
 likely to set another trap with the pitcher and twig. The boy’s face is really marvellous in 
 the painting of his mobile features. This picture was purchased for the Duke Charles at 
 Brussels about 1780-87 for £350. It was protected with a glass in 1890. 
 
 Though Gerard Dou was a student when only fifteen years old under Rembrandt for three 
 years at Amsterdam, he never painted any large works in the style of that great master. But 
 he learnt the value of Rembrandt’s method of producing fine effect in light and shade with 
 transparency and rich depth of tone. The elder Mieris, and Gabriel Metsu were distinguished 
 pupils of his. His portrait, painted by himself, half-length holding his smoking pipe, is in the 
 National Gallery, an oval panel only 7^ in. by 5f in. Another, holding his palette, standing 
 half length near an easel, is in the Louvre. Another, playing the violin, is in the Bridgewater 
 Gallery (Lord Ellesmere’s). 
 
 84 CARLO Dolci. St. Francis. This and the larger picture of the Madonna and Child (90) are 
 examples of a painter who was in former days a great favourite with the connoisseurs for the 
 sweet religious expression in the countenances of his Saints and Madonnas, and the beautiful 
 painting of his pictures. But he has of late been more correctly estimated as a painter with 
 
21 
 
 feeling and high technical abilities, but with a mannerism that made his pictures mere 
 repetitions. Other pictures which serve to show the decadence of Italian painting in the 17th 
 century may be noticed in No. 97. Luca GIORDANO, Flight into Egypt. This painter who was 
 such a prodigious worker that he was called “ Luca fa presto,” was employed largely by 
 Pietro da Cortona (P. Berrettini), a painter of similar pretensions and equally prolific in the 
 great number of his works. 29. B. Manfredi. Gamblers and Woman is another good 
 example of the facile picturesque works of the late Italian schools, of which No. 71, also by 
 Manfredi, has been attributed by Dr. Waagen to M. A. Caravaggio. 
 
 85 Bartolommeo Schidone. Holy Family. 
 
 This is a very charming little picture by a master who is not common. This bears a cartel 
 signed with the name of the painter. He painted at Modena some thirty years after the death fy 
 of Correggio, whose style he emulated ; and he acquired so much technical mastery, that his best 
 pictures have been sometimes attributed to the great master of Parma. With this n 
 picture it is instructive to compare the little picture, No. 73, A Holy Family , on copper 1 
 attributed to Correggio, of which Dr. Waagen says : — “ A pretty little picture ascribed to 
 Correggio, but by a somewhat later master.” 
 
 86 Robert Walker. Portrait of himself, life-size, standing, half-length, the face turned to his right 
 
 looking out of the picture ; holding a paper or drawing. 
 
 This is an excellent portrait of an English artist, who must have been an able painter to 
 have made so good a copy of Titian’s Venus, that it was purchased by Charles I., and highly 
 prized by him. He had apartments assigned to him in Arundel House in the Strand, London, after 
 the death of the Earl of Arundel the famous amateur of art and collector, where also Hollar the 
 celebrated engraver had worked under the encouragement of Lord Arundel, who discovered 
 him and brought him to England. Walker was contemporary with Vandyck, and no doubt 
 derived much from observing the work of that great portrait painter. He had a rival in William 
 Dobson, who painted for Charles I., and was attached to his court at Oxford, while Walker took 
 up with the Parliamentarians and painted several good portraits of Cromwell. One of these, 
 in armour with a boy by his side fastening a scarf, and a battle in the background, is in the 
 National Portrait Gallery ; and a similar one is in Lord Spencer’s collection at Althorp, 
 which is engraved in Lodge’s portraits. 
 
 There is a similar portrait to this of Walker, also by himself, in the National Portrait 
 Gallery ; another is in the Hampton Court collection, and another having the figure of a 
 statue of Mercury introduced, is in the University Gallery at Oxford. Walker died in Arundel 
 House in 1660, but nothing is known of his birth and parentage. 
 
 87 Angelo Bronzino. Portrait of Benvenuto Cellini. Three-quarter face to his right. Standing, 
 
 to waist, life-size ; on wood. 
 
 This fine portrait of the most celebrated sculptor and metal worker of the Italian Renaissance 
 is very interesting as being by the hand of Bronzino, who was his contemporary. It was no 
 doubt done con amove by the brother artist, as it represents the famous sculptor in his working 
 dress which he wore when engaged upon the modelling or casting of his great works in bronze, 
 such as the Perseus , of which he has given his own most graphic descriptions in the auto- 
 biography he wrote. He is represented in this portrait at about the age of thirty-five or less, with 
 thick dark-brown hair and eyes, a handsome oval face completely Italian in character, and a 
 thoroughly artistic head. Portraits of Benvenuto Cellini are rarely met with, and this one is 
 exceedingly perfect, having never come under the hands of the picture restorer. 
 
 104 Janssen. (Cornelius Johnson van Ceulen.) Portrait of the Earl OF Southampton. Full-length 
 life-size, standing in a room, towers seen at the side. In robes of the Garter, full face, the head 
 uncovered. On panel. 
 
 This is a very interesting and fine portrait of Henry Wriothesley, third Earl of Southampton, 
 one of the most accomplished statesmen and men of taste in the reign of Queen Elizabeth, 
 and especially remembered as the friend of Shakespeare, who dedicated to him his first poem, 
 Venus and Adonis, in 1593, and his Lucrece in the following year. At this time Lord 
 Southampton was a young man of twenty at college, and Shakespeare twenty-nine. It is 
 related by Rowe that “he was assured of a story handed down by Sir William D’Avenant, who 
 was probably well acquainted with Shakespeare’s affairs, that Lord Southampton at one time 
 gave him a thousand pounds to enable him to go through with a purchase which he heard he 
 had a mind to.” This said purchase was probably his share of the expense in building the 
 
22 
 
 Globe Theatre. Sir W. D’Avenant was only ten years old when Shakespeare died in 1616, 
 but he has probably given the tradition correctly, having often heard it spoken of. This Lord 
 Southampton was an intimate friend of Roger, 5th Earl of Rutland, and there is a very 
 interesting reference to their mutual love for the drama in a letter of Rowland Whyte to Sir 
 Robert Sidney, dated Oct. 11, 1599 ( Sidney Papers )-. — “My Lord Southampton and Lord 
 Rutland come not to the Court : the one doth but very seldom : they pass away the time in 
 London, merely in going to plays every day.” It will be remembered that it was about this 
 time that Lord Rutland and Lord Southampton were, as friends of the Earl of Essex, implicated 
 in his rash attempt of 1601 for which he was beheaded, both being sent to the Tower, and 
 Lord Rutland being released on payment of the enormous fine of .£10,000. Lord Southampton 
 died in 1624. There is a half-length of Lord Southampton by M. J. Mireveldt in the National 
 Portrait Gallery. 
 
 115 Portrait of Lady Southampton, wife of the 3rd Earl. By Janssen. Full-length, life-size, 
 standing. 
 
 She was called “the fair Mrs. Vernon ” by Rowland Whyte in the Sidney Papers , and was 
 fourth daughter of John Vernon of Hodnet, Salop, and niece of Walter Devereux, Earl of 
 Essex. She survived her husband many years. 
 
REFERENCE NOTES. 
 
 1. Among the old drawings are many excellent examples of the great Italian masters. They were framed by direction of the late Duke 
 Charles Cecil John at the suggestion of Sir Francis Grant, P.R.A., and are hung round the Billiard Room. 
 
 2. It may be concluded that the Duke, like most of the nobility of that day when the taste for the works of the old masters revived, 
 used to go to the picture auctions at Cock’s in the Piazza, Covent Garden, where Sir Joshua Reynolds, himself a collector of pictures, 
 often went in the afternoon. He may have met Sir Joshua there, but this would have been before the great painter had made his name, as 
 it was not till 1752 that he set up his studio in London, while it was sixteen years afterwards that he was chosen first President of the 
 Royal Academy, in 1768. 
 
 3. It is stated in Dibdin’s Northern Tour that the Duke of Rutland contended at Christie’s auction rooms for this picture of The 
 Nativity. This would refer to the time when the other pictures painted in oils, to be executed in stained glass for the window, were sold 
 in the Marchioness of Thomond’s collection in 1821 after her death. But this is obviously an error, as the picture had been burnt some five 
 years previously. Sir Joshua took his idea of The Nativity from the great picture of the subject by Correggio, known as the 
 Notte, in the Dresden Gallery, in making the Sacred Infant the source of light in his picture. 
 
 4. In the list of the pictures by Sir Joshua so lost (see Eller’s History of Belvoir Castle ) we find the full-length portraits of Duke 
 Charles and the Duchess Mary Isabella, which cost 200 guineas each and were valued and insured at this sum. The Infant Jupiter 
 cost 100 guineas ; this was probably a replica of the picture he painted as a commission from the Empress Catherine of Russia, which is 
 in the collection of The Hermitage, St. Petersburg. The Calling of Samuel, 100 guineas. Lord Charles, Robert, and William Manners with 
 a Spaniel Dog, 200 guineas. Lord Granby, Lady Elizabeth, and Lady Catherine Manners, 200 guineas. Lord Chatham, 200 guineas. 
 The Marquis of Granby, Hussar and Horse, 200 guineas. Lady Granby, 100 guineas. The Duchess of Beaufort, 200 guineas. Sir 
 Joshua! s own portrait, 30 guineas, insured for 100 guineas. Kitty Fisher, 150 guineas. A Venetian Boy, 50 guineas, insured for 100 
 guineas. Lord Mansfield, 50 guineas. Besides these pictures by Sir Joshua there were upwards of seventy pictures by the old masters 
 and others. Amongst these were several pictures of interest to which the valuation is affixed — as Cignani, Holy Family, 60 guineas. 
 D. Mytens, The Earl of Pembroke, 60 guineas. Vandyck, Lord Chaworth, 200 guineas. Frank Hals, Lady and Gentleman, 
 whole lengths, with View of Antwerp, 100 guineas. Carlo Maratti, Assumption of the Virgin, 200 guineas. Rubens, Apotheosis 
 of Psyche, 100 guineas. Maid of Orleans, 60 guineas, insured for 150 guineas. Rembrandt, Descent from the Cross, small, 100 
 guineas. Velazquez, Pope Innocent X., 150 guineas. Old Stone, Charles I. on Horseback, after Vandyck ; large, 150 guineas Titian , 
 Portrait of a Woman, 30 guineas, insured for 100 guineas. Salvator Rosa, The Monster, 1000 guineas. M. A. Caravaggio, The~ 
 Gamester, 150 guineas. B. West, P.R.A., William d’Albini and his Three Daughters, 150 guineas. N. Poussin, The Preparation 
 of the Passover, 350 guineas. The total amount of the valuation of the pictures burnt was ^11,285 8^. ^ 
 
 
 4 .**: [ i~J 
 
 5. This picture of The Melton Breakfast was painted for the late Mr. Gilmour by Sir Francis Grant in 1837, and differs from the 
 well-known engraved picture in having two other portraits of Scotch friends of his, whose names are inscribed on the frame. The names 
 of the party are the Earl of Eglinton, Mr. Massey Stanley, the Earl of Wilton, Count Matusewitz, Lord Gardner, Mr. W. Little Gilmour, 
 Mr. Lyne Stephens, Sir Frederick Johnstone, Lord Rokeby, Lord Forester, Lord Kinnaird, Mr. Rowland Errington, Lord Macdonald. 
 The picture which was engraved by Charles G. Lewis, belonged to Rowland Errington, Esq. (Quorn Hounds) in 1839. 
 
 At, 
 
 6. Another interesting sporting picture represents the Duke of Rutland, father of the present Duke, galloping after the Belvoir pack, 
 with the late Lord Robert Manners and his brother Lord Charles, painted by J. E. Ferneley, who exhibited at the R. A. from 1818 — 1849, 
 and died i860, set. 81. 
 
 rk./tL v 
 
 7. The picture of the Belvoir Pack, by Sir Francis Grant is most remarkable as an example of animal portraiture in horses and 
 hounds. Every one of the hounds is so true to doggy features and character, that each one could be named by the old huntsman Goosey, 
 and his two whips, Will Goodall and Robinson, whose portraits with their horses are equally good. Such a truthful picture, is not only 
 interesting as a work of art, it will always have a special interest in the annals of The Belvoir Hunt, as a historic record of fifty 
 years ago. 
 
 le 
 
Richard Clay 6 ° Sons, Limited , London and Bungay. 
 

 
 
 
 
Collection of miniatures 
 
 AT . 
 
 Belvoir Castle. 
 
 ‘ GRANTHAM : 
 
 W. CLARKE, STEAM PRESS OFFICE, HIGH STREET. 
 
 A imu 
 

 
5£Li%kbetl\ $ctloor\. 
 
 HE Miniatures are arranged in sunk panels round the walls, 
 in rows from left to right, and havo boon ar r anged - in e hron ^- 
 logioal order/ by Violet, Marchion e s s 1 o f - Granby * 
 
 2 
 
 The Collection was formed by e aofe . successive generation^having 
 their portraits painted. The Miniatures of the Seventeenth and 
 Eighteenth Centuries were collected chiefly by the Third and Fourth 
 Dukes of Rutland. 
 
 The Sixteen Panels, the glasses of which are removable, are 
 numbered consecutively from the left of the entrance door. 
 
 ooou. :U d&frfcoS £ ©* uJlOU CCCUS? OC-i 
 !oLUtf£~ , 
 
 / 
 
 %VOU dAX / l u < 
 
 
 Q'HJ q : 
 
 QLUA< 
 
 0 X --7 
 
 
Catalogue of miniatures 
 
 Panel I. 
 
 (Left of Entrance). 
 
 Sir Walter Raleigh. Oval, 3m. x 2|in., in armour inlaid with gold, 
 and sash, his hair grey and curly ; inscribed JE t. 68, Anno. 1618. This 
 would be the year of his execution. On the left side of the vignette, 
 below the portrait, is the word “ Calis ” and opposite to it “ Fial.” 
 The probability is that Calis stands for Cadiz and Fial for Fayal, 
 where naval fights took place in which Raleigh much distinguished 
 himself. The vignette represents the attack upon Fayal (see 
 “Sir Walter Raleigh,” by Stebbing, page 137). The following 
 description of the miniature case (which is also intended to contain 
 the portrait of the son), is taken from the Catalogue of the Exhibi- 
 tion of European Enamels held by the Burlington Fine Arts Club in 
 1897: — “Oval miniature case of gold, about 2jin. X nearly 4m. 
 English Cloisonne. End of 16th Century. The pattern is a floral 
 arabesque, worked in gold cloisons, on a black background, with 
 flowers in translucent green. In the centre is a heart-shaped lozenge, 
 under a W., while beneath is the monogram E. R., all in green 
 translucent enamel. The shapes and the front of the ornaments 
 over the portrait are picked out in black.” This case, bearing the 
 entwined initials W. E. R. (Walter and Elizabeth Raleigh), and 
 heart, was no doubt preserved by Lady Raleigh as a souvenir of 
 her husband and son. The portrait of the son (mentioned below) 
 originally fitted into the back of this case, its present frame being 
 a more modern one. 
 
 Portrait of Walter, eldest Son of Sir Walter Raleigh. On the 
 blue background, in gold letters, “ JEt. Suae 24, Anno. Do. 1618.” 
 On the left side of the vignette, on the pink background, is the word 
 “Guyana” (Guiana), opposite it on the right side, “St. Tomae.” 
 The vignette evidently represents the attack on St. Thom6, where 
 this gallant son of Sir Walter lost his life, in his 24th year. 
 
 (Between the Raleigh Portraits). 
 
 Henry, Prince of Wales, eldest Son of James I. Born, 1594; died, 
 1612. In Heylin’s “ Aulicus Coquinarise ” (a curious pamphlet 
 published in 1650), in the account of the Prince’s last illness, men- 
 tion is made of his visit to Belvoir to meet his father James I. : — 
 “ His active body used violent exercises ; for at that time, being to 
 meet the king at Bever, in Nottinghamshire, he rode it in two days, 
 neer a hundred miles, in the extremity of heat in summer. For he 
 set out early, and came to Sir Oliver Cromwell’s, neer Huntingdon, 
 by ten a clock before noon, neer sixty miles, and the next day 
 betimes to Bever, forty miles. He was comely tall, five foot eight 
 inches high ; strong and well made ; somewhat broad shoulders ; a 
 small waste, amiable with Majesty. His haire, Aborn (auburn) 
 colour ; long faced, and broad forehead ; a piercing grave eye ; a 
 gracious smile, but with a frowne, danting.” In gilded armour, 
 wearing the blue ribbon of the Garter, and a fine lace ruff. Signed 
 in monogram U) 
 
 Peter Oliver — 
 
 Born, 1601. He was the eldest son 
 of Isaac Oliver, and equalled him in 
 the excellence of his work. He was 
 also employed by Charles I. for 
 painting miniature copies of the 
 pictures in the Royal Collection. He 
 died in 1647. His miniatures are 
 usually signed with the monogram 
 
<Uis t 
 
 cf 
 
 Lady Frances Cecil, Countess of Cumberland, wife of the 9th 
 Earl of Cumberland, and only daughter of Robert, Earl of 
 Salisbury. She died “ February 4th, 1643, aged forty-nine, and 
 is buried at York, where there is a monument to her memory.” — 
 (“Collin’s Peerage.”) Hidden by the frame is the monogram 
 (JohnHoskins) 
 
 Artists. 
 
 John Hoskins — 
 
 
 Little is known of his life. He 
 signed his miniatures with the mon- 
 ogram and I.H., and was the 
 master of Samuel Cooper. Died, 
 about 1664. 
 
 Charles, Prince of Wales. Round the miniature is a Latin inscrip- 
 tion to this effect : “ The most illustrious and most serene Charles, 
 Prince of Wales, the greatest hope of Great Britain, in the fourteenth 
 year of his age.” On the curtain are the George, the plume, crown, 
 crescent, and stars. 
 
 William Herbert, Earl of Pembroke. Born, April, 1580; died, 
 April, 1630. He succeeded his father in the year 1601, in 1603 
 made K.G. by James I., and in 1609 Governor of Portsmouth. In 
 the 15th year of King James he was made Lord Chamberlain; in 
 1626, Chancellor of the University of Oxford. Charles the First, 
 on his accession, made him Lord Steward of the Household, and 
 in the fifth year of his reign, Warden of the Stannaries. His 
 character has been sketched by Lord Clarendon: “He was a 
 man very well bred, and of excellent parts, and a graceful speaker 
 upon any subject, having a good proportion of learning, and a 
 ready wit to apply it, and enlarge upon it ; of a pleasant and face- 
 tious humour, and a disposition affable, generous, and magnificent. 
 
 He was exceedingly beloved in the court, because he never 
 
 desired to get that for himself which others laboured for, but was 
 still ready to promote the pretences of worthy men. He was a 
 great lover of his country, and of religion and justice, which he 
 believed could only support it ; and his friendships were only with 
 men of those principles.”- — “Clarendon’s History of the Rebellion,” 
 vol. i. He, and his brother and successor, Philip, are the incom- 
 parable pair of brethren to whom the first folio of Shakespeare’s 
 works is dedicated (1623), and Lord Pembroke is possibly the Mr. 
 W. H. (Mr. William Herbert) alluded to as “ the onlie begetter ” of 
 Shakespeare’s sonnets. Signed •Njr'-, and dated 1616 
 
 Isaac Oliver — 
 
 A pupil of Hilliard. Born in 1556, 
 at Ashby-de-la-Zouche, in Leicester- 
 shire. Died in 1619. 
 
 4 
 
 6 dU JcKu JL,*,! ocw doUioMddM JiWAM 
 
 c ^ol Or? vxOfee/oY 5 L * 
 
 La»¥ — Somerset --A - m) — G hild , 1500 (the child is supposed to be the 
 “Protector Somerset.”) 
 
 iUexcf w 0-K.k( ^ MUtdtiOst 
 
 Portrait of an unknown Gentleman. In a yellow dress and white 
 lace collar. 
 
 Henry Percy, 9TH Earl of Northumberland. Born, 1532 ; died, 
 1585. Inscribed: “Vere noblisissimvs et magnanimus Henricys 
 Percy, Northvmbriae comes and on the light-blue background, 
 “Ano. Dm., 1585. ^Etatis Suae 54.” He was suspected of plotting 
 in favour of Mary, Queen of Scots, and was imprisoned in the 
 Tower of London, and found dead in his bed, from a pistol shot, 
 supposed to have been self inflicted 
 
 Nicholas Hilliard — 
 
 Born, about 1547. The first English 
 miniaturist. Dr. Doone thus writes 
 of him : 
 
 “A hand or eye, 
 
 By Hilliard drawn, is worth a 
 historye, 
 
 By a worse painter made.” 
 Hilliard painted Queen Elizabeth 
 frequently, and from James I. re- 
 ceived a special patent of appoint- 
 ment. His miniatures are generally 
 signed with a conjoint m 
 
 Queen Elizabeth. In a white dress, lace ruff, and small black cap. 
 
5 
 
 Isabella, Countess of Rutland, wife of 3rd Earl, and daughter of 
 Sir Thomas Holcroft. Inscribed: “Anno Dm., 1572. ^Etatis 
 Suae 20 ” 
 
 Sir Christopher Hatton. Born, 1540. Attracted the notice of Queen 
 Elizabeth by his graceful dancing at a court masque ; he rose 
 rapidly in favour, and in 1589 was appointed Lord Chancellor, the 
 following year a K.G. He was accounted the handsomest man of 
 his time, and was the patron and friend of men of learning. Spencer 
 dedicated a sonnet to him. Died in 1591, in the fifty-first year of 
 his age. Full length figure, the great seal on the table near, 
 and a small dog by his side ... 
 
 * Robert Dudley, Earl of Leicester. Born, 1532; died, 1588. The 
 favourite of Queen Elizabeth. He married Amy Robsart, whom he 
 is supposed to have murdered. For a short time he was Governor 
 of the Protestant Low Countries ; returning to England, he was 
 made Lieutenant General of the Army at Tilbury, and died during 
 the same year. 
 
 1 Portrait of a Gentleman unknown. In a black dress and white 
 lace collar. 
 
 Another Countess of Rutland. In a red dress with black mantle. 
 
 Panel III. 
 
 , Grace, Lady Manners. She was the wife of Sir George Manners 
 (married, 1594), and second daughter of Sir Henry Pierpont, K.G., 
 and sister to Robert, Earl of Kingston. (She was the foundress of 
 “the Grace, Lady Manners’ School,” at Bakewell, Derbyshire). 
 In a black cap, tied under the chin. Dated 1650, and signed in 
 monogram S. C. Oval. 2in. X ifin. 
 
 , Richard Wiseman. Became first known as a surgeon during the 
 Civil Wars. He was the companion of the young Prince Charles 
 in his wanderings in France, Holland, and Belgium. He became a 
 surgeon in the Spanish fleet for three years ; returning to England, 
 he was made prisoner at the battle of Worcester; liberated in 1652. 
 At the Restoration, Charles II. appointed him his Sergeant Surgeon. 
 He published various surgical works and rose to great fame in his 
 profession. Engraved on the back “ Richardus Wiseman,” Carolo 
 II., Mag. Brit. Regi., Archichirgus. Signed and dated 1660. Oval. 
 3’in. ;* 2|in. 
 
 , John, 8th Earl of Rutland. Born, 1604; died, 1671. This Earl 
 was one of the twenty-two peers who, in 1642-3, declined to attend 
 the king (Charles I.), and Belvoir Castle was then taken by the 
 Royalists. It was afterwards taken and destroyed by the Parlia- 
 mentarian army, by order of the Council of State, and rebuilt by 
 the Earl in 1668 
 
 j Frances, Wife of the 8th Earl, and daughter of Edward, Lord 
 Montagu, of Boughton. Died, May 19th, 1691. In the back- 
 ground of the miniature is a view of the old Castle. 
 
 A Gentleman. In a fair wig, with sharp features. Signed J. H., and 
 dated 1652 
 
 Artists. 
 
 Nicholas Hilliard. 
 
 Nicholas Hilliard. 
 
 Samuel Cooper — 
 
 Born, about 1609. Was the pupil of 
 his uncle Hoskins. He lived for many 
 years in France and Holland. “ To 
 this consumate artist must be as 
 freely given the supremacy in minia- 
 ture, as to Vandyke in large portraits, 
 or to Petitot in enamels.” — Propert’s 
 “ History of Miniature Art.” Very 
 little is known of the actual facts of 
 his life. He died in 1672. 
 
 Samuel Cooper. 
 
 Samuel Cooper. 
 
 / 
 
 John Hoskins. / ft e y & Uua&n 
 
Artists 
 
 John, ist Duke of Rutland. Created Marquis of Granby and Duke John Hoskins 
 of Rutland by Queen Anne, 1703. Died, 1710. Signed I. H. 
 
 Signed I.H., and dated 1650 
 A Gentleman. In brown with white scarf 
 
 rti3 Bv4 <7 
 
 . /Li ycru^f 
 
 
 John, 8th Earl of Rutland. In a black cap and white lawn collar. John Hoskins, //fa / OlA ** 
 
 Panel IV. 
 
 Duchess of Somerset, daughter of Daniel Finch, Earl of Winchilsea, 
 and second wife of — 
 
 Charles, 6th Duke of Somerset (the parents of Frances, Marchioness 
 of Granby), Enamel. Between them — 
 
 Frances, Wife of the famous Marquis of Granby, and daughter of 
 the 6th Duke of Somerset. Born, 1728; died, 1760 
 
 John, Marquis of Granby, son of John, 3rd Duke of Rutland. Born, 
 1720; died, 1770. He commanded the British troops in Germany. 
 Made Master-General of Ordnance, 1763 ; and Commander-in- 
 Chief, 1766. In a scarlet coat. On the back of the miniature is 
 written “ Peter Lens, pinxt, 1750” 
 
 Jean Petitot — 
 
 Born at Geneva, 1607. Came to 
 England and was knighted by Charles 
 I. Died at Vevay, 1691. The great- 
 est enameller who ever lived. 
 
 Peter^ Lens — 
 
 Son of the famous Bernard Lens. 
 Nothing is known of the life of this 
 miniaturist, except that he was prac- 
 tising in London in 1747, and exhi- 
 bited miniatures at the incorporated 
 Society of Artists, 1765 to 1770. 
 
 John, 3RD Duke of Rutland. Born, 1696; K.G., 1722; died, 1779. Christian Frederic Zincke— 
 Enamel ... ... ... ... ... ... ... Born at Dresden, 1684; came to 
 
 England, 1706. Studied under Boit. 
 He painted an enormous number of 
 portraits in enamel and attained 
 much excellence. He died, 1767. 
 
 John, Marquis of Granby 
 
 cx 
 
 Bridget, Wife of the 3RD Duke of Rutland. She was Bridget 
 Sutton, daughter of Lord Lexington. Died, 1734, in her 35th year. A 
 Enamel. Engraved on the back “Bridget, Dutchess of Rutland, 
 Etat. 22, 1722 ” 
 
 Jean Etienne Liotard— 
 
 Born at Geneva, 1702. He went to 
 Constantinople and adopted theTurk- 
 ish dress; when in Paris he was 
 known as “Le Turc.” Visiting Lon- 
 don, he painted the Princess of Wales 
 and sons. He painted miniatures 
 very well, both in water-colour and 
 enamel, but his best works are in 
 crayons. Died at Geneva, 1790. 
 Zincke. 
 
 Another miniature of John, Marquis of Granby. 
 
 Lady Frances Leslie, daughter of John, Marquis of Granby ... Peter Lens. 
 
 Lord George Sutton. Engraved on the back “ Lord George Sutton, 
 son of John, Duke of Rutland, and brother to the Marquis of 
 Granby, 1780.” In a scarlet coat. 
 
 
 *SV?o-c c/e 
 
 Portrait of a Lady (Frances, Lady Granby?) With pearls in her Peter Lens. 
 hair 
 
 Lieutenant Colonel Lee. Enamel. 
 
 Panel II* 
 
 
 Lady Emmeline Manners, daughter of 5th Duke of Rutland. Born, 
 May, 1806; married, February, 1831, the Honble. Charles Stuart 
 Wortley, second son of Lord Wharnclifife. Died, 1855. 
 
 
 (joiatzi. V/ 
 
 
7 
 
 Artists. 
 
 (oW°) 
 
 Panel 'V&VIU 
 
 J ~t c , j l&hx-fA 
 
 , Lady Katharine Manners, daughter of 5th Duke of Rutland. Born, 
 February, 1809; married, December, 1830, Frederick William, 
 Earl Jermyn, eldest son of the Marquis of Bristol. Died, April, 
 1848. In muslin drapery, with wings, and finger pointing upwards. 
 
 o/JcleslAA 
 
 ft ! oma 
 
 Panel 
 
 Yn. Jl- 
 
 d/OcuAC 
 
 ^OCOC^ (&V’rAe£lu<2. 
 
 <f Kfe*Cx <f hj 
 
 5 <?(? 
 
 Q/LCA.iAdM-r 'D&e 
 
 • Charles II. In oil, on copper. 
 
 King George III. Profile, small. 
 
 King George III. Full face, large, 
 
 . Queen Anne. Enamel. Signed, C. Boit. The back of the miniature 
 case is very curious, on it is the star of the Garter, with the ribbon, 
 surmounted by the Royal Crown. In the space enclosed by the 
 ribbon is a monogram composed of the Queen’s initials, and a 
 Royal Crown in gold filigree, below this is a death's head and cross 
 bones. The space in the centre, and the points of the star, are 
 apparently filled with hair. No doubt this is a Memento Mori 
 
 beuu’ak // 3 r • 
 
 OlcytsalKMj dty U/c2£< at-cci (3tx**Y <ztfctLc 
 
 Charles Boit — 
 
 Born at Stockholm. Began life as a 
 Jeweller, but came to England as a 
 Drawing Master in 1683, and then 
 took to painting in enamel with great 
 success, obtaining high prices for his 
 work. He, however, got into debt, 
 and, on the death of Queen Anne, 
 fled to France, where his work was 
 much admired. Died, 1726. 
 
 
 
 Frances, Marchioness of Granby. Signed G. S. 
 
 King George II. Small. 
 
 Gervase Spencer — 
 
 Originally a gentleman’s servant, but 
 took to painting, and became one of 
 the fashionable miniaturists of his 
 day. “ Fie represents the best Eng- 
 lish work of this period.” — William- 
 son’s “ Portrait Miniatures.” Died, 
 
 1763- 
 
 Gabrielle D’Estr£es (1571-1599). Enamel. Oval. i|in. X ifin. [ Petitot. 
 This miniature, and the portrait of Louis XIV., were bought at the 
 Bailli de Breteuil’s sale in Paris, in 1786. The details of their 
 purchase and price are interesting and curious. The miniatures 
 appear originally to have been on snuff boxes, as the following 
 correspondence shows. Belvoir Castle MSS., vol. ii., page 275 ... 
 
 George Kendal to the Duke of Rutland. 
 
 “ 1786. January 10th. Paris. 
 
 “ I have made enquiries concerning your intended purchase at the 
 Bailli de Breteuil’s sale. I had seen the pictures several times, 
 but I applied to our two best painters and connoisseurs, Le 
 Brun and Robert, whom I met by appointment at the late 
 
 Bailli’s house The miniatures of Petitot are remarkably 
 
 fine, particularly that of a woman, supposed to be Gabrielle 
 D’Estrees ; the man, Louis XIV. The first of these the Bailli 
 bought at the Duchess of Mazarin’s sale for upwards of 1,300 
 French livres.” 
 
 The same to the same. 
 
 “ 1786. Paris. 
 
 “I was mistaken in the prices of the pictures; the crowd and 
 squabbles were so great that my ears were deceived in the 
 bidding, luckily on the right side, as you may see from Le 
 Brun’s note. Last night I purchased the two snuff boxes, with 
 the miniatures, by Petitot, on them, at the prices in the enclosed 
 note. I thought them dear, but was assured by the connois- 
 seurs that they were very cheap— the one for 470/. remarkably 
 so.” 
 
 
•^<mt*< w«u<«^ (m*o 
 
 
 ffoa 
 
 ) 
 
 au&l 4 Wy 
 
 ' (VaUA^y) OCi 
 
 H 
 
 ' Duchesse de la Valli£re (1644-1710). Enamel. Oval. 2in. x ifin. 
 
 Queen Henrietta Maria. Enamel 
 
 Charlotte, Countess of Aylesford, daughter of Charles, 6th Duke 
 of Somerset, and sister to Frances, Marchioness of Granby. Born, 
 1730; married, 1750; died, 1805. Signed G.S., and dated 1750... 
 
 John Henry, jth Duke of Rutland. Born, 1778; succeeded to the 
 Peerage, 1787; K.G., 1805; died, 1857. 
 
 Louis XIV. (1638-1715). Enamel 
 
 Charles, 6th Duke of Somerset. Born, 1662 ; died, 1748. Com- 
 monly called the “ Proud Duke of Somerset” on account of “his 
 magnificent and stately manner of living.” “ A man in whom the 
 pride of birth and rank amounted almost to a disease.”— Macaulay. 
 Enamel. On the back of the miniature case is engraved the Garter- 
 ribbon, and in the centre the monogram S., the whole surmounted 
 by the Ducal coronet. 
 
 Portrait of a Young Lady. Her hair is in ringlets and she is in a 
 blue dress. Engraved on the back is the monogram A.S. Signed 
 G.S., and dated 1749 
 
 Panel 
 
 Mary Isabella, Wife of the 4TH Duke of Rutland. Called the 
 “Beautiful Duchess.” She was the daughter of Charles Noel 
 Somerset, 4th Duke of Beaufort. Born, 1756; died, 1831. This 
 miniature has the date 1782 engraved on the back 
 
 * Charles, 4TH Duke of Rutland. Lord Lieutenant of Ireland in 1796. 
 
 This miniature is set round in pearls and diamonds 
 
 * Mary Isabella, Duchess of Rutland. With long curly brown hair, 
 
 in which is a white scarf. The frame of this miniature has a small 
 inner oval of beading, which Plimer often used... 
 
 or 0/ A-C-, - 
 
 k Lord Robert Manners. Born, 1758; died, 1782. Youngest son of the 
 famous Marquis of Granby, and brother to the 4th Duke. Captain 
 of the Resolution under Admiral Rodney, and Commander of 
 H.M. ship in nine actions before the last one off Dominica, in which 
 he lost his life, April 12th, 1782. Set round in pearls and diamonds. 
 
 , Lord Robert Manners. Engraved on the back, “Captain of the 
 Resolution, 1782” 
 
 . Lord Robert Manners... 
 
 . Anne, Countess of Northampton, daughter of Charles Noel Somerset, 
 4th Duke of Beaufort, and sister of Mary Isabella, Duchess of 
 Rutland. In Cabinet II. is a letter from Elizabeth, 4th Duchess of 
 Manchester, to Mary Isabella, presenting her with this miniature 
 and a ring : — 
 
 
 
 cUs 
 
 Slid @/e<j 
 
 < 73 . 
 
 £- 
 
 Artists. 
 
 Petitot. 
 
 Petitot. 
 
 Gervase Spencer. 
 
 
 JURA 
 
 J77& ' M-/-* 
 
 Petitot. 
 
 Gervase Spencer. 
 
 Richard Cosway, R.A. — 
 
 Born, 1740. The finest miniaturist 
 of the 18th Century. His work is 
 too well known to require further 
 comment. Died, 1802. 
 
 CoSWAY. 
 
 Andrew Plimer — 
 
 Born, 1763. Was Cosway’s greatest 
 pupil. Up till the present time little 
 has been known of his life or work, 
 he has always been overshadowed by 
 Cosway ; his work is excellent and 
 he is now regarded as one of the 
 finest 18th Century miniaturists. 
 Died, 1837. 
 
 COSWAY. 
 
 After Dance , by Cosway. 
 
 Cosway. 
 
 Catherine Read. 
 
 ! 7270-1776* 
 
 
9 
 
 QLU 
 
 qJ. 
 
 s/ 
 
 J ee. 
 
 / 3 
 
 Artists. 
 
 “ The picture painted by Miss Read, and esteemed the best likeness 
 of my dear lamented friend Anne, Countess of Northampton — 
 tho’ no painter could do justice to her sweet countenance — I 
 am persuaded her amiable sister, Isabella, Duchess of Rutland 
 will highly value — and I hope will kindly accept from me, and 
 also this ring with her hair. 
 
 “ E. Manchester.” 
 
 The “ Miss Read” mentioned in the letter is Catherine Read. 
 
 “A painter of portraits, both in oil and crayons; practised in 
 London in the early part of George III. reign. About the year 
 1770 she went to the West Indies, where she resided a few years. 
 
 On her return to England, she continued to exercise her talent with 
 respectable success until her death, which happened about the year 
 1786.” — Bryan’s “Dictionary of Painters and Engravers,” vol. ii. 
 
 John Henry, 5TH Duke of Rutland. When a boy, with long curly Cosway. 
 brown hair ... 
 
 Charles, 4TH Duke of Rutland. On the back is engraved: “Charles, Cosway. 
 Duke of Rutland, Lord Lieutenant of Ireland, given by M. I., 
 
 Duchess of Rutland, to her son, John Henry, Duke of Rutland, 
 
 1798” 
 
 Lady Harriet Williams Wynne. On the back is engraved : “ My 
 dear daughter, Lady Harriet Williams Wynne, painted and left 
 me by my beloved friend Mrs. Frances Dolben.” Lady Harriet 
 Williams Wynne was a daughter of the 4th Duke of Beaufort, 
 and sister to Mary Isabella, Duchess of Rutland. She was born 
 in 1747 ; married, April nth, 1767, Sir Watkin Williams Wynne, 
 Bart., and died the following July. 
 
 VIrs. Dolben. <z- 
 
 '7S£- - 
 
 Mary Isabella, Duchess of Rutland 
 
 Cosway. 
 
 Panel 'HC. %lll. 
 
 Anne, Countess of Northampton 
 
 Cosway. 
 
 John Henry, 5TH Duke of Rutland, when a child. Signed with 
 the initial N. 
 
 Small Head of a Child. In a white cap with blue ribbons. 
 
 James Nixon, A.R.A. — 
 
 Born, 1741 ; died at Tiverton, 1812. 
 He was appointed Limner to the 
 Prince Regent and Duchess of York. 
 His miniatures are excellent, recall- 
 ing Reynolds in pose and colouring. 
 
 Mary Isabella, Duchess of Rutland. Signed N. 
 
 John Henry, 5TH Duke of Rutland. 
 
 Elizabeth, Wife of the 5TH Duke of Rutland. She was the 
 daughter of Frederick Howard, 5th Earl of Carlisle. Born, 1780; 
 died, 1825 ... 
 
 James Nixon. 
 
 OmoC<<uo- fflu-Ue A 
 
 After Sanders. 
 
 John Henry, 5TH Duke of Rutland. On the paper backing this 
 miniature is written: “Sam. Shelley, No. 6, Gt. George Street, 
 Hanover Square 
 
 Samuel Shelley — 
 
 1750 — 1808. A self-taught genius, 
 training himself by copying the works 
 of Reynolds and Oosway. He died 
 in his house Gt. George Street. 
 
 Lady Elizabeth Manners, when a child, eldest daughter of the 5th 
 Duke of Rutland. 
 
 
10 
 
 Catherine, Lady Forester, daughter of the 4th Duke of Rutland. 
 Born, 1779; died, 1829. Signed T. Marshall, and dated 1829. In 
 widow’s ckp 
 
 Lord Robert and Lord Charles Manners. When children. Sons 
 of Charles, 4th Duke of Rutland. Signed in monogram |J4, and 
 dated 1787 ... 
 
 Panel XKIV. 
 
 Head of a Nun. Signed with the monogram 0 ~- 
 
 Adoration of the Shepherds. In oil on stone. 
 
 Edward, Duke of Somerset (1560), “The Protector.” Painted 
 and presented to the Duke of Rutland, in Ireland, by Margaret, 
 Lady Lucan (Margaret Smith, wife of Sir Charles Bingham, Baron 
 Lucan, in Ireland). The following interesting correspondence 
 occurs about this miniature in the Belvoir Castle MSS., vol. iii. : — 
 
 Sir Joshua Reynolds to the Duke of Rutland. 
 
 “ 1784. September 24th. London. 
 
 “I dined with Lady Lucan last Sunday, who told me of her intention 
 of painting a picture for your grace, but was undetermined 
 what it should be. I shall call on her to-morrow to acquaint 
 her with what your grace wishes about the Duke of Somerset’s 
 picture, which I should think would be the best thing for her 
 to do. I question her success in an historical picture.” 
 
 Sir Joshua Reynolds to the Duke of Rutland. 
 
 “ 1785. May 30th. London. 
 
 “ I acquainted Lady Lucan with your grace’s request, in your own 
 words, as they were so flattering to her ladyship. She answered 
 that she should set about it immediately, as she has now found 
 a picture of the ‘Protector,’ Duke of Somerset, which is in 
 possession of the Marquis of Buckingham, but she says it is 
 but an indifferent picture, and she fears her copy will be no 
 great ornament to your cabinet.” 
 
 Sir Joshua Reynolds to the Duke of Rutland. 
 
 “ 1785. July 20th. Leicester Fields. 
 
 “ Lord Lucan, who is just about setting out for Ireland, will present 
 to your grace the picture which Lady Lucan has made of the 
 ‘Protector,’ Duke of Somerset.” (The original miniature is 
 now in the possession of the Duke of Buccleuch, it is inscribed 
 Anno Domini, 1560, [ft! — Nicholas Hilliard). 
 
 Horace Walpole, in his “Anecdotes on Painting,” thus praises 
 Lady Lucan : — “ Who has arrived at copying the most exquisite 
 works of Isaac and Peter Oliver, Hoskins, and Cooper with a 
 genius that almost depreciates those masters, when we consider 
 that they spent their lives in attaining perfection; and who, soaring 
 above their modest timidity, has transferred the vigour of Raphael 
 to her copies in watercolours.” She also painted good original 
 portraits. Died, 1815. 
 
 Portrait of a Gentleman. Unknown. In a tortoiseshell frame. 
 
 Judgement of Paris. Enamel. 
 
 Portrait of a Lady. Unknown. In a tortoiseshell frame. 
 
 Artists. 
 Thomas Marshall. 
 
 Horace Hone, A.R.A. — 
 
 1755 — 1825. Painted in enamel and 
 water-colours. Was appointed 
 miniature painter to the Prince of 
 Wales. Exhibited, 1772 — 1822. He 
 signed his miniatures H.H., with the 
 date. 
 
 dr ^kut/fe C&w 
 
 ad-y> 
 
 Lady Lucan. 
 

 
 11 
 
 Panel V III, 
 
 Lady Elizabeth and Lady Emmeline Manners, when children, 
 Daughters of 5th Duke of Rutland. Lady Elizabeth Manners, 
 born, December, 1802 ; married, March, 1822, Andrew Robert 
 t Drummond, Esq., of Cadland ; died, 1886. 
 
 y oee 
 
 Panel 
 
 William, Lord Russell. Engraved on the back : “ William, Lord 
 Russell, who was unjustly beheaded, 1683 ” 
 
 Rachel, Wife of William, Lord Russell. This heroic lady was the 
 daughter and heiress of Thomas Wriothesley, Earl of Southampton. 
 Born, 1636; died, 1723, in her eighty-seventh year 
 (Between the Russell Miniatures). 
 
 Katharine, First Wife of John, 2nd Duke of Rutland. She was 
 the second daughter of William, Lord Russell, and in the Belvoir 
 MSS. there are many interesting letters from Lady Russell to her 
 daughter. Died in 17 11. Underneath are portraits of - — 
 
 Three of the Duchess’s Sons. In the middle — 
 
 , John, 3RD Duke of Rutland. Aged 28 years. He was the last Duke 
 who occasionally lived at Haddon. Enamel. Born, 1696 ; died, 
 1779. On the left — 
 
 Lord William Manners. Aged 24 years (1722). The second son. 
 M.P. for the County of Leicester in 1714, and 1722 to 1733. Died 
 from a fall from his horse, in 1772. Unmarried. Enamel. On the 
 right of the Duke — 
 
 Lord Thomas Manners. Aged 19 years (1722). Died in 1723, in the 
 20th year of his age. Enamel 
 
 . Lord Charles Somerset. Afterwards 4th Duke of Beaufort 
 
 A Gentleman. In a fair wig. Unknown. 
 
 Panel '"mi,.., SVM. 
 
 Duchess of Somerset, second wife of Charles, 6th Duke of Somerset, 
 and mother of Frances, Lady Granby. She was a daughter of 
 Daniel Finch, Earl of Winchilsea and 2nd Earl of Nottingham. 
 Died, 1773. Signed S., and dated 76. 
 
 A Gold Presentation Shield. With the motto of St. George : 
 
 “ For our Country.” The arms of the Marquis of Granby on the 
 reverse side. 
 
 John, Marquis of Granby 
 
 John, Duke of Marlborough. Born, 1650; died, 1722. In armour, 
 with the blue ribbon of the Garter, and wearing a very long fair 
 wig. 
 
 Prince Eugene of Savoy. Born, 1663 ; died, 1738. He was the son 
 of the Comte de Soissans, and was one of the most brilliant soldiers 
 of the age. He co-operated with Marlborough in his campaigns, 
 and in 1712, he visited England with the object of persuading our 
 court to continue the war, but without success. 
 
 Artists. 
 
 C/$ou 4<2. 
 
 A 
 
 
 V/u ) 
 
 
 dfaUAt llu cf QL&IlM 
 
 Samuel Cooper 
 
 Zincke. 
 
 Zincke. 
 
 Zincke. 
 
 Zincke j* 
 
 A 7 yd 2Lcr Sf- , * 
 
 Liotard. 
 
 Gctf/e. > 06 //Z4- 
 
 ext.ee Ck 
 
 // 
 
 ■f Jh- t/L 0//*/ 
 
 A?/ — /So/- 2- '/o-,- — "='* ^ -63-3-0 
 
 AS /3~ S~ — /S O /u*t£- £ /27. / 3 - 3 . C 
 
 AS 2 / 0 • 2// — /S’ Of J'A ArzsS,, 0/2 
 
 AO J2Z — /S/O 4^4? A P/tsz jg /O/o 0 
 
 /to J/S /S/A ST- 6/0 /o a 
 
 S' JfS — /S/3 ,//. -/ so - /o . 0 
 
 — /S/4- *f/ / /S - /S'- O 
 
 
 /: /O /& c< 
 
 so//. ' . 
 
 is /3 #-//,< 
 
^ LU (A^W /-)CUs. 6 
 
 fe H+- 
 
 Panel XSt, X.V((f. 
 
 Charles, 4TH Duke of Rutland. 7 l ~; ~ 
 
 George John Frederick, Marquis of Granby. Born, 20th August, 
 
 1813; died, 15th June, 1814. Son of the 5th Duke of Rutland. 
 
 Two Children — Lady Gertrude Howard and Lady Elizabeth 
 Howard, daughters of the 5th Earl of Carlisle. Signed with a 
 very small G. Lady Gertrude married, in 1806, William Sloane- 
 Stanley, Esq., of Paultons ; died, 1870. Lady Elizabeth married 
 John Henry, 5th Duke of Rutland. 
 
 Panel Xv* )t/%. 
 
 Venus Dressing. Signed with the monogram Hf ! and— 
 
 Venus Rising Out of the Sea. Enamel. From the painting by 
 Titian in the Orleans Collection. Enamel. 
 
 Lady Mary Wortley Montagu. Born, 1690. She was the eldest Liotard. 
 daughter of Evelyn, Duke of Kingston. In 1712 she married 
 Mr. Edward Wortley Montagu, and accompanied him to Constanti- 
 nople ; while there she caused her son to be inoculated for the 
 small pox, and on her return to England she introduced the practice 
 with much success. She was a friend of Pope for some time, but 
 ultimately they quarrelled and became bitter enemies. In 1739, 
 
 Lady Mary went to reside in Italy ; in 1761, she re-visited England, 
 and died, 1762. In oriental costume, painted in watercolours. 
 
 There is a difficulty in deciding the exact identity of this miniature. 
 
 Engraved on the back of the frame is the name “Laura Tarsi,” 
 and there is a family tradition that she was a Grecian lady and 
 friend of the famous Marquis of Granby ; there is, however, 
 absolutely nothing to prove this, while at Wortley Hall is an 
 almost exact replica of this miniature, which is, without doubt, 
 
 Lady Mary Wortley Montagu 
 
 Frances, Countess of Rutland. Signed I.H., and dated 1653 ... ^ Hoskins. CtC # y 
 
 v v O ■ 
 
 Holy Family. On the back : “ P. Jean, fecit, 1653.” Enamel ... P. Jean. 
 
 PflNFT.=3em L 
 
 *M< Jl 
 
 Lady Adeliza Manners, daughter of 5th Duke of Rutland. 
 1810; married Rev. Frederick J. Norman ; died, 1887. 
 
 Cabinet I. 
 
 (Left of Entrance.— Upper Compartment). 
 
 Born, 
 
 > “An Enamel by Vauquier. Bought at Madame de Pompadour’s 
 sale, representing the murder of the Innocents. 12/.” (This entry 
 occurs in a list of the Pictures and Statues collected by the 4th 
 Duke of Rutland, Belvoir MSS., vol. ii., page 349). After Raphael. 
 The arms on the frame are those of Mon. Letellier, Chancellor of 
 France. 
 
 (Lower Compartment). 
 
 Two Small Pictures. (Not miniatures). On the back of each is 
 written : “ Peters, the celebrated Painter, told me that this picture 
 is painted by Watteau ; is a work of merit, and is of some value. 
 L. Beilby, Lincoln, August 12th, 1797.” 
 
 Robert Vauquier — 
 
 Enamel painter. Born at Blois ; died, 
 1670. 
 
oLTppnr. c^mjaauJLmaa*^ 
 
 13 
 
 ^ctaef X/ 
 
 “? 'V "f r 
 
 ^ 7, 7 — - T 
 
 4 *><«/?</ kats-fr «* 
 
 ' *>ee i^c-UM 
 
 0«e l*c£aCUi. 
 
 Of 07 OtOU M.U < 7 <. 
 
 Jfrea# <¥ <* 
 
 ‘"Gkas&i/ ^ &uke- 
 
 
 Artfste^ ^ 
 
 (jj G[OJJ?oluo( 
 
 2* Two Young Girls, daughters of Charles, 4th Duke of Rutland. Lady 
 Elizabeth Manners (afterwards Lady E. Norman). Born, 1776 ; 
 married, 1796; died, 1853. Lady Katharine Mary. Born, 1779; 
 married Lord Forester, 1800; died, 1829. Signed at the back 
 
 J , Mary Isabella, Duchess of Rutland. In her hair is a white scarf. 
 This is in a gold lopket ... . 
 
 Gka*J?£.i 4-- 
 
 Mary Isabella* Dlichess of Ri.t-h.anp ... 
 
 'do cU*d£/a. (3o^u/gAi . 
 
 Baron - bos BoTTCTonT^ wife ofe'the 4th Duk e- of Beaufort - , - and moth er 
 of M a ry Isab e lla , Duchess of Rutlan d; — Enamcl. - 
 
 Mrs. Mee — 
 
 (Anne Foldsone). Was painter to 
 George IV., and exhibited from 1815 
 to 1836. Died, 1851. She is men- 
 tioned in Miss Berry’s “ Journal ” as 
 having a mother and eight brothers 
 and sisters to support. 
 
 Andrew Plimer , 6/T&2 <£ /# 3 7 
 l{a^«K<2<l ]L t. 
 
 oee ( + 
 
 » Rosamund, daughter of Sir Wolstan Dixie (4th Baronet of Bosworth, 
 Leicestershire), was born in 1747, and married R. Kinnersley, Esq., 
 1*4 &(' LL of Staffordshire. Her mother was Theodosia, daughter of Henry 
 
 Wright, of Mobberley. 
 
 /< Anne, Countess of Northampton, daughter of Charles, 4th Duke of 
 Beaufort, and sister of Mary Isabella, Duchess of Rutland. Signed 
 with the monogram © 
 
 Head of a Lady. With a turban. (Lady Mary Wortley Montagu ?). 
 
 'JLhM. 
 
 V*N£L V 
 
 Two miniatures , facing each other , of the sons of Charles , 4th Duke 
 of Rutland : — 
 
 Major-General Lord Charles Manners, K.C.B., M.P. Born, 24th 
 October, 1780; died, 25th May, 1855 — 
 
 Ozias Humphrey, R.A. — 
 
 1742 — 1810. He painted the Royal 
 Family, and was one of the fashion- 
 able miniaturists of his day. His 
 work is characterised by its exquisite 
 finish and silky texture, and is gener- 
 ally signed. 
 
 Major-General Lord Robert Manners, C.B., M.P. Born, December 
 14th, 1781 ; died, November, 1835. Both are in the uniform of the 
 Royal Hussars. (For further details see “ Memoirs of th e Te nth 
 Royal Hussars). Below these two miniatures — - . 
 
 A Miniature, evidently painted by the same artist as Lord Charles and 
 Lord Robert Manners. Engraved on the back: “George Comp- 
 ton Cavendish. Unfortunately lost coming home after the battle 
 of Corunna, 1809.” Major, the Hon. G. H. Compton Cavendish, 
 born October 14th, 1784, drowned at sea January 22nd, 1809, was 
 second son of George, 1st Earl of Burlington, by Elizabeth, 
 daughter of Charles, 7th Earl of Northampton. He served in 
 the 7th Regiment of Light Dragoons (now the 7th Hussars) during 
 the retreat to, and battle of, Corunna (January 16th, 1809). On 
 the passage to England the despatch transport, having on board 
 Major Cavendish and one hundred and fifteen officers and men of 
 the regiment, was wrecked on the coast of Cornwall, when all but 
 seven perished. 
 
 tf^c , ecu MS767 ( klLnc( oot( 
 
 
14 
 
 Artists. 
 
 I 'oaceJ? 
 
 (jcuteJ^ 
 
 Cabinet III. A (/ fa ) 
 
 t*. 
 
 mm el ££ 
 
 (Upper Compartment). 
 
 Elizabeth, Duchess of Rutland. (1822). 4*^//^ <*~£/#zS~ 
 
 Ditto. When a young girl. 
 Ditto. Set in a iackei— 
 
 In a yellow dress. Signed S. Shelley ... 
 
 Sol uttketou I7S<T/St?»^ r ~ 
 
 Samuel Shelley. IJS'C'^OS- 
 
 Jo ueJl %/ 
 
 Charles, 4TH Duke of Rutland (1785). Lord Lieutenant of Ireland. 
 Signed and dated. 2 — Hi * /J8S~ 
 
 Horace Hone. aR A A-//enr ^ 
 
 Mary Isabella, Duchess of Rutland. In a black frame. On the 
 back of this miniature is written: “R. Cosway, R.A.” (R.A. rather 
 
 ille gible). . — “ ^ 
 
 Ditto. A large miniature. Her arm resting on a feeete V’OCuj^u <? &tOOut 
 
 A Locket opening with miniatures of Mary Isabella and the 4TH 
 Duke. (Purchased by the present Duke.) 
 
 4//L' zs/i *//***, 
 
 /77X —/tP-27Z- 
 
 Trj ee. 
 
 III . tee 7 
 
 (Lower Compartment). 
 
 Lady Emmeline Manners, daughter of the 5th Duke of Rutland, 
 married (1831) the Hon. Charles Stuart-Wortley ; died, 1855. 
 
 Portrait of a Lady. Unknown. fay (Xtp 
 
 Head of Christ. ^ 1^'^ ^ ^041 
 
 Head of the Madonna. 
 
 CA BttB BT—J-V . 
 
 uz 
 
 J2. *7 
 
 Isabella, Countess of Sefton. Born, 15th April, 1748; died, Janu- Mrs. Mee. 
 ary, 1819. She was the daughter of William Stanhope, 2nd Earl 
 of Harrington. Engraved on the frame: “Isabella, Countess of 
 Sefton, given most kindly by her to her affectionate friend Rutland, 
 
 ...yfoCoswAY. KA L-/7* 0 
 
 1800 
 
 Miniature of a Lady. 
 
 " SM AC'L VA"N 
 
 Unknown: Reclining on a pillow ... 
 
 < > 7 * 
 
 In the Casket. 
 
 (Left Compartment). 
 
 A large miniature of Elizabeth, Duchess of Rutland. Inserting a 
 rose in her belt. Her Children — Lord John Manners (7th Duke of 
 Rutland), Lord George Manners, Lady Elizabeth Drummond, Lady 
 Adeliza Manners, Lady Katharine Manners 
 
 (Right Compartment). 
 
 Anthony Stewart — 
 
 Born in Perthshire, 1773. He came 
 to London and established himself 
 there as a miniaturist. His work is 
 very good. He painted the first 
 miniature of the Princess Victoria 
 (Queen Victoria). Died, 1846. 
 
 John Henry, 5TH Duke of Rutland ... ... ... ... A. Stewart. 
 
 Lady Emmeline Manners. 
 
 Elizabeth, Duchess of Rutland. In a red case. On the back of the 
 miniature: “Painted by Hry. Bone, A.R.A., enamel painter to 
 H.R.H. the Prince of Wales, after John Hoppner, R. A., July, 1808. 
 Enamel 
 
 Lady Katharine Forester. Signed, and dated 1829 
 A miniature of a Child. Unknown. 
 
 Henry Bone — 
 
 Born, 1755. Celebrated painter in 
 enamel. His great work is the “ Por- 
 traits of Illustrious Englishmen,” 
 eighty-five in number, copied in en- 
 amel from various collections. Elect- 
 ed an Associate of the R.A. in 1801, 
 and in the same year he was ap- 
 pointed painter in enamel to George 
 III. Died in 1834. 
 
 Thomas Marshall. /Q/&~ 
 
 A>-*-— y C /y^/cp 
 
New Library. 
 
 (On the Right Side of the Fireplace). 
 
 Artists. 
 
 A large miniature of George, 7th Earl of Rutland, from a picture 
 by Vandyck, at Belvoir 
 
 (Left Side). 
 
 ■ Francis, 6th Earl of Rutland, from a picture by P. Vansome, at 
 Belvoir. 
 
 Silvester Harding — 
 
 Born, 1745. Was brought up to be a 
 hairdresser; this occupation he quit- 
 ted, and joined a company of strolling 
 players. In 1775 he commenced 
 miniature painting, and exhibited at 
 the Royal Academy from 1779 to 
 1787. Died, i8og. 
 
 Drawing Room. 
 
 John, Marquis of Granby, from the original picture by Sir Joshua 
 Reynolds, presented by His Majesty, George IV., to the Earl of 
 Egmont (and given to the 5th Duke of Rutland by the Marquis 
 of Anglesea, who lost his leg at Waterloo) 
 
 A small crayon, by Liotard, of John, Marquis of Granby. On it 
 is written “ Le Marquis de Granby, peint a Constantinople, par 
 Liotard, 1740.” 
 
 William Derby — 
 
 1786 — 1847. 1° 1808 he established 
 
 himself in London, practising por- 
 trait and miniature painting. In 1825 
 he undertook to make the drawings 
 for “ Lodge’s Illustrious Persons,” 
 and he also copied for Lord Derby, in 
 water-colours, all the known portraits 
 of his family from the time of Henry 
 VII. “ His copies were executed 
 with extreme minuteness : careful 
 imitations of the original, both in 
 manner and spirit.” 
 
 A small head, in oil, of Elizabeth, Duchess of Rutland. 
 
 The Duke of Wellington. In the collection of the Duke of 
 Buccleuch a similar miniature is attributed to H. Bone, after 
 Lawrence. 
 
 VICTORIA MANNERS. 
 
 (jUL'deAJ YuueY y/fj 3(2 we 
 
 Ot< tfr? (nxtfyP vku'cot 
 zAuaap teeavolpol (tip ^acouei 3-f ke/t/ 
 
 euZYi'e^-' 
 
 qua ueso? 
 
 (f fylacu ^'3. 
 
 V a - tot . 180 ^ 
 
 210 * in /soj { cue ^ (iUca ( 37 Qat£outdU> (rfuJ<t«ixAj 
 
 !S(0 / ' ■ - - t !-/ / 
 
 328 - 
 
 " 3W - 
 '• - 
 
 - if.18 - 
 
 tStl 
 
 /8(S 
 
 ( A h r i 0U4Ut <-7' '9^ 
 
 e(aOU^ $ h^oUi U 
 
 Jtuuz. Clrf 1*^7 'Y'f/. 
 
 /o 
 
 hQaA(qjX' 
 
 0 
 
 
 
 /} 
 
 'H 
 
 - /o iO^CtCL dbttOi t—y i/CUAJ- duty CoU 
 
 
 
 ^icu ^ US' 1 ^ <j 
 

 
 
 
 
 
 
 
 
 
 



 
 
 
 
 

 Sec L'e~L tvUT, <.•»> «- - ^ vU< ~ V ru 
 
 C^fu 'Ul.x (ittp ' j^o ( y/ 
 
 Lc,b |_v cJw^ ^»~<r 
 
 lb B<hal