Full text of "The connoisseur"

See other formats

The Connoisseur

An Illustrated Magazine
For Collectors

Edited by J. T. Herbert Baily

Vol. XIX.

(SEPTEMBER-DECEMBER, 1907)

LONDON

Published rv O'lTO I.IMITKD, Carmelite House, Carmelite Street, E.C.
Editokiai. and Advertisement Offices: 95, Temple Chamhers, Temple Avenue, London, E.C.

1907

I'RINTEU KV
BEMROSK AND SONS LTD.,
DERBY AND LONDON

SHUfiifi

INDEX

Answers to Corresuondcnts

PAGE

- • 65, 133. 201, 269
f Heraldic) 66, 134, 202, 270

Artici-Es and Notes.

Bank Notes, Irish. By Mabcrly Pliillips, F.S.A. iii
Benitiers. Flemisli Domestic. By Alfred E.

Knight . . . . • . • • • ■ 78

Butts, Mr., the Friend and Patron of Blake. By

Ada E. Briggs 92

Chesse. Ye Playe of. By Edgcumbe Staley . . 174
Chinese and Japanese Paintings, Mr. Arthur
Morrison's Collection. Bv Ste^vart Dick.
Parts I. and II. .. ' .. .. 85, 156

Doccia Porcelain. By M. E. .Steechnan. . .. 146

Eaton Hall, the Cheshire Residence of His Grace
the Duke of Westminster. Bv Leonard
Willciighby. Parts I. and II. ' .. 69, 137

English .Artist in Morocco, .\n. By Selwyn Brin-

ton, M..^. . . 34
,, A Correction by

. . 122

Hartley Beckles. Parts I.

.' 151.

Benitiers. Bv Alfred E.

A. Duffy
Fire-Dogs. By J.

and II.
Flemish Domestic

Knight . . . . . . . . . • 78

Furniture, Old Oak, Some Notes on a Collection

of. By Christopher \V. Hughes . . . . 237

Golden Fleece at Bru.ges. The Exhibition o( tiu-.

By E. F. Strange 2S

Green, Valentine, and his Work, with list of

Auction 7'rices. By W. G. Menzies . . 24S
Heraldry and Autographs, The Stammbuch. or

Album Amicorum. By Martin Hardie .. 231
Hermitage Collection of Pictures at St. Petersburg,

The. Part III. By Dr. G. C. Williamson 205
Indian Society of Oriental Art, The, and the

Messrs. Larmour's Collections .. .. 255

Larmour's, Messrs., Collections at the Indian

Society of Oriental Art .. .. .. 255

London Silversmith of the Eighteenth Century, A.

By E. F". Strange . . '. 99

Mechlin and Antwerp Lace. By M. Jourdain . . 103
Morgan's. Mr. J. Piernont, I'ictures : the Foreign

Miniatures. Part VII. 15y Dr. G. C.

Williamson . . . . . . • . 3

Nutmeg Graters, or Spice Bo.\es, Silver. By

Guy Oswald Smith 169

Relics of King Charles the First's K.xecution.

By P. Berney Ficklin, F.S.A. . . . . 165

Resist Silver Lustre ; ilr. Wm. Wanl's Collection.

By H. C. Lawlor 218

Rings, Some Notes on Three Classes or Types of :

The Memorial, Ecclesiastical, and Wedding.

By A. E. Cropper 183

Silver Nutmeg Graters or Spice Bo.xes. By Ciuy

Oswald Smith . . . . . . . . 169

.■\RTICI.ES AND NoTES — continued.
Silver Plate, Old, in the Irish Historical Loan

Collection at the Dublin Exhibition. By

F:. .Alfred Jones 240

Smith, John Raphael, and his Work, with list of

.Auction Prices. By W. G. Menzies .. 179
Stamps : The Early I'ostage Stamps of Corea.

By F. J. Melville 167

Stirrups, \n Historical Pair of. Bv Guv Francis

Laking. M.V.O., F.S.A. .'. .. .. 25

Tapestry at Burley-on-the-Hill. By Pearl Fmch 42
Wesley (John) Busts in Staffordshire Potterv.

By C. S. Sargisson 1 1

Wright, Patience, Modeller m Wax. By C. H.

Hart, Philadelphia . . . . . . . . 18

Notes.

Armour, Suits of, at the Toison d'Or Exhibition.

Bruges. . . . . . . . . . • . 25

Bellarmine Jug, A Red .. .. .. .. 261

Boxall's, Baron, " Sodoma " .. .. .. 119

Byron Miniature. .\. By Sir J. G. Tollemache

Sinclair, Bart. .. .. .. .. 54

Carved Oak Pulpit at llolne Church, Dartmoor . . 50
Catharine of .Aragon's House, Shrewsbury. By

B. Kendell' 196

Chalice and Cover, EUzabethan . . . . . . 52

Chest and Leathern Buckets, Old, at St. Switliin's

Church, Worcester . . . . . . . . 53

Ciborium, An Enamelled, at Sens Cathedral.

France. . . . . . . . . . . . 264

Cromwell's, Ohver, Snuff-box. lOy A. 11. .. 123

Dresden Figure of Minerva . . . . . . 51

Group — Eros and Psyche . . . . 263

Elizabethan Chalice and Cover . . . . . . 52

Engineering Challenge Shield .. .. . 125

Fan, Rare Specimen of a. By Lieut. -Col. Willrid

H. Cummings .. .. .. .. 197

Fenton Ironstone Vase, .\ . . . . . . . . 121

Font-Cover in Shaugh Prior, Dartmoor.. .. 125

Foster. Edward, the Centenarian Miniature

Painter . . . . . . . . . . T 20

(.lass Jug, Old linglish (Charles 1.) .. .. 121

Hand-Bells. Some Old 19^

Lead Cistern . . . . . . . . . . . . 52

Maces and Loving-Cup, OUeliampton Corpora-
tion . . . . . . . . . . . . 49

Lowestoft Teajjot, .\ Rare ; in Collection of

Mr. .\. Merrington Smith .. .. .. 53

Man Trap, A 261

Manorial Society, The .. .. .. .. 125

Mezzotint, A New. After Lawrence . . . . 263

Ming Figure, A Rare . . . . . . . . 194

Miniatures of Wedgwood antl Whieldon . . .. 261

Napoleonic Relics in Musec Carnavalet . . 51

liulcx

PACE

Articles and Notes — Nolcs — conlinued.

Notes and Queries .. •57. i^6, i88, 268

., ,, References on tlie Colour Plates

54, 124, 197. 2O7
Picture by Picro di Cosimo at the National Gallery

in Rome . . . . . . . . . . 49

Scottish National riallery, Two New Acquisitions

by the. By Olive Milne Rae . . . . 191

Shield, Engineering Challenge .. .. .. 125

Sodoma and Bcccafumi. By Roburl li. llobart

Cust . . . . . . . . . . . . 194

Staffordshire Jug, A. By Herbert R. H. Soutliam 262
Statuette of Son of Paul Rubens, in the Cluny

Museum . . . . . . . . . . 191

United Arts Club Picture Defence I'lnul . . . . 198

Violin, by Joseph Guarnorius .. .. .. 259

Wood-Carvings, Early, in Christchurch Priory,

Hants.. . . . . . . . . . . . 122

Althors.

Beckles, J. Hartley. Fire-Dogs. Parts I. & H.

151, 227
Briggs, Ada E. Mr. Butts, the pricnd and
Patron of Blake

M. A. An English Artist in

Silver Nutmeg Graters or

Brinton, Selwyn,
Morocco

Cropper, A. E. Notes on Three Classes or Types
of Rings : Memorial, Ecclesiastical, Wed-
ding

Cummings, Lieut. -Col. Wilfrid 11. Rare Specimen
of a Fan

Cust, Robert H. Hobart. Sodoma and Bcccafumi

Dick, Stewart. Mr. Arthur Morrison's Collection
of Chinese and Japanese Paintings. Parts
I. and 11

Duffy, A. t^ Correction re .Article on
English Artist in Morocco"

Ficklin, P. Berney, F.S.A. Relics of King
Charles the First's Execution

Finch, Pearl. Tapestry at Burley-on-the-Hill . .

H., A. Oliver Cromwell's Snuff-box

Hardie, Martin. Heraldry and Autographs ; The
Stammbuch, or Album .Amicoruni

Hart, C. H.. of Philadelphia. Patience Wright,
Modeller in Wax

Hughes, Christopher W. Some Notes on a Collec-
tion of Old Oak Furniture

Jones, E. Alfred. Old Silver Plate in the Irish
Historical Loan Collection at the Dublin
Exliibition

Jourdain, M. Mechlin and Antwerp Lace

Kendell. B. Catharine of Aragon's House,
ShrewsbiM'y

Knight, ."Vlfred E. Flemish Domestic Benitiers

Laking, Guy Francis. M.V.O., F.S.A. An His-
torical Pair of Stirrups

Lawlor, H. C. Mr. Wm. Wards Collection of
Resist Silver Lustre . .

Melville, Fred J. The Jiarly Postage Stamps of
Corea . .

Mcnzies, W. G.

John Raphael Smith and his Work, with list

of Auction Prices
Valentine Green and his Work, with list of
Auction Prices

Phillips, Maberly, F.S.A. Irish Bank Notes . .

Rae, Olive Milne. Two New Acquisitions by
the Scottish National Gallery

Sargisson, C. S. John Wesley Busts in Stafford-
shire Pottery

■S3

197
194

85, 156
\n

165

240
i"3

196

167

179

248
I II

191

Authors — continued.

Sinclair, Sir J, B. Tollcmachc, Bart. A Byron
Miniature . . . . . . ....

Smith, Guy Oswald.
Spice Boxes .
Southam, Herbert R. H. .\ Statiordsliire Jug ..
Staley, Edgcumbe. Ye Playe of Chesse . .
Steedman, M. E. Doccia Porcelain
Strange, E. F.

A London Silversmith of the Eighteenth Century
The Exhibition of the Golden Fleece at Bruges
Williamson, Dr. G. C.

Mr. J. Pierpont Morgan's Pictures : The

Foreign -Miniatures. Part VIL
The Hermitage Collection of Pictures at

St. Petersburg. Part HI

Willoughby, Leonard. Eaton Hall, the Cheshire
Residence of His Grace the Duke of
Westminster. Parts L and \\. .. 69,

Articles and Notes Classified.

Armorial China. [Sec Catalogue of CIniiese
Porcelain under Books, also Heralory.)
Armour.

Stirrups, An Historical Pair of . .

Suits at the Toison d'Or Exhibition, Bruges

AUTOORAl'HS.

The Stammbuch, or

169
262

174
146

205

137

Major R. il. C.

The Stammbuch, or

124, 198,

of
194,
IV. of ■• The

I. By Selwyn

' Bv W. A.

Heraldry and 'Autographs :
.•\lbura Amiconim

Bank Notes — Irish
Benitiers, Flemish Iiomestic ;
Tufnell's Collection .
Books.

Heraldry and Autographs ;

.\lbuni Amicorum
Ye Playe of Chesse
Books Received
Books Reviewed.

Catalogue of Chinese Porcelain with Coats

Arms . .
" Humanism and Art." (Part

Renaissance in Italian Art

Brinton, M..A.. .
" Land in the Mountains, The

Baillie-Grohman
Brass and Bronze.

Fire-Dogs. Parts I. and II.
Shield. Engineering Challenge

Catharine of Aragon's House, Shrewsbury . .
Charles the First, Relics of . .
Collections.

Eaton Hall, the Cheshire Residence of His Grace
the Duke of Westminster. {Items tinker
their various licadiiios). Parts I. and II. (jg.
Hermitage Collection of Pictures at St. Petersburg.

The. Part III

Larmour's. Messrs.. Collections of Oriental Porce-
lain at the Indian Society of Oriental .\rt
Morgan's, Mr. J. Pierpont. The Foreign Minia-
tures. Part VII

Morrison's, Mr. .\rthur. Collection of Chinese
and Japanese Paintings. Parts I. and II.

85.
Tufnell's, Major R. H. C, Collection of Flemish

Domestic Benitiers . .
Ward's, Jlr. Wm., Collection of Resist Silver
Lustre

231

231
174
267

•.6y

193

196

227

196
165

205

255

156

78
21S

Index

PAGE

ENonAviN'GS. Etctungs. and Prints.

Butts, Jlr., the Friend and Patron of Blake . . 92

Colour Plates, Notes and References 54, 124, 197, 267
Green, Valentine, and his Work, with list of

Auction Prices . . . . . • ■ • 24S

Smith, John Raphael, and his Work, with list

of Auction Prices . . . . . . . . 1 79

ExHiEiTiONS, Galleries. Musel'.ms.

Exhibition of the Golden Fleece at Bruges . . 2S
Scottish National Gallery, Two New Acquisition"

by the. . . . ' 191

Silver Plate, Old, in the Irish Historical Loan

Collection at the Dublin Exhibition

Fan, A Rare Specimen

Furniture.

Chest at St. Swithin's Church, Worcester
Fire-Dogs. Parts I. and 11. .. .. 151,

Oak Furniture, Old

Glass. Charles I. Jug

Gold, Silver, and Plated Wake.

Chalice and Cover, Ehzabethan. at Churchill

Church, near Spetchlcy
Coyte, George. A London Silversmitli of the

Eighteenth Century
Maces and Loving-Cup at Okehampton . .
Nutmeg Graters or Spice Boxes, Silver . .
Silver Plate, Old, in the Irish Historical Loan

Collection at the Dubhn Exhibition

Heraldry and Autographs.

Catalogue of Chinese Porcelain with Coats of
Arms. (A Review) . . . . . . 194.

The Stammburh, or .Mbum .\miconim

Iron and Metal Ware.

Ciborium, An Enamelled, at Sens Catliedral.
France . .

Fire-Dogs. Parts I. and II 151,

Hand-Bells, Some Old

Man Trap, .A . .

Jewels. Rings, Notes on Three Classes or Types
of : Memorial, Ecclesiastical, Wedding . .

Lace, Embroidery, and Needlework.

Mechlin and .\ntwerp Lace
Lead Cistern, Seventeenth Century . .
Leathern Buckets at St. Swithin's Church, Worcester

Miniatures.

Byron. By Ernest Lloyd. From a Sketch by

Count Ii'Orsay. (Colour Plate) . .
Butts, the Friend and Patron of Blake..
Foster, Edward the Centenarian Miniature Painter
Morgan's, Mr. J. I'ierpont, I'oreigu Minintures.

Part Vll

Wedgwood and Wliieldon . .
Musical Instruments. Violin by Joseph Giiar-

nerius . .

Napoleonic Relics in the Musee Carnavalet . .

240
197

227

121

169

240

267

2? I

264
227
192
261

103

54
93
120

3
261

259

Pictures and Drawings.

Bo.xall's, Baron. " Sodoma " .. .. .. 119

Chinese and Japanese Paintings. Mr. .Arthur

Morrison's Collection. Parts 1. and II...

S5, 156
Colour Plates, Notes and References 54, 124. 197, 267
Eaton Hall, Cheshire. The Duke of Westminster's

Pictures at . . . . . . . . . . 69

English Artist in Morocco, An . . . . . . 34

Hermitage Collection of Pictures at St. Petersburg,

The. Part III 205

Humanism and .-Vrt : Being Part IV. of " The

Renaissance in Italian .\rt." [\ Review) 193
Magdalen, The. Bv Piero di Cosimo. .\t the

National Gallery, Rome . . . . . . 49

Scottish National Gallen.', Two New .Acquisitions

by the. . . . . . . . . . . . 191

" A. Scene in Wales," bv John Crome ;

" The Dismissal of Gil Bias." by W. E.

Lockhart.
Sodoma and Bcccafumi .. .. .. .. 194

United Arts Club Picture Defence Fund . . . . 19S

Pottery, Porcelain, .•vnd China.

Bellarmine Jug, A Red . . . . . . . . 261

Catalogue of Chinese Porcelain, with Coats of

.Arms. (A Review) . . . . . . . . 194

Doccia Porcelain . . . . . . . . . . 146

Dresden. Figure of Minerva .. .. .. 51

Group : Eros and Psyche . . . . 263

Fenton Ironstone Vase, X .. .. ..121

Larmour's, Messrs., Collections at the Indian

Society of Oriental -Art . . . . . . 255

Lowestoft Tea-pot. .A Rare .. .. .. 53

Ming Figure, .A Rare . . . . . . . . 194

Re.sist Silver Lustre. Mr. Wni. Ward's Collection 218
Staffordshire Jug .. .. .. .. .. 262

Wesley (John) Busts in Staffordshire Pottery . . n

Relics.

Napoleonic Relics in the Musee Carnavalet .. 51

Of King Charles the First's E.'cecution . . . . 165

Oliver Cromwell's Snulf-box .. .. .. 123

Resist Silver Lustre, (^cc under heading -Vol tv.&\,
PoRCEi.Ai.v, and China).

Silver. {See utiiler heading — Gold, Silver, and

Plated Ware).
Snufi-bo.x, Oliver Cromwell's .. .. .. 123

Stamps. Corea, The Early Postage Stamps of . . 167
Statuette of Son of Paul Rubens, in the CUiny

Museum .. .. .. .. .. 191

Tapestry at Bin ley-on-the-llill .. .. .. 42

Wax Modelling. Patience Wright, Modeller in Wix iS
Wood Carvings.

Choir Stalls and Miserere Scats at Christchnrch

Priory . . . . . . . . . . . . 122

Font-Cover at Shaugh Prior, Dartmoor .. .. 12;

Pidpit, Carved Oak, at Holne Chinch. Dartmoor . . 50

Index

ILLUSTRATIONS

Legend of St. Lury

92, 93,

265
193

93
92, 93
94. 95

207

Armour.

Roman Armour of Charles V. . . . . . . 26

Stirru]!. By Antonio Bartolomoo Campi . . .. 24

Suits at F.aton Hall .. .. .. ..14;

„ in the Great Hall at the Golden Fleece Exhibi-
tion, Bruges. . 2.8
,, of Philip the Fair ,. ,, 29
\ktists and Engravers.
Aiken, H. The Dcvonport Mail near Amesbury,

By R. Havell
.-Mtichiero and D'Avanzo,
Blake, W.
Autograph Receipts signed by
Butts, Mr. and Mrs., and Son
Drawings by
Botticelli, Sandro.

.Adoration of the Kings, The

Virgin and Child, St. John the Baptist, and an

Angel, The . . . . . . . . . . 254

Boucher (after). .\ Mother and 1 1 er Children .. 6

Brescia, Andrea da. Countess Spanorclii and

Family . . , . . . . . ..119

Butts, T.

Head . . . . . . . . . . . . 96

Venus .\nadyomene . . . . . . . . pfS

Campana.

Empress Maria Theresa
Mdlle. Laguerre
Campi, Antonio Bartolomeo. A Slirruji . . . . 24

CosiuiO, Piero di. The Ma,9,dalen . . . . . . 4S

Cosway, Mrs. Fitzherbert . . . . . . . . 84

Cuyp, .'F.lbert. Young Herdsman with Cows —

Frontispiece : November
Cyfr.6. Statuette, The Son of Rubens .. .. 191

David, Gerard (ascribed to). Madonna and Child

and Saints . . . . . . . . . . 32

Densu, Cho. Shoki and Diinon .. .. .. So

D'Orsay, Count. Lord Byron (a Sketch) . . 56

Downman, J. Mrs. Wright, 1777. the Famous

Wax Modeller . . . . . . . . 16

Eyck, Jan Van. The Annunciation .. .. 32

Fernelev, T. The Cheshire Hunt . . . . 73

Foster, Edward. Miniature of Himself .. .. 120

Gainsborough.

Georgina, Duchess of Devonshire. Hy H. Meyer 127
Henrietta, Countess of Grosvenor . . . . 74

Giorgione. Judith .. .. .. .. .. 20.S

Green, Valentine.

I lallidav. Lady Jane. After Sir Joshua Reynolds 252
Harrington. Jane, Countess of
Revnolds, Sir Joshua
Grozer. J. Morning, or the Reflection, .\fter

W. Ward

Hals, Frans. Portrait of an .\dmiral
Havell, R.

The Devonport JIail near Amesburv. After

H. Aiken

The Last Hour of a Contested Election for M.P.

After J. Pollard

Hokusai. Ducks in a Strea^n
Holbein. Hans (? Ambrose). Edward IV. of Eng-
land 33

24S

150
216

265

199
161

PAGE

Artists and Engravers — continued.

Hoppner. Grosvenor, General Thomas . . . . 76
Huet, J. B. La Toilette de Venus. By J. -\.

L'Evcillc .. .. .. .. .. 236

Kanoaka (ascribed to). Teujin Sauia .. .. 88

Knight, C. Run Away Love. After T. Stothard 226

Korin. Fukurukojiu, with Crane and Stag . . iCii
L'Eveill6, J. A. La Toilette de Venus. After

J. B. Huet 236

Largilliere.

Boileau . . . . . . . . . . . . 3

La Marquise de Gauville . . . . . . 5

Lavery, J., R.S.A.

Alcazar, ^Morocco . . . . . . . . . . 38

Camp outside Tetuan . . . . . . . . 34

Camp on the V/ay to Fez . . . . . . 40

Fez, City of . . . . . . . . . . 41

Interior of a Moorish Harem .. .. .. 35

Street in Arzila . . . . . . 39

The Soko, Tetuan . . . . . . . . 37

I.ionardo Da Vinci (ascribed to). La Madonna

Litta . . . . . . . . . . . . 206

Lloyd. Ernest. Lord Byron, from a Sketch by

Count D'Orsay . . . . . . . . 56

Maes, Nicolas. Young Girl Peeling an .Apple —

Frontispiece : October

Matabei, Iwasa. A Dancer .. .. .. 158

Metsu, Gabriel. The Oyster Breakfast .. .. 3:4

Meyer, H. Georgina, Duchess of Devonshire.

After Gainsborough .. .. .. ..127

Mierevelt, Michiel Jansz. Child with Parroquct 212

Mieris, Frans. A Man and a Woman . . . . 2

Montpetit. Mdme. Labillc-Guiard . . . . 8

Montonobu, Kano. Landscape .. .. .. 159

Moronobu. iJancers ., .. .. .. 160

Muh-Ki. A Tiger 85

Nattier. Madame Dupin . . . . . . . . 5

Nobiizane The Poet Shitago . . . . . . S9

Peters. Rev. W. M. Two Children with a Jay in

a Cage . . . . . . . . . . i iS

Pollard. L The Last Hour of a Contested Flection

for M.P. By R. Havell 199

Rembrandt. The Descent from the Cross .. 211
Reynolds, Sir Joshua.

Ilalliday, Lady Jane. By Val. Green . . 232

Harrington. Jane, Countess of. By Val. Green 252

I'ortrait of Himself. Mezzotint 24S

Spencer, Countess. By Val. Green . . . . 245
Romnev. Elizabeth, Duchess of Sutherland. Bv

Watts '. 69

Rowlandson. Tliomas. Coach and Six . . . . 98

Ruliens. Helene Fourment .. .. .. 213

Russell, J. Maria. By P. W. Tomkins . . . . 164

Sesshui. Landscape .. .. .. .. 156

Sevin. Louis XIV. . . . . . . . . 4

Shinbun. Landscape . . . . . . . . 90

Smith. J. R.

A Lady Reading. By V.'. Ward . . . . 10

Narcissa . . . . . . . . . . . . 1 78

Soanii. The Sage Darunia .. .. .. 91

Sodoma. S. Sebastian . . . . . . . . 195

Index

PAGE
I6l

226

74
159
164
194

Artists and Engkavers — coniinned.
Sosen. Jlonkej-s
Sotatsu. Chrysanthemums

Stothard, T. Run Away Love. By C. Knight
Stubbs.

Grosvenor Hunt, The
Mares and Foals . .
Tanyu, Kano. Moujin, God of Letters . .
Tomkins, P. W. Maria. After J. Russell
Turbidi, Francesco. A Knight with his Squire
\'ermeer of Delft, Jan. Young Girl .\sleep —

Frontispiece : December
Wang-Lu-Kung. The Three Religions . . . . 86

Ward, W.

A Lady Reading. After J. R. Smith .. .. 10

Horning, or the Reflection. By J. Grozer .. 150
Watts. Ehzabeth, Duchess of Siithcrland. .\fter

Romney . . . . . . . . . . 69

^\'right, Patience.

Chatham, Earl of.. .. .. .. .. 21

Franklin (between 1772-1775) .. .. .. 22

Washington . . . . . . . . . . 20

Yukuhide. Taishaku Ten . . . . . . . . Sy

Autograph Receipts, signed by W. Blake . . . . 93

Autographs and Heraldry. The Stammbuch. or

Album Amicorum. Seven illustrations 231-2^4

Bank Notes, Irish. Seven examples .. 111-116

Benitiers, Flemish Domestic. Twenty examples 78-S2
Brass and Bronze.

Bust in Bronze of Philip the Fair . . . . . . 31

Engineering Challenge Shield .. .. .. 125

Fire- Dogs. Parts I. and 11. Various examples

151-155. 227-230

Cameo. Philip IL .. .. .. .. .. 33

Certificate by Alard, Vuillaume, Clapisson, and

Turbri . . . . . . . . . . 259

Chesse, Ye Playe of. Four illustrations . . 174-176

Ciborium. .At Sens Cathedral, France . . . . 264

Collections.

Eaton Hall, The Cheshire Residence of His Grace
the Duke of Westminster. Parts 1. and II.
{Items under their various headings) 69, 137

Larmour's, Messrs., Collections of Oriental Porce-
lain at the Indian Society of Oriental Art . . 255
Morgan's, Mr. J. Pierpont. The Foreign Mmia-

ture.s. Part VII 3-8

Morrison's, Mr. Arthur, Collection of Chinese and

Japanese Paintings. Parts I. and II. 85, 156
Tufnell's, Major R. H. C. Collection of Flemish

■ -^ -84

Domestic Benitiers . . . . . . 78

Eaton Hall, Cheshire.

Central Hall

Saloon

Engravings, Etchings, and Coi.orR Prints.

Devonport Mail near Ameslniry, The. By R.

Ha\ell. After H. Alkcn
Devonshire. Gcorgina, Duchess of. By H. Meyer.

.•\fter Gainsborough . . . . . . . . 1 27

Engravings. By T. Butts . . . . 94, 96

W. Blake 94, 96

Halliday, Lady Jane. By Val. Green. After Sir

Joshua Reynolds . . 252
Harrington, Jane, Countess of ,, ,, 252

Engr.wings. Etc. — continued. page

Lady Readmg. A. By W. Ward. After J. R.

Smith . . . . . . . . . . 10

Last Hour of a Contested Election for M.P., The.

By R. Havcll. After J. Pollard .. .. 199

La Toilette de Venus. Bv J. .\. L'Eveille. .\fter

J. B. Huet .. " 236

Maria. By P. W. Tomkins. .\fter J. Russell . . 164
Morning, or the Reflection. Bv J. Grozer. .\ftcr

W. Ward .. .. ' 150

Narcissa. By John R. Smith 178

Reynolds, Sir Joshua. Portrait of Himself.

Mezzotint by Val. Green . . . . . . 248

Run Away Love. By C. Knir;ht. -After T. Stot-
hard . . . . . . . . . . . . 226

Sutherland, Elizabeth, Duchess of. By \\atts.

After Romney . . . . . . . . 69

E.XHiBiTioNS, Galleries. Museums.

Golden Fleece, The Exhibition of the, at Bruges.

{Items tinder their various headings) . . 28

Silver Plate, Old, in the Irish Historical Loan

Collection at the Dublin Exhibition 240-247

Fan, A Rare, with Spanish Royal .Arms .. .. 19S

Furniture.

Cabinet, Venetian Work. At Eaton Hal! . .

Chairs, Indo-Portuguese. At Eaton Hall

Louis XVI. .Aubusson Tapestrv.
Eaton Hall

Chest at St. Swithin's Church, Worcester . .

Chests, Old Oak

Clocks (various). At Eaton Hall..

Cofl[er, Jacobean Oak

Console-Tables, Italian Carved and Gilt

Eaton Hall . . . . . . . . 13^

Fire-Dogs. (See under heading — Iron and Metal
Ware).

Mantelpiece, Oak. in Catharine of .Aragon's Hou.se,
Shrewsbury

Settee, Louis XVI., covered in .Aulnisson Tapestry
-At Eaton Hall

Stool, Oak, with Carved Panels . .

Table, Library. Louis XVI. At Eaton Hall . .
Gate-leg Oak

Glass Jug ; Period of Charles I.
Gold, Silver, and Plated Wake,

Caudle Cup, Irish

Centre-piece and Cruet Stand (1707-8) . .

Chalice and Cover, Elizabethan, at Churchill
Church, near Spetchley

Coyte, George. A London Silversmith of the
Eigliteenth Century. Ten illustrations of
-Arms (Heraldic) .. .. .. gg.

Cup with Domed Cover . . . . . . 244

Cups, Silver (four) . .

Loving-Cup belonging to Okehampton Corporation

Maces belonging to Okehampton Corporation

Monteith ( 1 700)

Nutmeg Graters or Spice Boxes, Silver. \'arious
examples . . . . . . . . igg.

Potato-Rings, Irish, in the Irish Historical Loan
Collection at the Dublin Exhibition

Rose-Water Dishes, Dutch Seventeenth Centurv

Silver Plate, Old, in the Irish Historical Loaii

Collection at the Dublin Exhibition 240-

Spanish Ecclesiastical Plate

137

.v>

238

143

2.39

,138

197
140

141
^}9

241
243

■102
247
242
50
49
241

'72

240
242

247
242

Index

PAGE

Heraldry. Ten illustrations of Arms . . 99-103

and Autographs : The Stammbuch, or
Album Amicorum. Seven illustrations 231-234

Iron and Metal Ware.

Ciborium, .\n Enamelled, at Sens Cathedral,

France. . . . . . . . ■ • • • 264

Fire-Dogs. Various examples .. 151-155,227-330

Hand -Bells, Old 192

Man Trap, A 261

Ivory Plaque in Library at Eaton Hall .. .. 142

Jewels.

Rings : Ecclesiastical, Memorial. Wedding. Ten

illustrations .. .. .. .. 183-187

Lace, Embroidery, and Needlework.

Mechlin and Antwerp Lace. Twelve specimens 103-108

Lead Cistern, Seventeenth Century.. .. .. 52

Leathern Buckets at St. Swithin's Cluircli, Worcester 53

Miniatures.

Butts, Mr. and Mrs. T., and Son. By W. Blake 92, 93
BjTon, Lord. By Ernest Lloyd. From a Sketch

by Count D'Orsay. (Colour Plate) . . 57

Fitzherbert, Mrs. By Cosway. (Colour Plate) . . 84

Foster, Edward. By the Artist . . . . . . 1 20

La Duchesse de Chevreuse. (Colour Plate) . . no
Morgan's, Mr. J. Pierpont. The Foreign Minia-
tures. Part \TI. (Nine Portraits) . . 3-8
Wedgwood and Whicldon .. .. .. ..261

Musical Instruments. Violin by Joseph Guarnerius.

The Rode . . . .' 260

Napoleonic Relics in Musee Carnavalet . . . . 51

Pictures and Drawings.

Adoration of the Kings, The. By Sandio Botticelli 207

Alcazar, Morocco. By J. Lavery . . . . . . 38

Annunciation, The. By Jan Van Eyck . . . . 32

.\rzila, A Street in. By J. Lavery .. .. 39

Camp outsi<le Tetuan ,, ,, . . . . 34

Camp near Fez ,, ,, .. .. 4(1

Charles V., Various Portraits of, at the Golden

Fleece E.xhibition, Bruges . . . . . . 29

Cheshire Hunt, The. By T. Ferneley . . . . 73

Child with Parroquet. By Michiel Jansz Mierevelt 212

Chrysanthemums. By Sotatsu . . . . . . 1 59

Coach and Six. Bv T. Rowlandson. (Colour

Plate) . . .' 9S

Dancer, A. By Iwasa Matabei . . . . . . 158

Dancers. By Jloronobu . . . . . . . . 1 60

Daruraa, The Sage. By Saomi .. .. .. 91

Descent from the Cross, The. By Rembrandt .. 311
Ducks in Stream. By Hokusai .. .. ..161

Edward IV. of England. By Hans (? .Ambrose)

Holbein 33

Fez, Cit\' of. By J. Lavery 41

Fourment. Helcne. By Rubens .. .. .. 313

Fukurukojin, with Crane and Stag. By Korin . . 161

Grosvenor Hunt, The. By Stubbs . . . . 73

Thomas, General. By Hoppner . . 76
Henrietta, Countess of Grosvenor. By Gains-
borough . . . . . . . . . . 74

Pictures and Drawings — continued.
Judith. By Giorgione
Knight with his Squire, A. .Ascribed to Francesco

Turbidi
La Madonna Litta. By Lionardo Da Vinci (?) . .
Landscape (Japanese). By Shinbun

Kano Motonobu
,, Scsshin

Legend of St. Lury. By Altichiero and D'.Avanzo
Madonna and Child, and Saints. .\scribed
variously to the Master of the Half-Figures
and to Gerard David
Magdalen, The. By Piero di Cosimo. .^t the

National Gallery in Rome . .
Mares and Foals. By Stubbs
Monkeys. By Sosen

Moorish Harem, Interior of a. By J. Lavery . .
Moujiii, God of Letters. By Kano Tanyu . .
Oyster Breakfast, The. By Gabriel Metsu
Portrait of an .\dmiral. By Frans Hals . .
Religions, The Three. By Wang-Lu-Kung
St. Sebastian. By Sodoma (I'ffizi Gallery)
By Nobuzane
By Cho Densu
By J, Laverj-

208

194

206

159
156

193

74
161

35
159
214
216
86
19;
89
89
37

119

245
87

118

254

Shitago, The Poet
Shoki and Demon.
Soko, The. Tetuan.
Spanocchi, Countess and Family. By .Andrea

da Brescia
Spencer, Countess. Bv Sir Joshua Revnokls.

(Colour Plate) ' '

Taishaku, Ten. By Yukuhide

Teujin, Sama. .Ascribed to Kanoaka

Tiger. By Muh-Ki ..

Two Children with a Jav in a Cage. Bv Rev.

W. M. Peters. (Colour Plate)
Virgin and Child, St. John the Baptist, and an

.\ngel. By Botticelli. (Colour Plate) . .
Wright. Mrs., 1777. The Famous Wax Modeller.

By John Downman
Young Girl -Asleep. By Jan Vermcer of Delft —

Frontispiece : December
Young Girl Peeling an .Apple. By Nicolas JIaes —

Frontispiece : October
A'oung 1 Icrdsman with Cows. By .Elliert Cuyp —

Frontispiece : November

I'lATKS, INCLUDING ENGRAVINGS AND CoLOUR-PrINTS.

Byron, Lord. Bv Ernest Lloyd. From a Sketch

by Count D'Orsay . . . . . . . . 57

Coach and Six. By T. Rowlandson . . . . 98

Devonport INIail near Amcsburv. The. Bv R.

Havell. After H. Alkin ' .
Fitzherbert, Mrs. By Cosway
Georgina, Duchess of Devonshire. Bv

.After Gainsborough . .
La Duchesse de Chevreuse
Lady Reading, .A. By W. Ward

Smith . . . . . . . . . . . . 10

Last Hour of a Contested Election for M.P. Bv

R. Havell. After J. Pollard .. .'. 199

La Toilette de Venus. Bv J. .A. L'Eveille. .After

J. B. Huet . . ■ 236

Man and a Woman. By I'rans Mieris. In the

possession of Mr. H. Oatway

Frontispiece : September
JIaria. By P. W. Tomkins. After J. Russell . . 164
Ming Figure of the God of Learning . . . . 190

Moorish Harem, Interior of a. By J. Lavcrv,

RS..A ;. 35

265

I- 11. Meyer.

127

After J. R.

Index

Plates, including Engravings. Etc. — continnrcl.
Morning, or the Reflection. By J. Crozier. .\£ter

\V. Ward . . . . " 150

Narcissa. By John Raphn el Smith .. .. 178

Portrait of an Acimirah By Frans Hals . . . . 216

Run Away Love. By C. Kni.sjht. After T. Stot-

liarcl .. . . . . 226

Spencer, Countess. By Sir Joshua Reynolds . . 245
Stirrup. By Antonio Bartolomeo Campi . . . . 24

Two Children with a Jav in a Cage. By Rev.

W. M. Peters ' ' ..118

X'irgin and Child, St. John the Baptist, and an

.Angel. By Botticelli . . . . . . 254

Young Girl Asleep. By Jan \ermeer of Delft —

J-'iiintispiecc : December
Young Girl Peeling an Apple. By X. Maes —

Frontispiece : October

Young Herdsman with Cows. By ."Elbert Cuyp —

1-rontispiece : November

I'oTTEKv, Porcelain, and China.

Bellarmine Jug, A lied . . . . . . . . 261

Chinese.

Enamelled Vase. Yung-Ching Period. At Eaton

Hall ' 145

Porcelain ; Messrs. Larmour's CuUectinn.

\'arious examples .. .. .. 235-258

Doccia Porcelain : Cups and Covers, Figures,

Group, Statuette .. .. .. 146-14S

Dresden.

Dish 14,1

Figure of Minerva .. .. .. .. 51

Group : Eros and Psyche . . . . . . 264

Tureen . . . . . . . . • • . . 142

Fenton Ironstone \'ase . . . . . . . • 121

Larmour's, Messrs., Collection of Chinese Porce-
lain. Various examples .. .. 255-258

Lowestoft Tea-pot .. .. .. .. .. 53

Resist Silver Lustre ; Mr. Win. Ward's Collection.

Thirteen Groups .. .. .. 21S-224

Staffordshire Busts of John Wesley, also Groups,

Medallion, Caricatures, etc. .. .. 11-17

Staffordshire Jug, Three Views of a . . . . 262

Terra-Cotta Bust of Charles V., Fifteenth Cen-
tury (Bruges Museum) .. .. .51

Statuette: The Son of Rubens .. 191

Relics.

King Charles the First's Shirt and \'est worn on the

Day of his Execution . . . . • • 165

Napoleonic Relics in the Musee Carnavalet . . 51

Oliver Cromwell's Snuff-box 123

Resist Silver Lustre. (See under heading — Pottery,
Porcelain, and China).

Shirt and Vest worn by Charles the First on the Day

of his Execution .. .. .• ..165

Silver. (See under heading — Goi.n, Silver, and

Plated Ware).
Snuff-box. Oliver Cromwell's .. .. .. 123

Staircase, with Arjnour from Horace Walpole's

Collection. At Eaton Hall .. .. I44

Staircase in Catharine of Aragon's House, Shrewsbury 19'>
Stamps. Corea — Early Issues. Six specimens 167, 16S

Tapestry.

Tapestry from Notre-Dame du Sablon. .\t the

Golden Fleece Exhibition, Bruges . . . . 30

Tapestries at Burley-on-the-HiU.

Death of Leander . . . . . . . . 43

Death of Sapphira . . . . . • ■ . 4.>

Leander Wooing Hero . . . . . . . . 42

Pastoral Scene . . . . . . . • • • 4'''

The Miraculous Draught of Fishes . . . . 45

The Fish Market 47

Tapestries at Eaton Hall: Benuvaisand .Xubusison

Panels 1 38, 139

Louis XVI. Chairs and Settee covered in

Aubusson Tapestry .. .. ■■ 137. '4'

Turning Lathe of Maximilian. At the Golden Fleece
Exhibition, Bruges . .

20
'9

Wax Modelling.

Chatham. Earl of . .

Franklin — Period 1772-1775

Washington . .

Wright. Mrs., 1777 and 1775 .. .. iS,

W'ooD Carving.

Choir Stalls and Miserere Seats in Christcluirch

Priory 122, 123

Font-Cover at Shaugh Priory, Dartmoor .. .. 125

Pulpit, Carved Oak, at Holne Church .. .. 50

IN THE SALE ROOM

Books and Manuscripts.

Ackermann's Colleges of Winelu'ster. Eton, ami

Westminster . . . . . . . . . . 272

j^Esop Fabula'. (Italian Edition). 1490 .. .. 61

.\iry, Osmond. Charles the Second, 1901 . . .. 271

.Mken's Sporting Repository, 1822 .. .. 272

.MIot's England's Parnassus, 1600 . . . . . . 272

.\ltemps, Duke of. Dispersal of Library .. .. 61

Americana. A Letter from Dr. Moore, 1687 ;

Preface by W. Penn . . . . . . . . 61

.•\pperley's Life of a Sportsman, 1842 .. .. 62

Books and Manuscripts — continued.
Aristophanes, Comoedia> of, 1498 ..
Aristotle. Works, 1495-8 ..
Barham.

The Ingoklsby Legends, 1840-42-47
The Jackdaw of Rhcims (MS.) ..
Bedford, Duke of. Salictuin Waburnense,
Herlinghieri's Geographia in tcrza rima, i

Bible, Ifi35

Book of Common Prayer, 1549

Booth's Rough Notes on Birds. 1S81-87

•

• . •

fx>

1829 . .

481 ..

271

272

J IHlCX

Books ano Manuscripts— coh/i)imc(/. pace

Bronte, Charlotte.

Caroline Vernon (MS.) . . . . . . . . 62

MS. of Poems 62

Nine MS. Vols, of Juvenile TaL'S .. .. 62

Bronte, Emily Jane. .MS. of Poems . . . . 62
Browning.

Bells and Pomegranates, 1841-46 .. .. 60

Pauline, 1833 60

Burns's The Poet's Progress (MS.) . . . . 60
Byron. Lord.

Childo Harold. (Proof Sheets) 60

English Bards and Scotch Reviewers. 1S09 .. 60

Manfred. 18 17 60

Carroll, Lewis.

Alice's ,\dventures in Wonderland, 1865 .. 60

Through the Looking Glass, 1872 .. .. 60

Clayton's Costumes of the First or Grenadier

Regiment of Guards, 1854.. .. .. 272

Coleridge's Sibylline Leaves, 1S17 .. .. 60

Combe's Wars of Wellington. 18 19. . .. .. 272

Congreve, Sir Wni. Rocket System .. .. 272

Cook and Wedderburn. Library Edition of

Ruskin's Works, 1903-6 . . . . . . 272

Crcighton, Mandell, Bishop. Queen Elizabeth,

1896 " 271

Curtis's Botanical Magazine, 1793-19^3 .. .. Oi

Dickens.

A Christmas Carol . . . . . . . . 60

Bleak House, 1853 .. .. .. .. 60

Pickwick Papers, 1837 . . . . . . . . 60

The Cricket on the Hearth . . 60

Didot's Greek Classics, 63 vols., 1845-20 . . .. 272

Dryden's Eleonora (MS.) . . . . . . . . 60

Edwards. Botanical Register, 1815-47 .. .. 61

Fancy, or True Sportsman's Guide, The, 1826 . . 271
Folk - I^ore Society's Publications: 60 vols.,

1878-1907 . . . . . . . . . . 272

Frankau, Mrs.

John Rapliael Siuith ; His Life ami Works,

1902 . . . . . . . . . . . . 272

William and JaiULS Ward, 1911 1 .. .. .. 272

Gardiner, Dr. Oliver Cromwell, 1899 .. .. 271

Gay's Fables, 1738 .. .. .. .. .. 272

Gladstone, W. E. Home Rule for Irelau 1. .MS.

and Proof Sheets . . . . . . . . 60

Gould.

Birds of Asia . . . . . . . . . . 272

Europe, 1837 .. .. .. .. 61

Great Britain .. .. .. ..61,62

New Guinea, 1875-88 272

Mammals of Australia, The, 1863 . . . . 272

Trochilida;, 1861-87 .. .. .. .. 272

Greenaway, Kate. .\ Day in a Child's Life. MS.

with Sketches 60

Henderson, T. F. James I. and VI., 1904 .. 271

Higden's Polychronicon . . . . . . . . 62

Homer's Ilias et Odyssea. Edited \>y .Majoraniis,

154--5' <5i

Hor.n 62

Isocrates. Orationes, 1493 .. .. .. 61

Jacquin's Selectarum Stirpium .\ineric;uKuum

Icones, 1750 . . . . . . . . . . 61

Johnson's Chrysal, or the Ailventures of a

Guinea, 1821 272

Books and Manuscripts — conliititei. pace

Keats.

Endvmion : Title-page, Preface, and Dedica-
tion (MS.) 60,62

Lamia, Isabella, the Eve of St. Agnes, 1820 . . 62

Poems, 181 7 .. .. .. .. .. 62

Kelmscott Press Publications .. .. ..61,62

Kilkenny Archa;ological Society's Transactions,

1849-91 272

Lamb, Charles.

Dream Children, A Reverie (MS.) . . . . 60

Last Essays of Elia, 1833 . . . . . . 272

Talcs from Shakespeare, 1807 .. .. .. 272

Lambert's Genus Pinus, 1837 .. .. .. 61

Lang, .Vndrew. Prince Charles Edward, 1900 .. 271

I-e Rccueil des Hystoires de Troyes, 1490 . . . . 61

Les Metamorphoses d'Ovide, 1767-71 .. .. 272

Libellus de Natura Animalium, 1524 .. .. 61

Lodge's Portraits, 1821-34 .. .. .. 272

Maintenon, Mdme. de. La Caractfire de la Prin-

cesse Reinc Silvaine (MS.) . . . . . . 60

Malton's View of Dublin, 1794 . . . . .. 272

Milton's " Pilgrim's Progress." ist Edition . . 62

Mulliu. .Mr. W. Dispersal of Library . . . . 272

Nolhac's La Reine Marie Antoinette .. 62, 271

Notes and Queries. 92 vols., 1849-9S .. .. 272

I^hilosophical Transactions of the Royal Society.

80 vols., 1852-1896 .. .. .. .. 272

Pluny's Historia Xaturalis, 1472 .. .. .. 272

Poe's The Raven, 1845 •• •• •• •■ ^^o

Pope.

Essay on Man (MS.) . . . . . . . . 60

Of Taste : .\n Epistle to the Earl of H.iilington

(MS.) 60

Redoute's Les Liliacees, 180.-16 .. .. .. 61

Rossetti's Ballads and Sonnets, 1S81 .. .. 60

P.owlandson's I,oyal Volunteers of London and

Environs . . . . . . . . . - 272

Samuel, Mr. Stuart, M. P. Disper.sal of Library . . 60
Scott, Sir ^V.

Guy Mannering, 1815 .. .. .. .. 62

Waverley Novels, 48 vols. ; " Edinburgh "

Edition, 1901-3 .. .. .. .. 272

Scropc's Salmon Fishing in the Tweed . . . . 272

Shakespeare's Second Folio, 1632 . . . . 62

Shelley.

MS. Poem : " The Sun is Warm, the Sky is

Clear " 62

Proposal for Putting Reform to the Vote (.MS.) 60

Queen Mab, 1813 .. .. .. •• 272

Skelton, Sir John.

Charles L, 1898 271

Mary Stuart, 189S 271

Smith, Andrew. Illustrations of the Zoology of

S. Africa, 1849 61

Smollett's Peregrine Pickle, 1751 272

Sportsman's Guide, The Fancy or True . . . . 272

Stevenson, R. L. Works, 20 vols., 190^-7.

" Pentland " Edition .. .. .. 272

Swinburne.

Atalanta in Calydon .. .. .. .. 61

Dead Love . . . . . . • • ■ ■ 61

Devil's Due, The 61

Laus Veneris . . . . • • • ■ • ■ 61

Songs before Sunrise . . . . . . ■ . 61

Under the Microscope .. .. ■• •■ 61

Index

Books and Manuscripts — continued. v

Temple's ^^"alIace Collection at Hertford House.

1902
Tennyson, Lord.

The Brook (MS.)

Gareth and Lynette. (Corrected Proof Sheets)

The Northern Farmer (MS.)

Idylls of the Hearth, 1864

Thackeray.

Philip. 4th and 5th Chapters (MS.) . .

The Virginians, iS 58
Transactions of the London Entomological

Society, 1836-1905 ..
Tudor Translations. 40 vols., 1892-1905 . .
Visscher's Map of New Belgium and New England
WTiite's Natural History of Selborne
Wilde, Oscar. Vera, or the Nihilists
Willard, Mr. E. S. Dispersal of Library . .
Xenophon's Opera. Queen Elizabeth's Copy,
1594

Coins, Decorations, Medals, and Tokens.
Barrosa
Candahar

Charles I. Pattern Farthing
Egyptian

Derbyshire Tokens (27)
Hyderabad

James IL Gun Money
Jellalabad
Laswaree

Macfadycn, Mr. F. E. Dispersal of Collection . .
Martinique and Guadaloupe
Pasley
Peninsular

Gold Cross
Regimental. 12th Foot
Star of the Order of the Bath
Ticket (Silver) for Vauxhall Gardens

Engr.wings and Prints.

Green, Val. Lady Louisa Manners. After Rey-
nolds . .
Grozer.

Braddyl, Master. After Reynolds
Scaforth, Mrs., and Child. After ReynokLs . .
Knight. Mr. John. Dispersal of Collection of

Morland Pi ints
Reynolds, S. W. Mrs. .\rbuthnot. .\fte- Unpp-
ner . . . . . . . . • .

Say, W. Lady Mildmay and Child, .\fter Hopp-

ner
Smith, J. R.

Delia in Town and Delia in tlie Country.

After Morland
Rural Amusement and Rural ICmployuicnt.
After Morland
Soiron, J. D.

St. James's Park. After Morland
Tea Garden, A
Ward, J. Sunset.

W. Daughters of Sir Thomas Frankkind.
After Hoppncr
Watson, J. Countess of Carlisle. After Rey-
nolds . .

60
60
60
60

60
60

272
60
60
61
61

64
64
64
64
64
64
64
64
64
64
64
64
64
64
64
64

(n
63

62
63
63

63
63

&3
63
63

Fvrniture.

Bookcase, Chippendale

Cabinet

Chairs

Settee „

Sideboard. Sheraton

Adams
Side-Tables, Chippendale . .

Spottiswoode, Mr. W. Hugh. Dispersal of Col-
lection

Table (Circular). Sheraton

(Toilet). Satinwood

Torcheres, Chippendale
Wardrobe, Satinwood

Gold, Silver, and Plated Ware.
Beaker. Charles II.

Bunbury, Sir Henry. Dispersal of Collection . .
Cake-Basket . .

Falkland, Viscount. Dispersal of Collection
Forks (Dessert), Queen Anne
Porringer. Charles II.

James II.
Sauce-Boats . .

"Speaker's Plate, The." 12 pieces
Tazzas. James II. . .

Ticket (Silver) for Vauxliall Gardens ...
Tumbler-Cup. William and Mary

Handel's Score of " The Messiah " . .

L.\CE and Needlework and Linen.
Brussels Lappets

Damask Table-Cloth of Drawn Thread . .
Milanese Border
Venetian ,,

Persian Rug

Pictures and Drawings.

Beechey, Sir W. Portrait of a Lady

Bol, F. Venus Detaining .\donis

Bosschaert, T. \\'illeborts. Peace : Numerous
Loves at Play at a War Piece

Bruvn, B. de. Portrait of a Youth

Cappelle. Van de (ascril)ed to). The Mouth of a
River . .

Cole, Vicat. The Alps at Rosenlaui

Collins, W. The Skittle Players

Cooper, T. S. I'ive Cows and Six Sheep
,, Sidney. Cows in a Meadow

Cosway, R. .Admiral Robert Montagu ..

Cranach. Portrait of a Lady

Cuyp. -\. .\. Landscape

Dance, X. Robert Dashwood

Dubbels, II. .V Town on a Frozen River . .

Dutch School. The Mouth of a River

I-"aed, T. The Poor, the Poor Man's Friend

Fantin-Latour. H.

Carnations in a Glass Vase

Spring Wild Flowers in a Green Bowl . .

Fildes, Sir Luke. Fair Quiet and Sweet Rest

Flemish School, Early. St. Barbara

Frere, Mr. J. Tudor. Dispersal of Collection

63
63
63
63
63
63
63

63
63
63
63
63

64
63
64
64
64
64
64
64
63
64
64
64

64
64
64

60
59

60
60

58
59
59
59
64
59
60
60
59
59
58
59

59
59
59
59

Index

I'ICTURES AND DRAWINGS — COIllillKcd.

Guardi, J.

Three Albums with Pen and Ink Views of

Venice . . . . . . . . . . 59

View in the Piazza, Venice . . . . . . 59

View in \'cnice . . . . . . . . . . 59

View of a S()uarc in an ItaHan Town . . 59

Hilliard, X. Sir Francis Drake .. .. .. 60

Hodgson, Mr. George. Dispersal of Collection . . 59

Holbein. Henry VIII 60

Hoppner.

Bunbury, Mrs. . . . . . . . . . . 58

Frere, John Hookham . . . . . . . . 59

Frere, John . . . . . . . • 59

Gyll, Susanna . . . . . . . . • • 5S

Jerningham, Mrs., as " Hebe " . . ■ • 59

Manning, Jlrs. W., and Daughter . . . . 5S

Hurt, Louis. Highland Cattle .. .. .. 64

LawTence, Sir T.

Mrs. Bradbourne . . . . . . . . . . 59

Portrait of a Young I.ady . . . . . . 59

., Lady 60

Leader, B. \V. Capel Curig, X. Wales . . . . 59

Le Brun, Mdme. Vigee. Melanie dc Rochechoiiart,

Marquise D'Aumont, Duchesse de Picnnes 59

Lcly, Sir P. Queen Mary, Wife of James II. .. 00

I.innell, J., sen.

Flight into Egypt, The . . . . . . ■ ■ 59

Minding the Flock 59

Maris, J. In the Woods .. .. .. -- 59

,, W. Milking Time 59

Memling. Hans. A Triptych with the Adoration

of the Magi .. ' • 60

Morland, G. Smugglers . . . . . . ■ • 59

Nattier, J. M. Mademoiselle de Charolais Playing

a Guitar 60

Xeefs. A Cathedral Interior . . . . . . 64

Pictures and Drawings — continued.
Xicol, Erskine.

Both Puzzled 59

Dander after Rain, .\ . . .. .. •• 59

Orchardson, W. Q. Thoughts Far .\way . . 59

Palmedcs. .\ Garden Scene . . . . . . 64

Pollajuolo, P. The .\ngel Raphael with the

Youthful Tobit 59

Reynolds, Sir Joshua.

Blake, .\ndrew . . . . . . . . . . 59

Bunbury, Master Charles John .. .. 58

Earl St. Vincent 59

Horneck, The Misses . . . . . . . . 5^

Roberts, D. Gate of the Zancarron . . . . 59

Rubens. P. P.

Portrait of a Gentleman . . . . . . . . 59

Time Disclosing Religious Truth . . . . 59

Shee, Sir M. k. Miss Blake, of .-Vrdfry . . . . 59

Stortcnbecker. Cattle . . . . . . . . 64

Sutherland, Duke of. Dispersal of Collection at

Trentham Hall, Staffordshire . . . . 60

Terburg. Portrait of a Youth . . . . 64

Van der Xeer, A. A River Scene . . . . 59

Verboeckhovcn, E. Ewes and Lambs . . . . 59

Pottery, Porcelain, and China.
Chinese.

Beakers (>i

Bottles, Powdered-Blue . . . . . . • . 63

Cup 63

Figure of a Female Deity . . . . . . 63

Statuette 63

\'ases and Covers (various) . . . . . . 63

Spcde Pot-pourri Jar .. .. .. .. 64

Silk Cape with edging of Milanese Lace . . . . 64

Silver Ticket for Vaiixhall Gardens . . . . . . 64

A MAN AM) A WOMAN

By FRANS MI1;K1S

III the possession of Mr. II. Oaticiiy

September, 1907

The Pierpont Morgan
not only three Stuart portraits,
Largilliere of
more than or-
dinary interest.
One depicts
the clever sa-
tirical poet,
Bo i leau, of
whom there are
very few por-
traits in exist-
ence. It is an
extraordinari 1 y
fine piece of
work (No.
xcvii.), repre-
senting the
poet in a hand-
some costume
of blue richly
trimmed with
gold lace, and
having over his
shoulders a
gorgeously
embroidered
green cloak
decorated with
gold lace simi-
lar to that on
the costume.
It w^as Boileau
who revealed

Vol. XIX.— No. 73.— a

Collection contains
but two others by

No. XCVII. — BOILEAU

for the first time the poetic capabilities of the French
language, and, although he can hardly be considered

as a great poet,
yet his verses,
';• so flexible, so
terse and so
vigorous, ex-
erted consider-
able influence
upon our own
literature and
upon French
poesy of later
date. The other
portrait repre-
sents a certain
-Madame de
Gauville, and
so admirable is
the likeness
that some care-
ful investiga-
tion in the de
(iauville family
has enabled
the author to
identify be-
yond question
the Marquise
(No. X c i X. )
re presented
in the picture,
and to trace a
BY LARiiiLLii-.RE Efooddca! of her

'J he Connoisseur

No. XCVIII.— LOUIS xiv.

BV SEVI.M

history. She is shown in the"-.act of being served
with some fruit and flowers by her,'favourite negro
attendant.

Several of the great French portrait painters are
represented in this collection by miniatures, and
many of them seem to have practised the fascinat-
ing art of miniature painting at different periods of
their career. Nattier, for example, commenced life

(See Article VI. or description)

as a miniaturist, and his mother was a distinguished
painter of miniatures. When he had lost almost
all his fortune in the wild schemes set on foot
by John Law, the financier, he returned again to
miniature painting, and having worked up afresh
a distinguished circle of patrons, once more re-
linquished miniature painting for work on a larger
and grander scale. Drouais is also known to have

.]/;'. /. Pierpont Morgan's Pictures

No. XCIX. — LA MARQUISE DE GAUVILLE

BV LARGILLIKRE

painted a few miniatures ; Rigaud is said to have
painted one or two ; and there is one famous
miniature in the Wallace Collection signed by
Boucher, and most probably his own work, and
therefore it seems probable that this was not the
only painting of that class from his hand. With
regard to one miniature by Nattier in the I'ierpont
Morgan Collection, it has been interesting to find
a representation of the same lady, la Duchesse du
C'haulnes, in the Wallace Collection ; and another
delightful portrait, at one time said to represent
Madame Loui.se, has now been identified with more
or less certainty as the Baronne Rigoley d'Ogny,
whom Nattier painted in 1752 as Flora riding upon
clouds, the magnificent oil painting being e.xhibiied
in London in May, 1906. One of the most fasci-
nating of his portraits is that of Madame Uupin
(No. c). The lady is wearing a superb hat. The
pleasing group, representing a mother and her chil-
dren (No. ci.), which bears the name of Boucher,
is evidently a copy of a much larger composition
or else a brilliant sketch for such a picture. It is
just possible that it may belong to the hand of
Madame Boucher, who so cleverly copied, in little,
many of her husband's large compositions : but the

curious part is, that, although the compo-
sition is so evidently the work of Boucher,
we have not been able at present to find
the picture from which it was taken, and
are therefore led to surmise that it may
have been a sketch by the master himself
for a work he never executed.

The very mention of Boucher leads one
to think of Charlier, his great friend and
a very notable painter. Charlier worked
in oil, in gouache, and in pastel, but, for
all that, was so clever at painting minia-
tures that in the collection of the Comte
de Caylus there were no fewer than ninety
from his hand, and his name fre(|uently
appears in the list of those persons who
executed the portraits in miniature, for
snuff-bo.xes and jewels given away by the
K-ing, to ambassadors and notable per-
sons. One of the little groups in this
collection by Charlier, representing \'enus
and Cupid under a tree, has been identi-
fied as belonging to a series of twelve
works executed in 1771 for the Prince
de Conti, and sold from the collection of
that Prince in 1777. Another is a very
interesting copy of a picture by Fragonard,
and one is a portrait of the Countess of
Provence (No. cii.).
From the possession of Queen Marie Antoinette
came two portraits by Campana which possess more
than ordinary interest. They represent the (lueen's
mother and father, and as we know that Marie
Antoinette sent Campana to Vienna to paint Maria
Theresa and the Em])eror I'Vancis I., there seems

No. C. — MADAME DUPIN BY NATTIKI!

The Coiiiioissci/i'

No. CI. A MOTHER AND HER CHILDREN

AFTER BOUCHER

little doubt that these two portraits are the very
ones executed at that time. I'ortunately they still
remain in their original silver frames set with dia-
monds, and surmounted by imperial crowns (No.
ciii.), and although, perchance, they are not quite
such brilliant works as Campana was capable of
e.xecuting, yet they possess a pathetic historical in-
terest which gives them very special charm. They
are evidently court portraits, representing each of
the sovereigns in court array, with the full panoply
of state. Crown, Order, and I'Lrmine, and are con-
sequently rich effective pieces of colouring. Marie
Antoinette was painted herself by Campana many
times, and there is a fine portrait of her in the
Imperial Collection at Vienna, which, very probably,
was taken by the artist to Maria Theresa, when
these two miniatures were executed ; by way of
exchange. One of the very best pictures of the

iHihap|)y Queen he ever painted
was sent as a present to the
Duchesse de Sudermanie, who
represented Marie Antoinette at
the baptism of the Due de Smo-
land. Prince of Sweden, to whom
she was godmother. It was set
in a superb diamond medallion,
and still remains a cherished pos-
session in the hands of the de-
scendants of the noble lady who
acted on that occasion as the
(,)ueen's proxy. 'I'hose of Maria
Theresa and her husband are not
the only miniatures by Campana
in Mr. Morgan's collection. There
are two of the singer Mademoiselle
Laguerre (No. civ.), a person of
very sumptuous taste, who, being
for a long time under the pro-
tection of the Due du Bouillon,
acquired from him, and from
other admirers, a very consider-
able fortune, and filled her house
with objects of beauty. It has
been curious to turn up in Paris
the catalogue of the sale of her
effects, and to notice that she was
a great admirer of |)aintings by
Fragonard, and that her cabinets
contained cups of rock crystal,
jewels of enamel, objects wrought
in all kinds of precious and semi-
precious stones, and choice pieces
of furniture by the great ebenistes
of the period. A vast crowd filled

No. Cll. — LA CO.MTESSE DE i'ROVENCE

Mr. /. Pierpouf Morgan's Pictures

the rooms of this famous courtesan, after
her decease, everyone being eager to see
the luxurious way in which her rooms
were furnished, and to admire the exquisite
beauty of the trifles with which she sur-
rounded herself. She came from a com-
paratively poor family, her father having
been a lutist, and hence when her will was
opened the public were not surprised to find
that she had bequeathed several hundred
thousand francs, from her very considerable
fortune, to alleviate distress among the poor
at Paris.

Perhaps, however, the most interesting
miniature by Campana is that which repre-
sents the person whom Voltaire called
" the sublime Emilie." This Madame de
Chatelet must have been an extraordinary
person. One writer says she had "skin like
a nutmeg grater," and that she resembled
" an ugly grenadier." Another speaks ot her
" shrewd smiling face " : and Voltaire of her
" more than ordinary charm." The three
<juotations show how differently the same
lady may be regarded by various writers.
Her learning was undoubtedly considerable,
sepecially in the departments of geometry

No. CIV. — MLLE. LAliCEKRE

BV C.AMl'ANA

No. cm.— THE EMl'KESS MAKI

A IHIiKESA

BY CAMPANA

and algebra ; but she seems to have made every-
one miserable who had to do with her, and
after Voltaire had spent fifteen jealous, feverish
years with her, she deserted him for St. Lam-
bert ; and it was his portrait which, at her
death, was found in the ring which Voltaire
had given her, and not that of \oltaire him-
self. Yet he said when she died, " The gods,
in giving her their soul and genius, kept but
for their own that imniortalitv which is for
the gods alone.'

An interesting miniature painter who has
been very little regarded was Madame Labille-
(iuiard, who was born Mademoiselle Labille,
was afterwards wife of a certain Monsieur
(niiard, and then after his decease married
her art master, Frani^ois Andre \'inccnt, who
also painted miniatures and worked in pastel.
Madame Labille-Ciuiard's miniatures have often
!)een ascribed to other artists ; some have been
given to Hall the Swede, and some to other
painters ; but in the Pierpont Morgan Col-
lection are touchstones by which they may be
identified, inasmuch as it possesses more than
one signed portrait bv her. She must have

The Coinioisseiir

been a singularly attractive woman, and there is a
beautiful miniature of her, set in a tortoiseshell box,
and painted by that extraordinary and eccentric
artist, Montpetit (No. cv.) ; while it may be inter-
esting to note that another portrait of her, this
time in pastel, was sold quite recently in London,
and has passed into the author's own collection.
There seems to be little doubt that this was the
work of her second husband, Vincent. The eccen-
tric Montpetit wasted a great deal of money upon
all sorts of ideas, visionary and illusory, as to the
new methods of painting, especially trying to force
into public notice a kind of light enamel upon glass,
about which he wrote a book. For a while it was

very popular, and in 1760 he painted three portraits
of the King in this peculiar method, one set in
a diamond -decorated box intended for the King
of Sardinia, and another equally richly mounted,
presented to the Spanish ambassador, costing, it is
declared, over 40,000 livres. There is an interesting
example of his work remaining at the Little Trianon,
but as soon as the novelty of his new method had
worn off his reputation ceased, and eventually Mont-
petit died in 1800 in great poverty. The portrait of
Madame Labille-Guiard is signed by him, and was
very likely given to the lady herself, as it has her
monogram upon the reverse of it, and is therefore a
painting of more than ordinary interest.

No. CV. — MADAME LABILLE-GUIARD

BY MONTPETIT

m' WILLIAM \SAR1)

AI-TI-:R ,I()H\ HAI>HAI!L S.MIIH

POtteiyalvd

Porcelai

John Wesley Busts in Staffordshire Pottery By C. S. Sargisson

Representations of John Wesley in Staf-
fordshire pottery are legion ; but the busts — especially
those which will receive the principal attention in this
article — are of the greatest interest from a collector's
standpoint. The writer has been fortunate enough to
gain access to the fine collection in the possession of
Mr. James Bolteley, of Birmingham. For many years
the owner has devoted himself to the discovery and
acquisition of specimens, with the result that his
collection is fully representative and well-nigh ex-
haustive. To this collection of Staffordshire Wesley
busts, which is believed to be the most complete in
existence, free access for purposes of illustration has
been allowed, and Mr. Botteley has imparted much
valuable information concerning the several specimens.

The potter — who was much more than a mere
potter — whose name will always be associated with
that of Wesley, was Enoch Wood, of Bursleni, who
had full opportunity of studying and modelling his
subject, and who did not allow artistic ambition to
interfere with faithfulness of portraiture. Of him
Ward says, in his History of the Staffordshire Pot-
teries (edition printed at Hanley in 1829 — now a rare
book), " There are still proofs of his skill in the more
ingenious departments : and his ability as a Modeller
and Sculptor has
long been widely
indicated in the
very correct bust
he produced of
the late Rev.
John Wesley."

In the cata-
logue of the
Loan Collection
of Pottery in the
Edinburgh Mu-
seum, Mr. R. H.
Soden Smith,
Museum Keeper

, . X". 1. — OBVER^K AND

and Librarian at from studv mad

South Kensington (whose property the collection once
was), thus describes one item : — " Bust of the Rev.
John \\'esley. A copy from that modelled by Enoch
Wood, of Burslem, at whose house Wesley used to
stay when visiting the Potteries. He sat to him for
his portrait which was produced in 1781, Wesley
being then 78 years of age. Copies which were made
later are commonly stamped with the date of his
death, 1 791, at the age of 88." The latter statement
is not fully correct, as will be seen.

There is some doubt as to the date of the actual
issue of the first bust, in the material and style in
which it is most commonly known. The earliest
known specimens in ordinary potter)- are stamped,
■' Aged 81," which indicates that it was not until 17S4
that the bust was given to the public : but there is
reason to believe that an earlier — perhaps limited —
edition was made in 1781. Mr. George Hammersley,
who is himself a manufacturer, and who has had
exceptional opportunities for research in the Potteries
themselves, inclines to the opinion that an issue was
made in 1 781, and that a further issue was held in
abeyance, " perhaps," as he puts it, " awaiting some
assent of John Wesley — or perhaps waiting favourable
O[)[)ortiinity to make or get made. I am not quite

clear whether
Enoch Wood's
father, Aaron
Wood, was
manufacturing
at these dates."
.\s to the jieriod
of the modelling
for the bust,
there is little or
no doubt. Says
Mr. II am mers-
ley, "It is pretty
certain that the
modelling was
done in 1781.

REVERSE OF M I-. DA1.1. l,).'.
E BY WOOD IN I7S0

Tlie Connoisseur

No. II. — SOME TVl'lCAL BACKS

That is till,' date n;iiiiL-d liy Dr. Adain Clarki-, hut it
is also very clearly stated by Ward in his J/is/oiy of
Stoke-on-Trent. Ward knew Enoch Wood personally,
and would have his inform:vtion at first ha?id."

There is a footnote in Ward's History which is of
such great value in this connection that it must be
quoted almost in full. It reads, '' We cannot refrain
from introducing here an interesting anecdote respect-
ing this bust, which we received from Mr. Wood some
time ago. He was at Leeds when the Methodist
Conference was held there in the summer of 17S1,
and his busts, being then introduced, were in eager
demand among the preachers and friends of John
Wesley. Mr. Wood was pointed out as the artist, and
much complimented on the occasion. On returning
from the Chapel, where the busts had just been

uxhiliited, he was accosted in the old Churchyard by
a tall person of clerical ajipearance, ' Are you the
young man who made the beautiful likene.ss of Mr.
Wesley?' l!eing answered in the affirmative, the
stranger recjuested Mr. Wood to tell him how he had
made so exact a resemblance of that great man. He
was \ery niiiuitc in his enquiries, and having made
himself master of the subject, he placed his hands on
the young artist's shoulders, and, going through the
whiilc process, from the first preparation of the soft
and pliant materials, to the completion of the bust,
he, in a most striking manner, applied his information
for the purpose of illustrating the wonderful w-ork of
Cod in the new creation of the human soul after His
own image," etc. The homily delivered to Wood, and
repeated, so it is said, in a public sermon at that

No. III. — I. MADE By ENOCH WOOD HIMSELF, AND GIVEN BY HIM TO HIS SON

2. BELONGED TO DR. KNOWLES 3, 4, 5. INCORRECTLY MARKED AS REPRESENTING WESLEY OLDER THAN

HE ACTUALLY WAS AT TIME OK .MODELLING (SEE LETTERPRESS)

loltii J Presley Busts

No. IV. — GROUP OF WESLEY BUSTS

Conference, displayed a full grasp of the subject of
modelling and reproduction in clay, as gathered from
the sculptor. The authenticity and circumstantial
character of the story related by Wood himself, and
recorded by his personal friend Ward, has considerable
evidential value in the determination of the date of
the first issue of the bust, though it does not clear up
the mystery of the apparent cessation of issue between
1 78 1 and 1784.

It appears to be clear that the famous bust was
introduced at the Conference of 1781, yet it is the
fact that all the earliest ordinary pottery copies bear
the stamp "Aged 81,'' which points to the issue three
years later — for VV'esley was not eighty-one until 17S4.
Mr. Joseph Wright, of Wolverhampton, a well-known
expert in Wesley antiquities, is of opinion that the
bust submitted in 1781 was in black basalt or " black
Egyptian," as the material was then called, and that
the more familiar glazed busts were not placed on

the market until 1784. It appears to be certain that
no glazed bust of an earlier date than 1784 has been
preserved, even if such were issued. If a black
basalt or other bust, bearing the date 1781, or
stamped " Aged 78," could be discovered, it would
clear up a difficulty.

It has lately been contended that as no bust of
\Vesley was issued publicly by Wood until 1784,
and that as the bust then issued bore the inscription,
" Aged 81," that therefore the modelling of the sub-
ject did not take place until that year : and tliat ^^'ard
mistook the Conference of 1781 for that of 1784,
which was also held at Leeds ; and it has further been
asserted that the entries in Wesley's Jourmxl in the
year 1781 do not indicate that he paid a sufficiently
long visit to Burslem in that year for the modelling
to have taken place. liut an argument based on the
silence of a journal is risky, to say the least of it,
especially when the matter concerned is the modelling

No. V. — GROUl' OF WESLEV BUSTS

The Connoisseur

or study of a face whicli would
demand but little time.
Against this view there is the
very circumstantial story in
Ward's History already quoted
— and whidh was had by
Ward at first hand from
\\'ood himself; also a state-
ment in Dr. Adam Clarke's
writings, giving a detailed
account of the making of the
study by Wood, and Wesley's
comment upon the result, at
the earlier date; and, as
quite decisive as to an earlier
modelling than one in 1784
— possibly one of several —
there is in existence a
medallion of Wesley, issued
at his death, bearing his
portrait (almost identical
with that of the bust) on the
face, and the inscription,
" Enoch Wood, Sculpsit, 1 780 "
(see No. i.). On the whole
case, the balance of evidence, direct and [.'resumptive,
is distinctly in favour of the view that Wood took
his model for the famous bust at the time stated by
him to Ward, viz., in 1781 — the "Aged 81 " of the
1784 issue pointing to the age of the subject then,
and not to his age at the actual time of modelling.

It may be well to say in
this place that not only are
many of the busts, the original
of which was modelled in
1781, stamped "Aged 81,"
but many other copies are
marked later still. In the
busts illustrated in this article
are three thus wrongly marked.
They are the middle speci-
men, and the two to the
right of it in No. iii. One is
marked " Aged 87," another
"Aged 88,' and the third
"Aged 50," which is, of
course, absurd, seeing that
Wesley died at 88. In each
case the false figure is palp-
ably stamped over the original
figure, without quite obliterat-
ing it — a clumsy attempt at
falsification. All these busts
were either cast in the original

Xo. VI. BLACK BAS.\LT COPY OF THE

" CITY ROAD " BUST

No. V'll. — BRO.NZED BCST ONCE l.S THE
POSSESSION OF DR. ADAM CLARKE

mould or in accurate copies
thereof, the only variations
being those given to their
bases. It may be taken as
certain that all the busts is-
sued in 1784, and all the
exact copies, really represent
Wesley at 78 — at any rate as
he was when modelled by
Wood not later than 1781.

Accurate classification of
busts by or after Wood is
difficult, there being so many
overlapping features and
characteristics ; but, for the
reader's convenience, they
have been grouped in sections,
the selected representative
members of each section [jos-
sessing more or less clearly
marked features in common.
li will be .seen that a good
ileal of variety has been im-
parled in minor matters — in
ways well known to potters ;
suggesting, perhaps, a larger number of moulds than
were actually used for the face. The backs vary con-
siderably, as may be seen from the illustration.

The group illustrated in No. iii. contains five speci-
mens. Counting from the left, example No. i
])Osse.sses special interest, as having been made by
Enoch \Vood himself and
given by him to his son. The
second was for some time in
the possession of I )r. Knowles.
The third, fourth, and fifth are
of those referred to above as
having been wrongly marked
— the incorrect mark having
been stamped over that im-
pres.sed by the mould used.
They are all really "Aged 81 "
busts (from the 1781 model-
ling, be it remembered, and
therefore showing Wesley as
he was at 78). The left-
hand one of the three backs
illustrated shows the falsifi-
cation of one of the members
of this group, the super-
position of the " 7 " over the
" I '■ being apparent. In all
these "81 " (original) busts —
and in a few made later- — the

JoJut JJ'cslcy Busts

No. \'11I. — GROUP OF WESLEY BUSTS

scar left on Wesley's forehead by a stone thrown at
him by a persecutor is very plainly shown. This
fact is mentioned as an indication of at least an
honest attempt at faithful portraiture on the part of
Wood.

In group Xo. iv. four busts are shown, one being of
white glazed pottery — without pedestal. The distin-
guishing feature of this group is a little thing, but
hel[)ful in identification and classification — being the
button on the shoulder. In the case of members of
the first group this button is quite plain, but in the
group now under consideration it is ringed — being a
circle within a circle, as it were. True, it is not much
to go by as a distinguishing mark, particularly as it is
found in other busts of a rather later period, but it is
worthy of notice, and is so far an aid to classification.
At the back of the second member of group No. iv.
there are two peculiar cross-bars.

Oroup No. V. (with the exception of the bronzed
bust in the centre) consists of specimens bearing the

well-known pottery mark of which an illustration is
given on next page.

It will be noticed that one bears the date
"1824," and that here again the crossed drapery is
in evidence. This is in Group ix.

Individual interest attaches to some of the busts
illustrated in this article. A black copy from the
same mould as the famous " City Road Bust '' —
so called because kept at the head centre of the
Wesleyan denomination in London — may be in-
stanced. It bears the inscription : —

The Rev. John Wesley, M.A.

Aged 81.

Enoch Wood, Sculp.

liurslem.

Mention has already been made of the bust which
Enoch Wood made and gave to his son. Another (the
bronzed specimen in Group v.) belonged to Dr. Adam
Clarke, the noted commentator. It is in bronzed

No. IX. — i.KOUI" OF WESLEY BUSTS

The Connoisseur

pottery, and is labelled " Late the property of I )r. Adam
Clarke." In Mr. Uotteley's collection it stands side by

side with a bust
of Dr. Clarke
himself, whose
jirevious owner-
ship is fully
authenticated.
The bust on the
extreme right
of this group
bears an al-
most square
tablet, with the
inscription : —
The . Reverend . John Wesley, M.A.
. Fellow of Lincoln College, Oxford, .
And Founder of Methodism. . He sat
for this bust . 'i'o . .Mr. Enoch \\'o()d,
Sculptor, . llurslcm, . 1781, . and
died in . 1791, . .'\ged . 88 . Years. .
Is not this a brand plucked out of the fire ?

Speaking roughly, the main distinguish-
ing feature of this group is to be found in
the style of the vestment, which will be
seen to be different from that of the two
previous groups.

Of grou[) No. viii. it may be said that tlnr
specimens afford proof of tiie enormous
variety in Wesley busts in such minor
matters as pedestal, colouring, and the
like. The third from the left possesses
interest as having been the work of
other than ^^'ood, though the latter's like-

n e s s had
been laid
under con-
tribution. The inscrip-
tion reads : —

The Revd. lohn
Wesley, . M.A., .
Horn at Kpworth, .
March 17, . 1703, .
Aged 88 . Dale, .
Hurslem.

The busts in No.
ix. group are put in
as being interesting
in the way of variety.

No. xi. contains
two samples of
monstrosities. It is

a question whether or not some of the Wesley busts in
existence were intended as caricatures.''

Another interesting bust is one by Wedgwood, a
picture of which is given. It is in black basalt, and
is admirably executed, though it is probably of greater
value as a work of art than as a portrait of Wesley.
The comparison between this bust and those by
Wood is interesting in many respects. There can be
no doubt that the work of Wood is by far the more
accurate as a likeness. The black Wedgwood bust is
evidently the work of an artist who was more con-
cerned about producing a beautiful piece of work
than about the faithfulness of the portrait. In
moulding and finish it is much superior to the
basalt and ordinary busts referred to above, but as

No. XI. — WESLEY CARICATURES I.N POTTERY

a representation of the founder of Methodism it is
unreliable.

.\ bust by Copeland is also worthy of mention, in
the production of which Wood's work was largely laid
under contril)iition. The famous " Roubillac " bust
does not fall under the present discussion of Stafford-
shire ware only.

More interesting and valuable is a rough cast, of
which a photograph is given, from the " original
mould," as it is stated (evidently one of ^\'ood's), now
in the possession of Mr. George Hammersley, who
found it not long ago among a lot of moulds which
he had purchased at a sale. Head and bust are cast

No. X. — Wedgwood's bust

I.S BLACK BASALT

* Since the alwve was written it has Iwen discovered that the
bust No. vi. is intended for Charles Wesley, brother of John.

John ll'cslcy Busts

m one piece in this case, and
it is a fine piece of work.
The cast was photographed
in the rough, exactly as it
came from the mould, not
having been sponged or
smoothed in any way.

After Wood's day the
accuracy in detail which
marked his work was de-
parted from, and all kinds
of vagaries were indulged
in by painters and deco-
rators of the busts; the
colour of the hair, the com-
plexion, the vestments,
made fearful and wonderful
in their hues, etc., affording
scope for the wildest imagi-
nation. But with it all there
is close adherence to \\'ood's
excellent modelling, and the preservation ot the
striking profile.

For the sake of would-be collectors, a word of
warning should be added to this altogether inadequate
discussion. Many spurious " Old .Staffordshire "
busts of Wesley are about — most of them wretchedly
poor forgeries, and not likely to deceive any one
versed in the subject. Fortunately the makers
these execrably poor
samples of pottery seem
to have made such an
inadequate study of the
works which they have
sought to copv that
they have failed to pro-
duce a colourable imita-
tion. ]5ut the inexperi-
enced buyer is advised
to secure expert advice
before parting with his
money.

It must he emphasised
that only one class ol
Wesley busts is dealt
with in this article : and
when the large and
practicallv complete
collection which has
been placed at the wri-
ter's disposal is spoken
of it is in this connec-
tion onl v. 1 1 would
be an casv matter to

no. .\11. — rough c.^ist from the original
mocld" l.atelv discovered

No. XIII. — TWO CURIOSITIES

get together a heterogeneous
accumulation of hundreds of
\\'esley busts, etc. (with
scarcely any duplicates
among them), if one were
content to gather in all sorts
and sizes, in any kind of
material and manufacture.
This article deals with Staf-
fordshire pottery only.

In contemplating Enoch
Wood's modelling of Wes-
ley, especially, great weight
must be attached to the
opinions of the contem-
poraries of the sculptor.
Ward's " very correct bust,"
and Fletcher's "beautiful
likeness," previously ciuoted,
count for a great deal. In
the 1843 edition of Ward's
History of Stoke-oii-Trcnf it is stated, "Mr. \\'ood,
who was originally brought up to his father's business
of a modeller, executed in his early days many excel-
lent subjects in the plastic art, consisting of dwarf
statues, groujis, bas-reliefs, cameos and intaglios of
terracotta, specimens of which are still to be met
with, and are highly prized. A bust of the venerable
Wesley, modelled from his person at Burslem in the

year 1781, was acknow-
ledged to be the most
faithful likeness of that
eminent person ever
produced, and has been
the jirototvpe of numer-
ous cojiies subsequently
promulgated." Such
opinions on the part of
those who were either
con tem|)orary with
Wesley and Wood, or
i ri (lose touch with
those who were, are of
great assistance in
forming an estimate
of the accuracy of
Wood's modelling.
.Modern collectors in
this department are
much indebted to the
man who was the father
iif representations of
John Wesley in Staf-
fordshire pottery.

—

riie Comioisscnr

Patience Wright. Modeller in Wax. By C. H. Hart, Philadelphia

Fashion is a wheel of time lliat, revolving
slowly, comes back again to its starting-place, so that
what often seems new is but " Monsieur Tonsoii
come again." Thus it is with wax portraits that are
holding the attention of the fashionable world of
London to-day, modelled in high relief, in coloured
wax, similar to those that were so much in favour
in the eighteenth and early part of the nineteenth
centuries, and were the subject of an interesting
article in The Connoisseur for March, 1904, in
which I was surprised not to find mention made of
Patience Wright, who a century and a quarter ago
was the most prominent and best-known wax modeller
in the kingdom, especially as the profile of King
George III. reproduced on page 136, of that article,
from the original in the British Museum is, in my
opinion, her
work. She, too,
was of enough
importance to
win admittance
to \k\e. Dictionary
of National Bio-
grap/iy, where
she is spoken of
as " a woman of
remarkable intel-
1 i g e n c e and
conversational
powers," whose
"life-sized figures
and busts of con-
temporary nota-
bilities and his-
torical groups
were superior to
anything of the
kind previou.sly
seen."

What makes
Patience Wright
of conspicuous
interest is the
fact that she was
a native product
of the New
World, and while
she was t h c
second born
American artist

that we know, she was the first American to give
sculptural expression to the artistic sense.* 'I'hat
this has a significance beyond the mere fact that it
records, will be recognised by every one familiar with
the developenient of the imitative arts : modelling in
the round being to the untrained mind a much more
obvious method of delineating an object than by lines
on a flat surface, so that sculpture has always preceded
painting, and thus the evolution of art in the \ew World
has followed the course of its evolution in the Old.

Patience Lovell was born in 1725, of Quaker
parentage, in Bordentown, New Jersey, not far across
the Delaware river from Philadelphia, where the
oldest building now standing is the Lovell house, and
died in London, March 25th, 1786.1 When twenty-
three she married Joseph Wright, who a score of

years later died,
leaving her a
widow with three
children. She
early showed a
decided aptitude
for modelling,
using dough,
putty, or any
other pliable
material she
could find, and
being left by her
husband with
scant means,
made herself
known by her
small portraits in
wax. Her first
attempts must
have been made
before she had
ever seen anv

MKS. WRKiHT, I///, THE FAMOUS WA.X-WO.MAN AND REPUBLICAN FROM AMERICA
BV JOHN DOWNMAN FROM A DRAWING IN MRS. MAITLAND's COLLECTION

* James Clay-
poole, " face paint-
er," born in Phila-
delphia, January
22nd, 1720, is the
first n a li V e ■ b o rn
.\merican artist. lie
was agrand-ncphew
nl Cromwell's son-
in-law, John Clay-
poole.

t Political Maga-
-ijie, March, 1786,
p. 241.

Patience JVrigJit

works of art in modelling or otherwise, which make
the accomplishment all the more remarkable, con-
sidering her uncongenial Quaker atmosphere and
environment. She soon acquired a reputation for
these clever specimens of portraiture which extended
far beyond her local geographical limits, and she
sought a wider field for her abilities by removing to
London in 1772, where she soon became the rage,
not only for her plastic work, but also for her extra-
ordinary personal qualities, which drew to her rooms
all the social and political leaders of the day.

Horace W'alpole, admittedly the leading connoisseur
and art critic of his time, writes to the Countess of
Ossory, under date of February nth, 1773* : —

" A propos to puppets, there is a Mrs. \\'right
arrived from America to make figures in wax of
Lord Chatham, Lord Lyttleton, and Mrs. Macaulay.
Lady Aylesbury literally spoke to a waxen figure of
a housemaid in the room, for the artistess has brought
over a group, and Mrs. Fitzroy's aunt is one of them."

A frothy eulogist in The I^otidon Magazine, for
December, 1775, in a "Sketch of the Character of
Mrs. Wright," which accompanied the portrait here
reproduced,! says: —

" Mrs. Wright who has been reserved by the hand
of nature to produce a new style of picturing superior
to statuary and peculiar to herself and the honour
of America, for her compositions, in likeness to the
originals, surpass paint
or any other method of
delineation ; they live
with such a perfect ani-
mation, that we are more
surprised than charmed,
for we see art perfect as
nature."

Then follows a de-
.scription of the figure of

* Tony bee's Letters of
Horace Waif ok, Vol. VIII.,

P- 237-

t This portrait can hardly
lie the one of " Mrs. Wright
modelling a heati in wax,"
which was exliibitctl by licr
son, Joseph Wright, at the
Royal Academy in 17S0, and
concerning which Horace
W'alpole wrote to Uev. Wil-
liam Mason in May of 1780:
" Von know, I suppose, that
the Royal Academy al
Somerset House is opened.
Hy what lethargy
of loyalty it happened I <lo
not know, but there is
also a picture of Mrs.
Wright modelling the head
of Charles I., and their
Majesties contemplating it."

Mrs. Macaulay, a reference to busts of the King
and Queen, which are " most capital for elegance
of execution and representation of the living," and
proceeds : —

" She has been particularly honoured with the
notice of Lords Chatham and Temple, and many of
the most illustrious characters of this country visit
her repository to converse with the Promethean
modeller."

We learn from \\'alpole that to model a bust of
the elder Pitt was one of the purposes of her visiting
England, and from the liages of the contemporary
magazine that she was particularly favoured by his
notice. Therefore we can understand that she was
afforded exceptional opportunities to model from life
the head of the great Chatham, and it is one of the few
known creations of her facile hand that has survived,
for after his decease it was honoured with a place
in Westminster Abbey, erected upon a figure draped
with the robes he wore when he made his last speech
in the House of Lords, and there it can be viewed
to-day, perfectly preserved, within a glass case in the
Lslip Chapel, next to the monument to General
\Volfe, and opposite to the tomb of Edward the
Confessor. Dean Stanley, in his Memorials of West-
minster Abbey (4th edition, p. 347), says, "In con-
sideration of the interest attaching to the great
statesman," the fee for showing his effigy was raised

from 3d. to 6d. He
then quotes from the
Guide Book of 1783 : —
"The eagerness of
connoisseurs and artists
to see this figure, and
the satisfaction it af
fords, justly places it
among the first of the
kind ever seen in this
or any other country."

'I'hat it was far su-
perior to the ordinary
wax work of the show-
room, and that the face
was life-like in its ani-
mation a n d character,
I the reproduction fully

attests.

.Among Mrs. Wright's
early works in luigland
was a bust of Thomas
Penn, one of the pro-
] prietors of Pennsylvania,

ivhich his wife, Lady
Juliana, daughter of the

IS'Rl (HIT.

The Connoisseur

first Earl of Pomfret, prcscnlcd to tlic Asscnibly of
that State in August of 1773, when it was jjlaccd in
the hbrary, where a contemporary saw it, and de-
scribes it as " a most beautiful bust." " With Doctor
Franklin shej was on terms of familiar intercourse,
both while he was in London and after taking up his
residence in France ; and as she was kept fully ad-
vised as to the momentous events transjjiring relative
to the colonies,
she c o m ni u n i -
cated her infor-
mation regularly
to him. She was
an ardent and
avowed rebel,
which caused her
to break witli the
King, whom she
roundly rated ft)r
permitting and
keeping up the
war. Before this
she had been so
friendly with him
and thu (^)ueeii
as, following her
Quaker tenets, to
call them by their
Christian names,
(ieorge and Char-
lotte. Before
Franklin left Lon-
don in May of
1775, she model-
led the bas-relief
of him here repro-
duced, from the
original that he
gave to Mary
Hewson and from
which Wedgwood
made one of his

basaltic medallions of the same size
she writes March 29th, 1777 f: —

" I meet with the greatest politeness and civility
from the people of England. ... 1 now believe
that all my romantick education joynd with my
father's, old Lovell's courage, can be serviceable yet
further to bring on the glorious cause of civil and
religious liberty. Five years ago I drempt a Dream

WASHINGTON

FROM THE ORIGINAL
PHILADELPH

To Franklin

• Pennsylvania Maga-ine of His/ory and Biography, \'oI.
Will., p. 418.

t MSS. Franklin Correspondence in the .-Vmeiican Philo-
sophical Society, Philadelpliia.

concerning Doct. Franklin. I wrote down said
Dream. Half has now been realised, and I am sure
the rest will be fulfilled."

Two years later, March 14th, 1779, she writes to
him from Lysle House, Lesterford : —

" I have moved from Pall Mall with the full
purpose of mind to settle my affairs, and get ready
for my return to America. I shall take France in

my way, and call
at Paris, where I
hope to have the
[)leasure of seeing
my old American
friend, a n d take
off some of your
cappitall Bust OS
in wax, as I intend
to make good use
of my time while
I stay at Paris. I
shall be happy to
m e e t with the
s a m e encourage-
ment as I have
:in-t with in Eng-
land at my first
coming before the
unfortunate war."
FrankI i n ad-
vised her not to
come, saying : —

"As to the ex-
ercise of your art
hrre, I am in
doubt whether it
would answer your
expectation. Here
are two or three
who profess it, and
make a show of
WAX OWNED BY R. H. HARTE, ,M.D.. their works On the
'*• ^•^•'^- Boulevard ; but it

is not the taste for persons of Fashion to sit to these
persons for their portraits ; and both house rent and
living at Paris are very expensive."

She delayed her visit to France a year, but the
following summer crossed the Channel, where, among
others, she met Elkanah Watson, whose portrait
painted by ("qpley, w-ith an American flag in the
background, is said to have been the first raising of
the American flag in Great Britain alter peace had
been declared. Watson in his reminiscences '■' gives

* Men and Times of the Rez'nlulion, New York, 1S56,
pp. 137-143-

Patioicc

II 'riirht

a very droll account of their first meeting on his
arrival in Paris. He was giving orders to his servant
from a balcony of the hotel, when he heard a powerful
female voice crying out from an upper window, "Who
are you ? An American I hope." " Yes, Madame ;
and who are you ? " he answered. Immediately she
came blustering downstairs
with the familiarity of an
old acquaintance, and soon
they were on most excel-
lent terms. He thus de-
scribes her appearance : —

" She was a tall and
athletic figure, and walked
with a firm .step as erect
as an Indian. Her com-
plexion was somewhat sal-
low ; hercheekbones high;
her face furrowed, and her
olive eyes keen, piercing,
and expressive. Her sharp
glance was appalling; it
had almost the wildness of
a maniac's. The vigour and
originality of her conversa-
tion corresponded with her
manners and appearance.
She would utter language,
in her incessant volubility,
as if unconscious to whom
directed, that put her
hearers to the blush. She
apparently possessed the
utmost simplicity of heart
and character. With a
head of wax upon her lap,
she would mould the most
accurate likenesses by the
mere force of a retentive
recollection of the traits and
lines of the countenance.
She would form her likeness
by manipulating the wax
with her thumb and finger."

Watson then tells of his engaging .Mr.-,. \\ right to
model a bust for him of Doctor Franklin, which,
when almost completed, she carried to Passy to
compare with the original. On returning in the
evening, carrying it wrapped in a napkin, she was
stopped at the barrier to be searched for contraband
goods. She resisted the attempt to examine her
bundle, and as she could not speak or understand
a word of French and the officers could neither
speak nor understand English, no explanation could

THE EARL

FROM THE LIFE-SIZE W

WESTMIN

take place. The bundle was opened, and, to the
astonishment of the officers, exhibited what appeared
to them to be the head of a dead man. They be-
lieved she was an escaped lunatic who had committed
murder and was about concealing the head of her
victim. They were ready to convey her to the police
station, when Watson ap-
peared upon the scene, and
an explanation ensued that
amused all concerned, ex-
cepting Mrs. Wright, whose
rage was at fever heat. This
bust, which Watson says was
an admirable likeness, was
sent to America, where,
years afterwards, it was
unfortunately broken into
fragments.

There are in France some
admirable whole-length
figurines of Franklin seated
at a table, upon which are
electrical and other appa-
ratus, which I believe to be
the work of Patience Wright
from their exquisite model-
ling.animation, life-likeness,
and general character, but
up to the present time I
have not been able to de-
monstrate it. They have
been attributed by the
Hon. John Bigelow, one of
Franklin's biographers, to
lean Baptiste Nini, without
the slightest proof, or show
of reason, to sustain the at-
tribution to the modeller of
the well-known bas-relief
medallions of Franklin,
who is not known ever to
have worked in the round.
In my judgment they
are essentially the work of
a woman, in conception, execution, and detail, even
to the natural hair fixed in the head : just the
kind of work that would be a drawing card in an
exhibition of wax-work, with the subject's familiar
daily articles about him — and the hair points strongly
in this direction, heralded forth as " Franklin's own
hair."

Mrs. Adams, wife of the first American minister
to the court of St. James, gives an amusing account
of a visit she paid to '"the celebrated Mrs. Wright'"

OF CHATHAM
AX EFFIGV, ISLIP CHAPEL
STER ABBEY

The Coiiiioissciir

a few days after she arrived in London in the sumnKr
of 1784, in which she says"' : —

" There was an old clergyman sitting reading a
paper in the middle of the room, and although I
went prepared to see strong representations of real
life, I was effectually deceived in this figure for ten
minutes, and was finally told it was only wax."

But perhaps the most generally interesting of all
the works of Patience Wright is her profile of General
Washington, notwithstanding it has not the value and
significance of a life-portrait ; it does show, however,
the mental strength of the artist who was capable of
making so fine a work as this profile from a bust
modelled by another, into which she could infuse her
own conception of the character of her subject, so as
to greatly improve upon her model. She wrote to
Washington ! from London, December 8th, 1783:

" My Friends write to me from America that
' Joseph Wright (my son) has painted a likeness and
also modelled a clay bust of General Washington
which will be a very great honor to my family.' I
most heartily thank my God
for sparing my life to see
this happy day.
Vou may have my most
grateful thanks tor your
kind attention to my son
in taking him into your
Family to encourage his
genii and giving him the
pleasing oportunity of tak-
ing a Likeness that has I
sincerely hope gave his
country and your friends.
Sir, satisfaction. I am im-
patient to have a copy of
what he has done that I
may have the honor of mak-
ing a model from it in wax
work, as it has been (or
some lime the wish and
desire of my heart to
model a likeness of General
Washington."

* Letters of Mn. Adams, wifi
of John Adams, Koston, 1S40,
p 228.

t MSS. Correspondence of
Washington in Libr.ary of Con-
gress, Washington, 1). C.

FRANKLIN BETWEEN I772 AND I775. BV PATIENCE

WRIGHT FROM THE ORIGINAL WAX OWNED BV

C. S. HRADFORD, EStJ., PHILADELPHIA, U.S.A.

Washington's answer to this letter is given from the
original holograph, preserved among the manuscripts
in the British Museum :

"Mount Ple.vsa.n t, yrt^n'. 30///, 1785.
" Mad.am, — By what means it came to pass, I shall
not undertake to devise, but the fact is that your letter
of the 8th of December, 1783, never got to my hands
until the i2ih of the same month in the year following.
This will account for my not having acknowledged
the receipt of it sooner, and for not thanking you, as
1 now do, before, for the many flattering expressions
contained in it. If the bust which your son has
modelled of me should reach your hands and afford
your celebrated genii any employment that can amuse
Mrs. \\right, it must be an honor done me, and if
your inclination to return 10 this country should over-
come other considerations you will, no doubt, meet
a welcome reception from your numerous friends,
among whom I should be proud to see a person
so universally celebrated and on whom nature has
bestowed such rarest un-
common gifts.

"I am, Madam,
'■ yr. most obedt. and very
" Hble. Servant,
"Go. Washix(;tox."

This unusually gracious
letter from the unbending
Washington is addressed to
"Mrs. Wright in England,"
and was enclosed in a
letter to her son, to be for-
warded. The profile of
\\'ashington is gj ins. high
bv 6 ins. wide, modelled in
high relief, in wax, which
may originally have been
white, but is now yellow,
and brings this article to a
fitting close.*

* John Hoppner, the eminent
portrait painter, married I'hrebe,
the younge-it <laiighler of Mrs.
Wright, of whom lie painted
many charming portraits, while
F.lizabelh, the elder, married an
."American, lilienezer I'lati, and
inherited some of her mothei's
cleverness in wax modelling.

An Historical Pair of Stirrups By Guy Francis Laking,

M.V.O., F.S.A., Keeper of the King's Armoury

In 1S96 great astonishment was tvinced
when at the sale of the Earl of Warwick's collection
of sixteenth-century works of art, a pair of stirrups
realised the sum of fourteen hundred and ninety-one
pounds — a really good record, coming as it did when
the art market had hardly recovered from the Baring
crisis of 1S91-2.

The stirrups were purchased at the Warwick sale
by Mr. Charles Davis, who almost immediately ceded
them to Mr. George Sailing. They appear described
in the catalogue as follows : —

"■ A pair of stirrups of russet iron, inlaid with gold
and silver. The treads of the stirrups (3I in. long
by 1 1 in. wide) are pierced with twenty-two circular
holes, these being brought into the entwined tracery
that ornaments the centres. Around ,ire borders of
flowing vine foliage in gold and silver azzimine. Of
the two pieces projecting below the tread, the front
is raised one tenth of an inch, and on the left-hand
stirrup is applied with a grotesque mark in chased
silver and two silver rosettes. The bands of the stirrup
form segments of circles, and terminate at the top,
in front, in a trefoil-shaped ornament, enriched with
an animal's skull in silver applique. Behind this is
an oblong rectangular buckle i ,'„ in. long by Jo '■''•
broad. The whole stirru[), both inside and out, being
finely inlaid with gold and silver acanthus, and other
conventional foliage and masks. On the back of
the ornament at the top of the stirru[) is the letter
" F," and above the monogram A. C, denoting the
name of the maker — -Ambrosio Caradosso Foppa."

The writer of this article was responsible for their
catalogue description, also for their attribution to
the hand of Caradosso, as it was known that artist
had occasionally diverged from his usual medium
of gold, silver, bronze, and the like to work in the
more stubborn material of iron. It is also recorded
that he had on occasions produced weapons and

armour, though his works in that direction, if in
existence to-day, pass unrecognised.

Upon the Warwick stirrups, as described in the
sale catalogue, are the initials that fitted most con-
veniently with the name of Ambrosio Foppa, called
Caradosso, A. C. — F. It also appeared that the
armourer's work was more akin to that of the gold-
smith, as appliques of silver and bronze gilt were
[)lentilully used in their general decoration. 'I'he
extreme simplicity of their outline, and ultra-classic
iorm of their enrichment, made them universally
admired.

Beyond the fact that the stirrups had been in
\Varwick Castle for some generations, their past history
and original ownership were unknown, or at least
unrecognised.

The stirrups have been exhibited at the Mctoria
and Albert Museum, with Mr. Salting's loan col-
lection, almost from the day he purch.ased them,
though their attribution to Caradosso has not (as
now proves correct) been widely accepted.
♦ * * *

For the first time on June 28th, at the private view
of the Toison d'Or Exhibition, now being held at
Bruges, the writer had the privilege of seeing many of
the fine suits of armour lent from the world-famed
Royal Armoury of Madrid by His Majesty of Spain.
Reviewing each suit carefully, the magnificent harness
of Roman fashion made by Antonio Bartolomeo
Campi of Pesaro for Charles V., and intended as a
gift to the Duke Guidoboldo II. of Urbino, especially
attracted his attention. Its splendid proportions, its
correctness ol classic form, and moreover its elaborate
decoration of gold, silver, and bronze gilt, elicited a
closer criticism than the other war harnesses. Though
never having seen the suit itself, the last-named
ornamentation seemed strangely familiar. A mental
review of all suits or separate armaments he had

TJie Connoisseur

ROMAN ARMOUR OK CHARLES V.

seen, wilh the similar very characteristic decoration,
was made, resulting in the impossibility to liken its
details to any he was accjiiainted with. I'or that day,
at least, mental comparison proved useless. On the
following day, after the opening ceremony, the writer
again carefully examined this particular harness, still
haunted the while by the memory of having seen the
like to its ornamentation elsewhere. Suddenly the
knowledge of this familiarity became apparent —
the damascened portions of the suit exactly corre-
sponded with the Warwick stirrups, also duplicating
the design of the vine leaves and curiously arranged
foliage. Then came the convincing proof of their
similarity. As before stated, the stirrups are signed in

large Roman characters A. C. — 1''., whilst on the back-
plate above the shoulder-blades, in exactly similar
characters, is the suit signed B. C— F.

The suit, beyond being signed with these initials,
is inscribed around the base of the breastplate with
the name of the maker and the date in full in the
following manner : —

" Bartholomels Ca.mi'i aurifex totius opekis
autifex guod anno integro indigebat principis
sui nvtvi ohtemper.\us r.eminato menbe perfecit.

PiSAURl ANNO MIlXIAI.'"

Therefore we have the absolute proof that the
Warwick stirrups were made by the armourer Campi
in the vear 1546, en sui/e, and for use with this

A )i Hisfoyiciil Pair of Sfimips

classically fashioned armour of the Duke of Urbino,
the only difference in the two signatures being that
Campi has signed the stirrups with the initial A of his
first Christian name, Antonio, in place of the more
usual B, of Bartolomeo, as seen on the suit.

Antonio Bartolomeo Campi was during the first
part of his successful career in the service of the
Venetian republic, afterwards joining the entourage
of the Duke Guidoboldo II., of Urbino. On
the occasion of the Duke's marriage, he executed,
together with his brother Giacomo, and assisted by
his son Scipio, many splendid war harnesses — these
had almost universal fame at the time of their manu-
facture, but are now lost, or at least unrecorded. The
work of Campi to-day is alone represented by this
one classic suit at Madrid. A few years before his
death, circa 1577, he attached himself to the court
of Henri II., there carrying on his craft with great
success. That this armourer's works, together with
his brother's and son's, should to-day be alone repre-
sented by this one harness, is astonishing ; but possibly
his work does exist, but is unrecognised. On this
theory the writer hopes on some future date to record
a few important discoveries.

It would be interesting to know at what period
this pair of stirrups passed into the possession of the
Warwick family, and when they were originally
separated from the harness to which they belong.
It may have been in 1839, when many separate small
armaments, a few suits, and very many swords, rapiers,
and daggers were stolen from the Royal storehouse by
an unscrupulous custodian, and shipped to England
for sale. To this incident the writer has referred
in greater detail in other articles dealing with the
Spanish armoury ; but it is not out of place here
to recall the theft.

The armour and arms stolen in 1S3S were sent
in the January of the following year by a firm of
.Spanish solicitors to London for sale by auction. The
sale was held by Messrs. Christie on January 23rd
and following day. It was described in the sale
catalogue as "a very important assemblage of ancient
armour and arms recently received from Spain." But
so little did the public then appreciate or understand

the art of the armourer, the two days' sale of over
270 items realised but the absurdly small sum of
^983. Vet in that sale were some of the choicest
examples of armour of the first half of the sixteenth
century, more especially of the Colman and Wolf
Landshut schools : for it must be remembered that
the various objects sent were nothing less than many
of the extra pieces and pieces de exchange of the famous
suits of the Emperor Charles V. and Philip II. It is
certainly no exaggeration to say that to-day those two
days' sale of armour and arms would at the present
ratio of prices have realised not less than _j{^8o,ooo
to ^100,000. Referring to the catalogue, in many
cases it is almost impossible to recognise any objects
described owing to the baldness of its descriptions,
yet many an historical piece in some now famous
private or public collection can be traced to this
sale. Some of the pieces have even found their way
back to the actual armoury from which they were
stolen. To us it seems guileless, but the theft of this
two days' sale of armour and arms from the royal
storehouse (it was before the armoury was arranged
for public exhibition by Don Martinez de Romero)
was covered by a serious outbreak of fire — one, we
fear, hardly accidental in its origin.

On looking through the 1839 sale catalogue, many
pairs of stirrups are recorded, but it is quite impossible
to now say if any of them could have been those after-
wards in the Warwick collection, as no description
of them is given.

It is now Mr. George Salting that is happy in the
possession of the Warwick stirrups. Though formally
the name of the maker was unrecognised and the
title of the original owner was lost, they were ever
splendid works of art, but their new historical associa-
tion lends to them a greatly additional interest and
enhanced sentimental value.

The photograph of the Campi suit, taken on horse-
back, is as the suit appeared some thirty-five years
ago, before its careful restoration and new arrange-
ment on foot was made by the late Count N'alencia
de Don J uan.

The plate of Mr. Salting's stirruj) is from a drawing
made bv the writer at the time of the Warwick sale.

I B^ _: -^ __ — — — j -fc - — ^^ — I :

Miscellaiieous

The Exhibition of the Golden Fleece at Bruges
By Edward F. Strange

The famous Order uf the Golden Fleece
was founded at Bruges on the loth January, 1429,
by Philip the Good, Uuke of Burgundy and Count
of Flanders ; and the citizens of that ancient and
beautiful town, though they, indeed, have never had
much direct interest in an institution devised for the
honour and glory of their feudal lords, have now
thought it good to gather up into an exhibition all
the available memorials of its ancient splendour.
This act of beneficence — for so indeed it is — to
students of the arts, and especially of the heraldry,
of the fifteenth and sixteenth centuries was conceived,
not improbably, with an eye to the indirect benefits

thereby accruing to the business-like Brugeois, who
are also just inaugurating a ship canal, which they
expect to restore their former commercial greatness.
But we may take the exhibition for what it is worth
on its artistic merits, and it may be said at once
that those merits are very considerable.

There is little doubt that the most satisfactory
exhibit, on the whole, is that of the armour. No
exhibition of recent times has been able to offer to
its visitors so splendid a series of complete suits
as that lent to Bruges by the Emperor of Austria
and the King of Spain — the Sovereigns of the two
branches into which the Order of the (iolden Fleece

\Pholo. Ceccll

THE GREAT HALL, WITH TAPESTRY AND SUITS OF ARMOUR LENT BY THE EMPEROR OF AUSTRIA AND KING OF
SPAIN, ETC., WITH PIECES IN CASE LENT BY KING EDWARD. MR. GUV LAKING, ETC.

The Ex/iihifioii of flic Golden Fleece

is now divided. Of these,
perhaps, the first place must
be given to the magnificent
suit of armour, in the
Roman style, made in 1546
by B. Campi, of Milan, for
Maximilian. 'I'his is a
veritable triumph of the
armourer's art, not only in
its fine forging and the
articulation — if the term
may be allowed — of the
jointed portions, but in the
magnificence of its model-
ling and other golden en-
richments. It is fitted with
a complete mask — a human
face, bearded — a fashion to
be found also in the armour
of the Japanese : though in
that under notice there are
none of the grotesque quali-
ties characteristic of the lat-
ter."' Another beautiful suit
was made for Philip le Beau
when a boy, a n d is ex-
quisitely proportioned, with
curious wide - spreading
skirts. It is lent by the
Emperor of Austria. A
point of some importance is

♦ See Mr. G. F.
article on page 25.

Lakiii"

[rhoio. Gccell-

SUIT OF PHILIl- THE FAIR WHEN .\ YOUTH
LENT BY THE EMPEROR OF AUSTRI.-\

that all the armour was actu-
ally made for Knights of the
Order, and each suit bears,
in one form or another, the
collar and device of the
(') olden Fleece.

One might reasonably
have expected this latter
item to have furnished one
of the strongest sections of
the exhibition. Certain col-
lars and jewels are indeed
shown, zealously guarded by
live halberdiers in the pic-
turesque uniform of the
eighteenth century; but,
apart from their mere glitter
of gold and gems, they are of
small value, and altogether
inferior workmanship. The
most important relic of the
Golden Fleece known to
exist is a collar of Tvison
ifOr, king-at-arms, in the
Imperial Treasury at Vienna;
but this has not been spared,
unfortunately. On the other
hand, an extremely fine piece
of heraldry is the richly em-
broidered tabard of a king-
at-arms, gaining addi-
tional interest from the com-
[)arison now possible with a

Charles V. CharUs V.

Lent bv J /Anthony Lent by
White, Esq. King Edward

Charles I',
Lent by the
Earl 0/ Northbroolc

[I'hoto. Cecell

VIEW IN THE HALL OF KINGS

The Connoisseur

precisely similar arti-
cle, painted on canvas,
which is said to be the
original design for it,
though another not
unreasonable view is
that the latter was only
a temporary makeshift
for the garment used
on more important
occasions. The room
in which these things
are shown contains
also some choice
pieces of armour leiii
by King Edward \ 1 1 .
and by Mr. (luy
Laking, M.V'.O., and
some interesting
heraldic MSS. Its
walls are hung w i t li
a set of superb Flem-
ish tapestries from the
Prado, the original
designs for which,
by Jan Verm ay en,
are at Vienna. These

THE TL-KM.NG L.VTHE Ol M.\XI.MILI.\N

EMPEROR OF AUSTRIA

perfect preservation-

represent the Siege of Tunis by Charles W, and

wrought in such care-
ful and curious detail
as to give them a
high value as his-
torical documents, as
well as on account
of their decorative
qualities. Another
interesting piece of
tapestry is the panel
from the Musee du
Cinquantenaire at
Brussels, which was
formerly at the church
of Notre-Dame du
Sablon. On the left,
Beatrice is seen hand-
ing to Maximilian the
statue of the Virgin,
which she has brought
from Antwerp to
Brussels. In the
centre, Charles V.,
with the Castilian
crown on his head,
and his brother
Ferdinand c^irry the miraculous image ; on the right
are the figures of Margaret of Austria, her nephew

LENT UY THE

TAPESTRY FROM NOTRE-DAME DU SABLON

LENT BV THE MUSKE DU CINQUANTENAIRE, BRUSSELS
3°

Tlie Exhibition of tlie Golden Fleece

BRONZE BUST

{Photo. Gecell
PHILIP THK FAIR
LENT BY THE KING OF WURTEMBERG

Ferdinand, and her three nieces, the daughters of
Charles V., kneehng before the image. Adjoining
the central hall is a small gallery in which the coins
and medals are shown ; and this section is especially
remarkable for the beauty and rare condition of the
contributions of the British Committee. Mr. Max
Rosenheim, who, we believe, especially undertook
this part of the work, has been able to get together a
series of medals which has excited the unstinted ap-
probation of foreign critics. That of Philip the Fair,
the Founder of the Order, lent by Mr. Rosenheim
himself, is only one among many
pieces which claim close study and
attention. The foreign exhibits in
this class include many notable ex-
amples ; but also some of doubtful
authenticity, and not a few repro-
ductions. In this room is a very
interesting lathe of carved and
painted wood, with heraldic and
grotesque decoration, and chiselled
iron fittings. It is dated 1506, and
was once the property of Maxi-
milian I. ; the present owner being
Count Wilczek.

Naturally there is a fine array of
portraits of .Sovereigns, in what has
been named for the purposes of the
exhibition, the "Kings' Room."
Among the busts one would remark
a striking bronze of Philip the Fair,
lent by the Stuttgart Museum ; and

the finely modelled portrait, in coloured plaster, with
moveable cap, of Charles V., which M. Henri
Hymans only just saved from the untimely fate to
which certain ignorant persons had condemned it.
Here, too, is the well-known portrait of Maximilian,
by .Ambrogio de Predis, from the Vienna Gallery ;
though those by Diirer, Lucas van Leyden, and
Strigel are wanting : and we have also, among many
other representations of Philip le Bon and Charles V.,
one of the best of each from the collections of our
own King.

A large number of portraits of Knights are interest-
ing, as a rule, on that account and for the sake of the
costume, rather than for their artistic qualities ; but
particular interest attaches to the two representations
of Johann van Wassenaer, the presence of one of
which has enabled the other to be identified : as well
as bv a picture of that Count of Egmont who made
the scar which forms Van Wassenaer's most distin-
guishing feature. The family of Croy, which furnished
a continual succession of Knights to the Order, is re-
presented bv no fewer than twenty-four panel portraits
of individuals who received the honour, and the
lower hall contains also some scores of heraldic
achievements, painted on panel, which should have
their value for the expert in heraldry. Their decorative
effect, as a collection, is very considerable.

The scope of the exhibition was, somewhat subtly,
enlarged by a modest inclusion in its programme of
the paintings of Netherlandish or Burgundian artists
working under the patronage of the Chiefs of the
Order. How far this may justify the admission of
some of the paintings shown, it might be a little

{I'iwto, Ui\cU

BUST OF CHARLES V. TERRA-COTTA, COLOURED, WITH MOVEABLE HAT

FIFTEENTH CENTURY (BRUGES MUSEUM)

The Connoisseur

difficult to say ; but at all events it has been made
the excuse for the exhibition of one work, which
alone will draw many visitors to Bruges. This is the
Annunciation, by the " Maitre de Klemalle," which
for forty years was so jealously hidden by the late
Comtesse de Merode, that her actual possession of it
was not unreasonably doubted. It is now shown in
public for the first time, and will at once take its
place among the finest of the group of paintings now
attributed to that dim and shadowy personality. It
is a wonderful example of its school. The colours
are pure and perfect, and the detail marvellously and
simply expressed. The Virgin, in the central panel

/ -*•!

"^l*

JAN VAN EVCK
LENT BV

"THE annunciation'
THE TSAR OF RUSSIA

\Photo. Ctcell
MADON.NA AND CHILD, AND SAINTS
ASCRIBED VARIOUSLY TO THE MASTER OF THE
HALF-FIGURES, AND TO GERARD DAVID

of the triptych, is robed in red — not blue, as is more
usual — and reclines on a carved Gothic bench exactly
similar to that in one of the best of the paintings
shown in the exhibition of French Primitives. She
is quaintly unconscious of the presence of the angel,
vested in white with blue stole, as she reads from a
book of devotions. On the table are an earthenware
jug, painted with blue, with arabesque ornament and
false lettering, and holding the lily ; and a brass
candlestick with guttering candle. The window has
two coats of arms, which should soon be identified.
The right-hand panel has St. Joseph plying his trade
of carpenter, in a little shop, opening by a falling
shutter on a typically Flemish street. He is drilling
holes in a piece of wood, and on his bench are some
finished mouse-traps. In the left panel the donor — in
secular costume — and his wife kneel within a garden,
on the walls of which are goldfinches, and, in the
background, a man walks, dressed in unusual costume,
with a collar of what looks remarkably like point lace.
The whole picture is wonderfully well preserved, and
should add greatly to our knowledge of this mysterious
master, most of whose work used to be attributed to
the Van Eycks. A copy of the centre panel is at
the Cassel Gallery. Of Jan van Eyck himself there
is the exquisite Annunciation from the Hermitage
Collection in St. f'etersburg.

Space forbids detailed examination of other paint-
ings shown, but mention must be made of three, all
attributed, badly enough, to the Master of the Half-
Figures. This may be good for that on the right,

The Exhibifion of flic Golden Fleece

but the others
are certainly by
different hands,
and one of
them has small
claims to be
ill an exhibi-
tion of Flemish
and Burgun-
dian art. The
Madonna and
C h lid here
reproduced
appears to
have more in
common with
the school of
Gerard David
than with the
Master of the
Half-Figures.
A large Christ
giving the Bene-
diction is put
d own, so m e-
what absurdly,
to Van Eyck.
It is an interest-
ing work, but
some other
provenance will
be easily found
for it before
the exhibition
closes. Its
frame is quite a
fine specimen.

With a few exceptions, the other pictures are unim-
portant and, having nothing to do with the subject of
the exhibition, might well have been spared.

EDW.\RD IV. OF ENGLAND (SO-C.\LLED)
LENT BY THE TSAR OF RUSSIA

.•\t the time
of writing no
catalogue had
been issued;
but it was un-
derstood that
the preparation
of this most
necessary ad-
junct to the
success of the
exhibition was
in hand. The
British Com-
mittee had sup-
plied the whole
material for
their share of
this work before
the opening;
and no notice
would be com-
plete which did
not recognise
the value of
the labours in
this and other
directions of
its secretary,
Mr. .M . 11.
S p i e 1 m a n n .
The President
of the Organis-
ing Committee,
Baron Kervyn
de Lettenhove,
has worked
splendidly, and to hi.s initiative and persistence the
success of this very interesting collection must be
ascribed.

yPhoto. Gecell
BY HANS (? AMBROSE) HOLBEIN

PHILI1> 11.

CAMEO (FORMERLY AMONG THE MARLBOROUGH GEMS

LENT BY WILLIAM NEWALL, ESQ.

^-^

An English Artist in Morocco

Just ten years ago, towards the middle of
March, I found myself at Gibraltar. I had left
England still looking wintry, grey, and cold, and
had crossed the Bay in half a gale of wind : the
Lascar sailors on the P. and O. liner looked like
frozen beetles as we steamed down Channel into
the storm, but seemed to revive and awake to life
when the sunshine came to us in still weather off
the Spanish coast, and a day later the great rock

By Selwyn Brinton, M.A.

fortress loomed out in the distance with the coast
of Africa upon our right.

One seemed to pass at one step out of winter into
summer. In the gardens at Gibraltar white and red
camellias were blooming. The wind blew soft upon
our faces as we raced our ponies along the coast
between Algeciras and Tarifa ; and the idea formed
itself within my mind to visit the Moorish cities
of Southern Spain, making my beginning with the

//*,

e:;jk

OUR CAM!' OUTSIDE TETUAN

BY J. LAVERY

INTERIOR OF A MOORISH HAREM
BY J. LAVERY, R.S.A.

An Eng/ish Artist in Morocco

modern Moors themselves across that narrow strip
of sea, beyond which I could just see faintly outlined
the headland of Ceuta.

My first impression was certainly not favourable.
Never had I seen a more piratical-looking gang of
ruffians than those who tilled the boats which
swarmed around our little steamer as it came to
anchor without the city of Tangier, which climbed
up the hillside before us somewhat in the shape of
an amphitheatre, but white, irregular, mysterious,
with guarding walls and soaring minarets. All shades
of complexion — from ebon-black through brick-red
to dirtv white — and every variety of rags were

Balearic porter dropped my luggage on its floor,
I went to the window and threw wide open the
closed shutters.

It was the hour of sunset, after a brilliant day.
The sky of pale tender rose was fading through saffron
and green into dark blue, just where a star began to
glimmer. Before me rose a vista of flat white roofs,
tier after tier crowding one upon another, to where in
the distance a graceful minaret soared up into the sky :
and all these roofs were absolutely alive with figures ;
women unveiled and robed in brilliant silks, children
plaving and running around them, black slaves busied
in service, pets of every kind — dogs, cats, monkeys.

^^S^

THE SOKO (TETUAN) BY J. LAVERV

represented among these Moroccan boatmen, who in
a trice were upon the deck, and, amid a babel of
confusion, had laid violent hands upon our luggage.

It was necessary then to land in boats, to enter this
untouched city of Eastern magic through a gateway
where two wonderful figures of bearded Moors sat
(or squatted) mute, impassive, deigning a scarcely
perceptible nod to the invading infidel, looking, in
fact, more like viziers from the days of the good
Caliph Haroun than what they actually were — Custom
House ofhrials. Here from the narrow, unpaved,
tortuous streets we suddenly found ourselves within a
luxurious and well-ap[)ointed modern hotel. 'I'angier
abounds in these strange contrasts, these abrupt
transitions from the tenth century to the twentieth,
from the unchanged East to our changing restless
West, or Tice versa : for, in fact, at that moment, as a
Spanish housemaid showed me to my room, and a

])arrots — all visihlv enjoying that <ool, delicious hour
of sunset. It was the whole interior of Moorish life
which suddenly unfolded itself to me in a wonderful
moving panorama of life and colour — a vision which
scarcely the most i)rivileged iuiropean may hojie to
behold, though Mr. Lavery has been able to depict
something of it in the charming painting which is
here re])roduce<l in colour.

The impression which 1 received so vividly and
unexpectedly then has never been effaced from my
mind, though I was able to continue and develop
it further as I came to exjilore the secrets of this
fascinating city — its labyrinthian, tortuous streets,
whence, through some dark uninviting portal, one
might dive into a store of marvellous silks and leather
work (the one surviving modern art industry) and
gold embroidery — its S6ko, the great open market
whither the tribesmen enter each morning, througii

The Connoisseur

the Bab-al-Sok, from the hills and country without,
to sell their wares, their women squatting for the
whole day, impassive and observant, with their faces
closely veiled and their nether limbs very much the
reverse : while to a group not far away the story-teller
recounts some legend of marvel, which may date its
origin from the " Thousand and One Nights," and
may tell of Camaralzaman and the Lady Badoura, of
Aziz and Azizah, and the Islands of Camphor and
the Castle of Crystal, and near the outer gate a
snake-charmer has gathered a watchful circle around
his unattractive pets.

Or one might visit on the other side of the city

Barb steeds, which are so intelligent and quick- and,
passing without the city gate, ride across the sands
past where Mr. Harris — who, perhaps, knows as nuicli
about the interior of this country as any living
European — has made his home in what seemed to
me rather a lonely spot ; or, skirting the city, pass
to the beautiful suburbs on the other side, where
are some of the best European residences.

A guide or dragoman is in Tangier practically a
necessity, and it is not too safe to venture far into
the country after dark. Roads are yet unknown,
and a camel track was our guide across the stretching
l)lains inland, where that ricli red African soil renders

1-i!8?

.^LC.^ZAR, MOROCCO

UV J. L..\VERV

the white palace of the Sultan, where at the end of
a long, narrow hall, beneath a canopy of e.xquisite
tracery, a seated .solemn figure was dispensing such
justice as may be obtained in modern Morocco ;
while in another part of this vast rambling citadel
the unha[)py prisoners crowded to the bars of their
cage like wild beasts, clamouring for food or for
money to buy food from their gaolers. For in
.Morocco it is (or was then) considered unnecessary
to [)rovide a prisoner with regular rations. Any
citizen may find himself in that horrible cage on
some trumped-up accusation, and, unless he has
friends to help from outside, may perish there of
neglect and starvation ; and, indeed, the recollection
of those eyes behind the bars — .staring, imploring,
woltish, desperate — has never faded from my memory.
It was pleasanter to mount our horses — those little

its annual crop to the Arab tiller, though upturned
with the rudest of ploughs. Plenty of sport is to
be found with the red-legged partridge ; and riding
out one evening with my guide, Absalom, we met a
ijuaint procession of camels laden with the carcases
of wild boars, the spoil of the great annual hunt.

It is time now to turn to the special subject of
this article, which is the visit of Mr. John Lavery to
this country in the spring of last year (igo6), when
he penetrated inland as far as Fez, and made the
sketches and studies which illustrate this article.
The party consisted, besides the well-known portrait
painter, of Mr. W. Harris, to whom I have just
alluded, and who has been for many years the Times
correspondent in Morocco, and of Mr. R. B. Cunning-
ham Graham, who gave some account of their
adventures and experiences in a series of brilliantly

All English .'lyfisf in Morocco

written letters, published t

in the Glasgow Herald
last year.

They had started from
Tangier with a guard of
thirteen men armed
with rifles supplied
them by Raisuli, who
was at that time in full i

enjoyment of his jiovver. •

Mr. Graham relates that
the successful chief
then ruled right up to
the gates of Tangier,
and maintained a force
of eighty to a hundred
well-armed men, who
were answerable for
most of the misrule
and disorder in the
town, the guard of the
Sultan's nominal
governor being badly
armed and disciplined,
"about five hundred
starveling, ragged, red-
coated, bare-footed sol-
diers, who sleep about
the gates of the town."
On this occasion our
party, finding their guard
— who were on foot, while they themselves were
mounted— of little help and a considerable delay,
gave a dollar to the chief of the thirteen, and told
him to return home with his friends.

But the day's journey was not to pass without
incident and real danger. Mr. Lavery tells me that,
as he was cantering forward over the brow of a slope,
he came upon Mr. Harris, who was in front of the
l)arty, surrounded by an angry band of hostile tribes-
nten. " Nearly a hundred well-armed men were
standing on the hill, who, as we rode along, luul
opened up like a fan and quietly blocked the road.
The horsemen .sat with their long guns held sticking
up like si)ears. .Some lounged half-sideways on their
horses' backs, their rifies in their hands. Footmen in
knots sat on the ground holding spare horses, which
neighed shrilly as we rode into their midst, while
others stood in order in the ranks and ga/ed expec-
tantly. Right in the middle of the band their leader
sat upon his horse, tall, sinewy, and brown, with .a
grey beard descending to his chest and mingling wiih
his clothes. Men hurried up along the road behind,
or galloped on the hills. Some hurried up on foot.

A STREET IN ARZILA

carrying a flint-lock
musket or a sword, rusty
and scabbardless, and
some came riding, two
upon a horse, without
a saddle, and a cord
tied underneath his jaw-
to serve them for a bit."
The position looked
ugly, but Mr. Lavery
remembered the advice
of his friend in front
to never show any sign
of turning back from
natives, and, putting his
horse at the gallo]), he
was in a moment more
beside Mr. Harris. .A
long altercation was
going forward, of which
he could not under-
stand a word, but which
he subse(iuently learned
to have been as follow.^.
The tribe had been
raided the very night
preceding by a hostile
tribe of Moors, their
houses burnt, their
cattle and some of their

BY J. LAVERY . . ^. .

women earned off, ar.d
three of their men killed. They were staiting out
" on the warpath," and, finding this band of infidels
entering their country, demanded tribiue ; but Mr.
Harris's long e.xperience of the natives did not fail
him at this crisis, and he replied that, so far from
paying them tribute, he had come to levy tribute
on tlieui.

A howl of derision and fury greeted this bold
counter-move : but, nothing daunted, the diplomaiist
went on to say that his heart had been touched by
their late mishajis, and that he was disposed, not
merely to forego his tribute on this occasion, but
evvn to hel|) them — in this wav. To get at their
tribal foes the shoit cut lay through a portion of
Kaisuli's territory, but the hitter's men held the
p.isses. Mr. Harris offered to use his personal in-
fluence with Raisuli to annnge matters, and the
conclave broke up with both the tribesmen and the
ICnglish travellers (whom Mr. Cunningham Graham
had now j,)ined) becoming excellent friends.

Our ])arty were able to continue, unmolested, their
journey towards l''ez, and one of my illustrations le-
produces a sketch by Mr. Lavery of their liitle camp

The Connoisseur

outside Alcazar-el-Kebir. "The tents were pitched,"
wrote Mr. Cunningham Graham, "close to an orange
garden, from which came puffs of scented air, malcing
one think, after a hard day's ride, that he had entered
a terrestrial paradise. Frogs croaked, a water-wheel
kept up a drowsy singing as it turned, the recent rains
had clad the country all in flowers, myriads of mari-
golds, vetches — pink, white, and yellow — and bird-
weed that turns its bells toward the sun, with butter-
cups and hawkweed and rank-growing fennel with
hard shrubby mignonette, starred and enamelled like
the grass. No needlework the hand of woman ever
wrought, no blue beflounced crewel from either
China or Japan, could equal them. Even that master-
piece of birds and llnwers, Piero di Cosimo's Death

The people cry out for food — says Mr. Graham — and
the Powers of Europe offer them — a police force ;
and in a brilliant letter written from Fez itself, where,
he says, Juvenal or Persius might have written his
Satires, he shows us the Sultan filling his Palace with
Circassian beauties, or the contents of the great
European stores — " red hansom cabs upholstered in
green silk, cooking stoves, lightning conductors, china,
and dinner services for men who eat with their
fingers from a pipkin, all thrown in a heap with
broken looking-glasses and imitation Em|)ire furnituru
— the whole mass left to rot undefended from the
sun, or in a store-room that lets in the water like a
shower-bath upon the costly pile," while the few sound
men have been driven from office bv intrigue, and

OCR CAMP ON THE WAV TO FEZ

BV J. LAVERY

of Procris, faded befi)rc their beautv of design and
colouring.

" Knee-deep the horses stood in the lush grass,
munching their corn. The green Hat ])lain sjjread
out on every side but one, there a rocky hill set here
and there shut up the view, but added interest.
From every housetop storks sat and chattered in full
parliament, (|uite as noisy, and perhaps as wise, as
those who sit in Westminster and legislate on things
as transitory as those which occupy a stork. I'rom
the square mosi|ue towers came the call to prayer,
calling upon the faithful to assemble and give praise
to Him Who breathed upon the dust and called up
man. Who put a bridle on the sea, ordained the
seasons, and to ^Vhom mankind owes praise for life,
for food, for raiment, and for death, whirh makes life
tolerable."

The note of pessimism at the close of this beautiful
description seems inspired by the horrible beggars,
starving, diseased, and deformed — who broke in upon
the spell of the quiet evening and invaded the camp.

Higli Chamberlains and Ministers ol War fill their
pockets from a starving countrv.

But I must devote now my remaining sjjace to
the illustrations here, whirh have been reproduced
in every case from Mr. Lavery's original sketches.
These represent successively the following scenes of
his journey : —

{ I ) Our cam/} outride Tetuan, with tents pitched
and horses tethered. The larger oblong tent I take
to have been the sleeping tent of the English party.

(2) The Shko, Tetuaii. Like that of Tangier, this
is a large open space within the walls. Fruit and
garments are being sold here. We see a group of
Moors in the middle distance, and behind rise the
hills which are a background to this city.

(3) Alc:iznr. Morocco. This is a brilliant bit of
colour, showing a Moorish street with arcades. It
is a grey day, but the picture is full of light.

(4) A street in Arzila. The sunlight strikes above
a delightful Moorish gateway and tower, which forms
a patch of clear white against the sky. To be noted

An English Artist in Morocco

is the' perfect Moorish arch, on the left, beneath the
green tiled roof.

(5) Our camp on the 'way to Fez. It is sunrise
or sunset, and a rosy radiance fills the sky. The
Barb horses are tethered together ; between the great
bell-shaped tents white-robed Moors are moving.

(6) The city of Fez. This is a delicious little
panel. It gives us a panoramic view looking across
the city. The sky is grey. In the distance over a
vista of white roofs rise the purple mountains. This
panel suggests something of the fertility of this
wonderful country, which is as rich in minerals as
in its soil.

Lastly, I am able to give my readers a reproduction
in colour of Mr. Lavery's Interior of a Moorish
Harem. According to the Koran, the Mussulman
is allowed four wives, but the Sultan has the privilege
of an increase on that number. The picture here
is of exceptional interest, since most of the paintings
of such subjects in the " salons " and other exhibitions

are devised in the studio out of the artist's imagina-
tion, whereas this interior was painted by our
privileged artist on the spot from the scene before
him ; though we may observe here that he is
separated by a river from the ladies, who look very
cool and peaceful, seated on cushions beneath their
beautiful portico, while a fountain plashes at the
side, and negro attendants are busied satisfying
their wants. The frame itself of this picture was
made in Morocco, and is a ver)' finished piece of
Moorish art.

In spite of the war between the .Sultan and
Raisuli and the unsettled state of the country — which
suffers from a weak and incompetent central authority,
brigandage and tribal wars, and the shadow of an
impending European occupation — Mr. Lavery has
been unable this winter to resist the fascination of
this land of the Moor, and at the moment I write
these lines is busy there gathering yet further im-
pressions of " An English Artist in Morocco."

i^-fy'^S^

— '^r^

THE CITV OF FEZ

EV J. LAVERY

The Connoisseur

The Tapestry at Burley=on=the=Hill

By Pearl Finch

In nearly every great house in England is
to be found some tapestry, or hangings, as the old
term has it. At Burley-on-the-Hill the collection is
unusually large and excellent ; it comprises in all
twenty-two pieces, filling seven rooms. The bulk of
the collection was formed by Daniel Finch, second
Earl of Nottingham, and later Earl of Winchelsea,
the builder of Burleyon-the-Hill. The rooms of
the house (which is of the date of \\'illiam III.) are
particularly adapted to tapestry, for they are large and
of great height. To cover the walls was a necessity,
and Lord Nottingham, who was probably an admirer
of tapestry, wisely bethought him of this style of
decoration for his newly-built house.

Much discussion has arisen as to where these
tapestries were woven. The pieces made for the
house are unmarked, and it does not appear from
e.xamination of the panels that the mark has been cut
off, as is often the case ; rather it would seem they
never were
marked. This
is a decided
misfortune, for
without the
mark it is
almost impos-
sible to state
with accuracy
the place re-
sponsible for
their manufac-
ture. In a cata-
logue dated
1 805, it is stated
they were made
at Brussels.
They can
hardly be Mort-
lake work, for
the factory is
said not to have
survived the
Revolution of
1688, and the
bills and corre-
spondence for
the tapestry
date from
1700 to 1708 ;
secondly, they
appear superior liandir wooinc

both in colour and design to most Mortlake tapestry.
From the correspondence and accounts concerning
them, it would seem they were made in London by
a man called Stephen Demay, who is termed " ye
Tapestry maker." Demay also speaks of the men
he employs, which looks as if he had a workshop
for tapestry. It is possible that the name Demay
is a corruption of the French Dumee, a name well
known in connection with designers of tapestry. In
that case Stephen Demay may have been a descen-
dant of one of the tapestry weavers who emigrated
in great numbers to England on the promulgation
of the Edict of Nantes. It has also been asserted
that the name Demay is Dutch. At present, though
researches have been made, no new light has been
thrown upon the matter.

The tapestries made for Burley-on-the-Hill, by
Lord Nottingham's orders, were the following: four
pieces of " The History of Hero and Leander," namely,

(i) " Leander
bidding farewell
to his parents
before setting
sail for Sestus ";

(2) " Leander
telling Hero of
his love for her";

(3) " Leander
swimming the
Hellespont to
see Hero";

(4) " Leander
lying dead upon
the shore, and
Hero kneeling
weeping beside
him." The
figures are life
size, the draw-
ing and colour-
i ng good,
though not so
brilliant as the
rest of the
tapestry in the
house. It has
probably been
exposed to the
sun at some
time. This
series has

The Tapestry at Bur ley-on-t he-Hill

THE DEATH OF LEANDER

been recently restored in a most satisfactory manner.
The story of Hero and Leander is so well known
that it need not here be retold.

At the top and bottom of the panels are borders of
festoons of fruit, the top border having in the centre
the Nottingham Arms. The side borders are com-
posed of a small medallion of the subject of the panel,
bows and arrows, mermaids, and musical instruments,
doubtless intended to be symbolical of the story.

In the original MSS. at Burley-on-the-Hill are the
following particulars (sic): "The Great Sweemer,
9 ft. 9 in. : The Temple, a great piece reduced con-
veniently to the dimensions, 9 ft. 9 in. : Hero and
Leander, both dead, 15 ft. 10 in. : Father, Son, and
Ship, 15 ft. 10 in. ; The Depth — the first peece to
have both borders — the second only ye right hand
border, the third only ye left hand border, the fourth
to have both borders.' With the directions is given
a small pen and ink sketch. (Memorandum in Lord
Nottingham's writing, dated 1704.)

Again, 1708: "The peece of the Ship contaigning
twenty-two ells, a quarter & half a quarter, the peece
of the Sweemer, twenty-one ells, three-quarters & a
half. The peece of the Dead contaigning thirty-five ells.
The Ship, 35. The Temple, 2 2i. The Sweemer, 21 J.
The Dead, 35. Total, 114!. The goeing, ;^o 1/ 06.

The Canvas, p{^ I 08 00. Total, ;^2 05 06. For box
iS: Carriche backward iv: forward, ^^o 09 00. Total
^2 14 06." And from accounts :" Paid Mr. Demay
ye Tapestry Maker more on account of ye Leandre
Hangings, ^50 " ; and later, " Paid Mr. Demay in
full for the Hero & Leandre, ^30."

From the first entry, " more on account," it would
seem that a sum had been recently paid. Many
entries occur, but it is not always stated to which
piece they refer, such as " Mr. Demay ye Tapestry
maker on account, ;^ioo.'' It is possible this series
cost from three to four hundred pounds. A series of
the same is in the possession of Lord Newton, at
Lyme.

Besides the Hero and Leander tapestry, Lord
Nottingham had eight pieces after the Raphael
cartoons, and one extra panel made for his "Great
House," as the old letters term it. The colouring
and design of this series is exceptionally fine, and
they have magnificent borders. They are precisely
the same as the cartoons in the South Kensington
Museum, but reversed, as they are in the tapestry at
the Vatican. The e.xtra panel, which is not from the
cartoons, is of the following subject, namely, .Sapphira
struck down dead. She lies prone at the foot of
some steps, several people stand round horror-struck

The Connoisseur

at the sight, one man counts out the portion of the
money which was kept back ; the apostles stand at
the top of the steps, St. Peter in the centre ; in the
distance the body of Ananias is being carried away.
It would be of interest to know if there is another piece
of this subject anywhere. The panel repre.senting the
charge to Peter is also somewhat different, in that in
the cartoon it is all one piece, whilst in the ta])estry
.at Burley the figure of the "Good Shepherd'' is given
alone, and it is certainly very impressive given thus.
There is a complete set of tapestry after the cartoons
at the Vatican. By the order of Pope Pius X.
Raphael designed a set of ten cartoons to be copied
into tapestry, representative of the Acts of the
Apostles and the founding of Christ's Kingdom
upon earth. The weaving of the tapestry was en-
trusted to Peter van Aelet at Brussels in 1515.
They are said to have been woven in four years,
and to have cost fifteen thousand gold ducats. The
cartoons remained in lirussels till 1620, when they
were [jurchascd by King Charles I. Three of them
were lost, and the remaining seven are still in England.
They are the following subjects : "St. Paul Preaching
at Athens," "St. Paul at Lystra," "The Death of
Ananias," "At the Beautiful Gate of the Temple,"
"The Charge to Peter," "The Miraculous Draught
of Fishes," and " Elymas Smitten with Blindness."
Those missing are : "The Stoning of Stephen," "The
Massacre of the Innocents," and "The Conversion of
St. Paul." As the cartoons are so well known, it is
unnecessary to describe the tapestry taken from them.
They were e.xtensively reproduced at Mortlake, and
probably at smaller factories, which accounts for numer-
ous tapestries of this subject to be found in England.

Workshops for tapestry existed at various times in
Norwich, Sandwich, Colchester, Maidstone, Mortlake,
Soho, Fulham, Exeter, and Stamford ; and in the
eighteenth century they were very numerous, so it is
quite possible to draw the conclusion that the tapestry
at Burley is of English make. In support of this
theory see the original MSS.

"The number of feet and inches in ye nine pieces :
Paul preaching is in compass, 10 ft. 10 in.; The
fishing piece is in compass, 15 ft. 11 in. ; the Sacir-
fice is in comi)ass, 18 ft. 15 in. ; Elymas the Blind is
in compass, 15 ft. 11 in. : the piece of the sheep is in
compass, 10 ft. 2 in. ; the piece of our Saviour is in
compass, 5 ft. 4 in. : the Temple is in compass, 20 ft.
10 in. ; Saphira is in compass, 20 ft. 6 in.; Annias is
in compass, 25 ft. 6 in.

" Ihe number of feet in ye nine pieces amounts
to 142 ft. 7 ins." And again in Lord Nottingham's
writing — " Measure from St. Paul's sleeve and ye
head inclusively . . . and from ye hinder parts

of St. Paul's garments to ye end, but leave out ye
first breadth next to St. Paul, and note that ye border
is to be on ye left hand as you look upon ye tapestry
when hung up. And let ye Coat of Arms be in
ye middle of ye piece, viz., ye part of it which would
be ye middle if ye other border were added. And
the foot of ye green man carrying Saphira and the
black man must be made whole . . ."

Unsigned letter from Lord Nottingham to Demay :

" August 2 2,rd, 1700.

"These three pieces following must be enlarged
in which care must be taken first that the Coat of
Arms in ye upper border and ye blank space in ye
bottom border be placed in ye middle of each piece
when enlarged to ye following dimensions, herein-
after directed, and in this case either add all yt is
wanting to make up, the dimensions to one side of
ye piece of hangings, or part of one side and ye
rest on ye other, according as you find best, taking
ye border part of ye cartoon, which is not yet in
ye hangings to ye dimensions required, choose out
of ye other cartoons such figures as will best quit
with ye piece which is to be enlarged, and to the
piece of the Sacrifice sow on a piece of girt web
one half loose hanging to ye middle in ye corner of
ye room at ye distance from ye left hand."

Two letters from I )emay to Lord Nottingham : —

" My Lord, — According to your Lordship's order
I went on Thursday last to ye Inn to fetch ye Hang-
ings for fear they should receive any damage by ye
weate, but the carrier did not come till Saturday.
I went again this Saturday and had them brought
home. I found they were damaged, and put them
upon the looms, and had them thoroughly dry. They
are now very well come to themselves. If your
Lordship would be pleased to send me the dimensions
of ' The Months ' (no longer at Burley) for I have
several men that play for want of work, which is a
charge to me.

" My Lord, your Lordship's most humble servant,
London, 5c//<'w/'cr, 1701. "Stethen De.m.w."

" My Lord, — I make bold to acquaint your Lord-
ship that ye cartoons are done according to your
Lordship's dimensions. If his Lordship would be
pleased to send me how I must start them down,
and shall follow your Lordship's order accordingly.
I have got ye scratches of ye fine French roles, and
if your Ldsp. will be pleased to have them sent
down with ye hangings it shall be done. The piece
of ye Blind, three additions to four ells and half a
quarter, the adition of Paul preaching comes to
eleven ells a quarter and half a quarter, the adition
of ye piece of sacirfice comes to thirteen ells and

l'^ ,"

1 i: /,i, 'i-je.?- ■•

1- ■

>> <

;^^^;^]E[| j[i : ' ' g/J

MKJl

■' it 1

^M^

1 <

^ w^l

W^3

£22

•

THE DEATH OF SAPPHIRA AN EXTRA PANEL APPARENTLY DESIGNED ESPECIALLY FOR LORD NOTTINGHAM

THE MIRACULOIS DRAUGHT OF FISHES AFTER RAPHAELS CARTOON

The Connoisseur

A PASTORAL SCENE

AFTER TENIERS

three-quarters, in all twenty-nine ells one quarter, at
two pounds per ell comes to fifty-eight pounds ten
shillings for fourteen days of three men's labour, or
joining them at two shillings a day per man four
pounds, wch in all conies to sixty-two pounds
fourteen which with ye fore bill, comes to jQi,z 14s.,
wch I beg ye favour of your Lordship to be so
kind as to send it to me, I being in soe great want
of it that I am forced to send mans away for want
of money, therefore I hope your Lordship will have
pitty upon me. ... I am with great respect to
your Lordship.

" \"our most humble and most obedient servant to
command, "Steeven Dem.w."

Extracts from Accounts: "Paid Mr. Demay in full
for nine pieces of Apostle Hangings, ^^700 ; paid
Mr. Demay for twenty-nine ells added to the Apostle
Hangings in full of all demands, ^58. Total, £ti?>."

The remaining nine panels of the collection leave
no doubt as to their identity. Each piece has the
Brussels mark, two B's and a shield, and six pieces
have the maker's name, "Johanus de Vos." The
De Vos were famous tapestry makers in the seven-
teenth century.

These tapestries are a series known as " Les
Tennieres." The colouring is quiet and restful, the
figures and details small— a pleasing contrast to the
colossal figures of the Apostle series.

They are the following subjects: (i) "A Pastoral
Scene," a shepherd, several women, some cows, sheep,
pigs, a house, and distant scene. {2) "The Bowl
Players," from the picture of the .same name. A
group of men stand in the foreground, one is in the
act of throwing the ball : the interior of an Inn is
seen near. (3) A piece which has been cut and
joined with two odd pieces, representing a woman
dancing in a very clumsy manner to a pipe which
a man is seated playing. (4) " A Winter Scene,"
from the picture of the same name. Men arc .skating
on a pond, a pig is about to be killed, various
persons are standing about, to the right are two
houses. (5) "The Palmist." A man with a little
boy holding his hand having his fortune told by
a man in a flat hat. (6) "The Musicians." Two
men playing, the one on a pipe, the other on a drum,
outside a house, several women stand listening to
the music. (7) A group of beggars. A man, woman,
and children seated by the wayside. (8) " The Sports-
man's Return." Two men are seated at a table

The Tapestry at Bttrlcy-oii-thc-Hill

drinking out of long glasses, near is a gun, and on
the floor two pheasants and a hare ; in the distance
two women are standing. (9) "The Fish Market,"
from the picture of the same name. A boat is ap-
proaching, two men are bargaining on the quay, a
man is emptying a basket of fish, and near by a
fishwife is selling fish from a stall with a pink awning.
Each panel has a border representing a frame, and
six pieces have a coat of arms and coronet. The
arms are foreign. It is probable that William Finch,
second son of Lord Nottingham, purchased these
tapestries when he went to the Hague as Envoy
Extraordinary in 1726. They formerly hung in his
house in Savile Row until his death, when they were
sold with the rest of his goods. In the catalogue
dated 1767 occur these two entries: ''Five large
pieces of curious tapestry hangings, with landscapes
and figures from the designs of Teniers, £^^ 8s. ;
four large pieces of curious Brussels tapestry, finely
executed from the designs of D. Teniers, j[^\^ 19s."
This tapestry was bought in by his wife. Lady
Charlotte, for Henrietta Finch, the daughter, writes
in her diary, " The sale of goods was over that day.
It is a torment to think how ill some of the goods
went. The fine tapestry in the bed chamber was
going for forty shillings. Mr. Barton bid it up to

^4, and got it. Mamma finding the tapestry went
so ill bought in that that used to be in the room
herself. The sale took place at ' Mr. Longford's,
in the Great Piazza, Covent Gardens,' " doubtless the
" Christie " of the day.

Lady Charlotte probably either gave, or left, this
tapestry to her .son, the ninth Lord Winchelsea for
Burley. The time when " Les Tennieres " were
manufactured does not seem to have been the best
period of Brussels work. In reference to this we
read, " Since the formation of the gobelins, Brussels
has adopted a sober brown style for the flesh colours,
and has frequently employed bad dyes." And again
Charles Blanc says, "My companion and I were
shocked on visiting the Escurial at the Flemish hang-
ings exhibited in the apartments of the Queen and the
Infantas. The peasant scenes of Teniers, the point
of which lies in the touch so exquisitely delicate of
the artist who painted them in miniature, appear
revoltingly vulgar when reproduced on a large scale
in tapestry." These sentiments are perhaps rather
sweeping, for the tapestries are pleasant to the eye,
and certainly more decorative than the colossal figures
of the Raphael cartoons ; still they cannot, of course,
compare with the beautiful work of Gobelins or
Beauvais.

THE FlSll MARKET

AFTEK TENIERS

THE MAGDALEN

BV PIERO DI COSI.MO

The Corporation of the moorland town of Oke-
hampton. on the northern borders of Dartmoor,
owns some interesting plate, of which

Corporation

Maces and

T n cup, photo-

Loving-Cup ^"F' F" ^

graphed by
their courteous permission.
The silver maces, which are
3 ft. I in. long, and bear
hall-marks of i76r/62, were
presented by John, fourth
Duke of Bedford, and bear
his arms, together with the
Royal Arms of George III.
and the arms of the
Borough. The massive
loving-cup, with its simple
but effective decoration ot
the base and cover, is dated
1672/73, and has the initials
T.K., and a shield with
three crescents incised.

Another recent acquisi-
tion by the Italian Govern-

, _. , ment, which

A Picture by .

Piero di '« of ^'"g"''^"'

Cosimo at importance,

the National esjiecially for
Gallery in this gallery,

^"""^ which is not

particularly rich in valuable
works of the 15th and early
1 6th centuries, is the Ma;:;-
dakn by Piero di Cosimo,
from the collection of
Senator Baron Baracco.

we reproduce two maces and a loving-

Morelli was
painting, which,
at the Monte
suitable name

the first to attribute to Piero this
when it was bought by Baron Baracco
di Pieta * in Rome, bore the un-
of Mantegna; and the attribution to
Piero was well received by
the critics and accepted,
first by \'enturi. who pub-
lished the ])icture in his
Tesori d'arie inediti a Roma,
and then by Fritz Knapp
(Pitro di Cosimo, Halle,

i899> P- 59)-

The Saint is represented
before a window, with an
oi)en book on the window-
sill ; but, with her eyes
rather veiled in a shadow
of sadness than intent upon
the reading, she seems to
follow a vision which illu-
mines her face with a ray
o f g 1 a d n e s s and super-
human sweetness. \"enturi
observed that probably this
beautiful figure is a portrait
of a Florentine lady repre-
sented as Magdalen — nor
would this be the first case
of a gentlewoman having
herself painted in the cha-
racter of the saint of whom
she bore the name. It
would be easy to enumer-
ate several instances. But
even if we do not accept
the theorv that the sitter

OKEHAMI'TON CORI'OKATION MACES

* Public fKWvnbrokiiii; oflicc.

The Co)uioisseiir

OKEHAMPTON I.OVING-CUF

wished to lie represented as Magdalen, is it not more
likely that, the lady having changed her mind and
refused to accept the picture, either because it did
not please her or because the price was too high, the
painter altered it into a Magdalen to make it more
saleable? At any rate, this hy[)othesis would account
for the vase in the corner being subsequently added,
as was also apparently the inscribed piece of ])aper
which occupies its place to fill the void between the
hand and the vase.

The picture belongs imdoubtedly to the first years
of the sixteenth century. Morelli would see in it the
influence of the art of Filippino Lippi, but we cannot
discover any trace of it in this picture, whereas this
influence does appear in other works by I'iero, as, for
instance, in the admirable Death of Procris at the
National Gallery in London. It seems to us, on the
other hand, that it shows to a very marked degree
the influence of Lionardo and of some of his followers,
especially Marco d'Oggione, of whom we are reminded
by the type of the face, by the form of the folds, and
by the treatment of the hair — that influence of the
Lionardes(iue school under which Piero worked for
a considerable time, and which reached its climax in
the Madonna with the putto and St. John of the
Liechtenstein Gallery in \'ienna. It certainly is one
of the master's finest works as regards subtlety of
chiaroscuro and delicacy of touch, notably in the
beautiful and superbly modelled hand. And if the
artist is not ])articularly happy in the design of the
folds, which repeat too much the same formula and

have a hardness not proper to the material, this defect
is atoned for by the splendid sense of colour which
he reveals in the deep red tone of the cloak and in
the brilliant yellow of the sleeve.

The picture was ac(|uired by the State for the sum
of ^io-°-

Thk little church of Holne, on Dartmoor, in which
Charles Kingsley was baptized on 19th June, 1819,
relieves its sturdy moorland plainness
by an admirable carved screen and
pulpit. The former, though well
|jreserved in essentials, has lost its vaulting and loft ;
and the date of both pulpit (which we illustrate)
and screen is probably fixed approximately by the
painted shields in the pulpit-panels. These, though
the victims of age and varnish, have been identified
as bearing the arms of \arious jiatrons and others
connected with the church : the clearest of the eight
shields showing the arms of Hugh Oldham, Bishop
of Exeter 1504 — 1519, viz.. Sable, a chevron or
between three owls proper : on a chief of the second
three roses gules.

Carved Oak
Pulpit

CARVED OAK PULPIT AT HOLNE

Notes

The exception-
ally finely modelled
Dresden

D^"^=" figure
rigure "

here re-
produced is the
property of M. J.
A. Oltramare, At-
tache to the Swiss
Legation in Great
Britain. It dates
to about 1780,

s t a n d ^

inches

DRESDEN FIGURE

high, and repre-
sents Minerva with
a child. The dress
is of pale lilac
colour, with violet
and gold flowers,
and vellow lining.

The most interesting of the Napoleonic relics are
those which were associated with the intimate life
of the great little man — his spy-glass,
which for the first time we are able to
show, with its dainty blue enamel case
pique with gold : some of his table
service used when campaigning; the
carving knife and fork, with ivory handles, have the
Napoleonic cypher engraved on the silver shield.

Napoleonic
Relics in
Musee

Carnavalet

NAPOLEONIC RELICS

N.M'OLEONIC RELICS

which is surrounded with
a wheat-ear design. The
shaving dish is in silver gilt.
Reminiscent also of his
campaigns is the unique
travelling equipment, where
every article necessary for
Napoleon's use is fitted
into a splendid velvet-lined
brass-bound box. Cases,
pots, pans, strainers, kettles,
hot-water jugs, funnels, even
gimlet and teajjot, all are
packed with neatness and
precision in this Imperial
hold-all. The articles are
plain and solid, but of the
finest workmanship ; the
Royal arms are engraved
on every piece, and some
fine Empire design is to
be found on most of the
fittings. — E. T.

The Connoisseur

Lead Cistern

stVENTEENiH (_I-.MUkV LliAU CISIl-.KN

This beautiful lead cistern was a fixture in the old
Brew House of Send, Surrey. It is a rare specimen
of such work and in an excellent state
of preservation. Tlie female figure on
the right bears a sheaf of wheat ; the one on the left
holds a mirror towards her face. The
same design is repeated on the sides
of the tank. The date engraved
is 1675.

The Brew House, with a dairv,
formed part of an old inn. Tlu-
dairy is still in u.se. The photograph
shows two niches on which were
placed the pint mugs of customers.
What remains of this old world
hostelry is in the grounds of the
Dower House, belonging to the
Misses Onslow, of Send.

Another old lead tank was di.s-
covered recently in Somerset, and
sup])Osed to date from the thirteenth
century.

The Elizabethan chalice and
cover, although having no romantic
history known to be
Elizabethan attached, is interest-
Chalice . , r ■

, „ mg by reason 01 its

and Cover o ^

undoubted antiquUy,

simplicity of design, and evidences
of beaten workmanship easily dis-
cernible even in the photo print.
Authorities on church plate are
of opinion that when the Royal

injunction of
\\ 1 i z a b e t h
ordered
" decent com-
munion cups,"
in many cases
ornate mass
cups were
melted down.
It would be
interesting, i f
possible, to
settle whether
this cup was
originally a
m a s s cup,
sa\ed from the
melting by its
simplicity. It
belongs to the
Parish Church of (!hurchill, near Spetchley, \\'orcester-
shire, which is but a short distance from Spetchley
Court, formerly the country seat of the very old Roman
Catholic family of the Berkeleys. The burial ground
of Churchill contains the graves of some nuns.

ei.izai'.i:tiian ceiaiick and lovkk
52

Notes

Old Chest
and Leathern
Buckets

The old chest and leathern buck-
ets are from St. Swithin's Church,
Worcester. Unfor-
tunately the maker's
name of the former is
not preserved.nor the
cost of it ; the present churchwarden,
who has held office for sixteen
years, says he has never come across
any record of it. It, however, tells
a very old story in its own peculiar
way. The buckets are remains of
the arrangements for fire extinction,
whether for exclusive use of the
church or generally for the city of a
byegone day maybe questioned ; one
of them bears the number 26, so that
manv must at this day be missing.

OLD CHEST .-^T ST. SVVITHIN

A Rare Lowes
toft Teapot

OLD LE.\THERN BUCKETS AT ST. SWITHIN'S CHURCH, WORCESTER

\\'hat is, and what is not, Lowestoft has
pu/./led many collectors until the unearthing

of the fragments and moulds

on the site of the old factory a

few years back settled a good
many disputed points, and set local collectors
to work to scour the East Anglian villages for
specimens of undoubted ware, which can be
verified from the new facts brought to light.
The teapot illustrated is Lowestoft, de-
corated in colours in imitation of Oriental
style. The particular design was not at all
exclusive to Lowestoft, as it is found in
New Hall, and it is commonly and er-
roneously described when of that ware as
"cottage china," or sometimes as "cottage
Worcester." Hut it is exceediiiglv rare to

S CHURCH, WORCESTER

find this particular design in Lowes-
toft china, and the owner has had
exceptional opportunities of com-
paring the paste and glaze with all
the well known and authenticated
pieces of Lowestoft. Blue and white
Lowestoft has come to be fairly
well recognised by frequenters of the
auction-room, and some big prices
have been realised under the ham-
mer for this ware, which not infre-
quently has a strong family resem-
blance to Worcester, and is notgreatly
removed from Bow. But whether
Lowestoft copied Worccsterand Bow,
or copied the same models that the
Worcester and Bow potters obtained
from the East, is a point that will
never be cleared up.

LOU L>ioi 1 1 l.ArO]

l.N ( OLLI-C riO.V OF MR. A. MERRINGTON SMITH

71ic Connoisseur

Fkw better examples of the work of lliat great Dutch
ijenre painter, Frans Mieris, could be fournl than the
_ picture of A Man and a Woman which

Frontispiece '^°''"" "^^ frontispiece to the present
number. A pupil of Gerard Dou, who
called him the prince of his scholars, his attention to
detail almost equalled that of his master, whilst the
ele),'ance of his poses and the arrangement of his figures
are singularly happy. Cheerfulness, too, is a distinguish-
ing feature of his work. In his pictures gloom is un-
known, his whole aim being to pourtray good humour
and happiness.

Horn at Delft in 1635, he was apprenticed to the glass-
painter Torenvliet in his early youth, leaving his studio
to enter that of Gerard Dou. Later he studied historical
painting under .Xbraham Tempel. He died at Leyden
in 1681.

E.xamples of his work can be found in most of the
Continental galleries, the Munich and Dresden galleries
each containing over a dozen works, whilst the National
Gallery and the collection at Buckingham I'alace also
contain e.xamples.

The picture reproduced formed part of the recently
dispersed Massey-Mainwaring collection, and is now in
the possession of Mr. H. Oatway, 4, Old Burlington
Street, W. .-Vt one time it was in the Van Slingclandt
collection, and is fully described in Smith's Catalogue
Raisonnc.

1 HAVE the very greatest pleasure in presenting" to

readers of The Connoisseur what seems to me to be

. _, by far the best and most speaking like-

A tiyron ^ , ,, , ,,

... . ^ ness of that unequalled poet Byron,

Miniature ^ r 1 1

whom Shelley called "The Pdgrim of

Eternity," and of who;n St. Beuve, by far the greatest

of all French critics, said, "There are only three great

poets — Byron, Milton, and Pindar."

This miniature is exactly similar to the pencil drawing
of Byron by the late Count D'Orsay, who, I think, had
a greater talent for taking accurate and unmistakeable
likenesses in pencil than any of his contemporaries,
though, of course, very many greatly surpassed him in
painting in oils ; nevertheless, the great Duke of Welling-
ton sat to him for his portrait in oils, and several other
persons of note.

When I was a young man one constantly saw in the
windows of Mitchell's well-known library in Bond Street
pencil drawings of nearly every well-known society man
of the day, and it was impossible not to recognise every
one of them at a glance, so that they sold rapidly in
considerable numbers.

I had the pleasure of knowing Count D'Orsay. who
was a handsome man, with a magnificent figure, and the
best dressed man in London. Unfortunately at the close
of his long residence in London he was head over ears in
debt, and had to shut himself up in Gore House except
on Sundays. When he returned to Paris, Napoleon IIL,
who was a life-long friend of his, gave him the post of
" Directeur des Beaux Arts."

The portrait of Byron by Count D'Orsay was taken

when the poet was at Genoa, during the last year of his
short life of thirty-six years, where he saw and conversed
with Lord and Lady Blessington and Count D'Orsay for
several hours every day for some months, and these
extremely interesting conversations were written out by
Lady Blessington every night after Byron left, and are
embodied in that charming work of hers, Conversations
with Lord Byron.

The reproduction of Count D'Orsay's likeness of Byron
appears in Murray's last complete and admirable edition
of Byron's Works, which is profusely illustrated, and is, I
believe, the only full-length portrait in his maturity and
in the exact costume which he actually wore, which exists.
In it not only is the face, figure and dress accurately and
admirably pourtrayed, but the expression is absolutely
perfect, depicting the poet with such intense earnestness
as I never saw in any other portrait in my life, and such
as does not exist in any portraits of him by any sculptor
or any other painter.

If anyone looks at the engravings of the various
portraits of Byron which appear in the ordinary one
volume editions of his works published by Murray, he
will see facsimiles of the portraits painted by Kay,
Westall, Marlow, Saunders and Phillips, and of the
celebrated bust by Thorwaldsen which Byron himself
gave to Murray, his publisher.

We all recognise portraits of Byron not only by the
features but by the height of the forehead and the
peculiar way in which he dressed his hair on the fore-
head, just as we also recognise Mary Queen of Scots by
the way in which her hair is arranged on her forehead
in all her portraits.

A medallion of Byron which is strikingly like him may
be seen on the outside wall of 8, St. James's Street, where
he once resided, and it is in statuary marble of life size
under glass ; and there is also a similar medallion over the
door of Byron House in Fleet Street, and also inside
and on the front of the house in Holies Street, where
he was born.

In the inside of the entrance passage at Byron House
may be seen engraved on statuary marble tablets some
hundreds of lines of Byron's poetry in the original, and
also in French and German translations, and there are
medallions of him at Harrow School, Trinity College,
Cambridge, and at Hucknall Torkard, where he is
buried.

I enclose a few lines in Byron's handwriting from
perhaps the most sympathetic passage he ever wrote,
which begins with —

" He who hath lient him o'er the dc,^c^,"

which the late Mr. Murray gave my father, who was
Byron's schoolfellow, friend, and correspondent, and
whom he called " The Harrow Prodigy." I send you
besides a note which Byron's Teresa Countess Guiccoli
wrote to my father when she was Marquise du Boissy,
which you may like to reproduce in The Connois-
seur, especially for the benefit of those who judge
of character from handwriting. — J. G. Toli.emache
Sinclair.

p.)

es a; T^ORD RY

The Connoisseur

Notes and Queries

\The Editor invites the assistance of readers of The
Connoisseur 'who may l>e able to impart the informa-
tion rei/uired l>y Correspondents.^

The Keepsake \'ase.
To the Editor of The Connoisseur.
Dear Sir, — I send you the enclosed with hope
that you will consider that it possesses sufficient
interest to collectors and others as to merit insertion
in The Connoisseur. I suggest that it may prob-
ably induce a vigorous search for this historical vase,
for if it could be found it would command a very
high price. I may .say that I am a con-
stant sub.scriber to The Connoisseur,
and that I have not the slightest interest
in the search, other than a desire to
see it in one of our local museums or
the British Museum.

I am, .Sir, yours sincerely,

Elisha Walton.

P.S. — The accompanying photograph
of the "Keepsake Vase" is an enlarge-
ment of a small print of the vase in Miss
Meteyard's Life of Josiah Wedgwood
(Vol. II., page 515) which I have taken.

[Note. — Miss Meteyard, in her Life
of Josiah Wedgwood., F.S.A. (Vol. II.,
page 515), and subsequently G. W. and
F. Rhead in their Staffordshire l^ots and
Potters (page 233), mention that Josiah
Wedgwood, while on his deathbed, pre-
sented a Jasper vase, as a keepsake, to
William Adams, of Greengates Pottery,
Tunstall. " William " had been the favourite pupil
of the " master-potter," and this identical vase had
been treasured by Wedgwood as the one William
Adams and he "had arranged together for the last
time at Etruria." The Adams family and others
interested in this historical va.se have made vain
efforts to discover its whereabouts ; but its location
is still unknown — its present owner evidently being
unaware of its great value as a memento of the two
great potters.]

Fourteenth Century Ivory Casket.

To the Editor of The Connoisseur.

Ue.\r Sir, — The illustration is a reproduction of

one end panel of an ivory casket, now in the British

Museum, representing episodes in the story of the

Chatelaine Vergi.

I may refer your correspondent to an edition of

THE KEEI'S.\KE VASE

the story published by David Niitt in 1903, which
also contains reproduc-tions of all the panels of the
casket.

Yours faithfully,

A. T. L.

The Diary or Mary Beai.e.
To the Editor of The Connoisseur.
Sir, — In connection with the portrait of Lucy
\\alters, it might be of some interest to B. P. to
know that lately I was in possession of a portrait of
the Duke of Monmouth (James Fitzroy), by Mary
Beale, also a portrait of Dryden by her son, Charles
Beale. I no longer possess either
of these portraits. I do not think
they are mentioned in W'alpole's
A necdotes.

Faithfully yours,

Fredk. H. North.

Portraits of the Duchess of

1'ortsmouth.

To the Editor of The Connoisseur.

Dear Sir, — In reference to the
above query, I beg to say I have a
portrait of the Duchess of Portsmouth,
by Mignard. It is in fine condition.
I have pleasure in lending L. H. L. M.
a photogra[)h of it, and if he wishes
to reproduce it he is at liberty to
do so.

I am. Sir,
Vour obedient Servant.

W. H. Wayne.

L. H. L. M. send his address? — Eimtor.]

iWil

Pewter Maces.
To the Editor t;/ The Connoi.sseur.
Sir, — In reply to " B. P. J." in the August Number
re pewter maces, I have studied and collected all
kinds of maces and batons for some years, but have
only once seen a peivter mace, and that was incom-
plete and damaged, and in a curio shop. I have met
with references to pewter macx-s, but could not .say
where off-hand.

I have bought a small pocket constable's mace or
tipstaff which has brass handle surmounted by silver
pewter crown. Total length about seven inches. I
could give more information, but it would take up
loo much space.

Yours faithfully,

" Mace."

OxLV one of the July picture sales calls for lengthy
notice, but several of the smaller ones contained works

which were in one way
or another interesting,
whilst others may be
described as endowed
with speculative possi-
bilities. The two days'
sale at Christie's of
ancient and modern
drawings, pictures by
old masters, and en-
gravings (July 1st and
2nd), " the property of a gentleman," contained only one
lot of note — a picture catalogued as Dutch School, and
by some thought to be by Van de Cappelle, The Mouth
of a River, with a party landing from a y.iclit, 30 in.
by 42 in., 520 gns.

The chief sale of the month, and the last important
one of the season, was held by Messrs. Christie on
July 5th, and comprised a collection of portraits, the
property of Mr. J. Tudor Frere, of Royden Hall, three
important works of the Early English School, sold by
order of Sir Henry Bunbury, and pictures by old masters
from numerous private collections — a total of about
^35,000 being realised. The Bunbury pictures may
be described first. The famous Reynolds Portrait of
Master Bunbury (Charles John, son of Henry William
Bunbury, born 1772, died 1798), three-quarter figure of
a boy in a crimson coat open at neck, seated facing the
spectator, in a landscape, resting his hands on his thighs
(canvas 29 in. by 24 in.), was painted in 17S0, and
exhibited in the same year at the Royal Academy ; in
the year following it was engraved by F. Haward, and
was bequeathed by the artist to the boy's mother. It
has occasionally been e.xhibited in recent years, appear-
ing at the Old Masters in 1891, and at the Grafton Gal-
lery " Fair Children" in 1895. It now realised 5,600 gns.
The second Reynolds was a group of the Misses
Horneck (Catherine, afterwards Mrs. H. \V. Bunbury,
and Mary, afterwards Mrs. Gwyn), famous in literary

history as "Little Comedy" and '"The Jessamy Bride"
of Oliver Goldsmith. The picture was painted in
1764-6, the elder sister being in light dress shaded with
blue, and is seen in profile ; her younger sister, looking
down, is resting her right hand upon her sister's shoulder
(canvas 265 in. by 22 in.), 2,500 gns. A finished replica of
this picture is stated to be in Lord Normanton's gallery.
The third picture in this property was Hoppner's Por-
trait of Mrs. Bunbury, wife of the famous caricaturist,
and mother of the Master Bunbury in the above-
mentioned Reynolds picture. The Hoppner portrait
(29 in. by 24 in.) was exhibited at the Royal Academy
of 1790, and was engraved in the year following by
John Young ; it shows her in dark dress and white
fichu, with black ribands round her neck and in her
powdered hair ; it sold for the surprisingly low figure
of 500 gns. The portrait was in obvious want of careful
attention, and since it has changed hands its new owners
have had it put into order, and an undoubted master-
piece of this artist has been revealed. It may be
mentioned that the companion portrait of Mrs. Gwyn,
also engraved by Young in 1791, was sold at Christie's
eighteen years ago for 2,250 gns., and passed into Sir
Charles Tennant's collection.

A fine group by Hoppner of Mrs. W. Manning
(mother of Cardinal Manning) and her daughter, after-
wards Mrs. Austen, of Kippington Park, Sussex, ex-
hibited at the Royal Academy of 1805 (canvas 50 in.
by 40 in.), realised 4,000 gns. This exceedingly im-
portant picture shows Mrs. Manning (who died in May,
1847) in black dress with red riband round her waist,
seated, looking at her young child, who, dressed in
white frock and red shoes, stands on the seat by her
side ; the background is formed of a landscape and red
curtain. The child lived until January 1st, 1894, or
eighty-nine years after the picture was painted. The
work remained in the family until the day of the sale.
A much smaller picture by Hoppner also fetched 4,000
gns. : a half-figure portrait of Susanna, third daughter
of William Gyll, of Wraysbury House, Bucks., the wife
first of T. Chudleigh Sanders, of Charlwood, and secondly

In the Sale Room

of William Bailey, of Tonbridge Castle. She is re-
presented in blue dress with white fichu and large blue
hat with feathers (canvas 30 in. by 25 in.). Another
Hoppner, a study for the large picture of Mrs. Jerning-
ham as " Hebe," 24 in. by 173 in., painted in 1800, sold
for 250 gns. ; an exceptionally fine portrait by Madame
Vigee Le Brun of Melanie de Rochechoiiart, Marquise
D'Aumonf, Diichesse de Piennes, in white dress trimmed
with gold braid, a green and yellow sash round her
waist, her hair bound with a white and gold kerchief,
signed and dated 1789 (canvas 28 in. by 22 j in.), sold
for the record price of 2,400 gns. ; and Sir Thomas
Law rence's Portrait of Mrs. Bradbourne, in white dress
cut low at neck, with short sleeves, a pink sash round
her waist, lace shawl over right arm, which rests upon
a pedestal, 30 in. by 25 in., 2,450 gns. ; a portrait of a
young lady by this artist, in white dress and bonnet
with blue ribbons, 21J in. by 18 in., 1,800 gns.

The foregoing constituted the chief features of the sale.
Mr. Frere's collection of portraits contained many of
interest. Three were by Hoppner, and among these was
the well-known engraved Portrait of folin Hookham
Frere (1769-1846), the politician and ambassador, a half-
figure standing, in red dress, which is hardly visible
beneath the folds of a large black cloak which he holds
up with his right hand ; this picture was exhibited at the
Royal Academy of 1806, and was engraved by Barney
in iSio; it is on canvas, 50 in. by 40 in., and realised
200 gns. Hoppner's Portrait of fokii Frere, father ot
the above, in brown coat with white stock, 29 in. by
24 in., sold for 145 gns. ; and Sir M. A. Shee's Portrait
of Miss Blake, of .Ardfry, wife of John Hookham Frere,
three-quarter figure, standing in a landscape, in red
dress, large black hat with white plume, holding a whip
in her right hand, 56 in. by 40 in., 280 gns.

The miscellaneous properties included three albums
containing twenty-five pen and ink views by F. Guardi,
of buildings, etc., in the neighbourhood of Venice,
300 gns. ; a drawing signed by Guardi, A Vie^u in the
Piazza, Venice, looking towards the Cathedral of St.
.Mark, with the Campanile on the left, 10 in. by 144' in.,
igo gns. ; a picture by the same, A View of a Square in
an Italian Toion, with numerous figures, 1 1 in. by 17 in.,
320 gns. ; X. Dance, Portrait of Robert Dashwood, in
red coat and green vest, 29 in. by 24 in., no gns.;
G. Morland, Smugglers, with a while horse at the door
of a shed, river and boats in the background, 24 in. by
29 in., 105 gns. ; H. Dubbels, A Town on a Frozen Ri'<'e>;
with numerous skaters and figures, 18 in. by 2i|t in.,
130 gns. ; Sir J. Reynolds, Portrait of the Earl St.
Vincent, in uniform, with powdered hair, 30 in. by 25 in.,
480 gns. ; two by A. Van Der Neer, A River Scene, witli
buildings, boats and fishermen, moonlight, 15J in. by
21 in., 170 gns. ; and A River Scene, with a village, boats
and figures, moonlight, on panel, 21 J in. by 34 J in.,
700 gns. ; Early Flemish School, Saint Barbara, re:ul'mg,
on panel, lU in. by 9i in., 550 gns. ; P. Pollajuolo, The
Angel Raphael with the i 'ouihful Tobit, walking, in a
landscape, St. Francis of .Vssisi standing on the right,
holding a cross and book, the Almighty with four angels

in a lunette above, on panel, 64 in. by 54 in., 440 gns. ;
and R. Cosway, Portrait of Admiral Robert Montagu,
in naval uniform, 30 in. by 25 in., 90 gns.

The sale on the following Monday (July 8th) was chiefly
remarkable on account of its extensive series of pictures
and drawings by Verboeckhoven and Rosa Bonheur.
That of the succeeding Friday (July 19th) comprised the
modern pictures and statuary from the collection of the
late Mr. George Hodgson, of Xocton Hall, Lincolnshire,
and other properties. The Hodgson collection included
the following pictures : — W. Collins, The Skittle Players,
34 in. by 44 in., exhibited at the Royal Academy of 1832,
510 gns.— it was sold by the artist in 1844 to George
Young for ^^450, and afterwards appeared in the following
sales:— G. Young, 1S56, 1,150 gns.; S. Mendel, 1S75,
2,300 gns., and Bolckow, 1888, 1,510 gns. ; T. S. Cooper,
Five Cows and Si.x Sheep, on the bank of a river, 30 in.
by 42 in., 1863, 165 gns. ; T. Faed, The Poor, The Poor
Man's Friend, 30 in. by 44 in., 370 gns. ; Sir Luke Fildes,
Fair Quiet and Sweet Rest, 57 in. by 94 in., exhibited
at the Roynl Academy, 1S72, 155 gns. — this realised
820 gns. at the J. Lewis sale in 1876; two by J. Linnell,
sen., Mindi7ig the Flock, 28 in. by 38 in., 1S62, 410 gns. ;
and The Flight into Egypt, 39 in. by 54 in., 1 841,
130 gns. ; Erskine Nicol, Both Puzzled, 38 in. by 28 in.,
exhibited at the Royal Academy of 1866, and engraved
by W. H. Simmons, 620 gns. — this realised 670 gns. at
the Bolckow sale in 18S7 ; and E. \'erboeckhoven. Ewes
and Lambs near the Coast, on panel, 26 in. by 40 in.,
1 868, 240 gns. The other properties included the follow-
ing pictures: — J. Maris, //; the Woods, 13 in. by iiJ in.,
145 gns.; B. W. Leader, Capel Curig, North Wales,
30 in. by 55 in., 1880, 205 gns. ; D. Roberts, Gate of the
Zancarron, or Sanctuary of the Koran, Mosque at Cor-
dova, 53 in. by 35 in., 1838, 145 gns. ; Erskine Nicol,
A Dander after Rain, 43 in. by 33 in., 370 gns. ; and Sir
\V. Q. Orchardson, 'Thoughts far Away, 29 in. by 38 in.,
1872, 125 gns.

On July I5lh llie modern pictures and drawings of the
late Mrs. L. IL Michell, of the late Mrs. Blomfield,
of the late Mrs. Edwin Edwards, the lifelong friend
of Fantin-Latour, and others, included the following
pictures : — Vicat Cole, The Alps at Rosenlaui, 52 in. by
77 in., exhibited at the Royal Academy, 1878, 120 gns. ;
H. Fantin-Latour, Carnations in a Glass Vase, 17 in. by
14 in., 190 gns. ; and Spring Wild Flowers in a Green
Bowl, yh in. by 8i in., 80 gns. ; W. Maris, Milking Time,
on panel, 14 in. by 9?f in., 290 gns.

The two remaining Fridays of the season (July 19th
and 26th) were devoted to pictures by Old Masters,
chiefly from various unnamed sources ; the earlier date
included: — P. P. Rubens, Time Disclosing Religious
Truth : a design to be worked in tapestry, on panel,
26 in. by 36 in., 170 gns. ; and a Portrait of a Gentleman,
in black dress with large white ruff and gold chain,
28 in. by 22 in., 490 gns.; F. Bol, Venus Detaining
Adonis, 65 in. by 90 in., signed, 120 gns.; F. Guardi,
View in Venice, with church, bridge and gondolas, 10 in.
by 17J in., 130 gns. ; Sir J. Reynolds, Portrait of Andrew
Blake, of St. Christopher and Montserrat, in scarlet coat,

The Connoisseur

hurt" vest and brceclies, lioUling his sword in his right
hand, 49 in. by 39 in., 540 gns. ; and Hans Meniling,
A Triptych with the Adomlioti of the Ma^i, St. John
and a donor, and female saints on the wings, 140 gns.
The last picture sale of the season included : A. Cuyp,
A Landscape^ with six cows, a peasant, and a milkmaid,
on panel, 17 in. by 23 in., 95 gns. ; ha.\\x(ir\ce. Portrait
of a Lady in white dress holding a guitar, 36 in. by
27 in., I ID gns. ; Sir W. Bcechey, Portrait of a Lady in
white dress, on panel, 29 in. by 25 in., 150 gns.; B.
de Hruyn, Portrait of a Youth in black dress and cap,
on panel, 23 in. by 17 in., 120 gns.; and Cranach,
Portrait of a Lady in brown dress holding a cup, on
l)anel, 14.^ in. by 13 in., igo gns.

The sale by Messrs. Trollope of the contents of the
Duke of Sutherland's residence, Trentham Hall, .Stafford-
shire (on July 17th to 19th), included a few pictures,
amongst which were : Holbein, Portrait of Henry V/II.,
on panel, 30 in. diam., 340 gns. ; T. Willeborts
Bosschacrt, Peace— numerous Loves at Play at a War
Piece, 96 in. by 66 in., 140 gns. ; J. M. Nattier,
Mademoiselle de Charolais playing a Guitar, with a
cupid holding a music-book, 56 in. by 42 in., 200 gns.
— this is a version of a picture in a well-known London
collection ; Sir Peter Lely, three-quarter length Portrait
of (2uceii Mary, second wife of James 1 1., 48 in. by 39 in.,
1 10 gns. ; and N. Hilliard, whole-length Portrait of
Sir Francis IJrake, on the seashore, a ship seen in the
distance, 16 in. by 12 in., 210 gns.

The library of Mr. Stuart Samuel, M.P., sold by
Messrs. Sotheby on the first day of July, was essentially of

a national character,
])ractically all the
books consisting of
Knglish classics of the
last century. Though
the catalogue com-
prised but 199 entries,
the total sum realised
was ^8,364, an aver-
age of quite excep-
tional magnitude, ac-
counted for by the fact that this library was itself of
a very exceptional character. Mr. Samuel has for long
been known as a collector of books containing auto-
graph inscriptions, of proof sheets, and of manuscripts,
all classic — English in character, and the library now-
sold consisted almost entirely of works of this class.
Hence the enormous prices realised, for the value of
books of this special kind has increased by leaps and
bounds during recent years. For instance, the original
autograph manuscript of White's Natural History of
Selborne, bought by Mr. Samuel in 1895 fo'' .£294, now
realised ^750 ; the original MS. of Lord Tennyson's The
Brook, on eight octavo pages, which now sold for £yx>,
went for as little as ^51 in 18S9, and the proof sheets
of Lord Byron's Childe Harold, nine stanzas only, and
other works, increased in value from ^108 in 1S92 to

^174 at this sale — not a very great accretion in pi ice
certainly, but sufficient, with the other evidence, to show
what a wide demand there is for these memorials of
writers of the first rank.

That the manuscript of Barham's The fackdaw of
Rheims (from the Ingoldsby Legends) should realise
^loi need, therefore, occasion no surprise, and the
same remark applies to the MS. of Burns's Tlie J'oet's
Progress, on four folio pages, which realised ;^I32, to
the MS. of Dryden's Elconora, on six quarto leaves,
sold for ;£i98, to Charles Lamb's MS. of Dream Children,
a Reverie, ^108, and to the MS. of Pope's Essay on
Man, for which ^895 was paid. There were also other
manuscripts, some of which also sold for large sums, the
most noticeable being Shelley's Proposal for Putting
Reform to the Vote, ;t390 ; W. E. Gladstone's Home
Rule for Ireland, with the corrected proof sheets, ^52 ;
Kate Greenaway's A Day in a Childs Life, with sketches
for the work, ^86; the title-page, preface, and dedication
to Keats's Endymion, ^93 ; Mdme. de Maintcnon's Za
Caractlre de la Princesse reine Silvaine, written for
Louis XIV., ^150; Pope's Of Taste: An Epistle to
the Earl of Burlington, £i<)g ; the corrected proof sheets
of Tennyson's Gareth and Lynette, ^80; the MS. of
the same author's The Northern Farmer, ^155; and
the fourth and fifth chapters of Thackeray's Philip, with
many corrections, £'2.i,o. Sums of this magnitude would
have been regarded as impossible twenty years ago.

The printed books in this valuable and choice library
were almost all fortified, so to speak, with manuscript in
the handwriting of the various authors, so that they had
become something more than books, a fact emphasised
by the very high prices realised. Sometimes other cir-
cumstances contributed to the same result, as in the case
of Visscher's Map of New Belgium a?id New E?igland,
which had belonged to William Penn, and bore his
endorsement to the effect that this was the map by which
the bounds between Lord Baltimore and himself had
been settled. This map realised /,I22, while Browning's
Pauline, 1S33, sold for no less than/225 on the strength
of a long note on the fly-leaf in the handwriting of the
poet. The same author's Bells and Pomegranates, the
eight parts complete, 1841-46, brought ^120, being pre-
sentation copies, and therefore most important. Other
presentation copies or books containing alterations in
the handwriting of their authors, which realised large
amounts, were as follows: — Barham's The Ingoldsby
Legends, the three series, 1S40-42-47, £^o; Byron's
F?iglish Bards and Scotch Reviewers, 1809, ^46; and
Manf/ed, 1817, £$^ ; Lewis Ca.rro\\'s Alice's Adventures
in Wonderland, 1 865, ^70 ; and Through the Looking-
Glass, 1872, £^^0 ; Coleridge's Sibylline Leaves, 1817,
^45; Dickens's Bleak House, 1853, £cj'); The Cricket
on the Hearth, £t^o; The Pickwick Papers, 1837, £s'i ;
A Christmas Carol, £4?! ; Poe's The Raven, 1845,^39;
Rossetti's Ballads and Sonnets, 1881, ^105 ; Tennyson's
Idylls of the Hearth, 1S64, /50; Thackeray's The Vir-
ginians, 1858, ,{'91 ; and others too numerous to mention.

The sales held on July 2nd and 3rd at Sotheby's and
Christie's respectively comprised a large number of

/// the Sale Room

valuable works on Natural History, a few books of quite
a different class realising, however, substantial amounts.
Thus, a very imperfect copy of an Italian edition of the
Fabiihc of .-Esop, printed without name or date (but about
1490), realised as much as ^70, chiefly by reason of the
woodcuts contained in it. This seems to have been the
translation made by Zucchio, but the book was not
easy to identify. Among the works on Natural History
we notice the Duke of Bedford's rarely seen Salictum
Waburiiense, 2 vols., 8vo, 1829, £\i los. (morocco extra),
which ought to have realised more, as only fifty copies
were privately printed. Curtis's Botanical Magazhtc,
complete from the commencement in 1793 to 1903, in all
III vols, in 90 and the Indexes in 2 vols., realised £%b
(half calf gilt); Sydenham Edwards's Botanical Register,
33 vols., 1815-47, 8vo, ^28 (russia super extra) ; Gould's
Birds of Great Britain, 5 vols., 1862-73, ^54 (morocco
extra), the same work in the original twenty-five parts
as issued, £1^ ; and The Birds of Europe, 5 vols.,
"^^yii .£53 (morocco extra). Lambert's Genus Pinus,
3 vols., folio, 1837, sold for ^68 (morocco super extra) ;
Jacquin's Selectarum Stirpium Ainericanarum Icones,
1750, folio, /17 (morocco extra) ; Redoute's Les Liliacees,
8 vols., 1802-16, folio, ^90 (russia super extra) ; another
set in half morocco, uncut, on large coluriibier folio paper,
with the coloured plates retouched by the author, ^70 ;
and Andrew Smith's Illustrations of the Zoology of South
Africa, 5 vols, in 3, 1849, 4to, £20 105. (morocco extra).
The library of the Dukes of Altemps, removed from
Rome, consisted almost entirely of very early printed
books of a severely classical nature, and though works
of this kind are more sought after on the Continent than
in this country, some of the prices realised were very
high, probably higher than would have been securetl
in any rooms other than those in Wellington Street.
A fine vellum copy of the first edition of Homer's Ilias
et Odyssea,a.% edited by Majoranus, 4 vols., folio, 1542-51,
realised as much as ^245 (original Venetian boards),
but tlien not more than three copies on vellum are
known. The editio princeps of the Comoedia of Aristo-
phanes, Aldus, 1498, folio, made £zi (oaken boards);
the first, second, fourth, and fifth volumes of the editio
princeps of the Opera of .Aristotle, Aldus, 1495-98, folio,
/41 (old Venetian morocco); Berlinghieri's Geograpliia
in terza rima, 1481, folio, the first edition, containing the
earliest specimens of maps graven on metal in Italy,
/Si (original oak boards); the editio princeps of the
Orationes of Isocrates, 1493, folio, ;^32 los. (vellum);
and the Lihcllus de Natura Animalium, 1524, small 410,
/90 (vellum). This work was first printed in Monte
Regale in 1508 by Vincentius Berruerius, and is noted
for its woodcuts, fifty-two in number. Many other books
of a similar austere character realised large amounts ;
but it is hardly necessary to mention more than one of
them here. This was Le Rccueil des Hystoires de Troycs,
printed at Lyons in 1490, folio, which, though miiuis the
title-page and several leaves, realised £\^b (oaken
boards). This was probably the second edition in
French, and the text of the earlier edition is certainly
that used by Caxton when translating his Recuyell of

the Historycs of Troy, printed by him at Westminster
about the year 1471.

Messrs. Puttick & Simpson's sale of the loth and
nth of July, and that held by Messrs. Hodgson on the
1 2th, were both of a miscellaneous character, but good,
the latter especially. Nearly all the higher priced
volumes have, however, been referred to on previous
occasions, and it is not until we come to the sale of
Mr. E. S. Willard's library on the 17th that anything
really distinctive occurs. Before dealing with this col-
lection it is necessary, however, to refer to an extremely
scarce work sold by Messrs. Hodgson earlier in the
month. This was A Letter from /??-. yJ/oorf, printed in
1687, small 4to, noticeable chiefly from the fact that
the preface was written by William Penn. In it he
states that he is publishing the "Letter" to show the
condition of the Colony of Pennsylvania, founded only
some six or seven years previously, and " to serve for
answer to the idle and unjust stories that the malice
of some invent, and the credulity of others prepare them
to receive against it, which is all the part I take in this
present publication." This pamphlet of twelve pages
realised as much as ^^155, aftbrding further evidence,
if any were needed, of the high prices now realised for
Americana of the scarcer and more important kind.

Mr. Willard's library referred to above consisted
chiefly of works issued by modern presses, such as the
Caradoc, Doves, Eragny, Essex House, Kelmscott, and
Vale, and with regard to these it may be said that prices
ruled lower than at the beginning of the season. There
were exceptions, though few in number. The Kelmscott
Earthly Paradise, 8 vols., has, for example, fallen to
£<:> 5S. (^24 los. in July, 1899), The Wood Beyond the
World to ^3 {£y in July, 1S99), and Christabel and
other Poems to £1 los. (^7 15s. in July, 1899). These
quotations will give some idea of the very great de-
preciation wliich has taken place with regard to nearly
all these " modern press books " during the last few
years ; and the worst of the matter is that it shows no
signs of coming to an end, though present prices are
certainly low enough. Mr. Willard was also a noted
collector of the works of .Mr. Swinburne ; but it is only
necessary to mention the following: Dead Love, 1864,
£1 15s. (calf e.xtra) ; Laus Veneris, 1866, /6 5s. (partly
unopened); Atalanta in Calydon, 1865, £1 12s. 6d.
(original white cloth) ; Songs Before Sunrise, on large
paper, 1871,^10 los. (original cloth) ; Under the Micro-
scope, 1S72, with the very rare cancelled leaf, /12 los.
(calf extra) ; and The DcviPs Due, a letter to the Editor
of the Examiner, 1875, £^- >os. (calf extra). This last
is a very rare piece, which, so far as we know, has never
been sold by auction before. .\o more than two or
three copies can be traced.

Before dealing with the final sale of the season it is
necessary to mention a number of important works sold
by different auctioneers between the i8lh and the 25th of
July. These comprise, inter alia. Oscar Wilde's Vera,
or the Nihilists, the original privately printed first draft of
the play, interleaved, and having numerous MS. erasions,
alterations, and additions in the author's handwriting,

7 lie C ^ouiwisseitr

1882, 8vo, ^26 ; Apperley's Life of a Sportsman, 1842, in
blue cloth (only copies of the very earliest issue were so
bound), ^29 los., as against ^35 10s. in 1903 ; Nolhac's
La Reine Marie Antoinette, one of fifty copies on Japanese
paper, with the portraits and plates in two states, Paris,
1890, ^31 (morocco extra), and a number of autograph
musical scores, the property of the late Mr. Otto Gokl-
sclimidt, the husband of Jenny Lind, the celebrated
soprano vocalist. The chief of these was Handel's score of
The Messiali, in the handwriting of J. Christopher Smith,
the composer's friend and amanuensis. This realised
/^loo, not a very large amount, for this MS., written in
three oblong folio volumes, was of great importance. It
was annotated by Mr. Gokischmidt from a careful com-
parison with the two manuscript scores in Smith's hand-
writing known as the "Dublin" and the " Hamburgh,"
and was accompanied by many interesting papers and
letters bearing on the Oratorio. From these it would
seem that Handel himself had used the volumes at many
performances. In addition to the above, Scott's Guy
Maiinering, 3 vols., 8vo, 181 5, realised ^51 (original
boards, uncut) ; a manuscript Poem in the autograph of
Shelley, consisting of five verses of nine lines each, com-
mencing, "The sun is warm, the sky is clear," ^100;
Keats's Endymion, 1818, ^51 (boards) ; and the Kelmscott
Works o/C/uiucer, £60 (sliim'ped pigskin). Another copy
of this work, in boards, realised £^,<) the day following.

We now come to the last sale of the season, which
it is necessary to deal with in detail. This was held
by Messrs. Sotheby on July 26th and following day,
and was in many respects e.tceedingly interesting, as
it contained, inter alia, a considerable number of Brontii
books, manuscripts, and relics, and a copy of the first
edition of the Pilgrim's Proj^ress. This latter, tliough
wanting the frontispiece and a number of leaves, was
bought for £s~o- Not more than three perfect
copies of this scarce book are known, even assuming
that it was not published with a portrait. If it was,
then but one perfect copy can be traced, viz., that
which realised £i,-i7i in May, 1901. The Bronte relics,
though important in themselves, did not sell for very
large amounts, but one realising as much as .^100. This
was a manuscript volume of poems signed " Emily Jane
Bronte," and dated February, 1844. The authenticity
of some of the MSS. ascribed to Charlotte Bronte
seems to have been questioned, but as all these, as
well as the other relics, were the property of Mrs.
NichoUs, widow of the Rev. A. B. Nicholls, who first
married Charlotte Bronte, it would probably be hard
to sustain the objection. The theory was that some of
them might have been written by Branwell Bronte.
However this may be, there was no question that the
nine small manuscript volumes of juvenile tales which
realised £yo were in the handwriting of Charlotte Bronte,
as also the manuscript of fifty pages, containing a number
of poems, some of which are unpublished. This realised
^45, while Caroline Vernon, a MS. story in three books
(106 pages, 8vo), apparently complete and unpublished,
sold for ^44. The Brontii portion of tlie catalogue
occupied fifty-eight lots, occupying six pages of closely

printed matter, so that it is unpracticable 10 deal with
it here as fully as it deserves.

Among the works of a general character we notice
the following in addition to the Pilgrim's Progress heforc
named: Keats's Poems, 18 17, once the property of
Richard Woodhouse, containing numerous manuscript
notes by him, realised ^31 (original half binding), and
the same author's Lamia, Isabella, the Eve of St. Agnes,
1820, ^48 (original boards, with the label); Gould's
Pirtis of Great Britain, in the twenty-five parts, as
issued, with a MS. Index to the work, in 4to, sold for
^45, a very usual price ; the Book of Common Prayer,
printed by VVhitchurche in 1549, for ^61 (slightly defec-
tive, morocco extra); Shakespeare's Second Folio, 1632,
for ^^250 (soiled and stained and slightly defective);
and Queen Elizabeth's copy of the Opera of Xenophon,
printed at Frankfort in 1594, folio, for ^175. This was
a very fine example bound in contemporary English calf,
with gilt ornaments and borders, and the crowned Royal
arms within the Garter. Many other most important
works were sold at this concluding sale, such, for example,
as a number of rare Horic, printed on vellum, a very
fine and perfect original copy of Higden's Polychronicon
{£40), and some Shakespeariajia and Manuscripts.
These will take their place in the summary of the season's
sale, which, according to custom, will appear in the next
number of The Connoisskuu. At the moment it is
only necessary to say that the season, which at the time
of writing has just closed, has been one of the most
noteworthy of which we have any record. Not only
have important books and manuscripts been unusually
numerous, but the prices realised for them have frequently
been enormous, record after record being broken, owing
to the close competition which has lately arisen for the
English classics more particularly, but f^r all classics,
whither in print or in manuscript, 'i he-.e, when sufifi-
ciiMitly tempting, have frequently been bought up at
prices for which there is no precedent.

Christie's sales of engravings for this season were
brought to a close with two dispersals on the 9th and

22nd of July respec-
tively, in each of which
some remarkably fine
examples of the eight-
eenth century English
school were included.

The first sale proved
to be the most notable,
consisting as it did of
some very fine Morland
prints, the property of
Mr. John Knight, and a few excellent impressions of
portraits after Reynolds and Hoppner, from an anony-
mous source.

Two prints after Morland, Rural Amusement and
Rural Employment, by J. R. Smith, proved to be the
gems of the collection, realising /!357 — a sum far in
excess of the previous record. Next in importance was

In the Sale Room

a fine first state impression of J. Watson's rare mezzo-
tint of the Countess of Carlisle, after Reynolds, which
made ^262 los., while a similar state of Lady Louisa
Manners, by Green, after the same master, went for
Z231 105.

Other Morland prints were St. James's Park?i\\A A Tea
Garden, by F. D. Soiron, which together made ^iSg;
Delia in Town and Delia in the Country, by J. R. Smith,
sold for ^96 I2S., and Sunset, by J. Ward, realised ^84.

The Hoppner prints included a first state of I\Irs.
Arbuttuwt, by S. W. Reynolds, which made ^i6S, and a
fine impression oi I^dj Mildniay and Cliild, by W. Sa\-,
which sold for £\\o 5s.

There still remains to be mentioned Master Braddyl
and Mrs. Seaforth and Cliild, both by Grozer, after
Reynolds, each of which made ^99 i 5s.

The other sale was only notable for two lots, one a
fine first published state, with the title in open etched
letters, of W. Ward's famous print the Daughters of Sir
Thomas Frankland, which made ^^462, and an open
letter proof of Lady Mildmay and Child, by Say, after
Hoppner, for which ^199 los. was given.

But for the important collection of old English
furniture of Mr. W. Hugh Spottiswoode which appeared

,it Christie's on the 17th

FURNITURE

.'ind 1 8th, July would

have been a dull month

as regards furniture

sales. This collection,

which was originally

formed by the late Mr.

William Spottiswoode,

was especially rich in

examples of the work of

Chippendale, as well as

some nice i)ieces by .Sheraton and his school, and as a

consequence high prices were the order throughout the

sale.

Chippendale held the field on the first day, two of his
chairs with finely-carved riband backs making ^388 los.,
one of the highest prices in the sale. .A. pair of torcheres
with square tops bordered by key pattern, fifty inches
high, went for £2>^^ ; a cabinet carved with rosettes, key
pattern and flowers, realised ^204 1 5s. ; a bookcase
carved with flowers and ribands sold for .^136 los., and
two side-tables, each most elaborately decorated, made
;£i57 los. and .£136 los. respectively.

Sheraton was re])resented by a large variety of objects,
the chief being a sideboard, beautifully inlaid and
decorated with a carved ivory panel at the top, and a
circular table, each of which went for ^126.

Two satinwood pieces must be mentioned. One a
winged wardrobe aljout nine feet square, finely inlaid
with marciuctcrie, which reached ^399, and the other
a toilet table with panels in grisaille by Angelica Kaufif-
man, for which .^294 was given.

Few other notable pieces came up for sale during the
month, amongst the more interesting being a Chippendale

PORCELAIN
^ POX?^AY J

settee and si.\ chairs with slightly carved interlaced
backs, which on the 23rd made .£199 los., and an
.Vdani's mahogany sideboard, which on the I ith realised
^■83 15s.

One of the most important dispersals of old Chinese
porcelain held during the season just closed was that

which took place at
Christie's on the nth
Inly, when a remark-
able collection from an
anonymous source
c a m e u n d e r the
hammer. Its import-
ance can be judged
from the fact that of
the 45 lots sold over
half reached three
figures, while three items alone accounted for over
^3,000. The clou of the sale was a su])erb beaker-
shaped vase of the Kang-hi dynasty, enamelled with
flowers in green, aubergine and white, on a black ground,
which, after some spirited bidding, sold for ;{^I,I55.
Another piece which reached four figures was a Ming
st.ituette of Kwan-yin, richly enamelled with flow-ers,
butterflies, and trellis work, which went for a thousand
guineas ; while .^840 was given for a pair of Kien-Lung
famille-rose vases and covers mounted with ormolu
mounts of Louis XV. design.

Other notable pieces included a small sacrificial
Kang-hi cup, which, though only 4i inches high, realised
£s,},o los. ; a pair of powdered-blue bottles of the same
period made .£588, and a pair of Kang-hi famille-verte
cylindrical vases sold for ^^399.

On the 4th an important Ming figure of a female deity,
finely decorated in famille-verte on a yellow ground,
realised .^1,312 los., w'hile on the 17th a set of three
Kien-Lung hexagonal famille-rose vases and covers
and a pair of beakers, enamelled on a pink marbled-
pattern ground, made ^630.

The sales of silver plate held during July at Christie's
were little above the ordinary, and few prices of any note

were made at any of
the three sales held.

At the first, which
took place on the 5th,
and consisted of a col-
lection sold by direction
of Sir Henry lUmbury,
Bart., six interesting
lots known as " The
Speaker's I'late,"
originally the property
of Sir Thomas Hanmer, Hart., Speaker in 1713-15,
consisting of two iccpails, a large dish, two octagonal
casters and seven candlesticks, all of the Queen /Vnne
period, sold at prices varying from 160s. to 37s. an ounce ;

The Connoisseur

a pair of James II. large tazze, engraved with the arms of
the Duke of <'.rafton, 124.J ounces in weight, made i6os.
an ounce ; and twelve Queen Anne silver-gilt dessert
forks sold at iocs, an ounce. The second sale, which
took place on the 9th, and included some items sold by
order of Viscount Falkland, a William and Mary plain
tumbler cup and a Charles II. plain beaker made 230s.
and 200s. an ounce respectively ; and at the third sale,
whicli occurred on the 19th, the chief items were a
Charles II. porringer, by T. Mangy, York, 300s. an ounce ;
another with cover, of a rather earlier period, 200s. an
ounce ; and one of the James II. period 165s. an ounce.

QUITK a number of coin and medal sales were held
during July, but with the exception of that held by

Messrs. Glendining
and Co. on the 23rd,
and one held by
Christie's on the i6th,
none contained items
of any great import-
ance. The chief item
in the first-named sale
was a Military General
Service Medal with
eleven bars for the
l^eninsular, which realised ^17 after some keen bidding.
Another with ten bars made £<) los., one with bars for
Martinique and Guadaloupe went, for ^8 los., and a
Naval General Service Medal with bar for Pasley, one
of only three issued, realised ^15.

Of the Indian and Afghan medals put up the most
notable was one with the Laswarec bar, which made
£p los. One pound less was given for a Jellalabad
medal, a Candahar medal sold for /6, and a Hyderabad
1843 Naval Medal realised £() 10s.

Other interesting lots included a Sultan's s^old Egyp-
tian medal £~ los., and a regimental medal of the 12th
Foot ^10 los.

Christie's sale deserves mention owing to one lot, con-
sisting of a group of officers' decorations, which realised

.£200. ThesL- included a Peninsular Gold Cross for
services at Barrosa and elsewhere, a field officer's gold
medal for Barrosa, and a knight commander's Star of
the Order of the Bath, all granted to Lieutenant-Colonel
K. D. Jackson, Assistant Quarter-Master General.

At Sotheby's rooms on July 1 jih and 16th the dispersal
of the coin collection of Mr. F. K. .Macfadyen, F.K.X.S.,
of Xewcastle-on-Tyne, who is relinquishing the pursuit,
attracted considerable attention, the two days' sale pro-
ducing just short oX £\,OQo. It was composed of English
and Irish copper coins, seventeenth century tokens,
medals, passes, and badges relating to theatres, parks,
gardens, gaming-houses, race-courses, etc., as well as
some interesting numismatic literature.

A Charles I. pattern farthing in copper, not in the
Montagu or Murdoch collections, made £& 12s. 6d. ;
a collection of 250 pieces of James II. gun money, every
piece of which is believed to be from a different die,
totalled ^32 5s. 6d. ; twenty-seven Derbyshire tokens,
many of extreme rarity, went for ^15 los. ; and a silver
ticket for V'auxhall Gardens, of which no other specimen
is known, sold for 10 gns.

H.wiNC, let the well-known mansion, " Frogmore

Hall," Knebworth, Herts, for a term of years, Messrs.

Knight, P'rank .S: Rutley during July
Miscellaneous ,■ , ,.1 . r .1 j

o . disposed of the contents of the residence.

.A. painting by Stortenbecker of Cattle
sold for 50 gns. ; A Garden Scene, by Palamedes, 25 gns. ;
a small Portrait of a Youth, by Terburg, iji gns. ; Cows
in a Meadow, by Sidney Cooper, 100 gns. ; A Cathedral
Interior, by Neefs, 21 gns.; Highland Cattle, by Louis
Hurt, 1892, yi gns.

The same firm, at their rooms in Conduit Street at the
end of the month, sold an interesting collection of lace,
linen, etc. A da:iiask table-cloth of drawn thread sold
for £\\ ; .1 small Persian rug, 24 gns.; a border of
.Milanese lace, 8 gns. ; a pair of Brussels lace lappets,
9 gns. ; a flat \'enetian border, 60 gns. ; a silk cape with
edging of old Milanese lace, I2i gns.; four silver sauce-
boats, j{|38 ; a silver cake basket (1776), ^29; a Spode
two-handled pot-pourri jar, £11.

6-1

Correspondence

Announcement

Readers of The Connoisseur are entitled
to the privilege of an answer gratis in these columns
on any subject of interest to the collector of antique
curios and works of art ; and an enquiry coupon for
this purpose will be found placed in the advertisement
pages of every issue. Objects of this nature may also
be sent to us for authentication and appraisement, in
which case, however, a small fee is charged, and the
information given privately by letter. Valuable objects
will be insured by us against all risks whilst on our
premises, and it is therefore desirable to make all
arrangements with us before forwarding. (See coupon
for full particulars.)

ANSMC^ERS TO CORRESPONDENTS

"Books. — Leigh's " New Picture of London,"

1841. — 9,6i)S (I!n5.liil). — If your copy li.is llie coloured
co.sluuies, you should ol>lnm ;il)i)ul £1 lOi. for il. Wilhout
iheni il is of liule value.

Cooke's Editions.— 9,693 (Uristol).— Your hooks aie of
very siimll value. Chas. CooUe was a imblislier of cheap
editions of pojudar woiks.

Cardboard Covered Book.— 9,398 (Bromley, Kent).—
The woik you desciilje is a seveiUeentli cenUiry satii ical tract,
woith 10,. or so.

Lives of the Princesses, 6 vols., 1849 = 55. 9.73-
(E.Kiii.uiiln. -Tlie vahu- ofilii, work is alxiiit £1.

Bible and New Testament, 1058.-9,694 (limswoith).
— The d.ile ol your I'.iMe i^ piolMbly Ib^S. The two works are
worth together alioul £l los.

Shakespeare's Comedies (Illustrated), 1791.-9,599
(New liarnet). — This book is not worth more than 5s. Vou do
not say the date of your Bible. If it is imperfect, however,
its value is small.

Thos. Barker's " Book of Lithograph Rustic
Figures," 1801.- 9,400 (.Vewport). — 1 he value ol your
book is about £2 2s.

"Pottery and "Porcelain — Black Ware Tea-
pot, o.yoo (t'lapham). — ^ oui te.ijiot is not Wedgwocjd, but
proliably Leeds. lis value is about 25s. to 30s.

Chinese Bowl.- 9,790 (Reigate).^\'our bowl is worth a
few pnuniU il ohl.

Chamberlain Worcester Toilet Service. — 9,693

(Nuneaton). — Vour toilet seivice is ol no interest from a

collector's point of view. To anyone purchasing for use il is
worth ^'4 or /, 5.

Biscuit Figure. — 9,379 (Ventnor). — If your figure is old
Sevres it is ol the rare date 1753, and exceedingly valuable.
As far as we can tell from your photograph, il is a modern
l\aris copy, of comparatively small value.

Spode.— 9,429 (I^edcai).— The value of your dessert service
of Spode porcelain is about .^18.

Dessert Service. — 9,007 (Heme Hill). — Your dessert
plates and dishes are probably early Minion. Being only portion
of a service, the value is not more than £1 10s.

Worcester. — 9,773 (Torquay). — As far as we can tell
without inspection, your set of old \Yorcester china is worth
from /eo to ^70. It is too late to send it to Christie's this
season. Try an advertisement in Thk Coxnoisseok Kegistek.
Your siher spoon would realise about £g.

Satsuma.— 9,749 (Halifa.\). — The piece of which you senil
us photographs, is modern Japanese Satsuma ware, worth less
than £1.

Dish.— 9,691 (Halifax). — Your photograph represents a
similar dish to that illustrated in the April issue of The Con-
.NOISSEUIt. There is some diflerence of opinion as to where
these dishes were made. The writer of the article attributeil
them to a factory at Loughor, .South Wales, but many collectors
consider them to be early Leeds, about 1750. They are worth
about 30s. each. Similar copies of Oriental designs are on
Bristol' I )l-1Ii.

Chinese Kylins. -9,682 (Chelmsford). — Judging from your
photographs, your old Chinese figures of Kylins appear to be
good specimens of the Ming ])eriod. The value depends upon
the size. Several pairs have been sold at Christie's for high
prices this season.

China Figures. — 9,699 (Abbey Wood). — Your china
figures cannot be valued Irom description. They must be sent
for inspection.

Rockingham Vase.— 9,772 (Swanage).— Your vase, judging
hoiii sketch, i^ Knckingham about 1830-40. The mark on the
bottom is a decorator's mark. We cannol identify the mark of
your tea service from your reproduction. It is certainly not old
Worcester.

Chinese Vase.— 9,755 (Canonbury). — As far as we can
judge from the rough photographs and tracings sent, your viises
are evidently of the Kia King period (17961S21). They .ire
worth about £\2 to /14.

Stone Quern.— 9,887 (Whitby).— The qHem, of
which you send us photograph, is evidently of the period called
" Late Celtic," that is of the Iron Age, preceding the arrival
of the Romans in Britain (say 100-200 11. c). It is very similar
to many found at the late Celtic settlement, llunsbury Hill
(Northamptonshire), and other places. The first w.is probably
of wood. The holes on the side of the upper slonc were for
pegs or handles, by which il w.is turned in the [irocess of grinding
corn. It should be of interest for a local museum. The value
may be put roughly at between £ji and ^"4, but il depends on
ihe amount of local interest in Yorkshire antiquities.

HE CONNOISSEVP^

GENEALOGICAL AND
LDIC DEPARfMENT

CONDUCTED BY A. MEREDYTH RURKE

Special Notice

Readers of The Connoisseur who desire to have
pedigrees traced, the accuracy of armorial bearings
enquired into, paintings of arms made, book plates
designed, or otherwise to make use of the depart-
ment, will be charged fees according to the amount
of work involved. Particulars will be supplied on
application.

\Vhen asking information respecting genealogy or
heraldry, it is desirable that the fullest details, so far
as they may be already known to the applicant,
should be set fortli.

Only replies that may be considered to be of
general interest will be published in these columns.
Those of a personal character, or in cases where the
applicant may prefer a private answer, will be dealt
with by post.

Readers who desire to take advantage of the
opportunities offered herein should address all letters
on the subject to the Manager of the Heraldic
Department, at the Offices of the Magazine, 95,
Temple Chambers, Temple Avenue, E.C.

Answers to Correspondents
Heraldic Department

1,106 (Paris).— The "'49 Officers" were the officers of
Charles the First's Irish Protestant army, to whom, on the
Restoration, grants of land and houses were made in saiisfaclion
of the arrears of pay due to them before 5th June, 1649, when
the old Royalist army was dissolved. These officers are also
sometimes referred to as the " '49 Protestant Officers."

1,112 (London). — Sir Philip Sidney married Frances, the
only child of Sir Francis Walsingham, the Elizabethan states-
man, but he left no male issue, and his only surviving daughter
and heir Frances, who married in 1598-9 Roger, 5th Earl of
Rutland, died without issue in August, l6l2.

1,118 (Exeter). — The children of Sir Ralph Sadler by Mrs.
Karre (whose husband, Matthew Barre, appears to have been
living at the lime of her marriage as a *' widow " to Sir Rnlphj,
were legitimised by Act of Parliament dated gih December,
1545. Sir Ralph Sadler was Iwrn at Hackney, 1507, and died
30th March, 1587. He was buried at .Standon, Herts.

1,123 (Dublin). — The baronetcy conferred nth January,
1664-5, ^^ S^"^ John Jacob, of Uromlcy-by-Bow, and Gamlingay,
Cambridgeshire, certainly became extinct on the death of his
great-great-grandson, the 4th Baronet, Sir Hildebrand Jacob,
immarried, 4th November, 1790. The title, however, was
assumed by a distant cousin, Clement Brydges Jacob, who was
the eldest son of the Reverent! Alexander Jacob, Chaplain to
the King (and author of Jacob's /'eeni'c), by his wife Mary,
daughter of Robert Clement, of Bletchingly, Surrey. The
Rev. Alexander Jacob was grandson of Alexander Jacob, of
London, Turkey Merchanl, who married Elizabeth, sister of
James, 1st Duke of Chandos ; and great-grandson of Robert
Jacob, a younger brol/iir of the first baronet. On the death of
Clement, 30th March, 1804, the assumption was continued by
his only brother Charles, who is supposed to have had no male
issue, and since whose death no further claim seems to have been
made to the title.

1,128 (Chicago). — There are comparatively few parish regis-
ters in Ireland which commence as early as the seventeenth
century, and of those that do, fewer still are found outside
Dublin. The earliest in that city are those of .St. John's Church,
commencing in l6ig, and which have recently been published.

1,134 (Philadelphia). — The .-Vrms of Sir James Wright, Bt.
(t-iovernor of Georgia), so created 1772, were Sable a cknjton
engrailed at gent between three fleurs-de-lis or on a chief of the
last three spearheads erect proper all within a bordiire waz'y
ermine. He was son of Robert Wright, Chief Justice of .South
Carolina, who was said to have lieen of Sedgcfield, Co. Durham.
The Arms of Wright of Seilgefield were Sable a cheiron
engrailed between thrte fleurs-de-lis argent on a chief of the
second as many spearheads gules. Sir James Alexander Wright,
the third baronet, died unmarried in 1S37, when the title may
have become extinct ; but as his uncle, John Izard Wright (who
died in 1S21), married and left male issue, it is possible the title
Hid not cease until a later period ; indeed, if John, son of John
Izard Wright, w.as living in lS6l (as is said), he would have
been the fourth baronet, and his brother Alexander, who was
apparently living aiiout 187S, is supposed to have succeeded as
fifth baronet.

1,137 (Wimbledon). — In Heraldry the Champaign is a parti-
tion in base by a horizontal line of a third part of the fieM ; it is,
however, seldom met with except in some Spanish Coats.

YOUNG CIUI. I'HKl.lNC. AN Al'IM.I-:
nV NICOLAS MAES

PROM THI-: KANN COLLECTION

/iv I'cniiissioii of Messrs, Dtivecii Hrothcrs

October, 1907.

u ' u u u u '

^A ^^^-^ r! Jf:r - fen « '--.^Jtii /' ■

E^TON HALL

The Cheshire Residence of

His Grace the Duke of Westminster

By Leonard Willoughby. Part I.

When the late Duke of Westminster deter-
mined upon the reconstruction of Eaton Hall in
1867, it was to Mr. Waterhouse, R.A., that he
intrusted the great task. Whether it was then the
intention of the duke to create such a building as
Eaton Hall now is, or to spend the enormous sum
which eventually was e.xpended upon its lavish in-
terior decoration, I, of course, am quite unable to
say. For thirteen years
the work unceasingly
continued, and during
that time considerably
over a million sterling
was expended upon it
— at least, so I am in-
formed— with the result
that it is unquestionably
one of the most gor-
geously fitted up palaces
existing in the United
Kingdom. The exterior
of the house is familiar
to most people, for illus-
trations of it have so
frequently appeared in
various journals anil
elsewhere. The slate
rooms and their con-
tents are also pretty
well known, as, thanks
to the duke's kindness,
the public are admitted
on certain days to view
them on payment of a

I-l.I/. ABKTU Ul t lll-S-. 01 SUTMKKLANU

nominal sum. The money so derived, and it swells
to quite a big amount in the course of a year, goes
— every farthing of it — to benefit local charities. The
sum collected only shows how popular a visit of
inspection to Eaton Hall is, for many thousands of
people of many nationalities must pass through its
stately corridors and apartments annually.

As to whether the architectural design of the
exterior of Eaton is to
everyone's taste, is open
to doubt. It is true the
appearance is very im-
posing, en account of its
size and massiveness, yet
somehow it is a style
that does not quite ap-
peal to my fancy, and
is more .suitable for a
public building. It is
cold, and wanting in
that homely inhabitable
look, which is the real
charm of our old Eng-
lish country homes. Per-
sonally, I greatly prefer
the style in which the
outbuildings and stables
are constructed — red
brick with half-timbered
upper stories, a style so
characteristic of Cheshire
houses. Had this style
been adopted through-
bv WATTS, .\i ILK Kj.MNEY out, how Very different

Vol. XIX.— No. 74.

The Connoisseur

would Eaton have been in appcanince to-day, and
how greatly improved.

Internally the decorations are very beautiful,
especially so the wonderful marbles which cover the
walls and floors of the entrance hall and saloon.
The ceilings of the various state rooms are also
remarkable, elaborate, and profuse to a degree in
gilding, while the beautiful Gobelin and Brussels
tapestries and the Chinese silk wall hangings are
incomparably beautiful. The chimney-pieces are

at Grosvenor House than they would do in Eaton
Hall, for I think the style of decoration of the walls
at Eaton does not lend itself to enhance the appear-
ance and effect of the pictures. However, wherever
it has been possible to hang one it has been done,
and with good effect. This huge building is naturally
only used when the duke and duchess are entertain-
ing, for at other times they occupy a small building
attached to the larger one, which is out of the
question, sim|)ly owing to its enormous size.

PORTION OF CENTRAL H.\LL

magnificent, and are chiefly of alabaster, the sub-
jects carved on each being historic or family inci-
dents. The workmanship throughout the house is
an example of what work ought to be. It is quite
perfect and unsurpassable, especially the woodwork,
which is superb.

The furniture also is remarkably line, especially so
that portion of it which is covered in tapestry in the
saloon and drawing-room. Then also such objects
of art as there are, are well worthy of this great ducal
residence. Of pictures there are, comparatively speak-
ing, few, the great bulk of them being at Grosvenor
House, Park Lane. It is probable that these look
to better advantage in their splendidly lighted gallery

"^■i

Having so far spoken in general terms of Eaton
Hall, I will for a moment say a word as to the
various Grosvenors who for many centuries have
resided here — though naturally not in the present
modern-looking building, but in two jirevious pic-
turesque-looking halls which stood at Eaton. The
Grosvenor family, of which the Duke of Westminster
is the representative, though one of the oldest, if not
the very oldest, family in the United Kingdom, has
only comparatively recently been ennobled, and this
some 146 years ago. This, compared with titles
which go back to the thirteenth century, is therefore,
comparatively speaking, almost modern.

Tracing the family backwards from the |)rcsent

Eaton Hall

duke, the history is briefly this : Hugh Richard
Arthur, the present and second holder of the duke-
dom, is a son of the late Earl Grosvenor, the eldest son
of the late and first duke. The present duke married
a daughter of Col. Cornwallis West, Lord-Lieutenant
of the County of Denbigh. The grandfather of the
present duke therefore was Hugh Lupus, first Duke, who
was also third Marquis of Westminster, fourth Earl,
Viscount and Baron Grosvenor. The first duke was
the eldest surviving of four sons of the second Marquis

as Viscount Belgrave and Earl Grosvenor. This,
therefore, was the commencement of the ennoble-
ment of the family, a family which had flourished in
Normandy a century and a half prior to the Con-
quest. Sir Richard's father was M.P. for Chester,
as was also his grandfather, the third Baronet, wlio
represented the County in Parliament in the reigns
of Charles H., James H., and William HL He
was also Mayor of the City of Chester in 16S5. It
will be found in the history of Chester that since

SALOON AT EATON HALL

by Elizabeth .Mary, daughter of first Duke of Suther-
land, K.G., while his younger brother was created
Baron Stalbridge. Richard, second Marquis, was
the eldest of three brothers, sons of Robert, second
Earl, created first Marcjuis in 1831. Robert, first
Martinis, married, in 1794, Eleanor, only daughter
of Thomas, first Earl of Wilton. Of their three
children the eldest, Richard, inherited his father's
Marquisate, while Thomas, the second son, inherited
his maternal grandfather's Earldom of Wilton, and
Robert, the third son, was created Baron I'^bury.
Robert, the first Martinis, was the son of Sir Richard
Grosvenor, seventh Baronet, elevated to thf peerage
in 1 76 1 as Baron Grosvenor of Eaton, and in 1784

the days of the Conqueror's nejihew, the Grosvenors
have been closely allied with all that concerned that
city officially and otherwise. This gentleman married
Mary Davis, heiress of Alexander Davis, of ICbury,
in Middlesex, by which alliance the Grosvenor family-
acquired their great London property and con-
sequent wealth. His three sons became succes-
sively fourth, fifth, and sixth Baronets, the eldest
acting as grand cupbearer at the Coronation of
George \\., by presenting to His Majesty the first
cup of wine after he had been crowned, and had the
cup as his fee. The second Baronet was High ShcrifT
of County Chester in 1644, at which time he raised
the posse comikilus to oppose the Parliamentarians

The Coiuioisscitr

BY STUBBS

THE GROSVENOR HUNT

commanded by Ferdinaiul, Lord Fairfax. He con-
tinued firm in his loyalty during the whole of the
Civil \Vars, whereby he suffered considerably, having
had his landed property sequestered. Sir Richard,
the first Haronet, was so created in 162 1, he having
previously been knighted. He also was, like his
son. High Sheriff for the County of Chester in the
twenty-second year of James I. He was also Mayor
of the city and one of the Knights of the shire in 1625.
Son had succeeded son in the possession of Eaton
back to the year 1454, when Kaufe Le Grosvenor, Lord
of Hume, married Joan, only daughter and heiress
of lohn Eton, of Eton (now spelt Eaton). It was
through this alliance that Eaton came to the
Grosvenor family. This Raufe Le Grosvenor was
the second of four sons of Sir Thomas Le Grosvenor,
Lord of Hume. The eldest son Robert had si.x
daughters, but no son ; Raufe had three sons and
one daughter ; Thomas became ancestor of the
Grosvenors of Hungorsheath, Co. Stafford; while
Rodolphus became ancestor of Grosvenor of Bus-
bury, Co. Stafford, and Sutton Coldfield, Co. Warwick.
Sir Thomas, the father of these four sons, was him-
self son of Sir Robert Le Grosvenor, the defendant
in the celebrated Scrope and Grosvenor controversy,
of which I shall have something to say anon. Prior
to Sir Robert there was his father Raufe, who was
son of Sir Robert, Escheator of Chester, and this
"entleman was sixth in descent from Gilbert Le

Grosvenor, nephew of Hugh Lupus, Karl of Chester.
Thus have the family descended from father to son,
the estates descending in the same way, and in four
instances from brother to brother.

Three times have the eldest sons predeceased their
fathers, and so the estates and titles devolved on
the grandsons. The first of the family who received
the honour of knighthood was in 1334, some 573
years back,, while the first baronet was created
286 years ago, and, as I stated previously, the first
peerage has now been conferred 146 years : but since
then the various stages in the elevation from baron
to duke have been extraordinarily rapid. Tw-enty-
three years after the first peerage was conferred in
1 761, a viscounty and earldom were granted. Then
again, in 1831, or forty-seven years after the first
earldom, the marquisate was added, while thirty three
years later the dukedom was created. During the
800 and odd years which have elapsed since Hugh
Lupus — the Concjueror's nephew — lived, there have
been some thirty-three generations, of which the
present duke is the thirty-third.

There has been no mixing up of the female line
with the succession : no taking of the name by per-
sons outside the family through marriage with the
Grosvenors ; but only strictly through the male line
proper has it come down, a descent which is to a
certain extent rare, unfortunately, in this way in
some of our very old families. I may add that the

Eaton Hall

present duke has a son and heir, who is now, of
course, known as Earl Grosvenor. The late Earl
Grosvenor, father of the present duke, predeceased
his father, and so never came into the dukedom, and
his widow married in 1889 the Rt. Hon. George
Wyndhani. This, then, is the simple and straight-
forward descent of a family who took their name
from the official position held by Gilbert the Con-
queror's nephew, as de Gros Veneur, from the Norman
days to the twentieth century.

In writing my description of Eaton, I have to
acknowledge my indebtedness to Dr. Rupert Morris,
Vicar of St. Gabriel's, Warwick Square, Hon. Canon
of St. David's, and Chaplain to the late Duke of
Westminster, K.G., for perusing his excellent Guide
to Eafon Hall. As Chaplain this gentleman had so
many facilities for collecting the interesting facts
contained in his book, that it is not to be wondered
at that a visit to Eaton Hall to inspect the treasures
is not complete without this valuable "guide" as a
companion. Copies are purchaseable at the estate
office, where tickets to view the hall are obtained,
and the modest 6d. charged for this goes to swell
that excellent fund which is devoted entirely to the
good cause of charity.

Eaton Hall is about four miles distant from pictur-
esque Chester, though the entrance gates to the park
are at the very threshold of the city. The river Dee
divides the city from the entrance, and is crossed just
here by the Grosvenor bridge, erected by the late
duke, and opened by Queen Victoria in 1S3J. This
river winds its way round past Eaton, and continues
its course in front of the house, adding a delightful
touch to a panorama, conspicuous in which is the
familiar landmark of Beeston Hill, the property of

Lord Tollemache. The main front of Eaton Hall
faces west, and the Belgrave Drive, which approach
is flanked by a very fine avenue. The grounds
immediately around the house are entered through
the " golden gates," admitting to the quadrangle
formed by the building and chapel. These magnifi-
cent and very large old gates have existed since 1690,
and were in front of the original house.

Immediately on passing through these gates we are
faced by the colossal bronze statue of Hugh Lupus,
the Conqueror's nephew, from which the family
descend. It stands on great blocks of granite in
the centre of a large stone basin. The statue is
by Watts, and represents Hugh Lupus riding with a
falcon, which he is about to cast off. His nickname
appears to have been Hugh Vras — Hugh the Fat —
by the Welsh people, by whom he was not by any
means loved. He is represented as being a very
large unwieldy man, bestriding an enormous Flemish
horse, with a neck and loins such as I, and I should
imagine no one else, have ever seen in real life. But
1 )r. Morris tells us it was not the artist's intention
to depict a real man on a real horse, but rather to
give the impression of a rough age and rude vigour
of character. The whole statue weighs 7 J tons, the
horse weighing 4 tons, the head alone being 15 cwt.
and the tail 6i cwt., but the whole effect of this
bold scheme is very effective. It is directly in front
of the principal entrance, but it is only on rare
occasions that this entrance is used. The one chiefly
in use is to the north of this, beyond the chapel.
Here a courtyard formed by the house and stables
is entered through an archway from a covered-in
coach- house yard — the coach-house itself being faced
by the riding-school and some hunters' boxes. A

THE CHESIHRE HUNT

liV T. FERNELEY

The Connoisseur

curious approach alto-
gether. In the centre
of the paved courtyard
is the equestrian group
in bronze by Sir J. E.
Boehm, representing a
magnificent specimen
of the entire horse,
rearing up and held
by a groom. It is
effective and well
executed, showing the
artist's perfect know-
ledge of the anatomy
and graceful and life-
like movement of a
horse.

Within the doors, a
passage leads off to the
left, and down this
we will proceed in a
moment. Facing us as
we enter is what appears
to be a short passage,
but is in reality a portion
of the east end of the
chapel, which is curtained
with its enormous clock

HENRIETTA COUNTESS OF GROSVENOR

off. This beautiful chapel,
tower, wherein are hung

twenty-eight bells, which
|)lay a carillon of thirty-
one tunes, is a most
interesting portion of
the house. It contains
an an tec hap el, nave,
and chancel, with a
western apse. There is
a groined roof of stone
to the nave ; the nave
and choir benches are
beautifully carved in
walnut, the dwarf screen
to the choir being of
alabaster, divided into
square panels with
pierced foliage. The
reredos and font are of
alabaster, and there is
much stained glass in
the windows, represent-
ing, with the mosaics,
Paradise, The Nativity,
The Crucifixion, The
Ascension, Pentecost,
Judgement. The pave-
ment of the chancel is " Opus Alexandrinum," and
the e.\quisitely worked recumbent figure of the first

HY (iAINSBOROUGH

MARES AND FOALS

BY STUBBS

'I'lic i'oi/i/oissciir

duchess, by Sir J. \\. 15oelim, is said to be an
excellent likeness.

Leaving the chapel, the passage leads down to the
main building, and sonic little way down turns on
the right into the great corridor, which runs the entire
length of the great building. Leaving this for the
moment, and continuing straight on through glass
doors, the duke's private portion of the building is
entered. As this part of the house is private, I will
not attempt to de-
scribe it, but only
mention two pic-
tures which hang
in the private din-
ing-room. These
are interesting, and
especially to sports-
men, as showi ng
portraits of various
prominent mem-
bers of the dros-
venor Hunt and
the Cheshire Hunt.
The former, by
Stubbs, is dated
1762, and depicts
a stag-hunl, the
stag at bay in a
small stream, while
the pack apparently
are rushing in.
Surrounding them
are the members
of the hunt and
the servants in
green coats, with
enormous French
horns round their
bodies. The horses
are drawn in the
usual stiff style of the period, very much on the leggy
side, and arc altogether very quaint. In the distance
is the well-known landmark Beeston Hill, while among
the figures mounted are Lord Grosvcnor, Mr. Thomas
Grosvenor, and Sir Roger Mostyn. Facing this very
delightful old picture is the large one of the Cheshire
Hunt, painted some 65 years later by T. Fcrneley.
It represents the pack well together in full cry, and
the following well-known followers. On the left,
nearest to the hounds, is the Earl of Wilton on
" Windmill," Lord C. Manners on " Featherlegs,"
Hon. R. Grosvenor on " Kingfi.sher," General Gros-
venor on " Columbus." Then comes Rev. R. Gros-
venor, Lord R. Manners looking through his eyeglass

CiENERAL THOMAS GROSVENOR

at the end of his stock on " Benefit," and Thomas
Goosey, huntsman, on " I'lorin." The jiicture from
every point of view is charming : there is life and
movement in the hounds and horses, while the por-
traits are, I believe, excellent. This was jiainted in
1827.

There are other interesting pictures of s[)ort and
horses in this portion of the building, but I must
reluctantly pass them by, and begin with the Hoppner

of General Gros-
venor, which faces
the long corridor of
the main building.
This very good-
looking soldier is
in his ])icturesque
uniform, and is
shown carrying a
military ritle over
his arm — a some-
what unusual thing
for an officer of
his day to do. His
scarlet coat, white
cross-belts, gold
epaulets, buckskin
breeches, leather
gloves, blue cuffs
edged with gold
lace, and busby,
make a very strik-
ing picture. Born
in 1764, he became
Colonel of the 65th
Regiment, and sub-
sequently was made
a Field-Marshal.
He died in 1851.
Along the corri-
iiv HOPPNER dor, which is lined

with many glass cupboards containing rare specimens
of cliina and pottery, there are many beautiful cabinets,
tables, and chairs, the latter principally of carved
ebony made in Ceylon for the Portuguese. These came
from the sale of Horace Walpole's effects at Straw-
berry Hill. Some way down the corridor, and facing
the entrance passage to the smoking and billiard rooms,
is a large full-length painting of a lady, by Bronzino,
151 1-1580. The inscription in Italian tells us that
Dianora Salviati, wife of Bartolomeo Frescobaldi, was
the mother of fifty-two children — three at a birth :
This picture was bought by the first duke from one
of this lady's heirs. Hut the story as to her mother-
hood is true. The smoking-room and billiard-room,

Eaton Hall

comfortable, though by no means large rooms, open
one from the other, and contain several works by
Stubbs. These rooms face the front approach, having
the chapel on the right, and the statue in front of the
golden gates on the left front. There is no necessity
to enter into a detailed description of either room.
Nearly opposite to the entrance to the smoking-
room is the dining-room, which measures 45 ft. by
36 ft. This fine room has its walls coloured in a
rich warm red, and harmonises well with the panel-
ling, which is in walnut. The pattern on the red
shows the portcullis badge (for Westminster) and the
wheatsheaf (for Grosvenor). The fine chimney-piece
was brought from a Genoese palace. The pictures
either side of the fireplace are one by Snyders of a
Lion Hunt, and one of a Bear Hunt by Rubens.
The most striking picture, however, is the one of the
present duchess, which hangs over the fireplace, and
is in a good light. Another picture here is of the
first duke, presented by friends in and about Chester.
This is by Millais. The curtains over the windows
which overlook the sloping grounds down to the
river and the country far away beyond, consist of
two hundred yards of Utrecht velvet, the fringe on
the bottom alone weighing one cwt. The velvets.

both in the dining-room and library, and the cover-
ing to the chairs here and in the ante dining-room,
were from the looms in Bethnal Green, though it was
supposed at one time that such fabrics could only
be produced in France. The ante dining-room, a
charming room which adjoins, contains the pictures in
panels of the Grosvenors, as well as some by Millais
of Sibell Countess Grosvenor, daughter of the Earl
of .Scarbrough : Elizabeth Marchioness of Ormonde ;
and Beatrice Lady Chesham. There is also the large
picture of the Grosvenor family by Leslie, R.A., 1833,
comprising the three generations. The chairs are
of pearwood, and the ottomans covered in Genoese
embroidery, while the window shutters are decorated
to represent the wild flowers that grow round Eaton
Hall. Passing through this, the saloon is entered, but
this I hope to describe, as well as the ante drawing-
room, drawing-room, library, hall, and state rooms,
in next month's issue. All that I can now do is
to give illustrations of a fine Venetian cabinet, an
Empire clock, and some large chairs in applique
work, some of the beautiful pieces of furniture in
this extraordinan,- apartment, which, together with
the hall, divided only by pillars of " Vert de Mer,"
measures 76 ft. by 32 ft.

INDO-PORTUGUESE CHAIR

ONE OF A SET PURCHASED AT ;^IOO EACH CHAIR

.ISC£U^^)£0U3

On a Collection of Flemish Domestic Benitiers
By Alfred E. Knight

In an age of collectors ami collecting, when
every corner of the earth is being industriously
searched for antiquities and objets d'art of what-
ever kind, it is surprising that so little notice has
been taken of benitiers. Vet of things artistic, hav-
ing both the charm of age and old-world religious
association, what objects could be found more
deserving of the collector's attention ? Occasionally
one meets with a stray specimen in a private museum
— stowed away, of course, on the dustiest shelf and
in the darkest corner — but so rarely has this been
our experience that we are almost inclined to think
that the collection here in part figured and described
is uni(]ue of its kind in England.

The owner, ^[ajor R. H. C. Tufnell, is a collector
of many years' standing, not of benitiers merely, but
of old arms and pewter, and, above all, of Indian
coins. On one branch of Indian numismatics he
is, indeed, a recognised authoritv : his works on the

coinage of South India, carried out under the auspices

of the Madras and Mysore Government, being well
known, and said to be fairly exhaustive. The beni-
tiers contained in his collection were all found in
Flanders, to which interesting country he has paid
many visits, and it com[)rises examples of all periods
in wood, bone, pewter, copper, brass, silver, stone,
plaster, delft, and porcelain.

Flanders is, jjerhaps, the most priest-ridden country
on the face of the earth ; but if any collector of an-
tiquities is in search of benitiers, he will fmd it a
most happy hunting-ground, the few difficulties to
be encountered giving zest to the search. Italy may
be known to connoisseurs for its crucifixes, Spain
for its reliquaries, France for its rosaries; but for
benitiers — especially of tin.' domestic type — Flanders
will safely bear the palm.

Most of the specimens in Major Tufnell's col-
lection were obtained from the houses of the poorer

f%-

No. I. BRASS

No. II. — 1!K.\SS
78

No. III. — COPPER

Flemish Do/iiesfic Benitiei's

classes in the West-
ern provinces of
the country, or
from small village
churches ; while a
few of the more in-
trinsically valuable
came from the pri-
vate chapels of the
wealthier Flamands.
Precious to the
simple-minded Flam-
and is his benitier,

No. IV. BONE

be it only of pewter or the
homeliest delft : still more
precious is the dirty and
insanitary liquid in its shal-
low well — the Holy Water
blessed by the priest. W' ith
this the happy father may
perform the rite of baptism
over his own children, and
wage victorious warfare with
the powers of evil that be-
set his dwelling. The folk-
lore of the people abounds
with instances of its won-
derful efficacy ; the following
will serve for illustration.

A poor man who possessed
not even a straw mattress on
which to lay his children, found, one winter's night,
a truss of straw. Wild with joy, he took it home ;
but scarcely had he laid it on the ground than the
truss stood up on one end and began to dance.
It was bewitched. Fortunately, the man"s wife had
that morning replenished their benitier with Holy
Water, and she was quite equal to the occasion.
.Sprinkling some of the water on the truss and utter-
ing a suitable adjuration, the truss disappeared,
making a great noise as it vanished up the chimney.

Among the earliest benitiers in the collection are
Nos. i. and ii., very simiile forms in brass, with wells
to hold the Holy Water shaped like the "dippers"
used by water-colour painters of to-day. I'^^specially
interesting is the second of these, in which the earlv

No. \'. — BONE

type of cross is formed by five pellets, a similar
row. impressed from the back, appearing round the
heart-shaped specimen figured as No. iii., which is
of copper. These three specimens may all belong
to the fifteenth century, though not improbably they
are of a still earlier date : certainly they are not
later.

A scarcer if not quite so early an example is
No. iv., which is of bone. Bone benitiers are among
the rarest of all, and the one here figured is in very
fine condition. The disposition of the feet of the
Christ, which are placed one over the other and
pierced by a single nail, is noteworthy, and may be
some indication of the period to which it
belongs, but the cross itself is almost cer-
tainly of a later date. No. v., also of bone,
shows the same placing of the feet, and is
of the same character. It is inserted only
for comparison, however, as it is a crucifix
merely — the kind not infrequently hung
above benitiers which do not themselves
bear the image of the cross, e.g. Nos. vi.
and vii., which are of metal.

The earlv carved wood benitiers are hardly
less rare than those of bone, and, owing to
the more perishable
nature of the material,
very early ones are
almost unknown. The
example No. viii.,
which is of oak, be-
longs to this category.
The well is curiously
similar in form and
ornamentation to the
bowls of the carved
wood cups made to

XO. VI. — MET.^L

this day in Switzerland,
but the piece is of un-
doubted antiquity. The
rest of the carving has
a most primitive appear-
ance : the feet are crossed
and the head is almost
erect, as in the very early
figures of Christ.

Nos. ix. to xiii., in-
clusive, are typical of a
large and remarkable
series. All are of pewter,
and they mostly bear
the hall-mark of the rose,

No. Vll. — METAL

The Connoisseur

or rose and crown ; of which latter type two speci-
mens were figured in the second volume of this
magazine. The evolution — or, rather, devolution —
of the symbolic figures occurring at the foot of the
Cross in each example is extremely curious, and in
some ways instructive. Looking only at No. ix.,
one might speculate for a long time on the mean-
ing of the apparently bent rods issuing from nothing
definite and, though inclining towards each other,
stopping short in a blob of pewter, which might be
merely accidental. Various and somewhat fantastic
theories have at times been woven round this ([uaint
design, hut No. x. or xi. at once solves the mystery.
The rods are two arms — the left and right respectively
of two cherubs — and the blob of pewter represents
the sacred heart grasped in their hands, a repre-
sentation quite common in the Flemish Church.
It may be noted that the wing of one cherub can
still be seen to the left in No. xi., and there are
traces of them also on other specimens in the col-
lection not figured here. No. ix., however, should
be specially studied, as
it offers the quaintest
variation of this em-
blematic base in the
whole collection, and,
moreover, shows the
fiames issuing from the
centre of the heart.
Above it is the image
of the Virgin with
Child enthroned on
clouds.

Other pewter ex-
amples are Nos. xii.
and xiii. The cup-like
well of the former has

No. X. — PEWTER

a cover of the same
m e t a 1 w o r k i n g on a
/.inc wire hinge. 'I'he
embossed group above
is presumably the Virgin
and Child, but the
Virgin's head is miss-
ing. The Child is triple-
crowned, and bears in
His left hand what ap-
pears to be the orb of
the world. Both are
clad in rich vestments,
the embroiderv of which

.'.r^y

is represented in high
and sharp relief.
The latter is note-
worthy as bearing
below the bound
and thorn-crowned
Christ the legend
"E.C. HOMO," and
is without hall-mark.
1 n .N o. xi V. we
h a \- e a s i 1 v e r - g i 1 1
triptych, procured in
the neighbourhood

No. IX. — PEWTER

No. .\1.— pEwi

No. VIII.— OAK

of Bruges. The central
plaque shows the Virgin
and Child enthroned,
with Saints attendant,
while the apex contains
a minute representation
of the Crucifixion. The two wings of the triptych
contain figures of Saints, with Angels worshipping
above. The work is very choice, and probably of
the early seventeenth century. Curiously enough,
the collection also contains a benitier without wings,
which exactly corresponds with the centre placjue
of this, and, from close examination, would seem
to have been cast from the same mould, but an
amethyst has been set in the front of the bowl
where the Angel's head and wings are here rejjre-
sented. This was obtained at Antwerp, and, what
is equally curious, both bear entirely different hall-
marks. Specimens of this type are extremely rare.
Benitiers of delft and porcelain offer by far the
greatest and quaintest variety, and of these there
are some thirty or forty in Major Tufnell's collection ;
a few of them are here figured. An early form is
No. XV. The blue glaze in this specimen has run
into the gray, the colouration recalling that on
eighteenth-century Lambeth delft apothecaries' jars.
The triangle in the centre, symbolizing the Trinity,
bears a curious device, the meaning of which we

FlciiiisJi Domestic Boii tiers

No. XII. PEWTER

No. XIV. — SILVER-GILT

No. XIII. — PEWTER

have been unable to ascertain, though it mav not
improbably be a corrupted abbreviation of the
Hebrew name Jehovah, «i^ri^ ' ^° often found
in this connection. The quaint forms

of the Virgin and Christ and the Angelic attendants
on many of these are of extreme interest, but to
illustrate even a small percentage of them would
take up far more room than we have at our disposal.
We may notice No. xvi., however, which represents
a benitier of very earlv type. Here the figure of
the Christ is, by means of lines diverging from the
base, transformed into an anchor, the drops of
blood from the pierced hands doubtless being in-
tended to represent the anchor's chain — a touchingly
([uaint conception in which the old Flemish artist,
in the true spirit of mediieval symbolism, combines
the anchor of his hope with the Crucifixion of his
Lord.

And now if one glances at No. xvii., and contrasts

its aggressive modernness with the art of the dead
past, one may well feel ashamed. The cheap-looking
white glaze, disfigured by the gilt and red lines intro-
duced to emphasize the foliate pattern, the tawdrv
colouring of the oval plaque, in fact, the tout
enst'iiibk, "damn the base copy of the modern day";
yet this example marks a type, and degeneracy in
Christian art of necessity goes hand in hand with
decay of faith and religious earnestness.

The composite forms of many modern benitiers
are not as a rule artistically pleasing. One specimen,
not here figured, has a well of semi-translucent stone
and a support of brass, a design which could hardly
help lacking unity. The parts are joined by a rivet,
and the clumsiness of the fastenings suggest late and
degenerate work, though the figure of the Christ,
which is distinct from the Cross, is doubtless of some
antiquity. In another the well is of porcelain and
the back of alabaster, but the oval placiue is merely

No. .W. — UELFT

No. .WIl. — PORCULAIN

The Connoisseur

plaster-of-Paris, and the studs are orass ; while a
thiid, with porcelain well, has an oval plaque of some

say, they serve the same i)ur[)ose as those already
alluded to, and are of equal interest. Many early

No. X\1U. — rOKCELAIN

dark composition on a wood foundation. Nos. xviii.,
xi.x., and xx. are other examples of porcelain benitiers.
Thus far we have spoken only of a few specimens
in the collection which are purely for domestic use,
the kind one sees hanging on the cottage walls of
devout Flamands ; but in addition to these there is
another type exclusively of brass, copper, or pewter,
which are suspended from any convenient point, of
which Nos. vi. and vii. are examples. Needless to

XO. XIX. — PORCELAIN

and graceful forms of these occur, though they do
not offer the same variety of form or decoration as
those to which we have alluded.

The evolution of Christian art which may be traced
in these objects, as in so many other objets d'art, is
profoundly interesting, and deserves to be more
widely studied. We have lately seen some silver
crucifixes in Messrs. Spink \- Son's Galleries, belong-
ing to different periods, in which the changing ideas
on one of the subjects here referred to may be traced
step by step in a most instructive manner.

XO. XX. — PORCELAIN

M^c; FTI THf RRT?:RT

ictures

Mr, Arthur Morrison's Collection of Chinese and Japanese
Paintings Part I. By Stewart DicK

6K-.

The paintings of the far East are little
known in the West, even among those who are lovers
of art. Such knowledge as most Europeans possess
regarding the pictorial arts of Japan is based chiefly
on the studv of its later
developments in the
colour prints, which, a few
years ago, came to us as
such a revelation of deco-
rative beauty and charm.
The products of a de-
spised art, the art of the
common people, these
prints were little valued
in Japan, and so were ex-
ported in large numbers
to exercise a far-reaching
influence on European
schools of design. Rut
it has been far otherwise
with the art of painting.
The most aristocratic of
all the arts, its products
have always been highlv
valued in fa]Kin. Its
greatest treasures, stored
in the old Ijuddhist tem-
ples, and the collections
of the Daimios, are rarely
seen by the traveller, and
more rarely still ever
come into the market.
Such paintings as do
are naturally of the more
recent schools, and the
old masters, who are in
Japan looked upon with

A*-

'J^r

liY MLll-KI U'M' .MUK-Ktl)

the same veneration as we accord to the great masters
of European art, are, for the most part, represented
only by more or less ingenious forgeries.
During the fiftv vears which have elapsed since lapan
began to relax her policy
of isolation, comjiaratively
few of her finest paintings
have ever reached this
country. The British
Museum possesses a fine
though mi.xed collection ;
the rest are distributed
among a few private col-
lections.

]iut besides the mere
rarity of the paintings
there are other difficulties
in the path of the student
and the collector. Chinese
and Japanese pictorial art
differs widely both in point
of view and in manner of
expression from the works
of our European schools,
and for this reason is
often, even by the cul-
tured amateur, unappre-
ciated and misunderstood.
Also the text-books deal-
ing with the subject, by
those who have had ex-
ceptional opportunities of
studying the finest exam-
ples, are too often written
from an alien and un-
sy m pathetic standpoint,
their writers not havint;

The Connoisseur

learnt the language of the art they criticise. For rare
as are the old Japanese paintings, the European critic
who understands and fully appreciates their merits is
rarer still.

Perhaps the most distinctive feature of Mr. Arthur
Morrison's collection is, not its extent and complete-
ness, astonishing though that is, or the many rarities
which it contains, some of them almost unknown even
in Japan, but the fact that
it has been brought to-
gether with a unique
knowledge and under-
standing of the principles
of Japanese and Chinese
art ; that the keenest criti-
cal insight has rejected
everything of doubtful
authenticity, so that it in-
cludes nothing but what is
worthy of its place.

For the pitfalls that
surround the unwary col-
lector are many and ob-
scure. In the case of
most of the better known
artists the forgeries largely
outnumber the genuine
examples, and few col-
lections really contain the
treasures indicated by
their catalogues. The
signature on a painting of
itself is little guide, for to
render that in such a way
as to satisfy the European
eye is the easiest task of
the forger. Then many
a genuine painting is un-
signed. Others again,
originally left unsigned,
have had the signature
added subsequently by
another hand, often in perfectly good faith, .so that a
forged signature does not necessarily mean a forged
picture. The certificates also, by well-known artists
and critics, so often found in the box containing a
valuable jiainting, are themselves frequently forgeries ;
or, again, a genuine certificate may be used not to
substantiate the original, which probably needs no
such guarantee, but to bolster up a forgery.

The only true test, in fact, is to judge the painting
by the work alone. In China and Japan painting
was originally regarded as a " branch of calligraphy."
With Indian ink, on silk or absorbent paper, the artist

THE THREE RELIGIONS

worked with a full brush. Each stroke was indelible,
there could be no alteration or modification, but with
a bold and firm hand he set down his thought once
and for all with inimitable directness and force.
Chiaroscuro was only suggested ; colour, when used,
applied in flat washes. Line, flowing and swelling
and marvellously expressive, was the chief means by
which he expressed himself. Thus, even more than

in Western art, for the
~\ means of expression are
so much more simplified
and direct, the hand of
the artist may be recog-
' nised in his technicjue.
To the eye of the exjiert
a Tanyu or a Naonobu
is " signed all over," but
to attain to this know-
ledge is required not only
insight and sympathy of
the highest degree, but
years of patient study.

For the forger is often
marvellously dexterous,
and in his methods spares
no pains. A valuable
painting will be covered
with a thin sheet of
transparent oiled paper,
which is waterproof ; on
this again is laid the
sheet of thin silk, also
almost transparent, and
then, with the original
visible underneath, the
I forger duplicates it stroke
for stroke. It is only an
indescribable quality in
the line that distinguishes
the work of the master
from the copy, the one
alive and full of a subtle
beauty, the other lacking just the touch of inspiration
that gives life.

To deal thoroughly with such a collection as Mr.
Morrison's would be to trace the history of art in
Japan from the immigration of the Buddhist priests
from Korea in the sixth century down to the present
day, but in this short article it is only possible to
treat briefly of its salient features and to reproduce a
few characteristic examples.

The older art of China was the fountain head of
Japanese art. Not only did it there receive its birth,
but its growth was stimulated by successive waves of

BY WANG-LU-KUNG

Mr. Arfhuy Morrison's Collectio)i

Chinese influence. It will be well, therefore, to deal
first with the examples of the art of the parent country.

But though the parallel schools of China and Japan
are so closely linked together, there is still visible
a distinct national quality in each. A Japanese writer
of the eighteenth century modestly and poetically
expresses this difference in the
phrase that " our painting is
the flower, that of China is
the fruit in its maturity," and
though this hardly does justice
to the power and dignity of the
greatest Japanese works, yet it
hits off well the distinctive
qualities of the two stvles. The
Chinese work possesses more
sobriety than the Japanese ; it
is marked by a steady serious-
ness, which pervades even its
lighter and more delicate mani-
festations. The Japanese spirit
seems more spontaneous, more
volatile, and sometimes runs
riot in a wealth of gay and
irresponsible fancy.

Chinese paintings, especially
of the older schools, are even
more rare in European col-
lections than Japanese paint-
ings : almost the only known
specimens being those treasured
in the temples and private col-
lections of Ja])an. No one
knows what wealth of art, de-
sjiite the wanton and barbarous
<lestruction of the summer
palace of Pekin, may yet lie
hidden in (_"hina ; but this has
hitherto not been revealed to
European eyes.

Of the many examples in the
collection, first of all is a fine
painting by Ching So Wang, an
artist of the Tang dynasty (a.d. 618-906). The sub-
ject is the favourite one of an angry storm-dragon
bursting out from a thundercloud, and though the
colours have dimmed and faded, a thousand years
have not les.sened the terrible restrained strength of
the picture.

One of the greatest masters of the Sung dynasty
was Mok-kei, who lived in the eleventh century,
famous as a painter of tigers, dragons, and birds.
The example here reproduced, which is in wonder-
fully good preservation, is full of tremendous power.

T.\ISHAKU TEN

the lithe, sinewy form of the tiger seeming the very
embodiment of sinister and murderous ferocity.

Of this early period the collection also possesses
a very fine example, attributed to Cho Tai-nen, of
a hunter riding home in the dusk on an ox. It is
unsigned, hut the chief argument against its attribution
is its wonderfully perfect preser-
vation.

The Ming period is repre-
sented first by two beautiful
flower and bird paintings dating,
from the fourteenth century, by
^Vang-jo-sui. The background
has darkened to a rich golden
brown, and the colours are full
and harmonious, and though
the petals of the flowers are
painted with extreme delicacy,
yet the paintings are full of a
grave dignity.

Then follow two very fine
specimens dating from the six-
teenth century, probably the
only examples of the respective
artists in Europe. The one, by
Shiu- sh i - ben, is a delightful
study II f birds and white
blossom, strong and simple in
line, and of rich full colour.
The other, a landscape by
Bun-cho- me i, the poet and
calligraphist, is what is known
as a "literary man's picture."
It is a noble and dignified
composition of ui a s s y
mountain, cloud and stream ;
the colour soft rich greens
and sombre browns, with here
and there a touch of red.
'I'hc rarity of this artist's work
uiav he judged from the tact
that no other specimen exists
in luirope, very few are known
in Japan, and nothing is known of ,ni exam[)le in
China.

Although the works of the Ising period, which
followed the Ming, are often hastily set down as
inferior to the older schools, the period produced
many great painters, and tlieir works are much sought
after in Ja])an. From some of the examples here,
one may see to what heights they attain.

An artist whose work is much \alued in Japan
is Wang-Hui, a landscapist of the seventeenth cen-
tury, who painted in the softer Southern style, and

BY VUKCHIDK

Tlie Coiiiioisscitr

Mr. Morrison is fortunate in the possession of an
album containing twelve of those delicate drawings.
Also of the seventeenth century is a beautiful paint-
ing of white blos.som by Hosonoku.

Few European religious paintings could compare
in elevation and dignity with the example by
W'ang-Lu-Kung, who lived at
the end of the Ming and the
beginning of the Tsing
dynasties. The subject is
the favourite one of the three
religions: Buddha, Confucius,
and Lao Tse (the last repre-
sented as a babe) meet har-
moniously in the realms of
the ideal. In a.n Eitar/opiedia
^/'rt/«//«.5'published inChina
in the eighteenth century, the
painter was described as "the
greatest figure-painter of his
time, surpassing all his con-
temporaries as the seven stars
of Heaven surpass the lesser
constellations."

Dated 1722, nearly a hun-
dred years later, is an
example of Chin-nan-pin,
an artist from whom the
naturalistic painter Maru-
yama Okio derived much
of his inspiration. The
subject is a group of white
rabbits under a tree covered
with blossom. The animals
are absolutely life-like, the
quality of the transparent
petals of the blossom is ex-
quisitely rendered, and the
whole picture is a wonderful
combination of grave solidity
in style, with an extreme
delicacy in handling.

The first painters in japan
were the Buddhist ])riests who crossed over from
Korea in the sixth century, and for a long time
their art was confined to the productions of Butsu-
gwa, the sacred pictures wliich adorned the temple
shrines.

For many centuries the work was carried on
on strictly traditional lines, and in those formal
paintings are found some of the most noble monu-
ments of Japanese art. The temples were the safest
storehouses of art relics in Japan, and a fair number
of the old Butsu-gwa survive ; but in most of them

rORTKAIT OF TENJIN SAMA, ASCRIBED TO KA.NAOKA

the former sjilendour of the colour is sadly dulled
and tarnished by age and incense fumes.

Very few fine examples have found their way to

luirojie, and the Japanese Government is even now

making a survey of all such temple pictures, which

are being catalogued as national treasures, and their

export forbidden. One of

the most surjirising features,

therefore, of Mr. Morrison's

collection is the number of

really fine Butsu-gwa which

it contains.

First of these may be
mentioned a beautiful and
impressive representation ot
the male Kwannon (it is the
female form that is usually
painted), with a small adoring
figure at the foot of the pic-
ture. It dates from the ninth
century, and at such a dis-
tance of time, in the absence
of any other evidence, it is
impossible to attribute it
more particularly than to one
of t h e great Kosd painters
of that time. Age and in-
cense fumes have turned the
background to a dark brown,
but they have failed to de-
stroy the extreme nobility of
the [)ainter's conception and
the delicacy and firmness of
his workmanshi[). It was a
difficult problem that such a
picture set for the artist. The
figure to be represented was
not human, but supernatural :
it contained, too, such ah-
ncunial features as several
pairs of arms, yet the impres-
sion produced must be noble
and elevated, not grotesque.

To us accustomed to the earthliness and poverty of
insi)iration which distinguish almost invariably the
works of Christian art, the extreme loftiness of con-
ception of such works is absolutely a revelation.

Another work of much the .same period, also a
picture of great dignity and beauty, bears a certificate
attributing it to no le.ss a painter than the great
Kanaoka himself: but Mr. Morrison himself prefers
to regard it as a fine work of the twelfth or tliirteenth
century.

But the finest of all .Mr. Morrison's llutsu-gwa is

Mr. Arthu}' Morrison's Collection

^ 4 ?

'^.i ^

Si^

■

. 1

A-

fl.

THE POET SHITAGO

BY NOBUZANE

probably the great picture by Eshin Sodzu-CJenshin,
who lived in the end of the tenth and the early part
of the eleventh centuries.

The care taken in storing the picture is evidence of
the high estimation in which it was held. The bo.x
containing the roll has a lock and key, to insure its
onlv being opened by the chief priest of the temple in
which it so long reposed, and the rollers of the kake-
mono are mounted with beautiful jikii of hammered
bronze.

The picture itself is of tremendous power. The
Buddha is represented as standing in a lotus and
descending upon a cloud to the earth ; before him
descend two angels. The figures are gilded all over,
and on the surface of the gold appear in most
exquisite drawing the features and other details. A
halo surrounds the head of each figure, and from
that of the Buddha great rays in gold strike off to
the edge of the painting. The background is of
gunjo (the famous lapis lazuli blue), but this has
cracked off and faded to something nearer a rich
black with a strange bloom of blue over it, so that
the picture only burns with some part of its former
splendour. The gold of the halos, the radiating
rays, and the outlines of the lotus leaves were all
executed, too, in the famous kiri-kane or cut gold
(now almost a lost art) ; but where the ginijo has
cracked away, it has also carrictl with it the gold,
.so that only traces here and there are lelt.

Indirect evidence makes the more certain the
authenticity of this picture. The silk on which it
is painted is not of one piece, but of three narrow
strips sewn together — a characteristic of the work
of some 900 years ago, when silk was not to be
obtained in broader widths. Then, again, gunjo is
a colour of such extreme permanence that for 500
vears it remains untouched by time, and the further
changes here visible are only possible in at least 200
years more.

Of the thirteenth century is an exquisite example
by Takuma Choga, another great painter, whose works
are so rare that he is to most little more than a name.
It represents Jizo, the protector of children, and is
characterised by a wonderful sweetness and dignity
combined with great power.

The collection contains also two very fine ex-
amples of the work of Kasuga Yukuhide, a painter
of the early fifteenth century, with the colour still
clear, bright, and unclouded. Two out of a set of
the twelve Deva Kings, they probably belonged to
a small temple, where, owing to limited space, the
whole twelve could not be hung up together, and
so escaped with little use. One especially, repre-
senting Taishaku Ten, which is here reproduced—
unfortunately not in colour — is a fine example of the

SUOKl A.ND liTMOS

BY CU3 i>i;nm

The Connoisseur

splendour and dignity of the old Buddliist work, with
its rich tints and copious use of gold. The halo with
other parts of the painting was gilded under the silk,
but owing to the remounting of the picture the gold
in these cases has disappeared.

Of a slightly later date are two fine specimens
of Shiba kin ken, who
flourished in tlie be-
ginning of the sixteenth
century.

Some of the painters
of the old Buddhist
schools also painted in
an alternative secular
manner, but these paint-
ings are even rarer than
those of sacred sub-
jects.

And her e w e h a \- e ,
perhaps, the most sensa-
tional of all the treasures
of the collection.

The most famous of all
Japanese painters is the
great Kose' no Kanaoka,
and he was one of the
first of those who, in ad
d i t i o n to B u t s u - g \v a,
devoted his attention to
secular subjects. But the
last absolutely authenti-
cated works of Kanaoka
was in tin- royal palace
at Kioto, and these were
destroyed by fire in the
seventeenth century.
Since that time, then,
though various pictures
have been attributed to
the master, it has been
impossible to absolutely
c o n fi r m a n y such a t -
tribution, as there is no

LANDSCAI'K

undoubted example of his work with which com-
parison may be made.

But Mr. Morrison possesses a portrait which is
ascribed to Kanaoka, and which represents the famous
philosopher, Tenjin Sama, a personal friend of the
artist, and above the figure is inscribed by the hand
of the Emperor Uda, a poem in praise of Tenjin
Sama. Formerly there existed a certificate by
Kohitsu Rioyei, a contemporary of Kano Tanyu,
who would therefore have seen undoubted examples
of Kanaoka's work, liut the box containing the picture

was destroyed by fire in the eigliteenth century, and
the certificate perished with it. To preserve a record,
however, of its contents, it was re-written on gold
liaper and attached to the inside of the roller at the
bottom of the mount, so that imtil the whole picture
was destroyed the record in the inside of the roll

would remain ; and there
indeed it remains to this
day.

This [jicture remained
in the hands of descend-
ants of Tenjin Sama till
quite recently, and a few-
years ago was shown at
an exhibition of relics of
the great philosopher.
The history of its trans-
ference to Mr. Morrison's
collection is interesting,
though too long for re-
production here.

.\s matters are, it is
ini[)ossible to say with
absolute certainty that
any painting is by Kana-
oka. But there is no
reason why one should
disbelieve the record
given ; and among com-
petent native judges the
least favourable possibil-
ity admitted is that the
work might be a pro-
duction of the greatest
Takuma, a little later
th.ui Kanaoka. On its
own merits, the ])ortrait
in its quiet and serene
calmness is worthy of the
greatest artist.

A unicjue example also
is the small secular
painting by Fujiwara no
who died in 1265. It is a portrait of
the poet .Minamoto no Shitago, being a section cut
from what was originally a makimono of the thirty-
six poets. It belonged to an old Japanese temple,
wherein the artist Shokwado was chief priest, as
shown by the picture being stamped as the property
of the temple, with the artist's .seal.

.Another fine example of secular work by an old
Buddhist painter is by Cho Densu, one of the greatest
of all Japanese painters, who died early in the fifteenth
century. It re|)resents Shoki, the demon-destroyer.

By SHIUBUN

Nobuzan

Mr. ArfJiiir Morrison's Collection

carrying off a little demon, which howls and struggles
in desperation. The drawing is of astonishing force,
and the colour a wonderful harmony of soft quiet
tints.

From the Buddhistic school there gradually arose
the secular Yamato or Tosa school. In the fourteenth
century a famous master in this manner was Kose no
Korehisa, the painter of a
series of makimono illus-
trating one of the civil wars
of the eleventh century.
This roll, originally in the
possession of the Japanese
Empress, and said to con-
tain the finest of all
Japanese war pictures,
was carefully copied in the
seventeenth century, and
the copy has now a resting-
place in Mr. Morrison's
collection. It is a start-
ling piece of work, the
grim horrors of war being
set down without softening
or mitigation. The draw-
ing of the horses especially
is superb, and the long
roll is full of scenes of
grand dramatic quality.

One of the leading court
painters of the sixteenth
century was Tosa Mitsu-
shige, whose daughter
married the Kano painter,
Motonobu, and of his
work the collection has a
valuable example. It con-
sists of three panels of a
sliding screen, and is a
typical example of the old
Tosa manner. The whole
surface is covered with gold, above which the colours
have been laid, and the effect is rich and jewel-like.
The centre panels repre.sent nobles playing the stately
football game, which was once reckoned as one of the
higher accomplishments.

Of the later Tosa artists the collection contains
some fine examples, and also a book of illustrations
in the Tosa style, by Toshun, a Kano painter, who
lived in the seventeenth and eighteenth centuries, of

THE SAGE DARUMA

the old romance, "The Genji Monogatari." The book
originally belonged to the Shogun's family, bearing
his crest in needlework on the cover, and the backs
of the pages are covered with the amateur drawings,
some of them very clever, of the members of his
household.

When the Chinese renaissance in the beginning
of the fifteenth century
gave a new impetus to
' " Japanese art, Shiubun

was the leading figure,
and the example which
Mr. Morrison possesses
shows all the poetry and
mystery of his work.
For the old Chinese and
Japanese landscape paint-
ers did not seek realism ;
it was the spirit of nature
which they sought to
portray. They dwelt in
the realms of the ideal,
and their cool streams
and towering mountains
swathed in mist, with
here and there the sug-
gestion of a temple roof,
or a fisherman's boat,
have all the peaceful
serenity of the world of
dreams.

Of the workof Shiubun's
famous pupils Oguri Sotan
and Noami, practically un-
known out of Japan, there
are two fine examples : the
first, a delightful study of
birds and flowers, full of
soft harmonious colour,
which marks Sotan as one
of the finest of Japanese
flower painters ; the other, by Noami, a striking and
powerful study of a tiger, which almost rivals that of
.\Iok-kei himself.

Noami's grandson, Soami, was famous for his soft
misty landscapes, painted in the Chinese manner ;
but that he could turn his powers to quite another
class of subject is shown by the exceedingly powerful
head of the sage Daruma, a masterpiece of concen-
trated force. (7'o be contiiiiud.)

BV SOAMI

(Niscellaneous

Mr, Butts, the Friend and Patron of BlaKe By Ada E. Briggs

Therk are many titles to immortality, as
there are to that lesser honour, a right to be remem-
bered by one's fellow-men : and to be known to
posterity as having been the friend and helper of as
yet unrecognised genius is certainly not one of the
least. Blake was a force that it would have been
difficult for circumstances to conquer in any case,
but that pathetic, empty plate, which Mrs. Blake used
to place before her husband as a silent reminder that
even prophets and seers must eat to live, and as an
entreaty that he would forthwith depict some of
those visions with pen or pencil that starvation might
not overtake them, must, without Mr. Butts, have
appeared far oftener than it actually did. And if
these wonderful imaginings had never been given a
concrete form, what a loss this would have been to
the world !

We do not know what it was that in the beginning
drew these two, at first sight, most divergent per-
sonalities together, but materials fortunately exist from
which we can gather a good idea of the relations
which subsisted between them. This friendship forms
one of the most pleasing aspects of Blake's strenuous
career; the most perfect of all, perhaps, being his
relations to his wife : for unlike the majority of men
of genius, hr wa^- furtunate in the woman he married :

they understood
and loved each
other to the end ;
and the friendship,
too, was never
broken.

Mr. Butts, at the
time when he first
began to buy the
works of the prac-
tically unknown
artist, held a post
under Govern-
ment, and must
have been some-
what of a dandy

MRS. T. BUTTS BY W. BLAKE

{ Hy fit-rmission of the Owner)

to judge from the smart embroidered coats, waistcoats,
and lace ruffles preserved by his descendants and
kept in a chest standing near the pictures, which he
perhaps bought whilst he was wearing them. A slight
sketch of the most prominent among his forbears
may be interesting before we pass on to consider his
relations to the poet-artist.

Wc find, then, that the family was of considerable
importance in the reigns of Richard and John : and
there is still in existence a deed dated October nth,
1 1 70, in which the King lea.ses large estates in the
counties of Suffolk and Essex to his " Well-beloved
John and .Mary Butts."

The next member of the family who has left a
record in history was a Sir William Butts living in
the time of Edward III., who was slain, Camden says,
at the Battle of Poictiers, .\.d. 1356. During the
fourteenth and fifteenth centuries the family seems to
have resided only at Shouldham Thorpe and Thornage,
in Norfolk. The manor of Thornage was long in the
possession of the Butts family, and on the ancient
communion plate of the church there is inscribed :
"Was the gyfte of John Butes " (often so spelt) "and
Margaret his wife, 1456," and then, apparently added
later, "which dyed in 1479." This John was the
father of Sir William Butts, the celebrated physician
to Henry VIII., men-
tioned by Shakes-
peare. Aitken, in his
Biography of Medi-
cine^ says that this
Sir AVilliam was edu-
cated at Gonville
College, Cambridge,
of which he was
elected a Fellow.
He became B..\. in
1506, M..\. in 1509,
and .M.|). in 1518.
He was the friend of
Wolsey, Cranmer,
and Hugh I-atimer,

T. BUTTS, THE F.\THER

BY W. BL.\KE
(By permission of the Owner)

Mr. Buffs, flic Friend of B/a/ce

and the patron of Cheke and Thirlhv.

In 1529 he was admitted a mendjer of

the College of Physicians. Hut it is

strange how history repeats itself, and

Thomas Butts was not the first of his

line to be the friend and patron of a

great artist, for Dr. Butts' chief title to

remembrance now lies in the facts that

he .stood in this same relationship to

Holbein, who painted him more than

once, as well as several members of his

family : and also that he was for a time

a living entity in Shakespeare's mind,

who singled him out from the crowd

of courtiers and noblemen to stand for a moment

beside his protagonists, in the play of Henry V'HI.

Shakespeare probably never saw 1 )r. Butts, who died

'" 1 5455 before the capital had yet received in humble

guise the greatest of England's sons : but no doubt

he had often heard of him. Sir William married

Margaret Bacon, and their daughter married her

cousin. Sir Nicholas Bacon, elder brother of the great

Lord Bacon, and this daughter carried the greater ])art

of the Norfolk estates and many of the pictures out of

the family. Her brother Edmund's portrait by Bettes,

a pupil of Holbein, is now in the National Gallery.

Early in the eighteenth century we find a Robert
Butts (born 1685, died 1747), the son of a William
Butts, rector of Hartest, Suffolk, as Bishop of Ely ;
he was great-uncle to the man who is the subject of
this sketch, and left to his great-nephew some beautiful
china, which still e.\ists.

Thomas Butts, like Blake himself, was happy in his
married life, and profound love and sympathy existed
between him
and his wife.

This Elizabeth , 1^,, /

B u 1 1 s ( H e e
( "oo])er) drew
<|uaint pictures

in needle- v'tP 6

work : groups
of rabbi t s,
hares, part-
ridges, and
the like — one
wonders what
Blake thought
of them, and
whether he
was ever called
upon to express
his opinion
on their merits

r. BUTTS, THE VOUNGER

BV W. BL.\KE
{By peririission o/ llu On'ncr)

AL'T0(;RAI'H KECEtl'TS

as artistic productions. The colours
are a little faded now, but otherwise
they are as well preserved as when
" Betsy," as she was called, first finished
them and sent them to be framed —
with no little pride we may be sure !
The eldest son of this Thomas and
ILlizabeth Butts, Joseph Edward, ran
through a very considerable fortune
during his father's life-time, and was
disinherited. He died before his
father and his family migrated to
America. There were several other
children, who all died young, with the
exception ot the subject of the third miniature repro-
duced here, also a Thomas, who was born in 1788,
and died in 1862. He was the son whom Blake was
engaged to teach drawing at a yearly salary of ^^26 ;
but the father seems to have profited far more by the
lessons than the son did, and though it is difficult,
when father and son both have the same name, to
be sure in every case, the drawings and engravings
reproduced here are all lielieved to be by the father.
The son did not share the elder Thomas Butts'
enthusiasm for Blake, and after his father's death
either gave away or sold for a mere trifle a great
many of the pictures, and notably the Inventions to
the Book of Job, which was sold by Lord Crewe at
Sotheby's on March 30th, 1904, for ^5,600, the
highest price, it is believed, ever paid for any com-
paratively motlern book.

It was about the year 1793 that Blake made the
acquaintance of Mr. Butts. What, one wonders, was
the bond between the two? Was .Mr. Butts so far

seeing that he
alone of the
general public
of his day
recognised the
interest and
value that these
works w o u 1 d
have for a later
ge n e ration ?
Was it the
personality of
the poet - artist
that attracted
him ? Or was
it kin d n e s s
of heart and
sympathy with
the struggles
and difficulties

(/>y kimi ptrirission 0/ Messrs. Caf/a.r *V Co )

Ihc Connoisscitr

of a |)oor and unknown genius that
induced him to expend the money
he gave for pictures hy living artists
— and he for some time bought
one a week — on the works of Hlake
alone, instead of also on those of
men esteemed in his day, many
of them still esteemed in ours ;
Bartolozzi, Flaxman, Stothard. not
to mention Sir Joshua, who hail
just died (1792), (iainsborough,
and Romney ? The only works
by an artist of his own day, other
than Blake, tliat he l)ouglu were
three interesting pencil sketches of
the Royal Dukes, by Laurence. Did he feel that Blake
possessed some special quality that attracted him more
than anything that these others had done ? One
cannot but think so, especially when we see from the
reproductions of some of the work that he executed
under Blake's tuition, how much he has caught of
the master's manner and feeling. Kven if the
floating figure was copied from one of Blake's, as
seems likely, the N'enus Anadyomene that bears
the legend " T. Butts, Inv. et pinx., 1807'' cannot
be. The three others are probably engraved from
Blake's designs. The plates are still in existence.
The pleasantest relations marked their long friend-
ship, and Blake, who with the irritability natural to
a man of his ardent, imaginative character (juarrelled
with almost everyone, never had a serious dis-
agreement with Mr. lUitts. He says himself that
his friend always left him free to exercise his own
judgement, and that he would never cease to honour
and respect him on this account. Thus we fuid that
generosity, confidence, and admiring recognition of
great powers on the one hand, and love and gratitude
on the other, seem to have marked their intercourse
throughout. l-'or though the ])rice that Mr. Butts
paid for the [lictures, one guinea each, now seems
to us ridiculously inadecjuate, yet it was far more
than Blake could obtain for them elsewhere, and,
indeed, at one time there was
no one else who would buy them
at any price ; but Blake, as we
know, valued far more than money
the recognition of his genius and
the being left free to follow his
own strong inward bent. .\s long
as he had the wherewithal to pur-
chase the materials of his art,
and to provide himself and his
Catherine with the humble neces-
saries of daily life, he was more than

ENGRAVING BY T. BUTTS
( By perntission o/ tin: Owner)

DKAWN AND ENGRAVED BY W . HI.AKK
(Hy /•erittission o/ the Owner)

content. Mr. Butts was not, then,
like poor I' laxman, " a sublime
archangel " in Blake's phraseology
when things in general were running
smoothly, and "an odious demon"
when they were not. Kven when
he writes to excuse his long delay
in executing some commissions, he
writes temperately, as if Mr. Butts
had never other than a calming
effect upon him, as the following
extract from a letter will show : —
" Be assured, my dear friend,
that there is not one touch in these
drawings and pictures but what
came from my head and my heart in unison : that
1 am proud of l)eing their author, and grateful to
you my employer ; and that 1 look upon you as
the chief of my friends whom I would endeavour
to please, because you, among all men, have enabled
me to produce these things. I would not send you
a drawing or a picture till I had again rei'onsidered
mv notions of art, and had put nivself back as if
I was a learner. I have proved that I am right,
and shall now go on with the vigour I was in my
childhood famous for. I!ut I do not pretend to
be perfect : yet, if my works have faults, Carraci's,
Correggio's, and Raphael's have faults also. . . .
Let me also notice that Carraci's pictures are not
like Correggio'.s, nor Correggio's like Raphael's ; and,
if neither of them was to be encouraged till he did
like any of the others, he must die without en-
couragement. My pictures are unlike anv of these
painters, and I would have them be so. I think
the manner I adopt more jjcrfect than any other.
No doubt they thought the same of theirs. Vou
will be tempted to think that as I improve, the
pictures, etc., that I did for you are not what I
now wish them to be. On this I beg to sav that
they are what 1 inleriiled them, and that 1 know I
never shall do better ; for, if I were to do them
over again, they would lose as much as they gained,
because they were done in the heat
of my spirit.''

-Vnd again from another letter :
" Accept of my thanks for your kind
and heartening letter. Vou have
faith in the endeavours of me, your
weak brother and fellow-disciple.
How great must be your faith in
our Divine .Master.' Vou are to
me a lesson in humility, while
you e.xalt me by such distinguish-
ing commendations. I know that

Mr. Butts, the Friend of Blake

you see certain merits in me, which, by God's
grace, shall be made fully apparent and perfect in
Eternity. In the meantime I must not bury my
talents in the earth, but do mv endeavour to live
to the glory of our Lord and Saviour : and I am
also grateful to the kind hand that endeavours to
lift me out of despondency, even if it lifts me
too high."

And again : " I send seven drawings, which I hope
will please you. This, I believe, about balances our
account. Our return to London draws on apace. Our
expectation of meeting again with
you is one of our greatest pleasures.
Pray tell me how your eyes do.
I never sit down to work but I
think of you, and feel anxious for
the sight of that friend whose eyes
have done me so much good. I
omitted, very unaccountably, to copy
out in my last letter that passage in '

my rough sketch which related to
your kindness in offering to exhibit
my two last pictures in the Gallery
in Berner Street. It was in these
words : ' I sincerely thank you for
your kind offer of exhibiting my
two pictures. The trouble you take
on my account, I trust, will be
recompensed you by Him who sees
in secret. If you should find it
convenient to do so, it will be grate-
fully remembered by me among the
other numerous kindnesses I have
received from you.' "

Mr. Butts .seems, indeed, to have
had sufficient insight and greatness
of mind to have uniformly treated
his inferior in mere worldlv station,
at a time, too, when classes were far more shar|)ly
divided than they are now, in such a manner that
Blake should feel that he was acknowledged as his
.superior in force of character and intellect, in all
things pertaining to the mind ; and this, no doubt,
was balm to the often vexed and distracted man,
so little understood or valued, as a rule, by his
contemporaries.

One or two slight errors have crept into all the lives
of Blake, the writers often, no doubt, in many cases
following each other. Mr. Butts was not a merchant,
as Gilchrist expressly .states in vol. i., page 282, but
held a j)ost under Government and became Muster-
Master General to the Forces, a post now merged in
that of Secretary for War. It is true that he owned
a coal-mine in Wales, whicli did not pay and was

DR.^\VI.\(; BV W. lil.AKE
Ihy ftcrniission of the Owner)

later given away, and from the account given in
(Gilchrist's book and still in the possession of the
Butts family, it appears that he once paid for
some of the pictures in coal instead of money: "By
coals, to Oct. 5th, i8o5,_^j2 r9s.,''and it is probably
this that is responsible for the mistake. There are
still preserved 29 receipts for sums paid for the
pictures, varying from 4 to 28 gns., two of which are
re[)roduced here for the sake of those who are inter-
ested in autographs. This is the only one that is in
Blake's handwriting throughout ; all the others are
drawn up by Mr. Butts and signed
by Blake.

.\nother error connected with
Mr. Butts is in Ellis and Veats'
book, where he is spoken of
throughout as "Captain Butts,"
they having confused him with
his grandson. 'I hen again, where
do the people who so constantly
ascribe what is called the "Adam
and Eve " story to Mr. Butts'
authority, obtain any evidence for
so doing? On page 115, vol. i.,
Gilchrist states that Mr. Butts was
" fond of telling the story which
has since been pretty extensively
retailed about town." But he does
not say who heard him repeat
it, or give any authority for the
statement, and the late ("aptain
Butts said that he distinctly re-
members hearing his grandfather
declare that there was no truth in
it. Probably it had occurred to
some wit that it was not impossible
that a man such as " men about
town ' would consider Blake to
be should do such a thing ; his hearers found the
anecdote boi /roTa/o, if not true, and gossip soon
did the rest.

Let us now turn to consider for a moment the three
miniatures illustrati'd in this article. At the time that
the elder Mr. Butts was painted, he was Muster- .Master
General to the Forces, and it is doubtless in the uniform
of this office that he is here dejiicted. In the repro-
duction it scarcely looks like a uniform, but is plainly
so in the original, the one epaulet being clearly visible.
The miniature is well executed, but here, as always
when Blake worked from life, his own peculiar man-
ner is entirely absent. It is ])robably a good portrait,
but there is no inspiration about it. Mr. Butts is
represented as a refined, intelligent-looking man, with
good features and a serene and pleasing expression.

The Connoisseur

Blake says in one place, " natural

objects always did and do, weaken,

(leaden, and obliterate iniatiination

in me " ; but later on we fmd an

illustration of his favourite maxim

that " the man who never alters his

opinion is like standing water, and

breeds reptiles of the mind." For

in a letter of July 6th, 1803, writing

of these very miniatures, he says :

"Then I am determined that Mrs.

Butts shall have a good likeness of

you, if I have hands and eyes left :

for I am become a likeness-taker,

and succeed admirably well. Hut

this is not to be achieved without

the original sitting before you for

every touch, all likenesses from

memory being necessarily very, very defective : but

Nature and Fancy are two things, and can never be

joined, neither ought anyone to attempt it, for it is

idolatry, and destroys the Soul."

And again in a previous letter ; " .Xnd why have I
not before now finished the miniature 1 promised to
Mrs. Butts ? I answer I have not till now in any
degree pleased myself, and now I must entreat you
to excuse faults, for portrait painting is the direct
contrary to designing and historical painting in
every respect. If you have not nature before you for
every touch, you cannot paint portrait ; ami il
you have nature before you at all, you cannot paint
history. It was Michael Angelo's opinion, and is
mine. Pray give my wife's love, with mine, to Mrs.
Butts. Assure her that it cannot be long before I
have the pleasure of painting from you in person,
and then that she may expect a likeness. But now
I have done all I could, and know she will for-
give any failure in consideration of the endeavour."

The portraits of .Mrs. Butts and of
the son were painted some years later.
She is a somewhat mature, handsome,
and dignified woman, a little in the
grand style, and it has been thought
that a distinct resemblance to her may
be traced in many of Blake's female
figures. The son, who is represented
as a good-looking young man of about
one and-twenty, is believed to have hated
Blake ; at any rate he disposed of as
many of the drawings as he could as
soon as they became his own property.

VENUS ANADVOMENE, BY T. BUTTS
(/»^' ptrniission o/ tht Owner)

HEAD, DESIC.NED BV BLAKE
ENCJRAVED BV T. BUTTS
( Hy ficriiiissioH 0/ the Owner)

His own Strong bent was towards
music. In an old pocket diary of
1800, when he was between eleven
and twelve years of age, anil some
years before the lessons from Blake
began, we find the following entries :
— "September loth, Mr. and .Mrs.
Blake, his brother, and .Mr. Birch
came to tea " : and, again, " Sep-
tember i6th, Mr. Blake had break-
fast with mama."

Blake died in 1827, and .Mr. Butt.^
not till 1844, and the last pictures
known to have been bought by him
were The Inventions to the Book of
Job in 1822, to which we have
already referred, while the last
transaction between them seems
to have been in 1823, when .Mr. Butts lent these
designs to the artist that he might show them
to possible purchasers of engravings to be taken
from them. There is no record of any intercourse
between the two men during the last four or
five years of Blake's life. It was not that there
was an estrangement, but both were growing on in
years, and there had gathered round Blake a band
of young and ardent disciples who no doubt pushed
the older friends a little on one side. The Lin-
nells, .Mr. Crabb Robinson, Mr. Haviland Burke,
.Mr. Tatham, .Mr. Cumberland, and John Varley —
these, with some few others, seem to have filled
the place of Mr. Butts in those last declining
years. Hut an unbroken friendship of thirty years
fills a large space in the brief life of man, and
theirs certainly reflects equal credit upon both
of them. That Mr. lUitts was in the end in
every way the gainer does not detract from the
value of the qualities that enabled him to act a.s
he did before he could possibly have
known this. And one is glad to think
that he who contributed so largely to
the peace and happiness of a great
genius such as Blake, should himself,
on the whole, have led a happy life ;
and as long as the name of the one
is held in honour by mankind, so
long will the other be remembered
as the man without whom Blake's
arduous struggle to live would at one
time have been, not a struggle, but an
impossibility.

A London Silversmith of the Eighteenth Century
By Edward F. Strange

The importance of exploring old books of
account — and especially those relating to the crafts —
is by now pretty generally admitted. The difficulty
lies in tinding documents of this nature ; for the old
craftsmen hardly seem to have been sufficiently con-
siderate of our needs or, at all events, our curiosity.
They have left few records ; possibly because, how-
ever able they were at their callings, the cramped arts
of writing and book-keeping did not greatly appeal to
them. Once in a way such a one does, nevertheless,
come to the surface, and it is my good fortune to be
able to draw attention to a case.

for a number of years there has been, in the
section of Prints and Drawings of the Victoria and
Albert Museum, an old volume containing a large
number of prints, obviously taken from engraved
silver plate ; and this has been in general use, for the
sake of its heraldrv. But, upon examining it lately

in connection with some necessary repairs to the
binding, I was struck with the nature of one or two
fragmentarv entries, in faded ink, which could be
seen, here and there, between the prints. It became
evident that the latter ought, for their own sakes, to
be removed and properly mounted. This was done
carefully, so as to preserve as much as possible of the
book itself ; and when the operation had been com-
pleted, it became possible, for the first time for a
century and a quarter, again to decipher the entries
on the pages.

A short inspection of the contents showed it to
have been a note-book of a working silversmith named
George Coyte. His address, curiously enough, does
not appear. There are few dates — the earliest, Septem-
ber 1 2th, 1 77 1, and the latest, 9th August, 1777 ;
the entries in the book having been undoubtedly,
however, begun before the former and finished after

ARMS OF MERRVE, IMI'AI.INi; ASHTON, QUARTERING
HARRODYN

ARMS OF THOS. HAY, ESQ., SECY. OF STATE OF JAMAICA
(D. 1754)

The Coiiiioisseity

llic latter
year. Tlie
second
mentioned
hasa some-
what tragic
interest.
It is that
of a legal
endorse-
nicnt,"I'^.\-
h i b i t e d
to us un-
der the
C o m m"'
ag'- (jcorge
C o V t e .
No. '3. T.
H a r r e 1 1 ,

ARMS OF THE EARL OF EGLINTON

ARMS OF CHARLES, THIRD DUKE OF

QUEENSBERRY (D. I778)

Rich' Calvert, li. Hassell." Mr. Coyte
had got into financial trouble, and had
been obliged to jjroduce this utterly un-
businesslike and casual record of his
dealings in the course of the proceed-
ings. An entry on another page prob-
ably refers to this period of difficulty ;
" Bartlett imployed for his Lawyer a
Mr. Copper in Hatton garden : note now
he imployes a Mr. Hobbs a Lawyer."

But the real interest of the volume lies,
not in the troubles of Mr. Coyte, but in the memoranda
of details of his very miscellaneous business. He both
bought, sold, made and repaired — as fortune brought
him trade. One of the earliest entries in the book
— undated, of course— is to the following effect:
" Bought of a french Man a gold showlder knoot at
3s. 6d. j)r. ounce weight, 4 oz. 6d. weight note it
burnt very well." For his guidance in similar op[)or-
tunities of acquiring gold and silver lace for the sake
of the metal, he adds below : " Note a silver shoulder
lace and tasills comes to 21s." Here is a recipe for
cleaning ])late : " 'lake burn Hart horn hoyl it in
water a Hour and put in a bitt of ragg boyl it with
it rub your plat well with it ; and after clean it with
a bitt of clean cloath." The idea of boiling the rag
— to ensure perfect softness and freedom from grit-
seems thoroughly sound. Then we get addresses,
and prices, of people with whom he dealt. Thus,
" Mr. Const's price for Braceletts— Setting in gold.

j£,'i 15s. ; plating (i.e. plaiting) hair, 4s. : lettering in
gold Letters, 7s. 6d." And, "John .Maitland at Mr.
Yates's ne.\t door to y" Brown Bear in How Street
Covent garden setts and mends all kinds of Jewells
and Stone work." There are many such notes of
craftsmen's addresses. Here are others : " Mr. Take,
y" man that makes Marquists Locketts and made
.Mrs. Ward's pins lives in Sallsburry Court no'"- 35."
"Mrs. I'ollard, Jeweller, of all kinds Hoop rings of
all Coulers Lives at the Corner of portigal row the
Corner of Lincolns inn fields — sells very good garnett
earrings at 5s. a pr. sett in gold, and garnett Hoop
rings at 6s. a pre. I think very neat, gold r.c.it small
seals at 7s. a pice." " George Smith Basketm.nker in
Chymisters Ally St. Martins Lane, wickers handels
of all sorts & sells s° finest quadrill lio.xes at is. 3d.
a sett."

Of his own prices there are, naturally, a large
nimiber ; and the nature of them varies in a very
interesting manner. Some are a little
crvptic in character; for instance,
" niidle lansci])e u])on ivery, 8s.;
upon velim or white satten workin,
7s." can hardly refer to miniature
painting. As it continues with a de-
scending scale of cost for lockets,
rings, and buttons, the allusion is
rather difficult to understand. But
a good trade was done in the fitting

CYPHER OF A BARON

of miniatures,
and the prices
paid for this
work are not
the least in-
teresting in
the volume.
Thus "a glass
to a picture "
costs IS. 6d.
or 2 s . ; the
s a m e , with
the addition
of "setting
in met tell,''
is 13s. 6 d .
" Taken out a

picture in a
gold fram " is

ARMS OF MORRIS, OF BROADFIELD

HOUSE, NEAR DEVIZES

ARMS OF NEVE OR LE NEVE

A London Silveysiiiith

3s. 6d. For setting " pictures " in gold we have five
guineas charged for two, and three guineas at one time,
and a guinea and a half at another, for one. There
is an entry for a case to a picture ; but the price
is illegible. Mo.st of these items are to the account
of a " Mr. \Vebster,'' who was a regular customer,
for a memorandum is inserted at the head of one
page to " note the old account." His requirements
in the way of glasses, settings, and the like are so
numerous that it is reasonable to suppose that our
silversmith was dealing with a miniaturist, and not
with a private person who would be likely to possess
few miniatures in uncompleted settings. If so, it
is a fair presumption that the artist referred to
was Simon Webster, F.S.A., who, as Mr. Algernon
Graves has recorded, exhibited miniatures with the
Society of Artists, and with the
Free Society, during the period
1762 to 1780. Mr. ^^'ebster
did not pay very well : there
are one or two balances car-
ried forward against him. Per-
haps this may be taken as
some evidence that he was a
practitioner rather than a patron
of arts. He may, moreover, be
referred to by a later entry as
the "gentell man that Mr.
Cotye sets y" picturs for " who
had a seal made from a ring.
There are one or two entries
relating to watches. Miss Butt
bought one for six guineas, as
well as a ring for a guinea, a
bottle of Lavender water (is.),

IMllhNTIKIIiD

.\k.MS OF SIR WM. VOU.S'G, B.AKT., M.I-.

.ARMS OF HOWARD OF LONDON IMP.ALING

COMBERFORD

a pair of blue gloves — "Mrs.
Carby had them" (doubtless
the maid) — and many other
pretty trifles. When her watch
lost one of its gold hands, it
cost 4s. 6d. to have it replaced.
.Miss Hutt was evidently a good
and a trusted customer. She
borrowed a guinea in ^[arch,
paid it back, and borrowed
another in May. Later on
-Mr. Coyte lent her is. ^d.,
" payed for her .Mama's Let-
ter," which was also duly re-
funded. There is no mention
of interest having been
charged. Miss Dawson was
another client — could sl;e
ha\ e been the famous Nancy ?
Nancy died in 1767. At what date before 1771
this most casual set of memoranda was made one
cannot tell. There is more than a bare chance that
Mr. ("oyte's customer was the nimble-toed dancer
who had turned all the heads of the town a few
years before. The first entry against her name is
" A pr. of Bu(-kelis, £,2 <Ss." — a high price, com-
paratively. Miss Dawson also borrowed guineas, and
paid them back, more or less, though at the bottom
of the page there is a balance of _^3 ics. against
her. Her fans needed much mending, and she pur-
chased " a pr. of sisers, 6d.," and a silver bodkin
for one shilling. Hut one of the most curious and
unexpected charges is for " a Bottell of Daffee's
ellix' "^that famous old |)atent medicine of the
seventeenth century — the price of which was is. 3d.
The next line explains the Eli.xir, and throws a
plea.sant light on Miss Dawson's personality, who-
ever she was : " Lent to Miss, Old Marv had it

The Coiiiioisseiiy

WM HUMBLE, BART.

when sick, los. 6d." If this
were verily the deed of Nancy,
she deserved better things
than the National Biographer
says of her. Perhaps, after
all, it was not. And yet
Nancy Dawson's great rival
conies strangely into the
book — he of whom the bal-
lad relates : —

" Though Garrick he has had liis

(lay,
And forced ihe town his law i'

obey.
Now Johnny Rich is coine in play.

With help of Nancy Dawson. "

For, on ■'.lully y'' 27" —
year not set down — "Mr.
Garrick " bought a pair of silver buckles for 8s. 6d. :
a price very different from that given by Miss Dawson.
On Nov. the 8th he had a tea-spoon mended, for
which he paid 6d. And on the 19th May in quite
another year (and handwriting) wc have " Mr. Gar-
rack " debited with "a nutmeagrater, los. fid.," and
"a Bottell of Burgamot, is. fid." That these entries
relate to the great actor there is no reasonable doubt;
and one begins more clearly to realise the human
interest that has lain hidden for so long in this waif
of a document from the early years of the reign of
George III.

This was the period when hair
were in the fashion; and,
among his various activities,
Mr. Coyte ministered thereto
also. For "a Hair ring with a
urn of hanging willows " he
charges ^i 5s., and gave satis-
faction so great that two friends
of his customer proni])tly bought
similar articles. This was on
the i2th May, 1773. About the
same date a " milk pale," of
silver, doubtless, fetched two
and a half guineas; and a
" glass for a Salt, Blew," 2s.
Here is a tragedy : " Mr. Clark,
Mr. Foster's nephew, a pr. of
gloves — note Doge eat one
... IS. 6d. ' .\ punch ladle

ARMS OF ELIZABETH (VANE), WIDOW OF SIR

SHE DIED 1770

and lockets

UNIDENTIFIED, BIT, OVEK
(OF YORKS)

costs a sovereign to make ;
two "gravey spouns or
Initter Ladles " and a dozen
of tea-spoons are entered
at £.2 8s. fid. on the 19th
M.inh. 1772 ; "quite plain
sparagrass Toungs" are lis. ;
the same but "fashon," 12s.;
and in open-work, 18s.
One branch of his trade I
have left for the last, and it
is the one that fortunately
can to some extent be illus-
trated. He did a consider-
able business in engraving
plate, and when his memo-
randum book was filled, he
used it as an album in which
to paste the impressions. \Ve reproduce a repre-
sentative series of these prints — all being heraldic
in character. They are also, of course, all rever-
sals, and though roughly printed, have a vigour
which makes them not unattractive. The engraving,
as such, is respectable, but uninspired — obviously
derived from contemporary [jattern-books. This
branch of Mr. Coyte's business had begun before
the volume was used to store these prints. It is
interesting to record some of his prices. Thus the
note, " 2 Crest of Cyfering, Large " occurs at 3s. ;
" Egraving and Cyfering " a sugar basket is the
.same price. For engraving eight crests he charged
4s. fid. only, and one shilling
for engraving and cyphering
a pair of sugar tongs. Th.e
whole series of his prints
is very large and instructive :
and one cannot but help feel-
ing a little satisfaction in
having been able to associate
it with a definite personality,
whose own associations were
so interesting. George Coyte,
it may be said, in conclusicn,
is mentioned in Mr. Jackson's
List of London Goldsmiths,
under the year 1773 only.
His period can now be ex-
tended beyond that with abso-
lute certainty.

Mechlin and Antwerp Lace

By M. Jourdain

The hypothesis that lace was made in the
time of Charles V., towards 1500, '•' because the Low
Countries then attained their " greatest intellectual
expansion," is, of course, absurdly and entirely fan-
tastic, and the political troubles of Mechlin in the

Charles \'., even // lace had been made there as
early as the fifteenth century.'

Prior to 1665 nearly all Flanders laces were known
under the name of Mechlin to the French commercial
world. "The common people here," writes Regnard,

No. I. .MECHLI.N LACE (DATED I757)

MLSEE DES ARTS DhCOR.JVTIFS, BRUSSELS

fifteenth and si.xteenth centuries would have entirely
counterbalanced the initial prosperity of the reign of

* " Peut-on conclure, comme Mine. Bury Palliser semble le
faire, ijue les vraics Malines ne fiirent faites tiiie vers 1665 ?
Nous ne le pensons pas, el croyons qu'il n'est nullenient
temeraire <le les croire du tem|K de Charles Quint vers t^oo
car ce fut sous le icgne de ce grand Empereur que le I'ays-Bays
eurent leur plus grande expansion intellecuiale." — Collection
ifaiuiennes Deiilelles flaiiiaiida di Jen Madame Aiigiisia,
lUirotine Liedts^ dotjtu'e ii la ville de Bruges {AJusee de
GniiffhuKSt), iSSq.

who visited Flanders in 1681, "as throughout all
Flanders, occupy themselves in making the white
lace known as Malines." The laces of Vpres, Bruges,
Dunkirk and Courtrai, according to Savary, passed
under the name of Mechlin at Paris. Peuchet J

+ An important corporation of weavers of Mechlin were
scattered by llie political troubles of the fifteenth and sixteenth
centuries.

X Dictionitairc Vniversel de la Geographie comfnercanU. —
/. Pciiihct, 1 790.

'^.t^^;^'

^^'^■\:^t;"^^■V>^\^-^

No. II. — MECHLIN LACE

MUSLE HISTORIQUE DES TISSUS, LYONS
103

The Connoisseur

No. III.— MECHLIN LACL

MISI.K Hl.STOKIQl'K DES TlSSl'S, I.VONS

writes that a great deal of " Malines " was made in
.\nt\verp,''' Mechlin, and Brussels, and that the in-
dustry was an important one at Antwerp. He adds
that an excellent quality of thread is made in the
town and neighbourhood.

In England Mechlin is not mentioned hy name
until Queen Anne's reign.'

In 1699 the Act prohibiting foreign lace was
repealed in so far as it touched the S[)anish Low
Countries, and Anne, while prohibiting lace made
'■in the dominions of the French king," admits the
imijort of Manders lace, so that from the first years
of the eighteenth century Mechlin was without rival
in England among light laces. According to Peuchet
Mechlin laces are " les plus belles, apres celles de
Bruxelles, et elles ont uti peu plus de duree." It was
eminently suited to the less severe modern costume
which came in with the eighteenth century, and by

* .Specimens of Mechlin lace arc preserved in the Slocn
Museum at Antwerp.

t " l-'landois lace " is the only term used for Flemish laces
in ihe Great Wardrobe Accounts until l^ueen .\imc, when
" M.acklin '* and liiiis^els arc lii si noled .lnun.

its open a jours and trans|)arent appearance, to be
worn as a trimming lace. It thus remained in fashion
through the eighteenth century, when references like
" Mechlin the tiueen of lace," " Mechlin the finest
lace of all," bear witness to a vogue in England little
short of extraordinary. The disappearance of lace
ruflles before 1780 from women's sleeves, and the
disappearance of the cravat and men's ruffles, put
an end to lace as a fashionable adjunct to dress. In
1834 there were but eight houses where it was fabri-
cated. J Unfortunately, also, for the prosperity of the
industry, Mechlin is of all laces the easiest to copy in
machine-made lace.

Historically, Mechlin developed, like Valenciennes,
from the straight-edged laces of indefinite pattern, and
an irregular ground j which has the appearance of
being pierced at intervals with round holes.|

+ Mecldin lace was also made at Antwerp, Lierre, and
Turnlioui. "There was a fine collection of Mechlin lace in
the I'.iris Exhibition of 1867 from Turnhout, and some other
localities."— J//-.f. Pallistr, Hisloiy of Lace.

§ See Valenciennes.

" In the Gruuthuus rollerlion, lares of this lype which have

>,\j. 1\-. — MECHLIN LACE, SHOWING QL'ATREFOIL FU-IING

104

Mechlin and Antiverp Lace

Mm.^

XO. V. — ENLARGEMENT OF MECHLIN
FANCY GROUND

and light, and a
Much of this lace,

The earliest ex-
amples of what we
can recognise as
Mechlin show a de-
sign consisting of
groupings of heavily
d r aw n flowers,
clumsily designed
rococo devices,
cornucopias, etc. (see
No. iii.).

Later, with the
adoption of the
characteristic Mech-
lin reseau, the floral
design becomes more delicate
French influence is apparent.*
worn in France dur-
ing the Regency and
later, was made up in
the style of modern
insertion, with an
edging on both
sides,' cainpane or
scalloped, and used
for the gathered
trimmings called
qiii/ks, like the Ar-
gentan sleeve - trim-
mings of Madame
Louise de France
])ainted by Nattier
in 1748.

The attempt to
imitate Alencon extended not only to the motifs of
its design — the characteristic winding riband and
scattered sprays of flowers, \
but to the but ton- hole

^^^^^^»;

SHOWING

:?«*'

No. VL

" points d'esprit " (small solid
portions lil;e the millet seed of
Genoese lace) are invariably
auribuied to Mechlin, while
in the Cinqiiantenaire .Museimi
at Brussels ihey are attributed
to Antwerp.

* " La France et la Hollande
en consommaient beaucouj)
autrefois. " — Pciichet.

t 1741. '■ Une coilfure de
nuit de Malines a raizeau cani-
panee de deux pieces."—///?'.
de Mademoiselle de Clermont.

1761. '• Une paire de man-
ches de Malines bridee en cam-
panees." — Inv. de la Duchesse
iie Modene.

X The sprigs in Mechlin are,
however, clumsier in drawing.

stitched cordonnet.
In Mechlin a coarse
thread was applied to
the edges of the
design, which gives
higher relief than
the flat cordonnet. 5
The fillings are
often, like .Mencjon,
of the trellis type
(No. viii.).

The open fancy

fillings II render the

lace very effective

when worn over

colour. The late eighteenth century Mechlin has

pieces quite undistinguishable in design from Alencon

of the Louis XVL
|)eriod. no doubt
owing to its large
c o n s u m [) t i o n i n
France as a summer
1 a c e . The v e r y
characteristic pattern
of a flower (sun-
flower?) in full blos-
som and with closing
petals is often met
with in Mechlin
laces of the end of
the eighteenth cen-
turv. This lace has
a border with a very
shallow scallop or
jattern of repeated sprigs of
leaf follows the edge. The
remaining ground is
covered with small square
spots, minute q u a t r e-
foils, or leaflets. The
flower is Flemish U in
treatment, while tiie
.semifs upon the reseau

riECE OF MECHLIN ENL.\RGED, SHOWING
CORDONNET AND QUATREFOIL FILLING

slightly waved,
flowers with a

The
single

NitfV

^lim

No. VIL

-ENLARGEMENT OF MECHLIN,
SHOWING FANCY GROUND

S No. l297-'72 in the Vic-
toria and Albert Museum shows
this thick twisted thread
stretched to the gimp of the
flower or pattern.

i .•^ veiy coniinon filling is
a series or combination of linked
quatrefoils.

" Some of the designs of
Mechlin show very careful
naturalistic presentment of
rtowcr>.

105

The Coiuioisseiiy

No. VI II. MECHLIN. SHOWINC. AI-KNCON INFLUENCE IN ITS DESIGN AND IN THE COARSER CORDONNET

MUSf'.E DES ARTS DlicORATlFS, BRUSSELS

show the French influence of the late eighteenth
centiir)'.

Design in Mechhn is in giiieral lloral in character.
But a curious figured design is illustrated in Seguin
(La Dentelle, Plate XIV., Fig. i), and characterised
by him as " une niaserie enfantine.' This piece,
which dates from the last years of Louis X\'.. re-
presents two men in a carriage driving a horse. The
men wear three-cornered hats, long coats, ruffles ;
two birds are flying in the air, and the group is
separated from its repeat by an ill-drawn tree. A
piece in the Victoria and Albert Museum'- has a
pattern of trees, buds, and scrolls, with cu])ids
blowing horns and shooting at winged and burning

hearts. .\ fragment of an altar cloth in the Gruuthuus
Museum I shows a medallion containing figures re-
presenting some scriptural scene. A similar piece,
including several similar medallions, is in the <"in-
quantenaire Museum at Brussels.

The ground and ornament of Mechlin, like
\'alenciennes, are made in one piece on the pillow ;
and many and various e.\perimental fancy ground-
ings were tried before adopting the he.xagon-meshed
reseau made of two threads twisted twice on four
sides, and four threads plaited three times on the
two other sides, producing a shorter plait and a
smaller mesh than that of the Brussels reseau.

The early grounds are varieties of the " fond de

• i40o-'74-

t Litt. B., No. 6.

No. IX. MECHLIN LACK, WITH :M liUALLIONS OI> SlRnTrK\L SUBJECTS

io6

MUSEE DES ARTS Dl- COR ATIFS, BRUSSELS

Mechlin and AtitiK'crp Lace

iieige," and the fond-chanf or six-pointed star mesh
is met with. A reseau of interlaced double
threads is also of frequent occurrence, and a
reseau of four threads plaited to form a verj- large
mc^sh having the effect of an enlarged fond-chant
ground.

The most common form of ornamental tilling is an
arrangement of linked quatrefoils.

The toile is finer and less close in texture than
\'alenciennes, and appears to be now dense and

Mrs. I'alliser considered the motif to be a survival
fr(mi an earlier design, including the figure of the
Virgin and the Annunciation, though it does fnot
appear that any such composition has been met
with.t The motif of a vase of flowers is a common
one among Flemish and Belgian laces ; and the
flowers are not restricted to the Annunciation lilies
— roses, pinks, sunflowers, and other flowers being
met with.

The ground varies from a coarse fond-chant to

,\'o. X. MECHLIN L.\CE, L.^IE EIGHTEENTH CENTURY

VICTORIA AND ALBERT MUSECM

cloudy, now thin and almost transparent. This
unevenness of (|uality, together with the presence
of the cordonnet (which gives precision to the
ornament), is responsible for the old name of
broderie de Malines.

Antwkri' L.\ck.

Antwerp, though an old lace-making centre,* is

remarkable for only one type of peasant lace, the

I'otten Kant, so-called from the representation of a

pot of flowers with which it is always decorated.

* See Mechlin.

various large meshed coarse and fancy grounds. The
laces are usually straight-edged. The pot, or vase,
or basket is not always part of the design : a
stiff group of flowers, throwing out branches to right
and left, is almost invariable. Sometimes |)endant
festoons or garlands, or bunches of flowers are met

t "The flower-pot wa-s a symbol of the .Anminciation. In
ihe early representations of the appearance of the Angel (iabriel
to the Virgin Mary, lilies are placed either in his hand, or set
as an accessory in a vase. As Romanism declared, the angel
disappeared, and the lily-pot became a vase of flowers; sidi-
seipiently the Virgin was omitted, and there only remained the
vase of flowers." — Mrs. Palliser.

107

The Conuoissetir

No. XI. — .\NHVER1' I'UTlJiN KA.Sl MUSKE DES AKTS Ui.COK ATI!' S, UKUSSELS

No. XII. ANTWERP POTTEN KANT WITH FOND CHANT GROUND

MUSEE DES ARTS DtCORATlF S. BRUSSELS

with.* The cordonnet of strong untwisted thread

* l570-'72, Victoria ami AUiert 'Museum, is a lx)rder of
Antwerp lace with a loosely twisted sort of oeil de perdiex
ground, and pattern of Howers and leaves. The outline to the
pattern and the gimp of the leaves and Howers are like those
seen in some of the early eighteenth century Mechlin laces.

often appears too coarse for the toiie, and outlines
it with .short loops. Antwerp lace appears in a portrait
of .\nna Goos (1627 to 1691) in the Plantin Museum
at Antwerp. The date of the portrait is between
1665-70, and the lace, which is straight-edged, has
a thin formal scroll pattern upon a reseau ground.

loS

LA DUCHESSE DE CHEVREUSE

In the collection of Sljf J. G. TolUm.vche Sinclair, Bart.

ja AJ

Irish Notes

In my former articles on this subject
(January, ^lay, and August, 1903) I endeavoured
to bring out some of the sahent points in the
obsolete note-issues of English bankers and traders.
I now hope to introduce to the notice of the
collector some of the leading features in the issues
of the Irish bankers. Their notes are rare, but
are obtainable by the diligent collector. I have
succeeded in gathering about eighty examples.

The Emerald Isle has had her fair share of paper
money, though when and by whom notes were
first issued in Ireland is a mystery of the dim past.
Her note-issue was not confined to paper, as in
the early years of the eighteenth century trades-
men issued promissory notes on copper for a half-
penny, penn}^ and twopence, and on silver for

threepence. One issued by James Jlaculla, of
Dublin, in 1729, has on the face, " I promise to
pay the bearer on demand twenty pence a pound
for these," and on the obverse, " Cash notes,
value received. Dublin, 1729, James ;Maculla."
Simple as such instruments were, paper money
was still more easily produced, and apparently
as freely accepted. The term banker was soon
added to the names of those persons or firms
who stood out prominently in monetarj' transac-
tions. One of the earliest was John Demar.
He is said to have served as a trooper in one of
Cromwell's regiments of horse, and after the Res-
toration to have sold his property in the West of
England and retired to Dublin, where he carried
on an e.xtensive usury business. He died in 1720,

■^

t'^TM

'.- r\

>)uc(biuncu

'-^^^x \^'//JJi'/i<^'^^^r^^^.

/:■,,

DUNGANNOX iNOTE FOR O.NE GUINEA, C^ 2%. QD.

'flic i'oi/i/oissci!/'

/<d

DENIS O Kl.VN S NOTE FOR 13 PENCE A ''HOG"

at tlic advanced age of 92. Swift and some of his
friends wrote an elegy upon him which concUides :

" Alas ! ihe sexton is thy banker now !
A dismal banker must that banker be,
Who gives no bills but of mortality."

As time went on, many very substantial bankers
flourished, Init down to the end of the last century
pajier money was most profusely issued by the
mongrel tradesmen bankers. A return made to
the Committee of the House of Commons in 1804
on Irish Exchanges by the collectors of the Inland
Revenue gives an insight into the matter. It says
that " the number of banks, in their several districts,
issuing bank-notes, silver notes, ami I O U's were

as follows ; City of Dublin, si.x ;
W'aterford, one ; gold and silver
notes, 28 ; silver notes, 62 ;
I C) U's, 128. Some idea may be
formed of the general character of
the parties i.ssuing these I O U's
by taking the district of Youghal,
\\ Ir re I O U's from si.x shillings
down to threepence halfjjenny
were the principal currency.

" In Youghal : ten grocers,
two general shopkeepers, one
stationer, one hardware shop-
keeper, two bakers, two corn-
---•-'■-' factors, one cabinet-maker, one

shoemaker, one linen-draper, one
wool-comber.
" In Castlemarty : two grocers, one apothecary.
" In Cloyne : three grocers, one chandler, four
spirit dealers, one linen-draper, one baker, one
strong-water dealer."

Many other places are enumerated with much
the same result.

In a work entitled Clnhs of London, the writer
gives an amusing account of his interview with
a Killarney banker. During a residence of a few
weeks in the district he had become possessed
of sixteen notes ujjon the KiUarney Bank, which
in the aggregate amounted to fifteen shillings
and ninejience. The banker was the saddler of
the district, who, when asked for cash for his

1'^^

.'•■;' y .■ cd*' ^y ■.'■ T ^^

-^ '- - ^""-^iim

t .-

^ '^'^^////:u:J>/^^^^^

CORK NOTE FOR ONE GUINEA AND A HALF, £l I4S. ijo

112

Bank Note Collecting

notes, looked in utter amazement, replying,
" Cash, plase yer honour, what is that ? Is it
anything in the leather line ? I have a beautiful
saddle here as was ever put across a horse, good
and cheap. I should be sorry, most noble, to
waste any more of your lordship's time or of those
sweet beautiful ladies and gentlemen with you :
but I have an illegant bridle here as isn't to be
matched in Yoorup. Aishy. Afrikay, or Merikay,
its lowest price is 15s. 6id. — will say 15s. 6d. to
your lordship. If ve'ell be pleased to accept of
it, then there will be two pence halfpenny or a
three-penny note coming to your lordship, and
that will clear the business at once." Doubtless
the account is highly coloured, but gives an idea
of some of the country bankers of that day.

man had sent out invitations for a large dinner
party the week in which the banks smashed.
He considered himself fortunate in finding amongst
his stock of ready money one note of the Bank
of Ireland for £10. " No one doubted the goodness
of the note, but no one could give change for it.
Ten pounds, in gold or silver, were not in the county ;
and as for credit, there was none to be had. In
this extremity, with money — which was not
money — and without credit, having tried butcher,
baker and confectioner, in vain, the gentleman
gave up the idea of his dinner party in despair,
and wrote to his friends to keep the engagement
standing until he could procure cash or credit
for a ten-pound note."

The Irish bankers issued notes for various

SIX .SHILLINGS^.)] J^<^^. W.

Newport's "silver note" for six shillings

The wild growth of Irish banks is shown in
the Commons' Report for 1804, already referred
to. Every conceivable expedient was adopted
to extend the note issue. Small tradesmen were
given a premium to launch them into circulation.
Bankers themselves attended the markets and
fairs, and pushed their notes. Panic followed
panic until 1820, when the issue of the Bank of
Ireland stood at £5,000,000, and those of other
banks in proportion. Then came the storm.
In one month eleven banks went under. In the
south of Ireland only two v\-ere left — Messrs.
Delacour. at Mallow, and Redmond, at Wexford.
Terrible distress followed.

There was a humorous side to the picture,
too. At Cork a gentleman wanted a leg of mutton,
but had only £5 notes to pay for it, which all the
butchers declined. At Limerick a very wealthy

amounts. Some adopted even pounds, others
used multi])lcs of 5s., while the Irish guinea
and various multiples of it were the figures chosen
by still others. Notes were issued for one pound,
twenty-five shillings, thirty shillings, and two
pounds. Silver coin being very scarce, the odd
amounts for which tiie notes were issued would
greatly facilitate trade. Nearly every old note
has several endorsements both back and front,
as it was then the general custom for each holder
to i)Ut his name upon it before he parted with it.
The celebrated bankers, Stejihen and James
Roche, of Cork, issued notes payable to bearer
on demand, in Cork only, for one pound, one guinea
(value £i 2s. gd.), twenty-five shillings, thirty
shillings, one guinea and a half (value £1 14s. lid.),
three guineas (value £3 8s. 3d.), four guineas
(value £'4 IIS.), etc., etc. Each note has a

The Coi/i/i'issnir

declaration upon it as to the In mis during which
it is payable, namely, " Payable from ten o'clock
in the morning till two in the afternoon." The
calculations required for such numerous and
varying denominations must have taxed tlie
patience of the unfortunate " teller " of that day.
The vahu' of the guinea note (£i as.gd.) is curious.
It dates as far back as 1737, when the Govern-
ment made some attempt to settle the currcncj'
question. A new coinage was minted, and a
scheme of exchange settled, whereby the English
shilling was to circulate in Ireland for thirteen
pence, hence the expression " thirteens," locally
called " hogs " (" pigs " or " testers " were
worth sevenpence Irish each). Upon this basis

'i'-

£.

fairs for the sole jiurpose of issuing their notes.
" These adventurers resorted to expedients of
all kinds for the purpose of forcing a trade. They
supplied small traders with their notes, and used
to pay a premium to get them into circulation.
They attended markets and fairs like so many
hucksters. Their favourite issue was — not promis-
sory notes — but post bills at ten days' sight,
which being generally unaccepted, were paid,
if at all, at convenience."

Strange stories are told of Irishisms upon every
conceivable subject, and the bank note can render
its quota. At one time Dublin possessed a
firm of bankers — Messrs. Beresford, Woodmason,
and Farrell. Tiic senior partner was an alderman,

-Y — — *-.>.--»—

|pfNiN&siirn.iN-^>. A' ^r

NEWrORT's "SILVER NOTE" FOR NINE SHILLINGS

the guinea was worth £1 2s. gd., and the guinea
and a half the awkward amount for all ready
reckoning of £1 14s. ijd.

Another Cork banker was Denis Moylan. who
had a considerable note-issue. An amusing story
is told of him. It is said that his w-ill contained
a clause ordering " certain Masses to be said for
the repose of his soul, and which his executor,
a thrifty man, procured to be said in Lisbon,
finding he could obtain them there cheaper than
in Cork, much to the disgust of the local clergy."

Messrs. Joyce and Blake, Galvvay Bank, also
issued a note for one guinea and a half. They
commenced business in 1802, and failed in 1814.
In one year they forced into circulation over
68,000 notes of sums under three guineas. The
partners used to attend the great Ballinasloe

and had been Lord Mayor of Dublin, and took
a very active part in all municipal and political
matters. During the Rebellion in 1798 he
personally attended the public executions of the
so-called rebels. In this way he made himself
most unpopular with the low'er classes, who re-
garded the sufferers as martyrs. They therefore
hit upon the following ingenious plan of revenge :
they collected a large quantity of the notes of
Beresford & Co., and amidst great jubilation
publicly burnt them, " crying out with enthusiasm,
w^hile the promises to pay on demand were con-
suming, ' What will he do now ? His bank will
surely break ! ' "

One other custom showing the native simplicity
of the Irishman may be here recorded, namely,
the practice of pawning bank-notes, not when the

I 14

Bank Note Collecting

KELLETT AND CO., CORK. ''SILVER NOTE" FOR NINF. SHILLINGS

bank was in difficulties and the notes might be
at a discount, or for a time unredeemable in cash,
but notes pawned when the owner was in want
ol a little ready money, in preference to their
being cashed in lull by the banker by whom they
were issued. A letter to the Times only sixty
years ago, October 25th, 1845, gives an account
of this practice. The writer states that on a
recent visit to Galway he was told that the people
had so little idea of the true nature of bank-notes
that pawning them was no uncommon event.
He says : — " I was so incredulous of this that
the gentleman who informed me wished me to go
with him to anv pawn-broker to assure myself
of the fact. I went with Inm and another gentle-
man to a pawn-tnoker's shop, kept by Mr. Murray,
in Galway. On asking the question, the shopman
said it was a common thing to have money pawned,
and he produced a drawer containing a /lo Bank
of Ireland note pawned six months ago for los. ;
a 30S. note of the National Bank pawned for los. ;
a 30s. Bank of Ireland note pawned for is. ; a
£1 Provincial l)ank-note pawned for 6s. ; and
a guinea in gold of the reign of George III. jiawned
for 15s. two months ago. The /lo note would
produce 6s. 6d. interest in the year if put into the
savings bank, whilst the owner who pledged it for
los. will have to pay 2s. 6d. a year for the ids.
and lose the interest on his /lo. in other words
he will pay 90 per cent, through ignorance for the
use of los. which he might have had for nothing.
Mr. Murray said that often money was sold as
a forfeited pledge— that a man would pawn a

guinea for 15s., keep it in pledge till the interest
amounted to 3s. or 4s., and then refuse to redeem
it."

Apparently such customs are not unknown
even in England in the present day. A local
pa])er before me has an article headed " All left
with ' Uncle,' " and after enumerating various
extraordinary things that have been pawned, says :
" The most curious customer I have is an old
lady, who for years has regarded me in the light
of her banker. She has a fortune— Government
stocks, securities and all that, and cash besides.
The latter she entrusts to me, pawns it in fact,
and all because she has a lively horror of banks,
believing that if she deposited her money with
any of them, they would immediately smash.
She comes here every Monday morning, redeems
her strong box, takes out enough money for
the week's expenses, pays the interest for the
week upon the transaction, re-pawns the money,
pays for the ticket, and goes away happy and
contented."

In Ireland the note-issue of the private banker
has entirely passed away, and to-day the paper
money that may be afloat is all issued by the
joint stock banks.

In addition to their ordinary notes, many Irish
bankers indulged in a unique issue known as
" Silver Notes." These rarely fall into the hands
of the collector in good condition. They are very
seldom to be met with ; I think myself most for-
tunate to be able to show a few examples. During
the closing years of the eighteenth century silver

The Coiii/oissr/fy

i\..QyJ^^dx^^'svA\A.:s bank ^

'H'lIKEK SHH.LIXGS vV

liji

Injm: tknci: half peJ

ZV//"^ ,^^^/^

iiJ.n.itm,f<tAal'}^

jnjis ii'NKIM ■, Norl-; FOK rilKKK -Min IINCS AMI MNEPENCE HAI.FI'ENNV, 3S. gil).

coin became very scarce in Ireland. In some dis-
tricts, as I have shown, it was not to be procured
at all. " Silver Notes " were to meet this difficulty,
all being under the value of a guinea. Messrs.
Newport, of Waterford, issued notes for 6s. and
9s. : one for the former amount in a very dilapi-
dated condition is here illustrated. Messrs.
Kellett, of Cork, issued a note for gs., and probably
for other amounts ; why such sums were selected
I cannot understand ! Most of these notes were
not redeemable for cc/.sA, but were accepted in
sums of a gtiinea and upwards in exchange for
the notes of some Dublin or Cork banker. Messrs.
Leslie & Co. adopted as their standard a fractional
])art of the Irish guinea. I have their notes
for3s.9Jd., being one-sixth of the guinea (£1 2s. ()d.).
They also issued for 7s. 7d.

A few particulars of one other firm who had a
very extensive issue of silver notes, namely,
John O'Neill, may be given as a specimen of the
reckless note-issue of the bankers of that time.
O'Neill commenced business May 24th, 1799,
and failed in 1801. During this brief period he
did not allow the greiss to grow under his feet.
The assignee to his estate says :— " I found the
full extent of the paper he ever had issued amoimted

to upwards of £168,000, of which there was a sum
amounting to upwards of £'80.000 in a private
closet in the house, which had been issued and
returned." In addition to these bank-notes,
O'Neill issued silver notes to an amount equal to
one-fifth of his note-issue, " and these he forced
very much into circulation." In one year he
paid £59 13s. gd. for duty, which was one farthing
on notes of nine shillings, one-sixth of a penny on
notes of 6s.. and one-twelfth of a penny on
notes of 3s. gid. " The £80,000 of returned notes
in the closet show how O'Neill came to grief.
The public apparently wished for some better
medium, and the banker broke down when he
had redeemed £80,000 out of £168,000. He,
therefore, exclusive of the ' Silver Notes,' ap-
parently bainboozled the community out of
£88.000."

Much of my information is gathered from
Lawson's History of liiniking, Dillon's History of
Banking in Ireland, and from the pages of the
Journal of the Cork Historical and Archceological
Society, i8g2-g4, where there will be found a most
interesting series of articles upon the old Irish
Private Bankers, by C. M. Tenison, B.L.,
Hobart, Tasmania.

116

TWO CHILDREN' WITH A .lAV I\ A CAGF.

BY UK\'. \V. M. 1>ETI-:KS

FROM THI-; COLLECTION' AT HIUAOIU CASTLK

By kind piiiiiisxion or Ilia Clicicc tin- Diikc of Rutland

SHAW " »»

Among the pictures attributed to Sodoma — or

rather to " Razzi,'" as he is there styled — chronicled

in the index to Messrs. Christie's

Baron Boxall's ^^^^ Catalo'rues, under the date 1847

iodoraa

occurs the entry : —

Countess of Spenocchi and Family. Polygonal panel.

Imported by Irving.

(Bought by) N.N. £i(^9 ros.

Again in 1859 we find : —

Countess of .Spenocchi and Familly, &c., <3^c. : called

" Charity." N'ortlnvick Collection.

(Bought by) /. W. Brett. £67 4s.

From this latter date traces of the picture vanished,
although it was advertised for by Mr. Robert H.
Hobart Cust when preparing his Life of Sodoma,
until an accident, after the publication of that work,
revealed its whereabouts — namely, in the collection
of Baron Boxall (14, Cambridge Square, Hyde
Park). On further enquiry, certain other links in
the history of the painting transpired. It appears
to have passed into the Gurney Collection, whence
in 1866-1867 it was bought by Mr. Lhermitte, from
whom it passed again into the possession of his
son-in-law. the present owner.

COCNTKSS SF.XNOCCIII AND KAMIl.V (')

119

[PAcla. //. Bun.
DV ANDREA DA UKI.sk

The Connoisseur

The picture is painted on a |)anel of polyiioiial shape.
A coat of arms (?) is depicted — perhaps by a later
hand — below the group of figures, and it is enclosed
in a remarkable late-Renaissance frame, which bears
upon it the following inscriptions : above, " Contessa
Spiinnocclii e figli" and below, '• Razzi da Siena."
These indications, while of assistance in tracing the
lost picture, in point of artistic fact have proved
most misleading. In the first place, that there is no
such person as " Razzi da Siena " has been so fully
proved that it is unnecessary to enter upon the
discussion again.

Next, a first glance shows at once that the work,
though very fine, is none of his. It is hy a later
and much more eclectic
artist, namely, Andrea de'
Piccine/li, known generally
as Andrea da Brescia or
Brescianino.

Thirdly, careful enquiry
in Siena elicits the fact
that the coat of arms is
not that of the Spannocchi
family at all, nor of any
family allied to them. In
fact, it is most ])rol)ably
merely emblematic. That
Brescianino, who lived in
Siena during the first half of
the sixteenth century, may
have painted to order some
lady of the Spannocchi
family with her children in
a sort of (|uasi-allegori(:al
guise, is conceivably pos-
sible ; but there is nothing
to prove even that fact.

Nevertheless, the value and inti'rest of this fine
and well-preserved painting remains undiminished by
the collapse of the fictions that have hitherto hung
around it, and its owners may well pride themselves
on the possession of an admirable example of the
work of a delightful and somewhat rare master, con-
cerning whom, till recently, very little was definitely
known.

Thk following details concerning Edward Foster,
who was recently referred to in an article on sil-
houettes, may be of some interest.
Edward Foster Edward Foster, son of a gentleman

the Centenarian r u • I^ i

... . of means, was born in Derby on

Miniature , , ^ ,, , , ,

p •„,„ November 8th, 1762. He held a

rainier ' '

commission in the Army in early
life, but soon forsook the profession of arms for that

EDWARD FOSTEU

of an artist. Me was of the same family as the John
Thomas Foster whose widow {nee Lady Elizabeth
Harvey) afterwards became the second wife of the
fifth Duke of Devonshire. His mother was related
to the ducal house of Norfolk. Great talent, ability,
and good connections soon placed him in the position
of miniature painter to (^ueen Charlotte and the
Princess Amelia, with apartments at Windsor. After
the death of his Royal patrons his star waned, and
he returned to Derby, where he practised his art
for many years. In his old age he commenced to
make silhouettes, which, however, were not cut,
but nearly all jjainted in a deep brown, and em-
bellished with gold. He also compiled a series of
educational charts — his-
torical and biblical — which
were at one time to be
found in most schools in
England, and the MSS.
of which are in the Derby
Museum. Strangely, hardly
any of his miniature work
can be found, which is
regrettable, as it was of a
\ ery high order, and worthy
to rank with that of his
great contemporaries. A
portrait of himself as
a young man is here repro-
duced. This is by his own
hand, and a Liverpool col-
lector has one or two of
his daughter's portraits.
Here the list ends so far
as is known. Possibly
some examples might be
found at Windsor. His
silhouettes are occasionally met with : they are beauti-
fully done, and are generally signed. An American
collector in St. Louis has a few of them of fine
quality.

Foster was five times married, and outlived all his
family save one daughter, who is now living in a
suburb of Liverpool, in poor circumstances, and from
whom these details were gathered and authenticated.
This lady was present at a dinner on her father's
hundredth birthday, when a present of ;^6o was
handed to Foster from Her late Majesty, (,)ueen
Victoria. He died on March 12th, 1865, aged 102
years and 124 days. As before stated, though his
miniature work is hardly ever heard of, it is of great
excellence, and his decadencre and subsequent com-
parative poverty can only be^attributed to his having
outlived every one of his early friends and patrons.

3V THE ARTIST

Notes

'1"his most interesting and unique specimen ot old
English glass, now the property of Mrs. Anderson,
of Bedhanipton Rectory, Havant, was
U d ng IS recently discovered in a far - away
corner of Wales, and has been pro-
nounced to be of the period of Charles I., and date
of 1625 to 1630. It is i\ inches in height, and
22i inches in circumference, and is of a dark trans-
parent olive green colour, with six shields of armorial
bearings.

From about 1616 to 1653 Sir Robert Mansel had
the control of the glass making in England, and the
above specimen was most possibly made under the
patent guaranteed to Sir Robert on May 22nd,
1623, for fifteen years. At that time James Howell,
the accomplished traveller, then in the service of
Mansel, sent over some Venetians to Sir Robert to
England to improve the English glass making, and
it is due to their work that the colour of the glass
is olive green, as that was not the colour then made
in England.

Neither the British nor South Kensington ■Museums
have any specimen at all approaching the jug, and
one understands that even in the time of Charles I.
few jugs were made, which makes the specimen of
greater interest. The onlv historv obtainable of it
was that it had been in the family of a yeoman
farmer for many years, whose ancestor had bought
it at the sale of the effects of a family of position,
who doubtless had treasured it as a valuable Stuart
relic.

A Fenton
Ironstone Vase

CHARI.es I. GLASS JUG

FENTON IRONSTONE VASE IN COLLECTION OF

DR. H. BOURNE WALLER

The remarkable activitv of Miles Mason and his
successors in producing both excellent colouns and
designs in their celebrated Patent
Ironstone \\are has attracted a crowd
of collectors of recent years. Mason
Ware, which at one time was not held in very great
estimation, has found a place in the collector's cabinet.
Similarly Davenport, of I.ongport, and other makers
of pottery after the fashion of Ma.son, have received
con.siderable attention from those who have found
that the older wares with more fashionable reputation
have demanded too long a purse to procure anything
like a representative collection.

The vase we illustrate is 2 ft. in height, and is
exceptionally Oriental in style for Staffordshire to
have emulated. The rich blue base and top of vase
are heavily gilded. The two dragons are a salmon
[)ink, and the body of the vase is a grass green, upon
which the panels are painted in the Japanese style of
Imari ware. It is quite an unusual piece, and indicates
how the Fenton Potteries, which were established as
early as 1780, vied with J^ison, of Lane Delph, whose
patent for ironstone ware was taken out in 1813 ; and
a close examination of the Staffordshire wares of the
first (]uarter of the nineteenth century will show how
strongly they came under the influence of Japan,

The Connoisseur

'I'hk jjliotographs reproduced below are taken from the carved choir

stalls and miserere seats in the Priory Church of Christchurch, Hants.

They date from the thirteenth to the sixteenth cen-

" ^ lury. A full description will be found under each

Wood-carvings ' ^ . „, , . , ... ,

reproduction. The author of these descriptions does

not hold himself responsible for their accuracy, although to the best

of his belief thev are correct.

SLXTEENTH-CENILRY PA.NEL

This panel is of exceptional interest. It sliows the controversy over
the cup. which Henry V'lII. wished to be administered to the laity.

This is beHeved to lio the oldc-it known cx.imple in the world.

MISERERE SEAT. A.D. 1 31 '

This scat is carved out of the solid, and is said to be the finest of
its kind in England.

SI.\TEENTH-CENTfRV FA.NEL

Britain and Ireland, in which law and
order are represented by two falcons, have
their grip upon Scotland, typified by its
bagpipes; on Ireland, by its harp; on
Wales, by its willow and feathers ; and
on France, bv the cock.

A CorriCtion

\\"k have received the toUowing letter
regarding Mr. Selwyn Krinton's article,
" .An English Artist in
Morocco," which ap-
peared in the September number of
The CoNNOissEfK : —
To the Editor of 'Iwv. Connoisseuk.

SiK, — Permit me to draw your atten-
tion to a serious error in the September
number of The CoxNOissErR.

In an article entitled "An English
Artist in Morocco " you refer to Mr.
J. Lavery. Mr. Lavery, R.S.A., K.H.A.,
is an Irishman, and a distinguished
member of the Royal Hibernian
.\cademy.

Kindly see this corrected in your

next number.

Yours, etc., A. Uuffv,
Royal IlU'ernian Academy, Dublin.

[Editor's Note. — The error referred
to in Mr. Duffy's letter is, indeed, of a

Notes

SlXTEEiNTH-CENTURY PANEL

The King of Scotland and Lord Kildare arguing with Henry VIII.
One has a piece of thistle and the other a piece of shamrock issuing
from their mouths. The two figures on the right are united by a
tape, showing that Ireland was at this time united to England, but
not Scotland.

FIFTEENTH-CENTURY MISERERE SEAT

This is supposed to represent Richard III.

very seriou.s nature, and the Editor of The Con-
noisseur tenders sincere apologies to Irishmen in
general, and Mr. Duffy in particular, for thus having
outraged their sense of patriotism.]

There is always a peculiar interest attaching to

objects that have been in the possession of great

men. There is (|uite a special class

Oliver pC collectors who devote themselves

Cromwell's . i r r i • ■. ■

.. _ to i)rocurmg personal relics or historic

bnuti-Box 1 D I

celebrities. More often than not these

articles are of less than ordinary artistic interest,

but by reason of their associations they have an

enhanced value to hero worshippers. Mary (Jueen

of Scots has quite a crowd of adherents who treasure

small trinkets that were once hers. At the Stuart

Exhibition a great number of Stuart relics were

unearthed from the jealously guarded treasure caskets

of their owners.

In the illustrations we give of a snulT-bo.x it

will be seen that it is not of great sumptuousness.

It, as befitted its owner, is a sobersides among

snuff-boxes which grace the cabinets of celebrated

Banqueting House
with a crape mask
in 1649. — A. H.

collections. No jewels decor-
ate its sombre metal surface,
and it is innocent of the
pomps and vanities with
which French artists decorated
similar objects. But it bears
on its ivory tablet the magic
name, " O. Cromwel,'" and is
dated 1655. It was turned
up on the land by an an-
cestor of the present owner
a hundred years ago when
he was ploughing one of his
fields. It has never been
exhibited, and has never
faced the camera before. It
is interesting to think that
it was in everyday use by
(Jld Noll, the stern and
rugged leader of the Revo-
lution which began in the
sleepy hollow at the foot of
the Chiltern Hills in Buck-
inghamshire, and ended with
the tragedy in Whitehall,
when King Charles stepjied
out of the window at the
and was beheaded by the man
on that eventful dav in January

OLIVER CKO.MWELl. S SNUFF-BO.\

TOP Ol" OLIVER CROMWELL'S SNUFF-BOX

123

The Connoisseur

The delightful little picture of A Young Girl

Feeling an Apple, the work of Nicolas Maes, which

we reproduce as a plate in the present

Young Girl luiniber, is one of the imposing array

Peeling an ^^^ ^^.^^j.^ ^^, masters of the Dutch

Nkolas Maes School in the recently sold Kann
collection. The dark red of the dress,
the intense black of the bodice, the white apron, and
the red, yellow, and black tints of the Oriental rug
on the table by the young girl, are of a vigorous
tonality, accentuated by a strong effect of chiaroscuro.
The whole scene gives an impression of comfort and
well-being.

In 1S24 this picture formed a part of the famous
Hcrnal collection, four years later it entered the
M. Zachary collection, and finally became a treasured
item in the John \\'alter collection.

Nicolas Maes, one of the best of the Dutch genre
painters, modelled his style on the pictures of
Rembrandt of about the year 1650. He studied
under Rembrandt up to about 1665, when he left
his great master's studio at Amsterdam and went to
Antwerp. Little else is known of his life. His early
pictures are extremely rare, and it is believed that
more than two-thirds of them are in England. Three
of the highest ([uality are in the National Gallery,
whilst others are at .'\])sley House and Bridgewater
House.

The interesting Coaching Scene, by Thomas Row-

landson, which we reproduce as a plate, is a typical

example of the work of that celebrated

Coaching designer and etcher of caricatures and

Scene By
Rowlandson

humorous subjects. He was born in
London in 1756, about the same time
as Isaac Cruikshank and ("lillray, and some six years
before liunbury. At a very early period he gave
indications of a remarkable talent for caricature,
which he developed in Paris and at the Royal
Academy Schools. Before he was twenty-five he
found a ready market for his works with Fores,
Tegg, Ackermann, and other print-sellers, and so
prolific was his brush that he frequently drew and
saw publisiied two fresh caricatures a day.

A large number of his plates appear in works
published by Ackermann, amongst the more im-
portant being T/te Microcosm oj London, Tour of
Dr. Syntax, The Adventures of Johnny A'e'wcome, The
Vicar of Wakefield, and The '''History of Johnny Quae
Genus.

Child Subject By Peters

Bv the kind permission of His Grace the Duke
of Rutland we are enabled to reproduce the charming

picture. Two Children with a Jay in a Cage, from
the collection at Belvoir Castle. It is the work of
the Rev. Matthew William Peters, who was born in
the first half of the eighteenth century. He painted
many fancy subjects, and also portraits, with much
taste and elegance. Many have been engraved by
Bartolozzi, Marcuard, Dickinson, and J. R. Smith.

The two colour-plates of .Mrs. Fitzherhert and The

Fuchesse de Chevreuse are from miniatures in the

possession of Sir J. G. Tollemache

Miniatures of Sinclair, Bart. That of Mrs. Fit/-

herbert, who, it will be remembered,

thiDuchesse secretly married King George IV.

de Chevreuse ^^'^s" Prince of Wales, is by that

king of eighteenth century miniaturists,

Richard Cosway. The painter of the other miniature

is unknown.

Of the many portraits of the beautiful Georgina
Duchess of Devonshire few can surpass the charming
picture by Henry Meyer, after Gainsborough, which
we reproduce in the present number.

E.^RLV in October will be published by Messrs.

Macniillan Leaves from the Note Books of Lady Dorothy

Nevill, edited by Mr. Ralph Nevill.

Leaves from ^^^^ ^^^j. ^^.|„ j-Q^t^in many notes on

^ ° ? , , art and collecting, and it is believed
Books of Lady , , , .,, j • • . .

T^ . »T ... that the volume will exceed in interest
Dorothy Nevill , , „ .,_ x^ -n; r> ■ •

Lady Dorothy NeviHs Reminiscences,

of which five editions were called for.

BooKs Received

.Van.x Crosses, by I'. M. C. Kermode, 63s. net ; Some Dorset
Manor Houses, by Sidney Heath and W. de C. Prideaux,
30s. net ; Old English Gold Plate, by E. Alfred Jones,
21S. net. (Bemrose & Sons Ltd.)

Oriental Embroideries and Carpels, Reproductions of, by E.
\V. Albrecht.

I'iitures in Colour 0.tford : Colour Pictures of Noi-wi, /:.
(Jarrold & Sons, Ltd.)

/iook of Book- plates, by Chas. E. Dawson.

The Skirts of the Great City, by Mrs. Arthur G. Bell, 6s, ;
The Antiquary's Books: English Church l-urniture, by
J. Charles Cox, LL.D., F.S.A., and Alfred Harvey, M.B.,
7s. 6d. net ; Goldsmiths' and Silversmiths' Work, by
Nelson Dawson. (Methuen & Co.)

Notes of an Art Collector, by Maurice Jonas. (Geo. Routledge
and Sons.)

E.\position de la 'Poison d'Or a Bruges, Catalogue. (G. Van
Oesl & Co., Bruxelles.)

Old Sheffield Plate, 31 d Ed. (W. Sissons, Sheffield.)

Book-Prices Current, 1907, Vol. XXI. (Elliot Stock.)

124

Notes

Engineering

Challenge

Shield

A Challenge Shield, latel)* presented to the the panels in
ist Devon & Somerset R.E.V., by Alderman J. Ci. the upper stage
Commin, is of interest both for the were once filled
richness of effect and colour obtained in with painted
by relatively simple means, and as figures, such as
being based on the Scotch " Target " occur common-
and other historic circular models. Six silver discs, ly on Devonian
pierced in trefoils and repousse, surround a central rood screens.
disc of the same metal, and are connected by a silver
band bearing a rei^imental motto, forming a broken The Manorial
hexagonal pattern round a central boss. These discs °^'^ ^
are super-imposed on plain hammered brass and All those
copper, and framed by an inscribed brass rim. The interested in
shield, which is 28 in. in diameter (and the design the preserva-
and work of T. A. Falcon, R.B.A.), is of a flat oval tion of local
in section, the rim being entirely flat. Manorial Re-
cords will wel-
We illustrate a somewhat exceptional carved font- come the
cover, now in the church of Shaugh Prior, Dartmoor. newly - formed
It is of oak, and between eight and Manorial So-
Font-cover nine feet high, and is built up in three ciety. The ex-
stages on an octagonal base, with an pediency of es-
episcopal statuette surmounting the whole. Previous tablishing such
to 1S78, when it was re-discovered, it suffered a an association
vicissitude in those days not infrequent in the case of to give separate
ecclesiastical heirlooms, having been removed from organised at-
the church during a " restoration " and lodged in a tention to Man-
farni-loft for a decade. It has been suggested that orial records

FONT COVER

E.NGINEEUING CHALLENGE SHIELD

antl institutions was urged in a recent
report of the Parliamentary Local Re-
cords Committee, and it was recognised
liy a number of arch;v.'ologists and anti-
i|uaries interested in such subjects. A
Provisional Council, comprising the
Lords, Ladies, and chief ofi!icials of about
,^40 Manors throughout England and
\\'ales, was formed, with the result that
towards the end of the year 1906 the
society was u[)on a firm and com[)rehen-
sive basis.

The aims and objects of the society are
lucidly set out in a pamphlet, which can
be obtained from the office of the society
at I. .Mitre Court Buildings, Temple,
London, I'].C.

'25

TJie Counoisseur

Notes and Queries

\^T/ie Editor invites the assistance of readers of '\'\\v.
Connoisseur 'icho may be able to impart the informa-
tion required by Correspondents^

Fourteenth Century Ivory Casket.
To the Editor of Thk Connoisseur.

De.\r Sir, — In reply to J. j.'s letter with illustra-
tion attached on page 188 of the July Number of
your Magazine, may I venture to point out that the
object referred to is a replica or copy, with slight
variations, and apparently coarser in treatment, of a
very well-known Cothic ivory tablet preserved in
the Hargello. An illustration of this ivory will be
found on page 147 of 7'he Ivory Workers of the
Middle Ages, by Anna Maria Oust (Bell iv Sons,
1902), and no doubt also in Molinier or any of the
standard works on ivories. It has also been photo-
graphed by Messrs. Alinari, of Morence. The Bar-
gello ivory is apparently more graceful in treatment.
The figures are eight ladies, instead of nine, with
smaller and more delicately modelled heads bound
by fillets. None of them wear crowns. There are
the same two tnmipeters, but it is to be observed
lluit in this cxani])lc the designer has introduced
small circles at the points where the pins to attach
the tablet — probably to a casket — would occur in
such a manner as not to destroy the harmony of the
whole composition.

The design may, of course, alludt- to some legend,
such as that of St. Ursula and her, virgins, but as the
casket was not improbably a bridal gift, such a group
of ladies would be almost obviously characteristic.
Yours very faithfully,

R. H. H. C.

N.\P0i.EON Portrait.
To the Editor of The Connoisseur.
Dear Sir, — Among my pictures I have a sepia
portrait of Napoleon I. as first consul drawn from
life by John James Masi[uerier in 1800. This picture
was the first authenticated portrait of the Emperor
exhibited in 1800 in England, and was the cause of
bringing the painter into eminence. Could any of
your readers inform me of any other existing ? This
picture was engraved afterwards by Turner.
\'ours faithfully,

W. S. E.

Landscape Chin.'.

7o the Editor of The Connoisseur.

Dear Sir,— Can any correspondent of yours tell
me where, when, and by whom was made the pencil
(or landscape) china one frequently finds in the South
of Ireland ? Breakfast and tea cu|)s and saucers,
coffee mugs and plates, muffui dishes, bowls, egg-
cups, etc. — some with gilding, some without — classical
figures, landscapes, game, dogs, finely printed in black
on white ground.

Yours truly,

I'llE.

Ar.morial Badge.

To the Editor of The Connoisseur.

Sir, — In The ("onnoisseur for July appears an
illustration of the above. Replying to Mr. Patter-
son's query, I should say that its |)urpose was to
serve as a centre embellishment to the hamniercloth
of the family coach, and perhaps for badges on the
bridle arm of the postilions. Instances of these uses
are familiar to me.

Yours faithfully.
Author ok Annals of the Road.

Works by James Bogdani.
To the Editor o/"The Connoisseur.

Dear Sir, — I am engaged on a book giving the
life of James Bogdani, who was a Hungarian painter
of still life, ilowers, and animal subjects (principally
birds). He was employed 1694 by Queen Mary,
wife of William IK., Prince of Orange, at Hampton
Court Palace, where some of his pictures exLst to-day.
He died 1724.

Believing that there are other works by him in
English private houses, I should be grateful for any
information which your readers might give me, if
you are good enough to publi.sh this letter.
I am, dear Sir,

Yours faithfully,
Dr. Gahriei. de Tkv.c\, Director of the Picture
Gallery of Old Masters at the Musie des Beaux-Arts,
vi. Arina-i'it 41 Budapest {Hungary).

126

(',i:()Rc;iNA, DLCllICSS OF I)I-:\()NSIIIK'I-;
BY HENUY .MliVEI!
AFTER GAl.NSUOUOUGH

The Year's BooR Sales

The season 1906-7, which, it will be remcnibered,
commenced in October last year, and concluded with
the final days of July in this, proved itself the most
remarkable on record in one paramount respect. No
series of current sales has ever before yielded such
an extraordinary list of extremely expensive books and
manuscripts. We gave in last October's CoNNOlSSKUR
analyses of Shakespeariana and works of a general
character which had realised /loo and upwards during
the season which ended with July, 1906, and these, all
told, numbered no more than sixty-two. At the time,
this was thought a very notable record ; and so it was,
for it is only recently that competition for works of
certain special kinds has reached the acute stage where
a hundred pounds, more or less, is regarded with almost
complete indifference. Now, as always, certain classes
of books, and those only, supply the aristocrats of the
book-shelf — those works which, either owing to special
circumstances surrounding them, or to the great demand
which has sprung up for them, have become practically
unique, or at any rate so excessively scarce that the
richest collectors have become aware that money cannot
accomplish all things when material is deficient. It may
be stated at once that books of this highly s])fcial
character are classed as Shakespeariana, Americana,
English classics generally, manuscripts of English and
other classics, a few editio7ies principcs of the Greek and
Latin classics, and books of every kind containing in-
scriptions or autograph signatures of notable men or
which were bound by celebrated craftsmen of past ages.
To this list may be added all books which afford the
best examples of ancient typography. In judging books
coming within one or more of these divisions, and so
gauging their relative degrees of importance, it is
customary to look primarily to the author, or to the
person whose autograph inscription is in evidence, or
to the printer or binder, as the case may be. It need
hardly be said that it is but seldom that a combination
of these peculiarities centres in one and the same
volume, though occasionally even that consensus has to
be acknowledged and reckoned with to the extent, it
may be, of thousands of pounds. Owing, no doubt, to
publicity, coupled with extremely high prices, which are

the gist of it, and the great advance in the exoteric
knowledge of books which has recently taken place,
volumes made important by the widespread demand
there is for them, or which are more than usually
interesting from their very nature, have been unearthed
by the score. The sixty-two books of last season but
one have now become almost two hundred, and it must
be remembered that, although this computation is made
upon the i^ioo basis, there are very many instances
where that amount has been almost reached. Were
these also included in a general list, it would assume
proportions much too unwieldy to be handled in the
columns of any journal which did not devote itself exclu-
sively to the book market and all that pertains to it.

The extraordinary number of literary manuscripts
which have come into the market, and the high prices
realised for them, constitute a sign of the limes which
cannot be overlooked. By "literary manuscripts" is
meant original manuscripts of classic works, generally
but not invariably printed afterwards in book-form.
Media-val manuscripts, written on vellum, decorated
and illuminated, are not included in the term, for they are
primarily works of art. Nor are autograph letters included,
for another but equally valid reason. The manuscripts
referred to arc in reality " books" of far more import-
ance than the printed copies made from them, for they
mirror, as in a glass, the trend of the author's thoughts
as originally evolved, and the modifications which a
maturer consideration urged him to make, while the
printed books show the fulfilment of the scheme.
Manuscript plus printed book, and we have the mind
of the author laid bare, so far as it is possible to achieve
such a result, and time and the horn- cannot prevail
against it. This is the reason why such manuscripts are
sought for almost regardless of expense, and why they
are never likely to be relegated to the background by
the passing of a craze. For puiposcs of convenience,
no less than to point a moral incident to the remarks
we have been impelled to make, the following table will
have its uses. It gives details of all the " literary
manuscripts" realising ^100 and upwards which have
been sold since October 9th, igo6, and the end of July
in this present year : —

129

The Connoisseur

Author.

WOKK.

Date.

LlHK,\KY OR

Date of Salk.

Price.

.Shelley (P. B.)

Three Note Books, containing poems and other
MSS.

circa 1S20

Garnett

L
3,000

Vincent de Beauvais ..

Le Miroir Ilisloriale, folio, half bound

.Sa;c. xiv.

Dec. I4lh, 1906

1,290

Pope (Alex.)

Essay on Man, and others, folio, in a case

(1730?)

Stuart Samuel

895

Burns (R.)

Various Poems

.March 15th, 1907

75S

White (Gilbert)

Natural History of Selborne, folio, morocco

—

Stuart Samuel

750

Speculum Humanje Salvationis, on vellum, 4I0

S.-cc. XV.

Bromley-Davenjwrt ..

695

(precursor of the Block Book)

Scott (Sir W.)

History of .Scotland, 3 vols., hf. bd., 4to, and folio

—

June 1st, 1907

510

Swift (J.)

Collection of Letters, Poems, and Essays, mostly
unpublished

S:ec. xviii.

Dec. 14th, 1906

510

Gratianus

Decrelales, on vellum, 354 leaves, folio

Saec. xiv.

L. W. Ilodson

440

Morris (W.)

The Earlhley Paradise, 1,619 leaves, 7 vols.,
morocco extra

Sa;c. xix.

L. W. Ilodson

405

Shelley (P. B.)

Proposal for Putting Reform to the \'ote, 17 leaves,
4to, morocco super extra

1S17

Stuart Samuel

390

Burns (R.)

Scots wdia hae

—

March 15th, 1907

355

Tennyson (Lord)

The Brook, 8 pages, 8vo, morocco super extra ...

—

Stuart Samuel

300

Keats (Jolin)

Cap and Bells

—

Dec. I4lh, 1906

297

Cauliac(G.)

Cirurgicale Parte of Medicine, old calf, folio

Sa;c. xiv.

L. W. Hodson

244

Catherine of Siena

Legenda, modern russia, on vellum, folio

SffiC. XV.

L. W. Hodson

240

Thackeray (\V. M.) ...

Original Draft of Chapters IV. and V. of " Pliilip,"
4to, morocco super extra

—

Stuart Samuel

240

Ovid

Les Fables d'Ovide, on vellum, modern pig-.skin,

folio
Of Taste, 8 leaves inlaid, folio, morocco extra ...

Srec. xiv.

June 17th, 1907

200

I'ope (.'Mex.)

n. d.

.Stuart Samuel . .

199

Dryden (John) ...

Eleonora, 6 leaves, 410, morocco super extra

1692

Stuart .Samuel

198

Ilieronymus

Epistolce, on vellum, 284 leaves, folio, morocco ...

Siec. XV.

L. W. Ilodson

191

Lorris (Guil.) ...

Roman de la Rose, on vellum, folio, old morocco

Saec. xiv.

June 17th, 1907

190

Chaucer (G.) . .

Canterbury Tales, on vellum, 214 leaves, folio ...

circa 1420

L. W. Hodson

180

Byron (Lord)

Proof Sheets of Various Poems, morocco extra

—

Stuart Samuel

174

Tennyson (Lord)

The Northern Farmer, 4 leaves, 4to, morocco
super extra

—

Stuart Samuel

155

Burns (R.)

The Poet's Progress, 4 pp. in a gilt frame ..

—

Stuart Samuel

152

Chaucer (G.)

Canterbury Tales, on paper, 350 leaves, folio

Sa;c. XV.

L. W. Ilodson

150

Maintenon (Mdme. de)

La Caracti-re de la Princesse reine Silvaine, 8vo,
old morocco

—

Stuart Samuel

150

RoIle(R.)

Speculum Vilit, on vellum, old morocco

Siec. xiv.

Duke of Sutherland ...

141

Lorris (Guil.)

Roman de la Rose, Svo, old morocco

S:ec. XV.

Sir H. Mildmay . .

120

Lamb(C.)

Dre.im Children, 2 pp., folio

.Stuart Samuel

108

Cromer (\V.) ...

Treatise of Medicine and Chirurgery, old calf

circa 1550

Duke of Sutherland ...

106

Florus (L. .A.)

p'asti, on vellum, folio, contemporary oak bds.

S;ec. XV.

Duke of .'Mtemps

106

Brontii (Emily)

Volume of Poems, 68 pp., 8vo

1844

July 26th, 1907

105

Barham (R. H.)

The Jackdaw of Rheims, Svo, mor. super extra ...

—

Stuart Samuel

lOI

Chaucer (G.)

Canterbury Tales, on vellum, 276 leaves, folio ...

Ssc. XV.

L. W. Hodson

lOI

Chrysostom, St.

Homilix, on vellum, 274 leaves, half morocco ...

S:ec. xii.-xiii.

L. \V. Hodson

lOI

Early English Metrical Romances, on vellum

Saec. xiv.

Duke of Sutherland ...

ICO

Handel (G. F.)

Score of " The Messiah " in 3 vols., oblong folio,
original calf. In the handwriting of J. Christo-
pher Smith

July 19th, 1907

too

Schubert (Franz)

Miriam's Siegesgesang, op. 136, vocal score

1828

Stuart Samuel

100

Shelley (P. B.)

Poem in his Autograph, 5 verses of 9 lines each ...

—

July 25th, 1907

100

Morris (W.)

The Well at the World's End, 629 leaves, 2 vols.,

Siec. xix.

L. W. Hoilson

100

morocco

It will be understood that this list, formidable though
it be, does not take any account of ancient illuminated
manuscripts, which it is impossible to describe in a
few words. The value of these depends upon their age
and the character and quality of the painted miniatures,
initial letters, and borders which they invariably contain.
They consist for the most part of Horcr and other ser-
vice books, and of Bibles, and are essentially monastic.
Many of these have been sold for large sums during the
past season. These apart, the ne.xt point of interest
centres in Shakcspeariana^ which have lately become very

numerous. It was said at one time that works of this
class were fast becoming improcurable at any price, the
fact being that, although the price is increasing, many
more copies are coming into the market than was
formerly the case. The law of supply and demand
evidently rules, so far as they are concerned, with its
accustomed force, and many years will no doubt elapse
before the country is entirely denuded of these old-time
works, or, what is more probable, they cease to remain
in private hands. The following extensive list spe.aks
for itself: —

130

/// the Sale Room

Library or

Price.

Work.

Printer or Pcblishf-r.

Date.

Date of Sale.

First Folio, 13 in. liy SJ in., morocco extra

Isaac laggard

1623

Van Antwerp

I
3,600

First P'olio, 13 in. Ijy SJ in., old morocco extra

Isaac laggard

1623

June 1st, 1907

2,400

Contention betwixt the Houses of York and Lancaster,

Thomas Creed

1594

June 1st, 1907

1,910

the Foundation Play, unbound, 4to

Third Folio, 13J in. by 84 in., origin.tl calf

Printed for P. C

1663

June 1st, 1907

i,5So

Arden of Faversham, unbound, 4to ...

Edward White

1592

June 1st, 1907

1,210

Sonnets, old morocco, small 4to ...

G. Eld

1609

Sir H. Mildmay

Soo

First Folio, 12 in. by ^\ in., verses missing, morocco ...

Isaac laggard

1623

Sir H. Mildmay

680

Third Folio, 12J in. by"S^ in., modern calf

Printed for P. C

1664

Van .\ntwerp ...

650

The Merchant of Venice, unbound, 410 ...

Thomas Heves

1600

June 1st, 1907

Sio

Third Folio, sound, morocco extra

Printed for P. C.

1664

Duke of Sutherland , , .

390

The Merchant of Venice, 4to, unbound

James Roberts

l6co

Dec. I4ih, 1906

3^0

The Rape of Lucrece, i2mo, new vellum

Roger Jackson

1624

Van Antwerp ...

350

First Folio, imperfect, old calf, the Brocket copy

Isaac laggard

1623

May I4lh, 1907

305

Third Folio, 13I in. by Sj in., wanted last leaf, orig. cf.

Printed for P. C

1664

July 27th, 1907

300

King Lear, 4to, morocco extra

Nathaniel Butter , .

1 60S

Dec. 14th, 1906

300

King Lear, unbound, 4to ..

Nathaniel Butter

1 60S

June 1st, 1907

250

Midsommer Night's Dreame, 4to, unbound

James Roberts

1600

Dec. 14th, 1906

250

Second Folio, 13 in. by 8} in., slightly stained, orig. cf.

Thomas Coles

1632

July 26th, 1907

250

Second Folio, 13J in. by 8J in., morocco

Thomas Cotes

1632

Sir H. Mildmay

230

Second Folio, 13 in. by 8i in., mended, old russia

Thomas Cotes

■ 632

March 15th, 1907

220

Poems, slightly imperfect, modern morocco

Thomas Cotes

1640

Nov. 29th, 1906

220

Poems, slightly mended, morocco extra ...

Thomas Coles

1640

Van Antwerp ...

215

Second Folio, \l\ in. by S| in., modern morocco

Thomas Cotes

1632

Van Antwerp ...

210

Third Folio, \l\\x\. by 8| in., modern morocco, mended

Printed for P. C

1664

June 1st, 1907

205

King Lear, 4to, morocco ...

Nathaniel Butter ...

1608

Van Antwerp

200

Hamlet, unbound, 4to

John Smelhwicke ...

n. d.

June lit, 1907

180

A Midsommer Night's Dreame, 4to, nmrocco extra

James Roberts

1600

Van Antwerp

180

Hamlet, damaged, 410, unbound

John Smethwicke ...

(1636?)

H. C. Harford

172

Second F'olio, 13 in. by %\ in., morocco extra

Thomas Cotes

1632

June 1st, 1907

140

First p'olio, partly in facsimile, calf gilt . .

Isaac Jaggard

1623

Percy Fitzgerald

'35

Third Folio, 13^ in. by 8i in., old morocco, imperfect .

Printed for 1". C. ...

1664

Sir H. Mildmay

130

Poems, Portrait loosely inserted, 5J in. by 3y'5 in., mod. cf.

Thomas Cotes

1640

July 27th, 1907

120

Merry Wives of Windsor, 4to, morocco extra ...

Arthur Johnson

1619

Van .Antwerp

120

Hamlet, clean and perfect, unbound

John Smethwicke

1637

Nov. 29lh, 1906

107

Othello, unbound, 410

Richard Hawkins ...

1630

June 1st, 1907

lOI

Merry Wives of Windsor, unbound, 410

Arthur Johnson

J619

June l.st, 1907

100

A Yorkshire Tragedy, 4to, morocco gilt

Printed'for T. P

1619

Dec. 14th, 1906

100

In addition to these, many works by or attributed to
Shakespeare were sold for less than ..£100, chiefly by
reason of their imperfections or becavise they belonged
to late and comparatively unimportant editions.

.So far as books other than Sluikcspcariana are con-
cerned, they might be divided into many distinct head-
ings, and that course would be necessary had a sufticient
number of them in each department sold for the sub-
stantial amounts we have indicated. Such, however, is
not the case, and it will therefore be better to deal with
them in one list. It may be remarked that, speaking
generally, and given books of rarity and substantial
value, the tendency is towards a great increase in market
price, but that, on the contrary, unimportant books, or
rather, let us say, those for which there is no great
competition, have distinctly declined in value, not only
during the past season, but of late years. In this way
is the balance restored, and the adjustment is in favour
of the book-lover of average means. Caring nothing for
extremely valuable works, possibly because they are

hopelessly beyond his reach, or because they do not enter
into his life, he turns his attention to the inexhaustible
majority which he finds ever ready at hand, and learns
to recognise the truth of the maxim, that the best
books are always the cheapest. Not every rare book
is expensive : rarity is not necessarily associated with
cost, though the terms are often loosely used to mean
the same thing, and there is even now an immense and
important hold for the collector who is debarred, for one
reason or another, from competing for what, after all,
are curiosities, of immense importance truly in public
libraries, or in the hands of a few specialists, when in
either case they occupy their true position, but of very
little when bought casually in a spirit of emulation, or
for no reason except that they are costly. The follow-
ing list will give a good idea of the kind of books for
which there is at present, and perhaps always will
be, a very great demand, and which may be expected,
therefore, to become more and more difficult to acquire
as time goes on : —

The Coi/j/oissciir

Author.

WoKK.

I'liiMKR OR Publisher.

Da 1 1:.

LlllRARV OR

Date of Sale.

Pkjck.

Wallim (Isaac)

The Complcal Angler, orig. sheep, 8vo...

Richard Marriol

■653

Van Antwerp ...

1,290

Frobisher (M.)

First Voyage, new calf, i2mo, cut

Andrew Maunsell

1 57s

March 15th, 1907

1,000

Krobisher (M.)

Third Voyage, new calf, i2mo, cut

Thos. Dawson ...

.578

.March I5lh, 1907

920

Frobisher (M.)

.Second Voyage, new calf, i2mo, cut

H. Middleton ...

'577

March IJlh, 1907

760

Burns (K.) ...

Poems, original wrappers, imcut, 8vo ...

John Wilson

1786

Van Antwerp ...

700

Le Roy (Leys)

Le Politicpies d'Aristote. and another worU,
old nior., dedication copies to Henri HI.

Vascosan

1576-9

DukeofSuthcrland

660

Hawkins (J.)

Voyages, new calf extra, i2nio, cut and
blank leaf missing

Thos. Purfoote

1569

March Ijlh, 1907

630

Caxlon (\V.)

Cicero in Old Age, and other pieces,
loj in. by 7 J in , morocco

Caxton

1481

Van Antwerp ...

600

Bunyan (John)

The Pilgrim's Progress, imperfect, orig.
calf, Svo

Nath. Ponder ...

1678

July 26th, 1907

520

Voragine (I. dc)

The Golden Lcgenda, fol., mod. oak bds.

W. Caxlon

1483

June 1st, 1907 ...

4S0

Caxlon (\V.)

The Ryal Booke, and other works, by
Caxlon, much mutiiatefl, original
stamped leather

Caxton ...

1487-9

Nov. 23rd, 1906

470

Hubbard (W.)

Troubles with the Indians, orig. cf., 410,
" White Hills" map

John l-'osler

1677

Van .Antwerp ...

450

Journal of the Expedition to La Ciuira,
and six other .-Vmerican tracts, in a
volume, half calf

1744 5,i

11. '■. Harford...

40s

.\ Relation of Maryland, blank leaf miss-
ing, 4I0, unbound

William Peasley

'635

March 15th, 1907

400

Nieremberg (Jo.)

Hisloria Naturx, and another work,
Charles Ist's copies, old English nior.

Moretus

■635

DukeofSuthcrland

395

Honier

Opera Omnia, first ed., fob, old russia ...

Nerliorus

14S8

July 27th, 1907

380

Sidney (Sir P.)

Countesse of Penrbroke's Arcadia, sm.4to,
mended, old boards

William Ponsonbie

1590

Van .Antwerp ...

315

Gower (Jno.)

Confessio Amantis, nearly perlect, mod.
morocco, folio

William Caxton

1483

Sir H. Mildmay

310

Scott (Sir \V.)

Waverley Novels, full set, original editions,
mostly in boards

—

Van Antwerp ...

300

Burns (R.)

Poems, mor. ex., .some leaves rcpaire<l, Svo

John W'ilson ...

1786

George Gray ...

260

Common Conditions, a comedy, unbd., 410

William I low ...

(1576)

June 1st, 1937 ...

255

PhilHp (Jno.)

Pacienl and Meeke Grissill, unbound, 410

Thomas Cohvell

n. d.

June 1st, 1907 ...

250

Momer

I lias el Odyssea, 4 vols., printed on vellum,
folio, original morocco

.\nt Bladus

1542-,SI

Duke of Altemps

245

Ames (Jos.) ...

Typographical .■\ntiquities, 4 vols., speci-
mens of ancient typography added,
old calf, 4to

17S5 90

Van .\nlwerp ...

245

Stranynnge (\V.)

Ilislorie of Mary Queen of Scots, extra
illustrated and inlaid to folio size

Jolm I laviland . ,

1624

Dec. 5tli, 1906.,.

230

Browning (K.)

Pauline, Svo, morocco super extra, auto-
graph inscription by author

Saunders <.^- Otle)"

^'^ii

Stuart Sanniel ...

225

Goldsmith (O.)

The Traveller, morocco extra, small 4I0

J. Newbery

1764

Van Antwerp ...

216

Chapman (Geo.)

Seavcn liookes of the Iliades of Ilonrcre,
vellum

John Windet

1598

Spencc

214

llakluyl (1^.)

Voy.ages( with gen\iine" Voyage to Cadiz"),
3 vols., fol., slightly defective, russia

( 1. Bishnji and others ..

(59S I 60c

July 27111, 1907...

210

Gray(T.)

Klegy, morocco extra, 4to

R. Dodsley

'75'

Van .Vntwerp

205

Haden (F. Seymour)

Etudes .a I'eau Forte, proof etchings
momited, imperial folio

1S66

JuneOth, 1907 ...

200

Jesse (J. H.)

Memoirs of the Pretenders, extra illus-

1S45

Dec. 5th, 1906...

200

trated and inlaid to 2 vols., folio

We have touched but the fringe of the stibject in this
short summary of the season's sales. Hundreds of other
volumes have realised large amounts, but little advantage
would be gained by naming llicm seriatim, while a great
deal of space would be necessary if an attempt were
made to complete the list, so as to include books which
realised more than, say, ^50 01/60. These, and indeed
all books of any importance, will be found chronicled
in the pages of AUCTION S.\LE Prices. It may be
mentioned that, in consequence of the unusual number

of very rare volumes sold during the past season, and
the high prices realised for them, the average has
jumped up to £\ 4s. 2d., the next highest being in
1901, when it stood at ^3 7s. lod. Taking last season's
book sales in the mass, and including those only of a
high class, we find that some 31,800 lots of books, as
catalogued by the auctioneers, were disposed of, and
that they realised a total sum of nearly /i 34,000.
This discloses an average of ^4 4s. 2d., as previously
mentioned.

Announcement

ANSWERS TO CORRESPONDENTS

'Books. — " Don Quixote."— 9,826 (.Sallbum-by-lhe-
.Sc.u- — IjL-ing an odd volume, ymir hook is of no value.

Works of Scott. — 9,^45 (King's Lynn). — Your twenty-five
volumes are not worth more than 2 or 3 gns.

"Works of William Hoji;arth."—9.S47 (Leicester).—
This I) )ok i> not in dejuand witli colleclors at the present time.
Its value, at the outside, does not exceed £l. I'ln Museum of
Natural History, being an obsolete work, is practically valueless.

Coins and Medals. — Armada ISronze Medal,

1588. -9,iii^ lLdinbuij;h). — This counter is tairly common,
and its value is about 4s. to 5s., according to condition. The
figures on the obverse do not represent .Spaniards, but the
devotional gratitude of the Knglish people for their deliverance,
which they ascribe to God, as shown by the legend in Latin
arovnid the figures, viz., " Man i)ro])oses, God dis]ioses."

Engravings. — " Foxhunting," after J. F.
Herring, senr. — g.SoS (Leamington .Spa). — The value of

your coloured sporting prinl>, if in good condition, is about

^i or /,v

"Lucy of Leinster," by William Ward. 9,800
(Iladdon Road). — The original engravuig was m ^tlpple. If
your print is oft' the original plate, it is worth several pounds,
.according to state, but we must see it to give a definite opinion.
To dispose of it privately, advertise in Till': CoNNOlsstiUR
Kecistkk.

"Soliciting a Vote," after Buss, by Lupton.— 9,799
(Porthcawl). — The market value of this me//.otint is not more
than 4s. or 5s. Vour coloured print of Wcsiall's .It the Cottage
Door, is worth about 25s.

" The Vicar of Parish receiving Tithes," and "The
Curate of Parish returned from Duty," after
H. Singleton, by T. Burke.— 9,844 (New Brighton).—
The value of youi two coliured prints, if they are in fine
condition, is about ;^S to ^10.

" Le Buveur Flamand." — 9,840 (Kensington). — The
print vou describe is worth onlv about los.

"Trial of Earl Strafford," etc.-9,84i (Stre.atham).—
The various prints you mention are unfortunately of very small
value.

Royal Academy Diplomas.— 9. S36 (Baitersea).— These

are worth iinU" a few ^liillinL;^.

"Marquis of Rockingham," after Sir. I. Reynolds,
by E. Fisher.— 9,837 (Hull).— Your engi.aving, if a good
impression, is worth /,!.

"Death of Epaminondas," by B. West. — 9,821

(Cauiberwell), — Tiiis (.rint is not worth more than a few
shillings.

ObjetS d' Art. — Paintings on Glass. — 9,809

(Southport).— If perfect, the pair of transfer paintings on gl.ass
you describe would fetch from £2 to ^3, according to the tpialily
of the work.

"Pottery and "Porcelain. — Dessert Dish, etc.

— 9,829 (Thiapston).— The style of decoration shown in your
sketch was common to a number of factories. To give a definite
opinion regarding your china, therefore, we should have to
examine the paste.

Spode Plate, etc. —9,807 (Saffron \Yalden). — Wc are
inclineil to iliink that your vegetable <lish and six plates are
Spode, as well as the plate so marked. The mark you have
photographed simply indicates a particular class of china made
by one maker, and does not necessarily afford a clue to the
factory. The pieces are of only slight interest to collectors, and
their total value does not exceed 35s.

Rockingham.— 9,831 (Carli>le).— Rockingham china varies
considerably m ipiality. To value your tea service, wc must see
a specimen^ and know the exact number of cups and saucers.

Jug.— 9,830 (Bishop's Castle).— The jug, of which you send
us sketch, was probably m.ade by Kidgway, alwut the year 1S30.
It is worth alK)Ut 20s.

Worcester Tea Service.- 9.931 (Cirforih).— It isdifiicult
to give an opinion upon your tea service without inspection.
Judging from the photograph it may lie early nineteenth century
Worcester ; but as it is incomplete, it is not worth more than
about j^3 lOs.

Turner Plate. — 10,134 (Wateringlntry).— Judging from
your sketch we are of opinion that your plate is one ol llio»e
made bv Turner ai Lane End, Stafibrdshire, and afterwards
decorated in lloll.md. Its value is alxjut 155.

Wedgwood Jug. — 10,113 (Kltham).— It is really necessary
to see your jug to value it, as it depends so much upon the ilate
and tiuality. The subject, however, leads us to Irelieve that it
was not made during the lime of Jo-iab \Yedgwood, and it is,
therefore, not worth more than C'^ '" £i

133

HE CONNOISSEVP^

GENEALOGICAL AND
LDIC DEPARJMENT

CONDUCTED liV A. MEREDYTH BURKE

Special Notice

Rkaijers of The Connoisseur who desire to have
pedigrees traced, the accuracy of armorial bearings
enquired into, paintings of arms made, book plates
designed, or otherwise to make use of the depart-
ment, will be charged fees according to the amount
of work involved. Particulars will be supplied on
application.

When asking information respecting genealogy or
heraldry, it is desirable that the fullest details, so far
as they may be already known to the applicant,
should be set forth.

Only replies that may be considered to be of
general interest will be jjublished in these columns.
Those of a personal character, or in cases where the
applicant may prefer a private answer, will be dealt
with by post.

Answers to Correspondents

Heraldic Department

1,140 (Philadelphia).— Cli.-irles Jarvis. ihe translator of Z)o«
Quixote, and su(ccssi>r lo Sir Godfrey Kneller as portrait
painter to George I., signed his Will, CM&\\es Jarvis, and the
account of him in 'J'/u Dictionary of National Biography can
be supplemented b) some jiatticulars of his parentage. His
father was John Jervas, of ("knlisUe, in the paiish of Shinroan,
King's Co., who had married Kli/;ibelh, daughter of John
Baldwin, of Shinroan. Letters of Adnunistralion were granted
by the Prerogative Court of Dublin on 7th Feb., 1697S, of the
goods of " John ytv7'<7j, late of Clonliske, King's Co., genl.,
who died at Cape M:iy in America, to Charlesyivz'ai, of the
City of Dublin, gent., son of said deceased, to use of Lujj',
Martin, Mary, Matthew, John and Trevor Jervas, children of
said deceased." The Will of John Baldwin, .sen., of Shinroan,
King's Co., was proved in the same Court, i Feb., 169S-9,
and in it the testator mentions his son-in-law, )o\mJii-^is, of
Clonliske, his daughter, Klizabeth ytv-z'/V, their four younger
sons, Martin, Matthew, John and Trevor, and their two
daughters, Lucy and Mary. Charles Jarvis docs not appear
to have been at Trinity College, Dublin, but his younger

brother, John, matriculated at that University 21 March, 1697-S,
being then aged 19, and the entry in the College register
describes him as having been educated "by Mr. Archbald at
Shinrone, King's Co.," where possibly Charles, also, received his
education. The latter, in his Will, which was proved in the
P.C.C., 3 Dec, 1739, by his widow and executrix, mentions
the children of his late brother, Martin Jarvis, of Pennsylvania,
and the children of John Jarvis, of Clonliske. Who the " rich
widow " was, whom he married, is not known, but her name
was Penelojie, and in her Will (proved 1746) she refers to her
.\unt Penelope Hume, and makes John Hampden, of Hampden,
Bucks., her executor and residuary legatee.

1,145 (Cromer). — Heny Killigrew, whose distinguished
daugliter, .-Vniie Killigrew, was the subject of Dryden's well-
known Ode, was the" fifth son of Sir Robert Killigrew, Knt.,
and a younger brother of Sir William Killigrew, the dramatist.
I lis sister, Elizabeth, was the celebrated Lady Shannon,
mistress of Charles H.

1,152 (London). — Walter Langdon, of Keverel (referred to
in Ciil. Vivian's Visitations of Cornwall ViS, £sc/.), was knighted
at Whitehall, June, 1628, arid although he had, according to
the Visitation of 1620, eight sons, only two are referred to
in his Will, which was d.ited 4th Feb., 1625-6, and proved
13th May, 1637, viz., " my Sonne T'francis Langdon," and
" my Sonne and heire Walter Langdon," the last-named being
exor. and residuary legatee ; the remaining six probably having
died young. Walter, the eldest son, left an only son, also
named Walter, who died in 1676, leaving a daughter and
heiress, who became the second wife of John BuUer, of Morval.
On his monument this Walter is said to have been " the last
of the male line of that loyal and ancient and honourable
family." Francis Langdon died, without issue, in 165S, and
left ^£'200 to his " niece Klizat)eth Lee, she and her husband
Richard Lee to give the executrix a general release of all
further demands." Richard Lee is said to have been the
founder ot the family of Lee of Virginia.

1,159 (Plymouth). — There are few- Imjuisitions Post Mortem
of a later date than 1644, as the series of these records
terminates with the alxilition of the Court of Wards and
Liveries, which took place soon after the Restoration.

1,165 (London).— The Coat of Anns on the beaker -.■//;?<;«/
a (hevron hctu'ceii three escallops or — was borne by the Wenyeves,
of Brettenham Hall, Co. Suflolk. The family of H'enyeve
seems to have entirely disappeared, but their name in another
and perhaps older form may possibly still survive, as we find
a " George Wyiitiyffc, of Brettenham, .Suffolk, son of Thomas,"
matriculated at Gonville and Caius College, Cambridge,
3rd March, 1562-3.

1,172 (Sydney). — Inigo Jones was the son of Ignatius (or
Inigo) Jones, Citizen and Clothworker of London, who w.-is said
to have been descended from the family of Jones, of Garlhkenan,
Co. Denbigh, and whose Arms were : Per henii sinister ermine
and ermines a lion rampant -vithin a hordiire engrailed or.
These Anns appear on the Houghton Hall portrait of the
great architect.

November, 1907.

^^^^^^^S&^-^

EATON HALL

The Cheshire Residence of

His Grace the Duke of Westminster

Part II. By Leonard Willoughby

Dr. Rupert Morris, in his excellent little
Guide to Eaton Hall, says that the name " Eaton "
contains an allusion to its position near the Dee and
neighbouring streams. He contends that " the first
part of the word having doubtless a connection with
'eye' or 'ey,' which appears in English local names
as Battersea, Anglesey, Ostrey, and in the term
' Eyot,' or 'Ait,' a little island." In my previous
article I referred to some of the ancestors of the Duke
of Westminster, but only in the sense of tracing the
direct descent of the Duke from Hugh Lupus, the
Conqueror's nephew. One Grosvenor I mentioned
was Raufe, who was an adherent of the Empress
Maud, and who, with his cousin the Earl of Chester,
was present at the battle of Lincoln in 1141. It was

here that King Stephen, forsaken by his followers,
showed such marvellous bravery and prowess.

Fighting on foot, with his sword till it was broken,
and then with his axe, he succeeded in bringing
many to the ground, and amongst them the Earl of
Chester. It was only after he himself had been
struck by a huge stone that he was captured and
carried off to Bristol Castle. There is preserved at
Eaton Hall a M.S., a copy of Henry of Huntingdon's
Chronicle, containing a contemporary drawing of
King Ste|)lien making arrangements for the battle of
Lincoln. Richard Cieur de Lion had with him
Raufe's son Robert in the Crusade, and he was
present with him in Sicily in 1190, when he took
Messina in revenge of 'I'ancred's expelling the English

ITALIAN CARVED AND GILT CONSOLE TABLE. FROM HAMILTON PALACE COLLECTION, AND
LOUIS XVI. AUBUSSON TAPESTRY CHAIRS

Vol. XI.\.— No.

The Connoisseur

soldiers. Yet another Roliert Cirosvenor, Lord of of certain goods of ^the Welsh rebels which had been

Hume, accompanied King Edward III. to France,
and witnessed the passage of the river Somme and
the battle of Cressy in 1346.

I mentioned that Eaton came to the Grosvenors
through the alliance of Ralph, second son of Sir

seized at Eton Boat after the battle of Shrewsbury
"by his faithful but too zealous subject, John de
Eton." Loyalty has ever been the marked character-
istic of the Grosvenor family, though their loyalty at
times has cost them much. I'or instance. Sir Richard

vU, j

BEAUVAIS TAPESTRY PANEL AND CARVED AND GILT CONSOLE TABLE

Thomas Grosvenor, of Holme — or Hume — to Joan,
heiress of John Eton de E^ton, /em/). Henry VL
Eaton was then spelt without the " a," and the house
which belonged to the estate was called Eton Boat.
This curious name for a house arose through the
proprietor having the Grand Sergeancy of the Dee,
which gave him great powers.

There is another MS. at Eaton, a letter from
Henry, Prince of Wales, commanding the restoration

Grosvenor in 1644 came in contact with the Parlia-
mentary forces under Lord Fairfax, and through all
these troublous times continued firm in his adherence
to his King. This cost him his home at Eaton and
forced him to take shelter in a neighbouring cottage
for many a long year, until the King came to his
own again. His son Roger likewise was loyal, and in
1659, when the Royalists had planned a general rising
in favour of their exiled king, he held himself ready

Eaton Flail

with Sir Thomas Myddleton of Chirk Castle, his
father-in-law, and his wife's brother-in-law, Lord
Herbert of Cherbury, and Sir Richard Wynne of
Gwydyr, to raise the King's standard on the Welsh
marshes. He was rewarded for his services by being
selected as one of the thirteen gentlemen of Cheshire
to be Knights of the Royal Oak. He was killed
in a duel in 1661, whilst his father was still living.

But, to return to Eaton Hall, it may be of some
small interest to mention a word as to the previous
houses which existed on this spot, but which differed
entirely in appearance from the present great cold-
looking building. The first Grosvenor to build a
house at Eaton was Sir Thomas, in 1690. His
architect was Sir John Vanbrugh, who also designed
those wonderful buildings, Blenheim and Castle
Howard, the respective homes of the Dukes of
Marlborough and Earls of Carlisle. The Eaton
House he designed was of brick, "with a frontage

AUBUSSON TAPESTRY PANEL IN DRAWING ROOM

of 157 feet. It was in five divisions, the centre
and extreme members advancing from the rest ;
the whole covered with a flat heavy roof, having
windows and surmounted by an immense lantern
rising from the middle of a platform enclosed by
balustrades and surmounted by chimneys in ponderous
clusters. In front was a spacious courtyard flanked
by two detached wings and surrounded bv iron rail-
ings, with entrance gates of iron superbly wrought
and elaborately ornamented." In 1803 this house
was greatly altered by Robert, I'-arl Grosvenor, the
work occupying thirteen years 10 finish. Two wings
were at this time added, which now brought up
the length of the house to 450 feet. Instead
now of the plain-looking building of Sir John
Vanbrugh's design, i\Ir. William I'ordon converted
it into one which may be described as of florid
Ecclesiastical Gothic. Again later on alterations were
made to the east front by Richard, 2nd Marquis,
who reconstructed the turrets either side of the
drawing and dining rooms. .And so Eaton Hall
remained until 1867, when the late Duke entrusted
Mr. Waterhouse with the task of creating the
present enormous structure.

In continuing my description of the interior, I will
commence with the saloon which forms part of the

.139

The Connoisseur

hall, and is the feature of the house. I suppose it is
quite unique in every respect, both in design and
in decoration. Divided by pillars alone from the
entrance hall, the two form one large room measuring
76 feet by 32 feet. The .saloon faces east, over-
looking the sloping grounds wherein are some ponds
in stone enclosures or basins. There is also the
broad walk which runs down from the steps leading
out of the saloon direct to the lake at the bottom
of the grounds. The apartment is lighted by three
enormous windows, which show up well the wonder-
ful marbles which surround the room, and the great

Laura; (4) Dante and Beatrice; (5) King Henry II.
and Fair Rosamond ; (6) Claudia and Pudens :
(7) Cassivelaunus and Flor; (8) Mark Antony and
Cleopatra. Above this fine chimney-piece and
running the entire length of the wall is the
frieze painted by H. Stacey Marks, R.A., representing
Chaucer's " Canterbury Pilgrims." The effect of this
extraordinary painting in vivid colours is remarkable,
for the figures are drawn nearly life size. It is
continued on the opposite wall, the figures repre-
senting the Miller riding at the head of the
Pilgrims, and blowing his bagpipes, with which he

LOUIS XVI. SETTEE COVERED IN .\UBUSSON TAPESTRY

painted frieze. The three large Gothic stone arches
which divide the saloon from the hall are supported
by clustered pillars of "Vert de Mer."

The high alabaster dado runs along the north and
south walls. The fireplace is in the north wall, and
has a very large and heavy stone mantel, supported by
double pillars of the beautiful "Vert de Mer" marble.
The panels of the frieze are of alabaster, and the carvings
in high relief represent the Court of Love. Thus in
the four outer panels are, ( i ) Eros or Cupid winged,
with his bows and arrows; {2) Love, holding in her
arms two turtle doves; (3) Hymen, the God of
Marriage, with his torch ; (4) Constancy. In the
centre of the frieze eight pairs of lovers famed in
history, (i) Raphael and La Fornarina ; (2) P"ra
Filippo Lippi and Lucrezia Buti ; (3) Petrarch and

" brought the company out of town. ' Following him
are the Physician, the Parson, and the Knight :
then come the Veoman and the Cook, the Nun and
the gentle Prioress — " mighty pains she took to
counterfeit court manners and be stately and discreet.
So charitable and piteous that she could weep but
did she see a mouse caught in a trap, if it were dead
or bled." .\nd then come the Voung Squire, and
the Man of Law, which is the last figure on the south
wall. On the chimney side the picture commences
with the .Merchant and the Franklin, with "com-
plexion sanguine," for "he loved in morning a sop of
wine." Then comes the Wife of Bath, the whilom
wife of five husbands. She is depicted as " bold of
face, red of hue, well wimpled with fine kerchiefs,
showy in dress." By her is the " Wanton and merry

140

Eaton Hall

Friar," and Chaucer himself with rose in hand rides
between the Manciple and the Shipnian. The rear is
brought up by Mine Host, a " large stout man, merry
and full of witty jests," and the Reeve, a "slender
choleric fellow with long legs, lean like a staff, who
ever rode the hynderest of the route."

The vellum tint of the walls helps to throw up this
bright scene, which is truly an extraordinary and bold
conception for decoration. The ceiling is vaulted,
and follows the design of the tomb of Mahomet at
Beejopore. The centre is in the form of an inverted

The room leading from the saloon on the south
side is the ante drawing room, and, like the saloon, is
remarkable for its decorations — also by H. Stacey
Marks, R.A. These consist of a series of twelve bird
pictures set in panels and placed in sets of three,
one set flanking each side of the chimney-piece, and
the remainder occupying the side walls. The birds
are all painted in vivid colours, but with the most
extraordinary accuracy. The colours, form, and
texture of the feathers all show that the artist must
have deeply studied each subject. Curiously enough

LOUIS XV. LIBRARY TABLE

saucer, and is painted to represent the firmament in
graduated blue, with a gold sun in the centre surrounded
by stars. Most of the furniture here is covered in
priceless tapestry, while the heavier seats and chairs
are covered in finely worked Genoese stuff trimmed
with richly embroidered Venetian applique. Two
enormous vases on either side of the central window-
are good specimens of fluted work in Oriental granite,
and the large Venetian cabinet, the supports of which
are negro boys, is a beautifully wrought piece of
Renaissance workmanship. A large screen is formed
by the top of a table placed on end, and consists
of a huge slab of marble, inlaid in different colours.
The chairs and settees are Louis XVI., in white
and gold, while a tall clock of curious design is of
the I'^mpire period.

they are mostly birds with long legs and necks,
such as the flamingo or the secretary bird, .^s Dr.
Morris remarks, " We have called this series of ])anels
an idealised zoo." Plumed anglers from Europe,
Africa and America : gorgeous macaws and solemn
cockatoos from the tropics : birds from all i:limes
have been brought together to live harmoniously with
the English robin and the homely sparrow. Nowhere
can such a gathering be seen save in the Zoological
(iardens, and a right "happy thought" it was to
invoke Mr. Marks's unrivalled skill to make them
breathe and live upon the walls of the sumptuous
room at Eaton. The frieze above depicts birds and
primroses, while the roof is groined in flat low arches
on which are painted swallows, butterflies, and stars.
The chimney-piece, of Derbyshire alabaster, with slabs

141

The Coiiiioissc/ir

of porphyry and iridescent labra-
dorite is quite beautiful, as, in fact,
are all the marble chimney-pieces
in the house. The glass cupboards
between the windows contain some
fine specimens of old Worcester and
old Dresden. The general tone of
the room is green, which makes a
good setting for tlie ])anels of birds.
From this room llie drawing
room is entered, a room, like the
dining room, measuring 45 ft. by
36 ft. The great windows, reach-
ing from floor to ceiling, give one
of the best views from the house
of distant hill, vale, and river, with
the land-mark Beeston Hill promi-
nent. The features of this noble
room are the tapestries, the con-
sole tables, the fire-place, and, of
course, the furniture. The tapestries are hung in
panels both sides of the fire-place, and on the north
and south walls and each side of the windows.
These fill thu space from dado to frieze. Several

OLD DRESDEN TUREEN

IVORV FLAylES IN LIBRARY

of the pieces are Beauvais, and the rest Aubusson.
Illustrations of both kinds will, perhaps, give the
best idea of what they are like. Beneath these
panels are Florentine i)icr or console tables, the

slabs being of the
much - prized matrix of
amethyst. These were
bought at the Duke of
Hamilton's sale. The
chimney-piece is of Car-
rara marble, and consists
of two tiers of double
colunms. It was made
at Rome in 1869, and is
ornamented with glass
mosaics and large-sized
agates with mosaics
radiating from them.
The columns are copied
irom the cloisters of St.
John Lateran in Rome.
They have a twisted
pattern, and are inlaid
with glass mosaics. The
white marble generally
is relieved by slabs of
Rosso Antico and red
and green porphyry. The
fire-place faces the great
windows. The furniture,
covered in old Aubusson
tapestry, is of great
value, and belongs to
the Louis XVI. period.

142

Eaton Hall

OLD DRESDEN DISH

At the south side of the room is a large archway
and recess beyond, from which the Hbrary can be
entered, while there are also steps leading down to a
lobby and a door opening to the garden. Either side
of this archway are enormous Oriental vases on
stands, and in the recess is the group by Dalou of
a mother rocking her child to sleep. In the narrow
way leading from here into the library is a large
wall case containing some very valuable miniatures
which came from the Magniac collection. These
consist of Lady Arabella Stuart : FranCjOis Due
D'Alenron (Jean Clouet) ; Jeanne D'Albert, mother
of Henri (J^uatre ; Martin Luther (Cranach) : Catarina,
Luther's wife (Cranach); Melanchthon (Cranach);
Child, unnamed (Pourbus) ; Mary Queen of Scots,
Dauphine of France ; Ernestina Sophia, (irafin
zu Solius ; Emperor Charles V. (Cornelisz) ; Lord
Seymour of Sudeley, Lord High Admiral ; and
Elizabeth de Valois, wife of Philip IL of Spain.
These highly interesting miniatures are unfortunately
so placed that it is utterly impossible to obtain a
photograph of them.

If the saloon is the chief feature of the interior
of Eaton, assuredly the library is the most
charming of all the grand apartments of this great
building. It measures 92 feet long by 30 feet wide,
and is 23 feet high, and this, not including the two
large bays and the lower recess on the south side,
nor yet the two octagonal bays at the south-west and
north-west corners. The ceiling is most effective,
and is divided into live bays, divided by great beams
ol walnut. 'l"he frieze is of walnut, and is inlaid with
roses of mother-of-pearl and leaves of boxwood,
executed by Braugan. The same ornamentation is on
the panelling of tlie cu[)board and organ case.

The two chimney-pieces consist of moulded black
marble frames, surrounded by elaborate walnut
panelling 10 feet wide with groined soffits, causing
the friezes of the chimney-pieces to project two feet

over the fire itself. The frieze
contains a long central and two
side panels, and supports a cor-
nice which rests upon caryatids,
representing the connection of
all ranks with literature — royalty,
the Church, chivalry, minstrelsy,
husbandry, etc.

The organ case is of walnut, and
is inlaid and decorated with gold
chevrons and delicate foliage, each
panel showing a different type.
This organ was given to Eleanor,
Marchioness of Westminster, by
her father, Thomas, first Earl of
Wilton. The bookcases to the height of 1 1 feet are
of walnut, and contain some 10,000 volumes and
valuable manuscripts, several of which are bound in
velvet with silver mountings. The pick of the collec-
tion is Tlie Vision of J'ii'rs P/o-ii'inan, a folio volume
written in the early part of the fifteenth century.

OLD CLOCK ^IN .LACgUER CASE

143

TJie Connoisseur

STAIRCASE, WITH ARMOUR FROM HORACE WALPOLE's COLLECTION

There is a fine copy, also in vellum, of Henry of
Buntingdoiis Chronicle, an illuminated copy of the
evidence in the celebrated " Bend Or " trial in
Richard II. 's reign. There is also a large collection
of pamphlets and works bearing on the political and
religious controversies of the times of James I.,
Charles I., and Charles II., and some interesting
proclamations in Black Letter of the same period.
The five pictures above the bookcases were painted
for the first Earl Grosvenor by Benjamin West, the
Quaker painter from Pennsylvania, who became
President of the Royal Academy in 1792. The
subjects are — (i) Oliver Cromwell dissolving the
Long Parliament, where, pointing to the Speaker's
Mace, he orders a soldier to " Take away that bauble."
(2) The landing of Charles II. at Dover in May,
1660, attended by the Dukes of York and Gloucester.
He is raising up General Monk, who kneels to receive
him. (3) The Battle of the Boyne, July ist, i6<)o,
where William III., mounted on a white charger, has
arrived in time to decide the fate of the day with
the left wing of his army. As William had had his
right arm disabled early in the battle, he should have
been painted using his left hand — if any. (4) The

Battle flj La Hogtie, in which Sir George Rooke (who
with Sir Cloudesley Shovel afterwards took Gibraltar)
destroys with his flotilla of ships and boats the thirteen
large ships of war and twenty transports, part of
Louis XIV.'s fleet, fitted out to support James II. 's
attempt to recover the throne. James, depicted stand-
ing on the distant heights, exclaims as he sees this bril-
liant deed, "None but my brave English tars could
have performed so gallant a feat'' — and this despite his
hopes of recovering the throne had now gone. (5) 77/1?
Death of General Wolfe on the Heights of Abraham,
ijth Sef'temher, ij^g. Wolfe is dying, struck down by
a musket ball in the breast. Sir William Howe, point-
ing to the enemy's colours which have just been taken,
e,\claims, "Sir I they run ! " The Indian standing by
watches to see whether the white braves can bear pain.

Dr. Morris says that this picture is of the highest
interest as being the first in which any painter of
" high art " ventured to dress his character in the
modern garb of European warriors. George III.
wished to purchase this picture, over which there was
so much criticism, but he eventually had a copy made,
which is now at Hampton Court.

Amongst the objects here are some carvings in

144

Eaton Hnll

ivory of the heads of Sir Francis Drake, Sir John
Hawkins, Queen EH/.abeth, and the Destruction
of the Armada, with Drake (taking astronomical
sights), F. Walsingham and W. Cecil (holding the
Scale of Justice). A huge scene at the entrance,
composed of three panels of pieira dura, is inlaid in
lapis lazuli, verde antico, jasper, chalcedony, serpen-
tine, and porphyry, the lower compartments being a
marvellous representation of a landscape. Some
charming old tables, an old clock in a curious old
lacquered case, and an exquisitely carved ivory of
Wolfe's head, are hut a few of the many beautiful
and interesting objects in this noble room.

Outside the library doors to the grand corridor
is the staircase, on the walls of which hang some fine
suits of armour and swords, used in the early part of
the sixteenth century. These came from Strawberry
Hill at Horace Walpole's sale in 1844. One of the
helmets has a "beaver" in three pieces, which moved
over each other, and when covering the face were
held up by as many little catches. Several of the
breastplates are of the globose pattern, one with a
raised edge down the centre called the " tapul " ; and
attached to them by buckles are the "traces" or

" tassels," which are over-lapping bands of steel
forming a skirt, held together by sliding rivets. The
columns on the staircase are fine specimens of English
and Scotch granite, and the balustrade is of alaba.'.ter.
Two immense pictures which hangin thegrand corridor
here. The Adoration or the MciK' and The Fathers of
the Church, are by Rubens. 'l"he former, measuring
10 ft. 9 in. by 8 ft. i in., was painted in eleven days
for the Church of White Sisters, Louvain, for £,-i2.
It w;is sold at the suppression of convents in 1786
for ^^756, and was purchased from Lord Lansdowne,
who had paid ^^840, by Earl Grosvenor in 1806.
The second picture is 14 ft. by 14 ft. 6 in., and
was painted in 1629 by order of Philip \\ . (and
forms one of nine), who presented them to his
minister, the Duke of Olivarez, to decorate a
Convent of Carmelites near Madrid. Seven of them
were taken away by the French in 1808. The
wagon that held them broke down in a muddy ditch,
and some of them rolled out into the water. One
was seriously injured, and four were purchased by
M. de Bourke, the Danish Minister at Madrid, who
brought them to England, and sold them in 181S
for ^10,000 to the first Marquess of Westminster.

'f:m

ENAMELLED ClUNESE VASE YUNG-CHING PERIOD

I4S

Doccia Porcelain

By M. E. Steedman

TiiK first porcelain laclury at 1 )()ccia was
established in 1735 by the Marchese Carlo (linori,
who, being desirous of imitating Chinese porcelain,
sent a vessel to the East Indies to obtain the different
kinds of material employed in its composition. Ik-
began to make experiments at a villa belonging to
him in the neighbourhood of Sesto, not far from
Florence, and was so successful that he decided to
start a porcelain factory. A chemist named Carlo
W'andhelien was appointed director of the works in
17:57, and the production found a ready sale, while
the Tuscan Ciovernment granted it the privilege of

factory passed into ])ossession of his son, the Senator
Lorenzo, who greatly ini])ro\ed and enlarged it.
More workmen were emi)loyed, and superior furnaces
were built, which enabled the owner to manufacture
important ]3ieces, such as vases and statues, which
had hitherto been impossible. The works were still
further enlarged and improved when his son, Carlo
Leopoldo, succeeded him, and a museum was built
for the accommodation of the models of the most
famous sculptors, whether ancient or modern. The
porcelain, too, was highly finished at this period,
and the decorations beautifully executed, which was

No. 1. — CVV AND COVER

being the only establishment of its kind in the State,
though this special mark of favour was withdrawn in

tSl2.

The Marchese Carlo (linori died in 1757, and the

DOCCIA rORCELAlN

principally due to the teaching given at the school of
design established by Carlo Leopoldo.

The Doccia factory lias always been noted for the
variety of its ijroductions, and both hard and soft

146

Doccia Porcelain

/€-K,

No. II.

-THE FINDING OF MOSES
GROUP

DOCCIA PORCEL.\IN

paste were manufactured there. 'I he ("apo di Monti
moulds were transferred thence in 1S21; consequently
large quantities of spurious Neapolitan china bearing
the original mark have since been manufactured at
Doccia and distributed throughout Europe. Of com-
paratively late years the factory has been remark-
ably successful in imitating Japanese and Chinese
porcelain, Delia Robbia ware, and the sixteenth
century .Maiolica of Xante and Maestro Ciorgio.
The metallic lustres employed in the colouring of the
latter were invented and brought to perfection by
(".iusto (;iusti, who learnt his art at the Doccia school,
and was accorded honourable mention at the London
and Paris Exhibitions of 185 1 and 1855 respectively.
The decorations found on Doccia porcelain are
numerous and varied, and among the principal artists
employed from 1770 to 1800 were : — FanciuUacci, a
painter of miniatures ; Carlo Rislori (landscapes) ;
Antonio Valleresi (flowers); Antonio Smeraldi (figures
and landscapes); Angiolo Fiaschi (figures); while the
modellers included Bruschi, Lici, and Ettel. Tea
and dejeuner services were extensively made, and
most of the cups had covers, like that shewn in N'o. i.,
with acorn shaped or twisted handles; the decorations
consisted of landscapes and figures, such as nymphs.

satyrs, etc., or flowers, the latter sometimes in relief
like those on the cup in Xo. i. Statuettes, groups,
and figures were also manufactured, and the group
illustrated in No. ii. represents the finding of Moses,
while No. iii. shows the figure of a satyr.

Carnival and garden scenes sometimes occur, and
fishing groups, as on the stand in No. iv., also
festoons, scroll-work and basket-work borders. Some
of the ecuelles are beautifully painted with a shield
on a cross of the order of St. Stephen, bearing the
arms of the Ginori family, held by an eagle on each
side, and further decorated with elaborate festoons of
flowers and a floral monogram. There are one or
two fan-shaped jardinieres in oval stands extant having
exquisitely painted panels of soldiers and ladies,
divided by richly gilt blue pilasters, and it seems
almost certain that Wedgwood's celebrated jasper
ware was imitated to a slight extent at the Doccia
works, principally in the form of white oval medallion

No. III. — A SATVR DOCCIA I'ORCKL.MN STATUETTE

147

Tlic Connoisseur

No. 1\'. — CUP, COVEU, AND STAND

portraits on a blue ground. The principal mark
found on Doccia porcelain is a star, which forms part
of the (linori arms. It is found in gold upon tlu'
richest pieces, and also in red. The mark of a double
triangle, also in gold on the best specimens, is another
mark recognised as l)elont;ing to the 1 )occia factory,

DOCCIA PORCIiLAl.N

and the name " Ginori " is sometimes found impressed
in the paste. The initials N.S. are attributed to
Nicolo Sebastiano, and P.F. to Pietro Fanciullacci,
who was a chemist as well as a painter, while the
letters C..'\. and P.G. are also occasionally though
rarelv met willi.

No. V. — TWO FIGURES

DOCCIA PORCELAIN

I4S

MORNING, OW Tllli: WEI-LECTION

. i.,^-' ^■■'-;*v.-^^

HY J. GUOZKK
AKTF.R W. WAKI)

Fire=Dogs

Part I.

By J. Hartley Beckles

(With Illustrations of the Chief Examples to be met with in the Kingdom)

Fire-dogs (or andirons) are to-day almost
an anachronism. Occasionally in some old baronial
hall or stately mansion, as at Chatsworth, I have seen
the great log of oak or beech borne in and placed
lovingly athwart the iron or bronze shoulders of
the " ancient twin servitors of the hearth," as Tenny-
son called them. P.ut the doom of the blazing log
was sounded nearly two centuries ago, when the
sea-coal lire {" noxious and health-destroying," they
called it) uprose in half the households of the country-
side. Newcastle began to pour forth her stores of
fuel into the lap of England, and manufacturers of
iron grates could not keep pace with the demand.
It was then that the moulding and the fashioning
of fire-dogs quite suddenly
ceased, and the close of the
seventeenth century marks the
decline of an industry which
had given e m [) 1 o y m e n t to
numerous founders, ingenious
artisans, and silversmiths since
Roman times.

There are scattered here and
there in ])rovincial museums,
such as Norwich and Chester,
a few surviving examples of
Roman firedogs, and these,
while of a simple character,
have yet a certain feature
which marks them out from
the later rude English at-
tempts. This is not the
double vertical bars, but the
fact that these terminate in a i6th ce.stcrv CAST-nicv

representation of a deer's head with antlers. These
latter, resembling large nails, were doubtless employed
in holding a cross-bar or spit in place. An excellent
specimen has been found at Hartlip, Kent, and also
at Colchester, answering to this description.

The very oldest English fire-dogs I have seen are
quite simple bars of unmixed iron, with vertical fronts
or faces, two feet high, the tops bent into a scroll
or crozier-shape. In the Middle Ages the fire-place
usually occupied the centre of the large hall. There
was there a low platform of stone, such as may yet be
seen at Penshurst, Kent, with the fire-dogs that of
old su|3ported the logs. Doubtless all the early fire-
dogs were of this description, but with the growth of
interior ornament and luxury
in the Middle Ages, more
elaborate forms came into
use. Log fires were no longer
built in the middle of an
apartment, and richly designed
chimney-pieces very naturally
suggested graceful shapes and
patterns in the a[)i)ointments
of the hearth. In the fifteenth
and sixteenth centuries we
observe the front upright b.ar
not merely terminating in
the head of a man, woman,
child, dog, or animal, but
the whole face, as well as
the legs, have a strongly
marked design in relief. In
the case of fire dogs in use
in abbeys, monasteries, and

■■

^K^i=i^^

p 1

^^^^^^^^4

if!

w 1

'^/"v-^ •■•

i-A|»y ^H

'\r^-

wHm^^^^^H

SILVER FIRE-DOC. AT KNOLE

SILVER FIRE-DOG AT KNOLE

l;7ll CENTURY SILVER FIRE-DOG IN THE ROYAL COLLECTION i6TH CENTURY SILVER FIRE-DOG AT HAMPTON COURT

Fire-Dogs

religious houses, the head is omitted, and the whole
presents a sculpturesque effect, combined with Gothic
and Renaissance architectural features. One example
of this sort may be seen in the pair now at Smardon
in Kent, with the initials " I. H. S." at the base of
the body.

But while in England the fire-dog throughout

continued to be made of iron or other metal, while
the surmounting figure was of silver. There are
several fine examples of silver dogs at Knole, one
at Hatfield, and two at Windsor. The Duke of
Portland also possesses a pair of urn pattern more
severe than those at Knole. They were made by
Philip Rolls in 1704, and deviate but slightly from

ENAMEL FIRE-DOGS, NOW IN THE rOSSESSION OF EARL COWLEY

Elizabeth's reign continued to retain a certain fitting
relationship to the older forms of heartli irons, on
the Continent it altogether outgrew its original
simplicity and its original material. Silver, brass,
and bronze came to be extensively used in Italy.
The finest artists were employed in the designing of
exquisite specimens of the sculptor's art. Exactly
when and where the first silver fire-dogs were fashioned
cannot be ascertained : but it is clear that they were
known to Shakespeare from a passage in his play
of "Cymbeline." lachimo describes the andirons
of Imogen's chamber as "two winking cupids of
silver, each on one foot standing, nicely depending
on their brands." It is probable that the body long

the traditional form of such fire-place furniture. They
are twenty-six inches high.

The Windsor specimen shown in this article has
been mutilated with the crown and cyjiher of
William IV. The story is told of the little George IV.
and his drawing-master at Windsor, probably of this
very pair of andirons. The prince had been sketch-
ing a variety of objects set before him, with more or
less painstaking seriousness, for the task was to him
most irksome, and the drawings were ultimately
submitted to his royal father. " Wooden ! " was the
King's exclamation. " All wooden 1 A table, a chair,
a box, a stool \ Heavens, Mr. ICIIiott," turning to the
|)erturbed drawing-master, " have you nothing the

153

The Connoisseur

child can exercise his
talent upon but these
things of wood ? Come,
sirrah, let me see you
draw one of those silver
andirons yonder, and
if you make a good
job of it you shall
have a day's holiday
with me in AX'indsor
Forest." But either
the prospect held out
to the lad jjossessed
few charms, or his
pictorial genius was
unequal to the strain
put upon it, for the
drawing ol the andiron,
although it consumed
a whole morning, was
so bad that George III.
declared, with much
humour and good
sense, that whatever
role his son was
destined for in this
world, he would never

I7TH CENTURY SILVER FIRE-DOGS, FROM THE PALACE,
COPENHAGEN

make an artist. His
majesty ordered the
drawing lessons dis-
continued forthwith as
an utter waste of time.
'I'he tutor contrived to
keep the unha])py
drawing, which caused
his professional transfer
to the youthful Duke
of Gloucester, and it
long continued in his
family.

Cupids seem a
favourite design at the
beginning of the seven-
teenth century. One
finds no reference to
silver andirons in
France earlier than the
time of Cardinal Maza-
rin. In 1654 one pair
was valued at 2,925
livres in an inventory
of the effects of Mar-
shal de la Milleraye.
No fewer than forty

WROCGHT-IRON FIRE-DOGS
GERMAN, EARLY FLEMISH FRENCH

I-TH CENT. 17TH CENT. 1 5TH CENT.

FLEMISH

I6TH CENTCRV

P.RONZE

i6TH CENTURY
WROIGHT-IRON, FROM
THE TOWER OF LU.NEMBOURG

■54

Fire-Dogs

pairs are described in different in-
ventories of the reign of Louis XIV. ;
but nearly all of these have dis-
appeared long ago into the melting
pot, although a few found their
way into England at the time of
the Revolution. It has been
doubted whether in this country
there were any fire-dogs wholly of
silver before the latter part of the
reign of Charles II. Although what
Mr. Starkie Gardner calls "the
great age for massive silver furni-
ture " came to an end with the
death of Louis XI\'., yet silver
fire-dogs continued occasionally to
be produced. Rococo became the
vogue, and a most e.vaggerated
form of German rococo is dis-
played in a pair of dogs owned
by Earl Cowley — "an asymmetrical
mass of swirling waves, clams and
rushes, with incidents such as a
cornucopia and flowers." Each
stands nearly three feet high, and
was made in Augsberg in 1745.
It bears for device the closed
crown of a Prince-Bishop over the
monogram C. P. I may as well, lor the benefit of
those seeking to acquire these brilliant mementos
of the hearth, add that the sole remaining English
po.ssessors of silver andirons, beside.s those already

ENAMELLED FIRE-DOG
V THE POSSESSION OF GENER.^L
FOX-PITT-RIVERS (CHARLES I.)

enumerated, are the Duke of Buc-
cleuch, whose pair represents female
figures with lions' claws ; the Duke
of Manchester, a cherub on dol-
phin ; and a pair at Belvoir Castle.
In an inventory of Hargrave
Hall, Suffolk, dated 1603, there
is entered : " Item, two payer of
Andyrons wth. heads and foreparts
of copper : one payer being less
than the other." ^^'hat fate over-
took these cannot now be deter-
mined ; but it is certain that copper
and brass specimens are to-day
e.xceedingly rare. Enamel came
to be used about the same time
as silver, but is now seldom met
with, examples fetching easily from
_/'3oo to a ;^i,ooo whenever they
come into the market.

There is a fine pair in the
possession of Earl Cowley, be-
lieved to have been made for
James II., and comprising the
royal arms, supported by two nude
male figures. The pair at 1 )rayton
House is precisely the same as the
ones at Haddon Hall, save that the
colours of the former are purple, while, ami turquoise,
while the latter are green and white. A curious
pointed shape with a very intricate pattern is shown
in the pair owned by General I'itt-Rivers at Rushmore.

{ To he i'i>iilinut:d.)

FIRE-DOG AT ALDINGTON, KENT

'55

Mr. Arthur Morrison's Collection of Chinese and Japanese
Paintings Part II. By Stewart DicK

The most famous of all the masters of the
Chinese renaissance is Sesshiu, born 1420, died 1506,
who is one of the greatest of all Japanese painters.
Of his work Mr. Morrison possesses two specimens:
one a large six-panelled screen in the artist's early
manner, probably painted before his visit to China ;
the other a masterly little landscape of the broadest
and most summary description. There is also another
large landscape
screen, by a
])ainter of the
u n k n o w n
school, w h i c h
is perhaps even
finer than that
of Sesshiu him-
self.

In the works
of the K a n o
school, which
sprang from
the Chinese
renaissance,
are some of
the greatest
treasures of the
collection. An
exceedingly
fine example of
the work of
Kano Moto-
n ob u is the
painting of
mandarin
ducks, the landscape by sesshiu

emblems of conjugal fidelity. The whole range of
the wonderful Kano brush work may be seen here :
the broad flat treatment of the distant mountains,
the bold dashing strokes of the reeds and grasses,
and the firm and delicate detail in the plumage of
the birds.

Even finer in its way is the landscape of mountain
and stream, and picturescjue trees, and there is also

an extremely
interesting
example, a fan
mount with the
figure of an old
man riding on
an ass, which
belongs to the
youth of the
painter when
he travelled
over Japan on
foot, paying his
way by means
of such rough
sketches.

Fan mounts
were favourite
subjects for or-
namentation by
the J a panese
masters, and
Mr. Morrison
possesses a set
of thirteen
examples by
Sanraku — fish,

156

Mr. Arfhiir Morrison's Collection

landscapes, birds, figures, all brimful of movement
and life.

Of the paintings of the painter priest Shokwado,
who was a pupil of Sanraku, examples are exceedingly
rare, the only known painting in Europe being that
possessed by Mr. Morrison — a drawing of a bird
watching a fly. It is sealed with the same seal as
that stamped on the Nobuzane painting formerly
referred to.

About a hundred years later, in the seventeenth
century, we come to the three famous brothers,
Tanyu, Naonobu, and Yasunobu, who carried the
development of the Kano school to its furthest
extent. Tanyu, the eldest, is in Japan the favourite
painter of the Kano school. His style was looser
and freer than that of his predecessors, and full of
a superb recklessness and da.sh : but the unique
specimens of his work in this collection show him
to have been not merelv a magnificent virtuoso, but
a great and serious artist. First of all is a pair of
large si.yfold landscape screens, undoubtedly the
most important specimens of Tanyu's work out of
Japan. It is impossible to express in words the
dignity and grandeur of these landscapes of moun-
tain and lake, executed in delicate washes of Chinese
ink, and they would sufler sadly in any attempt at
reproduction. The two screens are designed in
harmony and form one large composition, but each
part taken separately is a perfectly composed picture.
Almost of equal interest with these is a book of
eight landscapes, the famous Shosho Hakkei, or
eight beauties of Shosho, which have been depicted
by so many Chinese and Japanese artists. Then
there is a large kakemono of Benten, a very early
work, and an extraordinarily impressive painting of
Monjiu, the god of literature ; a painting of a
philosopher and a boy, which is an excellent ex-
ample of the easy and heedless da.sh' of his brush
work ; and, quite as a surprise, a dainty little study
of birds and convolvulus, a marvel of lightness and
delicacy. A very unusual specimen in the Tosa style
completes the list.

Naonobu, the .second brother, died at an early
age, and from this cause and the fact that he
seemed to spend much of his time hunting out
and destroying his earlier \vork, his paintings are
even rarer tlian Tanyu's. There could not be a
greater contrast than the style of the two brothers
— the one exulting in its strength, the other re-
strained and quiet, and full of a soft liquid quality.
The .set of three kakemonos are very beautiful
examples of the work of Naonobu : Fukurukojiii
in the centre, on the right a sparrow and wil-
low, on the left a crow on a broken pine branch.

the three combined form a wonderfully perfect com-
position.

The youngest brother, Yasunobu, is represented
by a strong drawing of a dragon, and among half
a dozen others by a painting of a stem of bamboo.
Nothing could be slighter, but it is a beautiful picture
and a fine piece of technique.

A most interesting set of three kakemonos gives
the work of all the brothers. In the centre is a
figure of Hotei, with bag over his shoulder, by
Tanyu, touched in with a few bold strokes. On the
left is a representation of a cock poised on one
foot, by Yasunobu, while another cock, by Naonobu,
in this case seated, completes the set.

Of Naonobu's son and pupil, Tsunenobu, there are
a number of excellent examples, one a landscape that
might almost be a Tanyu, another a charming study
of white herons and lotus in mist.

Then of the fine Kano painter, Hanabusa Itcho, a
pupil of Yasunobu, there are no less than three very
fine examples, and of lesser men many more, but to
deal fully with the Kano school alone would fill the
space allotted to this paper.

Sotatsu, also a pupil of Yasunobu, was one of
the most famous flower painters of Japan ; but the
examples here — there are no fewer than eight — show
him also in other aspects. First is a life-like repre-
sentation of a deer, with dainty mincing step ; then
there is an equally vigorous representation of a cock.
One of the finest of all is a large picture of
chrysanthemums, which is painted with astonishing
breadth and freedom. The colour is gorgeous,
especially in the soft dusky reds, and is not put
on minutely petal by petal, but dashed in with
careless ease in great blotches. This looseness of
technique is peculiarly characteristic of Sotatsu, and
imparts to his work a distinctive charm.

Then there is a huge six-fold screen painted on
a rich gold background in the style that Korin
adopted so largely some years later. It is a
sumptuous piece of decoration. A great limb of
pine strikes up across it, throwing off branches which
bear great masses of green pine needles. A fence
of plaited rushes stands out in pale greenish gold
against the orange gold of the background, and gold,
too, is u.sed continually as a pigment, mingling in
washes with the other colours. The stream which
passes under the tree is of lapis lazuli, with the
conventional lines of running water freely traced on
it in white, and below in the foreground grow some
ex(iuisite flowers. The whole piece forms a marvellous
tour de forte of decoration.

Korin, one of the most individual of Japanese
artists, and perlia[)s the greatest decorator of them

IS7

The Connoisseur

all, owes mucii to Sotatsu, especially in his (lower
paintings. Mr. Morrison possesses a number ol line
Korins. First are two of a triptych, the third being
unfortunately missing. The centre piece, a figure
of Fukuriikojiu, with stag and crane, the emblems
of longevity, is an extraordinary piece of work. It
is almost bizarre in conception ; it is dashed off in
a few strokes in what seL-nis tlir mu^t primiti\-c
fashion, but the result
is perfect. Kach line
seems inevitable, as
if it could not have
been otherwise by a
ha ir's- bread t h. The
second nl the pair
represents a crow-
seated on a branch,
suggested with a tew
bold touches.

Another fine e.\ample
is an evening scene
with a pair of geese
silting among tlie reeds
at the edge of a stream.
One of the birds is
white, and is hardly
[lainted at all, the deli-
cate gray of the back-
ground being carried
round in one wash and
defining its form.
Against the body of the
white goose the other is
relieved in dark plum-
age, and it is painted
with ec]ual breadth and
simplicity. The moon,
which overhangs the
stream, is of silver, but
time has darkened it
to a dull leaden tint.

A very interesting exam|5le is the little Cha-no-yu,
or tea ceremony, picture. In such pictures every-
thing was in keeping with the cult of elaborate
sini])licity. The subject in this case is formed of
two little stones and a few sprays of green leaves.
lUit it would be difficult to TiikI a richer colour
harmony. The stones flash and sjsarkle with lapis
blue, which in this case seems to have an almost
crystalline lustre : rich greens and reds, and gold
ap[)lied both solidly and in delicate washes, all go
to produce the dazzling effect of this fascinating
little picture.

Korin's brother, Kenzan the potter, painted with

BY IWASA MAIABEI

a slightly heavier hand in much the same style, and
there is here a fine example of his work in the
little kakemono of two cranes. It is so simple you
could aliBost count the lines on your fingers ; but
slight as it is, it is decoratively complete.

A contemporary of Korin's, and like him a lamous
lac(iuerer, was Ritsuo. His merits as a jjainter are
shown bv a spring picture of birds and blossom,

the latter an exquisite
cherry red, in the midst
of falling snow.

Also a famous painter
of the Korin school
was Watanabe Shiko,
first a pujiil of Vasu-
nobu, and afterwards
of Korin. Mr. Mor-
rison is fortunate
enough to possess
three examples of his
work, which is ex-
iremely rare and much
valued in Japan. Be-
sides a little kakemono
of mandarin ducks,
which might almost
|)ass for the work of
Korin himself, there is
also a pair of magnifi-
cent six-fold screens
representing the four
seasons. The one, Sum-
mer and Autumn, rivals
that of Sotatsu in its
splendour, and is some-
what similar in subject.
Across the background
of pure gold strikes the
great limb of a pine
tree, and flowers and
argus-eyed pheasants
make up the picture. The other. Winter and Spring,
is something quite unique — a harmony in white
and gold. Against the pure gold background is
a snowy landscape, bare and austere in the winter
portion, softened in the other half with the eady
blossoms and fresh greens of spring. Snow-white
herons perch on a branch of willow, itself a won-
derful harmony of white and dull green, and one
with outstretched wings sails across the golden
panels. When these two great screens are opened,
they stand over five feet high. The efi'ect is gor-
geous in the extreme— the whole room is filled with
a subdued splendour.

■58

O >

Q <

O H

o >
2 n

^??^...

159

The Connoisseur

In tlu- later schools, the Ukioye or Pictures of
Passing Life school, and the Shijo or Naturalistic
school, a similar wealth of material awaits us.

The paintings of Matabei, the founder of the
former, who lived in the beginning of the seventeenth
century, are excessively rare, but the two specimens
in the collection show how great an artist he was.
Both are dancing figures, and one especially, just
poised in the momentary arrest of rapid motion, is
of exquisite grace, and a piece of masterly draughts-
manship.

Of the work of llishigawa Mdronohii, the next

these, painted at the age of sixty-seven, is a fine
figure of a .seller of New \'ear ])oems, painted on a
soft absorbent pa[)er and slightly tinted witli colour —
an excellent example of Hokusai's brush-work at its
best. Another, a portrait of a seated youth, has all
the grandiose quality of a Velas(|uez, and it is full of
rich colour and exquisite detail. It was painted at
the age of eighty-one. Another still — a picture of a
duck and drake, swimming and diving, curious in
this respect that it is [jainted from a point of view
looking almost perpendicularly down on the birds —
is very rich in colour, and though painted at the

l).^^■cF.ns

PART OF SCREEN

UV MORO.NOBU

great painter of the Ukioye school, the collection
has a wonderful series of no le.ss than six examples.
Moronobu was originally a designer of embroideries,
and the inexhaustible fancy with which he adorns the
varied costumes adds a special charm to his paintings.
His drawing of the figure was characterised by a
wonderful lightness and grace. Finest of all the
examples, and one of the gems of the collection, is a
screen of two folds re])resenting a picnic party come
to view the masses of cherry blossom. One group
especially, seated musicians and a dainty ring of light-
footed dancing figures, is inexpressibly charming — a
happy melody of line.

Many names must be passed over, but reference
must be made to an example of the exceedingly rare
work of Kaigetsudo, the only specimen in Europe,
a very strong piece of work with rich full colour, and
gold used boldly in large masses.

To European ears the most familiar name among
Japanese artists is that of Hokusai, and of his paint-
ings there are several fine examples. The first of

advanced age of eighty-eight, shows hardly a sign
of abating power.

Hiroshige, so well known for his landscape colour
prints, was also a painter of great charm. Mr.
Morrison has obtained a most interesting relic of
this artist in a number of his sketch books. Most
interesting these are, full of drawings from the
slightest sketch down to careful studies ready for
the block-cutter to engrave. Of paintings there is,
among others, a pair of very beautiful kakemono.
These represent two scenes of the thirty-six views
of Fuji, a set of colour-prints executed by the artist.
In all probability some patron, liking the prints,
ordered from the artist replicas painted on silk ;
and here we have them altered and improved in
many details of composition, embodying the painter's
final revised view of his subjects. On looking
through the sketch books, too, Mr. Morrison was
able to trace the evolution of the pictures further
back still, for there he found the rough drawings
on which they were based. -So that the whole series,

1 60

a V

a H

« 3

5 5
<

< «

yi t/i

a; 3

o :<:

3 o

Q X

3 OS
K O

:^ >•

i6i

The Connoisseur

I'lrst the rough sketch, then the colour-print, finally
the kakemono, find their resting place in the same
collection.

We now come to the last in order of development,
the more recent naturalistic schools. The founder
of a style of his own is Maruyama Okio, who is
represented by two fine flower studies, and a very
fine jiainting of Tokiwa and her children in the snow.
Okio's work has been e.xtensively forged, and a copy
of this very picture is in the Briti.sh Museum col-
lection.

The equal of Okio, possibly the greatest ])ainter
of the Maruyama school, and one of the great
animal painters of the world, is Mori Sosen, especially
famous as a painter of monkeys. For months he
used to live in the woods, studying their habits, till
he seems to have penetrated the very secrets of
monkey psychology. A fine screen gives two life-
like studies, one an autumn, the other a spring scene.
But finer still is a kakemono in the artist's most
delicate style, a study of a mother and little one ;
it is so full of dignity and pathos that one hardly
realises its e.xtraordinary technical merits. A Japanese
critic pronounced this painting to be the finest Sosen
which has ever left Japan.

Another example yet remains, almost equally fine.
Two monkeys seated at the foot of a tree, the parent
meditative, while the younger has caught a flv, and
is looking at it curiously before he pulls it to pieces.
Sosen never makes the mistake of so many inferior
artists, that of giving his animals human expressions :
they are animals all the time.
Quite a unique example is a combination picture,

painted for the amusement of some social gathering,
by Sosen, his son Vu.sen, and pupil Tessan. The
subject is a man carrying a monkey, while a dog
gambols at his feet ; the monkey is painted by Sosen,
the man by Yusen, and the dog by Tessan.

Another artist who, like Okio, founded a school
of his own was Ganku, who lived during the latter
part of the eighteenth century.

He was especially noted as a painter of tigers, three
such examples of his work being in Mr. Morrison's
collection. There is also a beautiful little picture
of a bird seated on a snow-covered branch, while
the snow falls all round in tiny flakes. Technically
this is an astonishing piece of work, for the back-
ground has been painted in one wash of gray, leaving
the falling snow represented by the uncovered patches
of the silk.

Of Tani Buncho's masterly work, of Hoyen's birds
and flowers, of Ippo's landscapes, and the fine
examples of the more recent men, Imao Keinen,
Yosai, Zeshin, Kiosai, and many others, I have no
space to treat. Nor yet of the interesting group of
living Japanese painters, who, rejecting the sinister
Western influences, which have turned so many native
artists into ordinary second-rate water-colourists, still
work with ever fresh inspiration on the old classic
lines.

But in the small selection that was possible amid
the wealth of the collection, an effort has been made
to make it as representative as possible of all the
various schools and periods, for the collection is a
synopsis, wonderfully complete, of the whole history
and development of Japanese painting.

162

,;tC:"iI.>;WN\i''KW<- ■■■.'■. ;?^;4' :*'.>»'-iV-.

MAKIA

BY p. \V. TO.MKINS

AFTl:i< .1. HL'SSKLL

The Connoisseur

Relics of King Charles the First's Execution
By P. Berney FicKlin, F.S.A.

Although over two centuries and a half
have passed away since the execution of King
C'harles I., the interest in everything connected with
him in the shape of reHcs shows no sign of abating,
but is rather on the increase, and these are much
more eagerly competed for when they occur at
auction or elsewhere than those of any other king
from \\'illiam I. to his present Majesty. Perhaps
those mementos which most appeal to sympathizers
with the " Martyr King " are the actual garments
which he wore on the fateful day. One of these
was the scarlet cloak, which was divided between
his two pages, Walcot and Herbert. The descendant
of the latter sold or presented his half to Queen
Caroline, Consort of King George II. (whether this
relic still exists in the Ro\al Collection I know not,
and perhaps some of your readers may be able to in-
form me), while the other half descended to the late
Rev. John Walcot, and
was sold by his executors
at Christie's in 1899 for
jC,T^1 to a dealer, who
shortly afterwards dis-
posed of it to Sir Offley
\\'akeman, Bart., who re-
stored it to the Walcots,
and it is now in the
possession of Mr. John
Owen Halliwell Walcot,
the present head of the
family. There are well-
defined blood-stains on it,
described to me as " now
(lark purple, one patch
several inches long, and
splashes beyond."

The blue satin blood-
stained waistcoat, now the
property of the Marquis
of Bath, and preserved
at Longlcat, the white
quilted and padded cap
now in the South Ken-
sington Museum, and
the lace collar in the
possession of Mr. ("..
Somes (inherited from an
ancestor, and shown in the
Stuart Exhibition, 1885);
also some lace from the

ONE Ul THE IWU LIILK illliaa \\Ll..N LV

KING CHARLES I. ON THE DAY OF HIS EXECl'TION,

AND BELONGING TO BEWICKE BLACKBURN, ESQ.

King's cravat (at Carisbrooke Castle), which is also
stained with his blood, may also be cited. Mr.
Bennett Stanford possesses a glove (Stuart Exhibition,
No. 374), and there exists another pair of black vel-
vet gloves supposed to have been given by the King
to Bishop Juxon, one of which belongs to Mr. Park
Nelson, and the other to Mrs. Clay Ker- Seymour.
Several pieces of his Ribbon of the Clarter exist, one
belonging to Mr. R. Berens, enclosed in a piece of
paper, on which appears, in the hand-writing of the
period, " ye enclosed is a piece of ye old King's
ribbon yt he had on when he was beheaded by his
traytors."

Dr. lohn Abercrombie possesses another piece,
together with a purse, and the old description runs :
" King Charles ye first purs that was maid of his
great chare and blue ribing when he was beheaded."
And I also have a small piece, accompanied by a
letter from Sir Charles
Styles, dated August 20th,
1823, addressed to Arch-
deacon \\"ranghani, pre-
senting it to the latter,
and guaranteeing it to be
a portion of the ribbon
given by the King to
Colonel Tomlinson, who
was constantly in attend-
ance on him.

Charles on that day
wore three shirts, which I
proceed to describe, and
two of which are here
depicted. The first is of
white linen, and belongs
to the Earl of Ashburn-
ham, who also possesses
the King's drawers and
garters, and the sheet
which covered his body.
Formerly these were pre-
served in the church at
Ashburnham, and as re-
cently as i860 people
used to journey thither
and touch them for the
cure of the king's-evil.

The second shirt is
made of fine holland, em-
broidered with open-work

165

TJic Connoisseur

round the neck and
sleeves, and has several
little bows of red and
blue ribbon attached. It
belongs to Mr. Bewicke
Blackburn, and came to
him through his descent
from Elizabeth Coventry,
eldest daughter of the
Lord Keeper, Thomas
Coventry. This is prob-
ably the shirt referred to
by the King, when he
said to Herbert on the
morning of his execution :
" This is my second mar-
riage day. I would be
as trim to-day as may be,
for to-night I hope to be
espoused to my Blessed
Jesus." He then, point-
ing to the clothes he
would wear, "Let me
have a shirt on more
than ordinary," said the
King, "by reason the
season is so sharp as
probably may make mc shake, which some observers
will imagine proceeds from fear. Lwould have no
such imputation ; I fear not Death. Death is not
terrible to me. I bless my God I am prcpar'd." Both
these shirts were exhibited in the Stuart Exhibition.

We now come to the sky-blue " singlet " or
undervest belonging to me, which is of silk worked
in various patterns, and is a beautiful specimen of
the weaver's art of the period. It closely resembles
a fisherman's jersey, and is the one mentioned in
the Secret History of Whitehall, page 302. " The
Bishop (Juxon) put on his (the King's) nightcap,
and unclothed him to his sky-coloured vest." It is
stained in several places with blood, as will be seen
in the illustration, and is in perfect preservation.

The written guarantee which goes with it reads
as follows : " This waistcoat was worn by King
Charles I. on the day he was beheaded, and from
the scaffold came into the hands of Dr. Hobbs,
his Physician, who attended him on that occasion.
The doctor preserved this relic of his Royal Master,
and from him it came into the pos.session of Susannah
Hobbs, his daughter, who married Temple Stanger,
of Rawlins, in the County of Oxfordshire. The
above account of this waistcoat was taken from the
testimony of Dame Grace Stanger, second wife and
relict of the said Temple Stanger, in the year 1767."

Then follows,, in the
handwriting of a late
owner: "It descended
from them to Temple
Hardy, Esq. (Here the
exact details are incom-
plete, but, no doubt,
through a daughter of
Susannah Stanger, nie
Hobbs.) The relic was
left by Temple Hardy at
his death to his cousin,
.\(lmiral Hughes D'Aeth,
of Knoulton Court, in
the County of Kent, who
died in 1873, thence to
his son Narborough, and
at the present time is the
property of Captain L.
.V. Hughes D'Aeth, of
Knoulton."

The last-named gentle-
man sold it by auction at
Stevens's Rooms, Covent
Garden, on November
8th, 1898, when it was
purchased, after a spirited
competition, by Mr. Ernest A. Brocklehurst for two
hundred guineas. He died in 1901, when it again
found its way into the same auction - room on
March nth, 1902, and was purchased by nie for
exactly the same sum. It was for some considerable
period, and until (juite recently, exhibited at the
Whitehall Museum with several other Stuart mementos
belonging to me, including two lockets and a ring,
all containing small portions of the " martyr's " hair ;
and these, together with nearly the whole collection
of my Stuart relics, are now being shown at The
licclesiastical Art Exhibition at Great Yarmouth.

The personal relics I have described have a
peculiarly pathetic interest for all those who feel
a sympathy for the unfortunate House of Stuart.
There is a sort of glamour which attaches to that
unhappy race which will never be dispersed, and
the unjust execution of Charles I. will always stand
out as a landmark in English history. Whatever
his faults and failings were as a King, his heroic
conduct during the closing period of his life, his
gentleness and forbearance towards his enemies,
and his courage and Christian fortitude after his
condemnation and on the scaffold, have left an
impression on the mind of posterity that will never
be effaced, and an indelible stain on the memory of
those who compassed his death.

166

The Early Postage Stamps of Corea

By Fred J. Melville

Corea is a country which has been very
much in the forefront of public interest during the
present year, and the preceding ten years. The
influence of Japan has successfully brought about
developments in Corea's political and commercial
progress which the Coreans themselves had been
striving to attain for several decades without success.

In regard to postal development in Corea, an
initial step taken by the Coreans in 18S4 ended in
a terrible failure. Now the postal administration is
amalgamated with that of Japan, a step which was
completed only in 1Q05.

The author of a little work entitled Co/ra of To-dav
tells the story of an emeiite which followed on the
first native attempt to establish a postal administration
under the rules laid down by the conventions of the
Universal Postal Union.

"In 1884, under the administration of a radical
government, preparations had been made to enter
the postal union. The stamps had been printed,
and all arrangements completed ; a banquet was held
at the Foreign Office to rejoice over and celebrate
the consummation of this work. While the banquet
was in progress, Min V'ong Ik, the confidential agent
of the king, staggered into the banqueting-hali covered

with blood flowing from numerous wounds. An
attempt had been made by the radicals to assassinate
him, because he was supposed to have drawn back
from the policy of advance. An cmeule followed.
The radicals fled because of the revulsion of feeling
caused by their action. The feeling of hatred to
the foreigners was fanned by the conservative or
Chinese party. For a few days there was danger
of a rising, which would sweep away every foreigner
from the country."

The riot subsided, however, but the affair com-
pletely upset the plans for the postal administration,
and no attempt at a re-organisation of a postal
department was successful until ten years later.

For this initial move on the part of the Coreans
for a postal service of their own, a series of stamps
of five denominations had been ordered from Tokio.
The face values and colours were : —

10
25

so
100

rose

blue

oranjie

green

blue ;ind rose

The currency of Corea may approximately be given
as 2 re=i mon (or poon), 5 mons (or poons) =

5 MON

mi^?^G3i

The Connoisseur

I chcun, loo cliciiiis - i
woon = 2S.

liach stamp had a dis-
tinctive design, but the most
prominent figure on each
design is the yin-yan symbol
in a form shghtly varied from
that described in my article
50 Mo^ on Chinese postage stamps.

The perforations vary from 8 to \\\.
Owing to the emeuie to which I have referred only
two of the stamps appear to have been put into use,
the others arriving after all need for them had been
dispelled by the disturbance. 'I'hey are, nevertheless,
of considerable interest to the collector of Corean
stamps, and are quite inexpensive.

When, in 1895, another step was taken to establish
a postal service, a series of four stani[)s was ordered
through the United States Consul. They were
lithographed in Washington by A. B. Graham. The
values and colours were as follows : —

.1 poon
10 ..
2,i „
,50 ..

yellow jireen

blue

hike

viok-t

The design is uniform for all four values. In
the centre is the yin-yan symbol in a form in
which it is known to us in the watermark on the
stamps of China. In the four corners of the
white rectangle in the centre of the design are the
Pakona, ancient characters which, aci:ording to Jules
Bouvez in the American Journal of Philately, were
used by their inventor, the philosopher Fou-Hi,
to write the " V-king, or Ikiok of Changes," which

at the lower

may be considered as the
most ancient manuscript of
humanity.

These four characters re-
present : the first, at the

upper right corner. Heaven ;

the second, — -, at the

upper left corner. Fire : the

third, ^^, at the lower right

corner. Water ; and the fourth, 5 E,

left corner, the Earth.

The flower design in the four corners of the stam[)
is the plum blossom, the emblem of the reigning
dynasty of (!orea.

The perforation of these stamps gauges 11-13.

Subsequent to the issue just described a number
of stam])S have been sent out by the jiostal depart-
ment, but we have only to deal with the early issues
in the present article. Sufifice it to say that in 1897,
when the "King" became "Emperor," and his
dominions were styled the Empire of Corea, the
stamps were overprinted with a native inscription,
signifying "Empire of Corea." In 1900 the country
joined the postal union, in 1902 the Emperor cele-
brated the "fortieth" year of his reign by issuing a
commemorative stamp, showing a picture of the
" Ming bonnet " which he wore on state occasions,
and in 1905 Japan issued a stamp of the face value
(in Japanese) 3 sen, to commemorate the amalgama-
tion of the Japanese and Corean postal services.
Distinctive issues are, however, still maintained,
though what may follow upon the recent dejiosition
of the EmiJeror it is perhaps beyond the province
of a philatelist to prophesy.

168

Silver Nutmeg Graters or Spice Boxes By Guy Oswald Smith

The custom of drinking mulled wine or
" negus," so common in the early part of the last
century has, to a great extent, died out, and therefore
the necessity of having a nutmeg grater or spice box
ready to hand no longer exists.

The late Dr. Dicker, of Vigo Street, once told me
that, when a boy, he perfectly remembered people
carrying nutmeg graters in their pockets or having
one upon the table at home. This habit would quite
account for the great variety of shapes and sizes in
which these boxes are found. The first which came
into my possession was given me by a friend over
twenty years ago, and since then I have been fortunate
enough to secure a number of interesting specimens.
The hall-marks, in certain instances, are not easy to
decipher, and Messrs. Garrard have afforded me most
kind assistance in this respect. The majority of the
boxes in my collection are English, but there are

some of foreign make — though I have never actually
bought one abroad.

A gives examples of the conventional-shaped nut-
meg grater : these open at the bottom, as in the one
on the right. The one in the centre measures gi in.
bv 4A- in., and is in itself quite a handsome piece
of plate. The one on the left has a sliding front.
The frames are silver and the graters iron.

In B is found much the same type, some, however,
being cylindrical in shape. These are all hall-marked,
with the exception of one which has its weight en-
graved on the back — this one also has a fine shagreen
case. The oblong box next it comes more under the
head of a spice box, as the perforations in the outer
case, which is all silver, are quite smooth.

C shows some of the larger " box-shaped," three
of them being plain silver arid the others ftnely
engraved — the chasing on the lower one on the right

LONDON HALL MARKED

1826

1 8(^7

169

GEORGE III

GEORGE HI

1818

! ■•■....1.

ENGRAVED ON BACK

LONDON 1762

1814

LONDON 1799

LONDON I802 LONDON 1 809

LONDON 1802 EDINBURGH 1H02 LONDON 1796

170

D LONDON B1RM1NGH^M BIRMINGH/VM PROBABLY

180-1 1631 IS-tS CHARLES M

LONDON
1835

UON DON l«23

CI RCA 1730

FOREIGN

GEORGE HI LONDON 174-8 E A R LY V 1 CTORIAN

\_..

LONDON 1809 FOREIGN

LONDON 1804

EDINBURGH I870

FOREIGN

■ _^

FOREIGN
1678 ENGRAVED ON BASE

YORK 182 1-
NO TOWN MARK

1803 PROOABLY FOREIGN

EARLY GEORGE III FOREIGN LONDON 1799

Silver iVitf/iivg Graters, or Spice Boxes

of the plate being especially good. These boxes open
at both sides in much the same manner as the one
with the coat of arms on it.

In D we have another variety. In some instances
one side falls down on raising the lid, showing the
iron grater underneath ; in others the graters are
quite independent. In this group are my earliest
specimens, as can be seen by the engraving on them,
but their e.xact dates are almost impossible to deter-
mine, as they only bear a maker's mark. The graters
of these latter are of silver, and I have one example
of this class, not figured here, with the London hall-
mark of 1698.

In E we find another shape : these disclose the
iron grater on opening the lid. Of the three " urn-
shaped '' specimens one is quite plain, while the two
others are most delicately engraved.

In F are two of English and two of foreign make.
The large one on the left has 167S engraved on its
base. In this case the grater lifts ria;ht out, also the

top comes oft", showing a compartment, about one
inch deep, below to hold the grated spice.

In G two specimens have corkscrews fixed to
them, one being shown taken to pieces to make this
clear. The very small bo.xes are prettily engraved,
and have their graters at the base. Those in the
form of an acorn are uncommon in design, but " egg-
shaped " specimens in various sizes are often met
with.

Those in H are all presumably foreign. Two are
silver-mounted shells, w'hich should, perhaps, be de-
scribed as snuff or tobacco graters, the grater in the
one on the left being inside the lid. One is shaped
just like a walnut, and another has a detachable grater
fitting into a slot, and a compartment for holding the
nutmeg at the base.

In conclusion, I feel sure that the accompanving
illustrations will convey a far better idea of the
interest attaching to old silver nutmeg graters than
any further notes of mine on the subject.

LONDON 1796

PRESUMABLY FOREIGN

PRESUMABLY ALL FOREIGN

173

"ffir^

QVV BOOK^

The Playe of Chesse

By Edgcumbe Staley

In the British Museum, among " Rare
Books " is an English translation from the I'Venih
of the history and meaning of the game of chess,
jjrinted by William Caxton in 1474. The black-
letter type is splendidly impressed, deep and sharp,
upon a well-milled thickish creamy paper, which has
for watermark the famous BuU's-head — a mark
specially used for the finer kinds of printing.

The volume, which unhappily has lost its title-page,
is dedicated to George, Duke of Clarence, next
brother to King Edward, and contains four tractates :
(i) "The Invencion of y'' Playe of Chesse"; (2)
" V' Chesse men " ; (3) " Y' Ofifices of y' peple " ;
and (4) " \'' meaninge and use of them."

" He who runs may read " as follows : " The Playe
of Chesse" was invented at Babylon in the reign
of King Emsmerodach, by the learned philosopher
E.xcrees, or Phismetos. Its purpose was "to correcte
and to reprove y""
Kinge," and " to
make hym toler-
ante and wyse in
human affairs."

The "forme
and facion of y"
chequer was made
after y" forme of
y"" cytie of Baby-
ioyn " — the si.xty-
four squares repre-
senting so many
square miles, the
area of that fam-
ous city.

The "pieces"
— sixteen in num-
ber on each side a "kocco." or kinc's lieutenant

174

— are called Kmg, Queen, two Alphyns, two Knights,
two Rooks, and eight Pawnes. The word "Alphyns"
clearly is from the Italian alfieri. Standard-bearers,
who administered the King's laws. Catholic players
made them cross-bearing Bishops — their places were
each side the King and Queen, as the immediate
supporters of royal law and order.

The " Rooks " — evidently from the Italian rocchi,
rocks or towers, castles — were the lieutenants of the
King to maintain his peaceful authority in distant
parts of the kingdom. The Knights were the King's
champions, and the leaders of his forces in war. The
Pawns — " pawnes," the old English form of pioit or
peon, old French for picton, people on foot — workers
generally — Scaahi popolari in Italian.

Each of these pieces had precise and strict rules
of precedence and procedure, and fixed limits of
power : but all fought for, .and served, their King, by

whose side was the

Queen to grace
and screen her
lord, and to adorn
his kingdom.

The " Playe of
Chesse " had from
an early date
given moralists
and writers many
and various in-
spirations. Shake-
speare's aphor-
ism, "All the
world's a stage,
and the men and
women merely
players," perhaps
had its origin in

The Playe of Chesse

jjp«c :? ;€•;«•>:;« v;>c-;:;r .k-^«-5c-5« ;? x

rnvsiciAN-AroiHEtAk'i

.lUEEN S I'AVVN

of the

the chequered board in its setting forth
chequered fortunes of human hfe.

The various " treatises," which appeared from time
to time upon this theme, were essays upon the moral
virtues which the different " pieces " are made to
symbohze. The " moves " were illustrations of the
powers and duties of all sorts and conditions of men.
William Caxton's luiglish version of 1474, by the
way, is a translation of the " moralisation " of the
French Abbe Jean de Vignays.

The reason why it is allowable in playing the
game to exchange a pawn which has traversed the
board for a piece of higher power is ([uaintly set
forth in the seventh chapter of the
fourth book : "Ye common people
may advance, but may not return.
If any such obtain y" assistance
and probacion of a piece of
honour, happy are they. They
acquyre the dignyte that y" quene
hath graunted her by grace . . .
if any of them may come to this
said sygne they retayne such
dignyte."

In i49> a famous Florentine
publisher, Antonio .Miscomini, put
forth an edition of Jacopo de'
("essoli's " // Lihro di Giuoclio
ihllc Scacdii — intito Into de
Cos/iiiiii de,i;/i ho mini e delU
Ojfilie (/(■' iioliilir It was
l)rinte(l in clear well-cut type on
milled paper, and contains fourteen

woodcuts. The frontispiece shows
a King presiding at a game of
Chess, wherein two players seated
at a round table are supported by
friends standing behind. A copy of
this book is in the British Museum,
in an excellent state of preserva-
tion, a masterpiece of early printing
and a treasury of art combined.

The frontispiece is strikingly like
Botticelli's work — the slenderness
of the figures, their graceful atti-
tudes, and the pleasing animation
of the whole composition with the
elegantly flowing draperies. The
fourteen plates are marked by
a more robust style, their deep
shadows and well worked up de-
tails being as bold as anything in
the whole range of fifteenth and
sixteenth century wood cutting.
The treatment and finish of the figures are topical
allusions to the dress, the manners, and the per-
sonaUties of the period in Florence, with the exception
of the King and Queen, who are treated almost
allegorically. The " Alphyns," seated, are habited
as judges in cloth and fur, and are poring over their
books of law. The Knights, in full armour, are
mounted upon their chargers with vizors raised, but
tilting spears in position — they are guarding the
King's Castle. The Rooks, also mounted, but on
peaceful steeds, are in civilian dress with their staffs
of office in their hands. Under their cloaks are big
wicker baskets full of marketable conmiodities for

SMI 1 H-CAKlli.N lliU-MASON

K.NK.IU b lAWN

'75

The Connoisseur

llie encouragement of trade. The background reveals
a fertile country.

The " Pawnes " are varied in their attributes, but
each .sets forth a useful industry. The King's pawn
represents a banker-merchant — indispensable for the
administration of the affairs of the kingdom. Before
the Queen is a physician-apothecary, characteristically
indicated for the varied requirements of the toilet.

Before the " Alphyns " are placed on the right, a
notary, who, in addition to his clerkly equiiiment,
holds a spear and a knife for dealing Justly in the
staple commodity of Florence — woollen cloth, and
on the left an innkeeper-provision dealer, welcomes
strangers to good cheer and peaceful pursuits.

The Knight's Pawns represent, one, workers in
stone, iron, and wood, with a dolabre or plane, and
a hammer in his hand, and a trowel in his girdle :
the other stands for keepers of the King's highway
and farmers of his customs, with keys of the city
gates, and the measuring caiina or yard.

The Rooks have pawns representative respectively
of farm-labourers with spade, axe, and knife wending
their way to work in the fields ; and of country
messengers bearing the King's posts for worthy folks,
and three dice in the left hand — a warning to
" riybaulders and neare-doe-weels."

Each of these woodcuts, which measure four ins.
by three ins., is an original and ingenious rendi-
tion of personal characteristics among the different
grades of Florentine society. The unknown artist
has here furnished Miscomini with an illustrated
epitome of the story of the famous arii — Craft
("luilds, whose members through four centuries
were the true " makers of Florence." By cun-
ningness of cutting, the wood has yielded all the
effects of atmosphere, colour, expression, and
movement, and the cuts display verj' convincingly
the technical knowledge and delicate manipulation
which mark all the work of the Florentines of the
Renaissance.

Another " Rare Book " in the British Museum is
catalogued, "A Book of Chess moralised." It was
printed in 1476, in black letter, by William Caxton,
and is specially interesting to lovers of early wood-
cuts, from the fact that the illustrations are of a
purely English type— broader, bolder, and, be it
said, rougher than their Florentine compeers. The
features of the figures are expressionless and con-
ventional, and the individuals lack animation and
ease of posture. There is also an absence of colour,
so to speak, and none of the beautiful Florentine
finish and decorative adjuncts.

gr^TA.'^?^^.^i^^L-»^^]^R^Mi^aag

fflRSHSaSOREIHSSXEi^^^

JNNKEEPER-PROVISION DEALER

judge's or bishop's P.\WN

176

NAHCISSA

DESIGNED AND ENGRAVED BY .1. R. SMITH

John Raphael Smith and his WorK

By W. G. Menzies

In the history of eighteenth-century en-
graving the name of John Raphael Smith stands out
in sharp rehef. A master of the art of mezzotint,
his prints have attained a remarkable vogue, whilst
his efforts in the more recent art of stipple, though
scarcely so successful, are nevertheless highly esteemed.

The youngest son of Thomas Smith, the landscape
painter, usually known as " Smith of Derby," he was
born in Derby in the year 1752. It was his father's
wish that he should become an artist, but displaying
little or no desire to follow in the [larental footsteps,
he was, at the age of ten, apprenticed to a linen-
draper in his native town. For five years he faithfully
fulfilled his duties behind the counter, only leaving
Derby on the death of his father. During his ap-
prenticeship he had dabbled in the arts in his
leisure hours, and though by no means lacking iii
artistic skill, he came to London fully determined
to follow his trade of linen-draper. For two years
he remained a shopman, but during this period he
somehow managed to pick up the technique of the
popular art of mezzotint. By whom he was taught
history does not record ; but at the age of seventeen
his first mezzotint, a portrait of Paoli, the Corsican
patriot, appeared, and apparently met with consider-
able success. At least its reception was sufficiently
good to induce him to abandon commerce and take
up art as a profession.

At the age of seventeen we find him married and
a father, his wife being Hannah Croome, the daughter
of a print-seller. By painting miniatures and executing
further mezzotint plates he managed to make a bare
living, and that was all. Consequently, we find him
at twenty returning to his old trade, having opened
a shop in the neiglibourhood of the Strand, the
money necessary being advanced by various friends.

He did not, however, entirely forsake art, and
when fortune attain smiled on him he was sufficienllv

enterprising to open a print-shop near by. In the
draper's shop his wife, always a great help to him,
took charge of affairs, leaving Smith free to attend
to the steadily increasing How of orders for portraits
in miniature and impressions from his mezzotint
plates.

Smith's life at this period became a strange mixture
of business and pleasure, and, like many another
artistic genius, he interlarded his periods of work
with far longer bouts of pleasure. Reynolds was his
inspiration, and many of the plates which he executed
after Sir Joshua's famous portraits are so superb that
one feels ready to forgive him for his occasional
lapses from the paths of respectability.

He also achieved great success with the works of
poor George Morland. Not only did he engrave
many of them himself, but engaged others to do so
as well, publishing them with astonishing rapidity.

.-\s Mr. Salaman says in his charming book, T/ie
Old Engravers of England, "the public was crazy
for Morland, and Smith, who had made over his
drapery business to his brother-in-law — on advantage-
ous terms, we may be sure — now started, so to speak,
a factory for supplying the market chiefly with prints
after Morland."

Many were printed in colours, whilst others were
coloured by hand, the great J. M. W. Turner being
amongst the artists who assisted in this part of the
work.

The constant companionship of such a man as
Morland at last began to have its effect on Smith's
work. He abandoned mezzotint before any per-
ceptible depreciation in his skill became apparent,
but lie continued his painting and drawing, in much
of which the effects of his dissipation is noticeable.

Towards the close of his life he left London, his
wife being dead, and travelled as an itinerant portrait
painter, eventually settling at Doncaster. For three

«79

The Connoisseur

years hu resided there, dying in 1S12 in his 601I1
year.

His effect on the artistic world did not cease with
his death, for he left behind him such apt pupils
as James and \\'illiam Ward, John Young, Charles
Howard Hodges, and S. W . Reynolds, all of whom
u])held the tradition of their famous master.

In considering the work of thi^ remarkable man,
we find, as we have said, that it is to his mezzotints
that he owes most of his fame. That he must have
learnt the art in a good school is evidenced by
the strength and vigour which distinguishes all his
plates.

As an interpreter of the works of Reynolds he
has certainly never been surpassed, while his plates
after Romney, Lawrence, Peters, and Gainsborough
are scarcely less successful. His training as a painter
enabled him to imbue his scraper with the feeling
of an artist, giving the soft tones just the requisite
amount of softness, and pervading the dark spaces
with a remarkable depth and richness.

His portrait of Mrs. Carnac after Reynolds, which
up to the eventful Huth sale held the honour of
being the most valuable mezzotint, which, too, he
engraved when barely twenty-six years of age, is
perha[)s one of his highest achievements. Every
stroke from Reynolds's brush in the picture in the
Wallace collection is faithfully reproduced without
any undue exaggeration, and when Sir Joshua, while
considering the engraved work of McArdell and
others, said those all too tlattcring words, " By these
I shall be inmiortalisud," he must surely have had
in his mind the work of John Raphael Smith.

Mrs. Carnac, too, is not alone, for she has as fitting
companions — the beautiful plate of Mrs. Musters,
the equally charming one of Mrs. Payne-dalwey
and her child, and the stately portrait of the Hon.
Mrs. Stanhope.

With Reynolds's child-portraits Smith was no less
successful. Few more charming pictures of childish
innocence could be found than his rendering of
the portrait of the little Lady Catherine Pelham

Clinton feeding her chickens, while Master Crewe,
as Henry \'HL, laughs at you with all the heartiness
of the bluff old king he impersonates.

To Smith also we owe much for perpetuating so
many of Reynolds's portraits of famous men. His
plate of Colonel Tarleton rightly ranks as one of
the finest examples of male portraiture in mezzotint,
and his portraits of the Duke of Devonshire and
the Archbisho[)s of \'ork and Armagh are almost
as highly considered.

Portraits by other artists than Reynolds were also
transferred by .Smith to the copper [jlate, amongst
them being .Miss Coghlan and Ceorge IV., both after
Gainsborough ; Mrs. Siddons, as the Grecian daughter,
after Lawrence ; Vice-Admiral Parker, after North-
cote ; and the Duke of Portland, after West.

When we consider his fancy prints, many are found
to be in stipple — a method which Smith, ever a
business man, adapted himself to follow the popular
taste. Even in this sphere he far outshone many
of his fellows, and, once a master of the stipple graver,
he displayed almost as much artistic skill with it as
with the scraper. Many of Morland's most charming
subjects were produced by Smith in this method,
whilst others of his stipple plates were after designs
executed by himself.

That charming pair Rustic Einployindit and Rural
Amusement are especially notable examples of Smith's
work in stipple. Delia in Town and Delia in the
Country are another pair, while the (juartette, .•/
^^aid. A Wife, A U'i,{o7v, and U'luit you Will, show
Smith's success in rendering plates after his own
designs.

In fact, whether you consider John Raphael Smith
from the point of view of mezzotint or that of stipple,
one finds that his work is all of such a fine quality
that there is little wonder that collectors at the
liresent time are so eager to acquire examiiles at
almost any cost.

We append a list of some of his more notable
prints with the prices they have realised by auction
during the past six years : —

TiTl.K.

A Loisir

Amanthis and Kelicia . .

Armsirong, Mrs.

Hacelli, Signor

Heaumont, Lady

Beaumont, I,ady

Bmivcric, lion. Mrs. ...

Carlini, ISarlolozzi and Cipriani

Carnac, Mrs. ...

Carnac, Mrs

Artist.

Smith, J. R.

Reynolds

Hoppner...

Rigaud ...

Reynolds

Revnolds

Date.

1902
1901
1907
1906
1901
1902

1903
1902
1901
190 1

Remarks.

C. P.

C. P. pair

m. 1st St., p. b. 1.

ni. 1st St.

m. 2nd St.

m. 1st St.

ni. 1st pub. state

m. 2nd pub. state

Price.

7.>

100

5SS

180

[oh II Raphael Smith and fn's II 'ork

Title.

Carnac, Mrs. ...

Carter, Miss

Carwardine, Mrs., and Child...

Cavendish, Lord Richard

Chambers, Mrs.

Child Looking after Piys

Clarmont, Mademoiselle

Clavering Children, The

Clavering Chiklren, The

Coghlan, Miss ...

Compton, Lady Klirabelh
Compton, Lad)' Elizabeth
Contemplating the Miniature... ... ~\

.Society in .Solitude ... ... ... )

Contemplating the Miniature...
Conversation, A ... ... ... )

Peasants and Pigs ... ... ... j

The same pair ...

Cottage Family ... ... ... "|

Shepherd's Meal, The ... ... j"

Crewe, Master, as " Henry \TIL" ...

Crewe, Master, as " Henry \TH." ...

Crewe, Master, as " Henry Vin." ...

Cumberland, Miss

Curran, John Philip ...

Delia in the Country ...

Delia in Town ...

Devonshire (William, Duke of)

Dog and Cat ... ... ... •

Dressing for the Masquerade ...
Duncan, .Admiral Lord
p;idon, Lord John
Expectation

Fair Penitent, The

Feeding the Pigs ... ... ... )

Return from Market ... ... ... s

Fortune Tellers, The ... ... ... )

Gamesters, The ... ... ... j

Frederick, Mrs.

Fruit Barrow, The (The Walton Family) ...

Galwey, Mrs. Payne, and Child

Gandilers, The...

George, Prince of Wales

Gower Family, The ...

Hamilton, Lady, as " ,\ Bacchante "

Hamilton, Lady, as " A Bacchante "

Hamilton, Lady, as "A Bacchante "
Hamilton, Lady, as "A Bacchante"
Hamilton, Lady, as " A Bacchante "
Hamilton, La<ly, as " Nature "

Harliord, Sir Harbord

Harmony

"Hebe" "i. "'.

Herbert, Master, as " Bacchus "

Ho]ipner, Mrs. (Sojihia Western)

Horse-Feeders, The ... "i

Corn-Bin, The ... ... /

Ingram, Hon. Frances

Innocence .Alarmed

Jupiter, The Infant

kew Gardens ...

Lady Haymaking, ."V ...

Lady Haymaking, A

Lartitia, Story of

Lariitia, Story of

Love Vanquished bv Avarice

Maid, A ... '

Milkmaid and Cowherd •)

Breaking the Ice ... /

Artist.

Reynolds
.Smith, J. R.
Romney ...
Reynolds
Russell ...
Morland ...
Smith, J. R.
Romney ...
Roinney ...
Romney ...
(jainsborough

Peters ...
Peters

Smith, J. R.

Morland ...

Reynolds
Reynolds
Reynolds
Romney
Romney ...
Lawrence
Morland ...
Morland ...
Reynolds
Morland ...
Morland ...
Danloux ...
Lawrence
Bunbury ...
Morland ...

Morland ...

Smith, J. R.

Walton

Reynolds...

Peters

(jainsborough

Smith, J. R.

Romney ...

Reynolds...

Reynolds...
Reynolds...
Romney ...
Gainsborough
Peters
Peters
Reynolds
Hoppner ...

1 Morland ...

Reynolds...
Morland ...
Reynolds...
Smith, J. R.
Lawranson
Lawranson
Morland ...
Morland ...
Morland ...
Smith, J. R.

Morland ...

Date.

Rem.\kks.

i'lUCE.

IQOI

1902
1 901
1906
1907
1905
1906
1901
1906

1903
1907

1904
1906

1906

1903
1903
1906
1903

1901
1902
1906
1902

1905
1903
1906

1905
1907
1905
1906
1906
1903
1906
1907

■903

1902

1907
1907

1 90s
1906
1906
1907
igo6
1901
1901
1901

1902
1902
1901
1905
1903
1904
1903
1906
1901

1903

1901
1906
1905
1905
1902
1904
1907
1 90 1
1902
1904

J 903

m. I St state
m. 1st St.
in. 1st St.

m. p. b. 1.

m. proof

m. 1st St.

m. isl St.

m. 2ntl St.

m. before the address of

H. Parker

m. no margin top and sides

C. P. pair

C. P. wide margin

m. |)air

m. o, I. p.

m. 1st St.

m. 2nd St.

m. 3rd St.

m. 2nd St.

1. with Sutith's addres;

C. P.

m. 1st St.

m. o. 1. p.

m. 1st St.

m. o. 1. p.

C. P.

m. pair

C. P. pair
m. c. 1. p.

C. P.

m. 2nd St.

m. fine proof, title in open
etched letters
m. 3rd state

C. P.
m. o. I. p.
m. o. 1. p.
m. 1st St.

m. e. 1. p.
C. P.

m. pair

m. 1st St.

m. ]). b. 1.

m. 2nd stale

m. 1st St.

C. P.

C. P., set of six

In bistre, set of sl.\

ni. o. 1. p.

C. P.

m. pair

£ s.

1,218 o

67 4

278 5

I o

7 10

28 7

3 12

173 5

162 o

73 10

10 10

3' 10 o
89 o o

92 8 o

los

134

10s

i',o

1 1

■3

141 15

79 16

'45

o
367 10

I "5

10 10

21 o

no o

57 5
252 o

215 5

325

2iO

119

1 1

210

181

The Connoisseur

Tlll.K.

Artist.

Datk.

Remarks.

Priie.

£ s. d.

Mills, Mrs

Engleheaii

1901

22 I 0

Mills, Mrs. ...

Engleheart

1907

m. e. 1. p.

240 0 0

Miini,i(;iic-, Miss

Smith, j. K

19D-

m. e. 1. p.

46 0 0

Montagu, Lady C. ...

Reynolds

KIOI

18 18 0

Montagu, Lady C, as " Winter "

Reynolds

I'lOI

]11. 1st St.

700 0 0

Mordaunt, Mrs.

Reynolds

1907

14 14 0

Morl.Tnd, (leorfic

Smith, I. K

I9U6

240

Morland, ticoryc, in his 41st Year

Smith, J. R

1906

12 I 6

Morris, Mrs

Reynolds

1904

m. 2nd St., full margins

19 19 0

Musters, Mrs

Reynolds

1905

m. 1st state

168 0 0

Musters, Mrs. ...

Reynolds

I9OI

m. 1st stale

399 0 0

Narcissa

Smith, J. R

1906

37 16 0

Narcissa and Flirlilla ...

Smith, J. K

1902

C. P. pair

194 5 0

Norlli, Mrs.

Romney

I9OS

m. 1st state

115 10 0

O'Neill, The Hon. Mrs

Peters

1907

75 0 0

Orleans, Louis Philippe, Duke of

Reynolds

1907

5 5 0

Palmer, Miss T.

Reynolds

1901

96 12 0

Pelham-Clinlon, Lndy Catherine

Reynolds

I9OI

m. 1st St., wide margin

9S7 0 0

Pclhani-Clinton, Lady Catherine

Reynolds

1902

m. 2nd St.

44 2 0

Powlet, Lady Catherine

Reynolds

1901

m. 1st St.

90 6 0

I'ronienade at Carlton Mouse

Smith, I. R

1905

75 12 c

Proverb No. IX.

Smith, J. K

1905

10 10 0

Public House Door

Morland

1905

26 5 0

Return from Market

Morland

1906

m. 0. 1. p.

117 12 0

Robinson, Archbishop...

Reynolds

1907

m. p. b. 1., with portrait
by Houston

16 10 0

Robinson, Mr.s

Romney ...

1903

ni. 1st state

200 0 0

Robinson, Mrs. ...

Romney

■903

m. full margins

115 10 0

Rubbing Down the Post-horse ... /
Watering the Cart-horse )

Morland

1903

m. pair

33 12 0

Rustic luiiployment ... |

Morland

1905

s. ])air

136 10 0

Rural Amusement ... ... ... 1

Schiiiderlin, Madame

Reynolds

1907

m. e. 1. p.

128 0 0

Schinderlin, Madame ...

Reynolds

1904

m. 1st stale

46 4 0

Sriavonian Lady, A

Peters

1906

I 0 0

Selling Kish \

Fisherman's Hut, The... j

Morland

"903

m. pair

58 16 0

Sheep-I'en, The

Morland

1906

m. p. b. 1.

14 14 0

Siddons, Mrs., as " Zara "

Lawrence

1906

m. before re-touch

S 0 0

Snake in the Grass

Reynolds

1903

sli])ple

37 16 0

Sncyd, Miss Serena ...

Romney

1906

c. p.

1200

Stables, Mrs., and Daughters

Romney ...

1906

m. 2nd St.

89 5 0

Stanhope, Hon. Mrs. ...

Reynolds

1901

m. I St St.

456 10 0

Stanhope, Hon. Mr.s

Reynolds

1902

m. 2nd St.

19 19 0

Slourmonl, Lady Louisa

Romney

1901

173 5 0

Slrawljerry Girl, The ...

Reynolds

1906

15 15 0

Sylvia

Peters

1905

990

Synot Children, The

Wright ...

1 90 1

67 0 0

Synot ('hildren. The

Wright

'903

m. etched letter proof

472 10 0

Tarleton, Lt.-Col

Reynolds

1 90s

m. 1st St.

65 2 0

Tarleton, I.t.-Col

Reynolds

1902

iS 18 0

Tavern Door, The ...

Morland

1905

C. P. proof

47 5 0

Thoughts on a Single Life

Smith, J. R

1904

C. P.

26 5 0

Thoughts on a Single Life ... ... [

Thoughts on Matrimony, by W. Ward )

Smith, J. R

1904

in bistre, pair

17 16 6

Wallenstein, Count

Dow, G. ...

1906

I 0 0

Wallis, Miss

Smith, J. U

1902

m. engraver's proof

16 5 6

178 10 0

39 iS 0

Warwick, Countess of

Romney ...

1901

Watercress Girl, The ... ...

Zoflfany

1901

m. proof

Weston, Miss Sophia

Worlid<;e

1907

3 10 0

What Vou Will?

Smith, J. R

1933

C. P.

194 5 0

Widow, A

Smith, 1. K

1904

C. P.

3' '° 0

Wife, A

Smith,]. K

1904

c. p.-

31 10 0

182

Some Notes on Three Classes or Types of Rings :

(1) The Memorial; (2) The Ecclesiastical ; (3) The Wedding

By A. E. Cropper

(Illustrated with Photographs of some Specimens from the Author's Collection)

The limits of the present article will only
allow of my dealing with three classes of rings out
of the multitudinous types and forms which exist,
although representative specimens of all these diverse
examples are now only to be seen in our large
museums and in a few private collections. Rings, it
will be readily conceded, are interesting not alone by
reason of the symbolism which has grown up around
them, but are in a sense invaluable studies for the
antiquarian and archffiologist, as they enable us to
measure the progress of Art in distant eras. \o
doubt we have to depend very largely upon tradition
for circumstances and facts connected with ring-lore,
but we cannot easily estimate the debt we owe to
poetry and romance for the aid given in rendering
rings objects of the highest interest and significance.

I will now, after these few introductory remarks,
proceed to consider that type of ring known as
Memorial. If we search the tomes of history we
shall find that
in very early
days the be-
quest of rings
figured very
largely in the
various forms
which testa-
mentary re-
membrances
take. As early
as the reign
of Henry III.

two rings, We

No. I. — THREE EIGHTEENTH-CENTURY MEMORIAL RINGS

I 8-,

learn, were becjueathed to that monarch by a bishop
of Chii:hester. one adorned with an emerald, the other
with a ruby. At this time it is well to observe that
many rings were supposed to possess some healing
or talismanic properties, such rings being termed in
mediajval Latin, virtuosus. Certain stones also re-
presented virtues, while others were famed for their
magical value.

Anne of Cleves, who survived Henry \'III., left by
her will several mourning rings of various values for
distribution among her friends and dependents. Our
great dramatist, Shakespeare, in his will mentions
certain moneys for the purchase of rings by several of
his friends. The varieties of mourning rings left by
bequest in former days are exceedingly numerous
and of very varied design. No. i. shows three
entirely representative eighteenth-century memorial
rings, selected from my own collection. The first of
them exhibits a gold and enamel ring, having a long

oval bezel
with minia-
ture of full-
length figure
of female
standing by
pedestal, on
which is in-
scribed the
words, "In
memory of a
friend." On
rim is the
name Mary

riic Connoisseur

No. II.— GROUP OF EIGHTEENTH-CENTURY MEMORIAL RINCiS

Goodrich, 1792. The

other two rings shown

in the group are

Nimilar in form and

design.

Miss Strickland, in

her Lives of the

Four I'ri nct'sses of

the Royal House

0/ Stuart, mentions

an incident in the

life of the Princess

Henrietta Anne (1820), that "as Bossuet was kneeling

by her bedside, she suddenly turned to one of her

ladies, and spoke to her in English, which the bishop

did not understand, to tell her that when she should

have entered into her rest, she was to give Bossuet

the emerald ring which had been ordered to be

made for him as a memorial of her." Rings, by

the way, were formerly given to attendants at funerals.

This fashion, I need hardly say, has long been

discontinued.

Among the many touching episodes connected with
memorial rings, perhaps none surpasses in pathos the

story of the unfortunate Mary (^)ueen of Scots. Just
[jrevious to her execution she distributed, we read,
the jewels that remained to her among her faithful
attendants as tokens of her affectionate regard.
Among other sad memorials, she desired that a
sapphire ring, which she took from her finger, might
be conveyed as a mark of grateful acknowledgement
to her brave kinsman. Lord C. Hamilton. Concern-
ing this ring. Bishop Burnet says, " It is carefully
preserved as one of the most precious heirlooms of
that most illustrious family." A memorial ring to
which special historical interest attaches, is the one
which is stated to have been given to Bishop Juxon
by Charles I. on the scaffold, since which period it
has been preserved as an heirloom in the family of
the present owner. The ring appears to resemble
those of the period of Henry VHI. It is described
in the Ge»t/eman's Magazine (or October, 1797. The
bezel is hexagonal, with death's-head in white enamel
on black ground, surrounded by the legend, " ]5eholde
the Ende " ; round the edge is the motto, " Rather
Death than
Fals Faith."

Rings e n -
graved with
such grue-
some subjects
as skulls and
skeletons
were not of

No. III. -GROUP OF EIGHTEENTH-CENTURY MEMORIAL RINGS

necessity mourning
rings, but in many
cases were worn by
persons who affected
gravity of demean-
our, and by others,
again, who desired
to be constantly re-
minded of the brevity
of human life.
Luther wore a gold
ring with a small
death's-head in enamel, which is now preserved in
Dresden.

In early times it seems to have been customary to
t)ury sovereigns with their rings. During some re-
pairs at Winchester Cathedral in 1768 a monument
was discovered containing the body of King Canute.
On his forefinger was a ring containing a very fine
stone. Memorial rings were sometimes made to
exhibit a small portrait, and on some occasions to
conceal one beneath a stone. The illustration,
No. iii., shows a set of three old memorial rings
which are worthy of notice. The one on the right
is especially interesting as having belonged to the
poet Southey. The ring itself is made of gold, while
a lock of the poet's hair has been ingeniously plaited
and inserted round the rim. The centre one repre-
sents a curious octagonal memorial ring showing
scroll work on enamel.

As I have now touched, as fully as space will
allow, on some of the different uses of memorial
rings, I shall proceed to tender some general remarks
with regard to the second class of rings which are
comprised in the scope of this paper. At the outset,
may I explain that in the general term "Ecclesiasti-
cal " I desire to include all types of rings to which
any religious significance attaches. 1 shall hope, in
the course of my paper, to demonstrate that in the
past rings have played a somewhat important part as
regards the symbolical side of ecclesiastical authority.
It seems abundantly clear, from what we read in
contemporary records, that the ring has for many
ages occupied a distinctive place in ecclesiastical
insignia. It appears to have possessed a twofold

s i g n i f i c a n ce.
Firstly, it im-
plied a mark
of dignity and
authority;
and then,
secondly, it
was supposed
to typify the

184

Some Notes oil Rings

No. IV. — EARLY ENGLISH
ECCLESI.\STICAL RING

No. V. — DECADE RING

my.stical union be-
tween the priesthood
and the Church.

Perhaps the most
interesting ecclesi-
astical ring in the
world is that known as
the Fisherman's Ring,
called the An n u 1 u s
Piscatoris, which is
the Pope's lesser seal
or signet ring used for documents of lesser import-
ance. The origin of this ring is somewhat obscure,
but it derives its name from a representation of
St. Peter in a fisher-
man's boat of ancient
form which is en-
graved on it, and not
from any tradition
that it ever belonged
to St. Peter, as
some have assumed
from its English
name. An interesting

circumstance connected with the ring is that it never
leaves the custody of the Grand Papal Chamberlain.
During the time that elapses between the death
of a Pope and the selection of his successor, the
name of the deceased Pontiff is erased, to be
succeeded after the election has taken place by the
fresh name.

In the early days of Christianity the bishops
sealed with their rings the profession of P'aith which
the neophytes made in writing. They likewise
sealed their pastoral letters. With regard to other
dignitaries of the Church who are made recipients
of a ring, the office of cardinal claims notice here.
For we read that cardinals on their creation receive
a ring, which usually holds a sapphire. Wolsey
was raised to this dignity in 15 15, the Pope having
sent with the hat a ring of more than ordinary
value.

The year 1191 is significant in the history ot ring-
lore as marking a change in the fashion of the
episcopal ring, for we learn that it was ordained by
the then Pope Innocent III. that the form of ring
should be of solid gold, set with a precious stone, on
which nothing was to be cut. Previous to this a
large measure of licence was permitted both as
regards material and ilesign. In the thirteenth
century we read that " many of the episcopal rings
were of very rude fashion," displaying little or no
elegance either in design or workmanship, the stone
often being set just as it was found, merely having

the surface polished. There are proofs that cameos
were at one time much worn on episcopal rings.
With regard to the finger on which the episcopal
ring is worn, it has been stated that " all who wear
rings ex officio wear them on the third finger of the
right hand." Cardinals and bishops do this because
it is the first vacant finger ; the thumb and first two
fingers have always been reserved as symbols of the
first three Persons of the Trinity. When a bishop
gives a blessing he does so with the thumb and the
first two fingers.

During the latter part of the thirteenth century the
larger episcopal rings were enriched by the addition
of precious stones which were set around the principal
one. The sapphire seems to have been the stone
most generally used for episcopal rings, owing prob-
ably to the common belief that this gem had the
power of cooling love, due perhaps to the coldness
of its touch.

Legacies and gifts of rings for religious purposes
were by no means uncommon in former times : thus
among other rich gifts to the Cathedral of Canter-
bury, we note that Archbishop Herbert in 1205
presented four gold rings adorned with precious
stones. I would here remark upon the practice that
prevailed much at one time of burying the Popes in
their pontifical habits and ornaments. The body of
the prelate was arrayed in the richest cloth of gold,
and his fingers were covered with rings of the greatest

value. The custom
in course of time was
adopted by lesser
dignitaries, for in
describing the finger
rings found in the
grave of the Vener-
able Bede, the writer
of a brief account of
Durham Cathedral
adds : "No priest
during the reign of Catholicity was buried or enshrined
without his ring." The practice may have prevailed
generally, as many rings recovered from the graves
of ecclesiastics show, but it was more particularly
the usage of prelates.
In No. iv. is shown a
curious ecclesiastical
ring of uncommon
design. The ring is of
silver ; on the be/el is a
(juaint rebus, symbolical,
no doubt, of the Trinity.

On each side of the bezel ^.^ vII.-earlv Norwegian
are two full length figures betrothal ring

No. VI.— early NOKWEGIA.S

betrothal ring

k^^

The Connoisseur

(male and female). These possibly represent Adam
and Eve and Cain and Abel respectively.

Among what may appropriately be included as
religious rings strictly so-called, I would here notice
very briefly three special types, which are termed

number of the Ardueological Journal. It is made
after the pattern of interlaced plaited work, resembling
some ornaments of the .Saxon period, but is especially
remarkable for having the impress of two feet, which
may probably be regarded as one of the emblems

No. VIII. — (IROUl- OF THREE EIGHTEENTH-C E.NTU K V M.KRRIAGE RINGS

respectively "decade," "reliquary," and, lastly, "pil-
grim," some of which are highly interesting for many
reasons, but principally as witnessing to the extreme
credulity and superstition which at one time existed,
and which was exemplified in such trifling ornaments
as rings. As regards the first-mentioned class, viz.,
" decade," we find they derive their name from
having ten projections at intervals all round the
hoop (see No. v.). These knobs were used much
in the same way as the beads of a rosary. Some-
times in these rings each of the knobs is separated
by three small beaded dots across the hoop from
its neighbour. This is intended in all probability
to symbolise the Trinity.

The next class of ring to which 1 have to refer is
that known as the " reliquary " ring, their peculiarity
being that they contain a relic of a saint, or sometimes

of the " Pa.ssion," or as a memorial of the pilgrimage
to the Mount of Olives, when the print of the feet
of the Saviour, which miraculously marked the scene
of His Ascension, was visited by the pilgrims with
the greatest veneration.

The most remarkable example of the religious
ring in the British Museum is that known as the
" Coventry Ring." It is sometimes called " The
Ring of the Five Wounds," by reason of the subject
of its inscription. It is of gold, and in all likelihood
of fifteenth-century workmanship. On the outside
of the hoop there is a centre device depicting Christ
rising from the sepulchre ; on the left is the wound
in the side, and opposite it the words, " The Well
of Everlasting Lyffe " ; next, two smaller wounds are
depicted, with. the words opposite to them of "The
Well of Comfort, and the Well of Grace." Then

No. I.\.

GKOll' OK E.\RLV

a reputed piece of the true Cross or some other
religious emblem. These rings are by no means
numerous, but are regarded as objects of extreme
veneration.

There is but little to be said regarding the
"pilgrim " ring, which is very similar to the "reli(|uary,"
so much so that the two classes may be considered
as almost identical. A curious specimen of the
pilgrim type of ring is thus described in an early

ENGLISH MEMORI.^I- KINGS

toUow two other wounds with the words, " The \\'ell
of Pitie, and the Well of Merci."

We now come, lastly, to consider the subject of
the wedding-ring. We are all well aware of the
many tender and romantic associations that centre
round the wedding-ring ; in fact, it is by no means
easy to conceive of any subject more generally in-
teresting in all its associations than the wedding-ring.
From the earliest times it has possessed a mystical

1 86

Some Notes on Rings

significance appealing directly to our most cherislied
feelings. It is significant to observe that the circular
form of the ring was accepted in days gone by as
a symbol of Eternity. We find many divines who
love to dilate and enlarge upon the figurative virtues
of the ring. A well-known Dean thus speaks : " The
matter of which this ring is made is gold, signifying
how noble and durable our affection is ; the form
is round to imply that our respect shall never have
an end : the place of it is on the fourth finger of
the left hand, where the ancients thought there was
a vein that came directly from the heart, and where
it may always be in view, and being on the finger
least used, where it may be least subject to be worn
out ; but the main end is to be a visible and lasting
token of the covenant which must never be forgotten."
We have Jeremy Taylor, in his sermon on a wedding-
ring, conveying in (|uaint and forcible language the
duties and responsibilities of married life.

With the bridal-ring formerly were delivered the
keys of the house. This is of ancient origin, since
it seems to have existed among the Romans. We
read in Photius that Theosebrius says to his wife,
" I formerly gave to thee the ring of union ; now of
temperance to aid thee in the seemly custody of my
house." The plain gold rings which are the pledge
or sign of matrimony have altered little in design from
the earliest times. They appear to have come down
by the law of traditional practice from Saxon time with
little or no impulse from legal authority.

When we come to examine the records of later
times, we find that during the sixteenth century it
became customary to give plain gold rings away at
weddings in quite large numbers, the practice con-
tinuing till recent times, for we read that the Prince
Regent, on the celebration of his marriage with
Caroline of Brunswick, presented a number of rings
to members of his family and friends. Also at the

marriage of Queen \'ictoria rings were distributed
having the royal likeness in profile in gold.

As pledges of betrothal or wedding gifts rings
are of very ancient origin. They were worn by the
Jews prior to Christian times, and mark even at
the present day an important feature in their marriage
rites. These Jewish betrothal rings were in past
ages generally of large size and elaborate workman-
ship. Some curious examples are mentioned in the
Londesborough collection catalogue. One ring is
of German or Flemish work of the seventeenth
century. It is of brass, with three points or bosses,
and belongs to a class of ring called " gemmal," or,
freely translated, " Joy be with you." In the same
collection is a Jewish "tower " betrothal ring, enamelled
blue, of the sixteenth century. Another betrothal
ring belongs to the same class and date, and called
Temple or Tower, from the figure of the sacred
temple placed on its summit. The marriage rings
of the German-Jews of the sixteenth century are
very fine specimens of art, and are truly superb
specimens of the goldsmith's craft.

The ring was used in marriage among Christians as
early as 860. Pronubal or pledge rings pass between
the contracting parties among the Romans. \\'hen
the marriage settlement had been duly executed and
sealed, rings bearing the name of the newly married
couple were handed round to the guests. By the
way, I may here mention that the marriage ring of
the Romans was generally of iron — this metal being
chosen apparently in order to symbolise the lasting
character of the engagement.

In early times betrothal rings sometimes bore the
name and title of the Saviour in full, but examples
of this cla.ss of ring are now excessively rare. It
is interesting to observe that during the Middle
Ages solemn betrothal by means of the ring often
preceded matrimony.

No. IX. — TWO MEMUKIAL KINi;S OF UNCOMMON DESION

187

riie Connoisseur

Notes and Queries

\The Editor inviles the assistance of readers oj The
Connoisseur who may be able to impart tite informa-
tion required by Correspondents^

Ckltic Interlacing.

To the Editor of The Connoisseur.

Sir, — I shall be very much obliged if some of
your readers could inform me where I could obtain

Extract from Messrs. Adams's letter of 28th
February, 1906 : —

" We thank you very much for the phoioyraph
received. The specimen, as far as we can see, is
an Adams piece. The figures were produced at this
factory 120 years ago, and the subject is the offering
to the ' Apollo of Belvedere,' and the subject, but not
the shape, is illustrated in William Adams, an old
English /'otter, on a very fine jug in one of the
provincial museums. . . . We were interested to

THE IIOOKET VASE

photographs or sketches of Celtic interlaced work,
or a book on the subject.

Vours truly,

D. F.

The Keepsake Vase.

To the Editor of The Connoisseur.

Sir, — In connection with the enquiry in this

month's Connoisseur relating to the Keepsake Vase,

perhaps your readers might be interested to see

another of William Adams's works, so I enclose a

photo, of our Hooket Vase, with copies of extracts

from letters of Messrs. Adams to me on the subject.

The shade of blue is most beautiful, quite difTercnt

to any blue — ancient or modern — I have ever seen

of either Wedgwood or Adams ware.

Yours truly,

(Miss) E. F. Wmj.iams.

see this ware, as the shape is quite new to us, and
we think there cannot have been many made, so this
will make the vase all the more rare, 'i'he colour,
we can imagine, is a very beautiful one.

" Yes, we also know the subject the other side
the vase very well indeed ; it is the ' Sacrifice to
Diana,' and we are reproducing the design at our
factories."

Napoleon'.s Bee.
To the Editor of 'I'he Connoisseur.
Dear Sir, — As a subscriber to The Connoisseur,
I am writing to ask if you could kindly inform me
why Napoleon chose the bee as his imperial emblem ?
I have not been able to find the reason in any life of
Napoleon, and nobody seems to know '. Thanking
you in anticipation.

Vours, etc., S. N.

188

LAUGIi MING FlGURIi OF THE GOD OF LEARNING
liy pcriiiissioii of Messrs. S. Gorer & Son

Son of

Paul Rubens

The accompanying illustration represents the son
of Paul Rubens taken from his picture. It is in
terracotta, enamelled white, is about
7 2 inches high, and may be seen in
the Cluny Museum. One is not sur-
prised to find that this charming life-like little statuette
is attributed to the celebrated sculptor Cyffle, who,
under the Bayards,
father and son, did
such beautiful work
at Bellevue, Toul,
and Luneville.

Two New
Acquisitions
by the Scottish
National Gallery
By Olive
Milne Rae

Two interesting
pictures of the British
School have recently
been purchased and
hung by the Scottish
National Gallery at
I-^dinburgh. Within
the last few years
the directors have
been steadily adding
fine examples of
British art to their
already fine, though
comparatively small,
collection of Old
Masters. The two
latest additions may

THE SON OI" RUBENS

be said to be fairly representative of what was best
in eighteenth and nineteenth century English art,
both as to landscape and figure painting.

The first is a grand and sombre canvas by John
Crome, entitled, A Scene in JFa/es. It was probably
painted about 1802, and belonged at one time to
Mr. (lurney, the Norwich banker, to whose apprecia-
tive encouragement
and patronage the
poverty - stricken
Norwich school owed
a considerable debt
of gratitude. Unlike
most of Crome's pic-
tures its subject is
of wild and rugged
mountain scenery,
absolutely unrelieved
by vegetation or light
of any kind. To the
right of it, against a
background of lower-
ing thunderclouds, a
huge and solitary jut
of crag rises sheer
out of the dark pool
below in the fore-
ground, while to the
left are great boulders
and horizontal masses
of rock, which cast
dark shadows into the
water. A few goats
straggling among
the i n ii o s ]i i t a b 1 e
rocks, are tiie only

TERRACOTTA AT CLUNY MUSEUM

191

The Cotnioisseitr

signs of life in llic- iiicUirc, and c-vcn llicy scum
almost out ot place amid the awesomeness of the
scene, to which the lowness of the tone gives a
deeply meditative character. No shaft of light
or gleam i)f bright colour penetrate the gloom of
its mantling shadows, but there is a depth and
grandeur about the whole picture, a suggestion of
vastness of space, and a sort of aerial horror in the
unfathomable dark-
ness of the ravine,
w ii i c h s h () w s the
master hand.

The other [)icture
— a great contrast in
every way, but also
full of strength and
vigour — is one by
\V. E. I.ockhart, who
was undoubtedly one
of the ablest of the
Scottish school of
painters. The sub-
ject is The Dis-
tnissal of Gil Bias
(who was at that
time his secretary)
l)v the Archbishop
of ( ; r a n a d a , for
candidly telling that
worthy (in answer
to a request for
candour) that his
preaching had some-
what fallen off since
his recent stroke of
paralysis. This was
one of the early

episodes in the varied career of that fascinating rogue,
and one which might well ap|)eal to the imagination
of an artist.

At the portals of the episcopal palace stands the
irate archbishop, clad in his gorgeous scarlet robes
and lace ruffles, his face purple with anger, ga/ing
wrathfuUy down at the retreating figure of the young
Ciil Bias, slowly and reluctantly descending the long
flight of stone steps, and biting his nails with vexa-
tion. The rueful expression on the ex-secretary's
face is excellently portrayed, and every detail of his
costume thoughtfully detailed. He is dressed in a
tunic and knickerbockers of citron-coloured velvet,
having sleeves of deep orange — a clever conceit in
the way of colouring. His long hair falls over the
wide collar of fine muslin bordered with lace, which
was the correct finish to the habiliments of a young

SOME OI,n IIAND-BELLS

gentleman of his day. Over his arm he carries
his cloak of snuff-coloured cloth, and in his hand
is a soft " wide-awake " hat of dark brown felt.
Among the minor accessories of the picture are a
mediaeval swinging lamp of brass, which hangs
just above the archbishop's head, and the rich
dark tapestry behind him, which throws up the
magnificent scarlet and lace of his robes.

This picture is con-
sidered Lockhart's
best, and is certainly
eminently character-
istic of his style and
colour. It is some-
what reminiscent of
John Philips, by
whom Lockhart was
clearly much inllu-
enced. It was painted
in 1878, when the
artist was at the prime
and maturity of his
art, as the richness
and mellowness of
the colouring, and its
admirable arrange-
ment and grouping,
amply show. The
Hoard of Directors
are to be congratu-
lated on these two
recent purchases, and
the nation on the
acfiuisition of two
noble productions
of purely British
manufacture.
The accompanying illustration reproduces a set of
engraved designs for the hand-bells which were once
in general use upon the table. They
date from the first few years of last
century : and though they lack the
grace and purity of design which mark those of an
earlier period, particularly those made in France,
there is a quaintness and homeliness about their
appearance that endears them to the collector of such
trilles. The full-length figures, among them a nun,
and what might be a Chinese mandarin, recall the
drinking vessels of a similar shape and idea which the
German goldsmiths of the sixteenth and seventeenth
centuries designed so well. Special interest attaches
to these engravings in that they come from a maker's
pattern book : and below each is written in ink the
wholesale price.

Some Old
Hand-bells

192

Notes

" Humanism and Art : Being Part IV. of the
Renaissance in Italian Art" By Selwyn Brinton, M.A.
2nd Edition (Arnold Fairbairns, 2s. 6d. neti

In this work on the Schools of Padua and Verona,
when it was first pubHshed in 1898, Mr. Brinton
approached a subject which, especially in the latter
case, had been very slightly treated by English writers.
Messrs. Crowe and
Cavalcaselle had, of
course, included the art
of Padua and Verona
in their jYor//i Italian
Painters ; but there
still remained a good
field for individual
research, and in
the second edition ot
his work the author
gives the result of
later studies in the
churches and galleries
of Verona.

After a very attrac-
tive prologue on
Humanism a n d Art,
that is, upon the in-
fluence of the scholar-
ship of the time, and
especially of the revival
of classic literature,
upon the fine arts in
Italy, Mr. Selwyn
Brinton passes on to
the " School of Squar-
cione " ; and here, of
course, the great Man-
tegna comes to occupy
his chief attention.

"For it is his genius,"
says the author here,
" that dominates and
overmasters the whole.
Ansuino, Bono, Zoppo, are thrown into the shade by
this young eagle that had sprung out of their nest.
Pizzolo might, had he lived, have reached a certain
success, and Vasari tells us that his work was no
less esteemed than that of .'\ndrea : but that, being
even fonder of arms than of painting, and enemies
muny around him, one night he was set upon and
treacherously slain.

" And tiiese ([ualities of Andrea's genius, which
appear fully formed even in his early work . . . are
essentially strong, earnest, virile. In his splendid
science he disdains mere prettiness : he seems to

LKC.END Ol' S. LUCY
(CH.\FEL OF S. GIORGIO,

US sometimes cold (like those antique marbles he
so loved), sometimes even hard and stern ; yet those
who have ever felt his fascination will not willingly,
I believe, turn from him to any other master of
any time."

From Andrea Mantegna, the |)ainttr of the frescoes
of the Eremitani Chapel at Padua, Mr. Brinton turns

to the art of Verona
— "Verona the Worthy
{I'erona la dci^na), as
she was called, lying
against the mountains,
with her bridges and
towers and quaint old
churches, within a land
that is full of fruit
and flowers, whose
clear climate gave its
natives and its art a
?iatural serenity and
gaiety."

Pisanello, that most
fascinating craftsman
of the early Renais-
sance, had already
been done justice to
in his first edition by
this writer, who had
also taken his bio-
graphy for Bryan's
Dictionary of Artists :
but in this later edi-
tion the lesser-known
\'eronese artists, such
as Stefano da Zevio
(Pisanello's probable
pupil), Giovanni
iiadile, Girolamo and
Francesco Benaglio —
the latter of whom
the writer compares,
in the freshness of his
sentiment, to the Umbrians, Fiorenzo di Lorenzo
and liuonfigli — as well as Falconetto, the two
brothers (iiolfino, and Paolo Farinato, whose work
we see in SS. Nazzaro e Celso at N'erona, all
claim some place beside such accepted Veronese
masters as Liberale, Francesco Morone, Caroto,
Cavazzuola, or that most fascinating of the Veronese,
(Hrolamo dai Libri, who is well represented in our
National Gallery. ICven .Antonio Badile, the uncle
and forerunner of the great Paolo Veronese, and an
artist who is scarcely yet appreciated as he deserves,
finds some place here, though not a large one. It is

BY ALTICIllERO AND D AVANZO
1'ADUa)

193

The Connoisseur

in such a work as this, which explores llic less-known
fields of Italian art, that there is still room for
individual research and useful results; and in this
book, which falls into its place as the fourth volume
of the series, and which, we are glad to note, is more
richly illustrated than the earlier edition (two of the
plates we here reproduce for our readers), there are

A KNKiHT WITH HIS SQUIRK
FRANCESCO TURBIDI (UFFIZl)

ASCRIBED TO

to be found some facts of value and some pages of
interesting criticism.

Mr. Frederick Arthur Oish, of 2 70, Walworth Road,
S.E., has issued a beautiful Catalogue oj Chinese Porce-
lain u'ith Coats of Arms. The Cata-
Armorial logue has been privately printed at the

^'""■^ Grove Park Press ; type, the paper, and

binding are excellent, the colour printing being also
of a very high order, and the full descriptions of the
Heraldic designs should prove most useful to those
desiring to decipher the numerous Coats of Arms.

Sodoma and
Beccdfumi

I.v my researches into The Life and Works of
Gim'anni Antonio Hazzi (il Sodoina), publisheti last
year (London : John .Murray), I had
occasion (on p. 173) to draw attention
to the fact that according to Romagnoli
(M.SS.), the artist, with his accustomed waywardness,
did not complete the celebrated S. Sebastian banner
(now in the Ufifi/.i Gallery, Florence, Xo.
1,279) to the satisfaction of the Compagnia
who commissioned it, but that Domenico
Beccafumi was further employed to finish
the work. I suggested then that I3eccafumi's
additions 7vere prnhahly to be found in the
painting of the Madonna and Child on the
back of the banner, and of the clouds
whereon they are seated. I'urther examina-
tion by chance, however, revealed to me
further traces of the hand of the " commen-
tator" on the face of this sjilendid work. To
anyone familiar with Heccafumi's style, the
curious shapes of his heads, and certain
tyi)es of attitude by no means unpleasing
but most characteristic, and the groups of
small figures on either side of the principal
subject — particularly that on the right —
betray at once his peculiar methods. A
glance at the accompanying illustration, if
compared with other work by Beccafumi,
will show this at once and must prove of
considerable interest, since the whole com-
position has so world-wide a celebrity. —
Roukkt H. Hoh.xrt Cust.

About the middle of November Messrs.
S. Gorer & Son will open, at their Bond
Street Galleries, an exhibition
of choice specimens of Ming
porcelain, of which the figure
reproduced in this number as a colour plate
will be the most important feature. \\'hilst
practically unique in size— the figure stands
20 inches in height, and is thus considerably
bii'i'er than Mr. Salting's famous specimens — this
representation of the God of Learning is of rare
perfection as regards modelling and workmanshi|).
Especially remarkable is the extraordinary realism in
the delineation of the features, which have a very
unusual vivacity of expression, and are modelled with
"real delicacy. 'I'he transparent and almost lustrous
quality of the mottled light apple-green of the robe
is impossible to render either in the drawing or the
reproduction. On this green ground is a design of
conventional clouds in yellow, aubergine, and white,
which colours are repeated in the border of the

Rare Ming
Figure

";4

S. SEBASTIAN BY SODOMA (UFFIZI GALDUO)

The Confioisscttr

garment wiili tlie ncklition of a darker green. 'I'he
embroidery of the jwriel in the centre of the robe
represents a flying ho-ho bird in rouge-de-fer on
wliite. The figiiie had been buried for many years,
and when found was covered, for protection, with
a curious glutinous substance which gave it an ap-
pearance of decay and com|)lctely hid the splendour
of the colour glazes. Indeed, it is extremely unlikely
that without this disguise it could have been taken
out of the country of its origin. All efforts to
remove the covering substance proved fruitless, until
a Chinese expert applied a special preparation which
made the film peel off like gelatine.

iMk. liAU.i.iii-CiKOHMAN, wlio ill his new book,
T/ie La/id in the Mountains, sets before us the
_. . , . romantic history and the old-world

the Mountains '-"'i^";'" «*" '1^'" "1""' delightful of all
By W. A. Alpine countries, Tyrol, is himself

Baillie-Grohman the lucky owner of one of the most
(Simpkin, picturesquely situated old castles

Marshall & Co.) j,^ jj^^ j,.,,., ^.^^n^y j^^ jj^.^^ ^^^^

surroundings which are bound to awaken a deeper
interest in the land and its people than is felt by
the literary tourist who " does " the country in a
month or two, and then hastens home to commit his
superficial observations
to print. It is the ob-
vious that generally fills
the pages of such books,
whilst the obvious is
just what Mr. Grohman
has tried to avoid. In
no sense of the word
can his book be classed
as a guide-book. There
are whole districts of
Tyrol which are barely
mentioned in The Land
in the Mountains ; and
the reader is not hustled
systematically from
place to place in search
of sights and relics
and panoramas. Hut
when he has worked his
way through this fasci-
nating account of this
far too little frequented
Austrian province, he
will have learnt all
that is to be learnt of
its tangled and event-
ful history ; he will be

Catharine of
Aragon's
House,
Shrewsbury

STAIRCASE IN CATHARINE OF ARAGON S HOUSE. SHREWSBURY

seized with a longing personally to explore the
wonders that nature has heaped into this compara-
tively small area ; and he will have learnt to
love the simple, manly, kind hearted race of pea-
sant-folk, who, in the purity of their mountain air,
have retained through the centuries the spirit
of patriotism, of loyalty, of religious faith, and
of hospitality, for which they have ever been
noted. 'J'he connoisseur will be particularly at-
tracted by the chapter on " Life and Art in Ancient
Ca.stles."

Fac'INi; a quiet side street at the top o( the Kop
stands the gabled two-storied house, its steep roof
bearing the lovely clustered chimneys
that arc a distinctive mark of Tudor
architecture. The house now belongs
to Messrs. Peele, solicitors, who have
preserved it in much of its original
state. The square hall is panelled in beautifully
carved oak, and the oak mantelpiece bears a design
in which the Tudor rose is coupled with the pome-
granate of Spain. The hall is lighted by a fine old
window, in which the rich blue and yellow tints repeat
the legend of ro.se and pomegranate. In the living
room, panelled throughout, Mr. Peele discovered

one day a sliding panel
over the fireplace,
which disclosed a small
fresco, unfortunately so
obliterated that the
subject was unrecog-
nisable. A staircase
with carved balusters
leads to the upper
storey, and Catharine
of Aragon's bedchamber
and dressing closet,
with a fine view from
the casements over the
Severn and the hills in
the distance. Below
lies the terraced garden,
which the queen is said
to have rarely left dur-
ing the weary months
of her stay in Shrews-
bury, while Henry was
endeavouring vainly to
obtain the annulment
of their union, which
was to legalize his
marriage with Anne
Boleyn. — B. Kendeli..

1^6

Notes

Amongst the several

fine examples of the

work o t

Young
Herdsmen
with Cows
By A. Cuyp

OAK MANTELPIECE IN CATHARINE OF ARAGOn's
HOUSE, SHREWSBURY

the great
masters
of ani-
mated

landscape contained in

the famous Kann Col-
lection few betray a

higher level of excellence

than the charming scene,

\ 'oiiitg Herdsmen ivith

Cows, by A. Cuyp, which

forms the frontispiece to

the present number.

.•l-;ibert Cuyp, landscape

and animal painter, as

well as an excellent

portraitist, is equally

esteemed in all his

genres. His work was

appreciated in England

when in Holland it was

almost neglected, and as

a consequence nearly all

his best works found their

way here. Continental dealers and collectors visiting

London sale-rooms at last commenced to acquire

examples, and gradually many have again crossed the
water, a number going to Paris.

We reproduce as a plate in the present number
another of the interesting series of prints by well-
known sporting artists, which have
appeared in our pages from time to
time. Unlike the majority of those
[)receding it, it is more political than
sporting, depicting a scene in the
days when a member contesting a
Parliamentary seat had to rely on the
now almost neglected horse and coach to convey
himself and his adherents to the poll.

On the 27th September, Messrs. Hodgson and

Company, whose auction rooms in Chancery Lane

have been a favourite resort of many

generations of book lovers, celebrated

their Centenary by a dinner, at which

many well-known literary persons were

present. The chair was taken by

Mr. H. H. Hodgson, J. P., Master of the Stationers'

Company, who retired from the firm in 1900, after

The Last
Hour of a
Contested
Election
for MP.
By Havell,
after Pollard

Messrs.
Hodgson
and Co.'s
Centenary

an occupancy of the
rostrum extending over
thirty years, and some
very interesting speeches
were made in connec-
tion with the toasts of
the Firm, the Trade,
and Literature. In
proposing that of the
Firm, Mr. Charles
Burney, Master of the
Supreme Court, made
some amusing allusions
to the fluctuating for-
tunes of large numbers
of books, while in their
response, Messrs. J. E.
and S. Hodgson, the
present directors of the
firm, mentioned some
of the difficulties that
they had to encounter,
and promised that they
would always pursue
an open and straight-
forward policy in deal-
ing with all customers,
as had been the tradition of their firm in the past.
The toast of the Trade was advocated by the Chair-
man, and responded to by Mr. Edward Bell, ^LA.,
President of the Publishers' Association, and Mr.
H. C. Sotheran, one of the leading dealers in rare
books, while Mr. G. Thorn Drury replied to Mr. ('.. A.
.\itken in that of Literature.

The rare specimen of a fan here reproduced is in
the possession of Lt.-Colonel Wilfrid H. Cummings,
to whom we are indebted for the
^^"■^ following description : —

of tortoiseshell ; the mount is made of
very fine lawn manufactured from the thread of aloe
leaves, on which the design is embroidered, the back-
ground being entirely "drawn" work. The panel
on the right indicates that it was made in the
Philippine Islands or some other tropical colony ;
the Royal Arms of Spain seem to suggest that it
was a gift to a Spanish Queen. It is to be noted
that the centre shield in the Royal Arms is composed
of three casdes instead of three fleur-de-lys, which
apparently fixes the date as being a period prior to
the quartering of the French insignia on the Spanish
Royal Arms. The photograph is by Mr. F. Simpson,
of Chester.

197

The Connoissciii'

RARK FAN

WITH SPANISH ROVAI. ARMS, IN THE POSSESSION OK LT.-COL. W. H. ( I'MMINOS

United Arts Club Picture Defence Fund.

To the luiilor of Thk Connoisseur.

Ukar Sir,— Will you kindly grant us space in your
columns to appeal to the public, and especially to all
lovers of art, for help in supporting the action against
Messrs. Robinson & Fisher, the auctioneers of King
Street, St. James's, for distraining the pictures exhiljited
at the United Arts Club.

Whilst this Club was holding an K.xhibilion of its
Members' work on premises, the rent of which it had
paid in advance to the landlord, Willis' Restaurant,
Ltd., the latter Company failed, leaving about ^2,000
due to the superior landlords, Messrs. Robinson and
Fisher, and that firm distrained and seized all the 195
artists' pictures exhibited in the Club. An injunction
was applied for in Chancery, but Mr. Justice Nevile
reluctantly declined to grant the injunction, stating,
"That it should be possible in a country which boasts
of making a law which jiurports to protect the property
of the law-abiding citizen, to raise such a question seems
to me an extraordinary state of things," but " monstrous
though I hold it to be, 1 have to deal with the law as 1
find it."

The Club has appealed against this decision, and if
need be in the interests of the artists primarily, and the
public generally, it is intended to lake the matter up
to the House of Lords, if possible. Hut to do this the
Club, which is a new institution, requires financial
support, and we therefore confidently ask all friends of
Art and Justice to help by kindly forwarding their
subscriptions for this purpose to the Club's Bankers,
Messrs. IJrown, Shipley & Co., 123, Tall Mall, S.W.,

for the credit of thr United .'\rts Club Picture Defence

Fund.

Yours faithfully,

(Signed) Carlisle, Kilmorey, J. T. Herbert Baily,
T. Austen Brown (A.R.S.A.), A. S. Cope (A.R.A.),
Walter J. James, John Lavery (Vice-Prest. LA.), Edward
Poynter (Prest. R.A.), Geo. Wyatt Truscott.

P. S.— Unless otherwise desired the names of sub-
scribers, together with amounts, will be acknowledged
in the leading newspapers, a copy of one of which will
be sent to each su\)scriber.

Books Received

Velas<]uez, l>y S. 1.. Ik-nsu^nii, I^. (»i. : Keyiwuii, by .S. I..
Bensvisan, is. 6cl. ; Nursery Song, arranged by Joseph
Moorat and pictured liy Paul Woodroffe. (T. C. & K. C.
Jack.)
Adveit/iires oil Ike High Mountains, by Richard .Stead, 15. A.,
K.K.Hist.S., 5s. ; Heroes of Missionary Enterprise, by
Claude Field, M.A., 5s. ; The Komance of the World's
Fisheries, by Sidney Wright, 5s. (Seeley & Co.)

Miniatures, Ancient and MoJern, by Cyril Davenport, 2S. 6d.
net ; An Artist's Keminisceiues, by Walter Crane, iSs.
net ; Trees in Nature, Myth and Art, by J. ]-;rncst
Phythian, 6s. (Mcthuen & Co.)

The Silver Treasure-Trove of Hildesheim, by T. Blunie Gold-
smith, Ilildesheim.

The Cathedrals and Churches of Northern Italy, by T. Francis
Bumpus, i6s. net. (T. Werner Laurie.)

The Madoniiadi Vico, by L. Melano Rossi, 21s. net. (Macmillan
and Co.)

Mantua, by Selwyn lirinlon, 4 marks. (E. A. Sceman,
Leipzig.)

n;8

The Connoisseur

ANSWERS TO CORRESPONDENTS

U\.D.-All enquiries must be accompanied by coupon, zvhich 7vill he found in the advertisement pages of each number.

"Books. — Breeches Bible. 1611 — 10,038 (Donc3>ter).

Vour Bible would not realise more than £i at a London

auction sale.

"Adventures of Ulysses," by Charles Lamb, 1808.

10,035 (Windsor).— Your book, if a first edition, Ixjund in

old calf, is worth a considerable amount. We cannot tell from
your description, however, as both the first and second editions
of this work are dated iSoS.

"Illustrated London News."— 10,217 (Osiersund).—
Your volumes are worth about two shillings each.

Coin5 and MedaZs.— Charles II. Crown, 1682.

— 9,872 (Sittingbourne).— Unless your coin is in mint state, it
has only face value. Patch boxes vary in value. Could you
not send yours for our expert's inspection?

Engravings and Etchings. — Removing

damp stains from vellum.— 10,300 (SouthamptMi). — It
the damp spots have not taken firm hold of the material, the
part affected may first of all be touched with a slight wash of
spirits of wine, and, when dry, with a weak solution of oxalic
acid. You describe your etchings as being on vellum, but in
all probability they are on " vellum paper," which is quite a
difterent substance. In any case, however, you might try the
remedy suggested, taking care 10 operate first of all on some
fox mark in the margin. Benzine applied with a sponge will
remove almost all marks from vellum, but should not be used
in the case of vellum paper.

"The Four Penitents," after Rubens, by V. Green,
etc. — 9,898 Tottenham). — The two enyravings you describe
are of verv small value.

"The Times," by W. Hogarth.— 9,875 (Sherl)orne).—
Your prints are of ver\" small value.

"Swarming in the Bees "and "Returning from
the Fair," after H. Dayes, by Hellyer.— 9,^69 (Temple,
E.C.) — This is a well-known pair of colour prints, for which
there is considerable demand. If yours ate good impressions,
you should obtain about ;/^20 for them.

"The Ten Virgins," by V. Green.— 9,967 (Hereford).
— Your print is of very little value.

Furniture. — Corner Cupboard.— 9,848 (Kochford).
— The iiainting on your corner cupboard appears to be nearly
obliterated, and in its present state the cupboard would not
fetch a very big price. Send it to a good restorer.

M/niafure5.— Painting on Copper. — 9,956 —

Your miniature painting on copper is intcroiing, but there is
no demand for this class of thing at the present lime.

"The Countess of Fife," by R. Cosway, R.A.,
1797. — 9,960 (Worthing).- If your miniature is a genuine
Cosway, it is worth a large sum ; but there are hundreds ol
worthless copies about signed as yours. Cosway's miniature of
M.adame du Barry realiscil ;^I,05o at Christie's in 1892, but
few imiiottant examples have apiieared in the sale-room (or
some time.

"Oliver Cromwell," by Sir Peter Lely.— 9.9^2
(Hampstead). — Your miniature has some historic interest. If
you will send it as you suggest, we shall be glad to obtain our
expert's opinion as to its value.

ObjetS d'Art. — Empire Timepiece. —9.S25

("T. L.," Westminster).— The lypc of clock you descrilw is
almost unsaleable at the present time. Although the original
cost must have been very great, it would probably not fetch
more than ;^Io if offered at auction to-day.

Glass Vases. —9,990 (Birmingham). — Your vases are
probably 1 nglish glass, but they are not old enough to be
vahialilr from a collector's ))oint of view.

"Pictures. — J. D. De Heem.— 0,971 (Walmer).— A
signed (jainling by this artist of a bowl of llowers, and fruit on
a table, with birds and butlerHies, 44 in. by 35 in., realised
;^357 at Christie's last season. Your picture, therefore, may
l)c of very considerable value, and we should advise you to
submit it for our expert's inspection.

Portrait, signed " T. Lawrence." — 9-939 (Money
Tracey). — The signature " T. Lawrence" on your picture
doubtless refers to" .Sir Thomas Lawrence ; but in this case it
would not have been painted early in the eighteenth century, as
.Sir Thomas Lawrence was not born until 1769. Genuine
portraits by this artist have realised remarkable prices during
the past season. At Messrs. Robinson & Fisher's, £8,400 was
paid for his famous work, CliildhooiTs /iiiiociiie— a. \iox\n\l oi
the Countess of Jersey as a child — whilst at Christie's a portrait
of Mrs. Bradburne sold for ;^2,572 los., and that of a young
lady made ^1,890. If your picture were sent to our offices for
insjieciion, we could give you an opinion.

"Beggar Boys," by Murillo.— 9, 9.i4 ("arrogate).— If
your picture is an original work of MuriUo, its value is, of
course, very great ; but so many ordinary paintings of the
Spanish school are nowadays attributed to the great master,
that we could not attempt to advise you without seeing it.

George Morland.— 9,915 (Weasie).— If your picture is
a genuine Morland, the sum you mention seems a very low
price to get for it, and it would pay you, we think, to forward
the work for an expert opinion.

Rembrandt.— 9,824 (Cat ford).— From the photograph you
enclose your picture does not appear to us to be of much account.
The name at the foot of frame would, no doubt, enable you
to sell it for a few pounds if a private purchaser were found
locally, but in a London auction-room we are afraid the picture
would realise a very small sum, as the subject is very un-
attractive.

"Head of St. John the Baptist in a Charger."—
9,957 (Sheffield). — The subject of your picture would render
it very unsaleable, unless it is absolutely of the highest quality.
Without inspection, of course, we cannot give a definite opinion.
"Cupids," by Cipriani.— 9, 976 (Brighton).— No example
of this artist appears to have lieen sold at auction recently. He
did not execute many large paintings, though he left an infinite
number of drawings. Your pictures .-tre certainly interesting,
and, if in good condition, they should realise a good price.
Could you not send them (or our expert's inspection ?

Identification, etc., of Pictures. - 9,882 (Padiham).—
The photograph- ol your j aintings are too indistinct to enable
us to judge what they are.

Picture by T. Luke, 1817.-9,814 (Preston).— The
painter of your picture is not an artist of any reputation, and
he does not appear to have contributed to any exhibitions of
])ictures in London. Perhajis it is the work of a Scottish
amateur of the jieriod, but in any case we do not suppose it
is of any special value.

" Duke of Wellington's Charger," by S. Spode,
Copenhagen.— 0,063 (BlikcnlKa.l .- The v.nhieof your paint-
ing of the Duke nf il'clliii^toifs Cfuiiger depends upon its
artistic merits. We do not know the artist. Could you send
the work for our expert to see ?

Landscape.— 9, 93o(Whitefield).— To judge from the photo-
graph you have sent us, we should say that your landscai>e is
not a picture of any consecpicnce.

Picture on Panel.— 9,985 (Darlington). — Your picture is
certainly very interesting ; but it is impossible to identify the
painter froiu a photograph. Could you send it for our expert's
inspection ? We are afraid you will find it very difficult to
discover who the portrait repiesents, as the type ol face is very
common.

Painting of a Woman.— 9,916 (Plymouth).- It would
certainly 1k> more satisfactory to have your picture examined
by an expert. An opinion Irom a photograph could only lie
tentative, and might prove unreliable.

Portrait of a Man. -9,871 (IIiinstanton).-From the
photograph you send us, your portrait appears to lie a very fine
picture, and we should certainly advise you to send it for our
expert's inspection. The subject bears some resembl.ancc to
("harles, the Young Pretender, and if it should prove to be a
likeness of him, the value of the work would be greatly enhanced.

"The Print Collector," by J. L. E. Meissonier.—

9,Si2 (Hull).— This is a well-known picture in the Wallace
Collection, of which yours is prob.ibly a copy.

The Connoisseur

Water-Colour Subject by Edward Corbould, i«5S.

— 9,904 (Hrimuli). -It i> iiuiKissihlc lij lurni any idea uf wliat
a piclurc will realise at auction wilhout seeing it. lidwarti
Henry Corlwulil, K.I., exhil)iled 241 works at the New Walcr-
Coloiir Society, and 17 al the Koyal Academy from 1835, and
he also contributed to various other exhibitions during that time.

Pottery and Porcelain, i-rench Vases.

- 10,154 iChantry). — U is diliicult to give an opinion about
your vases, as the photographs you have sent us are so indistinct.
The incised mark atTords no clue to the maker, though, judging
from the form, we should say they were of Paris make early last
century. They are worth probably from £S lo jC^°-

Alinton Cup and Saucer.— 9,952 (Ticehurst).— Your cup
and saucer, stauipc! Minion, are not worth more than 5s. or 6s.
A good many collectors now give place in their cabinets to the
more ornamental pieces of Minton ; but it will be a long lime
yet l)efore this make becomes really valuable.

Dessert Dishes, marked " Amherst, Japan."- 9,123

(Kingston-on-Thames). — Your two dessert dishes, marked
"Amherst, Japan," are not Spode, but Minton. They are
worth a few shillings each.

Willow-Pattern Plates, etc.— 9,928 (Caversham). -
Your willow-paltL-rn plates, m.^rked "J. T., Longton," may
have l)een made by John Turner, of Longton. The other mark
you give is doubtless that of a Staffordshire maker of last
century, though we ate unable to trace it in our books of
reference. The pieces are worth a few shillings each.

Tea Services. — 9,832 (Edinburgh).— The absence of any
marks upon either of your tea services makes it impossible for us

to form any opinion as to values from your description. If you
will forward a specimen saucer of each set, we can advise you.

" Flaxman " Jugs.— 9,992 (Brackley).— Hot-water jugs
do not fetch big prices. Your specimen would not have been
in.ade by Klaxman, and the probability is that it is one of a
certain pattern manufactured by one of the late Staffordshire
lirms, to which the name ** Klaxman *' was given. H so, it
is worth c>nly ;i Irw shillings.

Crown Derby Jugs. — 9,866 (Hawick, N.B.). — Being
imperfect, your jugs would not be of great value.

ij'l/fer.— Paul Lamerie. — 9,827 (Ballywilliam).—
Objects by this maker usually fetch good prices. Some chased
table candlesticks, dated 1737, were sold at ^'3 17s. per oz. at
Christie's last season. As stated in our letter, however, we
cannot put a dehnite value on your candlesticks, etc., without
seeing them.

Cup by John (iangland, of Newcastle.— 9,938 (Hull).
— Unmarked silver is usually regarded with suspicion by
collectors, and it is difficult to sell, whilst its value, as a rule,
is greatly dc|Heciated, as compared with proper hall-marked
pieces of the same period. In view of the fact that the maker's
initials on the cup you have l)een offered are T. L., the statement
that it was made by John Gangland Iwfore 1778 should, in our
opinion, \k accepted with reserve. If, however, the dealer is
willing to give you a written guarantee, you are, of course,
safeguarded.

Plain Mugs, 1734.-9,886 (Harrow).— Without seeing
your mugs, we should judge their value to be roughly about
20s. an ounce.

HERALDIC CORRESPONDENCE

Conducted hv A. Meredyth Burke

1,172 (London). — Sir John Bourne, Knt., Queen Mary's
minister, had a grant from the Crown of the manor of Batten-
hall, Worcester, in 1544, and was knighted 2nd October,
1553, in which year he had been elected .\I.I'. for the city of
Worcester. He married Dorothy, daughter of John Hornyohi,
and died at his seat. Holt Cas'tle, 13th May, 1575, leaving
issue: (l) Anthony, his son and heir, who married Elizabeth,
daughter and heiress of Edward Home, of Sarsden, in Oxford-
shire ; (2) Charles ; (3) Elizabeth, wife of Cleorge Winter, of
Hoddington, Co. Worcester; (4) Margaret, who married William
Clark ; (5) Parsyda ; and (6) Anne. Sir John is said to have
left large estates in Worcestershire, which were eventually sold
by his eldest son to the family of Lord Chancellor Bromley.
.■\lthough he had a grant of Arms in 1553, no jiedigree of him,
or of his descendants, appears in the Heralil's Visihitioiis, but
the Viiilation of 1663 contains a pedigree of Bourne, of Acton
Hall, in the parish of Ombersley, to which is ajjpended this
note: "These Artns were granted to Sir John Bourne, of
Battenhall, ao I. Mary, from whom it doth not appear this
gentleman descends." A grant referred to in the State Pai>ers,
however, |X)ints to a connection between Sir John Bourne and
Onil)crsley. Philip Bourne, brother of the Secretary, w.as father
of Dr. Gillx.rt liourne. Bishop of Bath and Wells, who died
loth Septemlier, 1569.

1,179 (Nottingham). — .Anne Rutherford, who married Waller
Scott, W.S., and was the mother of the author of Waverlcy,
W.1S a daughter of John Rutherford, Professor of Chemistry
in the UniVersily of Edinburgh (who was lx)rn in 1695, and
died in 1779), by his first wife, Jean, daughter of Sir John
Swinton, of Swinton, whom he married 12th April, 1731.
John Rutherford was the son of the Rev. Jn!m Rutherford,
minister of Yarrow, whose lather, John Rutherford, is supposed
to have l>een descended from the llundalee family, but the
connection does not appear to have l«en established.

1,184 (Dublin).— The bookplate is evidently that of William
Basil, of Wilton Park, Bucks., who inherile.l a large fortune
from his kinsman, Martin Caulfeild Basil. The latter died

in 1735, aged 84, having been treasurer to James II., and
was the only son of William Basil (died 1694), Cromwellian
Attorney-General of Ireland, by his wife Anne, daughter of
Toby Caulfeild, 1st Lord Chnrlemont. The Attorney-General
was younger son of Martin Basil, alderman of Colchester, and
brother to Martin Basil, who died 1636. The last-mentioned
Martin by his Will, which was proved 28lh May, 1636, made
the following interesting bequest : " the fourth of Aprill 1635
more I give my King of Spaines Bible to the library at
Colchester as my guift there to be kept for ever."

1,193 (London).— Not much is known of Augustine Briggs,
father of William Briggs, the eminent physician, l)eyond the
fact that he represented the city of Norwich in four parliaments,
and that he is supposed to have been the son of Richard
Briggs, head-master of Norwich School in 1598. Dr. William
Briggs married Hannah only d.iughler and heir of I'Mmund
Hobart, grandson of Sir Henry Hobart, Lord Chief Justice
of the Common Pleas in the reign of James I., by whom
he left three children, Henry, Mary, and Hannah. His
son Henry became rector of Holt, Norfolk, and chaplain to
George II.

1,198 (London). — The Arms on the piece of plate are ap-
parently intended for those of the family of Russell, of Hereford-
shire and Little Malvern, Co. Worcester, whose coat was:
Ay^eiil a chevron between three crosses crosslet fitchce sahk
within a borduie eiiffrailed gules bezanlee. Crest : ./ demi lion
rani/'aiit argent holding a cross crosslet fitchee sable. The .yrms
impaled with the above might be either those of the families
of larvis or Benson, but in the absence of any information as
to the tinctures the impalement cannot be identified with
certainty.

1,205 (London).— Blanche Parry, Chief Gentlewoman of the
Privy Chamber and Keeper of the Jewels to Queen Elizabeth,
was a daughter of Henry Parry, of Newcourt, Co. Ilerefonl,
and died unm.arried in 1590, aged 82. She was buried in
St. Margaret's Church, Westminster.

YOLNG GIRI, ASLEEP

uv JAN vei{.mi;i:n op nEi-FX

l-ROM THE KAN\ COLLECTION

By permission of Messrs. Diiveen Brothers

THEHEMTJGE COLLECTION.
AT ST PETER5BVRG

Part III.

By Dr. G. C. Williamson

In the last article I gave special attention
to the most notable pictures of the Italian school,
and it may be well before passing to the works of
the Flemish, Dutch, and Spanish schools, in which
the Hermitage is so particularly rich, to refer briefly
to a few more Italian pictures which merit careful
attention. Most visitors make some special effort to
see the work called the Madonna Lit/a, attributed to
Lionardo da \'inci. A great deal of controversy has
ranged round this little picture ; it was discovered in
1543, in Venice, in the Contarini (lallery, and in the
eighteenth century belonged to the family of the
Counts Litta, from which it derived its name. It
was bought for the Hermitage in 1865, and at once
attributed to Lionardo. Since then other artists
have had the credit of this lovely work : it has been
attributed to I.uini, Ambrogio da I'redi.s, liernardino
De Conti, and Boltraffio, in turn. ICugene Miint/. was
the first to draw attention to the fact that there is
a beautiful study in profile of the Virgin's head in
this picture in the Vallardi collection at the Louvre,
and that it is on greenish paper of exactly the same
character as that used by Lionardo himself for his
study of the Virgin of the rocks.

The same critic also discovered in the Windsor
library a genuine pen drawing showing the Child at
the Mother's breast, and his decision was that the
picture so closely a[)proximates in sincerity to the

Vol. XIX.— No. 76.— n 2

work of the master himself, that there is souie possi-
bility that the title given to it is correct. Since the
time of Miintz it has been taken out of its frame and
more closely examined, and it is now quite certain
that it is a contemporary work, while the general
opinion amongst art critics is that it was composed
and commenced by Da N'inci himself, although in all
probability completed by one of his pupils. The
specially close examination which I had the oppor-
tunity of giving to this picture leads me to accept
this opinion without hesitation, for the composition
most certainly belongs to Lionardo, and I should
attribute verv much ot the work to the same hand,
but there are portions of it that are quite as evidently
not from his brush, and those I am disposed to
give to Boltraffio. I'he Portrait of a IVoiiian, from
the Walpole Gallery, which also bears the name of
Lionardo, cannot be accepted as a genuine work.
It was clearly executed by one of his pupils, after
a design by the master, which still exists in black
chalk in the collection at Chantilly.

By Luini, who owed so much during jiart of his
career to the influence of Lionardo, there is a very
lovely picture of St. Catherine between tsvo angels.
It is very similar to a representation of the same
scene belonging to Dr. Ludwig Mond, and to be
seen in his collection at Regent's Park ; but the
two pictures are not copies of one another, as they

The Connoisseur

differ in several details, and both are undoubtedly
genuine works. The one in Russia originally be-
longed to the Due de Medina, and was afterwards
at Malmaison in the possession of the Empress
Josephine, in whose time it was attributed to Lion-
ardo da Vinci. A study of the head of the Saint
]iainted in oils is in the Ambrosiana in Milan.
In the picture the Saint is wreathed with jasmine,
h o 1 d i n g a book
in her hand, and
gazing down
upon it; on either
side of her are
the angels, one
of whom bears a
palm, and the
other the wheel.
Another i m -
portant painting
given to the same
master represents
St. Sebastian. It
is a most puzzling
work, as in so
many ways it dif-
fers from other
pictures by the
same artist, and
yet upon careful
consideration 1
cannot suggest
that the attribu-
tion is wrong,
partly because
several of its clia-
racteristics are
distinctly those
oi Luini, and
partly because
it differs even
more strongly
from the works of any other master of the Milanese
school whose name could be suggested in connection
with it.

It is believed that the artist, under the guise of
St. Sebastian (patron of the town of Milan), has in
this picture represented Maximilian Sforza, son of
Ludovico Moro, Duke of Milan (1512 to 15 15), who
died in Paris 1530. The picture originally belonged
to M. Dubois, a dealer in Turin, who sold it to an
Italian prince who died very soon after acquiring
the work. When his collection was sold, his work
went to Signor Bistoli, of Rome, and on his death
it was sold to the Hermitage in i860 for 60,000 francs.

LA IHDONNA LITTA BY LIONARDO DA VINCI (?

An important article on this picture appeared in
La Gazelle des lieanx Arts, vol. i.\., 1861, by
M. Charles Blanc.

There is a very striking picture, by Botticelli,
at the Hermitage representing the Adoration of the
Afai^i, which is probably the work the artist painted
when in Rome, as in many respects it resembles
his frescoes in the Sistine Chapel, both in colouring

and in the atti-
tude and distri-
hut i on of the
figures, while the
landscape back-
ground is clearly
Rome, the trees
being such as can
be seen at the
present day in
tile outskirts of
the City, and the
ruined archway
"hasits prototype
in the Roman
Campagna." It
is a remarkable
jjicture, albeit a
little more hard
in detail than was
usually the case
with the work of
this master, and
it has many af-
finities to tlie far
finer painting of
the same subject
in the Uffizi Gal-
lery. Both are
distinguished by
that wonderful
melody of line
that even in the
early days of Botticelli was so notable a feature
of his works. This particular panel at one time
bore the name of Mantegna, but all critics are now-
agreed that it is undoubtedly the work of Sandro
Botticelli.

Perhaps one of the most delightful Italian pictures
in the gallery is the charming figure of Judith now
generally accepted as a fine example of the work of
that mysterious painter Giorgione. There is a solemn
stateliness and grandeur about this painting, which
can hardly fail to impress the student. The picture
has been bandied about by critics from name to
name ; it has been given to Moretto, to Raphael,

\rhoto. tian/statngl.

206

Collection of Pictures in the Hermitage Palace

to Titian, and to half-a do/.en other men, and certainly
when it is studied by photographic representations
alone, the problem of its origin is not an easy one
to solve. In its presence, however, all doubts pass
away, and I am inclined to think that no more
tlioroughly genuine work by the master exists in
any European Gallery, and that to no picture, save
perhaps the Castelfranco Madonna, has so little
been done by any other artist— the Hermitage picture
revealing Giorgione's original colouring in all its

was destroyed, the picture was carried to Rome by
Cardinal Ludovisi, a member of the Calcina family,
but afterwards went back by heritage to Bologna to
the family of the Ercolani, and in 1843 was bought
for the Hermitage. On either side of the Virgin
are St. Laurence and St. Jerome, the former saint
having reference to the name of the church, while
the latter was the special patron of Ludovico, who
commissioned the picture. At the foot of the throne
are two exquisite child angels, playing vipon musical

THE ADORATION OF THE KINGS

UY SANDRO HOTTICELLI

\Photo. Han/staengt

wonderful subtlety and opalescence. The figure is
exquisitely feminine, modest, and gentle ; the draw-
ing of the drapery has all the curious qualities
of roughly broken and crumpled folds, eminently
representative of Giorgione, and the glow of colour
is of very remarkable beauty.

By Francia, the metal worker who became a
painter, there is a s])lendid altar piece, dated 1500.
It was commissioned by Ludovico de Calcina, Canon
of the Church of San Fetronio, Bologna, and was
erected in that church until the Calcina family
chapel in the Church of San Lorenzo Delle Grotte,
then rebuilding, had been completed ; and when
this chapel was finished, the picture took its right
place in it. When the Church of San Lorenzo

instruments. The jiicture is characterised by the
somewhat hard outline and curious absence of
atmosphere, notable features in the early works of
Francia, but special attention should be drawn to the
exquisite gold work on the vestments of St. Laurence,
the decoration on the throne of the Virgin, and all
the smaller details on the two musical instruments
wrought with the delicate manipulation that bespeaks
the goldsmith-artist.

The Hermitage Gallery is extraordinarily rich in
works attributed to Titian, ten at least genuine,
one or two of them being amongst his very finest
portraits. The repentant Magdalene is perhaps
the be>t known, a painting executed in 1561, and
acquired from the Barbarigo family in 1850. It is

207

The Connoisseur

a signed work of the most glorious quality and rich
colouring ; and perhaps the two finest portraits
are those of Pope Paul III. and Cardinal Antonio
Pallavicini, the latter having come from the Crozat
collection, and at one time attributed to Vandyck,
until closer investigation revealed the unmistakeable
qualities of the Venetian master. A portrait which
has some special
interest to English-
men is the one of
Cardinal Pole, the
work of Sebastiano
del Piombo. This
was the great
cardinal who was
Apostolic Legate to
England, one of the
three Presidents oi
the Council of
Trent, and the last
Catholic Archbishop
of Canterbury, and
it was painted during
the lifetime of Pope
Paul III., who sent
Cardinal Pole to
England. Like
many other works
by Piombo, it has
been attributed to
Raphael, but in its
present position in
the Hermitage (Jal-
lery, hanging as it
does between the two
Crucifi.xion pictures
signed by the artist,
there is every oppor-
t unity for a full
acceptance of the
portrait as the work
of Piombo, who was
a pupil of Bellini,
G i o r g i o n e and
Michael Angelo, and
whose colouring and
composition, once
recognised, are im-
possible to mistake
for those of any
other painter. Many
other Italian artists
are well represented
in this noble Gallery.

JUDITH

BY GIORGIONE

There is a delightful picture by Era Bartolommeo,
several by Canaletto, and perhaps The Feast of
Cho/'atra, by Tiepolo, the last of the Venetians,
may be taken to conclude the Italian series, as no
grander example of the composition of this great
ceiling [lainter can be found even in Venice or S|)ain,
where so many of his finest works remain.

When we come tu
consider the Dutch
and Flemish schools,
we find ourselves in
the presence of some
of the greatest riches
of the Russian col-
lection. There are
no less than thirty-
three pictures attri-
buted to Sir Anthony
Vandyck, and al-
though many of them
cannot be accepted
as entirely the work
of the master, yet
amongst this number
there are several of
extraordinary inter-
est, and one at least
of the highest pos-
sible importance.
The large canvases
by Vandyck and
Rubens have suffered
by the heat of the
Hermitage galleries
more than most of
the oil portraits, the
greatest damage
caused by this heat
having, of course,
h a p [) e n e d to the
tempera pictures
belonging to the
Italian school, but
several of the Van-
dyck s have been
injured almost as
much. It is most
unfortunate that the
extreme cold of the
climate, and the
necessity for using
these great picture
galleries as State

\Plwto. Hati/slatngl FOOmS ill whlcll tO

208

Collection of Pictures in the Hermitage Palace

hold concerts and balls, necessitate so high a tempera-
ture being constantly kept up. Other pictures by
Vandyck have suffered perhaps in even a more serious
way, by restoration, but fortunately the two best
pictures in the Gallery are in fairly good order. The
portrait of Philip, Lord Wharton, represented as a
shepherd, is one of the few Russian pictures fairly
familiar to English critics, inasmuch as, by special
permission of the Emperor, it was lent to the Royal
Academy in 1900, where it created a great sensation,
and was pronounced to be perhaps the most attractive
portrait in the entire exhibition.

It is not one of Vandyck's boldest or strongest
works, but as an exquisite model of graceful con-
ception and sensitive colouring, it is one of the
noblest pictures he ever painted. The face of the
young man in its fresh youthful beauty is without
parallel. Another almost equally attractive picture
is emphatically pronounced by the authorities of
the Gallery to be a work of Vandyck, and to
represent William II. of Orange as a boy. There
seems to be, however, very little doubt that this
picture was painted by Adriaen Hanneman, the
great friend and admirer of Vandyck, and an artist
who based his portraits upon the work of the great
master. There is a good example of the work of
this artist at Hampton Court, a signed and dated
picture, representing William III. as a boy, and if
the two could only be put side by side, it would
probably become a matter of certainty that they were
by the same hand, and represented the same person.
Vandyck is, however, very well represented, even if
we take this portrait away, and in the paintings of
Charles I. and Hejirietta Maria, in the portraits of
Sir Thomas Wharton, Sir Thomas Cha loner. The
Earl of Danby, Rubens and his Wife, Snyders and
his Family, and in various religious subjects, we
have plenty of examples of the work of Sir Anthony,
from which a good understanding of his special
capabilities can be obtained.

His master, Rubens, is perhaps even better re-
presented, especially in religious subjects. Christ
in the House of Simon the Pharisee is a magnificent
composition, while Tfie Descent from the Cross, The
Adoration of the Magi, and Abraham and Hagar
can hardly be too highly praised for the grandeur
of their conception and the magnificence of their
colouring. There are also several fine examples of
semi-historical pictures, such, for instance, as The
Apotheosis of Henry IV., I'he Crowning of Marie
de Medicis, The Victories of Cardinal Ferdinand, and
The Marriage of Henry IV. with Marie of Medicis :
but as fine examples of the work of Rubens at his
best, attention should be directed to some portraits.

Isabel/a Brant, the first wife of the artist, Helene
Fuitrment, the second wife, .Susannah Fourment, her
sister, with her little girl Catherine, and Philip IV.,
King of Spain. Inasmuch, however, as there are
forty works by Rubens to be seen in the long gallery
of the Flemish school, there is every opportunity for
the careful study of this master of composition and
colouring in all his magnificent breadth and gorgeously
decorative effect.

Snyders, who came so much under the influence
of Vandyck, and who represents the department of
still life in the Flemish school, becomes a little
overpowering at the Hermitage, a dozen or more
of his enormous canvases representing fruit and
vegetables, birds, animals, fish, and flowers all hung
side by side down the entire length of that enormous
room, producing an effect of magnificence, it is true,
but certainly of wearisomeness to the eye. There
are no finer examples of Snyders anywhere to be
found in Europe, and his decorative genius exerts
itself very completely, but the whole effect is
monotonous and bewildering, and where one or two
of the finest pictures if hung by themselves might
be highly appreciated, the effect of the entire series
is lost, and the student is apt to give the artist a
lower place in the hierarchy of art than he deserves,
by reason of the overwhelming effect of this gallery
full of his pictures.

The earliest artists of the l-'lemish school, \'an
Eyck and Rogier Van der Weyden, are well repre-
sented in Russia, the exquisite little picture of The
Annunciation being certainly by Jan Van Eyck, painted
about 1436, while the picture of St. Luke painting
the Portraits uf Our Lady and the Holy Child, now
claimed for the great Tournay artist, was painted about
1440, it is believed for a member of the De Clugny
family. Another work at one time attributed to
the same artist must now be given to Hugo \'an
der Goes.

Of the Dutch pictures, two portraits by Sir Antonio
Mor have a peculiar interest to English students, as
they represent Sir Thomas and Lady Gresham. Sir
Thomas was, of course, the well-known merchant and
financial agent who acted for Edward \T., Queen
Mary and Elizabeth, and founded the Royal I'-xchange
and Gresham College. He materially assisted the
great Lord Burleigh by his advice relating to com-
mercial agents abroad and by borrowing money for
the .service of the State, and he entertained Queen
Elizabeth at his mansion of Osterley, now the resi-
dence of the Earl of Jersey. The portraits belonged
to the Walpole collection, and are believed to have
been painted in 1570, probably at .Antwerp, wiiere
Sir Thomas Gresham frequently resided, and where

209

The Connoisseur

Sir Antonio Mor settled down after lie had left Spain
somewhat in disgrace with I'hilip II., in order to
sojourn for the rest of his Hfe in the Netherlands.
The portrait in Russia is certainly one of the artist's
noblest efiforts.

By the great Rembrandt there is a most wonderful
series of paintings, over forty in number, affording an
opportunity for studying the works of that noble
I)ainter unequalled by any other gallery in Europe.
Among the religious scenes there are pictures repre-
senting The Descent from the Cross, The Holy
Family, The Iiiirediility of St. Thomas, The Parable
of the Master of the Vineyard, The Reconciliation of
David and Absalom, Abraham Rfceiving the Angels,
The Sons of Jacob showing Joseph 's Coat to their
Father, and The Disgrace of Haman, Hannah and
Samuel, St. Peter's Denial, Joseph Accused by Poti-
phar's Wife, and The Prodigal Son ; whilst amongst
the portraits there are superb representations of
Rembrandt's father and mother, and very many re-
markable ones depicting anonymous persons, as, for
example, an old Jew, an old woman, a girl with
a broom, an old man, a young man, and a rabbi.
Perhaps two of the finest portraits are those which
represent Rembrandt's mother and John III., King
of Poland; both of them magnificent works, grandly
painted.

There are four pictures attributed to Frans Hals,
but it is only safe to accept two of them as absolutely
genuine works by this artist, inasmuch as the portrait
commonly considered to be one of the artist by
himself, was probably painted by Frans Hals the
younger. It is from the evidence of style to be
given to a period between 1650 and 1660, when
Hals was between seventy and eighty years old,
whereas the man in the portrait is between thirty
and forty. The portrait of a young man may,
however, be safely accepted ; it is a signed work,
and was probably executed in about 1635 : but the
grandest representation of the work of this remark-
able painter is a portrait of a sailor or an admiral,
which belongs to about the same period, and repre-
sents a middle-aged man with long brown hair, in a
broad-brimmed hat, white collar, the cuirass of an
ofificer, with a yellow jerkin, and wearing a large silk
scarf instead of a girdle. It is painted in the
brilliant, sweeping style characteristic of this great
artist at his best.

Of that group of Flemish portrait painters generally
known as the lesser figure painters of Holland, there
are several excellent examples : Dou is splendidly
represented by a portrait of a violinist, a replica of
the picture at Dresden, with the same signature and
date, and equally genuine as that portrait. The

violin player is often considered to represent Dou
himself ; but this is not the case. There are fourteen
other works by Dou, several of which are of the very
highest excellence : The Rabbi, The Doctor, The Old
Woman Reading, The Woman Selling Herrings, 'I he
Girl Bathing, and The Woman Winding Yarn, all
of them signed works, exquisite in rich colour, and
remarkable for the delicate treatment of detail in
which this painter delighted. By Pieter de Hooch
there are three pictures, two of which are first class
examples of this great Dutchman. A picture of a
l.ady in her Kitchen examining a fish is perhaps the
finer of the two, and was bought in 1808 from a
dealer in Paris named La Fontaine, who had acquired
it from the Mont de Piete, where it had been pledged
for 1,000 francs. The effect of light, in which De
Hooch so rejoiced, is very remarkable in this picture ;
the scene takes place in the open air, and the light
floods the serious colouring of the courtyard with
very fine effect. The other important picture is
called The Concert, and represents a lady in white
satin playing the lute, while near by her is a young
cavalier singing to her accompaniment. Here again
both window and door are open, and a l)urst of
sunlight kindles the somewhat cold colouring with
brilliant and vivacious effect.

This picture did not come into the gallery by
purchase, but was a gift to the Emperor of Russia
by some unknown benefactor, who desired that his
much cherished picture should find a resting-place
in the great Russian Gallery, and should hang near
to the picture of the Lady in her Kitchen, which he
had for years past so much admired. Nothing what-
ever is known of the history of this picture, nor can
the name of any persons through whose possession
it has passed be identified. It resembles examples
by the same artist in the Galleries of Sweden and
Denmark, but the unknown benefactor is believed
to have been an Englishman, and to have acquired
this picture direct from some descendants of the
artist's, and he is said to have persistently refused
to allow it to be seen or exhibited until one fine
day he left it wrapped up in paper at the Hermitage
Gallery, accompanied by an unsigned request for
its acceptance, and from that moment he has never
been traced. It is from his handwriting, and from the
manner in which he expressed himself in Russian,
that he is believed to have been an Englishman ; but
this is only surmise, and no one had even known of
the existence of the picture until it was sprung upon
the critics of Europe by its exhibition at the gallery
of the Hermitage.

Met.su, the pupil of Dou, is also well represented
in the gallery ; there are five signed pictures, all of

!IO

THE DKSCLNT FROM THK CROSS

BV RKMBRANDT

[Photo. I/aiifslaeiigt

The Connoisseur

CHILD WITH I'ARROQUET

BY MICHIEL JANSZ MIEREVELT

[Photo. Han/stacngi

them of the finest quality, representing The Clever
Child, The Illness, The Concert, The Breakfast, and
The Dressmaker, all delightful little works, very rich
in colouring, and finished with great elaboration and
skill. The best picture by Mierevelt is the portrait
of a little girl about five years old, wearing a red
bonnet bordered with lace, a white dress with lace cuffs,
and having upon her several rich chains of gold.
She carries on the finger of her left hand a green
parroquet, and the portrait is believed to represent

one of the Princesses of the House of Orange,
probably one of the daughters of Prince Frederick
Henry. By Teniers, the younger, there is a very
long series of his usual festival Dutch scenes— village
fetes, village dances, scenes outside a village inn,
village musicians, smokers, drinkers, players, lovers,
and so on. No fewer than forty pictures are attributed
to this artist, and the bulk of them are genuine works,
painted with all that rich colouring and wonderful
sense of atmosphere that mark the somewhat trivial

Collection of Picfiires iu the Hermitage Palace

PORTRAIT OF HELENE FOUKMIONT liV HI' BEN

representations of Dutch life which appealed to him.
Tcrborch is also well represented by four important,
and some other less important, works, but the Dutch-
man who appears to have most captivated the founders
of the Hermitage Gallery is the lands(api>t \\'ouHer-
nian. There is a room entirely full of his pictures,
over fifty in number, the eternal White Horse appear-
ing in almost all of them, and the effect of so

many landscapes by one artist is rather to cause
the observer to undervalue the wonderful technique,
admirable composition and extraordinarily brilliant
colouring of the artist, and to become wearied in
the contemplation of what are, after all, somewhat
monotonous productions.

In this somewhat rapid survey of the Dutch
painters, Paul Potter must not be overlooked, his

213

THE OYSTER BREAKFAST

BY UABRIKL METSU

[Pho/o. Hanfilaen^l

214

i'iii.'io. l-j;in:^i.vnei.

PORTRAIT OF AN ADMIRAL

By FRANS HALS (Hermitage Collection).

Collection of Pictures in the Hermitage Palace

great Wolf Hound \i^mg a far finer piece of painting
than the overpraised Bull at The Hague. It is
associated with half-a-dozen other works by the same
man ; and then, finally, attention should be directed
to the splendid series of landscapes by Ruisdael,
some of them, especially the Waterfall in Nonvay,
of incomparable beauty. The roaring, raging water
is painted most wonderfully, and comes tearing down
the torrent and scattering the spray in all directions
upon the foliage close at hand, while the forest, with
its dim, dark greens and exquisitely sensitive shades
of brown, affords just such a fitting background as
the foaming creamy water requires. To those who
revel in the superb technique of Ruisdael, and
appreciate his masterly representations of nature, the
gallery at St. Petersburg offers a very rare treat.

In the French school space will not do more than
allow us to refer to some exquisite works by Claude,
one of which appears to be a companion picture to
the landscape in the Bridgwater House collection.
Several charming works by Watteau, especially The
Mandoline Player, The Savoyard, and The Minuet,
must not be overlooked. Their equals in graceful
work can only be found in the pictures at Hertford
House presented to this country by Lady Wallace.
By his pupils, Lancret and I'ater, there are good
examples, notably Spring and The Concert, both so
closely allied with the work of Watteau that at one
time they were given to that artist. We ought to
have referred to the four special great pictures by
Claude, which were chief among the treasures at
Malmaison, and represent Morning, Mid-day, Even-
ing, and Night. Perhaps the great imaginative French
artist never produced any works more exquisite in
quality than these four paintings done in Rome in
1666, and highly trea.sured by the Empress Josephine.
The earliest French master, Jean Clouet, is repre-
sented by a portrait of the Due d' Alenc^on, and
there are examples of the later men — Poussin, Vernet,
Boucher, Greuze, and Chardin.

\\'<i have now only a short space left in which to
speak of the Spanish pictures. Of the works of
Velazquez, that which attracts the greatest attention
is the masterly study of Pope Innocent X., made
by the artist in view of the life-size portrait painted
in 1649, and preserved at the Doria Palace in
Rome. This was one of the greatest treasures of
the Walpole collection, and is a magnificent work.
It is almost worth the whole journey to Russia to

inspect this wonderful study, and to realise, as one
does from it, far better than from the finished picture,
the extraordinarily bold technique of the great
Spaniard. There are two portraits of the Count
Olivares, and two of Philip W ., one a full length,
and the other a bust portrait ; and there is one
remarkable early work of the fiodegone type repre-
senting a breakfast, which should be compared with
some similar works belonging to the Duke of
Wellington and Sir Frederick Cook.

By his great rival, Murillo, there are twenty-two
paintings, perhaps the most beautiful being The
Vision of St. Anthony of Padua, in which the Infant
Christ is represented descending from Heaven upon
the rock in front of the kneeling saint. There are
two pictures of The Adoration of the Shepherds, a
superb painting of Isaac Blessing Jacob, a wonderful
luminous An?iunciaiion, an impressive Crucifixion,
and two or three superb portraits, showing this deeply
religious, but over sentimental, artist at his best.

By Zurbaran, most Spanish of all the Spaniards,
there is a fine representation of St. Laurence, painted
in 1636, and bearing the bold and remarkable signa-
ture of the artist, which attracts the attention of a
visitor as soon as he enters the Gallery. The Saint
is wearing richly decorated sacerdotal garments, and
is in an ecstasy of fervour. No better example can
be desired to exhibit the religious artists of Spain,
with their stately dignity and overpowering emotion.

There are half-a dozen by Ribera full of rich,
gorgeous colouring. Pareja, who was Velazquez's
servant, and whose work is so rare even in Spain,
is represented by a fine exarirple of a Capuchin, and
there is an extraordinary portrait by the Cretan who
became more Spanish than the Spaniards themselves,
and whose nickname was El Greco, representing the
poet Alonzo— a fine example of the best productions
of this sombre and extraordinary artist.

It has only been possible in these articles to glance
at a few of the notable works in the gallery : but there
is hardly any collection in Europe offering more
entertaining problems to the art student than the
Hermitage, and it is most unfortunate that so few
persons take the trouble to visit a gallery not really
so inaccessible as people are apt to think, for the
contents of it are well worth the long and somewhat
tiring journey, and will well repay the lover of
pictures who desires a very rich treat, and the sight of
a gallery containing a splendid series of masterpieces.

COLLECTIONS
VI5ITED

Mr. William Ward's Collection of Resist Silver Lustre at
The Kennels, Mellor, near BlacKburn By H. C. Lawlor

The name of Mr. William Ward, now the
possessor of probaljly the finest collection of Resist
Silver Lustre in the world, has until comparatively
recently been better known as that of a good all-
round sportsman than as a collector of articles of
vertu.

To one visiting his residence at Mellor, there is
ample evidence that the excellent taste and judgment
with which he is naturally endowed, and for whicli
he is so well known in sporting circles, has also
extended to the compilation of his magnificent col-
lection of Resist Silver Lustre ware. Cabinet after
cabinet, lining the walls of several rooms, is filled

with all that the heart of a collector of tliis ware
could desire.

With every specimen in practically mint condition,
it was somewhat difficult to make a selection for these
illustrations. To overcrowd the groups would have
been a mistake, necessitating the individual pieces
being shown in too small a scale, while the avoidance
of this compelled the omission of many specimens
quite as interesting as those included.

In Nos. i. and ii. are displayed some e.\quisitc
e.xamples of the vine pattern. In the collection are
several full sets of cups and saucers, part of which
only are shown in these groups : those in No. i.

No. I.

No. II.

No. III.

No. IV.

2U)

Ihe Connoisseur

and those in bottom row in No. ii. are of most
brilliant and clear lustre, and of almost eggshell
lightness. The inscribed plates with the vine borders
are evidently part of a set made to commemorate a
wedding, probably as a wedding present. Many of
the pieces in these two groups are the productions
of the old V'orkshire potteries, though it would be
dangerous to ascribe them too dogmatically either
to Leeds, Doncaster, or Castleford. Others are of
Staffordshire origin, two pieces being of peculiar
interest, namely, the plate in bottom row in No. ii.,
which is marked " Warburton," impressed, and

resist, the masonic jug in No. vi. being perhaps the
most notable.

In No. viii. is shown one of the most remarkable
pieces in the whole collection — a three-gallon jug,
fifteen inches high, in absolutely mint state, and
bearing the incised cross used by the old Leeds
pottery. It is a curious fact that of the many
hundreds of specimens in this collection undoubtedly
Leeds ware, this is the only specimen bearing the
mark of the Leeds pottery.

No. ix. shows a group of drinking vessels, mugs,
goblets, and tankards of various patterns. Of these

No. V.

the dainty little teapot in No. i., marked " W.,"
impressed.

Another favourite decoration in resist ware is the
exotic bird design exemplified in Nos. iii. and iv.
On the jugs in the top row. No. iii., the birds are
painted in vivid colours over transfers on white
ground in circular panels, round which are worked
elaborate resist floral designs in white and silver.
These jugs are exceedingly rare. The bottom row
displays the more frequently met with bird design in
plain white and silver, while in some pieces in No. iv.
the pattern is shaded with colouring.

Animals as a subject of decoration are rarely met
with, but this collection includes a number of in-
teresting examples, some of which are shown in
No. v., the lion jug (gallon), standing nine inches
high, in plain resist, being the most striking. Others
show hunting or farmyard scenes, and some have the
pictures enriched by colouring.

Nos. vi. and vii. display various other designs in

the large mug with Japanese decoration is of par-
ticular interest, being most uncommon, while the
large communion chalice is also a very rare piece.

A few very handsome vases are shewn in No. x.
The centre urn, standing fourteen inches high, and
the vases on either side of it, are of a most unusual
pattern, very striking, and probably unique. The
three small vases with panels of very finely painted
little pictures of a mother amusing a child, are most
probably Derby, as is also a very quaint inkstand not
shewn in the illustration.

Mr. Ward has been most fortunate in securing a
number of very fine specimens of jugs with names or
mottoes and dates, worked in the resist pattern.
Some of these appear in No. xi. .These are doubly
interesting, not only on account of their individual
beauty and rarity, but from the fact that most of the
dates on the resist jugs, and the subjects of coloured
transfer pictures where these are found combined
with resist decoration, unite to assist us in arriving at

■A

Tltc Cointoisseiir

.rff?*" ' '

I^^H

>e^'

jW"

''z-

-'r

Si,

j^^ffy

No. Vlll.

the exact date when resist ware was first made. Of
actually dated pieces, the earliest in this collection is
the fourth on top row in No. xi., 1S12. Several are
dated 18 13, one 18 14. Of pieces where transfer
pictures of topical or historical events are combined
with resist pattern, the majority refer to the same
period. For example, in Xo. xii., five jugs have
pictures relating to the wars of 1812 to 1814, one
being an example of the now much-prized jug shewing
" Boney escaping through a window." One jug in
No. xii. bears the inscription " Richard Bacchus,
1810," but this jug, though decorated with silver
lustre, is not resist pattern. Another jug, tliat to the
extreme right in No. xi., bottom row, bears dates
28th July, 1804, and 29th July, 1806, as the birthdays

of Thomas and Samuel Japson, but these dates
evidently do not indicate the period when the jug
was made.

All the resist pattern illustrated, with the exception
of No. xiii., is on white or ivory ground — i)robably
ninety-nine per cent, of the specimens coming into
the hands of collectors are ; a few specimens turn
up on canary ground. Rarer still are those dis-
playing silver resist on a turquoise blue ground,
while rarest of all is silver resist on pink or apricot.
No. xiii. shews fourteen pieces on canary, three on
blue, and only one on pink ground.

It is perfectly safe to say that Mr. Ward is the
happy possessor of by far the finest collection of
this ware in the world. He has for many years

.'..>' . ftp -^-^ ^-'^■- ^^

No. IX.

Res is f Silver Lustre

No. X.

availed himself of every possible opportunity of
securing rare and beautiful specimens as they came
upon the market. To secure a few particularly fine
specimens he has several times bought out whole
collections, from time to time weeding out the more
or less inferior pieces thus accumulated. It would
be equally safe to say that no amount of money
could now bring together another collection even
remotely approaching in merit that of Mr. Ward.
This fact, however, need not in any way discourage
other collectors, who, if they cannot hope to gather
together a collection as good as this one, may still
occasionally pick up an odd specimen of great beauty

and rarity. The very scarcity of such pieces but adds
to the delight of the collector fortunate enough to
secure them. It may be of interest to collectors to
note that while few good pieces of resist ware are now
to be found in dealer's shops in this country at any-
thing like a reasonable price, quite a number may
still be picked up on the continent, where it does not
seem to be appreciated to the same extent as at home.
Those who have tried to photograph silver lustre
ware, and understand the difficulties of overcoming
the effects of reflection and cross lights, will appreciate
the illustrations in this article. They are from photo-
graphs by Mr. B. \\'ard Thompson, of Wilpshire,

No. XI.
O

223

The Connoisseur

No. XII.

Blackburn, an amateur whose exhibit at the Royal
Photographic Society's exhibition in the New Gallery
in Regent Street some time ago included several
groups of silver lustre from Mr. Ward's collection,
which were much admired and thoroughly appreciated

by those who have tried this peculiar branch of
photographic art. The groups for the photographs
were selected only from Mr. Ward's collection at
Mellor. He has an almost ecjual collection at his
London residence.

No. XIII.

224

rSulianl hn,'

CKmsU.StvJ/1^

tJ-iT/fiZ' nr \//i4iC /7/yiM^ /ti/^f /<^ /n^ fi^rr/.t

Fire=Dogs

Part II.

The Connoisseur

By J. Hartley BecKles

(With Illustrations of the Chief Examples to be met with in the Kingdom)

Allusions to andirons are often met with
in seventeenth-century books, plays, and pamphlets.
One of the most curious I have seen occurs in a tract
entitled " A Threefold Discourse between Three
Neighbours" (London, 1642). "How," it says,
" our Bishops are like andirons of State, standing in
a chimney but for show ; but if a heavy block or red
billets are brought to the fire there are poor little
creepers or cobirons underneath that must bear all the
weight. And there you resemble to the inferior clergy."

In a play of the Restoration period, " The Maid's
Lament," one of the characters exclaims : " Your
Houses of Lords and Commons ! Why they stand
there still like a pair of fire-dogs, while all the sub-
stance above them which they support is burning —
burning. And what would you have them do, sirrah.
Were they not made for that ? "

" Do you see yonder fire-dogs?" cries ^L^rtin Merry-
man in another play. "They have in their time borne
a whole forest on their backs, oak and beech and
pine and cedar, and yet they are none the worse for
it, as ye may see, sir, by their faces. And they have
seen and smelt, aye, and suffered ten thousand of the
squire's fires, which an' they were rolled into one
would make a conflagration far bigger than that
which burnt St. Paul, his church, and turned a
thousand families out of doors."

We find numerous instances of andirons being left
by will during the seventeenth century, which may
be regarded as
the century /ar
excellence for
costly, curious,
and elaborate
fire-dogs. Al-
though the
manufacture of
bronze e .\ -
amples does
not seem to
have been car-
ried on in Eng-
land, yet bronze
tire -dogs were
occasionally
brought to
England.

A very fine
pair of bronze
dogs may be

I'AIK OF ENAMEL FIRE-DOGS (1625) AT SOUTH KENSINGTON

seen at South Kensington. At the summit of one is
a statue of Jupiter, and of the other is Venus, with the
following inscription: "Josepha di Levi in \'crona
me fece." They are of si.xteenth-century Italian work-
manship, and were acquired by the authorities for
_;^75 10s., although I am informed that a well-known
collector, who was too late to bid at the sale, would
gladly have acquired them for ;i^2oo.

Another pair in bronze is of even more e.vquisite
design and finish. The base is of masks and strap-
work, above which are cupids supporting a vase
surrounded by a statuette of a cupid. These, like-
wise, are Italian, about 1760, and were until lately in
the Soulages Collection.

Most of the finest came from Italy, and were often
of the most sumptuous workmanship, as may be seen
by the photographs of two or three which accompany
this article. But there is a Cerman pair — an Adam
and Eve supported by mermaids and tritons — which
earned the high commendation of Mr. Alfred Gil-
bert, R.A., who pronounced it " a masterpiece.'"

Indeed, the Florentine and Flemish sculptors put
as much labour and skill into the composition of one
of these bronze tire-dogs as would have sufficed for a
far more pretentious work — a staircase, a fountain, or
a statue. The growing refinement of the age, the
home-keeping habit as compared with the perpetual
life out-of-doors, warring, hunting, and hawking, made
the decoration of the hearth of greater consequence

than formerly.
The family,
guests, and de-
pendants of
the nobles sat
around the
cheerful blaze,
and, listening
to music and
minstrelsy,
doubtless cen-
tred much of
their attention
u[)on the eciuip-
m e n t of the
fireplace. In
such case the
tribute of ad-
miration could
not have been
withheld from

227

The Connoisseur

CAST-IRON KIRE-DOO AT ALDlNCiTON. KENT

these ornate pieces of metal work, of which it is to
be regretted that so few have survived to our own
era of grates, stoves, and gas, steam, and electric
heating. There are two noteworthy pairs of bronze
andirons in the National Collection at South Ken-
sington. In the Soulages Collection is a bronze pair
of Italian alare of Queen Elizabeth's time.

One Johann MuUer set up in Dresden a manu-
facture of andirons exclusively, issuing the following
notice or pros[)ectus to the nobility, gentry, and
burghers: — "I, Johann MuUer, observing the rude
and simple designs in fire-dogs wrought by the Dres-
den workmen, and perceiving how much more delight

CAST-IRON FIRE-DOG, LATE l/TH CENTURY

a man hath, especially in winter, in contemplating
the beauty of his hearth and its accessories than of
other parts of his house which it hath been the
custom more to adorn than was necessary, will here-
after strive to rectify this, and by an originality of
design and careful workmanship, strive to excel the
best productions of the Italian and Flemish workmen
in bronze and iron and brass."

Although, even in the best country mansions, silver,

ANDIRON AT CHICHESTER, 1630

i6TH CENTURV FIRE-DOG AT NORTHIAM

228

Fire-Dogs

ITALIAN i6tH century BRONZE

ITALIAN 16TII CENTL-RY BRONZE

bronze, brass, and enamel fire-dogs
were rarities in England, yet, as we
may see, a great deal of care and
ingenuity were expended upon the
iron variety during the fifteenth, six-
teenth, and seventeenth centuries.
They particularly flourished in the
South of England, and the Sussex
foundries turned out many quaint
and, to-day, greatly prized specimens.
There are several at Lewes Castle,
Chichester, and Horsham. A notable
pair may still be seen at the Sergisom
Arms Inn, Haywards Heath. Other
specimens which I have come across
are at Penshurst, Hever Castle,
Northiam, Burwash, Smardon in
Kent. A fine one at Chichester
bears the date 1630 and the initials
" H. I. K." At Leeds Castle is one
dating back nearly a century before,
and 1 am told that at Lamberhurst
Vicarage is a pair bearing
the Ashburnham arms and
the date 1591, and another
of about the same date at
Warbleton Priory. Nor
must we omit to mention
the pair still, I believe, at
the Crystal Palace.

Inscriptions are common
on old furniture, plate, and
china, but so far 1 have met with no
remarks on the legends, sometimes
of considerable length, found on old
lire-dogs. It is suggested that these
niav (have been engraved on the
plaque or scroll by some later pos-
sessor, whose protracted meditations
before the fireplace took this form ;

Here I sitte within the hearth

With my husliand (wife) to share my mirth

Heap llie logs onn good mortals all

To warm the folks in master's hall

Heap them onn and do not sjiare

l-'ull many a billet we can bear

We wish you warmth and right good cheer

Good inortals all for many a yeare.

Another, formerly at Leasowes, in
Cheshire, bore an inscription on a

brass plate, thus :

Of fire and flame, good sir and dame,

We are the Servants ready

Come toast your toes and drown

your woes
In jugs of warm ale sturdy.

229

i?U«>*.

GERMAN I6TH CENTURY BRONZE

^55!^^f^

ITALIAN lOTH CUNriUV BRONZE

The Connoisseur

IRON FIRE-DOG AT LEWES CASTLE

Besides

these quaint
inscriptions,
most of
which, albeit,
are of a much
briefer cha-
racter than
those we
have quoted,
there is at
least one set
of verses
e X t a n t, b y
William Dale,
of Guildford,
supposed to
set forth the
sentiments of
an old and-
iron, rescued

from a mansion destroyed in a conflagration, July,

1773-

Vc who behold me here into tliis dark corner flung
Haply care naught for all my flowing past
When, with my fellow, both the old and young
The first lord of the manor and the last
Clustered before me as before holy clerke
Whilst I expounde<l from a wondrous text
Shewing them hell and heaven in light and dark
The splendours of this world and of the next
The leaping fires. Two centuries we stood
And watched them build their fortunes . . .

And in this strain the articulate andiron continues
for nearly two hundred lines.
The theme, at any rate,
is not unworthy of Cowper,
who might well have in-
cluded it in his " The Task,"
when he can find inspiration
in such objects as a sofa and a
teapot.

Truly there is a peculiar fas-
cination about these "sturdy
mementos of bj'gone days "
which is not possessed by
other classes of metal work,
however intricate the design
or superior in intrinsic worth ;
for they seem to conjure up

as they now
stand, grim
and cold in
hearth or in
ni u s e u m
cabinet, the
ghosts of an-
cient scenes
of fireside
revelry, of
giant logs
leaping with
lurid flame,
of happy
faces, of lusty
choruses, of
the wine and
wassail which
we cannot
well associ-
ate with our

IRON FIRE-DOG (CHARLES 1.) AT BIRWASH

FAMILIAR TYPE OF I jTH CENTURY FIRE-DOG

Straitened hearths and flimsy fire-irons of to-day.

Good examples of fire-dogs have considerable value
to collectors, a value which is growing greater with the
increased interest in metal work. Since the South
Kensington authorities were induced to add a collec-
tion of ironwork to their manifold treasures, one has
now by no means an ill criterion whereby to judge
such specimens as occasionally come into the auction
room and are met with in various places and at dealers.
Ladv Dorothy Xevill possesses several interesting iron
examples having the spit adjustment (this variety was
called cob-irons). A large collection was exhibited
some years ago, the property
of Messrs. Feltham. There are
many copies of old fire-dogs
now made, as well as some
really beautiful designs in the
spirit of the old, for which the
rare craftsmanship of that
" man of iron," Mr. Starkie
Gardner, is responsible. Even
in the modern small iron and
brass andirons for the grate
one notices, in the pattern and
workmanship, how much the
revived interest has influenced
the Birmingham and Sheffield
contemporary manufacture.

230

Heraldry and Autographs The Stammbuch, or Album

Amicorum By Martin Hardie

The collector at times finds in his hands
a small, dumpy volume, neatly and strongly bound in
leather or morocco, containing coloured coats of arms,
with inscriptions in Latin or (Jerman script of the
sixteenth or seventeenth centuries, often hard to
decipher, and, when deciphered, often hard to under-
stand. The ordinary connoisseur is not as a rule
inclined to devote overmuch time to the intricacies
of the heraldic science. Art is long, he will say, and

life too short for this " silly science of silly old men,"
and he will lay aside the book after a casual glance.
Vet the volume to which we refer, the Stammbuch, oi
Album Amicorum, to give it its various names, is of
considerable sociological as well as antiquarian and
artistic interest, and our purpose now is to show
something of its origin, its history, and its nature.

The Stammbuch has its origin at the beginning of
the sixteenth century, at earliest at the end of the

a> J

mi^r. ntj-im cctlltmUs rfsc bbesifa

SCrwiiir.

, ^/(;,<fc'«^.''c»if.

/j^) fi

FROM THE ALBUM AMICORUM OF BARON WOIXKENSTEIN FROM THE ALBIM AMICORUM OF JAN VAN GAMEREN

231

The Co/nioisseitr

fifteenth. li hcloiiL;s to the
borderland of old romance,
to the days when ladies rode
with hawk on wrist, when
minnesingers gathered in
princely courts, when tourney
and joust, with the sweet
influence rained from ladies'
eyes, drew together all that
was knightly and noble in
the land. At the tourna-
ment it was only those who
could prove their knightly
origin who could [iresume
to enter the lists. As the
knight arrived with his
esquires he was met by
marshals, heralds, and pur-
suivants-at -arms, to whom
he must prove his noble de-
scent. At a large gathering
of knights and sijuires it was
e.s.sential that these ex[)lana-
tions should be made with
all possible speed, especially
in the case of a combatant
who arrived late in the field.
Naturally, then, it became the
custom to possess a tourney book (Tiirnierhuck) con-
taining a copy of the family tree, its letters of nobility,
and pictured coats of arms.

But by the end of the fifteenth century the great
days of tourney and joust were ending. The sweet
reasonableness of the Renaissance was penetrating
social and political life, and the spirit of the
Reformation
was beginning
to shed its
influence over
religion. The
love of the fray
was yielding to
the love of
learning and
letters.

By the six-
teenth century
the "gentle
science " of
heraldry had
taken strong
root. With its
laws and lan-
guage every

I '.<■•,'"/ "'./'/in

I,-.' i U' ^i;*" !«■'••»

Jij

man who el aimed to be
"gentle" was expected to
l)e familiar; to be ignorant
of them was to confess him-
self a " churl." In England
the Liher Armorum of Dame
Juliana Berners (St. Albans,
i486), wherein "is deter-
myned lynage of Coote
armiris," and " folowyth the
Blasyng of all maner armys
in latyn, french and Eng-
lish " ; or Sir John Feme's
Blazon of Gentrie (London,
1586) : Reuxner's Thiiriiier
Buck (]''ranckfurt-am-Mayn,
1566) and Jost Amman's
Il'a/^t'ri mid Stambnch
( I'ranckfurt-ani-Mayn, 1589)
in (Icrmany ; Le Blazon des
Artnoires (Lyons, 1581) in
]•' ranee — all bear evidence to
the widespread interest taken
in the heraldic science by
knight and dame of the six-
teenth (XMitury. By the end
of the century also a splendid
tradition of heraldic design
had descended from Diirer and the Little Masters.
Under all these influences, then, the Turnierbuch
developed into the more peaceful Stammbuch, a sort
of heraldic autograph album, wherein a man persuaded
his comrades, at friendly joust, or banquet, or singing
match, to inscribe their names and arms.

It may be asked whence the facilities came for

painting these

coats of arms,
many of them
beautiful pieces
of illumination.
But it must be
1' iiiembered
:tKit there was
no royal festi-
val, banquet,
coronation, or
noble m a r -
riage at which
a painter,
especially a
painter of her-
a 1 d i c orna-
ment, was not
present. During

FROM THE .M.BU.M AMICORUM OF J.\N V.AN
GAMEREN

FROM THE Al.UeM AMlLORf.M OF WOLFGANG LEUTKALFi-

232

Heraldry a)ui .-1 iitograplis

the sixteenth century
many a painter, as many
a poet-singer, found his
livelihood in wandering
from court to court,
from festival to festival.
Such a painter would
illuminate the required
arms, and their bearer
would inscribe his name,
a note of friendly greet-
ing or remembrance, and
frequently a motto.

From the world of
knighthood and the
court the Stammbuch
passed into homely use,
and took the place of
the modern autograph album. Becoming simply an
autograph book, or Album Amicorum, it is found in
common use among students. The German student
of those days visited, as a rule, two or three difler-
ent universities, often travelling for a Wanderjahr
into foreign lands to sit at the feet of the famous
teachers in France or the Netherlands, or in Bologna,
Padua, and other great schools of Italy. On his
travels the student carried with him this .Album
Amicorum, in which he col-
lected the arms and auto-
graphs of teachers and
fellow -students. In most
cases the short motto that
was attached to the coat of
arms has given place in
students' books to wise or
witty sentiments of greater
length, and, instead of the
arms themselves, we find
various illustrations of scenes
or places, actual or imagin-
ary. One calls to mind for
an e.xample of this type of
book the scene in Goethe's
Faust, where Mephistopheles
takes the student's Stamm-
buch and inscribes therein
the ominous words : '^ Eritis
sicut Deus, scienter bonum et
malum."

Our illustrations are
selected in the first place
from two of these albums in
the National Art Library
at South Kensington, dating

FRO.M THE ALBUM AMICORUM OK WOLFGANG LEUTKAUFK

from 1570 to 1590.
Unfortunately, some
reckless owner in the
past has broken up the
original albums, and only
the loose leaves reniain;
but these are of quite
unique interest, being
within a few years of the
earliest known Stamm-
buch. These pages are
from the albums of Sigis-
niund. Baron Wolcken-
stein, and of Jan Van
Gameren. To give typi-
cal examples of inscrip-
tions, we find on one
page above the arms
U/>i messis, ibi sicut Semen
Generoso Dno. Sigismundo

TURKISH ORNAMENT FROM THE SAME ALBU.M

the motto : Constauter.
Si/ia/is ; and below :
Baroiii in Wolckenstein e-" Rodetiegg, Consiantiniis,
Georgius et A'udolphus, fratres germani, Barones in
Foliveijsser d^ Weijiserthal, perpetuae amicitiae et
suavissimae familiaritatis caff. Fataviis, vii,Aprilis,
Anno ijji. On another is the brief inscription :
Domino Joanni Gameren, Contetnporaneo sua inleger-
rimo, in perpetuum necessitudinis vinculum scribebat
[oannes van den Kieboom,
.Indouerp. Anno ijjr, 28.
Decemb.

These two inscriptions are
typical of the earlier and more
conventional class of Stamm-
buch, but another album in
the Art Library is one of a
later type, in which the her-
aldic shields have given place
in many cases to a purely
pictorial drawing, still with
name and motto attached.
The album in question be-
longed to Wolfgang Leut-
kauff, and contains dates
from 1616 to 1632. It is
of peculiar interest and value
in that the leaves afford ex-
amples of every manner of
marbled and coloured paper
of the period. Wolfgang
LeutkaulT appears to have
been a considerable traveller
for those early days, and from
internal evidence we find that
he lived at Constantinople for

233

The Connoisseur

the greater part of the years 1616 to 1624. In 1623
he seems to have made a grand tour of Italy, visiting
Verona, Venice, I'arma, Bologna, Florence, Rome,and
other places, and bringing away from each a record
in his album of friendships made or renewed. The
wording of the entries is of the same type as in the
earlier books, and is usually in Latin, though some-
times in German or Italian. One entry, for instance, is
made at Rome : Spes mea Cristiis. — Ad perpetuam sui
memoriam fcripsi ego infra scriplus carissimo siio aiiiico
Leutkauff, Roniae, 15 Aprilis, 1623, Jacobus Groll.
Another is headed with the distich, Omnia si perdas
/ama?n servare menienio, Qua seme/ aiiiissa, postea
nittlus eris, and below the arms bears the inscription :
Hoe memoriae ergo scribebat Jo : Rainardus a Schaiven-
burg Dno. Wolffgatigo Leutkauff in ilinere Constanti-
nopolitano, Adrianopoli in Tracia, die 26 Junii Anno
1624.

The mottoes are of a similar nature to those in the
earlier book: Per dura et ardua : Si tiou Arte,/orte
quondam Marie, and so on. Texts also occur fre-
quently, a favourite one being. In hoc signo glorior, or,
Absi/ autem a 7iobis gloriari nisi in cruce et resurrectione
doini. nost. Jesu Chrisli.

One of the most interesting pages in the book faces
a coat of arms dated at Constantinople, 161 6, and
represents an Eastern fair. The original is a piece of
bright colouring, with a vivid green on the centre
swing, and costumes of blue and vermilion. On the

left you see the walls of a town with mosque and
minaret, and outside in the open is every kind of
swing, merry-go-round, and ocean wave — everything
that is symbolic of 'Appy 'Ampstead on a modern Bank
Holiday, even to the "ladies' tormentors" in the fore-
ground. Surely there is nothing new beneath the sun.

The next illustration shows a good example of
Turkish costume of the period, and a typical page
containing a coloured coat of arms with a motto
and inscription, written at Constantinople in 16 19.
Another is a pleasing example of Turkish script and
ornament, the original being beautifully illuminated
in blue, red, and gold. The last, dated Vienna,
1632, is a neat piece of design, though a little
amateurish in execution, and shows a typical example
of coloured paper, extremely simple, and looking
almost as though the effect had been produced by
the impression of natural flowers. On many of the
|)ages is a cross, and the sad note, Requiescat in
Pace, written by the owner when he heard of the
death of an old friend.

These books fretjuently appear in the market,
especially in the catalogues of German booksellers,
and are always a pleasing acquisition. There is a
large collection of them in the manuscript depart-
ment of the British Museum. For history, costume,
design, and heraldry they are of value and interest,
and above all they are instinct with that personal
element that is wanting in the printed book.

bo.nisrE vias -xx

AS DLNVONSTRA

f -J

>-- -:-

- -r*'.

FROM THE ALBUM AMICOKL'M OF \V. LEUTKAUFF
(SHOWINO PATTERNED PAPER)

234

I. A TOII.HTTH 1)1-; vi-;\us

KSC.KAVI-I) HY J. A. I.'rvEI I.LK
Al-TKK J. B. HUKT

Some Notes on a Collection of Old Oak Furniture
By Christopher W. Hughes

The Cotswolds, once the abode of rich
woolstaplers and leather merchants, now a poor
agricultural district, have
been the home of much
of England's best oak
furniture ; but the mi-
gration of the labourers
to the towns, the de-
pression of the last few
years in farming dis-
tricts, the consequent
break up of many old
homes, and, above all,
the rage for collecting
old oak, have left com-
paratively little good
furniture in the cottages.
I'hose who know the
Cotswolds will remem-
ber how many splendid
mansions are now cot-
tages, and many inter-
esting fireplaces and
panelled rooms may be
seen in the dwellings of
labourers.

These illustrations are
of pieces collected in
the district during the
last few years. The
first is an oak stool ; it
has three carved panels.
On those shown in the

No. 1. — OAK STOOl. wmi CARVIU)
CAST-IRON PICTURE OF ST.

photogra])h are carved bowls ; one contains pome-
granates, the other mythical monsters. The third is a

plain "linen" panel. The
old man from whom it
was purchased believed
the panels to be from
pew-ends out of Ful-
brook Church, Oxon.

In the same photo-
graph is a curious
cast-iron picture, repre-
senting St. John. The
picture and frame are
separate. There is no-
thing to indicate the
date ; it was bought at
an auction in Burford,
and il is impossible to
discover its history, but
it gives one the idea of
being foreign.

The churches have
been terribly ransacked,
and it is not uncommon
to find com munion tables
used for dining upon,
and it is the exception
to find coffin-stools any-
where but in private
houses. The church-
wardens must have
been singularly unscru-
[)ulous some years back.

PANELS
JOHN

'■7,1

TJie Connoisseur

11. — OLU CHURCH CHEST

Nos. ii. and iii. are without doubt from churches.
No. ii. is very interesting, and it comes from a
village on the borders of Oxon. and Warwick. Tlic
old lady from whom it was purchased knew it to
have been in their family for many years. The top,
panels and centre are the oldest parts. I am not
sure about the end strips, and the bottom is Jacobean,
evidently inserted when the old part was broken
away. I had to add a piece in place of the lock,
which was gone. The oldest part appears to be
fifteenth century.

No. iii. is an elm chest of good and bold design ;
it has a curved keyhole. The date would be, I
think, late sixteenth century.

The next chest (No. iv.) is a fine example of
Jacobean coffer, 4 ft. 6 in. by 4 ft. 4 in. This was
a lucky purchase at an auction, when it passed un-
noticed beneath heaps of other furniture, and sold
for fifty shillings.

The last is a gate-leg table from Forest Hill, near
Oxford, bought at a farmhouse sale. I like to
imagine Milton and his young wife, Mary Powell,
who were married there, dining at it. This, though
it requires a strong imagination, is just possible.
How charaiing the old villages must have been
before the advent of corrugated iron, blue slate, and,
within, bamboo ! Happily the Cotswolds have been
kept free, for lack of a railway, of one horror— />., red

No. III. — LATE SIXTEENTH CE.NTURV CHEST

238

Collection of Old Oak F/iniitiire

No. IV. — JACOBE.^N COFFER

liiick. Long may it stay away, so that the charm of
the- old grey cottages shall be preserved even if the
old furniture has gone into the hands of collectors.
They, after all, appreciate it much more than (for

example) the ignorant cottager who cut a foot off the
bottom of a magnificent grandfather clock-case be-
cause it was too tall for the room in which he wished
to have it.

No. V.

:;ate-i.eg table

239

Old Silver Plate in the Irish Historical Loan Collection at
the Dublin Exhibition By E. Alfred Jones

Though an unique opportunity has been
allowed to pass without collecting together a really
representative array of old Irish plate at the Inter-
national Exhibition at Dublin, many of the specimens
on view there are of the utmost value and interest to
lovers and collectors of old silver.

" Potato rings," as was to be expected in their place
of origin — Dublin — form one of the chief exhibits in
point of numbers, Colonel Claude Cane sending his

important collection of this exclusively Irish article
of domestic plate. This collection comprises fifteen
examples, all of which are different in size or design,
as will be seen from the illustration (No. i.). Some
are pierced with scroll and lattice work, with medal-
lions and festoons in repoussd ; others are pierced
and decorated with foliage, fruit, animals and birds,
while another is decorated with architectural pieces,
human figures, etc. It is a comprehensive display of

XO. 1.— COLONEL CLAUDE CANE's COLLECTION OF IRISH POTATO RINGS

240

Old Silver Plate

No. II. — IRISH C.WDLE CUP

FROM THE COLLECTION OF COLONEL C.\NE

these rings, made at Dublin by different silversmiths :
Charles Townsend, William Hughes, Stephen Walsh,
Geo. Hill, Joseph Jackson, Thos. Kinsela, John
Locker and Wni. Homer, between 1770 and the year
1781, when this short-lived fashion came to an end.
Mr. Henry King also sent two specimens, of different
designs, with his collection of plate (No. vii.). The
promoters of this section have done well in showing
three potato rings, which had been seized with forged
hall-marks, as a warning to purchasers of old plate.

A very interesting small old Irish caudle cup, 44 in.
high (No. ii.), was also exhibited by Colonel Cane.
The orthodo.x shape of the bowl, which is fixed with
two plain scroll handles, calls for no comment : but
the unusual repousse work, con-
sisting of monkeys in the act of
drinking and smoking, with a
drinking mug and a candlestick
before them, with squirrels in

trees, deserves more than ordi-
nary notice. Above the short

moulded foot, wliich has a cable

band, is a low row of upright

acanthus leaves. According to

the marks stamped on it, the cup

was wrought, about 1690, by

Caleb Webb, of Cork. It is to

be regretted that the superb

caudle cup and cover, made at

Coik about the same date by

the Flemish immigrant, Charles

IJckegle, in Mr. C. J. Jackson's

collection, was not exhibited at

the same time, and thus afford

the throngs of Irish visitors an

opportunity of seeing, if not
appreciating, the excellence
of some of the Cork silver-
smiths" work. True, the
chance of examining
another highly important
piece of Cork plate occurs
in the celebrated silver
mace of the Cork Guilds,
from the South Kensing-
ton Museum, which was
fashioned in the reign of
William III. by Robert
Goble, with the assistance,
it is confidently supposed,
of the Fleming, Bekegle,
just mentioned.

The next piece of plate
— exhibited by Colonel
Hutcheson-Poe — is a large monteith bowl, 6s in.
high, of the usual type, with a fixed scalloped edge,
adorned withcupids' masks at intervals, and with two
stirrup-shaped handles attached to lions' masks. The
body is decorated with hollow flutings and a large
scrolled and scaled panel, engraved with the Santry
arms in the centre, and it rests on a low gadrooned
foot (No. iii.). It has the London date-letter for
1700, and the mark of the maker, Anthony Nelme,
who produced a good number of these bowls. The
main interest in this bowl lies in the fact that it
belonged to the last Lord Santry, and was frequently
used for punch in the orgies of the " Hell Fire Club,"
of which that peer was a prominent member. The

No. III.— MONTEITH BY ANTHONY NELME, I7OO

I-KOM THK COLLECTION OF COLONEL HV'TCHESON-POK

241

No. IV. FOUR MASSIVE SILVER CUPS, BELONGING TO THE CORPORATION OF DROCiilEDA

XO. V. — SO.ME PIECES OF SPANISH ECCLESIASTICAL PLATE, THE PROPERTY OF THE ARCHBISHOP OF TUAM,
AND TWO SEVENTEENTH CENTURY DUTCH ROSE-WATIR DISHES

242

J4o. VI. — CENTREPIECE AND CRUET STAND COMBINED. BY DAVID KING, I7U7-S, THE PROPERTY OF
MRS. L. HARRIS

No. VII. — .MR. HENRY KING'S COLLECTION OF PLATE

The Coii/ioisseii)'

ruins of the club
are still visible
on the Dublin
mountains, and
this actual bowl
is represented in
the portrait group
of members of
the club, now
in the National
Gallery in the
Irish capital.
The original sil-
ver corkscrew of
this club, fashion-
ed at Dublin,
has also been
sent to the Ex-
hibition. This
recalls the pres-
ence of a similar
monteith, belong
ing to Magdalen
College, Oxford,
in the well-known
picture, May
Morning:;, by Hol-
man Hunt. The
owner of this bowl also sent several other excellent
pieces of old domestic plate, mostly of the eighteenth
century.

Civic plate, exclusive of some maces exhibited, is
represented by the four massive silver cups, all of
Irish make, the property of the Corporation of
Drogheda (No. iv.). The earliest is the tall plain
cup on a baluster stem, lyi in. high, made in the
last half of the seventeenth century, with the curious
and unsuitable addition of a scrolled handle with
bead finial on the cover. The other three cups,
8i in. and 7};'; in. high, are of early eighteenth century
date, and of the ordinary bell-shape with harp-like
handles.

The Archbishop of Tuam has lent some most
interesting ecclesiastical plate of S|)anish work, dating
from the first half of the seventeenth century. It
comprises a silver-gilt chalice with a shallow bowl on
a high baluster stem with a circular moulded base,
decorated with enamelled bosses, 10^' in. high ; two
short, jug-shape cruets ; two dishes with similar
enamelled bosses ; and two candlesticks on slender
baluster stems, on tripod bases, cji in. high. They
are engraved with the arms of the Archbishopric of
Tuam. These vessels have an interesting history : they
belonged to an Irish ecclesia.stic who achieved some

No. VIII.— COP WITH DOMED COVER BY DAVID
FROM THE COLLECTION OF LORD CASTLETOWN

distinction, Mal-
achy 0'<,)ueely,
liurn in Tho-
niond, completed
his studies in
I'aris, and ap-
])ointed Arch-
bishop of Tuam
by I'ope Urban
Vni. In 1645
he became ad-
viser to General
Taafe, and was
captured by the
Scots near Sligo,
and put to death.
This plate was
stolen, but was,
happily, dis-
covered at Lis-
bon, where it was
purchased, and
presented to the
church of St.
Joseph, Bally-
glass, where it is
now preserved
(No. v.). The
two exhibited by Sir T.
J. Blumenthal at the

chalice is very like the

(jibson Carmichael and Mr.

Burlington Kine Arts Club in 1901, and the ewer is

not unlike one belonging to Mr. Percy Macquoid.

In the same illustration are two rose-water dishes,

embossed with flowers, Dutch work of the middle of

the seventeenth century.

A large and uncommon piece of plate, exhibited by
Mrs. L. Harris, is the silver centre-piece and cruet
stand combined (No. vi.). The tray is of octagonal
form, on four feet, with upright sides, pierced with a
.scroll ornament and a band of vertically-pierced work.
The octagonal boat-shape dish in the centre is sup-
ported on a frame, decorated with pierced foliage,
resting on four legs with satyrs' masks joined by
festoons. Four smaller baskets of the same shape
are fitted in small brackets at the sides of the tray,
and it contains no fewer than fourteen silver-mounted
bottles of various sizes. It was made at Dublin in
1796-97 by Robert Breading.

Mr. Henr)' King's collection of plate includes many
articles for domestic purposes, beginning with a plain
tankard with domed cover of the usual shape ; a large
salver on foot ; a nice pair of octagonal candlesticks
with baluster stems ; and an oval snuffer tray with a
single handle, all of which were made in 1707-8 by

244

COUNTESS Sl'lCNCHI-i
HY SIR JOSHUA REVNOI.nS
FROM THE COLLECTION AT CHATSWORTH
Bj kiiiil periiiissinn of His Griicc the Dtikc of Devonshire

Old Silver PI ah

the well-known Dublin silversmith, David King.
Then come two small plain mugs, dated 1730; and
a large plain bowl on foot, the latter by Thomas
Williamson, of Dublin, 1732. The collection includes
among other pieces of old Irish silver, illustrated on
No. vii., a good specimen of the plain cups with
high domed covers and harp-shape handles, which
was wrought by David King in 1716-17. It is very
like the cup of two years later by the same Dublin
silversmith, exhibited by Lord Castletown (No. viii.),
and the smaller one of the same date belonging to
Lord Castlemaine (No. ix.).

Though not of Irish make, two pieces of plate of
historical importance are shewn, namely, an octagon
silver jug, and two small tankards, of German work,
which were presented by the Irish Parliament to
Captain \V. Weldon in 1641.

The exigencies of space forbid more than a cursory

reference to many other choice examples of old plate,
as well as swords, snuff-bo.xes, and other Irish historical
relics, such as the silver collar and box conferred by
Queen Elizabeth on Maurice Roche, Mayor of Cork,
in 157 1 ; the Regalia of the Corporation of Skinner's
Alley, Dublin, consisting of a chair, mace, two-handled
silver cup and two swords : and the old silver mace,
of eighteenth century date, of the Irish House of
Commons.

Admirers of early Celtic metal work could study
the celebrated Lismore crosier of the twelfth century,
lent by the Duke of Devonshire, who also sent the
famous Book of Lismore, written about the middle
of the fifteenth century.

I desire to express my thanks for the assistance
accorded to me by the Honorary Secretary of this
section. Colonel A. Courtenay, C.B. The photographs
were taken by Mr. W. Lawrence, of Dublin.

No. IX. CUP WITH DOMED COVER

FROM THE COLLECTION OF LORD CASTLEMAINE

247

Valentine Green and his WorR

Amongst tlic many niaj;nitkcnt mezzolints
produced during the latter half of the eighteenth
century few are more highly prized than those
executed by Valentine Green. They are, in fact,
regarded as amongst the best examples of the art of
mezzotint ever executed, his wonderful interpretations
of Reynolds's portraits of the grand dames of the
period being especially prized.

Valentine Green was born in Worcestershire in
1739, but the exact locality of his birthplace is un-
known. Both Halesowen, near ISirmingham, and
the little village of Salford, near Evesham, claim the
honour, but up to
the present the
question has never
been satisfactorily
decided. The son
of a dancing master,
he was, when about
fifteen years of age,
placed in the office
of a lawyer at
Eve.sham, where for
some time he ap-
plied himself with
no special diligence
to the study of law.

His artistic inclina-
tions, however,

eventually became

too strong to be

suppressed, and,

though much

against his father's

wish, he abandoned

the law and became

the pupil of a small

,line-engraver at

Worcester. During

ithis period he was sir joshua Reynolds, from t

By W. G. Menzies

taught the art ol mezzotint, soon acquiring a remark-
able skill with the scraper. Feeling that his chances
of success would be restricted in a provincial town,
he came to London in 1765, where he soon became
known as an engraver of great promise. In fact,
his engravings were considered worthy of inclusion
in the exhibitions at Spring Gardens held by " The
Society of Artists of Great Britain," of which society
he was elected a member in 1766.

Fortune did indeed smile on Green at this period.
Rapidly becoming recognised as one of the greatest
engravers of the period, we find him in 176S an

exhibitor at the first
exhibition of the
Royal Academy,
which had been
lOunded by Sir
Joshua Reynolds
and others who had
ceased to contribute
to the exhibitions
of " The Society of
.■\rtists of Great
Britain, " owing to
the quarrels and
dissensions which
distinguished its
management. Ben-
jamin West, who suc-
ceeded Reynolds
as President of the
Royal Academy,
had painted a large
canvas depicting the
return of Regulus
to Carthage, and
this Green made
the subject of his
plate for exhibition
at the newly-formed

HE MEZZOTINT BY VALENTINE GREEN
248

Valentine Green and his Work

institution in Pall Mall. Its success was immediate,
and it will ever rank as one of his finest efforts
with the scraper. ~~ ~

It might here be mentioned that in 1775 Green
was elected one of the six Associate Engravers of
the Royal Academy.

The Regulus plate was followed by a large number
of other plates after West, whilst the works of such
masters as Romney, Gainsborough and Cotes, as well
as Van Dyck, Rubens, and many of the early Italian
masters, were often made subjects for his plates.

When onlv thirty-four, Green became mezzotint
engraver to King George III., and in 1775 was
honoured with the appointment of engraver in
mezzotint to Charles Theodore, Elector Palatine.

By this time his success was assured, and few
engravers of his time could surpass him either in
excellence of work or popularity. His large prints,
after West, illustrating scenes in classical history,
though now^ somewhat neglected, were at this period
most keenly appreciated.

Like many another of his craft, Green was not
lacking in business enterprise. He saw the readiness
with which the portraits by Sir Joshua Reynolds lent
themselves to interpretation by the scraper, and com-
menced a series of full-length standing portraits after
Sir Joshua's paintings of some of the most beautiful
women of the period. The idea was excellent, and
that it proved a success is scarcely to be wondered at
when we learn that the published price of each plate
was only fifteen shillings, and even less if the whole
series was subscribed for.

Green had already engraved several plates after
works by Reynolds with considerable success, but
none could compare with the plates he now executed.
They were literally masterpieces, and included por-
traits of such famous beauties as Jane Countess of
Harrington, the Countess of Salisbury, and the Duchess
of Rutland, all of which now realise, when fine im-
pressions, sums ranging from ^200 to over ;^i,ooo.

Having been appointed in 1775 engraver to the
Elector Palatine of the Rhine, Green formulated
the bold idea of engraving the best pictures in the
Dusseldorf Gallery, but unfortunately it was not to be
attended with the success which characterised his earlier
enterprise. He obtained a patent from the Duke of
Bavaria in 1789, giving him the exclusive permission
to engrave and publish the plates, and in about six
years published no fewer than twenty-two prints. .\t
first everything pointed to the venture being a success,
but the French besieging the city in 179S, the castle
and gallery were destroyed, and with them the result
of many years' work and the expenditure of a large
sum of money on the part of Green.

This did not end (Jreen's troubles. Other under-
takings were ruined by the disturbances caused by the
French Revolution, and a greater part of the money
he had earned by nearly forty years' engraving was
thus lost.

In 1805 the British Institution was founded, and
Green was fortunate enough to secure the position of
Keeper, which post he occupied for about eight years.
He died on June 29th, 1813, in his 74th year.

One of the greatest engravers of his time, Green
engraved in about forty years nearly four hundred
plates, and when one considers his work as a whole,
it is then that the greatness of the man becomes
apparent. One is especially struck by its variety,
while its general excellence is also a distinguishing
feature. No matter whether one examines a portrait
after one of his contemporaries or a plate after
some Italian master, the same masterly execution
is evident.

Like so many of his contemporaries. Green found
his inspiration in the works of Reynolds, but a
collector of prints will find that the works of Van
Dyck, Rubens, and many other old masters were
also made the subject of his skill. His plates after
Reynolds, more especially the full-length female
portraits, are those most keenly sought for at present,
and the majority are rapidly becoming forbidden
game to the ordinary collector.

In 1780 he engraved the portrait of Afary Isabella
Duchess of Rutland, from the picture painted by
Pvcynolds when a guest of the Duke of Rutland at
Belvoir, which perished in the disastrous fire in 1816.
Reynolds's wonderful canvas is gone, but we still have
Green's superb mezzotint, in which the masterly brush-
work of Sir Joshua lives again, and which is now so
highly esteemed that a fine impression has realised
the remarkable sum of one thousand guineas. Lady
Betty Delme and Children is another highly-prized
print by (ireen, after Reynolds, whilst another is
that charming group of the Ladies Jl'aldegrave, the
three beautiful grand-nieces of Horace Walpole. For
the first over ;^95o has been given, whilst the other
has realised nearly j{^6oo. In fact, Green's Reynolds
prints make a truly wonderful gallery. Amongst them
we find, in addition to tho.se already mentioned, por-
traits of the ill-fated Countess of Salisbury, Viscountess
Toivnshend, Countess Talbot, and Lady Jane Halliday,
whilst the male portraits include those of Sir Joshua
Reynolds, alter the picture by himself at the Royal
Academy, Lord Dalkeith, and the Duke of Bedford,
with Lords Henry and William Russell, and Miss
Vernon.

Of his portraits after other masters his portrait of
Lord Nelson, after Abbott, is held in considerable

249

The CoHNoisseiir

esteem, as, too, are liis plates of Richard Cumher-
tand and Mrs. Va/ts, both after Romney, certain of
his \'an Dyck portraits, George U'as/iingion, after
Trumball, and Garrick, after Gainsborough.

His historical subjects, after West, include The

Stoning of Stephen, Hannibal vowing eternal hatred
to the Romans, and Mark Antony's Oration on the
Death of Ccesar, whilst his plates after other masters
include subjects after Domenichino, Murillo, and the
(Jaracci.

List oi thk Principal Mezzotints hy Valentine Green sold hv Alction lyoi 1907.

Title.

AkII:,!.

D.ML.

RE.\IAkKa.

Price.

Ablwn, Samuel Francis

Ablxjtt

1906

m. 1st St.

Air-Pump, The

Wright

1902

m. 1st St.

Air-Pump, The

Wright

1907

m. p. b. 1.

Aiicnmi, Countess of

Falconet

1006

m. p. b. 1.

Aylesford, Countess of

Reynolds

1901

m. 2nd St.

•Aylesford, Countess of

Reynolds

1905

m. 2nd St.

462

Aylesford, Countess of

Reynolds

1905

m. scratched letters

225

Bedford, Krancis Duke of

Reynolds

I90I

Bedford Kamily, The

Reynolds

1906

m. 1st St.

Blackheath Golfers

Abliott

1902

tBr.adshaw, Master, and Sisters

Wright

1903

m. 1st St.

Bridport, Lord

Abliott

1902

m. ]). b. 1.

British Naval Victors

Ablxjtt

iyo6

coloured

Campbell, Miss Sarah

Reynolds

1907

m. p. liefore name of personage,
name of artist, etc., in etched letters

410

Campbell, Miss Sarah

Reynolds

1904

m. 1st St.

204

Campbell, Miss Sarah

Reynolds

1 90 1

m. slightly damaged

190

Campbell, Miss Sarah

Reynolds

1907

m. 2nd slate

Compton, Lady E

Ueynolds

1905

m. 1st St.

6C9

JCompton, Lady E

Reynolds

1905

ni. 1st state, etched letters

52s

Compton, Lady E

RL-ynolds

1903

m. 2nd St.

Cosway, Mrs.

.M. Cosway

1901

m. 1st St.

273

Cosway, Mrs.

R. Cosway

1 901

Cumberland, Duchess of

Gainstorough .

1903

m. 1st St.

" Cynthia " (The Duchess of Devonshire) ...

M. Cosway

lOOI

■3

Danby, Henry Earl of

Van Dyck

1905

m. 1st SI. b. 1.

Delmc', Lady Betty, and Children

Reynolds

I90I

m. 1st St.

966

Delme, Lady Betty, and Children

Reynolds

1902

m. 2nd St.

183

Devonshire, Duchess of

Reynolds

1903

m. 1st St.

262

Devonshire, Duchess of

Reynolds

1902

m. 2nd St.

194

Education .

Child of Sorrow ... I

Paye

1907

m. pair

Fordyce, Henrietta

A. Kauffnian ...

1902

m. proof

Garrick, David

Gainsborough ...

■903

m. 1st St.

(larrick, David

Gainsborough ...

1906

m. e. I. p.

Georgiana Duchess of Devonshire ...

M. Cosway

1901

m. 1st St., wide margin

Georgiana Duchess of Devonshire ...

^L Cosway

1 901

m. 2nd St.

Green, Valentine

Abbott

1906

Green, General

Peel

1902

m. 1st St.

Green, Mr.s., and Child

Falconet

1903

m. 1st St.

Gulston, Joseph and John

Coles

1906

Gwyn, Eleanor

Lely

1906

Halliday, Lady Jane

Reynolds

I90I

in. 1st St.

472

Hallid.ay, Lady Jane

Reynolds

1907

m. p. before name of personage,
name of artist, etc., in etched letters

S20

Harrington, Countess of

Reynolds

1901

m. 1st St.

210

§Harrington, Countess of

Reynolds

1905

m. 1st St.

682

Harrington, Countess of

Reynolds

'903 ,

ni. 3rtl >t.

Sold in 1 90 1 for 6o guineas.

Purchased by the owner for 217 guineas a few years ago.

t Sometimes catalogued as the Wright Family.
§ Purchased by the owner for 420 guineas.

° X

The ( omioisseur

Title.

Aktist.

Head of a Young Man

Herlwrt, Lady H

Hcrlwrt, Lady H

Ilerlierl, Lady II

Herbert, Lady H

Howard, Lady C. ...

Howard, Lady C.

Hunter, Catherine (afterwards Mrs. Clarke)

Jones, Miss Tolly

Laurens, Henry

Lunardi's Balloon

Manners, Lady Louisa

Nelson, Lord...

Newbatlle, Lord, and his Sister

Nuneham, Lady E. ...
Pamela and Phyloclea

Ray, Miss Martha ...

Reynolds as President

Rutland, Duchess of

Salisbury, Countess of

Stuart, Miss ...
Talbot, Countess

Talbot, Countess

Thelluson, Miss

Townshend, Viscountess

Venus

Waldegrave, The Ladies

Waldcgrave, The Ladies

Waldegrave, The Ladies

Washington, (Jeneral

Washington, General

Winter's Tale, A

Winter's Tale, A )

School, A )

The same pair

West, Elizabeth, and Child

Wharlon, Sir Thomas

Yates, Mrs., "Melpomene"
Yorke, Mrs. Agneta ...

Yorke, Mrs. Agneta

Vorke, Mrs. .Xgucla,..

Rembrandt

Reynolds

Caize
Copley ...
Byron . . .
Reynolds
Reynolds
Reynolds

Reynolds

Beechey...

Read

Falconet

Leiy ...

Dance ...

Reynolds

Willison

Reynolds

Falconet

Reynolds

Barry

Reynolds

Truniball

Trumball

Opie

Opie
Opie

Van Dyck
Romney
Cotes
Cotes ...
Cotes ...

Da IK.

Kkmakks.

Prick.

£.

s. d.

1902

m. 1st St.

19 6

1901

m. 1st St.

451

10 0

1901

m. 1st pub. St.

225

15 0

1905

m. 2nd St.

535

ID 0

1905

m. e. 1. p.

309

'5 0

1901

m. I St St.

462

0 0

1905

m. 2nd St.

10 0

1907

m. proof

S 0

1906

m. 1st St.

2 0

1906

ni.

.5 6

1907

10 0

1907

m. 1st St.

23"

10 0

1901

m. 1st St.

210

0 0

190-

m. p. before name of personage,
name of artist, etc., etched

670

0 0

1901

m. 2nd St.

S 0

1906

coloured

5 0

1907

19 6

1901

\\\. ])roof

6 0

1906

ni. e. 1. ]).

0 0

1906

0 0

■905

m. 1st St.

168

0 0

19CI

m. 1st St.

1050

0 0

1905

m. ist St.

892

10 0

1902

m. 1st St.

630

0 0

1906

m. 1st St.

712

0 0

1902

m. 2nd St.

■78

10 0

1901

m. 1st St.

472

10 0

1905

m. 1st St.

483

0 0

1902

m. ist St.

525

0 0

1902

m. 2nd St.

155

0 0

1906

m. ]). b. I.

0 0

1 901

220

10 0

1902

m. 2nd St.

7 0

1907

m. 1st St.

6 0

1901

m. 1st St.

472

10 0

1901

m. 1st St., etched letters

1-0

0 0

1902

m. 2nd St.

12 0

1907

coloured

19 6

1901

m. 1st St.

525

0 0

1904

ni. 1st St.

460

0 0

1902

m. 2nd St.

199

10 0

1906

m. 3rd St.

8 0

1905

coloured

loS

0 0

1907

IS 0

1902

m. e. 1. p.

0 0

1902

coloured, pair

0 0

1905

m. proofs

1 1 0

1907

in. proof

10 0

1905

m. 1st St. b. 1.

14 0

1906

ni. proof

I 0

1903

m. 1st St.

0 0

1907

m. small plate, p. b. 1.

5 0

1907

ni. large plate

10 0

252

/"■

THE VIRGIN AND CHILD,

ST. JOHN THE BAPTIST AND AN ANGEL

BY BOTTICELLI (National Gallery)

From a copy br Ulss Agaes Rupert Jones

The Indian Society of Oriental Art and the Messrs.
Larmour's Collections

A MOVE in the right direction has been
made by earnest advocates of art in the capital of
our great Eastern dependency. Calcutta boasts of
several collectors, and to some of them it occurred
a short while ago to form a society by the medium
of which views and opinions could be exchanged,
and collections of members could be inspected, to
mutual advantage and instruction, such collections

being by no means confined to any one special branch
of Oriental art, whether ancient or modern. But it
was at once recognised that to make such a society
of real use, it was necessary that it should have for
its objective a far wider range of usefulness than
forming itself merely into a collectors' club. Thus
from a comparatively small beginning came into
existence the Indian Society of Oriental Art, having

No. 1. — SOME CHOICE EXAMPLES OF BLUE AND WHITE

The Coiiiioissenr

No. II. — SOME CHOICE EXAMPLES OF BLUE AND WHITE

for its object the broad design of promoting and
encouraging Oriental art — ancient or modern — in all
its legitimate and varied branches. The society being
once formed, and its objects properly understood, it
rapidly gained the favour of many interested in its
objects, and promises to do good work in a country
in which it has often been said that art has vanished.
His Excellency Lord Kitchener, himself a keen col-
lector, is the President of the newly-formed society,
and takes great interest in its
work. Its Vice-President is
the Honble. Mr. Justice
Rampini, one of the Judges
of the High Court of Bengal,
and it has now some 75 or
80 members on its rolls.

Part of the scheme of the
founders of the society,
namely, that of holding meet-
ings at the houses of various
of its members, has been
carried out with conspicuous
success, and has had the effect
of attracting many members.
The first of these meetings, or

.No. ll.J. - I.MERIOR or BOWL I .S
CENTRE OF ABOVE

"At Homes," was held at the residence of the
brothers C. F. and F. A. Larmour, whose reputation
as collectors is not confined to India alone. At
one time the Messrs. Larmour were in possession
of a collection of stamps which had no rival in India,
and which was excelled by few collections in Europe.
While this collection was in process of building up,
the third person in the partnership, without assistance
or advice from the other two, was quietly and un-
ostentatiously getting together
for herself a choice little col-
lection of Chinese porcelain
in the days when this par-
ticular form of collecting was
not verv much patronised in
Calcutta, and was thus en-
abled to procure some fine
pieces, which subsequently
formed, when stamps waned,
the nucleus of the beautiful
collection with which the
names of the brothers (and
of the third partner) are now
associated. And it was this
collection to inspect which the

25^'

No. III.— SFECIMHNS (Jl- F.\M1LLE-VERTE

No. IV.— Sl'KCIMlC.NS Ol- 1 AMll.l.i; \ I'.lv I 1-:

257

The Connoisseur

members of the society were invited, and of which, by
the courtesy of Messrs. Larmour, we are enabled
to present illustrations of a few specimens. Due,
perhaps, to a feeling of modesty and a reluctance
to bepraise their own possessions, we have not been
favoured with any lengthy or detailed description of the
pieces illustrated, but we hope at some future date to be
in a position to present our readers with more minute
descriptions of this fine collection. Meanwhile, we learn
that on Nos. i. and ii. are represented a few choice
examples from the blue and white section of the col-
lection. A very curious and, we believe, unique piece
is the bowl in the centre of No. ii. The reliefs in this
bowl are highly glazed and decorated with dragons
and foliage alternately, while the ground of the out-
side is in dull glazed swastika work in a sort of Greek
key pattern. No. iirt. shows the interior of the bowl.
This bowl was found in a native state in Southern
India, where it had been buried underground for
years, and was discovered by accident. It is in
perfect preservation, the colour and glaze being in
splendid condition. Next to it on the left is another
interesting piece. The landscape is in brilliant blue.

touched here and there with green, the glaze being
dull. The ground is shagreen, with raised reliefs
highly glazed and beautifully decorated in blue.
Most of the pieces represented in Nos. i. and ii. are
of the Khang'he period. In Nos. iii. and iv. are
represented some fine specimens of the famille-verte
section of the collection, most of the pieces being of
the Khang'he period, with the exception of the two
arrow holders and the centre vase in No. iii., which
are Kienlung, as well as the two large jars which
flank the top row in No. iv. In No. v. are shown
a few specimens from the famille-rose section, and
some fine and valuable pieces are illustrated, notably
the two powdered rose bowls at each end of the top
row, and the reticulated plate in the centre, which
was once in the de Goncourt collection.

What we have illustrated will give some idea of
this very fine collection; but the Messrs. Larmour
do not confine themselves to one form of collecting
alone. Rare Oriental bronzes and brasses, pictures,
and Shefifield plate all combine to make up an inter-
esting and varied collection which it would take hours
to inspect and describe.

No. \'. — SPECIMENS OF FAMILLE-ROSE

258

A Violin
by Joseph
Guarnerius

rjp:

The violins of Joseph Guarnerius, by general con-
sent, rank next to those of Antonius Stradivarius.
The earlier writers on the violin refer to
Guarnerius as a pupil of Stradivarius ;
but this opinion is no longer held, being
unsupported by any direct evidence,

and a comparison of the works of these makers

leading to the conclusion that they derived their

inspiration from different sources.

Guarnerius commenced his career at about the

time when Stradivarius

had entered upon his

middle or golden

period. The capabili-
ties of the violin as

a solo instrument had

already begun to be

recognised, resulting

in a demand for

instruments of a more

powerful tone ; and the

success of Stradivarius

in producing violins

which combined power

with a beautiful quality

of tone was so com-
plete, that it seems

reasonable to conclude

that Guarnerius, con-
scious of his own

powers, and feeling

how hopeless would be

any atteni])ted rivalry

of Stradivarius, deter-
mined to mark out for

himself an L-ntirely

new line; and M r.

Hart, in his work on

the violin, says : " His

chief desire was evidently to make instruments
capable of producing a quality of tone hitherto
unknown, and that he succeeded is universally
acknowledged."

To accomplish this end he appears to have turned
to the earlier ISrescian makers, whose instruments
were noted for power and volume of tone, and to
have made these his starting point : and many of his
violins bear considerable resemblance to those of
Maggini, the best of the Brescian makers. The

finest instruments of

^ttu^

v/.^^

CERTIFICATE BY ALARD, VUILLAUME, CLAPISSON AND TURHRI

Guarnerius possess a
tone of remarkable
power, more demons-
t r a t i \- e than that
of Stradivarius, of
splendid sonority,
and contralto in
character; and with
such qualities it is
not surprising to find
that many of the lead-
ing violinists, with
I'aganini amongst the
number, have given the
jireference to this
maker.

The violin here illus-
trated is known as the
"Rode" Guarnerius,
having belonged to the
celebrated violinist
and composer of that
name : and was used
by him at all his con-
certs, although he also
possessed a fine in-
laid Stradivarius, illus-
trations of which are

259

The Connoisseur

THE " RODE " GUARNERIUS

given by Rev. H. R. Haweis in his work on OM
Violins. This beautiful and characteristic instrument
is dated 1737, and belongs to the middle period,
when the violins of (juarnerius were considered to
rival those of Stradivarius both in workmanship and
varnish. The style resembles somewhat that of
Maggini, and there is something pleasing in the
primitive simplicity of outline which characterises the
instruments of some of the earlier makers. There
is here no attem|)t to draw attention to the corners,
so skilfully elaborated by Aniati, and modified by
Stradivarius ; but the artist has left us to be satisfied,
as indeed we are, with simplicity of design and a just
proportion of the various parts. The workmanship
is of the first order, and the wood of the choicest
quality, the two pieces of which the back is composed
being remarkably handsome. The sound holes are
longer and less graceful than those of Stradivarius or
Amati, but are characteristic of the maker, and well
suited to the instrument. The tone is rich and

THl- "rode" GUARNERIUS

powerful, and of extjuisite quality, being entirely free
from false notes, a liability to which is a weak point
ill the instruments of this maker. The well-known
composer, Ferdinand David, in a letter referring to
this violin, says : " Nothing better can be wished for
as regards the strength, nobleness, and pliancy of its
tone, ajid you will with difficulty find one now that
would surpass it." Much of the varnish has been
lost by wear, but what remains is exceptionally fine,
being of that brilliant red so much admired by
connoisseurs. Underneath the red is a substratum
of limpid vellow. as shown at the edges where the
exterior varnish has been worn off. But no descrip-
tion can give an adequate idea of the finest specimens
of the Cremona varnish, which must be seen to
be fully appreciated. We pos.sess no information
regarding either its preparation or the mode of its
application, and it is remarkable that some of its
finer qualities are wanting in the works of the later
makers of the Cremona school.

260

Notes

The scroll is perhaps that part of the violin
which more than anv other tests the artistic
skill of the maker. The scrolls of Guarnerius
are very varied, some of the later ones being
almost grotesque in style. His best efforts,
however, fall but little short of those of Stradi-
varius, and the scroll of the Rode instrument,
though lacking the delicacy of Stradivarius, is
perfect in proportion and bold and massive in
style.

The " Signalement " which accompanies this
violin is of exceptional interest, the names by
which it is attested, viz., Alard, \"uillaume,
Clapisson, and Turbri, being those of the
leading experts of the day.

This beautiful example of one of the best
of the Cremona makers is in the collection of a
Yorkshire amateur.

A MAN TRAP

WHtELDON

WEDGWOOD

Miniatures
of Wedgwood
and Whieldon

The two miniatures which we reproduce are the
property of Mrs. Henrietta Whieldon, widow of John
Bull Whieldon, a grandson of Thomas
Whieldon, the eminent potter, with
whom Josiah Wedgwood was in
partnership. Wedgwood and ^Vhiel-
don became partners in 1752, and the partnership
lasted for five years, during which period, it is
believed, the miniatures were painted. The miniatures
have always up to recently been in the possession
of the Whieldon family at Hales Hall, near Cheadle,
Staffs.^the home of Thomas Whieldon after his
retirement. They are shortly to be sold at Messrs.
Puttick iV Simpson's rooms in Leicester Square.

" M.\N traps and spring guns set here " is a sign
that may still be seen in some parts of the country.
, ,, -^ ISui it is an idle threat, for man traps

A IVlan Irap •,, >

are now illegal (the offence being

punishable with penal servitude for five years), unless

laid in a dwelling house between sunri.se and sunset.

The photo illustrates a terrible specimen which has

doubtless caught more than one unlucky trespasser.

It is about 5 ft. 9 in. long, with a set of fourteen teeth

and two springs. A slight touch on the plate brings
the jaws together with a vicious snap, which makes the
blood run cold, and which would unduubtedlv break
one's leg. It now reposes in Leicester Museum.

The accompanying illustration is of a Bellarmine
jug, height oi in., of unusually slim and elegant pro-
portions. It differs in body from any
Bellarmine jug that I have seen, and
from any in our London museums,
being made of an exceedingly hard,
dense red clay. It is glazed with salt, and though

A Red

Bellarmine

Tug

RED BELLARMINE JUG

261

71ie Co)i)ioisscitr

the granular salt-glazing has darkened the appearance
of the red body, it yet remains positively and
definitely red, like a salt-glazed piece of Elers ware,
if such a thing were possible ! The salt-glazing on
such an unusual body has a startling and paradoxical
effect.

It appears to me likely to have been the work of
Dwight. It is certain that Dwight made Bellarmine
jugs ; for in 1866, some workmen, who were pulling
down some old buildings on the site of the Fulhani
works, came upon a number of them in a vaulted
chamber there. It is ecjually cerUiin that Dwit^hl
used a red body for some of his wares. On June 1 2th,
1684, he made application for a renewal of a patent
to make " fine stone gorges and vessels, never before
made in England, or elsewhere
. . . and spacious redd and darke
coloured porcellane or china
. . . and the mystery of the
Cologne wares." This patent
was granted for fourteen years.
There is nothing unusual in the
term " red porcellane " ; such
was the name given by the Elers
to their ware. To call it so was
but to follow the custom of the
time. For this red body Dwight
used Staffordshire clay, as is
known from his notebooks, and
he once made a geological survey
of Cheshire and Staffordshire.

After all, in ceramics, as in
every other branch of art, excel-
lence is the highest test. The

Staffordshire
Jug

elegance of the lines of this little Bellarmine is in its
favour ; the salt-glazing is well and evenly distributed.
The base of the jug is quite plain, and withcjul that
ribbing caused by having been cut with a wire, so
olten seen on foreign specimens. The body is so
den.se that, in spite of its small size, the jug weighs
2i lbs.

TiiK three photographs of a very interesting Stafford-
shire jug show clearly the picture. The colours are
bright and clear, and, as far as I can
ascertain, are correct with regard to
the uniforms. The two troopers wear
blue jackets and white breeches and black boots,
one having spurs. The one marked 2 has red,
edged with white, collar and
braiding across chest, and red
cuffs and band, round beaver
hat or helmet, and a white
feather. The other one marked
3 has white collar, cuffs, and
braiding, edged with blue, red
band on helmet, with red and
white feather. The drummer
bov, who is marked i, and who
is, unfortunately, not well shown
in photograpli, wears a yellow
coat with red collar and red
lapel, both with white braiding,
frilled shirt, black hat edged
with white, red feather, blue
breeches, and black gaiters. The
horse, "Mercury," is of a brown
colour with a white saddle cloth.

THREE VIEWS OF A STAFFORDSHIRE JUG
262

Notes

edged with blue, upon which are red circles or rosettes.
The landlady, or servant, wears a white mob cap tied
with red, a blue dress with white apron, and a red
scarf. The two birds are of a wonderful variety of
colour — pink, yellow, green, and tints of everything
that have been used in the colouring of the jug. The
three men on the sign have black hats, blue coats,
red waistcoats, white breeches and stockings.

I inserted a notice in " Notes and Queries,"
November 2nd, 1901, with reference to this Jug, to
try and find out if there is still a family of this name
which can claim relationship to the three soldiers,
but without result.

Elden is, no doubt, the town of that name in
Holland. The 7th Dragoons Regiment was made
Light Dragoons in 1 783, and given blue uniform,
and, in 1793, was in Flanders and took part in various
battles. Again, in the autumn of 1799 the 7th Light
L)ragoons were with the allied forces of Britain and
Russia, under the command of the Duke of York,
in the short campaign in Holland. At Wyck-op-Zee,
Lord Paget, with a single squadron of his regiment
(7th flight Dragoons), attacked a force six or seven
times greater, and re-took guns lost by the allies,
and also captured several of the enemy's.

It would be about this time that the brothers met :
the uniforms are of this date. James (No. 3) was
certainly in the above regiment, which in 1807 was
equipped as Hussars, and is now styled the 7th
(Queen's Own) Hussars, having been the " Queen's
Own" since 1727. Joseph and Samuel (see in-
scription) were in other regiments. Drummers wore
coats of the colours of the regimental facings — hence
the yellow.

It is probable that Samuel was in the 15th Light
Dragoons (now 15th Hussars), as in 1799 they were
engaged in the same battles, although the i8th
Dragoons (now i8th Hussars) had a part of their
regiment employed.

The words on the jug, starting from the light-liand
side of the handle, are as follows : —

" Fairwell my Loving Brothers
I'"or I hear the C.innons rattle
You see the French have form'd
The bloody line of battle
And when that you attack them
Your broad swords let them sway
.\nd I hope our British Soldiers
Will allways win the day"

Helow this —

Good Entertainment for
Man and Horse

Above the Inn Sign, below spout of jug^
" the three Jolly Boosers "

And on the left of handle —

Dissingtons, three loving
Brothers, mett in Holland,
At the three Jolly Boosers,
At Elden and drank
There Old Fathers
Health.

Joseph
Samuel
James

Mr. R. P. Price, of Shrewsbury, gave me the jug
in 1901.

The historical information has been obtained from
Major Archer's The British Army, Grant's British
Battles on Land ami Sea, and from the Royal United
Service Institution. — HERiiERT R. H. South.^m.

Th.\t modern master of mezzotint engraving, Mr.

H. Scott Bridgwater, has completed a magnificent

. ,, plate, after Sir Thomas Lawrence's

A New ' . . .

Mezzotint portrait of Miss Thornton, which is

After being published by Messrs. Yicars

Lawrence Brothers, the Bond Street art dealers.

Mr. Bridgwater's name is .sufficient guarantee for the

quality of the work, which in velvety richness of

texture bears comparison with the best mezzotints

of the golden days of this craft ; whilst nothing of

the master's spirit of brushwork has been lost in the

])rocess of translation into black and white. The size

of the plate, which is published at eight guineas, is

i7i in. by 14 in., and the edition is strictly limited

to three hundred artist's proofs. No other state will

be issued, and the plate is to be destroyed.

The group illustrated on p. 264 was bought a few

years ago at a country sale of household furniture,

where there was absolutelv nothing else
Old Dresden

Group

Punch Bowl

with ladle.

Crossed pipes below.

lo look at, and one wonders greatly
at the history which stranded it there.
There was quite a buzz of excitement when it was
knocked down for the extraordinary (!) price of

The subject is the marriage of Imos and Psyche.
Hera is slK)wn in a cloud with her peacock, and
l)earing a torch with which she has lighted the lire
on the hymeneal altar. 'I'he cupids and doves of
Aphrodite, now idle, are taking a back seat.

It stands fully 12 inches high without the stand,
and is cast in three jiieces, one of whicii has the
number of the mould (2449) impressed. As the
|)hotograph shows, the grouping and pose of the
figures is exceptionally line, and the modelling very

The Connoisseur

OLD DRESDEN GROUP

EROS AND PSYCHE

Our

Frontispiece

delicate, proving it to belong to one of the best
periods. It was in the owner's [jossession a con-
siderable time before he discovered the " cross
swords " mark, which is very faint^a discovery that
is always a great joy to a collector.

Amongst the many fine examples of tile work of
the masters of the Dutch school contained in the
famous Kann Collection, the charming
subject, Young Girl Asleep, by Jan
Vermeer, of Delft, whicli we reproduce
as a frontispiece to the present number, is especially
notable. Vermeer was a master of the art of render-
ing light, and of showing it entering and diffusing
itself in interiors, of revealing its slightest reflections
in the darkest corners. He achieved supreme
perfection in the treatment of small subjects, and
his works are now most eagerly coveted and highly
prized.

The example which we reproduce is one of the
rare examples of Vermeer of Delft, in which the
figures are relatively large in size. 'I'hanks to a
minute observation of the effect of light entering the

two rooms, and to a piquant combination of colours,
notably in the Persian rug of the foreground, the
artist has evolved a niiistirpirce of colour from this
simple motive.

The picture, which has iieen engraved by Courtry,
a[)peared in the Vermeer sale at Amsterdam in 1696,
and again in the dispersal of the John W. Wilson
collection in Paris in 1881.

The little circular metal boxes with conical tops,

known as "ciboria" or "custodes," are still to be

found in some numbers in the treasuries

" of l'"rench and German churches: but

Enamelled ^ , . , , , ,

^., . from their sacred use have seldom,
Ciborium

although occasionally, drifted into
museums or private collections. They were very
common during the twelfth, thirteenth, and fourteenth
centuries, but fell into desuetude after then, from a
change of ritual arrangements. They are generally
of the shape of our specimen, standing about 4 inches
in height, executed in Champleve enamel on a copper
base. The exam[)le we give is now in the Treasury
of Sens Cathedral, No. 78 in the long list of works
of art deposited there. It is of Limoges manufactuie
of the thirteenth century: the background is of blue,
with llowers of a deejjer blue, white, pink and yellow,
and the portions of the copper not covered by the
enamel are gilt.

=i I .<

CIBORIUM, SENS CATHEDRAL. FRANCE

264

§ i

s 1

o ^

Notes

The Virgin and Child, Si. John ihe Baptist, and

an Angel, which we reproduce in colours in the

present number, is from a copy of the

Our Plates painting by Botticelli in the National

(jallery by Miss Agnes Rupert Jones.

This picture appears to have originally belonged to
the celebrated architect Guiliano da San Gallo ; his
name, in the manner and orthography of the sixteenth
century, is written on the back — M. Guiliano da San
Gallo. In the last century it was the property of the
Abate Carlo Bianconi, Secretary of the Academy of
Arts at Milan, who died in 1802, when the picture
passed into the possession of Professor Gio. Giuseppe
Bianconi, of Bologna, from whom it was purchased
for the National Collection in October, 1S55.

Amongst the many pupils who studied the ait of
stipple engraving under Bartolozzi, few achieved
greater fame than Charles Knight, the engraver of
the plate Run A'way Lo-ie, after Stothard, reproduced
in the present number.

Many of the plates which bear Bartolozzi's signature
are, there is little doubt, the work of Knight, and the
famous Miss Farren plate published by Jeffreys, and
signed by Bartolozzi, undoubtedly contains a consider-
able amount of Knight's work. He engraved after
Bunbury, Kauffman, Wheatley, Stothard, Hoppner,
and Reynolds, to mention only a few, and for many
of his plates high prices are now realised. He was,
perhaps, most successful with the works of Stothard,
his plates after this master showing how well he
understood .Stothard's moods.

Thomas Stothard, the painter, who was born in
1755, at an early age made drawings for the To-wn
and Country Magazine, and becoming known was
soon employed on the British Poets, the Novelist's
Magazine, etc. While on this work he met Flaxman,
who became one of his closest friends. A student
of the Royal Academy in 1778, he became Associate
in 1785, and full Academician in 1794. It is said
that Stothard made over five thousand designs for
books, of which over three thousand were used. He
died in 1834. There are several examples of his
work at the National Gallery and South Kensington.

We also reproduce Sir Joshua Reynolds's portrait
of Countess Spencer from the collection at Chatsworth,
by permission of the Duke of Devonshire ; La Toilette
de Venus, by J. A. L'Rveille, after Huet ; and another
of our series of sporting prints, The Devmiport Mail
7uar Aniesbury, by R. Havell, after H. Aiken.

The Catalogue of Chinese Porcelain with Coats of

Arms we noticed in our November issue is a catalogue

of the Collection of Mr. Frederick Arthur

rmona Crisp, of Broadhurst, Godalming, and

the Coats of Arms are of British families

only. The book has been printed at Mr. Crisp's own

press, the Grove Park Press, 270, Walworth Road, S.E.

Books Received

;/'// ami Imaginalion of Benjamin Disraeli : Vignetles from
Oliver Goldsmith : The. Fancy and Humour of Charles
Lamh, by George Sampson, Is. 6d. net each ; Josiah
Wedftwood, by A^ H. Cluiicli, F.S.A. ; 7he Ruined Abbeys
of Yojkshire, by W. C. Lefroy, F.S.A., 2s. net each;
Of the Ivtilaliou of Christ, by Thomas a Kcmpis ; Caiu-
bridge, by J. W. Clark, M.A., es. nel each ; English
Society of the \%lh Cenluiy in Contemporary Art, by
Randall Davie.s, F.S.A. , 7s. nel. (Seeley & Co.)
Leonardo da Vinci, by Eilwaid McCuidy, M.A. ; Giorgione,
by Herbert Cook, M.A., F.S.A. ; Hans Memlinc, by W.
H. Tames Weale ; Jacopo Kobusti, called Tintoretto, by
I. B. Sloughton Holhorn, B.A., F.R.G.S., 3?. <d. net
each ; The Peter Pan Picture Book, by Alice B. Woodward
and Daniel O'Connor, 5s. net ; How to Collect Postage Stamps,
by Bertram T. K. Smith, Cs. net ; George Morland, by G. C.
Williamson, 7s. 6d. net ; Charles Turner, Ew^raver, by
Alfred Whitman, 315. 6d. net; Kuheus (Bell's Miniature
Series of Painters), by Hope Rea, Is. nel. (G. Bell & Sons.)

Every Child's Libiary : One for Wod and One for Lot: The
Old Old Myths of Greece and Home ; Sigurd, the Dragon-
Slayer : The Seven Chautpions of Christendom, by The.
Carlwright, is. 6d. net each. (W'. Meinemann.)

Greuze, by Alys Eyre Macklin, Is. 6d. nel : Botticelli, by
Henry B. Binns, is. 6d. nel ; Komney : Turner, by C. Lewis
Hind, IS. 6d. nel each; Knights of Art : Stories of the
Italian L'ain/eis, by Amy Sleedman, illustrated by Mary
Steeilman, 6s. nel. (T. C. & E. C. Jack.)

The Christ Face in Art, by James ISiirns, 6s. nel ; Pre-
ICaphaelite Brotherhood, by Ford Maddox Ihieffer, 7s. 6d. ;
Eugene Delacroix, by D. Bussy, 5s. nel ; Kemhandt, by
G. Baldwin Brown, M.A., 7s. 6d. net. (Duckworth & Co.)

The Bumhelloes, by M. and G. Sowerby, is. 61I. nel ; Childhood,
by M. and G. Soweiby, 3s. 6d. net ; ]Vomen of Florence,
by Isiiloro del Lungo, 7s. 6d. net. (Chatto & Windus.)

Venice: The Ccldcn Age. 2 vols., by Pompeo Molmenti,
translated by Horatio F. Brown, 21s. nel : I'HIo-m Lace, by
Elizabeth MincolT, Ph.D., and Margaret S. Marriage, M.A.,
illustrated by Ernest Marriage, 15s. net ; The Fres:oes in
the Sixtine Chapel, by Evelj'n Maich Phillips, 2s. 6d. net.
(John Murray.)

Constable, by Herlwrt W. Tompkins, 2s. 6d. net ; Trees in Nature,
Myth and Art, by ]. Ernest Phythian, 6s. (Melhuen & Co.)

The Nature Poems of George Meredith, illustrated bv Wm.
Hyde, 12s. net ; The Story of a Beautiful Duchess, by
Horace Bleackley, 21s. net. (A. Constable & Co.)

Gleanings after Time, by (j. L. Apperson, I.S.O. ; Cremonte
anil tiie later London Gardens, by Warwick Wroth,
6s. net each. (Elliot .Stock.)

The House Beautiful and Useful, by J. Elder-Duncan, 5s. net.
(Cassell & Co.)

Random Recollections of ILampstead, by G. W. Potter, 2s. 6d.
(Eyre & Spolliswoodc. )

The Keramic Gallery, by Wm. Chaffers, revised by H. M.
Cundall, I.S.O., F.S.A., 355. net. (Gibbings & Co.)

The Postage Stamps of Sarawak, by F. J. Melville, is. nel.
(Chas. Nissen & Co.)

lllnslrated History of Furniluie, by F'icd. Litchfield, 15s. nel.
(Truslove & Hanson, Lid.)

Napoleon and the Invasion of England, 1 vols., by A. M.
Broadley, 32s. nel. (John Lane.)

Old Spanish Masters, engraved by Timothy Cole and notes
by Charles H. C.aflin, 31s. 6d. nel. (Macmillan & Co.)

The Book op Fair Women, by Federigo Luigino of Udino,
6s. net. (T. W'erner Laurie.)

The Reliquary and Illustrated Archicologist, Oclolwr, edited
by Rev. T. Charles Cox, LL.D., F.S.A., 2s. 6<l. (Bemrose
& Sons.)

Art and Architecture, Jidy and August. (W. Brooks & Co.)

7'he In^oldsby Legends, illustrated by Arthur Kackliam.
A.R.W.S., 15^. net. (J. M. Dent & Co.)

The Collector's Manual, by N. Hudson Moore, 25s. nel.
(Chapman & Hall.)

Pictorial Post Cards of Banners of Knights of the Garter.
(Sutton, Sharpc &"Co.)

./ Liachelor Girl in Burmah, by G. \i. MilMn. 6s. nel.
(A. & C. Black.)

Enamelling, by Lewis F. Day, 7s. 6d. nel. (H. T. Balsford.)

:67

TJic Coinioisseur

Notes and Queries

\The Editor invilei the assistance of readers 0/ The
Connoisseur 7i'/w may be able to impart the informa-
tion required by Correspondents^

"Oliver Cromwell's Snuff-Box."
To the Editor (j/The Connoisseur.

Sir, — Seeing in the October Connoisseur that
you give an illustration of Oliver Cromwell's snuff-
box, I have had a photograph taken of one which
has been in the possession of my family for generations.
We derived it from George Betties, who was born
in the Kastern Counties in 1742. Until last year
we had no knowledge of Nath. Kinderly's personality,
but then heard that the anti-
quarians of Chester had searched
in likely and unlikely places for
some trace of his history, and
nothing was discovered relating
to him until this snuff-box. It
appears that he was the engineer
who altered the course of the
river Dee, and to him, his heirs
and assigns for ever, was granted
the sole right to all lands re-
claimed from the Dee. How a
man who played such an import-
ant part in the City of Chester
in 1732-40 could have disap-
peared in this manner is astonish-
ing I I have been told that he also
was concerned in draining the
Fens, and as the above George
Betties was descended from
Oliver Cromwell, "The Lord of the Fens," it points
to a possible clue in that direction. If you would
kindly make room for the enclosed photo and this
query, some of your readers might give the information
so much desired by the antiquarians of Chester.

The snufif-box is ivory, with silver hinges and silver

rim round the base with inscription. It is nearly

2* inches high. ,,, , ,, ,, ...

" (Miss) L. !•. W illi.\ms.

A Missing Raphael.
To t/ie Editor of The Connoisseur.
Dear Sir, — Could you by the aid of your Magazine
find out for me where Raphael's picture entitled
The Madonna 'with a Fink or Carnation is ?

In the Art Journal oi ]\i\y, i860, a small woodcut

NATH. KINDERl.Y S SNUFF-HO.X-

of it is given. At that time it was known to be in
a small private collection at Rome.

On consulting one of Bell's handbooks of art on
Raphael it is given as missing. I should be very
pleased if any of your contributors could inform me
of its whereabouts at the present time.
Yours faithfully,

1'rank G. Chai'I'LE.

Napoleon's Bee.
To the Editor of The Connoisseur.
Sir, — Although the bee wa.s seldom, perhaps
never, actually an object of adoration, it finds its
place in the symbolism, and amongst the super-
stitions, of all times and
countries.

Bees are found amongst the
hieroglyphs of Egypt, the symbol
of Royalty being, according to
Horapallo, a sceptre followed
by a bee, denoting the puoi)le
obedient to a king.

It may have been in the same
sense that it was adopted as a
badge by the ancient Kings of
France, as, for instance, by Chil-
deric, at the opening of whose
tomb in St. Denis over 300
golden bees, which had formed
the decoration of his robe, were
found, whilst it is known that
Louis XII. and Henri IV.
sometimes used these emblems
instead of fleursde-lys. Upon
this it is conjectured that the fleur-de-lys was a
corruption of the figure of a bee.

The great Napoleon, who, while changing the
established order of things, never missed an op-
portunity of .showing that he knew full well the
value attaching to the prestige of antiquity, replaced
the dishonoured fleur-de-lys by the imperial and
more ancient badge of the bee, and his coronation
robe, probably in imitation of that of Childeric, was
5«/// with golden bees. j a. Unett.

The Hookah Vase.
Miss Williams calls our attention to the fact that
we misread her handwriting in the note on the vase
which appeared in the last number. It should read
" Hookah," not " Hooket."

268

TJie Coinioisse/ir

ANSWERS TO CORRESPONDENTS

Announcement

"Bank Note. — 10,426 (Enfield).— Your note is of no
conimcicial value. It is simply a suggested form for Messrs.
Simpson, Chapman & Co., Whitby, who slarted business a
little before the year 1783. A full account of the bank, and
copies of the notes they issued, will be found in Maberly Phillips'
Hisloiy of Banks, Bankers, and Banking in North Durham
and North Yorkshire.

'Books. — "Master Humphrey's Clock," by
Charles Dickens, 1840.-9,959 (Shooters' Ilill).— If your
copy (if Master Jiuiiiphreys Cioek is in a single bound volume,
its value is not more than £\ or 30s. In the original parts
it would fetch £2 or ^^3.

Books on European Arms.— 9,987 (Budge Row).— Anns
and Armour, both English and European, are generally treated
in the same work, and we are afraid we cannot refer you to any
se])arate book on European arms. Any of the following works
would contain information on the subject : Boutell's Anns and
Armour, Demmin's Arms and Armour, Sir K. Binton's Book
of the S-u'ord, Egerton Castle's Schools and Masters of Fenee,
V. C. Laking's Cata/oxiie of the Armoury at Malta.

"Antiquities of England and Wales," by Francis
Urose, 1784, 7 vols— 9,895 (Cardill). — If your volumes
are in good binding, the complete work should realise about
£2 2S.

"Shakespeare's Works and Plays."— 9,896 (Ton-
bridge). — \'oui edition is not likely to be ol great value. We
must know the! dale to give a definite opinicjn.

Quide Book to (jiastonbury, 1810. g, Sob (Weston-
su|ier-Mare).- N'our book is only ol trilling value.

" II Pastor Hido del Cavalier Battista (iuarini,"
1659. — 9,908 (Dalslon). — The work you describe would letch
a very small stnn in a London saleroom.

Cruikshank's Engravings, 2 vols. 9,981 (.Midhurst).
— V'ou do not say whether the engravings in your volumes are
coloured. About /,'2 2s. would be an average value.

" Don Quixote," 1819, 4 vols., cajf. — 9,907 (Becken-
haiu). — Vmir co|iy is worth about £t, ;s.

Dickens' Works. — 9,997 (Melton Mowbray). — Eirst
editions of Dickens' works, unless in the original parts, are
not in great demand just now. Martin Chmzlewit, 1844, in
calf, and Domliey and .Son, 1848, half calf, would bring aliout
15s. each ; Nicholas Nickleby, 1S39, and Da-,nd Copferfield,
1850, half calf, 20s. e.ich ; and Our Mutual Friend, 1S65,
half cloth, and Oliver Twist, 1839, cloth, ics. 6d. each. With
regard to the other books : Thackeray's Newcomcs, 1854, 2 vols.,
half calf, is worth about 2ls., and Anthony Trollope's Can you
Forgive Her! 1S65, 2 vols., red cloth, 15s., while Boswell's
lohnson, 1839, being imperfect would not have greater value
than lOs.

Book of Designs, by Michael Angelo Pergolesi.—
9,0'ii (High Wycombe). — This is a valuable book, but we
must know the nuudier ol plates to give a definite opinion.

" Hunting Sketches," by S. Bowers.— 9,975 (Birch-
ington). — Your Iwok is only worth a few shillings.

" Cours D'Architecture," par Pierre Jean Mariette,
1750. — 9,906 (I'.ayswater). — This work has no great selling
value.

Engravings.—'' Sancho," after Beuf, by C.
Turner. — 9,881 (Kedlington).- — If a good impression, your
colour-print of Sir John Shellev's pointer should be worth ;^5
to £6.

" Mrs. Siddons and Son in the Tragedy of Isa=
bella." — 9,927 (Heiton-le-Hole). — Your |irint is not ot much
intert^t. ami its value does not exceed IDs. or 15s.

Etchings by Guido Reni. — 9,851 (Bromley). — The
etchings )'ou ile^cribe are of little value.

" Fox Hunting," by J. Seymour.— 9,981 (Bidduiph
Moor). — If your prints are old impressions, about 14 in. by
TO in., they are worth abotit £i each.

"The Expulsion," by F. K. Sexton, after J. Sant.
— 10,000 (.*\U)any, N.Y.). — This is one of the jirints (or which
there is no demand at the i>resent time, and its counuercial
\alue is, therefore, not more than a lew shillings.

" Oeorge IV." after Sir T. Lawrence, by W.
Finden. — 10,114 (Margate). — The value of your engraving
is not more than 8s. or los.

"Delia in Town" and "Delia in the Country,"
after (i. Morland, by J. R. Smith. 10,059 (Nmihead).

— It is im|-iossibIe i.o value your colouied piints without seeing
them. If they are fine old impressions, they might realise as
much as £200 under the hammer ; but there are many facsimile
reprodiictirtns about which are almost worthless.

" Fighting Temeraire," by Turner. — 10,098 (Ipswich).
— The value of this print is approximately between £\o and
;^I2, according to state. Ancient and Modern Italy is worth
roughly about £a, to £i,. The present is a very good liirie
for sale.

"The Neophyte," by Dore. — 10,057 (Old Cumnock). —
The value of your engraving does not exceed a few shillings.

" The Best Shelter," etc. — 10,300 (Lewisham). — Vour
prints aie worth only a few shiUiTigs apiece.

"London Cries." — 10,009 (Leeds). — The prints you
describe are not the valuable London Cries after Wheatley, and
they aie worth but a few shillings.

" Rebekah sees the Approach of Abraham," after
A. Elmore, by F. Holl.— 10,022 (East Twickenham). —
Engiavings til this class have very little \alue at the present
time, llieie being no deinaTnl loi them.

"Hibernia in a .lig," and " Un Minuet a L'Ang-
laise," after Adam Buck.— 10,050 (Sherborne).— Your
l^rinls, having the lilies cut off, are not worth more than from
15s. to 25s. each. Without this ilefect, their value would be
at least double this sum.

ObjetS d'Art. — Wax Miniature.— 9,947 (Truro).

— As a general ride, wax miniatuies do not fetch any l)ig sum.
They must have a s])ecial interest to make them valuable.

(iold Ring, etc. — 9,815 (Bury St. Edmunds). — If yon do
not wish to send the articles you mention lor a written valuation,
send us sketches and full ])articulars, and we will endeavour to
reply in these columns.

Cloisonne Jars. — 9,972 (Chestei). — As far as we can judge
from the photographs you send, we should say your Cloisonne-
jars were modern Japanese, of no collector's interest. The value
of a jiair of these modern jars is about 50s.

Bronze Bowl. — 9,933 (Brighton). — The bowl, inscribed
Wolverhamfton, and date 1671, is probably bronze. Though
not of very great monetary value, it should be of local interest.
You might offer it to Mr. \. C. C. Jahn, the Curator of the
Municipal Art Gallery and Museum, Wolverhampton. The
bowl is worth about £\ or ^^5.

Coffee Urn.— o,S68 (Bedford). — Wc cannot tell from a
lihotograjih whether your coffee urn is Sheffield plate or eleclro-
plated. Even if the former, however, its style proclaims it to
lie of late jieriod, and its value woulil not exceed £2. The
silver medal, mounted as a brooch, of which you send rulibing,
is a fairly common priv.ite medal, issued by the well-known
antiquary, I'eter Miilman. In bronze it is worth alxiul Is.,
in silver about 6s. Kirby Hall is in Essex.

Marble Statue. — 9,900 (Willesden). — From tile style, your
statue is apparently the work of an English scul]itor of the last
fifty years. It must be seen to be valued.

269

The Connoissettr

Bnamel 80x68.-9,968 (Mcrwatn). — Vuiir i)liot(^raph
shows alioul si\(y enamel Imjxcs, bul I licy art- not <if sufficient
size and detail to enable lis 10 judge inilividual values. Tliey
seem lo be mostly of Bilslon and fialleisea enamel, with vary-
ing values from 15s. to;^4 t^t £,f, each. The iwo plaques appear
to be I'ersian, of the 171I1 century, and, although damaged, they
should be worth from £\2 lo /■15.

PeWter. — 9,804 (He<lfoed I'ark). — The plates and
ili.slK^, oi MJiich you send rubbings, arc by makers of about the
year 1740. lioih Smith .nnd Withers were members of the
Pcwterers' Comjiany at alxiul that date, so thai your plates and
dishes cannot have any connection with James II., who died
fifiy years before. The giving of hallmarked pewler in ex-
change for contiscaled silver is a fable entirely without founda-
tion. See reply lo No. 5,594 (Ilighgate) in TllK Connoisskuk,
July, 1905. Your plales are worth about 5s. ench, and dishes
from IDS. to 30s. each, according to design. The best text
I»oks on pewter are Masse's Pc-u>/er Plate, 15s. (Bell) ; and
Bell's OI<i Pewter, los. 6d. (Newnes).

Pictures. — " The Holy Family, with St. John."

9,91 1 (Creiliton). — \'our painting is cvidcnlly not 1 lie work of
Sir Joshua Reynolds, and from the photograph you send wc
should think it of liule importance.

Spots on Drawing.— 9,986 (liirmingham).— The spots
appearing upon your water-colour drawing are undoubtedly
caused by dampness. Thai they have not appeared before is of
no consequence whatever. Under certain conditions, such spots
are likely to come upon quite modern drawings, ahhough they
are more often found upon drawings which have been mounted

an<l framed for many years. They are produced by certain
chemical changes, and considerable skill is necessary to remove
them. The best plan would be to send the drawing lo a good
restorer.

Kathhone. — 11. H. 1). (Malvern). — We do not know of any
book on Kalhlione, and we do not think one has been issueil.
lie w:i^ quiu- an unintporlanl painter.

Jan Van Eyck.— 9,922 (Ted<lington). — It is impissible 10
gauge llic value of your six paintings, even approximately, unless
we see lliem. If they are genuine, they are certainly of very
considerable interesl, and we should ailvise ytiu to send them.
Packed between boards, with plenty of tissue pa|)er Ixitween
e.ich, they should come quite safely by registered (msl, as they
are quite small.

Pottery and Porcelain. — Crown Derby

AlujCS. o.Sj; |I lil'iii. liii-'.i.l). — 'I'lir nuigs you describe are
i.vl'ii iiily old I lown Uciby. II pcrlcd, they should realise
jC^ or ^3 each al a London auction sale.

Chelsea Figure. — 9,863 (Churchdown). — Your figure of
Britannia and the lion is probably not Bristol, but Chelsea. If
so, and it is in good condition, il is worth about ;^I2 to £1$-

Chelsea Figures. — 9,849 (Gravesend). — If your figures of
a tailor and his wife aie genuine Chelsea, their value is alx)ut
£12.

Posset Cup.— 9,969 (Paddington). — In the photograph you
send your cup has all the appearance of a modern Italian or
Spanish j)icce of no value beyond a few shillings.

Minton Vase and Figures.— 9,941 (Market Harl»rough).
— Karly Minton of line quality is Ijeginning 10 be collected, but
it has not yet acquired a special value. Your vase and figures
arc worth, at present prices, about £<) or ^10.

HERALDIC CORRESPONDENCE

Conducted uv A. .Mkkkdyiii IIlkkk

1,218 (Newliaven, Conn.). — It is probably Alice, daughter
of Sir 1-Mward Apsley, of Thakeham, Co. Sussex, and widow
of Sir John Boteler, of Teston in Kent, who is referred to as
" Lady Fenwick, the wife of the first Governor of Connecticut,'"
and whose remains are said lo have been recovered at Old
Saybrook in 1870. Lady Bolder married secondly George
Kenwick (son of George Fenwick, of Brinkburn, Norlhumbcr-
land), whom she accomiianieil lo New England. Fenwick look
an active part in the colonization of Conneciicul, as representative
of the ])alentees, and, settling there with his wife and family
in 1639, became Governor of the Fort of Saybrook. Returning
to England after her death, he s.al in the Long Parliament
for Morpeth, and in 1648 was appointed one of the com-
missioners for the trial of Charles I., but refused lo act. He
married secondly, Catherine, eldest daughter of .Sir Arthur
Hesilrigg, and died 15 March, 1656/7.

1,225 (London). — Elizabeth, eldest surviving daughter of Sir
John Danvers, the regicide, appears to h.ave styled herself
Viscountess Purbeck after the death of her first husband, Robert
Villiers, whose right to the Viscountcy was the subject of much
controversy in the reign of Charles II. Sir John Villiers, elder
brother of George, Duke of Buckingham, was in 1619 created
Baron Stoke in the Co. of Bucks, and Viscount Purljeck of
the Co. Dorset. He married as bis first wife in 1617 Frances,
daughter of Sir Edward Coke, Lord Chief Justice of England ;
but in 1621 this lady eloped with Sir Robert Howard, and,
having given birth to a son in 1624, was fined and imprisoned.
The srm, Robert, married 23 Nov., 1648, Elizabeth, second
d.aughter and co-heiress of .Sir John Uanvers, one of the
regicides. .After the death of his father-in-law in 1655, Robert
Villiers assumed the name of Danvers, and, allhough he had
been associated with Lord Purbeck as son and heir apparent
in the sale of some lands, on the Viscount's death he disclaimed
ihe lillc, and, having Ix-en elected member for Westbury in
1659, the following year levied a fine of all his peerage dignities
wilh a view to their extinction. His death took pl.ace about
167s, and his widow, who married secondly Colonel John

Duvall. died in 1 709. The son and heir, Robert Villiers,
alias Danvers, assumed the title of Mscoiinl Purbeck, and his
petition was referred to the House of Lords, but it was opposed
because of the fine levied by his father, and also on .account
of the latler's illegitimacy. In 1678 a decision was given
against the validity of the fine, and as to illegitimacy it was
|iroposed ihat a bill should be brought in lo debar the claim
10 ihe title. No further slejis, however, seem to have been
taken, and no summons was ever issued lo him or his
descendants, though the titles continued to be assumed (or
claimed) until the extinction of this family in 1774.

1,232 (London). — There does not appear lo be any authori-
tative explanation on record for Napoleon's .adoption of the bees
as his emblem. The late William Ewarl, however, replying
to an inquiry on this subject in " Notes and (^)ucries," in 1S53,
asserted, on the personal authority of Augustin Thierry, the
celebrated hislorian, lliat "the small ornaments resembling bees
found in the tomb of Childeric, were only what in French are
called ' fleurons,' supposed to have been altacheil lo the harness
of his war-horse. Handfuls of them were found when the tomb
was opened at Tournay, and sent lo Louis XIV. They were
deposited on a green ground at Versailles. Napoleon, wishing
to have some regal emblem more ancient than Ihe (leur-de-lys,
adopted the fleurons as Ijees, and the green ground as the
original Merovingian colour."

1,239 (Guernsey). — The .-Vrms on the sketch are not English,
and probably represent those of a French Archbishop, who was also
a Primate or Legate, of Ihe seventeenth or eighteenth century.

1,245 (Middlesborough). — The drawing is a copy of the .Arms
borne by Sir Rolwrt Peel, whose baronetcy was created in iSoo ;
the description of them is : " Argent three sheaves of as many
arrows proper two and one b.inded gules, on a chief azure a Iwe
volant or." The CresI (omitted in the sketch) is : " A demi-lion
rampant argent gorged with a collar azure charged with three
bezants holding between the paws a shuttle or." Mollo: Industria.

270

JuiiuiNi; from all accounts, the new season which
commenced on October 3icl, and, following the ordinary

course, will close with
the last days of July
next year, promises to
be both busy and im-
portant. Several very
large libraries of ex-
ceptional interest are
likely to come into the
sale rooms, and should
they do so, some
more records will un-
questionably be broken, since they are known to contain
many books which are all the rage just now. These
collections may, as sometimes happens, be sold in the
interim by private contract, and therefore it is not wise
to be sure about anything ; but as matters at present
stand the outlook is distinctly encouraging from the
point of view of the well-to-do collector, whose loudest
complaint generally is that though money be plentiful
and ready, the opportunity of spending it on the books he
craves for is too frequently wanting. These consist for
the most part of Shakespeareana, .Americana, the early
English classics generally, and examples of antique
typography. All these classes, amongst others, have
lately "triumphed," as it is said, exceedingly, thanks to
the unlimited commissions which have arrived from the
United States, nor is there the slightest sign of their
being less esteemed in the future.

The ordinary bookman, however, fails to see much
" triumph," or, indeed, matter for congratulation at all,
in record prices which are themselves likely to be broken
at any moment, lie prefers to frequent the quieter paths
of enterprise, and is happy in the knowledge that books,
and good books too, have not been so chea]) for ten
years past as they are now. \'ery high prices lavished
in one department of literature have the effect of reducing
prices correspondingly in another. This has been
noticed for years past, and every sale which takes
place is, in one of its aspects, but an incident in a
never-ending game of see-saw, in which the player at
the lower level has an excellent chance of bettering
himself. It is hardly fair, perhaps, to select the first

sale of the season for such an illustrative |nirpose as
this, but, generally speaking, it is useful as emphasising
the position we have taken up. It was held by Messrs.
Puttick & Simpson on the 3rd and 4th of October,
and was essentially a collector's sale. A very little
money went a long way. Some 650 lots of books
realised less than .£500, and many of these books were
really good of their kind, though not in much favour
at the present time. Furthermore, this and several later
sales show the probable trend of events, and are worth
considering in that respect, provided the conclusions
derived from them are not pushed too far.

.Vt Messrs. Puttick & Simpson's a number of the
Historiial Monographs published by Goupil were dis-
posed of at prices which show a decline all through
the list. We do not speak now of copies upon Japanese
vellum, but of the ordinary issue ; each with its
coloured frontispiece and photogravure plates, in a
paper wrapper as published. This time last year Bishop
Mandell Creighton's Oiieeii Elizabeth, 1896, stood at
£^\i, 15s. ; this price has now fallen to £.\ i,and, speaking
generally, the rest of the biographies in this scries
show a proportionate decline, which, though not very
jjronounced, is yet noticeable. Sir John Skelton's Alary
Stuarl, 1898, now stands at 38s., and the same author's
Charles the I-'irst, 189S, at 21s. ; Dr. Gardiner's Olh'cr
Croiii'well, 1899, also stands at a guinea, and so do
Mr. Osmund Airy's Charles the Secoml, 1901 ; Mr. T.
F. Henderson's _/«///« /. ami VI., 1904; and Pierre de
Nolhac's Marie Antoinette la Rcine, 1898. A similar
copy of Mr. Andrew Lang's Prince Charles Edward,
1900, realised 23s. Many other books of which these
are representative will probably be found in a similar
])osition when we come across them. Their tendency
just now is to decline in value, and that is a pity, for
their artistic interest is great. On the other hand, rare
and curious specimens of binding are far more expensive
than they used to be. A small 8vo Bible, dated 1635,
in an old needlework binding worked in silver wire with
Tudor roses and birds, sold for .^18. \Vc are glad to
see that the cataloguer did not describe this as being
by " The Xuns of Little Gidding," for there is no
authority whatever for the belief that these ascetics
ever worked embroidered bindings. The Fancy, or True

The Cotiiioissciir

Sporlsmaifs Giiiik, 2 \ols., 8vo, 1826, coiilaining .1
coloured title and poiliaits of puyilisls, belongs to a
class of books about which no fears need be entertained.
The copy sold on this occasion realised ^5 1 5s. (calQ,
and would have brought more had not the question
arisen whether it should or should not contain a portrait
of Daniel Mcndoza. The better opinion is that one was
never issued, and it was certainly not to be found in
this copy. Other books of a desirable kind sold by
Messrs. Puttick & -Simpson about this time, though nut
at this sale, included Sir William Congreve's Rocket
System, n.d., oblong folio, £^ 7s. (old calQ, and Clayton's
Costumes of the First or Grenadier Regiment of Guards,
1854, oblong folio, ^15 los. (calO-

Messrs. Hodgson's sale of October Slli and three
following days was also of a miscellaneous character,
but the catalogue was much more extensive, and the
prices realised rather higher, all things considered. The
first seven series and eight volumes of the eighth series
of Notes and Queries, in all 92 vols, in 46, with inde.xes
to the eight series, together 54 vols., 1849-98, sold for
£ib (half calf) ; the " Edinburgh edition" of the Wavcrley
Novels, 48 vols., 1901-3, for £•; 15s. (buckram, uncut);
the " Pentland edition " of R. L. Stevenson's works,
20 vols., 1906-7, for £7 I2s. 6d. (buckram, uncut); and
the Philosophical Transactions of the Royal Society from
1852 to i8g6, not consecutive, in all 80 vols., for £ib
(half calf and publisher's cloth). Many other works
often met with, and therefore worthy of passing attention
if only for purposes of comparison, realised satisfactory
prices.

The following may be specially noted : J.es Metamor-
phoses (PO'iiide, illustrated by Eisen, Moreau, and others,
4 vols., Paris, 1767-71, 4to, ^15 10s. (old French calf) ;
Mrs. Frankau's fohn Raphael Smith, His Life a>id
Works, 50 plates in colours and monochrome, with
the 8vo volume of te.xt, 1902, ^13 (buckram, t.e.g.) ;
the same author's William and fames Ward, plates in
colours and monochrome, with the 8vo volume of te.\t,
1904,^8 los. (original cloth) ; Malton's View of Dublin,
1794, oblong folio, £^ 15s. (half calQ ; the first edition
of Lamb's Tales from Shakespeare, containing 20 plates
by Blake, 2 vols., small 8vo, 1807, £\<) (half calf); and
the same author's Last Essays of Elia, fust edition, 1833,
£■] los. (cloth, uncut). It may also be observed that
Pliny's Historia Naturalis, printed by Jenson at Venice
in 1472, folio, realised ;^i6 (old vellum).

Messrs. Hodgson's sale commencing on the i6th of
October contained a number of works on natural history,
e.g., a complete set of the Transactions of the London
Entomological Society from the commencement in 1836
to 1905, together 25 volumes in half calf and boards,
and 141 parts. This set, which was clean, and had all
the title pages, realised ^33. Gould's Trochilida;b vols.,
morocco extra, 1861 -87, sold for /40 ; The Birds of Asia,

7 vols , for /36 (half morocco, gilt) ; The Mammals of
Australia, 3 vols., 1863, for ^32 (morocco extra); The
/Hills of A'ew Guinea, 5 vols, in 25 ])arts, 1875-88, for
£2^ I OS. ; and Booth's Rough Notes on Jiirds, 3 vols.,
1881-87, atlas 4to, for ^iS los. (half morocco). A com-
plete set of The Folk-Lore Society's Publications in
60 vols., 8vo, 1878-1907, sold for ^25 los. (original
cloth), and a complete set of the Tudor Translations,
40 vols., 1892-1905, for £z^ (half buckram, uncut).
It may also be mentioned for future reference, if needs
be, that vols. I to 29 of the Library Edition of Ruskin's
Works, as edited by Cook and Wedderburn, 1903-6,
royal 8vo, realised ^20 los. ; Rowlandson's Loyal
Volunteers of London and Environs, with 87 jjlates
coloured and heightened with gold and silver, n.d.
( 1 799), £-° 'OS- (old russia) ; Temple's Wallace Collection
at Hertford House, 2 vols, in 10 parts, on Japanese paper,
1902, folio, £14 5s. ; the original subscription edition
of Lodge's Portraits, 4 vols., folio, 1821-34, ;^2i los.
(morocco extra) ; and Didot's Greek Classics, 63 vols.,
Paris, 1845-80, ;^2i (half morocco). This was in every
respect an excellent sale, really well catalogued, but
few mistakes being observable, and those of a trifling
character. The amount realised e.xcecded ;^ 1,600.

Few book sales take place during October, the season
really not commencing till the month following, and as
tliis year proved no exception to the rule, not much
jnore remains to be said. On October 9th, and seven
subsequent days, a collection of books belonging to
Mr. W. Mullin was sold at Liverpool by Messrs.
George R. Pollard & Co. The catalogue comprised
rather more than 2,000 lots, and the prices realised were,
on the whole, good, though the books themselves were ot
a useful rather than an unusual character. Other works
which may be specially noted as having sold during the
month of October at different rooms include Shelley's
(2ueen Mab, the first edition of 1813, with the subsequently
suppressed title-page and imprint on the last leaf, /loo
(original boards, uncut, with label) ; Keats's Lamia,
Isabella, and other Poems, 1820, ^40 (original boards,
uncut, with the half title); that very rare work known
as Aiken's Sporting Repository, 1S22, 8\o, containing
19 coloured plates, £i>o (half morocco, Gosden's copy) ;
Combe's Wars of Wellington, 1819, 4to, £b (original
half morocco) ; another copy of the Loyal Volunteers
(1799), £-i los. (old calf, rcbacked); the second volume
of Gay's Fables, 1738, 4to, £1 1 5s. (half calQ ; Smollett's
Peregrine Pickle, f^\■si cA\\\ox\, 4 vols., i~ii, £•, 5S- (old
calf) ; Ackermann's Colleges of Winchester, Eton, and
Westminster, 1816, royal 4to, ^28 los. (half morocco
extra); and a collection of 23 volumes ot J. H. Jesse's
various works, all belonging to the original editions, and
in cloth as issued, ^42. Many of these books were
sold by Messrs. Puttick & Simpson on October 24th
and following day.

272

Modern Ceramic
Art.

Some Phases of Ceramic Art

One of the most flagrant symptoms of our
insularity which strikes the Enghshman who has
spent some years on the Continent, long enough,

I. — PLAijUE, THE DANCING HOLRS.
SCULPTURED GLASS CAMEO ( IQJ IN.DIAM.).
BV GEO. WOODALL. PRICE £(X)0.

I mean, to see something of the home life of his
fellow-men either in France, Germany, or Austria, is
the indifference manifested by his average fellow-
countryman for ceramic art. We have, of course,
our great collectors, whose cabinets enshrine priceless
treasures which few other private collections in the
world can rival. But the collector inevitably tends
to specialise. He digs his own groove and stays
there. It may lead him to a state of mind in which
he is in some sort hypnotised in the belief that
his Crown Derby or his Dresden sums up all the
possibilities of the cunning of the potter's thumb,
or, involved beyond recall in the partizanship of long-
standing feud between the greater families rose and
verte, he may come to regard all contemporary

By a Dilettante.

development of ceramic art with the apathetic toler-
ance of a Rip van Winkle. The sympathies of the
connoisseur are in any case very rarely catholic, and
in the country the tastes of the collector of china
who is genuinely a connoisseur are usually hedged
by and confined to at most half a dozen historic
marks.

There are, as well, our public collections, the
Wallace Gallery and the South Kensington Museum,
for e.xample, which for their educational range are
hardly to be surpassed by any country in the world.
The average Englishman is content to gape at them
open-mouthed, more especially when the value of some
of the specimens is expressed in terms of hard cash.
But he regards them as treasures in which he himself
as a conscientious ratepayer can never afford to have
more than an academic interest. The hypnotic spell

J. PLA'Jl T, DIANA AND KNL1VMION

(17 J IN. DIAM.). BV GEO. WOODALL.

of the " mark " holds him. Unless a piece of china
is authoritatively hall marked by text-books and selt-
cducators, it has no meaning for him. It may be

The Coiii/oissni?'

3. PHYLLIS

(8 IN. BY 4J IN.).
BY GEO. WOODALL.

4. — PANEL, ' ' CALYPSO "
(12^^ IN. BY 9 IN.).
BY GEO. WOODALL

lir,,T~*--«- J.

5. — SIREN

(8J IN. BY 4J^ IN.).

BY GEO. WOODALL.

beautiful in lorm, ex-
quisite in colouring, and
perfect in techni(|uc and
finish, but until sonic
recognised or self-con-
stituted authority has
given it his imprimatur
of approval — by which
time it has ceased to be
" modern," and is con-
sequently invested with
the vague magnificence
popularly associated with
any object of art that is
no longer new — it does
not interest him.

The taboo is a matter
for regret if only be-
cause in no other
medium in which the

6. — PLAQUE, "aphrodite" {\},\ IN. DIAM.
BY GEO. WOODALL.

artist expresses himself
within the reach of the
average wayfaring man
are the ;i;.sthetic ideals
and prejudices of con-
temporary life more
faithfully and accurately
reflected than in china
or pottery. Take a Dres-
den china figure, and you
have a chapter in the
artistic taste of a genera-
tion and very often a good
many pages of social his-
tory crj'stallised in six
inches of modelled and
painted clay. There are
pieces of ^\'edgwood —
_they are becoming valu-
able to-day — which to

7. — DIASA

(7 IN. BY l\ IN.).

IIYGEO. WOODALL.

^. M.-\ONIFICh.S 1 Kt'L K tK'iilAL

ROSE HOWL (8 IN. BY loj IN.).

BY MESSRS. THOS. WERB & SONS, LD

(9J IN. BY 4J IN.).
BY GEO. WOODALL.

Modern Ceramic A rt

lo. — "SEA foam" (io in. by

6i IN.). BY GEO. WOODALL.

my mind, both in their strength
and in their Umitations, sum-
marise a good deal of the early
Victorian era. Similarly, the
story of the twentieth century is
now leaving its impress on the
clay on the potter's wheel — and
it will be, no doubt, curious and
tangled reading — but the pre-
judice of fetish-worship blinds us
alike to the meaning and artistic
value of it.

In the average British home one or two specimens
of, say, stereotyped Worcester, or of something
vaguely Oriental, stand for its occupants' appreciation
of ceramic art, endorsed perhaps by a few outrages
in majolica of sorts in the dining-room. Every-
thing else is crockery, acquired with a sole eye to
its utility. In very few houses on
the Continent whose tenants have
reached a certain well-defined grade
of education and culture does the
visitor fail to find a few specimehs
of beautiful or interesting china,
replicas often enough, but hardly ihc

11. — "THE ELGIN MARBLES,
WHICH TOOK THE LATE
MR. F. KNY NEARLY THREE
YEARS TO COMPLETE.
(SIZE ABOUT 14^ IN. BY 6 IN

12. AN INTERESTING PIECE OF GLASS,

DOUBLE GOBLET. 20 IN. BY sA IN.

less beautiful or interesting for
that, one or two quaint terra-
cottas or bits of earthenware, scat-
tered among the more cherished
household gods. Their owners
will confess without circumlo-
cution that they are modern, and
take delight unashamed in their
greater or less degree of artistic merit. They are
always significant in that they go to show that ceramic
art has entered into and become an integral factor
in domestic life. To take an example nearer home.
Go to one of the (Jerman or Austrian hostelries
which are opening their doors all over London
now. The probabilities are, that
looking all round the room, you
will see a bracket above the wains-
cote and on the shelf certain quaint
effective bits of pottery and earthen-
ware. They are not, as a rule,
of any very outstanding value, but

13. — "-THE chase" (Ol IN. BY
4! IN.). ■ BY GEO. WOODALL.

14. — " iris" (10} IN. BY
5* IN.). BY GEO. WOODALL.

15. — "THE captive" ((>} IN. BV
4] IN.). BY GEO, WOODALL.

The Cou)ioisscHr

16. — " GRIFFIN " CANDLKSTICK.
BLACK BASALT WARE (12 J IN.liY
6-IN.). JOSIAH WEDGWOOD.

17. DANCING HOURS. BLACK

BASALT WARE (.S IN. BV .Sj IN.).
JOSIAH WEDGWOOD.

iS. — SPHYN.X CANDLESTICK.
BLACK BASALT WARE (8j IN. BY
7 IN.). JOSIAH WEDGWOOD.

they .seem to attract the eye ami to interest the
brain. In a native caravanserai of similar stand-
ing the only decorative relief attempted would prob-
ably be some plated hardware ' goods, severely
utilitarian in purpose, and more or less ordinary in
design.

If in this country we have coin]>aratively few
opportunities of studying the phases and development
in contemporary ceramic art, the writer need plead
no justification for calling attention to the exhibition
now on view in the U'ahliss galleries at 88, O.xford
Street, because nowhere in London is a more
representative collection to be seen under one roof and
within four walls. That the galleries are an establish-
ment conducted on straightforward lines by their
])roprietors for commercial ends does not to his mind
detract either from their interest to the student or from
their artistic value to the collector. There is nothing
derogatory in visiting these galleries, not necessarily
as a customer, but as a visitor who accepts the

courteous invitation of Messrs. Wahliss to inspect
their showrooms as an exposition of ceramic art.
He will accept the invitation in excellent coni])any.
On the Continent, at any rate, they have outgrown
the foolish snobbishness which underlies any feeling
of self-consciousness of this kind. When last I visited
Messrs. Wahli.ss's famous galleries in Vienna, the
King of Greece had spent several hours there the
week before, and in the following week the King of
Roumania and Carmen Sylva paid them a long visit.
In fact, hardly a week passes without some member
of the Imperial House of Austria spending an hour
or so in looking over the latest additions to Messrs.
Wahliss's exhibits. Even the venerable Emperor
makes a point of paying them a visit at least once
a year. In Vienna, as in most other great cities
of the Continent, galleries of this kind are the
rendcz7!<nts of people interested in the art or craft
of whic h they are the most convenient repository. If
you are mindc il lo make a purchase, you have every

19. — WINE. BLACK BASALT WARE

(15 IN. BY 8 IN.). JOSIAH WEDGWOOD.

20. — SPHYNX CENTREPIECE. BLACK
BASALT WARE (17 IN. BY I jj IN.).
JOSIAH WEDGWOOD.

21. — " WATER." BLACK BASALT WARE
(15 IN. BY S IN.). JOSIAH WEDGWOOD.

Modern Ceraiitic A yf

23. " VESTAL LAMP. BLACK BASALT AND GOLD

(si IN. BY S IN.). JOSIAH WEDGWOOD.

23. — " BACCHANTE. BLACK BASALT WARE

(i;i IN. BY I4j in.). JOSIAH WEDGWOOD.

opportunity to do so : if you do not see anything
you feel moved to buy, no obligation expressed or
implied, not to speak of importunity, from the part of
the staff forces any of the goods exhibited upon you.
You are made welcome to inspect these galleries as
you would visit any other art collection or museum
to which you have the entree.

The value of the Wahliss galleries to everyone
interested in ceramic art is the remarkably representa-
tive and catholic character of the exhibition they
present, more especially, perhaps, in the sphere of
contemporary art. In the utinds of most people
the Wahliss galleries are, of course, associated with
Imperial Vienna porcelain and some fine specimens
of Dresden, and one or two other famous German
factories. These, no doubt, still furnish a prominent
feature of the exhibition, but by no means the

principal raison (fctre of the galleries. Within the
last few years their scope has been widened far
beyond that. A new spirit of enterprise and of
artistic ambition seems to have inspired the manage-
ment in enlarging its borders. When I first knew the
galleries British china and glass were entirely unre-
presented. But for the last two years they have
had the finest show of Crown Derb)', notably of
the work of Leroy, I have seen anywhere outside ol
the Crown Derby works themselves, and remarkably
fine collections of Wedgwood, Minton, Worcester,
and of other famous Briti.sh ware, every specimen
chosen with the discrimination and judgment of an
expert to illustrate the best characteristics of the
genre it represents. This year the hospitality of
the handsome galleries has again been extended to
include specimens of the finest work of pretty well
every country in Europe, which adds to the world's
store of ceramic wealth, and the interpretation of their
province has been liberal enough to include .some very

J4. — TRIPOD VASE.
BLACK BASALT AND
GOLD (9i IN. BY 6 IN.).
JOSIAH WEDGWOOD.

25. "ZODIAC VASE.

(l \\ IN. BY 6 IN.).
JOSIAH WEDGWOOD.

lb. — "DANCING HOURS.
(12 IN. BY -{ IN.).
JOSIAH WEDGWOOD.

The Connoisseur

strikinj; and interesting ex-
hibits of glass and statuary.
France, Germany, Hungary,
Hohemia, and Denmark
have all paid toll to the
great house in Oxford
Street, and it is therefore
hardly surprising that from
basement to attic the large

28. VASE WITH

COVER. FOND
BLEU DU ROI.
(5J IN. BY

4} in) bv
leroy. royal
crown derby.

1- . — CKOWN DERP.V
VASE. FOND VERT.
((> IN. BY l\ IN.)
BY LEROY.

five-Storeyed building is
full to overflowing, be-
cause, apart from objects
of artistic interest, it is,
of course, the business
of the management to
keep also a very large
stock of goods of prim-
arily utilitarian purposes,
though — and this, per-
haps, is where the col-
lector of ceramic art has the advantage
of his brother enthusiast — there is no
reason why even the most commonplace
article should be divorced from some
measure of artistic interest and signifi-
cance. Crockery, simply because it is
crockery — though, to judge from most
British households, the statement may
sound heretical — need not of necessity be all that
is ugly and banal. For a few pence it is possible to
buy a pannikin or a bowl, which for its beauty of form
and design is pleasant to the eye, or at any rate until
someone breaks it, and still subserve the purpose
for which it is designed no less efficiently than a
vessel which is a gratuitous eyesore.

But it seems to be the further ambition of the
management to make the ^\■ahliss galleries a place
where every notable product of contemporary ceramic
art is represented by well - chosen characteristic
specimens, so that anyone interested in any particular
make need only go as far as Oxford Street to study
and to satisfy his curiosity. If at the present moment
they have not yet achieved this ambition in its
entirety, the exhibition they have arranged this year
marks a long step towards it.

Where the embarrassment of riches is so great, it

would, of course, be impossible within the limits of
my allotted space to deal with every interesting
exhibit adequately. The catalogue raisoiini- of the
Wahliss galleries would make a substantial voIuihl-.
I shall therefore only draw attention to one or two
striking novelties of this year's exhibition, and refer
in passing to its more notable features. A visit to
the galleries themselves will alone give the reader a
just idea of the wealth of material they offer.

The contents of one section alone repay a visit,
for there Messrs. Wahliss display some truly magnifi-
cent specimens of glass, manufactured by Messrs.
Thomas Webb & Sons, of Stourbridge, the famous firm
of English glass-cutters, including the most repre.senta-
tive collection of glass .sculptures by George Woodall
which has ever been placed before the British public.
-Mr. Woodall is one of the few master craftsmen of
today who are al.so inspired by the aims and aspiration
of an artist, and consequently his
work, apart from the rarity of the
material in which he executes it,
has a value of its own. When one
remembers that the excjuisitely
clear-cut cameos on his vases and
his plaques, that every detail of
their rich ornamentation, are cut
out on a material of the brittleness
and intractability of glass, admira-
tion gives way to amazement.

A sheet of white
is annealed to one
of dark- — either
deep blue or choco-
late in tone — glass.
From this material
M r. W (, .. d a 1 1

29. — CROWN DERBY
VASE. FOND VERT.
(5J IN. BY jt IN.)
BY LEROY.

achieves his
wonderful
effects of
light a n tl
shade, of
soft 11 e r -
spective and
bold relief,
of rounded
limb, o f
polished

marble, or of gossamer
drapery, with astonishing
fidelity and resourceful-
ness. In his "Aphrodite,"
for example, the effect
of one limb of the
figure, floating lightly in

30.^ — CROWN
DERBY VASE.
FOND BLEU
DU KOI (7 IN.
BY 3 IN.).
BY LEROY.

31. PASTILLE BURNER.

BY C. HARRIS.

(5 IN. BY 2} IN.)

CROWN DERBY.

Modern Ceramic Art

32. — "DERBY DWARF
(6 IN. BY 4 IN.).
ROYAL CROWN DERBY.

33. .\ SPECIMEN OF MESSRS. MINTON S FAMOUS

"cameo" CHINA PLATES (9 IN. DIAM.).

34. "DERBY DWARF

(f)J IN. BY 3J IN.).
ROYAL CROWN DERBY.

exquisitely careless pose over a stormy sea, submerged
beneath the water, is expressed in a veiled trans-
parency such as would be impossible in any other
medium. Classic models have inspired all Mr.
Woodall's female figures, and the effect he achieves
of beautifully modelled forms, half revealed, half
hidden by diaphanous draperies (as, for example, in
his "Dancing Hours"), is always marvellous. In all
the details of his rich ornamentation his cunning
never seems to fail him. Note, for example, the
striking regularity of the scallop border and the
graceful lightness of the amorini in the "Aphrodite,"
or the life and movement in the amorini round the
" Diana and Endymion " plaque. When one bears
in mind that any morning the artist may come to
his studio to find the work of months, it may be
of a year and more, shattered by some flaw in the
glass, it is obvious that Woodall's work must always
be rare, and that the glass sculptors worthy of
mention in the same breath with him can be counted
on the fingers of one hand. .\ future generation may

well see a fight of millionaires for the possession
of a Woodall plaque.

The same case contains a crystal glass decanter,
figured with a frieze after the Elgin marbles, by Kny,
which in itself is worth a visit to the galleries to see.
The figures seen in reverse through the thickness
of the glass are as clearly cut and sharply defined
as those in relief. Even the microscopic figures
on the stopper are outlined and elaborated in every
detail. The piece is, of course, as unique of its
kind as was, for example, the famous Barbarini
vase. It will never be repeated, because it can never
be repeated. In the same case a rose-bowl of
rock crystal glass is a superb sjiecimen of the glass-
worker's art. Throughout the line collection of glass
in the galleries it is satisfactory to find that the
British glass-cutter still holds his own against all
comers.

Some interesting specimens of mediiuval Clerman
glass, very richly ornamented and emblazoned with
figures and coats of aruLs in strikingly rich colouriiii;

35. — "CRINOLINE group" (8J IN. BY
lOj IN.). ROYAL DRESDEN.

36. — THE EMPRESS ELISABETH
OF RUSSIA (9J IN. BY 9J IN.).
ROYAL DRESDEN.

3;. — "THE COUNTESS KOSSEL '
BY 10 IN.). ROYAL DRESDEN.

(Oj IN.

The Connoisseur

3S.— THE ROYAL HUNTSMAN "' (l
BY I5J IN.). ROYAL DRESDEN.

are quaint and unconventional,
and complete a very brilliant
show of gla.ss.

Another new departure has
also gone beyond the strict
borders of ceramic art, by the
inclusion of some very grace-
ful pieces of marble statuary
by well-known foreign artists.
" The Spirit of Gracefulness,"
designed to hold an electric
lamp, well expresses the
lightness and delicacy of the
ethereal figure, and the "Idyll"
is a very daring and effective
bit of modelling. In quite
another vein is the dainty
little face of the " Biedermeyer " era (which led
straight into "Q)uality Street"), as is the strong
and dramatic " Despair," by Professor Eberlein, of
Berlin. Musicians will welcome the striking portrait
busts of Mozart and Wagner against a rough-hewn
background. As a side show of modern plastic
art, the group of statuary in the Wahliss galleries
is not one of the least attractive features of this
year's exhibition.

Turning to ceramic art proper, a very interesting
novelty is a representative collection of very choice
specimens of Copenhagen china by the famous firm
of Messrs. Bing & Groendahl, which, now that the
Royal factory, though it still retains its name, has
passed into private hands, has given Denmark her
place in the foremost rank of countries cultivated
enough to appreciate the artistic possibilities of
porcelain. The firm made its name in London by
its life-size reproduction of Thorvaldsen's " Hebe,"
which stands in South Kensington Museum to-day,
but the firm has since emancipated itself from its

purely cla.ssical traditions by
adventuring into a series of
successful experiments which
at the \Vorld's Exhibition of
I goo set both technical ex-
perts and connoisseurs agog.
Even Japan now comes to
Copenhagen to glean wrinkles
and inspiration by the study
of the work of the Vesterbro
factory. The characteristic
of this china is that the sub-
ject is painted on the biscuit
before glazing, and con.se-
(juently blends with the glaze
with singularly soft and har-
monious effect. It lends the
atmosphere of the picture that soft, dreamy tone,
characteristic, even in midsummer, of Danish land-
scape, which softens and tones even the brightest
colours. This soft, delicate note is shown particu-
larly well in a vase by Petersen illustrating the
descent of a flight of wild ducks. The distant shore
has all the softness of a Whistler nocturne. It veils
the ripe, rich colours of the fruit on another graceful
vase and lends it a tone altogether peculiar to itself.
The Danish artists, by the way, pride themselves on
their careful study of animal life. Note, for example,
the wonderful drawing in the picture of the drake
descending in flight, and the splendid modelling of
the prowling jaguar. At times this careful study of
nature lends itself a quaint touch of the grote.sque,
as in the very human group quaintly entitled " Marital
Bliss." Copenhagen china is not exactly cheap to-
day, but in a few years' time pieces by artists like
Hegemann and Petersen will probably become very
valuable.

To my mind, howe\er, the clou of this year's

39.— " ARCADIA " (II IN.
BY 6 IN.). ROYAL DRESDEN.

40. — "THE TRAVELLING TAILOR

(9 IN. BY 7i IN.). ROYAL DRESDEN.

41. — "HARLEQUIN AND COLUMBINE
(6 IN. BY 7 IN.). ROYAL DRESDEN.

Modern Cera in ic .1 ri

42. — "fortuna" (14J1N.

BV9J1N.). ROYAL DRESDEN.

exhibition is the interest-
ing collection of terra-
cottas, reproductions of
wood -carvings taken for
the most part from the
cathedral in Schleswig,
dating from the
fifteenth century. They
are frankly sensational.
At first sight you say
they are of wood, and
can be nothing else
except wood carving.
In the curiously tearful
face of "The Madonna"
you note the dull, polished glaze characteristic of
very old wood carvings ; in the grim features of the

" Executioner," in the wadded
coat of his office, you can

clearly trace the grain of the

wood. Even when you hold

them in your hand you are

not much the wiser — they

might be made of anything

rather than a preparation of

clay. Equally effective are

the magnificent reproductions

of the bronze bust of Dante

and the striking statuette of

the Florentine lute-player. In

colouring, in tone, and in

execution, no reproductions

could be more faithful to the

originals. And when it is

stated that their price is only

a few shillings, it will he

agreed that their possibilities

are almost revolutionary.

They bring the rarest treasures

of the Renaissance within the

reach of the most modest

means in replicas that arc

close enough to

make even an

expert rub his

eyes.

On a some-
what larger

scale is the bust

of Niccol da

Uzzano, Dona-

tellii's master-

i)iece, which

, . , 4:. — MONKEY MANDOLINE

has stirred l,^^.^^ (5* ,n. high).
("lermanv to royal Dresden.

43. " THE L Alll\

ROYAL DRESDEN.

44. CLOCK UTIH lUE AK.MS Ol-

POLAND. AUGUSTUS II. AS MARS

(24 IN. ItV 12* IN.). UOYAI. DRESDEN.

46. — MONKEY BANDMASTER
(7 IN. high).
ROYAL DRESDEN.

10 IN.).

genuine enthusiasm. Look at
the lined face, the steady eyes,
the firm relentless mouth, and
you begin to understand the
brain and the statescraft which
some generations later made
a Macchiavelli possible. The
face haunts and dominates
you. The original itself could
hardly do more.

Glancing at the departments
for which the galleries have
already made their name, one
is struck by the number of
new and exquisite specimens
of Leroy's work in the col-
lection of Crown Derby. There
is reason to fear that this
great artist is in a state of
health which before very long
must lessen the output of his
work, and thereby enhance
the value of what he has
already given us. For his
painting he may have his
rivals ; as deco-
rator, I cannot
hel)) thinking
he staiuls alone.
One beautiful
little vase is a
gem of Leroy at
his best. Every
bead of the
rich elabora
t i o n of the
cover is nicely
proportioned

47. MONKl-.V DRUMMER

(c;} IN. HU.II).
ROYAL DRESDEN.

The Connoisseur

48. — " THE STORM." BY ELIAS PETERSEN
(original) (17 IN. BY loJiN.). COPENHAGEN.

and exquisitely finished. In the same case a pretty
pastille burner by Harris is in the artist's best manner.
British china is somewhat poor in figures, and there-
fore two good specimens of the famous Derby dwarfs
are also worth noting.

A very marked enlargement of the Wedgwood
collection no doubt reflects accurately the return of the
swing of the pendulum in favour of the ware of the

49. — "ON GUARD." BY E. HEGEMANN (ORIGINAL)
(15I IN. BY 9i IN.). COPENHAGEN.

famous Etrurian potteries. Among German collectors,
more particularly, there has of late been a very urgent
demand for Wedgwood vases of the early Victorian
era, when the white ground was bespotted with little
decorations in gold. In this style the collection shows
a very handsome example of a vase with Flaxman's
Dance of the Hours. To my mind these urns, pos-
sibly by force of association, alwavs savour somewhat

50. ~ WILD DLCKS.
(VASE, II IN. BY 6 IN.).
COPENHAGEN.

51. — A PUZZLING FIND
COPENHAGEN CHINA.

(13 IN. BY l6i IN.).

52. STILL LIFE

(VASE, lO IN. BY 7
COPENHAGEN.

I.N.).

Modern Ceramic Art

of meditations among the tombs, but the revival
of interest in the severely classical black basalt is
almost equally marked, and very satisfactory, as it
includes some of Flaxman's best work. A vase, sup-
ported by two Sphinxes and a Dolphin candlestick,
are particularly handsome specimens. Finally, the
beautiful jasper ware is strongly in evidence at present.

Of Minton a beautiful service of twelve dessert
plates with glass cameo centres and pierced borders
are a striking feature of a collection that includes
many characteristic pieces.

From the first these galleries have been notable for
their collection of Dresden, and this year its cases seem
even better filled than usual. For my own part, I

never tire of Dresden figures, because a deal of history
and of folk-lore has gone to their making. There are
always points one would like to have explained, and
no little difificulty in finding anyone competent to
assuage one's curiosity. For example, on what occasion
did the Empress Eli.sabeth of Russia (the lady is
usually mistaken for Frederick the Great) appear in
male garb, and why? Why is the famous Dresden
tailor depicted as riding a goat, with a couple of kids
in the tub he is carrying ? Because eighteenth-
century folk-lore always brackets a tailor and a goat,
I know. But why a goat ?

There are \ery few Dresden figures that have not a
story somewhere, if you only knew where to find it.

53. "haughty" (guillemot) (/i

COPENHAGEN CHINA.

IN. BY 3! IN.).

54. — "JOHN" (O.t IN. BY 9i IN.
COPENHAGEN CHINA.

55. "precocity" (3J IN. BY },\ IN.).

COPENHAGEN CHINA.

56. "MARITAL bliss" (ij IN. BY 4A IN.).

copfnha(;en china.

57.^" OUT FOR A stroll" (JAGUAR, 5I IN. BY I7I IN.). COPENHAGEN CHINA.

The Cofiiioissenr

jS. — " THIi UVl.Nli ACHILLES
(19 IN. BY 22 IN.).
BY G. HERTER.
CASTELLINA MARBLE.

59. — " NAPOLEON " (14 IN. BV 5^ IN.)
BY H. KOCH. BUST, CASTELLINA M.,
PEDESTAL, ROUGE M.

60. — " DESPAIR "
(6i IN. BY 10 IN.).
PROF. EBERLEIN.
CASTELLINA MARBLE.

Thus a very handsome clock surmounted by a crowned
eagle and displaying the arms of Poland, obviously
records the attempt of Augustus the Strong to win a
throne, while the Alchemist he had retained to dis-
cover the philosopher's stone for him was engaged in
the more useful task of firing the first pieces of Dresden
china at home. There is also a large group of grot-
esques, most of which are still waiting for explanation.
A very famous group, " The Capture of a Triton," well
illustrates the marvellous technique of the school.
How the water-baby was ever introduced into the net,

61. — "quality street'
(6j in. by 6j in.),
(by blasche.)

CA'iTEIIINA MARBLE.

(52. " LIBERTY "

(12 IN. BY 14 IN.).
(PROF. NERI.)
CASTELLINA MARBLE.

63. — RELIEF, " MOZART'
(7i IN. BY 6 IN.).
PROF. BRAL'N.
CASTELLINA MARBLE.

64. — RELIEF, " WAGNER '
(7 IN. BY 6S IN.).
PROF. BRAUN.
CASTELLINA MARBLE.

and his tail and all the other common objects of the
seashore allowed to escape through its meshes, and
yet, despite everything, to stand firing, is a mystery
that is always new to me.

Yet there are still people who, when called upon
to give a complimentary wedding gift, still proffer
the Nelundand fish-slice, when for a few shillings
they might give at least an imitation Dresden
group, near enough to the original to be a joy for
ever. For little more, handsome reproductions of
the famous pieces in the Wallace Collection and
the South Kensington Museum are obtainable. For
example, the jardiniere illustrated in these columns
costs less than two pounds. Modest means, indeed,
need never be a deterrent to keep anyone in search of
a gift away from the \\'ahliss galleries. In one of the

65. " THE DANCL "

(19 IN. BY 8J IN.).
(prof. FUNCKE).
CASTELLINA M.. BASE
SIENA M.

00. — ' THE bl'lRlT 01
GRACEFULNESS "
(ELECTR. FIGIRE.
ig\ IS. BY 8J IN.).
BY PROF. ERNEST SEGER.
CASTELLINA M..
BASE SIENA M.

Modern Cera /i lie Art

Cl-] . — "nymph" {24 IN. BY 13 IN.), (prof. EBERLEIN.)
CASTELLINA MARBLE.

68. "idyll" (27 IN. BV 21 IN.).

(prof. BERNEWITZ.) CASTELLINA MARBLE.

rooms there is a bargain department where rare and
beautiful china or graceful terra-cotta, slightly flawed
or damaged — so slightly that it would tax an expert to
discover the mischief — are on sale at prices which
seem hardly credible.

On the other hand, there are people with money,
but lacking in ideas, who fail to realise that a
dinner service or a tea set of good china is one of
the most welcome gifts a young couple can hope

to receive. At the Wahliss galleries they will find
no lack of ideas, for most European sovereigns
have at one time or another ordered a set ot
china to their own design, and specimens of the
exclusive pattern.s and finish are on view. A mem-
ber of our own Royal family recently ordered a
\'ienna coffee set of dead white of severely in-
ornate design with a heavy gold border, which has
a cachet of its own. When all is said and done,

by. — "THE days labour uone

(lEHMANN), (17J IN. BV 7 IN.).
CASTELLINA M., BASE
PENTELICON M.

70. " THE CATCH " (l8j IN.

BY 14 IN.). PROF. C.REINER.
CASTELLINA MARBLE,
BASE ONYX.

71. — MLDITATION.' CLOCK
(SIENA M.) WITH FIO.
(CASTELLINA M.). BY PROF.
RENI. 25 IN. BY 14 IN.

The Connoisseur

Vienna china, from the poiiii of view of vakie for
money, holds its own, and has, perhaps, no reason
to fear the competition of formidable rivals even
under its own roof. Not a single one of the great
pieces, with their glowinj: pictures, rich with the
lavish wealth bequeathed by Hans Makart's genius.

depicted in these columns last year, remains unsold
to-day, though, of course, other and equally inter-
esting pieces have taken their place. Most of the
collection of old Vienna china has already been
dispersed among collectors. But replicas, from the
original moulds of the defunct Imperial State Factory,

7;. — APOSTLE "ST. JOHN
(9J IN. BY 5i IN.).

73. — "THE M.-iDONN.V
(9^ IN. BY 5J IN.).

74. — APOSTLE " ST.

Paul" (9i IN. BY 5* in.).

75. — " THE PUBLIC
EXECUTIONER "
(Ili IN. BY 5J IN.).

AFTER THE ORIGINALS BY BRUGGEMANN IN THE C.\THEDRAL AT SCHLESWIG.

76.— PARTS OF TEA AND COFFEE SET, BROAD GOLD BAND. IMPERIAL VIENNA.

77. — QUAINT SUGAR
BOWL WITH PIERCED
COVER, HEIGHT S IN.
IMPERIAL VIENNA."

7S. DUTCH FISHEK GIKL

(7 IN. BY 6i IN.).

79. — "A PHARISEE"
(8 IN. BY 4 IN.).
AFTER THE ORIG. BY
BRUGGEMANN IN THE
CATHEDRAL AT SCHLESWIG.

«^*^

80. — FLORENTINE
LUTE PLAYER
(i;J IN. BY 6J IN.)

81. ALSATIAN PEASANT GIRL

(■j\ IN. BY 6i IN.).

Modern Cerauiic Art

82. — GOBLET
(\2\ IN. BY 54 IN.).
PERCIVAL AND KING
ARTHUR CYCLUS.

83. GOBLET

(I2i IN. BY 5^ IN.).
PERCIV.\L .\ND KING
ARTHUR CYCLUS.

84. MEDI.5VAL JUG

WITH COPPER BRONZED
COVER (15 IN. BY 0 IN.).

85. MEDI.^VAL JUG WITH

DARK BRONZED LID
(1 I IN. BY 7 IN.).

unsurpassed for excellence
of modelling and of finish,
are still obtainable, and at
very moderate prices.

At the Wahliss galleries
there is enough and to
spare to match every taste
and every purse, and no
one wishing to buy a
really handsome and artis-
tic piece of china or glass,
or terra-cotta, marble statu-
ary, etc. — whether it is to
cost hundreds of pounds,

86. " NICCOLO DA UZZANO" (jj IN. BY 1/ IN.).

AFTER THE ORIG. BY DONATELLO IN THE
NAT. MUS.. FLORENCE.

or a few shillings only — •
should fail to pay a visit
before buying elsewhere
Only too frequently new
customers can be heard to
remark, " Oh, what a pity !
I have just bought such
and such a thing at so
and so's ! I wish I had
known before wiiat an
enormous stock and
variety you oft'er, and 1
would certainly have come
to you."

87. — "PRINCESS OF URBINO " (lO.^ IN. HY lo IN.).
AFTER THE ORIG. IN THE WEMYSS COLL., LONDON.

88.—" DANTE " (7* IN. BY 9 IN.).

AFTER THE ORIG. IN THE NAT. MUS., FLORENCE.

The Connoisseur

89. — REPRESI-NTATIVE Sl'ECIMKN (Sj IN.jBV I fi IN.) OF A C OIIECTION OF
REPLICAS FROM -THE WALLACE COLL. AND SOUTH KENSINC.TON MUSEUM.

■I

90.— VENL-S OF THE VATICAN.
AFTER THE ORIGINAL IN THE
VATICAN. ROME. FIG. 53.
PEDESTAL 284 IN. TERRA-COTTA..

91. — VENUS OF MILO. AFTER
THE ORIGINAL IN THE LOUVRE,
PARIS. FIG. 42. PEDESTAL
45 IN. TERRA-COTTA.

92.- — "ADORATION. AFTER THE
ORIGINAL IN THE NATIONAL MUSET.M
AT BERLIN. FIG. 52.
PEDESTAL 28J IN. TERRA-COTTA.

93. — VASE AND PEDESTAL. AFTLR
THE ORIGINAL IN THE VILLA ALBANI,
ROME. VASE 30. PEDESTAL 28A IN.
TERRA-COTTA.

94. — VASE AND PKDUSTAL.
AFTER THE ORIGINAL IN THE
NAPLES MUSEUM. VASE 26.
PEDESTAL 45 IN. TERRA-COTTA.

95.' — VASE. AFTER THE ORIGINAL
IN THE BRITISH MUSEUM. VASE 36.
PEDESTAL 1^\ IN. TERRA-COTTA.

C75

V.19

The Connoisseur

PLEASE DO NOT REMOVE
SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO
LIBRARY

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "The connoisseur"

See other formats