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THE WALPOLE SOCIETY

1912 - 1913

THE SECOND ANNUAL VOLUME

THE WALPOLE SOCIETY

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session tf E&5K0

. (?sse.x.

THE

SECOND ANNUAL VOLUME

OF THE

WALPOLE SOCIETY

1912-1913

ISSUED ONL Y TO SUBSCRIBERS

508469

. So

OXFORD

PRINTED FOR THE WALPOLE SOCIETY BY HORACE HART
AT THE UNIVERSITY PRESS

' This country, which does not always err in vaunting its own productions.'

HORACE WALPOLE'S Anecdotes of Painting in England.

^resilient :

THE RIGHT HON. THE EARL OF LYTTON

QTommtttee :

AITKEN, CHARLES

* ARMSTRONG, SIR WALTER
BAKER, C. H. COLLINS
BARLOW, C. A. MONTAGUE, M.P.

*BELL, C. F.
*BINYON, LAURENCE

CAW, J. L.

CLAUSEN, GEORGE, R.A.

COCKERELL, SYDNEY C.
*COLVIN, SIR SIDNEY

CUST, LIONEL

DlBDIN, E. RlMBAULT

*FINBERG, A. J., Hon. Secretary
GIRTIN, THOMAS
HIND, A. M.

*HOLMES, C. J.

*HOLROYD, SIR CHARLES, Chairman

* HUGHES, C. E., Hon. Treasurer

IMAGE, PROFESSOR SELWYN
LANE, SIR HUGH
LETHABY, PROFESSOR W. R.
LYTTON, HON. NEVILLE

MACCOLL, D. S.

NORMAN, PHILIP

OPPE, A. P.

PRIOR, PROFESSOR E. S.

RAWLINSON, W. G.

Ross, ROBERT

SHORT, SIR FRANK, R.A.

SPIELMANN, MARION H.
*STRANGE, E. F.
*TERRELL, A. A BECKETT
*TURNER, C. MALLORD W.

VACHER, SYDNEY

WILLIAMSON, DR. G. C.

Members of the Executive Committee.

All communications should be addressed to—

ALEXANDER J. FINBERG, Hon. Secretary,

Arts Club, 40 Dover Street, W.

Subscriptions should be sent to—

C. E. HUGHES, Hon. Treasurer,

Stone Field, Kidbrook Grove, Blackheath, S.E.

CONTENTS

PAGE

THE PAINTER PE (' HANS EWORTH '). BY LIONEL CUST ... i

AN OUTLINE OF THE HISTORY OF THE DE CRITZ FAMILY OF PAINTERS.

BY MRS. REGINALD LANE POOLE . . ... 45

THE ROMANCE TILES OF CHERTSEY ABBEY. BY W. R. LETHABY . 69
THE ROOD-SCREEN OF CAWSTON CHURCH. BY EDWARD F. STRANGE . 81
THE HATFIELD TAPESTRIES OF THE SEASONS. BY A. F. KENDRICK 89

HUGH DOUGLAS HAMILTON, PORTRAIT-PAINTER. BY WALTER G. STRICK-
LAND ............ 99

INFLUENCE DE BONINGTON ET DE L'ECOLE ANGLAISE SUR LA PEINTURE

DE PAYSAGE EN FRANCE. BY A. DUBUISSON . . . . in

SOME OF THE DOUBTFUL DRAWINGS IN THE TURNER BEQUEST AT THE

NATIONAL GALLERY. BY ALEXANDER J. FINBERG . . . 127

LIST OF PLATES

Plates I-XXXI are from paintings by, or attributed to, Hans Eworth.

PLATE

I. Frontispiece. Mary Nevill, Lady Dacre.

II. Frances Brandon, Duchess of Suffolk, and Adrian Stoke.

III. Lady Jane Grey.

IV. Sir John Luttrell.

V. Capt. Thomas Wyndham.
VI. Sir William Sidney (?).
VII. Queen Mary.
VIII. (a) Queen Mary.

(b) King Philip and Queen Mary.
IX. (a) Gentleman of Tichborne Family.

(b) Edward Courtenay, Earl of Devon.
X. Henry FitzAlan, Lord Maltravers.

XI. (a) Henry FitzAlan, eighteenth Earl of Arundel, K.G.

(b) Unknown Gentleman. Wallace Collection.
XII. (a) Thomas Howard, fourth Duke of Norfolk, K.G.
(b) Mary FitzAlan, Duchess of Norfolk.

XIII. (a) Thomas, first Baron Wentworth.

(b) Thomas, second Baron Wentworth.

XIV. Judd Memorial Painting.
XV. (a) Col. Henry Vaughan.

(b) Unknown Man. Museo Poldi-Pezzoli, Milan.
XVI. (a) Thomas Howard, fourth Duke of Norfolk, K.G.

(b} Margaret Audley, Duchess of Norfolk.
XVII. (a) Eleanor Brandon, Countess of Cumberland (?).

(b) Lady of Wentworth Family.
XVIII. Lady. Holy rood Palace.
XIX. Cobham Family.
XX. Windsor Family.
XXI. Lord Darnley and his Brother.
XXII. (a) Henry VIII and Family.

(b) Queen Elizabeth and three Goddesses.

Vlll

LIST OF PLATES

PLATE

XXIII.

XXIV.
XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

XXX.

XXXI.

XXXII.

XXXIII.

XXXIV.
XXXV.

XXXVI.
XXXVII.

(a) Elizabeth Fitzgerald, Countess of Lincoln.

(b) Susan, Countess of Kent.
Frances Sidney, Countess of Sussex.

(a) Sir Henry Sidney.

(b) Mary Dudley, Lady Sidney.

(a) Sir George Penruddock.

(b) Anne, Lady Penruddock.

(a) Lady Walsingham (?)

(b) Anne Poyntz, Lady Heneage.

(a) Elizabeth, Lady Trafford.

(b) Unknown Lady. Bestwood.

(a) Lady Katherine Grey and Child.

(b) Unknown Lady. Trinity College, Oxford.

(a) Unknown Lady. Mr. E. E. Leggatt.

(b) Unknown Lady. Petworth.

(a) Col. Honing.

(b) Jean Ribautf?).

Oliver de Critz. Attributed to Emanuel de Critz. (Ashmolean
Museum, Oxford.)

(a) John Tradescant the Elder. Attributed to Emanuel de Critz.

(Ashmolean Museum, Oxford.)

(b) John Tradescant the Younger and his friend Zythepsa. Attri-

buted to Emanuel de Critz. (Ashmolean Museum, Oxford.)
John Tradescant the Younger. Attributed to Emanuel de Critz.
(National Portrait Gallery.)

(a) Hester, the Second Wife of John Tradescant the Younger, and

her Step-son John. Attributed to Emanuel de Critz. (Ash-
molean Museum, Oxford.)

(b) Hester, the Second Wife of John Tradescant the Younger, her

Step-son John, and her Step-daughter Frances. Painter
unknown. (Ashmolean Museum, Oxford.)

John Tradescant the Younger. Attributed to Emanuel de Critz.
(Ashmolean Museum, Oxford.)

(a) Inscription on the Picture of Hester Tradescant and her Step-

son John.

(b) Part of a Paper now in the Library of the House of Lords.

Printed in full on pp. 58, 59.

LIST OF PLATES

PLATE

XXXVIII. The Romance Tiles of Chertsey Abbey.
XXXIX. The Romance Tiles of Chertsey Abbey.

XL. St. Philip and St. Jude. Painted panels from the Rood-screen of
Cawston Church. Colour plates from drawings by E. W.
Tristram.

XLI. St. Agnes and St. Helen (or St. Margaret). Painted panels from
the Rood-screen of Cawston Church. Colour plates from
drawings by E. W. Tristram.

XLII. The Rood-screen, Cawston Church. Details of Painted Decora-
tion. From drawings by E. W. Tristram.

XLIII. The Rood-screen, Cawston Church. Details of Painted Decora-
tion. From drawings by E. W. Tristram.

XLIV. The Rood-screen, Cawston Church. Details of Gesso and Painted
Decoration. From drawings by E. W. Tristram.

XLV. Spring. Tapestry at Hatfield House. English : circa 1611.

XLVI. Summer. Tapestry at Hatfield House. English : circa 1611.

XLVII. Autumn. Tapestry at Hatfield House. English: circa 1611.

XLVIII. Winter. Tapestry at Hatfield House. English : circa 1611.

XLIX. Illustrations from A Choice of Emblemes, by Geffrey Whitney.

L. Portions of a Tapestry Valance belonging to Mr. Henry Howard,
of Stone House, Worcestershire. English work : late
Sixteenth Century.

LI. Linen Jacket, Embroidered in Black Silk, belonging to the Viscount
Falkland. English : late Sixteenth Century.

LII. (a) Hugh Douglas Hamilton. Painted by George Chinnery. (Royal
Hibernian Academy.)

(b) Hugh Douglas Hamilton. Engraved by W. Holl.

LI 1 1. (a) Robert, third Earl of Lanesborough. Pastel. (The Duke of
Leinster, Carton.)

(b) Portrait of a Lady. Pastel. (National Gallery of Ireland.)

\c) The Right Hon. William Burton Conyngham. Pastel. (National
Gallery of Ireland.)

(d) The Right Hon. Denis Daly, M.P. Pastel. (National Gallery
of Ireland.)

LI V. (a) John Philpot Curran. Oil. (National Gallery of Ireland.)

(b) Portrait of a Lady. Pastel. (The Duke of Leinster, Carton.)

Street.)

c LIST OF PLATES

PLATE

LV. Elizabeth, Countess Conyngham and Child. Oil. (The Marquis
Conyngham, Slane Castle.)

LVI. (a) William Robert, second Duke of Leinster. Pastel. (The Duke

of Leinster, Carton.)

(b) John Fitzgibbon, Earl of Clare, Lord Chancellor of Ireland. Oil.
(National Gallery of Ireland.)

LVII. Joe Foster, an Old Servant at Carton. Pastel. (The Duke of
Leinster, Carton.)

LVIII. Ruins of Chapter House, Margam, Glamorganshire. Pencil. By
Michael 'Angelo' Rooker, A.R.A. (Turner Bequest.)

LIX. Pen and Ink Sketches on Cards. By P. J. de Loutherbourg, R.A.
(Turner Bequest.)

(a) Windmill, with Cottages.

(b) Iron Works near Swansea.

Llanberis.

(d) Mill near Swansea.

LX. Pen and Ink Sketches on Cards. By P. J. de Loutherbourg, R.A.
(Turner Bequest.)

(a) An Estuary, with distant Mountains.

(b) ' Llyn Ogween and a View of Try fan, a famous large

Rock in Nant y Benglog.'

LXI. Quay at Southampton. By Edward Dayes.

(d) Wash Drawing in Blue and Indian Ink. (Turner Be-

quest.)

(b) Water Colour. (National Gallery of Ireland.)

LXII. Wash Drawings in Blue and Indian Ink. By Edward Dayes.
(Turner Bequest.)

(a) Hastings, Sussex.

(b) Hastings, Sussex.

LXIII. Wash Drawings in Blue and Indian Ink. By Edward Dayes.
(Turner Bequest.)

(d) 'Southampton, from Mr. Dance's.'
(b) Ruins on Hill, among Trees.

LXIV. Lindisfarne Church, Durham. Pencil. By Thomas Girtin. (Turner
Bequest.)

LIST OF PLATES

PLATE

LXV. Glasgow. By Thomas Girtin. (Turner Bequest.)

(a) Pencil Sketch.

(b) Water Colour, on Card.

LXVI. Walsingham Chapel, Norfolk. By Thomas Girtin. (Turner Bequest.)

(a) Pencil Sketch.

(b) Water Colour, on Card.

LXVII. Kidwelly Church. By Thomas Girtin. (Turner Bequest.)

(a) Water Colour, on Card.

(b) Pencil Sketch.

LXVIII. Windsor Castle. By Thomas Girtin. (Turner Bequest.)

(a) Water Colour, on Card.

(b) Pencil Sketch.

LXIX. Netley Abbey. By Thomas Girtin. (Turner Bequest.)

(a) Water Colour, on Card.

(b) Pencil Sketch.

LXX. Lake with Mountains. By Thomas Girtin. (Turner Bequest.)
(a) Water Colour, on Card.
(/;) Pencil Sketch.

LXXI. Three Drawings of Kirkstall Abbey, Yorkshire. By Thomas Girtin.

(a) Water Colour, on Card. (Turner Bequest.)

(b) WaterColour. (In the Collection of Thomas Girtin, Esq.)

LXXI I. Kirkstall Abbey, Yorkshire.

(a) Pen and Ink and Wash. By James Moore, F.S.A.

(In the Collection of Thomas Girtin, Esq.)

(b) Water Colour. By Thomas Girtin. (In the Collection

of Professor F. P. Barnard.)

LXX I II. Croxden Abbey, Leicestershire.

(a) Water Colour. By Thomas Girtin. (In the Collection

of Professor F. P. Barnard.)

(b) Pencil Sketch. By James Moore, F.S.A. (In the

Collection of Professor F. P. Barnard.)

LXXIV. Two Pencil Sketches. By Thomas Girtin. (Turner Bequest.)

(a) Dumbarton Castle.

(b) Hinton Charter House, Suffolk.

xii LIST OF PLATES

PLATE

LXXV. Two Pencil Sketches. By Thomas Girtin. (Turner Bequest.)

(a) Rochester Castle, Kent.

(b) Barnard Castle, Yorkshire.
LXXVI. Colchester Castle. By Thomas Girtin.

(a) Pencil Sketch. (Turner Bequest.)

(/;) Water Colour. (In the Collection of Professor F. P.
Barnard.)

LXXVII. Bolton Castle, Yorkshire. By Thomas Girtin.

(a) Pencil Sketch. (In the Collection of Professor F. P.

Barnard.)

(b) Water Colour. (In the Collection of Professor F. P.

Barnard.)

The Committee of the Walpole Society desire to express their grateful
thanks to the owners of the various paintings and other works of art reproduced
in this volume for the generous assistance they have given the Society.

The Photogravures are the work of Mr. Emery Walker.

THE PAINTER IE

(' HANS E WORTH.')
BY LIONEL CUST.

HANS HOLBEIN died in London, as is now a matter of common
knowledge, in the autumn of 1543. The supply of portraiture, however,
from that date showed no sign of diminution, and in fact became more
plentiful in accordance with an increasing demand. This demand led
to the art of portrait-painting being treated as a craft, and for this
reason the personal signature of the painter was in so many cases not
affixed to his works. Hence it is a matter of some difficulty to identify
the actual painters and assign to each his share in the copious output
in England during the latter half of the sixteenth century, from the
death of Henry VIII to that of Elizabeth.

The succession to Holbein himself, and the completion of those
works which must have been left incomplete at the time of his
unexpected death from the plague, still remain a matter of uncertainty
and debate, though something has been done to elucidate the situation.
The researches of Miss Mary F. S. Hervey, published in the Burlington
Magashte (vol. xvii, pp. 71, 148), have established a distinct personality in
Gerlach Flick, a German artist, in whom the Holbein succession can be
traced. A painter, known as Guillim Stretes, probably a Netherlander of
the Van der Straeten family, occurs in accounts, and has been without
due consideration accepted as the chief painter during the few years com-
prising the reign of Edward VI. A series of whole-length portraits,
usually attributed to him, but without any sure ground, is clearly based
on the Holbein tradition ; they have the characteristics of the French
rather than the Flemish School. Another class of portraits of quite
high excellence, which seem to belong to a Franco-Flemish School,
allied to, if not actually connected with, the contemporary school of the
Clouets in Paris, shows the work of more than one hand apparently
working in the same atelier, and may perhaps be connected with the
name of either Corneille de Lyon or Joos van Cleef. In addition to

2 THE PAINTER IE

Gerlach Flick, isolated artists like Jan Rave, or Joannes Corvus, as he
was known in England, can be identified.

In 1550, if not earlier, a distinct personality emerges in a portrait-
painter who signs a great many portraits with the monogram Hi and
adds dates ranging from about 1550 to 1575. In George Vertue's diaries
and note-books he notes certain portraits bearing this monogram, and
suggests that they should be attributed to the poet-painter, Lucas
D'Heere of Ghent. These suggestions were adopted into a detailed
statement by Horace Walpole in his Anecdotes of Painting, and have
since that date been accepted ' and the portraits duly accredited to
D'Heere. The attribution to Lucas D'Heere can be dated back to
1689, when William Chiffinch compiled the catalogue of the pictures in
the possession of King James II, in which the painting of Queen Eliza-
beth and the Three Goddesses is attributed to ' Lucas de Cheere '. There
have, however, always been great difficulties in the matter of dates as
regards Lucas D'Heere. This painter did not come to London until
1568, when he was a refugee of the reformed religion from the Spanish
persecution, and he remained in London until after the Pacification
of Ghent in 1576. Neither by residence nor by age does it seem
possible to attribute to Lucas D'Heere portraits bearing undeniable
dates prior to 1568.

The key to this riddle can, however, be found in the Inventory of
the Pictures, Household Stuff, &c., belonging to John, Lord Lumley, at
Lumley Castle in 1590. This inventory, of which the original manuscript
is in the possession of the present Earl of Scarbrough, contains, besides
a history of the Lumley family and Lumley Castle with drawings and
heraldic illuminations, a list entitled 'A Certyficate from M' John.
Lampton Stewarde of Howseholde to John Lord Lumley, of all his Lo:
monumentes of Marbles, Pictures and tables in Paynture, with other his
Lordshippes howseholde Stuffe and Regester of Bookes. Anno 1590.'
The ' Regester of Bookes ' has unfortunately not been preserved, but
the list of pictures is of exceptional historic and artistic interest. The
whole inventory has been printed in Miss E. Milner's Records of the
Lnmleys of Lumley Castle (appendix).

1 See Magazine of Art, August, 1891, and Archacologia, liv.

THE PAINTER ffi 3

In addition to various important works by Holbein, which include
the famous portrait of Christina, Duchess of Milan, now in the National
Gallery, and the book of portrait drawings, now in the Royal Library
at Windsor Castle, the inventory contains portraits, drawn by Garlicke
(or Gerlach Flick), by 'the famous paynter Steven', by Seigar, by
Hubbert, by Jaques Pindar, and by Haunce Eworth. In connexion with
the last-named painter the following may be noted in the inventory :

Of Sir John Luttercl, who died of the sweat in K. Edw. 6 tyme.

Of Mr Edw: Shelley slayne at Mustleborough feilde, drawen by Haunce
Eworthe.

Of M1' Thomas Wyndham drowned in the Sea returneinge from Ginney.

Of H award a Dutch Juello1, drawne for a Maisters prize by his brother
Haunce Eworth.

Of Mary, Duchess of Northfolkc, daughter to the last old Earlc of Arundel
[FitzAllen] doone by Haunce Eworth.

Now at Longford Castle, in the collection of the Earl of Radnor,
there is a very interesting portrait of Thomas Wyndham, signed with the
monogram and the date 1550, painted when Wyndham was forty-two
years of age. This portrait is fully described in the Catalogue of the
Earl of Radnor's collection, compiled by Mr. W. Barclay Squire, F.S.A.,
of the British Museum. It is without doubt the same as that formerly at
Lumley Castle, which remained there until the sale in 1787.

The biographical notice of Thomas Wyndham given by Mr. Squire
is important for our purpose. He was son of Sir Thomas Wyndham
of Felbrigg in Norfolk by his second wife, Elizabeth, daughter of Sir
Henry Wentworth of Nettlested and widow of Sir Roger D'Arcy ; a
half-sister of his, Margaret Wyndham, married in 1514 Sir Andrew
Luttrell of Dunster Castle, and was mother of Sir John Luttrell.
Thomas Wyndham was a filibustering sea-captain of the Drake and
Hawkins type. He served as Master of the Ordnance and Vice-
Admiral in 1547 under the famous Admiral, Edward, Lord Clinton, off
the east coast of Scotland, including an unsuccessful attempt to raise
the siege of Haddington. In 1550 he was to have joined his nephew,
Sir John Luttrell, on an expedition to Morocco, but Luttrell died

B 2

4 THE PAINTER HE

in London of the sweat, as is vouched for by the diary of Henry
Machyn for the year 1551, and "Wyndham sailed alone for Morocco in
1551, and again in 1552. These voyages are duly recorded in Hak-
luyt's collection. In 1553 Wyndham started on a voyage to the Gold
Coast, but died of fever in the Bight of Benin.

It is quite clear, therefore, that he is the ' Mr Thomas Wyndham
drowned in the Sea returncinge from Ginney ', whose portrait appears in
the Lumley inventory, and equally certain that the ' Sir John Lutterel,
who died of the sweat in K. Edw. 6 tymc ', is Wyndham's nephew, Sir
John Luttrell, who died in 1550, just as they were going to start
on a joint expedition to Morocco. Moreover, two duplicate portraits
of Sir John Luttrell have been preserved in the Luttrell family,
which bear the same monogram and the same date of 1550. Returning
now to the Lumley inventory, we find that the portrait of Mr. Edward
Shelley, who was killed at Musselburgh (or Pinkie, as the battle is
usually styled) in 1541, was drawn by one ' Haunce Eworthe', and
that in the same part of the inventory occurs the portrait of ' Sir
James Wilford, Capten of Haddington ' during the siege of 1547,
who was also connected with the Wentworth family, and, like Sir
John Luttrell, also died in 1550. We thus find a group of por-
traits closely allied to each other in date, incident, and general
character, two of which arc signed by the same monogram H3, and
a third actually stated to be by Haunce Eworth. A further corrobora-
tion of this may be found in the existence at Arundel Castle, in the
collection of the Duke of Norfolk, of a full-length portrait of Mary
FitzAlan, Duchess of Norfolk, sister of Jane, Lady Lumley; this
portrait is, however, only a seventeenth-century copy, and bears on the
frame the monogram H3, obviously altered from Hi to make it pass
as Holbein's work, and the date 1550. The original portrait was no
doubt that described in the inventory as 'of Mary, Duchess of Norfolke,
daughter to the last old Earle of Arundel [FitzAllen] doone by Haunce
Eworth'. A companion full-length portrait of Thomas, fourth Duke
of Norfolk, copied by the same artist, is also at Arundel Castle.
This is a sufficient basis for asserting that the large group of portraits
bearing the monogram HE and dates ranging from 1550 to 1575 are by

THE PAINTER IE 5

the aforesaid Haunce Eworth, and cannot for any reason be attributed
to Lucas D'Heere, who came to England for the first time in 1568.

Who then was this Haunce Eworth ? We learn from the Lumley
inventory that he was a Netherlander, as the inventory records a
portrait ' of Haward a Dutch Juello', drawne for a Maisters prize by his
brother Haunce Eworth '. He was, therefore, a foreigner resident
in England. Now in the list of members of the Guild of St. Luke at
Antwerp there occurs in the year 1540, as vrijmeestei' or freeman ol
the Guild, one Jan Eeuwowts. There is no mention of him before as
an apprentice, or later on, but in 1560 one Eewout Eewoutsen appears
as an apprentice to Lambert Ryck, and this Euwout became vrij-
inccster in 1564, and continues to appear in the accounts of the Guild
up to 1588.

On examining the returns of the Letters of Denization and Acts of
Naturalization for Aliens in England during this period, as well as of
the .Subsidies levied on all aliens residing in London, we can extract
the following information :

1545. In the parish of the King's Hospital, etc., one Nyc/tolas Eicotcs was
assessed at 4O/ and rated at 2 accordingly.

1549. In the parish of St. Thomas's Hospital John Ewoiil is assessed in goods
at 407 and rated at 2/.

(The conjunction of other names in this parish suggests that Nicholas
and lohn Ewout are really the same man.)

1550. On Oct. 29, 1550, John Euivonts was granted letters of Denization (Pat. 4.
Edw. 6, p. 4, m. 2).

1551. In the parish of St. Saviour's, Southwark, one Maister Hanse is assessed
at /4 and rated at 4/.

1552. In the same parish John Eiaottes, paynter, is assessed at ,£8 and rated at
8/, and John Mychell servaunte with John Euwottcs, paynter, is rated at 8d.

1559. In the same parish Hans Eywooddes is assessed in goods at £6 and
rated at 2o/.

1567. In the Parish of Bridge Without the name of Jan Euertz occurs.

1568. In the Parish of St. Mary Overies, Southwark, Hans Heivard is returned
and described as ' born in Antwerpe, and goeth to the Dutch Church '.

1571. In the warde of Farringdon Without, St. Bryde's Parishe, we find
'Haunce Evance, pictorer, a denizen, borne in Anwarpe, came into the
realm about xxviij yeres past, Douch j.'

6 THE PAINTER IE

This is the last record of the name in these returns, but Mr.
Barclay Squire has been able to trace the existence and employment
of this painter to a still later date.

From a volume of Documents relating to the office of the Revels
in the time of Queen Elizabeth, published by M. A. Feuillerat at
Louvain in 1908, the following notices have been extracted :

June, 1572. Mask at Whitehall before Elizabeth & Duke Mommerancie
Ambassador for ffraunce.

Haunce Eottes for drawing andpaynting ofdyvers & sundry patternes,
viz. of the Chariott & Mownte (which Rose made) with all the personages
apparell and Instrumentes, setting them owte in apte coollours & such like
service by him doone in this office at this time at the request & apoynt-
ment of M1 Alphonse & the officers as by his bill.

x1! xvs reduced by the officers to .... iiij1' xixs.

(According to another entry the chariot was 14 ft. long and 7 ft.
broad, and on it was a rock with a fountain as well as Apollo and

the Nine Muses.)

New Yeares Day, 1572-3. For a Maske.

To Haunce Eottes for painting of patternes for maskes .... xiij s. iiij d.
1 573~4- Candlemas.

Trinodia at the Siege of Thebes, Hampton Court, and one Maske of
Ladies with lightes being \j vertues likewysed prepared and brought thither
in Redynesse but not showen for the Tediousness of the playe that nightc.
Patternes for Maskes. Haunce Eottes for sundry patternes by him
made .... vj s.

From these extracts we can piece together the record of a Jan
Euwouts, Ewottes, or Heward, who was born in Antwerp and came
to England about 1543, and was working for the office of the Revels
in 1574. If, as seems almost certain, he was the vrijmeester in the
Guild of St. Luke at Antwerp in 1540, he must have been at a
fairly advanced age in 1574. No person acquainted with the eccentric
transliteration and mispronunciation of foreign names in official lists
would hesitate to identify the 'John Ewottes, paynter' of Southwark
with the Haunce Eworth of the Lumley Inventory. He is also
probably identical with the ' Hans Huett ' who painted a portrait of King-
Edward VI, which was formerly in the collection of King Charles I.

G)i<r Jvlisv ^—u

n, ths. bcJ.ieJM<m, of ' Gcorqc. Zfimmej JLuMrdL G>Jq.,-J-)uftster(oajtlf..

ISO

( b-u pc^mi^J^an- of efir ^ricnnj 6.

THE PAINTER IE 1

It will be seen from the catalogue of paintings which follow that
an extensive cenvre may possibly be reconstituted for this painter. It
must be remembered that in making attributions, where a signature
is absent, certain precautions must be taken to avoid the attribution
of other painters' works to Hans Eworth.

On the other hand he shows very strongly the influence of Antonio
Moro, and it is possible to confuse their works. As it seems certain
that Hans Eworth was resident in London before 1553, in which year
Moro was sent over to England by Mary of Hungary to paint the
portrait of Queen Mary Tudor for King Philip of Spain, it would hardly
be credible that the two painters should not have been known to each
other. The portraits of Sir Henry Sidney and Lady Mary Dudley,
his wife, at Petworth, though usually attributed to Moro, are almost
certainly by Hans Eworth, and this might be expected, in view of the
association of this painter with the Brandon, Sidney, and Dudley
families. There is nothing of Holbein in the rather ostentatious por-
traits painted by Hans Eworth. One could affiliate him rather to Metsys
or Mabuse, although he belongs most distinctly to the Cinquecento.
Again, a portrait of the young Lord Maltravers, who died at Brussels
in 1556, would be more naturally credited to Moro, who happened to be
working at Brussels in that year. The portrait of Lord Maltravers
in a fur-lined cloak at Arundel Castle, though painted very much in the
manner of Moro, belongs to a series of English portraits which it is
difficult to attribute to Moro, and have characteristics which support
an attribution to Hans Eworth. The portrait also of Jane Dormer,
the most intimate friend of Queen Mary Tudor, who in 1558 married
Don Gomez Suarez de Figueroa, Duque di Feria, afterwards Governor
of the Netherlands, is one which we should expect to find among those
painted by Hans Eworth, seeing that her mother was Mary, daughter of
Sir William Sidney, a sister of Sir Henry Sidney. A portrait in Madrid,
formerly in the Pardo Palace, conjectured to be that of the Duchesse di
Feria, has many points in common with the works of Hans Eworth
about 1558, though the attribution to Moro is of old standing, and the
portrait was reproduced by the late M. Hymans as one of the plates to
his life of Antonio Moro.

8 THE PAINTER IE

Joos van Cleef, who was practising in London at this date, belonged
so distinctly to the Franco-Flemish School that there is less difficulty in
separating his work from that of Moro or Hans Eworth. On the other
hand, the Lumley inventory mentions works by ' the famous painter,
Steven ', two of which, portraits of John, sixth Lord Lumley, and his
wife Jane FitzAlan, sister of the above-mentioned Lord Maltravers, still
exist at Lumley Castle. Although these portraits have hardly the
strength of Hans Eworth they are sufficiently near to him to make it
dangerous to forget Steven in classifying the portraits of this time.

Of Hubbert we know nothing. Jaques Pindar, also mentioned in
the Lumley inventory, may be identified with Jacques de Poindre of
Malines, who is described by Van Mander as a good portrait-painter,
though his work is hardly known.

Lucas DTTeere did not come to England before 1568 and Cornelius
Ketel did not arrive till 1573, so that they fall without the range of the
period covered by Hans Eworth's best portraits.

Like Moro, D'Heere, and the other Netherlandish portraits, it
is probable that Hans Eworth painted mythological and allegorical
pictures as well as portraits. A painting of ' Mars and Venus', signed
H.E., was noted at Gunton Park, Norfolk, in the eighteenth century. The
allegorical figures in the groups of ' Queen Elizabeth and the Three
Goddesses' at Hampton Court Palace, and the ' Family of King Henry
VIII ' at Sudeley Castle, indicate the Flemish style of the period, such
as is found in the works of Marten de Vos or Lucas D'Heere, the bastard
Italian style, devoid of individuality. On the other hand, the allegorical
figures in the portrait of Sir John Luttrell suggest the Italianized
influence of the School of Fontainebleau. In dealing with portraits
of this period, it is necessary to examine, and if possible explain,
a wealth of allegorical and emblematic accessories, which was charac-
teristic of the age. These emblems, or impresc, were imported into
England from Italy through France, especially through Fontainebleau.
Although there is so much affinity between Hans Eworth and
Antonio Moro, there is a bravura about the former's early portraits
which suggests an acquaintance with the works of Bronzino and Rosso.
Possibly Hans Eworth was one of the Netherlandish artists who were

PLATE V.

CAPT. THOMAS WYNDHAM.
Earl of Radnor, Longford Casik.

THE PAINTER ffi 9

sent for to assist Primaticcio at Fontainebleau, and found their way
thence to Paris and London.

The portraiture of the reigns of Edward VI and Mary has
a significance of its own which distinguishes it from that of Henry VIII,
in which Holbein and his influence were predominant, and that of
Elizabeth, under whom, especially during the latter part of her reign,
portraiture, both male and female, showed a tendency to degenerate
into a fashion plate. The painters of 1550-70 were more successful
in their actual portraiture ; divest the figures of their sumptuous
apparel, and an interesting portrait would still remain. In the later
Elizabethan period the costume seems to outweigh the character.
Sumptuous clothing was characteristic of the English Court and
aristocracy, and the representatives of the ' new men ', the rich burghers
and their wives, who now began to take a definite place in the social
life of the period, began to ape the nobles in the sumptuousness of
their costumes. Portraits were still something of a convention, and just
as a military commander was bound to appear in a suit of armour,
and a mayor or other local official in a fur-edged gown, ladies had
a kind of Court uniform, and were painted in bodices and kirtles,
which they perhaps never saw in their wardrobes, and were adorned
with countless jewels, which were probably only too often the
properties of the painter's studio. It is difficult to explain otherwise
the amount of jewellery worn by ladies, not necessarily of noble rank,
in these Elizabethan portraits. The history of jewellery, especially
in the Cinquecento period, is a fascinating study in itself. In a few
portraits the designs for jewellery by Holbein, some of the drawings of
which are in the British Museum, can be identified in the jewels worn
by Queen Catherine Howard and other ladies. The jewelled hat-
band also afforded scope for a medallion or other design as a clasp.
Jewellery ranked higher among the fine arts than it does at the
present day, and, where money was scarce in the form of cash, jewels
often formed as useful and valuable a commodity. The returns of aliens
resident in the City of London during this period show how great
was the number of jewellers who came from the Continent to seek
their fortunes in England. Some made large fortunes, while others

10 THE PAINTER FE

became bankers and money-lenders. If we may judge from the por-
traits, such as those dealt with in this article, jewellery was one of the
ostensible evidences of wealth.

The portraits of this period show an interesting study in fashion,
and one quite characteristic of England. During the short reign of
Edward VI we find the ladies of rank and wealth still in some
cases retaining the head-dresses of the Holbein period, especially
ladies of advanced age, who may have been disinclined to adopt new
fashions.

The French hood or crepine, with its jewelled bands and folded
veil, had come into fashion, but its round shape was modified to suit
the fashions introduced by Queen Mary, who, having a square-shaped
forehead, often wore an angular head-dress or cap made straight
across the back of the head, with hair turned under the corners in front
of the cap. Queen Elizabeth, on the other hand, who had a small narrow
head with a high sloping forehead, adopted the smaller French crepine,
or round close-fitting cap with hood, and her hair was brushed back
from the forehead, except when she wore a wig. Dresses were long,
consisting of a rich brocade skirt or kirtle, over which was worn a
velvet or silk-lined robe or mantle, sometimes fitting tight to the body
like a cote-hardi, and open from the waist to the feet, so as to show the
kirtle. Later it was worn looser on the body, open so as to show a rich
bodice. Sleeves were worn fitting tight to the arms with high over-
sleeves at the shoulders, these being further adorned with white
pullings-out, and often with another pair of large loose sleeves,
frequently trimmed with fur over the forearms. Jewels were plentiful
all over the bosom, neck, and head, and a frequent ornament was a
rich gold or enamel rope-girdle round the waist, ending in a pomander,
miniature-case, or sometimes a small book of prayers. Very little
under-clothing was shown. The collar of the under-skirt was high at
the neck, ending in a tight-fitting ruff of folded pleats, made of cam-
bric, with gold or black embroidered pattern. The cuffs or wristbands
were similar to the ruff at the neck and of the same material. The
dress was sometimes open at the neck, so as to show the partlet and
a jewelled necklace, and it is from this opening that the gradual

PLATE VI.

SIR WILLIAM SIDNEY (?).
Lord tie L'lslc and Dudley, Petishiirst.

PLATE VII.

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THE PAINTER IE n

development of the great wheel-ruffs of the Elizabethan era can be
traced.

Although this fashion in dress was also in vogue at the Court
of the Valois in France under Catherine de Medicis, there is some-
thing peculiar to the English character of the period in the rather
ponderous exaggeration of material and ornament, of which the por-
traits here reproduced give so ample an illustration. The same
display, however, of rich stuffs and jewellery is to be seen in the
portraits of the Spanish Court, especially those by Moro and other
Netherlandish artists. Male dress was more sober in colour and design.
The rich and tasteless magnificence of the later days of King
Henry VIII became less fashionable under the somewhat puritanical
rule of the Protector Somerset, while under Queen Mary the Spanish
inclination to dark clothes, already a mark of national character, began
to make itself felt. This in fact produced a reaction at the Court of Queen
Elizabeth towards the frills and fripperies of the French Court, which at
that date reached their highest point of exaggeration in male costume,
whereas the costume of the ladies was more restrained than in Eng-
land. Few painters have taken the opportunity afforded them by rich
costume to such good purpose as Hans Eworth. The ladies painted
by him are in many cases stout, rather florid Englishwomen, full of
bonhomie andjot'e de vivre. Even Queen Mary has less of that look of
painful melancholy which is so often associated with her face. Queen
Elizabeth appears in the hey-day of her first years as Queen, before she
became the bewigged and raddled doll of the Marcus Gheeraerts
period. In collecting the portraits which can safely be attributed to
Hans Eworth, it is impossible to avoid being struck by the curious
resemblance in physiognomy and character in the great personages
depicted by the painter. This is not surprising in view of the limited
circle in which so many of these portraits can be placed.

It may be alleged that this is only a mannerism of the painter,
and that he only was able to look upon his sitters as conforming to
a series of types which suited his own particular style. This may more
truly be said of such painters as the so-called Meister der iveiblichen
Halbfigiiren, a contemporary painter, probably also from Antwerp, like

c 2

12 THE PAINTER IE

Hans Eworth, but belonging more distinctly to the school of Bernard
van Orley at Brussels, and to the Spanish Court of the Hapsburgs
in the Netherlands. With this painter, the painter HE and, through the
old identification, Lucas D'Heere have been more than once identified,
and on a well-known painting by the Meister der weiblichen Halbfiguren
in the collection of Earl Spencer at Althorp, for many years accepted
as a portrait of Lady Jane Grey, a false monogram Hi has been
added, which is however too coarsely painted to be original.

The artists of the Clouet School in France, being for a great
part mere copyists of original portraits, tend to an unnatural uniformity
of type.

The similarity in the portraits by Hans Eworth are rather those of
race and family. The short list of portraits bearing his monogram com-
prises for the main part a group of families closely inter-related by
marriage, the Brandons, Seymours, Greys, Wentworths, the FitzAlans
and Howards, the Sidneys and Nevills. Taking, for instance, the family
of Thomas Grey, Marquess of Dorset, and his wife Margaret Wotton, we
find the following painted by the master IE :

Frances Brandon, Duchess of Suffolk . . daughter-in-law.

Henry FitzAlan, Earl of Arundel . . . son-in-law.

Lady Jane Grey grand-daughter.

Lady Katherine Grey grand-daughter.

Henry, Lord Maltravers grandson.

Mary FitzAlan, Duchess of Norfolk . . . grand-daughter.

Thomas Howard, Duke of Norfolk . . . husband of grand-daughter.

Margaret Audley, Duchess of Norfolk . . grand-daughter.

Elizabeth Fitzgerald, Lady Clinton . . . niece.

The biographical notes of other portraits in the following lists will
show how such relationships existed in the case of other great families.
In view of the intermarrying in these families, it is not surprising to
find that a strong family type of physiognomy prevails, and that type
one specially characteristic of the British race. It is difficult to believe,
however, that the prevailing auburn tint in the hair of these great ladies
was invariably a natural tint, and not one due to the desire to be in the
fashion with the Tudor queens.

PLATE VIII.

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THE PAINTER ffi 13

It is noticeable that there is a marked difference in the portraits
signed by KE from 1550 to 1560 and those of the following years. If it
were not for the continuity of mannerisms, one would like to separate
them into two classes. The Elizabethan ladies, Lady Burghley, Lady
Cobham, and others, lack the strength of character and expression which
we find in the Duchess of Suffolk and Lady Dacre, and the life-like
charm which can even be traced in the portraits of Queen Mary.

In compiling a catalogue of portraits which can be attributed to any
painter of this period, it is necessary to select certain indubitable works
and derive from them certain peculiarities of technique or mannerisms, as
well as details of costume and other accessories, and utilize the former
for the identification of the painter's work, the latter for the date and
identity of the person represented. Too much reliance must not be
placed on inscriptions, whether of date or of age. These are in too
many cases copied from older inscriptions by later restorers, or even
added quite anew to suit the opinion of the owner. Coats of arms
have in very many cases been added at a subsequent date. Neither
inscription nor coat of arms should be trusted, unless the paint with
which they are executed is uniform with the paint of the picture
itself. Hans Eworth took great pleasure in such accessories and
worked them into the general design of his composition. There are
several instances of double portraits, such as those of Frances
Brandon, Duchess of Suffolk, and her second husband, Adrian Stoke.
Most of these groups have, however, been cut in half by subsequent
owners, as will be seen from the companion portraits of Thomas
Howard, fourth Duke of Norfolk, and his second wife, Margaret
Audley, in which half of the coat of arms and motto appears in the
husband's portrait, and the other half in that of the lady. After
a lengthy divorce these two portraits meet again in this volume.

There are many portraits in the great mansions of England which
may be attributed to the hand of Hans Eworth. Certainty can only
be obtained by comparison on stylistic grounds. Thanks to an almost
unvarying courtesy on the part of the distinguished owners who have
granted permission to the Walpole Society for their treasures to be
photographed and reproduced, a goodly number of photographs has

i4 THE PAINTER Hi

been obtained, sufficient to compile the following catalogue. In this
catalogue the portraits which seem to be attributed in safety to Hans
E worth are given in small capital letters, the remainder being given in
ordinary type, as affording material for further investigation. The
catalogue is arranged as far as possible in order of date, and where a
certain date is not forthcoming the age and costume of the person por-
trayed is taken into account. In any circumstances the number of
portraits reproduced must add an interesting contribution to the icono-
graphy of the Tudor period, and afford to students of character and
physiognomy an interesting study of racial and national character. It
should be noticed especially that at the outset a number of portraits
belong to the period of the Scottish war under the Duke of Somerset
from 1544 to 1548. If these be all by Hans Eworth his activity must
be dated a few years earlier, and even perhaps into the concluding
years of the reign of King Henry VIII.

LIST OF PORTRAITS BY OR ATTRIBUTED TO HANS EWORTH.

1547. King Edward VI.

,, THOMAS, ist BARON WENTWORTH

„ Sir James Wilford

" !> >t jr ...

1547 (?). EDWARD SHELLEY

1548. Sir Edward Grimston
1550. CAPT. THOMAS WYNDHAM .

„ SIR JOHN LUTTRELL .

,, Richard Pate ....
1553. SIR WILLIAM (?) SIDNEY .
„ EDWARD COURTENAY, EARL OF
DEVON

„ Elizabeth Stoke, Lady Lyster .
„ LADY JANE GREY

Duke of Manchester, Kimbolton.
Capt. B. C. Vernon-Wentworth, Went-
worth Castle.

(a) The Rev. Ambrose W. Hall.

(b) St. George's Hospital.

Lumley Inventory, 1590; not traced.
Earl of Verulam, Gorhambury.
Earl of Radnor, Longford Castle.

(a) George Fownes Luttrell, Esq.,
Dunster Castle.

(b) Mrs. Warner-Bromley, Badmondes-
field Hall.

Corpus Christi College, Oxford.
Lord De L'Isle and Dudley, Penshurst.

Duke of Bedford, K.G., Woburn

Abbey.

Lord Ribblesdale, Gisburn.
National Portrait Gallery.

PLATE IX.

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THE PAINTER IE

1554. QUEEN MARY

Society of Antiquaries, Burlington

House.

Lord Chesham, Latimer.
(a) J. C. Wynne-Finch, Esq., Voelas.
„ ,, .... (b) S. G. Stopford-Sackville, Esq.,

Drayton House.
Thomas, Baron Darcy ofChiche JohnWood, Esq.,M.R, HengraveHall.

,, QUEEN MARY
1554 (?). QUEEN MARY

i554-5(?). MARY NEVILL, BARONESS
DACRE

1555. John Russell, ist Earl of Bed-

ford ...
,, ANTHONY KEMPE

1556. QUEEN MARY ....

1557. HENRY FITZALAN, LORD MAL-

TR AVERS .

,, THOMAS, BARON HOWARD OF
BINDON .....

,, BASSINGBORNE GAWDY . .)

,, MRS. BASSINGBORNE GAWDY . J

„ UNKNOWN LADY
1557 (?). Sir John Cheke
1558. QUEEN MARY AND KING PHILIP

,, WILLIAM, BARON HOWARD OF
EFFINGHAM ....

,, HENRY FITZALAN, SIXTEENTH
EARL OF ARUNDEL, K.G.

Sir Thomas Barrett-Lennard, Bart.,

Aveley Belhus.
Duke of Bedford, K.G., Woburn

Abbey.
Not traced.
Duke of Bedford, K.G., Woburn

Abbey.
Duke of Norfolk, K.G., E.M., Norfolk

House.
Duke of Norfolk, K.G., E.M., Arundel

Castle.
Duke of Norfolk, K.G., E.M., Norfolk

House.

Not traced.

Trinity College, Oxford.
Duke of Manchester, Kimbolton.
Duke of Bedford, K.G., Woburn
Abbey.

Earl of Effingham.

(a) Marquess of Bath, Longleat.
(b} Duke of Norfolk, Arundel Castle.
Duke of St. Albans, Bestwood.

Marquess of Exeter, Burghley House.
Duke of Norfolk, K.G., E.M., Arundel
Castle.

,, UNKNOWN LADY
1558 (?). ANTHONY BROWNE, VISCOUNT

MONTAGUE, K.G. .
1558-9. THOMAS HOWARD, 4th DUKE

OF NORFOLK, K-.G.
„ MARY FITZALAN, DUCHESS OF

NORFOLK
1559. FRANCES BRANDON, DUCHESS OF

SUFFOLK, AND ADRIAN STOKE J. C. Wynne-Finch, Esq., Voelas.
,, Sir Thomas Chaloner . . National Portrait Gallery.

THE PAINTER KE

1559. Unknown Man (Tichborne ?) .
„ UNKNOWN MAN .

1559-60. QUEEN ELIZABETH

1560. COLONEL HARRY VAUGHAN

„ JUDD MEMORIAL
„ John Whitgift, D.D.
„ Anne Ayscough (?) .
,, UNKNOWN LADY
„ ELIZABETH FITZGERALD, COUN-
TESS OF CLINTON

» » » » »

1562. JEAN RIBAUT (?)...
„ THOMAS HOWARD, 4th DUKE OF

NORFOLK, K.G.
„ MARGARET AUDLEY, DUCHESS OF

NORFOLK ....
„ UNKNOWN LADY
1562(7). Capt. John Honing (?) .

1563. HENRY, LORD DARNLEY, AND

CHARLES STUART .

» }> » »

,, ANNE POYNTZ, LADY HENEAGE

,, LADY OF WENTWORTH FAMILY .

1563 (?). Lady Katherine Grey and
her Son .

" * ' f r I 7 IT

1564 (?). ELEANOR BRANDON, COUNTESS
OF CUMBERLAND

1565. UNKNOWN LADY

1566. Richard Norton

1567. WILLIAM BROOKE, loth BARON

COBHAM AND FAMILY .

„ KING HENRY VIII. .

„ Richard Harford

1568. Edward, Baron Clinton .

Lord Leconfield, Petworth.
Museo Poldi-Pezzoli, Milan.
Engraving by T. Geminus.
R. G. Geoffrey Harley, Esq., Brampton

Bryan.

Dulwich College Gallery.
Peterhouse, Cambridge.
(Formerly M. Colnaghi.)
Lord Leconfield, Petworth.
Duke of Bedford, K.G., Woburn

Abbey.

(Formerly at Lumley Castle, 1785.)
Ashmolean Museum, Oxford.

Lord Rothschild, Tring.

Lord Braybrooke, Audley End.
(Formerly Mrs. Michie Forbes.)
Queens' College, Cambridge.

(a) H.M. the King, Windsor Castle.

(b) H.M. the King, Holyrood Palace.
J. C. Wynne-Finch, Esq., Voelas.
Capt. B. C. Vernon-Wentworth, Went-

worth Castle

(a) Lord Leconfield, Petworth.

(b) Duke of Northumberland, Syon
House.

worth Castle.

Duke of Hamilton, Holyrood Palace.
Lord Grantley.

(a) Marquess of Bath, London.

(b) Duke of Devonshire, Bolton Abbey.
Trinity College, Cambridge.

J. C. Harford, Esq., Blaise Castle.
Duke of Bedford, K.G., Woburn
Abbey.

PLATE X.

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PLATE XI.

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THE PAINTER IE

1568. EDWARD, 3rd BARON WINDSOR,

AND FAMILY ....

,, THOMAS, SECOND BARON WENT-

WORTH .....

1569. QUEEN ELIZABETH AND THREE

GODDESSES ....

1570 (?). SUSAN BERTIE, COUNTESS OF

KENT

1571. ANNE DANBY, LADY CALVERLEY

1571 (?). UNKNOWN LADY .

ELIZABETH LEYCESTER, LADY TRAF-
FORD

1572. LADY WALSINGHAM (?)

„ UNKNOWN GENTLEMAN

1573. SIR HENRY SIDNEY, K.G. .
LADY MARY SIDNEY .

Marquess of Bute, Cardiff Castle.

Capt. B. C. Vernon-Wentworth, Went-
worth Castle.

H.M. the King, Hampton Court
Palace.

Earl of Lindsey, Uffington.
Sir W. C. Trevelyan, Bart. (?).
Mr. E. E. Leggatt, London.

Sir Humphrey De Trafford, Bart. (?).

Lord de L'Isle and Dudley, Pens-
hurst.

Wallace Collection.

Lord Leconfield, Petworth.

UNCERTAIN DATE

HENRY VIII AND FAMILY

LADY KATHERINE GREY (?) .
MILDRED COOKE, LADY BURGHLEY
FRANCES SIDNEY, COUNTESS OF SUSSEX

UNKNOWN LADY

Ambrose Dudley, Earl of War-
wick, K.G

) * ft JJ M M M

SIR GEORGE PENRUDDOCKE .

ANNE, LADY PENRUDDOCKE

SIR PHILIP SIDNEY ....

Queen Mary (?)

Unknown Lady

William Herbert, ist Earl of Pem-
broke

John Dudley, Dukeof Northumberland
Sir Thomas Smith ....

William Cecil, Lord Burghley .

H. Dent-Brocklehurst, Esq., Sudeley
Castle.

Mrs. Wright-Biddulph.

Marquess of Salisbury, Hatfield.

Sidney Sussex College, Cambridge.

Marquess of Crewe, K.G.,Crewe Hall.

St. John's College, Oxford.

Duke of Bedford, K.G., Woburn

Abbey.
Marquess of Salisbury, Hatfield.

Charles Pcnruddockc, Esq., Compton
Park, Salisbury.

» »

Earl of Warwick, Warwick Castle.

(Formerly Charles Butler.)

Marquess of Bute, Cardiff Castle.

Lord Sackville, Knole.

Sir William Bowyer-Smijth, Bart., Hill

Hall.
Bodleian Library, Oxford.

James Douglas, 4th Earl of Morton . Earl of Morton, Dalmahoy.

18 THE PAINTER IE

1547 KING EDWARD VI. (Panel 28 x 21 in.)

H.L., to left; black gold-embroidered doublet and ermine-lined cloak ; black jewelled
hat with white feather ; collar and order of the Garter ; gloves in his right hand, left
on sword-hilt. Inscription and date 1547. Duke of Manchester, Kimbolton.

(Tudor Exhibition, 183.)

Of the many portraits of Edward VI this seems to be the only one which can be
attributed to Hans Eworth, and possibly identified as the portrait of Edward VI by
' Hans Huett ' which was in the collection of King Charles I.

1547 THOMAS, FIRST BARON WENTWORTH (d. 1551). [PLATE XIII (a).] (Panel 38 x 28 in.)

H. L., slightly to the left ; black dress ; a black cloak with heavy ermined collar
and fur-lined sleeves ; fur wristbands ; plain white collar ; gloves in right hand and
white wand in left ; small beard and thin moustache ; black cap ; small white dog in
left corner ; on a circular cartouche over left shoulder the inscription FLENSES • A • BEEN •
(sic) ; above this a shield with the arms and quarterings of Wentworth ; on a panel
above right shoulder the inscription THOS. LD WENTWORTH LORD CHAMBERLAIN TO
EDWARD THE viT" ANNO ONI 1547, anc' above this a white label with another inscription.

Capt. B. C. Vernon- Wentworth, Wentworth Castle.
(S. K. 1866, 169.)

Sir Thomas Wentworth of Nettlested; knighted for bravery in France, 1523;
created Lord Wentworth of Nettlested, December 1529; attended King Henry VIII
to Boulogne ; Lord Chamberlain of the Household to King Edward VI ; died
March 3, 1551 ; buried in Westminster Abbey.

A similar portrait was in possession of Sir Charles Wentworth Dilke, Bart., dated
ANNO DNI 1547, age 48 (Tudor Exhibition, 143) ; see reproduction in W. L. Rutton's
Three Branches of the Family of Wentworth.

1547 SIR JAMES WILFORD (1516-50). (Panel 36x27 in.)

T. Q., to right ; head bare ; in armour ; general's baton in right hand, left resting
on hilt of his sword ; in the background, on the right, is a rude picture of the town of
Haddington, inscribed : ' Taken and defended against tow beseages of the Scotes,
aseisted of the Frenche bie the valoure of the Englishe men, this Knight being theyre
Captayne ' ; on the left, shield of arms ; above, ^ETATIS SUJE, 32 ; below, ANNO DOMINI
1547. St. Georges Hospital.

Sir James Wilford, eldest son of Thomas Wilford, of Hartridge, Kent, and
Elizabeth, daughter of Walter Colepeper of Bedgebery, born 1516. Provost Marshal
of English army at Pinkie ; commanded town of Haddington, April 1548, until early in
T549> when he was wounded and taken prisoner. Knighted by Protector Somerset,
Nov. 28, 1547. After the surrender of Haddington he returned to London, and in 1550
was appointed by Edward VI Bailiff of his park at Oxford. Died November 1550 at
Crutched Friars, and buried in Little St. Bartholomew's church.

(1) Tudor Exhibition, 1890, No. 48; lent by the Rev. Ambrose W. Hall.

(2) St. George's Hospital ; bequeathed by Sir Thomas Apreece.

(3) Westmorland sale, June 2, 1892, 60. Sir James Wilford, with view of
Haddington in the background ; arms and date, 1547. Lord Tweeddale, £10 IDS.

See a reproduction in The Genealogist, vol. iv. One version is now in the Scottish
National Portrait Gallery at Edinburgh.

PLATE XII.

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PLATE XIII.

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THE PAINTER FE 19

1547 (?) EDWARD SHELLEY. The Lumley inventory of 1590 contained an entry ' Of Mr
Edw: Shelley slayne at Mustleborough feilde, drawen by Haunce Eworth'. This por-
trait has not been traced. Edward Shelley ' slain in Scotland ' was fourth son of Sir
William Shelley of Michelgrove, Sussex, and Alice Belknap, his wife.

1548 SIR EDWARD GRIMSTON. (Panel 35x28 in.)

T. Q., standing; black dress and cloak and cap; flat white pleated ruff; gloves in
right hand ; eight lines of poetry in upper corner ; date 1548, aet. 50.

Comptroller of Calais, 1552. Earl of Verulam, Gorhambury.

(S. K. 1866, 210.)

1550 CAPT. THOMAS WYNDHAM (1510 ?~53). [PLATE V.] (Panel 33 x 26! in.)

H. L., life size, showing hands ; standing in front of a tree ; dark brown hair, beard
and moustache ; nearly full face, looking slightly down ; green jerkin over chain
armour ; a red sash over right shoulder ; helmet in right-hand top corner, decorated
with gold floriated arabesque ornaments, and red feather ; a powder flask hangs round
his neck by a red cord with tassels ; his thumbs are inserted in a black velvet sword-
belt round his waist ; behind his left shoulder are seen the muzzles of two single-
barrelled or one double-barrelled gun, in one of which a ramrod is inserted, on this
barrel being the initials T. W., while on the other barrel are inscribed ^TATIS
XLII . MDL and the monogram fE ; in the background a view of a town with an encamp-
ment and soldiers. Earl of Radnor, Longford Castle.

Thomas Wyndham was son of Sir Thomas Wyndham of Felbrigg, Norfolk, by
Elizabeth, his second wife, daughter of Sir Henry Wentworth of Nettlested, widow
of Sir Roger D'Arcy. Through his mother he was first cousin to Queen Jane
Seymour. He served in various filibustering expeditions at sea, and in 1547 he was
appointed Master of the Ordnance in the King's ships, and Vice-Admiral, under Lord
Clinton, of a fleet sent to the east coast of Scotland to fight the French and Scotch,
and try to raise the siege of Haddington. In 1550 he joined his nephew, Sir John
Luttrell, on a trading expedition to Morocco, but owing to Luttrell s death sailed
alone. In 1552 he made a second expedition to Morocco, and in 1553 he set out for
a voyage to the Gold Coast, but died in the Bight of Benin of fever, or was drowned,
as stated below, on his way home.

Purchased by the second Earl of Radnor, June 22, 1813, as the portrait of Sir
Anthony Denny by Holbein. It had previously been in the collection of John, Lord
Lumley at Lumley Castle, whence it was sold for five guineas on August n, 1785,
and in the inventory of 1590 it appears as the portrait ' Of Mr Thomas Wyndham
drowned in the Sea returneinge from Ginney'. In his will, dated July 14, 1553,
proved February 10, 1554, he mentions his brother Sir Edmund Wyndham, his son
Henry, his two daughters, his brother Cowlys, Sir John Chichester, and Sir John
Luttrell, to whom he leaves £100. In the will of his father, Sir Thomas Wyndham,
dated October 22, 1521, and proved May 4, 1522, he wishes ' Thomas, his son, to be sent
to the University of Bonamie in Italy '.

1550 SIR JOHN LUTTRELL (1518 ?~5i). [PLATE IV.] (Panel 42! x 32^ in.)

Seen to the waist quite nude, wading in a rough sea, amid the waves of which is
seen the face of a young man drowning, near whom is a boat full of men in danger of
their lives ; in the background is a man-of-war being wrecked in a storm, flying the red

D 2

20 THE PAINTER Hi

ensign. He has dark hair, a pointed beard, and heavy drooping moustache. His right
arm is upraised, and round the upper arm is twisted a striped sash. On his right wrist
is a bracelet inscribed NEC FREGIT LUCRUM, 1550, and on his left one inscribed NEC FINGIT
DISCRIMEN. Behind his right arm is seen the figure of Peace, quite nude, holding an
olive-branch, appearing from behind a black cloud, and attended by other goddesses
with emblems, a peacock, a breastplate, a helmet, a sword, a purse, and a horse. On a
rock in front is an inscription :

MORE THE THE ROCK AMYDYS THE RAGING SEAS

THE CONSTAT HERT NO DAGER DREDDYS NOR FEARYS

S. I. L.
1550 • ffi.

Below this have been added in 1591 four lines of Latin verse by his younger
brother and heir, George Luttrell of Dunster Castle.

Reproduced in A History of Dunster by Sir H. C. Maxwell-Lyte, K.C.B., vol. i
(1909). George Fownes Luttrell, Esq., Dunster Castle.

Son of Sir Andrew Luttrell of East Quantockshed, Somerset, and Margaret
Wyndham his wife ; nephew of Captain Thomas Wyndham ; served under the Duke of
Somerset in Scotland ; knighted at Leith, 1544 ; one of the commanders at Pinkie ;
besieged Dundee ; defender of Inchcolm and of Broughty Craig, at the fall of which in
1550 he was taken prisoner. Died at Woolwich, July 10, 1551, when about to start
upon an expedition to Morocco with Captain Thomas Wyndham. Married a daughter
of Sir Griffith Ryce and left three daughters.

Machyn's Diary, 1551 (Camd. Soc. Publications) : ' The vij day of July begane a nuw
swet in London and . . . ded my Lord Crumwell in Lesetershyre, and was bered [with
a stand]ard, a baner of armes, and cote, elmett, sword, targett, and scfochyons, and]
harold ; and at the sam tyme ded my lord Powes, and the x day [at W]ollwyche, Sir
John Lutterell, Knyght, a nobull captayne.'

Somersetshire Wills, vi. 15: 'Sir John Lutterell in the King's wars. Will dated
Mar. 22, 1547, proved Dec. 23, 1551 (37 Bucke). Thomas Windham my uncle Ex01'.'

Signed IE and dated 1550. One or other of the varieties of this portrait was at
Lumley Castle in 1590, and is entered in the inventory as 'Of Sir John Lutterel, who
died of the sweat in K. Edw. 6. tyme '.

155° RICHARD PATE (1516-88). (Panel 34 x 23 in.)

H. L., standing to left ; black cap, dress, and fur-lined gown ; small white ruffs at
neck and wrists ; gold chain round neck ; a book in his right hand, his left resting on
a table covered with a green cloth ; inscribed above

TESTIS ERAT TALIS, TALIS QVOO^FORMA PATJEI

QUALES SIC PRESENS PICTA TABELLA REFERT.
AN0 1550. -STATIS SU^E 34.

Born 1516; Commissioner for suppressing religious houses in Gloucester and
Bristol ; founder of Cheltenham Grammar School ; died 1588.

Corpus Christi College, Oxford.

(Tudor Exhibition, 227.)
Reproduced in Catalogue, Oxford Exhibition of Hist. Portraits, 1904, 53.

PLATE XIV.

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THE PAINTER IE 21

1553 (?) SIR WILLIAM SIDNEY (?) (1482 7-54). [PLATE VI.] (Panel 47 x 37 in.)

T. Q., life size to left ; black doublet and surcoat with jewelled buttons and tags,

sword by his side ; right hand on helmet placed on table, left gloved and holding glove ;

in background green curtain and a panel inscribed ' Sr Wm Sydney Aetatis Suae 36.

Holben, f. 1523.' Lord De Lisle and Dudley, Penshurst.

(Tudor Exhibition, 399.)

Sir William Sidney, or Sydney, eldest son of Nicholas Sidney, by Anne Brandon,
aunt to Charles Brandon, Duke of Suffolk ; born about 1482. In 1511 went on an
expedition against the Moors in Spain ; in 1513 commanded the right wing of the army
at Flodden ; accompanied Henry VIII to the Field of Cloth of Gold in 1520 ; tutor and
steward of the household to Edward VI ; acquired Penshurst ; married Anne, daughter
of Sir Hugh Pagenham ; died at Penshurst, February 10, 1553-4.

Vertue saw this picture at Penshurst in 1736 and attributed it to Lucas D'Heere
(Brit. Mus., Add. MSS. 23072): 'Sir Wm Sydney at Penshurst fi553, painted by
IE. De Heere; Lady Mary, daughter of John, Duke of Northumberland, by the same,
unsigned.' The inscription is clearly false, and the date should probably be 1553.
Ibid. 23071, fo. 64 : ' at Lord Leisters at Penshurst, Sir Wm Sydney HI. aet. 22, 1577.'

In spite of the tradition obtaining from Vertue's time, it is quite impossible that
this admirable portrait should represent Sir William Sidney. It represents a man in
the prime of life, and the painter at his best. It would be more probable that it is
a portrait of Sir Henry Sidney in his younger days.

1553 EDWARD COURTENAY, EARL OF DEVON (1526 7-56 ?). [PLATE IX (b).] (Panel 41! x 30 in.)
Standing figure to the knees, slightly to the left, resting his hands on the battle-
ments of a wall ; bare-headed, short cropped brown hair ; light brown moustache and
beard; white silk hose; black jerkin, white sleeves; small ruff, and white single-fold
cuffs ; behind his head a castle with a ruined keep.

Diike of Bedford, K.G., Woburn Abbey.

Born about 1526 ; son of Henry, Marquess of Exeter, whose mother was daughte
of King Edward IV ; imprisoned in the Tower of London from boyhood to 1553, when
he was released by Queen Mary ; but re-committed in 1555 on account of Sir Thomas
Wyat's rebellion ; died at Padua in 1556.

Inscribed in cursive letters on cross stone of tower :

En puer, ac insons et adhuc juvenilibus annis,
Annos bis septem carcere clausus eram,
Me pater his tenuit vinclis, que filia soluit
Sors mea sic tandem vertitur a superis ;
and in lower right-hand corner, ' E. Corteney Comes Deudn.'

This portrait has the curious tradition of having been painted by Courtenay
himself. If not the work of Hans Eworth, it is that of some very skilled contem-
porary painter.

1553 ELIZABETH STOKE, LADY LYSTER (d. after 1567). (Canvas 21 x 16. in.)

Bust, black dress, high double ruff; jewelled cap and black hood; heavy gold
chain four times round her neck, from which hangs a large enamel gold and diamond
pendant Inscribed AN° 1553 ^TATIS SU.E 38. Lord Ribblesdale, Gisburn.

Elizabeth Stoke, second wife of Sir Richard Lyster, Chief Justice of the King's
Bench. Reproduced in Hailstone's Yorkshire Portraits. Perhaps only a copy.

22 THE PAINTER IE

1554 (?) LADY JANE GREY (1537-54)- [PLATE III.] (Panel 6£ in. square.)

Small portrait, bust only ; face turned slightly to the left ; fur-lined coat ; small ruff.

Born 1537 ; daughter of Henry Grey, Marquess of Dorset, afterwards Duke of

Suffolk, and Lady Frances Brandon ; in 1553 married Lord Guilford Dudley ; succeeded

Edward VI as Queen of England for ten days in 1554 ; beheaded on Tower Hill in the

same year. National Portrait Gallery.

1554 QUEEN MARY. [PLATE VII (a). \ (Panel 40 x 30 in.)

T. Q., life size to left ; gold-embroidered and jewelled robe, sewn with pearls ;

sleeves slashed, and with sable trimming ; black and white jewelled head-dress ; necklace

of pearls on her breast ; locket with pendent pearl ; pomander hanging from waist ;

hands folded, rings on fingers ; in background red curtain with squared folds ;

signed rE, 1554. Society of Antiquaries, London.

Bequeathed to the Society of Antiquaries by Mr. Kerrich.
Reproduced in colours in Shaw's Dresses and Decorations of the Middle Ages.

Another reproduction in the Magazine of Art, 1891.

1554 QUEEN MARY. fPi.ATK VII (b).] (Small panel.)

H.L., almost facing spectator; tight-fitting velvet gown with large sleeves;
richly embroidered under-sleeves with white frillings at the wrists ; gown cut open at
the neck showing white lining ; large jewel with big square diamond and pendent pearl
on her breast ; a double necklace of large pearls and rubies on her neck with a Tau-
cross pendant of diamonds ; square-cut hood showing white band with richly jewelled
edging ; both hands shown resting on a window-sill with a velvet cover with gold fringe ;
two rings on right hand, which holds a flower ; four rings on left, in which she holds
gloves ; folded curtain background. Lord Chesham, Latimer.

1554 (?) QUEEN MARY. [PLATE VII (r).] (Panel 8x6-|- in.)

Small T. O., to left ; silver-embroidered kirtle; black mantle, trimmed with fur and

gold tags ; small white ruffs at neck and wrists ; black hood edged with white and

trimmed with jewels ; holding in her right hand a scroll inscribed ' The Supplicate . . . ,'

left resting on table. J. C. Wynne-Finch, Esq., Voelas.

(Tudor Exhibition, 235.)

THE SAME. (Panel 44 x 35 in.)

T. Q., to left ; close-fitting dress of black satin, trimmed with fur ; many jewels ;

fur collar ; jewelled hood and veil ; holding in her right hand a folded paper inscribed

'The Supplication of Thomas Hungad'; left, holding gloves, rests on back of chair ;

inscribed MARY isr QUEEN OF ENGLAND. 5. G. Stopford-Sackville, Esq., Drayton.

(Tudor Exhibition, 230.)

An engraving corresponding to these by Francis Delaram has the inscription as
' Suplicatio of Thomas Hongar '; this was afterwards reduced to an oval and published
in Holland's Bazilmlogia, 1618.

1554 (?) THOMAS, FIRST BARON DARCY OF CHICHE, K.G. (1506-58).

Whole-length standing figure, slightly to the left; black dress, cloak, and cap;
flat white collar ; peaked beard, moustache and whiskers ; right hand holding sword-
belt, left holding sword ; coat of arms in upper left-hand corner, inscribed ' Sir
Thomas Darcy of Chich, Knight of the Garter in the time of Henry VIII A ... suae
49 ' ; collar of the Garter. John Wood, Esq., M.P., Hengrave Hall.

Thomas, Lord Darcy of Chiche, was Captain of the Guard to Edward VI, made
K.G., and raised to the peerage in 1551. A portrait of Lord Darcy was in the Lumley

PLATE XVI.

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THE PAINTER IE 23

inventory of 1590 as ' The Statuary of Thomas, first Lo: Darcy of Chiche created by
King Edw. 6. Lo: Chamberleyne to the said K. Edw: drawn by Garlicke '. The portrait
by Gerlach Fliccus was at Irnham up to 1848. The Hengrave portrait was reproduced
by Miss Hervey in the Burlington Magazine (xvii, p. 77) to illustrate her article on
Gerlach Fliccus. It, however, seems much more probably to be the work of Hans
E worth.

r554/5 MARY NEVILL, BARONESS DACRE (d. 1576). [PLATE I (Frontispiece).]

(Panel 28| x 23 in.)

T. Q., seated figure at a table to the left ; rich silk dress cut open at the neck to
show lining of white with bold black-embroidered design ; a bunch of flowers at the
bosom ; in her right hand she holds a quill pen, which she is dipping into an inkpot,
and in her left a half-open book ; on the table is an open book, another small box, and
a powder castor ; four rings on the fingers of her left hand, one on the first finger of her
right ; full rather fat face ; smooth brown hair ; a rich brocade curtain with bold floriated
pattern behind, on which hangs a portrait of her late husband, after an original by
Holbein and dated on the frame ' 1540. Aetatis 24 '. Signed in lower corner IE.

Sir Thomas Barrett- Lennard, Bart., Aveley Belhus.

Thomas Fiennes, ninth Lord Dacre, born in 15 17, was executed at Tyburn on June 30,
1541, for complicity in the murder of a keeper in Sir Nicholas Pelham's park in Sussex.
He married Mary Nevill, daughter of George, Lord Abergavenny, and left two sons and
a daughter who married Sampson Lennard and became Baroness Dacre herself in 1604.
Lady Dacre married secondly John Wootton of Tuddenham, Norfolk, and thirdly
Francis Thursby of Longham, Norfolk. This portrait remained in the Dacre family
until 1715, after which it became the property of Anne, Lady Dacre's third husband,
Hon. Robert Moore, from whom it was repurchased soon after Lady Dacre's death in 1755.

Lent to the Birmingham Art Gallery in 1892, and to the National Gallery in
1912. A copy is at the Vyne, Basingstoke, belonging to Charles Lennard Chute, Esq.

1555 JOHN RUSSELL, FIRST EARL OF BEDFORD (14857-1555). (Panel 27^x21^ in.)

H. L., life size, seated in a red high-backed chair, facing spectator; black dress and

cap ; collar of the Garter ; long white forked beard and moustache ; holding in his left

hand a black stave ; defect in right eye ; chair has embroidered pattern and gold knobs.

Inscribed A° DNI 1555 ; and in later hand, 'John Russell, Earl of Bedford.'

Duke of Bedford, K.G., Wobnrn Abbey.

Born before 1486 ; created Baron Russell and K.G. 1539 ; Lord Keeper of the
Privy Seal, 1543-53; executor to King Henry VIII ; died 1555.

This is possibly a copy, and the attribution to Hans Eworth uncertain.

1555 ANTHONY KEMPE.

Vertue notes that at Mr. Rawlinson's sale a small picture of Antoni, son of
Sir Nicholas Kempe, was sold, dated 1555, aet. 28, and signed IE.

Brit. Mus. Add. MSS. 23071. ' Pictures at Mr. Rawlinson's sale. A small picture
of Antoni Kempe, 1555 An0 Aeta 28, about a foot high, neat of spirit and well done.
(I suppose painted by I-E. Heere was then, 1555, aet. 21. 1557. 1559. These three of
the Master's works I have seen. Antony Kempe, 1555, son of Sir Nicholas, see Mr.
West, bur at Isleham.)'

Perhaps a portrait of Anthony Kempe of Slindon, Sussex, fourth son of Sir William
Kempe of Ollantigh, Kent ; but Bartholomew Kemp of Gissing, Norfolk, who died in
1554, had a third son, Anthony Kemp of Florden, Norfolk, who may be the person
represented.

24 THE PAINTER IE

155^ QUEEN MARY. [PLATE VIII (a).] (Panel 27x21 in.)

H. L., life size, turned slightly to left ; close-fitting black dress; open collar at the

neck showing embroidered lining ; rich yellow embroidered sleeves with pullings-out

at the wrists ; fur-lined over-sleeves ; square-cut cap and hood with jewels ; pale-blue

background ; her hands folded in front of her ; rings on left hand only.

Duke of Bedford, K.G., Woburn Abbey.
Inscribed in capitals in upper right-hand corner: (Scharf. n.)

MARIA • REGINA
ANGLIA • FRAN
CIA • HIBERNIA
^ETATIS SVJE 42
ANo DNI 1556.

This is probably only a copy from a portrait by Hans Eworth.
1557 HENRY FITZALAN, LORD MALTRAVERS (1538-56). [PLATE X (a).] (Panel 9x7 in.)

Small H. L., to right ; white silver-embroidered doublet ; black fur-lined cloak ; small
white ruffs at neck and wrists; black jewelled cap with white feather; gloves in his
right hand, left on sword-hilt ; inscribed IE. 1557.

Duke of Norfolk, K.G., EM., Norfolk House.
(Tudor Exhibition, 212.)

Brit. Mus. Add. MSS. 23071. Vertue notes among the pictures in Mr. West's collec-
tion, sold March 31, 1773 : ' Lucas De Here a portrait of Henry Lord Maltravers the
last of the FitzAllen family, £2 23. od.' ..." A small half len. : a portraiture in small of
Henry Lord Maltravers, who dyd aeta. 19 at Brussels in 1556. H£. 1557 is on the picture,
being the mark of De Heere the painter, and I certainly believe painted by him.'

Henry FitzAlan, Lord Maltravers, only son and heir of Henry FitzAlan, sixteenth
Earl of Arundel, died at Brussels, 1556, aged 19.

This is the original stated to be at Norfolk House with an inscription which
mentions his death at Brussels in 1556, aged 19 (subsequently added). This inscription
occurs on the whole-length at Arundel, which appears to be a copy made by a
seventeenth-century painter, perhaps J. van Belcamp.

This is inscribed HARRY FITZALENE, COUNT MALTREVASS ELDEST SONNE TO THE LORD

HARRY ERLE OF ARUNDEL DECEASED THE LAST DAYE OF JULY IN BRUSSEL THE YEARE OF OUR

LORD GOD MDLVI BEING OF AGE NOT FULY xix YEARES. This is evidently an ignorant
transcript of an older inscription. (Tudor Exhibition, 248.)

1557 HENRY FITZALAN, LORD MALTRAVERS. [PLATE X (b).] (Panel 36x28 in.)

T. Q., slightly to right ; rich embroidered jerkin and slashed trunk hose ; black

cloak with heavy ermine lining and collar, and gold buttons ; high collar at neck and

small ruff and wristbands ; black cap with gold buttons and white feather ; sword

at left hip ; gloves in left hand ; right hand on hip.

Duke of Norfolk, K.G., E.M., Arundel Castle.

This portrait is painted very much in the style of Antonio Moro, and as Moro was
working at Brussels in 1556 at the time of Lord Maltravers's death, he may very likely
have painted a memorial portrait. On the other hand, this portrait forms one of a class
which seem to be rightly given to Hans Eworth.

1557 THOMAS, BARON HOWARD OF BINDON (d. 1582). (Small panel.)

Bust; black dress and cap; the arms of Howard in upper corner. Inscribed

ANNO 1557, ^TATIS su^ 28. Duke of Norfolk, K.G., E.M., Norfolk House.

Second son of Thomas Howard, third Duke of Norfolk ; created Baron Howard

of Bindon, 1559 ; died 1582.

PLATE XVII.

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THE PAINTER HE 25

1557 BASSINGBORNE GAWDY and ANNE WOOTTON his wife.

Vertue (Brit. Mus. Add. MS. 23070, fo. 75) notes: 'Amongst old paintings at Bow
left by Mr. Le Neve Norroy at his house there. Bassingborne Gawdy Esq. on board,
small life, aetatis 22. The mark of the painter HL 1557 ... his wife aetat 20. FE. the
mark of the Painter also. — These two pictures, as they are not half so big as the
life, are drawn with a pretty good spirit and firm manner, the colouring faded.'

Bassingborne Gawdy of Mendham, Norfolk, son of Thomas Gawdy of Redenhall,
Norfolk, Serjeant-at-law, and Anne Bassingborne his wife, married in 1558 Anne,
daughter of John Wootton of Tudenham and Elizabeth Bardwell his wife, and grand-
daughter of John Wootton of Tudenham, whose second wife was Mary Nevill, Baroness
Dacre (see above). Anne Wootton had been previously married, first to Thomas
Wodehouse, and secondly to Henry Repps.

1557 UNKNOWN LADY. [PLATE XXIX (b).] (Panel circular 6| in.)

Bust T.Q., to left; black head-dress; small ruff with black edging ; dull brown dress;

brown fur collar ; slashings tied with black points ; bunch of pink roses on her bosom ;

dark green background ; inscribed ANNO DNI. 1557 /ETATIS SILE 32. Formerly called

Queen Mary. Trinity College, Oxford.

(Oxford Exhibition of Hist. Portraits, 1904, 31.)

1557 (?) SIR JOHN CHEKE (1514-57). (Panel 13x9 in.)

Small H. L. ; black vest and cloak with fur collar ; small white ruffs at the neck
and wrists ; gloves in left hand ; reddish beard.

Born at Cambridge, 1514 ; Greek Professor, 1540 ; Latin Tutor to Edward VI ;
Provost of King's College, Cambridge; died 1557. Duke of Manchester, Kimbolton.

(Tudor Exhibition, 95.)

1558 QUEEN MARY AND KING PHILIP. [PLATE VIII (/;).] (Panel n x 29 in.)

Two small full-length figures in a room with marble pavement and a small casement
window through which is seen a view of the Thames with St. Paul's Cathedral. On
either side of the window is a throne, one with the arms of England, the other the arms
of Spain. The Queen is seated, wearing a dark-blue velvet gown open to show a rich
gold brocade kirtle with a long girdle of pearls and jewels. She holds a pink rose in
her right hand and gloves in her left. King Philip stands by his throne, resting his
right hand on it, a glove in his left. He wears a short black dress and cloak, close-
fitting hose and sleeves of pale yellow, and a black cap. He has the Garter on his
knee and the jewel of the Toison d'Or hanging by a gold chain on his neck. Two small
dogs are at the Queen's feet. Inscribed in gold capitals on a dark wall above the
window:

A° 1558

ET ANNIS REGNOR) PHI

LIPPI ET MARIE DEI GRAC

REGIS & REGINE • A • H • F • VTRIVS

C • I •, ET H • FIDEI DEFENSORf

ARCHIDVCV • AV • DV • B • M • & • BR •

COVNTV • H • I-F • & T • QVARTI • & QVNTO • (stc)

Much gilding is used in this painting. Duke of Bedford, K.G., Woburn Abbey.

(Scharf, 12.)

(Manchester Exhibition, 1857.)
E

26 THE PAINTER HE

1558 WILLIAM HOWARD, FIRST BARON HOWARD OF EFFINGHAM (d. 1573).

T. Q., standing ; left hand holding gloves on a table ; a white wand in right hand ;
fur-lined cloak, and fur-edged robe fastening down the front ; black cap and coif.
Inscribed and dated ^TATIS 86, 1558. FE. 1558.

Formerly in the collection of Marmaduke Tunstall, Esq. Engraved for J. Thane by
J. Ogborne, 1774. Earl of Effingham.

Another portrait of William, Lord Howard of Effingham— a bust in Garter robes—
also the property of the Earl of Effingham, is reproduced in C. R. L. Fletcher's Historical
Portraits (Oxford, 1909).

1558 HENRY FirzALAN, SIXTEENTH EARL OFARUNDEL, K.G. (d. 1580). (Panel 36x28 in.)

T. Q. ; heavy furred cloak ; collar of the Garter ; gloves in right hand, left on sword-
hilt ; a black cap on his head ; square brown beard, moustache and whiskers. Inscribed
A° DNI 1558. JE. SU/E 56. Marquess of Bath, Longleat.

Reproduced in Lodge's Historical Portraits and in C. R. L. Fletcher's Historical
Portraits (Oxford, 1909).

Field-Marshal to Henry VIII at Boulogne; supporter of Queen Mary; Lord
High Steward to Queen Elizabeth; died 1580; married first Catherine, daughter of
Thomas Grey, Marquess of Dorset (by her he was father of Henry, Lord Maltravers ;
Jane, wife of John, Lord Lumley ; and Mary, wife of Thomas Howard, fourth Duke of
Norfolk) ; second, Mary, daughter of Sir John Arundel and Katherine, widow of Robert
Ratcliffe, Earl of Sussex.

(b) THE SAME. [PLATE XI (a).] (Panel 36 x 28 in.)

T. Q.; gold-brocaded doublet and trunks ; black ermine-lined cloak ; white ruff;
black cap with white feather ; gloves in left hand ; right hand on sword-hilt.

Duke of Norfolk, K.G., E.M., Arundel Castle.
(Tudor Exhibition, 211.)

1558 UNKNOWN LADY. [PLATE XXVIII (A).] (Panel, oaken, 44 y.^\ in.)

T. Q., looking at spectator, slightly turned to the right ; red gown edged with brown
fur; black velvet kirtle ; double sleeves, over-sleeves with wide border of brown fur;
lace insertions on throat and neck ; gold chain round neck and under gown ; short
brown fur tippet round her neck ; short black velvet cape lined with lace ; in her
hands holds her gloves and with the left hand holds up loose end of heavy black girdle,
ornamented with gold ; gold bracelets, several rings ; on her head a close-fitting cap
of white linen, and over this a triangular cap of black velvet.

Duke of St. Allans, Bcstwood.

Found in an old house near Southwell Minster (see Archaeologia, liv, 1894).

1558? ANTHONY BROWNE, VISCOUNT MONTAGUE, K.G. (d. 1592).

W. L., standing portrait ; black dress ; richly embroidered gold brocade jerkin and
cloak ; black cap; a heavy table behind. Marquess of Exeter, Burghley.

(Tudor Exhibition, 236.)

Son of Sir Anthony Browne, Master of the Horse to King Philip of Spain, K.G.,
1555 ; fought at St. Quentin ; died 1592.

Drawn by G. P. Harding in 1815, and engraved by Joseph Brown for the Granger
Society.

PLATE XVIII.

13 0

UNKNOWN LADY.
Duke of Hamilton. Holyrooil Palace

PLATE XIX.

WILLIAM BROOKE, LORD COISHAM, AND FAMILY.
Mtirqitess of Built, Manctu'stt'r Square, London.

THE PAINTER IE 27

1559 (?) THOMAS HOWARD, FOURTH DUKE OF NORFOLK, K.G. (1536-72). [PLATE XII (a).}

Canvas (83 x 47 in.)

W. L., standing figure ; rich embroidered jerkin and silk hose; velvet fur-lined cloak,
puffed at shoulders, with tags and fur edgings ; small ruff and wristbands ; baton in
right hand, left hand encircling sword-hilt; black flat hat ; marble floor with black and
white rectangular pattern ; table to left ; collar and large George of the Garter.

Duke of Norfolk, K.G., £.M., Arundel Castle.

(Tudor Exhibition, 228.)

Born 1536 ; known as Earl of Surrey till 1553, when he was restored to the Duke-
dom of Norfolk ; K.G. 1559; Lieutenant of Northumberland, 1560; attainted 1572, and
executed ; married first Mary, daughter and heir of Henry FitzAlan, i6th Earl of
Arundel ; second, Margaret, daughter and heir of Thomas, Lord Audley ; third,
Elizabeth, daughter of Sir James Leybourne.

Reproduced in The House of Howard, by Gerald Brenan and S. P. Statham,
2 vols., Hutchinson & Co., 1907.

This appears to be one of a set of three full-length portraits, enlarged from original
portraits by Hans Eworth, but painted at a later date early in the seventeenth century,
perhaps by J. van Belcamp.

1588? MARY FITZALAN, DUCHESS OF NORFOLK (1541-57). [PLATE XII (b).]

(Canvas 83 x 45-! in.)

W. L., standing to right ; brocade skirt with lozenge braidings ; long mantle with
train ; hanging fur-lined sleeves ; tight corset with black velvet yoke open at neck to
show lace-edged lining; small embroidered cambric ruff and wristbands; square-cut
head-dress with jewels ; jewelled girdle with tassel hanging from waist ; gloves in left
hand ; right hand holding up mantle ; jewel on breast ; architectural background with
vase of flowers in window. Duke of Norfolk, K.G., E.M., Arundel Castle.

(Tudor Exhibition, 241.)

Born 1541; daughter and coheir of Henry FitzAlan, Earl of Arundel; married in 1556
to Thomas Howard, fourth Duke of Norfolk ; died at Arundel House, August 25, 1557.
Reproduced in The House of Howard, by G. Brenan and S. P. Statham, 2 vols.,
Hutchinson & Co., 1907.

This appears to be one of the enlarged portraits from an original by Hans Eworth.

1559 FRANCES BRANDON, DUCHESS OF SUFFOLK (1523-59), AND HER SECOND HUSBAND,
ADRIAN STOKE (d. 1586). [PLATE II.] (Panel 19x27 in.)

H. L., double portrait, the Duchess on the left, Adrian Stoke on the right. She
wears a black dress with tags and jewels, a gold-edged ruff at the neck, and gold-edged
wristbands ; black hood with jewelled ornaments ; two necklaces of pearls, one with
a pendant ; her right hand rests on a cushion and holds a glove ; in her left she
holds a ring. He wears a light-pink embroidered doublet, with black fur-lined surcoat
slashed with tags ; a ruff at the neck and pink-edged wristbands ; his right hand
rests on his hip holding gloves ; he wears a sword. Inscribed above her head ^TATIS
xxxvi ; above his ^ETATIS xxi, and with the date MDLIX. Signed in corner above, J£.

(Tudor Exhibition, 255.)

Frances Brandon was elder daughter of Charles Brandon, Duke of Suffolk, and of
Princess Mary Tudor, daughter of King Henry VII, and widow of Louis XII, King of
France. In 1533-4 sne married Henry Grey, third Marquis of Dorset ; in 1551, by the
deaths of her young brothers, Thomas and Charles Brandon, successive Dukes of
Suffolk, she came into the succession to the throne, and her husband was created Duke

E 2

28 THE PAINTER ffi

of Suffolk. They were the parents of Lady Jane Grey, Lady Katherine Grey, and
Lady Mary Grey. After the execution of the Duke of Suffolk on February 23, 1554,
the widowed duchess, on March i, 1555, married a youth, Adrian Stoke, described as
master of her horse. She died in December 1559 ; her husband became a member of
Parliament, remarried, and died in 1586. This double portrait was seen by Vertue in
the collection of Mr. Collevon, at whose sale on February i, 1726/7, it was purchased by
Edward Harley, second Earl of Oxford. It subsequently was the property of Horace
Walpole at Strawberry Hill, and at the sale was purchased by the Rev. Heneage Finch,
from whom it came to its late owner, Col. Wynne-Finch.

From Sale Catalogue of collection of Edward, Earl of Oxford, by Cock, March 8,
1741-2 : ' The Duchess of Suffolk and her husband Adrian Stoaks by Holbein,
£15 45. 6d. Lord Dupplin.'

Vertue, Brit. Mus. Add. MSS. 23070 (1725): 'At a sale of Mr Collevon's pictures
in Covent Garden, First of Feb. 1726/7 on bord 2 heads painted, something less than
the life, on the Right a Lady richly drest in black & Jewells, over her head aetat. xxxvi,
the other a young gent red short hair — very lively and well drawn, over his head
seta, xxi, between on the ground at top MDLIX. On the back of this picture is wrote
on a piece of paper pasted the Duches of Suffolk. At one corner of the ground at top
this mark IE. — this in tjre Catalog is said to be the Duke & Dutches of Suffolk by
Holbein, it is indeed in his manner Si done by a master very neatly and curious, but
he was dead before that date — however this may be Frances Dutches of Suffolk &
Adrian Stokes, her 2nd husband. She dyd and was buried at Westminster, there being
a fine effigie & Monument erected for her by Stokes (this picture bought by Mr Man-
ning in the Sale for the Earl of Oxford).'

23°73 (I741) : ' Sold at Ld Oxford's Sale. Duchess of Suffolk — £15 and Adr.
Stoakes.'

23072 (1736) : ' Frances Brandon Dutches of Suffolk dyd Decemb1 1559 . . . her
picture and Adrian Stokes, her second husband, are painted together by Lucas de
Heere, then the picture must be painted before her death, and probably soon after they
were married, being plump and jolly in all her gay attire . . . her first husband Henry
Grey, Duke of Suffolk, dyd 23 Feb. 1553/4, consequently her picture was painted 55
or 6, between or before 1589 by De Here.'

1559 SIR THOMAS CHALONER, 1521-65. (29x21 in.)

H. L., three-quarters to right; black dress; holding scales with other emblems;
dated 1559.

Diplomatist, scholar, and author; fought at Pinkie; author of several works in
Latin and English. National Portrait Gallery.

(S. K. 1866, 297.) "

Formerly the property of Mrs. Edgar.

Reproduced in Hailstone's Yorkshire Worthies.

J559 UNKNOWN MAN (TICHBORNE ?). [PLATE IX (a).] (Panel 36 x 28% in.)

Seen to the knees ; black jerkin and black silk coat edged with ermine, with puffed
over-sleeves, also edged with ermine ; left hand on hilt of sword ; double gold chain round
his breast ; ermine collar ; small ruff and wristbands ; long forked chestnut beard,
moustache and whiskers; black hat with silver hat-band and jewel; green diaper
background. Inscribed on a pillar to left An0 Dm 1559. JE. Suse 38. In old black

PLATE XX.

HOWARD, 3RD LORD WINDSOR, AND FAMILY.
Marquess of 13nte, Cardiff Castle.

THE PAINTER ffi 29

and gold frame, inscribed above PUGNA PRO PATRIA (the motto of the Tichborne family),
and below, INVENI PORTUM SPES ET FORTUNA VALET

NIL MIHI VOBISCUM LUDITE NUNC ALIOS

Lord Leconftcld, Petworth.

1559 UNKNOWN MAN. [PLATE XV (In).] (Panel 6x 4 in.)

H. L., slightly to right ; black dress cut to show embroidered vest and gold chain
beneath; small white ruff and cuffs ; square cut beard, moustache, and whiskers ; plain
black cap ; holding a paper in left hand ; right hand not seen ; inscribed in upper
right corner TETATIS 30, J559, and signed in upper left corner YE. Ascribed in the
catalogue to Lucas De Heere. Milan, Musco Poldi-Pezzoli .

1560 QUEEN ELIZABETH. Engraved by Thomas Geminus.

H. L., slightly to left; tight-fitting gown; tight sleeves with pullings-out on the
arms, and puffed at the shoulders ; rich embroidered braidings ; small tight-fitting ruff
and cuffs ; large jewel hangs by a ribbon on her breast ; square-cut hood and falling-
veil ; holding a book in her two hands.

This portrait, evidently based on a painting by Hans Eworth, occurs in an unique
engraving in the Storer Collection at Eton College. It is inserted in an allegorical
framework with laudatory inscriptions, and a reproduction is given in Sidney Colvin's
Early Engraving and Engravers in England (p. 16). Unfortunately the date 156 ... is
imperfect, and remains uncertain. The costume, however, indicates a portrait clone at
the time of Elizabeth's accession, if not before. The face resembles that of Lady Jane
Grey rather than that of Elizabeth. The engraver, who was a physician, and appa-
rently an amateur, published in 1545 a pirated edition of Vesalius's anatomical plates,
with an elaborate title-page. In the third edition of this work, published in 1569, the
royal arms in the centre have been removed, and a roughly engraved portrait of Queen
Elizabeth inserted, apparently copied from the one previously engraved, but altered to
suit the likeness of the Queen.

1560 COLONEL HARRY VAUGHAN. [PLATE XV (a).] (Panel 39 x 29 in.)

T. Q., in white steel engraved armour ; helmet to left at top ; halberd behind to the
right ; heavy quadruple gold chain round his neck ; long auburn beard. Inscription on
frame, yellow capitals on black : ' REMEMBER THEM THAT WACHE AND WARD FOR YOU

THEIR PRINCE AND REALME AND SUCHE AS DOO WYTHE BLUDY SWETS OFTE TYMES

DESERVE TO GAYNE. MDLX.' R. G. Geoffrey Hurley, Esq., Brampton Bryan.

(S. K. 1866, 306.)

Governor of Brecknock Castle, Lord Lieutenant of Brecon.

This portrait was formerly in the possession of Lady Frances Harley, wife of
Henry Vernon Harcourt, Esq., and daughter and co-heiress of Edward Harley, sth
and last Earl of Oxford, whose father, John Harley, D.D., Bishop of Hereford, married
Roach, daughter of Gwynne Vaughan of Trebarry ; Lady Frances Harcourt died in
1872, and this portrait with other Harley property came to the father of the present
owner. Harry Vaughan of Moccas was Lord Lieutenant of Brecon and Governor of
Brecknock Castle in 1624, so that the portrait cannot represent him. It may be that
of his grandfather, Sir William Vaughan of Porthcawl, Sheriff of Brecknock in 1539,
who died in 1564, or his uncle, Sir Roger Vaughan, who was Sheriff of Brecon in
1550, M.P. for Brecon.

30 THE PAINTER HE

1560 JUDD MEMORIAL. [PLATE XIV.] (Panel 31^ x 40^ in.)

Emblematical picture. In the centre a tomb, below which lies a naked corpse with
loincloth, the head resting on a sheaf of corn, and ears of corn under the body ; on the
tomb is a skull on which rest the joined hands of a lady and gentleman who stand
behind. He stands on the spectator's left, T.Q., with a beard, and a small ruff; the lady
opposite to him in a tight-fitting dress and cap, with small ruff and wristbands ; between
them above the skull is a burning candle, on either side of which is a woolpack and
a brass vase of flowers.

Over the man is a shield of arms, viz. : Quarterly—

1 and 4. Gules, a fess raguly between three boars' heads couped argent (Judd).

2 and 3. Azure, three lions rampant, argent (Chiche).
Over the woman is a shield of six quarterings —

1. Sable, a lion rampant, argent [Lewis].

2. Sable, three spears' heads, argent [Bleddyn ap Maenerch].

3. Argent, a chevron between three fleurs-de-lis, sable [? Richards].

4. Argent, three chevronells, gules [Langton ?].

5. Argent, a lion rampant, sable [Morgan].

6. = i.

On the tomb by the man's side are the arms of France and England quarterly, and
on the woman's a shield bearing, sable, two bars nebule argent, and in chief, gules,
a lion passant or [Smyth ?].

Over the man's head is ^ETATIS SV.E 47, and over the woman's, 28.
Over the joined hands is the inscription —

'W.I. Behowlde ower ende. I.I.'

On the sides of the tomb is the date AN°. — 1560, and on the face of the tomb the
verses— The worde of God And Death shall us

Hath knit us twayne Devide agayne.

On either side of the candle are the words THUS CONSU — MYTHE OVR TYME, and at
the bottom of the picture, LYVE TO DYE AND DYE TO LYVE ETARNALLY. On each woolpack
is a merchant's mark, one with AN i, the other AN° x, and the writing ' Good Semster
P. daell '. In a black frame, on which is inscribed in gold letters—
When we are deade and in owr graves,
And all owre bones are rottun,
By this shall we remembered be,

When we shulde be forgottun. Dulwich Gallery, Cartwright Collection.
According to the armorial bearings this must be a memorial painting for a member
of the family of Judd. John Judd of Barden, near Tonbridge, married Margaret,
daughter and coheir of Valentine Chiche, whose sister Emelyn married Sir Thomas
Kempe of Ollantigh, grandfather of Anthony Kempe (see p. 23). John and Margaret
Judd had three sons, of whom the younger was Sir Andrew Judd, citizen, skinner,
and merchant of Muscovy, who died in 1558, having been Master of the Skinners'
Company, Lord Mayor of London, 1552, and Founder of Tonbridge School. His
daughter and heiress Alice married Thomas Smyth of Westenhanger, ancestor of the
Viscounts Strangford. According to the inscriptions the man represented should be
W(illiam ?) Judd, and his wife a lady of the family of Lewis of Van in Wales.
1560 JOHN WHITGIFT, D.D. (i53o?-i6o4). (Panel.)

H. L., seated ; black dress and cap ; holding book in both hands ; dated 1560.
Archbishop of Canterbury. Peterhouse, Cambridge.

(S. K. 1866, 227.)

PLATE XXI.

HENRY STUART, LORD DARNLEY, AND HIS BROTHER, CHARLES STUART,

EARL OF LENOX.

.jlJ. the King, Windsor Castle.

PLATE XXII.

AKMFI.H V •>! m>. IOF. IN A1JTLK ROW*.. R>WR STATES WITH THi'R I <>NU l!c>NS II \KI

A\J LAM i» .ML A\1RG1N C£TLN 1O KNOAiNDS )Jl VE Si. SVCCJSJIVIIY 1O HOUJ [It RJUil.

• -

IIKXKY VIII. AXD FAMILY.
H. Dent limcltlelnirst, Esq., Siiilcley Ctistle,

(a)

QUEEN ELIZABETH AND THE THREE GODDESSES.
H.M. the King, Hampton Court Palace

THE PAINTER HE 31

1560 ANNE AYSCOUGH (?) [PLATE XXX (d).] (Panel 27x21 in.)

H. L. ; dark dress ; hands clasped ; square hood ; hair parted in middle ; small ruff

and wristbands with pink edges. Inscribed ' Rather deathe then false of faythe '.

A date in upper left-hand corner, 1560.

Lent by Mr. Reginald Cholmondeley to the National Portrait Exhibition, 1866,

No. 116. Sold at Christie's, March 6, 1897, to M. Colnaghi for 100 guineas.

1560 UNKNOWN LADY. [PLATE XXX (b).] (Panel 14 x 10^ in.)

T. Q., to left ; black dress edged with brown fur, buttoned down the front ; folded

hands holding gloves with flowered cuffs ; bunch of flowers at the breast ; high double

ruff and wristbands ; fair auburn hair; plain black cap; very short features and long

nose. Inscribed A° DNI. 1560. Lord Leconfield, Pehwrth.

1560? ELIZABETH FITZGERALD, COUNTESS OF LINCOLN (1528-89). [PLATE XXIII (a).]

(Oak panel 17 x 13 in.)

To the waist, face three-quarters to left ; light golden hair ; red jewelled cap ;
rich velvet dress with silver braids and white pullers-out ; a cross on the neck ;
small gold-edged ruff. Duke of Bedford, K.G., Woburn Abbey.

Born 1528 ; daughter of Gerald Fitzgerald, ninth Earl of Kildare, and Lady
Elizabeth Grey, daughter of Thomas, Marquess of Dorset ; celebrated by the Earl of
Surrey as ' the Fair Geraldine ' ; married 1543 to Sir Anthony Browne, and 1552 to
Edward, Lord Clinton, afterwards Earl of Lincoln ; died 1589.

A copy at Carton is in the possession of the Duke of Leinster.

1560. THE SAME.

H. L., ' in a singular dress of black and gold, with a red and gold petticoat,' formerly
at Lumley Castle. See Pennant, Scotch Journ., vol. ii, p. 320. Sold at Lumley Castle in
1785, No. 13, fourth day : ' Portrait of a lady, half-length of the Countess of Lincoln, 1560.'

1562 JEAN RIBAUT (?) (1520 ?-65). [PLATE XXXI (b).] (Panel 22^ x 20 in.)

H. L., slightly to right ; dark short hair : short reddish beard and moustache ; steel

gorget damascened with gold ; white sleeves with scarlet laces ; a pointed instrument,

like a harpoon, with a loop in handle attached to a chain round his neck ; holding

a compass before him in both hands.

Ashnwlean Museum, Oxford (from Bodleian Library].
(Oxford Exhibition of Hist. Portraits, 1904,45 ; Mrs. Poole's Catalogue of

Oxford Portraits, No. 404.)

Jean Ribaut : Huguenot follower of Admiral Coligny ; sent to colonize Florida,
1562 ; offered Florida to Elizabeth ; massacred by the Spaniards in Florida, 1565.

This identification is merely tentative. The compass is perhaps only a symbol of
constancy, and the harpoon-like object may be "the magnet, to which the point of the
compass is ever directed.

1562 THOMAS HOWARD, FOURTH DUKE OF NORFOLK, K.G. [PLATE XVI (a).]

(Panel 425x31! in.)

T. Q., standing ; rich cloak and jerkin ; right hand in open purse, left on sword-
hilt ; small ruff and wristbands with black edges ; black dress with tags of gold and
silver ; inscribed on quillons of sword-hilt ^TATIS 25, 1562 ; behind is a half-shield
of arms with the arms of Howard and the motto SOLA VIRTUS.

Lord Rothschild, Tring Park.
Formerly in the collection of the Earl of Westmorland at Apthorpe.

(Manchester Exhibition, 1857.)

32 THE PAINTER HE

1562 MARGARET AUDI.EY, DUCHESS OF NORFOLK. [PLATE XVI (*).] (Panel 42^x30 in.)
T. Q., slightly to left; rich embroidered kirtle ; black gown, tight sleeves ; gold-
edged ruff and wristbands; two heavy jewelled necklaces, one with cruciform pendant;
holds a waist-chain with tassel in her left hand, her right resting on a stone or a pillar;
inscribed MARGARETA DUTCHESS OF NORFOLK 2° WIFE TO THO. D. OF NORFOLK WHO WAS

BEHEADED 15™ OF QUEEN ELIZABETH DAUGHTER & HEIRTOTHOS. LD AUDLEY } and round the

base of the column JETATIS xxn ; rich carpet diaper background with border of fruits
and birds and half a shield with the arms of Audley and a two-horned unicorn as
supporter ; part of inscription : INVICTA. Lord Braybrooke, Audley End.

By setting these two portraits side by side it is evident that they once formed
a single picture, as the shield of arms and the motto ' Sola Virtus Invicta' then become
complete.

Formerly at Drayton House, presented to Lord Howard de Walden by Lord
George Germaine. Engraved by P. W. Tomkins in History of Audley End.

1562 UNKNOWN LADY. (Panel 17 x 12 in.)

H.L., three-quarters to left; embroidered skirt and sleeves; velvet gown; 'close-
fitting ruff with embroidered edges ; crc'pine and hood with dark band, and jewelled
braiding ; hair showing under cap ; clasped hands holding a pink. Dated AN° DNI 1562
JE • SUJE • xix (?). Formerly Mrs. Michie Forbes.

(S. K. 1866, 324.)

Formerly called Mary Stuart, see Albert Way's Catalogue of Edinburgh Museum,
p. 212.
1562(7) CAPTAIN JOHN HONING (?). [PLATE XXXI (a).] (Panel.)

To below the waist, standing; dark jerkin with full sleeves; gorget, and cambric
collar with cut-lace edging, some on wristbands ; a striped cord twisted round his right
arm ; long dark brown hair, small pointed beard and moustache ; high conical cap
with aigrette and a cameo in the front ; right hand holding a baton left on hilt of his
sword, below which is a shield ; on his right hip a dagger ; through a window in upper
right-hand corner, view of a seaport being besieged, lettered ARNAM, below this an
inscription : FATO LUBENTER CEDENS.

TAM MARE QVAM TERRA.

President's Lodge, Queens' College, Cambridge.

Exhibited at the first Exhibition of Portraits at the Fitzwilliam Museum, Cam-
bridge, in May 1884, No. 155, when it was identified tentatively as the portrait of
Captain John Honing of Carleton, Suffolk, born in 1559. The general character of
the portrait points to an earlier date, and the resemblance to the works of Hans
Eworth is evident.

1563 HENRY STUART, LORD DARNLEY, AND HIS BROTHER CHARLES STUART. [PLATE XXL]

(Panel 25 x 15 in.)

Two boys, standing at full length in a hall ; Darnley in black jerkin and trunk-
hose, with high collar and small ruff and wristbands, and a jewel round his neck ;
Charles Stuart in a black gown with ruff and wristbands. They stand in a large hall,
with panelled walls, a wooden roof and many windows ; under the windows stands a
large wooden table ; signed on the table KE. and dated 1563.

Inscribed above : THES BE TE SONES OF TE RIGHTE HONERABLES THJRLLE OF

LENOXE AD TE LADY MARGARETZ GRACE COUNTYES OF LENOXE AD ANGWYSE.

and below : CHARLLES STEWARDS HENRY STEWARDS, LORD DAR

HIS BROTHER, ^ETATIS 6. LEY AND DOWGLAS, ^TATIS IJ.

H.M. the King, Windsor Castle.

PLATE XXIir.

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PLATE XXIV.

FRANCES SIDNEY, COUNTESS OF SUSSEX.

Sidney Sussex College, Cambridge,

THE PAINTER IE 33

Henry, Lord Darnley was elder son of Mathew Stuart, Earl of Lenox, and Lady
Margaret Douglas, daughter of Princess Margaret Tudor by her second husband
Archibald, Earl of Angus. Born December 7, 1545, at Temple Newsam, with the
exception of an occasional visit to France, he resided in England at the Court of
Elizabeth, until February 1564/5, when he was sent to Scotland with a view of his
marrying his cousin Mary, Queen of Scots, which took place on July 26, 1565. On
February 10, 1566/7, he perished in an explosion at his house, Kirk o' Field. His
younger brother, Charles Stuart, born in 1556, succeeded his father as fifth Earl of
Lenox in 1571. He married in 1574, Elizabeth, daughter of Sir William Cavendish,
by whom he was father of Lady Arbella Stuart. He died in 1576, aged 20.

An enlarged copy on canvas of this picture is at Holyrood Palace which bears the
date 1562, and was exhibited at the Manchester Exhibition in 1857.

156(3)? ANNE POYNTZ, LADY HENEAGE (died 1593). [PLATE XXVII

T. Q., standing figure to left, facing spectator ; dark dress ; white silk sleeves ;
holding embroidered kerchief in her left hand, as well as a heavy looped gold chain,
which is round her neck and shoulders ; in her right hand a book (?) ; dress cut square
at neck; tight-fitting ruff; jewelled cap and hood.

Inscribed on the frame : ANNA DR OF SYR NICHOLAS POINS & JOAN DR OF THE LORDE

KERKELEY— SHE WAS YE WYFE OF THE RT HONBLt SYR THOMAS HENEAGE KT TREASVRER—
CAPTAIN OF YE GUARDS & ONE OF THE PRIVIE COUNCIL TO QUEENE ELIZABETH— JE. SVJE XLIII —

H B 3$jj pinx* — AN° DNI 1601 (sic). The date here is clearly wrong, as the lady had been

dead eight years in 1601.

Daughter of Sir Nicholas Poyntz of Iron Acton ; married to Sir Thomas Heneage,
Treasurer of Queen's Household; friend of Queen Elizabeth; mother of Elizabeth
(b. 1556), wife of Sir Moyle Finch ; died at Molesey, Surrey, Nov. 19, 1593.

J. C. Wynne-Finch, Esq., Voclas.
(S. K. 1866.)

A bust portrait of this same lady, panel 15^ x 12 in., was exhibited by Mr. Charles
Butler at the Tudor Exhibition, No. 166.

1563 LADY OF THE WENTWORTH FAMILY. [PLATE XVII (b).] (Panel 53x31 in.)

Standing figure to the knees, slightly turned to the left ; dark mantle with gold
tags ; plain dark kirtle ; richly embroidered under-sleeves with bold floriated pattern ;
hands joined, holding gloves and heavy jewelled girdle with tassel at the end; similar
heavy jewelled necklace and pendant ; tight ruff and wristbands with heavy gold edging ;
jewelled cap with white top ; curtain behind head ; quilted satin cushions in the back-
ground, with half of shield of arnls. Inscribed on a tablet above her left shoulder
JETATIS 24 • 1563 ; IE. The arched portion of the painting at the top is a later
addition. Capt. B. C. Vernon-Wentworth, Wentworth Castle.

(S. K. 1866, 310.)

This portrait was exhibited both at the National Portrait Exhibition of 1866 and
at the Mary Queen of Scots Exhibition at Peterborough in 1887 as the portrait of
Mary Queen of Scots, an impossible attribution. The fragment of the shield of arms
painted in the background contains a portion of the quarterings borne by the Went-
worth family, and as this shield is cut in half, it is probable that the portrait is part of

34 THE PAINTER HE

a double portrait, and that the remaining portion of the shield is to be found on the
husband's portrait. The lady is probably one of the seven daughters of Thomas,
first Lord Went worth.

1563(7) LADY KATHERINE GREY (d. 1568) AND HER SON. [PLATE XXIX (a).]

(Panel 12 x 12 in.)

Circular portrait; H. L., standing figure, in black velvet dress, with white sleeves
and ermine-lined collar, open at neck to show partlet and necklace ; tight triple-pleated
ruff, small wristbands ; short fair hair under tight white cap ; at her breast a miniature
case with portrait of her husband, a young man, beardless, on a blue ground. In her
arms she holds a baby in rich gold-embroidered frock, with white cambric pinner and
bib; light white cap and black hat with jewelled buttons and white feather; a modern
inscription : Lady Kathn Grey, Daugt. to ye De of Suffolk, neice to King Hen. 8 & wife
of Edward Seymour, E. of Hertford. Lord Leconfield, Petworth.

Lady Katherine Grey was second daughter of Henry Grey, Duke of Suffolk, and
Frances Brandon, and younger sister to Lady Jane Grey. In 1560 she secretly married
Edward Seymour, Earl of Hertford, for which she was sent by Queen Elizabeth to
the Tower of London, where her two sons were born, Edward in 1561, and Thomas
in 1562/3. She died on January 27, 1567/8.

Almost exact repetitions of this group are in the collection of the Duke of
Northumberland at Syon House, and in that of Lord Braybrooke at Audley End.

1565? ELEANOR BRANDON, COUNTESS OF CUMBERLAND (?). [PLATE XVII (a).]

(Panel 38^x24 in.)

T. Q., life-size, to left ; black gown with gold embroidered braiding ; gold fringes and
sewn with pearls, high on the shoulders ; pink kirtle and tight sleeves sewn with pearls ;
pink ruff and wristbands ; black jewelled hat with white feather; in her right hand
clasps a necklace of gold knobs and pearls, and with her left holds a black ribbon with
carved locket and pendent pearl ; on background shield of arms of Clifford, impaling
Brandon. Inscribed ^ETATIS • x . . . i.xv(?), the panel having been cut down.

Captain Bruce C. Vcrnon-Wentworth, IVentworth Castle.
(S. K. 1866, 198 ; Tudor Exhibition, 455.)

This portrait has always been described and exhibited as that of Lady Eleanor,
or Ellenor, Brandon, younger daughter of Charles Brandon, Duke of Suffolk, and
Princess Mary Tudor, and sister to Frances, Duchess of Suffolk. She was married
in 1537, at Brandon House, Bridewell, to Henry Clifford, second Earl of Cumberland,
but as she died in 1547, this portrait cannot represent the Countess of Cumberland.
He remarried, in 1552/3, Anne, daughter of William, Lord Dacre, and had a son, the
third Earl of Cumberland.

As the armorial bearings, which appear to be original, denote a Clifford of Brandon
descent, it seems likely that the portrait is that of Eleanor, Countess of Cumberland's
only child and heiress, Margaret Clifford, born at Bromeham, Westmorland, 1540,
who was married to Henry Stanley, Lord Strange, on Feb. 7, 1555. She died at
Clerkenwell Sept. 29, 1596, and was buried in Westminster Abbey.

1565 UNKNOWN LADY. [PLATE XVIII.] (Panel 35 x 28 in.)

T. Q., slightly to right; rich kirtle with jewelled bands; crimson velvet gown;

long hanging sleeves of rich brocade over under-sleeves of gold brocade, the latter

slashed to show gold-embroidered lining ; gold-edged ruff and wristbands ; large jewel

PLATE XXV.

-<!

Q
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THE PAINTER PE 35

on breast with enamelled figures and three pendants; tight collar necklace and pendant ;
square jewelled hood ; light brown hair, and eyes amber-brown ; gloves in left hand,
with yellow tips, not embroidered ; jewelled chain girdle round waist, held up by
the right hand ; no rings ; jewels painted without layer of foil or gold under trans-
parent colours; no gilding; ruff and cuffs of white cambric. Signed and dated A°
AETA-SU. 16. 1565. re. Holy rood Palace, Duke of Hamilton.

(Stuart Exhibition, 1889, 33 ; Edinburgh Loan Exhibition.)

Reproduced in L. Gust's Notes on the Authentic Portraits of Mary, Queen of Scots.

This portrait, which bears a strong family resemblance to the two last described,
has for many years been exhibited at Holyrood Palace as a portrait of Mary, Queen
of Scots, an impossible attribution.

1566 RICHARD NORTON (b. 1497; d. after 1568). (Panel 39x29 in.)

H. L. ; black dress; small ruff and wristbands ; blackcap; crucifix hung by black
cord ; gloves in right hand, a book in left ; grey hair. Arms in left-hand upper corner.
Inscribed ANNO • 1566. ^TATIS su.E-68. Lord Grantley.

Richard Norton of Norton Conyers ; Councillor of the North ; Sheriff of York-
shire, 1568.

Reproduced in Hailstone's Yorkshire Portraits.

1567 WILLIAM BROOKE, TENTH BARON COBHAM (d. 1596), AND FAMILY. [PLATE XIX.]

(Panel 49 x 38 in.)

A family party of William Brooke, Lord Cobham, and his wife Frances Newton
with her sister Jane, and their six children, the latter seated behind a table with a parrot
and marmoset, and on the table are various fruits ; on a tablet between Lord and
Lady Cobham are eight lines of verse:

Nobilis hinc pater est illinc est optima mater

Circumfusa sedet digna parente cohors
Talis erat quondam patriarchae mensa lacobi

Mensa fuit lobo sic cumulata pio
Fac Deus ut multos haec gignat mensa losephos

Germinet ut lobi stirps renovata fuit
Fercula preclaro donasti laeta Cobhamo

Haec habeant longos gaudia tanta dies.
AN° DN 1567.

Near the sister is the inscription ' lohafia Soror Dominae Cobham Filia lohanis
Newton Militis, qui est Avus his Parvulis '. The ages of the parents and children are
written above their heads. Marquess of Bath, // Manchester Street, W.

William Brooke, tenth Baron Cobham, with his second wife Frances, daughter of
Sir John Newton of Barr's Court, her sister Johanna, and their six children, Maximilian,
Henry, William, Elizabeth, Frances, and Margaret.

A copy of this painting on canvas belonging to the Duke of Devonshire at Bolton
Abbey shows seven children, the youngest son, George Brooke, having been born in
1568. This canvas measures 49^ X38^ in.

Lord Cobham's first wife, Dorothy Nevill, was sister to Mary, Lady Dacre.

F 2

36 THE PAINTER ffi

1567 (?) KING HENRY VIII.

Full-length standing figure, copied from Holbein's painting at Whitehall Palace.
Inscribed re. FESIT ^TATIS SUE 51. 156(7?). Trinity College, Cambridge.

' En expressa vides Henrici Regis Imago
Quae fuit octavi Musis hoc struxit asylum
Magnifice cum ter denos regnavit et octo
Annos quis major Regem labor ultimus ornet
set . sue 51.

Given by Robert Beaumont, D.D., Master of Trinity, An° 1567.'

1567 RICHARD HARFORD (1526-75). [PLATE XXXI (d).] (Oaken panel.)

H. L., slightly to left; black dress; black cloak with high laced collar; flat black
cap ; heavy gold chain twisted round neck and over chest ; small ruff and wristbands ;
hands clasped holding gloves; thin light forked beard and moustache; inscribed AN°
DNI 1567. JETA SVJE 41. In right corner arms of Harford impaling Foxe, and a later
inscription.

Richard Harford of Bosbury, born 1526, died 1575, married first, Katherine, daughter
of William Purefoy of Northampton, d. 1570 ; secondly, Martha, daughter of Charles
Foxe in 1571. («) J- C. Harford, Esq., Blaise Castle.

(b) At Boultibrooke, Herefordshire.

Reproduced in Miss Alice Harford's Annals of the Harford Family.

1568 EDWARD, BARON CLINTON, AFTERWARDS FIRST EARL OF LINCOLN, K.G.

(Panel 26 x 20^ in.)

To the waist ; close-cut beard and moustache ; small ruff; brown fur-lined mantle ;
collar of the Garter; dark brown hair; ruddy face; hair slightly turning to grey.
Inscribed above AN • DNI • 1568 • ^ETATIS SU^E 55.

Born 1512 ; Governor of Boulogne, 1547-50 ; Lord High Admiral of England ;
K.G. 1551 ; created Earl of Lincoln, 1572 ; died 1585.

Duke of Bedford, K.G., Woburn Abbey.
(Scharf, 23.)

1568 EDWARD, THIRD BARON WINDSOR, AND FAMILY. [PLATE XX.] (Panel.)

Lord Windsor standing behind a table to his left, act. 35 ; his wife next him, act. 25 ;
his mother opposite, aet. 61 ; before them a table at which are seated four children, two
playing chess, two playing cards, aet. 8, 6^, 3!, and 2. Dated ANNO DOMINI 1568.
Inscribed above to left : ' Edward Lord Windsor and his lady, daughter to the Earl of
Oxford. Their children, Lord Frederick Windsor, Lord Thomas Windsor, and two
younger brothers.' Marquess of Bute, Cardiff Castle.

Edward, third Lord Windsor, fifth son of William, second Lord Windsor, and his
first wife Margaret, daughter of William Sambourne, born 1533; served at St. Quentin
1557 ; entertained Queen Elizabeth at Bradenham in 1566 ; died January 24, 1574/5 '<
married Katherine, daughter of John de Vere, Earl of Oxford ; and had four sons and
four daughters : Frederick, fourth Lord Windsor; Henry, married Anne, daughter of
Sir Thomas Rivett ; Edward; Andrew; Mary and Elizabeth died young; Margaret,
married to John Talbot of Grafton ; Catherine, married to Robert Audley of
Berechurch.

PLATE XXVI.

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THE PAINTER HE 37

1568 THOMAS, SECOND BARON WENTWORTH. [PLATE XIII (b).] (Panel 38x26 in.)

T. Q., slightly to left ; tight slashed jerkin ; dark cloak and trunk-hose ; gloves in
right hand; left on hilt of sword ; small tight-fitting ruff and wristbands; ribbon round
neck from which hangs a jewel with inscription on stone ; small round skull-cap ; short
light beard and moustache ; large ears ; architectural background ; inscribed in upper
right corner : ANNO DOMINI 1568, JETATIS SU.E • 44, and in later letters : ' Lord Wentworth,
Governor of Calais at the time the French took it from Queen Mary.'

Caff. B. C. Vernon- Wentworth, Wentworth Castle.
(S. K. 1866, 178.)

1569 QUEEN ELIZABETH AND THE THREE GODDESSES. [PLATE XXII (b).]

(Oaken panel 35 x 33! in.)

Queen Elizabeth on the spectator's left is issuing from the gate of a palace and
stands on a dais of three steps ; she holds a sceptre in her right hand, and the orb in
her left ; she wears a rich embroidered kirtle and long richly embroidered velvet gown
fastened across the bosom ; tight sleeves, puffed out and pulled out at the shoulders ; a
small tight-fitting jewelled cap. She appears to be in her youth; behind her stand two
ladies, richly dressed ; one with a square head-dress resembling Frances, Duchess of
Suffolk. On the other side of the picture are the three goddesses, Juno, Pallas, and
Venus, by whom stands Cupid. On the frame is the original inscription :

'Juno potens sceptris et mentis acumine Pallas

Et roseo Veneris fulgit in ore decus
Adfuit Elizabeth Juno perculsa refugit
obstupuit Pallas erubuitque Venus.'

Signed in left-hand corner t£, and dated 1569.

H.M. the King, Hampton Court Palace.

Reproduced in The Magazine of Art, March, 1891.

Formerly in Charles I's collection. Harl. MSS. 4898, No. 86: 'A piece of Queen
Elizabeth, Venus, Juno, and Pallas, sold to Mr. Hunt and Bass, i Mar. 1652 for £2.'
It reappears in the collection of King James II, when it was attributed to Lucas De
Heere : ' No. 934 by De Cheere, Venus and Pallas, and Queen Elizabeth coming in.'
This painting was probably painted for one of the Progresses of Queen Elizabeth.

1570 (?) SUSAN BERTIE, COUNTESS OF KENT (b. 1554). [PLATE XXIII (b).] (Panel.)

H. L., tight-fitting velvet dress ; high sleeves; richly embroidered all over; tight-
fitting collar with small ruff; open at neck to show partlet, which is opened at the breast
to show a large jewel. Earl of Lindsey, Uffington.

Susan, daughter of Richard Bertie and Katherine Willoughby, Duchess of Suffolk,
married first to Reginald Grey, Earl of Kent, secondly to Sir John Wingfield.

1571 ANNE DANBY, LADY CALVELEY. (Panel 37x30 in.)

Rich dress; gown open at neck to show a fourfold gold chain but fastened
above ; high sleeves at shoulders ; jewelled cap and hood ; her hands clasped holding
a handkerchief; coat of arms in upper corner. Inscribed ANNO DO. 1571. STATUS

37. Formerly Sir Walter Calverley Trevelyan, Bart.

(S. K. 1866.)

Reproduced in Hailstone's Yorkshire Portraits.

38 THE PAINTER IE

1571 (?) UNKNOWN LADY. [PLATE XXX (a),] (Panel 16 x 12^ in.)

H. L., black dress, cut open over the bosom with high straight collar, the collar
and lapels being edged with gold buttons. Under-garment of white silk with
embroidered stripes ; cut open again at the neck to show a lace-embroidered edge to
chemise and a necklace of five rows of diamonds ; high sleeves at shoulders with white
pullings-out ; small gold embroidered ruff and wristbands ; hands crossed showing two
rings on left hand ; a jewelled band on front of bosom ; fair hair with a black bonnet
and jewelled hood and ornament over left ear ; thick lips ; retrousse nose, and large,
rather staring eyes. Signed HI and dated MDLXXI (?).

Mr. E. E. Leggatt, Cheapside.

Formerly in the possession of Mr. Charles Butler and exhibited by him as the
portrait of Margaret Tudor, Queen of Scotland, at the Tudor Exhibition, 1890, and the
Monarchs of Great Britain, 1892. Purchased at the Butler sale, Christie's, July 7, 1911,
by Mr. E. E. Leggatt.

Possibly represents Lady Mary Grey.

ELIZABETH LEYCESTER, LADY TRAFFORD. [PLATE XXVIII (a).] (Panel.)

T. Q., standing figure, facing spectator ; velvet gown edged with ermine ; high
sleeves ; velvet under-sleeves ; dress open at neck to show necklace and large pendant ;
small double ruff, and cuffs; brown hair; holding a book in both hands at her girdle,
from which hangs a circular box; shield of arms above right shoulder; in upper left
corner an inscription : AN° DNI 1571 ^ETATIS SVJE -36.

Elizabeth Leycester, daughter of Sir Ralph Leycester of Toft, was second wife of
Sir Edmund Trafford of Trafford, who died in 1590. His first wife had been Mary,
sister of Queen Katherine Howard. Sir Humphrey de Trafford, Bart. (?).

(S. K. 1866, 387.)

1572 LADY WALSINGHAM (?). [PLATE XXVII (a).] (Panel 33x25 in.)

T. Q., standing; skirt with kirtle of white brocade with black pattern ; gold braiding
on stomacher; black velvet gown lined with silver brocade, open at the waist and
turned back to show lining with high collar; puffed over-sleeves on shoulders with
white pullings-out and gold tags ; tight white sleeves with gauze over-sleeves ; dress
cut square at the neck, showing partlet, rolled collar, and small high ruffs, and necklace,
from one filia of which hangs a large pendent jewel ; a gold chain hangs in loops
across her breast; white cap with double gold jewelled braiding and falling bead;
brown hair; blue-grey eyes; thin lips. She holds in her hands a gold miniature case
containing the portrait of a man with fair beard on a blue ground. Dated 1572, act. 22.

Lord de L' Isle and Dudley, Penshurst.
(S. K. 1866, 282.)

This portrait has always been supposed to represent Frances Walsingham,
daughter of Sir Francis Walsingham, and wife of Sir Philip Sidney. If the date on
the picture be correct, this cannot be the case, and the lady is evidently of a more
mature age than 22. It may possibly represent her mother, Ursula St. Barbe, wife
first of Sir Richard Worsley of Appuldercombe, and married secondly, about 1567, to
Sir Francis Walsingham, being his second wife. The portrait miniature has no
resemblance to Sir Francis Walsingham, but some resemblance to Sir Henry Sidney,
in which case the portrait may represent Lady Mary Sidney in later years ; but if
the dates on the portraits of Sir Henry and Lady Mary Sidney at Petworth be correct,
this cannot be the case.

PLATE XXVIII.

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THE PAINTER IE 39

1572 UNKNOWN GENTLEMAN. [Plate XI b.] (Panel 33! x 24^ in.)

T.Q., standing slightly to left ; tight jerkin, velvet cloak, with broad fur lining and
collar; black hat, with jewelled band; long fair beard, frilled at the end of the
moustache ; a jewel or miniature-case hanging by black ribbon round his neck ;
gloves in right hand, left holding hilt of sword. Inscribed in upper right corner
.ETATIS 54, 1572, above which has been added a coronet and below the false inscrip-
tion Robertus Co: Leicestria. Wallace Collection.

1573 SIR HENRY SIDNEY (1529-86). [PLATE XXV (a).] (Panel 79 x 46 in.)

W. L., standing figure; black jerkin, trunks, hose, and shoes with gold braidings ;
garter on left knee; black cloak, lined with ermine; black cap and feather; collar of
the Garter; small pleated lace ruff and wristbands; left hand on hilt of sword, right
holding gloves and resting on the base of a painted marble pillar ; elaborate black
damascened sword-belt, with the porcupine badge of the Sidneys on the knobs of the
quillons, and St. George in the pommel; green curtain behind left shoulder; marble
floor in pointed lozenges ; fair beard and moustache. The picture has been cut at the
top, so that only a portion of the original inscription can be seen. Above, left, is the
shield of arms, and right a copy of the inscription ' Sir Henry Sydney, An0 Dm" 1573
20 die Julii die nativitatis et aetatis suae 44'. Lord Leconfield, Petworth.

Son of Sir William Sidney; Lord President of the Marches of Wales; Lord
Deputy of Ireland ; K.G. 1564 ; died May 5, 1586.

Engraved by E. Harding for Adolphus's British Cabinet.

A copy of the head only in this portrait is at Penshurst ; another copy, but only
22 x 18 in., was lent by Mrs. Lamb to the Tudor Exhibition, No. 339.

1573 MARY DUDLEY, LADY SIPNEY (died 1586). [PLATE XXV (3).] (Panel 79x46 in.)

W. L., standing figure, slightly to left ; black gown and black brocade kirtle ; rich
girdle ; puffed black sleeves with black and white pullings-out ; collar open at the
neck showing shirt, which is also open to show a pearl and diamond cross necklace ;
a large Holbeinesque jewel is on her bosom ; square jewelled cap and black hood ; in
her right hand she holds a small book of prayers in enamelled binding, and in her left
her gloves ; green curtain in background, on which is painted a fly ; light brown parted
hair and blue eyes. Lord Leconfield, Petworth.

Lady Mary Dudley, wife of Sir Henry Sidney, was daughter of John Dudley, Duke
of Northumberland, and was the intimate friend of Queen Mary and Queen Elizabeth.

Engraved by Harding for Adolphus's British Cabinet.

HENRY VIII AND HIS FAMILY. [PLATE XXII (a).] (Panel 51 x 71 in.)

In the centre of a large room supported on either side by pillars, King Henry VIII
is seated on a throne on a rich carpet beneath a cloth of state, full face, holding a sceptre
in his right hand, and with his left presenting a sword of state to Edward VI, who
kneels beside him. On his right stand Queen Mary and King Philip, behind whom is
the figure of Mars. On the King's left, slightly in front of Edward VI, stands Queen
Elizabeth in a rich kirtle and gown with quilted sleeves, an embroidered partlet and
small jewelled cap and hood. She holds the goddess of Peace by the hand, and behind
stands the goddess of Plenty with a cornucopia. The scene is in an open court with
pillars through which are seen buildings. A rich silk or velvet hanging at the back
is divided into squares.

4o THE PAINTER IE

On the original frame is the inscription :

A Face of muche nobelitye loe in a little roome,

Fowr states with theyr conditions heare shadowed in a showe,

A father more than valyant, a rare and vertuous soon,

A zealous daughter her kynd what els the world doth knowe,

And last of all a vyrgin queen to England's joy to see,

Successyvely to hold the right and vertues of the three.

Below the picture is inscribed in gold letters :

The Quene to Walsingham this Tablet sente
Marke of her Peoples and her ane contente.

H. Dent-Brocklehurst, Esq., Sudeley Castle.
(Tudor Exhibition, 158.)

This is again probably one of the paintings made to greet Queen Elizabeth on one
of her Progresses early in her reign. The gift to Sir Francis Walsingham was
probably subsequent to the painting of the picture and not necessarily connected
with it.

Reproduced in The Magazine of Art, March, 1891.

Formerly at Scadbury, the seat of the Walsingham family in Kent, purchased by
Mr. James West at Chiselhurst, and at the sale of Mr. West's pictures purchased
by Horace Walpole of Strawberry Hill. At the Strawberry Hill sale in 1842 it was
purchased by Mr. J. C. Dent of Sudeley Castle.

It was engraved by William Rogers, probably for Sir Francis Walsingham.

LADY KATHERINE GREY (?).

T. Q., three-quarters to left ; in rich black dress, with many bows and tags ; white
brocade sleeves, cut open square at the bosom ; high collar to mantle ; small ruff and
wristbands ; jewelled cap at back of head ; holding a flower in her left hand ; plain
face ; inscribed —

Now thus but like to change
And fade as dothe the flowre
Which springe and bloom full gay,
And wythrethe in one hour.

Mrs. Wright-Biddulph.

Frontispiece to R. Davey, The Sisters of Lady Jane Grey.

If the portraits of Lady Katherine Grey and her son, catalogued above, are
genuine, this portrait cannot represent this lady. It seems, however, to be the work
of Hans Eworth.

MILDRED COOKE, LADY BURGHLEY. [PLATE XXX (c).] (Canvas 37 x 28 in.)

T. Q., standing figure to right ; rich brocade kirtle ; dark green sleeves, puffed and
clasped at shoulders ; chemisette open at neck showing under chemise and rose-shaped
ornament; high cambric ruff and wristbands; jewelled girdle in right hand.
Described by Sir George Scharf as follows :

'A delicate and finely painted picture, well preserved shadows of face; greyish

expression efface, rather severe and like Philip II of Spain ; eyeballs pale slaty grey ;

eyebrows faint, complexion fair ; cheeks very faint pink ; lips clear rose colour ; hair rich

:rnt-siena yellow; light admitted from right hand ; head-dress white with gold red and

THE PAINTER HE 41

black jewelled bands across it; ruff and neck covered white, with rich black Spanish
work open at the neck in centre ; a red rose and green leaf half-buried at the top of her
dress ; no rings on fingers. Her sleeves and under-dress white with grey pattern
(perhaps silver brocade) on it ; the puffs are white, with Spanish work ; the stalk of red
rose hangs over little finger of her right hand ; stone framework and coat of arms very
richly modelled ; large black diamond in gold and other jewels on her neck ; square
red jewel and pendent pearl on the bosom of her dress. Arms : i, Cooke ; 2, Malpas ;
3, Machyn ; 4, Belknap ; 5, Boteler ; 6, Sudeley; 7, Mountford ; 8, Cooke.'

Marqitess of Salisbury, Hatficld.

(S. K. 1866, 254.)

Daughter of Sir Anthony Cooke of Gidea ; married on December 21, 1545, to
William Cecil, afterwards Lord Burghley (1571) ; she died April n, 1589.

THE SAME. (Panel 40^ x 31 in.)

H. L., life-size; similar to preceding, but older; black robe over white dress ; tight
sleeves embroidered with pansies ; black bodice with white network ; dress centre
ornament of red birds' heads set in diamonds ; holding a bunch of cherries in her right
hand and her left holding long chain girdle in front ; shield of arms as in preceding
picture, but different quarterings. Marquess of Salisbury, Hatfield.

FRANCES SIDNEY, COUNTESS OF SUSSEX. [PLATE XXIV.] (Panel 75x42 in.)

W. L., standing; furred gown, slashed sleeves; small ruff and wristbands; sharp
face, cap at back of her head ; a small dog at her feet ; standing on Persian carpet ;
hair dark yellow ; complexion fair ; grey ruffs edged with black ; black low dress, flat
pattern of pale yellow, and both under and outer dress sleeves edged and puffed with
fur. Sidney Sussex College, Cambridge.

(S. K. 1866, 137.)

(Cambridge Exhibition of Portraits, 1884.)

Daughter of Sir William Sidney and Anne Pagenham, and sister of Sir Henry
Sidney; married on April 26, 1555, to Thomas Radcliffe, third Earl of Sussex ; died on
March 9, 1588/9. Foundress of Sidney Sussex College, Cambridge.

UNKNOWN LADY. (Panel 24 x 19 in.)

H.L. ; black mantle and fur-lined sleeves on shoulders; gold-embroidered under-

sleeves with pullings-out ; small black-edged ruff and wristbands ; white fur boa round

her neck ; black widow's hood ; holds gloves in her right hand, and a book in red

binding in her left ; fair hair. Marquess of Crcwc, K.G., Crewe Hall.

UNKNOWN LADY. (Panel 13! x 9! in.)

H. L., three-quarters to left ; black dress with high fur collar ; black head-dress with

heavy gold braid edging ; small pleated ruff at neck and wrists embroidered and edged

with gold ; gold brocade sleeves ; triple gold chain and jewel ; hands folded holding a

girdle of gold cord ; fair golden hair. St. John's College, Oxford (President's Lodge).

(Oxford Exhibition of Hist. Portraits, 1904, 83.)

AMBROSE DUDLEY, EARL OF WARWICK (1531-89). (Panel 15 x io| in.)

Bust, three-quarters to left ; thick yellow moustache and trimmed beard ; yellow-
brown eyes ; black dress ; collar of the Garter ; black cap with jewel ; small ruff; green
background. Duke of Bedford, K.G., Woburn Abbey.

42 THE PAINTER IE

THE SAME. (Panel 37x28 in.)

H. L., life-size standing figure, three-quarters to right; double-forked yellow
beard; close ruff; black suit; cap ornamented with pearls; holds closed red book
in right hand and rests it on a wooden case, showing left, quarter-hour sand-glasses,
numbered in Roman letters ; standing on a flat table, inlaid, a clock and a paper and
inkstand or spectacle case ; left hand on hip and hilt of sword.

Marquess of Salisbury, Hatfteld.

(S. K. 1866, 302.)
Engraved in Lodge's Portraits.

SIR GEORGE PENRUDDOCKE (d. 1601). [PLATE XXVI (a).] (Panel 104x66 in.)

W. L., standing figure ; white slashed doublet and hose ; black cloak ; black cap ;
gold chain and jewel ; right hand holding gloves, left on hilt of sword ; shield of arms
in background. Charles Penruddocke, Esq., Compton Park, Salisbury.

(Tudor Exhibition, 222.)

Sir George Penruddocke of Ivy Church, Wilts. ; standard-bearer to the Earl of
Pembroke at the battle of St. Quentin in 1557.

ANNE, LADY PENRUDDOCKE. [PLATE XXVI (£).] (Panel 42 x 31 in.)

T. Q., full face ; black robe with red kirtle and sleeves ; high standing collar with
white ruff; black head-dress; gold chain round her neck; a cord round her waist, from
which hangs a tablet. Charles Penruddocke, Esq.

(Tudor Exhibition, 210.)

Second wife of Sir George Penruddocke of Ivy Church, Wilts. ; she was relict of
John Cocke.

SIR PHILIP SIDNEY (1554-86.) [PLATE XXXI (c).] (Panel 42 x 32 in.)

H. L., dark dress; gorget, small ruff and wristbands; left hand holding sword;
black and brown dress with silver braiding ; light-greyish hair, rough and straggling ;
eyebrows worn sepia ; pale cheeks. Earl of Warwick, Wanvick Castle.

(S. K. 1866, 274.)

In view of the relations between Hans Eworth and the Sidney family it is to be
expected that this painter should have portrayed Sir Philip Sidney in his youth. The
portrait at Warwick Castle, here reproduced, has sufficient affinity to the work of Hans
Eworth to be credited to him, but the whole subject of the portraits of the Sidney family
is one which requires separate investigation.

QUEEN MARY (?). (Panel i8x 15 in.)

Bust, life size to left ; black dress with jewels and trimmed with fur; white ruff;
black hood with jewelled front ; pearl necklace. Formerly Mr. Charles Butler.

(Tudor Exhibition, 229.)
Sold at Christie's, July 7, 1911, No. 6.

UNKNOWN LADY. (Panel 17! x 13^ in.)

Black dress with ermine sleeves and rich cap ; holding gloves in her hand, and
a pomander attached to girdle. Formerly Mr. Charles Butler.

Sold at Christie's, July 7, 1911, No. 67.

PLATE XXIX.

LADY KATIIERIXE GREY, COUXTESS OF HERTFORD, AND CHILD.
Lonl Lwoti field, Petlt'urt ft .

UNKNOWN LADY.
Trinity College, Oxford.

THE PAINTER HE 43

WILLIAM HERBERT, FIRST EARL OF PEMBROKE, K.G. (d. 1569).

T. Q., standing ; gold embroidered doublet ; black cloak with thick white fur lining ;
black hat with jewelled band ; gloves in right hand, left on hilt of sword.

Marquess of Bute, Cardiff Castle.

Sir William Herbert, son ol Sir Richard Herbert of Ewyas, born about 1501 ;
married Anne, daughter of Sir Thomas Parr, sister of Queen Catherine Parr; executor
of Henry VI IPs will ; supporter of Protector Somerset at first, but afterwards of the
Earl of Warwick ; President of Wales, 1550 ; created Earl of Pembroke, 1551 ; Master
of the Horse ; supporter of Lady Jane Grey ; declared for Queen Mary and commanded
against Sir Thomas Wyat ; received King Philip at Southampton, and attended Mary at
Winchester for the marriage ; Governor of Calais, 1556 ; Captain of English army at
St. Ouentin, 1557 ; supported Elizabeth on her accession ; Lord Steward of the House-
hold, 1568; died at Hampton Court, March 17, 1569-70; buried in St. Paul's Cathedral.

JOHN DUDLEY, DUKE OF NORTHUMBERLAND, K.G. (1502 ?~53). (Canvas, oval.)

H. L., in coat ; slashed doublet ; fur-lined cloak ; ribbon and jewel of Garter round
neck; high collar with narrow gold-edged ruff; black cap, with large cameo jewel, on
a feather, as clasp ; long thin beard and falling moustache. Lord Sackville, Knole.

This is a copy of some older portrait which was probably painted by Hans
Eworth.

John Dudley, son of Edmund Dudley, by Elizabeth, daughter of Edward Grey,
Viscount L'Isle ; Master of the Horse to Anne of Cleves ; created Viscount L'Isle, 1542,
and Lord High Admiral for life ; K.G. 1544 ; served in Scotland and at Boulogne ;
at Pinkie, 1547 ; created Earl of Warwick, 1547 ; enemy of Protector Somerset, and
supplanted him with Edward VI ; created Duke of Northumberland, 1551 ; intrigued
to make Lady Jane Grey queen, and executed 1553.

SIR THOMAS SMITH (1513-77). (Panel.)

H.L., in black robe and cap, facing spectator.

Sir William Boivyer-Stnijth, Bart., Hilt Hall,

Theydon Mount, Essex.

Sir Thomas Smith, born at Saffron Walden on Dec. 23, 15:13, was one of the
leading scholars of his day, and was, with Sir John Cheke, the introducer of the
modern pronunciation of Greek. As a Protestant he gained the favour of the Pro-
tector Somerset. He served as Regius Professor of Civil Law at Cambridge, M.P.,
Ambassador to France, Provost of Eton College, and Dean of Carlisle. Died at
Theydon Mount, Essex, on May 12, 1577. This picture is usually attributed to Holbein,
but is more likely to be the work of Hans Eworth. Another version is at Queens'
College, Cambridge, and one old and a more modern copy are at Eton College. The
portrait was engraved by Houbraken.

WILLIAM CECIL, BARON BURGHLEY (1520-98). (Panel 56x44 in.)

W. L., riding on a mule towards the right in a wooded landscape ; brown and gold
flowered silk dress, cloak, and outer jacket, edged with red cloth ; black cap ; light
piped ruff and wristbands ; chain with jewel of the Garter round his neck ; holding
in his right hand a bunch of pink and honeysuckle, and the reins of the mule are in
his left ; shield of arms within the Garter on a tree to left, with the motto cor unum
via Tina ; honeysuckle and other flowers below the shield.

Bodleian Library, Oxford.

G 2

44 THE PAINTER IE

William Cecil, born at Bourn, Lincolnshire, in 1520, was brought into notice by
the Protector Somerset, and fought at Pinkie. In 1550 he was appointed Secretary
of State, and from that date maintained an overwhelmingly powerful position in the
government of the nation. In 1552 he became Chancellor of the Order of the Garter,
and on the accession of Elizabeth was appointed her Chief Secretary of State. He
was created Baron Burghley in 1571, and K.G. in 1572. He died in 1598, and was
buried in Westminster Abbey.

This portrait was given in 1797 by William Fletcher, Mayor of Oxford. The
painter has never been identified. Although the portrait must be dated later than
1572, when he was made K.G., there are many things in it, such as the handling of
the flowers, which recall the work of Hans Eworth.

Reproduced in Mrs. Poole's Catalogue of Oxford Portraits, vol. i, No. 38.

JAMES DOUGLAS, FOURTH EARL OF MORTON (1530-81). (Panel 42 x 32 in.)

To the knees, standing, slightly to right ; black dress, cloak, and high-crowned
hat ; tight-pleated ruff and wristbands ; right hand on hip, left on hilt of his sword ;
yellow gloves on table by his side ; below his head a green curtain looped up ; in the
upper corner a window, through which is seen a castle or cathedral on an island
connected with the mainland by a bridge ; short sandy beard and moustache slightly
tinged with grey. Earl of Morton, Dalmahoy.

James Douglas, son of Sir George Douglas of Pittendreich, married Elizabeth,
daughter of James Douglas, third Earl of Morton, in right of whom he succeeded in
1553 as fourth Earl. He took the Scottish side in 1545 in the invasion of England,
and if this be correct he must have been then a boy of fifteen. He held Dalkeith
Castle against the English until its surrender in 1548, when he was taken prisoner
to London, where he remained until 1550. As Lord Chancellor, and eventually Regent
of Scotland, he took a conspicuous part in the government of his country, until he
was indicted for treason, and executed at Edinburgh in June, 1581.

According to the age of the person represented, and if Morton's birth date be
correct, this portrait could hardly have been executed before 1577, but it may belong
to a few years earlier, and in style and conception has much in common with the
portraits by Hans Eworth. Another version on panel is at Newbattle Abbey.
Portraits showing the bust only are at Hamilton Palace and at the Binns, the latter
dated 1577, with the motto nee temere nee timide.

Reproduced in J. L. Caw's Scottish National Portraits, vol. i, p. 46.

PLATE XXX.

(a)

LADY CALLED LADY MARY GREY.
Mr. E. E. LeSiiatt. London,

UNKNOWN LADY.
Lord Lecunjiela , I'etieorih.

(6)

(c)

MILDRED COOKE, LADY BURGHLEY.
Marquess of Salisbury, Hatfield.

HE (tfi

LADY CALLED "ANNE AYSCOUGH."
Formerly at Condover.

PLATE XXXI.

HE (?)

(ill HKt?)

COL. HONING.
ns' C'o//t'i't', Cambr

JEAN KIBAUT (?)
Asliniolcan Museum, Oxford.

HE(?

HE(?)

SIR PHILIP SIDNEY.
Earl of Warwick, Warwick Castle.

RICHARD HARFORD.
John C. Harford, Esq., Bluise Custlc.

PLATE XXXII.

OLIVER DE CR1TZ.

Attributed to Knianucl de Critz.

From a portrait in the Ashmolean Museum, Oxford.
(Canvas 2f>\ by 205 ins.)

AN OUTLINE OF THE HISTORY OF THE DE CRITZ

FAMILY OF PAINTERS

BY RACHAEL POOLE.

IT is the aim of this paper to bring together what is known of the various
members of the de Critz family of painters. It is not pretended that all the
information is new. Indeed, nearly all the facts relating specially to John de
Critz I were long ago published by Mr. Lionel Cust in the Dictionary of
National Biography. But nowhere previously has the material been correlated
or considered as a whole. For convenience of reference it has been thought
worth while to give documents in full, even when they have been already
printed among historical MSS., or summarized in Calendars of State Papers,
or in that storehouse of knowledge, the Anecdotes of Painting.

The following extracts from the Publications of the Huguenot Society record
the establishment of the family in England :

1552, 10 March. Denization of Decretis, Troilus, and Sara his wife. — Huguenot
Soc. viii, p. 66.

Return of Aliens.

In the Parish of Our Ladie Stayninges.

1568. Troilus de Cretes, borne in Flaners, Sara his wif, Susan, Oliuer, John, Sara,
and Magdalyn his children — Dowche persons, vij. — Huguenot Soc. x. 3, p. 354.

1571, May. Troiolus de Crits denizein, oreworker, and householder, and Sara his wife,
with one sonne, and Susan, Marye, Sara, and Merill, his daughters, borne in Flaunders, and
hath byn in this realme xviij yeares, and in this parishe iij yeares— Dowche, 7. — Huguenot
Soc. x. i, p. 439.

By this time Oliver the elder son was apprenticed. John the younger left
home in the autumn.

Saint Androwe Hubbardes Parish.

1571, May. Joys Vanderplancken, merchaunt of Doucheland, hath byn in England,
and in this warde xvj yeares ; and hath a seruaunt named Olyver de Great, of the same
nacion — Douche, 2. — Huguenot Soc. x. i, p. 445.

In the Parishe of St. Bennettes Finck.

1571, Nov. Lucas de Here, painter, Elliner his wyfe, and a boye, borne in Gaunte,
cam hither fyve yeres ago for religion, and be of the Douche churche. John de Crittes his
servaunte, borne in Andwarpe, and hathe byn here iiij yeres . . . — Huguenot Soc. x. 2, p. 40.

46 AN OUTLINE OF THE HISTORY OF THE

Saint Mary Stayninges Paryshe.

1571, Nov. Troylus Decrettes, househoulder, and dennyzein, a broker and a Fleminge,
Sara his wyfe, a sempster, Marye and Mawdelyn his daughters ; they have byn in England
xxtie yeares and cam for religeon, and are of the Englishe churche.

Douche persons, iiij : Dennyzen j= Englishe churche iiij.— Huguenot Soc. x. 2, p. 50.

Lay Subsidy Returns from Aliens.

Lymestreete Ward, Sainte Peters and Saynte Andrewes Parishes.
1576. Magdalen Decretes, Cornelius Jamsonne, and his servaunte Symon Powle, John
Myhall, Troiolus Decretes, servauntes xxd. — Huguenot Soc. x. 2, p. 190.

Lyme Streete Warde.

1582. Troiolus de Crete, and Sara his wyfe, Magdalen his daughter, Katheryn
Falkener, a servaunte, per poll xvjd.— Huguenot Soc. x. 2, p. 235.

Return of Aliens, Church and Trades.
The Warde of Lymestrete.

1582-3. Sara de Cretes \

Magdalen de Cretes ;- sempsters, are all of the Dutche Churche.
Ka . . eryn Valkener)

— Huguenot Soc. x. 2, p. 259.
Returns of Nations and Trades.
Lymstreate Warde.

1583. Saray de Cretes Duchwoman Sempster.— Huguenot Soc. x. 2, p. 335.

Denization.

1604, 25 April. John de Critts born in Flanders and his heirs. — Huguenot Soc. xviii, p. 6.

Lay subsidy returns.

Parochia Sancti Sepulchr.

1625. John Decreete xli iiij s [iiij d].

—Huguenot Soc. x. 3, p. 288.

Old Troylus dc Critz probably died about 1582-3. On September 9, 1571, his
daughter Susan had married as his second wife Mark Gheeraerts the elder.
On 19 May, 1590, another daughter, Magdalen, no longer a young woman, for
she was born in Antwerp, married Mark Gheeraerts the younger. A third
daughter, Mary, became a Mrs. Gray, and as a widow is mentioned in her
brother John's will ' in 1642.

Registers of the Dutch Church, Austin Friars— Marriages.

1571, Sept. 9. Marcus Geraerts v. Brugghe met Susanna de Crets v. Antwerpen.
1590, Mei 19. Marcus Geraerts v. Brugghe met Magdalena de Crits v. Antwerpen.

Return of Aliens.

1571, Nov. Markes Garret and Susan his wief, Marke there sonne, and Hester there
daughter ; he was borne at Bridges in Flaunders, in this realme iiij yeares at Marche last ; he
came for religion ; he ys a howseholder, a picture maker, no denizon, and of the Frenche
churche— Douche ^.—Huguenot Society, x. 2, p. 80.

1 P- 52-

DE CRITZ FAMILY OF PAINTERS 47

1593, April-May. Marks Garratt housekeper, borne in Bruges in Flanders : Maudlyn
his wife borne in Andwarpe in Brabonde ; a Payntor ; one daughter. — Huguenot Soc. x. 3,
p. 444.

John de Critz, probably the younger of Troylus de Critz's two sons, was
therefore born before 1568 ; perhaps, since in two documents he declares himself
a native of Flanders or Antwerp, before 1552, when his parents sought denization
in England. He was old enough to be apprenticed to Lucas de Heere in 1571,
and by 1582, when we next catch sight of him, was already enjoying the
patronage of important people. The letters to Walsingham, of which extracts
are printed in the Calendar of Domestic State Papers, are chiefly interesting as
illustrating his relations with his correspondent, and his own interests and plans.

John de Critz to Walsingham.
1582, 21 April. Paris.

I hope you have received my last letter and the pictures by James Painter, and
crave your pleasure in any further service. If I had known your pleasure concerning my
voyage into Italy I might now go safely either with the Ambassador of Venice or Ferrara,
but I stay to know your pleasure herein. Pray signify it with speed, as the ambassadors
are about to depart. If you mislike of my going into Italy I might go to Fontainebleau, from
whence I might send you some rare piece of work.

1582, 19 July. Paris.

It is long since I wrote you, but until the king's removal from Fontainebleau, I can
do nothing there ; I have applied myself in doing somewhat, but it is not yet finished.
Meanwhile accept this little toy of mine, made upon pleasure.

1582, 14 Oct.

Pardon my slackness in not sending oftener, as I have spent some time this
summer in seeing fair houses about the country here, some of rare workmanship, but
I trust to make amends for all. Meantime I send two pieces, the one of St. John, the
other a poetical story taken out of Ovid, where Neptune took Ccenis by the seaside and
having ravished her for some amends changed her into the form of a man. Take this little
present in good part. I trust to send something better next time, as I have a mind to
spend this winter in France, and then by your leave repair into Italy.

We do not know whether he went to Italy. But in 1598 his position in
England was so assured that he could be counted among the best painters then
living.1 By this time he had been married at least a few years. His wife was
Helen, daughter of William Woodcock and granddaughter of Raphe Woodcock,
from whom she inherited some little money. In 1599, when she made a will,2
she had four children, John, her eldest son, and Henry, Rebecca, and Anne,
who all three disappear from the family annals after this one mention. It is

1 Francis Meres writes in Palladis Tamia, under 'Painters', p. 287, '. . . as learned Greece
had these excellently renowned for their limning: so England hath these: Hiliard, Isaac Oliver,
and John de Creetes, very famous for their painting.'

2 See the text at the end of this paper, p. 66.

48 AN OUTLINE OF THE HISTORY OF THE

pretty certain at least that Henry and Rebecca died young, since their names
were given later to children of John's second marriage. Ten years later, when
Helen died— her will was proved 19 May, 1609— the family was increased by
two more sons, Thomas and Emanuel, and two more daughters, Sarah, who
perhaps in later life kept house for Emanuel and died a spinster at Greenwich in
I686,1 and Katherine,2 who became the wife of Thomas King. To this first
decade of the seventeenth century belong John dc Critz's appointment as
Serjeant Painter to the King, and some of his most important official commissions.

1603, 17 Sept. The King to the Lord Admiral and officers of the Navy : To admit
John de Crites to the office of Serjeant Painter in reversion. — Calendar State Papers, Dom.

1604, 7 April. Warrant for John de Crites, his Majesty's Serjeant Painter, to do all
needful works about the King's Ships. — Ibid.

1605, 26 April. Grant with survivorship to Leonard Fryer 3 and John de Crites jointly,
of the office of Serjeant Painter before granted to Leonard Fryer with reversion to John de
Crites.— Ibid.

1606, 20 Aug. John de Critz is paid .£53 6 8, for painting three whole length portraits
of King lames, Queen Anne and the Prince of Wales for the Archduke of Austria.
—Ibid.

1607, Charges for the Tomb of the late Queen Elizabeth.

Pd. to Maximillian Powtran ^170

Patrick, Blacksmith . . £95

John de Crites, ye Painter £100

Besides the stone in all made ^965

(Add. MS. 23069, p. n (from an office book then in the possession of Lord Harley).)

Work done for the Right Hono. the Earle of Salisburie.

In primis a pictor of the King's Mat10.

Item a pictor of yor Lop wch yor Honnor gave to the Constable of Castile . £4.

Item for twoo pictures the one of yor lop the other of the Lord Treasurer
yor Lops Father wth pictures were geven to Monsr Beaumont Ambassador
of Fraunce ............. £8

Item a pictor of yor lop for the lady Elizabeth Gilford .... £4

Item a other pictor of yor Lordp for the Embassador of Venice . . . £4

Item for altering a pictor of Queene Elizabeth . . . . . . £i

Item for a pictor of ye Countesse of Oxford £4

(This last item is struck out.)

Pay this bill so farre as comes to xxi pounds, SALISBURY.

(Endorsed :) Mr. John de Greet Serjaunt painter, his bill for making divers pictures for
yor Honor.

Summa xxi li. Received this said some of £21 this i6th of October 1607. John de
Critz.4

' See her will on p. 61.

- With regard to Mrs. King see pp. 61, 64.

3 A picture by Leonhart Fryer, Serjeant Painter, to be found in Painters' Hall, is mentioned in
Vertue's Note Books, Add. MS. 23070, f. 41.

4 This interesting bill is quoted by Mr. Collins Baker from the Hatfield accounts, C. P. Box U,
81, Lely and the Stuart Portrait Painters, ii. 117.

PLATE XXXIII.

JOHN TRADESCANT THE ELDER.
Attributed to Emanuel dr Critx.

From 11 portniit in the Ashinolcan Museum, Oxfonl.
(Cunvas 31 by 24i ins.)

(6)

JOHN TRADESCANT THE YOUNGER AND HIS FRIEND ZYTHEPSA.
Attributed to Kirumuel de Critz.

From a picture in the Aslunoletiu Museum, Oxford.
(Canvas 42 by 52 ins.

DE CRITZ FAMILY OF PAINTERS 49

1610, 14 Feb. Warrant to pay £330 to John de Crites, the King's Serjeant Painter,
and £-2f) to Thomas Larkin his locksmith for work done by them. — Calendar Stale Papers,
Dom.

1610, 6 May. Grant with survivorship to John De Crites, Jun. and John Maunchi, in re-
version after John De Crites, Sen. and Robert Peake, of the office of Serjeant Painter. — Ibid.

1612. For work done at the Funeral of Prince Henry and for painting his portraiture

The collection of engraved portraits called the Heroologia Anglicana
published in 1618, contains some heads which were probably taken from portraits
by de Critz. George Vertue writes in his note-book (B. M. Add. MSS. 21111,
p. 98), ' My Lord Harley brought from Wimpole a printed book of the
Heroologia purposely for me to see it, and on the margene of that book is wrote
with the pen, (as Mr. Wanley beleves, by Henry Holland) the places where and
whence those pictures all were taken. It seems to be a first impression . . .'
The provenances thus given 2 are very various — 'in the Pembroke Gallery/ 'at
Richmond,' 'at Lambeth,' many are 'in a shop in the Strand', some 'at Essex
House', 'at Whitehall/ and the portrait of Robert Earl of Leicester 'from one
in Holland '. The heads of Queen Elizabeth and Sir Francis Walsingham are
marked ' John de Critz ' ; Sir Philip Sidney ' at John de Critz '. Walpole owned
two drawings of heads by de Critz which he considered masterly. He records
from Vertue that Murrey the painter possessed many more, among them the
one of Sidney from which the engraving in the Heroologia was taken. This
passed, he states, into the hands of Lord Chesterfield.3

It seems probable that from about the year 1610, when de Critz purchased
the reversion of his office for his eldest son, he was assisted in his many employ-
ments by the younger John. It may well be that this John II, and later on
perhaps Emanuel, were largely responsible for much of the actual work on
the great decorative undertakings for which payments were made between 1631
and 1636, when John I must have been at least about seventy years of age.

1626-27. Jonn Decritz for guilding and painting 2 carroches one charriott and i close
carre and new mending and refreshing the gold and cullors of other carroches and painting
with cullo™ 24 suite of wheeles and divers other necessaries. In all the some of £194.

1627-28. John Decritz for guilding with fine gold and curiously painting the Bodies
and Carriages of two carroches for us and the (? our) deere queene, and for new guilding
the arms, supporters and carriage of one carroch that was altered and for painting 2 carroches
for the Ladies and maydes of Honor and for painting 13 suite of wheeles the some of .£115 6.

1628. John D'Critz for painting and guilding i waggon for our buckhounds and for
guilding i carroch and carriage to the same, lines (? lined) with wrought velvet and for painting
guilding and refreshing ye bodies of 5 carroches and painting 17 suite of wheeles £56 17 4.

1 I quote this from Mr. Gust's article in the Dictionary of National Biography.
1 The notes are in part transcribed in the Anecdotes of Painting, ed. Dallaway, 1862, iii. 857.
3 The volume is said to be now in the British Museum. I have only seen there a copy with
these notes given in a list at the end in a modern hand.

50 AN OUTLINE OF THE HISTORY OF THE

(These entries are quoted from the Lord Chamberlain's Books by Mr. Collins Baker,
Lely and the Stuart Portrait Painters, ii. 117.)

1629, 25 Feb. Payment of £2158 13. to John de Critz, His Majesty's Serjeant
Painter. (Quoted by Mr. Collins Baker from the State Papers.)

1631-2. John Decreets Serjeant Painter for repairing two pictures by Palma and the
pictures of the Roman emperors painted by Titian. — Add. MS. 23070, f. 107.

1631. A letter from Lord Pembroke to the Painters' Company to appoint certain persons
of their Hall to view the King's and Queen's barges lately beautified painted and guilded by
Decreetz, Serjeant Painter, and give an estimate of the work done there — which they
did of .£280 and some other expenses. — Add. MS. 23070, f. 41.

1634. John de Critz Serjeant Painter to King Charles the First— For painting and
guilding with good gold the body and carriages of 2 coaches, one close ; cost of repairing,
colouring with gold and colours 6 coaches and the carriage of one chariot, and other
necessaries £179 3 4. (Wardrobe account in possession of Mr. Norroy le Neve. Add.
MS. 2IIH, f. 105.) '

1640, 26 Feb. Warrant to pay John de Cretz and others £620 on account for a Barge
of State to be made for the King's service. (Quoted by Mr. Collins Baker from the State
Papers.)

We know also that a piece painted on a ceiling from Oatlands by de Critz
was sold at the dispersion of the king's works of art for £2,0, and a chimney-
piece by the same hand for £6 ;- Evelyn also notes a ceiling by him at Wilton.3

After living for thirty years in Holborn John de Critz moved with his
family into the parish ol St. Martin in the Fields. Probably soon after 1619
(when the printed register ends) he married for the second time, a certain Grace,
whose surname has not yet been recovered.4 She bore him two sons, Oliver and
Henry, and three daughters, Frances, Grace, and Rebecca, who were all under
the age of twenty-one at their father's death in 1642. Concerning the sons we
know two little facts. In 1640, on June 23, old John de Critz petitioned that
a poor scholar's place in the grammar school of Sutton's Foundation granted to
Oliver ' four years since ' might be transferred to Henry—' Oliver being now too
old.'0 By the Charterhouse Statutes admission would be commonly granted to
boys of about ten and twelve ; at the age of fourteen the nomination would lapse.
Oliver de Critz was therefore born about 1626. Henry obtained the scholarship
July 22, 1641, 6 and passed on in due course to Jesus College, Oxford, whence
he took his B.A. degree in 1649.'

John de Critz, very old and ailing, but surrounded by his family and in

1 For two other long bills for decorative work on the royal barge, and on a sun-dial ' opposite
to some part of the king and queen's lodgings', see Anecdotes of Painting, p. 366.

2 Add. MS. 23071, f. 108. ' Evelyn, Diary, July 20, 1654.

4 She does not appear to be a Wheler.

5 Calendar of State Papers, Dom.

' I owe this date to the kindness of Mr. Bower Marsh, editor of Alumni Cartlmsiani.
1 Burrows, Register of the Parliamentary Visitors, 1647-58.

PLATE XXXIV.

JOHN TKADESCANT THE YOUNGER.
Attributed to Emanuel de Critz.

From a portrait in the National Portrait Gallery.
(Canvas 31 by 23 ins.)

Photographed by Mr. Emery Walker.

DE CRITZ FAMILY OF PAINTERS 51

prosperous circumstances, made his will on February 27, 1642.* Of his numerous
children he mentioned all but the first Henry and Rebecca, and Anne, who we
may therefore assume to have died before this date. He was buried in the
parish church of St. Martin's in the Fields according to his direction. But
there is a curious confusion as to the date in the Register, due no doubt to
a blunder on the part of the clerk. His name occurs both on February 20 and
March 14, 1641/2. The first day is impossible, since it is seven days before he
signed his will. The second indicates an unusually delayed burial for one of
the position in life of John de Critz, but may be correct.

Will of John de Critz.

In the name of God I John Decretts Esquire Serjeant Paynter to our Soveraigne lord
king Charles, being sickly and full of yeares doe make and ordaine my last will . . . revoking
... all my former wills . . . My body I leave to the earth desireing that it may be buried in
the parrish of St. Martins ... in the feilds where I now live. Item I give to the poore of
St. Andrewes Holborne where I lived thirty yeares the some of three pounds to be dis-
tributed amongst them within one yeare of my death ... as the . . . then churchwardens
shall thinke meete. Item I bequeath unto Grace my now wife for her sole and proper use
and future maintenance the some of five hundred poundes, to be payed out of such moneys
as shall be first raysed or receaved out of my estate, and somes of money due to me from
his Matie. Item whereas I have obteyned and setled the office of Serieant Painter to his
Mat'6 (wch I now hould) upon John Decretts my oldest sonne in reversion after my death
I doe further give unto the said John my sonne the some of twentie poundes. Item
I give unto my sonne Thomas Decretts the some of £100. Item I give unto my sonne
Emanuell Decretts the like some of £100 to be payd as the same may hereafter be raysed
out of my said estate. Item whereas there is a debt of one hundred and four score pounds
due to me from his Matie to be payed by Sir William Windall, Knight, Treasurer of his
Majties chamber for worke and services done by me for his Matie, . . . part of that ... I have
given and assigned by writeing . . . unto Sara Decrets my daughter and the rest due thereof. . .
the some of fourscore pounds unto Katherine my daughter, the wife of Thomas King. And
I doe further give to my said daughter Sarah £5 and Katherine fifty shillings to bestowe
upon Rings for their remembrance of me. I bequeath unto Oliver Decrete and Henry
Decrete my sonnes by Grace my nowe wife the some of one hundred pounds a yeere to bee
paied unto them severally at their severall ages of one and twenty yeares, if the same shall
or may be then or before that tyme raysed out of my estate. I give unto Francis, Grace, and
Rebecca, my daughters by Grace my now wife .£100 a yeere to be payde unto each of
them severally at their several ages of one and twenty yeares or att their dayes of marriage
wch shall first happen . . . Item whereas it was intended or expected that there should have
been given unto them the some of Fyftie pounds a yeere by the last will of my kinsman
Henry Wheeler gent, lately deceased, whereas they are frustrated, my will is ... to add to
their portions the some of £20 a yeere wch I doe also give unto them . . . Yf the legacies of
£100 a yeere given to my said Children . . . cannot be raysed . . . my debts being payed and
funerall discharged, . . . there shalbe a proporconable abatement out of the said legacies . . .
to my said sonnes, and . . . noe abatement shalbe made of the legacies given unto my said
daughters Francis, Grace, and Rebecca . . . My will is that yf my sonnes by Grace

1 Mr. Collins Baker gives the date as 1641, ignoring the fact that the beginning of the year was
then reckoned from the 25th of March.

II 2

52 AN OUTLINE OF THE HISTORY OF THE

. . . happen to dye before . . . one and twenty then his and their porcions so dyeing shall be
divided amongst all the rest of my Children by the said Grace which shalbe then living.
And if any of my said three daughters . . . shall fortune to dye their porcions are to be
divided among the survivors of them ... If it shall happen that Grace . . . depart this mortall
life before me then the ^500 given unto her . . . shall be divided amongst my said three
daughters, or such of them as shalbe liveing, saving . . . £50 thereof which at my wyve's
request I give unto my daughter Sarah. I give unto my loving sister Mrs. Mary Gray,
widdow, £5 to be bestowed on a Ringe . . . All my goods and chatties, plate, Jewells and
householdstuffe I give unto Grace my beloved wife whome I ordaine to be sole executrix.
And I do also make my loveing frends and kinsmen Francis Palmes l of Norrington in the
County of SoutlV'ton and William Molins of the middle Temple, London, Gent, overseers
of this my will . . . and I give them Fyftie shillings to buy each of them a ringe for their
remembrance of me.

(Signed) John Decretts the seaven and twenteth day of February in this present
seaventeenth yeare of our sovereign Lord Charles. Anno 1641.

Witnessed by William2 Allaby, John Hooper, Agnes Eusby. Proved 7 March 1641/2.

[P. C. C. Cambell34.]3

One point arising out of old John's will deserves attention. He makes an
addition to the portions of his younger children because they were disappointed
of legacies from ' my kinsman Henry Wheeler gent, lately deceased '.4 The
relationship is not easy to make out. It appears to rest on the marriages
between the de Critzes and the Gheeraerts on the one hand, and on one between
the Gheeraerts and the Wheelers or Whelers on the other. The grandfather of
this Henry Wheeler, also Henry, was a certain citizen and grocer of the parish
of St. Mary Magdalen, Milk Street, London. In his will he mentions his sister
Elizabeth, and his two sons John and Nicholas. The will of Nicholas5 contains
references to ' my uncle Garret, . . . Aunt Marckus, . . . Cousin Coulte,0 . . . the
four youngest children of my uncle Mr. John de Greets . . . godson Mark
Garret. . . .' The Henry Wheler lately deceased of old John's will was the son
of Nicholas. He wished to bequeath (the frustration of his intention is not
explained) fifty pounds, a year to ' my cousin Emanuell de Critz and his sister,
and to all the children of his second mother — to my cousin Thomas de Critz
/TOO.' He further mentions ' my cousins Marke and Harry Garrett ... my
cousin Sir Bevis Thellwell and his lady . . .' and many others. It is clear from
these references that the three families of Wheler, de Critz, and Gheeraerts or

1 Perhaps Sir Francis Palmes who was sheriff of Hampshire in 1600, or a descendant.
Norrington is close to Overton, Hants.

2 Mr. Collins Baker reads this name M. Oilham Allaby.

3 My attention was first called to this and to some of the other wills quoted in this paper in
July, 1912, by Mr. Bower Marsh— to whom I wish to record here my warm thanks.

4 An abstract of Henry Wheler's will is printed at the end of this paper, p. 67. He died
February 17, 1638/9.

5 Printed by Mr. Bower Marsh, Genealogist, New Series, xxv, p. 211.
0 i. e. Maximilian Colte, the sculptor.

DE CRITZ FAMILY OF PAINTERS 53

Garrett, were closely allied, and that through the Whelers the Flemish
immigrants derived connexion with English blood and English stock of good
standing and assured position. Incidentally it is interesting to note that they
thus became relatives of the Sir William Wheler of Westminster, whose chosen
heir, Sir George Wheler, was an early benefactor to the Ashmolean Museum.
The marriages of the two sisters of John de Critz, Susanna and Magdalen, to
the two well-known painters, father and son, both named Mark Gheeraerts, has
been mentioned.1 It would appear that Matthew, perhaps a brother of the
elder Mark, married Elizabeth, probably the sister of the first Henry Wheler.
In the Return of Aliens in London for 1599 we find one Matthew Garrett and
Elizabeth his wife living in the parish of St. Anne's, Blackfriars. This couple,
if we may assume their identity, would form the necessary link, though a slender
one. That such titles as cousin and uncle were not applied in the seventeenth
century with absolute strictness needs no proof. Nevertheless, a reason for the
relationship which obviously existed better than the one suggested here may
perhaps some day be discovered.

John de Critz II.

John de Critz the second immediately succeeded to the office of Serjeant
Painter which his father had secured for him. In the Record Office is preserved
'A Warrant to sweare Mr. John de Critz Serjeant Painter in ordinary in ye
place of his Father John de Critz deceased ', with the note ' hee is joyned in the
Patent wth his Father for ye place and was upon that ground sworne ' and the
date March 18, 1641 2 (i.e. in our reckoning, March 18, 1642). He had married as
quite a young man in 1609, Sarah Pookes, widow of Cornille de Neve,:1 the
mother of Cornelius de Neve, a painter by whom a few portraits are known.4 It
is to be presumed that the union was childless, and that John was a widower in
1642, since no mention is made of his family in his father's long and elaborate

1 It was first brought to notice by Mr. Cust in a paper on 'Foreign Artists of the Reformed
Religion ', Huguenot Society Proceedings, vii, pp. 45-82.

2 Record Office - ° . Mr. Collins Baker, who quotes part of this warrant, gives it a wrong

«3O

date, March 28, 1641, and a wrong reference. He is mistaken in thinking the old Serjeant
Painter died in 1641, and here misread his document. He refers to the date of death as 1641
instead of 1642, Lely, &c., vol. i, pp. 18, 117; ii, p. 119.

3 See Registers of the French Church of Threadneedie Street, London, i, p. 10, the entry 'Critts
(misprinted Cutts) Jan, natif de Londre, et Sara Poupques vefue de feu Cornille de Neue, aussy de
Londre May 14 1609'.

4 A portrait of the painter by himself from the Tradescant Collection in the Ashmolean
Museum is interesting as a witness to the connexion of the families. A portrait of Dr. Fiske,
signed and dated 1651, is also in the Museum. Other portraits known are in the National Portrait
Gallery dated 1627, at Knole dated 1637, and at Petworth. A portrait of Elias Ashmole was
painted in 1664, but is now lost.

54 AN OUTLINE OF THE HISTORY OF THE

will. Nevertheless the marriage is important as it establishes a link between
the de Critzes and the Tradescants. Sara de Critz was the daughter of
John Pookes or Powkes,1 a tailor who lived and prospered in the precincts of
St. Martin le Grand. He was of French origin, born at Valenciennes,2 and
remained a member of the French church. His wife, who appears as Paschina
Oblaert in his will,3 under the not uncommon belief that the English name
signified Easter, called herself Hester Powkes in her own will dated 1615.*
Here we find a reference to the child of a deceased son John, Hester Powkes,
whom we recognize as the future Mrs. Tradescant of the Ashmolean portraits.
John de Critz II was therefore Mrs. Tradescant's uncle by marriage. He
did not hold his independent Serjeant Paintership long. As will be seen,6 he
followed the king to Oxford in company with many other artists and musicians,
and there ' lost his life for his majesty '. Charles occupied the city on October 29,
1642, and the garrison surrendered on Midsummer Day, 1646. In one of the
many engagements which took place during that period we may presume that
John de Critz perished. He left no will, and so far we have no definite ascrip-
tion of any work to his hand.

Emanuel de Critz.

Emanuel de Critz, the third son of John de Critz and of Helen Woodcock,
was born after September 26, 1599, when his mother made her will, and before
May 19, 1609, when she died, probably about 1605. On his mother's side he
came of good English stock, and he had an alderman of London for his great-
grandfather. According to his own statement, he might — had he not been too
young when the patent was applied for — have been joined with his brother John
in the office of Serjeant Painter. He was, he says, ' bred up to the place and
executed the same, with his brother, most part of his father's days.' Aubrey, in
his Brief Lives? mentions him three times, and as his notes refer to earlier years
than do the other documents available, the passages may be quoted however little
they add to our knowledge.

Memorandum : — Mr. Emanuel Decretz (Serjeant painter to King Charles ist) told me

1 He appears in one list in the Return of Aliens in 1569, i, p. 395, as Jehan Poux.

2 In 1571 (Return of Aliens, ii, p. 46) there is this entry: 'John Powkes dennyzein, borne in
Valencye, and Paskin his wyf borne in Bridges ; they haue bynn here x yeares, and are of the
Frenche churche. Mathewe Gilberte, bornne in Gulyck, he hath byn here viij yeares, and Stephen
Milner borne in Weasell, both there servauntes, who hath byn here iij yeares, and are both of
Thenglishe churche. Douche persons iij. Frenche persons j. Dennyzein j. English churche ij.
Frenche churche ij.' Valenciennes was at this time within the French borders. This John Powkes
must not be confused with another of the same parish and trade, but who was born a subject of
the King of Spain and had a wife, Mary, in 1583.

3 See an abstract at the end of this paper, p. 67.

4 P- 67- " p. 57-

6 Aubrey's Brief Lives, ed. by the Rev. A. Clark.

PLATE XXXV.

HESTER, THE SECOND WIFE OF JOHN TRADESCANT THE YOUNGER, AND HER STEPSON JOHN.

Attributed to Emnnuel de Critz.

From a picture in the Ashmolean Mnscittn, Oxford,
(Canvas 534 by 435 ins.)

HESTER, THE SECOND WIFE OF JOHN TRADESCANT THE YOUNGER, HER STEPSON JOHN, AND HKR STEPDAUGHTER FRANCES.

(Paintrr unknown.)

1'i'otn tt picture in the Ashmolean Museum, Oxford.
(Canvas 43 by 46 ins.)

DE CRITZ FAMILY OF PAINTERS 55

in 1649 that the catafalco of King James at his funeral (which is a kind of bed of state erected
in Westminster abbey, as Robert earl of Essex had, Oliver Cromwell, and general Monke)
was very ingeniosely designed by Mr. Inigo Jones, and that he made the 4 heades of the
Cariatides (which bore up the canopie) of playster of Paris, and made the drapery of them
of white callico, which was very handsome and very cheap, and shewed as well as if they
had been cutt out of white marble. — (ii, p. 10.)

In the sketch of Thomas May, Aubrey says :

'Amiens: Sir Richard Fanshawe. Mr. Emanuel Decretz heard [i.e. was present at]
the debate at their parting before Sir Richard went to the king, where both camps were
most rigorously banded.' 1— (ii, p. 55.)

In a letter from Francis Potter to Aubrey we find :

' I received that oyle in a little glasse which you had from Mr. Decreet, and a receipt in
another letter, and I desire you not to impute it to my unthankefulnes that I did not thanke
you for it in my last letter. . . .' — (ii, p. 167.)

Francis Potter, a country parson, was for many years resident in Trinity
College, Oxford. 'He was', says Aubrey, 'from a boy given to draweing and
painting. The founder's picture in Trinity Colledge Hall is of his copying/'
and we hear of another portrait by him, ' his father's picture at length with his
book fore shortned, and on the spectacles in his hand is the reflection of the
Gothique south windowe.' We cannot doubt that the oil he had from de Critz
was some special ingredient of a pigment.

When the king's art treasures were dispersed in such numbers that the
sale went on at intervals from September 1649 to December 1651, Emanuel
de Critz was one of the most important buyers. He and others formed a kind
of syndicate, and in lists of purchases his name constantly stands first.2 Both
pictures and statues were valued for great sums. The Duke of Buckingham,
for example, was computed to have .£20,000 worth of pictures, and we hear of
single canvases changing hands for ,£800, £1,000, and even £"2,500. Some of
the goods bought by de Critz remained in the hands of those who had contracted
to sell them for the Parliament, and the purchasers may well have been for
a time at least heavy losers.

? 1658. To the . . . Councell of State : The Humble Peticion of Maior Edward Bass,
Emanuell de Critz, William Latham and Henry Willett, on behalf of themselves and diverse
others. — Sheweth that in the year 1651 yr Petitioners did buy of the Contractors for sale of
the late King's goods the severall parcells hereunder named, and did accordingly make
satisfaccon unto the Treasurers for the same. Forasmuch as the said Goods are at
Whitehall and Hampton Court Gardens and some part thereof in Mr. Kinersly custody or
keeping yr peticioners doe humbly desire yr Hono13 order whereby they may receive the
saide goods, they haveing bine greate sufferers by the late Gen" Cromwell's detaineing
thereof. . . .

1 This note suggests that among the Fanshawe portraits may perhaps lurk some work of
de Critz's hand. It probably refers, I am informed by Professor Firth, to the early part of the year
1642 or perhaps of 1643.

2 For such lists see Rawlinson MSS. (Bodleian Library) D. 695 and Brit. Mus. Add. MSS. 24625.

AN OUTLINE OF THE HISTORY OF THE

Statues in W'hall Garden.

A gladiator in brass on pedestall . . 300

One of y° Muses on pedestall . . . 200
A deita on a pedestall .... 200

A deita on a pedestall . . 200

Antoninus . . .... 1201

Dianira 200)

At Hampton Court Garden.

A Venus in brass 50

An Appollo and pedestall . . i2o|

An Adonus

bought by Edward Bass.

bought by Mr. de Critz.

bought by Mr. Latham,
bought by Mr. Willett.

^154°
With Mr. Kinersly.1

li
16

30
42
3
1638

(Ilist. MSS. Commission, 1884, gth Report, ii, p. 444.
Alfred Morrison.)

2 peeces of hangings of Charlamanie
i peece of hanging of y° Assumption

3 peeces of hangings of Wineyards

4 peeces of hangings of ye Passion
i carpett

"1
o

MS.

Mais'

sould to
Edward Bass.

in the possession of Mr.

Emanuel de Critz has been stigmatized as a dealer. If he was, he was at
least in good company. For such dealing as his was inspired by a strain of the
passionate loyalty to the royal cause which had sent so many of Charles's
personal servants, like William Lawes and John de Critz, to fight and die for
their master, and later filled men's minds with the certainty of a Restoration.
To Emanuel de Critz in particular we owe the preservation in England of some
precious pictures, and he undoubtedly did his best to save more. The works of
art in the following list were seen in his house in 1651 bythe connoisseur Richard
Symonds, whose curiosity in matters of painting filled two note-books, now in
the British Museum, with interesting memoranda made in Italy and England.

In Austin Fryars at Decreets house.

3 Rooms full of ye king's Pictures.

2 large quadros for colours a secco by Correggio about 3 foot and a half high, one
Martias being fleaed and one offers snakes towards him, and one below smiling. A brave part :
The other of Pallas and others, both prized at £1000 apiece.2

2 stories by Julio Romano finisht in oyle out of Ovids Met. Juno angry and frowning
at Jupiter and Semele. The other Pallas and Wood fawnes, both prized at £160. 2 foot high
each.

1 Kinersley was Wardrobe Keeper to the King.

2 These are in Vander Doort's Catalogue as among things ' kept in store and are yet unplaced'.
They are described as ' 2 Large and famous Pieces in water cullorrs kept shutt in wodden casess, where
they are tormenting and fleayng Marthas. One stinging him with vipers and another blowing in his
eare with a pype and the third Fleaing him. And a Little young Satirrs heade, being in all 4 intire

DE CRITZ FAMILY OF PAINTERS 57

A Fortune standing on a globe, kept up by 2 Cupids by Jul. Rom. prized at xx1.1
Also the story of ye Bull carrying away Europa by Julio Romano and Pozzo (?).2
Or Sauior Crowned with thornes by Torch light, 2 foot and half high by Bassan

Vecchio.

Ye Virgin, S. Joseph and 2 more half figures by Titian.

A David wth Goliath's head of very red colouring, y° David by Giorgione. 51.3

The King's head in white marble done by Bernino at Rome prized at ^400.*

A large story Pharoeh's Daughter finding Moses in ye Rushes by Gentileschi/'

All y" King's Children done together by Van Dyke.0

The Duke of Buck, and his family by Gentileschi.

The Buriall of Or Sauio1' copied by Crosse from Titian and on ye Tomb is Bassi

Relevi and y° Corner broken.7

This list is to be found in Symonds's Note Book on p. 99, among ' Obser-
vations concerning Pictures and paintings in England '. Page 98 is devoted to
remarks on Robert Walker, one of which runs ' Walker cryes up Decreet for ye
best painter in London '. It would be very obstinate resistance to natural
inference not to understand these two almost contiguous notices of Decreet to
refer to the same man. That this man was Emanuel de Critz is proved, not
only by our knowledge, based on several contemporary papers, that he and no
other de Critz bought in the king's pictures, but also by the two following
petitions, belonging to May, 1660, in which the Bernini bust, which Symonds
saw at de Critz's house in Austin Friars, is expressly mentioned. In 1660 he
declares himself to be the only remaining member of his family.

1660, May (?). Emanuel de Critz the only Sonne left of a miserably ruined Family, by
the Service of your Majesties Grand Father and Father. He hath due unto him upon Privy
Seales about 4000". His father was Sergeant Paynter 50 years. He purchased a pattent
for his eldest sonne, and a servant joyned with him by reason that sonne was young, and
the said Emanuel then an Infant; that sonne lost his life for his Majestie at Oxford, the

figures lesse then halfe soe bigg as the life besides the young Satirrs head, being painted in
a Landskipp in an all ouer gilded frame in a dowblc dore shuting case. 4 ft 11 — 2 f 9. A mantun
peece done by Antho: Corrogio.'

' Item second, the like fellowc peece in water cullorrs of Corregio being an unknown Storie,
4 intire figures in a Landskipp and 4 Angells in the Clouds conteyning in all 8 figures, whereas one
is sitting with the figure of Prudence Obedienc Fortitude and Justice, the other figure being sitting in
the manner of a goddess of warr with a peece of a reede broken staff of a launce having A Monster
with a wolfe's head and a dragons tayle, under her feete. And the 3 being an Egiptian meysuring
with a paire of cumpasses on a globe Signifying astronomie. Thereby standing a naked child, in
a wodden case and an all overgilded frame. 4 f u — 2 ft 9.' Now both in the Louvre, called Vice
and Vertue.

1 Now at Hampton Court, No. 287 in Mr. Law's Illustrated Catalogue of 1898.

2 At Hampton Court, No. 293.

3 Probably the picture now in the Vienna Gallery, No. 285, mentioned by Mr. Claude Phillips
in his Picture Gallery of Charles I, p. 88.

4 The famous bust, lost in or after the fire at Whitehall in 1697.

5 Perhaps the picture now in Madrid, v. Bryan's Dictionary.

c Now at Windsor. It hung in the breakfast-chamber at Whitehall.
' Probably from the original in the Prado.

AN OUTLINE OF THE HISTORY OF THE

These came
to me by lott,
and I possess
them solely.

These are
mine in
Partnership
with others.

These are
other men's
intrusted to
my hands.

servant is dead, and neither had benefitt of their Pattent. The sd Emanuel discounted with
ye Parlyam' 8ooH debt, and paid above too1' ready money for the (incomparable) Statue of
your Father's by Berneeno, on purpose to secure it, having used all meanes formerly to
convey it to your majtie, but could not.

Besides this he is out of purse above 300" ready money in advance on Pictures, Statues,
and a Privy Barge (late converted into a Galley) most of which are brought a in by him, and
are now in yor majtits possession. He hath beene bredd up in ye place, and executed the
same (wth his brother) most part of his father's dayes. He is now in ye worke, hath
disbursed a great deale of money. And noe man understands the Place like him.

(State Papers Domestic, Charles II, vol. i, No. 62. Printed in the Fine Arts Quarterly
Review, June 1867.)

A p'ticular of such goods of his late Majesties as are remaining in safe custody of
Em: de Critz, son to the Serieant Painter, deceased, for part of whose debt they came to
him in ye yeare 1651, and haue bine euer since preserved by him with great care and danger,
his now Majestic haueing had oft notice from him of the same.

Impris that incompareable head in marble of y° late King's, done by Caualeere Berneeno ;
sold to me for £800 with £80 advanced theron.
Item, two oual peices of Bassano.

A peice of Europa by Jullio Romano.2

A head of S* Jerome.

A sea-piece — in a friend's hand at prsent.
Item, a woman's head by an Italian hand.

The Pictr. of K. James at length/5

The head of a Siibell. Italian.

The Pictr. of Rich ye2d at length.4

A peice of Lott and his daughters. Italian.

A peice of a Flower pott in needleworke.

A small p° of a Sebastian and a Cupid.

A pe of fire shipps at Antwerpe.

A head of a Sctochma. Italian.5
Item, a great p° of Ahasuerus and Ester, by Tintorett.0

A small p° of or Lady, Christ, and Joseph by Mich. Angello B.

A single figure of a Sebastian.7

A small p° of y° marriage of Mary and Joseph. Italian.8

A picf of ye Lord Darnell, K. James his father.

A pict1' of y" earle of Nottingham at length.9

1 i.e. delivered to the King's Keeper of the Wardrobe. 2 At Hampton Court, No. 293.

3 Probably No. 308 at Hampton Court, by Vansomer.

4 The famous Wilton House Diptych. It was sold to a Mr. Chicheley of the Temple (B. M.
Add. MSS. aim, p. 54). This step in the history of the picture was not known to Sir George
Scharf.

6 Perhaps the portrait attributed to Bernardino dei Conti, called James, second Earl of Douglas, in
the possession of the Earl of Home. It was in the collection of Charles I. Vide Catalogue, Burlington
Fine Art Club Exh. of Early English Portraiture, 1909, No. 47.

6 At Hampton Court, No. 69. It was sold for the Parliament for ^120.

7 ? No. 277 in Mr. Law's Catalogue.

! Supposed by Mr. Law to be No. 224 at Hampton Court, by ? Girolamo da Treviso.
9 Such a portrait was in the first Exhibition of National Portraits, 1866, No. 357. It was
catalogued by Vander Doort as by Mytens. Bathoe, p. 89, No. 31.

DE CRITZ FAMILY OF PAINTERS 59

A head of Edward the 6d.

A pictr of ye K. of Bohemia's son y* was drown'd.1

A small pce of ye birth of Christ. Italian.

A Landskip of a dream. Italian.

Two philosophers' heads in Marble.

Item, a greatt brass figure of Anthoninus, atempted by yc Quaker in the Garden, and
thence secured by me wth charge to another place.2

The Prince Barge' also is in my lott, wch to preserue from sinking cost me £2-], besides
yc £600 and £60 in aduance and upon her translation (into a galley) I am out £222 as by
A Debenter will appeare, which is altogether unsatisfied to the great loss and sufferance of

his Mati0'3 euer loyall and affectiont Seruant

Emanuell de Critz.3

The tottal of what these came to, with there aduance, is £1576 los od as by y° bookes
will appear. [Endorsed faintly, May 1660.] William Crosse's discovery of goods delivered
to him by Emanuel de Cretz by order of the Commissioners in payment of a debt due to
William Eldreth viz. an iron chest valued at £20 ; pictures— of the Archduke Mathias £5',*
of one putting on an armour, .£30 ; 5 of the Creation £15 ; of Mary, Christ, and John,
£20 is8 4d ; of the Burning of Troy £8 and others, in all £174 3s 6'1.

(Calendar of MSS. House of Lords, Hist. MSS. Commission, 7th Report, 1879, pp. 89, 90.)

No record of Emanuel's appointment as Sergeant Painter lias been found.
But it is clear that he met with favour in high places and that prosperity returned
to him. Probably at this time he moved into the parish of St. Margaret,
Westminster, where he died. It was about Whitehall that we catch sight of him
in the company of Samuel Pepys.

1660, 30 June. To my Lord, and with him to White Hall where I saw a great many
fine antique heads of marble, that my Lord Northumberland had given the King. Meeting
Mr. De Cretz we looked over some of the pieces in the gallery, and he told me whose hands
they were, with great pleasure . . .

1660, 9 Oct. ... To White Hall, where I went to my Lord, and saw in his chamber
his picture very well done ; and am with child till I get it copied out, which I hope to do
when he is gone to sea.

1660, 22, Oct. ... At night my Lord came home, with whom I staid long and talked of
many things. I got leave to have his picture that was done by Lilly, copied.

1 Frederick Henry, the eldest son, b. Jan. 2, 1614, drowned in the Zuide Zee off Haarlem in
1629. Perhaps the ' Picture of the elder brother of the Prince Elector Palatine done to the
shoulders in a wooden frame upon a board, done at Amsterdam by Bodingham '. Vander Doort,
ed. Bathoe, p. 89, No. 27.

2 A Quaker had tried to demolish this statue, which was rescued by Richard Meredith, who sold
it to de Critz and others for £120.

3 See Plate XXXVII (b).

4 Mentioned in Bathoe's Catalogue as a 'Whitehall piece: of the Archduke Mathias when he
was Governor in the Low Countries, being at length in a black cap and white Feather ; and in a red
suit in short black Cloak, his right hand in his side, and his left upon his sword . . .' No. 69,

p. 121.

6 Probably No. 85 in Bathoe, p. 147 : ' Brought from Germany by my Lord Marshall to give
the King, from Colonel Lasley, . . . a man where his page is putting on his armour.' Now at Hampton
Court, doubtfully ascribed to Titian, No. 122.

I 2

60 AN OUTLINE OF THE HISTORY OF THE

1660, 23 Oct. Carried my Lord's picture to Mr. de Cretz to be copied.

1660, 24 Nov. ... I to Mr. de Cretz, and did take away my Lord's picture, which is now
finished for me, and I paid £3 10" for it and the frame.1

1662, 9 May. To Mr. de Cretz, and there saw some good pieces that he hath copyed
of the King's pieces— some of Raphael and Michaell Angelo, and I have borrowed an
Elizabeth of his copying to hang up in my house.

De Critz's prosperity, however, was clouded by a personal loss. He had
married a certain Anne, perhaps a widow, since she possessed goods and
furniture before her marriage. They had two sons, both under age when
Emanuel made his will in March 1661. A codicil dated two years later, March
1663, tells us that Palmes,2 the elder son, had died, and constitutes the younger,
Thomas, heir to the leasehold estate at Quidhampton and to all other property.
Emanuel died in 1665, and was buried in St. Margaret's, Westminster, on
November 2.3 Thomas, whose early life I have not been able to follow, married
Elizabeth Furley on June 19, i68g.4 He was appointed Sergeant at Arms in
1707," and died in 1728. He had then returned to his grandfather's parish of
St. Martin in the Fields, and possessed, by inheritance from his aunts Sarah
de Critz and Katherine King, considerable property in Lambeth and Hampshire
—all of which he bequeathed to his daughter Dorothy.

Will of Emanuel de Critz.

I Emanuell de Critz of the parish of Saint Margaratt . . . Westminster . . . gentleman
being at this present somewhat indisposed in my health, but of perfect sense and memorie
. . . make and ordaine this my last will . . . my Bodie to be buried in the parish church of
Saint Margaretts or where my Executors hereafter named shall thinke fitt. And as for my
Worldly Estate I give and bequeath the same as followeth : First I give and bequeath unto
Anne my loveing wife five pounds to buy her a Ring, and for all those goods and Utensils
of householdstuffe whereof she was possessed before her marriage with mee, my desire is
that the rents yssues and profitts of those Messuages or Tenements which I have by deed
indented reserved to her for her life, being Fourtie-nine pounds per Annum may be duely
paid and satisfyed to her accordinglie. Also I give ... to my sonne Palmes de Critz all
that my Estate comeing by my Lease of Quidhampton in the County of Southampton and
whatsoever else may fall to him there. Item I give and bequeath to my sonne Thomas
De Critz the summe of One hundred pounds to be ymployed by my Executors in placeing
him out Apprentice. And I doe hereby constitute ordaine and appoynte my loving sisters
Sarah De Critz and Katherine King Executrixes of this my will — whome I desire to
mannage my estate during the minoritie and to the sole use of my said two sonns. All the
rest and residue of my personall estate not here before bequeathed I give and bequeath to

1 This portrait was bought by Lord Braybrooke at Mr. Pepys Cockerell's sale in 1848, and is
now at Audley End.— Note in Lord Braybrooke's edition of Pepys's Diary, 1884, i, p. 115.

2 Palmes de Critz, whose name in every case is misread Palmer by Mr. Collins Baker, was
probably a godson of his grandfather's kinsman named overseer of his will, Francis Palmes, of
Norrington. Both Norrington and Quidhampton are to be found near Overton in Hampshire.

3 v. Parish Registers.

* Index to Marriage Licences, Faculty Office.

5 Luttrell, Brief Historical Relation . . . 1618-1714, vi, p. 173.

PLATE XXXVI.

JOHN TRADESCANT THE YOUNGER.
Attributed to Emanuel de Critz.

From a portrait in the Ashtnolean Museum, Oxfurtl.
(Canvas 42 by 34 ins.)

DE CRITZ FAMILY OF PAINTERS 61

my said two sonnes Palmes and Thomas De Critz to be equally divided betweene them
share and share like by my Executors when my said sonnes shall come to their respective
ages of one and twentie, and in case either of them die before they come to theire said age
. . . then the survivour of them to receive and have the residue afore-mentioned . . . Item
I doe desire Master Mark Cottle my loveing freind to be overseer of this my last will and
as a Testimoni of my love I give him fortie shillings to buy a Ring . . . Lastly I doe ordaine
that whatever my said Executrixes shall reasonablie expend concerning the getting in my
debts . . may be fully satisfied.

Signed Ema: de Critz. Dated 10 March 1660/1.

Witnessed, (attested and sealed, ?) Richard Hoare.

Codicil Whereas I Emanuel De Critz have . . . bequeathed unto my Sonne Palmes de
Critz all that my estate comeing from my Lease of Quidhampton . . . since which time it
hath pleased God to take to his mercy my eldest son Palmes, my will now is ... that
I give . . . unto my sonn Thomas De Critz my aforesaid Estate by Lease . . . And I give
unto Mary Spire my now Servant (in consideration of her long service being fifteene yeares
and upwards, provided she continue with me to my death . . .) such necessaries and goods
as my executrices shall judge fitt to furnish her a chamber to live by herselfe if she soe
like, viz. one Featherbed and boulster, blanketts and coverlett, some Curtaines and Vallence,
two paire of ordinary sheetes and some other Linnen, some few dishes, a pott, skillett, fyre
yrons and their appurtenances and what other necessaries my executrixes shall think fitt.

. . . Dated 3 March 1662/3. Witnessed by Sara de Critz, K. King. Proved 4 Nov. 1665
[P.C.C. 139 Hyde].1

Will of Sarah de Critz.

I Sarah de Critz of East Greenwich in the county of Kent, spinster, being in years but
in indifferent good health of body, ... I make and declare this my last Will and Testament . . .
As for that estate (which) it hath pleased the Almighty God to bestow upon me I give and
bequeathe ... as following . . . unto my loving Nephew Mr. Thomas de Critz, Gent, and to
his Heirs ... for ever all and every my Lands and Tenements whatsoever which I have either
in possession or reversion in the Parish of Lambeth . . . and elsewhere. And whereas
I the said Sarah de Critz and Katherine King my late sister deceased did by Lease bearing-
date 2 Dec. 1679 and by release bearing date 3 Dec. 1679 settle upon the said Thomas De
Critz and his heirs all ... the Lands and Tenements . . . beforementioned for the use of
me and my said sister during our naturall lives and the life of the longest liver, and after our
deceases to the use of the said Thomas de Critz . . . now I hereby confirm all and every
clause in the said Release and I do hereby give all my goods and chatties, creditts, plate,
Jewells and other my estate whatsoever to the said Thomas de Critz whom I make my
executor . . .

Dated 13 Aug. 1684. Witnessed by Charity Hoare, Tho. Whetham, Ri. Edes. Proved
i March 1685/6. [P.C.C. 30 Lloyd.]

Will of Thomas de Critz.

I, Thomas de Critz of the parish of St. Martin in the Fields ... I give and devise unto
my daughter Dorothy de Critz and to her heirs ... all my messuages, cottages, and houses,
closes, lands, grounds, orchards, gardens, Tenements . . . situate lying and being in South

1 The dating both of the will and codicil is misleading as printed by Mr. Collins Baker, ii,
p. 120. They are given, without reference to the beginning of the year as then reckoned, 10 March,
1660, instead of 1661, and 3 March, 1662, instead of 1663 there and on pp. 117, 118 of vol. i.

62 AN OUTLINE OF THE HISTORY OF THE

Lambeth with their appertenances . . . and all other freehold tenements . . . whatever
situate in that part of Great Britain called England to the use of the said Dorothy and her
heirs ... I give to my said Daughter Dorothy the Rectory and tithes of Quidhampton
and all my lands which I hold by Lease of the Dean and Chapter of Winchester with all
my interest and Tenants right. I give her all my South-sea stock, South-sea annuities,
money in the Exchequer securities and all ready money as well as rings watches goods
Chattels and personal estate

Dated i Feb. 1723-4. witnessed by Geo. Draper, John Cooke, James Pavilon. Proved
by ' Dorothea de Critz soluta filia Dicti defuncti et exx 7 April 1728'.

[P.C.C. Brooks 108.]

With this outline of the life of Emanuel de Critz before us, it is necessary
to consider what evidence exists for the attribution to him of any works. In the
Ashmolean Museum there is a group of portraits, apparently by the same hand,
belonging to the Tradescant collection, and all but one of members of the
Tradescant family, no doubt painted in Lambeth. The exception, the bust of
a youth, is inscribed with a number and Oliver de Cratz, a famous painter
(Plate XXXII). It was not unnatural to imagine this Oliver to be the author of
his own and of the allied portraits.1 But the catalogue, which alone contains a list
of pictures numbered to correspond with this inscription, was made by John
Whiteside, keeper of the Museum between 1714 and 1729. That all accurate
information concerning the Tradescants was lacking at this date, some forty
years after the death of the last of the name, is proved by mistakes on the other
portraits similarly inscribed and numbered. In fact, these family portraits had
passed into alien hands ; their history, for various reasons, had been lost, and
their value had come to be regarded as very slight compared to that of the other
contents of the Museum, then prized highly for their scientific character. Even
the name of de Critz here assumed a vowel not found in all the records else-
where. Nevertheless the tradition connecting it with the authorship of the
pictures had lingered on, and may be accepted as a guiding clue.

A genuine contemporary inscription on the double portrait of Hester
Tradescant and her stepson gives us its date : Aetatis: 37 ; Sep""" Anno Domini
1645 ; A1'" 12 A. D. 1645.- If we may believe Emanuel de Critz's statement — and
there is no sort of reason why we should not — John de Critz was at this time
either engaged in warfare at Oxford or already dead. Oliver, his younger
brother, was barely twenty years old, and his name has never occurred in any
document hitherto found as a painter, and in none at all after 1642. But
Emanuel himself had been bred up to follow the family profession, and only six
years later was cried up as the best painter in London by a very good judge.

1 A suggestion first made by Mr. C. F. Bell in 1905, upon which the present writer has worked.

2 Plate XXXVII (a). This inscription, made with a brush and in a more or less conventional
script, bears no relation to the writing in Plate XXXVII (b). It was copied and published by Mr. C. F.
Bell in 1905.

DE CRITZ FAMILY OF PAINTERS 63

It seems obvious, on our present knowledge, that if any de Critz is to have the
credit of the Tradescant pictures it must be Emanuel. And we may say further,
that the lost portrait of Serjeant Maynard, done in 1657 with a paper in his hand,1
must be ascribed to the same painter.

Against this conclusion it has been urged * that Vertue in 1731 heard from
' Mr. Murrey ' that ' besides John Decreete, sergeant painter, there was Tho.
Decreete, his brother, and a better painter.' On the strength of this rather
vague report, chronicled some seventy or more years after the death of the
subject of it, it is argued that Thomas must be the artist we seek. But Thomas,
the brother of John and Emanuel, like Oliver, fails to make an appearance in
any document after 1642, and no appearance at all as a painter. It is not
probable that a man gifted with such powers as are displayed in the Tradescant
portraits should be utterly lost to a search which has brought to light a con-
siderable amount of information about his brother. Vertue, no doubt, got mixed
in the Christian names. He was not, it is evident, particularly interested in the
de Critz question. He made no effort to disentangle the handiwork of the two
generations. Their activity in decorating coaches, barges, ceilings, and scenes
for masques chiefly impressed him, and induced his comment 'for history,
I suppose' on Walker's estimate of Emanuel's excellence.3 Another of Vertue's
notes is more puzzling. He says that Murrey was a pupil of de Critz. If the
reference is to Thomas Murrey, his dates (1663-1734) do not admit of any
relation with Emanuel. Nor is he likely to have derived, c. 1680, much instruction
from the brother Thomas, who was older than Emanuel, if indeed he survived
and was a painter. In any case, the dc Critz who taught Murrey could hardly be
the accomplished painter of Hester Tradescant in 1645. Murrey's informant was
of course Thomas de Critz, the son of Emanuel, and the note about his family
portraits 'Mr. Decretz has his father's picture (i.e. Emanuel's), his uncle that
was Sergeant-painter (i.e. John II), and his grandfather John dc Cretz, who was
first Sergeant-painter to King Charles First',1 accords perfectly with the data we
have collected.

Another group of facts can be brought in support of Emanuel's claims. We
have seen that a marriage between John de Critz II and Hester Tradescant's
aunt connected the families. Their intercourse did not cease with John's death.
In a dispute between Mrs. Tradescant and.Elias Ashmole, a certain statement of

1 A note made by Vertue, see Walpole, Anecdotes, ed. 1862, p. 365.

2 By Mr. Collins Baker, Lely and the Stuart Portrait Painters, \, pp. 118, 120, 123; also
Burlington Magazine, March 1913, p. 253. Another of Mr. Baker's objections to the claims of
Emanuel, that he is not included in Sanderson's list of conspicuous painters in 1658 applies equally
to Thomas.

8 Mr. Collins Baker reiterates the quotation with more emphasis than it deserves. See his
Lely, and the Burlington Magazine as before.
4 Brit. Mus. Add. MSS. 23069, pp. 22-3.

64 AN OUTLINE OF THE HISTORY OF THE

her delinquencies as regards him was drawn up by Ashmole in 1676, and con-
fessed to by Hester.1 Her signature is witnessed amongst others by Thomas
de Critz and K[atherine] King. Again, we have seen in the wills of Emanuel's
sister Sarah and of this very Thomas his son, that the de Critzes came to possess
property in Lambeth, where the Tradescants dwelt on their own land. It appears
further, from the will of John Tradescant (d. 1662), that some at least of this land
inherited by Thomas from his aunts Sarah and Katherine King, and bequeathed
by him to his daughter, came from Tradescant. It is worth noting, too, that
' Mr. Mark Cottle' was named overseer to their wills by both Emanuel de Critz
and John Tradescant, and that both documents were attested by the same notary
public, Richard Hoare. The relevant passage in Tradescant's will is as follows :

. . . Item I give and bequeathe to my Cousin Katherine King, widow, after the
decease of my wife, the Little House commonly called the Welshman's house, situate in
South Lambeth aforesaid, together with the Little Piece of Ground now enclosed, there-
unto adjoining . . . and to her heirs and assignes for ever . . . And I do desire Dr. Nurse,
and Mr. Mark Cottle to be overseers of this my last will and Testament . . . signed in the
presence of John Seatewell, Foulk Bignall, Robert Thompson, junris, Ric: Newcourt, Richard
Hoare, Notary Public.2

The earliest of the Ashmolean portraits here ascribed to Emanuel de Critz
would seem to be the bust of old John Tradescant, painted in an ornamental
oval spandrel decorated with flowers and bunches of fruit and vegetables
(Plate XXXIII (a)). These display the interest in the minute details of natural
forms and the love of many-shaped contours which we find again in the shells in
the group of Tradescant the younger and Zythepsa (Plate XXXIII (£)), and in the
hair on the skull in the portrait in the National Portrait Gallery (Plate XXXIV).3
But the bust itself does not look to be painted from the life, and seems to have
been based upon a little head on panel preserved in the Ashmolean Museum, from
which the engraving by Hollar appears also to have been made. The catalogue
of the Curiosities entitled Musaeum Tradescantianum, to which Hollar's print
forms the frontispiece, was begun by John Tradescant the younger before 1652.
It was laid aside upon the death of his son in that year, and published in 1656,
after, as we are informed in the preface, he had waited some time for the plates.
The panel portrait probably therefore existed before the old collector's death
in 1638.

The group of Hester Tradescant and her stepson provides us with a fixed

' The original paper is among the Rawlinson MSS. in the Bodleian Library, D. 912, f. 668.

2 This will is printed in full in Notes and Queries, ist series, v, pp. 367, 368. See also the
present writer's Catalogue of Oxford Portraits, \, Introduction, pp. xx-xxvii.

1 The tablet attached to this picture assigns it a date, 1652, which I have not found upon the
canvas. It may have been given with the idea that the skull had a reference to the death of
Tradescant's son in that year. It seems more probable that the skull was a Museum object.

DE CRITZ FAMILY OF PAINTERS 65

date— 1645 — round which to arrange the other allied canvases. This picture
(Plate XXXV (a)), where the stepmother accepts a jewel from the child, who gazes
up at her with pretty deference, is peacefully domestic in feeling, and in that is akin
to the other group probably painted soon after, where her husband, John
Tradescant II, appears to be welcoming his long-nosed friend (Plate XXXIII (b)).
In both pictures there is the same glimpse of evening sky in the background,
and the same predominance of grey in the dresses. To much the same period
would seem to belong the National Portrait Gallery portrait of Tradescant
(Plate XXXIV), and the interesting and vivid head of Oliver de Critz, of which
the presence in the Tradescant Collection can now be readily explained.1 The
date of this painting cannot be much later than 1645, since the youth does not
look older than nineteen or twenty, which is the age assigned to him in that
year on the evidence of the document which has been cited. -

Of the remaining portraits attributable to de Critz, Tradescant standing
alone in his garden may well be his, and is probably the last of the series. It is
an impressive picture. The solitary rugged figure, his shaggy unfastened dress,
the spade suggesting the most primitive toil, together make an appeal almost
startling in its unusualness. Whatever its precise date — which must fall between
1645 and 1656 3 — this fine picture is original in conception : to a high degree
instinct with understanding and feeling for character, and not less with the
power to render it with sympathy and courage (Plate XXXVI).

If we accept all these portraits as the work of one man, and further admit
the order here suggested — with the 'Gardener' as an example of the artist's
fully developed gifts — it becomes very difficult to fit into the series the remaining
group of Hester Tradescant and her stepson and daughter (Plate XXXV (b)).
Looking at the picture for what it has to tell a technically untrained spectator,
we receive a totally different impression from that communicated by any of the
others. With the exception of the head of old John it must be the earliest in
date. A whole world of political upheaval separates it from the group dated
i645.4 Here Hester— in her richly coloured and trimmed dress moving almost
as though in a procession with the two children, both so conscious of her and of

1 It is perhaps not too fanciful to suggest that Oliver showed some of the family talent, and
that an early death accounts for the silence into which his name has passed. He was not buried
in his father's parish. The registers have been carefully searched. In those tumultuous times he
may have perished in the wars. The present writer confesses, however, that in her opinion Oliver,
should he reappear, would have a claim to be considered in the question of the Tradescant pictures.

2 See above, p. 50.

3 A double portrait of inferior merit in the Museum represents Tradescant and his wife together
in 1656. Here he appears a good deal altered, the face changed and the hair further back. It
resembles Hollar's engraving of him published in that year.

4 The appearance of an earlier date so impressed the eighteenth-century writer of the
inscriptions that on this canvas the lady is described as the wife of old Tradescant.

66 AN OUTLINE OF THE HISTORY OF THE

their bravery — cannot surely belong to a time after the Civil War had broken
out. The family were strong royalists, even perhaps in personal relations with
the queen.1 They are presented to us in the height of their prosperity, when
they were rich, well known, and much considered and their museum a centre of
interest to friends and scholars. Moreover, the boy who was twelve in. 1645 is
here unmistakably younger and a little shorter in relation to his stepmother.2

Together with these signs of an earlier date there appears a more accom-
plished handling, a greater ease of execution, which, on the assumption that the
picture is by Emanuel de Critz, must be incompatible with it. The gestures are
freer and more significant, the pose of the figures more assured ; in short, the
brain through which we have the vision seems indescribably different and more
experienced. That the Tradescants employed several artists is seen from various
canvases in the Ashmolean Museum which cannot be classed with the pictures
that have been considered in this paper. And, tempting as it is to claim this
group too as Emanuel de Critz's work, it seems that in honesty another painter
must be sought. Can it be that we have here a picture by his elder brother
John?

WILL OF HELEN DECREETS, FIRST WIFE OF JOHN DECREETS.

I Helen Decreeteswife of John Decreetes of London gent, . . . by and with the consent
and agreement of my said husband doe . . . declare and make this my present testament and
last will of for and concerning my part and portion of and in the summe of five hundred
pounds of lawful money of England which Raphe Woodcock late Citizen and Alderman of
London deceased by his last will . . . did give and bequeath unto and amongst all the
children of William Woodcock his sonne, (father of me the said Helen Decreets) which
sayd ,£500 . . . the said Raphe Woodcock willed . . . should remayne in the hands of
George Allen and Richard Aldworth his late servants during the natural life of the said
William Woodcock . . . and . . . until such time as the said children should be of the age of
21, and by the same his last will . . . devised after the decease of the said William Woodcock
should be equally divided amongst the said children ... I doe give . . . my sayd part of the
aforesaid £500 unto my husband John Decreets and to John, Henry, Rebecca, and Anne
children of me the said Helen . . . and of my husband John Decreets (now living), and unto
such children as I shall hereafter have by my said husband, equally between them to be
divided. The portions of my sonnes therein to be payd at their several ages of 21 ... and
the portions of my daughters at their several ages of 21 or on their day of marriage which-
ever first shall happen. If any son or daughter should die ... my said husband to have
to his own use the portion of such of them as shall happen to decease . . . And I do make
my said husband ... my sole executor. [Dated 26 Sept. 1599. Witnessed by George
Shether and Rob' Wynchett. Proved by John Decreetes 19 May 1609.]

[P.C.C. 51 Dorset]

1 See an account of a transaction with Henrietta Maria in Ballard MS. ii. 145 in the Bodleian
Library.

" The girl Frances married Alexander Norman, presumably her first cousin ; she was a widow
in 1662. For the sake of completing the series of Tradescant wills that of old John is printed at
the end of this paper.

DE CRITZ FAMILY OF PAINTERS 67

EXTRACT FROM THE WILL OF HENRY WHELER OF LONDON, GENTLEMAN.

15 Nov. 1636.

... I give and bequeath unto my sister Smallwood and to all her children borne at the
date hereof fyftie poundes a year . . . Item I bequeath unto my cosen Emanuell de Critz
and his sister and to all the children of his second mother borne at the date hereof fyftie
poundes a yeere ... I give to my cosen Tho. Decritz one hundred pounds. Item I give to
the foure sisters of my cosen William Wheeler fyftie pounds a yeere. Item to my Cosens
Marke and Harry Garrett £20 and .£10 a yeere. Item to my uncle and aunt D. Critz tenn
Pounds and fyve pounds a yeere. Item to my Aunt Garrett fyve poundes. I bequeathe
unto the Childe unknown to me but often mentioned to me by my Aunt Garrett £5. To my
cosen Wheelers brother-in-law's child at nurse 1634 at the Cobbler's . . . To my cousin Will.
Rudyard ... my kinsman Mr. John Wheeler, ... To my cosin Sir Bevis Thellwell and his
Lady ... To Mr. Tylney . . . my cosen James Rudyard . . . my beloved cosen Mr. Francis
Rudyard, . . . my cosen William Wheeler of Westminster Esq. . . .

[Witnesses, Henry Skinner and Tho. Baker. Proved 23 Mar. 1638/9.]

[P.C.C. 47 Harvey.]

Abstract of the Will of John Powkes.

I John Powkes of St. Martin le Graund, taylor . . . £10 to the poor of the parish where
I now dwell £10 to the poor of the French congregation of London ... I give unto
Paschina Oblaert my wellbeloved wife the lease of my house . . . and after her life, it is to
return to my children. To John, Edward, Philippe, and Daniel Powkes, my sonnes, the
tenements which I hold of the Lords of the manor of Stevunheathe l lying in Lymcoste (?)
in the parish of Stevenheathe in Middlesex ... I give unto the children of Helen Powkes
my sister which she hath and shall have £100 to be divided among them when they come
to lawful age, which money shall be delivered to Bartholomew Johnson their father to the
use of the said children ... To my wife Paschina Oblaert a third part (of my estate) with
apparel linen and woollen, rings and Jewells unto the body appertaining, and the other two
third parts unto the aforesaid John, Edward, Philipp, Daniel, Judith, and Sara, my six
children, to be divided equally between them when they shall be of lawful age or of the
estate of marriage. . . .

Dated 15 Nov. 1586.

Executors Paschina Oblaert my welbeloved wife, overseers Peter Sauvage,
Bartholomew Johnson, Strangers resident in London.

Witnessed by Martin Druit com tesmoin.

Michell Art come Tesmoins, Sigillat Cornelius Spirink.

Not Pubus 1586.

Codicil 20 March 1589, at ab' 7 of the clock in the forenoon i£ hour before the death,
John Powkes wills unto his two daughters Judith and Sara £50 a year more than by his
said will, since they had no consideration in his house in Lirnehouse. [B. Johnson is dis-
carded as overseer and in his stead are named Amande Mutton.

Peter Savage.]

[P.C.C. 23 Drury.]

Abstract of the Will of Hester Powkes.

I Hester Powkes widow of John Powkes of the Precincts of St. Martin le Grand . . .
desire to be buried in the parish church where I dwell . . . Item I give and bequeathe to

1 i.e. the manor of Stepney inLimehouse (?).
K 2

68 THE DE CR1TZ FAMILY OF PAINTERS

the Relief of the poor people of the French congregation in London £3 ... to the poor
people of St. Andrews Holborn where I now dwell £3 ... I give to Philip Powkes and
Hester Powkes the two children of my late son John Powkes deceased twenty shillings
a year to be paid to them at the full age of 21 years ... I bequeathe to John Le Sage £i . . .
to Judith Sage and Hester Sage the children of my late daughter Judith Sage deceased, to
either of them £3 a year to be paid on the accomplishment of their ages of 21 years ... If
any of the daughters viz. Judith or Hester shall happen to die, the one to be the others
executor. If both of them should die the sum to remain to my executors to be divided
amongst them ... I bequeath unto the two sons of my daughter Sara de Critz, Cornelis
and Israel de Neve, six pounds a year to be paid unto them at the age of 22. The residue
to be divided between my 3 children, my son Philip Powkes, my son Daniel Powkes, and
my daughter Sara de Critz, and I ordain and make the said Philip Powkes, Daniel Powkes,
and Sara de Critz, my 3 children, to be my joint executors. Signed in the presence of
Philipp Powkes, Daniel Powkes, John de Critz.

(Proved by Philip, Daniel and Sara 4 Nov. 1615.) [P.C.C. 104 Rudd.]

Abstract of the Will of John Tradescant, Senior.

I John Tradescant of South Lambeth . . . Gardyner . . . doe this eight day of January
Anno Domini 1637 make my last will ... I give to my son John Tradescant the Lease in
South Lambeth and my Lease in Woodwater1 in the countie of Essex. Item I give to my
grandchildren John and Frances Tradescant my lease of two houses whereof one is in
Longacre and the other in the Covent Garden . . . To my said grandchildren . . . the sum
of 150 poundes which is in my hands of ye right honorable the Lord Goringe, And ye
sume of seaventeen pounds which is in my hands of my brother-in-law Alexander Norman,
the same severall sumes of money to be equally divided between my said grandchildren.
... If my son should desire to part with or sell my Cabinett, it is my will that he shall first
offer it to ye Prince ... I appoint my said brother-in-law and Mr. Williams, and welbeloved
friend John Whistler esquire to be overseers . . .

Signed John Treadeskant.

Witnessed by John Lardner.

Arnalt Cornellis.
Edward Morgan.

(Proved 2nd May 1638.) [P.C.C. 65 Lee.]

1 Probably Woodham Walter, near Maldon in Essex.

PLATE XXXVII.

fct.fc»:37-'

INSCRIPTION ON TI

PICTURE OF HKSTF.R TRADESCANT AND IIKR STEPSON JOHN.

PLATE xxxv. («i

; (One half the size of the original.)

(6)

PART OF A I'APKH NOW IN THE LIBRARY OF THE HOUSE OF LORDS.
Printed in full on pp. 58, 59.

{Size of the original.)

PLATE XXXVIII.

THE ROMANCE TILES OF CHERTSEY ABBEY.

THE ROMANCE TILES OF CHERTSEY ABBEY

BY W. R. LETHABY.

THE Romance of Tristram seems to be a British story. As M. Loth has
recently shown in a remarkable study it has a Cornish background. ' It is
impossible to find for the Romance of Tristram any other country than England ;
it can have had no other cradle than Cornwall.' The association of Iseult's
name with Dublin can be traced back to about 1200. Soon after the Norman
Conquest the tale was taken up by the courtly poets, and the standard text
of the romance was written about 1170 by Thomas, an Anglo-Norman living
in England. There are indications in the story that this Thomas must have
known London well, and a long passage is devoted to its praise.

Only the latter part of the romance as written by Thomas now exists,
but it has been shown that the German version by Gottfried von Strassburg
(c. 1220) is practically a translation of it, while the English 'Sir Tristrem'
(1294-1330) also followed it. The original has been reconstructed from the
fragments and derived texts by J. Bedier (Paris, 1905).

The designs after the romance which are figured on the Chertsey tiles
are almost certainly the earliest existing pictures drawn from the famous story,
and they thus have a value even beyond their intrinsic beauty — a beauty which
is extraordinary, and by means of which these tiles become important national
monuments. The draughtsmanship of the designs is very fine. Altogether
these remarkable documents have been curiously neglected. Associated with
the pictured tiles are many fragments of descriptive inscriptions which must
represent to some degree a text of the story not later than the middle of the
thirteenth century. Designs and text taken together are thus an independent
authority for the contents of the original romance. There are very few con-
secutive words preserved, but under the scrutiny of a competent scholar they
would probably yield some interesting results. M. Paulin Paris, who had,
I suppose, only a few words submitted to him, judged that the language was
pure French and not Norman French. It was easy to claim the tiles too as
French work ; but as the result of further discoveries and study, there cannot
now be any doubt that they are English ; indeed they were probably made
at or near Chertsey itself. The Abbey Church of Chertsey seems to have been
largely floored with many varieties of tiles of specially fine quality. Chertsey
seems to be more or less at the centre of an area over which similar tiles have
been found distributed, and further the abbey was close to Windsor, and, as

70 THE ROMANCE TILES OF

will be suggested further on, these remarkable tiles may be the result of royal
patronage. A few patterned tiles now in the Soane Museum were found in
1823, and a large number of fragments of the pictured tiles were discovered
in 1852. They occasioned some interest amongst the mediaevalists of the time,
and Burges, who was the fittest to appreciate their fine style, described some
of them enthusiastically in The Builder (]u\y , 1858). Mr. Angell excavated the
site and published an account of it in a pamphlet in 1861. He uncovered the
foundations of a fine transeptal church ; from its east end three parallel apses
opened from the ambulatory or retro-choir ; against the south choir-aisle lay
a long chapel which may have been a chapter-house, as at Ripon. Tiles were
found in this chapel and in the choir. I have visited the site— a melancholy
satisfaction — but the only architectural fragment I discovered was a Purbeek
marble jamb-capital of fine rich work in a garden more than a mile away ; it
may be significant that the date of this capital was c. 1250-60.

Dr. M. Shurlock devoted much time to piecing the fragments together and
later, in 1885, published a volume of lithographic illustrations of those which
could best be restored. Valuable illustrations had also been published in
H. Shaw's work on mediaeval tiles, and in 1871 Mr. J. R. Holliday of Birming-
ham made an important contribution to the subject when he figured other
similar tiles which he had discovered at Halesowen (Trans. Midland and
Birmingham Institute). A large quantity of the original tiles and fragments
from Chertsey are now in the British Museum stores, a few are at South
Kensington, and other fragments rest in the museums of Guildford and Oxford.
In the church of Little Kimble, not far north of Chertsey, is an area about
a yard square paved with Chertsey tiles. The picture tiles are for the most
part circular, 9! inches in diameter, and they were set at the centre of four
ornamental tiles shaped so that the five made up a i6-inch square. They are
very thick and well made, and the designs are rendered with great skill and
delicacy; they must have been drawn by one ot the ablest masters of the
second half of the thirteenth century. It is possible that they may have followed
the miniatures of a manuscript, although illuminated romances are generally of
later date. The earliest existing painted book of Tristram is that now at Munich,
which must be a generation later than the tiles. Some coincidences point to
the fact that there was some common tradition for both series of designs ; thus
in both it may be seen that it was a part of the essence of the story to represent
Tristram as very young— it is the tale of a wonderful youth.

Loth has a note on the shield of Tristram. According to the text of
Gottfried it was charged with a boar; in the English 'Sir Tristrem' it was
a lion. On our tiles the charge is a rampant lion ; and in the later regular
assignment of arms to the Knights of the Round Table, Tristram is given
a similar shield.

CHERTSEY ABBEY

The Subjects. From the frequency with which the name Tristram was
found in the fragmentary inscriptions, it was soon seen that many of the subjects
were taken from that romance. The name Morgan also occurs. Shurlock,
using the English version of the story written between 1294 and 1330, and
edited by Sir Walter Scott, identified several subjects, some rightly, others
doubtfully and wrongly. I have compared the subjects with the text of Thomas
in a somewhat summary way, using for the most part the small edition published
by Messrs. Dent & Sons, which is based on the learned labours of M. Bedier.
I have also used Gottfried in Miss Jessie Weston's condensed translation. In
the result it cannot be doubted that the designs followed the romance as written
by Thomas.

As my notes on the subjects agree sometimes with the views of Shurlock
and at others differ from them, it will be con-
venient to follow the order of his plates rather
than to arrange a fresh sequence without a full
set of illustrations. I hope that some day an
English scholar will give us a good edition of
our Anglo-Norman Romance illustrated with
the Chertsey designs.

Here follow Shurlock's descriptions of his
plates, with notes regarding a comparison with
the story as told by Thomas, c. 1170.

Plate I. Tristram in the ship playing chess.
This is according to the story and certain.

Plate II. Tristram playing the harp before
King Mark. This is also according to the tale
and certain.

Plate III. Roland asking admission to
King Mark's castle. A youthful figure holds
a glove in his raised right hand. The figure is exactly like that of Tristram in
other subjects and there cannot be a doubt that it is the challenge to Morholt.
The story mentions the glove : compare also the Sicilian quilt at South Ken-
sington. A fragment of tile at the British Museum gives a part which is
missing in Shurlock's illustration ; it shows how T. put his left hand to his
sword-hilt as he challenged with the glove. (See Fig. i.)

Plate IV. The Porter at King Mark's castle. Almost certainly right ; the
incident with the porter is in the story.

Plate V. King Mark kissing Tristram. Probably right.

Plate VI. Tristram kissed by all. Probably : this would be the welcome
after the duel with Morholt, as in the story.

Plate VII. Tristram announcing his intention of going to avenge his father's

FIG. i.

72 THE ROMANCE TILES OF

death. Possibly : here he has spurs and he was knighted before going
away.

Plate VIII. Mark, King of Corn-wall. Rather Gormon, King of Ireland,
enraged at hearing of Morholt's defeat, as in the story.

Plate IX. Tristram and Duke Morgan in angry parley. Certainly : in the
story Morgan slaps Tristram's face, who draws his sword, as on the tile.

Plate X. Roland made lord of Ermonie (Brittany). Perhaps : it is in the
story.

Plate XI. Men bringing the children as tribute to the King of Ireland.
Certain : in the story T. saw barons and ladies lamenting over their children
as here. They seem to listen to the proposal of T.

Plate XII. Combat of Tristram and Morholt. Certain : note how the sword
cuts into the hero's thigh, as in the story.

Plate XIII. Continuation of combat. Certain : T. cleaves Morholt's helm
' to the nose ', as in the story.

Plate XIV. Morholt carried off. Certain : in the story his followers carry
off the corpse, as on the tile.

Plate XV. Tristram in bed is visited by King Mark. Certain : those who
loved him best could not bear to be near, as in the story.

Plate XVI. Queen of Ireland visiting Tristram in his ship. Nothing of
the sort in the romance. It is certainly Iseult embarking to go to the assistance
of T. The second figure is Brangwin. In the story when all the world slept,
Iseult and B. secretly entered the boat waiting on the Thames. Compare
Plate XXVI, which shows the same two women on the voyage.

Plate XVII. Tristram attacking the Dragon. Very probably.

Plate XVIII. The Dragon. Certainly.

Plate XIX. Wager of battle. Not in the romance, must be another story.
This circular tile is in four parts, like those of the King Richard series.

Plate XX. Showing tongue of Dragon cut out by Tristram. Yes, as in
story.

Plate XXI. King of Ireland. Or King Mark ?

Plate XXII. Tristram hunting wild beasts in the forest. Very doubtful,
may be from another story.

Plate XXIII. Tristram hunting with his bow. Very doubtful ; notice that
these two subjects have borders and thus differ from the rest of the Tristram
series : this tile is also in four parts.

Plate XXIV. Iseult in boat singing the songs of Tristram. There is nothing
of the sort in the story. This is the wounded T. playing his harp while drifting
in a small boat in the sea ; compare T. in Plate XV, which this should follow.
The picture in the Munich MS. is almost identical, and the fragments of this tile
at the British Museum distinctly show that the head is male (Fig. 2 ; see H. Shaw

CHERTSEY ABBEY 73

also). In the story the men of Ireland hear 'a harp's sweet pleasant sound
with a singing to the harp '.

Plate XXV. Tristram disguised singing to Iseult. No : Iseult is taking
the harp from the hands of T., who is teaching her music, as earlier in the story.
This should be compared with a Westminster tile for harp and hands.

Plate XXVI. Iseult disguised approaching Brittany. Yes ; referring back
to XVI, it is clear that the two central figures here are the same as those. On
the left Iseult listens, frowning with horror, to the messenger from T. ; on the
right Brangwin urges the sailor to haste.

Plate XXVII. Tristram laid out. Priests sing a dirge over his body, or
more probably the bodies of Tristram and Iseult, on a bier.

FIG. 2.

Plates XXVIII, XXX, XXXI, XXXII are assigned to the story of King
Richard. XXXII is said to be Messengers bringing letter with Barons' seal to
Richard. Is it not rather the letter sealed by Tristram and sent to King Mark?
(See Bedier.)

Plate XXXVI. Knights bringing Tristram and Iseult to court from the
forest. Or possibly T. escorted back after the defeat of Morholt.

Plate XXXVII. Brangwin with cup. Or T. himself.

Plate XXXIX. Swearing fealty. Doubtless the vassals of T. doing
homage when he returns to Brittany to fight Morgan. Shurlock speaks of two
other subjects as being too imperfect to illustrate : Tristram blowing his horn
and the Debarkation of Iseult. A fragment of the former is at the British
Museum (Fig. 3). A partly restored tile, also in the Museum, shows a crowd
of watching people, probably the folk of Cornwall awaiting the issue of the
combat between T. and Morholt, as in the story. (See our Plate XXXIX.)

74 THE ROMANCE TILES OF

The Inscriptions. Only two inscriptions were published by Shurlock : one
was made up of two parts— (i) MORGAN : E : SE : GET, and(2)TNE : EN : ENGLETERE.
There is nothing in the romance about Morgan and his followers returning to
England, and there is no reason why these two separate fragments should be
read together. The first part doubtless refers to Duke Morgan's war with
Tristram's father, which occurs early in the story — ' Morgan gathered his men
together and did much harm to Rivalin.' The second part probably refers to
one of Tristram's many returns to England, possibly to the time when he came
with Iseult from Ireland. In the English version of the story we find the
words 'into England a wind them blew'.

The other inscription given by Shurlock was +CI : E : f Sf M, which furnishes
an example of the form in which the name of the hero usually appears on

the fragments. At Little Kimble I noted (i) . . . GLEYS : E :
and (2) +E : SAS : GOVNAIL ; the former was possibly
' Engleys et ', and the latter extended would be ' + et
sans gouvernaiF. In the Victoria and Albert Museum is
. . S : GUVNAIL (Fig. 4), and it is probable I made a mistake
in reading o for ti at Little Kimble. It must refer to
setting Tristram adrift in a rudderless boat outside Dublin.
Gaston Paris, summarizing the story, tells how the
wounded Tristram was laid in a boat et sans gonvernail
FIG. 4. drifted on the sea playing his harp.

At South Kensington are also the following :

(2) po]UR : MANOE : LE : RE . .

(3) Englet]ERE : AL : REl[nc?

(4) +f StM : E . . SA : POL . .

(5) . . T : EN : LA : BATAILE

(6) . . PI : E : A : LA : U . . .

The following fragmentary inscriptions are given in Mr. Hobson's catalogue
of the pottery collection in the British Museum :

(1) Cl : REPRENT : fSTM

(2) EN : LAMER : ENUNE

(3) . RIAT : KIL : VIEGE : A

(4) Cl : PRIE : T

(5) SAUVAGE : M : LIVRE

I also noted E]NGLETERE. (5) may refer to the life of Tristram and Iseult
in the woods when they lived on fruits and ' chair sauvage '.

Other inscriptions found were in Latin instead of French, and some ot
these plainly referred to King Richard.

CHERTSEY ABBEY 75

Other Subjects and Patterns. Besides the Tristram tiles there were one
or more which related to the story of Richard Cceur de Lion, as shown by
Shurlock, and some inscriptions have been found with his name. One tile is
certainly the combat between Richard and Saladin. The king is crowned
and carries the English shield ' with lybardes painted well '. The design agrees
very closely with the description in the Romance of Richard Cceur de Lion.
It is certain, moreover, that the story of the combat goes back to a time earlier
than our tiles, for an order of Henry the Third's for paintings to be executed
on the wall of a chamber of the royal palace at Clarendon directs that the
subject be the story of Antioch and the combat (dnellum) of King Richard.
According to the story in the romance, Richard agreed that if the Sowdan

should slay him —

That Christian men should go
Out of that land for ever mo.

This, then, is the subject of our tile. The tile, taken together with the subject
painted at Clarendon, shows that the story of the combat between Richard and
Saladin was accepted by Richard's nephew Henry. The order for the painting
of the story comes in the Liberate Roll 35 Hen. Ill (see Hudson Turner's
Domestic Architecture of the Middle Ages). From the Close Roll for the year
before Walpole quotes an order which mentions 'a book written in French
which contains the gests of Antioch and other Kings '. Also an order that the
histoty of Antioch should be painted in the King's chamber at the Tower, and
again at Westminster in a chamber which should be called Antioch. Walpole
thought that the book probably contained a history of the Crusades. The 'gests
of Antioch and other Kings, with the combat of King Richard', may be the
original form of the Romance of Richard Cceur de Lion. Robert of Gloucester
cited a Romance of Richard, and Ellis long ago remarked that ' it is therefore
certain that such a work, probably composed by some of the French poets who
attended the monarch in his expedition to Acre, was known and used as an
authority ' before the end of the thirteenth century. He doubted, however,
whether the existing romance closely represented such a work. The agreement
of the Chertsey tiles with its stories, however, goes to prove that it did. The
romance opens with a tale about the King of Antioch and his daughter, and
hence — especially if it was a painted book— might be described as the 'gests of
[the King of] Antioch and other Kings'. Shurlock supposed that other tiles
were also designed from the story of King Richard, and one of them certainly
looks as if it might be the killing of the Saracen to serve as pork, as in the
romance.

As besides the Tristram story the history of Richard was drawn from, it
is likely that still other romances furnished subjects for the tiles. One of them
shows an encounter between a fully armed knight on foot and a lion. The

L 2

THE ROMANCE TILES OF

knight is not Richard, for his shield bears only a chevron. A combat between
a knight and a lion is one of the commonplaces in the romances. A scene
treated in a similar way on two ivory caskets, one at the British Museum, and
the other at South Kensington, is said to represent an exploit
of Gawain. Compare also a seal in Prior and Gardner's Sculpture,
Fig. 5. Shurlock thought of the knight Cote-Mal-Taille, but
discarded the idea because he considered that the bearings of the
shield would not allow of this. But the heraldry of the romances
is hopelessly confused. In Persival le Gallois one Clamados
killed a lion which 'ramped towards him all of a fury', and
Lancelot, in the same romance, also kills a lion. Besides this tile there are
three others which show combats with lions. One of these has been assigned
to the Tristram series, and another to the Richard series; but both these

FIG. 5.

FIG. 6.

identifications are extremely improbable. Yet another was illustrated by
H. Shaw, and this one is represented more completely by a drawing at the
Architectural Association. The knight here has the shield shown in Fig. 5.
It is highly probable that other romances were drawn upon besides that ot
Tristram and Iseult, and the history of King Richard.

Other than the romance tiles there were a series representing the signs of
the Zodiac, and another of the Labours of the Months. Also a panel of three
Saints and a great variety of ornamental tiles. The Months and Signs are as
finely drawn as the romance tiles, but they are much smaller. Like them they
are much broken. Harrowing (Fig. 6), Pruning, and Reaping may be made out.
Also Sagittarius — very fine, Taurus, the Ram, and the Goat.

The composition of three figures standing under canopies forms a panel
made up of twelve square tiles. It has been said that the figures cannot be

CHERTSEY ABBEY

those of saints, for they are without nimbuses ; but the crouching figures on
which the archbishop and the king stand show that they were martyrs,
probably St. Thomas and St. Edmund. There was an altar to the former at
Chertsey, and doubtless these tiles were specially made for the church. They
are later in style than the romance tiles, and can hardly be earlier than about
1310-20. They must represent a queen (Isabelle?) between two saints. The
queen carries a squirrel, a fashion of the fourteenth century. Many repetitions
of this group, as of the other tiles, were made. One set is in the British

FIG. 7.

FIG. 9.

Museum, and fragments of two others are at Little Kimble. A piece of an
archbishop was at Winchester about the middle of last century.

The patterned tiles are too various to deal with, but they are as fine of
their kind as the picture tiles. At the British Museum there is a panel of
pattern-work made up of sixteen tiles. It is imperfect at the corners, but
it may be completed by comparison with tiles found at Hailes Abbey (see
St. Clair Baddeley's A Cotswold Shrine). One of the tiles of a similar set is
at Westminster. There were also sets of four, and two varieties of these are
at South Kensington ; one of them, much broken up, is restored on Plate I.

78 THE ROMANCE TILES OF

See another at Hailes. Figs. 7, 8, 9 show the type of ornament. Prototypes
of these ornamental panels, as of the figure subjects in regard to style, are
found in the Westminster chapter-house.

Date and Distribution. In the chapter-house at Westminster Abbey there
still remains the original tiled floor laid down between 1253 and 1258. Some
of these are picture tiles, others are patterns, and there are inscriptions made
up of separate letters like some of those at Chertsey. The Westminster tiles
are perhaps a little earlier in style, but they are closely akin to the Chertsey
tiles (Fig. 10). They must have been made at the same place from designs
by the same able artist. These two groups stand apart from others in their
great and equal excellence. They are similar in thickness and technique, and
the style of drawing and the rendering of drapery are alike in both sets. The

FIG. 10, from Westminster Abbey.

throned kings are almost identical in both, and the two huntsmen at West-
minster are closely like the figures of Tristram. The harps and the hands of
the harpers are similar in both. We have seen above that at Westminster
there is one detached tile exactly like those which formed the large ornamental
squares at Chertsey, and this gives us a direct link of connexion between the
royal works and the Chertsey tiles. Again, it is known that the tiles at
Westminster were brought by water, possibly from Windsor. Fragments of
Chertsey tiles have recently been found at Hailes Abbey, which was built by
Richard of Cornwall, brother of Henry the Third, the builder of Westminster
Abbey. Now Chertsey is close to Windsor, and must often have been visited
by the king. A mandate of the twenty-eighth year of his reign was issued
from Chertsey. Taking all these points into consideration, the probability
emerges that tiles of this type were made in the first place for the king

CHERTSEY ABBEY

connoisseur for some of his palaces. Many of his orders contain references
to pavings of tile, and as early as 1237 he directed that the little chapel in the
Palace of Westminster should be paved with tegula pida. Burges arrived at
the conclusion that the romance tiles could hardly have been designed in the
first place for an abbey church. The duel ot King Richard and Saladin, as
we have seen, was a favourite royal subject, and some border patterns are
designed with castles and fleurs-de-lis, and others with crowns (Fig. n). Some
of the smaller tiles had heads of kings and queens, and the group of later tiles
contained the portrait of a queen. The floor of Westminster chapter-house,
by the same artist, was laid down for the king, and
his brother used Chertsey tiles at Hailes; it is not
unlikely therefore that the Chertsey floor was a royal
gift.

It seems probable that the group of three figures,
one of which was St. Thomas, and another the portrait
of a queen, was specially made for the abbey church.
We have one certain instance of the romance tiles
having been used together with some later specially
made tiles at Halesowen, where, with a large number
of romance tiles, a group was found with a portrait of
Abbot Nicholas and an inscription showing that he
dedicated the floor. This abbot died in 1298, and the
style of these special tiles is considerably later than
that of the Tristram series. If we date the tiles of
Abbot Nicholas c. 1280-90, and the tiles of Westminster
chapter-house 1255, the romance tiles may be dated
c. 1260 70. Dr. St. John Hope tells me that fragments
of Chertsey tiles have recently been found at Cowdray,
and that others were dug up at Haughmond.

Tiles like some of the smaller ones used at Chertsey
are known at Cuxton and St. Cross (see Nichols).

I would also associate with the same school some border tiles of two
knights tilting or fighting with swords. One of these from Great Bedwin
is in the British Museum; others have been found at Gloucester, Tintern,
Margam, Rochester, and Westminster. The Chertsey tiles were the most
remarkable works of the kind made in England, and none are known in France
which can compete with them. They were evidently famous and used for
a long time. They were made in the south of England, probably at Chertsey
itself; one point in proof of this is the great variety of tiles used at the abbey,
some being manifestly later than others in date. As Henry Shaw said, it is
evident that they were executed at different periods.

FIG. n.

8o THE ROMANCE TILES OF CHERTSEY ABBEY

While working at this subject I have identified the designs on an interesting
piece of fourteenth-century German embroidery at the Victoria and Albert
Museum. We find on it Tristram's fight with the dragon, which kills his horse ;
he cuts out the tongue of the creature ; the wicked seneschal then chops off
its head and claims the prize, &c. This embroidery should be compared with
another similar piece illustrated by Dreger (PI. 176). There is also in the
same museum a large Sicilian quilt embroidered with subjects from the same
story ; one of the designs, Tristram challenging Morholt with his lifted glove,
is interesting in comparison with one of our tiles. On this quilt Tristram's
shield bears three horns. It may also be mentioned that a set of photographs
from the Munich Tristram may be consulted in the Art Library at South
Kensington.

[The illustrations on the two plates are as follows: Plate XXXVIII, two
top circles are (a) Tristram harping in the boat, (b) Tristram and King Mark :
two lower circles, subjects uncertain (these four are taken from the illustrations
in Dr. Shurlock's work) : small square is a restoration of ornamental tiles from
fragments at South Kensington, made by Mr. Bonnaud at my suggestion.
Plate XXXIX, general arrangement of tiles taken from a drawing by Mr. H. P.
Drew published in The Building News, March 22, 1878 : the bottom subject
on the right has not been otherwise published : three circles from drawings by
Mr. J. R. Holliday, (a) Tristram, (b) King Mark, (c) Tristram and Iseult]

PLATE XXXIX.

THF. ROMANCE TILES OF CHERTSEY ABBEY.

ST. PHILIP.

ST. JUDE.

Painted panels from the Rood-screen of Cawston Church.

DRAWN BY E. W. TRISTRAM.

THE ROOD-SCREEN OF CAWSTON CHURCH
BY EDWARD F. STRANGE.

THE fine church of Cawston, in Norfolk, dedicated to St. Agnes, was
mainly built by Michael de la Pole, Earl of Suffolk (died 1414), and Katherine
his wife, who survived him. It has many points of interest ; but the purpose
of this note is to consider one only, the rood-screen, which happens to be
fairly well preserved, and is, moreover, a good example of the better class of
East Anglian painted screens, setting aside such as are of exceptional merit —
as those of Ranworth, Southwold, or Barton Turf.

The tracery of the screen is of the usual type prevailing throughout the
Eastern Counties at the close of the fifteenth century, and is lofty and well
proportioned. The screen is divided into ten bays, the base of each
being filled with a pair of painted panels — making twenty separate paintings
in all; four of which— having representations of the Four Doctors of the
Church — are on the doors leading to the chancel. The remaining sixteen
panels are devoted to SS. Agnes and Helena, the Twelve Apostles with St. Paul,
and that curious and interesting personage, Sir John Schorn, good accounts
of whom were contributed by the Rev. James Bulwer to Norwich Archaeo-
logy, vol. ii, 1849, and by the Rev. W. Sparrow Simpson to the Journal of the
Archaeological Society, vol. xxiii, 1867. These panels are the work of three
different painters : those (8) on the north side of the doors by one ; the doors and
two figures next them by another ; and the remaining six, on the south side, by a
third. The latter group of six are, it is to be observed, all on parchment, cut to
the outlines of the figures and fixed on the panels in such a manner as to show
that the stencilled background was in position before them. They are, there-
fore, late additions to the screen. The Rev. James Bulwer, in the paper
quoted above, says, 'The figure (of Sir John Schorn) is executed on paper; and
this, and three adjoining subjects have been fixed over others of earlier date and
ruder execution.' As we have noted, there are six paintings on parchment,
but at the present time no evidence is visible of what lies beneath them.
Before this point is finally dismissed, however, a parallel instance (not the only
one, I believe) may be indicated. At Lessingham, Norfolk, not only are there
several paintings on paper, but the character of the originals that underlie them
can unmistakably be seen. In this case five of the figures of the Apostles were
covered up in favour of the Doctors of the Church and St. Giles ; and a possible

82 THE ROOD-SCREEN OF

explanation is that this hasty restoration of a partially defaced screen took place
during the reign of Queen Mary.

The subordinate decoration of the screen must have been extremely rich.
Each panel has a ground powdered with stencilled ornaments, which are often
beautifully designed and invariably placed with good judgement. On the north
side of the gates this powdering is small and conventional in character, as will be
seen from the illustrations (Plates XL, XLI). The parchment paintings, however,
are set up on much more elaborate patterns of almost realistic floral growths
arranged with rare grace and sense of balance. The mouldings and mullions of
the screen are also richly patterned with floral ornaments, examples of which are
now reproduced ; and they also have the remains of a remarkable species of
gesso ornament, which in its present application is almost characteristic of the
East Anglian School. This gesso work, which is finished with gold and colours,
appears both on the front surfaces of the mullions and in the form of a con-
tinuous lateral band running, laterally, throughout the whole width of the screen
at the level of the lower parts of the heads of the figures on the panels. The
late Mr. G. Y. Wardle, in his manuscript description of the screen at Southwold
(written in 1863 and now in the Victoria and Albert Museum), says that ' the
composition for these (ornaments) is a kind of putty ; an oil size was used
throughout'. Plate XLII reproduces characteristic examples of the patterns,
which were produced by means of a sort of stamp or mould similar to that used
for marking butter. Of the two compartments with architectural canopies, that
still preserving a figure of St. Michael occurs exactly on the screen of the
neighbouring church of Marsham, and the other at Aylsham. No doubt
systematic search and comparison would reveal other surviving examples of
the use of these moulds. It is much to be hoped that it may be undertaken,
for by this means a valuable indication would be obtained as to the date and
origins at least of the decorative work — possibly, when churchwardens' accounts
come to be fully deciphered, collated, and indexed, of the actual identity of
the man who made them. The details at Marsham and Aylsham exactly
correspond, it should be said, even to the accidents ; the composition used is red
in colour. Two fragments still remaining at Cawston throw a good deal of
light on the technique and style of the original work on these mullions. In the
drawing on the left in Plate XLII (that corresponding with the Aylsham screen)
the mouldings only are in gesso. The niches formerly contained figures of saints,
drawn in black outline on silver leaf, and protected with glass, a scrap of which
still exists. Glass was also used in this way at Southwold, and it is interesting
to refer to its employment as a surface finish to colour in the well-known
brass of Sir Hugh Hastings at Elsing, Norfolk (A.D. 1347).

We have already referred to the fact that the panels are in three different
manners. The eight figures on the north side are well placed within their

CAWSTON CHURCH 83

niches, and the drapery is treated with knowledge and skill ; but they are
rather squat in form, although their decorative value is considerable. Under
these eight figures (in four pairs) is what survives of an inscription in Old Eng-
lish characters, ' Prey for the sowlis of William Atereth and Alice his wyff the
weche dede these iiii panys peynte be the executoris lyff.' We have not been
able to trace this name, and no will has yet been discovered which might give
a clue to the date of the work. The next six figures, including those of the Four
Doctors on the chancel gates, are much more stiff in form and mechanical in
execution ; they are of no great importance from the artistic point of view, in
comparison with those on either side of them and many figures in other
churches. But in the figures painted on parchment we have evidence of
individuality which is not often found in screen-paintings. The heads of the
Apostles St. Philip, St. Jude, St. Simon, and St. Matthew (the eleventh to
the fourteenth figures, counting from the north end of the screen) arc treated
almost with realism. No fault can be found with the drawing of these
figures ; indeed, they suggest strongly that they were done from living models,
so definite is the characterization of the faces. The outer cloaks of the
Apostles are heavy, perhaps, and less effective as decoration than the draperies
of the figures in the group on the northern side of the screen ; but, again,
there is no reason to suppose that they were not studied from real material.
The under vestments are rich brocades, elaborately patterned, as in many
other instances. Mr. Wardle noted (and the point is of great importance)
that figures with 'precisely the same draperies (as those of St. Judc and
St. Simon) are painted on the panel at Worstead, and apparently by the same
hand '. That of St. Simon at Cawston ' is also used in Marsham Church for
the St. Peter, but in this case the painting is very bad '. He also notes,
writing in 1866, 'The eyes of these figures all burnt out by little boys,
recently ' — i. e. the figures of the four Apostles at Cawston, above mentioned.
So this particular defacement need no longer be attributed either to the icono-
clasts of the sixteenth or to the Puritans of the seventeenth century.

On the question of date, there are a few observations to be made.
Several writers have, quite arbitrarily, dated the Cawston screen-paintings as
about the year 1450. In regard to this, we may remark, to begin with, that
the structure of the screen is ot one period, and shows no signs of having
been erected in instalments. ' In 1460 ' (says Blomefield) 'John Barker of Caw-
ston buried there, gave ten marks towards seating the church, and ten marks
towards building the rood-loft, commonly called the candlebeam.' The infer-
ence is, certainly, that the fabric of the screen itself was not completed—
perhaps not even begun — at that date. As we have seen, nothing is known of
William Atereth and his wife, who paid for painting the panels on the north
side; but Blomefield quotes another bequest — '1504 Richard Broune of Caston

M 2

84 THE ROOD-SCREEN OF

buried before the image of our Lady of Pity, in the Chapel of Our Lady, in
the Church of St. Agnes at Caston, gave 4 marks to paint a pane of the rood
loft. . . .' This gives us a definite date when the decoration of the screen was
presumably still unfinished ; and it is to the period between about 1490 and 1510
that I am inclined to attribute the whole of it. In support of this, we have
already seen that the gesso work corresponds in detail with that at Aylsham
and Marsham. The latter screen is undated, but the former still bears a donor's
inscription, with the date 1507. A correspondence in the figures with the
screen at Worstead has been pointed out, and the date of the latter is 1501.
Trunch Church has a screen, certainly of the same class, dated 1502 ; and others
might be mentioned. If we agree with Wardlc's opinion as to the draperies at
Marsham and Worstead, we may reasonably assume the work at Cawston to
have preceded that in both those churches, and thus to be earlier than 1501 so far
as regards the figures on parchment. There is good reason for supposing
the decoration to have been earlier than these, and this would place Cawston
first of the group in this respect also. On this assumption it is not unreason-
able to connect the bequest of Richard Broune (1504) with the 'panes' on the
chancel doors and the figures by the same hand, and to look upon them as the
concluding touch to the whole scheme. In connexion with the use of parch-
ment or paper, we have already alluded to the case of Lessingham, where it has
been suggested that this hasty expedient was due to the Marian revival. The
Lessingham paintings are certainly later in character than the generality of Nor-
folk work ; and that the same argument does not apply to Cawston, would
seem to be disproved by the fact that what appear to be, more or less, copies of
the parchment paintings in this place, occur on the panels at Marsham and
Worstead — the latter being dated. The Marsham screen, of all, appears most
closely to resemble Cawston throughout, both in its construction and its
ornament. No doubt it came from the same group of craftsmen — a group
almost certainly associated with the locality. The decoration throughout would
be done by this group — a master, one supposes, and two or three sons or
apprentices. A contemporary account of charges incurred in 1496-7 by the
churchwardens of St. Mary at Hill in the reconstruction of the rood-loft (quoted
by the Rev. J. C. Cox in Churchwardens' Accounts, p. 177) affords about as good
an illustration of the transaction as one could desire, and gives us the names of
two unmistakably English craftsmen engaged thereon :

To Sir John Plumer for makyng of the fygyrres xx d.

To the karvare for makyng of iij dyadems and of one of the Evangelystes, and for
mendyng the Roode, the Crosse, the Mary and John, the Crown of thorn
with all other fawles x s.

To Undirwood for paynting and gyldynge of the Roode, the Crosse, Mary and
John, the iiij Evangelistes and iij diadems, with the ij nobilles that I owe to
hym in moneye v li.

ST. AGNES.

ST HELEN (OR ST MARGARET!.

Painted panels from the Rood-screen of Cawston Church.

DRAWN BY E. W. TRISTRAM.

CAWSTON CHURCH 85

It is evident that the 'fygyrres' made by Sir John Plumer were not those
sculptures surmounting the rood, which a 'karvare' was employed to repair,
and Undirwood to paint and gild.

In 1507 we have, in the Bassingbourn accounts, the use ot the precise term
which occurs in the Cawston inscription — 'Item, giffen in Ernest to a peyntur
for iij panes and ij y mages with their Tabernacles in the Rood loft .... iiij d.'
These were, as shown by another entry, done by ' the peynter of Barkwey '. In
1533, at St. John the Baptist, Bristol, ' Paid unto old Solbe for peynting of cure
rode lofte and mending the images . . . iij li ' ; and, ' Unto the said Solbe for
peynting of the nether roode and lofte more with the ij small images and the xij
apostles with the angels . . . ij li. xiij s., iiij d.'

Wardle, in his notes, described the technique of the screen-paintings at South-
wold as follows ; and his remarks, which are the result of close and accurate
observation, may well be quoted in application to those of Cawston : ' Before
painting, the figures were drawn on the white ground with black, the shadows being
hatched with the same. . . . The principal pigments were the earths, vermilion lake
of two qualities, an azure blue, indigo, verdigris, terre-verte, ivory and blue-black,
and, perhaps, yellow lake. The azure blue has been used for the draperies of
six of the figures and in small quantities on other parts of the screen ; it has
gone very dark and green in all but one case and more especially in the
shadows, where the vehicle was used very thickly. The exceptional case . . .
has not the same gloss as the others, and the preservation of the colour may
therefore be due to the mixture of an essential oil with the vehicle. . . . The
vehicle was resinous.' Elsewhere he refers to the latter in general terms as
' oleo-resinous '. Professor Lethaby has already indicated examples of the early
use of oil as a painter's medium in this country. The Rev. J. C. Cox supplies an
instance of its purchase for a rood-screen— that of Yatton in 1454, where we find
the following items :

For colers late boffte at Bristow ij s. j d.

For the paynter ys hyre a wyke xx d.

For the same payenter ys bedde ij d.

For feschyng of a stone from Chelsey to grynde colers therewith j d.

For a quarte of peyntyng oyll v d.

For divers colers boffte xxij d.

For golde to paynte the angell vj s.

The purchase of varnish is also recorded ; so that there are substantial grounds
for concluding that Wardle's theory as to the medium may be accepted.

A generation or so ago it was the custom to attribute all work of this kind
to ' Flemish ' painters. The influence of Flemish and German art on that of Eng-
land, and particularly on that of East Anglia, is undeniable. The commercial
bond between the countries was particularly strong, and manifested itself in the

86 THE ROOD-SCREEN OF

arts as in other directions. But there was no necessity to cross the seas to find
men capable of painting rood-screens. Over and over again, in the documents
of the period, are references to names of painters, carvers, gilders, and imagers
who are undeniably English. The question must be considered in relation-
ship to the other arts practised in this country during the fifteenth and early
sixteenth centuries; and, here again, we have plenty of evidence that the
persons engaged therein were of native origin. The circumstances were
peculiarly favourable to just that development which actually occurred. The
aristocracy, politically divided and exhausted with the Wars of the Roses,
was hardly in a position to patronize the arts and to develop, encourage,
and glorify the individual artist, as was the case in Italy. Yet there was no
period in the history of English art that saw so many churches built, and
those so richly decorated, as that which covered the epoch of the most
deadly internecine war that has ever taken place within our boundaries. It
was the age of the growth of the merchant and the craftsman. The church,
with its lights and chapels, founded and endowed by the local gilds, was the
centre of the social life of the community. And the work of decorating
these churches was carried out mainly not only at the cost of merchants and
craftsmen, but by men of similar social standing — simple craftsmen, untravelled
save as their calling led them, with no literary folk about them to magnify and
record their achievements, or set down for future generations the incidents of
their quiet lives. We see, thus, a high level of craftsmanship, but little
individuality in these paintings. In a social atmosphere such as that of Italy,
there can be little doubt that, here and there, one or another of these craftsmen
would have progressed towards high rank as an artist — such as, we may
guess, the painters, whoever they were, of the screens at Ranworth, Barton
Turf, Southwold, and perhaps of the parchment panels at Cawston. But until a
systematic examination of the wills and churchwardens' accounts of the district
has been completed, we must rest content with, and need not be ashamed of, the
great band of anonymous men who so beautifully adorned the churches of the
Eastern Counties.

Some speculation has also been indulged in as to the origins of the figures,
and there have been vague suggestions as to the influence of German wood-
cuts or gravings. Now there were not many prints that could have helped the
draughtsmen of these single figures of saints, with their richly patterned robes
and vestments, at the period in the fifteenth century when the types begin to
assume what we may call their standard forms. Such woodcuts as existed
would have left the designer much to do, and there is nothing to show that
they ever reached this country in anything like considerable quantities. But
another source of inspiration has not hitherto, I believe, been suggested ; and I
venture to put it forward as worthy, at all events, of examination. A character-

PLATE XLII.

THE ROOD-SCREEN, CAWSTON CHURCH. DETAILS OF PAINTED DECORATION.
From Drawings by K. W. Tristnini,

PLATE XLIII.

THE ROOD-SCREEN, CAWSTON CHURCH. DETAILS OF PAINTED DECORATION.
Front Drawings by E. W. Tristram.

CAWSTON CHURCH 87

istic of the screen-paintings is the richly patterned and beautiful robes in which
the figures are often arrayed. In many cases the painter of a rood-screen
would have needed to go no further than the treasury of the church in which
he was working for models for ornament of this kind. These churches were
astonishingly rich in brocaded and storied vestments of the very class repre-
sented in the paintings. And the orphreys of the chasubles were frequently
embroidered with just those single figures, standing, robed, on tesselated pave-
ments and within architectural canopies, that we find on the screens. That
this treatment was earlier in embroidery than in the screen-paintings was proved
by the Loan Collection of English Embroideries, organized by the Burlington
Fine Arts Club in 1905. It is sufficient, for the argument, to refer to the ' Two
panels from a Vestment ' lent by the Musee Royale, Brussels (Case D, No. 7),
and reproduced on Plate VIII of the illustrated catalogue. These are attributed
to about the year 1300 ; and the exhibition contained specimens carrying on the
tradition and showing its development until, with the chasuble lent by Mr. R. C.
Adams Beck (Plate XXIV), the cope lent by Oscott College, Birmingham (Plate
XXI, No. i), and that belonging to St. Dominic's Priory, Haverstock Hill (Plate
XXVIII, No. i), we come actually into touch with the very material with which the
screen-painters dealt. I am almost tempted to say that I could identify the actual
pattern of the velvet ground with that on some of the Norfolk screens — there is
certainly one pattern at Ranworth (a drawing by Mr. Tristram is in the Victoria
and Albert Museum, No. E 2969-1909) which differs only in slight detail. This
orphrey must have been made before the death of Henry de Beauchamp, Duke
of Warwick (d. 1445), whose arms, impaling those of his wife, it bears. The
other examples of orphreys mentioned may be placed about the close of
the fifteenth century— the date which I am inclined to give to the screen-paint-
ing at Cawston.

I would, in conclusion, venture to take this theory back yet another stage.
From the screen-paintings of Norfolk to the great English school of figure-
sculpture of the thirteenth century, of which Wells Cathedral supplies perhaps
the source and, at the same time, the culmination, may seem a far cry. But do not
the storiated embroideries of the vestments so widely distributed throughout the
country, and so readily accessible to craftsmen of every kind working in the
parish churches, offer a more rational means whereby the ideas ruling them,
and clearly akin to those of the sculptures, could have been impressed on art -
workers of every kind ?

PLATE XLIV

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THE HATFIELD TAPESTRIES OF THE SEASONS

BY A. F. KENDRICK.

GENERAL opinion a few years ago seemed to allow no middle course between
the extremes of supposing, on the one hand, that a tapestry of the fifteenth cen-
tury was quite as likely to be the work of English weavers as one of the sixteenth
or seventeenth; and, on the other, that all old English tapestries were woven
at the Mortlake factory, which was not founded until the reign of James I.

Research among documents, and examination of the tapestries in country
houses, have added to our scanty store of knowledge, but there remains still
a great deal to be elucidated.

Hardly ten years since, when the Duke of Devonshire's tapestries repre-
senting hunting-scenes were being brought together, piece by piece, and their
wonderful beauty first began to be revealed, it admitted of serious debate
whether they were of English workmanship, and the balance of opinion seemed
to be in favour of the view that they were.1 Yet one thing becomes perfectly clear
as we look at them — that the resources of the craft are here as skilfully handled
as they can be. Such works do not spring up like Jonah's gourd. The tradition
and experience of generations of antecedents are required to lay the foundations
of a structure like this, and England could make no such claim. It is true that
tapestry-workers followed their calling here and there about the country as early
as the fourteenth century, but we do not know what their work was like, and an
important part of it may have been the repair and alteration of tapestries made
abroad. So far, we are unable to point to a single piece of tapestry as indis-
putably English work earlier than the latter half of the sixteenth century, and
even those known to have been made before the last years of the reign of
James I can be counted on the fingers.

In the first half of the sixteenth century Cardinal Wolsey, when furnishing
Hampton Court, sent his orders for tapestries to the Low Countries, some-
times requiring them to be made to the measurements of the rooms for which
they were intended. The tapestry now in the Treasury of Sens Cathedral, with
the Cardinal's arms on the border, is Flemish, and the large collection now at
Hampton Court does not include a single English specimen of earlier date than
the seventeenth century.

1 See Architectural Review, vol. xi, p. 90, and xv, p. 147.

9o THE HATFIELD TAPESTRIES

At Aix in Provence is a series of tapestries made for another English
prelate, William Warharn, Archbishop of Canterbury. His arms are woven in
them, with the date 1511, but they are evidently the work of the Low Countries.
By the second half of the sixteenth century the first of any account among
English tapestry factories was already working, but yet when it was desired to
commemorate, in a set of tapestries, one of the greatest events in English history
—the defeat of the Spanish Armada — the tapestries were designed and woven
by foreigners abroad.

They were made less than a score of years earlier than the tapestries of
the Seasons at Hatfield, but their character was altogether different. They
form the subject of a volume published in 1740 by John Pine, entitled The
Tapestry Hangings of the House of Lords. There were ten of them, representing
the successive engagements of the fleets as they sailed up the Channel.
Portraits of the English commanders were introduced into the borders. The
designer, Hendrik Cornelisz Vroom of Haarlem, made use of the maps and
descriptions in a book by one Robert Adam, entitled Expeditions Hispanorum
in Angliam vera Descriptio, A. D. 1588, containing ten charts of the sea-coasts of
England showing where the battles took place. The tapestries were woven
by a weaver of the Netherlands, Frans Spierinck. Pine stated that his object
in reproducing them was ' because Time, or Accidents or Moths may deface
these valuable Shadows'. His apprehensions were more than realized, for
they perished at the burning of the Houses of Parliament in 1834. From the
engravings it may be inferred that they were in the style of other tapestries
woven in the Low Countries at the time, and they had none of the peculiar
features of the tapestries about to be described.

The Hatfield tapestries have an English shield of arms in the border, but
this circumstance by itself would be very slender grounds for assuming that they
are of English workmanship. The date recorded on one of them is 1611, eight
years before the foundation of the Mortlake works, and the attribution to that
factory is therefore out of the question, but it is very probable that there were
in England at the time craftsmen sufficiently trained in the process to under-
take the weaving of the four panels.

The first serious attempt to establish on a lasting basis the tapestry-weaving
industry in England was made about sixty years earlier by William Sheldon,
a gentleman owning lands in Warwickshire and Worcestershire. He has left
on record the reasons which led him to make the venture. He wished to
provide employment for the people on his lands, and to keep money in
the country which was being sent abroad. The facts summarized here were
collected twenty years ago by the Rev. W. K. R. Bedford, and are printed
in the Geographical Journal (vol. ix, pp. 211-14).

One Richard Hickes of Barcheston was dispatched to the Low Countries

PLATE XLVI.

PLATE XLYII.

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OF THE SEASONS 91

to learn the process, and on his return looms were started at Barcheston and
Weston. Sheldon died in 1570, commending the enterprise to the care of his
son, but the installation and maintenance of a tapestry factory is a costly
matter, and public interest was perhaps not sufficiently aroused. At any rate,
the only tapestries which can be positively asserted to have been made by
these weavers are the five maps — two in the Bodleian Library at Oxford
and three in York Museum. To these may be added with much probability
the heraldic panel with the arms of the Earl of Pembroke (d. 1570), in the
Victoria and Albert Museum.

All trace of the activity of the factory is soon lost, but it seems probable
that weavers who had worked there, or had learnt their trade from others
who had done so, were still working in some part of the country in the time
of James I.

At the time of the foundation of the Mortlake factory, in 1619, provisions
were made in respect of tapestry-weavers who might be already working in
the country, although the declared aim of the promoters of the project was
to establish the manufacture of tapestries in the kingdom.

Returning to the Hatfield tapestries, their unusual character strikes us
at once. There is an amateurishness and naive simplicity of representation
which we do not usually look for in large tapestry panels. Scant regard is
shown to the laws of perspective, and the rules of pictorial composition lie
buried beneath a load of symbolism. The bright red streaks shown in the
sky are seldom transferred to the tapestry-loom ; and the crowding of
allegorical pictures in the borders — there are over forty in each piece — is
probably unique in tapestry work.

The figure of a deity, on a scale larger by far than any other in the
tapestry, presides over each season of the year. The three months are in each
case symbolized by the signs of the zodiac in the sky. A broad and diversified
landscape with a hilly background is made the scene of the appropriate labours
and field sports.

The idea of representing the toils and occupations of the different times
of the year was by no means unknown to earlier artists. Such pictures
constantly occur in the calendars of service books, and mediaeval theologians
compared the months to the twelve Apostles and the seasons to the four
Evangelists; but the seventeenth century had other tastes in the matter of
allegory.

The choice of the subject may have been merely prompted by picturesque
ideas associated with the open-air sports and occupations of rural England, but
allegory is to the fore in the borders, and on that account it is interesting to
see that among the emblems in Whitney's book, to which we shall refer
presently, the Seasons themselves find a place. The motto is ' In quatuor anni

N 2

92 THE HATFIELD TAPESTRIES

tempora '. The woodcut represents a tree, a vineyard, and birds. The moral
below the woodcut is as follows :

By swallowes note, the Springe wee vnderstande,

The Cuckowe comes, ere Sommer doth beginne :
The vinefinche showes, that haruest is at hande :
The Chaffinche singes, when winter commeth in :
Which times they keepe, that man therebie maie knowe,
Howe Seasons chaunge, and tymes do come and goe.

The first panel here illustrated is 'Spring' (PI. XLV). The presiding deity
is Venus. The mass of flowers arranged about her hair and the large nosegay
in her hand seem to suggest that the artist had the goddess Flora in his mind, but
Cupid at her side with his bow and arrow, and the pair of doves resting on her
knee, leave no doubt as to her identity. The signs in the sky are the Ram,
the Bull, and the Twins. Spring flowers grow in abundance, and the distant
trees are in blossom. The occupations represented are milking, fishing, hare-
coursing, and stag-hunting. In the last-named scene, where the animal is chased
by huntsmen on horseback and hounds, a man fires a musket at it from behind a
tree. In the middle distance, to the left, May-day festivities are in full swing in
a meadow before a moated house.

The deity in the ' Summer ' panel is Ceres (PI. XLVI). She has ears of
corn in her hair, and is seated upon a heap of grain under an apple-tree. The
signs in the sky are the Crab, the Lion, and the Virgin. Fruit, vegetables, and
grain cover the ground. Figures are occupied in harvesting, sheep-washing,
sheep-shearing, and pasturing cattle. The trees in the background are laden
with fruit. The sailing-ship peacefully riding below the walls of a port of
Oriental aspect in the distance seems to denote the fitness of the season for
sea-traffic and commerce with foreign lands, in contrast to Winter, as we shall
see later.

Bacchus is the deity of 'Autumn' (PL XLVII). He is wreathed in vine-
stems and holds aloft a cup containing a bunch of grapes, the juice from
which is overflowing. By his side is a cornucopia of fruit. The signs are the
Balance, the Scorpion, and the Archer. The foreground is diversified with
animals on a large scale, among them a lion, a giraffe, a leopard, and a stag.
The occupations are the vintage and fruit-gathering, and a man tends a herd
of swine in the background.

Aeolus is the god in the 'Winter' panel (PI. XLVIII). He is seated
upon the winds— represented in the usual guise of human heads with cheeks
puffed out; the blasts are issuing from their mouths in grotesque coils. The
god holds aloft a bridle, symbolizing his control of these forces, of which the
destructive power is illustrated by the volcano in eruption (such phenomena
being attributed to the action of the winds by the ancients) and a terrible storm

PLATE XLVIII.

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OF THE SEASONS 93

at sea, with shipwrecks. The trees are mostly bare, but there is an evergreen
shrub in the foreground, and two hollies covered with berries. The signs are
the Goat, the Water-bearer, and the Fishes. Various figures in the landscape
are slaughtering an ox and a boar, cutting trees, gathering faggots, and boar-
hunting.

A bare description of the principal themes in the panels is all that need
be here attempted, but the illustrations will repay a careful perusal. Points of
interest will be found in the costumes of the rural folk, their carts, ladders,
baskets, and other implements ; the mansions and thatched half-timbered
cottages ; the bridges, causeways, and ships.

Turning from the central subjects to the borders, the reasons against
attempting a detailed description are at once seen to be conclusive. Interlaced
cables form a row of circular medallions containing emblematical subjects, each
with an appropriate Latin motto. Three of the tapestries have forty-two of
these subjects each, the other has forty-four. However casually the central
subjects may have been put together, there is the pedantry of a whole lifetime
in the borders, and we conclude that the designer must have taken his
inspiration from outside sources.

In attempting to trace them we turn naturally to an English book which
found much favour in Elizabethan times, Geffrey Whitney's Emblems, printed
at Leyden in 1586, and we can find there a number of the subjects, elucidated
by the same mottoes. Emblem literature has been put to such good account
in the tapestries, and its general purpose is so succinctly given in Whitney's
title, that the latter may well be quoted here, though it is rather a long one :
' A Choice of Emblemes, and other Devises, For the moste parte gathered out
of sundrie writers, Englished and Moralized. And Divers newly Devised, by
Geffrey Whitney. A worke adorned with varietie of matter, both pleasant and
profitable : wherein those that please, maye finde to fit their fancies : Bicause
herein, by the office of the eie, and the eare, the minde maye reape dooble
delighte throughe holsome preceptes, shadowed with pleasant dcuises : both
fit for the vertuous, to their incoraging : and for the wicked, for their admonish-
ing and amendment.'

The last lines of this title must provide the explanation for the presence
of the emblems in the tapestries, for they cannot be said to make handsome
borders to them.

It may be briefly stated that twenty-nine of the subjects are to be found in
Whitney's volume.1

1 Starting from the (spectator's) right of the shield of arms in each case, and working straight
round the borders, the numbers are as follows, the pages where they will be found in Whitney's
volume being quoted in brackets : Spring : 2 (p. 125), 9 (p. 25), 10 (p. 73), 13 (p. 65), 19 (p. 6), 23
(p. 31), 28 (p. 18), 29 (p. 56), 31 (p. 163), 33 (p. 97), 38 (p. 28), 39 (p. 43), 40 (p. 161, same motto,

94 THE HATFIELD TAPESTRIES

Whitney's title has already disclosed the fact that his emblems are not
all original. Among other sources from which he borrowed was a sixteenth-
century book of Emblems by Andrew Alciat (or Alzato) of Milan, which went
through many editions. A Latin edition of the year 1608 contains several
emblems represented in the tapestries, although not in Whitney's book, while
some borrowed from Whitney are not in Alciat. It is possible that a careful
search through the emblem books of the time would trace the source of all
the subjects in the tapestries, and that the designer or weaver would be found
to have shown no originality beyond that involved in the selection.

The tapestries have been at Hatfield for less than a century. The date
of production is given on the ' Winter ' panel at the end of the motto of the
second medallion to the right of the shield of arms — ' E malis minimum • 1611 '
(the 6 reversed). The arms which occur on each panel show for whom they
were made, as the following note, kindly supplied by Mr. A. Van de Put, will
make clear :

The shield is an achievement of the arms and quarterings of TRACY, of Toddington
(Gloucester), impaling those of SHIRLEY, of Wiston (Sussex), exemplifying Sir John Tracy,
of Toddington, who died in or about 1648, having married, in 1590, Anne, daughter of Sir
Thomas Shirley, of Wiston.

Sir John Tracy was son of Sir John Tracy (d. 1591) and of Anne, daughter of
Sir Thomas Throckmorton (d. 1586), of Tortworth. He was knighted in 1603, served the
office of high sheriff of Gloucestershire in 1609, and in 1642-3, when aged 72 years or more,
was raised to the peerage of Ireland by the style of Baron and Viscount Tracy of Rathcoole
(co. Dublin).

His wife, who was living in 1623, apparently predeceased him.

The dexter half of the shield is : Quarterly, i, 4, or, an escallop in the chief point sable
between two bends gules (TRACY) ; 2, 3, argent, on a chevron sable between three ogresses
as many roses of the field (BALDINGTON).

The sinister half is : Quarterly of twelve—

1, paly of six or and azure, a canton ermine (SHIRLEY) ;

2, gules, a chevron argent between three garbs or (WALDSHEFFE) ;

3, azure, semy of cross crosslets, a lion rampant crowned gules (BRAOSE, of Bamber) ;

4, vair argent and azure, two bars gules (BRAOSE, of Gower) ;

5, gules, a bendlet or and a bendlet argent (MiLo, Earl of HEREFORD) ;

6, gules, a fesse lozengy or (NEWMARCH) ;

7, argent, a chief indented sable (BAVENT) ;

8, ermine on a bend azure, three lions' heads erased or (WISTONESTON) ;

9, barry of six argent and gules, in chief three martlets sable (WEEDON) ;

10, or, three piles gules on a canton ermine a griffin segreant sable (BASSET) ;

n, or, a cinquefoil sable (BRAYTESFORD) ;

12, argent, two bars sable, on a canton sable a cinquefoil or (TWYFORD).

different subject), 42 (p. 181). Summer: 2 (p. 8), 4 (p. 160), 6 (p. 225), 10 (p. 229, variation), 19
(P- I15)> 39 (P- *79)- Autumn: 8 (p. 139, second), 16 (p. 167), 27 (p. 165), 40 (p. 78). Winter:
i (p. 166, second), 13 (p. 213), 27 (p. 166, first), 33 (p. 210), 35 (p. 227).

PLATE L.

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OF THE SEASONS 95

The arms are surmounted by two helmets in profile, turned inwards, with the crests —

(1) On a chapeau gules turned up ermine, an escallop sable between two wings or; for
TRACY.

(2) On a wreath a Saracen's head in profile ppr., wreathed round the temples or and
azure ; for SHIRLEY.

Authorities :

G. E. C., Complete Peerage, viii. 418-19.

S. Rudder, A Neva History of Gloucestershire, p. 771. 1779.

E. Cartwright, The Parochial Topography of the Rape of Br amber, pp. 138-9. 1830.

The Hatfield tapestries are unlike any other tapestries hitherto brought
to light. They are woven, of course, by the true tapestry method, although
their design is rather suggestive of the panels embroidered in a style known
as petit-point, much practised in England at the time.

The nearest approach in the same technique is a remarkable band of
tapestry work lately acquired from an old house in Worcestershire by Mr.
Henry Howard, of Stone House, near Kidderminster, by whose courtesy four
sections are here illustrated (Plate XLIX).

A first glance gives the impression that the band is embroidered, but
with the exception of some of the huntsmen's spear-shafts, which are put in
afterwards with the needle, it is made throughout by the tapestry method,
which is rarely applied to articles of the kind.

The total width of the band is only 10 inches, and the greatest length
just exceeds 19 feet. These measurements seem to indicate pretty clearly that
it was meant for a bed valance. The lower part is in three pieces, two
measuring 6ft. 8 in. long, and the other 4ft. 9111. The narrow border at the
top is altogether about a foot longer, to allow of its being passed round the
bed-posts.

The three sections are filled with a broad undulating landscape, with
castles, houses, thatched sheds, a half-timbered cottage, and a windmill in the
distance.

The figures and animals are all brought into the foreground, and are
represented on the same scale — a relatively large one. For the most part,
they are occupied in hunting ; the chase of the stag, boar, bear, wolf, fox, and
hare being all represented. One sportsman has a hawk on his wrist. There
are also scenes of sylvan life — sheep-washing and shearing — and rustic merry-
making. One attractive scene represents a group revelling to the music of the
bagpipes round an inn-sign. Each of the two longer bands terminates at one
end in a vase of flowers, and at the other in an open wicker basket contain-
ing fruit. The narrow top border is filled with a row of flowering plants and
birds, on a dark-green ground, with a lion's mask at the end of each section.
There is a polychromatic edging in strips of the following colours: red,
yellow, blue, and white. The colours throughout are bright, seven being

96 THE HATFIELD TAPESTRIES

used, with about eighteen different tones altogether. The material is mostly silk,
with a little wool, and gold and silver thread. The warps are of wool. The sky
is apparently represented at sunrise. In it we see the bright colours of the Hat-
field tapestries. It varies from dark to light blue with pink, yellow and white,
and patches of dark crimson in parts. There is some repetition in the figures
and animals, and it seems probable that many of them were taken from
woodcuts in books of the time. George Turbervile's Noble Arte of Venerie or
Hunting, printed in 1576, contains several woodcuts which may quite well
have been the source whence some were derived.

Some little variation in the costumes is perhaps due to the models having
been drawn from different books, but it is safe to date the valance somewhere
about the last years of the sixteenth century. This is not far from the known
date of the Hatfield tapestries, and, though on a very different scale, there are
striking points of similarity when it is compared with them. The peculiarity of
the sky, occurring in each, has been noticed. The attitudes of the figures in the
hunting scenes, and the general treatment of these subjects, are very much alike.
Cottages with their winding paths and gates, and the smoke coming out of
the chimneys, are seen in each. The flowers fringing the foreground and
lining the streams in the 'Spring' panel resemble very nearly those in the
border of the valance. A smaller detail, but one perhaps not altogether
undeserving of attention, is the similarity between the baskets of fruit in the
valance and that seen in the foreground of the ' Spring' panel.

The valance, though very interesting, is not an ambitious piece of work.
It could be woven in a room of moderate size by a single worker. It has
recently come to light in Worcestershire not very far from the places where
Sheldon's weavers were employed. Such facts support the theory of an English
origin. Any further argument based on the similarities to the Hatfield panels
is vitiated by the consideration that the latter have not been definitely proved
to be English, but when a case for an English origin can be made out for each
on its own merits the argument of similarity is not altogether without force.

In regard to the borders of the Hatfield panels, another work of art
will help us. It has been seen that a number of the emblems in these
borders are in Whitney's book ; but the author himself confesses to have
borrowed extensively in its preparation. May not the tapestry-designer have
drawn from the original, perhaps foreign, sources? It is with the object of
throwing light on this point that the Viscount Falkland's tunic is here illus-
trated (PI. LI). It is of linen, embroidered in black silk in a style which leaves
no doubt as to its English origin in Elizabethan times. A great deal of this
' black work ' still exists in the country, and illustrations are to be found in por-
traits of ladies of the Elizabethan period. The tunic is supposed to have belonged
to Queen Elizabeth herself, and this may well have been the case, for the

PLATE LI.

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OF THE SEASONS 97

Viscountess Falkland, wife of the tenth Viscount, received it as a gift from
William IV. It is fairly well known to the public, for by the courtesy of
the noble owner it has for many years been on exhibition in the Victoria
and Albert Museum. To those who may not have seen it there the illustration
will give some idea of its appearance. It will be seen that the larger flowers
and leaves growing from the stems with which it is embroidered are indicated
merely in outline, so as to provide spaces for further ornamentation. Most of
them are filled with a variety of animals— wild, domesticated, or mythical-
birds, and insects. There arc also a few emblematical subjects, and three
of these are found in Whitney's book.

Another 'black-work' embroidery, belonging to Mr. Russell Sowray and
now also on loan at South Kensington, has emblems worked upon it which
are to be found in Whitney's volume. It is a fanciful panel, representing 'The
Shepheard Buss ', and beyond doubt of English origin.

The argument, then, may be summarized as follows. An English origin
seems probable for the Hatfield tapestries and Mr. Howard's valance when
considered apart. When compared they show points of similarity in certain
details. Embroideries known to be English of the period of the tapestries
have emblems upon them derived from the same sources as those in the borders
of the Hatfield tapestries.

The Society desire to record their thanks to the Marquis of Salisbury,
the Viscount Falkland, and Mr. Henr}' Howard for permission to illustrate the
works of art belonging to them.

PLATE LII.

IH;GH DOUGLAS HAMILTON.

(I'uintcd by George Chinncry.)
A'o^rf/ Hibet'nitiii Academy.

HUGH DOUGLAS HAMILTON.
(Engraved by W. Holl.)

(6)

HUGH DOUGLAS HAMILTON, PORTRAIT-PAINTER

BY WALTER G. STRICKLAND

WITHIN the last few years the art of Hugh Douglas Hamilton has begun to
attract attention in the London salerooms, and his little pastel portraits, facile in
art and harmonious in colour, so popular in his lifetime, are now again sought for.
Of the artist himself few details either of his life or works have hitherto been
recorded ; the published biographical notices of him arc meagre ; even the date
of his birth and death are incorrectly given. In Bryan's and in Redgrave's
Dictionaries and in the Dictionary of National Biography his birth is stated to
have taken place 'about 1734', the year of his death is given as 1806, and he is
credited as having been a member of the Royal Hibernian Academy, a body
which did not come into existence until some fifteen years after his death.

Hugh Douglas Hamilton was the son of a peruke-maker in Crow Street,
Dublin. No record of his birth has been found ; but the date was certainly later
than 'about 1734', as usually given. John O'Kecffe, who was born in 1747, says
that ' he might have been five years my elder ' (Recollections), which would place
his birth about 1742, certainly too late. But O'Kceffe is inaccurate in his dates
even about himself. As, according to the records of the Dublin Society,
Hamilton was 'just over sixteen' in 1756, his birth may be fixed as in the year
1739. In 1750 he was placed by the Dublin Society under the tuition of Robert
West in his drawing school in George's Lane,1 where his industry was rewarded
with several prizes. In a competition for pattern-designing in 1756 he produced
the best drawing, but the prize was withheld owing to his being then just over
sixteen years of age ; he was, however, given a bounty of four pounds. Soon
afterwards he commenced practice as a portrait-painter in crayons. His little
portraits, being faithful likenesses, full of expression and charm, quickly done
and cheap, became the vogue and the artist soon obtained a considerable
practice.2 These portraits are ovals about 9* by 7* inches in size, slightly
executed upon grey paper in black and white chalk, finished with coloured
chalks. After some years' successful practice in Dublin Hamilton was tempted
to try his fortune in London. He arrived there in, or perhaps a little previous
to, 1764. In that year he was awarded a premium by the Society of Arts for

1 This school was taken over by the Dublin Society, and was the beginning of the Society's Art
School, where generations of Irish artists received their early training.

- Gustavus Hamilton (b. 1739, d. 1775), not related to H. D. Hamilton, was a fashionable
miniature painter in Dublin about the same period.

O 2

ioo HUGH DOUGLAS HAMILTON

a 'chiaro-oscuro ' of ' Priam and Hercules lamenting over the corpse of Hector'.
'In 1765 he won the prize of sixty guineas for an oil picture of ' Boadicea and her
daughters in distress', and obtained another prize in 1769. Though all these
were in oil Hamilton continued his work in pastel, and his portraits in that
medium became as popular in London as they had been in Dublin. In 1765,
his address being then 'at Mr. Lee's, Broad Court, Long Acre', he sent to the
exhibition of the Free Society of Artists two small whole-length portraits in
crayons. In the following year he was in Orchard Street, Portman Square, and
sent three small whole-lengths to the Society of Artists; and in 1767, from
Broad Street, he contributed a small whole-length of a lady and a ' Portrait of
Lord Halifax in conversation with his Secretary'. In 1769 he sent over to the
Society of Artists in Dublin two small full-length portraits. In 1770 he
established himself in Pall Mall, at the house of a Mr. Ireland, an apothecary,
part of which was occupied by a fashionable milliner. Of her he did a portrait
which was hung up in her room and was so much admired by her customers
that the artist soon found himself overwhelmed with business, and he could
scarcely execute all the orders that came to him. So busy was he that he had
to put off to the evenings the picking out and gathering up of the guineas from
among the bran and broken crayons in his crayon boxes, where in the hurry of
the day he had thrown them. In that year, 1770, he exhibited at the Society of
Artists twelve portraits in chalks, including one of the Duke of Gloucester, and
in the following year, 1771, he contributed sixteen portraits, all anonymous.

He remained in Pall Mall two years and then took a house in St. Martin's
Lane, and built in the rear a large and commodious painting room. In this
house he lived for five years, fully occupied in an extensive and fashionable
practice, and exhibiting with the Society of Artists. In 1778 Hamilton went to
Italy and settled in Rome, visiting also Florence, where he stayed for a time.
He drew the portraits of many English and Irish visitors to Italy and made
many friends, whom he kept throughout his life. He sent a few works to the
Royal Academy : a portrait group in crayons of ' Lady Cowper and her sister
Miss Gore', and 'An English Traveller' (Mr. Merry), from Florence, in 1787;
and ' Portraits of a Sculptor and Friend ', from Rome, in 1791. Whilst in Rome
he became acquainted with Flaxman, who formed a high opinion of his abilities
as an artist and urged him to take up the palette and brush and give his talents
a larger field for their exercise. Following this advice, Hamilton took up paint-
ing in oils, and henceforth confined himself chiefly to painting portraits in that
medium. After a stay in Italy of nearly twelve years he returned in 1791 to
Ireland, and settled in Dublin as a portrait-painter. He quickly established
a reputation, and at his house in Clare Street, at the corner of Merrion Square,
his studio was soon crowded with his patrons. He painted both whole and
half-lengths life size, which were faithful and dignified likenesses. He was

PLATE LIII.

(a)

(6)

ROBERT, 3RD EARL OF LANESBOROUGH.
(Pastel.)

The Duke of Leinster, Carton,

PORTRAIT OF A LADY.

(Pastel.)
Signed and dated 1770.

National Gallery of Ireland.

(c)

THE RIGHT HON. WILLIAM BURTON CONYNGHAM.

(Pastel.)
National Gallery of Ireland.

THE RIGHT HON. DENIS DALY, M.P.

(Pastel.)
National Gallery of Ireland.

HUGH DOUGLAS HAMILTON 101

particularly successful in portraits of old men, whom he portrayed with much
vigour. His women were marked by refinement and grace, and he was also
happy with children. His heads are well and strongly modelled, but in his full-
lengths the portrayal of the figure is weak, displaying uncertain knowledge of
the human form and some awkwardness of pose, although his arrangement and
treatment of drapery is effective. Hamilton did not confine himself entirely to
portraiture, but essayed several classical subjects. At an exhibition held in
Dame Street by the Society of Artists of the city of Dublin in 1800, he made his
first appearance as an exhibitor of oil pictures, sending four works, including
' Cupid and Psyche in the Nuptial Bower ', ' perhaps ', says the Hibernian
Magazine (1800), 'the most perfect picture ever produced in this country,' and
' The Revd. Dean Kirwan pleading the cause of the destitute Orphans '. This
picture, a large canvas 8| feet high by 9* feet wide, was painted for the Governors
of the Female Orphan House on the North Circular Road, Dublin, where the
artist's receipt for payment is still preserved. A contemporary notice describes
the picture as ' a masterpiece of excellence ' (Dublin Evening Post, June, 1800) ;
and the Hibernian Journal has the following outburst : ' The St. Paul at Lystra
of Raphael can now no longer be said, as the paragon of invention, to surpass all
others ; the mimic scene before us is wrought up with a subtlety no less sublime' !
The picture remained in the Orphan House until 1833, when Mr. Walter Blake
Kirwan, son of the Dean, offered it on loan to the Royal Dublin Society,
although it does not appear how he was entitled to do so. It remained in the
Society's house in Kildarc Street for many years, and in 1853 was sent to the
Dublin Exhibition. At the close of the exhibition it was removed by the family
and retained by them. It is now in the possession of Mrs. Kirwan, Dennistown,
Camberley. The picture was engraved in mezzotint by W. Ward and published
in 1806.

Hamilton again exhibited in Dublin in 1801 and 1802, contributing ten
pictures in the former year, and a portrait of 'John Foster, the late Speaker of
the House of Commons ' in the latter. In 1804 he sent to the exhibition held
by the Hibernian Society of Artists in the Dublin Society's house in Hawkins
Street, fourteen pictures, including a ' Portrait of Lord Kilwarden ' and other
portraits of notable personages, as well as two works which were much esteemed
at the time — 'Tisiphone' and a ' Head of the Medusa'.

After 1804 Hamilton was obliged, on account of failing health, to discon-
tinue the practice of his profession to a great extent. He devoted himself to the
study of chemistry, always a favourite subject with him, especially in the
direction of the nature and permanence of pigments. In his retirement,
although he was soon forgotten by the public, he retained the respect and
attachment of his many friends. He was, says a writer who knew him, 'ardent
and steady in his attachments ; his manners were those of the perfect gentleman ;

102 HUGH DOUGLAS HAMILTON

full of information, entertaining an affectionate regard for the talented members
of his profession, and always willing to make the most unreserved communica-
tion of his knowledge and practice to all who sought it.' '

Hamilton died in his house in Lower Mount Street, Dublin, on February 10,
1808.

A portrait of him, by George Chinnery, exhibited in Dublin in 1801, is in the
Council Room of the Royal Hibernian Academy.

He left a daughter, Harriott, born about 1769, who was herself an artist of
some ability, though she chiefly confined herself to copying the works of the Old
Masters. She was with her father in Italy, where her accomplishments and
charm of manner made her a favourite in society. Flaxman said that he had
never met a young woman whose attainments and whose manners so thoroughly
commanded his respect and esteem as those of Miss Hamilton. Her father, at
the time of his death, had in hand a portrait of Richard Kirwan commissioned
by the Dublin Society. Of this he completed only the head. In January, 1810,
Miss Hamilton was asked to finish the picture; and this she did, though not
until 1816. On the ijth October of that year she wrote to the Society that she
had finished the picture. From this letter we gather that Hamilton's charge
for a whole-length portrait was one hundred and twenty guineas. Harriott
Hamilton lived for some time alter her father's death at No. 2 Park Street,
Dublin, and married in 1817 a Mr. John Way. As Mrs. Way she exhibited
in the Royal Hibernian Academy in 1826 a portrait of ' Mrs. Charles R.
Elrington' and one of 'Cornelius Lyne, Barrister'; and in 1827 two anonymous
portraits. The Royal Hibernian Academy purchased from her in 1828 a
number of books and prints. The year of her death has not been ascertained.

Hamilton's crayon portraits are usually busts in small ovals, but occasionally
he produced full-length figures. His scheme of colour was very simple and
harmonious, the faces well drawn, and the eyes expressive and full of life. His
little portraits vary in method of execution ; some are slightly sketched in black
chalk with a little colour added in pastel. Walpole, in a note on Hamilton's
portraits exhibited at the Society of Artists in 1770, says, 'They are very
pretty. These drawings are upon a flesh-coloured paper, black and white
chalk and here and there a touch of crayons.'- It would appear from this
and other references that Hamilton's work at that time was much slighter and
with less use of pastel than is seen in most of his work. A Portrait of a Lady
signed and dated 1770, perhaps one of those Walpole saw in the exhibition of
that year, is in the National Gallery of Ireland, and agrees fairly well with
Walpole's description. As a rule, however, Hamilton's drawings are in pastel,
the black chalk being used only to give effect to the hair, eyes, &c., and in the

1 T. M[ulvany] in Dublin Penny Journal.

2 Graves's Catalogue of Exhibitions of Free Society and Society of Artists.

PLATE LIV.

JOHN PHILPOT CURKAN.

(Oil Picture.)

National (Jullcry of Ireland

(b)

(o)

PORTRAIT OF A LADY.

(Pastel.)
Signed and dated 1775.

PORTRAIT OF A LADY.
(Pastel.)

Mr. Frank T. Sabin, 172 New Bond Street.

The Ditke of Leinstcr, Carton.

HUGH DOUGLAS HAMILTON 103

modelling of the face. His signature, with date, is found only on the portraits
done by him in England ; I have met with no signed portrait in crayons done by
him in Ireland. Two portraits in black and white chalk without any colour are
at Malahide Castle. Many of his crayon portraits, about twenty in all, were
engraved in mezzotint, and he was fortunate in having such interpreters as
Houston, J. R. Smith, V. Green, Earlom, and James Watson.

Hamilton repeated many of his crayon portraits several times. The follow-
ing is a list of his recorded works and of such named portraits as arc known
to me. The names in square brackets are those of the present owners.

MRS. JOHN AISLABY, of Studley. Crayons. [Sir Edward F. Coates, Bart., Queen Anne's

Lodge, London, S.W.]
COUNTESS OF ALBANY, daughter of Prince Charles Edward Stuart and Clementina

Walkinshaw. Crayons. Reproduced as ' Portrait of a Lady ' in the Connoisseur,

vol. v, and identified by Mr. Caw, Director of the National Portrait Gallery of

Scotland.
GEORGE, 6th DUKE OF ARGYLL. Crayons. [Sir G. Charles Russell, Bart., Swallowfield

Park, Reading.]

MRS. ATKINSON. Oil picture. Ex. Dublin, 1804.
LADY ELIZABETH BAKER, daughter of W. R., Duke of Leinster. Crayons. [Duke of

Leinster, Carton.]

MRS. BANKS. Crayons. Engraved in mezzotint by R. Lawrie, 1772.
ISAAC BARRE. Crayons. Engraved in mezzotint by R. Houston, 1771.
ISAAC BARRE. Crayons. [Late Baroness Burdett-Coutts.]
SOMERSET, 2nd EARL OF BELMORE. Oil picture. [Earl of Belmore.J
MARY ANNE, COUNTESS OF BELMORE. See CALDWELL.
GEORGE A., 2nd EARL OF BELVEDERE, and his cousin J. HANDCOCK. Oil picture.

[W. Rochfort, Cahir Abbey, Co. Tipperary.]

BARBARA, wife of Rt. Hon. JOHN BERESFORD. Crayons. [Lord Talbot de Malahide.]
M-iss BERESFORD. Crayons. [Lord Talbot cle Malahide.]
LADY FRANCES BERESFORD, daughter of ist Earl of Milltown, mourning at the tomb of her

husband. Oil picture. Ex. Dublin, 1801.

CHARLES BIDWELL, D.D. Engraved in mezzotint by C. Turner.
MARGARET, LADY BINGHAM, afterwards COUNTESS OF LUCAN. Crayons. Hamilton delin. ijjj,

formerly at Strawberry Hill ; lent to South Kensington in 1865 DY Mrs. Newman Smith.

BISSET. Oil picture. Ex. Dublin, 1804.

FRANCES, wife of RICHARD BOURKE, Bishop of Waterford, ' Giddy Fanny.' Oil picture.

[Earl of Mayo.]
CHARLES BRODRICK, Archbishop of Cashel. Oil picture. [Lord Midleton.] Engraved in

mezzotint by C. Turner.

MRS. BROOKSBANK. Crayons. Engraved in mezzotint by J. R. Smith, 1772.
ARTHUR BROWNE, LL.D., M.P. for Dublin University. Oil picture. [Provost's House,

Trinity College, Dublin.]
ELIZABETH BULL, daughter of Richard Bull, M.P., collector of engraved portraits. Crayons.

Engraved in mezzotint by Joseph Strutt.
HENRY BURGH. Oil picture. Engraved by J. Heath for Barrington's Historic Memoirs,

1810, when it was in possession of Sir John Macartney.
THOMAS BURGH ofOldtown. Crayons. [Lieut.-Col. T. J. De Burgh, Oldtown, Co. Kildare.j

104 HUGH DOUGLAS HAMILTON

WALTER HUSSEY BURGH. Oil picture. [George Wolfe, Forenaughts, Co. Kildare.]
WALTER HUSSEY BURGH. Crayons. Engraved in mezzotint by W. Barnard from the

original, then in possession of Sir Jerome Fitzpatrick ; perhaps one of those mentioned

below.

WALTER HUSSEY BURGH. Crayons. [Lieut-Col. T. J. De Burgh, Oldtown, Co. Kildare.]
WALTER HUSSEY BURGH. Crayons. [Duke of Leinster, Carton.]
WALTER HUSSEY BURGH. Crayons. [Captain Conolly, Castletown.]
WALTER HUSSEY BURGH. Crayons. [T. P. Le Fanu, Abington, Bray.]
WILLIAM BURTON-CONYNGHAM. Crayons. [National Gallery of Ireland.] Engraved in

mezzotint by V. Green, 1780. (Plate LI II.)

MARY ANNE CALDWELL, afterwards COUNTESS OF BELMORE. Oil picture. [Earl of Belmore.]
JOHN, 6th LORD CARBERY. Crayons. [Sir George Brooke, Bart., Gardiner's Row, Dublin.]
HENRY, 2nd EARL OF CARHAMPTON. Crayons. [National Gallery of Ireland.]
LADY ALMERIA CARPENTER. Crayons Engraved by T. Cecchini.
LORD CASTI.EREAGH. Oil picture. Ex. Dublin, 1804.
LADY ISABELLA DE CHABOT, daughter of W. R., Duke of Leinster. Crayons. [Duke of

Leinster, Carton.]
TANKERVII.I.E CHAMBERLAIN, Justice of the King's Bench. Oil picture. Lent to the

Dublin Exhibition, 1872, by Tankerville Chamberlain.
MRS. TANKERVILLE CHAMBERLAIN. Oil picture. Lent to the Dublin Exhibition, 1872, by

Tankerville Chamberlain.
JAMES, ist EARL OF CHARLEMONT. Oil picture. Engraved by J. Heath for Barrington's

Historic. Memoirs, 1810 ; then in possession of the Earl of Charlemont.
CATHERINE MARIA, COUNTESS OF CHARLEVILLE, as a Bacchante. Engraved in stipple by

J. Thomson in La Belle Assembler, 1825, and in Burke's Portrait Gallery of

Distingnislied Females, 1833.

RICHARD, ist EARL OF CLANCARTY. Crayons. [Captain Conolly, Castletown.]
LADY CLANCARTY. Crayons. See under PAKENHAM.
JOHN FITZGIBBON, EARL OF CLARE, full length in robes as Lord Chancellor of Ireland. Oil

Picture. [National Gallery of Ireland.] (Plate LVI.)
ANNE, COUNTESS OF CLARE. Oil picture. Lent to the Dublin Exhibition of 1872 by

Colonel Meadows Taylor, of Old Court, Harold's Cross.
COUNTESS OF CLERMONT. Crayons. [Lord Rossmore.]
JOHN, ist EARL OF CLONMELL. Oil picture. In his Private Diary, p. 407, Lord Clonmell

writes : ' Hamilton said, when he painted my picture, that one eye was smiling or had

a joke in it, and the other thinking and serious. I believe he fairly copied the original,

the habit of my whole life being to do my business in comedy.'
LADY LOUISA CONOLLY. Crayons. [Duke of Leinster, Carton.]
THOMAS CONOLLY. Crayons. [Duke of Leinster, Carton.]
THOMAS CONOLLY. Crayons. [Captain Conolly, Castletown.]
LADY CONYNGHAM AND CHILD. Oil picture. [Marquess Conyngham, Slane Castle.] Ex.

Dublin, 1801 ; described in anonymous Journal in R. LA. (24, c. 14-15). (Plate LV.)
ANNE, COUNTESS OF CORK AND ORRERY. Crayons. Engraved in mezzotint by James

Watson, 1771 ; a smaller print published by Sayer in 1772.

CHARLES, EARL CORNWALLIS. Crayons. Engraved by Bartolozzi, 1781, and by D. Berger.
LADY LOUISA CORRY. Oil picture. [Earl of Sandwich, Hinchingbroke.] Ex. Dublin, 1804.
ANNE, COUNTESS COWPER and her sister Miss GORE. Crayons. Done in Florence and

sent to R. A., 1787.
ELIZABETH Cox. Crayons. Engraved by Laurie, 1772.

PLATE LV.

ELIZABETH, COUNTESS CONYNGHAM AND CHILD.
(Oil Picture, painted in 1801.)

The Marquis Conyngham. Slanc Castle.

HUGH DOUGLAS HAMILTON 105

MAJOR-GENERAL SIR JOHN CRADOCK. Oil picture. Ex. Dublin, 1804.

LADY CRAVEN. Crayons. Society of Artists, London, 1775.

JOHN PHILPOT CURRAN. Oil picture. [National Gallery of Ireland.] Formerly belonged

to Mrs. Kirkpatrick, Donacomper, Co Kildare. (Plate LIV.)
SIR WILLIAM CUSACK-SMITH, 2nd Bart, Baron of the Exchequer. Head only painted by

Hamilton; the rest by another hand. [Sir Berry Cusack-Smith, K.C.M.G., Redlands,

Maidenhead.]

RIGHT HON. DENIS DALY. Crayons. [National Gallery of Ireland.] (Plate LIII.)
JAMES DAWKINS. Crayons. Collection of Rev. E. H. Dawkins, Christie's, February 28,

RICHARD DAWSON, M.P. Oil picture (?). Engraved by J. Heath for Barrington's Historic
Memoirs, 'from a painting by Hamilton in possession of the Countess of Aldborough.'

ROBERT DAY, Justice of the King's Bench. Oil picture. [Colonel John Day, R.E.]

MRS. DAY, wife of above. Oil picture. [Rev. H. L. L. Denny.]

WILLIAM DEANE. Engraved by R. Cooper ; private plate.

ELIZABETH, LADY DENNY, only child of Judge Day. Oil picture. [Rev. H. L. L. Denny.]

EDWARD, i2th EARL OF DERBY. Crayons. Signed and dated, 1773. [Earl of Derby,
Knowsley.]

ELIZABETH, COUNTESS OF DERBY. Crayons. Engraved by G. T. Stubbs.

CHEVALIER D'ESTOURS. Crayons. [Duke of Leinster, Carton.]

S. DIGBY. Crayons. [Captain Conolly, Castletown.]

S. DIGBY. Crayons. [Duke of Leinster, Carton.]

MRS. DOMINICK. Crayons. [Duke of Leinster, Carton.]

ANNE, MARCHIONESS OF DONEGAL. Oil picture. [Earl of Shaftesbury.]

WILLIAM DOWNES, Chief Justice of the King's Bench. Oil picture. Engraved by H. Brocas
in Hibernian Magazine, May, 1810.

WILLS, ist MARQUESS OF DOWNSHIRE. Crayons. Christie's, July 8, 1910. Bought with
picture below by A. Wertheimer for £68 55.

MARGARETTA, MARCHIONESS OF DOWNSHIRE. Crayons. Christie's, July 8, 1910.

RANDAL, i3th LORD DUNSANY. Oil picture. [Lord Dunsany.]

RICHARD L. EDGEWORTH. Oil picture. [Francis Y. Edgeworth, Edgeworthstown.] Ex.
Dublin, 1800 ; described in a contemporary paper as the best portrait in the room.

THOMAS EVERARD. Crayons. [Lord Talbot de Malahide.]

REV. JOHN FALKINER. Crayons. [Duke of Leinster, Carton.]

MATTHIAS FINUCANE, Justice of the Common Pleas. Oil picture. [H. V. Macnamara,
Ennistymon.]

LORD EDWARD FITZGERALD, (i°). Oil picture. [National Gallery of Ireland.] Painted in
1798 for the Duchess of Leinster, Lord Edward's mother. It remained in her possession
after her second marriage, and passed on her death to her daughter Mrs. Beauclerk.
From the latter's grandson, Mr. Aubrey de Vere Beauclerk of Ardglass, it was
purchased by the Duke of Leinster, who presented it to the National Gallery of
Ireland in 1884. Engraved by T. A. Dean as frontispiece to Moore's Life of Lord
Edward Fitzgerald.

In a letter from Lady Louisa Conolly to Lord Henry Fitzgerald, written in June,
1798, immediately after Lord Edward's death, two pictures of Lord Edward are
referred to one painted for the Dowager Duchess, and the other for Lord Henry
(Moore's Life, vol. ii, p. 49). The first of these is that now in the National Gallery of
Ireland, noticed above; the second is probably the following picture:

io6 HUGH DOUGLAS HAMILTON

LORD EDWARD FITZGERALD, (2°). Oil picture. [Mrs. Paley, St. Catherine's Court, Bath.]
LORD EDWARD FITZGERALD, (3°). Oil picture. [Duke of Leinster, Kilkea Castle.] Similar

to No. 2. Purchased from the artist's daughter.
LORD EDWARD FITZGERALD, (4°). Oil picture. [Lord Cloncurry, Lyons, Co. Kildare.]

Similar to No. 2 ; ? a copy.
LORD EDWARD FITZGERALD, (5°). Oil picture. [Earl of Ilchester, Holland House.] A copy

or replica, similar to No. 2.
LORD EDWARD FITZGERALD, (6°). Oil picture ; an unfinished portrait. Was in the

collection of Mr. Gernon, dealer, 34 Molesworth Street, Dublin, sold in Dublin in

January, 1834.
LORD EDWARD FITZGERALD, (7°). Oil picture, bust. [Duke of Leinster, Carton.] A miniature

copy of this picture, on card, by Horace Hone is in the National Gallery of Ireland.
LORD EDWARD FITZGERALD, (8°). Oil picture. Lent to Dublin Ex., 1865, by Lady Campbell.
LORD GERALD FITZGERALD. Crayons. [Duke of Leinster, Carton.]
LORD HENRY FITZGERALD. Crayons. [Duke of Leinster, Carton.]
LADY MARY AND LADY EMILY FITZGERALD. Crayons ; i ft. 3! in. by i ft. 8 in. [Duke of

Leinster, Carton.]

LORD ROBERT FITZGERALD. Crayons. [Duke of Leinster, Carton.]
LADY SOPHIA FITZGERALD. Crayons. [Duke of Leinster, Carton.]
LORD WILLIAM FITZGERALD. Crayons. [Duke of Leinster, Carton.]
CECILIA, LADY FOLEY, daughter of William Robert, Duke of Leinster. Crayons. [Duke of

Leinster, Carton.]

LADY LUCY FOLEY. Crayons. [Duke of Leinster, Carton.]
LADY ADELAIDE FORBES. Oil picture, unfinished. [Earl of Granard.]
JOE FOSTER, an old servant at Carton, going to ring the bell. Crayons; 2 ft. 4 in. by

ii ft. 8 in. [Duke of Leinster, Carton.] (Plate LVII.)
JOHN FOSTER, Speaker of the Irish House of Commons. Oil picture. [Viscount

Masserene.] Ex. Dublin, 1802.

JOHN FOSTER, Speaker. Oil picture, a replica of last. [Mansion House, Dublin.]
JOHN FOSTER, Speaker. Crayons. [Lieut.-Col. T. J. De Burgh, Oldtown, Co. Kildare.]
CHARLES JAMES Fox. Crayons. [Duke of Leinster, Carton.]
CHARLES JAMES Fox. Crayons. [Captain Conolly, Castletown.]
WILLIAM HY., DUKE OF GLOUCESTER. Crayons. Society of Artists, London, 1770.

Engraved in mezzotint by R. Earlom, 1771.
MRS. GRAHAM. Crayons. A miniature copy of this was exhibited by Horace Hone in

R.A., 1808.

GEORGE, 6th EARL OF GRANARD. Oil picture. [Earl of Granard.]
SELINA, COUNTESS OF GRANARD. [Earl of Granard.]

ELIZABETH B. GULSTON. Crayons. Engraved in mezzotint by R. Earlom, 1771.
JOSEPH GULSTON. Crayons. Engraved in mezzotint by James Watson, 1776; in line

by S. Bellin as frontispiece to Nicholl's Literary Anecdotes, vol. v, 1828; and

etched, in reverse, by E. B. Gulston, 1772.
SURGEON JOHN HALAHAN. Oil picture. [Royal College of Surgeons, Dublin.] Halahan was

Professor of Anatomy to the Hibernian Society of Artists, and the portrait was presented

to him by the Society in 1814. His family afterwards gave it to the College of Surgeons.
LORD HALIFAX, in conversation with his Secretary. Crayons. Society of Artists, London,

1767.
HENRY HAMILTON. Oil picture. Ex. Dublin, 1804.

- HAMILTON, son of Sackville Hamilton. Oil picture. Ex. Dublin, 1800.

PLATE LVI.

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HUGH DOUGLAS HAMILTON 107

HUGH HAMILTON, Bishop of Ossory. Oil picture. [Colonel Johnston, Kilmore, Co
Armagh.]

THOMAS HAMMERSLEY, Banker. Engraved in stipple by Richard Golding, 1822; private
plate.

MRS. HAMMERSLEY. Crayons. Engraved by J. R. Smith.

J. HANDCOCK. See under BELVEDERE.

SIMON, EARL HARCOURT. Crayons. [Rt. Hon. L. A. Waldron, Marino, Ballybrack.]

PHILIP, 3rd EARL OF HARDWICKE, Lord Lieutenant. Oil picture. Ex. Dublin, 1804.

FRANCIS HARDY. Oil picture. [Earl of Granard.]

ELIZABETH HARTLEY, Actress. Crayons. [Duke of Leinster, Carton.] Engraved in
mezzotint by R. Houston, 1774.

CAPTAIN HARVEY. Crayons. Christie's, June 7, 1912.

PROFESSOR HIGGINS. Oil picture.

HENRY JOHN HINCHCLIFFE. Crayons. Signed, Hamilton Pr. Roma, 1789. [Nottingham
Museum.]

HENRY, ist LORD HOLLAND. Crayons. [Duke of Leinster, Carton.]

LADY HORTON. See STANLEY.

LORD HOWE. Crayons. [Captain Conolly, Castletown.]

SAMUEL IRELAND. Crayons. Etched by Samuel Ireland.

POLLY JONES. Crayons. Engraved in mezzotint by James Watson, 1771.

HUGH KELLY, Dramatist. Crayons. Engraved in mezzotint by J. Boydell as frontispiece
to his Dramatic Works, 1778.

MARY, COUNTESS OF KILDARE. Crayons. [Duke of Leinster, Carton.]

ARTHUR WOLFE, LORD KILWARDEN. Oil picture ; painted in 1795. [National Gallery of
Ireland.] Engraved by F. Bartolozzi in 1800, and by J. Martyn for Hibernian
Magazine, 1803.

ARTHUR WOLFE, LORD KILWARDEN, in wig and robes. Oil picture. Engraved by J. Heath
for Barrington's Historic Memoirs. Perhaps the picture exhibited in Dublin in 1804.

ARTHUR WOLFE, LORD KILWARDEN. Oil picture; the property of B. Watkins, dealer; sold
in Dublin in November, 1850.

ANNE, LADY KILWARDEN. Oil picture. [George Wolfe, Forenaughts, Co. Kildare.]

OLIVIA, LADY KINNAIRD, daughter of W. R. Duke, of Leinster. Crayons. [Duke of
Leinster, Carton.]

RICHARD KIRWAN. Oil picture. [Royal Dublin Society.] This picture was begun to the
order of the Dublin Society, but the face only was finished at the time of the artist's
death. It was completed by the artist's daughter, and delivered to the Society in 1816.

REV. WALTER BLAKE KIRWAN Pleading the Cause of the Destitute Orphans. Oil
picture. [Mrs. Kirwan, Dennistown, Camberley.] This picture, 8| ft. by 93 ft., was
painted in 1800 for the Governors of the Female Orphan House, North Circular Road,
Dublin, and exhibited in Dublin the same year. It was deposited on loan in the
Royal Dublin Society's House in 1833. It was sent to the Dublin Exhibition of 1853
and was not returned to the Dublin Society, but, in some way, passed into the posses-
sion of the Kirwan family. A mezzotint from the picture by W. Ward was pub-
lished by W. Allen, Dublin, in 1806, and dedicated to the Earl of Hardwicke, Lord
Lieutenant. A small version in monochrome, probably done for the engraver, was
in the La Touche Collection at Bellevue, Co. Wicklow, and now belongs to the Right
Hon. L. A. Waldron, Marino, Ballybrack.

REV. WALTER BLAKE KIRWAN. In gown, seated and holding a book. Oil picture. Christie's,
November 22, 1912.

P 2

io8 HUGH DOUGLAS HAMILTON

MARY KING. Crayons. Engraved in mezzotint by J. R. Smith, 1772.

THOMAS KING. Crayons. Engraved in mezzotint by J. R. Smith, 1772.

MAJOR-GENERAL THE HON. JOHN KNOX. Oil picture. [Earl of Ranfurly.]

EARL OF LANESBOROUGH. Crayons. [Duke of Leinster, Carton.] (Plate LI II.)

DAVID LA TOUCHE. Oil picture. [Captain C. Colthurst Vesey, Lucan House.] Ex. Dublin,

1804. Engraved by Fittler.

MRS. LA TOUCHE, wife of above. Oil picture. [Captain C. Colthurst Vesey, Lucan House.]
DAVID LA TOUCHE. Oil picture. [National Gallery of Ireland.]
DAVID LA TOUCHE. Crayons. [Captain C. Colthurst Vesey, Lucan House.] Engraved by

J. K. Sherwin.

DAVID LA TOUCHE. Crayons. Formerly at Bellevue, Co. Wicklow.
DAVID LA TOUCHE. Crayons. [Captain C. Colthurst Vesey, Lucan House.]
MRS. LA TOUCHE. Crayons. [Captain C. Colthurst Vesey, Lucan House.]
PETER LA TOUCHE. Crayons. [Captain C. Colthurst Vesey, Lucan House.]
EMILY LA TOUCHE, daughter of D. La Touche, afterwards Mrs. Vesey. Crayons. [Captain

C. Colthurst Vesey, Lucan House.]
Two DAUGHTERS OF D. LA TOUCHE. One of them afterwards Countess of Lanesborougti.

Crayons, large size. [Captain C. Colthurst Vesey, Lucan House.]
Two DAUGHTERS OF D. LA TOUCHE; afterwards Mrs. Jeffries and Lady Colthurst.

Crayons. Formerly at Bellevue, and sold there in 1906.
CHARLES, LORD LECALE. Crayons. [Duke of Leinster, Carton.]

WILLIAM ROBERT, DUKE OF LEINSTER. Oil picture. [Duke of Leinster, Kilkea Castle.]
WILLIAM ROBERT, DUKE OF LEINSTER. Crayons. [Duke of Leinster, Carton.]
WILLIAM ROBERT, DUKE OF LEINSTER. Crayons. Large size, 2ft. S^in. by 2 ft. 5 in. [Duke

of Leinster, Carton.] (Plate LVI.)

EMILIA OLIVIA, DUCHESS OF LEINSTER. Crayons. [Duke of Leinster, Carton.]
EMILIA OLIVIA, DUCHESS OF LEINSTER. Crayons. 2ft. 8|in. by 2 ft. 2 in. [Duke of Leinster,

Carton.]

EMILIA OLIVIA, DUCHESS OF LEINSTER. Crayons. [Captain Conolly, Castletown.]
M. LE TEXIER, the famous French Reader. Oil picture; a half-length, holding an open

book in his hand. Ex. Dublin, 1801. Possibly the picture at Woodstock, Co. Kil-
kenny, called a Portrait of Edward Tighe. See infra.
ROBERT, ist LORD LONDONDERRY. Oil picture. Ex. Dublin, 1800.
EDWARD MICHAEL, 2nd EARL OF LONGFORD. Crayons. [Earl of Longford, Pakenham

Hall.] Engraved by H. Meyer, 1820.
LADY LUCAN. See BINGHAM.

ADMIRAL McBRiDE. Oil picture. [Late Dr. Evory Kennedy.]
MRS. MCDONNELL. Oil picture. [Charles R. A. McDonnell, New Hall, Co. Clare.]
MRS. MACNAMARA of Doolin, nee Finucane. Oil picture. [H. V. MacNamara, Ennistymon.]
WILLIAM MAGEE, afterwards Archbishop of Dublin. Oil picture. [Rev . W. C. Magee,

Dean of Cork, 1868.]
RICHARD MARLAY, Bishop of Waterford. Oil picture. [Sir H. Grattan Bellew, Bart.,

Tinnahinch.] Engraved by J. Heath for Barrington's Historic Memoirs. Horace

Hone exhibited a copy in enamel in R. A., 1806. Another copy by him on paper is in

the National Gallery of Ireland.

RICHARD MARLAY, when Dean of Ferns. Crayons. [Duke of Leinster, Carton.]
ELIZABETH MARLAY, daughter of above and afterwards wife of David La Touche. Crayons.

Formerly at Bellevue, and sold there in 1906.
JOHN MONCK MASON. Crayons. [Right Hon. L. A. Waldron, Marino, Ballybrack.]

HUGH DOUGLAS HAMILTON 109

HARRIETT, VISCOUNTESS MASSERENE. Oil picture. [Viscount Masserene and Ferrard.]
ROBERT MERRY. Crayons. Done in Florence and exhibited in R. A., 1787, as 'An

English Traveller'. Engraved by T. Collyer as frontispiece to British Album, 1789.
JOSEPH, 2nd EARL OF MILLTOWN. Crayons. [Duke of Leinster, Carton.]
FRANCIS, EARL OF MOIRA. Oil picture. Ex. Dublin, 1804. Perhaps the picture engraved

by J. Heath for Barrington's Historic Memoirs.
WILLIAM NEWCOME, Archbishop of Armagh. Oil picture. [Pembroke College, Oxford.]

Engraved in stipple by C. Knight.
HON. G. NEWCOMEN. Oil picture. Ex. Dublin, 1804.

HUGH, DUKE OF NORTHUMBERLAND. Crayons. Engraved in mezzotint by J. Finlayson.
BARBARA NUGENT. See O'REILLY.

' WIFE OF GENERAL NUGENT, in costume of a Nun.' Oil picture. Ex. Dublin, 1800.
ARTHUR O'CONNOR, in classical costume, addressing an assembly. Oil picture.
GEORGE, LORD OFFALY. Crayons. [Duke of Leinster, Carton.]
WILLIAM OGILVY. Crayons. [Duke of Leinster, Carton.]
MRS. JOHN HAMILTON O'HARA of Crebilly (Mary, daughter of George Jackson, M.P.).

Oil picture, painted in 1794. [Right Rev. H. S. O'Hara, Bishop of Cashel.] A portrait

of her by Hoppner was at Christie's in December, 1911.
SIR HUGH O'REILLY of Ballinlough. Crayons. [Lord Talbot de Malahide.]
JAMES O'REILLY of Ballinlough. Crayons. [Lord Talbot de Malahide.]
BARBARA (NUGENT), wife of last. Crayons. [Lord Talbot de Malahide.]
GENERAL ARTHUR ORMSBY. Crayons. [Duke of Leinster, Carton.]
LADY PAKENHAM AND LADY CLANCARTY. Crayons. [Captain Conolly, Castletown.]
DR. PATRICK PLUNKET. [Lord Plunket, Old Connaught, Bray.]
W. CONYNGHAM PLUNKET, Solicitor-General. Oil picture. [Lord Plunket, Old Connaught,

Bray.] Ex. Dublin, 1804. Engraved by J. Jenkins for W. Cooke Taylor's Life and

Times of Sir Robert Peel, vol. ii.

CATHERINE PLUNKET, wife of above. Oil picture. [Lord Plunket, Old Connaught, Bray.]
HON. GEORGE PONSONBY POMEROY, fourth son of the first Viscount Harberton. Crayons.

[G. P. Colley, Faunagh, Orwell Road, Rathgar.]

THOMAS RICE, grandfather of the first Lord Monteagle. Oil picture. [Lord Monteagle.]
MARY (BRUCE), DUCHESS OF RICHMOND. Crayons. Formerly at Strawberry Hill.
WILLIAM HAMILTON ROWAN. Crayons. [Captain Ccnolly, Castletown.]
ELIZABETH, LADY ST. GEORGE. Crayons. [Duke of Leinster, Carton.]
COLONEL RICHARD ST. GEORGE at the tomb of his wife. Oil picture. Ex. Dublin, 1801.

' We have not amongst the best works of the British School a finer picture ' (Freeman's

Journal). Described in anonymous MS. Journal in R.I.A. (24, c. 14-15).
RICHARD ST. GEORGE MANSERGH ST. GEORGE of Headfort, murdered in his house by the

rebels in 1797. Oil picture, painted in 1800. [H. L. Bland, Blandsfort, Abbeyleix.]
MR. ST. GEORGE of Headfort. Oil painting. Collection of Major-General Birch,

40 Leeson Street, Dublin ; sold in October, 1851.
COLONEL ROBERT SANDFORD. Crayons. [Duke of Leinster, Carton.]
MARIA SAYER. Crayons. [Sir Edward F. Coates, Bart, Queen Anne's Lodge, London, S.W.]
MELUSINA DE SCHULENBERG. Crayons. [Lord Talbot de Malahide.]
HENRY C. SIRR, Town Major of Dublin. Oil Picture. [Dr. Minchin, 4 Kenilworth Square,

Dublin.]

SIR MICHAEL SMITH, Master of the Rolls. Oil picture.
LADY CAROLINE SPENCER. Crayons. Society of Artists, London, 1775.
LADY ELIZABETH SPENCER. Crayons. Society of Artists, London, 1775.

i io HUGH DOUGLAS HAMILTON

CHARLOTTE SPENCER, a much admired lady of the demi-monde. Crayons. Engraved

in mezzotint by V. Green, 1771.
HON. ELIZABETH STANLEY, afterwards Lady Horton. Crayons. H. D. Hamilton Delinvt.,

ijjj. [Earl of Derby, Knowsley.]
HON. THOMAS STANLEY. Crayons. Dated 1773. [Earl of Derby, Knowsley.]

ADMIRAL STOPFORD. Crayons. Christie's, July 8, 1910.

JAMES TALBOT, afterwards 3rd Lord Talbot de Malahide. [Lord Talbot de Malahide.]

MARGARET (O'REILLY), LADY TALBOT DE MALAHIDE. Crayons. [Lord Talbot de Malahide.]

COLONEL RICHARD TALBOT. Crayons. [Lord Talbot de Malahide.]

ANNE (CHAMBERS), COUNTESS TEMPLE. Crayons. Signed and dated 1770. [National Por-
trait Gallery.] Formerly at Strawberry Hill. Engraved by W. Greatbach for Cunning-
ham's edition of Walpole's Letters, 1861, vol. ii.

WILLIAM TIGHE of Woodstock. Crayons. [Charles R. Hamilton, Hamwood, Dunboyne.]

MRS. WILLIAM TIGHE, ne'e FOWNES. Crayons. [Charles R. Hamilton, Hamwood, Dunboyne.]

WILLIAM TIGHE of Woodstock. Oil picture. [E.K.BunburyTighe, Woodstock, Co. Kilkenny.]

MRS. WILLIAM TIGHE ne'e GAHAN. Oil picture. Signed and dated 1800. [E. K. Bunbury
Tighe, Woodstock, Co. Kilkenny.] Ex. Dublin, 1801.

EDWARD TIGHE. Oil picture. [E. K. Bunbury Tighe, Woodstock, Co. Kilkenny.] See
also under LE TEXIER.

HENRY TRESHAM AND CAZALO. Done in Rome and ex. R.A., 1791, as ' Portrait of a Sculptor
and Friend'.

GENERAL VALLANCEY. Oil picture. Ex. Dublin, 1809, after the painter's death.

SELINA ELIZABETH, LADY DE VESCI. Crayons. [Lord Talbot de Malahide.]

THOMAS WAITE, Secretary, Civil and Military Department, Ireland. Crayons. [Right
Hon. L. A. Waldron, Marino, Ballybrack.]

THOMAS, 4th EARL OF WESTMEATH. Crayons [Lord Talbot de Malahide.]

SAMUEL WHYTE. Crayons. Engraved in stipple by H. Brocas as frontispiece to Whyte's
Poems.

REV. RICHARD WOLFE, as a young man. Oil picture. [George Wolfe, Forenaughts, Co.
Kildare.]

CHIEF BARON YELVERTON. Oil picture.

A LADY. Crayons. [Newbridge House, Donabate.] Erroneously called ' Vere Chaloner,
Mother of Archbishop Cobbe '.

A LADY. Crayons. Signed and dated 1770. [National Gallery of Ireland.] (Plate LIII.)

A LADY. In black and white chalks. [Lord Talbot de Malahide.]

A GENTLEMAN. In black and white chalks. [Lord Talbot de Malahide.]

A GENTLEMAN. Crayons. H. D. Hamilton delint., 7772. [British Museum.]

Two YOUNG GIRLS AT A SPINET. Crayons, large size. Formerly at Bellevue, Co. Wicklow.

A LADY. Oil picture; oval, 28in. by 23 in. Christie's, December 9, 1911.

CUPID AND PSYCHE. Oil picture. Ex. Dublin, 1800.

CUPID AND PSYCHE. Oil picture. Unfinished.

HEAD OF TISIPHONE. Oil picture. Ex. Dublin, 1804.

HEAD OF MEDUSA. Oil picture. Ex. Dublin, 1804.

A LADY. Crayons. Oval, 12^ in. by io| in. [F. T. Sabin, Bond Street.] (Plate LIV.)

A LADY. Crayons. Signed and dated 1773. [Sir Edward F. Coates, Bart., Queen Anne's
Lodge, London, S.W.]

AN OLD LADY. Crayons. Signed and dated 1770. [Sir Edward F. Coates, Bart., Queen
Anne's Lodge, London, S.W.]

A LADY. Crayons. [Duke of Leinster, Carton.] (Plate LIV.)

PLATE LVII.

JOE FOSTER, AX OLD SERVANT AT CARTON.

(Pastel.)

The DttJte of Leinster, Carton.

INFLUENCE DE BONINGTON ET DE L'liCOLE

ANGLAISE SUR LA PEINTURE DE

PAYSAGE EN FRANCE

PAR A. DUBUISSON

LORSQU'EN 1824 sept peintres anglais se decidcrcnt a cnvoyer leurs toiles au
Salon de Paris, ils etaient sans doute loin de prevoir, si confiants fussent-ils
dans 1'excellence de leur art, quels seraient et leursucces ct les consequences de
cette premiere manifestation de Tart anglais sur le continent.

L'art anglais ! Qui se serait avise a cette £poque qu'il y eut une ecole anglaise
pleine de vie et de jeunesse, renfermant deja des maitres comparables aux plus
grands des autres nations, et celebres dans leur pays depuis plus d'un quart de
siecle ?

La Grande-Bretagne avait produit de grands politiques, dc grands capitaines,
de ge"niaux poetes, des savants, des orateurs, des historiens, et ses fils s'etaient
signales avcc eclat dans presque toutes les branches de 1'activitc humaine.

Elle etait presque toujours sortie plus puissante et plus respectee des
longues guerres intestines ou exterieures qu'elle avait vaillammcnt soutenues.

Grace a son energie ct a sa tenacite, a ses qualites d'action et de raison, elle
s'etait placee a la tete des nations du globe dont elle etait 1'arbitre et elle avait
conquis 1'empire des mers.

Une lacune se faisait toutefois sentir dans ce role brillant. Elle ne semblait
pas avoir accordd de place chez elle a la culture des arts, de la paix et a ceux de
la forme surtout.

Peu visitee par les etrangers, c'est a peine si on savait qu'elle renfermait de
remarquables specimens de 1'art roman et gothique, et Ton n'avait encore aucune
notion des styles differents, decorated, perpendiculaires ou Elisabeth qui consti-
tuaient I'originalitd de ses architectes.

Dans la peinture, on la considerait toujours comme tributaire des ecoles du
continent, et on n'accordait a ses rares artistes que des qualites amoindries dues
a limitation d'Holbein, de Van Dyck et d'autres peintres flamands ou italiens
ayant sejourne en Angleterre.

Si Voltaire, il est vrai, avec son esprit large et avide de tout connaitre, avait
le premier, apres un voyage a Londres, signale aux Francais et aux autres peuples
de 1'Europe le riche filon de la poesie anglaise, dont Shakespeare et Milton

BONINGTON, L'£COLE ANGLAISE

etaient les plus glorieux repre"sentants, personne jusqu'a la fin du regne de
Napoleon n'avait songe qu'il put y avoir un epanouissement de 1'art de la pein-
ture au pays de Pitt, de Nelson et de Wellington, et la conviction gene~rale etait
que le sol y etait ingrat et rebelle aux Beaux-Arts.

Tout a coup et a 1'etonnement general, 1'art anglais venait reckoner sa place
au sein de la grande famille artistique en Europe, affirmant ses droits a coups de
chefs-d'oeuvre, et se placant sous la protection des grands noms d'Hogarth,
de Reynolds et de Gainsborough.

Ce nouveau parent j usque la neglige quand on parlait Beaux- Arts, arrivait
avec des oeuvres d'une originalite et d'unc vigueur capables de le faire prendre
en haute consideration, et de lui assurer desormais une juste place parmi les ecoles
de peinture en Europe, toutes fort jalouses de leur rang et de leurs privileges.

N'est-il pas etrange qu'en 1824 les grands portraitistes anglais, si justement
renommes dans leur pays, n'aient etc encore apprecies d'aucun centre artistique
du continent, et qu'il ait fallu 1'apparition du petit bataillon des sept peintres
anglais au Salon de Paris de cette annec pour reveler leur existence au monde, et
faire connaitre en meme temps une nouvelle source de jouissances artistiques
coulant avec abondance dans une terre vierge et pleine de richesses ?

Que la masse du public ait ignore qu'il y cut une ecole anglaise il n'y a pas a
s'en etonner?

Le xvmc siecle avait consacre le triomphe cxclusif de 1'ecole francaise eur
le continent et le siecle suivant avait debute sous la direction tyrannique du
peintre David sc flattant d'imposer sa volonte dans les arts comme Napoleon
imposait la siennc aux rois.

En outre, la Revolution et 1'Empire avec leurs guerres continuelles avaient
amene de toutes autrcs preoccupations, et Faction de la Presse encore fort
restreinte nc s'excrcait guere que sur les matieres de la politique, accordant fort
peu de place aux questions artistiques.

Et, cependant, des artistes etrangers etaient venus souvent en Angleterre
et avaient etc en rapport avec leurs collegucs anglais. A la fin du xvn° siecle
et au debut du xviii0, Largilliere, Monoycr, Paul Mignard, Ch. de la Fosse,
Desportes, Watteau avaient pu dans leurs sejours a Londres, quoiqu'a une
epoque anterieure aux grands portraitistes anglais, comprendre le mouvement
qui se preparait et en apprecier 1'importance.

II parait probable qu'ils ont eu connaissance des travaux les plus marquants
de leurs collegues anglais contemporains ; car il y en eut, temoin Dobson et
Thornhill dont les noms ont surve"cu preferablement a d'autres.

En Angleterre comme ailleurs 1'eclosion d'une ecole nationale a du etre
precedee d'une longue evolution mal definie et dont il est difficile de preciser les
origines et la marche, mais qui a du renfermer de grands artistes meconnus, dont
le labeur ingrat n'a pas ete cependant perdu pour leurs successeurs.

ET LA PEINTURE DE PAYSAGE EN FRANCE 113

Quoiqu'il en soit, aucun des artistes etrangers venus en Angleterre ne
nous a laisse, soit dans des memoires, soit dans des conversations recueillies par
des contemporains, soit dans leur correspondance, trace de ce qu'ils avaient pu
surprendre de la culture des arts de la forme dans la capitalc du Royaume-Uni,
et il semble bien en effet qu'ils n'ont rien vu.

Plus tard, Joseph Vernet, qui connut Wilson en Italic, et son fils Carle, qui
habita 1'Angleterre, auraient pu nous renseigner sur les peintres anglais de leur
temps, mais ils sont restes mucts a cet egard comme leurs devanciers.

II faut aller jusqu'a Gericault, sous la Restauration, pour trouver un peintre
francais qui, dans un sejour a Londrcs, prcnne une notion exacte de la valeur
de cette nouvelle ecole, en parle autour de lui avec enthousiasme, excite les
curiosites et donne le desir a ses jeunes confreres de passer le detroit et de faire
connaissance avec les brillants representants de 1'art anglais.

On sait que ce peintre fut appele a Londres par 1'cxposition dans cette ville
en 1820 de son tableau ' Le Naufrage de la Meduse'. A cette date Hogarth, Rey-
nolds, Gainsborough, Wilson, Romney, John Copley, Raeburn, Hoppner, John
Opie, Morland, Old Crome etaient deja disparus. Leurs ccuvrcs disputces et
admirees par leurs compatriotes avaient ete rcproduitcs en dc splendidcs
gravures par d'autres artistes anglais du plus grand meritc ; la Water-Colour
Society prenait naissance et s'affirmait des sa fondation sous I'impulsion
d'hommes tels que Girtin et Turner comme une des formes les plus brillantes de
1'art anglais ; cnfin une foule de jeunes artistes sc faisaient deja connaltre, les uns
en suivant la voie des grands portraitistes, les autres en s'ccartant du grand
chemin pour prendre des sentiers qui devaient les conduire soit a la peinture dc
genre dont Wilkie etait le plus glorieux representant, soit au paysage vivant et
renouvele sur les traces de Turner et de Constable.

De tout ccla, de ce mouvement si interessant, si passionnant, rien n'avait
encore transpire sur le continent.

Gericault, en mettant le pied sur la terre anglaise, dut se comparer a quel-
que autre Ch. Colomb dccouvrant un nouveau monde plein de richesses, sujet
d'etonnement et de ravissement a la fois.

II ecrivait dans une lettre datee de Londres en 1821 a Horace Vernet: ' Je
disais il y a quelques jours a mon pere qu'il ne manquait qu'une chose a votre
talent, c'est d'etre trempe a 1'Iicole anglaise et je le repcte parce que je sais que
vous avez estime le peu que vous avez vu d'eux. L'exposition qui vient de
s'ouvrir m'a plus confirme encore qu'ici seulement on connait et on sent la
couleur et 1'effet.'

Cette forte impression du grand peintre francais, et qui subsista jusqu'a
sa mort, devait se communiquer par lui a ses jeunes confreres et a ses amis.

Deja, et parce que les relations entre la France et 1'Angleterre devenaient
plus faciles, quelques marchands de tableaux de Paris venus a Londres sur les

n4 BONINGTON, L'ECOLE ANGLAISE

renseignements donnes par Gericault et quelques amateurs avaient visite plusieurs
ateliers de peintres anglais.

Us avaient ete surpris et enthousiasmes, et Constable pouvait ecrire dans
une de ses lettres a Fisher du 17 Janvier 1824 : ' Le Francais qui cherchait a avoir
mon grand tableau de " La Charette de foin" 1'annee derniere est revenu. Je
crois qu'il voudrait avoir celui-la et " Le Pont ", s'il pouvait les obtenir au prix
qu'il m'en offrc ! Je lui ai montre votre lettre. . . . Son but est de les exposer
a Paris, peut-etre a mon avantage.'

On commencait done a s'occupcr de 1'Iicole anglaise a Paris en 1824. Ce
n'ctait cependant encore qu'une rumeur vague precedant le coup d'eclat.

D'autre part Bonington, lorsqu'il etait encore dans 1'atelier de Gros, en 1819,
exposait chez un marchand de tableaux de la rue de la Paix ses fines et lumi-
neuses aquarelles qui attiraient 1'attention des artistes et du public autant par
leur habilete que par la nouveaute du precede tombc" en oubli en France depuis
la fin du siecle precedent.

En 1821 il avait deja expose avec succes deux toiles au Salon et son nom a
consonnance bien anglaise commencait a etrc connu. II avait ete 1'eleve, durant
une courtc periodc de temps a son arrivee en France, du peintre Francia,
aquarellistc de grand talent, tres apprecie en Angleterrc et qui s'etait retire a
Calais. Bonington lui dut la meilleure part de son talent dans 1'aquarelle et
resta toujours fidcle a son enseignement ou se rctrouvaient les plus belles
qualitcs dc 1'ficole anglaise. Aussi en exposant a Paris ses petits paysages
a 1'eau, si admires de peintres tels que Gros et Delacroix, il avait deja prepare
le public francais s'occupant d'art a une nouvelle orientation du paysage et fait
entrevoir de nouvelles recherches en peinture.

On s'apercevait done en 1824 qu'il y avait des artistes anglais, mais c'etait
dans un cercle tres restreint d'amateurs, d'amis ou de condisciples de Gericault
et de marchands dc tableaux.

Le grand public les ignorait absolument.

Cet etat de 1'opinion en France et sur le continent vis-a-vis de 1'ficole
anglaise aurait pu se prolonger longtemps encore, si 1'arrivee de la petite
plalange des sept peintres anglais au Salon de 1824 n'avait pas suscite une
curiosite et un interet considerables dans tous les centres artistiques et amene
un revirement complet.

Voici leurs noms :

Bonington,

Constable,

Copley Fielding,

Thales Fielding,

Harding,

Sir Th. Lawrence,

Wyld.

ET LA PEINTURE DE PAYSAGE EN FRANCE 115

On connait assez la carriere de ces sept artistes pour qu'il soit inutile de rappeler
leurs merites respectifs et leurs oeuvres.

Tout en appreciant la part de chacun dans la revolution artistique qu'ils
allaient provoquer en France, nous laisserons de cote les cinq derniers dont
1'influence a etc moins considerable pour ne nous attacher qu'aux noms de
Constable et de Bonington, les veritables promoteurs du mouvement.

Rappelons seulement en passant que Wyld avait etc lui aussi un eleve de
Francia, qui se trouve ainsi mele indirectement par deux de ses eleves a la
renovation du paysage sur le continent.

L'impression produite par les tableaux des peintres anglais a 1'ouverture du
Salon fut enorme sur toute la jeunesse des ateliers. Une lutte s'etablit aussitot
entre elle et les representants du paysage academique sans vie et sans couleur.
Les pontifes de la critique et tous les partisans d'un passe immuable firent
entendre en vain leurs protestations; c'est en vain qu'ils adjurerent la jeune
generation de se detourner de ces dangereux seducteurs, de revenir aux prin-
cipes et aux formules de 1'Ecole considcres comme intangibles.

Les jeunes gens n'ecouterent que leur enthousiasme et saluerent dans cette
manifestation des peintres anglais 1'aurore de la liberte dans les arts succedant a
une longue periode d'immobilite et d'etouffement.

Quelle joie a la vue de ces paysages d'Angleterre peints dans la lumiere du
plein air, si hardis, aux vegetations vigoureuses, aux ciels mouvementcs, aux eaux
courantes, devant ces reproductions si sinceres de la nature prise sur le vif !

Cette nature oublice depuis les grands Hollandais et que Ton retrouvait plus
belle encore, avec un attrait de plus : la verite dans la couleur !

Et il fallut bien que cette admiration de la jeunesse s'imposat en depit de
toutes les reticences puisque le gouvernement d'alors et la Direction des Beaux-
Arts se virent pour ainsi dire contraints d'accorder a trois des artistes anglais les
plus hautes recompenses du Salon, grand honneur a cette epoque, car il n'etait
accorde qu'a bon escient et non pas prodigue comme nous le voyons aujourd'hui.

On sait quel coup de foudre fut pour Delacroix, deja averti par Gericault, la
vue des peintures de Constable, le trouble qu'il en ressentit, la modification qu'il
apporta sur-le-champ a son tableau des ' Massacres de Scio ' dont il refit en entier
le paysage pour lui infuser la vie et la lumiere. Constatation certaine et la plus
illustre de 1'influence subite et soudaine de 1'Ecole anglaise sur les jeunes artistes
francais eleves dans le respect des traditions surannees et de pauvres recettes
d'atelier.

Cette influence, si sensible sur les peintres de figure de 1'ecole romantique,
fut encore plus puissante et durable chez les paysagistes, bien qu'elle ait tarde
davantage a se montrer chez eux dans ses resultats.

Prenant a cette source une seve nouvelle et abandonnant le classicisme
mourant, la peinture de paysage devait se developper bientot en toute franchise

n6 BONINGTON, L'£COLE ANGLAISE

pour arriver a la floraison magnifique de I'E'cole de 1830 dans un mouvement
continu et qui dure encore.

Les modifications recentes apportees par 1'ecole impressionniste ne sont en
effet que des rameaux greffes sur un meme tronc et qui ont pris naissance par
1'etude plus approfondie d'autres peintres de 1'Ecole anglaise et en particulier de

Turner.

Quel etait exactement 1'etat de la peinture de paysage en France et dans les
divers pays d'Europe avant cette heureuse metamorphose ?

Les artistes de 1'epoque de la Restauration avaient adopte un metier et une
habilete de convention qui prenait peu a peu les apparences et les recherches de
1'art chinois, sans en avoir le cote precieux.

Leur dessin fait de lignes bien equilibrees, suivant les principes de 1'Ecole,
ils coloriaient sagement sans se laisser aller a aucun ecart de palette, a aucun
imprcvu troublant. Si, par hasard, ils avaient deforme les contours des figures ou
des objets en les recouvrant de couleur, ils les retablissaient soigneusement dans
leur forme primitive.

La peinture devait etre avant tout lisse, lechee, finie et donner a la vue
1'impression d'une plaque de porcelaine. On appliquait les precedes d'atelier de
1'Ecolc de David aux champs, aux montagnes, aux ciels et aux arbres. Nul
charme d'execution, nulle hardiesse. Un empatement dans la lumiere ou une
touche vigoureuse affirmant la conviction de 1'artiste comme une exclamation
dans un discours etaient consideres comme des brutalites indignes.

On ne trouvait dans les paysages de cette epoque ni surprise pour 1'ceil, ni
sensation venue directement de la nature. Froids et sees, d'une couleur factice
et pauvre, ils s'en eloignaient de plus en plus.

Autrement dit le paysage se faisait en chambre.

On modifiait les dessins pris sur nature ; on faisait rentrer les lignes dans
la tradition du Poussin et de Claude ; on changeait les couleurs de tout :
horizons, centre ou premiers plans ; on se livrait & un travail particulier sur le
feuillage qui donnait a tous les arbres une apparence uniforme et grele. On
avait des recettes pour les fabriques et d'autres pour les ciels. On changeait
tellement de choses que la nature etait devenue dangereuse a consulter et presque
ennemie.

Ce fut la grande revolution apportee par les peintres anglais : la magie de la
couleur independante du dessin, du style ; 1'audace de 1'artiste s'affranchissant
de toute contrainte pour traduire avec intensite les emotions qu'il ressent.

Qu'importe le moyen ? II faut arriver au but, exprimer coute que coute la
beaute fugitive, les eclats du soleil, les delicatesses de 1'atmosphere, la fuite des
nuages, la variete infinie des verts, les feuillages qui tremblent et tout cela avec
quelques petits tas de couleurs dont aucune ne se rapproche vraiment des tons
de la nature si fugace et lointaine, si legere !

ET LA PEINTURE DE PAYSAGE EN FRANCE 117

II faut amener le soleil sur sa toile, y faire passer le vent, donner la sensa-
tion de la profondeur et du mystere des bois.

Brosse ou couteau a palette, empatement ou fluidite, transparence ou opacite,
traits legers et menus ou indications larges, tout est bon, car il faut arriver a
1'effet et imposer son emotion.

Old Crome mettait de la couleur jusqu'a ce que son tableau ressemblat a ce
qu'il voyait : c'etait toute sa methode. Ainsi chacun devra trouver en lui-meme
une methode et des ressources qui lui permettront de parler la langue des cou-
leurs avec eloquence et entralnement.

La nature sera dorenavant le seul guide, guide imperieux qui entrainera
1'artiste a travers tous les obstacles.

Cette lutte du peintre avec sa palette, cet abandon de toute theorie pre-
concue en face de la nature toujours si pleine d'imprevus, cet appel a la hardiesse
croissante et a la temerite, ces efforts desesperes devaient 1'amener a une vision
nouvelle elargie, a des trouvailles de couleur et d'harmonies, a des ressources
inconnues, aux magnifiques resultats enfin du paysage moderne dont le role est
devenu de plus en plus important et preponderant dans la peinture.

Grace aux grands artistes, aux grands paysagistes chercheurs de sensations
nouvelles qui out su conserver le contact direct avec la nature, grace aux Con-
stable, aux Turner, aux Bonington, en meme temps que la peinture a produit des
chefs-d'oeuvre, notre horizon s'est agrandi.

Guides et avertis par eux, nous avons appris a connaitre ct a aimer les
beautes repandues a profusion dans les contrees oil nous vivons et qui sans eux
nous echapperaient encore.

Quand partout ailleurs on vivait sur des traditions epuisees, la patrie de
Shakespeare avait garde precieusement le sentiment de 1'individualite, 1'origina-
lite, le besoin de developper les ressources de son genie poetique. Elle cut la
gloire, quoique la derniere venue dans le groupement des Beaux-Arts en Europe,
de ramener les esprits vers la franche inspiration, la naivete oubliee, et en
ouvrant les yeux des artistes de les tirer de la somnolence, precurseur de
1'impuissance finale. Elle a done rendu un immense service a 1'art en con-
servant chez elle le feu sacre qui allait partout en s'eteignant.

Quelle reconnaissance ne devons-nous done pas a cette ecole renovatrice ?

Aujourd'hui le mouvement en avant et 1'originalite se trouvent partout.
II y en a peut-etre de trop. Nos jeunes artistes, petits-fils des Constable et des
Bonington, n'ont deja plus qu'un souvenir lointain des ancetres et ne savent plus
bien au juste ce qu'ils doivent a ces premiers pionniers de la route. II est bon de
le leur rappeler en portant de temps a autre des fleurs et des couronnes sur les
tombes de leurs aines et de leur dire que s'ils voient le jour, s'ils sentent battre
leur cceur en face des merveilles qui les entourent, c'est a ces grands paysa-
gistes qu'ils en sont redevables ; a ces robustes travailleurs qui ont vecu le plus

ii8 BONINGTON, L'ECOLE ANGLAISE

souvent dans la solitude et dans la contemplation du monde exterieur, insoucieux
de la vie bruyante et affairee des villes et de toutes les jouissances du luxe et de

la vanite.

Avec la satisfaction du devoir accompli ils nous ont fait present de la
meilleure part peut-etre de ce qui nous soutient et nous encourage dans le rude
chemin de la vie : ils nous ont fait entrer en communication avec la nature tout
entiere bienfaisante et consolatrice et nous ont ouvert les yeux.

Combien parmi nous ne saisissent des beautes du paysage que celles qui leur
ont etc revelees par les tableaux qu'ils ont vus et qui leur sont devenus familiers !
Jouissances tres pures et tres douces qu'ils doivent a la perseverance et au genie
de ces modestes peintres de plein air.

Est-ce a dire que cette conquete des paysagistes anglais sur la routine, cette
repudiation dc tout ce qui ne s'inspirait pas directement de la nature, fut une
chose tellement nouvelle qu'on puisse dire qu'ils ont invente le paysage de toutes
pieces ?

Evidemment non. II n'y a pas de generation spontance dans les arts.
Toute tentative nouvelle a toujours etc prccedee avant son developpement par
des essais obscurs, souvent imperceptibles, qui leur semblent distants, etrangers
meme, mais qui en ont etc cependant le veritable point de depart comme le germe
dans 1'ceuf.

Ici 1'originc n'est ni lointaine, ni introuvable. Nous savons que depuis Van
Dyck ct meme avant lui beaucoup d'artistes hollandais, flamands, italiens et fran-
cais avaient etc appeles en Angleterre et y avaient apporte les germes utiles.

Puis etait venue une periode d'incubation. L'education artistique des
peintres anglais fut favorisee surtout par 1'importance et la beaute des collections
de tableaux reunis depuis la Renaissance par les grands seigneurs anglais qui,
tres riches et tres cultives, voyageant beaucoup et partout, avaient recolte dans
toute 1'Europe d'admirables specimens de toutes les ecoles. La collection
de Charles Icr avait ete la plus complete et la plus remarquable qu'ily cut a son
cpoque, et Ton peut croire que beaucoup des collections des grands lords anglais
n'etaient ni moins brillantes ni moins variees. L'acces de ces collections etait
rendu facile a ceux qui se destinaient a la peinture. Ils y trouvaient un mer-
veilleux enseignement qui devait les maintenir longtemps dans une periode
d'etudes avant de se degager pour prendre leur essor et devenir originaux. Et
ce fut le merite des paysagistes anglais dans la seconde moitie du xviii0 siecle
d'avoir rattache leur art fait de verite a celui des grands Hollandais et des
Venitiens oublies dans 1'engouement general d'alors pour les fantaisies et les
compositions d'atelier.

Old Crome, Gainsborough, Wilson, d'autres encore ont contribue pour leur
part a maintenir la peinture dans la voie tracee par les Hollandais, mais Constable
eut dans cette heureuse direction un role preponderant et qui n'est plus conteste.

ET LA PEINTURE DE PAYSAGE EN FRANCE 119

On connalt moins celui de Bonington qui n'a pu etre etudie jusqu'a ces
dernieres annees faute de documents sur sa vie rapide comme un meteore, et sur
ses oeuvres presque toutes dispersees apres sa mort et dont les specimens soit a
Hertford-House, soit au Louvre ne peuvent donner qu'une idee tres incomplete.

En six annees de temps, cet artiste si merveilleusement doue est arrive a la
maltrise de son art dans des ceuvres d'une facture large, puissante et de plus en
plus personnelle.

Ces changements dans la vision et la maniere de peindre, ces evolutions
si frequentes dans la carriere de presque tous les grands artistes a la suite d'un
travail acharne et de longues meditations se sont produits chez Bonington entre
vingt et vingt-six ans.

A peine un jeune homme, il avait deja acquis non seulement le talent et
1'habilete facilement apprecies du public, mais cette belle simplification dans la
synthese qui n'appartient qu'au genie si souvent incompris a ses debuts.

A voir ses dernieres etudes faites en Italic, en France et en Angleterre, on
peut dire qu'il serait devenu et meme qu'il etait deja un des plus grands pay-
sagistes qui se soient jamais manifestes.

Chose remarquable! Si courte qu'ait etc sa vie, Bonington a pu cepen-
dant attacher son nom a deux genres difterents et s'y rcndre egalement celebre.

II a etc a la fois un grand paysagiste de 1'Iicole anglaise et dans ses com-
positions historiques un des plus interessants representants de 1'ecole romantique
en France. Cette derniere, on le sait, en lutte centre un classicisme ctroit, s'etait
assigne pour seul but la recherche du pittoresque en dehors de toute prevention
a la philosophic et a la morale.

Grace a sa facilite merveilleuse, a ces dons du grand artiste qui sait
toujours approprier son talent au genre de travail qu'il poursuit, il a pu montrer
alternativement dans ces deux genres des qualites aussi brillantes et qui sem-
blent venir de sources opposees.

II fut en effet dans ses compositions historiques, qui n'etaient qu'un pretexte
au deploiement de tons precieux dans de charmantes fantaisies, un metteur en
scene de la plus feconde imagination, un improvisateur qui n'a connu d'autre loi
que de suivre son instinct de coloriste.

II s'y montre preoccupe surtout de fines harmonies, de taches de lumiere,
de reflets fugitifs, de notes de couleurs eclatantes ou d'une exquise douceur, de
tout ce qui constitue le plus grand charme des yeux.

II n'est pas domine par son sujet ; il veut rester le maltre de changer a son
gre les personnages, les costumes et tous les accessoires du tableau.

II se soucie fort peu de la verite historique et des vraisemblances, mais en
peintre de race son souci va surtout a 1'effet d'ensemble, a la transparence de
1'ombre et du clair-obscur, avec le desir de mettre en jeu toutes les ressources
de sa riche palette.

120 BONINGTON, L'6COLE ANGLAISE

S'il reproduit preferablement les scenes de la Renaissance et du moyen age,
c'est qu'il adopte et subit les idees en faveur dans le milieu artistique ou
il a vecu. S'il conceit ses personnages dans une meme forme aristocratique
et elegante, c'est qu'il les voit a travers sa propre nature tres fine et tres
distinguee.

II accepte de parti-pris les types conventionnels de 1'histoire populaire : un
Francois Ier, un Henri III, un Henri IV, un Mazarin, et les presente de telle
sorte, avec si peu de prevention et de pedantisme, mais avec tant de charme de
couleur, qu'il ne vient a 1'idee de personne de lui demander compte des erreurs
d'anachronisme qu'il a pu commettre de ci, de la.

II a d'ailleurs pour se disculper de prendrc tant de liberte avec 1'histoire,
1'exemple dcs grands maitres dans toutes les ecoles qui ne se sont pas fait faute
de transformer les costumes, les types et les particularitcs d'une epoque au gre
de leur caprice et de leurs prefdrences.

Comme eux, Bonington a pu tout oser sans crainte du ridicule a la condi-
tion de recouvrir 1'insuffisance du canevas par la beaute et la richesse de
1'enveloppe.

Sa facilite a modifier ses personnages, son etonnante liberte emerveillaient
Delacroix lui-meme, le peintre francais qui a deploye la plus riche imagination
dans les compositions du meme genre.

Aussi par ses ceuvres romantiques peu importantes cependant par leurs
dimensions, Bonington exerca-t-il une influence veritable sur la jeune genera-
tion de son epoque.

Deveria, Isabey, Celestin Nanteuil, Lami, Gigoux, lesjohannot, Le Poitevin,
tous artistes de la periode romantique et bien d'autres encore, soit dans la pein-
ture, soit dans la lithographic se sont inspires de sa grace legere, de sa liberte,
de ses recherches dans la puissance et le charme de la couleur.

Son nom restera attache a cette periode si caracteristique ou dans les arts
1'imagination et la personnalite ont pris le pas sur la raison froide et la tradition
surannee.

Mais c'est dans la peinture de paysage que Bonington s'est cree un titre
plus durable encore a notre admiration.

Autant dans ses compositions historiques, il montre peu de souci pour les
documents precis, le dessin serre, le milieu ou se meuvent ses personnages,
autant il s'affranchit de toutes regies autres que celles imposees par son instinct
de coloriste, autant dans ses paysages il est respectueux des formes et des tons
de la nature, autant il la suit de pres, s'appliquant a en etre le miroir fidele
comme un etudiant natf et passionne.

II laisse alors de c6te les jeux de sa charmante imagination. II dtudie son
modele avec une conscience, une justesse, une sobriete de tons, un amour de la
verite qui n'a d'equivalent que dans les plus grands maitres contemporains.

ET LA PEINTURE DE PAYSAGE EN FRANCE 121

II etait dans ses compositions le plus independant des artistes, il est devenu
dans ses paysages le plus scrupuleux des copistes.

Pas une touche n'y resulte de la hate de 1'inspiration, tout y est etudie sur
place et livre" a un contrdle rigoureux. Dans cette servitude volontaire, il
acquiert des qualites de limpidite et de transparence dans Fatmosphere, de
valeurs rigoureuses, de puissance qui, jointes a son charme personnel, en ont fait
un des plus interessants pa}^sagistes de son epoque.

Si Ton compare ses dernieres oeuvres a celles de ses confreres en France
dans le meme temps on est etonne de voircombien il etait en avance sur eux, et
combien d'acquisitions toutes modernes etaient deja ou contenues ou en germe
dans ses eludes.

II est alors facile de se representer quels durent etre la fascination et
1'entrainement exerces par ce jeune homme sur ses camarades francais.

Paul Huet, un des premiers qui parmi les paysagistes s'affranchit de la
routine etait son ami et lui dut une part de ses qualites : dc la clarte dans ses
ciels et une palette plus souple et plus brillante.

Son influence sur Isabey n'est pas moins visible. Prenez la petite toile de
Bonington, ' Le depart pour la peche, ' appartenant au peintre Wauters, si pleine
de mouvement sous un ciel orageux, regardez ces barques dont les voiles
claquent au vent, ce grouillement des pecheurs, cette mcr clapotantc, cet embrun
qui emplit 1'atmosphere. Peut-on croire qu'Isabey n'a pas eu de telles etudes
sous les yeux et ne s'en est pas inspire en restant cependant moins fin et moins
nerveux que le peintre anglais ?

Et Ziem lui-meme, le peintre de la Venise orientalisee et fastueuse que Ton
connait, n'a-t-il pas fait son profit des fines aquarelles et des toiles lumineuses de
Bonington ? Ne retrouve-t-on pas dans la plupart de ses tableaux des precedes
de facture et une technique qui le rapprochent del'£cole anglaise; la fluidite, la
transparence, les tons contrasted et brillants, 1'extreme purete de la couleur?

Combien d'autres peintres francais ont encore etc entraines, inconsciemment
ou non, par la vue des toiles fralches et aeriennes de Bonington dans la voie de
la peinture claire et colorde par laquelle notre epoque fait un tel contraste avec sa
devanciere directe !

Jules Dupre resta toute sa vie un admirateur fervent de l'£cole anglaise et si
Th. Rousseau se rattache plus directement aux Hollandais il y fut conduit sous
1'impulsion des paysagistes anglais.

Un seul des artistes francais de cette brillante periode de 1830 semble avoir
echappe" a leur influence : c'est Corot, reste dans la premiere partie de sa vie
un classique forme" par Cl. Lorrain et 1'Italie, et qui, plus tard, reprenant toute sa
liberte, ne s'est plus laisse guider que par son gdnie poetique.

Cependant, enanalysant ses rares qualites, on voit que c'est encore a l'£cole
anglaise qu'il dut une partie de son art si original et ce qui en constitue peut-fitre

122 BONINGTON, L'^COLE ANGLAISE

la marque essentielle : 1'observation des valeurs, leur justesse absolue et leur
indication toujours puissante dans ses tableaux.

Qu'on me permette a ce sujet un souvenir relatif a ce grand artiste que
j'avais appris des mon enfance a aimer et a respecter, et qui vint a differents
intervalles a la campagne chez mon pere et chez un de mes oncles.

On etait en etc et il peignait dehors. La pluie survint tout a coup, et il dut
quitter son travail pour se refugier dans un pavilion a proximite de son e~tude.
Mon pere, grand amateur de peinture, avait rassembl6 la de nombreuses toiles
de maltres, la plupart appartenant a 1'ecole des paysagistes de 1830 : des
Rousseau, des Diaz, des Troyon, des Daubigny, des Decamps, des Ziem, des
Dutilleux et aussi des Corot dont il avait de fort beaux specimens.

Corot, bon enfant, toujours plein de gaiete et d'entrain, prenait sans con-
trariete ce repos force qui 1'obligeait a remettre la poursuite de son etude au
lendemain : ' Quelle chance ! disait-il, nous aliens pouvoir fumer une bonne pipe
en regardant de la belle peinture.'

II avait a cette epoque 73 ans environ. Dans sa jeunesse il donnait, disaient
ses amis, 1'impression d'un Roger Bontemps. vigoureux et exuberant. Ses
traits sans caractere et rien moins qu'aristocratiques ne denoncaient guere
1'artiste incomparable qu'il etait deja, et faisaient dire qu'il ressemblait plutOt a
un gros vigneron.

Sur la fin de sa vie, a Fepoque dont jeparle et quand je 1'ai connu, sa figure
etait devenue tres belle. Les traits s'etaient affines et avaient pris de la majeste.
II avait quelque chose d'un vieux lion avec sa chevelure blanche abondante et
soyeuse encadrant sa face mobile dont les yeux etaient restes magnifiques,
d'une vivacite et d'un eclat extraordinaires.

Les vers de Victor Hugo :

' Car on voit de la fiamme aux yeux des jeunes gens,
Mais dans ceux du vieillard, on voit de la lumiere,'

pouvaient admirablement s'appliquer a Corot age. Son regard avait en effet
cette belle lumiere, mais il avait en meme temps conserve toute sa fiamme.

Le teint colore, la bouche souriante avec une expression de bonte qui faisait
naitre instantanement la sympathie et les plus ge"nereux sentiments autour de lui,
on sentait que les miseres humaines et les soucis de 1'existence n'avaient jamais
trouble ce beau vieillard dont 1'ame etait restee juvenile, sereine et possedee
uniquement par la foi dans son ceuvre.

II 6tait assis, tirait quelques bouffees et en causant gaiement passait en revue
les tableaux de la collection que nous sortions de casiers pour les placer tour a
tour devant lui sur un chevalet. II les regardait presque tous avec inte~ret,
s'exclamait, faisant un eloge chaleureux ou parfois une critique suivant ses
impressions, avec sa naivete' et sa parfaite bonne foi habituelle.

Quelquefois c'etait un de ses tableaux qui venait a son tour sur le chevalet.

ET LA PEINTURE DE PAYSAGE EN FRANCE 123

' Oh ! celui-la nous lui donnerons un numero i, disait-il, c'est fameux ! le vieux
papa s'est distingue ce jour-la.' Le vieux papa, c'etait lui. II eprouvait un vrai
bonheur a reconnaitre un de ses enfants et 1'admirait avec la meme bonhomie
que ceux des autres sans chercher a cacher ses preferences pour lui.'

La pluie continuait et Corot ne se lassait pas dans cette revue ou il apportait
1'animation, 1'excitation et la verve qui ne le quittaient jamais et qui devenait
d'autant plus vives qu'il parlait de son art.

Ce fut a ce moment qu'une petite aquarelle de Bonington se presenta.

' Oh ! la jolie aquarelle, dit-il, quelle belle couleur ! voila des valeurs bigre-
ment justes ! Vous dites qu'elle est de Bonington, oui, un jeune homme qui
etait deja un maitre, un grand paysagiste quand je n'avais pas encore tenu un
pinceau. Et pourtant j'etais son aine, je crois ! Je vis pour la premiere fois une
de ses aquarelles quand j'avais vingt ans environ et je me souviens de mon
emotion en face de cette petite peinture claire et aerienne.

' J'etais a cette epoque dans le commerce ; mon pere m'avait place chez un
marchand de drap de la rue Richelieu et je ne me sentais aucune disposition
pour le metier.

'J'avais plusieurs fois mecontente mon patron, M. Ratier, homme severe
mais juste, car je 1'avoue, je faisais un mauvais vendeur. Aussi m'envoyait-il
souvent en course dans la ville plutot que de me laisser dans son magasin.

' Je ne jurerais pas que j'etais plus zele en portant mes ballots d'echantillons
a travers les rues qu'en restant derriere mon comptoir. Je m'arretais souvent
en route a voir passer les nuages, les gens, 1'eau courante sous les ponts,
m'amusant de tous les incidents de la lumiere et du soleil, flanant avec bonheur.

' C'est en passant rue de la Paix, dans une de ces courses qui me rendaient a
la liberte, que je vis pour la premiere fois chez un marchand de tableaux nomme
Schroth une aquarelle de Bonington.

' On n'etait pas gate alors par les paysagistes ; il me sembla en apercevant
celle-ci, une vue des bords de la Seine, que 1'artiste avait reproduit pour la
premiere fois des choses qui m'emotionnaient toujours quand je les trouvais
dans la nature et qui n'etaient rendues nulle part.

' J'en fus emerveille. Cette petite peinture fut pour moi une revelation. Je
decouvris la since"rite devant la nature et de ce jour je m'affermis dans la resolu-
tion de devenir peintre. Que de fois depuis j'ai pense a cette jolie aquarelle si
lumineuse ! Que de crochets j'ai faits dans mes courses pour passer encore rue
de la Paix et la revoir jusqu'au jour oil elle fut retiree de la vitrine du marchand !
Le ton en dtait si beau et si vrai ! et les valeurs si justes, fermement indiquees
comme celles-ci ! Ce n'est que plus tard et quand j'ai fait moi-meme de la
peinture que j'en ai compris tout le merite.

' Depuis je n'ai plus revu que de loin en loin et tres rarement des Bonington.

'J'etais en Italic quand il mourut, deja celebre et moi encore un debutant.'

R 2

i24 BONINGTON, L'^COLE ANGLAISE

Ce souvenir emu de Corot sur Bonington m'avait frappe a cette epoque ou
je n'avais que des notions bien vagues sur le peintre anglais. II me poussa plus
tard a faire des recherches sur sa vie et son oeuvre, en pensant que celui qui
avait eu une influence si heureuse sur la carriere du grand paysagiste francais
devait avoir etc lui-meme un artiste de la plus grande valeur.

Tous les peintres qui ont vecu et produit entre 1820 et 1830 et plus tard
encore ont admire Bonington, a commencer par Delacroix qui disait dans sa lettre
connue a Thore : ' Nous 1'aimions tous.'

Gros, Deveria, Eug. Lami, Paul Huet, Isabey, Paul Dalaroche, Gigoux,
Francais, Horace Vernet, peintres de figures ou paysagistes, ont parle de lui
comme Turner parlait de Girtin disant : ' S'il cut vecu, il nous aurait tous
depasse"s.'

C'est que presque tous ces artistes 1'avaient connu ou avaient connu ses
tableaux et ses etudes, soit chez des marchands, soit chez des amateurs, et y
avaient trouve un enseignement.

Plus tard, et lorsqu'il n'y cut plus de controle possible, lorsque personne ne
fut plus la pour defendre sa memoire, on 1'imita dans un but de speculation, en
prenant des sujets semblables aux siens, la plupart des bords de plages traites
lourdement et qui ne le rappelaient que de tres loin.

On fabriqua aussi a son imitation des vues de Venise si pauvres et si mal
venues que pour ceux qui connaissent Bonington ily a une veritable souffrance a
voir son nom glorieux mis au bas de tant de grossiers pastiches. Meprisables
tromperies qui font aussi peu d'honneur a ceux qui les signent qu'aux amateurs
totalement depourvus de gout et de connaissances artistiques qui les achetent.

Chose triste a constater, le pere de Bonington fut un de ceux qui tira parti
avec le plus d'aprete de la celebrite de son fils. Apres sa mort, il copia
plusieurs des tableaux restes dans son atelier et vendit ces copies certainement
mauvaises ou tres faibles, car il n'avait aucun talent de paysagiste, dans deux
ventes faites a Londres a quelques annees de la. On pense bien que depuis ces
copies sont devenues des originaux.

En dehors de ces imitations deplorables et centre lesquelles le public ne
pouvait se mettre en garde faute d'elements de comparaison, il y cut beaucoup
de tableaux de cette epoque executes par des peintres de second ordre d'apres
des sujets analogues a ceux deja traites par Bonington, et qu'on lui a attribues
dans 1'espoir d'en tirer un prix plus eleve. Des Deve"ria, des Johannot, des
Celestin Nanteuil, des Le Poitevin, des Poterlet ont ete ainsi de"baptises pour etre
classes comme des Bonington. On a egalement mis sous son nom des toiles
qui devraient etre rendues a Harding, a Wyld, a Scarlett, a Davis, a T. Fielding,
a Boys ou a Cattermole.

II n'y a plus eu que ses ceuvres tres dispersees pour defendre le peintre de
Nottingham centre racharnement de ses imitateurs, et c'est miracle que sa

ET LA PEINTURE DE PAYSAGE EN FRANCE 125

reputation, de si bon aloi pourtant, n'ait pas sombre sous le degout et le mepris
provoques par tant de fausses attributions ou de mauvaises peintures signees
de ses initiales ou de son nom.

Heureusement non ! Voila bientot cent ans que de faux Bonington circulent
en grand nombre dans le monde, et malgre cette trahison on n'est pas parvenu a
enlever 1'aureole qui nimbe si glorieusement le front du jeune peintre anglais.

Si Ton veut reunir par la pensee plusieurs de ses toiles maitresses, quelques-
unes dans les musees, beaucoup d'autres dans des collections particulieres, on
voit combien son genie 1'a porte dans toutes les directions et a quelle hauteur4
il s'est souvent eleve et surtout dans le paysage.

La ' Vue de Versailles ' du Louvre, celle des ' Cotes de France ' de Hertford-
House, ' Le marche aux poissons de Boulogne ' appartenant a Sir Ed. Tenant, la
' Vue des lagunes ' a M. Warneck, la ' Vue de Venise ', aquarelle a M. Beur-
deley, la 'Vue de Notre-Dame de Paris' au graveur Bracquemond, 1' ' Entree d'un
village de Normandie'a M. Thiebault-Sisson, la 'Plage normande' a Mme de
Catheu, la 'Vue de Mantes' a M. de Lajudie, un ' Bord de plage' a
M. Bureau, la ' Vue de Venise ' de M. Coats, le ' Wagon ', de M. Paterson, les
brillantes et fines aquarelles ayant appartenu a Lord Holland, 'The Undercliff ' ,
'The death of Francois Icl', celles de M. Michel Levy, la marine de M. Wauters,
sont autant de chefs-d'oeuvre aux qualites diverses et variees ou on ne sait
qu'admirer davantage de la lumiere, de la couleur, de la purete des tons, de la
franchise et de la largeur dans 1'execution.

Et Ton reste etonne en pensant que c'est la 1'ceuvre d'un jeune homme qui
a precede de plus de trente ans tous les autres artistes de son temps sur le
continent.

Encore peut-on dire qu'il n'a pas eu le temps de donner toute sa mesure, et
qu'il etait superieur a son ceuvre.

Pour resumer les titres de Bonington a notre gratitude et a notre admiration,
il faut reconnaitre qu'il a le premier exprime avec bonheur ce qui paraissait
impossible en peinture : le charme des grands espaces oil tout est lumiere et ou
1'ceil n'est arrete par aucun obstacle jusqu'a 1'horizon.

Dans le choix de ses motifs, il a etc un novateur apportant un element de
beaute cache jusqu'a lui : les radieux spectacles du bord de la men II a su
peindre de 1'air et fixer sur une toile 1'emotion qui nous penetre en face des
matinees si pures et des couchants si majestueux des plages du 'pleasant land of
France '.

Apres lui, combien d'artistes sont venus planter leur chevalet devant cette
source inepuisable de beaute etont reproduitles plages et les cotes de leurs pays
se perdant dans 1'infini de la mer et du ciel !

II a conserve pour les generations futures les aspects si pittoresques des
vieilles villes normandes : Rcuen, Q.en, Evreux, Lisieux, Lillebonne, avec leurs

i26 :.. BONINGTON ET L'ECOLE ANGLAISE

monuments gothiques, leurs rues merveilleuses et leur population animee et
grouillante aux costumes varies si caracteristiques. Reproductions d'autant plus
precieuses aujourd'hui que ces monuments, ces rues, ces costumes sont en
grande partie detruits par la main de l'homme ou tombes en poussiere par 1'effet
du temps.

II a en outre rappele 1'attention du monde des artistes sur Venise oubliee
et dedaignee, autre element, autre source de beaute vers laquelle des genera-
tions sont venues depuis lors s'abreuver sans repit et presque, pourrait-on dire,
jusqu'a 1'abus.

Enfin il a contribue a ramener 1'attention des peintres de sa generation sur
le charme du colons en peinture, et on ne peut lui etre trop reconnaissant d'avoir
repris les traditions de la peinture des Flamands et de l'£cole d'Anvers aux
tons riches, puissants, genereux et souples.

Vivant en France et y ayant fait completement son education artistique il
n'a cependant rien perdu de ses qualites natives, joignant par un don bien rare, et
qui ne s'est guere trouve que chez lui, les heureuses qualites de 1'Ecole anglaise
a celles de l'£cole francaise et formant entre elles un veritable trait d'union.

Arrive a 1'age oil les autres hommes commencent seulement a se developper
et a donner un libre essor a leur talent ou a leur genie, Bonington fut moissonne
premature'ment, comme Girtin, comme Paul Potter, laissant d'immenses regrets
a ceux qui 1'avaient connu ct ce qui vaut mieux pour la posterite une grande
quantite de tableaux dont beaucoup sont des chefs-d'oeuvre.

Les anciens avaient coutume de dire que celui qui mourait jeune etait aime
des dieux. Us auraient alors juge que Bonington fut favorise par eux plus qu'aucun
autre, car nul artiste de sa valeur ne fut enleve plus jeune au monde apres avoir
donne de plus belles csperances et apres une carriere si utile et si bien remplie.

PLATE LVIII.

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SOME OF THE DOUBTFUL DRAWINGS IN THE
TURNER BEQUEST AT THE NATIONAL GALLERY

BY ALEXANDER J. FINBERG.

WHEN cataloguing and arranging the Turner drawings in the National
Gallery I was much bothered by the presence in the collection of a number of
works which I could not reconcile with my knowledge of Turner's various
styles. The drawings had certainly been in the possession of Turner at his
death, but it does not follow that all the works of art in an artist's possession are
his own handiwork. Most artists have pictures and drawings given to them by
their fellow artists, and they sometimes buy other artists' works. Under the
terms of the settlement effected by the litigants in the Chancery suit about
Turner's will, it was agreed that all his property should go to his relatives, but
that the Pictures, Drawings, and Sketches ' by the Testator's Hand ' which
were in his possession at the time of his death, were given ' for the Benefit of
the Public ' to be ' retained by the Trustees for the time being of the National
Gallery'. In order to prevent the inclusion in the Bequest to the National
Gallery of any works not from Turner's hand, it was ordered that two Assessors
or Referees should be appointed to make the selection, and in case of disagree-
ment they were to appoint an Umpire. The Assessors chosen were Sir Charles
Locke Eastlake, President of the Royal Academy, and Mr. John Prescott
Knight, Secretary of the same Institution. They were expressly ordered
to select only ' such Pictures, Drawings, and Sketches, as shall in their opinion
have been painted, drawn, or sketched by the Testator's Hand without any
Distinction of finished or unfinished, such Selection to be verified by Affidavit'.
The Turner drawings in the National Gallery were therefore selected in
accordance with these directions. They were all in Turner's possession at the
time of his death, and they were all accepted as Turner's work by Sir Charles
Eastlake and Mr. J. P. Knight. The only question that can be raised, then, is
as to whether there is any possibility of error in the selection made by these two
gentlemen.

When we consider that the number of drawings in question exceeds thirty
thousand, that this selection was made hurriedly in a very short space of time,
and that the opportunities for the study of the chronological development of
Turner's style were at that time non-existent, we must admit that the possibilities
of a certain margin of error on the part of the two experts were considerable.
Fortunately the drawings and sketches which had been in Turner's possession at
the time of his death, and had been rejected by the two Assessors as not by the
artist's hand, have been kept together, and are still in the possession of

128 SOME OF THE DOUBTFUL DRAWINGS IN THE

Mr. C. Mallord W. Turner, who very kindly gave me the fullest opportunities
for examining them. Among them I found many drawings by Turner which
had evidently been overlooked by the Assessors, and also, what was more
important, several drawings which corresponded closely in style to some of
those in the National collection which had excited my doubts. My own and
Mr. Mallord Turner's researches showed that some of these drawings had been
purchased by Turner at the sale of Michael 'Angelo' Rooker's effects in 1801.
One of these had formed part of a lot (No. 22, in the third day's sale) described
in Squibb's Catalogue as ' Eight West Country Barges, by Samuel Scott '. The
other seven sketches by Scott of West Country Barges had been included by
the Assessors among Turner's own works (see Official Inventory, ccclxix, A-G).
In Mr. Mallord Turner's collection were also a number of drawings by Rooker
which had been bought at Rooker's sale. The marks on the back enabled us
to trace the entries in the sale catalogue. These included lots no and 119, in the
second day's sale (' Five (Sketches and Outlines) — Ogmore Castle, &c.'and ' Five
(Sketches and Outlines)— Usk Castle and Newport on Usk'); also lot 8 (third
day's sale) — '5 Sketches of Abergavenny Castle, &c.' Also two drawings of
Margam Chapter House which had formed part of lot 105 (second day's sale), which
was catalogued as ' Six (Sketches and Outlines)— Chapter House at Margam and
Ponty Praed '. All these drawings had rightly been thrown out by the Assessors
as not by 'the Testator's hand'.

But they had included in their selection one of Rooker's drawings of the
Chapter House at Margam which had evidently formed part of this latter lot.
This was clearly proved by the subject of the drawing, the style of the workman-
ship, and by the pencil note on the back— '2 Day Lot 105'. This drawing
(Plate LVIII) had been selected by Mr. Ruskin for exhibition at the National
Gallery as a typical work of Turner's youth. It was exhibited there in the
third water-colour room for a number of years under the title, 'A Ruined Abbey '
(No. 808).

The inclusion, therefore, of seven drawings by Samuel Scott and one by
Michael Angelo Rooker in the selection made by the Assessors proved that
their judgement as to what drawings were or were not by Turner's hand was
not impeccable. When it was clearly established that the Assessors' judgement
had been at fault in certain instances, it seemed at least possible that careful
investigation would reveal other mistakes. Those suspicions were amply
justified.

I found a group of fifty-three small pieces of cardboard, each about
3| x 4l in., drawn upon with pencil, pen and ink, and wash. In some instances the
drawings were continued over two and three pieces of cardboard, which were
joined together at the back. In many cases the titles of the subjects were
written in ink on the backs. The drawings seem to have been made on a tour

PLATE L1X.

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An Estuary, with distant Mountains.

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" I.lyn Ogwron and a View of Tryfan, a famous large Rock in \ant y .Hinging.

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Teignmouth.

PEN AND INK SKETCHES ON CARDS.
BY P. J. DE LOUTHERBOURG, R.A.

Turner Bequest.

\\ash Drawing in Blur and Indian Ink.
Turner Heqiiest.

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QUAY AT SOUTHAMPTON.
BY EDWARD DAYES.

Water Colour.

Xtltionul Gallery of Ireland,

(6)

PLATE LXII.

Hastings, Sussex.

TWO WASH DRAWINGS IN BLUE AND INDIAN INK.
BY EDWARD DAYES.

Turner Request.

Hastings, Sussex.

(6)

' Southampton, from Mr. Dance's."

TWO WASH DRAWINGS IN BLUE AND INDIAN INK.
BY EDWARD DATES.

Turner Bequest.

Ruins on Hill, among Trees.

(6)

PLATE LXIV.

Lindisfarne Church, Durham.

PENCIL DRAWING.
BY THOMAS GIRTIN.
Turner Bequest.

PLATE LXV.

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GLASGOW.

BY THOMAS GIRTIN.

Turner Bequest.

PLATE LXVI.

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KIDWELLY CHURCH.
BY THOMAS GIRTIN.

Turner Meanest.

PLATE LXVIII.

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WINDSOR CASTLE.
BY THOMAS GIRTIN,

Turner Bequest.

PLATE LXIX.

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Pencil Sketch.

(6)

NETLEY ABBEY.

BY THOMAS GIRTIN.

Turner Bequest.

PLATE LXX.

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Pencil Sketch.

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(6)

LAKE WITH MOUNTAINS.
BY THOMAS GIRTIN.

Turner Bequest.

TURNER BEQUEST AT THE NATIONAL GALLERY 129

starting from Bristol, going through Wales at Briton Ferry, Neath, Swansea,
and Llangollen, and returning through Coalbrookdale. Several peculiarities
in the spelling attracted my attention. Abbey was spelt 'Abbay', works
' worcks ', kiln ' killn ', staircase ' staircaiss '. These were not the usual kind of
mistakes one finds in Turner's spelling. The handwriting, spelling, and the
style of draughtsmanship I found to be similar to that of De Loutherbourg, and
in Dr. Monro's sale, which Turner is known to have attended and where
he made a number of purchases, I found that lot no (second day's sale, June 27,
1833) had consisted of 'sketches from nature in Wales; on cards, in pen and
ink ' by De Loutherbourg. It is extremely probable, therefore, that this group of
drawings on cardboard was bought by Turner at Dr. Monro's sale as a memento
of his old friend De Loutherbourg, and, as the accompanying reproductions will
show (Plates LIX and LX), they bear little if any resemblance to Turner's own
work.1 The drawing which runs over three cards — Teignmouth (Plate LX (c))—
is evidently the work of the same hand as the others, so I included it in the same
group.

I next turned my attention to a group of seven wash drawings in blue and
Indian ink which seemed to resemble the style of Edward Dayes more than that
of Turner. These are all mounted on the peculiar kind of board Dayes used,
and the names of the places represented, which were written in ink, resembled
the specimens of Dayes's writing which were known to me. Two of these draw-
ings were of Hastings, two of Southampton, three of the Isle of Wight — one of
Freshwater Cave, one of Freshwater Bay, and one of the Undercliff. (Four of
these drawings have been reproduced in a volume issued by the Pall Mall Press,
London, 1905, entitled Hidden Treasures at the National Gallery: A Selection
of Studies and Drawings by J, M. W. Turner, R.A. — two Isle of Wight subjects,
pp. 40 and 41 ; one of the views of Hastings, p. 33, incorrectly described as
' Tantallon Castle '; and the view of the ' Quay at Southampton ', p. 29, described
as ' Dover ' (?).) At Dr. Monro's sale, on July 2, 1833, lot 49 consisted of seven
drawings by Dayes, of ' Hastings, Southampton, Fresh water, &c.'2 There can, I
think, be hardly any reasonable doubt that these were the drawings in question.

If any doubts were possible they would be removed by the existence of
a version in colour of one of these drawings in the National Gallery of Ireland.
This drawing of ' Southampton Quay ' (No. 2074) is signed ' E. Dayes ' ; it has
always been accepted as the work of Dayes, and in my opinion it is unques-
tionably the work of this artist. The two drawings— the version in colour in the
Dublin National Gallery, and the monochrome version in the Turner Bequest —
are clearly the work of the same hand, and all the seven monochrome drawings

1 The name of the purchaser given in Christie's records is ' Geddes '. Turner may have
employed this person to bid for him, or may have bought the lot afterwards from him.

2 Christie's sale catalogue gives the purchaser of this lot as ' Shirlock '.

i3o SOME OF THE DOUBTFUL DRAWINGS IN THE

referred to above are just as certainly the work of the artist who drew the
' Quay at Southampton '. As Edward Dayes's handiwork is of great importance
in the study of Turner's early work I have included among the illustrations of
this paper reproductions of these two drawings (Plate LXI (a) and (b)), together
with several of the other drawings included in this group— two of ' Hastings,
Sussex '(Plate LXI I), ' Southampton, from Mr. Dance's', and some unidentified
ruins on a hill among trees (Plate LXIII (a) and (A)). These drawings are
eminently typical of Dayes's style. The small, nervous, and rather fussy pencil
outlines on the cliff in the middle distance of Plate LXI I (a) are especially
characteristic of Dayes's manner, as are also the loose scribbling touches in
the foreground. Dayes's blue-and-black drawings are so frequently wrongly
attributed either to Turner or Girtin that an intimate knowledge of his style is
essential to all collectors of the works of these artists.

These remarks will, I hope, have made it clear that no great reliance can
be placed upon the judgement of the two Assessors who are responsible for
the selection of the drawings included in the Turner Bequest. They were
unable to distinguish De Loutherbourg's, Samuel Scott's, M. A. Rooker's, or
Dayes's work from that of Turner. What grounds are there, therefore, for
supposing that they could distinguish the work of Girtin, which at one period
resembled Turner's much more closely than that of any of these artists ? Had any
drawings by Girtin been included in the Turner Bequest, and if so, how many?

Two drawings amongst my collection of 'doubtfuls' first attracted my
attention. The first was a pencil drawing, evidently made on the spot, of the
ruins of the church at Lindisfarne (Plate LXI V). Turner's first visit to Lindisfarne
was made in 1797, and his six careful drawings of different parts of the church
were all together in the North of England Sketch-book (pp. 50-5). The drawing
in question was on a loose piece of paper, different in quality from the paper in
Turner's sketch-book, and the style was so totally different from that of Turner's
drawings that I could not believe it had been made by him at the same time
as the others. If it was by Turner it was clearly a much earlier work than the
others, and all the evidence pointed to the conclusion that Turner had never
visited Holy Island before 1797. The view of the ruins was similar, though
not exactly the same, to that in Girtin's large water-colour of this subject in
the Print Room of the British Museum, and the style of the drawing resembles
that of Girtin much more than that of Turner.

The second drawing to which my attention was directed was a pencil
sketch of Glasgow, with the cathedral in the distance (Plate LXV (b)}. If the
drawing were by Turner, it could hardly have been later in date than 1794 or
1795, and the evidence of the sketch-books showed that Turner did not go to
Glasgow till 1801. In 1797 he did not go farther north than Melrose, when
he turned off in a south-westerly direction for Carlisle and the Cumberland
lakes. Connected with this pencil drawing was a small water-colour of the

Water Colour, cm Card.
Turner Bequest.

Water C'olour.
In the ColUvtion of Tlioiini* Girtin, Esq.

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Pencil Sketch.
Turner Bequest.

(e)

THREE DRAWINGS OF KIRKSTALL ABBEY, YORKSHIRE.
BY THOMAS GIRTIN.

PLATE LXXII.

IVn am] ink and \yasli.
My James Moore, F.S.A.

In tlic Culled, nil of riioillil.1 Gil-tin. /•;«

(a)

Water Colour. (8f X 61 ins.)
By Thomas Girtin.

In the Collection of Professor F. P. Barnard.

KIRKSTALI. ABBEY, YORKSHIRE.

TURNER BEQUEST AT THE NATIONAL GALLERY 131

same subject (Plate LXV («)), one of a series of about twenty drawings on small
cards, all evidently by the same hand. The pencil drawings on which six others
of this series had been based were also among my collection of ' doubtfuls '.
These are the views of Walsingham Chapel, Norfolk (PI. LXVI), Kidwelly Church
(PI. LXVII), Windsor (PI. LXVIII, ' Lake with Mountains' (PI. LXX), and the
ruins of Netley (PI. LXIX) and Kirkstall Abbeys (PL LXXI). The same loose
and rather clumsy touch is to be found both in the pencil sketches and in the
perfunctory water-colours. They are all clearly the work of the same hand, as
the accompanying reproductions will show.

That this hand is Girtin's is clearly established by a drawing which has been
brought to my notice since the publication of my Inventory of the Drazvings of
the- Turner Bequest (1909). This is a larger and more important water-colour
of Kirkstall Abbey than the little card in the National Gallery, but one evidently
based upon the same sketch from nature (PL LXXI (I))). It is signed ' Girtin ',
and is of unimpeachable provenance. It was bought direct from the artist by
Mr. James Moore, F.S.A., the antiquary and patron of Dayes and Girtin. It
remained in Mr. Moore's collection till his death, when it passed, with the
remainder of the collection, into the possession of Miss Miller. It now belongs
to Mr. Thomas Girtin, by whose kind permission it is here reproduced.

The group of about twenty little water-colours on cards in the Turner
Bequest is then undoubtedly the work of Girtin. They seem to have been
a set of 'pot-boilers', knocked off hurriedly by the artist for commercial
purposes. They are based on sketches of the various places which the artist
had in his possession at the time, but they are far from giving us the best work
of which he was capable. Their perfunctoriness of handling is not the sign of
youthfulness or inexperience, and as they were evidently made after Girtin
had visited Holy Island and Glasgow, they cannot be earlier in date than 1796.
I have seen at least twenty other similar sketches on cards in the sale-rooms,
and, I need hardly add, they were sold as Turner's works.1

But it does not necessarily follow that the pencil sketch upon which
a water-colour is based is always by the same hand as the finished drawing.
Naturally an artist prefers to work from his own sketches, and in most cases he
does so ; but occasionally he is called upon to work from sketches supplied
by an amateur or another artist. Turner's views of Palestine, and some of
Italy, were based on other men's sketches, and James Moore, to whom I have
referred above, frequently employed Edward Dayes and Girtin to work up his

1 The drawings in the Turner Bequest may possibly be identified with lots 8r and 82 in the first
day of Dr. Monro's sale, which consisted each of ten ' Views and ruins in colours on card '. They
were described in the sale catalogue as by Turner, but, as we know, mistakes do sometimes creep
into auctioneers' catalogues. Turner purchased the two lots for eight and a half guineas each. He
may have bought them as the most effectual means of withdrawing from circulation drawings which
were erroneously ascribed to him.

i.32 TURNER BEQUEST AT THE NATIONAL GALLERY

own sketches. But the pencil drawing of Kirkstall, of which I have been
writing, is certainly not by James Moore. Moore had in his collection two
water-colours by Girtin of Kirkstall Abbey — the one reproduced on Plate
LXXI (b)), and an other, which was based on one of his own sketches. I
have reproduced these drawings on Plate LXXI I ; and on Plate LXXI 1 1
I give yet another drawing by Moore— of Croxden Abbey — together with the
water-colour Girtin was employed to make from it. An examination of these
two drawings by Moore proves that the drawing of Kirkstall Abbey in the
National Gallery is not his work.

Relying, then, upon all these indications that the pencil sketches of Kirkstall
Abbey, Windsor Castle, Kidwelly Church, Walsingham Chapel, and Netley
Abbey, in the Turner Bequest, were by Girtin, I feel satisfied that a group of
about forty other drawings, similar in style and upon the same kind of paper,
was also by him. Amongst them were the four drawings reproduced in Plates
LXXI V and LXXV. No doubt Girtin worked up some of these subjects in water-
colour, though they may have got ascribed to Turner or some other artist by
now. If any member of the Walpole Society should know of any drawings
connected with these sketches I should be grateful for particulars of them.
In the same group was also one of Colchester Castle (Plate LXXVI (a)), which
I was pleased to find had formed the original sketch upon which an important
water-colour by Girtin had been based. This had once formed part of James
Moore's collection. It is now in the possession of Professor Francis Pierrepont
Barnard, by whose kindness it is here reproduced (Plate LXXVI (b)).

Professor Barnard also owns a pencil-drawing from nature of Bolton Castle
byGirtin, and the water-colour elaborated from it(Plate LXXVII(rt)and(% These
were both derived from the Moore collection, so they are of unquestionable
authenticity. If we take this drawing of Bolton Castle as a standard, I think all
careful students will agree with me that the pencil drawings reproduced in this
article which I have ascribed to Girtin are correctly described. The pecu-
liarities of touch and of general style are so pronounced in all of them that they
must be the work of the same hand. The frequent errors in perspective are
also a common feature in many of Girtin's works.

There remain two important groups of drawings among the doubtful
Turners which I have not touched upon in this article. These are the
numerous copies in Indian ink and blue of works by Cozens and other artists —
there are about a hundred and thirty of them— and a smaller but even more
interesting group of pencil sketches and blue-and-black drawings of shipping
at Dover. If these drawings are by Girtin, as I strongly suspect, then a large
number of similar works in public and private collections are urgently crying
out to have their attributions revised. I hope on another occasion to start the
discussion of some of the difficult and complicated problems connected with
these drawings.

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Dumbarton Castle.

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Hinton Charter House, Suffolk.

(6)

TWO PENCIL SKETCHES.
BY THOMAS GIRTIN.

Turner Bequest.

PLATE LXXV.

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Rochester Castle, Kent.

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(6)

TWO PENCIL SKETCHES.
BY THOMAS GIRTIN.

Turner Bequest.

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PLATE LXXVI.

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COLCHESTER CASTLE.
BY THOMAS GIRTIN.

Water Colour, rsf x 6^ ins.)

Collection of Professor F. /'. Bnrnnrd.

PLATE LXXVII.

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/// Collection of I'nifussiir !•'. I', liariuinl.

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BOLTON* CASTLE, YORKSHIRE.
BY THOMAS GIRTIN.

Water Colour. (8f x 6| ins.)
//; Collection of Professof /•". /*. Barnard,

(6)

List of Members of the Walpole Society

1912-1913.

The Rt. Hon. Lord Aberdare.

R. Adams, Esq.

C. Morland Agnew, Esq.

Charles Aitken, Esq., Keeper, The

National Gallery, British Art.
W. C. Alexander, Esq.
Messrs. Edw. G. Allen & Son.
Herren Amsler & Ruthardt.
Sir Walter Armstrong.
Thomas Ashby, Esq., M.A., Litt.D.
Messrs. Asher & Co.

Sir Hickman Beckett Bacon, Bart.

C. H. Collins Baker, Esq.

The Lord Balcarres, M.P., F.S.A.,

Trustee of the National Portrait

Gallery.

Mrs. Sidney Ball.
John Ballinger, Esq.
Mrs. M. M. Banks.
C. A. Montague Barlow, Esq., M.P.
Francis Pierrepont Barnard, Esq.,

M.A. Oxon., F.S.A.
Thomas J. Barratt, Esq.
Percy Bate, Esq.
Earl Bathurst, C.M.G.

B. T. Batsford, Esq.
A.R.Bayley,Esq., B.A., F.R.Hist.S.
Herr Adolf von Beckerath.

Sir Joseph Beecham.
J. L. Behrend, Esq.

C. F. Bell, Esq., Keeper, The Ash-
molean Museum, Oxford.

Mrs. Clara Bell.

E. M. Beloe, F.S.A.
Miss Amy M. Benecke.
Newton Benet, Esq.
Sir William H. Bennett.
John Edmund Bentley, Esq.
Laurence Binyon, Esq., Asst. Keeper

of Prints and Drawings, British
Museum.

F. Frost Blackman, Esq., F.R.S.
Sam D. Bles, Esq.

Bodleian Library, Oxford.
Bootle. Public Library.

Boston Athenaeum, Boston, Mass.,

U.S.A.

Boston Public Library, Mass., U.S.A.
Allan H. Bright, Esq.
The Rev. F. E. Brightman.
James Britten, Esq.
Mrs. Beatrice Brooksbank.
Ernest G. Brown, Esq.
Messrs. Browne & Browne.
Albert Bruce-Joy, Esq.
Charles Richard Buckley, Esq.
The Rev. Herbert Bull.
Francis Bullard, Esq.
Miss Margaret H. Bulley.
Miss Margaret Burke.
Burlington Fine Arts Club.

H. J. Campbell, Esq.

John B. Carrington, Esq.

A. C. R. Carter, Esq.

James L. Caw, Esq., Director,

National Gallery of Scotland.
Arthur B. Chamberlain, Esq.
John E. Champney, Esq.
G. A. F. M. Chatwin, Esq.
Miss Alice D. Clarke.
George Clausen, Esq., R.A.
John R. Clayton, Esq.
A. B. Clifton, Esq.
Sydney C. Cockerell, Esq., Director,

Fitzwilliam Museum, Cambridge.
Sir Sidney Colvin, M.A., D.Litt.
Sir E. T. Cook.
Herbert F. Cook, Esq., M.A.
John Cooke, Esq.
J. Paul Cooper, Esq.
Royal Cortissoz, Esq.
Wilson Crewdson, Esq.
The Earl of Crewe, K.G., M.A.
R. H. Curtis, Esq.
Lionel Cust, Esq., M.V.O., F.S.A.

W. E. Darwin, Esq.
Thomas L. Devitt, Esq.
E. Rimbault Dibdin, Esq., Curator,
The Walker Art Gallery, Liverpool.

Arthur Dixon, Esq.

Campbell Dodgson, Esq., Keeper of

Prints and Drawings, British

Museum.

A. Langton Douglas, Esq.
J. R. K. Duff, Esq.
Dundee Free Library Committee.
Alfred P. Durlacher, Esq.
George L. Durlacher, Esq.
Sir Edwin Durning-Lawrence, Bart.

Louis R. Ehrich, Esq.
Sir Edward William Elgar.
The Rev. William C. Emeris.
H. C. Erhardt, Esq.
G. Eumorfopoulos, Esq.

Arnold Fairbairns, Esq.
Miss Helen Farquhar.
Frederick H. Fawkes, Esq., J.P.
Miss Feilding.
Miss Emily Fellowes.
Miss C. Jocelyn Ffoulkes.
A. J. Finberg, Esq.
The Fitzwilliam Museum, Cam-
bridge.

Mrs. E. N. Flower.
Mrs. William Forrest.
The Hon. J. W. Fortescue.
Charles Frederick Fox, Esq.

E. L. Franklin, Esq.

The Rev. A. H. Galton.
A. P. Gascoyne, Esq.
Percival Gaskell, Esq., R.E.
Charles Gilbertson, Esq., M.A.
J. P. Gilson, Esq.
Thomas Girtin, Esq.
Richard Glazier, Esq.

F. W. Goodenough, Esq.

G. Bruce Gosling, Esq.
Gottingen. University Library.
Richard W. Goulding, Esq.
The Rev. John Gray.

Albert Gray, Esq., K.C.
George J. Gribble, Esq.
O. Gutekunst, Esq.

W. Lee Hankey, Esq., A.R.E.
Martin Hardie, Esq., A.R.E.
H. Nazeby Harrington, Esq.

Mrs. Gulie C. Harrison.

T. Erat Harrison, Esq.

Charles Henry Hart, Esq.

Harold Hartley, Esq.

Harvard College, Cambridge, Mass.,

U.S.A.

Edward Hasell, Esq., M.R.C.S.
The Rev. Stewart D. Headlam.
Voltelin Heath, Esq.
Joseph Heaton, Esq.
George Henderson, Esq.
George Henfrey, Esq.
Henry Hering, Esq.
Miss Mary Hervey.
Ivystan Hetherington, Esq.
R. Heyworth, Esq.
Arthur M. Hind, Esq.
C. Lewis Hind, Esq.
Victor T. Hodgson, Esq.
Robert Martin Holland, Esq.
J. R. Holliday, Esq.
C. J. Holmes, Esq., M.A., Director,

National Portrait Gallery.
Sir Charles Holroyd, R.E., Director,

National Gallery.
Sir William Van Home.
W. Edgar Home, Esq.
The Hon. Hugh Howard.
James Howell, Esq.
C. E. Hughes, Esq.
Talbot Hughes, Esq.
T. Cann Hughes, Esq., M.A., F.S.A.
H. Hughes-Stanton, Esq.
Chas. Henry Hunt, Esq.
The Venble. Archdeacon W. H.

Hutton.
James H. Hyde, Esq.

Prof. Selwyn Image, Slade Professor,
Oxford.

Fred. W. Jackson, Esq.

T. G. Jackson, Esq., R.A., Hon.

LL.D.

T. W. Jackson, Esq.
T. Pearce Jacomb, Esq.
The Hon. Walter J. James.
Col. Sir Herbert Jekyll, K.C.M.G.
Mrs. Mary O. Jenkin.
Herbert S. Job, Esq.
John G. Johnson, Esq.

Arthur Kay, Esq., F.S.A. Lond. &
Scot.

Miss Emily G. Kemp.

Edward G. Kennedy, Esq.

Sir Frederic G. Kenyon, C.B.,
D.Litt., Director and Principal
Librarian of the British Museum.

Messrs. Knoedler & Co.

Dr. James H. W. Laing.

Sir Hugh Lane.

John Lane, Esq.

P. P. Laurie, Esq.

Adrian Leach, Esq.

Thomas Barrett Lennard, Esq.

George E. Leon, Esq.

W. R. Lethaby, Esq.

Howard C. Levis, Esq.

Miss Edith M. Lister.

Horace Mann Livens, Esq.

W. Llewellyn, Esq., A.R.A.

H. Longden, Esq.

H. Walter Lonsdale, Esq.

Julian G. Lousada, Esq.

A. K. Loyd, Esq.

Theodore Lucas, Esq.

Henry E. Luxmore, Esq.

Herbert Lyndon, Esq.

Lt.-Col. George B. Croft Lyons.

The Earl of Lytton.

The Hon. Neville Lytton.

D. J. Macaulay, Esq., M.D.

D. S. MacColl, Esq., M.A., LL.D.,
Keeper, The Wallace Collection.

Allan McLean, Esq.

Miss E. Winifred Madder.

John Maddocks, Esq., J.P.

Manchester. Department of Educa-
tion.

Manchester Public Libraries.

Manchester Society of Architects.

Manchester Whitworth Institute,
Manchester.

The Lady Victoria Manners.

John Margetson, Esq.

Murray Marks, Esq.

Edward Marsh, Esq.

Prof. C. R. Marshall.

Miss M. Kathleen Martin.

Mrs. Ena Mathias.

The Medici Society, Ltd.

Zachary Merton, Esq.
L. R. C. Messel, Esq.
Metropolitan Museum of Art, New

York, U.S.A.
Dr. A. H. Millar.
James D. Milner, Esq.
Harrison Morris, Esq.
Lionel B. Mozley, Esq.
Munich. Kgl. Bayerische Hof- und

Staats-Bibliothek.

Paul Nijhoff, Esq.

New South Wales. Public Library.

New York. Metropolitan Museum

of Art.

Philip Norman, Esq., Hon. LL.D.
Robert F. Norton, Esq.
T. Percy Nunn, Esq., M.A., D.Sc.

Daniel O'Connor, Esq.
Roger Oldham, Esq.
A. P. Oppd, Esq.

Messrs. J. Falser & Sons.

Colonel John W. R. Parker, C.B.,

F.S.A.

Messrs. E. Parsons & Sons.
Dr. A. V. Peatling.
R. William Pettigrew, Esq.
Mrs. R. L. Poole.
Prof. Arthur Pope.
Mrs. George H. Pope.
W. M. Power, Esq., M.R.S.A.
Prof. F. M. Powicke.
Prof. Edward S. Prior, Slade Pro-
fessor, Cambridge.

Bernard Quaritch, Esq.

Mrs. C. Rashdall.

Miss K. Rashleigh.

W. G. Rawlinson, Esq.

John Rennie, Esq.

H. Douglas Rhodes, Esq.

T. H. Riches, Esq.

Frank Rinder, Esq.

W. Roberts, Esq.

Lionel Robinson, Esq.

Lionel Robinson, Esq., Senr.

T. H. Robinson, Esq.

E. S. Roscoe, Esq.

Robert Ross, Esq.

The Royal Library, Windsor Castle.
John Lewis Rutley, Esq.

The St. Alban's Guild, Manchester.
Sale and Ashton-upon-Mersey Joint

Free Library.
The Sailers' Company.
Robert Weir Schultz, Esq.
J. Henry Sellers, Esq.
F. H. Shepherd, Esq.
George H. Shepherd, Esq.
Claude Shepperson, Esq., A.R.S.P.W.
Sir Frank Short, R.A.
R. Skinner, Esq.
Francis G. Smart, Esq.
Miss Alice Smith.
H. Watson Smith, Esq.
Robert Spence, Esq., R.P.E.
Edward Speyer, Esq.
Marion H. Spielmann, Esq.
Sir Isidore Spielmann, C.M.G.
Walter L. Spiers, Esq.
Ethel M. Spokes (Mrs. A. H. Spokes).
Dr. Spooner.
Messrs. Stechart & Co.
Edward Stott, Esq., A.R.A.
Edward F. Strange, Esq., Keeper,

Depart, of Engraving, Victoria

and Albert Museum.
Walter G. Strickland, Esq.
Mrs. Arthur Strong.
Mrs. Alfred Sutro.

Edmund G. Sykes, Esq.

Arthur a B. Terrell, Esq.

Mrs. A. La Terriere.

Prof. Dr. Ulrich Thieme.

Sir Herbert Thompson, Bart.

Arthur Tooth, Esq.

W. G. Paulson Townsend, Esq.

James Tregaskis, Esq.

Mrs. Tremayne.

E. W. Tristram, Esq.

C. Mallord W. Turner, Esq.

Miss M. H. Turner.

Sydney Vacher, Esq.

H. S. Vade-Walpole, Esq.

The Victoria and Albert Museum.

Prof. Charles Waldstein.
The National Library of Wales.
Emery Walker, Esq.
William Ward, Esq.
William Pochin Warner, Esq.
Mrs. H. M. Spencer Watson.
Welbeck Abbey. The Library.
Francis Wellesley, Esq., J.P.
Fred. A. White, Esq.
Dr. G. C. Williamson.
Messrs. Willson Bros.
Sir H. F. Wilson, K.C.M.G.
Percy Withers, Esq.
T. Martin Wood, Esq.

Members are particularly requested to draw the attention of the

Hon. Secretary, MR. A. J. FINBERG, Arts Club, 40 Dover Street,

London, W., to any omissions or errors in the above list.

N Walpole Society, London
12 The volume of the

W3 Walpole Society
v.2

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

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