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FRONTISPIECE.
RICHARD COSWAY, R.A., BY HIMSELF, FROM A PORTRAIT IN
THE VARESE COLLECTION.
Sold at Christie's, June ist, 1896.

Richard Cosway, R.A
and his Wife and Pupils
Miniaturists of the Eighteenth Century
By George C. Williamson, D.Lit.

London : George Bell ^ Sons

MDCCCXCVII

CHISWICK PRESS :  CHARLES WHITITNGHAM AND CO.
TOOKS COURT, CHANCERY l.ANE, LONDON.

ACKNOWLEDGMENT.
IN presenting this book to those who love miniatures and are interested
in the greatest exponent of this fascinating art, I must not fail to
acknowledge, with much gratitude, all the help I have received in its
compilation. I would express with all respect my sincere gratefulness to Her
Majesty the Queen for gracious permission to examine, study, and repro
duce miniatures from the Royal Collection at Windsor Castle. Hearty
thanks are also due to H.R.H. the Duchess of Teck, H.R.H. the Duke
of Cambridge, and all other collectors and owners of miniatures who have
allowed me to examine their treasures, describe them, and reproduce very
many of them in this volume.
To the Reverend Mother Superior at Lodi, to Sister Joseph Fitz-
patrick, to the Reverend Mother at Rathfarnham, and to many of the
nuns both at Lodi, in Austria, and in Ireland, to the Bishops of Lodi,
Brescia, and Pavia, to the Director of the Archives at Brescia, the Sub-
Prefect at Lodi, and to Cavalier Martani, and to many other willing
helpers my thanks are^ tendered for the aid given me in compiling the
chapters on the life in Italy.
To Mr. Snell for information as to Tiverton, to Mr. Maisey for the
photograph of the marriage register, to Mr. Humphrey, Mr. Knipe, and
Mr. Waller for the loan of letters from Maria Cosway, to Doctor Joseph
Fernandez for assiduous and most careful work at the British Museum in
looking up numerous references, to Messrs. Christie for permission to
search their files of catalogues, to Mr. Algernon Graves for invaluable
notes of pictures exhibited at the Academy, and to the Rev. D. Campbell
for copy of the baptismal register I also return hearty thanks.
I have made use of all the existing works on Cosway, and to Mr.
Propert, Sir Philip Currie, and Mr. Daniell my best thanks are given for
permission to make extracts from their excellent books.
To all who have helped, whether mentioned or not, I would express
my thanks for their aid and my hope that they will be satisfied with
the result of the labour that they have enabled me to bestow upon this
book. George C. Williamson.
The Mount,
Guildford.
Christmas, 1896.

BY
RICHARD COSWAY,
R.A.

GEORGE IV.

QUEEN CAROLINE.

JOSEPH COLLECTION,

CONTENTS.

Acknowledgment .........
List of Illustrations 
Table of Authorities .......
Chapter I. Early Life and Student Days .
II. Maria Cosway ......
III. The Full Tide of Prosperity
IV. Magnificence, Dejection, Death .
V. Mrs. Cosway and her Educational Schemes
VI. The Baroness Cosway in Italy .
VII. The Baroness, her College and her Friends
VIII. Cosway's Miniatures .....
IX. Cosway's Methods and Materials
Appendix I. Catalogue of the Pictures by Richard Cosway
AT PRESENT KNOWN, ARRANGED UNDER THE NaMES
of their respective Owners . . , .
II. A SIMILAR Catalogue of the Works of Maria
Cosway ........
III. A SIMILAR Catalogue of the Works of Andrew
and Nathaniel Plimer, Cosway's favourite
Pupils ........
IV. List of Pictures exhibited by Richard and
Maria Cosway at the Royal Academy and
various other Exhibitions, 1760- 1806, and
recently in the United States
V. Notes as to Miniatures by Cosway that have
BEEN sold at RECENT SaLES IN LoNDON .
VI. List of Persons whose Portraits Cosway
PAINTED, the Originals of which cannot be
found ........
VII. Hand-li.st of Engravings after Richard and
Maria Cosway 
Index ....... . . . .

PAGE V
ix
xiii I
9
20
3052 5459n
91

99
135

141 147
151
155 163

A DRAWING BY RICHARD COSWAY IN THE POSSESSION OF
THE AUTHOR.
FROM THE COSWAY COLLECTION.
.Sold at Christie's, June ist, 1896.

List of Illustrations.

N.B. The copyright and privilege of reproduction for all the illustrations in this volume
are strictly retained by the author on behalf of the various owners of the miniatures. Most
of the photographs were taken on behalf of the author by Messrs. Elliott and Fry of
Baker Street.
The collotypes are by Messrs. Bemrose and Sons of Derby.
The process blocks are mostly by Messrs. AV'alker and Boutall, who have also executed
the photogravures. The pencil drawings were reproduced by the Acme Tone Engraving Company, with the
exception of the very fine one in the large paper copies, which was done by Robinson and
Hinton. Photographs have been specially taken from the miniatures in almost every
instance expressly for the author for use in this volume. PAGE
Portrait of Richard Cosw.ay, R.A. In photogravure, from a drawing sold at
Christie's, June i, 1896. ........ . Frontispiece
George IV. and Queen Caroline. From the Joseph Collection . . . . vi
A Drawing by Richard Cosway in the possession of the Author. From the
Cosway Collection. Sold at Christie's, June i, 1896 ... . viii
Pencil Drawing of Three Ladies of the Royal Family. Names unknown.
Owner, Her Majesty the Queen. Photogravure. In large paper copies only . i
George IV., William IV., The Duke of Sussex. Owner, H.R.H. The Duke of
Cambridge, K.G. ... ... . . . . i
William, third Viscount Courtenay, The Countess of Mountnorris, Lady
Carteret, and Lady Caroline Morland. Owner, W. C. Morland, Esq. . 2
Richard Cosway, R.A. From a drawing by Dance. Owner, The Royal Academy.
By permission of Virtue and Co. . . . . ... 6
The Five Daughters of Matthew Pierson, Esq, Owner, Mrs. Newbury,
Lady Melbourne. Owner, Mr. J. Lumsden Propert . . .... . . 9
The Countess of Dysart, Mrs. Butler, A Lady. Owner, Henry Drake, Esq. . 10
Maria Cosway. From an engraving, 1785.. .. .. .• 12
Two Children of the Earl of Bessborough.
The Countess of Shaftesbury and Lady Barbara Ashley. Owner, Lord de
Mauley . . . .   H
Cosway's Marriage Register. In the Letterpress . .... ... 17
Hon. Mrs. George Pelham. Owner, the Earl of Chichester.
William, fifth Duke of Devonshire.
William Spencer, sixth Duke of Devonshire. Owner, The Duke of Suther
land   18
Miniature belonging to Lord Barnard, at Raby Castle, and' believed to
represent the Duchess of Bolton   19
Isabella, Countess of Beverley. Owner, The Earl Percy  20

X LIST OF ILLUSTRATIONS. I 'AGE
Mrs. Fitzherbert. From a pencil drawing. Owner, The Marchioness of Hertford.
A Pen-and-Ink Drawing. Owner, Lord Ronald Gower . •  ^-
Peter Robert, second Lord Gwydyr. Stained drawing. Owner, The Earl of
Ancaster.
Elizabeth Burrell, successively Duchess of Hamilton and Marchioness of
Exeter. Owner, Lord Gwydyr .  .... 22
Georgiana, Duchess of Devonshire. Owner, Her Majesty The Queen ... 24
Lady Affleck. Owner, The Earl of Ilchester.
Mrs. Jordan. Owner, Lord Tweedmouth.
Hugh Seymour. Owner, Mrs. Seymour.
Lady Anne Lindsay. Owner, Mrs. Dawson Rowley  -°
The Royal Academicians at Somerset House. By Zoffany. Owner, The Crown.
By permission of Messrs. Virtue and Co. ...  28
Susan and Frances Coutts, afterwards Countess of Guilford and Mar
chioness of Bute. Attributed by the Baroness Burdett-Coutts to Angelica
KaufFmann. In the Letterpress . .  29
No. I, Stratford Place. By permission of Messrs. Virtue and Co. In the Letter
press  . . ... ... -3°
Cupid unmasking False Love, Drawing. Sold at Christie's, June i, 1896 ... 30
H.R.H. Princess Sophia, H.R.H. Princess Mary. Owner, H.R.H. The Duke of
Cambridge .  ...   32
Madonna and Child. Tinted drawing, 1813. Sold at Christie's, June i, 1896 . . 36
Georgiana, Duchess of Devonshire.
H.R.H. Princess Sophia. One of the Sons of George III. Owner, Her
Majesty the Queen . . . . ....  38
Sir Francis and Lady Burdett. Owner, The Baroness Burdett-Coutts . . 40
Mrs. Fitzherbert, Mrs. Harcourt, Mrs. Whittington. {See page 84.) Owner,
Henry Drake, Esq. .  . . . ... 42
Very fine Pencil Dr.awi.n'g of the Descent from the Cross. Owner, Dr.
Williamson. In large paper copies only .  44
Edward Walpole. Owner, Miss Meresia Nevill.
Wili iam Crawford, Esq., and his Daughter. Owner, J. H. Cochrane, Esq.
Elizabeth, Duchess of Devonshire. Owner, The Earl of Wharncliffe . . .46
Monu.ment to the Me-mory of Richard Cosway, R.A. By permission of Virtue
and Co. In the Letterpress . . ....  48
Mrs. James Stuart Wortley Mackenzie.
Maria, Countess of Derby.
Georgiana, Duchess of Devonshire.
Captain Faulkner. (This last is probably not by (!^osway but by Engleheart.)
Owner, The Earl of AVharncliffe . . . . . 50
Mary, Wife of the third Duke of Richmond. Collection of the Duke of Rich
mond and Gordon. Signed in full on the back, and dated 1789. /// the Letterpress 51
Miss Jocelyn. Pencil drawing. Owner, His Honour Judge Wynne Ffoulkes.
A Gentle.man. Owner, Dame Inglesi, Lodi ... . . .... 52
The two Children of William, fifth Duke of Devonshire. Owner, The
Earl Spencer. Photogravure. In large paper copies only . .... 54
.-Vnother Miniature cf the two Children of William, fifth Duke of
Devonshire. Owner, Hon. Blanche Pitt.  ,^ .__
Mi
Ge

LIST OF ILLUSTRATIONS.

P.\GE

Three Ladies of the Rushout Family. By Plimer. Owner, Frank ^Voodroffe,
Esq  56
Lord Rivers. By R. Cosway, R.A. In the Letterpress  57
The Dining-Room at Dame Inglesi, Lodi ... . . . . 58
The Picture of the Baroness and her Pupils in the Sala Rosa at Lodi . 60
Pen-and-Ink Drawings of Richard Cosway, R.A., and Maria Cosway, his Wife.
At Dame Inglesi, Lodi ....  62
The College, Dame Inglesi, Lodi . .  64
The Rest in Egypt. Pencil drawing. Sold at Christie's, June i, 1896 . . . 66
Minerva teaching Cupid. Drawing. Sold at Christie's, June i, 1896 ... 70
General P. de Paoli. Oil portrait at Florence.
Angelica Cosway as a Baby. Oil painting. At Dame Inglesi, Lodi . ... 72
Sir William Burrell. By Plimer. Owner, General Crutchley . . . . 74
Angels adoring the Sleeping Child. Drawing, 1814. Sold at Christie's, June
I, 1896  76
H.R.H. Princess Amelia, Queen Charlotte, H.R.H. Princess Mary. Owner,
Her Majesty the Queen . .  78
The Duchess of Gordon. Mrs. Moffatt. Lady Paget. A L.\dy. Owner,
Mr. J. Lumsden Propert  ... .... 78
Peter Burrell, first Lord Gwydyr.
The Baroness Willoughby De Eresby, his Wife.
Robert, fourth and last Duke of Ancaster and Kesteven.
Photogravure. Owner, the Honourable Willoughby Burrell .... 80
The Ladies Priscilla and Georgiana Bertie.
The Duchess of Ancaster.
Portions of the Ancaster Box. Owner, The Earl of Ancaster . 80
Frances Burrell, Duchess of Northumberland.
Elizabeth Burrell, Duchess of Hamilton.
Amelia Burrell, Mrs. Bennet. Sophia, Wife of Sir \Villiam Burrell.
Owner, General Crutchley ... . . ... 80
Peter Burrell, first Lord Gwydyr. Owner, 'I'he Earl of Ancaster.
Sir John and Lady Swinburne. Owner, Miss Swinburne ... . 82
Inscription on the back of Mrs. Whittington's Portrait. {See page 42.) In
the Letterpress ....  ... . .84
Charles, first Lord Scarborough. From an engraving . . . 84
Four of the D.aughters of the same Nobleman .... .84
H.R.H. The Prince of Wales. Princess Lubomirski. An Elderly Gentleman.
Louisa Angelica Cosway. Sold at Christie's, June i, 1896 . . . . 86
The Holy Family and St. John. Sold at Christie's, June i, 1896 . . . . 86
Anne, Countess of Ormonde. A Lady. Unknown. Owner, Miss Grace Butler 88
Cosway's usual Signatures on Miniatures. In the Letterpress ... -9°
A Lady. Owner, George Salting, Esq.
Eliza, Countess of Lindsev. Owner, The Earl of Lindsey.
Lady Rich. Owner, W. H. Halliday, Esq  • . . 92
Emma, Lady Hamilton. On vellum. Mrs. Fitzherbert. A Lady. Owner,
The Earl of Wharncliffe  94
Bust of Maria, Baroness Cosway. In the Letterpress  96

xii LIST OF ILLUSTRATIONS.
APPENDIX III.
Rebecca, Lady Northwick. Lady Hor.atia Seymour.
Miss Rushout. A Lady.
All by Plimer. Owner, Mr. J. Lumsden Propert.
Colonel and Mrs. Fuller.
.\ Gentleman. William Beckford. Owner, Henry Drake, Esq.
.\ L.\UY. Owner, The Earl of Wharncliffe.
Duchess of Devonshire. Owner, J. ^^^ Whitehead, Esq.
Lady Hamilton. Owner, Mr. J. Lumsden Propert.
APPENDIX IV.
.-V Lady. A Lady.
Mrs. Whitmore. Mrs. Robinson ("Perdita"). Owner, The Earl of Wharncliffe.
APPENDIX V.
The Mother and Child. Drawing. Sold at Christie's, June i, 1896.
APPENDIX VI.
Marquis of Downshire and Lord Arthur Hill. From an engraving. In the Letter
press.
APPENDIX VII,
Master Horace Beckford.
Hon. Mrs. E. Bouverie. From engravings.

Hearty thanks are tendered to the editors and proprietors of the " Lady's Pictorial,"
"Black and White," "Sporting and Dramatic News,'' "Gentlewoman," "Queen," and
"Artist," for the use of sundry extra blocks made by them for use at the time of the Cosway
Exhibition, from photographs supplied to them by the author of this book. Also to the
editor of the " Artist " for the use of certain illustrations made by him from photographs
supplied to him by the author of this book, and used to illustrate an article on the Cosway
sale at Christie's.

T

NOTE.
HE following are some of the chief authorities which have been
consulted and utilized in connection with the present volume :
Allan Cunningham's " Lives of British Painters " (and in many
instances the original letters from which he obtained his
information and of which he used only portions).
Catalogue raisonne of the engraved works of Richard Cosway, by
F. B. Daniell, with a short memoir of the artist by Sir Philip
Currie.
J. T. Smith's " Nollekens and his Times."
J. T. Smith's " Book for a Rainy Day."
" The Life of Angelica Kauffmann," by Frances Gerard.
Horace Walpole's " Letters."
Clayton's " English Female Artists."
Phillip's " Life of Sir Joshua Reynolds."
" Letters and Papers of Andrew Robertson."
An unpublished MS. work (1844) on Miniature Painting, by Andrew
Robertson.

GEORGE IV.

william iv. h.r.h. augustus, duke of sussex.
(commenced by cosway, completed by
PLIMER.)

COLLECTION OF H.R.H. THE DUKE OF CAMBRIDGE, K.G.

Richard Cosway.
CHAPTER L
EARLY LIFE AND STUDENT DAYS.
IN recording the life of Richard Cosway, I am perforce compelled to
limit my earlier pages to a bare narrative of dry facts. It has not
been found possible, even after some considerable research, to do
more than decide on the accuracy of certain broad outlines, and to clear
away excrescences of error which have grown on to the story.
Of Cosway's earliest days in Devonshire I can give but very little
information, and although of his student days I have been enabled,
through the perusal of some family letters and papers, to dismiss as
inaccurate and unkind one story of menial service that on J. T. Smith's
authority has been accepted as true, yet I have not been able to replace
it by anything more than by dry statements, and have wholly failed to
present a truthful narrative that will be half as entertaining as the
untruthful one that it replaces. It is, however, necessary that the hard
outline of birth, parentage, and early days should be given, even if
unredeemed by the presence of narrative. The life cannot be accurately
depicted otherwise, and I can only promise my reader that later on the
story becomes more entertaining, and will be found to contain many facts
that have never hitherto appeared in print.
Other writers have depicted the part of Cosway's life that was rich
in colour and effect. I can but follow them in so far as they are accurate.
From them all I have gleaned everything that seemed worthy to be set
down, and from papers and letters, journals and memoranda that are
quite new to the public, I have checked the statements and added some
pieces of information that might be deemed of interest. It will, therefore,
I hope, be pardoned if the following few pages as to the artist's early
life be found somewhat tame and uninteresting, and I beg that my

RICHARD COSWAY.
readers will be assured, that had I been able to make the story less
serious and dry, I would only too gladly have done so.
Of his wife's life after his decease I am able to open an entirely
new chapter, and, thanks to definite information, to present a complete
narrative of her career until the time of her death, as well as many new
facts as to her earlier years.
Richard Cosway was probably born in 1742, as in that year he was
certainly baptized. His baptism took place in the parish of Okeford,
near Bampton, Devon, and the Rev. D. Campbell, rector of Okeford, has
kindly supplied me with a copy of the entry in the register. It is in Book
No. 3, 1742, and reads, " Richard, son of Richard and Mary Cosway,
baptized November 5."
His father was a schoolmaster, and at the time of Richard's birth
was master of Blundell's School in Tiverton. It was in Tiverton that
Cosway was educated, and, having been brought to the town at a very
tender age, he always regarded it as his native place. One at least of
the family still resides in Tiverton, a Mr. William Cosway, a most
respected inhabitant, living at Canal Villa. This gentleman was the
original lessee of the limestone quarries at Westleigh, near Wellington
from whence stone was conveyed in barges along the Grand Western
Canal to Tiverton, and he is good enough to state that his father was a
cousin to the painter, had often slept with him as a boy at Bolham, a small
hamlet near Tiverton, and used to tell any number of stories about him,
which stories he cannot remember in detail.
Another resident in Tiverton, the Rev. Donald Owen, was at
Balliol College as a young man with Cosway's nephew, Mr. W. Halliday
Halliday, but from him can no information be obtained.
Cosway does not appear to have had more than one brother. His
name was William, and he became secretary to Nelson and to ColHngwood,
was at the battle of Trafalgar, and received the honour of knighthood.
His son, in accordance with the provisions of a will, changed his name to
Halliday. Sir William Cosway's daughter, Miss Cosway, is still living.
Two other residents in Tiverton claim distant connection with the
artist, R. P. Cosway, Esq., of Vine Cottage, and Mr. W. Cosway, shoe
maker, of Angel Hill.
The artist in later years desired to give expression to the feelings of
gratitude he entertained toward his native place, and in 1784 he wrote the
following letter, which he addressed to the clergy, gentry, and inhabitants
of Tiverton :

FOUR OF THE CHILDREN OF WILLIAM, SECOKD VISCOUNT COURTENAY.

WILLIAM, THIRD VISCOUNT COURTENAY,
REALLY TENTH EARL OF DEVON.

THE COUJ^TESS OF MOUNTNORRIS LADY CARTERET AND LADY CAROLINE
{nee lady anne courtenay). mOrland {nie courtenay). ,

COLLECTION OF W. C. MORLAND, ESQ.

EARLY LIFE AND STUDENT DAYS. 3
" Gentlemen, " I have the honour to request that you will accept at my hands the
picture representing the Angel delivering St. Peter from Prison (intended
for the Altar of St. Peter's Church) as a small token of the respect I have
for you, and of the affection I shall ever retain for my native town ; to
the prosperity and splendour of which it will always be my ambition by
every means in my power to contribute, and
" I am. Gentlemen, with the highest esteem,
" Your obedient and devoted Servant,
" Richard Cosway."
To this polite letter Mr. Martin Dunsford, who was churchwarden
at the time, sent a fitting acknowledgment on November 4, 1 784, and the
picture was placed over the altar, the parish incurring expenses for
framing and for fitting it up amounting to twenty pounds.
The picture has since been removed from its original position, and
is hung near the north door, but owing to the church being very dark
from stained glass, it is not easy to see it well, and practically impossible
to photograph it satisfactorily.
Twenty-two years later, in 1806, Cosway presented an altar-piece
to Bampton Church, which was situate close to his birthplace. The
subject of that picture is Christ bearing the Cross, but unfortunately it is
in very bad condition, the canvas broken, and the picture discoloured
and faded, while the picture at Tiverton is excellently preserved. The
local tradition as to the altar-piece at Tiverton is that Cosway had
desired to paint an imposing masterpiece for the church, and in order to
fix the dimensions wrote to the churchwardens asking what space would
be available. They replied giving particulars, but on a later visit to the
town the artist discovered that far more room might have been placed at
his disposal, and gave way to an ebullition of anger which was very far
from edification.
As regards early years Cosway himself, in letters to his brother Sir
William, effectively disposes of the idle chatter already mentioned, retailed
by J. T. Smith in his work on Nollekens, in which he speaks of the artist
as a waiter or page-boy at Shipley's drawing-school given gratuitous
instruction by the pupils upon whom he waited.
Smith's father and Nollekens were both pupils at this school, and
Smith implies that his story came from them. Cosway's own statements
are exactly opposed to the story, and all the information possessed by his

.[ RICHARD COSWAY.
family refutes it. Allan Cunningham, who wrote in 1838, and who knew
.Sir William Cosway well, rejects the idle tale, and had all authority
to contradict it from those who were convinced either that Smith's
memory had misled him, or else that, with his eager desire to make
romance where plain fact existed, he had garbled the narrative. Ac
cording to Cosway's own story, this part of his history is clear. His
family was originally Flemish, and members of it owned considerable
property in the town of Tiverton, and at Bampton, Okeford, Bolham, and
other villages near. One of his ancestors, he said, a person of substance,
skilful in the manufacture of woollen cloth, emigrated in the reign of
Elizabeth from Flanders, to escape the persecution of the Duke of Alva,
and establishing the woollen manufacture at Tiverton, grew rich and
prosperous, and purchased the estate of Combe-Willis, about five miles
from that place. Cosway adds that the family were great lovers of
pictures, and possessed not a few, including a fine picture by Rubens,
and that he as a boy enjoyed looking at this picture, and another by the
same great artist, belonging to a friend of his father's, and that he used to
give up all his spare time to drawing with black and white chalks and
with pencil. His 'uncle was mayor of Tiverton and a man of good
means, and he, in conjunction with a friend named Oliver Peard, a trader
In Tiverton, who was the boy's godfather, persuaded the father to allow him
to proceed to London and take lessons, and undertook to sustain him there.
He was under twelve years old when he left Tiverton, and ever after he
entertained the deepest feelings of gratitude towards Oliver Peard, whose
generosity he said was " passing great," and promised himself that if ever
he had a son, his godfather's name should be given to the lad.
Some of this Information, and some facts that will be given later on,
appear in Cunningham's " Lives of the Painters," but as opportunity has
now been obtained of comparing much of Cunningham's story with the
original letters from which he took it, evidence has been clearly given for It,
and it is shown that Cunningham was most accurate In all he said, although
In many instances he refrained, by reason of exigencies of space, from
using all the notes placed at his disposal by Cosway's relatives and friends.
In 1754 the Society of Arts was founded, and premiums were offered
by the youthful society for drawings. The offer for the first class was, I
learn from Sir Henry Wood, the most courteous secretary to the society,
" for the best drawings of any kind by boys and girls under the age of
fourteen, on proof of their abilities, on or before January 15 next (1755),
to be determined that day fortnight — 15 guineas."

EARLY LIFE AND STUDENT DAYS. 5
" Richard Cosway, then not twelve years old, gave in a Head of one
of the virtues, expressing Compassion, done in chalk, and obtained the first
share of the Premium — ^5 55-."
It is interesting therefore to notice that the very first prize given by
the society fell to the youthful artist. He was successful again and again
with this society. In 1757 he had a second share {^4. 4s.) in a premium
offered for "Designs or Composition of Ornament;" in 1758 a similar
prize for a drawing from the " Dancing Faun," and In the next year, 1 759,
for a drawing from the " Fighting Gladiator."
In 1760 a prize was offered to young men under twenty-four years old,
of thirty guineas for " drawings of human figures from living models at the
Academy of Artists in St. Martin's Lane, the work to be done in chalks,"
and this prize was also secured by Cosway, as is recorded, " in a most
triumphant manner, and with a drawing of the highest possible merit."
Thereafter his name does not appear in the records of the Society of
Arts, but there still hang in its rooms in London two oil portraits by the
artist, which he is believed to have presented to the society to whom he
owed so much for encouragement, and whose proud boast it is to have
helped the lad and spurred him on to success. The two portraits
represent, the one Peter Templeman, M.D., Hbrarlan in 1753 to the
British Museum, and the other Shipley, the drawing-master.
It was to Thomas Hudson, tutor to Sir Joshua Reynolds, to whom
Cosway was first sent for instruction, and this selection of a master was
made because Hudson was a Devonshire man, and considered at the head
of the profession by the people of that county.
Cosway remained with him but a few months, and says he obtained
but little instruction from him, and was employed at menial offices. On
leaving Hudson he went into lodgings, and attended the drawing-school
of Shipley, whose brother was Bishop of St. Asaph, this school being at
the time the favoured resort of very many young artists.
Here he made rapid progress and worked exceedingly hard, denying
himself every comfort, and both sleep and food, being determined, as he
says, " to be some day the greatest artist in London."
Very early he commenced to take engagements, and Sir William
Cosway states that " he was employed to make drawings of heads for the
shops, as well as fancy miniatures and free subjects for snuff-boxes for the
jewellers, mostly from ladies whom he knew, and from the money he gained,
and the gaiety of the company he kept, he rose from one of the dingiest
of boys to be one of the smartest of men."

6 RICHARD COSWAY.
In 1760 he commenced to exhibit his pictures, sending to the Society
of Artists the portrait of his master Shipley, now belonging to the Society
of Arts. In the following year he commenced miniature work, and
transferred his interest from the Society of Artists to the Free Society,
exhibiting, as will be seen In the Appendix, four miniatures and one
portrait in oil. At that time he was lodging in the Strand at Mr. Clarke's
in Beaufort Buildings, close to where, in 1786, lived Fielding, the novelist.
He continued to exhibit in 1762-1763 and 1764 and 1766 at the Free
Society, and then In 1768 and 1769 his name once more appears in the
catalogues of the Society of Artists. His first work at the Royal
Academy Exhibition is recorded in 1760, and year by year down to 1787
he exhibited pictures and miniatures, and also In the years 1799, 1800,
1803, and 1806. Hardly one single picture which was exhibited
during this prolonged period can be clearly Identified at the present
moment. The catalogues seldom record the names of the persons whom the
portraits depicted, generally only alluding to them as portraits of " a
gentleman," "a nobleman," " a nobleman's child," "a lady," and the like.
Very occasionally a few words are added, such as " at play," " playing a
harp," or phrases denoting size, as " whole length," or "kit cat," and in a
few instances (1771-2, 1775-6, 1777-8) exhibits are termed " a miniature,"
and in one (1780) it is designated as "a tinted drawing."
There is therefore very little to aid In searching out the pictures, and
much must be left to conjecture.
The picture of the Countess of Carrick and her daughters, exhibited
in 1 77 1, is still In existence, as Is also the miniature, exhibited In 1778, of
the Countess of Bessborough and her daughter. The oil painting of
" Wisdom arming St. George," shown In 1783, Is very possibly the one at
Grimsthorpe, belonging to the Earl of Ancaster; the "Angel delivering St.
Peter " Is almost certainly the altar-piece at Tiverton already mentioned ;
the " General Paoli" Is probably the one now In Florence ; the " Madonna
and Child," sent In 1776, may be the one now owned by Lord Harrowby,
and the miniature of the Duchess of Cumberland (1781) is very probably
the delightful portrait at present belonging to Mr. Stephen Lawley.
Nothing can be said with any certainty as to any of the others.
There is, however, a group of miniatures still in existence which was the
work of Cosway in his early years, and Is perhaps the most interesting
group of his works now remaining.
It is of one Jonathan Rashleigh, his wife Mary, daughter of Sir

COLLECTION OF THE ROYAL ACADEMY.

-.¦^

.i^'....... mIS. . ^^

'Ar...f

RICHARD COSW.A.Y, R.A.

FROM A DRAWINC. IIY GEORGE DANCE, R.A.
ENGR.WED l;V WILLIAM DANIELL, ,\PRIL 6TH, 1793.

EARLY LIFE AND STUDENT DAYS. 7
William Clayton of Marden, and their eleven children, Jonathan, Martha,
Philip, Mary, Jane, Robert, Rachel, John, Charles, Peter, and Thomas.
The series has never been out of the possession of the family, and
has never been exhibited. Cosway's name has always been known in
connection with it, and marked upon it, and even were this not the case,
the miniatures have every sign of his work, and even contain special
features in the way of unusual background, particular method of treating
the eye, exceptional colour and free brushwork, all characteristic of the
master. Cosway was but twenty-three years old when Jonathan Rashleigh
died, he having been married in 1728 and he died in 1765, and the ages of
the children testify to the work having been executed when the younger
ones were of tender years.
The. series was probably the work of some prolonged time, but it
represents the earliest work that can be definitely dated, as a miniature
belonging to Dr. Propert represents the other extreme, the work of the
artist's old age.
The Rashleigh series belongs to the present Mr. Jonathan Rashleigh of
Menabilly, Cornwall, and is in good condition and of extraordinary interest.
After leaving Beaufort Buildings, Cosway removed to Orchard Street,
Portman Square. In 1770 he became Associate of the Royal Academy,
(having become student in 1 769), and then resided at 4, Berkeley Street,
Berkeley Square, where he had moved to in 1768. To this house he first
brought his wife. In 1784 they moved to Pall Mall, and there remained
till 1791 ; thereafter going into Stratford Place, into two houses, Nos. i
and 20 in the Place, successively. In 1821 he left Stratford Place, and
went to 31, Edgware Road, and there he died. Just before his wedding
he left 4, Berkeley Street, in order to have the house decorated and pre
pared for his bride. In the interval he stayed with his great friend Cipriani
at his house in Hedge Lane, Charing Cross. With Cipriani was staying
at the same time Bartolozzi the engraver, whom Cosway did not like.
Both men were of hot temper and determined disposition, and neither
would give way. Cosway was also at that time very fastidious as to dress,
and Bartolozzi cared nothing for it. The two men therefore quarrelled,
and Cosway went off to stay in Grosvenor Place with another friend, one
Paul Benfield, M.P., at whose wedding on September 7th, 1793, he was
afterwards present, and whose marriage register he signed at St. George's,
Hanover Square. Benfield, whose estate was at Woodhall Park, Herts,
married the only daughter of Henry Swinburne, the celebrated traveller,
who was the author of "Travels through Spain," "Travels in the Two

8 RICHARD COSWAY.
Sicilies," and " The Courts of Europe." Cosway painted the portraits
both of Henry Swinburne and his wife, and they were engraved.
It may be supposed that Bartolozzi left Hedge Lane later on, for
Cosway appears to have returned to stay with Cipriani, and from his
house he was married at St. George's, Hanover Square, in 1781, as will be
hereafter related.
When living in Orchard Street Cosway was not above giving lessons,
evening by evening, at Parr's drawing-school, and he also attended at the
Duke of Richmond's gallery of casts from the antique in Spring Gardens,
over which his friend Cipriani was a director. Here he worked and
studied, and also gave instruction and advice to younger students than
himself, who were gladly taking advantage of the duke's generous per
mission to study in his gallery. With his removal Into Berkeley Street,
however, commences Cosway's fuller career, the life of popularity, gaiety,
luxury, and success by which he is better known, and during which he
executed the greater number of his works.
His public life, therefore, commenced In Berkeley Street in 1768,
became m.ore noticeable from his wedding in 1781, and extended down to
1820, just before he died.
At this point in the narrative it may be well to refer to Cosway's
future wUe, and describe as far as possible her life ere she met with and
married the artist.

THE FIVE DAUGHTERS OF MATTHEW PIERSON, ESQ., AND SISTERS OF THE MAJOR PIERSON
WHO FELL IN THE DEFENCE OF JERSEY, 1781, VIZ., MRS. TINLING, MRS. FRANCILLON,
-MRS. WEBBER, MRS. ANSTEY CALVERT, AND MRS. METCALFE MAURROCH.
Collection of Mrs. Newbery.

LADY MELBOURNE.
Collection of Dr. Propert.

CHAPTER IL
MARIA COSWAY.
IN 1830, when Cunningham had in preparation his charming little
volumes entitled "The Lives of the most eminent British Painters,
Sculptors, and Architects," he applied to Sir William R. Cosway, the
eminent naval man, for information respecting the artist and his wife.
Sir William R. Cosway, who was then living at 16, St. James's Street,
wrote to Maria Cosway, who was then in Italy, and she sent to him a
very important autobiographical letter In reply.
This original letter is now in my possession, and is given in extenso.
It remained in the Cunningham collection for many years, and was only
sold by Messrs. Sotheran in 1895. Allan Cunningham's application was
not made direct to Sir William Cosway. The aid of an intermediary was
sought, and Sir Andrew Halliday, who was godfather to Sir William
Cosway, undertook the correspondence. On receipt of the letter from Lodi,
Sir William sent it on to Sir Andrew Halliday, and accompanied It by a
letter of his own writing, dated 30 March, 1830. This letter was also sold
by Sotherans, and passed into the collection of Mr. Humphreys, of 187,
Piccadilly, by whose kind permission I am enabled to give it also in extenso.
From the two letters very considerable information can be obtained as to
Cosway and his wife, and I can only regret that the unavoidable allusion
to the letter In this place necessitates the recapitulation later on of certain
facts as to Cosway's own career.
The son and daughter of Sir William R. Cosway, as already men
tioned, still happily survive. The former, who resides at Glenthorne,
Lynmouth, assumed in 1872 by royal licence the name of Halliday, under
directions of the will of the late Simon Halliday, his grandfather, and is
therefore known as William Halliday Halliday, Esq.
Miss Cosway has retained her old name. None of the papers of the
late artist and his wife are now in the possession of these descendants.
The reason for this circumstance will appear later on ; but Mr. Halliday
possesses many of Cosway's miniatures, all of which he has kindly had
c

IO RICHARD COSWAY.
photographed, and one of which, a particularly charming portrait of Lady
Rich, appears in these pages. The others will be found described in
Appendix I.
The letter from Maria Cosway is as follows : Lodi 24 May 1830
" My Dear Sir
" I received your kind letter of 25 April from Brighton, while I
was for a few days at my Cousin's on the Lake of Como, which did much
good to my health, & wished much for you & Lady Cosway. As I
see you repeat your wishes of some memoirs of myself, I shall just send
you what you may think most necessary, at my Death you may have a
minute account from my journals, travels, & letters — My Father Charles
Hadfield, was from Manchester of very rich Merchants & Manufacturers.
I took particular Informations & was told no one existed but an old rich
Lady, who lived in the Country, the last of the name died very rich but
had no family, & no one could say who had been his eirs. My father
travelling thro Italy found very bad accomodations for travellers
particularly the English, this Induced him to take a large house & fitted
it up quite in the English manner, this brought all the English, & was"
induced to take two more houses for the same purpose, in the one on the
Arno I was born. — I may relate a circumstance at my birth as extra
ordinary as unheard of. — four or five children were born before me ; put to
nurse out of town, my Mother used to go frequently found the Child well
& to her great surprise the next day the Nurse came & the Child had
died in the night. Changed Nurse, Changed place, the same happened
thro four children. At my birth my father resolved to take a Nurse in
the house & had a governess to keep always a watch on the Nurse &
the child. One day one, a Maid servant went In the Nursery, took me in
her Arms, & said pretty little Creature, I have sent four to heaven I
hope to send you also : the governess struck at this extraordinary speech
ran to my father, proper enquiries were made, the Woman said she thought
it doing a good Act & was confined for Life from that Instant My father
said I should be brought up a Catholic & all his children, were also.
When four years old I was put Into a Convent, under the protection of the
Grand Duke & Grand Duchess of Tuscany. — Being received, I had
natural dispositions I was immediately put to learn Music & at Six &
more at Ten years of age did what I since have thought extraordinary.
At eight years I began draw'ng having seen a young Lady draw I took a

COLLECTION OF HENRY DRAKE, ESQ.

ANNE, DAUGHTER OF THE THIRD EARL
OF DYSART, WIFE OF JOHN MANNERS,
ESQ., AND IN 1 82 1 COUNTESS OF
DYSART IN HER OWN RIGHT.

MRS, BUTLER.

A LADY.

MARIA COSWAY ii
passion for It more than I had for Music. I was taken home & put
under the care of an old Celebrated Lady who's portrait Is in the Gallery.
I had a number of Masters but painting had my preference. This Lady
soon found I could go farther than she could instruct me & M' Zofani
being at Florence my father aske'd him to give me some instructions. I
went to study in the Gallery & the Palazzo Pitti & copied many of the
finest pictures. Wright of Darby passed only few days at Florence &
noticing my assiduity & turn for the Art sprung me to the higher branch
of it. My father had a great taste & knowledge of the Arts & Sciences,
therefore in every way contrived to furnish my mind.
" He meant to go to England with all his family as he wished I
should see Rome, M" Gore the mother of Lady Cowper took me with
her There I had an opportunity of knowing all the first living Artists
intimately ; Battoni, Mengs, Maron, and many English Artists, Fusely
with his extraordinary Visions struck my fancy. I made no regular study,
but for one Year & half only went to see all that was high in painting
& sculpture, made sketches Etc. — I lost my father in this time & my
Mother recalled me to Florence to go with her to England, My inclination
from a child had been to be a Nun, I wished therefore to return to my
Convent but my Mother was miserable about it & I was persuaded to
accompany her — I had letters from Lady Rivers for all the first people of
fashion. Sir J. Reynolds, CaprlanI, Bartolozzi, Angelica Kowffman. — I
became acquainted with M' Cosway his offer was accepted, my Mothers
wishes gratified & I married tho' under age.— I kept very retired for a
twelvemonth until I became acquainted with the society I should form,
the effect of the exhibition the taste & character of the Nation.
" M' Cosways wish was I should occupy myself as hitherto done
in the Arts & so I did The first pictures I exhibited made my repu
tation The novelty & my Age Contributed more than the real Merit —
The portrait of the Duchess of Devonshire then the Reiging beauty &
fashion  in the Caracter of Cynthia from Spencer seemed to strike &
other historical subjects from Shakspeare Virgil & Homer— encouraged
but never proud I followed entirely the impulse of my imagination—
had M'' C. permitted me to rank professionally I should have made a
better painter but left to myself by degrees instead of improving I lost
what I had brought from Italy of my early studies My exercise in
Music made my Evenings very agreable Lady Lyttelton the Hon""" M''
Damer Countess of Ailesbury, Lady Cecilia Johnston The Marchioness
of Townsend were my most intimate friends & with whom I went— Lady

12 RICHARD COSWAY.
M. Duncan, Miss Wilks & General Paoli, the Foreign Ministers, the
distinguished foreigners Lord Sands, M' Ersklne, the most distinguished
talents & many such formed the agreable evening society Until they
became great Concerts & these Concerts have been mentioned in a work
on Music published in Germany — of the first professors. H.R.H. the Prince
of Wales honor'd constantly The climate did not agree with me — in
the midst of so much happiness never enjoyed health — M. C. was so good
as to take me to flanders& Paris — the voyage to Italy every year was pro
posed & postponed, I had only one child a little girl I had bad time & a
worse confinement so that my life was in danger the Physicians agreed
change of Air. Lady Wright was going to Italy for the health of her
Son, my brother George Hadfield had gained the Gold Medal & sent by
the Academy to Rome— M' Cosway bought me a Carriage — with my
Maid & my brother we travelled with Lady Wright but my health so bad
I could not go to Rome — as soon as recoverd I wrote to M' C. I was
ready to return to he kept me from Spring to Autumn for almost three
years as he meant to come himself, But being suddenly taken ill I
travelled night & day in the midst of War & dangers in the Month of
November got home safe & had the happiness of finding M' C. recovered,
and a fine little girl to engage all my cares & occupations. All my friends
saw me again with infinite pleasure — for two years I had the happiness of
seeing my child grow & profit of my education — she was siezed by a sore
throat & in the sixth year of her age we lost her — our grief was great.
I returned to painting & painted several large pictures for Chappels.
The Gallery of the Louvre made a great noise at this time M' C. could
not go as the two nations were at War — so sent me. I began my great
work of all the pictures, and had then an opportunity of knowing intimately
all the then reigning family. My work was stop'd but could not get a
passport to go home. The Cardinal Archbishop of Lyons Fisch, proposed
to me to found a college for young Ladles— with M' C.'s approbation I
undertook It the Change of Government suspended this, I came to my
Sister married near Milan, An old friend of mine Melzl Duke of Lodi
anxious to have in Italy an establishment on the same of that formed at
Lyons, bought a Convent at Lodi, I began with as much success. Peace
declared I returned home until I lost M' C. & now am settled here-
Consolidating the establishment which has the reputation of being the first
in Italy following a vocation I always had, occupied in a good work to the
benefit of Young Ladles.
" Short as M' C.'s Memoirs may be, mine would be perhaps too long,

MARIA COSWAY. FROM A STIPPLE ENGRAVING BY BARTOLOZZI. 1 785.

MARIA COSWAY. 13
but very full of interesting matters. I know not on what point I might
extend myself at present, you will let me know if this Is all you require.
My elevated & happy situation could but produce envy, malice &
enimies, these I pass over unworthy of a thought, proofs will be one day
in the hands of my friends to make me worthy of their friendship in which
number I hope you will be & remember me as your Affec'^ & obliged
[Signed) " Maria Cosway.
" I beg to be kindly remembered to Lady Cosway & Miss Gardner
be so kind as to observe that what I proposed in my last was not in the
least to intrude on you at present but to offer you my Intention in
future for your choice in things I know not if acceptable — other things I
am sure of Pray send me knews of the King." " Brighton " 30 March 1830.
" My Dear Sir Andrew
" I am afraid M' Cunningham's patience is tried but I have only
just received from M" Cosway at Lodi the enclosed letter which thr'o
you I beg to place In his possession satisfied that part of it relating to
her wish of it not being known the information came from her will be safe
in his hands : — and if M' C. wishes a memoir of herself I shall be happy
on hearing from him, to beg her to send it,
" The following is the information I have been able to collect of M'
Cosway His family were settled at Tiverton in Devonshire In the reign
of Queen Elizabeth, their patrimonial estate of Coombe Willis being about
5 miles from that town and they are supposed to have emigrated from the
Low Countries during the time of the Duke of Alva's persecution bring
ing to Tiverton the woollen manufactory, which his family were engaged
in until the French Revolutionary War.
" As this family connection with the woollen trade kept up a communi
cation with Holland, some of his family preserved pictures of the Flemish
School and of Rubens, the admiration of which had probably an influence
on the taste of our young Author. His father was master of the school at
Tiverton and at 7 years of age he was punished for neglecting his lessons
and being always ' idly engaged in drawing ' his passion so entirely
absorbed him that in a few years after his Uncle who was the Mayor of
Tiverton and M' Oliver Peard the leading Merchant of the then principal
woollen manufacturing Town in England, determined to give him a fair
chance of cultivating his talent, and sent him to London where he studied

14 RICHARD COSWAY,
under Hudson with great success and was much sought after In Society
where his wit and conversational talents placed him high. The enclosures
supply the remaining facts of his life. Among the best of the late M'
Cosway's works In England are the Liberation of S' Peter — an Altar
piece in the Parish Church of Tiverton, His celebrated work of Love
& Innocence which shows him a worthy disciple of the Parma School.
George the IV on horseback as S' George — and the Endymion now in
possession of Sir William Cosway. His collection of drawings are with
Maria Cosway at Lodi and have caused In Italy great admiration of
English talents, for their great Justness — a beautiful set of engravings from
some of them have been executed at Florence and are now at the elder
Colnaghl's. " If there be any further Information M' Cunningham wishes it will
give me pleasure to assist in obtaining it.
" Always My Dear Sir Andrew
"Most Faithfully Yours
[Signed) " W. R. Cosway."
Some of the information contained in the letters was used by
Cunningham, but the letters are so characteristic that nothing short of
exact copies seemed desirable. It Is, moreover, important that the story
that Maria Cosway gives of her early youth should be presented in her
own words, and with all the weight of her authority. Successive writers
have laughed at the story, and pronounced It an invention, and a foolLsh
one. Even Miss Clayton, in her " Lives of Female Artists," throws much
doubt upon its accuracy, and it Is therefore desirable to note that its
authority rests upon the artist herself Certain supplementary information
can now be added to that contained in the letters. Mrs. Cosway's full
name was Maria Louisa Catherine Cecilia. She was born at Florence in
1759. She was when young considered a pretty girl, with fine, large,
soft blue eyes, and a large quantity of blonde hair, and she always retained
a sweet, benignant, and kindly expression. She died at Lodi, near Milan,
on January 5th, 1838, aged seventy-nine years. She gained an Important
silver medal in Florence for proficiency in drawing, when she returned
home after her first visit to Rome, ere she was twenty years of age. In
1778 she was nominated and elected a member of the Academy of Fine
Arts In Florence, and was one of the youngest members ever elected to
this very select society. At that time she made the acquaintance of Pompeo
Battoni, whose work she always admired, of Battonl's great enemy, Mengs,

COLLECTION OF LORD DE MAULEY.

LORD DE MAULEY AND SIR F. C, PONSONBY,
CHILDREN OF FREDERICK, EARL
OF BESSBOROUGH.

THE COUNTESS OF SHAFTESBURY AND
LADY BARBARA ASHLEY.
BY COSWAY.

BY COSWAY.

MARIA COSWAY. 15
of his sister Teresa, the miniaturist, of Wright of Derby, Fuseli, and
many other artists. Not only was she skilled In the use of the pencil, but
her talent for music was noticeable, and her services were in great demand
in the church of the Monastery of the Visitation, where she had been
educated, and where for some years she played the organ. Her father
died In 1778 or 1779, and, as her letter states, it was In the same year as
he died that she came to London.
From an unpublished life of James Northcote, R.A., the manuscript
of which is in the possession of E. W. Hennell, Esq., of Southampton
Street, Bloomsburj', I am permitted to take the following account of her
early life, and it will be seen from it that she was accompanied In her
journey to England by other members of her family.
" Maria, or Mary Hadfield, was born at Florence of English parents,
who kept a lodging and boarding house on a very large establishment,
which was the resort of all the noblUty and gentry who at times visited
Italy. When she first came to Rome, about the year 1778, she was just
eighteen years of age, not unhandsome, endowed with considerable talents,
and with a form extremely delicate, and a pleasing manner of the utmost
simplicity. But was withal active, ambitious, proud, and restless. She
had been the object of adoration of an indulgent father, who, unfortunately
for her, had never checked the growth of her imperfections. She had
some small knowledge of painting, the same of music, and about the same
of five or six languages, but at last very Imperfect In all these. She came
over to England after the death of her father, in company with her mother,
two brothers, and two sisters, filled with the highest expectations of being
the wonder of the nation, like another Angelica Kaufifman. But, alas !
these expectations failed, and the money which the father had gained In
Florence was quickly spent in England, and the family was soon in some
degree of distress. This change, to her so very great, she bore with
admirable fortitude and magnanimity most highly to her credit, but In the
end, after having refused better offers in her better days, she from
necessity married Cosway, the miniature painter, who at that time adored
her, though she always despised him. When, after living with him for
some time, the disgust on each part became so powerful, that they parted
by mutual consent, and she went to Lyons, In France, and became the
superior of a seminary for young ladles."
Northcote is not quite accurate in his statement. Maria had but one
brother and but one sister, although she possessed a half-sister who came
over with her. Charlotte, her only sister, will be mentioned later on.

1 6 RICHARD COSWAY.
Her brother became an artist, but did not attain to any special notoriety.
The injustice of the concluding sentence of Northcote's statement will be
made manifest In later pages of this book.
The journey to England was undertaken at the earnest request of
Angelica Kauffmann, who had frequently heard of Maria and of her ability.
Angelica had arrived in England in 1765, and had very quickly become
popular. She was a very devout Catholic, and there was consequently
much sympathy between her and Mrs. Hadfield, It was the influence and
the letters of Angelica that, in union with the strong persuasion of her
mother, prevented the young girl from entering a convent, and enabled
her to decide to come to England. Angelica met the little party when
first they arrived In a postchaise In London, and took them to her own
home, where they stayed for some time. Mrs. Hadfield eventually
took some rooms in Berkeley Square for herself and her family, and
from thence migrated within a few months to a house in Hanover
Square that was afterwards occupied by Thomas Phillips, R.A., who was
Professor of Painting to the Royal Academy. Within a very few days of
their arrival in London, Angelica Introduced her young protSgie to
society, and took her with her to Mr. Townely's house, 7, Park Street,
Queen Square, now Queen Anne's Gate. Here she met many of the
illustrious men of the day — Reynolds, Baretti, Parsons the composer,
Ersklne the orator, Jeffreson, from the United States, and Cosway, and to
this house she frequently returned. Townely from the very first took a
particular interest In the clever girl ; but his interest partook of a fatherly
nature, and Parsons was very soon her avowed suitor.
Angelica and Maria's mother both stoutly dissuaded the girl from
accepting Parsons, for whom from her letters It appears she had only an
admiration, and no affection. Cosway, however, was strongly in love with
Maria, captivated by her more than ordinary beauty and her great talent.
He had already attained to a position, and was rapidly making a great
name. Maria records in her own letters that at first she " feared him, then
she worshipped him ; later on she admired him, gradually grew to like to
be in his company and to obtain his advice, and finally loved him with her
whole heart."
This affection so charmingly recorded refutes Northcote's unjust
sneer, and the story of later events will, I think, show quite clearly that
whatever were the faults both on his and on her side in their married life,
she ever entertained a strong affection for her husband, and kept his
memory living and green in her heart.

MARIA COSWAY. 17
The wedding took place in 1781, not in 1772, nor in 1780, as many
writers have recorded. Cosway settled upon his wife ^2,800, and the
deeds relating to the marriage settlement are still in existence, and are
preserved In Italy. The wedding was celebrated In St. George's, Hanover
Square, January i8th, 1781, by the Rev. Richard Pitt, curate, and Mr.
Charles Townely gave away the bride.
Angelica Kauffmann was present, and also Maria's mother, Isabella
Hadfield, and her only sister, Charlotte, and Thomas Banks, R.A., their

PHOTOGRAPH OF MARRIAGE REGISTER, BY KIND PERMISSION OF THE RECTOR.
great friend. For a while, as will be seen in her letter, Mrs. Cosway
remained /^n/z/, but soon emerged from her seclusion, although the very
year of her marriage she exhibited a picture at the Academy, entitled
" Rinaldo." Two years afterwards appeared the picture to which allusion is made
in the letter; five pictures In all being exhibited in 1782.
I. " Darthula in defending the body of her vanquished Father
discovers herself to Cairbar her lover. A scene from ' Ossian.' "
2. " Magdalene."
3. "Cynthia. A portrait of the Duchess of Devonshire, from
Spenser." 4. "yEolus raising a Storm."
5. " Little Red Riding Hood."
Year by year she exhibited, sending two In 1783, two In 1784, five
in 1785, two in 1786, five in 1787, two In 1788, two In 1789, and three in
1801. In 1789 her only child was born, and was named Louisa Paolina
Angelica, and usually known as Angelica In honour of the friend whose
assistance had been so generous and so free.
General Pasquale De Paoli stood as godfather to the child, and the
Princess D'Albany was godmother.
It was this child to whom reference is made in the letter, and who was
D

i8 RICHARD COSWAY.
left at a very tender age to the care of her father and friends. There is no
doubt that the poor little girl's education was forced to a most terrible
extent, as at six years old she v/as at Cosway's desire taught Hebrew,
that she might read the Hebrew scriptures even before she could read
them well in Enghsh. Mrs. Cosway describes the reason of her journey
abroad soon after her confinement, and it is evident from other corre
spondence that her health had suffered so seriously that a prolonged change
was absolutely necessary..
As her letter shows, Mrs. Cosway first of all went to Paris and to
Flanders, and for a while gained some strength, but eventually the long-
projected journey to Italy took place, and in Italy for some years
Mrs. Cosway remained.
She returned home suddenly on learning that her husband was
seriously 111, but found him In better health than she had feared he might
be, and her girl a fine healthy child. There Is no evidence that Angelica
Cosway died when her mother was away from England, as some writers,
notably Miss Clayton, have stated.
On the contrary, Walpole, writing from Strawberry Hill on August
16', 1796, to Miss Berry at Bognor, says, " Cosway, who had been for some
days at Mr. Udney's, Is with his wife. She is so afflicted that she shut her
self up in her chamber and would not be seen. The man Cosway does
not seem to think that much of the loss belonged to him ; he romanced
with his usual vivacity." Cynical Walpole evidently refused to believe that
Cosway's grief was genuine, and speaks of it in a very contemptuous manner.
Other contemporary writers describe him as overcome with grief and
despair. He had the child's body embalmed. He placed it in a marble
sarcophagus and kept it In his gorgeous drawing-room, but later on we are
informed Mrs. Cosway sent away the body to Bunhill Fields for inter
ment, and requested Nollekens the sculptor to take care of the sarcophagus
at his house for her.
The war that prevailed on the continent was one great and serious
obstacle to Mrs. Cosway's returning home to her husband as easily as she
desired. Her own letter describes the difficulty, but also states how In
the time of Cosway's illness she was able to overcome It and arrive In
London. After the death of Angelica Mrs. Cosway was again in Paris. Her
attachment to the French people had prompted her, when in London, to
throw open her house to French refugees, and now she migrated to Paris,
looked up many of her old acquaintances, and slarted a work that for some

HON. MRS. GEORGE PELHAM (lite RYCROFt)
Collection of the Earl of Chichester.
BY COSW.VV,

WILLIAM, FIFTH DUKE OF
DEVONSHIRE. BY COSWAY.
Collection of the Duke of Sutherland.

WILLIAM SPENCER,- SIXTH DUKE OF
DEVONSHIRE, AS A CHILD.
BY COSWAY.
Collection of the Duke of Sutherland.

MARIA COSWAY. 19
time she had projected, "A Description of the Louvre," illustrated with
engravings. In Paris she records being presented to Napoleon, and
having an interesting conversation on art with the great conqueror.
She also made the acquaintance of David, of Gerard, and of Gudrin,
and became particularly friendly with several members of the French
reigning house, and especially with Madame Letitia.

MINIATURE BELONGING TO LORD BARNARD .VT RABY CASTLE, AND BELIEVED TO
REPRESENT THE DUCHESS OF BOLTON.

CHAPTER in.
THE FULL TIDE OF PROSPERITY.
IT will now be necessary to retrace our steps by a few years to see
Cosway In the splendour of his popularity. In 1771 he became
Royal Academician, and from that time adopted miniature painting as
the favourite field of his work. He did not neglect oil painting, but his
eenius was for the delicate daintiness of the miniature rather than for the
breadth and power of oil portraiture. At no time was his success great
in drawing when portraits in oil were concerned. He could draw well
both In pencil, ink, and sepia, and very many of his drawings that still
remain are distinguished by a power, accuracy, and skill that is surprising.
He was, however, notoriously careless in large work, often forgetful
altogether of proportion, and his oil pictures are frequently overloaded with
paint, garish In colouring, poor in composition, and feeble In effect. Here
and there are to be found specimens of his work that are creditable, and
even good, but the success to which he attained was due to the surpassing
beauty of his miniatures on ivory, and not to his portraits in oil.
His career was a very extraordinary one. He indulged in the greatest
luxury, and lived a most extravagant life ; but it must be justly placed to his
credit that he was astonishingly industrious, and produced an enormous
number of works. This Is not the place In which to review the art of
miniature painting, nor can I do more than touch upon the very fringe of so
fascinating a subject. The art has thriven In English soil, and has had great
exponents from Tudor times.
Possibly Shakespeare, in the words uttered by Bassanio when he con
templated fair Portia's counterfeit, alluded to the work of one of the greatest
of English miniaturists, Nicholas Hilliard, a contemporary of the poet:
"Here in her hairs
The painter plays the spider, and hath woven
A golden mesh to entrap the hearts of men
Faster than gnats in cobwebs."

COLLECTION OF THE EARL PERCY.

ISABELLA, COUNTESS OF BEVERLEY,
SECOND DAUGHTER OF PETER
BURRELL, ESQ.

THE FULL TIDE OF PROSPERITY. 21
The names of Hilliard, the two Olivers, Hoskings, Cooper, Gibson,
Cleyn, Humphrey, Cotes, and others stand out as those of masters
in their art, but the old masters differed greatly in their results from
the work of the new school, of which Cosway was leader and chief
exponent. The oil miniaturists, the workers In the sixteenth and seventeenth
centuries, were, as Mr. Hodgson .said in a sketch of Cosway, "pure realists ;
they sought only the reality and individuality of nature." Their figures
were stiff, prim, sedate, and self-conscious ; the detail fatiguing in its elabo
ration, the outline hard, clear, and definite, and yet withal the features
drawn with a force, sweetness, and power that produced an unmistakable
likeness. In 1769, when the Academy was founded, there were but two
enamel and miniature painters, Jeremiah Meyer and Nathaniel Hone,
original members, and Richard Cosway was added a year or two after.
There were but five miniatures exhibited in the opening exhibition ; the
Academicians contributing three, the other two works being sent by Samuel
Cotes and John Scouler.
The art previous to the advent of Cosway had fallen Into disrepute.
Hone during fifteen years exhibited only two miniatures, and Meyer in
twenty years only eighteen ; but with Cosway's appearance it gained a
fresh lease of life, attained to the zenith of its importance, and then after
his death continued for many years to flourish in the hands of his pupils.
Cosway's work was in many re.spects the very antithesis of the work
of the old school. To quote Mr. Hodgson again, " His characters have the
elegance and refinement as well as the artificiality of a society which had
become conscious of the rudeness of earlier manners and was striving to
perfect its own. Cosway's works have all the excellences as well as the
defects of the age."
He possessed a certain impression of the dignity of classic art, and his
drawings especially partook of the spirit of Greek work and of the power
of the early Italian masters. He however distinctly illustrated his own
age in his miniatures. Ozlas Humphrey thus wrote of him : " He inclined
more to the neat, the graceful, and the lovely, than toward the serene,
the dignified, and the stern, and though his admiration of the antique was
great, this was modified by his continual studying of living nature, and
from a taste for whatever was soft and elegant."
To sum up it may be said : his style was elegant and refined ; it was
graceful, but it was firm. The faces are powerfully modelled, the hands are
exquisitely drawn, and the drapery indicated or suggested by a most dainty

2 2 RICHARD COSWAY.
series of touches. Nothing is more characteristic of the master's hand than
his light, free, easy delineation of hair suggested In masses rather than drawn
in detail, in opposition to the method adopted by his favourite pupil, Plimer,
whose hard wiry hair is especially distinctive of his work. The clear bright
ness of the eyes, and their gleam of pure white light, the roundness and grain
of the limbs, and the airy transparency of the draperies, are other distinctive
features, but even more than all is the use of a special ultramarine or
Antwerp blue of which Cosway was remarkably fond, and of which more will
be said later on. It is small wonder that the sprightly nctiveti of his portraits,
which are so admirable in effect and breadth as almost to appear as life-
size pictures, attracted great attention and became the rage almost in a
moment. Cosway leapt into fame, and despite all his eccentricities became
the most popular portrait painter of the moment, and continued in his
proud position for many years.
His character was singularly complex. His love of fine dress and
admiration amounted to a passion. J. T. Smith describes him as frequent
ing " the Elder Christie's picture sales full dressed in his sword and bag ;
with a small three-cornered hat on the top of his powdered toupSe, and a
mulberry silk coat profusely embroidered with scarlet strawberries." He
also records the fact that so ridiculously foppish did Cosway become, that
Mat Darley, the famous caricature printseller, introduced an etching of
him in his window in the Strand as "The Macaroni miniature painter."
Dighton also satirized the artist, and the drawing was engraved in mezzo
tint by Earlom when a beginner, though without the names of the artists.
The print was entitled "The Macaroni Painter, or Billy Dimple sitting
for his picture," and Is extremely rare. Another caricature of the artist
took the form of alterations to a portrait of himself published by Cosway.
The hat and feathered mantle worn by the artist are replaced by a ragged
cloak and a tattered wideawake hat with a pipe stuck in it, while instead
of Cosway's own pompous signature appear the words " Dickey Cause
way, in plain English." Even when in Berkeley Street he exposed him
self to much ridicule by his habits. His black servant, whom Smith says
published " an octavo work on Slavery," was an object of scorn, and his
dandyfied costume invariably provoked laughter. One evening, it is said,
he minced Into the Artists' Club from a levee, dressed in gorgeous attire,
red heels, bag-wig, and sword, but found the room so crowded that he could
not obtain a seat. "What ! " sneered Hayman, his coarse, slovenly enemy,
"canst thou find no room ? Come hither, my little Jack-a-Dang, and sit
upon my knee, my little monkey." Cosway turned on his foe in a flash. "It

MRS. FITZHERBERT.
PENCIL DRAWING.
COLLECTION OF THE MARCHIONESS OF HERTFORD.

A PEN-AND-INK DRAWING.
M COLLECTION OF LORD RON 4 1, n GOWER.

COLLECTION OF THE EARL OF ANCASTER.

COLLECTION OF LORD GWYDYR.

PETER ROBERT BURRELL, SUCCEEDED HIS FATHER IN
1820 AS SECOND LORD GWYDYR, AND HIS MOTHER,
IN 1828, AS NINETEENTH BARON
WILLOUGHBY DE ERESBY.

ELIZABETH BURRELL, WIFE OF DOUGLAS, EIGHTH
DUKE OF HAMILTON, AND AFTERWARDS
WIFE OF HENRY, MARQUIS
OF EXETER.

6~i,=;;.*,-,::n'.T-— i -.i;.#  4T^!9WWBfefe

y t

THE FULL TIDE OF PROSPERITY. 23
would not be the first time," quoth he, " that the monkey rode the bear."
With all their sneers, however, his brother artists envied the harvest of
golden guineas that Cosway was making, and his easy entrSe into the best
of company. The fortunate circumstance of his painting a miniature of
Mrs. Fitzherbert which ^gave the Prince of Wales extreme satisfaction,
started Cosway In his upward career. The Prince came to Berkeley
Street with his Royal brothers, and was followed by all the fashion of
the day. Then the ladies honoured with the approval of His Royal Highness
all sat to Cosway, and his portraits were the most popular of pictures.
Even Sir Joshua Reynolds recommended Cosway to his aristocratic
clients, and the artist was courted and petted by all the people of highest
rank. His astonishing facility for work was of the greatest value to him.
He would boast of having despatched during the day some twelve or
thirteen sitters, and was capable In a full hour of painting a miniature of
astonishing merit, and of producing a really admirable likeness. So great,
however, was the demand upon his time, that he invented a method of
portraiture peculiarly his own, and with which his name will always be con
nected. The portraits were termed stained drawings, and consist of pencil
sketches of the person depicted, very rapidly drawn, and with an easy light
hand and freedom. They are cool and gray In their tone, and the hands
and face alone, or sometimes the face only, receive colour. These features
are painted with all the daintiness of a miniature. In the clearest of colour,
and finished with a slight waxy glaze. To many of these drawings he
appended his full signature and the date, and they are remarkably beautiful
in their effect. Oftentimes the drawing, although firm and yet light, is not
accurate ; the lower limbs are too long, the head and hands too small, the
headdress or ornaments out of proportion, but the faces are very well exe
cuted, and the drawings were very popular and expeditiously produced,
and yet were admirable portraits. He seems to have done portraits in this
manner of all the courtly beauties and affianced brides of the day.
Success speedily led Cosway, after his wedding, to remove from
Berkeley Street. He querulously complained of the narrowness of the
street, of the blank wall of the Duke of Devonshire's house opposite his
windows, and of his inability to receive his august patrons suitably in such
small rooms.
He left, therefore, for Pall Mall, removing to Schomberg House, a
great building that had been erected for the Duke of Schomberg, occupied

24 RICHARD COSWAY.
by the Earl of Holderness, and altered In 1850 for the War Office. Here
Cosway and his wife lived in great splendour, and here it was that Mrs.
Cosway started her evening concerts, which, especially on .Sunday evenings,
were the most popular reunions of the day. Mrs. Cosway is described
at that time as a "golden-haired, languishing Anglo-Italian, graceful to
affectation, and highly accomplished, especially in music." She was
generally the chief performer at the concerts, while her odd little husband,
dressed up in the very extreme of fashion, flitted about through his gaily
decorated rooms, ogling, flirting, and bowing, receiving his patrons with the
airs of a prince, flattering them to the top of his bent, and entertaining those
who made up the grande monde of the day, and who, while accepting his
hospitality, and admiring his beautiful miniatures, did not omit to criticise
and sneer at the trickery and conceit of the artist when they left his house.
Pall Mall was blocked on these occasions with carriages, sedan chairs,
llnkboys, and lacqueys, and everyone who was well known in society
found their way to Mrs. Cosway's receptions. Horace Walpole was often
in the rooms, the beautiful Duchess of Devonshire, the talented sculptor
Mrs. Dawson Damer, the Countess of Aylesbury, the Marchioness of
Townshend, Lady Cecilia Johnstone, Lord Sandys, Earl Cowper, Lord
Ersklne, Mrs. Cowley, and others too numerous to mention. Walpole
himself speaks of "bushels of little Italian notes of invitation " being sent
out, and numerous letters of the period testify to the brilliance of these
assemblies. Smith records In his entertaining volume one or two letters which may
well be inserted here as relating to Mrs. Cosway's parties.
" Dear Mrs. Cosway," writes the Duchess of Devonshire,
" I am extremely sorry that my Mother's Illness prevents my
going out and coming to you to-night. If you have the harp-woman (I
forget her hard name) I wish you would tell her that I hope to see her as
soon as my Mother is better. " Believe me yours ever.
And again— " G. Devonshire."
" Dear Mrs. Cosway,
" Pray send to Mademoiselle Caroline and tell her I was sent for
out of town on Election business which will prevent my seeing her at five
to-day. " I am. Dear Mrs. Cosway,
"Yours, G.Devonshire."

GEORGIANA, DUCHESS OF DEVONSHIRE.

COLLECTION OF HER. MAJESTY THE QUEEN.

THE FULL TIDE OF PROSPERITY. 25
Mrs. Cowley, the well-known litterateur, also wrote :
" My dear Mrs. Cosway,
" This morning I was informed by Mr. Mathew, who received it
from Mr. Hutton, that you had been extremely ill. I am — how foolish
to say ' I am very sorry ! '—that phrase is in the mouth of all the children
of indifference. I am myself very ill, or instead of my daughter you would
have seen me. But how can you whom I saw last Tuesday at Somerset
House so well — how can you have been a long time ill ? Yes, I saw you,
yourself. If you can draw everybody as justly as the fair Maria, you will
be the first portrait painter in the kingdom. It Is identically you without
subtraction or addition. Your Ossian is charming ! the Maid of Arragon
is placed too high, but 'tis a sweet elegant picture. I could not find the
Lovesick damsel of the Sun ^ — but I must go again. Pray let me know how
you are—and tell me that some morning of the coming week I shall be a
welcome visitant. " Your ever affectionate
"Powis Place, " H. Cowley."
" Sunday evening!'
Schomberg House was at this time a well-known aristocratic rendez
vous, and the concerts and assemblies in it were attended by all the fashion
of the day. There was said to exist a private passage between It and
Carlton House. There are frequent references to the concerts in Horace
Walpole's letters, and very cynical are many of the comments made by
the lord of Strawberry HIU.
Writing from Berkeley Square on January 27, 1786, he says: "I
received a little Italian note from Mrs. Cosway this morning, to tell me
that as I had last week met at her house an old acquaintance, I might
meet her again this evening."
On May 29 in the same year he wrote : " Curiosity carried me again
to a great concert at Mrs. Cosway's tother night, not to hear Rubinelli, who
sung one song at the extravagant price of ten guineas, and whom for as
many shillings I have heard sing half a dozen at the Opera House— no, but
I was curious to see an English Earl who had passed thirty years at
Florence, and is more proud of a pinchbeck Principality and a paltry order
from Wurtemberg than he was of being a Peer of Great Britain when Great
Britain was something. Had I stayed till it is not I should have remained
1 A picture by Maria Cosway, now in the Soane Museum.
E

26 RICHARD COSWAY.
where I was. I merely meant to amuse my eyes, but Mr. Dutens brought
the personage to me, and presented us to each other. He answered very
well to my idea, for I should have taken his Highness for a Doge of
Venice. He has the awkward dignity of a temporary representative of
nominal power. Peace be with him and his leaf gold."
In 1787 a phrase appears in a letter of Walpole's, dated October 2 8»
showing the position that Mrs. Cosway's assemblies were attempting to
take. " By the representatives," says Walpole, " of all the Princes of Europe
at Mrs. Cosway's Diet." By 1791 Mrs. Cosway had left England, and on
the 8th of June Walpole writes to the Miss Berrys in Florence: "You
know I used to call Mrs. Cosway's concerts Charon's boat ; now methlnks
London is so. I am glad Mrs. Cosway is with you ; she is pleasing, but
surely It Is odd to drop a child and her husband and country all In a breath."
The cause of this relinquishment of home duties has already been seen
In Mrs. Cosway's own letter, and although later absences may possibly be
attributed to other causes, the absence from England soon after the birth
of the baby girl was quite evidently caused by ill-health.
The house In Pall Mall where these great assemblies were held had
an Interesting history ere Cosway occupied it. Jarvis, the painter immor
talized by Pope, whose portrait he painted, had lived in the central part
of the house ; he had been followed by Astley, the painter who married
Lady Duckenfield; after him came Nathaniel Hone, R.A., who kept- a
famous black woman In it as his model, and then it was taken by the so-
called " Celestial Doctor," Graham the lecturer, and it Is said to have
been In the same house that the doctor exhibited Emma Lyon, afterwards
Lady Hainllton, as the Goddess of Health. Cosway followed the doctor,
but ere he entered the house his old friend Angelica Kauffmann decorated
two of the ceilings In her accustomed charming style. After Cosway left,
the house was occupied as a gallery by the Polygraphic Society ; then by
Peter Coxe the auctioneer, author of a poem called " The Social Day,"
and then by Messrs. Payne and Foss as an important bookshop, which in
1845 rejoiced in the title of" Honest Tom Payne's." Gainsborough also
made the house famous by occupying the west wing from 1777 to 1788.
The house had In its rear a large garden, with a handsome raised terrace
commanding a view of the Royal gardens and the Park beyond. William
Hodges, R.A., painted a picture showing a window in Cosway's break
fast-room, with Mrs. Cosway seated in the embrasure, and depicting the
beautiful view beyond ; Cosway painting the figure of his wife in it. The
picture was engraved by Birch, and Is not difficult to meet with, and forms

vl.'LADY AFFLECK.

COI.LECTION OF THE EARL OF ILCHESTER.

DOROTHY BLAND.
;(mRS. JORD.AN.)
COLLECTION OF LORD TWEEDMOUTH.

HUGH SEYMOUR.

COLLECTION OF > MRS. SB>yMOUR.

LADY ANNE LINDSAY,
AUTHORESS OF " AULD ROBIN GRAY.''
COLLECTION OF MRS. ROWLEY.

#*^€

.. Jtk

#'

«4-
.. 'i *€-\ii

¦^

THE FULL TIDE OF PROSPERITY. 27
an interesting representation of a part of London that has been greatly
changed since Cosway's day.
It was during his residence in Pall Mall that Cosway commenced to
paint the best of his works in oil, the series which he executed for the Earl
of Radnor of himself and his children. Lord Radnor's own picture was
painted in 1 786, and he is represented in peer's robes, and holding in his
hand the plan of Longford Castle. The portrait of Viscount Folkestone
and his sister was painted in 1785, and the one of Admiral Pleydell-
Bouverie when a boy in the same year. In 1789 he painted another son,
Laurence, and In 1799, when in Stratford Place, two more lads of the
family, Frederick and Philip, aged fourteen and eleven, and Barbara, their
sister. He also produced a pencil drawing of the Countess of Radnor,
another of Mrs. Bouverie, Lord Radnor's half-sister, and two exquisite
miniatures of the earl, painted in 1786 and 18 12, and a copy In miniature
of a portrait by Gainsborough, of William, the first earl. Lord Radnor's
father. With the Earl of Radnor Cosway appears to have been on
excellent terms. He placed In the artist's hands this important series of
commissions, and there are frequent mentions of transactions between the
painter and his patron, both as to work executed and as to the sale of
pictures and treasures. From the family account books, the present
Countess of Radnor has kindly extracted the following memoranda as to
some of these transactions, and has added notes to them as to signatures
and engravings.

"'1780, May 30. Cosway, for stained drawing of Lady Radnor,
^26 5^.'
"' 1785, Oct. 24. Cosway, for the two pictures of my 3 eldest
children, _;^i 15 lo^-.' — N.B. Sighed CR. William, Viscount Folkestone,
and Lady Mary Anne Pleydell Bouverie, engraved as " Infancy " (.'') by
Mrs. White (?). Hon. Duncombe Pleydell Bouverie, engraved by H. R.
Cook. " ' 1786, Feb. II. Mrs. White, for 24 proof engravings of the print
from Cosway's picture of the children, ;^I4 85-.'
"' 1786, Feb. II. Bovi, Engraver of Lady Radnor's Drawing by
Cosway, j^^2 10s.'
'" 1786, July 8. Cosway, for my miniature picture, ^^23 2s.'
'" July II. Gray, for setting of my picture by Cosway, £5 i^s. 6d.
"'1789, Feb. 17. Cosway, for picture of Laurence, ^50.'— N.B.

28 RICHARD COSWAY.
Not engraved.. Signed, right-hand top corner : " R. Cosway, R.A.,
Pinxit Primarius Pictor Principi, 1788."
" ' 1799, Ap. 17. Mr. Cond4 engraver, for altering the Plate of Lady
Radnor by Cosway, £6 6s.'
"'May 14. Mr. Cosway, for Pictures of my children, Barbara,
Frederick, and Philip, /178 10.5-.' — N.B. Not engraved. One of Barbara,.
full-length, now reduced to head only, Is now in the possession of Mrs.
Hay, Clyffe Hall, Devizes ; the one in the possession of Lord Radnor being
a copy, with altered figure, by Mrs. Carpenter. In the picture of Frederick
and Philip, the two boys are depicted together placing flowers on the
tomb of their sister Harriet, who did not live to be painted.
" ' 1812, Jan. 24. Mr. Cosway, for 2 portraits of myself, ^150.' — N.B.
Not engraved. One portrait, full-length in oils, is at Longford. I do
not know where the other is."
An amusing anecdote Illustrative of the painter's vanity is told by
Anpfelo in his " Reminiscences." ^
After becoming an R.A., Cosway was careful to be present whenever
any of the royal family visited the Exhibition. On one occasion it
appears that, the king being ill, the Prince of Wales paid the Royal
Academicians a visit on the day of the private view, as the representative
of his father. The President was ill with the gout, and Cosway, to his
great joy, was appointed to act for him. Cosway received the prince
attired In a dove-coloured suit, silver embroidered court dress, with sword,
bag-wig, and chapeau bras. He followed the royal party through all the
apartments, uttering a hundred high-flown compliments. When the prince
retired, the grand little man attended him to the carriage, and In the
presence of the crowd retreated backwards, with measured steps, making
at each step a profound obeisance, when, sad to relate, his sword got between
his legs, and he was suddenly prostrate In the mud. " Just as I anticipated.
Oh ! ye gods ! " exclaimed the prince, as he drove away.
Poor Tiny Cosmetic, as the satirist dubbed him ! The giant porter
carried him into the Royal Academy in his arms, the great doors were
closed upon the laughing people, and the motherly housekeeper tenderly
wiped away the traces of his misfortune with a scented napkin.
The sword was evidently a favourite item in the artist's full dress
costume. In Zoffany's picture of the Academicians, Cosway stands in the
right-hand corner, grandly dressed, and with lace ruffles and cane. He is
^ Vol. i., p. 358, et subs.

THE ACADE.MICIANS G.VfHERED ABOUT THE MODEL IN THE LIFE SCHOOL AT SOMERSET HOUSE, WITH
TAU CHET QUA, THE CHINESE MODELLER, AN HONORARY MEMBER. THE PORTRAITS
OF ANGELICA KAUFFMANN AND MARY MOSER ARE ON THE WALL.

BY ZOKl'ANY.

THE FULL TIDE OF PROSPERITY. 29
wearing a sword, and is the only person in the picture, save Sir Joshua,
the President, who is adorned in that fashion. Even in the street he
wore it, and a story is told of a duel In St. James's Street, at the Whig
Club, when a member rushing into the street in search of a weapon, spied
Cosway strutting past, drew out his sword without leave or permission,
and, returning to the club, fought his opponent in the hall.

SUSAN AND FRANCES COUTTS, AFTERWARDS COUNTESS OF GUILFORD
AND MARCHIONESS OF BUTE.
Attributed by the Baroness Burdett-Coutts to Angelica Kauffmann.

CHAPTER IV.

MAGNIFICENCE, DEJECTION, DEATH.
IT is not very clear why Cosway left Pall Mall to go into a house in
Stratford Place. He complained of having to move again, and to go
nearer the city, of which he professed to have a holy horror, but In 1791
the removal took place.
He first of all went to the corner house, No. i, Stratford Place,
Oxford Street, situate at the south-west corner of the Place. Stratford
Place has been but little altered, and

the first house taken by Cosway is
now No. 21, part of it being called
356, Oxford Street. It is a fine old-
fashioned house, now occupied by
Mr. Montagu Thomas Burgoyne,
and by his kindness I have been
through Its rooms. The drawing-
room is a splendid apartment, long
I and narrow, and very suitable for a
' reception. Some of the ceilings are
slightly decorated, and the doors are
ornamented and well made. The
special features of the house are,
however, Its mantel-pieces and fire
places. Smith records that "no
sooner were his stoves fixed " than
the occurrence took place which caused him to leave the house. It
is clear, therefore, that these "stoves" were Cosway's own selection,
and one or two of the mantel-pieces I attribute to the hand of his con
stant friend, Thomas Banks, R.A. Later on Smith speaks of a mantel by
Banks at No. 20, but three of the mantel-pieces at the corner house are
charming specimens of well-carved marble, sharp and fresh In condition,
and most graceful and pleasing in design. The house then had, and still

CUPID UNMASKING FALSE LOVE.
1779.

MAGNIFICENCE, DEJECTION, DEATH. 31
has, a stone lion carved on its exterior pediment, and this object at once
attracted the notice of Peter Pindar, who wrote the oft-quoted lines which
some reckless person affixed to the door of the house :
" When a man to a fair for a show brings a lion,
'Tis usual a monkey the sign-pole to tie on !
But here the old custom reversed is seen.
For the lion's without, and the monkey's within."
Poor susceptible Cosway, who, Smith tells us, "was, although a well-
made little man, certainly very like a monkey in the face," was horrified at
this lampoon, and immediately sacrificed his lease and prepared to move.
From the parish rate-books he does not appear to have held this house
for much more than three months, and then moved two doors further up the
street, into the house in which practically the remainder of his life was
passed. No. 20, Stratford Place, Is the property of Dr. William Laldlaw
Purves, and he has been good enough to permit me to see the portion of
the house which is under his control, and the rooms occupied by a friend
of his. Cosway's studio was evidently at the back of the house, and was
a room which has now been altered into two smaller rooms.
The large windows which Cosway had inserted are, however, still iu
situ, and extend from floor to celling, lighting the room magnificently, and
rendering it eminently suitable for the work of a miniaturist. This house
Smith describes In glowing language. " His new house," he says, " Cosway
fitted up in so picturesque, and Indeed so princely a style, that I regret
drawings were not made of each apartment, for many of the rooms were more
like scenes of enchantment pencilled by a poet's fancy than anything per
haps before displayed in a domestic habitation. His furniture consisted of
ancient chairs, couches, and conversation stools elaborately carved and gilt,
and covered with the most costly Genoa velvets ; escritoires of ebony
inlaid with mother o' pearl, and rich caskets for antique gems exquisitely
enamelled and adorned with onyxes, opals, rubles, and emeralds. There
were also cabinets of ivory curiously wrought ; mosaic tables set with
jaspar, bloodstone, and lapis lazuli, having their feet carved into the claws
of lions and eagles ; screens of old raised oriental Japan ; massive musical
clocks richly chased with ormolu and tortoise-shell ; ottomans superbly
damasked ; Persian and other carpets with corresponding hearthrugs
bordered with ancient family crests and armorial ensigns In the centre,
and rich hangings of English tapestry. The chimney-pieces were carved
by Banks, and were farther adorned with the choicest bronzes, models in

32 RICHARD COSWAY.
wax and terra cotta ; the tables coyered with old Sevres, blue, mandarin.
Nankin, and Dresden china ; and the cabinets were surmounted with
crystal cups adorned with the York and Lancaster roses, which might
probably have graced the splendid banquets of the proud Wolsey. His
specimens of armour also were very rich, although not to be compared
with Doctor Meyrick's, and I there recollect," concludes Smith, "seeing
him stand by the fireplace upon one of Madame Pompadour's rugs, leaning
against a chimney-piece dedicated to the sun, the ornaments of which were
sculptured by Banks, giving instructions to a picture-dealer to bid for some
of the Merly drawings at the memorable sale of Ralph Willett, Esq."
The mantel-piece that Smith names in this gorgeous description was
still in the house when Dr. Purves purchased it, but was removed by the
freeholder unexpectedly, and is probably still somewhere in London.
When residing In Pall Mall Cosway had not scrupled to increase his
Income by the purchase and sale both of pictures and bric-a-brac.
He first purchased old pictures, repaired, varnished, and touched up
their defects, and employed others to do so for him, and then disposed of
them to his own patrons who had galleries to fill or rooms to decorate.
Finding that by this means he could not only gratify his own taste, adorn
his own rooms, but also derive considerable financial advantage, he
extended his purchases to furniture and to objects wrought in Ivory,
crystal, amber, glass, and precious stones, and was not at all averse to
making a handsome profit by the sale of one of his rare pieces of
furniture or porcelain to some patron of whom he had just perchance
received a commission.
Before leaving Pall Mall, however, he weeded out his collection of
pictures, and the catalogue of the two days' sale at Christie's that ensued
is still preserved at the British Museum. It was announced as follows :
Catalogue
of all the reserved and valuable part of the capital
Collection of Pictures
The property of Richard Cosway, Esq., R.A.,
removed from his late Residence in Pall Mall
by Mr. Christie, in Pall Mall,
Friday, March 2, 1792, and following day.
One picture realized as much as ^^94 \os., but the general average
realized was a small one, only extending to some ^3 or £4.
Although he fled to his new house to escape from the witty lampoons
of his enemies, he was by no means freed from such bitter satire.

H.R.H. PRINCESS SOPHIA. H.R.H. PRINCESS MARY, DUCHESS
OF GLOUCESTER.

COLLECTION OF H.R.H. THE DUKE OF CAMBRIDGE, K.G.

MAGNIFICENCE, DEJECTION, DEATH. 33
Peter Pindar with his wit followed the artist, and attacked even
Mrs. Cosway ; holding up to bitter scorn both theriiselves, their persons,
their luxurious habits, and their pictures.
One of Mrs. Cosway's productions, entitled " The Hours," was thus
described :
" A sublime picture this, the expression is truly Homerical.
The fair artist hath in the most surprising manner
communicated to canvas the old Bard's idea of the
Brandy-faced Hours.
No, no ! with all my lyric powers
I'm not like Mrs. Cosway's Hours,
Red as cock-turkies, plump as barn-door chicken.
Merit and I are miserably off.
We both have got a most consumptive cough,
Hunger hath long our harmless bones been picking." — Ode I., 1783.
Again, of Cosway's picture of " The Virtues arming St. George," Peter
Pindar wrote : " Oh, Richard, thy St. George so brave,
Wisdom and Prudence could not save
From being foully murdered, my good friend.
Some weep to see the woeful figure,
Whilst others laugh, and many snigger
As if their mirth would never have an end.
" Prithee accept the advice I give with sorrow,
Of poor St. George the useless armour borrow
To guard thine own poor corpse — don't be a mule.
Take it, ev'n now thou'rt like a hedgehog quilled
(Richard, I hope in God thou art not killed)
By the dire shafts of merc'less ridicule.
" Pity it is, 'tis true, 'tis pity.
As Shakespeare lamentably says,
That thou in this observing city
Thus run'st a wh— r — ng after Praise.
With strong desires I really think thee fraught.
But Dick, the nymph so coy will not be caught.
" Yet for thy consolation mind,
In this, thy wounded pride may refuge find.
Think of the sage who wanted a fine piece.
Who went in vain five hundred miles at least
On Lais, a sweet file de joie, to feast,
The Mrs. Robinson of Greece.
" Prithee give up, and save the paints and oil.
And don't whole acres of good canvas spoil. .
Thou'lt s.ay, ' Lord, many hundreds do like me.'
Lord ! so have fellows robbed, nay, further,
Hundreds of villains have committed murther.
But, Richard, are these precedents for thee ? " — Ode VIL, 1783.
F

34 RICHARD COSWAY.
Also, in reference to a picture of " Samson," by Mrs. Cosway, Peter Pindar
wrote in 1785 that satire urges him
" Of cuts on Sampson don't be sparing,
Between two garden rollers staring.
Shown by the lovely Dalilah fool play."
And, finally, in his eighth ode, Peter Pindar unmercifully lashed both
husband and wife : " Fie, Cosway ! I'm ashamed to say
Thou own'st the title of R.A.
I fear to damn thee 'twas the devil's sending.
Some honest calling quickly find.
And bid thy wife her kitchen mind,
Or shirts and shifts be making or be mending
" If Madam cannot make a shirt.
Or mend or from it wash the dirt.
Better than paint, the Poet for thee feels,
Or take a stitch up in thy stocking
(Which for a wife is very shocking),
I pity the condition of thy heels.
" What vanity was in your skulls
To make you act so like two fools.
To expose your daubs tho' made with wondrous pains out?
Could Raphael's angry ghost arise.
And on the figures cast his eyes.
He'd catch a pistol up and blow your brains out."
Adding at the close in more generous mood :
" Muse, in this criticism I fear,
Thou really hast been too severe ;
Cosway paints miniatures with truth and spirit.
And Mrs. Cosway boasts a fund of merit."
It was during the residence in Stratford Place that the health of
Mrs. Cosway began seriously and permanently to fail. She had been
her husband's companion In all his gaiety and extravagant life, but not
having been permitted by him to indulge to the full extent her passion for
painting, she had not possessed the working power which had been his
safeguard for many years.
Her health suffered also as the position they had occupied in the
fashionable world began to change, and she longed for more life and
excitement. The pasquinades already quoted had been taken very much
to heart by her, and on an opportunity occurring she left London again
for a while, this time with her husband.
They travelled, so contemporary letters state, in grand style, taking

MAGNIFICENCE, DEJECTION, DEATH. 35
with them both servants and carriages. In Paris Cosway declined at
first to paint any miniatures, giving as his reason that he had come for
recreation and for the benefit of his wife's health, and that he did not
wish to be disturbed by work. He met, however, several old friends in
the city, and was eventually persuaded by the Duchess of Devonshire to
paint portraits of the Duchesse d'Orleans and her family and the
Duchesse de Polignac.
It was during this visit that Cosway, remarking one day upon the
bareness of the walls in the Louvre, proposed to present to the French
government a magnificent series of cartoons, the works of Giulio Romano,
that he possessed. He prized them very highly, and had refused a liberal
offer for them made by the Tsar of Russia, stating that he " declined to
sell works of elegance to barbarians."
He, however, offered them to the Louvre, and they were gladly
accepted. In return, four rich pieces of Gobelins tapestry were sent to
him, but these he disdained to receive, even although they were marks of
royal gratitude. He would not have it thought that he had taken
payment for his gift, and so presented the tapestry to the Prince of Wales,
and the pieces are believed to be the ones that to this day hang in
Buckingham Palace.
It was while in Paris that Mr. and Mrs. Cosway became more
friendly with David the painter, and met with Kosciusko the patriot.
The interesting portrait of Kosciusko, painted for the members of Brooks's
Club, was, says Sir Philip Currie, sketched by Cosway while his wife sat
by the couch of the wounded hero entertaining him with her conversation.
It was in Paris also that Cosway painted the lovely miniature of Madame
His, lately bequeathed to the Louvre by her descendant. Upon one
occasion David addressed to Mrs. Cosway the following interesting and
flattering letter :
" Madame, " II faut que je sols mechant, car la bont6 me surprend. J'ai regu
une lettre de vous par les mains de M. Trumbult, et je ne vous ai point
fait de r^ponse, mais je I'allai voir hier au soir, 11 me dit qu'il avalt regu
une lettre de vous dans laquelle vous le chargiez de bien de choses.
Alors la honte a surmonte ma paresse et je me suis mis a vous ^crire.
Mais aussi croyez-moi si je ne vous donnois pas souvent de mes nouvelles
je me disais a moi-m^me bien des sottises, il n'y avalt point de jours que
je ne disois a ma femme : demain j'6crirai a Mme Cosway, et jamais

36 RICHARD COSWA^^
demain ne venait enfin n'en parlous plus, je fals voeu de n'y plus retomber
Conde m'a fait voir la medaille que lAngleterre lui a decernde ; cette justice
me donne une bonne Idee de lAcademle de Londres ; chez nous un homme
comme Conde qui serait tomb6 des nues, n'auralt pas seulement 6te admis
au concours. Je vais encore vous faire un autre avisde ma paresse ; il y
a plus d'un mois que le Torse de 1' Hymen est encalss6, et je ne I'ai pas
encore fait porter chez M' Perregaud, rue du Sentier; je vous prie de
remercier M' Cosway de I'estampe du Portrait du Prince de Galles que
Conde m'a apporte de sa part ; je I'ai fait encadrer, elle est dans mon
salon et fait plaisir a tous ceux qui la voient ; je compte toujours aller
m'acquitter d'une dette, lorsque j'iral en Angleterre qui est de vous prier
d'accepter un petit dessin de moy en souvenir du plaisir que j'ai eu a faire
votre connaissance. A propos je me souviens que vous me dites alors
que vous m'ecrirlez quand vous auriez besoin de couleurs ou autres choses ;
comptez plus sur mon empressement a vous servir que sur mon exactitude
a vous ecrire. C'est parce que je me connais paresseux que je pardonne a
M' Saint Andre de ce qu'il ne m'ecrit pas ; j'espere qu'un jour II lui prendra
le meme remords qu'a mol. DItes-luI bien des choses de ma part, et
combien je regrette de ne plus le voir. La maison de M' Trueraine est
triste pour moi depuls qu'il n'y est plus. Je vais actuellement vous en-
tretenir d'autres choses
" Celul qui aura I'honneur de vous donner cette lettre de ma part est
d'abord le plus digne homme que je connalsse et bien digne qu'on
s'interesse a lui, c'est pour cela que je vous I'adresse ; II est celebre
musicien Italien, ayant joue chez nous au concert splrituel avec tous les
applaudi-ssements possibles. Son nom est tres fameux dans la muslque
il se nomme Caravoglio II joue du hautbois, et comme vous aimez et faites
souvent de la muslque j'ai cru bien faire que de vous I'adresser. La seule
priere que je vous fals, c'est quand vous donnerez concert chez vous, de
le faire venir et de le faire connaitre en Angleterre, et j'ose dire que quand
on I'aura entendu, il le sera bientot
" Adieu ma bonne Madame Cosway embrassez bien pour moi votre
eher marl et croyez que vous avez un bon ami in France Je vous assure
qu'en ecrivant cette derniere phrase j'ay les larmes aux yeux Ma femme
vous embrasse de tout son coeur et nous parlous souvent de vous
" Adieu, digne dame, pour la vie, votre serviteur et ami " David."
Mrs. Cosway at this time was doing more painting. For some
years her husband had forbidden her indulging in the art, and even when

MADONNA AND CHILD.
TINTED DRAWING.

MAGNIFICENCE, DEJECTION, DEATH. 37
he permitted It he refused to allow her to do it for money, allowing her to
exhibit, but to put no price upon her pictures, and increasing the demand
for them by assuring his friends that they could not be sold.
Mrs. Cosway did, however, some designs for Boydell's " Shakespeare "
and for Macklin's " Poets." She also produced some clever miniatures,
some of which are in Italy and others in the Holbourne Museum at
Bath. More than one artist beside her husband vied with one another in
painting Mrs. Cosway's own portrait, and it was often exhibited. Her
husband did It many times, and a charming drawing was made by Paul
Sandby, R.A. , which is how In the possession of Mr. Sandby, of Wind
sor. Thomas Banks, R.A., also produced her portrait in marble. It was
exhibited at the Royal Academy In 1783, "No. 427, Bust of Mrs.
Cosway, marble, by T. Banks." Angelica Kauffmann represented her as
Poetry in the well-known picture In which she herself as Design Is depicted
listening to the sweet song of Poetry.
Cosway himself, whether in Pall Mall or Stratford Place, was In great
prosperity. Cipriani records that, however early he called at his house In
the morning, he never found him in bed. Although night after night he
was up for long hours at his parties and at the houses of friends, although
he lived so gay a life, gambled and drank, yet he always secured a few
hours' rest, and was up at a very early hour working away assiduously and
earnestly at his profession, and producing drawings and miniatures with
great celerity.
He seems to have been a constant attendant at the Academy dinners
and meetings, and to have been on good terms with almost all his fellow-
Academicians, who greatly ridiculed him behind his back. His position
was, however, assured, and he was too important a man to quarrel with or
to offend, having the ear of the Prince and being in touch with all society.
His name and that of Mrs. Cosway appear In a list of persons to whom
Nollekens proposed to leave each a thousand pounds, and eventually. In
the extraordinary will left by the great sculptor, which contained fourteen
codicils, Cosway received a hundred pounds — a mark of esteem from his
old friend. When In 1798 John Thomas Smith, to whose references to
Cosway mention has often been made, applied for the post of drawing-
master at Christ's Hospital, Cosway was one of those who signed his testi
monial, and of the fact Smith was not a little proud. In his position as a
favourite with the Prince he was the recipient of some strange confidences.
He painted the portraits of both Mrs. Robinson and Mrs. Ablngton, and
was consulted by both ladies upon private matters which concerned them.

38 RICHARD COSWAY.
Two letters preserved by Smith, written by the great actress who
played so well for the first time the part of Lady Teazle in the " School
for Scandal," may here be reproduced.
" To Richard Cosway, Esq., R.A.
" I have found another letter which you will see Is part of the
history I took the liberty of troubling you with. I cannot express how
much I am obliged to you for your goodness and friendly confidence in
telling me what you had heard of this trumpery matter, as it has given me
an opportunity of convincing you in some little degree that my conduct
stands in no need of protection, nor can at any time subject me to fears
from threatful insinuations of necessitous adventurers.
" I am. Sir, your very much obliged and humble servant,
" F. Abington."
" To the Same.
" Mrs. Ablngton will feel herself most extremely mortified
indeed if she has not some hope given her that Mr. and Mrs. Cosway
will do her the very great honour of coming to her benefit this evening.
She has been able to secure a small balcony In the very midst of persons
of the first rank in this country, which she set down in the name of Mrs.
Cosway till she hears further : It holds two In front, and has three rows
holding two upon each, so that Mr. Co.sway may accommodate four other
persons after being comfortably seated with Mrs. Cosway.
"Feb. 10. Nine o'clock."
It was of course certain that a position such as the artist had
obtained should be subject to scandal and rumour. The Prince of Wales
is said to have paid compromising attentions to Mrs. Cosway, and her
name was also connected with those of Marchesi, the singer, who certainly
once accompanied her abroad, Vincent Lunardi, the secretary to the
Neapolitan ambassador, and J. L. Dussek, the pianist. There is, however,
nothing to account for these statements but the breath of scandal which
attacked every notorious person, and after examining many letters and
much correspondence, I am distinctly of opinion that Mrs. Cosway, in the
midst of her very difficult life, lived honourably to her husband and
preserved her strong religious opinions intact. Her position must have
been one of extraordinary difficulty, and small wonder would it have been,
and but little blame to her, had she in such a career accepted the habits
and morality of those around her. It is possible she did so, but I can

COLLIiCTION OF HER MAJESTY THE QUEEN.

GEORGIAN.A, DUCHESS OF DEVONSHIRE.

H.R.H. PRINCESS SOPHIA.

ONE OF THE SONS OF GEORGE III.

MAGNIFICENCE, DEJECTION, DEATH. 39
find nothing to warrant such an assumption, while very much indeed leads
me to hold an exactly opposite opinion of her life.
After sojourning in Paris, the artist and his wife returned home, and
resumed their life in London. Mrs. Cosway for a while was much better
in health, but at length the old depression, dulness of spirits, and nervous
agitation from which she suffered increased, and. In company with her
brother, who had gained as a student in painting the Academy's gold
medal, she departed for Rome. A succeeding chapter gives fuller
information as to this journey and its results.
From her departure commenced the less satisfactory side of Cosway's
career. Mrs. Cosway was away for three years, and Cosway during part
of that time was travelling In England accompanied by the well-known
lady Academician, Mary Moser. The spirit of the times was one of lax
morality, and there was less delicacy of eye and purity of speech than Is
now considered right in society. At an early part of his career the artist
had often been employed in miniature work for secret snuff-boxes, and
specimens of such work still exist. They were In accordance with the
habits of the day, and used by men whose imaginations, as Cunningham
says, " were perhaps the least delicate part about them."
Now at this time, freed from Mrs. Cosway's restraint, the artist gave
fuller scope to his propensities, and a record which still exists relates his
wanderings in England In company with the lady whose character was at
one time supposed to be above reproach. It is a curious commentary
upon the opinion of others to find that the lady who was favoured with
the special friendship of rigid and severe Queen Charlotte, and of Princess
Elizabeth, and who was pronounced choice, scrupulous, squeamish, and
particular by contemporary writers, should have, in 1797, wandered off
with Cosway and lived with him.
There is, unfortunately, no doubt in the matter at all, but the phrases
In which Cosway records his visits to Burleigh House, to Stamford, to
Boughton, to Northampton, Ely, Norwich, and St. Albans, are far too
broad and too precise to bear repetition. How long the unfortunate
journey lasted cannot \)e told, but in the same year Mary Moser married
Captain Hugh Lloyd. She survived her husband many years.
She died in 1819 at No. 21, Upper Thornhaugh Street, Tottenham
Court Road, and was buried at Kensington in the same grave as her late
husband. She, with Angelica Kauffmann, were the only two women
ever elected to the Royal Academy, and in the picture of Academicians in
the drawing-school at night, by Zoffany, already mentioned, their portraits

40 RICHARD COSWAV.
appear In frames on the wall. It is evident that either Mrs. Cosway
never really knew of this escapade on the part of her husband, or else
that she forgave both parties for it, and received them back to her affection
and esteem, as Mary Moser (Mrs. Lloyd) left to Mrs. Cosway by her will
in 1819 twenty guineas to buy a ring, and Mary Moser's Academy
diploma Is still amongst the papers left by Mrs. Cosway. The first
presumption can hardly be sustained, as these very same papers afford
clear proof of the husband's infidelity, and it must therefore be placed to
the credit of the wife's deep affection for her husband, and love to him
despite all his failings, that she overlooked and forgave this painful part of
his story.
. .. Later on in his life Cosway developed other habits and ideas that were
a source of trouble and anxiety to his friends. Cunningham, quoting from
Sir William Cosway's letters, states " that he was one of those sanguine
men who perceived in the French Revolution, the dawn of an empire
of reason and taste, in which genius and. virtue alone would be wor
shipped." This partial sympathy with the Revolutionists instantly estranged
the royal family from him. The king had never had any affection for
Cosway, and had once, when speaking of the .painters employed by
himself and his son, remarked with reference to Cosway, " Among my
painters there are no fops." It was hardly to be expected that the Prince
of Wales should join in the sentiments that. Cosway in his later days
espoused, especially when added to them came curious hallucinations:and
odd strange fancies. Little by little the Court influence dropped off, but
Cosway retained many of his old patrons, was industrious as ever, and
produced miniatures that showed even greater delicacy of handling, more;
skill, more accuracy, and far more care and precision. Even down to
181 7 and 18 1 8, when the artist was advanced In years, he painted as well
as ever, and although his later miniatures are distinguished by an alteration
of method, they are unimpaired in merit.
From 1790 down to 18 10 or 1815 he was at his very best in work,
and the miniatures produced in that period, as, for example, those of
Lord Gwydyr and the Baroness Willoughby d' Eresby, Lady Burdett,
Lord Newark, the Countesses of Mornlngton and Clarendon, and the
wonderful miniatures on the Ancaster Box, may be taken. To this
period belong most of the pencil drawings, such as those which are illus
trated in our pages, and which were sold at Christie's . this year, and
also many of the finest of the " stained drawings " already named.

SIR FRANCIS BURDETT, BART., M.P. LADY BURDETT {nie SOPHIA COUTTS).

COLLECTION OF THE BARONESS BURDETT-COUTTS.

MAGNIFICENCE, DEJECTION, DEATH. 41
In 1804 Cosway did a graceful action In writing to the son of his
old friend, Paul Sandby, R.A., and sending him a charming sketch of his
father. The letter which accompanied it was as follows :
" Mr. Cosway presents his compliments to Mr. Sandby, Junior; shall
feel himself highly gratified if he finds this drawing a tolerable resemblance
of that good man and accomplished artist — his father."
This portrait is given in Seeley's " Life of Thomas and Paul
Sandby." By 1 8 1 1 the Prince of Wales had become Prince Regent, and from that
time Cosway saw him no more. The Prince had begun to be more select
and particular In his company — a necessity which the growing infirmities
of the king made day by day more desirable. Cosway had not the
manners of a true courtier, his adulation and conceit had been too self-
evident, his tongue was too free, and his familiarity too great.
He, however, mourned over the loss of his princely patron, and, in
the words of an intimate friend who wrote to Cunningham, " he thought
himself overlooked and neglected ; conscious of his abilities, he disdained
to stoop or entreat or flatter, and imagining that his enemies had got the
better of him, he neglected the profession by which he had risen, and looked
with suspicion even on his firmest friends. As his own character was
open and generous, his disappointment was the bitterer ; he made no
attempt to retrieve his influence with the prince, which had been personal,
familiar, and confidential, and he never did retrieve It. He had full
occasion to say with Scripture, ' Put not your trust in princes.' "
Mrs. Cosway had long ere this returned to her husband, whom she
looked after with most faithful devotion. His later years were passed
in pain, bodily and mental. His hallucinations increased. Great men of
a former age were, he declared, constantly appearing to him and making
all sorts of civil and complimentary remarks about his genius. For
fifteen years at least these ideas had existed, but now they grew In vigour.
Dante, he would whisper, came last night and talked with him in most
friendly manner about his incomparable works of art. Praxiteles and
Apelles would appear to him, declaring their opinion that the English
ought to follow his example in learning to draw carefully and colour
soberly, or Pitt would come to penitently confess— so he assured a brother
Academician at a dinner — his errors in having discouraged Cosway's
genius. He was the one, he said, who performed Lambert's leap, and he
it was who had measured the knee-pan of James I., and had predicted the
return of Buonaparte from Elba. He also reported long conversations
G

42 RICHARD COSWAY.
with Charles I. on art. Walpole had long ere this declared, when Cosway
was in Pall Mall, that " he romanced with his usual veracity," but now
the trouble grew more serious.
He gloated over his relics, real and imaginary, " the crucifix of
Abelard, the dagger of Felton, the manuscript of ' The Rape of the Lock,'
the first finished sketch of the Jocunda, Titian's large portrait of Peter
Aretine, a fragment of Noah's ark, the feather of a phoenix," and so on.
He even assured persons that Our Lady herself had sat to him several
times for a half-length figure, and with a curious presentiment as to later
discoveries, reported his ability to converse with his wife in Italy "through
a fine vehicle of sense," as he expressed It, " as we speak to a servant
downstairs through an ear-pipe." An intimate friend thus spoke of him
at this time :
" His muse Is not of that chaste and sober sort that can gratify the
senses long after the first effects of captivatlon are weakened by the
judgment. He is gentlemanly In demeanour, kind in principle, but
superstitious as an old woman."
William Hazlitt, however, describes him as bright and joyous. " His
soul," says he, " appeared to possess the life of a bird, and such was the
jauntiness of his air and manner that to see him sit to have his half-boots
laced on you would fancy (by the aid of figure) that instead of a little
withered old gentleman it was Venus attired by the Graces. His wife,
the most ladylike of Englishwomen, being asked In Paris what sort of a
man her husband was, answered, ' Toujours riant, toujours gai.' What
a fairy palace was his — of specimens of art, antiquarianism, and vertti
jumbled altogether in the richest disorder, dusty, shadowy, obscure, with
much left to the imagination ! His miniatures were not fashionable — they
were fashion itself When more than ninety" (an error in Hazlltt's pages.
Author) "he retired from his profession, and used to hold up the palsied
right hand that had painted lords and ladies for upwards of sixty years,
and smiled with unabated good humour at the vanity of human wishes.
Take him with all his faults or follies, ' we scarce shall look upon his
like again.' "
His kindness and brightness had always been features of his life. To
friends in trouble he was always generous, and his well-filled purse
heartily at their dLsposal. Many a man in difficulty blessed him for
timely help, while to youthful artists he was particularly gracious and
encouraging. Andrew Robertson, the miniature painter to the Duke of Sussex, In

COLLECTION OF HENRY DRAKE, ESQ.
ALL BY COSWAY.

MRS. FITZHERBERT.

MRS. HARCOURT, AFTERWARDS LADY
HARCOURT, WIFE OF THE THIRD
EARL HARCOURT.

MRS. WHITTINGTON.

MAGNIFICENCE, DEJECTION, DEATH. 43
his letters in 1802 makes frequent mention of Cosway. He writes on
one occasion :
" I Introduced myself to Cosway, the miniature painter (who Is at
the top of the profession and a most pompous man), merely as a student
at the Academy. He, like Mr. West, received me at first distantly, but
when I showed my great head he was gratified, and asked how It was
done, and how I contrived to make a copy of such a picture. I said it
was water-colours. Indeed, upon vellum? No, upon ivory; a plain
common miniature. He could scarcely believe, although he has painted in
miniature for thirty years he did not know it. I was not surprised at Mr.
West's mistaking it, but that Cosway himself should be deceived is
unaccountable. He asked why I did not exhibit, It; I said Mr. West told
me that copies would not be admitted. He said that was not so, for
Mr. Bone's enamel pictures were nothing but copies, and it was all a farce
their being admitted on account of the difficulty of enamelling ; he had
enamelled himself he said. ' But could you not say it was painted in a new
style, and did not choose to say how. I did not know It ; had you come
to me, I would have taken it myself and insisted on It.' This was a great
compliment to me, and from a man who has long been above exhibit
ing his pictures. He Is the vainest creature in the world, but to me
he behaved in a most liberal manner. He was at such pains to show
me everything excellent that I could not get away without insisting
upon it."
Upon another occasion Robertson again writes of Cosway : " Cosway
was most liberal, insomuch that I could not Intrude longer upon his
time, although I could scarcely get away. He asked to see my small
miniatures, which he liked, and painted out some things. ' But how do you
get such a black Indian Ink ? ' I promised to give him some." The
encouragement the master gave to young Robertson was very great, and
was recognized as generous and full.
It did not stand alone. By his pupils Cosway was spoken of in terms
of endearment. Andrew Plimer calls him " my beloved master ; " Ozias
Humphrey, the "kindliest of friends," and it Is therefore clear that,
pompous as he was, stilted and formal, he was very kind and affectionate,
and toward the latter part of his life his thought for others and
generosity of intention increased rather than diminished. Up to this
period of his life he had expressed a wish to be buried in St. Paul's
Cathedral, or with Rubens at Antwerp, or Titian in Venice. Later on,
he talked of Devonshire, and his thoughts reverted to his earliest life and

44 RICHARD COSWAV,
childhood's memories, and he talked of a country churchyard beneath
a wild tower approached through a long and winding green lane.
One day he heard Wesley preach on death. He was startled, and
somewhat altered in ideas. A little while afterwards he followed a
funeral Into Marylebone Church, and, Impressed by the simplicity of the
building and the vault, said quietly to his wife, who was with him: "I
prefer this to Antwerp or St. Paul's ; bury me here." In religious opinions
he had been strangely attracted by the mysticism of Emanuel Swedenborg,
and embraced very much of his faith. He also studied animal magnetism,
tried to discover the power of projection, and thought he could raise the
dead. His friend, De Leuthenbourg, encouraged him in these fancies,
and Cosway often went to his house in Hammersmith, whither many
people went to be cured by this remarkable fanatic. Cosway is said to
have been in De Leuthenbourg's house with him when, owing to many
failures to cure disease, the populace threatened to pull the house down,
and the soldiers had to be summoned to protect it from their rage.
He was a good talker and a cheerful companion, and his wife's
devotion to him was, according to Hazlitt, "beautiful to behold." She
watched over him day and night, managed his business, amused him, read
to him, played and sang to him, took him out, and gave up her entire
time to his Interest.
In Pasquln's " Memoirs," Cosway's mental condition is alluded to at
some length. It Is said that "there was a period when he was mentally
convulsed with the horrors of a second sight ; then he delivered sermons
weekly on chiromaittical aphorisms, and delineated, with the accuracy of
magic, the good and evil lines of humanity, and became an adept In the
Orphean art. He was a bigot in the faith of Geoffrey Fattstus and
Margery Shipton ; when he wanted a lodging he calmly ascended to the
third house, and sojourned and feasted among the stars. The Orphean
science enabled the philosopher to subject to his will the action of every
animated organized being, as well as stones, minerals, etc., contributing to
produce the most surprising phenomena : to lull to sleep the external
senses ; the patients acquire sentiments of prescience, discover the thoughts
of those In contact with them ; see transactions at a distance, and. In
fact, become endowed with universal knowledge."
The following absurd anecdote Is related by John Bacon, R.A., in some
letters of his, with the remark that It was told to him by Sir William Beechey.
He said Mr. Tresham, R.A., who was always in ill-health, felt himself
so incapable of studying one morning that he went out for a walk, and.

MAGNIFICENCE, DEJECTION, DEATH. 45
Strolling near Stratford Place, thought he would call on his brother Royal
Academician, Richard Cosway. Cosway was a fine artist, but a very
superstitious man, and very intimate with another man equally supersti
tious, namely, Sharp the engraver. When Tresham entered Cosway's
study, there he found Sharp also. On stating how distressingly ill he was,
Cosway said, " Well, it is your own fault if you are so much longer ; if
you will but have faith in what Sharp and I will do, we will soon cure
you. You have only to place yourself at the further end of the room, and
look us in the face, while we will work upon you with a magic influence
that will send you home quite another man — but you must have faith."
Tresham said he was afraid he should fall short on the subject of faith ;
but under a chance of being cured, he would muster up all he could.
Accordingly they worked upon him for a long time, but all without either
cure or amendment. Tresham of course laughed at them for their folly,
when Cosway said, " Yours is an obstinate case ; we have failed, but we
can tell you what your complaint Is — you have got a hole in yoiir liver!'
I think it was at least two years after this that Tresham felt himself
greatly grieved by certain proceedings in the Royal Academy, in exclud
ing him I believe from some office to which he laid claim, on which he
fulfilled his threat that he would appeal to the king as patron of the
Academy. On his name being announced at Buckingham House, the
king said, " Tresham, Tresham, I know something about him. Oh ! he
has got a hole in his liver. Let him come in."
Another story related by Bacon runs as follows :
" I have already referred," he says, " to Cosway's superstitious pecu
liarities. Some think that superstition and religion are nearly allied ; but
all, I submit, that can be said in favour of superstition is that it is better
than infidelity, excepting that the superstitious character will frequently
be satisfied that he Is religious whether he be so in reality or not. Cosway
probably regarded himself as such, and I take for granted, though he put
peculiar honour upon the sacred scriptures by placing a handsomely
bound Bible upon a bracket supported by gilded cherubim and other
sacred appendages, and placed conspicuously against the walls of his
drawing-room. How far he put honour upon that volume by deferring
to its precepts and commands Is best known to those who were more
intimate with him. That he was a droll fellow In his superstition would
appear from what Lady Heathcote related of him. She was sitting to
him for her portrait, ,but on one occasion was prevented by indisposition
from keeping her appointment with him. On the next day she called,

46 RICHARD COSAVAY.
saying how ashamed she was that she had, as she presumed, incon
venienced him by not attending and by not letting him know of her
indisposition ; to which she said he replied that had she Informed him of
It, it would have been taking unnecessary trouble, for that he had a surest
intimation In the morning of the day that she was 111 and would not come !
" A French artist," he adds, " called on me after seeing Cosway in his
way to my home, and said, ' Mr. Cosway is a very strange man ; while I
was with him there was a noise in the wall of the room, when he said,
" Did you hear dat noise ? " I said yes, " Ah ! " he said, " that is not a
common noise ; that Is supernatural — invisible spirits are there ! " ' "
A little later on Cosway had two strokes of paralysis, which affected
his right hand and destroyed all his power of drawing, and at length, in
1 82 1, he prepared, in feeble health and with impaired fortune, but bright
and cheerful to the last, to leave his great house in Stratford Place and
move into a smaller, quieter dwelling. Mr. Stanley, of 21, Old Bond
Street, had instructions to sell all the dearly-loved treasures of pictures
and other works of art. The catalogues still remain in the British
Museum to tell their interesting but sad tale of the dispersal of the
treasured collection.
The sale was thus announced :
A CATALOGUE
of the
PICTURES of
RICHARD COSWAY, ESQ., R.A.,
Being the choice part of the ve^y nttmerous Collection made by
him during the last Fifty years, and which exhibit in
their selection from the Works of the Great Masters
the Taste and Skill of an Artist and the
Judgment of a true Connoisseur.
TO BE SOLD BY AUCTION
BY

MR. STANLEY

At Mr. Cosway s late Residence, No. 20, Stratford Place, Oxford Street,
On THURSDAY, the 17th of May, 1821,
AND TWO FOLLOWING DAYS
at TWELVE o'clock.

CATALOGUES ONE SHILLING EACH.

JANE CRAWFORD AT THE AGE OF 1 6,
DAUGHTER OF WILLIAM
CRAWFORD.
BY COSWAY.
Collection of James H. Cochrane, Esq.

EDWARD WALPOLE.
BY ANDREW PLIMER.
Collection of Miss Meresia Nevill.

WILLIAM CRAWFORD, ESQ., OF
LAKELANDS, CO. CORK.
BY COSW.AY.
Collection of James H. Cochrane, Esq.

LADY ELIZABETH FOSTER, AFTERWARDS SECOND WIFE
OF WILLIAM, FIFTH DUKE OF DEVONSHIRE.
BY COSWAY.
Collection of the Earl of Wharncliffe.

MAGNIFICENCE, DEJECTION, DEATH. 47
At this sale, Jacob, second Earl of Radnor, Cosway's great patron,
made many purchases, and, amongst other pictures, he bought two pictures
by Rubens which are now at Longford. One of them is entitled " Cupids
Reaping ; " the other, " The Escorial," painted at the time Rubens made
his memorable visit to Velasquez, was quaintly described in the sale
catalogue as "a great favourite in the cabinet of the late Lady Betty
Germaine." This Lady Betty resided in St. James's Square.
Immediately following this sale, on May 22nd, 23rd, and 24th, the
same auctioneer sold the miscellaneous articles, comprising arms, cabinets,
old china, clocks by Quare and Williamson, bronzes, buhl furniture,
armour, an Egyptian mummy, an ibis, etc.
In April, 1821, Mr. and Mrs. Cosway moved to 31, Edgware Road;
not into lodgings, as some authors have stated, but into what Mrs. Cosway
terms "a very tiny but cosy house."
One of his closest friends had been Mr. Robert Udney, a celebrated
art collector and Fellow of the Royal Society, who resided at Teddington.
Cosway had painted his portrait and also one of his wife, Mrs. Udney,
when she was standing in her own garden at Teddington.
In 1802 Mr. Udney had died, and Cosway had designed for him a
very elaborate monument, which Cond6 engraved and published. His
daughter, Miss Udney, now proved one of his kindest companions. Day
by day she came for him in her carriage to take him with Mrs. Cosway
for a drive in the park. Sometimes Mrs, Cosway stayed at home, and he
went alone with his friend. On July 4th he made his last journey. He
was better that morning than usual, and gayer, and said kindly words to
his servants as they supported him to the carriage.
In some twenty minutes or so his wife heard the sound of the
returning wheels ; she hastened downstairs and found her husband
lifeless. His third and last attack of paralysis had come upon him on the
way to Edgware ; he had fallen back in the carriage and died without a
groan, having attained to the age of eighty years.
According to his wish he was buried in Marylebone New Church,
and a monument by Westmacott on the north wall bears the following
Inscription, which was drawn up for Mrs. Cosway by her brother-in-law,
William Combe :

48 RICHARD COSW.VY.
To THE Memory
OF Richard Cosway, Esquire,
Royal Academician,
Principal Painter
To His Royal Highness George, Prince of Wales.
He died July 4, 182 1, aged 80 years.
His widow, Maria Cosway,
erects this memorial.
Art weeps. Taste mourns, and Genius drops the tear
O'er him so long they loved who slumbers here.
While colours last and time alloM's to give
The all-resembling grace his name shall live.
Above the inscription was a medallion containing a profile bust of
the painter, and around it three amorini representing Art, Taste, and
Genius.

A replica of this monument Is to be found In Italy, at the convent
where his widow died and was buried.
On the very day and at the very hour, July 4th, 182 1, the sarcophagus
of his beloved child had been removed from Mr. Nollekens' house, so
J. T. Smith records In his life of the eccentric and miserly sculptor.
By his will Cosway left his estate to his widow.
Thomas Emmerson, a great collector of pictures, bought very many
things at his sale, and took his house In Stratford Place. He retained It

MAGNIFICENCE, DEJECTION, DEATH. 49
for many years, and there he died, when some of Cosway's treasures again
came to the hammer.
There was another sale of Cosway's things after his decease. Very
many of his chief treasures had been kept back for the house in Edgware
Road, including the wonderful collection of drawings by the Old Masters
that the artist had formed.
These were, most of them, stamped with his initials, and some were of
surpassing merit, and by old Italian masters whose works are extremely
rare. In the "Times" of February 12th and 14th, 1822, appeared the
following most ungrammatical advertisement :
" Mr. Cosway. The high reputation which this gentleman acquired in
the various branches of the art which he practised with such success
Mrs. Cosway deems It her duty to afford the public an opportunity to
view those works as advised by the best judges previous to her departure
for Italy, at Stanley's Rooms, 21, Old Bond Street, of which due notice
will be given."
The drawings and engravings were accordingly sold by Stanley on
February 14th, 1822, and on the seven following days, and then on Friday,
March 8th, 1822, the remaining portion was brought to the hammer.
This latter sale (Brit. Mus. S. C. A 428) comprised ninety-seven
lots of pictures and ninety-four lots of other treasures. It comprised, as
the title of the catalogue states :
" Pictures, being those for which he had the greatest partiality and
which were removed from Stratford Place to his late residence in Edgware
Road, also miniatures by Hilliard, Cooper, and other early masters, articles
de virtu, etc."
There were two important old miniatures in the sale ; one of Oliver
Cromwell, which fetched ;^3 2, and one of Mary Queen of Scots, selling for
;^i7. The Hilliards fetched .1^14, £12, £6, £4, and prices even smaller.
The Olivers did not realize more than £4 a-piece, and many sold for much
less. The entire result of the nine days' sale Is said to have been many
thousands of pounds, and, having realized the things and her husband's
property, disposed of the home and erected the monument, Mrs. Cosway
left for Italy and resumed her life In that country, taking with her a
very tender memory for the husband whom she had lost and whom
she had steadily beloved ever since she first met him at Mr. Townely's
house. Cosway's will was as follows : H

50 RICHARD COSWAY.
In the Prerogative Court of Canterbury.
This Is the last Will and Testament of me Richard Cosway of Strat
ford Place In the County of Middlesex Esquire R.A. Whereas by two
several Indentures of Assignment bearing date respectively the fifteenth
day of April One thousand eight hundred and twenty and respectively made
between me the said Richard Cosway and Maria my Wife of the one part
and Sir John Carr of New Norfolk Street in the Parish of Saint George
Hanover Square in the County of Middlesex Knight and Francis Douce
of Charlotte Street Portland Road in the same County Esquire of the
other part I have for the considerations therein respectively expressed
assigned unto the said Sir John Carr and Francis Douce their executors
administrators and assigns my leasehold messuage and premises in
Stratford Place aforesaid wherein I now dwell with the appurtenances
thereto belonging And also all and singular my household goods and
furniture Books Maps Pictures Prints Linen China Plate and Plated
articles debts sum and sums of money Mortgages Bonds Bills Notes
Debentures and other securities for money in the public stocks or funds
and all other the personal estate and effects whatsoever of or to which I
the said Richard Cosway and any person or persons In trust for me was
or were possessed or entitled by way of present or future or contingent
interest or otherwise howsoever (subject to the debts charges and incum
brances and to such rights and equity of redemption (If any) as the same
were then subject to upon certain trusts therein respectively expressed for
my benefit during the joint lives of me and the said Maria my Wife and
subject thereto for the benefit of the survivor of me the said Richard
Cosway and Maria my Wife Now I do hereby ratify and confirm the
said several Indentures and each of them and the respective assignments
thereby made as to all such benefit and advantage as my said Wife Maria
Cosway will become entitled and under and by virtue of such Indentures
and each or either of them in case she survive me Item I do hereby
direct all my just debts funeral expenses and testamentary charges to be
fully paid and discharged and subject thereto I give and bequeath all my
personal estate and effects whatsoever and wheresoever and of what
nature or kind soever not comprised in the said several Indentures of
Assignment or either of them and not subject to the trusts of such
Indentures unto my said Wife Maria Cosway to and for her own absolute
use and benefit And I do hereby constitute and appoint the said Maria
Cosway sole Executrix of this my Last Will and testament And I hereby
revoke and make void all former and other Wills 'by me at any time

COLLECTION OF THE EARL OF WHARNCLIFFE.

MRS. JAMES STUART WORTLEY MACKENZIE,
MOTHER OF JAMES,
FIRST LORD WHARNCLIFFE.
BY COSWAY.

ELIZA, COUNTESS OF DERBY
{nee farren).
BY COSWAY.

georgiana, duchess of
devonshire. by cosway.

CAPTAIN FAULKNER.
BY GEORGE ENGLEHEART.

MAGNIFICENCE, DEJECTION, DEATH.

SI

heretofore made and declare this only to be my last Will and testament
In witness whereof I the said Richard Cosway the Testator have hereunto
set my hand and seal this twenty-fourth day of August in the year of our Lord
One thousand eight hundred and twenty . . . Rd Cosway . . . signed
sealed ( j published and declared by the above-named Richard Cosway
the testator as and for his last Will and Testament in the presence of us
who at his request in his presence and in the presence of each other have
subscribed our names as Witnesses thereto. . . . Jno. Carr No. 7 New
Norfolk St. Grosvenor Square. Mariana Carr of do. do.

Proved 24th
July 1821
Folios 8
E. W.

C. E. Fenton Proctor Doctors Commons
John Daubey surrogate before Sir John NIcoll
Gross Value of Personal Estate
under ^100.

MARY, WIFE OF THE THIRD DUKE OF RICHMOND.
Collection of the Duke of Richmond and Gordon.
Signed in full on the back, and dated I/89.

CHAPTER V.
MRS. COSWAY AND HER EDUCATIONAL SCHEMES.
ONCE again it will be needful to retrace our steps. In order to relate
what Mrs. Cosway was doing during the three yeans' absence
abroad and during the repeated and constant visits that followed. As she
mentions In her own letter, she was in Paris In 1802, when the Peace of
Amiens was signed, and had so been for some time, but was not able to
obtain a passport In order to return home, and therefore extended her stay
on the Continent.
It was in Paris that she had first met the Cardinal- Archbishop of
Lyons, Cardinal Fesch, who steadfastly remained her constant friend.
His conversation had revived In her mind an old ambition, which was to
found a college for young ladies in some part of Europe, preferably in the
country that she had always regarded as home.
As a girl she had taught in Florence ; she enjoyed the work, and
was full of ideas and schemes as to a different system of education to what
she had herself received. It was not possible for her, on account of war,
to return to England, and there is no doubt that by that time a coolness
had arisen between her and her husband.
Thoughtless and frivolous Mrs. Cosway appears to have been in the
days of her glory, but the further accusations made by many writers
against her moral character lack point and circumstance, and are in no
way warranted by any traditions or evidence that remain. Mrs. Cosway
appears to have always been a devout Catholic, possessed of high religious
instincts, and retaining a lingering affection, never wholly eradicated, for
the life of the cloister and for the education of the young.
Cardinal Fesch persuaded her to commence her educational scheme
In his city of Lyons. In 1803 she went there with him, and stayed in his
palace. When In France again, a year or two later, she started her college
In a building placed at her disposal by the municipality of the city, and
for a while it was a great success, and was carried on under the patronage
of Cardinal Fesch.
The times, however, were very troublous ; war was constantly in

COLLECTION OF JUDGE WYNNE FFOULKES.

AT LODI.

MISS JOCELYN OF STANSTED BURY HOUSE, HERTS,
AFTERWARDS MRS. FFOULKES OF ERIVIATT
AND MOTHER OF THE OWNER.

DRAWINi; OF .A GENTLEMAN.

MRS. COSWAY AND HER EDUCATIONAL SCHEMES. 53
progress, and greatly impeded the work of the college. Twice Mrs.
Cosway had herself to flee home from Lyons, and was in hiding for some
months, and on another occasion journeyed to England byway of the Bay
of Biscay In a fishing-boat, a long and tedious journey, in order to see her
clever but very foolish husband. Her interest was all the time more in
Italy than in France, and in 181 1 her college in Lyons was finally closed,
and she left France.
The remaining part of that year she spent in Milan, teaching and
working both at painting and music. Meantime Napoleon had raised
Lodi to the dignity of a duchy, and in 181 2 Maria's old friend, the new
Duke of Lodi, Francesco Melzl d'Erll, who was Chancellor of the
Republic of Italy, and who had many times visited her in London,
purchased the Convent of the MInoresses at Lodi, and handed it over to
her for her college. She had brought with her from Lyons two clever
French girls who had aided her in that city. These she now established
as teachers in her college. Cosway was perfectly agreeable to her desire,
and on more than one occasion sent her money to help In her project,
once forwarding an order on Messrs. Hammersley of Pall Mall for three
hundred pounds. She entered upon the work full of ardour and strength,
and was speedily surrounded by a crowd of pupils from the fam.llles of
the nobility and influential people near Milan and Lodi. She was,
however, but a year or two in Lodi ere her husband fell ill, and for the
last few years of his life was devotedly attended to by his wife. His
means were considerably reduced, and Mrs. Cosway's own fortune had
been sunk in the establishment of her college at Lodi.
Many friends, notably the Udneys, as already mentioned, however,
gathered around the paralyzed painter and cheered him in his latest
days, and his wife's presence and a complete reconciliation between them
enabled him to spend his old age in contentment and joy. After his death
she generously pensioned three relations of her husband, Elizabeth and
Jane Cosway and Mrs. Maddlson, and eventually remembered them also
In her will, and having arranged the deeds relative to these pensions, Mrs.
Cosway left again for Italy in order to take up her old position. During
her absence, the nuns of a religious order had given an oversight to her
college. In 1829 she returned for the last time to London, in consequence
of some difficulty attending the realization of Cosway's property, which he
had left entirely to her. This was her final visit to England, and from hence
forth her life was spent abroad, mainly at Lodi, but occasionally she went
to Como, and on into Austria and Vienna, but never returned to England.

MRS. COSWAY AND HER EDUCATIONAL SCHEMES. 53
progress, and greatly impeded the work of the college. Twice Mrs.
Cosway had herself to flee home from Lyons, and was in hiding for some
months, and on another occasion journeyed to England byway of the Bay
of Biscay in a fishing-boat, a long and tedious journey, in order to see her
clever but very foolish husband. Her interest was all the time more in
Italy than in France, and in 181 1 her college in Lyons was finally closed,
and she left France.
The remaining part of that year she spent In Milan, teaching and
working both at painting and music. Meantime Napoleon had raised
Lodi to the dignity of a duchy, and in 181 2 Maria's old friend, the new
Duke of Lodi, Francesco Melzl d'Eril, who was Chancellor of the
Republic of Italy, and who had many times visited her in London,
purchased the Convent of the MInoresses at Lodi, and handed it over to
her for her college. She had brought with her from Lyons two clever
French girls who had aided her In that city. These she now established
as teachers in her college. Cosway was perfectly agreeable to her desire,
and on more than one occasion sent her money to help In her project,
once forwarding an order on Messrs. Hammersley of Pall Mall for three
hundred pounds. She entered upon the work full of ardour and strength,
and was speedily surrounded by a crowd of pupils from the fam.llles of
the nobility and influential people near Milan and Lodi. She was,
however, but a year or two in Lodi ere her husband fell 111, and for the
last few years of his life was devotedly attended to by his wife His
means were considerably reduced, and Mrs. Cosway's own fortune had
been sunk in the establishment of her college at Lodi.
Many friends, notably the Udneys, as already mentioned, however,
gathered around the paralyzed painter and cheered him in his latest
days, and his wife's presence and a complete reconciliation between them
enabled him to spend his old age in contentment and joy. After his death
she generously pensioned three relations of her husband, Elizabeth and
Jane Cosway and Mrs. Maddlson, and eventually remembered them also
In her will, and having arranged the deeds relative to these pensions, Mrs.
Cosway left again for Italy in order to take up her old position. During
her absence, the nuns of a religious order had given an oversight to her
college. In 1829 she returned for the last time to London, in consequence
of some difficulty attending the realization of Cosway's property, which he
had left entirely to her. This was her final visit to England, and from hence
forth her life was spent abroad, mainly at Lodi, but occasionally she went
to Como, and on into Austria and Vienna, but never returned to England.

CHAPTER VL
THE BARONESS COSWAY IN ITALY.
IN 1830 Mrs. Cosway determined to make her college into a religious
house. She purchased the buildings from the heirs of the Duke of
Lodi, and with permission from the municipality and the government she
endowed the establishment. With the authority of the bishop of the
diocese, she attached her buildings to the church of Santa Maria della
Grazle, making doorways from the college into the church, and providing
a large grille and proper accommodation both for nuns and pupils, that they
might be present at Holy Mass without being overlooked or disturbed.
In 1830 the hereditary Emperor of Austria, Francis I., desired to
establish in Milan a branch of the religious order called the " English
Ladies" — "Dame Inglesi" — an institution devoted to the cause of
female education, and which had already successful establishments In the
states of Austria and Germany.
Mrs. Cosway most readily fell in with this idea, and gladly consented
to merge the small order which she had originated into the much larger
organization of the "Dame Inglesi."
The mother-house of S. Ippolite in Austria sent two nuns to instruct
the religious at Lodi, and the new community accepted the rule of the
larger one, and became a distinct branch of the order,
This order, which should more accurately be termed the Institute of
the Blessed Virgin Mary, was originally a congregation formed in the
seventeenth century by Mother Mary Ward,-^ but suppressed by the Holy
See.^ It was reconstructed after her death, and approved by Clement XI.
In 1703, and finally by Pius IX. in 1877. In Germany, Austria, and
Italy it Is generally known by the name of the "English Virgins" or
" English Ladles." The English houses of York and Hammersmith
were founded toward the close of the seventeenth century by Frances
Bedingfield, a daughter of Francis Bedingfield, Esq., of Bedingfield,
' " Life of Mary Ward." Coleridge. Burns and Oates.
" Religious Houses of the United Kingdom." Burns and Oates.

THE TWO CHILDREN OF WILLIAM, FIFTH
DUKE OF DEVONSHIRE. GEORGIANA,
AFTERWARDS COUNTESS OF CAR
LISLE, AND HARRIET, AFTERWARDS
COUNTESS GRANVILLE.
Collection of the Hon. Blanche Pitt.

.MRS. SHERIDAN.
Collection of Dr. Propert.

GEORGE IV. WHEN AN INFANT.
Collection of Dr. Propert.

THE BARONESS COSWAY IN ITALY. 55
Suffolk, and were for a hundred years the only convents in England for
the education of the daughters of the Catholic nobility and gentry.
The convent of St. Mary, MIcklegate Bar, York, founded in 1680,
still remains, and continues its useful work, and is the oldest existing
convent in England. The Irish branch sprang from York, the foundress
of its mother-house, Loreto Abbey, at Rathfarnham, Mother Mary
Teresa Ball,' liaving made her novitiate in York.
In Ireland the order Is usually known as that of the " Loreto Nuns,"
and the convent at Rathfarnham, founded In 1822, has houses depending
upon it In America, India, and many of the British colonies and
dependencies. There is a house of the same order in Ascot ; a large one
at Haverstock Hill, known as Gifford Lodge, England Lane, founded
from Nymphenburg ; a convent in Upper Moss Lane, Manchester ;
another at Leek, and about eighteen or twenty houses in Ireland. There
are two distinct congregations of the order, each governed by a generaless,
one with its headquarters in Austria, and the other in Bavaria. It was
this order which Mrs. Cosway established in Lodi, and there It still
continues its excellent work in the same buildings.
In 1834 the Emperor Francis I. visited the convent, inspected it
very minutely, expressed his entire satisfaction with its work, and In token
of his respect for Mrs. Cosway, and in recognition of her self-denying
labours and munificent generosity, created her a baroness of his empire
and gave her a grant of arms. The original patent is carefully preserved
at the convent, and is a very fine piece of emblazonment on vellum, and
richly bound in book form in morocco.
In 1835 a further honour was paid to the Baroness Cosway, as she
must now be styled. Her Imperial Majesty the Empress Maria Carolina
visited the convent, and bestowed upon all the details and work of the house
an even more minute scrutiny than had been given In the previous year
by her august consort, going as far as to examine the books and accounts.
The scrutiny was perfectly satisfactory, and a substantial mark of her
majesty's approval was bestowed on the house. Francis I. died in March,
1835, and in the same year the archduke and archduchess, who were
viceroys In Lombardy, accompanied by Count Hartig, the Governor of
Lombardy, visited the convent, paid great compliments to Its foundress,
and ratified the favours granted to It.
In 1830 the baroness made over the sum of four thousand pounds
steriing toward a further endowment of the religious order. In 1833 she
' "Life of Mother Teresa Ball." Coleridge. Burns and Oates.

56 RICHARD COSWAY.
added other houses and more money, and undertook to bequeath to it all
her remaining estate. In that year the convent first fully answered to
its purpose as a conventual house by taking novices and having nuns fully
professed, and the bishops of Lodi, Mantua, and Pavia officiated at the
profession of the candidates. In 1836 there were sixteen religious within
its walls, exclusive of the two from S. Ippolite, and there were over sixty
pupils. In the spring of 1835 the baroness left Lodi for a time,
journeying to Rome and Vienna, and visited other houses of the same
order. At Vienna she was presented to the new emperor, Ferdinand 1.,
who treated the old lady with every mark of esteem and benevolence, and
bestowed very much favour upon her.
She then returned to her beloved Lodi, continued her labours,
managed the house and all Its varied cares and duties, and taught in the
school up to the very day before her illness. She was suddenly seized
with apoplexy about Christmas time, but was conscious up to the very
last moment of her life, and able to give full instructions as to her funeral,
her property, and her beloved college. She died in the evening of the
5th of January, 1838, having received the last sacraments, and fortified by
the rites of the Catholic Church, and surrounded by all the religious of
the order. Her death was regarded as a public calamity in Lodi and in
Milan, and her funeral was a most imposing sight. It was attended by
representatives from the Imperial family, the reigning dukes, all the
neighbouring municipalities, and many of the religious orders and con
gregations. The remains were burled in the church of Santa Maria della Grazle,
In a vault under the chapel which appertains to the use of the nuns, and
a monument erected to her memory. The inscription on the wall may
be thus translated : " Pious religious
and devout young ladies,
gather here to pray for the soul
of the Baroness
Maria Hadfield Cosway, widow,
who
in the year 18 12 erected
this College della Grazle,
who for many years
governed It wisely,
and with wise counsel

COLLECTION OF FRANK WOODROFFE, ESQ.

THREE LADIES OF THE RUSHOUT FAMILY.
r.Y ANDREW PLIMEU.

THE BARONESS COSWAY IN ITALY. 57
entrusted it to the Dame Inglesi
in the year 1831,
and has gone into the hands of God
the 5th of January, 1838.
Deposited in the vault of this sacred edifice, where in the communion
of your grateful and fervent prayers she is awaiting the day of the
blessed resurrection."
The municipality of Lodi erected a fine bust in marble of the deceased
baroness at the end of the large reception room (salone) In the college,
and placed upon it an inscription which may be thus freely translated :
" To the memory of a celebrated woman, Baroness Maria Cosway,
foundress of this flourishing college, established In 181 2, provided with a
perpetual endowment in 1829, and entrusted with royal assent to the
Institute of Dame Inglesi in 1830, and extended in 1838, the commune of
Lodi, protectors of so much benefit, erected this monument in affectionate
gratitude, 1839."
It should be mentioned also that the " Gazetta Privilegiata di
Milano," of February 11, 1838, issued a .special edition and a lengthened
memoir of the deceased lady, written in a spirit of sincere gratitude for all
that the baroness had generously done for her country, and for the town
of Lodi in particular.

LORD RIVERS.
BY R. COSWAY, R.A.

CHAPTER VH.
THE BARONESS, HER COLLEGE AND HER FRIENDS.
NOTHING can well be more interesting than is a visit to the
college founded by the baroness. The small town of Lodi is
quite easily accessible by rail from Milan, and the college is within a
short drive of the railway station. The buildings are grouped around a
central quadrangle with colonnade, an-d are arranged In picturesque con
fusion. It is not easy, however, to obtain any admission, and to the
ordinary tourist the gates are straitly closed, as the work of the religious
would be seriously Injured by the presence of constant visitors.
It may be well also to mention that whatever the college possesses
In the form of papers, letters, art treasures, and relics of its foundress and
her husband are not shown to visitors, and as they form an Integral part
of the endowment of the house, providing no income nor financial advan
tage, they can only be treated as unalienable heirlooms, and the college
has no power whatever, even if it had the slightest desire to do so, to
part with a single Item.
It Is desirable that these facts should be made perfectly clear, because
the present demand for engravings and drawings of Cosway's period
might cause some enterprising person to journey to Italy and try to
induce the good nuns to sell the few treasures that they possess, and also
that the kingdom of Italy, thinking it possible that under some circum
stances sale would be carried out, might take steps to prohibit it, or tax
the nuns for the possession of the things. Let It therefore be carefully
noted that sale is absolutely impossible, and that admission to this house
of nuns Is equally impossible unless the visitor be provided with proper
letters of introduction to the reverend mother.
The accepted visitor, on entering the house, and especially the
parlour, is at once struck by the curious English appearance of the rooms,
so unexpected in Italy.
The furniture brought by the baroness from England still adorns

AT LODI.

THE WALL OF THE DINING-ROOM OF THE COLLEGE AT LODI SHOWING THE REPLICA
OF cosway's TOMB.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 59
the rooms, and much of it is covered either in English woollen material,
or in woolwork, or other needlework, made by the baroness herself.
The most interesting room in the house is the original dining-room.
It is decorated on all four walls and on the ceiling with painted scenes
transforming it into an arbour. There is trellis-work, having vines in full
fruit climbing upon it ; there are distant views of mountains, vineyards,
and orchards ; there are trees in the foreground, and there are rocks,
caverns, and stones. The whole effect is very Italian and remarkable.
It has never been disturbed, and is as vivid and bright In Its colouring as
it was eighty years ago. The baroness, sitting at the head of her table,
had her back towards the large window, and on her right hand, on the
wall against the painted trellis- work, is depicted a copy of the tombstone
that she erected to her husband's memory. The medallion is in relief,
and an exact replica of Westmacott's work ; the lower part is only painted.
Near by is an imitation cavern, in which was the fireplace, while on the
opposite wall, immediately facing the tombstone, has been erected a
fountain, hollowed out in the wall and decorated with imitation stonework,
intended, in the words of the baroness, "by its bright and living move
ment to remind her that the tomb opposite to it only commemorated one
who yet lived while he slept."
Her Majesty's consul-general in Florence, Sir Dominic Colnaghi,
to whom I am most warmly grateful for the kindest of help and encourage
ment in my work, was good enough to send me two extracts from family
journals which have reference to this very curious room, and which are
subjoined herewith. The first is taken from a journal written by Sir
Dominic's grandmother, Mrs. Paul Colnaghi, during a visit to Italy In
1826. Mrs. Colnaghi was a particularly observant old lady, unfortunately
very deaf She sent this diary to her family in England. Her husband was
the well-known printseller, founder of the business to which Sir Dominic's
father succeeded. The second extract is from a letter written by the
daughter of Mrs. Paul Colnaghi, Francesca, to her family In 1845, nearly
twenty years after the visit to Lodi, at which she had also been present.
She was in 1845 travelling with her sister and her sister's husband.
The extracts, which were found by the present Miss Colnaghi
amongst some old family papers, describe in the most charming manner
the life at Lodi. Extract from Mrs. Paul Colnaghi's Journal.
"Sunday, July 29th, 1826. Father has received an invitation from

6o RICHARD COSWAY.
Mrs. Cosway to go to Lodi. Carriage at the door at seven ; took a cup
of chocolate, and were off at half-past. Arrived at Lodi at half-past ten,
after travelling through fine roads : different grain growing most luxu
riantly ; the weather, if ever so dry, makes no difference, they have wide
channels each side between the pathway and fields. We were five in our
calecha. . . . Mr. Ferdinand Artaria and his friends went on before.
All were received politely, but dear Mr. Colnaghi was the idol. All the
cabinet pictures were unlocked one after the other, and Mrs. Cosway and
Father were Inseparable. Two ladies took the rest of the company
round, showing what was beautiful. Then the company went to Mass,
save Fanny and I, who remained with Mrs. Cosway, who took us into
several rooms full of prints, drawings, and curiosities : then to her balcony
filled with flowers, all beautiful, some curious. . . . Then Father took
me out to see the bridge of Lodi, where a famous battle was fought ; some
places standing that have received shells and balls ; the gate and many
places rebuilt. Returned, took lemonade, shewn over the house, Father
and Hostess side by side, the rest following. The house like a town (it
being the College of Lodi, left to Mrs. Cosway by the Duke on condition
of keeping It up) ; ball-room, eating-room, bed-rooms, painted with fine
views, the walls of the ball-room representing the four quarters of the
globe. She has sixty young ladies to educate. Where we dined was
painted as a large garden, with fine romantic views, trees, vines, etc., and
so relieved that you might fancy the leaves gently moving. The fireplace
a cavern as If cut out of the rock ; nearly opposite a fountain continually
playing. Dinner ordered to accommodate our return. Mrs. Cosway led
Father, seated him on her right hand. Mama on her left. Maccaroni soup,
frittata of liver, brains, and other delicious fare; boiled beef, sausage.
That course removed, a fine bouquet of flowers in a china vase was placed
on the table. A dish of veal with truffles, merenda of peaches, roast
turkey, custard pudding, roast veal and rice patty, wines and fruit of
different sorts, cheese ditto ; a fine dish of ice as hard as that on Mont
Cenls. Father and Mrs. Cosway In conversation all dinner time, After
wards we withdrew to a neat room, where coffee was served ; then to walk
In the garden, which was delightful. We ascended, I believe, to the
height of the house by an easy winding path, where we saw from different
points, towns, roads, and fields as far as the eye can reach ; then returned
to the house through alcoves of vines, and were ushered Into the music-
room, where eleven chosen young ladles played on pianos in concert. In
the garden again, where the gentlemen amused themselves in working

AT LODI.

THE BARONESS COSWAY IN THE COLLEGE AT LODI SURROUNDED BY THE NUNS
AND THEIR PUPILS.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 6i
the engine and sparkling water over each other till the conveyances were
ready, and off we set, and arrived at Milan at eleven o'clock."
Extract from a Letter written by Miss F'rancesca Colnaghi
IN May, 1845.
" We stopped a short time at Lodi. . . . We lunched at a very fine
inn, the master of which was extremely polite, giving us all the informa
tion we required, more especially about Mrs. Cosway, who some time after
we dined with her (now twenty years ago) had the title of Baroness
conferred upon her. She has been dead only a few years, and the school
she presided over has not retained the reputation it had under her care.
Shall I ever see Lodi again ? The last time I was here our dear father
was with me . . . and there was a merry company assembled round the
old lady's table, and she was lively and Intellectual In spite of old age,
whose touches, though seen and felt, were resisted successfully by activity of
mind and body, keeping even death at bay. She must have been past
ninety when, as the Scripture says, ' she fell asleep.' Her husband died
In England, but his wife kept his ' memory green in her soul' in Italy
by erecting a monument in her dining-room, consisting of his bust,
beneath which was a funereal urn embellished with attributes of painting,
and by its side a small fountain whose waters welled with a gentle and
perpetual murmur. Inscribed on a tablet were these words, ' Non Patria
sed Uxor.' "
The upstair room at the college, to which the letter makes reference,
is the drawing-room known as the Sala Rosa. This room, which contains
a fine English clock, is full of English furniture of a period and style
which can only be termed Interesting and not artistic, but It contains a
great picture which is reproduced In these pages. It is the work of an
able Genoese artist, and depicts the old baroness seated, surrounded by
her pupils, and having with her certain of the nuns who assisted her.
These nuns are clothed in the picturesque dress of the order, a habit
still worn in our own and other countries, but which has had to be dis
carded for a more secular-looking habit In unhappy Italy, in order that
the prejudices of the secularist and masonic freethinkers may not be
offended by the sight of religious attire.
There are many other pictures in the room, notably a very fine
painting by Cosway of himself, which is not, however, in very good
condition, but is so characteristic that it is reproduced. The remaining
pictures are either by Cosway or by the baroness, mostly by the latter, and

62 RICHARD COSWAY.
are copies of well-known pictures by old masters, and not original com
positions. There is, however, a charming exception in the form of a
most Interesting portrait by the baroness of the much-loved child whom
she lost. It represents the little one as a baby in a natural and child
like attitude. It is very sketchy in its treatment, and was evidently
hurriedly drawn from life, but is admirable in verve and expression, and a
charming piece of rapid work.
A small room downstairs is called the " Studiolo," and amongst
other things it contains tw^o drawings by Cosway in pen and sepia
representing himself and his wife In fancy costume. One of them is
reproduced, as also a " Magdalen " by Cosway In the same media, a fine
piece of powerful drawing. There Is an autograph Inscription under the
portrait of the artist in curious polyglot language : " R. Cosway fecit lui-
meme a I'age de 30 ans."
An Interesting pastel portrait, labelled " Lady Cooper," hangs in
another room. It is a clever production, and is probably the work of
the baroness. It was in the library, however, that I found the greatest
Interest when I visited the college, and it may be well for me here to
express my gratitude for the assistance given me at Lodi In the compilation
of this record. I cannot possibly speak too highly of nor be too warmly
grateful to the Reverend Mother Signora Virginia {in religion) for the
most considerate hospitality and the generous manner in which everything
that the convent possessed was displayed for my information. Papers and
letters that after the death of the baroness in 1838 had been sealed and
put away, and some of which the superior herself had never inspected, as
they concerned in no way her religious and educational work, were opened
for me, and all were carefully examined. From them I made what extracts
I pleased, and they are now again consigned to the safe custody of the
officials of the house, and the opportunity given to me will probably never
again occur. The Reverend Mother was most ably seconded in her
good works by an Irish nun. Sister Joseph FItzpatrIck, and it is to the
kindliness of these two most estimable and generous-hearted ladies that I
am able to open this hitherto sealed page of history. The library is
surrounded on all sides by book-cases. Many of their contents are
educational books, ordinary Italian literature, or classical works. There
are no volumes of special value, but very many of the books are intensely
interesting, in that they belonged to Cosway and were used by him and
cherished by his widow. There are some of his sketch-books, full of
wonderful work ; there are drawings by his hand ; a few of his miniatures,

AT LODI.

PEN AND INK DRAWING BY COSWAY IN THE " STUDIOLO,"

^

RICHARD COSWAY. BY HIMSELF.

MRS. COSW.VY. BY COSWAY.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 63
not of the first order ; and there are some of his beautiful stained drawings.
Amongst other items there are four pencil portraits with tinted faces, one of
which only is named, and which represents Mrs. Dawson Damer, of
the same series, evidently, as those which belong to Lord Tweedmouth.
There are some portfolios of drawings by the Old Masters, including many
a remarkable composition, and there are also specimens of engravings
from Cosway's works, and an interesting collection of old prints. Amongst
other treasures it was pleasant to find the original copper plates for two
collections of drawings by Cosway that the baroness issued in 1826
in memory of her husband, but which in Italy met with but little support.
The collections were issued under the following title :
" DIsegni scelti portafogli (or piccolo libri, in the other set) del
celebre R. Cosway possoduti dalla di lui vedova Maria Cosway, Firenze,
presso I'incisore Via della Scala 4355, 1826."
Of much greater interest, however, I was delighted to find, carefully
rolled up, the original diploma of Richard Cosway as an Academician of
the Royal Academy, dated the 20th of July, 1771. I was, however, sorry
to find rolled up In it the original similar diploma belonging to Mary
Moser, which was dated 15th of December, 1768.
Leaving the library with all Its delightful relics, I was taken into the
salone, and inspected the marble bust of the baroness, to which reference
has already been made. I visited the dormitories for the pupils, and was
impressed by the dignity of the high old-fashioned rooms, by the spotless
cleanliness of the place, and by the punctilious attention paid to details
of health, fresh air, cleanliness, and comfort, for which one often vainly
looks in Italian schools or houses. Washing-rooms, kitchen, offices,
studies, one of which was decorated by a splendid picture, given by
Cardinal Fesch, music-rooms, and in fact almost every portion of the
house, usually severely closed, was opened for the inspection of my wife
and myself, and everywhere we were distinctly impressed by the quaintly
English aspect and regulation of this Italian house. The garden was
beautiful, rising on to an eminence and commanding splendid views ; it
was well arranged and charmingly kept. The playground, the abode of a
happy group of girls, and fitted up with swings and other amusements,
and decorated with rows of fine orange-trees, presented a bright and
cheerful appearance. In the science room was a collection of geological
specimens, another of coins, and many an important object in natural
history, and a very fine telescope, as the Reverend Mother -is no mean
proficient in the science of astronomy. I was taken into the very room in

64 RICHARD COSWAY.
which the foundress died, now considered sacred, and only occupied by
the Reverend Mother, and then, after having had the honour of seeing
the bishop of the diocese, who had already from his archives supplied me
with a copy of the will of the baroness, and shown me the original, I
visited the church. There are actually two churches in the college. One,
the large church of Santa Maria della Grazle, attached to the building,
having its separate chapel for the nuns, its entrance and the grille for the
use of the religious, and the other, the smaller chapel belonging to the
house Itself. Under the high altar of the convent chapel is preserved
the entire body of an eminent female saint, and in order to confer the
greatest honour upon us, we were permitted in the most solemn manner
to view these sacred relics and have them specially exposed for us by
the nuns. Not least amongst the pleasures of this visit was the introduction to a
very aged nun, who was able to proudly boast that she was the godchild
of the foundress of the house.
My readers will pardon my final reference to one purely modern and
everyday question. It was the Academla of the school the week of our
visit, and the exhibition of talent in elocution both in Italian, French,
German, and English was remarkable. The music was of the highest
possible order, but the needlework was simply astonishing, and never
before nor since have we ever seen needlework, lace, and embroidery of
such exquisite beauty. The girls in their neat uniform, meeting their
parents and guardians, and the trustees and officials of the town on this great
day, looked pictures of health and joy, while to glance at their names and
to read Sforza and Toscano, Colonna and Medici, was like turning over
a page of Italian history. In an appendix are given a few details as to
the college that a sense of gratitude to the Reverend Mother and nuns
compels me to add.
But little as to the baroness remains to be said. The college did not
succeed to the bulk of her property as she had intended it should, but
was defrauded out of very much by an evil-principled lawyer, who fled to
America with his spoils.
The house was also Involved in a lawsuit in order to recover the
property bequeathed to it, and in case that any reader of this book may
be more fortunate than I have been in obtaining details of this suit, and
particulars bearing upon matters of public interest as to it, I append its
name and that of its solicitors. The suit was Gludici versus Kenton,
and the solicitors, Messrs. Thomas and S. H. Gill, of 43, Lincoln's Inn

A VIEW OF THE COLLEGE OF "DAME INGLESI" AT LODT.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 65
Fields, and Charles Shaw, of Princes Street, and the date from 1838
onwards. The money that the baroness left with Messrs. Hammersley,
the bankers, of Pall Mall, seems also to have been lost to the college,
owing probably to the serious condition of Messrs. Hammersley's affairs
in 1840. I have striven unsuccessfully to obtain more information as to
the account of the baroness with the bank, and the fate of her somewhat
large balance. Mr. H. Dudley Ryder, of Messrs. Coutts and Co., who
took over the current accounts, has been most considerate and assiduous
in his ready help to me. Mr. W. J. Fladgate, of Fladgates, of Craigs
Court, the solicitors to Hammersley's Bank, has also most cordially aided
me, but the books of the bank have been destroyed under successive
orders of the Court of Chancery, and the certificates and transcripts in
Johnson versus Hammersley that remain, and all of which I have inspected,
yield no information of public importance.
By the kindness of the Reverend Mother I am enabled to give in
full two inventories, dated 15th January, 1838, of all the effects of the
foundress of the house that were catalogued after her decease, and to it
are appended certain contemporary notes relative to the existence of the
things therein named. Most of the Items cannot yet be traced, and it
is not even known to whom they were sent in Milan, nor for what
purpose they were so sent. With this is given a copy of the will of the
baroness, which was most graciously placed in my hands by the Lord
Bishop of Lodi, Monseigneur Giovanni Battista Rota, in whose custody
the original remains. These documents-are as follows :
27 July, 1829.
This is my last will and testament, Maria Louisa Catherine Cecilia
Cosway widow, now resident at Lodi near Milan in Italy.
I nominate and appoint John Soane gentleman member of the
Royal Academy living at Lincoln's Inn Fields and Prince Hoare gentle
man, living in Norfolk Street Park Lane, testamentary executors of this
my will. I give and bequeath to them the said John Soane gent, and Prince
Hoare gent, all and every share of mine (capital) and shares of stocks in
the bank (bank stock) public funds (capital) of whatsoever description,
moneys, securities, or cautions for money either in the hands of my
bankers or of my solicitor or elsewhere in Great Britain and whatsoever
may be due to me at the time of my death whether in your hands or
in those of others or in reversion, residue or estate and I request and

66 RICHARD CO,S\V.\^'.
command the said John Soane and Prince Hoare to retain the said shares
of Bank stock moneys and other property In trust for and to dispose of
them to the persons named below and mentioned, so soon as they may be
conveniently to do after my death ; that is :
^500 I give and bequeath to Maria wife of Henry Whiting
(deceased)' gent. ^500 for her sole and separate use for which her receipt
alone without the addition of that of her present or future
husband will be sufficient satisfaction to my testamentary
executors as a receipt for the total sum. I give and bequeath
(leave as a legacy) to Henry Whiting gent, husband of the
£s6o said Maria .^500.
I give and bequeath to Elizabeth Cosway marriageable
cousin of my late husband Richard Cosway, gentleman, the
^100 sum of ^100 sterling.
I give and bequeath legacy to Jane Cosway marriage-
^100 able sister of the said Elizabeth similar sum of ^loo.-
I give and bequeath to my beloved sister Charlotte
Hatfield widow of William Coombe, gentleman, now In
^1000 Ireland the sum of ^1000 for her sole and separate use and
I declare that the receipt of my said sister alone will be
sufficient guarantee (satisfaction) for my said testamentary
executors. I give and bequeath legacy to Mdlle. Annette Prodon
of Lyons now French Mistress In my Establishment at
^1000 Lodi the sum of _^iooo and this as a mark of my friend
ship for her having been attached to me for many years.
My testamentary executors should send the sum to the said
.'lunette Prodon as soon as convenient,
I give and bequeath to Miss Charlotte Jones of Upper
^200 Berkley St. Portman Square the sum of ^200 and whatso
ever she may have of my account or belonging to me, I order
my executors John Soane gent, and Prince Hoare gent, to
pay the sum which may remain In their hands after having
paid the said legacies, all the residue and the remainder of
my goods, furniture, money, and securities — sureties or for
money and other effects of whatsoever nature and kind In
whatever place In the United Kingdom of Great Britain and
Ireland they may be, I order my executors to transmit this
my residuary property to Cavaliere GiudicI Consigllere di

THE REST IN EGYPT.
Sold at Christie's, June ist, 1896.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 67
Governo Contrada degli Amenonini at Milan In Italy and to
pay the amount of this according to his instructions or as he
may order or direct within six months after my decease.
I have invested a sum of money In the public funds of
Great Britain and by means of a deed I have provided that the
Interest from this be paid to Elizabeth Cosway, Jane Cosway
and Mrs. Elizabeth Maddlson as particularly mentioned in
the same deed and for and during the term of their respective
natural lives, in the proportions specially noted in the deed
but with this provision that the entire sum or such portion of
the same sum invested by me In trust In the said deed which
might remain in the name of the said trustees at the time of
my death should on the death of the said Elizabeth Cosway,
Jane Cosway or Mrs. Elizabeth Maddlson or of any one of
them be received by the executors of this my will and should
be paid to the said Cav. Gludici Consigllere etc. who by
means of my Codicil will be instructed as to the use to put It
to and since I am interested In the College at Lodi Instituted
by me for the education of women which is superintended by
me I have made a disposition of my property at Lodi and
elsewhere in Italy by means of a will according to form.
Now I hereby declare that I certify my said will as regards the
disposition of my property in Italy therein named In every particular and
1 declare It to be my last will and testament respecting the disposition
of my property in Italy as I do also with the present and respecting my
property of every description within the borders of the United Kingdom
of Great Britain and Ireland.
I order my executors to retain the total sum of expenses and costs
which may be incurred in proving this my will and In executing its con
tents and I declare them responsible each one singly for his own acts
and not one for those of the other. For the belief of which I have written
this will entirely with my own hand and signed my name to It this 27th
day of July 1829=27 July 1829.
[Signed) Maria Louisa Catherine Cecilia Cosway.

The will is wrapped in paper, In w.hlch was written In the hand
writing of the testatrix as follows :

68 RICHARD COSWAY.
" Copy of my last will and testament is in the hands of H. Ham
mersley, Esq., my banker. Pall Mall, London."
Note of the Pictures, Engravings, and other Works of Art
by Richard Cosway.
I. Portrait of Richard Cosway by himself, in a carved and gilded
frame. (Collegio.)
2. Two small pictures by R. Cosway, one representing Religion, the
other a standing figure embracing a cross and four angels. (Sent to
Milan.) 3. Drawing executed with two pencils, representing the Saviour with
the Sphere by R. Cosway. (Retained.)
4. Two oil paintings by R. Cosway. (Bequeathed.)
5. Picture representing Aurora in chiaroscuro by R. Cosway. (Be
queathed.) 6. Small picture in a gilded metal frame, containing a drawing of a
female figure under glass. According to an inscription it is a portrait of
the Countess of Guilford executed by R. Cosway. (Bequeathed.)
7. Picture in gilded metal frame, containing a portrait drawing of the
Prince of Wales done by R. Cosway, as we gather from an inscription on
the back under glass.
8. Portfolio in blue morocco, lined with the same, containing forty-one
drawings by R. Cosway.
9. Small picture of the Madonna and Child by R. Cosway, in an old
gilded frame. (Sent to Milan.)
10. Oil painting of the Nativity painted by R. Cosway, in gilded
frame. II. Two little oil paintings in chiaroscuro, copies from Rubens by
R. Cosway. They are portraits of Rubens and his wife, framed in black.
(Vice Regina.)
12. Oil painting of the Madonna and Child by R. Cosway, in gilded
frame. (Collegio.)
13. Oil painting of the Madonna and Child, with a small basket of
cherries ; original painting by R. Cosway, in gold frame. (Bequeathed to
the Superior of San Polten.)
14. Oil painting of the Madonna and Child. Copy by R. Cosway from
Parmegianino ; gold frame. (Sent to Milan.)
15. Oil painting representing a "Rest on the Flight to Egypt;"
original painting by R. Cosway, in gold frame. (Sent to Milan.)

THE BARONESS, HER COLLEGE AND HER FRIENDS. 69
16. Oil painting representing General De Paoli, the work of R.
Cosway, in gold frame. (G. D. Toscano.)
17. Oil painting of a youthful woman teaching a child to read;
original work by R. Cosway in gold frame. (Kept in the College.)
1 8. Oil painting representing the " Agony in the Garden ; " copy from
Correggio by R. Cosway ; gold frame. (In the College.)
Richard or Maria Cosway.
I. Another portfolio in the form of a book, red morocco, containing
sixty-three drawings executed partly in pencil, partly with the pen ; some
of the sheets are loose. (At Milan.)
2. Another portfolio in the form of a book, red morocco, containing
ninety-six drawings, pen and pencil as above. (At Milan.) [This was
sold at Christie's, in June, 1896. — Author.]
3. Another leather portfolio, light blue, with lining of the same, con
taining forty different drawings, (At Milan.)
4. Another portfolio bound like a book, of marbled leather, lined
partly with red paper and partly with cinnamon-coloured stuff", containing
various drawings, the first of which is numbered i, the last 81. (At
Milan.) 5. Portfolio of red cardboard with green morocco outside, containing
thirty-two drawings. (At Milan.)
6. Portfolio of ash-coloured cardboard, leather outside, bound like a
book, containing many drawings fastened to the pages of the above-men
tioned book, with engraved borders. The number of the drawings is
marked in pencil on every page ; at the end we have No. 1 14. (At Milan.)
7. A similar portfolio in pasteboard, with the pages adorned like the
preceding, to which minor drawings are affixed ; the number goes up to
117. (At Milan.)
8. Another similar one ; at the end the number of the drawings is
marked 108. (At Milan.)
9. Case of worn leather stamped in gold, the flap fastened on like the
lid of a box, opening with a spring, containing a book of stamped red
morocco ornamented with gold, with white pages ; among which are a
number of little portrait drawings. The said book is bound round with
a strap of red morocco, fastened with a steel buckle. (At Milan.)
10. Book bound in leather in a marbled paper cover, containing sheets,
ten of which have crayon (pencil) drawings, the remainder are in white.
(At Milan.)

yo RICHARD COSW.VY.
1 1. Book bound in rough leather with a brass clasp, containing sheets
on some of which are drawings. (At Milan.)
I 2. Portfolio bound in white parchment, with a coat-of-arms In gold
stamped on both sides, lined with green cloth, containing various small
engravings of portraits. (At Milan.)
There are two persons still living who are connections of Maria
Cosway, Elizabeth Molla, a widow, at Porta Linga, Varese, and the
Vidua Spenta, at Pavia.
Charlotte, the only sister of the baroness, married William Combe,
the comic poet, who was the author of the " Tour of Dr. Syntax In Search
of the Picturesque," published In 1812. The marriage did not take, place
until Combe was a man of seventy-six years of age and a prisoner in the
Fleet, the bride having passed her fortieth year. In every way the union
was a distressing failure, and Charlotte Combe very speedily left her
husband. He died on June i8th, 1823 ; but shortly before his decease a
curiously-spelled but interesting letter was addressed to him by the
baroness, which, by the kind permission of Sir Philip Currie, 1 am enabled
to give in extenso. It is as follows : " LoDi 24 /any, 1823,
" Dear Sir
" It was not my intention to trouble you as I thought I should hear
of you from Charlotte, and that also she would communicate to you what
I was anxious about before my departure from England, but I find from
her last that there must be a very great misunderstanding between us,.
which has much distressed me. When we taulkd of having some Me-
molres written on M' Cosv.'ay and agreed no one more able than yourself I
was happy to see you undertook it. At the same time we taulkd of
publishing a Correspondence Etc, and Travelles Etc, of myself, of which I
felt somewhat awkward about and taulking of it with some persons, what
they observed on It discouraged me and made me think not to press that
part tho' it might have been announced for a future opportunity ; my
delicasey was also on account of some of those persons being living. With
this determination I told Charlotte to return me my letters and those which
regarded only myself and were not of use to you, as I had a particular
objection to her taking them to Ireland, had she remained In London (since
she seem'd determined not to come with me) who could I put my trust to
better hands ! However, whether she was offended, or hurt on the sake
of her friends — She returned a bo.x which 1 never opend for want of time

MINERVA DIRECTING THE ARROWS OF CUPID.
Sold at Christie's, June 1st, 1896.

THE BARONESS, HER COLLEGE .VND HER FRIENDS. 71
—I am positively sitre she said she had taken to translate those you Jiad
chosen and were necessary Etc I thought this settled, and told her I had
several journals and letters here that I should send by the first opportunity
I was anxious to know if you went on ; In her first letter (for I have had
but two) she told me a long history about M"'' Udny's letters, and of a
visit she had from a gent: on the subject, which I thought as obsurd as
extraordinary, for Charlotte might have said she had destroid them. Now,
Sir, after all this detail whether I have or not well explained I hope you
will judge that I must feel uncertain on the subject, which induces me to
address myself to you. I have been looking for an engraver to give those
portraits and sketches which I thought would illustrate the work — I left
to Charlotte's care the only small plates etched by M'' Cos, himself, which
I thought would be interesting. In short what could I do more ? I
wished much to see you before I set out, I told her so, but the uncertainty
of your being able to come — not knowing how to contrive it and the many
things I had to do In those last days, made me lose this satisfaction. I
may be mistaken — but I always thought that. her friends have ingrossed so
much on her good nature and they have used such means to keep her to
themselves as she is very usefuU to them that the feelings of blood and
friendship in me go for nothing. I said and did all I could to Induce her
to come with me, but could go no farther when I found more attraction on
the other side — May it be for the best. But I beg. Sir, that this may rest
ejttre nous and that you will never mention to her what I have said — was
It not natural that two sisters should end their life together ? That I
should look on her as my only relative? But this Is what her friends feard,
and made me promise not to take her away.
" All these things prayed on my mind, which induced to do what I
have said above — but still I repeat this has nothing to do with what was
agreed to be done about M' Cosway — If you will favor me with a few
lines you will much oblige me, or intrust any message to M' Taylor or
Prince Hoare, to both I gave a message for you —
" Believe me. Dear Sir, yours sincerely '.' Maria Cosway.
"My address is Madame Cosway
"a Lodi, Via Milan"
After leaving her husband, Mrs. Combe went to Ireland and lived
with a Mrs. Curtis.

72 RICHARD COSWAY.
John Thomas Smith, in his work on Nollekens (1828), speaks of Mrs.
Curtis as of King's County, Ireland, "the steady friend of Mrs. Combe, a
lady remarkable for her benevolence, literary attainments, and most elegant
manners." He states that in his time "she still resided" with this lady,
" who treated her with all the kindness of a sister." An anonymous writer
of 1838 also mentions Mrs. Curtis, and speaks of her as an " Irish lady of
great literary attainments and most elegant manners." Unfortunately my
most careful efforts to discover information as to this lady, although pro
longed and numerous, have proved wholly abortive. Information in other
letters leads me strongly to the belief that papers and letters relating to
Cosway and his wife still exist, and are probably in Ireland, but like others
who have searched before me I also have to lament my inability to find
the missing treasures.
Much correspondence I have seen, but there is little in it bearing
upon the life or works of either artist.
One great friend of the family remains to be named — General Pasqua,le
de Paoli, a great Corsican patriot. He was born in 1726, and died in
London in 1807. He waged war with the French in 1755-68, was de
feated May, 1769, and came to England for refuge. He was made
Lieutenant of Corsica by Louis XVI. in 1789, and handed over the island
to George III. on June 17, 1794. The following year Sir Gilbert
Eliott was made viceroy, and a parliament was opened. British rule,
however, was very short, as there was a revolt in 1796, and the island was
relinquished in October of that year, and handed over to France, Paoli
having already left the country and retired to England, where he ended
his days. Cosway painted the portrait of this great patriot, and the
portrait was given by the baroness to the Ufifizi Gallery In Florence, where
it still hangs. With it was also given, so the late lamented Dr. Rossi of
the Bargello kindly Informed me, a casket of precious stones bearing the
following inscription :
"The Elector of Saxony, Frederick Augustus IIL, sent this casket as a
mark of friendship to General Pasquale de Paoli in the year 1774, and by
him it was presented to Maria Cosway in London in 1 789, and by her
given to the Museum."
The portrait is in oil, and is a very fine piece of work, perhaps the
best portrait Cosway ever painted in the unfamiliar medium of oil. It is
reproduced In small size in these pages.
Paoli himself thus refers to it in a letter addressed to Dr. Raimondo
Cocchi of Florence :

IN THE UFFIZI GALLERY, FLORENCE.

GENERAL PASQUALE DE PAOLI.
OIL PAINTING BY COSWAV.

AT LODI.

AN(;ELIC.V COSWAV as a baby, by MRS, COSWAV.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 73
"Isola Rossa {Corsica),
" December 7, 1768.
" You do not find the portrait by the Englishman like, but you must
know that I was then, and am still much changed." ^
With Paoli the Baroness Cosway kept up a constant correspondence.
They were on the most friendly of terms, greatly admiring one another,
and constantly seeking advice one from the other.
Three letters which have been hitherto unpublished, I have selected
from my own collection as possessing a certain curious interest and also
illustrative of the close friendship that existed between the two persons.
As they are in Italian, it has seemed better for English readers to supply
literal translations rather than exact verbatim copies.
There are 150 letters from and to the baroness, at the Museum of
Lodi, beside many others at the college and elsewhere, but they refer
mainly either to her travels or to the college, and are not of general
interest. One letter in my own possession, however, addressed to Mr.
Paul Colnaghi (already referred to), and having reference to the visit
already named, is of sufficient interest to repay translation and perusal,
and also one kindly lent me by Mr. Knipe, of 11, PZaton Gardens, West
Brighton, and which was addressed to John Landseer the engraver.
General Paoli to Mrs. Cosway.
" Honoured Signora Gossip,
" A Lady, clever as she is beautiful, who Is here just now, has lent
me the poems of Dr. Darwing. In them I have found a note upon your
picture of little Lubomirski. My leisure permits me to copy it, and to send
it to you with as many good wishes as you deserve. If you have not already
got them (the poems) this poet-physician, of no mean talent, is worthy to
be in your possession for the justice which he does you in a poem which is
now read by almost everyone, for it more particularly treats of a subject
with such figures, allegories, and also expression, as are capable of giving
life even to the driest bones, and it will therefore always be read in spite of
the scathing literary criticism of Dr. Mathius. It Is past half-past one, and
I have been out expecting the paper to have come to confirm the news,
given out for certain yesterday evening, that the fleet of Tolou had had an
encounter and been defeated, and that Buonaparte had been taken prisoner.
If they send him here, one might really say that he must have won the
' Lettere di Pasquale de Paoli, Archivio Storico, Tomo v., vi., 1890, p. 82.
L

74 RICHARD COSWAY.
esteem and respect of this nation, so great will be the marks of distinction
with which he will be honoured by all, and these to his good and generous
soul will be as great a consolation as though he had entered London amid
blood and carnage, and at the head of soldiers who might reasonably lay
claim to a large share of the glory and honour of the victory. And if after
the manner of the Roman conquerors the English should cause him to
appear loaded with chains, how many beautiful and generous hands would
not break them from off his feet to entwine them round his heart ! Ah, fair
ones ! It is you who have nourished and fomented the passion of the warrior
heroes who are the scourge of nations ! I fear the post is going.
" A thousand thanks to my good gossip for the letters sent to me.
Accept my homage, and believe me ever yours, "P. de Paoll"
" 7 October, 1793."
General Paoli to Mrs. Cosway. "Bath, March 30, 1798.
" Honoured Signora Gossip,
" I should have written to Pietris my complaints against you for
not having acknowledged the receipt of my last letter, but by good luck in
Pietris' letter I found yours, which has edified me, and has altogether dis
posed me to follow your wise, good, and saintly counsel in these days of
propitiation, so that you will no longer doubt of my orthodoxy, although
perhaps at this hour the poor Catholic Church may be without a head.
But what matter, her dogmas will endure so long as the world lasts, and I
believe them by the authority by which she has manifested them, and In
this put aside all the doubts which the weakness of the human mind would
strive to pass off as arguments to the contrary. The moral is good ; who
ever recommends it cannot have a bad disposition or be a liar.
" The air of Bath Is not so good as that of Clifton. After the holidays
I shall perhaps return there from being busy. " Receive my homage. "P. P."
Mrs. Cosway's Letter to General Paoli and his Reply to it.
" Dear Gossip,
" I send you a book, but not as a gift, only as a loan ; until you
find one, you are always immersed in philosophy or literature, but this is
the greatest of all. If you have no engagement this morning, and would

SIR WILLIAM JBURRELL, BART.,'* F.R.S., M.P.

COLLECTION OF GENERAL CRUTCHLEY.

THE BARONESS, HER COLLEGE AND HER FRIENDS. 75
go with me to Mr. Nolikens, you would give me pleasure and see some
fine engravings. My servant will come and tell you in which chapel
I shall be, and if you will fetch me you will do me a favour.
" Are you coming to Mass to-day ? The feast of All Saints ; that we
may meet among them some day is the hope of your ' gossip,'
" Maria Cosway."
Reply endorsed on letter.
" Just in the act of having my hair done, so my good gossip must
pardon me for replying in this way.
" Will read the book because you recommend it. I have not yet
opened it to see who is the author. The carriage is at your disposal.
Name the hour, because I could not come to your chapel, but after the
Mass of Portugal I will come and fetch you wherever you are.
" Always yours devoted " Paoli."
Letter in English addressed to Mr. Landseer.
" Queen Anne Street, East, 88.
" Dear Sir,
" Ever since I had your letters I have been enquiring in what I
could be of use to you. At last I have found what you requlred^some
information on the work of Egypt. M. Dutretre went by order of
Government with Bonaparte at the same time of Venon and others : he
made very large and distinct drawings. On his return he has had reasons
for not giving his Drawings to the forming their work, but Is going to
publish it himself When I mentioned you he seemed very deslro'js of
having some plates done by you, but he cannot send the drawings, and it
would be particularly necessary for you to come here. He cannot afford
to give great price, and wishes even to find some person who will join him
in this undertaking and share the expenses and the profits— the drawings
are very beautifull, and I have taken many people to see them, and all
agree they are very fine and much superior and more satisfactory than the
other work — that which is published by Government goes on very slow,
and is also paid but little — if what I have said can raise any wish in you
to come to any arrangement with Mrs. Dutretre, I will then enter more
fully into particulars, and send you all the exact Informations on the
subject. I have been asked for some young man who engraves in wood-

76 RICHARD COSWAY.
cuts, do you know of any who would come here, there would be employ
ment for him. " Remember me ever as yours most sincerely,
" Maria Cosway.
"Paris, 12 Jan., 1803."
" Dear Signor Colnaghi,
" Hearing that you are about to go to London I send you four
parts of the works of Lasinio ^ that I have this morning received from the
author on ordinary paper. I have addressed these prints of fine ladies to
your bureau in London. Sir Thomas Lawrence and others were awaiting
with anxiety those that were sent on the occasion of Lord Guilford's^
visit. I am sure that you will do all that Is in your power to get sub
scribers. I should have liked your wife and daughter to have come to
the examinations which took place last month, but Artaria ' not being
able to come I did not know by whom to have them accompanied. If you
came to spend another day in Lodi I would show you a little silver niello
which I have just bought. I will have an Impression taken, which I will
send to you. " Believe me,
" Yours sincerely,
" Maria Cosway.
"Lodi, IS October, 1826."
To Monsieur Colnaghi, Milan, with a bundle of prints.
' Count Carlo Lasinio was a well-known engraver, who published various artistic works.
Sir D. Colnaghi suggests that this work may have been " Pittura fresco del Campo Santo di
Pi.sa con illustrazione e figure colorite," Firenze, 1822-25. i '^^1. grande in folio.
Lord Guilford was a great art patron, and many engravings of Italian artists were
dedicated to him.
'' Artaria was a printseller in Milan.

CHAPTER VIIL
COSWAY'S MINIATURES.
THERE have been several opportunities given to the public for the
inspection of miniatures by Cosway and for comparison of his works
with those of other miniaturists.
The largest collection was brought together In 1865 at the South
Kensington Museum, when an extremely fine and varied collection of
miniatures of all periods, representing national portraiture, was brought
together, and an admirable catalogue was compiled by Mr. Samuel Red
grave and Sir Henry Cole, which is still an important work of reference
on the subject.
In 1879 there was an excellent collection of the master's works at the
Old Masters' Exhibition at the Royal Academy, and ten years afterwards
at the Burlington Fine Arts Club in Savlle Row an even larger and
more carefully selected group of Cosway's works was shown.
To the superb Illustrated catalogue of this exhibition Mr. J. Lumsden
Propert, the eminent collector, contributed a masterly review of the
history of the art, and short memoirs of its chief exponents. Two years
before (1887), Mr. Propert's magnificent book, entitled "A History of
Miniature Art," had appeared, and had at once become the standard
work on the subject, dealing with it In all its complexity, and giving
adequate attention to each of its varied schools. The book was very
finely illustrated, mainly from specimens in Mr. Propert's own collection,
and Cosway received the attention In it that was his due.
In 1892 another exhibition of miniatures was held at the rooms of
the Fine Art Society in New Bond Street, and this chiefly comprised
specimens from the cabinets of another eminent collector, Mr. J. W.
Whitehead. To the catalogue of this show Mrs. Norman Grosvenor,
herself a clever exponent of the beautiful art, contributed an introduction.
At the Grafton Gallery In 1894, in the Exhibition of Fair Women, and
again, in 1895, at the Exhibition of Fair Children, there were many
specimens of Cosway's work.

78 RICHARD COSWAY.
In May, 1895, there was a Cosway Exhibition at Moncorvo House,
Ennismore Gardens, when about 350 miniatures were exhibited, which
were mosdy the work of Richard and Maria Cosway, and some few of
which were by Cosway's pupils, the two brothers, Andrew and Nathaniel
Plimer. This was the largest collection ever exhibited of the master's work,
and was brought together and catalogued by the author of this volume.
It comprised, of course, some few miniatures the attribution of which to
Cosway is doubtful. Perfect accuracy is not possible, and although the
catalogue appended to this book may be taken as generally authoritative,
and certainly as including all the genuine works known to its author, yet
there are certain specimens named in it which cannot be clearly attributed
to the master's hand, and which no amount of inquiry will place with
an absolute certainty.
The most noteworthy collections of Cosway's works may well be
briefly reviewed.
At Windsor Castle is one of the very finest collections, belonging to
Her Majesty the Queen. Some specimens in it have always belonged to
the Crown ; others have been acquired by gift and bequest, and some have
been purchased under the advice of Mr. Richard Holmes, the well-known
expert, the Queen's librarian. Included in this latter group are those
which were purchased at Christie's from the late Lord Truro's estate, and
amongst which are the wonderful unfinished ones of Georgiana, Duchess
of Devonshire, and the Princess Amelia. Representative miniatures from
the royal collection are by Her Majesty's special and most gracious per
mission included in the illustrations of this book. Perhaps the finest work
by Cosway at Windsor Is an extremely delicate pencil drawing of three
princesses, which was graciously lent to the Cosway show In 1895. It is
reproduced in the large paper edition of this book by the same gracious
permission, but the system of reproduction that has been used fails to
adequately represent the daintiness and fine drawing of the original.
There are two private collections which range next to the one at
Windsor ; those belonging to the veteran collector, Mr. Lumsden Propert,
and to Mr. J. W. Whitehead of Wimbledon.
Mr. Propert possesses many of Cosway's very finest works. The
miniatures of the Duchess of Gordon, Mr. and Mrs. Moffatt, Mrs.
Sheridan, Sir Arthur and Lady Augusta Paget, and of the artist himself,
are of incomparable beauty. Four of them are signed and dated in the
well-known signature. In Mr. Propert's volume already named these

H.R.H. PRINCESS AMELIA. QUEEN CHARLOTTE. H.R.H. PRINCESS MARY.

COLLECTION OF HER MAJESTY THE QUEEN.

COLLECTION OF DR J. LUMSDEN PROPERT.

-^LL BY ll COSWA

UNKNOWN.

COSWAY'S MINIATURES. 79
miniatures are represented, and therefore in this book effort has been
made to illustrate miniatures that are not as well known, but which repre
sent the finest work of the master's hand.
No miniature, however, in any collection can exceed in beauty Mr.
Propert's specimens ; those of Mrs. Moffatt and the Duchess of Gordon
being simply as lovely as can possibly be conceived.
There are also in this same series a very charming miniature of Lady
Melbourne, of unusual long narrow shape, which originally belonged to
Lord De Mauley, and a very Important portrait of Lady Berwick at the
age of seventeen or eighteen, painted by Cosway about 1816, when he
was seventy-six years old, and showing all the vigour and skill possessed
by the master when in the zenith of his eminence.
Mr. Whitehead's collection is an enormous one, and is specially note
worthy for the large number of the " tinted " or stained drawings that it
contains. Very many are framed ; but there are others of even greater
beauty preserved in portfolio, never having been mounted or disturbed.
There is no better collection of these pencil drawings with miniature painted
faces in existence. Mr. Whitehead also owns, inter alia, a miniature of
Mrs. Garrick, of very highly finished work, differing altogether from
Cosway's usual productions, and worked up to a sharpness of detail
that is remarkable. Were it not for the full signature at the back, this
miniature would hardly be attributed to Cosway ; but the signature is
distinctly genuine, and the miniature has another special feature In being
signed also on the face, and is the only one I have seen that is so signed,
as the one at South Kensington Museum has evidently had the signature
added at a later date. Mr. Whitehead has fine miniatures of Ignace
Pleyel, Maria, Countess of Coventry, Princess Amelia, Mrs. Siddons,
and others, and also possesses several of Maria Cosway's works, including
eleven out of the twelve sketches she made to illustrate the poem, "A
Winter's Day."
The miniature room at Holland House contains some good Cosways.
It is a small room, only 12 feet by 9 feet, and but 7^ feet high, hung
with yellow, and communicating with the gilt room and the yellow
drawing-room, forming, as Princess Marie Liechtenstein says in her book,
" a strikingly diminutive episode on the first floor." ^ For some years
past its contents, which represent almost every school of miniature paint
ing in England, have been neglected. The light pouring Into the room
has faded the colours and almost withdrawn the flesh tints ; while the heat
^ " Holland House," by Princess Marie Liechtenstein, 1875.

8o RICHARD COSAVAW
of the sun has still further injured the portraits and curved the Ivories, and
the dust has penetrated the frames. No blame can, however, be attributed
to the present famous chatelaine of this wonderful house, the Countess of
Ilchester, for with loving care she has guarded her treasures and kept
them from damage. Many of the miniatures she has had very carefully
cleaned (without any restoration), and remounted in frames as they were
originally set, and removed from the black cabinets in which the ignorance
of a past generation had confined them. They are now protected from
sun and heat and dust, those three great enemies to the life of a miniature,
and Cosway and his pupils, the brothers Plimer, can be seen at their very
best in the Holland House collection.
One miniature deserves a special word, as it is set In an old Ivory
frame with two bands of fine gold beadwork around it This frame was
a favourite one of the master's, and was made for him by a man named
Drane, a comb manufacturer, of 25, Aldgate, who also supplied the artist
with his ovals of Ivory, already cut and prepared for painting. Other
specimens of this charming frame survive, notably one fine one at Sunning-
hlll Park, belonging to General Crutchley.
By the kind permission of H.R.H. the Duke of Cambridge, his fine
series of five miniatures is presented as an illustration. The portraits of
George IV., William IV., Princess Mary, and Princess Sophia, are in the
master's best manner — evidently painted at his finest period. The one of
the Duke of Sussex has another Interest. It is partly the work of Cosway
and partly that of his favourite pupil, Andrew. The duke died in 1843,
and it is probable that Cosway commenced his portrait, preparing the back
ground, and probably delineating the face ; but the hair of the head and
the draperies are clearly the work of Plimer, and are produced in quite a
different method to that adopted by Cosway. There Is a wiriness about
the hair and a hardness of outline In the face distinctive of Plimer ; but
the eyes, cross-hatching, and peculiar blue background are clearly the work
of Cosway. The master may have been dissatisfied with his labour, and
produced by himself the portrait at Windsor ; while Plimer, taking the
unfinished work, completed this one In his method. The series belonging
to His Royal Highness is fine, and has been mounted in a suitable frame,
each miniature being carefully named.
Of other collectors, the Earl of Wharncliffe should be mentioned,
many of his Cosways being of great beauty ; notably one of Mrs. Stuart
Wortley Mackenzie, which Is set on the top of a splendid gold snuff-box.
Lord Wharncliffe has perhaps the best collection of works by Plimer in

PETER BURRELL, AFTERWARDS FIRST LORD GWYDYR, AND La1)V^ PRISCILLA BURRELL.
HIS WIFE {nie bertie), afterwards baroness willoughby
DE eresby IN her OWN RIGHT.
ROBERT, FOURTH AND LAST DUKE OF ANCASTER AND KESTEVEN,
BROTHER OF LADY PRISCILLA BURRELL.,.

OWNER— THE HON,QURABLE WILLOUGHBY; BURRELL.

"(Ua'ttri. T^utaUftJc

THE LADIES PRISCILLA AND GEORGIANA BERTIE, AFTERWARDS BARONESS
WILLOUGHBY DE ERESBY AND MARCHIONESS OF CHOI.MONDELEY.

THE DUCHESS OF ANCASTER {nie PANTON)

COLLECTION OF THE EARL OF ANCASTER.

FRANCES JULIA BURRELL, WIFE OF HUGH, ELIZABETH BURRELL, WIFE OF DOUGLAS,
DUKE OF NORTHUMBERLAND. EIGHTH DUKE OF HAMILTON, AND
AFTERWARDS OF HENRY,
MARQUIS OF EXETER.

(BELIEVED TO REPRESENT) SOPHIA, DAUGHTER OF SIR CHARLES RAYMOND,
ELIZABETH AMELIA BURRELL, WIFE OF TO WHOSE BARONETCY SIR WILLIAM
R. H. BENNET, ESQ. BURRELL, HER HUSBAND,
SUCCEEDED.

COLLECTION OF GENERAL CRUTCHLEY.

COSWAY'S MINIATURES. 8i
existence, some of them being the very finest things that this clever artist
ever executed.
In the possession of the allied families of the Earl of Ancaster and
Lord Gwydyr are to be found a series of Cosway's works of far more
than ordinary interest. The Ancaster box is of Ivory, and was evidently
made for the third Duke of Ancaster to be carried in the vest pocket, and,
according to family tradition, was used to contain toothpicks, patches, or
snuff". It is one of the finest conceivable pieces of jeweller's work. It Is
perfectly made, and its enamel decoration is of remarkable beauty. Outside
the box are the portraits of the duke's two daughters, the Ladies Priscilla
and Georgiana Bertie, afterwards Baroness Willoughby De Eresby and
Marchioness of Cholmondeley. Inside the lid was the portrait of the
duke's son, Robert, afterwards fourth duke, and outside the box on its
lower side appeared the portrait of Mary, Duchess of Ancaster (nie
Panton). In addition to the one on this box there Is a lovely portrait
of Robert, the fourth duke, belonging to the Hon. Willoughby Burrell,
and a replica of it belonging to his father. Lord Gwydyr. Still another
belongs to Earl Waldegrave, and was evidently done for the duke that he
might present it to Lady Horatia Walpole, to whom he was engaged.
The duke died unmarried, and this miniature, which is particularly fine
and well done, was lost sight of for some years, and until I Identified it its
owners did not know whom it represented.
Mr. Burrell owns the exquisite miniatures, reproduced in photo
gravure by his kind permission In these pages, of Peter Burrell, who was
afterwards first Lord Gwydyr, and his wife. Lady Priscilla Burrell, who, on
the death In 1 779 of her only brother Robert, the fourth Duke of Ancaster
and Kesteven, became Baroness Willoughby De Eresby in her own right,
the ancient barony having been called out of abeyance by the crown in
her favour, as it had fallen into that condition between herself and her
sister. The photogravure process fails to do adequate justice to the
beauty of these two miniatures.
Yet another portrait of the first Lord Gwydyr by Cosway remains
to be mentioned. It is illustrated In collotype, and is set into another
Ivory box belonging to Lord Ancaster.
In the " Letters of Lady Jernlngham to Lady Bedingfeld," edited by
Egerton Castle, F.S.A., and just published by Bentleys, vol. II., page 21,
is an interesting mention of Lord Gwydyr. It is contained In a letter
dated May 12, 181 2, and Is as follows :

M

82 RICHARD COSWAY.
" The mention you make of Lord Gwydyr's grief for his Sister is
very interesting and makes one suppose both Him and Lady Beverley"
[she had died in January, 1812. — Author.] " aimlable. He never was
naturally Partial to Lady Willoughby. She fell in Love with Him and
fretted so much that her Mother the Duchess of Ancaster was afraid She
would go Into a consumption. Mais il s est fait prier and having declared
to the young Men of his time that Lady Priscilla Bertie should never be
Lady Priscilla Burrel when He Consented to marry Her He desired that
as she was Priscilla Elizabeth She would be Called by the Latter name only.
And accordingly she became Lady Elizabeth Burrel till her Fathers
decease" [her brother's really. — Author?^ " made her Lady Willoughby."
This first Lord Gwydyr was Peter Burrell, who succeeded to his
great-uncle's baronetcy and resided at Privy Garden, now called Gwydyr
House, in Whitehall. He was caricatured by Dighton, in 1818, as the
" Welch Castle." He had four sisters, Amelia Elizabeth, who married
Mr. R. H. Bennet; Susan Isabella, Countess of Beverley; Frances Julia,
Duchess of Northumberland, and Elizabeth, who was first Duchess of
Hamilton and afterwards Marchioness of Exeter. Cosway not only
painted the brother's portrait, but also each of the sisters'. The portraits
of two of the sisters, presumed to be the Duchess of Northumberland and
the Duchess of Hamilton, belong to General Crutchley, of Sunninghill
Park, and are lovely miniatures of Cosway's finest work. In the same
collection is a third miniature by the same hand, considered to be one
of the Burrell sisters, and this Is supposed to be Mrs. Bennett on the
authority of a Crutchley family tradition. The portrait of the fourth sister,
the Countess of Beverley, is at Alnwick, and belongs to Earl Percy, her
great-grandson, and Is a large picture in oils. The miniature of the
mother of these four sisters, Mrs. Elizabeth Burrell, is now in the National
Gallery.' Another picture In oils by Cosway is at Grimsthorpe, and repre
sents Robert, the fourth duke, and his sister Georgiana. In this picture
the young duke Is being crowned with laurel by his sister. He had been
serving with his regiment In Canada when, owing to his father's death, he
succeeded to the proud position of Duke of Ancaster and Kesteven, and
was the fourth and last duke. Even this does not, however, exhaust this
interesting group of family portraits. Lord Gwydyr owns a stained
drawing of Elizabeth Burrell, Duchess of Hamilton, Marchioness of
Exeter, and another of her nephew, Peter Robert Burrell, the second
' Lady Hatherton also has a portrait of Mrs. Burrell. She was a noted beauty and wit.

PETER BURRELL, FIRST LORD GWYDYR.
COLLECTION OF THE EARL OF ANCASTER.

SIR JOHN E. SWINBURNE. EMILIA ELIZABETH, HIS WIFE.
COLLECTION OF MISS ALICE SWINBURNE.

COSWAY'S MINIATURES. 83
Lord Gwydyr, both of which are signed and dated ; and there Is further a
miniature belonging to General Crutchley of another connection of the
family, Sophia, the daughter and heiress of Sir Charles Raymond, and wife
of Sir William Burrell, who succeeded to Sir Charles Raymond's baronetcy.
It is to the kindness of each of the owners of this Important series of
portraits that I am gratefully indebted for permission to reproduce them,
and as a matter of present-day interest it may be desirable to point out that
two of the Burrell sisters painted by Cosway are great-grandmothers of the
poet Swinburne ; Lady Beverley being the grandmother of his mother,
Lady Jane Swinburne, and Mrs. Bennet the grandmother of his father.
The two lovely miniature portraits of Sir John and Lady Swinburne
[nie Bennet), belonging to Miss Swinburne, must not be overlooked in
completing the Cosway series ; nor the portraits of Henry Swinburne, the
traveller, and his wife, which were engraved by Bova, but the original
miniatures of which cannot be traced.
Again and again, in searching for works by Cosway, has one happened
upon a family series and by dint of Inquiries made it fairly complete.
In recording such collections reference must be made to those belong
ing to the Baroness Burdett-Coutts and to Lord North, comprising Sir
Francis Burdett and his wife, Sophia Coutts, father and mother of the
baroness, and the sisters of Lady Burdett, Susan and Frances, afterwards
Countess of Guilford and Marchioness of Bute, and their husbands.
Another series is that of oil portraits belonging to the Earl of Radnor
already mentioned (see page 27) ; the five Pierson sisters, with their
brother Francis, belonging to Mrs. Newbury; the important Townshend
group, belonging to Miss Darley and Lady Hatherton; the Ponsonby group,
belong to Lord De Mauley, Viscount Emlyn, Mrs. F. Ponsonby, Lady
Margaret Boscawen, Mrs. Henry Cavendish, Miss Georgiana FitzRoy,
and Mrs. H. Lee Steere, and the Spencer group, belonging to Earl
Spencer, Lady Sarah Spencer, and Mr. R. Spencer.
Another remarkable set comprising both oil portraits and miniatures
is of the Courtenays ; the oil portraits are at Powderham Castle, almost
life-size, while the miniatures belong to Mr. W. C. Morland, of Lamber-
hurst. These are the second and third Viscounts Courtenay, and the
sisters, Lady Harriet Carteret and Lady Caroline Morland ; one miniature,
representing both sisters together, being of marvellous beauty.
An even more important set is that of the Pelhams. There is a very
scarce engraving in stipple by Caroline Watson, from a drawing by
Cosway, representing Charles Anderson Pelham, first Lord Yarborough,

84 RICHARD COSWAY.
with his wife, Sophia [7i<^e Aufrere), and six of their children. The draw
ing and the copper plate, and as many of the impressions as could be
obtained, were all destroyed by Lord Yarborough after his wife's decease,
and the print, already rare, became exceptionally scarce. Cosway executed
the work probably in about 1779, but in later years he painted in miniature
five of the daughters, Mrs. Heneage, Mrs. Cary Elwes, Mrs. North, Mrs.
Tennant, and Mrs. Dashwood. Of these, four are, by permi.ssion of their
respective owners, reproduced. Of the same family there are other pencil
drawings and miniatures at Brocklesby belonging to Lord Yarborough,
and miniatures In the possession of other members of the family.
A few collectors deserve further notices, and a few special miniatures
must be named. Mr. Henry Drake has a very choice small collection,
and amongst it is one miniature having
a curious inscription on the back. It is
a portrait of Mrs. Whittington, and is
unfinished. It is believed that the artist,
after commencing the portrait, had a
quarrel with the lady, and refused to
finish the work. At the back of the
miniature is written in Cosway's hand
writing a description of the lady's char
acter as it appeared to the artist. The
inscription is as follows: "Impatient to
advice. Excessive pride upon a false
foundation. A specious exterior. An
unfeeling heart. Inconstant. Ungrateful. And the writer of this may
justly add, as he has woefully experienced it. Cruel and Mercenary."
Mr. Frank Woodroffe is the owner of the collection formed by the late
Mr. Edward Joseph, and which was sold at his sale. Some of the finest
of these miniatures were bought by Mr. Joseph in about 1874 from Dr.
Drummond Chase, of St. Mary's Hall, Oxford ; he giving only ^200
for some ten of them. Mr. Joseph eventually had them photographed,
and issued a volume of photographs of his entire collection, which was
privately printed. Those miniatures bought In Oxford are certainly
genuine, and had been in Dr. Chase's possession for a generation. The
majority, however, are unfortunately not named.
Few persons have given the attention to Cosway that has been
bestowed by His Excellency Sir Philip Currie. From his very exten
sive collection of engravings after Cosway was compiled the exhaustive

CHARLES, FIRST LORD YARBOROUGH, AND HIS WIFE AND FAMILY.

FOUR OF THE DAUGHTERS OF CHARLES PELHAM,
FIRST LORD YARBOROUGH.

HONOURABLE MRS. ELWES
{nie CAROLINE pelham).

HONOURABLE MRS. HENEAGE
{nie ARABELLA pelham).

HONOURABLE MRS. TENNANT
{nie CHARLOTTE pelham).

HONOURABLE MRS, NORTH
{nie SOPHIA pelhamV

>'/

COSWAY'S MINIATURES. 85
catalogue by Mr. Frederick B. Daniell, which was printed and issued in
1890, and from which all information as to Cosway's engravings must
necessarily be taken. By the kind permission of Sir Philip Currie and
Mr. Daniell a hand-list of engravings has been added to this book and will
be found at the end. To the work already named Sir Philip Currie wrote
a charming preface, setting down in delightful manner all that was known
to him of the master's life.
Both Lady Currie and himself possess. In Constantinople, beside their
very complete series of engravings, a few miniatures of exceptional merit,
and no one more than Sir Philip and Lady Currie can be Interested in any
new information that is gleaned as to Cosway or his wife.
Sir Julian Goldsmid had a collection of miniatures in which were many
by Cosway, and also some of his drawings. They were unhappily dis
persed at Christie's in the spring of 1896, after the death of the baronet.
The most important collection of Cosway's works that has, however, been
disposed of at Christie's, is that which was sold in June, 1896. These
works of the master had never before been sold under the hammer. They
had been acquired by a clever dealer in Italy direct from the family of
Maria Cosway, and from a museum in Lodi, where Maria Cosway died.
I happened to be fully acquainted with the history of the transactions, and
to know from whom most of the treasures were obtained, and from what
museum others came, and could but regret for many reasons that fine
examples of Cosway's pencil which I had seen in Italy, and which were
exposed for examination in a town museum, and believed to be safe there
for all time, should have reached London for sale. The collection was
specially noteworthy for the large number of drawings which it contained,
six of which are illustrated in these pages by permission of their original
owner. To many people they revealed Cosway In quite a new phase, as
the author of firm, strong, classical drawings In pencil of great beauty.
The miniatures were also, many of them, remarkably fine. One, a
portrait of Princess Lubomirski, was of exquisite beauty, possessing all
the merits of the master's work, grace, firmness, power in portraiture,
delicacy in colour, and admirable drawing. It was signed in full in the
well-known, pompous signature : " Rdus. Cosway, R.A., Primarius Pictor
Serenissimi Walliae Principis Pinxit, 1779," and was in an old steel frame,
and sold for .1^184.
A portrait of the Prince of Wales signed In similar fashion and dated
1772, was a pencil drawing on paper, coloured, and in a gilt bronze frame.
It realized 105 guineas. A portrait of an elderly gentleman, whose name

86 RICHARD COSWAY.
I believe I know, was a very good specimen of Cosway's work on ivory-
It was somewhat too strong in its colour, and not altogether a pleasing
portrait, vigorous, but ruddy and rough. It was dated 1786, and fetched,
by an accident, a much smaller sum than the others, although it Is still for
sale at about ;^50.
A baby, who was simply referred to at the sale as " A Child," was
perfectly lovely. It was a portrait of Cosway's own child, Louisa Paolina
Angelica, and a most graceful work, tender and careful In execution, highly
finished, exquisite in detail, especially in eyes and hands, and a model of
what such a miniature should be, true to life, and yet full of anticipatory
and thoughtful suggestion. It realized 50 guineas. There was also sold
a volume of drawings, many of them being for well-known compositions
and distinguished by firm, restrained work, accurate delineation, and most
painstaking care. Mr. Hodgkin bought It for 152 guineas. The separate
drawings did not fetch as high a price as they should have done. Their
merit was rather overshaded by the absurdly high prices paid for some
of the coloured engravings which happened at the moment to be the rage.
The interesting portrait of Cosway by himself, which appears as frontis
piece to this volume, was also sold at this sale.
The history of the collection was not fully recognized at the time, nor
indeed were the facts as to its origin mentioned or known save to a few.
Some of the drawings were signed by Cosway in a manner and form that
was not recognized, and his tiny monogram was quite overlooked by the
compilers of the catalogue on many of them. The two cheapest lots in
the sale were so signed, clearly and distinctly, but the fact was not
named In the catalogue.
"The Holy Family and St. John," Lot 118, was a fine pencil drawing
washed with Indian ink. It was signed in full and dated 1804, and its
price was 8^- guineas. " The Rest In Egypt," in black and red chalk, an
oval drawing of great sweetness and beauty, sold for 10 guineas. "The
Virgin bending over the Holy Child," a very lightly sketched drawing, full
of fine detail, suggested by the simplest of lines, was bought for 7 guineas.
" Minerva directing the Arrows of Cupid " was one of the strongest
drawings. It was in pen and Indian Ink washed, was signed in full and
dated 1788, and had been engraved by Condd. This splendid work was
rigidly and powerfully drawn. The pose was admirable, the grouping
remarkable. It was a particularly fine specimen of the master's firmest,
sharpest work, and realized 15I guineas. " Angels adoring the Sleeping
Child," another wonderful drawing in pencil and wash, done when Cosway

PRINCESS LUBOMIRSKI.
Sold at Christie's, June ist, 1896.

H.R.H. THE PRINCE OF WALES (1772).
Sold at Christie's, June rst, 1896.

AN ELDERLY GENTLEMAN.
Sold at Christie's, June 1st, 1896.

LOUISA PAOLINA ANGELICA COSWAY
AS A BABY.

Sold at Christie's, June Ist, 1896.

THE HOLY FAMILY AND ST. JOHN.
Sold at Christie's, June 1st, 1896.

COSWAY'S MINIATURES. 87
was seventy-three, signed and dated 1814, fetched £6 6s., and "Cupid
unmasking False Love," a strong pen-and-ink drawing signed and dated
1779, went for ;^io 10s. All these works are illustrated in this volume.
Further particulars of important sales of Cosway's works will be found
in the appendix ; but some brief reference must finally be made to a few
special pictures.
A drawing belonging to the late Judge Wynne Ffoulkes is repro
duced in these pages. It is of his mother. Miss Jocelyn of Stanstead Bury
House, Herts, afterwards Mrs. Ffoulkes of Eriviatt, Denbighshire, and as
to it His Honour wrote as follows : " My dear mother told me that this
portrait was done by Cosway while she was taking a lesson from him, and
she believed it was intended to be a portrait of herself; but when she
asked him what he was doing, he pushed it on one side and made no
answer, or at all events did not answer her question, but allowed her to
take it."
A very fine miniature Is the one belonging to Lady Elizabeth
Biddulph, of Miss Ann Jones, the heiress who brought Babraham into the
possession of the Adeane family. Two fine miniatures that have been
carefully preserved by being kept from the light, are, first, the one of Mrs.
James Lawrell, belonging to C. J. Pakenham Lawrell, Esq., and, secondly,
the one of Hannah, wife of the seventh Marquis of Tweeddale. This
latter one is in a snuff-box with a secret lid, and was not discovered until
quite recently.
Two very fine sketchy works belonged to the late Duke of Sutherland,
and represented the fifth and sixth Dukes of Devonshire, the latter,
William, being quite a child. Some remarkable miniatures, that were at
one time the property of Mrs. Fitzherbert, belong to the Earl of Port-
arlington. They represent the Prince Regent, Mrs. Fitzherbert, and
Maria, Countess of Waldegrave. Another splendid miniature of the
Prince, which also was Mrs. Fitzherbert's, and which was It is said in her
hand when she died, belongs to her descendant, Mr. Basil Fitzherbert, and
is at Swynnerton Park. A pencil drawing, representing the same lady in
a big summer hat, belongs to the Marchioness of Hertford.
Two examples of rare excellence belong to Miss Grace Butler,
daughter of the late Lord James Wandesford Butler. One has not yet
been identified ; but the fair "incognita" Is believed to be a member of the
Duke of Bedford's family. It is very finely done, and on a pearly white
background which is exceedingly unusual, having only been very occa-
sionly adopted by Cosway, and that in his later years.

88 RICHARD COSWAY,
The other Is also a late one, on a background nearly white, and
represents Miss Butler's great-grandmother, Ann, sole heiress of John,
last Earl of Wandesford, who married John Butler of Garryricken, who was
in 1 79 1 restored to the earldom of Ormonde as seventeenth earl. These
also, by the kind permission of their owner, are reproduced.
The Earl of Lindsey has at Uffington two interesting miniatures on
snuff-boxes, representing the first and second wives of the ninth earl. In
conjunction with Lord Bertie he has been good enough to allow the finer of
the two, Eliza Maria {nie Clay), the first wife, to be given here. Hardly
any miniatures can be more beautiful than the two circular ones repre
senting the two children of William, fifth Duke of Devonshire, Georgiana,
Countess of Carlisle, and Harriett, Countess of Granville. They are full
of tender grace and exquisite delicacy. The two miniatures painted of these
children differ somewhat one from the other. Each, therefore, is presented;
the first by the permission of Miss Blanche Pitt, to whom from Lady
Taunton and Lord St. Germans it came, and the other in the large paper
copies of this book, in photogravure, by permission of Earl Spencer and
Mr. F. Leveson Gower, Lady Granville's son.
Five specimens of Cosway's work belong to the nation, and are at
South Kensington. One was In the Dyce bequest; one was left to the
Museum by Mrs. Plumley, and three were purchased. But one out of
all five is a fine one, and that represents the Earl of Carlisle. A signa
ture has been forged by some previous owner on to the face of another
one, and it is not Improbable that at the same time the miniature was
touched up.
Of drawings the most important collection is the series belonging to
Lord Tweedmouth. There are thirty-one excellent portraits admirably
drawn In pencil, and with one exception each portrait is named. Cosway
never did finer work In pencil portraiture than these sketches ; they are
models of precision, skill, and strength, and were originally In a sketch
book until mounted up In admirable fashion by the father of the present
peer. Unluckily their dainty lightness renders It Impossible for me to
carry out Lord Tweedmouth's kind permission, and my endeavours to
reproduce them have failed.
One charming drawing by the master, however, full of verve, light as
air, and exquisitely modelled, has proved more submissive to the block.
It belongs to my good friend, Lord Ronald Gower, and he has lent it to
me for reproduction. To the same generous hand I am indebted for the
monogram wash drawing at the beginning of the book, a delightful piece

ANNE, DATTGHTER OF THE LAST EArL OF WANDESFORDE, A LADY UNKNOWN.
WIFE OF JOHN BUTLER, RESTORED TO THE
EARLDOM OF ORMONDE AS
SEVENTEENTH EARL.

COLLECTION OF MISS GRACE BUTLER.

COSWAY'S MINIATURES. 89
of fresh easy work from the collection from Italy sold at Christie's, and
which my friend has kindly presented to me.
A few words may be added as to Cosway's signature. It is usually
the pompous one presented in the following woodcut. " R'^"' Cosway
R.A. Primarius Pictor Serenissimi Principis Wallia;." In some cases he
adds F.S.A. after R.A., either alone or preceded by " et." In one
delightful drawing of the Madonna and Child he has proudly put, " R'i"^
de Cosway Armiger Primarius Pictor Serenissimi Principis Walliae." One
miniature I have seen signed " R*^"' Cosway Principal Painter to the
Prince of Wales and to all the Royal Family," and one Is actually signed
in Enghsh, " Richard Cosway R.A. et F.S.A. greatest miniature painter
In the world." This is dated 1816, at the time of his most serious mental
trouble. I know of but one miniature signed on the face, as already
named, belonging to Mr. Whitehead, but many drawings and a few
miniatures are signed with a very tiny monogram of CR, which In many
Instances is hidden away in the drawing and requires careful search to find.
The C is drawn as a large capital, and the R is a smaller capital within it.
In concluding this chapter may I say a few words to those fortunate
persons who own miniatures by Cosway. The greatest enemies to a
miniature, as already mentioned, are sunlight, damp, and heat. Miniatures,
especially those of the eighteenth century period, should never be exposed
to strong sunlight. If kept in glass cases or cabinets, these should not be
so placed that the light falls on the glass. They should never be exposed
opposite to a window, unless the cases are provided with blinds or curtains
to keep off the sunlight. The miniatures that are now in the finest
condition are those that have been kept in cases, and only shown when
occasion demanded. Miniatures should never be hung on the wall by a
fireplace, as the heat curls the ivories and sometimes splits them. They
are already dry from age, and heat may cause the colours to flake off from
the unabsorbent parts of the Ivory.
Lastly, they must be kept free from damp. Sometimes, by reason of
exposure upon a damp wall, or neglect in a damp box or case, specks of
mould can be seen on the portraits. This is a serious sign, and must be
removed at once, and by an expert, or it will spread, suck up the colour,
tarnish the fine work, and spoil the miniature. Let me implore owners
never to attempt to remove this mould themselves, but to have it done at
once. I can cordially recommend Messrs. Vokins, of King Street, St.
James's, as the best people to do this work. They have had through their
hands every miniature in the Propert collection, the miniatures at Holland

go

RICHARD COSWAY,

House, those belonging to the Duke of Cambridge, and many others.
They can absolutely be trusted neither to Injure nor restore the miniature,
and I would never commit any miniature in which I was interested to
other than their trustworthy carefulness.
Miniatures should often be examined with a magnifying glass, as
mould grows upon them very rapidly if the room In which they are kept is
damp, but with proper care they will last for ever and be an unfailing
source of delight. Need I add that Messrs. Vokins do not know that I
am mentioning them in these pages.

CHAPTER IX.
COSWAY'S METHODS AND MATERIALS.
THERE are some few letters and papers written by Cosway that
remain to be noticed. Generally they have not been found , to
contain much information that is of interest ; but here and there are
references to methods and materials that should be recorded.
His ivory tablets, it has already been mentioned, he obtained from
Drane, a comb manufacturer, of 25, Aldgate. His plain gold frames were
made by Gregory, an engraver, of 23, Chandos Street, St. Martin's Lane,
and this man seems to have mounted the miniatures for him and arranged
the hair of the fair sitter that so often ornamented the back of the minia
ture frame. The trade cards of both these men have several times been
found behind the miniatures, together with pieces of old playing-cards,
upon which are sometimes written notes In Cosway's own hand. I have
in my own collection specimens of all these cards. His colours were
obtained from Newman, of Soho Square, whose establishment is a very old
and reliable one, and from whom Turner, Reynolds, Gainsborough, De
Wint and others obtained their colours. Unfortunately the earlier books
of the firm have not been as carefully preserved as could be wished, and
records of Cosway's purchases are not forthcoming. A peculiar, clear,
keen blue, resembling Antwerp blue, is very distinctive of the master's
work. It appears almost invariably on the miniature, and is generally to
be seen in the background. Newmans consider It is a delicate tint of
pure ultramarine. It is clear from one pencilled memo, of Cosway's,
in which he reminds himself to order "from old Newman another lot of
my blue," that the colour was specially prepared for him, and the books
and traditions of the house testify to the frequent preparation of different
forms of this costly colour for special customers. Venetian red, vermilion,
and Indian red Cosway also ordered of Newman.
Toward the latter part of his Hfe the artist adopted a more speckled
or mottled background, and miniatures with this class of marbled or

92 RICHARD COSWAY.
mottled work can generally be attributed to a period after 1805. During
a somewhat earlier period, 1799- 1804, a few miniatures were executed with
a background either perfectly white or with gray and grayish-white or drab
effects only, but these were but few, and probably experimental, and even
then the Cosway blue can be found somewhere used In almost every
specimen. In one of his sketch-books there Is recorded a most interesting memo
randum respecting shadows. It was written on a very small piece of
paper, which was in a damaged condition, and unfortunately a most impor
tant word in It, the name of the artist whom Cosway recommended as an
example worthy of copy, cannot be disciphered. The word has' the
appearance of being " Fr Casne," but may be Francia or Fr Cossa. On
the same paper appears a quaint receipt for gruel, which, as an illustration
of the juxtaposition of art and domestic economy, is also given as it appears
on the paper. I am greatly indebted to Miss Burrell for this copy of both
interesting memoranda :
"All shadows," Cosway says, "are generally speaking cold in their
nature, endeavour therefore to keep them warm and In order to do this have
an eye to the point of distance from which the picture is to be viewed for
the interposition of the air does much refridgerate for which you must make
a reasonable allowance. Figures ought always to be made Pyramidal or
Serpentine and must be placed by the numbers one, two and three, this
form is nowhere better seen than In F  . The figure to be painted
must have its base or broad part upivards its cone downwards. The letter
S is not only to be observed In the whole of the figure but in every limb
and part of It. Use but little yellow among y"^ carnations for the yellowness
ness of the oil in a great depth. Let y' .shadows be warmer than the Life."
"Put two Tablespoonfulls of Honey into
a bason of Water Gruel and squeeze
a lemon into it before going to bed "
" Eliot."
Cosway gave lessons in painting to Lady Caroline Sanford, and her
stepson, Mr. Sanford of Nynehead Court, the father of Lady Methuen,
has kindly sent me certain of Cosway's instructions and maxims to his fair
pupil. Speaking about the management of oil colours, the master said that
no medium was ever to be used save linseed or walnut oil ; no varnish or

- A LADY.
COLLECTION OF (JEORGB SALTING,

LADY RICH.
COLLECTION OF W. H. HALLIDAY, ESQ.
{olim coswAv).

ELIZA MARIA, FIRST WIFE OF ALBEMARLE,
NINTH EARL OF LINDSEY.
COLLECTION OF THE EARL OF LINDSEY.

.; A

.'V-IJI

COSWAY'S METHODS AND MATERIALS. 93
preparation of it was ever to be used with the colours, and that pictures
were not to be varnished until some years had passed after painting. He
said that the use of varnish improperly was the chief cause of the cracking
of most modern pictures. He also insisted on the using of as little oil as
possible, so that the colours should adhere firmly and no more. He
impressed upon this pupil, and upon all his pupils, the importance of firm
drawing, stating that many persons learned to paint when they could not
draw, thinking that paint would cover bad drawing, and that others should
never be allowed to paint at all, as inability to draw accurately and firmly
should be pronounced a reason for depriving them of colour box and
brushes. That the master always carried out his own advice is not clear,
but at least it may be said of his oil portraits that they have lasted perfectly,
and have not cracked, as have the works of his contemporaries, and that
therefore 'his advice in that phase of work is well worthy of attention.
Mr. Sanford possesses a fine pencil drawing by Cosway, and has several
pictures by his talented pupil.
In a letter to E. Kendrick, from which it is evident that author took
without acknowledgment information used in her " Conversations on the
Art of Miniature Painting," 1830, Cosway, in speaking of measurements,
says that there should be room in the face for an eye between the two eyes ;
that hair should always be represented In masses and then slightly touched
out ; that there should be a ray of light along the nose and a white dot at
its tip, and that a stream of light should flow on the cheek, and that the
ears and nose should be equal and level and equally forward.
Rossetti in a letter refers to Cosway's use of squirrel-tail brushes as
most suitable for miniature work, and that from many of them he burnt off
the tip that he might dot or streak in the colour with the blunted point.
He also speaks of the invariable good taste of the draperies arranged by
Cosway. I am loth to make public in this connection the name of one owner of
a Cosway miniature who does not agree with Rossetti in this latter remark,
although the vandalism and terrible Philistinism shown by this unhappy
person deserves such a fate.
There is a miniature in existence whose owner, disturbed in mind by
the light dainty draperies worn by her great-grandmother, revealing a
lovely bosom painted with Cosway's finest work, has employed a modern
artist to cover it up with a plain dress coming right up to the chin and
edged with ordinary frilling, and has also had the curiy blonde hair
removed from the forehead and the hair repainted with a central parting

94 RICHARD COSWAY,
and two side curls, as the lady was in 1835 i" the owner's memory, and
has still the audacity to call the miniature so spoiled and so evilly treated
the work of the " great master, Richard Cosway, R.A." May I add that I
declined to figure this enormity in the pages of this volume, although
desired so to do ?
As to his ivories, it may be interesting to note that the master heated
them between paper by means of an iron to remove their grease, and that
he rubbed them with pumice stone until they adopted, in his words, "a dead
grave effect." It may be interesting to record that the account of a Mr.
Heneage, In 1802, records the price paid to Cosway at that period for the
miniature of himself as 25 guineas. Mr. Cary Elwes, who owns the
miniature, that of his grandfather, kindly supplies this piece of information
to me. Other prices paid to Cosway appear on page 27.
Soon after Cosway's death there appeared one or two small books on
miniature painting which are now scarce, but to which the reader who is
interested in miniature work is referred, as they are evidently founded on
Cosway's methods, and even on his words. They can all be examined at
South Kensington, and the following are specially interesting :
" New Hints on Miniature Painting," 1837.
" The Art of Miniature Painting," by A. Parsey, 1831.
" Conversations on Miniature Painting," by E. Kendrick, 1830.
" Miniature Painting," by L. Mansion, 1822.
"Art of Miniature Work " by G. Russell, 1870.
Benjamin West gave to Andrew Robertson, the miniaturist, some
admirable advice as to colours to be used by him. He said, " Young man,
do all you can with Indian red ; avoid all others in your flesh tints when
you can, for that only will stand. Also avoid indigo." With this advice
Cosway's work is in full accord. Robertson left behind him a most
important treatise on the art, together with many very interesting letters
and papers. These have recently (1895) been Issued in book form by his
daughter. Miss Emily Robertson, and all miniature painters and those
Interested in the art will be grateful to her for the admirable service she
has rendered them in publishing the book. I must especially record my
thanks to her for much generous assistance accorded me.
Cosway's work was not always on ivory ; much of his painting in
miniature was done on vellum. Lord Wharncliffe has one fine miniature
on vellum of Lady Hamilton, and there are many others in existence.
He also tried enamel work, and Lord Beauchamp has at Madresfield
Court the only two specimens of his work In enamel with which I am

COLLECTION OF THE EARL OF WHARNCLIFFE.

EMilA, WIFE OF SIR WM. HAMILTON.

MRS. FITZHERBERT,

COSWAY'S METHODS AND MATERIALS. 95
familiar. One is a clever portrait of Mrs. Fitzherbert. Enamel did not,
however, appeal to Cosway ; he disliked its hardness and its rigid outline.
Of Bone's enamels he said on one occasion (May, 1802), "Mr. Bone's
pictures are very fine and brilliant, but they are not nature; they are but
china, let him do what he will, and as hard — they have not the softness of
flesh. Were this head" (pointing to a miniature on ivory) "to appear
among them the soft fleshiness of it would kill his."
It is desirable to add just a few words as to Cosway's use of pastel.
One important signed picture of George, Prince of Wales, belonging to
Sir Charles Turner, is clear evidence that the master could work well in
this material. The picture closely resembles one of the well-known
engravings. There are other experimental works in existence done by Cosway in
pastel ; they are brilliant and forcible, and the faces are clear and trans
parent, but they are mainly interesting as experiments.
One fine picture is also known in gouache, and several in sepia, so
that it is evident that the master tried almost every medium that lay to
his hand, and did not fail in any of them.
Information as to Cosway's pupils and companions in the art must
be left for another book, as space is not sufficiently elastic to admit
within these pages what I have gathered up respecting their history
and work. Robertson can hardly be considered as a pupil of Cosway, although
he often consulted him ; but Andrew and Nathaniel Plimer worked in his
own studio under his own eye, and their work closely resembles that of
the master, but has a distinct hardness of outline and wiry touch peculiarly
Its own. A list of a few works by these two great artists is given in the
appendix. Mrs. Cosway's work, so enthusiastically praised by Nagler in his
" Kiinstler Lexicon," in which he barely mentions her husband, is remark
ably imaginative in conception. Its colour is pleasing and subdued, its
lighting is dexterous, and there is a French easiness of brush-work which
is noticeable. Her pictures generally demand attention, but their subjects
are often sinister and repulsive, and she was fond of a cold, dark blue-gray
tone of colour. Poetical and romantic she always was, and gave far too free
a scope to her imagination. Her portraits are her best work and are often
really fine, and some few of her miniatures closely resemble her husband's
work, but lack the daintiness and inspiration that gives to the master's
work its remarkable value.

96

RICHARD COSWAY,

A short list of Mrs. Cosway's works Is appended. It Is by no means
a complete one, but records the most important of her pictures of which

I have been able to gain Information,

BUST ERECTED IN THE SALONE OF THE COLLEGE OF DAME IXCI.liSI
AT LODI, BY THE CORPORATION OF LODI, IN :\IE.MORY
OF THE BARONESS COSW.U".

Appendix I.
Catalogue of the Pictures that are
at present known.

NOTE.
The pictures in this list are catalogued under the names given to them by their owners,
and I can accept no responsibility for their accuracy nor for the genuine character of
those that I have not personally examined.
Those marked * I have personally examined. All are miniatures unless otherwise
described.
The Author.

Appendix I.
Catalogue of the Pictures that are at
present known.

Astley, Mrs. Frankland Russell. Hester, Lady Astley.
Sir George Russell, Bart.
Exhibited at 24, Belgrave Square,
March 17-21, 1885.
AiDi^, Hamilton, Esq. Lady Collier. Fair Women, 1894. 230.
Ancaster, The Earl of, Grimsthorpe, *The Ancaster Ivory Box, containing minia-
Bourne. tures of the Duchess of Ancaster, her
{Vide Burrell, Crutchley, son Robert, fourth Duke of Ancaster
Gwydyr, and Waldegrave.) and Kesteven, and her daughters the
Ladies Priscilla and Georgiana Bertie,
afterwards Baroness Willoughby De
Eresby and Marchioness of Cholmonde
ley.
*George IV.
*Admiral Lord Keith.
*Sir John Heathcote. t
*Lady Heathcote. f
Cosway records painting thjsc; two portraits f in a letter to a friend. They differ very much
from his usual work, and were probably experiments on his part of a new method and change
of colouring. *George, Prince of Wales. Pencil sketch.
Moncorvo House, Nos. 249-256, also
278 and 279.
*Peter Robert Burrell, succeeded his father as
second Baron Gwydyr, 1820, and his
mother in the barony of Willoughby de
Eresby as nineteenth baron, 1828.
Pencil drawing.
*Robert, fourth Duke of Ancaster and Keste
ven, being crowned with a laurel wreath
by his sister Lady Georgiana Bertie, after
wards Marchioness of Cholmondeley,
12' 10" X 12' 2". Oil.
*Peter Burrell, first Lord Gwydyr, on an ivory
and gold snuif-box.

too

RICHARD COSWAY.

Addington, S., Esq. (or family).
Abingdon, Earl of.
Ashley, Hon. Wm.
Anderdon, J. Hughes, Esq. (or family).
Alston, Sir Francis.
Arbuthnot, C., Esq.

Mary Robinson (Perdita).
Two Ladies. S. Kensington, 1865. 318
and 1012.
The Countess of Lucan. S. Kensington,
1865. 1075.
The Prince Regent. Full-length pencil
drawing. S. Kensington, 1865. 1279.
Lady Hamilton. S. Kensington, 1865. 2298.
Jeremiah Milles (in diamond frame).
Mrs. Sheridan, as engraved by Gaujean.

Arran, The Earl of, 16, Hertford Street, W. *George IV. as Prince of Wales.

Barnard, The Lord, Raby Castle, Dar
lington. ( F/^^ Forester and Cleveland.)

Henry Vane, Viscount Barnard, eldest son
of William Harry, Earl of Darlington
(cr. 1827, Marquis of Cleveland, and
1833, Duke of Cleveland), born Au
gust 16, 1788, matriculated at Christ
Church, Oxford, April 24, 1806; mar
ried November 18, 1809, Lady Sophia
Powlett. Full-length pencil drawing, head and
hahds coloured, about 12 in. x 8 in.,
apparently in academic robes, holding
square cap in hand. At foot is written
in pencil " R'*"^ Cosway R.A. et Pictor
Primarius Serenissimi Wallise Principi
Fecit 1809."
Miniature, as per following descrip
tion :

" A lovely miniature by Cosway, bequeathed by the former Duchess Dowager^ ' to Raby' : ^
a lady with a profusion of powdered hair dressed with pearls, a loose white gown, and a black
velvet band clasping her throat. We have two other miniatures of her (one a replica of this)
at Battle Abbey. There is some uncertainty as to who she was, but she certainly belonged to
the Paulet ' family, and is believed to have been one of tlie Duchesses of Bolton, but I cannot
make out that there was any Duchess of Bolton living at that date. She must have been very
handsome, with beautiful golden-brown hair, of which a plait is framed at the back of her
portrait. "—From " Handbook for Raby Castle," by the present Duchess of Cleveland, privately
printed in 1870.
' i.e., Elizabeth, second wife of William Harry, Duke of Cleveland.
^ On the back is a piece of paper inscribed "for Raby Castle."
^ Sic, sed quaere Powlett.

Bramley, Mrs.
Boyle, Hon. Mrs. Richard Cavendish,
Huntercombe Manor, Maidenhead.

A Lady. Fair Women, 161.
*Lady Lucy Bridgman.
*Lavinia, eldest daughter of Charles, Earl of
Lucan, afterwards wife of George, second
Earl Spencer. Pencil drawing.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

Boyle, Hon. Mrs. Richard Cavendish —
continued.
Blackburne, Miss Ireland, 9, Belgrave
Road.
Beauchamp, The Earl, Madresfield Court,
Malvern.

Bonnor, Mrs.

Bacon, Mrs., 3, Lyall Street, W.

Bedford, The Duke of, Woburn Abbey.

Biddulph, Lady Elizabeth, 19, Ennismore
Gardens.
Beck, Rev. James (or family).

Buckley, Miss H. B. (or family).

BowDEN, Mrs.

Burrell, Hon. Willoughby, 12, Princes
Gardens, S.W.
( Vide Ancaster, Gwydyr, Walde
grave, and Crutchley.)

*Edmund, seventh Earl of Cork and Orrery,
and his two brothers. Pencil drawing.
Moncorvo House, 55, 56, 57.
*Mrs. Bamford.
*Mr. Isaac Blackburne. Moncorvo House,
68, 69.
*Mrs. Swinnerton, set in the cover of a mother
o' pearl box.
*Cupid with bow and arrow on the cover of a
snuff-box.
*Mrs. Fitzherbert. Enamel.
*Mrs. Robinson. Enamel.
*Mrs. Siddons.
*The Duchess of Hamilton. (It is uncertain
which duchess this represents.)
*Mrs. Lavinia Griffith.
*Mrs. Elizabeth Broff, great-grandmother of
the owner.
Moncorvo House, 42, 43. S. Ken
sington, 1865.
*Lady Anna Maria Stanhope, afterwards wife
of the fourth Duke of Bedford. Pencil
drawing. Moncorvo House, 262.
*Miss Ann Jones of Babraham, married
General James Adeane about 1770.
Two Ladies.
Mrs. Thistleton.
Two Ladies.
Richard Colley, Marquis of Wellesley, when
young, in the Windsor uniform.
S. Kensington, 1865, 1420-1-2-5-6-7.
Queen Charlotte. Sketch on paper given by
Cosway to Jane, daughter of J. T. Smith
of the British Museum.
*Mr. John Bowden, 1796-7.
*Mrs. John Bowden {nie Roberts).
*Another Portrait of the same Lady.
These are extremely fine miniatures in
perfect condition.
*Peter Burrell, born 1754, created first Lord
Gwydyr, 1796, died 1820.
*Lady Priscilla Burrell {nie Bertie), sister of
Robert, fourth and last Duke of An
caster and Kesteven, became Baroness
Willoughby De Eresby in her own right,
1780, the barony having been called
out of abeyance by the Crown in her
favour.
?Robert Bertie, fourth Duke of Ancaster and
Kesteven.

RICHARD COSWAY.

Butler, Miss Gr.^ce, Cliff House, Dunmorc
East, Waterford.

Boscawen, Lady Margaret.

Buccleuch, The Duke of.

Blyth, Hon. and Rev. E. S., Fatherwell
Hall, West Mailing, Kent.
Bristol, The Marquis of.

*Ann Frances Susannah, only daughter and
sole heir of John, last Earl of Wandes-
forde, who married John Butler, who
was in 1791 restored to the earldom of
Ormonde as seventeenth Earl of Or
monde.
*A Lady. Unknown.
'¦¦Charles and Caroline Cavendish, children of
Lord George Cavendish, afterwards the
Earl of Burlington. Fair Children,
402.
*Charles, Earl of Dalkeith, and Lord Henry,
afterwards Lord Montagu, sons of Henry,
Duke of Buccleuch.
George IV. as Prince of Wales, surrounded
by Valour, Fortitude, and Prudence.
Canvas, 94 X 69. Signed in full.
John Augustus, Lord Hervey. Two minia
tures.
Augustus John, third Earl of Bristol.

Coutts, The Baroness Burdett,
Stratton Street, W.

*Mr. Francis Burdett (afterwards Sir Francis
Burdett, Bart.) at the age of twenty-
three. Dated 1793. Moncorvo House,
24.
*Sir Francis Burdett, Bart., M.P. 1806.
Unfinished, and only partly coloured.
Moncorvo House, 25.
*Sophia Coutts, third daughter of Thomas
Coutts, and wife of Sir Francis Burdett ;
half-length. Unfinished, and only partly
coloured. Probably painted in 1806.
Moncorvo House, 26. Fair Women,
398.
*Lady Burdett {nee Sophia Coutts), earlier than
the last. An exceedingly lovely speci
men of Cosway's work. Sir Frances and
Lady Burdett were father and mother to
the Baroness Burdett-Coutts. Fair
Women, 399. Moncorvo House, 27.
*Anna Maria Crouch {nie Philips), the actress.
1 763-1805. Moncorvo House, 28.
*Richard Brinsley Sheridan (1751-1816),
statesman, orator, and dramatist. Mon
corvo House, 29.
*George Frederick Cooke as Richard III.
1755-1812. Moncorvo House, 30.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

103

Coutts, The Baroness Burdett— c(?«-
tinued.

Cleveland, The Duchess of. Battle Abbey,
Battle. {Vide Barnard and Forester.)

Cadogan, The Lady Honoria, 48, Egerton
Gardens, S.W.

CooPE, OcTAVius E., Esq.

Cavendish, Lady Emily.

Cathcart, The Earl.

Cadogan, The Earl.

*Susan Coutts and Frances Coutts, the two
eldest daughters of Thomas Coutts, and
sisters of Lady Burdett. Susan Coutts
married George Augustus, third Earl
of Guilford, 1796; and Frances Coutts
married John, first Marquis of Bute
in 1800. Moncorvo House, 31. Fair
Women, 402.
?Companion Miniature of the Countess of
Guilford and Lady Burdett. These
miniatures are attributed both to An
gelica Kauffmann and to Cosway, but
are supposed by the Baroness to be the
work in Rome of Angelica Kauffmann.
Moncorvo House, 31. Fair Women,
403-
A replica of the miniature at Raby. A
lady in powder in white dress, with
pearls in her hair (name unknown).
A Lady in powder, full face, with a black
ribbon round her neck (name un
known).
Lady Catherine Powlett, Countess of Dar
lington, when a girl of ten or twelve
years old, holding a dove. En
graved by Roffe. Pencil drawing,
41x3.
*Captain the Hon. George Cadogan, R.N.,
afterwards Admiral Earl Cadogan.
Painted in 18 10.
*Honoria Louisa Blake, sister of the first
Lord Wallscourt, and afterwards wife of
George, third Earl Cadogan. Pencil
sketch.
The Ladies Fitz-Patrick.
Richard Cosway, 1789.
Exhibited at 24,
March 17-21, 1885.
*Miss Anne Cavendish,
Charles Fitzroy.
Exhibited at 24, Belgrave Square,
March 17-21, 1885.
William, tenth Lord Cathcart, in the uniform
of the British Legion raised by him for
the American War.
Elizabeth Elliot, Lady Cathcart.
Exhibited at 5, St. James's Square,
March 28 — April 2, 1889.
Sir R. Blake.
Lady Blake,

Belgrave Square,
afterwards Lady

I04 RICHARD COSWAY.
Cadogan, The Earl — continued.

Chetwynd, The Viscount, 25, Elvaston
Place.

Cockerell, Miss, II, Mandeville Place.

Colls, Lieut.-Col., Dixton, Monmouth.

Colnaghi, P. and D. and Co., 13, Pall Mall
East.

Conyers, The Baroness {see Yarborough,
Countess of).
Cochrane, James H., Esq,, Burslem House,
Pittville, Cheltenham.

Chichester, The Earl of, Stanmer Park,
Lewes.

Campbell, Hon. and Rev. A. G., March-
field, Bracknell.

Cropper, A. Edward, Esq., Edenhurst,
Birkhall, Lanes,

Miss M. Blake.
Elizabeth, Countess of Erroll.
Exhibited at 5, St. James's Square,
March 28 — April 2, 1889.
*Richard, fifth Viscount Chetwynd (a fine
figure in a blue coat).
?Charlotte, his wife {nie Cartwright) (in a
gold cover case).
*Sir Charles Cockerell, Bart., who married the
Hon. Harriet Rushout, daughter of John,
first Lord Northwick, and whose son
took the name of Rushout in lieu of
that of Cockerell. Moncorvo House,
50-
*A Lady.
*A Gentleman. Moncorvo House, 66, 67.
*A Lady and Child. Pencil sketch.
*Mrs. Baldwin as The Grecian Lady, holding
a tambourine. Pencil sketch.
Moncorvo House, 70, 71.

?William Crawford, Esq., of Lakelands, co.
Cork. Painted in 1802.
?Jane Crawford, aged sixteen, daughter of
the above, married Jonas Morris of
Dunkettle, co. Cork.
?Lord Francis Osborne, first Baron Go-
dolphin, second son of the second, and
brother of the sixth Duke of Leeds,
born 1777.
?A Lady. Unknown.
?Lord Sidney Osborne, third son of the
second Duke of Leeds, born 1789.
?Francis, Lord Godolphin. These last two
miniatures are perhaps only of the
school of Cosway.
?The Hon. Mrs. George Pelham {nie Ry-
croft). Moncorvo House, 138-142.
?John, first Lord Cawdor.
?Caroline, his wife, daughter of the Earl of
Carlisle. Painted upon the occasion of their
marriage, 1789.
Moncorvo House, 155, 156.
?A Lady. Moncorvo House, 195.

CATALOGUE OF PICTURES AT PRESENT KNOWN,

i°5

Cruickshank, Mrs., \Vest Tisted Vicarage,
Alresford.

C.arlisle, The Earl ok,
York.

Castle Howard,

Clanricarde, Marquis ok.
Currie, Sir Philip, and L.vuv (.:urrie.

Cocks, Miss Somers.
Carruthers, C. B., Esq. (or family).
Cock, A., Esq., Q,C.
Cambridge, H.R.H. The Duke of.

Crutchley Ascot. {Vide Ancaster, Burrell,
DYR, and ^\'ALDEGRAVE.)

Gener.al, Sunninghill Park,
(Avv-

?Colonel Graham Foster Pigott, sometime
member for Kinrcss, great-grandfather
of the owner. Moncorvo House, 203,
?Frederick, fifth Earl of Carhsle, full length,
seated. Pencil drawing.
?Caroline, his wife, full length, standing.
Pencil drawing.
Moncorvo House, 260, 261,
.Vlso a miniature of the same lady.
?General Scott. Burlington Fine Arts, 55.
?Maria Cosway.
?Elizabeth, Countess of Albemarle, wife of
first earl.
?Elizabeth Vassall, married first Sir Godfrey
AVebster, and second Lord Holland.
Sir Godfrey Webster, of Battle Abbey.
Tinted drawing of Miss Barker.
?Tinted drawing of the Ladies of the Loftus
family.
?George IV. when Prince of ^\'ales, in fancy
dress.
?Mrs. Daniel, wife of the Governor of Masuli-
patam.
?Frederick, Duke of York, 1763-1827.
Burhngton Fine .^rts.
Mrs, Thomas Somers Cocks, S. Kensington,
1865, 124.
A Lady.
Maria Cosway,
Lady Anne and Lady Gertrude Fitz-Patrick,
daughters of the second Earl of Ossory,
S. Kensington, 1865,216, 233, and 2499.
Lady Louisa Manners, as engraved by Gau
jean.
?George IV.
?^Villiam IV.
?H. R. H, Princess Mary, Duchess of Gloucester.
?H.R.H, Princess Sophia, Duchess of Glou
cester,
*H,R.H. The Duke of Sussex,
Tho last one was commenced by Cos-
wa\" and completed b\' Andrew Plimer,
N.B. The above are all in one frame,
*Frances Julia, Duchess of Northumberland
{iiee Burrell).
?Elizabeth, Duchess of Hamilton, afterwards
wife of Henry, Marquis of Exeter {nee
Burrell), her sister.
¦'Elizabeth Amelia, wife of R. H. Bennet,
Esq. {nee Burrell), her elder sister.

io6

RICH.VRl) COSWAY,

Crutchley, (.tEnerai. — continued.

?Lady Burrell, wife of Sir Wm. Burrell, Bart.
{nie Raymond).
Lady Grose {nie Dunnett).
?Anne Cavendish, afterwards Lady Charles
Fitzroy, 1787-1871. Fair Children, 402.
Carvsford, The Earl of, io, Hereford ?Lady Margaret Beckford. (From the Hamil-

CoLE, Miss.
Cavendish, Henry F. C, Esq

Gardens, ^^'.
Cotton, H. H. P., Esu.

ton Palace Sale.)
A Gentleman.
.'\. Gentleman.
CosTE, F. H. Perry-, Esq., 142, Burnt Ash *Sampson Perry, grandfather of the owner.
Hill, S.E.
Cobham, Viscount. *Thomas, Lord Lyttleton. A very fine
miniature in an enamel frame, with fine
enamel and jewel work representing
arms and coronet on the back.
CooKE, Philip B. Davies-, Esq., Guysaney, George, third Earl of Kingston, 1771-1839.
Mold. Helena, Countess of Kingston {nie Lady
Helena Moore), 1 773-1848.

Dackic, Lord.
Darley, Miss, Harthill Rectory, Sheffield.

Davison, J., Esq.
De Mauley, The Lord, Langford, Lech-
lade.

Thomas, Lord Dacre. Exhibited at 24, Bel
grave Square, March 17-21, 1885.
?George, fourth Viscount, and first Marquis
Townshend,
*.\.nne, daughter of Sir William Montgomery,
Bart., and second wife of the first Mar
quis Townshend.
"Lady iVnne, eldest daughter of the above.
*The same Lady, after her marriage to Har
rington Hudson, I'-sq.
?Harrington Hudson, Esq., who married Lady
Anne Townshend.
Moncorvo House, 106-110.
Miss Prettyman.
?Sir John Webb. Enamel.
?Another similar one.
*A third similar one.
?The Countess of Shaftesbury and Lady Bar
bara .Vsliley.
?The Duchess of Devonshire.
?The Countess of Spencer {nee Poyntz),
?John Wm,, Earl of Bessborough, and Lady
Caroline Ponsonby, children of Fredk.,
Earl of Bessborough.
?Lord de Mauley and Sir F. C. Ponsonby,
children of Fredk., Earl of Bessborough.
?Lady Shaftesbury.
?Elizabeth, Countess of Bessborough.
?Lady E. Foster.
?Viscountess Melbourne {nie Caroline Pon
sonby).

CATALOGUE OF PICTURES AT PRESENT KNOWN.

De Mauley, The Lord — continued.

Devonshire, The
House, ^^^

Duke of, Devonshire

DuRL.ACHER, GODFREY, EsQ., 50, Margaret
Street, AV.
Drake, Henry, Esq.

?The Duchess of Devonshire.
*The Countess of Bessborough.
?Mr. C. Fox. Moncorvo House, 282-296.
*'Georgiana, Duchess of Devonshire, 1757-
1806; first wife of AVilliam, fifth Duke.
?A Gentleman in a Blue Coat.
?A Lady. Set with pearls in the top of a gold
and tortoiseshell snuff-box. Moncorvo
House, 315.
?Anne, daughter of Sir Joseph Copley, Bart.,
of Sprotborough, afterwards wife of
Thomas Manners-Sutton, Lord Chan
cellor of Ireland, and first Baron Manners
of Foston, ob. 18 14.
?Mrs. Harcourt, afterwards Lady Harcourt,
wife of the third Earl Harcourt.
?Maria Anne Smythe, widow of Thomas Fitz
herbert, of Swynnerton Park ; married
privately to George, Prince of Wales, in
1785. 1756-1837.
?Mrs. Whittington.
This is a very interesting unfinished portrait. It is believed that the artist, after commencing
the portrait, had a quarrel with the lady, and refused to finish the work. At the back of the
miniature is written in Cosway's handwriting a description of the lady's character as it appeared
to the artist. The inscription is as follows : "Impatient to advice. Excessive pride upon a
false foundation. A specious exterior. An unfeeling heart. Inconstant. Ungrateful. And
the writer of this may justly add, as he has woefully experienced it, Cruel and Mercenary."
?A Lady.
?Mrs. Buder. Moncorvo House, 1-6.
Princess Sophia, in gold locket. Burlington
Fine Arts, 87. Sold at Christie's, July
ist, 1891, Lot 195.
A Lady.
(Jeorge, Prince of Wales, in an enamelled
frame of the Order of the Garter.
S. Kensington, 1865. 421, 428.
A Lady. S. Kensington, 1865. 1760.
Lady Villiers.
A Lady and Child. Pencil drawing.
?Three of the sisters of the third Viscount
Courtenay, in whose favour the Earldom
of Devon was revived. Full length,
standing. Oil.
?Three sisters of the same nobleman. Full
length, reclining. Oil.
William, third Viscount Courtenay, dressed
for private theatricals. Oil. Engraved
in 1809 by J. Humphrey.

Drake, Sir W.m. (or family).

Dawson, Mrs. Vesey (or family).

Doyle, Percy, Esq., C.B. (or family).
Dack, C., Esq., Nene View, Peterborough.
Davis, Charles, Esq.
Devon, Rev. the Earl of, Powderham
Castle.

io8

RICHARD COSWAY,

DvsART, The E.\rl of. Ham House.

Mrs. Duff.
Mary (.'aroline, daughter of Louisa, Countess
of Dysart, and wife of James Duff, after
wards fourth Earl of Fife. F.ngraved as
Mrs. Duff by J. .Vg.ir, 1807.

Ellis, Major-General Arthur, C.S.I.
29, Portland Place,

Edoell, A. Wyatt, Esq,, Cowley Place,
lixeter,
Egerton of Tatton, The Lord,

Emi.vn, Viscount, 7, Princes Gardens.

Elgin, The Earl of.
Elwes, W, Cary, Esq., Blackmore Grange,
Hanlev Castle,

Elwes, Miss Cary, 130, Ebury Street,

?Lady Georgiana Cavendish, afterwards wife
of George, sixth Earl of Carli,sle, as an
infant.
?Mary Robinson ("Perdita"), formerly the
property of H.R.H, the Prince Regent,
and by him given to Lord Thurlow,
maternal great-grandfather to the present
owner. Moncorvo House, 85, 86.
This gendeman has a collection of miniatures
amongst which are, it is believed, two
by Cosway.
Countess of Bridgwater {nie Hayes), about
1780.
William Egerton, Esq., of Tatton, 1800.
Lady Sykes (Miss Egerton).
A similar one, signed.
S. Kensington, 1865. 2480, 2481,
2489, 2491.
?Hon. H. and Lady Anne Cavendish as
children. Strafford House, 1889. Fair
Children, 402.
Lady Lucy Grant.
*T. F. Heneage, Esq.
?Hon. Arabella Heneage {nie Pelham).
?Also a stained drawing of the same lady.
?Dudley Long North, Esq.
?Stained drawing of the Hon, Arabella
Heneage {nee Pelham).

Falbe, Mons. de.

Fitzhardinge, The Lord.

Forester, Hon,
venor Street.

Mrs. H,, 4, Upper Ciros-

?Mrs. Blackburn.
?Mrs. Cosway.
?Blue enamel snuff-box, with miniature of a
lady.
Fair 'Women, 1894, Nos. 59, 63, and 335.
King George IV. when Prince of AA'ales. Set
in a circular tortoiseshell snuff-box pre
sented by His M.ijesty to Charles, third
Earl of Harrington, S. Kensington, 1865.
?Charles, fifth Duke of Bolton. Dark blue
enamel, set with diamonds,
?Harry, sixth and last Duke of Bolton. Black
enamel, with supporter's coronet and crest
in ormolu, and motto " Aymez Loyauti."

CAT.VLOGUE OF PICTURES AT PRESENT KNOWN.

109

Forester, Hon. Mrs. H. — continued.
( Vide Barnard and Cleveland.^

Fitzherbert, Basil, Esq., Swynnerton Park,
Stone.
This very fine miniature was at one
was privately married tcj the prince in
Ffoulkes, Judge Wynne, Old Northgate
House, Chester.

Frere, Lady.
Ford, Mrs. (or family).
Fielding, Hon. Wm.
FitzRoy, Miss Georgiana.

?Small painting on satin of Lady Catherine
Margaret Powlett, daughter of the sixth
Duke of Bolton, who married William
Henry, third Earl of Darlington, after
wards first Duke of Cleveland.
?Pencil drawing of the same. Full length,
when a child.
Moncorvo House, 61, 62, 63, 65.
?George, Prince of Wales, afterwards George
IV.
time the property of the beautiful Mrs. Fitzherbert, who
1785. ?Miss Jocelyn, of Stanstead Bury House,
Herts, afterwards Mrs. Ffoulkes of
Eriviatt, Denbighshire, and mother of
the owner. Pencil drawing done by
Cosway of his pupil when she was taking
a lesson from him.
?An unfinished portrait of the poet Campbell.
Paul Henry Ouvry, b. 17 19. S. Kensing
ton, 1865, 2415.
William IV. as a midshipman. 5, St. James's
Square, 1889.
?Henry F. C. Cavendish, son of Lord George
Cavendish, afterwards Earl of Burlington.
1 789-1873, Fair Children, 402,

Gibbs, Henry Hucks, Esq.

(tWydyr, The Lord, Stoke Park, Ipswich.
( F/(fa' Ancaster, Burrell,Crutch-
LEv, and AA'aldegrave.)

Gower, Lord Ronald.
Goldsmid, Sir Julian, Bart., 105, Picca
dilly. These were all attributed to Cosway
and sold at Christie's in June, 1896.

?Harriet, eldest daughter of Antony Gibbs,
Esq., of London, wife of George Gibbs,
of Belmont, Somerset. Painted May,
1814.
?Thomas Noel, second Lord Berwick, 1770-
1832.
?Robert, fourth Duke of Ancaster and
Kesteven.
?Pencil drawing, full length, signed and dated
1800, of the Duchess of Hamilton,
afterwards Marchioness of Exeter {nee
Burrell), standing on a balcony near a
church.
?A little girl with an orange. Pencil sketch.
Also several smaller pencil sketches.
?A Lady and a Landscape, with Stags and
Trees. Pencil sketch.
?A Lady, in an oval FVame. Pencil sketch.
?Portrait of PI.R.H. the Duke of Gloucester.
Pencil sketch.
?Two other portraits. Pencil sketch.
?A Member of the Phipps Family.

RICHARD COSWAV.

(loLDSiiii), Sir Juli.xn, PjART. — continued.

?Lady Catherine Powlett, daughter of the
sixth and last Duke of Bolton, married
the first Duke of Cleveland.
?Elizabeth, Dowager Countess of Errol,
daughter of \\'illiam IV. and Mrs.
Jordan.
?Mrs. Roxburgh.
?Mrs. Robinson ("Perdita").
?A Lad)',
?Captain Nugent.
?Lady Elizabeth Campbell as a child.
?.\ Naval Officer.
?Susan, Countess of Guilford {nie Coutts), in
a gold frame let into an ivory snuff-box.
?A Lady upon the lid of a tortoiseshell and
gold snuff-box. The initials of the lady
are marked as J. R.
?Henry, first Earl of Mulgrave, and Sophia,
daughter of Christopher Maling, Esq.,
his wife. These are upon the lid of a
splendid enamelled snuff-box.
?Two Sisters. Mounted in blue enamel and
pearl locket. (N.B. These were cer
tainly by (t. Engleheart.)
?A Boy. Moncorvo House, 1 19-137.

Halliday, W, Halliday {olim Cosw.ay),
Esq , Glenthorne, Lynmouth, Devon.

Haygarth, Lady Bl.vnche, 24, Wilton
Crescent.
Holford, C.vptain G. L., Holford House, W.

H.vvLEY, Mrs., Catsfield Place, Battle,

Hertford, The Marchioness of, T15,
Eaton Square,

Lady Rich.
Hon, Colonel Stanley.
Sir Gilbert Eliot.
Colonel Hartley.
Mr. Fuller.
Lady Hampden.
Mr. Waller, and others unnamed.
Mrs. Fitzherbert. Exhibited at 24, Belgrave
Square, March 17-21, 1885.
Countess Waldegrave and wife of H.R.H,
"WilHam Henry, Duke of Gloucester,
Fair Women, 1894. loi. S. Kensing
ton, 1865. 759.
?Sir Vicary Gibbs. Moncorvo House, 35.
?Lady Gibbs {nee Frances Cerjat Kenneth
Mackenzie), daughter of Major Mac
kenzie. Moncorvo House, 36.
?Lady Ann Horatia Seymour, third daughter
of James, second Earl Waldegrave, and
wife of Admiral Lord Hugh Seymour.
?Mrs, Fitzherbert. Pencil drawing.
Moncorvo House, 104, 105.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

Haines, John, Esq., 24, Hampton Place,
Brighton.

Holburne Museum, Bath.

?The Eye of Emma, Lady Hamilton.
?The Eye of a Lady.
Moncorvo House, 158, 159.
685, George, Prince of Wales,
702, Mrs. Robinson.
724, Lady Whitmore.
The catalogue attributes these three to
Cosway.
Harrowby, The Earl of, 44, Grosvenor ?Mrs. Cosway and her only daughter, Louisa
Square, \V. Paolina Angelica, as a Madonna and
Child. Oil. Moncorvo House, 259.
Harlech, Lord. *Lady Ann Horatia Seymour, daughter of
the second Earl Waldegrave. Mon
corvo House, 272.
Hart, Charles Henry, Esq., 1834, Pine Emma, Lady Hamilton. Signed.
Street, Philadelphia, U.S.A.
Hewett, Sir Prescot (or family). W. N. W. Hewett. Burlington Fine Arts, 81.
Howard, Philip Henry, Esq. (or family). Sir Wilfrid Lawson, Bart. S. Kensington,
1865. 1401.
Hogg, Robert, Esq., 99, St. George's Road, Portrait of a (ientleman. Oil.
S.W,
Hurst, R. H., Esq. (or family). Eliza Cotton (Mrs. Breynton), 1792. S.
Kensington, 1865. 2706.
Hatherton, Margaret, Lady, 22, Rutland ?Anne, daughter of Sir AVm. Montgomery,
Bart., second wife of the fourth Viscount
and first Marquis Townshend, 1790.
A Lady,

Gate,
Ho.me, The Earl of.

Hay, Mrs., Clyffe Hall, near Devizes.
Ilchester, The Earl of, Holland House.

Jeune, Lady.

Joseph, S. S., Esq.

Jaffray, Miss.
Jersey, The Earl of, Osterley Park.

A Lady.
Lady Harriet Cunninghame.
A Lady.
Head of Lady Barbara Pleydell Bouverie,
1799. Oil.
?A (Gentleman, in an ivory frame.
?Hon, Miss Vernon.
?Lady Affleck,
?Hon. Caroline Fox.
?Hon. Mrs. Wyndham,
?Hon, Lady Sheffield.
Hon. Mrs. Mackenzie.
Mr. Granville Stuart.
Exhibited at 24, Belgrave Square,
March 17-21, 1885,
Anne Fane, wife of Colonel Thomas Fane,
brother of John, tenth Earl of Westmore
land. Fair AVomen, 1894. 121.
?Five Sketches bought at Cosway's sale.
Burlington Fine Arts.
?George, fifth Earl of Jersey.

RICH.VRD COSWAY,

Ieksev, The E.arl of — continued.

J.vMEs, John C. H,, Esq., Perth, Western
.Australia,

?Two of Lord Jersey's sons. Full-length
pencil drawings, coloured faces.
?A Lady unknown. Signed.
Hon. Mrs, Dashwood {nee Pelham).

Koughnet, Lady Jane van.

Kennedy, S. E., Esc,), (or family).

Lawley, Hon. and Rev. Stephen.

LowTHER, Hon. Mrs,, Lowther Lodge,
Kensington Gore,
Leeds, The Duke of, ii, Grosvenor
Crescent.

Len.xox, Lady Henry Gordon, 53, Princes
Gate.
Lawrell, C. J, Pakenha.vi, Esq., 115,
Ashley Gardens, S.W.
Lucan, The Earl or.
Lea, Mr. (or family).

LiTTLEUALE, Mrs. (or family).

Leigh, The Lord.
Loudon, Willoughby, Esq., 4, Chesterfield
Street.

?Jemima Campbell, Marchioness de Grey,
died 1779. Pencil drawing.
?Lady Elizabeth Lindsay, daughter of James,
fifth Earl of Balcarres, Married Philip,
third Earl of Hardwicke, died 1858,
Fair Women, 1894, Nos. 162, 163,
A Gentleman.
George IV.
Burlington Fine Arts, 81 and 125.
?Lady Ann Luttrell, daughter of Lord Car
bampton, afterwards the Duchess of
Cumberland. Painted by desire of the
Prince Regent, and given by him to the
Lawley family, one of whom had been
maid of honour to the duchess. Mon
corvo House, 53.
?H.R.H, Princess Amelia, 1 783-1810.
?H.R.H. Princess Sophia, 1 768-1840.
Moncorvo House, 59, 60.
?George, sixth Duke of Leeds. Pencil sketch,
signed.
?Lady Mary Osborne, daughter of the fifth
Duke of Leeds, and afterwards wife of
Thomas, second Earl of Chichester,
Moncorvo House, 87, 88.
*Charlotte, wife of Charles, fourth Duke of
(Gordon, died 1842. Moncorvo House, 89,
"¦¦Mrs. James Lawrell {nie Anne Parsons).
Moncorvo House, 67.
A Lady of about 1780, S. Kensington,
1865, 406.
Joyce, Lady Leake, daughter of John
Crowther, Esq,, married Sir James Leake,
Bart,, about 1782, S. Kensington, 1865,
1248.
William Assheton, Esq., of Downham Hall,
Lancashire, 1788,
Lettice, wife of above (;/i?if Brooke), 1788,
S, Kensington, 1865. 1439, 1440.
James Henry Leigh, of Adlestrop, Gloucester,
1 765-1828. S. Kensington, 1865. 2792.
.¦V Lady. E.xhibited at Devonshire House,

CATALOGUE OF PICTURES AT PRESENT KNOWN.

113

Lubbock, Mrs. Henry, Newberries, St. Lady Plumer. Spencer House, 1887.
Albans.
Laurence, Edwin H., Esq. Princess Augusta, 1 768-1840. Burhngton
Fine Arts.
Lindsey, The Earl of. *Eliza Maria {nie Cley), widow of Thomas
Scroope, and first wife of Albemarle,
ninth Earl of Lindsey, on a snuff
box.
*Charlotte Susannah {nie Layard), second wife
of Albemarle, ninth Earl of Lindsey, on
a snuff-box.
Louvre, The, Paris. Pencil drawing, without colour, of the mother
of M. His de la Salle, a donor to the
Louvre of many drawings.

Montgomery, Sir Graham Graham-, Bart.

Morland, W. C, Esq.,
Lodge, Kent.

Lamberhurst Court

Mackenzie, Major-General R.
Morris, General, C.B.
Methuen, Lord.

?Mrs. Graham of Kinross.
?Sir James Montgomery, Bart, of Stanhope.
Painted about 1796.
S. Kensington, 1865, 195 1-2. Mon
corvo House, 46, 47.
?Lady Caroline Morland. Painted between
1800 and 1810.
?Lady G. Thynne, afterwards Lady Carteret,
and her sister. Lady Caroline Morland.
?William, ninth Earl of Devon and second
Viscount Courtenay.
?William, tenth Earl of Devon and third
Viscount Courtenay, brother of Lady
Caroline Morland.
?Lady Anne Courtenay, afterwards Countess
Mountmorris. S. Kensington, 1865. 1937, 2329-30.
?Miss Rushout, daughter of first Lord North
wick. Oil portrait. Fair Women, 196.
Mrs. Colman. Devonshire House, 1885.
?Lord Newark, maternal uncle to the Rev.
John Sanford. Painted in 1803. Signed
in full, R.A. et F.S.A., and dated. Red
coat, blue colour; grey background, no
blue.

National Portrait Gallery.

Newbery, Mrs.,
Brighton.

36, Brunswick Square,

Cosway, by himself Presented in 1870 by
Miss Zornlin.
Combe, William, author of "Dr. Syntax,"
brother-in-law of Cosway. Purchased
by the Trustees in 1891.
Miniatures of the five Daughters of Matthew
Pierson, Esq., and sisters of the Major
Pierson who fell in the defence of
Jersey, 1781:

114

RICHARD COSWAY.

Newbery, Mrs. — continued.

Northbourne, The Lord, 6, Whitehall
Gardens.
Northumberland, The Duke of, Alnwick
Castle.
Northcote, The Honourable Lady, 7,
Seamore Place.
Nevill, The Lady Dorothy.

North, The Lord.

?Mrs. Tinling.
?Mrs. Francillon.
?Mrs. Webber.
?Mrs. Anstey Calvert.
?Mrs. Metcalfe Marwood.
?Major Francis Pierson, 95th regiment, who
fell at the head of his regiment in re
pelling the invasion of the French at St.
Heliers, January 6, 1781.
?Sir Richard Pierson.
Moncorvo House, 97-103.
?Sir Walter James, Bart, {olim Head), grand
father of the present Lord Northbourne.
A Lady unknown.
?H.R.H. The Duke of Sussex, 1773-1843.
?Miniature of the Hon. and Rev. George,
Henry Nevill, of Flower Place, Surrey,
who married Caroline Walpole. 1760-
1844. He was father-in-law to Lady
Dorothy Neville.
The miniature was executed in 1783.
Moncorvo House, 21.
?Susan Coutts, afterwards Countess of Guil
ford.
?George Augustus, third Earl of Guilford.
?Maria Frances Mary, daughter of George,
third Earl of Buckingham, and first wife
of George, Earl of Guilford.
?Sophia Coutts, afterwards Lady Burdett, and
Frances Coutts, afterwards Marchioness
of Bute, sisters of Susan, Countess of
Guilford.
?Drawing of four sisters on a terrace.

Ogle, Miss C. C, Clive Vale House,
Hastings.
Ogle, Miss, The Red House, Granger Park
Road, Newcastle-on-Tyne.
Orde, Sir John Campbell.
Ossington, Viscountess (Heirs of the late).

Love binding Time. Fine pencil drawing.
Signed and dated 181 2.
Two Miniatures.
Lady Orde.
Lady Ossington had a very large oil painting
by Cosway when she was residing in
London. I have not yet been able to
ascertain where it now is.

Portland, The Duke of.

?Henrietta Scott, Duchess of Portland.
Fair Women, 1894. 277.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

i^S

Pitt, Hon.
ford.

Blanche, Stepleton, Bland-

?The two Children of William, fifth Duke of
Devonshire, by Georgiana, daughter of
the first Earl Spencer.
GeorgianaDorothy(i 783-1 858)married
in 1 80 1 George, sixth Earl of Car
lisle. See Campbell for a portrait of
her husband's sister, Lady Cawdor.
Harriet Elizabeth (1785-1862) married
in 1809 Granville Gower (second
son of the first Marquis of Stafford),
who was created Viscount Granville
in 18 1 5, and Earl Granville in
1833- Moncorvo House, 91.
This miniature is one of the loveliest that Cosway ever executed, and is full of tender grace
and exquisite delicacy. It originally belonged to the late Lady Taunton.

Ponsonby, Hon. Wm.

Ponsonby, Hon. Gerald.

Ponsonby, Hon. Mrs. Fred.

Ponsonby, Hon. Ashley G.

Portarlington, The Earl of.

?A Lady.
?Mrs. Siddons.
?Lady — Leveson-Gower.
?Sutherland of Forss.
Moncorvo House, 196-199.
?His Majesty King George IV.
?The Hon. (Harriet) Lady Cockerell and her
Child. The face and limbs in the sketch
are slightly coloured. Pencil drawing.
Moncorvo House, 83, 84.
* William Cavendish, 1783-1812, father of the
late Duke of Devonshire.
?William Cavendish and his brother George
Cavendi.sh, 1784-1809.
Burlington Fine Arts, 115, 116.
Henrietta Frances, Lady Duncannon, after
wards Lady Bessborough, second
daughter of John, first Earl Spencer,
died 1821.
A Lady. Pencil sketch.
S. Kensington, 1865. 605, 2839.
?Mrs. Fitzherbert.
?Three Miniatures of H. R. H. George Augustus
Frederick, Prince Regent, her husband,
one being unfinished.
?Maria, Countess Waldegrave, daughter of
Sir Edward Walpole, who married
secondly H.R.H. William Henry, Duke
of Gloucester.
(These belonged to Mrs. Fitzherbert.)
S. Kensington, 1865. 2131, 2142-3.
*Princess Carohne of Wiirtemburg, un
finished.

ri6

RICHARD COSWAV,

Pender, Sir John, i6, Arlington Street.

Propert, J. Lumsden, Esq., 112, Gloucester
Place, Portman Square, W.

Portarlington, The Earl of — continued. ?William IV,, unfinished.
?Lady Horatia Seymour.
?Eye of Mrs. Fitzherbert in a ring.
?Eye of George IV. in a ring.
Duchess of Cumberland in 1805.
Charlotte Corday.
Exhibited at Spencer House, March 16-22,
1887.
?Mr. Moffatt, signed as follows :
"R''"' Cosway, R.A., Primarius Pictor
Serenissimi Walhse Principis Pinxit."
?Mrs. Moffatt, signed.
?Charlotte, Duchess of Gordon, ob. 1842.
Wife of Charles, fourth Duke.
?Mrs. Abington, actress.
?Eleanora, Countess of Eglinton, daughter of
Robert Hamilton, and wife of Hugh,
twelfth Earl. Married in 1772.
?Mrs. Fitzherbert. 1756-1837.
?An Eye, said to be that of Mrs. Fitz
herbert.
?George IV., signed.
?Sir Arthur Paget.
?Lady Augusta Paget.
?Hon. Miss Guthrie.
?Mrs. Richard Sheridan, daughter of Thomas
Linley, the composer, born 1754, died
of consumption 1792, and was buried in
Wells Cathedral.
?Lady Caroline Lamb (Lady Melbourne),
daughter of Fredk., third Earl of Bess
borough, and friend of Lord Byron.
1785-1828.
?John P. Kemble, the actor, as Hamlet.
1757-1823.
?H.R.H. The Duke of Sussex in Volunteer
uniform.
?The Hon. Mrs. Damer, daughter of the
Right Hon. Henry Seymour Conway,
and wife of the Hon. John Damer, son
of Lord Milton. 1748-1828.
?Miss Newcome (Lady Gardiner), of Bath.
?Lady Berwick, at the age of seventeen or
eighteen, about 1816.
She died at the age of eighty, and this miniature, the history of which is known from the
time of its completion, was painted by Cosway when about seventy-six years of age.
?Richard Cosway, having a ruff round his
neck, and wearing a large hat with
feathers.

CATALOGUE OF PICTURES AT PRESENT KNOAVN.

T17

Propert, J. Lumsden, Esq. — continued.

Percy, The Earl.

PucKLE, Mrs.

Pelham, Hon. Mrs. Dudley, St. Lawrence.

?Lord Poltimore.
?Lady Dacre.
?A Lady.
?A Gentleman.
?Jane, Lady Ellenborough, signed and dated.
?Lady Jane Gore, second daughter of Lord
Arran.
?Henry, second Earl of Carnarvon.
?George IV. when an infant.
?George, third Lord \Valsingham.
?Portrait in oils of Isabella, Countess of
Beverley {nee Burrell).
?Hon. Mrs. Elwes {tiie Pelham).
?Charles, first Lord Yarborough.
Stained Drawing of Charles, first Lord Yar
borough.

Queen, Her Majesty the, Windsor Castle.

?William IV. 1765-1837.
?H.R.H. Princess Sophia. 1768-1840.
?Queen Charlotte. 1 744-1818.
?H.R.H. Princess Mary, afterwards Duchess
of Gloucester. 1776-1857.
?H.R.H. Princess Amelia. 1783-1810. Pardy
finished.
?Georgiana, Duchess of Devonshire. Un
finished ; in its first stages.
?An exceedingly fine Pencil Drawing, repre
senting three members of the Royal
family, whose identity is not at present
determined. Moncorvo House.
?Pencil Drawing of Queen Caroline and
Princess Charlotte. Fair Children, 289.
?Ehzabeth, Viscountess Melbourne. Signed.
Panel 29 x 24. Old Masters, R. A., 1876.
260.

Renton, Mr., King Street.

Rowley, Mrs. Dawson, Morcott Hall,
Uppingham.
Rashleigh, Jonathan, Esq., Menabilly,
Cornwall.
Ridley, Sir Matthew White, Bart., M.P.,
10, Carlton House Terrace.

?A Boy, said to be Master Bunbury, three-
quarter length in brown coat. Signed
and dated. Bought at Christie's for
^59-
Lady Anne Barnard {nie Lindsay), who
composed " Auld Robin Gray."
*A Series, done by Cosway in his early days,
representing Jonathan Rashleigh and his
wife and their children.
?Sarah, wife of Sir Matthew White Ridley
{nie Colborne). Signed.

1 18

RICHARD COSWAY.

Richmond and Gordon, The Duke of.

Rutland, The Duke of.

Ross, Lady Mary (or family).

RuMBOLD, Sir Horace.

Radnor, The Earl of, Longford CasUe.

?Mary, wife of the third Duke of Richmond.
Signed in full on the back, and dated
1789.
?Charlotte, wife of the fourth Duke of Rich
mond. Moncorvo House, 247, 248.
?Mary Isabella, Duchess of Rutland. 1782.
Lord Robert Manners, Captain of the " Re
solution," died of wounds received in
Lord Rodney's action with Count de
Grasse, 1782.
S. Kensington, 1865. 338, 340.
?John Henry, fifth Duke of Rutland. Fair
Children, 381.
Miss Gunning, afterwards Mrs. Ross. 1795.
Mrs. Ross. 1796.
S. Kensington, 1865. 548, 549.
?Sir Wm. Rumbold, Bart.
?Lady Rumbold.
?Lady Rancliffe {nie Boothby).
?Jacob, second Earl of Radnor. 1750-1828.
9S><S92- Painted in 1786. Stand
ing in peer's robes, holding in his
right hand a plan of Longford Castle.
Oil.
?William, Viscount Folkestone (i 779-1869),
afterwards third Earl, and his sister.
Lady Mary Anne Pleydell Bouverie.
1 778-1790. Oblong, 56x48. Painted
in 1785. Engraved in 1786 by C.
White, under the title of " Infancy."
The two children are seated on the
grass, the boy with his head on his
sister's lap. Oil.
?Hon. Duncombe Pleydell Bouverie, after
wards Admiral of the Blue. 1780-1847.
Oblong, 56x48. Painted in 1785.
Engraved by H. R. Cook. A boy lying
on the ground, and a lamb near him.
Oil.
?Hon. Lawrence Pleydell Bouverie. 1787-
181 1. Painted in 1789. Full length,
56 x 48. A boy running with two dogs.
Oil. Old Masters, 1876. 225.
?Hon. Frederick and Philip Pleydell
Bouverie, aged fourteen and eleven.
Painted in 1799. Engraved by Mrs.
Cosway. Two boys laying flowers
on the tomb of their sister Harriet.
Oil.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

119

Radnor, The Earl of — continued.

?Anne, Countess of Radnor, wife of Jacob,
second earl, at the age of twenty-two.
Stained drawing. Engraved by Bond.
?William, first Earl. Unfinished. Taken from
a kitcat by Gainsborough. Miniature.
?Jacob, second Earl, in 1786. Miniature.
?Jacob, second Earl, in 181 2. Miniature.

Strafford, Countess of.

Sinclair, Sir Tollemache.

Sands, W. H. B., Esq., United University
Club.
Somerset, The Hon. Charlotte, 8, Ches
terfield Street, W.

Seymour, Mrs. Hugh, 3, Lennox Gardens.

Senior, Julian, Esq., 40, Hill Street, W.

Swinburne, Miss, 20, Ennismore Gardens.
Sackville, Mrs. Stopford.

Charles Greville, Esq.
Lady Charlotte Greville, his wife.
Charles Cavendish Fulke Greville as a child
(author of Greville's Memoirs).
?Mrs. Fitzherbert. This is mounted in a
green leather folding pocket-book, which
Cosway always used to carry about with
him. His name and address are printed
upon it. Fair Women, 1894. 93. Mon
corvo House, 23.
?Diana, Lady Sinclair. Oil. Daughter of the
first Lord Macdonald, and second wife
of Sir John Sinclair, Bart. Died 1845.
Fair Women, 1894. 134. Moncorvo
House, 22.
?Portrait of a Gentleman. Set in pearls.
Moncorvo House, 308.
?Two Miniatures in double case of Catherine
and Maria, twin daughters of Admiral
the Hon. John Forbes, brother of George
Earl of Granard, and author of the very
interesting memoir of the House of
Forbes. Catherine afterwards married
William, third Earl of Mornington, and
Maria married John Charles, third Earl
of Clarendon. Moncorvo House, 51, 52.
?Hugh Seymour, second son of Lord Hugh
and Lady Horatia Seymour. Moncorvo
House.
This gentleman has a large collection of
miniatures, including some very fine
Cosways. His cabinet is beheved to
contain several of the Cosways of the
Royal Family at one time in Lord Truro's
collection, but owing to special circum
stances I have not been able to see the
cabinet nor permitted to describe its
contents.
?Sir John E. Swinburne, sixth baronet.
?Emilia Elizabeth, his wife {nie Bennet).
Three Portraits. St. James's Square, 1889.

RICHARD COSWAY.

Salting, George, Esq., 86, St. James's
Street.
Sanford, W. A., Esq., Nynehead Court,
Welhngton, Som.

Sefton, The Countess of, Sefton House,
Belgrave Square.
Soane Museum, Lincoln's Inn Fields.

Spencer, Lady Sarah.

Spencer, Hon. R.
Spencer, The Earl.

Shaftesbury, The Earl of.

?A Lady. A very fine miniature (said to be
Lady Errol).
Stained Drawing of the Hon. Leicester
Stanhope.
Oil Portrait of Lady Anna Maria Stanhope,
afterwards Duchess of Bedford, by her
sister. Lady Caroline Stanhope, in which
the hands and arms are believed to be
Cosway's work.
Isabella, Lady Sefton, daughter of the second
Earl of Harrington, engraved by W.
Dickenson, 1783. Pencil drawing.
?Andromache an.d Astyanax. Very fine
brown drawing.
?Mars reposing in the lap of Venus. Pencil
drawing.
?Copy in chalk of the Aurora of Guido.
?Lavinia, daughter of Charles, first Earl of
Lucan, and wife of Geo. John, second
Earl Spencer.
?Edmund, eighth Earl of Cork.
Burlington Fine Arts, 92.
?Lady Horatia Seymour. Burlington Fine
Arts, 92.
?Portraits of the two Children of William,
fifth Duke of Devonshire, by Georgiana,
daughter of the first Earl Spencer.
Georgiana Dorothy( 1 783-1 858)married
in 1 80 1 George, sixth Earl of Car
lisle. See Campbell for a portrait of
her husband's sister. Lady Cawdor.
Harriet Ehzabeth (i 785-1862) married
in 1809 Granville Gower (second
son of the first Marquis of Stafford),
who -was created Viscount Granville
in 18 1 5, and Earl Granville in 1833.
Signed in full at the back, and dated
1789. S. Kensington, 1865. 922.
Painted at a somewhat different period
to Miss Pitt's miniature, q.v.
Lady Anne Sturt, daughter of Anthony
Ashley, fourth Earl of Shaftesbury, and
wife of Charles Sturt, Esq., of Crichill,
Dorset.
Anne, Countess of Shaftesbury, daughter of
George, Duke of Marlborough, and wife
of Cropley Ashley, sixth Earl.
S. Kensington, 1865. 2097, 2101.
Cropley, sixth Eari of Shaftesbury. Oil.
His wife, the Countess of Shaftesbury. Oil,

CATALOGUE OF PICTURES AT PRESENT KNOWN.

Sutherland, House.

The Duke of, Stafford

South Kensington Museum.

Steere, Mrs. Lee H.

Seamer, Rayfield, Esq., Dryden House,
Bush Hill Park, Enfield.
Smith, G. J. Philip-, Esq.

?William, fifth Duke of Devonshire.
?William Spencer, sixth Duke of Devonshire,
as a child.
?Mrs. Elizabeth Bilhngton, singer, 1770-1818,
946, 1868.
?A Lady. Signed. 283, 1876. (N.B. This
signature is not, I fear, original.)
?Field Marshal Henry Seymour Conway,
1720-1795. D99, Dyce Bequest.
?\'iscount Newark. 176, 1869.
?The Earl of Carlisle. 611.
?Caroline Cavendish, daughter of Lord George
Cavendish, afterwards Earl of Burling
ton, 1 797-1867. Fair Children, 402.
?Admiral Lord Nelson. (From the Hamil
ton Palace Sale.)
?Margaret Cocks, daughter of J. Cocks, and
niece of Charles Cocks, first Lord
Somers, married Joseph Smith. Seated
to the left. Canvas, 35x37. Old
Masters, R.A., 1879. 139.

Tolstoy, The Countess, 3,
dens.

Carlton Gar-

Turner, Sir Charles, 24, Ashburn Place,

Thorold, Mrs. Montague.

Tollem.ache, Mrs. Arthur, Combe Grange,
Ascot.

?Maria Brant (formerly Lee).
?A Gentleman in Blue Coat.
?A Gentleman in Red Coat.
?Kitty Clive, the celebrated actress (1711-
1785), as an old lady. Signed and
dated 1775.
?H.R.H. Augustus Frederick, Duke of Sussex,
1773-1843-
?A Young Boy in Green Coat.
?Captain D'Arcy. Pencil drawing.
Moncorvo House, 72-78.
?George, Prince of Wales, afterwards George
I\'. Pastel portrait. The well-known
engraving is supposed to have been
executed from this very unusual speci
men of Cosway's work.
Moncorvo House, 96.
?Mrs. Rigby.
?A Gentleman.
?A Gentleman.
?Horace Beckford, afterwards third Lord
Rivers, in Eton Montem dress. Pencil
drawing. Moncorvo House, 152-154.
?Mr. Henry Churchill.
?Miss Mary Churchill, afterwards wife of the
first Earl Cadogan.
Moncorvo House, 257, 258

RICHARD COSWAY.

Tweeddale, The .Marquis of, 6,
Street, W.

Hill

Tennant, Major, St. Ann's Manor, Sutton,
Loughborough.
Thynne, Charles E., Esq., 104, Queen's
Gate, S.W.

Thornhill, Sir Thomas.
Tweedmouth, The Lord, Guisachan, In
verness, N.B,

?George, seventh Marquis of Tweeddale.
?Lady Hannah, daughter of John, seventh
Earl of Lauderdale, afterwards wife of
George, seventh Marquis of Tweed-
dale.
?Hon. Mrs, North {nee Pelham).
?Hon. Mrs. Tennant {nee Pelham).
?Frances, fourth Countess of Jersey, Oil
portrait.
?Lady Henrietta \'illiers, afterwards Bagot,
as a child. Oil portrait.
?Lady \Villiam Russell {nee Charlotte Anne
Villiers), wife of the Lord William
Russell who was murdered by his valet,
Courvoisier, May 6, 1840.
Drawing of Master Thornhill with a dog, as
engraved by Stubbs.
?Mrs. Robinson, the actress ("Perdita").
?Grace Dalrymple, daughter of Hew DaL
rymple, married at the age of fifteen to Sir
John Elliott, but afterwards divorced
from him — a celebrated beauty, and
authoress of an interesting journal ¦WTitten
in Paris during the French Revolution.
She was a great favourite with the Prince
Regent and Philip Egalite, Duke of
Orleans, and died in 1823.
?.Vlrs. Fitzherbert. Signed and dated 1788.
*Sophia, Countess of Orford, daughter of
Charles Churchill, Esq., and first wife of
Horatio, second Earl of Orford, ob.
1797.
?Dorothy Bland (Mrs. Jordan), the actress.
1789. Moncorvo House, 145-149. Fair
^\'omen, 181, 184, 185, 187, 189.
?Douglas, eighth Duke of Hamilton and
Brandon.
?Mr, Courtenay.
?Lady Hamilton.
Frame containing sixteen original sketches,
all of which have been engraved. Mon
corvo House, 150.

?i. Hon. Mrs. Damer.
?2. Vincent Lunardi, aeronaut.
?3. Monsieur d'Hautefeuille.
?4. Duke of Hamilton.
?5. Madame de Pinto.
?6. Mrs. Cowley.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

Tweedmouth, The Lord — continued.

?7. Mrs. Harding.
?8. Richard Cosway, R.A.
?9. Lady Lucy Barry.
?10. Miss Liiiwood.
?11. Countess Menises.
*i2. Signora Allegranti, operatic
singer.
?13. Herr Schoeeder.
?14. Lewis, the actor.
?15. Unknown.
?16. Madame Lambevinski.
Frame containing fifteen original sketches,
all of which have been engraved. Mon
corvo House, 151.
?i. Miss Elliot, the actress.
?2. Due de Montpensier.
?3. Princess Elizabeth.
?4. Tenducci, the singer.
?5. Elizabeth, Dowager Lady LytteL
ton, wife of the first Lord
Lyttelton.
?6. Comtesse de Vaudeul.
?7. Georgiana, Duchess of Devon
shire.
?8. Mrs. Cosway.
?9. Countess of Pembroke.
?10. Princess Charlotte of Wales.
?11. Signor d'Agenio.
?12. Lady Rollo.
?13. Mrs. Crouch.

?14. Princess of Wales.
?15. Count Sodervini.

University of Oxford.

There is a large collection of miniatures
belonging to the University acquired
from the late Mr. Hawkins. It is
temporarily exhibited in the New Ash-
molean Museum, and fills a very large
case. The miniatures, amongst which
are one or two Cosways and some fine
Plimers, are not arranged nor catalogued ;
they are exposed to full sunlight, and
many have faded seriously. The endre
series has been neglected, and should
be properly classified, named, and
arranged, and be removed from the
destructive influence of the sunlight
without delay.

124

RICHARD COSWAY.

Wharncliffe, The E.vrl
House, W,

OF, Wharncliffe

W.ATERPARK, The Lord, Doveridge, Derby.

Woodroffe, Frank, Esq.
(I have not been able to examine this
collection at all carefully.)

?H.R.H. Princess Amelia.
?Lady Elizabeth Foster, daughter of the
fourth Earl of Bristol, Bishop of Derry,
and second wife of Wilham, fifth Duke
of Devonshire, ob. 1824. Fair Women,
139. Moncorvo House, 9.
She survived the duke for many
years, and resided at Rome until her
death.
?Emma, wife of Sir William Hamilton.
1766-1815. On vellum. Fair Women,
143. Moncorvo House, 11.
?Georgiana, daughter of John, Earl Spencer,
and first wife of William, fifth Duke of
Devonshire, Moncorvo House, 14.
?Lady Mountstuart, grandmother of the first
Lord Wharncliffe, and created a peeress
in her own right. Moncorvo House, 16.
?Margaret, daughter of Sir David Cunning
hame, Bart., wife of the Hon. James
Stuart-Wortley Mackenzie, and mother
of James, first Lord Wharncliffe, on a
gold snuff-box, Moncorvo House, 18.
?Eliza Farren, the celebrated actress. 1759-
1829. Fair Women, 140. Moncorvo
House, 19,
She retired from the stage in 1797
and became the second wife to Edward,
twelfth Earl of Derby. She had been
the leading actress of her time, and was
greatly esteemed in private hfe.
?Richard, second Lord Waterpark.
?Juliana, his wife, daughter of Thomas
Coopers of Coopers Hill, grandmother
of the owner,
A Lady.
Mrs. Cosway.
A Lady.
Georgiana, Duchess of Devonshire.
A Lady.
Elizabeth, Duchess of Devonshire,
Mrs. Robinson ("Perdita").
Princess of Wales.
Mrs. Dawson Damer.
A Lady in black dress.
The Marchioness of Salisbury.
Nelson's Daughter.
Lady Waldegrave.
A Young Lady.
A Lady,

CATALOGUE OF PICTURES AT PRESENT KNOWN.

T2S

Woodroffe, Frank, Esq. — continued.
Wadmore, Rev. H. R., 15, Fairfax Road.
Wickham, Miss, 2, Hereford Square.

Whitehead, Jeffery, Esq.

33o> 2-17.
friend of Horace

Lady Porchester.
Lady Stuart of Castle Milk.
A Lady. Fair Women, 1894.
?Mrs. Henry Greville, the
Walpole.
?Fanny Sage, daughter of Isaac Sage, Esq.,
of Thornhill, Dorset, Governor of Patna,
and niece of Dr. Sedgwick Whalley,
D.D., of Mendip Lodge.
?Hay Clephane, Esq., fourth son of Clephane
of Carslegie, Fife, and great-uncle of
Lady Marion Alford.
?General Sir H. Clinton.
?George de Grey, third Lord Walsingham.
?Hon. Ada Augusta Byron.
?James Towneley.
*A Lady.
?A Young Lady.
?George, Prince of Wales.
?Dr. W. Pether.
?Ignace Pleyel, 1 757- 1 83 1. German musical
composer.
?H.R.H. Princess Amelia, 1783-1810.
?Mrs. Siddons, 1755-1831.
?Sir William Musgrave, Bart.
?Snuff-box, with miniature outside of Hon.
Ada Byron, and another inside of Lady
Sweettann.
?Mrs. Garrick, actress. Wife of Garrick's
nephew. Signed.
?Richard Cosway himself, in a diamond
frame.
?Catherine, daughter of Walter, first Earl of
Verulam, and afterwards Countess of
Clarendon.
?Beau Brummel,
?Captain Hyde.
The following are all pencil draw
ings :—
*\ Lady, in oblong frame.
?A similar one.
?The Duke of Northumberland.
?Mrs. Fitzherbert, in pearl frame.
?Mrs. Cosway as "The Milkmaid."
?Mr. Cosway as "The Shepherd."
?A Lady seated and a Landscape.
?The Prince of Brazil.
?A Lady and a Landscape.

126

RICHARD COSA\'AY.

\Vhitehead, JEFFER^', Es(^(, — continued.

\Villiams, E.
Chester.

W., Esq., Herringston, Dor-

?Mrs. Fitzherbert seated under a Tree.
?H.R.H. the Prince Regent.
?Lieut.-Gen. Sir R. C. Ferguson, M.P.
?.V Female reclining.
?Queen Margaret of Anjou and her Son with
the Robbers.
?An old Man instructing Youth, "Education."
?A Lady seated reading, " Improvement,''
?"The Flight into Egypt."
?"Virgin and Child."
?" Repose."
?"Christ blessing little Children."
?"The Last Sacrament."
?"The Deposition," and many others.
N.B. Mr. Whitehead has also three
oil paintings by Cosway.
Lady Elizabeth Fortescue.
Countess of Essex.
William Drummond.
William Moffatt.
Lady in white dress.
Lady in grey dress.
Lady in powder.
Mrs. Wolstoncraft, afterwards Mrs. Godwin.
Lady in white.
Miss May Palmer.
Mrs. E. W. Montague.
Lady in blue cap.
Jane, Countess of Hyndford.
William Gifford.
Dorothy Percy, Countess of Leicester.
Sir John Clench (Baron of Exchequer).
Lady in blue.
Countess of Shaftesbury.
Mrs. Metcalf Marwood.
Lady F'ermor.
Lucy, Countess of Carlisle.
Mrs. Martyr.
Duchess of Ancaster,
Miss Gunning.
Earl of Westmorland,
Lady in profile.
Lady in cap with blue bows.
Lady in white.
Lady in white cap.
Lady Berkeley.
Countess of Dorset,
Lady in white gown,
Richard Sheridan.
A Boy in blue coat.

CATALOGUE OF PICTURES AT PRESENT KNOWN.

127

Williams, E. W., Esq. — continued.

Lady Penelope Compton.
Lady with blue sash.
Lady in dark background (17 94).
Sir \\. H. Colne (or Coke).
Lady Mary Harvey.
Lady in blue and white ribbon (1797).
Lady Horatia Seymour.
Joyce, Lady Lake.
Full-length Lady on a terrace.
Lady in red dress and ermine.
N. B. I have only heard of this large collection just as I go to press, and have not been able
to see any of the miniatures. Every miniature is attributed by the owner to Cosway,
House, ?William WeUesley Pole, third Earl of
Mornington. Moncorvo House, 265.
?Richard Walmesley of Shewley Hall, Lanca
shire.
?Catharine Manby, daughter of John Manby,
Esq., of Downsell Hall, Essex, afterwards
Mrs. Richard Walmesley.
Moncorvo House, 297, 298.
A Child in white frock, pale green scarf.
Grosvenor Gallery, 1888. 208. Oil.
?Wilham IV. as Duke of Clarence.
?Robert, fourth Duke of Ancaster and

Weigall, Lady. Rose, Southwood
St. Lawrence, Kent.
Walmesley, R. J., Esq.

Woolner, T., Esq., R.A. (The late).

Wales, H.R.H. the Prince of.
Waldegrave, The Earl, 20,

Bryanston

Square. ( /^/^^ Ancaster, Burrell,Crutch-
LEY, and Gwydyr.)

Williamson, Dr. (author of this book). The
Mount, Guildford.

Kesteven. This was probably painted
specially for the duke that he might
present it to Lady Horatia Walpole to
whom he ws& then engaged. His death
took place prior to marriage, and with
him the dukedoms of Ancaster and Kes
teven became extinct.
Personal Relics of Richard Cosway, R.A.,
from Italy :
An unfinished portrait of Mrs. Robin
son as " Melania," executed for one of
Cosway's pupils, in order to show his
method of laying on colour, which was
afterwards taken off by the finer brush.
A piece of paper on which Cosway
has tried his colours.
One of his painting brushes.
Parts of playing cards of the kind
generally used by him as a backing for
his miniatures.
The trade card of the man who
supplied his ivories.
Pieces of his ivories.
One of his original gold frames for
miniatures, enclosing the trade card of
the man who supplied such frames.

128

RICHARD COSWAY.

Williamson, Dr. — continued.

Several letters from Maria Cosway,
wife of Richard Cosway.
Watch made by Abraham Plimer,
father of Cosway's two favourite pupils,
.Andrew and Nathaniel Phmer.

V.vrborough, The Earl of.

?Charles Anderson Pelham, afterwards first
Lord Yarborough, aged thirty-seven
(painted 1785), and his eldest son
Charles, afterwards first Earl, aged three
years (painted 1784).
?Child in white hat with red feathers, sup
posed to be Charles, first Earl.
?A Lady in pink dress trimmed vvith brown
fur, believed to be a portrait of Mary,
wife of the fourth Earl of Holderness.
?A Lady.
?A Lady in white dress.
?Lady Charlotte Townshend, daughter of
George, first Marquis Townshend, and
afterwards wife of George, sixth Duke of
Leeds. The last four belong to the Countess
of Yarborough, Baroness Conyers in her
own right.Moncorvo House, 79-84.
Charles, first Lord Yarborough, and his Wife.
The second Earl of Yarborough as a child of
three or four.

Vivian, Graham, Esq., 7, Belgrave Square.
Verney, Sir Edmund.
Uffizi Gallery, Florence.

Mrs. Jones. Exhibited at Devonshire House,
1885.
Mrs. Calvert, mother of Sir Harry Verney.
?General Pasquale de Paoli. Corsican
patriot. Oil.

Appendix II.
Catalogue of some of the Works of
Maria, Baroness Cosway.

Maria, afterwards Baroness Cosway.

Berry, Wm. Henry, Esq., Summerhill, The Death of Louisa Paolina Angehca, Cos-
Kingfield Road, Sheffield. way's only daughter. Signed and dated
1789. Oil. Moncorvo House, 162.
Blair, Campbell, Esq., Whalley House, Mrs. Cosway. Moncorvo House, 307.
Manchester.
Finch, Colonel Wynne, Voelas, Bettws-y- The Hon. Mrs. Finch. Moncorvo House,
coed. 90.
Holburne Museum, Bath. A Lady in a white dress, 722.
A Lady, 644.
A Young Lady, 646.
A Lady in white hat, 650.
S. Kensington, 1865. 1507-9-13.
Jersey, The Earl of, Middleton Park, The Ladies Charlotte and Anne Villiers, with
Bicester. their infant sister Frances (who is seated
on a lion), daughters of the fourth Earl
of Jersey, about 1787.
Soane Museum, Lincoln's Inn Fields. Persian Lady worshipping the rising sun.
No. 145. Oil.
Whitehead, Jeffery, Esq. Mrs. Cowper. Moncorvo House, 244.
Twelve Sketches to illustrate a poem called
"Winter's Day."
N.B. There are many productions of Maria Cosway in Italy, and doubtless many more
in England, some of which are attributed to her husband, whose works she often copied.
The above are, however, certainly known examples of Maria Cosway's work.

Appendix III.
Catalogue of some of the Works of
Cosway's Pupils, Andrew and
Nathaniel Plimer.

WORKS OF ANDREW AND NATHANIEL PLIMER.

lady HORATIA SEYMOUR.
EITHER BY N. OR A. PLIMER.
Collection of Dr. Propert.

REBECCA, LADY NORTHWICK.
N. PLIMER.
Collection of Dr. Propert.

(4r*>«ft

Miss RUSHOUT.
EITHER BY N. OR A. PLIMER.
Collection of Dr. Propert.

A LADY. N. PLIMER.
Collection of Dr. Propert.

Andrew and Nathaniel Plimer.

Arran, The Earl of, i6, Hertford Street.

Aston, W. W^., Esq.
Bouverie, Miss, 32, Hill Street.
Beck, Rev. James (or family).
Barnard, The Lord, Raby Castle, Dar
lington.
Bonnor, Mrs.

Campbell, Sir G.
Cocks, Miss Somers.
Carruthers, C. B., Esq. (or family).
Carpenter, Miss (or family).
Crutchley, General, Sunninghill Park.
Currie, Sir Philip and Lady, Constanti
nople.

Lady Jane Gore, daughter of Arthur, second
Earl of Arran. Fair Women, 435.
Lady Margaret Lindsay. Fair Women, 448.
Lady Bingham.
Ann Hill, Countess of Mornington. A. P.
General O'Donnell.
A Lady, Signed A. P. and dated 1786.
S. Kensington, 1865. 1435.
Mr. Day, about 1790. S. Kensington, 1865.
2595-
Snuff-box, with miniature of Mrs. Fitzherbert
by A. P. Burhngton Fine Arts.
Two Miniatures of Sir Guy Johnstone by
A. Phmer. Burlington Fine Arts.
Mrs. Thomas Somers Cocks. A. P., 1787.
S. Kensington, 122.
Another similar one. A. P., 1787. S. Ken
sington, 132.
A Lady. Signed A. P., 1785. S. Kensing
ton, 215.
A Child. S. Kensington, 2199.
Lady Theresa Strangeways. S. Kensington,
2200.
Sir William Burrell, second baronet, of Valen
tine House, Essex. Signed A. P.
Carohne, Countess of Anglesey, afterwards
Duchess of Argyll.
Hon. Elizabeth Rushout.
A Boy.
A Gentleman in uniform.
Lady Louisa Cornwallis.
Lady Madelina Palmer.
All by Andrew Plimer. Burlington
Fine Arts,

Drake, Henry, Esq

A Gentleman,
Mrs. Fuller,
Wm. Beckford as a Boy.
Colonel Fuller. Moncorvo House, 4-7.

136 RICHARD COSWAY.
Doyle, Percy, Esq., C.B. Mrs. Fitzherbert. Signed A. P. S. Ken
sington, 1865. 1754.
Dacres, Mrs. (or family). Miss Johanna Plimer. S. Kensington, 1865.
2198.
Edgell, a. Wyatt, Esq., Cowley Place, Mrs. Edgell Wyatt Edgell {nie Pocock).
Exeter. The same, with her daughter.
By A. Plimer.
Falbe, Mons. de, Luton Hoo, Beds. Lady Northwick. Fair Women, 55.
Fisher, Mr. R. (or family). A Lady. S. Kensington, 1865. 2798.
CtILlett, The Misses, Weygate, Guildford. Mrs. George Hodgson. By N. Phmer. Mon
corvo House, 42.
Geddes, Mrs. (or family), Nathaniel Plimer, by himself, 1751-1822.
Hawkins Collection, Ashmolean Gallery, A Lady, by Andrew Plimer. Burlington
Oxford. Fine Arts.
HoHENLOHE, Princess. Mrs. Fitzherbert, by A. Plimer. Signed,
1785. Burlington Fine Arts.
Ilchester, The Earl of, Holland House, The Hon. T. Pelham. j
W. C. Ellis, Esq. All by A. Plimer.
The third Lord Holland. )
James, Mrs. (or family). Five unnamed portraits by N. Phmer. S.
Kensington, 2213-17.
Ker, Miss (or family). Isabella M. Ker, wife of Wm. Herries, Esq.,
1752-1836. S. Kensington, 1865. 578.
Lloyd, Ernest, Esq., Holland Park Road, Lady Affleck and her three Children. By A.
W. Phmer.
LuxMOORE, C. H., Esq. (or family). General George Washington. Signed A. P.,
1785. S, Kensington, 1865. 2678.
Metcalf, Lady, 8, John Street, Mayfair. A Lady. \
A Lady. Probably by N. Phmer.
A Gentleman. )
AU members of the family of Demp
ster, of Skibo and Dunnichen.
Moncorvo House, 21-23.
Morrison, Mrs. Alfred, Carlton House Mrs. Dawson Damer on a snuff-box. Fair
Terrace. Women, 254.
Murray, Capt. H. B. Rt. Hon. Spencer Percival, by A. Plimer.
Signed.
A Gentleman. By A. Plimer.
Nevill, Miss Meresia, Charles Street, Miniature of Edward Walpole, usually known
Berkeley Square. as Adonis Walpole. By A. Plimer,
Moncorvo House, 8.

COLLECTION OF HENRY DRAKE, ESQ.
WORKS Of ANDREW PLIMER.

colonel fuller.

MRS. FULLER.

A GENTLE.MAN.

WILLIAM BECKFORD AS A BOY.

WORKS OF ANDREW AND NATHANIEL PLIMER.

137

Napier, Mr. John Moore.

Mr. Clayton. Signed A. P., 1786.
Mrs. Clayton. Signed A. P., 1786.
Miss Clayton. Signed A. P., 1786.
Miss E. Clayton. Signed A, P., 1786.
Mr. G. Clayton. Signed A. P., 1786.
Georgiana Caroline, daughter of Charles,
second Duke of Richmond, wife of
Henry F'ox, afterwards Lord Holland,
and mother of C. J. Fox.
S. Kensington, 1865. 1657, 1659,
1661, 1663, 1665, 1679.

Propert, J. Lu.msden, Esq., 112, Gloucester Rebecca, Lady Northwick, married in 1766
Place, Portman Square. to John, first Lord Northwick. A.
Plimer.
Lady Harriet Rushout, her daughter, after
wards wife of Sir Charles Cockerell. A. P.
Lady Hamilton. A, Phmer.
Elizabeth Gunning, Duchess of vVrgyll, wife
of the fifth Duke, ob. 1790. A. Plimer.
Ann Horatia Waldegrave, Lady Hugh Sey
mour. N. Plimer.
Anne, daughter of the first Lord Northwick.
N. Plimer.
George Ponsonby. N. Plimer.
Portland, The Duke of, Welbeck Abbey. Henrietta Scott, Duchess of Pordand. Fair
Women, 278.

Ponsonby, Hon. Ashley G.
Ponsonby, Hon. Gerald.

A Lady, 1780. By Nathaniel Plimer.
A Lady in white dress. By Andrew Plimer.
S. Kensington, 1865. 611-613.
Sir Charles Kent, Bart. Signed A. P., 1786,
S. Kensington, 1865. 655.

Rouse, F. J., Esq.
Rolls, John, Esq.
Round, John Horace, Esq.

Elizabeth, Countess of Sutherland, wife of
first Duke. By Andrew Phmer. Signed.
Burlington Fine Arts.
John Rolls, Esq., 1804. Andrew Plimer.
Mrs. Rolls, 1804. Andrew Plimer.
S. Kensington, 1865. 1884-5.
Mrs. John Round. A. Plimer.

Spencer, Lady Sarah, St. James's Place. William S. Poyntz, Esq By .V, Plimer.
Burlington Fine Arts.
A Gentleman. By A. Plimer. Burlington
Fine Arts.
Spencer, The Earl. A Gendeman. By A. Plimer. Burlington
Fine Arts.
Sinclair, Sir Tolle.m.vche, Bar'j., King Rt. Hon. Sir John Sinclair, first baronet.
Street, St James's. Burlington Fine Arts. By A. Plimer.
T

138 RICHARD COSWAV.
St. Germans, 'I'he Earl of. William, second Earl of St. Germans. A.
Plimer.
Tolstoy, The Countess, 3, Carlton Gar- a Gentleman in brown coat.
dens. Mrs. Trimmer, authoress of educational
works. 1741-1810.
.V Gentleman, probably Sir John Sinclair,
Bart. 1 754-1835.
Moncorvo House, 1-3.
Tayler, Frederick, Esq. Two Portraits by Andrew and one by Na
thaniel Plimer. Members of the Tayler
family. S. Kensington, 1865. 590-1-3.
Wertheimer, C. J., Esq., 21, Norfolk Street, A Lady unknown. A large and very fine
Park Lane. miniature by Andrew Plimer at his best
period.
Whitehead, Jeffery, Esq., Newstead, Lady Elizabeth Bulteel, daughter of Earl
W'^imbledon. (irey, 1798-1843.
A Lady.
Mrs. Whitbread.
Sir Charles Cockerell, Bart., M.P.
A Gentleman.
A Lady (called Mrs. Mee).
Georgiana, Duchess of Devonshire. Signed
"A. P., 1786."
(lold Box, with miniature of the Countess
Fitzjames.
Miss Plimer.
Miss Farren, Countess of Derby.
The above two are by Nathaniel
Plimer, and on the back of the frame is
"N. Plimer, 31, Maddox Street."
Lady in blue hat and feathers.
John Allan Powell, a solicitor.
A Lady.
Woodroffe, Frank, Esq., 4, Down Street, Three Ladies of the Rushout Family. Fair
Piccadilly. Women, 330.
Mrs. Grieve.
Lady Northwick.
Lord Porchester. And several others that I have not
seen.
W^HARNCLiFFE, The Earl OF, Wharncliffe A Lady.
House, W. Mrs. Daniel.
Mrs. Robinson as "Perdita.''
A Lady.
Wilkinson, Miss. A Lady. By N. Plimer. Signed and dated
1788.

WORKS OF ANDREW AND NATHANIEL PLIMER.

A LADY.
A. PLIMER.
Collection of Lord Wharncliffe.

DUCHESS OF DEVONSHIRE.
A. PLIMER.
Collection of Mr. Whitehead.

LADY HAMILTON.
N. PLIMER.
Collection of Dr. Propert.

Appendix IV.
Pictures exhibited by
Richard and Maria Cosway at the
Royal Academy and other Exhibitions

Pictures exhibited by Richard Cosway.
SOCIETY OF ARTISTS.
1760. Cosway living in Orchard Street.
9. Mr. Shipley.
1767. 29. A Gentleman, half length.
30. A young Gentleman as Cupid.
31. A Family in Conversation.
1768. Cosway living in Berkeley Street.
25. A Lady as Sigismonda, Three-quarter length.
26. A Child asleep in the character of Cupid.
27. Miniature of a Lady with her Brother.
28. Miniature of the late Tripoline Ambassador.
29. A Gentleman.
1768. 229. A tinged Drawing of Venus and Adonis.
1769. 27. A Portrait in miniature of a Lady as PaUas.
FREE SOCIETY OF ARTISTS.
1761. 87. A three-quarter Portrait of a (jcntleman.
141. Three Portraits in water-colours (miniatures).
143. A Gentleman's portrait in a ring.
1762. 5. Gentleman.
71. A young Gentleman.
103. Gentleman.
A Magdalen (miniature).
A Lady (miniature).
Gentleman (enamel).
A young Gentleman dancing a hornpipe in the habit of a sailor.
A Magdalen.
Two Portraits (in miniature).
Gentleman in his study with a servant
Miniature of a Lady.
A Lady, three-quarters.
63. A young Gentleman.
THE ROYAL ACADEMY.
1770. Cosway residing at 4, Berkeley Street.
47. Whole-length Portrait of an Officer.
48. Portrait in Character of Minerva.
49. Gendeman, his Wife and Sister, as Fordtude introducing Hope to Distress,

122.

123.

192.

1763.

36.

37-
38.
1764.
35-
36.
1766.
62.
142 RICHARD COSWAY.
1771. Cos'way, A.R.A,, residing in Berkeley Row.
44. Lady and Daughter as Virtue, Beauty, etc. (Countess of Carrick and Daughters ?)
45. An Armenian.
46. Venus and Cupid.
47. Miniature of a Gentleman.
Rinaldo and Armida.
Miniature in character of Cupid.
Lady and Son as Venus Victrix and Cupid,
Child as St. John (Master Townsend ?).
Small \vhole-length of a Lady.
Europa.
Miniature of a Lady.
Madonna and Child (Mrs. Cosway and her Daughter?).
Miniature of a young Lady as Psyche.
Nobleman's Children at play.
Miniature of a Lady.
Cupid, Portrait of a )'oung Nobleman (Lord Barrymore ?),
Miniature, Peace and Love (Viscountess Duncannon ?).
A Kitcat Portrait of a Lady.
Small whole-length. Lady playing a harp.
Love and Innocence.
Tinted drawing, Lady as Comic Muse (Mrs. Abingdon?).
Duchess of Cumberland.
Portrait of a Lady.
Nobleman's Child.
Nobleman's Children.
^Visdom, Prudence, and Valour arming St. George,
Lady protected by Comic Muse (Mrs, Cowley?).
Angel delivering Peter from Prison.
Cosway residing in Pall Mall.
Whole-length. Pastor Bonus, Portrait of a Nobleman's Child.
Whole-length of a young Cientleman.
Three-quarter Portrait of a Gentleman.
Lady and her daughter.
Lady and her Child. Whole-length (Lady Page).
Cosway, Principal Painter to the Prince of Wales, residing in Stratford Place.
General Paoli.
David and Bathsheba,
Venus and Adonis.
Portrait of a Lady,
Master H. Sturt.
The two Sons of the Marquis of Blandford.
Lady B. Ashley.
The Flight into Egypt.
Lady Caroline Spencer.

1772.

56.

57-

'773-

S3-

54-

1774-

47-

1775-

68.

69.

1776.

63-

64,
1777.
66.
67.
1778.
66.
67.
1779,
57-
58.
1780.
26.
93-
1781.
22,
179.
[782.
131-
212.
1783-
74-
1784,
38.
96.
1784.
190.
141.
146.
1786.
135-
1787.
93-
1798,
71-
161,
1799.
165.
208.
1800.
142.
221.
532-
1803.
119,
1806,
235-
COLLECTION OF THE EARL OF WHARNCLIFFE.
WORKS OF ANDREW PLIMER.

MRS. WHITMORE.

.MRS. ROBINSON (" PERDITA "]

CATALOGUE OF PICTURES EXHIBITED. 143

Pictures exhibited at the Royal Academy
by Maria Cosway.
1780. Rinaldo.
1782. Darthula, in defending the body other vanquished father, discovers herself to Cairbar,
her lover. Ossian.
Magdalene.
Cynthia (portrait of the Duchess of Devonshire), from Spenser,
/Flolus raising a Storm.
Litde Red Riding Hood.
1783. Portrait of a Lady.
Altham stood in the Wood alone. Ossian.
The Hours. (See page 7,7,.)
1784. Sampson. (See page 34.)
Astrea instructing Arthegal.
1785. Almanger and Osmida. Mrs. Cowle)''s Maid of xYrragon. (See page 25.)
The Deluge.
A Shepherdess.
Clytie. Ovid.
Portrait of a Lady.
Basilseus' Dream (Diodorus Siculus),
1786. A Vision.
A Landscape with a Ferry-boat.
1787. Young Cybele, with two Nymphs. Portraits.
Young Bacchus. Portrait.
An Enchantress. Portraits of a Lady with two of her Children.
Psyche. Portrait.
Portrait of a Lady.
1788. Portrait of a Lady and her Son.
Laura. Petrarch.
1789. A dying Child summoned by the spirit of its deceased Parent ; an historical fact.
Medusa.
1 80 1. The Guardian Angel.
The Call of Samuel.
Portrait of the Princess de Ranveau.

144 RICHARD COSWAV.

Pictures recently exhibited in the United
States of America.

The following works attributed to Cosway have been exhibited in Ne'w York :
Loan Exhibition, National Academy of Design, November, 1894.
84. Miss Murray of Lord Dunmore's family. Lent by D. H. King, Jun., Esq.
456, Lady Stamford. ,, V. Blacque, Esq.
457. Miss Landor. ,, do.
495. A Lady in a red gown, 1769. ,, D. L. Einstein, Esq.
155A. Mrs. Tickell. ,, Peter Marie, Esq.
1 5 6a, a Lady. ,, do.
632. Miss Gunnings. ,, Miss Elsie de W'olfe.
Also the following works attributed to .Vndrew Plimer at the same exhibition :
224. Mrs. Peter Jay Munro, nee Margaret, daughter of Henry 'White and Eve Van
Cortlandt. Lent by Edward F, De Lancey, Esq.
463. Miss Lockwood, 1788. ,, V. Blacque, Esq.
464. Miss Bedingfield, 1787. „ do.

Appendix V.
Notes as to Miniatures by Cosway that
have been sold at certain recent
Sales in London.

u

Sales.

MAY II, 1893. TRURO COLLECTION. CHRISTIli'S.

34'3535 36373839
40,41.

42.43-44.

DESCRIPTION.
Queen Charlotte.
The Prince of Wales.
The Princess Royal.
The Princess Sophia when young, holding
a doll.
The Princess Elizabeth.
The Princess Mary,
The Princess Augusta.
The Princess Amelia.
The Duke of Sussex in oval gold locket,
with arms.
The Duchess of Inverness when young,
in profile, in gilt chased frame, with
C. B. in pearls.
The Duke of Sussex in blue coat, wearing
the Star of the Garter.
Another portrait of the same in a locket.
Lady Augusta Murray when young, in oval
gold frame, with hair and letter A.

PURCHASER.
Colnaghi, for the Queen.
F. Gall.
F. tiall.
Durlacher. F. Gall.
Hodgkins.F. Gall.
Colnaghi, for the (^ueen.
C. Davis.

F. Gall.
F. Gall.
C. Davis.
Durlacher.

PRICE.
£ s. d.
105 o o
131 5 °
262 10 o
105 o o
231 o o
173 o o
225 15 o
2 10 O O
99 15 <^

105 O O
141 15 o
99 15 °
2^1 o o

JULY 10, 1895. HUTH SALE. CHRISTIE'S.
12. Mrs. Fitzherbert, by Cosway, from the Ricketts Collection.
14. A Lady in white dress, blue ribbon, in oval locket.
15. George IV when Prince Regent, in oval locket.
16. The same in lilac-coloured dress with broad white collar.
17. A Lady in white dress and white scarf in her hair, in oval locket, with
white border.
18. A Lady in white dress, with gold neck-chain and pearl pendant.
20. Margaret Caroline, daughter of the first Marquis of Stafford, half-
length, seated in a landscape. Large miniature in ormolu frame.
Signed R. Cosway, 1772,

JUNE 26, 1895.
157. Mrs. Rigby, by Cosway.
166. Lady Paget, by Cosway.
168. Lady Northwick, by Cosway.

DOETSCH S.VLE. CHRISTIE'S.
Fine .Vrt Society.
No name.
Fine Art Society.

i°5

0

0

162

0

0

157

0

0

54

0

0

58

0

0

65

0

0

45 o o

I » o
I 5 o
I 8 o

148 , RICHARD COSWAY. PRICE.
LOT. DESCRIPTION. PURCHASER. £ S. d.
171. Lady Hamilton, by Cosway. Druce. 5 15 o
172. The two Misses Bower, by Cosway. Fine Art Society. 700
173. The Countess of Grammont, by Cosway. A.Smith. 300
179. Lady Fitzgerald, by Cosway. C. Doetsch. 200
188. A Gold Ring with miniature of Mrs.
Moffatt, by Cosway. A. Smith. 200
312. .\ Gentleman (monogram J. W.), by
Cosway. Frickenhaus. 3 3°
323. John Palmer, comedian, by Cosway. Frickenhaus. 215 o
325. Sir Joseph Banks, by Cosway. Frickenhaus. 220
532. \Mlliam Beckford, by Cosway. Signed. Fine Art Society. 2150
571. George IV. when a boy, by Cosway, Dunart. 440
574. Louisa P, A. Cosway, by Maria Cosway. Frickenhaus. 4 14 6
577. Madame Elizabeth, by Maria Cosway. Philpot. 11 11 o
N.B. There was very considerable doubt as to the correct attribution of most of these
miniatures, and the age of some, and hence the prices ruled e.\lreinely low. \^Aut/ior.'\
APRIL, 1896. CHADWTCK SALE. CHRISTIE'S.
Three-quarter length of a Boy in brown coat. Renton. 59 o o
JUNE I AND 2, 1896. CHRISTIE'.S,
The Cosway sale held on these days has already been mentioned in Chapter VIII.
The catalogue is an important record of the master's work, and should be retained by all
collectors. JULY I, 1896. CHRISTIE'S.
6. George IV. with riband and badge of the
Garter. Huth Collection. 37 16 o
JULY 23.
2. Lady Langham. Signed and dated 1787. 770
3. A Lady in white dress. 13 2 6
4. A Lady in white dress. 26 5 o
JULY 27, 1896. CHRISTIE'S.
60, The Countess of Fife, said to be signed and dated 1783. 3 10 o
12. The first Mrs. St. Aubin. 36 13 o
The second Mrs. St. Aubin. Signed and dated 1780. 52 o o

THE VIRGIN AND THE HOLY CHILD.
.Sold at Christie's June 1st, 1896.

Appendix VL
List of Persons whose Portraits Cosway
is known to have painted, the
originals of which cannot be found.

Cosway painted the portraits of the following persons, but I have been unable
to trace the originals : —

Bertram Ashburnham.
Lady St. Asaph.
Mrs. Bennet.
(General Bell.
Mrs. Bell.
Miss Bell.

Hon. Thos. Erskine.
Henry Lubomirski.
J. B. De Mainauduc, M.I).
Sir John Henry Moore.
C. E. Nugent, Esq.
Rt. Hon. George Rose.

.MARQUIS OF DOWNSHIRE AND LORD .ARTHUR HILL.

Countess Du Bary.
Princess Charlotte of Wales.
Earl of Clonmell.
Mrs. Cowley.
Mrs. Dickson.
Marquis of Downshire and Lord Arthur Hill.
J. L. Dussek.
Countess of Errol.

Colonel St. Leger.
Carohne Isabella Somerset,
Henry Swinburne, Esq.
Mrs. Swinburne,
Colonel Tarleton,
Peter Templeman.
Charles Grant, Vicomte de Vaux.
Sir Robert Wilson.

Appendix VIL
Hand-list of Engraved Works published
after Richard and Maria Cosway,
with their Engraver's Names.

Hand-list of Engraved Works.

TITLE.
Mrs. Abington as " Thalia."
Mrs. Abington. Do.
Signora Allegranti.
William John, Earl of Ancrum.
Mrs. Anderson as a Fortune-teller.
Mrs. Baldwin, " The Portrait of a Grecian Lady."
Miss Barker.
Richard, Lord Barrymore.
La Comtesse Du Bary.
Master Horace Beckford.
Mrs. Bilhngton as the "Peruvian."
Do.
George, Marquis of Blandford.
Hon. Mrs. E. Bouverie.
Lady Helen Boyle.
William Browfield.
John George, Count Browne.
Miss Brunton as " Horatia."
Sir Francis Burdett.
Sir William Burrell, Bart.
Do.
Frederick, Earl of Carlisle.
Caroline, Princess of Wales, and Princess Charlotte.
Juliana, Countess of Carrick, and her Daughters.
Princess Charlotte of Wales.
Princess Charlotte Augusta.
The Duke of Clarence.
Do.
Do.
John, Earl of Clonmell.
Harriett, Lady Cockerell.
R. Cosway.
Do.
Do.
Maria Cosway.
Do.
Do.
Do.

ENGRAVER AND DATE.
Bartolozzi, 1783.
W. Lane, 1790, also
W. Ridley.
Bartolozzi, 1783.
J. Dixon, 1773.
Kingbury.
Bartolozzi, 1782.
M. Bova.
J. Jehner, 1798.
J. Conde, 1794.
J. Conde, 1792.
Bartolozzi, 1786.
Ridley, 1801.
W. Barney.
J. Conde, 1793.
T. Trotter, 1781.
D. Orme, 1792.
G. Hadfield.
Bartolozzi, 1785.
A. Cardon, 1804.
R. Laurie.
P. Audinet.
A. Cardon.
Bartolozzi, 1799.
J. R. Smith, 1773.
M. A. Bourher, 1807.
Bartolozzi, 1797.
L. Saillair, 1790.
Sharp. E. Scriven, 1807.
P. Conde.
J. S. Agar.
Bova, 1786.
J. Clarke, 1788.
R. Cosway, 1760.
Bartolozzi, 1785.
Schiavonetd, 1791.
R. Cosway.
J. Hogg, 1/8-;.

156

RICHARD COSWAY.

TITLE.
Mr. Cosway's Breakfast Room.
Mrs. Cosway. " Lesbia."
Do. " L' Allegro."
Do. " II Penseroso."
Mr. and Mrs. Cosway.

ENGRAVER AND DATE.
Birch, 1789.
C. Josi, 1787.
C. Josi, 1787.
C. Josi, 1787.
R. Cosway.

N.B. The whole idea for this engraving was evidently borrowed by Cosway from a very rare
print by Van Orley, which it very closely resembles. An impression of this print belong,^; to
Mr. Mockler, of Wotton-under-Edge, who gives me this information. — Author.

Mr. and Mrs. Cosway.
Do.
Louisa P. A. Cosway.
William, Viscount Courtenay.
Mrs. Cowley.
Do.Do.
Comedy unveiling to Mrs. Cowley.
Lady Theodosia Cradock.
Duchess of Cumberland.
Do.
Penn, Viscount Curzon.
Isabella Czartoryska.
Hon. Mrs. Damer.
Do.
Mrs. Daniel.
Georgiana, Duchess of Devonshire.
Mrs. Dickson.
Marquis of Downshire and Lord Arthur Hill.
Mrs. Duff.
Viscountess Duncannon and her Child.
Lord Dungarvon and his two Brothers.
J. L. Dussek.
Miss Elliot as " Minerva."
Grace D. Elliott.
La Chevaliere d'Eon de Beaumont.
John Errington, Esq.
Elizabeth, Countess of Errol.
Hon. Thomas Erskine.
Sir Wm. Erskine.
Miss Eyre.
Maria and Harriett Falconer.
Master Fawcett.
General Ferguson.
Do.
Lord Fitzgibbon.
Mrs. Fitzherbert.
John Fothergill.
Charles James Fox,

R. Thew, 1780.
W. Lane, 1788.
A. Cardon, 1797.
C. Turner, 1809.
J. Fittler, 1785.
Cook. Murray.
Heath, 1783.
A. Freschi, 1805.
J. K. Sherwin, 1780 and 1784.
V. Green, 1783.
J. Basirfe.
G. Testolini, 1791.
Schiavonetti, 1791.
Also by W. Edwards and J. Murra}-,
and by Greatbatch, 1840.
Waltner. G. T. Stubbs, 1782.
P. Conde.
P. Cond6.
J. Agar, 1807.
C. Townley, 1784.
J. Jones, 1786.
P. Conde, 1800.
J. Saunders, 1772 and 1774.
J. Brown, 1858.
T. Chambars, 1787.
Leney, 1798.
T. A. Dean, 1841.
W. Sharp, 1791 and 1801.
S. W. Reynolds.
Bartolozzi, 1778.
E. Scott, 1788.
P. Dawe.
A. Cardon, 1810.
Also H. R. Cook, 1 81 3.
Bartolozzi, 1790.
J. Cond($, 1792, also A. Roffe.
Bartolozzi.
R. Cosway.

MASTER HOR.ACE BECKFORD. FROM A STIPPLE
ENGRAVING BY J. CONDE. 1 797.

HON. MRS. E. BOUVERIE. FROM A STIPPLE
ENOR.<VVING BY J. COND^. 1793.

HAND-LIST OF ENGRAVED WORKS.

157

TITLE.
General Frazer.
Prince of Wales.
Do. Do.
Do. and the Princess.
Mr. Edward Goldney.
Countess of Guilford and her three Sisters.
Lady Christina de Ginkel.
Mrs. Hardinge.
Lady Heathcote.
Lady Hume.
Master Hare.
James Hutton.
Mrs. Jackson.
General Kosciuszko.
Earl of Leicester.
Ladies of the Loftus family.
Henry Lubomirski.
Vincent Lunardi.
Lady Lyttleton.
Lord Lyttleton.
Signor Magnini.
J. B. De Mainauduc.
Lady Louisa Manners.
Lady Manners.
Luigi Marchesi.
Duke of Marlborough.
Mrs. Merry.
Sir J. H. Moore, Bart.
Signor Morelh.
Lord Nelson.
C. E. Nugent.
Michal and Isabella Oginocy.
Miss O'NeiU.
Duke of Orleans.
General de Paoli.
C. A. Pelham and Wife and Six Children.
Sampson Perry.
Lady Caroline Ponsonby. " Infancy."
Lady Catherine Powlet.
Miss Pulteney.
Ann, Countess of Radnor.
Madame Recamier.
Mary Robinson. " Melania."
Do. "Laura Maria."
Rt. Hon. George Rose.
Duchess of Rutland.

ENGRAVER AND DATE.
H. Meyer, also H. R. Cook, 18 14.
W. Sharp, 1790, also Burke, 1787.
L. Saillair, 1787.
J. Cond^, 1725, also W. Read.
M. Sloane.
T. Chambars, 1759.
W. Raddon, 1840.
S. W. Reynolds.
Bartolozzi, 1787.
J. Agar, 1809.
V. Green, 1783.
Unknown.J. R. Smith, 1786.
J. Condd, 1794.
A. Cardon, 1798.
P. Conde.
E. Stodart, 1889.
Bartolozzi, 1787 and 1820.
Bartolozzi, 1784.
C. Townley, 1796,
C. Townley, 1781.
G. T. Stubbs or R. Cosway.
P. Condd
J. Conde, 1793 and 1797, also by
Ganjean.
R. Cooper.
Schiavonetti, 1790.
J. S. Agar.
A. Cardon.
P. Condd.
J. Godefroy, 1797.
Skelton, 1853.
Ridley, 1803.
Schiavonetti, 1793.
J. S. Agar.
G. Hadfield.
C. Townley, 1784.
C. Watson.
Maddan.Bartolozzi, 1788.
C. W. White, 1782.
Bartolozzi.
M. Bova.
A. Cardon, 1802 and 1804, also by
H. R. Cook.
J. Condd, 1792.
A. Van Assen, 1790,
J. S. Agar.
W. Lane, 1791.

158

RICHARD COSWAY.

TITLE.
Duke of Rutland.
Fanny Sage.
Colonel St. Leger.
Paul Sandby.
Lady Sefton.
Hugh H. J. Seymour.
Mrs. Sheridan.
Mrs. Siddons.
Mrs. Sidney.
Lady Diana Sinclair.
Caroline J. Somerset.
Countess Spencer.
Lady Caroline Spencer.
Earl of Sunderland and his Brother.
Lady Anna Stanhope.
Jane Stirling.
Henry Swinburne.
Mrs. Swinburne.
Colonel Tarleton.
Peter Templeman.
Master Thornhill.
Mrs. Tickell.
Master Townsend.
Marchioness Townshend.
Robert Udney.
Mrs. Udney.
Vicomte de Vaux.
Caleb Whitefoord.
Mrs. Whitefoord and her Son.
Sir Robert Wilson.
Mrs. Wood.
Miss WooUs.
The Woronzow Children.
The Duke of York.
A Lady.
A Lady and Girl.
A Lady as Milkmaid.
A Lady as Gipsy woman.
A Military Officer.
Abelard and Eloisa.
Academical Study of a Female
Agrippina. Andromache and Ascanius.
Albarosa and Polindo.
Arie, the title to a volume of music.
Child with Dog.
Childi-sh Impatience,

ENGRAVER AND DATE.
W. Lane, 1791.
J. Brown, 1862.
P. Roberts, 1795.
R. Dagley, 1831.
W. Dickinson, 1783.
T. Cheesman, 1795, and L. Hall.
1835-
Ganjean.
J. Brown, 1862.
J. R. Smith, 1 77 1, and J. Wilson.
M. Bova, 1791.
Bond, 1801.
By herself.
W. W. Barney, 1807.
W. Barney, 1805.
A. Cardon, 1801 and 1805.
Lithograph. M. Bova, 1786.
Do.
C. Townley.
W. Evans, 1799.
G. T. Stubbs, 1797.
J. Conde, 1 79 1.
P. Dawe, 1774, and also a variety
from a miniature.
G. Hadfield.
Gardiner.Unknown. P. Conde.
J. Condd, 1806.
G. Minasi, 1806.
H. R. Cook, 181 1, and Hall, 1805.
R. J. Lane.
P. Dawe, 1773.
C. Watson, 1786.
G. Hadfield.
Unknown.G. Minasi.
J. S. Agar.
Do.
R. Cooper.
W. Humphrey, 1774.
J. Minasi.
C. Townley, 1782.
J. Cond^, 1789.
Do.
Unknown. Mrs. Cosway.
Gaugain, 1786,

HAND-LIST OF ENGRAVED WORKS.

159

TITLE.
Christ's Passion.
Comic and Tragic Muse.
Cupid. Cupid unveiling Venus.
Divine Instruction and Worldly Instruction.
Docet Amor.
Donald and Jessie.
Europa.Fidelity.Flora and Ceres.
Flora dispensing her Favours on the Earth.
Guardian Angel.
Harmonia. Hebe. Do.
Henry and Emma. A Pair.
Hope nursing Love.
Hours crowning Love.
Infancy.
Joseph and his Mistress.
Leda and the Swan.
Leda.
Love.

Love and Friendship. A Pair.
Love and Innocence.
Memorial to R. Udney.
Minerva and Cupid.
Minerva bound by Love.
Monimia visiting the Tomb.
Music hath Charms.
Nude Figure of a Child.
Queen Margaret in a Wood.
Rinaldo and Armida.
Sacrifice to Love.
Salvator Mundi.
Sappho.Sigismonda.Sportive Innocence.
A Ticket.Do.Do.
Venus. Venus and Adonis.
Do.
Venus and Cupid.
Water Nymphs.

ENGRAVER AND DATE.
W. Sharp, 1791.
A. Cardon, 1798.
Sedgwick, 1790.
A. Cardon, 1800.
A Pair. P. Condd, 1801.
J. Condd, 1791.
Bartolozzi, 1790.
J. R. Smith, 1776.
J. K. Sherwin, 1798.
A. Cardon, 1797.
Unknown. J. Ogborne, 1784.
A. Cardon, 1798.
Do.
E. J. Dumee.
J. R. Smith, 1785.
R. Read.
T. Ryder, 1793.
C. White, 1787.
W. Nutter, 1785.
Picot.
J. Conde, 1792.
T. Ryder, 1786, and J. G. Huck,
1787, also one nearly whole-
length.
R. Pollard.
Bartolozzi, 1783.
P. Conde.
J. Cond^, also Mrs. Cosway.
Unknown. J. R. Smith, 1784.
P. Betehni, 1784, also by Mrs.
Cosway.
Unknown.
J. Conde.
P. Dawe, 1780.
Menagest, 1780.
G. Minasi, 1806.
G. T. Stubbs, 1777.
T. Blackmore.
E. Scriven, 1802.
J. Milan.
Schiavonetti. J. Conde.
J. R. Smith, 1774.
Bartolozzi, 1778.
W. Blake, 1787.
Unknown. Cosway.

i6o RICHARD COSWAY.
TITLE, ENGRAVER AND DATE.
Young Lubin. G. H., 1787.
Young Shepherd. H. R. Cook, 1802.
A Series of Subjects relating to the Training of Youth. J. R. Smith.
A Series of Mythological Subjects. Mrs. Coswa)-.
Two Series of Engravings published at Florence.
Cosway's Drawing Book. Mrs. Cosway.
*Female Dissipation and Female Virtue. Fourteen
Plates.
*Going to the Temple. Tomkins.
*Winter's Day. Twelve Plates.
* The above three were all drawn by Mrs. Cosway.

The foregoing list is intended to be merely a hand-list of engravings issued after Cosway
and his wife. Full details of every engraving, with all needful information as to it, will be
found in Frederick B. Daniell's exhaustive catalogue raisonn^ of the engraved works of
Cosway, published in 1890 at 32, Cranbourne Street, London, from which book, by kind
permission, the foregoing list is extracted.
It may be of interest to state that some of the plates for these engravings are still in
existence. Mr. Daniell permits me to add the list of those copper plates which are held by
different printsehers, and to append their names.
PLATES IN EXISTENCE.
Mrs. Abington, reproduced in " Life of Mrs. Abington." Reader and Co., 1888.
Mrs. Abington as " Thalia." Rimell.
Signora Allegranti.
Harriet, Viscountess Bulkeley. Rimell.
Frederick, Earl of Carlisle.
H.R.H. The Duke of Clarence.
View from Cosway's Breakfast Room. Tucr.
Mr. and Mrs. Cosway. " Abelard and Eloisa.'' Lodi.
Mrs. Duff. Rimell.
Mrs. Fitzherbert. Rimell.
Mrs. Jackson.
Miss O'Neill as a Beggar Woman.
The Duke of Orleans. Daniell.
Mrs. Robinson as " Melania," reproduced in " Memoirs of Mary Robinson." Gibbings and
Co., 1894.
Master Thornhill with a Dog.
Mrs. Tickell.
Ann, Marchioness Townshend. Daniell.
Docet Amor. Rimell.
Love. Rimell.
R. Cosway. Rimell.
All the plates for the two series of designs issued in Florence, 1826, are preserved at
Lodi.

NOTE.
Istituto d'Educazione Femminile in Lodi fondato dalla Baronessa Maria Cosway diretto
dalle Dame Inglesi.
An excellent and very inexpensive education is given to young ladies at this school, and
it can be very strongly recommended by the author.
The following extracts are taken from the prospectus. For further particulars apply to
the Reverend Mother, Dame Inglesi, Lodi.
"Ha per iscopo di dare alle giovinette un'educazione nobile e sinceramente cristiana,
un' istruzione solida e compita.
" Le alunne sono istruite nella religione cattolica, nelle lingue e nelle letterature italiana,
francese, inglese e tedesca, nella geografia, nella storia, nell' aritmetica e contabilita domestica,
negli element! delle scienze fisiche e naturali, nella geometria e nel disegno lineare, nella
ginnastica e nel hallo, nel buon portamento. Sono pure istr.uite con particolare cura in tutti
i generi di lavori femminili, a seconda dell' eta e delle rispettive disposizioni, dai piu casalinghi
(maglia, cucito, taglio di biancheria, rammendi, ecc), ai piii eleganti (ricami in bianco, in
colore, in oro, ecc); si avvezzano pure agli ufifici di casa.
"Fuori della scuola le alunne sono obbligate a usare sempre la lingua francese.
" Sono libere le scuole di tedesco, inglese, pianoforte, .canto, disegno e pittura (figura,
paesaggi, ornati, fiori).
"A sussidio deir istruzione il Collegio fe fornito di una ricca biblioteca e di un ben
corredato gabinetto di fisica e di storia naturale.
" La retta si paga anticipata in rate semestrali di L. 300 per le educande, che non hanno
compiuto i nove anni, e di L. 380 per le altre. — Per la simultanea dimora di tre o quattro
sorelle, la pensione viene ridotta nella ragione di L. 80 per ciascuna. Ogni educanda deve
inoltre pagare a titolo di entrata L. 60.
" La lavatura e stiratura e gli oggetti di cancelleria sono a carico del Collegio.
" Restano a carico dei parenti il corredo da portarsi e il suo racconciamento, i libri, le
lezioni dichiarate libere, i divertimenti straordinari, le spese di posta e ferrovia, le cure
mediche e i bagni sia in casa sia a mare.
" Le visite ordinarie dei genitori o tutori vengono permesse una volta per settimana, nei
giorni di vacanza a in tempo di ricreazione.
"Le alunne per massima rimangono nel collegio tutto il tempo di loro educazione.
Ogni due mesi pero, nei giorni indicati da apposita circolare, viene loro concesso di passare
una giornata fuori dell' Istituto coi genitori o tutori, ai quali soltanto verranno afifidate ; ma
non b mai permesso pernottare fuori del Collegio.
"N'on si permette I'uscita nell' ultima settimana di Carnevale, nella prima e ultima di
Quaresima e nelle grandifestivi'a civili e religiose.
" Chiuso I'anno scolastico, le alunne passeranno le vacanze nella campagna del Collegio,
a Merate in Brianza, assistite sempre dalle proprie Istitutrici, che di loro si occupano per
sorvegliarie e guidarie nei divertimenti, nonchfe per tenerie esercitate negli studi e nei lavori
femminili. " Dietro domanda dei parenti, in tempo determinate da apposita circolare, si permette
che le educande godano circa tre settimane presso le loro famiglie."

Index.

Index.

This Index does not include the works mentioned in the Appendices, which are
arranged alphabetically.

Abington, Mrs., Portrait of, 39 ; letters of,
38.
Academy of Artists, 5.
"A Child," 86.
"A Description of the Louvre," 19.
"^olus raising a Storm," 17.
Affleck, Lady, Portrait of, 24.
"A Gentleman," Portrait of, 52.
"A History of Miniature Art," 77.
Ailesbury, Countess of, 11, 24.
"A Lady," 78.
Amelia, Princess, Portrait of, 78, 79.
Ancaster, Earl of, 22, 81.
„ Box, 40, 81.
„ Duchess of. Portrait of, 80.
„ Robert, Duke of, Portrait of, 80.
" Angel delivering St. Peter," 6.
"Angels adoring the Sleeping Child," 76,
86.
Angelo, Reminiscences of, 28, 29.
" Art of Miniature Work," 94.
Ashley, Lady Barbara, Portrait of, 14.
Astley, 26.
"A Winter's Day," 79.
Bacon, J., R.A., anecdote by, 44, 45.
Bampton Church, Altar-piece of, 3, 6, 14.
Banks, T., R.A., 17, 30 et seq.
„ Bust of Mrs. Cosway, marble, 37.
Barnard, Lord, Miniature belonging to, 1 9.
Baroness, The, and her Pupils in the Sala
Rosa at Lodi, 60.
Bartolozzi, 7, 8, 11.
Beauchamp, Lord, 94, 95.
Beckford, William, Portrait of, 136.
„ Master Horace, Portrait of, 155.
Bedingfield, Frances, 54.
Benfield, Paul, M.P., 7.
Bentiet, Mrs., Portrait of, 80, 82, 83.
Berkeley Street, 7, 8.
Berry, Miss, 18.

Bertie, Lord, 88 ; Lady Priscilla and Lady
Georgiana, Portraits of, 80.
Berwick, Lady, Portrait of, 79.
Bessborough, Countess of, Portrait of, 6.
,, Earl of, Portraits of his two Children,
14-
Beverley, Isabella, Countess of. Portrait of, 82.
Biddulph, Lady E., 87.
Blundell's School, 2.
Bolton, Duchess of, Miniature of, 19.
Boscawen, Margaret, Lady, 83.
Bouverie, Mrs., Drawing of, 27 ; Portrait, 155.
British Museum, 32, 46.
Brocklesby Park, 84.
Buckingham Palace, Tapestry of, 35.
Bunhill Fields, 18.
Burdett, Sir F., Portrait of, 40, 83.
„ Lady, Portrait of, 40, 83.
,, Sir F. and his Wife, Portraits of, 40.
,, Lady, Sisters of, Portraits of, 29.
Burdett-Coutts, Baroness, 40, 83.
Burgoyne, Mr. M. T., 30.
Burhngton Fine Arts Club, 77.
Burrell, Elizabeth, Portrait of, 22.
,, Mrs. E., Miniature of, 82.
,, Miss, 92.
„ Peter, Portrait of, 81.
,, Lady Priscilla, Portrait of, 81.
„ Sophia, Portrait of, 80.
„ Sir W., Portrait of, 74.
„ Hon. Willoughby, 81.
Bust of Maria, Baroness Cosway, 96.
Butler, Mrs., Portrait of, 10.
„ Miss G., Owner of " A Lady," 87, 88.
Cambridge, H.R.H. The Duke of. Miniatures
of, I, 32, 80.
Campbell, Rev. D., 2.
Carlisle, Earl of, Portrait of, 88.
Caroline, Queen, Portrait of, vi.
Carr, J., 51.

i66

INDEX.

Carr, Mariana, 51.
Carrick, Countess of, and Daughters, Por
traits of, 6.
Carteret, Lady, Portrait of, 2.
Cavendish, Mrs. H., 83.
Charlotte, Queen, Portrait of, 78.
Chase, Dr. Drummond, 84.
Christie's, Catalogue of, 32, 85.
Cipriani, 7, 8, 11, 37.
Clarendon, Countess of, Miniature of, 40.
Clarke, Mr., 6.
Clay, Eliza Maria, Miniature of, 88.
Clayton, Miss, 14, 18.
Cole, Sir H., 77.
Colnaghi, Sir Dominic, 59.
„ Mrs. Paul, 59 ; extract from Journal of,
59 ^/ seq.
„ Miss Francesca, 59 ; extract from Letter
of, 61.
„ Mr. R, 73.
Combe, Charlotte, 70, 72.
,, \Villiam, Letter to, 70, 71.
"Conversations on Miniature Painting,'' 94.
Coombe Willis, 13.
Cooper, Lady, Pastel Portrait of, 62.
Cooper, 49.
Copper Plates, Original, 63.
Cosway, Angelica, as a Baby, 72.
,, Louisa Angelica, Portrait of, 86.
„ R. P., Esq., 2.
,, W. R., Letter of, 13, 14.
,, Exhibition, 78.
„ Sir W., 2, 5, 9.
„ Mr. W., 2.
,, Miss, 2, 9.
,, Elizabeth, 52.
„ Jane, 52.
,, Mrs., criticism of her work, 95.
,, Maria, 9 et seq. ; Portrait of, 12 ; death
of, 14; letter of, lo et seq.; parentage
of, 15; marriage of, 17; photograph of
marriage register of, 17; child of, 17;
her presentation to Napoleon, 19; de
scription of, 24,
,, Baroness, funeral of, 56 ; inscription
on chapel wall to, 56, 57 ; copy of will
of, 65 et seq. ; Bust of, 96.
,, Mrs,, her life abroad, 52 et seq.; college
of, 54 et seq. ; her designs for Boydell
and Mackhn, 37; Portrait of, 37; her
devotion to her husband, 44 ; created
Baroness, 55; death of, 56; letter to

General Paoli, 74, 75; letter to Mr.
Landseer, 75, 76; letter to Signor Col
naghi, 76; her journey to Rome, 39.
Cosway, The Baroness, her college and her
friends, 58 ^/ seq. ; godchild of, 64.
„ Richard, early life and student days,
I et seq. ; parentage of, 2 ; baptism of, 2 ;
his presentation to Tiverton, 3 ; origin
of family of, 4 ; his first prize, 5 ; pictures
and miniatures of, 6 ; earliest work of, 7 ;
as Royal Academician, 20 ; his influence
on miniature painting, 20; style of, 21,
22 ; character of, 22 ; prosperity of, 23 ;
stained drawings of, 23, 40; energy of,
37; defection of, 39, 40; loss of Royal
patronage, 40 ; hallucinations of, 41, 42 ;
religious opinions of, 44 ; superstition of,
44, 45 ; paralysis of, 46, 47 ; sales of,
46, 47, 49; catalogue of sale of, 46;
death of, 47 ; burial of, 47 ; inscription
on monument of, 48 ; photograph of
monument of, 48 ; will of, 49 et seq. ;
original diploma of, 63 ; signature of,
89 ; photograph of signature of, 90 ;
his methods and materials, 91 «/ seq. ;
memorandum from sketch-book of, 92 ;
management of oil colours by, 92, 93 ;
on measurements, 93 ; his ivories, 94 ;
his work on vellum, 94 ; enamel work of,
94, 95 ; his use of pastel, 95 ; portfohos
of, 69, 70 ; " Aurora," 68 ; R.A., Por
trait of {frontispiece) ; marriage register,
17 ; miniatures of, 77 ^/ seq. ; usual sig
natures on miniatures, 90.
Courtenay, William, Viscount, Portrait of, 2.
Courtenays, Oil Portraits and Miniatures of,
83-
Coutts, vide Burdett.
Cowley, Mrs., 24, 25.
Coxe, Peter, 26.
Crawford, W., Esq., and his daughters, Por
traits of, 46.
Crutchley, General, 82.
Cumberland, Duchess of. Portrait of, 6.
Cunningham, Allan, 4, 9 ; quotation of, 40.
"Cupid unmasking False Love," 30, 87.
Currie, Sir P., 70 ; Collection of, 84,
„ Lady, 85.
Curtis, Mrs., 71, 72.
"Cynthia," 17.
D'Albany, Princess, 17.

INDEX.

167

Damerj Mrs. Dawson, Portrait of, 63.
" Dancing Faun," 5.
Daniell, Mr. F. B., 85.
Dariey, Miss, 83.
„ Mat., 22.
"Darthula in defending the Body of her
vanquished Father discovers herself to
Cairbar her lover," 17,
Dashwood, Mrs., Portrait of, 84.
David, 19, 35 ; Letter of, 35, 36.
De Leuthenbourg, 44.
De Mauley, Lord, Miniatures belonging to,
83-
Derby, Maria, Countess of, Portrait of, 50.
" Descent from the Cross," Drawing, 44.
Devonshire, William, Duke of. Portrait of, 18.
„ Duke of. Portraits of the two Children
of, 54-
, , William, Duke of. Miniatures of Children
of, 88.
„ Duchess of, Portrait of, 11, 17, 24, 138.
„ Georgiana, Duchess of. Portraits of,
24, 48.
„ Elizabeth, Duchess of. Portrait of, 46.
Dighton, 22, 82.
Dining-Room, The, at Dame Inglesi, Lodi,
58, 64.
D'Orleans, Duchesse of, Portrait of, 35.
Downshire, Marquis of. Portrait of, 151.
Drake, Henry, Esq., Miniatures belonging to,
10.
Drane, 80, 91.
Drawing, Monogram, viii.
Dussek, J. L., 38.
Dyce Bequest, 88.
Dysart, Countess of. Portrait of, 10.
Elector of Saxony, The, 72.
Elwes, Mr. Cary, 94.
„ Mrs. Cary, Portrait of, 84.
Emmerson, T., 48, 49.
Emlyn, Viscount, 83.
Exeter, Marchioness of. Stained Drawing of,
82.
Faulkner, Captain, Portrait of, 50.
Ferdinand I., Emperor, 56.
Fesch, Cardinal, 52. ,
Ffoulkes, Judge Wynne, 87.
" Fighting Gladiator," 5.
Fine Art Society, 77.

Fitzherbert, Mrs., Portraits of, 22, 23, 42, 87,
94.
„ Mr. Basil, 87.
Fitzpatrick, Sister Joseph, 62.
FitzRoy, Miss G., 83.
Fladgate, Mr. W. J., 65.
Folkestone, Viscount, 27.
Francis I., Emperor, 55.
Free Society, 6.
Fuller, Col. and Lady, Portraits of, 135.
Fuseli, II, 15.
Gainsborough, 26.
Garrick, Mrs., Miniature of, 79.
"Gazetta Privilegiata di Milano," 57.
George III., one of the Sons of. Portrait of,
38.
George IV., Portrait of, vi., i, 80 ; when an
Infant, Portrait of, 54 ; on Horseback
as St. George, 14.
Gerard, 19.
Germaine, Lady Betty, 47.
Goldsmid, Sir J., Collection of, 85.
Gordon, Duchess of. Miniature of, 78, 79.
Gore, Mrs., 11.
Gower, Lord Ronald, 88.
„ Mr. F. Leveson, 88.
Grafton Gallery, 77.
Graham, "Celestial Doctor," 26.
Gregory, 91.
Grimsthorpe, 82.
Grosvenor, Mrs. Norman, 77.
Gu^rin, 19.
Guidici versus Kenton, 64.
Gwydyr, Lord, Stained Drawing of, 2 2 ; Por^
trait of, 40, 81 ; Sisters of. Portraits of,
82.
Hadfield, Mrs., 16.
Halhday, Sir A., 9.
„ W. Halhday, Esq., 9.
Hamilton, Duchess of. Stained Drawing of, 82 ;
Portrait of, 138.
Hamilton, Lady, Miniature on Vellum of, 94.
Hammersley, Messrs., 65, 68.
Hannah, Marchioness of Tweeddale, Minia
ture of, 87.
Harcourt, Mrs., Portrait of, 42.
Harrowby, Lord, 6.
Hartig, Count, 55.
Hatherton, Lady, 83.
Hayman, 22,

i68

INDEX.

Hazlitt, W., his description of Cosway, 42.
Heathcote, Lady, 45, 46.
Heneage, Mrs., Portrait of, 84, 94.
Hennell, E, W., Esq., 15.
Hertford, Marchioness, Pencil Drawing of,
87.
Hill, Lord Arthur, Portrait of, 151.
Hilliard, N., 20, 21, 49.
His, Madame, Miniature of, 35.
Hodges, W., R.A., Picture of, 26, 27.
Hodgkin, Mr., 86.
Hodgson, Mr., 21.
Holbourne Museum, 37.
Holland House, Miniature-room of, 79, 80.
Holmes, Mr. R., 78.
Hone, N., 21, 26.
Hudson, Thomas, 5.
Humphreys, Mr., 9.
Ilchester, Countess of, 80.
Inglesi, Dame, 58, 64, 72.
Inscription on the back of Mrs. Whittington's
Portrait, 84.
Jarvis, 26.
Jocelyn, Miss, Pencil Drawing of, 52, 87.
Johnston, Lady C, 11, 24.
Jones, Miss A., Miniature of, 87.
Joseph, Mr. E., 84.
Kauffmann, A., Picture of, 37.
„ Angelica, 11, 16, 39, 40.
Kendrick, E., 93, 94.
" Kiinstler Lexicon," 95.
Knipe, Mr., 73.
Kosciusko, Portrait of, 35.
Lawley, Mr. S., 6.
Lawrell, Mrs. J., Miniature of, 87.
„ C. J. Pakenham, 87.
Letitia, Madame, 19.
" Letters of Lady Jerningham to Lady Bed
ingfeld," 81 ; quotation from Letter of,
82.
Liechtenstein, Princess Marie, 79.
"Life of Thomas and Paul Sandby,'' by
Seeley, 41.
Lindsay, Lady A., Portrait of, 26.
Lindsey, Earl of, 88.
„ Countess of. Portrait of, 92.
"Little Red Riding Hood," 17.
Lodi, the College at, 52, 58 ; art treasures and

relics of, 58 ; room in, 59 ; paintings in,
59, 61, 62 ; nuns of, 61 ; library of, 62,
63 ; churches of, 64 ; lawsuit of, 64.
I^odi, Duke of, 53.
„ Gratitude of people of, 57.
„ Lord Bishop of, 65.
„ Museum of, 73.
Louvre, Gallery of, 12.
„ The, Cosway's gift to, 35.
"Love and Innocence," 14.
Lubomirski, Princess, Portrait of, 85, 86.
Lunardi, V., 38.
Lyon, Emma, 26.
Lyttelton, Lady, 11.
Mackenzie, Mrs. J. Stuart Wortiey, Portrait
of, 50, 80.
" Madonna and Child," 6, 36, 89.
" Magdalen," by Cosway, 62.
" Magdalene," 17.
Marchesi, 38.
Maria Carolina, Empress, 55.
Mary, H.R.H. Princess, Portraits of, 32, 78,
80.
Mary Queen of Scots, Miniature of, 49.
Melbourne, Lady, Portrait of, 9; Miniature
of, 79.
Mengs, II, 14.
Meyer, J., 21.
" Minerva directing the Arrows of Cupid," 70,
86.
" Miniature Painting," 94.
Miniatures, to preserve them, 89, 90.
Moffatt, Mr. and Mrs., Miniatures of, 78, 79.
Molla, Elizabeth, 70.
Moncorvo House, 78.
Monument to the Memory of Richard
Cosway, 48.
Morland, Lady C, Portrait of, 2.
„ Mr. W. C, 83.
Mornington, Countess of, Miniature of, 40.
Moser, Mary, R.A., 39, 40, 63.
Mountnorris, Countess of, Portrait of, 2.
Nagler, 95.
National Gallery, 82.
Newark, Lord, Miniature of, 40.
Newbury, Mrs., 83.
" New Hints on Miniature Painting," 94.
Newman, 91.
Nollekens, 3, 18, 37.
North, Lord, 83.

North, Mrs., Portrait of, 84.
Northcote, J., R.A., 15, 16.
Northumberland, Duchess, of, Portrait of,
80. - •
Northwick, Lady Rebecca, Portrait of, 135.
Okeford, 2, 4.
Oliver Cromwell, Miniature of,- 49.
Orchard Street, 7, 8.
Ormonde, Anne, Countess of, Portrait of, 88.
Owen, Rev. D., 2.
Paget, Sir A. and Lady Augusta, Miniatures
of, -78.
Paoli, General P. de, Oil Portrait, 72.
Parsons, 16.
Pasquale de Paoli, General, 6, 17, 72; Portrait
of, 70, 72 ; his letter to Dr. Raimondo
Cocchi, 72, 73 ; his letter to Mrs.
Cosway, 73 «/ seq.
Pasquin, Memoirs of, 44.
Peard, Oliver, 4, 13.
Pelham, C. Anderson, Drawing of, 83 ; his
Wife and six Children, Drawing of, 84.
„ Hon. Mrs, G., Portrait of, 18.
Pencil Drawing, three Ladies of the Royal
Family,'!.
Percy, Earl, 82,
Phillips, T., R.A., 16.
Pierson, Matthew, Portraits of his five
Daughters, 9, 83.
Pindar, P., Lines of, 31, 33; description of
"The Hours" by, 33; his Satire on
"The Virtues arming St. George," 33;
his Satire on "Samson,'' 34.
Pitt, Hon. Blanche, 54, 88.
Pleydell-Bouverie, Admiral, Portrait of, 27.
Pleyel, Ignace, Miniature of, 79.
Plimer, A., 43, 80.
„ A. and N., 78, 95.
Plumley, Mrs., 88.
Polignac, Duchesse de, Portrait of, 35.
Pompeo Battoni, 11, 14.
Ponsonby Group, 83.
„ Mrs. F., 83.
Portarlington, Earl of, 87.
Powderham Castle, 83.
Prince Regent, Portrait of, 87.
Prince of Wales, 12, 37, 38; Portrait of, 84,
85; secession of, 41.
„ George, Portrait of, 95.
Propert, Mr. J. Lumsden, 7, 77 ei seq.

INDEX..
Puryes, Dr. W. Laidlaw, 31, 32.
Queen, H.M. The, 78.

169'

Radnor, Countess of. Memoranda of, 27, 28,
„ Lord, Portrait of, 27.
„ second Earl of, 47.
„ Earl of. Collection of, 83. ,
Rashleigh, Jonathan, Miniature of, 6, 7 ; his-
wife Mary, Miniature of, 6, 7 ; his eleven
Children, Miniatures of, 7. . _
Rathfarnham, Convent pf, 55.
Raymond, Sophia, Miniature of, 83.
Redgrave, Mr. S., 77.
Reynolds, Sir J., 23.
Rich, Lady, Portrait of, 10, 92.
Richmond, Mary, wife of third Duke of Rich
mond, Portrait of, 51.
"Rinaldo," 17.
Rivers, Lord, Portrait of, 57.
Robertson, Andrew, 42, 43, 94, 95.
,, Miss E., 94.
Robert, Duke of Ancaster, Portrait of, 81.
Robinson, Mrs., Portraits of, 37, 141.
Rossetti, 93.
Rossi, Dr., 72.
Royal Academy, 6, 8, 77.
' ' Royal Academicians at Somerset House, " 2 8,
Rubens! "Cupids Reaping," 47; "The
Escorial,'' 47.
Rushout Family, three Ladies, Portraits of^
56.
„ Miss, 135.
Ryder, Mr. H. Dudley, 65.
Sala Rosji, 61.
Sandby, Mr., Jun., letter to, 41.
„ P., R.A., Portrait by, 37.
Sanford, Lady C, 92.
„ Mr., 92, 93.
Santa Maria della Grazie, 64.
Schomberg House, 23 ^^ seq.
Scouler, J., 21.
Seymour, Hugh, Portrait of, 24.
„ Lady Horatia, Portrait of, 135.
Shaftesbury, Countess of, Portrait of, 14.
Sharp, 45.
Shaw, Chas., 65.
Sheridan, Mrs., Portrait of, 54 ; Miniature of,.
78.
Shipley, Portrait of, 5, 6.
Siddons, Mrs., Miniature of, 79.

170

INDEX.

Smith, J. T., I, 3, 22, 72; his records of
letters, 24, 25 ; testimonial of, 37.
Soane Museum, 25.
Society of Arts, 4, 5, 6.
Society of Artists, 6.
Sophia, H.R.H. Princess, Portrait of, 32, 38,
80.
„ Wife of Sir W. Burrell, Portrait of, 80.
Sotherans, 9.
South Kensington Museum, 77, 79, 88, 94.
Spencer Group, 83.
Spencer, Earl, 83, 88.
„ Lady S., 83.
„ Mr. R., 83.
Stanley, Mr., 46, 49.
Steere, Mrs. H. Lee, 83.
St. George's, Hanover Square, 8, 17.
Stratford Place, 30, 3 1 ; furniture of house in,
31, 32 ; No. I, Portrait of, 30.
Sussex, The Duke of. Portrait of, i, 80.
Sutherland, Duke of, 87.
Swinburne, Sir J. and Lady, Portraits of, 82, 83.
„ Miss, 82, 83.
„ Henry and his Wife, Portraits of, 8, 83.
„ Henry, 7.
Templeman, Peter, M.D., Portrait of, 5.
Tennant, Mrs., Portrait of, 84.
"The Art of Miniature Painting," 94.
"The Holy Family and St. John," 86.
" The Hours," 33.
"The Macaroni Painter," 22.
" The Rest in Egypt," 66, 86.
" The Virgin bending over the Holy Child,"
86.
Thomas and S. H. GiU, Messrs., 64.
" Times, The," Extract from, 49.
Tiverton, 2, 3.
Townely, Mr., 16, 17.
Townshend Group, 83.

Townsend, the Marchioness of, 24.
Tresham, Mr., R. A., 44, 45.
Turner, Sir C., 95.
Tweedmouth, Lord, Collection of, 88.
Ud ey, Mr., 18.
„ Mr. R., 47.
„ Mrs., 47.
„ Miss, 47.
UfiSzi Gallery, 72.
Velasquez, 47.
Vidua Spentaj 70; \
Virginia, Rev. Mother Signora, 62 et seq.
Virtue and Co., 6, 28, 48.
Vokins, Messrs., 89, 90.
Waldegrave, Countess of, Portrait of, 87.
„ Eari, 81.
Walpole, 18, 24 ; phrase from a letter of, 26 ;
cynicism of, 25, 26.
,, Edward, Portrait of, 44.
West, Benjamin, advice of, 94.
Wharncliffe, Earl of, 80, 94.
Whitehead, Mr. J. W., 77, 78, 79.
Whitmore, Mrs., Portrait of, 141.
Whittington, Mrs., Portrait of, 42, 84;
description of character of, 84.
William IV., Portrait of, i, 80.
Willoughly de Eresby, Baroness, Portrait of,
80, 81.
Windsor Castle, 78.
" Wisdom arming St. George," 6.
Wood, Sir H., 4.
Woodroffe, Mr. F., Collection of, 56, 84.
Yarborough, Lord, 83 ; Portrait of, 84 ;
Daughters of, 84.
Zoffany, 28, 39; his picture, 28, 29.

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