CATALOGUE OF THE COLLECTION OF PICTUKES AT KNOWSLEY HALL. Digitized by the Internet Archive in 2014 https://archive.org/details/descriptivehistoOOderb DESCRIPTIVE AND HISTORICAL CATALOGUE OF THK COLLECTION OF PICTURES AT KNOWSLEY HALL. BY GEORGE SCHARF, F.S.A., KKEPKR AND SECRETARY TO THE NATIONAL PORTRAIT OALLERY. 13y autfjorttj} of tfje (Sail of Derby. LONDON : PRINTED BY BRADBURY, AGNEW, & CO. 1875. LONDON BRADBURY, AQNEW, & CO., PRINTERS, WHITEFRIARS. CONTENTS. PAGE LIST OF APARTMENTS vii CATALOGUE OF PICTURES 1 SUPPLEMENT 229 APPENDIX 231 LIST OF SUBJECTS 233 BIOGRAPHICAL INDEX OF PAINTERS 247 LIST OF APARTMENTS. PAGE ENTRANCE HALL 1 FIRST DRAWING-ROOM 7 SECOND DRAWING-ROOM 22 STUCCO GALLERY 39 LARGE DINING-ROOM 74 DINING-ROOM PASSAGE Ill KING'S CHAMBERS— SITTING-ROOM 114 MINIATURE ROOM 121 KING'S CHAMBERS— BED-ROOM 138 THE OLD STAIRCASE 140 MAHOGANY SITTING-ROOM 143 MAHOGANY BED-ROOM 143 MAHOGANY STAIRS 149 UPPER COLONNADE ROOM 153 GALLERY SITTING-ROOM 155 GALLERY DRESSING-ROOM 160 BEDROOM 162 YELLOW ROOM (now Bedroom No. 20) 162 CHAPEL SQUARE 163 NEW STAIRCASE 168 BALL ROOM 169 LIBRARY 176 GARDEN LIBRARY 178 DRESSING-ROOM 186 SITTING-ROOM 186 THE LATE EARL'S SITTING-ROOM 189 THE LATE EARL'S BED-ROOM 1D5 LITTLE ROSE ROOMS 195 " LADY EMMA TALBOT'S ROOM 198 LADY EMMA TALBOT'S BED-ROOM 205 EAST ROOM 206 BLUE BED-ROOM 213 GREEN SITTING-ROOM 214 NORTH ROOM 222 BUTLER'S ROOM 222 HOUSEKEEPER'S SITTING-ROOM 222 HOUSEMAID'S ROOM 228 OF THE PICTURES AT KNOWSLEY HALL. *»* The terms right and left, in the following pages, signify those of the spectator when standing before the picture. When applied to those of a person represented, the difference is observed with especial care. To the right or left, of or m the picture, equally refers to the spectator. ENTRANCE HALL. I. (394)* South-east view of Knowsley Unknown- (302. )f Canvas, square. 2ft. O^in. x 2ft. 5m. Brought in 1841 from the house at Preston. A very curious record of the buildings as they must have appeared during the reign of King William III., about the year 1G90. The costumes of the figures introduced, sufficiently decide the period when the view was taken. The entire eastern range of the house is presented to the spectator ; a small portion only of the southern side is visible. The chapel projecting from the other buildings is clearly on the same site as at present ; but in this picture the style of architec- ture is much more appropriate to the purpose for which it was designed. The windows are lofty, the roof is high pitched ; a large Gothic window at the east end, and a cross surmounts the gable above it. The walls are embattled, and the side windows are divided by buttresses. There is likewise a large round tower with a spire and weathercock at the point where the chapel is connected with the house. The range of buildings to the left of the chapel retain the same arrangement to the present day. A stone tablet, sculptured with a shield of arms and supporters, occupied at that time the same place which the more elaborate * These figures in parentheses refer to the numbers in the previous Catalogue, dated 1860. t These figures refer to a still earlier Catalogue. 8 2 PICTURES AT KNOWSLEY HALL. sculpture, dated 1737, does now, between the windows in the central block. All the buildings to the right of the chapel were picturesquely irregular, being rather a collection of houses of different levels, with tall clustered chimneys, grey sloping roofs and timber framework, than any systematic continuation, or the component parts of a single mansion. The two towers with battlements, of the oldest part of the house, the great dining-room, and the King's chambers, rise behind the apartments, where the coat of arms is built into the wall. These towers are rendered still more conspicuous by two lofty pointed spires or steeples, apparently covered with metal, and high-rising vanes or weather- cocks placed upon them. A long range of low building, having only one row of windows and a central door, perhaps an orangery, projects eastward in the same direction as the chapel, bounding a flat square grass plot, from which a series of terraces, like hanging gardens, slope down towards the south and terminate in a straight, gravelled terrace next the water, in the left-hand corner of the picture. These terraces are intersected at right angles by gravelled walks, and planted at regular intervals with small cypress trees. To the extreme right, beyond a paling of the rudest description, are trees, and seemingly the orchard. Three persons are in a boat upon the water to the left, and tlrree figures, a lady and two gentlemen, promenade separately on the straight gravel walk beside it. Beyond the water, on the extreme left, is a square plot of grass, with stone vases upon pedestals, facing the southern portico, which, if built at the time when this view was taken, would be concealed by the projection of a still older portion of the house here shown. Undulating hills and dense masses of the richest foliage are introduced with artistic licence as encircling the house and rising northwards to the far distance. The painter seems, however, to have faithfully adhered to the formalities of the Dutch garden, then so prevalent, in the eastern portion of the locality. 2. (397) Peel Castle, Isle of Man Unknown. (305.) Canvas, square. 2ft. din. x 2ft. 34i'n- First appears in the 1736 Catalogue as "A Landskip, Peel Castle." Removed in 1841 from the old house at Preston. A picturesque building, with numerous gables and two lofty towers, planted on a mass of rock rising out of the water. ENTRANCE HALL. 3 Between the castle rocks and the immediate foreground two boats are on the water, and several figures are in front. Two flags flv from the principal towers. The horizontal line of the sea rises high in the picture. 3. (2) A Sea Fight W. Van de Veldt. (*•) Canvas, square. 2ft. Z\in. x3/(. Win. First appears in the 1729 Catalogue. Described in the 1736 Catalogue as bought of Mr. Casteel for £78 15*. A fleet of vessels bearing Dutch colours. One ship with a large- white flag at the mainmast, and all sails set, is very prominent to the right of centre of picture. Her stern, highly ornamented with carving, and having lanterns and turrets or side-towers, is brought round towards the spectator. The sails are torn by gun- shot, and among the rigging, numerous figures are in motion, some of them hurriedly dropping into boats. The line of ships diminishes as it recedes along the horizon towards the extreme left, thereby leaving above a diagonal line of open sky. The sea, especially in front, is of a very dark brown colour. Clear pale red sunlight towards the horizon on the left. Bright pale blue sky along the upper part of the picture. Signed " W. V. V." on a floating spar in foreground, to the right. 4. (4) A Sea Fight — English and Dutch . . . W. Van de Veldt. Canvas, square. 2ft. 3/n. x 3ft. 11m. First appears in the 1729 Catalogue. Described in the 1736 Catalogue as bought of Mr. Casteel for £78 15s. A large picture. A large vessel, viewed alongside, appears in the centre bearing Dutch colours. The wind is blowing from the right hand, the sky is cloudy, with dull grey, and the sea remarkably dark in colour. All vessels carry the Dutch colours, but some have the English at their stern. (Qy. is this a sign of capture ? The flags are red, with a red cross on a white canton.) Most of the saUs are furled. The light is admitted from the left side. Painted with less spirit and clearness than the others belonging to the series. b2 4 PICTURES AT KNOWSLEY HALL. 5. (5) Roman Ruins Ottavio Viviani. Canvas. 3ft. 11 \in. x 5ft. 8^in. First appears in the 1729 Catalogue, as "Ruins. " Purchased in that year from T. W. , for £57 15s. Described in the 1736 Catalogue as "Ruins of Nero's frontispiece standing in Rome, by Viviano. " A large architectural piece, consisting of two bold arches, facing the spectator, through which a mountainous landscape is seen. The Corinthian columns are partially hidden in the ground. A massive and richly sculptured frieze surmounts the arches. Por- tions of a Roman Doric portico, with fluted columns and Triglyph ornaments, appear to the extreme right. Four figures occupy the foreground ; one of whom, in a grey dress, is seated sketching. These ruins, formerly called, according to Desgodetz, " le Frontis- pice de Neron," are the massive fragments lying in the Colonna gardens on the Quirinal at Rome, and now more generally known as the Temple of the Sun. 6. (6) Gamesters, a Dutch Conversation Piece Tenters. (126.) Oak panel, backed with mahogany, lft l%in. x ll\in. First appears in the 1736 Catalogue, No. 43, under the title of " Gamesters. " A young man in a blue jacket and yellow sleeves, is seated at a table to the left, disputing with a man who stands before him with fist clenched on the table, whereon two distinct sums of money, in gold and silver, are laid. A clownish figure wearing a red cap sits between them. A man in a green cap looks in through a window on the left hand. An old man on the opposite side, stands in profile, lighting his pipe behind the young man in blue. Power- fully coloured, and in a style closely approaching to Ostade. 7. (8) A Dutch Conversation Ostade. (10.) Panel, lft. b\in. x lft. 3in. First appears as "A Conversation, by Ostade," in the 1729 Catalogue. Bought at Mr. Vanderhalst's sale, 11th August, 1722, for £42. A square upright picture. Composed of five figures An aged man sitting to the right in a chair, is addressed by a man seated on a low stool filling his pipe from a tobacco bowl. A woman in red, and a child, are seen between them. A female ccoking is in the background. This picture was contributed to the British Institution in 1861, No. 127 of the Catalogue. ENTRANCE HALL. 5 o) Extensive Prospect over a Flat Country. . De Koninck. Canvas, square. Aft. Z^in. x 5ft. 5^in. Brought from Grosvenor Square in 1850. This extensive range of landscape, taken from a considerable height, commands a flat country, watered by a winding river passing by two towns having numerous towers but only one church spire. This latter partially intersects the horizon. The main line of the horizon is remarkably level, and varied only by some slightly rising ground to the left of centre of the picture. The broad extent of open sky is varied by grey clouds of a remarkably light and buoyant character. The partial gleams of sunlight across the river tend skilfully to increase the effect of distance. A group ot roughly constructed cottages, with roofs partly of thatch, and partly of red tiles, occupy the foreground to the left. From the centre in foreground a rough sandy winding road retreats through a place shaded by green trees to the edge of a stream, on which a packet-boat carrying passengers is seen gliding, and beyond which appears a bridge with two arches. The river in its winding course, reappears several times, and at the mosi open part of it, in the middle of the picture, may be observed two or three sailing boats. In the foreground, towards the right- hand, rise bold yellow hills of sand, sprinkled over with tufts of vegetation, and a man in red coat, and black hat, is seated angling on the border of a piece of water quite in front of the picture. Signed, upon the roughly plastered side of a house in fore- ground, towards the left, ie s s- This picture was exhibited at the British Institution in 18G1. No. 121 of the Catalogue. A very fine picture by Rembrandt, the master of De Koninck, exhibiting a similar view to this, is now in the possession of Lord Overstone. It was formerly at Paris in the collection of the Count de Vence. Engraved in 1758 by De Marcenay. Dr. Waagen, vol. 4, page 131, says of the Rembrandt picture, "This landscape doubt- less served as model to Philip de Koninck and Ruysdael in those pictures in which they have expressed the peculiar charm of a widely extended Hat distance." 6 PICTURES AT KNOWSLEY HALL. 9. (10) Flower Piece J. Baptiste. (27.) Canvas. 2ft. 5in. x 2ft. First appears in the 1736 Catalogue. Group of flowers in a glass vase, mainly consisting of bunches of lilac, tulips, a large iris, and some yellow lilies. A white rose, and pieces of honeysuckle, have fallen down on to the marble slab. The cross sashes of a window are reflected in the polished surface of the glass vase. No insects are introduced to give relief ; but a large drop of water in the open tulip below the bunch of blue lilac is admirably well painted. Background plain dark grey. Signed on the front edge of the stone slab, "-Baptiste." 10. (n) Sea Fight between the Dutch and English. W. Van de Velde. (21.) Canvas. 2ft. Z\in. x2ft. llin. First appears in the 1729 Catalogue. Described in the 1736 Catalogue as "Bought from Mr. Casteel for £78 15s." Numerous vessels on a swelling sea. The wind blows from the left hand, and the light is admitted from the same direction. One large flag-ship, carrying white, is prominent to the left of the centre. She has lanterns at the poop, and her carved figure-head seems to represent St. George on horseback. Three English vessels, bearing the Union Jack, are seen near the centre. One of them on fire and sinking is surrounded by boats rescuing the crew. Two blazing ships appear in the far distance on the right. Reddish clouds float upon a pale blue sky. The smoke from the guns is white ; that from the burning ships a dark heavy brown. The front line of the sea is in deep shadow. Signed W. V. Velde, f. in black on a dark brown spar floating to the left of the centre. This is the second best picture in the series of four. 11. (12) Flower Piece, Companion to No. 9 J. Baptiste. (28.) Canvas. 2ft. bin. x 2ft. First appears in the 1736 Catalogue. Group of flowers, composed chiefly of narcissus, orange-blossoms, and hyacinths, between variegated pinks, in a glass vase. Blue convolvulus falling from the vase on to the slab. Background plain dark opaque grey. FIRST DRAWING-ROOM. 12. (13) A Sea Fight W. Van de Velde. (26.) Canvas. 2ft. 34m. x 3ft. llin. First appears in the 1729 Catalogue. Described in the 1736 Catalogue as " Ships, a sea-fight betwixt the Dutch and English." Bought of Mr. Casteel, price £78 15«. The line of ships is here broken by a large disabled vessel, bearing Dutch colours, in front to the right. Her foremast has been shot away, and the broken mainmast is in the act of falling. Two small boats attend her. An English vessel appears in the far distance to the extreme left. Very prominently, to the left of centre, a French vessel (white flag) is engaging with one bearing Dutch colours. A fire-ship again appears in distance, to the extreme right. The sea is more boisterous in this picture than in any of the rest. The waves are shaded with a deep brown colour. Signed in black on a grey floating spar in central foreground. One of the boldest and best of the series. An admirable example of the precision and freedom which distinguish the younger Van de Velde. His peculiarly blotchy touches, in tech- nical execution, were afterwards imitated in the figures of Cana- letto. Observe in this picture the long shadows from the vessels across the water. The general colour of the shadows is a solid instead of transparent brown. The smoke of the guns is expressed by opaque white, and the flashes of flame are very cleverly painted. FIRST DRAWING-ROOM. 13. (14) An Old Man resting his hand on a Skull . Lieveus. (73.) Canvas. 2ft. Win. x 2ft. 8{in. First appears in the 1729 Catalogue, where it is attributed to Rembrandt The same name is assigned to it in the 1736 Catalogue. Purchased for £25. A half-length figure, life-size, of an aged philosopher, with broad spreading silvery beard, resting his right hand on a skull, the lower jaw. His dress is of a dull earthy red colour, with a large brown mantle covering the left arm. 8 PICTURES AT KNOWSLEY HALL. A roll of paper, a large open volume, and an inkstand, contain- ing an inverted pen, are on the table beside the skull. The picture is very rich in tone, and has not been satisfactorily engraved by Winstanley, who etched it, the same way as the original, in his series of the Derby Gallery. Plate 9, No. 10. The print is dated 1728, and inscribed, " Rembrandt pinxit. Alta 2. ped. 11 pol. Lata 2 ped. 9 pol." 14. (is) Landscape Claude Lorraine. (33.) Canvas. 2ft. bin. x Zft. Sin. Removed from Grosvenor Square. A large rich group of trees rising dark in the centre, like a pro- montory, from a broad piece of water on the right-hand side. Conspicuous in front is a boat with two men in it, pushing off from the shore. This forms a bright contrast to the solidity of shadow cast by the mass of trees on the surface of the water. At a distance, to the right, is seen a wooden bridge, and a woman mounted on an ass, followed by a man with bundle and stick crossing it. A castle gate, with two round towers, is seen on the brow of a curved hill against the sunset sky. In the distance, to the left of the central trees, are ruined buildings, like the Roman aqueducts and the upper part of the Coliseum. Sheep tended by two shepherds appear upon a flat open piece of ground. Towards the front, the mass of dense shade is relieved by three swans swimming on the water. The dock-leaves, ferns, and other foreground accessories are remarkable for largeness of style. There is also a noticeable roundness of touch upon many of the leaves, and rich feathery foliage on certain branches among the trees, at either extremity of the picture, which Salvator Rosa not unfrequently adopted. This picture is described in Smith's Catalogue Raisonnd of the Works of Claude, page 381, No. 416. 15. (16) " San Giacomo della Marca " Spagnoletto. „ • (72.) Canvas. 2ft. 6in. x 2ft. O^in. Bought by Or. H. from the Casa Pristini at Naples in 1850. The saint, turned to the left and seen to the elbows, holds a book with both hands. A cockle-shell is attached to his left FIRST DRAWING-ROOM. 9 shoulder. He holds betwen his arm and body, the peculiar staff with a hook at the upper part to suspend the scrip from, which distinguishes St. James of Compostella. His hat also is slung behind. According to Husenbeth, St. James of Marchia is known by the emblem of a cup with a serpent by it. This picture in all probability represents St. James the Great of Compostella. See Mrs. Jameson's " Sacred and Legendary Art," ed. 1850, page 140. A bold dark painting, with solid brown shadows. 16. (17) The Marriage of St. Catherine F. V&rdA&r. (29.) Canvas. 2ft. 2{in. x 2ft. 8^in. Bought by the 12th Earl of Derby, and brought from Grosvenor Square. First appears in the 1855 Catalogue. On the left-hand side are the remains of a Roman Triumphal arch, with a Corinthian capital detached from it lying on the ground in the extreme corner. In the centre, at the foot of three trees, are seated the Virgin in a bright red dress and Joseph in a lilac tunic covered with yellow drapery. The latter holds a flat carpenter's rule in his left hand, and, resting his right on a fluted column, looks intently at the infant Saviour who stands at the Virgin's knees, putting a ring on the third finger of St. Ca- therine's riykt hand. The latter kneels before the Saviour in a dress of pure white, with a fillet of the same colour bound round * her light brown hair. A portion of the wheel and the handle of a sword appear on the ground between her and the Saviour. Behind her, at the right-hand extremity of the picture, are seated three naked, wingless children, busied in singing from a piece of written music. A sistrum and tambourine lie on the ground beside them. Two winged and more effeminate looking angels, clad in long lilac and yellow garments, are playing upon a guitar and lyre. Three naked boy-angels with white wings hover in the air in front of the ruined columns, and hold a white wreath and a palm branch. A fourth flies over St. Catherine and scatters flowers. A richly coloured picture, somewhat in the academic style of the French school. Forms carefully modelled ; shadows very dark brown. The distant mountains and sea of a very deep rich c 10 PICTURES AT KNOWSLEY HALL. blue. The signature on the pedestal of the arch to the extreme left, is only partially legible. It is and appears to have been F. Verdier, one of the best pupils of Le Brun, born 1651, died 1730. The date 1689 is complete. 17. (is) The Fortress of Konigstein. Bernardo Canale, called II Canalettino. (40.) Canvas. 4ft. 4in. x 7ft. S^in. Brought from Grosvenor Square, and first appears in the 1850 Catalogue. A very large long picture. A long line of yellow rock, covered with buildings, slopes away towards the right hand, facing the light. , Large tall trees are conspicuous at this extremity. The sky is clear light blue, with a few white horizontal clouds. Two trees in deep shadow are also prominent in the centre. Numerous figures, some tending their flocks, enliven the scene. The cattle introduced in fore- ground, and grazing upon the green pastures on the sloping rocks, are well painted. A group of three figures, a shepherd and two women, are prominent in the foreground to the right. Light in the picture is admitted from the right-hand t-ide ; the middle ground being thrown into deep shade, and occupied by many figures and animals. This celebrated Fortress of Konigstein, almost the only one in Europe never yet taken, rises magnificently to a height of 779 feet above a small town of the same name on the river Elbe. The platform on which the for- tress is built is several acres in extent, and the space is partly cultivated in fields and gardens. Napoleon vainly endeavoured to reduce it from Lilien- stein. The approach to it through a slanting way cut in the rock is most extraordinary. Frederick Augustus II. took refuge there during the Seven Years' War. The fortress has also been used as a state prison. The royal treasures of Saxony have usually been deposited there during war. A fine picture, taken from the extreme end, and showing the means of ascent, is at Madresfield in the Collection of Earl Beau- champ, painted by the same artist. 18. (19) James Butler, 1st Duke of Ormond, K.G. Born, 1610 ; Died, 1688 After Sir Peter Lely. Octagonal. Oak panel. Diam. 7 in. x Sin. Purchased at Strawberry Hill in 1842. No. lol of the eighteenth day's sale, p. 183, and there called the Earl of Southampton. See also Lord Orford's Works, vol. ii. p. 434. FIRST DRAWING-ROOM. 11 Descended from the Irish Earls of Ormonde. Commanded the army in Ireland under Wentworth, Earl of Strafford. During the supremacy of Cromwell he retired to France, where he actively exerted himself to promote the restoration. Had been nominated to succeed to the Garter expected to fall vacant by Strafford's death. This recommendation was confirmed by Charles II. in 1661, and before the coronation he was created Duke of Ormond. He served twice as Lord Lieutenant of Ireland, and in 1670 was murderously attacked by Colonel Blood, who dragged him from his coach in a dark night in St. James's Street, with the avowed intention of hanging him at Tyburn. Happily the Duke was rescued ; but Blood was permitted to escape the pursuit of justice. Ormond died at an advanced age at Kingston Lacy in Dorsetshire. He held the wand of Lord Steward of the Household from 1 660 to his death. A small half-length figure wearing the robes of the Order of the Garter, and turned as if walking to the left. A thin white wand is advanced in his right hand, and the other, with the left arm placed a-kimbo, holds a black hat with a white plume, only a small part of which remains visible. His hair is long, and of a brown yellow colour, parted in the middle and falling in long curls on each side. The light is admitted from the right side. Part of a fluted column and base appear in background, towards left side. Inscribed on a paper pasted at the back, "Jamex, Duke of Ormond, in the reign of Cliurles I." The name was scratched through and altered into " Southampton, temp. Car. 77." This portrait is interesting both as an early example of the painting of Sir Peter Lely, and as representing the Duke whilst retaining some appearance of youth. The introduction of the wand, and the style of dress, show that he must have already entered his fiftieth year. The original, a fine full-length picture, the size of life, is at Panshanger, in possession of his descendant by marriage, the Earl Cowper, K.G. Portraits of the Duke of Ormond as an old man are comparatively numerous; the best being those at Hardwick, his daughter having been the first Duchess of Devonshire, and in the Bodleian Gallery at Oxford, of which University he was elected Chancellor in 1G69. A half-length picture, in robes and bearing the wand, formerly the property of Sir Charles Domvile, Bart., is now in the National Portrait Gallery. (20) Landscape and Figures P. F. Fenj. (64.) Copper. 8\in. x 74»i. Brought from Grosvenor Square. Travellers attacked by Banditti, in front of a ruined Castle. c 2 12 PICTURES AT KNOWSLEY HALL. To the left, horsemen are seen struggling with their assailants, and a cart, having passed a drawbridge, is being unladen by the robbers. To the extreme right, below, a lady in a coach passing through a stream, has been stopped by the armed men, who are stabbing her servants. Admirably painted with vigour of action, strength of colour, and great minuteness of execution. Signed in black on brown in the lower right-hand corner, /: Ferg, fee. 20. (21) A Riposo Francesco Mola. (31.) Canvas, lft. 5\in. x lft. 7\in. Brought from Grosvenov Square. First appears in the 1855 Catalogue. A well-known composition. Dark green landscape, and a pleasing mellow-toned picture. The Holy Family, small figures in proportion to the landscape, are resting beneath two lofty spreading trees. A bundle and a jar lie at the Virgin's feet. Joseph, to the left, leans upon a rock which conceals the lower part of his figure. Three winged heads of cherubs hover in a floating, isolated cloud above the figure of the Virgin. A shepherd, standing with staff and tending his flock, appears in a distant field among trees towards the right. Light admitted from the right-hand side. 21. (22) Landscape and Figures. Companion to No. 20 . P. F. Ferg. (65.) Copper. 8%in. x 1\in. Numerous figures, on horse and lout, in front of a farmhouse, with a square ruined tower which they are plundering ; some throwing goods in bundles out of a window, and others driving away cattle. Some are carrying off domestic utensils ; in the centre a horseman is sounding a trumpet. Sharply and minutely painted. Signed in brown on a stone in the left-hand corner / : Ferg, f. 22. (23) Portrait of a Young Man. . . . probably by Le Ducq. (46.) Copper. §\in. x 5\in. Pui-chased in 1842 at Strawberry Hill. See Catalogue, eighteenth day's sale, No. 107, page 184, where it was called " An Octagon Portrait of Frank Hals." Painted in oil in the style of Le Ducq, or Gonzales Coques. Of an octagonal form. FIRST DRAWING-ROOM. L3 Portrait of a young man with smooth face, wearing a reddisn- grey high-crowned hat having a broad turned-up brim, brownish grey dress, and a large handsomely wrought white lace falling- collar ; seen to the waist, right hand raised to breast, the left holding a pair of brown gloves. General tone, ashen grey. A good picture with powerful and well-modelled shadows. Back- ground plain grey. 23. (24) Nicodemus visiting Jesus by Night (St. John, hi. 2) Tintoretto. (151.) Canvas. 2ft. 11J in. x2ft. 3jin. Bought from Winstanley for £50. First appears in the 1729 Catalogue. Nicodemus, a perfectly dark figure, is seated in the centre, with his back to the spectator, listening to our Lord's discourse, his left hand being raised in action of surprise. Christ also is seated. Two disciples stand behind the chair of the Saviour, and two more figures are in front of an architecturally framed door on the right wall of the apartment. The group is lighted by a large candle-torch, held by a seventh figure standing behind the chair of Nicodemus, on the extreme right. The shadows on the floor all proceed from the point above-named, and are skilfully managed. Engraved, the reverse way, by H. Winstanley, in the Derby Gallery, Plate 1. 24. (25) Charlotte de la Trkmoille, Countess of Derby //. Bone. (39.) 7{in. x 54'n. Half-length figure, enamelled by Bone, after Vandyck. (See Nos. 43 and 144) 1846. 25. (26) The Vision of St. Anthony of Padua . Carlo Maratti. (148.) Canvas. 2ft. ^^in. x 2ft. Purchased at Rome for £75. First appears in the 1729 Catalogue. The Virgin and Infant Saviour, appearing to St. Anthony of Padua, who kneels in front of an altar. He receives a branch of lilies from the Saviour, a figure turned in the opposite direction. Boy-angels attend among the clouds, and two winged cherub heads hover above. The head of the Saviour is alone surrounded by a glory of light. 14 PICTURES AT KNOWSLEY HALL. Two figures wearing gay dresses, but thrown into shade, appear in a distant garden, at the extreme right. A similar picture on a smaller scale, and painted on copper, by A. Carracci, belongs to the Duke of Marlborough, in the collection at Blenheim. It is there called St. Dominic. See Mrs. Jameson's "Legends of the Monastic Orders," ed. 1850, p. 299. Engraved, the inverse way, by Winstanley in 1729. 26. (27) James, 7th Earl of Derby. (Companion to No. 24.) H. Bone. (50.) l\in. x 54i». This fine enamel was No. 1807 of the Exhibition of Miniatures at South Kensington in 1865. Half-length figure in a black cloak, enamelled by Bone, after Vandyck, 1846. (See No. 43.) 27. (28) Fortress of Konigstein. Bernardo Canale, called II Canalettino, 1724 — 1780. • • ,. (56.) Canvas. 4ft. 4in. x 7ft. 8^in. First appears in the 1850 Catalogue. Companion picture to No. 17. Brought from Grosvenor Square. This grand composition presents the massive rock in a view parallel with the plane of the picture. The light is admitted from the right side. The buildings in this view are more varied, and the buildings and rocky surface of the citadel ground more broken by projecting angles and by trees creeping up the sides, than in the companion picture (No. 17). In the centre a projecting sharp angle of wall and two high-roofed square houses form the loftiest point of buildings on the fortress. A fiat terrace of wall runs out to the right with a circular end, which appears to be in progress of repair, as many persons with scaffolding are at work upon it. With the exception of the edge of a plateau, on which a gleam of sun falls in a horizontal line, lighting up two cows that are grazing, some bushes, a horseman, and two shepherds talking to him, the foreground and middle portion are almost entirely in shadow. Three boys at the foot of a tree in the left-hand corner are on a comparatively large scale, and the bright light upon them contrasts with the deep shadow cast on the flat curving road, along which a FIRST DRAWING-ROOM. 15 carriage is passing, and near the bend of which two figures, a man and woman, are standing in conversation. The tone over this part of the picture, where the ground rises in green slopes, winding among trees, enveloping both figures and vegetation, reminds me of Ruysdael's masterly view of Bentheim Castle, which was No. 708 of the Manchester 1857 Art Treasures Exhibition. This picture possesses many of the powerful effects of Canaletto, comoined with the great advantage of well-executed landscape foliage, in which his uncle (like Prout in our own country) was strikingly deficient. 28. (29) Portrait of Maria Verelst Verelat. < 54 -> Copper. %\in. x 6Jtn. First appeal's in the 1736 Catalogue. Purchased for £3 3*. A pleasing portrait of a young lady, seen nearly half length, dressed in black, and standing within a square stone framework or window, the right-hand corner of which is filled by a brownish- purple curtain hanging in large folds and looped up against the right-hand side. A broad plain square white collar, tied in a remarkable manner at the throat, falls on each side over her shoulders. Her black sleeves are short and curiously cut, being lined with white. Her right hand" is raised to her breast, whilst the left hand serves to support the other arm. Her dark brown hair is gathered into full masses of curls hanging on each side, so as to entirely conceal the ears. The hair at the top of the head is thin and close cut. The background is a plaiu surface of blue-grey colour. The figure much resembles that of the famous Anna Maria de Schurmann. This picture was at one time erroneously attributed to Leonardo da Vinci. 29. (30) Portrait of a Cardinal Unknown. Square piece of Oak. l\in. x 54f'«. First appears in the 1841 Catalogue. Supposed to represent the Eveque de Lucon, Cardinal Richelieu. Purchased by G. II., at Urusscls, 1817. This ecclesiastical dignitary is seen, to the waist, within a brown oval frame ; the figure itself is directed towards the left, and the 16 PICTURES AT KNOWSLEY HALL. head turned round looking to the right. He wears a small black skull cap, merely covering the top of the head, a broad slaty-lilac- coloured cape, bordered with red lines and having a straight row of scarlet buttons, broken into threes, down the front. His robe and sleeves are white, and he wears a small plain white turned- down collar round the neck, t A red cross, of the Patde form, hangs from below the cape. His eyes are grey-brown, and the hair dark brown and parted in the middle. It is quite grey towards and behind the ears. The moustaches and imperial under chin are pale grey. Cheeks smooth and round. 30. (31) Sea Piece W. Van de Velde. (32.) Copper. 7\ft. x 9ft. First appears in the 1782 Catalogue. Formerly the panel of a Cabinet. Brought from Weald Hall. Ships in a storm. Light breaking from clouds in the left-hand corner. A double rainbow rises from the centre of the picture, arching over towards the right, covering a fortress among rocks ; a white flag floating on the summit of the tower. A dark and heavy picture, painted chiefly with brown and grey colours. 31. (32) Sunrise. A Haven with Shipping, and many Figures. Manglard. (313.) Canvas, lft. x lft. lOin. First appears in the 1850 Catalogue. Purchased by G. H. at Naples. Bright yellow sunlight sky, surrounded by dark clouds, occupies the centre of the picture. The sun rises from behind a large mass of brown rock, with a fortress on the right-hand extremity overhanging the sea. To the extreme right is a tower at the mouth of a harbour, with vessels lying at anchor. A clever composition, crisply painted, with dark brown shadows. A two-masted vessel with full rigging and furled sails lies anchored off the principal and central mass of rock. Painted on very coarse canvas. Inscribed on a paper pasted at the back, " George Hornby. Landscape and shipping, by Manglard — Master of Vernet — bought at Naples, 1838." FIRST DRAWING-ROOM. 17 32. (33) Sea Piece W. Van de Velde. (30.) Copper. 7jft. x 9ft. First appears in the 1782 Catalogue. Companion to No. 31. Formerly the panel of a Cabinet. Brought from Weald Hall. A ship bearing the Dutch colours, beating about on a stormy sea. High rocks to left-hand, a gleam of light breaks through the clouds on the right. Lofty rocks and fir trees at this extremity. A second boat with small masts appears to the left. Painted in a brown tone. 33. (3i) A Dutch Burgomaster Tilborgh. (58.) Panel. $\ft. x 7{/t. Bought at Brussels in 1818, by G. H. Half-length portrait of a gentleman in black, with broad square white falling collar and undcrsleeves, holding a paper in his right i hand, inscribed TOYS JOVB BIEX His left hand, with a ring on the little finger, holding gloves, is placed on the hip. His hair is dark brown and long flowing, is parted in the middle and hangs down to his shoulders. Painted on oak panel, with a white gesso ground. At the back of the frame is inscribed on a piece of paper, " Portrait of Tilborg, bought at Brussels 1818. George Hoimby." 34. (35) A French Nobleman Janet. (41.) Panel. 6l/t. x 3J/<. Purchased in 1842 for £10 10*., at Strawberry Hill, where it appeared in the Sale Catalogue No. 13, of the eleventh day, as " a French courtier." A smooth-faced young man, with small moustaches, and yellow close-cut hair ; wearing a black surcoat, embroidered with silver, over a pink dress, barred horizontally with stripes of a deeper red. His black hat, with small gold tags and an enseigne on it, is placed slanting-wise on his head, inclining lowest to his right side, whilst white drooping feathers fall at the back behind his left ear. A small roundel, with an indistinct device, hangs by a gold cord D 18 PICTURES AT KNOWSLEY HALL. round his neck. The background, as in most of the small por- traits of this period, is of a fiat pale grass-green tint, with shadows cast on it, as if from the figure represented. The face, very deli- cately painted in cool greyish tones, is seen in three quarters, turned to the left. Light admitted from the left hand. The countenance is very similar to that of A ntoine de Bourbon. Painted on a solid square panel, apparently mahogany, bevilled at the back. 35. (36) The Triumph of Venus Albano. (118.) Canvas. 1ft. Win. x 4ft. First appears in the 1729 Catalogue. Bought from T. W. (Thomas Wright) for £200. Eight Cupids, with torches and joined hands, are dancing in a circle round a marble group of Venus and Cupid, mounted on a lofty pedestal. A winged youth, or Genius, seated under a tree, plays a harp to the dancers, and a small Cupid hovers in the air over him, playing a triangle. On the opposite side, the right, two Cupids, seated in a car, perform on the pipe and tambourine. In the deep blue sky above appear two distinct masses of clouds containing groups of deities, bearing reference to the judgment of Paris. On the left, Juno and Minerva are seen in precipitate flight, whilst on the right, Venus, entirely nude, reclines on a cloud, holding the golden apple and caressing Cupid. The Three Graces stand behind her, two of whom are supporting a wide- spread drapery, which floats above and forms a background to the group. The third Grace crowns her. Compare a pleasing oval picture by Albano in the Brera gallery, repre- senting eight Cupids danciug round a tree. Engraved in Eosini's " Storia della Pittura," Tavola clxxx. 36. (37) Sea Piece. A Fresh Breeze Backhuysen. (120.) Canvas, lft. Sin. x 2ft. 4in. A large vessel with three masts, her sails set and the Dutch colours flying ; has the Dutch arms and supporters carved at the stern, which is brought round nearly to face the spectator. A heavy fishing boat is a prominent dark object in the front, and from it a strong net full of fish and marked by floating casks con- nected by ropes, extends to the left-hand corner of the picture. FIRST DRAWING-ROOM. VJ Other fishing vessels with similar ropes lie out in the far distance. The wind hlows from the left hand. The sun appears to be setting at a point beyond the extreme left of the picture. The sky is of a peculiarly pinky colour in that direction. 37. (38) The Forest of Ardennes C. Huysman. (122.) Canvas. 3ft. i^in. x 4ft. lin. First appears in the Catalogue of 1841. Bought by Q. H. , at Brussels. Tall trees on the left hand, with a soft sunlight behind them. Numerous figures on sloping grass to the right, and a small piece of water in the centre. Shepherds and herdsmen are driving their oxen and cattle past the water, some of which are anxious to drink. In the middle distance to the left, shepherds are seen with their flocks, in various attitudes, upon green grass. The figures are painted with great spirit, and touched with strong brown shadows. 38. (39) Interior of a Guard-Room Teniers. (149.) Copper. 1ft. 94/n. x 2ft. 6in. First appears in the 1729 Catalogue. Price paid for the picture, £17 17*. The principal figure, standing in front on right hand, is recorded to be a portrait of Teniers himself. He wears a steel cuirass, light yellow sleeves, a blue cap faced with fur, and a white feather. He looks fiercely forward out of the picture. To the extreme right a boy-page in lilac dress appears to be carrying away his outer coat. A stone pier divides the picture in a straight line down the centre. To the left, over a bench in front of a plain wall, are hung a round buckler, and pistols in holsters. Various suits of armour, a partisan, drum, saddle, and a large white flag, are leant against the wall, raised on stands, or laid on the floor. In the foreground, in front of central division, stands a poodle dog, with legs and tail shorn in the old French fashion, looking towards the principal figures. In an inner room, to the right, are five persons, some of them seated playing at cards. On a paper over the fire-place is a rough drawing of a man's head, bearing date " A. 1G46." Two persons, of better quality, stand conversing in the middle ground, and serve as a link between the distant group and the foremost figures first described. d 2 20 PICTURES AT KNOWSLEY HALL. A genuine and very crisply painted picture. The general tone is cold, with warm brown shadows and glowing masses of red colour upon saddle, partizan and plumes of a helmet on left-hand side. The red of the sash and stockings of the front standing figure is much less powerful. 39. (to) Battle Piece Graziani. (37.) Canvas. 8{in. x 1 ft. First appears in the 1841 Catalogue. Bought by Gk H., at Rome. A group of fighting horsemen, dashingly painted with strong rich shadows. 40. (4i) Battle Piece Similar to the preceding 8|in. x lft. Graziani. (38.) 41. (43) Battle Piece Graziani. (48.) Canvas. 8^in. x lft. First appears in the 1841 Catalogue. Purchased by Gr. H., at Rome. Horsemen galloping to the left. An open space and distant fight on the left-hand side. 42. (44) Battle Piece Graziani. Canvas. 8\in. x lft. A vigorous conflict of cavalry, Turks and Europeans, upon a stone bridge, consisting of one arch. 43. (75) James, 7th Earl of Derby, Charlotte jde la Tremoille his Countess, and their Daughter: the Isle of Man in the distance. Copy in water colours, from the large picture by Van Dych belonging to the Earl of Clarendon. W. Derby. lft. bin. x lft. 3mi. FIRST DRAWING-ROOM. 21 The original picture at The Grove is described as follows in Lady Theresa Lewis's valuable work on " Lives of the Friends of Lord-Chancellor Clarendon, illustrative of Portraits in his Gallery," vol. iii., page 338. ' One of Van Dyck's finest pictures, and in perfect preservation. Full ' length. The Earl dressed in black, with a black cloak, pointing to the ' Isle of Man in the distance. The Countess is dressed in white satin ' trimmed with lace, and pearls on the bodice ; pearl necklace and earrings ; ' round the waist a girdle of jewels. Holds some roses in her right hand ; ' the left hand holds the skirt of her gown. Behind tbem stands a little ' girl with a reddish -coloured frock, trimmed with point lace, and white 1 apron ; her hands crossed upon her waist ; apparently about five or six ' years old. • • * ' Tho child is easily identified as Lady Katherine Stanley, afterwards 1 Marchioness of Dorchester, by a portrait of her at Wentworth, when ' grown up.' (See post, No. 150 in this Catalogue.) There is an elaborate description of this picture in Smith's " Catalogue Raisonne' of Van Dyck's Works," No. 562, page 100. As this nobleman did not succeed to the earldom till after the death of Van Dyck in 1641, he is here represented as Lord Strange. His daughter Katherine was born December 4th, 1631.* The picture would, therefore, seem to have been painted about the year 1636 or 1637. Enamel copies, half-length, of the two principal figures were taken by H. Bone, R.A. (see ante, Nos. 24 and 26). Lord Claren- don's picture was engraved by Robinson, in Baines' " History of Lancashire." Inscribed on a paper, attached to a mahogany board at the back, " 1831. From the original by Vandyke at Lord. Clarendon's, The Grove, Watford, Herts. Drawn by W. Derby, 12, Osnaburyh Street, Reyent's Park, London," 44. (78) The Duchess of Orleans .... Jervas, after Lely. (H2.) Henrietta Maria, daughter of Charles L of England and Henrietta Maria of France, wife of Philippe, Due d'Orleans. Born 1644, died 1670. Panel. \ft. 3in. x Ifi. * See P. Draper's "House of Stanley," published at Ormskirk, 1S6"4, Svo, p. 245. 22 PICTURES AT KNOWSLEY HALL. Formerly attributed to Sir P. Lely. This picture was purchased by the Earl of Derby at the Strawberry Hill sale, 1842, at the price of 20 guineas. See Sale Catalogue, p. 228, No. 122. It was exhibited at the Kensington Exhibition of Miniatures in 1855, No. 1891 . A bust portrait, looking to the spectator over her left shoulder. Light yellow hair, pearl necklace. Pale brown scarf and a jewelled chain over her pale green dress. Light admitted from the right-hand side. On the back of the panel is inscribed, " Henriette de France, fille a" Henri IV., femme de Charles l r , Roy a" Amjleterre, nee (sic) en 1609, rnariee en 1625, morte en 1669. Due de Valentinois 1748. Donne a Monsieur Horace Walpole par M. le Prince de Monaco 177-2 ce n'est pas le portrait de la Reine Henriette, mais de sa fille ainee Marie Princesse d' Orange." The last four lines have been added in the handwriting of Horace Walpole. This portrait closely resembles one of Mrs. Car, attributed to Van Dyck, which was exhibited by Earl Somers at the British Institution in 1866, No. Ill of the Catalogue. SECOND DRAWING-ROOM. 45. (45) Portrait of Lope de Vega, 1562—1635. Attributed to Velasquez. (67.) Panel. 2ft. 6in. x I ft. Win. First appears in the 1846 Catalogue. Bought from Shugborough by the 13th Earl. f Oak panel. Writing at the hack. lft. Z^in. x lft. Formerly at Strawberry Hill. Purchased at the sale in 1842 for £12 12s. See Cata- logue, thirteenth day, No. 31, p. 134. Considered by the Hon. Horace Walpole to represent Charlotte de la Tremouille, Countess of Derby. It has been engraved under that name by Nugent, in Harding's " Biographical Mirror," 1792, vol. i., p. 25, and is described as such in Lord Orford's " Collected Works," 4to, 1798, vol. ii., p. 491 ; no mention, how- ever, is made of the source whence Horace Walpole obtained it. STUCCO GALLERY. 4:J The figure, seen nearly to the waist, is turned towards the right, with the face seen in three-quarters. Brown complexion, very dark hair and eyes. Over her neck and the upper part of her black dress is a plain, tight-fitting muslin collar. The background is very dark, but somewhat lighter on the right side, so as to give greater effect to the shadows of the face. The copy made for the engraver to work from has not strictly preserved the character of the face. The complexion in the painting certainly differs from that of all the authentic portraits, which are remarkably fair. 84. (86) Love of the Arts. Van Dyclc and Snyders, more probably by Seghers. (114.) Canvas, square oblony. 5/1. 6^in. x 8ft. 6in. First appears in the 1729 Catalogue, No. 84, where it is designated "Large Cupid and Still Life." Purchased from Sir John Lowther for £59 10s. A youthful Genius, with white wings, reclines under a tree, which rises with rich green foliage in the centre of the picture. This naked cupid-like figure occupies the right-hand half of the picture, and inclines towards the centre, resting his right cheek on his hand, with the elbow against the trunk of the tree. He looks with full eyes and a calm expression towards the spectator. The head and upper part of the figure are in shade ; but gleams of bright light catch upon his forehead and the front of his golden hair, the edge of his wrist, his right breast, and the left forearm with remarkable brilliancy. The delicacy of the limbs and refinement of the forms belong to the highest class of works produced in the school of Rubens. At the foot of the tree, in the centre, a handsome suit of armour lies on a large drum. A second suit, consisting only of cuirass and arm-pieces, stands upright beside it. The metal, highly- polished steel, is richly damascened with gold borderings and inlaid patterns of medallions and trophies. Around the left arm of the lower suit is a crimson band, tied with a large bow. Im- mediately below these, on the ground, lie a gun and a long sword with a richly-ornamented gilt handle. To the right of these, below the drum and under the feet of the Genius, are two gauntlets and a helmet, with open visor elaborately enriched to accord with the rest. A quiver of arrows and some crimson drapery are at the left side of the Genius, and he stretches his left arm across his G 2 PICTUEES AT KNOWSLEY HALL. body, holding an arrow, with which he either touches, or which he withdraws from, the forearm of the suit of armour lying on the drum. A graceful plant, with vine-like tendrils, hangs from the larger branches of the central tree. The arts of peace occupy the left-hand half of the picture. These consist of an iipright musical instrument, a celestial globe, and a harp. In the distant landscape beyond, a domed building may be discerned amidst a mass of park-like trees. In front of the musical instruments are placed, on the ground, an antique marble head, that of the Venus de Medici, mounted on a circular polished stand, a statuette of a sitting female figure, uncovered to the waist, with a portrait of 'a lady in black cap and feathers, with blue dress, like Helena Forment, Rubens' second wife. Behind this is a vellum book, an open music book, laid on a tambourine. Sculpturing tools, chisels, a violin-bow, a curved horn, and an artist's palette set with colours, and brushes attached to it, com- plete the variety of objects so skilfully brought together. The foreground is painted with all the freedom and spirit of Van Dyck himself. On the brown palette may be traced remains of the letters in dark letters, which apparently indicate the artist's name, Gerard Seghers. He was one of the most eminent of the assistants of Rubens. His first instructors in the art were Van Balen and Janssens. He resided at Antwerp, and died 1651. His brother Daniel, the Jesuit, was a celebrated flower-painter. It has been engraved the reverse way by Winstanley, and is No. 6 of the " Derby Gallery." The engraving does not do justice to the original. The colour of the wing in reference to the sky has been reversed. The lady's portrait on the ground is made to assume a life-like appearance.* * The following description of Seghers' works, taken from Smith's "Catalogue Raisonne of the Works of Rubens," London, 1830, p. 367, shows very fairly the estimation in which his productions are held by connoisseurs : — 1 ' The similarity of this distinguished painter's works to those of Rubens consists more in the form and similitude of the figures than in the brilliancy of the colouring, but even in this particular many of his latter works are by no means deficient ; their difference consisting chiefly in the shadows having a tendency to brown, and a slight degree of hardness in the outlines and in the marking of the features, with a palpable deficiency in that animated expression which is ever the distinguishing characteristic of Rubens. " Van Dyck painted the portrait of Seghers, and it has been engraved by Pontius among the Centum Icones, No. 43. STUCCO GALLERY. 45 85. (87) The Return of Telemachus . . . Angelica Kaufman. . ( 112 -) Canvas. 2ft. 2in. x 5ft. iin. First appears in the 1855 Catalogue. Brought from Grosvenor Square. A long picture, originally designed as a " Sopra Porta." The composition comprises seven figures. Penelope, having descended a flight of steps at the extreme left, embraces her son. She is dressed in a white robe, with gold flowers on it. Telemachus wears a red tunic or chiton. An elderly female, perhaps Euryclea, raises both arms in admiration. Vases adapted for perfume occupy the right-hand corner. The picture is tamoly painted, with strong local colours on the various dresses. The tints are broken and the shadows are strong and heavy. 86. (88) Interior of a Church by Night . ... Be Lorme. (113.) Panel. 3ft. lO^'/i. x 5ft. First appears in the 1729 Cat ;logue. Bought from T. W. for £80. A dark picture. The interior of a lofty and spacious church with arched roof, in the classic style of architecture, divided into tiers of columns, the lower being roman-doric with plain shafts, lofty pedestal- bases, and having the frieze decorated with triglyphs. The upper range of columns is Corinthian. The dimly-lighted roof is simply arched. Two chandeliers, filled with lighted tapers, hang in the nave. The floor is paved with slabs of black and white marble. Near the central chandelier is a pulpit, and still further to the right, in a kind of transept, is a lofty organ with numerous tiers of pipes, surmounted by a clock- dial. Between the two columns, on the right, a tomb, with an arched canopy and pinnacles, has been constructed. An altar, with two figures before it, appears in the recesses of an aisle on the opposite side. Three groups of standing figures occupy the middle of the picture, and are lighted by the central chandelier. The men are bare-headed, and wear classic robes or gowns. A woman points to the right-hand tumb, whilst her child expresses fear and clings to her. The woman's white head-dress is quite in the taste of Nicholas Poussin. The picture is very highly finished, but the colours have much deepened by time. 46 PICTURES AT KNOWSLEY HALL. 87. (89) A Pi eta. The Dead Body of Our Saviour, with the Virgin and Mary Magdalen Van Dyck. (in.) Canvas, upright square. 6ft. 9in. X 5ft. b\in. First appears in the 1729 Catalogue. Purchased for £62 10s. The figures are all full-length, and the size of life. The body of the Saviour lies extended across the picture, with the head turned towards the left, supported by the Virgin Mary, whose figure, including the head, is enveloped in a pale blue mantle. St. John, in red drapery, appears weeping behind to the left, and the Magdalen, on the opposite side, raises the left hand of the Saviour to her lips. The crown of thorns, inscribed paper, and three nails, lie on the foreground in centre. The light descends on the figures directly from above. 88. (90) The Parting of Ulysses and Penelope (?). Angelica Kauffman. (115.) Canvas. 1ft. lin. x 5ft. 4m. First appears in the 1855 Catalogue. Brought from Grosvenor Square. Companion picture to No. 85. On the extreme right is a circular altar, adorned with blue fillets and branches, with the name EKTI2P inscribed on a medallion in front. A bearded warrior with clasped hands approaches, and gazes with an expression of great solicitude upon a matronly female seated, in a fainting state, upon a chair. Two armed attendants are behind to the left, and two women attend the fainting lady. Golden sacrificial vessels stand on the ground between the group of females and the altar. This composition is far superior to, and much more effectively coloured than, the companion picture, No. 85. 89. (91) Italian Sea-port Lingelbach. (116.) Canvas. Zft. 6\in. x ift. Z^in. First appears in the 1782 Catalogue. Painted in 1651. Purchased by the 12th Earl. It represents the market-place or piazza of an Italian sea-port town, most probably imaginary. In the centre is a fountain, sur- mounted, like in the Piazza Berberini at Rome, by a triton spout- l^kvo-vJ %JtL y y }<$tyc(ff) (ta* n ^ wa * er ^° a g rea * height. To the left, a dark statue of Neptune, ' J ^ I on a lofty pedestal, is conspicuous. Across the water are blue STUCCO GALLERY. 47 mountains, with distant buildings and a large domed church. To the right of the centre, above the parapet of the quay may be seen the upper part of a richly decorated vessel, bearing a shield ducally crowned, and displaying the white cross on a red ground, the insignia of the Duchy of Savoy. Camels are waiting, on the right-hand extremity, for the unloading of a small vessel. Lofty buildings occupy the left-hand portion of the picture, and particu- larly a large domed church, with the portico turned towards the piazza, having a remarkable tower composed of three smaller circular ones, which rise dark against the glowing yellow of a Cuyp-like sky. On a balcony above, at the extreme left of the scene, are a cavalier and a lady with a parrot. Beneath them, projecting from the angle of the building, is an escutcheon bearing the arms of the Medici family, and an iron wrought frame or cresset to receive a lamp on the bracket. The number and variety of the figures occupying the foreground of the picture preclude any attempt at a complete enumeration. The scene is a perfect fair, and includes buyers and sellers of poultry, melons, fruits, and drinks ; charlatans, monkeys, priests blessing with crosses and Indians carrying bales slung from a pole across their shoulders. Dominican friars, and farriers or tinmen at work, a harlequin, a woman playing the guitar, a large blue velvet umbrella, Turks and Greeks disputing or bargaining, donkeys with panniers of basket-work, cavaliers on horseback, and a large square coach, with a servant behind, drawn by two white horses, are all de- picted with extraordinary minuteness, raciness, and fidelity. The composition of this heterogeneous mas& is so skilfully arranged that the eye, instead of being distracted, passes easily from one point to another. The general tone is very mellow. The picture is signed in dark brown letters on the side of a step in tbe lower left- hand corner — I Lintel bach f*Vy It was exhibited at the Manchester Exhibition in 1857, No. 874 of the Catalogue, and contributed to the British Institution in 18G1, No. 171 of the Catalogue. 90. (!)2) A Sea-haven Manglard. (117.) 3ft. 3m. x 4ft. 4in. A large square picture, in a black and gold frame. Three pictures appear under this designation in the 1736 Catalogue. The tii>t of them, No. 94, is attributed to " Bartho- lines," and the other two characterized in the "manner of Claude Lorraine.'' 48 PICTUKES AT KNOWSLEY HALL. Corinthian columns, lofty mountains, and tall square towers decline from the extreme left of the picture towards the level horizon of an open sea at the opposite extremity. A large vessel, with sails set, casts a long shadow across the water. The full sunlight in centre of the picture is reflected in a column on the water. Several figures stand upon the very dark rocky shore in the central foreground. The strong deep-tinted clouds are disposed in fanciful shapes over the broad expanse of a sunset sky. The picture, although harsh in execution, has evidently been painted under the influence of Claude Lorraine's sea-port com- positions. 91. (93) Landscape and Figures Berchem. First appears in the 1850 Catalogue. Brought from Grosvenor Square. The picture is described in the supplemental volume of Smith's "Catalogue Raisonne," p. 617, No. 72. It was exhibited at the British Institution in 1867, No. 108 of the Catalogue. A rocky mountain pass, suffused in the mellow glow of sunset. Lofty rocks and trees occupy the left-hand portion of the picture, which lessen as they recede and terminate in a placid sheet of water. Behind a slender tree and partly concealed by it, in the centre of the picture, a square tower appears, perched on a square mass of i'ock between the mountain pass and the deep hollow descending to the water. At the foot of the central tree are seated a shepherd and girl with a basket and distaff. Along the road, to the left of these, three mules, with a girl mounted on the central one, are advancing to the front. A peasant, wearing a white goat- hair jacket, pauses to tie a packet near her foot. Deep massive shadows are thrown forward from this group across the sandy road. A pedlar, with a large basket and pack at his back, rests against a rock at the extreme left-hand corner of the picture. At the opposite extremity a square tower appears in the distance. Shepherds and various flocks are dispersed along the edge of the water. The picture is signed, on the shadowed side of a large mass of rock, near the centre, (60.) Canvas, square. 3ft. 54*' ,in. x 4ft. 4{in. STUCCO GALLERY. 49 92. (94) Seneca in the Bath Rubens. (138.) Canvas. 3ft. 10 in. x 1ft. lOin. First appears in the 1729 Catalogue. Purchased from Mr. Wickens, January 17th, 1722, for £36 15*. A composition of three figures. Seneca, in the centre, stands facing the spectator, in a golden laver. A boy scribe, on the left side, looks up to him whilst writing in a book. A bearded man in a dark grey dress, on the opposite side, holds Seneca's left arm, and with his right hand grasps a sharp steel point. The hair and beard of Seneca are quite white. The background is very dark, with a portion of architecture to the left hand. Painted with many of the peculiarities of Jordaens. Seneca the philosopher, and tutor of Nero, was born in Spain. His great wealth, and participation in the knowledge of his pupil's cruelties, combined to hasten his death. Nero at length, A.D. 65, sent a message to his old instructor, ordering him to die. Seneca directed his veins to be opened, and perished by a linger- ing death. In order to accelerate the flow of blood, which old age rendered painfully tardy, he was placed in a warm bath. His last words were taken down by persons called in for the purpose, and were afterwards published. His friend Statius Annaeus, a physician, attended him to the last. See Tacitus, Annales, lib. xv., cap. 61 — 64. The painter has literally adapted his principal figure from a celebrated statue, formerly in the Villa Borghese at Rome, now in the Gallery of Antiquities in the Louvre, No. 595 of the Cata- logue. Its present state of restoration appears in the engraving made by R. Collin at Antwerp, 1675, for Sandrart's "Teutschen Academie," folio, Nurnberg, 1779, voL ii., part 2, page 5. The statue, which is the size of life, and executed in black marble, appears to have originally represented an African fisher- man, and parallel figures have been cited by E. L. Visconti in his description of the Vatican Gallery, Mus. Pio Clem. torn. 3, tav. 32; Lamberti's Villa Borghese, vol. i., stanza 3, No. 10; and Montelatici, p. 254. 93. (95) Monks in Retirement Heemskerk. (359.) Canvas, oblong square (relined), in a black and gold frame. 2ft. 1\in. x 1ft. 9in. This appears to be the picture which stands 21st on the 1729 Catalogue, entitled " Hccmskirk, a Fryar preaching in a Convent." U 50 PICTURES AT KNOWSLEY HALL. The interior of a rocky cavern, stocked with all kinds of eatables and provisions. In the centre an old monk, standing on an elevation of rock, like a platform, seems to be preaching. His eyes are raised, and his right hand points upwards ; but the gesture of the other hand indicates that his sermon has also reference to the bountiful supply of eatables stored around him. His auditory is composed of various aged friars seated round him, on the left. All, excepting the preacher, are clothed in dark brown tattered garments with cowls. On the extreme left a monk is attending to a boiling cauldron. To the right, in the distance, may be seen a monk descending some rudely constructed wooden steps with a heavy sack on his shoulders. There is a picture of Elijah fed by the raven, in the background, which bears a significant allusion to the rest of the subject. The fish, bread, meat, flasks, and cooking utensils, are painted with great spirit and truthfulness. Signed in red letters, upon the brown chopping-block in front to the right of the centre, Canvas, oblong square, in a black and gold frame. 3ft. Sin. x 4ft. 4in. Apparently a "Sea-haven, in the manner of Claude Lorraine," in the 1736 Cata- logue. Companion to No. 90. The prospect commands an open sea, with the sun directly in the centre of the picture. Dark brown clouds float across the luminous yellow sky. A large round tower is prominent to the right of the centre, and to the left of centre a three-masted vessel, with all sails furled, carrying blue flags, foreshortened with stern to the spectator, produces an agreeable effect by the compli- cated lines of the rigging. A square tower rises on the opposite coast at the extreme left. The line of sunlight on the water is more successful and softly treated than in No. 90. The water in the foreground is very dark, being in deep shadow. 94. (96) A Sea-haven Manglard. (121.) STUCCO GALLERY. 51 95. (97) Landscape Wynants. (63.) Canvas, square oblong. 3ft. 2in. x 3ft. 10m. First appears in the 1850 Catalogue. PaiDted in Lis 17th year. Brought from Grosvenor Square. Tall thistles and red poppies are in the foreground towards the right hand. A broad sandy road recedes from the front of the picture towards the left, passing behind some slender trees, through the branches of which the golden light of a sunset sky penetrates with a glow almost equal to the sultry effect of a painting by Both. A man on a white horse, with an attendant carrying his gun, followed by a greyhound, advance along the road with their backs to the spectator. About the middle of the picture a gentleman and lady in black, seated on the trunk of a tree lying almost across the road, are seen conversing with a sportsman in a red dress. Horsemen and flocks of sheep are in a distant field to the right, which contains some finely-grown park trees at the foot of high stony mountains. The white convolvulus or bindweed clings round the stems of two tall oak trees on the extreme right. The darkness of their broad-spreading foliage against the clear sky, produces a very effective contrast. This picture, which is in good preservation, may be ranked among the best productions of the master. It is signed and dated in black on a brown ground in the extreme right-hand corner — cv_ _/T) 96. (98) Peacock and Hen Hondecoeter. (123.) Canvas, oblong square. 'Aft. 2m. x3ft. Win. First appears in the 1729 Catalogue. The peacock advances to the right hand, trailing his tail on the ground, and looks back to the hen, who follows him and is only partially seen. The background is principally sky. Three barn- door fowls appear in the distance towards the right side. A well- painted picture in a dark and grey tone. The signature may be partially traced in black letters, much obliterated, on the brown foreground in the left-hand corner, but very similar to those reproduced in No. 53. 52 PICTURES AT KNOWSLEY HALL. 97. (99) The Three Graces and Cupid . . . Giulio Romano. (124.) Canvas, large upright square. 6ft. Z\in. x 4ft. 10|m. First appears in the 1736 Catalogue. It was purchased for £31 10s. Copied from the well-known composition by Raphael, in the Farnesina Palace at Rome. Copied from Raphael. The original triangular form of the fresco is ingeniously modified in the present picture, by the intro- duction of clouds on each side. The blue background of the original is here exchanged for a deep brown. , The figures are finely drawn, and modelled with great care. Raphael designed this series of mythological subjects, taken from the well-known fable introduced by Apuleius, to decorate the loggia of the villa of the wealthy banker Agostino Chigi, on the Lungara at Rome, now known as the Farnesina Palace. These designs belong to the latest period of Raphael's career. They were produced between the celebrated cartoons of the Acts of the Apostles and the Transfiguration, now in the Vatican. The date 1518 has been assigned to it in Le Monnier's edition of Vasari's Works, vol. viii., page 66. When Raphael was engaged upon these works, his attention was much diverted by his love to the Fornarina, and Vasari relates that in order to secure their completion, Agostino Chigi prevailed on the lady to take up her abode in the house, and she was accordingly installed in apart- ments near to those where Raphael was to work. (Ibid. vol. viii., page 45.) This composition is generally described as " Cupid showing his beloved one to the Graces." The Grace with her back to the spectator is said to be the only one in the whole series which Raphael painted with his own hand. All the rest was executed by pupils from his Cartoons (Passavant's Raphael, vol. ii., page 345). The composition has been engraved by Marc Antonio. It is better known by the series of plates published by Nicolaus Dorigny in 1693. See also Landon, " Vies et Oeuvres des Peintres : " Raphael, vol. iv., pi. 192. In the execution of this picture there appears more of the handling of Francesco Penni, who also assisted Raphael in these Farnesina frescoes, than of Giulio Romano to whom it has always been attributed. A copy by Tillemans also appears in the 1736 Knowsley Catalogue. STUCCO GALLERY. 53 98. (100) The Nativity Cwravaggio. (127.) Canvas, large oblong square. 5ft. tin. x "ft. 6^in. First appears in the 1729 Catalogue. Purchased of Mr. Wicken, 6th March, 1722, for £126. A composition of ten figures. The Virgin, at the extreme left end of the picture, kneels in adoration to the infant Saviour laid on a white linen, which an old man raises as he regards the child with an expression of astonishment. A woman leading a little girl enters on the right-hand side. A lamb lying on the ground, whilst its hind legs are held by a boy who kneels in the centre, is admirably foreshortened. The light falls on the figures from the left, and does not, as in the works of Correggio and Luca Giordano, emanate from the holy infant. The shadows are all strong, with abrupt transitions to the highest lights. The models selected for the figures are similar to those em- ployed by Spagnoletto, and are very Spanish in character. 99. (101) A Man's Head D. Ryckaert. (125.) Canvas, small square. 11 4 in - x 5jin. First appears in the 1841 Catalogue. Bought at Brussels by G. H. The head, natural size, is seen in three-quarters, turned towards the right. The light is admitted from the right-hand side. He wears a plain white collar falling over a black dress. The hair and eyes are dark. The face, somewhat like Guercino, has a smiling expression. The background is dark brown. The back of his head is hidden by the left side of the frame. 100. (102) A Doctor dressing a Patient's Leg . . Lingelbach. (130.) Canvas, upright square. 1ft. ljm. x 11 Jin. Purchased May 9th, 1842, at Strawberry Hill, for £6 6*. (See Sale Catalogue, 13th day, No. 6, p. 132.) In Lord Orford's description of Strawberry Hill, vol. ii. of the 4to edition, 1798, p. 492, it is thus described: "A Dutch surgeon dressing a boor's leg ; from Sir Robert Wulpolc's collection.-^- No artist's name is mentioned ; but in the Sale Catalogue that of " Brawer " was inserted. An old man, wearing a i*ed cap and spectacles, seated in a rude chair carved out of a large tub, is earnestly engaged in 54 PICTURES AT KNOWSLEY HALL. applying a plaster to the skin of a man, sitting towards the left, who roars out with pain, and raises his clenched hand as if to threaten the doctor. Behind them stands a man with a quill pen run through his nose. A stuffed alligator is suspended near the ceiling. Various shelves attached to the wall are crowded with bottles.. A pestle and mortar and a glass retort are in the right-hand corner. High up, over a door, is a paper with a drawing of an obelisk with crouching figures below it, like the fountain in the Piazza Navona at Rome. Carefully painted ; low in tone, but highly finished. The subject, and not the execution, is characteristic of Brauer. The picture is signed in the left-hand lower corner in brown, sharp letters — 101. (103) Jacob's Journey Castiglione. (128.) Canvas, oblong square. 2ft. 2in. x 4ft. 10in. First appears in the 1729 Catalogue, and is there entitled " Jacob's Descent into Egypt." Purchased of H. Winstanley for £69 6s. It was etched by Winstanley in 1728, and forms the 13th plate of the " Derby Gallery." Jacob, wearing a white turban and reddish mantle over a grey dress, and mounted on a white horse, is giving charge of a casket to a young man wearing a bright red dress, scarlet turban and blue feathers, standing at his side. The horse of the patriarch is turned towards the left. His white head, which occupies the centre of the picture, is painted with great force and truthfulness. Flocks of sheep, cattle, and mules heavily laden, follow in the same direction. The foreground is strewn with various utensils, an abundance also of dead game, and a large brown chest or coffin lies in the middle ground, below the profile head of a white horse. A rich brown-toned picture, with solid masses of dark shadows. The animals are admirably painted. Signed in black letters on brown ground, in the right-hand corner, GlQ.BEHZD r C ASTI L/ON CMM b v STUCCO GALLERY. 55 102. (104) A Boy's Head Attributed to Holbein. ( 82 -> Square oak panel. lft. l^in. x 11 in. First appears in the 1841 Catalogue. Purchased by the 13th Earl from Sir Charles Grey. On a paper pasted at the back is printed, " 7. Portrait of a Youth, time of Holbein," to which has been added with a pen, " Bought at the Oaks' sale, Sept. 15, 1840." Only the bust is seen. He wears a plain white ruff, a black dress with grey sleeves, embroidered in horizontal bands. The face is nearly full, being slightly inclined towards the left. The shadows are well massed. More Italian than German in execution. Probably the work of Bronzino. 103. (105) Man's Head Hanneman. (325.) Canvas, square, lft. OJm. x ll^iVi. First appears in the 1841 Catalogue. Bought at Brussels by G. H. It is a fine study of the head of a young man of the middle of the seventeenth ceutury, with long flowing hair and a broad plain grey collar. The head, natural size, is turned in three quarters towards the right, and somewhat thrown back. The eyes are brilliant, and have a remarkably earnest expression. The light is admitted from the right-hand side. The face much resembles the portrait engraved as Secretary Thurloe, in Houbraken's " Heads of Illustrious Persons." 104. (iog) The Circumcision Luca Giordano. < 131 -> Canvas, oblong square. 4ft. lin. x hft. G^in. First appears in the 1801 Catalogue. Bought by the 12th Earl. Companion to No. / in. and regularly arched eyebrows. A shield, with the Beaufort arms and the motto, "sowent me sovvient," appears at the upper right-hand corner, upon a plain stone wall. A dark green curtain, with a straight narrow edge of yellow fringe, hangs behind her face and hands ; the rest of the background is entirely dark. Above, in the left-hand corner, is inscribed in yellow letters : — ANNO DOM 1509 OBIIT 3 CAL IVLII. The book open upon the green desk, or, rather, flat table before her has a pink silk case or edging to protect it, as seen in old GermaD and Flemish pictures of the period. The writing on both pages is in double columns, with red initial letters. The edges of leaves are bright yellow. There is no actual gold employed on the picture. The Countess wears a wedding-ring, near the top of the third finger of her left hand, and gold rings with black stones on the first and fourth of the same. Engraved in Lodge's " Portraits." No. 3 of the Series. Was No. 48 of the 1866 Portrait Exhibition at South Ken- sington. Similar portraits, on panel, are preserved in St. John's College, Cambridge, and at Chequers, in Buckinghamshire. Born 1441. Married, firstly, Edward Tudor, Earl of Eichmond ; secondly, LARGE DINING-ROOM 79 Sir Henry Stafford ; and thirdly, Thomas Stanley, first Stanley Earl of Derby, whom she survived. Died 12th July, 1509. Interred in Henry VII. 's Chapel, Westminster Abbey. "The Lady Margaret" of the Universities of Oxford and Cambridge. 140. (ui) Robert Devereux, Earl of Essex, K.G. . Unknown. (337.) Panel. 1ft. x lft. 7in. Purchased from Sir C. Grey. Life-size ; in a rich suit of white and gold armour, seen to the waist. The face in three-quarters, turned to the left. A broad yellow scarf or band is tied in a knot upon his left shoulder. A shield, bearing the arms of Essex, encircled with the garter and surmounted by a coronet, is on the dark brown background above, to the left. A motto, and date 1599, are on a waving scroll to the right. The hair is dark brown, the beard and moustache a sandy grey colour, the eyeballs dark chesnut. The small falling collar is edged with white lace, and fits close up to the chin. No gilding on the picture. This picture was No. 253 of the 1866 Portrait Exhibition at Kensington. The favourite of Quoeu Elizabeth, son of Walter Devereux, the first Earl of Essex, and Lettice Knollys. Born 1567. Executed 1601. 141. (112) Ferdinando, 5th Earl of Derby. Succeeded 1592. Died 1594. (163.) Canvas. 1ft. 6±in. x 1ft. 0\in. First appears in the 1801 Catalogue. A bust, or " breastpiecc," life-size ; the head being placed very low down in the square space of canvas. The face turned in three-quarters to the left. Hair dark brown, very full at the sides, and with a round lock or tuft on the forehead. The eyeballs are deep grey, the moustaches and beard quite dark, ruddy complexion, and smooth cheeks. A wart or mole is con- spicuous over his left eyebrow. The countenance is remarkably poetic and intellectual. His dress is plain black, and his large grey collar edged with white lace, forms a straight line in front. so PICTURES AT KNOWSLEY HALL. In the left-hand corner, on the dark brown background, a shield is suspended, as if from a hook by a yellow strap, so as to hang slantingly, from beneath an earl's coronet. This picture has been indifferently engraved in Harding's " Biographical Mirror," vol. iii., p. 179. See Pennant, p. 28, for a curious account of him. It was No. 289 of the 1866 Portrait Exhibition at South Kensington. Ferdinando, son of the fourth and brother of the sixth Earl, succeeded to the title in 1592. He married Alice, daughter of Sir John Spencer, 1579. (See also No. 143.) Spenser has celebrated them in his poetry. The three daughters of this Earl married respectively Lord Chandos, Lord Bridgewater, and Lord Huntingdon. His death, in 1594, was commonly attributed to poison. In default of male issue, he was succeeded by his brother. 142. (143) James, 7th Earl of Derby, 1596 — 1642 — 1651. Van Dyck. (188.) Canvas. 2ft. 3^in. x lft. lO^in. First appears in the 1736 Catalogue. Life-size, in armour, seen nearly to the elbow, resting the fingers of his left hand on a polished steel helmet. The face is turned nearly in profile to the left, the light being admitted on it from the right hand. His long dark hair flows over his shoulders, and descends so low on the forehead as partially to conceal his eye- brows. The shadow of his figure is cast on the flat, clear brown background. The badge of the Garter, consisting of the group of St. George encircled by the gold garter in oval form, — the horse galloping to the left, — hangs in front of his breastplate by a very pale blue ribbon. His dark brown eyes are turned towards the left. There is a similar picture to this, at Wentworth Wood House, belonging to the Earl of Fitzwilliam. The general appearance of the head shows a close affinity to the full-length figure by Van Dyck in No. 154, hereafter to be de- scribed. Engraved in Lodge, vol. 7, No. 122. For the full-length portrait in black dress, see post, No. 154. This picture was No. 691 of the 1866 Portrait Exhibition at South Kensington. LARGE DINING-ROOM. 81 Born 1596. Married, when Lord Strange, at the Hague, July, 1626, to Charlotte de la Tremoille, granddaughter of William the Silent. Elected Knight of the Garter 1650. Beheaded at Bolton, 15th October, 1651. 143. (144) Alice Spencer, Countess of Derby, afterwards Lady Egerton and Viscountess Brackley. 1556—1636. (174.) Panel. 2ft. 6 {in. x 2ft. 0\in. Attributed to Zucchi in the 1736 Catalogue, probably intended for the name of Zuccharo. A half-length figure, small life-size, looking at spectator ; face slightly turned towards the left. Her dress is black, and covered both on the sleeves and stomacher with white lace. A long gold chain hangs down in front, with a triple pearl necklace, within a large gauze ruff gathered up in very deep flutings. Her hair is light, with a small black head-dress or veil, with gold and jewels, at the top. The eyes grey. Both hands are seen, the left holding a black feather fan with silver handle. A large ring is on her left thumb. Inscribed along the top of the picture : — ANNO 1598. iETATIS SVjE 42. This picture was No. 288 of the 1866 Portrait Exhibition at South Kensington. Daughter of Sir John Spencer. Born 1556. Widow of Ferdinando, fifth Earl of Derby. Married 1600 to the Lord Keeper Egerton. Her portrait in mourning is in tho collection at Hampton Court Palace. When Countess Dowager, at Harefield, Milton presented his Arcades to her. She died 1636, and a stately monument, with effigies of herself and her three daughters, is in Harefield Church.* 144. (145) Charlotte de la Tremoille, Countess of Derby. 1601 —1664 Van Dyck. (18t>.) Canvas. 2ft. Z^in. x lft. \0\in. First appears in the 173b' Catalogue. Life-size, to the waist. An exact repetition, so far as seen, of the full-length picture by Van Dyck at The Grove, already described in the First Drawing-room (ante, No. 43). * Sec also the "Lancashire Funeral Certificates," published by the Chetham Society, 1869, page 70. Harrington also addressed verses to this lady in her widowhood, which arc printed by Lysons in his Middlesex Parishes, page 123. M .Si' PICTURES AT KNOVVSLEY HALL. The figure is turned to the right, gracefully dressed in white satin with pink bows ; a triple chain of large pearls hangs over the shoulders, and, following the line of the dress, is looped up to a diamond cross and large pear-shaped pearl pendant on pink bow in the centre. A girdle or zone of large diamonds round her waist, and a large pearl also in her earring. The light is admitted on to the figure from the right hand, to which direction also the face is slightly turned. Fair complexion, and rich dark brown eyes and hair. Described in Pennant's "Tour to Alston Moor," /p. 37, and therein engraved in stipple by Harding^ LiU-** ^P 0 --) Engraved in Lodge. Vol. 7, plate No. 135. This picture was No. 696 of the 1866 Portrait Exhibition. Daughter of Claude de la Tremoille, Due de Thouars, Peer of France, Prince of Tarente and of Talmont, and of Lady Charlotte Brabantine de Nassau, daughter of William the Silent, Prince of Orange. Born 1601 at the Chateau of Thouars. Married at the Hague, July, 162(5, to Jame8 Stanley, Lord Strange, afterwards the seventh Earl of Derby. Defended Latham House 1644, and held the Isle of Man after the execution of her husband. Died at Knowsley, 31st March, 1664.* 145. (1 16) Anne Stanley, Countess of Ancram, Daughter of the 6th Earl of Derby Honthorst. (215.) Canvas. 2ft. 2in. x If I. Portrait, life-size, to the waist, the figure turned towards the right hand, wearing a black dress with red sleeves, ornamented with silver sprigs, and stomacher of the same. A bow upon her bosom and a sash round the waist are of white striped with red. The face, seen in three-quarters to the right, has brown and well- massed shadows. Pale complexion, with dark bi'own eyes and hair. She wears a pearl necklace and a long string of pearls, carried across from shoulder to shoulder, and doubled on the side to the right of the central bow. Inscribed in red letters on the dark brown background : — " Anne, only daughter of William, Earle of Derby, wife of Robert, Earl of Ancram. 1638." Solidly painted in the style of G. Honthorst. * See " The Lady of Latham," by Madame Guizot de Witt. Svo. London. 1869. LARGE DINING-ROOM. 83 This picture was No. 529 of the 1866 Portrait Exhibition at South Kensington. Daughter of William, sixth Earl of Derby. Married, firstly, Sir Henry Portman, of Orchard- Portman, in Somersetshire, and secondly, Robert Ker, Earl of Ancram. 146. (u7) Sir William Staxley, 6th Earl of Derby, K.G. 1561 — 159±— 1642. (183.) Canvas. 6/t. 9\tn. x 3ft. 6in. First appears in the 1736 Catalogue. Full-length, standing figure, the size of life, wearing a high- crowned hat and fulling ruff, beside a red-covered table, on which he rests his right elbow, holding his gloves in the same hand ; the left resting on the yellow hilt of his sword. He wears dark red trunks fastened at the knees, white stockings, and curiously open wrought black shoes, and the garter on his knee. The badge also, in an oval garter of gold, with a pearl attached to it, hangs at his breast by a blue ribbon. His Spanish-cut cloak partly wraps round his right arm, hanging also behind the left. He wears a gold earring, and a jewelled band and white feathers in his black hat. The pattern of the Persian carpet on which he is supposed to be standing is quite Hat, and exhibits either a total ignorance or disregard of the ordinary principles of perspective. There is a similar picture on the same scale, but not more than half-length, at Wentworth Wood House, belonging to the Earl Fitzwilliam. Described by Pennant, p. 33. This picture was No. 497 of the 1866 Portrait Exhibition at South Kensington. Born 1561-2. Younger son of the fourth Earl, and brother to Ferdinando the fifth. Of an erratic disposition. Resided in Paris and Madrid. Travelled in the East. Heard of the death of his father and brother whilst wandering in Russia. Succeeded, after much difficulty, on his return, in o6tablishing his claim to the earldom, lo94. Married in the same year Elizabeth Vcro, eldest daughter of Edward, the seventh Earl of Oxford, lie was created a Knight of the Garter 1601. Purchased from his three nieces their claim to tho Isle of Man. Died at Chester, and buried at Ormskirk. M 2 84 PICTURES AT KNOWSLEY HALL. 147. (148) William, afterwards 9th Earl of Derby, in an academic dress. 1665—1672—1702. (168.) Canvas. 2ft. bin. x 2ft. lin. First appears in the 1736 Catalogue. Youthful figure, life-size, seen to the waist, with smooth face, seen in three-quarters, turned to the right. His dress is of a dull grey faced with white, pale yellow and black striped satin, and shoulder knots of the same material. With his right hand he is turning over the leaves of an open book on a desk in the right- hand corner. His eyes and eyebrows are very dark ; the hair long and full, and of a remarkable yellow stone coloui\ His white under-sleeves are decorated with rich white lace, and the white lace of his necktie is elaborately arranged. Inscribed on the back of the canvas, " William, 9th Earl of Derby, in a nobleman s academic dress. Died, 1702." William-George-Bichard Stanley, son of Charles, the eighth Earl, born 1665 ; succeeded 1672. Married Lady Elizabeth Butler, sister to James, second Duke of Ormond. Died 1702, without issue. 148. (149) Charlotte Brabantine de Nassau, Mother of Charlotte de la Tre'moille, Countess of Derby Unknoiun. (170.) Canvas, square. 2ft. 5in. x lft. 11 in. First appears in the 1736 Catalogue. To the waist, life-size, face turned in three-quarters towards the right ; looking at spectator. Hair dark brown, and brushed back from the forehead. Plain black dress ; widow's mourning, with grey, large, curiously flat and circular ruff. Her black head-dress has a black peak of crape on the forehead, and wide spreading black crape or gauze wings "wired out" on each side. The eyes are very dark, and the shadows well massed, with a generally greenish and brown tone, as seen in some of the richest works of Cornelius Jonson. An extremely good picture. Inscribed in orange-coloured letters on the upper left-hand portion of dark brown background : — Charlote de Nassau nee Drincesse d 'orange Duchesse douairiere de la Tremoille & de Thouars anno D : 1626." Daughter of William the Silent, Prince of Orange, and of his third wife Charlotte de Bourbon Montpensier. Married at Chatellerault, 1598, Claude LARGE DINING-ROOM. 8.5 de la Trcmoille, Due do Thouars, Peer of Fiance, Prince of Tarente and of Talmont, mother of Charlotte de la Titrnoille, Countess of Derby. She died at the Chateau Renard, 16131. 149. (150) Robert, Brother of William, the 9th Earl of Derby. 1656— 1086. (169.) Canvas. 2ft. 5Vm. x 2ft. OJin. Youthful figure, life-size, seen to the waist, and turned to the right, holding a black book in his right hand, the forefinger being kept within the pages, as if to mark a place. Face turned in three-quarters to the right. Long dark brown full hair, parted in the middle. His dress is slate-coloured, faced with white and red striped satin ; a large bow of same material on his right shoulder. The white under-sleeves are edged with lace. His large white lace necktie spreads out like a fan from below the knot in the centre. Inscribed on the back of the canvas : — " Honble. Robt. Stanley, son of Earl Charles." Robert-Thomas Stanley, second son of the eighth Earl. Born April 1666. Killed, in a duel, by Henry, Duke of Grafton, February 16S6. He was never married. 150. (151) Viscountess Colchester, Daughter of Charles, 8th Earl of Derby. (216., Canvas. 2ft. 4Ji'n. x 2ft. I in. Figure life-size, seen to the waist. The face in three-quarters view, turned to the right. White satin dress, with pale lilac drapery in front, supported by a string of pearls. Hair and eyes very dark brown. A large mass of hair at back of the head. Pearl necklace. Painted as if enclosed within an elaborately ornamented brown oval or bordering. A pleasing and very well executed portrait. Lady Henriotte-Charlotte Stanley, born April, 1652. Married Thomas Savage, Viscount Colchester. Buried at Onnskiik, 1716. 86 PICTURES AT KNOWSLEY HALL. 151. (152) Charles Stanley, 8th Earl of Derby. 1627—1651—1672. Sir Peter Lely. (166.) Canvas. 2ft. bin. x 2ft. Ohin. First appears in the 1736 Catalogue. Life-size, within a painted oval border, representing brown stone. The figure, in steel cuirass, is seen to the waist, turned towards the right. The face also, in three-quarters, is turned in the same direction. He wears lai-ge yellow sleeves puffed with white ; his hair is dark brown, very long, and parted in the middle, with dark brown eyes, and moustaches of the same colour ; but the latter are harsh, and peculiarly twisted into a double curve. His complexion is fair, with pink cheeks. The ends of his white cravat or necktie are very full, and two white tassels are curiously mixed up with the knot in the centre. This picture was No. 870 of the 1866 Portrait Exhibition at Kensington. Inscribed at the back : — " Charles Stanley, Earl of Derby, son of James. Died, 1672." Described by Pennant, p. 39. It has been finely engraved in mezzotint by A. Blootiling, and copied also in smaller size by W. Richardson. Son of James, the seventh Earl, who was beheaded at Bolton. Bora 1627. Succeeded to the title in 1651. Had married the year previously Dorothea- Helen, daughter of John, Baron of Bupa, maid of honour to the Queen of Bohemia. Lived in retirement at Knowsley, where he died December 21st, 1672, aged 55, and was buried at Ormskirk. His Countess (No. 153) survived him 29 years. 152. (153) Charlotte de la Tremoille, Widow of the 7th . Earl, in mourning. 1601 — 1664 .... Sir Peter Lely, 1657. (175.) Canvas. 4ft. \in. x 2ft. 3Ji«. First appears in the 1736 Catalogue. A standing figure, life-size, seen to the knees, and turned towards the left. Her hands are joined at her waist, holding a narrow black band passing over the right one. Two ends of her black rope girdle descend beneath them, and her eyes are fixed upon the spectator. A black gauze veil covers her head and falls down upon her shoulders. A pointed black gauze hood descends in a peak on the forehead, somewhat lower than that observable in her mother's portrait (see ante, No. 148). A broad plain fiat white collar or band, with a straight edge, covers her neck and LARGE DINING-ROOM. -7 bosom, and forms a valuable mass of light, thereby tending to relieve the heavy masses of black constituting her dress. Her hair is entirely concealed. To the left, on a pedestal, is a circular stone vase, having an angel's head sculptured on it, which may be regarded as containing the ashes of her deceased husband. Beyond the urn is seen a grove of cypresses against a dark grey sky, the rest of the background consisting of a plain stone wall. The date of the picture, 1 (J-j7, is inscribed in dark brown to the left of her right elbow. Inscribed in dark yellow letters across the pedestal supporting the vase, without any regard to the perspective of the picture : — " Charlotte, daughter of IPtnrie, Duke of TrernouiUe, Duke and Peer of France, wife of James, Earle of Derby. 1658." The conception and attitude of this picture are literally adopted from Van Dyck's celebrated picture of the Archduchess Clara Eugenia, Governess of the Netherlands, in mourning for her husband, belonging to the Duke of Devonshire, and engraved on the first plate of the " Centum Icones." A much altered version of this picture is at Wentworth Wood House, where the line of head-dress is carried straight across the forehead ; the white on her breast is reduced to the smallest pos- sible amount under the chin ; her right hand rests on the vase, as if to give it significance, whilst the other lies meaningless in her lap ; and the figure, instead of standing, as in Van Dyck's original conception, is made to sit down. The cypress trees are neverthe- less retained. For her more youthful portrait, by Van Dyck, see ante, No. 144. This picture was engraved in line by C. H. Jeens, as frontispiece to " The Lady of Latham," by Madame Guizot de Witt, 8vo, London, 1869. It was No. 694 of the 1800 Portrait Exhibition at Kensington. 153. (l5i) Dorothea HELENA von RuPA, Wife of Charles, 8th Earl of Derby. (167.) Canvas, -ft. ')('«. x 2ft. lin. Life-size, to the waist, within a brown oval border, as the com- panion picture No. 151. 88 PICTUKES AT KNOWSLEY HALL. The figure is turned to the left ; face also, seen in three-quarters, turned in the same direction, with the soft grey eyes fixed on the spectator, having a somewhat serious expression. The light is admitted from the right-hand side. Her hair is glossy, and of a rich yellow brown : complexion fair, with pink cheeks and soft red lips. A very large pearl hangs from her ear, and bunches of pearls are twisted with the hair at the back of her head. She wears a pearl necklace, and her dress is of white satin, with a scarf of gauze shot with gold along the top of her dress. A blue drapery covers her right sleeve. The background is of a plain dark brown colour. Inscribed at the back : — " Dorothy Helen, wife of Charles, E. of Derby y An excellent picture. It was No. 869 of the 1866 Portrait Exhibition at South Kensington. Dorothea-Helen, daughter of John Kirkhoven, Baron of Rupa in Holland, and maid of honour to the Queen of Bohemia, married Charles, Lord Strange, in 1650. She survived her husband 29 years, and died 1703. Buried at Ormskirk. 154. (155) James, 7th Earl of Derby. 1596 — 1642 — 1651. Van Dyck. (189.) Canvas. 6ft. 7in. x 4ft. lin. First appears in the 1736 Catalogue. Full-length standing figure, life-size, pointing with his left hand to the Isle of Man in the distance ; dressed entirely in black, with a large heavy cloak over his left shoulder. Light admitted from the right hand. Sea shore in the distance, and a gloomy sky. This picture is a duplicate of the figure of the Earl in Lord Clarendon's fine picture at The Grove (see ante, No. 43). The distant coast in this picture is wilder and more broken ; the waves of the sea also are very rough. Large tall plants grow at his feet, and a great thistle springs up in one corner. A red curtain hangs on the right-hand side. The yellow of his sword-hilt is the only relief to the heavy blackness of the figure. No signs of the Garter are observable. Black bows are tied at the knees, and large rosettes on his shoes accord with the fashion of the period. LARGE DINING-ROOM. 89 This picture was exhibited at the South Kensington Portrait Exhibition, No. 689 of the 1866 Catalogue. For his portrait in armour, see ante, No. 142. 155. (166) Amelia, Countess of Athol, Daughter of James, 7th Earl of Derby * . . . Mrs. Beetle. (173.) Canvas. 2ft. 5£tn. x 2ft. • First appears in the 1730 Catalogue. A bust picture, life-size, seen within a richly-decorated stone- coloured oval, painted to represent a carving with oak leaves. The face appears in three-quarters, turned to the right. Her features are long and thin, the hair very dark brown, and decorated at the back with a coronet. Her blue scarf is fastened by a jewel on her right shoulder. A cameo brooch, containing a helmeted profile of Minerva, turned to the right, is attached to the front of her dress. An extremely well painted picture, with soft solidly painted shadows, in good condition. A carved stone framework is fre- quently introduced by Mrs. Beale. She was one of the best among the followers of Sir Peter Lely. There is no inscription on the picture. Lady Amclia-Anna-Sophia Stanley married John Murray, second Earl and fir.st Marquis of Athol. In their descendants, the Isle of Mau and the Barony of Strango became invested. 156. (157) Katherine, Marchioness of Dorchester, Daughter of James, 7th Earl of Derby. (172.) Canvas. 2ft. b^in. x 2ft. OJin. First appears in the 1 736 Catalogue. A bust picture, life-size, within a plain brown oval framework. Figure turned towards the left, face seen in three-quarters turned in the same direction. Light admitted from the right-hand side. Her eyes are a very dark chestnut brown, and' hair deejj brown colour, approaching to black. Her satin dress of plain brownish purple colour is slashed on the sleeves with white satin, and a row of diamonds crosses the white aperture of the left sleeve. Inscribed in red upon the left-hand corner of the picture : — " Katherine, (laughter of James, Earle of Derby, tvife of Henry, Marquess of Dorchester." N 00 PICTURES AT KNOWSLEY HALL. There is a full-length portrait of this lady at Wentworth Wood House, and a second, nearly half-length, also belonging to the Earl Fitzwilliam. Judging by these portraits, and the girlish figure introduced in the large picture at The Grove (see ante, No. 43), Lady Katherine appears to have had darker coloured hair than her sister Henrietta Maria, Lady Strafford. Lady Katherine Stanley, bora December 4th, 1631. Married to Henry , Pierrepoint, Marquis of Dorchester. An Epithalamium on their marriage was published 1663. See " Stanley Papers," by Thomas Heywood, P.S.A., issued by the Ohetham Society. 157. (i58) Henrietta Maria, Viscountess Molyneux, afterwards Countess of Strafford, Daughter of James, 7th Earl of Derby. (171.) Canvas. 2ft. 4\in. x 2ft. lin. First appears in the 1736 Catalogue. A bust picture, life-size, within a plain oval stone frame ; face seen in three-quarters, turned to the left. Her dark brown eyes are fixed on the spectator. Complexion fair, cheeks pink, and hair dark brown, with one diamond jewel at the side over her left ear. Her dress is white satin, with a pale blue scarf and string of pearls round the neck. Light admitted from the right hand. A com- panion picture to the preceding. The head in this is much lower down in the oval, as if representing a shorter person. Inscribed in red letters: — "Henriette Marie, daughter of 'James, Earl of Derby, Wife of Charles, Earl of Strafford : 1658." Lady Henrietta-Maria Stanley was born 17th November, 1630, and married, firstly, Eichard Viscount Molyneux, and, secondly, William Went- worth, second Earl of Strafford, son of Thomas, the celebrated statesman who was beheaded 1641. She died before her husband, December 27th, 1685. 158. (159) Henrietta, Countess of Anglesea and Lady Ashburn- ham, Daughter to the 9th Earl of Derby. 1687—1718. Sir Godfrey Kneller. Canvas. 4ft. \m. x 3ft. Z\in. First appears in the 1729 Catalogue. Purchased from Sir Godfrey Kneller. The receipt for payment (£32 5s.) is still preserved. Life-size, seen to below the knees, seated to the right, leaning her left elbow on a stone pedestal. A landscape background and LARGE DINING-ROOM. 91 the trunk of a tree fill the left-hand portion of the picture. The face is nearly full, and turned very slightly towards the left. Her dark brown hair is dressed very high, and without any ornament ; part of it hangs over her left shoulder ; the eyes are black. Her right hand, holding some white flowers, rests in the lap of her dark blue dress. A single pearl is attached to the fastening of the dress, and a plain white edging is carried round the neck and as a bordering to the sleeves. Inscribed on the back of the canvas : — " Lady Ashburnham, daughter of William, 9th Earl of Derby." Lady Henriette-Maria Stanley, born 1687, married, firstly, John Annosley, fourth Earl of Anglesey, and, secondly, John, third Lord Ashburnham, aftorwards, in 1730, created Earl of Ashburnham. Lady Ashburnham died 2«th June, 1718. 159. (igo) -Sir Charles Stanley, K.B., of Chelsea, Nephew to the 7th Earl of Derby Probably by Walker. (193.) Canvas. 4ft. ljire. x 3ft. 4 Jin. First appears in the 1736 Catalogue. A youthful standing figure, life-size, in armour, seen half-length, turned towards the right ; holding a truncheon slantingly in his right hand. The left rests upon a helmet in the right lower corner. The face is seen in three-quarters, to the right. His rich brown long hair is parted in the middle. The eyes are dark grey, cheeks round and smooth, with faint moustaches. He wears a plain white band, and has a gauntlet on the left hand only. A castle gate among trees, and distant hills, appear through an open window to the right. Inscribed on the back of the canvas : — " Sir CItarles Stanley, K.B., 1661. Died, 1676." The highly-polished armour is well painted. A good mellow picture ; probahly by Walker. Son of Sir Robert Stanley, K.B., the second brother to James, 7th Earl of Derby, and of Elizabeth Gorges, who afterwards became Countess of Lincoln. lie occupied a rosidonce at Chelsea, long known as " Stanley House," which had been part of the estate of Sir Arthur Gorges, erected 1025. Died 1076. N 2 v 92 PICTURES AT KNOWSLEY HALL. 160. (i6i) The Hon ble - Charlotte Savage, Daughter of Lord Colchester Sir Godfrey Kneller. (194.) Canvas. 4ft. lin. x Zft. Sin. First appears in the 1736 Catalogue. The receipt for payment of this picture, £32 5s., is still preserved. A young lady, the size of life, seen to below the knees, seated on a stone bench by a fountain, towards the left. She weal's a white dress, with green ample drapery over her left side and covering the lap. Her eyes are very dark, and her rich brown hair hangs down her left shoulder. She is holding white flowers in her lap, and taking up others from the bench on left side. The stone fountain, on the right, consists of a dolphin's head and two basins below it. The background is very dark, with a distant castle and rocks to the left. Inscribed : — " 3Iiss Savage, daughter of Lady Colchester." Charlotte - Catherine Savage, daughter of Lady Henriette - Charlotte Stanley and Thomas, Viscount Colchester, died unmarried. 161. (i62) Hon. James Stanley, Brother to the 9th, and afterwards 10th Earl of Derby Sir Godfrey Kneller. (178.) Canvas. 4ft. l^in. x Zft. 3|m. First appears in the 1729 Catalogue. A young man in armour, life-size, more than half-length, stand- ing by a pedestal, on which he rests his right hand; a helmet lying by it. His left arm is placed a-kimbo ; a yellow embroidered sash is wound round his hips. The face is seen in three-quarters, to the left. Eyes very dark brown, and eyebrows broad, dark, and strong. The hair full, like a wig, of light yellowish brown colour. Sky is seen through a window to the right. Both hands are un- covered. Son of the eighth Earl (No. 151). Succeeded to the earldom in 1702. Married Mary, daughter of Sir William Morley, K.B., of Halnaker in Sussex. He died at Knowsley, 1736, without male issue. His Countess survived him, and was interred, 1752, at Boxgrove, Sussex. LARGE DINING-ROOM. 93 162. (163) Lady Elizabeth Stanley, Daughter to the 9th Earl. Sir Godfrey Kneller. (177.) Canvas. 4ft. l%in. x 3/< tyin. First appears in the 1729 Catalogue. The payment receipt for this picture, £32 5.?., is still preserved. A standing figure, life-size, seen to below the knees, dressed in white, with blue drapery on her left shoulder. A chain of pearls passes, in belt fashion, under her right arm. She holds a small basket of Mowers in her left hand, and lays the right upon them. A landscape background, with trees and water to the right. Signed : — Lady Elizabeth Stanley, daughter of Earl William-Richard-Geovge ; born 16th April, 1097; died, unmarried, 24th April, 1714, in the 18th year of her age. 163. (164) The Hon. Charles Stanley, Brother to the 9th and 10th Earls of Derby Sir Godfrey Kneller. (176.) Canvas. 4ft. \hin. x 3/r. 3Jt'n. First appears in the 1729 Catalogue. The payment receipt for this picture, at the price of £'62 5s. , is still preserved. A young man in armour, life-size, seen nearly to the knees, standing by a pedestal, on which he rests his left hand, a helmet with a red feather lying by it. The figure and face, seen in three- quarters, are turned to the left. The head in this picture is superior in point of painting to that of No. 161. The hair and eyebrows are very dark. His right hand is raised, holding a small baton, and has a yellow embroidered sash below the waist. Botli hands are uncovered. In the background ib a boldly-sketched engagement between troops of cavalry under a dark red sky. Trunks of trees appear on the right-hand side. Tho Hon. Charles-Zedomo Stanley, youngest son of Charles, the eighth Earl, and brother to the ninth and tenth Earls, was born December 8, 1(566. Membor for tho county of Lancashire from 1705 to 1710. M.P. for Preston in 1713. Died, unmarried, April 9th, 1715. Buried at Ormskirk. 94 PICTURES AT KNOWSLEY HALL. en?, ji' 164. (165) James, 10th Earl of Derby. 1664—1702—1736. H. Winstanley. Canvas. 4ft. l^in. x Zft. Z\in. First appears in the 1736 Catalogue. Standing figure, life-size, seen almost to the knees, in peer's robes, holding his coronet down in his right hand, the left resting on the sword-hilt at that hip. The face is seen in three-quarters, turned to the left. Eyes pale brown, eyebrows broad, dark grey, and arched (compare No. 1(51). The wig is light grey. The robes are crimson, with a large ermine cape. There is a crimson outer hanging sleeve, and the gold embroidered sleeve of coat appears below. The sword in front hangs almost horizontally. A row of trees seen through a window to the left. This picture has been roughly etched by P. Pelham in 172-^ ; by P. Pelham in mezzotint, dated 1725 ; and by G. Vander-Gucht in 1734. James Stanley, born at Knowsley, 3rd July, 1664. Succeeded his brother, "William-Richard-George, as tenth Earl, 1702. Married Mary, daughter of Sir William Morley, K.B., of Halnaker, Sussex. Their son, William, Lord Stanley, died in infancy. (There is no portrait of the Countess in this collection.) The Earl died at Knowsley, February, 1736, and was buried at Ormskirk. 165. (166) James, Lord Strange, Son of the 9th Earl of Derby. 1680 —1698. (165.) Canvas. Zft. lOirc. x Bft. First appears in the 1736 Catalogue. Standing figure of a boy, life-size, to the knees, turned to the right, and holding a spear in his right hand. A large crimson drapery passes across his chest and over his right shoulder, and a long blue mantle lined with white hangs over a yellow classic dress composed of the Lorica and pendant straps. A dark crim- son curtain falls on the right-hand side. The general effect of this picture, viewed at a distance, is extremely rich and effective. Inscribed on the back of the canvas : — " James, Lord Strange, son of William, Earl of Derby, Dy'd 1698." LARGE DINING-ROOM. 95 James, Lord Strange, only son of Earl "William-Richard-George, was born 28th July, 1080. lie died, unmarried, at Venice, of small-pox. Bishop Wilson was his tutor. 166. (i67) Henry Stanley, Esq., of Aughton. 1515 — 1591. (207.) Panel. 2ft. 6m. x lft. 3Jm. First appears in the 1814 Catalogue. Head of an old man, with grey beard and long hanging mous- taches, wearing a black hat and white ruff. The face seen in three-quarters, turned to the left. Eyeballs pale grey. His dress is entirely black. Inscribed in gilt letters along the upper left-hand corner of the dark brown background : — Henry Stanley, Esq., of Aughton, and, jure uxoris, of Bickcrstafre, was born 1515. Ho married in September, 1503, Margaret, daughter and heiress of Peter Stanley, Esq., of Aughton. lie held tho office of Comptroller of the Household to Edward, tho third Earl. Died 1591. Buried at Ormskirk. 167. (ins) Mary Egerton, Lady Stanley, Wife to the 2nd Baronet. (212.) Canvas. 2ft. Gin. x 2ft. Standing figure, life-size, seen to below the waist, and turned towards the left. Her face, viewed in three-quarters, is turned in the same direction, and light admitted from the right-hand side. Two large pearls hang from each ear. Her dress is white satin, puffed with white. Diamonds and pearls at the top front of her dress. A greenish-blue drapery hangs from her right shoulder and passes over her left arm. Her eyes are very dark chestnut brown, and her hair still darker. The left arm is raised, as if to support her green-blue drapery. This picture appears to have been painted under the influence of Van Dvck. Inscribed: — "Dame Mary Stanley, mother of Sir Echvard Stanley." Mary, daughter of Peter Egerton, Esq., of Shaw, Lancashire, and widow of Henry Houghton, Esq., of Brimscolls, married, secondly, to Sir Thomas Stanley, second Baronot of Bickorstaffe. ^ Their son Edward was born 1643. 96 PICTUKES AT KNOWSLEY HALL. 168. (169) Margaret Stanley, Heiress of Bickerstaffe, Wife of Henry Stanley, Esq. (see ante, No. 166). (208.) Panel, lft. 5in. x lft. 3 in. First appears in the 1814 Catalogue. A bust picture. Face in three-quarters, turned to the left. Plain black head-dress, with plain white ruff round her neck. Brown fur covers the shoulders of her black gown. Gilded chains hang in a triple row in front. A small lace collar or square-cut band falls below the ruff. Her hair is brown, and the eyes grey. Inscribed in gilt letters on dark brown background in the upper left-hand corner, similar to No. 166, the companion picture : — JETATJS SVE Sy Margaret, only child and heiress of Peter Stanley, Esq., of Aughton, through whom the manor of Bickerstaffe was brought to the Stanley family. The marriage took place on the 26th of September, 1563. 169. (170) Sir Edward Stanley, 3rd Baronet .... Hodges. (203.) Canvas. 2ft. 5fin. x 2ft. Ofin. First appears in the 1801 Catalogue. Bust portrait of a young man with a beardless, full, round face and double chin. The face is seen nearly in front, and very slightly turned towards the left. His long full yellowish wig-like hair is parted in the middle. The eyes are very dark slaty grey. He is clad in plain steel armour, and has a large plain white necktie with broad ends. Inscribed on the back of the canvas : — Sfc\ j666 " Sir Edward Stanley of Bickerstaff. Died 1671." Sir Edward married, at Ormskirk, 25th December, 1664, Elizabeth, daughter of Thomas Bosville, Esq., of Warmsworth, Yorkshire. Sir Edward died of fever, and was bmied at Ormskirk, 1-1 th October, 1671. LARGE DINING-ROOM. 97 170. (in) Elizabeth Bosville, Wife of the preceding. (204.) Canvas. 1ft. bin. x 1ft. Ohin. First appears in the 1801 Catalogue. Life-size, to below the waist ; figure turned towards the right. Face seen in three-quarters to same direction. Her white satin dress is made very low in front, with wide rounded sleeves, and ornaments of diamonds and pearls down the stomacher. Her rich yellowish brown tresses fall over her right shoulder. She wears a pearl necklace, and has knots of pearls at the side of her head. A bluish satin drapery is in front, at her waist. The background is very dark, with foliage upon deep brown. Inscribed: — "Dame Elizabeth Stanley, vAfe of Sir Edward Stanley of Bickerstaff." Daughter of Thomas Bosville, Esq., of Wurmsworth, Yorkshire ; married December, 1664. This Lady Stanley of Iiickerstaffe succoured many Pres- byterians and Quakers, and personally opposed the seizing of Nathaniel Ileywood in the Bickerstaffe chapel adjoining the hall. Sho survived her husband till 1690, and was buriod at Ormskuk. 171. (172) Sir Thomas Stanley, 4th Bakonet. (201.) Canvas. 1ft. bin. x 1ft. Mr, First appears in the 1801 Catalogue. A boy's portrait, seen to the waist within an oval stone-coloured border of fruits and flowers. Very dark grey bright eyes, brown hair, and cheerful expression. Robed in a rich blue dressing-gown, patterned with yellow figures, having scarlet facings and lace edging down the front, fastened at the neck by two diamond studs or buttons. Inscribed at the back: — "Sir Thomas Stanley of Bickerstaffe. Died 1713." Sir Thomas Stanley, Bart., married, firstly, 16th August, 1688, Elizabeth, only daughter and heiress of Thomas Patten, Esq., of Preston. She died, 1694. Sir Thomas became M.P. for Preston in 1695. His second wife was Margaret, daughter of Thomas Holcroft, and widow of Sir Richard Standish. (No. 174.) o 98 PICTURES AT KNOWSLEY HALL. 172. (173) Sir Edward Stanley, 5th Baronet and 11th Earl of Derby. 1689—1736—1776 H. Winstanley. Canvas. 4ft. \\in. x 3ft. 3%in. First appears in the 1736 Catalogue. Standing figure, life-size to the knees, wearing a suit of blue velvet, and having a black three-corner hat under his left arm. The right hand is hidden in the waistcoat. He wears a grey wig and white necktie. The face is seen in three-quarters, turned to the left. Light admitted from the right hand. A distant land- scape to the left. Strong rich shadows. This picture, in general effect, approaches some of the best works of Allan Ramsay. Son of Sir Thomas Stanley and Elizabeth Patten. Born 1689. Succeeded to the Earldom of Derby as eleventh Earl in 1736. Married, March, 1714, Elizabeth, only daughter of Robert Hesketh, Esq. Father of Edward, the twelfth Earl. Died, 22nd February, 1776. His Countess only survived him two days. far jl'- 173. (174) Elizabeth Hesketh, Wife of the 11th Earl of Derby. Winstanley. (196.) Canvas. 4ft. l^in. x 3ft. 3§in. First appears in the 1736 Catalogue. Life-size figure, seen to below the knees, seated to the right, wearing a white satin dress, and resting her left elbow on a stone pedestal. Trees in background. Face seen in three-quarters turned towards the left. The eyes are pale, and her hair yellow- brown. She holds flowers with right hand in her lap. A poorly painted picture, in imitation of Sir Godfrey Kneller. Inscribed on the back : — " Elizabeth, wife of Echvard, Earl of Derby ; born 1694." Elizabeth, only daughter and heiress of Robert Hesketh, Esq., of Rufford, by Elizabeth Spencer of Ashton Hall. Married Sir Edward Stanley, 1714. Their eldest son (see post, No. 178) was born at Preston, mariied Lucy, daughter and co-heir of Hugh Smith, Esq., of Weald Hall, Essex, and became father of the twelfth Earl. He died before his parents, at Bath, 1771. The Countess Elizabeth only survived her husband two days. She died 24th February, 1776. LARGE DINING-ROOM. 99 174. (175) Margaret Holcroft, Lady Stanley, 2nd Wife and Widow of the 4th Baronet. Lived nearly 100 years. (213.) Canvas. 2ft. 5£t'n. x 2ft. OJm. An elderly lady, in widow's dress, with black silk hood tied under the chin, and a crape peak descending on the forehead. The figure, life-size, is seen to below the waist. The face in three-quarters, turned to the left, looking at spectator. Her right hand raised to the girdle, as if lifting a cloak. The costume is similar to that worn at the time of Oliver Cromwell. She wears no jewellery beyond a wedding ring on the third finger of her right hand. A large plain white band or collar, extending from shoulder to shoulder, comes up close to the neck. The left hand not seen. Inscribed on a paper at the back : — "Margaret Lady Stanley, daughter to Thomas Holcroft, Esq., of Holcroft Hall, co. Cest. : married, first to Sir Richard Standish, Bart., of Duxburg, co. Lane. ; and 2ndly to Sir Tliomas Stanley, 4f/i Bart, of Bicker- staff." A seal of red wax is inlaid into the stretching-frame, bearing a helmet and dolphin, and on it " James, Restorer, Manchester," Margaret, (laughter of Thomas Holcroft, Esq., of Holcroft, and relict of Sir Richard Standish of Duxbury, in Lancashire. She survived her second husband, Sir Thomas Stanley, who died 1713, and is said to have almost attained tho ago of one hundred years. 175. (176) Elizabeth Patten, 1st Wife of Sir Thomas Stanley, 4th Baronet. (202.) Canvat. 2ft. 6^in. x 2ft. O.U'u. Life-size portrait, to the waist, within a stonework oval border. A tall thin-looking lady. The face is seen in three-quarters, turned to the right; light admitted from the right-hand, side, and the deep brown shadows are solidly massed. The background is dark, with a small portion of light to left of the head, where the long dark brown hair hangs down on her right shoulder. Dress dull red, with yellow facing to sleeves ; a blue drapery over her right side, knots of pearls hanging at shoulders, and white lace trimmings to dress. o 2 100 PICTURES AT KNOWSLEY HALL. Inscribed on the back of the canvas : — " Dame Elizabeth Patten, wife of Sir Thomas Stanley. Died, 1694." Elizabeth, only daughter and heiress of Thomas Patten, Esq., of Preston, M.P., was the first wife of Sir Thomas Stanley, the 4th baronet. Married, 16th August, 1688. Died 1694. 176. (177) The Rev. John Stanley, Brother to Edward, 11th Earl of Derby. Canvas. 2ft. 4\in. x lft. 11m. A young man, bust portrait, within a brown painted oval border. Face seen in three-quarters, turned to the left. Long flowing very dark hair and eyes, pale complexion. Scarlet coat, embroidered waistcoat, and a white twisted Steinkirk cravat passed through a button-hole. Inscribed at the back: — " John Stanley, Brother to Edward, Earl of Derby. Born, 1692." This picture, till recently, remained in the Steward's room at Knowsley. See also No. 247. The Hon. John Stanley, born 1692, took holy orders, and became rector of Liverpool. He married, firstly, Alice Warren, and secondly, Sarah Earle, of Liverpool. Died, 1781, without issue. 177. (178) Edward, afterwards 12th Earl of Derby, with his two Brothers, Thomas and James, Sons of James, Lord Strange. Granke. (187.) Canvas. 4ft. lOlin. x eft. O^in. First appears in the 1801 Catalogue. A large picture of three children ; life-size, whole-length figures. Two of the boys stand arm-in-arm on a pavement of square slabs, and the third is seated on the ground on the right side. A green curtain and column are in the background. The left-hand boy wears a yellow satin dress, with a long blue dressing- gown over it. A drum lies on the ground at his feet. The middle child is dressed entirely in pink satin. The one seated on the ground is in white. Painted with considerable effect. LARGE DINING-ROOM. 101 For biography of the Earl, see post, No. 1S1. James died 3'oung. Thomas, born 1753, became a major in the army, and died at Jamaica, 1779. His body was interred at Ormskirk (see also post, No. 185, for his portrait in military uniform). 178. (179) James, Lord Stanley, Son of the 11th and Father of the 12th Earl of Derby Hudson. (197.) Canvas. 4ft. l^in. x 3ft. 3m. First appears in the 1S01 Catalogue. A standing figure, life-size, nearly to the knees, turned towards the right hand. He wears a fancy dress of pink and lilac satin, with large pink satin sleeves. The face is seen in three-quarters, turned to the right. His right hand rests on his hip, and the left arm is laid on a pedestal, holding a white mask in the left h ind. His cheeks are smooth ; the hair, not very full, a dark brown. He wears a large falling collar of white lace, in imitation of the fashion of Van Dyck's period. Mentioned by Pennant, page 40. Inscribed at the back: — "James, Lord Strange, son t<> Edward, Wth Earl of Derby." James, Lord Stanley, M.P. (the title of Strange having passed away into the Athol family), was born at Preston, January 1717, and married, March, 1717, to Lucy, daughter and co-heir of Hugh Smith, Esq., of Weald Hall, Essex. In consequence of this ho assumed tho additional surname of Smith. Ho succeeded his father as Chancellor of the Duchy, and Lord Lieutenant of tho County Palatine of Lancaster. He died at Path, June 1st, 1771, and was buried at Ormskirk during his father's lifetime. 179. (180) James, Loud Stanley, Son of Edward, 11th Earl of Derby. H. Winstanle)). Canvas. ~ift. 2kin. x 3ft. 3in. A full-length figure of a boy, standing to the left ; wearing a scarlet coat, white embroidered waistcoat, white stockings, and black shoes with red heels. He holds a lance in his right hand, and the left arm is placed a-kimbo. The eyes and hair are very dark brown. On the pedestal of a vase to the right is inscribed, in conspicuous brown letters: — 102 PICTURES AT KNOWSLEY HALL. A distant landscape, with church spire beyond trees, appears to the left. The above title is inscribed on the back of the picture. This picture remained, till recently, in the Steward's room. (See the previous picture for biographical notes.) Inscribed on the back of the canvas : — " James, Lord Strange, son of Edward, Earl of Derby. Bom, 1716." 180. (i8i) Lucy Smith, Wife of James, Lord Stanley. 1730 — 1759. Sir Joshua Reynolds. (198.) Canvas. 4ft. \\in. x 3ft. 3in. First appears in the 1801 Catalogue. A graceful figure, seen to the knees, as if walking to the left under some trees, and looking back. Her right hand is extended, pointing to the left. Dressed in white satin, the large folds of which are admirably painted ; and a lilac or pink scarf, fastened with pearls in a bow on her bosom, passes over her right shoulder. Neither bracelet nor necklace is introduced. The face is seen nearly in profile to the right. Complexion fair, cheeks pink, eyes dark grey and hair dark brown, and gathered up from the fore- head. Large trunks of trees occupy the background to the left ; a dark grey sky to the right. A pale but clear and well-preserved picture, in a grey or silvery tone, as if to accord with the com- panion picture, No. 178. These two pictures are interesting as the productions of a favourite master and his much more cele- brated pupil. Lucy, daughter and co-heir of Hugh Smith, Esq., of Weald Hall, Essex, of the ancient family of Smith or Herriz of Edmundthorpe, Leicestershire, born 1730, was married, March 17th, 1747, to James, Lord Stanley, son of the eleventh Earl. She became the mother of the twelfth Earl, and died before her husband, February 7th, 1759. She was buried at Ormskirk in the 30th year of her age. 181. (182) Edward, 12th Earl of Derby. 1752—1776—1834. Gainsborough. (184.) Canvas. 4ft. lm. x 3ft. 3\in. First appears in the 1801 Catalogue. Standing figure, life-size, seen almost to the knees. The face is seen nearly in full, turned slightly towards the left, with the LARGE DINING-ROOM. 103 eyes fixed on the spectator. A dark rich crimson curtain falls in the background, and a landscape is seen through a square window to the left. His right hand, holding a yellow glove, rests on the stone ledge ; a black hat in the left. His coat is blue, with white frill and ruffles ; the breeches a pale brown colour. The ex- pression of countenance very cheerful. A finely painted picture, with well massed shadows and in fine preservation. This picture was exhibited, in 18b'7, at the South Kensington Portrait Exhibition, No. 6G9 of the Catalogue. Edward Smith Stanley, son of James, Lord Stanley, and grandson of the eleventh Earl, was born at Patten House, Preston, September 12th, 1752. Married, 23rd June, 1774, tho Lady Elizabeth Hamilton, only daughter of James, sixth Duke of Hamilton and Brandon. Succeeded his grandfather in the Earldom, February, 1776. Held the office of Chancellor of the Duchy of Lancaster during tho administration of the Duke of Portland, August, 1783, and again in 1806. He married, secondly, in May, 1797, Miss Elizabeth Parren. Died 21st October, 1834. 182. (183) Elizabetit Fahken, afterwards Countess of Derby. A copy by Stevenson from T. Lawrence. Canvas, lanjc rize. 7ft. IOmi, x 4ft. 9t'n. A tall and commanding figure, fall-length, walking on grass in a richly-wooded landscape. The head is uncovered ; her right hand draws the white satin cloak or mantle, called a John, over her shoulder ; whilst the left hand, hanging down and wearing a Limerick glove, holds a large pale brown fur muff trimmed with a light blue ribbon. The figure moves towards the left, and the light is admitted from the right-hand side. No ornaments or rings are introduced, and the simplicity of costume, combined with richness of effect, deserve especial notice in this com- paratively early production of Lawrence, who, when this portrait was painted, had not attained the rank of a Royal Academician, and was only in his 21st year. The original picture, in the possession of tho Earl of Wilton, and exhibited at the South Kensington Portrait Exhibition of 1867, No. 858 of the Catalogue, was painted by Lawrence about the year 1790. See Williams's " Life of Sir Thomas Lawrence," 1831, vol. i. page 124. It appears to have been exhibited at the Royal Academy, Somerset House, in 1790, under the title, " Por- 104 PICTURES AT KNOWSLEY HALL. trait of an Actress," No. 171 of the Catalogue. The price paid for the picture seems to have been £100. Elizabeth Farren, the celebrated actress, daughter of Mr. Farren of Cork, was bom 12th July, 1759, and married to the twelfth Earl, May 1st, 1797. She died before her husband, April 23rd, 1829, and was buried at Ormskirk. 183. (i8i) Edward, Lord Stanley, afterwards 13th Earl of Derby, with his Sister, Lady Charlotte Stanley, 1775—1834 — 1851 Romney. (185.) Canvas. 4ft. llin. x 3ft. Win. First ajjpears in the 1801 Catalogue. Whole-length figures of a boy and girl standing under a tree. One of the most refined and attractive of Romney's works. The boy, standing, turned towards the left, in front of the trunks of the trees on the right side, looks at the spectator with an air of natural dignity and childish vivacity over his left shoulder. He wears a dark blue coat, with broad white open collar to his shirt, and light yellow trowsers and waistcoat ; holding a large round hat in his left hand, and raising the other to the front of his waistcoat. The girl, dressed in white with cap of the same colour, pink ribbons, pink sash, and red shoes, stands to the left of her brother, holding a small bird with both hands up to her chin. The background, to the left, consists mainly of sky and a distant country, with a low horizon. This group is mentioned in the Life of Romney, written by his son; 4to, 1830, page 143. The picture was exhibited at the British Institution in 1863, No. 180 of the Catalogue, and was No. 699 of the Portrait Exhi- bition at South Kensington in 1867. It was also exhibited among the Modern Masters in the Manchester Exhibition of 1857, No. 125 of the Catalogue. A successful photograph of it was published at the time by Messrs. Colnaghi and Caldesi. (For Lady Charlotte Stanley (Hornby), see post, No. 186.) Edward Smith-Stanley, Lord Stanley, son of the twelfth Earl, was born 21st April, 1775. He married his first cousin, Charlotte-Margaret Hornby* June 30th, 1798. Was called to the House of Peers, October, 1832, as Baron Stanley of Bickerstaffe. Succeeded to the earldom, October, 1834. Created Knight of the Garter, April, 1839. Founder of the famous Zoological Collection and Scientific Library at Knowsley. Died, at Knowsley Hall, 2nd July, 1851. LARGE DINING-ROOM. 105 184. (42) Edward, Lord Stanley, afterwards thirteenth Earl of Derby. 1775 — 1834 — 1851 . . . Sir Thomas Lawrence. (98.) Canvas, lft. 6in. x 1ft. 3in. First appears in the 1802 Catalogue. Enclosed in a richly gilt frame with oval 6pandril. Within an oval. Youthful portrait ; smooth face. The figure is seen to the waist ; the head, in three quarters, is turned to the right and looking at the spectator, with long silky yellow-brown hair. The coat is crimson, with a high-standing collar of the same colour. A white cravat projecting from beneath the chin. Background very dark blue sky, which predominates to the right of the figure. The deepest shadows are cleverly brought into immediate contrast with the brightest lights. Boldly painted with great solidity of colour, and well preserved. 185. (185) The Hon. Thomas Stanley, Brother to the 12th Earl of Derby. 1753—1779 Ch-anke. (5.) Canvas. 2ft. Sin. x 2ft. First appears in the 1846 Catalogue. Received from Mrs. Hornby. A vividly painted portrait, life-size to the waist, the face seen in three-quarters, turned to the right ; wearing a black cocked hat, dark blue military coat with red collar, black stock, white waist- coat, and white laced cravat. The background is sky. The lower part of the picture terminates in a rounded frame or brown spandrils. (For his portrait as a child, see ante, No. 177, and for a subsequent, No. 24G.) The Hon, Thomas Stanley, son of James, Lord Stanley, was born 1753, and became a major in tho army. Ho died in Jamaica, 1779. 186. (186) Lady Charlotte Hornby, Sister to the 13th Earl of De rby 1776—1805 T. Lawrence. (191) Canvas. 2ft. b\in. x 2ft. Olin. First appears in the 1801 Catalogue. A very engaging life-sized portrait of a young lady in plain white dress with short sleeves, grey powdered flowing hair, and a full white band round it, seen to below the waist, seated in a red 106 PICTURES AT KNOWSLEY HALL. chair and resting her right arm on a black drapery, the band touching her chin and the face turned in three quarters, towards the left. Her bright grey eyes are looking in the same direction. The intense red of the square back of the chair, and the deep black on which her arm rests, tend to give great artistic effect to the unadorned white of her dress. A picture of rare brilliancy, painted with all the firmness of Romney, added to the painter's own delicacy and juiciness of colour. The shadows are peculiarly mellow, with deep touches producing great power of effect. Her portrait with her brother as children is No. 183 in this collection. This picture was contributed to the Portrait Exhibition at South Kensington in 1868, No. 144 of the Catalogue. Lady Charlotte Stanley, daughter of the twelfth Earl, was horn 17th Octoher, 1776. She married her cousin, Edmund Hornby, Esq., of Dalton Hall, Lancashire, and died 25th November, 1805. 187. (187) Edward, 12th Earl of Derby, with Lady Elizabeth Hamilton, his first Wife, and their Infant Son, afterwards the 13th Earl Angelica Kauffman. (255.) Canvas, small upright square. Aft. lin. x Zft. Z^in. First appears in the 1S41 Catalogue. It was a legacy from Lady Charlotte Hornby. Small whole-length figures, with their son, a naked child, be- tween them. The Earl, dressed in a Spanish or fancy costume of crimson slashed with white, a falling Van Dyck collar and white stockings, is seated towards the left, and lifting his right hand for the child to take hold of. Lady Elizabeth, attired in blue, is seated looking towards the spectator, holding the child with both hands on the end of a sofa. The background consists of a semicircular stone wall and a tall column, round which a green drapery has been picturesquely arranged. Two spaniels lie on the ground in the right-hand comer. The figures appear small and separated ; the divided action of the child destroys all feeling of simplicity and unity. This picture was exhibited in the 1867 South Kensington Portrait Exhibition, No. 694 of the Catalogue. The picture is signed in brown upon the dark yellow pedestal of a vase on right-hand side, — LARGE DIXING-ROOM. 107 Lady Elizabeth Hamilton, only daughter of James, sixth Duke of Hamil- ton and Brandon, -was bom January, 1753. Married, June 23rd, 1774, to Edward, Lord Stanley, afterwards twelfth Earl of Derby, and died 14th March, 1797. (For the Earl, see ante, No. 181.) 188. (188) Henrietta, Lady Horton, Sister to the 12th Earl of Derby. Died 1830 Romney. (2.) Canvas. 2ft. b^in. x 2ft. First appears in the 1841 Catalogue. Life-size figure, simply dressed, seen to the elbows, turned towards the left, and pressing a spaniel to her side with both hands. Foliage and sky in the background to the left. Her face, with a laughing expression and looking archly towards the spectator, is seen in three-quarters, turned towards the left. The hair, grey with powder, is dressed very high, but devoid of ornament. The light is admitted from the right-hand side. Boldly painted with bright and clear colours. A very effective picture. This picture was exhibited at the South Kensington Portrait Exhibition of 1867, No. 709 of the Catalogue. Exhibited at the British Institution in 1863, No. 104 of the Catalogue. The lion. Henrietta Stanley, third daughter of James, Lord Stanley, sou of the 11th Earl, and Lucy, daughter of Hugh Smith, of Weald Hall, Essex. Married, 1778, to Sir Watts Horton, Bart. She died iu 1830, leaving an only child, who married Charles Rhys, Est)., of Bath. (For her sister, Elizabeth, sue p<)3t, No. 248.) 189. (189) Charlotte Hornby, Lady Stanley, Wife of Edward Stanley, afterwards 13th Earl of Derby. Grandmother of the present Earl Lawrence. (192.) Canvas. 2ft. 5in. x 2ft. 0\in. First appears in the 1841 Catalogue. Portrait of a young lady to below the waist, life-size, in a plain white dress with short sleeves, and a small frill round the open neck. The arms hang down. The figure is seated slightly towards the left, but the head, seen in three-quarters view, is turned, look- ing towards the right. Her narrow girdle is plain black, edged with gold. A column is on the left extremity of the picture. A fine mellow and powerfully painted picture, with much of the solid character of Romney, and with rich grey tones or middle p 2 108 PICTURES AT KNOWSLEY HALL. tints on the neck and face. Background to the figure is dark blue sky. This picture was contributed to the South Kensington Portrait Exhibition of 18G8, No. 136 of the Catalogue. Charlotte Margaret, second daughter of the Eev. Geoffrey Hornby and the Hon. Mrs. Hornby, of Winwick, was born 20th October, 1776. She married her first cousin, Edward Smith-Stanley, 30th June, 1798, and died at Knowsley, 16th June, 1817. Buried at Ormskirk. Her husband did not succeed to the Earldom till 1834. 190. (190) Edward Smith, Lord Stanley, afterwards 13th Earl of Derby, K.G. Painted in 1837 .... William Derby. First appears in the 1850 Catalogue. Seated, life-size, seen to below the knees, the head turned to the right, looking up. Dressed in a plain black coat and waist- coat, white cravat, and dark reddish brown trowsers. The figure is turned towards the left, the left knee crossed over the right. His left hand, holding a letter, rests on a table covered with a rich yellow damask. The square back of the arm-chair is a deep rich green, and a red curtain hangs in the background. The forehead is bald, with light grey and brown hair at the sides. The expression of the countenance is very animated, and one of pleasure. The letter in his left hand is addressed — " The Earl of Derby, Knowsley Hall, Prescot." The books on the table are " Linnasus " and " Trans, of the Zoological Society," vol. i. On the plan is written — " Plan of the Diversion of Roads in the Township of Knowsley, 1836." The roll is entitled — " Drawings, Nat. History, by Edward Lear." A truthful and very carefully modelled picture. Exhibited at the 1868 South Kensington Portrait Exhibition, No. 383 of the Catalogue. Signed in brown on the yellow table-cover, — (190.) Canvas. Aft. 7in. x 3ft. Tin. For Biographical note, see ante, No. 183. LARGE DINING-ROOM. 109 191. (191) Edward, 12th Earl of Derby G. Roraney. Canvas, large size. 7ft. lOtn. x 4ft. lOJin. Full-length standing figure, life-size, viewed nearly in front, looking away to the left. He holds his gold-headed cane and black hat in his right hand ; the left is hidden in the pocket of his yellow leather breeches. His scarlet coat, open below the top button, shows a white waistcoat. He wears a white cravat, and black boots with brown tops. The background is composed of tall straight trunks of trees and dark grey sky. The horizon is remarkably low, and the sky descends to a level with the brown facing of his boots. Two horses and the head of a groom standing on a distant ground occupy the extreme left-hand corner of the picture. The light is admitted from the right-hand side. Boldly but most cleverly painted. There is mention in the Life of Romney by his son, 4to, 1830, page 193, of a whole- length portrait with a horse, which he painted about 1783 for Mr. Stevenson. For Biographical note, see ante, No. 181. 192. (319) Edward, Hth Earl of Derby, when a Boy. 179!)— 1 S"> 1 — 1869 Harlow. (66.) Canvas, square. 2ft. 6('/i. x 2ft. liii. First appears in the 1841 Catalogue. Painted for the Rev. Dr. Keate. A duplicate is in Eton College. Life-size, seen to below the waist, in brown coat buttoned on the breast, showing white frill to shirt, standing collars, and white tie round neck. Face seen in three-quarters turned to the left, and looking in the same direction. Deep blue sky back- ground. Powerfully and solidly painted. Very energetic expres- sion. The picture does not appear to have been exhibited at the Royal Academy. It lias been engraved by H. Robinson, and published by Fisher in 1834. Edward-Geoffrey Sinith-Stanloy, fourteenth Earl of Derby, was born at Knowsloy, 29th March, 1799. Married 31st May, 1825, the Hon. Emma- Carolino Wilbraham, second daughter of Baron Skelinersdale, of Latham House. Chief Secretary for Ireland from 1830 to 1833. Secretary of State for the Colonies 1833-34. First Lord of the Treasury three times — 1852, 1858, and 1866. In 1859 the honour of the Garter was conferred on him, in 110 PICTURES AT KNOWSLEY HALL. a special manner, by the Sovereign. Succeeded the Prince Consort as Chancellor of the University of Oxford. The subject of his Latin poem for the Chancellor's Prize in 1819 was " Syracuse." Translator of Homer. Pied at Knowsley, 23rd October, 1869. Buried in Knowsley Church. 193. (158) Edward Geoffrey Smith-Stanley, 14th Earl of Derby, ' K.G Sir Francis Grant, P.R.A. Canvas, whole length. A standing figure, in morning costume, wearing a black frock- coat, grey trowsers, black satin scarf within a light waistcoat, and white standing collar, resting his right hand on a table and hold- ing an eye-glass in the left. Blue parliamentary books lie on a red-cushioned chair to the left. The background is a plain stone-coloured wall, with a pilaster to the right. Exhibited at the Royal Academy in 1859, No. 23b' of the Cata- logue. Engraved in a mixed style by Frederic Bromley, and published January 2nd, I860. 194. (459) Edward Henry Smith-Stanley, 15th and present Earl ' of Derby Sir Francis Grant, P.R.A. Canvas, full-length. '/'^ X- ^ 3 "i Painted in 1867. A standing figure in a close-buttoned frock- coat, plain white shirt and black neck-tie, holding a paper in the right hand. A red ministerial despatch-box resting on a blue-book are introduced on a mahogany chair to the left, behind which falls a dull-green curtain. The floor is covered with Indian matting. The face is seen in three-quarters looking to the right. This picture was exhibited at the Royal Academy in 1867, No. 198 of the Catalogue. DINING-ROOM PASSAGE. Ill DINING-ROOM PASSAGE. East End. 195. (192) Pea-Fowl and otheh Birds Peter CasU eU. (205.) Canvas, oblong square. 3ft. 8hin. x 5ft, -Itu. First appears in the 173G Catalogue, as "Peacock, liens, and Pidgeons." Purchased for £3 10*. A peacock stands in the centre towards the right, with his head looking hack to three small hirds descending from the left-hand corner. In the foreground to the right are white fowls, and in the distance on the opposite side is a view of a gentleman's residence and trees. An interesting specimen of the painter. 196. (193) Venus Cltcron. {•206.) Canvas, large oblong square. 4ft. 2i/i. x Tift. 9Jjb. First appears in the 1736 Catalogue, under the designation of "A large naked Venus. " A perfectly nude figure, life-size, lying on a hed, her feel to- wards the left, holding up a circular gold goblet in her right hand, and looking archly towards the spectator. The right-hand portion of the background is occupied by a red curtain. On the left in the distance appear two small figures of Cupid descending to Pysche. The bed is entirely white, but the bolster or pillow is striped with pale blue. A fine Academic study. The face, with dark eyes and hair, is decidedly French in character. 197. (i9i) The Expulsion from Paradise . . . Dennis Calvert. (209.) Canvas, large oblong square. 7ft. Tin. x Sft. 6I//J. First appears in the 1729 Catalogue as "Adam and Eve with the Angel, l>y Guido llheni." In the 17 : >0 Catalogue it is entitled " Adam and Eve driven out of Paradise, " and more correctly assigned to "Dennis Calvert." It was purchased from Mr. Cagtoel lor the sum of .£030. The three figures are full length, the size of life. PICTURES AT KNOWSLEY HALL. Adam and Eve retreat hurriedly before the angel, who drives them with a steel sword towards the right. Adam raises his right arm, and looks back over his shoulder with an expression of mingled terror and surprise. The figure of Eve, slightly in ad- vance of her companion, principally displays the back. Her face, although the features are scarcely visible, is of a decidedly Flemish character. The serpent, of dark brown colour with fiery eyes, darts forward, as if escaping, in the extreme right-hand corner. Sky and a distant landscape form the background to the naked figures. The expelling angel is an almost literal adaptation from the avenging angel in Raphael's famous fresco of "Heliodorus" in the Vatican ; the variations being very far from improve- ments, and very characteristic of the school to which Calvert belonged. The large, white-grey wings here introduced are not to be seen in the original figure, and certainly the curving drapery which Raphael introduces instead, conduces far more efficiently to the sense of rapid motion. His dress is crimson drapery over a white garment, with a yellow scarf passing from the left shoulder across the body and behind the broad-spread right wing. His hair is gold and streaming, and the profile features lost in shadow. The background to the angel's figure is a dense mass of deep golden light, bordered towards the naked figures with a range of grey clouds. The blade of the sword, which is very long and thin, has a long line of flame, like a red ribbon twisting round it. The hilt is elaborately wrought according to the fashion of the artist's own period. This picture possesses an unusual interest from the union which it affords of the styles of the old traditional Flemish school, and the more refined and eclectic tendencies of Italy. Calvert the Fleming established himself at Bologna, and founded an academy in which Albano, Domenichino, and Guido received their earliest instruction in art. It is stated that Guido made such rapid progress under his tuition, that Calvert soon found himself able, with the addition of a few finishing touches, to pass off the pupil's work as his own. The name of Guido, therefore, when assigned to this picture in the first instance, was not destitute of connection with the real author ; and indeed there is great probability that Guido really had a share in the work, but only as an assistant. There are too many signs of inherent Flemish or Teutonic pecu- DINING-ROOM PASSAGE. 113 liarities, both in the composition and design, to admit even of a distant chance that Guido was the inventor. The figure of Eve with the long streaming hair and ungraceful gesture, is precisely similar to the forms so frequently seen in German representations of naked souls in pictures of the Last Judgment, where the blessed are wending their steps to the gates of Paradise. This picture has been engraved, the reverse way, by H. Win- Stanley, " apud Knowsley 1728," Plate 14 of the " Derby Gallery." Pennant, in his "Tour to Alston Moor in 1773," p. 42 of the 1801 edition, attributes the picture to Calvert, "by travel im- proved into the best manner of the Italian School." 198. (195) Rape of the Sabines . . Giovanni Giuseppe del Sole. (210.) Canvas, very larye oblorvj square. Gft. 2Un. x Sft. 8in. First appears in the 1729 Catalogue. Purchased, according to the 1736 Catalogue, of Winstanley, for the sum of £68. An elaborate composition, with numerous figures. The principal ones are nearly the size of life. Romulus, seated as president on the extreme right hand, is in the act of pointing forward. The central group, composed of a Roman warrior in armour carrying a female, and, at the same time, advancing, is the most effective part of the picture. Her upturned face, with appealing look and agonised expression, exhibits a close affinity to the heads of Cleopatra and the Magdalen from the pencil of Guido. Two figures, to the left of the centre, of a young soldier and a girl in white, stepping forward towards the right, are curiously imbued with what must have been the costume and fashionable manners of the painter's own day. They partake strongly of the style of two partners taking the opening steps of a regular dance. The local colours, such as red, yellow, and brown draperies, are kept very pale. The whole impression produced by the picture is that of Pietro da Cortona weakly imitated. The picture was engraved, the reverse way, by Winstanley in 1729, Plate No. 19 of the " Derby Gallery," and inscribed :— " apud Knowsley 1729. Gio. Giuseppe del Sole pinx'. Alta 6 Ped 3 pol. Lata 8 Ped. 8 PoL" Q PICTURES AT KNOWSLEY HALL. 199. (196) Cupid and Psyche Cheron. (211.) Canvas, large oblong square. 4ft. \in. x 5fi. lOJwi. First appears in the 1729 Catalogue. In the 1736 Catalogue it is entered as "Cupid and Psyche on a bed, by Ludovicus Cherron. Bought of Cherron at the price of £30." Whole-length figures, the size of life. Psyche, a naked figure, extended on a bed with her feet towards the right-hand corner, raising her left arm towards the head of Cupid, represented as a young man, reclining behind her and bending over her shoulder. His wings are large and dark ; and his face is seen in profile ; his right hand rests on the gilded knob of their couch to the extreme left of the picture. The pillow is striped with blue, as in picture No. 196 ; but some drapery between the figures, variously striped red, blue, yellow, and white, is admirably painted. Lofty blue mountains in the distance, and a curtain appear on the right-hand side. Cupid's bow, with a string or belt, lies on the bed at this side of the picture. The forms are carefully drawn, and the shadows well massed ; but the attitudes of the figures are constrained. 200. (197) A Flower Piece. 2ft. Zin. x 2ft. 7ii'«. (Removed from the North Room.) KING'S CHAMBERS-SITTING ROOM. SOI. (198) St. Sebastian exhorting and encouraging Marcus and Marcellinus as they are led to death. Paul Veronese. (365.) Canvas, large oblong square. 4ft. 9|i». x 7ft. 5in. First appears in the 1729 Catalogue, under the extraordinary designation of "Christ and Pilate's Wife." In the 1736 Catalogue it is described as " Pilate's Wife pleading for Christ, by Paolo Veronese, purchased of Mr. Casteel for £315." Described as this subject by Pennant in his "Tour to Alston Moor in 1773," page 43 of the 1801 edition. A study for the celebrated picture in the church of St. Sebas- tian at Venice, where Paul Veronese lies buried, and which con- KING'S CHAMBERS— SITTING ROOM. 115 tains the best specimens of his historical pictures. It is thus described by Kugler in his " Handbook of Italian Painting," 1855 edition, p. 466 : — " The finest of these, representing the Saint going to his place of martyrdom, belongs to the year 1565. The scene is upon a flight of steps before a house ; St. Sebastian, a fine, powerful figure, is hastening down them, while at the same time he turns to his fellow sufferers, Marcus and Marcellinus, who follow him, bound, and points towards heaven with an inspired look. One of them is gazing on him with the profoundest faith, the other is looking round at his sorrowing mother, who seeks to turn him from his purpose with her entreaties and reproaches." * * * " Innumerable figures are seen on balustrades and roofs, clinging to pillars, and crowded on the stairs, looking on in the greatest excitement. This picture displays a beauty of composition, a richness without an over-crowding of subject, and a power of ex- pression and colour which in some respects entitles it to be con- sidered the noblest of Paul Veronese's works." Mrs. Jameson, in describing the picture in her volume on "Sacred and Legendary Art," ed. 1850, p. 24S, uses the following words : — " Here St. Sebastian stands on the summit of a flight of steps; his fine martial figure, in complete armour, is relieved against the blue sky ; he waves a banner in his hand, and his whole air and expression are full of inspired faith and enthusiasm; Marcus and Marcellinus stand by his side as if irresolute, sur- rounded by their weeping friends." The same authority informs us that St. Sebastian was a native of Narbonne, in Gaul, and the commander of a company of the Praetorian Guards. Among his friends were two young men of noble family, soldiers, and secretly Christians like himself ; their names were Marcus and Marcellinus. Being convicted of being Christians, they were condemned to the torture, which they endured with unshaken firmness, and were afterwards led forth to death ; but their aged father and mother threw themselves in the way, and their wives and children gathered around them, beseech- ing them with tears and supplications to recant, and save them- selves, even for the sake of those who loved and could not survive them. The two young heroes, who had endured tortures without shrinking, began to relent and to tremble ; but at this critical moment St. Sebastian, neglecting his own safety, rushed forward, Q 2 116 PICTURES AT KNOWSLEY HALL. and, by his exhortations, encouraged them rather to die than to renounce their Redeemer ; and such was the power of his elo- quence, that not only were his friends strengthened and confirmed in their faith, but all those who were present were converted (Ibid. p. 244.) See also Kidolfi, " Le Maraviglie dell' Arte," Venetia, 4to, 1648, vol. i. p. 298 ; and Zanetti, " Delia Pittura Veneziana," 8vo, 1771, p. 167. Engraved the reverse way by Winstanley in 1728, Plate 18 of the " Derby Gallery." Inscribed : — " Uxor Pilati pro Christo inter- cede. Matt. cap. 27. P. Veron. Pinx 1 . Alt. ped. 4, pol. 11. Lat. ped. 7, pol. 8." In support of the title which the engraver invented for it, a glory has been inserted round the head of one of the prisoners, with cords binding his wrists. The figure is there- fore made to be taken for the Saviour, but there is no glory what- ever in the original picture. 202. (199) The Battle between Amalek and the Israelites in Rephidim — Moses, Aaron and Hur on the hill. (Exodus, chap. 17, ver. 9 — 13 Borgognone. (179.) 8/i!. Sin. x 12ft. 9in. First appears in the 1782 Catalogue. Purchased by the 12th Earl of Derby of Sir James Smith, the British Consul at Venice, for the sum of £250. A very large battle piece, painted on square sheets of gilt leather. Two mounted chieftains, Joshua fighting with Amalek, form the chief and central feature of the picture. The left-hand figure, holding a sword, with swarthy complexion and gilt scaly breastplate, is assailed by his opponent, seen in back view, mounted on a white horse, whilst galloping in front of him to the right, with upraised spear. He wears an oriental white turban, and a robe of the same colour striped with blue. His legs are bare, and the horse without stirrups. On the right, a man in armour, like the Dacian figure in Raphael's Vatican fresco of the defeat of Attila, gallops forward towards the centre. On the opposite, left hand, side of the composition is a disabled horse whose rider has fallen to the ground. All the combatants, with the exception of Joshua, fight with long thin spears. Lofty mountains, crowned with a fortress, rise towards the right-hand side. On the distant hill, near the centre of the picture, and con- KING'S CHAMBERS— SITTING ROOM. 117 spicuous in contrast with the sky, are the small figures of Moses, Aaron, and Hur with their arms raised in the position of St. Andrew on the cross. The principal figures are powerfully drawn, and the shadows on this portion are remarkahly bold. The entire picture is painted in a dashing manner, with a great preponderance of rich brown colour, through which in many parts the lustre of the gold ground produces an agreeable effect. The lumps of rock in the foreground, together with several of the distant crags, seem to have been fortuitously twisted into strange shapes, like the gnarled roots of a decayed tree. The gold ground considerably enhances the brilliancy of the light yellow streaks in the sky towards the horizon. (See also Nos. 278, 4">1 and 453.) 203. (200) The Feast at the House of Levi . Paolo Veronese. (221.) " And Levi made him a great feast in his own house ; and there was a great company of publicans and of others that sat down with them." — Luke v. 29. Canvas, large ollowj square. 5ft. 5 Jin. x lift. 8in. First appears in the 1729 Catalogue. A study for the picture painted in 1573 for the Refectory of the Church of St. Giovanni e Paolo at Venice, to replace a last supper by Titian that had been destroyed by fire. The original by Paolo Veronese is now in the Accademia delle Belle Arti at Venice. The following description, taken from Kugler's " Handbook to Italian Painting," ed. 1855, p. 468, accurately conveys the geneial impression of the scene. " Comparable in size and richness, but not in excellence, with the picture in the Louvre, we may mention the Feast of the Levite, in the Academy at Venice (formerly in the Refectory of S. Giovanni c Paolo). This is also a gigantic composition, beneath an airy arcade, which divides the whole into three groups, with a town view behind. The chief incident is also made subordinate here, while on the other hand we have a number of the most charming episodes : the halberdiers hastily swallowing down their portion of the feast upon the stairs ; the majordomo speaking with a Moorish servant, &c." In the middle of the picture, under the central arch, Our Lord is seated at a table, and his figure is in immediate contact with PICTURES AT KNOWSLEY HALL. the pale blue sky. An old man seated on the Saviour's right hand is in the act of helping himself out of a bowl filled with bread. St. John, in red, seated on the opposite side, expresses surprise at the act by the movement of his hand. On the nearer side of the table, with his back to the spectator, sits the master of the feast, a pompous old man in red, with ermine and a red cap on his head. A dog stands immediately behind his curule chair. The openings in the side arches are filled with inferior persons seated at table, and servants in attendance, and hurrying up and down stairs under direction of the steward and majordomo. In front of the latter dignitary, to the left of central opening, is a dwarf holding a falcon on his wrist, and starting from the approach of a Moorish boy, who endeavours to teaze the bird. At each side of the picture is the descending balustrade of a magnificent staircase. In the right-hand corner, partly hidden by the balustrade, are two halberdiers eating and drinking. Zanetti (" Delia Pittura Veneziana," 1771, p. 173, nota) informs us that the portrait of a monk of this convent, Frate Andrea de' Buoni, who commissioned Paul Veronese to execute this picture, and gave everything he possessed in payment thereof, may be recognised under the left-hand arch, holding a knife and fork, with a napkin over his shoulder. The original picture bears the date 1573, when the artist was in his forty-first year. An additional interest has recently been imparted to this picture by some curious revelations of the proceedings of the Tribunal of the Inquisition against the painter in the year 1573. M. A. Baschet has recently discovered among the archives at Venice a record of the artist's appearance before the " Santo Ufficio " at Venice. The Tribunal consisted of the Papal Nuncius, the Patriarch of Grado, and a Father Inquisitor, a Dominican. To these were added three laymen, Venetian Nobili, who went by the name of " Savii all' Eresia," and every decree had first to be submitted to the Senate, with whom lay the execution of it. The picture had been objected to as an unworthy treatment of a sacred subject. The prior of the monastery had been ordered to have a Magdalen painted in the picture in the place of a dog. Paul Veronese, when examined before the Inquisition, could not see that the figure of Magdalen would look well there. He was then interrogated about the minutiae of the work, its size, subject, &c, whether there were people represented in it, how many, what KING'S CHAMBERS— SITTING ROOM. 110 they did, and questions of a similar kind. He replied, " First of all there is the master of the house, Simon ; then below him there is the carver, of whom I have imagined that he would come to see how the serving of the table is going on. There are still many figures in the picture, of whom, however, I have no distinct recollection now, it is such a long time since I painted it." Veronese afterwards adds, "We painters take the same liberty which is taken by poets and fools, and I have represented three halberdiers, the one eating, the other drinking, at the foot of the staircase, but ready withal for their service ; for it seems to me meet and possible that the master of the house, rich and noble, as I have been told, should have such servants." Finally the Inquisitor angrily exclaimed, " Does Paolo then consider it proper to introduce into the Lord's Supper fools, drunken Germans, dwarfs, and other silly things ? * * * Do you still maintain that you were right in painting your picture in this fashion, ami will you still try to prove to us that it is good and proper ? " Vero- nese confessed his error and was condemned to correct and to amend his picture at his own expense within three months after the decree and ordinance of the Tribunal. The present condition of the picture does not afford evidence that the required altera- tions were ever carried into effect. Paul Veronese died fifteen years afterwards from a fever caught whilst following a procession in May, 1588. There is in the University Galleries of Oxford an excellent study for this picture on a small scale. The figure in scarlet, with pointed ears to the hood, speaking to the corpulent steward, is a negro with very dark face and hands. The Oxford study was lent to the Exhibition at Leeds in 1868, No. 176 of the Catalogue. The picture has been engraved by Saenredam and by Landon, "Annales du Musde," tome 17, pi. 25; Zanetti, p. 173; Ridolfi, vol. i. p. 300 ; and Kugler's "Italian Painting," 8vo, 1855, p. 168. There is an inscription as if incised along the stone cornice and base of the left-hand pedestal of the staircase, — i«VCA CAV V 3HKXXAVH and in corresponding places on the opposite side of the picture, — AD AUU, XX HI ' 120 PICTURES AT KNOWSLEY HALL. Both these upper lines appear to relate to the text of the Vulgate, and the lower to afford the precise date when the picture was finished. This picture is described by Pennant, observing that " most grotesque figures of dwarfs are introduced in conformity to the custom of the age of the painter." See his "Tour to Alston Moor in 1773," p. 43 of the 1801 edition. 204. (201) La Turbana. Peasants bringing their Offerings to St. Benedict at Subiaco After Guido. (223.) 4ft. 6in. x 1ft. 9in. First appears in the 1736 Catalogue, and is therein called "Sacrifice to St. Dominic, coppy after Guido." A picture in a black and gold frame with a round head. St. Benedict, as a bearded young man, and here attired in the white gown, stands on the left extremity of the picture, receiving with extended hands the various offers made to him. Two naked youths are bringing animals. A kneeling woman, holding a baby, in front, makes her little girl kneel with a dish of fruit as her offering. The light is admitted on the figures from the right hand. A large open space of dark sky is observable in the upper part of the picture. A graceful female figure wearing a turban, and standing prominently near the centre, has given a name to the picture, which is styled by the Italians la Tur- bantina, or la Turbana. The original picture, now perished, was painted for the cloisters of San Michele in Bosco, near Bologna. (Mrs. Jameson's " Monastic Orders," ed. 1850, p. 22.) Guido himself retouched the picture in 1632, about ten years before his death. It has been engraved by G. Giovannini and M. Borboni. MINIATURE ROOM. 121 MINIATURE ROOM. West Side. The following miniatures, in water colours, were principally executed for Lodge's " Portraits " from the best original paintings, and engraved by the most skilful engravers. They first appear in the 1850 Knowsley Catalogue. 205. (202) John, 1st Marquis of Hamilton . . . Wm. Derby. (224. ) 7 in. x 5 Jin. No. 62 of Lodge's "Portraits." Engraved by E. Scriven and W. Holl. Standing, to the knees ; white falling frill ; holding hat in his left hand. 206. (203) James, 2nd Marquis of Hamilton . . . Win* Derby. (225.) 7in. x 5hin. No. 76 of Lodge's " Portraits." Engraved by J. Thomson and A. T. Dean. Standing, to the knees ; falling white frill. Ribbon of Garter ; hat in his left hand, and wand in the right. Men and horses in the distance. 207. (20i) The Archduchess Isabella (?). (43.) 3 in. x 3in. Purchased at Brussels, and presented, 1841, to Edward, Earl of Derby, by Q. H. A small square panel, with black oval spandril to frame. Face seen in three-quarters to the left. Large circular ruff. Three golden chains hang in front of her black stomacher. The brown background is crossed with lines of gold. 208. (205) DoROTiiT Sidney, Countess of Sunderland. Copied in watercolours by R. W. Satchwell. (See ante, No. 7G.) (226.) 7 in. x 5 i t». No. 160 of Lodge's " Portraits." Engraved by W. T. Fry and J. Thomson. B 122 PICTURES AT KNOWSLEY HALL. 209. (206) The Virgin and Child, an illuminated drawing. (227.) lOin. x 7\in. First appears in the 1850 Catalogue. Purchased at the Strawberry Hill Sale, in 1842, for £14 14s. No. 7 of the Eleventh Day's Sale, page 114 of the Catalogue. Described as having "belonged to Graston, Due d'Orleans, whose arms surmount the richly-carved frame. " Painted on an upright square sheet of vellum, under glass, in a gold frame. The Virgin supports the naked infant Saviour standing on a table covered with a carpet ; a blue drapery covers her right arm. The writing on the pages of the open book is Hebrew, with a red and gold illuminated letter at the end of first line. There are no glories round the heads. The window in the background is com- posed of Dutch roundels of glass, and a small clear view of a palace is seen across a piece of water through the open casement. A full-length figure of Moses is introduced in the circle of painted glass. 210. (207) A Tyrolese Girl . Copied by Garlevares from Rosalba. (44.) Ivory. Sin. x 2%in. 9in. x "Jin. First appears in the 1846 Catalogue. Purchased by the 13th Earl of Derby at the Strawberry Hill Sale, May 9th, 1842, for £10 10s. It was No. 56 of the Thirteenth Day's Sale, page 135 of the Catalogue. A small oval, under glass, surrounded by flowers, painted on copper by Phil. Laura, within an octagonal frame. Horace Walpole, " Lord Orford's Works," vol. ii., p. 489, states that Carlevares was a female scholar of Rosalba. A graceful figure, seen to the waist ; white lace cap with a black point on forehead. Earrings of crimson strings. Black mantilla on shoulders. Her face is slightly inclined to the left, and her bright brown eyes are fixed on the spectator. A crayon picture like this was until within the last few years at Hampton Court, No. 261 of the Catalogue. It is now in one of the private apartments at "Windsor Castle. Rosalba's picture was engraved in mezzotint with this title ; " The Innkeeper's handsome Daughter, known through the Tyro- lese by the name of the Fair Maid of the Inn." "Rosalba Pinxit." No engraver's name is introduced ; but Bowles of Cornhill was the publisher. The original picture appears to be in the " Dresden Gallery," No. 2123 of Hubner's Catalogue, 1862, under the title " TJne Hotesse du Tyrol." MINIATURE ROOM. 123 211. (208) A Small Head Unknown. (45.) 3|in. x 3^in. First appears in the 1841 Catalogue. Purchased by G. H. at Brussels. A small square oil painting. A male head with slight mous- taches, plain white collar. The hair on the top of his head is partly lost under the frame. Dark brown eyes. Face turned in three-quarters to the right. 212. (209) Henry Spencer, 1st Earl of Sunderland (miniature). Copy in watercolours by R. W. Satchwell. (230.) 7 in. x 5 J in. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 103 of Lodge's " Portraits." Engraved by R. Cooper and J. Thomson. Standing, in armour ; plain white collar. Right hand resting on baton ; the left on his hip. Curtain and a camp in the back- ground. 213. (210) Andrew Marvell. 1620—1678. (929. | Copper, oval. 2i in. x If in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. Oval. Painted in oil : mounted on a square of crimson velvet in square gold frame. The face is turned in three-quarters to the right. Very dark brown eyes, looking at the spectator. Long dark brown hair, parted in the middle. Black dress and a plain band, or collar gathered into folds and fitting close to the chin. Gray back- ground. 214. (211) Sir Godfrey Kneller . . . By himself, when young. (228.) Oval. 3 \ in. x S}Cm. First appears in the 1850 Catalogue. Purchased at Strawberry Hill by the 13th Earl of Derby, May 9th, 1842, at the price of £8 8s. See page 134, No. 30 of the Sale Catalogue. Small oval oil painting on wood. This miniature was exhibited in the Collection of Miniatures at South Kensington in 1865, No. 1826 of the Catalogue. For the larger portrait of Kneller, when young, see 352 of this Catalogue. The artist, with dark eyes and rich brown hair, looks at the spectator over his left shoulder. His dress is deep crimson, and e 2 124 PICTURES AT KNOWSLEY HALL. white round the neck The light is admitted from the right-hand side. The background deep rich blue. It is inscribed on the back of the wood in Walpole's own hand- writing, — " S r - Godfrey Kneller by Himself." Engraved, the reverse way, by T. Chambars for Walpole's "Anecdotes." See Lord Orford's Works, 4to, London, 1798, vol. iii. p. 359. 215. (212) Queen Mary 1st of England. Copied in watercolours by Wm. Derby. (231.) Tin. x 5JiVi. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 31 of Lodge's "Portraits." Engraved by T. A. Dean for both folio and quarto editions. Copied for Lodge's " Portraits " from the original in the collec- tion of the Marquis of Exeter. Standing, half-length, in black and white Spanish dress. Holding a girdle ornament with both hands. 216. (213) Arthur, Prince of Wales, elder Brother to Henry VIII. A copy in watercolours by E. Edwards. (232.) 8in. x Gin. First appears in the 1850 Catalogue. Purchased at Strawberry Hill, May 17th, 1842, by the 13th Earl of Derby, for £4 14s. See page 200, No. 56 of the Sale Cata- logue. This drawing was exhibited at the South Kensington Exhibition of Miniatures, 1865, No. 2949 of the Catalogue. It is thus described in Horace Walpole's " Description of Straw- berry Hill," Lord Orford's Works, vol. ii., 4to, 1798, p. 459 :— " Arthur, Prince of Wales ; a washed drawing by E. Edwards, from the only original of that prince when grown up, which belonged to Mr. Sheldon of Weston in Warwickshire, and was purchased by Mr. Child of Osterley Park, Middlesex, 1781." This drawing represents the Prince in a black cap and furred gown, standing towards the right, a half-length figure, resting his left hand on the hilt of a sword before him, and holding a carna- MINIATURE ROOM. 1 25 tion in his right hand. Prince Artvk is inscribed on the damask background on each side of his head. On a paper at the back of the picture is a writing signed H. W. in the hand of Walpole, suggesting that it is more probably a portrait of Henry, Duke of Richmond, natural son of Henry Eighth. The original picture is now at Middleton Park, Oxfordshire. This picture has been engraved and elaborately investigated by the present writer in the " Archajologia " of the Society of Anti- quaries, vol. xxxix., p. 457. It has also been described in the "Gentleman's Magazine" for July, 1842, p. 21. 217. (2it) Earl Rivers, with Caxton the Printer presenting bis Book to Edward IV., his Queen and the Prince. A xvatercolour copy by M (i ntz. (235.) Cji'n. x 4Jid. First appears in the 1850 Catalogue. Purchased at Strawberry Hill, May l!'tl>. 1842, by the 18th Earl of Derby, for the sum of £7 10». Page 224, No. 64 of the Sale Catalogue. See Lord Orford's Works, vol. ii., p. 433. This copy wan contributed to the South Kensington Exhibition of Miniatures in 1865, No. 1833 of the Catalogue. En- graved also by Joseph Strutt in his " Regal and Ecclesiastical Antiquities," 4to, 1777, plate 47. It is thus referred to by Walpole in his " Royal and Noble Authors," Lord Orford's Works, vol. i., 4to, 17 in gold, without the usual dots, on the black background in the left-hand side near her elbow. The jewels, now tarnished, were originally of bright silver in gold setting, and highly raised. Most of the silver has now tarnished ; but in its original con- dition the picture must have been splendid. There is only one other miniature deserving comparison with it, and that is the exquisite portrait by the same artist, similar in size, style, and attitude, of Lucy Harrington, Countess of Bedford, purchased from Stow by the Duke of Buccleuch. s 2 132 PICTURES AT KNOWSLEY HALL. 235. (218) Admiral Viscount Nelson Wm. Derby. (237.) 7in. x 5%in. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 227, vol. xii. of Lodge's "Portraits." Engraved by W. Finden. Copied in watercolours by Wm. Derby from the full-length picture by Hoppner in the Royal Collection. Half-length, standing by a rock, on which he rests his left hand. Stormy sky background. Sea and ships to the left. 236. (219) The Right Hon. C. J. Fox Wm. Derby. (238.) 7 in. x 5^in. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 231, vol. xii. of Lodge's "Portraits." Engraved by H. Robinson. Copied in watercolours by Wm. Derby from the original picture by Opie, in the possession of the Earl of Leicester. Half-length standing figure, resting his left hand, holding a sheet of paper, on a table. The face, almost in profile, looking away to the left. Light admitted from the right-hand side. 237. (220) The Right Hon. William Pitt .... Wm. Derby. (239.) 7in. x 5^in. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 230, vol. xii. of Lodge's "Portraits." Engraved by P. Lightfoot. Copied in watercolours by Wm. Derby from the original picture by Hoppner in the possession of Lord Carrington. Standing figure, seen nearly to the knees, in robe of the Chan- cellor of the Exchequer. Fingers of right hand resting on a paper laid on a table. Red cords and tassel wound round a column in the background. Face three-quarters to left. Light admitted from the right-hand side. 238. (22i) Queen Jane Seymour R. W. Satchwell. (240.) 7 in. x 5^in. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 9, vol. i. of Lodge's "Portraits." Engraved by W. Bond and R. Cooper. Copied in watercolours by R. W. Satchwell from the original picture at Woburn Abbey. MINIATURE ROOM. 133 Standing, half-length figure, turned to the left. Hands joined. Richly gilded dress. Light admitted from the left-hand side. Plain dull blue background. 239. (222) Mary Queen of Scots Wm. Hilton. (241.) 7in. x 5Jin. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 50, vol. iii. of Lodge's " Portraits." Engraved by C. Picart and J. Thomson. Copied by Wm. Hilton, A.R.A., in watercolours from the original picture belonging to the Earl of MortoD. Standing figure, nearly to the knees, in black dress with gauze veil, white cap and ruff. Face three-quarters to the left, looking at spectator. Her right hand raised to touch a jewel hanging round her neck. A handkerchief in her left hand. Plain dark background. 240. (223) King Charles I Wm. Derby. (242.) 7 in. x 5hin. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 112, vol. vi. of Lodge's "Portraits." Engraved by H. Robinson. Copied in watercolours by Wm. Derby from the original picture by Van Dyck in the possession of the Earl of Pembroke. Half-length figure in complete armour, with full face looking at the spectator. His left arm rests on the helmet on a table before him. The crown and sceptre are beside it. His right hand grasps a truncheon. 241. (221) Queen Elizabeth Wm. Derby. (243.) 7 in. x 5$tn. First appears in the 1850 Catalogue. Purchased of the artist by the 13th Earl of Derby. No. 61, vol. iv. of Lodge's "Portraits." Engraved by T. A. Dean and W. T. Fry. Copied in watercolours by Wm. Derby from the original by Zuccharo at Hatfield House. Half-length, standing, in rich dress and golden mantle era- 134 PICTURES AT KNOWSLEY HALL. broidered with eyes and ears, wide-spreading ruff, open neck and smaller frill under chin. She holds a rainbow in her right hand, and with the left supports her mantle. 242. (225) Oliver Cromwell Wm. Derby. (244.) 7in. x 5|m. No. 129, vol. vii. of Lodge's "Portraits." Engraved by E. Scriven. Copied in watercolours by Wm. Derby from the original picture at Althorp, belonging to Earl Spencer. In full armour, half-length figure, turned to the right. A truncheon in his right hand. A page boy to the left is tying his sash. Both figures are bareheaded. 243. (226) Princess Charlotte op Wales .... Wm. Derby. (245.) 7in. x h\in. No. 234, vol. xii. of Lodge's "Portraits." Engraved by H. T. Ryall. Copied in watercolours by Wm. Derby from the original by A. E. Chalon. Seated on a sofa, in a black satin dress with ermine-trimmed pelisse, black hat and three white feathers. Face seen in three- quarters turned towards the right. Salmon-coloured flat back- ground. 244. (227) Elizabeth of York, Queen of Henry VII. . Wm. Derby. (246.) 7in. x 5|ira. No. 1, vol. i. of Lodge's "Portraits." Engraved by W. T. Fry and by W. Holl. Copied in watercolours by Wm. Derby from the original picture belonging to the Earl of Essex. Standing figure, to the waist ; face in three-quarters turned towards the left, and wearing a pointed headdress with long flaps ; a rose in her right hand. MINIATURE ROOM. 135 245. (228) James Hamilton, Earl of Arran and Duke of Chatel- herault Wm. Hilton. (247.) Tin. x 5Jm. No. 40, vol. ii. of Lodge's "Portraits." Engraved by W. Holl and W. H. Mote. Copied in watercolours by Wm. Hilton, R.A., from the original belonging to the Duke of Hamilton. Half-length standing figure, full face, in long black dress, furred gown, the collar of which rises to a level with the top of his head. Grey, short cut beard, black cap and small white ruff. Collar and badge of the St/Michel. Right hand raised to his breast ; the left holding gloves. 246. (229) Thomas Stanley, Brother of the 12th Earl of Derby. 1753—1779 H.D. Hamilton. (248.) First appears in the 1841 Catalogue. A small oval drawing by Hamilton in crayons, dated 1773. Face seen in three-quarters to the left ; red coat. Light admitted from the right-hand side. (See ante, Nos. 177 and 185.) The lion. Thomas Stanley, son of James, Lord Stanley, born 1753. Served as a major in the army, and died at Jamaica, 1779. 247. (230) The Reverend John Stanley, Brother to the 11th Earl of Derby. Rector of Bury, Winwick, and Liverpool. Ki92 — 1781. Unknown. (249.) 9fi>». x 7Jtn. First appears in the 1841 Catalogue. Painted in oil on oval canvas. Face seen in three-quarters to the right. Dark eyes, grey hair. Plain black gown and clerical bands. (See ante, No. 17G.) The Rev. John Stanley, 1 ).!)., tho third son of Sir Thomas Stanley and Elizabeth Patten, was born 1(592. llaving taken holy orders, he became Rector of Liverpool, Bury, and 'Winwick. lie marriod, firstly, Alice, daughter of Edward Warren, Esq., and secondly, Sarah Earle, of Liverpool. Diod, without issue, in 1781. 136 PICTURES AT KNOWSLEY HALL. 248. (231) The Hon ble - Elizabeth Stanley, afterwards Lady Horton, Sister to the 12th Earl of Derby H. D. Hamilton. (250.) 9in. x 7§m. First appears in the 1841 Catalogue. Drawn by Hamilton in crayons, in oval frame, and dated 1773. A bust portrait, face seen in three-quarters turned to the right. Light admitted from the right-hand side. Her hair is dressed very high, and grey with powder. A white satin bow to ribbon round her neck under the chin. Inscribed in black on grey background, over her right shoulder : — The Hon. Elizabeth Stanley, married, in 1779, to the Rev. Sir Thomas Horton, Bart., of Chadderton, and died 1796. (For her sister Henrietta, see ante, No. 188.) 249. (232) Lady Jane Stanley, Daughter of the 11th Earl of Derby. (251.) llfiji. x 9%in. Painted in oil on a larger oval than the rest. To the elbows ; the figure turned to the right, dressed in a white cloak or cardinal trimmed with a narrow line of brown fur. Both hands in a brown muff. Large white lace cap, with blue bows, fastened under the chin. Grey hair, elderly face, ruddy complexion. Inscribed on a paper at the back : — " This Portrait of Lady Jane Stanley is to be sent to Lord Stanley. Harrt Legh." Lady Jane Stanley died at Knutsford, and was buried at Budworth in Cheshire. c Peter Oliver, the Miniature painter ) 250. (233) I His WlpE j- Peter Ohver. (252.) Card. 3% in. x 2| in. This miniature was purchased by the 13th Earl of Derby at Strawberry Hill, May 10th, 1842, for the sum of £5 15s. 6d. See Sale Catalogue, page 146, Fourteenth Day, No. 74. It was No. 2230 of the Loan Exhibition at South Kensington in 1862, and No. 1834 of the Collection of Miniatures at South Kensington in 1865. MINIATURE ROOM. 137 Drawn in lead pencil upon an oval card, one on each side. The portrait of Oliver is a profile turned to the right, with full hair covering the forehead and ears ; a close-cut beard and small moustaches. He wears a plain, white, falling band. Signed below to the right : — JO in very small writing. The miniature is delicately drawn upon a prepared surface, and the flesh-tint has been faintly added. His wife's portrait, on the reverse, is nearly full face, slightly turned to the right, and looking at the spectator. Merely a few lines indicate the neck and position of the shoulders. She wears a white muslin or linen headdress. It is signed below in the centre : P. Oliver his wife. in very minute characters. It is thus described in Lord Orford's Works, 4to, 1798, vol. ii.. p. 470 : " Peter Oliver, profile in blacklead, from a leaf of his own pocketbook, and his wife, full-faced, on the other side ; both fine : it belonged to Vertue the engraver." 251. (234) Edward, 12th Earl of Derby ...//. D. Hamilton. (253.) 9in. x 7 J in. First appears in the 1841 Catalogue. Drawn in crayons in 1773. There is a remarkable space above the head of plain back- ground. The figure is only seen just below the shoulders, turned towards the left, the face nearly in profile, and looking at the spectator with a cheerful expression. His coat is red, with a white cravat ; the hair grey, and tied with a large black bag. The blue back of a chair is behind him on the right. The light is admitted from the right-hand side. Signed in black chalk upon the grey background on left-hand side, — " Hamilton delin' 1773." For Biographical Notes, see ante, No. 181. T 138 PICTURES AT KNOWSLEY HALL. 252. (235) James Lord Stanley, Father to the 12th Earl of Derby. (254.) An oval oil painting. Full face, to the waist, in fancy dress with large white-lace falling collar. -Copied from the portrait by Hudson in the Dining Room, see ante, No. 178. For Biographical Notes, see ante, No. 178. KING'S CHAMBERS. BED ROOM. 253. (236) Charlotte de la Tremoille tearing the Parliamen- tary Summons to surrender Lathom House . Unknown. (220.) 8ft. x 5ft. 5§in. First appears in the 1736 Catalogue, and is thus described : "Earl James's Lady and Drummer, whole length." Full-length figures, life-size, painted on a large square canvas. Painter uncertain. In old black frame. The Countess, attired in a similar dress to the one in the Dining Room, No. 144, is seated towards the right. A drummer, with his profile towards the left, and a white bandage over his eyes, stands before her. A red cockade and a white paper are in his black hat. He is in the act of beating the drum, on the side of which are the armorial insignia of the Commonwealth. A spearman in green places his left hand on the drummer's shoulder. The first siege of Lathom House in 1644 has been minutely recorded in the manuscript diary of Edward Halsall, who was incidentally wounded ; it is now preserved in the Ashmolean Collection at Oxford. The following entry, printed in Peter Draper's " House of Stanley and the Sieges of Lathom House," Ormskirk, 8vo, 1864, p. 129, fully illustrates the subject of the picture : — " 1644, April 25th. On Thursday, he (Rigby) sends his last message, as he calls it, a furious summons to her ladyship to yield up Lathom House, all the persons, goods, and arms within it, into his hands, to receive the mercy of Parliament, and to return her final answer the next day before two o'clock ; which KING'S CHAMBERS— BED-ROOM. 139 her ladyship having read, with a brave indignation calls for the drum, and tells him " a due reward for his pains is to be hanged up at her gates ; but," says she, " thou art but a foolish instru- ment of a traitor's pride ; cany this answer to Rigby " (with a double scorn tearing the paper in his sight), and " Tell thai insolent rebel he shall neither have persons, goods, nor house : when our strength and provision is spent, we shall find a fire more merciful than Rigby, and then if the providence of God prevent it not, my goods and house shall bum in his sight : myself, children, and soldiers, rather than fall into his hands, will seal our religion and. loyalty in the same flame." See also " The Lady of Latham," by Madame Guizot de Witt. London, 8vo, 1809, page 94, for a graphic account of this incident and all proceedings connected with the siege. 254. (237) The Emperor Theodosius refused admission into the Cathedral at Milan by St. Ambrose Copy. (334.) Canvas. 5ft. 3iin. x 2ft. 11m. Copied from a celebrated picture by Rubens in the Imperial Gallery at Vienna. There is a fine copy from the same picture by Van Dyck, now in the National Gallery, London. The Emperor Theodosius, after the massacre of Thessalonica in the year 390, was placed under the ban of the Church ; and on his attempting afterwards to enter the Cathedral of Milan, he repulsed at the door by the Archbishop Ambrose. 265. (238) King Charles L and his Queen Henrietta Maria about TO ride Daniel My tens. (219a.) Canvas, oblong square, a very large picture. Sft. 2£in. x 13/f. 4$i'n. The figures are full length, and the size of life. The King and Queen, hand in hand, are standing on a terrace which descends a few steps towards the right. A negro servant is bringing forward a white palfrey, saddled for the Queen, with blue and silver trappings. The head of a brown horse is seen behind on the extreme right. The King's dress is grey, striped with silver, with the blue ribbon of the Garter worn slanting, like t 2 140 PICTURES AT KNOWSLEY HALL. a sash or belt, across the breast. The Queen wears a blue dress over grey and silver, and a long lovelock hanging on her right side. Both figures wear large black hats with white feathers. The Queen holds a fan in her left hand. A winged infant or genius in the clouds above scatters roses on the Queen. Nume- rous dogs are seen bounding forwards towards the horses. A diminutive figure, Sir Geoffry Hudson the dwarf, standing in the left-hand corner, is energetically restraining a couple of hounds. A small white Maltese dog stands below the figure of the Queen. Lofty columns and a balustrade occupy the left portion of the picture. In the centre, is a distant view of a park with green sward. Painted in a clear, silvery tone. An in- teresting picture, as affording an early representation of the royal pair. A similar picture, on an equally large scale, was presented by Queen Anne to Addison the poet. It is now the property of Viscount Galway, and was exhibited in the Portrait Gallery of the Manchester Exhibition of 1857, No. 45 of the Catalogue. See Dr. Waagen's " Galleries of Art," vol. iv., p. 516. Pennant in 1772 saw a similar picture at the lodgings of the Earl of Dunmore in Holyrood Palace. It is now at Dunmore Park, near Falkirk. Waagen, ibid., p. 454. In a square print of Queen Henrietta Maria on horseback, by Daret, various small figures appear on a distant terrace, which closely correspond with those in the pictures here described. See Granger's " Biographical History," ed. 1824, vol. ii., p. 250. THE OLD STAIRCASE. 256. (239) The Triumph of Bacchus and Ariadne. Copied by Winstanley from Annibale Caracci. (338). 5ft. 64 in. x 9ft. 9 in. First appears in the 1736 Catalogue. Price £40. It was exhibited at the Manchester Art-Treasures Exhibition in 1857, No. 152 of the Department of Original Drawings. See Lanzi, "Storia Pittorica," Bassano, 1796, vol. in., p. 88. Bunsen, "der Stadt Rom." 1842, vol. iii., part 3, page 425. The central subject on the vaulted ceiling of the principal gallery of the Farnese Palace at Rome. Annibale Caracci began these fresco paintings for Cardinal Odoardo Farnese in 1600, and completed them in less than four years. THE OLD STAIRCASE. 141 They are arranged in compartments divided by terminal figures, and all the subjects are taken from classical Mythology. In the selection and treatment of these, the artist was aided by his friend Monsg 1 "- Agucchi. They have been engraved as a series by Petrus Aquila, Carlo Cesio, and by Fr. de Poilly. This copy is very faithfully executed on canvas of a large square size. Bacchus, holding an ivy-wreathed sceptre, is in a car drawn by panthers ; Ariadne by his side, in a separate car drawn by goats, is being crowned with stars by a winged genius hovering over her. They are preceded by the drunken Silenus mounted upon an ass, and are attended by a crowd of Satyrs, children, and Bacchanals. The procession moves from the left hand. In the right-hand corner is a large recumbent female figure, and a brown satyr in the opposite left corner. The original cartoon drawn in chalk for the right-hand half of the composition is in the possession of Mr. Smith Barry at Marbury Hall, Cheshire. 257. (210) A Sea piece, with the English and Dutch Fleets ANCHORED AT Sl'ITHEAD IN 1729 MoUmMUX. Canvas, a lonij square picture. First appears in the 1736 Catalogue, as "Ships at Spithead." fi\ • The clear blue sky is varied by pale grey clouds ; the light shines from the right-hand side, the wind blows from the opposite direction. The vessels have all sails set. Two ships, namely, the large central vessel and a smaller one more in advance and to the right of centre, are firing their guns. At the extreme left is a bold promontory and the open sea. A ship, foremost and to the right of centre, carries the emblem of the Isle of Man, namely, three white legs joined on a red ground. It has evidently been painted over an English flag. Along the top of the black frame is inscribed in golden letters : — " The English and Dutch squadrons of Men of War under tlie command of S r - diaries Wager Vice Admiral of if Red on board y e Cormvall ; S r - George Walton Admiral of y c White on board y e PHncess Emilia & Heer van Somchdylce Vice Admiral of y e Dutch on board y c Leyden as they lay Equip'd at Spithead during the whole Burner mdccxxix." 142 PICTUKES AT KNOWSLEY HALL. Along the lower part of the black frame are inscribed in gold the names of the ships, the commanders, rate, guns, and men in regular columns. 258. (241) The English and Dutch Fleet at Spithead in 1729. Mollineux. Canvas, larger than the preceding. 3ft. lOira. x 7ft. (tin. First appears in the 1736 Catalogue, under the title " Spithead Fleet, by Mollineux." Similar in subject and treatment to the foregoing, and appa- rently a repetition by the same artist. The sky here is a deeper blue and the grey clouds darker ; there is a heavy yellow light in the sky towards the right-hand side. All the ships here appear to be more widely spread apart. The general tone is less grey, and there are no masses of grey clouds rising like smoke from behind the ships as in the other picture. The ships here are numbered in black on the water beneath them. The long inscription is here repeated, but in lieu of being along the upper part of the frame, it is written upon the canvas itself below the picture. 259. (242) View of Knowsley, from Watton . . . Winstanley. 3ft. \0\in. x 7ft. 5\in. 260. (243) Landscape Winstanley. 4ft. iin. x 13ft. 261. (243 a) Great Irish "Wolf Dog. Standing in profile to the left. White, with liver spots on head and neck, long white tail. In the background is a conical hill against a yellow sunset sky. Inscribed on the frame, " The Irish Wolf Dog. In the posses- sion of the Earl of Altamont, 1788." This kind of animal seems to have been held in high, esteem. One of Titian's finest portraits of the Emperor Charles 5th represented him standing with his hand on "a big white Irish dog." It is now at Madrid, and formerly belonged to King Charles 1st. See the Catalogue of bis Collection at Whitehall Palace, 1639. Printed by Bathoe, page 86, No. 13. MAHOGANY BED-ROOM. 143 262. (243 b) A Horse, "Roger o' Coverly" .... Tillemans. First appears in the 1729 Catalogue, No. 80, and also in the 1736 Catalogue. MAHOGANY SITTING-ROOM. 263. (244) White Cock, Monkey, &c Hondecoeter. . , < 375 -> Canvas, square, in a black and gold frame. 3ft. 3in. x 3ft. 9in. First appears in the 1729 Catalogue, and is described in the 1736 Catalogue, No. Ill, as "Cock, Hen, Monkey, and Fruit." The size of life. The cock, in light plumage with red breast and dark tail, forming the centre of the picture, looks contemptuously back at a monkey on the right-hand side, who is helping himself to grapes from a basket of fruit. Beneath the latter is a marmo- . zette, with a pomegranate on the ground below. A hen crouches behind the central bird, and a peacock appears in the distance to the left. 264. (249) Cock, Hen, and Chickens Hondecoeter. (380.) Canvas, square, in a black and gold frame. 1ft. lin. x 3ft. Tin. The size of life. The cock, with noble plumage, stands in tin- centre turned to the right. A yellow hen crouches behind her companion, and is tumed to the left. A stone wall, tree, and sky form the background. It is a companion picture to No. 2(53. MAHOGANY BED ROOM. 265. (24G) Starting-point of B. C. Newmarket. . . Tillemann. (377.) Canvas, oblong proport ion, smaller and darker than others by the same artist. 2ft. 7 Jm. x 5ft. 2 \ in. First appears in the 1736 Cataloguo, No. 99, as " Newmarket Races.'" A long line of level horizon, with numerous figures. 144 PICTURES AT KNOWSLEY HALL. Jockeys mounting horses ; a drummer in the right-hand comer. Some ladies are on horseback, and in one instance, in the fore- ground, a female rides behind a man. 266. (248) End of B. C. Newmarket Tillemans. (379.) O' Canvas. 2ft. 7\in. x 5ft. 2in. ' / First appears in the 1736 Catalogue, No. 99, as "Newmarket Races." A brighter and much more cheerful picture than No. 265. The sky, with light clouds delicately painted, occupies a large portion of the picture. The figures here are not highly finished ; but expressed with great animation. The foremost horses, white and chestnut, ridden respectively by scarlet and yellow jockeys, advance from the extreme left. Great excitement among the spectators standing in a crowd near the winning-post at right- hand side. At the extreme right is a high square building, and women in the balcony. Jockeys are seen below, betting over a wall. A church and houses in the distance to right of the stables. A square building in the middle of the picture. A lady in blue, and gentlemen in red and white coats on grey and bay horses, are prominent in the foreground. 267. (251) Thracian Women stoning Orpheus . . . Romanelli. (386.) Camas. A circular picture, in gilt square frame, with handsomely carved spandrils. 4ft. lin. x 4ft. Sin. First appears in the 1729 Catalogue, No. 49, and in the 1736 Catalogue as "The Thracian Women stoning Orpheus, a poet," No. 21, by Romanelli. Purchased of Win- stanley at the price of £30, besides all charges from Rome. In this composition there are five principal figures, and several more in the distance to the extreme right. The colours are very powerful, with strong shadows. The light is admitted from the right hand. Orpheus, in blue drapery, is seen falling to the left. His left arm is raised. Two women have lifted stones to throw on him, and a third, in a red garment, is about to rush at him with a javelin. Orpheus, after the death of Eurydice, was torn in pieces by the Thracian Maenads for having treated the women with contempt. His head was thrown upon the Hebrus, down which it rolled to the sea, and was borne across to Lesbos. MAHOGANY BED-ROOM. Ho Romanelli the painter was a pupil of Pietro da Cortona, patronised by Cardinal Mazarin, and distinguished by the Order of St. Michel. 268. (252) Pots and Pans. The Supper at Emmaus in an inner Chamber. Peter AerUenx. (387.) Panel, composed of three pieces, joined horizontally. 2ft. 6jin. x Aft. O^in. First appears in the 1736 Catalogue as "Kettles and Pans." No artist's name ia mentioned. A group of culinary utensils, chiefly of copper lined with tin ; a rope of onions and a candle on the left side. At a distance, seen through an arched door, as in a farther room, at the head of a flight of steps, appears the group of Our Lord with the two disciples breaking bread. The figures are extraordinarily diminutive in comparison with the pots and pans. The latter are painted with surprising truth to nature, especially their polish, and bubbles on the surface of some water in one of the pans. 269. (25i) Alpheius and Arethusa .... P. Francesco Molu. (390.) A square oblomj picture. 2ft. Ain. x 3ft. \\in. First appears in the Catalogue of 1782. A male figure pursues a naked nymph rushing with outspread arms towards the left. Her foot already touches a piece of water. Cupid with his torch flies beside her, and Diana, with a crescent on her forehead, and a blue arching drapery, hovers above them. Nymphs in attitudes of surprise appear on the distant banks of the river on the right hand. Painted with great refinement of form, in a subdued mellow tone. The shadows are generally brownish. 270. (255) Triumph of Galatea Romanelli. .... . < 391 > Canvas. A circular picture, in a square gilt frame, with handsomely carved spandrils. Aft. \in. x Ajt. 8in. First appears in the 1729 Catalogue, No. 50, and in the 1736 Catalogue, at which time it was in the same apartment, and described as "Venus and Sea Nymphs." It had been purchased for " £30, besides all charges paid from Rome." u I4G PICTURES AT KNOWSLEY HALL. Galatea floats on the water, seated in a shell car, drawn by dolphins, to the right. A triton on one side guides the dolphins with reins held in both hands. A mermaid on the opposite side offers red coral. A third attendant, floating behind, holds a scarlet drapery, which curves like an arch on the sky over Galatea, and partly serves to shade her countenance. A triton, cupids, and other mermaids also appear on the water. A rich and very pleasingly coloured picture, with strong local tones and well massed shadows. 271. (256) Ruins Pannini. (14.) Canvas. 3ft. 9m. x 2ft. 4in. First appears in tbe 1736 Catalogue, No. 48. The interior of a ruined semicircular building, with a portico of four columns and pediment seen in centre beyond. Men occupied in making a fire. A white horse stands in the centre turned towards the left. Goats are disturbed and hiding themselves among the fallen stones. A fine and carefully finished picture. 272. (257) Sacrifice to Jupiter F. Bol. Panel, composed of two pieces joined horizontally, and purquetted with cross pieces of wood all over the back. 1ft. 9m. x 2ft. 7in. First appears in the 1782 Catalogue. In the left half of the picture is the sacrificing group. A digni- fied figure of a priest in long white robe and venerable beard, crowned with a green wreath, stands officiating at a square carved altar raised on two steps. His figure is seen in profile turned to the right. He is attended by ministering youths in dark dresses, two of whom hold aloft long flaming torches. Behind the high priest, on a lofty carved pedestal, rises a bronze standing figure of Jupiter holding forward a thunderbolt in his left hand. At his side is the eagle with outspread wings. Silver sacrificial vessels are placed on the steps of the altar, before which three females are kneeling, the foremost of whom, in an embroidered orange-coloured robe, holds a white bird with red comb and wattles. In her left hand is a large golden vessel. The priest also holds a small golden vessel with a long handle, as if about to pour a libation into the MAHOGANY BED-ROOM. 147 flame on the altar. Behind the kneeling women in the centre of the picture is a group of men conducting a white ox decorated with a garland for sacrifice. Behind these, as if issuing from a dark arch in the city walls, is a crowd of men in deep-coioured dresses carrying spears, lances, and a pennon. To the right of the gate, and near the extremity of the picture, is a lofty tower of a German castle, and the spire of a church rising heyond the roof connected with it, against a deep blue-grey sky. The main background is composed of a ruined building with broken arches and masses of vegetation, as seen in the remains of the aqueducts and public baths at Rome. In the left-hand corner are several figures wearing turbans, and richly emhroidered vests, which at once indicate the influence of Rembrandt and his school. One kneeling youth holds a censer, and another is raising a bundle of faggots for the service of the altar. A youthful figure to the extreme left blows a long trumpet. On the sides of the altar are sculptured bas-reliefs in circular panels, the one to the left being Europa on the bull. The light is admitted from the left-hand side. The picture is freely painted in a rich brown tone, with dark brown shadows in the style of Rembrandt. The complexions of the figures, excepting the kneeling female with the white bird, and a youth in a dark dress and green wreath behind the high priest, are all of a very deep brown tint. The two exceptions are very pale. 273. (259) The West Front of Knowsley in 177G. (394.) Canvas, larye square, in a handsome carved blue and ijuld frame. 3ft. 11m. x 7ft. 6m. Showing railings and great gates in front. Spires upon the two towers on the embattled ancient buildings to the right, and a continuation of the front of the house as red brick stables towards the left. A pediment and a domed lantern then decorated the centre of the building, and a long wall with fruit trees advanced from the left angle of the principal part of the house to join the iron railings. No figures are introduced in this cold and formal picture. 148 PICTURES AT KNOWSLEY HALL. 274. (260) The South Front of Knowsley .... Mollineux. (395.) Canvas, large square, in a handsome carved blue and gold frame. 3ft. &\in. x 5ft. 9 in. Exhibiting the colonnade end seen across the water. The two spires and the central domed lantern form conspicuous features upon the building. To the left is a curiously separated square piece of water, surrounded by high mounds or ramparts of turf. No figures are introduced in this picture. 275. (261) Portrait of a Merchant . . Attributed to Pourbus. (404.) Panel, on a rough oak. Apparently by a Flemish artist, about the middle of the 16th century. 3ft. 3ii». x 2ft. 6m. Purchased by the 13th Earl, when Lord Stanley, at the sale of Mr. William Roscoe's Drawings and Pictures, Liverpool, September 28th, 1816, for the sum of £13 13s. See Sale Catalogue, Sixth Day, No. 148, where it was entered "Francis Pourbus. Portrait of a scholar ; fine character, and highly finished ; half-length, size of life." A standing figure, half-length, life-size, in a black dress cloak and small cap ; turned slightly towards the right. The face, some- what aged, with a florid complexion and chestnut-brown croppy beard, is seen in three-quarters towards the right ; the grey eyes are fixed on the spectator. The background a plain greenish grey, with a shadow of the figure cast upon it towards the right. He wears a small plain white frill, and narrow plain white bands at the wrists. He holds both his gloves in the left hand ; the right, unoccupied, hangs down. No ring is observable on either hand. His dress is quite plain, only a girdle tied in a bow at his waist, and entirely black. A German-shaped shield hangs by a strap from a nail in the upper left-hand corner. The monogram upon it is represented as if incised on the brown surface. The device appears to be a merchant's mark, and relates more probably to the person represented than to the painter of the picture. MAHOGANY STAIRS. 149 The face is somewhat similar to Sir Thomas Gresham's, but the eyes are different in colour ; and the merchant's mark which he used, as seen in the full-length picture at Gresham College, is totally unlike. 276. (28i) The Borromean Islands . By Mollineux after TiUemana. (415.) 2ft. x 2ft. 74m. A square, oblong picture, looking down upon the islands, with high-pitched horizon. Boats upon the water. Very pale in general tone of colouring. 277. (290) Chinese Landscape Chimwr'/. (24.) Canvas, Ion;/ shaped. \ft. Q\in. x ijt. lin. Painted in oil colours. First appears in the 1840 Catalogue. Bought at the Oaks, September 15, 1840. The English Factory and the Town and Hay of Macao, " paint' •! on the spot." Chinese figure seated in centre foreground. Slightly but very effectively executed in a grey tone. This and the companion picture, No. 801, shows considerable affinity to the clever water-colour sketches of Win. Muller. 1 MAHOGANY STAIRS. 278. (265) The Passage of the Red Sea .... B&rgognone. (199.) Leather, square sheets of (jilt. 3/<. 4ih. x \ft. 2A»/i. First appears in 1782 Catalogue. Purchased by the 12th Earl of Derby from Sir James Smith, the British Consul at Venice, for the sum of £250. Pennant, in Ins "Tour to Alston Moor," page 46, states that these pictures were added to the collection between his first and his hist visit in 1773. A comparatively simple composition, with a large proportion of flat water without anything to relieve it. The sea, of a dark brownish blue, with a high-pitched horizon, fills the centre of the picture. The horizon is broken with far distant towered-buihlin-s. spires, and city walls, which rise dark against a golden sunset sky varied by horizontal clouds, as Venice itself appears, when first 150 PICTURES AT KNOWSLEY HALL. seen across the Adriatic. The Israelites, under the guise of very ordinary Venetian men and women, are confined within a small square space to the right-hand side of the picture. The Egyptian host form a wedge issuing from the left-hand side, and the narrow point in the centre of the picture terminates in the figure of Pharaoh on a white horse. Many dead and naked bodies are being tossed forward by the waves. Moses, with no distinguishing feature be}>-ond a small rod which he raises in his left hand, stands in front with his back to the spectator. He appears to be calmly conversing with a young man behind him, who wears a red cap and old Venetian costume, a white bundle in his left hand, and a package under his arm. The light is admitted from the right- hand side. The high mountains, and crowds of people on the shore, are solidly and more accurately painted and more power- fully conceived than in the companion picture. A strange mass of brown rock, at the feet of Moses, much painted over, had originally a different form. Here, as in the others, the bright surface of the gold ground shows through the brighter colours and enriches some of the transparent shadows. At Chiswick, in the collection of the Duke of Devonshire, is a small picture by Borgognone, also representing this subject ; but under a different treatment. 279. (266) The Honourable H. Stanley, 2nd Son of the 13th Earl of Derby Briggs. (396.) Canvas, square. Q\in. x 1ft. 4in. Life-size portrait. In brown coat, white waistcoat, and black satin stock and front within the waistcoat. Seen to below the waist, turned towards the right, resting his right hand on his knee, and the left upon the red square back of a chair. The face in three-quarters to the right. Dark hair and eyes and mous- taches. (For a miniature of the same person as a child, see No. 308.) Born, March 9th, 1803. Member of Parliament for Preston. Married 1st September, 1835, Anne, daughter of the late Richard Woodhouse, Esq. MAHOGANY STAIRS. 151 280. (267) Fanny, Wife of Colonel Stanley, youngest Son of the 13th Earl of Derby W. Derby. (279.) •2ft. lljf'/f. x 1ft. bin. First appears in the ltJ41 Catalogue. Purchased from the artist. Half-length figure, life-size, seated to the right, wearing a black velvet dress. Hands joined ; resting her left elbow on the chair with a plaid shawl. Red curtain background. Frances-Augusta, daughter of Henry F. Campbell, K.C.B. Married in 1836, to Colonel the Hon. Charles- James-Fox Stanley. (For Colonel Stanley, see post, No. 283.) 281. (268) Edward, Lord Stanley, afterwards 14th Earl of Derby, K.G. . Briggs. (374.) Canvas. 3ft. x 1ft. tin. Life-size, standing, in brown coat and black velvet collar, with pale yellow waistcoat, and black satin stock covering the chest. Face in three-quarters, looking to the left. Light admitted from the right-hand side. Dark red curtain background. The right hand rests on a table, and the left supports an eyeglass between the first and second fingers. Powerfully painted, but dark and cold in colour. Engraved by Mote in " Conservative Statesmen," vol. ii., 1844. Edward- Geoffrey Smith-Stanley, Hth Earl of Derby, K.G., was born ut Knowsley, 2Sith March, 1799, and married, 31st May, 182.}, to the Hon. Emma-Caroline Wilbraham, BGCOnd daughter of Edward, first Boron Skel- mersdale, of Latham House. Died at Knowsley, October, 1869. 282. (269) Lady Ellinor Hopwood, 3rd Daughter of the 13th Earl of Derby W. Derby. (280.) Canvas. 3ft. x 1ft. Gin. First appears in the 1841 Catalogue. Purchased from the artist. Half-length, life-size, seated to the left. Face in three-cpiarters, turned to the left. Dark reddish velvet dress; a white shawl across the arm of her chair. Small golden combs in her hair. Dark, rich, brownish -green curtain in the background. 152 PICTURES AT KNOWSLEY HALL. Lady Ellinor Stanley, born 3rd May, 1807 ; married, June, 1835, the Rev. Prank-George Hopwood, M.A., rector of Winwick. (See also No. 285.) 283. (270) Colonel The Honourable C. Stanley, 3rd Son of 13th Earl of Derby Pickersgill. (399.) Canvas. 3ft. x 2ft. Ain. Life-size, to below the waist. In military uniform, scarlet coat with gold epaulettes. Arms crossed ; face seen in three-quarters, turned to the left. Light admitted from the right-hand side. Dark grey sky background. The Hon. Charles- James-Fox Stanley was born 25th April, 1808. Colonel of the Grenadier Guards, and Colonel of the 7th Lancashire Militia. Married, in 183G, to Frances-Augusta, daughter of Henry F. Campbell, K.C.B. (See ante, No. 280.) 284. (271) Horn, the King's Chestnut Arabian .... Wootton. (403.) Canvas, square oblong, in a carved gilt frame. 3ft. 3\in. x 4ft. lin. First appears in the 1729 Catalogue, under the heading " Two Horses, Wotton," and in the 1736 Catalogue, page 7, No. 62, as "A Horse, the King's Chestnut Arabian, by Wooton." Bought of " Mr. Wooton for £15 15s." The horse, seen in profile to the left, is held by an Arab in a long blue garment, bare feet, and a close-fitting white turban. A dog looks up to the Arab. A saddle lies on the ground, and a vase on a pedestal to the right. 285. (272) Ladies Charlotte, Louisa, and Ellinor Stanley, Daughters of the 13th Earl of Derby G. Hayter. (397.) Canvas, large square. 5ft. llin. x 5ft. 1\in. Three figures the size of life. One in yellow dress, with a book, is seated to the right. The youngest, wearing long ringlets, and white dress with a blue sash, sits on the ground at her sister's feet. The third daughter in white, with a satin sash of the same colour, rests her right hand on her sister's shoulder. A large red curtain occupies the left-hand corner of the back- ground, and a garden landscape the opposite side. UPPER COLONNADE ROOM. Lady Charlotte-Elizabeth Stanley was born 11th July, 1801, and married, 16th December, 1823, to Edward Penryhn, Esq. Died loth February, 1853. For Lady Ellinor see ante, No. 282. Lady Louisa Emily, born 1st June, 1805. Married, 18th April, 1825, to Lieutenant-Colonel Samuel Long, of the Grenadier Guards, and died 11th December of the same year. UPPER COLONNADE ROOM. 286. (278) Flowers Baptiste. (411.) Canvas, large upright. 4ft. x 3ft. 2in. Roses and other flowers, of various colours, in a handsome gilt vase. Pinks, carnations and lilies are above the roses. A blue convolvulus and long-stalked polyanthus have fallen from the vase, and lie on the plain grey slab below. The light is admitted directly from above. Probably an old copy. 287. (280) Cincinnatus . Copied by H. Winstanley from Ciro Ferri. (413.) Canvas, small oblong square, in a rich blue and gilded carved frame, lft. lOin. x 1ft. Tin. First appears in the 1 782 Catalogue. Inscribed on the back of the canvas, in large black letters : — " The original by Ciro Ferri. In the possession of the D. of Devonshire. Manlius Curius Dentatus {copied by U. Winstanley : 1727) tempted with bribes by the Samnite Embassadors in Vie year of Rome 4u'3." Curius Dentatus is here represented seated at his hearth rejecting the golden vessels, which a soldier proffers to him on a circular tray, and points with his left hand to the frugal meal of vegetables with which he is satisfied. A second soldier bears a large vase. The door of the cabin is to the left. Curius Dentatus triumphed at Rome over the Samnites and Pyrrhus, B.C. 275. Once the Samnites sent an embassy to him with costly presents. The ambassadors found him on his farm, sitting at the hearth and roasting turnips. He rejected their presents with the words that he preferred ruling over those who x 154 PICTUEES AT KNOWSLEY HALL. possessed gold, to possessing it himself. He was celebrated as one of the noblest specimens of ancient Roman simplicity and frugality. Canvas, oblong square, of coarse texture, lft. lOJiw. x 3ft. Ain. Numerous small figures, including horsemen. A gigantic figure seems running away in the left-hand corner. The costumes belong to the period of the close of the 16th or beginning of the 17th century. The painter of this and the succeeding picture, Jacques Courtois, or le Bourguignon, is one of the most eminent battle painters of the French School. His names have been converted by the Italians into " Cortese" and " Borgognone." He died at Rome, 1676. 289. (284) A Battle Piece Bourguignon. Companion to the preceding picture. The view of a town with lofty towers, like Florence, during a siege. A distant view of hilly country to the left. On the right side are high walls. On a rough large tablet in the centre of the extreme angle to the right is inscribed : — 288. (283) A Battle Piece Bourguignon. (408.) (410.) Canvas, lft. llin. x 3ft. iin. Both pictures are very dark and rough, but genuine. GALLERY SITTING-ROOM. 155 GALLERY SITTING-ROOM. 290. (375) Landscape Attributed to Artois. (283.) Panel, small. 9in. x 1ft. 2in. Purchased at Brussels in 1846, by G. H. In the central distance appears a blue peaked mountain. Water crosses the picture in two streams, a bridge to the right, and a pyramid and buildings in centre. A man in a red coat is seen walking along the road in the centre. 291. (376) Landscape with many Figures . Boel and Baudwyns. (284.) Canvas. lOAin. x }ft. 4in. First appears in the 1736 Catalogue. Seashore, with a ruined tower and numerous figures and cattle. Ships standing out at open sea to the left. Dark and grey in tone. 292. (448) Brahmin Cattle and Goats Amdell. (339.) Canvas, oblong square. 2ft. 6§4k x 4ft. 2m. First appears in the 1846 Catalogue. Purchased from the artist by the 13th Earl of Derby. A large grey bull, turned towards the right, is very prominent. A cow and a young bull, facing each other, are in the middle distance. A goat in the right-hand foreground is partly shadowed by a large bush. The light is admitted from the right hand. Very pale clear sky. Signed in the right-hand corner. The date partially hidden by the frame. 293. (449) Antelopes Amdell. (340.) Canvas, oblong square. 2ft. G^in. x 4ft. 2in. First appears in the 1846 Catalogue. Purchased from the artist by the 13th Karl of i Derby. Five animals, all, exceptiug one, turned to the left. This one, the youngest, standing at the right-hand side, faces and gazes at x 2 156 PICTURES AT KNOWSLEY HALL. the spectator. Their lofty and gracefully curving horns are rendered still more prominent as dark objects in contrast with the clear pale blue sky. 294. (286) Ruins, with the story of Belisarius . . . Pannini. (346.) Canvas. 3ft. §\in. x 5ft. First appears in the 1736 Catalogue, No. 53. Purchased at the price of £40. A grand composition. The principal ruin consists of a large square roofless building, supported by many columns, with two statues, and the remains of vaulting above the architrave. Beli- sarius is seated at the foot of one of the columns. The figures are ten in number and a dog. The remains of a temple may be seen, to the right, among rocks in the distance. A fine, rich picture, brown in tone, with solid shadows. Belisarius, the great Byzantine general under Justinian, was born in Illyria about A.D. 505, and died 565. He is here represented in his adver- sity and blindness (a.d. 563), soliciting alms from the bystanders. See the " Life of Belisarius," by Lord Mahon, 8vo, 1848. 295. (288) Scipio among the Ruins of Carthage . . Pannini. (348.) Canvas, large oblong. 3ft. 6in. x 4ft. 11m. First appears in the 1736 Catalogue. Purchased for £40. The two principal parts of the ruins are a fragment like the arches of the so-called Temple of Peace at Rome, and the remains of a large Corinthian portico. Fragments of cornices and statues lying on the ground, and a small piece of water in centre of fore- ground. Several figures are introduced, and the middle one, a standing warrior, is like the figure of Alexander in Raphael's picture of the Marriage of Roxana. A remarkably good, clear, and freely-painted picture. 296. (289) A Battle Piece .... Tillemans, after Borgognone. (381.) Canvas. 1 ft. 10m. x 2ft. 6m. First appears in the 1729 Catalogue under "Borgognone : a Battle." In the second Catalogue, 1736, it is called " A. battle piece, manner of Burgognion, by Tillymans." GALLERY SITTING-ROOM. 1-57 Attributed to Leandro in the 1782 Catalogue. Purchased at Lord Portland's sale, 24th Feb. 1722, for £6 to. £ Q ^')4 . ^ Signed in black letters on dark yellow foreground in right-hand corner. Horace Walpole in his " Anecdotes " (p. 675 of the Dallaway and Wornum edition), expressly mentions that Turner, a picture- dealer, brought Tillemans, and Casteels his brother-in-law, to England in 1708, "and employed him in copying Bourgognon and other masters, in which he succeeded admirably." A good, spirited picture. A white horse, wounded, is prominent in the centre, and a man fallen dead on the ground with his head towards the spectator. In the extreme right is a youth running away. High mountains and much smoke in the background. 297. (293) A Fish Stall Peter Angelia. (36.) Panel, thin oak. !)in. x 10] in. Purchased by the late Earl of Derby at Btrawbarry Hill sale, .May 14th, 184-2, with the companion picture, No. 299, for £7 17*. 6d. They were No. 112 of the 18th day's sale Catalogue. Horace Walpole thus describes them in the account of his own villa, Lord Orford's Works, vol. ii. p. 429: "An herb-market and a fish-market ; after Teniers in oil, by Angelis." Walpole censures his colouring as "too faint and nerveless." A young woman in a straw hat is standing at a fish-stall, shaded by a yellow canopy to the right. Blue-green trees are in the distance, and a sea-shore towards the left. Thinly and prettily painted. The fish on the stall delicately and truthfully finished. The figures do not equal the other parts of the picture. No signature observable. See also No. 2!)!). 298. (294) A STABLE-YARD, with a Cart, and a Woman paring Turnips. Painted in oil by J. II. Muutz. (57.) Canvas, small square. 11 in. x 1ft. lji'n. Pint appears in the 184t> Catalogue. Purchased by the late Earl of Derby at the Strawberry Hill Sale, May 14th, 1842, for £2 10». It was No. 87 of the 18th day's sale Catalogue. 158 PICTURES AT KNOWSLEY HALL. The interior of a farm-yard in front of a house, before which a woman is seated emptying a sack into a tub. To the left are a cart, wheelbarrow, and trees ; stables beyond, and a cowhouse and shed to the right. A carefully painted and well finished picture. The shadows thrown from the cowshed on to the front of the central house are very truthfully rendered. The sky is blue-grey, and the general tone of picture is yellow brown. 299. (295) A Vegetable Stall or Herb-market . Peter Angelis. Panel, thin oak. 9in. x 10| in. Companion picture to No. 297. A market woman bargaining for vegetables with a gardener who stands in a cart. A barrow with fruit, and a pile of vege- tables are painted with remarkable clearness. No signature of artist observable. These pictures resemble in their general tone the works of Wm. Mieris. The name " Angelus " is written on the back of the oak panel. 300. (296) Battle between Turks and Christians . Hughtenburg. (385.) Canvas, in a black and gold frame, lft. lOin. x 2ft. 5in. Companion to No. 296. In the centre, and very prominent, is a turbaned Turk in red, on a white horse galloping to the left, and defending himself from a soldier on a brown horse discharging a pistol at him. To the left, a dun horse lies wounded on the ground. In the background is represented the storming of a fortress ; amid much smoke a high tower rises above the citadel to the right of the centre. The Turks wear large white turbans, and the Christians black hats with feathers. Both this and the companion picture, No. 296, are extremely well painted. The picture is signed in black on a grey ground in the right- hand front corner — GALLERY SITTING-ROOM. 159 The signature appears to be a fabrication, and the painting is very pro- bably the work of Tillemans. It has also been conjectured to have been painted by Leandro, a name given to a Saxon artist, Christian Reder, bom 1656. He painted battle-pieces, and visited Venice, Hamburg, England, and Holland. 301. (297) View of Macao Chinnery. (25.) lft. lin. x lft. 9in. Companion to No. 277. First appears in the 1846 Catalogue. Bought at the Oaks, Sept. 15, 1840. 302. (299) Various Birds Snyder.?. (392.) Canvas, square oblong. 3/1. ll^in. x 1ft. 6 Jtn. First appears in the 1729 Catalogue, No. 70, under the title of " Forrcign Birds." In the 1736 Catalogue it is mentioned under "Birds, by Snyders. Bought of T. W. for £12." Fifteen birds perched on the various branches of an oak tree which spring up in three main lines from the lower level of the picture. The background is a grey and blue sky, with a line of blue hills just appearing along the base next the frame. The smaller birds in the centre are busily chattering and singing. Long-necked, heron-like birds are on the right-hand side. A finely painted and very characteristic picture by Snyders, in excellent preservation. This composition closely resembles one that was formerly in the Houghton collection by Nuzzi, called Mario dot Fiore, engraved by Earlom. 303. (300) Four Children with Fruit . . John Peter Qillemcma. (368.) Canvas, in a dark brown tone. 1ft. Sin. x 1ft. 9in. A picture of no great merit. Rabbits are introduced in the foreground. Signed below, in the centre, in dark sepia on a brown ground — 160 PICTURES AT KNOWSLEY HALL. 304. (302) Battle between Turks and Germans. Apparently painted by Tillemans in imitation of Borgognone. (369.) Canvas, a somewhat large oblong. Sin. x 4ft. Sin. Numerous figures on horseback, central group with a banner, dark upon pale sky. Rocks rise to the right hand. Turks wear armour as well as turbans. Several of the attitudes of the figures are derived from Raphael's large fresco of the Battle of Constantine. The colouring is imitated from Wouwermans. See ante, No. 296, and post, No. 345. 305. (303) A Landscape . . . Attributed to Huysman of Malw.es. (370.) Canvas, large square. 3ft. 4in. x 4ft. 6%in. Softly and effectively painted, probably by Wootton in the style of Claude ; the green tints partake of the colouring of Swanevelt. A tall classic column rises in the centre, behind which are seen in the distance a hill and castle with other buildings, declining towards the right, to a piece of water crossed by a bridge with four arches. Beyond these appears an expanse of flat plains. Large feathery trees occupy the right-hand side. On the left are cattle and a shepherd with a pipe. In the foreground a woman and child by a man seated on a log of wood and calling to a dog. 306. (304) Children with Fruit Gillemans. (372.) Canvas. 2ft. Sin. x 4ft. S\in. Appears in the 1736 Catalogue. Companion picture to No. 303. Four naked children with autumnal fruits. Guinea pigs in front. Signed in front, in a similar manner to No. 303. Far superior, as regards painting, to the companion picture. GALLERY DRESSING-ROOM. 307. (316) A Fruit Piece Unknown. (355.) Panel. 1ft. Sin. x 2ft. 4in. Grapes and plums in a basket. Slices of lemon and pears in front, Drops of water and insects minutely painted. GALLERY DRESSING-ROOM. 1G1 308. (381 j Edward, Charlotte, and Henry, three eldest Children of the 13th Earl of Derby Shelley. (289.) A miniature, painted on ivory. 5ft. x 5|/<. First a ppears in the 1830 Catalogue. A long square ivory. Half-length figures. Edward, as a boy, in dark jacket and trowsers, with short white waistcoat and frill round his neck, stands on the right-hand side of the picture, holding in both hands the twisted cord of a crimson curtain, the folds of which are thrown over his left arm. His sister, in a white dress and narrow blue sash, with amber scarf, is seated upon an ermine cloak and crimson-covered sofa. The second brother is introduced between them, with knees drawn up on the couch, placing his left hand on his brother's right shoulder. Grey sky is seen to the left. Signed along the yellow carved pattern in front of the sofa, — " S. SHELLEY, P." Inscribed in large letters, on a paper attached to the back of the frame, but without a date — "Painted by Sam 1 - Shelley, George Street, Hanover Square. No. G." For portraits of the 14th Earl in after life see No. 281 (by Briggs) ; No. 192 (by Harlowe) ; and No. 357 (by W. Derby). Edward-Geoffrey, father of the present Earl of Derby, born 29th March, 1799. Charlotte Elizabeth, born 11th July, KS01 ; married 1823, to Edward Penrhyn, Esq. (See ante, No. 285.) Henry Thomas, born 9th March, 1803. (See mite, No. 279.) 309. (396) Stag of Twenty-six Years, Knowsley Park . Anndell. (304.) sft. x eft. First appears in the 1846 Catalogue. 310. (468) Group of Antelopes Ansdell. (344.) Canvas, square oblong. 4ft. x 6ft. First appears in the 1846 Catalogue. Purchased from the artist by the 13th Earl of Derby. A large and very effective picture, cleverly grouped, and well painted. 162 PICTURES AT KNOWSLEY HALL. Seven animals on the top of a lofty cliff, with a distant view of the sea-coast to the left. The antelopes have been startled. The principal one looks sharply round to the left ; another, still couch- ing, turns her head in the same direction, whilst a third, just behind, is about to leap up to a high crag on the extreme right. Signed in the right-hand corner — BED-ROOM. 311. (71) The Honourable James Stanley, second son of Edward, 12th Earl of Derby Westall. (96.) lft. Sin. x 1ft. lin. First appears in the Catalogue of 1830. Painted in water colours. This picture was No. 1893 of the Exhibition of Miniatures at South Kensington in 1865. A small full-length figure of a child dressed in a short white dress, standing under some trees, with honeysuckle and convolvulus branches trailing on the ground. His left hand is raised to his breast. A large stone vase, sculptured with figures, is among trees to the right, and a white butterfly, the object of the child's attention, perched upon some flowers below it. The Honble. James Smith- Stanley, born 9th March, 1800. Son of the 12th Earl and his second Countess, Elizabeth Farren. Died in London, 3rd April, 1817. Buried at Ormskirk. YELLOW ROOM (now Bed-room No. 20). 812. (374) St. Jerome in the Desert . . . Attributed to Titian. (367.) Canvas, oblong square. 2ft. iin. x 2ft. llin. Purchased by the 13th Earl of Derby from Mr. Roscoe, for the sum of £19 19s. St. Jerome, naked, kneeling to the right, inflicting penance on himself with a stone. Dark woody background. The lion accom- panies him. YELLOW ROOM. 1G3 St. Jerome travelled into the East in 373, and spent four years in study and seclusion on the confines of Arabia. He died at Bethlehem, A.D. 420. 313. (275) Temptation of St. Anthony .... Vander Venne. (371.) Panel, oblong. 2ft. 4in. x 2ft. Win. Purchased by G. H. at Brussels. The saint, kneeling towards the right at a rough table with book and skull on it, is on the left-hand side of the picture. His constant attendant, the pig, is introduced. A very indifferent, dark-toned painting. 314. (276) The Good Samaritan Salvator Rosa. (23.) Panel, upright square, composed of two pieces of brown wood, joined vertically. 2ft. 9*i'n. x 2ft. litre. First appears in the 1729 Catalogue, No. 58, as "The good Samaritan, with the Pen on Board," and in the 1736 Catalogue as "The good Samaritan, on board with a pen. Salvator Rosa." Purchased at "£12 10s." A "polcer painting," that is, burnt with hot irons into the wood, and heightened in lines with a pen and ink. In square black frame, with gilt moulding. The companion picture to No. 315, " The Temptation." A wild scene, with forest trees. The wounded man lies face upwards at full length on the ground, with his head turned towards the right. The Samaritan bends over liiin, but without kneeling, and holds a cruse of oil. The head and neck of ;i limst in profile projects from the extreme left-hand side. (St. Luke, ch. x. v. 34.) This picture has been etched, the reverse way, by P. Casteels, on a large tall folio sheet. Inscribed : " Ejus vuluera oleo, vinoque perfusa obligavit." 315. (277) The Temptation of Christ Salvator Rosa. (22.) 2ft. 9£t'ji. x 2ft. ljtn. First appears in the 1729 Catalogue, No. 57, as "Christ Tempted, with the pen on board." Similar to the preceding. Entered in the 1736 Catalogue as "Christ Tempted, a drawing ou board with a pen," by Salvator. Purchased at "£12 10«." Y 2 164 PICTURES AT KNOWSLEY HALL. A "Poker-painting," which means, burnt with hot irons into the wood, and finished with lines and touches of black ink. The companion picture to No. 314, " The Good Samaritan." Satan, under the semblance of an old man, offers a stone to Our Lord, who rests his back against a mass of rock, with his figure turned in profile to the right. The background consists of lofty forest trees ; in the style of Titian's famous picture of " San Pietro Martire." Etched in a plate, corresponding with the preceding, the reverse way, by P. Casteels. No date. Inscribed: — "Jube huic Lapidi ut fiat Panis. Luke, c. iv. v. iii." Pennant describes these pictures as " stained on wood," and expresses surprise that a good Catholic should represent the devil in the habit of a monk (p. 42). 316. (279) Cow's Head Paul Potter. , (412.) flfi^ Panel, square upright. 1 ft. 3in. x lft. Sin. Purchased by the 13th Earl of Derby, from Webb's sale, for £21. Only the head and neck of the animal are seen ; turned, nearly in profile, to the right. Colours brown and white, horns white. Background plain brown. A similar picture of a cow's head, life-size, signed Berchem, 1650, is in the possession of the Earl of Warwick. 317. (282) Still Life Probably by Bogdani. (353.) Canvas, square upright. 2ft. Sin. x 2ft. llin. A boiled lobster lying on a white dish, with oysters, cut lemons, and grapes ; extremely well painted. 318. (312) Fkank Hals Himself. (360.) Canvas. 2ft. 6in. x lft. ll£tn. First appears in the 1729 Catalogue as " A Laughing Head," by Frank Hals. In the 1736 Catalogue it is described as "A Man's Head Laughing, by Francis Hallse." Life-size. A nearly half-length figure, in a broad-brimmed, circular black hat, falling plaited ruff or frill fitting close to the YELLOW ROOM. 1G5 chin, and a yellow medallion exhibiting a bearded profile, appa- rently of the Prince of Orange, hanging from his neck. He holds forward a glass, and spoon in it, in his left hand; the right is raised, showing the open palm to the spectator, as if speaking. His dress is yellow or dark buff with plain sleeves and a belt. Spiritedly painted, and full of character. The left hand holding the glass tumbler is unfinished. Etched by Unger in the second part of his collection of the works of Franz Hals. 319. (314) Monkey and Fruit Campidoglio. (15.) Canvas, small square. \ft. Lin. x \ft. 2in. First appears in the 1736 Catalogue, No. 66, as "A Monkey cracking Fruit." Pur- chased for £20. A dark grey monkey crouches on the ground, to the right. Figs and nuts are before him. The background is a dark blue sky. Coarsely and clumsily painted. 320. (315) A Fishmonger and his Wife .... Simon de Vos. (351.) Canvas, upright. Aft. 8in. x 3ft. 54m. Figures life-size. A table, with a large codfish on it, is in front. A stone wall constitutes the background. The man hold^ a basket of fish, the woman rests her hands on the arched handle of another basket. Apparently a good and effectively coloured picture ; brown in tone, not easily seen. 321. (317) Plucked Fowl and Bundle of Asparagus . Unkno < 354 -> Canvas, square oblong. \fl. %\in. x 1ft. 3J/'n. First appears in the 1736 Catalogue as "Chicken and Asparagus." No artist's name is given. A fowl, trussed for cooking, lies on a pewter plate, and a bundle of remarkably large asparagus is in front of it. A copper tankard and a horn-handled knife lie on the table beside them. The back- ground is plain dark brown. No artist's name observable. Capi- tally painted with great freedom and powerful effect. 166 PICTURES AT KNOWSLEY HALL. 322. (318) Festoon of Fruit Seghers. (356.) 2ft. 9in. x 2ft. First appears in the 1729 Catalogue, No. 68, as " Flowers, by Segers, P. D. Soc. J." This appears to be the same as the picture catalogued in 1736 as " Festoon of fruit by F. Bourgion " (qy. Bogdani). Seemingly a very good picture, hung very high in a dark place, in a richly carved, coloured and gilt frame. A " Pretty pott of Flowers " is mentioned in the 1736 Catalogue. 323. (363) King Richard III Painter Unknown. (269.) Panel, old oak. 2ft. x lft. 6\in. First appears in the 1841 Catalogue. Purchased by Gr. H. at Eynsham, Oxfordshire, the site of an ancient monastery. Subsequently to the dissolution the abbey site became the property of the Earls of Derby. After passing through a younger branch of that family, it came to a nephew, Sir Edward Stanley, K.B., one of whose co-heirs was Venetia, the celebrated wife of Sir Kenelm Digby. One window in the vicarage garden is all that now remains of the ancient building. * This picture was contributed by the Earl of Derby to the National Portrait Exhibition in 1866, No. 38 of the Catalogue. In a large and very handsome wooden frame, inlaid with tarsia of coloured woods forming a pattern of flowers. This picture exhibits the authentic type of portraits of Richard III. ; the original being still in the possession of the Crown at Windsor Castle. The upper part of the panel is covered by a flat gold border or heading, with the bordering curved in a peculiar shape forming a canopy over the deep red background. This flat gold surface is loosely patterned with sprigs or veins of a brownish colour ; but in its original state, as we ascertain from the Windsor picture, it was elaborated with architectural ornaments, and the comers or spandrils were decorated with profile heads set in a quatrefoil panel or recess. The left-hand medallion was a male profile wearing a red cap, and the corre- sponding one was a female. This picture has suffered severely from ill treatment and over cleaning, but it is the counterpart of, and equally ancient with, the one at Windsor. The King wears a black cap adorned with a rich jewel above his right temple. His face is quite smooth, and the hair, long, and cut square, covers the ears. The figure is seen to the waist. * "Beauties of England and Wales," vol. xii., part 2, p. 438, and Murray's Handbook, 1860, p. 220. YELLOW ROOM. 1C7 The King wears a rich brown dress faced with brown fur, having a gold patterned collar rising on each side of the neck. His under- vest is gold, patterned with black lines and rows of small rings between them. This under garment appears again through the slashes of the brown dress. Across the top of the vest, and next to his bare neck, are bauds of white and scarlet. A broad jewelled golden collar like a band hangs over the shoulders ; but no badge is pendent from it. He appears to be drawing a jewelled ring off from the little finger of his right hand. A gold ring, with a white stone set in it, is on his thumb, and a large red-stoned ring is on the third finger of the same hand. No ring is on the left hand. The hands are full of character. The picture at Windsor bears traces of exquisite fiuish, and may be attributed to the school of Quentin Matsys. There are other repetitions of this typo both at Arundel Castle and in the National Portrait Gallery. The royal picture was engraved with tolerable accuracy by Thomas Cross, in the reign of Charles L , as frontispiece to Buck's " History of the Life and Reigne of Richard the Third." Folio. London, 1647. There is also a genuine portrait of this type at Hatheld House, No. 82 of the Catalogue, prepared by Mary Catherine, Marchioness of Salisbury, 1865. Engraved by G. Vertuc the reverse way, and published in Rapin's " History of England." London, folio, 1732. Whilst the engraver has faithfully transmitted the remarkable pattern on the flat red background, — as observable in several of Holbein's portraits, — he has entirely slurred over the curious ornamentation of the under- vest, and, in lieu of the medallion heads at the top of the picture, has inserted a fanciful group illustrating the couplet — " The Cat, the Rat, and Lovell the Dog Rule all England under the Hog." 324. (263) Lot and his Daughters Pellegrini (400.) Canvas, square upright. Aft. lji'ra. x 3/<. 4in. First appears in the 1736 Catalogue as " Lott and his Daughters," by " Pelligrocni." It was then in the same apartment as now. The figures arc the size of life. Lot, as an old man with white beard, is seated on the right side of the picture, and looks up towards the left. A crimson drapery covers his knees. One daughter, in yellow, stands over her father, handing him a bowl, 168 PICTURES AT KNOWSLEY HALL. whilst the other kneels at his feet in the left-hand corner, holding a large round golden vessel. The background is plain grey. CHAPEL SQUARE. 325. (253) Hercules and Omphale Romanelli. (388.) Canvas. A circular picture, in a square gilt frame, with handsomely carved spandrils. 4ft. lin. x 4ft. 8in. First appears in the 1729 Catalogue, No. 51, as " The Virtues crowning Hercules," and in the 1736 Catalogue, at which time it was in the same apartment, " The Maho- gany Bedchamber," and had been purchased for £30, " besides all charges paid from Rome. " The composition consists of seven figures. Hercules, seated in the centre, holds a tambourine in preference to the distaff, which now lies on the ground at his feet. Omphale, clad only in the lion's skin, stands before him, leaning upon an altar at the right- hand side. Women behind are scattering flowers. Cupid, reclining in front, points to the demigod in his degraded condition. Power- fully painted, with rich deep shadows. The women behind are strikingly characteristic of the school in which Romanelli was educated. NEW STAIRCASE. 326. (245) Knowsley Racecourse, from Riding Hill . Tillernans. (376.) Canvas, large square oblong. 3ft. 11 Jin. x 7ft. 7 in. A very spirited picture, containing numerous figures. The summer-house appears on the extreme right. The " Stand," or look-out tower, is on the hill towards the left. The race is being run ; the jockeys go to the left. Sutlers' booths and throngs of spectators, many on horseback, are painted with a force and mastery of colour quite equal to the best works of Wootton. Tillernans' power in delineating a horse quite justifies what has been written of him in Bryan's "Dictionary of Painters." Que \M BALL ROOM. 1G9 327. (217) View of Knowsley, from Riding Hill . . Tillemans. (378.) Canvas, large oblong square, in handsome blue and gold frame. 3ft. lOtfn. x 7ft. 6£t'n. First appears in the 1729 Catalogue, and in 1736 Catalogue as "A Prospect from the Summer House. " To the extreme left is a summer-house, with statues and vases mounted on pedestals, on an eminence, the slopes of which are decorated with concentric hedges of cut box. The house appears in the distance to the right of the centre. The sky and distant country are very well painted. 328. (250) Knowsley Park from Riding Hill, looking towards Prescot Tillemans. (383.) Canvas, large, in handsome blue and gold frame, as No. 327. 3ft. 10m. x 7ft. 6in. First appears in the 1729 Catalogue. The summer-house here appears on the extreme right. A village, with church and a smoking pottery, are on a distant eminence to the left. The sky and Cheshire hills in the distance are remarkably well painted. BALL ROOM. 329. (350) Wild Ass, Zerras, and half-bred produce . Anaddl. (256. > Canvas, square oblong. 3ft. 2in. x 5ft. llt'n. First appears in the 1850 Catalogue. Purchased from the artist by the 13th Earl of Derby. The wild ass stands in profile to the right, facing a zebra, and between them stands a colt, witli only the logs striped, the body being of a plain tawny colour. Between the principal wild ass and a half-bred colt at the left extremity of the picture, is a zebra having the neck and back striped, but the legs plain. Another zebra and a partially striped colt — the latter grazing — stand further apart, at some distance, to the right. Broad open expanse of clear pale sky. A well arranged mass of trees is introduced on the opposite side. Cleverly composed and skilfully varied. Bright cheerful tone of colour. 170 PICTURES AT KNOWSLEY HALL. 330. (370) BONTIBOK AND KlD, BRED AT KNOWSLEY . . HucjghlS. (277.) Canvas, round. 2ft. 3Jm. First appears in the 1850 Catalogue. Painted in oil on canvas. A circular picture in a square frame. The dam licks the kid. The shadows of the animals are thrown to the right on a light yellow sloping hill or surface of rock. 331. (351) Small Italian Landscape E. Lear. (264.) 10 m. x lft. 2m. First appears in the 1846 Catalogue. Purchased from the artist by the 13th Earl of Derby. View of a town on a bill, with tall square tower. An Italian peasant seated in the foreground among rocks. Deep blue sky. The light is admitted from the right-hand side. 332. (352) Landscape Wilson. (265.) Canvas, small square, lft. 2in. x lft. 6m. First appears in the 1850 Catalogue. View across a lake. Two figures in front, one of them fishing. Trees to the right. Clear turquoise-blue sky, with light clouds rising from the right-hand side. 333. (353) View of Windsor Castle from St. Leonard's Hill. JS. Lear. (258.) 4ft. tin. x 7ft. 5in. First appears in the 1855 Catalogue. Purchased from the artist by the 14th Earl of Derby. Windsor Castle, very remote, is seen over a dense mass of rich green park trees; whilst Harrow-on-the-Hill appears in the extreme distance, beyond the round tower. The Castle itself occupies a remarkably small portion of the surface of the canvas of the picture. The major part is devoted to the green grassy surface of a hill, sloping rapidly from the spectator. The detailed objects of the immediate foreground, such as buttercups, daisies, sorrel, blades of grass, and a squirrel, BALL ROOM. 171 appear disproportionately large. Numerous sheep are introduced on the sloping grass, the surface of which is cleverly varied by the deep shadows cast upon it by trees from behind. Nevertheless, the whole picture presents a crude effect. But it is a bold attempt to render uncompromisingly the effect of a bright clear sunshine upon the intense fresh green of early summer. 334. (864) Fete at The Oaks. The Supper-Room . A. Zucchi, 1773. (259.) Canvas, square upright. 6ft. Oh in. x 5ft. 4in. This picture first appears in the 1855 Catalogue. It was executed by Zucchi for the 12th Earl of Derby. This picture and No. 338, the "Ball-Room," formed panels in the Dining-Room of the Earl's former residence, 23, Grosvenor Square. " Tltey represent scenes at the Fete Champetre given at The " Oaks on the marriage of the 12th Earl of Derby with Lady " Elizabeth Hamilton, for which General Burgoyne, the original " proprietor of the house, wrote the Comedy of ' The Maid of the " Oaks.' The principal figures are probably all Portraits. The " two entering the Suj>per-Room in 334, and leading the dance " in 338, unquestionably represent Lord and Lady Derby, my " grandfather and grandmother." Note made by Lord Derby in the 1860 Catalogue. The colours are almost exclusively brown and orange, with positive yellow for the high lights both on the dresses and prominences of the architecture. The seat at the end of the table and many of the draperies are shaded with pure crimson. The scene is laid in a lofty hall, with arched roof anil wreathed columns on each side. Statues in niches decorate; the walls, and at the upper end is a large circular picture of Pandora endowed by the Graces. Two magnificent chandeliers hang from the ceiling, which is richly decorated by green festoons. An archi- tectural arrangement on the left side affords a view between the columns into the adjoining ball-room, which is represented in No. 338, the companion picture. Guests seated at long tables covered with viands are being waited upon by servants. The ladies wear Turkish costumes; the gentlemen Spanish, and the servants appear in the ordinary livery of the period. One person at table is in a hussar's dress. All the gentlemen wear hats or PICTURES AT KNOWSLEY HALL. turbans ; the servants are bare-headed. The couple, evidently Lord Stanley and his fiancee, stand in the doorway leading from the ball-room on the left-hand side ; they appear to be about to enter the room, and are addressed by a seated gentleman who occupies the corner of the table nearest to them. He seems pointing to a vacant place at the head of the table, referring perhaps to the absence of the Earl of Derby, who had then attained the advanced age of 85. A spaniel and greyhound are gambolling at his feet. Signed in the right-hand corner — There is an excellent engraving after this picture ; but with variations as to shape, proportions, and even as to grouping some of the figures, by Caldwall. It is boldly executed, with rich deep shadows and firm lines, in imitation of Piranesi's style. The plate is inscribed, "Feast at The Oaks, 9th of June, 1774, Robert "Adam, arcliitect. Jas. Caldwall (sculp.). Published 1780." The Oaks, on Bansted Downs in Surrey, originally an ale-house, was purchased by General Burgoyne, who built an elegant dining-room, and fitted up the place for a hunting seat. Lord Derby afterwards greatly en- larged the house, and surrounded it by extensive pleasure grounds. An elaborate account of the entertainment is preserved in the Gentleman's Magazine for June 1774, page 263. " The following account of the Fete Champetre at The Oaks, in " Surrey, on Thursday the 9th of June, as it is the first of the " kind given in England, is too curious to be omitted. " The first Masque being over, the company amused themselves " with walking about till the temporary room was illuminated, " and upon a signal given another procession was made. Lord " Stanley, supported by Lady Betty Hamilton, the queen of the " Oaks, and Miss Stanley, led the way, the rest of the company " following two by two. The noble visitors were first conducted " through a beautiful and magnificent octagon hall, with trans- " parent windows, painted suitable to the occasion ; at the end of " the great room hung six superb curtains, supposed to cover the " same number of large windows ; they were of crimson colour, " richly ornamented with deep gold fringe. Colonnades appeared BALL ROOM. 173 " on each side the room, with wreaths of flowers running up the " columns ; and the whole building was lined chair-back high " with white Persian and gold fringe ; the seats around were " covered with deep crimson. " The company amused themselves with dancing minuets and " cotillons till half-past eleven, when an explosion similar to the " going off of a large quantity of rockets, put the whole lively " group into a consternation. This was occasioned by a signal " given for the curtains, which we have before described, to fly up " and exhibit to the company a large supper-room, with tables " spread with the most costly dainties, all hot and tempt- " in 0- * * * ©■ " The third part was opened by minuets composed on the " occasion by the Earl of Kelly. Lord Stanley and Lady Betty " Hamilton opened the second ball, and the rest of the nobility "danced in their turns; when the minuets were ended, country " dances struck up, and continued till past three o'clock. The " company were highly entertained with the illuminations in the " gardens, which had a fine effect from the front wing of the "house. Facing the temporary room was erected a large Ionic " portico, supported by four large transparent columns of a pink "colour. On a scroll on the pediment were the following words : " ' Sacred to propitious Venus.' In the centre of the pediment " was a shield with the Hamilton and Stanley anna quartered, the " whole supported by a band of Cupids, who appeared to great "advantage by the assistance of four pyramids of lights. Several "pyramids of lights were likewise erected in different parts of the " garden. "The whole of this festival was conducted by General Bur- " goyne." The principal feature of the Masque performed after supper was the glory of the Oak. A Druid of the Oak, personated by Captain Piggott, summoned fauns and wood nymphs to attend the ceremony, and these, led on by cupids and sylvans, entered and sang a grand chorus. The Druid recited a speech in praise of the Oak, and the same theme was continued by the principal singers of the day. In conclusion, "a device in transparency was intro- " duced, with two Hymeneal torches lighted on the top, and a " shield representing the Hamilton crest (an oak with a saw " through it, and a ducal coronet). After a chorus, the Druid, "fauns and wood nymphs, went to the altar; and two Cupids — 174 PICTUKES AT KNOWSLEY HALL. " the Cupid of Love, and the Hymenean Cupid — ascending the " steps, crowned the shield with the wreath of Love and Hymen." The marriage was solemnized on the 23rd of June, at Argyle House, the residence of the mother of the bride, by special licence. See Gentleman's Magazine, ut supra, page 28G, and Edmond- son's Genealogical Tables, supplemental volume, plate 61. 335. (355) Athens, distant View of the Acropolis. Painted by E. Lear in 1851. (260.) Canvas, large square. 4ft. 11m. x 6ft. O^in. First appears in the 1855 Catalogue. Purchased from the artist by the 13th Earl of Derby. The spectator is supposed to be looking at the Acropolis from the south-west. The mass of rocks to the right are the site of the Pnyx. The mountains in the extreme distance are Hymettus. The sharp peak of Mount Lycabettus rises to the left of the Acropolis, and, below, on the upper part of the sloping ground covered with sheep, is the Areopagus, the famous Hill of Mars on which St. Paul once stood. The standing ruins at the foot of the Acropolis on the southern side are the remains of the Theatre of Herodes Atticus. The Parthenon and Propylsea at the western extremity of the Acropolis are rendered with minute accuracy. Numerous figures of Greek men and women are "clustered in a picturesque group in the foreground to the left. On a brown rock in this corner, beneath a gourd and a bundle, is the artist's signature, giving the date : — Edward Lear, 1851. ' ^) • WocGlN Lo*aAj£ I^CUa} l^Wi 336. (356) Heads of Cervus Munjac . . . A Sketch by Ansdell. (261.) Canvas, small square oblong. 11 Jin. x Iff. Sin. First appears in the 1850 Catalogue. Purchased from the artist by the 13th Earl of Derby. Two heads of light brown colour seen among ferns, with light blue sky beyond. The animals' heads are turned to the left. BALL ROOM. 175 337. (357) Mount Vesuvius in Eruption . . . Wright of Derby. (263.) Small square oblong picture, lft. i\in. x 2ft. Zijn. First appears in the 1850 Catalogue. A moonlight scene. The mountain is seen in the centre of the picture, across the Bay of Naples. The moon appears on the left hand. 338. (358) Fete at The Oaks. The Ball-Room . A. Zuccki m 1777. (202.) 4ft. 5in. x 5ft. 4Ji'n. The entertainment was given on Thursday, June 9th, 1774, preparatory to the marriage of Lord Stanley with Lady Betty Hamilton. The companion picture to No. 334, although not at all corre- sponding to it in size or shape. The scene is viewed from the circular corridor of a richly decorated saloon, with handsome Corinthian columns on lofty pedestals. The arched roof of this ambidatory is of similar construction to that of the well-known classic church of Santa Costanza at Rome. In the centre of the Ball-Room, and con- spicuous between the two central columns, are Lord Stanley and Lady Elizabeth Hamilton performing a minuet. The apartment is thronged with visitors, many of them dancing. Prominent in the centre and quite in the foreground appears a lady in a red dress, seated on a stool, with a little girl in bluish grey beside her, to whom she seems to be pointing out the principal couple. Here, as in the Supper- Room picture, whether dancing or walking, the gentlemen all wear their hats. An Italian grey- hound is introduced to the left of the lady seated on a stool with the little girl. Many of the gentlemen wear yellow cloaks or dominos. The architecture of the room, designed apparently by Robert Adam — as indicated in the text to the engraving of the Supper- Room above quoted — is exceedingly elegant. The walls arc lined with branches of candles, and a chandelier with flowers wreathed round the chain is suspended from the centre. The attitudes of some of the dancers, with hands joined and raised, are very spirited. The colours of the dresses in this picture are more varied and positive than in No. 334. 176 PICTURES AT KNOWSLEY HALL. Signed in black on the crimson seat of a gentleman seated in the extreme right-hand corner — )>»• 339. (359) Cavern Scene by Moonlight .... Wm. Marlow. (257.) Canvas, small square oblong, lft. 5^in. x lft. 1\in. First appears in the 1850 Catalogue. Purchased of Col. Thornton, by the 13th Earl of Derby, for £10 10s. The moonlight sky is seen through the arched entrance of a dark cavern. A boat is on the water to the left of the bright reflection of the full moon, beyond which on the opposite shore is a group of ruins. A well painted picture ; very mellow in general tone, and an excellent specimen of this clever pupil of Scott the marine painter. 340. (360) Italian Landscape E. Lear. (266.) Canvas, small square oblong. 10i». x lft. 2 Jim. First appears in the 1846 Catalogue. Purchased from the artist by the 13th Earl of Derby. A halt of Italian peasants. A rich mass of dark green trees to the right. Purple mountains beyond ; beneath a finely coloured sky. LIBRARY. 341. (361) Fruit-piece Campidoglio. (267.) Canvas, large square upright. 3ft. 9in. x 3ft. 4in. First appears in the 1729 Catalogue, No. 11. A bold and finely painted picture. Grapes, peaches, and very ripe open pomegranates in a basket with an arched handle, melons and figs placed on a sculptured stone, at the foot of which lie LIBRARY. 177 clusters of white grapes. Upon the latter the light is cleverly thrown. A bold cloudy sky appears to the left. Painted with great freedom and solidity of colour. An admirable specimen of this popular painter. 342. (309) Samuel Rutter, D.D., afterwards Archdeacon and Bishop of Sodor and Man Dobsou. Canvas, in a black and gold frame. 2ft. 5kin. x 2ft. OJin. To the waist ; life-size. Figure turned to the left ; face seen in three-quarters to the left, looking at spectator. Long light brown hair hanging to shoulders. Wearing a black clerical gown. Black skull cap. White falling band and white tassel, clustered like a bunch of grapes. He rests his right hand on a book. Light admitted from the right hand. A well painted picture. Samuol Rutter, D.D., the chaplain and confidential friend of James the 7th Earl of Derby, was tutor to Charles, Lord Strange, and biographer of the family. Educated at YVostminstor and Christchurch, Oxford ; he was appointed Prebendary of Lichfield in 1 660, became Archdeacon of Sodor and Man, and afterwards Bishop from 1061 to 1063. lie died at the Isle of Man. See Draper's " House of Stanley," pp. 101 and 309. 343. (310) A Lady of the Cave Family, aged 84. Painted in tlte style of Sir Antonio More. (357.) Panel, thin oak. 2ft. Sin. x 2ft. Purchased from Weald Hall. A very fine picture. A half-length figure, life-size, of a venerable, thin, pale-faced lady, having a black cap, and a close-fitting muslin ruff round her neck, with a full brown fur trimming to her black dress, is st ated in a chair, resting her right hand, holding a small red book, on one of the arms. She wears three gold rings on one hand, and two on the other. Along the top of the picture is inscribed — jETATIS SUjE 84 anno 1587. Over her right shoulder, and above the round knob of her chair on the dark brown ground to the left, is a shield of arms sur- mounted by the following inscription — CAVE A MALO AQVIESCE IN BONO. A A 178 PICTURES AT KNOWSLEY HALL. The form of her black head-dress is very peculiar. It is something like a circular bonnet, having a fiat crown to it, with a very small grey pattern round the edge, and lined with grey. 344. (311) Captain Humphrey Baggerley Unknown. Canvas. 2ft. 5%in. x 2ft. O^in. Bust picture, life-size, enclosed within an oval spandril. Face seen in three-quarters turned to the right, looking at spectator. Dark hair, smooth cheeks, small moustaches. Plain black dress with a plain falling band, fitting close up to the chin, and no tassel or strings for fastening. A mellow and well painted pic- ture. The figure, although not in armour, has a somewhat military aspect. Baggerley attended the 7th Earl of Derby on the scaffold at Bolton, October, 1651. See Draper's "House of Stanley," pp. 217 and 218; and " Collins's Peerage," ed. 1779, vol. iii. p. 68. 345. (313) Battle between Turks and Christians. Apparently painted by Tillemans in imitation of Borgognone. (352.) Canvas, long and very coarse, lft. 7\in. x 3ft. S^in. Similar to No. 304. In the centre is a dark group of a horseman cutting down a turbaned figure with his swoi'd. The Turk carries a pink stan- dard. To the left is a distant plain, with the battle raging. A man in armour, mounted on a white horse, is pistolling a Turk. Roughly painted. GARDEN LIBRARY. South Side. 346. (l) Cardinal Mazarin, 1602 — 1661 . Philippe de Champaigne. (3.) Canvas. 2ft. 5^in. x lft. llfiw. First appears in the 1841 Catalogue. Received by the 13th Earl of Derby from Sir C. Grey. A MS. note at the back of the picture states, "Bought at the Oaks, Sept. 15, 1840." A very fine picture. Life-size, seen to the waist, wearing a pale crimson cape cover- GARDEN LIBRARY. 179 ing shoulders, and a close-fitting cap of the same colour. A wart upon his face where the left eyebrow joins the nose. The light is admitted from the right-hand side. Inscribed on the front of a stone ledge below in yellow letters, CARD: MAZERINE, and towards the extreme right A 0 . 1653. This latter portion is represented as if incised in the stone. CARD? .MAZERWE » Giulio Mazzarino, the celebrated Minister of France, son of a Sicilian nobleman, born in the Abruzzo, and educated at Rome. Succeeded Richelieu ; placed, by Anne of Austria, at the head of the government during the minority of her son, Louis XIV. One of his latest reflections, during his fatal illness, on contemplating his enormous wealth, was, " And I must quit all this ! " 347. (3) Portrait, supposed to be the Earl, afterwards Duke, of Newcastle. Cornelius Jonson van Ceulen. Canvas. 2ft. 6m. x 2ft. Jtn. ( 6. ) First appears in the 1841 Catalogue. Purchased by Rev. G. Hornby, F.B.N.C. Oxford, from Archer, a picture-dealer at Oxford, who had it out of an old house at Eynsbam. A finely painted head, life-size, within a marble oval spandril. The dress is rich green satin, slashed with white; falling white lace collar, fastened with elaborately wrought tassels. Eyes dark grey. Hair yellow-brown, cut straight across the forehead, and long at the sides. Signed on the right-hand lower spandril, In this year William Cavendish, the loyal Duke of Newcastle, was thirty-eight years of age. Died 1G7<>. 348. (3G2) King Charles II Jaw'xs. (263.) Canvas, small square, lft. 5im. x \ft. 2\in. Purchased by the 13th Earl of Derby, at the Strawberry Hill Sale, May 19th, 1842, 'JJL-J. A No. 103 of the Catalogue, for £7 7s. This picture, together with the portrait of Sacharissa (No. 7G), formed part of a series of copies made by Jarvis for himself from a a 2 180 PICTURES AT KNOWSLEY HALL. celebrated originals. The room in which these pictures were collected at Strawberry Hill was called the Beauty Room. See Lord Orford's Works, 4to, 1798, vol. ii. p. 419. A half-length figure, standing, in armour, resting his right elbow on a pedestal supporting his plumed helmet. The trun- cheon in his hand is held sloping. The left hand rests on his hip above the sword hilt. A column on lofty pedestal is behind his head. The face, is turned in three-quarters to the left, and the dark eyes fixed on the spectator. The hair is long and flowing, and very black. The order of the Garter hangs by a blue ribbon on his right side. He wears a long grey lace cravat. The face is young and pleasing, with strongly defined eyebrows, and small dark moustaches, which bears a strong resemblance to his unfor- tunate son the Duke of Monmouth. The blackness of the hair was a very distinctive character about Charles II. His brother James was very pale, and always wore light yellow hair. 349. (364) Portrait of a Young Man holding a Book. Attributed to Quentin Matsys. (271.) Panel, ll^m. x 8lin. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hall, May 17th, 1842, for £22 Is. See the Sale Catalogue, page 197, No. 29. The picture was formerly in Sir Robert Walpole's collection. The figure, smaller than life, seen to the waist, holds up a small book with both hands. The face is seen in three-quarters to the left, looking up as if listening to some one. He wears a small black cap ; his black dress is lined and edged with white fur. His long dark brown hair falls over his ears and falls down to his eye- brows, along the forehead. The expression of his face is not altogether amiable. His hands, destitute of rings, are remarkably small. The background is plain brownish green. The edges of the book are of a plain yellow colour; the cover is dark red, and no gilding is employed. A carefully painted, and well-preserved picture. 350. (365) Sir Peter Lely, when young. Drawn in crayons by himself. (270.) Under glass. ll|in. x 9\in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Strawberry Hill, May 9th, 1842, for £2 12s. See Sale Catalogue, 13th day, No. 46. ( GARDEN LIBRARY. 181 Drawn on a large sheet of ribbed white paper, doubled. On the back is the watermark of a lily on a crowned shield, and on the fly sheet the letters P.R. A bust portrait, turned towards the right, iu a dull yellow mautle, with long dark brown silky hair parted in the middle over the forehead. The face is seen in three-quarters, looking at the spectator. Complexion ruddy, the eyes very dark, moustaches small and quite straight over the upper lip ; the chin round and fat. A white laced necktie is partially visible. Plain yellow and brown background. A very good picture. Engraved by W. Raddon in the latest edition of Walpole's "Anecdotes," edited by Dallaway and VVornum. 8vo, 1849 p. 441. The portrait of Sir Peter Lely in the Gallery of Painters in the Academy at Florence is very similar to this. This picture was contributed by the Earl of Derby to the 18G(i Portrait Exhibition at South Kensington, No. 882 of the Catalogue. 351. (366) John Dryden Marubeni, (272.) Canvas. \ft. 10 Jm. x \ft. 7in. First appears in the 184b" Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, May 19th, 1842, for £8 8*. See Sale Catalogue, 22nd day, No. 1. ( h z,r > A small whole-length figure in blue. Seated, wearing a long brown wig, white necktie, and blue dress- ing-gown, turned towards the left. He rests his left arm on the carved elbow of his chair, next to which, on a red-covered table, is an open volume of Shakspeare's works resting against a pile of books inscribed successively from below, " Montaigne," "Horace," " Virgil," "Homer," surmounted by a wreath of myrtle. A shim 1 1 dog seated at his feet looks up into the poet's face. On the sill of an arched window to the left a brown eagle ha.s perched, having in his beak a label or scroll inscribed — " Spernit humum fugiente penna." Horat. Od. Lib. 3, 2, v. 24. Parnassus and Helicon are represented in the distance. A dark greenish curtain fills the upper right-hand corner. The back of the canvas is inscribed in ink, "John Dryden, Poet" 182 PICTURES AT KNOWSLEY HALL. A duplicate picture was formerly in the collection of Grosvenor Bedford, the friend of Horace Walpole, and sold at Christie's, March 1st, 1861*. Purchased by Mr. Dilke, and now in the possession of Mr. John Murray, Albemarle Street. John Dry den was great uncle of Horace Walpole' s own mother. See Lord Orford's Works, vol. ii., p. 404. 352. (367) Sir Godfrey Kneller, when young . . . By himself. * (275.) Canvas. 2ft. 4\in. x lft. ll^in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, May 18th, 1842, for £50 8s. See Sale Catalogue, 21st day, No. 67. From the Collection of Sclater Bacon of Cambridgeshire. Half-length figure, life-size, wearing a lilac and brown shot-silk coat. The body is turned to the left, the head seen in three- quarters to the right, whilst the eyes are fixed on the spectator. He wears his own natural dark hair, which is not long, although flowing as in the miniature painting, No. 214, and the face, very youthful, is perfectly smooth. His left hand holds a roll of paper with the outline of a head on it. Well painted, and the shadows are solidly massed. The shadow of the figure is cast to the right on the plain brown background. 353. (368) Hamlet Winstanlet Himself. (273.) Canvas, large square upright. 4ft. lin. x 3ft. 2\in. First appears in the 1850 Catalogue. Winstanley, a frequent inmate at Knowsley, where nearly all his best works are to be found, was born in 1700. He studied first in the school of Sir Godfrey Kneller and his brother. He afterwards went to Italy under the patronage of the Earl of Derby, for whom he made several copies of the most celebrated paintings, and procured numerous works of art for the collection of his patron at Knowsley. He drew and etched many of the most important pictures thus obtained, and these etchings constitute the Knowsley . Gallery so frequently referred to in this Catalogue. Hamlet Winstanley was buried at Warrington, Lancashire, May 20, 1761, aged 61. His collection of copper plates and prints were sold by auction at Essex House, March 18, 1762. The figure, life-size, is seen to below the knees, seated at an easel to the left. He wears a pale crimson cap and a yellow GARDEN LIBRARY. 183 dressing-gown. He looks at the spectator over his left shoulder, holding an oval palette set with various colours, white being next the thumb, on his left hand. In his right hand the painter holds a portcrayon containing white chalk, and with this he is in the act of sketching on the canvas before him. The background is plain light brown. The picture is very low in tone, but cleverly painted. The light is admitted upon the figure from the right hand. Engraved by J. Thomson for the latest edition of Walpole's "Anecdotes," 1849, edited by Dallaway and Wornum, p. 955. It had previously been engraved by Bannerman, the reverse way, for Lord Orford's Works, vol. iv., p. 95. That engraver,, however, chose to introduce a portrait of Dorigny upon the canvas on the easel, as if Winstanley was really at work upon it. The Earl of Derby contributed this picture to the 1867 Exhibi- tion of Portraits at South Kensington, where it was No. 248 of the Catalogue. 354. (369) MONAMY THE PAINTER EXHIBITING A SEA-PIECE TO Mil. Thomas Walker, his Patron Hogarth. (274.) Canvas. 2ft. x lft. Tin. First appears in the 1846 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, May 19th, 1842, for £22 1». See Sale Catalogue, 22nd day, No. 96. The picture was presented to Horace Walpole by Mr. Richard Bull. Small whole-length figures. Mr. Walker, whose face is seen in profile to the right, stands at the extreme left of the picture, in a blue coat and white wig, con- templating a large picture of a sea-piece placed upon an easel which occupies the entire right half of the picture. Between the picture and his patron stands Monamy, with palette on left hand, pointing to his picture with the right, and face turned in three- quarters as he addresses his friend. His hair is dark, with thick dark eyebrows. He wears a dark brown coat, and the expression of his figure is very animated. Both figures stand on a Turkey rag. Two pictures, one representing a ship on fire at sea, with a light- house, and the other a moonlight scene, with shipping, hang on the panelled wall of the apartment. The sea-piece on the easel in a large handsome gilt frame is a remarkable specimen of Monamy's own skill. It is painted by the artist himself, and is signed on the left-hand corner, within the frame, "P. Monamy." 184 PICTUKES AT KNOWSLEY HALL. This figure of Monamy is very different from the one engraved by J. Bretherton for Walpole's "Anecdotes." See Lord Orford's Works, 4to, 1798, vol. iii., p. 421. This picture was contributed by the Earl of Derby to the 1867 Portrait Exhibition at Kensington, No. 345 of the Catalogue. 355. (371) Portrait of Thomas Wilson, D.D., Bishop of Sodor and Man C. Philips. Canvas. 4ft. x Zft. 2%in. Purchased in 1866 by the 14th Earl of Derby. Life-size, seated figure, seen to the knees. In episcopal robes, full lawn sleeves, broad bands, and grey silvery hair. Seated in a green high-backed chair, but without arms to it, towards the right ; resting his hand in his lap, and hold- ing in the left a map of the Isle of Man. His square black cap lies on a table to the extreme right. Background a plain rich brown colour. The face, seen in three-quarters to the right, is round, with fair complexion and ruddy cheeks. The eyebrows are broad and of a dark brownish grey colour. His dark eyes are fixed on the spectator. Carefully painted, and one of the most effective works of this timid but extensively employed artist. Thomas Wilson was born at Burton in Cheshire, 1663. He graduated in arts at Trinity College, Dublin, and afterwards aban- doned the study of medicine for divinity. In 1689 he was ordained priest, and became chaplain to the Earl of Derby and travelling tutor to Lord Strange in 1692. He was consecrated Bishop of Sodor and Man, 1697, then in the gift of the Earl of Derby. This venerable prelate spent the remainder of his life almost entirely in the Isle of Man, which he called his " Patmos," where, notwith- standing a very limited income, he did much to improve the con- dition of the inhabitants, and rendered extensive aid during some years of great scarcity. He refused the offers of wealthier and more tempting bishoprics, and died, March, 1755, in the Isle of Man at the age of 92, and in the 58th year of his episcopacy. (Noble's Continuation of Granger, vol. iii., p. 95. Gentleman's Magazine, vol. lxix., part 1, p. 45.) B. COHEN & SONS TRAFALGAR \ GALLERIES * 0t f" i* r f "A ■ V Jan Van Bylert (Utrecht 1603-1671). Pontius Pilate washing his hands whilst Christ is led away. Oil on panel, 421 < 32.1 (108 x 83 cm.). Painted circa 1635. Ex Delano Collection, Chicago. * Compare Arthur Von Schneider: Caravaggio und die Niederlander. Jan Van Bylert p.47 ill. 24b. The Banquet. B. COHEN & SONS TRAFALGAR j GALLERIES In the light of Caravaggio Oil on canvas, 93 x 1 1 1 cm. Ex collections: Earl of Derby, Knowsley 1736-1909. Ole Olsen, Copenhagen (until 1943). Bibliography: Catalogue of Derby Pictures 1736 as Bruggens (93). Catalogue of pictures at Knowsley, 1875 (356). Winkel & Magnussen, Kunst i Privat Eje, Copenhagen, 1945 III p.71. illus. Benedict Nicolson: Album Amicorum J. G. Van Gelder " Terbrugghen since 1960'\ p. 240 (Published The Hague 1973) GARDEN LIBRARY. 18.5 This picture has been engraved by J. and C. Sherwin, in 1782, as a frontispiece to his works. It was contributed by the Earl of Derby to the 1867 Portrait Exhibition at South Kensington, No. 389 of the Catalogue. 356. (372) DEMOCRITUS and HEBA.C3.ITUS . Attributed to Bruggen*. (278.) Canvas, square oolong. 2ft. Win. x 2ft. 6ln. First ajijiears in the 17:"J Catalogue, No. 93, as "Democritus and Hariclites, by Broggena." Two bearded old men, life-size, seen to below the waist, both similarly clad in blue-grey draperies, are resting upon a large globe painted with various naked human figures. Quite in front, and nearest to the spectator, is a large open book resting on a • human thigh-bone. The left-hand philosopher (Democritus) looks at the spectator with a merry face, and folds his hands upon the top of a wooden arch which spans the globe, whilst Heraclitus, resting his elbow on the globe and supporting his head on his hand, looks down with dismay upon two winged serpents which are painted as if hovering over the heads of the naked crowd on the convex surface. Heraclitus is bald in contrast to Demo- critus, who has a large quantity of grey hair clustered in round locks. The faces of both are deeply furrowed. The background is plain brown grey. Effectively painted with deep shadows, somewhat in the style of Bartolomeuu de lint gn, the well-known pupil of Egbert Heems- kerk. The naked figures painted on the globe are spirited, and show an acquaintance with the works of Michel Angelo. The subject of this picture, " The Laughing and the Crying Philosophers," was very popular with the painters of the Kith century. Democritus was born at Abdera, in Thrace, B.C. 4(50, and tra- velled over a great part of Asia. The tendeucy of his mind was to look at the cheerful and comical side of things, which later writers took to mean that he always laughed at the follies of men. He was called Gelasius, or the Laugher. Heracleitus of Ephesus, who flourished about 513 B.C., also travelled extensively. The impression produced upon his mind by intercourse with men was B B 186 PICTURES AT KNOWSLEY HALL. the very opposite of Democritus. Hence the contrast presented by the picture before us. " Jamne igitur laudas, quod de Sapientibus alter Ridebat, quoties de limine moverat unum Protuleratque pedem : flebat contrarius auctor 1 ***** Perpetuo risu pulmonem agitare solebat Democritus." Juvenal, Sat. X., 28, 30. " 66(V Kai T(\d(riov avrov (KaKovv ol TloKirai." ^Elian, Var. Hist. Book iv. cap. 20. Ed. Lipsiae, Lehnert, pars. 1, p. 231. DRESSING-ROOM. 357. (373) Portrait of Edward, Lord Stanley, afterwards 14th Earl of Derby Wm. Derby, in 1841. Canvas. 4ft. l\in. x 3ft. Tin. 358. (373A) Lady Emma Talbot John Hayter. A chalk drawing. In evening costume. 359. (373B) Edward, Lord Stanley, the present Earl. Richmond, 1804. A chalk drawing. Signed and dated 1864. SITTING-ROOM. 360. (377) Landscape Wootton. (285.) Canvas, large. 6ft. 2\in. x 5ft. 6%in. First appears in the 1736 Catalogue as " A large landskip with figures and Hercules's Statue, by Wooton." A ruined building, with clustered columns supporting an arch to the left. Blue mountains and sunset sky in the centre ; a tall SITTING-ROOM. 187 tree to the right. The shafts of the columns are intersected by the stem of a dead tree, half fallen, at the foot of which, in the extreme left corner, a man is seen watering two horses. The statue of the Farnese Hercules mounted on a pedestal, with the back turned to the spectator, and all but the upper portion in deep shadow, forms a prominent and central object in the picture. A group of five men in animated conversation are seated to the right of the pedestal. The artist's name is signed as if incised in the side of a stone supporting the man in red drapery — J. WOOTTON Fee. . Boldly painted in hrown tone. The large tree to the right shows the influence of Salvator Rosa by the yellow-leaved feathery foliage upon it. 361. (378) Battle-piece Borgognonc (2S6.) 1ft. r,ln. x $ft. 3e'». First appears in the 1729 Catalogue. This appears rather to be a battle between Cavaliers and Roundheads than between Turks and Germans, as stated in former Catalogues. A cavalry engagement. All the prominent figures are mounted on white horses. The picture affords a strange mixture of various kinds of armour. The principal figure, wearing a Cromwellian hat and buff coat and yellow boots, discharges a small gun held like an arrow in a bow (his left hand being at the end of the l.arrel) against a man in full armour of the period of Henry V. A dark picture, with massive heavy brown shadows. 362. (382) View in the Gardens of the Villa Medici at Rome. Orizonti. (290.) Canvas, square upriijht. 4ft. 6tn. x 3/<. Sin. First appears in the 1729 Catalogue as "The Gardens dc Medicis, by Horizonti." In the 173(1 Catalogue the price of £10 is stated. Companion to No. 365. An elegant garden scene. In the centre is the famous Medici vase, sculptured with the Sacrifice of Iphigenia, now at Florence. This vase remained at Rome till the removal of the sculptures belonging to the family Medici to Florence by the Grand Duke BBS 188 PICTURES AT KNOWSLEY HALL. Cosmo III., in 1680. (See Zannoni, Gal. di Firenze, vol. iii., page 262, and Bunsen, Beschreibung der Stadt Rom., vol. iii., part 2, page 601.) Below the vase are seated three Italian women observing two swans as they float on a piece of water in the immediate foreground. A stone fountain formed of an Egyptian sphynx, crouching on a pedestal on the extreme left, pours forth a jet of water. A lofty Italian stone pine tree forms an important feature in the picture on the opposite side, and beyond its picturesque stem is seen an architectural screen decorated with niches. 363. (383) Landscape, with Banditti . . Attributed to Velasquez. (291.) Ift. 9in. x 2ft. 4in. Purchased at Naples by G. H. in 1850. A man pursued by banditti. A dark strange picture. The horsemen appear to be armed like soldiers. 364. (384) Sacrifice to the Lamb ...... Pietro da Cortona. (282.) Canvas, square. Ift. 10i?». x 2ft. 5in. First appears in the 1729 Catalogue. In the 1736 Catalogue the price of £10 is stated. The picture is surmounted by a stone arch, having in the spandril on each side a nude recumbent figure painted architec- turally in grey colours. The Almighty, as a venerable white-haired personage, clad entirely in white, appears in the centre above in a flood of glory, surrounded by a host of angels, resting His right hand on the head of the spotless Lamb lying on a scarlet book with seven seals. In the centre below, an angel in blue drapery officiates at a flaming altar, holding a censer with incense in his left hand, and with his right receiving a golden vial or vase from an elder kneeling in yellow vestment upon clouds in the left-hand corner. A corresponding and more youthful figure in blue and yellow kneels on the opposite side, lifting his smoking censer with both hands, with downcast eyes expressive of humility. Other figures also raise their vases by way of offering. " And when he had taken the book, the four beasts and four THE LATE EARL'S SITTING-ROOM. 189 ' and twent) elders fell down before the Lamb, having every one " of them harps, and golden vials full of odours, which are the " prayers of saints. "And they sung a new song, saying, Thou art worthy to take " the book, and to open the seals thereof * * * " Worthy is the Lamb." Revelation, chap, v., verses 8, 9, 12. An admirable specimen of the style and power of Pietro da Cortona. Painted in a rich tone, with full body of colour. All the light in the picture, including also that on the Lamb, emanates from the figure of the Almighty. 365. (385) View of the Capitol at Rome Orizonti. (293.) Canrus, square upright, 4ft. Bin. x 3ft. 34in. First appears in the 1729 Catalogue. In the 1736 Catalogue the price of £10 is firs>t mentioned. Companion to No. 362. The well-known tower of the Campidoglio rises beyond an elegant Italian villa, on an eminence to the right, surrounded by an elegant garden. A rivulet flows across the picture. On the left in the foreground is a richly sculptured Bacchanalian vase, shaded by a large spreading tree. A classical female with drapery, covering the lower part of her figure, reclines on a large sculptured stone. A man holding a long staff addresses her. A very effective and elegantly painted picture. THE LATE EARL'S SITTING-ROOM. 366. (273) The Head of St. Januarius. Attributed to Domenichino and F. di Maria. (««.) Canvas, xqiutre oblong. \ft. 8 mi. x -1ft. 3/'n. Purchased by G. H. from a private chapel at Naplp. The head, natural size, lies on a silver charger, with the severed neck towards the right. The crooked end of his pastoral staff and the episcopal mitre lie on the table beside it. Two ampulla', 190 PICTURES AT KNOWSLEY HALL. or cruets, of the well-known form, containing the blood of the Saint, stand in front of the pastoral staff. The countenance, of a Napoleonic character, wears a painful expression. The picture is dark and repulsive. The background plain dark brown. This peculiarly Neapolitan saint, ordinarily known as San Gennaro, was bishop of Benevento, and thrown to the wild beasts in the Amphitheatre at Puzzuoli, where the creatures refused to touch him. He was also thrown, without any harm, into a fiery furnace ; but finally beheaded, September 19, A.D. 303. His pictures are rarely to be met with out of the Neapolitan territory. See Mrs. Jameson's " Sacred and Legendary Art," 1850, p. 420. Husenbeth, 1860, p. 87. 367. (386) The Marriage of the Virgin Mary. Attributed to Van Eyck. (294.) Panel, square, which has been crossed at the back with strong pieces of mahogany. 2ft. 10mi. x 2ft. 6|wi. First appears in the 1850 Catalogue. Purchased at Strawberry Hill by the 13th Earl of Derby, 19th May, 1842, for £24 3*. See Sale Catalogue, 22nd day, No. 125. It was therein described : " A valuable old picture on panel, representing a Marriage " Ceremony, with a numerous assemblage of figures ; a fine " specimen of the early German school, and probably by Van " Eyck." This picture is certainly not in the style of Van Eyck, and belongs to the later portion of the fifteenth century. When contributed to the Manchester Exhibition in 1857 it was classed among works of the period of Mabuse and Quentin Matsys. See Exhibition Catalogue of Old Masters, No. 428. The ceremony is being performed in the open air in front of a cathedral. Nineteen figures are assembled on a marble pave- ment. The west end of the church is opened so as to show both the chancel and the nave beyond. Musicians in a gallery play long trumpets with banners attached to them, and an organist is seated at an organ, the doors of which are open at the sides as in Triptych pictures. The dresses of the figures are partly gilded, and the costumes are very showy. The low-shaped mitre of the officiating priest resembles those worn in England at an early period. The Virgin wears a crown, and her head is surrounded THE LATE EARL'S SITTING-ROOM. 191 by a flat circular gold nimbus. Her hair is long, and flows down over her shoulders. St. Joseph is bald-headed, and his head is not distinguished by a nimbus. He wears a dark reddish mantle over a deep blue under-garrnent trimmed with ermine. His black shoes are large and clumsy. All the figures are remarkahlv short ; no beards are worn by any of the men. The disappointed suitors carry white wands as usual, and the figure to the right has begun to break his. A white greyhound, with a red collar, crouches on the pavement in the left-hand corner. Another small brown dog is playing with a child in white holding a woman's hand. The priest joins the hands by grasping the wrist of each person. . The gold morse which fastens his green cope on his breast is shaped like the tables of the law carried by Moses. The priest's tunic ifl entirely of gold, with party-coloured fringe bordering it below. Large birds are perched on the buildings on the left-hand side. The light is admitted on the figures from the right hand. 368. (387) St. Jerome and the Angel Spagnoletto. { '$5. ) Canras, fastened to panel ; a small upright picture. 1/t. Z\in. x lit*. First appears in the 1729 Catalogue, No. 73, as " St. Hierom by Spagnoletto." The saint kneels towards the left, and looks up to the angel sounding the trumpet in the right-hand corner. He is naked, with the exception of a large scarlet drapery. Spiritedly painted. The shadows are rich and well massed. 369. (388) View of Greenwich and the Observatory . Grijffier. (206.) Canras, large square oblong. 3//. l\in. x bft. 9in. First appears in the 173ti Catalogue as "A View of London fiom Greenwich Pkrfc bj " Griflicr, purchased for £14 " from Mr. Wright, August, 172(1. Flamsteed House is placed on a steep cliff rising to the eztn me left. The central portion of the picture is occupied by flat open park, and the town of Greenwich and mass of buildings marking the locality of the Hospital are on the extreme right. From this point a noble avenue of trees diagonally intersects the flat expanse of green turf. At the bend of the river, seen over the site of the old palace, are four windmills, and several small sailing vessels on 192 PICTURES AT KNOWSLEY HALL. the river itself. The hills of Hampstead and Highgate vary the line of a tolerably high-pitched horizon. The Tower of London is visible in the distance. Neither London Bridge nor St. Paul's is traceable. The only figures introduced in the picture are a few upon the edge of the cliff under the wall of Flamsteed House, where they appear dark against the bright light of a sunset sky. The clouds are extremely well painted, and the general effect of the picture is mellow and agreeable. In many respects it bears a strong affinity to the earlier painter Dankers, who was in his turn much influenced by the example of Ruysdael. I do not detect any signature upon this topographically interesting picture. A date with some writing would have been very desirable, for explaining the various changes of the buildings below, and marking the remains of the old palace. There is a small picture taken from nearly the same point of view in the collection of the Earl Beauchamp at Madresfield Court. 370. (389) The Last Supper By an Italian artist. (297.) Panel, small circular. \Q\in. First appears in the 17:i6 Catalogue, No. 15, together with the companion picture No. 371, as ''Two small rounds. The subjects are Christ riding into Jerusalem and " The Last Supper. Italian." A very peculiar composition, consisting of thirteen figures on a dark brown background. The Saviour is seated at a square table in the centre. St. John, a bald-headed, hook-nosed individual, clothed in white, and altogether very different from the usually recognized type, has fallen into the Saviour's lap with his face uppermost. A sheep's head is on the plate before our Lord. The apostles express by their gestures considerable surprise. A lamp is suspended from above in the centre. The colouring is strong, with mellow shadows. 371. (391) Christ riding into Jerusalem . By an Italian artist. (299.) Panel, small circular. 10£ro. The companion picture to No. 370. The Saviour advances towards the left. The ass's head is turned forward and boldly foreshortened. THE LATE EARL'S SITTING-ROOM. 193 A man spreading a crimson garment, and Zacchams, as a boy climbing the tree, preserve the traditional treatment of the subject. The garment of Our Lord is brown, with a crimson-lilac mantle over it. Yellow rays of glory encircle his bead. There is much in the picture approaching the manner of William Blake. 372. (392) King Charles I. on Horseback. Copied by Old Stone from Van D;jch. (300.) Canvas, square upriyht. 4ft. lin. x 3ft. llin. A bold and effective copy from the well-known picture of the King advancing through an arch, in the Van Dyck Gallery at Windsor Castle, which has been finely engraved by Baron. 373. (393) Angel appearing to the Shepherds. Giacomo Bassano. (30i.; Canvas, small upright. l/<. 7 in. x 1ft. 2\in. First appears in the 1729 Catalogue, No. 3, as " Glad tidings to the Shepherds, by " Jac. Bassan." A shepherd in a hat is reclining, a woman kneeling, milking. A rabbit is introduced in the foreground. Very roughly painted, but powerful and original. 374. (395) Horse (Sir Peter Teazle), and Stud-groom, Matthew Story J- Boultbie. (303.) Canvas. 3ft. 3in. x 4ft. lt'n. First appears in the 1814 Catalogue. The horse is seen in profile to the left. The groom stands quite apart from him on the extreme left. Signed on the trunk of a tree in the opposite corner — I80&O In 1787 Lord Derby carried off " The Derby," won by his Sir Peter Teazle, whoso rider was S. Arnul. The first race for the " Oaks " was won by Lord Derby in 1779, with a mare called Bridget, the rider being R. Goodison. A portrait of the winner (Sir Teter Teazlo) painted at the time by Sawrey Gilpin, was exhibited at the Royal Academy, in 1788; No. 200 of the Catalogue. c c 194 PICTURES AT KNOWSLEY HALL. 375. (398) Grey Horse, called " Bloodshoulder." J. Wootton, 1724. (306.) Canvas, oblong square. 3ft. 3\in. x 3ft. lin. First appears in the 1736 Catalogue, No. 52, as "A horse called Bloodshoulder, " by Mr. Wootton, purchased from him for £15 15«. " The horse stands in profile to the right ; a dark bearded Arab in white skull-cap, retaining hold of the bridle, leans his elbows on a stone pedestal in front of the horse, whilst a greyhound is jumping up as if barking at the Arab. Two fluted columns on a lofty solid base are introduced to the left. A stream of water crosses the landscape in the distance. Sky background in centre. An admirably painted and well-preserved picture. Signed and dated as if incised on the stone pedestal supporting the Arab — 376. (399) Canezou and F. Butler * . . H. Hall. (307.) 2ft. 3in. x 2ft. lljm. First appears in the 1855 Catalogue. Purchased from the artist by the 14th Earl of Derby. 377. (400) Dead Snipe . Killingbeck. (308.) Canvas, oval. ll|m. x 9£m. First appears in the 1855 Catalogue. Brought from the house in Grosvenor Square. Painted in oil within an oval. The bird hanging by its feet. 378. (401) Dead Quail Killingbeck. (309.) Canvas, oval, lljiw. x %\in. First appears in the 1855 Catalogue. Brought from the house in Grosvenor Square. 379. (402) Edward and Emma, Son and Daughter of the 14th Earl of Derby W. Derby. (310.) Canvas, upright square. 5ft. x 3ft. llin. First appears in the 1841 Catalogue. Painted for the 13th Earl of Derby. Intended as a companion picture to No. 183. The present Earl of Derby, and Lady Emma Talbot. LITTLE ROSE ROOMS. 195 Figures, full length ; the size of life. The youth, in a boy's dress with a large broad white open collar, sits ou a rock at the foot of a tree. The figure is inclined towards the left, holding a brown book in his right hand. His face is turned in three- quarters, looking to the right. His black beaver hat and pocket- handkerchief lie on the ground at his feet. Lady Emma, in white girl's frock and pale blue sash, with bows at the shoulders and in the hair of the same colour, stands beside him, towards the left, holding a doll with both hands, looking at the spectator. Her sandalled shoes are blue. A very low-pitched horizon with distant view of the park, showing the ornamental water, is on the extreme right. A cold, grey-toned picture ; the faces modelled with great care. Tho Lady Emma Stanley, born 1835, married 1860, to Colonel the Honourable "Wellington Patrick Talbot. THE LATE EARL'S BED-ROOM. 380. (346) James Stark ey, Esq., in his 87th year. A glazed print. 2ft. 4Ji'n. x 2ft. lOAt'n. 381. (403) Longbow and Stud-groom, Tim y - Forshaw . II. Hall. Bin. x 4\in. Tainted for the 14th Earl of Derby in 1866, as a companion picture to No. 374. LITTLE ROSE ROOMS. 382. (285) Christ fainting under the Cross .... Morales. (119.) Canvas, large square upright. 5ft. 4in. x 3ft. Tin. * First appears in the 1850 Catalogue. Purchased by tho 13th Earl of Derby, at Bullock's sale, for £11. 196 PICTURES AT KNOWSLEY HALL. Full-length figure ; life-size. A very dark picture. The action of this figure is derived from Raphael's celebrated " Lo Spasimo," now at Madrid. The background is a dark and very gloomy sky. The Saviour, inclining towards the spectator, rests his right hand on the ground, and holds the upper trans- verse limb of the cross with the left. He has, in advancing towards the right, sunk on one knee. The dress is very deep brown ; a cord, round his neck, hangs in front, and, passing round the waist, trails also in front. The shadows are dark and solidly massed. 383. (307) Landscape Countess of Wilton, when a girl. (349.) Water-colours, protected by a glass of a square oblong shape, lft. Tin. x 2ft. Sin. Temples on a hill, seen across water. A weak and unfinished production. 384. (308) Landscape in the style of Salvator Rosa. Possibly a copy by Chr. Lee. (350.) Canvas, of an upright shape, in a black and gold frame. 4ft. iin. x 3ft. l\in. Large bold dark foliage and tall rocks, with water in the centre. Brown tone. This composition is very similar to one of Winstan- ley's engravings " done at Knowsley." The figures, however, are very different. Here is only a seated soldier, and a youth with a staff standing before him. In Winstanley's engraving, the reverse way, are four soldiers, and a youth among the bushes on the oppo- site side. 385. (326) Distant View of Constantinople. Drawn in watercolours by Mayer. (427.) 1ft. iin. x lft. lO^in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. Taken from a considerable eminence. Tall cypress trees rising to the left. Men shooting with arrows. At Madiesfield Court are several drawings in opaque water-colour (guazzo) by Luigi Mayer, illustrating the travels of Sir Eobert Ainslie in the East. LITTLE ROSE ROOMS. 197 336. (327) View of Boxgrove Church, Sussex. Drawn in watercolours by Lusini. (429.) 7hin. x lO.Jin. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. 387. (328) Ancient Round Tower in the Island of Lipari. A watercolour drawing. No artist's name given. (430.) 7 Am. x 11 in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. 388. (330) The Port of Brindisi. A -watercolour drawing. A rtist unknown. (431.) 6fm. x 10m. The ancient Brundusium, the great naval station of the ancient Roman empire, now reduced hy earthquake and pestilence to the only remains of its ancient grandeur, namely, the standing column and a companion base shown in the drawing, with a view of the sea beyond. The capital of the standing marble column is ornamented with the heads of sea divinities. The locality is best remembered in the termination of Horace's well-known satire, " Brundusium longaj finis rhartaeque vioeque est." 389. (331) Plymouth Lighthouse. A ivatercolour drawing. Artist unknown. (432.) 91, m. x lft. First appears in the 1850 Catalogue. Purchased by the 13th Eirl of Derby. 390. (332) Seaport and Shipping. Watercolowr drawing by Atkins. (428.) 1ft. 3W'<- x I/'- 9m. A castle or fortress rising from the sea towards the right. Boats with sails to the left. Signed in the left-hand corner. 198 PICTURES AT KNOWSLEY HALL. 391. (379) Landscape Reinagle. (287.) lft. l^in. x lft. 5in. First appears in the 1850 Catalogue. A small, dark, and very well painted landscape, in the cold tone of Ruysdael. A mass of trees in the centre. A man and two cows passing behind the trunk of a tree in the foreground. 392. (380) Landscape Both. (288.) Panel, small square picture, lft. x 1ft. 3|in. Rocks and trees, declining from the upper left-hand corner, diagonally separate the picture into two portions. Mellow clear sky to the right ; rocks and cascade to the left. Two men in front; one of them angling. Painted in the warm yellow tone characteristic of the artist. LADY EMMA TALBOT'S ROOM. 393. (404) Christ in the House of Simon the Pharisee. S. Bourdon. (318.) Canvas, square, lft. llin. x lft. 9in. First appears in the 1855 Catalogue. Removed from the house in Grosvenor Square. Companion picture to No. 396. A composition of ten figures. The Magdalen is on her knees, turned towards the left, wiping the feet of the Saviour with her long light hair. She wears an orange drapery over a white dress with a full sleeve. Simon, a beardless, baldheaded man attired in red, sits at the angle of the table, which is covered with a large white cloth. A white napkin is under the left hand of our Lord on the table ; no glory round his head. The background is composed of architec- ture and cheerful landscape with light sky. Bright earthy colours. LADY EMMA TALBOT'S ROOM. 199 394. (105) Landscape, Temple and Lake . . . Gaspar Poussin. (314.) Canvas. 1ft. S^m. x 1ft. lin. From the costume and style of two male figures in the front right-hand corner this picture seems to be a clever fabrication by Wootton or Winstanley, such as they are frequently known to have produced. A ruined temple and domed large building appear high on a rock in the centre against the sky. Water in the middle di.stance, and a group of buildings with smoke to the right of the water. An extremely well and richly painted picture ; with all the freedom of an original work. 395. (406) Sketch for a Ceilino Chcron. (358.) Canvat. 1ft. L^in. x 1ft. A circular picture, with dark-brown spandrils to fill up the corners, in a square black and gold frame. The central picture is a seated female in white, with pink drapery across her knees, pointing above to the eye of Truth in rays of light. The three Fates, holding spindle, thread and shears, are disposed on clouds below her. Time, as a winged old man, on the right, mows down with his scythe some Bleeping figures — apparently the foolish virgins. Above the figure of Time, two boy cupids are hovering ; one holds the hour-glass, and the other bears aloft the serpent-ring as a symbol of eternity. Three female figures on the opposite side — the wise virgins — hold up lighted lamps. Cupids above them are scattering Mowers. 396. (io7) Raising of Lazarus jft Bourdon (320.) Canvas, square. 1ft. x \ft. Shin. First appears in the 1855 Catalogue. Removed from tbe houso in Urosvenor Square. Companion picture to No. 393. A composition of eleven figures. The figure of the Saviour is not sufficiently prominent. He addresses the mother of Lazarus, and points to her son. A turbaned figure stands in the centre. Lazarus, as a beardless youth, sits on the ground towards the right hand, and looks round to the Saviour, who is behind him. 200 PICTURES AT KNOWSLEY HALL. The Magdalen in white and orange, as in the companion pic- ture, is prostrate and kissing the feet of Our Lord. Her alabaster vase is on the ground. Rocks occupy the right-hand side. The sky behind the head of the Saviour is pale, but there is no indication of any actual nimbus or glory. 397. (408) Remains of a Fort Nicholas Verkolje. (384.) Panel, square, in a Mack and gold frame, lft. Gin. x 1ft. lin. The main road through a village passing along the side of a ruined building, at evening time. Numerous figures are sitting and moving about as if making holiday. A group of beggars, and a woman with a baby in red covering, are seated under a tree at the left side. A man in full armour mounted on horseback in the centre of the picture, thrown into shadow, is being addressed by a group of beggars, hat in hand. Signed in fine black letters, in front left-hand corner of the panel — This monogram is of Nicholas Verkolje, a well-known painter and engraver. 398. (409) Lady Anne Cavendish, Wife of Robert Lord Rich. After Van Dyclc. (324.) Canvas, square. 2ft. 5^in. x 2ft. First appears in the 1841 Catalogue. Purchased at Oxford by G. H. Lady Anne Cavendish, daughter to William, 2nd Earl of Devon- shire, married Lord Robert Rich, afterwards 3rd Earl of Warwick. (See Collins's Peerage, ed. 1751, vol: ii., page 188.) She does not appear to have lived to the period of her husband's succession to the earldom. There is a fine portrait of Lady Anne Rich at Petworth House. The peculiarity of a mole here seen over the corner of the mouth on her left side is observable on portraits of Diana Lady Newport, afterwards Countess of Bradford. LADY EMMA TALBOT'S ROOM. 201 Bust portrait, life-size, seen to the waist. The figure turned lightly towards the right, the face seen in three-quarters to the left, and looking in the same direction. Rich dark brown hair in separate curls across the forehead. Two large pearls in each earring. Fair complexion and red cheeks. The mole above noticed is very conspicuous. Blue dress, with chains of pearls and jewels. A broad band of dark brown fur over her right shoulder. The picture more probably represents Diana Lady Newport, fourth daughter of Francis Earl of Bedford. The mole upon her face corre- sponds in position with the known portraits of that lady. See Catalogue of pictures at Woburn Abbey, Nos. 110 and 112 of the Catalogue prepared in 1870. Other representations of Lady Newport are known to exist. See "Lives of the Friends of the Chancellor Clarendon," by Lady Theresa Lewis, vol. iii. page 334. A copy after Van Dyck by Russell at Llampton Court, of the same lady, shows the mole conspicuously, but tho picture is unnamed. It is No. 176 of the Catalogue. 399. (410) The Agony in the Garden FiUppo Lawri (312.) Canvas, square oblong. \ft. x l/t. 4m. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, 9th May, 1842, for £10 10*. See Sale Catalogue, 13th day, No. 25. It came originally from the collection of M. Julienne, at Paris. The Saviour kneels towards the left, before the cross held by angels. The principal angel points towards a ray of light which illumines the group. In the distance, towards the left, Peter and Judas are entering by the gate, lighted by a single torch. This effect of distant light is well rendered. The head of Our Lord is extremely well painted. On a paper attached to the back of the strainer of the canvas, it is said to be painted " by Lauri after Gorreygio." 400. (411) Flowers John van Ifuysum, in 1720. (331.) Canvas, Upright square. 1ft. aj>ti*t< . Canvas, large square, in a black and yuld frame. 4ft. x 2ft. 2\in. Flowers, chiefly consisting of tulips, polyanthus, and some of a large red kind, in a stone vase decorated with has-relief sculptures of boy-satyrs. Three pale pink roses have fallen on to the slab below. (See also No. 439.) The bold signature, now obliterated, can only be read thus LADY EMMA TALBOTS BED-ROOM. (336.) far— 206 PICTURES AT KNOWSLEY HALL. 410. (421) Thomas, 1st Earl of Derby .... Copy by Cranke. (333.) Camas, in an old carved and gilt frame of the Sunderland pattern. 2ft. 5in. x 2ft. Painted on a larger scale than the original picture (No. 136 in the Dining-Room). The entire hand and some of the staff below it are shown. A ring is introduced on his little finger, and two buttons are inserted below the pendent George. A very indif- ferent performance, brown and old-looking in tone. EAST ROOM. 411. (422) Poultry Nicolas Dupre. (407.) Canvas, small oblong square. 1ft. \\\in. x 2ft. i\in. First appears in the 1736 Catalogue, as "Two pictures, Landskips and Birds, by Du Pree." Companion to No. 43i. A turkey and two white peacocks, one strutting towards the right, and the other mounted on a wall under a tree. A dark picture. 412. (423) Madonna and Child Cignani. (316.) Panel, small square. 9in. x T^in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, 9th May, 1842, for £7 17s. 6d. See the Sale Catalogue, 13th day, No. 17. It was formerly in Lord Cholmondeley's Collection. The Virgin, in a red dress with blue drapery, is seen to the knees contemplating the divine Infant, lying partly naked on her right arm. She rests the left elbow on a table. A yellow curtain is suspended in the background on the left-hand side. 413. (424) The Baptism of Our Saviour. Attributed to Ludovico Caracci. (16.> Canvas, oblong. 8%in. x lft. First appears in the 1841 Catalogue. Purchased by G-. H. at Florence. A composition of four figures. Two full-grown angels, kneeling, EAST ROOM. 207 in blue and yellow long robes. One of them applies a white cloth to the figure of the Saviour. St. John, half kneeling on a rock to the left, holds water in a shell over his head. 414. (425) The Virgin Mary Pavnter unknown. (311.) Iff. l\_in. x !/<• 3m, Perhaps by Innocenzio da Tmohi after Raphael. A head of the Madonna, looking down to the left. The hands are raised in the opposite direction. 415. (426) Small Landscape Gonzales Ruit:. (18.) Copper. Shin, x 5in. First appears in the 1841 Catalogue. A companion picture to No. 417. Purchased by ft, II. from the Helvederc Villa at Naples. 416. (427) Battle-piece and Trumpeter .... Salvator Rosa. ... < 17 > Small circular picture. StM, First appears in the 1841 Catalogue. Purchased l>y (i. II. 417. (428) Landscape Gonzales Ruitz. (19-) Copper. Zhin. x 5m. First appears in the 1841 Catalogue. Purchased by ft, H. from the Villa Ilelvcdere at Naples. The companion picture to No. 415. 4 18. (429) A Boy's Head Cristoforo Allori. ',59.) 8J>('n. x 6.i»n. First appears in the 1841 Catalogue. Purchased at Naples by G. II. 419. (430) The Boat of Life F Hippo Lanri. (13.) Canvas, small square obloii;/. Tin. x 9\in. First appears in the 1841 Catalogue. Removed from the house at Preston. Time at the prow, with wings, guides the boat with a long oar ; 208 PICTURES AT KNOWSLEY HALL. the hour-glass is at his feet. There are three rowers. A youth at the helm is asleep, and Cupid hovers over him. Moderately well painted. 420. (431) The Descent from the Cross Burney. (315.) Canvas, c ift. lin. x 3ft. First appears in the 1855 Catalogue. Purchased by the 13th Earl of Derby at Mr. Roscoe's sale for £4. The body is being lowered with a sheet, as seen in the famous picture by Rubens in Antwerp Cathedral. The Virgin is fainting on the ground on the right-hand side. A weakly designed and poorly executed picture. 421. (432) Ruins Probably by Havelaer. (89.) Panel, small oak. ll^i're. x 9^in. First appears in the 1841 Catalogue. Purchased at Brussels by G. H. Architectural buildings, with a large vase on a square pedestal. A jet of water runs from the side of the pedestal into a large basin. The vase and chief part of the pedestal are in shadow. Distant view of the sea to the extreme right. Pale colours and dark brown shadows. Signed in black characters in the lower left-hand corner — At fcctvelae^ Attributed, taking the sound carelessly, in the Catalogues to " Avila." 422. (433) Narcissus Francesco Mola. (322.) Canvas, small square upright. 2ft. i^in. x lft. lin. First appears in the 1814 Catalogue. Narcissus lies at full length along the foreground of the picture, with his feet towards the left. He wears a yellow drapery. Five Cupids, by far the best painted portion of the picture, are hovering in the air above. A strongly coloured, but moderately good picture. For the fable of Narcissus see Ovid's " Metamorphoses," book 3, ch. vii., v. 402. EAST ROOM. 203 423. (434) Lady Charlotte Burgoyne, Gth Daughter to the 11th Earl of Derby Heathy. (323.) Canvas, square upright. lft. Tin. x lft. l$in. First appears in the 1850 Catalogue. A bequest from Mr. Leigh. A small full-length figure, attired in a straw hat and yellow dress with muslin sleeves, standing by a square, stone-built foun- tain, on the corner of which she rests her left hand. Rocks and trees form the background to the left. A pleasing, youthful face, carefully and delicately finished. The general tone of the picture is low but remarkably agreeable. Inscribed along the front in yellow letters — L. Charlott Burgoyne VI th Daughter to Ed. E. of Derby. Heatly. Pinx 1 . As the inscription has been added by a strange hand, subse- quent to the completion of the picture, and as the name of the artist here given is not one that is at all known, I am led to sur- mise that the painting is really by Francis Wheatley, R.A. He was a student of the Royal Academy in 17G9, elected R.A. in 1791, and died in 1801. Lady Charlotte Stanley married General Burgoyne, of The Oaks, Bausted Downs, Surrey, and died at Kensington Palace, June, 1776. 424. (435) " Ecce Homo " Painter unknown. (83.) Copper. 9 in. x G^in. First appears in the 1841 Catalogue. Purchased by O. H. at Brussels. A half-length figure of the Saviour, in pink and white drapery, holding a reed. Very poorly painted. 425. (436) Landscape and Waterfall. Attributed to A. Everdingen. (12.) lft. iin. x lft. First appears in the 1841 Catalogue. Purchased by G. H. at Brussels. K E 210 PICTURES AT KNOWSLEY HALL. * 426. (437) The Infant Hercules strangling the Serpents. Annibale Caracci. (47.) Panel, small solid, not oak, with an arched top. 7\in. x 5f in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby at Straw- berry Hill, 9th May, 1842, for £11 0*. 6d. See Sale Catalogue, 13th day, No. 28- From Sir Robert Walpole's collection. A small full-length naked figure bending forward and inclining towards the left ; resting his right knee on some white drapery of the cradle. He looks towards the right at the head of the serpent, which gasps under the pressure of his left* hand. Heavy and slovenly in execution, and certainly not worthy of the great master whose name it bears. The genuine picture is in the Louvre. It was formerly in the Orleans Gallery. Engraved by Moreau for the " Musde Francais," under the name of Agostino Carracci. Engraved also in Landon's " Annales du Muse'e," vol. vi., pi. 14. 427. (438) A Pieta. The Virgin and dead Christ. In a brown wooden frame. \\in. x 5|iw. 428. (439) A SMALL WATERCOLOUR DRAWING. 5in. x 4|i». 429. (440) Ducks, Pigeons, &c Casteels. (406.) Canvas, square upright. 4ft. 2in. x 3ft. 4\in. First appears in the 1736 Catalogue, as "Ducks by Casteels." To the right, ducks swimming ; a distant farmhouse in the centre of the picture. Small birds are perched on a tree in the upper left-hand corner. Numbered " 79 " in red figures in corner below. 430. (441) A Lady Reading Le Due. (129.) Panel, thin oak, bevilled at the back. lft. 2in. x lOira. First appears in the 1846 Catalogue. Purchased by the 13th Earl of Derby, at Straw- berry Hill, 6th May, 1842, for £3 5*. See Sale Catalogue, 11th day, No. 9. EAST ROOM. 211 On a paper covering the back of the wood is written — '•By Le Due H W. 17G8." A small whole-length figure. The lady, with a large open book across her knees, is seated in a wooden chair, against the wall of an apartment upon which a picture is hanging. The light is concentrated on the wall and the principal part of her figure with wonderful artistic effect. She wears a plain broad-spreading collar, and looks up from her book towards the right. A mass of white linen, her work probably, lies at her feet. A rich dark greenish brown curtain hangs on the left side of the picture. There are traces of browu letters like CK (qy. Poelemburg), on the ground. She wears a yellow- brown bodice and sleeves, and a black petticoat. Her feet are crossed ; her stockings red, and one of her black shoes partly off the left foot. A finely painted and very characteristic picture ; especially remarkable for the artistic treatment of the lights and shadows. 431. (412) Noli me Tangere Ceaare d'Arpino. (20.) 8Jin. x 6 Jin. First appears in the 1841 Catalogue. Purchased at Naples by G. H. 432. (443) The Head of Our Saviour T. Hargreaves. (440.) Ivory, square. 5in. x 4Jin. Inscribed on the back of the card : " From the original "formerly in the possession of Mr. Roscoe ; at present in that "of Mr. Coke of Holkham. Painted by T. Hargreaves. L'ur,- "pool, 1817." Seen in full face, dark brown long hair, dark crimson dress. The background is gilded. A weak performance. Hargreaves was a pupil of Sir Thomas Lawrence, and son of Henry Har- greaves of Liverpool. See Williams's Life of Lawrence, vol. i. page 32\>, note. The agreement of apprenticeship was dated 10th May 1793. 212 PICTURES AT KNOWSLEY HALL. 433. (444) Paerot, and other Birds .... Baltasar di Caro. (321.) Canvas, oblong, lft. l\in. x lft. 5in. First appears in the 1850 Catalogue. Purchased at Naples by Gr. H. A red parrot in the centre is perched upon a piece of music laid across a stone. Smaller birds hovering round him. Between the lines of music are the words " Bel Papagallo." A hollow vase of stone lies on the ground to the left. Sea and mountains in extreme distance to the right. 434. (445) Whale Fishing A. Storck. (218.) Canvas, square oblong, lft. 9in. x 2ft. 6in. First appears in the 1850 Catalogue. From Shugborough. Ships among icebergs. A large, three-masted vessel, well- rigged, and carrying the Dutch whaler's flag, occupies the centre of the picture. In the front, below, men are attacking a huge whale which is spouting up water. The immediate foreground is composed of an icy shore, on which two brown bears are promi- nent in the left-hand corner. At the end of the vessel is a remark- able painting, in a square frame, of a standing female holding a bird. Inscribed below in white letters on red — A 0 DE HOO. The numerous figures of men in boats attacking whales amidst the floating masses of ice are painted with extraordinary facility and truthfulness. A glow of red sunlight illumines the sky towards the horizon on the extreme left. Tbe general tone of the picture is cold grey. Signed, but not dated, in brown letters on the blue grey ice in centre of foreground — A -SUrclC YecY A°DE HOO One of the best specimens of the artist's peculiar style. BLUE BED-ROOM. 213 435. (4t6) Poultry Nicolas Dupre. (409.) Canvas, small square oblong. Ift. ll$t». x 2ft. 4Jin. First appears in the 1736 Catalogue. The companion picture to No. 411. A garden scene. In the centre is a dark brown representation of the Medici vase. (See No. 362.) Two cocks are fighting. A parrot and white rabbit are also introduced. Other vases and an obelisk appear in the distance to the right. First appears in the 1729 Catalogue, as " Diana and her Nymphs sleeping, by Long " John." Figures life-size. Three naked females surprised by two Satyrs, who are just appearing at the extreme left side of the picture, behind the head of Diana. The younger of the two Satyrs looks with a significant expression towards the spectator. The feet of Diana are turned towards the right. The silver crescent on her forehead is attached to her light yellow hair by two strings of beads, and has a large pearl pendent from it. In the background a hunting horn is suspended from a tree, and the head of a mastiff is seen from behind the stump of an old tree partly covered with some blue drapery, which passes round the left arm of the recumbent nymph, whose back is turned directly towards the spectator. An open landscape, with a dark grey sky, forms the right-hand extremity of the picture. A bow, with dead game, exceedingly well painted, fill the left-hand corner. The picture is very spirited, powerfully drawn, and displays all the technical resources of colouring, so characteristic of this distin- guished pupil of Jordaens. 437. (287) Dead Swan and Game Weervix. First appears in the 1729 Catalogue as "Still Life. Goose, Hare, Dog, &c." In the seconil Catalogue as "Dead Swan, Hare, &c, from Mr. Yates's, Feb. 9, 1722." Price £23 2*. BLUE BED-ROOM. (363.) Canvas, large square. Aft. 8in. x [ft. 214 PICTURES AT KNOWSLEY HALL. A white swan, hare, and partridge, with their heads downwards. Pheasant on ground, and two small birds in centre foreground. A dog in the right-hand corner, with a dead duck between his fore- feet, is barking at a bird on the wing. 438. (306) Portrait of a Child with a Dog. . . . Unknown. 4ft. x 3ft. 2in. A piece of water in front. Very badly painted. GREEN SITTING-ROOM. 439. (450) Flower-piece. Jean Baptiste Monnoyer, commonly called Baptiste. (341.) Canvas, large square, in a black and gold frame. 4ft. 4\in. x 3ft. 1\in. First appears in tbe 1801 Catalogue. Companion picture to No. 447. Large showy flowers, poppies, convolvuluses, and roses in a plain brown stone vase. A sprig of ivy and a flower lying on the ground. " No. 71 '' is marked in red on the left-hand corner. A dark picture. Grey, cloudy sky, and rocks in the back- ground. 440. (374) Landscape Abraham Begyn. (282.) Canvas, large square. 3ft. 7^in. x 4ft. 6in. First appears in the 1736 Catalogue, as " Landskip with thistles, by Bega. " A large cluster of trees in the centre, an expanse of water with islets in the middle distance to the left, a castle or country resi- dence with square Italian towers occupies the middle-ground on an eminence. Towards this point, advancing along the shore, is a coach drawn by six horses and attended by two horsemen. Beyond the central trees a peasant woman in a red dress, with a child by her side, drives two laden asses, goats, &c, along a rising road to the right. Beyond these, in the distance, a green hill GREEN SITTING-ROOM. 215 dotted with farm-houses. Tall thistles are conspicuous in the foreground, and among them — quite in front, in the centre of the picture — may be observed a fox holding a fowl. A tall fir tree, broken at the top, grows out of the rocks on the extreme right. Deep green in general tone, but very sparkling in effect. The brilliant red dress affords a somewhat violent contrast to the rest of the picture, although it may perhaps be welcome as a comple- mentary colour in the eye of an artist. There is a known connection between these two names, although not correctly applicable in the present instance. Cornelius Bega, who painted in tho style of Ostade, was originally called Begyn, and assumed that of Bega, in consequence of some disagreement with his father, Peter Begyn.* Bega was thirty years older than Begyn, the painter of this landscape. Tho works of the latter are somewhat numerous in this country, but, as Stanley — the editor of Bryan's "Dictionary of Paintors " — adds, "unfortunately for the artist's reputation, his best works are here ascribed to Berghem, whose master he was, and are frequently altered to give a nearer approxi- mation to his handling." 441. (305) Interior of a Guardroom .... Henry Steemvyck. (364.) Canvas, large square. 2ft. 7in. x 3ft. 4in. Purchased by the 13th Earl of Derby. A very effective picture. Interior of a large room. Figures are sleeping on the ground and on a bench in the front of a wood fire within a large square chimney opening, to the left. A row of stocks, seen in perspective, faces the fire. The gloom and depth of this spacious apartment, beyond the very limited range of the brilliant fire-light, are im- pressively conveyed. 442. (301) Priests of Bel feastino in a Church. Henry St<< uivyck. (362.) Panel, a large square. '2ft. Gin. x 2ft. 5m. Bought by the 13th Earl of Derby from Mr. Roscoc'b collection for £21 10«. 6d. The interior of a Gothic church with a high groined roof lighted by a cross-shaped chandelier. Two other candles are placed against the columns. Thirteen figures seated round a square table-cloth laid on the ground with one light in the centre. Priests and women sit * See Houbrakcn's " Grootc Schonburgh," Hague, 1753, vol. i. p. 349 216 PICTURES AT KNOWSLEY HALL. alternately. There are lights upon a distant altar. At the left-hand comer, under a pointed arch brilliantly lighted, two women are occupied in cooking. One of them draws a trussed fowl on to a plate. Other groups of persons feeding may be seen among distant pillars. The picture is very dark ; but the German pointed architecture is very interesting and carefully elaborated. 443. (298) Picture of Insects Maria Sybilla Merian. (419.) lft. l\in. x lft. 4%in. Companion to No. 444. Butterflies settled on the leaves of a bluish-green thistle. Lizards and snails are crawling below. Distant landscape of deep- tinted trees and blue mountains appear to the extreme right hand. This part of the picture resembles Housman in colouring. 444. (291) Picture of Insects Maria Sybilla Merian. ^418.) Panel, small square, not oak. lft. l^in. x lft. 4|in. Mentioned in the 1736 Catalogue under " Two small fine pictures of insects." Three butterflies hovering round a central group of mallow leaves, daisy, and bluebell. Lizards and flies are at the roots. A brown toadstool is at the right-hand side, and in the background a thistle with a garden spider on it. A small piece of a dark rich landscape is visible in the upper left-hand corner. 445. (292) Loaded Camel and Cattle .... Rosa da Tivoli. (347.) Canvas, tall upright. 5ft. 5^in. x 4ft. Tin. High rocks and trees by a seashore, dark sky background. A loaded camel, descending frqm a high piece of rock, advances towards the front. A gleam of sunlight plays upon the rider and upper portion of packages on the camel's back with brilliant effect. Sheep and cows lie in the foreground. A bold and well-painted picture. GREEN SITTING-ROOM. 217 446. (451) Classical Landscape, with Polyphemus. After Nicolas Pouasm. (342.) Canvas, square. 3ft. bin. x 4ft. 6^in. This beautiful pastoral scene is divided into three principal masses, towering against a cloudy sky ; the middle and left-hand mass being rugged mountain peaks ; that on the right, a majestic tree, with solid branches and broad spreading foliage. On the top of the rocky peak, in the centre of the picture, the huge figure of Polyphemus is seen reclining and playing upon a double pipe (the tibiae pares). Two naked fauns hiding among the bushes in the extreme right, seem about to surprise a group of three nymphs reclining on the grassy borders of a stream, having laid down their urns to listen to the music proceeding from the distant mountain- top. Further to the left, and away from the group just named, is a single figure, crowned with laurel, and reclining on a rock, also turning the head in the direction of the music. In the plain between the foreground figures and the towering rocks, are various Sicilians engaged in agricultural pursuits, some digging, and others ploughing with oxen, indicative of the nature of the country. The landscape portion of this picture is better executed than the figures. A fine example of this picture, and probably the original, was at Thirle- staino House, in the collection of the late Lord Northwick. It has been finely engraved by Augustin Gamier, and in outline by Madame Soyer, pi. 191 of Landon's "Vies et Qiuvres des Pointres," Paris, 4to, 1811. 447. (452) Floweh-piece. Jean Baptiste Monnoyer, commonly called Baptiste. (343.) Canvas, large square, in a black and gold frame. Aft. 4hin. x 3ft. 7huu The companion picture to No. 439. Dahlias, hyacinths, and roses, with convolvuluses and lilies in a stone vase. A convolvulus and polyanthus lie on the ground at the foot of the vase. Dark grey sky, and rocky landscape in the background. " No. 7 " in red is observable in the lowei left-hand corner. f F 218 PICTURES AT KNOWSLEY HALL. 448. (264) Judith with the Head of Holofernes . Pellegrini. (402.) Canvas, square, in a black and gold frame. 4ft. x 3ft. 2in. First appears in the 1736 Catalogue, together with the preceding. The figures, life size, are seen to the knees. Judith wears a white dress and turban, and a blue mantle. She rests her left hand on the sword, and touches the head of Holofernes, which her attendant is receiving in a bag in the left- hand lower corner. Her face is seen nearly in full, with pale shadows. Very little hair appears under the turban. The ex- pression of her countenance is very weak. 449. (262) Continence of Scipio Pellegrini. (373.) Canvas, square oblong shape. 4ft. \\in. x 2ft. 4in. First appears in the 1736 Catalogue, No. 22, as " Scipio his Continency, " painted by " Pellegreeni." Bought from Winstanley at the price of £25. A composition of numerous figures. Scipio is seated on a throne towards the right ; a lady with folded hands, attired in white, with pale blue drapery, kneels before him. Her action has a certain impress of French grace about it. Slaves bearing gold plate are kneeling in the right-hand corner. A warrior wearing a helmet and yellow drapery stands on the left-hand side, resting his left hand on a round shield. A freely painted and sketchy picture ; the colours are rich and mellow, and solid without glazing. After the capture of New Carthage, a maritime city of Spain (b.c. 210) a female captive was brought by the soldiers into the presence of Scipio Afri- canus, who, notwithstanding her extreme beauty, forbore to take her to himself. He even restored her to her parents, and transferred the large sums which they had provided as a ransom to Allucius, a young prince to whom she was betrothed, by way of dowry. See Livy, book 26, chap. 50, and Plutarch. 450. (451) A Flemish Dentist After Gerard Douw. (345.) Panel, protected by glass, lft. lin. x lOJm. First appears in the 1841 Catalogue. Purchased by the 13th Earl of Derby. Two figures at a window. A dentist, an old man in a fur cap, standing near an archheaded window, resting his left hand on the GREEN SITTING-ROOM. 219 head of a boy whose tooth he has just drawn, and is exhibiting as a proof of his dexterity. A stuffed alligator is suspended in the inner recess of the chamber. A deep scarlet curtain runs with rings upon a rod at the top of the window. The brass shaving-basin is placed on an open paper inscribed Dom. 1672. Beside it hangs by a blue ribbon a medallion of the Dutch lion rampant on a red ground. Very highly finished, and smoothly painted with intensely strong colours. The original picture is in the Dresden Gallery, No. 1139 of the official catalogue by Julius Hiibner, 1862. Engraved by D. J. Pound in A. H. Payne's " Dresden Gallery," vol. i., page 102. See also Smith's "Catalogue Raisonne'," vol. i., page 42, No. 128. 451. (455) Joshua commanding the Sun to stand still. Borgog-innn- (182.) Large square gilt leather sheets, joined together. 8ft. 4in. x lift. 7 in. First appears in the 1782 Catalogue. Purchased by the 12th Earl of Derby from Sir James Smith, the British Consul at Venice, for the sum of £250. A large and spirited battle-piece. A general sense of confusion, great energy in the combatants, and a painful distraction of lines, may be said to be the distinctive features of this very pretentious picture. The principles of composition seem to have been entirely disregarded, and the eye seeks in vain for any point of repose. The sun is not at all conspicuous, and Joshua himself is by no means prominent. A large mass of dark brown horizontal clouds descends to the central part of the picture, and among the lower dark lines the disk of the sun is perceptible. The effect of sun- light on the central and most distant mountains is remarkably well expressed. A mass of light is secured for the foreground in the centre by the device of a cream-coloured horse falling on his knees with his head rolling on the ground, and his rider, a good figure in helmet and classic golden breast-plate, falling off, with his face turned upwards, and retaining a sword still in his grasp. Great brilliancy of colour is occasionally obtained by the use of clear transparent colours on the pure gold ground. Joshua, chap, x., verses 12 and 13. it S 220 PICTURES AT KNOWSLEY HALL. 452. (456) The Death of the Stag .... Abraham Hondius. (222.) Canvas, large square oblong. 7ft. 6in. x 10/<. 5\in. First appears in the 1729 Catalogue as " A Stag hunting, by Hungius." In the 1736 Catalogue it is described as "Stag hunting by Hondious." On another page of the same Catalogue the name of the same artist is spelt " Houngious." The stag, rushing wildly towards the right, is beset by twelve dogs ; two of the number having fallen wounded beneath his feet. One hound, however, has fastened on his back and is about giving him the death grip. The small and very distant figures of a huntsman in red coat, mounted on a white horse, with a running footman in advance of him, are seen just issuing from behind the trunk of a large tree to the left. The picture, originally extremely fine and brilliant, has now deepened by time into heavy red-brown shadows. The painting of the animals justifies the remark of Horace Walpole (see " Anecdotes of Painting," edited by Dallaway and Wornum, 8vo, 1849, page 440), that " His manner seemed his own, it was bold " and free, and, except Rubens and Snyder, few masters have " painted animals in so great a style." The dark head and noble horns of the stag stand out in bold contrast against the ruddy clouds of a sunset sky. The wide- spreading branches of a deep brown oak-tree fill a large portion of the left-hand corner of the picture. The wild convolvulus twines round and hangs in graceful festoons from the rugged limbs of the solid old tree. 453. (457) Entrance of the Israelites into the Promised Land. Borgognone. (200.) Large square sheets of gilded leather fastened together. 8ft. Sin. x lift. 2in. First appears in the 1782 Catalogue. Purchased by the 12th Earl of Derby from Sir James Smith, the British Consul at Venice, for £250. A cavalcade passing round a piece of water, advancing from the left-hand side. Taken altogether, this may be considered as the best of the set of four pictures, Nos. 202, 278, and 451, and the next again in merit is certainly the Battle between Amalek and the Israelites. In the middle of the picture, the assemblage of figures thins and is reduced, so as to display the distant piece of water and show GREEN SITTING-ROOM. 221 the manner in which the procession on the distant shore turns round to pass out through a large arch. Two young men, as guards, in the quaint slashed and striped Italian costume adopted by Pietro della Vecchia in his pictures, stand in the extreme left- hand corner. Two patriarchal figures, in turbans and richly gilt robes, mounted on handsomely caparisoned horses, follow in the procession. The foremost, wearing a black beard, folds his hands as if in prayer or thankfulness, and looks back to his venerable companion. Towards the right hand, as the procession moves away from the spectator, a horseman in bright scarlet dre>s, white turban with feather, carrying his shield on the arm, mounted on a white horse, is a conspicuous figure. His back alone is visible, and the hind legs of the horse are very cleverly foreshortened. The line of cavalcade is skilfully varied. The sky is light and cheerful, being of a soft pale blue and grey tint with delicate pale yellow over the faintly defined mountains. The trees on the right-hand side are light and feathery, approaching, in many respects, the free and graceful style of Zuccharelli. There are, however, many masses of dense shadows in the fore- ground. The execution of these pictures must have been very rapid. The manner in which sharp and bright lines of gold were introduced on the dresses is very curious. As the picture was painted on a clear shiny gold surface, the artist, while the colour of the garment was still wet, had only to draw the required pattern through it with a blunt piece of stick. In many places it will be seen, where the gold ground has been laid bare in this manner, that the paint stands up in ridges on each side like the furrows of a plough. At Chiswick House, in tho collection of the Duke of Devonshire, is a similar picture on a small scale, attributed to " Bourgognone." It is men- tioned in tho " English Connoisseur," 1 760, vol. i. page 34. 454. (258) South-east Front of Knowsley. (393.) Canvas. A large w/nar< picture. \ft. x />//. lHt'n. In the centre is a square piece of water. The sc ulptured group of Hercules and Anteus is introduced in the right-hand comer. 222 PICTURES AT KNOWSLEY HALL. NORTH ROOM. 455. (348) Monkeys and Birds Honclecoeter. (278.) 4ft. Q\in. x 3ft. 9in. First appears in the 1782 Catalogue. BUTLER'S ROOM. 456. (344) Mountain of Lilienstein on the Elbe. A watercolour drawing. (439.) lft. \0\in. x 2ft. 5%in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. 457. (345) View of Dresden from the road to Budissin. A watercolour drawing (440.) lft. 10m. x 2ft. b\in. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. 458. (337) Engraving (under frame and glass) of the Agricultural County Meeting. After Ansdell. (438.) lft. 9in. x 4ft. 2in. HOUSEKEEPER'S SITTING-ROOM. 459. (333-36) Four small Landscapes representing the Seasons of the Year . . . Drawn in watercolours by Tillemans. (434-7.) T\in. x lOjin. First appear in the 1736 Catalogue as "Four little watercoloured Landscapes, by Pet. Tillymans." Purchased for £40, HOUSEKEEPER'S SITTING-ROOM. 223 460. (338-43) Six Portraits of Grand Duchesses of Florence, whole length, small size, painted in water-colours by an Italian artist, much faded. (441-46.). Purchased at the Strawberry Hill Sale, May 14th, 1842, by the 13th Earl of Derby, page 184, No. 110 of the Catalogue, for £5 5a. They are thus described in Lord Orford's Works, vol. ii., p. 429. London, 4to, 1798 : — " Six curious pictures in water-colours of Mary de Medici and Louis XIII., and five great Duchesses of Tuscany, copied from a chamber at Poggio Imperiale near Florence, where the originals are dressed in the very clothes they wore, pasted on the hangings, with the faces painted on sattin." The above is written in Horace Walpole's hand, on the wooden panel at the back of No. 464. 461. (338) Christina, Daughter of Charles II., Duke of Lorrain. Married, 3rd May, 1589, to Ferdinand I., Grand Duke of Florence. She survived her husband, and died December, 1637. (441.) lft. OJt'n. x 7 Jin. A tall standing figure, in long dress, small ruff open at the neck, high sleeves on shoulders, with large jewelled chain hanging below a cross on her breast, resting her right hand on the corner of a table, and holding a glove in her left. On the table stands a small domed clock. On a pedestal to the right is the grand ducal crown, very peculiar in shape, and said to have been first, devised by the Mcdicean Pope, Clement VII., when the Florentine Republic was erected into a Duchy. A green curtain is suspended across the top of the picture. 462. (339) Maria Magdalen, Daughter of Charles, Archduke of Austria. Born 15S9. Married, 1608, to Cosmo EL, Grand Duke of Tuscany. Survived her husband ten years, and died 1631. (442.) \ft. Oftn. x 7.J»'n. Standing figure in white embroidered dress and large round radiating ruff, resting her left hand on some books on a table, and holding a fan in the right. The large hanging outer sleeve, show- 224 PICTURES AT KNOWSLEY HALL. ing the under close-fitting pale green sleeve, is a characteristic piece of costume. The grand ducal crown is placed on a square casket on table to the right. A pink curtain hangs across the upper part of the picture. The Archduchess was sister to Ferdinand II., Emperor of Germany. 463. (340) Eleonora of Toledo, Daughter of the Viceroy of Naples, and Sister of the cruel Duke of Alva. Married Cosmo, the Grand Duke of Florence, 1539. Died before her husband, 1562. (443.) Iff. 0|i». x 7|i«. Seated in an arm-chair, wearing a purple dress, with plain open neck, resting her right hand on the shoulder of her son, who stands at her side. On a pedestal behind the latter figure is seen the grand ducal crown. Further to the left is the large model of a temple or building, with two pediments and figures rising from the top. A blue curtain hangs from the opposite side over the seat of the Duchess. 464. (341) Marie de Medicis, Daughter of Francis Mary, Grand Duke of Tuscany, and Widow of Henri IV. of France, with her son, Louis XIII., at the period of his accession to the Crown. (444.) lft. 0%in. x 7\in. She wears a crown as Regent of France, and is seated, in a blue mantle seme'e with fleurs de lis, on a richly carved throne under a blue and white canopy. She wears a high-standing lace ruff, and rests her right hand on the shoulder of the boy king. Louis wears a crown similar to his mother's, an ermined mantle, a white round frill or ruff, and the Order of the Saint Esprit hangs by a ribbon at his breast. He rests his right hand on a stick, and his left upon the hip. He stands with both feet upon his mother's blue mantle. Her feet are entirely concealed. Written on the back of the panel, at back of the picture, is " Mary of Medicis and Louis XIII." The remainder of the in- scription has been given under No. 461. HOUSEKEEPER'S SITTING-ROOM. 225 465. (342) Joanna of Austria, Niece of the Emperor Charles V. Born, January, 1547. Married Francis Mary, Grand Duke of Tuscany, 1565, and died, 1578. After her death her husband married Bianca Cappello, No. 406, with whom lie had long been enamoured. lft. 0$in. x 7£m. (445.) A commanding standing figure in a handsome pink dress very much faded, with dark gilded pattern of billets and fleurs de lis all over it, and loose hanging sleeves of the same kind as before noticed in No. 462. Her ruff is large and radiating, and reaches nearly to the top of her head. A row of pearls surmounts her black hair, and large pearls are in her ears. She rests her right hand on the corner of a blue-covered table, on which is an ink- stand, and, in the distance, the graud ducal crown on a blue and white casket. The white glove on her left hand is slit to show a jewelled ring on the third finger. An arm-chair is behind her, and a blue curtain with white fleurs de lis is suspended above. The portrait of this Princess, as mother of Mary de Medicis, forms a very important feature in the well-known series of pictures by Rubens now in the Louvre. Rubens, however, was only one year old at the time when the Grand Duchess died ; and he must have had the guidance of some earlier existing portrait by a skilful artist, apparently, to judge by style and composition, of the Spanish school. See " Catalogue of the Louvre," by F. Villot, 1866, and Smith's " Catalogue RaisonneV' p. 127, No. 426. 466. (.313) Bianca Cappello, Second Wife of Francis Mary, Grand Duke of Tuscany. (446.) \ft. Oftn. x 7ii«. Bianca, a rich heiress, the daughter of Bartolonnneo Cappello, a Venetian noble, was born at Venice in 1548. Having eloped from her native city with Bonaventuri, a young Florentine banker, the fugitives sought the protection of Cosmo, the reigning Grand Duke of Florence, whose son, Francis Mary, in a short time won the lady's affection, but retained her husband in high offices about the Court until he was assassinated in 1570. Eventually, after suc- ceeding to the throne and being left a widower, Francis Mary a a 226 PICTURES AT KNOWSLEY HALL. married Bianca, October 12th, 1579. Both husband and wife died almost at the same time, from poison, it is supposed, which they had intended for the Duke's brother, Cardinal Ferdinand. He turned their treachery against themselves, and both were compelled to partake of the same dish, October 1587. Ferdinand, having laid aside his priestly obligations, succeeded to the throne of his brother, and married Christina of Lorrain, whose portrait has been described under 461. A standing figure, in a blue dress, with worked open collar, showing a pearl necklace ; a gauze veil, fantastically edged with pendent pearls, descends on each side of her grey hair. The expression of her countenance is very marked, and fully indicates the moral character which may be gathered from the above sketch of her career. Galluzzi calls her "la pessima Bianca."* She holds a white handkerchief in her left hand, and rests the right, holding a glove, on the corner of a blue-covered table, on which is a vase of white lilies and pendent blue flowers. The grand ducal crown is only partially seen behind the vase, and not, as in all previous instances, mounted upon a casket or pedestal. She stands upon a plain white floor. The feet, as in all the other portraits, except- ing that of Eleonora of Toledo, No. 463, are entirely concealed. A lilac curtain is hung in two festoons across the top of the picture. Montaigne, in his " Travels," quoted by Lord Orford, vol. ii. p. 469, says of Bianca, " Cette Duchesse est belle a l'opinion Italienne, un visage agrdable et imperieux, le corsage gros, &c." She is represented in a similar dress to this picture on a medal engraved by Heraeus, pi. 62, fig. 11, in three-quarter face, omitting the veil. It is inscribed — BIANCHA CAPP. MED. MAG. DVC. ETRVRLE. HOUSEKEEPER'S BED-ROOM. 467. (319-25) Copies from Raphael's Cartoons by Goupy, exe- cuted in watercolours upon Engravings b} r Dorigny. First appears in the 1736 Catalogue as "Seven Cartoon Prints of Dorigny, painted in watercolours by Joseph Goupy." Purchased for £100. * Trollope, " Decade of Italian Women," vol. ii., page 339. HOUSEKEEPER'S BED-ROOM. 227 468. (319) Ananias. lft. lin. x 2ft. h\in. 469. (320) Healing the Cripple at the Beautiful Gate. lft. lin. x 2ft. 5£ira. 470. (321) Feed my Sheep. Christ's Charge to Peter. lft. 7 in. x If I. f>\in. 471. (322) The Sacrifice at Lystra. lft. "tin. x 2ft. 5§m. 472. (323) Elymas. lft. lin. x 2ft. 5Jtn. 473. (324) The Miraculous Draught. lft. lin. x 2ft. 5 Jin. 474. (325) Paul Preaching at Athens. lft. lin. x 2ft. 5$t'n. (420.) (421.) (422.) (423.) (424.) (435.) (426.) These seven pictures are exactly the same size as Dorigny's engravings, and the fine lines of the print can be detected under several portions of the colouring. Dorigny's prints are the reverse of the original cartoons ; but as these copies are turned the same way as the cartoons themselves, the impressions must have been doubly printed (or off-tracks, as the technical expression is,) before Goupy could commence his operations. The colours in this set are true to the originals, excepting that they are altogether on a paler scale. They are painted in guazzo or body-colours. Walpole says that the Duke of Chandos gave him 3002. for a set of. copies which only produced 17/. afterwards at a public auction. This set, painted on leather, smaller than the one here described, is now in the possession of the Kt. Hon. W. E. Gladstone, M.P. In the 1736 Catalogue, p. 12, we find also that Christopher Lee had coloured a set of Dorigny prints in oil. Joseph Goupy was a teacher of drawing and copyist in water- 228 PICTURES AT KNOWSLEY HALL. colours. He held the appointment of " Cabinet Painter " to Frederick, Prince of Wales, and instructed the Princess in his art. He etched a few plates after Salvator Rosa, see No. 110. His uncle Louis painted in fresco, crayons, and miniature. Joseph's collection was sold by auction in March, 1765. He died 1747. HOUSEMAID'S ROOM. 475. (329) Fruit Piece. Engraved in mezzotint by R. Earlom after Van Huysum. (433.) lft. 9£m. x lft. ten. First appears in the 1850 Catalogue. Purchased by the 13th Earl of Derby. 476. (347) Fruit Piece. A mezzotint engraving. (448.) lft. 9|i«. x lft. %\in. Companion print to No. 475. SUPPLEMENT. MINIATURES WITHOUT ANY FIXED LOCALITY. Isaac Oliver, the celebrated miniature painter . . . By Himself. Oval Card, 2J in. x 2 in. As a young man, half-length figure, looking at the spectator, with smooth face, turned in three-quarters to the right, small moustaches, full dark hair, and a large round ruff folded in large plaits. His dress is black satin, with small crimson slashes arranged in triplets ; a black cloak, patterned with oak-leaves, covers his left arm. Back-ground plain opaque blue. An ex- quisitely-finished miniature. On the gilt back is rudely scratched, apparently by Horace Walpole — Isaac Oliver by Himself. Purchased by the 13th Earl of Derby at the Strawberry Hill Sale, May 10th, 1S42. for £21. See Sale Catalogue, 14th day, No. 85, jwge 147. Engraved by J. Miller for Walpole's " Anecdotes of Painting." See Lord Orford's Works, voL iii., page 131. It is there , mentioned in the following words: — "I have another portrait of fl^'r ■ <■ Oliver himself, larger than that of Dr. Meade's, and without a hat, bought at Mr. Barrett's sale. " This picture alone would justify all I have said of him. The art of the master and the imitation of nature are so great in it, that the largest magnifying- glass only calls out new beauties." Elderly Lady, probably Margaret Holcroft, widow of Sir Thomas Stanley, 4th Baronet Christian Richter. Oval Card, 2 J in. x 1 j in. Seen nearly to the waist, face turned in three-quarters to the left, looking at the spectator, with black hood tied under the chin 11 ii 230 SUPPLEMENT. and a black point descending on the forehead. A black gauze veil hangs down on each side, covering the shoulders ; a row of small black beads encircles her neck, and the bosom is covered with a square white muslin, which partly overlaps her plain black dress. The hair is entirely concealed. The background consists of a rich deep transparent blue. The features are delicately painted, and the miniature is finished with remarkable care. The light is admitted from the right-hand side. The costume is very similar to the larger portrait of Lady Stanley in the Dining Room, No. (175) 174. Unknown Lady in filagree silver frame Unknown. Oval, 2§ in. x 2j 3 5 in. Conjectured to repi-esent Charlotte de la Tremouille, Countess of Derby. Bust portrait of a lady with yellow-brown hair, fair com- plexion, and grey eyes. The face is seen in three quarters, turned to the right. Deep lilac dress, blue mantle on her left shoulder, and a pearl pendant from a jewel in front of her dress. The miniature has been inserted under the crystal glass, and does not belong to the original silver frame. A silver cypher, composed of the letters C. D. T. R, surmounted by an Earl's coronet, is attached to the shagreen back. On a small paper is inscribed, in Horace Walpole's handwriting — " Charlotte de la Tre'mouille, defender of Latham House, 1644." Purchased by the 13th Earl of Derby at Strawberry Hill, May 6th, 1842. No. 46 of the Catalogue, for £16 16s., and described : "Charlotte de la Tremouille, the Countess of Derby, who defended Latham House, 1664, in a silver filagree frame." See Lord Orford's Works, 4to, 1798, vol. ii., page 423. APPENDIX. Among the documents and papers preserved at Knowsley are some curious letters and memoranda illustrative of the dates, and circumstances under which some of the principal pictures were added to the collection. The following notes of letters relate to the Poussin picture, No. 128, "The Arts demanding of the Genius of Rome," &c. : — November 1G, 1723. From Mr. Wright to Lord Derby. Offering the Poussin, "just come to England," price £400. Mr. Walpole as yet knows nothing of it. " Be pleased to direct for me in the Piazza's, Covent Garden." November 26, 1723. From T. Wright to Earl of Derby. About picture of " Complaint of the Arts." Announcing that he had been very early with tin gentleman and secured the picture, although " he's so far from making any abatements that be has offered twenty guineas to me to be off the agreement." " I received £400 from Mr. Stanley this day." Dec. 10, 1723, London. From T. Wright to Earl of Derby. Stating that he had asked " Mr. Walton, who is keeper of the King's Storehouses of pictures and has the care of most of the fine collections belonging to the nobility," and likewise Mr. Richardson, who has seen all the fine things abroad, to come and see his pictures, and both owned they never saw so capital a Picture of Poussin — not even the 7 Sacraments. . . . " If it does not answer your L/'ship's expectation I will take it myself with all my heart." On a separate paper : " I have not found anywhere an account of your Poussin, which I much wonder at, since tis his very greatest stile and one of the most capital I have seen, for the Horse ; it is one of those upon Monte Cat ttllo at Rome, when are two, said to be, one of Phidias and tother of Praxiteles, as it is marked upon the BascB by order of Sixtus 5th, who set 'cm up their (sic) and repaired 'em. " I am, Sir, your most humble serv« (Signed) "J. Richardson." December 28, 1723, London. From T. Wright to James, Earl of Derby. Replying to the Earl's complaint of the figures having been injured, cleaned, and rubbed. His postscript says : " If the figures had been larger it wou'd have spoil'd the Proportion of the Archi- tect r , and the threads are no moro than what all the Italian cloaths have." January 2nd, 172j. From T. Wright to James, Earl of Derby. Owning that the picture was bought of Capt. Broome and enclosing Capt. Broome's receipt ; offering to refund the money. " If your L d ship will but allow me time to raise the money, I will take it if yo r Lordship thinks you have a hard bargain, and 400£ is a great deal in my pocket." 11 h 2 232 APPENDIX. The following is on a large sheet of paper docketed — "1723. " Pictures." 1721. Bought of £ s. d. July 1. of Mr. Skelton. A Battle between y e Turks and Germans . . 21 0 0 Jan7 2. at a sale. A small picture by Cornelius van Harlem .... 8 8 0 17. of Mr. Wicters. Seneca bleeding in a Bath by Rubens 36 15 0 of Mr. "Wicters. Noah & the ark by Francisco Melli .... . 26 5 0 Feb. 9. at Yates's Sale. 23 2 0 do. 0 18 0 19. Sev 1 pictures of small value for the gallery . 24 2 0 24. at L d Portland's Sale. A Battlepiece by Hoctenburg 6 6 0 March 6. at Wicters by Michel Angelo Caravaggio the Nativity . , . 126 0 0 14. at Gov Yates's Sale by Vander Werff the Samaritan Woman . . 327 12 0 1722. May 9. 31 10 0 Aug. 11. at Mr. Van Hulst's Sale. Country people by Ostade , . . . 42 0 0 do. 58 15 0 do. Landskip by Jasper Poussin .... 5 15 6 do. 10 10 0 do. Seapiece with ships by Vandervelt . 14 11 0 Sept. 15. At Mr. Castilles. 0 0 at do. 63 0 0 Oct. 7- do. 10 10 0 Dec. 15. do. Virgin Mary and her child in her arms by Correggio . . 105 0 0 do. Landskip with Banditti. Salvator Rosa ■ 73 10 0 do. Serpent in Wilderness by Rubens . . 73 10 0 do. 42 0 0 1723. Mar. 25. do. A large Picture by Rubens and by Snyders . 136 10 0 do. 115 10 0 Total £1467 2 6 Roma, 4th April, 1724. From Hamlet Winstanley to the Earl of Derby. Has much advanced the Aurora for his Lordship. Has just met with 3 pictures by Romanelli and 1 by P. da Cortona, price 450 crowns apiece. "Virgin pictures" ! Roma, Nov. 27, 1723. From Samlet Winstanley to the Earl of Derby. Mentions that he has seen Carlo Marratt's Madonna with St. Anthony, same subject, but larger and not so well designed, by Pieter da Cortona. 3 or 4 pieces of " foules, done in a great gusto." London, March 3rd, 1725-6. From Samlet Winstanley to James, Earl of Derby. For purchase of Cheron's drawings at 265 guineas. • IJNDLX OJb * — PAIXTED BY KO. 202* 335 Adam and Eve driven from Paradise . . Calvert . . . 197 111 309 399 Agricultural Meeting .... . Print after Ansdcll . 458 143 269 AltciTtioni 's, Lotd. Irish wolfdog, 1788 ■ 261 155 107 Ancram, Anne Stanley, Countess of . Honthorst . . . 145 Angel appearing to the Shepherds . . Bassano . 373 47 Anglesea, Henrietta Stanley, Countess of . . Kncller . 158 398 Anne Stanley, Countess of Ancram . . Honthorst 145 108 293 310 25 Anthony St Temptation of 313 34 106 37 269 256 Allan and Chatelherault, Duko of . . Drawing for Lodge . 245 216 124 Arts demanding of the Genius of Koine . N. Poustin 128 84 Ashlmrnhnm, Henrietta Stanley, Lady . Kncller . 158 321 335 Athol, Amelia Stanley, Countess of . , . . Mrs. Peak . . 155 166 * The numbers refer to the present arrangement of the pictures.— G. S., February, 1875. 234 INDEX OF SUBJECTS. Bacchus and Ariadne, Triumph of . Winstanley . . 256 344 338 Banditti attacking Travellers . . Ferg. 19 413 114 Baschet, discovery by M., of P. Veronese and the Inquisition . . . 203 50 Battle . . S. Rosa . . . 416 78 Battle-piece . . Borgognone 361 . Courlois called Bourguignon 288, 289 Battle-piece ....... Tillemans after Borgognone 296 Battle between Amalekites and Israelites . Borgognone — between Turks and Christians . Hughtcnburg . — — — ... . . . Tillemans . OA K 220 t> _ i xi..; j__ _ o Tji 4-',,. 442 294 70 Benedict of Anian investing St. William • . . Guercino lUo Bianca Cappello, Grandduchess of Tuscany . A PC 4bb Bicker staff e, Margaret Stanley, Heiress of 168 Birds, Concert of (Mario dai Fiore) . . totiyuers . . • QAO Bloodshoulder (Horse), 1724 .... <570 EA 1 ' . ~f T ifn | \ . '1 1 1 xr * 1 Bosville, Elizabeth, Lady Stanley 170 386 418 Bradford, Diana Russell, Countess of 398 T> 1 • /~1 _ j_ i_ 1 .1 /~1 J 292 388 Rvrh\ T ifp nf Ripbnvil TTT 323 33 Burgoyne, Charlotte Stanley, Lady . . Heatley . . . 423 113 445 . Orizonti . 365 Candlelight, Artist drawing by . . . Schalcken . . . 124 „ . H. Hall . . 376 365 Cappello, Bianca, Grandduchess of Tuscany . 466 Car, Mrs. . . . . • . . . Portrait by Van Byck 44 62 29 72 Carthage, Scipio among ruins of . . . Pannini . 295 INDEX OF SUBJECTS. 235 PAINTED DY KO. Copied by Goupy . 467-74 Verdicr 16 Cavallo Monte, group introduced 128 More . 343 Van Dyck 398 Marlow 339 Caxton presenting a book ..... . Miintz . 217 Cecil, Sir Robert, afterwards Earl of Salisbury . . . . 134 Cheron . 395 Ansdell 336 Charles L, King ......... Drawing for Lodge . 240 Old Stone 372 — with his Queen and Geoffrey Hudson .... Mytcns 255 Jarvis . • 348 Sir P. Lely 151 Charles James Fox Stanley, Colonel . . . . . . Pickersgill 283 Charlotte Brabantine, Princess of Orange .... 148 Van Dyck 144 — Countess of Derby, as a widow Lely . 152 — Countess of Derby, declining to surrender Latham 253 Lawrence 186 Lawrence . 189 — Louisa and Ellinor Stanley Ilaytcr . 285 — Lady, Penrhyn, as a child ...... Mitt tut ure . 308 Drawing for Lodge . 243 lleatley . 423 — Lady, Stanley, as a girl ...... Romncy 183 Chatclherault and Arran, Duke of ..... Drawing for Lodge . 245 Chelsea, residence of Sir Robert and Sir Charles Stanley . 159 Gillcmans . . 303. 306 Chinnery 277 Morales 382 371 Bourdon . 393 Christiana, of Lorrain, Grandduchess of Tuscany 461 Church, by Night Dc Lome . 86 Church Interior by Daylight ....... De Lormc . 107 Winstanlcy 287 Luca Giordano. 104 150 Constantinople ......... Drawing by Meyer . 385 Pclligrini . 449 126 P Potter . 316 Creed, the Apostles', framed in a Church Dc Lormc 107 Cromwell, Oliver ......... Drawing for Lodge 242 Cheron 199 Delia Bella, Engraving of Paris 66 Democritus and Heraclitus ....... Bruggens . . . 356 Dentist Douw . . 450 Derby, Alice Spencer, Countess of 143 236 INDEX OF SUBJECTS. Derby, Charlotte, Countess of, improperly called, picture from PAINTED BY NO. Ktra.whprrv TTill Cnllpptinn oo ilharlnttp f!mmtpQQ nf £50716 , — f^harlot.tp, Omrntpss nf /an pallprli MiTiicttitvc . 1^ n i »'l r»+"f"Q t*q iyi f\t 1 1 • • I^/in n 4"/iC'c r\V V^ilallUlLe X IcIllUliltJ, VjUIIiI looo Ul • . . . . Van Dych . 144 lirift v , Int4*o Hp lu T rpmni 1 1 p no a TX7*i H rmr 1 CO K)nrnthpa vnn Kunn (~1niinrp«ia nf -L'Ul U L lit il V Ull 1VU I mi j Ly U ll 11 tcoo Ul « • . . . loo ttmmm K I 1 71 hpth K i rron ilrtniitooQ rif A fter Lawrence 182 TTl I 70 T-\rt+ Vl 14 riC['£i^"l'» 1 /~\ 11 T1 "f ri C O AT XjUZcIUo IH nt/OKcLJlj ^OUtltcoo Ol ..... Winstanley . 173 TVT o TTCii'ci'f' T<£m 11 tVirt' 1^ ah n "4" n o o /-if Thomas 1st Karl of 100 — Thomas 1st Earl of n \ rt 7 C opy by LfTankc *xl.\J Thomas 2nrl Karl nf 1 OO loo Edward 3rd Earl of * lo / — TTpnrv 4th Karl nf Ziucharo . . loo _ Tfpv/i in rtn ri n ^ +■ h Ki rl rkf 1/11 141 William fith Karl nf 1 1 i i ii 111 UlUt< Velvet . . . . " Frlwnrrl 1 9th Karl nf a« a philri XjU Wtll U, 1— til Xjtlll Ul, aD a, villi LI . . . 0 Taut fee ■ * 1 / i Krlwarrl 1 9t h Karl nf with hiq rinnntpQQ XjU VV al LI, 1 — I 11 Xjcll X Ul, W1L11 111 o V^U Ull I Loo . . . . Tin i / TrnYl ft nt £L.LbUiJJ IllAJjIli . 10 / TV] ward 1 9tli Karl of irfiim Qnnv/yii fin \JUjLIIoUUi tsU/yft/ . 1 SI X ox Edward 19fh Karl of Full lpno-th XjU_VVcIILI, J. 14 Lll lull I Ul. X Ull lOllgLil , . * . . 7?/ryw won 191 Krlwarrl 1 9t h Karl nf JKU Well LI, 1 — Lll Jj.III Ul .... ... TT ct it) iHnm JX U/llt/bHiUlti • • 251 . Krlvcrirrl 1 Sth Karl nf as a bnv *~ XULl VV t*l Ll, X O Lll A-Jtll 1 Ul, 'fl/ % i> 184 Krlwarrl 1 °,tri Karl nf VV lit, J-ZOl uu 190 Krlwarrl 14th Karl of as a child UU tv ai Uj Hull uaiii j c^k3 oi V'.ii i .1 . • . . . I^IviviatiiT& 308 Krlwnrrl 1 4th Karl nf whpn vnnncr XjU. VV dl Ll, 1 M 111 Xlitll 1 Ul, W 11C 11 V U LUlt^ . • . > . TTfifl n'iiw j. j. (j>/ < uu t . 192 KrlwiTvl 1 4.t1i Kdrl nf whpn T.nrrl Stnnlpv XjU VV cli U., X 111 Xj'(■ • 379 Krlwarrl 1 ^th Karl nf whpn T.nril StinlpTr 1 fifi 4. 1 XjU. VV ell Ll, XUtll J-Jdi 1 Ul, WllcXl XjUI Ll OLclliicV, lOUi • OOx* Krlwarrl 1 ^th Karl nf Knll lpno*th ULL \\ (XL Ll, liSl'li ijclll Ul. X IXX1 ICll^ 111 . . . . . fjll '-'-I''. ■ ■ • 194 Descent from the Cross MuTTtey 420 Devereux, Robert, Earl of Essex. Dated 1599 . . . . 140 Rubens . . 113 Langen Jan . 436 Poelemburg 71 Lingelbach . . 100 Dogs, Four . Stubbs . 123 Dorchester, Katherine Stanley, Marchioness of . . . . 156 Dorothea von Rupa, Countess of Derby . 153 Doughty Family, Young Lady of the Eonthorst . . 402 INDEX OF SUBJECTS. 237 PinfTBD BY KO. Drake, Sir Francis Miniature . . 224 Dresden .... 457 Dryden. Small full length Maubert . . .351 Duel between Robert Stanley and the Duke of Grafton . . .... 149 Dulaure's " History of Paris" quoted ..... ... 51, 66 Dutch Conversation. Ostade .... 7 Dwarf (Sir Geoffrey Hudson) Mytens . . .255 Eagles and Lamb Hondecocter . . 53 "EcceHomo!" 424 Edward IV., Caxton and Rivers Muntz . . . 217 Edward, 11th Earl of Derby. In blue velvet .... W'instanley . . 172 — 12th Earl of Derby Gainsborough . . 181 — 12th Earl of Derby, as a child Cranke . . .177 — 12th Earl of Derby, with his Countess . . . . Kauffman . . . 187 — 12th Earl of Derby. Full length Romney . . .191 — 12th Earl of Derby Hamilton . . . 251 — 13th Earl of Derby, as a boy Romney . . .183 — 13th Earl of Derby W. Derby . . . 190 — 13th Earl of Derby Laurence . .184 — 14th Earl of Derby, when young Harlowe . . . 192 — 14th Earl of Derby, when Lord Stanley . . . . Briggs . . . 281 — 14th Earl of Derby. Full length Grant . . . 193 — 14th Earl of Derby, in 1841 W. Derby . . 357 — 15th Earl of Derby, when a boy. Full length . . . W. Derby . . . 379 — 15th Earl of Derby, when Lord Stanley, 1864 359 — 15th Earl of Derby. Full length Grant . . . 194 — Sir, Stanley, 3rd Baronet, 1666 Hodges . . .169 Egerton, Mary, Lady Stanley Van Dyck . . . 167 Eleonora of Toledo, Grand Duchess of Tuscany ... .... 463 Elizabeth Hamilton, Countess of Derby Kauffman . . . 187 — Hesketh, Countess of Derby W'instanley . . 173 — Patten, Lady Stanley .... 175 — Queen Miniature . 221 — Queen Drawing for Lodge . 241 — Queen of Bohemia Miniature . . . 219 — Stanley, Lady Horton Hamilton . . 248 — of York, Queen Drawing for Lodge . 244 Ellinor, Charlotte and Louisa Stanley Hayter . . . 285 — Lady, Hopwood W. Derby . . . 282 Emma, Talbot, Lady chalk drawing 358 • — Lady, Talbot, when a girl. Full length . . . Wm. Derby . . 379 Emmaus, supper at Aertsens . . . 268 English and Dutch Fleets in 1729 Molli neux . 257. 258 Essex, Countess of, and Somerset Miniature . 234 — Robert, Earl of Miniature . . . 225 — Robert Devereux, Earl of. Dated 1599 140 Expulsion from Paradise Calvert . . . 197 Eynsham, in Oxfordshire, an old Monastery .... .... 323 Fanny, wife of Colonel Stanley, son of 13th Earl . . . W. Derby . . . 280 Farm-house Plundered Ferg. ... 21 Farncsina Palace, Group from Giulio Romano . . 97 I I 238 INDEX OF SUBJECTS. Farren, Elizabeth, Countess of Derby PAINTED BY . A ftcr Lawrence so. 182 Farrier's Shop 60 Feast at the House of Levi 203 Ferdinando, 5th Earl of Derby 141 Ki fln Til ah (Tfir • * 320 Fish Stall 297 Flamsteed House . . . . . . 369 Florence, six Grand Duchesses of . 460-466 Flower~piece 409 200 447 Flower-piec6 * . • . 439 Flowers ■ . ■ . . Recco 119 286 Klowers ^100 Flowers 9, 11 Flowers surrounding a Holy Family . . Rottenhamtr . 82 Fomarina with Raphael at the Farnesina 97 . . H. Hall . • . . 381 Fort in Ruins . . . . . . . . Verkolje . . . 397 Fox, C. J. 236 Framework of Carved Stone round Picture 155 34 322 341 79 . Romanelli . . 270 Teniers . 6 Orizonti . 362 . 366 . Spagnoletlo 15 Glaucus and Scylla ........ . S. Rosa . . 110 . Giulio Romano . 97 Grafton, Henry, Duke of, killed Robert Stanley in a Duel . 149 Greenwich, View of .... . . Griffier . 369 Steenwyck . 441 Teniers 38 Guard Room, Officers and Drummer . Palamedes 73 . Mrs. Beale . 132 Hagar and Ishmael S. Rosa ... 75 Hals, Franz By himself . . 318 Hamilton, Elizabeth, Countess of Derby Kaufman . . 187 — 1st Marquis of Drawing for Lodge . 205 — 2nd Marquis of. . . . . • . . . . — — . 206 Harrow-on-the-Hill in extreme distance ..... Lear . . . 333 Haven . " . . ." Torrentius or Torrigiano 404 Head of Christ. On ivory Hargreaves . . 432 Hector (EKTHP) on an Altar in Parting Scene .... Kauffman . . 88 Henrietta, Lady Horton Romney . . . 188 — Maria, Queen Miniature . 223 — Maria Stanley, Countess of Strafford 157 INDEX OF SUBJECTS. 239 PilXTED BT KO. Henrietta Maria with Charles I. and Hudson the Dwarf . Mytens . 255 — Stanley, Viscountess of Colchester .... 150 Henry Stanley, son of the 13th Earl, a6 a Child . Miniature 308 — 2nd son of 13th Earl of Derby ■ Briggs 279 . Bruggens 356 . Rubens 108 Romanelli 325 — Statue of, in Landscape ...... Woollon 360 — Strangling the Serpents . Caraeci . 426 Teniers 57 Herriz or Smith of Edmundthorpe, Leicestershire 180 Hesketh, Elizabeth, Countess of Derby .... W instanley 173 Holcroft, Margaret, Lady Stanley . . . ... 174 — — — — . . Miniature, see Supplement, page 229. i man 130 Rotten ltame r 82 Hopwood, Lady Lllinor, when Lady E. Stanley . Ilaytcr 285 T I f T 282 nui ij, Liit, jviiig s ^neMiui ^\raoian ..... If ootton 284 Hornby, Charlotte, Lady Stanley . . . . Lawrence 189 — I.nilv f'ti'irlnffn 186 Horton, Llizabeth Stanley, Lady ..... Hamilton 248 Rt/tnney 188 Hudson, air ueollrey, the Dwarf, with Charles I. Mytens . 255 Inquisition proceeds against P. V eronese .... 203 Mcrian . 443, 444 T..i..l. AV^lf T^i,,*» 261 Isabella, Archduchess, so-called ...... 207 Israelites entering the Promised Land .... Borgognone 453 Lear 331, 340 Castiglione 101 Spagnoletto 125 James, 7th Earl of Derby. Full length, in black . 154 — 10th Earl of Derby. In robes .... Winstantey 164 — 10th Earl of Derby, when young .... Kncller . 161 — Lord Stanley, father of the 12th Earl of Derby 178 179 — — father to the 12th Earl of Derby . 252 — Stanley, son of 12th Earl by Second Wife Westall 311 — St., of Compostella ....... Spagnoletto 15 — Lord Strange, as a boy. Died 1698 165 Jane Seymour, Queen ........ Draicing for Lodge . 238 — Stanley, Lady, daughter of the 11th Earl of Derby 249 Domenichino 366 Titian . 312 Spagnoletto 368 Jerusalem, Christ's Entry into Unknown 371 Joanna, of Austria, mother of Marie de Medicis . 465 John Stanley, brother to the 11th Earl of Derby 176 S Rosa 112 Miniature 226 Borgognone 451 I I 2 240 INDEX OF SUBJECTS. PAINTED BI no. 448 272 Katherine Stanley, Marchioness of Dorchester . , 156 Kettles and Pans . . Aertsens . . . 268 Keys given to St. Peter ....... Van Dyck 58 352 214 Knowsley, View of, from Watton .... . . Wimtanley . . 259 Viptv of fllionf flip vpar 1 fiQO , ic *v uij auuui l 1 1 1_ v ceil lufu .... 1 — towards Prescot ........ .. . Tillemans . . . 328 326 — from Riding Hill ...... 327 — South front of, across the "Water .... . Mollineux 274 454 273 125 80 430 364 Lambeth. Palace, illumination of Caxton, in Library of . Miintz . 217 290 440 392 407 305 340 384 394 391 408 417 459 363 332 383 360 370 232 .. Bourdon . . . 396 59 Lely, Sir Peter ......... . By himself . . 350 Levi, Christ at the House of 203 Life, The Boat of 419 Lillienstein on the Elbe 456 387 Lobster, Oysters, and Fruit 317 Long, Lady Louisa, when Lady L. Stanley . Hayter . . . 285 Longbow (Horse) . . H. Hall . 381 45 324 INDEX OF SUBJECTS. 241 PAiyTED BY KO.' 69 Louis XIII., as a boy, with his Mother . 464 Louisa, Charlotte and Ellinor Stanley ffaytcr 285 84 180 • 277 301 412 122 . Jteccha in School of A Ibano 116 401 48 Marcus and Marccllinus with St. Sebastian . Veronese 201 Margaret Stanley, Heiress of Bickerstaffe, 1582 • 168 Maria Magdalen of Austria, Grandduchess of Tuscany . 462 222 464 Marriage entertainment at The Oaks • . • . . IdXlCCtlX 00* 338 367 213 233 215 239 346 362 435 77 Merchant, with shield and device on it . , . Pourbus 275 JllolyncttX) Henrietta-Mnria Stanley, A iscountess • 157 354 263 319 455 A l nti If q in n I flVli *\n\ t\T\ ncVlPG (Yflt Vl PVpH Tin fit TVTpCffl'Pfl . N. Poussin 77 87 201 237 389 335 Attributed to Salvator Rosa 314, 315 446 268 429 Craddock . . . 405 . Dupri . 411 435 264 Priests of Bel . Steenwyek . . . 442 Promised Land, Israelites entering the. . . Borgognone 453 378 Kacecourse, Knowsley. Raphael, frescoes in the Farnesina Tillemans 326 97 INDEX OF SUBJECTS. 243 PAINTED BY NO. Le Due . 430 158 Borgognone 278 Franck . . 120 Revelation, subject from the Book of . Curt una . 364 Van Dyck . . . 398 Richard III., King 323 Richmond, Margaret, Countess of Derby and . 139 20 Rivers, Earl, with Edward IV. and Queen Muntz 217 149 262 5 Rome and the Figures of the Arts . A'. Poussin . . 128 387 421 871 294 403 Rupa, Dorothea Helen von, Countess of Derby . 153 Batter, Dr., Bishop of Sodor and Man . . . . . Dobson . 342 Sabine Women Sole . . . 198 Sacrifice to Jupiter ....... . Bol. 272 Sacrifice to the Lamb ....... 364 St. Ambrose repels the Emperor Theodosius . 254 St. Leonard's Hill, Windsor in distance .... Lear . . . . 333 134 314 Savage, Charlotte, daughter of Lord Colchester . Kiiellcr . 160 Scipio among the ruins of Carthage ..... Pannini 295 — Continence of ....... Pellegrini 449 110 Sea Fight between the Dutch and English . By Wm. V. become brown. He must not bo confounded with Viviani Codagora. Exact dates not known. ftuins. No. (5) 5. k u « 302 ALPHABETICAL BIOGRAPHIES AND VOS, SIMON DE. 1603—1662. Born at Antwerp. Scholar of Rubens; an excellent portrait painter. Stanley says that some of the hunting subjects bearing his name are of the grand order. He was still living in 1662. Fishmonger. No. (315) 320. WALKER, ROBERT. The principal portrait painter of the Commonwealth period. Most of the warriors on the Parliamentary side sat to him. His portrait of Cromwell, with his son tying his scarf, is well known. He also painted Cromwell and Lambert together. His own portrait is in the Picture Gallery at Oxford ; another and similar one is in the Royal Collection at Hampton Court. He was allowed an apartment in Arundel House. He died shortly before the Restoration, but the dates of his birth and death are not recorded. Sir Charles Stanley, K.B. No. (160) 159. WEENIX, JOHN. 1644—1719. Son of J ohn Baptist Weenix, a very distinguished painter, who had resided a considerable time in Rome, and whose pictures gene- rally exhibit some Italian reminiscences in the background, either groups of statuary, architectural fragments, and masses of masonry. The younger Weenix, born at Amsterdam, lost his father at sixteen years of age, and struck into the particular line of representing dead game, animals, fruit, and flowers. In this class of imitation he never had an equal. His works are exceedingly numerous, and not rare in the market. On the other hand, the more refined compositions of his father's are much rarer, and eagerly purchased. Dead Swan. No. (287) 437. WERFF, ADRIAN VANDER. 1659—1722. Born at Kralinger-ambacht, near Rotterdam ; was the son of a mill-owner. His first instructor was Picolet, whom, after two years, he left for Eglon Vanderneer. He was only eighteen when he quitted Vanderneer and established himself at Rotterdam. In 1696 the Elector Palatine visited Holland, and was much pleased with the works of Vander Werff. The artist painted many works for him, and followed his patron to Dusseldorf. Smith, in the preface to the Catalogue of his works, says, — " Vander Werf, having attained the highest honours that were ever " bestowed on pictorial merit, accompanied by the acquirement of con- " siderable wealth, died on the 12th of November, 1722, aged sixty-three," p. 183. He carried high finishing and polish to a greater extent than any other artist. His works were small, his taste classical, and his draperies always well disposed. London Collection. The Expulsion. No. 461. The Woman of Samaria. No. 467. INDEX OF PAINTERS. 303 WESTALL, RICHARD, R.A 1765—1836. Began life as an engraver on silver in Cheapside ; noticed by Alefounder, a miniature painter, who directed his studies. He became a student at tho Royal Academy in 1785. His first picture was " January and May." He lived conjointly with Sir Thomas Lawrence for many years in Soho Square (at the corner of Greek Street). Became a Member of the Royal Academy in 1794, tho same year with Stothard and Lawrence. He is best known by his designs for Boydell's " Shakspeare and Milton Galleries." He gave instruction in drawing and painting to Queen Victoria. His later days were embittered by pecuniary embarrassments. He died December 4th, 1836. Honourable James Stanley {water colour). No. (71) 311. WHEATLEY, FRANCIS R. 1747—1801. Born in London, son of a tailor. Studied in Shipley's drawing school. Favoured by Mortimer, he assisted him in decorating Lord Melbourne's residence, Brocket Hall, and was employed in the embellishment of Vauxhall. He resided at Dublin, and painted tho " Irish House of Commons " with all tho members assembled. His picture of the " Riots of 1780 " was unfortunately burnt in tho house of James Heath, the engraver, in Lisle Street, Leicester Fields. Ho became an Associate of the Academy in 1790, and a full Member in 1791. Died of the gout, 1801. Lady Charlotte Buryoyne. No. (434) 423. WILSON, RICHARD. 1713—1782. Born in Montgomeryshire. Son of a clergyman. Studied in London under an obscure portrait painter named Wright. His own career commenced with portrait painting. On arriving in Italy, in 1749, he was induced by Zucchorelli and Veruet to devote himself wholly to landscape. In this Line ho bocamo one of tho most original painters, and bis " Niobe," exhibited at Spring Gardens in 17G0, served to establish his fame. He was ono of tho original members of tho Royal Academy, and succeeded Hayman as their librarian. Ho retired in 1780 to his brother's in Wales, and diod there. Some of his landscapes have been admirably engraved by Woollett. Landscape. No. (352) 332. WILTON, COUNTESS OF. Landscape. No. (307) 383. WINSTANLEY, HAMLET. 1700—1761. A paintor and engraver of considerable ability ; son of an engineer who projected an Eddystoue Lighthouse, and perished in the r r 2 304 ALPHABETICAL BIOGRAPHIES AND ruins when it was destroyed by a storm in 1793. Hamlet studied under Kneller, and spent some time in Italy, where he made several copies of the finest works for the Earl of Derby. He afterwards etched and published the collection of pictures constituting the "Knowsley Gallery" at that period. He was buried at Warrington in Lancashire, May 20, 1761. His drawings and prints were sold by auction at Essex House, March 18, 1762. James, 10th Earl. No. 165. Edward, llth Earl. iVo.(173.) Elizabeth Hesheth, wife of the llth Earl. No. (174) 173. James, Lord Strange. No. 180. Dentatus {after Ciro Ferri). No. 280. Himself. No. 368. Views of Knowsley. Nos. (242 and 243) 259, 260. Triumph of Bacchus (after Caracci). No. (239) 256. WISSING, WILLIAM. 1656—1687. Born at Amsterdam, and educated under Dodaens, a Dutch historical painter. After working in France he came over to England, and assisted Sir Peter Lely. After his death he painted the Duke of Mon- mouth and all the Eoyal family, especially William HI. and Queen Mary when Prince and Princess of Orange. He was a formidable rival to the then rapidly rising portrait painter, Sir Godfrey Kneller. He died at Burghley, the seat of Lord Exeter, at whose expense he was buried in St. Martin's Church, Stamford. Prior wrote a poem to the Countess of Devonshire on Wissing's last picture, which represented all her grand- children. WITTE, EMANUEL DE. 1607—1692. A highly esteemed painter of interiors of churches. He was born at Alkmaer in 1607. The effects of light and the style of the numerous figures which he introduces are always excellent. His costumes are appropriate, and a dog is rarely wanting. Interior of a Church (in style of). No. (109) 107. WOOTTON, JOHN. 1720—1765. An eminent English figure, animal, and landscape painter. Scholar of John Wyck. He, however, formed himself on the style of classic Italian landscape, and frequently imitated such masters as Claude Poussin and Salvator Bosa so skilfully as to mislead. His hunting-pieces at Althorp and Longleat are excellent. Some of his equestrian portraits are remarkably good. He generally signed his pictures with his name in full, as if incised into a stone wall or fragment lying on the ground. INDEX OF PAINTERS. 305 Landscape with column (in style of Claude, called also Huysman). No. (303) 305. Horn, Chestnut Horse. No. (271) 284. Landscape. No. (377) 360. " Bloodshoulder." Horse. No. (398) 375. WOUWEEMAN, PHILIP. 1620—1668. Born at Haerlem, 1620. Son of Paul Wouwerman, who gave him his earliest instruction in art. He also improved himself under Peter Verheeck of Haerlem. Wouwerman was associated with Wynants, but whether as pupil or directly as coadjutor remains uncertain. The talent of Wouwerman in drawing figures, a point in which Wynants always remained deficient, must have been of great value to the expert master of landscape. Of his life scarcely any particulars are known. His early pictures are brownish, and with angular forms, partaking of the influence of Peter de Laer (Bamboccio), which ho changed afterwards for a clearer colour with more power ; and his third and last manner has more of silvery grey, with exquisito finish and refinement. An etching of a horse by Wouwerman is inscribed, " W. Fee. 1643." He died, 1668, at the early age of forty-oight, after having produced an enormous number of pictures remarkablo for their originality, variety, and technical com- pleteness. (Stanley's "Synopsis," Blenheim Catalogue.) Cavaliers Halting. No. (68) 68. London Collection. Caravan. No. 485. WRIGHT, JOSEPH. 1734—1797. Especially celebrated for firelight effects. Born at Derby. Studied with Mortimer under Hudson, the master of Sir Joshua Reynolds. In 1773 he visited Italy and stayed thero two years. La 1782 ho was elected an Associate of the Boyal Academy, but never proceeded to take the full honours. He made an exhibition of his works in the Piazza, Covent Garden, in 1785. His portraits are deservedly admired ; of these tho best still remain in his native county. In disposition Wright was inclined to melancholy and a perfect valetudinarian. Mount Vesuvius. No. (357) 337. WYCK, JOHN, JUNIOR. 1640—1702. Bom, 1640, at Haerlem. Son of a painter of the same name, who died in 1686 at tho ago of seventy, and excelled in landscapes and London scenery ; ho also painted chemists in their laboratories. Young Wyck adopted tho themes of Wouwerman. Ho painted the Siege of Namur, the Battle of tho Boyne, and hunting and hawking subjects. Died at Mortlako in 1702. John Woottou was his pupil. King William III. No. (124) 122. 306 ALPHABETICAL BIOGRAPHIES AND WYNANTS, JAN". 1600—1677. Born at Haerlem, 1600. Of his instructors in art nothing is known. He established a school and taught drawing in his native city. The figures in his pictures were generally introduced by Adrian Van de Velde or Lingelbach. The date of his death is uncertain. Landscape {dated 1617). No. (97) 95. ZACHTLEVEN, or SAFTLEVEN HERMAN. 1609—1685. A painter of pleasing views, principally on the Ehine and the Meuse. Born at Botterdam, 1609. His pictures are highly finished and enlivened with boats and figures. His skies are light, and his treat- ment of atmospheric effects skilful. He died at Utrecht in 1685. Landscapes. Nos. (55 and 56) 55, 56. ZAMPIERI. See DOMENICHINO. St. Januarius. No. (273) 366. Landscape. No. (418) 407. ZIEGLER, H. B. Water colour artist, date 1845. London Collection. A Boy about three years old. No. 487. ZINCKE, CHRISTIAN FREDERIC. 1684—1767. A distinguished enameller. Born at Dresden. Studied in England under Boit. He was extensively patronised by George II. and the Boyal family. He latterly received thirty guineas for a single enamel. He executed a portrait of the King of France, for Madame Pompadour, from a picture which she sent over for the purpose. When his sight failed he retired to Lambeth, and died there, March, 1767. His works were greatly admired. Walpole especially singles out a head of Cowley as a shepherd, which he copied from Sir Peter Lely. Sir Rolert Walpole. No. (215 i) 227. ZUCCHI, ANTONIO, A.R.A. Died at Eome, 1795. A Venetian painter long resident in England. He was brought to this country by the brothers Adam, who employed him to decorate their buildings. His style of painting was light and cheerful, and principally with poetic or mythological subjects. In 1770 he had been elected an Associate of the Boyal Academy, and in 1781 became the husband of Angehca Kauffman, and on the death of her father proceeded with her to Borne, where he continued to reside till his death, in December, INDEX OF PAINTERS. 307 1795. (See Sandby's " Royal Academy.") Zucchi had a clever pupil and assistant in Win. Hamilton, afterwards a Member of the Royal Academy. Hamilton resided some time with Zucchi in Romo, and excelled in his- torical compositions. Fete at The Oaks. No. (354) 334. Do. The Ball Room. No. (358) 338. ZTJCHAR.O, FEDEBJGO. 1543—1609. Born at Sant' Angelo in Vado, in the Duchy of Urbino. Assisted his brother Taddeo Zucharo, who was a superior artist. Federigo decorated the cupola of the Duomo at Florence to the satisfaction of his employer, the Grand Duke Francesco L He worked with his brother in the Vatican and at Caprarola. Having incurred the displeasure of the Pope's servants, he took refuge in Flanders and proceeded to England, with introductions through the Cardinal of Lorraine, uncle to Mary, Queen of Scots. He arrived here in 1574, and painted a picture of Queen Elizabeth. He only remained four years in this country, and then returned to Italy. He was summoned to Madrid by Philip EL, but failed in giving satisfaction. Ho was, however, dismissed with liberal compen- sation. At Romo ho founded the well-known Academy of St. Luke, and bequeathed to it all his property. Henri/, 4th Earl of Derby {in style of). No. (134) 133. BRADBl-RV. AGNEW, & CO., PRINTERS, WmUIUII