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BRIC-A-BRAC"

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BRIC A BR AC"

OR

SOME PHOTOPRINTS
ILLUSTRATING ART OBJECTS AT GOWER LODGE, WINDSOR

DESCRIBED BY
LORD RONALD GOWER, F.S.A.
A TRUSTEE OF THE NATIONAL PORTRAIT GALLERY

r^l

LONDON
KEGAN PAUL, TRENCH & CO., i PATERNOSTER SQUARE
MDCCCLXXXVni

DEDICATION

TO GEORGE AUGUSTUS SAL A.
Garrick has written : " A fellow-feeling makes us wondrous
kind," and I hope, my dear Mr. Sala, that your fellow-feeling in
matters relating to art, and even to that humble form of it known
as " bric-a-brac" will make you so kind as to allow me to place
your name on the first page of this work; would that the book
were more worthy of that honour.
R. G.

PREFACE

PREFACE.
In the summer of 1886 the photographs reproduced by the
'Woodbury-type process which appear in this book were taken by
Mr. Edward Dossetter. They are the excuse for its publication.
Ten years before the above date, 1 had purchased the little red
brick house now called " Gower Lodge," tempted by its homelike
and comfortable look, with its large gable, mullioned windows, and
its creepers around the porch. The little house had reminded
me of some of the lodges at Cliveden designed for my mother
by Devey ; and what my mother liked has always been dear to me.
The building, with the little plot of ground between it and the
road, on which rests the defiant bronze figure of my " Old Guard,"
would easily find room at the foot of the staircase of Stafford
House. Some foreign friends, unused to the custom of primogeniture
as carried out in England, having heard of the glories of Trentham
and Dunrobin, have been surprised at the smallness of my place
at 'Windsor. Certainly our system of primogeniture must appear absurd and
unjust to those not to the manner born. Primogeniture in the

PREFACE.
abstract is certainly an unjust custom. No law on this subject
exists, but the custom has its advantages for all that.
These advantages have been of service to our country, both
directly and indirectly. Directly, by maintaining the " old homes "
in their ordered state, with their venerable surroundings, their
parks, forests, and pleasaunces — homes that have no equal in
any land. Indirectly, by obliging the younger sons of our titled
and wealthy families to enter a profession. In those cases where
ability has met with good fortune, these scions of our old houses
ha've frequently raised themselves far above their elder brothers,
both in the political world and also in the two great services, that
of the army and the navy.
Among the most distinguished names in our history, that of
many a younger son is conspicuous. I need do no more than
recall those of Pitt, Fox, and 'Wellington.
" It is," writes to me an anonymous correspondent, " I am sure,
a vulgar error that primogeniture divides brothers only in the
upper classes " (not always in these). " Primogeniture on a small
scale is far more invidious. To know that your brother will own
a pair of counties is nothing to the grievance of having to wear a
pair of his old trousers ; and the fewer one's small pleasures are
as a boy, the more one objects to an elder brother claiming most
of those for himself."

PREFACE.
I think my unknown friend has the misfortune to be both poor
and discontented.
A catalogue raisonne (I know of no equivalent in English to
that French term) is generally produced to illustrate some well-
known collection of pictures — such, for instance, as a class of
milliardaires have amassed in most ofthe great European capitals.
Those who think it necessary to possess a priceless assem
blage of bric-a-brac in order to issue a catalogue raisonne, may smile
contemptuously at the smallness of my little gathering. Let me,
however, remind those that great wealth is rarely combined with
true art instincts ; that riches do not conduce to real love of art,
or even ensure good taste in such matters.
There is nothing to my mind more depressing than to find
a large house filled with an indiscriminate jumble of precious
" curios " and art treasures, brought together for no better reason
than to display the wealth of the owner. People who really love
art for its own sake derive often as much, if not greater, pleasure
from the least expensive things.
Another fact that I have remarked among such collections
(collections which appear to me like Bond Street bric-a-brac shops
glorified, "Wardour Street in excelsis) is this : among piles of Sevres
and Dresden ware, with furniture designed by Boule and Reisener,
walls covered with the mawkish school of Boucher and Greuze,
,x

PREFACE.
you will look in vain for any sign to show that the owners of
these fabulously costly knick-knacks have encouraged living artists.
Fortunately it does not require to be a millionaire to form
a. coUection of art objects which may be of permanent use and
interest to others as well as the owners.
The one thing needful in making a collection, besides a certain
amount of cash, is to have an object in your collecting— tp take
up a line, and to follow that line steadily, with industry, and with
patience. "Whether your taste leads you to collect prints or
pamphlets, china or books, let your collecting be done with some
preconceived object, and with order. Collecting thus with an
object, be that object historical, literary, or artistic, then becomes
one of the most fascinating and least harmful pleasures of
existence. Among the most difficult and expensive, but delightful forms
of collecting, is that of forming a series of drawings by the great
artists, living or dead, of all schools and countries. Few, however,
but the very rich could even a century ago indulge in this taste ;
and every day good drawings by the old Masters become more
difficult to find. Eighty years ago Sir Thomas Lawrence is sup
posed to have ruined himself in gathering his splendid collection
of these, the first inspirations of the great Italian, Flemish, and
Dutch painters.

PREFACE.
In the following pages I am able to give a few reproductions
of such designs. The portrait by Holbein is the most valuable of
these. The set of medals, illustrating many events in the career of
Marie Antoinette, is, I believe, the most perfect collection in exist
ence, and is certainly historically interesting.
The half-dozen reproductions of the charming portraits of great
ladies of the last century, by a very gifted and singularly little
known artist, John Downman, require no apology for making their
appearance, and will be appreciated by those who take pride in
English art.
These will, I hope, serve as an excuse for introducing less
interesting art objects, as well as the views of the little house which
contains my bric-a-brac.

CONTENTS

CONTENTS.
PAGE
Saloon.  r
Sitting-Room, No. i  3
» ,, No. 2  5
Ground Floor Sitting-Room  7
Marie Antoinette Relics  9
Venetian Glass  n
Statuettes of Gladstone and Beaconsfield . . . -13
The "Old Guard"  15
Sketch by the Queen  17
"Rustic Courtship." By Fran(j:ois Boucher . . . -19
Stags. By Sir E. Landseer  21
The Poodle. By Sir E. Landseer  23
Female Portrait. By Holbein  25
Peter Martyr. By Titian  27
Sketch by Rembrandt  29
Interior of a Palace. By Ferdinando Galli . . -31
xiv

CONTENTS.
; " '.; PAGE
Woman's Head. By. Federigo Baroccio . . ". ; -33
Little Girl with an Orange. By Cosway . . . -35
Madame de Si^viGNi; Br Nanteuil . . • . . . .37
Jacob- de Mompert. By Vandyck  39
Lady IN a Mantilla. By Antoine 'Watteau .... 41
Head- OF AN Ecclesiastic. By Vandyck (?) .... 43
Cupid. By Giorgione  45
A Garden Terrace.' By Hubert Robert .... 47
Heidelberg Castle. By Elizabeth, Duchess of Sutherland .' 49
Salvator Mundi. By Bronzing  51
Medals, I.  S3
II  55
IIL  57
IV  59
V  61
VI  63
Lady Georgiana Spencer, afterwards Duchess of Devonshire.
By Sir Joshua Reynolds  65
Sir Joshua Reynolds. By Himself  67

CONTENTS.
rACB
Thomas Gainsborough. By Himself  69
Constance Gower, Duchess of Westminster. By Sir J. E.
Millais  71
Maria Siddons. By Sir Thomas Lawrence .... 73
John Downman, R.A  75
Lady Georgina Charlotte Bertie. By John Downman, R.A. 79
Georgiana, Duchess of Devonshire. By John Downman, R.A. 81
Queen Charlotte. By John Downman, R.A  83
Lady Beauchamp. By John Downman, R.A  85
Lady Anna Horatio Waldegrave. By John Downman, R.A. 87
Miss Farren (Lady Derby). By John Downman, R.A. . . 89
Thirty-two Quarterings  91
Notes on the "Thirty-two Quarterings" .... 94
„ ,, „ ,, {Paternal Line) . no
„ „ „ „ .{Maternal Line) . 116

SALOON

SALOON.
This " saloon " — although that is a vague term, which may
apply to a ballroom or a small antechamber — was an afterthought,
and not existent in the house when I first got it. It rejoices in the
armorial windows carried out by Mr. Pace, and in a very successful
chimney and fireplace designed by Mr. A. Y. Nutt, Her Majesty's
architect. In the upper central compartment is a medallion portrait
of Constance Duchess of 'Westminster, by the Scotch sculptor,
Munro ; beneath, casts by Brucciani of the angelic choir by
DonateUo at Padua. It is always a matter of surprise to me that
such faithful reproductions of some of the most beautiful things
in modern or ancient art are not more introduced into our homes.
On the table are books, bric-a-brac, and " bibelots."

SITTING-ROOM No. I

SITTING-ROOM No. i.
Undoubtedly the best colours for showing oflf to advantage
paintings — either in oil or water-colour — or engravings, etchings,
mezzotints, and even ordinary prints, are a deep red or a dull
green. In this sitting-room the walls are covered with a deep purple
damask material, that brings out well the paintings hung on them.
The landscapes on the left are Italian views by Linton.
Above the door is a copy by Mrs. E. M. 'Ward of Millais'
portrait of Lady Ormonde ; upon the door a copy of Gainsborough's
portrait of Princess Elizabeth ; on the right of the door Sir J.
Millais' " Kit-Cat " oil painting of Constance Duchess of West
minster, of which this book contains a separate reproduction.

SITTING-ROOM No. 2

SITTING-ROOM No. 2.
Over the fireplace is placed Sir Joshua Reynolds' portrait of
Georgiana Duchess of Devonshire when a child.
On the left hangs Mrs. E. M. "Ward's sketch of Marie Antoinette
when Dauphine ; below it is the fan which belonged to her, and
of which there is a separate reproduction with the relics of that
princess. The panels placed above the fender represent the
Seasons, and are by Tinworth, one of our few original sculptors.
Bric-a-brac of all sorts is scattered about. This room is the
least lived in of any in the house. It seems always the way to
give up the largest room in a very small house to vacancy, or the
occasional visitor, who is often ushered into such a room, cold
and cheerless ; but in this sitting-room there are many things to
occupy the attention of any caller, if at all artistically inclined.

GROUND FLOOR SITTING-ROOM

GROUND FLOOR SITTING-ROOM.
On the walls of this little room I have had the colour that
Sir Edwin Landseer recommended as best for pictures hung —
namely, a dull pale green, as like the colour of a grouse's egg
as possible. This colour harmonises admirably with the gilded
cornice, door, and mirror frames and outer frame of the fire
place, which formerly served as frames to the set of English
historical pictures relating to the seventeenth century, painted
by Benjamin "West, formerly at Grosvenor House, and which are
now panelled in the library at Eaton Hall. Had I not rescued
them, they would have been thrown away as useless lumber.
The bas-reliefs on either side of the fireplace are casts from
Germain Pilon's works in the Louvre, known as "La Force "
and "La Foi." As in the case with the casts of the singing
angels in the Saloon, they show how admirably such things can be
adapted to harmonise even with the surroundings of a cottage.

MARIE ANTOINETTE RELICS

MARIE ANTOINETTE RELICS.
On this page I have grouped together a few objects connected
with Marie Antoinette.
The fan was given by the young Archduchess to the leader
of a company of maidens who welcomed her at Strasburg.
Religiously cared for by her descendants, it came into the pos
session of Madame la Princesse d'Henin, who most kindly made
me a present of it many years ago in Paris.
In the centre is the little bust of Marie Antoinette in alabaster,
mounted on a " Giallo antico " and white marble stand, which was
given me by the Empress of the French at Chislehurst in 1877.
It is eight inches high.
Below and on either side are miniatures and medalHons of
the Queen and Louis X'VL, the latter in marble, Sevres " biscuit,"
and Wedgwood ware, collected in different places, in Paris, at
Amsterdam, and Brighton. The two books belonged to Marie
Antoinette, whose arms they bear. One is a book of devotion, the
other of fashions.
The "lunette" is of ivory, and belonged to the Queen; it
was given me by Arthur G. L. Gower.
On the back of the little octagonal profile miniature of the
Queen is engraved, " Pleurez et vengez la." I got this minia
ture in Windsor; it had evidently served as a brooch to some
Royalist lady; but how or when it found its way to Windsor, I
know not.

VENETIAN GLASS

VENETIAN GLASS.
I DO not think that even the etching-needle of such consummate
artists as Bracquemond or Courtry, Flameng or Greux, Le Rat or
Lhermitte, Rajon or Randall, could compete with such a photo
graph as this of a little crystal silver-mounted "Venetian eighteenth
century glass that I bought in Venice.
How graceful its shape ! how exquisite the chasing of the
arabesques that enrich this transparent cup ! It is not easy to
guess at the special purpose for which it was made ; perhaps as a
gift to some patrician dame in the latter days of the Doges, when
the President Desbrosses visited the Republic, and wrote those
charming gossiping letters which make one almost live with him
amidst all the junketing and jollity of the palmy days of the
"glorious city in the sea."

12

STATUETTES OF GLADSTONE AND
BEACONSFIELD

13

STATUETTES OF GLADSTONE AND BEACONSFIELD.
Allusion is made to both these statuettes in " My Reminis
cences," and of Lord Beaconsfield's kindly acknowledgments both
of a photograph and reproduction I had given him of his likeness.
"I never presume," he writes on February 4, 1879, "to give my
opinion of self-resemblance, but everybody to whom I have shown
your photograph greatly admires it ; they think it excellent as a
work of art, and all agree that it is the first satisfactory likeness
that has been produced of your friend." And later, on receiving
the cast of the statuette, he writes : " You have conferred on me a
great honour. All my friends who have seen your beautiful work
pronounce it the best likeness which has yet been accomplished
of your present correspondent." The engraving by the side of
this statuette appeared in the Art Journal. The wreath around it
of peacocks' feathers (how much more appropriate a badge would
the feathers of that bird have been than the primrose, for which
flower Lord Beaconsfield never expressed any special liking) were
picked up and given me by Lord Beaconsfield one autumn afternoon
on the lawn at Hughenden. He gave me the little photograph
many years ago, as the signature, " B. Disraeli," indicates.
I know of no really satisfactory likeness of Lord Beaconsfield,
either in sculpture or in painting.
Millais' portrait, belonging to Mr. W. H. Smith, is but a
sketch, a work of a few hours, taken in one sitting. Angeli's
" Kit-Cat " portrait, in the corridor at Windsor Castle, is a coarse
caricature, with all the sitter's least attractive features strongly
marked, without a shadow of expression to redeem its intrinsic
ugliness. In these statuettes of our two great statesmen, I have
aimed at contrast. The great Conservative statesman wears his
full court dress, bestarred and beribboned, placid and bland, and
seated in a mystical throne-like seat. Mr. Gladstone, on the other
hand, is in working woodman's attire, in his shirt sleeves, seated
on a freshly-felled Hawarden oak stump, grimly earnest, and full
of determination. His right hand grasps an axe, and he appears
to have turned his back on his great rival; but this is merely
accidental. 14

THE "OLD GUARD"

IS

THE "OLD GUARD."
In the " Histoire de la Garde Imperiale," Emile Marco de
Saint-Hilaire (Paris, 1842) writes : " Seuls les bataillons de la
Garde, Michel a leur tete, ne reculerent pas. Au milieu des charges
opiniatres et sans cesse renouvelees, leur g^ndral put alors, et
avec v€rit6, faire aux sommations de I'ennemi cette r^ponse sublime :
' La Garde meurt et ne se rend pas.' " The sons of Lieutenant
Michel, who was killed at the head of the square of the Grenadiers
of the Old Guard of Napoleon at Waterloo, petitioned the King
(Louis Philippe) in 1845 that the famous phrase quoted above,
which was to be engraved on the base of a statue of Cambronne
at Nantes, should not be carried out, as they claimed the honour
of that sentence for their father. It appeared from the evidence of
several friends of Cambronne's that he had always denied having
made use of the words, " The Guard dies and does not surrender."
The following works all give the honour to General Michel : —
"Annales Historiques de France," the "Biographie des Contem-
porains," the " Dictionnaire Biographique des Morts et des Vivants."
But the highest testimony to General Michel having pronounced
the words is given by Marshal Bertrand, who wrote on a piece
of stone from the Emperor's grave at St. Helena the following : —
"A la Baronne Michel, veuve du General Michel, t\i6 a Waterloo,
oil il rdpondit aux sommations de I'ennemi par ces paroles sublimes :
' La Garde meurt et ne se rend pas ! ' "
16

SKETCH BY THE QUEEN
OF ONE OF H. M. BRIDESMAIDS, AND GIVEN TO MY
MOTHER WHEN SHE WAS MISTRESS OF THE ROBES.

17

SKETCH BY THE QUEEN.
In this year of rejoicing at the fiftieth anniversary of the
Queen's accession, a work, hitherto unpublished, by. the Queen's
own hand, reproduced so faithfully by photography, will be
especially interesting.
I believe Her Majesty made this sketch at the time of her
marriage, in order to show my mother — then Mistress of the
Robes — some details which had to be carried out in the dresses
of the royal bridesmaids.

iS

"RUSTIC COURTSHIP"

19

"RUSTIC COURTSHI P."
FRANCOIS BOUCHER.
B. 1703. D. 1770.
8 in. X 6 in. Black chalk.
This drawing, by one of the best of French genre painters of
the last century, belonged to the Mayer collection.
Austin Dobson's lines might be applied to it —
" One hardly needs the ' Peint par Frangois Boucher.'
All the sham life comes back again — One sees
AlcSves, Ruelles, the Lever, and the Gaucher,
Patches and Ruffles, Rouis and Marquises ;
The little great, the infinite small thing
That ruled the hour when Louis Quinze was king."

* i«J^"i -'^'*' *-^
'^r:r^>.
¦^fe'
STAGS

il

STAGS.
SIR EDWIN LANDSEER.
13!^ in. X 10 in.
The original of this clever study in coloured chalks was made
and given to me by Sir Edwin Landseer one autumn at Dunrobin
in the year 1857. It has been superbly etched by M. Richeton.
Landseer always appeared more at his ease when working in
chalks than in oil colours.

22

THE POODLE

23

THE POODLE.
SIR EDWIN LANDSEER.
7 1 in. X 6 in. In ink.
"The Poodle takes an old lady in to dinner," Sir Edwin wrote
under this clever sketch. I think it was during a visit in 1855
or 1856 at Trentham that he made this sketch in a few minutes.
I think Landseer had Frederick Byng, called " the Poodle," in his
mind when he made this drawing. Landseer would often dash
oflf several sketches like this one in an evening, and I think his
great talent is as much, if not more, shown in these rapid sketches
than in his more elaborate works.

FEMALE PORTRAIT

25

FEMALE PORTRAIT.
HOLBEIN.
B. 1495. D. 1543.
II in. X 7I in. Pen and ink.
This superb drawing was formerly at Trentham. It certainly
belonged at one time to the set of portraits drawn by Holbein in
chalk, now in the Library of Windsor Castle.
This drawing bears the mark of the great collector, Jonathan
Richardson (a palette on which the letter " R " is stamped).
Richardson, who was born in 1665 and died in I745) ^^^ a well-
known painter. His collection was sold the year after his death ;
the sale lasted eighteen nights, and realised over ;^2000 — a large
sum for those days. I have little doubt that this is a study for
one of the portraits in the large painting Holbein made of Sir
Thomas More and his family. The original was burnt, but there
is an old copy of this group at Nostell Priory, and a sketch exists
of it in the Museum at Bale. I wish I could be certain that this
is the portrait of Sir Thomas's favourite daughter, Margaret Roper ;
but it may be that of Cicely or Ehzabeth More.
As in all Holbein's portraits, whether in oils or chalk, there
is a wonderful vitality in this head, and a grand simplicity of
execution. The drawing has been cut out and pasted on flesh-
coloured paper. 26

-<^

t ^ #-

Kg-', *,«¦.

PETER MARTYR

27

PETER MARTYR.
TITIAN.
1 1 in. X 8^ in. Pen and bistre.
An original sketch for Titian's great painting, burnt in the
Church of St. John and Paul in Venice in 1867. It is an ever
lasting subject of regret that this picture, considered the chef-
d'ceuvre of the painter, had not been removed from the Church to
the Academy at the same time as the " Assumption of the Virgin,"
by the same master.
So highly was this picture appreciated by the Venetians that
it was made a penal offence to sell it.
Titian made many studies and sketches for this painting, of
which some are in the Louvre and others in the Museum at Lille.
The landscape, with the low horizon, in this picture is of the
most striking efifect, and the tall trees, which seem agitated by the
horror of the scene enacted below them, give a mysterious terror
to the scene. The sudden appearance of the angels bearing the
palm of martyrdom from the skies light up the upper part of the
work with a heavenly glory. Vasari writes rapturously of this
work. " Never," he says, " had Titian in his long life produced
a more finished and admirable work."
This drawing belonged to the Mayer collection.

28

S KETC H

29

SKETCH.
REMBRANDT.
B. 1605. D. 1668.
11^ in. X 'j^in. Sepia pen and brush sketch.
An'Y sketch, however slight, by this mighty master is precious
and instructive.
Rembrandt, taken altogether, is the greatest artistic genius
that ever lived — equally great in portrait, genre, and historical
painting, the greatest master of light and shade, a prodigious and
incomparable artist.
From the Mayer collection.

30

Vtal'!/^;

INTERIOR OF A PALACE

31

INTERIOR OF A PALACE.
FERDINANDO GALLI.
B. 1657. D. 1742.
io|- in. X 8 J in.
This design for the entrance of a palace, which belonged to
the Mayer collection, washed in India ink, is a remarkable work,
giving a great idea of space and grandeur. Galli, the son of a
painter, was born at Bologna in 1657, and studied in the school
of Carlo Cignani. He was one of the most remarkable archi
tects of his time, and was invited to Vienna by the Emperor
Charles VI. He designed triumphant processions, public festivals,
and victories, and also made designs for the theatre. I imagine
this drawing is a design for the stage ; at any rate I know of no
palace staircase in Vienna or in Italy so gorgeous as this drawing.
It might serve as the design for an Imperial Institute.

32

WOMAN'S HEAD

33

WOMAN'S HEAD.
FEDERIGO BAROCCIO.
10 J in. X 9 in. Chalks.
A VERY " buxom, blithe, and debonair " looking lady.
Baroccio (Federigo), born 1528, died 1612. An admirable
draughtsman, but a tame colourist, affecting Correggio's style.
The finest collection of his chalk portraits are in the Louvre.

34

LITTLE GIRL WITH AN ORANGE

35

LITTLE GIRL WITH AN ORANGE.
RICHARD COSWAY, R.A.
B. 1740. D. 182 1.
A FAT, blue-eyed little lady, all wreathed in smiles, holding
an orange.
On the dial behind her is the artist's signature.

36

f#.

•*>

»l

MADAME DE SEVIGNE

37

MADAME DE SEVIGNE.
NANTEUIL.
This admirable drawing, nearly size of life, of " that divine
woman," as Horace Walpole calls the most delightful of letter-
writers, the most loving of mothers, is drawn on paper in coloured
chalks. It was bought from Mr. Mackay (of Colnaghi's), who had
purchased it in Paris as an undoubted Nanteuil. It has all the
charm of that great draughtsman's pencil. The face closely
resembles that in the engraved portrait of Madame de S6vign6,
drawn from life by Nanteuil, and engraved by Edehnck, which forms
the frontispiece ofthe 1801 edition of Madame de S6vign6's letters.
Above the head in the portrait before us can be read " Marie
de Rabutin-Chantal, Marquise de Sevign6."

38

JACOB DE MOMPERT

39

JACOB DE MOMPERT.
VANDYCK.
9 in. X 6J in. Fen and bistre.
Joos or Joducus Momper or Mompert, a painter, born at
Antwerp in 1580. A landscape painter of mountainous scenery.
Teniers often introduced figures into Momper's pictures. Van
dyck etched his portrait, of which this is the study, for his
collection of portraits of illustrious artists. Voestermann has also
etched this spirited likeness.
From the Mayer collection.

40

t! -.6

LADY IN A MANTILLA

LADY IN A MANTILLA.
ANTOINE WATTEAU.
B. 1684. D. 172I.
7 1 in. X 5 in. Black and white chalk.
The letter " H " (collector's mark) in this drawing is that of
J. G. Huquier — born 1695, died 1777 — a well-known French
engraver and printseller.

42

HEAD OF AN ECCLESIASTIC

43

HEAD OF AN ECCLESIASTIC.
VANDYCK(?)
8 in. X 6 in.
Although perhaps not by the great Sir Anthony, this is,
however, an admirable drawing.
I bought it in Paris (where it was called a Vandyck). It is
drawn in black chalk, heightened with white. It belonged to the
collector, J. Richardson, jun., and also to Carl Rahl (1812— 1868),
the collector and engraver.

44

V

~'V^j»

.^:

CUPID

45

CUPID.
GIORGIONE.
B. 1476. D. 151I.
9^ in. X 6 in. Red chalk.
This beautiful drawing, by one of the greatest of the Italian
painters, has passed through famous hands.
It bears the stamp, and the mounting, of the greatest of all
French collectors — Pierre-Jean Mariette (1694- 1774). It also has
the mark — a Maltese cross — of the Viennese banker and art
collector. Count Moritz von Fries.
I obtained it from M. Thibaudeau, who had purchased it at
the sale of the late Edward Cheney, an admirable judge of art.
Perhaps this lovely little study was a design by the great
colourist for a fresco for the walls of some palace of the city
where glow "the richest gems of art.
As though the wealth within ran o'er."

46

A GARDEN TERRACE

47

A GARDEN TERRACE.
HUBERT ROBERT.
B. 1733. D. 1808.
14^ in, X 10^ in. Red chalk.
Hubert Robert was born in Paris in 1733. He studied in
Rome under Panini, where he passed twelve years. His land
scapes of the ruins of the Eternal City are very remarkable,
but he was rather a hard colourist, and his drawings in chalk are
better than his paintings. The Louvre possesses a large number
of his works, both in oils and chalk. With Fragonard he com
piled a series of etchings of views in Rome and Naples. Robert
was imprisoned for several months, during the Revolution, at
Sainte-Pelagie. He died at Auteuil, in a house that had belonged
to Boileau, in 1808.
From the Mayer collection.

48

HEIDELBERG CASTLE

49

HEIDELBERG CASTLE.
ELIZABETH, DUCHESS OF SUTHERLAND.
Water-colour.
In my " Reminiscences " I have alluded to my grandmother the
" Duchess-Countess " of Sutherland's admirable water-colour views
of Scotch scenery, and the small amount of justice she received
from the art critics of her day. She engraved her views of
places connected with Madame de Sevigne, as well as a work of
admirable etchings of the Orkney Isles, which was privately
published in 1807.
This view of Heidelberg Castle will give some idea of this
lady's talent, although she was more at home when depicting the
bold scenery of the far north of Scotland, and her native hills.

50

SALVATOR MUNDI

51

SALVATOR MUNDL
BRONZING.
io| in. X 8 J in. Fainted in oils on copper.
Of this little picture by Bronzino, its former owner, Richard
Buckner, the once fashionable portrait-painter, at whose sale at
Christie's (in 1873) I bought it, wrote: — "I bought it when
studying under Caverni at Rome in 1835. It was bought at his
suggestion, and had been in the possession of Mons. Vacca, a
French artist, who had been employed by the French Government
to collect paintings during the occupation of Rome by General
Miollis (?), the Holy Father having been carried away captive,
by order of Bonaparte, to Fontainebleau, where he remained some
years. It was during this interval that Vacca availed himself of the
distress occasioned by military exaction to obtain from impover
ished Roman families paintings for his Government. Some of
these he secured for himself ; certain it is that at Vacca's death a
considerable collection of paintings were found in his house."

52

--^•^^^

MEDALS I.

53

MEDALS. I.
I. Silver. Front — Portrait of Marie Antoinette. Reverse —
Arms of France and Austria ; below, the legend, " Maison de la
Reine." This medal is called a "jeton," and was used as a
marker for card-playing at court. Given me by the Empress
Eugenie. 2. Silver. Medal struck in commemoration of Marie Antoi
nette's marriage. Front — Portraits of the Dauphin and Dauphine.
Reverse — The wedding.
3. Silver. Front — Portrait of the Dauphine, signed "A.
Wideman." Reverse — Allegorical representation of Hymen and
Plenty. 4. Silver. Front — Portrait of the Dauphine. Reverse — The
Burg at Vienna. Inscribed "Auspicato occursu Gentium, xxix
Apri. MDCCLXX."

54

MEDALS IL

ss

MEDALS.
II.
I. Gold. Front — Portrait of the Dauphine. Reverse — Alle
gorical subject of Hymen and Plenty. This medal is of the
greatest rarity.
2. Bronze. Front — Portrait of Marie Antoinette. Reverse —
Inscription. 3. Bronze. Front — Portraits of Louis XVI., Marie Antoinette,
and Madame Elisabeth. Reverse — " Fils de Saint Louis Montez
au Ciel, 21 Janvier 1793, 16 Octobre 1793, 10 Mai 1794" (dates of
the execution of the King, Queen, and Princess).

S6

MEDALS III.

S7

MEDALS. IIL
I . Bronze. Front — Portrait of the Queen. Reverse — A broken
column. " Son courage surpassa ses malheurs. 1793."
2. Bronze. Front — Portrait of the Queen. Reverse — Alle
gorical subject, "La Bienfaisance ordonne leur Union. 1781."
3. Bronze. Front — Portrait of the Queen. Reverse — The
Queen, with her arms bound, seated in a cart, crossing the Place
Louis XV. ; the guillotine in the background. Above is inscribed,
"Altera Venit Victima" (Lucan, "Pharsalia"). This medal was
probably struck in London by C. H. Kuchler, 1793.

MEDALS IV.

-59

MEDALS. IV.
I. Silver. Front — Portrait of the Queen. Reverse — A Fury
bearing a torch and scales, in which a dagger outweighs a crown.
Above is inscribed, " ' J'accuse, je juge, j'extermine' — 1793." This
medal was struck at Berlin in 1794 by Frederic and Daniel Loos,
father and son. They published six different medals relating to
the French royal family, which were called " Les six victimes," of
which this is the second.
2. Silver. Front — Portraits of the Dauphin and Dauphine.
Reverse — Their marriage.
3. Silver. Front — Portraits of Louis XVI. and Marie
Antoinette. Reverse — France with the royal infant ; above,
" Felicitas Publica ; " beneath, " Natalei Delphini, Die xxii
Octobris mdcclxxxi."
4. Silver. Front — Portrait of Marie Antoinette, signed
Baldenbach. Reverse — A rock, on which is the following inscrip
tion : " Perdvellivm Fvroris Victima. xvi. Octobris mdccxciii."
This medal was struck in Vienna.

60

M E DALS V.

6i

MEDALS. V.
I. Bronze. Front — Portraits of Louis XVI., Marie Antoi
nette, and the Dauphin ; below, a broken sceptre and lily.
Reverse — A winged genius rising from above a crown-adorned tomb.
Above is inscribed, " Clarior superne." By G. F. H. Kriiger of
Dresden. 2. Bronze. Front — Portraits of Louis XVI. and Marie
Antoinette. Reverse — The city of Paris welcoming the King and
Queen. Above is inscribed, " Solemnia Delphini Natalitia." This
medal was struck in honour of the birth of the Dauphin, in 1782,
by B. Du Vivien

62

MEDALS VI.

63

MEDALS. VI.
I. Bronze. Front — Portraits of the King and Queen. Below
is inscribed, " Fati iniqui." Reverse — The execution of Louis
XVI. On one of the flags is inscribed, " Droit de I'Homme," on
another "Vivre libre." The legend above is taken from Lucan's
" Pharsalia." 2. Bronze. Front — Portraits of the King and Queen, by Du
Vivier. Reverse — The city of Paris welcoming the royal pair.
Above is inscribed, " Solemnia Delphini Natalitia ; " below, " Rege
et Regina urbem invisentibus. xxi Jan. mdcclxxxii."

64

:*ni-''-.A'R?'

... 1^1'

LADY GEORGIANA SPENCER,
AFTERWARDS DUCHESS OF DEVONSHIRE

6s

LADY GEORGIANA SPENCER.
SIR JOSHUA REYNOLDS, P.R.A.
25 in. X 19I in. Oils on canvas.
Mr. a. Mackay writes about this portrait : " This picture was
formerly the property of Mr. Henry Farrer, who was esteemed one
of the best judges in England. Mr. Farrer was largely employed
by our greatest collectors. The price put on this picture by Mr.
Farrer was ^^300. The previous history of the painting is un
known : it was bought at the sale of Mr. Farrer's effects ; resold to
Mr. J. Heugh — then to Mr. C. R. Burnett, the distiller, at whose
sale it was bought." I first saw this painting of my great grand
mother in Mr. Heugh's gallery. I never forgot it, and never ceased
to wish to possess it. At length I saw it again for sale at
Christie's, where Mr. Mackay procured it for me. The finished
painting, of which this forms a part, is at Althorpe, and represents
little Georgiana Spencer with her mother. There is a small replica
sketch of that picture at Castle Howard, by Sir Joshua. It has
been admirably engraved in mezzotint by Watson.
This painting is in splendid condition ; the carnations not
" flown," as is the case with so many of Sir Joshua's works.

66

SIR JOSHUA REYNOLDS

67

SIR JOSHUA REYNOLDS.
BY HIMSELF.
8 in. X 7 in. Oils on canvas.
This miniature- sized but boldly-painted portrait of the great
master by himself represents him when apparently about five-and-
twenty. It is the eariiest portrait I know of him — earlier than the
well-known one where he is shading his eyes while he works at his
easel. I bought this portrait in 1874 at Christie's; it had belonged
to Mr. Johnson of Chichester. As is well known, Reynolds met
with an accident when at Minorca, in 1749, which disfigured his
mouth ; as there is no trace of the scar on the lip in this portrait,
I make sure that it was painted before that year, when the painter
was less than six-and-twenty.
Sir Joshua wears a black velvet cap and a plum-coloured coat.
The hair is a light auburn, the eyes are blue.
Exhibited in the Old Masters' Exhibition at the Royal Academy.

68

THOMAS GAINSBOROUGH

69

THOMAS GAINSBOROUGH.
BY HIMSELF.
5 J in. X 4 J in. Oils on canvas.
This beautiful little portrait of Gainsborough is mentioned in
Fulcher's life of the painter as being "of the size. of a large
miniature." It belonged formerly to Miss Clarke. I obtained it
in 1879 from Mr. Mackay, who had purchased it at Bath. It was
exhibited in the Gainsborough Gallery at the Grosvenor Gallery
in 1883. The eyes are blue, hair powdered, blue coat, and buff-coloured
waistcoat.

70

CONSTANCE GOWER,
DUCHESS OF WESTMINSTER

71

CONSTANCE GOWER, DUCHESS OF WESTMINSTER.
SIR JOHN E. MILLAIS,
A life-size sketch in oils.
Similar to the full-length portrait now at Eaton (Cheshire).
The full-length was painted in 1877, and, although much criticised
by the public when exhibited at the Academy, is, on the whole,
the best likeness of one of the kindest and most warm-hearted —
putting her rare and stately beauty aside — of women.

72

MARIA SIDDONS

73

MARIA SIDDONS.
SIR THOMAS LAWRENCE.
Oils on canvas. Life size.
Reference is made to this sketch, which hung for many years
at Evans's Supper Rooms in Covent Garden, in Mrs. Kemble's
" Records of a Girlhood " (vol. i. p. 27), as follows : " My next
memories refer to a residence which my parents were occupying
when I returned to London, called Covent Garden Chambers ;
now, I believe, celebrated as ' Evans's ' — and where, I am told, it
is confidently affirmed that I was born, which I was not ; and
where, I am told, a picture is shown that is confidently affirmed
to be mine, which it is not. My sister Adelaide was born in
Covent Garden Chambers, and the picture in question is an oil
sketch, by Sir Thomas Lawrence, of my cousin, Maria Siddons ;
quite near the truth enough for history, private or public." I have
referred to this sketch in my " Reminiscences." " Paddy " Green,
when the collection of theatrical portraits were sold at Evans's, had
given it to a friend, who gave it to me. This is the lady whose
heart Lawrence is supposed to have broken ; he certainly greatly
admired her, and the face is a beautiful one. The eyes are brown,
the complexion very brilliant.

74

f'^*v'

JOHN DOWNMAN, R.A.

75

JOHN DOWNMAN, R.A.
One of my objects in publishing this work has been to intro
duce a very charming, very original, and very little known English
artist of the latter part of last century to the public who care
for art. Poor John Downman has been cruelly neglected even by those
who have written Dictionaries of Painters ; Bryan, for instance, has
not a word to say about him, and only in Mr. A. Graves's " Dic
tionary of English Artists " is the date of this painter's birth and
death given, and the fact that he exhibited one hundred and forty-
eight pictures at the Royal Academy in his by no means long but
most industrious life. In order to get more information, I be
thought me of applying to that very useful institution, "The
Universal Knowledge and Information Office," and this is what I
obtained from it : —
"John Downman, A.R.A., was born at Devon, and was a pupil
of Benjamin West. In 1769 he became a pupil of the Royal
Academy, and in 1770 he first exhibited a portrait there. He prac
tised in Cambridge in 1777. He returned to London in 1780, and
in 1795 was elected A.R.A. He chiefly painted portraits, most of
which were in profile, drawn with a pencil, and lightly tinted.
Sometimes, however, he exhibited historical subjects, as ' The Death
76

JOHN DOWNMAN.
of Lucretia,' 'The Priestess of Bacchus,' 'The Return of Orestes,'
' Tobias,' &c. The number of works exhibited by Downman is
estimated at one hundred and fifty-six ; of which seven appeared
in the British Institution, one in the Free Society of Artists, and
one hundred and forty-eight in the Academy. The greater number
of his pictures were either miniatures or in oils, but he also did
some compositions in water-colours. Downman died at Wrexham,
Denbighshire, 24th December 1824."
Had Downman been a Frenchman, his refined portraits in
chalk would be among the most prized works of the latter half of
the last century ; and, doubtless, many details and facts about the
artist would have been handed down. In England, unfortunately,
it is different, and unless an artist has been exceptionally fortunate
in attracting the public, his works and name are all that survive ;
how little do we know even of the lives of such great English
artists as Wilson or Gainsborough. Nothing proved more to me
the entire ignorance relating to Downman and his charming por
traits, than that M. Thibaudeau — one of the few art experts now
in England — should never have heard of him till I showed him
some of his works ; the book containing the six portraits that I
have had reproduced was quite a revelation to him. Out of some
forty specimens, I have chosen six as samples of Downman's skill,
which is to my mind in no way inferior to Cosway, and in some
n

JOHN DOWNMAN'.
respects more true to nature. His drawings are rarely met with,
but are sometimes to be found in the bedrooms or in the closets
of old country houses. Some have been engraved, and these are
not uncommon ; those of the two Duchesses of Devonshire are the
most often to be met with — these are sometimes plain, and some
times coloured. The characteristic notes that Downman jotted
down on these drawings add a real historic value to them. One
must regret that they are so brief; but, short as they are, they
admit one, as it were, into the presence of the great ladies whom
he so skilfully limned — to the royal closet of Queen Charlotte at
Buckingham House, and to Devonshire House, where we find the
Prince of Wales, a French Abbe, and Blanchard waiting upon the
sprightly Georgiana. These are little pictures of the day almost as
vivid as the likenesses which accompany them.
These portraits are generally drawn in black, with a very fine
point, the shadows put in with a stump. The hair is slightly
coloured, as are also the eyes and the lips ; the cheeks are also
slightly tinted. His more highly finished drawings lack the charm
and grace of the more sketchy ones.

78

LADY GEORGINA CHARLOTTE BERTIE

79

LADY GEORGINA CHARLOTTE BERTIE.
JOHN DOWNMAN, R.A.
Note by the Artist.
" Lady Georgina Charlotte Bertie (Lindsey), 1784. Original
study for a whole length ; only sister of Lady Willoughby. The
Duchess-Dowager, her mother, present, said : ' 'Tis very like her,
D., but I think the mouth should be shut.' I drew two of these
and the Duchess."
Mr. F. Drummond has given me this additional information
regarding Lady Georgina.
She was the younger of the two surviving daughters, and even
tual coheiress of Peregrine, third Duke of Ancaster and Kesteven.
On the death of their brother, Robert, the fourth Duke, the ancient
barony, by writ of Willoughby de Eresby, fell into abeyance be
tween them, and they succeeded jointly to the office of Hereditary
Great Chamberlain of England, which had come to the Berties by
reason of their descent from the Veres, Earls of Oxford.
Lady Georgina Charlotte Bertie was born in 1764, and married
in 1 79 1 George James, fourth Earl of Cholmondeley.
She was twenty when this portrait was taken of her in 1784.

80

GEORGIANA,
DUCHESS OF DEVONSHIRE

GEORGIANA, DUCHESS OF DEVONSHIRE.
JOHN DOWNMAN, R.A.
The artist has written on the back of this drawing the follow
ing note : —
"Devonshire House, 1784. Original study for a whole length
with Lady Elizabeth Foster. The Prince of Wales came there ;
present also. Lady Duncannon, who in play followed him with a
chair to sit, which he dechned. A French Prelate was introduced,
who kissed the inside of Lady Elizabeth Foster's hand ; and when
gone, the Prince noticed the odd action with much humour.
Presently Blanchard was announced, having just descended from
his Baloon."

82

QUEEN CHARLOTTE

83

QUEEN CHARLOTTE.
JOHN DOWNMAN, R,A.
On the back is written by Downman : — ¦
" Her Majesty of England, 1783. ist sitting. She was Sophia
Charlotte, Princess of Mecklenburg-Strelitz. She sat in the
Queen's Closet, Buckingham House. His Majesty came in with
Lords North and Grantham and two others. Presently the two
eldest Princesses. The King said to the Princess Royal, 'Are
you also prepared to sit ? ' This turned all eyes to her, as she
was directly opposite the light, and occasioned the most beautiful
suflfusion of bloom I ever saw, and they certainly were at that
time two of the most beautiful of persons. I also drew their
portraits and grouped in whole lengths, and a whole length of the
Queen for the Duchess of Ancaster, and two others."
This is as pleasing a likeness of the plain Queen as any I
know, Gainsborough's not excepted.

84

-isJ^r.ifei'tastSi

LADY BEAUCHAMP

8s

LADY BEAUCHAMP.
JOHN DOWNMAN, R.A.
"Lady Beauchamp, 1781. Original study. Second wife of
Francis, Viscount Beauchamp. She was the Honble. Isabella Anne
Ingram (Shepherd), daughter and coheiress of Charles, Viscount
Irvine, of Scotland. I drew three of this, and her little boy."

LADY ANNA HORATIO WALDEGRAVE

87

LADY ANNA HORATIO WALDEGRAVE.
JOHN DOWNMAN, R.A.
Lady Anna was the youngest of the three daughters and
coheiresses of James, second Earl Waldegrave. Her mother was
niece of Horace Walpole, who, as Mr. F. Drummond says, "no
doubt named her daughter Horatio after him." Her sisters, Lady
Elizabeth and Lady Charlotte, appear in that beautiful group by
Sir Joshua Reynolds, with Lady Anna working on a tambour
frame, which was the art glory of Strawberry Hill, and is now in
a collection of pictures in the north of England.
Lady Anna was born in 1762, and married in 1786 Lord Hugh
Seymour. Lord Hugh was in the navy, and as a post-captain
distinguished himself in Lord Howe's victory of 1794 — the
"Glorious First of June." She died in 1803. Her son, Sir
George Francis Seymour, Admiral of the Fleet, born in 1787, died
in 1870. The above information regarding this lady I owe to my
extremely well-informed friend, Mr. F. Drummond.

MISS FARREN
(LADY DERBY)

89 M

MISS FARREN (LADY DERBY).
JOHN DOWNMAN, R.A.
Note by the artist : — " Miss Farren. 1787. Original study.
The celebrated actress."
Elizabeth Farren married the twelfth Earl of Derby. Died in
1829, aged sixty-nine. There is in this portrait ofthe well-known
actress a strong Semitic type ; and I believe Elizabeth Farren had
Jewish blood in her veins ; as had also, to judge by Mrs. Siddons'
portraits, that other great actress.

90

thirty-two QUARTERINGS

91

THIRTY-TWO QUARTERINGS.
What will, I think, most attract the visitors within my little
house are the really beautiful stained glass windows which are
scattered throughout the passages and staircases. These are the
work of Mr. Pace, of Duke Street, Charing Cross; and although,
as he works for St. George's Chapel at Windsor, he requires no
commendation, I have always great pleasure in showing these
windows as proof that the art of stained or mosaic glass has
not died out in the land. They vie in richness of tone and in
mellowness of colour with some of the very best specimens of
mediaeval work.
These emblazoned windows were an afterthought. A friend
had many years ago given me an illuminated parchment, on which
he had drawn my two-and-thirty quarterings. When an addition
was made to the top of the stairs, and a room thrown out over
looking a back-yard, it occurred to me to have some coloured glass
placed in the windows, and these quarterings then suggested them
selves. Nowhere does heraldry appear to such advantage as when
its manifold colours blaze forth from window of church or room.
In no branch of revived art has improvement been greater during
the last few years than in this of glass staining.
92

THIRTY-TWO QUARTERINGS.
As it was impossible to have my windows, so brightly decked
by Mr. Pace, photographed, I have had to restrict myself to giving
a reproduction of the original designs from which they were copied.
Some of the names of the bearers of these heraldic coats are illus
trious, but I have written enough about my ancestry in another
place, and will not go over that ground again. To most eyes a
magnifying glass will be needed to enable the names to be read.
To the modern mind, coats of arms and armorial bearings are
more associated with hatchments on the fronts of houses and on
the panels of coaches than with anything ornamental or artistic.
The art of painting glass, or rather of burning colours into glass,
has been one of the many successful revivals which the improveriient
in modern taste has driven forward of late years. Since early in
the seventeenth century, there are but few specimens of really
good coloured glass in the chambers or halls of England ; but
within the last twenty years mosaic glasswork that rivals in beauty
that of Chartres or York has been made ; and I know of no firm
which has succeeded better in repeating the brilliancy as well as
the mellowness of the thirteenth and fourteenth century glass with
greater success than that of Mr. Pace, the artist of these thirty-two
quarterings.

93

NOTES ON THE "THIRTY-TWO QUARTERINGS."*
" Let us now praise famous men and our fathers that begat us."
The " Thirty-two Quarterings " here displayed are not " heraldic
quarterings " in the English sense of the term, but what are called
by the French " quartiers de noblesse." In this country they are
usually described as "quarters," for the purpose of distinguishing
them from " quarterings," it being understood that " quarters " are
indicative of descent only, while " quarterings " are indicative of
armorial heirship or coheirship, as well as of descent. It is
through an heiress or a coheiress alone that the right to quarter the
arms of one family can be conveyed to another family. The arms
of an heiress or a coheiress are borne by her husband on his shield
in an " escutcheon of pretence," and their children, their descen
dants in the male line, and the children of their descendants in the
male line quarter the paternal and the maternal coats. But the
arms of a woman who is neither an heiress nor a coheiress are
borne by her husband on his shield impaled with his own, and
are not quartered by their children or any of their descendants.
¦* Communicated to me by Mr. Francis Drummond.
94

NOTES ON THE THIRTY-TWO QUARTERINGS.
To record descent, however, independently of armorial heirship or
coheirship, the arms of all the ancestors and ancestresses of a
given descendant within a specified degree of consanguinity are
displayed as in the accompanying illustration. Thus, through the
marriage of Lady Louisa Egerton, coheiress of Scrope, first Duke
of Bridgewater, with Granville, first Marquis of Stafford, and the
marriage of Elizabeth, Countess of Sutherland, heiress of William,
seventeenth Earl of Sutherland, with George, first Duke of Suther
land, their children, their male descendants, and the children of
their male descendants became severally entitled to quarter the
arms of Egerton and Sutherland with their paternal arms of
Gower.* In like manner, through the marriage of Charlotte,
Baroness Clifford, heiress of Richard, fourth Earl of Cork and
third Earl of Burlington, with William, fourth Duke of Devon
shire, their children, their male descendants, and the children of
their male descendants became entitled to quarter the arms of
Boyle with their paternal arms of Cavendish. And again, through
the marriage of Lady Georgiana Cavendish, coheiress of William,
¦* Lady Louisa Egerton also transmitted to her descendants the right to
quarter the royal arms of Mary of York, daughter and eventual heiress of
Edward IV., and by hereditary right, as well as by marriage. Queen of
England ; of Lionel of Antwerp, Duke of Clarence, second son of Edward
III. ; and of Edmund of Langley, Duke of York, fourth son of Edward IH.
95

NOTES ON THE THIRTY-TWO QUARTERINGS.
fifth Duke of Devonshire, with George, sixth Earl of Carlisle,
their children, their male descendants, and the children of their
male descendants became entitled to quarter the arms of Cavendish
and Boyle with their paternal arms of Howard. But by the
marriage of Lady Harriet Howard, daughter of George, sixth Earl
of Carhsle, with George, second Duke of Sutherland, no right was
transmitted to quarter the arms of Howard, Cavendish, or Boyle
to their children or any of their descendants. Considered as
" quarters," in distinction from " quarterings," however (that is, as
announcing descent simply, and not armorial heirship or coheir
ship), they belong to all their sons and daughters and their
descendants, in both the male and female lines.
In drawing up a pedigree for the exhibition of " quartiers de
noblesse," the plan pursued is just the contrary to that which is
adopted in the delineation of what is popularly known as a " family
tree." Both of them deal with successive generations of ancestors
and ancestresses, and more or less widely separated fines of
descent. But while it is the object of the second to trace many
descendants to a common progenitor, the object of the first is to
trace a common descendant from many progenitors. The lines of
descent are divergent in the one case and in the other convergent ;
and, although people are apt to forget it, the latter are really
far more numerous than the former are, practically speaking, ever
96

NOTES On the thirty-two QUARTERINGS.
found to be. We have two parents, four grandparents, eight
great-grandparents, sixteen great-great-grandparents, and thirty-
two great-great-great-grandparents, and so on in geometrical
progression ; and when all of them can be shown to have been
in legitimate possession of armorial bearings, derivation from
them entitles their common descendant to as many "quartiers
de noblesse" as there are lines of descent in the pedigree.
The higher the rank and the more distinguished the families of
the persons represented, the better are the " quarters " or " quar
terings " of their common descendant. But in the nature of things,
there must always be some points at which plebeian strains
are discovered to have mingled with even the most patrician
ancestries. The Queen, for example, is descended from Henry II.
in the twenty-fourth degree, and from nearer seventeen than six
teen miUions of other persons, and from William the Conqueror in
the thirty-fourth degree, and from over a hundred and thirty-five
millions of other persons. Making every allowance, therefore, for
what are termed "cross descents," there is of necessity in all
pedigrees a limit to the multiplication of " quartiers de noblesse,"
and in the vast majority of cases that limit is very speedily,
and often very ignominiously, reached. Of a "cross descent"
a case is presented by the marriage of Lady Margaret Leveson-
Gower with Frederick, fifth Earl of Carlisle — the consequence
97 n

NOTES ON THE THIRTY-TWO QUARTERINGS.
being that four of the late Duke of Sutherland's great-grand
parents and four of the late Duchess of Sutherland's great-great-
grandparents were the same personages, and appear twice in
their appropriate places in the accompanying illustration. If this
particular series of "quartiers de noblesse" were carried a few
generations further back, which might be very easily accomplished,
a great number of cross descents would be shown. It would
include, for example, at least four descents from Henry VII. and
Mary of York, the daughter and heiress of Edward IV., through
the marriage of Mary Tudor, younger sister of Henry VIII. and
Queen-Dowager of France, with Charles Brandon, Duke of Suffolk ;
and next to the line by which the crown has passed, through the
marriage of Margaret Tudor, the elder sister of Henry VIII., with
James IV. of Scotland, this is the rarest and most distinguished of
all Royal Descents.

98

NOTES ON THE THIRTY-TWO QUARTERINGS.

First Descent.
Henry VIL, King of England = Mary of York, daughter and eventual
heiress of Edward IV., King of
England.

Mary Tudor, Queen Dowager of = Charles Brandon, Duke of Suffolk.
France, daughter and eventual
coheiress

Lady Eleanor Brandon, daughter = Henry Clifford, second Earl of Cum-
and coheiress (first wife) berland.

Lady Margaret Clifford, daughter and = Henry Stanley, fourth Earl of Derby.
heiress of her mother

Ferdinando, fifth Earl of Derby

= Alice, daughter of Sir John Spencer
of Althorp.

Lady Frances Stanley, daughter and = John Egerton, first Earl of Bridge-
coheiress water.

John, second Earl of Bridgewater

r= Lady Elizabeth Cavendish, daughter
of William, first Duke of Newcastle.

John, third Earl of Bridgewater = LadyJanePowlett,daughter of Charles,
I first Duke of Bolton (second wife),

99

NOTES ON THE THIRTY-TWO QUARTERINGS.

Scrope, first Duke of Bridgewater

Lady Rachel Russell, daughter of
Wriothesley, second Duke of Bed
ford.

Lady Louisa Egerton, daughter and = Granville Leveson-Gower, first Mar-
coheiress quis of Stafford.

Second Descent.
Scrope, first Duke of Bridgewater = Lady Rachel Russell, daughter of
Wriothesley, second Duke of Bed
ford.

Lady Louisa Egerton, daughter and = Granville Leveson-Gower, first Mar-

coheiress

quis of Stafford,

Lady Margaret Leveson-Gower

= Frederick Howard, fifth Earl of Car
lisle.

George, sixth Earl of Carlisle

Lady Georgiana Cavendish, daughter
and coheiress of William, fifth
Duke of Devonshire.

Lady Harriet Elizabeth Georgiana = George Granville Sutherland-Leveson-
Howard Gower, second Duke of Sutherland.

NOTES ON THE THIRTY-TWO QUARTERINGS.

Third Descent.

Henry VIL, King of England

= Mary of York, daughter and eventual
heiress of Edward IV., King of
England.

Mary Tudor, Queen Dowager of = Charles Brandon, Duke of Suffolk.
France, daughter and eventual
coheiress

Lady Frances Brandon, daughter and = Henry Grey, third Marquis of Dorset,
coheiress created Duke of Suffolk.

Lady Katherine Grey

= Edward Seymour, second Earl of
Hertford.

Edward, Lord Beauchamp, eldest = Honora, daughter of Sir Richard

son, d.v.p.

Rogers of Bryanston.

William, second Duke of Somerset = Lady Frances Devereux, daughter
and eventual coheiress of Robert,

second Earl of Essex.

Lady Jane Seymour

= Charles Boyle, Viscount Dungarvan
by courtesy, and Baron Clifford by
summons, d.v..p.

Charles, third Earl of Cork and = Juliana, daughter and heiress of the
second Earl of Burlington. | Honble. Henry Noel of Luffenham.

NOTES ON THE THIRTY-TWO QUARTERINGS.
Richard, fourth Earl of Cork and third = Lady D orothy Sa vile, daughter of Wil-
Earl of Burlington liam, second Marquis of Halifax.

Lady Charlotte Boyle, daughter and = William Cavendish, fourth Duke of

heiress. Baroness Clifford in her
own right

Devonshire.

William, fifth Duke of Devonshire = Lady Georgiana Spencer, daughter of
John, first Earl Spencer.

Lady Georgiana Cavendish, daughter =: George Howard, sixth Earl of Carlisle.
and coheiress

Fourth Descent.
William, second Duke of Somerset = Lady Frances Devereux, daughter
and eventual coheiress of Robert,
second Earl of Essex.

Lady Mary Seymour (second wife) = Heneage Finch, second Earl of Win
chilsea.

Lady Frances Finch

= Thomas Thynne, first Viscount Wey-
I mouth.

Honble. Frances Thynne

= Sir Robert Worsley, Bart.
I:

NOTES ON THE THIRTY-TWO QUARTERINGS.
Frances Worsley = John Carteret, second Earl Granville.

Lady Georgiana Caroline Carteret, = Honble. John Spencer.
daughter and coheiress

John, first Earl Spencer

Lady Georgiana Spencer

Margaret Georgiana Poyntz, daughter
of the Rt. Honble. Stephen Poyntz.

William Cavendish, fifth Duke of
Devonshire.

Lady Georgiana Cavendish, daughter = George Howard, sixth Earl of Car-

and coheiress

lisle.

I

Lady Harriet Elizabeth Georgiana = George Granville Sutherland-Leve-
Howard son - Gower, second Duke of
Sutherland.

The nature and effect of " cross descents " are further illus
trated in the cases of Lord Ronald Gower's paternal ancestor in
the fifth degree — John, first Lord Gower — and maternal ancestor in
the sixth degree — John, second Earl Granville. Their mothers
were sisters, and consequently sixteen of their " thirty-two quarter
ings " at least, were precisely the same. They were both of them
103

NOTES ON THE THIRTY-TWO QUARTERINGS.
descended in the fifth degree from the heroic Sir Richard Granville,
of the Revenge, and in the third degree from the scarcely less
heroic Cavalier, Sir Bevil Granville, who was slain in the fight on
Lansdowne Hill in the early part of the Great Rebellion.
Sir Richard Granville, of the Revenge — Mary, daughter and coheir of Sir
John St. Leger of Aumery.

Bernard Granville, Sheriff of Corn- = Elizabeth, daughter and heiress of

wall

Philip Bevil of Brynne.

Sir Bevil Granville, the Cavalier = Grace, daughter of George Smith
of Exeter.

John Granville, created Earl of Bath = Jane, daughter of Sir Peter Wiche.

Lady Jane Gran- = Sir William Le- Lady Grace Gran- = John, first Lord

ville

veson--^'Go-wer, ville, created
fourth Baronet. Countess Gran
ville

Carteret.

John, first Lord Gower. John, second Earl Granville.
Again, there are within the lineages comprised in these
"thirty-two quarterings" certainly not fewer than five descents
from Lord Treasurer Burghley, two from " the Favourite," Lord
104

NOTES ON THE THIRTY-TWO QUARTERINGS.
Essex, two from "the Patriot," Lord Russell, and two from Lady
Dorothy Sidney, wife of Henry, first Earl of Sunderland, sister
of Algernon Sidney, great-niece of Sir Philip Sidney, and the
" Sacharissa " of the poet Edmund Waller. Lady Jane Powlett,
daughter of Charles, first Duke of Bolton, wife of John, third Earl
of Bridgewater, and grandmother of Lady Louisa Egerton, wife of
Granville, first Marquis of Stafford, was the great-granddaughter
of WilHam, fourth Marquis of Winchester, by Lady Lucy Cecil,
daughter of Thomas, first Earl of Exeter, and granddaughter
of William, Lord Burghley. Lady Margaret Leveson-Gower, wife
of Frederick, fifth Earl of Carlisle, and grandmother of Harriet,
Duchess of Sutherland, was the daughter of Lady Louisa Egerton,
Marchioness of Stafford and great-granddaughter of Lady Jane
Powlett, Countess of Bridgewater. Richard Boyle, fourth Earl of
Cork and third Earl of Burlington, was the great-grandson of Lady
Elizabeth Cliflford, wife of Richard, second Earl of Cork and first
Earl of Burlington, daughter and heiress of Henry, fifth Earl of
Cumberland, by Lady Frances Cecil, daughter of Robert, first Earl
of Salisbury, and granddaughter of William, Lord Burghley. Lady
Anne Capell, wife of Charles Howard, third Earl of Carlisle, and
daughter of Arthur Capell, first Earl of Essex, was the grand
daughter of Algernon Percy, tenth Earl of Northumberland, by
Lady Anne Cecil, daughter of William, second Earl of Salisbury,
105 o

.NOTES ON THE THIRTY-TWO QUARTERINGS.
and great-granddaughter of William, Lord Burghley. Lady
Georgiana Cavendish, wife of George, sixth Earl of Carlisle, and
mother of Harriet, Duchess of Sutherland, was the great-great-
great -great-granddaughter of Lady Elizabeth Cecil, wife of William,
third Earl of Devonshire, daughter of William, second Earl of
Salisbury, and great-granddaughter of William, Lord Burghley.
Harriet, Duchess of Sutherland, was the great-great-granddaughter
of Lady Georgiana Carteret, daughter of John, second Earl Gran
ville, by Frances, daughter of Sir Robert Worsley, wife of the
Honble. John Spencer, and great-great-granddaughter of Lady
Mary Seymour, wife of Heneage Finch, second Earl of Winchilsea,
and daughter of William, second Duke of Somerset, by Lady
Frances Devereux, daughter and eventual coheiress of Robert
Devereux, second Earl of Essex. Lady Jane Seymour, another
daughter of William, second Duke of Somerset, by Lady Frances
Devereux, was the wife of Charles Boyle, Viscount Dungarvan and
Baron Clifford, and was the grandmother of Richard, fourth Earl
of Cork and third Earl of Burlington, the great-grandfather of Lady
Georgiana Cavendish, wife of George, sixth Earl of Carlisle, and
mother of Harriet, Duchess of Sutherland. Lady Rachel Russell,
the daughter of William, Lord Russell, was the wife of William,
second Duke of Devonshire, and the great-grandmother of William,
fifth Duke of Devonshire, the grandfather of Harriet, Duchess of
io6

NOTES ON THE THIRTY-TWO QUARTERINGS.
Sutherland. Lady Rachel Russell, daughter of Wriothesley,
second Duke of Bedford, granddaughter of William, Lord Russell,
and wife of Scrope, first Duke of Bridgewater, was the mother of
Lady Louisa Egerton, wife of Granville, first Marquis of Stafford,
and grandmother of George Granville, second Duke of Sutherland.
Lady Dorothy Sidney, daughter of Robert, second Earl of Leicester,
and wife of Henry, first Earl of Sunderland, was the mother of
Lady Dorothy Spencer, wife of George, first Marquis of Halifax,
by whom she was the mother of William, second Marquis of
Halifax, father of Lady Dorothy Savile, wife of Richard, fourth
Earl of Cork and third Earl of Burlington, the mother of Lady
Charlotte Boyle, Baroness Clifford in her own right, wife of
William, fourth Duke of Devonshire, who was by her the great
grandfather of Harriet, Duchess of Sutherland. The Honble.
John Spencer, the grandfather of Georgiana, Duchess of Devon
shire, grandmother of Harriet, Duchess of Sutherland, was the
youngest son of Charles, third Earl of Sunderland, grandson of
Henry, first Earl of Sunderland, and Lady Dorothy Sidney.
The importance of "quartiers de noblesse" was due to the
rules and regulations which governed admission to the military
orders in the ages of chivalry. In all of these a certain number
of such " quartiers " were required in any candidate, and he Was
107

NOTES ON THE THIRTY-TWO QUARTERINGS.
compelled to establish his claim to them before he could be
admitted. In the Orders of the Garter and the Golden Fleece,
St. Michael and the Holy Ghost, it was necessary merely that the
knights should be " gentilshommes de nom et d'armes," which
meant that they should be able to prove their descent from grand
parents at least, both on their father's and their mother's side, who
were entitled to armorial bearings. Admission to the Order of
St. John of Jerusalem was made dependent on the fulfilment of
genealogical conditions which differed according to the nationality
of the candidate. The Order was divided into eight Languages or
Tongues — those, namely, of Provence, Auvergne, France, Italy,
Aragon, England, Germany, and Castile. Scotland was included
in the Language or Tongue of England, and that of Castile in
cluded Portugal and Leon. Candidates from Provence, Auvergne,
and France were required to prove eight quarters ; from Italy,
Aragon, England, and Castile four quarters ; and from Germany
sixteen quarters. It was, however, further necessary that the
Italians should show that both their father's and their mother's
family had been in the direct male line of name and arms for the
preceding two hundred years, while the Aragonese and Castilians
were disquahfied if they could not establish their immunity from
any admixture of Jewish or Moorish blood. The sixteen quarters
demanded of the Germans also constituted the necessary quali-
io8

NOTES ON THE THIRTY-TWO QUARTERINGS.
fication for admission to the Order of the Teutonic Knights, and
to all the noble Chapters and Colleges of the Empire. The
Order for the ancient nobility instituted by the Emperor Joseph II.
in 1768, and dedicated to the four Emperors of the House of
Luxemburg — Henry VIL, Wenceslaus, Sigismond, and Charles
IV. — was restricted to Grand Crosses who were possessed of
thirty-two quarters. Commanders who possessed sixteen quarters,
and Companions who could prove nine descents in the direct
paternal line from ancestors of name and arms.

109

NOTES ON THE "THIRTY-TWO QUARTERINGS."
{Paternal Line.)
I. Sir John Leveson-Gower, fifth Baronet, created Lord Gower.
2. John, second Lord Gower, created Earl Gower.
3. Granville, second Earl Gower, created Marquis of Staf
ford, K.G.
4. George Granville, second Marquis of Stafford, created
Duke of Sutherland, K.G.
5. George Granville Sutherland-Leveson-Gower, nineteenth
Earl and second Duke of Sutherland, K.G.

I. John, first Lord Gower, was the eldest son of Sir William
Leveson-Gower of Trentham (fourth baronet), by Lady Jane Gran
ville, elder daughter and eventual coheiress of John, first Earl of
Bath. Her younger sister. Lady Grace Granville, married George,
first Lord Carteret, and was created, after the death of her hus
band, Countess Granville. She was the mother of John, second
Earl Granville, whose daughter. Lady Georgiana Carolina Carteret,
was the wife, first of the Honble. John Spencer, and secondly of
IIO

NOTES ON THE THIRTY-TWO QUARTERINGS.
William, second Earl Cowper. John, first Lord Gower, was born
in 1675, and was elected member for Newcastle-under-Lyne in
1691, in succession to his father. He was returned for the same
constituency on six occasions, and continued to sit in the House
of Commons until he was promoted to the House of Lords.
He was sworn of the Privy Council and appointed Chancellor
of the Duchy of Lancaster in the Godolphin Administration in
1702, and was raised to the peerage in the Barony of Gower
of Stittenham in 1703. He remained in office until 1706, in
which year he was nominated one of the Commissioners for
effecting the Union between England and Scotland. He married
Lady Catherine Manners, daughter of John, first Duke of Rutland,
by his third wife, the Honble. Catherine Noel, daughter of Baptist,
third Viscount Campden, by his fourth wife. Lady Elizabeth Bertie,
daughter of Montague, second Earl of Lindsey. Lord Gower died
in 1709. 2. John, second Lord, and first Earl, Gower, was born in 1694,
and was twice appointed Lord Privy Seal — once in 1742, and again
in 1744. He raised a regiment of foot for the suppression of the
Rebellion of 1745, and was created Viscount Trentham and Earl
Gower in the following year. He was married three times, but
his first wife. Lady Evelyn Pierrepoint, daughter of Evelyn, first
III

NOTES ON THE THIRTY-TWO QUARTERINGS.
Duke of Kingston, whom he married in 1712, was the mother
of his heir. She was the sister of Lady Mary Wortley-Montagu,
and of Frances, Countess of Mar, and through h'er mother. Lady
Mary Feilding, daughter of William, third Earl of Denbigh, the
second cousin of Henry Fielding, the author of " Tom Jones,"
"Amelia," and "Joseph Andrews." It was to her brother Evelyn,
second Duke of Kingston, that Miss Chudleigh was — or rather
was not — married. Lord Gower died in 1754.
Lord Gower is generally represented to have been a little
unsettled in his political principles, and it has even been said
that he was at one and the same time President of the Jacobite
Board and a member of the Hanoverian Cabinet. His convic
tions appear to have been a good deal influenced at successive
periods of his life by his family connections, and the variety of
the second seems to account in some measure for the versatility of
the first. He was the brother-in-law of John, Earl of Mar, " the
Rebel," the uncle- in-law of John, Earl of Bute, " the Favourite," and
the father-in-law of John, Duke of Bedford, " the Whig," par excel
lence, of his age. An extraordinary number of contemporary states
men or politicians of more or less distinction are either themselves
his descendants or are allied to his descendants by marriage, and
they are pretty equally distributed among the ranks of the Liberals
and the Conservatives. His son, the first Marquis of Stafford,
.112

NOTES ON THE THIRTY-TWO QUARTERINGS.
was the grandfather of Lord Granville, and of his granddaughters
one was the grandmother of Sir William Harcourt, and another
was the great-grandmother of Lord Hartington. His grandson,
the first Duke of Sutherland, was the grandfather of the Duke of
Westminster and Lord Stalbridge. His great-grandson, the second'
Duke of Sutherland, was the father of the late Duchess of Argyll,
and the grandfather of Lord Lome, and also the grandfather of
the late Lady Florence Leveson-Gower, the wife of Mr.- Henry
Chaplin, and of the Honble. Gertrude Stuart, the wife of the
eldest son of Mr. Gladstone. One of his daughters married Lord
John Sackville, and was the great-grandmother of the present Lady
Derby, and another married the third Earl Waldegrave, and was
the great-grandmother of the late Lady Selborne. One of his
granddaughters was the grandmother of Lord John Manners, and
another was the grandmother of Lord Harrowby, and the great-
grandmother of Lady Lucy Fortescue, the wife of Sir Michael
Hicks-Beach. One of his daughters, again, was the great-great-
grandmother of Lord George Hamilton and his brothers, of the
present Lady Lansdowne and the late. Lady Mount-Edgcumbe, and
of Lord Rowton and Mr. Evelyn Ashley, while she was the gr'eat-
great-great-grandmother of Lord Randolph Churchill.
3. Granville, second Earl Gower and first Marquis of Stafford,
113 p

NOTES ON THE THIRTY-TWO QUARTERINGS.
was born in 1721, and sat in the House of Commons from 1744
until 1754 for Bishop's Castle, Westminster, and Lichfield suc
cessively. He was appointed a Lord of the Admiralty in 1749)
Lord Privy Seal in 1755, Master of the Horse in 1757, Master
of the Great Wardrobe in 1760, and Lord Chamberlain of the
Household in 1763. He was Lord President of the Council in
the Grafton and North Administrations from 1769 until he re
signed, on changing his views concerning the American War, in
1779. He was created a Knight of the Garter in 177 1. In the
Pitt Administration of 1783 he was Lord President of the Council
again, and again Lord Privy Seal in 1784, and so continued until
1794. He was created Marquis of Stafford in 1786. Like his
father, he was married three times. The mother of his heir was
his second wife, whom he married in 1748, Lady Louisa Egerton,
daughter and eventual coheiress of Scrope, first Duke of Bridge-
water, by Lady Rachel Russell, daughter of Wriothesley, second
Duke of Bedford, and. granddaughter of William, Lord Russell.
She was the sister of John and Francis, successively second and
third Dukes of Bridgewater. The third Duke was the celebrated
projector ofthe Bridgewater Canal. Lord Stafford died in 1803.
4. George Granville, second Marquis of Stafford and first Duke
of Sutherland, was born in 1758. He sat in the House of
114

NOTES ON THE THIRTY-TWO QUARTERINGS.
Commons as member for the county of Stafford from 1787 until
1799, when he was summoned to the House of Lords in his
father's barony of Gower of Stittenham. He was Ambassador
to the Court of France from 1790 until 1792, and Joint- Postmaster-
General from 1799 until 1 80 1 in Mr, Pitt's Administration. He
was created Knight of the Garter in 1806, and Duke of Suther
land in 1833. He married, in 1785, Elizabeth, Countess of
Sutherland in her. own right, and died in 1833, just six months
after his promotion to the dukedom.
5. George Granville, nineteenth Earl of Sutherland in the
peerage of Scotland and second Duke of Sutherland in the peerage
of the United Kingdom, was born in 1786. He sat in the House
of Commons as member for St. Mawes from 1808 until 181 2, for
Newcastle-under-Lyne from 18 12 until 181 5, and for the county
of Stafford from 181 5 until 1820. He was summoned to the
House of Lords in his father's barony of Gower of Stittenham
in 1826, and was created a Knight of the Garter in 1 841, He
married Lady Harriet Elizabeth Georgiana Howard, daughter of
George, sixth Earl of Carlisle, in 1823, and died in 1861,

IIS

NOTES ON THE "THIRTY-TWO QUARTERINGS."
{Maternal Line.)
I. Charles Howard, third Earl of Carlisle.
2. Henry, fourth Earl of Cariisle, K.G.
3. Frederick, fifth Earl of Carlisle, K.G.
4. George, sixth Earl of Carlisle, K.G.
5. Lady Harriet Elizabeth Georgiana Howard,
Duchess of Sutherland.

I. Charles, third Earl of Cariisle, was born in 1674, and
sat in the House of Commons as member for Morpeth from 1690
until 1692. He was First Lord of the Treasury from December
30, 1701, until May 8, 1702, when Lord Godolphin became
Lord . Treasurer. He was also in the same office from May 23
until October II, 1715, when he was succeeded by Sir Robert
Walpole. . He was Deputy Earl Marshal, Governor of Windsor
Castle, and one of the Commissioners for effecting the Union
between England and Scotland. He married, in 1688, Lady
Anne Capell, daughter of Arthur, first Earl of Essex, by
.ri6

NOTES ON THE THIRTY-TWO QUARTERINGS.
Lady Elizabeth Percy, daughter of Algernon, tenth Earl of
Northumberland, by his first wife. Lady Anne Cecil, daughter of
William, second Earl of Salisbury, and great-granddaughter of
William, Lord Burghley. Lady Anne Cecil's mother was Lady
Catherine Howard, daughter of Thomas, Earl of Suffolk, grand
son of the poet Earl of Surrey. Algernon, tenth Earl of North
umberland's father, was Henry, ninth earl, who was surnamed
" the Wizard " ; and his mother was Lady Dorothy Devereux,
the sister of Robert, second Earl of Essex. She was the widow
of Sir Thomas Perrot, and daughter of Walter, first Earl of Essex,
by Lettice Knollys, his wife, daughter of Sir Francis Knollys, K.G.,
by Catherine Carey, first cousin of Queen Elizabeth, her mother
being Lady Mary Boleyn, sister of Queen Anne Boleyn, daughter
of Thomas, Earl of Wiltshire, and wife of William Carey, Esq.,
ancestor of the extinct Lords Hunsdon, Viscounts Rochfort, and
Earls of Dover. Lady Dorothy Percj', the daughter of the ninth
Earl of Northumberland, married Robert, second Earl of Leicester,
and was the mother of Algernon Sidney and Lady Dorothy Sidney,
Countess of Sunderland. Lord Carlisle died in 1738.
2. Henry, fourth Earl of Carlisle, was born in 1694, and
sat in the House of Commons as member for Morpeth from 17 14
until he succeeded to the peerage. He was created a Knight
117

NOTES ON THE THIRTY-TWO QUARTERINGS.
of the Garter 1757. He was twice married, first in 17 17 to
Lady Frances Spencer, daughter of Charles, third Earl of Sunder
land, and secondly, in 1743, to the Honble. Isabella Byron,
daughter of William, fourth Lord Byron, by whom, with his heir,
he had four daughters. He was created a Knight of the Garter
in 1756, and died in 1758. William, fourth Lord Byron, the
father of his wife, was the great-grandfather of George Gordon,
sixth Lord Byron, the poet, and his mother was the Honble.
Ehzabeth Chaworth, one of the daughters of John, second Viscount
Chaworth. It was in this way that Byron was related to or
connected with Miss Chaworth, afterwards Mrs. Masters.
3. Frederick, fifth Earl of Carlisle, was born in 1748, and
while on his travels in 1768 was created a Knight of the Thistle,
and was invested at Turin by the King of Sardinia, on behalf of
George III. In 1777 he was Treasurer of the Household, and
in the following year one of the Commissioners to treat with the
revolted colonies in North America. In 1780 he was appointed
President of the Board of Trade and Plantations, and afterwards
Lord Lieutenant of Ireland. He became Lord Steward of the
Household in 1782, Lord Privy Seal in 1783, and was created
a Knight of the Garter in 1793, He married Lady Margaret
Leveson-Gower, daughter of Granville, first Marquis of Stafford,
118

NOTES ON THE THIRTY-TWO QUARTERINGS.
and Lady Louisa Egerton, daughter of Scrope, first Duke of
Bridgewater. Lord Carlisle died in 1825.
4. George, sixth Earl of Carlisle, was born in 1773, and was
member for Morpeth from 1795 to 1796, and from 1802 to 1 806,
in which year he was appointed one of the Commissioners for the
affairs of India, and sworn of the Privy Council. From 1806 until
1820 he sat as member for Cumberland. He was Lord Privy
Seal in the Canning Administration of 1827, and Cabinet Minister
without office in the Grey Administration from 1830 to 1834, when
he was a second time appointed Lord Privy Seal. He was
created a Knight of the Garter in 1837. In 1801 he married Lady
Georgiana Dorothy Cavendish, the elder of the two daughters and
eventual coheiresses of William, fifth Duke of Devonshire, and
Georgiana "the Beautiful," Duchess of Devonshire, who was the
lineal descendant in the fifth degree of the celebrated Sarah
Jennings, Duchess of Marlborough, and John, the great Duke of
Marlborough. She was also the great-granddaughter of John,
second Earl Granville of the Carteret creation, of whom a political
biography by Mr. Archibald Ballantyne has been recently published,
in which justice, and perhaps more than justice, is done to his
powers and capacities as a statesman. The character of Carteret
seems to have appealed with some force to the imagination of
119

NOTES ON THE THIRTY-TWO QUARTERINGS.
Lord Beaconsfield, and he refers to him in very complimentary
terms in the well-known third, or historical, chapter of " Sybil."
But as Lord Beaconsfield uses in speaking of Carteret nearly the
same words that had been previously employed on the same subject
by Macaulay in his essays on " Horace Walpole " and " Lord
Chatham," Carteret's biographer does not appear to have regarded
it as necessary to cite this additional testimony in support of his
hero's pretensions to posthumous fame. Georgiana, Duchess of
Devonshire's mother, Elizabeth, wife of John, first Earl Spencer,
was the daughter of the Right Honble. Stephen Poyntz, who,
according to a note in Lord Dover's edition of the " Letters of
Horace Walpole to Sir Horace Mann," was "formerly Minister to
Sweden, after being tutor to Lord Townshend's sons." He was
subsequently Governor and then Treasurer to William, Duke of
Cumberland, the uncle of George III. His wife was Anna Maria
Mordaunt, once Maid of Honour to Queen Caroline, the wife of
George II. Mrs. Poyntz was the daughter of General the Honble.
Lewis Mordaunt, and the niece of the " fiery Peterborough,"
Charles, third Earl of Peterborough and first Earl of Monmouth,
of the Mordaunt creation. Horace Walpole notices her as " the
Fair Circassian," because, as Lord Dover explains, " a young
gentleman of Oxford wrote ' The Fair Circassian ' on her, and died
for love of her." Lord Carlisle died in 1848.

NOTES ON THE THIRTY-TWO QUARTERINGS.
5- Lady Harriet Elizabeth Georgiana Howard was born in
1806, and married in 1823 George Granville, second Duke of
Sutherland.

"These were honoured in their generations, and werj;
THE glory of their TIMES."

121

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